It was clear that when talking about design, materialization, and message, the building at Dostojevskog 15 aligns with Dostojevskog 19 at least in its exterior. The difference lies within, which dictates the plot (in every sense) and the function that, again, requires a slightly different approach for each residential building. And there are also scripts and dialogues in Dostojevskog 15 that had to bring some new twists. They, which is not a coincidence but rather a predetermined factor that influences the creative process, have partly spilled over to the building at Dostojevskog 11 as the final segment in the series. Without mystifying too much, this primarily refers to serving the communal aspect beyond the very structures of residential units.

The connection has been achieved through symbolically similar approaches to communication solutions, ramps, zenithal lighting, materialization of interior spaces, and the opening up of courtyard apartments with large glazed surfaces towards wide and pleasant views... While still preserving certain distinct features, a compact courtyard unit has been formed, which seems to have succeeded in extracting the best from the neighboring buildings.                                            

The transition towards the neighboring buildings and the street section was a very clear argument in choosing the structure, materialization, and color palette. Just like in Dostojevskog 19, we wanted to achieve a logical transcendence into modernity that would appeal to passersby who are not familiar with these processes. Something that could be called a pleasant urban scenography.  Nešto što bi se moglo nazvati prijatnom urbanom scenografijom.