in the space between positive and negative spaces in a steel frame house


In his 1912 article, 'Technical Manifesto of Futurist Sculpture', Sculptor Umberto Boccioni - one of the main theorists of the Futurist movement - referred to the interaction between the sculptured object and its supporting surroundings: 'Sculpture should give life to objects by rendering their extension into space palpable, systematic, and plastic, because no one can deny any longer that one object continues at the point another begins, and that everything surrounding our body (bottle, automobile, house, tree, street) intersects it and divides it into sections by forming an arabesque of curves and straight lines'. 

According to the Gestalt theory, the operational principle of the brain is holistic. That is - people grasp the outside world as a continuum entity. In this way the building and its supporting space complete each other in a dynamic dialogue.

This two-way dialogue is made possible thanks to the synergic relations between positive 'defined spaces' and negative 'leftover spaces'. As both kinds of spaces are made to meet the programme's definitions, they are equally vital for the functional existence of the building. However, while the defined spaces are planned to populate pre-determined functions, the leftover ones leave room for random occurrences.

The relation between the two is what grants the static building its dynamics, allowing it to evolve according to the changing needs. A proper relation between these two types of space is referred to as 'harmony', according to various theories (Feng Shui, for instance).

Though grasped as an environmental sculpture, the idea was to build 'from' the ground rather than above it. Hence, the steel frame house creates a permeable object constantly in a dialogue with its surroundings.

Special attention was given to the movement routes in order to create spatial clarity within the modular anonymity, while enriching the experience of the building.


Architect: Arieh Ginzburg





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