Opened above the bay of Agia Eirini on 1 August 2026, on a western coast where both Parikia and the airport sit a quarter of an hour away, Luura has given a family’s collection of contemporary art somewhere permanent to hang. Founded through Vivium, the Khouris’ Dubai company, the brand enters Morgans Originals, bringing Ennismore the Greek address it had not held before.
The setting
Set down the slope in a loose village of small volumes, with planted pockets and a private chapel between them, the buildings face west over open water, the channel running out towards Antiparos. Beyond the glass of each of the 39 suites lies a garden or a terrace, and beyond nineteen of them a private pool. From several of the terraces, a low rocky islet breaks an otherwise empty horizon. Outside this orbit altogether lie Naoussa and the crowded north, and that is the coast’s argument and equally its cost: dinner is a drive unless it is taken at the house, and nobody under twelve is taken at all.
The design
Drawn by Elastic Architects and finished inside by Lambs and Lions, the house works a palette of plaster, timber, linen and stone, its walls thick enough at the corners that a window reads as an opening cut through them. Dark beams and oak panelling pull several rooms below the brightness of the whitewash outside. Made for the house, the furniture stands beside ceramics thrown on the island. Behind all of that restraint sits a decision about the pictures: a plaster wall carrying one small square of sea will take a painting, and most of the walls here are that wall.
The collection
Assembled over close to two years by Sophie Khoury, working with the curator Artemis Baltoyanni and the team at her father’s Dubai art foundation, the hang runs to 55 artists — some out of the family’s own holdings, others commissioned for the building. Its brief was dream, myth and transformation, taken from Paros and above all from the island’s stone. Cut by lamplight from galleries near Marathi, Parian lychnites is the marble of the Venus de Milo and the Winged Victory of Samothrace, which makes an island long known for exporting white rock a pointed place to hang painting. Alongside the Greek painters Sofia Mitsola, Kostas Paniaras and Vasilis Papageorgiou hang Francesco Clemente, Claire Tabouret and Tschabalala Self. Maria Economides, whose ceramics stand in the rooms, runs the pottery workshops the house offers, with marble workshops beside them. Spread across 39 suites and the terraces between, though, it is a collection nobody sees whole.
The table
Working a seasonal Mediterranean card the house traces to family cooking, Lenea holds the main room, while contemporary Japanese arrives at the cliff edge with Mimi Kakushi, whose Dubai original ranked 35th on MENA’s 50 Best Restaurants for 2026 and carries a listing in the Michelin Guide there. Down at the water, Luura Pool makes a third. For 39 keys, three tables is heavy provision, and the western coast explains it, Parikia’s tavernas and Naoussa’s restaurants both being a drive from the gate. In-room dining carries the same card, arriving beside the pool in the nineteen suites that have one.
Who it is for
For the traveller who wants Paros reached quickly and then left alone, and for the collector above all, there are few houses in Greece where the painting on the bedroom wall was chosen by the person who owns it. Anyone who came for a village at the foot of the hill, or for dinner on foot, is on the wrong coast. A family travelling with a child under twelve cannot come at all. Nor does the marble arrive with the art: the quarries at Marathi are a drive inland still, and what the house offers is the workshop rather than the mountain.
