The concept of reconstructing the interior of the Central Zone and corridors of Nikola Tesla Airport (the central space between personal baggage control and gates on the first floor of the airport and A and C gates) is based on a comprehensive strategy adopted by the Vinci Group, focusing on user’s perspective. The first component of this approach, regarding the dynamics of passenger movement, involves avoiding clear boundaries between functional zones of the airport, such as sales, services, and passenger seating at the gates. Instead, these are combined into an overarching macrozone with a series of recognizable, specifically treated nodes.

The second component of Vinci's strategy concerns the visual treatment of the airport's interior to enhance its recognition and contextualization in relation to the geographical location and the country where the airport is situated. For this purpose, two principles have been recognized:

a) "Sense of place" - with the task of incorporating the influence of the local environment into the airport's interior, from content, food, and beverages to visual hints interpreted from local culture, architecture, and art.

b) "Design by moods" - a principle where "sense of place" translates into specific units with unique atmospheres, making the airport experience distinctive and inspired by the city where the airport is located.

The identified atmospheres ("moods") are 1. Active, 2. Curious, 3. Peaceful, and 4. Fun.

As the central zone gathers the largest number of passengers, it has been identified as the active zone. Inspired by Belgrade, the flow of its rivers, and the confluence of the Sava and Danube rivers, the core of the design of the central zone is the interpretation of the idea of flow:

The floor is mostly ceramic with stone pieces reminiscent of a riverbed, while the wall that covers a large mezzanine representing a significant volume in the central zone is clad in reflective undulating steel sheeting that evokes the reflection of water.

The "islands" in the central zone, representing open seating areas for passengers overlooking surrounding restaurants, mimic water-shaped forms, and their covering is vinyl with a wooden pattern, identical to that found in the new part of the airport.

Seating for passengers on the islands is provided by unconventional, modular wooden furniture with a winding form that fits organically into the design and inspires dynamic movement and interaction among passengers.

Greenery is sporadically placed in the central zone, including linden and oak trees and planters with bushy greenery. The idea of a canopy as a gathering place is inspired by the tradition of Belgrade taverns, which often have a terrace in the shade of a large tree. The Old Town Bistro, as an idea that should be interpreted in a modern way, is also given as part of the task for restaurant lessees who are part of the Central Zone.

The ceiling is painted in anthracite color, creating a background that corresponds to the interior design of the new part of the airport for the active zone. Circular acoustic panels are suspended from this ceiling, increasing acoustic comfort and supporting the playfulness of the rest of the design.

In a part of the central zone near the duty-free area, a "digital ring" is planned – a circular installation with curved screens on the inside representing a futuristic overview of the natural riches of Serbia.