Designing the entrance situation: Threshold as a design element

Building design
built-in-with-many-windows-and-grass-in-front-OBHvMmR9j54

Modern building with generous window fronts and green space, photographed by Declan Sun

The threshold – a banal, often overlooked detail? Not at all. If you understand the entrance situation and think of it as an architectural design element, you not only open doors, but also perspectives. Between threshold anxiety and welcoming gestures, it determines how architecture works – and whether the first step inside becomes an experience or a stumbling block. It’s time to take the threshold out of the shadows of irrelevance and turn it into a stage.

  • Why the entrance situation is far more than a mere function – and how it creates identity.
  • Which design, technical and socio-cultural aspects characterize the threshold in the DACH region.
  • How digitalization and AI are changing the planning and use of entrance areas.
  • What sustainability requirements and solutions exist for future-proof entrance areas.
  • What expertise architects and civil engineers need for threshold planning today.
  • Which controversies and visions are fueling the debate about the entrance situation.
  • How the threshold is being rethought as a symbol and tool in the global architectural discourse.

The threshold as an invitation: from functional detail to architectural choreography

The threshold – so commonplace as a term, so underestimated as an element. In Germany, Austria and Switzerland, it usually ekes out an existence as a necessary evil between outside and inside, as the last stumbling block before arrival. Yet it is precisely here that the way a building speaks is decided: is the entrance a polite handshake, a triumphant welcome or a forbidding bar? The design of the entrance situation is far more than just a structural detail. It is a choreography, statement and business card all in one. Those who take it seriously redefine the relationship between public and private space – and not only shape the transition, but also the expectations. In the DACH region, the threshold is increasingly being staged as part of a narrative experience. In detached houses, it may still mark the last remnants of privacy, but in public buildings it becomes an invitation, a threshold between exclusion and inclusion. The trend is moving away from mere passageways towards threshold zones that allow people to linger, meet and find their way around. Transparent façades, generous vestibules, covered front zones – the entrance becomes a filter, a threshold between noise and quiet, between city and retreat. At the same time, new materials and lighting invite you to think of the threshold as a multi-sensory experience. Anyone who throws archaic exposed concrete bulkheads or narrow aluminum profiles around here has missed the spirit of the times. The entrance is the stage, and the threshold is the first image.

But this design ambition is not an end in itself. It stems from social change, which balances openness and security. In times of urban densification and growing anonymity, the threshold determines whether a building is perceived as a place of retreat or as part of public life. In residential construction in particular, the threshold is the place where the question of belonging and identity becomes concrete. In office and commercial buildings, on the other hand, it becomes a yardstick for corporate culture and brand image. Saving here means saving not only on materials, but also on image. The best offices do not start at the desk, but at the door.

In technical terms, the threshold has long since mutated into a high-performance component. Accessibility, weather protection, energy efficiency, burglar resistance – the list of requirements seems endless. And each additional requirement calls for new solutions. In the DACH region, thresholds were traditionally built as a clear separation between outside and inside – robust, solid, often made of stone. Today, the focus is on flush surfaces, sealing technology and thermal separation. Thresholds are becoming lower, smarter and more sustainable. If you don’t keep track, you quickly lose touch with the flood of standards, from DIN 18040 to SIA standards and OIB guidelines. The threshold has become a touchstone for technical know-how.

But despite all the technology, the threshold remains a cultural phenomenon. Its symbolism oscillates between protection and invitation, between fear of thresholds and desire to cross them. In the history of architecture, it has always been a place of staging – from temple porticos to palace portals. Today, in the age of standardization, this significance is in danger of being lost. Or is that precisely why it is being rediscovered? In the international debate, at any rate, the threshold is being rediscovered as an architectural manifesto – as a place of encounter, control and transformation. Those who ignore the threshold miss the moment of magic.

And one thing is certain: the threshold is not a dying relic. It is changeable, adaptable and full of potential. Anyone who understands it as such can turn it into a design element that goes far beyond the banal. The future of the entrance situation begins at the threshold – with a step that changes everything.

Digitalization meets threshold: AI and smart building in the entrance area

No matter how you look at it, the threshold is not spared from digitalization. What used to be considered an analog contact zone between people and spaces is now increasingly being penetrated by sensors, algorithms and intelligent control systems. In the DACH region, planners and building owners are experimenting with smart entrance systems, access control via facial recognition, automated door drives, networked letterboxes and digital visitor guidelines. Suddenly, the threshold becomes a data interface, a hinge between analog arrival and digital building operation. Anyone who thinks that all this is just expensive gimmickry for Silicon Valley mansions is mistaken. Demand for contactless, secure and flexible entrance solutions is growing, particularly in office and commercial properties, but also in residential construction. The pandemic has accelerated this trend. Today, the threshold is not just an access point, but a filter, scanner and data gateway.

