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ACADEMIC PORTFOLIO

BSENCE OF BSTINANCE

Anastasia cockerill Ghost In The Machine Stage 3

REHABILITATION IN THE

IMAGES MARKED WITH A RED DOT ARE NEW PIECES OF WORK

CONTENTS

REFLECTIVE REPORT

Illustrated reflective report

Project primer

Project staging

Project Realisation & Synthesis

121

Illustrated cultural bibliography

123

Charrette

125

Bibliography

128

List of Figures

130

Appendices including Field trip case study

Reflecting on my final year of architecture at Newcastle university, I am so grateful for every opportunity that the degree programme has provided. My studio group, ‘ghost in the machine’ provided a huge sense of community and creative collaboration, which constantly informed and encouraged the development of my project. Being a part of ‘ghost in the machine’ pushed me to explore ideas and design in creative, dynamic ways, which, at times may have been uncomfortable but inevitably lead to a rich and exciting project. The non-design modules of stage three became an integral part of my design project, both informing and extending my understanding of architectural theories, practice and technology.

The initial stages of the degree had a formative impact on the creation of my design to follow. The primer work following the readings from JG Ballard, focussed on systemic design and user centricity. These fundamental values of our studio group formed the way I view architecture and the importance of our role as architects. Due to the programme of the building; combining both rehabilitation for problem gamblers and betting facilities, I had to be sensitive to the user experience. This made the process particularly interesting, as I had to develop my design through a specific lens. I found this process extremely difficult at times as I pushed myself to design not through form and traditional solid massing, but through creative dynamic massing which represents user experience. I believe this process was extremely effective in informing my overall design and building a clear narrative between and through spaces.

SECTION 2

1:20 TECHNICAL SECTION AND PART ELEVATION STUDY

The4. integrated technology module Concrete cill challenging but proved to bewindow the most waterproof membrane also perhaps the most beneficial process 70mm Insulation for me. It focussed on refining the design 100mm Insulation of my project in relation to a plethora of 5. technical design aspects, such as; 45mm Hardwood escape routes, ventilation systems, and environmental effects. This module, like the 6. professional practice module, helped me 75mm to ground my project in reality. Polished concrete screedThewith heatingI produced, pushed 1:20underfloor section which 100mm insulation my design ideas and helped me explore waterproof membrane 2. interesting aspects of timber, specifically 200mm Concrete slab 40/60mm Cladding-Fir timber boarding the use foundations of timber as both support and Raft 40/60 Timber battons and counter design. My final façade design is an battons Waterproof membrane aspect which, without the technological 7. 100mm Insulation interrogation of timber in this module, I 200/200mm Glulam beams 200mm Cross laminated timber believe would not have materialised due to the 8. level of understanding of CLT, Timber andBi-folding glulam obtained. windows 3. 25/95 Pine planks Underfloor heating 100mm Insulation 300 mm Services void including mechanical ventilation 200mm Cross laminated timber 1. Plantings 600mm Soil Bauder filter fleece Bauder protection mat Bauder PE Foil 100mmBauder waterproofing system. Waterproof membrane 100mm Insulation 200mm Cross laminated timber 300mm Services void

The theoretical framework which supported my project through the various design stages was the idea of movement and experience presented through diagrammatic notation influenced by the works of Price and Tschumi. This was initially developed in my theory into practice essay, but then evolved through the development of my master plan. Although this theory of design and analysis through diagrammatic notation came about early in my project, I believe it was most effective in the final stages of design in producing my rotating screens. As they move to different positions, the movement of people and the experience of the spaces evolve. This further enhanced the idea of designing through user experience which I believe is the core principle shaping the physicality of the space. The idea for the rotating screens also came about from the notion of chance developed from research into artists such as Duchamp in my “Thinking Through Making” project. The project followed the principles of designing through chance using a set number of outcomes with a random generator (dice). Although the model ‘failed’, it became a keystone in the design of my façade and moving screens.

T ca fl sp

8. 6.

Figure 14: Ground Floor

The professional practice module was particularly challenging as it pushed me to envisage my project through the design and construction profession, looking at the management, cost and effects of the project on the wider context. These aspects can often be overlooked in the design module as creativity threatens to subordinate conceivable outcomes. While my project has an increased focus on user experience, this module helped me to look at my scheme on a wider scale, embedding it in architectural practice and the relative organisations which would be associated with the project. As such, this project gave me an invaluable insight into the world of architecture, and shifted the focus of my work to ensure that it was premised on the realities and exigencies of architectural practice today.

Th el a ex sy ro

My final project is a true amalgam of the central four elements of the final year course. Its shape and focus have been moulded by my own development in each area of practice. The design skills I sharpened in “Studio” and “Theory into Practice” informed, and were in turn influenced by, the non-design elements covered in “Professional Practice” and “Tech”. In this way, each element of the course is an interdependent constituent of the final product: User centricity is the underpinning principle which informs the project’s design, and ensures that all elements of the building are tied to its societal function as a means of helping problem gamblers. Theories of diagrammatic notation shape the physicality of the space, and inflect it with the notion of chance. This is reflective of the ethical and scientific ideas that underpin the project - that gambling addictions are best addressed by managing, not eliminating the gambler’s impulse to capitulate to chance. These design elements found their expression through the non-design modules which grounded them in reality. Through “Tech”, my ideas and design found expression in a livable, secure, sustainable structure. Professional Practice placed a spotlight on costs and the organisations (such as local counsels) whose specific requirements shape the project. The explicitly social focus of my project gave me special insight into the way the architect’s sensitivity to these demands is intrinsically tied to the project’s success - for local authorities to create spaces to rehabilitate vulnerable members of society, architects must be able to channel their ideas through the means available, allowing their vision to be shaped, but never compromised by, these exigencies.

Th d u co

R sh u gu gr sy

S th m

m st in el

PRIMER

1 PRIMER S Y S T E MS , U S E R S, P R O T A G O N I S T S

Primer was the initial introduction into Ghost In The Machine. It set out a series of tools for analysis which we explored in the context of Coventry. The primary tool was the use of mapping systems. I found

this interesting as it was not my usual mode of analysis. This stage taught me the importance of working as a group and its great benefits when effective. Through working with my peers we were able to see

and understand the connections between our work and the systems we were describing. This part of the project provided me with a confident understanding of systems and the importance of user centric design.

PRIMER

GHOST IN THE MACHINE

A VIBRANT STUDIO SYSTEM

Ghost in the Machine (Mags 2020)

The studio group Ghost In The Machine has shaped the way I think, develop architectural ideas and create architecture. From the beginning we worked collaboratively, though through the year, as friendships grew and confidence was built, our input and individual standpoints also developed. Presenting within our studio groups led us to care not only about the work we were producing but also about the work of our peers, therefore helping each other learn together. Though the year progressed into the virtual world due to Covid19, our tutors Cara and Mags have remained positive, and continued to nurture and challenge us to realise our full potential.

Studio Drinks (Mags 2020)

Learning About Systems (Mags 2020)

Finally Ghost In The Machine has fundamentally been a journey of creativity, laughter and friendship. Our shared experiences of work, field trips and tutorials has brought us closer together and continues to blossom beyond the studio. Cara and Mags have been exemplary tutors and on a personal note have taught me that designing can be about experimentation, should be fun and imaginative, and from this I feel my best designs have been shaped. Overall I feel my work over the year has been a reflection of me and my ideas rather than a reflection of what I thought architecture ‘should be’ and I believe that is the most important lesson I have learnt from my studio group.

catalyst for a style of working together which ensued, as our understanding, particularly of systems has grown enormously. Our group primer work,

“It Could Be A Hat” (Mags 2020)

Ghost In The Machine focuses on collaborative learning which started on day 1 where we discussed our ideas about systems, users and interfaces. It is interesting to remember this day as the

although challenging, pushed us to learn what it is to work together successfully, and how communication is essential to producing engaging final results .

PRIMER

J.G. BALLARD

KINGDOM COME

SYSTEMS IN LITERATURE Chapter 4 kingdom Come (Ballard, 2006). Chapter 4 describes the conversation between Richard Pearson, whose father has been murdered by a mental patient in the giant Brooklands Metro-Centre, and Geoffrey Fairfax, a burly lawyer who abhors said Metro-Centre and the vast levels of consumerism manifested within. The conversation follows Pearson listening to Fairfax rant about the Metro-Centre and how people’s lives now only revolve around consumerism and all other forms of entertainment have been abandoned, no one even turns up to charity events or political parties as they have been deluded

by the “plague called consumerism”. This is summerised in figure X. Figure X represents Chapter 4 of kingdom come filtered through the perspective of Fairfax, my chosen protagonist. It visually describes the implications that the system of consumerism and retail have on Fairfax and the way he engages with and confronts these systems as The ghost in the machine. This process helped me to develop not only my understanding of systems, but also the way particular systems can be viewed through the eyes of a protagonist and how we as individuals interact and encounter systems differently.

Fairfax can be seen standing alone looking up at the mechanical movements that represent the intangible drive of consumerism. Fairfax believes that people have been deluded. That they WANT

to be ripped off, to be drawn into the materialistic glory of retail. Crowds are depicted lining up waiting to BUY the newest trends, but only Fairfax can see the haunting nature of the retail system, the

way it lures people in and then traps them within the mechanism. Fairfax can also see the smoke which rises up above the retail system, depicting the environmental damage the system has.

Protagonist drawing Figure X: Protagonist drawing exploring how Fairfax engages with various systems

Kingdom Come Chapter 4 Figure X Sketch visualising the conversation between Fair fax and Pearson

In order to obtain a greater understanding of systems both tangible and intangible, as a studio group, we read chapters from various JG Ballard novels. JG Ballard is famous for “capturing the contemporary condition in all of its violence and ambiguity” (Baxter 2009). Ballard discusses A huge variety of systems including politics, media, retail and surveillance technologies, rendering them into a slightly distorted mirror of our reality. Through doing this, Ballard begins to make the reader question the way the infrastructure of systems within which we live mold our beliefs and manipulates the way we evolve as a society.

C HA PT E R F O U R

PRIMER

MAPPING SYSTEMS

SYSTEMS

we began by looking at the city centre of Coventry. Coventry is particularly interesting as it was largely rebuilt in the 1950’s and 1960’s following significant cant bombing during the war.

The radical new design featured grand new pedestrian precincts and squares which the designer, architect Donald Gibson described as ‘pedestrian garden ways’ which was inspired by Le Corbusier’s vision

of the contemporary city. As a Studio we focussed on mapping systems both tangible and intangible, which could be located in the public realm. The public realm is important as it represents the

points of interaction and the places where we engage with a plethora of systems. Coventry is unique as machine orientated ‘non-places’ are everywhere and are tightly delineated by the ring road.

