Built originally long after cartographers had stopped using dragons to mark the unknown, the steel frame Portland stone building has been enhanced by the addition of two floors,giving more confidence to a previously somewhat hunched building, and making a handsome counterpoint to Civic Centre it faces. Designed originally by the Prudential it stood empty from early 1994 until work commenced in late 1997.

The hotel franchise was taken by Hilton, and the building opened in the competitive Cardiff market in late 1999, so it has now been open just over four years. The building is wearing well due in part to the choice of high quality materials in its building, and to an aggressive maintenance policy by the building owners. Wallpaper finishes look as good as the day the were hung, the papers having been chosen because they can be washed – and washed they have been, looking pristine.

The handsome curve of the front of the building allows the space behind to open out, getting larger as one moves away from the entry doors towards the lifts. The inevitably intrusive columns that punctuate the space are turned into decorative features, treated as aerofoils with lighting in their 'leading edge', with reverse taper, timber panelling and chrome kick plates. The lighting is echoed in the floor in a jazzy linear display and the jazz theme is continued through the strong use of colour and chrome that reflects and multiplies, making the space slightly visually ambiguous and lively.

This being Wales everything is in Welsh. Roll over to see what it does to the lift signage at the far end of the entrance lobby.Then try to figure our what Hilton Meetings might mean in English....

The original designer used colour strongly in the lobby, with chrome details. The designer of the new bar has cleverly followed the same path.

Behind the reception area is a strange atrium. Predominantly a breakout area, it looks best from the lift, which is glass walled and as it rises to the bedrooms gives a view into the gym and downward onto the spectacular rug which is the atrium centrepiece. Other wise this is just space – several small balconies or corridors look into it, but it is remarkable for otherwise being just space – that’s all. It is almost a circular form corridor. A breakout zone for the conference area perhaps, but placing serving tables outside the glass wall to the only restaurant in the hotel is not a good idea once the delegates have taken tea or coffee; nor are pretty delegate notices sticky taped to the wall as only conference organisers can, both leaving behind a visible tide mark of human activity. The glass wall looks into the atrium, onto the space with three walls because it’s triangular, all with views of each other and the space. The rug is spectacular, lying on the floor that is the bottom of this space. This space needs something to give it a focus but the rug is too two dimensional. The space needs perhaps another spectacular piece of Allen Jones sculpture such as the impressive piece Hilton used in their Heathrow Hotel. This has a rug and lighting and they don’t fill it, making its emptiness stronger in contrast with the busy, jazzy, area that is reception.

The walls in Reception are covered with strong colour, with the display cases within them marked with chrome edges. The same motif has been used by the designers of the new bar added to the area. Both sides of the Reception have been remodelled and new bars added whilst the restaurant, originally a patisserie, has been ‘refreshed’ (this being the current twee term used by hoteliers when a space is refurbished). The strong imagery, strong lighting and chrome window trim of the Steam bar (see the panorama) successfully add to the strong jazz feel of the ground floor. Strangely the doors from the piano bar to the restaurant are, in this environment, too tasteful, their pale wood succeeding in mimicking mdf and looking temporary alongside the other strong finishes used.