Volume II — Number 71 November 2014 Bittersweet, but less sweet. M. A. Carretero. As reported on inside pages, last October 15 at the MAVA opened the exhibition "Three Centuries of Sculpture". An exhibition of works in bronze, basically, and they are commemorating the first 120 years of existence of the Codina Foundry, a prestigious casting workshop based art works in Madrid. But there are also sculptures in plaster, resin, steel, stone, clay and fiberglass. Also, a large group of bronze platelets appear to have a great value for the Foundry is exposed. Complete the exhibition a number of photographs that reflect different moments in the life of the workshop. Among the firms that have made the exhibited works are those of Benlliure (at the luxurious catalog figure this illustrious name in lowercase), John Christopher (a native, like my father, the beautiful village of Ohanes in Alpujarra), Victorio Macho Cesar Manrique, Oteiza and Auguste Rodin. The other 48 artists complete the collection. This is, say, the sweet taste of the event. But behind a sour sour taste, the occasion of this "magna" exhibition. First, I wonder what makes this exhibition at the Museum of Art Glass Alcorcon? Yes, of course, clear that it is a unique opportunity to present these wonderful works in the town of Alcorcon, missing more. But in this place? Why? Elaborating on the issue of disturbing causes, expose a few words said, as volapié, the Deputy Mayor and Councillor for the Arts in our Municipal Corporation, as well as President of the Spanish Association of Painters and Sculptors during the presentation this exhibition. He said he will try to get there in a Museum Sculpture Alcorcón. What are to him the glass sculptures preserved in the MAVA? A hobby? Something is broken? But the background is not your subconscious despise the glass and you put those traps on the road, what is important and unfortunate to think of replacing the glass sculptures made by the other, which he did that values. Another important indication that increases the sour taste of the event is that our Mayor, in the Presentation which includes the aforementioned lavish exhibition catalog, uses the term "Castle Valdez Municipal Museum of Alcorcon". He forgets that the name of the museum is the Art Glass Alcorcon. ¿Errata produced by a slight oversight? So little respect he deserves our museum that gives you just call one way or another? Irrelevant to mention so wise phrase "the scalded cat flees to the cold water." And irrelevant because they remind regular readers in the editorial of some of the previous newsletters I denounced the inexplicable assignment by the government team of our present Municipal Corporation to Madrid for most of the top floor of the Museum installation, initially, of a Family Meeting Point and, thanks to the refusal of the professionals in the multidisciplinary team of the new center, he stayed only a Family Counseling. That is because it has managed to make the "clip" that you can go to our dear acogotando Glass Art Museum: it was begun by the top floor and has continued through the basement and ground floor. Maybe despite all these speculations and disquisitions is reached not jeopardize the existence of the precious collection of glass sculptures that form the collection of MAVA, but "who Forewarned is forearmed." Nuestra sede: Nuestra sede: Castillo Grande de Castillo Grande de S.J. de Valderas S.J. de Valderas Avda. Los Castillos, s/n Avda. Los Castillos, s/n 28925 ALCORCÓN. 28925 ALCORCÓN. (MADRID) (MADRID) [email protected][email protected]Monthly Newsletter Newsletters Mark Matthews
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His recreation of this technique soon led to air entrapment precision integers 0 through 9, and then the entire alphabet in enclosed areas.
This technique was so intriguing that was included in 1994 in the New Glass Review for innovation in design.
This also drew the attention of Mr. Yukou Morito, a Japanese businessman Mark came to visit several times, and has included a wide variety of works of Mark in the Sphere Museum in Tokyo.
One of the most exciting discoveries of Matthews found in animal skin. Having had the idea in the 80s, it was not until the early 90s when he made his first animal fur when a friend hooked up with some real tiger and leopard skins.
The skins were photographed and reproduced in black and white. These images were then transferred to the masking material.
Mark made cylindrical spaces with specifically placed layers of colored glass. Then sand is reheated and covered with a layer of transparent glass, then making two or three areas.
One only has to look at the white spaces and stripes or spots graduated brilliantly for excellence in execution.
In 1995 some examples of tiger and leopard skin were included in the permanent collection of the prestigious collection of the Victoria and Albert Museum in London.
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Mark Matthews is especially recognized for his work on the glass spheres.
Work with one assistant and each piece is meticulously crafted and signed by the artist.
