This project explores the concept of boredom as an essential mental state that reveals the tension between present reality and past memory. Informed by Andrey Tarkovsky’s reflections on time and its fluidity, the project challenges conventional avoidance of boredom, arguing for its potential as a constructive and meditative experience (1988). By recognizing boredom as a tool for introspection, this work positions boredom not as a state to be feared or avoided, but as a foundation for clarity, focus, and self-discipline. Drawing on Patricia Meyer Spacks’ examination of boredom as a modern luxury and Sandi Mann’s insights on overstimulation, this project investigates how the avoidance of boredom and the constant drive for external engagement can, paradoxically, create mental fatigue, distraction, and anxiety (1995;2018).
Through design research, this project seeks to translate the experience of boredom into a visual and spatial intervention that encourages reflection on our habitual responses to monotony and stillness. Inspired by Edward Hopper's visual storytelling—specifically his depictions of solitude and introspection—this project investigates how environments can shape our mental states and self-perception. By placing viewers in a position where they must confront boredom directly, the intervention offers a mirror to individual responses, encouraging awareness and acceptance of “mental nudity” in public and private spaces.Anamorphosis is utilized as a core technique, creating a viewing frame within a corridor that serves as a “window” to one’s internal world. The taped frame, aligned from a specific point of view, offers a structured and immersive experience that mirrors the experience of looking into oneself or into the experiences of others. With subtle cues and minimal guidance, the installation asks participants to recontextualize their relationship with boredom by observing the disinterest or curiosity of others. Informed by psychogeographic principles from Guy Debord’s Theory of the Dérive, this corridor installation encourages viewers to confront their own response to inactivity and to embrace the discomfort of self-reflection (1981 [1958]).
This project employs a mixed-methods approach combining observational research, design prototyping, and user feedback to explore boredom as a psychological and spatial experience. Observational studies informed the initial design, focusing on how people interact with public spaces when devoid of stimuli. An iterative prototyping process followed, using anamorphosis and minimalist design interventions to create visual frames that guide viewers toward self-reflection. User feedback, collected through informal surveys and interactions with residents, helped refine the installation’s visual language and positioning. This feedback loop allowed the design to evolve in response to real-world interactions, grounding the project in both theoretical insights on boredom and the lived experiences of participants.
Initially intended for a university setting, the project was adapted to a residential corridor due to pandemic restrictions. Despite initial resistance to the installation’s physical presence, continued engagement revealed a “silent approval” from other residents, encouraging further reflection on community dynamics and shared mental spaces. Feedback on the installation’s design—including the color and alignment of the tape—reinforced the intentional use of “boring” elements as a means of enhancing the reflective experience.
This project proposes that by embracing boredom, individuals can access a more resilient state of mind, cultivate creativity, and develop autonomy in thought. By reframing boredom as a meditative state, the installation illustrates how mundane spaces can encourage meaningful introspection and counter the addictive lure of instant gratification. Ultimately, this work asserts that boredom is not a void to be filled, but a dynamic space to be explored and understood, fostering mindfulness and mental clarity amid modern life's relentless pace.