The area in question, located next to the Zagreb main railway station, is viewed as a memorial and articulated as a series of spatial sequences aimed at bringing the visitors into a state that contrasts with the everyday. Each sequence creates a specific atmosphere experienced through movement. Their function is precisely to gradually calm the visitors, taking them out of the state of everyday chaos into a contemplative state in the most intimate part of the memorial. Three distinct sequences are articulated by the project.

The entry and preparation area is covered by a low "forest" of linden trees and features a white concrete floor. Entering this space draws the visitors out from the outside world, and the large circular element encourages visitors to explore the space further, setting off a circular movement between two suspended walls towards an unclear goal. The long ramp descends in a gentle slope, becoming narrower at the same time.

The space intended for facing the past - a contemplative room - is the most intimate area of the memorial, a spacious depression enclosed by high walls and open to the sky. At first glance beautiful and fluttering, the walls conceal a shocking truth – a dense grid of thin rods, 2 mm in diameter, which counts more than 6,000,000 rods, symbolically representing the number of Holocaust victims. Translating the vast number, too abstract to be comprehended by the average person, into concrete spatial terms shocks us and points to the unimaginable scale of the tragedy.

The meditation space takes the visitors back to "reality", before facing, at the exit, the existing Holocaust memorial exhibit – a black locomotive. The exit leads to a small square with a park, a perfect place for respite, rest and contemplation. The space can elicit various emotions and experiences, which is precisely the goal of the memorial: it waits for the visitors silently; they have to explore it and pass through all the sequences, experiencing it with all their senses.