TANGABLE

INTANGABLE

MANUFACTURING

POLLUTION

WEATHER

ECONOMY

NATURE

CLASS

FOOD

HEALTH

TRANSPORT

TOURISM

POLLUTION

COMMUNICATION

SURVEILLANCE

EDUCATION

PLANNING

SURVEILLANCE

EDUCATION

PLANNING

SYSTEMS

TANGABLE 12

INTANGABLE

PRIMER

ENTRY UNIVERSITY S COV TU

DE NT P

O P U

ON TI LA

50 VIS

0 169 :3

00 S)

Coventry University Campus

SO UR CE S

Museum

DY MATERIAL OR RE

Church/Cathedral

S TU

Banks

ING

Car Park

DAY T I M E ECO NO M YA CT IV

ER DAY ( TIC KET

|B AN

UY .B

P ITS

Drug abuse

Potential Contributions to Mental Instability & The Institutions in Which They Encompass

L AREA. MOS MERCIA T OF COM TH EE CO N

Government

This map presents the economy activities during the daytime.

Money

This map presents the areas which both positively and negatively affect mental health.

Shops/Market

MAR KET S

SA ES IN

Green Space

2018

DAYTIME ECONOMY

MALL /

US .B

Politics

MENTAL HEALTH

Business Office

Clinical Psychologists & Drop-in Centres

Education

Consumerism

AVE AR AG E

S IE IT

PRIMER

OM Y

The words illustrate some parts of the city that have the potential to contribute to mental instability and the institutions in which they encompass.

Key

CLASS

ECONOMY The diagram is DAYTIME analysed based the wealth level of different occupation.

The diagram is analysed based the wealth level of different occupation. 0

AREA.

Green spaces are a well-known remedy of some common mental health issues. Without undermining the severity and intangible nature of this issue, having access to green spaces can aid the reduction of health inequality, improve well-being, and contribute towards the treatment of mental illness.

100

HIS NT RI CU OC ES TI VI TI

Markers highlight the institutions of clinical psychologists and drop-in centres, specialised in the diagnosis and management of mental health conditions. Most of these centres are placed in and around residential areas.

Relationships

125

The map presents the economy activities during the daytime.

Green Space

GREEN SPACE

CLASS

This map expresses the variety of green spaces in the public realm of Coventry.

This map presents an analysis of the income level of different occupations.

Hedges Trees Evergreen Trees

100

125

100

125

Educational Area Business Area Commercial Area Historical/Regional Area

CLASS

The diagram is analysed based the wealth level of different occupation.

CLASS

0 25

100

Decreased Air Pollution Increased Noise Pollution Decreased Noise Pollution

POLLUTION

100

125

100

125

This map presents both noise and sound pollution in the public realm of Coventry.

Restaurants

This map pinpoints the various areas for food and drink within Coventry’s city centre.

Cafes Bars

CLASS

The diagram is analysed based the wealth level of different occupation. 50

FOOD

CLASS 25

125

Increased Air Pollution

The diagram is analysed based the wealth level of different occupation.

The diagram is analysed based the wealth level of different occupation. 0

CLASS

The diagram is analysed based the wealth level of different occupation.

125 0

100

125

Anual Visitors flow in Commercial Area

MANUFACTURING Roads

April

May

June

July

Aug.

Mar.

April

May

June

July

Aug.

17℃

Sept.

Oct.

Nov.

Dec.

Jan.

Feb.

Mar.

April

May

June

July

Aug.

Sept.

Nov.

Dec.

11℃

Jan.

100

125

Feb.

Mar.

April

May

June

July

Aug.

Sept.

Oct.

Nov.

5℃

Dec.

Annual Temperature Averages

7℃

Humidity: 88% Dew Point: 3 °C Wind: 9 mph Pressure: 1015 mbar Visibility: 9 km

Humidity: 87% Dew Point: 5 °C Wind: 9 mph Pressure: 1013 mbar Visibility: 9 km

Humidity: 83% Dew Point: 8 °C Wind: 9 mph Pressure: 1013 mbar Visibility: 10 km

Wind: 9 mph

Pressure: 1015 mbar

Wind: 10 mph

Key

14℃

The diagram is analysed based the wealth level of different occupation.

125

Oct.

17℃

Wind: 9 mph

9℃

12℃

15℃

Wind: 9 mph

7℃

Humidity: 75% Dew Point: 5 °C Wind: 10 mph Pressure: 1014 mbar Visibility: 10 km

CLASS

5℃

Humidity: 79% Dew Point: 3 °C Wind: 11 mph Pressure: 1016 mbar Visibility: 10 km

5℃

Humidity: 83% Dew Point: 2 °C Wind: 11 mph Pressure: 1016 mbar Visibility: 9 km

Humidity: 86% Dew Point: 2 °C Wind: 10 mph Pressure: 1015 mbar Visibility: 9 km

100

Feb.

Humidity: 78% Dew Point: 10 °C Pressure: 1016 mbar Visibility: 10 km

Highest Precipitation: 27.1 mm (Annual Averages )

The diagram is analysed based the wealth level of different occupation. 75

Jan.

Dec.

Humidity: 74% Dew Point: 12 °C Visibility: 10 km

Anual Visitor Flow in Religious Area

CLASS

Nov.

Anual Visitor Flow in Comercial Area

Lowest Precipitation: 16.5 mm (Annual Averages )

Oct.

Anual Users flow in University Area

Anual temperature average

Anual Visitor Flow in University Area

Sept.

Humidity: 74% Dew Point: 7°C Pressure: 1016 mbar Visibility: 10 km

This map shows the relationship between weather and visitor flow in varying places

Mar.

Humidity: 73% Dew Point: 10 °C Pressure: 1016 mbar Visibility: 10 km

Areas of Manufacturing

This map explores the manufacturing industries present in Coventry.

WEATHER & VISITOR FLOW

Feb.

Humidity: 72% Dew Point: 12 °C Visibility: 11 km

Buildings

Jan.

Anual Users flow in Religious Area

PRIMER

Anual Users flow in University Area

ENTRY UNIVERSITY S COV TU

Mar.

April

May

June

July

Aug.

Sept.

Oct.

Nov.

Dec.

Jan.

Feb.

Mar.

April

May

June

July

Aug.

Sept.

Oct.

Nov.

MAR KET S

Dec.

SO UR CE S

OM Y

AREA.

DAYTIME ECONOMY

The diagram is analysed based the wealth level of different occupation.

The map presents the economy activities during the daytime.

100

HIS NT RI CU OC ES TI VI TI

CLASS

5℃

Dec.

L AREA. MOS MERCIA T OF COM TH EE CO N

Humidity: 88% Dew Point: 3 °C Wind: 9 mph Pressure: 1015 mbar Visibility: 9 km

Nov.

Annual Temperature Averages

Oct.

7℃

ECO NO M YA CT I

SA ES IN

11℃

Humidity: 87% Dew Point: 5 °C Wind: 9 mph Pressure: 1013 mbar Visibility: 9 km

Sept.

Humidity: 83% Dew Point: 8 °C Wind: 9 mph Pressure: 1013 mbar Visibility: 10 km

Pressure: 1015 mbar Aug.

14℃

Wind: 9 mph

July

Humidity: 78% Dew Point: 10 °C Pressure: 1016 mbar Visibility: 10 km

Pressure: 1015 mbar

June

17℃

Wind: 9 mph

Key

O P

DAYTIME

US .B

17℃

Humidity: 74% Dew Point: 12 °C Visibility: 10 km

May

Humidity: 72% Dew Point: 12 °C Visibility: 11 km

April

Wind: 10 mph

Mar.

15℃

Wind: 9 mph

Feb.

Humidity: 74% Dew Point: 7°C Pressure: 1016 mbar Visibility: 10 km

Jan.

5℃

7℃

Humidity: 73% Dew Point: 10 °C Pressure: 1016 mbar Visibility: 10 km

5℃

Humidity: 79% Dew Point: 3 °C Wind: 11 mph Pressure: 1016 mbar Visibility: 10 km

Lowest Precipitation: 16.5 mm (Annual Averages )

9℃

12℃

DE NT P

ER DAY ( TIC KET

|B AN

DY MATERIAL OR RE

Feb.

S TU

Jan.

Dec.

ING

Nov.

0 169 :3

Oct.

ON TI LA

Sept.

Aug.

P ITS

July

VIS

June

May

April

Highest Precipitation: 27.1 mm (Annual Averages )

Humidity: 86% Dew Point: 2 °C Wind: 10 mph Pressure: 1015 mbar Visibility: 9 km

This map analyses the areas covered by serveillance and how the interlink.

Mar.

Humidity: 83% Dew Point: 2 °C Wind: 11 mph Pressure: 1016 mbar Visibility: 9 km

Green Space

SURVEILLANCE

Feb.

Humidity: 75% Dew Point: 5 °C Wind: 10 mph Pressure: 1014 mbar Visibility: 10 km

Clinical Psychologists & Drop-in Centres

AVE AR AG E MALL /

Jan.

UY .B

Anual Users flow in Religious Area

S IE IT

Anual Visitors flow in Commercial Area

125

Primary Shopping Area 125

100

Education

Consumerism

Politics

2018

Money Government

Religious Area

~49m ~30m Drug abuse

~25m ~20m ~15m ~0 m

Relationships

The words illustrate some parts of the city that have the potential to contribute to mental instability and the institutions in which they encompass.

Key

Education Area

TRANSPORT Planning system 0

100

125

Bike Racks

Ring Road

Bus Station

Road

Car Park

Bike Routes

Bus Stops

CLASS

The diagram is analysed based the wealth level of different occupation. 0

100

125

Primary Shopping Area

Planning Limmitations Education Area Religious Aea

Religious Area

~49m

Primary Shopping Area

~30m ~25m ~20m ~15m ~0 m

Education Area

Key

COMPOSITE MAP

PLANNING This map expresses both the planning limitations and areas which they encompass

CLASS

The diagram is analysed based the wealth level of different occupation.

Planning system 0

100

125

Road Bike Racks Ring Road Car Park

TRANSPORT

Composite map Composite map of all of the system maps overlaid

Bike Routes

This map shows the various modes of transport through the city centre

Bus Stops

CLASS

The diagram is analysed based the wealth level of different occupation. 0

100

125

TRANSPORT Bike Racks

Ring Road

Bus Station

Road

Car Park

Bike Routes

Bus Stops

EDUCATION School University Museum

This map depicts the areas that house educational services

After mapping the systems separately, we came together and overlaid all the maps to form a composite map. Through this process we could use see the relationship

between systems and how the interact with each other. It was interesting to see the areas where the systems were more dense and the places where systems

CLASS

The diagram is analysed based the wealth level of different occupation. 0

100

125

were more sparse. This map represents the beginning of our primer journey as a collaborative studio.

