DOCSLIB.ORG

Hotel Hilton in Jeddah

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hotel Hilton in Jeddah Pianta prospettica della città e delle lagune disegnata da Benedetto Bordone per il suo “Isolario”, Venezia, 1528. Perspective map of the city and lagoons designed by Benedetto Borbone for his “Isolario”, Venice, 1528. 2 Classic 4 Classic Passato e presente Umberto Sorrentino, classe 1932, inizia la sua attività alla fine degli anni Sessanta cominciando ad esportare articoli per l’illuminazione dapprima in Germania e poi in Medio Oriente, dove si afferma dando inizio ad una carriera lunga più di quarant’anni. Nei paesi del Medio Oriente (Arabia Saudita, Kuwait, Emirati Arabi) propone una vasta gamma di articoli, dal rinomato prodotto in vetro di Murano a quello altrettanto ricercato in cristallo Swarovski, contraddistinguendosi per varietà, qualità e capacità di realizzare lampadari di grandi dimensioni. Past and present Umberto Sorrentino, born in 1932, began his activity at the end of the Sixties exporting lighting articles, at first to Germany and later to the Middle East, where he established himself, beginning a career spanning over forty years. In Middle-Eastern countries (Saudi Arabia, Kuwait, Arab Emirates) it offers a wide range of articles, from the renowned Murano glass product to the just as refined item in Swarovski crystal, distinguishing itself for variety, quality and ability of creating chandeliers of great dimensions. 6 Classic Thanks to the ability of welcoming and Grazie all’abilità di accogliere e soddisfare satisfying clients’ needs with customed solutions and a catalogue of products able le esigenze della clientela con soluzioni su to meet the local taste and style, in the Eighties Umberto Sorrentino became so misura e un catalogo di prodotti capace renowned in the Middle East to be called by the Saudi Arabian royal family, for which he created important projects di incontrare il gusto e lo stile locali, negli during the course of the Nineties. anni Ottanta Umberto Sorrentino diviene così rinomato in Medio Oriente da essere chiamato dalla famiglia reale saudita per la quale realizza importanti progetti nel corso degli anni Novanta. 8 Classic A caratterizzare gli anni Novanta è anche l’apertura del mercato degli U.S.A. con la realizzazione di diversi progetti, tra cui famosi Casinò a Las Vegas. Dal 2000 lavora quasi esclusivamente con l’Arabia Saudita per esponenti del governo e della famiglia reale. Dopo più di quarant’anni di attività sul mercato internazionale, Umberto Sorrentino è oggi in Medio Oriente un punto di riferimento per famosi interior designers e architetti locali. What characterized this period was also the opening to the U.S. market with the realization of several projects, among which were casinos in Las Vegas. Since 2000, he has worked almost exclusively with Saudi Arabian members of the government and of the royal family. After over forty years of activity on the international market, Umberto Sorrentino is now a point of reference for famous Middle- Eastern interior designers and architects. 10 Classic Murano Style è in grado di soddisfare, oggi come un tempo, diverse esigenze di arredamento e di stile con un’ampia gamma di articoli. Dal tradizionale lampadario veneziano in vetro di Murano all’articolo di illuminazione dal design contemporaneo. Una delle nostre peculiarità è la possibilità di realizzare modelli particolari e unici, accogliendo le diverse necessità di una clientela variegata e internazionale. Murano Style is able to satisfy, today as much as in the past, different furnishing and style needs with a wide range of articles. From the traditional Murano glass chandelier, a Venetian classic, to the lighting article with a contemporary design. One of our peculiarities is the possibility of realizing unique and particolar models, accomodating the different needs of a diverse and international client base. Having consolidated its presence in the Consolidata la propria presenza sul Middle-Eastern market, Umberto Sorrentino’s new ambition, along with his son’s, mercato del Medio Oriente, la nuova Dr. Enrico Sorrentino, is that of reaching new markets and countries as well, where ambizione di Umberto Sorrentino e del the request for Italian luxury products is just as strong or is beginning to be. With the intention of being ever more figlio, il Dott. Enrico Sorrentino, è quella persistant and visible