Imagine a world thousands of years into the future, one where humanity has conquered planets from galaxies away, only to default to a neofeudalistic social order in a constant power struggle, all built upon an intricate tapestry of cultures and religions and set in a harsh yet vivid landscape that becomes a character in and of itself. This was the challenge faced by director Denis Villeneuve and production designer Patrice Vermette in creating the cinematic adaptation of Frank Herbert's 1965 novel. The two Dune movies, released in 2021 and 2024, were conceived as a whole and therefore share a coherent style and cinematic expression. Beyond aesthetics, the environment and architecture of Dune present a lived-in, believable world, one that anchors the action and characters, silently offering invaluable insights into the values and mythology of each civilization.
The world of ‘Dune’ represents an exploration of themes of power, political intrigues, hidden influence, religion, colonialism, and the unhinged exploitation of resources. The setting spans several environments, including Kaitain, the home planet of the ruling Emperor, and those of two of the Great Houses veering for power and influence, House Atreides on planet Caladan and House Harkonen’s fortress on Giedi Prime. However, the linchpin of intrigue is Arrakis, a barren and hostile desert planet rich in one resource, ‘spice,’ a psychedelic drug indispensable for interstellar travel, and inhabited by the native population of Fremen.
Despite being set 10,000 years ahead of the current time, the world of Dune does not look like the neon-lit technology-infused futuristic setting that audiences have come to expect from a science-fiction portrayal. Drawing from a variety of references, from arcane imagery to the avant-garde and the dystopic, the set design showcases a world that is alien and abstract, yet legible, believable, and with the timeless quality that defines those structures built to last centuries. The production team led by Vermette favored the construction of expansive physical sets to ensure that the spaces look and feel real.
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Set in the future, the structures have an ancient quality, a sense of mythical and overpowering presence. Scale thus becomes a storytelling mechanism, showcasing the ruling classes’ ability to manipulate the environment, but also dwarfing its individual characters. But even inside the fortress, hints are included that an even stronger force is yet to be introduced: murals display the natural forces that shape the planet. They offer the first encounter with the Shai-Hulud, the sandworms that roam the desert, represented as a God-like figure, with the sun shining from its mouth
The structures of the capital are set in stark contrast to the indigenous peoples' way of life. Living in sietches, subterranean dwellings carved into the mountains of Arrakeen, the Fremen have learned to emulate strategies found in nature to adapt to the almost unlivable conditions of their environment. Set producer Vermette discusses taking cues from more than one culture to model the structures of the Fremen, but with a special influence of vernacular and modern Arab design, the nomadic culture of the Bedouin, and the works of architects like Ammar Khammash and Sahel Alhiyari.
On Giedi Prime, the antagonistic House Harkonnen’s architecture mirrors their oppressive regime and excessive exploitation of resources. Frank Herbert describes a world of a blackened sun, suffocated by pollution, with barren landscapes and oppressive structures. Villeneuve and Vermette set out to create a distinctive image for this world, employing innovative instruments of cinematography. The scenes outside are shot with a high infrared camera, resulting in a high-contrast image in black and white, one that accentuates the pale thin skin of the people and reemphasizes the oppressiveness of their surroundings.
Giedi Prime serves as a symbol of the Harkonnen's brutal rule and their relentless pursuit of power and wealth, at the expense of both the planet and its inhabitants. One of the most memorable settings, the battle arena hints at the structures of ancient Rome. Ribbed surfaces rendered in black plastic represent the belly of a whale, a grandiose yet inescapable space. Vermette also revealed another, rather unusual reference for this world: plastic molded septic tanks, giving the image of industrial, impersonal, and repulsive, a testament to the corrosive impact of power on both the environment and society.
I tried to separate the worlds from the beginning. There were a lot of images, from World War II bunkers, and architecture. Aztec architecture, Brazilian brutalist architecture, and sculptures from the Eastern life. There were pictures of the war in Afghanistan. Quarries in China and quarries in Italy just for the scale, so there was a lot of stuff. Also, how light should play, so [we] put ourselves in a state, in a mood that would fit the aesthetics of the movie. - Patrice Vermette in an interview for /Film
In the second movie, a new setting is introduced: that of Kaitain, the seat of the Imperium. Exuding grandeur and authority, its architecture blends classical elegance with futuristic innovation, symbolizing the empire's longevity and dominance. Palatial structures and ornate gardens speak to a legacy of imperial rule, while advanced technology hints at the empire's formidable military prowess. This is the only set that used a real-world location for its architecture: the famous yet rarely seen Brion Tomb by Carlo Scarpa. Scarpa’s architecture has represented a recurring source of inspiration for Vermette, so it only made sense that the seat of the Empire is represented directly through the visual language of the Italian architect.
In crafting the cinematic adaptation of Frank Herbert's "Dune," Denis Villeneuve and production designer Patrice Vermette expertly weave together a tapestry of architectural marvels that transcend time and space. From the grandeur of Arrakeen's fortress to the organic simplicity of the Fremen sietches, each setting becomes a character in its own right, reflecting the values and mythology of its inhabitants. Through meticulous attention to detail and synthesis of diverse cultural influences, the architecture of "Dune" breathes life into Herbert's visionary universe, offering audiences a glimpse into a future shaped by power, politics, and the timeless allure of storytelling through space and form.
All images are screenshots from the movies Dune: Part One and Dune: Part Two, courtesy of Warner Bros. Pictures, a Legendary Pictures Production, directed by Denis Villeneuve.
