The Manner, New York

The Manner is an expressive luxury hotel where SoHo's artistic independence, loft-born design culture, fashion sensibility and appetite for creative experimentation converge within a highly authored interpretation of a private downtown residence.

Set along Thompson Street near Broome Street and just steps from The Drawing Center, the 97-room property opened in 2024 as Standard International's new luxury concept, with Milanese architect Hannes Peer collaborating with chief design officer Verena Haller and Lubrano Ciavarra Architects on the building's reinvention. Peer approached the interiors through the layered glamour of Italian modernism, developing sculptural forms, saturated materials and custom furniture alongside contributions from artists and designers including Ben Medansky, Alex Proba and Michael Halpern. Rooms continue the composition through bespoke glass-and-steel chandeliers, lacquered headboards and warm tonal palettes, while shared spaces intentionally resemble rooms within a collector's home. The result is a hotel where Milanese design discipline and SoHo's culture of individual expression meet within a property conceived as hospitality without the conventional visual language of a hotel.

The Manner is best known for opening in 2024 as the first property in a new luxury hospitality concept created by Standard International executive chairman Amar Lalvani, introducing 97 rooms, including 10 suites and a duplex penthouse, inside a 12-story SoHo building reworked by Hannes Peer with Verena Haller and architect of record Lubrano Ciavarra Architects. Peer, whose Milan practice spans architecture, interiors and furniture, developed the project through custom glass-and-steel chandeliers, lacquered headboards, saturated surfaces and sculptural furniture, while Standard International commissioned creative contributions from ceramicist Ben Medansky, artist Alex Proba and fashion designer Michael Halpern to extend the authorship beyond a single studio. Lalvani conceived The Manner after studying intimate hospitality models including Ett Hem in Stockholm and Hotel Esencia in Mexico, replacing conventional front-desk rituals with a residential approach modeled on staying in the home of a sophisticated friend. That philosophy reaches the guestrooms through the deliberate absence of permanently installed televisions, substituting books and dedicated audio systems while retaining televisions available on request, and into The Apartment and rooftop, spaces originally conceived primarily around resident guests and their invited company. Standard International's parent company was subsequently acquired by Hyatt in 2024 in a transaction valued at up to $335 million, placing The Manner's debut at the precise moment its creator's earlier hospitality platform entered a new corporate chapter.

Chef Alex Stupak gives that design experiment an equally specific culinary author through The Otter and Sloane's, extending a career that moved from pastry positions at Grant Achatz's Alinea and Wylie Dufresne's wd~50 into the creation of his own EmpellΓ³n restaurants and a radically different body of savory cooking. The Otter opened on September 23, 2024 as a seafood-driven restaurant centered on carefully sourced fish and shellfish, with scallop crudo among the opening dishes, while Sloane's occupies the second floor as its more intimate cocktail counterpart. Peer's interior architecture gives these rooms continuity with the hotel above, allowing Stupak's culinary authorship, Standard International's residential hospitality experiment and a roster of commissioned artists to operate as components of the same creative concept. The combination makes The Manner less a collection of fashionable rooms than a collaboration between Lalvani, Haller, Peer, Stupak, Medansky, Proba and Halpern, each contributing a distinct discipline to Standard International's final major New York introduction before Hyatt's acquisition.

The Manner works as the anchor for an afternoon tracing the architecture, experimental art and design culture that established SoHo as one of New York's most consequential creative districts.

Begin at The Drawing Center, founded by former Museum of Modern Art curator Martha Beck in 1977 as the country's first nonprofit institution devoted specifically to drawing, now occupying a former 1866 warehouse reworked by Claire Weisz and WXY Architecture + Urban Design. Continue to Judd Foundation, where Donald Judd purchased 101 Spring Street in 1968 and spent decades developing a permanent relationship between his art, furniture and Nicholas Whyte's 1870 cast-iron building, creating one of SoHo's clearest surviving expressions of the artist-controlled loft. Conclude at Storefront for Art and Architecture, founded in 1982 by Kyong Park and currently defined by Steven Holl and artist Vito Acconci's 1993 rotating facade, whose hinged panels physically dissolve the boundary between gallery and street. The progression moves from an institution created specifically to elevate drawing through Judd's rebellious integration of art and domestic space into an experimental architecture gallery whose facade itself became a design concept, revealing the culture of disciplinary crossover that makes The Manner's collaboration between architecture, art, fashion and hospitality so precisely suited to SoHo.

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