The gallery-house negotiates three normative tensions: the tension within social relationships, the tension between inside and outside, and the tension between the urban code and freedom of expression. The architecture addresses these tensions by considering the interdependence of figure and void. The owners desired a gallery-house that would extend and redefine the exhibition space as it continues from the street level to the rooftop sculpture garden. The design subdivides the buildable envelope into interlocking solid and void figures, and public space permeates the entire project by virtue of the contiguous voids. The domestic zone includes even the most private spaces in the exhibition circuit by virtue of its open plan. The porous facade connects the gallery-house to the park, but also delimits a buffer zone. The facade completes the oval figure of the park as a thickened space, negotiating the duality of public and private, inside and outside, house and park, on either side. The facade lattice began with a strategic misreading of the San Francisco Planning Code’s allowable bay window exception. Reading the Code mathematically rather than for its implied intent (to encourage Victorian Bay windows) resulted in a taxonomy of deviant allowable envelopes. One form was selected, onto which points were projected with variable density. Finally, these points were translated into a triangular mesh, using an algorithm typically associated with landscape forms. The façade mediates between the orthogonal framework of the interior and the organic morphology of the park, ultimately offering a shared third realm of reciprocity.