“Vaša hiša je vaše večje telo.

V soncu dneva raste in v nočnem molku spi; in ni brez sanj.

Mar vaša hiša ne sanja in v sanjah ne živi v gaju ali na hribu zunaj mesta?"

Khalil Gibran, Prerok

Ustvarjanje arhitekta Boštjana Debelaka je odličen primer, ki kaže kako pomembno se je v življenju omejiti in pri tem po možnosti ničesar ne zanemariti. Zavestna omejitev in vztrajanje omogočata razvoj, podoben tradiciji, v kateri se že prepoznana kvaliteta ohranja in stopnjuje, opušča pa nepotrebnosti in napake. Ob tem je seveda pomembna izbira in arhitekt, o katerem teče beseda, si je za svoje delo vselej izbiral najzahtevnejše elemente svojega poklica. Še v študentskih letih so bili to stoli, med arhitekti priznano najbolj občutljiva od nalog pri oblikovanju pohištva. Enako velja v arhitekturi za enodružinske hiše in prav te si je arhitekt izbral za osrednji predmet svojega ustvarjanja. Stole so kmalu obrasle hiše, ali pa so morda celo stoli dobesedno zrasli vanje, saj so že tisti prvi izdelki kot v kakšnem semenu ali kalčku imeli v sebi vse ključne materialne, konceptualne in estetske značilnosti prihajajoče arhitekture. Kovaško črna kovina, detajli, ki razumejo korake izdelave, kombinacija organskih in pravokotnih oblik, poetika celote, navdihujoča, včasih tudi docela nenavadna zamisel, ki je prisilila uporabnika v telesno čustveni eksperiment, in pa vselej naraven les, kateremu so se pri hišah pridružile še tople in globoke zemeljske barve.

Za Boštjana Debelaka je bila tako kot že za mnoge arhitekte pred njim, ključna gradnja lastne hiše takoj po diplomi. Morda bi veljalo to nenapisano pravilo celo vključiti v obvezno prakso vsakega arhitekta. Glavni izziv je predstavljala le pičle 3 metre široka parcela ob slepem zidu vrstnih hiš. Kot že mnogokrat se je tudi tokrat izkazalo, da lahko težke situacije pri nadarjenem ustvarjalcu izzovejo dobre in neobičajne rešitve. Arhitekt je bil prisiljen na novo premisliti standardne bivalne sklope enodružinske hiše in jih spretno, domala po plezalsko razmestiti po pičlo odmerjenem vertikalnem prostoru. V težkih, za marsikoga ekstremnih okoliščinah, ki pa so mu finančno edine omogočale želeno realizacijo, je že takoj na začetku razvil bogat in živ arhitekturni jezik, ki se je bil sposoben tudi kasneje brez vnaprej danih klišejev in formalnosti prilagajati posebnim situacijam in potrebam.

Po tej uspešni začetni preizkušnji je videl, da od težavnih okoliščin tudi v bodoče nima smisla bežati, de se rešitve vselej skrivajo v problemu in si je za naslednje načrte prostorske omejitve začel postavljati kar sam. Iz začetnih omejitev se je tako porodil koncept, s katerim se je odločil dokazati, da je mogoče uspešno načrtovati precej manjše hiše, kot se običajno gradijo, in jih s tem narediti bolj dostopne. Zdaj jih eno za drugo potrpežljivo in z veseljem snuje že skoraj dve desetletji in prav tako vestno bedi nad njihovo izvedbo. Boštjan Debelak izdeluje svoje hiše kot krojač: po naročilu in po meri prostora in ljudi. Proces in način, na katerega vključuje v svoje delo naravo izbrane lokacije, svoje izkušnje in prepričanja ter naročnike je intimen in izzivalen. Ni arhitekt za vsakega. Kot vsak ustvarjalec je tudi trmast in nepopustljiv v svoji viziji in prepričanosti o kvaliteti svojega dela. Vendar bo tisti, ki sprejme njegova izhodišča in vztraja z njim v izzivih ustvarjalnega procesa, gotovo nagrajen s končnim izdelkom. Z mnogimi od naročnikov ostane tudi po dokončanju hiše v trajnem prijateljskem odnosu, kar med arhitekti in prebivalci njihovih stvaritev ni prav pogosto in običajno.

