Big Little Hotel: Small Hotels Designed by Architects 1032256222, 9781032256221

Table of contents :
Cover
Half Title
Title Page
Copyright Page
Contents
List of Illustrations
Preface
Introduction
Hotel Histories
1. Hotel Magdalena: Lake | Flato Architects
2. Wild Rice Retreat: Salmela Architect
3. Rolling Huts: Olson Kundig
4. Geneseo Inn: Ecotech Design
5. Carpenter Hotel: Specht Architects
6. Harmon Guest House: David Baker Architects
7. Avalon Hotel: KoningEizenberg
8. The Revolution Hotel: PCA/Prellwitz Chilinski Associates
9. TOURISTS: HANK
10. AutoCamp Joshua Tree: HKS, Narrative Design Studio
11. Kinship Landing: Echo Architecture + Interiors
12. Eaton DC: CallisonRTKL, Gachot Studios, Parts and Labor Design
13. Hutton Brickyards: Kristina Dousharm Architecture
14. Society Hotel Bingen: Waechter Architecture
15. 21c Museum Hotel Oklahoma City: Deborah Berke Partners
16. Los Poblanos Historic Inn & Organic Farm: John Gaw Meem, Moule & Polyzoides, Atkin Olshin Schade Architects
17. Hotel Greystone: Shulman + Associates, Bowen Holly, Salt Hotels
18. The Robey: Antunovich Associates, Nicolas Schuybroek Architects, Marc Merckx Interiors
19. Guild House Hotel: Moto Designshop, Rohe Creative
Travel Now
Hotel Directory and Project Credits
Acknowledgments
Index

Citation preview

BIG little hotel This book showcases small hotels, all located in the United States, designed by architects who use light and materials in interesting and intentional ways. The designs also deliberately connect to their local history, context, or land – in many cases all three. Both the architecture and the operations harmonize with the place, whether that is a bustling city, small town, or natural area. Many are new buildings but some are adaptive reuse projects or renovations of historic properties, extending the connectivity of the place into the future. A condensed history of lodging helps to place the many typologies and histories of hospitality in relationship to world events and includes the many factors that influence hotel development such as business practices, technology, and even politics. Hotels are influenced by larger trends and innovations in hospitality such as the emergence of a variety of creative possibilities for future travel. A final chapter includes speculation on travel trends and encourages us all to wander more intentionally.

Donna Kacmar is a practicing architect, educator, and writer in Houston, Texas, USA. Donna is a principal with Architect Works, PLLC, and a Professor at the Gerald D. Hines College of Architecture and Design at the University of Houston. Her previous books include Big Little House: Small Houses Designed by Architects and Victor Lundy Artist Architect.

BIG little hotel

Small hotels designed by architects

Donna Kacmar

Designed cover image: Top row (left to right): Hotel Magdalena, Casey Dunn; Wild Rice Retreat, Corey Gaffer; Rolling Huts, Tim Bies/Olson Kundig; Geneseo Inn, Here and Now Agency/Paul Vu Second row (left to right): Carpenter Hotel, Chase Daniel; Harmon Guest House, Angie Silvy Photography; Avalon Hotel, Tim Street-Porter; Revolution Hotel, Elisif Brandon Third row (left to right): Tourists, Nicole Franzen; AutoCamp Joshua Tree, Mariko Reed/OTTO; Kinship Landing, Richard Seldomridge; Eaton DC, Adrian Gaud/Courtesy of Eaton D.C. Fourth row (left to right): Hutton Brickyards, Jane Beiles; Society Hotel Bingen, Lara Swimmer; 21c Museum Hotel Oklahoma City, Chris Cooper Los Poblanos Historic Inn and Organic Farm, Sergio Salvador Bottom row (left to right): Hotel Greystone, Dylan Rives; The Robey, Adrian Gaut/Photography provided by The Robey; Guild House Hotel, Moto Designshop First published 2023 by Routledge 4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2023 Donna Kacmar The right of Donna Kacmar to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Kacmar, Donna, author. Title: Big little hotel : small hotels designed by architects / Donna Kacmar. Description: Abingdon, Oxon : Routledge, 2023. | Includes bibliographical references and index. | Identifiers: LCCN 2022044485 (print) | LCCN 2022044486 (ebook) | ISBN 9781032256221 (hardback) | ISBN 9781032256214 (paperback) | ISBN 9781003284253 (ebook) Subjects: LCSH: Hotels--United States. | Small buildings--United States. | Architecture--Composition, proportion, etc. | Architecture and society--United States. Classification: LCC NA7840 .K33 2023 (print) | LCC NA7840 (ebook) | DDC 728/.50973--dc23/eng/20221026 LC record available at https://lccn.loc.gov/2022044485 LC ebook record available at https://lccn.loc.gov/2022044486 ISBN: 9781032256221 (hbk) ISBN: 9781032256214 (pbk) ISBN: 9781003284253 (ebk) DOI: 10.4324/9781003284253 Typeset in Myriad Pro by KnowledgeWorks Global Ltd.

Contents vii List of Illustrations xi Preface xiv Introduction xvi Hotel Histories 2 1 Hotel Magdalena: Lake | Flato Architects 10 2 Wild Rice Retreat: Salmela Architect 18 3 Rolling Huts: Olson Kundig 26 4 Geneseo Inn: Ecotech Design 32 5 Carpenter Hotel: Specht Architects 38 6 Harmon Guest House: David Baker Architects 44 7 Avalon Hotel: KoningEizenberg 52 8 The Revolution Hotel: PCA/Prellwitz Chilinski Associates 60 9 TOURISTS: HANK 66 10 AutoCamp Joshua Tree: HKS, Narrative Design Studio 74 11 Kinship Landing: Echo Architecture + Interiors 82 12 Eaton DC: CallisonRTKL, Gachot Studios, Parts and Labor Design 90 13 Hutton Brickyards: Kristina Dousharm Architecture 98 14 Society Hotel Bingen: Waechter Architecture 106 15 21c Museum Hotel Oklahoma City: Deborah Berke Partners 114 16 Los Poblanos Historic Inn & Organic Farm: John Gaw Meem, Moule & Polyzoides, Atkin Olshin Schade Architects 124 17 Hotel Greystone: Shulman + Associates, Bowen Holly, Salt Hotels 132 18 The Robey: Antunovich Associates, Nicolas Schuybroek Architects, Marc Merckx Interiors 138 19 Guild House Hotel: Moto Designshop, Rohe Creative 145 Travel Now 151 Hotel Directory and Project Credits 157 Acknowledgments 159 Index

List of Illustrations 01.1 Grand Hotel, the verandah, Mackinac Island, Michigan, between 1900 and 1910.............................................xi 02.1 Station Hotel, Dumfries, Scotland, between ca. 1890 and ca. 1900...............................................................................xxii 02.2 Illustration of the City Tavern, circa 1800.............................xxiv 02.3 Benjamin Henry Latrobe designed Theater and hotel building (unbuilt), watercolor, wash, and ink on paper, circa 1797/1798.....................................................xxv 02.4 Aerial view of the Grand Hotel, Mackinac Island, Michigan, 1933.................................................................................. xxvii 02.5 Lake Public auto camp party, ES Bach, circa 1923.........................................................................................................xxviii 02.6 Motor Cabin at Kingman, Arizona, drawn by Albert Frey for Architectural Record, 1933............................xxix 02.7 National system of interstate and defense highways, June 1958.........................................................................xxx 02.8 Mobley Hotel photo, courtesy of Hospitality Industry Archives at the Conrad N. Hilton College of Global Hospitality Leadership.......................... xxxii 02.9 Holiday Inn postcard..................................................................... xxxiii 02.10 Tremont House, Bill of fare, 1847........................................... xxxiii 02.11 Statler Hotels advertisement in Hotel Monthly 1917.........................................................................................................xxxiv 02.12 Hotel Clark on Beale Street, Memphis, Tennessee, 1939................................................................................ xxxv 02.13 Barbizon Hotel general view from 125 E. 63rd Street, 1928.........................................................................................xxxvi 02.14 Barbizon Hotel, interior of bedroom 1844, 1942.........................................................................................................xxxvi 02.15 View of New York City through the loggia of the Barbizon Hotel, 1932.....................................................................xxxvi 1.1 Courtyard looking south toward the pool.............................. 4 1.2 Porch in front of guest rooms, looking south toward courtyard and pool............................................................... 5 1.3 Entry with stair and large live oak tree....................................... 6 1.4 Floor plan design sketch by David Lake, Lake|Flato Architects............................................................................. 7 1.5 Interior of guest room with red tile sink................................... 7

1.6 Guest room with double beds and blue tile looking toward the balcony................................................................ 8 2.1 Exterior view of front porch of Nest at dusk............................12 2.2 Aerial view of wild rice retreat..........................................................13 2.3 Exterior of RicePods and Nests.........................................................14 2.4 Interior of RicePod with door to porch beyond....................14 2.5 Interior of RicePod with skylight “lantern” above..................15 2.6 Exterior of Wild Rice Retreat at dusk looking toward Nest..................................................................................................16 3.1 Exterior view of Rolling Hut in the snow...................................20 3.2 View of “herd” of Rolling Huts in the meadow........................21 3.3 Interior of Rolling Hut............................................................................22 3.4 Interior looking out toward the deck...........................................22 3.5 Exterior view in the snow at night.................................................23 3.6 Floor plan and elevation sketches by Tom Kundig..............23 4.1 Exterior of units..........................................................................................28 4.2 Section sketch hand drawn by Walter Scott Perry...............29 4.3 Aerial view of site......................................................................................30 4.4 Interior of guest room with 12-foot high “light bar”.......................................................................................................31 4.5 Interior of guest sleeping area.........................................................31 5.1 View of main stair tower.......................................................................34 5.2 Detail at back stair....................................................................................35 5.3 Restaurant interior...................................................................................35 5.4 Interior of guest room...........................................................................36 5.5 Bathroom interior.....................................................................................37 6.1 Front door of Harmon Guest House.............................................40 6.2 New pedestrian bridge with hotel beyond the trees..........................................................................................................41 6.3 Interior of guest room...........................................................................42 6.4 Window seat in guest room..............................................................42 6.5 Looking down on vegetated courtyard below.....................42 6.6 Front of building at dusk......................................................................43 7.1 Front elevation of Avalon Hotel.......................................................46 7.2 Sketch by Hank Koning © KoningEizenberg...........................47 7.3 Sketch by Hank Koning © KoningEizenberg...........................47 7.4 Pool courtyard............................................................................................48 7.5 Dining room looking toward the bar...........................................49

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7.6 7.7 8.1 8.2 8.3 8.4 8.5 9.1 9.2 9.3 9.4 9.5 9.6 10.1 10.2 10.3 10.4 10.5 11.1 11.2 11.3 11.4 11.5 12.1 12.2 12.3 12.4 12.5 12.6 13.1 13.2 13.3 13.4

List of Illustrations

Exterior seating area............................................................................49 Roof deck with sunshade.................................................................50 View of The Revolution Hotel from street..............................54 View of lobby with stair and innovation tower in background..............................................................................................55 Interior of guest room with bins below the bed...............56 Interior of guest room with desk and gear wall.................57 View of exterior courtyard at dusk.............................................58 Aerial view.................................................................................................62 Lodge with fireplace...........................................................................63 Window seat looking at forest beyond...................................64 Interior of guest room........................................................................64 Bathroom sink detail...........................................................................65 Exterior of gallery rooms at dusk.................................................65 AutoCamp Joshua Tree clubhouse with bike in front..........................................................................................................68 Clubhouse interior................................................................................69 Clubhouse lounge at dusk..............................................................70 Interior of sleeping area in custom Airstream trailer.............................................................................................................71 Firepit, outdoor table, and Airstream trailer at Autocamp Joshua Tree......................................................................71 Interior of coffee bar and lounge................................................76 View of camping room......................................................................77 Bathroom sink in guest room........................................................77 Interior of king guest room suite.................................................78 Headboard and built-ins for traveler gear.............................79 View of reception desk......................................................................84 Entrance and radio station window..........................................85 Wild Days rooftop bar.........................................................................86 Guest room interior.............................................................................86 Guest room vanity................................................................................87 Exterior view at night..........................................................................87 View of guest cabins...........................................................................92 Back porch of cabin with guest looking at river................94 Interior of cabin with glass wall and view of river beyond.........................................................................................................94 Interior of cabin sink and stereo cabinet................................95

13.5 From interior of River Pavilion looking at event pavilion, river, and crane beyond................................................95 13.6 Campfire along the river bank of the Hudson River...............................................................................................................96 14.1 Corner of hotel at dusk...................................................................100 14.2 Interior of school house/coffee shop....................................101 14.3 Roof overhang protecting walkway that wraps the central courtyard.......................................................................101 14.4 Interior of spa........................................................................................102 14.5 Interior of cabin room.....................................................................103 14.6 Hammock in private patio at cabin........................................103 14.7 Aerial view of Society Hotel Bingen........................................103 15.1 Gallery and lobby...............................................................................108 15.2 Exterior elevation...............................................................................109 15.3 Interior of guest room.....................................................................110 15.4 Ballroom with curtain enclosure..............................................111 15.5 Hotel corridor with lightwells.....................................................111 15.6 Hotel reception desk with purple couch beyond, bathed in light from light well...................................................112 16.1 Walkway of the reception building.........................................116 16.2 Greely Garden in summer.............................................................117 16.3 Site plan drawing © Moule & Polyzoides, Architects Urbanists..........................................................................118 16.4 Schematic Design Perspective of Farm Suites © Moule & Polyzoides, Architects Urbanists...........................118 16.5 La Quinta.................................................................................................118 16.6 Axonometric site drawing looking west. New and renovated public buildings in the 2017 expansion designed by AOS are shown in white. Drawing by Atkin Olshin Schade Architects.....................119 16.7 Restaurant at night............................................................................119 16.8 Interior of the farm shop...............................................................120 16.9 Courtyard of Field Rooms.............................................................120 16.10 Interior of Field Room, Deluxe King Bed guest room.............................................................................................121 16.11 Lavender harvest with Field Rooms beyond....................122 17.1 Rooftop pool.........................................................................................126 17.2 Courtyard................................................................................................127

List of Illustrations

17.3 Lobby.........................................................................................................128 17.4 Interior of jazz lounge......................................................................128 17.5 Guest room interior..........................................................................129 17.6 Guest room with shower beyond............................................129 17.7 Front facade and sign......................................................................130 18.1 Rotunda at corner of roof.............................................................134 18.2 The Robey in its neighborhood................................................135 18.3 Lobby of The Robey..........................................................................136 18.4 Guest room interior..........................................................................136

18.5 18.6 19.1 19.2 19.3 19.4 19.5 19.6

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Interior of corner guest room.....................................................137 Up Room roof top cocktail bar..................................................137 Entry door and sign..........................................................................140 Corridor with skylight above.......................................................141 Guest room bathroom....................................................................142 Eliza guest room suite interior...................................................142 Guest room suite interior..............................................................143 Library lounge......................................................................................143

Preface We each have our own personal history of travel and hotel stays that inform how we understand and occupy new spaces. I have a fond early memory of walking down the grand porch on the ever-so-Grand Hotel on Mackinac Island, Michigan, when I was a kid on one summer family vacation. We did not stay there but were able to peek into the rooms while strolling the tall hallways after having lunch – in their also-very-grand dining room. Our family of four had camped in a tent nearby,

along the shores of Lake Michigan, where we also bathed in its chilly waters. I recall other interesting hotel stays of my childhood. My parents’ sense of adventure had us sleeping in a restored railroad car at the Chattanooga Choo Choo Hotel in Tennessee and above the waves of the Gulf of Mexico in the Flagship Hotel in Galveston, Texas. The most repetitive memory of our typical midwestern family vacation was the sign of a Holiday Inn at dusk, hopefully with its vacancy light

Figure 01.1 Grand Hotel, the verandah, Mackinac Island, Michigan, between 1900 and 1910

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illuminated. Our summer road trips often included a stay at a Holiday Inn, which seemed quite exotic to me at the time, with the room’s crisp white sheets, tiny paper-wrapped soap, and maybe even a view of a bright blue pool from the window of the two-bed guestroom. One memorable stay at the Holiday Inn Holidome in Texarkana, Texas, allowed us to deeply inhale the chlorinated air as we overlooked the indoor pool and playground. Later, watching Aaron Spelling’s Hotel TV show set in San Francisco, California, I learned a more expansive definition of how exotic a hotel world can be and the lives that might play out in a hotel, leading to a shortlived childhood idea to study hotel management at Cornell University, located in upstate New York and conveniently near my grandparents. Since the romantic (and inherently elite) 17th and 18thcentury tradition of travel throughout Europe to study antiquities and the Renaissance art and architecture known as the Grand Tour art, architecture and travel have been intertwined. I was lucky enough to have my own study abroad experience, perhaps less grand, but certainly very impactful, learning from Paolo Barucchieri, at La Poggerina, near Florence, Italy, when I was an undergraduate student at Texas A&M University. Our living and working space in the Tuscan countryside was supplemented with attending classes at the University of Florence along with day trips and weeklong trips throughout the country. In the fall of 1985, I was able to visit buildings and experience spaces that I had first encountered through slides shown in architecture history classes. Architects travel to experience the space and impact of built works. I compared the feeling of the space from my previous understanding gained only through studying the images, plans, and sections. I discovered how the space smells, along

with how sounds, heat, and light move through the space. I also discovered how travel changes me. When I return home, travel experiences offer the ability to see what was most familiar with new insights, as well as incorporate new patterns of living I imperceptibly adopted during the journey. My hotel memories include waking up (rather early!) in Florence to the sound of church bells ringing throughout the city or falling asleep to waves in the Indian Ocean crashing against rocks in Sri Lanka. The smell of lavender in Provence (or more recently in New Mexico) or the fresh-cut hay in Tuscany or petrol from canal boats in Venice have equally powerful memories. I enjoy staying in hotel rooms and noting how different a simple overnight stay can be. A Philippe Starck-designed hotel in New York City might only provide a small shelf for a single toothbrush, reminding you of austerity and minimalism with every move. A few blocks away, the generosity of an Andrée Putman-designed room at the Morgans Hotel allows you to spread out your hairbrush, favorite cologne, and assorted toiletries without care, exhaling and relaxing in the generous window seat. For an architect, a hotel stay also offers the ability to study new design ideas, document a wide range of unique travel accommodation solutions, verify precise dimensions (I have several notebooks full!), and take note of ideas to incorporate in a future project. The design of my home bath borrows heavily from specific lessons learned from travel. I am also reminded of the importance of material choices, light, and the accommodation of the wide variety of human activity a hotel supports. As I travel, I note how a hotel stay allows us all to move through a variety of spaces, between the most public of spaces to very private spaces, adapting to new surroundings, and learning more about ourselves in the process.

Introduction Hotels have provided hospitality and refuge for travelers for centuries. The presence of a hotel indicates that a community is open to new visitors, integrated with a larger network, and engaged in the transformation of its social customs. Hotels provide a full range of space types, often balancing the competing requirements of control and safety with freedom and exploration for a variety of purposes. As an architect, I appreciate the many technical and social firsts that hotels have brought to other areas of urban life including indoor plumbing and elevators, and now providing spaces where all can gather. I also marvel at the impact of individual design elements in hotels that support the act of traveling. For instance, the natural daylight from the generous street-facing (obscure) glass in a shower to help reset diurnal cycles or a full wall of hooks for umbrellas, jackets, and shopping bags help to both energize the weary traveler and accommodate the act of travel. The book builds on the work of my first book, Big Little House (also by Routledge), which looked at small buildings (of under 1,000 SF) in terms of materials, light, accommodation, and enclosure. This book project extends that research into hotel rooms – focusing on the use of materials, light, accommodation of the act of travel and movement, as well as specific connections to the local context.

A condensed history of lodging follows this introduction and helps to place the many typologies and histories of lodging in relationship to world events and how we travel. I hope you will enjoy learning about the many factors that influence hotel development including business practices, technology, and even politics. Hotels continue to be influenced by larger trends and innovations such as the emergence of a variety of creative possibilities for future travel. I honor a few current hoteliers and speculate on current travel trends in the final chapter. The middle of the book contains 19 short chapters, each focused on a different hotel, all located in the United States, and includes lodgings of many types, from a city hotel to a highway motel or a rural cabin. Each property is owned, operated, or created independently. Most are under 100 rooms each and also under $300 per night. The hotels included are designed by architects and interior designers who use light and materials in interesting and intentional ways. The designs deliberately connect to their local history, context, or land – in many cases all three. Both the architecture and the operations harmonize with the place, whether that is a bustling city, small town, or natural area. Many are new buildings but some are adaptive reuse projects or renovations of historic properties, extending the connectivity of the place into the future. I hope that this book, its essays, and the featured hotels will encourage us all to wander more intentionally.

Hotel Histories

Hotel Histories

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xviii Hotel Histories

Hotel Histories

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The tale of the home-coming of Odysseus may take its place among those exemplary epics which provide us with a key to the principles of social conduct. Indeed, the whole work may be viewed as a study in the law of hospitality, in other words, the problem of how to deal with strangers. JULIAN PITT-RIVERS 1

How to deal with strangers Hospitality includes an evolving array of rituals for forming relationships with strangers. Even the simple historic ritual of a guest signing a register book establishes the relationship of the host to the guest. Hospitality is an act that recognizes our gap in shared understandings, helps us build trust with people who are away from their homes, and supports our right to move from place to place. Hotels act as hospitality machines,2 defining the guest relationship, welcoming strangers, creating unique experiences, developing the architecture of accommodation, and maintaining relationships in professional, institutional, and intimate spaces. The history of hospitality spaces is intertwined with shifts in political, economic, and social systems with each directly connected to advancing technologies. As travelers seek refuge, they also interact with local citizens and they learn from each other, regardless of whether the travel is due to reasons of commerce, health, religion, or politics. The mere presence of a hotel indicates a citizenry’s openness to new people and ideas. Lodging forms also adapt to changing cultures and ideas of leisure, and even social revolutions. While hotels directly mirror the time of their creation, including existing transportation and building systems, they persistently also balance public and private spaces, moments of rest and mobility, and the familiarly comfortable with the excitingly new. The act of hospitality has always been intertwined with economies. As humans moved from hunting and gathering

to growing crops, the trading of surplus crops required movement and travel to other places. Perhaps the first direct reference to hospitality is the inclusion of rules for the tavernkeeper in the Code of Hammurabi dating from 1750 BCE in the Babylonian state in Mesopotamia, in what is now modernday Iran. Trade, and the associated movement, was slow and difficult. The “amber roads” of the Etruscans and the Persian Royal Road, made famous by Herodotus,3 facilitated the movement of goods and ideas. In the 4th century BCE, travel along the network of silk trade routes that linked the east and west through Asia, the Middle East, and Africa might take up to three years to transport silk textiles, tea, animals, fruits, and other items, as they moved in both directions between China and Europe. Making overnight accommodations safe and reliable often required merchants to travel together for protection. In The Frogs of Aristophanes (405 BCE), Dionysus asks for a report on “inns,”4 recognizing the importance of places for travelers to rest with food, drink, and sleep. These stopping places, often spaced about 25 miles apart (or about a day’s ride) and served as posts for fresh horses, also became a place for news and information to be passed along the larger network. Hospitality is universal and each culture has its own unique hospitality history. Karam, the Arabic word for hospitality and generosity, suggests a social and religious duty for making guests and travelers both safe and comfortable. The Greek term pandocheion refers to an inn or a public house for the reception of strangers. Roman cauponae, were both taverns and inns.5 German Gasthaus are small taverns with rooms to rent. The Spanish term posada,6 refers to both an inn and the reenactment of the arrival of Joseph and Mary from Nazareth to Bethlehem. Places of accommodation for the traveler have been called inns, chambers, and public houses. The now more common term, hotel, is from the French hostel and Latin hospitalis. Once the term referred to a high-quality guest house and, eventually, by the end of the 18th century, it referred to a unique building type.

Hotel Histories

The Greeks believed in citizens’ right to hospitality, and the use of hospitality tokens helped to confirm the identity of travelers. The acceptance of the need for inns also led to the start of governmental oversight, although the initial focus was on the regulation of alcohol. Travel became part of the culture, as documented in Homer’s Odyssey. Roman mail routes facilitated the movement of communication and the development of posting houses, providing accommodations for governmental officials and couriers relaying messages on foot or horseback. These were often bypassed by the rulers and most wealthy, who had individual tent villages erected along their route, complete with family members, entertainment, and fresh food from the portable gardens they traveled with. Others traveled for religious enlightenment. Starting in the 5th century, Haji, the pilgrimage to Mecca, Saudi Arabia, was originally traveled by camel.7 In 814, Charlemagne set up rest houses for pilgrims. Between 1096 and 1291, orders of knighthood, such as the Knights Hospitallers of the Order of St. John of Jerusalem, were formed to protect and guide pilgrims during the Christian and Muslim religious wars. Travel for more prosaic reasons of commerce continued throughout history. Postal roads in the Mogul-Yuan empire were built to transport mail, messages, and government officials to facilitate trade. Intermediate postal stations offered lodging, food, and new horses for the continuation of the journey.8 Guilds, organizations of merchants and craftspeople, were also interested in maintaining trade and setting up open houses for travelers while monasteries offered short-term lodging for other wayfarers. When the distinction between taverns, inns, and brothels and the use of lodging to provide for the rest of travelers and any other purpose became blurry, King Louis IV declared that “no innkeeper shall lodge any individual except a transient or someone having no establishment in the town.” These public houses were created by governing bodies that granted licenses to sell alcohol and were clearly intended for use only by travelers.

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In Florence, the Guild of Greater Innkeepers9 was incorporated in 1282 and acknowledged that “no symptom of the fame and prosperity of Florence as the Mother of Commerce was more pronounced and characteristic than the inauguration and incorporation of a Guild of “Innkeepers.”10 It went on to state “… the rising town requires to lodge the visitors who wish to spend some time within her walls.” The prioritization of systems of accommodation illustrates the significant relationship between hospitality and the economies of communities. While travel often involves the transfer of wealth, it can just as easily be about taking resources away from an area as it can be about bringing civilization to a place or region, and is always impacting the health of the local area. A “common law of innkeepers” included the provision of bed, board, and hearth. It was the duty of innkeepers to provide available accommodation to any traveler willing to pay a reasonable price. Innkeepers were also required to offer food and refreshment (board) – which sometimes included horses – and to safeguard the property of guests. Innkeepers were responsible for protecting travelers who were in unfamiliar surroundings and away from their communities, helping establish safe trade.

Global lodging history The history of lodging follows the development of travel around the world, whether for peace and diplomacy, trade and commerce, or religious pilgrimage. Japan’s Nishiyama Onsen Keiunkan, located near Mount Fuji and opened in 705, is the oldest hotel in the world and is focused on connecting travelers to nature and the hot springs. In India, Dak-bungalows provided free accommodation for officials on governmental business, while others could stay for a small fee.11 In South Devon, England, the Church House Inn in Rattery was opened in 1026 and became the first inn to be recorded. The Tabard Inn, in Southwark, made famous in The Canterbury Tales, was built in 1307 to provide

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accommodation for pilgrims visiting the shrine of Thomas Becket in Canterbury Cathedral.12 The George and Pilgrim Inn, in Glastonbury, was built to lodge visitors who came to see the town’s abbey. Travel was also required to move goods. In 1314, the Merchants of the Staple designated the location of a market for the trading of wool. Travelers at that time did not have passports, but King Richard II (1367–1400), established the need for a license to leave the country. Inns often charged a per diem to provide all that a traveler (and their horses) might need, yet privacy was often not expected. The establishment of inns was so important to commerce that a statute in 1425 fined travelers if they stayed with friends when an inn was available. This helped further establish the important role lodging played in the development of travel for trade and commerce.