PRIMER

FROM THE STATIC

My ‘pop up’ focusses on the education and entertainment systems, while also touching upon class. It visualises the change through history, of Coventry going from a working city to a city of education. The model highlights the area which used to be the centre of the automobile industry, and at the centre of that, the old theatre was located (highlighted in orange). As the tab is pulled the current area of education is revealed.

ENTERTAINMENT

This ‘pop up’ model visualises the shift from local buildings that acted as the locus of entertainment for the working class (local theatres, local men’s clubs, women’s institutes and independently owned pubs were typical centres of entertainment), to educational facilities with an international cohort of students and professors.

EDUCATION

P U L L

From this research it is clear that as education becomes the economic driver of the city, the commercialisation and internationalisation of the city results in a shift in focus of its buildings away from the automobile industry which employed the working classes, to education. Part of this shift is the replacement of community areas of entertainment with educational facilities.

TO THE DYNAMIC 17

POP UP MODEL

PRIMER

THREE DIMENSIONA L MAPPING Following from the pop up model I looked again at mapping the change from entertainment to education. Here the focus is on the public realm surrounding the area which used to house the working menâ&#x20AC;&#x2122;s club. This model expresses the same ideas as my pop up model visualising the historical development of Coventry from working city to a city of education.

SOCIAL

It also visualises the idea that, as the education system expands and becomes more accessible, social mobility becomes possible, while pointing out that this might be at the cost of entertainment. The public realm surrounding the system of educational (university buildings) are outlined in black, while the public realm of the entertainment system ( the working menâ&#x20AC;&#x2122;s club) is outlined in timber. The timber posts represent social mobility.

MOBILITY

M O

SOCIAL MOBILITY

B EDUCATION

I L I

ENTERTAINMENT

T Unlike the plate which represents the entertainment system, the education system can move up and down on the posts therefore representing how education allows for social mobility.

BASE MAP

PRIMER

COMPOSITE MODEL allowed us to visualise the relationships between systems. The final result was extremely effective and drew on more systems than we had initially set out to describe.

Composite Model (Adam 2020)

With the idea of the composite map in mind, we brought all our three dimensional maps onto a large base map of Coventryâ&#x20AC;&#x2122;s public realm. This process, like the process of the two dimensional composite map,

Composite model (Adam 2020)

As all of our three dimensional mapping was interactive, it was interesting to see the ways all the systems changed and it became a rather poetic way of visualising how systems are constantly evolving and interacting with each other.

PRIMER

J.G BALLARD HIGH RISE To build on the previous tasks undertaken, we went back to studying JG Ballard novels, this time looking at the interface between a protagonist and a system and exploring ways to create a model which creatively expresses this interface when a user interacts with it. I was allocated Ballard’s High rise, chapter eleven. The systems which really stood out for me in

this chapter were addiction, mental health, and entertainment as the protagonist encounters these systems while making his way through the building. I began to think of what the interface might be between a user and; addiction, mental health and entertainment. Could it be when a heroin addict injects themselves with a needle? Or perhaps when an alcoholic takes a sip of

alcohol? These ideas led me to the thought of addiction as chance (sometimes people get addicted, sometimes they don’t). Through exploring the notion of chance I was brought to the idea of gambling and the chance aspect that revolved around one arm bandits .

IMMERSIVE MODEL

EUPHORIA

SADNESS

POWERFUL

DELIRIUM

DEPRESSION

My model therefore depicts a take on a one arm bandit showing how when you meet the interface and pull the leaver, you experience the entertainment factor

EUPHORIA

SADNESS

POWERFUL

DELIRIUM

DEPRESSION

and are filled with emotions; ‘Euphoria’, ‘Power’ and ‘Delirium’ and feelings perhaps of sadness and depression are masked by these emotions (represented by the blue

EUPHORIA

SADNESS

POWERFUL

DELIRIUM

DEPRESSION

liquid which fills the box once the handle is pulled.). After a while the blue liquid filters out and the feelings of sadness and depression can be seen again.

PRIMER

PRIMER EXHIBITION

The primer exhibition was a celebration of the work we had produced as a studio, which we displayed in our usual ‘crit space’. The composite model was displayed in the

centre of the room encouraging people to interact and play with it. Everyone’s individual immersive models were located at the edges of the room. Overall the

exhibition achieved the immersive experience we were hoping for as visitors would step into a world of systems presented in a huge variety of ways

SYSTEMS

T ANGABLE

INTANGABLE Exhibition (Mags 2020)

INTERFACE

Exhibition (Adam 2020)

USER CENTRIC

SYSTEM ORIENTED

GHOST IN THE MACHINE 25

STAGING

FCOVENTRY

FIELD TRIP

Coventry Cathedral (Mags 2020)

TURIN

C O V E N T R Y, T U R I N, M I L A N

The city was initially far more beautiful than I imagined, although there was still a feeling of dystopian urban design when looking out and seeing the extensive rooftop car-parks which were rather empty. Our studio then followed on to Turin where we visited a series of buildings from the Lingotto Factory to the Hotel La Serra. These buildings were examples of structures built for a particular purpose that when no longer needed, became redundant.

Our short trip to Milan took us to the Prada Foundation by OMA Architects. I found this part of the trip really eye opening as I experienced architecture in a way I felt I never had before. An example of this is the way the architects focussed on the details of thresholds. Overall I found the Trip extremely informative and Intellectually rigorous as well as practically relevant.

Turin (Mags 2020)

To mark the End of Primer and the beginning of Staging, as studio we visited Coventry, Turin and Milan. It was interesting to see how each city we went to had examples of structures built specifically around particular systems. Our main purpose of the trip to Coventry was to choose a site for our project while doing further research into particular systems. After our primer research it was interesting to see Coventry through the lens of a visitor.

MILAN Milan, Prada Foundation (Mags 2020)

STAGING

COVENTRY

Coventry, although strangely dystopian due to the ideals that it was built upon, has many engaging and beautiful aspects. When visiting, I was particularly interested in thresholds and materiality. I found the ribs of the Bullyard particularly beautiful in the ways they both revealed and concealed the offices behind. The paving was also of interest to me as it flickered from reds to greys alternating in dynamic, geometric ways. The visit helped me understand the city from a new perspective which would later inform my design work.

Coventry (Mags 2020)

STAGING

TURIN

MILAN

ramp which took us up onto the rooftop racetrack. The ceiling which housed the ramp was filled with geometric patterns showing the structural aspects in an aesthetic way. We visited a number of other buildings which were equally engaging and really reinforced the idea of systems in architecture.

Our trip to Milan was only a day within which we visited the Prada Foundation by OMA Architects. I found the experience of the architecture within the Prada Foundation complex extremely profound and it opened my eyes to the importance of detail and the relevance of thresholds in experiencing space.

Milan (Mags 2020)

Turin (Mags 2020)

Milan (Mags 2020)

In Turin we visited a number of fascinating buildings. Of particular interest to me, which later informed materiality in my building, was the Lavassa Museum. The battens which fill the ceiling and staircase create a dynamic and engaging interior. We also visited The Longotto Factory which housed the most beautiful spiral

STAGING

FROM PRIMER

3 STAGING B R I E F, R E S E A R C H, D E V E L O P M E N T

Staging focused on the development of a brief through research and analysis. My development was heavily based on research. The development of staging reinforces the idea of systems developed

in Primer. Staging was a key aspect of my project as it provided the stepping stone from research to design realisation. Although difficult at times, I feel my analysis

TO STAGING 33

of the entertainment system (specifically gambling), and the rehabilitation system were successful and were key underlying factors to the formation of my project.

STAGING

MANIFESTO &THEMES

SYSTEMS

GLOSSERY OF TERMS

After the detailed exploration into the systems located in the public realm of Coventryâ&#x20AC;&#x2122;s city centre, we established, as a studio group, a manifesto which declares our position and our design intent. The manifesto sets out a framework upon which our design is based .

SYSTEM ORIENTED DESIGN

INTERFACE

A situation, way, or place where two things come together and affect each-other.

IMMERSIVE

Providing, involving or characterised by deep absorption or immersion in something such as an activity or a real or artificial environment.

TANGIBLE/ INTANGIBL E

Tangible: able to be shown or touched. intangible: unable to be touched; not having physical presence.

USER CENTRIC DESIGN

A framework of processes in which usability goals, user characteristics, environment, tasks and work-flow of a product, service or process are given extensive attention at each stage of the design process.

SYSTEM ORIENTED DESIGN

Using system thinking in order to capture the complexity of systems addressed in design practice.

The studio themes surrounding this manifesto statement are integral to my design project.

USERS

Design must be thought through at all scales.

USER CENTRIC DESIGN

Investigation and design should be constructed through a specific lens.

NARATIVE

We must employ abstract creative techniques for design. We should establish narrative from focussed exploration.

NARATIVE FOCUSED DESIGN

We should employ user centric design.

SCALE

We should employ system oriented design. There is an interface where an individual meets a system.

DESIGN THROUGH SCALE

STAGING

SITE ANALYSIS

LL U B RD YA

D A O

N TO L E E SH UAR SQ

ET K R

SIT

The site I have chosen is located on Shelton Square next to the Coventry Market and the Bull Yard. This site poses a number of interesting issues. The most prominent issue is the entrance to the market. The

entrance feels like itâ&#x20AC;&#x2122;s hidden away next to a dingy car park. Shelton square and the Bull Yard were, in their heyday, a social hub filled with upmarket shops and many visitors. As the years have progressed these

squares have become sparse with people and the shops consist of porn brokers and betting shops. The Arcade which leads off from Shelton square is particularly empty with most of the shops shut down. Apart

from being an access route from the carpark above, it is practically empty. Though the site feels rather dilapidated, there are some interesting thresholds and material aspects which I discuss later on. I was

particularly drawn to the betting shop on Shelton square as it felt like an intimidating environment with the large red signs and dark interior spaces. I found the betting shops of particular interest as I had been

looking at the system of addiction with reference to gambling and chance.

STAGING

SEEKING CHANGE

26%

48%

GAMBLE

PAST FOUR WEEKS

Gambling is an activity enjoyed by an estimated 26% of the world’s population (Gambling.net 2020) with Britain considered to have one of the most accessible markets for gambling in

the world (NHS, 2019).The Gambling Commission’s 2019 report states that 48% of adults participated in any form of gambling in the past four weeks. Furthermore, the UK total gross gambling

£14.5 BILLION YIELD

yield from 2017-18 was estimated at £14.5 billion. These statistics present an idea of the size and prevalence of the gambling industry (Gambling.net 2020).

