140 141Boris Magaš, Kindergarten and nursery

Architectural Graft

fotografije photographs by

Vjeverica Kindergarten and Nursery, Mihaljevac, Zagreb, Croatia, 1975

Leo Modrčin

arhiv / archive Boris Magaš (BM)Borko Vukosav (BV)Wolfgang Thaler (WT)

Boris Magaš

observer of architecture, we cannot suppress the subjective urge that, faced with a choice of an educational institution for our own child, this would be our building of choice in Zagreb. Certainly a building is but a framework, but it is also an impulse for the extraordinary creative work with children we can detect while visiting it and the kindergarten’s web site at www.vjeverica.hr. The institution is now renamed after the squirrel (vjeverica) and it proudly displays its privilege to raise its children in such a splendid work of architecture. ¶ In order to immediately water down this introductory panegyric to a building and its architect, we should mention the public reception of the project after it

¶ Liberated from the constrains of epoch, we return to some weathered works in order to experience them anew, only to be confronted with some universal values that rise above the limits of the circumstances of time and society. As we visit the building of the Mihaljevac Kindergarten and Nursery Centre in Zagreb, designed by the leading Croatian architect Boris Magaš in 1975 we experience pure exaltation with an inspiring piece of architecture. It is the same exaltation we feel when visiting the most memorable buildings regardless of the date of their design and construction, or the location and the cultural space they belong to. While approaching this project intent on being an analytical and objective

Boris Magaš, Vrtić i jaslice

Arhitektonska plemka

napisaowritten by

Dječji vrtić i jaslice Vjeverica, Mihaljevac, Zagreb, Hrvatska, 1975.

arhitektarchitect

¶ Vraćamo se nekim arhitektonskim objektima oslobođeni stega epohe da bismo ih pročitali na svjež način i s novim iskustvom, te da bismo prepoznali univerzalne vrijednosti koje nadilaze ograničenja i vremena i društvenih okolnosti. U posjetu zgradi Dječje ustanove Mihaljevac arhitekta Borisa Magaša susrećemo se s čistim osjećajem egzaltiranosti u dodiru s poticajnim arhitektonskim djelom bez obzira na datum nastanka, geografski ili kulturni prostor. Iako se pod pritiskom analitičnog promatrača arhitekture teško oteti potpuno subjektivnom porivu da kad već dajemo vlastito dijete na odgoj pedagoškoj instituciji, tada bi ovo bio naš izbor u Zagrebu. Naravno, zgrada je samo okvir, ali zasigurno i

sketch by Hrvoje Arbanas

skica, Hrvoje Arbanas

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142 143oris, number 72, year 2011 Boris Magaš, Kindergarten and nursery

won an architectural prize in 1975.1 The headline read: ‘Public Award for a Public Failure’. Concerned by the shabbily executed finishing touches to the building and the impossibility of carrying out the architect’s full vision with the means of the day, this type of reaction typically addressed the spending of public funds, and architecture in its pure form simply did not stand a chance. Now after 35 years of the building’s atrophy and inappropriate interventions we believe that it is possible to convince the public to protect this work of architecture, and to restore it to its original or even improved state under the aegis of the architect himself. We are convinced that both

1 The Borba Prize for Architecture – Croatia, 1975

the architectural community and the children do not need similar convincing. ¶ Cities which are laid out on a stage before a clearly defined topological backdrop somehow feel welco­ming and protecting. The mise-en-scène of the city against a natural backdrop brings a sense of safety and gives an instant and lasting sense of coordinates and orientation. The kinder­garten rests on one such trajectory between the city of Zagreb and its scenic mountain, at the end of a geological and archi­tectural procession of building leading from the city centre towards the hills. This urban sequence has only recently been filled in the building’s immediate neighbourhood which only emphasizes its idiosyncratic and anticipatory role. The first impression the building gives is of complete immersion into the terrain and an organic fusion with the wider topography stretching all the way to the peak of Sljeme. The building is an evocative interpretation of the landscape itself forming a micro world of broken tecton that embraces its occupants and provides safety. ¶ The architect turns the powerful lines of topographic force into geometric lines to delineate an archi­tecture of complex space, quizzical and not easily compre­hended despite its rigid algorithmic geometric concept. The space­making algorithm is based on the manipulation of scale, the first level of manipulation being the relationship of the wider surroundings and the building itself, and then the fractal shifts in scale between the building and its parts. These shifts in scale are the chief generative mechanism with an obvious

