The first true luxury hotel to open in the Taiwanese capital in a decade, Capella Taipei is making a splash not just for its inviting pool terrace rooms and suites – the only ones in the city – but for its considered design and engagement with the local community. Conceived as a modern mansion by go-to designer André Fu, the 86-room property fuses cool urban sophistication with a warm and welcoming residential ambience within the affluent Songshan district.

Wallpaper* checks in at Capella Taipei, Taiwan

What’s on your doorstep?

Set back from Dunhua North Road, the city’s premier boulevard shaded by 2,000 banyan trees, Capella Taipei occupies half of a pair of newly built glass towers, almost walking distance to one of Taipei’s two international airports – especially handy for those with private jets. The hotel also borders Minsheng neighbourhood, a charming mix of low-rise homes, hipster shops and cafés, and mini-parks. Ask the concierge for details of quirky finds like Words, a stationery shop packed with vintage cards, pencil sharpeners, typewriters and ukiyo-e prints, and But We Love Butter, a cookie shop disguised as a men’s tailor.

Who is behind the design?

André Fu, the mind behind the likes of The Upper House in Hong Kong (featured in our guide to the best Hong Kong hotels) and part of The Emory in London (recipient of a Wallpaper* Design Award in 2025), stamps his signature elegance on Capella Taipei. The arrival experience takes guests ‘through a rhythmic progression of spaces’, says Fu. Huge bronze doors open to reveal a marble vestibule with tapestries of Taiwanese landscapes by artist Lee Chen-Lin. An archway leads guests to the double-height reception area and Plume, an all-day lounge Fu describes as ‘an intimate and welcoming sanctuary that invites them to enjoy convivial moments from dawn to dusk’, with a striking mural by French artist Elsa Jeandedieu featuring motifs of Taiwan’s national bird, the blue magpie. Fu says the mural is ‘visual yet also poetic, akin to the spirit of the hotel I am keen to evoke’

Behind Plume is one of Fu’s favourite features, the rotunda, a grand spiral staircase with a sweeping handrail of 800 hardwood blocks that ‘trace the graceful curve of a calla lily’. Threading through the spiral is a wooden sculpture by Mexican artist Joel Escalona, which Fu says: ‘creates a silent dialogue with the fluid form of the staircase’. Guests are then escorted to the 14th-floor Living Room, a Capella Hotels’ signature, for check-in. This private lounge, for in-house guests only, adjoins the swimming pool, a ‘celebration of the connection between the indoor and outdoor, with the rich auburn orange umbrellas and lush landscape provoking a sense of escape from the urbanity of the city’, says Fu.

The building, by Tokyo-based Mori Building Group, is LEED Gold certified. It incorporates energy-efficient ventilation systems, motion-sensor lighting controls, and dual-layer automated louvres to achieve energy savings.

The room to book

Try to bag one of the six coveted pool rooms or suites. The pool terrace rooms include a terrace with a private dipping pool. Better still are the pool terrace suites, measuring 270 sq m, including a huge terrace with private plunge pool, jacuzzi, sunbeds, and outdoor dining. Failing that, even the smallest rooms come in at a generous 48 sq m. Each features blond wood walls, De Gournay x André Fu Living hand-painted silk panels, AI-assisted room control systems, Bluetooth speaker, sofa, marble bathroom with double vanities, Dyson hairdryer, and floor-to-ceiling windows with views of the city or landmark Taipei 101 building. Snacks and non-alcoholic drinks – including Taiwanese teas – from the minibar are complimentary.

Staying for dinner?

Lobby lounge Plume hums with activity from breakfast through to lunch, afternoon tea and nightcaps. The menu spans salads, sandwiches, pastries, and a handful of Taiwanese dishes. Flagship Chinese restaurant Rong Ju sits under an 8m-high pitched ceiling clad in terracotta red tiles that evoke the traditional roof structures of the neighbourhood, while an 8m-wide marquetry wall is adorned with red and gold peony motifs. On the menu are elevated Cantonese dishes, like dim sum, steamed lobster with conpoy (dried scallop), ham and egg, and braised wagyu beef cheeks with black bean, garlic and chilli sauce.

At Ember 28, diners graze on a tasting menu of charcoal-grilled steak, seafood and vegetables under twin crystal chandeliers by Czech artisans Preciosa. And at Mizue, guests sit at a 10m-long hinoki wood counter as chefs send out a parade of fresh sashimi, sushi and other seasonal Japanese treats. Opening soon is the tri-level Glasshouse, a sleek standalone structure housing three different bar concepts, including a live music venue and rare spirits collection.

Where to switch off

With its barrel-vaulted ceilings, the design of Capella Spa ‘draws from an architectural expression found in churches or monasteries, creating a celestial feeling.’ Fitness enthusiasts can burn calories at the 24-hour fitness centre equipped with the latest Technogym equipment, while sunbeds and auburn orange umbrellas flank the 30m-long swimming pool on one side and a white bougainvillaea hedge on the other.

The verdict

The arrival of Capella Taipei is a long-overdue and much-needed addition to the city’s limited luxury hotel scene. Its prestigious location, beautiful design, top-notch restaurants and facilities, spacious rooms, stunning views and welcoming staff already make it a contender for the best hotel in Taipei.

Capella Taipei is located at No. 139, DunHua N Rd, Songshan District, Taipei City, Taiwan 105.

The Waldorf Astoria Osaka has opened its doors just in time for Expo Osaka 2025. The luxury hotel is a new addition to Osaka’s thriving Grand Green development of shops and hotels and brings a slice of New York glamour to the city.

What’s on your doorstep?

Grand Green Osaka in the Umeda district has been the focus of much development over the last five years. Once an area of former freight yards, it has been transformed into a luxury shopping and tourism destination. Situated next to the city’s central JR station, it's a ten-minute walk or short cab ride from the shinkansen (bullet train), if you’re coming in from out of town. The Waldorf Astoria is the jewel in Grand Green’s crown.

Who’s behind the design?

André Fu, the man responsible for designing some of Asia’s most notable hotels. The influences of art deco New York are felt throughout the carefully considered design, which seamlessly blends Japanese tradition with Waldorf Astoria’s Big Apple DNA. In the hotel reception – situated on the 29th floor – guests are greeted by a breathtaking water feature at the heart of a wooden ‘lantern’ design. ‘I dreamt of a purist space of timber battens, crafted to mimic the visual expression of a lantern,’ says Fu. ‘A place that transcends a sense of quietness, a world that evokes visual continuity and purity.’

A passageway, which invites guests to journey to the hotel’s central meeting areas, is lined with wooden beams inspired by the Inari shrine gates of Kyoto.

