Page 1

Less conventional approach to design in comparison with Clemson’s traditional approach

SITEContext

Definitions of Place/Non-place

Milan

Venice

GENOA

Point of reference for opposites

Rome

MultipleInterpretations

Naples

GENOA Palermo

Palermo

CulturaLBackground

Getting lost and the localized mind

CRAFTMANSHIPHierarchy

Drifting Renzo Piano

MAR C O N I

THEPlot GIULIA

Se x ua lly a s s a ulte d

K ILL E R

?

InnovationMemory

VI O LA

?

Brutalised During the investigation, Marconi doesn’t believe that a woman wearing high heels could have killed a tall, bulky man in a service station toilet, all on her own.

MAR C O

I n s e c u re

Marconi gradually realises that the crimes seem to be the work

NEWOld

of an attractive woman

who succeeds at her grim task because the victim has other things on his mind than the prospect of being murdered.

N o for getting...

A fat lorry driver approaches her at a motorway cafe. He follows her to the toilet and on her exit, the man has died with an erection. A pool of blood into which a child drops a teddy bear marks the start of a trail of gutted corpses. The killer has left no trace of the weapon.

Giulia convinces Eva to join to gym

Giulia begins to organise Eva’s

life. As time goes on, Eva becomes more and more independent.

Confide nt

Giulia lives in a huge house in the Saragozza area of the city. She introduces Eva to her family and boasts about her room for a princess.

The Princess

Marconi shows Viola a photo and she discovers that the eyes in the photo are the same as in her

dream.

Is always kept at home by Marco. Cries almost every day because she desires Marco’s company but he is always going out, leaving Viola home

alone.

She is always eagerly waiting for Marco to come home and passes time dressing up in order to act as a security blanket and give the appearance of

protection.

Marconi and Tommasi go to check out the market in Montagnola to find the weapon (hairpin) used in the last murder. They show a vendor the hairpin and he instantly recognises it as one of his own. Marconi finds that the pistol the murderer had used belonged to a rich entrepreneur from Bologna. He told Marconi that he hadn’t even noticed that the pistol had gone missing.

Viola approaches Marconi and tells him she has dreamed of deluges of blood. Marconi visits Viola to ask for more details about her dream.

The killer notices that she is being followed as she leaves a club where she had been dancing. She realises she has reached a dead end and finds 2 men behind her.

Viola notices that Marco has gone out again but is not his usual self. She discovers that he has been behaving

Eva thinks about how she really has changed:

She reaches into her small sequined clutch bag and with 2 shots, the mens bodies are lying on their backs. One is still alive, she takes the hairpin from her hair and spears it into his eye.

Viola finds a packet in Marco’s shirt pocket and discovers that he has been dealing drugs.

Giulia celebrates her birthday at Eva’s flat. Eva thanks Giulia for doing so much for her over the past year. They get interrupted by police entering through the door. Eva jumps and freezes while Giulia panics and screams.

disPLACENon-Place

DesignProcess

D rug dealing

Eva has given herself a birthday present, she’s persuaded her boss to give her a chance to get more involved at work. She has had a raise and she has bought a new car.

the sad, newborn infant inside her has become a woman, a woman who knows what she wants.

PARTWhole Montage as way of designing

E VA

crimeNovel

Social hierarchy

Reinforced concrete grain silos completed in 1901 awaiting redevelopment

Parts engage in dialogue to form the whole

Exposure to Italian Culture

ShiftingPerceptions

strangely and acting differently.

Marilyn party

D epressed and lonely

Identify the underlying problems in Italian society

STUDIOPosition


Non-places Marc Augé

Getting lost & the localized mind

A large proportion of our life is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computer and cash machines. Marc Augé coined the phrase ‘non-place’ to refer to these as transient spaces, which do not hold enough significance to be regarded as ‘places’. This invasion of the world by what Marc Augé calls ‘nonspace’ results in a deep alteration of awareness, something we perceive but only in a partial and confused manner.

Franco La Cecla

This reading focuses on the concept of place and displacement. It presents the ways that people attempt to orient themselves while lost. The feeling of being lost and the anxiety that is a result of being lost are very overwhelming, causing one to feel almost sick and disoriented. The fear that is felt while lost is sometimes stronger than the act of actually being lost. The author questions whether it is possible to be truly lost in today’s world.

