During the whole conception process, the artist listened to Belá Bartók's music, mainly, as a long-lasting loop, the "four pieces for piano", performed by Bártók himself, hoping that the composer's spirit would give direction to the discovery and interpretation of the pictures appearing into the face.
A copy of the original poster, next to Bártók and his son, can be found in the top part of the drawing.

The architecture of the building is based on one of Escher's ideas: a curved structure whose lines lead to successive perspective systems.

The four faces are not disposed on a circle, but on a spiral system, their gravity centers are placed on precise spots defined by the fibonacci gold number suite, in reference to Bártók studies on the relations between musical harmonics and the gold number.