Global transportation systems Before 1550, there was no wheeled traffic; travel was by foot or horse due to the poor condition of road surfaces. As roadways improved, travel increased, leading to improvements in accommodations. Stops along the way offered travelers the opportunity to enjoy a wider variety of local foods, seek guidance from the host on local sites of importance, and sometimes additional rest during extended stays due to weather delays. In 1555, Walter Rippon made a coach for the Earl of Rutland, and soon thereafter, one for Queen Elizabeth. These were built without a suspension system and were highly uncomfortable, even if they were beautifully decorated. In 1610, a small tavern was built along the first stagecoach route in the United Kingdom to provide a stop for food and fresh horses. The interconnectedness between transportation routes and lodging was reinforced.13 The “Flying Coach” was able to reach speeds of up to eight miles per hour, in 1754, shortening the

time it took to travel from Manchester to London to just three days. Postal service followed these same stagecoach roads, which were often rocky, muddy, and impassable in inclement weather. Inns were built along the route and provided places of refuge from the bad roads and often dangerous journeys. The tale of Robin Hood was acted out in real life by Richard Turpin and other highway robbers, which made travel even more treacherous. However, as roads improved, the number of people and coaches increased, the number of inns increased, and travel conditions generally improved, spurring even more travel. By 1780, the UK had a reliable stagecoach service yet. This would soon be replaced as the industrial revolution had already begun some 20 years earlier, and rail travel was already on a trajectory to replace the stagecoach. In 1825, about 10,000 people per day were using mail coach services between London and Bath, with the journey taking 20 hours. That same year the first steam passenger railway arrived and changed everything, reducing that same journey to just six or seven hours. Railway stations facilitated the construction of hotels near new urbanizing centers and in 1856, the Langham Hotel in London14 became Europe’s first grand hotel. It also claims to be the first London hotel to feature hydraulic lifts (referred to by the staff and clientele as “rising rooms”), water

Figure 02.1  Station Hotel, Dumfries, Scotland, between ca. 1890 and ca. 1900

Hotel Histories

closets, and bathrooms. Hotels were built next to train stations throughout the world bringing improved lodging facilities adjacent to the new transportation systems. However, it is in America where the hotel would truly develop.

U.S. lodging history The first migration to the Americas happened some 40,000 years ago, with many indigenous cultures living in North America as early as 15,000 BCE. Hundreds of diverse groups of people lived in various settings and spoke a wide range of languages. They had extensive trade networks and exchanged pottery, food, animal skins, and other items. A network of paths and trails also promoted diplomacy and communication among groups. Many of those trails would later become stagecoach routes and future highways. As trade expanded and navigation technologies developed, the exploration of distant lands increased throughout the world. Wealthy nations sought lands rich in resources – including human resources – often leaving behind disease and the destruction of indigenous cultures. European colonization of the Americas began in 1492, though other areas of the continent had been explored earlier. Multiple colonies were formed soon after 1600 until the Second Continental Congress established the United States in 1776. During the 1600s, early inns and taverns in North America followed the English traditions and largely served the movement of new arrivals and expansion into indigenous lands. This westward expansion was rather self-imposed hospitality, in which colonists inserted themselves into newer territories, and made room only for their interests. In colonial America, the household was the basic unit of economic and social production since people often lived and worked in the same building. Early inns looked very similar to nearby homes. Referred to as public houses, they were

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licensed to sell alcohol and therefore required to provide overnight accommodations for guests. At the start of the 18th century, these public houses were small (with six to ten rooms each), plain, and without much comfort (rooms were shared and largely filled with tradesmen, laborers, and wayfarers), though the American plan included food and drink along with boarding. Famously, a recently widowed woman named Madame Knight traveled by horseback between Boston and New York in 1704. Knight documented the journey in her diary, describing the dearth of acceptable accommodations requiring long days of riding before finding a bed that “was as hard as it was high.”15 At that time, the journey between Boston and New York took about a week, with stops at nightfall, to rest between long days of travel. However, rough roads and long rides left little time for rest and existing lodging was rather basic with little privacy. The random gathering of overnight guests might share news, along with owner-prepared meals, before their early morning departure.

Political system These public houses became deeply connected to the earliest community gatherings and the eventual development of the political organization of the United States. The Green Dragon Tavern in Boston, Massachusetts, was built in 1654, and has been referred to as “the Headquarters of the Revolution.” Secret groups planned the Boston Tea Party at the Green Dragon Tavern, and it was the site of the start of Paul Revere’s ride to Lexington. In Philadelphia, at 2nd & Walnut Streets, the City Tavern, built in 1773, provided a meeting place for “eminent citizens” and was described by John Adams as “the most genteel tavern in America.”16 After George Washington was elected the first president of the United States, he set off on three presidential tours between 1789 and 1791 to learn more about the new

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Human mobility and urbanization In early America, a close watch was often kept on peoples’ movement due to the fear of disturbing the delicate stability of new towns, which were often limited in their resources. Innkeepers were responsible for not only providing shelter for travelers but were also required to notify authorities of the arrival of any outsiders.18 As the newly formed country grew, freedom of movement became necessary for growing economies and a new relationship to geography was formed. Human mobility was soon embraced, along with religious freedoms, leading to the rapid urbanization of small towns. Hotels helped facilitate this human mobility, by integrating into networks of commodities, capital, and information. Hospitality became seen as a model for human relationships19 and hotels became places where citizens met with and learned from people outside of their immediate community, blending customs and establishing new social norms of mobility and anonymity.

Figure 02.2  Illustration of the City Tavern, circa 1800

country. He felt these tours could help unify the nation and he famously stayed only in public houses, refusing offers for private accommodations from friends and family to avoid the appearance of favoritism. Washington wrote about the primitiveness of the accommodations in his diaries and letters, including the notation that “the lodging is bad; the eating tolerable,” which leads the historian and author of Hotel: An American History, A.K. Sandoval-Strausz, to suggest that the presidential tours “may have led to the creation of the American hotel.”17 Public accommodation also became important to the political life of the young republic. The required gathering of ideas in a democracy demanded that leaders be in one location to “move together.” The hotels built in newly formed capital cities would play important roles in the democratic process, hosting the gatherings of elected leaders and providing a physical space for civic participation; in 1860, the Charleston Hotel hosted the Democratic convention and the Tremont House in Chicago, Illinois, hosted the Republican convention. The average hotel guest was perhaps subtly influenced by the “American plan” – which included the cost of the room along with board – whose set hours for shared meals were seen as more democratic.

Soon “a deliberate effort by a small commercial elite to shape the nation’s future by exerting control over architectural and geographic space”20 helped to develop new hotels, which were seen as potential social centers and places to hold political meetings and help organize local economies. As more people moved from place to place, the demand for lodging increased and the number of guest rooms and bed chambers in each hotel grew. Shaped by economic and governmental structures and influenced by shifts in organizations and wage labor, the private home was no longer the model building type for guest accommodation. A new type of building, with enlarged parlors, shared spaces, rentable offices, and shops transformed hospitality spaces. These new hotels were easy to identify as they were much larger than the earlier inns, located in prominent locations, and often designed by architects. The architect of the U.S. Capitol, Benjamin Henry Latrobe also designed an unbuilt hotel in Richmond, Virginia in 1797-98.21 Samuel Blodgett, an early industrialist, hired the architect James Hoban to design what might have been the country’s first hotel, but the U.S. government took over the building after numerous construction delays and transformed it to serve as a post office and patent office.22 The Boston Exchange Coffee House and Hotel, designed by architect Asher Benjamin, and completed in 1809, was a coffeehouse and hotel as its name suggests, but also contained office spaces available for rent, establishing the hotel as a center of commerce. By 1840, the hotel was a part of everyday urban life.

Hotel Histories

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Figure 02.3  Benjamin Henry Latrobe designed Theater and hotel building (unbuilt), watercolor, wash, and ink on paper, circa 1797/1798

These new public buildings required multiple investors due to their high initial costs and had to follow increasing regulations. They also required a full consideration of all public needs so the social spaces serving the local community, which often included lounging rooms, community stages, reading rooms, and libraries, could be integrated with other spaces in this new urban environment.23 While early hotels were originally created by and for an elite citizenry in an attempt to control city life, they soon became more egalitarian public places that were accessible to all. Hotels impacted the urban world and economic systems around them. The hotelier Lucius Boomer stated “While the essentials of hotel operations are those of board and lodging, or rest and refreshment, to use traditional terms, the modern hotel has multiplied incidental and collateral activities until they comprise almost every type of ordinary business as well as most of the trades. Hotels operate power and light plants and laundries. They manufacture.

They store and use practically every variety of consumable food and beverages. They operate innumerable subsidiary merchandising activities. The complete catalog of such ramifications of the metropolitan hotel would astonish the uninitiated.”24 Economic factors also impacted hotel development. New business ventures facilitated by access to local and international capital, the development of oceangoing trade, and the need for locations to support the exchange of goods, as well as the continual improvement of transportation systems all advanced the building of new hotels. The construction of hotels themselves required access to capital to invest in these large buildings that then served as symbols of economic prosperity. Hotels helped to organize people, clarify social hierarchies, and provide elegant spaces in which this new public life could unfold following defined patterns of acceptable behavior and dress, often defining belonging. Hotels provided the physical setting for a range of activities including venues for

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popular entertainment, intimate family celebrations, and even artist gatherings or literary readings, helping to develop a new citizenry. Later, they served additional sociocultural functions including the future re-gendering of spaces from “male” dominated taverns to public spaces that eventually welcomed women and redistributed power.

Transportation and hotels The welcoming of outsiders and generosity extended toward strangers removed barriers to mobility and developed global diplomacy. Hotels often serve as places of privilege and exclusion but have also been transformative to society in terms of politics, economics, and culture by creating a cosmopolitan space. Early lodging in the U.S. was located along stagecoach routes, posting houses, and even along cattle driving trails. Hotel locations then followed routes that shifted due to transportation innovation. Wooden railways were developed in the 1700s, and steel railways arrived in the 1820s, both largely focused on the movement of goods. The first passenger rail service, in 1827, soon led to train stops developing at the end of a new privately developed rail line. Westward development continued from 1850 to1890, though halted briefly during the Civil War of 1861–1865.25 Hotels became part of the new “integrated national system” of the 1870s.26 As railways expanded, the coachmen, small innkeepers, and villages near former coach stops lost business that now went to newly urbanizing areas forming adjacent to new railroad stops. Hotels became important nodes in this large network of communication, commerce, and transportation – including the water transportation networks of the ports along the Atlantic Ocean, inland rivers, and the Great Lakes. The steamboats of the 1810s and the railroads of the 1840s forever linked transportation with lodging systems. Hotel construction

was essential to the prosperity of new towns connected by infrastructures, such as the Erie Canal of 1825 and the transcontinental railways. Communication technologies were also linked to transportation and lodging systems. The U.S. Postal Service27 was first established as the Post Office Department during the Second Continental Congress in 1775, replacing former posting stops. In 1857, the first transcontinental mail delivery service was completed, establishing a vast communication network vital to both the personal and business needs of most citizens. Printing technologies also enabled the nationwide movement of people. National hotel directories such as Boyd’s Hotel Directory and Tourists’ Guide of 1872, Statia’s Hotel List Guide in 1874, and Gazlay’s United States Hotel Guide of 1875,28 as well as railway timetable guides,29 allowed travelers to plan more complex journeys, often sending messages via telegraph or mail to reserve rooms and railcar seats. The establishment of time zones, in 1883, helped railroads organize departure and arrival times across multiple cities and states, facilitating movement across vast distances. Still, commerce remained the main purpose of most travel journeys. As railroads expanded across the country, hotels, often referred to as “drummer hotels,” were built near train stations to house traveling salesmen who used the hotels as both lodging and showrooms for their goods, enabling face-to-face commerce in newly developing towns. Local entrepreneurs and business owners often collaborated to build larger, more complex hotels to bring new people, ideas, and prosperity to their city or town. These hotels became part of the local community and often were the site of important local events. As people became more familiar with hotels and the transportation and communication systems improved, traveling for reasons of leisure began.

Hotel Histories

Tourism + leisure travel Urbanization and mechanization in the newly industrialized urban areas led to long and difficult working conditions. Newly organized labor unions advocated for time for rest for workers,30 and, by 1870, leisure travel and tourism became possible for many. New transcontinental train lines, expropriation and commodification of native lands, and interest in desert climates for respiratory health increased seasonal tourism. More Americans began to travel for reasons of well-being, to get away from the business of their work lives, and to connect to nature. As leisure travel increased many small towns and rural areas with natural beauty such as Hot Springs, West Virginia (1766), Saratoga, New York (1826), Mount Vernon Hotel, Cape May, New Jersey (1854), Lake Mohonk Mountain House, New York (1869), and the Grand Hotel on Mackinac Island (1887) were developed to create places of accommodation for the leisure traveler. Farther west, in 1914, the Desert Inn began the transformation of desert lands into the current-day resort town of Palm Springs, California. Resorts

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required capitalism, urbanization, and improved transportation systems that provided the method to “get away from it all” while ironically also being a source of stress that urbanites were fleeing from. While city hotels were often inhabited by businessmen, new resort hotels became places for (wealthy) women and children in the summer. Men stayed in the city to work while their upper class wives and children spent the summer at a resort, connecting to nature, although resorts often had strict social norms, such as requiring multiple clothing changes per day and participating in mandatory “leisure” activities. By 1940, when the Fair Labor Standards Act limited the workweek to 40 hours, the resort hotel was transforming to become more inclusive for middle-class families and vacationers.

Automobiles + motels Most miles of the U.S. railway system were built by 1910, which was also the year of peak railroad miles and usage. The first transcontinental roadway, the Lincoln Highway, was completed just three years later in 1913 and linked New York City to Chicago, Omaha, Salt Lake City, and San Francisco. Newly available and affordable automobiles and the 1916 Federal Highway Act31 led to the next transportation revolution. Soon trucks arrived and began to replace the railway freight traffic. Automobiles (and later airplanes) reduced passenger rail traffic and overall rail travel rapidly declined. As individual automobile ownership increased, a new form of lodging emerged. Most urban hotels were often difficult to reach by car and had limited parking options. They remained places of formality, were oriented toward male-dominated business interests, and were less suited for family vacations or automobile touring.

Figure 02.4  Aerial view of the Grand Hotel, Mackinac Island, Michigan, 1933

Travel via railroad, well-organized thanks to the printed timetables that were once seen as beneficial, now appeared

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Figure 02.5  Lake Public auto camp party, ES Bach, circa 1923

to be overly strict and regimented. Americans yearned for an escape from the exact urbanization that hotels had originally helped to create. Independent access to nature was afforded to many due to new roadways that were being built and the creation of the National Parks Service.32 Automobile owners could simply set off for the open (yet dirty and bumpy) roads, with their own tent and food in their car, and enjoy an adventure in nature, camping along the way. Soon auto camps appeared as primitive campsites along roadways supporting the independence and individualistic nature of the new automobile owners.33 Travelers could set up their own tents as an inexpensive alternative to a formal hotel, and quickly pack up to head to another area the next day. Soon municipalities – and later private land owners – developed more organized campsites, accessible for a fee, with added amenities such as an outdoor kitchen and

bathrooms. These landowners soon built small cabins, often called cabin camps or tourist cabins, along a quickly expanding series of roadways. Mail order catalogs provided precut lumber and instructions to build simple cabins, requiring a modest investment for a landowner to turn a roadside property into an income-generating venture with a small amount of cash. The initial frugality served the small family-owned business model well, especially during the depression years. The December 1938 issue of Architectural Record included an article titled “Roadside Cabins for Tourists” that stated that “the construction of ‘shacks’ for autoists has been the single growing and highly active division of the building industry during the depression years.” and estimated 400,000 units were built in the previous four years.34 Many of these were small enterprises, with under 20 cabin units per property.

Hotel Histories

Figure 02.6  Motor Cabin at Kingman, Arizona, drawn by Albert Frey for Architectural Record, 1933

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Figure 02.7  National system of interstate and defense highways, June 1958

Tourism, spawned by changing labor laws and the expansion of roadway and communication systems, soon led to the development of more sophisticated structures referred to as cottage courts, motor courts, and motor inns that eventually led to the development of highway motels.35 The term “motel” originated with the Motel Inn of San Luis Obispo, built in 1925 by Arthur Heineman. The original name of the hotel had to be abbreviated to “mo-tel” instead of “motor hotel” when all of the letters for the hotel’s name would not fit on the sign that was the width of the building roof. The American Hotel and Motel Association defines a motel as “on or near a main highway and for every room there is adjoining space for free parking of a car.”36 Early motels were often one story, inexpensive to build and operate, and focused on the new leisure auto traveler. They were seen as more casual and informal, helping support the independent spirit of the automotive traveler. The ability to park right outside the sleeping room facilitated both an easy checkin process and a quick get-away in the morning, to get on down the road to a new site and another motel. Most motels did not have restaurants or other amenities and were typically a less expensive lodging option than a downtown hotel.

As car ownership grew, tourism, in general, was also supported by The Federal Writers’ Project, a WPA-developed effort from 1938 to 1940 to write about the history and culture of each state. This interest in nationalism and the shared camaraderie of automobile travel made motel stays appear more democratic and more American. Auto touring was seen as patriotic and promoted as a way to meet fellow traveling citizens and develop a unified nation. While motels were well suited to family travel, their anonymity provided additional privacy for the guest, leading to some criminal activity that could more readily happen without the constant surveillance of the movement of guests within. In his 1940s article “Camps of Crime,” then-FBI Director J. Edgar Hoover described the general lawlessness of tourist camps as havens for criminals, prostitution, and love affairs.37 At this time, motels were often portrayed in film and other media as catering to people who have something to hide. After World War II, new regulations provided additional security for motel guests as more Americans took to the highways for travel with the creation of the Interstate Highway System.38

Hotel Histories

With the optimism brought by new roads, people embraced the ability of the automobile to offer mobility and freedom. As early as 1958, architectural historian and critic Lewis Mumford would write about the negative impacts of the highway system on cities and the countryside.39 He advocated for a transportation system that allowed all modes of transportation to be properly located and used. Yet the traveling public was already enamored with the automobile and any future congestion, pollution, or eventual destruction of walkable communities was not their current concern.

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Hotel operations

As hotels increased in both the number of guest rooms and eventually, the number of properties, they moved away from being predominantly operated by independent owners. As professor and organizational theory researcher Paul Ingram explains, the shift from owner-operated hotels to professionally managed properties was due to both changes within the industry and the needs of the traveling public.40 Hotel chains took advantage of economies of scale in both purchasing and the implementation of management tools such as reservation systems, which helped improve guest experiences and promote repeat customers. The traveling public, who rarely stayed at the same hotel multiple times, was more likely to stay with a trusted brand in a new location than risk an unknown establishment. The industry, often led by owners of multiple hotels, advocated for professional training programs due to the labor shortage after the WWI when European-trained staff returned to their home country, as well as the increasing complexity of managing multiple properties. When Cornell University (and others soon after) developed a hotel management program, the ready supply of professional managers benefitted hotel chains more than they did small individual properties. Professional managers could operate the sophisticated accounting and management systems that helped control risk in large operations that lacked the personal relationships and trust that had previously been built among owners and hotel employees. In his book, Ingram uses game theory to show how the development of hotel management programs is linked to both the reduction of uncertainty for the traveling public and the increase of profit and “survivability” for hotel chains, fueling the growth of chains. The adoption of franchising strategies and changes to the 1954 Internal Revenue Code that allowed for larger depreciation value of older buildings led to increased construction of new hotels and explosive growth of hotel chains in the middle of the 20th century.

As the number and size of hotels grew, their operation also grew in complexity. Hotels might often start as small businesses, operated by families who lived on the property.

The growth of hotel chains, usually defined as a group of three or more hotels owned by the same individual or company, began in the early 19th century. Paran Stevens owned six

The growth of motel chains, often located along new highways, helped provide the right balance of standardization and adventure for many middle-class families. Over time, motels began to add additional hotel-like amenities such as pools and playgrounds to attract families to these quasiresorts during summer vacations. Soon meeting rooms and restaurants were added to cater to business travelers during the off-season. Motels also encouraged a broader customer base of middle-class travelers, further developing the networks of transportation and accommodation in terms of shelter, sustenance, auto repair, and other services for travelers. Hotels reacted to the growth in motels by relaxing some of their earlier formalities to try to attract the growing number of travelers with families and automobiles. The terms “motel” and “hotel” began to be used interchangeably, with the term “hotel” now being used to refer to lodging types of many forms. Even their professional organizations joined forces: the American Hotel Association of 1917 became the American Hotel and Motel Association in 1962 and is now called the American Hotel and Lodging Association, reflecting their shared interests.

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hotels in the 1850s including the Revere House Hotel (Boston), Tremont House at Claremont, Fifth Avenue Hotel (New York), and Continental Hotel (Philadelphia). Fred Harvey opened the first restaurant in 1878, soon creating the Harvey House series of restaurants, shops, and hotels that would serve rail passengers before the implementation of sleeper cars, resulting in the creation of a large hotel and restaurant chain. Hotel owners were also connected to the development of new infrastructure to serve newly formed communities. Henry Flagler developed regional hotels and railroads, including the Ponce de Leon Hotel in St. Augustine in Florida in 1888, The Breakers in Palm Beach in 1896, and the Florida East Coast Railway. Early hotel chains later were purchased by larger hotel chains, increasing market share and the benefits of economies of scale. Eugene Eppley bought his first hotel, the McKinley in Canton, Ohio, in 1903, and formed the Eppley Hotel Company in 1917. By 1950, Eppley owned 22 hotels, which was the largest privately owned hotel chain at the time. He sold his chain to Sheraton Hotels in 1956.41 Ellsworth M. Statler started in the hotel business as a bellboy. He opened the Buffalo Statler in 1907, offering private bathrooms, telephones, clocks, full-length mirrors, reading lamps, and stationary in each room.42 The design involved space planning and the standardization of each floor layout and hotel operations were guided by a written employee manual. Statler and the Statler Foundation were also instrumental to the founding of what is now the Nolan School of Hotel Administration at Cornell University. Hilton Hotels purchased the Statler hotel chain in 1954. Conrad Hilton purchased his first hotel, The Mobley, in Cisco, Texas in 1919. The Habana Hilton, which opened in March of 1958 to signal to the world that Cuba was a safe country in which to invest, became nationalized by Fidel Castro in January 1959, securing the symbolic and political role of hotels. The Hilton Hotel Corporation is now the third-largest hotel chain in the world, with over 6,400 hotels. Other early hotel chain entrepreneurs included Lucius Boomer, of Boomer-DuPont Properties, who once worked for Flagler Hotels in St Augustine, Florida, and eventually joined with T. Coleman Du Pont to operate both the original WaldorfAstoria and its second reincarnation until 1947. Boomer also understood the importance of consistent service and published his own book, Hotel Management: Principles and Practice, in 1925.43 The United Hotels Company of America, operated by Frank Dudley and F. W. Rockwell, was the largest hotel group in the United States in the 1930s.

Figure 02.8  Mobley Hotel photo, courtesy of Hospitality Industry ­Archives at the Conrad N. Hilton College of Global Hospitality Leadership

Motor courts and motels also grew from individual momand-pop operations to large multi-property chains. Alamo Plaza Hotel Courts were founded by Edgar Lee Torrance in 1929 in Waco, Texas, and grew to include 20 properties. The Best Western chain was founded in 1946. Holiday Inn was started by Kemmons Wilson, in 1952. After a family vacation with his wife and five children, from their home in Memphis, Tennessee to Washington DC, Wilson commented that “most motels had cramped, uncomfortable rooms - and they charged extra for the children.”44 As a reflection of many travelers’ desire for consistency over unique individuality, the advertising slogans of Holiday Inns changed over the years from, “The Nation’s Innkeeper” to “The best surprise is no surprise.” Some motels developed from other hospitality businesses. Howard Johnson opened a drug store with a soda fountain in 1925 and then opened the first hotel in 1954. In 1957, John Willard Marriott, Jr. expanded his business from an A&W Root Beer franchise to include his first motel, the Twin Bridges Motor Hotel, in Arlington, Virginia. Marriott is now the world’s largest hotel chain, with over 7,900 hotels and 1.4 million rooms. The Motel 6 chain started in 1962 in Santa Barbara, California, leveraging the owners’ experience with developing low-cost housing. Motel 6, along with its larger unit brand named Studio 6, remains a low-cost lodging option. In San Antonio, Texas, the brothers Sam and Phil Barshop built the first La Quinta across the street from the HemisFair in 1968, starting what would later become a successful chain of moderately priced accommodations catering to the commercial business traveler.

Hotel Histories

spirit. To entice guests, the hotel buildings themselves incorporated new technologies and amenities. This in turn encouraged the adoption of these technologies in homes and other building types. In 1829, the Tremont House, in Boston, Massachusetts, designed by the architect Isaiah Rogers, became the first U.S. hotel to offer running water, free soap in the rooms,

Figure 02.9  Holiday Inn postcard

Starting around 1960, long-distance travel in the United States soon shifted from the car to the airplane. As hotel and motel chains grew between 1960 and 1980 largely due to franchising, a great variety of hotel types appeared such as airport hotels, conference hotels, health hotels, ski holiday hotels, holiday villages, and marina hotels – each focused on a different type of travel experience. Hotels became increasingly more connected to airlines, through frequent traveler programs aided by paying by credit cards, and new reservation systems allowed travel to be more easily planned.

Building technology Technology , including building technology, has impacted the development of hotels. In the first quarter of the 19th century, the urban hotel represented prosperity and public

Figure 02.10  Tremont House, Bill of fare, 1847

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eight bathtubs and eight toilets45 in the basement, and lockable doors at the guest rooms. “It was the Tremont that put a tablet of soap into hotel bedrooms around the world, …”46 In addition, newspapers from around the United States and the world were provided in public spaces. Printed menus allowed for room service and therefore guests were no longer required to dine communally – at least at the Tremont. The Tremont was also the first American hotel to have a French chef, which inspired wealthy families such as the Astors and the Vanderbilts to hire French chefs in their private homes. Before the invention of the telephone, each room also had an annunciator, designed by Seth Fuller, to summon service. The installation of a passenger elevator in the Fifth Avenue Hotel in New York City in 1859 led to the rapid use of passenger elevators in many other building types, even though the world’s first passenger elevator had been installed in the Haughwout Building a full two years earlier. In 1883, the Sagamore Hotel, a resort hotel on Lake George, in eastern New York, became the first hotel to have electricity throughout the hotel, though it tragically burned to the ground in 1893 due to a fire in the laundry room.47 Soon, electricity was incorporated into other hotels and homes. Alexander Bell successfully demonstrated that the telephone was more than just a novelty in a hotel. His demonstration in early May 1877 at the St. Denis Hotel designed by James Renwick, in Greenwich Village in New York City, was instrumental in getting the technology adopted and financially supported by onlookers such as Cyrus Field. Soon, in 1893, the Netherland Hotel became the first hotel to provide a telephone for each guest. The Statler Hotel of 1908 in Buffalo, New York, claims to be the first U.S. hotel to have a bathtub in a guest room, though the Victoria Hotel in Kansas City, Missouri, built in 1888, also claims that title. The Buffalo Statler also had running water and radios in each room, along with a free morning newspaper for guests. The size, amenities, and lavishness of American hotels soon crossed the ocean. The Savoy Hotel in London, started by Gilbert and Sullivan in 1880, had its own water well and even its own power plant to support its electric lighting and six hydraulic lifts. Hotel amenities have become standard household items as travel has transformed our material culture. Hotels have influenced the design and furnishings of homes, providing aspirational examples of home decoration and furniture

Figure 02.11  Statler Hotels advertisement in Hotel Monthly 1917

technology before printed materials and magazines were readily available. To this day, hotels continue to provide access to design in a way guests might not have at home, which in turn broadens the reach of architecture to more people.48

Social impact of hotels In addition to serving as conduits of goods, services, and styles, hotels also influence and even transform social behaviors and culture by mixing travelers and integrating local communities into a larger national network. Writer and curator Jennifer M. Volland writes, “Hotels are collective laboratories for human experience, and they play a critical role in interpreting and defining modern life.” 49 Hotels also serve to reinforce acceptable social behaviors in communities. While the modern hotel was developed in America, the law governing innkeepers connects back to English inns of the Middle Ages when innkeepers were responsible for providing rest and protection for all travelers. However, the requirement to provide hospitality to everyone was often overlooked.

