Design Talk: The Lore Group On Hotel Storytelling

Carved out of Washington DC’s former Riggs National Bank, in the city’s Penn Quarter, Riggs Washington DC opened in 2020 and is the first hotel in the US for the hospitality company, Lore Group. As well as paying homage to the building’s unique and grand legacy, the hotel also displays flashes of innovative design, inspired by local history and a desire to root guests in a destination. These quirky touches have become features of the group’s property portfolio, which also counts the award-winning Pulitzer Amsterdam, Sea Containers, London and a second Washington property, Lyle, which opened in 2021, under its belt.

Here, the group’s creative director, Jacu Strauss, reveals more about the design process behind the properties, what it means to carve hotels out of historic buildings and how to keep them relevant today.

What is the ethos of Lore Group?

At Lore Group we like to say that we create hotels with stories that last. This is in terms of the design, our teams of people and the context of the hotel within its neighbourhood. We do what is right for each situation, each building and each location, rather than forcing a narrative or a certain style just because it suits us. We ultimately want to create hotels that we – and the local community – are proud of.

What makes an historic building just ‘right’ to be reimagined as a hotel?

There are many factors but, for me, it is appreciating the bones, heritage, history and the beauty in the imperfections. Some historic buildings appeal because of their golden age grandeur, such as Riggs Washington DC, while others appeal because of their quirks, such as Pulitzer Amsterdam – which is made up of a collection of 25 historic canal houses. It is important to build on the legacy with a fresh narrative so it feels relevant today. We do not create museums from historic buildings, instead we give them an extended lease of life and add another chapter to their history.

What excited you creatively when you first saw the building that is now Riggs Washington DC?

The location, the architectural features and its legacy as the Riggs National Bank. The heritage of the building is very exciting, as the name ‘Riggs’ is an important one in DC historically. Many visitors still remember this building being used as Riggs National Bank, the Bank of Presidents.

It is an imposing building (included on the National Register of Historic Buildings) that stands prominently in its location on the corner of 900 and F street. It is opposite the world famous Smithsonian Portrait Gallery and a short walk to all of the other phenomenal museums in DC.

They just do not build buildings like that anymore. Riggs is a rare surviving example of a Richardsonian Romanesque style with solid granite construction and grand proportions. I was particularly excited to see what bones had survived in the interior and then look at how we could celebrate all these amazing features, including the Corinthian columns, plaster coffered ceilings, marble floors, two original bank vaults and bronze gates.

Tell us about the design story of the hotel?

The story is rooted in the building’s history. It was built in 1891 as the headquarters for Riggs National Bank, known as the Bank of Presidents, due to the number of American Presidents who, along with their families, held accounts there.

I played on the unlikely parallels between the golden age of banking and staying in a hotel. Banks used to be places to socialise and be seen in, but they also provided a place to keep valuable items safe. When thinking about this, I used the phrase ‘a public place for private affairs’. The public areas at Riggs are therefore designed to encourage people to come together, while the guest-rooms represent a safety deposit box – somewhere more private with more personal and sentimental overtones.

What sets it apart from other competitors?

We are a small hotel group and our team are very dedicated and hands-on. We believe in authenticity – what feels right for us and not copying what others are doing. This always resonates well with our guests because it’s truthful, and we include moments of delight without dictating experiences to anyone. Guests and visitors can create their own stories and make their own memories in our hotels, and Riggs is particularly special because of that. I also believe we are particularly sensitive about the neighbourhood and where we are located. We create hotels that local communities can be proud of and which immerse out-of-town visitors into each location.

What is your favourite space in the hotel and why?

I am particularly fond of the First Lady suites. The White House Historical Association was particularly helpful and inspiring when I moved to DC to do this project. I was given tours of the White House, with emphasis on its interior history and the impact each First Lady had on the design. I was also shown how people entertained at the White House. We have four First Lady Suites. I didn’t just want to recreate their interior styles so instead I interpreted their spirit, passions and quirks in abstract ways. There are multiple pieces or art, furniture and artifacts that I collected from antique and vintage shops. I am a compulsive collector and there is something wonderful about being able to incorporate antiques and art to give them another lease of life and meaning: it is the original way to be sustainable!

What feeling do you want guests to have when staying at Riggs Washington?

The most important feeling is to be delighted by the design but also by the service, atmosphere and offerings. I am in a unique position in my role where I am an architect and designer first, but I also understand how the other pillars are equally important – design alone is not enough. With the right balance you have harmony and I believe guests respond to that because it feels effortless and natural. That is what true hospitality is all about, after all.

What do all the Lore Group properties have in common?

They are all unique, yet operated in the same way. We start from scratch and create the story without outside influences or a cookie-cutter style. It is a lot more work because we have to experiment and evaluate constantly what we are doing and why we are doing it. But the results are incredibly rewarding and this approach gives our hotels longevity. There is a lot of focus on the local. This spirit through design and service is what the hotels have in common.

What are a few of your ‘essential must-haves’ when designing a hotel?

A great team who are not afraid to break a few rules and come up with new ones. Hotels are about people and emotions, and it is important for a team to understand and believe in this. A little bit of bravery helps, too, because we do not always do what other hotel groups do. An attitude that allows you to take a step back to make sure what you are doing is right. It is often a pitfall to get caught up in details alone.

Tell us something that is unique about the hotel for guests to discover.

There are strategic moments highlighted or planted throughout the hotel, but this is done in a way not to dictate an experience and it is never too serious. We want our guests to find their own special moment, whether it be a two-storey, giant flower case in Café Riggs, the enormous giant gumball machine near the entrance to Silver Lyan, the collection of all female trophies in the original vault or our minibars that were designed to look like old bank safes.

How does Riggs differ from Lyle?

The neighbourhood, design and stories are very different and we celebrate this. Riggs is in the heart of DC with access to all the great museums and the mall etc. The building itself is all about grandeur. Lyle is in a much more residential area and the building (originally a late Art Deco apartment building) is a lot more intimate in its details, scale, proportions and design palette.

What is the aesthetic story at The Lyle?

It reflects its history as an apartment building and, unlike Riggs, the public areas are much more intimate. Lyle has a more residential-feel design-wise, with a much more neutral and calm palette with key pieces not something you would expect in a hotel, such as white upholstery and my own hand-painted art

What is next for the Lore Group?

We love what we do and naturally have ambitions do find more buildings to add to our Lore Group family. But, it needs to be right for us and we are privileged enough to be patient to wait for the right building to find us. I always say hotels are living things which are never quite finished. They evolve and change and we are always working on existing hotels to make sure that we nurture them with new additions, such as the new suites at Pulitzer Amsterdam, room updates or adding a spa.