W Florence: inside the modernist building that challenged the Renaissance skyline

A rationalist landmark near the Duomo and Santa Maria Novella becomes W Florence, a LEED Gold-certified hotel where Medici iconography intersects with mid-century design

How a 1968 modernist building was converted into W Florence

 Florence has spent centuries defending its Renaissance skyline. When architect Lando Bartoli unveiled his design for the Grand Hotel Majestic in 1968, the city reacted as if someone had spray-painted the Duomo. His rationalist-modernist structure—six stories of sharp geometry, vertical steel mouldings, and expansive glass panels—stood at the edge of Piazza dell’Unità Italiana like an interloper at a family dinner.

The building opened in 1973. By 2016, a group of artists had illegally climbed onto its roof to dismantle the hotel sign and rearrange the letters into ‘SEI TRE NOVE’—an act that somehow felt less like vandalism and more like the city’s reluctant acknowledgment that the building had become part of the conversation.

In 2025, after a full renovation by GLA and AvroKO, the structure reopened as W Florence. The hotel now has 119 rooms and 17 suites, LEED Gold and WELL Silver certifications, and an illuminated W logo where the old sign used to be. Florence’s first luxury lifestyle hotel occupies the building it once tried to ignore.

The Building That Broke the Rules

Bartoli’s design was commissioned by Banca Popolare di Novara and constructed on the site of a 1920s hotel. What emerged was a structure that rejected ornamentation entirely. No arches, no frescoes, no nods to Brunelleschi. Instead: fluted steel mouldings running vertically up the façade, two-tone finishes that played with light and shadow, and ground-floor glazing that made the building feel transparent rather than solid.

The renovation preserved these elements while replacing steel with bronze—both glossy and matte—to create what GLA calls ‘a dynamic interplay.’ The exterior now features fluted stone detailing that gives the building a recognizable texture, something closer to sculpture than architecture. The slit windows remain, as does the transparency at street level. What has changed is the city’s relationship to it.

The hotel sits steps from both the Duomo and Basilica di Santa Maria Novella, and just across from the rationalist-modernist train station designed by Giovanni Michelucci in 1935. Together, they form a cluster of 20th-century interventions in a city that otherwise treats modernity with suspicion.

Inside: Medici meets mid-century

The reception area sets the tone. A wall-sized mural by Adam Ellis Studio depicts what the hotel calls a ‘Florentine Babylon Garden’—a menagerie of exotic animals once collected by the Medici family. There’s Hanno, the elephant gifted to Pope Leo X by the Sultan of the Ottoman Empire in 1514. There are peacocks, snakes, and botanicals. The mural blends historical reference with contemporary design in a way that avoids pastiche.

Lift lobbies on each floor feature bronze Medici lion busts set against burnished metallic bases. The lions recur throughout the hotel—in artworks, in the mandalas that decorate standard rooms, in the narrative that positions the Medici not as Renaissance relics but as collectors, patrons, and power brokers whose taste shaped the city.

Tratto, the all-day dining space, references Italian industrial design—specifically Joe Colombo’s furniture from the 1960s and 70s. The space transitions from morning coffee to evening aperitivo without requiring a redesign. The furniture is curved, the materials are tactile, and the artworks celebrate gelato, a Florentine tradition that dates back over 12,000 years. It’s playful without being frivolous. 

The courtyard: bank vault to social hub

What is now the Courtyard was once a closed, heated mezzanine inside Banca Popolare di Novara. The renovation removed the barriers, creating an open-air internal piazza that connects the hotel to the street. Raw concrete and glass define the space. The floor features geometric patterns. The lighting is rhythmic, arranged to evoke the linear modernist fixtures that once lit the bank.

The seating references Italian design from the 1960s and 70s, upholstered in fabrics from Italian brands. The Courtyard functions as an extension of the W Lounge, which features a blue lava stone bar that runs 360 degrees, connecting indoor and outdoor spaces. The back bar displays Italian liquors. The mirrored ceiling reflects the terrazzo floor. The space is designed to be seen. 

The rooftop and the view problem

The rooftop offers what the hotel describes as ‘unparalleled panoramic views’ of Florence. From this vantage point, guests can see the Medici Chapels and the façade of the Church of San Lorenzo, originally designed by Filippo Brunelleschi in the early 15th century, with later contributions from Michelangelo.

The design nods to 1960s Italy—lush greenery inspired by the Boboli Gardens, custom furnishings, a canopy of lights. There’s a main area and a VIP section. The bar serves cocktails. At sunset, the space fills with people taking photos of the skyline.

The view is the draw. Florence from above looks the way it’s supposed to look: terracotta roofs, church domes, the hills in the distance. The rooftop provides access to this without requiring guests to climb the Duomo or navigate the crowds at Piazzale Michelangelo. It’s convenient, which in a city like Florence is its own form of luxury. 

Akira back: Japanese technique meets Italian tradition

Michelin-starred chef Akira Back’s restaurant occupies the ground floor facing the piazza. The design features arches that divide the space into zones, Palladiana terrazzo floors, and plush velvet banquettes. Artwork by the chef’s mother is displayed on fabric panels throughout the dining room.

The menu blends Japanese technique with Italian ingredients. The room is formal without being stiff. The lighting is low. The curtains offer privacy for diners who want it. The restaurant positions itself as a destination, not just a hotel amenity. 

Rooms: Negronis and neon arches

The 119 rooms and 17 suites share a consistent design language: space, light, and a color palette drawn from Florence. Greens reference the Boboli and Iris Gardens. Medici red appears in textiles and furnishings. The blue recalls Renaissance skies and Florentine nobility. Interiors combine wood paneling, curved travertine bathrooms, and velvet furnishings. Above each bed, a light installation inspired by Florence’s arches—from Palazzo Pitti to the Vasari Corridor—merges neon art with references to Brunelleschi and Leonardo da Vinci. The effect is part sculpture, part ambient lighting.

Standard rooms feature mandalas inspired by the marbled floor of the Chapel of the Princes (Cappella dei Principi). The designs incorporate Florentine symbols: sculptures, grapes, wine, gelato, and the Medici lion. In select rooms, artworks by Adam Ellis Studio add another layer of visual reference.

The minibar has been replaced with a cocktail station stocked with premium spirits. Guests can mix their own Negroni while looking out at the city. The gesture feels less like a gimmick and more like an acknowledgment of how people actually use hotel rooms.

Windows, balconies, and terraces open onto Florence—rooftops, streets, the Medici Chapels, the cloisters of Santa Maria Novella. The views aren’t panoramic, but they’re specific. They frame the city in ways that feel immediate rather than postcard-ready.

The Penthouse: a private apartment above the city

The penthouse occupies the top floor with 360-degree views. Inside: Carrara marble, travertine, rich wood, and optical-inspired textiles. A landscaped terrace wraps around the suite. The bar is fully appointed. The 3D illuminated arch references Florence’s architectural heritage while functioning as a statement piece.

The suite functions less like a hotel room and more like a private apartment. It’s designed for guests who want separation from the hotel itself—who want the services without the public spaces.

Wellness without the jargon

FIT, the hotel’s fitness and wellness area, occupies the lower level. The space includes cardio equipment, weights, Pilates, and yoga. The color palette is soft green. The flooring is shock-absorbent. Mirror installations on the ceiling turn routine exercises into something more visually engaging.

Adjacent to FIT, the wellness area features green-tiled surroundings, a relax lounge, a steam room, and a sauna. The design is minimal. The function is straightforward. There’s no wellness philosophy being sold, just the infrastructure to support it.