PLACENon-Place “... the same place can be looked upon as a place by some people and a non-place by others... For example, an airport space does not carry the same meaning for the passenger boarding the plane and for the employee working there.” Marc Augé The first assignment asks us to develop our skills of reading and analysing two situations: one of place, the other of non-place. Based on readings, we are to express for ourselves what these two terms mean in the form of a montage. The idea is to capture the essence of the place and non-place depicted. This task enabled me to carefully analyse the subtle qualities of the chosen sites and how to best represent them to get across what I am saying.

GIANNIVattimo Gianni Vattimo is an Italian philosopher, member of the European Parliament and writer for “La Stampa” and “L’Unita.” An expert on modernist thought and philosophical hermeneutics of the last 200 years, he is generally acknowledged as a preeminent postmodernist. Hermeneutics signifies theory of interpretation. His text talks about the philosophy of multiple interpretation and the concept of parts. Our studio unit takes a less conventional approach to design. The non-linear approach comprises of multiple unrelated assignments. After reading Vattimo’s theory, we discovered that these ‘parts’ engage in dialogue. Vattimo questions “But how can one rise from the part to the comprehension of the whole, if to comprehend the part already requires a preliminary comprehension (a pre-comprehension) of the whole?” A relationship of the parts in creating a dialogue will finally form the whole.

“The language through which we experience the world is not a finished whole; it is rather a group of expressions which fulfil quite different functions within the realm of disparate practices and fields of experience... always susceptible to innovation.” “The part-whole discourse in hermeneutic reflection cannot be separated from the notion of dialogue.” Gianni Vattimo

disPLACENon-Place

BLACKPool

The displace/Non-place unit encourages us to step outside our comfort zone, assisting us to step into the realm of the unfamiliar by adopting the strategy of displacement. Sites are purposely chosen outside our familiar Anglo Saxon contexts and investigations are carried out on sites that have lost their original meaning over time due to the loss of human inhabitation. The objective of the unit is to see whether it is possible to shift perceptions of these derelict sites from non-places to places. This is done through the implementation of non-conventional programmes and design. The challenge is to take a more obscure way of designing and problem solving using the most innovative solution possible, allowing both the past and present to be read.

May Tsang SEMESTER 1

Theme parks are places of leisure and pleasure, where consumerism is an important aspect. They are self contained and not connected with its surroundings. The place is themed taking away the possibility for a place to grow and change over time; this closes the opportunity for surprise and individual imagination. The visitor is in another place and time; they react to the surroundings rather than relating to the social structure of the people. Theming gives the place a narrative, also providing a way to guide the visitor through the non-place with the use of signs and maps. The story is an imagined version of actual events that does not have a connection to the actual place. This adds an artificial history to the place; there is a detachment and disconnection from the ordinary lifestyle.

The theme park can be anywhere and everywhere, but are actually nowhere.

The place is never completely erased, there is a sense of belonging and memory.

The church is defined as relational, historical and concerned with identity, allowing the place to grow and change with the inhabitants. The external sculpture located outside the church has a monumental quality. The shape was taken from the stained glass window within the church, therefore creating a connection with the surroundings. The seating enhances the place as well as acting as a protective barrier from traffic. The steel material of the sculpture reflects the history and dynamics of Blackpool, also drawing people to the place through the reflective quality.


PIAZZAVittorioVeneto

SCHEMEOne

The square located in the city centre of Turin, was designed by architect Giuseppe Frizzi in 1825. The piazza is located at the end of Via Po, near river Po and the Church of the Great Mother of God. With almost 40,000m2 of surface area, it is one of the largest arcade squares in Europe. It is also the largest square in Europe without monuments. Currently the square is often used as a meeting place, particularly for youths. It is also a very popular place in the evenings during across week.

Antithesis

Road descends down to the river

River flows through road

Dominated by transport

Dominated by pedestrians

Dry climatic conditions

Cold and wet conditions

Ground Plane

DIALECTICProject

Climate

Social Conditions Local Italians

Dialectic A method

SCHEMEThree

Many foreign people and tourists

Materiality Smooth and well defined surfaces

Uneven and broken surfaces

Designed for public use

Dominated by animals

Repetition

Various heights and massing

Webster’s New World Collegiate Dictionary

Context

The Piazza Vittoria Veneto and the surrounding context was first analysed as a whole, then deconstructed into parts to create subjects of analysis. By analysing the existing conditions (thesis), I then generated my perceived opposite conditions (antithesis). I was then able to proceed with creating a synthesis, which comprised of a series of opposites in order to create a scheme. The dialectic assignment enabled me to critically analyse the current site conditions of the Piazza in a new exciting way. By looking at presented site conditions that included: scale, materiality, enclosure, circulation, massing, structure etc. I was able to extend my understanding of the critical thought process, representing my site analysis in a visually engaging way as opposed to the traditional mapping of collected data. At the same time, it also allowed me to be as creative as possible in the expression of ideas.

disPLACENon-Place

SYNTHESISTwo

Movement / Circulation SCHEMETwo

of logic used by Hegel and adapted by Marx to observable social and economic processes: it is based on the principle that an idea or event (thesis) generates its opposite (antithesis), leading to a reconciliation of opposites (synthesis), the general application of this principle in analysis, criticism, exposition.

