{"id":19484,"date":"2025-12-23T17:42:35","date_gmt":"2025-12-23T17:42:35","guid":{"rendered":"https:\/\/nationalgunowner.org\/index.php\/2025\/12\/23\/how-oram-hotels-embeds-art-into-hospitality\/"},"modified":"2025-12-23T17:42:35","modified_gmt":"2025-12-23T17:42:35","slug":"how-oram-hotels-embeds-art-into-hospitality","status":"publish","type":"post","link":"https:\/\/nationalgunowner.org\/index.php\/2025\/12\/23\/how-oram-hotels-embeds-art-into-hospitality\/","title":{"rendered":"How Oram Hotels Embeds Art Into Hospitality"},"content":{"rendered":"
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\"Interior
From artist residencies to institutional partnerships, Oram Hotels is testing a new model where culture drives place-making. Michal Rzepecki<\/span><\/figcaption><\/figure>\n

This Q&A is part of Observer\u2019s\u00a0Expert Insights<\/span><\/a> series, where industry leaders, innovators and strategists distill years of experience into direct, practical takeaways and deliver clarity on the issues shaping their industries. In San Diego, Oram Hotels is testing a provocative idea: what if hospitality didn\u2019t just display art, but actively participated in its creation?<\/p>\n

\n<\/section>\n

At the center of this experiment is the Granger Hotel<\/a>, a Romanesque landmark built in 1902 and meticulously restored as a design-forward cultural anchor. As San Diego\u2019s only Design Hotels property, the Granger occupies a rare position at the intersection of architectural heritage, contemporary creativity and civic life. Now, under the curatorial leadership of international art advisor Jennifer Findley<\/a>, founder of the JFiN Collective and Oram\u2019s newly appointed Director of Arts & Culture, the property is entering its next phase as a living cultural space.<\/p>\n

Findley, whose practice spans private collections, museums and institutional partnerships, is spearheading a first-of-its-kind collaboration with UC San Diego\u2019s renowned Stuart Collection. Rather than staging traditional hotel exhibitions, the partnership embeds artists in residence during the research and development phase of major public artworks, using the hotel as a generative base for experimentation, immersion and site-responsive creation. The inaugural artist, Los Angeles\u2013based sculptor Max Hooper Schneider<\/a>, will be followed by Mexico City\u2013based collective RojoNegro and fashion designer Carla Fern\u00e1ndez in 2026, extending Oram\u2019s vision across borders, disciplines and communities.<\/p>\n

This shift is unfolding in close collaboration with Kevin Mansour<\/a>, co-founder and managing director of Oram Hotels, whose development and operational strategy positions cultural programming as a foundational element of a property\u2019s identity. Together, Findley and Mansour are rethinking what hotels can be: active sites of cultural production rather than passive exhibition spaces. The two are exploring how embedding artists early reshapes both the economics and ethos of hospitality, how the return on cultural investment can be measured beyond aesthetics and why patience, authorship and site-specificity are becoming strategic advantages rather than luxuries. As the boundaries between art, design and experience continue to blur, Oram\u2019s model points toward a future in which hospitality operates as a living system that creates meaning, memory and place.<\/p>\n

Oram Hotels is positioning art not as d\u00e9cor but as a living component of the guest experience. What inspired you to take this approach, and how does it shift the economics or brand identity of a hospitality group?<\/b><\/h3>\n

Jennifer Findley and Kevin Mansour:<\/em> We felt that hospitality was missing an opportunity to connect on a deeper level. We didn\u2019t want the art to just hang there; we wanted it to invite guests to pause and ask questions. Guests visit us from all over the world\u2014we aim to inspire them in a completely new way that engages the senses. Collaborating with internationally recognized but locally-based partners like art advisor Jennifer Findley and the JFiN Collective, as well as UC San Diego and the Stuart Collection, is integral to creating our authentically curated vision.\u00a0<\/span><\/p>\n