‘I see this property as a quintessential interplay of cultures and eras, where the refined geometry and sculptural forms of art deco are reimagined through a distinctly Japanese Lens,’ says Fu. ‘I have drawn inspiration from Osaka’s Yodoko guest house, an art deco-style residence designed in 1918 by Frank Lloyd Wright, integrating layered symmetry, rhythmic patterns, and masterful craftsmanship to create an immersive spatial experience.’

The room to book

We stayed in number 3524 – a fantastic corner residence with sweeping views over Osaka. But you’d be thrilled with any one of the 248 residences. Even the entry-level rooms deliver an impressive sense of openness and comfort.

Each room features a thoughtfully curated mini-bar, blending artisanal local offerings with a selection of international classics. Bathrooms are outfitted with Aesop amenities and vanity kits adorned with a peacock motif, echoing the intricate tilework found in Peacock Alley, the signature Waldorf Astoria restaurant.

Where to switch off?

The on-site spa offers a comprehensive range of treatments, from massage to facials. The thermal spa boasts a jacuzzi, a steam room and a sauna (individual for men and women) and an indoor pool.

Unwind with a session on one of the expansive gym’s Peloton bikes, or take a leisurely swim at sunset, with Osaka’s city lights twinkling in view.

Staying for drinks and dinner?

Do book in at Tsukiki. The teppanyaki restaurant offers an omakase menu where top-grade Kobe beef is cooked by expert chefs. The Nodogoro fish was an equally special dish for those not indulging in red meat.

Visitors to the original Waldorf Astoria in New York will feel a sense of familiarity in the triple-height heart of the hotel, Peacock Alley. A custom-made Shiseido art deco clock is the bar’s centrepiece. Make sure you leave time for afternoon tea served on Ginori tableware.

And at Canes & Tales, the 47-seat hotel speakeasy, playful Jazz Age-inspired cocktails are the stars of the show.

The verdict

Seamlessly blending Japanese heritage with New York elegance, The Waldorf Astoria Osaka delivers a world-class hospitality experience in the heart of one of Japan’s most dynamic cities. With its arresting design, impeccable service, and a dining scene that respects both tradition and innovation, the property positions itself as an instant landmark well positioned to serve the Expo 2025 crowds and beyond. Whether you're visiting for business, leisure, or simply to soak in a new chapter of global luxury, this is Osaka at its most refined.

hilton.com/waldorf-astoria-osaka

New Hong Kong restaurant Leela sees restaurateur Yenn Wong, founder of local hospitality group JIA, triumph once again in this city that is not exactly short of a great place to eat. Behind existing favourites such as Duddell’s, Louise and Estro, amid a diverse portfolio that covers international fare from traditional French to southern Italian, JIA has teamed up with chef Manav Tuli for the launch of his first solo project.

Formerly of Michelin-starred Chaat at Rosewood Hong Kong, Tuli has channelled his heritage with a concept that nods to the Mauryan Empire, which dates back to 322 BC and spanned from modern-day Afghanistan to Bangladesh. Reinventing classics such as Kandhari gosht and Chukandar gosht – historically significant dishes in the region at the time – but with an innovative twist, Tuli has elevated his menu using top-notch ingredients from local sustainable suppliers and spices that are certified GMO- and pesticide-free.

André Fu interiors at Leela, Hong Kong

Following the food concept, the luxurious and understated interiors are the work of long-time JIA collaborator Andé Fu, who took his cues from the grandeur of traditional places in Jodhpur, India. ‘My vision was to create a mystical journey that aligns with the chef’s culinary philosophy,’ says Fu. ‘Eschewing clichés, it offers a personal interpretation of Indian history whilst striking a balance between the artful and the avant-garde. It is a poetic dreamscape that evokes an abstract re-telling of my personal memories exploring the Umaid Bhawan Palace in Jodhpur.’

Leela is set within Lee Garden Three, a luxury shopping  and dining destination in Causeway Bay, and its design unfolds through modern versions of traditional Indian architectural details, like decorative scalloped arches, latticed jali screens, jharokha windows, a 3.6m-high billowing ceiling – which mimics palatial roof contours – and intricate lamp posts inspired by the shape of a white lotus flower. The space is embellished by textured wall panels in a marquetry pattern and understated bamboo furnishings, all in a rich palette of mustard sand, ivory, deep aubergine, and mineral blue that come together to create an evocative setting that aligns with Tali’s equally expressive menu. 

We suggest sampling dishes like the tasty bone marrow biryani, the Lucknowi tokri chaat, or Leela’s rendition of the classic chicken baida roti, an aromatic dish of succulent chicken wrapped in flaky roti, which originated on the streets of Mumbai, where Tuli grew up. 

Derived from the Sanskrit word, līlā, which means ‘play’, Leela and its chef have certainly boosted the Indian food scene in Hong Kong with this lighthearted and inventive approach to this much-loved cuisine.

leela.hk

A heart-to-heart with André Fu, one of the hotel industry’s most sought-after interior architects, forms the latest chapter in our series of interviews with leading creatives. As seen in the June 2023 Travel issue of Wallpaper* and accompanied by his iPhone snaps of his Hong Kong home, we discuss seafood, safaris, shoji paper artworks and cinematic inspiration.

Interview: at home with André Fu

Wallpaper*: Where are you as we speak? What can you see from your window?

André Fu: From my apartment in Hong Kong, I can see an oceanfront panoramic view of Deep Water Bay and Middle Island.

W*: Can you tell us about your neighbourhood?

AF: It’s on the southern side of Hong Kong Island, with a small community of residential buildings and houses in between beaches.

W*: How would you describe your home?

AF: An urban retreat.

W* What’s your favourite piece of furniture, and why?

AF: Claude Lalanne’s ginkgo leaf bench. I am intrigued by the way it expresses genuine sculptural beauty, while being functional.

W*: How do you start your days?

AF: With a cup of green tea on my terrace.

W*: What do you do to relax?

AF: I sketch and draw.

W* What are you reading at the moment?

AF: In Praise of Shadows by Junichiro Tanizaki.

W*: Where and when do you find that you are most productive?

AF: I tend to focus best when I am alone at home on my terrace. It is where I can absorb into the surroundings and reflect with a clear mind.

W*: If Wallpaper* came for dinner, what would you cook for us?

AF: I'd make a bouillabaisse, using live seafood bought from local markets.

W*: Where do you find inspiration?

AF: I tend to get inspiration from the most unassuming places, like small cafés and markets. I love to observe how people interact with spaces.

W*: What are you working on at the moment?

