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HENRY JAMES CAHILL STAGE 5 SUMMER PORTFOLIO

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T R A N S F O R M E D 2

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EMPORIO LUIGI BEVILACQUA ETHICAL SILK WEAVING EMPORIUM

Campo di Ghetto Nuovo, Cannaregio, Venezia A NEW HOME BRINGING TOGETHER THE SILKWORMS & THE MASTER WEAVERS OF THE TESSITURA LUIGI BEVILACQUA

HENRY JAMES CAHILL STAGE 5 SUMMER PORTFOLIO

O I K O S

T R A N S F O R M E D

RACHEL ARMSTRONG · JULIET ODGERS · ANDREW BALLANTYNE

TERMINOLOGY

BOMBYX MORI silkwork/silkmoth

MORUS ALBA white mulberry tree (leaves of which are the sole food source of bombyx mori)

SOPRARIZZO VELVET handmade velvet incorporating two different kinds of pile, curly velvet and cut velvet

CRITICAL INTRODUCTION

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SILK VELVET WEAVING IN VENICE

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EMPORIO LUIGI BEVILACQUA

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APPENDIX

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REFLECTIVE CONCLUSION

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BIBLIOGRAPHY

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LIST OF FIGURES

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ARC8052: Stage 5 Semester 2 Portfolio 2020 Completed in partial fulfilment of MArch at Newcastle University

CRITICAL INTRODUCTION

Throughout the semester my vision for the project has continually evolved.

The project has served as a testbed for experimentation with my own aesthetic and architectural senses against the protagonist of Venice. Furthermore, given the current climate, the project has been an opportunity to reflect on my own spatial desires from forced interiority. Outside of my own oikos, and applied to the Bevilaqcua oikos, how may I reinterpret architectural history but also technological and cultural contexts? Hopefully through reverent, narrative-led design decisions. More importantly through the showcasing of the product and understanding its cultural legacy, many other new approaches to explore have emerged. As has the real agency of the actants within the oikos, in weaving value in to something, be it physical or emotional. The function of the opulence serves no other than itself and the metaphor of the gilded frame, or cage, the product or client is in. That aside, it may also assist in cultural assimilation and aesthetic sustainability, if luxury and silk are to be seen as something fairly traditional given their vast history. Given also the immense human effort it takes in an age of automation Bevilacqua silk is uniquely luxurious.

I suppose, in a new materialist sense, I have also reflected on how Bevilacqua silk is the synthesis of beauty through human hands and natural surplus, rather than a raw material and empty technology. Additionally on how ideas, cultures and a city may have distinct life cycles, or their own metabolisms too. This is especially true in an environment as dynamic as Venice.

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WEAVING IS... RHYTHM Venice has always maintained a singular identity throughout history.

Emblematised often as its own idiosyncratic attention to beauty and detail.

This vision of self is intertwined with the unique social and political history that wove the florid and grandiloquent tapestry we see today. Not only to the trading riches of silks and spice is this identity owed, but also to the re-cultivated ethnographies of all within reach; the adapted aesthetics that reflect the nature of the city as a nexus.

SILK VELVET WEAVING IN VENICE

A formative cultural experience as much as a right of passage, young aristocrats and wealthy travellers flocked to Venice. A capital of arts, pleasure and entertainment. The cultural wealth of the city is correlative to its tourists and patrons. Reflecting the scarcity of land amongst other resources, the productive capacity or output in terms of manufactured goods had to be as luxurious and rare as Venice itself. This is why Venetian textile producers became some of the finest in Europe. Seizing upon the captured tide of wealthy clients from afar whose patronage could allow the weavers freedom of quality whilst only having finite space to significantly expand. Luxury too could then be argued by the scarcity of product that Venice could manufacture. However, luxury is certain for the quality and attention of which everything produced here demands. None of it without the world of workers underpinning the city. Textiles are a particularly permanent commodity, their understanding as something of value could be equated in any port, place or culture Venice has ever had contact with.

For that reason silk is as deeply intertwined with the mercantile history of Venice as any other traded good. Through the rhythm of the tides and history, the looms of the Venetian weavers have patiently and delicately continued in their own rhythm. So long as The city still moves around it the complexity and beauty remains emerging from the loom.

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In the middle of the 18th century, the ballroom of the Labia palace was frescoed by Giambattista Tiepolo, depicting Cleopatra in soft translucent silk and enshrining the perceived regality of silk (left).

WEAVING IS... A STORY The guild of silk weavers in Venice understood early on that cross pollination with different cultures would only improve the production quality and variety. In the year 1265, the capitulary of the silk weavers was renewed; meaning that the craft has existed in Venice for over three quarters of a millennia. Although another significant milestone was the arrival, in 1309, of silk master weavers from Lucca. As with many other talented emigre, what soon followed was a boom in that particular area, in this case silk velvet production.

Escaping for political reasons, the Serenissima offered them a place to stay amongst the possibilities of real estate, stores and a devotional altar.

These were important and enticing privileges. In that same era, Marco Polo had returned from Asia, he was the son of a silk textile merchant.

Amongst a multitude of cultural discovery he also returned personally enriched. The inventory at his death in 1324 included “coltra una de veludo”, as important as gold or any other treasure, silks from the Far East. The understandings they provided and styles no doubt absorbed by the cultural metabolism that is Venice.

The Meeting of Antony and Cleopatra

Simultaneously, 84% of the silk weavers had decided to live and work in Cannaregio due to the concentrated buyers and the heightened commissions there, thanks to the Jewish Ghetto and to the diplomatic immunity that the foreign embassies of Spain, France and, for a while, Mantua could guarantee.

The law established that silk weavers had to sell their work to Venetian catholic merchants only. However, considerable profits were made with Jewish, Turkish, Greek and Armenian traders, too.

Plan of the Jewish Ghetto of Venice, 19th century

WEAVING IN CANNAREGIO Most of the silk weavers lived and worked in Cannaregio, the northern district of Venice. Two hundred years after Marco Polo and the arrival of Lucca’s craftsmen, the activity was still deeply rooted in Cannaregio.

In 1509 the Labia family became another significant migrant addition of Venetian weaving history. Originally Catalan, the Labias made their fortune with silk and gold textiles and chose the most peripheral district of Cannaregio as a place to live. This way, though, they would be close to where the Jews not many years later would be forced to move to.

SILK VELVET WEAVING IN VENICE

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ABOUT TESSITURA BEVILACQUA Near the campo San Zandegolà (below), sits the Luigi Bevilacqua factory.

Now the only remaining silk velvet producer in Venice.

As the result of a decree by Napoleon in 1806 all the guilds in Venice were forced to close. As a consequence, many weavers lost the knowledge required to produce luxury fabrics.

Whilst the company was founded in 1875, a silk weaver named Giacomo Bevilacqua is mentioned in the list of purchasers of ‘The arrest of St. Mark from the Synagogue’, a painting by Giovanni Mansueti from 1499 (left). This suggests that the Bevilacqua family had been dealing in fabrics long before the arrival of Luigi.

The certificate shown below dates back to somewhere between 18921895. Before moving to its current location, the factory had operated from Palazzo Labia since 1892, right next to that frescoed ballroom after the Labias moved out.

In 1895, Gianglio decided to retire and left the company entirely to his associate Luigi Bevilacqua.

However, in 1875, Luigi Bevilacqua and his associate Giovanni Battista Gianoglio recovered the eighteenth century looms that are still used at the factory today and set up the company in a building along the Fondamenta San Lorenzo, at number 5407, which had previously been home to the L. Bistort textile works.

