The Grand Budapest Hotel lobby
The main set for the suitably grand hotel lobby of the film’s namesake is not a studio, rather, it’s a department store in Goerlitz, Germany. What meets the eye as simply “European” or “Art Nouveau-ish” is actually, on closer inspection and research, not quite all there is to this luxe space. The German artistic style Jugendstil (popular from the mid-1890s to the early 20th century) was the primary influence for the hotel’s decor, according to Architectural Digest. “It’s an interesting style with a lot of variation, not as singular as Art Deco or even the classic Art Nouveau I was used to seeing in books,” said Adam in Architectural Digest. Layers of red carpets provide richness and contrast to the heavily veined stone pillars. And chandeliers, instead of dripping crystals, are simple globe shapes. Restoration Hardware’s Mason Glass Globe pendant brings these to mind.
Hotel lobby in later years
Director Wes Anderson is known for the depth of his vision and the charmingly over-the-top worlds he creates on film. Anderson chats with Jude Law on the set of the lobby in later years, which is meant to be faded in glory but still large in scale. The greens tones, along with browns and oranges recall the 1960s, and in this film, it also evokes the Brutalist design style of that era in former Eastern European Communist countries. Brown vinyl seating, wood panelling and wall-to-wall two-tone carpeting underscore the look.
The Trophy Room
We’re guessing “authentic hunting lodge” is not a look you’ll be copying for your own home, but in the gothic estate of the film’s antagonists, this trophy room plays a pivotal part in the plot and it’s suitably macabre. The antler desk is an antique sourced at a German shop. ““We looked at trophy rooms in centuries-old royal hunting villas across Germany and the Czech Republic. They are astonishing,” Adam has said. One idea we do like, however, is the enormous canvas layered in front of wood panelling, fronted by an antique desk.