At the corner of West Broadway and White Street in lower Manhattan, where Tribeca's cast-iron warehouses give way to the wider streets of the Hudson Square edge, a red-brick building announced itself to the neighborhood in 2013 with a neon marquee and a sidewalk clock that could have been transplanted from a 1940s film set. The Roxy Hotel was developed by the Swig family and designed with interiors by Roman and Williams — the studio behind the Standard High Line and the Ace Hotel New York — who brought to the 201-room property the same studied romanticism that defines their best work: a deep literacy in American vernacular that stops well short of pastiche. The public spaces carry that sensibility most forcefully. The lobby bar features raw exposed brick, arched antiqued-mirror alcoves, a dark carved-wood back bar, and bentwood café chairs arranged around marble-topped tables — the atmosphere closer to a pre-Prohibition saloon than any conventional hotel lounge. The adjacent performance space fills a double-height brick volume furnished with tufted oxblood leather sofas, Chesterfield club chairs, and a live stage set permanently with guitars and a drum kit. Guest rooms work in warmer registers: dark-stained wide-plank oak floors, burnished copper-toned wall coverings, mid-century-inflected pendant fixtures, leather bed frames, and in the upper-floor suites, angled ceilings that lend the rooms an almost residential idiosyncrasy. Vinyl record players on brass-detailed credenzas complete the picture.

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