Bevilacqua & Gianglio’s Certificate as Silk Manufacturers

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The Bevilacqua name has been assosciated with fabrics since the fifteenth century, but all the credit for turning it into an actual company goes to Luigi and his seven children. Three of those are of particular interest: Antonio, whose artistic nature turned him into the company’s designer, Angelo, who was incharge of public relations at home and abroad. Thirdly, Cesare, the grandfather of the current owners. He emerged much later as he was far younger than the other brothers. In 1908, he married into Swedish aristocracy, Countess Glenny Charlotte von Redlick. Thanks to her, Tessitura Bevilacqua made a name for itself in Sweden leading to a series of major collaborations with Maja Sjöström between 1922-3 incorporating Art Nouveau. Another ingredient to be incorporated into to the aesthetic fabric of Venice and Tessitura Bevilacqua. Visibly, from this era along with the subsequent absorption of Deco and other emergent modernistic styles we can see the cultural metabolism of Venice again, digesting ideas and hybridising them with its own.1 1 Unknown: How did our history as Italian fabrics manufacturers begin?, Luigi Bevilacqua Journal (2016), accessed June 7, 2020, https://www.luigi-bevilacqua.com/en/luxury-fabrics/

In the middle of the weaving mill sit the ancient warpers and creel (above), as illustrated in the Encyclopedia of Diderot & d’Alembert. Three-hundred year old looms sit alongside piles of grey Jacquard punched cards (left middle) that hold encoded within the elaborate textile patterns read by Jacquard machines, which were often retrofitted to far older machines.

As a predecessor to the modern computer the Jacquard machine can not be underestimated in its historical and cultural significance, some of the first forays into the now ubiquitous ideas of computing and information storage happened thanks to this textile technology.

The greys and antique timber tones are contrasted by the brilliant colours of silk bundles (below left). Bevilacqua’s archives contain over 3500 drawings, from the Middle Ages to Art Deco.

ABOUT TESSITURA BEVILACQUA

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The existing showroom, created in 1928, is shown here (below). From a central wooden table, and to the sides of the room, samples fill the space; enchanting with their colours and textures. However, this is not a museum of the textile industry but a working showroom.

ABOUT TESSITURA BEVILACQUA

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THE OIKOLOGICAL NICHE As the industrial revolution took hold in the late 1800s, reactionary movements sought to revive artistic crafts and applied arts. Venice could not be the seat of mass production on a large scale. However, within this revivalist, or even traditionalist, movement; Venetian weaving was able to retain its niche. Luxury became something created by the productive inefficiency of that which was made by hand, compared with that industrially produced in volume.

Although, an extra value was to be imbued within the fabrics by the care of the human hand along with the history it sits upon. Still today, on the precipice of arguably a third industrial revolution, Luigi Bevilacqua remains the only company keeping the torch of hand woven Venetian velvet lit. Able to create the punched cards required for the patterns and maintain the ancient looms and their 16,000 yarn threads by hand.

Tessitura Luigi Bevilacqua has worked on the restoration of ancient textiles and the creation of new materials with modern designers such as Valentino,Dolce & Gabbana and Roberta di Camerino.

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WEAVING IS... EYES, FINGERS AND HANDS “It often happens we don’t know what will be done with what we create.”

Gloria is one of the six weavers working for Luigi Bevilacqua, together with Ilaria, Giulia, Chiara, Carlotta and Silvia.

Gloria started 14 years ago doing some training and not expecting this would become her profession. But then she fell in love with this place and the fabrics produced here.

There is a difference between the hand working looms and the mechanical ones. It’s the same difference between art and a very well made imitation.

The velvet produced here records the weavers’ feelings and moods, almost reaching perfection without achieving it (and that is why they are so valuable). It all depends on their eyes, hands and fingers.

It’s a job that requires patience, a lot. It’s demanding and difficult. But “it gives a deep satisfaction to know you are able to do something like this”, admits Gloria and adds: “Thanks to this job, I feel I am a person with social value.”2

2 Romeo, L.: Silk velvet weaving and weavers in Venice, blogseevenice (2017), accessed June 7, 2020, https://www.seevenice. it/en/silk-velvet-weaving-and-weavers-venice/

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ANCIENT TECHNOLOGIES The proof of the heritage being kept alive by the Tessitura Bevilacqua can be found within the plates of the Encyclopédie of Diderot and d’Alembert (I, XXIII, XXVI, XCII, CIV, Volume 11). The encyclopedia was assembled in the eighteenth century, yet the machines on its pages are the same ones still used by Tessitura Bevilacqua today.

Shown here is the warper, used to prepare the warp before it is set up on the loom, the following pages show the creel, loaded to hold all the spools of thread that will go on to become the velvet, and the trevette, the blade employed to cut the velvet’s pile.

The warper, then and now.

< Orditoio Ieri e oggi Warper then and now

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ABOUT TESSITURA BEVILACQUA 42

< Orditoio Ieri e oggi Warper then and now

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THE CREEL

ABOUT TESSITURA BEVILACQUA

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THE TREVETTE ABOUT TESSITURA BEVILACQUA

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FROM DRAWINGS TO PUNCHED CARDS To produce velvet, one needs to start by drawing out the desired pattern.

Fabrics can be an exact clone of their historical DNA stored within the Bevilacqua archives, or can be customised, changing their colours and quality to meet the customer’s needs. Drawings and weave drafts (the coded information to program a punched Jacquard card) hold inside them the extensive aesthetic and personal history of the Tessitura Bevilacqua, as much as they do their intellectual property.

Each hole corresponds to a thread, and each card represents half a millimetre of the fabric’s pattern. For example, a pattern with a repeat of 1.5m requires 3,000 punched cards. Many of these cards, punched more than a century ago, are kept on a tall set of shelves on the walls of the Tessitura. They aren’t used anymore, though, because they’re too fragile.

In addition to the drafting of the pattern, the loom needs to be prepared.

This may take up to six months and involves knotting 16,000 threads.

Once the warp has been loaded on the loom and everything is callibrated, the weaving can begin.1

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DISEGNI E SCHEDE FORATE

DRAWINGS AND PUNCHED CARDS

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Per produrre un velluto bisogna partire dal disegno del motivo che si vorrà realizzare. Nell’archivio storico della Tessitura Bevilacqua sono conservati circa 3500 disegni, che costituiscono un vero e proprio viaggio nella storia: dal Medioevo al periodo Déco.

I tessuti possono essere riprodotti fedelmente come da campione storico, oppure è possibile personalizzare i colori e la qualità a seconda delle esigenze del cliente. Nell’archivio sono conservate, oltre ai tessuti, le messe in carta: disegni tecnici contenenti tutte le informazioni necessarie a forare le schede di cartone per la macchina Jacquard.

Ogni foro corrisponde ad un filo, ed ogni scheda rappresenta mezzo millimetro del disegno del tessuto da realizzare.

Ad esempio, per un disegno con un rapporto di 1,5 metri sono necessarie 3.000 schede forate. Molte di queste schede, forate più di un secolo fa, sono conservate in altissimi scaffali sulle pareti della Tessitura Bevilacqua. Non sono, però, più utilizzate, perché troppo fragili.

Parallelamente alla realizzazione del disegno, si procede con la preparazione del telaio, che può richiedere fino a sei mesi di lavoro e l’annodatura a mano di 16.000 fili.

Una volta che l’ordito è stato caricato sul telaio, le bobine sono al loro posto, le schede forate sono state inserite, è il momento di cominciare a tessere.

To produce a velvet, one needs to start by drawing the pattern one wants to realise.

