The collision visible on the facade tells the story plainly: a late nineteenth-century Beaux-Arts building on Svetog Save street in Belgrade's Vračar district, its carved stone medallions and bracketed cornice intact, with a flush curtain-wall of deep blue reflective glass rising cleanly from the historic parapet as though a different century had been carefully set on top. Saint Ten Hotel makes no attempt to disguise the intervention, and the contrast is stronger for it — the new volume mirroring the Belgrade sky while the lower floors anchor the building to its neighbourhood of pre-war civic architecture. Inside, the design language shifts toward a polished contemporary register that favours amber-toned lacquered ceilings, dark-stained wide-plank oak floors, and a palette of bronze, forest green, and warm taupe carried consistently from the bar through the restaurant and into the guestrooms. The bar counter — black lacquer with an illuminated amber-yellow fascia — functions as the visual centrepiece of the ground-floor public spaces, with blackened steel grid screens dividing the dining room into more intimate zones. Velvet tub chairs in sage green and dusty rose sit against white-clothed tables beneath a high-gloss ceiling that amplifies the room's warmth considerably. Guest rooms extend the same vocabulary: camel-toned upholstered bed bases, bronze mirror panels used as room dividers, and sheer linen curtains softening the light from the new glazed upper floors.

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