AF: A duplex penthouse suite for Claridge’s Hotel in London, and a flagship shop for tech accessories brand Casetify in Osaka.

W*: What trip are you most looking forward to taking this year?

AF: A safari holiday in Nairobi in June.

W*: What are ideal conditions for creating?

AF: When I can spend a few days observing the ways of life and fully immerse myself in the soul of each destination.

W*: What was the last object you bought?

AF: A 1950s bar trolley by Ico Parisi.

W*: What was your most recent design or art discovery?

AF: The intriguing shoji paper artworks by Japanese artist Shiho Fujiwara.

W*: What’s on your playlist?

AF: The soundtrack to In the Mood for Love

W*: What’s your next big launch?

AF: I’m working on a new lifestyle collection, named Skyline Collage, for André Fu Living, which is inspired by the silhouettes of urban cityscape. It will capture the bold geometries and profiles of architectural forms, and the range will include furniture, decorative lighting, tableware and carpets.

W*: What do you collect?

AF: I enjoy collecting books – anything from monographs to books about photography and architecture.

W*: Do you have any rituals?

AF: I like playing cinematic music while I work as it can provoke imageries in my mind.

W*: What surprises you most when you revisit your past designs?

AF: When lighting is not properly focused and somehow hitting the wrong spot.

W*: Where was a place you visited recently that had a big effect on you?

AF: Kyoto, for its mystical quality and its feeling of stillness.

W* If you hadn’t become a designer, what might you have been?

AF: A horticulturalist.  

André Fu’s new lifestyle collection, Skyline Collage, will be available at the two André Fu Living standalone boutiques in Hong Kong and online at andrefuliving.com

A version of this story appears in the June 2023 Travel Issue of Wallpaper*, available on international newsstands now, in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

André Fu presents Art Deco Garden, a new collection of furniture by his brand André Fu Living, inspired by Art Deco and the Zen gardens of Kyoto. The collection comprises cabinets, armchairs and dining chairs, tables, room dividers as well as porcelain tableware and wallcoverings in collaboration with De Gournay. 

‘On the new collection, I was interested in exploring if there is a means to reinterpret the Art Deco silhouettes against the sensibility of Zen gardens,’ says Fu. ‘In many ways, I want to deconstruct the Art Deco formal patterns with the sensuous movement characteristic of Zen gardens. It will be intriguing to juxtapose the two highly distinct and culturally different design elements.’

Starting from two seemingly unrelated points of references, the designer weaves a visual narrative based on delicate intersecting lines, combining the meditative motifs of raked sand and the gilded patterns of Art Deco architecture. The design process went hand in hand with rigorous research into historical Japanese Zen gardens, with a particular focus on the Tofukuji Temple Garden. What attracted Fu was the use of nature as a raw material to create lyrical spaces, and the masterful use of pebbles to create fluid lines and evoke a sense of visual movement and serenity. 

The collection’s visual focus is the delicately hand-drawn silk paper surfaces of cabinets and the room divider, individually hand-painted and finished with silver and gold gilding on delicate hues of blue, brown and beige. These abstract motifs discreetly reference Japanese gardens and calligraphy, adding subtle decoration to the sophisticated collection. The same patterns are recreated in smaller scale on the porcelain tableware, a minimalist design in white enriched with a palette of almond taupe, mink brown and gold gilding.

‘My personal design approach is not just about combining styles together,’ says Fu. ‘Rather, it rests on an ability to navigate different cultures and reflect contemporary culture based on the inherent qualities of beauty itself, as opposed to just based on any one style.’

INFORMATION
andrefuliving.com

Experience the spirit of Andre Fu Living: Mid-Century Rhythm in this film, with soundtrack by Rosey Chan

A year ago, André Fu launched his first homeware collection, a suite of furnishings, bedding, lighting, tableware, and cashmere scarves and throws which proved so popular that this year, the Hong Kong-based interior architect is releasing a second wave of designs that include sculptural beds, cabinets, a covetable chaise longue and accessories.

Both collections share the designer’s signature understated sophistication and fascination with craftsmanship, although this new one introduces a softer, sinuous form that feels perfectly attuned to today’s challenging times. Fu says he created the new collection thinking about the silhouettes of Hans Coper’s abstract pottery, Alexandre Noll’s wooden sculptures and classic, sleek midcentury profiles.

Take the portable LED lamp, for example: frustrated by generic restaurant table settings, Fu has transformed his favourite architectural device, the glass brick, into an undulating wave on a bronze base. Mirrors with a matte bronze geometric frame are inspired by Bauhaus circular windows.

Curves are the unifying theme throughout Mid-Century Rhythm, the title of the collection, most notably in a sculptural three-tier oak and glass cocktail trolley. Its curvaceous form carries through to graphic, rippling patterns on tableware and bed linen.

‘I wanted to express fluidity and movement in a contemporary wave. It’s not just about how beautiful it looks, but how it makes you feel’

This collection introduces ceramic and bronze vases, marking Fu’s first foray into accessories. The bronze is hand cast in Thailand, where the designer worked closely with artisans to shape moulds which infuse a spirit of both reflection and motion into dramatic vessels.

As Fu explains in more detail: ‘I wanted to express fluidity and movement in a contemporary wave. It’s not just about how beautiful it looks, but how it makes you feel.’

With plans to present the new collection at a palazzo during Milan Design Week cancelled, the launch has been replaced with a global online release on 1stdibs and Moda Operandi while a conceptual microfilm has been created that captures the spirit of the collection. The exclusive movie blurs the borders of image and abstraction, with an ethereal custom soundtrack by multi-media artist Rosey Chan, debuts.

Physical displays of the collection will commence this summer in Asia at Lane Crawford, Domus Tiandi and Fort Casa Hangzhou.

INFORMATION
afso.net

After 16 years of experience designing hotel interiors, André Fu knows that attention to detail will imbue even the most everyday item with timeless style. His first collection of homeware and decorative accessories – called Modern Reflections – launching at this year’s Salone del Mobile is no exception. Drawing on the clean, modernist aesthetic and multicultural nuances that are hallmarks of his spatial projects, Fu has created a holistic range of sleek furniture, carpets, lighting, tableware, bedding, and cashmere and silk textiles – plus more.

The Hong Kong-based architect says that his extensive, cross-category line of 150 pieces offers a ‘cohesive narrative that goes beyond aesthetics.’ Multiple elements in the range complement each other perfectly – from an elegantly curved dressing table that interlinks a touch of Bauhaus with a hint of Asian sensibility in a Chinese moon-gate-inspired circular shape, to a family of brushed bronze lantern-like lamps.