The Tessitura Bevilacqua’s historical archive contains around 3,500 drawings, through which one could take a journey into history: from the Middle Ages to the Deco period.

The fabrics can be an exact copy of their historical model, or can be customised, changing its colours and quality to meet the customer’s needs.

As well as the drawings, the archive holds a series of weave drafts: these are technical drawings containing all the information necessary to punch the cardboard cards for the Jacquard machine.

Each hole corresponds to a thread, and each card represents half a millimetre of the fabric’s pattern. For example, a pattern with a repeat of 1.5m requires 3,000 punched cards. Many of these cards, punched more than a century ago, are kept on a tall set of shelves on the walls of the Tessitura.

They aren’t used anymore, though, because they’re too fragile.

In addition to making the drawing, one needs to prepare the loom: this may take up to six months and involve knotting 16,000 threads.

Once the warp has been loaded on the loom, the bobbins are in their right place, and the punched cards have been loaded, it’s time to start weaving.

Page 5, Produrre il Velluto, Tessitura Luigi Bevilacqua

ABOUT TESSITURA BEVILACQUA

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SOPRARIZZO VELVET Mechanical and manual production both occur at the Tessitura Bevilacqua.

The latter is still located in Venice, this will be rehoused in the Emporio I VELLUTI E IL LAVORO VELVETS AND THE WORK Luigi Bevilacqua in the Jewish Ghetto.

SU TELAI DEL SETTECENTO ON 18TH-CENTURY LOOMS /

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tagliato, assorbendola, risulta più scuro.

La lavorazione è estremamente lenta, dal momento che, su ogni telaio, si producono poche decine di centimetri al giorno. Ma la soddisfazione di creare qualcosa di unico, il cui segreto è ormai custodito da poche persone al mondo, ripaga di tutte le fatiche.

and is therefore darker.

The manufacture is extremely slow, since each loom can produce a few tens of centimetres a day. But the delight of producing something unique, whose secret only few people in the world know, 1 is worth all the effort.

The finest fabric requires the most elaborate manufacturing: the soprarizzo La Tessitura Bevilacqua si divide in una The Tessitura Bevilacqua has both velvet. It is a peculiar velvet, of Venice, two different parte ditypical produzione meccanica e una with a mechanical and a manual kinds production. tessitura manuale. Quest’ultima ha The latter is still located in Venice, of pile: curly velvet and dituttora cut velvet. The name derives from sopra-riccio la sua sede a Venezia, in Santa in the Santa Croce district, looking onto Croce, affacciata Grande.

Grand Canal.

Its finest fabric or soprarizzo (“over-the-curl”), duesultoCanalthe factIl tipo thatthethe cut velvet pileis is di tessuto più pregiato e dalla manifattura also the one with the most complex over the curly pile. The difference these two manufactures both più complessa è between il velluto soprarizzo. manufacturing: Si tratta di un velluto particolare, the soprarizzo velvet. It is a peculiar enriches the drawing andtipicamente createsveneziano, different shades of colour, using the con due differenti velvet, typical ofby Venice, with two tipi di pelo: il velluto riccio ed il velluto different kinds of pile: curly velvet and cut same threads. The visual impact of soprarizzo velvet is tied to the reflective tagliato. Esso deve il suo nome al fatto velvet. It owes its name to the fact that che ilcurly velluto tagliato risulta(which più alto the cut velvet curly one: hence and lustrous qualities of the velvet, reflects lightis over andtheappears del riccio: da qui sopra-riccio sopra-riccio or soprarizzo (“over-theto be brighter, against theo cut velvet, which absorbs light is between therefore soprarizzo.

La differenza tra questi due curl”).

Theand difference these two tipi di lavorazione, oltre ad impreziosire manufactures both enriches the drawing darker. Encoded within soprarizzo velvet, as I intend for the emporium il disegno, crea anche diverse sfumature and creates different shades of colour, di colore, partendo stesso filato. using the samecontrasting threads. Indeed, curly and weaving studio, is a creative anddallo visual tensionbybetween Il velluto riccio, infatti, riflette la luce velvet reflects light and appears to be elements. Perhaps historyeand modernity, even ornament and order? risulta più chiaro, mentre il or velluto brighter, whereas cut velvet absorbs light The manufacture of soprarizzo velvet is extremely slow, with each loom only capable of producing tens of centimetres a day. Justified by the quality and delight created by something unique, this fabric is true luxury itself. The insipration for the main facade of the new emporium facing the Campo di Ghetto Nuovo (behind which sits the weaving studio) is created by these notions. Here, the brickwork is an homage to the stored cultural wealth and information within the Bevilacqua archive. The incorporation of both protruding and flush brickwork create different shadow patterns and texture within the facade.

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Close-up of Campo di Ghetto Nuovo facade (above), referencing the textures of soprarizzo velvet (left).

Page 6, Produrre il Velluto, Tessitura Bevilacqua

ABOUT TESSITURA BEVILACQUA

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HIGH END NATURE OF CLIENTS

JACQUARD MACHINE ABOUT TESSITURA BEVILACQUA

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ETHICAL SILK WEAVING EMPORIUM The Emporio Luigi Bevilacqua provides a new home for the Tessitura Luigi Bevilacqua, situating them at the heart of the Jewish Ghetto in the Cannaregio district; historically a very significant location for silk weavers in Venice.

However, in this new emporium, the natural technology that occurs throught the life cycle of the silkworm is celebrated. They are the true genius underpinning the entire history of silk production from ancient China to the modern day. As such, a new ethical sericulture is employed from farm to factory. This is explained overleaf.

EMPORIO LUIGI BEVILACQUA

Tessitura Luigi Bevilacqua are most highly regarded for their soprarizzo or cesellato velvet. It is the most valuable and exclusive among all the fabrics they manufacture because of its beauty and the complex workmanship, required to produce it on their 18th century looms.

Soprarizzo is the rarest and most precious handmade velvet as it is the result of an ancient craft carried out by very few weaving mills throughout the world. The process to realise it is very slow and elaborate, creating extraordinary effects of chiaroscuro and depth that give three-dimensionality to the fabric.1 The exclusivity of the soprarizzo velvet is raised to even greater heights in the new emporium thanks to the ethical sericulture now employed by the company, as this requires approximately quadruple the number of silk cocoons as the cocoon is pierced when the moth leaves.

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Unknown: Luxury fabrics: names and characteristics, Luigi Bevilacqua Journal (2020), accessed June 8, 2020, https://www. luigi-bevilacqua.com/en/luxury-fabrics/

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ETHICAL SILK PRODUCTION

Pierced cocoons de-gummed

Threads carded & combed

Silk moth leaves cocoon naturally

Threads spun into fine yarn

Yarn woven to produce ethical fabric

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MULBERRY FARM

LOGISTICS OF ETHICAL SILK FROM FARM TO CLIENT

EGGS HATCH

SILKWORMS GROW

RAW SILK PROCESSING

COCOONING

SILKMOTHS FLY

SILK

WEAVING STUDIO

SHOWROOM

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PHYSICAL METAMORPHOSIS, CULTURAL METABOLISM Metamorphosis, especially in the case of the Bombyx Mori, acts as a causal process instructed within hormonal and genetic information. No different from the encoded information of a punched card for a Jacquard loom, it can retain its memories and replicate itself as a meme.

The presence of the silk protein fibroin has been recorded in soil samples over 8500 years old in Henan, China. As with any other aforementioned important technology, the process of sericulture was a greatly concealed secret for centuries. Moreover, the easy exchangeability and value of silk goods was also very closely guarded for many years. It is most likely that the first silks were a product of collecting and spinning wild silk.

