Who Is Watching?

N0. 001/2019

WHO IS WATCHING?

Estefania Becerril

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chapter 1 Site Visit Site Writing Voyeurism and Interaction Switch House and Neobank Side

chapter 2 Initial Ideas Fix Rooms Opium Dens in Victorian Britain Drug Safety Testing

chapter 3 Choosing a Site Walking Trough the City New Discovery

chapter 4 A Rake’s Progress Addiction: What is it?

Bingo Surveillance

ENTS

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chapter 5 Site and area The Intervention Maquette Conclusion

chapter 6 Essays Mark AugĂŠ- Fom Place to Non Place Panita Karamanea- The Landscape, Memory and Contemporary Design.

Basia SliwinskaTransnational embodied belonging within edge habitats.

CONT-

THE INTRODUCTION

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This field book is going to show the process and development of a series of tasks that will end up in the intervention of Camden Mecca bingo hall. Throughout this book, you will be able to see the process of the development of my ideas and topics. First the study of the Serpentine Pavilion 2018 designed by Mexican architect Frida Escobedo and how the study of this space inspire me and lead me to choose voyeurism and interaction as a topic I tried to develop and work throughout the whole book.

My curiosity also took me to investigate the topic of selfinjecting rooms, and drug safety testing and how this studies turned into looking more about addictions in general and eventually finding a site to work and build my intervention.

The purpose of this book is to guide you through the inspiration and the development of my intervention on Camden bingo hall, and how this project tries to raise awareness about the topic of addictions by opening spaces and expose the activities of gamblers.

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chapter Chapter one is the beginning of my journey where ill visit the 2018 Serpentine Pavilion and found the inspiration that will guide my work through out this field book. In this chapter we will encounter site writing, my chosen topic: Voyeurism and Interaction, rapid sketches done at the pavilion, sections inspired by my chosen words, my take on public and private spaces, the discovery of a new site applying this new knowledge: The Switch House and Neobank side and how all of this research spiked my curiosity and turned me into a voyeur, to continue evolving this topic.

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1

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site visit S E R P E N T I N E P AV I L L I O N

Location: Kensington Gadens, London, UK Architect: Frida Escovedo Year: 2018 Status: 15 Jun 2018 to 7 Oct 2018

Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, was commissioned to design the Serpentine Pavilion 2018.

Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design drew on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.

British-made materials were used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – was here composed of a lattice of cement roof tiles that diffused the view out into the park, transforming it into a vibrant blur of greens and blues from within.

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Visiting this pavilion, I can’t help to notice that even though I’m miles away from home, this place in a weird way reminds me of home. I quickly realize it’s because of the structure, back in my country due to the weather this type of structures called celosia can be found everywhere. And now being in this space I have memories of my home country.

I notice how people are interacting with the space. I notice that many of the visitors, including me are using the structure made of rooftiles to peek trough it. This space creates spaces that let you see but not being seen.

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site witting

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What I feel when I first enter the pavilion is entering to a private space but even though I’m in a space that has divisions walls to separate the spaces, I still feel like I’m being watch. The materials that is being used are concrete roof tiles, and used to create a breeze wall, which I find very interesting because even though this type of wall is very popular back home, I believe this is the first time I’m seeing this here. This breeze wall produces shadows when other people walk beside it, although I’m trying to appreciate the space I can’t help but to acknowledge that the place is full of people and I can see them and feel their presence.

The ceiling because of the material used mirror produce this type of reflections, as well as the water mirror, this reflection makes me also be aware of the other people in the space, I can see them reflecting in this material and I’m sure they see me too.

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RAPID SECTIONS AND INTERACTION

This rapid sketch tries to represent how people are utilizing the space looking though the wall to see what’s on the other side.

Drawing representing the materials used to make the wall, the main materials are concrete roof tiles and steal. These materials are produce here in the

Façade of the serpentine pavilion.

This drawing represents the scale by choosing to show people in the space and showing the building in the back.

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VOYEU R I S M AND INTERACTION

Architecture create s spatial relationships that help us watch without being watched.

Buildings, cities and spaces are designed to create spatial relationships, but with these come situations that have not been intended for in the first place. We can experience that in the serpentine pavilion and this short video intents to explore voyeurism and interaction. I through this short video I want to represent how the public can be passive to the voyeuristic situations design and architecture has put them in.

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SECTIONS AND INTERACTION

Here I present three section from the serpentine pavilion. This have the purpose to represent voyeurism and interaction within the pavilion.

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SWITCH HOUSE NEOBANK SIDE

The site that I have chosen to continue with my investigation about voyeurism and interaction is the Switch House the extension to the Tate modern and the neo bankside, with both buildings caught my attention, due to the interaction that they have with each other, one is a public space and the other private.

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Switch Tower

The Switch House opened 16 years after the former Bankside Power Station was reopened to become the world’s most popular museum of modern and contemporary art.

Designed by internationally-renowned architects Herzog & de Meuron, the extension adds 60% more space to be used for live art, installations and film.

It has been touted as Britain’s most important

new

cultural

building

for

almost two decades.

A public terrace on the 10th floor offers 360-degree panoramic views of London.

Since its completion, the Switch House viewing platform has been mired in some

controversy

as

occupants

of

the neighbouring Neo Bankside have complained about their loss of privacy.

In April 2017, residents of the RSHPdesigned Neo Bankside began a legal bid trying to force the shutting down of part of the viewing platform. Five residents lodged papers at the High Court seeking an injunction. They claim that the Tate Modern is in breach of their human rights due to ‘near constant surveillance’ from visitors on the platform who are able to look directly into their apartments.

NEO BANKSIDE

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London firm Rogers Stirk Harbour + Partners designed NEO Bankside, a set of six-sided apartment blocks beside the Tate Modern art gallery on the edge of the River Thames.

NEO Bankside comprises 217 residential units in four buildings ranging from 12 to 24 storeys. The four hexagonal pavilions have been arranged to provide residents with generous accommodation, stunning views and maximum daylight. The steel and glass pavilions take their cues from the immediate context.

The overall design hints at the former industrial heritage of the area during the 19th and 20th centuries, responding in

a

contemporary

language

which

reinterprets the colouration and materials of the local architectural character. The steel and glass pavilions fit perfectly into the Bankside landscape; oxide reds of the Winter Gardens echo those of Tate Modern and nearby Blackfriars Bridge, while the exterior’s timber clad panels and window louvres give the building a warm, residential feeling.

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VOYEU R I S M Im curious to investigate whether a significant part of voyeurism only exist because of the architecture; the way space is created, its materiality and lighting are all elements that a designer has control over in the design.

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VOYEURS.