Race In 1851, Frederick Douglass, the important writer and social reformer, was famously told to remove himself from a Cleveland hotel by a clerk. The Free State Hotel in Lawrence, Kansas, opened in 185550 and was named to clearly convey

Hotel Histories

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A guidebook, The Negro Motorist Green-Book, was published annually between 1936 and 1966 to help Black travelers find accommodations and other services during this troubled time. The 1948 edition includes the hopeful statement, “There will be a day sometime in the future when this guide will not need to be published.” A similar publication titled A Directory of Negro Hotels and Guest Houses was published by the U.S. Department of the Interior in 194151 and underscores the real need for such information during the Jim Crow era, a tragic time in this country’s history. In 1963, Martin Luther King said, “We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities.”52 In the 1964 case of Heart of Atlanta Hotel, Inc. v. US, the Supreme Court unanimously decided that the Commerce Clause extends the anti-discrimination provisions of the Civil Rights Act of 1964 to hotels that often host travelers from outside the state.53 This renewed the long-standing definition that hotels must indeed serve all travelers and protected equal access to hospitality.

Gender Figure 02.12  Hotel Clark on Beale Street, Memphis, Tennessee, 1939

its position against the practice of slavery. After the Civil War, the period of Reconstruction included a restructuring of governance. Black Codes and later, Jim Crow laws, in the South limited the lives of Blacks even as the Fourteenth Amendment of 1868 granted citizenship and equal protection to all. The Civil Rights Act of 1875 soon secured equal access to public accommodation. However, the 1896 Plessy v. Ferguson Supreme Court decision’s “separate but equal” fallacy led to the creation of “colored only” hotels such as the Hotel Clark in Memphis, Tennessee in 1939. The historic innkeeper law that required owners of lodging to provide shelter and refreshment to all travelers, without distinction of color, was ignored. Many southern states amended their own state’s common law of innkeepers to read that no one had a legal right to stay in a hotel. This shifted the law of hospitality from protecting a guest’s right to shelter and security in favor of the landlord’s right to control their property. In 1954, the state of Louisiana repealed its innkeeper law, no longer protecting the rights of any travelers.

Hotels have also played an important role in advancing women’s rights. During the 19th century, most businessoriented downtown hotels catered only to men. It was socially unacceptable for women to check into a hotel without their husbands or to dine alone in the public rooms of hotels. A “ladies’ ordinary,” a dining space for unaccompanied respectful women, was developed and included at the Tremont House in Boston, Massachusetts, and soon after the Waldorf Astoria in New York City provided a women-only dining room, allowing women to dine without a male escort.54 Hotels did, however, come to provide a safe place for single women to live, supporting their ability to work in urban centers. The Hotel for Working Women, designed by A. T. Stewart, opened in New York City in 1878, followed by the Hotel Martha Washington in 1903 and the Allerton Hotel for Women in 1923. All provided safe accommodations for working women, allowing generations of women to have gainful employment. The Barbizon Hotel for Women opened in 1928 with strict rules of conduct to provide a safe refuge for young women moving to New York City from their family homes in smaller towns. Many women resided in the Barbizon during its 53 years as a women-only hotel, including survivors

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Figure 02.15  View of New York City through the loggia of the ­Barbizon Hotel, 1932

Figure 02.13  Barbizon Hotel general view from 125 E. 63rd Street, 1928

from the Titanic, the annual group of selected college-age guest editors of Mademoiselle magazine – including Sylvia Plath, and the many more students in the Katherine Gibbs Secretarial School. The Barbizon began offering overnight accommodation to men in 1981 and has recently been renovated into a condominium building.

Figure 02.14  Barbizon Hotel, interior of bedroom 1844, 1942

More broadly, the hotel is connected to changing social roles for women and the evolution of dwelling types. While the home was often seen as a place of self-expression and domesticity, the urbanization and commodification of houses as real estate soon led to the development of other dwelling options, including the apartment hotel. Hotels began to serve needs beyond those of the traveling public.55 Hotels also readily understood the needs of urbanites – as hotels had helped develop and organize urban spaces – and “were the first practical purpose-built multi-unit dwelling buildings in the United States.”56 Changing gender roles and shifts in labor laws, along with the general complications of home ownership, led to the development and acceptance of new housing typologies. New apartment buildings, such as the Stuyvesant Apartments of 1869, took clues from hotels and were built without kitchens, as everyone who lived there ate their meals together. The kitchen and the laundry room were seen as women’s rooms. Delores Hayden writes, in The Grand Domestic Revolution, about “woman’s work” such as “cooking food, caring for children, and cleaning house,” “performed without pay in a domestic environment”, and that has “always been a major part of the world’s necessary labor.”57 Charlotte Perkins Gilman argued for the feminist apartment hotel as a means to free women from housework. Dwelling units in these new kitchenless apartment hotels “inverted the gendered order of labor within the household.”58 Hotels led to newer forms of residential buildings and new modes of habitation. These new models of habitation expanded to include

Hotel Histories

cooperative housing communities of Oneida, North American Phalanx, and Chautauqua, all with kitchen-less houses, which became signifiers of economic and sexual freedom for women. The new socioeconomic possibilities supported by hotels led to innovations in labor, new business methods, alternative power structures, and shifts in urban living and domestic realms. Hotels have been instrumental in building our social lives, alternating between the transient and the permanent, balancing the innovative with the familiar, and providing us all with “short-term homes for a world of strangers,”59 regardless of the length or focus of our journey.

Notes 1 Julian Pitt-Rivers, “The law of hospitality,” reprinted in HAU: Journal of Ethnographic Theory, Volume 2, Number 1, Spring 2012. https://doi.org/10.14318/ hau2.1.022 from: Julian Pitt-Rivers, “The law of hospitality”, from The Fate of Shechem or The Politics of Sex: Essays in the Anthropology of the Mediterranean, Julian Pitt-Rivers. (Cambridge: Cambridge University Press, 1977), prologue 94-112. 2 AK Sandoval-Strausz, Hotel: An American History, (Yale University Press, New Haven, 2007), 142. 3 The words, “Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds,” were written in The Persian Wars, by Herodotus in book 8, paragraph 98, describing the Persian system of postal couriers in 500 BCE. While the Postal Service has no official motto, the popular belief that it does is a tribute to America's postal workers. Accessed August 14, 2022, https://facts.usps.com/noofficial-motto/ 4 Dionysus asks “Tell me your hosts, your harbours, baker’s shops, Inns, taverns – reputable and otherwise- springs,

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roads, towns, posts, and landladies that keep the fewest fleas.” Aristophanes, The Frogs of Aristophanes, trans. Gilbert Murray, (London: George Allen and Sons, 1908). 12. Accessed April 30, 2022, https://archive.org/details/ frogstranslatedi00arisuoft/page/n3/mode/2up Casson, L. “Inns and Restaurants.” In Travel in the Ancient World. London: Allen and Unwin, 1974, 197–218 Merriam-Webster.com Dictionary, s.v. “posada,” accessed April 30, 2022, https://www.merriam-webster.com/ dictionary/posada The current day increase in religious tourism of Haji and the minor pilgrimages known as Umrah – minor pilgrimages – requires the Saudi government to establish housing and transportation programs that promote sanitation, housing, transportation, and welfare as the number of visiting pilgrims increases. Marco Polo, The Book of Ser Marco Polo: The Venetian Concerning Kingdoms and Marvels of the East. Volume 1, trans. Colonel Sir Henry Yule (London: John Murray, 1903) Accessed April 30, 2022, http://afe.easia.columbia.edu/ mongols/figures/ser_xxvi.pdf The Nine Minor Guilds included the Guilds of WineMerchants, Inn-Keepers, and Tanners. Edgcumbe Staley, The Guilds of Florence (London: Methuen & Co., 1906), 367. Accessed May 8, 2022 via LOC: https://ia802708.us.archive.org/13/items/ guildsofflorence00staluoft/guildsofflorence00staluoft.pdf The travelers would bring their own servants, food, supplies, and bedding. Tables, chairs, beds, crockery, and lamps were included in the bungalow. Rebuilt after a fire in Southwark in 1676 and later demolished in 1873. The shipping of goods at that time was primarily via water and boat transport. Now owned by Great Eagle Holdings Sarah Kemble Knight, The Journal of Madam Knight: A Woman’s Treacherous Journey By Horseback From Boston to New York In the Year 1704. (Bedford, Massachusetts: Applewood Books), 58.

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16 From the plaque on site: Completed on the eve of the American Revolution to serve the elite of Philadelphia, the City Tavern soon hosted the elite of an emerging American nation. The City Tavern, like many other 18th Century taverns, was more than a “bar.” It was a center for political discussions, business transactions, and social events. Members of the Continental Congress lodged, dined, and celebrated here. The building in front of you is a reconstruction of the original 1773 tavern. Today visitors from around the world may enjoy lunch or dinner here at what John Adams called “the most genteel” tavern in America. The City Tavern in Philadelphia was erected at a great expense by a voluntary subscription of the principal gentlemen of the city or the convenience of the public, and is much the largest and most elegant house occupied in that way in America. —Philadelphia Packet, 1884. The City Tavern's North Façade and Marker, https://www. hmdb.org/m.asp?m=51219 17 Sandoval-Strausz, Hotel: An American History, 15. 18 Sandoval-Strausz, Hotel: An American History, 11. 19 Sandoval-Strausz, Hotel: An American History, 3. 20 Sandoval-Strausz, Hotel: An American History, 20. 21 https://www.loc.gov/resource/cph.3j00036/ 22 https://www.loc.gov/resource/ppmsca.17589/ 23 Hotel guests spent little time in their rooms. Guests met with others in the public parlors of a hotel and did not receive guests in their bed chambers. 24 Lucius Boomer. Hotel Management: Principles and Practice, Third Edition. (New York: Harper & Brothers Publishers, 1938), 3. 25 Wars, often impact cultural trends and the Civil War is no exception. Soldiers during the Civil War, often traveled beyond their own state for the first time, leading to an interest for others to have broader experiences beyond their home towns, spurring travel and movement. 26 Sandoval-Strausz, Hotel: An American History, 99. 27 The U.S. Postal Service also operated the U.S. telegraph lines until 1847.

28 Clay, papyrus, and parchment were used for early writing and communication throughout the world. The modern printing press was invented by Johannes Gutenberg in 1440. Bernhard von Breidenbach may have written the first travel guide in 1486. In 1639, the first printing press was operated in the United States. 29 https://wx4.org/to/foam/maps/and_timetables.html 30 In 1910, President William Taft recommended two or three months of vacation per year for workers. 31 Sandoval-Strausz, Hotel: An American History, 135. 32 President Woodrow Wilson created the bureau that maintains national parks and monuments within the Department of the Interior, in 1916. 33 John Jakle, Keith Sculle, Jefferson Rogers, The Motel in America. (Baltimore: The John Hopkins University Press, 1996), 15. 34 Pg 457–462, the article contains several photos and illustrations by Albert Frey. 35 Jakle, Sculle, Rogers, The Motel in America, 37. 36 Arthur White, Palaces of the People: A Social History of Commercial Hospitality, (New York: Taplinger Publishing Company, 1970), 168. 37 Hoover called tourist hotels “crime camps, assignation camps, and hide-out camps.” J. Edgar Hoover, “Camps of Crime” in American Magazine, February 1940. 38 Lt. General Lucius Clay headed the President’s Advisory Committee on the National Highway System. The committee’s report supported a $50 billion plan to build a system of interconnected highways for increased safety for travelers, reduction of vehicle maintenance and repair costs, provide for national security and the ability to respond to a national emergency, and support the growth of the economy. 39 Lewis Mumford, “The Highway and the City,” Architectural Record, April 1958, 179–180. 40 Paul L Ingram, The Rise of Hotel Chains in the United States 1896-1980, (New York: Routledge, 1996). 41 Sheraton Hotels started in 1933 and was purchased by Starwood in 1998. Marriott bought Starwood in 2016.

Hotel Histories

42 Sandoval-Strausz, Hotel: An American History, 129. 43 “The basic functions of furnishing food and shelter, plus all of the allied activities, have expanded to such proportions and are of such intricacy of detail that the business demands the best managerial talent and a clear understanding on their part of what is best in management and organization. Ownership operates through management, and management operates through people. They must be organized; duties and functions designated; all coordinated; organized cooperation developed.” from Boomer, Hotel Management, 4. 44 Kemmons Wilson, The Holiday Inn Story (New York: Newcomen Society in North America, 1968), 8. 45 The toilet required additional innovation, such as perforated rolled paper designed in 1857, before becoming widely adopted. 46 Arthur White, Palaces of the People, 132. 47 The Sagamore burned again in 1914 and was rebuilt and reopened a third time in 1923. 48 Julie Eizenberg, Phone conversation with author, February 3, 2022. 49 Jennifer M. Volland, “Stay: The Archetypal Space of the Hotel,” in Grand Hotel: Redesigning Modern Life, ed. Jennifer M. Volland, Bruce Grenville, Stephanie Rebick (Vancouver: Hatje Cantz, 2013), 30. Volland co-curated Grand Hotel: Redesigning Modern Life, presented at the Vancouver Art Gallery in 2013 with Bruce Grenville and Stephanie Rebick. 50 “The Eldridge Hotel has been an integral part of the history of Lawrence since its founding. The original building on this site was the Free State Hotel, built in 1855 by settlers from the New England Emigrant Aid Society. The Free State Hotel was intended to be temporary quarters for those settlers who came here from Boston and other areas while their homes were being built. It was named the Free State Hotel to make clear the intent of those early settlers: that Kansas should enter the union as a free state.” https:// eldridgehotel.com

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51 The Jewish Vacation Guide was first published in 1916 and served to help Jewish travelers find safe places to eat, sleep, and visit. It may have inspired the development of The Green Book. The preface of The Green Book indicated that the Travel Bureau wanted to develop the “nation’s physical, economic, and social welfare by encouraging more Americans to travel in their own country.” It went on to say:   This Directory of Negro Hotels and Guest houses was developed with a view to contributing a reliable source of information for Negro travelers through the United States. It is believed that the Directory will facilitate the promotion of travel to the extent that only the assurance of adequate accommodations can effect. https://blogs.loc.gov/inside_adams/2018/02/a-reliablesource-for-the-assurance-of-adequate-accommodations/ 52 Just five years later, in 1968, Martin Luther King, Jr. was assassinated at the Lorraine Motel in Memphis, Tennessee. 53 Heart of Atlanta Motel, Inc. vs the United States, case was argued on October 5, 1964, and decided on December 14, 1964. Title II of the Civil Rights Act of 1964 forbade racial discrimination by places of public accommodation if their operations affected commerce. The Heart of Atlanta Motel in Atlanta, Georgia, refused to accept Black Americans. The government sought to enjoin the motel from discriminating on the basis of race under Title II.   In a unanimous decision authored by Justice Clark, the Court held the government could enjoin the motel from discriminating on the basis of race under the Commerce Clause. Since the motel was positioned near Interstates 75 and 85 and received most of its business from outside Georgia, this showed that it had an impact on interstate commerce, which is all that is needed to justify Congress in exercising the Commerce Clause power. “Heart of Atlanta Motel, Inc. v.-United States.” Oyez. Accessed April 30, 2022. https://www.oyez.org/ cases/1964/515

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54 The women’s only dining room was opened in 1907. In 1911, the same hotel allowed women to smoke inside the hotel. 55 The Exchange Coffee House and the Tremont House, both in Boston, Massachusetts, had long-term residents.

56 Sandoval-Strausz, Hotel: An American History, 267. 57 Dolores Hayden, The Grand Domestic Revolution. (Cambridge: MIT Press, 1981), 1. 58 Sandoval-Strausz, Hotel: An American History, 270. 59 Sandoval-Strausz, Hotel: An American History, 283.

1 Hotel Magdalena LAKE | FLATO ARCHITECTS

DOI: 10.4324/9781003284253-1

◀ Figure 1.1  Courtyard looking south toward the pool

1 Hotel Magdalena

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sequence leading from the lobby to the guest rooms and a generous threshold between public and private realms. As Lake says “You are always welcome on a porch.” The porch, as the intervening space between the natural external world and the human-made interior world, suspends you in both simultaneously. The porch spaces link the four hotel buildings, surround the courtyard and the pool, and encourage you to stay out-of-doors.

Figure 1.2  Porch in front of guest rooms, looking south toward courtyard and pool

For David Lake of the Texas-based firm Lake|Flato, hotel design is largely informed by the firm’s residential work, which focuses on bringing inherent comfort and compelling design to occupants. He first studies the scale and arrangement of the guest rooms, sometimes recalling some of his personal sketches from instructive examples from his own travel, and how they connect to a larger system and most importantly, to the specific location. Lake and partner Ted Flato, and everyone at the now 140+ person firm they founded in 1984, focus on architecture that is deeply rooted in place. Lake grew up outside of Austin and spent weekends going to Lake Austin. The design of Hotel Magdalena recalls the modernist lake houses of that era in their scenic settings connected to the Hill Country spirit. A place of quiet natural refuge was missing from the currently available travel accommodations in Austin and the firm worked with their client, Bunkhouse Group, to differentiate the character of the new hotel. The firm is known for design that enhances the relationship between interior and exterior, and this hotel is no exception. The deep porches provide an open circulation

Dividing the 89-room hotel into four distinct buildings breaks down the scale on the small site, allows the edges to knit into their context, and provides ample void space for the large existing trees. Increasing the individual identity of each building also helps with wayfinding, which can also be a challenge in a typical hotel’s double-loaded corridor. The architecture team worked closely with Ten Eyck Landscape Architects to coordinate the overall site organization and accommodate the 29 feet of slope across the existing site and the seven Heritage live oak trees on the compact parcel. Since local ordinances protect trees that are 19 inches or more in diameter, the design team used a computer model that included the existing tree trunks and branches to minimize any conflicts with building structure and elements. This project protects and enhances the native landscape, providing shade and visual interest within and on the edges of the site while not allowing any stormwater to impact the urban infrastructure. All rainwater is directed through hard piping from the roof and rain gardens to be collected in the cisterns located below the event lawn, reducing the impact of the development. While Hotel Magdalena is focused on connecting to the Texas Hill Country, it also transports the visitor to the 1970s when the site with its 1950s era Terrace Motor Hotel was famously owned by Willie Nelson and included the Austin Opry House, where musicians such as Muddy Waters performed. Black and white photos, by then-resident photographer Scott Newton, now grace each guest room, documenting the site’s history and connecting to the music legacy of Austin. Cultural programming such as the Song Confessional podcast and recording booth continue the site’s deep connection to music. The building’s assembly system is also supportive of the nature-dominated agenda of the project. This is the first mass timber boutique hotel in North America. A system of 15-foot × 23-foot dowel laminated timber (DLT) structural bays define each guest room, becoming the building blocks of the project, not only of the structural system but also

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Figure 1.3  Entry with stair and large live oak tree

informing the economics of the project and room market rate mix. The wooden-structured guest rooms sit on a concrete podium that contains the lobby, restaurant, and event space and sometimes acts as a retaining wall for the sloped site. Utilizing mass timber reduced the construction time by two and a half months, compared to steel frame construction, and reduced the project’s estimated global warming potential by 10–38%. Global warming impact was further reduced by limiting any additional interior finishes and designing most of the circulation paths as exterior non-conditioned spaces. The exterior wood structure is stained a light gray color and exposed throughout, especially noticeable on the generous porches, bringing warmth and structural clarity to the hotel. Early design choices determined the creation of a village of guest rooms, linked to public spaces via a choreographed

sequence of movement starting with the initial greeting of the large entry tree and check-in desk in the welcoming lobby. The project’s innovative mass timber prefabrication combines with the difficult trapezoidal site and the great outdoor room of the central courtyard that connects to the natural landscape and local culture to deftly provide poetic shelter. The unusual arrangement of the typical guest room layout places the support spaces along one side, allowing the full width of the room to be one contiguous space. An inventive hybrid desk and headboard subtly divides the living and sleeping activities within the room, with each area focused on one of the glass-filled end walls. Located in this utility core, closest to the entry, is the closet (where you can simply unfold your luggage and close the door). Midway along the length of the room is a brightly colored ceramic tile-wrapped

1 Hotel Magdalena

Figure 1.4  Floor plan design sketch by David Lake, Lake|Flato ­Architects

vanity that opens into the room. At the more private end of the utility zone, a door leads to the toilet and shower chamber. This layout allows ample glass and openings at both ends of the room. A tall window unit, adjacent to the room door,

Figure 1.5  Interior of guest room with red tile sink

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includes shades that allow the occupant to vary the level of privacy and light in the room. The opposite end contains a sliding glass door unit that opens to a balcony. The TV is located on this outer wall, hidden behind the wall of curtains that blocks out light and the view of the TV when desired. Cross-ventilation and natural light entering from multiple directions -- with changing light over the course of the day registering the passage of time -- allow guests to tune the light and thermal conditions of the room to their specific comfort needs. The white-washed side walls reflect the light while the wood ceilings bring warmth and clarity to the room volume. The glossy, low-maintenance concrete topping slab, featuring small-diameter washed river rock aggregate, brings greater acoustical separation between floors and a welcoming coolness underfoot. Lake recognizes the difficult task of providing a place where you can relax and feel at home in a foreign environment while also feeling connected to a specific place. Hotel Magdalena is designed to give a sense of inherent comfort through all the senses.

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Figure 1.6  Guest room with double beds and blue tile looking toward the balcony

Travel tips David Lake warmly recalls La Casa Que Canta in Zihuatenejo, Mexico, with its adobe walls and giant entry palapa - a porch! – along with great food and a view of the bay, as a hotel deeply rooted in place – that simply could not be anywhere else. A Yelp reviewer from 2021, wrote glowingly about her stay at the Magdalena while “sitting on the balcony this morning, savoring the first light of day,” obviously appreciating the power of a porch as much as the architecture team.

2 Wild Rice Retreat SALMELA ARCHITECT

DOI: 10.4324/9781003284253-2

◀ Figure 2.1  Exterior view of front porch of Nest at dusk

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Figure 2.2  Aerial view of wild rice retreat

David Salmela originally designed the Wild Rice Restaurant in Bayfield, Wisconsin. The restaurant was regionally acclaimed for both its food and architectural design, drawing locals as well as people from Chicago and Milwaukee when it was opened in 2001. Its modern forms recalled the farmsteads of the area, easily and comfortably connecting to the local context. Salmela’s strategic move, to pull the kitchen away from the dining space, brought light into the kitchen, assured there were no “bad” tables, and mixed pragmatism with poetry. The seclusion was part of the location’s charm but proved to be a challenge for supporting the staff. Heidi Zimmer remembers talking with the owner Mary Rice and her daughter Katherine Hayes about how to prop up the restaurant while also doing something that was good for the land and city of Bayfield. The idea for the new retreat grew organically out of these conversations about how to “plant a garden of the things I love.” Zimmer talked to many different people about her dream to bring creativity and wellness to the north-facing edge of Lake Superior. While it was sad to see the original restaurant close, it was a fairly easy transition for the reductively designed building. The

simple volume of space, with its 14-foot tall ceilings, bright red painted trusses, and light entering on multiple sides, can easily become a serene yoga studio when the dining tables are replaced with yoga mats. The retreat setting is located in a powerful vortex of energy between land and water: the power of Lake Superior, the brownstone geology, and the density of the ChequamegonNicolet National Forest to the south. The power of the land was recognized by the Ojibwe, Huron, Ottawa, and Sioux, as well as the later European inhabitants who built industries of lumbering, quarries, fishing, and tourism. The natural assumption was that David Salmela would be asked to design the next incarnation on the site as his work often maximizes the connection to the land. The buildings of the retreat are lifted off the ground, reflecting a lightness rather than heaviness that respects the earth’s surface. The entire development is pulled in tightly – impacting only 17 of the 114 acres. Both the buildings and the operations infrastructure are designed to touch as little of the site as possible to protect natural land.

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Figure 2.3  Exterior of RicePods and Nests

While admitting to having “geothermal dreams” and the intention to add solar power capabilities in the future, the project’s sustainability agenda was driven by a tight budget and much simpler implementation. Using local resources and labor, designing for energy efficiency, and adhering to dark sky lighting meant every decision was more restrained and reflective of a low-tech sustainability approach. The assembly of the buildings utilized a panelized wall system, placed on piers, and the large project was portioned into smaller units so local companies could take on a portion of the work. A broader definition of sustainability includes connecting to the local economy and livelihoods. Light, particularly midwestern light, is important in all of Salmela’s work. He believes that a room with only one source of light is uncomfortable and may even cause depression. Christopher Alexander’s Pattern #159 reminds all of us to “place windows … so that natural light falls into every room from more than one direction.” In fact, in the RicePods and Nests at Wild Rice, light is brought in from five directions; even the entry door has frosted glass that allows light to

fill the entry area. A three-foot cube plywood-lined lantern artfully brings abundant daylight, from the Velux skylights above, deep into the space. Gigantic square windows, a pure form that clearly relates to the overall design language, bring in additional light plus provide views of the nearby trees. The windows were fabricated by H Window Company

Figure 2.4  Interior of RicePod with door to porch beyond

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Figure 2.5  Interior of RicePod with skylight “lantern” above

in nearby Ashland, Wisconsin – less than 30 miles away – reinforcing the localized agenda. In fact, local materials are used throughout. Wood lap siding is used both on the interior and exterior, blurring the distinction between the two. The exterior is clad in cedar that is allowed to weather and the interior walls and ceiling are clad in basswood. Slate floors, with radiant heating below, are both durable and harmonious with wood. The blue shower tiles help bring a playful softness to the bathrooms. While the overall design is modern, it also references the traditional forms familiar to the immigrant culture of the place. For instance, each Nest entry has an individual wooden front porch. In the Midwest, sitting on the porch is a cultural act; many people live outside on their porch throughout the summer. Here, the porch is expanded and becomes as important as the interior room. The porch seats were uniquely designed for comfort, which established the slope of the seat and the location of the headrest.

Inside the guest rooms, Salmela considered the overall sequencing of the guest experience, including where a coat or coffee cup might be placed, providing a sliding door at the shower and toilet room to save space, and simplifying everything to focus attention back to the nature outside. Every decision was guided by the retreat’s value statement. Zimmer wants each guest to feel cocooned and almost suspended in nature. Each Pod provides a space for the body to rest and feel nourished and cared for by both the architecture and the way the retreat operates. Salmela values interaction with the critical eye of the client. At times the client’s questions can encourage the architect to “turn another stone” and think beyond what is already drawn. The client and the design team, including the landscape design team from Travis Van Liere Studio, were equally engaged in the pursuit to build something deeply connected to the community and the place. Even the name of the units was a collaborative enterprise with a naming competition held within the community.

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Figure 2.6  Exterior of Wild Rice Retreat at dusk looking toward Nest

Travel tips David Salmela fondly remembers staying at the Marksi by Scandic Hotel in Helsinki with windows that open, providing an acoustical connection to the city outside. Heidi Zimmer appreciates a variety of lodging experiences including the “water journeys” at the Fontainbleu Miami Beach, staying at Ojo Caliente near Taos, New Mexico, and the sleek modern lines of the Viceroy Hotel chain.