Highly valued the work of Matthews has been published in many books and exhibited in museums such as the Victoria & Albert in London, the Corning Museum in New York, the Toledo Museum of Art in Ohio and the Smithsonian in Washington, DC
In 1985, Mark was invited to open a business of glass within the Sauder Village. It was here where he began making glass beads (or marbles).
He soon discovered that the area was a perfect way to explore radically different color systems and techniques of historical glass.
He quickly became obsessed with marbles. His design inspirations come from many places.
Some designs come from the study of ancient marbles; Most designs are drawn from historical glass techniques that had never been used in a format marble.
Result of this effort came some amazing results and discoveries.
The "Ice Blue Air Numbers" collection was inspired by a paperweight made in the 1950s.
Inputs for manufacturing the glass powder prepared as to be heated beyond its melting point to about 1700 ° C to be dissolved in water, hydrochloric acid and sulfuric fluorine, forming a layer of silica in combination with oxygen preventing the reaction from proceeding.
When the cooling process is made suddenly, the silicon and oxygen atoms are bound, forming a tetrahedron pyramid, and in turn these molecules bind to silicon atoms, calcium, sodium and other elements via heat phonons forming an irregular molecular network preventing crystals from forming.
The glass does not have a clear transition between solid and liquid point, but reaches a steady state "crystalline solid".
At 1450 ° C, the melt behaves as a low liquid honey-like called "vitreous silica" viscosity as the temperature decreases and the material becomes pasty.
The glass has a temperature of freezing.
The colder you are, the stiffer it will be through stable
viscosity increases until finally it becomes solid.
Ordinary glass for molding a temperature of 1200 ° C is required.
In solids, the molecules are organized clearly impervious to particles waves by reflecting light by absorbing, scattering them or a combination of the three.
As the substance joints weaken, gaps occur or gaps which allow light portions "break through".
Metals reflect most of the light that has free electrons.
The absorption spectrum of photons of light from a material depends on the atomic structure of the material.
An atom absorbs defined and discrete frequencies, while a molecule to contain higher energy levels than an atom can absorb a larger range of light photons.
The glass appears transparent because it has a disordered molecular organization and has no free electrons (most are oxides) which makes it an electric and insulating heat
insulating material, as when heated suddenly surface expands or contracts before inside, causing cracking and cracks.
The electron from a molecule only absorb photons glass containing enough energy to energize (in the ultraviolet range of less than 400 nanometers) and ignore the weaker energy photons of visible light (between 400 and 700 nanometers) that will not be absorbed or reflected by electrons but slightly "phonons" in molecular glass that refract light junctions, absorb little energy and allow you to take up the photons interact with another object.
Photon absorption silicon oxide Si-O is low, but as other elements are added increases their potential for absorption.
If the glass contains pigments molecule by the presence of certain elements, then it can absorb certain colors of the visible spectrum and transmit others, so that photons of light will be colored according to the spectrum of light absorbed.
After hard times for much of the glass industry, there are now clear signs of positive market developments.
This was the clear message from the surveys of 1,217 exhibitors at Glasstec 2014.
The nearly 43,000 trade visitors are also state very satisfied with their experience.
Glasstec 2014 convinced the specialists from the fields of mechanical engineering, glass manufacturing, processing and finishing, crafts, architecture and construction, as well as glazed facades and solar sector: over 96% of the visitors are given a rating positive overall.
40% of visitors came to the event with specific intent to invest, which will generate positive impulses for exhibitors during the coming months.
The average proportion of assistants and senior management improved again. More than three quarters of the visitors came from these levels.
The proportion of visitors who have come to Düsseldorf from abroad reached about 60% and this figure remains unmatched in the industry worldwide.
Martin Gutmann, president of the Federal Glasstec 2014 Guids Master says:
I am satisfied with the abundance of positive signs in Glasstec 2014, especially in the field of mechanical engineering and the glass industry. The German expert glaziers trade is currently very good. Our ranges of glasstec in the Craft Centre, with its new glass processing and finishing sand and seasons of participation in the new area Handwerk Live also
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Glasstec 2014.
Another highlight was the display glass used in alternative areas of application and ultra-thin glass "from the roll" for electronic applications.
Other audience magnets were numerous models of facades, for example, with special geometries, fascinating optical effects or exceptional insulation properties, for example, using 4-layer insulating glass.
The GTL was accompanied by a top-notch offering a specialist symposium - within the exhibition area GTL - a variety of conferences on subjects changing newspapers that were chosen greedily by visitors.
The conference "Solar meets Glass", "Engineered Transparency" and "Architecture Congress" were crowded events.
