An Insider’s Guide to Venice by Peter Marino
The world-renowned architect, who is behind a number of the city’s most beautiful renovations, shares his favorite spots and what he’s most looking forward to at this year’s Biennale
As president and chairman of the board of Venetian Heritage, Peter Marino is deeply committed to historical preservation—of art, architecture, and culture—in the most magical of Italian cities. In addition to his architectural design work for clients including Dior, Chanel, and Louis Vuitton, Marino is an avid collector of everything from Egyptian art to 17th-century French books to Renaissance bronzes to photography and modern painting and sculpture. For this consummate aesthete, the floating city made of 118 islands and endless canals and bridges never ceases to amaze and delight—especially during the vibrant Venice Biennale, on view from May 9—November 22, 2026.
What makes the city so special for you?
Venice is eternally magical. It aligns in a unique way with one of my main fascinations: light. I want light in all my work, and the light on the water in the quiet canals makes me absolutely crazy with joy. The quality of the light—and the way it interacts with material—is fundamental to its beauty. It’s something I’ve explored through my textile collections for Rubelli, and in my vases and lighting collections with the Murano glassmaker Venini. This city is where craft and architecture come together in a very direct way.
How did you come to be involved with Venetian Heritage?
Venetian Heritage was founded by Larry Lovett in 1999. My love for Venice began when Larry called me to lead the design project for the 19th-century Palazzo Sernagiotto. He taught me so much and opened so many doors for me. My involvement with Venetian Heritage comes from a long-standing commitment to Venice and its cultural legacy.
Venetian Heritage focuses on restoration projects that are both historically significant and urgently in need of support—whether it be architectural elements, sculpture, or major works of art. The goal is not only preservation, but ensuring these works remain part of a living cultural context. Restorations have included the Gallerie dell’ Accademia, Palazzo Grimani, and now the Ca’ d’Oro—in addition to countless paintings, sculptures, and important churches.
What are your first memories of the Venice Biennale?
I remember visiting in the ‘90s and there was always this ‘which are the best pavilions to visit’ discussion. As the Biennale is so vast, I remember thinking that this smorgasbord of art is the most varied, universal, and interesting thing in the world.
Are there particular editions or exhibitions that stand out for you over the years?
Michal Rovner—the Israeli Pavilion—in 2003 was a standout. Erwin Wurm at the Austrian Pavilion in 2017 is another highlight, and Anselm Kiefer at the German Pavilion in 1980. I missed Warhol in 1976. I am now assembling a large collection of artists who represented Italy in the ‘50s and ‘60s for the legendary Hotel Cipriani’s renovation.
What are you excited about for this year’s Biennale, from installations to activations to museums and parties?
The Biennale is always about the contrast—the most contemporary work in one of the most historic cities in the world. This year, I’m especially focused on the way cultural programming is being anchored in historic Venetian settings. Through my work with Venetian Heritage, we’ve structured a series of events that move between conservation, contemporary art, and the social life of the Biennale.
There are moments that are very focused—like the visit to the restoration of Bellini’s San Giobbe Altarpiece at the Accademia—and others that activate historic buildings and spaces, such as the dinner at the Biblioteca Marciana or the reopening of Oro restaurant at Hotel Cipriani on Giudecca.
And then, of course, there’s the more theatrical dimension of Venice. This year’s collaboration with Dior culminates in the Casino Royale Ball on May 9 at the Palazzo del Casinò on the Lido—a setting that still retains its 1930s interiors, including gilded mosaics and Murano chandeliers.
What’s interesting to me is that all these moments—whether intimate or large-scale— are part of the same continuum. The Biennale isn’t just about exhibitions; it’s about how the city itself is experienced during that time.
Where do you recommend visitors stay?
Hotel Cipriani offers something rare in Venice—space, light, and a sense of retreat while remaining connected to the city. For my redesign, the intention was to create a world that belongs to Venice but also to the 21st-century traveler. When it was founded in 1958, the idea was to create a joyful place, different from the formal hotels of the city…imperfect but authentic.
Guests today crave a unique experience and authenticity. Art and architecture provide that. The future is about cultural specificity—bringing the DNA of a city alive through the combination of art and design.
Are there particular palazzos, churches or neighborhoods that aren’t to be missed?
The Galleria Giorgio Franchetti alla Ca’ d’Oro is a must-visit. It’s one of the great Late Gothic palazzos, and its ongoing restoration is a major focus of Venetian Heritage. The building itself—and its collection—offers a complete expression of Venetian culture at a very high level.
San Francesco della Vigna, where the architectural layering—from Sansovino to Palladio—is extraordinary as well. The cloisters and vineyard have also been the subject of careful restoration and enhancement, which brings a deeper understanding of how these spaces functioned historically.