From a brand perspective, this approach humanizes us. It shifts the focus from simple luxury to shared discovery. Economically, we find that when a guest connects emotionally with a space\u2014when they feel they\u2019ve learned something or seen something beautiful\u2014they value the stay differently. It\u2019s less about transaction and more about memory. We aren\u2019t just selling a room; we\u2019re offering a moment of reflection, and guests seem to really appreciate that.<\/span><\/p>\n

\"Professional\"Professional
Jennifer Findley and Kevin Mansour at the Granger Hotel, a site where artistic process, architecture and operational strategy converge. Angela Garzon<\/span><\/figcaption><\/figure>\n

Hotels have long integrated art collections, but your model embeds artists during the research and development phase of major works. What makes this residency model strategically different for both artists and hospitality partners?<\/b><\/h3>\n

JF and KM: <\/em>By bringing the \u201carts in residence,\u201d we\u2019re building a fundamentally different model because it positions the hotel as an active part of the creative process\u2014the hotels are not simply a place for display. Instead of producing pieces <\/span>for<\/span> the hotel, artists use the hotel as a home base and source of inspiration and a generative place for their work.<\/span><\/p>\n

For many artists\u2014especially those whose practices respond to landscape, light, environmental stimuli, social context or local ecology\u2014immersion is essential. Being here gives them direct access to the ocean, the city\u2019s rhythms, the vibrancy of the border region and the particular qualities of Southern California light. These elements have long shaped the region\u2019s artistic history, and the residency allows artists to engage with them in real time.<\/span><\/p>\n

For those working with the Stuart Collection, this proximity offers a deeper understanding of the community and the cultural environment their work will ultimately enter. The residency gives them time and space to build projects rooted in San Diego\u2019s distinct sense of place.<\/span><\/p>\n

We\u2019re also reimagining what a \u201cresidency\u201d can be by granting artists access to the building\u2019s historic, often unseen spaces\u2014vaults, underground corridors and raw, character-rich areas rarely experienced by guests. These environments become living laboratories for research, experimentation and site-responsive creation\u2014possibilities that traditional hospitality settings simply don\u2019t offer. We aim to give artists a true home away from home.<\/span><\/p>\n

For artists, this model supports a richer, context-driven creative process. The goal is not merely display; even when a work is exhibited onsite, it may later travel and take on new meanings, but the hotel remains part of its origin story. <\/span>For hospitality partners, the model transforms the hotel from a passive collector into an active cultural collaborator\u2014supporting work that is born from the place itself and deepening the hotel\u2019s role within the city\u2019s creative ecosystem.<\/span><\/p>\n

From a business standpoint, how do you measure the return on investment in cultural programming? Is the value primarily reputational, or does it translate into measurable guest engagement and revenue growth?<\/b><\/h3>\n

JF and KM: <\/em>We measure ROI in cultural programming through both tangible metrics and intangible impact\u2014and the two reinforce each other. Thoughtful art changes how people feel in a space. Guests often describe an immediate sense of calm or connection, and we\u2019ve already seen repeat visits because the hotel feels like home. Even for one-time guests, we aim for the experience to leave a lasting, personal connection to San Diego\u2019s culture.<\/span><\/p>\n

There\u2019s also a mission-driven component: showcasing Southern California artists to a global audience and fostering dialogue between international and regional artists. When travelers encounter the depth and diversity of the creative community here, it elevates the city\u2019s cultural profile and positions the hotel as a place that genuinely invests in its surroundings.<\/span><\/p>\n

And it absolutely shows up in measurable engagement. We\u2019re seeing increased social activity, press coverage, word-of-mouth momentum and deeper engagement from both locals and travelers. Guests are posting about the atmosphere, writing about their experience and seeking us out specifically because art is part of the hotel\u2019s identity. That visibility drives revenue growth, strengthens loyalty and supports the property\u2019s long-term value.<\/span><\/p>\n

The Granger Hotel\u2019s partnership with UC San Diego\u2019s Stuart Collection is among the first of its kind between a hospitality group and a university art collection. What does this type of institutional collaboration make possible that a traditional hotel-curator relationship might not?<\/strong><\/h3>\n

