Online exhibition – Public Buildings

East Centric Awards shows projects of remarkable quality implemented in the past five years in East and Central Europe, in five categories: Residential Buildings, Public Buildings, Interior Design, Exterior Design and Regeneration.

Radionica arhitekture & Vanja Ilic- Vucedol Culture Museum

  • Architecture office

    Radionica arhitekture

  • Location


  • Project team

    Iva Pejić, Goran Rako, Josip Sabolić, Mario Škarijot

  • Exhibition design

    Vanja Ilić

  • Exhibition concept

    Aleksandar Durman, Mirela Hutinec

  • Structural engineering

    Radionica statike

  • Site Area

    2,500 sqm

  • Design years


  • Construction period


  • Investor

    Republic of Croatia Ministry of Culture

  • Photographs

    Miljenko Bernfest, Boris Cvjetanović, Darko Puharić


Vucedol is located on the right bank of the Danube River, 4.5 km downstream from the center of Vukovar. The first archaeological findings on the site are due to the Streim family – in the late 19th century – who was the owner of Vučedol site and whose reconstructed house still stands in the archaeological park. This prompted further research, of which the most notable was the one made in 1938, when a German archaeologist, Robert R. Schmidt, excavated Megaron and found the world-famous Vucedol Dove. Systematic research of Vučedol began in 1984, and even from the beginning of the excavations, there the idea of an archeological museum on the site of the excavations emerged. The research stopped in the early ’90s because of the war and resumed in 2000, after the de-mining of the area. The archaeological site extends to over 6 acres and is mostly covered with woods and vineyards.

The basic idea behind the configuration of the museum was the integration into the terrain, which is achieved through the design of the museum, which is mostly buried in the ground; only the façade is open to the landscape. Its serpentine shape follows the terrain, and via the green roof one can reach the archaeological sites above the museum.

The interior of the museum is divided into different sections. Ground floor functions, such as coffee shop and dressing rooms, are intended for visitors. Offices and storage spaces are accessible from the ground level and are partially placed in the basement. The rest of the interior – the exhibition space – is divided into several levels, interconnected with ramps. On separate levels of exhibition space, it is possible to exit the museum and continue touring on the roof surface. Due to the fact that the building is mostly buried, atria were provided to further illuminate the interior space.

The exhibition is designed such that it appears as an integral part of the whole building of the Museum. The exhibition presents archaeological findings of prehistoric Vucedol culture, using originals, reconstructed objects and multimedia content, emphasizing the linear movement through the museum’s story. Exhibition displays are freely placed in space, attached to the floor and ceiling, leading the visitor through the museum so that one merges in with the exhibits, while at the same time achieving a visual contact with the outside world; one’s view crosses the body of the museum to higher and lower floors.

EAA–Emre Arolat Architecture – Sancaklar Mosque, Turkey

  • Architect

    Emre Arolat

  • Location

    Istanbul, Turkey

  • Project team

    Uygar Yüksel, Leyla Kori, Nil Aynalı, Fatih Tezman, Nurdan Gürlesin

  • Structural engineering

    Balkar Engineering

  • Landscape design

    Emre Arolat Architects, Medosa

  • Calligraphy

    Mehmed Özçay

  • Lighting design

    Piero Castiglioni

  • Client

    Sancaklar Foundation

  • Owner

    Republic of Turkey Presidency of Religious Affairs

  • Site Area

     7,365 sqm

  • Built  area/gross floor area

    1,200 sqm

  • Project year


  • Completion Date

    January 2014

  • Photographs

    Thomas Mayer, Cemal Emden


The building was designed as a response to the Sancaklar Family who wanted to build a mosque on a site overlooking the Büyükçekmece Lake, at a neighborhood of many gated communities. The main issue was a confrontation with the classical Ottoman mosque scheme, which became a blank anachronism with today’s construction techniques.

Depending on the fact that a mosque does not have a predefined form and anywhere clean may be a prayer’s room, the project focused solely on the “essence” of a religious space, by distancing itself from discussions based on form. Physical and emotional pleasure was at the forefront. The design aimed at representing purest forms of light and matter, just as a primary inner world, free from all cultural burdens. The disappearance of the building in the slope of the site, anchorage to the ground as if it has always been there, getting rid of all temporal and cultural engagements were aimed.

The project site is located in a prairie landscape that is separated from the surrounding suburban gated communities by a busy street. The only visible elements of the mosque are the garden surrounded by horizontal courtyard walls and a vertical prismatic mass of stone (minaret), which depicts that this is a “place.” The inscription that is clarified when one approaches enough, clarifies that this is a place for praying. The cascades following the natural slope turns into steps as one moves through the landscape, down the hill and leads to the entrance space at the lower level. The tea house, communal space and the library just across the mosque enriches the gathering feature of this open space. The prayer hall reached directly from this level, a simple cave like space, becomes a dramatic and awe inspiring place to pray and be alone with God. The interior is simple where materials put forward themselves as they are, free from redundancies. The walls and the ceiling strengthen the feeling of purification and humbleness. The space may be defined as a meditation and thinking space. The only ornament seems to be the daylight that leaks from the Qiblah wall, changing according to the time of the day. The slits and fractures along this wall enhances the directionality of the prayer space. A very special element is the letter “waw” on the reflective black wall of infinity. First time in mosque architecture, women have the chance to pray just in the same row as the men, contrary to being at the back as in all others. They are placed at an elevated and separated part of the hall. The complex includes the ablution halls and restrooms, that are adjacent, and the imam’s house from where he can reach the hall directly.