RULES LIBERALISED

KEY NEEDED

0.5%

PROBLEM GAMBLERS

PROBLEM GAMBLING

Although the majority of people who partake in gambling activities are considered recreational gamblers (gambling as a form of recreation and a way of spending leisure time with little to no negative consequences) 0.5% of the total population of gamblers are considered problem gamblers (Gambling commission, 2019) (gambling to a degree that disrupts or damages family, personal pursuits

(Lesieur & Rosenthal 1991). This data indicates that a key factor for change is the issue of problem gambling. To understand the reasons behind problem gambling we can look at gambling in the Netherlands. Here there was a sharp increase in problem gambling after the gambling rules were liberalised between 1986 and 1992. Kingma (2004) states that increases in problem gambling can

PRIVATE PERSUIT OF PROFIT =EXPLOITATION be directly linked to the exploitation of at risk gamblers by the gambling industry, as the private pursuit of profit became extremely prevalent. This is an example of how the commercialisation of gambling leads to problem gambling and takes away from the essence of entertainment, social interaction and support.

From this it is suggested that the reduction in the commercialisation of gambling could be a specific identity factor for change. This is of particular importance looking at the city of Coventry. As highlighted earlier through the exploration of my ‘pop up model’, commercialisation and internationalisation of the city presents a category shift from local, collective, community buildings, to a commercialised centre of retail. This category shift is exemplified in sites of entertainment for the working class, for example,

from private pubs to those owned by Weatherspoon’s conglomerates. The shift to a commercialised city which is based on a for-profit design and experienced as an exploitative model by many, has left a sense of social amnesia and a loss of community spirit. This view was supported by an interview with a local jewellery owner in Coventry during a site visit (see appendix 1).The shift to commercialisation is particularly evident in the gambling industry. Pre-commercialisation, gambling included a greater sense of

community and social aspects. With a new kind of commercialised betting, gambling problems have changed in nature, as they are facilitated by commercialised chains that exploits without being specific to, or relating to the communities they damage. Betting shops such as Coral, BetFred and Ladbrokes populate Coventry and it can be suggested that they are more prevalent due to the social and economic deprivation of the city (Ramesh, 2020).

STAGING

LAYERED TIMELINE

My layered time-line is a representation of the key events in history which lead to the legalisation and expansion of betting shops. It also represents the use of gambling online. From this time-line it was possible to see a trend in the rise of online gambling against the decline of betting shops. My future speculation therefore suggests that as online gambling becomes more popular, betting shops will become even less popular particularly after the ÂŁ2 limit stake was implemented. The green marker suggests the awareness and intervention for problem gambling. I believe this is becoming a more and more relevant issue, and my speculation on the future is that there will be far more rehabilitation centres focused primarily on problem gambling and the ways to overcome addiction.

The Use Of Betting Shops The Use of Online Gambling Awareness and Intervention for Problem Gambling

STAGING

ERADICAT ION OR CHANGE?

But why not eradicate gambling to eradicate the problem? When discussing problem gambling it is clear that the consequences of gambling have tremendously negative consequences that lower the quality of life. However, for the 99.5% of people who gamble recreationally, could their wellbeing actually be enhanced by gambling? There may be a positive answer to this question. From observation, gamblers can be said to acquire a considerable amount of satisfaction and entertainment from gambling, which, in turn leads to an enhanced wellbeing. This is supported from research (Tamborini et al., 2010). Forrest (Forrest, 2013) states that recreational gamblers may even benefit beyond entertainment to health benefits.

It is particularly important to acknowledge the elderly when looking at gambling as it has been widely researched that there are particular health benefits of gambling for the elderly. â&#x20AC;&#x153;Those individuals who frequently gambled had higher selfreported health, lower rates of depression, and a greater social support network than non-gambling peersâ&#x20AC;? (Dixon, Nastally and Waterman, 2010). It has also been reported that beyond this, gambling also works to enhance problem-solving skills, concentration, and memory which are beneficial actions in maintaining working cognitive functions in the elderly (Christensen and Patsdaughter, 2004). These points present a number of positive aspects to recreational gambling. By

following the trends explored on the layered Timeline, speculation on the future suggests that people will continue to move from betting shop gambling to online gambling. While some may argue the eradication of commercialised betting shops may prevent the exploitation of people in vulnerable areas. I believe that from this research, online gambling present similar issues of exploitation and movement away from the fundamental values of gambling for enjoyment. Rather than eradicating gambling and betting shops we should look at three factors for change: (1) how to prevent exploitation of problem gamblers; (2) how to enhance the community aspects of gambling; and, (3) how to treat those suffering from problem gambling.

PREVENT

H OW TO PREVENT EXPLOITATION OF PROBLEM GAMBLERS

ENHANCE

HOW TO ENHANCE THE COMMUNITY ASPECTS OF GAMBLING

TREAT

HOW TO TREAT THOSE SUFFERING FROM PROBLEM GAMBLING

STAGING

PROPOSAL F O PROPOSED R CHANGE

R E C R E AT I O N A L GAMBLING

ERT AI NM

R E C R E AT I O N A L GAMBLING

ENT

ENTERTAINM EN T

REHABILITATION SYSTEM

R E C R E AT I O N A L GAMBLING

PROBLEM GAMBLING

ABILITAT ABSTINANCE

90% RELAPSE

CONTROL

REINTEGRATION

REH

SEEKING HELP

ABILITAT IO REH

SEEKING HELP

RECOVERY RECOVERY

Although the current system of rehabilitation may provide leverage for abstinence in gambling in the short term, there is a 90% chance of relapse, which is higher than for other types of addiction (Collier 2008). I am therefore proposing a paradigm shift in the way we approach rehabilitation of problem gambling, taking a generative, reflective and creative action mode, capable of having a lasting effect which mitigates against the likelihood of relapse. My model focuses on integrating the rehabilitation system within the entertainment system, both tangibly and intangibly. Instead of aiming towards abstinence, problem gamblers will work towards control, constantly being supported by the rehabilitation system. There is a variety of research on the success of teaching control rather than abstinence for problem gambling. This research underpins the philosophies of my project and acts as a gate into a new future for gambling rehabilitation (Slutske et. al, 2010), (Ladouceur et. al, 2009) (Dickerson and Weeks, 1979).

Currently the help which is available for people suffering from problem gambling is equivalent to those suffering alcohol addiction, including group discussions, rehabilitation centres, and help lines. These forms of rehabilitation aim towards abstinence from gambling. This diagram represents the current system of rehabilitation and how it links to the system of entertainment, more specifically gambling. Following the studio reading (Kim, 1999) it can be seen that The current system of rehabilitation can be considered a reactive and adaptive action mode as it focuses on the event, that being the action of problem gamblers themselves, and applies the pattern which works for alcohol addiction, that of rehabilitation working towards abstinence.

STAGING

PROGRAMME

W/C

BETTING SHOP

OFFICE KITCHEN

OFFICE

CAFE

W/C

GROUP THERAPY W/C

REHABILITATION

OFFICE

INDIVIDUAL THERAPY

BEDROOMS

Protagonist drawing Exploring how a protagonist from chapter four of J.G. Ballardâ&#x20AC;&#x2122;s kingdom come interacts with my chosen system

LIBRARY/ RESOURCES

STAGING

SPATIALISED DRAWING

FIELD TRIP

My spatialised composite drawing explores and communicates the initial spatial ideas for key rooms and moments in my project. I created this piece by imagining the functions of each room and how they interconnect. As shown, they are all connected with a central staircase focus. The drawing also expresses the ascension from key community spaces; the betting shop and cafĂŠ, into private spaces of the rehabilitation centre. This drawing helped me to focus on the protagonistâ&#x20AC;&#x2122;s journey and experiences through the building.

STAGING

ANALYSING THE SITE

The site presents a series of really interesting thresholds with key materiality which I have depicted through overlaying textures on Photoshop over my on-site sketches. The drawing above is a view from the Arcade looking out onto Shelton Square. This shows a rather interesting threshold as the viewerâ&#x20AC;&#x2122;s gaze is pulled

right up through the streets. The image in the top left shows a street to one of the entrances to the Coventry Market. This street seemed to be one of the most used routes to get to the market. As seen the alley way is long and narrow and apart from the timber roof, it feels dingy and unkempt.

My final image shows the entrance to Coventry Market. It is interesting because due to the location, it had to be made obvious where the entrance was, therefore a change in floor texture is evident. I found this an effective and rather beautiful way of highlighting an entrance

STAGING

Price- Fun Place (Price, 2006)

Tschumi - Mode of Notation (Tschumi 1994)

NOTATIONAL DRAWING

From this site analysis I became interested in how the user experiences the site. My theory into practice essay really informed my site analysis where I used the idea of diagrammatic notation from the work of

Tschumi (1994) and Prices (2003). Their notation visually describes the way we think of space and human behaviour within it in a direct and powerful way. By utilising this form of notation I was able to understand

my site in a creative way relating to the way people experience it. Notation of my site therefore pushed me towards a more people centric design.

STAGING

FROM ANALYSIS TO SITE

Protagonist drawing Exploring how a protagonist from chapter four of J.G. Ballard’s kingdom come interacts with my chosen system

Coventry Market

Protagonist drawing Exploring how a protagonist from chapter four of J.G. Ballard’s kingdom come interacts with my chosen system

New Green Square New Bus Stop

Shelton Square

Drawing from both my site analysis and notational drawing, I began to think about ways I could reconfigure the site. From my analysis the Arcade seemed like the worst affected area for retail as the majority of the shops had shut and there was no reason for people to visit. I am therefore proposing to pull down half of the arcade, exposing one side of the shops to a new green square. I am also extending public

transport access by the provision of an additional bus stop, installing a new key route into the retail centre city. This will also create new links to Coventry Market. As highlighted in orange, I propose that my site sits at the corner of Shelton square and the new green square. This provides a really interesting opportunity of two façades which can be experienced in very different ways. The idea of having two

façades is important to the programme of my building as it allows me to orientate the different aspects of the building to reflect the square it looks onto. The betting shop for example will look onto Shelton square as a fast pace place of retail and entertainment. The rehabilitation centre on the other hand will look onto the green square as a calmer more serene space.

