After separating from Günther Domenig in 1973, Eilfried Huth continued his work as a painter, concentrating on works that were both abstract and organic, evoking cellular sections in the human body. The house he designed in 1976, in close collaboration with the Keckstein family, expresses his research on a form of architecture-sculpture in which he demonstrates once again his taste for flexible forms. The layout of the building on the site aims to integrate, even include the volumes in the plot of land. The site is on a sharp slope and this enabled the architect to blend the different rooms of the house into the slope, like a grotto. The overall design of the house follows a principle of circularity, not only in the shape of the rooms and openings, but also in their crescent-shape organization, with a space dedicated to the garage placed at the back. The proliferating character of the plan seems to emerge from a quasi-biological process of expansion: no corridors but rooms that seem entwined with each other, with no particular hierarchy. Crossing the house is an invitation to freely roll up in this fluid and continuous space. In Weinburg House in Styria, Austria, built in 1977-1980, Eilfried Huth implemented these same principles.
Nadine Labedade
