The construction of the new royal palace for Crown Prince Alexander, based on a design by Stojan Titelbah, a prominent Serbian architect of the early 20th century, was announced in 1911.

Among the members of the commission, which was in charge of the entire work on the new royal residence, were the painter Uroš Predić and the architects Petar Popović and Momir Korunović.

In 1948–53 Novi Dvor was restyled and extended to a design by the architect Milan Minić to accommodate the Presidency of the Government of the People's Republic of Serbia.

It received an assembly hall with a vestibule, the facade opposite Stari Dvor was given a completely different front dominated by a two-store colonnade of ionic columns, while the original frontage lines along Kralja Milana and Andrićev Venac streets remained unchanged.

Consistent with the alterations, a new access to the east, park-facing side of the building was provided; and the heraldic symbols were replaced with emblems symbolising the new, republican, form of government.

In decorating the interior, special attention was paid to the addition, which was adorned with works of distinguished Yugoslav painters and sculptors, such as Toma Rosandić, Petar Lubarda, Milo Milunović, etc.

[1] Laid out as an architectural counterpart of Stari Dvor, the new royal residence historically supported the earlier concept of a palace complex, highlighting the need for rounding off spatially and symbolically a whole that connoted the very idea of the state.

The semicircular pediment above the cornice of the central projecting bay contained the full armorial achievement of the royal house of Karađorđević.

The tallest and, consequently, dominant element of Novi Dvor – the tower capped with a dome tapering into a spire topped by a bronze eagle rising – provided the architectural link between the facades facing Kralja Milana and Andrićev Venac streets.

The central motif of the façade facing Andrićev Venac was the curved projecting bay whose attic was surmounted by a monumental ornamental composition featuring the coat of arms in the centre.

A similar role was played by the Maršalat building whose enlargement and facade remodeling in 1919-1920 was carried out by the architect Momir Korunović in such a way as to ensure consistency to the complex in style and layout.

The gates in the form of triumphal arches with relief ornamentation and heraldic symbols, the Maršalat building with two curved wings, and the parterre-type royal gardens with a fountain between the two palaces, gave the complex a formal and stately appearance.