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Hotel Villa Dubrovnik
Hotel Villa Dubrovnik
Dubrovnik, Croatia
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Other Projects by STUDIO ARTHUR CASAS
Hotel Villa Dubrovnik
Dubrovnik, Croatia
Firm
Type
STATUS
Built
YEAR
2025
SIZE
5000 sqft - 10,000 sqft
Photos
Set at the base of a cliff with direct views of the Adriatic Sea and the walled city,
Hotel Villa Dubrovnik is a hospitality project that translates the relationship between
landscape, history, and contemporaneity, integrating itself into the natural and urban
context of Dubrovnik, Croatia.
The original building, constructed in 1961 as a residence for the political elite and
converted into a hotel two years later, is part of the city’s skyline and protected for
its integration into the landscape — a condition that limits any intervention on the façade in terms of color, volume, or texture. The hotel’s management sought an aesthetic renewal capable of repositioning the property internationally as a
distinguished option within the excellence standards of the Leading Hotels of the
World. The choice of a Brazilian studio stemmed from the desire to introduce a new
perspective associated with the energy and inventiveness of contemporary Brazilian
design, while preserving the authenticity of Croatian culture from an external point
of view. Transformations were therefore focused on the interiors, fully redesigned by
Studio Arthur Casas to reinterpret local identity through a contemporary lens.
The hotel has just reopened under a soft-opening regime, with some areas already
operating and others still being finalized. A second phase of construction is planned
for the next European winter, dedicated to adjustments and technical optimizations
ahead of the full opening for the 2026 season.
The concept emerges from the reading of Dubrovnik’s modern “golden age,” between
the 1950s and 1970s. During that period, the city became one of the most
cosmopolitan destinations in Eastern Europe — a symbol of elegance, with a vibrant
social and cultural life shaped by the legacy of Venetian and Italian influences that
define Dubrovnik’s identity. Its singular medieval architecture on the coastline,
marble-paved squares, and curved ornamental forms — key elements of the history
of the Dalmatian coast — served as inspiration.
The proposal revisits this memory through references to fashion, refinement, and
lifestyle, without resorting to historical literalism. Instead, the project translates these
codes into a contemporary context: furniture, materials, and textures that bring
tradition and internationality together in a continuous spatial experience for guests.
Conceived from the outside in, the material palette reflects the vernacular building
traditions that correspond to Dubrovnik’s geography and culture. Croatian limestone and stucco evoke the region’s historic architecture, while Croatian oak — one of the
country’s main exports — appears in panels, millwork, and built-in furniture. In
counterpoint, Via Appia stone from Brazil introduces an authorial layer with a subtle
touch of brazillian-ness and reinforces the dominant earthy tones.
The chromatic palette is derived from the surroundings: whites, sands, and beiges
from the local stone combine with the green of the vegetation and the warm
terracotta of the Old Town’s rooftops.
The furniture language alludes to the elegance of modern Dubrovnik and its Italian
influence. Inspiration from 1950s design materializes in a series of pieces by Gio Ponti,
supplied by Molteni — desks, tables, and armchairs envisioned since the early
sketches by Arthur Casas and incorporated into all rooms. The Studio also designed
exclusive sofas and tables for the project, manufactured locally in partnership with
the Croatian brand Prostoria. In the outdoor areas, specially finished pieces by Paola
Lenti define the terraces. Other selected designs include works by 4Mariani, Kettal,
De Padova, B&B Italia, and Cassina, reinforcing the material coherence and diversity
of the ensemble.
The throws and cushions featuring traditional Croatian patterns — developed by
designer Adriana Fortunato — derive from historic drawings and scripts, appearing in
all guestrooms with a palette that reiterates the earthy tones extracted from the
rooftop landscape.
Suite millwork — wardrobes with perforated, layered panels — and the circulation
carpets — intentionally aged to feel as though they have always been there —
incorporate graphic patterns created by the Studio, directly inspired by the country’s
traditional lacework, recognized by UNESCO as Intangible Cultural Heritage of
Humanity since 2009.These artisanal references, embedded in wood and textiles,
reinforce the link between materiality and local culture, preserving visual coherence
and a sense of warmth in the interiors.
A central aspect of the project narrative, the art curation was conceived
collaboratively between Studio Arthur Casas and the Villa Dubrovnik team, with the
goal of connecting contemporary architecture to local artistic production. All works
were commissioned or selected from contemporary Croatian artists, mapping the emerging art scene and translating the country’s cultural identity through a present-
day perspective.
Sculptures, paintings, and ceramics by Ivo Dimnić, Ivana Pegan, Dubravka Tulio,
Martina Franić (Studio Pepel), and Marcin Kuberna (Gropk Ceramics) were integrated
into the architecture in precise relation to the materiality of each space.
