圣乔治教堂
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当法比亚尼奇 “Fabijanić” 以他对圣乔治教堂的适配建筑进入城镇时，巧合的安排使他沿着卡尔多 “Cardo” 北向前进，此时所有的思考理由和正式程序已经被采纳。但这并不是在配方的层面，而是在成分的层面。这就是为什么每次相同的主题范围都会产生意想不到的表现丰富性。因此，在圣乔治教堂，早期作者对整体艺术作品 “gesamtkunstwerk” 的追求不仅在建筑设计的意义上变得明显。建筑师的思维与画家的思维相结合。
建筑的真实内容隐藏在物体中，作为其体量的间接表现，因为建筑学仅通过平面和边缘、表面和线条来构建形式。其他一切都是超出真实建筑价值范围的表现幻觉。建筑形式的真实现象锁定在墙体的完整性中。“墙在这里代表了建筑的隐喻，空间创造的形式行为，是更广泛和更大组成部分的片段。墙只是一个障碍，定义了前方和后方的事物……”这是法比亚尼奇在一次谈话中的话。
在圣乔治教堂，他留下了一个不透明的方形墙洞，这是材料剥落留下的伤痕，最初打算作为谢巴尔 “Šebalj” 十字架上的耶稣的地方。在这种未完成的破障中，指引我们走向未知的厚度，古老石建筑的所有构造力量都在涌现。材料的剥离增强了我们对物体的印象，作为作者对其任务的认知。墙作为厚度，墙作为在耗尽的探索中折叠和展开：是抛弃外部还是将其与内部结合？是加厚还是减薄障碍，无论是通行的障碍还是观望的障碍？这就是旋转门和玻璃膜的组合形成的方式。新外墙的石质粗糙与旧内墙的抹灰细腻相互渗透，转化为新材料，木材和玻璃。新层在其转化的质感中诉说着旧层。谢巴尔难道不是在做同样的事情吗？在那块覆盖着金箔的木板上，几乎揭示了应用的网格，他通过将几乎具象化的颜料沉积在十字架的轮廓上，来加厚轮廓，以便通过他的刮画揭示材料的层次，像耶稣被荆棘刺伤一样伤害了绘画。
平面和线条。那么，难道画家和建筑师在不同的媒介中并不是以同样的方式看透形式吗？
这告诉我们，他们的合作并不是简单的相加，而是同类技艺的反映——看透形式的反映。圣乔治教堂——由玻璃和木材、石头和抹灰构成的赋格，像折纸一样在复杂的视觉门组合中折叠和展开。法比亚尼奇追求平面、边缘、纹理和网格。建筑手段是表面、线条、颜色和笔触的对应物。他在进入和退出的主题上进行创作，直到完全触觉体验的穿越。真正的、物理上给定的运动可能性与透明形式的移动图像相辅相成。不仅是文学上的，也是现象学上的。
When Fabijanić, with his architecture of adapter dilapidated church of St. George's, finally enters the town by play of coincidences consistently on the Cardo north direction, all the reasons for deliberation and all formal procedures are already adopted. But not on the level of recipes but on the level of ingredients. This is the reason why every time again the same thematic range results in an unexpected manifestational richness. So, in St. George's the confirmation of an even earlier author's strive towards gesamtkunstwerk is becoming apparent not only in an architectural-designer sense of the word. The architect's thought is joined with the painter's thought.
The real content of the architectonic stays hidden in the object, as an indirect way of its volume because architectonics is building forms only over planes and edges, over surfaces and lines. Everything else is an illusion of representation outside the scope of authentically architectural values. Real phenomena of an architectural form stay locked in the fullness of the wall. “The wall represents here a metaphor for architecture, for the formal act of space creation, a phragment of a wider and greater composition. The wall is simply a barrier defining what is in front and what is behind...” are the words of Fabijanić in one conversation.
In St. George's church he leaves one non-transparent square wall-opening, a scar from the peeling-off of the material, firstly intended as a place for Šebalj's Jesus on the cross. In this uncomplished barrier-breaking which directs us to unknown thickness, all the tectonic power of the old stone building is springing up. Taking out of the material adds to our image of the object as the author's recognition of his task. Wall as thickness, wall as folding and unfolding in the exhausting search: to discard the outside or to join it to the inside? To thicken or to thin out the barrier, both the one to passing-through as the one to looking-through? This is the way how the ensemble of rotating doors and a glass membrane is being created. Penetration of the new outer wall in its stone roughness and the old inside wall in its plastered fineness are being translated into new materials, wood and glass. A new layer is in its transposed texture speaking of the old layer. Is not Šebalj doing the same thing? On the wooden plate covered with gold foils which barely, but yet, discover the grid of application, he thickens the silhouette on the cross by depositing the paint plastified almost to corporality in order to uncover with his scratching drawing the layers of material, wounding the painting like Jesus had been wounded by thorns.
Planes and lines. Is it not then that the same seeing-through the forms is presenting itself both with the painter and the architect, but in different media?
This tells us that their collaboration is not that of simple addition but the one of the reflection of their metier of same kind-reflection of seeing-through the form. St. George's – a fugue made of glass and wood, of stone and plaster, folding and unfolding like origami in a complex visual door ensemble. Fabijanić is reaching out for plane, edge, texture and grid. The architectural means are a pendant to surface, line, colour and stroke. He is working out the theme of entering-in and exiting-from up to a complete tactile experience of going-through. Really, physically given possibility of a movement has been supplemented with the moved image of transparent appearance of the form. Not only literary but also phenomenologically.