At the open house to experts, prior to opening day Gasstec also gathered a large group of professionals in the solar industry and glass, which are interconnected together to discuss issues.
With 80 participants, the two-day conference was welcomed, given the profound crisis in the solar sector.
The Engineered Transparency conference attracted over 200 participants from 23 countries to shed light on the latest developments in the field of structural glass engineering.
The Architecture Congress which took place on Wednesday closed the show successful recording up to 280 participants.
The next Glasstec be held in Düsseldorf in line with its cycle of two years from 20 to 23 September 2016.
went very well. Along with the established themes Autoglass Arena and glass art, we offer a unique program for all segments of the skilled trades and are very pleased with how the show developed. "
"The most important thing for us as organizers Glasstec? no doubt that our customers are happy because this is the basis for a positive and sustainable growth for the event to benefit everyone involved. Once again, we meet this goal in 2014, so again we have confirmed the role of glasstec as the most important international meeting point of the world with a clear barometer effect for the entire industry "says Hans Werner Reinhard, CEO Messe Düsseldorf.
The comprehensive support program Glasstec expanded further this year, also with visitors.
In particular, the special show "glass technology live" (GTL) held in Hall 11, organized by Professor Stefan Behling and his team from the Institute of Building Construction at the University of Stuttgart, was once again a show there to do for many visitors.
With the motto Intelligent Glass, glass products of the future and were exhibited at Glasstec 2014.
The results of the visitor survey confirm the selection of exhibits displayed in GTL: according to experts, glass screens, technical applications, glass printing, coating and fine glass are the main issues for next three to five years.
A particular point of attraction in the special show a glass panel was 3.20mx 14m in which a ceramic digital printing process was performed.
The rehabilitation of the covers of the National Glass Centre (CNV) of San Ildefonso will be completed for the month of December.
Sources in the School of Industrial Organization (EOI), which manages the Royal Glass Factory, explained that the intervention covers progressing well, according to the planned project.
Thus, they claim that "you are making a considerable effort, especially these days, to advance all possible work in these last days of good weather before you take over the winter and can hinder your progress."
The main objective of this work is to restore the waterproofing of the roof of the building that are in poor condition, basically replacing covers West Wing, East Wing and ship Woodshed, and improving the South module.
The performance has a budget of 1.8 million euros and a lead time of six months, "so if there are no unexpected problems and climatology respects us, we hope to finish by the end of the year" note from the EOI.
The works will be funded by Heritage, since the ownership of the building became a state because their maintenance was costly for the Foundation of the National Glass Centre, which since June 2013 is held by the School of Industrial Organization.
In addition to replacing the covers fashion, they are also undertaking refurbishment works
in the so-called Patio de Carlos III, which will remove the glass panels of the existing metal structure, waterproof side decks, and proceed to closing of the arches of the courtyard.
All these actions, first planned to modernize an outdated both organizational and administrative level building, are aimed at the conversion of the museum.
Although the closure of some areas of the center while the necessary work, finally the project has kept all active installations except the upper room of the museum were made initially raised.
From the EOI ensure that "in an institution like the Royal Glass Factory Farm we have to be constantly on the move to maintain the facilities in the best possible conditions, both for the development of the manufacturing activities or training, and to meet to the needs of visitors to the museum. "
Strategic Plan
These works are included in the strategic plan for the CNV of the School of Industrial Organization, which manages the Glass Factory since June last year 2013.
Three centuries of history
The Royal Glass Factory was built with the arrival of the Bourbon dynasty in Spain in 1727, where King Philip V of Spain
This year Buenaventura Sit installed, funded by the crown, a small flat glass furnace.
In 1746, the French master Dionisio Sibert drives manufacturing crystals and in 1750, the German master John Eder began manufacturing entrefinos glasses.
In 1836, the Royal Treasury formally took over the facility.
The location of the factory had the decisive element abundance of fuel available in the area.
The sands and refractory clays necessary feedstock and manufacturing equipment came from nearby locations: Bernuy de Porreros, Brieva and the Lastrilla.
The heyday of the Royal Factory was to the reigns of Charles III and Charles IV.
Between 1770 and 1772 the building currently held in San Ildefonso, intended for flat glass factory was built.
In 1963 he finally finished for the manufacture of glass wool in the Real Fábrica de Cristales de La Granja.
The building was therefore unused, and completely abandoned until 1982, when the National Glass Centre Foundation, which begins its restoration and revival, recovering the old image featuring the whole, with the installation of the Technological Museum is the School of Glass and Research Center.
will be provided by Alba Martin, one of the few women in our country blowers.