oris, broj 72, godina 2011 Boris Magaš, Vrtić i jaslice

poticaj za izuzetan kreativni rad s djecom koji naslućujemo na www.vjeverica.hr, stranici preimenovane ustanove koja svijest o privilegiji odrastanja u ovakvoj arhitektonskoj zemlji snova pažljivo njeguje. ¶ Ovaj se subjektivni, uvodni panegirik može odmah ublažiti prisjećanjem na recepciju zgrade u jav­nosti nakon što je nagrađena stručnom nagradom 19751. go­dine: društveno priznanje društvenom promašaju. Misli se tu na probleme s izvedbom završnih detalja, s nemogućnošću da se arhitektonska vizija izvuče do kraja jer se ti problemi ne­minovno naplaćuju iz društvenih džepova i tu arhitektura u očima javnosti jednostavno nema popusta. Nakon 35 godina atrofije same zgrade i nevještih intervencija, možda je lakše uvjeriti javnost da je ovo remek­djelo potrebno zaštiti i obno­viti u originalnom ili čak poboljšanom izdanju pod pas kom samog arhitekta. Vjerujem da arhitekte, a ni djecu ne treba u to uvjeravati. ¶ Gradovi koji su pozornice odnosno mjesta koja se protežu nasuprot jasno definiranoj pozadini gorskog poteza, bliski su nam. Mizanscena grada na podnožju prirodne sce­nografije omogućuje osjećaj zaštićenosti i svijesti o koordi­natama i orijentaciji. Na spojnici Zagreba i njegove scenične planine u pozadini nalazi se i vrtić Mihaljevac, posljednja u nizu zgrada uz nekadašnji tok Medvešćaka na potezu od sre­dišta grada prema obroncima Medvednice. Recentnim je arhitektonskim dodacima ovaj potez zapravo i kompletiran, a samosvojnost i anticipatorska uloga zgrade vrtića još nagla­

1 Republička nagrada ‘Borbe’, 1975.

šenija. Prvi je dojam zgrade urasle u teren, organički povezane sa svojom širom okolinom bogate to pografije sve do vrha Sljemena, koju na evokativni način reinterpretira u svom mikrosvijetu poput zagrljaja razlomljenog tektona u kojem su štićenici potpuno sigurni. ¶ Na snažne reljefne silnice arhitekt superponira geometrijske izvodnice kako bi stvorio arhitekturu složene percepcije, zagonetnu i ponekad nedohvatljivu, usprkos potpuno algoritmičnoj geometrijskoj potki. Algoritam stvaranja prostora temelji se na manipulaciji mjerila, prvotno u odnosu šireg teritorija i objekta, a zatim i unutar vlastitih sastavnih dijelova. Taj je pomak u mjerilu glavni mehanizam kojim se zgrada generira u prostoru. U slučaju vrtića to za­sigur no ima i konceptualnu i narativnu potku kao prostorna inačica odrastanja. U trenutku publikacije ovog projekta u časopisu Čovjek i prostor2, koji igrom slučaja u istom broju objavljuje najavu o stadionu profesora Magaša u Splitu, kriti­čarka Antoaneta Pasinović iscrpno i precizno iščitava tu stra­tegiju prilagodbe mjerila. Iz izvora samog arhitekta dobivamo i vrlo detaljan prikaz funkcionalne sheme zgrade te hori zon­talne i vertikalne dispozicije glavnih i pomoćnih sadržaja. O dodanim vrijednostima ni traga. Možda je kao znak vremena bilo neprikladno otkrivati majstorske tajne, polemizirati o cijelom skupu fenomenologija koje vrtić pokreće i kojima se izdvaja iz svojeg vremena i kulturnog prostora. Ili je jednos­tav no novovjeka svijest o fuziji arhitekture i okoliša, koju pro­

2 ČIP, br. 278, 1976.