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chapter Chapter two talks about the curiosity I have about the topic of drug use and misuse in Britain, and how this led me to find this spaces called “fix rooms�, with this I make reference to opium dens that existed in the 19th century, and finally I discuss about drug safety testing which is a new harm reduction proposal that has being gaining attention in recent years in the UK. I relate this chapter to the previous one with the idea of how private activities like the use of drugs come together to create a public space. The idea of voyeurism is still present trough the curiosity of seeing what is not supposed to be seen.

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Initial Ideas

DRUG MISSUSE IN THE UK

Britain is now considered the drugs capital of Europe, with higher levels of cocaine and amphetamine abuse than anywhere else in the EU. Almost one in 11 adults said they’d used an illegal drug in the last year, which gives a sense of the scale.

According to the EU survey, 6.7 out of every 1,000 people aged 15 to 64 in the UK are ‘problem’ drug users - meaning they inject drugs or have long-term

cocaine, opiate or amphetamine habits.

Britain had the second-highest level of cannabis use, after France, with 16.6 per cent of young adults admitting using it in the past year.

And 11 per cent of people in the UK have tried amphetamines compared with less than 6 per cent in other countries.

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FIX ROOM F I X R O O M , S H O O T I N G G A L L E R Y, S A F E INJECTION ROOM, DCR ( D R U G C O N S U M T I O N R O O M) .

A space where people can bring in illicit drugs and inject or use them without fear of harassment and under medical supervision, in case of an overdose. Proponents say such spaces help people use in safer ways.

And, they argue that those sites are often connected to recovery services where drug users can get help when they are ready.

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fix rooms

AROUND THE WORLD

Injecting rooms have been around for more than 30 years. The first drug consumption room (DCR) opened in Switzerland in 1986. There exist now around 90 supervised injection facilities worldwide; these spaces exist officially in several European countries, including Switzerland, the Netherlands, Germany, Denmark, and Spain, as well as in Canada and Australia.

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Fhe Cactus safe injection site in Montreal, Canada

Supervised drug injection sites provide provide sterile equipment and information about drugs and basic health care.

European Monitoring Centre for Drugs and Drug Addiction (EMCDDA) in 2018 concluded that safe injection sites led to “safer use for clients” and “wider health and public order benefits.”

Among those benefits: reductions in risky behavior that can lead to HIV or hepatitis C transmission, drops in drug-related deaths and emergency service calls related to overdoses, and greater uptake in drug addiction treatment, including highly effective

medications for opioid addiction.

Studies have shown that with the use of this type of spaces the drug consumption has changed from drug users sitting around in the streets, shooting drugs in public to eliminate up to 90% of the outdoor drug use.

In this type of space there has been hundreds of overdose situations, but none has been fatal.

The plan for the UK’s first safer injecting facility, a centre where users can take drugs bought on the street to consume under supervision, are currently on hold because a law change is needed before it can go ahead.

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OPIUM DENS I N V I C T O R I A N B R I TA I N “There were opium dens where one could buy oblivion, dens of horror where the memory of old sins could be destroyed by the madness of sins that were new.” Oscar Wilde in his novel, ‘The Picture of Dorian Gray’ (1891).

Opium smokers in the East End of London, London Illustrated News, 1874

An opium den was an establishment where opium was sold and smoked.

Opium dens were prevalent in many parts of the world in the 19th century, most notably China, Southeast Asia, North America and France.

Throughout the West, opium dens were frequented by and associated with the Chinese, because the establishments were usually run by Chinese who supplied the opium as well as prepared it for visiting nonChinese smokers.

Victorian London’s reputation as a centre of opium smoking is based on the belief of literary fiction over historical fact. The London press, along with popular British authors of the day, were fond of portraying London’s Limehouse district as an opium-drenched pit of danger and mystery.

In the 1800s a small Chinese community settled in the established slum of Limehouse in London’s docklands, an area of backstreet pubs, brothels and opium dens. These dens catered mainly for seamen who had become addicted to the drug when overseas.

The India-China opium trade was very important to the British economy.

Britain had fought two wars in the mid 19th century known as the ‘Opium Wars’, ostensibly in support of free trade against Chinese restrictions but in reality because of the immense profits to be made in the trading of opium. Since the British captured Calcutta in 1756, the cultivation of poppies for opium had been actively encouraged by the British and the trade formed an important part of India’s (and the East India Company’s) economy.

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Laudanum was a popular painkiller and relaxant containing 10% opium

Rare Photograph of two women outside Ah Sing’s Opium den from the London

Opium and other narcotic drugs played an important part in Victorian life. Shocking though it might be to us in the 21st century, in Victorian times it was possible to walk into a chemist and buy, without prescription, laudanum, cocaine and even arsenic.

Opium preparations were sold freely in towns and country markets, indeed the consumption of opium was just as popular in the country as it was in urban areas.

immortalised this opium den in east London, identifying it as part of the fabric-weave of Victorian London. The establishment “run by the Chinaman” described in The Mystery of Edwin Drood, was based on a real opium den. It was run by Ah Sing, or John Johnston as he was known to his clients, an immigrant from Amoy in China. Rare photographs of the Chinese opium scene in East London do exist

The most popular preparation was laudanum, an alcoholic herbal mixture containing 10% opium. Called the ‘aspirin of the nineteenth century,’ laudanum was a popular painkiller and relaxant, recommended for all sorts of ailments including coughs, rheumatism, ‘women’s troubles’ and also, perhaps most disturbingly, as a soporific for babies and young children. And as twenty or twentyfive drops of laudanum could be bought for just a penny, it was also affordable.

Many notable Victorians are known to have used laudanum as a painkiller.

Authors, poets and writers such as Charles Dickens, Elizabeth Barrett Browning, Samuel Taylor Coleridge, Elizabeth Gaskell and George Eliot were users of laudanum, Dickens is famous for his portrayal and caricature of nineteenth-century London. So it is significant that he has

The 1868 Pharmacy Act attempted to control the sale and supply of opiumbased preparations by ensuring that they could only be sold by registered chemists. However this was largely ineffective, as there was no limit on the amount the chemist could sell to the public.

The Victorian attitude to opium was complex. The middle and upper classes saw the heavy use of laudanum among the lower classes as ‘misuse’ of the drug; however their own use of opiates was seen as no more than a ‘habit’.

In 1888 Benjamin Broomhall formed the “Christian Union for the Severance of the British Empire with the Opium Traffic”. The anti-opium movement finally won a significant victory in 1910 when after much lobbying, Britain agreed to dismantle the IndiaChina opium trade.

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drug safety testing

On-site drug safety testing or ‘drug checking’ services that analyses and inform individual service users of the contents of illegal drugs have existed for five decades. In recent years drug safety testing has received increased attention in the UK, Australasia and North America as new technologies and new psychoactive drugs have emerged, making on-site testing more feasible, more accurate and more pertinent.