Silk cultivation and production is an incredibly well honed discipline, given its history, but as any other natural wealth such as gold or precious stones its value too is increased by ardour and labour. Fundamentally, silk is an act of recycling; taking the surplus energy the sun granted the moth, and everything in between, and turning what would be an abandoned component of potential utility, into a treasured object. An intervention to extract a resource, but, too, for the majority of cultivated silk moths, the end of their lives. Given that we have established the value of infusing quality of care and attention to silk, I propose that it should be possible to extract the silk fibres as well as let the moths biologically replenish the surrounding area and reproduce. An ethical perspective shift from extracting a mere resource to maintaining a natural cycle and collecting its surplus.

The Bombyx Mori are the biological system that support the silk industry.

Through generations of overbreeding and domestication, the moth has undergone significant biological changes for the benefit of the humans that have bred them.

As a result of such drastic breeding, the moth has very poor eyesight and cannot eat. The only purpose they now serve once they have left their cocoons is to find a mate and reproduce to start the production cycle over again.

However, within the Emporio Luigi Bevilacqua, the moth is celebrated as the hero of the industry it underpins. As such, it is cared for and exhibited as a means of teaching the human race how important the natural technological investment in the silk industry is.

View from within moth cage, as seen by the human eye (left) and the moth eye) right).

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CARE FOR THE BOMBYX MORI IN THE OIKOS The Bevilacqua weavers take the time to care for the silk worms housed within one of the exhibition cages on the ground floor of the emporium.

The silk worms are separated on mesh trays that ensure they stay healthy and separated from their waste which drops through the shelves to below to be cleared out.

The silk worms are transferred to different habitats as they grow so as not to become overcrowded; once they have produced their cocoons and transformed into moths they are moved into paring cages to find a mate.

Having the silk worms present within the emporium means workers can educate visitors about their importance as the ecology that underpins the silk economy. A plate from Diderot & dâ&#x20AC;&#x2122;Alembertâ&#x20AC;&#x2122;s encyclopedia shows the traditional method of cultivating silk worms for production.

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TOURISTIC EXPERIENCE The Emporio Luigi Bevilacqua, whilst catering to the super-rich of this world, are keen to educate the world about their craft. Especially as the weavers at Bevilacqua are the only ones left with these particular skills. As such, the staff offer guided tours of the emporium to allow tourists and curious passers by a chance to be enveloped by the world of ethical silk and soprarizzo weaving.

A typical tour through the emporium would start by checking in at reception (after wandering ones way through the morus alba arboretum) and having a moment to take in the atrium in all its glory. The tour guide would explain the life cycle of the bombyx mori and how, at Bevilacqua, importance is put on the life of the moth; evident from the array of worm and moth habitats in the building; rather than the pupae being boiled alive to achieve longer continuous threads, as is the norm in the silk economy.

The tour would then proceed to the first floor via the golden staircase to see the design office and the weavers at work in their studio before a showcase of fine fabrics in the sales lounge. This would be followed by a lingering moment on the mesh balcony to comprehend everything seen and discovered about weaving and the natural technological power of the bombyx mori. Finally, the tour would descend the mesh staircase into the mulberry garden where guests would be invited to enjoy a cocktail from the bar using ingredients from the surrounding mulberry grove.

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ROOF PLAN IN CONTEXT The roof form is generated mainly due to a necessity for good lighting conditions in the interior. For example, the weaving studio has a north lit sawtooth roof to provide optimal daylighting conditions for the weavers.

However, the roof form as a whole responds to the mismatched roof forms of the Jewish Ghetto and the wider city.

EMPORIO LUIGI BEVILACQUA

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CAMPO DI GHETTO NUOVO ELEVATION IN CONTEXT

Brickwork referencing weave of soprarizzio velvets

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ENTRANCE ELEVATION

SHORT SECTION Weaving Studio with northfacing skylights.

Atrium gallery Sales lounges, top lit by skylights.

Mesh balcony with peogola overhead.

Canal-side loggia, with mesh screening.

Morus Alba Bar. Water entrance.

Ramped entrance colonnade.

ATRIUM FLOOR DEVELOPMENT The atrium floor design solidifies the ideas of luxury and care within the oikos of the Emporio Luigi Bevilacqua. The marble inlays take cues from the traditional decoration of the Venetian palazzo; such as the courtyard floor design at the Ca dâ&#x20AC;&#x2122;Oro (below).

The life cycle of the bombyx mori is incorporated around the central Bevilacqua crest, two Byzantine lions protecting the Tree of Life, sitting at the base of the specimen morus alba in the heart of the building. This once again signifies the importance of the natural technologies that underpin production in the emporium.

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SILKWROM LIFE CYCLE IN ATRIUM FLOOR

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PLANS & SECTION 0

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GOLDEN STAIRCASE The Golden Staircase is a pivotal moment in the scheme and procession of spaces, it represents an elevatory experience tied to the idea of enlightenment and what is sacred. The idea of the ornate is translated to the wall treatment. Orsoni mosaic tiles, handmade in Venice, create a chasm of central opulence and reflectivity at the core of the space. Much as with many other Venetian aesthetics, the wall treatment too borrows from an earlier Byzantine element of gold mosaic in scared spaces. The filtration of light from the central skylight through a carved translucent alabaster barrel vault before passing through a suspended grating creates a moving language of mosaic through shadow. Which, as with the warp and weft within the weave of silk, enriches the interest of a material texture.

The mystical light from above is then cherished and reflected around the space between the mosaics on the walls and ceiling, seemingly generated from within the space itself. The effect is similar to that achieved at Hagia Sophia in ancient Byzantium, where the light represents the sacred.

Acting as a further processional microcosm within the building itself, this key moment of circulation ascends from the ground floor to the upper storey; where the highly experienced craftsmanship takes place. The stairwell plays sectionally with scale, starting as a low space continuing to a very high and dramatic space beneath the skylight, before turning and further revealing the central atrium from the first floor. One is now level with the canopy of the specimen morus alba tree at the heart of the building, representing the natural technology underpinning the silk weaving industry, with filtered views across to the weaving studio. The sectional curves of the ceiling towards the skylight represent also an idea of draped silk or undulating material, as seen in the section of the galleried landing around the atrium and in beam profiles over the canal and the steps of the water entrance in plan.1 1

Cahill, H. (2020) â&#x20AC;&#x2DC;Stage 5 Technology Reportâ&#x20AC;&#x2122;, pp. 23

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Golden Staircase Isometric Section North light roof construction: 0.7mm metal sheet roofing, bituminous roofing felt, 30mm softwood boarding, 100mm polystyrene rigid-foam insulation, vapour barrier, 125mm spruce cross laminated timber roof panel Integrated gutter, insulation laid to falls Modular roof-light system, thermal glazing module; size 2650 x 1000mm 300 x 150mm JIS steel beam

Bronze powder coated aluminium coping to match window frames Decorative projecting brickwork to weaving studio, referencing soprarizzo velvets

Shüco FWS 50 aluminium skylight system, powder coated in bronze Modular roof-light system, thermal glazing module; size 2000 x 450mm Carved alabaster barrel vault to diffuse light into staircase below, on lightweight steel frame 30mm steel grating on steel angle brackets bolted to reinforced concrete beams at either end

Structural CLT wall panel on 750mm reinforced concrete downstand beam

Shüco FWS 35 PD aluminium curtain walling system, powder coated in bronze Built in ‘floating’ oak desk Weaving Studio floor construction: 20mm poured resin floor; 5mm bonding layer; 65mm screed; polythene membrane; 30mm EPS impact-sound insulation; 100mm EPS thermal insulation; polythene vapour barrier; 200mm reinforced concrete floor, smooth finish; aluminum cladding to soffit with integrated lighting.