Thesis

Facade

May Tsang SEMESTER 1

SYNTHESISOne

SYNTHESISThree


Sadler examines Situationist principles for the city and city living. The Situationist city was a constant play of contrasts, between confined and open spaces, darkness and illumination, circulation and isolation. They described their drifts as radical rereading’s of the city. They uncovered the social body of the naked city by ‘becoming streetwise’. They would explore discreet public gardens. The passages of the drifts were lined with cheap shops and cafes; the ghettos offered not only a different ambience, but also a non-bourgeois cost of living. The Situationists would use their experience of language as a way of revolutionising our consciousness of the city. Graffiti became regarded as a sign of the primitive energy of the everyday life of the masses. They even suggested the abolition of museums and the distribution of masterpieces to bars, believing that this would completely undermine cultural domination and exclusiveness. The idea of the study trip to Genoa was to physically displace ourselves into a new cultural context and foreign environment, in order to step out of our comfort zones. The medieval old town of Genoa is the largest in Europe. It is an intricate labyrinth of alleyways, where among the shops, restaurants and local stores, we were able to catch sight of the city’s noble past in its 16th century palazzos, baroque edifices and Romanesque churches, looming over the small piazzas. This created an ideal environment for drifting.

230mm

KEY

2011-2020

airport

The planning approach for Genoa’s new City Plan has taken into account the potential for large-scale and infrastructure improvements which determine a set of strategic objectives that establish the next steps for the future city.

SOCIO-ECONOMIC & INFRASTRUCTURE DEVELOPMENT

built form city centre opportunity areas historic metropolitan centres major urban links rural areas

Investment in a diversified productive economy and optimisation of tourist potential Maximising the competitive advantage of Genoa as a port city in a European context

rural centres ‘green’ line

Investment in housing, services and education

‘blue’ line municipal boundaries

Milan

Reinforcement of north-south and east-west connections

Boosting multi-modal and sustainable public transport

PROTECTION OF THE QUALITY OF THE NATURAL ENVIRONMENT Transforming Genoa into a multicentred, integrated and equitable city Promoting compact sustainable development and open space Rebalancing the city’s diverse uses through local development Making the most of the natural landscape and biodiversity Reinforcing the links between the city and the sea

SPATIAL ORGANISATION AND URBAN IDENTITY Reduction in sound, air and light pollution

Venice

Piano’s approach to architecture drew on technological know-how, but he tried to go beyond the clash between creativity and science. He believed in craftsmanship and the latest technology. According to Piano, the architect should understand his materials and use them to the best of their conditions. Through systematic research, she or he should control technology. Piano wanted his work to be studied for its methodology rather than for its architectural forms. With each design he started at the beginning and arrived at a solution specific to it. As each design was separate, there was no consistent artistic development, in the traditional sense, in Piano’s work. The trip to the Renzo Piano Foundation was a truly inspiring experience. His position in design is not to lose memory but to be innovative.

Optimisation of solar power, energy efficiency and reduced consumption Regeneration of public open space Investment in the argricultural potential of the surrounding territory

municipal surface area

Renzo Piano has guided the work carried out by the City of Genoa’s Urban Lab. He has taught them to

reconnect the city with its seafront and preserve its precious natural contours by building on its architectural legacy and making the most of its natural and man-made assets (figures 1 & 2). This involves limiting the amount of building on greenfield land and taking advantage of the city’s exposure to sun and wind along its south-facing coast.

in Co2 emissions compared to 2005

of open public space

railway stations

GENOA

population above 65 years

Rome Naples

Palermo

Palermo

of coastline

May Tsang SEMESTER 1

multi-modal car park

of car parking spaces

per 1,000 inhabitants

GENOA

disPLACENon-Place

train journey between Milan and Genoa

railway stations

The museum is the largest of its kind in the Mediterranean, with four storeys of exhibition space in a building measuring over 10,000m2. This centuries old building has never had an established, final image and the change of use necessitated yet another renovation, giving the museum quite a different appearance from the old warehouses in the port area.