In the UK, drug safety testing is one of a number of local harm reduction proposals that have been positively received by police, public and press.

This is against a backdrop of the highest drug-related death rates on record and a wider context of fiscal austerity, political populism and conservative localism facilitating a new wave of pragmatic and innovative policing and public health initiatives.

#TIME TO TEST

related organizations

The Loop is a not for profit Community Interest Company established in 2013 which provides drug safety testing, welfare and harm reduction services at nightclubs, festivals and other leisure events.

They also provide staff training on drugs awareness, in-house welfare service delivery, the prevention of drug related harm at events, and the delivery of ethical ‘front of house’ drug safety testing services

Release is the national centre of expertise on drugs and drugs law. The organization, founded in 1967, is an independent and registered charity.

Through their services the team provides free non-judgmental, specialist advice and information to the public and professionals on issues related to drug use and to drug laws.

Release believes in a just and fair society where drug policies should reduce the harms associated with drugs, and where those who use drugs are treated based on principles of human rights, dignity and equality.

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THE CURIOUS CASE OF DRUG SAFETY TESTING Talk by The Centre for Addictive Behaviours Research London South Bank University 5 December 2018 Omnihictur? Milit eos ut landellam rem sequis am eum quia expliatiis es etur anditatus endessitio inum faccum ant im iure dolenestion pere sanderem ipiet fugiti rehentin posantemquo blab ipsanih ilitatatium hari dolore oditin natiur antur, nos imostrum aute periae post, inctatquo iur?

Solut vellum eatus aces aut por sum int explaccum sed quia esectecte molorup taeperum fugitiatem ratinto tationsequia cum et aliquiberios velest, odis autem incto es voluptam venisque nonecatiate conseca ectorem ullaces equamus culluptur, sit et vellita conseque serum ne vellabo et aliquiberios velest, odis autem incto es voluptam venisque nonecatiate conseca ectorem ullaces equamus culluptur, sit et vellita conseque serum ne vellabo renihil magnati cus et pro

vidunt et aliaerum volor alis ipsapienis et quunt quaerspera con nem. Ut fugia dit min corpos mod quatemquatur re non eatempe ribus, niscium lita nonsedit porum non natur sequia veribus rererum, cus num que eatiunt, veligni enissit alique illuptaes doluptis quiatum eturita erovid eatibus, id et latem quiae venieni hitestiorro que doluptaque volorum quo tem.

Ita samus pel et officim usandan tiorepu dipient.

Us, delest aliquam, nis es dictio to ilitaspe excese qui officiandis ut ut aliquidem assitia ssusantia cor rehenit, qui quia nu renihil magnati cus et pro vidunt et aliaerum volor alis ipsapienis et quunt quaerspera con nem. Ut fugia dit min corpos mod quatemquatur re non eatempe ribus, niscium lita

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Fiona Measham, Professor of Criminology, Durham University, co-Director of The Loop, & The Loop Safety Testing

Team Loop are testing substances of concern in Durham

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chapter In chapter three I embark in a journey of finding a site to develop my project. Fist I decide in which part of the city I’d like to develop this project. After choosing the borough of Camden I walk through it to visit a few sites where medical as well as mental help is provided to people dealing with drug abuse. Through my walks I come to an unexpected site “Mecca Bingo Hall”. .

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3

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CHOOSING A SITE BOROUGHS IN LONDON WITH THE HIGHEST DRUG PROBLEMS

Three London boroughs are among the ten worst places in the UK for drugs.

Islington, Camden and Tower Hamlets were found to have some of the biggest drug problems in the country, based on people dying or being taken to hospital.

According to the Mirror, 1,513 drug-related crimes were committed in Tower Hamlets between 2015 and 2016.

Islington was found to be the fourth worst place in the country for drug abuse, topped by Middlesbrough, Hartlepool and Liverpool.

Camden was rated fifth and Tower Hamlets eighth.

CAMDEN

The London Borough of Camden is a borough in north west London, and forms part of Inner London.

The southern part of the borough is in the Central Activities Zone including Holborn, Bloomsbury and King’s Cross. The northern part of the borough includes the less densely developed areas of Hampstead, Hampstead Heath and Kentish Town.

Camden is among the UK’s ten worst places for drug abuse.

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SITES WA L K T R O U G H BOROUGH

THE

CAMDEN

Fig. Map of the route i took to visit this centers (about a 30 min walk)

For my research I wanted to visit three sites: new horizon youth centre, C&I and Adfam, they are located in the Camden borough, and all of them provide help to everyone that is dealing with drug use/misuse.

C&I Care and improvement is an NHS trust providing treatment and social care for mental ill-health and substance in adults missuse in partnership with Camden and islington councils.

Grip and club drugs service South Camden drug service Address The Margarete Centre 108 Hampstead road London NW 2LB

NEW HORIZON YOUTH CENTRE Founded in 1967 by Lord Longford to address the needs of young people who were involved in drug missuse in the west end of London, new horizon youth centre continues today to work with the most vulnerable and at-risk young people.

Address 68 Chalton St, London NW 1JR

Adfam Adfam was founded in 1984 by the parent of a heroin addict who could not find the support they needed.

Over the past 34 years the group has evolved from the small support group into the national infrastructure body working to improve life for families affected by drugs and alcohol use.

Adress 7-8 Early Mews Arlington Rd London NW1 7H

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WA L K I N G T R O U G H THE CITY

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MECCA BINGO HALL...

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N E W D I S C O V E RY

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Through my walks in the city I came across this space called “Mecca Bingo”, I found this place interesting, it’s something new for me, back in my country we don’t have anything like this. I start to think this could be my site, even though it’s not directly related to the topic of drug use and misuse I was researching before, I can relate this space to gambling. Gambling and drugs share the common factor of being different types of addictions.

I believe that by choosing this as my site I can continue with the narrative I have been working through out this field book.

CHANGE OF PLANS?

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chapter Chapter four starts by referencing the paintings of English artist William Hogarth, through the painting we see how addictions are being portrait. After this I start looking into what are addictions, and specially looking into gambling. Since the site I have chosen is a bingo hall, I investigate what bingo is and the relationship it has with this country. Finally, this chapter shows my firsts interaction with the space trough a series of photographs, site writing and interviews with people I encounter while playing bingo.

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A RAKE'S PROGRESS Id like to start chapter four by looking into the paintings of english artist William Hogarth. Painted in 1733, Rake’s Progress tells the story of the fictional Tom Rakewell in a series of eight paintings. Tom inherits a fortune from his father and comes to London to follow a path of vice and destruction. He spends all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital.

The original paintings are in the collection of Sir John Soane’s Museum in London, where they are normally on display.

1. The Heir - Tom finds new wealth

In this scene, we see Tom Rakewell. he has just inherited a fortune following the death of his father, while the servants mourn, he is being measured for new clothes.

