Completed in 1902, Washington, DC’s Riggs National Bank was known as the “Bank of Presidents.” It was the site of countless notable events in a city where history is literally made on every corner. Over time, however, the bank lost its luster, and the space has been through several incarnations, most recently a chain hotel.
Now Riggs Washington DC—the first U.S. hotel from international hospitality company The Lore Group—recently reopened with a look that preserves the spirit of the former bank, while much of its original design—features including the pillars, ceilings, brass detailing and bank vault (which was discovered during demolition)—has been restored.
“The grandeur of the building was one of the main aspects that I fell in love with instantly, but it also brought with it challenges on how to celebrate the scale yet create an interior that felt comfortable and inviting throughout the day and night,” said Jacu Strauss, creative director with The Lore Group.
The building’s heritage was its design inspiration, offering a visual narrative that draws on parallels between the activities of a bank and the activities that take place in a hotel. The rooms and suites, for example, are inspired by the mysteries and delightful surprises evoked through private safety deposit boxes; throughout the property, something personal, unexpected and serendipitous is offered around every corner.
Riggs Washington DC features the bank’s historic and original barrel-vaulted lobby and ornate ceiling. The public areas of the hotel embrace the architectural grandeur of the lobby and restaurant floor, with expansive ceilings decorated with elaborate coffers and oversized chandeliers. The reception area is an homage to the building’s previous use, with a large L-shaped bespoke desk reminiscent of a teller counter that would have greeted guests in the golden age of personal banking. A massive medallion of Juno Moneta, the Goddess of Money, presides over the room—a medallion found on one of the original banking doors.
To ‘celebrate the scale yet create an interior that felt comfortable,’ the right lighting was needed for the project. Strauss worked with MCLA architectural lighting Principal Maureen Moran and Associate Principal Scott Guenther.
With the property’s bar and restaurant area open to the lobby, the entire space had to be treated as one experience. But it can be difficult to make sure that the lighting is warm enough for dinner service, yet bright enough to make the lobby feel energized. The first floor’s ornate plaster ceilings also presented a lighting challenge—it needed to be as untouched as possible, with minimal to no cuts into the ceiling.
Guenther suggested Ketra lighting as a possibility from the very start. The lower level’s tall windows with an open eastern exposure meant that precise tuning of both the color and intensity of the lighting was a must to properly illuminate a space that would be active both during the day and well into the night.
“We were also able to use Ketra lighting to optimize the open floor plan at Riggs DC,” said Strauss. “This was particularly important, as the bar and restaurant are open to the lobby and made it challenging to maintain distinct and functional spaces. By programming lighting to create “zones,” we were able to visually separate spaces within the lobby and dining areas. For example, we created settings with dim, warm lighting to provide ambiance for dinner service within the restaurant area, while using brighter light near the entrance to energize the lobby.”
Guestrooms and suites
Each of the hotel’s 181 guestrooms offers a nod to Riggs’ history. The rooms’ minibar and safe are hidden within a design aesthetic that mirrors traditional steel safe, with a brass plaque of Juno Moneta on the front. Terracotta orange painted walls complement a striking headboard and wall covering pattern—a bespoke design by George Venson from design studio Voutsa—inspired by the theatrical folds and colors in clothing synonymous with classical and Baroque-era paintings. The bathrooms feature classic navy, Italian Carrara marble, chrome hardware and amenities from fragrance house D.S. & Durga in its signature Debaser scent—with most featuring a main vanity area that includes a series of custom wall sconces and a bespoke beveled mirror centerpiece.
A total of 15 suites are available, including four ‘First Lady’ suites that are inspired by the eccentricities of a select few Presidents’ unsung better halves: Ida McKinley’s green thumb, Angelica Van Buren’s opulence, Louisa Adams’ intense love for music and Caroline Harrison’s extensive collection of porcelain. The color palette, furniture selection and layout of each of these suites was designed by Strauss to be completely unique and styled based on these distinct interests.