Protection of natural water systems

The Genoa Today, Genoa Tomorrow marks an important turning point for the city. It illustrates the journey that the ancient city is taking in response to the challenges and opportunities of the 21st century: globalisation, climate change, migration, economic and social change. The new ‘Piano Urbanistico Comunale’ (P.U.C.) establishes a vision of how Genoa can evolve in a smart and sustainable way over the next decade, firmly grounded in its economic, social and cultural realities.

Inhabitants, 1st January 2010

110mm

The Carena brick factory draws on the experience of three generations of kilns and the use of the most modern technical solution available to the brick industry. With a production of over six hundred tonnes per day, they have a very diverse variety of products, ranging from clay to wall and floor partitions. We were able to see the current and the century old brick factory, the clay labs, and the clay quarries. It was an intriguing experience to discover the territory, history of clay and understand the brick making process. It was also interesting to see the technological impact on the brick production. Technologies have changed from the hand made bricks to the automated production line.

02

of public open space

of private car traffic

of greenfield land protected from development of multi-modal car parks

of new tree-lined avenues

reclaimed coastline

of manufacturing and services

train journey between Milan and Genoa

ECOMuseum

An Ecomuseum is a form of museum that opens its doors and cooperates with the people and the territory that surround it. It can be defined as a path, a process and a program whose aim is to enhance the awareness of its own heritage, at both cultural and material level and to transform this heritage into a resource for future development. The MUNLAB is an Ecomuseum of Clay instituted by the Piemonte Region in 2007. It is located in the oldest, and long time dismissed, facilities of the Fornace Carena and is the result of 20 years of research over past, present and future of clay production in Cambiano. Its aim is to preserve the culture of clay starting from the old buildings and the current community, but also to forecast its new and sustainable applications. What is fascinating is that the new functions are now reinvigorating the ancient constructions. The old Hoffmann kiln has been transformed into an exhibition gallery. The transformation is also an ongoing project. It is an open process continuously adapting to the new and stimulating requirements of the MUNLAB community.

GALATAMuseoDelMare The Galata Maritime museum is the oldest surviving construction of the Republic of Genoa period. Designed by Guillermo Vázquez Consuegra, selected in an international ideas competition, the architectural renovation and historical preservation of the dockyard is where Genoese galleys were once built and repaired.

110mm

port areas

GENOAItaly

FONDAZIONERenzoPiano

01

International & national routes

Genoa is a province in the Liguria region of Italy. The city has a total population of 610,741, covering an area of 1,838 km². The Port of Genoa, favoured by its strategic geographic location, is placed at the centre of the important industrial and commercial area of northern Italy and is ideally located to serve central Europe’s consumer markets. The Port stretches uninterruptedly for 22 miles along a coastline that develops between Fiera and Voltri. It is a ‘one stop multi-purpose and multitasking port’ with more than twenty private operational terminals. From its birth, the Port of Genoa has been Italy’s gateway to the Mediterranean and to international cultures that make it one of the modern world’s most interesting tourist destinations. Genoa forms the southern corner of the Milan-Turin-Genoa industrial triangle of north-west Italy, acting as one of the country’s major economic centres.

BRICKFactory

GENOA Today 2011 Genoa Tomorrow 2020

DRIFTINGFormularyForANewUrbanism

“Piano claimed to be a humanist techie - while embracing the spirit of modernism, he held dear the spirit of his Renaissance forebears. Technology, for Piano, is a means as well as an end, but never something visually specific, technology is not alien to nature but part of nature.”

RENZOPIANOMasterplan “A data base for the community, a workshop, a meeting space for new projects, a place which presents the community and the local area to its visitors.”

Port of Voltri

2) The insertion of new volumes hosting new functions. These new contemporary containers are visibly separated from the original structure; they use low impact current production materials (such as the furnace blocks) and, when possible, recycled materials coming from local demolitions such as steel beams, window frames and glass. 3) New interior design using rough construction materials to create a interesting contrast between the new and the huge original structures.

The idea behind the project was to free the building from the façades that had been added after it was no longer used as a shipyard and cover it with a sort of lightweight skin or film of aluminium and glass to preserve its interior and its most significant element: the vaulted structure. This type of wrapper also makes it possible to move closer to the façade or further

A deep façade is created by the overlapping of three layers: the outer wrapper of glass, the vertical buttresses whose regularity imposes a repetitive vertical rhythm on the interior and the interior space itself, where the galley is the key to the whole design. On the rear façade, the Spanish architect emphasised the building’s structural configuration with an image that emphasises its vaults and resembles 17th and 18th century reproductions.

