Ferdinand Schmalz

Heinar know what he wants: to build. A house. Himself. With his own hands. In the countryside. And to Petra this makes total sense. Because now that they are expecting a child, it’s time to turn their backs on the city. And the physical work does Heinar good. With it, he can create something of his own. Petra’s father is somewhat more skeptical. He thinks very little of his son-in-law. And only finances this housebuilding to open his daughter’s eyes. Because Heinar can hopefully only fail with it. And Heinar also turns down his old mate Markus, an architect himself. When he was still talking to him. Because he has also stopped speaking at some point. And the new home doesn’t get past the scaffolding. Instead, Heinar devotes himself to the origin itself, the point where building and the divine meet: the temple. And while he obsessively builds one temple after the other in the garden, friends and family are asking themselves how it could get to that point. And how to judge this obsession? And whether it possibly helped create something much greater than his critics could ever anticipate? Because art needs obsession in the end for its creation.