But digitalization is not a sure-fire success. It requires technical understanding and new planning processes. Anyone planning an intelligent entrance has to think about interfaces: between door systems and building management, between user requirements and data protection, between design and usability. There are ambitious pilot projects in the DACH region, but also a wide range of uncertainties. Who is liable if the smart door opener goes on strike? Who owns the data collected at the threshold? And how can high-tech be presented as an invitation rather than a barrier? The threshold becomes a touchstone for digital ethics in the construction industry. This is where it is decided whether technology contributes to integration or exclusion.

The use of artificial intelligence in the entrance area offers opportunities, but also risks. Predictive maintenance for door systems, adaptive lighting control, personalized greetings – it all sounds like science fiction, but it has long since become reality. At the same time, there is a growing danger that thresholds will mutate into surveillance zones where algorithms decide on access and exclusion. Architectural design must therefore also shape digital thresholds: How much control is appropriate? How much transparency is necessary? How can the digital threshold be staged as a confidence-building element?

In an international comparison, the DACH region is definitely lagging behind when it comes to digitalizing the entrance situation. While digital access solutions are becoming the standard in Asian and American cities, the classic doorbell still dominates here in Germany. There are many reasons for this: data protection concerns, regulatory uncertainties, lack of interoperability. But the pressure is increasing – not only from users, but also from global architectural competition. Those who do not think digitally today will build analog ruins tomorrow.

The challenge for architects and engineers is to proactively shape the digitalization of the threshold. They have to combine technical, design and ethical expertise – and thus turn the entrance situation into a real flagship of digital building culture. The threshold is more than just a sensor field. It is the place where it is decided how smart, how safe and how inviting a building really is.

Sustainability at the threshold: materials, energy and social responsibility

Anyone talking about sustainability cannot avoid the threshold – literally. The entrance is the energy Achilles heel of every building. This is where the heat escapes, this is where the noise penetrates, this is where it is decided how resource-efficient a building really is. A paradigm shift has taken place in the DACH region in recent years: Away from the threshold as a cold bridge, towards the threshold as a high-tech seal. Thermally separated profiles, energy-efficient door systems, recyclable materials – the list of innovations is long. But every technical solution brings new challenges. How can accessibility and thermal insulation be combined? How can the threshold remain low-maintenance and durable? And how can the entrance be conceived as a resource store in the sense of circular construction?

The sustainability debate is particularly complex in the entrance area. In addition to the technical requirements, it is also about social responsibility. An inviting, barrier-free threshold is not a luxury, but a basic requirement for participation. This is where it is decided whether a building is open to everyone – regardless of age, mobility or social status. In the DACH region, more and more local authorities and building owners are demanding inclusive entrance solutions. But reality is lagging behind: there are still too many building entrances that act as an obstacle rather than an invitation. The threshold is the litmus test for social sustainability.

The question of materials is becoming a political issue. While concrete and aluminum were considered the non plus ultra for decades, today wood, natural stone and innovative composite materials are moving into focus. The threshold is becoming a testing ground for sustainable product development. But beware: not every “green” material delivers what it promises. If you want to build sustainably, you have to keep an eye on life cycle costs, recyclability and environmental impact. The threshold is small but significant – and often a decisive factor in the life cycle assessment.

The user perspective is also playing an increasingly important role. Thinking of the entrance situation as a place to stay, a meeting place or even a green oasis not only gives the building character, but also increases acceptance. Green front zones, rainproof canopies, seating – the threshold becomes a place of interaction and ecological enhancement. An international comparison shows that cities such as Copenhagen and Zurich are setting a good example. They are turning the entrance situation into a contribution to urban ecology – and setting standards for sustainable building culture.

For planners and developers, this means that the threshold is a touchstone for holistic thinking. Anyone who dismisses it as a mere detail is missing the opportunity to make sustainability visible and tangible. The future of the entrance situation lies in the combination of technology, design and social responsibility. The threshold is the first step towards a sustainable building – and hopefully not the last.