The Airport Island

The renovation strategy can be divided into three main elements: 1) The renovation of the old structures, removing all the unnecessary additions and restoring the damaged walls’ portions.

away from it, as required. In this way Consuegra detached the new wrapper from the main façade to introduce a new space not included in the old building: a large entrance hall on a scale adequate to the building’s new public use. Demolition of the side wall permitted its replacement with a huge window revealing a reconstruction of a large Genoese galley between two buttresses: the museum’s characterising element, clearly visible from the raised road running by the museum.

Porto Antico The Linear Port

Renzo Piano’s “Affresco” concept of the Genoa port is revolutionary in that it would transform the entire 20 kilometre coastline, from Voltri to Fiera. The timescale of the plan, divided into three phases has been estimated at 6, 12 and 18 years. This would be achieved with no negative effect on daily port operations. Piano’s plan envisages doubling the current operating surface from 200 to 400 hectares, thereby providing Genoa with the opportunity to address the challenges posed by future developments in the industry and to continue to build its role as a global trade gateway. Renzo Piano identifies five areas of the Genoese coastline as focal points of his “Fresco”: Port of Voltri - Motorways of the Sea; The Airport Island - Container Terminal; Oil Terminal - Tourist and Pleasure Harbour - Fincantieri; Ship Repairs - Artificial Island; and Infrastructure Network. The “affresco” has had the positive effect to push forward the debate on the city’s future. It has made clear that the city redevelopment requires new spaces which should not be obtained piece by piece but should be connected in a general plan, in order to create a new structure and a new image of Genoa.

NEWMeetsOLD Naval Shipyard Island

SYNThesis

The interior, no hint of which is visible on the outside, now has two new staircases in addition to those already present as well as a large ramp taking visitors to the panoramic hall on the fourth floor. This observatory space is surrounded by glass, offering views over the harbour and the city of Genoa.

Our studio unit theme is about looking at existing conditions and trying to find innovative solutions to problem solving. The study trip to Genoa enabled us to visit various landmarks, analysing the building critically and noticing small construction details in terms of how new and old come together. We also learnt about how the common theme is expressed in various different ways based on the visits to the Brick factory, Renzo Piano foundation, ElasticoSpa and the Galata Maritime museum. Piano and Stefano both have very different ways of working, but overall manage to preserve an element of history and memory within the existing structures.


Culture & Nature Terry Eagleton

According to Eagleton, “nature produces culture which changes nature.” His text shows how the two terms are related and their inseparability. By asserting that nature produces culture which changes nature, it means that culture has got two dimensions. Culture is both what is humanly constructed and naturally given. Eagleton looks at how culture gives people identity, liberation and the contemporary challenges that globalisation is posing on culture.

Towards Critical Regionalism Kenneth Frampton

PRELIMINARYStudy

CULTUREDevice NATURE Device

According to Frampton’s proposal, critical regionalism should adopt modern architecture, critically, for its universal progressive qualities but at the same time value should be placed on the geographical context of the building. Frampton describes how emphasis should be on topography, climate, light; on tectonic form rather than on scenography and should be on the sense of touch rather than visual sense.

CULTURESound

SHADOWMakingDevice

NATUREShadowPatterns

“The noise is usually deafening. People chat, whistle, swear, sing, curse, cry, howl, weep, call to each other and shout, carrying on elaborate discussions or delicate negotiations.” Luigi Giorgio Barzini

Based on the recent Genoa field trip, class discussions, the readings mentioned above and further research, we were asked to design two artifacts/devices that create interesting shadow patterns when light is cast upon it. One based on Italian culture and the other on nature. Each device is designed as an isolated piece, with particular focus on the connection of parts. The aim was to focus on the tectonics of the device, together with the multitude of patterns it produces through the various layers. I found this assignment quite a challenging one due to the fact that we had the task of translating various readings or research into a physical object in a non-literal way. During my preliminary study, I realised I was concentrating more on the casted shadow patterns as opposed to the actual device. This is why the device resulted in being too literal and was unsuccessful in terms of the project brief. I progressed from this by broadening my research on Genoa as well as reading further on culture and nature. What I have learnt is how to take an element from readings and represent it visually so that the viewer can interpret it in their own way, but at the same time, relates effortlessly on the research and readings conducted. Another stimulating aspect of this assignment was the “no glue” rule. The fact that glue was not allowed enabled me to carefully consider the choice of material and how they came together. This reminded me of the visit to the Renzo Piano Foundation, the idea of understanding the materials and using them to the best of their conditions. This will be particularly beneficial in understanding the connection of buildings in design at a larger scale at a later stage.

disPLACENon-Place

CULTURE ShadowPatterns NATUREWater

The history of Genoa comes from the sea. The harbour was one of the most important international ports. The device looks at the movement of water and transfer of water from air, sea, land and water in a continuous cycle.