on the international market. Umberto Sorrentino will celebrate 50 di raggiungere anche paesi e mercati years of activity with the inauguration of three nuovi, dove la domanda di prodotti Murano Style showrooms around the world. del lusso italiano è altrettanto forte o comincia ad esserlo. Nell’intento di essere ancora più presente e visibile sul mercato internazionale, Umberto Sorrentino coronerà i 50 anni di attività con l’apertura 12 Classic di tre showrooms Murano Style nel mondo. L’azienda A caratterizzare Murano Style è la disponibilità ad interagire con i propri clienti nella fase di progettazione di un ambiente con la possibilità di poter modificare un articolo nel dettaglio o nell’insieme, nelle forme o nei colori. La realizzazione di modelli su misura, da disegno o anche solo a partire da una semplice idea, pone Murano Style su un piano assolutamente unico, potendo accogliere totalmente le necessità del cliente. Un consolidato staff di disegnatori creativi e di abili maestri vetrai assicura infatti un notevole margine di libertà nella progettazione di modelli esclusivi. La qualità dei prodotti è garantita e ottenuta anche nei minimi dettagli grazie all’abilità dei maestri vetrai, la cui esperienza nella lavorazione del vetro assicura sempre un risultato qualitativo di altissimo livello. The company What characterizes Murano Style is the availability of interacting with its clients in the designing phase of an environment with the possibility of modifying an article, in detail or altogether, in its shapes and colors. The realization of models, either custom-made, from designs or even starting from a simple idea, places Murano Style on a completely unique level, being it able to completely meet any of the client’s needs. A consolidated staff of creative designers and skilled glass-masters ensures a remarkable margin of freedom in the designing of exclusive models. The quality of products is guaranteed and obtained in every little detail through the ability of glass-masters, whose experience in working glass always ensures 14 Classic a quality result of the highest level. I cataloghi offrono una vasta gamma di articoli tra la tradizione e la modernità, tra il classico e il contemporaneo. Lampadari tradizionali in stile veneziano, riproduzioni fedeli di modelli antichi o restyling in chiave attuale oppure lampadari dal design contemporaneo, sperimentali, innovativi. The catalogues offer a wide range of traditional and modern, classic and contemporary articles. Traditional Venetian- style chandeliers, faithful reproductions of antique models or restyled with a modern feel, or chandeliers with a contemporary, experimental, innovative design. 16 Classic Renovation, evolution, experimentation have Il rinnovamento, l’evoluzione, la led a traditional furnishing object such as the chandelier to be today a refined design object. sperimentazione hanno portato un This is achieved also thanks to the material used for its realization: glass. Its artistic tradizionale oggetto di arredamento potential offers results which are always more wonderful and innovative. Without abandoning tradition, whose refinement of come il lampadario veneziano ad essere style is always unique and unquestionable, Murano Style offers its antithesis as well: oggi un prodotto di raffinato design, contemporary, the result of the evolution of taste and the research for new shapes grazie anche al materiale con cui viene carried out with an antique material which realizzato, il vetro, le cui potenzialità remains the absolute protagonist. artistiche offrono risultati sempre nuovi e sorprendenti. Senza abbandonare la tradizione, la cui raffinatezza dello stile è sempre unica e indiscutibile, Murano Style propone anche la sua antitesi, il contemporaneo: il risultato dell’evoluzione del gusto e la ricerca di forme nuove condotta con un materiale antico che rimane il protagonista assoluto. 