The curation also includes capitals reinterpreted by Atelier Ekipa Kipara, inspired by
fragments found in Old Dubrovnik, establishing a bridge between the city’s heritage
and its contemporary expression.
The distribution of the program follows the natural slope of the site, unfolding from
top to bottom. The common areas underwent a complete reconfiguration of flows,
resulting in more fluid and integrated spaces aligned with the existing architectural
structure. Access occurs from the highest level, where the Galanto rooftop bar is
located. On the intermediate level sit the reception and the first guestrooms; below
them, in addition to the suites, are the spa, gym, and the restaurants — Giardino, by
the sea, and Pjerin, Michelin-starred.
On this same main floor, the Library Bar connects to Restaurant Pjerin in a single
spatial gesture. The environment, clad in wood and stone from floor to wall, houses
a book collection and a pair of mannequins dressed in traditional Croatian attire — scenographic elements that subtly evoke local memory. This layering of cultural and
design references synthesizes the spirit of the project, which values a sense of
permanence.
The indoor pool opens to the exterior, where lighting plays a fundamental role in
shaping a soft atmosphere: light sensors adjust intensity according to circadian
rhythm. At the lowest level of the site, the hotel offers direct access to a private
beach.
The 56 suites and two private villas are distributed across diverse typologies that
optimize circulation and frame the landscape. All layouts were redesigned to make
the most of surrounding views, creating a visually connected and sensorially
expanded experience. In the private areas, light and neutral finishes contribute to a
perception of openness.
The fluidity between indoor and outdoor spaces, reinforced by direct contact with
the greenery, enhances the sense of place and deepens its integration with the local
context — a recurring element in the work of Studio Arthur Casas. Each room features
a bougainvillea, ensuring blooming during peak season and establishing a direct link
with the Mediterranean setting.
Executing the project involved significant logistical challenges. Located on a cliffside,
the hotel can only be accessed through a narrow road, complicating transportation
and delivery of materials — many of which had to arrive by sea. To ensure feasibility,
the Studio conducted periodic site visits, weekly follow-up meetings, and remote
video inspections. The technical complexity required continual adaptations, ensuring
high precision despite local constraints.
Villa Dubrovnik exemplifies a methodological approach to interior design within
environmentally and landscape-restricted architectural contexts. The integration
between program, materials, and furniture — in dialogue with the topography and
preservation guidelines — reflects a balance between contextual continuity and
contemporary design practice, allowing the landscape to become the structuring
element of the project.
Hotel Villa Dubrovnik is a hospitality project that translates the relationship between
landscape, history, and contemporaneity, integrating itself into the natural and urban
context of Dubrovnik, Croatia.
The original building, constructed in 1961 as a residence for the political elite and
converted into a hotel two years later, is part of the city’s skyline and protected for
its integration into the landscape — a condition that limits any intervention on the façade in terms of color, volume, or texture. The hotel’s management sought an aesthetic renewal capable of repositioning the property internationally as a
distinguished option within the excellence standards of the Leading Hotels of the
World. The choice of a Brazilian studio stemmed from the desire to introduce a new
perspective associated with the energy and inventiveness of contemporary Brazilian
design, while preserving the authenticity of Croatian culture from an external point
of view. Transformations were therefore focused on the interiors, fully redesigned by
Studio Arthur Casas to reinterpret local identity through a contemporary lens.
The hotel has just reopened under a soft-opening regime, with some areas already
operating and others still being finalized. A second phase of construction is planned
for the next European winter, dedicated to adjustments and technical optimizations
ahead of the full opening for the 2026 season.
The concept emerges from the reading of Dubrovnik’s modern “golden age,” between
the 1950s and 1970s. During that period, the city became one of the most
cosmopolitan destinations in Eastern Europe — a symbol of elegance, with a vibrant
social and cultural life shaped by the legacy of Venetian and Italian influences that
define Dubrovnik’s identity. Its singular medieval architecture on the coastline,
marble-paved squares, and curved ornamental forms — key elements of the history
of the Dalmatian coast — served as inspiration.
The proposal revisits this memory through references to fashion, refinement, and
lifestyle, without resorting to historical literalism. Instead, the project translates these
codes into a contemporary context: furniture, materials, and textures that bring
tradition and internationality together in a continuous spatial experience for guests.
Conceived from the outside in, the material palette reflects the vernacular building
traditions that correspond to Dubrovnik’s geography and culture. Croatian limestone and stucco evoke the region’s historic architecture, while Croatian oak — one of the
country’s main exports — appears in panels, millwork, and built-in furniture. In
counterpoint, Via Appia stone from Brazil introduces an authorial layer with a subtle
touch of brazillian-ness and reinforces the dominant earthy tones.
