LK
L.M. Klitsie
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House of Boredom
Grab a chair and start doing nothing
We have lost the ability to do nothing. The contemporary city is shaped by constant movement, stimulation, and productivity, and almost every building is designed to support these conditions. In response, House of Boredom explores the opposite: a new architecture typology of inactivity that creates space for mental rest, reflection, and creativity. House of Boredom is deliberately located beneath one of the busiest bridges in the Netherlands: the Van Brienenoord Bridge in Rotterdam. The relentless flow of traffic generates continuous white noise beneath the bridge, which, combined with the monumental scale of the structure, creates a sense of estrangement. Here, visitors are confronted with the absurdity of constant movement and acceleration overhead.
The design of the building is informed by a three-day stay in a monastery, used as a reference for studying rhythms of inactivity, silence, and repetition. House of Boredom has a rhythmic and repetitive composition of brick and concrete that creates a sense of calm and predictability. Corridors with integrated benches encourage visitors to stay rather than move towards a specific destination. Tactile materials make slow time visible through the movement of light, shifting shadows, and the gradual weathering of surfaces. The building contains an interior without a clearly defined programme. One wall is entirely filled with folding chairs, ready to be picked up and rolled onto the island, where they become part of a simple ritual of slowing down. Visitors can take a chair, find a place to sit, and do nothing. In this way, the chairs help people step out of the accelerated rhythms of everyday life and rediscover the capacity to be bored.
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The design of the building is informed by a three-day stay in a monastery, used as a reference for studying rhythms of inactivity, silence, and repetition. House of Boredom has a rhythmic and repetitive composition of brick and concrete that creates a sense of calm and predictability. Corridors with integrated benches encourage visitors to stay rather than move towards a specific destination. Tactile materials make slow time visible through the movement of light, shifting shadows, and the gradual weathering of surfaces. The building contains an interior without a clearly defined programme. One wall is entirely filled with folding chairs, ready to be picked up and rolled onto the island, where they become part of a simple ritual of slowing down. Visitors can take a chair, find a place to sit, and do nothing. In this way, the chairs help people step out of the accelerated rhythms of everyday life and rediscover the capacity to be bored.
...
We have lost the ability to do nothing. The contemporary city is shaped by constant movement, stimulation, and productivity, and almost every building is designed to support these conditions. In response, House of Boredom explores the opposite: a new architecture typology of inactivity that creates space for mental rest, reflection, and creativity. House of Boredom is deliberately located beneath one of the busiest bridges in the Netherlands: the Van Brienenoord Bridge in Rotterdam. The relentless flow of traffic generates continuous white noise beneath the bridge, which, combined with the monumental scale of the structure, creates a sense of estrangement. Here, visitors are confronted with the absurdity of constant movement and acceleration overhead.
The design of the building is informed by a three-day stay in a monastery, used as a reference for studying rhythms of inactivity, silence, and repetition. House of Boredom has a rhythmic and repetitive composition of brick and concrete that creates a sense of calm and predictability. Corridors with integrated benches encourage visitors to stay rather than move towards a specific destination. Tactile materials make slow time visible through the movement of light, shifting shadows, and the gradual weathering of surfaces. The building contains an interior without a clearly defined programme. One wall is entirely filled with folding chairs, ready to be picked up and rolled onto the island, where they become part of a simple ritual of slowing down. Visitors can take a chair, find a place to sit, and do nothing. In this way, the chairs help people step out of the accelerated rhythms of everyday life and rediscover the capacity to be bored.
The design of the building is informed by a three-day stay in a monastery, used as a reference for studying rhythms of inactivity, silence, and repetition. House of Boredom has a rhythmic and repetitive composition of brick and concrete that creates a sense of calm and predictability. Corridors with integrated benches encourage visitors to stay rather than move towards a specific destination. Tactile materials make slow time visible through the movement of light, shifting shadows, and the gradual weathering of surfaces. The building contains an interior without a clearly defined programme. One wall is entirely filled with folding chairs, ready to be picked up and rolled onto the island, where they become part of a simple ritual of slowing down. Visitors can take a chair, find a place to sit, and do nothing. In this way, the chairs help people step out of the accelerated rhythms of everyday life and rediscover the capacity to be bored.
The Untapped Potential of Video in Architectural Design is a research and design project that explores the application of video-based techniques in the architectural design process. The project started with an experimental and applied research phase diving into video-based techniques at different stages of the design process, followed by my own design project where I could further apply and test these techniques. Due to the time-intensive nature of video production, it turned out to be difficult to use video at certain stages of designing, specifically the phase of generating and developing design ideas. In other phases, such as at the beginning and final representation, the use of video was very fruitful. The same pattern emerged when I continued to use video in my own design process; the application in the earlier research phase and the final representation phase of my design project, worked well. The use of video in the intermediate phase of generating and developing ideas less so. All of the videos that I made throughout the project, including most importantly the Research Film containing all of my research compiled together, as well as my final design videos, are available on my YouTube channel at the link below.
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The Untapped Potential of Video in Architectural Design is a research and design project that explores the application of video-based techniques in the architectural design process. The project started with an experimental and applied research phase diving into video-based techniques at different stages of the design process, followed by my own design project where I could further apply and test these techniques. Due to the time-intensive nature of video production, it turned out to be difficult to use video at certain stages of designing, specifically the phase of generating and developing design ideas. In other phases, such as at the beginning and final representation, the use of video was very fruitful. The same pattern emerged when I continued to use video in my own design process; the application in the earlier research phase and the final representation phase of my design project, worked well. The use of video in the intermediate phase of generating and developing ideas less so. All of the videos that I made throughout the project, including most importantly the Research Film containing all of my research compiled together, as well as my final design videos, are available on my YouTube channel at the link below.