He now rejects the hand of his pregnant fiancée, whom he had promised to marry.

Behind Tom, an inheritance lawyer steals gold coins, while an upholsterer attaching fabric to the walls finds a hiding place for money which tumbles out servants find hidden treasures in the fireplace and money behind wall hangings. A starved cat looks for food in a chest full of silver.

2. The Levée - Tom rises in society

In the second painting, Tom holds a morning reception in his palatial lodgings in London, attended by musicians and other hangers-on all dressed in expensive costumes.

Several visitors arrive to offer their services: a jockey, a dancing-master (with violin), a landscape gardener (holding a plan), a poet, a tailor, and a musician (seated at the harpsichord, believed to be Hogarth’s great rival, Handel.

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3. The Orgy - The descent begins

The scene takes place at the Rose Tavern, a famous brothel in Covent Garden. It’s three o’clock in the morning and Tom, drunk, enjoys the attentions of prostitutes which are also stealing the drunken Tom’s watch. On the floor at bottom right is a night watchman’s staff and lantern — souvenirs of Tom’s ‘wild night’ on the town.

4. The Arrest - The party ends

Tom has squandered his fortune. On the way to the Queen’s birthday reception at St James’ Palace, he narrowly escapes arrest for debt. He is saved by the loyal Sarah Young, now a milliner, who pays his bail money with her meagre earnings.

It is Queen Caroline’s birthday – also St David’s Day (1st March) – the two bailiffs wear leeks in their hats to mark the occasion.

56 5. The Marriage - Tom’s desperate sham

6. The Gaming House - Tom loses everything

In the fifth, Impoverished, but accustomed to a life of luxury and excess,Tom attempts to salvage his fortune by marrying a rich but aged and ugly old maid at St Marylebone. In the background, Sarah arrives, holding their child while her indignant mother struggles with a guest.

It looks as though Tom’s eyes are already upon the pretty maid to his new wife’s left during the nuptials.

The sixth painting shows Tom pleading for the assistance of the Almighty in a gambling den at White’s club in Soho after losing his reacquired wealth Only two croupiers have noticed the smoke curling in from behind the panelling. Everyone else gambles on, unaware of the impending danger.

7. The Prison - The beginning of Tom’s end

8. The Madhouse - The end of the line

All is lost by the seventh painting, and Tom is incarcerated in the notorious Fleet debtors’ prison. Tom has sunk into despair, and is exhibiting the first signs of impending madness. The beer-boy harasses him for payment while the gaoler demands that his weekly bill is paid. Tom’s wife scolds him for having squandered her fortune.

Sarah Young, visiting with their child, has fainted from distress at the scene.

Finally insane and violent, in the eighth painting he ends his days in Bethlem Hospital or Bedlam as it was known, London’s infamous mental asylum. Only Sarah Young is there to comfort him, but Rakewell continues to ignore her.

The inmates around him – a tailor, a musician, an astronomer and an archbishop – are suffering various delusions. One man thinks he is a king, but is naked, carrying a straw crown and sceptre.

Bedlam is open to the public (as indeed it really was), and two fashionable ladies are sightseeing – for them, it’s an amusing day out, observing the poor suffering lunatics.

Since my journey started by the curiosity to investigate fix rooms and drug use and misuse I went in to investigate sites where medical and mental health is provided and trough my walks in the borough of Camden to visit them, I came to find Mecca Bingo Hall. This is such an exciting site due to the fact it was the first time I encounter and realized these places existed in this country.

I choose these paintings as a reference as its shows and represents the topic of addictions represented in different forms: money, alcohol, sex, gambling and how without proper help they can develop into madness.

That’s why this chapter will talk on the issue of addictions, Gambling, Bingo and Mecca Bingo Hall.

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ADDICTION: W H AT I S I T ?

1 IN 3 PEOPLE ARE ADDICTED TO SOMETHING. Addiction is defined as not having control over doing, taking or using something to the point where it could be harmful to you.

Addiction is most commonly associated with gambling, drugs, alcohol and nicotine, but it’s possible to be addicted to just about anything

There are lots of reasons why addictions begin. In the case of drugs, alcohol and nicotine, these substances affect the way you feel, both physically and mentally. These feelings can be enjoyable and create a powerful urge to use the substances again.

Gambling may result in a similar mental “high” after a win, followed by a strong urge to try again and recreate that feeling.

This can develop into a habit that becomes very hard to stop.

Being addicted to something means that not having it causes withdrawal symptoms, or a “come down”. Because this can be unpleasant, it’s easier to carry on having or doing what you crave, and so the cycle continues.

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Often, an addiction gets out of control because you need more and more to satisfy a craving and achieve the “high�.

The strain of managing an addiction can seriously damage your work life and relationships. In the case of substance misuse (for example, drugs and alcohol), an addiction can have serious psychological and physical effects.

Some studies suggest addiction is genetic, but environmental factors, such as being around other people with addictions, are also thought to increase the risk.

An addiction can be a way of blocking out difficult issues. Unemployment and poverty can trigger addiction, along with stress and emotional or professional pressure.

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B E G A M B L E AWA R E

Gambling can affect anyone. It can happen at any age, to males or females, and to people from any ethnic background.

Studies have shown that you are more likely to develop a problem if you have a family history of problem gambling and if you started gambling at an early age.

Gambling has been called the ‘hidden addiction’, meaning that unlike other addictions such as alcohol or drug addiction, the physical effects of the problem are very difficult to see. You are unlikely to know that someone has a gambling problem unless they tell you.

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Keep It fun is a rank Group’s dedicated responsible gabling information and website.

They believe that gabling is something adults should enjoy as part of their wider leisure entertainment choises. The wesite and information that they provide is to help to play responsibly and is not just for those who have a gambling problem or are perhaps ,most at risk of developing one. It is information for everyone who wished to gamble as part of their leisure experiences. It also offer information on where to find help and advice if you fell that you are not in control of your gabling and need specialist help and support or if you are concerned friend or family member.

Gambling therapy is a free app providing a collection of tools and information to help you identify and overcome problem gambling.

Problem gambling (sometimes referred to as gambling addiction) is an urge to gamble despite mounting negative consequences. The Gambling Therapy app has been designed to help those that are struggling with problem gambling by providing easy to access information and straightforward tools.

THE GAME OF BINGO It is fascinating the story of Britain’s turbulent love affair with bingo. On the one hand, it’s a story of decline - of closing clubs, and a bingo industry left behind as new activities and attractions compete for our attention.

On the other hand, though, it’s also a story of hope - as the industry comes together to champion bingo’s social role at the heart of our communities, and to delight bingo lovers with new and exciting ways of playing the game.