Človeška in naravna mera, kot jo razume Boštjan Debelak, postavlja pod vprašaj mnoge bivanjske pa tudi ekonomske standarde naše družbe. Kot se morda tudi pretirano poudarja, so njegove hiše majhne. Vendar je to šele začetek.  Miesovski modernistični kredo, »manj je več«, ki periodično vodi arhitekturo v skrajni esteticizem in togo izčiščenost lepih, samih sebi namenjenih škatel, zanj ni smiseln v formalnem, zato pa toliko bolj v kvantitativnem, praktično ekonomskem, etičnem in ekološkem smislu. Arhitekt namreč dobro ve, da hkrati tudi »več ni manj«, ko si prizadevamo za kvaliteto bivalnega okolja. Ker so hiše manjše in ker zase potrebujejo manjši prostor, so lahko cenejše, kar pa ne pomeni da so cenene. Nasprotno, so likovno bogate in prostorne, v mnogih elementih so hiše Boštjana Debelaka celo monumentalne. Monumentalnost v glavnem nima ničesar opraviti z velikostjo, pač pa z intenzivnostjo spominov, čustev in domišljije, ki jih je arhitektura sposobna ohranjati in priklicati. V naših bivalnih okoljih se vse premalo zavedamo, kako močno in vsakodnevno rabijo naše duše polnokrvno prostorsko doživetje, kako rade, če je le priložnost, vabijo naša telesa in oči v nenavadne položaje in odnose in imajo zato rade arhitekturo, ki jim to ne le omogoča, ampak od nas to celo zahteva. Hkrati nam s skrbnim in doslednim izborom plemenitih naravnih gradiv glede na njihove lastnosti ter možne obdelave, z načinom spajanja in njihovo izpostavljenostjo vsakodnevni rabi arhitekt kaže, kako pomembno je v naših prebivališčih ohranjati povezanost med duhom in materijo, da v izbranem kosu lesa ali kamna ne le da niso zabrisane sledi njegovega nastanka in oblikovanja, ampak da je le-ta sposoben staranja in trajanja. Manj ali nič laka pomeni več lesa, več globine in neposrednosti. Na ta način lahko z naraščanjem časa v materiji nastaja duhovna patina.

Fenomen arhitekture Boštjana Debelaka bom poskusil ilustrirati z dvema prispodobama:  s prometom v Indiji in kepo levje družine, ki sem jo imel nekoč priliko dalj časa opazovati v dunajskem živalskem vrtu. Prva naj nam pomaga osvetliti dinamičen proces, v katerem lahko nastanejo tako kompleksne in ne komplicirane hiše, druga pa naj pomaga razumeti naravo in posebnost končnega izdelka  kot skrbno oblikovanega tihožitja s sposobnostjo trajanja.

