The Misselthwaite Hotel is a boutique hotel that occupies towers that rise on either side of the High Line Park. The High Line was built on an elevated rail track that runs through the Chelsea district, the sophisticated center of New York City's art scene, and the hotel's brand expresses a deep connection with the artists and musicians who call the city home—whether for a night or a lifetime.

Drawing its name from Misselthwaite Manor, the foster home to the young Mary Lenox in Frances Hodgson Burnett’s classic novel The Secret Garden, the hotel's aesthetic is articulated through an ironic interpretation of the expression ""gone to seed." Conventionally referring to overgrowth, abandonment, or neglect, for the Misselthwaite Hotel "gone to seed" represents the romance, freedom, and irresistible melancholia felt when things are left unfinished or growing wild and out of control.

Throughout the sprawling public spaces and continuing into the guest rooms, this concept manifests itself in the unfinished, overgrown and organic qualities of exposed concrete walls, wood flooring and terrazzo, with light fixtures that evoke organic growth and stained glass doors that emulate the decay of threadbare fabric. The visual language of the hotel is also enriched by its color story—peacock blue, pale peach, and grey—and by classics of 1970s renegade style and industrial modernism. In this hotel, areas designed for utilitarian artistic production fuse with intimate bars and lounges to create overlapped private and public spaces, where insular and secretive conspiracies are fostered.

Faculty for the project: Caroline Meersseman & Robert Seidel

Drawing its name from Misselthwaite Manor, the foster home to the young Mary Lenox in Frances Hodgson Burnett’s classic novel The Secret Garden, the hotel's aesthetic is articulated through an ironic interpretation of the expression ""gone to seed." Conventionally referring to overgrowth, abandonment, or neglect, for the Misselthwaite Hotel "gone to seed" represents the romance, freedom, and irresistible melancholia felt when things are left unfinished or growing wild and out of control.
Throughout the sprawling public spaces and continuing into the guest rooms, this concept manifests itself in the unfinished, overgrown and organic qualities of exposed concrete walls, wood flooring and terrazzo, with light fixtures that evoke organic growth and stained glass doors that emulate the decay of threadbare fabric. The visual language of the hotel is also enriched by its color story—peacock blue, pale peach, and grey—and by classics of 1970s renegade style and industrial modernism. In this hotel, areas designed for utilitarian artistic production fuse with intimate bars and lounges to create overlapped private and public spaces, where insular and secretive conspiracies are fostered.

Faculty for the project: Caroline Meersseman & Robert Seidel