STAGING

MATERIAL INFLUENCES

surprise that when analysing key health care centres such as Dandenong Hospital (batessmart, 2011) and Ruukki Health Clinic (ArchDaily, 2020), they try and utilise timber as much as possible. I am particularly interested in the use of glulam and CLT due to both their structural abilities and their aesthetic qualities and I

Material Precedent Bull Yard, Coventry. (Mags 2020)

Material Precedent Ruukki Health Clinic - Alt Architects, Karsikas

Material Precedent Dandenong Hospital Mental Health Facility Stage 1-Batessmart Architects

When researching materials for my building I became aware that timber was extremely important in rehabilitation and health centres. “Wood has been proven to lower the sympathetic nervous system within humans, which can contribute to stress, increased blood pressure and inhibit digestion and recovery” (Structuraltimbermagazine.co.uk. 2020) . It is no

believe they are optimum choices for the programme of the building. On the site visit I was particularly interested in the ribs of the bull yard. I will therefore looked at ways I could integrate this into my design such as timber battens for the façade.

THINKING THROUGH MAKING

4 THINKING THROUGH MAKING EXPLORING, PRODUCING, PRESENTING

The thinking through making week was set out as a task for us to explore ideas in new creative ways condensed into an intensive week. By only having a week I was pushed

into not over thinking my design and instead focus on the process of making. I found this task really interesting as it led me to some very artistic ideas revolving

around chance which inform my later work in a very impactful way.

THINKING THROUGH MAKING

THINKING THROUGH MAKING potentials of technologies; the viabilities of particular systems or structures through acts of making.

I wanted to represent the idea of chance in my building to reflect how my architecture is directly inspired by the activities that it is designed to facilitate. I therefore began to

look at ways I could design through chance. I began by creating geometric blocks of wood like the ones found in puzzle stars, reflecting the idea of play and chance.

I used wood as it relates to the materials which would be reflected in the building.

Once made I numbered each side 1-6 and rolled a dice to decide the orientation. This idea of using a dice is derived from a book I read called ‘The Dice Man’ in relation to my research about chance. The Dice Man features a protagonist who

makes decisions based on the casting of a dice. I found this idea together with Arp’s use of preconceived elements really interesting, particularly as dice further relate to gambling. I then cast my wooden blocks in concrete, although once out of

the mold the concrete crumbled away. Although the final stages failed, I was extremely satisfied with the end result as it simply represents the process and ideas of designing through chance.

Untitled (Collage With Squares Arranged According To The Law Of Chance) 1916–17 (MoMA 2020)

The thinking through making week was a development process set out to explore possibilities of a chosen material; the

DESIGNING THROUGH CHANCE

I began my thinking through making project by exploring the notion of chance. Chance is inherent to gambling activities and therefore presents an interesting topic upon which I began to explore by researching artistic movements such as Dadaism. For Dada it was not the final

product but the creative process that was of great importance. Dadaists such as Marcel Duchamp and Jean Arp used elements of chance in their work which provided a new impetus for artistic reason (Edwards, 2016). Of particular interest for me was Arp’s collages which depict a

series of squares arranged according to chance. By tearing up pieces, letting them fall to the floor and then pasting each scrap where it fell he ceded control to the random hand of gravity (MoMA, 2020)

Material Precedent Dandenong Hospital Mental Health Facility Stage 1-Batessmart Architects

Protagonist drawing Exploring how a protagonist from chapter four of J.G. Ballardâ&#x20AC;&#x2122;s kingdom come interacts with my chosen system

THINKING THROUGH MAKING

EXHIBITION

THINKING THROUGH MAKING 64

5 REALISATION & SYNTHESIS REFINE, EXPLORE, ENGAGE The realisation and synthesis stage of my portfolio was the most challenging yet most rewarding part of the project. Through this stage I pushed my work to a new level , tying together all of my previous work and research. The beginning ‘realisation’ stage looked at developing

my programme focusing on user oriented design and the notion of movement developed in my theory into practice essay. The refining ‘synthesis’ stage was also challenging as my project focused on detail and user experience. This led me to developing detail aspects such as revolving

screens which gesture to the notion of both chance, as talked about in my thinking through making, and movement. Overall, I believe this stage provided an extremely informative part of my project, through visual description and creative analysis.

REALISATION & SYNTHESIS

System Mapping (mags 2020)

SYSTEM MAPPING

- Clinician

- Group therapy

- Problem Gambler

-Choice Threshold

crop photo of model into context

Instead of focussing on traditional massing using solid objects to visualise the spaces, I looked instead at the routes my protagonists would take. How they interact with the building, thresholds and interface moments which I believe to be key in my design. The thresholds of my project are of great importance as I wanted to enforce the idea of choice in taking the step towards rehabilitation. A staircase in the betting shop takes the user up into the rehabilitation centre which I

visualised on my composite drawing. The arrows represents the choice the user makes to either enter the betting shop or rehabilitation centre. The white and red wire shows the route of the clinician. The clinician enters the building from the main rehabilitation centre entrance at the car-park level. They then circulate through the top floors, talking to problem gamblers through individual therapy and group therapy sessions (shown in red). It is important to note the emphasis on the

central staircase connecting all of the aspects. This is also shows the development from my composite drawing and represents the architectural connection between community, entertainment and rehabilitation. The purpose of this process was not to produce a perfectly refined model but to approach building design in a unique way by thinking about the system and people first (System Design / User Centric Design) and forming my architecture around it.

REALISATION & SYNTHESIS

DEVELOPMENT In creating the model I began to get a feel for the project in three dimensional form. To put these ideas into action I sketched some basic floor plans following the key thresholds I had developed previously. These plans give an idea of the access points from the squares.

My plans then lead me to develop the relationship between Shelton square and Coventry Market. Instead of cutting off

the flow of people from Shelton square to the new green square I created a through-way to provide a more exciting

link between the retail quarter of Shelton square and Coventry Market.

I began by exploring the ways I could divide the building, with only corridors connecting the two halves. Although this presented

an interesting progression of movement through the site, I had lost the central staircase which provided an architectural

connection between community, entertainment and rehabilitation.

REALISATION & SYNTHESIS

Ruined Cathedral Church of St. Michael

REALISATION & Threshold SYNTHESIS Porch Entrance connection

Coventry Cathedral Church of St. Michael

Ruined Cathedral Church of St. Michael Ruined Cathedral Church of St. Michael

I then began to look at ways I could keep this central focus while also creating a through way to the green square. This led me to the idea of a central atrium. It was interesting at this point to look at the key threshold of Coventry Cathedral which acts as a connection between the ruins of the old and new cathedral. This threshold is a symbol of communal reconciliation and hope. I found this a profound precedent as the symbolism shown in the threshold also resonates with the ideas housed in my programme. In my case study I looked at Coventry Cathedralâ&#x20AC;&#x2122;s central threshold in depth (Case study attached as a separate booklet).

10m

Coventry Cathedral Church of St. Michael Coventry Cathedral Church of St. Michael

Threshold Porch Entrance connection Threshold Porch Entrance connection

Coventry Cathedral Church of St. Michael

0 0

2 4

6 6

10m

Threshold Porch Entrance connection

Retail unit

Ruined Cathedral Church of St. Michael

10m

REALISATION & SYNTHESIS

PROCESS &DESIGN In these drawings the evolution of thought and creativity emerges to the fore. Acting

as a key driving force they are a catalyst for insight and development.

REALISATION & SYNTHESIS

Ubet, Turning The Betting World Inside Out (McCartney Design, 2020)

DESIGNING FOR COM UNITY

I began to build on the ways the protagonists would utilise the space, refining the programme through critical analysis. I looked at Ubet, a betting shop created by McCartney Designs (McCartney Design, 2020). This became a key precedent in my research as they developed a new retail concept based around community and the

idea of bringing the stadium experience to life. McCartney analysed a series of betting shops and saw that they all directed the attention of the users to the edges of the shop (TV’s on all the walls). They therefore “turned the existing concept inside out” by basing all the screen based information in the centre of the shop with

stadium type seating (McCartney Design, 2020). This became a direct influence on my betting shop as it reinforces the idea of community (as shown in my layered timeline previously), which has been lost through commercialisation and exploitation.

REALISATION & SYNTHESIS

Precedent Maggie’S Manchester Centre Timber Frame (Schuler, 2020)

DESIGNING FOR COM UNITY “If you are not able to stop yourself then having people who are involved in the rehabilitation scheme (recovered addicts) accompany you, and advising you would be a great measure in beginning the journey to control. I think the community aspect is also really important. Having group therapy where goals are set, and problems shared will take away the stigma and shame that people feel when they have lost control. Knowing that there is a community nearby I think would be great, but it would need to be well advertised.”

the purpose of live-in health centres. I therefore posed the question; how can I utilise architecture to encourage control rather than abstinence? To begin to answer this question I undertook an interview with

Precedent dRMM Builds Oldham Maggie’s Centre (De (Rijke, 2020)

Initially my concept for the rehabilitation centre was based around live-in health centres. I realised that this created a juxtaposition as I was advocating for control rather than abstinence, which is

a reformed problem gambler who learned to control their addiction(see Appendix 2). From this interview it is clear that there are three important aspects to control problem gambling as listed below.

INDIVIDUAL THERAPY

Precedent Cullinan Architects, Maggie’s Centre, Newcastle (Waite, 2020), (ArchDaily, 2020)

GROUP THERAPY

COMMUNITY AND HELP FROM RECOVERING ADDICTS

From this research I decided it was important to have community at the core of the rehabilitation centre. I began looking

at Maggie centres as precedents as they use kitchens at the heart of their designs to encourage community and the feeling of

inclusion. Timber is also a recurring theme in the interior of the centres, adding to the idea of home and warmth.

REALISATION & SYNTHESIS

GROUND FLOOR PLAN 1:200

The ground floor has 3 key aspects. The betting shop, the cafe and the central atrium. All these elements nurture the idea of community and reconnecting the city. Key thresholds are of particular importance throughout the building. The images above display some of the ground floor thresholds. The cafe, with bifolding windows that look out onto the green

space, has high ceilings and is open to a great deal of sunlight, therefore providing a tranquil atmosphere for visitors and the community. The entrance of the cafe leads out to Coventry Market providing a relationship between the two buildings. The betting shop focuses on community and the idea of a stadium-like form of entertainment, while encouraging

problem gamblers to face their addiction. Small shops face on to Shelton square, maintaining the retail aspects of the area. Shops are also located in the atrium of the ground floor therefore drawing people through and out to Coventry Market 8.

DEVELOPMENT

LABELS

1. Cafe

8. 6.

2. Kitchen 3. Toilets

10.

4. Betting Shop

7. 6.

5. Office

6. Kiosk shop

7. Storage 5.

8. Fire escape 9. Lift 10. Central Atrium

The development of my plans show the evolution of the betting shop staircase threshold which evolved through the project to obtain an optimum

way of encouraging people to control their addiction. I explore this in further detail later within this chapter

REALISATION & SYNTHESIS

FIRST FLOOR PLAN 1:200

The First floor focuses on the first stages of taking the steps towards control. Here booths are located where betting shop staff or previously recovered addicts, can talk things through with problem gamblers without having to enter the actual

rehabilitation centre (7). This provides a stepping stone towards rehabilitation in a non intimidating way. Located on this floor is also an outdoor garden/ smoking area for users of the betting shop and rehabilitation centre, and staff (5). This

allows people to smoke in a place that is both functional and aesthetic rather than being condemned to the streets, while also being a place for reflection. A work/ study space looks down into the cafe providing a relaxing environment that is also conducive to study.