18 Classic Alcuni progetti A few of the realizzati completed projects Regno dell’Arabia Saudita Kingdom of Saudi Arabia • L'Hotel Hilton di Jeddah • Hotel Hilton in Jeddah • L’Hotel Meridien e le Otto Torri, a La Mecca • Hotel Meridien and the Eight Towers, in La Mecca • Il Palazzo dello sceicco Fathi, a Jeddah • Palace of His Eminence sheikh Ibrahim Bin Abdul Rahman Al-Tassan, in Jeddah • La Villa dello sceicco Mohammed Al-Garni, a Riyadh • The Villa of sheikh Mohammed Al-Garni, in Riyadh • Il Palazzo dello sceicco Abdul, a Jeddah • Palace for sheikh Abdul, in Jeddah • Il Palazzo di Sua Eminenza lo sceicco Ibrahim Bin Abdul Rahman Al-Tassan, a Jeddah • Palace for sheikh Fathi, in Jeddah • La Villa del Dottor Turky, a Jeddah • Villa for Doc. Turky, in Jeddah • Il Palazzo dello sceicco Farsi, a Jeddah • Palace for sheikh Farsi, in Jeddah • La Villa dello sceicco Naser Al-Mussa, a Riyadh • Villa for sheikh Naser Al-Mussa, in Riyadh • Il Palazzo del Principe Sultan, a Riyadh • Palace for Prince Sultan, in Riyadh Stato del Kuwait State of Kuwait • Il Palazzo dello sceicco Nasser Al-Sabah, a Kuwait city • Palace for sheikh Nasser Al-Sabah, in Kuwait city • Il Palazzo della Principessa Latifa, della famiglia reale Saad, a Kuwait city • Palace for Princess Latifa, of the Saad royal family, in Kuwait city • La Moschea dello sceicco Al-Qattan,
Load more

Recommended publications
  • Mead Art Museum Andrew W. Mellon Faculty Seminar: Jan 15 and 16, 2015
    Mead Art Museum Andrew W. Mellon Faculty Seminar: Jan 15 and 16, 2015 Looking at Glass through an Interdisciplinary Lens: Teaching and Learning with the Mead’s Collection Books: Bach, Hans and Norbert Neuroth, eds. The Properties of Optical Glass. Berlin: Springer-Verlag, 1995. Barr, Sheldon. Venetian Glass: Confections in Glass, 1855-1914. New York: Harry N. Abrams, 1998. Battie, David and Simon Cottle, eds. Sotheby's Concise Encyclopedia of Glass. London: Conran Octopus, 1991. Blaszczyk, Regina Lee. Imagining Consumers, Design and Innovation from Wedgwood to Corning. Baltimore: Johns Hopkins University Press, 2000. Bradbury, S. The Evolution of the Microscope. Oxford: Pergamon Press, 1967. Busch, Jason T., and Catherine L. Futter. Inventing the Modern World: Decorative Arts at the World’s Fairs, 1951-1939. New York, NY: Skira Rizzoli, 2012. Carboni, Stefano and Whitehouse, David. Glass of the Sultans. New York: Metropolitan Museum of Art; Corning, NY: The Corning Museum of Glass; Athens: Benaki Museum; New Haven and London: Yale University Press, 2001. Charleston, Robert J. Masterpieces of glass: a world history from the Corning Museum of Glass. 2nd ed.: New York, Harry N. Abrams, 1990. The Corning Museum of Glass. Innovations in Glass. Corning, New York: The Corning Museum of Glass, 1999. Lois Sherr Dubin. The History of Beads: from 30,000 B.C. to the present. London: Thames & Hudson, 2006. Fleming, Stuart. Roman Glass: Reflections of Everyday Life. Philadelphia: University of Pennsylvania Museum, 1997. ----Roman Glass: Reflections on Cultural Change. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 1999. 1 Frelinghuysen, Alice Cooney. Louis Comfort Tiffany at the Metropolitan Museum.
    [Show full text]
  • Glass and Glass-Ceramics
    Chapter 3 Sintering and Microstructure of Ceramics 3.1. Sintering and microstructure of ceramics We saw in Chapter 1 that sintering is at the heart of ceramic processes. However, as sintering takes place only in the last of the three main stages of the process (powders o forming o heat treatments), one might be surprised to see that the place devoted to it in written works is much greater than that devoted to powder preparation and forming stages. This is perhaps because sintering involves scientific considerations more directly, whereas the other two stages often stress more technical observations M in the best possible meaning of the term, but with manufacturing secrets and industrial property aspects that are not compatible with the dissemination of knowledge. However, there is more: being the last of the three stages M even though it may be followed by various finishing treatments (rectification, decoration, deposit of surfacing coatings, etc.) M sintering often reveals defects caused during the preceding stages, which are generally optimized with respect to sintering, which perfects them M for example, the granularity of the powders directly impacts on the densification and grain growth, so therefore the success of the powder treatment is validated by the performances of the sintered part. Sintering allows the consolidation M the non-cohesive granular medium becomes a cohesive material M whilst organizing the microstructure (size and shape of the grains, rate and nature of the porosity, etc.). However, the microstructure determines to a large extent the performances of the material: all the more reason why sintering Chapter written by Philippe BOCH and Anne LERICHE.
