A collective exhibition exploring ways of inhabiting liminal or transitional spaces through design.
Panoramah! is a Portuguese company that specializes in minimalist systems of glass frames for large picture windows. Its pavilion at Calle Albasanz 79 in Madrid, designed by Estudio Herreros, hosts the exhibition 'Liminal Encounters,' in which Miguel Leiro, Fabien Cappello, Piovenefabi, Selina Feduchi, MAIO, Teresa Fernández-Pello, Tornasol Studio, Claudia Paredes, and Objects of Common Interest have taken part. The show, which has also been part of Meyrit Design Festival last February, begins with a definition of liminal space – "waiting or transition spaces between a point in space-time and the next" – and presents ways of inhabiting from the logic of architectue and design. It explores the limit concept through the manner in which Panoramah! uses materials: aluminum frames and glass pieces shaped to take on a variety of geometries. The result is a framing of the duality between interior and exterior, public and private, fragility and durability.
a – Piovenefabi Cut two circles of 1200 mm diameter from an aluminum foil of 1200 x 2500 mm, thickness 4 mm. The discard will be residual. Divide the rest circle in two equal semi-circles. Connect the endpoints of the semi-circle diameter to obtain two equal cones, whose transversal section is an equilateral triangle. Divide the second circle in two portions, respecting the ratio ¾ – ¼. Connect the vertices again to obtain two different cones, whose transversal sections form two isosceles triangles. Lamp 40, 60, and 75 are a family of ground lamps, which generate from the same original circle. Together, they can colonize a space.
b – MAIO ah!38 excels as an exterior opening system comprising a balanced combination of thermal and acoustic behavior, suited to all climates. It offers great flexibility in the modular composition of openings, including opening corner solutions, pocket sliding configurations, curved layouts, tilted spans and retractable mosquito nets. The alternatives come in a wide range of formats such as sliding, sash, pivot and tilt-turn units. ah!38 also includes a variety of add-ons, finishes and it can be completely automated. It is a system that allows double glazed surface areas of up to 19m2, or triple glazed of up to 6m2. Both options use 20mm vertical cross sections.
c - Teresa Fernández-Pello Exercise of formal experimentation which takes as a base the plan view drawing of the birail Panoramah! ah38! Cross section, reproduced on the surface, sectioned, and folded to result in volume. Completed after the drawing in negative, which extends the surface of use and protects from the existing corners of the original form, the volume turns into a functional form as a combination of center tables.
d - Objects of Common Interest A rounded building corner stripped of its context to its absolute essence – a curved glass element. Once separating the inside and the outside, now alone, freestanding, a mere partition. The in and out is now the front and back of a concave mirror and a convex lens. A constructive element becomes an artifact of itself, changing from visible to invisible, from normal to paranormal, as one sways around it.
e - Tornasol Studio This center table is the result of the practice of reproducing amber fragments with the fewest elements possible, solely utilizing glass planes and seeking the qualities of the fossil through the use of color and organic geometries. Its sinuous form references the malleable, liquid state of glass that upon cooling solidifies akin to this semiprecious stone, representing its organic character through interior cavities and irregularities.
f - Selina Feduchi (todo to do) If we were conscious of the fabrication process of the numerous objects with which we have a quotidian relationship and the impact that these have on the environment, we would likely change our way of consuming them. A clear example is aluminum. It is extracted from the mineral bauxite, a reddish colored rock which through transformation first becomes alumina and then metallic aluminum. Large artificial lakes are created during this process, full of the indissoluble residue of the treatment of bauxite. These red lakes are highly contaminating and corrosive. The “Alumina” tables reference said problematic situation, reconsidering the use that we give to these types of materials. The shape of the tables is the same as that of the surface of one of the largest artificial lakes in Spain, just as its reddish color references the tone of bauxite.
g - Claudia Paredes This aluminum armchair with alusion inlays is inspired by the Prada Foundation and reflects its architecture in a series of seats. In addition to changing the use of the material and its shape and function, the intention is to create an exercise in exploring how the height of the seat affects the way it is enjoyed. There are associated states or relations between the physical posture that the seat itself forces you to take and its elevation from the ground.
h - Miguel Leiro 3, a sacred number, can be interpreted as a means by which we construct both concepts and objects. The articulation of this room divider will utilize this principle both as a way for proposing new methods of interpreting the material possibilities of aluminum, as well as for generating new ways of understanding the effect that this typology can have on a space.
i - Fabien Cappello “Fence” is a prototype of a modular divisor system, composed of the repetition of an aluminum rail for an existing window, connected by a connecting piece designed for the project. The system permits the creation of circular spaces, that while they define a space, they also dialogue with the exterior through the emptiness created by the vertical repetition of the rails. The open structure proposes that the design could be continued with different potential accessories, illumination, acoustic panels, etc. The design presents endless spatial possibilities to be utilized in open, public, and semi-public spaces.