3 Rolling Huts OLSON KUNDIG

DOI: 10.4324/9781003284253-3

◀ Figure 3.1  Exterior view of Rolling Hut in the snow

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Figure 3.2  View of “herd” of Rolling Huts in the meadow

Many of my projects, including Rolling Huts, demonstrate contrast—the intertwining of public and private, inside and outside, enclosed versus exposed. Sometimes, there is even an element of risk, or daring, which is desired on the client’s part and intentional on my part. It’s about encouraging people to engage with their surroundings, but it’s also about needing contrast in order to have a complete experience. It’s the yin and the yang. TOM KUNDIG

Olson Kundig has grown from the small practice Jim Olson started in 1966 in Seattle, Washington, that was centered on the nature and culture of the Pacific Northwest. The work of the firm now includes work around the world, 250+employees, and the recent opening of an office in New York City. In 2005, firm principal Tom Kundig, FAIA, RIBA, designed a small 1,000 square foot cabin for Michal Friedrich, now known as Delta Shelter, on a wooded lot next to the Methow River in north central Washington State about halfway between Mazama and Winthrop, near the Lake Chelan National Recreation Area. Friedrich soon found that he needed guest houses for visiting friends and, in 2008, the Kundig-

designed Rolling Huts were placed to the west of the original cabin on the owner’s 40-acre parcel of riverfront land. The huts are now available for the general public to rent1 and are described as the “ultimate camping experience.” The six cabins, just 250 square feet each, are arranged in a “herd” formation, which spatially provides privacy, autonomy, and collectiveness to the guests. Each hut has an almost equal-sized private, covered Ipe-clad deck space, with views to Fawn Peak and Mount Lago, and east to the Cascade Range in the land of Okanagan.2 The little huts are lifted above the ground and flood plain of the river valley on a series of wheels – though they tend not to move. The elevation of the cabins is quite intentional and places them above the winter snowdrift depths, out of the summer bug plane, and gives better views of the mountains to the north all year-round while sitting lightly on the land. The “herd” is united by its proximity, arranged like a family compound, making you feel safe in this rugged landscape. This place of simple refuge mediates between the interior world and the natural outside world, inviting you to participate in the landscape. Kundig grew up in nearby Eastern Washington,

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which instilled in him a love of adventure and risk-taking. He wanted the huts to connect to nomadic culture, referencing roadside motels, while providing guests with a homelike experience that is a response to the immediate context. The materials are, as Kundig says, “tough as nails.” The exterior cold-rolled steel skin, applied to a steel and wood frame structure, is both durable and low maintenance – part of the project’s sustainability strategy. Interior side walls are clad with ACX fir plywood. This solid plane of the wood surface provides visual privacy from the nearby huts while the materiality recognizes the surrounding trees that are part of the mountain and riverbed landscape. Each cabin has plenty of glass to bring in daylight through the clerestory above the wood walls, at eye level to take in the big views, and through sliding doors to feel part of nature. The large deck allows you to be directly in nature during warm days, sheltered from the sun below the inverted pre-rusted steel roof. Cork flooring brings visual warmth and texture to the interior, and softness underfoot. The wood-burning Rais stove brings true thermal warmth – through convection, conduction, and radiant

Figure 3.4  Interior looking out toward the deck

heat transfer in the winter months – a necessity as the area can get 36 inches of snow in both December and January. While Kundig is known for designing houses that are very specific to both site and clients, he also appreciates the shift of thinking required when designing for unknown guests. Since you do not know who will be using the cabin or hotel room, everything needs to be designed to be simple to use, so that finding your way – and the light switch – is both legible and elegant when you have a lack of familiarity with the place. That balance between the rugged and human comfort, and between refuge and austerity, is what Kundig often seeks, regardless of project type.

Figure 3.3  Interior of Rolling Hut

Kundig recognizes that travelers especially need this refuge – a place that provides some level of certainty in an unfamiliar place. Travelers might have gotten lost along the way, or experienced some other chaotic event, and when they arrive, they might really need comfort, and a place to feel safe, protected, and quiet. Often Kundig might be that weary traveler himself and can be frustrated by encountering

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Figure 3.5  Exterior view in the snow at night

Figure 3.6  Floor plan and elevation sketches by Tom Kundig

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anything unnecessary. He believes in the beauty and poetry of functionality. He also believes that ultimately, the design of a hotel is not about the designer; it should be about the place. The architecture needs to be quiet with sensitivity and

Travel tips Tom Kundig recalls staying at the Amanyangyun in Shanghai, China in a room with a private courtyard providing an individual refuge within the dense urban setting. Olson Kundig is currently designing hospitality destinations in North America, Costa Rica, Asia and beyond, and an Alps spa hotel in a former military installation in Austria.

humbleness. It is the architect’s job to study the location and then to help others comprehend what they have gleaned about the place.

Notes 1 More info and reservations – https://rollinghuts.com/ 2 https://native-land.ca/maps/territories/okanagan/

4 Geneseo Inn ECOTECH DESIGN

DOI: 10.4324/9781003284253-4

◀ Figure 4.1  Exterior of units

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Figure 4.2  Section sketch hand drawn by Walter Scott Perry

Walter Scott Perry grew up on the East Coast, studied architecture with Louis I. Kahn at the University of Pennsylvania in the 1960s, and then worked in New York City. During the Middle East oil embargo in the early 1970s, he moved west to develop an architectural practice based on passive, solar design principles then being pioneered in and around Santa Fe, New Mexico. In addition to designing adobe homes, Perry collaborated and worked with laser physicists, engineers, and contractors in nearby Los Alamos to supervise the construction of the country’s first laserfusion laboratory. This motivated a decade-long search for, and the development of, the hybrid design concept that combines low-tech and high-tech systems using passive and human-made materials and methods of construction. He founded Ecotech Design in 2001, inspired in part by the emerging landscape of freeways, trucking, shipping containers, and global trade centered in Los Angeles at the time. In addition, Perry was inspired by Buckminster Fuller’s “whole systems thinking” philosophy in combination with the latest assembly-line, modular housing, and transportation technologies. Perry suggests that with increasingly diminishing natural resources, designers, engineers, and architects need to practice systems thinking.

A continuing interest in recycling and reusing increasingly affordable, accessible, and available shipping containers in architectural projects has an ongoing impact on Ecotech’s design strategies. While a company in China will now fabricate containers to any dimensions, most containers are 8 feet wide by either 20 feet or 40 feet long, for maximum flexibility in shipping via truck, rail, or freighter, meeting the specifications for international transportation. It is the space between adjacent containers and the spaces underneath and above that provide the greatest opportunity for design innovation. Perry is most interested in these interstitial spaces that link multiple modules together. The 400-square-foot units at the Geneseo Inn each incorporate a 12-foot high, 5-foot wide, and 20-foot long space between two 40-foot long shipping containers. This “light bar” introduces natural daylight and ventilation into and through the container guest room and bath throughout the day. As Perry says, “the light bar makes the dumb box smart” and allows the occupant to follow the sun, clouds, shades, and shadows in the sky throughout the day. In addition, the lifting of the steel container units above the open, shaded parking spaces makes the heavy object appear more lightweight.

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Figure 4.3  Aerial view of site

The adaptive reuse of the containers was a major reason county zoning officials quickly approved the project and its residential use in the heavily agricultural region of central California. Perry readily acknowledges that using shipping containers for habitable spaces can be problematic, mainly due to their limited, unvarying dimensions, difficulty in detailing, as well as their ability to comply with local and state building codes. He has successfully designed and built homes in California, and New York while, and also “educating” more than a few local, planning and building officials about this “appropriate technology” in the process. In addition, the winery property itself was also adaptively recycled from a former cattle ranch, thereby creating a restful retreat for enjoying food, wine, and nature in an immersive experience. For Perry, the site plan drawing, which shows the relationship of buildings to land – including the wind, solar orientations, site drainage, and access – is one of the most important early design documents. The site plan for the Geneseo was carefully integrated into the geometry of the landscape, including the irrigation trenches, roadways, as well as an existing 60-foot

tall live oak tree, which became a focal point for the several container clusters. Most wineries, including Cass Winery, sow vineyard rows approximately eight feet apart to allow for maintenance and watering equipment. That geometry matches the container widths, integrating the metal container with the scale of the landscape. The materials and components of recycled shipping containers, recycled corrugated metals, barn siding, and industrial materials found locally are part of the architectural vocabulary of the surrounding wine region. The selection of the materials was driven by environmental, performance, and aesthetic, as well as, cost concerns. The steel shipping containers were repainted to match the Cass wine bottle labels. Fireproof, recycled, and inexpensive cement board, often used as ceramic tile backer board, was cut into modules, painted, and mechanically attached to the “light bar” façade framing, with operable clerestory windows that introduce natural daylight and ventilation. The decking and stairs are Trex, a common, recycled wood fiber decking material.

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on the remaining areas of the 145-acre plot that are not already taken up by the growing of Cabernet Sauvignon, Roussanne, Marsanne, and other grape varietals. Having guests enjoy the Cass wine, from their deck, while taking in the views and scents of the place where the grapes are grown and harvested, is one of the original goals of the project that was achieved.

Travel tips Figure 4.4  Interior of guest room with 12-foot high “light bar”

The owner of the inn and winery is Steve Cass, who brings a hospitality focus to both enterprises to offer enhanced travel experiences for all guests at Geneseo Inn. In addition, their “Cass Camp” is a summer camp opportunity for adults to learn about archery, horseback riding, beekeeping, olive oil pressing, food, and of course, wine,

Figure 4.5  Interior of guest sleeping area

Walter Scott Perry admits that the “bridal suite” at the Geneseo Inn is one of his favorite lodging places and one people visit from around the world. Many travelers, postpandemic, have begun to consider staying at places that are deeply connected to their location. He believes there is an upside to travel with people beginning to care about attributes such as embodied energy, water resources, and food production in the places they visit.

5 Carpenter Hotel SPECHT ARCHITECTS

DOI: 10.4324/9781003284253-5

◀ Figure 5.1  View of main stair tower

Scott Specht worked with local developer John Davenport from AMS Commercial Real Estate on the one-and-a-half-acre site for several years, test fitting different programs, including office buildings and other mixed-use programs. Each strategy required working around the large Heritage pecan trees on the site, and an existing one-story union hall built in 1948 that served as Local 1266 Central South Carpenters Regional Council’s Union Hall until 2014. Once the development group settled on a hotel, a small hospitality group, The Mighty Union, became involved, bringing their experience cofounding the Ace Hotel Portland and in-house design leadership to the team. The property is now managed by Bunkhouse Group. The site, located along Lamar Boulevard just one block south of Lady Bird Lake, a short walk to Zilker Park or the Ann and Roy Butler Hike and Bike trail, is in a neighborhood adjacent to a light manufacturing area. An existing Quonset hut located across the street from the west face of the property and other similarly utilitarian structures of the area informed the material and structural palette of the project. The owner team, including architect Jen Turner, who previously worked with Todd Williams Billie Tsien Architects, was very excited about the direct materiality of the structure Specht proposed. They were also very supportive of the focus on outdoor living spaces, including open-air corridors leading to the guest rooms. Specht and the Mighty Union collaborated with Pharis Design, arranging the individual buildings and embracing the out-of-doors living in the Texas Hill Country. Austin’s Heritage Tree ordinance that protects large and significant existing trees on both public and private land led the team to design separate buildings, preserving more trees than were required. A small corner of the lot is located in the floodplain that necessitated water quality control and collection into a detention tank placed underneath the new parking garage structure. Oil field drilling pipes, which degrade after use and are often sold for scrap, were used to wrap the parking garage to provide visual screening and a trellis to support the growth of vines. A concrete structural frame supports three levels of guest rooms stacked above the parking. The walls are infilled with structural clay tile, from the 100-year-old dome kilns in D’Hanis, Texas. Specifying non-architectural grade concrete frame and a lower grade of D’Hanis block helped to meet the building budget and projects a “rough and ready” feeling. Clay tile blocks are also used to create ventilated screen walls at the pool enclosure and balcony walls. A new metal-clad Quonset

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Figure 5.2  Detail at back stair

hut was placed adjacent to the pool, providing a unique event rental space that references the history of the rapidly evolving context. The fiberglass panel-covered walkway links the hotel amenities within the lush courtyard to the guest rooms. An ample outdoor staircase, on axis with the pool, lawn, and Quonset hut event space, is emblazed with signage designed by graphic designer LAND and made by local artisans, animating the vertical circulation space. Additional signage was simply painted on building surfaces using a font style developed by the graphic designer. The project was more of a collaboration with the entire design team and owners, forcing the architect to be less singular regarding any decision. This gave more opportunity for experimentation and chance to be embraced. The mantra of “keep what is existing” helped guide decisions on interior materiality as well. The wood flooring in the restaurant and the corkboard and reception window in the lobby, for example, are all original. While the team had to petition to take down dead pecan trees, these

Figure 5.3  Restaurant interior

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Figure 5.4  Interior of guest room

were later milled and reused onsite to create the unique wood bar in the restaurant. Specht shares that designing hotels requires an understanding of the logistics of the appropriate mix for a specific locale, including the number and variety of types of rooms. At the Carpenter, each room type is visually registered on the exterior; the structural bays align with the room and balcony width. Every room has a private balcony, connecting it to the outside and the immediate environment, equipped with a clever custom solid sliding panel to block out light and noise for sleeping. Interior bathrooms are clad in deep blue tiles, providing richness reminiscent of the cooling waters of nearby Barton Springs, and in contrast to the warm terra-cotta-colored walls and gray concrete floors. Enameled panel countertops and bathroom accessories complete the bathing areas with ample hooks for towels, damp bathing suites, robes, and other traveler paraphernalia. The cabinetry and furniture were all custom-designed by The Mighty Union. The clothing storage area can be masked by a fabric curtain

and is specifically sized to allow a carry-on roller bag to fully open flat, obviating the need for unpacking.

Travel tips While Scott Specht hesitantly admits he can prefer anonymous hotels when traveling for business – and appreciates knowing what you are getting without negative surprises – however, when traveling with family, he looks for an experience he could not have elsewhere, such as the cave hotels in Matera, Italy. Specht shares that the Carpenter “is a new take on the idea of adaptive reuse that does not mimic what was existing, or create a bright line between the old and the new, but a stealth approach that merges all the parts into an urban collage that feels unforced and authentic.”1 His favorite Yelp review of the Carpenter says “This hotel looks like a prison designed by Wes Anderson.”

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Figure 5.5  Bathroom interior

Note 1 For Forbes magazine – https://spechtarchitects.com/work/ the-carpenter-hotel-specht-architects/

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6 Harmon Guest House DAVID BAKER ARCHITECTS

DOI: 10.4324/9781003284253-6

◀ Figure 6.1  Front door of Harmon Guest House

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Brett Randall Jones, a principal at David Baker Architects (DBA), is originally from Birmingham, Alabama. His interest in affordable housing was developed during his time at the legendary hands-on Rural Studio while a student at Auburn University. He followed this growing passion to the San Francisco Bay area offices of DBA, a well-known housing and urban design firm, where he is also, logically, in charge of their prototyping and fabrication studio, DBA Workshop. Like their approach to affordable housing, the firm’s approach to the design of a hotel often starts with deep listening and engagement with the community and local stakeholders, a framework that may be unusual in the hospitality industry but one they believe always makes the design better. DBA’s work, including this hotel, focuses on creating public spaces, connecting to the community, and centering sustainability. This design process, which DBA refers to as “communitybased hospitality,” while very interested in the guest experience, is also focused on making the surrounding town better by connecting to the culture and the people of the place. The lobby and roof deck are public spaces for guests and locals alike, allowing for organic connections between the two. Harmon Guest House features the only publicly accessible roof deck in Healdsburg, California. Jones notes that “Paolo Petrone and Circe Sher of Piazza Hospitality are always striving to create a project that is best for the overall community and making sure that the top priority is creating a hotel that produces a positive impact on the town.” The hotel is aptly named after Harmon Heald, the founder of Healdsburg who designed the town’s iconic central plaza as a gathering space. The team even worked with the California Department of Fish and Wildlife and local advocacy groups to restore the riparian habitat of Foss Creek, which runs through the back of the property, removing the invasive plant species, preserving native vegetation, and protecting the wildlife, including the endangered Rainbow Trout, Coho, and Chinook Salmon, and the Western Pond Turtle. Jones designed a new pedestrian bridge that crosses the creek from the back of the hotel and provided a quiet seating deck within the dense vegetation that buffers the site’s western edge from the traffic along Vine Street. This client is committed to sustainability, yet Jones notes that sustainability is part of the first conversations for all their projects. The design of this hotel was developed during the 2011–2017 drought, so water conservation was super important and prioritized from the beginning. The 16,000-gallon underground rainwater collection system supplies 100% of the needed irrigation in this LEED Gold

Figure 6.2  New pedestrian bridge with hotel beyond the trees

project. DBA has enlisted in the AIA 2030 Commitment1 and this project exceeded the 2018 benchmark, reducing carbon impact by 72%, with its resilient design and use of thermal mass, efficient openings, VRF and ERV mechanical systems, and robust thermal envelope. The building utilizes Type III wood construction, with a firstfloor concrete “podium,” to reduce both construction cost and use of carbon-intensive concrete or steel. The design team looked for surface materials that are authentic to the community, durable, and able to patina over time, often working with local artisans, fabricators, and artists to further support the community and reinforce the sense of place. Wood as the primary building material brings warmth to the interior and exterior spaces. All wood utilized in the project is Forest Stewardship Council (FSC) certified. White oak flooring and white washed maple privacy screens line the interior spaces. DBA Workshop, the firm’s in-house fabrication studio, custom designed and built the hickory furniture.

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Figure 6.3  Interior of guest room

Wind-felled elms were used for the casework and the reception desk was crafted from a large splitting eucalyptus tree. Textured concrete, made with as much fly ash as possible, is used on the interior and exterior, enlivened by the

Figure 6.5  Looking down on vegetated courtyard below

washing of daylight. Weathered steel provides a rich color. Local artist Cataline Marin created handloomed textiles and throws in the tradition of her southern Chilean roots to bring additional texture and softness to the spaces. Glass brings needed transparency for effective daylighting in the elongated rectangular guest room. The glassenclosed shower (with a sliding privacy screen) allows light to come deep into the space from the exterior glass wall. Reclaimed redwood slats, whose depth was refined through sunshade studies, help control solar heat gain into the rooms while allowing visual connection to the vegetated courtyard. Designing for the preferences of the unknown future guests can be a difficult exercise. The design team created a full-scale room mock-up to test and solicit feedback on how the room would function. One particular focus was making the light switching sophisticated enough to support different activities and preferences, yet easy enough for guests to learn quickly. Added circuits provide additional flexibility.

Figure 6.4  Window seat in guest room

Similar to its small-town context, the hotel supports a range of transit options. The design integrates a county bus stop directly into the front façade. Recognizing the important stewardship responsibility of hotels, human-powered mobility is prioritized with dedicated space for bike storage, complete with a bike valet, a bike garage for 50 bikes, and a fleet of 12 public bicycles available to guests for a quick spin around town. An inviting daylit interior stair tower draws guests away from the elevator and encourages walking, which further creates opportunities for social connections and guest interaction with strangers.

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Figure 6.6  Front of building at dusk

Travel tips Brett Randall Jones, AIA, recommends The Made in New York City, Timber Cove Resort in Jenner, California, and Hotel San Jose in Austin, Texas. For those traveling further afield, Jones says of The Slow in Canggu, Bali: “The hotel as a whole is beautifully designed, with open-air spaces that are filled with texture, pattern, and vegetation. But the rooms are particularly wonderful. The guest rooms use simple materials like concrete and stone, detailed in a way that is comforting and soothing. Perhaps most importantly, the exterior glazed wall opens completely out to a private and secluded pool of your own. In this climate and culture, your pool is your couch; that’s where you spend your time and it’s an incredible experience. The food there is also amazing!”

Note 1 The AIA 2030 Commitment is to design so all new buildings, developments, and major renovations shall be carbon-neutral by 2030. Firms may elect to sign the 2030 Commitment and agree to track and report data on the buildings they design.

7 Avalon Hotel KoningEizenberg

DOI: 10.4324/9781003284253-7

◀ Figure 7.1  Front elevation of Avalon Hotel

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Figure 7.2  Sketch by Hank Koning © KoningEizenberg

KoningEizenberg worked to knit together three different existing buildings, two facing each other across a street and the third accessed across an alley, to make a cohesive new whole for the Avalon Hotel. The 1947 Beverly Carlton

Hotel, is a three-story building containing 46 guest rooms, located on Olympic Boulevard. A smaller 16-room twostory building, built in 1953, is located on Canon Drive directly across the street. The third building, on Beverly Drive and built in 1961, contains 26 guest rooms within its five floors. The buildings are set in a rather picturesque neighborhood that is under-scaled compared to newer developments. Julie Eizenberg observes that it was an area where an aspiring starlet might live and the type of neighborhood that would be part of a Raymond Chandler movie. The strategy was to link to the mid-century building across the street and allow guests to feel that they aren’t travelers; they are trying out actually living in Los Angeles, California in a Beverly Hills neighborhood.

Figure 7.3  Sketch by Hank Koning © KoningEizenberg

To both fit in the context and tight construction budget, the architecture team worked with the materials that were found in place or referenced in the historic drawings of the original buildings. Eizenberg in particular loves the vertical wood slatted screen and the way the slats catch the light of the moving sun. New blue terrazzo flooring gave an expansiveness to the public spaces while referencing old Hollywood. The designers wanted to preserve how materials were used and allow visitors to appreciate the simplicity, the contrast of a line over a surface, and the

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Figure 7.4  Pool courtyard

authenticity of the era and its straightforward use of honest materials. An original mural in the front lobby that was badly damaged was reinvented to help bring the spirit back to the lobby. Some rooms were shifted and new larger (and accessible) bathrooms were relocated but largely the guest rooms stayed in the original configuration and received new finishes and furnishings. The rooms were already amply sized in the main building, some are 250 square feet and others are up to 400 square feet, with a few even larger suites. Finding enough place for guests to put their belongings was a struggle and this was the first time the designers considered if guests wanted to fully unpack their clothing. They collaborated with the interior designer, Kelly Wearstler, on what was then her first hotel project with husband developer Brad Korzen. The architectural team focused on the spatial sequence and key moves, as well as the pool and bathroom redesign, while the interior design team focused on guest room finishes and furniture selections throughout.

The original guest rooms had rather large existing windows with plentiful light so the design focused on how to provide adequate shade and more privacy by modulating the interface between clear vision glass and the public. More natural light was introduced into the low lobby space, located at the corner of Olympic and Canon. The original elevator faced the front door and blocked views of the pool courtyard. By moving the elevator to the west, both vertical circulation and pool access were provided closer to the front desk, opening up the lobby and new lounge spaces visually to both the street and the internal courtyard. The pool courtyard is also enclosed by the dining room along one side and the pool cabanas on the west. The new elevator was made into a sculptural feature, recalling the shapes and angles of sculptors of the mid-century era. While the circulation adjustments in the public space were handled rather easily, the real trick, Eizenberg recalls, was bringing air-conditioning into the eight-foot-tall lobby. This was accomplished by bringing in higher velocity of air flow in smaller diameter rigid ducts, a necessary compromise of offsetting the acoustic disruption caused by rapid air movement for thermal comfort upon entry.

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Figure 7.5  Dining room looking toward the bar

While sustainability is always part of KoningEizenberg’s work, the frugality of the original buildings, built after World War II, really led the way. The sunscreens and operable windows were already in place, with cross-ventilated rooms providing thermally comfortable spaces designed before the days of universal air-conditioning. The project’s tight budget required that what was already working to not be messed up. Saving buildings, and reusing them in new and inventive ways, is one of the most sustainable strategies available, and is part of all of the hotel projects the firm has designed, such as the Standard DTLA, Best Western Hollywood Hills, and Beverly Laurel Hotels. Here, they worked to be both intuitive and practical in the renovation. For Eizenberg, it is essential to get the informality and welcome right in a hotel. While all their work starts with organization of spaces and the sequences of shared spaces, in a hotel, designing the spaces for comfort needs to be layered in early. The work always focuses on the main idea, helping inhabitants recognize that they are in a real place and are connected to it, making sure that the environment reinforces those main ideas and moves beyond mere ornament. Figure 7.6  Exterior seating area

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Figure 7.7  Roof deck with sunshade

Travel tips Julie Eizenberg’s top five hotel needs include light, view, privacy, fresh air, and quiet without mechanical noises in the room. If that can be elevated with a distinctive personality and sense of craft, she is happy in a hotel room. Both Viroth’s Hotel, in Siem Reap Angkor, Cambodia and the RASS Jodhpur were able to accomplish all of those preferences. She hopes that well-designed hotels bring authenticity of the place to the visitor while also bringing access to good design, broadening the reach of architecture to more people.

8 The Revolution Hotel

PCA/PRELLWITZ CHILINSKI ­ASSOCIATES

DOI: 10.4324/9781003284253-8

◀ Figure 8.1  View of The Revolution Hotel from street

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Figure 8.2  View of lobby with stair and innovation tower in background

Prellwitz Chilinski Associates (PCA) was founded in 1982 and has grown from a staff of four to over 70 architects, interior designers, planners, and collaborators whose work includes multi-family housing, retail and mixed-use, higher education, and hospitality projects. Dave Snell and Jillian D’Amato led a talented team on The Revolution Hotel, the firm’s first hotel project. They describe the experience as both scary and intensely fun. The multi-disciplinary design team included art and design consultants Adam&Co, Provenance Hotels, as well as local artists and makers. This adaptive reuse of a 1950s-era YWCA dormitory building was balanced with the client’s dream to “celebrate all of Boston’s innovation.” The team worked to infuse elements of the story, balancing respect for the legacy of the mid-century building with a celebration of the city’s many firsts learned from researching the inventions, social movements, and local people who changed the world. The design team also understood the importance of collaboration with the owner and operator in creating a special experience, recognizing that architecture cannot do it all. The programming of the spaces and how the hotel is operated complement and complete the design. The team from

Provenance Hotels spent time canvassing the city looking for any missed potential experiential opportunities. After a week of staying in a different Boston hotel each night and eating at a different restaurant for every meal, the team recommended pivoting the lower-level programming of the hotel to include a coworking space, the first associated with a hotel in the city. The existing building, located in the South End of the city, was more of a background building before the renovation, something you might walk by and never really notice. The team worked to transform it into a welcoming and exciting place, which is now engaged with the street and community. The lobby beckons guests and locals in. A once walled-off private courtyard was opened up and a new restaurant activates the space. A new walk-up window serving coffee provides a literal human-scaled connection through the wall, directly to the street. Placemaking such as this is a vital part of the architecture firm’s values. The hotel lobby is anchored by the large Innovation Tower showcasing items invented in Boston, Massachusetts. Created in partnership with local artists The Individuals Collective, the design features an assembly of objects painted matte white.

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Figure 8.3  Interior of guest room with bins below the bed

The sculptural piece is contrasted by a large custom mural featuring notable Bostonians by artist Tristan Eaton that brings a fresh energy to the public spaces of the lobby that now serve as a community hub. The design team worked diligently to reference elements of discovery throughout the hotel at many different scales. The guest rooms feature scenic artwork by local artists, including Washington Allston’s paintings that showcase song lyrics from iconic local musicians. The designers also wanted local visitors to the hotel’s restaurant and public spaces to see something unexpected – obscure firsts are integrated into the custom wallcoverings of the lobby restrooms. Every detail of the hotel’s design focused on creating something so deeply rooted in the place that it could only be in Boston. The project also included unique challenges, such as how to buffer the sound from the bustling city below. New windows were prioritized to provide comfort and sound control. While these brought in ample light to the small

rooms – the rooms average just 125 square feet – they also complicated the design by creating the need to eliminate light for sleeping. Through an onsite process of trial and error, the team developed casework and custom fillers to fit the black-out rolling shade in an old building where nothing is straight and plumb. They designed many of the hotel details in the field and learned to embrace designing “on the fly” as they never knew what might be discovered. The hotel’s materials palette aims to create a backdrop to the historical elements. Navy blue, walnut, and brass – colors and materials that were classic 100 years ago – connect to the grandeur of the building. Wood is used throughout the interior of the building. Walnut in the public spaces pays homage to the original mid-century building. Oak was selected for its durability and lower cost for use in the guest rooms. Custom-designed, boldly patterned carpet distracts from the chaos of the exposed conduits

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Figure 8.4  Interior of guest room with desk and gear wall

running along the concrete ceiling. While the innovation of Boston was celebrated throughout, the designers were also strategic in the placement of art and layered light to bring a cozy, warm, and welcoming feel. The spaces serve as an invitation, setting the scene, with graphics unifying the entire hotel. When the team first tried to define the target demographic for the hotel, they realized what they were offering was connected to a specific mindset, not to a specific age group. The hotel is oriented toward the curious experiential traveler, who wants more of an experience from a short stay. Due to the variety of compact rooms – there are 41 different room layouts – and its compelling price point, the hotel is now heavily

visited by both families and younger generations of business travelers. The small room size, with its limited floor space, dictated providing nooks for suitcases, with “gear walls” instead of closets, and a clever sliding door to the bathroom that closes off the sink area. The designers studied how a guest might get ready in the room, with the bath down the hall, so canvas bags were commissioned from local makers to provide bath totes and under-bed storage bins so the guest rooms could be functional and flexible. This is a place of exploration, where the excited and curious traveler, with their antennae up, could wander. D’Amato also wanted to create a place her parents and friends would want to stay; one that is timeless and comforting but also fun without being too trendy.