    [Show full text]
  • Inorganic Glasses Third Edition
    Fundamentals of Inorganic Glasses Third Edition ARUN K. VARSHNEYA Saxon Glass Technologies Inc. and Alfred University, Alfred, New York JOHN C. MAURO The Pennsylvania State University, University Park, Pennsylvania Contents Preface xv Acknowledgments xvi i 1. Introduction 1 1.1 Brief history 1 1.2 Glass families of interest 2 1.3 Vitreous silica 2 1.4 Soda lime silicate glass 5 1.5 Borosilicate glass 5 1.6 Lead silicate glass 6 1.7 Aluminosilicate glass 6 1.8 Bioactive glasses 6 1.9 Other silica-based oxide glasses 7 1.10 Other nonsilica-based oxide glasses 7 1.11 Halide glasses 7 1.12 Amorphous semiconductors 8 1.13 Chalcogenide and chalcohalide glasses 9 1.14 Metallic glasses 10 1.15 Glass-like carbon 11 1.16 Mixed anion glasses 11 1.17 Metal-organic framework glasses 12 1.18 A brief note on glasses found in nature 12 1.19 Glass greats Antonio Neri and Norbert J Kreidl 14 Summary 16 Online resources 17 Exercise 17 References 17 2. Fundamentals of the glassy state 19 2.1 What is glass7 19 2.2 The V-T diagram 20 2.3 Pair correlation function and RDF 23 2.4 Anomalies in the V-T diagram 29 2.5 Revisiting the definition of glass and its distinction from an amorphous solid and a liquid 30 2.6 Glass greats A R Cooper, Jr 32 VII vin Contents Summary 33 Online resources 34 Exercises 34 References 35 3. Glass formation principles 37 3.1 Structural theories of glass formation 37 3.2 Russian workers' criticism of Zachariasen's hypothesis 46 3.3 The kinetic theory of glass formation 49 3.4 Beyond classical nucleation theory 65 3.5 Glass greats WH Zachariasen and E A Porai-Koshits 65 Summary 67 Exercises 68 References 69 4.
    [Show full text]
  • City of Light: the Story of Fiber Optics
    City of Light: The Story of Fiber Optics JEFF HECHT OXFORD UNIVERSITY PRESS City of Light THE SLOAN TECHNOLOGY SERIES Dark Sun: The Making of the Hydrogen Bomb Richard Rhodes Dream Reaper: The Story of an Old-Fashioned Inventor in the High-Stakes World of Modern Agriculture Craig Canine Turbulent Skies: The History of Commercial Aviation Thomas A. Heppenheimer Tube: The Invention of Television David E. Fisher and Marshall Jon Fisher The Invention that Changed the World: How a Small Group of Radar Pioneers Won the Second World War and Launched a Technological Revolution Robert Buderi Computer: A History of the Information Machine Martin Campbell-Kelly and William Aspray Naked to the Bone: Medical Imaging in the Twentieth Century Bettyann Kevles A Commotion in the Blood: A Century of Using the Immune System to Battle Cancer and Other Diseases Stephen S. Hall Beyond Engineering: How Society Shapes Technology Robert Pool The One Best Way: Frederick Winslow Taylor and the Enigma of Efficiency Robert Kanigel Crystal Fire: The Birth of the Information Age Michael Riordan and Lillian Hoddesen Insisting on the Impossible: The Life of Edwin Land, Inventor of Instant Photography Victor McElheny City of Light: The Story of Fiber Optics Jeff Hecht Visions of Technology: A Century of Provocative Readings edited by Richard Rhodes Last Big Cookie Gary Dorsey (forthcoming) City of Light The Story of Fiber Optics JEFF HECHT 1 3 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sa˜o Paulo Shanghai Taipei Tokyo Toronto Copyright ᭧ 1999 by Jeff Hecht Published by Oxford University Press, Inc.