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144 145oris, number 72, year 2011 Boris Magaš, Kindergarten and nursery

conceptual and narrative link to a space for rearing children. The critic Antoaneta Pasinović succinctly wrote about the strategy of shifting scales in the magazine Čovjek i Prostor in 1976,2 coinciding in the same issue with the publication of the architect’s other masterpiece, the football stadium in Split. From the architect himself we are given a detailed description of the horizontal and vertical siting of the served and serviced spaces within the building. But no mention of the architectural added value. As a sign of the time it was perhaps deemed unsuitable to disclose architectural trade secrets, and to open a dialogue on the host of phenomenologies the kindergarten provokes and which set it ahead of its time and cultural space. Professor Magaš anticipated the now common fusion between architecture and landscape with this announcement 35 years ago, but it only remains part of his personal architectural preoccupation and away from the matrix of the time. ¶ The clash of opposing notions is impossible not to notice from today’s perspective: the rigid geometry of the plan and the frontal silhouette of the building on the hill as we experience it driving by, and the labyrinthine, almost puzzle­like complexi­ty found in the interior and its fusion with the terrain around it. In order to marry the planar sense of the layout and section with the complex experience of the whole, we need visual aids and tools to help us reconstruct the precise code of plans and elevations as they relate to the exuberant sequence of the volumes that compose the building. Perhaps we need the aids in our contemporary urge to have instant gratification of seeing and experiencing everything at once, without delay, and in a full simulation of reality. Or we are confronted by the atrophy of our ability to see space as we have become used to the animated visualization of space which make the floor plan and section but atavistic leftovers from time past. Luckily, the kindergarten’s occupants, no doubt bombarded by digital content, do spend a significant portion of their time in a space that calls to be explored, appropriated and understood without any aids. ¶ If we for a moment assume the role of a Beaux Arts disciple and, with the help of a triangle alone, without a computer, attempt to trace the plan in the manner of classical architecture, we would start with the main axes, forming a cardo and decumanus and by diagonal rotation would form the main corps of the building. By doing this we would certainly encounter the universal geometric repertory of classical architecture, perfect proportions and harmony. These central volumes contain the larger programmes of nursery and public spaces, forming a forum at the intersection, in which gatherings, exercises and performances are held. On the upper

2 ČiP, no. 278 , (5) 1976

floor plan

ground floor plan

oris, broj 72, godina 2011 Boris Magaš, Vrtić i jaslice

fesor Magaš ovim projektom vizionarski najavljuje prije 35 godina, tada ostala dijelom njegove stvaralačke zaokupljenosti i daleko od matice vremena u kojem nastaje. ¶ Iz današnje perspektive nemoguće je izbjeći doživljaj sraza dvaju suprotnih pojmova: geometrijski klasičnu krutost tlocrtne dispozicije, koju prolaskom po prometnoj transverzali ispred zgrade do­življa vamo kao idealno uravnoteženu frontalnu siluetu objekta na brežuljku, nasuprot labirintskoj, gotovo egzaltirano raščla­njenoj fluidnosti unutrašnjeg prostora i njegovoga potpunog stapanja s okolnim terenom. Pokušamo li povezati plošno iskustvo tlocrta i pročelja s kompleksnim doživljajem cjeline, čini se da su nam potrebna grafička pomagala kako bi to bo­gatstvo neposrednog doživljaja zgrade mogli pomiriti s pre­ciznim kodiranjem i tlocrta i pročelja. Možda je ta naša potreba za suvremenim sredstvima vizualizacije prostora sukladna današnjoj potrebi za instantnom gratifikacijom odnosno žud­njom da sve vidimo i doživimo posredno, bez odgode, u pot­punoj simulaciji stvarnosti. Ili je pak riječ o atrofiji pros tornog zora naviknutog na animirani prikaz prostora u kojem su planarni prikazi samo nužno zlo i atavizam iz nekoga prošlog doba. Srećom, korisnici vrtića, koji su itekako bombardirani svim digitalnim sadržajima, ipak dobar dio svojeg života provode u prostoru koji treba istraživati, proučiti i shvatiti bez

