“It was ahead of its time as it was built with integrated central air-conditioning and a trash chute running through all four storeys,” adds Wong, who previously trained in Beijing, China, before returning to Malaysia in 2022 to set up Jujurwork.

Ms Elliot occupies the ground and mezzanine floors of the Hock Bee Brothers Building, and throughout the project’s six-month duration, Jujurwork was cautious in straddling the line between drawing inspiration from the building’s heritage and crafting a space for the new restaurant. 

“We tried to integrate as many of the objects found on-site as we could while still keeping to a theme,” elaborates Wong. “While new materials and textures were introduced to the space, they were in constant conversation with the predecessors.”

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In preserving the historical integrity of the building, the original signage for the building was kept as a tribute on the exterior, while the windows with their original art deco geometric frames were refurbished. 

A pair of maroon-coloured double doors were set within a prismatic door frame, designed to mimic the original windows above, welcoming guests to the new cafe inside. 

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Seen upon entry into the building, the coffee bar reception recalls a Russian nesting doll that disassembles into a miniature version of the building’s façade. 

The steel frame with aluminium French cleats, backlit LED modules mounted on gypsum boards, and custom pendant lights pay homage to the rhythmic design cues of the prismatic windows and the antique gas street lights reminiscent of bygone eras.

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A multi-layered onyx installation was also fitted in place, using tiles found at a nearby stone yard.

“The stone yard was on the verge of closing down, and we chanced upon a cache of onyx tiles that were hidden away for years,” Wong recalls. “Recognising their potential, they’ve become an integral part of our design, with a strong commitment to using them responsibly.”

She adds: “The onyx tiles are now a testament to our connection with the past and our dedication to sustainability, reminding us that beauty can emerge from the most unexpected places.”

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The original mosaic floor from the 1960s remains as is, while the Chinese wooden plaques with intricate golden calligraphy carvings salvaged on-site were cleaned and repositioned following the advice of a feng shui master. 

Wong and her team enhanced the spatial symmetry by introducing two thick entryway walls on either side of the room, liberating the space that once housed private offices and a vault.

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Through the entryway walls, the ceiling height decreases to create an intimate atmosphere, as one leads to the semi-private dining rooms situated behind a partition constructed of restored wood louvres.

“The armchairs here were original solid wood office chairs that we reupholstered,” Wong explains. “The mid-century modern velvet emerald sofa set attracted multiple buyers, but the clients were adamant about keeping them in the space.”

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The other entryway leads to a stairwell towards the mezzanine floor, where restored wood panels divide the space into three dining and lounge spaces for more private gatherings.

A small balcony on the mezzanine floor also overlooks the double-height dining hall below, adorned with long walnut dining tables underneath symmetrically hanging light tubes that resemble floating candles alongside the original skylights at the central axis of the building.

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“The name Ms Elliot came from a carbon copy of a 1974 handwritten letter we found in one of the old office cabinets. Like a true Chinese parent, Dato’ Lim had written a long letter to his children who were studying in England, asking them to behave and imploring them to learn more Chinese. The letter also mentioned a neighbour and the Lims’ business partner Elliot,” Wong elaborates in conclusion.

“Like Ms Elliot the person, Ms Elliot the restaurant would be a classy lady whose vibe is inviting and warm, with attention to cultural details and a focus on the many dichotomies–the old and the new, the west and the east, the past and the future.”

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