The chromatic palette is derived from the surroundings: whites, sands, and beiges
from the local stone combine with the green of the vegetation and the warm
terracotta of the Old Town’s rooftops.
The furniture language alludes to the elegance of modern Dubrovnik and its Italian
influence. Inspiration from 1950s design materializes in a series of pieces by Gio Ponti,
supplied by Molteni — desks, tables, and armchairs envisioned since the early
sketches by Arthur Casas and incorporated into all rooms. The Studio also designed
exclusive sofas and tables for the project, manufactured locally in partnership with
the Croatian brand Prostoria. In the outdoor areas, specially finished pieces by Paola
Lenti define the terraces. Other selected designs include works by 4Mariani, Kettal,
De Padova, B&B Italia, and Cassina, reinforcing the material coherence and diversity
of the ensemble.
The throws and cushions featuring traditional Croatian patterns — developed by
designer Adriana Fortunato — derive from historic drawings and scripts, appearing in
all guestrooms with a palette that reiterates the earthy tones extracted from the
rooftop landscape.
Suite millwork — wardrobes with perforated, layered panels — and the circulation
carpets — intentionally aged to feel as though they have always been there —
incorporate graphic patterns created by the Studio, directly inspired by the country’s
traditional lacework, recognized by UNESCO as Intangible Cultural Heritage of
Humanity since 2009.These artisanal references, embedded in wood and textiles,
reinforce the link between materiality and local culture, preserving visual coherence
and a sense of warmth in the interiors.
A central aspect of the project narrative, the art curation was conceived
collaboratively between Studio Arthur Casas and the Villa Dubrovnik team, with the
goal of connecting contemporary architecture to local artistic production. All works
were commissioned or selected from contemporary Croatian artists, mapping the emerging art scene and translating the country’s cultural identity through a present-
day perspective.
Sculptures, paintings, and ceramics by Ivo Dimnić, Ivana Pegan, Dubravka Tulio,
Martina Franić (Studio Pepel), and Marcin Kuberna (Gropk Ceramics) were integrated
into the architecture in precise relation to the materiality of each space.
The curation also includes capitals reinterpreted by Atelier Ekipa Kipara, inspired by
fragments found in Old Dubrovnik, establishing a bridge between the city’s heritage
and its contemporary expression.
The distribution of the program follows the natural slope of the site, unfolding from
top to bottom. The common areas underwent a complete reconfiguration of flows,
resulting in more fluid and integrated spaces aligned with the existing architectural
structure. Access occurs from the highest level, where the Galanto rooftop bar is
located. On the intermediate level sit the reception and the first guestrooms; below
them, in addition to the suites, are the spa, gym, and the restaurants — Giardino, by
the sea, and Pjerin, Michelin-starred.
On this same main floor, the Library Bar connects to Restaurant Pjerin in a single
spatial gesture. The environment, clad in wood and stone from floor to wall, houses
a book collection and a pair of mannequins dressed in traditional Croatian attire — scenographic elements that subtly evoke local memory. This layering of cultural and
design references synthesizes the spirit of the project, which values a sense of
permanence.
The indoor pool opens to the exterior, where lighting plays a fundamental role in
shaping a soft atmosphere: light sensors adjust intensity according to circadian
rhythm. At the lowest level of the site, the hotel offers direct access to a private
beach.
The 56 suites and two private villas are distributed across diverse typologies that
optimize circulation and frame the landscape. All layouts were redesigned to make
the most of surrounding views, creating a visually connected and sensorially
expanded experience. In the private areas, light and neutral finishes contribute to a
perception of openness.
The fluidity between indoor and outdoor spaces, reinforced by direct contact with
the greenery, enhances the sense of place and deepens its integration with the local
context — a recurring element in the work of Studio Arthur Casas. Each room features
a bougainvillea, ensuring blooming during peak season and establishing a direct link
with the Mediterranean setting.
Executing the project involved significant logistical challenges. Located on a cliffside,
the hotel can only be accessed through a narrow road, complicating transportation
and delivery of materials — many of which had to arrive by sea. To ensure feasibility,
the Studio conducted periodic site visits, weekly follow-up meetings, and remote
video inspections. The technical complexity required continual adaptations, ensuring
high precision despite local constraints.
Villa Dubrovnik exemplifies a methodological approach to interior design within
environmentally and landscape-restricted architectural contexts. The integration
between program, materials, and furniture — in dialogue with the topography and
preservation guidelines — reflects a balance between contextual continuity and
contemporary design practice, allowing the landscape to become the structuring
element of the project.
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