tlocrt kata

tlocrt prizemlja

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146 147oris, number 72, year 2011 Boris Magaš, Kindergarten and nursery

floor, the nursery rooms are in similar configuration, and due to the slope of the terrain are connected with the outside. Using triangulation from the base, rotated triangle we enter into the ever smaller, fractal segments of the kindergarten units. There are four equal unit modules with complex tectonic links between the inside and outside covered terraces and lawns. The units are slightly shifted from the diagonal in order to free up the south­eastern exposure, while maintaining the main focus of the project on turning away from the public road in front of the building and forming a green oasis on the opposite, wooded side of the slope. The elemental spatial cell is a triangular prism, integral in the large main volumes but segmented in the volumes of the units, where they overlap and rise above each other in different directions. The lofted triangles form an extraordinarily dynamic composition in which the light penetrations deconstruct the volumes fully. By shifting these four units, their layering and connecting by structural beams, the architectural tour de force embodies the kinetic energy which makes the slides and other playground elements in comparison look totally static. ¶ This triangulated composition with its clear and readable plan was compared with a crystalline structure of non­organic matter (A. Pasinović). Yet the fusion of the building with the land and its cellular fragmentation points to a complete marriage between

architecture and landscape in an organic sense that reaches beyond the conceptual origins and becomes an aim in itself. Here we witness a Copernican reversal by the architect himself. In 1962 Magaš designed a prototype for a kindergarten which was later used as the background for a series of buildings in Zagreb. The floor plan brought about a perfectly worked out system of functional requirements for such an institution. It was wrapped in a perfect rectangle with a dynamic inner com­po sition of spaces that, like a comet and its tail, arrayed the main public spaces, the central spine and the units alter nating with open porches. The proportions of the space appeared close to ideal. ¶ In the Mihaljevac kindergarten the crystal purity of an ideal form is awakened and becomes an organism. As if architecture is seen as a graft by which a given landscape is grafted like a fruit tree in order to improve its qualities. It enables a prefect union of man and nature. The grafting of landscape by architecture and vice versa is particularly seen in the building’s two inner courtyards which are inserted, like any other atrium for that matter, in order to provide light and air to the wide floor spaces, but also to insert direct quotations of the surroundings into the very tissue of the building. It is precisely at this sequence, as we exit from the building onto the man­made hill of the nursery units, that we experience the roofs of the units below, a new sort of landscape that blurs the distinction between the natural and artificial. ¶ From the iconic theatre project in Zenica in collaboration with Vladimir Turina, to the more recent religious buildings by Boris Magaš, the triangle figures as an almost mystical universal shape conducive to a whole range of spatial manipulations following the rules of geometry and enabling us to search for a perfect construct with multiple meanings and associations. At its core however we can build the most complex forms with this shape with the least amount of area and the simplest of formwork and building technique. The underlying method of space­making is closer to geometric operations of surveying or even astral navigation. The notion of triangulation is as relevant as ever as it is at the core of the digital algorithms we use to render or even physically construct spatial models of the highest complexity, such as the hyper­realistic delineations of a human face in a movie by Pixar Studios. With only a ruler, triangle and ink, Magaš anticipates all the hidden calculations at work in a processor used for close simulations of biological and geological formations and understanding the genesis of life forms that are used to invent a new architectural space or ways of fabrication and building. We can clearly recognize the seeds of complex organic forms and digital morphogenesis practices by contemporary avant­garde architects, helped in

