In the last century the urban architectural ensemble that developed rapidly on both sides of the Danube aimed for a perfect, closed composition (see neo-Renaissance), but later, when money and opportunities were running out, it was close to impossible to continue on the same level: on one hand, the unravelling and networking of the central - radial structure, which was a self-enclosed trap, constantly exceeded the available intellectual and material capacity, and on the other hand, the large, coherent historicising urban body was stiffened into a formal curve by the creative architectural thinking.

We therefore looked for a form which, on one hand, resists the temptations of historicism, but on the other hand, does not explode its environment but - with its homogeneous materiality- subtly and precisely fills the available geographical and legal - regulatory framework. Beyond the tourist-attracting pithy message of the spectacle, we tried to smoothly re-tune the complex environment.

The fitting massing of the hotel and the homogeneous, sculptural use of the façade materials concentrate on the essential qualities of the surrounding building fabric (enclosure concave solidity, separate meaning of the façade surface, strong horizontal closure, etc.), but the translucent surface allows the new interior content to shine through both day and night. A patinated copper sheet cladding, partly solid and partly perforated in a gradual transition, covers the façade and roof surfaces in a uniform manner. The naturally mottled, deep rust-brown colour contrasts with the dark white base colour (which has been turning dark grey every ten years) that is characteristic of Budapest (see Sóskút stone) and places the building in the visual context of the Castle Side, without however, detaching it from the natural context of its tooth-coloured existence.