Kdor je kdaj z evropskimi očmi videl prometne navade v Indiji ali pa morda le tiste v Carigradu, je lahko opazil kvalitetni preskok k spontanosti in zaupanju, s katerim se vzhodnjaki skoraj kot molekule vode v tekočini hipoma prepuščajo prometnemu toku svojih cest in velemest. Razlika je že v samem izhodišču, vozi se na polno; voznik pelje tja, kjer je trenutno že neko vozilo, saj ve, da ga takrat, ko bo on na tistem mestu, tam že ne bo več. Sami običajno iščemo prazen prostor in torej vozimo v prazno; gre torej v resnici za fazni zamik. Ta v bistvu prostorsko-časovni zamik nam lahko pomaga razumeti, kako uspe arhitektu v njegovih po dimenzijah resnično zelo skromnih hišah najti prostor tudi tam, kjer ga po običajni logiki ni, oziroma bi ga že zdavnaj moralo zmanjkati. Ker je prostora dejansko premalo za karkoli običajnega in vnaprej normiranega, se prične večstopenjsko gnetenje in prerivanje, v katerem si standardno ločeni prostori jemljejo, sposojajo, menjavajo in dajejo prostor. Vzpostavi se organska dramaturgija: majhna vrata lahko naredijo prostor za njimi večji in morda tudi skrivnostnejši, podobno kot lahko skoraj po čudežu velik umivalnik naredi malo kopalnico prostornejšo. Majhno okno pred krošnjo drevesa lahko postane slika, nizka dolga okna razkrijejo pogled šele ko ležemo ali sedemo, na ta način svetloba in pogledi brez napora vodijo naše gibanje skozi prostor in nam omogočajo, da tudi kadar smo pri miru stvari in razgledi potujejo k nam.  Izboklina je hkrati polica na eni in niša na drugi strani stene. Programsko ločeni elementi se med sabo zlivajo v prostornejšo celoto, ne da bi njihova namembnost izgubila potrebno atmosfero in intimo. Hiše Boštjana Debelaka so bile »enoprostorci«, še preden se je ta ideja pojavila in našla svoje mesto v svetu avtomobilizma. Gnetenje, opuščanje, prestavljanje in izumljanje traja, dokler se nekako vse ne izide v splošno prežemajoče se zadovoljstvo.

 In tu smo pri omenjeni harmonični gmoti spokojno dremajoče levje družine, v kateri lev in levinja ter njuni mladiči, pa še kakšen bolj oddaljen sorodnik z neštetokrat videno, a vselej osupljivo lagodnostjo mačke brez najmanjše izgube prostora, kaj šele energije, neslišno ustvarjajo prepredeno celoto. Kljub temu, da je vsak od njenih elementov neokrnjeno in vitalno živo bitje, je nemogoče ugotoviti čigav je kateri rep ali šapa. In zdaj si poskušajmo predstavljati, kako nenavadno in gotovo tudi vznemirljivo je lahko prebivanje znotraj na podoben način prežetih prostorov in s pomočjo nezmotljive intuicije arhitekta najdevati v njih prostor za bedenja in spanja, druženja in samovanja, razgledovanja, tuširanja, kopanja, kuhanja in branja. S pazljivo obdelavo, barvo in razporeditvijo vgrajenih pohištvenih in zidnih elementov, s pravimi proporcijami površin in odprtin za naravno ter umetno svetlobo, so njegove hiše od znotraj večje, kot so od zunaj. Podobno kot pri možganih, katerih površina je veliko večja od površine glave, v kateri se nahajajo. Poetika teh hiš  njihove prebivalce povezuje z bližnjo in oddaljeno stvarnostjo. Soočeni s praktično filozofijo te arhitekture lažje razumemo, da je zid lahko tudi začetek in ne le meja in konec nečesa.

Ko od znotraj hiš, ki so podobne malce večjim kosom pohištva, odkrivaš njihove prostorske kvalitete, pomisliš, da morda niti niso toliko majhne, pač pa, da so druge, bolj običajne hiše v resnici prevelike in predvsem zelo slabo izkoriščene. Na ta način nas Boštjan Debelak uči, da je arhitektura kultura, ki si jo moramo znati privoščiti tudi v vsakdanjem življenju. Da v naših življenjih potrebujemo manj, kot si mislimo, in da je prav zato lahko tisto, kar imamo, dobro premišljeno, naravno in kvalitetno. Hišica na deželi, v stiku z naravnim okoljem naj ne bi bila dražja od stanovanja v mestu, pa četudi je to le garsonjera. Potrebno je le, kot pravi njihov avtor, najti dovolj majhno parcelo, kar je morda še najtežje, in pravega arhitekta, kar pa, kot vemo, tudi ni vedno najlažje.