It may not be the very first, but it is certainly without precedent or roadmap\u2014we are innovating a new model. This partnership elevates the cultural role of a hotel\u2014as a curated community hub\u2014in a way a traditional hotel-curator relationship simply can\u2019t. San Diego has an incredibly creative and inspired community, yet it\u2019s often overshadowed by larger art hubs like L.A. and New York. By joining forces with UC San Diego\u2019s Stuart Collection\u2014one of the great public art collections\u2014we\u2019re shining a light on the depth of culture that already exists here and giving it focused visibility.<\/span><\/p>\n

Instead of operating independently, the hotel becomes part of an institutional ecosystem that has shaped the region\u2019s artistic landscape. It allows us to participate in meaningful cultural production, not just presentation, and to amplify the voices of artists working at the highest level. Through this collaboration, the Granger helps open a new chapter for the city\u2014one where San Diego is recognized not just for its beaches and weather, but as a place where significant art is created, experienced and celebrated.<\/span><\/p>\n

\"Granger\"Granger
A restored interior at the Granger Hotel, where contemporary art is integrated into the architecture, positioning art as part of the lived guest experience rather than decorative backdrop. Michal Rzepecki<\/span><\/figcaption><\/figure>\n

Kevin, how does integrating art and culture at the foundation of a property\u2019s identity influence design, development timelines and overall operational strategy?<\/b><\/h3>\n

KM:<\/em> It definitely teaches us patience. You can\u2019t rush the creative process if you want it to feel genuine. Instead of building a room and then finding a painting to match the room design, we try to bring artists into the conversation before the plans are even finalized. In some cases, the artists will go first to anchor the space and the rest of the design follows.<\/span><\/p>\n

It does extend our timelines, but we view that extra time as an investment in the building\u2019s character. Operationally, it changes the role of our team. They become storytellers. We encourage our staff to engage with the art so they can share that enthusiasm with guests. It makes the day-to-day operation feel much more personal and collaborative.<\/span><\/p>\n

Jennifer, your curatorial approach emphasizes the creative process over presentation. What does it mean for guests\u2014and the surrounding community\u2014to experience art in progress rather than as a finished product?<\/strong><\/h3>\n

JF: <\/em>For me, artistic process and visual presentation can\u2019t be separated. Emphasizing the creative process means recognizing that the journey of creation and its experiments, organic shifts and moments of discovery ultimately shape an artwork. By allowing guests and the surrounding community to witness and meaningfully engage with artistic process, we offer a depth of understanding that cannot be achieved by seeing only the final object <\/span>in situ<\/span>.\u00a0<\/span><\/p>\n

When people observe how an artist thinks, communicates, researches, sketches or tests materials, the public\u2019s relationship to the work becomes real, personal and deeply meaningful. They connect with the work on a distinct and transcendent level. It expands appreciation and creates a sense of connection\u2014not just to the art itself, but to the artist as creator who is a living presence within the city.\u00a0<\/span><\/p>\n

For the artists, creating in this environment means absorbing the energy, landscape and culture of the community as they work. These influences become embedded in the final piece, strengthening the cultural fabric of the region and contributing to the city\u2019s evolving creative legacy. Experiencing art <\/span>in progress<\/span> transforms the hotel\u2014and the wider community\u2014into active participants in a work that embodies the ethos of the city.<\/span><\/p>\n

There\u2019s often tension between artistic autonomy and commercial imperatives. How do you strike a balance between creating genuine cultural impact and meeting the demands of a luxury hospitality brand?<\/strong><\/h3>\n

JF and KM: <\/em>Luxury hospitality and artistic autonomy don\u2019t have to compete with each other; when approached with intention, they can meaningfully elevate one another. Luxury environments often shape what guests notice, appreciate and remember. That visibility becomes a powerful platform for artists\u2014an opportunity to share the depth of their stories, materials and ideas with audiences who may not otherwise encounter their work in a traditional white cube. When genuine artistic rigor meets the standards of a refined space, cultural depth and luxury become mutually reinforcing rather than competitive.<\/span><\/p>\n

Most artists already navigate the balance between creative exploration and the practical realities of sustaining their practice. The commercial dimension isn\u2019t inherently a compromise\u2014it can be what enables them to keep pushing boundaries. Our responsibility is to create conditions where that exploration can unfold authentically, while presenting the work in a way that elevates both the artist and the hospitality experience.<\/span><\/p>\n