2. 3.

DEVELOPMENT

LABELS

1. Betting shop staff room

2. Kitchen staff room 3. Toilets

4. Stairs up to rehabilitation centre

5. Outdoor garden/ Smoking area 6. Work / study space 7. Conversation area- first steps into the rehabilitation programme

The key development for this floor focuses on the booths as the first steps into the rehabilitation programme.

REALISATION & SYNTHESIS

SECOND FLOOR PLAN 1:200

The second floor is the rehabilitation centre. It has a main entrance from the car park (8). Leading to a reception area (1). From the reception the kitchen can be

seen. On the second floor is also located, the group therapy space (3), the office (4) and a single individual therapy room (5).

6. 6.

DEVELOPMENT

LABELS 3.

1. Rehabilitation Reception

2. Kitchen 3. Group therapy space 4. Office 5. Individual therapy room 6. Toilets 7. Quiet space 8. Main entrance from car park

The key development for this floor focuses on the refinement of the staircase that leads up from the booths on the floor below.

REALISATION & SYNTHESIS

THIRD FLOOR PLAN 1:200

The third floor is based upon education, individual therapy and reflection. The outdoor garden which looks out onto the atrium, fills the spaces with light and

provide a space for contemplation and reflection. The library is filled with both motivational and scientific books to help people through their journey to control

8. 8.

DEVELOPMENT

LABELS

1. Reading space

4. 5.

2. Rehabilitation centre staff room 3. Waiting room 4. Individual therapy room 5.balcony 6. Garden 7. Library 8. Toilets

CONTEXT GROUND FLOOR PLAN IN CONTEXT

10.

8. 3.

11.

This Image shows the project in context. It expresses the pathways between the cafe and Coventry Market, and the pathway from the bus stop to the building. Being close to Ladbrokes (10) and Coral (9), enhances the visibility of the centre to its target audience.

9. COVENTRY CITY CENTRE

1:500 GROUND FLOOR PLAN

1. Coventry Market 2. Market Square 3.Shelton Square 4. Bull Yard 5. Barracks Car Park 6.City Arcade 7. Queen Victoria Rd Bus Stop 8. Market Square Bus Stop 9. Coral Betting Shop 10. Ladbrokes Betting Shop 11. Centre For Gambling Rehabilitation

REALISATION & SYNTHESIS

PRECEDENT ANALYSIS

Precedent Ernst Busch University Of Performing Arts, O&O Baukunst

Precedent Homerton College Dining Hall, Feilden Fowles (ArcDaily, 2020)

Precedent Saint Denis Archives Building, Antonini + Darmon Architectes

Through my studies of glulam as both a structural and aesthetic element in design, I was drawn to the design of the Homerton College Dining Hall by Feilden

Fowles. I found Their use of cross beams as a prominent element in the ceiling design an effective way of creating a simple yet

engaging interior. I designed similar cross beams into my design within the cafe space as it has the same serene intent.

The Ernst Busch University of Performing Arts by O&O Baukunst, was a particularly informative reference for my project as it explores the use of timber battens with a visual translucency. I found this particularly

powerful and therefore integrated it into my design. The interior also reflects the use of timber battens as semi translucent screens. Due to the sensitive nature of my programme i concluded that timber

battens arranged in this way could create both a sense of privacy while not feeling trapped

REALISATION & SYNTHESIS

INTEGRATED TECHNOLOGY ARC3013

DETAIL SECTION AND ELEVATION

SECTION 2

1:20 TECHNICAL SECTION AND PART ELEVATION STUDY

1. S E C T I Plantings ON 2 600mm Soil 1:20 TECHNICAL SECTION BauderSTUDY filter fleece AND PART ELEVATION Bauder protection mat 4. 1. Bauder PE Foil Concretesystem. window cill Plantings 100mmBauder waterproofing waterproof membrane 600mm Soil Waterproof membrane 70mm Insulation Bauder filter fleece Insulation 100mm Insulation Bauder protection100mm mat Bauder PE Foil 200mm Cross laminated timber 100mmBauder waterproofing system. void 5. 300mm Services

4. Concrete window cill waterproof membrane 70mm Insulation1. 100mm Insulation

6. 45mm Hardwood Waterproof membrane 75mm Polished concrete screed with 100mm Insulation underfloor heating 3. 200mm Cross laminated timber 100mm insulation 6. 300mm Services void 75mm Polished concrete screed with membrane waterproof 2. underfloor heating 200mm Concrete slab 40/60mm Cladding-Fir timber boarding 100mm insulation Raft foundations 40/60 Timber battons and membrane counter waterproof 2. 200mm Concrete slab battons 40/60mm Cladding-Fir timber boarding Raft foundations 40/60 Timber Waterproof battons and membrane counter battons 7. 100mm Insulation Waterproof membrane 200/200mm Glulam beams 7. timber 100mm Insulation200mm Cross laminated 200mm Cross laminated timber

200/200mm Glulam beams 8. Bi-folding windows

3. 25/95 Pine planks25/95 Pine planks Underfloor heatingUnderfloor heating 100mm Insulation100mm Insulation 300 mm Services void including 300 mm Services mechanical ventilation mechanical 200mm Cross laminated timber ventilation

The ground floor depicts the cafĂŠ space while the 1st and 2nd floor depict the rehabilitation spaces.

200mm Cross laminated timber 8.

Finally there is a consistent material quality throughout the structure which can be seen in both the section and the elevation.

8. 4.

4. Integrated Technology Report

Integrated Technology Report

Sufficient space is provided in the voids for services including mechanical ventilation.

Finally there is a consistent material quality throughout the structure which can be seen in both the section and the elevation.

including

Figure 14: Ground Floor

Rainwater de-fence is clearly shown in the study through the use of waterproof membranes, guttering, win-dow cills and green roof waterproofing systems.

Sufficient space is provided in the voids for services including mechanical ventilation.

The detail study reinforces the design concept through the fluid use of timber and the modular construction.

Rainwater de-fence is clearly shown in the study through the use of waterproof membranes, guttering, win-dow cills and green roof waterproofing systems.

8. Bi-folding windows

The ground floor depicts the cafĂŠ space while the 1st and 2nd floor depict the rehabilitation spaces.

The detail study reinforces the design concept through the fluid use of timber and the modular construction.

void

DETAIL SECTION AND ELEVATION

The vertical section and part elevation represented express a key moment in this project expressing the construction system from foundations to roof.

5. 45mm Hardwood

The vertical section and part elevation represented express a key moment in this project expressing the construction system from foundations to roof.

Figure 14: Ground Floor

REALISATION & SYNTHESIS

1. 25/95 Pine planks waterproof membrane 100mm insulation 200mm Cross laminated timber 2. 25/95 Pine decking pedestal system waterproof membrane 100mm insulation Timber battons placed to create gradient 200mm Cross laminated timber

3. 40/60mm Cladding-Fir timber boarding 40/60 Timber battons and counter battons Waterproof membrane guttering 2. 3.

ENERGY STRATERGY a. ventilation: Cross ventilation, mechanical ventilation, stack effect. b. renewable energy systems: photovoltaics, Ground source heat pump

1. The balcony on the third floor prevents direct sunlight on a summers day from entering the building. This helps with passive cooling.

c. heating system: underfloor heating sourced from ground source heat d. cooling system: passive cooling through the recess of windows and the addition of a balcony

Figure 19: Section showing ventilation

2. The windows on the 2nd floor are recessed into the building therefore, like the balcony, direct sunlight on a summers day cannot enter. The cills are designed so that on a winders day direct sunlight CAN enter .

Figure 19 depicts a scheme of the ventilation. Cross ventilation will occur on the ground floor when windows can be opened. Mechanical ventilation is also present providing filtered air whilst maintaining a certain temperature. The verticle and horrizontal distrabution of the mechanical ventilation is depicted on figure x. Ventilation is also achieved through the stack effect within the large central atrium

SECONDARY: Glulam crossbracing

TERTIARY: Parapets services windows waterproofing

Figure 21: photovolatic panell

Photovoltaics are set on the non-shaded roof facing south as to absorb as much of the sun as possible. The photovoltaics generate renewable energy which can be used within the building

3. Mechanical ventilation sits within the voids allowing fresh air to travel between floors

Integrated Technology Report

Figure 20: Services distrabution axonometric

PRIMARY: Glulam frame Cross laminated walls Cross laminated floors

A ground source heat pump with horizontal pipes is placed under ground below the square. The pump circulates a mixture of water and antifreeze around a set of pipes underground. The heat from the ground is then absorbed into the fluid and is fed through a heat exchanger into a pump. Figure 20. Figure 22: Detail Section

REALISATION & SYNTHESIS

1:20 MODEL

The development of my faรงade was directly influenced by the work produced in the thinking through making project. I took the triangle motif designed through chance and integrated it into the timber

faรงade. I did this by placing alternate triangles behind the battens giving the faรงade varying layers of depth. The faรงade design is therefore directly inspired by the activities that it is designed to facilitate.

The process of making the 1:20 model helped me understand the way the timber would work tectonically.

INDIVIDUAL THERAPY

GARDEN ATRIUM

OFFICE

GROUP THERAPY

KITCHEN

WORK SPACE CAFE ATRIUM

BETTING SHOP

REALISATION & SYNTHESIS

I have integrated rotating screens into my plan to further the idea of chance. The screens are of varying sizes. Depending on the orientation, the movement around the room is manipulated, thus it is chance

which manipulates movement. The screens relate to my primer project as a leaver is pulled to rotate the screen just as a leaver is pulled in my model. Furthermore the

movement of the screen changes the visibility of the triangle motif on the ground, further referencing chance and design.

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REALISATION & SYNTHESIS

GROUND FLOOR MOVEMENT

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REALISATION & SYNTHESIS

CHANCE AND MOVEMENT

The use of screens to manipulate movement was successful in developing the narrative of my project. By utilising floor textures, the emphasis on thresholds and progression pathways through the building

THRESHOLDS ABOUT

are enhanced. This is seen particularly in the atrium where paving follows through from the outside encouraging a natural flow of movement from one square to the other. Bringing in the motif from the

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facade into the floor below the revolving screens, provides synergy between movement and chance.

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REALISATION & SYNTHESIS

THRESHOLDS

To develop the user experience of the building I looked into the important thresholds of the building. By integrating some of the discussions in the interview, I developed creative and engaging moments which are designed around the user.

