Meanwhile, the tall, four-metre clerestory windows, a key feature of St Thomas’ architectural character which have been restored to their original grandeur, provide ample daylight as well as establish, along with imposing chandeliers of minimal elegance hanging from the original ceiling, an immersive ambience of humbling serenity. Also immaculately restored, the original dark timber church altar alludes to the building’s heritage while becoming an austere focal point of restrained ornamentation. Fittingly, the same dark oak wood has been used for the panelling that lines the perimeter of the restaurant below the windows, enveloping the restaurant in age-old charm.

The solemnity of the church’s restored building fabric is playfully juxtaposed with an injection of colours and patterns that harks back to the Hong Kong tea restaurants of the 1960s. Most notable of these interventions are the monolithic central structure clad in green tiles, the boldly coloured, geometric rubber flooring, and the deep blue leather banquette, complemented by a mixture of black rattan and timber chairs, colourful laminate tabletops and poufs in mohair velvet.

Accommodating the open dim sum kitchen and cocktail bar, the free standing island features a pink terrazzo counter and brass shelving that subtly complement the green tiling, as well as bespoke light fittings made from perforated overlapping satin brass sheets that emit a mellow glow. While the central island allows the perimeter oak panelling to remain unobstructed, the geometric rubber flooring protects the church’s original parquet, small parts of which have been left exposed in protected areas.

Overall, Michaelis Boyd’s design achieves a fine balance between the building’s solemn heritage and Duddell’s mission of fostering a culture of creativity, architecturally reflected in a sophisticated salon of modern elegance where art lovers and food lovers alike can gather to meet, eat, drink and socialize.