ORIS: In one of his essays Miha Dešman spoke about the constant tendency towards national identity in modern Slovene architecture. Paradoxically, this tendency loses impetus once an identity has been established in the national state. Slovene architecture has turned towards the world ever since. Young architects are no longer tied to their “forefathers”, and contemporary tendencies seem to have taken over. You belong to this younger generation.
Korpnik: I had my share of the national, Ljubljana School tradition. At the time we were focused on local architecture and context. I think, though, that these interests were postmodernist, and that we were also interested in world trends. I decided to stay in Celje, where I work, and that is why I find my own context adequate. I use my own aesthetic to communicate with the world, and to measure myself against. I don’t feel the need to contribute to national identity through architecture. I am a Slovene, a Slovene architect. I work here, but I want to remain global in my architecture.