1600 bingo venues in the uk. in 1988 the first out of town purpose built bingo

1960’s

Bingo became legalised form of gambling. UK club membership had reached 14 million.

halls appeared.

1980’s

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the first bingo hall

1990’s

opened in seven years in the uk.

The National lottery, internet and high taxes

A brighter future for the traditional bingo hall?

2016

saw a drop in traditional bingo halls.

Bingo hasn’t always been a dying breed. In the 60s, bingo – rather than X Factor – was the opiate of the masses. After gambling was liberalised in 1960, Britain’s first bingo halls sprung to life. By the mid-60s, a quarter of the population was playing bingo, and the number of club members had reached 14 million. In many ways, the golden age of bingo marked the dawning of mass leisure and the nighttime economy. When a worker walked out the factory gates, he was freer to decide how he passed his free time than he’d ever been before.

As pastimes like bingo carved out a new sphere in the life-work realm, leisure and recreation – things we now take for granted – became increasingly accessible to growing numbers.

Bingo is still a hell of a lot more popular today than most of us would imagine.

Believe it or not, more Brits play bingo than attend football matches and church.

In 2011, three million customers made 49 million visits to bingo in the UK.

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SURVEILLANCE

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BINGO NIGHT

“time doesnt pass by here”

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Saturday night and I’m at the bingo hall, is the first time I’m in a place like this. The color choice for the interiors is very interesting, bright red, I suppose it has something to do with theory of color. Red, blue and purple seats, not very comfortable by the way.

Something else interesting that I can notice is the lighting.

I came here at 6:30 pm, the next game starts at 7:00 pm.

Game starts I have no idea of how long it’s taking but here seems like the time don’t passes by. Game is finally over it’s ten past 8:00 pm and the only way you can tell it’s because everyone starts standing up. The place looks the same this light makes you feel like there’s still light outside. You can be here all day and wont even notice due to the lighting. “Time doesn’t pass by here.”

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Even though its supposed to be one of the busiest nights of the week there’s barely anyone here.

I notice that most of the attendees are mostly elderly women, next there’s a few men too you can tell they are regulars because they all say hi to each other and finally there’s a few young folks, that I can easily tell are here because of the cheap alcohol, im guessing they are going to play tonight and never come back again.

Roughly guessing this place can hold 500 people.

And tonight, there’s not even 100. I can’t help to wonder how a place like this would feel when full.

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S TAT E M E N T 1

MECCA BINGO

“The caller is calling. two and five, 25; six and two, 62; four and six, 46, on its own, number seven … There is something entrancing about listening to the numbers.”

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Saturday night, Camden, north London,

two, 62; four and six, 46, on its own, num-

and I am outside an

ber seven … There is something entrancing

industrial-looking

building down a side street. Its only 7.30pm.

about listening to the numbers.

must people of my age are at gigs or getting ready to go clubbing, but me, I’m going to

I’m struggling to keep up. Each card has six

play bingo for the first time.

grids, by the time I’ve found the number and dabbed it, they are calling the next one.

Traditional bingo has been stricken in the

Maybe I should have chosen a tablet that

past 20 years or so: by the national lottery;

does everything for me. But doesn’t that

by scratch cards; by the smoking ban (60%

take all the skill and fun out of it?

of bingo players smoked, and half of them stopped coming when the ban was intro-

Once the game restarts, it’s eyes down, and

duced); and by the rise of

the talking stops. Silence descends over the

online bingo.

vast space, apart from a shout from someOnly twenty years ago, there were about

one and a groan of disappointment from ev-

1,200 bingo clubs in the country. Just before

eryone else, then it’s time to go again.

the smoking ban, 600. Today, there are 351.

And only 5 left in London.

The manager tells me that bingo is a great activity to get the heart rate going, “it’s the

The average age is 55, and women outnum-

excitement when you’re down to one num-

ber men by four to one. it’s a safe environ-

ber left” he says. But I can’t relate (possibly

ment, “membership only.”

because I never got anywhere near having

The caller is calling. two and five, 25; six and

only one number left).

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members of the public

S TAT E M E N T 1

M AT T

“we can’t do anything about that, its not our job, if we know the person we might take them aside and say something, but that’s it” It’s a Thursday morning, and bingo hall seems quiet, so I decide to talk to one of the employees. His name is Matt, 40, I ask if he has time to answer some of my questions, “happy to help, but we might get interrupted since its quite busy” he says, but I can’t really believe it since there’s barely anyone here.

“I’ve been working on this bingo hall for 5 years, I was transferred when the mecca bingo in Hackney closed” he says.

I asked about the demographics of people that come, “mainly elderly woman, its known that bingo is a women game, men have pubs and football, and young people have other forms to entertain themselves that’s why they don’t come, sometimes we have young members coming but they only come once and never again”.

Why do you think bingo halls are

not popular anymore, I matt, “ they used to be really popular you know?

What’s happening is that people now can play online, so they don’t have to come anymore. Also, the smoking ban had something to do with it.

I feel hesitant about asking about gambling addictions in places like this, but that’s my main topic of research, so I have to. “I’m curious to know if you have ever noticed some sort of gambling problem with the people coming here” I say. “oh yes I have, we have some brochures about that (yes I found mine in the toilet), but we can’t really do anything about that, its not our job, if we know the person we might take them aside and say something, but that’s pretty much it” I wonder if there’s any other way to approach this problem is places like this.

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S TAT E M E N T 2

LAURA

“Bingo halls provide an irreplaceable sense of community and camaraderie for its members” Walking through the bingo hall with my camera I notice an old lady looking at me with curiosity, it could be maybe because I’m the only one in their 20s in this place or perhaps she just wants to know what I’m doing taking photos.

When the morning session is over, she comes to talk to me. Her name is Laura, 81, she asks what I’m doing, and I just say I’m working on a research of bingo halls. What do you think about bingo halls I ask, “they are great, coming here got me out of the house, without them we would be sitting indoors day and night, and I don’t think that’s good for anyone” she says “even though I don’t win, I just enjoy playing bingo. It’s not about winning, it’s about the company when my husband died the only place I

wanted to come was here. I’d come in, say hi to everybody and even get a cuddle. It’s like a big family here.”

A game of chance, Laura swears there’s no skill involved: “It’s all down to luck, and I’m not a lucky person. (i can relate to her on this).

Looking around I’m suddenly struck by the overwhelming number of women. I even notice there are more toilets for women than men. According to Laura, “Bingo’s always been known as a woman’s game. Men have got the pub and football and betting.”

What I got from Laura is that bingo halls provide an irreplaceable sense of community and camaraderie for its members.

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chapter Chapter five starts by talking about the site, the location and the area surrounding it. For what I get from the location and by the talks I had with the people that attend the Bingo Hall is that this place is in such a rich area surrounded by a diverse community.