This axonametric view of my building highlights the threshold of the building while also demonstrating the spatial qualities and atmosphere of the spaces. Although the floor plans were refined after this drawing, it accurately portrays the activities and structural qualities of the building.

On the left hand side are a series of sketches of my initial threshold renders. They are a key aspect of my development and allowed me to refine the details in the building.

REALISATION & SYNTHESIS

THE INITIAL STEPS

The staircase is located towards the back of the betting shop in order to present a non intimidating threshold.

DEVELOPMENT

STEPPING TOWARDS RECOVERY The staircase leading up to the first floor represents the initial stages to recovery, as prospective users make the decision to actually get help. This is one of the hardest stages of recovery and therefore much thought and consideration had to go in to designing it. The staircase juts out facing the toilets. The reason for this is that in the interview with the recovered problem

gambler, they told me that the toilet was one of the places where they realised they needed help. I therefore wanted to capture this moment by creating a subtle yet effective entrance up into rehabilitation. The toilets will also be filled with posters and encouragement to the rehabilitation centre so it is made obvious that the centre is there.

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This threshold has developed throughout my project, starting from the initial creative massing model. The reflection of choice

presented in the model followed through up until the final design, continually supporting and informing my design.

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Above are also some initial designs for the atmosphere of the staircase

REALISATION & SYNTHESIS

TALKING THINGS THROUGH

DETAILSLIDING PANELS

The sliding screens create a dynamic and interactive space allowing for both public and private spaces. As the screens are pulled closed, the spaces are enclosed although gaps in the timber battens make the user feel as though they are not completely trapped. When undertaking my interview, the interviewee explained how

important it is not to feel trapped. Furthermore, after the conversation has ended the encouragement is towards the staircase up to the rehabilitation centre as the room creates a natural corridor that way.

DEVELOPMENT The development of this threshold shows the importance of the timber battens. The battens would cast shadows through the day creating an interesting and engaging atmosphere.

LOCATION The booths located on the first floor are an area where problem gamblers can have an initial conversation with a member of staff. They will either be escorted here by a staff member or they will arrive on their own and a member of staff will greet them.

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REALISATION & SYNTHESIS

WELCOME INSIDE LOCATION

The rehabilitation centre main entrance is located on the second floor and has access from both the bar park and from the staircase on the floor below.

DEVELOPMENT

THE RECEPTION

The initial stages into the rehabilitation centre are of great importance as it sets a tone for the problem gambler. The steps face towards the reception and the kitchen. By not facing the reception straight on, a non intimidating welcome is created. The view into the kitchen is also an important

aspect as it allows the problem gambler to see the community and support available as they make the big decision to get help. The development of this threshold can be seen in this initial sketch. It can be seen how the idea of being able to see both the kitchen and the reception at the same time was of great importance.

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REALISATION & SYNTHESIS

THE INWARD JOURNEY

LOCATION

Located on the third floor, the therapy rooms are in the most private part of the building emphasising the sense of security and confidentiality.

DETAILACOUSTIC PANELS

INDIVIDUAL THERAPY Individual therapy is important in the process of control as it helps the problem gambler talk through their issues. The therapy rooms are all carpeted and full of light to allow the patient to feel

comfortable. Mycelium acoustic panels clad the walls to allow for greater privacy. They also add to the aesthetic nature of the room.

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I chose Mycelium acoustic panels due to their aesthetic qualities as well as their environmental qualities. They are made from Mycelium (the vegetative root of a fungus) grown on an organic waste product, and can be fully decomposed after their life. These panels are based on research and experimentation from my dissertation study.

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REALISATION & SYNTHESIS

THE SUPPORTING COMMUNITY

THE KITCHEN

LEARN AND UNDERSTAND

THE LIBRARY

The library provides an important place for problem gamblers to come and learn. The library is filled with both motivational and scientific books to help people move through their journey towards controlling their addiction. It is located on the third floor next to the garden thus reinforcing the process of reflection.

The kitchen makes reference to the those of the Maggie centres described previously. They create a community for people in all stages of their recovery. This is the central focus for my rehabilitation centre as it reinforces the idea that rehabilitation is a journey shared together. The kitchen also acts as a place for relatives of problem gamblers to enjoy and learn.

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REALISATION & SYNTHESIS

REFLECT

REINTEGRATE AND CONTROL

THE GARDEN

T H E B E T TI N G S H O P

The garden is a place for contemplation and reflection. The timber battens which clad the building provide a sense of privacy and safety. The light casts shadows adding a sense of dynamism to the atmosphere.

Reintegration is the final â&#x20AC;&#x2DC;stepâ&#x20AC;&#x2122; and is helped by other recovered gamblers. Due to the nature of the betting shop including a community element at its heart, the reintegration process should be more optimum than being in any other betting shop. The staff will be made aware of who the recovering problem gamblers working to control their addiction are. Therefore if staff think they need help, they will approach them to ask how they are.

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REALISATION & SYNTHESIS

12 STEPS TO RECOVERY Set out below are the ‘12 steps to recovery’. These steps describe the narrative through the building as experienced by a problem gambler on the road to recovery. Unlike the literal 12 steps to recovery as outlined in alcohol anonymous (promoting abstinence), this project uses the analogy of 12 steps through the building as experienced by the user. This could be described as a journey to control .

4) THE FIRST STEP INSIDE

5) INDIVIDUAL THERAPY

6) GROUP THERAPY

7) JOINING THE COMMUNITY

8) OPENING UP

9) REFLECTING 2) TAKING THE FIRST STEP 1) THE REALISING

3) TALKING THINGS THROUGH

10) LEARNING 11) PROCESSING 12) REINTEGRATION

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CULTURAL BIBLIOGRAPHY

In 2019, to raise funds for the Alzheimer Society, I embarked on a 26 mile walk over the wilder elements of Hadrian Wall country. This endurance test was a great challenge to complete given the short time in

which we completed it (6hrs). It was a joy to undertake in terms of experiencing the exposed beauty of this area of England. Knowing that together we can make a difference was important during the final year of architecture, as our collaborative

learning came to the fore. On the day of the walk, everyone pushed themselves to raise funds for such an important cause and we know that if we work together we can always make a great difference in the world.

Living in close proximity with others during the lockdown called for innovative solutions to keep our spirits joyful. During this time, I decided to take an inventory of the key materials which were available around the

house, which we could use to design and build a project which could involve the whole family. Being on Hadrian’s wall, stone in the garden was the prime material and inspiration for an outside oven where

we could cook together – especially pizzas! I set about designing a structure to feel organic within the environment – hence concluded on a ‘monolithic’ style domeshaped structure.

Over the past year, I have learnt a great deal through extra-curricular activities. While visiting Madrid, I was inspired by the CaixaForum. The heritage of this once working class area is preserved by the incorporation of the outer structure of a power station that previously occupied the site. The urban construction has been raised off the ground, to draw visitors into what is now a “centro cultural,”

representing the area’s own transformation from construction district to the cultural heart of the capital: A beacon of twenty first century urban regeneration. During the summer of 2019, I applied for and was awarded a research scholarship from Newcastle University for which I

was later shortlisted for an award. Over a two month period I studied the use of Mycelium in architectural design, which

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included both paper and lab based research. This learning later informed my dissertation.

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CHARRETTE CHARRETTE WEEK - RELIEF, WHAT A RELIEF In charrette week, our group explored the possibilities of representing the city via the medium of cast sculptures. The â&#x20AC;&#x2DC;friezeâ&#x20AC;&#x2122; installation depicted the static qualities of the high street, and the sculptural elements of it allowed our group to tell the social, political and cultural story of the high streets context. We used clay, timber, foam board and other materials to create relief moulds, of which we then used to cast large pieces for the final installation

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22. (Kingma, 2004) Kingma, S., 2004. Gambling and the risk society: the liberalisation and legitimation crisis of gambling in the Netherlands. International Gambling Studies, 4(1), pp.47-67.

10. (Ballard, 2006) Ballard, J., 2006. Kingdom Come. Michigan: Fourth Estate.

11. (Graf, 2014) Graf, P., 2014. The First Decade Of UK Gaming Regulation And Beyond: Key Lessons And Perspectives. Available at: <https://www. gamblingcommission.gov.uk/PDF/speeches/Speech-to-Singapore-academy-of-law-and-casino-regulatory-authority.pdf > [Accessed 15 May 2020].

12. (Onlinebetting.org.uk. 2020) Onlinebetting.org.uk. 2020. History Of Gambling, Betting And Bookmakers | First Bookies, Betting Sites And Exchanges | Evolution

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23. (Ramesh, 2020) Ramesh, R., 2020. High-Stakes Gambling Machines ‘Suck Money From Poorest Communities’. [online] the Guardian. Available at: <https://www.theguardian.com/uk/2013/jan/04/fixed-odds-betting-terminals-poorest-communities> [Accessed 9 June 2020].

24. (Kim, 1999) Kim, D., 1999. An Introduction To Systems Thinking. Pegasus Communications

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25. (Slutske, Piasecki, Blaszczynski and Martin, 2010) Slutske, W., Piasecki, T., Blaszczynski, A. and Martin, N., 2010. Pathological gambling recovery in the absence of abstinence. Addiction, [online] 105(12), pp.2169-2175. Available at: <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2975751/>.

26. (Ladouceur, Lachance and Fournier, 2009) Ladouceur, R., Lachance, S. and Fournier, P., 2009. Is control a viable goal in the treatment of pathological gambling?. Behaviour Research and Therapy, [online] 47(3), pp.189-197. Available at: <https://reader.elsevier.com/reader/sd/pii/S0005796708002404?token=F16A9658BB27BDF937656465FF8FE31D9326742CA2A860A743B2C3D5A1531BF543D5AC588F269EEFAAE0D548833434ED>. 27. (Dickerson and Weeks, 1979) Dickerson, M. and Weeks, D., 1979. Controlled gambling as a therapeutic technique for compulsive gamblers. Journal of Behavior Therapy and Experimental Psychiatry, [online] 10(2), pp.139-141. Available at: <https://reader.elsevier.com/reader/sd/ pii/0005791679900909?token=58A90C7AB0EEE17A896C5DBFF23E78290504A450FC12B21AF0DA760D8E1A4864FBBF8D43521E57263114EAF53748C0E6> [Accessed 9 June 2020].

LIST OF FIGURES Images With the following titles were taken by Matthew Margetts 1)Ghost in the Machine 2)Learning About Systems 3)It Could Be A Hat 4)Studio Drinks

28. (Edwards, 2016) Edwards, D., 2016. Dada, Chance and Absurdism. [online] Available at: <http://www.whenthenewsstops.org/2016/07/dada-chance-and-absurdism-essay.html> [Accessed 12 June 2020].