Competence and controversy: What professionals need to know about thresholds

Entering the world of thresholds requires more than just craftsmanship. It requires detailed technical knowledge, a flair for design and a feel for social trends. In the DACH region, threshold planning has become the supreme discipline. If you want to score points here, you need to know the current standards, master the material innovations and understand the interfaces with building technology. Accessibility, fire protection, burglar resistance – each requirement brings specific challenges and conflicting objectives. The trick is to combine function, aesthetics and sustainability without losing sight of the user. The threshold is a touchstone for holistic planning expertise.

But as professionalization grows, so do the controversies. How much technology can the entrance tolerate? Where does accessibility end and design freedom begin? How much digitalization makes sense before the user becomes a data supplier? And how can the threshold be conceived as a social space without turning it into a place of surveillance? The debate is open – and it is a passionate one. In architectural circles, the threshold is often discussed as a symbol of change in the profession. Anyone who plans entrance situations today is no longer just a Baumeister, but also a sociologist, data protection and sustainability expert.

The international perspective brings additional dynamism. While in the USA the entrance area is often staged as a representative gesture, Scandinavia relies on thresholds as “third places” – half public, half private, always open for encounters. In Asia, digital access solutions have long been standard, while in the DACH region, the right balance between technology and intimacy is still being debated. The threshold has become a playing field for global architectural trends – and a laboratory for new design ideas.

Another point of contention: the commercialization of the entrance situation. More and more manufacturers are entering the market with prefabricated threshold solutions. Prefabricated components, modular systems, smart door modules – everything is sold as “state of the art”. But not every innovation delivers what it promises. Anyone who degrades the threshold to a mere product solution loses the architectural signature. The best entrance situations are created where technology, material and design form a unit – and not at the workbench of a door manufacturer.

The future of the threshold remains open – in the best sense of the word. It is becoming more digital, more sustainable, more social. But it remains one thing above all: an architectural space of possibility. Anyone entering it should have the courage to design it – and the knowledge required to do so.

Conclusion: The future of the threshold – the courage to invite

The threshold is far more than just a structural detail. It is an invitation, filter, stage and touchstone for architectural aspirations. Awareness of its design, technical and social significance is growing in the DACH region. Digitalization, sustainability and new usage scenarios are challenging planners to see the threshold as a designable space of opportunity. Anyone who only thinks about standards and technology is wasting the greatest potential: the opportunity to create identity with the entrance situation and make architecture tangible. The threshold is the first step into a new architecture – and it deserves more than just a fleeting step.

POTREBBE INTERESSARTI ANCHE

Sustainability, design and art for fashion: the COS concept stores

Building design
Concept store in Mexico City with the iconic Day Bed by Mexican designer Jorge Arturo Hocker Ibarra. Photo: Fernando Marroquin, © & Courtesy COS.

Concept store in Mexico City with the iconic Day Bed by Mexican designer Jorge Arturo Hocker Ibarra. Photo: Fernando Marroquin, © & Courtesy COS.

The first concept stores from fashion brand COS have opened in Mexico City and Stockholm. Sustainability, art and design characterize the interior design of the stores.

The first concept stores of the fashion brand COS have been opened in Stockholm and Mexico City. In addition to fashion, interior architecture, design and art play important roles there. Concept stores stand for cross-selling. They complement the brand range with other products that also represent the spirit and idea of a brand. Concept stores are geared towards inspiration and experiential shopping, their product range towards the lifestyle of the visitors. Flying visits to COS in Stockholm and Mexico City show this: Even before aesthetics and lifestyle, there are very important sustainability strategies.

The fashion brand COS is part of the Swedish H&M Group and opened its first store in London in 2007. The fashion goods fall into the mid-range price segment and quickly became so popular that by 2022 there were already 259 stores in 47 countries. In its fashion design, COS follows a modern minimalist aesthetic in menswear and womenswear. COS offers ready-to-wear. The focus is not on seasonal trends, but on durability, quality and a high-quality color palette. An in-house sustainability team works every day to find the right solutions. The COS concept stores also stand for this idea, the idea of a more sustainable world. The architecture team at COS works with recycled, local materials and artisan products with a regional tradition. This creates identity, an ideal sustainability factor.

