The boutique hotel represents a cutting edge trend in the hotel industry. The concept can be situated within the larger context of the New Economy that recognizes the importance of product differentiation and design, as in the case of Apple computers for example. Although Schrager initiated the concept of the boutique hotel, his approach has been imitated most notably with Barry Sternlicht's W hotels. The "boutique hotel as a lifestyle" ethos can be seen in many other consumer industries that try to stratify goods and services (the Hudson is more hip then the Hilton, Coke is cooler Pepsi…).
When you realize that the building that houses the Hudson is actually over seventy years old and that it really is not an architectural marvel, you get a deeper appreciation of what Schrager and Starck were able to accomplish. By focusing on creating an original décor and designing dynamic public space areas, Schrager and Starck have allowed the Hudson to develop a "personality" that really does set it apart from your normal hotel. By focusing on themed spaces that have a surrealist or what we could even call a post-modern sensibility, as in the example of the Library bar, we understand how Schrager has been able to create such a buzz. And, of course, in Schrager's growing hotel empire that boasts a total of thirteen establishments, there are no two hotels that are alike.
This post-fordist trend in the hostelry industry is a reaction to the standardized generic atmosphere that can be found in even the more expensive of the corporate chain hotels. Schrager has found a formula that is oriented towards the notion that through our choice in consumption, we are saying something about ourselves. Someone who stays at the Hudson is situating himself in the upper echelon of society while also declaring his appreciation and knowledge of interior design, even though he is probably just passing as someone who does. Through consumption, the guest or visitor is paying for the hip value of the Hudson and gaining access to a certain social scene.
It is important to realize the role of art in the boutique hotel because Schrager wants his clients to marvel at the beauty of their surroundings. In a world that is experiencing a homogenization of cultures, Schrager offers the appeal of a unique travel experience. Design value and big name artists, such as the Clemente mural at the Hudson, create authenticity and allure the elite, which in turn attracts those who can afford to attempt to pass as the elite. Thus, even if you find the décor not to your liking, how could you refuse to go where your celebrity idol was spotted the other night?
Yet, the boutique hotel does not make the neighborhood any safer. Everything goes on inside and the beauty of the décor is not shared with nearby residents. In this sense, the boutique hotel does not encourage a revival of public space; it increases the disparity between public and private areas precisely because the interior is so lovely. The Hudson's profits depend on the public perceiving it is an exclusive, and therefor desirable, private space. I think a case could be made that the Clemente mural inside the Hudson should be displayed in a more public oriented zone. Personally, when I went to the Hudson I wasn't allowed by the "bouncer" to get into the area where the mural is located because I wasn't on the guest list. Are only those with the right connections worthy of appreciating this work of art?
In my opinion, the Hudson reflects the segregation of space based on purchasing power that is prevalent in cities. The rather bare façade of the Hudson does not add much to the surrounding neighborhood, yet the inside of the building is stunning. The Hudson is a micro-city that welcomes strangers, an alternate reality that accommodates the hip consumer and that is out of reach for the low-income families that can be found in housing projects further south, in the heart of Hell's Kitchen. Obviously, the amount of money you earn and the amount time you have to contemplate high art and interior design are key traits of the Hudson's clients.
Nevertheless, the rooms at the Hudson are not that expensive, singles go from $95 up and suites at $200, even though dining and drinking costs may seem slightly outrageous. Although the prices are relatively low, the design and décor make up for the reputedly shoebox sized rooms by enhancing the public space areas. Schrager's mix of glamour and style is intended to create an unforgettable experience for the client. The hotel is a stage and the client, as long as he has the capital, can gain access to the stage and reinvent himself. The guest can convince himself that he belongs in this hip milieu, sit back in a plush sofa at the Library bar, ask himself what the hell all those books are doing up there and sip on his $12 Hudson Cosmo while forgetting about all those homeless people he saw earlier in the day during his tourist excursion.