Discovering the secrets of Hong Kong’s ‘it’ designer

HONG KONG — After hosting the successful Art Basel last spring, and with the buzzy launch of art and retail space PMQ, Hong Kong continues to ride on a new wave of creative energy. Its restaurants also make great places to watch, not just for gastronomic innovations but also for cutting-edge design. One of the must-know names on the scene is interior designer Joyce Wang. Just in her 30s, she’s the visionary behind HK’s restaurant of the moment, Mott 32.

Since its high-profile opening in April, everyone — from Hollywood stars to food-tripping tourists — has been dining at Mott 32. Found at the basement of the Standard Chartered Bank building in Central, the location itself has an element of mystery; an underground den, where I imagine bankers meet to dine and deal in ultimate privacy. Named after the historic street in New York’s Chinatown, Mott 32 offers farm-to-table Cantonese cuisine (think Iberico pork char siu, jasmine-infused crème brulee) that’s taken to a new level of excitement with Wang’s dramatic interiors.

The journey through this 7,500-sq.ft. space begins with a dimly lit descent, transporting you into another world that feels both vintage and futuristic. In the various alcoves are revealed Wang’s passion for telling stories. Objects around the restaurant are carefully placed to clue you into the political and social history of Hong Kong. By the cashier door, Wang incorporated an old teller window frame and light, a touch of old Hong Kong that I’ve romanticized from watching Wong Kar Wai movies. 

Characterized by cinematic inspirations and the use of unique materials, Wang’s work first gained recognition for Ammo, the restaurant at the Asia Society. Her firm’s first big project was the renovation of Hollywood Roosevelt Hotel in Los Angeles, a historic property that piqued Wang’s interest. “There’s an intrigue that is inherent in heritage projects. Given their history, I enjoy the process of unearthing and extracting a unique narrative that becomes the project brief,” she says.  

Her focus on artisanal and custom details creates an ultimate dining experience that lingers in the memory. “I believe luxury comes from immediate tactile and sensory experiences,” she says. “From the door handle in the restaurant, to the upholstery of the armchair, to the touch of the menu cover — these are functional items that should be designed to anticipate touch and interaction.”

Wang is also behind two new restaurants, Vasco and Isono, opening this week in Hong Kong.

PHILIPPINE STAR: What’s the story behind Mott 32?

JOYCE WANG: The restaurant tells the story of the basement of an important bank building in Hong Kong and how it has evolved through time. We imagined its former life as a storage facility for family heirlooms forgotten by wealthy Chinese immigrants, and later as staff quarters for bank employees and guards. We imagined pieces of history left behind organically. The process of design was to unearth these clues layer by layer to expose an authentic narrative, so the final tableau tells a compelling story that’s not overly styled.

Tell us about the furniture and accessories.

The furniture we designed and accessories we chose are as eclectic as the narrative we wanted to convey. Chinese antique propaganda accessories, Danish caning furniture, British turn-of-the-century tableware, to American mid-century chandeliers, are seen throughout. Our intention was to make it reminiscent of the previous occupants’ taste, lifestyles and personalities.

The space is divided into one general dining area and five separate private rooms. Can you describe what you did for the main dining area?

If you sit in the main dining area, your attention is drawn to a number of narratives, both raw and rich. For example, the opening into the main kitchen showcases chefs in their environment, with woks frying and baskets steaming. An open display shows hanging ducks in the custom oven. This is juxtaposed with the grandeur and elegance of custom-designed wait stations with inset silk embroidered paneling and custom hardware trims. The form is reminiscent of Qing Dynasty paired with modern materials and industrial detailing.

The main feature is the custom-built architectural skylight to give diners an impression of daylight. The shape of this skylight and layout of banquettes in the main dining area were inspired by the existing Standard Chartered Bank’s octagonal columns.

As a basement location, what were some of the challenges?

The site itself is devoid of any sunlight, openings, or views to the exterior. It could feel claustrophobic, so we spun this by redirecting your attention inward and holding it captive through the various design elements. We addressed this first and foremost with a lighting strategy with different mood settings for lunchtime and evening diners.

The accessibility of the site was also an issue, having to snake through the bank building to access the restaurant. We turned this into an asset, though, by creating a more hidden and exclusive arrival experience, so the descent into the basement is an experience in itself.

We designed a grand and industrious heavy-metal chain chandelier suspended from the top of the staircase, draping all the way to the basement. The faceted mirror panels lining the stairwell created a surreal descent, while a mirror-topped wait station at the base of the staircase paid tribute to reflection ponds commonly found in traditional Chinese restaurants.

And the bathroom is a destination in itself.

Our idea for the bathroom stalls was inspired by private safety deposit box viewing rooms with gated entry door design and padded leather finishing on the inside of the door. The communal custom terrazzo sink with copper faucet fittings suspended from ceiling anchors the space and is a key feature. Original Thomas Crapper toilets and vintage-style urinals and custom signage complete the look.

What’s your approach to design? ?

It’s the constant balance — and also the struggle — between my intuition and rational thought.

How did your interest begin in film and music? ?

My inspirations come from film and music but mostly from spending time with people who engross themselves in these mediums. [Oscar-winning production designer] Ken Adam gave a speech during my time at the Royal College of Art. I fell in love with his imagination for cinematic space.

How long was the planning and design process for Mott 32?

The planning took three months, and the build-out was an additional three months.

Tell us about your first project, the Hollywood Roosevelt Hotel.

I pitched for the project with a friend and ended up winning the commission against the likes of such well-known designers as Yabu Pushelberg. We were extremely persistent about getting the project and I think it was this attitude and our approach to design that really impressed the client. For us, we had a hunger and a fire because the Roosevelt is such an iconic hotel.

You’ve also liked to collaborate with fashion designers and jewelry artisans. ?

For the Seymour Road project, we created custom furniture pieces with intricate detailing in collaboration with jewelry designer Nicholas Liu. It was challenging to design at a different scale where the hardware became the emphasis of the design.

How does art, particularly cinema, inspire or influence your work? ?

Through the composition, I incorporate dramatic elements like storytelling, character arcs and other cinematic techniques not usually represented in interior design. My favorite films include Metropolis, the French movie Playtime and Brazil, while my favorite TV shows are Mad Men and Twin Peaks.

Where do you like to shop?

I like Martin Margiela and shopping at Oak in New York.

What makes a great space? ?

People should have a sense of anticipation when they enter a space, whether you’re surprising them, making them feel relaxed or spoiling them.

What tips can you share for young designers?

Stay young and stay foolish!

Any goals and dream projects? ?

Luxury hospitality projects with a heritage angle.