For families with children 4-11 years accompanied by at least one adult for every two children and advance reservation,
glass workshops. Two shifts each day. Thursday 13 and Friday 14. First Time 17:30 to 18:30, and the second shift from 18:30 to 19:30.
For all types of public and evenings, glass blowing exhibition by Martin and Emilio Alba Elvira
Friday 14 18-20.
Guided tours for the general public.
Wednesday 13, Thursday 14 and Friday 15 at 19pm. for single audience. Groups of over 15 people, reservations required.
Reservations by calling the following numbers:
- 911 127 630: Family workshops and guided tours in the afternoon groups.
- 911 127 635: Schools.
blowers.
For schools in Primary, Secondary, Bachelor and Adult School, upon request.
Educational exhibition "Glass vs. Glass".
We will see the similarities and differences between these two materials, their morphologies and their applications and uses, in order to clarify concepts.
Try that after this experience, we do not return to confuse terms we use in our everyday language "crystal glass", the "windowpane" that are erroneous.
Workshops crystals.
Provoke crystal growth in a test tube. Each student will make his own that will lead.
Exhibition glassblowing and flame.
Again, the technical scientific glass blowing at the Complutense University of Madrid, Emilio Elvira, held signs of their daily work, so important to perform experiments chemists, physicists and mathematicians.
The artistic and blow torch
Once again, the MAVA involved in Science Week of the Community of Madrid with its own program, held from Tuesday 11 to Friday 14 this November.
Since this is the International Year of Crystallography, didactic exhibition are titled "Glass vs. Glass", in order to study the similarities and differences between these two materials often confused.
The workshop for student groups that visit will be performed in a glass test tube.
This year the Museum of Art Glass Alcorcón (MAVA) will again display scientific glass, thanks to the collaboration of the Universidad Complutense de Madrid and blown glass exhibit by Alba Martin.
Morning (10am to 14pm.) Will be for school and schools that have been able to make reservations from October 20.
In the afternoon there will be workshops for families (Thursday and Friday) and guided tours for the public at 19pm visits. In addition, everyone can also see the
The day began October 24 in the auditorium of the First Cycle MAVA Classical Guitar "Castle Valdez"
The cycle consists of five concerts that will develop in consecutive Friday through November 21.
In this first cycle event attended by Russian Anton Yuzhanin and Sergio jienense Trillo.
Anton was born in 1985 in St. Petersburg, Russia.
From 2001 to 2005 he studied guitar at the College of Music in Moscow, where he studied with Alexander Vinitsky, and from 2005-2010 was a student of Academy of Music Gnesin, also in Moscow, Dmitry Illarionov class.
From 2011 he studied at the Madrid Royal Conservatory in class of Professor Javier Somoza.
He has participated in master classes by Stepan Rak, Zoran Dukic, Jeffrey McFadden, Marco Tamayo, Pablo Sainz
Villegas, Mauricio Diaz Alvarez and Maria Esther Guzman, among others.
He has participated in international courses "Music in Compostela" (Santiago de Compostela) in 2006, 2007 and 2009 receiving guitar lessons from José Luis Rodrigo.
He participated in the concert series IES Santa Teresa (Madrid) for 2011-2012 and 2012-2013 seasons. He has performed solo guitar at Casa de Canarias (Madrid) and the Casa de Asturias (Madrid).
In March 2014 made a recording in Classical Radio RNE in the program "Youth Music".
Sergio Trillo was born on July 31, 1991 in Ávila.
At age 8 he made the entrance exam to the conservatory Tomás Luis de Victoria, Avila, which scored # 1 in his class.
At this time she began studying classical guitar under the tutelage of
Professor Luis Sanjuan Pernas.
He has taken master classes and conducted specialized courses with great figures of his instrument, both in Spain and in Germany.
Extends program official studies, receiving teachings flamenco teacher Jerome Utrilla in Seville.
He has participated in various competitions and national and international competitions, obtaining very important results.
Part of the group's music chapel of the Blessed Cathedral of Avila; with his duo has given several concerts.
He is currently a graduate specializing in guitar by Madrid Royal Conservatory and has obtained the highest marks in the final exam.
He has received grants from the Banco Sabadell for the prestigious Master of classical guitar at the University of Alicante.
In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2014.