Človek modernega sveta se ne more do kraja načuditi, kako je brezčasna tradicija gradnje prebivališč nekoč uspela tudi v skrajno zaostrenih razmerah preživetja vedno znova vzpostaviti harmonijo med praktičnostjo, pomenom in trajanjem ter v najmanjših predmetih in arhitekturah ustvariti lepoto, v kateri seveda ni nikoli manjkal svet domišljije in čudenja. Ta kolektivni simbolni svet v Boštjanovi arhitekturi  nadomešča avtorjeva etika in poetika, ki svoj navdih ponovno išče v neposrednem doživljanju naravnega sveta, v gibanju sonca, zemlje in lune, v ritmih naših življenj, cikličnosti družine, v potrebi po druženju in samoti. Konceptualna zgostitev zahteva od njega, da je vsak element v hiši mnogopomenski in da opravlja večje število nalog.

Oglejmo si za primer stebra, ki podpirata streho na njegovi lastni hiši, in imata poleg osnovne tektonske funkcije še mnoge druge kvalitete. Pozimi, ko sta gola, se zdi kot, da bi dve od visokih okoliških dreves stopili pod napušč oziroma, da sta se postavili tako tesno ob hišo, da s svojima krošnjama ustvarjata baldahin nad prebivališčem in v hišo sredi mesta pripeljeta kvaliteto gozda . Zaradi  ločne strehe, ki jo podpirata, vitka stebra hkrati delujeta kot mogočni struni harfe, po kateri se v ritmu letnih časov bohotijo in osipajo listi vzpenjavke, kar dodatno pomaga ustvarjati prijetno klimo, svetlobo in vonjave. Hkrati gre tudi za star trik slikarjev pejsaža, ko so za boljšo predstavo globine v prostoru brezen in dolin risali drobne ptice. Še koliko bolj učinkovit je ta princip v arhitekturi, kjer preprost element, kot je pergola, drevo ali steber pred oknom, še posebej če je le-to veliko kot soba, povzroči, da vsak najmanjši premik očišča stanovalca oživi globino prostora za oknom vse do horizonta. Če imaš že v izhodišču na voljo le pol običajnega vrta in le pol običajne hiše, potem je ena od rešitev ta, da hiša postane neločljivi del vrta in vrt posledično del hiše.

Za Boštjana Debeljaka bi lahko rekli, da je sodobni tradicionalist, saj svoj navdih črpa iz modrosti, grajenih izrazov tradicionalnih kultur ter lepote neokrnjenih naravnih prostorov. Tudi ni naključje, da se značilni elementi njegovih hiš razbirajo kot vzorci, ki jih Christopher Alexander niza ob opisovanju brezčasnega načina gradnje:

DVOVIŠINSKI PROSTOR V SREDIŠČU, VELIKO OKNO NA JUGU, MAJHNA OKNA NA KLJUČNIH MESTIH, ZAOBLJENA STREHA, OKROGLO STOPNIŠČE, LESENI STEBER, NARAVNI MATERIALI, KOPALNICA V SOBI, GALERIJE IN MOSTIČI, ZEMELJSKE BARVE, POT SONCA IN LUNE, MAJHNE HIŠE, IZBRANI POGLEDI, OGNJIŠČE, VRT V HIŠI – HIŠA V VRTU.

Na svoj avtorski način ustvarja sodobno nadaljevanje te tradicije, ki pa logično in naravno tipološko ustreza aktualni dobi človekove individuacije. Njegove hiše imajo močneje poudarjene značilnosti samostojne, navzven in navznoter jasno izražene in raznolike osebnosti. Arhitekt tako posredno dokazuje, da arhitektura brez arhitektov ne obstaja, pa čeprav gre »le« za anonimne mojstre, kot je tudi sam kljub svojemu talentu, znanju in uspehom največkrat anonimen za širšo strokovno in laično javnost svojega prostora.

