These two terms came up empty in my Wikipedia search a few years ago. (This was the second time in as many weeks that they had no results for a term I was researching. The first was creative play.) I was somewhat surprised, because the term “threshold condition” is so everyday in architectural discourse. This was disappointing, because I was just about to announce to the world that I design threshold conditions - end of story. Based on what I saw on google, a few scientists and engineers would know what I was talking about. Great.
So here’s my armchair definition of a threshold condition, since there are no available or satisfying online citations: an open-ended framework that facilitates interpretation and transformation. It’s really not as abstract as it sounds. The furniture project is one such example. One critical joinery detail or clinch, allows the unit to negotiate an array of configurations.
More recently, I’ve been doing the same thing with clothing and interiors. The clothing has been a particularly fun project, since it’s such an accessible medium.
The Kimono Dragon is one of many transformer garments I’ve been designing on over the last three years. It's use is predicated by the immediate and future desires and particulars of each wearer, and very amenable to change over time.
The window project was executed by one of Clinchdesign's professional thinker-doers, Martina Sencakova, who was nicknamed "Squeegee Queen" for the duration of the project.
The installation of the screens was done by Teresa, another of Clinchdesign's professional doers.
The entry image had more to do with playing with space. We reversed an image taken by Jin Jung in room 929 (former clinch hq) just when we were getting into full swing with the "body AS site, body IN site" concept.
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