oris, broj 72, godina 2011 Boris Magaš, Vrtić i jaslice

pomagala. ¶ Ako pak poput nekog vježbenika iz Beaux Artsa , bez računala i samo istostraničnim trokutom trasiramo poteze iz tlocrta na način klasične arhitekture, počinjemo s glavnim osima, formiramo cardo i decumanus, te dijagonalnom ro ta­cijom glavni korpus zgrade, zasigurno ćemo pronaći univerzalni geometrijski repertoar klasične arhitekture, savršene pro­porcijske odnose i harmoniju. U središnjim volumenima smješ teni su svi sadržaji koji zahtijevaju velike volumene, a na sje cištu osi je svojevrsni forum za vježbanje, predstave, dru­ženje. Na gornjoj etaži smještene su jasličke jedinice u sličnoj konfiguraciji te su zbog razlike u visini terena spojene s okolnim terenom. Triangulacijama od osnovnoga zarotiranog lika ulazimo u sve manje prostorne segmente gdje je poput fraktala formirana vrtićka jedinica koja tvori niz od četiri identična modula složene tektonike, a koja povezuju interijer s vanjskim natkrivenim terasama i livadama. Ta su četiri modula vrtićkih jedinica dijagonalno posmaknuta kako bi se oslobodila jugoistočna orijentacija i zadržao osnovni motiv projekta, a to je okretanje leđa prometnici i javnom pristupu građevini te stvaranje sigurne zelene oaze na rubu šume. Osnovna je trodimenzionalna prostorna ćelija trokutasta prizma. Dok su glavni volumeni zgrade na središnjici osi elementarne prizme, volumeni samih jedinica su segmentirani, preklopljeni, podignuti u suprotnim smjerovima tako da se

postiže izuzetno dinamična kompozicija u kojoj prodor svjetla potpuno dekonstruira osnovni volumen. Smicanjem četiri jedinice, njihovim preklapanjem i spajanjem konstruktivnim štapovima dobiva se arhitektonski tour de force izvanredne kinetičke energije prema kojoj tobogani i ostali rekviziti za dječje tjelesne aktivnosti izgledaju statično. ¶ Ta je triangu­lirana kompozicija, vjerojatno pod dojmom čitkoga i defini­ranog tlocrta uspoređena s kristaličnom strukturom anor­ganske tvari. (A. Pasinović), no stopljenost volumena zgrade s terenom ispred i iza nje te njena stanična raščlanjenost uka­zuju na potpunu fuziju prirode i arhitekture, na organičku povezanost koja ide povrh konceptualnog ishodišta i postaje cilj. Uočavamo kopernikanski obrat koji projektom na Miha­ljevcu doživljava i sam arhitekt nakon prototipa vrtića iz 1962. godine, a koji je poslije kroz nekoliko iteracija i realiziran u nekoliko vrtićkih zgrada u Zagrebu. Taj je tlocrt, a namjerno ne govorimo o projektu u cjelini, do savršenstva razradio funkcionalni ustroj ustanove za odgoj djece. U perfektnom pravokutniku formirana je dinamična kompozicija prostora, od glave repatice sa zajedničkim prostorima, središnjom osi hodnika na koji su poput kralježnice simetrično postavljene četiri jedinice koje se izmjenjuju s vanjskim dvorištima. A sve unutar savršenog pravokutnika idealnih proporcija. ¶ U vrtiću na Mihaljevcu kristalna čistoća idealne forme oživljava i postaje organizam. Arhitektura zapravo postaje plemka kojom se pejzaž cijepi da bi mu se poput kakve voćke poboljšala svojstva, odnosno da bi se stvorila savršena harmonija čovjeka i prirode. To se cijepljenje krajobraza arhitekturom i obrnuto ističe naročito u dva unutrašnja dvorišta glavnog volumena koja su umetnuta kako bi unijela svjetlo i zrak u prostrane tlocrtne plohe, ali i usadila citate prirodnog okoliša u samo tkivo zgrade. Upravo se u tom trenutku, izlaskom na proplanak s jaslicama otvara pogled na vijenac vrtićkih jedinica i otkriva nova vrsta hibridnog krajobraza u kojem se gubi granica između prirodnog i umjetnog. ¶ Od ikoničkog projekta kazališta u Zenici s arhitektom Turinom, pa do recentnijih Magaševih sakralnih građevina, trokut figurira kao gotovo mistična sveznačenjska ploha čijom se manipulacijom u prostoru i slijedeći precizna pravila geometrije traži savršeni konstrukt s mnoštvom značenja i asocijacija. No to je i lik kojim se s najmanje oplošja može graditi ravninski, s jednostavnom oplatom, a da se pritom dostigne kompleksna trodimenzionalnost i najsloženijih volumena. Takav pristup formiranju prostora zapravo je bliži geometrijskim operacijama geodezije ili pak astronomske navigacije. Pojam triangulacije još je aktualniji danas jer je geometrijska triangulacija temelj digitalnih algoritama kojima se postiže crtanje odnosno