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Figure 8.5  View of exterior courtyard at dusk

Travel tips Jillian D’Amato enjoys the Dewberry Hotel in Charleston, South Carolina – it is elegant without being stuffy. Dave Snell is now learning to travel well with children. Both D’Amato and Snell are always looking for hotels that make good design accessible to all.

9 TOURISTS HANK

DOI: 10.4324/9781003284253-9

◀ Figure 9.1  Aerial view

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Henry Scollard, the founder of HANK, is originally from Detroit, Michigan, was educated at Tulane and Princeton and worked in Boston, Massachusetts, with larger firms for many years. Originally, he thought this hotel project would be a springboard to private practice and now he works full time with TOURISTS to expand what has become a very popular destination. This was the first hotel project for both Scollard and the clients; he admits they were all relatively naïve and the team learned together. As his relationship with the client has now expanded to working with them full time, the project began first as a renovation to an existing 17-room former truck stop motel, before gradually expanding. Scollard describes the existing motel as “a place close to the road, to crash for the night.” Each small room had only one window in the back and it soon became apparent that the building would need more than a small renovation. During early site investigations, the project scope grew. Now the hotel includes 48 guest rooms set on 50 acres in the Berkshires of north western Massachusetts, in North Adams and within three miles of Mount Greylock, MASS MoCA, and the Clark Art Institute. The hotel design intentionally plays off of the differences between hotels and motels and seeks to find the balance between public and private, movement and stasis, and the familiar and the new. The popularity of the hotel has initiated a new series of amenity buildings and suites to be added and the renovation of an existing church into an event space due to the demand for weddings, corporate meetings, and other gatherings. The carefully orchestrated arrival sequence starts with the white gravel in the parking lot. The soft texture and sound of gravel under the car tires brings back memories of family road trips and are a cue that you have arrived. After checking in at the lodge, visitors walk through the main portal from the outside deck, along the edge of the long linear hotel building that acts as a wall, revealing and protecting the interior precinct. Landscape architecture firm Reed Hilderbrand worked closely with the architect to sculpt the site, connecting the central courtyard to the ten-foot drop below the level of the road, creating a space of quiet stillness and separation from the external world. While the old truck stop motel was no longer viable, there were other ways to transfer some of the property’s history. To convert the anonymous circa-1962 existing ranch house into the lodge and gathering space, they gutted the house and built a steel frame around the exterior in order to preserve the

Figure 9.2  Lodge with fireplace

aged, patinaed interior and wood-framed structure, turning the space inside out and allowing the age of the lumber surfaces to be apparent. Repurposing the lodge and farmhouse helped reach the aesthetic goals of the project, reflecting the agricultural legacy of the place and allowing the new modern forms to be rooted in the rustic, rural, mountain charm of the area. The old farmhouse, originally built in 1813, now the bar and restaurant, was like a time capsule of construction. It had also been used as a small mom-and-pop owned motel with four guest rooms on the second floor, serving travelers from the nearby small regional airport. The design team found neon signs that read: “The Airport Rooms Tourists Welcome,” had them rewired, and named the hotel TOURISTS and the bar and restaurant “The Airport Rooms.” Julie Pearson, the interior designer, added other vintage finds from local thrift stores, helping connect to the area’s history. Owner Ben Svenson found vintage postcards that are added to the curated artwork and array of memorabilia from the area that help the guest rooms act like a series of little galleries. The new guest room buildings with a galvanized corrugated metal roof turn their back to the road to block noise and visual distractions from the road and embrace the outdoor court. The exterior walls and decks are clad with white oak, allowed to turn gray or really dark, depending on its exposure. The landscape beyond is immediately discernable, visible through the window that is on axis with the entry to the room. For Scollard, the surprise and delight of being instantly connected to nature helps define this place as an antidote and in contrast to modern urban life. Large north-facing windows in each room bring in ample daylight

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vaulted ceiling. The plywood bed also hides the air supply from the all-electric HVAC system; the millworker created custom perforations in the plywood platform to allow for mechanical ventilation. All of the artificial lighting was also very deliberately designed to use indirect lighting sources to create a more intimate feeling space. Wall sconces placed on both sides of the bathroom mirror to evenly light faces include custom-built plywood light filters handmade by the finish carpenter to achieve the precise level of lighting.

Figure 9.3  Window seat looking at forest beyond

and visual connection to the landscape. The desire for an uncluttered feel that is at once spartan and relaxing led to the materiality of the new buildings. The simple palette of gypsum board walls with a reveal where they meet concrete floors provides a clean, almost gallery-like look to the rooms. The oversize headboard, built of birch plywood, sanded and sealed for durability, conceals lighting that illuminates the

Figure 9.4  Interior of guest room

Scollard believes a great hotel stay often goes beyond the physical environment to include some intangibles, such as the check-in process, perhaps an aura of mystery, and even a playlist that might change according to the time of day.1 He considers hotels to be in the entertainment business and should provide shelter along with delight and joy and that both the architecture and the hotel operations must be engaged with the specific locale. Thoughtful details like portable rechargeable lanterns, the outdoor shower, and timely delivery of a wood box with breakfast treats add memorable moments throughout the stay.

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Figure 9.5  Bathroom sink detail

Figure 9.6  Exterior of gallery rooms at dusk

Travel tips Henry Scollard recommends The Jane Hotel in New York City. It is an old sailor’s home2 with tiny rooms, most with shared baths, in which you feel like you are on a ship with everything efficiently laid out. It can make you feel like you have gone back in time.

Notes 1 The hotel ownership includes John Stirratt, the bassist for the band Wilco. 2 The American Seaman’s Friend Society Sailor’s Home was designed by William A. Boring and completed in 1908. The survivors of the Titanic stayed there in 1912.

10 AutoCamp Joshua Tree HKS NARRATIVE DESIGN STUDIO

DOI: 10.4324/9781003284253-10

◀ Figure 10.1  AutoCamp Joshua Tree Clubhouse with bike in front

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Figure 10.2  Clubhouse interior

Neil Dipaola, CEO of real estate firm Mesa Lane Partners,1 started AutoCamp in 2012 in Santa Barbara, California, with the purchase of a recreational vehicle park. The mixed-use and affordable housing project, intended to increase income on the real estate investment, included six Airstream trailers that had been renovated to serve as low-income housing. The units proved to be so popular that they began to be rented out on Airbnb. While the original rental unit project is now closed, it led to finding investors and hoteliers for AutoCamp, starting with AutoCamp Russian River, and also having an exclusive hospitality deal with Thor Industries to develop Airstream hotels. Joshua Tree is the fourth AutoCamp location to open, with more to follow, often sited in areas that connect to important sensitive landscapes. Their approach is to build as lightly on the land as possible, with lodging provided in custom-designed Airstream trailers, tiny cabins, or canvas tents that are supported by a modest Clubhouse building. The design of each Clubhouse incorporates the local vernacular and provides a central gathering place where the staff deliver local programming and

share the history of the location with guests. Front desk staff know the trails and can unfold a connection to the landscape for each guest. The hotel seeks to appeal to a wide variety of guests, including retired backpackers or families that have never been camping, and provides a curated case that includes campfire cooking essentials. Local experts share information by the fire pit and there are yoga classes and bikes for guests to use. Joshua Tree is located in the Mojave and Sonoran Deserts, north of Palm Springs, on land first occupied by people of the Pinto Culture, followed by Cahuilla, Chemehuevi, and Serrano communities. The area became a National Monument in 1936 and National Park in 1994. The Clubhouse design blends mid-century modern elegance with rustication, reflecting the artistic spirit of Joshua Tree, including pottery referencing the indigenous people of Cahuilla and Mojave. The clubhouse and private meeting space were designed by HKS with interiors designed by Shannon Niehenke of Narrative Design Studio. The inspiration for the Quonset hut form came from AutoCamp and was derived from the work of

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Figure 10.3  Clubhouse lounge at dusk

assemblage artist Noah Purifoy, whose large-scale sculpture work is permanently installed on a ten-acre tract nearby.2 The three new volumes are a sculptural assembly of forms in the desert, clad in Galvalume, stucco, thermally modified pine by Thermory, and large stationary vertical pine sunshade fins. The interior of the curved ceiling is lined with a hemlock system from 9Wood that brings warmth to the durable spaces while visually tucking away light fixture connections and sprinkler heads. The concrete floor required multiple mockups to get the integral color mix right, and white-washing the Baltic plywood millwork helps elevate the utilitarian material. Local fabricators were brought in to build the millwork and furniture and celebrate the artisan traditions of Joshua Tree. Will Spurzem, who practiced architecture in the San Francisco Bay Area designing custom homes for 12 years before joining AutoCamp, states that all hotels must be designed for a wide range of customers, and in a project like AutoCamp, the additional variable is providing for a range of guest familiarity with camping and being outdoors. Some guests are seasoned outdoor experts looking for an easy luxury experience, while others who are completely new to the lifestyle might need

a bit of coaching on s’mores techniques. Spurzem says, “We want guests to create some great memories and if they haven’t been camping before, to leave with a few new ideas about how to leave no trace, embrace nature, and hopefully encourage them to do more.” The team works holistically to be sustainable in terms of site design, including reducing grading and the disturbance of the land, preserving trees at all of their sites, and using a closed loop wastewater system that preprocesses the water. At the level of the Clubhouse and guest units, they design for passive thermal control with deep overhangs, and use low-flow toilets and all electric appliances throughout. Joshua Tree includes a solar awning over the lounge area, dark sky compliant lighting, and native plantings, with a focus on durability and flexible spaces. While the exterior of the eight-and-a-half-foot wide customdesigned Airstream trailers has the typical metal cladding, the interiors include natural finishes. Countertops are quartz surfaces, cabinets are faced with walnut veneer, the flooring is real wood, and the bathrooms have full tile walls with natural stone Calacatta tiles extending to the (slightly rounded!) ceiling.

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Figure 10.4  Interior of sleeping area in custom Airstream trailer

Figure 10.5  Firepit, outdoor table, and Airstream trailer at Autocamp Joshua Tree

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The units were designed for comfort with plenty of hooks, an open area under the bed to store luggage, drawers for clothing, hanging space, and even a ventilated boot cage to place muddy hiking boots out of the way. The trailers also have custom-designed windows providing plenty of breezes, daylight, and a beautiful view from the bed when you wake up.

Travel tips Will Spurzem shares that one of his favorite hotel rooms is at the Capitol Hotel Tokyo in Japan. “The hotel was designed by Kengo Kuma, and his attention to detail is extraordinary. The rooms are flexible, can be private, and surprising. I have never left those rooms wanting anything else and the attention to detail takes a few visits to fully appreciate.”3 Shannon Niehenke looks for unique memorable places when traveling, such as the La Luna suite at La Valise in Mexico City, which features a round room divider between the sleeping area and living area, where she felt like she was in a friend’s apartment. Mark O’Dell, principal at HKS, first requires comfort and cleanliness and recommends the Hotel Kanra in Kyoto, Japan. Both acknowledge that how you are treated as a guest can transcend the less than perfect.

Notes 1 Dipaola, in addition to being CEO of AutoCamp and a trustee of the Dipaola Foundation, has a Bachelor’s degree in Environmental Science and Public Policy and Ethics from UC Santa Barbara. 2 Airstream trailers began production in 1930, stopping production during WWII, then sales increased after the first “caravan” in 1951. Quonset huts were introduced in 1941 and were manufactured by George Fuller for the U.S. Navy. While one closed down and one got started in response to the WWII effort, they share lightweight mobility. 3 Interview with Will Spurzem, August 17, 2021.

11 Kinship Landing

ECHO ARCHITECTURE + INTERIORS

DOI: 10.4324/9781003284253-11

◀ Figure 11.1  Interior of coffee bar and lounge

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Ryan Lloyd moved back to his home state of Colorado, after working in Portland, Oregon, just months before the recession of 2008 hit. His new employer closed down the office, which offered Lloyd the opportunity (or requirement!) to take the leap and start his own practice. His firm, Echo Architecture + Interiors, has been steadily building a market in Colorado Springs, Colorado, for design that focuses on infill or adaptive reuse projects. His clients for this hotel project, Bobby and Brooke Mikulas, had recently traveled the world together for a year, experiencing “outrageous hospitality” while connecting to the places through people, food, and experiences. Kinship Landing was born out of their desire to change the model of hospitality and connect to the local community in a powerful way. Their first conversations started in 2015, the land was purchased in 2017, and then the hotel opened in March 2021. Along the way, many hurdles and lessons attempted to get in the way of the big “pie in the sky” dreams, yet the persistence of the clients carried them through. The owners – the most tenacious clients Lloyd has ever worked with – are now like family to the architects; they bonded through the struggles of construction and a common desire to positively impact their shared community and region.

Figure 11.2  View of camping room

The new four-story, largely stucco-clad rectangular building has a long front porch that quietly contributes to defining a pedestrian zone along one side of the street edge in downtown Colorado Springs. The hotel has a compact footprint, in part due to its limited budget. This required intentionality for every decision, often a delicate balancing of the impact on cost, longevity, and functionality.

from the organic bedsheets – which you can directly order from the hotel store to recreate the experience at home – to the alder wood wall, ceiling, floor, and built-in furniture surfaces. The texture, warmth, and beauty of the natural materials create a comfortable, healthy, and warm “homelike” space.

The hotel is deeply connected to the place through local makers and holistic connectivity through its guest room types, which range from a suite with a balcony, a large overhead door, and even a soaking tub in front of a gas fireplace to a shared dormitory room. The hotel even includes a “camping room”1 that helps would-be campers try out and prepare for spending a future night in the real wilderness. Many of the guest rooms are smaller than 200 square feet; every square inch needed to be designed intentionally because they did not have room to waste. They designed for every detail, including cubbies for shoes, locations for toothbrushes and cellphones, and then shrunk the room size by 25%. Every touchable interior material is natural,

Figure 11.3  Bathroom sink in guest room

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Figure 11.4  Interior of king guest room suite

The firm’s work focuses on light and air, celebrating the amazing climate in central Colorado, where it is often warm, sunny, and dry with few bugs to get in the way of enjoying clear openings and fresh air. Colorado Springs boasts a climate that is easy to connect to. The design focuses on bringing not only light deep into the interior spaces, but also natural ventilation to promote building occupant health and limit dependency on fossil fuel-burning mechanical and electrical systems. Originally, each guest room had been designed with giant overhead doors but to reduce construction costs, many became large sliding glass doors, bringing liveliness to the front facade and promoting that indoor/outdoor Colorado lifestyle. Sustainability issues are important in Colorado and the approach of the design team was to reduce the use of resources. The entire operations and economics of the hotel are also strongly tied to sustainability. The operations team is trained to encourage limiting the use of electricity and water, and the hotel allows guests to be comfortable in many spaces without using mechanical ventilation and HVAC.

Early conversations with the owners focused on what is most important to their future guests. This included a lot of data gathering about the various sizes of luggage and backpacks guests might have. They started with hand sketches of ways to accommodate baggage before the first full-scale mock-up of a standard suite was built with tape and cardboard. It was so important to the team to get everything correct. The three-dimensional computer model provided the shop drawings for Garrett Brown Designs to fabricate full-scale wood mock-ups of the millwork for each repeated room type. This allowed the team to sit on the beds and more fully test the furniture. Each of the prototypes lives on in one of the rooms, with minor adjustments made to the repeated editions of each piece, such as a clever bench design with open luggage storage below the seating surface. To integrate hospitality into the local culture, the hotel’s bar and restaurant are local hangouts, adorned with local art and artifacts, where locals typically outnumber hotel guests. The concierge, integrated in the restaurant bar, is deeply

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Figure 11.5  Headboard and built-ins for traveler gear

in-tune with local culture and able to recommend local breweries, distilleries, and hiking trails. The hotel’s “discovery center,” with its digital screens and printed maps, is open for anyone to use to help get oriented and outside to enjoy the wilderness or the city. In fact, the staff is specially trained to get you out of the hotel. Getting connected is aided by having ample storage for guests’ gear with a bank of storage lockers, with bike and kayak storage areas – elegantly supporting active travel.

Travel tips Ryan Lloyd readily admits that cost is usually the first factor when considering a hotel stay with his family while also wanting an experience that is directly connected to a particular locale or landscape. He enjoys stays at Arcosanti, the Paolo Soleri-designed community in central Arizona, with its cast artwork in the concrete enclosure, a wall of glass through which to watch the sunrise, and absolutely no extras!

Travel tips When Kinship founder Bobby and Brooke Mikulas traveled on long journeys, they averaged 10 days in one lodging location. They recommend avoiding one-night stays in any lodging spot. Staying two nights allows you a place to store your gear instead of repacking and checking out every morning. It also helps you to slow down and savor the place you are in, reduces the temptation to rush, eliminates energy spent on logistics, and helps you rest and relax. In addition, the less you move, drive, fly, and require a change of sheets and towels, the smaller the environmental impact of your travel.

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Best review from booking.com This was my second stay here, (I) came back because I love the super friendly staff, cool vibe, great location, easy and smart check-in process, well-designed functional and beautiful rooms, etc. I could go on. This is my ideal hotel.2

Notes 1 The “camping room” includes a “Bluetooth speaker connection, a flat turf camping surface, heated bathroom with sink, shower, and toilet, towels, soap, running water, views of Pikes Peak and the Front Range,” and a regular hotel room door with a lock. 2 https://www.booking.com/hotel/us/kinship-landing. html#tab-reviews

12 Eaton DC

CallisonRTKL GACHOT STUDIOS PARTS AND LABOR DESIGN

DOI: 10.4324/9781003284253-12

◀ Figure 12.1  View of reception desk

Eaton DC opened in downtown Washington DC near Franklin Square in 2018 and is the first Eaton Workshop in the United States.1 CallisonRTKL worked to redesign the hotel and workspace, starting with the existing structural system, reworking of the rooftop pool area, and integration of new public spaces, two full-service kitchens, three bar spaces, meeting rooms, and artist workspaces. Christine Gachot of Gachot Studios designed the guest rooms and the public areas including the lobby, Allegory – the cocktail bar reminiscent of a speakeasy – and Wild Days, the rooftop bar. She formed Gachot Studios with her husband and partner John Gachot ten years ago, after a decade of learning firsthand about the hotel development business with André Balazs Properties. Gachot understands the importance of collaboration between everyone on the development and design team. Jeremy Levitt of Parts and Labor Design focused on the wellness center, workspace, restaurant, cafe, and cinema. He founded Parts and Labor Design in 2009, bringing his industrial design background to retail, hospitality, and residential projects. Eaton DC is more than a hotel for tourists and guests. It includes work spaces for members and collective spaces for locals. The purpose was to build a community and have multiple platforms under one roof. Founder Katherine Lo intends to use hospitality for social change by providing spaces for dreaming of a utopia. The hotel is striving to make a cultural movement, not simply a brand, that can be impactful and transformative. For Lo, the design, architecture, and operations teams all need to work together, and she also worked with Sagmeister & Walsh on the brand’s design identity. While all Eaton hotels share an ethos and guiding principles, each location is unique. The DC location was inspired most directly by suffragettes, civil rights, and environmental movements. Lo’s vision is to “Reimagine hospitality as a way to create a better world, by turning our physical and digital spaces into platforms for creativity and social and environmental impact. We designed our spaces to be purposedriven for the collective and a Third Place for kindred spirits. Eaton DC is our flagship location in DC and is inspired by the historic political movements that struggled for equity and progress.”2 The existing building, which most recently was a Four Points Hotel by Sheraton, previously served as a printing press in the 1940s and a bus station in the 1960s. Early on, the design team looked at the 1920s-era bus terminals in Switzerland as well as California wellness retreats, such as Green Gulch Farm Zen Center, to blend the hotel with community and wellness, and to draw on modern design inspirations. This new experiment in hospitality doubles as a center for progressive causes serving as a live-music venue, a cinema, artist studios, and host to other activism-oriented events. Flow, activation, and flexibility in

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Figure 12.2  Entrance and radio station window

uses are especially important in art curation. Often the doors are opened to the street, such as when the two-channel video installation BLKNWS, by artist and filmmaker Kahlil Joseph, was unveiled on June 17, 2019, fresh from the 2019 Venice Biennale. Inspired by the East Village Radio Station, which was a local institution in New York City with a window directly to the street, Parts and Labor designed Eaton RADIO, a community-based radio station in the “found” space under the stairs. To the side of the lobby, The Library is curated by Teaching for Change, a local social justice non-profit, that includes books on art, music, philosophy, environmentalism, and politics. A hidden door in the library leads to Allegory, the “speakeasy” bar, which includes local artist Erik Thor-Sandberg’s Alice in Wonderland–inspired mural featuring civil rights icon Ruby Bridges. The lively rooftop bar Wild Days includes an intricate mosaic wall by artist Zoe Charlton alluding to the collapse of colonialism. The guest rooms have a more residential feel, with wide-plank white oak flooring, walnut veneer wood panels and trim on walls, and oil-rubbed bronze accents. Custom-designed furniture and millwork are outfitted with record players, vinyl records, current publications, and locally made artwork. The generous space and accommodation allow guests to fully unpack for extended stays. Details such as the customdesigned and hand-dyed Indian wool dhurrie and kilim rugs, two-tone warm palette painted walls, and colorful imagery bring additional warmth and comfort to each room. The focus on the triple bottom line of people, planet, and profit always prioritizes holistic sustainability in this LEED Gold-certified project that includes rainwater harvesting, an aerobic food waste digester, and sustainably sourced materials. The activist agenda of the hotel extends even past the duration of a stay. The hotel’s follow up survey inquires if your time at Eaton DC encouraged you to become more active in your local community – connecting your stay at Eaton to local purpose driven causes.3

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Figure 12.3  Wild Days rooftop bar

Figure 12.4  Guest room interior

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Figure 12.5  Guest room vanity

Figure 12.6  Exterior view at night

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Travel tips Catherine Gachot shares that The Greenwich Hotel in New York City is her go-to luxury staycation spot. Additionally, she loves that the team at Ett Hem in Stockholm makes hotel goers feel like a guest in their home. She says there is nothing that either property will not accommodate; their service is remarkable.

Eaton DC hotel review from a guest Effortlessly disruptive: Eaton’s purpose-driven mission is present in every detail of its interiors and dynamics, yet it all feels natural and sophisticated.4

Notes 1 Eaton Hong Kong and Eaton DC both opened in 2018. Other Eaton projects were paused due to COVID. 2 https://www.eatonworkshop.com/media/wupn5sgw/ eaton-dc-sales-overview-2022.pdf 3 Each guest is asked “Has Eaton expanded your interest in social impact and community-building activities?” after their stay. 4 https://www.ahotellife.com/hotels/eaton-dc/

13 Hutton Brickyards

KRISTINA DOUSHARM ARCHITECTURE

DOI: 10.4324/9781003284253-13

◀ Figure 13.1  View of guest cabins

Kristina Dousharm of KDA studied architecture at Pratt Institute, and after living in Brooklyn moved to Red Hook, New York, and opened her practice in 2014. While she originally named her firm, using her unique last name to help distinguish herself, they now go by the acronym KDA. The firm is a truly collaborative, open office of ten people, with little hierarchy, and a wide range of projects. KDA has been working at Hutton Brickyards for four years and their role and the project have evolved from site planning to the restoration of a historic building. The developer, Karl Slovin, grew up nearby and had been looking for a property in upstate New York. While the newly incorporated Edgewood Mansion, which has been renovated into 12 guest suites and an all-season bar and restaurant, reflects the area’s domestic history, the land was also a working landscape. The site contained the clay deposits and the Hutton Brick Works Company, one of many brickmanufacturing plants located along the river, that was in operation from 1865 until 1980. Hutton bricks were used to build part of Yankee Stadium, the Cloisters, and the Empire State Building – all in New York City. Typically in this area, freight trains run along one side of the Hudson River and passenger trains are on the other; the rail lines are usually placed between people and the water’s edge. At Kingston, New York, the train track comes directly into the town, and this is one of the few properties that sit directly on the Hudson River without a train track between it and the water. Many of the old manufacturing buildings on the 76-acre site, such as the train engine repair room, have been transformed into event spaces. A Lidgerwood crane, moved to the site in 1940 to more easily transfer bricks from the factory onto the river barges for their trip to the city, now stands as a sentinel, keeping watch over the still active river. After a lengthy EPA remediation process, the pavilions were opened as an event venue (and hosted two Bob Dylan concerts), and summer of camping was provided in tents

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set up on platforms. Slovin started planning the overall site, evaluating how best to allocate the amazing spaces that connect directly to the river. More permanent lodging plus additional amenities were needed, as was space for back of house work, food, and beverage. Slovin’s idea for cabins developed as a way to improve on the tents in terms of privacy and all-year usability, yet they still feel minimal and allow guests to wake up looking directly at the river. The exact location of the cabins was laid out on the site multiple times and adjusted to get the right views balanced with privacy. The final arrangement is an extended horseshoe shape with smaller groupings of two or three cabins, which happen to be “socially distanced” at exactly six feet apart with no shared hallways.1 Much of the site is built on rejected bricks with just about an inch of topsoil, necessitating a cost-effective foundation system. The use of helical piles, located and drilled precisely by a robot following GPS instructions, caused minimal site disturbance, is very accurate, and can be installed without weather or inspection delays. Twenty of the cabins were site-built using wood truss frames for lumber efficiency, with sidewalls that extend to focus the view and provide more privacy between units. The wall extensions also define the small front porch and a deeper riverside porch. Exteriors are clad in dark stained board and batten siding, designed to blend in with landscape, and dark metal roofs match the existing factory buildings. Inside, a mahogany ceiling extends to become the soffit and the interior pine floor is stained to match the pine decking; both help extend the view through the wall of glass out to the river. When more lodging was needed due to the hotel’s popularity, they utilized custom cabins built in Wisconsin and driven to Kingston to be placed on site. The site also includes an existing building that was renovated earlier by Thomas Wright of Atlas Design, to become a two-bedroom cottage. Renovated event spaces and an Airstream trailer “larder” that sells drinks, snacks, and a curated collection of books

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Figure 13.2  Back porch of cabin with guest looking at river

Figure 13.3  Interior of cabin with glass wall and view of river beyond

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Figure 13.4  Interior of cabin sink and stereo cabinet

Figure 13.5  From interior of River Pavilion looking at event pavilion, river, and crane beyond

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Figure 13.6  Campfire along the river bank of the Hudson River

are complemented by the spa, archery range, and an apiary, allowing guests to dip in and out of nature as much as they want. The River Pavilion, a seasonal bar and restaurant located in an existing metal building located along the river bank, contains a wood-fired oven and several moveable fireplaces, allowing the space to be reconfigured when needed. Understandably, the entire property is a popular destination for weddings and corporate events. The planning was equally focused on design and the guest experience. When the Edgewood property was purchased, the entry sequence changed. Now guests leave their car (and metaphorically the city) behind and ride in an electric vehicle quietly through the forest, past the clay that was once used in the brickyard, to their private cabin in the calm natural setting, gently connecting to the history of the place. After settling in, hanging up your “thirsty” flag beckons the drink cart to stop by on its daily rounds. Dinner is at the River Pavilion, and later, a

fire can be requested to be lit in one of the circular pits located along the tidal estuary that is the mighty Hudson.

Travel tips Kristina Dousharm recommends the many great new options in the Hudson Valley of New York state including Hotel Kingsley in Kingston, Woodstock Way in Woodstock, The Maker in Hudson, and the soon-to-open Reclaimed Motel in Red Hook (also by KDA).

Note 1 The project was designed in 2019 and opened during the COVID-19 pandemic.