Later in the chapter I develop my intervention, which main purpose is to create awareness by exposing what is happening in the inside of the bingo by creating spaces where the member of the community can use for different purposes.

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SITE

AND AREA Adress 180 Arlington Road Camden Town, London NW1 7HL

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the cavendish school

camden house (probation office)

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the good mixer

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made in brasil

camden town underground station

odeon

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the intervention WHO IS WATCHING?

From my research of the topic of addictions, and bingo, the site and the talks I’ve had with the people around the Mecca Bingo, I came to the conclusion that the intervention to this space needs create awareness of addictions in this case gambling by exposing what is happening in the Bingo Hall and create away where the community will get together in one space.

EXISTING FLOOR PLAN

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This drawing is the copyright of Roberts Limbrick Ltd and should not be reproduced in whole or in part or used in any manner whatsoever without their written permission.

Do Not scale off this drawing, use only figured dimensions and report any discrepancies or omissions to the Architect immediately.

rev. date

description

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project

180 ARLINGTON ROAD CAMDEN TOWN LONDON NW1 7HL client

THE RANK GROUP GAMING drawing

EXISTING GROUND FLOOR PLAN

status

PLANNING ROBERTS LIMBRICK LTD The Carriage Building, Bruton Way, Gloucester, GL1 1DG

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The Estates Office, 25 - 26 Gold Tops, Newport, NP20 4PG

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T. 03333 405 500 mail@robertslimbrick.com www. robertslimbrick.com

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Registered Office : England No. 06658029 scale date

1/100 @ A1 19/04/17

author

DNEJ

drg no.

project

rev.

8571 PL002

EXISTING ELEVATIONS

This drawing is the copyright of Roberts Limbrick Ltd and should not be reproduced in whole or in part or used in any manner whatsoever without their written permission.

Do Not scale off this drawing, use only figured dimensions and report any discrepancies or omissions to the Architect immediately.

BINGO

MM E E CC CC AA

M E C C A

BINGO

rev. date

description

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ELEVATION A

2 2 10

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to 8 19

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THE RANK GROUP GAMING drawing

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ROBERTS LIMBRICK LTD The Carriage Building, Bruton Way, Gloucester, GL1 1DG The Estates Office, 25 - 26 Gold Tops, Newport, NP20 4PG T. 03333 405 500 mail@robertslimbrick.com www. robertslimbrick.com Registered Office : England No. 06658029 scale date

0m

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1/100 @ A1 19/04/17

author

drg no.

8571 PL004

DNEJ rev.

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EXISTING AXONOMETRIC

This axonometric shows the magnitude of Bingo Hall. This places has only one entrance, reception, 2 counting rooms, administration storage, diverse emergency exists, toilets the main playing area and a bar/food area

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In this axonometric I highlighted what I think are the most important rooms on the site. The gambling area, bar/food area, storage, the administration and counting room next to it and another counting room and finally the sound room.

GAMBLING AREA STORAGE

COUNTING ROOM BAR/FOOD AREA

SOUND ROOM ADMINISTRATION AND COUNTING TOOM

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the intervention study maquette

For this study maquette I wanted to play with the volumes I intend to open in the space. I concluded that I want to open 3 different spaces throughout the bingo hall the three of the cutting through some of the main room inside the building like the counting rooms, the administration, bar/food area, and the main gambling area.

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second maquette For the second maquette the feedback I received was that the chosen colours weren’t t appropriate because there was no way to tell which one the intervention part was, I was advice to choose a different color to highlight this part. One more advice I had was that I was poorly made, the glue was very noticeable and because of the materials I choose to make this model it ended up looking very messy.

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D R AW I N G S The purpose of this intervention is to create awareness about the topic of addictions in this case about gambling. To be able to do that I’m linking my previous studying about voyeurism and apply that idea to this project.

The intervention consists in creating three openings in the site. Each of this has been chosen specifically due to their location, cutting trough key spaces such as the counting rooms, administration, sound room, bar/food area and going all the way to the playing area of the bingo hall.

This tree spaces consist of one side mirror walls, to create the opportunity to be able to observe people, but at the same time, it has pillars, that provide the opportunity to the visitor to see but not being seen.

PROPOSED AXONOMETRIC

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P I L L A R S

ONE WAY GLASS WALLS

DETAIL

PROPOSED FLOOR PLAN

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D R AW I N G S

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MAQUETTE The final maquette aims to demonstrate the openings made to the Mecca Bingo Hall in order to create awareness to the problem of gambling by exposing the activities that are happening in the inside, but also creating new spaces for the community around it to enjoy.

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CONCLUSION S U M M A RY

This field book has the purpose to narrate the journey I made where an idea was identified and was developed with a research base into an intervention. Since the first visit to the pavilion I was inspired by how design is able to create spaces where one is able to see but not being seen. To let out voyeuristic self be. I tried to carry this inspiration all the way through this first field book, I can say that some of the book where successful, but some others needed more work. All this knew knowledge I have about the topic and about myself will surely be useful in the next field book.

Id like to conclude this first field book by saying that I the possibilities are endless, and this was only a start to understand a subject. Through evolution of a topic a massive change can be made to a space and its identity.

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6 chapter Chapter six consist of a series of three essays, developed during the sessions of critical debates.

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MARC AUGÉ “FROM PLACE TO NON-PLACE”

Marc Augé is a French anthropologist whose studies aimed about the topics of mobilities and the exploration of globalization. Augés essay ‘Non-Places: Introduction to an Anthropology of Supermodernity’ considers the philosophical potential of non-places like supermarkets, motorways, airports and so on are defined by a constant transition and temporality. Augé’s has contributed to the understanding of global modernism and has developed many investigations about the topic worldwide.

In his essay, Marc Augé offers a theoretical framework to understand why we think the way we do about some specific places. He defines and explores on several terms. Modernity, as explained by J. Starobinski “the presence of the past in a present that supersedes it, but still lays claim to it.”

Augé’s essay describes in detail and places and spaces that most all of us can identify and feel like we’ve visited at least once in our life. The main topic of this essay is trying to define concepts such as ‘place,’ ‘space’ and ‘non-place’ corresponding to Auge’s opinion. The author explains and defines detail the feelings and emotions people encoun-

ter while using these words. By using a variety of examples, the author tries to reassure to all the readers that the definitions he’s giving are not just random, but something more important.

“If a place can be defined as relational, historical and concerned with identity, then a space which can not be defined as relational, or historical, or concerned with identity will be a non-place” (Augé, M. p 77-78, 1995).

Augé tries to interpret the concept of ‘place’ in the setting of supermodernity, for this, he first presents its definition during modernity, as Michel de Certeau has established it. Then later he proposes a definition of place as the contrary of space. He describes space as a “frequented place” (Augé, M. 79pp, 1995).

