When Alan Faena and Len Blavatnik set out to transform a mid-century tower on Collins Avenue into something wholly singular, they handed the architectural commission to Rem Koolhaas and OMA, then gave the interiors to Baz Luhrmann and Catherine Martin — a pairing that says everything about the register the Faena Hotel Miami Beach was always going to strike. The building itself, a thirteen-floor slab whose facade Koolhaas articulated with patinated turquoise tile panels and white stucco horizontals, carries the memory of 1950s Miami Modern without reproducing it, the massing more knowing than nostalgic. Inside, Luhrmann and Martin's vision runs at full theatrical pitch: crimson velvet sofas with bullion fringe, leopard-print banquettes anchoring the Pao restaurant beneath a tiered brass-and-crystal chandelier of considerable scale, hand-tufted turquoise rugs patterned with coral and geometric motifs, red ikat drapery pulling the Atlantic into the frame of every ocean-facing room. The palette — scarlet, teal, burnished gold, walnut — holds together across the hotel's 169 rooms through an internal logic closer to costume design than conventional hospitality interiors. At the pool, red-and-white striped parasols march toward the beach in a geometry that is equal parts Lido and fever dream, the whole composition confirming that Faena's most enduring achievement was making maximalism feel inevitable rather than arbitrary.

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