After the 1st Biennial of Spatial Forms in Elbląg, Marian Bogusz received commissions from two western European countries, where the idea of open-air meetings of artists realising sculptural forms, often in connection with the industrial or scientific context of the region, was also developing. After Aalborg in Denmark, where he realised a large spatial composition, came a commission from Bavaria.

In 1971, he was invited with Maciej Szankowski to Nuremberg for the open-air international Symposium Urbanum on the occasion of the 500th anniversary of Albrecht Dürer's birth. He realised a stone sculpture there and also had an exhibition of drawings. The greatest realisation of the entire plein air, however, became his metal spatial composition in nearby Erlangen. In this academic city, also on the university campus, dozens of sculptures and installations have been erected since the 1970s by mainly German artists, funded by the Bavarian state government.

As Bogusz declared, the construction was an attempt to enter into a dialogue with the architecture of the university buildings. The artist also recalled a statement made by one of the workers assembling the object, who appreciated it upon learning that the sculpture was not meant to represent or symbolise anything. It is unclear who gave it its current title and when; it was originally referred to simply as a 'spatial form'.

The symmetrical composition of red and orange panels is arranged in a shape that creates the illusion of a sphere; the panels radially surround the sculpture's 'core': a white structure with taut wires, contrasting in lightness with the openwork (but heavier) sheet metal surroundings. Originally intended to be kinetic (it was to be swayed by the wind), the structure was immobilised for safety reasons. This work can be seen as the crowning achievement of Polish artists' explorations of monumental, abstract plasticity in metal, carried out from the late 1950s, mainly on the occasion of plein-airs and symposia in Poland, Germany and Yugoslavia.

The sculpture is inventoried under Kunst-Nummer: K813.03. The polychrome is quite fresh, so that the colour is clearly distinguishable against the background of trees and bushes; the metal, however, is covered with lichen and moss.