At the quieter end of San Sebastián, where the Ategorrieta neighbourhood climbs toward Monte Ulia and the grand Edwardian villas of the Basque bourgeoisie line the hillside in various states of preservation, one early twentieth-century manor has been handled with particular intelligence. Hotel Villa Soro is set within a three-storey Anglo-Basque pile — rough-cut stone base, half-timbered upper floors, three steeply pitched gables punctuating the roofline — that carries the architectural confidence of a family that built to impress. The Corten steel sculpture anchoring the lawn is a knowing gesture, placing the property in conversation with the Basque contemporary art world without disturbing the building's historical composure. The interiors calibrate carefully between the villa's period fabric and a stripped-back contemporary palette. Guest rooms lay light oak flooring against white panelled walls, with upholstered headboards in textured grey linen, buffalo-check bed throws, and iron-framed casement windows admitting garden light through linen drapes — the atmosphere closer to a well-edited private house than a managed hotel product. The dining rooms work both registers simultaneously: one space retains its original dark mahogany panelling and herringbone parquet, furnished with cane-backed chairs and amber velvet banquette seating, while the garden-facing salon is painted a deep slate green, its arched windows framing clipped topiary, the furniture mixing a carved baroque mirror with contemporary brass floor lamps. The tension between preservation and restraint gives Villa Soro its particular character.

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