‘Asian craft is deep in my roots, and there are subtle references in many of the objects, but my focus has been on creating everyday objects that transcend cultures,’ Fu explains.

Fu’s Milan installation is where his architectural training shows, with a series of bold yet minimalist mineral blue enclosures inspired by the crisp geometric architecture of Jaipur’s eighteenth century Jantar Mantar Observatory, which unfold throughout the first floor of a Milanese villa.

Fu’s porcelain crockery reflects a similarly thoughtful cultural blend of plates, bowls and serving platters that suit dim sum as well as a classic roast, and are available in two ‘design languages’ – a sumi-e-style brush stroke pattern, and geometric designs typically found in 1960s modernist architecture.   

‘True luxury is in the living experience, so I wanted to focus on the person and the places within the home where they relax, sleep, dine and dress,’ Fu explains.

INFORMATION

Modern Reflections will be on view 9-14 April. For more information, visit the André Fu Living website

ADDRESS

Via St Damiano 2
Milan
20122

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Few locations in Hong Kong better capture the spirit of modernism than the Murray Building. Built by British architect Ron Phillips, the 27-storey tower opened in 1969 as a government office. Soaring, unadorned arches at ground level and a gleaming white façade lent it a handsome, almost austere, appearance, while recessed windows and the concrete fins that separated them kept out the sweltering heat, and made the building a pioneer in sustainability.

As such, it remained a widely admired landmark long after a concrete jungle sprouted in its vicinity. And once the government moved on to newer digs in 2011, it became a ripe opportunity for redevelopment. Enter local hospitality group Wharf Hotels, which acquired the building and enlisted Foster + Partners to transform it into  first-rate accommodation.

Named the Murray, the new hotel has opened to much fanfare, its 336 rooms and suites some of the most spacious in the city. The famous recessed windows have been enlarged, opening up views of Hong Kong Park and its adjacent zoological gardens, as well as neighbouring skyscrapers such as the HSBC Building, also by Foster + Partners. Inside, richly textured furnishings in understated tones, and bathrooms in black and white Calacatta marble, are a vision of relaxed refinement. The pared-back aesthetic continues through the well-appointed gym, indoor pool and five spa suites.

Eager for guests to ‘rediscover the romance of going to a hotel’, Foster + Partners devoted special attention to the arrival experience, creating a forecourt around a majestic old cotton tree (carefully sustained through the hotel’s construction), and a generously proportioned, sunlit lobby featuring a chandelier-like charcoal work by Korean artist Seon-ghi Bahk. A grand staircase leads guests to the garden level, home to a lush terrace and two restaurants – the smart European Tai Pan, and the more laidback Garden Lounge, which offers both dim sum and French patisserie.

The next few months will see more dining options open. Occupying its own glass pavilion will be a branch of Michelin-starred Cantonese restaurant Guo Fu Lou, with interiors by André Fu and an expansive terrace. And the rooftop restaurant and bar, serving cocktails and international tapas, will be the perfect spot to rub shoulders with Hong Kong’s movers and shakers, while drinking in the spectacular skyline.

ADDRESS

22 Cotton Tree Drive
Central

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It’s been a long time in the works, but the Andaz group has finally landed in South East Asia. The location, in Singapore’s historic Bugis, cleaves close to the brand’s MO of opening in a buzzy, culturally-rich quarter. Visually, the decision pays off handsomely with remarkable views of the colourful rooftops of the area’s fin-de-siècle shophouses, a dollhouse silhouette that’s made all the more stark against the looming skyscrapers.

Occupying the top 15 floors of Duo, a massive mixed-use development that its architects Buro Ole Scheeren have conceived as a honey-combed curvilinear twin-tower, the interiors of the 342-room hotel are the work of André Fu.

Here, the Hong Kong-based designer cannily references the area’s spice trade, cultural and architectural heritage without slipping into obvious clichés. And so, the colour palette echoes the shades of spices, narrow corridors – a by-product of the building’s polygonal cross-section – are quietly refashioned as alleys, elevator signals bear the palimpsest of ancient streetlamps, and old letterboxes are reimagined as room-number plates, whilst a towering installation of stylised Singaporean landmarks by André Mendes rears up through the central atrium.

The diversions are modestly restricted to an outdoor lap-pool that overlooks IM Pei’s grand Gateway towers, the goal being to nudge guests into the local neighbourhood for spa and fitness options. Gourmands, though, will thrill to ten food and beverage outlets, of which the rooftop Mr Stock bar and lounge, on the 39th floor, offers thrilling wraparound views of the island.

ADDRESS

5 Fraser Street

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Tokyo’s contemporary art scene is undeveloped, compared to the crowds flocking to Shanghai and Beijing, Seoul and Hong Kong in the last five years. Local gallerists offer different theories as to why Tokyo’s scene hasn’t made an international impact —from the lack of large exhibition spaces to the preference for traditional art forms – but Galerie Perrotin might be set to stir things up as it opens its first space in Japan, in the district of Roppongi.

Previously known as for its dynamic international community and salacious nightlife, Roppongi has more recently become home to several renowned galleries, forging a burgeoning arts hub in the metropolis. It’s the Parisian gallery’s third space in Asia, in addition to locations in Hong Kong and Seoul.

Founder Emmanuel Perrotin enlisted the help of André Fu to helm the design for the Tokyo gallery. ‘André Fu has already designed Perrotin gallery in Hong Kong in 2012. The simple fact of working again with the same architect is truly a proof of mutual trust, as it’s a very demanding collaboration,’ Perrotin told us.

The 140 q ft gallery is a pristine white cube flanked by floor-to-ceiling glass, with a more intimate, discreet entrance — in keeping with local architecture and custom – and occupies a ground floor space within the Piramide building, a complex that houses acclaimed Tokyo galleries OTA Fine Arts, Wako Works of Art and Zen Foto, as well as restaurants and retail. As the only gallery on the street level, Fu and AFSO sought to create harmony between the urban surroundings and the understated interiors, as well as between the Tokyo aesthetic and Perrotin’s established brand.

Providing a sanctuary from the city life, Fu has also incorporated a salon area — no doubt informed by his work at luxury hotels such as Villa La Coste in Provence, Singapore’s Fullerton Bay Hotel, and the Berkeley London – where visitors and clients can relax and discuss the art at ease.

‘You know I am in love with architecture, it is so appealing to me,’ Perrotin says of the process, ‘and I learned a lot with André, as he is such into details and subtle perception of the spaces.’ The details come from above and below: a sophisticated lighting system optimises the viewing experience, with luxuriant solid washed oak floorboards underfoot. 