Consequently, a place can be understood as an empty geographical landmark (e.g., a street) which is yet to be filled with life (Augé, M. p. 81, 1995).

Augé introduces these new concepts for place and non-place as of examples of the shifting from modernity to Supermodernity. By doing this, he opposes to what Certeau’s has previously said of modernity: “interweaving of old and new” (Augé, M. p. 110, 1995).

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Fig. 1: Marc Augé

Modernity contains history and contemporaneity to be able to coexist, although sometimes history is moved into the background, it creates a starting point where new history is constructed. Supermodernity conceive ‘non-places’. It is a movement and It is based on excess: an excess of events in time, an overabundance of space, and the individualization of references. Supermodernity is independent of history and not as vast as modernity. It is the stepping up of history. As conferring to Augé, a ‘place’ is defined as a space that has history, it is concerned with an identity and its rational, then a ‘non-place’ is a space that cannot be determined by these terms. It is a space of anonymity, isolation, detachment and consumption in which nothing other than function, use, and reflection is applicable. These places are only meant to be temporary, not expected to be built upon, created, or have significant meaning.

Existing in one of these spaces temporarily distances one from the worries of

an environment and provides a sense of liberation, of empty-mindedness. Though somewhat definable, non-places are entirely subjective. For Augé in conclusion “our era is increasingly dominated by non-place, our existence doomed to solitude” (Augé, M p. 4, 1995).

An escalating portion of our lives is spent in supermarkets, shopping centres, airports, hotels, on the streets or in front of the TV, on our phones, laptops, and other machines. This invasion of the world of what Augé defines as ‘non-space’ results in a variation of awareness: something we identify, but only in a partial and incoherent manner. ‘Non-places’ are the opposite of places. They represent the fall of the public man and the rise of the self-obsessed man.

“The non-place is the opposite of utopia: it exists, and it does not contain organic society.” (Auge, M. p.111, 1995). .

100 There are a large number of this ‘non-places’ present in the essay: highways, train stations, supermarkets, streets, etc. One area where the cultural change regarding Supermodernity is mostly noticeable is on the roads, a place design for individual transit. Roads can be differentiated from streets; this ones are places where people meet, they talk, eat, shop, and walk.

“Clearly the word ‘non-place’ designates two complementary but distinct realities: spaces formed in relation to certain ends (transport, transit, commerce, leisure), and the relations that individuals have with these spaces.” (Augé, M. p 94, 1995).

By looking at the transition from streets to roads he exposes a turn to a more self-absorbed Supermodern society, this can mainly be seen in America. In Europe, the center of the majority of the cities is characterized by a arrangement of pedestrian-oriented streets. These types of roads create a meeting point for the communities, an uncommon event in we can no longer see in North America. Transport has also changed since these old cities

were designed, the western change towards an individualistic society ending in a car-centric transportation system plays a fundamental role in, as Augé describes, the stepping up of history, and thus the lack of streets. Los Angeles is renowned for being one of the most car-centric cities in the United States; it results challenging to travel by foot, bicycle or public transport, making it difficult to immerse the community as more than just a bystander. It is a city replete with ‘non-places,’ a Supermodern city. It is essential to consider the effect of non-places on the community and decide whether or not ethnology of solitude is the best next step in human history.

Augé tries not jump into conclusions ‘non-places’ and rather sees them as an ethnologist that has just found a new field of study to research. I believe It is a major issue to reconsider the effect on our communities of this so called ‘non-places’ and make a decision if the lifestyle of solitude is the next step in society.

Fig. 2: Heathrow Airport, Baggage Hall

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P A N I TA K A R A M A N E A T H E L A N D S C A P E , M E M O RY A N D C O N T E M P O R A RY D E S I G N Panita Karamanea, Born in Athens, is an architect, and landscape architect, she’s one of the founders of the architecture and landscape studio TOPIO7, she has been teaching since 2003 at the National Technical University of Athens and is now an assistant lecturer in the School of Architecture of Crete.

She has experience with landscape design projects and is known for winning a number of international and national competitions on landscape and public space, some of which were awarded, including a second prize in the Hellinikon Metropolitan Park, Athens.

Landscape, Memory and Contemporary Design touches on the subject of emphasizing the landscape and the importance of its parameters, tensions, and dynam-

ic that creates space in an ever-changing system of relationships. Karamanea doesn’t disclose her opinion, but rather uses a variety of references to explain her point.

Karamanea discuss that the architecture of landscape should be designed in a way that it represents the history and the memory of the place, but contemporary design techniques should be used at the same time to create a pleasant space for the attendees. Karamanea uses Auge’s theory about ‘places’ and ‘non-places’ to explain to us that when designing public areas, this should be carefully planned and a specific way that people will experience meaningful encounters and preserve the collective memory of the location.

Fig. 3 : TOPIO7, Katerina Andritsou, Panita Karamanea and Thanasis Polyzoidis.

Landscape architecture is considered as a window to understanding the dynamic nature of the elements, observing and adapt to the changing scenarios both physically and visually. Also, Landscape is highly considered as a platform to deliver more on current issues of sustainability, but it also equally focusses on culture, identity, and aesthetics. It is not just engrossed in providing to current issues of sustainability but is also similarly enquiring regarding culture, integrity, and aesthetics.

In this text conceptual approaches to the landscape are split into two different parts: · Firstly, theoretical proposals to a landscape as which are linked to a specific area, memory, and identity, and explores the concepts of genius loci and collective memory. · Lastly, the essay reviews three case studies professional and educational exemplars.

Is it possible for landscape design to rethink in a contemporary way an approach to revive the past and reveal the traces left

in a historical or archeological place? How 103 would memory, as a collective process, inflect our perception of landscape and influence the intervention design?

Site 1- Eleftherias Square, Thessaloniki, Greece. “Urbanity, History and Memory are strongly attached to this place.”

(Karamanea P. p.120, 2015). Due to the fact, there is a dark past, in 1917 there was a great fire which damaged the city drastically. Eleftherias Square witnessed tragic events during the 2 World Wars. Contrasting to that, the start of the 20thCentury the site was known as an urban space of leisure.The memory of the site became tarnished, it became considered a ‘cursed place’ even though the square is based in front of a beautiful natured waterfront. To respect the history of the site, the void from the damage is left in the centre of the square now surrounded by a barrier of trees and small gardens. A space where people come and socialise but also can sit and reflect on the past.

Fig. 4: TOPIO7, Katerina Andritsou, Panita Karamanea and Thanasis Polyzoidis.

104 Site 2-Eptapirgion area, Thessaloniki, The surrounding space is known for its Greece. “Eptapirgion, however, has a special identity and atmosphere” (Karamanea, P. p.123, 2015).there’s A contrast between the atmosphere of the medieval castle which is located on a hill and the city which surrounds at a distance.

