Modern Master

The redevelopment of a modernist landmark has given the city its newest luxury hotel. The man with the vision behind it, Peter Woo, tells Marianna Cerini of the care that went into preserving the heritage of the Murray Building

The man with the vision behind the city’s newest luxury hotel, Peter Woo, tells of the care that went into preserving the heritage of the landmark Murray Building

Were it not for the occasional rasp interrupting his cheerful chatter, there’d be no evidence of the nasty bout of bronchitis that forced former Wharf Holdings supremo Peter Woo to postpone our meeting several times. With the lurgy all but shaken off, the 72-year-old is light on his feet, darting from left to right with a sense of excited urgency as he shows off the company’s “newest strategic long-term project,” the Murray, Hong Kong, the city’s newest luxury hotel and the result of an ambitious four-year redevelopment of a government office building on Cotton Tree Drive. “This is a dream come true for us,” says the proud tycoon.

Looking up at the 25 storeys towering over Hong Kong Park, it’s easy to see why the veteran businessman feels this way. Built for the government in 1969 and named the Murray Building, it’s been one of the city’s most iconic edifices for almost 50 years, and a historic remnant of colonial-era Hong Kong. Its design, with distinctive groundlevel arches and deeply recessed, angled windows that prevent the entry of direct sunlight and thus enhance temperature control, is an example of sustainable architecture way ahead of its time. But the Murray Building became an empty shell at the end of 2011, when its occupants decamped to the new government headquarters in Admiralty.

“I used to go past it as a young man and marvel at how majestic it was,” recalls Peter on the eve of the opening of its new incarnation. “To now be able to bring this inspiring piece of architecture back to life is an honour and a humbling assignment.” It was a feat on which Peter and his team spared no effort or expense.

Wharf Holdings won the site at an auction in 2013 for HK$4.4 billion, outbidding some 40 rivals, and injected another HK$3 billion redeveloping it into a 336-room hotel with all the bars, restaurants and amenities expected of a five-star establishment. Peter’s team worked tirelessly on the venture with the Conserving Central Project, a governmentbacked initiative that works to preserve the heritage of the heart of Hong Kong.

“Given its heritage status, we couldn’t touch—and wouldn’t—a number of things,” Peter says as he shows me around the hotel. “The facade, the arches, a vehicle ramp leading to a covered car park. Even that tree—it’s one of the oldest of its kind in Hong Kong, an OVT,” he says, using the bureaucrats’ term for an old and valuable tree as he points at an imposing rainbow shower tree in the forecourt of the main entrance. “So of course we had to keep it.” The architectural firm Foster + Partners, which has heritage experience and a strong connection with Hong Kong, was retained for the project. “It was a natural match,” says the tycoon of his decision to hire the renowned firm. “They have worked with many historic structures, so I knew they would understand our vision.”

In the makeover, the roofed car park was opened up to “liberate” the tree and create the forecourt, offering an elegant sense of arrival. All around this open space, on a circular upper deck, a series of accessible gardens is dotted with contemporary sculptures, part of Wharf Holding’s extensive art collection. Peter intends these to be updated regularly as part or his plan “to make the hotel a hub for art, fashion and cultural gatherings, as well as creating a sense of place for people,” with artists also invited to exhibit their work. A sinuous piece by Zaha Hadid is one of the first things visitors notice on approaching the property.

The vehicle ramp has been turned into an outdoor event space, “suitable for anything from car shows to creative undertakings.” The revamp works well: the green is a soothing barrier secluding the hotel from the heavily trafficked street, and the art, updated ramp and those formidable arches add oomph to the whole environment.

“The exterior of the Murray is full of energy, while the interior, having been an office site, was quite drab,” Peter says. “Bringing that energy inside was pivotal.” And essential to fully project the property into the 21st century. Floor-to-

“I COULDN’T HAVE PASSED ON THE OPPORTUNITY OF WORKING ON THE MURRAY. IT WAS TOO TEMPTING FOR ME”

ceiling windows installed behind the arches visually open the hotel to guests and passers-by, bringing in natural light from the lobby and podium floors. Entrances have been added on all sides to provide easy access. Inside—the interiors were also designed by Foster + Partners—crystal glass screens rather than doors separate each space, from the lobby to the tea lounge, grill restaurant and social areas. On the roof, transparent glass pavilions house a restaurant and a bar overlooking the city.

