Contemporary social housing development in the Netherlands often prioritises standardisation over progressive and imaginative design, resulting in an undesirable dullness of the urban environment. However, there are also advantages to standardisation in the built environment, like reduced design costs, quicker construction times, higher technical quality, and potential for circularity/sustainability. In short, there is an unwanted lack of architectural diversity and individual living style and freedom, caused by a strong focus on standardisation and its benefits. To change this current state, other forms of social housing complexes have to be explored. Buildings that support diverse living conditions for diverse inhabitants, that favour equitable housing over equal housing, with architectural emphasis on the unicity of its users. Housing that invites people to explore their style of living, that evokes a feeling of freedom of style.

This thesis examines the role of humour in architectural design. The research question of the thesis is: ‘What can be learned from the integration of humour in architectural design by looking at historical examples?’ Using literary research and case studies from the 1970s to the 2010s, the thesis aims to provide insight into how humour can play a role in architecture. Psychology research on humour can be summarized as the following: humour is usually a result of a violation of expectations, of which a viewer realises that it isn’t excessive in any way. The way architects implement humour in architecture varies greatly. Architectural humour is often used to critique the architectural ideas of that time period. Humour in architecture is mostly considered a rewarding endeavour, but some architects claim that architecture has to be taken seriously; it takes up space and materials and impacts people’s lives directly. In some cases, the humour used by architects also resulted in some people being offended by it, and that is worsened because buildings are long-lasting. In short, humour in architecture can enhance a building, and it should be explored more, both in research and in practice.

This booklet is the attempt to synthesize the work developed by a multidisciplinary group of Master students from TU-Delft during the Landscape elective course OnSite. The course revolves around the design and the construction of a temporary project in a landscape setting, preceded by extensive exploration of the site. During the course, the students were given the unique chance to experience the land in multiple forms, and later on, feel the impact of their intervention.
We were assigned to work in the area called Land of Chabot, located in the north of Rotterdam, where the famous painter Henk Chabot (1894-1949) used to live. The area is constrained by the Rotte River on the north, an untouched forested area on the right and a relic of the original agricultural polders and on the left. It is currently being cut in the middle by the construction of the A16 motorway, which leads to deep structural and symbolic transformation of the landscape.
Chabot used to paint this landscape, evoking the essence of the land by his raw, harsh, and bold brushstrokes. Another powerful characteristic of his
work are the different viewpoints from which he paints the land, bringing the viewers to experience its openness and contemplate the land to its fullest.
Today, the land of Chabot is a fragment of an open farmland tissue that once surrounded the whole city of Rotterdam, and that has been profoundly changed over the years. The reason why this specific piece of land remains, is the construction of the A16 motorway that is now happening, after 30 years of planning. A huge contradiction arises due to the fact that the highway that is disrupting the land by carving it in the middle, is the very same reason why this land has been kept preserved over the years.
During the design process of our intervention, we aimed to tackle the cultural and symbolic significance of this place, and mostly, what new meanings and ways to see this landscape could take place now, given its inevitable current transformations. We dived into Chabot’s paintings and tried to capture his shifting horizon - that is different when viewed from the Rotte than when viewed from the dike, from the house where Chabot lived and worked, or from the polder floor. Our intervention became an attempt to descend into this land in order to see it.