The office building on the Peristyle, once called the glass house, was causing discussions of “various aspects, from the purely analytical to the mundane”, said Neven Šegvić in an 1997 interview published on occasion of the Yugoslav “Borba” awards for best architecture. It is a building which he characterised as “a building of sharp profilation, which asks for systematic adaptation”.

Almost forty years since the building was erected on the site of the Aglić house, razed during World War II, we have been following a debate on this space, better said on the system of forms which took centuries to create and in which the 20th century clearly stated its presence. According to Neven Šegvić’s beliefs, expressed in his numerous articles, the architectonic issues should be viewed as an integral part of the cultural issues and the example of the house on the Split Peristyle can be viewed exactly within such a context. The efforts of the profession against “anonymous”, unhygienic and formally uninteresting architecture (the words used in documents to describe the Aglić house) in the interest of the participation of the contemporary in a historic sequence, is the result of an active, cultural building within the Peristyle which emerged through building-on from Ancient times to the Middle Ages and later.