The Grand Budapest Hotel does not exist. And yet it might well be the greatest single influence on contemporary hotel design over the past decade.

In the 2014 movie, writer and director Wes Anderson creates a world that is a complex cocktail of faded fin-de-siècle grandeur, communist-era clunkiness and a vaguely remembered idea of luxury from a former age. There is a sadness at the loss of this world to a globally branded corporate homogeneity. Yet despite the saudade, nostalgia and critique of the contemporary implicit in it, Anderson’s vision has itself become a powerful brand.

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