By giving artists a meaningful platform within a luxury setting, we demonstrate that ambitious, conceptually rich work can live seamlessly in these environments. The balance comes from curating a narrative rooted in authenticity\u2014connecting the artwork to the hotel\u2019s context, values and atmosphere\u2014and crafting a visual story that honors the artist\u2019s integrity while enriching the guest\u2019s sense of place. In doing so, we invite viewers to experiment with the reality of living with art: to imagine what it would feel like for a piece to inhabit their own space, their own home and to experience the intimacy and impact that art can bring into everyday life.<\/span><\/p>\n

\"The\"The
Treating art as infrastructure, not branding, is redefining value in luxury hospitality. Courtesy The Guild Hotel<\/span><\/figcaption><\/figure>\n

With The Guild and The Granger now operating as cultural destinations, how does Oram think about scaling this model without losing its site-specific authenticity?<\/b><\/h3>\n

JF and KM: <\/em>We approach every new location with a fresh mindset. We know we can\u2019t just copy and paste it into a new city. That wouldn\u2019t honor the new neighborhood.\u00a0\u00a0<\/span><\/p>\n

Scaling for us means scaling our curiosity, not our aesthetic. We spend a lot of time listening to the local community, meeting local artists and trying to understand what makes that specific neighborhood special. Our goal isn\u2019t to import our version of culture, but to highlight the incredible culture that already exists right there. We want to be a good neighbor first, and a hotelier second.<\/span><\/p>\n

The hospitality landscape is crowded with \u201cart-forward\u201d hotels. What distinguishes a truly art-driven property from one using art primarily as a branding tool?<\/b><\/h3>\n

JF and KM: <\/em>While there\u2019s certainly an increase in hotels featuring art, it\u2019s important to distinguish between mere \u201cdecoration\u201d and a deeply integrated artistic experience. Many properties incorporate art to signal prestige or create a visual identity\u2014but a truly art-driven hotel embeds the artwork into the guest experience itself and becomes an ongoing narrative.\u00a0<\/span><\/p>\n

At the Granger and The Guild Hotels, for example, the collaboration with UC San Diego\u2019s Stuart Collection goes beyond aesthetics. Art isn\u2019t just on the walls; it is an investment in the community and becomes part of these historic hotels\u2019 identities and narratives. Pieces are thoughtfully selected and placed to provoke engagement, spark conversation and offer a cultural experience that resonates with the location and the hotel\u2019s ethos. The goal isn\u2019t just to look \u201cluxurious\u201d or Instagram-worthy\u2014it\u2019s to offer a space where the presence of art actively shapes how guests perceive and inhabit the environment.<\/span><\/p>\n

In short, it\u2019s the difference between art as a backdrop and art as an immersive lens through which the hotel experience is curated.<\/span><\/p>\n

Jennifer, as an art advisor, how do you approach artist selection for a hospitality setting? What factors matter most: conceptual rigor, audience engagement or how the work interacts with the architecture itself?<\/b><\/h3>\n

JF: <\/em>In selecting work for Oram Hotels, I am always asking: \u201cWhat is the artwork\u2019s potential\u2014in its concept, its context and its capacity to transform both space and viewer?\u201d For this year, under the theme \u201cborder,\u201d we focused on artists whose practices interrogate thresholds and the liminal\u2014material, geographic, cultural, sensory. Their works do not merely adorn walls; they exist in dialogue with the site, the community and the unseen contours between relationships, human experience, land, lived realities and the complex narratives that define our region. We wanted to engage with the idea of \u201cborder\u201d both as concept and as experience, embracing inherent tensions, its potential and its limits.<\/span><\/p>\n