Ø 300mm reinforced concrete column, clad in green marble, with shadow gap top and bottom Foyer & Atrium floor construction: 20mm inlayed marble floor; 5mm thin-bed mortar; 65mm scree; polythene membrane; 30mm EPS impact-sound insulation; 100mm EPS thermal insulation; polythene vapour barrier; 200mm reinforced concrete floor, smooth finish.

Golden Staircase ceiling and wall treatment: handmade 24K gold leaf mosaic tiles, produced by Orsoni (in Cannaregio); latex-Portland cement mortar bond coat; 12.5mm plasterboard, scored and fitted to curves, on lightweight metal stud framework fixed to underside of CLT roof panels or walls accordingly. Integrated led lighting at junctions between wall & ceiling.

Carved mulberry wood recessed handrail with interated led lighting

Top of staircase construction: 20mm mulberry wood treads, with carved rounded nosings (risers in handmade Orsoni mosaic tiles on latex-Portland cement mortar); 10mm sound impact insulation; 6mm steel ribbon staircase on steel angles bolted to reinforced concrete slab at either end; 30mm thermal insulation; soffit to match atrium elsewhere.

Integrated store cupboard beneath staircase, accessed via hidden doors faced in red marble to match wall finish treatment.

Main body of staircase construction: 20mm mulberry wood treads, with carved rounded nosings (risers in handmade Orsoni mosaic tiles on latex-Portland cement mortar); 10mm sound impact insulation; 200mm precast concrete staircase bolted to reinforced concrete slab top & bottom.

Integrated cleaning cupboard, for maintenance of golden staircase; to inlcude floor level sink

39

ATRIUM GALLERY Stepping off the golden staircase on the first floor, one is greeted with a view across the atrium, level with the canopy of the specimen morus alba tree at the heart of the building. The workers of the weaving studio can be glimpsed at their three hundred year-old looms through the leaves.

Sales lounges are situated on the right hand side, with Bevilacqua staff animating the space showcasing the full range of fabrics to hotel and restaurant designers alike.

This galleried landing space around the atrium also provides opportunities for hosting curated exhibitions and events; with fabrics or installations suspended from the concrete roof beams. This could be during the launch of a new Bevilacqua collection or as a venue during the Venice Art & Architecture Biennales.

At the far end of the atrium gallery sits the private showroom for the Emporio Luigi Bevilacqua. Accessed through a pair of hidden doors in a wall of lustrous green marble, is the place for showcasing specifically curated fabric selections to high-end private clients. Once through the hidden doors, one enters into an antechamber panelled in Bevilacqua Senatori velvet, tapering to become narrower as one passes through toward the showroom, adding to the sense of drama. Finally, upon stepping through a curtained doorway, as if onto a theatrical stage, one enters the showroom.1 1

Cahill, H. (2020) â&#x20AC;&#x2DC;Stage 5 Technology Reportâ&#x20AC;&#x2122;, pp. 23

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41

SHOWROOM INTERIOR A seating area with sofas and armchairs upholstered in Bevilacqua’s signature Leoni soprarizzo velvet arranged around a low green marble table invites the client to be seated for the show that is about to take place. Glimpses of exquisite handmade fabrics can be seen aloft in the flytower high above; each panel of fabric is lowered down in turn to the client’s eye level by a sales executive. Should the client wish to, they can ascend the timber terrazzo staircase (a lustrous material produced from construction waste, a sustainable nod to the venetian traditional material) up to a gallery in the flytower. This affords a very unique opportunity to interact with the fine fabrics up close.

Within the lower portion of the showroom, the façade is made up of a perforated brick screen that filters dappled north light into the room.

Between the perforated brick screen and internal bronze curtain wall sits a bombyx mori habitat enclosed by woven mesh screens. This once again signifies the level of care and importance given to the silkworms within the Emporio Luigi Bevilacqua; situating them right beside the most luxurious fabrics the weavers of the Tessitura produce to highlight the power of the natural technology these silkworms afford to the silk weaving industry. The upper portion of the façade incorporates one of the Bevilacqua damasks along with a specimen bombyx mori placed proudly on the flytower elevation within the textured brickwork.1 The painting here shows the Palazzo Fortuny, once the Venetian home of legendary textile designer Mariano Fortuny. The photographs are of Fortuny’s showroom in New York City and give a sense of the atmosphere of grandeur for the showroom at the Emporio Luigi Bevilacqua.

1

Cahill, H. (2020) ‘Stage 5 Technology Report’, pp. 25

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MULBERRY GARDEN ELEVATION

MORUS ALBA BAR The bar within the Bevilacqua Silk Emporium is situated on the canal-side of the building, beneath the flytower of the private showroom. It serves the raised mulberry garden with full height pivoting glazed doors that can be opened during the summer.

The bar provides a chance to take in the surroundings of the emporium at the end of a guided tour or will cater to guests during an event such as the launch of a new collection.

Bevilacqua often works in collaboration with high-end fashion houses such as Dior and Dolce and Gabbana and have hosted extravagant balls in palazzos throughout Venice. This new building provides them with the space to do that within their own premises, allowing guests to fully engage with the bombyx mori and the weaving expertise within the Tessitura Luigi Bevilacqua.

Why not enjoy a cocktail made with mulberries from the surrounding morus alba grove? Recipe overleaf.

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MORUS ALBA SPRITZ VENEZIANO A Spritz is a mixture of white wine (sometimes sparkling Prosecco is used), a bitter such as Campari or Aperol and a splash of soda water. The garnish is traditionally a slice of lemon and sometimes an olive too. Of course, there are many ways to make this drink and you will always find a Venetian with a strong opinion telling you that it must be made this way or it should only ever be made like that ... Well, at the Emporio Luigi Bevilacqua this is how they are made.

Aperol is flavoured with gentian flowers, orange bitters, rhubarb and cinchona bark and was developed by the Barbieri family of Padua in 1919.

For one: Ice 3 rehydrated white mulberries, drained of syrup 75ml Prosecco - Sachetto Col de Lâ&#x20AC;&#x2122;Utia Frizzante from Veneto 50ml Aperol Aperitivo 5ml morus alba syrup (see page 46) Splash of soda water Place the mulberry into the bottom of a tulip glass. Take a large mixing glass and fill it with ice. Add morus alba syrup and Aperol and stir to mix; strain into a tulip glass over the mulberry in the bottom of the glass. Pour the Prosecco. Add a short squirt of soda water to serve.

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MORUS ALBA SYRUP This syrup is used in the Morus Alba Spritz Veneziano. It is made on site from the white mulberries collected when the trees in the Bevilacqua grove fruit.

Makes 200ml: 300ml boiling water 85g raw white dried mulberries 100g sugar Steep the dried mulberries in the boiling water for 5 minutes. Strain the resulting mulberry tea through a sieve, pressing the mulberries gently before removing the mulberries to a jar for later. Add the mulberry tea to a pan and place on a high heat until boiling, add the sugar and stir to dissolve completely before turning down the heat and reducing the liquid by one third. Leave to cool, pour into a bottle using a funnel. The syrup should keep well refrigerated for a week.

Some of the syrup could be poured over the rehydrated mulberries in the jar to keep them for garnishing.

EMPORIO LUIGI BEVILACQUA

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RIO DELLA MISERICORDIA ELEVATION

47

Rio della la Misericordia Façade 1:20 Technical Detail Section 1.

Shüco FWS 50 aluminium skylight system, powder coated in bronze

2.