Two women, Elizabeth II of Castile Isabella of Braganza, very Portuguese two-yes, also our Catholic are the protagonists of the shared history, the treasures of the Spanish royal house, a major exhibition of the Gulbenkian Foundation in Lisbon, which seeks to highlight the best of these 350 years of relationships, almost always, by marriage.
The sample -141 pieces of all the arts, from armory to tapicería- opens with the breviary drawn to Isabella in the late fifteenth century, who ordered the first pages were to record the date of birth of their children. The prayer book passed to his daughter Mary when she traveled to Portugal to marry Manuel I. In 1517, when Queen Mary died, the book was inherited by his eldest daughter Elizabeth.
Roaming objects monarchs, and his court, is a constant until Philip II established the headquarters in Madrid. At that need to take with samples might, due the size of the work, as minitablas John Flanders (1465-1519) are shown, with religious scenes like Queen, minialtar embossed silver or the same tapestries that decorated the royal houses according to the activity (game room or ranch hunting), according to the season: winter rugs to paintings for the summer.
This variety of decorative treasures, paint to fabrics, weapons or books, formed the whole of the Gulbenkian exhibition, which will continue until the end of January.
The Isabella Breviary is still here and there, as when Charles V married Isabel, daughter of Manuel I of Portugal, it takes him to Castile. Through the direct descendants of Empress Elizabeth, came the Luso-Hispanic unification same Crown as tapestries and portraits remind exposure.
If Charles V was the warrior, the medieval ruler, nomad, dragging behind him to cut his son Philip II (I of Portugal) embodies and ways of life of early modern government. Sets the capital of the kingdom in Madrid,
of Charles V and the Empress Isabella of Portugal, kneeling in prayer, completes and Philip II and another family in the same situation.
Sobriety comes with portraits of Emperor two daughters, Joan of Austria (Alonso Sanchez Coello, 1560), founder of the Monastery of the Discalced, and her sister Mary (Pantoja de la Cruz, 1600), who took refuge in the monastery die.
To show the common bonds, the double wedding at the border on January 19, 1729, when Princess Mariana Vitória de Bourbon entered Portugal married to the prince of Brazil, after Joseph I, his sister Maria Barbara of Braganza left Portugal to marry Fernando VI. Polyglot, performer and singer Barbara de Braganza had total influence Fernando VI to promote culture in Spain. At his death, Ferdinand VI went mad.
Another sample beads are two small oil paintings by Goya, factory bullets and gunpowder factory, not well known and found in the outer office of the king in La Zarzuela. These works follow the link to the exhibition also demonstrate common misadventures of the two countries. The two pictures resemble a "war of independence" and other "Napoleonic invasions".Oh, the palabras¡. Ferdinand also commissioned the painter to decorate the bedroom Fuendetodos his second wife, Isabel de Braganza. The result is St. Elizabeth of Portugal to serve the poor, all in shades of gray, very Goya's nothing politically correct, and that, fortunately, never placed in the double bed.
Three hundred and fifty years later, and two floors of the Gulbenkian, the cycle closes as it began, with another woman, another Elizabeth, and like all of them, at least one woman-like object. Two portraits of Isabel de Braganza, the first with a flat hand, on the other with a building under construction in the background. The germ of the Prado Museum, the Portuguese pushed and bequeath to humanity as a leading museums worldwide.
began construction ofthe Escorial and includes in his will as inalienable property of the Crown, that is the core of the royal collections, weapons, tapestries and paintings showing the Gulbenkian. Two frames, one next to another, "speak for themselves of the various interests of Charles V and his son Philip II," explains one of the exhibition curator Alvaro Soler del Campo. "The Emperor's armor, dented references to virgins and the might warrior." His mount wears the imperial eagle and two columns with the slogan Plus Ultra, "beyond" that four centuries later would copy Buzz Lightyear in Toy Story.
Beside the black armor of his son, Philip II. "Nothing to do" continues Soler del Campo, "the forced religious references are added engraved with the ruling virtues, Prudence, Strength and Justice, in addition to gods and goddesses of Greco-Roman mythology." When he becomes King of Portugal (Philip I) armor redesigns to include the country code.
Thanks to the collaboration of the National Heritage Museum's Ancient Art Lisbon and various private collections and La Caixa Foundation, extraordinary pieces as varied as shown. One is the polychrome sculpture of Saint Elizabeth of Portugal (Manuel Pereira, 1625), brought from the Monastery of the Discalced. "A sculptor unbelievable, with exceptional work that can be seen in the Madrid church of San Antonio, misnamed the Germans, it is the Portuguese" explains curator Pilar Del Rio.