Ahead of the grand opening on 7 June, Perrotin enthuses, ‘I am very happy of our collaboration with André Fu/AFSO for our new gallery in Tokyo, his modernist design responds very well to the gallery’s distinct identity and location.’ An exhibition by Hollande-approved, 97-year-old Pierre Soulages will inaugurate the space – a sound choice, given Japan’s ongoing love affair with all things French.

INFORMATION

Galerie Perrotin Tokyo opens on 7 June. For more information, visit the website

ADDRESS

Piramide Building
6-6-0 Roppongi
Minato-Ku
Tokyo 106-0032

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Following on from an initial dalliance last year, venerable carpet makers Tai Ping and Hong Kong-based designer André Fu have reprised their joint efforts once again – this time with a fully fledged collection that captures urban silhouettes and scenes of the city in carpet form. Entitled ‘Scenematic’, the 13-strong collection is not only strikingly contemporary, but also marks the use of multiple production techniques – a first for Tai Ping.

Nine of the designs feature silk, lurex, felted and semi-worsted wool and Tai Ping’s durable technical yarn, glosilk thread, which have been hand-tufted by the house’s artisans in Xiamen. The other four styles are made from silk, wool, linen and mohair, cashmere and Matka silk, and have been knotted by hand in Nepal using traditional Nepalese and Tibetan techniques. The result is a dynamic and modern collection that still displays exquisite hand-craftsmanship and undeniable refinement.

‘The collection is not about any one single element of a particular city,’ explains Fu. ‘Instead, it represents the very sensual and subliminal cinematographic experience that comes from being immersed in the geometries, light, and reflections of an urban landscape – whether it be Paris, London, Tokyo or Hong Kong – at different times from dusk to dawn. The collection really embraces a flâneur-like interpretation of our urban life - it evokes memories of cities through the use of pattern, textures and materials to express fleeting impressions and images.’

Divided into three colour stories, the collection ranges from delicate pastels to earthy and smouldering shades and moodier, nocturnal tones – mimicking the different times of day. The geometrically charged designs depict glimpses of a city that are then distilled into its most abstract form. The collection successfully captures all the romantic nuances of living in a big city; from pixelated forms evoking fleeting reflections and glimpses of a metropolis, to more photographic city scenes, and a series of highly textured, painterly landscapes.

‘This is one of the most complex and nuanced contemporary collections we’ve ever worked on. It’s a wonderful celebration of our heritage, taking Tai Ping back to our roots which were originally anchored in intricate hand-knotted techniques and that have evolved over time into hand-tuft designs,’ explains Tai Ping’s global creative director Jean-Pierre Tortil. ‘Each hand-made process delivers a distinctly different experience of the cinematic quality of urban memories.’

INFORMATION

For more information, please visit Tai Ping's website

It looks as if André Fu is rarely out of a hotel these days, his schedule is so packed with projects for the likes of Waldorf Astoria in Bangkok, the Kerry in Hong Kong and the Andaz in Singapore. His latest work is Yu Cun for the Grand Hyatt’s Haitang Bay Resort in Sanya.

Drawing lightly on the style and traditions of the local Hainanese and Dan minority, Fu has created a slicked up version of a fishing village, for which the restaurant is named. Three private dining rooms and eight private pavilions are theatrically strung out along the lagoon, the approach to the two-storey restaurant announced by meandering slate paved timber bridges.

The interiors are furnished with Fu’s trademark fondness for textures and burnished trims, in particular bronzed bamboo screens, smoked oak, beige marble, rattan panels, and pendant lamps made of woven straw. The colour scheme, too, is suitably muted – a mix of sand, purples and dark orange.

All of which is a perfect backdrop for the kitchen’s repertoire of regional cuisines from Shanghai, Guangdong, Dongbei and Sichuan. With the sea just steps away, chef Steven Chen’s menu spotlights seafood-based dishes such as fish head casserole braised in a claypot, though it pays to investigate the Hainan black pork stir-fried with local white peppers.

INFORMATION

Website

ADDRESS

Grand Hyatt Sanya Haitang Bay Resort And Spa
68 Haitang North Road
Haitang Bay

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André Fu’s new 'Tac/Tile' collection of bespoke handblown lights, which will be unveiled at Milan’s Salone del Mobile in April, marks a return to the Hong Kong-based designer’s architectural roots. The series of lamps, created in collaboration with the Czech Republic-based glass manufacturer Lasvit, is a hybrid of architecture and lighting, the product of what Fu calls ‘an exploration of the materiality of glass’.

‘I’m not interested in producing something that is purely decorative,’ Fu says. ‘My aim is to create a new way of thinking about glass that is more than just about illuminating a room.’ The idea first emerged when he found himself designing statement pendant lighting for ballrooms in a series of hospitality projects across Asia.

‘It made me think about the qualities of glass as a surface on buildings and how the cast-glass brick’s strong tactility allows it to be utilised as an architectural form,’ he adds. ‘That was when I began to consider how I could explore new ways of designing with glass that I haven’t done before.’

Fu says his new collection – centred around a 23mm-thick seamless fold of handblown glass, paired with a minimalist matt-bronze frame – takes inspiration from the curved roof tiles of traditional Chinese vernacular architecture and the sleek, unadorned curves of iconic 20th-century modernist buildings. ‘This is not about East meets West or yin and yang,’ he says. ‘We have all moved well beyond those design categorisations. It is more about a natural infusion of design elements from an oriental heritage with the intrinsic shape and pure decoration of structures such as the Flatiron Building in New York or the Maison de Verre in Paris.’

Fu decided the best starting point would be to reinterpret the industrial glass brick through the traditional handblown glass process to create the right sort of spare linear volume with a hint of natural texture.

However, this called for considerable skill. And this is where Lasvit’s expertise in the craft of handblowing glass, along with a reputation for creating lighting installations with designers such as Arik Levy, Nendo and the Campana brothers, came into play.

If exploration was what Fu was looking for, that is what he got. The design process took almost a year and started with meeting the artisan team on site at one of the oldest glass-blowing factories in Bohemia, where Lasvit has its headquarters.

‘We look for something creative and free-spirited, yet precisely crafted in all our collections,’ says Lasvit founder Leon Jakimič, ‘and while they must be handmade out of glass, our designers have lots of creative freedom.’ On one visit that Wallpaper* made to the glassworks, we observed craftsmen blowing an enormous mass of glowing molten glass, which was then plunged into a woven basket to create a strikingly contemporary pattern. This meant that the designer could very quickly identify which aspects of glass had the potential to be pushed further within his own design.

