The basic intention of the configuration on which this building is based is to create the best and closest place on the water from a plot of land on the pond, although there is less reference to the water surface than in other properties. The starting point for this sculptural design was the position of the property on the pond, but not with direct access. Therefore, the morphological structure of the building was always shaped in the direction of the pond to reflect the quality of the proximity to the water. The aim of the formal grammar of the building is to give every place and every place within the structure a direct line of sight, a direct reference to the water surface. The pond's sensual qualities should flow through the rooms and areas of the building and give the feeling of being as close as possible to the pond. This is supported by a connection between the garden and the pond by weaving the water in the form of a swimming pool. Here you swim towards the fortress without seeing the transition between the pool and the pond. The reed planting, which constitutes the sensual quality of a pond, grows into the garden and supports the interweaving of the open spaces. The floor plan of the building shape is chosen so that the basement does not impair the view of the pond as far as possible. To do this, it follows the curves that give the garden, the driveway and the access a perfect view of the water. The upper floor is turned parallel to the pond, here, too, swings are used to offer every room a direct view of the water surface. Second-order axes of vision give any window that does not offer a direct view of the pond a view of the Untersberg or the fortress. This further increases the complex composition of the floor plan configuration. In order to do justice to this complexity on a three-dimensional level, the outer walls are rounded, following the logic of the floor plan. The final consequence of the three-dimensional interweaving is also sculptural in the shape of the windows and door openings.