The outbuilding rises where the relief falls, growing out of the ravine on stilts, like an island. A long narrow bridge leads to the outbuilding, connecting it to the “mainland”. Hidden from prying eyes, the pavilion is buried in thickets of tangled bushes and young trees.

The image of the building is an inverted transparent bud with blossoming petals. The lower, residential part is made of wood. The upper part of the building is covered with polycarbonate. The transparent petals of the bud are formed from a white plastic mesh and cover the main volume. The cell, tenderly preserved by the body of the house, is revealed from the outside as a silhouette on the cloudy facade.

The interior space of the outbuilding is designed according to the “public-private” principle and is divided by floor into residential and private, intimate parts. The living part is a single space with a bedroom and kitchen area and is intended for the owner to relax or accommodate a couple of guests.

The private part, the cell, is raised above the living area. The cell is the semantic “heart” of the building, carefully stored inside the body of the building, the residential part. “Heart” is intended for individual immersion and intimate reflection of just one person. A wooden staircase leads to the cell. On top of the cell is covered with a tent and wooden “heaven”, which echoes the idea of the personal sacrament and sacred holiness.