    [Show full text]
  • Marco Verità* Secrets and Innovations of Venetian Glass Between The
    Marco Verità* SECRETS AND INNOVATIONS OF VENETIAN GLASS BETWEEN THE 15TH AND THE 17TH CENTURIES: RAW MATERIALS, GLASS MELTING AND ARTEFACTS From the fifteenth to the end of the seventeenth century,V enice has been the world leader in glassmaking. Murano’s primacy was due to the extraordinary quality of its glass (homogeneity, transparency, palette of colours, etc.), the style of Venetian glassware, the skill of glassmasters and the wide range of products. This supremacy could be reached and maintained thanks to the fact that glassmaking in Venice has always been a dynamic craft. Since its beginnings it underwent radical changes and incorporated many innovations along the centuries. The oldest extant document attesting a production of glassware in Venice is a manuscript dating to 982 A.D.; nevertheless archaeological evidence of glassworking since the 7-8th centuries was found in the island of Torcello in the Venetian lagoon. Since the origins the Venetian glass was (and is still today) of the soda-lime-silica type, that is mainly composed of sodium (Na2O), 1 calcium (CaO) and silicon (SiO2) oxides . The reluctance ofV enetian glassmakers to change the composition of their glass is rather complex to explain. Any glass represents a combination of properties: thermal (viscosity, workability), optical (colour, transparency), chemical (resistance to environmental attack, …), etc., which cannot be modified separately and vary by changing the composition of glass (type and ratios of the components). * Laboratorio Analisi Materiali Antichi LAMA, Sistema dei Laboratori, IUAV University, Venice, Italy. 1 Other types of glass were created and manufactured in Venice, such as lead silica glass for the production of imitation gemstones, not discussed in this paper.
    [Show full text]
  • 2 Image Caption Title –
    Image Caption Title – Cum sociis natoque penatibus et magnis dis parturient montes, nas scetur ridiculus mus. 2 Sponsors & Colophon – First published in Great Britain in 2013 by London College of Fashion, University of the Arts London, 20 John Prince’s Street, London W1G 0BJ, United Kingdom ISBN 978-1-903455-29-6 © London College of Fashion Authors: James Putnam, Adriano Berengo, Suzanne Higgott, David Toop Design: Freytag Anderson All rights reserved. No part of this publication may be reproduced in any form or by any means without the permission of the publishers. Contents Contents – – 7 — 8 23 — 28 Foreword White Light | White Heat Professor Frances Corner OBE James Putnam Pro Vice-Chancellor Co-Curator Glasstress: University of the Arts London & White Light | White Heat Head of London College of Fashion 31 — 40 9 — 1 4 Historic Venetian Glass The Quantum Leap of Glass Suzanne Higgott Adriano Berengo Curator of Glass, Limoges Painted Director Berengo Studio Murano, Enamels and Earthenwares Venice & Co-Curator Glasstress: The Wallace Collection White Light | White Heat 43 — 174 17 — 20 Artists Is Glass Silent? David Toop 175 UAL Alumni Foreword Frances Corner OBE – – Professor Frances Corner OBE Pro Vice-Chancellor University of the Arts London & Head of London College of Fashion White Light | White Heat is a development of exquisite glass collection and the cutting edge envi- Glasstress, conceived by Adriano Berengo, President ronment of London College of Fashion where tradi- of Berengo Glass Studio and Venice Projects, in 2009. tional notions of fashion are challenged every day. This new exhibition is a dramatic expansion of the The exhibition had its opening at the magnificent original Glasstress concept to include London Palazzo Franchetti as part of the 55th Venice College of Fashion (LCF), University of the Arts Biennale with a selection of work being restaged in London and t he Wallace Collection working in col- London at the Fashion Space Gallery at LCF as well laboration with Berengo Glass Studio.
    [Show full text]
  • The Role of Judgment in the Making of Glass Colors in the Seventeenth Century
    The role of judgment in the making of glass colors in the seventeenth century Autor(en): Dupré, Sven Objekttyp: Article Zeitschrift: Ferrum : Nachrichten aus der Eisenbibliothek, Stiftung der Georg Fischer AG Band (Jahr): 90 (2018) PDF erstellt am: 01.10.2021 Persistenter Link: http://doi.org/10.5169/seals-787105 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch SVEN DUPRÉ The Role of Judgment in the Making of Glass Colors in the Seventeenth Century This essay discusses the manufacture of colors in Venetian and à la façon de Venise glass that was produced from the fifteenth century and codified in print in the seventeenth century.
