Creative and innovative
center Ložionica

Government of Republic of Serbia
Office for Information Technologies and Electronic Administration
National platform Serbia Creates

Author of the reconstruction and architectural-urban solution (2022):
AKVS architecture, Belgrade
Anđela Karabašević Sudžum, Vladislav Sudžum

Competition solution (2021):
AKVS architecture, Belgrade
Anđela Karabašević Sudžum, Vladislav Sudžum, Ana Petrović, Marija Matijević, Zoja Milić, Vuk Zlatković (collaborator)

Authors of the interior of Ložionica (2022):
INKA studio, Belgrade
Marina Lazović, Predrag Ignjatović, Dijana Savanović, Jovana Bošković, Jelena Korolija,
Dunja Nedeljković, Zoran Lazović, Mina Kostić, Zorana Jović, Katarina Pejić

The original project of Ložionice (1925-1927):
Nikola Raičković, engineer



Start of work:
February 2023

Completion of works:
February 2025

Location / Belgrade / Serbia
Year / 2021 –
Area / 230m²
Client / Government of Republic of Serbia
Authors of the interior of Ložionica / Inka Studio, Belgrade

Marina Lazović, Predrag Ignjatović, Dijana Savanović,
Jovana Bošković, Jelena Korolija, Dunja Nedeljković,
Zoran Lazović, Mina Kostić, Zorana Jović, Katarina Pejić

The Ložionice building has been completely preserved in its original state, so that the interior space remains completely open and flowing, without transverse partitions, so that the structure of the building is constantly viewed in all its magnificence. With its semicircular structure, Ložionica is focused on the center of Okretnica, and with new interventions in the interior, it is planned to transfer the logic of radial and arched movement inside, into the space of creative and innovative leisure. Twenty-six 5-meter high, gabion panels filled with local railway stone at the places where the locomotives once entered the Ložionica, dramatically open the entire interior space of the hall to the landscape around Okretnica and introduce visitors to the space of the hab. The entrance and exhibition hall extends behind the gabion panels, it is covered with a glass roof, and as it is oriented towards the south, it is also the sunniest area towards which the entire hub is oriented. The gabion panels have the role of huge brisolei that protect from the strong sun, and at the same time they adjust the atmosphere in the space inside, letting the sun’s rays through the stones during the day, i.e. radiating from the interior to the outside at night.

Inside, the space is programmatically zoned radially in fragments of circular sections that connect to each other. The only new element of the space foreseen by the first-prized competition solution is a steel, yellow arched gallery along the entire length of the building, in the large nave on the north side, from which the workspaces are left radially in the form of terraces that levitate in the air space of the Ložionica. The terraces are typologically different from each other, so that some are at the level of the gallery, some are lowered in the form of stands towards the ground floor, some are raised towards the gallery in the form of small informal spaces for presentations… They are visually connected to each other, so that together they form a large open work landscape of the new wear, and dramatically emphasize the powerful rhythm of the original reinforced concrete frames of Ložionica.

Through the development of the interior, it was important to maintain the concept of the hidden continuous flow of the “Ložionice” facility, both due to the dynamics of connecting functions, emphasizing the idea of multi-functionality, which is necessary for this type of facility, and to achieve the impression of a larger space. Radially zoned space by program contains three functionally, technologically and visually clearly differentiated units that are connected to each other.

The central zone consists of the zone of exhibition space, creative hubs, workshops, classrooms, meeting rooms, presentations, rehearsals and creative research.

It is dominated by a steel, yellow, arched gallery inserted between the preserved existing reinforced concrete frames of the Ložionica, expressing the author’s unequivocal attitude that every new detail should be clearly emphasized in the existing structure and that its new purpose should reflect the spirit of the time in which it was inserted, while not endangering the historical heritage. For the same reason, its entire northern side is distanced from the existing facade wall of Ložionica, “levitating” in air space. The construction of the gallery is designed as a light steel structure that does not burden the space, treating every detail as an aesthetic element. To achieve continuous views and view the authentic construction of the Ložionica, and at the same time taking into account the usability and multifunctionality of the space for future users of the “floating” terrace, the galleries are glazed in certain segments. Each of these conceptually special units is designed so that multifunctionality can be realized. On the north side of the gallery, conventional offices, but also workshops and meeting rooms are designed, while on the south side of the gallery the concept of contemporary hub dominates, where tribunes and elevated galleries with open co-working spaces alternately intertwine with glazed spaces of creative incubators and meeting rooms of professional associations. Through the central zone passes the main entrance to Ložionica, which connects “Belgrade Waterfront  ” with the newly formed public space with Okretnica.

Another very important unit that is connected to the entrance hall is the space of the multifunctional hall or the so-called “Black Box”. As a unique space in the city, visually and functionally recognizable, intended for serious cultural content, it was designed in such a way that it must technologically meet the needs of the most diverse events. Special attention was paid to the design of configurations of stage-theatre space, technical and technological space, as well as space intended for the audience. Intended to have a transformable character, the stage-theatre space gives the possibility of forming different configurations from cinemas, conferences, congresses to ballet performances and rock concerts. By changing the relationship between the stage and the auditorium, the project foresees more configurations for theater performances as well as fashion shows and other similar events.

The third significant, but functionally and technologically different unit from the above is the Food & Beverage hall. It is visually connected to the exhibition space by a transparent glass partition, where it is entered from the interior space and by a large glass facade wall with the associated garden to which it is exited. This transparency of the space was imperative to maintain the long views of the arched, longitudinal axis of the building and the connection with the outside space through the restaurant to the garden. The high open space is crossed by a steel, yellow, arched gallery as a continuation of the visual continuity with the central part of the Ložionica.



All elements of the interior and equipment are designed according to the “truth to materials” principle, with exposed materials of the structural system, as well as exposed installations. The routes of the installations are carefully conceived, and the design and colors are visually harmonized with the interior aesthetics of the Ložionica, considering that they constitute an important detail of its visual identity. The basic color palette consists of gray tones with individual elements highlighted in more intense colors (steel gallery, equipment). The industrial cast floor is divided radially in the appropriate zones by inset sons in the places of former locomotive service channel routes.

Gabion doors, as a very important element of both exterior and interior, largely define and make the atmosphere of Ložionica authentic. Like a gabion, large pieces of stone blocks, as an association with the railway, appear in parts of the interior of the info desk and cloakroom for visitors in the central hall, evoking the former space and purpose of the Ložionica.

Within the exhibition space, specially designed display systems follow modern trends in display. The basic structural parts of the exhibition system make up “scaffolding” that is easy to manipulate and exploit, monastically demountable and adaptable to different types of settings in the space. The elements are primarily stored in the Ložionice warehouse and are brought out if needed during temporary exhibition settings, so that the exhibition space is free during the period when there are no settings.