In the eagerness to show aesthetic and power of the successive reigns, here Titians, an El Greco, and Salome presented with the head of St. John Baptist, a late dazzling claoroscuros Caravaggio.
At the entrance of the room, the chronology of the two countries shows that when you are constipated the other also, but the Cenotaph Charles V and his family (Juan Pantoja de la Cruz, 1599) proves: eight squares of equal size, with a family tree charts where royal houses of both sides intersect, one might say. Family Group
Location: 105 Corlett Drive, Johannesburg, 2196, South Africa.
The architect of the project, Carla Soudien describes the conceptual approach. "The concept of the building is derived from a number of sources, including the location and context, the choice of materials and program needs The site provides an opportunity for generate a jeweler craft materials including glass and coating Arcelor Mittal Caïman for cones. Software was used to generate a collection of forms that defy traditional expressions of materials such as concrete and glass. extensive planting on the podium also softens the structure for the people. "
Carla says that the design is based on a glass box that seems to float, supported by three conical shapes. The coating provides a glowing effect achieved with changing light qualities. In addition, it can contain the required shape while other materials do not. In the north and south elevations specified a reflective laminated glass SolarShield S30. On the east and west elevations specified a gray
tinted glass Eclipse Advantage. Ivan Lin helped with the specification of the glass with respect to sound insulation, advising that the laminated glass may achieve insulation performance for the budget.
This is an office building with two floors above a podium parking 3 floors, separated by double cone shapes with metallic coating volume. The office space is an elongated and flattened concrete and glass wrapped closed at its ends, which is punctuated with vertical slots, with raised beveled plant east, following the boundaries of the site. Tapers are double volume spaces and include the reception and training. The park has 190 bays.
Podium base
This rectilinear box surround is constructed of brick and concrete element with a panel coated aluminum coating. Under no stone panels slate blue African Riven Walling as a contrast stripe to break the voluminous basement level.
Floor outdoor terminations
Gateways polished concrete with saw cut pattern, inlaid
stone and slate are placed at entrances, in a similar to the masonry on the facade of the cellar master. Beyond is the landscape filler is designed as a xeriscape, using indigenous low maintenance plants with tall grass on the perimeter to soften the edge of the building and the balustrades. The landscaping of the roof matches the podium downstairs with a combination of polished concrete walkways and the like plantation.
Box office concrete and glass
The shape of the concrete box office has two levels and is characterized by its ends wrapped with amazing openings that make vertical cuts on the way. The dark glass windows shaped grooves contrasts with the matte texture of the concrete box.
The main glass facades are single crystal with a little reflection, in an effort to get away from a black glass that meets the needs of heating, cooling and glare without compromising performance.
In its 125th birthday, the Eiffel Tower received a touch.
Now, tourists visiting Paris be definite stand on a glass floor located on the first level to see the City of Light from above.
The transparent glass floor is on the first level, ie 57 meters above the streets, a moderate but not suitable for vertigo sufferers height.
The total height of the tower, with antennas, is 324 meters, the second floor is 115 and the third at 276.
The four small sections of observation at that level cost 30 million euros and opened last October, after almost two years of work, but the Eiffel Tower never closed during construction.
In the center of the floor of an acre, the solid ground that bordered the vacuum was replaced
with a glass floor, and a protective grille tilted glass wall vacuum.
The first floor, the largest of the tower is, paradoxically, the least frequented.
The Society for the Exploitation of the Eiffel Tower (SETE) hopes that this renewal will become a space to check.
Besides the glass floor was rebuilt there the public reception spaces and modernized educational tour.
"We are not a museum, but we have a history," said a spokeswoman for the management company.
"The goal is to climb as fast as possible, it is similar to a blood circuit system" describes Dubelloy Wilhelm, aka "Wim" receptionist in the tower for 13 years.
Every seven or eight minutes, two elevators
rotation undertake two levels between the floor and the second floor.
To follow up you have to take one of the "duolifts" that lead to the third.
The first floor is a possible break in the fall for visitors who take the elevators.
And so, both descent and ascent, for the brave climbing the stairs to the second floor (671 steps), which did little more than fifty percent of the visitors in 2013.
Spacing and manage the endless stream of people is one of the goals of the renovation of the first floor, and the third has a maximum capacity of 400 people.
The steel tower is the most visited paid attraction in the world, with seven million visitors a year, and was built for the Universal Exhibition of 1889.