For example, as well as showcasing the work of Max Hooper Schneider, as the inaugural emerging artist for the Stuart Collection, the first exhibition, \u201c<\/span>Everything Touches<\/span>,\u201d highlights ten regional artists (Yomar Augusto<\/a>, Victoria Fu<\/a>, Denja Harris<\/a>, Josh Herman<\/a>, Jeremy Priola<\/a>, Walter Redondo<\/a>, Georgina Reskala<\/a>, Matt Rich<\/a>, Reinhart Selvik<\/a>, Lizzie Zelter<\/a>) and celebrates the strength that emerges when art considers difference\u2014textures, materials, ideas and individuals\u2014and demonstrates how connection can arise across perceived boundaries. The result is a living conversation between art, architecture and community. We are committed to inviting artists, both well-established and emerging, who resist static definitions\u2014whose pieces challenge boundaries, invite encounter or shift our sense of place. In doing so, we allow each guest to enter a space where difference becomes connection. We think of border not as a barricade but a myriad of possibility. Balancing all these elements ensures that Oram Hotels becomes more than a place to stay\u2014it becomes an inclusive, engaging and immersive environment where art, community and architecture intersect.<\/span><\/p>\n

From a guest\u2019s perspective, how does this model reshape what it means to \u201cstay\u201d somewhere? Are we moving toward hotels that double as cultural institutions?<\/b><\/h3>\n

JF and KM: <\/em>Travel today is increasingly about connection\u2014engaging with the culture and creative identity of a place rather than simply seeking escape. In hotels that prioritize curated art and authentic exhibitions, like we are doing, the experience of staying becomes something closer to moving through a living gallery. Guests encounter works in a way that feels intimate and organic, more akin to being inside an exhibition than passing through a commercial environment. The hotel becomes an extension of the institution, offering a space where art is not only displayed but thoughtfully contextualized and deeply felt.<\/span><\/p>\n

As hotels become platforms for cultural expression, they begin to operate in parallel with cultural institutions and galleries, like we are doing with the Stuart Collection partnership. This creates a unique kind of access point for the artist: one based on lived experience rather than rarified observation. Guests aren\u2019t just viewing culture\u2014they\u2019re inhabiting it. And in that sense, Oram Hotels and JFiN Collective are moving toward a vision of hotels that double as cultural institutions, places where hospitality, artistry and local identity converge to create a deeper, more resonant understanding of a place.<\/span><\/p>\n

\"Stuart\"Stuart
Do Ho Suh\u2019s Fallen Star<\/em> (2012) at UC San Diego\u2019s Stuart Collection, a work that uses architectural dislocation to prompt reflection on home, orientation and perspective\u2014core themes informing Oram\u2019s artist-in-residence partnership. Philipp Scholz Rittermann<\/span><\/figcaption><\/figure>\n

As the boundaries between art, design and experience continue to blur, what trends do you see shaping the next decade of art-led hospitality?<\/b><\/h3>\n

JF and KM: <\/em>One of the most meaningful trends shaping the next decade of art-led hospitality is a move away from relying on marquee names, fixed \u201cinvestment\u201d collections, or one-off commissions and toward an ongoing, evolving narrative shaped by artists and craftspeople whose work reflects the character and pulse of a place. Instead of relying on an art-market checklist, hotels are beginning to cultivate living relationships with regional and representative makers\u2014creating space for new voices to emerge and for the story of the property to shift over time.<\/span><\/p>\n

This reflects a broader cultural shift: collectors and travelers are seeking experiences that feel grounded, specific and human. They want to encounter work that carries the authenticity of its origins\u2014the hands that made it, the traditions that inform it, the landscape or neighborhood that shaped it. In this context, art-led hospitality becomes less about spectacle and more about sustained dialogue.<\/span><\/p>\n

We think the future lies in hospitality spaces that operate as cultural ecosystems\u2014where artists are not simply installed but continuously engaged, and where their evolving practices help shape the identity of the property over months and years. Hotels and their guests become cultural <\/span>participants<\/span> rather than cultural consumers, offering environments that are refreshed and reimagined through ongoing collaboration and exhibition.\u00a0<\/span><\/p>\n

In this model, art doesn\u2019t merely decorate a space; it animates it. And guests aren\u2019t just observers\u2014they step into a shared, ever-evolving story that reflects the depth, diversity and authenticity of the region itself.<\/span><\/p>\n

\t\t\t\t\"Art<\/p><\/div>\n