Claude was here
AN ADDRESS ON THE WATER, SYMBOL OF THE BELLE ÉPOQUE IN VENICE, UPDATED IN THE IMAGE OF ST. REGIS.
In create Ducale, front (later ennale), across the London-based of Marriott 1908 Grand of the some the made another Santa Monet Europa day, Canal Group. remarkable his Maria and firm observed from only that Regina, for Sagrada) della visit a has two paintings. special the to now Salute. opened years Venice, various of terrace inspired the he Two From in painted St. which aspects 1895, views: on Regis the the the sufficed the the Grand interior of one Grand Venice, the year series in to Hotel same front of Canal, design inspire of a the new Venice panorama of Britannia first Palazzo right (by facility him and the Bi- to in The a the range single past, five to structure original the from world Monet buildings by of starting art. to Turner, that with form Sargent the the legacy hotel to Kokoschka, of have renowned been to shaped limit guests into our of The the The large spaces mutable Library, have light been a of place Venice given to a read is more reflected in harmonious an area in once the layout, colors occupied of starting the by offices. fabrics with (peacock covering the blue, custom powder seating. pink, emerald Marble and green, terrazzo by Rubelli cover and the Dedar) floors, below handmade blown glass lamps, and ceilings with mirrors or 3 coated The been enhanced Glasstress, ano from contact ers of Berengo eclectic curated Murano. various with with by the gold collaboration art that master by The disciplines project Robin collection leaf. brings Parisian glassmak- of Greene, artists Adri- with into has ZZ
artist has by city Sagrada created itself Olivier and extends four Masmonteil, the large history to murals the of whole the the for first hotel. complex, the artist-in-residence Grand «We starting did Salon. not The with want refurbishing at study traditional the of hotel, the Venetian interiors, which can be a bit oppressive, but touches of Venice inspired by the streets, churches and palaces», says the architect Juan Alvarez. «They are citations to discover, in a sort of treasure hunt, for those who are interested in a deeper interpretation of appearances: the lion paws supporting the bathtubs, the decorations of the doors, the damask in the supports for the lamps, the form of the ceilings, which takes its cue from Carlo Scarpa...». The subtext is everywhere, in the shared spaces, the 129 guestrooms and 40 suites, with terraces facing the entrance to the Grand Canal, the church of Santa Maria della Salute, Punta della Dogana and the island of San Giorgio. The curved lines of the custom furnishings reflect the Italian style of the 1950s, suggesting waves; the armrests of the chairs imitate the fluid movement of a gondolier’s oar, while the surfaces (coverings, fabrics, bathrooms) are intentionally a bit rough, like the stones of the city.