Designed by architect Roy F. France in 1936 as a masterpiece of the Art Deco movement, the Cavalier Hotel has reigned supreme ever since and truly has a style all its own.
The decor of the Cavalier Hotel is, in a word, unique. Upon entering the lobby, visitors are welcomed by beautiful black and gold furniture, nautical decorations, terrazzo floors, and a faux fireplace surrounded with candles and art pieces to complete the eclectic look and feel of the room.
Recent extensive restorations to this once famous property have allowed it to re-open with an updated twist to its Art Deco beauty, without compromising its original architectural integrity. The Cavalier Hotel maintains its original exterior facade of bright pastel colors in an Art Deco design, but contains new and updated rooms with their own eclectic features.
All guest rooms are decorated in soothing shades of wood and Chicago brick walls, adding a warm tone to the classic Art Deco ambiance.
The bathrooms in each room are modern and tastefully decorated in Carrera marble, featuring glass-door showers, contemporary sinks, and Kohler chrome fixtures — evoking a contemporary minimalist style.
For style, baroque colored photos that capture fashionable famous people adorn the walls. Decorative chandeliers and lighting fixtures adorn hallways and guest rooms. For an added touch of comfort, full-length paintings and luxury linens complete each room.
Located in the heart of the Ocean Drive strip, the Cavalier Hotel is adjacent to an array of designer boutique shopping. The beach’s best authentic restaurants and gourmet dining are all within walking distance.
This historic district holds the largest collection of Art Deco buildings in the world, an umbrella term covering a range of styles such as “Streamline”, “Tropical”, and “Med-deco” and built mostly between the Great Depression and the early 1940s.
The designs are often described as evoking technological modernity, resilience, and optimism. The Miami Beach Art Deco Museum describes the Miami building boom as coming mostly during the second phase of the architectural movement known as Streamline Moderne, a style that was “buttressed by the belief that times would get better, and was infused with the optimistic futurism extolled at American’s World Fairs of the 1930s.
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