Boštjan Debelak je vsaj toliko kot arhitekt in oblikovalec ozaveščen prebivalec planeta, ki je zelo zgodaj razvil svoj odnos do sveta in z njim povezan način življenja. Tega je najprej preizkusil in ga še naprej preizkuša na sebi, hkrati pa te zase odkrite kvalitete preko svoje ustvarjalnosti deli z drugimi. In zato je morda premalo, če rečemo, da so to samo hiše, saj gre v resnici za prebivališča v eksistenčnem in ontološkem pomenu te besede.

Njegov način ustvarjanja je lep primer, kakšna bi v družbi lahko bila vloga arhitektov. Arhitektura je prastara umetnost iskanja simbioz, možnih in potrebnih preobrazb, in stikovanj, racionalni, a hkrati tudi intuitivni in umetniški proces, skozi katere morajo iti posamezni elementi, da lahko navzven in navznoter ustvarijo harmonično celoto. Bilo bi prav zanimivo videti, kaj bi nastalo, če bi se v prihodnosti na pobudo katere od skupnosti lotil naselja hiš ali imel priložnost zasnovati katerega od javnih objektov. V državi in družbi, ki bi pri njem naročala načrte za svoje upravne in javne zgradbe, bi si želel živeti.

Critics

"Your house is your larger body.

It grows in the sun of the day and sleeps in the night silence; and it is not without dreams.

Does your house not dream and live in a grove or a hill outside the city? "

Khalil Gibran, the Prophet

Creating the architect Boštjan Debelak is a great example that shows how important it is to limit yourself in life and, if possible, ignore anything. Conscious restraint and persistence allow for a development similar to a tradition in which the already recognized quality is maintained and enhanced, leaving out unnecessary errors. Of course, this is an important choice, and the architect in question has always chosen the most demanding elements of his profession for his work. Back in their college years, these chairs were among the architects recognized as the most sensitive of the tasks in the design of furniture. The same is true of single-family house architecture, which is exactly what the architect chose as the central subject of his creation. The chairs were soon overgrown with houses, or maybe even the chairs had literally grown into them, since the very first products, like some kind of seed or germ, had all the key material, conceptual and aesthetic features of the coming architecture. Blacksmith's black metal, details that understand the steps of production, a combination of organic and rectangular shapes, the poetics of the whole, an inspiring, sometimes quite unusual idea that compelled the user to a body-emotional experiment, and always the natural wood joined by houses warm and deep earth colors.

For Boštjan Debelak, as it was for many architects before him, building his own house immediately after graduation was crucial. It might even be appropriate to include this unwritten rule in the compulsory practice of every architect. The only challenge was a small 3 meters wide parcel of land against a blind wall of row houses. As it has been said many times before, difficult situations for a talented creator can provoke good and unusual solutions. The architect was forced to rethink the standard living quarters of a single-family house and skillfully, albeit climbing them up, across a fairly measured vertical space. In difficult, for many extreme circumstances, but financially the only ones that enabled him to achieve his desired realization, he immediately developed a rich and vibrant architectural language that was able to adapt to specific situations and needs without any clichés and formalities beforehand.

After this successful initial trial, he saw that there was no sense in escaping from difficult circumstances in the future, that solutions were always lurking in the problem, and he set himself up for the next space constraints. From the initial constraints, a concept was born that decided to prove that much smaller houses than are usually built can be successfully designed and made more accessible. He has been patiently, one by one, now and has been happy to record for almost two decades and is also diligently watching over their performance. Boštjan Debelak manufactures his houses as a tailor: custom and space and people. The process and the way in which he incorporates into his work the nature of his chosen location, his experience and beliefs, and that of his clients, is intimate and challenging. Not an architect for everyone. Like any creator, he is stubborn and unyielding in his vision and conviction about the quality of his work. However, one who accepts his starting points and persists with him in the challenges of the creative process will certainly be rewarded with the finished product. He remains with many of the clients even after the house is completed, in a lasting friendly relationship, which is not very common and usual between architects and residents of their creations.