‘The biggest challenge was to not lose sight of my original concept while being presented with so many different ways of doing things,’ says Fu. ‘Collaboration takes many forms, but most importantly, I wanted the team to understand that it wasn’t just about finding a texture for the glass to make it interesting, but about creating a natural quality of something that makes it not feel too perfect.’ The process eventually agreed on mixes contemporary blending technologies with traditional handicraft and advanced fusing techniques to create a series of lamps in suspended pendant, wall, floor, and table versions.

‘I am more typically associated with exploring softer, luxurious materials, but here I wanted to create something that responds to the modernist world I have in my mind,’ Fu says. ‘It is instinctively organic but deep down crafted in contrast to the raw beauty and purity of the bronze frame, which is almost brutalist in spirit, yet highly articulated. It is the juxtaposition between these two worlds that is interesting.’

The deliberately understated architectural form of the 'Tac/Tile' collection is also something of a departure from Lasvit’s trademark sculptural installations. ‘Lasvit lamps on show at Salone are almost like a couture garment,’ says Fu. ‘Elements of the design are extracted for the domestic market – like creating a ready-to-wear collection.’

‘From the start, we considered how the different forms would work, whether you are looking up at a pendant or at a desk lamp. Balancing functionality with each different volumetric quality is important.’ Once the elemental form was agreed upon, Fu admits he became obsessed with ensuring the details would highlight the tension between the artisan quality and architectural rigour. A rough edge to hint at the raw power that formed the distinctive curved shape? The satisfying feeling of being in control of the ‘click’ as the light switch is turned? The tactile beauty of the bronze frame? These were the design decisions that mattered within the broader architectural narrative.

‘I kept coming back to the geometric simplicity of modernism devoid of frills. It is not about the glamour and intricacy of what glass can produce, but more about how it makes us feel. Getting the brushed champagne gold and anodised bronze exactly right was as important as the glass tile.’ 

If 'Tac/Tile' represents a shift in the evolution of Fu’s studio, we’d better get used to it. In the past year, Fu has shown a new appetite for this kind of design investigation, projects that informs his interior work alongside his recently launched André Fu Living (AFL) lifestyle brand. 

‘If I am to do something, there has to be a reason for it,’ he explains. ‘It has to be a new way to push a texture or a form in creating tangible experiences, otherwise why do it? With "Tac/Tile" it was never about going back to traditional methods, but about creating a new way of thinking about glass. Challenging the process is what makes it interesting for me.’

As originally featured in the May 2016 issue of Wallpaper* (W*206)

INFORMATION
Both André Fu and Lasvit will also be showing specially commissioned projects as part of Wallpaper* Handmade. For more information, visit Lasvit’s website

ADDRESS

'Lasvit's Via Lucis’
Palazzo Serbelloni
Corso Venezia 16
Milan

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Architect André Fu is having a moment. A big moment too, as far occasions go. Having shot to fame with a number of high profile commissions (Hong Kong’s Upper House hotel, London’s Gong Bar at The Shard and an intriguing installation for fashion brand COS among them) and having featured in Wallpaper's own Power List late last year, he also launched his own lifestyle line (André Fu Living), published a book with Assouline and launched a bestselling, bespoke hand-tufted rug collection with Tai Ping Carpets. 

The achievements don’t end there, either. Fu has been named Designer of the Year for this year’s edition of Maison & Objet Asia (launching this week and running 8–11 March) and is soon to unveil a rather revolutionary lighting collection with renowned Czech glass manufacturer Lasvit come April.

Before he lights up Salone del Mobile though, his attention will be firmly set on Singapore, where his latest bathroom accessory line with young American brand Cooper & Graham is due to be unveiled. 'Skyliner', as the artisal bath collection is called, is said to be 'heavily rooted in its balance of proportions and more importantly, a understated purist quality'. Urban landscapes and contemporary buildings inspire the modern, interlocking systems, which seem more like sculptures than bathroom accoutrements at times. Particular attention has been given to refining the edging and detailing of the fixtures, 'with a view to illustrate the underlying pursuit of a collection that is bold visually, yet refined in experience', explains Fu. 

That distinct language – fusing contemporary minimalism with classic elegance – is Fu's signature; a delicate balance that, although inspired by and best suited to the codes of luxury and subtleties of Southeast Asian sensibilities, has international appeal. 

To whet our appetities for Milan – more on that to come in the May 2016 issue of Wallpaper* (W*206) – Fu and Lasvit are unveiling a small taster of the immaculately dressed architect's visit to their workshops. It seems the architect turned interior specialist turned designer has no intention of slowing down. 

The May 2016 issue of Wallpaper* arrives on newsstands 14 April 

To whet our appetite for April’s big reveal, Czech glass manufacturer Lasvit has released this teaser, revealing the process behind the architect’s revolutionary lighting collection, due to be unveiled at Salone del Mobile

Hong Kong-based interior designer André Fu has conceived a seductive new unisex scent as the inaugural product to launch his new Andre Fu Living (AFL) lifestyle brand.

Named Fargesia (a genus of Asian bamboo), it employs many of the designer’s signature elements as touchstones, playing on simple, natural materials like bamboo blended with a fresh hint of citrus and spicy Sichuan pepper. 

It is exactly how you’d imagine one of his inimitable interiors would smell – a refreshingly elegant blend of understated yet complex layers. 

To help translate his vision of a clean and modern fragrance that would work equally well for the room or as eau de toilette for the body, Fu collaborated with cult Argentinean perfumer Julian Bedel, renowned for his meticulous artisanal approach to creating unusual scents using natural ingredients. 

The choice of Fargesia reflects Fu’s penchant for using the material within his interiors, but also intrigued Bedel who says he was drawn to the unusual range of molecular scent profiles each part of the plant provides: ‘The scent is very faint, thus not recognisable to many and definitely not characteristic at a simple sniff.’

Fu’s new olfactory creation comes in a minimalist bamboo box engraved with AFL's new logo conceived by British design studio, North, and reminiscent of Chinese calligraphy, another signature element in Fu’s contemporary interiors. Inside the box, the designer has created an artful textural setting for the limited edition fragrance adding a subtle twist: the subtle grey tone packaging evokes the textural qualities of concrete. 

‘I wanted to capture the tactile essence of my spaces, extending my design sensibility into something tangible,’ says Fu.

The brand’s launch on 30 November is timed to coincide with the announcement of Andre Fu as Maison&Objet Asia designer of the year 2016. We have a feeling there is a lot more to come...

INFORMATION

From 100ml 4.3f.L bottle, £90

For more information, visit Andre Fu’s website 

The latest endeavour from Hong Kong-based architect Andre Fu is a two-level contemporary Japanese restaurant sporting a mezzanine level dedicated to a hip sake bar.  

