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The Capital Hotel is uniquely beautiful, with its cast-iron façade and marble lobby, its high-ceilinged rooms, and its rich history. Since its opening in 1876, it has been the stage for the struggles, schemes, and dreams of generations of politicians, debutantes, prostitutes, carpenters, and businessmen. And a wide variety of owners and visionaries has shaped the hotel's fortunes, among them the Yankee entrepreneur who started it all; the Italian immigrant family who kept it going in its worst days; the architect who envisioned new lives for old buildings; and the financiers and craftsmen who brought the Capital to its current glory as a luxury hotel. The story of the Capital Hotel is also the story of Little Rock, and of many American cities: built in the commercial boom of the 1870s, in full flower at the turn of the century, battered by the Depression, optimistic in the postwar era, but decrepit by the late 1960s, then renovated in the 1980s and thriving today. This lavishly illustrated volume traces the history of the hotel from its origins as a commercial building to its spectacular renovation into a jewel of downtown Little Rock.

In postwar Europe and the Middle East, Hilton hotels were quite literally "little Americas." For American businessmen and tourists, a Hilton Hotel—with the comfortable familiarity of an English-speaking staff, a restaurant that served cheeseburgers and milkshakes, trans-Atlantic telephone lines, and, most important, air-conditioned modernity—offered a respite from the disturbingly alien. For impoverished local populations, these same features lent the Hilton a utopian aura. The Hilton was a space of luxury and desire, a space that realized, permanently and prominently, the new and powerful presence of the United States.

Building the Cold War examines the architectural means by which the Hilton was written into the urban topographies of the major cities of Europe and the Middle East as an effective representation of the United States. Between 1953 and 1966, Hilton International built sixteen luxury hotels abroad. Often the Hilton was the first significant modern structure in the host city, as well as its finest hotel. The Hiltons introduced a striking visual contrast to the traditional architectural forms of such cities as Istanbul, Cairo, Athens, and Jerusalem, where the impact of its new architecture was amplified by the hotel's unprecedented siting and scale. Even in cities familiar with the Modern, the new Hilton often dominated the urban landscape with its height, changing the look of the city. The London Hilton on Park Lane, for example, was the first structure in London that was higher than St. Paul's cathedral.

In his autobiography, Conrad N. Hilton claimed that these hotels were constructed for profit and for political impact: "an integral part of my dream was to show the countries most exposed to Communism the other side of the coin—the fruits of the free world." Exploring everything the carefully drafted contracts for the buildings to the remarkable visual and social impact on their host cities, Wharton offers a theoretically sophisticated critique of one of the Cold War's first international businesses and demonstrates that the Hilton's role in the struggle against Communism was, as Conrad Hilton declared, significant, though in ways that he could not have imagined.

Many of these postwar Hiltons still flourish. Those who stay in them will learn a great deal about their experience from this new assessment of hotel space.

In the dead of an unassuming January night in 1883, Milwaukee’s Newhall House hotel was set on fire. Two hours later, the building—once among the tallest in the nation—lay in ruins and over seventy people were dead. It was a tragedy that brought global notice to Milwaukee, with daring escapes and rescues and heart-wrenching tales of victims burned to death or killed as they leapt from the burning building. From the great horror emerged an even greater string of mysteries: Who had set the fire and who was to blame for the staggering loss of life? The Newhall’s hard-luck barkeeper? A gentleman arsonist? What of the many other unexplained fires at the hotel? Had the Newhall’s management neglected fire safety to boost their profits? 
 
Damn the Old Tinderbox! is the gripping tale of one of the Gilded Age’s forgotten calamities, a fire that remains among the deadliest unsolved arsons in American history, and a significant chapter in both the history of Milwaukee and the Midwest. 

 

In this meticulously researched study of Basque boardinghouses in the United States, Jeronima Echeverria offers a compelling history of the institution that most deeply shaped Basque immigrant life and served as the center of Basque communities throughout the West. She weaves into her narrative the stories of the boarding house owners and operators and the ways they made their establishments a home away from home for their fellow compatriots, as well as the stories of the young Basques who left the security of their beloved homeland to find work in the United States.

Hotel London: How Victorian Commercial Hospitality Shaped a Nation and Its Stories examines Victorian London’s grand hotels as both an institution and a culture intimately connected to the urban landscape. In her new study, Barbara Black argues that London’s grand hotels provided an essential space for socializing, fashioned by concerns relating to class, gender, and nationality. Rooted in Walter Benjamin’s “new velocities” of the nineteenth century and Wayne Koestenbaum’s hotel theory, Hotel London explores how the emergence of the grand hotel as a physical and metaphorical space helped to construct a consumer economy that underscored London’s internationalism and, by extension, England’s global status.

Incorporating the works of Oscar Wilde, Henry James, Wilkie Collins, Arnold Bennett, Florence Marryat, and Marie Belloc Lowndes, as well as contemporary depictions of the hotels in Mad Men,American Horror Story, and The Grand Budapest Hotel, Black examines how the hotel supported a corporate identity that would ultimately assist in the rise of modern capitalist structures and the middle class. In this way, Hotel London exposes the aggravations of class stratifications through the operations of status inside hotel life, giving a unique perspective on Victorian London that could only come from the stories of a hotel.
 

One of the great pleasures of staying in a hotel is spending time in a spotless, neat, and organized space that you don’t have to clean. That doesn’t, however, mean the work disappears—when we’re not looking, someone else is doing it.

With Housekeeping by Design, David Brody introduces us to those people—the housekeepers whose labor keeps the rooms clean and the guests happy. Through unprecedented access to staff at several hotels, Brody shows us just how much work goes on behind the scenes—and how much management goes out of its way to make sure that labor stays hidden. We see the incredible amount of hard physical work that is involved in cleaning and preparing a room, how spaces, furniture, and other objects are designed to facilitate a smooth flow of hidden labor, and, crucially, how that design could be improved for workers and management alike if front-line staff were involved in the design process. After reading this fascinating exposé of the ways hotels work—or don’t for housekeepers—one thing is certain: checking in will never be the same again.

Over 157 years ago—before there was a Reno, Nevada; before there was a state of Nevada; and even before there was a Nevada Territory—there was a bridge over the Truckee River at a narrow, deeply rutted cattle and wagon trail that would one day become Virginia Street. There was also a small rustic inn and tavern occupying a plot of ground at the southern end of the log-and-timber bridge, catering to thirsty cowboys, drovers, and miners. The inn and the bridge were the first two structures in what would one day be a bustling metropolitan area, and to this day they still form the nucleus of the city. The Genesis of Reno traces their history up to the present day. The 111 year-old concrete bridge that was replaced in 2016 by a magnificent new structure was honored for its longevity and unique character with placement on the National Register of Historic Places in 1980.