The castle is considered as a “frightening, wild site” ( Karamanea, P. p.123, 2015). due to its association with war and prison.

beautiful sites and natural views. The different connections to history, culture, and nature are so strong that they wanted minimal interference design related. So to heighten the space, designers created buffer zones in-between the castle and the city to connect the two. The natural beauty could be appreciated while the history of the castle can be reflected on.

Fig. 5: The Heptapyrgion (Castles of Thessaloniki)

Site 3- Minoan Necropolis, Armenia, Crete.

“Seems to have been forgotten among the quiet surroundings” (Karamanea, P. p.127, 2015).

A fragile ancient cemetery with solid spiritual connections away from civilisation. The goal for the designers was to heighten its spiritual connection without damaging what exists. They managed to create this connection by adding a contemporary path of natural materials. So the public can walk around while respecting the existing space.

Architectural Landscape design tries to create a balance between the dynamics in a continually changing system where

the sum all the components is far more important than the parts on their own. It creates synergies and diagonal relationships between concept, context, and ecology.

On the case study part, Each project used a process of subtraction to reveal the most potent elements that formed the identity of each site. These proposals are not imposed on or do not radically alter each location, they try to activate inherent qualities of each area but within a biological framework.

Karamanea gets to the conclusion that by maintaining the landscape as untouched as possible, there will be space available for individual and collective memory. For her as a landscape designer the need to rethink the past to reveal traces in a historical or archeological way, in order to allow the visitor to be aware of the history through these elements and by

Fig. 6:

using a simple design and ecology as a 105 construction technique is going to leave a soft footprint at a site and will establish that design does not impose aggression.

The combination can result to understand and perceive a precious and vulnerable landscape and to be more likely to relate it with its past and history.

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Basia Sliwinska T R A N S N AT I O N A L E M B O D I E D B E L O N G I N G W I T H I N E D G E H A B I TAT S

Dr. Basia Sliwinska, born in Poland, she’s an art historian and art theorist. She has a full-time teaching post at Loughborough University where she teaches Critical and Historical Studies, shes also a visiting Lecturer at Sotheby’s Institute of Art in London and previously worked in the School of Art and Design at Middlesex University. Her research focuses on contemporary woman artists from the 20th and 21st century, mainly about feminist

Figure 7: Basia Sliwinska

art, history, and critical theory and concentrates on concepts of the body, activism, gender and citizenship, and transnational identities within contemporary women’s art practice.

“My ID defines me, and my identity: it does not define my sense of belonging” (Sliwinska, B. p287, 2016).

In the text, the Sliwinska explores the concept of denizenship and the different articulations of embodied transnational belonging, “those with social and civic rights but without formal citizenship, who have legal residence status, are called denizen” (Sliwinska B. p 306, 2015) by studying two projects by two feminist artists, the first Joanna Rajkowska, born in Poland and moved to the United Kingdom in 2007, the second Nada Prlja, born in Sarajevo, Bosnia, and Herzegovina and moved first to Macedonia and then to London.

Ecotone Ecotone is a space where communities meet and integrate. It’s the area of inbetween two places, the ‘threshold’ between here and there, a transitory space. the area is usually occupied by a variety of species that led to vast biodiversity known as ‘edge effect.’

Edge Effect and In-Between Spaces Citizenship is a fixed concept that defines the ‘home’ of a person, it enabled authentic identity and embodied belonging. It encompasses the balance between rights and obligations, emphasizes active participation at a personal and communal level. The interpretation of home through the sense of belonging and the location of an individual marks the in-between area of being at home and not, that is the border zone between here and there.

Edge habitat means being both in a transition and tension zones that allows a transaction between communities, and it’s based on the hospitality rules and has the potency to re-evaluate the different

forms of embodied belonging.

Transnational Homes Multiculturalism in Europe grasps several legacies concerning migration, social pluralism, colonialism, and imperialism, which raise questions around recognition, belonging and communitarianism.

Current migrations require a new idea respecting the view of home, which is not constrained to here or there but its located in-between, its a transitory space.

This space offers people new perspectives and possibilities to embrace difference and strangeness within a new ‘home,’ and encourage social reforms including laws.

Transnational Embodied Belonging Citizenship, as portrayed through these artists works, permit us to acknowledge social and cultural practices. There is a different group of residents, which positioned between being local and being an immigrant, the denizens, who have social and civil rights but without formal citizenship, and legal residence status.

Denizenship means the living experience of embodied belonging that welcome the foreign and make them feel at home.

Embodied transnational belonging allows and gives voice to invisible denizens who are enabled to take up a more full range of positions within communities, allow one to be here and there and in-between. ‘’The articulation of belonging through the politics of belonging and the locatedness of individuals mark the in-between space of being here and there, at home and not at home’’ (Sliwinska B. 2015)

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Figure 8: Joanna Rajkowska, from the series “ A letter to Rosa” (Source: https:// culture.pl/en/event/joanna-rajkowska-a-letter-to-rosa-and-final-fantasies-in-berlin) Joanna Rajkowska and Nada Prlja act as explorers, geographers, and travelers who mark space, through their art, they repeal concepts that seem too rigid. The challenge categories of belonging such as citizenship. They are always questioning their identity and place in the world. They can be put in a group as from here or there, and their identities are transnational.

This article discusses transition (through Rajkowska’s art) and tension zones

(through Prlja’s), drawing upon Jacques Derrida’s discourse on hospitality to seek alternative modes of thinking about citizenship. The combination of two communities and the ideas of transitory spaces that creates an edge effect through the diversification of its habitats.

Rajkowska’s argues that practice mobilizes the concept of transition while Prlja emphasizes the tensions of such transitions.

Both artists use their travel experiences, migration, and origin to understand how others react with them, while Rajkowska’s action of planting her daughter as a gift to the city to change the history between the polish people and the Nazis and tries to use her project to give her newborn an introduction to the German culture.

ing anti-immigration banners and designs 109 merchandise slogans she has heard in the streets of London, such as ‘illegal alien’ and ‘alien mother.’

Prlja records and puts to evidence that the idea of hospitality and how this is most of the time its conditional and always puts forward restrictions on the guest or visitor.

Prlja argues of lack of equality and justice in societies, she pleases for the acceptance of others through harmony, kind and friendlier communities. She pin points and highlight all the prejudices of hospitality that exists in communities and host-lands, some of her work also includes sharing videos of groups burn-

“to be hospitable, the host needs to have power over ownership, be the ‘master’ of the house (or nation, or country), and be in control of the guests closing the boundaries and sometimes excluding some groups” (Sliwinska, B. p151-155, 2015).

Figure 9: Nada Prlja -Stop the War against Immigrants, Installation 7 broken protest banners (Source: https://nadaprlja.com/stop-war-against-immigrants/)