Keeping with Japanese tradition, the entrance - an elegant hallway lined with bamboo posts – is an understated affair inspired by the elegant bamboo torii (gates) at an ancient Kyoto shrine. It leads to the first statement dining space featuring a pristine 11-meter-long sushi counter carved out of solid pine. Here, diners are treated to dramatic views over the cavernous main dining-room where Fu has created what he calls a ‘modernist bamboo theatre’ with a series of intimate booths separated by distinctly modern, tall bamboo screens, softly lit with custom-design silk pendants.  

The designer’s inimitable appreciation for subdued colour is also on show here, with sumptuous mud orange and cool mineral greys that beautifully complement the natural materials such as bamboo, sand and volcanic charcoal stone. Meanwhile, Japanese lacquer artist Muramoko Shingo’s ethereal installation of suspended red lacquer maple leaves adds a dreamlike quality as they seemingly ‘float’ through the three distinct spaces.

The food is as good as the setting: in the kitchen, the acclaimed Chef Sawada Kazumi serves up exceptional sushi and contemporary Japanese seasonal fare but we think the Instagram-ready sake bar is worth a visit alone for its excellent selection of rice wines.

ADDRESS

Four Seasons Hotel Seoul
97 Saemunan-ro
Jongno-gu
Seoul

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From delicate and muted minimalism to eye-popping, era-hopping fancies, here are the designers who know how to mix, match, edit, illuminate, decorate and otherwise create sublime spaces… 

To celebrate our 200th issue, we decided to take our Power 100 and transform it into a meaty, two-ton Power 200; an upscaled calibration of design achievement. Or rather 100+100 (normal disservice will be resumed next year) – including the top 20 interior designers we who time and time and again create and compose the most seductive of spaces.

Kicking off our envy-inducing line up is the work of industry legends like Christian Liaigre, Dimore Studio, David Rockwell, Stéphane Parmentier and Roman & Williams. And it wouldn’t be a Wallpaper* celebration without a nod to minimalism, precise edits and arresting ideas. For that, we turn to Dorothee Meilichzon, Peter Marino, Chahan Minassian, Joseph Dirand and Gwenael Nicolas, the latter of whom is a Fendi favourite.

We’re not all about muted colours and clean lines though. India Mahdavi injects life through vivid hues and Mathias Kiss brings an artistic perspective to the table. And then, of course, there are those dedicate themselves to the world of hospitality, making those hotels and restaurants we can’t wait to visit and can’t bear to leave… Hong Kong-based Andre Fu, Toronto’s Yabu Pushelberg and London’s go-to man Martin Brudnizki, we’re blaming (and thanking) you.

Rounding off our selection of sumptuous space makers is queen rich materials Fiona Barratt-Campbell and big budget boho guru Francis Sultana. When the day is done and we need respite from the world or a cosy hideaway we turn to Ilse Crawford, Kelly Wearstler and Rose Uniacke, naturally. Who else?

See the Power 200 in full here

INFORMATION

See the Power 200 in full

Swedish fashion brand COS (Collection of Style) has launched its autumn/winter 2015 collection in an intriguing temporary installation created by Hong Kong-based architect André Fu on the 2,000 square meter upper deck of the city's iconic Central pier.

The ultra modern minimalist conceptual space presented in a dove grey palette marks an evolution in the designer's signature sensual style on show at the Upper House and London's Berkeley Hotel.

In contrast, the COS project features a series of spaces starting with a strikingly contemporary 3.5-meter glass and steel cube traversed by a forest green lacquered bridge.  Once inside, there are glimpses of the building's working industrial infrastructure contrasting with another more serene 'transitional space' featuring a 2-meter circular sunken garden of moss-covered spheres, resting on white pebbles.

The path culminates at a dramatic terraced stage where COS models showed off the new collection on a cantilevered bridge connecting two enormous cubes - one mirrored and one entirely of glass - against spectacular views over Victoria Harbour.

'My intention was to create an immersive experience to reflect modern Asia's distinctive urbanscape,' says Fu.

Meanwhile the new collection showcased a range of voluminous cocoon-like silhouettes that referenced Japan's Mono-ha art movement's interpretation of the relationship between nature and modern industrial materials.

'It evokes a very still and peaceful aesthetic with a sense of drama,' explains COS head of menswear design Martin Andersson. 'The natural palette of greens with rich camel, beige and grey is very natural and peaceful.  We love the idea of moonlight and how it draws out the colours and becomes silvery and neutral.'

The installation also marks the unveiling of a new, limited edition unisex white shirt available in a selection of stores across Asia.

It was the brand's approachable style to fashion that first attracted Fu -usually more closely associated with high-end luxury clientele - to the project.

'Luxury is different now,' he says. 'I was intrigued with the challenge of taking my language of design into a conceptual experience that reflects how fashion is being redefined as a reflection of oneself and where style could be attained with affordability.'

ADDRESS

Upper Deck, Central Ferry Pier 4, Hong Kong

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Hong Kong-based interior designer André Fu has created an intriguing 'secret' pop-up residence in his hometown for fashion powerhouse Louis Vuitton. 

The brief: to transform part of a private member's club on Wellington Street into an ultra-exclusive, blink-and-you'll-miss-it 3,500 sq ft apartment. Fu has incorporated a study, boudoir and separate living and dining areas - complete with a Michelin-starred chef on hand.

The invitation-only space will operate as a luxurious 'urban oasis' over a six-week period for the brand's most valued local customers. L'Appartement is the designer's first collaboration with a brand.

'I was intrigued by the intellectual exercise of creating something that offers an emotional experience despite it being a temporary construct,' says Fu, whose recent projects include The Opus super suite at the Berkeley hotel and the Gong bar at the new Shangri-La at the Shard, both in London. 

The designer accomplished what he set out to achieve, delivering a modern, glamorous home-from-home with plush custom-made furnishings and rugs. They're accented with contemporary Chinese art and vintage prints and objets from the Louis Vuitton archives.

'I'm much more interested in creating a holistic experience than focusing on objects,' says Fu, 'so for me it was more about creating a sense of purity and place.'

Fu's intimate Japanese tearoom-inspired lobby sets the tone with a striking jade-green Turkish onyx counter offset by the mesmerising painting '1197', by emerging Chinese artist Shang Yixin.

The rich palette of tangerine orange, olive green and mineral blue is repeated throughout, nodding to Nicolas Ghesquière's first womenswear collection for the brand. Elsewhere, Fu's trademark attention to detail is reflected in walls clad with Jim Thompson silks, reversed to reveal a softer pattern. Eclectic touches include natural chair upholsteries made from soft cork laminated with a canvas backing.

