- Travel
With uninterrupted views of the Adriatic Sea and the historic city walls, Hotel Villa Dubrovnik reopens as the ideal residence for a cultural stay. The building was originally constructed in 1961 as a residence for the political elite and was transformed into a hotel two years later. For decades, it has formed part of the skyline and is protected for its exceptional integration into the natural landscape. For this reason, the exterior had to be preserved as much as possible, leading design practice Studio Arthur Casas to focus entirely on the interior during the recent transformation.
The Brazilian studio sought a renewed vision that could reposition the hotel internationally in line with the standards of The Leading Hotels of the World, without losing sight of its Croatian identity. The concept draws from Dubrovnik’s modern ‘golden age’ between the 1950s and 1970s, when the city evolved into a cosmopolitan destination in Eastern Europe. Elegance and a vibrant social and cultural scene were shaped by Venetian and Italian influences, visible in the medieval coastal architecture, marble squares and curved ornamentation characteristic of the Dalmatian region. Rather than reproducing historical elements literally, the design translates these codes into a contemporary context. Fashion, refinement and lifestyle serve as reference points in furniture, materials and textures that honour both tradition and international appeal within a spatial experience. Material choices were developed from exterior to interior, reflecting local building traditions. Croatian limestone and plaster reference historical architecture, while Croatian oak appears in wall panelling, bespoke elements and built-in furniture. Brazilian Via Appia stone reinforces the earthy tonal palette. The colour scheme also mirrors the surroundings: shades of white, sand and beige derived from local stone are complemented by the green of the vegetation and the warm terracotta of the old city’s rooftops. Together, they create a visual continuity between interior and landscape. 
The language of the furniture refers to the elegance of modern Dubrovnik and its Italian connections. Designs from the 1950s take shape through pieces by Giò Ponti, supplied by Molteni. The selected desks, tables and armchairs were part of the plan from the very first sketches. In addition, Studio Arthur Casas designed exclusive sofas and tables, locally produced in collaboration with the Croatian brand Prostoria. Outdoors, specially finished pieces by Paola Lenti define the terraces, complemented by selections from brands such as i 4 Mariani inc., Kettal, De Padova, B&B Italia and Cassina.
Textiles and graphic patterns further anchor the project in local culture. Recurring plaids and cushions featuring traditional Croatian motifs, developed by designer Adriana Fortunato, are based on historical drawings and scripts. Patterns inspired by traditional Croatian lacework — recognised on UNESCO’s list of intangible cultural heritage since 2009 — appear in perforated wardrobe panels and circulation carpets. These references, expressed through wood and textiles, strengthen the connection between materiality and culture, creating visual cohesion.
The concept draws from Dubrovnik’s modern ‘golden age’ between the 1950s and 1970s, when the city evolved into a cosmopolitan destination in Eastern Europe.
The art curation was developed jointly by Studio Arthur Casas and the Villa Dubrovnik team, aiming to connect contemporary architecture with local artistic production. All works were specially created or selected from Croatian artists, reflecting the country’s current cultural dynamics. Sculptures, paintings and ceramics by artists including Ivo Dimnić, Ivana Pegan, Dubravka Tulio, Martina Franić of Studio Pepel and Marcin Kuberna of Gropk Ceramics were carefully integrated in relation to the materiality of each space. The selection also includes capitals reinterpreted by Atelier Ekipa Kipara, based on fragments from the old city. The layout of the hotel follows the natural slope of the site, unfolding from top to bottom. Visitors enter at the highest level, where rooftop bar Galanto is located. Below are the reception and the first rooms, followed by the suites, spa, fitness areas and restaurants. Restaurant Giardino offers sweeping sea views, while Michelin-starred restaurant Pjerin flows into the Library Bar. Here, wood and stone line the space from floor to wall, where a curated book collection and two mannequins in traditional dress provide scenographic accents. The indoor pool opens outwards and uses light sensors that adjust intensity according to the circadian rhythm. For guests seeking more adventure, the hotel offers direct access to a private beach at the lowest level. 
The 56 suites and two private villas were redesigned to optimise circulation and frame the landscape as much as possible. Light and neutral finishes enhance the sense of openness, while the visual connection with the surroundings allows for a fully immersive sensory experience. Each room features a bougainvillea, a plant that blooms during peak season and establishes a direct link to the Mediterranean setting. This detailed connection to greenery and the seamless transition between indoor and outdoor spaces deepen the relationship with the location.
Villa Dubrovnik thus illustrates a methodological approach to interior design within an architectural context defined by landscape and heritage. The refined interior choices stem from a precise respect for topography and conservation guidelines. Here, the landscape does not serve as a backdrop, but as a structuring principle that informs every spatial decision. 
Photography by Fran Parente
Text by Carolien Depamelaere