Sitting directly on the Grand Canal at the foot of the Salute, where the mouth of the canal opens toward the Giudecca, the building that houses the St. Regis Venice carries one of the most contested views in European architecture — Longhena's Santa Maria della Salute framed from the waterline, visible from the terrace restaurant at dusk in a way that makes the baroque dome feel almost impossibly close. The hotel, which was extensively renovated before its 2019 opening under Marriott's St. Regis flag, was shaped by interior designer Matteo Thun, whose approach here trades the overwrought neo-Venetian grandeur that weighs down many properties in the city for something more confidently contemporary. The 169 rooms and suites move between two distinct registers: some, finished in herringbone oak with veined marble fireplaces and velvet armchairs in forest green, lean toward a relaxed mid-century residential warmth, while others shift the palette toward blush and slate blue, with upholstered headboards and silk-trimmed curtains drawing more from a quietly modern sensibility. The Thun Bar anchors the ground floor with a terrazzo floor, a burnished gold-leaf ceiling, and a curved bar counter faced in textured plasterwork — its crimson leather stools and sage-green lounge chairs arranged with the studied ease of a room that has been lived in, rather than installed. The wrought-iron entrance canopy visible from the calle outside signals arrival without theatre.

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