How do COS and its team of architects approach the subject? In principle, COS works like a restorer and preserves as much of the substance and character of an existing building as possible when renovating. The result is an exciting mix of historical architecture and the modern COS style. Even building in existing buildings saves CO2 emissions and is more sustainable than demolition. The principle is retained in the interior fit-out: Local materials or those from the circular economy, products from the region, work by designers and artists from the geographical area determine the interior. The long-term goal of the COS Concept Store is to achieve 100% circular purchasing. Solutions for this include the use of energy-efficient LED lighting and the use of bricks made from denim production waste. There is also the “COS Loop”, a kind of exchange platform on which the store teams can swap items for the store fittings with each other. Art always plays a major role at COS as a source of ideas and identity. Its importance has grown once again in the concept stores. The cooperation projects between COS and artists began a long time ago: in 2012, for example, there was an art project during the Gallery Weekend in Berlin that created a much-noticed scenographic window design. Carsten Nicolai installed his light installation “Schatten Loop” in the window of the COS store in Berlin-Mitte and attracted a large audience during the art weekend.

COS’s first concept store in Europe is a newly renovated old COS store in the lively pedestrian zone of Bibliotheksgatan in Stockholm. New retail concepts and sustainability have been combined here on 566 square meters over two floors. The interior design is largely made from recycled materials: display tables are made from recycled paper, the mannequins are made from used polystyrene and the aluminum rails for hanging are made from 30% recycled aluminum. The furnishings are designed to have a maximum life cycle and therefore low follow-up costs. And in the Stockholm concept store, art is a permanent feature, just like in a gallery. The first exhibition showed paintings by Swedish painter Liselotte Watkins, who also designed an edition for COS – this is not very price-intensive and the editions are affordable for many customers.

In a metropolis with a population of 23 million like Mexico City, a sustainably planned concept store is a real asset. “Air pollution is serious (…) Although modern environmental laws are in place, they are not consistently implemented because there is a lack of awareness of the problem among large sections of the population and the administration,” says the German Federal Ministry for Economic Cooperation and Development (BMZ) on the case of Mexico and environmental policy. Following the Stockholm launch balloon, COS has opened another concept store based on sustainability strategies in the Polanco district in the middle of Mexico City. Here, too, a lot of unusual materials, old and used items have been given a new lease of life in the design of the 486 square meters of retail space: The hardwood normally used for interior furnishings has been replaced by bamboo, which has a better growth rate and can store more carbon than hardwood. It is also much more durable in comparison. The floor in the sales area is made of terrazzo tiles, 90 percent of which are made from quarry waste. Yarn waste from the supply chain was used to make the carpets, and panels for various fixtures consist of 60 percent recycled plastic bottles spun into felt.

The COS concept store in Mexico City also focuses on cross-selling and there is plenty of design and art from local studios. There are two auratic stools from the Totem Collection by furniture maker Daniel Orozco, who works in southern Mexico, and the iconic Day Bed by Jorge Arturo Ibarra. The most striking decorations on the wall are not paintings but a kind of modern tapestry. They come from the Caralarga Studio near Mexico City, a company run by women – which is also sustainable, because without female empowerment there can be no sustainable social design. Caralarga specializes in sustainable fashion and wall decorations and has contributed wall decorations using thread weaving techniques to the interior concept of the concept store in Polanco. With their simplicity and reduced design language, they emphasize the beauty of raw materials and also contribute to waste avoidance, as the material they are made of would otherwise have ended up in landfills.

Read also how the Veja brand opened a new store in Madrid and what was important for the interior design.

Colorful summer party

Building design

Kurt Schmidt

Under the title “Colorful! Material Illusion”, the Bauhaus Dessau Foundation invites you to the traditional Bauhaus Festival on the first weekend in September.

This year, the Bauhaus in Dessau is celebrating the 20th Bauhaus Festival, a tradition that dates back to the 1920s. Once again, visitors can expect a varied program designed by artists and students from various art academies. Following this year’s title “Colorful! Material Illusion”, everyone is invited to come dressed as colorfully as possible on Friday, September 1 (preview evening) and Saturday, September 2.

Architecture becomes audible, material becomes danceable, walls become permeable and people become objects. This year, the Bauhaus Festival focuses on the colorfulness of things. In around 40 program items ranging from music to installations, in play spaces and experiments, they will be illuminated, put on stage and set in motion. This is a continuation of a tradition, as the historic Bauhaus was known for its experimental approach to materials. The Bauhaus festivals are legendary – they served to open up the house and showcase the artistic work. But also the celebrations themselves. Since 1997, the Bauhaus Dessau Foundation has hosted the Bauhaus Festival once a year. It is a permanent fixture in Dessau’s cultural life and an annual attraction for around 5,000 visitors from beyond the city limits.

Bauhaus Festival 2017 – September 1-2, 2017
Bauhaus building Dessau
Gropiusallee 38, 06846 Dessau-Roßlau

Find out more at: www.bauhaus-dessau.de