We're pleased to announce that check in will now be available from 10am onwards with check as late as 4pm free of charge*.
Just let us know at check in and our team will happily accommodate your request.
*Offer good until December 30th, 2020
The St. Regis Hotel was established on March 15, 1913 and completed its most recent renovation in December 2008, rebranding as a New York Style heritage boutique hotel. The renovations brought the hotel to the highest level of modern comfort and finish, and each room is stripped and refurbished every winter to ensure that every guestroom is always in perfect condition.
Every room rate includes complimentary business class inclusions: full American breakfast for two, Wi-Fi, local and WORLDWIDE phone calls, access to the business center, printing and faxing, and FIJI bottled water replenished daily.
Stunning rooms, the most perfect location, and award winning service make the St. Regis Hotel your first choice in Downtown Vancouver.
During Vancouver’s “Golden Years of Growth” from 1907 to 1913, P. Roberts of Roberts, Maltby and Company, a local Real Estate and Loan company, decided to build the St. Regis Vancouver Hotel for his wife Mary.
Taking advantage of the hotel’s close proximity to Vancouver’s financial district on West Hastings,
Mr. Roberts decided to build one of what would become a top historic hotel in Vancouver for the business traveler.
He employed W.T. Whiteway, one of the leading architects in the British Empire, to design his hotel.
Mr. Whiteway had designed the World Building, now the Sun Tower, which had just opened as the tallest building in the Empire. He also went on to design the Marine Building, which was the tallest building in the Empire from 1930 to 1939.
Having the top architect also meant Mr. Roberts had to hire Canada’s top builder – E.J. Ryan, whose resume included the Marine Building, Hotel Vancouver, Harrison Hot Springs and numerous hotels across Canada.
Construction started in 1911 and was completed in time for an opening day of March 15, 1913. The hotel thrived until the Great Depression, but as with much in Vancouver during the ‘30s, the hotel’s business suffered. With the start of the Second World War in 1939, Vancouver’s shipbuilding and lumber industry took off and the hotel was reborn and took on the role as Vancouver’s “Sportsman’s” hotel.
Top athletes who visited Vancouver during the ‘40s and ‘50s had to stay at the St. Regis. From top NHL stars such as Stanley Cup Winner and long-time New York Ranger coach Muzz Patrick, to JL “Pop” Grant to Maurice "The Rocket" Richard.
Coley Hall, the owner of the St. Regis at the time, decided that he had the “Sportsman’s hotel,” he needed a hockey team. So for the 1943 to 1944 PCHL season, the Vancouver St. Regis hit the ice.
The "St. Regis Hotels" were the last team for Cyclone Taylor, one of the inventors of the forward pass who played on the first sport team in history to wear a number on their jerseys. But, most importantly, he was the star of the game when Vancouver last won a Stanley Cup in 1915.
The golden years were brought back to life in January 2009 after an extensive $11 million renovation led by top designer Elaine Thorsell. Offering New York style boutique accommodations with state of the art technology in the heart of Vancouver’s financial and business districts, The St. Regis is once again one of Vancouver’s top business traveler’s hotels and a historic hotel in Vancouver.
As part of the complete $11-million renovation, original works were installed throughout the public spaces of the St. Regis Hotel. In total, the collection in our art in the hotel comprises over twenty-two pieces from five different artists. The selection of work tends toward the abstract, springing from a variety of sources and serves to simultaneously integrate and compliment the spaces adding depth, colour, and atmosphere throughout the Hotel.
The five artists featured at the St. Regis are Canadian, American, and British with a range of cultural heritages and influences from native and Hispanic to Asian and Irish. Whether you take the time to examine and contemplate this art, or whether you enjoy it in passing, we believe that it enriches the environment for our guests’ every stay.
Born in Arizona but rich with ethnic heritage, he always identified with the spirit of the American Southwest. This unique identity became evident even as he produced his first paintings. “As an Arizona native, I possess an innate awareness of the quiet struggle and fragile balance of the Sonoran Desert. My abstract style expresses the harmony in the desert’s chaotic emotion of line, colour and form. Emotion is the soul of my work; inspired by the natural and man-made architecture of the Arizona landscape.”
Born in Cork, Ireland, of Canadian and Irish parentage, she spent her days immersed in the wild scenery of the west coast of Ireland. Her self-taught approach for her art has been through the act of painting itself – trial and error, struggle and reflection. She says, “For me, painting is both calm and explosive, coming from the gut. My work is done in acrylic, with rags, palette knifes, and by hand. Initially, large blocks of colour are laid down in a slow, rhythmic manner. I move around a lot when I pain and use generous amounts of pigment straight from the jar, allowing the vibrations of colour to activate my creativity. As the layers build, so does my energy and the density, interconnectedness and movement of the paint.”
Simon was born in Colchester, in Essex, England, to a family of successful artists. After training at the Colchester School of Art and the City and Guilds of London Art School, Simon developed his craft while working as a freelance illustrator and graphic artist. Simon’s painting techniques are inspired in part through close contemplation of the paintings of the Old Masters, with a particular attention to the mood and atmosphere invoked by the quality of aging suggested by their faded, cracked, and heavily varnished surfaces. Frequent sketches from nature are a primary resource that is later translated in a more abstract and interpretive vision of the landscape.
Growing up in New York City to a mother who was a docent at an art museum and who kept her enrolled in "every manner of art class," a career in art was almost inevitable. Liz gravitated toward her deep love and appreciation for nature as a primary source of inspiration. Early in her career, Liz says that her favourite time to work is late in the evening when everyone has gone home and the phone has stopped ringing. "I crank up the music and let go."
Born in Manhattan, Kansas, Jodi moved several times during her childhood and spent five years in Hong Kong. Jodi’s influences are as diverse as her nomadic childhood and touch the colour palettes of nature, magazines, meditation, galleries, museums and literature. Jodi describes her work as a spontaneous blend of harsh and soft application of pain – applied fast and furiously – coupled with slow and deliberate layers to create a contemporary urban feel. The subtle layers and rich depths are an invitation into an ethereal mystique, revealing unexpected details that delight and entertain.