Bronze powder coated aluminium coping to match window frames

3.

750 x 300mm downstand beams, reinforced concrete, thermally broken at wall intersections; projecting beyond façade to support first floor balcony below on steel ties

4.

Flying beam construction: 2 x 345mm RHS bolted to reinforced concrete beams at either end, 6mm bronze powder coated steel plate to underside, 160 x 330mm handmade bricks keyed into brickwork at either end

5.

Shüco FWS 35 PD aluminium curtain walling system, powder coated in bronze

6.

Stainless steel spiral mesh element to support climbing plant growth

7.

Handrail post: 80 x 40mm rectangular bronze tube with timber handrail

8.

Bronze powder coated steel planter bolted to steel T-section

9.

30mm Steel grating on steel T-section bracket bolted to reinforced concrete floor slab

10.

Sales lounge floor construction: 20mm terrazzo or marble finish; 5mm thin-bed mortar; 65mm screed; polythene membrane; 30mm EPS impact-sound insulation; 100mm EPS thermal insulation; polythene vapour barrier; 200mm reinforced concrete floor, smooth finish.

11.

Ancon brick soffit system

12.

Armstrong metalworks soffit system with integrated lighting, suspended from floor slab on stainless steel ties, woven wire panels powder coated in bronze

13.

Ø 300mm reinforced concrete column, clad in red marble to signify point of entry from canal; with shadow gap top and bottom.

14.

Foyer & Atrium floor construction: 20mm terrazzo or marble finish; 5mm thin-bed mortar; 65mm screed; polythene membrane; 30mm EPS impact-sound insulation; 100mm EPS thermal insulation; polythene vapour barrier; 200mm reinforced concrete floor, smooth finish.

15.

Canal-side Loggia floor construction: 50mm marble pavers on raised pieces, reinforced concrete slab laid to falls with waterproofing layer sloped towards drain in precast concrete groundbeam

16.

Water entrance steps & bank construction: 50mm marble slabs on 100mm waterproofed reinforced concrete slab, 15mm waterproofing layer, waterproof membrane, 200mm reinforced concrte retaining wall

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EMPORIO LUIGI BEVILACQUA

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CANAL-SIDE LOGGIA Between the atrium and events space and the rio della Misericordia, the canal-side loggia provides a buffer zone. The loggia can become an extension of the interior during an event or, as shown here, an extension of the processional water entrance sequence. Rihanna is seen here arriving to dicuss fabrics for her next gown at the Met Gala.

ETHICAL SILK WEAVING EMPORIUM

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1

Campo di Ghetto Nuovo Façade 1:20 Technical Detail Section

2.

Integrated gutter, insulation laid to falls

3.

Bronze powder coated aluminium coping to match window frames

4.

300 x 150mm JIS steel beam

5.

External wall construction: soprarizzo textured brick screen - built from 160 x 330mm handmade bricks, with wall ties at 340mm vertical centres, continuous air gap, breather membrane, 130mm polystyrene rigid-foam insulation, 125mm spruce cross laminated timber wall panel

6.

750 x 300mm downstand beam reinforced concrete

7.

Ø 300mm reinforced concrete column, clad in bronze sheet to match window frames; with shadow gap top and bottom.

8.

Casement with steel frame with bronze lining and tripleglazing: 2 x 5mm lam. safety glass + 14mm cavity + 6mm float glass + 14mm cavity + 2 x 5mm lam. safety glass (U=0.7W/ m2K), bronze powder-coated window surround, brickwork beyond shown dotted.

9.

4

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Weaving Studio floor construction: 20mm poured resin floor; 5mm bonding layer; 65mm screed; polythene membrane; 30mm EPS impact-sound insulation; 100mm EPS thermal insulation; polythene vapour barrier; 200mm reinforced concrete floor, smooth finish; Armstrong metalworks soffit system with integrated lighting, suspended from floor slab on stainless steel ties, woven wire panels powder coated in bronze

10.

Ancon brick soffit system

11.

Shüco FWS 35 PD aluminium curtain walling system, powder coated in bronze

12.

Foyer & Atrium floor construction: 20mm terrazzo or marble finish; 5mm thin-bed mortar; 65mm screed; polythene membrane; 30mm EPS impact-sound insulation; 100mm EPS thermal insulation; polythene vapour barrier; 200mm reinforced concrete floor, smooth finish.

13.

Handrail post: 80 x 40mm rectangular bronze tube with timber handrail

2

4000

North light roof construction: 0.7mm metal sheet roofing, bituminous roofing felt, 30mm softwood boarding, 100mm polystyrene rigid-foam insulation, vapour barrier, 125mm spruce cross laminated timber roof panel

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3760

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Weaving Studio Sawtooth Roof 1:20 Technical Detail Section 1.

1

North light roof construction: 0.7mm metal sheet roofing, bituminous roofing felt, 30mm softwood boarding, 100mm polystyrene rigid-foam insulation, vapour barrier, 125mm spruce cross laminated timber roof panel

2.

Modular roof-light system, thermal glazing module; size 2650x1000mm

2

3.

300 x 150mm JIS steel beam

4.

750 x 300mm downstand beam; reinforced concrete

5.

Ă&#x2DC; 300mm reinforced concrete column, clad in bronze sheet to match window frames; with shadow gap top and bottom.

6.

Steel grating maintenance walkway (30x30mm) on raising pieces 340mm high, adjustable in height on integrated gutter, insulation laid to falls

7.

Integrated track lighting system

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PLANS & SECTION 0

1

5

10

20

30m

APPENDIX

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Golden staircase development

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Atrium development

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Showroom development

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Bar development

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Sales lounge sketches

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Canal-side loggia & water entrance development

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Sectional development

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Canal facade development

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Mulberry garden development

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Campo di Ghetto Nuovo facade development

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Plan development

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Detail development

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Model development

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Early form development sketches

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GOLDEN STAIRCASE MODEL 1:50

Golden staircase precedent: Golran store, Milan, Storage Associati

APPENDIX

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GOLDEN STAIRCASE DEVELOPMENT

Superceded detail showing top of golden stair; walls ceiling and stairs clad in polished brass (below)

APPENDIX

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ATRIUM DEVELOPMENT SKETCHES

APPENDIX

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SHOWROOM DEVELOPMENT SKETCHES

APPENDIX

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SHOWROOM SECTION DEVELOPMENT

Rendered section for final crit

Rendered section development post final crit

APPENDIX

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BAR DEVELOPMENT SKETCHES

APPENDIX

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COCKTAIL DEVELOPMENT Whilst developing the project, I decided that the bar of a venue such as the Emporio Luigi Bevilacqua should have a signature cocktail. With the emporium seated within an arboretum of morus alba trees, what better to use as a starting ingredient than the white mulberry? Moreover, the perfect drink for inspiration was the Aperol Spritz; the classic Venetian cocktail.

During the mixing and tasting, several prototype cocktails were tested: the Morus Alba Spritz Veneziano (recipe p. 45), the Bombyx Mori Spritz, the Morus Alba & Bay cocktail and the Mulberry Bellini; a nod to Venice’s famous ‘Harry’s Bar’.

Cocktail experiments from left to right (above): Morus Alba Spritz Veneziano, Morus Alba & Bay, Bombyx Mori Spritz, Mulberry Bellini

APPENDIX

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SALES LOUNGE SKETCHES

APPENDIX

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CANAL-SIDE LOGGIA & WATER ENTRANCE DEVELOPMENT

APPENDIX

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SECTIONAL DEVELOPMENT

APPENDIX

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CANAL FACADE DEVELOPMENT

APPENDIX

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MULBERRY GARDEN DEVELOPMENT

Mesh balcony & staircase

The mulberry garden to the west of the emporium acts as an extension of the ground floor plan, as a space to enjoy a drink from the bar or as a terrace during events at the emporium.

