The $350 million development, by Gatehouse Capital and HEI Hotels & Resorts, has been in the works for over a decade. The W is unique in that it shares its block with two other high-rises: the apartments of 1600 Vine and the 1924 Taft Building, a historic office tower. The W brings 305 much-needed hotel rooms to the neighborhood as well as 143 luxury residences which range from $800,000 to over $9 million.

HKS Architects and Rios Clementi Hale Studios collaborated on the exterior architecture, where wide sheets of glass are meant to evoke the "silver screen." The complex also features a glassed-in nightclub 12 stories up which cantilevers 52 feet over Hollywood Boulevard.

Jimmy Kimmel, who films his late night talk show just down the street, served as emcee for the opening ceremony. His longstanding dedication to Hollywood's schools and civic projects was noted by many other government leaders, as well as his testimony to the MTA board to help bring this project to Hollywood.

A dramatic hotel lobby is designed by Portland-based designstudio, ltd., whose Sharilyn Rigdon designed the Swarovski-crystal chandelier with developer Marty Collins and a team of lighting manufacturers.

The W in combination with neighbor 1600 Vine features a staggering 30,000 square feet of advertising and signage--likely the largest signage entitlement in L.A. history. The signage system was designed by local firm Sussman/Prejza, who programmed the LED "W"s to sparkle.

A series of cabanas designed by Santa Monica-based Daly Genik provide shade and shelter for the W's residents. Daly Genik created a series of modern huts (left) as well as a larger shell from steel structural anchors (right) which support walls of squared aluminum "scales" that block sun and wind.

The W residences are furnished with responsibly sourced, energy-efficient appointments by companies like Kuppersbusch and Poliform. Every floor plan includes a terrace, and some units are delivered as a raw shell for ultimate customization.

Residents are given a separate entrance to their units, featuring warm, welcoming interiors by Daly Genik. A series of computer-cut Douglas fir beams are arranged in a wave-like pattern along the ceiling.

A "red carpet"--a walkway made from an aggregate using ground glass--starts at the street and travels all the way through the hotel into the motor court in the center. Christian Moeller's "Pushing" uses a hunk of CNC-milled aluminum to create the sensation of a moving, lenticular image.

In the motor court, the red carpet continues out into the drive, while strings of LED lights make up Erwin Redl's "Wave." The canopy of 40,000 bulbs drape across the driveway, making for a grand entrance.

Embedded into the W's Hollywood Boulevard plaza is a station for the Metro's Red Line, which shuttles many local commuters to downtown jobs. The station pre-dated the building but it was given a makeover by Rios Clementi Hale Studios to integrate it into its new surroundings.

The station’s portal was rebuilt to create a more vicarious experience with the street: Those inside the W can see through its slatted walls to the street, and those descending into the subway might catch a glimpse of a film screening on a giant screen in the W's courtyard.

The portal to the subway was also designed to line up directly with the grand facade of the historic Pantages Theater across Hollywood Boulevard, making for a stunning and cinematic return to street-level.

On the other side of the subway station is the W's outdoor lounge, where parties will take place. Part of the design challenge in creating the W's public spaces and suites was that they had to support massive events like premieres and junkets that require everything from state-of-the-art A/V equipment to broadcast capabilities.

The W also added custom bus benches to the corner of Hollywood and Argyle, which serves as a massive connection site for commuters transferring from train to bus. Who knows, maybe someday a celebrity might arrive for an event via bus? The red carpet's right there waiting.