    [Show full text]
  • Peek Into the Future of Education Using Glass Allison Berger Florida Atlantic University, [email protected]
    FDLA Journal Volume 2 Article 4 1-1-2015 Peek Into the Future of Education Using Glass Allison Berger Florida Atlantic University, [email protected] Victoria Brown Florida Atlantic University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/fdla-journal Part of the Online and Distance Education Commons, and the Teacher Education and Professional Development Commons Recommended Citation Berger, Allison and Brown, Victoria (2015) "Peek Into the Future of Education Using Glass," FDLA Journal: Vol. 2 , Article 4. Available at: https://nsuworks.nova.edu/fdla-journal/vol2/iss1/4 This Article is brought to you for free and open access by the Abraham S. Fischler College of Education at NSUWorks. It has been accepted for inclusion in FDLA Journal by an authorized editor of NSUWorks. For more information, please contact [email protected]. Peek Into the Future of Education Using Glass Cover Page Footnote Portions of this paper were presented at the Society of Informational Technology and Teacher Education 24th Annual International Conference in New Orleans and published in the 2013 proceedings for that conference. This article is available in FDLA Journal: https://nsuworks.nova.edu/fdla-journal/vol2/iss1/4 Berger and Brown: Peek Into the Future of Education Using Glass Running head: PEEK INTO THE FUTURE WITH GLASS PEEK INTO THE FUTURE OF EDUCATION USING GLASS Alison Berger [email protected] Florida Atlantic University Victoria Brown [email protected] Florida Atlantic University Author Notes Portions of this paper were presented at the Society of Informational Technology and Teacher Education 24th Annual International Conference in New Orleans and published in the 2013 proceedings for that conference.
    [Show full text]
  • Diseño Y Fabricación Semi Artesanal Con Vidrio En Uruguay
    TESIS DE GRADUACIÓN DISEÑO Y FABRICACIÓN SEMI ARTESANAL CON VIDRIO EN URUGUAY B.R. Silvana Nallem, Tutor Andrés Parallada. Informe inal | Diciembre 2017. Escuela Universitaria Centro de Diseño. Facultad de Arquitectura Diseño y Urbanismo. Udelar. TESIS DE GRADUACIÓN DISEÑO Y FABRICACIÓN SEMI ARTESANAL CON VIDRIO EN URUGUAY B.R. Silvana Nallem, Tutor Andrés Parallada. Colaborador técnico Daniel Acosta y Lara. Informe inal | Diciembre 2017. Escuela Universitaria Centro de Diseño. Facultad de Arquitectura Diseño y Urbanismo. Universidad de la República. Pág. - 6 Agradecimientos Son muchas las personas a quienes debo agrade- A mi Abuela, por creer en esta profesión e incenti- cer el haber podido realizar este trabajo, pero espe- varme a recorrerla, desde muchos años antes de mi cialmente quiero destacar a las siguientes: primer examen de ingreso. A Andrés, por el apoyo incondicional en estos casi tres años de trabajo y su gran capacidad de intepre- tar, sintetizar y ordenar todas mis ideas. A Daniel Acosta y Lara, por su tiempo y dedicación Es a mi abuela y a mi madre, a quienes les dedico en todas las instancias de taller que fueron necesa- esto y mucho más. rias para la elaboración del contenido de este docu- mento. A Beatriz, por el aliento a generar este texto, así como su asesoramiento técnico, observaciones y correcciones. A Daniell, por sus devoluciones y piezas clave de material histórico y de referencia. Al Fido y Fla, por este hermoso documento y su pa- ciencia hasta largas horas de la jornada. Al equipazo de los PM´s por los after ofice y espe- cialmente a la equipa Lorieto por su fuerza, apoyo y las tremendas fotografías que forman parte de este proyecto.
