The rebirth of Haw Par Mansion as Villa Haw Par

Built in 1935 by Aw Boon Haw, the Burmese-Chinese entrepreneur behind the herbal ointment Tiger Balm, Haw Par Mansion occupies a singular place in Hong Kong’s cultural memory. The Grade I-listed residence, high on Tai Hang Road, is the last surviving remnant of the once-sprawling Tiger Balm Gardens, a public garden complex known for its fantastical sculptures and vivid depictions of Chinese mythology.

Among its most famous attractions were scenes inspired by the “Ten Courts of Hell”, a traditional Chinese concept of the afterlife in which souls are judged and punished for their earthly deeds. While the gardens were largely demolished decades ago, memories of those displays remain etched in the public imagination. The family home at the centre of the estate, however, has spent much of its history hidden from public view, until now.

The house behind the myth

On a rainy summer’s morning, Sara Mao emerges from the mansion, her red dress a splash of colour against gathering grey clouds. As executive director, Mao is overseeing the property’s transformation into Villa Haw Par . Conceived as Hong Kong’s first “cultural villa”, the non-profit initiative will serve as a platform for heritage, the arts and cultural exchange.

“What remains is not what people remember,” she says. “Rather than the ‘Courts of Hell’, we want people to see Villa Haw Par as a space for culture and art.”

Mao, an art expert and former auctioneer, leads us through the Garden of Wonders, a neat rectangular lawn where an arched bridge, miniature tower and two fountains are artfully arranged. One draws on European Neoclassical design; the other is inspired by shanshui, the Chinese artistic tradition of mountain-and-water landscapes. Despite its setting above a busy road, the garden feels unexpectedly calm. “When people come in, they brush off the stresses of the city,” she says.

A short flight of steps leads to the mansion’s spectacular front door, shaped like a traditional Chinese moon gate and inset with colourful stained glass. At the heart of the panels are two tigers – guardians of the residence and a nod to Aw Boon Haw himself, whose name translates as “Gentle Tiger”.

Inside, a private world comes to light. The ground floor offers the clearest sense of how the Aw family lived: rooms for dining and entertaining remain largely intact, adorned with custom-built timber furniture and Art Deco flourishes. Decorative murals and reliefs draw from Chinese, Burmese and Western traditions, reflecting the family’s wide-ranging influences.

“Look up,” Mao says, gesturing towards the dining room’s coffered ceiling, where gold-leaf cross motifs are scattered overhead. In the neighbouring hall, meanwhile, we spot Chinese bat decorations symbolising good fortune. “You soon start to notice how the East-West fusion runs through the house.”

Preservation and reinvention

Upstairs, the recent restoration work becomes more evident. When fragments of the mansion’s floral dado decorations were uncovered beneath later layers of paint,

conservators used photographs from the Aw family collection to recreate the colour scheme while preserving initial sections.

Adapting the house for public use has also required special care. Beyond the renovation and programming, Mao has had to contend with the practical challenges of an ageing structure: original lighting systems needed extensive rewiring and historic features required bringing in line with modern safety standards. From air conditioning and flooding to pest control, she is “really managing this old house”.

The project is also guided by the Foundation for Art and Culture , chaired by Arthur de Villepin, an art collector, co-founder of the eponymous gallery and Villepin Group CEO. He works closely with Mao on the site’s long-term vision.

“I see myself as a custodian of Haw Par’s story,” de Villepin says. It’s an approach best expressed in the former master bathroom, whose pastel pink-and-green tiles, period fixtures and symmetrical layout have been faithfully retained. “The mansion was never simply a historic building,” he continues. “It was a family home. Preserving everyday traces matters just as much as preserving the architecture.”

The opening of Villa Haw Par

When Villa Haw Par opens in phases from late 2026, historic rooms will begin to serve new purposes. The ground floor will introduce visitors to the story of the Aw family and Tiger Balm Gardens through exhibitions and interpretive displays. Other rooms are to host performances, talks and rotating design presentations.

The upper floors will follow, supporting Hong Kong creativity through artist studios and a library. The former master bedroom and bathroom will become an immersive cinema suite, while artworks and gifts once received by the Aw family will return to public view.

The journey ends on the rooftop terrace. Green ceramic tiles and dragon motifs frame views over Tai Hang and a sliver of Victoria Harbour. A café encourages visitors to linger a little while longer.

In a city that moves quickly, Villa Haw Par proposes a more reflective pace. “People often associate the mansion with its mystery,” says Mao. “But once you step inside, there’s so much harmony and creativity.”

In opening its doors to all, Villa Haw Par invites visitors to see a familiar landmark anew – grounded in lived experience and ready for a new generation of stories.