Hotel of the Week: Brutalist Landmark in San Francisco Gets a Bold Makeover by AvroKO
Occupying a structure originally designed by architect John Portman, The Jay pays homage to artist Ruth Asawa and counterculture fashion icon Peggy Caserta
Pioneering architect John Portman’s stunning Brutalist hotels astounded guests with their soaring atriums, captivating audiences in New York, Chicago, and his hometown of Atlanta, as well as in other cosmopolitan cities around the globe. Now, one of his San Francisco structures—the former Park Hyatt turned Le Meridien—has been reimagined as The Jay, a sophisticated setting that balances the architect’s love of concrete and stone with earthy wood accents and glamorous notes of bronze and brass.
“We knew from the beginning we wanted to pay homage to John Portman’s original structure,” says Greg Bradshaw, principal and co-founder of AvroKO, which cultivated the interiors. “We chose to balance the existing heavy concrete architecture with warmer materials—while still leaning into that heavy brutalist form—creating a pillar we coined Warm Brutalism.”
The hotel’s redesign makes its presence known right from the get-go, where wood fins encircle an impressive porte cochère and monolithic doors with hand-carved details open to reveal a sweeping spiral stair that nods to a design seen in Portman’s private residence. A custom wall installation by Guerin Design and commissioned bronze installation by Arnaldo Pomodoro hint at the artful elements to come.
Elsewhere a conference suite awash in bold colors and patterns pays homage to Peggy Caserta, the founder of famed Haight-Ashbury boutique Mnasidika and partner of rock icon Janis Joplin, while other artworks take inspiration from local talent Ruth Asawa. “We also wanted to pay tribute to the people who shaped San Francisco from behind the scenes,” says Bradshaw. “The lesser known artists and activists, people you really only know about as a lifelong resident. Their presence helped to bring a subtle story to individual rooms.”
Public areas feature bold elements, like the towering travertine and bronze screens that wink to notable San Francisco theater group The Diggers, or the black granite bar that draws from another Portman design. A light and airy coffee bar with a rotating gallery of artworks contrasts the dark, moody atmosphere found at the Hidden Lounge, a secluded cocktail spot tucked behind the main bar. A hypnotic installation of mirrors and bronze disks disguises the entrance to a public bath.
“To me, the stand out among many is the central lounge space on the third floor,” Bradshaw tells Galerie. “A circular tube of wood slats from the spiral stair is mirrored on the other side of the room in the ceiling over the main cocktail bar. Between these two forms is a large hexagonal wood ceiling (inspired by Portman’s facades from the adjacent Embarcadero Center) with floating rice paper lights, a series of small couches and vintage lounge chairs, and potted plants, creating a distinguished space that serves as the heart of the hotel.”
Contrasting the main areas bold strokes, the suites are an exercise in considered restraint with a neutral palette sourced from Ruth Asawa’s oeuvre. Sculptural custom furnishings and decorative accents, like a distinguished room divider informed by the facade of the neighboring Embarcadero Center, give the room visual interest while still complementing the tranquil atmosphere.
“San Francisco, in particular, has had a lack of larger hotels with a boutique level of design and hospitality,” notes Bradshaw. “Two big advantages of this building were exceptionally spacious rooms with spectacular views of the bay and the surrounding city, and a third-floor outdoor deck space connected to the rest of the Embarcadero Center.”
So whether meeting for the day or spending the night, The Jay offers plenty of design details sure to captivate all types of cultural connoisseurs.
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