Rare stone, leather and plush textiles from Asia and Italy decorate the public areas and the guest rooms, while Carrara marble from Italy, neat wood panelling and polished metal surfaces in a signature bronze stainless steel finish serve as backdrops for the different environments. The overall effect—modern, sleek, very urban chic—suits the vibe of Hong Kong. “We wanted to create a distinct sense of destination,” Peter explains. “A cohesive feel between the outside and inside of the hotel.”

Foster + Partners’ Colin Ward echoes this in a later interview. “The project offered an incredible opportunity to stitch this almost forgotten and locked-away old building back into the fabric of central Hong Kong. The Murray has a unique sense of character and a distinctive presence on the city’s skyline, and we were keen to protect and enhance [that].”

To that end, Wharf and Foster + Partners also decided to consult the building’s original architect, 90-year-old British modernist Ron Phillips, on the redevelopment. “There was no better person to discuss the architectural integrity of the Murray with,” Peter says, “and I’m pleased to say he’s given his blessing to the changes we made.”

Phillips confirms his approval later in email correspondence with me. “The only constant in life is change,” he writes, “so it was inevitable that the Murray Building offices, as such, would no longer be viable after so many years. I am delighted to know that the property is to have a new life, and I have to thank Wharf Holdings and Foster + Partners for allowing me to participate in the development of their designs.”

Among the challenges of the makeover, transforming the former office units into guest rooms was perhaps the hardest task. The Murray’s striking facade, with its windows deeply set on a 45-degree angle, and its interlocking internal structure— where rooms are not oriented in linear fashion next to each other, but diagonally—meant the upper floors weren’t exactly a good fit for a five-star hotel.

“Quite the contrary,” Peter laughs. “The angular bays of each room were quite unusual, and the light coming in was feeble. Finding a way to turn them into sizeable, sun-filled spaces took us some time. We had to expand all the window frames into larger perfect squares to bring in more light while still maintaining the thermal level the building is known for and its angular frontage.”

“Once we accepted the Murray’s geometry as the starting point rather than what might be considered a more traditional layout, the solution came quite quickly,” Ward explains. “Interestingly, this interlocking-room layout has prompted us to look at room layout options in some of our other projects around the world where this arrangement could be more efficient.”

The Murray’s 44-square-metre rooms are a lesson in compactness. Minimal in their decor, all clean lines and modern fixtures, their huge windows—they have at least two—face the green oasis of Hong Kong Park or the Central business district and, in the distance, Victoria Harbour.

“It was a bold undertaking, but the love and labour we put into it has paid off,” says Peter as we settle in a suite at the end of our tour. “We couldn’t have hoped for a better property to debut our Niccolo brand in Hong Kong.” Niccolo is the luxury hotel collection under Wharf Hotels, which includes Niccolos in Chengdu and Chongqing. “We want the hotel to set a new standard in the city, and wherever we open next.”

The Niccolo brand is expanding fast as a competitive player in the hospitality sector, just like so many other local and overseas projects the tycoon has shepherded during his tenure as chairman or Wharf, including the development of retail hubs such as Harbour City, residential compounds and the Lane Crawford Joyce Group (the latter also helped Wharf with the development of the Murray).

I suddenly remember that Peter, who was awarded the Grand Bauhinia Medal in 2012 for his services to the Hong Kong community, is supposed to be retired; he stepped down from his role as chairman in 2015, passing the baton to son Douglas. “I am, but I love what we do, so I like to keep myself involved. Plus I enjoy working with younger professionals,” he laughs. “And I couldn’t have passed on the opportunity of working on the Murray. It was too tempting for me. My father was an architect and I studied architecture, too. So did my son. This place is history and design and so much more. Just think of the forecourt tree.” He pauses. “I couldn’t stay away.”

Given the passion he has demonstrated in showing every nook and cranny of the Murray to me, it’s clear his interest in—dare I say love for—the building is genuine. Emotional, almost. As I make a move to depart at the end of our chat, he urges: “You can’t leave before it gets dark. You have to see the lights come on. It’s a marvel, I promise you. The building comes alive in a whole different way.”