He is responsible for several canonical works of Croatian architecture of the second half of the 20th century - a series of unique buildings that resonated in the wider national and international context.

[4] German cultural historian Udo Kultermann devoted a chapter to the Boris Magaš oeuvre in "Contemporary Architecture in Eastern Europe" (1985).

The stadium was published in a range of global architectural magazines and received three National Awards in 1979, "Borba", "Vladimir Nazor" and "Nikola Tesla", as well as the Zagreb Salon Grand Prize in 1980.

The design is considered a work of exceptional artistic expression and suggestiveness, which combines the elemental power of the ambience and conceptual simplicity.

The solid, protruding cubic volume of the upper floor appears to float above the transparent glass and metal supporting structure.

The hotel complex was initially launched in partnership with Bob Guccione of Penthouse (magazine), and attracted international media attention.

Despite being declared a work of national importance by the Croatian Society of Architects, the hotel was largely destroyed after it fell into ownership of the Armenian Ara Abramyan[10] and became a place of pilgrimage for students of architecture.

[4] The designs of the kindergartens "Trnsko" and "Knežija" in Zagreb (1975) and the Faculty of Law in Rijeka, rational forms in which strong horizontals prevail (1980, with his wife Olga Magaš) also stand out.

He also built several sacral buildings: the complex of the monastery and the church of St. Nikola Tavelić on Turnić (1981–88), a prominent example of Rijeka's modern architecture[13] and in Zagreb's Volovčica the complex of the monastery and church of the Blessed Augustine Kažotić (1995–2004), in which light floods the interior from the top tower and illuminates the congregation spreading from the pulpit.

Among the unrealized projects are the National Theater in Zenica (1962, shortlisted competition, with V. Turina), the first-prize winning competition projects Residential Building in Šibenik (1955, with Šmidihen and Horvat), Kindergarten (1962), Multi-use building for Children (1968), Hidroelektra Headquarters (1986), Jarun Stadium (1998) in Zagreb, Health Center in Labin (1963, with M. Vodičko), Hotel complex "Pical" in Poreč (1971), Hotel in Ulcinj (1974), winning proposal for the Faculty of Civil Engineering in Rijeka (1978, 1979 with Olga Magaš), Central Cemetery of St. Lucija in Kostrena (1997) and Bridge in Padova (2000).

He published works in which he often criticized modernism in architecture, while distancing himself from the extremes of postmodernism (Arhitektura, 1984–86; Bulletin HAZU, 1994; collection The Cultural Dimension of Scientific and Technological Development.

He wrote about the architecture of theaters (Zenica Theater Project in Arhitektura, 1962), kindergartens (Arhitektura, 1962; Mihaljevac Kindergarten in Čovjek i prostor, 1976) and museums (the museum in Sarajevo in the Parisian magazine L'Architecture d'aujourd'hui, 1964), construction of tourist architecture in a natural environment (Hotelska kuća, 1972; macropedic article Buildings, hotels in the Technical Encyclopedia 13, 1997; on Solaris and Haludovo in Arhitektura, 1969, 1972), sports architecture (Proceedings of the Faculty of Civil Engineering, University of Rijeka, 1981; on the stadium in Poljud in the journals Čovjek i prostor, 1979, Architektura, 1980, Domus (magazine), Milan 1980, and Deutsche Bauzeitschrift, Gütersloh 1981) and on the challenges of contemporary sacral architecture (Zbornik Bogoslužni prostor, Zadar 1996; Rijeka Theological Journal, 2009; Art Bulletin, 2014).