14 Society Hotel Bingen WAECHTER ARCHITECTURE

DOI: 10.4324/9781003284253-14

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◀ Figure 14.1  Corner of hotel at dusk

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Oregon native Ben Waechter, FAIA, principal of Waechter Architecture, graduated from the University of Oregon but cut his architecture teeth with Renzo Piano in Genoa, Italy, before returning to Portland, Oregon and taking a position at Allied Works. He started his own firm in 2007 doing residential work that gradually grew to include multi-family projects, and recently added hospitality and cultural projects to the work of the 12-person design focused practice.1 In nearby Bingen, Washington, the cultural context includes the small mill town, the cattle ranching area, and the Columbia River Gorge.2 The original site contained an old four-room schoolhouse, in use from 1908 to 1975, that connects to a time in the history of the community when an eighth-grade education was all that was needed for the opportunities that existed. Many people in the area work in the lumber mill or are sixth- and seventh-generation cattle ranchers. The existing school building is located in a neighborhood, and acts as a buffer and a frame, allowing both the hotel and neighborhood to coexist. The conversion of the original school house and gymnasium includes spaces for the reception area, dormitory rooms, and private rooms – all with shared baths – to allow for lodging at different price points suitable

Figure 14.2  Interior of school house/coffee shop

for the nature adventure-seeking (and often young!) guests. The design team reused every building material they could, including the exterior painted wood siding and true slate chalkboards, while enhancing the thermal performance and efficiency of the HVAC system to address the owner/operators desire for sustainability, longevity, and resilience. Waechter starts each project by first focusing on the design of the entry sequence and how the spatial order can be articulated to establish the clarity of the experience. In this place, the sense

Figure 14.3  Roof overhang protecting walkway that wraps the central courtyard

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Figure 14.4  Interior of spa

of arrival is heightened; guests feel they have escaped from the city and been transported to a different place. From the parking lot, guests walk up the steps or ramp, check in at the lobby in the converted former schoolhouse, and then proceed down a path to arrive in the meadow in the center of the courtyard formed by the new buildings. The 20 detached, newly built cabins form a ring around this meadow and are connected by a single inward-sloping roof form that has a five-foot overhang. This creates a sheltered walkway under a robust roof without gutters that directs rain and melted snow to the courtyard to be collected and stored. The new building forms are as bold and simple as the nearby agrarian structures and match the scale of the existing town’s buildings. The voids between building volumes allow space and views of nature beyond to “slip” through, connecting the guest to the rugged landscape. When designing, Waechter layers in the material palette and light strategies once the spatial experience is defined. The walls and soffit of the new public spaces are clad in weathering cedar, with a one-time application

of penetrating oil; a material treatment that is not too precious, that can weather and patina over time, and helps the building become a sculptural element with continuous surfaces that appears to be carved from a solid form. As Jonathan Cohen, one of the hotel owners/operators says, they like to find an old building that has stories to tell as a way to inform the materiality. In this case, they drew from the spare and sparse yet high-quality and long-lasting materials of the context, including clear vertical grain cedar lumber. The simplicity of materials is a true reflection of the place; much of the framing lumber was grown locally and came from the mill across the street. The interior surfaces and cabinetry of the spa building – a place to soak your bones after a day of hiking, skiing, or windsurfing – are clad in birch, with a glass folding door system that is stretched tight between the planes of wood from floor to ceiling, and from wall to wall, making you feel like you are outside. The folding door is also part of the passive thermal technologies; the building can open up to the thermal “rivers” that flow at 30 mph from west to east between the Pacific Ocean and the desert, opposite

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Figure 14.5  Interior of cabin room

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Figure 14.6  Hammock in private patio at cabin

Figure 14.7  Aerial view of Society Hotel Bingen

of the flow of the Columbia River. A north-facing skylight frames the view of the gorge, bringing in abundant natural light. Changing rooms and treatment rooms have punched openings to feel more contained. The cabins are small, at 305 square feet, with simple gypsum board clad interiors, custom cabinetry, and beds. They compensate for this compactness with generous glazing and a covered 300 square foot outdoor space equipped with a hammock and picnic table. The cabins contain everything you need and nothing you don’t, with a small kitchenette and

plenty of cubbies and hooks. Even the beds are designed to smartly maximize space, with easy storage for luggage below. A simple hanger on a hook substitutes for closet space for the few occasions someone needs to dress up. The outdoor spaces allow enjoyment of the views of the sky and the gorge, enhancing the experience of being connected to nature. Each cabin’s outdoor space is adjacent to (but still separate from) the outdoor courtyard and meadow, allowing guests to occupy the edge of the meadow and drift in and out of the public and private realms.

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Travel tips When traveling, Ben Waechter looks for a clean hotel room without carpeting that makes you feel comfortable and protected. He hypothesizes that the Swiss might take hospitality more seriously than their Italian neighbors; even the most humble Swiss inn, with modest interiors, typically contains very crisp linens. He recommends The Hotel, designed by Jean Nouvel, in Lucerne and Steinbock in Vals when traveling to Switzerland; both hotels are very specific to their place. Jonathan Cohen is always looking for hotels that provide something different and special. He says probably the most outstanding hotel he has stayed in recently is the Proper Hotel San Francisco. Located in the Tenderloin, it is immaculately designed, in a beautifully reused building, the rooms are comfortable and gorgeous, and the food and beverage are great. He also recommends the PaliSociety brand hotels and the Hotel Peter & Paul in New Orleans.

Notes 1 Ben Waechter received a Design Vanguard award in 2016 and an Architecture League of New York Emerging Voice award in 2019. 2 The Columbia River Gorge, a designated National Scenic Area is 80 miles long and to 400 feet deep, forming the boundary between Washington State and Oregon, cutting through the Cascade Range and bridging between coastal and high desert climate zones.

15 21c Museum Hotel Oklahoma City DEBORAH BERKE PARTNERS

DOI: 10.4324/9781003284253-15

◀ Figure 15.1  Gallery and lobby

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Figure 15.2  Exterior elevation

Deborah Berke started practicing as a sole proprietor in 1982 and later formed a partnership with Maitland Jones and Marc Leff in 2002. Now the New York City-based firm includes 11 partners, 16 principals and associates, and at least 36 other diverse team members. The Deborah Berke Partners team was led by Stephen Brockman, who leads all of the firm’s hospitality projects and who has been instrumental in the firm’s work with 21c Museum Hotels, including the 21c Museum Hotel Oklahoma City. Brockman grew up in a small town in Ohio and earned a fine arts degree in studio art before moving to New York City. There he landed his first job in an architecture office before attending Yale and earning a graduate degree in architecture. His studies in architecture and studio art serve him well in his work with the 21c Museum Hotel team and in supporting their mission to bring great contemporary art, food, and hospitality to revitalized urban cores.1

21c Museum Hotels first wanted to make a great space for art; 14,000 square feet of gallery and public spaces are included in this 188,000 square-foot historic industrial building. The hotel is an adaptive reuse project (as are many in the 21c Museum Hotel portfolio) that transformed a 1916 Ford-assembly plant, originally designed by Albert Kahn2 and built to make Model Ts with parts shipped from Detroit, via rail, to regional assembly plants. The hoteliers’ development model is to partner with a local entity, which in this case was Hall Capital, formed by the descendents of Fred Jones. The Hall family, who owned the building, desired to preserve the legacy of the building, an industrial era artifact.3 The designers explored the tension between the optimism of the site’s potential versus what currently existed. Ironically, Ford’s Model T “that put the world on wheels” also made urban spaces less humane. Deborah Berke Partners’ design

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Figure 15.3  Interior of guest room

for the project helped to both inform future development and to allow the hotel to act as an incubator for the area. It is telling that the view photographer Chris Cooper captured of the entire 800-foot facade no longer exists because the land across West Main Street has been developed. What was once a desolate area just west of downtown Oklahoma City has been transformed into a vibrant pedestrian-oriented neighborhood with bike lanes now running along the length of the car assembly building. The site of this former automotive assembly plant has become walkable again. When embarking on the project, the Deborah Berke Partners team talked about how best to occupy the former industrial space and retain its history. The building’s National Register of Historic Places registration form provides evidence of a similar respect for the building, with its octagonally shaped columns and splayed concrete capitals, as well as its brick cladding, confirming Kahn’s legacy of designing modern industrial architecture in the United States. It reads, in part, “The

Oklahoma City Plant retains feelings about and communicates its associations with the Ford Motor Company, architect Albert Kahn, and the period in which it was constructed as a regional assembly plant.”4 The scale of the building and the scale of the steel framed windows became the starting point for this project. The large rectangular windows are part of the experiences of the building – they help frame views and evoke a more nostalgic time in Brockman’s mind. The new design honors the sparseness of the early 20th-century design aesthetic, which pared things down to their most essential. A single conceit to invention is the mylar sheets that adhere to solid walls to reflect light and visually extend the glass surfaces of the large windows. Neutral black and white design elements recall the tangibility of the building’s origins; the guest rooms’ white walls and curtains contrast with the custom dark carpet – the color of rubber with a subtle tire pattern.

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drapery, providing a space of rare porosity when opened. Many rooms have free-standing beds, which reveals the level of dedication this client has to innovation. In the hotel world, something as simple as putting the bed in the middle of the room might be thought of as controversial. Bringing light into such a large building also required some innovation. The building is about 120 feet deep, while an average double-loaded hotel is only about 70 feet deep. Deborah Berke Partners created cuts in the structural frame to bring multiple deep light wells into the volume and transform the dark space of the corridors into rooms unto themselves that are in contrast with the brightness of the light wells. Figure 15.4  Ballroom with curtain enclosure

The building’s vastness provided an opportunity for visual play between smaller volumes located within the structure. For instance, the walls of the ballroom are formed by plush

Figure 15.5  Hotel corridor with lightwells

Oklahoma’s vast skies create a brightness, ensuring that the light wells work effectively. However, early in the new life of the hotel, Brockman was told of a problem with the lighting; it kept changing. It was soon discovered that the problem was not with the flickering of an artificial light fixture; it was due

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Travel tips Stephen Brockman recommends Miracle Manor, the Desert Hot Springs, California motel owned by graphic artist April Greiman and architect Michael Rotondi.

Notes

Figure 15.6  Hotel reception desk with purple couch beyond, bathed in light from light well

to clouds moving across the sky four stories up, telescoping the shifts in light levels deep into the space from the circular skylight. The light wells, cut through the concrete floorplate, also act as beacons and orientation devices allowing daylight and the structural bays to help navigate through the building, giving clues about the time of day, helping orient the traveler. In early conversations with Deborah Berke Partners about how to define the 21c Museum Hotel brand, the founders wanted to incorporate their collection of provocative art but also wanted the guest rooms to be a place for people to decompress. While the art in the public spaces is dynamic, the art placed in the guest rooms is more subtle, with industrial images printed on soft movers’ blankets. Overall the building slowly reveals itself to its guests, providing a slightly new experience within this former industrial building.

1 21c Museum Hotels was founded by Laura Lee Brown and Steve Wilson with their first hotel in their hometown of Louisville, Kentucky. There currently are nine 21c Museum Hotels (in Bentonville, Chicago, Cincinnati, Durham, Kansas City, Lexington, Nashville, and Oklahoma City) with a hotel soon to open in St. Louis. 2 Albert Kahn’s family immigrated to Detroit from Prussia in 1881. He was awarded a Rotch Traveling Fellowship in 1891 and traveled to Europe to study architecture with Henry Bacon. He formed a partnership with his brother in 1902 and went on to design industrial buildings throughout the United States, including the Ford River Rouge complex, largely using reinforced concrete frames. 3 Fred Jones worked in the plant after leaving Georgia in 1916 until he established a Ford dealership in 1922 and the Fred Jones Manufacturing Company in 1938. He purchased the building in 1968 and used the building as a distribution center until 2013. 4 https://npgallery.nps.gov/GetAsset/170b99ed-ac8a-477884c3-621ffb48e1ad/ accessed May 5, 2022.

16 Los Poblanos Historic Inn & Organic Farm JOHN GAW MEEM MOULE & POLYZOIDES ATKIN OLSHIN SCHADE ARCHITECTS

DOI: 10.4324/9781003284253-16

Los Poblanos Historic Inn & Organic Farm

◀ Figure 16.1  Walkway of the reception building

The Los Poblanos Historic Inn and Organic Farm is the result of the work of three architecture firms, numerous landscape architects, and artisans whose work on the property spans 90 years and was knit together by an owner client intent on respecting the history and culture of the buildings and area. Los Poblanos Historic Inn & Organic Farm sits on historic agricultural land, just east of the Rio Grande River, in The Village of Los Ranchos de Albuquerque, in north central New Mexico.1 An agricultural community, based on growing corn, was formed as early as 1000 BCE, in the area of the village. The land that now comprises some of Los Poblanos was inhabited by Puebloans before becoming part of the early 18th century Elena Gallegos de Gurule land grant and was owned by the Ambrosio and Juan Cristobal Armijo family through the 19th century until Albert and Ruth Simms purchased it in the 1930s. The Simms family turned the 500-acre ranch into a dairy and experimental farm. In 1932, Ruth Hanna McCormick Simms hired John Gaw Meem2 to expand the original adobe hacienda. Meem added a southern building wing to the existing hacienda, fully enclosing its interior courtyard, or placita, and renovating the building into a cohesive whole in the Pueblo Revival style for which he is best known. He also designed the new La Quinta Pavilion Cultural Center, completed in 1935, in a Territorial Revival style. This building, intended to host community events,3 maintains that function today, including hosting events such as lectures on land conservation, contemporary art, and botanical distillation. Many local artisans were recruited to help renovate the property with decorative wood carvings and tinwork, as well as paintings and other decorative elements, adding to the richness of the 1930s-era buildings and their exterior spaces. Landscape architect Rose Isabel Greely4 designed the six-acre formal gardens, incorporating the local passive water irrigation system in the design of the pathways throughout the garden that have been lovingly maintained. In 1976, Penny and Armin Rembe purchased a ten-acre parcel of that original property, including the original hacienda, when the ranch was subdivided. The Rembe family subsequently purchased the adjacent 15-acre parcel that included the Meem-designed La Quinta Cultural Center, contributing to their larger preservation goals and intent on finding the balance between preservation and the adequate generation of income to protect the historic agricultural lands from development pressures. The Rembes hired Elizabeth Moule and her husband and partner Stefanos

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Figure 16.2  Greely Garden in summer

Polyzoides of Moule & Polyzoides to develop a master plan for the property, renovate the historic Meem-designed buildings, and design new guest rooms, called the Farm Suites, on the northern edge of the property. The design work started by uncovering the history of the buildings and the agricultural site. Moule & Polyzoides have a deep understanding of the vernacular architecture of New Mexico. They worked with landscape architects Olin Partnership to combine the buildings, landscapes, and public spaces between them to design a series of experiences and make sure that guests, upon waking, would immediately know they are in New Mexico. Years after the successful completion of that important project, Atkin Olshin Schade Architects (AOS) was brought in to increase the number of guest rooms and add new amenities. AOS principal Shawn Evans found inspiration in the work of both Meem and Moule & Polyzoides, adding two new Field Suite guest wings, with 28 additional guest rooms, and a reception building. In addition, they renovated the 1930s-era milking barn, adding a new restaurant, bar, farm shop, and bakery linking the agrarian functions to the lodging. The design team intentionally set the parking area, articulated as a gravel garden, away from the inn with a gracious metal trellis-covered walkway leading to the reception room. All circulation patterns had to respect that this is a working farm, which meant they were designed for the movement of both tractors and luggage! The initial placement of the new lodging wings aligned with an existing acequia5 yet its location shifted to maintain the views of the Sandia Mountains from the original Meemdesigned one-story buildings.

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Figure 16.3  Site plan drawing © Moule & Polyzoides, Architects Urbanists

Portales or entry porches were intentionally not privatized and line the edges of the courtyards, making shared outdoor living space and giving covered access to each guest room. Most rooms also have a private covered porch where guests can retreat or choose to wander through the zaguans (covered passageways) that connect each courtyard to the restaurant, communal firepits, wandering ducks and a peacock, and the fields beyond. The building arrangement allows each person to determine their own relationship between gathering and privacy.

Figure 16.4  Schematic Design Perspective of Farm Suites © Moule & Polyzoides, Architects Urbanists

Inspired by the use of materials in the existing inn as well as agrarian and historic pueblo buildings, the new buildings utilize stucco, board-formed concrete, and wood clapboard siding. Segments of the new lodging wings alternate between corrugated metal and stucco cladding, recalling the existing agricultural buildings and historic pueblo buildings. Rooms have doors and operable windows on multiple sides, bringing

Figure 16.5  La Quinta

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Figure 16.6  Axonometric site drawing looking west. New and renovated public buildings in the 2017 expansion designed by AOS are shown in white. Drawing by Atkin Olshin Schade Architects

Figure 16.7  Restaurant at night

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Figure 16.8  Interior of the farm shop

Figure 16.9  Courtyard of Field Rooms

Los Poblanos Historic Inn & Organic Farm

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Figure 16.10  Interior of Field Room, Deluxe King Bed guest room

in the morning light and allowing the scent of lavender to float into the room. The architects wanted the new guest room buildings to have a timeless quality, existing somewhere between historic and contemporary, focused on shaping private and public spaces in the landscape. The interior design was a true collaboration, yet the owner led the selection of the custom furniture, art, bathroom tiles, and colors used throughout, using the work of local artisans. Guest rooms have dark stained white oak flooring and painted wood vaulted ceilings, giving spaciousness to the well-outfitted rooms. Lavender grown on-site is used to produce the soaps and bath products provided in each ample bathroom. The public spaces equally honor the architecture and landscape. Salvaged wood was used for ceilings and floors in the new dining area of the restaurant. All decisions recognize that the

historic structures, agricultural buildings, and the inn all need to work together as a single place, deeply connected to the landscape. Los Poblanos is a place of respite from contemporary society, where guests can enjoy the food harvested through sustainable agriculture and regenerative farming and rebuild a relationship with the landscape. The site plan deliberately extends the rooms into the fields, where guests are invited to participate in the harvest and reset the relationship between dwelling on and harvesting the land. The Rembe family intends to preserve this place for future generations using an integrated business model of a farm, restaurant, hotel, and event spaces that honor the heritage of the place and the people who have lived on this land for thousands of years in agrarian societies.

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Figure 16.11  Lavender harvest with Field Rooms beyond

Travel tips Stefanos Polyzoides likes to stay in lodgings that speak to the place where they are located both in terms of their interiority and their connection to the landscape. In the urban environment of Paris, he appreciates the extraordinary spatial sequence from the beautifully detailed guest rooms of Le Pavillon de la Reine, through the public rooms of the ground floor, through the hotel courtyard, then out to the magnificent public space of the Place des Vosges. Shawn Evans generally prefers to stay at historic places where he can think about both their history and their future. He and his wife spent the last night of their honeymoon in an old fort near Setubal, Portugal, now a government-run

Notes 1 The town of Los Ranchos de Albuquerque was settled in 1661 and incorporated in 1958. Many locals refer to it simply as “The Village.”

hotel called Pousada de Sao Filipe. Their room, one of only four, was originally a jail cell with 15-foot high barrel-vaulted ceilings, with windows placed high up, providing views of the sky. It also featured a private terrace where they could drink coffee while overlooking the Atlantic Ocean. Los Poblanos Historic Inn & Organic Farm recommends exploring Albuquerque’s extensive network of biking and walking trails along the river and acequias throughout the North Valley. The Rio Grande Bosque (bosque is Spanish for woods), a unique woodland ecosystem dominated by cottonwood and willow thickets, offers a shady canopy in the summer and hosts flocks of migratory sandhill cranes through the winter. Venturing into the bosque adds a deeper experience of place, history, and nature for visitors.

2 Meem was born in Brazil, educated in the United States, and served in World War I. He survived the Spanish Flu, yet was diagnosed soon after with tuberculosis and came to the dry warm climate of Santa Fe in 1920 to aid in his recovery. Here he discovered an interest in architecture and decided to stay permanently.

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3 The building was designed to serve as the Republican Party Club of New Mexico. Simms was a two-time Governor of the State and his wife was the first U.S. woman member of the House of Representatives from Chicago. 4 Greely, was born in Washington, DC, and studied art in the United States and metal work in Italy. She later graduated from the Cambridge School of Domestic and Landscape Architecture for Women in 1919 before starting her successful firm in Washington, DC.

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5 Acequias are engineered canals that serve as a water conduit system to irrigate agricultural lands. A mayordomo, or “ditch boss,” regulates the movement of water, ensuring the equitable sharing of water resources by all in the community. This is still the practice and custom in the area today, suggesting the high respect for water and each other in this small village.

17 Hotel Greystone SHULMAN + ASSOCIATES BOWEN HOLLY SALT HOTELS

DOI: 10.4324/9781003284253-17

◀ Figure 17.1  Rooftop pool

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Figure 17.2 Courtyard

Henry Hohauser originally designed The Greystone Hotel (now the Hotel Greystone) in the newly incorporated coastal resort city of Miami Beach, Florida in 1939. Hohauser was born in New York City and educated at Pratt Institute, in Brooklyn. He moved to Florida in 1932 where he participated in the growth and development of the area, fueled both by the optimism of the time after the Great Depression and the delayed rebuilding in the aftermath of the 1926 Great Miami Hurricane. He designed many of Miami Beach’s Art Deco and Streamline Moderne buildings located in the Art Deco district and listed in the National Register of Historic Places in 1979 thanks to the efforts of community activist Barbara Baer Capitman. The district contains 960 buildings – the world’s largest collection of Art Deco structures – most built between 1933 and 1942, in the Streamline Moderne style, which was the second phase of the Art Deco era initiated by the Paris Exposition Internationale of 1925.

multi-phased four-year renovation of the vacant Art Deco hotel, including the removal of a previous renovation with non-conforming elements, to reveal the historic structure and previously hidden design elements. Allan Todd Shulman, FAIA, with his wife and business partner Rebecca Stanier-Shulman are the principals of Shulman + Associates. Allan Shulman is also a professor and director of the graduate programs in architecture at the Miami School of Architecture.1 The existing hotel had limited amenities, typical of that era. The ground floor was optimized for public spaces, including new food and beverage offerings. A new floodproof basement was added within the existing basement footprint to provide space for hotel infrastructure and storage. On the upper floors, the guest room layout was slightly adjusted. The bathrooms were reorganized and shifts were made in the demising walls to create storage areas in the guest rooms.

The Hotel Greystone’s original architectural features, many of which are iconic to Hohauser’s work, include a vertical marquee sign with ziggurat stepped roofline and porthole windows, contrasting horizontal banding, and fluted elements integrated with the rounded corner windows. All have been carefully preserved. Shulman + Associates led the team in the

The renovated hotel opened briefly in early 2020, for Super Bowl LIV but Covid-19 lockdowns and subsequent ownership changes shuttered it until the fall of 2021 when it reposed after another design phase. The new ownership and interior design team benefitted from the earlier extensive renovation and worked to honor the historic original building. A neighboring

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Figure 17.3 Lobby

Figure 17.4  Interior of jazz lounge

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Figure 17.5  Guest room interior

two-story building was integrated into the hotel complex, adding 49 additional hotel rooms, several suites, and a groundfloor courtyard. Located on a corner, one block from Collins Park, one block from the Atlantic Ocean, and two blocks from the Miami Beach convention center, this three-story stuccoclad hotel provides easy access to many local activities for its adult guests. The bright and airy lobby, with its grid of blush and pink-colored terrazzo flooring, bright furnishings, potted plants, and light softening translucent curtains, opens onto Collins Avenue. A wrap-around covered exterior corner terrace is adjacent to the Japanese-French fusion restaurant located on the main floor. A central stair off the lobby leads to a mezzanine level jazz bar lounge, appropriately dark and sultry, with lush fabrics and reflective surfaces, providing a unique hotel amenity. Sun worshippers can relax on the bright rooftop pool bar, while gazing at the neighboring Art Deco buildings or walk to the lively beach bar. A shady two-story courtyard offers a quiet outdoor space for resting between venues. The guest room interiors introduce a more neutral palette, with large tile floors recalling natural sand, two layers of curtains to modulate the abundant natural light, and off-white walls and ceilings. Natural jute area rugs, blond wood, and

rattan furniture are mixed with mid-century elements such as bright blue storage cabinets and elegant leather seating. Woven light shades cast patterns on the room surfaces, augmented by indirect lighting behind headboards and mirrors. Stone-tiled showers and open vanity areas bring an airy feel to the guestrooms, providing a clean quiet space to rest up for the variety of activities on the hotel grounds or easily within reach of the front doors.

Figure 17.6  Guest room with shower beyond

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Figure 17.7  Front facade and sign

Travel tips Allan Shulman looks for hotels with gracious public spaces that provide social infrastructure and ample areas for hanging out or working. He prefers rooms that are cozy and intimate and make good use of natural materials, such as Made NYC designed by Studio MAI. David Bowd is the cofounder and chief executive officer at Salt Hotels. His favorite hotel is the Chateau Marmont, in Los Angeles. It is a magnificent building with a rich history. He also loves having a room with a view of the runway at the TWA Hotel at JFK Airport, in Queens, New York, recently designed and renovated by Beyer Blinder Belle.

Note 1 Shulman also led a team to develop the Buoyant City: Historic District Resiliency and Adaptation Guidelines for Miami Beach. The report focuses on two study areas, with land at the lowest elevation above sea level, located just

Kevin O’Shea, cofounder and chief creative officer at Salt Hotels, remembers the rooms at the Sanderson Hotel London, designed by Studio Stark and Denton Corker Marshall for Ian Schrager Hotels. The guestrooms are more theatrical than they are practical, with glass bathrooms, designed by Philippe Stark perhaps at his most whimsical moment, all contributing to a memorable stay. O’Shea also has happy memories of the Delano Hotel in South Beach Miami, Florida. Philippe Stark brought all-white guest room interiors to the Art Deco ­building when it was renovated in 1994. It is currently closed, but under new ownership that is planning a renovation.

to the north and to the west of the Hotel Greystone. The report seeks to understand the relationship between resiliency planning and historic preservation. https://www. miamibeachfl.gov/wp-content/uploads/2020/03/20200309-BUOYANT-CITY-FINAL-DRAFT.pdf

18 The Robey

ANTUNOVICH ASSOCIATES NICOLAS SCHUYBROEK ARCHITECTS MARC MERCKX INTERIORS

DOI: 10.4324/9781003284253-18

◀ Figure 18.1  Rotunda at corner of roof

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custom-designed furniture and fixtures. Their initial design proposal was to “embrace the existing building and, more importantly, the neighborhood of Wicker Park and Bucktown.” They specifically focused on reusing the existing materials and textures of the building, recalling the commercial and industrial past (and present) of the area.