The human and natural dimension, as Boštjan Debelak understands, calls into question the many living and economic standards of our society. As it may be overemphasized, his houses are small. However, this is only the beginning. Mies' modernist chalk, "less is more", which periodically guides architecture into extreme aestheticism and rigid refinement of beautiful, self-designed boxes, does not make sense to it in formal terms, and therefore more so in quantitative, practically economic, ethical and ecological terms. The architect is well aware that at the same time, "no more is less" when we strive for the quality of the living environment. Because houses are smaller and because they require a smaller space, they can be cheaper, which does not mean that they are cheap. On the contrary, they are richly and spacious, in many elements even the houses of Boštjan Debelak are monumental. Monumentality, in the main, has nothing to do with size, but with the intensity of memories, emotions and imagination that architecture is capable of preserving and evoking. In our living environments, we are increasingly unaware of how strongly and daily our souls need a full-blooded spatial experience, how they like to invite our bodies and eyes to unusual positions and relationships, when the opportunity arises, and therefore love the architecture that not only enables them , but it even requires us to. At the same time, with careful and consistent selection of precious natural materials according to their properties and possible treatments, with the method of joining and their exposure to everyday use, the architect shows us the importance of maintaining the connection between spirit and matter in our dwellings, so that in the selected piece of wood or stone there is no not only that the traces of its creation and design are not erased, but that it is capable of aging and lasting. Less or no varnish means more wood, more depth and immediacy. In this way, spiritual patina can be created as the time increases in matter.

I will try to illustrate the phenomenon of the architecture of Boštjan Debelak with two parables: the traffic in India and the lump of the lion family, which I once had the opportunity to observe for a long time at the Vienna Zoo. The first should help us to illuminate the dynamic process in which complex and not complicated houses can be created, and the second to help understand the nature and specificity of the finished product as a carefully crafted still life with the ability to last.

Anyone who has ever seen traffic habits in India or perhaps only those in Constantinople with European eyes can see a quality leap towards spontaneity and confidence, with which the Easterners, almost like water molecules in the fluid, indulge in the traffic flow of their roads and cities. The difference is at the outset, it drives to full; the driver is driving to where there is currently a vehicle, knowing that when he is there, he will be gone. Usually, we usually search for empty space and therefore drive into empty space; it is therefore a phase shift. This essentially space-time lag can help us to understand how an architect in his dimensions of really very modest houses can find space even where it is not, or should have long gone, by ordinary logic. In fact, because space is not enough for anything ordinary and pre-standardized, a multi-stage kneading and overturning begins in which, as a standard, separate rooms are rented, borrowed, exchanged and given space. Organic dramaturgy is established: small doors can make the space behind them larger and perhaps more mysterious, just as, almost miraculously, a large sink can make a small bathroom more spacious. A small window in front of a tree can become an image, low long windows reveal the view only when we lie down or sit, thus light and views effortlessly guide our movement through space and allow us to travel towards us even when we are at peace with things. The protrusion is both a shelf on one side and a niche on the other side of the wall. Separate elements of the programmatically blend into a more spacious whole without destroying their intended atmosphere and intimacy. Boštjan Debelak's houses were "one-roomers" even before this idea came into existence and found its place in the world of motoring. Kneeling, abandoning, shifting, and inventing lasts until somehow everything comes to a pervasive satisfaction.

 And here we are at the aforementioned harmonious bulk of a quietly dormant lion family, in which the lion and the lioness and their puppies, and even a more distant relative with the infrequently seen but always stunning ease of the cat without the slightest loss of space, let alone energy, inaudibly create a cozy whole.

Even though each of its elements is an intact and vital living being, it is impossible to determine whose tail or paw it is. And now let's imagine how unusual and certainly exciting it can be to dwell in similarly permeated spaces and, through the unswerving intuition of the architect, find a place for them to sleep and sleep, socialize and sing, see, shower, bathe, cook and read. With careful treatment, color and layout of the built-in furniture and wall elements, with the right proportions of surfaces and openings for natural and artificial light, his houses are larger from the inside than from the outside. Similar to the brain whose surface is much larger than the surface of the head in which they are located. The poetics of these houses associate their inhabitants with the near and far reality. Faced with the practical philosophy of this architecture, it is easier to understand that a wall can also be the beginning and not just the border and end of something.

