William Lim doesn’t just design buildings—he creates opportunities for art and architecture to commingle and bring out each other's idiosyncrasies. “I don’t want to make art unreachable by cordoning it off or putting it high on a pedestal,” he says. “I want to invite people to live with it.”
Nowhere is this philosophy more evident than in his designs across China, among them Hong Kong’s 24-story H Queen's tower—a sleek, vertical canvas for world-class art galleries. But Lim’s passion for art doesn’t stop at architecture. Alongside his wife, interior designer Lavina Lim, he has spent over a decade shaping the Living Collection, a testament to their belief that art belongs in conversation with daily life. In 2020, he adapted this ethos to the city's M+ museum, designing its exclusive member lounge and donating 90 artworks that engage in an ever-evolving dialogue with the Hong Kong skyline beyond the glass.
As the art world prepares to jet off to Hong Kong for Art Basel next week, Lim sits down with CULTURED to discuss his collecting philosophy, his dedication to the city's art scene, and the unexpected note from a gallerist that left a lasting impact.
What do you think makes the Hong Kong art scene distinct?
Hong Kong's art scene is truly international and multi-layered. We have the biggest auction houses, the best international galleries, the best art fairs, and great non-profit art institutions—all working with local, regional, and Western artists to create the most diverse and high-quality exhibitions throughout the year. Added to this, we have M+ and the Hong Kong Museum of Art, which create museum exhibitions and bring top artists and events to Hong Kong. We are a place for East-West exchange—from traditional Chinese ink art to digital art. We also offer great tertiary education in fine art, museum studies, and curatorial training. This makes Hong Kong the most unique art destination in Asia and the world.
Where does the story of your personal collection begin?
I have loved collecting ever since I was a kid. I remember traveling with my parents as a teenager, and I would go and buy affordable artwork, like a painting from Hyde Park’s weekend market or woodblock prints from Tokyo. I believed this would be the best way for me to remember the place and their culture. While I still have this belief, I also learned to focus. Since 2005, [my wife Lavina and I] have focused on Hong Kong contemporary art, although once in a while, we'll still collect non-Hong Kong artists if we find something we can’t live without.
How does your work in architecture impact the way you think about incorporating art into your space?
I believe art and architecture complement each other, but they need to be considered together. When I design spaces, l would first consider where an artwork or wall installation would go rather than leaving it to chance or waiting for the owner to take liberty in the future. I believe art is to be lived with, so I like to use art to complete the story and my space. I like art to be part of an environment, not placed in a showcase.
What is the first piece you ever bought?
The first piece I ever bought is what I consider to be souvenir art. I bought an oil painting from the Hyde Park weekend market on my first trip to London when I was around 15 years old.
How has the local art scene influenced your collection?
Around 2005, I was introduced to the Hong Kong art scene through Para Site, a non-profit art space. At that time, there wasn’t a market for Hong Kong artists. Most artists had a day job, and art was a hobby. The few serious artists found it hard to survive. By getting to know them, I realized buying their art is a way to encourage and support them. At the time the works were very affordable. The time was also pre-M+ or institutional collection, so I found it almost a mission to collect Hong Kong-created art, knowing that they represented a time and culture that may become important. In 2014, I published a book, The No Colors, with about 200 works by 50 Hong Kong artists. In 2019, M+ accepted a proposal to donate 90 works from our personal collection to their permanent collection.
Which artist are you currently most excited about and why?
In the last few years I have been very interested in ink art on paper. To me, that is the original Hong Kong art form. The technique is very controlled, focused, and almost philosophical––much like the artist's way of life. I am very excited about the works of Hong Kong's old masters, the pioneers who have inspired the current generation of artists. One in particular is Chu Hing Wah, who just celebrated his 90th birthday and still continues to paint. His work over the years has recorded Hong Kong culture and the grassroots life. He is not afraid to try different media, even at his age. I started to collect his work about 10 years ago. I did not include his work in my book because, at the time, with my limited knowledge, I did not consider his paintings to be contemporary art, but more and more, I see his influence on many young artists, and his practice is as contemporary as ever.
What factors do you consider when expanding your collection?
At the beginning, I wanted breadth in my collection, especially when I was working on my book. Now, I am more interested in historical works that have informed the development of contemporary art in Hong Kong. I also like to look for breakthrough moments in an artist’s career––like when I spotted Stephen Wong Chun Hei’s massive painting at an art fair before he became the most sought-after artist in Hong Kong. Nowadays, I also paint, so I can see and feel when an artist has worked very hard on a breakthrough.
What are the three must-see shows this month?
The Hong Kong Jockey Club Series: Picasso for Asia—A Conversation at M+, Collect Hong Kong 2025 at the Hong Kong Arts Center, and Robert Indiana: The Shape of the World at Pace.
What is the strangest negotiation you've ever had with an artist or dealer?
I was just wandering around Shoreditch in 2008 and bumped into a gallery with its door half-closed. The gallerist and I became friends, and years later, I received the following message, "I don’t think you have any idea how important you have been to me. Sometimes, I thought you were a guardian angel. You always appeared and bought something just when I really needed it. The first time was just when the financial crisis hit. We had some big sales canceled, and we were really struggling. My daughter had just been born ten weeks early. You came out of the blue and bought from us. I’m not in the least spiritual, but it seems as if sometimes the universe knows when to connect people." By collecting, we may have done greater good than we know. So keep collecting.