May Tsang SEMESTER 1

From the preliminary study of sound based on the text “The Importance of the Spectacle” by Luigi Barzini, I proceeded to create a shadow making device that made the invisible visible. In order to add a layer of complexity and sophistication to the device, I decided to research further into the Italian social class ranking. The device represents the top-down social hierarchy with the majority as urban class (37%), which includes people employed in manual work. It can be seen that the higher class of entrepreneurs, politician and selfemployed people (10% Bourgeoisie) are more dominating within the device. The use of English and Italian text also enables to viewer to read the device more clearly.

Due to the preliminary study of the nature shading device being too literal, I decided to read into the text ‘Species and Ecosystems’ by Manuel De Landa in order to create a more interesting and abstract device. The text describes how there is a sense in which species and ecosystems are the product of structure generating processes. The exchange of genes result in the creation of new species, therefore I adopted a pattern where each shape is unique, revealing the individual species. The four different layers represent an emergence of the evolutionary processes, resembling more of a meshwork than a strict hierarchy. The four panels can be flipped, rotated and rearranged in order to cast a number of distinctive shadow patterns.


You cannot get rid of the past even if you try to reinvent yourself

THEGIRLWithTheCrystalEyes

Colleague/ friend

Upper class have easier access to corruption

- Quiet and very shy young girl with few friends. - Hates men, never had boyfriend. - Miew the cat is the only being in whom she confides. - Works at an advertising agency in a menial job scanning photos all day. - Very good at lying, keeps her answers vague so there is no risk of forgetting details.

- Low in confidence, very insecure. - Kept at home by her mostly absent fiancé. - Brutalised by her violent, drug pushing lover. - She isn’t someone who can live on her own and she’s never able to say no. - Viola has always had a boyfriend.

She wishes she could cancel everything. Delete the images that appear in front of her eyes and never go away. But there is no forgetting.

EVA

Exclusion of People

- Wealthy and well-connected. - Encourages Eva to come out of her shell. - Had already started to assert her authority on other people from when she was young. - Used little tricks to get what she wanted, telling many lies.

The purpose of reading an Italian crime novel is to identify the underlying problems in Italian society, which are not spoken about openly. The media affects the way we think but beneath, there are many deep social problems.

?

- Slightly over 1.60m, blonde, red lips, light coloured eyes and sexy clothes. - Murdering men who have attacked or threatened women.

Someone is murdering men who have attacked or threatened women. We see some of the crimes from the point of view of the unnamed woman committing the crimes. Other chapters follow two women, Eva and Viola. Eva is a shy, young and single woman working in an advertising agency. Viola is kept at home by her mostly absent fiancé. We also see the point of view of the detective working on the murders. The structure of the book is also very interesting. It uses a technique that creates ambiguity and keeps you interested. The tale is told in very short chapters with extremely short paragraphs, frequently single sentences, with some dialogue and little evocation of Bologna. The puzzle is as much “what’s going on” as “who’s the murderer,” and the reader’s sympathy is with the killer more than the victims. The reader will most likely have figured out the “who” before the end, and the “what” also gets clearer, but there are some surprises remaining at the end, as the detective has gotten a result that he doesn’t much believe in.

May Tsang SEMESTER 1

Giulia lives in a huge house in the Saragozza area of the city. She introduces Eva to her family and boasts about her room for a princess. Eva has given herself a birthday present, she has persuaded her boss to give her a chance to get more involved at work. At work she has become firmly entrenched in the creative team. She has had a raise, and she has bought a new car. Eva thinks about how she really has changed: the sad, newborn infant inside her has become a woman, a woman who knows what she wants.

- Doesn’t care much about Viola. - Deals drugs. - Seems to be a criminal of some kind.

Sexually assaulted

?

Is always kept at home by Marco. Cries almost every day for at least a minute because she desires Marco’s company but he is always going out, leaving Viola home alone. She is always eagerly waiting for Marco to come home and passes time dressing up and painting her nails in order to act as a security blanket and give the appearance of protection.

Giulia celebrates her birthday at Eva’s flat. Eva thanks Giulia for doing so much for her over the past year. They get interrupted by police entering through the door. Eva jumps and freezes while Giulia panics and screams. Inspector Marconi arrests Giulia for the murder of her father and others. She hysterically shouts “I haven’t killed anyone!” and shouts at Eva for her help.