    [Show full text]
  • Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century
    Ambix ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/yamb20 Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century Thijs Hagendijk , Márcia Vilarigues & Sven Dupré To cite this article: Thijs Hagendijk , Márcia Vilarigues & Sven Dupré (2020) Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century, Ambix, 67:4, 323-345, DOI: 10.1080/00026980.2020.1826823 To link to this article: https://doi.org/10.1080/00026980.2020.1826823 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 12 Oct 2020. Submit your article to this journal Article views: 890 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yamb20 ambix, Vol. 67 No. 4, November 2020, 323–345 Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century Thijs Hagendijk 1, Márcia Vilarigues 2 and Sven Dupré3 1 Utrecht University, The Netherlands 2 Universidade NOVA de Lisboa, Portugal 3 Utrecht University, The Netherlands Johann Kunckel’s Ars Vitraria Experimentalis (1679) is arguably the most impor- tant text on seventeenth-century glassmaking. As an augmented German translation of Italian (1612) and English (1662) editions, Kunckel presented a complex and layered text that contained a plethora of recipes, elaborate com- mentaries and annotations, and various appendices dealing with glass-related technologies and arts. We reworked four recipes for rosichiero glass (a trans- parent red glass) in Kunckel’s book to discover what strategies Kunckel em- ployed to help readers engage with the recipes and to make the recipes work in the specificity of their own workshop.
    [Show full text]
  • Touch of Glass
    A Touch of Glass PopularScience A Touch of Glass SUKANYA DATTA NATIONAL BOOK TRUST, INDIA ISBN 978-81-237-9071-8 First ePrint Edition 2020 © Sukanya Datta Rs:185.00 ePrint by Ornate Techno Services Pvt Ltd Published by the Director, National Book Trust, India Nehru Bhawan, 5 Institutional Area, Phase-II Vasant Kunj, New Delhi - 110070 Website: www.nbtindia.gov.in This book is dedicated with love to the memory of Debjani Ghosh (Bubul didi) and to Sanjoy Ghosh (Sanjoyda) for being my Go-To couple foreverything for as long as I canremember. Contents Acknowledgement i Preface x x 1. Fact and Fairytale i1 2. First Look 5 3. Natural Glass 9 4. Making Glass 16 5. Techniques and Tools ofTrade 43 6. Glass Industry in the Ancient 69 World 118 7. Glass Industry in Ancient India 128 8. Glass Industry of Modern India 147 9. Gallery of ArtGlass 167 10. Architectural Wonders in Glass 187 11. Fun Fact and Futuristic Firsts 207 12. Idioms Inspired by Glass SelectBibliography 221 Index 225 Acknowledgement My association with the National Book Trust (NBT) goes back almost two decades and I have always first approached NBT with any new manuscript of mine; rarely have I been refused. For this privilege I thank the Director, NBT with all my heart. Heartfelt thanks are also due to Mrs. Kanchan Wanchoo Sharma then at the Editorial Department of NBT. Her very positive feedback to my idea gave me the encouragement to go forward with the manuscript. My current Editor Ms. Surekha Sachdeva who took over from Kanchan has been most meticulous in editing and deserves my thanks for all her efforts.
    [Show full text]
  • Swarovski and Austrian Cut Crystal Beads
    • Journal of the Center for Bead Research Volume 6, Number 1 1993 PeJlturr: Story (S18rl8 ODpaae.1) OUR NEW LOGO (above) We have adapted this as the logo of the Center for SWAROVSKI AND ._ Bead Research. It is called a bung or Iingling-o and is . .__ made of bronze, silver or gold by the Ifugao of north­ AUSTRIAN CUT ern Luzon, the Philippines. The !fugao wear it as a pendant, though most of their neighbors wear a pair CRYSTAL BEADS of them as earrings. The design is of great antiquity, ,_ echoing jade earrings brought to the archipelago in the first millennium B.C. by the Sa Huynh peoples, a sea faring group based in southern Vietnam, who traveled all over Southeast Asia. When the Spanish arrived in Luzon they noticed the people wearing golden earrings in the shape. The swan was adopted in 1988 by the board of direc- GRAN'TS tors of the Swarovski company. 'This elegant:.and The Center has been the recipient of several grantS powerful creature was elected as the most appropri- . reCently, which have allowed us to expand our re­ ate symbol for the vigorous style of business manage- search and training programs. Details are on page 9, ment techniques practiced at Swarovsld today." but we wish to thank once again the Asian Art Coun­ [Crowden 1990]'-' cil of Ne\V York, the Bead Society of Greater Wash­ • .d.., ... ington and the Northwest Bead Society for their BEADS AND CRAFTS support ADVENTURE TOUR OF IN THIS ISSUE WEST AFRICA Eye ofthe Needle/Calendar •......
    [Show full text]