5)Turin

29. (MoMA, 2020) The Museum of Modern Art. 2020. Jean (Hans) Arp. Untitled (Collage With Squares Arranged According To The Law Of Chance). 1916–17 | Moma. [online] Available at: <https://www.moma.org/collection/works/37013> [Accessed 12 June 2020].

7)System Mapping

30. (Rhinehart, 2002) Rhinehart, L., 2002. The Dice Man. Pymble, NSW: PerfectBound.

9) Exhibition

31. (Manolopoulou, Y., 2020) Manolopoulou, Y., 2020. The Active Voice of Architecture: An Introduction to the Idea of Chance. The Active Voice of Architecture, 1(1).

6)Milan Prada foundation

8)Coventry

Images With the following titles were taken by Adam Blacknell 10)Composite model

32. (Structuraltimbermagazine.co.uk. 2020) Structuraltimbermagazine.co.uk. 2020. Can Timber Construction Benefit Health And Wellbeing?. [online] Available at: <https://www. structuraltimbermagazine.co.uk/news/can-timber-construction-benefit-health-and-wellbeing/> [Accessed 14 June 2020].

All other referenced images

33. (McCartney Design, 2020) McCartney Design, 2020. UBET - TURNING THE BETTING WORLD INSIDE OUT. [online] Mccartneydesign.com.au. Available at: <https://www.mccartneydesign.com.au/ubet-new-farm-store-interior-design.html> [Accessed 14 June 2020].

Tschumi, Bernard, Aleksandr Bierig, and Jake Matatyaou, Notations : Diagrams And Sequences (London: London : Artifice Books on Architecture, 1994)

34. (Price, 2003) Price, Cedric, The Square Book (Chichester: Wiley-Academy, 2003). 35. (Tschumi, 1994) Tschumi, Bernard, Aleksandr Bierig, and Jake Matatyaou, Notations : Diagrams And Sequences (London: London : Artifice Books on Architecture, 1994) (Museum of Modern Art, 2020)

Tschumi – Mode of notation

Tschumi – Mode of notation Tschumi, Bernard, Aleksandr Bierig, and Jake Matatyaou, Notations : Diagrams And Sequences (London: London : Artifice Books on Architecture, 1994) Fun Palace, Cedric Price Mathews, Stanley, “The Fun Palace As Virtual Architecture”, Journal Of Architectural Education, 59 (2006), 39-48 <https://doi. org/10.1111/j.1531-314x.2006.00032.x> Museum of Modern Art, 2020. Untitled (Collage With Squares Arranged According To The Law Of Chance) 1916–17. [image] Available at: <https://www.moma.org/collection/works/37013> [Accessed 12 June 2020]. Museum of Modern Art, 2020. Untitled (Squares Arranged According To The Laws Of Chance) 1917. [image] Available at: <https:// www.moma.org/collection/works/37166> [Accessed 12 June 2020]. McCartney Design, 2020. UBET - TURNING THE BETTING WORLD INSIDE OUT. [online] Mccartneydesign.com.au. Available at: <https://www.mccartneydesign.com.au/ubet-new-farm-store-interior-design.html> [Accessed 14 June 2020]. batessmart, 2011. Dandenong Hospital Mental Health Facility Stage 1. [image] Available at: <https://www.batessmart.com/bates-smart/ projects/sectors/health/dandenong-hospital-stage-3-redevelopment-mental-health-facilities-part-1/> [Accessed 14 June 2020].

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ArchDaily, 2020. Ruukki Health Clinic - Alt Architects, Karsikas. [image] Available at: <https://www.archdaily.com/635989/health-clinic-ruukki-alt-architects-karsikas> [Accessed 14 June 2020]. SCHULER, T., 2020. Maggie’S Manchester Centre Timber Frame. [image] Available at: <https://www.architectmagazine.com/technology/detail/maggies-manchester-centre-timber-frame_o> [Accessed 14 June 2020]. De Rijke, A., 2020. dRMM Builds Oldham Maggie’s Centre. [image] Available at: <https://www.dezeen.com/2017/06/21/drmm-maggies-centre-centre-care-architecture-courtyard-oldham-manchester-uk/> [Accessed 14 June 2020]. Waite, R., 2020. Cullinan Architects, Maggie’s Centre, Newcastle. [image] Available at: <https://www.architectsjournal.co.uk/home/cullinan-designed-maggies-centre-in-newcastle-opens/8648219.article> [Accessed 14 June 2020]. ArchDaily, 2020. Floor Plans, Cullinan Architects, Maggi’es Centre, Newcastle. [image] Available at: <https://www.archdaily. com/415127/maggie-s-newcastle-cullinan-studio/520a4646e8e44e8d40000058-maggie-s-newcastle-cullinan-studio-groundfloor-plan> [Accessed 14 June 2020]. ArchDaily, 2020. Ernst Busch University Of Performing Arts, O&O Baukunst. [image] Available at: <https://www.archdaily. com/912095/ernst-busch-university-of-performing-arts-o-and-o-baukunst?ad_medium=gallery> [Accessed 14 June 2020]. ArchDaily, 2020. Saint Denis Archives Building, Antonini + Darmon Architectes. [image] Available at: <https://www.archdaily. com/336859/saint-denis-archives-building-antonini-darmon-architectes/> [Accessed 14 June 2020]. ArchDaily, 2020. Homerton College Dining Hall, Feilden Fowles. [image] Available at: <https://www.archdaily.com/867640/risingpractice-feilden-fowles-beats-out-stirling-prize-winners-in-university-of-cambridge-competition> [Accessed 14 June 2020]. All Other Images are authors Own

APPENDICES

APPENDIX 1 how long have you lived in Coventry? “I’ve lived in Coventry my whole life born and bred. I used to own the jeweller’s right on this square [Shelton square] but slowly fewer and fewer people have been coming to this area. I mean look at it, it’s not got any attractions. people would much rather go to Birmingham for a day out! So why do you think people are no longer visiting Coventry, particularly this area? “Well first of all the council have made it very clear that they are not going to help local shops like me. I have sent them numerous emails which they have ignored on countless occasions. They have even said they want to pull some of these buildings down and build student accommodation. It’s a nightmare all of these posh kids and fast fashion stores. We are losing our community. Our home. You say “we are losing our community” can you expand on that for me? Well you know, back in the day everyone would know everyone. we all had our businesses nearby and we would all help each other out. But once this whole online shopping business came into play, people don’t need to go to their local shops, they can just stay at home. Our history is being forgotten and I think that’s the saddest part of it all

APPENDIX 2 1) In your experience Do gambling venues encourage seeking help? The venues which I attend have never encouraged anyone who I know to seek help, and there have been people who have showed obvious signs of gambling addiction. I had one friend who asked to be excluded from our local betting shop, but she ended up going to another venue nearby. It wasn’t policed very well if I’m honest. 2) Do you think that having a centre which helps to control gambling addiction is beneficial in preventing problem gambling? I think it would be a great measure, especially if accompanied by a psychologist and therapist. If you are not able to stop yourself then having people who are involved in the rehabilitation scheme (recovered addicts) accompany you, and advising you would be a great measure in beginning the journey to control. I think the community aspect is also really important. Having group therapy where goals are set, and problems shared will take away the stigma and shame that people feel when they have lost control. Knowing that there is a community nearby I think would be great, but it would need to be well advertised. [interviewee laughs] I remember I lost complete control one time and i needed to escape for a minute, so I went to the bathroom and there was a poster with a helpline number. I went to ring it but my phone had died, but I do member that that was an unusual place I accepted I needed help.

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You mentioned about stigma and shame, can you elaborate on how these

I Think there is a great sense of pride in the betting shops I have been to. People don’t talk about addiction, that would bring the mood down wouldn’t it? You see the betting shop is a place to have fun, and to feel adrenaline, but I think people often confide in the staff. I use the term confide loosely. I mean, we often build a relationship with the regular staff, and when we are not feeling so great we might make a few comments. I do feel isolated sometimes because I know that if I lose control there won’t be anyone there to help me. These days I make sure I only go in with a set amount of money, and when that is spent, I tell myself I need to stop. So i can understand the idea of teaching people control. I think there is much less shame in admitting you might need to control your gambling then there is admitting that you are an addict and you need to stop. 4)

If someone was told they needed help by a member of staff, would the member of staff be listened to? And does this ever happen?

The staff member might say to someone especially if they are drunk and playing that they should leave, as they cannot follow gaming protocol. They would be thrown out. But staff in my experience have never told someone they have an addiction, or that they need to seek professional help. I think if a member of staff very subtly took someone a side perhaps to a private space, where they are listened to calmly without being rushed, then yes, I think they are likely to listen. I think straight after a big loss is when you are at your most vulnerable and when you are most likely to accept help in my opinion. I think it would be fantastic if that was made available by staff. 5)

If someone was trying to control a gambling addiction, what would be the best way to be met & for the process to begin?

A site like this needs a campaign and marketing so the person (personal stories to share centre/ call centres/help lines etc to signpost people there) – so when they arrive they would be expecting to be helped. People arrive really full of fear so the welcome is crucial to bring down levels of anxiety and to bring hope so they feel ‘recovery is possible’! The welcome needs people with great human quality, warmth and and hopefully with recovered addicts as they will receive them with understanding and facilitate. I imagine a warm entrance space, with more than one person, but not a large group which would inhibit, with a technique to draw people in like a stone patio or being able to see a through to a garden, wide corridors, see activities rooms beyond. All these kind of things I think help people feel comforted and not like they are in a clinic. I think a rehabilitation centre would have few rooms near the lobby with therapists so they go into a private conversation first interview. From there they can be shown the place and to have people who are being treated to speak and share with them (testimonials). Also could have a small auditorium where you congregate all of them who have come in that day the story of what is possible explaining the process of what is available with testimonials which could prove to people bring treated that it is possible to control an addiction. I think that is how the integration process begins. 6) Going back to the betting shop, you mentioned earlier about staff taking someone aside subtly to a private room. How do you think this would look? How would the room be set out?

I think the room would be very warm, light, like a psychologist room, with two armchairs near but not too close. I think it would have quiet but not completely closed off so that the person feels safe but not trapped. You wouldn’t want to feel like you are in an interrogation room. 7) As someone who has learned to control your addiction, Would you be interested in getting involved and helping others who are addicted to talk about this issue in their lives? For example going to the rehabilitation centre and spending time in the recreational areas such as the kitchen/café?

Yes I would love to help, especially those with warm characters who would be friendly. Once we recover we want to change the world and would do a lot to help others like us to get over this as quickly as possible. Interviewee

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