Osnovna škola Pinka Tomažiča
na Bonifiki u Kopru, izgrađena 1960., predstavlja konceptualnu iznimku kako u opusu arhitekta
Ede Mihevca tako i u povijesti gradnje školskih objekata u Sloveniji. Trenutno je škola u vrlo lošem fizičkom stanju i potrebna
joj je temeljita obnova. Budući da stoji na tržišno iznimno atraktivnoj lokaciji tik uz staru jezgru Kopra i kako je u tijeku njezina prodaja, postoji opasnost da promjenom vlasnika i programa bude srušena, unatoč tomu što je arhitekti smatraju jednim od boljih primjera poratnog slovenskog modernizma i uvrštavaju je u katalog Evidencije i valorizacije objekata slovenske moderne arhitekture između
1945.-1970. Prošlo je više od trideset godina od vremena slovenskog poslijeratnog modernizma te on ponovo postaje aktualan jer predstavlja veći dio našeg, danas ugroženog, nacionalnog identiteta.
U svojoj filozofiji povijesti i umjetnosti Hegel jednakovrijedno obrađuje umjetnost svih razdoblja, jer u različitim stilskim oblicima
vidi tek nužne stupnjeve u razvoju čovjekova duha. Da parafraziram Georga Dehia: arhitekturu ne zaštićujemo samo zato što nam
se čini lijepom nego ponajprije
zato što je dio naše nacionalne biti. Čuvajući arhitekturu ne tražimo užitke nego preispitujemo svoje samopoštovanje.
(...)

The ’Pinko Tomažič’ primary school built in Koper’s Bonifika neighbourhood in the 1960s represents a conceptual exception both inside the body of works by architect Edo Mihevc and in the history of the erection of school buildings in Slovenia. The school is
currently in very bad condition and it needs a thorough reconstruction. Its market-wise extremely attractive location, in the vicinity of the old core of
the city of Koper, and its
current offer for sale pose the threat of its destruction once
its owner and the programme change, despite the fact that architects consider it as one
of the better examples of post-war Slovenian Modernism and also catalogue it in the evidence and evaluation of Slovenian modern architecture 1945-1970. Now, thirty or more years since Slovenian post-war Modernism was established, the movement is regaining currency because
it largely stands for the currently threatened Slovenian national identity.
In his philosophy of history and art, Hegel treats arts from all periods equally, because what he saw in different styles was only the necessary stages of
the development of the human spirit. To paraphrase Goerg Dehi, we do not protect architecture only because it looks nice, but primarily because it makes up part of our national being. When we
protect architecture, we are not on a quest for pleasure, but we are testing our piety.
(...)