KILLER

? The killer notices that she is being followed as she leaves a club where she had been dancing. She realises she has reached a dead end and finds 2 men behind her. She reaches into her small sequined clutch bag and with 2 shots, the mens bodies are lying on their backs. One is still alive, she takes the hairpin from her hair and spears it into his eye.

During the investigation, Marconi doesn’t believe that a woman wearing high heels could have killed a tall, bulky man in a service station toilet, all on her own.

During the investigation, Marconi doesn’t believe that a woman wearing high heels could have killed a tall, bulky man in a service station toilet, all on her own. Marconi gradually realises that the crimes seem to be the work of an attractive woman who succeeds at her grim task because the victim has other things on his mind than the prospect of being murdered.

Marconi goes undercover to the club where the killer had left before the two men were killed. He meets Samantha, who got together with the murderer that night.

HAIRPIN

Giulia begins to organise Eva’s life. As time goes on, Eva

of an attractive woman

Marconi shows Viola a photo and she discovers that the eyes in the photo are the same as in her dream.

A pool of blood into which a child drops a teddy bear marks the start of a trail of gutted corpses. The killer has left no trace of the weapon.

Giulia lives in a huge house in the Saragozza area of the city. She introduces Eva to her family and boasts about her room for a princess.

PISTOL

Marconi finds that the pistol the murderer had used belonged to a rich entrepreneur from Bologna. He told Marconi that he hadn’t even noticed that the pistol had gone missing. Eva has given herself a birthday present, she’s persuaded her boss to give her a chance to get more involved at work. She has had a raise and she has bought a new car.

The killer notices that she is being followed as she leaves a club where she had been dancing. She realises she has reached a dead end and finds 2 men behind her.

Eva thinks about how she really has changed:

She reaches into her small sequined clutch bag and with 2 shots, the mens bodies are lying on their backs. One is still alive, she takes the hairpin from her hair and spears it into his eye.

the sad, newborn infant inside her has become a woman, a woman who knows what she wants.

WEAPONS Marconi and Tommasi go to check out the market in Montagnola to find the weapon (hairpin) used in the last murder. They show a vendor the hairpin and he instantly recognises it as one of his own.

MARCO

Marconi finds that the pistol the murderer had used belonged to a rich entrepreneur from Bologna. He told Marconi that he hadn’t even noticed that the pistol had gone missing.

She is always eagerly waiting for Marco to come home and passes time dressing up in order to act as a security blanket and give the

Viola approaches Marconi and tells him she has dreamed of deluges of blood. Marconi visits Viola to ask for more details about her dream.

DRUG dealing

Viola notices that Marco has gone out again but is not his usual self. She discovers that he has been

behaving strangely and acting differently.

Marilyn party

Viola finds a packet in Marco’s shirt pocket and discovers that he has been dealing drugs.

Marconi goes undercover to the club where the killer had left before the two men were killed. He meets Samantha, who got together with the murderer that night.

Giulia celebrates her birthday at Eva’s flat. Eva thanks Giulia for doing so much for her over the past year. They get interrupted by police entering through the door. Eva jumps and freezes while Giulia panics and screams.

Is always kept at home by Marco. Cries almost every day because she desires Marco’s company but he is always going out, leaving Viola home alone.

appearance of protection.

Marconi and Tommasi go to check out the market in Montagnola to find the weapon (hairpin) used in the last murder. They show a vendor the hairpin and he instantly recognises it as one of his own.

Confidence

becomes more and more independent.

The Princess

INsecure

who succeeds at her grim task because the victim has other things on his mind than the prospect of being murdered.

A fat lorry driver approaches her at a motorway cafe. He follows her to the toilet and on her exit, the man has died with an erection.

Giulia convinces Eva to join to gym

MARCO

Marconi gradually realises that the crimes seem to be the work

No forgetting...

VIOLA

Marconi has a strange experience when a red-headed girl with extraordinary eyes tells him she has dreamed of deluges of blood. Marconi visits Viola to ask for more details about her dream. He shows her a photo and she discovers that the eyes in the photo are the same as in her dream.

KILLER?

VIOLA

Brutalised

KILLER

A fat lorry driver approaches her at a motorway cafe. He follows her to the toilet and on her exit, the man has died with an erection.

Giulia comes to visit Eva. Seeing Eva at such a depressing state, Giulia convinces her to join to gym. She likes to be in control and Eva’s docility always made her feel good.

MARCONI

?

GIULIA

MARCONI

Giulia begins to organise Eva’s life. As time goes on, Eva becomes more and more independent.