The garden would be the final destination on a guided tour of the emporium if one were visitng as a tourist. The mesh staircase (model overleaf ) leads down from the mesh balcony on the canal side of the building and into the mulberry garden.

FIRST FLOOR PLAN

Mulberry garden

GROUND FLOOR PLAN

0 1

APPENDIX

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10

20

30m

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MESH STAIRCASE MODEL 1:50

APPENDIX

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CAMPO DI GHETTO NUOVO FACADE DEVELOPMENT

APPENDIX

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PLAN DEVELOPMENT

APPENDIX

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APPENDIX

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APPENDIX

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APPENDIX

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APPENDIX

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DETAIL DEVELOPMENT

APPENDIX

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LATEST MODEL 1:200 The model shown here situates the emporium within a grid of mulberry trees following the same grid as the building. This strategy was employed to extend the relationship of the emporium out to the Campo di Ghetto Nuovo; however upon reflection, the ideal conditions for morus albas require greater spacing than that shown here. Typically, the root spread of a tree should be expected to be equal to the treeâ&#x20AC;&#x2122;s height in all directions. As a result, the move was taken to have fewer morus albas in the Campo di Ghetto and to fragment the grid spacing, akin to a more natural layout and one more inkeeping with a traditional garden.

Furthermore, at this point in the design development, the weaving studio was located on the opposite side of the building to its final location, hence the difference in the buildingâ&#x20AC;&#x2122;s form shown here.

APPENDIX

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MODEL OF EXISTING SITE 1:500

APPENDIX

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EARLY MASSING MODELS 1:500

APPENDIX

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EARLY MASSING MODELS 1:500

APPENDIX

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SKETCH MODEL 1:200

APPENDIX

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SKETCH MODEL 1:200

APPENDIX

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INTERIM CRIT MODEL 1:200

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VECTORWORKS EDUCATIONAL VERSION

INTERIM CRIT PLANS & SECTIONS Deliveries & Packing

Weavers' Studio Showroom

Design Studio

Sales Office

Sales Desk

First Floor Plan

Deliveries & Packing

Foyer & Exhibition

VECTORWORKS EDUCATIONAL VERSION

Ground Floor Plan

Showroom

Sales Office

Design Studio

Weavers' Studio

Weavers' Studio

Showroom

Foyer & Exhibition

Long Section

VECTORWORKS EDUCATIONAL VERSION

VECTORWORKS EDUCATIONAL VERSION

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INTERIM CRIT SUPPORTING IMAGES

83

JACQUARD CARD INSPIRED SCREENING MODEL 1:50

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EARLY FORM DEVELOPMENT SKETCHES

APPENDIX

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APPENDIX

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REFLECTIVE CONCLUSION Due to the Covid-19 situation halting the usual programme of study as suddenly as it did, I moved back in with my parents at home and setup a studio workspace in the spare bedroom. For the most part, this space has worked very well, however there are of course some things that are not quite the same as the University facilities.

Covid-19 home studio setup (left & below)

Had time been no object and access to the workshop a given, I would have liked to have done a little more facade experimentation with physical models. For example, producing a cnc routered or 3D printed mould from my digital model to cast in plaster before â&#x20AC;&#x2DC;stampingâ&#x20AC;&#x2122; into clay and firing could have developed some interesting facade model studies that would have photographed well.

However, I believe - considering the unusual situation we find ourselves in - that I have developed a well considered proposal for the Emporio Luigi Bevilacqua, well grounded in its contexts: geographical, historical, cultural and ecological. Some further development could always be made, although I consider this portfolio a successful presentation of how my project has developed this semester.

The project develops on the ideas put forward in my semester one portfolio, such as experimentation with light: reflection, shadow and filtration.

Moreover, the project engages with the ecological agenda set out in the studio brief in greater depth than my semester one work, with particular attention paid to the life of the bombyx mori as the key component in the silk industry.

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Bibliography Articles

Romeo, L.: Silk velvet weaving and weavers in Venice, blogseevenice (2017), accessed June 7, 2020, https://www.seevenice.it/en/silk-velvetweaving-and-weavers-venice/ Unknown: The Thread that unites 4 centuries of velvets, Luigi Bevilacqua Journal (2016), accessed June 7, 2020, https://www.luigi-bevilacqua.com/ en/4-centuries-of-velvets-in-venice/ Unknown: How did our history as Italian fabrics maunfacturers begin?, Luigi Bevilacqua Journal (2016). accessed June 7, 2020, https://www.luigibevilacqua.com/en/who-were-the-first-velvetmanufacturers-at-bevilacqua/ Unknown: What is a Jacquard Loom?, Luigi Bevilacqua Journal (2016), accessed June 7, 2020, https://www.luigi-bevilacqua.com/en/ what-is-a-jacquard-loom/ Unknown: The Silk Guild in Venice: the first weavers, Luigi Bevilacqua Journal (2016), accessed June 7, 2020, https://www.luigibevilacqua.com/en/silk-guild-venice-firstweavers/ Unknown: Luxury fabrics: names and characteristics, Luigi Bevilacqua Journal (2020), accessed June 8, 2020, https://www.luigibevilacqua.com/en/luxury-fabrics/

Reports

Cahill, H. (2020) ‘Stage 5 Technology Report’ Tessitura Bevilacqua (Date unknown) ‘Produrre il Velluto’

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List of figures Figure 1:

Figure 2:

Figure 3:

Figure 4:

Figure 5:

Figure 6:

Figure 7:

Figure 8:

Figure 9:

Figure 10:

Page 2: Jacopo de’ Barbari, “View of Venice”, Wood block print, 1500, accessed June 10, 2020, https://en.m.wikipedia.org/wiki/View_of_ Venice#/media/File%3AJacopo_de’_Barbari_-_ View_of_Venice_-_Google_Art_Project.jpg Page 6: Author unknown, “Produzione velluti a mano 2” accessed June 8, 2020, https:// www.luigi-bevilacqua.com/wp-content/ uploads/2018/01/Produzione-di-velluti-amano-2.jpg

Figure 11:

Page 10: Luisella Romeo, “Silk Bundles in Luigi Bevilacqua Textile Factory in Venice”, accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9689small.jpg

Figure 12:

Page 10: Luisella Romeo, “Warpers and Creel in Luigi Bevilacqua Textile Factory in Venice”, accessed June 7, 2020, https://seevenice.it/wpcontent/uploads/2017/06/IMG_9686small.jpg Page 11: Luisella Romeo, “Showroom in Luigi Bevilacqua Textile Factory in Venice” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9703small.jpg

Page X: Author unknown, “Produzione velluti a mano 3” accessed June 8, 2020, https:// www.luigi-bevilacqua.com/wp-content/ uploads/2018/01/Produzione-velluti-a-mano-3. jpg

Figure 13:

Page 8: Giovanni Battista Tiepolo, “The Meeting of Antony and Cleopatra”, 1743-50, Fresco, 650 x 300cm, Palazzo Labia, Venice, accessed June 7, 2020, https://www.wga.hu/html_m/t/tiepolo/ gianbatt/4labia/04labia.html

Page 12: @TessitureBevilacqua, “Sky blue, antique pink and ivory: which one do you like most?”, accessed June 18, 2020, https:// www.instagram.com/p/BGYpYQINkrX/?utm_ source=ig_web_copy_link

Figure 14:

Page 12: Luisella Romeo, “Weavers at work on a loom in Luigi Bevilacqua Factory” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9701small.jpg

Figure 15:

Page 12: Luisella Romeo, “A loom and its silk threads in Luigi Bevilacqua Factory” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9708small.jpg

Page 8: Guido Costante Sullam, “Plan of the Jewish Ghetto of Venice”, WUSTL Digital Gateway Image Collections & Exhibitions, accessed June 7, 2020, http://omeka.wustl.edu/ omeka/items/show/14153.