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148 149oris, number 72, year 2011 Boris Magaš, Kindergarten and nursery

critical platform is easily promoted in the recent marketplace of architectural criticism as it clearly points to the gap between visionary ideals and the failure to realize them. However, since the socialist model has failed, this type of criticism implicitly acknowledges a certain inferiority complex of so­called socialist culture in comparison to the winning capitalist culture. It is precisely the entire work of architect Boris Magaš, and more pointedly this project, that proves that architecture cannot be simply equated with a singular world view, but that it strives towards the universal and idealistic. ¶ That is always a personal quest. In his search for a cosmic order Magaš always

their practice by the ever more potent computing tools and ever more complicated algorithms. In the kindergarten project Magaš clearly anticipates the mission of future architecture to achieve symbiotic unity with nature and some of the metaphors that will emerge much later than the time of his project. ¶ In the social context that brought about such an inspiring work of architecture, we could argue that the kindergarten expresses the humanistic values of socialist society, which is true to an extent. This line of analysis is quite prevalent in the recent interpretations of the Croatian architecture of the second half of the 20th century. This

oris, broj 72, godina 2011 Boris Magaš, Vrtić i jaslice

se pomažu pri tvorbi arhitektonskog prostora. Magaš ovdje anticipira – i rukom crta – poslanstvo arhitekture u simbio­tičkoj vezi s prirodom i neke metafore koje će se pojaviti dugo nakon nastanka ovog projekta. ¶ U kontekstu društvenih uvje­ta koji su potaknuli jednu ovako nadahnutu arhitekturu, moglo bi se reći da je zgrada vrtića izraz humanističkog htijenja so­cijalističkog društva, što je zasigurno i točno. Ta je kritička linija dosta česta u recentnoj interpretaciji hrvatske arhitekture druge polovice 20. stoljeća, jer se lako može plasirati na tržište arhitektonskih premišljanja upravo zbog medijski atraktivnog sraza jasno definiranih, gotovo vizionarskih ideala i nemo guć­

građenje prostornih modela i najsloženijih formi poput, recimo, hiper­realističnoga ljudskog lica u filmskim studijima Pixara. Magašev projekt ravnalom, trokutom i tušem anticipira sve skrivene kalkulacije koje se događaju u računalu da bi se stvorila što vjerodostojnija slika i geoloških i bioloških konfi­guracija, te iskoristila njihova geneza kao izvor arhitekture ili pak pokušaj novih metoda građenja manipulacijom nemjer­ljive količine parametara. U ovom projektu pre poz naje mo klice kompleksnih organičkih oblika i digitalne morfogeneze kojom se bave avangardni suvremeni arhitekti koristeći sve moćnije računalne alatke i sve kompleksnije algoritme, kojima