Figure 18.2  The Robey in its neighborhood

Antunovich Associates was founded in 1990 by Joseph M. Antunovich, FAIA. The architecture, planning, and interior design firm, now with offices in Chicago, Washington DC, Los Angeles, Austin, and Buffalo, collaborated with Convexity Properties, Grupo Habita, the design architect Nicolas Schuybroek Architects, and Marc Merckx Interiors on the adaptive reuse of the Northwest Tower Building, a 12-story Art Deco office building designed by Perkins, Chatten, and Hammond and completed in 1929. One particular drawing of the original building is a work of art in itself -- an 18-inch by 26-inch graphite on tracing paper perspective, circa 1928/1929 is in the collection of the Art Institute of Chicago. The building is located at the intersection of three streets northwest of The Loop in Chicago, Illinois. Its truncated plan is a result of North Milwaukee Avenue diagonally meeting the intersection of West North Avenue and Robey Street (renamed Damen Avenue in the 1920s), just north of Wicker Park. Nicknamed “The Coyote” due to the shape of the copper-roofed cupola, it remains the only high-rise building in the area, located at the edges of Wicker Park and Bucktown neighborhoods, in the Milwaukee Avenue District, which was designated a historic district in 2008.1 The area is culturally and economically diverse, with several generations of immigrants bringing new ideas, bakeries, and stores to the area complemented by artistic and musical venues, located in the two- and three-story buildings that line the commercial avenues. The vacant former office building was purchased in 2013 by new owners who then assembled a diverse development and design team. Grupo Habita was brought in to manage the hotel operations and interviewed a select group of designers, ultimately selecting a Belgium-based duo. Nicolas Schuybroek started his practice in Brussels, Belgium in 2011, focusing on architecture, interiors, and object design rooted in tactile materiality and craft. He brought in former colleague Marc Merckx, whose office is located just 30 miles away in Antwerp, to work with him on the interiors including the

Antunovich Associates led the historic preservation efforts and provided full construction documentation and construction administration for the project. The restoration work included the repair of the brick and Indiana limestone masonry exterior walls. Some elements of the original cast iron exterior storefront could be reused, but most elements were recast in aluminum, replicating the original design. The original revolving entry door was restored by the original manufacturer and the 425 windows in the upper floors were replaced with aluminumclad concealed spiral balance hung windows with custom profiles to match the existing wood windows. Triple glazing, required to address sound from the elevated Blue Line train transit track that runs along the northwest side of the hotel, and integrated window shades combine to provide both the dark and the quiet needed when guests prefer to sleep in. Additional infrastructure upgrades included new micro pile foundation work and a new elevator core. The finishes in the lobby were restored including the original terrazzo flooring, dark green marble walls, and bronze elevator doors, helping the redevelopment meet the requirements necessary for a local property tax incentive and federal historic tax credit. The existing office spaces were reconfigured into the new guestrooms, with a larger suite located on the prominent curved corner, facing the Chicago skyline. Guest rooms have dark hardwood floors and a wall of obscure wire glass that runs the full width of the bathroom, acting as the headboard for the bed, providing separation and privacy as well as a wash of natural light in the Tower Rooms. No visit to The Robey would be complete without a visit to the Up Room rooftop cocktail bar, to step inside the restored cupola, and then enjoy the magnificent view of the Chicago skyline against Lake Michigan. Adrian Hunfalvay, formerly with Ciguë, and now a partner with Paris-based Studio Delordinaire, designed the interiors and furnishings in the Annex Lofts to complement the more industrial nature of the adjacent Hollander Fireproof Warehouse Building, designed by George Kinsley in 1905. The former furniture storage warehouse, built to store valuable items after the Great Chicago Fire of 1871, was converted into 20 “social stay” bunk rooms and includes a renovated rooftop with a small swimming pool, bar, and lounge space that is shared by guests in both buildings.

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Figure 18.3  Lobby of The Robey

Figure 18.4  Guest room interior

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Figure 18.5  Interior of corner guest room

Note

Figure 18.6  Up Room roof top cocktail bar

Travel tips The Robey joins a growing list of new Chicago hotels located in 20th-century skyscrapers including the Chicago Athletic Association, Old Dearborn Bank Building, London Guarantee Building, Chicago Motor Club, Carbon and Carbide Building, and the Reliance buildings.

1 The Milwaukee Avenue District, located in the West Town community area, is one of the most intact commercial streets from the late 19th and early 20th centuries in Chicago (1870–1929). The district's broad range of architectural styles is a reflection of its history spanning five decades of development; styles include the Italianate, Queen Anne, Classical Revival, Arts and Crafts, and Art Deco. Milwaukee Avenue began as an early trade route and matured into an important commercial street for Chicago's economic development. Waves of immigration and shifting ethnic populations in the Milwaukee Avenue District convey important themes of the city's social history. The blending of the distinct variety of cultural histories displayed in the architecture of the buildings creates a “city within the city” along the Milwaukee Avenue District. https://webapps1.chicago.gov/landmarksweb/ web/districtdetails.htm?disId=221

19 Guild House Hotel MOTO DESIGNSHOP ROHE CREATIVE

DOI: 10.4324/9781003284253-19

◀ Figure 19.1  Entry door and sign

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Adam Montalbano is one of three partners at Moto Designshop. As a kid, he was given a Crayola Designer Kit that sent him on to explore design and led to taking drafting in high school, and ultimately studying architecture at Lehigh University and the University of Pennsylvania for graduate school. There he met classmate Roman Torres where the duo daringly purchased a three-story row house for $7,000 through a public auction, and designed and physically rehabilitated it as their thesis project. They founded their design-builddevelopment practice in 2004 with Eric Oskey joining as a partner in 2012 and helping the firm transition from a residential focus to now include commercial, institutional, and hospitality projects. Montalbano’s architecture history minor brought an appreciation of history as he helped save the Guild House through the national historic tax credit program managed by the U.S. Department of the Interior. (The program recognizes that “Historic buildings are tangible links with the past”1 and offers a 20% tax credit for the certified rehabilitation of certified historic structures; the building must be a certified historic structure when placed in service.2) The four-story brick building at 1307 Locust Street, in Center City, Philadelphia, built in 1851 and now a National Historic Landmark, originally served as a single-family home and then as the headquarters for the New Century Working Woman’s Guild formed in 1882 by Eliza Sproat Turner (1826– 1903). The Guild focused on supporting women in the workforce, with the Trust, ensuring that the “Guild’s activities conformed to its charter duty: to provide for ‘the social, industrial, and educational culture and improvement of working girls and women, without any sectarian distinction.’” 3 By 1906, the group’s founder was gone, yet the Guild had grown in both members and services and the Trust acquired 1307 Locust, which housed its operations until 2016.4 The building was placed for sale, and the new owners purchased the building, intending to first save the structure and then becoming “reluctant” hoteliers once the best path to saving the building became clear. Saving an important building is perhaps the most sustainable thing an owner and architect can do – even if it makes the integration of any new high-tech sustainability features more difficult or unfeasible. Adaptive reuse saves the existing embodied carbon footprint and is more sustainable than a new higher performing building. However, reusing the building also required the team to be very deliberate about where and when they could improve its thermal properties. For instance, they only added insulation where they were

Figure 19.2  Corridor with skylight above

forced to disturb a wall. Historic materials and details were prioritized and preserved, keeping as much of the original plaster, crown molding, ceiling details, woodwork, and original doors as possible. The design team had a reverence for the materials that were already in place. This often required delicate “surgery” in any area they touched, helping preserve as much as they could out of respect and honor for the building. The building’s core and walls, including the location and orientation of all the openings, were already in place and therefore the interior light qualities were already set. Windows were replaced but the original openings provided ample light, and allowed the space to feel homey and comfortable. One room does not have a window, yet indirect natural light makes it feel very comfortable. Although the scale and proportion of the volumes created spaces that do not need dramatic illumination to enhance the experience, the main stair skylight was maintained and provides one location for a more striking lighting effect. The interior detailing provides a human scale with hallway surfaces adorned with a textural white-on-white wall covering and a custom wallpaper enriching the rooms, selected by an all-woman interiors team from Rohe Creative.

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Figure 19.4  Eliza guest room suite interior

Figure 19.3  Guest room bathroom

The team had discussions about how to support the act of travel and Moto focused on the experience of the traveler from an architect’s point of view. For instance, if the entire hotel was being used by a wedding party, it is very possible that all the guests might be showering at the same time. To ensure adequate water pressure could be maintained, the owners invested in a water booster pump in the basement. Likewise, even though a passenger elevator was not a possibility, a luggage lift was integrated into the hallway to help move bags between floors. Additionally, the interior design team made sure there were enough hooks for robes and surfaces for toiletries. The hotel’s travel amenities include locally made cookies as well as soap and shampoo from a women-owned soap manufacturer, Cheryl Fork, of Fork & Melon. The towels are from 1888 Mills, a company whose mission is “Weaving a Better World.” The initial idea to celebrate the lives of woman carried through all design decisions, with the entire design team on the same page from the beginning. The team also used the stories of the Guild women to help save the building in the belief that the better they tell

the story, the greater the chance the building will survive for decades to come. Each suite highlights and captures the spirit of one member of the Guild. The research for this work made the design process feel very personal and connected to the legacy. The team reviewed archival photos of group dinners, correspondence – one-letter signed ominously signed with “dangerously yours” by Turner – and other artifacts documenting the lives of these important women, making both the project more authentic and inherently connecting the design process to the story. Montalbano thinks that designing a hotel combines residential work with a bit of fantasy, acknowledging that hotels can offer the chance to experience something you are not always able to experience at home. In this case, the hotel acts as a time portal, translating between the past and present, allowing guests to picture themselves in the shoes of these women. The scale and proportions of the rooms provide a quiet, cozy space for reflection surrounded by historic detailing and a handcrafted and human quality in the surfaces and architectural elements. Each room is completely different, but the common thread through all of them is celebrating the story of each woman. Every furniture piece, table, piece of artwork and fabric ties back to that woman. — KATE ROHRER

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Figure 19.5  Guest room suite interior

Travel tips Adam Montalbano says that the Amangiri in Canyon Point, Utah, designed by Marwan Al-Sayed, Wendell Burnette, and Rick Joy is on the top of his bucket list. He has fond memories of the Victoria House Resort & Spa in Belize, a locally stylized beachside resort where it is possible to be outside yet protected, even in an afternoon rain shower. His family has also been going to the Mohonk Mountain Resort for generations and he appreciates that connection to nature.

Notes

Figure 19.6  Library lounge

1 https://www.nps.gov/tps/tax-incentives/taxdocs/abouttax-incentives-2012.pdf, page 2. 2 https://www.nps.gov/tps/tax-incentives/taxdocs/abouttax-incentives-2012.pdf, page 10. 3 [Page 4], New Century Trust records (Collection 3097), The Historical Society of Pennsylvania. 4 In 2020, the New Century Trust became the Gender Justice Fund, prioritizing philanthropic work on gender justice.

Travel Now Hospitality is the virtue of a great soul that cares for the whole universe through the ties of humanity. FROM ENCYCLOPÉDIE EDITED BY DENIS DIDEROT AND JEAN LE ROND D’ALEMBERT IN THE 18TH CENTURY

Hospitality refers to both a set of human interactions and a global industry that encompasses tourism, travel, food and beverage facilities, and lodging. The hospitality and tourism industries are now among the largest and fastest growing industries in the world. They contribute to the world economy directly and, through the multiplier effect, can bring great change to local communities.1 All aspects of tourism and the hospitality industry are interdependent and each is evolving and adjusting to shifts in politics, culture, and economies. For instance, revised trade agreements can cause businesses, including travel and tourism, to expand in specific locations. While tourism is deeply rooted in the human experience, it is aided and influenced by current trends and technologies. Hotels, specifically, are still very much intertwined with their local economies as much as they are impacted by world events and cultural changes. Hotels themselves are constantly transforming due to changes within society and the hospitality industry itself. Hospitality rituals are being transformed as traveler choice increases. The once finite act of signing a physical register book has shifted to ongoing digital correspondence between host and guest through multiple digital communication during a stay including texts, activity on hotel specific apps, and social media posts, as well as through surveys and reviews after the stay. The organization of hotels and their physical spaces are also responding to these shifts with “Instagram-able” backdrops and signage that are directly connected to the ethos of the place.

Hotel corporations Hotel ownership in the United States (and the world) since the 1980s continues to be dominated by large multinational

corporations and those corporations are often growing in both size and complexity. There can be at least three major stakeholders in the ownership and management of hotels including the hotel owner, the brand, and the hotel operator or management company. The hotel owner is the person or company who owns and manages the building and its physical assets. The brand is the company that maintains and manages the overall standards and image of the hotel, especially as related to guest services, operation standards, design, and the increasingly significant central reservation systems and loyalty programs. The hotel management company operates the hotel, manages the employees, and runs the accounts for the hotel operation. Layering in the possibility of multiple hybrid agreements, including the leasing of hotel buildings, franchises, and equity agreements, makes it even harder to understand who “runs” a hotel.2 Consolidation and multiple brand categories further complicate the legibility of hotel ownership and branding for the traveling public. Hotel company growth can be sustained by the introduction of new brands, focused on a slightly differentiated traveler and new hotel product. For instance, Marriott has four categories of hotel brands among their properties, and their “premium” category now includes 11 different hotel brands, including the brand Design Hotel3 – responding to the interest in independent “boutique hotels.”

Boutique hotels In the late 1970s, the first reaction to the proliferation of chain hotels and motels arrived with the unofficial first “boutique hotel,” the Blakes Hotel in London, designed by Anouska Hempel. The term “boutique hotel” is most often defined as a small hotel – under 100 rooms – that strives to be part of the local context, conveys a love of design, and is committed to hospitality, service, and developing memorable connections to the local place for its guests.

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Bill Kimpton opened the first boutique hotel in the United States when he renovated the Clarion Bedford Hotel in San Francisco, California in 1981. Kimpton went on to develop 60 hotels, many of which were adaptive reuse projects. The company was later acquired by InterContinental Hotels Group, which notably also includes the early hotel chain Holiday Inn. On the east coast, Ian Schrager and Steve Rubell opened the Morgans Hotel in New York City in 1984, with interiors designed by Andrée Putman, ushering in the craze for small, design-forward hotels in trendy urban neighborhoods. Soon, Chip Conley opened Phoenix Hotel, a renovated 1950s-era motel in San Francisco in 1987, which lead to the founding of Joie de Vivre Hotels.4 In 1990, André Balazs purchased the Chateau Marmont in Los Angeles, California, leading to the first Standard Hotel in Los Angeles in 1998, the same year that Barry Sternlict opened the first W Hotel in New York City.5 The first Ace Hotel, created by Alex Calderwood, Wade Weigel, and Doug Herrick, opened in Seattle in 1999. More recently, in 2019, Hotel Muji brought its “anti-brand” design lifestyle to a 79-room hotel in Ginza, Tokyo, Japan, reflecting the wide variety of unique small hotel offerings.

Independent hoteliers While large chains may dominate the hospitality industry, they are influenced by and adapt to shifts in the marketplace and often learn from smaller hospitality ventures. The growth of boutique hotels continues as travelers seek new and unique lodging options. The independent hoteliers and owners included in this book bring new ideas to hospitality and additional enrichment to the traveling public’s options. I am happy to highlight their efforts. David Bowd and Kevin O’Shea are the owners of Salt Hotels, which operates several properties. They describe how they “innocently” started their hotel management business. They fell in love with Provincetown, Massachusetts, and spent two

years renovating an old building into the Salt House. Since Bowd and O’Shea have complementary skills, they were able to do everything required to run the 15-room inn themselves until the Salt House made the Hot List in Travel and Leisure magazine and they were suddenly very busy independent hoteliers. While they both have a focus on design, they wanted to add their interest in service and “lead with hospitality.” They believe that innkeeping is about developing personal connections and work to bring that to each property they operate. Laura Lee Brown and Steve Wilson founded 21c Museum Hotel to bring development coupled with art and food, to transform communities. They work with local community partners to develop hotel properties that function as much as a museum as they do a hotel. The art collection displayed in each hotel’s public spaces is carefully curated and rotates every 18 months or so, augmented with internal programs that are free and open to the public. Bringing pedestrian access to contemporary art that is free and open to all, 24 hours a day and seven days a week, is transformational. Husband and wife, Jonathan Cohen and Jessie Burke, own The Society Hotel, currently with two locations. He brings his background as an aerospace engineer interested in wind energy along while she brings her experience in public policy to hotel operations. He is the building operator (and was the builder) and she is the people organizer and CEO. They are interested in creating place-based properties – serving smoked salmon from local indigenous fishers, for example – and work to create an experience of joy and delight where people can find new perspectives as well as commonalities. Katherine Lo of Eaton DC attended Exeter High School and worked every day in the Louis Kahn-designed library. She later studied anthropology and film at Yale, where Vincent Scully’s history of architecture class left a lasting impression on her. “Given that DC has the history of so many social movements, and people still travel here annually to lobby and march to

Travel Now

make a difference, I thought DC would be the perfect place to plant our flagship,” she says. “I want to offer Eaton as the home or living room, so to speak, to today’s contemporary movements.” Heidi Zimmer formerly worked as a developer with Artspace, a nonprofit arts organization based in Minneapolis, Minnesota, on art-based developments throughout the United States. Zimmer is now the founder and owner of the Wild Rice Retreat. She visited the former Wild Rice restaurant in 2010 and remembers loving the restaurant, its food, the art, and the powerful experience of the place. Zimmer describes it as an honor to be working on a celebration of everything that she loves – nature, creativity, and wellness – that comes together in one place. While larger hotel chains might continue to focus on brand differentiation and often the later absorption of smaller hotels, there will always be new hoteliers and creative hosts that want to share their love of place with guests, to the benefit of us all.

Shifts in hospitality Unique lodging facilities and operations continue to be developed. While private residences in the United States have been renting out rooms for the night as “tourist homes” since the 1900s, new technologies and the sharing economy, embraced by younger and more independent travelers, helped fuel the growth (and revival) of private rentals of rooms or entire homes as lodging. In 2007, the arrival of Airbnb in San Francisco, California, disrupted the hotel business and created yet another global option for the traveling public. Airbnb focuses on offering what their website describes as “unique stays and experiences that make it possible for guests to connect with communities in a more authentic way.” This focus on local, authentic, and inclusive travel options – that are often less expensive than a traditional hotel – led millions to turn to Airbnb (and other home-sharing platforms) when traveling with family and friends. While business travel has been

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less impacted by the arrival of Airbnb, the relative “elasticity” of private home rentals to increase the lodging supply rapidly as demand increases ultimately impacts hotels’ profitability.6 The traditional U.S. lodging industry responded to this threat by reinvesting in more personalized service, technology upgrades, and product differentiation, as well as some old-fashioned lobbying for more regulations for short-term rentals. Hotel associations also argued for taxation and safety requirements to be equally applied to home-sharing properties,7 making overnight stays better and safer for all of us. Just as urban hotels started to take on some of the characteristics of motor inns in the early 20th century, hotels often now include more intentional communal spaces, offer tailor-made experiences, and provide a mix of shortterm leases, providing additional flexibility, and blurring the distinctions between hotels and home-sharing, and blending the characteristics of each. Online travel services such as Expedia, Booking.com, and Hotels.com have also disrupted the ability of hotel chains to rely on their successful computerized central reservation systems, first introduced through Holiday Inn’s Holidex reservation system in 1965. Shopping online for hotels – and airline flights (and any other consumer item) – has brought more choice to the traveling public, who can search for and tune their travel choices toward the specific needs of a particular trip. Now online travel sites give travelers the ability to find both apartments and traditional hotel rooms on the same e-commerce platform. Airbnb continues to focus on experiences, ease of filtering for preferences, and online booking rather than competing solely on pricing. Airbnb and traditional hotel companies such as Accor are also aligning – they both are looking to expand their businesses to include end-to-end travel experiences, as well as venturing into housing,8 reducing the differences between episodic dwelling and housing, and between home-sharing and traditional hotels.

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Hotel development Traditional hotels are also redefining themselves. With the continued increase in market segmentation, travelers are now able to find everything from large units in extended stay limited service lodging to micro-units, as well as high-service luxury resorts. Full-service travel lodging can also be found outside of standard hotel operators. Alexis Readinger’s architecture and design practice Preen, Inc., based in Los Angeles, California, is seeing an interest in micro-hotels, defined as small owner-operated lodging that are larger than a one-unit Airbnb property but are able to be managed by the owner who lives on the property and can share their love of place directly with guests. Allan Shulman of Shulman + Associates is working on a new project that is blending the mix of unit types between short-term, medium-term, and long-term stays creating a contemporary experimental hybrid of apartment building and hotel that harkens back to the apartment hotels of the 1920s. The BentoLiving Chestnut Hill in Nashville, Tennessee, designed by EOA Architects, currently offers flexible rental periods in an “apartment-style lifestyle hotel” that includes both hotel and apartment amenities such as a restaurant and gym along with a washer and dryer in each unit and a small store for supplies. The Catbird, designed by DLR Group, in the RiNo neighborhood of Denver, Colorado, is also a hotel hybrid; their website states they intentionally “blur the line between hotel and home.” The Fitler Club in Philadelphia, Pennsylvania, is modeled after the Soho House and offers 14 well-appointed guest rooms for members and the general public. These are supported by the club that includes robust amenities such as a two-story fitness center complete with a swimming pool and rock-climbing wall, a movie theater, a game room, and working spaces, as well as lounges, a bar, and a restaurant. In central Texas, the club membership model is also being explored for a rural retreat. Lisa Pope Westerman, CEO of LUCID Collective and

Wellville Development, recognized that the (country) club market had the least disruptions among the hospitality submarkets during the height of the COVID-19 pandemic. The Farm at Wellville, located halfway between two of Texas’ largest cities, Houston and Austin, is planned to include a restaurant, wellness center, fitness pavilion, three cascading pools, and 20 guest casitas at the membership-based wellness destination.

Technology Hotels adapt to technology and cultural events. In 2019, pre-COVID-19 pandemic levels of hotel occupancy were at about 66%, mimicking the robust hospitality industry. The implementation of additional health and safety measures, sustainability priorities, and newer technologies are being integrated into new hotels, using technology to help the industry to recover. Hotels are also experimenting with how and where to deploy new technology. Some hotels are removing the traditional front desk, thereby reducing the potential to be seen as sites of surveillance, and providing digital check-in processes or friendly roaming hotel staff. As robots are being employed for delivery of everything from meals to extra towels, hotels will work to right-size the balance between high-tech and human-touch for each clientele. Hotels will also continue to influence other building types, as they connect early to shifts in building technology, and are particularly aligned with housing construction technologies. In the 1900s, mail order catalogs provided precut lumber for both tourist cabins and individual homes alike. Prefabrication, as a construction method, perhaps started in reaction to the Great Depression and has continued today, as designers and builders try to find more efficient ways to house and shelter people. In 1968, the H.B. Zachry Company built the Hilton Palacio del Rio hotel, on the San Antonio Riverwalk, using a then-innovative modular building system, completing the project in record time for the HemisFair 1968. Now modular prefabrication techniques are being used throughout the

Travel Now

building industry. A small residential architecture and designbuild firm in Houston, Texas, started BoxPreFab, a new company that delivers residential projects more efficiently. They have recently brought that same strategy to designing and building a new hotel, demonstrating the full cycle of interconnectivity between hotel and residential structures. Kasita9 is developing the Frame Hotel, in the South Congress area of Austin, Texas, to include 19 guest room units, each providing 360 square feet of living space. Building the hospitality units in a large fabrication warehouse reduced construction time by 50%, reduced job site waste by 70%, and even the operating costs will be reduced by 15–20% due to the optimized construction and increased performance of the thermal envelopes. Changing traveler trends10 and overall volatility in the travel industry creates new opportunities and roles for hotels, often augmented with shifts in technologies that impact service and guest experiences. Navigating the expanding choice, in the fast-moving lodging industry, will impact the traveler, as they are offered a wider variety of choices for each specific trip, now with the ability to refine search criteria and virtually tour the room before making a reservation.

Wellness After the COVID-19 pandemic brought new health and safety concerns to the forefront, building materials and systems that are advancing health-care facilities might also appear in hospitality projects, bringing nature into both types of spaces, including green walls of plants, operable windows, and healthy building products. Cleanliness, touchless service, and mirrors with UV lights are some of the features currently being incorporated into guest experiences. The longer stays (and larger impacts) of digital nomads and the newly minted term of “bleisure” (business plus leisure) trips will require hotels to balance investments in advanced technology with enhanced human guest experiences and an expanded focus on wellness and health for guests, staff, and local citizens.

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Connection to nature can also enhance wellness, as today’s urbanites seek refuge from the stress of modern life. Getaway, founded in 2015, focuses on simple escapes into nature located within a two-hour drive from large cities, catering to the new generation of overworked urbanite clientele as the leisure resorts did in the mid-19th century. Their 140-square-foot cabins, with a large window view into natural surroundings and a “cellphone lockbox,” help guests disconnect and practice living simply.

Sustainability Sustainability is being considered more comprehensively throughout many industries and the hospitality industry is no exception. The World Travel & Tourism Council’s concerns encompass environmental infrastructure, energy, water, economic, and societal resilience. The Sustainable Hospitality Alliance’s new Hotel Carbon Measurement Initiative tool helps hotels develop a comparative carbon footprint of guest rooms and meeting spaces. Improving operations including cleaning products, laundry operations, developing sustainable food and beverage offerings, and connecting to the local people, economies, and place is directly connected to the overall impact of hotels. Likewise, Airbnb has launched the Office of Healthy Tourism, their initiative to drive local, authentic, and sustainable tourism in countries and cities across the globe. Community-based tourism and heritage tourism, which focus on deep learning about a place, are encouraging the growth of “slow travel,” providing time and space for us to be more thoughtful about the impact of travel on the planet’s ecosystems. Ecotourism and sustainability in lodging design and operations will make us think about the places we visit differently, tracking our embodied carbon or impact on local water supplies. Norway’s first energy-positive accommodation, the Svart Hotel, designed by Snøhetta in collaboration with Artic Adventures, is being planned for the Arctic Circle, illustrating how innovations will continue to shift hospitality

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design and operation. In the United States, the Populus Hotel, set to open in 2023 in Denver, Colorado, was designed by Studio Gang to be both net carbon positive and connected to the social infrastructure of the community. Writing this book has made me think about hospitality and travel differently. I continue to appreciate new design ideas and the ability to test them out in use when I stay at a new hotel. I have always wanted to learn more about the place in which the hotel is located through its design. In addition to learning more about the people who designed the hotel, I am also interested in understanding more about the people behind what are the often silent operations that make the space and the visit more memorable. I want to stay where the cost of my lodging11 also benefits the local economy and rewards the daring hotelier who sought to connect people to that unique place, providing an opportunity for me to learn more about that particular land of “strangers.”

Notes 1 The United Nations World Tourism Organization promotes travel that is responsible, sustainable, and universally accessible. 2 I am thankful that UH faculty and hospitality consultant Arlene Ramirez described five common organizational scenarios so succinctly for me: scenario 1: the hotel owner manages the hotel; scenario 2: the hotel owner has a franchise agreement with a brand yet manages the hotel themselves; scenario 3: the hotel owner has a franchise agreement with a brand and hires a management company to manage the hotel operations; scenario 4: the hotel owner has a franchise agreement with a brand and hires the brand to also manage the hotel; or scenario 5: the hotel owner hires a management company to manage the hotel operations. 3 Three of the hotels featured in this book, including The Robey, operated by Spearhead Hospitality; Harmon Guest

4 5 6 7

8

9

10

11

House, operated by Piazza Hospitality; and the Avalon Hotel Beverly Hills, operated by The Kor Group are part of the Design Hotel collection under the Marriott umbrella. Joie de Vivre Hotels is now a division of Hyatt. The W Hotel brand was bought by Starwood/Marriott in 2016. See Katherine Doggrell, Checking Out. (Bloomsbury B: New York, 2020) Some communities and cities developed additional rules such as London’s “90-day Airbnb Rule, introduced in 2017 to limit the entire home listing to no more than 90 days per year to reduce impacts on neighbors and local communities. Airbnb’s Niido™ platform provides increased flexibility in living arrangements, and Expedia’s Pillow management services help operate short-term rentals within multifamily properties. A previous company called Kasita focused on developing prefabricated housing modules. This new company is focused on hospitality and the leadership team also owns the Kimber Modern Soco, designed by Baldridge Architects. Travelers are more likely to be leisure, “bleisure,” or digital nomads per the American Hotel and Lodging Association 2022 State of the Hotel Industry Report, https://www. ahla.com/sites/default/files/AHLA%20SOTI%20Report%20 2022%201.24.22.pdf In case you are interested, I have developed quite a long list of lodgings for my future travels. I hope to stay at Couvent de la Tourette, in France, designed by Le Corbusier, in 1961, on my next trip to that area. The efficient (another word for small!) monk cells each include four distinct areas for different activities including the entry, bed with reading light, desk with a chair for working, and a private balcony. Here in the United States, I plan to save up so I can visit the Post Ranch Inn in Big Sur, California. The hotel, designed by Bruce Goff student G. K. “Mickey” Muennig, and expanded by Vladmir Frank, includes 39 rooms rendered in reclaimed wood, glass, steel, and stone, and is deeply connected to the place.

