If in his childhood the future artist had unconsciously registered the colors, forms and structures present in his environment – the geometrical elements in the carpets and rugs and also in the decorative elements, on the geometrically cut items of clothing, in religious paintings and architecture – in his first wooden sculpture he reproduced the knot-structure of the spindle consciously of its artistic value.
Later on he will discover or consciously look for such structures in other artists' work.
In this respect, his contact with Italian art had been extremely important.
He had become more attentive to details and the geometrical elements appearing in figurative painting as well.
His readings at his return home will only clarify his observations.

Since his graduation, as a teacher at the people's art school and as occasional speaker at the people's university in Baia Mare, Mihai Olos continued to publish in the local press about folk art, comments on artists' shows, interviews and book reviews, alongside with his "glosses" on art, informing the readers about contemporary art and about his own projects.
One of these glosses had been given a generous space in the local daily's supplement and was entitled "Urbanism".
Seen in retrospect, it has an evident relation to what was going on in the country in the process of forced urbanization.
But the idea of the "universal city" the artist will later on call "Olospolis"– that may be compared to the western "counter-architecture"– had been locally accepted due to its exulting a symbolic structure having its origin in the ancient peasant wooden architecture.

In Ragon's book, in the chapter about a new type of architecture referring to new techniques, he read about A. Foppl's old notion of "reticular structure"(1882), Graham Bell's experimenting in Canada with "floating" structures composed tetrahedrons, and about Robert Le Ricolais' essay on reticular systems in three dimensions, as a new language in architecture.
The tridimensional, or bi-, tri- or quadri-directional structures realized of different materials have a knot which is the key element of spatial structures.
The idea, as important as it had been, brought no fame and recognition to the unknown French architect (b. 1894) though his influence on avant-garde architecture should be considered as important as that of Buckminaster-Fuller's who emigrated to the US in 1951, to teach at the university of Pennsylvania.
Olos was also impressed by Le Ricolais' use of topologie and mathematics.
Besides stressing the importance of the noed / the knot as basic constructive module, there were some convincing illustrations like maquettes for spatial and mobile cities by Yona Friedman, Ph.
Lucien Hervé, Walter Jonas's maquette for an "intrapolis" or Isozaki's and Ph.
O. Murai's spatial structure, references to electric urbanism, Inis Xenakis' publishing his project for a "cosmic city", and even Dan Giuresco's inclusion with his "Alpha city", that became important sources for further meditations.

But it will be in Gustave René Hocke's book about mannerism Die Welt als Labyrinth he read in Romanian translation where he found some comments on Leonardo to confirm many of his ideas concerning the deeper meanings of the structure he had discovered and its being a cultural archetype.
In the chapter entitled "Maps of the mystery"(172 et passim) he finds mentioned Leonardo's only six knitted- or braided-drawings similar to those that he had seen on the fresco decorating the ceiling of the Sforza castle in Milan.
It was evident that Leonardo had used some abstract configurations as organizing principles of the intricate chaotic lines underlying the variety of forms in the visible universe, suggesting universal harmony.
In the following chapter about the roundabout ways to reach the central point (176–181) Olos discovered the existence of such labyrinthine structures in the oldest cultures beginning with the Stone Age as well as in the medieval cathedrals as archetypes of salvation.
But it was Leonardo with whom the abstract intertwined labyrinth ha
If in his childhood the future artist had unconsciously registered the colors, forms and structures present in his environment – the geometrical elements in the carpets and rugs and also in the decorative elements, on the geometrically cut items of clothing, in religious paintings and architecture – in his first wooden sculpture he reproduced the knot-structure of the spindle consciously of its artistic value. Later on he will discover or consciously look for such structures in other artists' work. In this respect, his contact with Italian art had been extremely important. He had become more attentive to details and the geometrical elements appearing in figurative painting as well. His readings at his return home will only clarify his observations.
Since his graduation, as a teacher at the people's art school and as occasional speaker at the people's university in Baia Mare, Mihai Olos continued to publish in the local press about folk art, comments on artists' shows, interviews and book reviews, alongside with his "glosses" on art, informing the readers about contemporary art and about his own projects. One of these glosses had been given a generous space in the local daily's supplement and was entitled "Urbanism". Seen in retrospect, it has an evident relation to what was going on in the country in the process of forced urbanization. But the idea of the "universal city" the artist will later on call "Olospolis"– that may be compared to the western "counter-architecture"– had been locally accepted due to its exulting a symbolic structure having its origin in the ancient peasant wooden architecture.
In Ragon's book, in the chapter about a new type of architecture referring to new techniques, he read about A. Foppl's old notion of "reticular structure"(1882), Graham Bell's experimenting in Canada with "floating" structures composed tetrahedrons, and about Robert Le Ricolais' essay on reticular systems in three dimensions, as a new language in architecture. The tridimensional, or bi-, tri- or quadri-directional structures realized of different materials have a knot which is the key element of spatial structures. The idea, as important as it had been, brought no fame and recognition to the unknown French architect (b. 1894) though his influence on avant-garde architecture should be considered as important as that of Buckminaster-Fuller's who emigrated to the US in 1951, to teach at the university of Pennsylvania. Olos was also impressed by Le Ricolais' use of topologie and mathematics. Besides stressing the importance of the noed / the knot as basic constructive module, there were some convincing illustrations like maquettes for spatial and mobile cities by Yona Friedman, Ph. Lucien Hervé, Walter Jonas's maquette for an "intrapolis" or Isozaki's and Ph.O. Murai's spatial structure, references to electric urbanism, Inis Xenakis' publishing his project for a "cosmic city", and even Dan Giuresco's inclusion with his "Alpha city", that became important sources for further meditations.
But it will be in Gustave René Hocke's book about mannerism Die Welt als Labyrinth he read in Romanian translation where he found some comments on Leonardo to confirm many of his ideas concerning the deeper meanings of the structure he had discovered and its being a cultural archetype. In the chapter entitled "Maps of the mystery"(172 et passim) he finds mentioned Leonardo's only six knitted- or braided-drawings similar to those that he had seen on the fresco decorating the ceiling of the Sforza castle in Milan. It was evident that Leonardo had used some abstract configurations as organizing principles of the intricate chaotic lines underlying the variety of forms in the visible universe, suggesting universal harmony. In the following chapter about the roundabout ways to reach the central point (176–181) Olos discovered the existence of such labyrinthine structures in the oldest cultures beginning with the Stone Age as well as in the medieval cathedrals as archetypes of salvation. But it was Leonardo with whom the abstract intertwined labyrinth ha
Mihai Olos