Although the curated collection of limited-edition Louis Vuitton merch has proved an effective lure, L'Appartement's sleek dining room is undoubtedly the showstopper. Its solid-oak table seats 14, and Fu's tongue-in-cheek bespoke ceiling lights pay tribute to the brand by casting a subtle LV glow when lit.

We have been keeping a keen eye on Hong Kong-based architect Andre Fu over the last few years and, with major hotels like Singapore's Fullerton Bay and Hong Kong's The Upper House under his belt, it seems apt that his first foray into Europe should see him team up with luxury London establishment, the Berkeley Hotel. The designer has created its new super suite, The Opus.

'Andre's ethos of creating true living spaces - architecturally done, and embellished with simple but beautiful details - means the Opus Suite will provide the finest luxury experience for the global traveller,' says Maybourne Hotel Group CEO Stephen Alden.

With views of Hyde Park and Knightsbridge, the new suite comprises a living space, kitchen, dining room, two bedrooms and two bathrooms (including a 300 sq ft master bathroom covered entirely in solid marble). An exercise in understated indulgence, it incorporates bamboo and limestone surfaces, offset with bronze accents in a muted palette of greens and mushroom tones.

'My interiors are visually calm and balanced,' says Fu. 'There's symmetry in my work which goes beyond decoration; I like to feel that guests will experience an emotional connection to the space they are in.'

Bespoke furnishings and art - all handpicked by Fu himself, with the help of Hong Kong-based art consultant Alison Pickett - add elegance to the surroundings. Guests can also take advantage of the talents of the hotel's resident Michelin-starred chefs Marcus Wareing and Pierre Kofmann and indulge in a specially created menu which can be served in the suite's dining room.

ADDRESS

The Berkeley Hotel

Wilton Place,
Knightsbridge
London
SW1X 7RL

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As Hong Kong presents ART HK 12, its fifth international art fair – now under the Art Basel franchise and expected to draw even more visitors than the 63,500 last year – it is also celebrating its transformation into the de facto art capital of Asia. Thanks to an unprecedented boom in China’s art market and a growing demand for Western art (Christie’s Hong Kong sold £225 million in a week last autumn), several influential international galleries have opened permanent spaces timed to coincide with this year’s fair.

Explore the galleries making their mark on Hong Kong's art scene

‘There is palpable excitement about how the art scene is developing,’ says ART HK director Magnus Renfrew, who believes the combination of location, language, reputation and international culture has contributed to its status as an art hub.

Just a decade ago, the city was relatively provincial with a weak art infrastructure compared to traditional art centres. But recently a handful of galleries have introduced a rare pedigree of artists to the city. Ben Brown Fine Arts, which recently extended its Andre Fu-designed space, last week launched an exhibition by Italian artist Alighiero Boetti; the White Cube gallery, which staged a successful opening in March, unveiled Anselm Kiefer’s ‘Let a Thousand Flowers Bloom’. Meanwhile, the Gagosian Gallery has spent its inaugural year treating Hong Kong to Damien Hirst and, this month, Andreas Gursky’s first Asian exhibition.

The newest clutch of blue-chip galleries will likely up the ante still further. Parisian dealer Emmanuel Perrotin opens his vast 17th floor Galerie Perrotin with ‘The Nature of Need’, exhibiting the work of American neo-pop artist KAWS. ‘It is the perfect time to be opening in Hong Kong,’ says Perrotin. ‘The market is very exciting and we have a space that allows us to show exactly what we want.’ Striking interiors by Andre Fu make full use of the harbour views and natural light. ‘For me, art spaces are about creating experiences, so we flipped the circulation to the window side, creating free movement along the full-height windows,’ says Fu. ‘It is a quite subtle but effective use of the space.’

Spurred on by exponential growth in Asia, Sotheby’s is opening a sleek 1,400sq m gallery in Pacific Place, designed by local architects Richards Basmajian, and taken the entire fifth floor as an auction and lecture hall. The spaces were micro-designed with flexibility in mind. ‘Even the windows have panels to hang pictures,’ says David Richards. ‘With Sotheby’s the art works vary dramatically from traditional to cutting-edge modern, so the space had to be simple by necessity but details such as flexible lighting were critical,’ The gallery opens on the 19th May with ‘Hong Kong Blooms In My Mind’ by Japanese artist Yayoi Kusama, as well as an exhibit of French landscape painting from the19th and 20th centuries.

Also this week, Pearl Lam’s eponymous gallery presents its inaugural exhibition of Chinese abstract art, re-examined by contemporary-art scholar Gao Minglu and Paul Moorhouse, curator of 20th-century portraits at London’s National Portrait Gallery. Says Lam: ‘Contemporary abstract art is usually regarded by the West as second hand and derivative, but the Chinese see it differently. This exhibition will show a different perspective.’ The 350sq m new gallery in the Grade II-listed Pedder Building has temporary walls to create bespoke spaces for each piece. ‘The next exhibition will change completely. Windows will appear,’ says Lam, who was drawn to the building’s high ceilings and its paradox: ‘Outside is old but inside is new.’

Simon Lee Gallery opens this week in the same building with an exhibition of new works by American artist Sherrie Levine . Designed by Belgium-based Bataille Ibens, the gallery carries over the aesthetic of the Lee’s London gallery and acts as a project space. ‘We are adopting a different model to the conventional gallery,’ says Asia director Katherine Schaefer. ‘During the rotations in our space, mediums will range from painting, drawing and sculpture to multimedia installation and film.’

It’s not yet clear what benefit these international players will bring to Hong Kong’s emerging art community. Although they clearly have the potential to reshape the cultural landscape, local gallerists and collectors like Calvin Hui, founder of 3218, a loft-style contemporary gallery in Hong Kong’s Wong Chuk Hang district, have mixed feelings. ‘Many people say Hong Kong is the number one art market and there are a lot of opportunities, but I am still concerned about the size of the market. Tiny galleries will still find it hard to promote art.’

We've been watching Hong Kong-based architect Andre Fu closely over the last few years, as he completes one high profile Asian commission after another. With major hotels like Singapore's Fullerton Bay and Hong Kong's The Upper House under his belt, plus a string of restaurants including Azure and OPIA, he's become the go-to guy for hospitality spaces on the continent.

A Bespoke Journey, launched this week in the lofty surrounds of another his projects - Ben Brown Fine Arts gallery in Hong Kong - brings all these projects together in a series of beautiful photographs and sketches, documenting how he has rethought the Asian design dialogue and executed it with exacting standards. The photographs were also hung in the gallery to arresting affect, alongside works by Miquel Barceló and Yves Klein.