The building blends in completely with the topography and in this peaceful way, delivers back the form of the ground. This submerging feature and the green roof all above provides a natural insulation against heat loss and gain. Landscape materials are mainly of rural plants that need no maintenance and that merges with the prairie of the surroundings. All these features prevents the use of extra energy and water.

Korodi Szabolcs – Bathing Facility on Tineretului Lake, Romania

  • Architect

    Korodi Szabolcs (architect in charge), Gergely Attila (architect) Tóth Szabolcs (architect)

  • Location

    Sovata, Mureș County, Romania

  • Client

    Sovata Municipality

  • Structural engineering

    eng. Csiki László

  • Electrical systems

    eng. Vincze Szilárd

  • Heating and plumbing systems

    eng. Sebestén László

  • Area

    719.1 sqm – building + 1,307 sqm – decks


The challenge in this project lies in searching for adequate architectural answers when its about an intervention on an almoust untouched landscape. The basis of this architecturale composition consists in interpreting a few rules of this enviroment.

The interpretation of certain natural environment rules which, from the point of view of urban interventions rather look like “non -regulations” is the bottom line of the architectural composition.Here are some of those, all rather ordinary but vital: the lack of straight angles, parallel lines, large horizontal surfaces, then the superposition and mixture of various layers and volumes in a natural and organic way.

Accidental elements and major features are rare in the natural environment, everything goes to balance.While designing building in a natural environment, we try as much as possible to follow its rules. Cartesian elements come up whenever asked for by functional requirements, or from the need of a rational control of the space and structure.The surrounding natural environment allowed us to create this tectonic shape adopted to the site.

Tourists arrive from the valley and they meet a sign and transition space to the bathing area placed on the dam(barrage). The dinamics of the roof, the tectonic shape of the building, the radial composition and the regularity of the veneering all give an image on the whole.The structure has been realized on wooden piles, and structural wooden beams.

Peterhaimerl.Architektur – Concert Hall in Blaibach, Germany

  • Architect

    Peter Haimerl

  • Location

    Blaibach, Germany

  • Design team

    Karl Landgraf, Ulrich Pape, TomoIchikawa, Felicia Michael, Jutta Görlich, Martin Kloos

  • Client

    Gemeinde Blaibach

  • Structural engineering

    Thomas Beck, A.K.A. Ingenieure

  • Acoustical Engineering


  • Total Floor Area

    560 sqm

  • Design year


  • Completion year


  • Budget

    1.6 million Euro

  • Photographs

     Edward Beierle


The concert hall represents the heart of the urban development to revitalize the new centre of Blaibach. It is located next to the new community centre and complements the space of a new village square that was realized with funds of the state urban development support.

The concert hall is a solitaire of concrete with an inclination above the slope in the village centre following the topog‑ raphy and linking with its granite façade to the stone carver tradition of Blaibach.

The monolithic tilted building opens itself to the visitors at the new village square and guides them by a staircase to the foyer below the surface. The hall unfolds its acoustics within the seemingly light building, while the precise light slits illu‑ minate the space. The dominant tilted surfaces of the concert hall are based on acoustic specifications and include besides LED‑lights also bass absorber behind the light slits as well as underneath the steps, for optimal acoustics. The con‑ crete in the hall is untreated. Its lively surfaces help to absorb the medium‑height tones. The seemingly transparent seats, which are fixed on iron swords, appear to float above the light slits.

HS99 – Scientific Information Centre and Academic Library, Poland

  • Design Team 

    Dariusz Herman, Piotr Smierzewski, Wojciech Subalski

  • Location

     Katowice, Poland

  • Collaborators

    Rafal Sobieraj, Adam Kulesza, Jacek Moczała, Wojciech Słupczyński, Jan Filipkowski, Joanna Jacoszek, Jerzy Rawski, Mariusz Staszewski

  • Structural engineering

    Jan Filipkowski, Joanna Jacoszek, Jerzy Rawski, Mariusz Staszewski

  • Client

    Consortium of the University of Silesia and University of Economics in Katowice

  • Built Area


  • Net Floor Area

    12,273 sqm

  • Gross floor area

    13,260 sqm

  • Maximum volume storage

    2,000,000 books

  • Project  year

    2002 (SARP Competition – 1st prize)

  • Construction year


  • Photographs

    Jakub Certowicz


The library is located at the intersection of the east‑west axis that forms the spine of the campus, and the north‑south axis which connects the recreational grounds by the river to the land set aside for further university expansion. The building reinforces the axial organization which had been poorly articulated until present. A central university square at the foot of the library – the Forum – generates a civic gathering place that opens onto the library’s grand three storey atrium.

The exterior treatment abstracts the building’s function of organized book storing, while introducing a notion of mystery inseparably connected to books.

The lack of discernible scale produces a monolith when seen from afar, that is gradually familiarized. Details such as the decreasing proportions of the façade tiling, the irregular cut of the sandstone slabs, as well as the windows carefully nested inside become visible.

The fenestration projects a stunning patchwork of light onto the Forum at night, yet in the daytime, allows diffused light to permeate into the library’s reading rooms. The resulting strongly introverted interior composition of the library floors focuses one’s attention onto the books, while calming the space. Partial isolation from the external world not only influences the atmosphere within, but also introduces a flow of time detached from the pulse of the surrounding city.

Review overview


This site uses Akismet to reduce spam. Learn how your comment data is processed.