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Drunk N' Jump Hong Kong
Drunk N' Jump Hong Kong
Hong Kong
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Other Projects by R-BAS
Drunk N' Jump Hong Kong
Hong Kong
Firm
Type
STATUS
Built
YEAR
2025
SIZE
0 sqft - 1000 sqft
BUDGET
$100K - 500K
Amidst the clamour of SoHo’s thoroughfare in Central — a quarter celebrated for its vibrant nocturnal economy — the Hong Kong debut of Drunk N' Jump (TIAOHAI) settles on Wellington Street. This marks the third store designed by R-BAS for the brand of TIAOHAI, and their first commercial venture outside mainland P.R.C. Responding to the scarcity of shared public space in Lan Kwai Fong, the project transforms the drunkery’s façade into a micro-scale collective facility, woven between dense urban fabric and the drifting atmosphere of revelry, opening up possibilities for social encounter.
The concept draws inspiration from the Government-subsidised leisure gardens adjoining housing estates in Hong Kong — everyday neighbourhood fragments defined by simple benches and paving, which collectively embody a civic awareness. R-BAS proposes the strategy of 'Wellington Street Garden', deliberately stepping the constrained roadside shopfront inwardly back, unfolding a multi-layered communal scene. Through the arrangement of terraced seating and standing-drinking-ledge, a non‑hierarchical topography of interaction is created, encouraging spontaneous and nuanced behaviour —
gazing, standing with a pint, leaning, and sitting side-by-side.
In response to the observed sociological atomisation within the city and DnJ's main customer group — the 'drifting Chinese diaspora' — this proposal resists a holistic architectural approach. R-BAS employs a series of seemingly isolated, detached components to metaphorise the fragmentation and autonomy of individuals of Hong Kong. A floating metal tabletop appears poised in mid-air; at the threshold between interior and exterior, the raised floor is disengaged from the existing concrete pavement, forming a subtle fissure; a small section of ceiling emerge unexpectedly; the bar counter is disassembled into distinct elements — timber plank and T-shaped galvanised steel wall — ensuring visual permeability whilst demarcating zones of service and consumption. Each component stays alone, yet they interlock, overlap, and are riveted together, akin to the transient adjacencies of strangers, building a connective tissue of concentric belonging.
The selection of materials foregrounds a sense of localness. Green-and-white mosaic tiles recall the aesthetic of public amenities and Hong Kong housing estates in 1980s; galvanised steel panels and raw concrete structures embrace the vanishing old shops in Sheung Wan and Central; aluminium sheets finished in Cantonese green punctuate the narrative of the pub. Unadorned materials gradually accrue warmth under light and the patina of use.
The Hong Kong outpost of Drunk N' Jump is not merely a commercial renovation, but rather a cooperative spatial experiment within the hyper-dense metropolis. R-BAS seeks to infuse the logic of council facilities into a private development, probing whether a micro-site can perform as a medium for social communion. 'Wellington Street Park' thus plays as an operational proposition, providing tangible infrastructure for future client-led events — through design, it aims to catalyse ephemeral yet genuine affective convergence.
The concept draws inspiration from the Government-subsidised leisure gardens adjoining housing estates in Hong Kong — everyday neighbourhood fragments defined by simple benches and paving, which collectively embody a civic awareness. R-BAS proposes the strategy of 'Wellington Street Garden', deliberately stepping the constrained roadside shopfront inwardly back, unfolding a multi-layered communal scene. Through the arrangement of terraced seating and standing-drinking-ledge, a non‑hierarchical topography of interaction is created, encouraging spontaneous and nuanced behaviour —
gazing, standing with a pint, leaning, and sitting side-by-side.
In response to the observed sociological atomisation within the city and DnJ's main customer group — the 'drifting Chinese diaspora' — this proposal resists a holistic architectural approach. R-BAS employs a series of seemingly isolated, detached components to metaphorise the fragmentation and autonomy of individuals of Hong Kong. A floating metal tabletop appears poised in mid-air; at the threshold between interior and exterior, the raised floor is disengaged from the existing concrete pavement, forming a subtle fissure; a small section of ceiling emerge unexpectedly; the bar counter is disassembled into distinct elements — timber plank and T-shaped galvanised steel wall — ensuring visual permeability whilst demarcating zones of service and consumption. Each component stays alone, yet they interlock, overlap, and are riveted together, akin to the transient adjacencies of strangers, building a connective tissue of concentric belonging.
The selection of materials foregrounds a sense of localness. Green-and-white mosaic tiles recall the aesthetic of public amenities and Hong Kong housing estates in 1980s; galvanised steel panels and raw concrete structures embrace the vanishing old shops in Sheung Wan and Central; aluminium sheets finished in Cantonese green punctuate the narrative of the pub. Unadorned materials gradually accrue warmth under light and the patina of use.
The Hong Kong outpost of Drunk N' Jump is not merely a commercial renovation, but rather a cooperative spatial experiment within the hyper-dense metropolis. R-BAS seeks to infuse the logic of council facilities into a private development, probing whether a micro-site can perform as a medium for social communion. 'Wellington Street Park' thus plays as an operational proposition, providing tangible infrastructure for future client-led events — through design, it aims to catalyse ephemeral yet genuine affective convergence.
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