Casa Sanlorenzo debuts in Venice as a new hub for contemporary art

As part of the inaugural Venice Climate Week last week, a striking new space for contemporary art and creativity was unveiled to the public: Casa Sanlorenzo, home of Sanlorenzo Arts. Conceived by luxury yachting leader Sanlorenzo as a place of dialogue between the worlds of art, culture, and sustainability, this innovative venue was designed by architect Piero Lissoni and his firm, Lissoni & Partners, to foster a dynamic exchange with a city that uniquely embodies both a deep maritime soul and a rich artistic tradition.

Tucked away in the Dorsoduro sestiere, it’s just a stone’s throw from cultural institutions such as Punta della Dogana and the Peggy Guggenheim Collection. Its windows open onto a stunning view of the domes of the Basilica di Santa Maria della Salute – a Baroque masterpiece, recently restored to new splendour. Locals who used to pass by this spot will surely recall the quiet charm of the ivy-covered villa, hidden behind a veil of greenery and rendered completely inaccessible for years. Its wooden bridge, broken and blocked off by red-and-white warning signs, only added to its air of mystery after being abandoned for over a decade.

Now, spread across two exhibition floors (plus a private apartment), Casa Sanlorenzo offers over 1,000 sq m dedicated to art and culture – complemented by an exquisite 600 sq m open space and garden that adds an unexpected touch of serenity to this corner of the city. The first surprise? Unlike many recent projects that lean heavily on a nostalgic Venetian aesthetic, architect Piero Lissoni and his studio opted for a boldly minimalist approach. The original brick façade and white balconies have been carefully preserved, but step inside and you’re met with soaring glass walls overlooking a garden with a sleek lounge area, sliding spotlights, and mobile panels – every detail clearly designed with exhibitions in mind.

The sense of contrast between the exterior and the interior was very much intentional, Lissoni confirms: ‘This project began four years ago,’ he explains. ‘After visiting 12 different sites in Venice, it was here that I finally heard the project’s “voice”. Back then, the building had no windows, the hallways were narrow and dark, the rooms small and oppressive. Today, everything is white – an homage to the original structure, which had good bones, like a rough, uncut stone.’ Lissoni makes one thing clear: there was never any intention to ‘rescue’ a traditional Venetian home. ‘This was a modern house, built between 1942 and 1948. I wanted it to live beyond its past, to tell an entirely new story.’

‘The essence of the project is cultural – a hub where art, architecture, design, research, and poetry can connect,’ Massimo Perotti, executive chairman of Sanlorenzo, emphasises. For its grand opening, Casa Sanlorenzo showcased works by Alighiero Boetti, Lucio Fontana, and Emil Michael Klein – pieces drawn from Sanlorenzo’s private collection. Perotti’s vision is rooted in the brand’s previous collaborations with the Venice Art Biennale and its presence at Art Basel. It reflects a clear commitment to cultural responsibility, with the aim of becoming a catalyst for fresh perspectives.

The goal, Perotti continues, is to create a bridge between Sanlorenzo’s core work – engineering, research, and development and the wider worlds of art, science, technology, and philosophy. This metaphorical bridge is echoed in a very real one: the new footbridge designed by Lissoni. Made entirely of prefabricated metal and already fully assembled, it features a surface of traditional Istrian stone, typical of Venice, and a handrail carved to resemble an oar – an homage to the city’s deep bond with the water. ‘No one had dared to build a new bridge in Venice since Calatrava’s,’ Perotti laughs. ‘The local ladies who walk by with their shopping trolleys – the true custodians of Venetian taste – have immediately taken out their phones and snapped pictures. So far, the ones I’ve spoken to say they approve.’ For Lissoni, the bridge had to be reimagined: ‘It needed to reflect outward, toward the city, what’s happening inside the house. It was conceived as a pure technological gesture – almost a mathematical equation crystallised into form.’

But the real showstopper lies inside: one of the project’s most innovative features is the glass staircase. Inspired by the building’s original geometry and reinterpreted with steel and, naturally, glass, it’s a striking centerpiece. ‘Everyone knows – I love staircases. I’m obsessed with them,’ Lissoni admits. ‘And in Venice, there had to be one in glass. A transparent, solid structure that doesn’t shake, doesn’t sway, doesn’t move – and above all, doesn’t slip.’

Sustainability was key to the transformation: the building now operates at net-zero energy, with tailor-made solutions for windows, glazing, ceilings, flooring, and the management of both energy and water. This achievement, Lissoni notes, is the result of embracing Venice’s genius loci – its unique spirit – alongside the craftsmanship of local artisans, companies, engineers, and architects.

‘In an increasingly virtual world, we wanted to invest in presence, in meaningful encounters, and in shared experiences,’ says Perotti. ‘Because we believe that authenticity requires substance, time, and human connection. And Venice is the perfect place for this project.’