TOMMASI

MARCONI

?

A pool of blood into which a child drops a teddy bear marks the start of a trail of gutted corpses. The killer has left no trace of the weapon.

MARCO

investigating murder

CRIMENovel

?

KILLER?

GIULIA

KILLER GIULIA

VIOLA

?

IN A RELATIONSHIP

Underestimating the power of women

disPLACENon-Place

THEPlot

EVA

VIOLA

On the way home from her mothers’, Eva is attacked and raped. After that incident, she takes to her bed for a few days wishing she was dead.

2 Sided Personalities

Another major issue in the novel is the role of women in society. We learn that you should never underestimate the power of women. Throughout the novel the men get seduced and the woman does the killing, the woman has the overall power.

MAIN Characters ?

Class System Women in Society

Various issues that came across through this book included the class system in Italy. What we see in the novel is that Italians in the lower and middle class do not like interacting with the upper class. They believed they were all selfish, superior and arrogant, even if they did not know them personally and did not enjoy relating with them. Higher-class people have better access to corruption; this is why throughout the story we believe that the wealthy character Giulia is the murderer. However there are some surprises in the end. Italy is not solely made up of one type of person. The exclusion of individuals within different classes seems to be a major problem.

EVA

investigating murder

Contamination within Society

EVA

DEPRESSED and lonely

Samantha invites Marconi to a “Marilyn” party where he might catch the killer. He gets drugged and experiences some sort of hallucination and gets tortured by a horrendous doll.

Stanley knife

MARILYN PARTY Hairpin

Marconi breaks the news to Viola that Marco has been arrested.

Colleague

- Inspector investigating murder. - Eyes are well trained in spotting criminality. - Embarrassed around women.

MARCO arrested...

Pistol

- Junior officer, Marconi’s sidekick. - Attentive lad with a burning desire to learn.

Eva had started killing when a boy in a red scarf wanted her money had threatened her with an old yellow Stanley knife. She struck him in the face and kicked him so forceful that she had shut him up forever. She then picked up the knife from next to the body and had put it in her pocket, almost like a war trophy. From that day she hasn’t been able to stop. She does it for herself, just to live. She needs to spill blood in order to cleanse herself, to clean up the world. Eva tells herself that she does it for all of womankind. Eva had stolen Giulia’s fathers’ pistol during the time she was at Giulia’s house.

Marco was arrested for selling drugs to children. He had also slept with several Romanian girls in exchange for drugs and he killed a minor, without showing any pity. He had thought that he could treat any girl like he treated his fiancée, but he was wrong as the girl who had kept him hidden in her home grassed him up after Marco had given her a beating. Marco had threatened her and hit her.

Samantha invites Marconi to a “Marilyn” party where he might catch the killer. He gets drugged and experiences some sort of hallucination and gets tortured by the horrendous doll. Viola notices that Marco has gone out again but is not his usual self. She discovers that he has been behaving strangely and acting differently. Tommasi informs Marconi of another killing. He rushes to the murder scene and discover the entrepreneur, to which the pistol had belonged to, is dead. Marconi breaks the news to Viola that Marco has been arrested.

KILLER V A Giulia arrested... Inspector Marconi arrests Giulia for the murder of her father and others. She hysterically shouts “I haven’t killed anyone!” and shouts at Eva for her help.

Tommasi informs Marconi of another killing. He rushes to the murder scene and discover the entrepreneur, to which the pistol had belonged to, is dead.

Eva had stolen Giulia’s fathers’ pistol during the time she was at Giulia’s house before killing Giulia’s father. Eva had started killing when a boy in a red scarf wanted her money had threatened her with an old yellow Stanley knife. She struck him in the face and kicked him so forceful that she had shut him up forever. She then picked up the knife from next to the body and had put it in her pocket, almost like a war trophy. From that day she hasn’t been able to stop. She does it for herself, just to live. She needs to spill blood in order to cleanse herself, to clean up the world. Eva tells herself that she does it for all of womankind.

Marco was arrested for selling drugs to children. He had also slept with several Romanian girls in exchange for drugs and he killed a minor, without showing any pity. He had thought that he could treat any girl like he treated his fiancée, but he was wrong as the girl who had kept him hidden in her home grassed him up after Marco had given her a beating. Marco had threatened her and hit her.

Displace/Non-place: 6th Year Semester One Portfolio  

The displace/Non-place studio unit takes a less conventional approach to design. The non-linear approach comprises of multiple unrelated ass...

Read more
Read more
Similar to
Popular now
Just for you