Hotel Directory and Project Credits CA California Beverly Hills, CA Avalon Hotel Architect: KoningEizenberg, Julie Eizenberg, FAIA Interior Design: Kelly Wearstler Landscape Architect: Mia Lehrer & Associates Structural Engineers: Nabih-Youssef & Associates Lighting: Anne Militello with Vortex Lighting Signage and Graphics: Reverb Contractor/builder(s): Estrin-Hinds Owner: (at time of design) Honeymoon Real Estate Photographer: Josh Cho, Tim Street-Porter, Henry Wu Chapter: 7 Healdsburg, CA Harmon Guest House Architect: David Baker Architects Interior Architecture: David Baker Architects Landscape Architect: Andrea Cochran Landscape Architecture Civil Engineer: Summit Engineering Structural Engineer: KPFF Consulting Engineers Mechanical/Electrical/Plumbing Engineer: Emerald City Engineers Lighting Designer: Horton Lees Brogden Art Consultant: Svea Lin Soll Custom Furnishings: DBA Workshop and Pacassa Studios Exterior signage: nrf studio (Noreen Rei Fukumori) Contractor/builder(s): Midstate Construction Owner/Client: Piazza Hospitality Photographers: Bruce Damonte, Angie Silvy Photography Chapter: 6 Joshua Tree, CA AutoCamp Joshua Tree Clubhouse Architect: HKS Interior Design: Narrative Design Studio

Wall Sculpture by Ana DiGiallonardo Outdoor Mural by Jaque Fragua Tapestry in Clubhouse lounge by AVO Contractor/builder: Tilton Pacific Owner: AutoCamp Photographer: Brian Chorski, Josh Franer, Mariko Reed/OTTO Chapter: 10 Paso Robles, CA The Geneseo Inn Project Credits: Architect: Ecotech Design, Walter Scott Perry, Architect Project Architect, Travis Tran Interior Theme Design: Eliana De Leon Civil Engineer: Timothy Roberts Structural Engineer: Will Lambert Mechanical Engineer: Lawrence Thomas Electrical Engineer: Michael Ruff Container Fabrication: Crate Modular, Inc., Project Manager: Shannon Hall Site Construction: Ted Plemons Construction Owners: The Cass Winery; Steve Cass, Ted Plemons Hotel operator/manager: Cass Winery Photography: Here and Now Agency/Paul Vu Renderings: James Choe Chapter: 4

CO Colorado Colorado Springs, CO Kinship Landing Architect: Echo Architecture + Interiors Structural Engineer: HCDA Engineering, Inc. MEP Engineer: Klok Group Contractor/Builder: Gordon Construction Co Brand Identity + Graphic Design: Fixer Creative Custom Millwork: Garrett Brown Designs

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Hotel Directory and Project Credits

Owner: Bobby Mikulas, Brooke Mikulas, Nate Grimm, and local private investors Hotel operator/manager: Lindsay Pertsov, General Manager; Brooke Mikulas, COO and Co-Founder of Kinship Landing Photographer: Richard Seldomridge Chapter: 11

DC  District of Columbia Washington, DC Eaton DC Architect: CallisonRTKL Interior Design: Gachot Studios, Parts and Labor Design Civil Engineer: Wiles Mensch Corporation Structural Engineer: Gilsanz Murray Steficek MEP Engineer: Fiskaa Engineering Acoustical Engineer: Cerami & Associates General contractor: HITT Contracting Inc., Peter Lanfranchi Cost Control: Turner & Townsend Owner: Pacific Eagle Holdings Corporation Hotel operator: Eaton Workshop Photographer: Adrian Gaud, Jennifer Hughes, Eaton DC Chapter: 12

FL Florida Miami Beach, FL Hotel Greystone Architect: Shulman + Associates Interior Design: Holly Muhl from Bowen Holly, Dallas, Texas and Salt Hotels Landscape Architect: Naturalficial, Inc. Civil Engineer: Ocean Engineering Structural Engineer: Douglas Wood Associates MEP Engineers: TWR Engineers

Contractor: Turner Construction Co. Owner: Vos Hospitality, Branden Muhl, Greystone Terra Firma, LLC, B Group Capital Hotel operator: Salt Hotels Photographer: Dylan Rives Chapter: 17

IL Illinois Chicago, IL The Robey Architect of Record: Antunovich Associates Design architect: Nicolas Schuybroek Architects and Marc Merckx Interiors Civil Engineer: Spaceco, Inc. Structural Engineer: Forefront Structural Engineers, Inc. MEP Engineers: WMA Consulting Engineers, Ltd. Lighting Designer: Filament 33 Custom furnishings: Saint-Damasse Mobilier Hotelier Custom windows: Parrett Windows & Doors Graphic Design: Javas Lehn Studio General contractor: Pepper Construction Group, LLC Developer: Convexity Properties Owner: DRW Real Estate Investments Hotel Group: Design Hotels Hotel Operator: Spearhead Hospitality Photography: Adrian Gaut Chapter: 18

MA Massachusetts Boston, MA The Revolution Hotel Architect/Interior Designer: PCA/Prellwitz Chilinski Associates Principal in Charge: David Chilinski

Hotel Directory and Project Credits

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Project Manager & Architect: Dave Snell Construction Administration: Jim Coveno Interior Designer: Jillian D’Amato Project Team Members: Emeline Gaujac (CDs), Lindsay Bach (Lighting) Structural Engineer: Roome & Guarracino MEP/FP Engineer: C3 Architectural Millwork: Chamberlain Co. Procurement Agent: Lajoie Purchasing Paint Artist (faux finishing, painted collages, etc.): Mark Grundig Muralist: Tristan Eaton Innovation Tower Artist: Individuals Collective Specialty Millwork: Erik Rueda Design Lab (ERDL) Custom Upholstery: Furniture Concepts Lighting: Boston Light Source General Contractor: Kaplan Construction Creative Director: Adam&Co. South End Landmark District Commission OPM: Waypoint KLA Owner/Developer/Client: Mount Vernon Company Photography: Robert Benson Photography, Regan Wood, Elisif Brandon Chapter: 8

NM  New Mexico

North Adams, MA

Kingston, NY Hutton Brickyards

TOURISTS Architect: HANK

Architecture: Kristina Dousharm and Zachary Hall of KDA Interiors: Kevin O’Shea, the Chief Creative Officer at Salt Hotels Preliminary Site Design: Thomas Wright of Atlas Design General Contractor: Interrante Design Build Edgewood Owner: MW Holdings Operator: Salt Hotels Photographer: Jane Beiles, William Hereford Chapter: 13

Interior Design: Julie Pearson Landscape Architect: Reed Hilderbrand Contractor/builder(s): Waterman, Inc. Owner: The Beyond Place Photographer: Peter Crosby, Nicole Franzen, Nick Simonite Chapter: 9

Los Ranchos de Albuquerque, NM Los Poblanos Historic Inn & Organic Farm Architect: John Gaw Meem (1932, 1934), Moule & Polyzoides (2009), Atkin Olshin Schade Architects (2017) Original garden design: Rose Greely Landscape Architect: OLIN Landscape Architects (2009), Judith Phillips Landscape Design (2017) Sustainability Consultant: Chris Wilson Interior selections and furnishings: Matt Rembe, Custom furnishings in rooms designed by local artists, some reclaimed from historic building remodels Custom tile: Erin Adams and others Tin fixture reproduction and renovation: Ginny Arellanes Metal chimneas: Damian Velasquez Graphic Design consultant: House Industries Owner: Los Poblanos, LLLP, Matt Rembe, Executive Director Photography: Brandon Harwell, Douglas Merriam, Sergio Salvador, Elizabeth Wells Chapter: 16

NY  New York

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Hotel Directory and Project Credits

OK Oklahoma Oklahoma City, OK 21c Museum Hotel Oklahoma City Architect: Deborah Berke Partners (Design Architect and Interior Designer) Executive Architect: Hornbeek Blatt Architects Original Architect: Albert Kahn Preservation consultants: Roisin Preservation Structural Engineer: Trumble Deen Lighting Design: Illumination Works Contractor: Lingo Construction Services Owner: Hall Capital Hotel brand: 21c Museum Hotels Photographer: Chris Cooper Chapter: 15

PA Pennsylvania Philadelphia, PA Guild House Hotel Architect: Moto Designshop Interior designer: Rohe Creative Contractor/builder(s): Spruce Builders Owner: Spruce Group Photographer: Roman Torres/Moto Designshop, Jason Varney Chapter: 19

Landscape Architecture: Pharis Design Graphic Design: LAND Contractor: DPR Owner: John Davenport Hotel operator/manager: Bunkhouse Group, previously The Mighty Union Photography: Chase Daniel Chapter: 5

Austin, TX Hotel Magdalena Architect: Lake | Flato Architects: David Lake, Sophia Razzaque, Melina Phillips, Michael Britt Interiors: Bunkhouse Group Landscape Architect: Ten Eyck Landscape Architects Structural Engineer and Timber Superstructure: StructureCraft Structural Engineer, Base Building Steel + Concrete: Architectural Engineers Collaborative MEP Engineer: Integral Group General Contractor: Mycon General Contractors Owner: Hotel Magdalena Joint Venture LLC Hotel operator/manager: Bunkhouse Group Photographers: Casey Dunn, Nick Simonite Chapter: 1

WA Washington

TX Texas

Bingen, WA Society Hotel Bingen

Austin, TX The Carpenter Hotel

Architect: Waechter Architecture Ben Waechter, FAIA, Principal Architect; Alexis Kurland, Project Manager Interior Designer/Landscape Designer: Blossom Contractor: Orange Construction + The Society Hotel

Architect: Specht Architects Interior Design: The Mighty Union

Hotel Directory and Project Credits

Owner: The Society Hotel Photographer: Lara Swimmer, We are PDX Chapter: 14 Winthrop, WA Rolling Huts Architect: Olson Kundig, Tom Kundig, FAIA, RIBA, Design Principal, Jerry Garcia, LEED® AP, Project Manager Structural Engineer: MCE Structural Consultants Contractor/builder: Tim Tanner, General Contractor Owner/operator: Rolling Huts Photographer: Tim Bies/Olson Kundig, Chad Kirkpatrick Witness to Beauty Photography Chapter: 3

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WI Wisconsin Bayfield, WI Wild Rice Retreat Architect: Salmela Architect: David Salmela, Kai Salmela, and Darin Duch Interior Design: BKV Landscape Architect: Travis Van Liere Studio Creative Director: Annalisa Bermel Construction Manager: Kraus-Anderson Builder: Ben Baldwin Construction Owner: Heidi Zimmer Hotel operator/manager: Heidi Zimmer Developer/General Contractor: Zimmer Development, LLC Photographer: Corey Gaffer Chapter: 2

Acknowledgments I am grateful to the many architects, designers, hoteliers, and photographers who shared their stories, project information, and images with me to make this book possible. I treasure the conversations with the designers and operators of these hotels that are all deeply connected to their place. I have also been professionally inspired by the design processes of each architect, learning from each of them. I am also thrilled to be working again with Fran Ford at Routledge and happy to have the help of editorial assistant Hannah Studd. I appreciate the support and guidance they have provided throughout the process. I am thankful to the College of Architecture and Design at the University of Houston who provided a small budget to help offset some of the direct costs including photography permission costs and additional graphics work for the book. The University of Houston Provost’s Undergraduate Research Scholarship (PURS) program also provided a scholarship to architecture student Sophie Grubbs to work with me on this book project in the spring of 2022. It was a pleasure to work with Sophie Grubbs this year. Her work includes the timeline and each hotel introduction sheet graphics. The site plans provided by each project architect have been reworked by Sophie to have consistent line weights and legibility, though their scale varies due to the broad range of the project sizes. Each floor plan and section are drawn at the scale of one-inch equals 16 feet to aid in quick comparisons. Sophie also developed a data bar for each hotel that documents the number of rooms and the average size of rooms at each hotel. It was a pleasure to work with Sophie. She maintained her good humor and congeniality even as our work extended into the summer and closer to our deadline than I had originally planned. Catherine Essinger and the entire staff at the William R. Jenkins Architecture, Design, and Art Library at the University of

Houston have supported my research and rather extensive book borrowing requirements with patience. Canan Yetmen provided help, counsel, and reviews of my text to improve its legibility. It is always a pleasure to work with her to think through the book organization and readability. Dr. Mark Young, Director of the Hospitality Industry Archives at the Conrad N. Hilton College of Global Hospitality Leadership at the University of Houston (Hilton College), introduced me to the fascinating collection of archived materials he oversees. He was also gracious enough to find requested images even while his archive was undergoing renovation. I have learned a great deal about the hospitality industry from Arlene Ramirez, MBA, CHE, CHAE, CHIA, CAHTA, an Instructional Assistant Professor at the Hilton College where she has taught a course in hotel development. I look forward to more hotel discussions and collaborations in the future. I appreciate early reviews of my draft text by my family, helping guide me away from text that might be too abstract. I am very thankful to my family, friends, colleagues, and students who have both traveled with me and shared some of their favorite places or travel memories with me. The book would not be the same without their input. I am most thankful for the support of my husband, Jonathan Myers, who helped me record details of our numerous hotel room stays and systematically document the qualitative and quantitative aspects of each location. I benefitted from his skills as an architect and interior designer as we discussed the variable aspects of the accommodation of travel, accurately documented the size and proportion of spaces and furnishings in each guest room, and debated the various attributes of each hotel in terms of service, amenities, and even the breakfast or cocktail offerings. He was willing to change hotels (and pack and unpack) frequently to help me

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Acknowledgments

learn more about hospitality at each new location. During the last several months, as I neared the manuscript deadline, he also graciously took care of all the other aspects of our lives such as making sure there was fresh coffee each morning (often delivered to me at my desk) and perfecting many

new recipes I enjoyed during my brief breaks as I skipped dishwashing duties and went back to work after lunch and dinner. I look forward to new future adventures with him, always now with our tape measure and sketchbook in tow, to precisely document the world around us.

Index Note: Italic page numbers refer to figures. agricultural community 117 Airbnb 147, 149 Alexander, Christopher 14 amber roads xx American Hotel and Lodging Association xxxi American Hotel and Motel Association xxx American plan xxiv Antunovich, Joseph M. 135 Antunovich Associates 135 Architectural Record xxviii, xxix Art Deco 127 Atkin Olshin Schade Architects (AOS) 117 AutoCamp Joshua Tree: clubhouse interior 69, 69; clubhouse lounge 70; firepit 71; sleeping area, interior of 71 automobiles + motels xxvii–xxxvi Avalon Hotel: dining room 49; exterior seating area 49; guest rooms 48; Hank Koning, sketch by 47; pool courtyard 48, 48; roof deck 50; rooms 48 Balazs, André 146 Barbizon Hotel for Women xxxv; bedroom, interior of xxxvi; general view xxxvi; loggia of xxxvi Barshop, Phil xxxii Barshop, Sam xxxii Bell, Alexander xxxiv Benjamin, Asher xxiv Benjamin Henry Latrobe xxiv, xxv Berke, Deborah 109 Beverly Carlton Hotel 47 Big Little House (Routledge) xiv Bingen, Washington 101 Birmingham, Alabama 41 Blodgett, Samuel xxiv Boomer, Lucius xxv, xxxii Boston Exchange Coffee House and Hotel xxiv boutique hotel 145 Bowd, David 130, 146

Brockman, Stephen 109, 112 Brown, Laura Lee 146 Brooklyn, New York 93, 127 Buffalo Statler xxxiv building technology xxxiii–xxxiv Burke, Jessie 146 Burnette, Wendell 143 Calderwood, Alex 146 California xxii, xxvii, xxxii, 30, 41, 43, 47, 69, 85, 112, 146–148 CallisonRTKL 85 “Camps of Crime” xxx Capitol Hotel Tokyo 72 Carpenter Hotel: back stair 35; bathroom, interior of 37; fiberglass panel 35; guest room interior 36; interior 35; oil field drilling pipes 35 Cass, Steve 31 Cass Camp 31 Cass Winery 30 Castro, Fidel xxxii cauponae xx Charleston, South Carolina 58 China xx, 24, 29 Cisco, Texas xxxii City Tavern xxiii, xxiv Civil Right Act (1875) xxxv Civil Rights Act (1964) xxxv Code of Hammurabi xx Cohen, Jonathan 102, 104, 146 communication technologies xxvi community-based hospitality 41 community-based tourism 149 Cooper, Chris 110 “The Coyote” 135 Crayola Designer Kit 141 Crow, Jim xxxv

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Index

D’Amato, Jillian 55, 57, 58 Davenport, John 35 David Baker Architects (DBA) 41 Deborah Berke Partners 109–112 Delta Shelter 21 Denver, Colorado 148, 150 Detroit, Michigan 63, 109 Dewberry Hotel 58 Dipaola, Neil 69 A Directory of Negro Hotels and Guest Houses xxxv Douglass, Frederick xxxiv Dousharm, Kristina 96 dowel laminated timber (DLT) 5 drummer hotels xxvi Dudley, Frank xxxii East Village Radio Station 85 Eaton DC: CallisonRTKL 85; design team 85; entrance 85; existing building 85; exterior view 87; Gachot Studios 85; guest room interior 86; guest rooms 85; guest room vanity 87; Parts and Labor Design 85; radio station window 85; Wild Days rooftop bar 86 Ecotech Design 29 ecotourism 149 Eizenberg, Julie 47–50 Eppley, Eugene xxxii Evans, Shawn 117, 122 Federal Highway Act (1916) xxvii The Federal Writers’ Project xxx Fifth Avenue Hotel xxxiv Fitler Club 148 Flagler, Henry xxxii Florence, Italy xii, xxi Florida xxxii, 127 Forest Stewardship Council (FSC) 41 Foss Creek 41 Free State Hotel (Lawrence) xxxiv Frey, Albert xxix Friedrich, Michal 21 The Frogs of Aristophanes xx Fuller, Buckminster 29 Fuller, Seth xxxiv Gachot, Christine 85, 88 Gachot, John 85 Gachot Studios 85 Garrett Brown Designs 78 Gasthaus xx

gender xxxv–xxxvii Geneseo Inn: aerial view 30; Cass Camp 31; guest room interior 31; guest sleeping area interior 31; light bar 29, 30, 31; materials and components 30; site plan 30; sketch 29 Genoa, Italy 101 George and Pilgrim Inn xxii Getaway 149 Gilman, Charlotte Perkins xxxvi global lodging history xxi–xxii global warming 6 Grand Domestic Revolution (Hayden) xxxvi Grand Hotel xi, xi; aerial view of xxvii Grand Tour art xii Greely, Rose Isabel 117 The Greenwich Hotel 88 Greiman, April 112 Grupo Habita 135 Guild House Hotel: corridor 141; Eliza guest room 142; guest room bathroom 142; guest room suite interior 143; interior design team 142; library lounge 143 Guild of Greater Innkeepers xxi Harmon Guest House: design process 41; front of building 43; guest room, interior of 42; guest room, window seat in 42; pedestrian bridge 41; podium 41; vegetated courtyard 42 Harvey, Fred xxxii Hayden, Delores xxxvi Hayes, Katherine 13 H.B. Zachry Company 148 Heald, Harmon 41 Heart of Atlanta Hotel, Inc. v. US xxxv Heineman, Arthur xxx Helsinki 16 Hempel, Anouska 145 heritage tourism 149 Herrick, Doug 146 Hilton, Conrad xxxii Hilton, Habana xxxii Hilton Hotel Corporation xxxii Hoban, James xxiv Hohauser, Henry 127 Holiday Inn xii, xxxii, xxxiii Hoover, J. Edgar xxx hospitality xx, 145; shifts in 147 hotel xiv; boutique 145–146; corporations 145; development 148; hotel chains, growth of xxxi–xxxii; management company 145; management program xxxi; operations xxxi–xxxiii; owner 145; social impact of xxxiv; urban 147

Index

Hotel: An American History (Sandoval-Strausz) xxiv Hotel Clark xxxv Hotel Greystone: courtyard 127; front facade 130; guest room, interior of 129, 129; jazz lounge, interior of 128; lobby 128 hotel histories: building technology xxxiii–xxxiv; global lodging xxi–xxii; human mobility xxiv–xxvi; political system xxiii–xxiv; tourism + leisure travel xxvii; transportation systems xxii–xxiii; urbanization xxiv–xxvi; U.S. lodging history xxiii hoteliers’ development model 109 Hotel Kanra 72 Hotel Magdalena: design of 5; entry 6; floor plan design 7; guest room interior 7; guest rooms 5, 8; Porch 5, 5 Hotel Management: Principles and Practice (Boomer) xxxii Hotel Monthly xxxiv Hudson River 93, 96 human mobility xxiv–xxvi Hunfalvay, Adrian 135 Hutton Brick Works Company 93 Hutton Brickyards: cabin interior 94, 95; exteriors 93; helical piles 93; porch 94; River Pavilion 95, 96 independent hoteliers 146–147 Ingram, Paul xxxi Innovation Tower 55 InterContinental Hotels Group 146 Internal Revenue Code (1954) xxxi The Jane Hotel 65 Japan xxi, 72 Johnson, Howard xxxii Jones, Brett Randall 41 Jones, Fred 109 Jones, Maitland 109 Joseph, Kahlil 85 Joy, Rick 143 Kahn, Albert 109, 110 Kahn, Louis I 29 karam xx Kimpton, Bill 146 King, Martin Luther xxxv Kinship Landing: bathroom sink 77; built-ins 79; camping room 77, 77; design 78; discovery center 79; headboard 79; king guest room, interior of 78 Kinsley, George 135 Knight, Madame xxiii KoningEizenberg 47, 49 Korzen, Brad 48 Kuma, Kengo 72

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Kundig, Tom 21, 22, 23, 24 Kyoto, Japan 72 La Casa Que Canta 8 Lake Austin 5 Lake Public xxviii Leff, Marc 109 Levitt, Jeremy 85 Lloyd, Ryan 77, 79 Lo, Katherine 85, 146 Los Angeles, California 29, 47, 130, 135, 146, 148 Los Poblanos Historic Inn & Organic Farm: farm shop 120; Farm Suites 117, 118; field rooms 120, 121; Greely Garden 117; interior design 121; La Quinta 118; Lavender harvest 122; at night 119; site drawing 119; site plan 118, 121 Louis IV, King xxi Lucerne, Switzerland 104 Mademoiselle xxxvi Marc Merckx Interiors 135 Marriott, Jr. John Willard xxxii McCormick Simms, Ruth Hanna 117 Meem, John Gaw 117 Memphis, Tennessee xxxii, xxxv Miami Beach, Florida 127, 129 Mighty Union 35, 36 Mikulas, Bobby 77, 79 Mikulas, Brooke 77, 79 Mobley Hotel xxxii Montalbano, Adam 141–143 motel xxx–xxxi Motor Cabin xxix Moule, Elizabeth 117 Museum Hotel Oklahoma City: ballroom 111; corridor 111; exterior elevation 109; guest room, interior of 110; reception desk 112 The Negro Motorist Green-Book xxxv Nelson, Willie 5 Netherland Hotel xxxiv Newton, Scott 5 New York City xii, xxxiv, xxxv, xxxvi, 25, 29, 43, 65, 85, 88, 93, 109, 127, 146 Niehenke, Shannon 72 Nishiyama Onsen Keiunkan xxi Nouvel, Jean 104 O’Dell, Mark 72 Odyssey (Homer) xxi

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Index

Ohio xxxii, 109 Olson, Jim 21 Olson Kundig 21 online travel services 147 Oregon 77, 101 O’Shea, Kevin 130, 146 Oskey, Eric 141 pandocheion xx Parts and Labor Design 85 Pattern #159 (Alexander) 14 Pearson, Julie 63 Perry, Walter Scott 29–31, 29 Philadelphia xxiii, xxxii, 141, 148 Phoenix Hotel 146 Pitt-Rivers, Julian xx Plessy v. Ferguson xxxv political system xxiii–xxiv Polyzoides, Stefanos 122 Portland, Oregon 77, 101 posada xx Prellwitz Chilinski Associates (PCA) 55 printing technologies xxvi Putman, Andrée 146 race xxxiv–xxxv Readinger, Alexis 148 Rembe, Armin 117 Rembe, Penny 117 Renwick, James xxxiv Revere, Paul xxiii The Revolution Hotel: design team 55, 56; existing building 55; exterior courtyard 58; gear walls 57; guest room, interior of 56, 57; guest rooms 56; lobby view 55; materials 56; Oak 56; walnut 56; wood 56 Rice, Mary 13 Richard II, King xxii River Pavilion 95, 96 The Robey: cocktail bar 137; corner guest room, interior of 137; guest room interior 136; guest rooms 135; lobby of 136; neighborhood 135 Rockwell, F. W xxxii Rogers, Isaiah xxxiii Rohrer, Kate 142 Rolling Huts: exterior view 23; floor plan 23; “herd,” view of 21; interior of 22; ultimate camping experience 21 Rotondi, Michael 112 Rubell, Steve 146

Sagamore Hotel xxxiv Salmela, David 13–16 Sandoval-Strausz, A.K. xxiv San Francisco, California xii, xxvii, 70, 146, 147 Santa Barbara, California xxxii, 69 Al-Sayed, Marwan 143 Schrager, Ian 146 Scollard, Henry 63–65 Scully, Vincent 146 Seattle, Washington 21, 146 Shanghai, China 24 Shulman, Allan Todd 127, 130 Siem Reap Angkor, Cambodia 50 Simms, Albert 117 Simms, Ruth 117 Slovin, Karl 93 Snell, Dave 55, 58 Society Hotel Bingen 146; aerial view of 103; cabin room, interior of 103; cabins 103; coffee shop 101; hammock 103; school house 101; spa, interior of 102, 102 South Devon, England xxi Specht, Scott 35, 36 Spelling, Aaron xii Spurzem, Will 70, 72 Stark, Philippe 130 Station Hotel xxii Statler, Buffalo xxxii, xxxiv Statler, Ellsworth M. xxxii Statler Hotel xxxiv, xxxiv St. Augustine xxxii St. Denis Hotel xxxiv Stevens, Paran xxxi Stewart, A. T. xxxv sustainability 149–150 Svenson, Ben 63 Tabard Inn xxi technology 148–149 Tennessee xi, xxxii, xxxv, 148 Terrace Motor Hotel 5 “The Airport Rooms Tourists Welcome” 63 Thor-Sandberg, Erik 85 Torres, Roman 141 tourism 145 tourism + leisure travel xxvii Tourists: bathroom sink detail 65; design 63; gallery rooms, exterior of 65; guest room, interior of 64; landscape architecture 63; old farmhouse 63; window seat 64

Index

transportation: and hotels xxvi; systems xxii–xxiii Travel and Leisure 146 travel tips: Amanyangyun 24; Capitol Hotel Tokyo 72; Dewberry Hotel 58; Geneseo Inn 31; The Greenwich Hotel 88; The Hotel 104; Hotel Peter & Paul 104; The Jane Hotel 65; La Casa Que Canta 8; Los Poblanos Historic Inn & Organic Farm 122; The Made 43; Miracle Manor 112; Proper Hotel San Francisco 104; Steinbock 104; Timber Cove Resort 43; Viroth’s Hotel 50; Woodstock Way 96 Travis Van Liere Studio 15 Tremont House (Boston) xxxiii; bill of fare, 1847 xxxiii Turner, Eliza Sproat 141 Turner, Jen 35 Turpin, Richard xxii 21c Museum Hotels 109, 112, 146 United Hotels Company of America xxxii United States, xiv, xxiii, xxiv, xxvi, xxxii, xxxiii, xxxiv, xxxvi, 85, 110, 112, 145, 146, 147, 150; lodging history xxiii; railway system xxvii urbanization xxvii, xxiv–xxvi U.S. Postal Service xxvi Vals, Switzerland 104 Volland, Jennifer M. xxxiv

Waechter, Ben 101, 102, 104 Waechter Architecture 101 Washington 21, 85, 101 Washington, George xxiii Waters, Muddy 5 Wearstler, Kelly 48 Weigel, Wade 146 wellness 149 Westerman, Lisa Pope 148 Wild Rice Restaurant 13; aerial view of 13; exterior 14, 16; geothermal dreams 14; guest rooms 15; light 14; natural assumption 13; Nests 14, 15; porch 14, 15, 15; RicePods, exterior of 14; RicePods, interior of 14, 15 Wilson, Kemmons xxxii Wilson, Steve 146 Wisconsin 13, 15, 93 World Travel & Tourism Council 149 Wright, Thomas 93 Zihuatenejo 8 Zimmer, Heidi 13, 16, 147

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