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150 151oris, number 72, year 2011 Boris Magaš, Kindergarten and nursery

loudly affirms his own work within the context of Croatian contemporary architecture, but he also demonstrates that the universal order of things can only be found on one’s own, as an individual who takes away from his or her culture only to subvert it, to turn it upside down in order to widen its meaning and to create a new pool of knowledge in one’s own medium. By acting as a solo architect in a mass society, or by acting in the global world, in which his stadium project is accepted as a reference point, he does not succumb to the limitations of construction technology or the means of architectural pro­duction but steadily practises his craft with the goal of wide­ning knowledge of the absolutes. ¶ Our aim is not to define this particular work of architecture within the frame work of an organic classicism or some other possible label or to judge this building as the ultimate pedagogical apparatus to educate children and guide their process of cognition. We point to some issues of the building’s form and phenomenology and see it as a rigorous search for the universal values of space and geometry as a timeless and the highest form of humanism.

The ultimate beneficiary of this search is definitely not some divine being but the human being proper, moreover the hu­man in its purest form, the child. ¶ We can rest assured that in the next thirty years some boy or a girl will become an architect and read into this building a new set of parameters in the scale of either subatomic particles or cosmological events, or in between and thus return back to origins.

oris, broj 72, godina 2011 Boris Magaš, Vrtić i jaslice

nosti da se oni i ostvare. Taj je pristup, budući da je socijalistički model propao, zapravo određeno priznanje inferiornosti odre­đene kulture u odnosu na onu pobjedničku kulturu kapitalizma. Upravo je Magaševo djelo u cjelini, a naročito ovaj projekt dokaz da arhitektura ne može biti isključivo povezana sa sin­gularnim svjetonazorom, već da uvijek teži univerzalnom i idealnom. ¶ A to je nadasve osobni put. Magaš u svojem tra­ženju kozmičkog reda uvijek glasno afirmira svoj vlastit rad unutar korpusa hrvatske arhitekture, no, paradoksalno, poruka je njegovih djela da taj univerzalni red može pronaći jedino sam pojedinac koji preuzima kôd svoje kulture da bi ga sub­vertirao, preokrenuo naglavačke kako bi mu proširio značenje i u svom mediju, arhitekturi, kreirao novo znanje. Djelujući kao solo arhitekt u masovnom društvu ili pak u globalnom svijetu današnjice — u kojem je pak njegov splitski stadion još jedna od anticipacija — on ne robuje ni ograničenjima tehnologije građenja ni alatkama arhitektonske produkcije, već mukotrpno vježba svoje vještine kako bi proširio znanje o apsolutnim vrijednostima. ¶ Ne pokušavamo definirati ovo

djelo u okvirima nekakvoga organičkog klasicizma ili neke takve naljepnice, niti kritički promatrati ovu kuću kao ulti­mativnu odgojnu alatku s metaforičkom, ali i fizičkom kva­litetom prostora koji educira dječju spoznaju svijeta kroz arhi­tekturu. Ukazivanje na neke formalne i fenomenološke aspekte ovog projekta u kontekstu rigorozne potrage za univerzalnim vrijednostima geometrije bitka pronalazimo kod profesora Magaša kao bezvremenski i najviši oblik humanizma. Činjenica je da je glavni rezultat takvih napora, odnosno isključivi no­sitelj univerzalnog reda ne neko božansko stvorenje, već čov­jek sam. Štoviše, u ovom primjeru stroge i egzaltirane, hibridne ali čiste arhitekture to je čovjek u svojoj najčišćoj manifestaciji: dijete. ¶ I zasigurno će u sljedećih trideset godina neki dječak ili djevojčica postati arhitekt i iščitati ovaj vrtić s novim setom parametara subatomskog ili pak koz mo loškog mjerila. I opet se vratiti na početak.

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