When we think of the term ‘threshold’, an infinite world of opposites opens up, an attempt to dialogue between diversity.
In architecture we can cite the most common paradoxes: interior-exterior, light-shadow, public-private, opening-closing and many others.
It is the inner-outer perception that we are dwelling upon today, trying to understand the importance of these two worlds in the concept of living and the element of cohesion between them: the entrance.
Until a few decades ago, the entrance was an ever-present place and tended to separate the private area of the house; the front door was intercommunicating with the other internal doors.
The contemporary trend has completely changed and more and more often nowadays the entrance opens directly onto the living room, revealing immediately the heart of the home to those who enter.
With the intention of having as much space as possible, the entrance has become a real item of furniture. And so its door.
Not solely internal furniture, indeed: whereas traditional architecture was always seeking to define a refuge from the outside world, modern architecture has sanctioned a radical revolution by establishing that the two worlds should be as much dialoguing as possible.
We have therefore witnessed a contamination between these two environments: the interior is demanded to open as much as possible and to become airy and solar; the exterior to become more welcoming and cosy. A change in perspective, aimed to conceive space as a ‘unicum’.
Designers are now called to reverse course, to design the interior as if it was exterior and vice-versa.
Could it be that this paradox – interior versus exterior – has eventually, in our modernity, dematerialized?