Andrea Palladio completed his design for the Zitelle complex on Giudecca Island around 1561, and the white Istrian stone facade — its twin bell towers, central dome, and arched thermal window rising directly from the waterfront — stands among the most composed ecclesiastical elevations in Venice. That building, alongside Villa Frollo and the Conventino, now forms the architectural spine of Airelles Palladio, Venice, which opened in 2026 after a transformation by Christophe Tollemer, who serves as both architect and artistic director of Maisons Airelles. Tollemer's most decisive move was to halve the property's room count from ninety to forty-five keys, expanding each space until the interiors breathe with the generosity the Palladian shell demands. The rooms visible in the images layer terrazzo floors — their warm aggregate catching afternoon light from casement windows — beneath dark-stained timber beam ceilings and walls dressed in Rubelli fabric, the palette shifting between dusty sage green and amber gold depending on the wing. Fortuny chandeliers cast a diffuse glow over dining rooms where coffered arches frame views through into enfilade salons hung with Venetian vedute in gilded frames. Murano glass appears throughout, less as ornament than as evidence of an archipelago's craft lineage. Behind the buildings, a long limestone-edged pool sits within nearly a hectare of Mediterranean garden, Italian cypresses and clipped box cones reflected in still water — a composed stillness that feels entirely foreign to the Venice waiting just across the lagoon.

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