Page 9: Luisella Romeo, “Campo San Zandegolà in Venice”, accessed June 7, 2020, https:// seevenice.it/wp-content/uploads/2017/06/ IMG_9760small.jpg

Figure 16:

Page 9: Giovanni Masueti, “The arrest of St. Mark from the Synagogue”, accessed June 7, 2020, https://www.luigi-bevilacqua.com/wpcontent/uploads/2014/08/Giovanni-MansuetiSan-Marco-trascinato-nella-Sinagoga-1499Liechtenstein-Museum-Vienna.jpg

Figure 17:

Page 9: Author unknown, “Diploma produzione seta Bevilacqua”, accessed June 7, 2020, https:// www.luigi-bevilacqua.com/wp-content/ uploads/2016/01/Diploma-produzione-setaBevilacqua.jpg Page 10: Author unknown, “Macchina Jacquard”, accessed June 7, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2016/02/ Macchina-Jacquard.jpg Page 10: Luisella Romeo, “Punched cards for tetxile patterns in Luigi Bevilacqua’s Textile Factory in Venice”, accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9692small.jpg

Page 12: Luisella Romeo, “Weavers at work in the Luigi Bevilacqua Factory in Venice” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9736small.jpg Page 13: Luisella Romeo, “A loom and its silk threads in Luigi Bevilacqua Factory” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9752small.jpg

Figure 17:

Page 13: Luisella Romeo, “A loom and its silk threads in Luigi Bevilacqua Factory” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9747small.jpg

Figure 18:

Page 13: Luisella Romeo, “Silk velvet from Luigi Bevilacqua Factory” accessed June 7, 2020, https://seevenice.it/wp-content/ uploads/2017/06/IMG_9743small.jpg

Figure 19:

Page 14: Diderot & d’Alembert, “Plate I”, accessed June 17, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2015/08/ Tavola-I.jpg

Figure 20:

Page 14: Diderot & d’Alembert, “Plate XXIII”, accessed June 17, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2015/08/ Tavola-XXIII.jpg

Figure 21:

Page 14: Tessitura Bevilacqua, “Warper then and now”, Produrre il velluto, p.4, Tessitura Luigi Beilacqua

Figure 22:

Page 15: Author unknown, “Cantra”, accessed June 17, 2020, https://www.luigi-bevilacqua. com/wp-content/uploads/2015/08/Cantra.jpg

Figure 23:

Page 15: Diderot & d’Alembert, “Plate XXVI”, accessed June 17, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2015/08/ Tavola-XXVI.jpg

Figure 24:

Page 16: Diderot & d’Alembert, “PlateCIV”, accessed June 17, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2015/08/ Tavola-CIV.jpg

Figure 25:

Page 16: Author unknown, “Tagiare velluto”, accessed June 17, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2015/08/ Tagliare-velluto.jpg

Figure 26:

Page 17: Author unknown, “Macchina Jacquard”, accessed June 18, 2020, https:// www.luigi-bevilacqua.com/wp-content/ uploads/2016/08/Macchina-Jacquard.jpg

Figure 27:

Page 17: Tessitura Bevilacqua, “Drawings and Punched Cards”, Produrre il velluto, p.5, Tessitura Luigi Beilacqua

Figure 28:

Page 18: Tessitura Bevilacqua, “Velvets and the work on the 18th-century looms”, Produrre il velluto, p.6, Tessitura Luigi Beilacqua

Figure 29:

Page 19: Sara Furlanetto, “Punched cards on the Jacquard machine”, accessed June 17, 2020, https://www.luigi-bevilacqua.com/wpcontent/uploads/2010/07/Schede-forate-SaraFurlanetto.jpg

Figure 30:

Page 19: Author unknown, “Disegno macchina Jacquard”, accessed June 17, 2020, https:// www.luigi-bevilacqua.com/wp-content/ uploads/2010/07/Disegno-macchina-Jacquard. jpg

Figure 31:

Page 20: Author unknown, “Soprarizzo Leoni” accessed June 8, 2020, https://www.luigibevilacqua.com/wp-content/uploads/2014/11/ Soprarizzo-Leoni-3273-1.jpg

Figure 32:

Pg 21: @TessitureBevilacqua, “Few hands in the world guard the “know-how” of unique masterpieces like these. Here “Rinascimento” soprarizzo handmade velvet with real gold threads. They are works of art that aren’t only to be looked at but above all to be touched, they belong to the most exclusive craftsmanship.”, accessed June 17, 2020, https://www.instagram. com/p/CAYE_zEKoII/?utm_source=ig_web_ copy_link

Figure 33:

Pg 21: @TessitureBevilacqua, “Colors”, accessed June 16, 2020, https://www.instagram.com/p/ BDxUjgZNkhX/?utm_source=ig_web_copy_ link

Figure 34:

Page 24: Diderot & d’Alembert, “Agriculture and rural economy – Raising silk worms”, accessed June 18, 2020, http://hdl.handle.net/2027/spo. did2222.0001.352 Page 25: Author unknown, “Cruise ship in Venice”, https://drwyjmricaxm7.cloudfront.net/ blog/wp-content/uploads/2018/08/Cruise-shipin-Venice.jpg

Figure 35:

Page 33 Atrium Floor, Jean-Pierrre Dalbera, “Courtyard Floor”, accessed June 18, 2020, https://images.adsttc.com/media/images/56be/ d5d9/e58e/cea3/6900/01b2/large_jpg/ Courtyard_Floor_-_Jean-Pierre_Dalbera. jpg?1455347153

Figure 36:

Page 34: M. Griffith, “A silkworm (Phaloena mori) shown as imago, larva, pupa and egg.”, accessed June 17, 2020, https:// wellcomecollection.org/works/umw9ywpr/ items?canvas=1&langCode=eng

Figure 37:

Page 42: Mariano Fortuny, “Interno dell’atelier del pittore a palazzo Pesaro-Orfei a Venezia”, accessed June 18, 2020, https://www.instagram. com/p/B1gy2xCAn0q/?utm_source=ig_web_ copy_link

Figure 38:

Page 42: @FortunyVenezia, “#flashback to Fortuny’s @bergdorfs hallway takeover featuring our PUBA sofa, Rombo P Lantern in ASHANTI bittersweet & gold and @lobjet bowl in PAPIRO”, accessed June 18, 2020, https://www. instagram.com/p/Bjw--szlVYf/?utm_source=ig_ web_copy_link

Figure 39:

Page 42: Catherine Brophy, “Monday’s can feel dramatic. Here’s a peek inside our #NYC showroom to capture the mood”, accessed June 18, 2020, https://www.instagram.com/p/ B4dEEmpBFZX/?utm_source=ig_web_copy_ link

Figure 40:

Page 55: Author unknown, “Golran Flagship Store”, accessed June 18, 2020, https://www.telegraph.co.uk/content/dam/ luxury/2016/10/11/04_PS_GOLRAN_ FLAGSHIPSTORE_HR_trans_ CnuAgYZXyjea8nhWU0ceO_9l6HagIAwQ.

All images not listed here are the aurhor’s own work.

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