The Ming On Building

Marrickville’s most striking building is painted a breath-mint green. Two pointed fins rise up from the roof like the tips of sails. The fins slope down into a protruding, triangular block at the centre of the facade, forming an angular nose. Attached to the windows of the nose are advertisements for washing powder that have, over years, faded from red to grey.


In the last week new signs have gone up, signs for the impending auction of the two warehouses that make up the green building: “Invest, Occupy or Redevelop”. It’s the last option that has Marrickvillians nervous. The building is a landmark, a moment of novelty among the otherwise functional architecture that surrounds it.

For decades the building has been occupied by Ming On Trading, a retailer and wholesaler of sewing accessories: buttons, zippers, threads, labels. An arrangement of boxes inside the entrance displays some of the miscellaneous goods that Ming On trades in. Tubs of washing powder are stacked up, there are plastic baskets of socks and sticky tape, bird cages hang from the ceiling. Further inside, almost the whole lower floor of the showroom is dedicated to sewing thread. The metal shelving makes narrow aisles, lined with a rainbow of reels of thread. Unspool it all and it would reach to the moon.

The Ming On building is the kind of place that people stop to notice, photograph, and wonder about. What could be inside this bright, strange building? It’s vernacular value is high, but in other systems of worth – architectural, historical – it has left few traces. I find a newspaper article about a fire on the site in 1970, which destroyed the two existing factory buildings: the current building must have risen from these ashes. In the early 1980s, ads for Pacific Furniture exalt the new, unique dynamic collections of lounge furniture available at their showroom there. Then, later, come references Ming On Trading Co. Pty Ltd.

The style of the building – like a rectangle has swallowed a triangle – is less 1970s-functional, more a kind of industrial Googie, the post-war, space-age American architectural style that was given to Californian diners and petrol stations. There’s no functional reason for its preposterous outfit, the fins on its roof and bright green coat, but therein lies its charm, and people’s sense of delight and connection. It’s a reminder of the importance of eccentric spaces, in a city where, increasingly, the oddities are being ironed out.

Inside Ming On Trading, business continues as usual among the millions of buttons and racks of lace trims. Once the building is sold, Ming On will move south west, to Villawood, but apart from the real estate signs out the front, there’s little indication of the change. Heading up to the top floor, I start up the central stairs, pausing at the landing in the middle. I’m inside the triangle that forms the building’s nose, looking out towards Addison Road through the angled windows. Across the road, I notice a woman has stopped walking to reach into her bag. She looks over towards the Ming On building, with its fins and bright green paint, holds up her phone and takes a photo of it, a bittersweet expression on her face.

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Marrickville Mona Lisa

On an upstairs window of a long-closed shop on Marrickville Road is the fading painted sign for the Mona Lisa Photographic Studio. Its cracked silver lettering makes me think of a logo on a 1950s powder compact, silver letters on a pink plastic case. I imagine that the interior of the photography studio might continue in this powdery style: white carpet, chairs with spindly, gold-painted frames and fluffy pink upholstery, gladioli in a tall glass vase.

At street level, in a stripe above the entrance, are more signs, some in Greek, others in English: another for the Mona Lisa, and one for Finix Discount House, with an illustration of an ascending golden phoenix to accompany it. I peer inside. The two showcase windows to either side of the door are empty, but further back inside the store is a pile of leftover objects: chairs, debris, bedspreads compressed into squares and wrapped in plastic.

The yellow-striped wallpaper is peeling, and wires hang down from the roof, but the space doesn’t quite seem abandoned. A ladder and a broom are propped up against the wall as if at any moment someone might come in and resume the task of clearing out the store. I could see a row of signs on the windows for Blankets, Carpets, Gifts and Crystal. With each word I imagine the store in its heyday, the topography of soft or glistening objects that would have made up its interior. Things bought here would still be in people’s houses, or have recirculated through op shops, or remain at the back of cupboards, never-used wedding presents from decades before.

I am being watched: from the tiled stairwell at the side of the store hangs a framed print of the Mona Lisa. She looks in my direction serenely, with her seeing-but-not-seeing expression, from the wall-mounted glass cabinet lined with flocked wallpaper where she has been, for decades, encased.

A handpainted sign in English and Greek above the cabinet directs all photography enquiries to the shop downstairs. I stumble my eyes over ΦΩΤΟΓΡΑΦΕΙΟ, decoding it as “photography”. I don’t read or speak Greek so later, when I am back home, I type the words on the sign into an online translation site and they come out, after auto-correction of the text, as “information about the photography lost under the story”. I like it. For as I stand peering through the metal grille that seals the premises off from the street, I dream up stories about the Mona Lisa Photographic Studio. I think of the carefully dressed people who once climbed the stairs, walking up towards the portrait photographs that were soon to be taken of them, preserving that day, that moment.

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(Those with Marrickville connections might be interested in the Marrickville Map  I made, which includes the Mona Lisa among other landmarks.)