When you discover their spatial qualities from the inside of houses that look like little larger pieces of furniture, you think that they may not even be that small, but that other, more ordinary houses are really oversized and, above all, very underutilized. In this way, Boštjan Debelak teaches us that architecture is a culture that we must be able to afford in our daily lives. That we need less in our lives than we think, and that is why what we have can be well thought out, natural and of good quality. A country house in contact with the natural environment should not be more expensive than an apartment in the city, even if it is just a studio apartment. It is only necessary, as their author says, to find a small enough plot, which may be the hardest, and the right architect, which, as we know, is not always the easiest.

One cannot help wondering to the modern world how the timeless tradition of dwelling once managed to reestablish harmony between practicality, meaning and duration, even in the most extreme conditions of survival, and to create a beauty in the smallest objects and architectures, of course never missing from the world imagination and wonder. This collective symbolic world in Boštjan architecture replaces the author's ethics and poetics, which finds his inspiration again in the direct experience of the natural world, in the movement of the sun, earth and moon, in the rhythms of our lives, in the cyclicality of family, in the need for companionship and solitude. The conceptual condensation requires him to make each element in the house multifaceted and perform a greater number of tasks.

Let's look at the pillars that support a roof on his own house and have many other qualities besides the basic tectonic function. In winter, when they are naked, it seems as if two of the tall surrounding trees have left the abandoned area or that they are placed so close to the house that they create a canopy with their crowns over the residence and bring the quality of the forest into the house in the middle of the city. Due to the separate roof they support, the slender columns also act as powerful strings of the harp, which in the rhythm of the seasons bustle and fall off the funicular leaves, which further helps to create a pleasant climate, light and scents. At the same time, it is also an old trick of landscape painters, when small birds were drawn to give a better idea of the depth of space in the abyss and valleys. How much more effective is this principle in architecture, where a simple element such as a pergola, tree, or pillar in front of a window, especially when it is as large as a room, causes every slight movement of the occupant's clearance to revive the depth of the window space all the way to the horizon. If you already have only half a normal garden and only half a normal house at your starting point, then one solution is to make the house an integral part of the garden and, consequently, the garden part of the house.

Double height space in the center, large window to the south, small windows in key places, rounded roof, round staircase, wooden pillar, natural materials, bathroom in the room, galleries and bridges, earth colors, sun and moon path, small houses, selected views, fireplace, garden in the house - house in the garden.

In his own way, he creates a contemporary continuation of this tradition, which in a logical and natural typological manner corresponds to the current age of human individuation. His houses have more pronounced characteristics of independent, outward and inwardly distinct and diverse personalities. The architect thus indirectly proves that architecture does not exist without architects, even though they are "only" anonymous masters, as in spite of his talent, knowledge and success he is most often anonymous to the wider professional and lay public of his space.

Boštjan Debelak, at least as much as an architect and designer, is an aware inhabitant of the planet, who developed his relationship to the world and his associated lifestyle very early on. He first tested this and continues to test it on himself, but at the same time shares these self-revealed qualities through his creativity with others. And so it may be too little to say that these are just houses, since they are in fact dwellings in the existential and ontological sense of the word.

His way of creating is a good example of what the role of architects could be in society. Architecture is the ancient art of finding symbioses, possible and necessary transformations, and connections, a rational but also intuitive and artistic process through which individual elements must go in order to create a harmonious whole on the outside and on. It would be interesting to see what would happen if, in the future, on the initiative of one of the communities, he embarked on a settlement of houses or had the opportunity to design one of the public buildings. I would like to live in a country and a company that plans plans for its administration and public buildings.

Ira Zorko, architect