How a Philippine-led design firm helped reimagine Hong Kong’s iconic Dragon-i

Acuña shared that the space’s design was influenced by the evolution of how society experiences nightlife these days. “People don’t really go to clubs to meet strangers anymore,” he noted. “They’re going out with people they already know.” That shift informed interiors that feel interestingly domestic and more at ease. Plush fabrics, lounge-style seating and warm lighting soften the nightclub, while the layout is designed around intimate nooks and breakout spaces that encourage smaller groups to gather rather than blend into the crowd, reflecting a broader move towards hospitality spaces designed for lasting conversation and reunions.

The adjoining 115 Listening Room members’ club is a vinyl listening bar that extends that philosophy even further. The space feels less like an exclusive lounge and more like an extension of Yeung’s own living room, featuring velvet sofas, green banquettes, a games room, an outdoor terrace and his personal collection of books and vinyl records. Cosier corners and residential touches encourage guests to settle in rather than simply pass through.

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Acuña’s years of experience designing hospitality spaces across Hong Kong proved invaluable to this hands-on process. Thankfully, JJ Acuña / Bespoke Studio also had a robust network of artisans and fabricators throughout Asia and contacts in Europe who were integral to making this all come to fruition. 

Acuña and lead designer Cheng sourced craftsmen from China for bespoke fabrication of furnishings and lighting, and worked with key artisans from London, France and Italy for the delicate fabric seen throughout the establishment. But, one of its most distinctive contributions came much closer to home for Acuña. Throughout Dragon-i and the 115 Listening Room are handcrafted Tiffany Stained Glass features created by a third-generation workshop in Quiapo, Manila. The pieces appear in lighting fixtures, hanging pendants, ceiling coffers and the turquoise speaker, beautifully introducing handcrafted warmth into the venue. 

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“A large part of our scope was taking the dream by Pirajean Lees and scouring our networks and resources to make sure that all the bespoke details were built and applied perfectly to the minute detail. And we feel that what’s there now on site is a testament to East meets West,” says Acuña.

Working on Dragon-i reinforced something he had long believed: that the Philippines continues to nurture an extraordinary depth of artisanal craftsmanship at a time when much of Asia’s manufacturing has shifted towards industrial production. “This project reminded me that we shouldn’t underestimate what Filipino creativity and craftsmanship can offer,” he says. “Many places have modernised and moved away from handicraft, but we still have workshops capable of producing exceptional artisanal work. That’s something we want to continue bringing into our projects.”

Dragon-i ultimately became a collaboration between three cities and multiple teams, each contributing its own strengths—from London’s creative vision and Hong Kong’s construction expertise to Manila’s skilled artisans, Europe’s master craftspeople and China’s fabricators. For Acuña, that’s what makes the project especially meaningful: it stands as a symbol of Hong Kong's cosmopolitan identity.

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