All posts by : Wira Sanubari

In Mumbai, the heritage of the colonial era becomes the face of a multicultural civilization. Distinctive styles like Victorian, Art Deco, and Gothic blend with Indo-Saracenic from the legacy of the Shah’s dynasty. What Mumbai is all about could be contemplated when we are struck in awe in front of the Gateway of India and imagining Mumbai as the a crown of the British Empire. A city full of landmarks–modern day Mumbai has grown to become a glamorous cosmopolitan hub as shown in the silver screen of Bollywood. If one is intending to have the opportunity to start a lifestyle business in Mumbai, they must be ready for a high standards. This is the standard that pursued by prominent hotel operator such as Oberoi, St. Regis, JW. Marriott, and currently our client: Fairmont.

Our long – time partner ALVA Architects proposed our name to the Fairmont stakeholders to take part in the landscape design for the ongoing Fairmont project in Mumbai. We are already familiar with a century—long of Fairmont reputation in the hospitality industry therefore we have no hesitation to offer our expertise. We were finally involved just in time when the project was starting to close structural work and urgently needed advice from a Landscape designer. Alco, our landscape principal stepped in to make an impact from our office in Bali.

First, we assess the surrounding situation and realize that we are in the middle of a cosmopolitan city with highly polluted air. It would be a relief if we could transform this project into a green hub that offers refreshment to the community. We aim to contribute to the sustainable city initiative. This idea aligns with the client’s brief, which calls for incorporating an Art Deco style both indoors and outdoors. ALVA Architects have also integrated this style into the building’s façade. Now, the intriguing question is: what will the outcome be when sustainability is combined with Art Deco style?

This interpretation requires some research. The first challenge we face is growing a forest within a short timeframe. Not only is this our main concept, but it also meets Mumbai’s green regulation requirements by contributing to the city’s green space. We are achieving this through the Miyawaki method, which involves planting large trees in a narrow area, closely spaced together. This competition for sunlight encourages faster growth. This method has proven successful in enhancing urban greenery, and it is now being implemented at the Fairmont project as the landscape work progresses.

Water Feature in Corner Spot & Brass Sculpture

Another sustainable approach that can be done, is water cooling landscape. The application of waterbodies in strategic spot ensure that humidity is sustained in the outdoor. This spot – combined with Art Deco approach, is adorned by customized brass sculptures to depict the symbol of Mumbai as a heritage city.

Pool Area

If one must choose the most captivating spot, it will be the pool area on the third floor where it becomes the strategic spot for a panoramic cityscape of Mumbai – as it’s indeed intended for a lifestyle. The obvious feature for the landscape is the canary palm standing framing background of the architecture. When we are walking to the pool deck, round sunbed is there to welcome us and we can see in our feet an art deco in white & black pattern. Facing toward the cityscape, we can see its reflection from the infinity swimming pool. When spending the time in this pool area, either guest could take a swim or enjoy drinks in its pool bar.

Pool Lounge Area

Finally, everything Art Deco blends with the lush tropical landscape. We are very proud to have this type of tropical pride in our design. Many of our projects showcase this tropical spirit. There is an ambiance that is radiated only by the Asian landscape—mystery, myth, and coolness. It gives a refreshing distraction when applied in a crowded city like Mumbai. Our tropical companions, such as the Heliconia family, palms, Alocasia, and many more, create a green feeling that helps ease tension.

When tropical and Art Deco cultures are combined, we feel nature in dramatic scenery, inviting both naturalists and artists alike.

Façade of Fairmont Hotel

We want to bring our readers closer to the majestic Mount Batukaru. It is the second tallest peak after Mount Agung, and its forest is as ancient as Balinese culture. Its purity is safeguarded by a temple complex at the mountain’s base. The strict rules applied to all sacred mountains in Bali are enforced here: women who are menstruating and grieving men or women are forbidden from entering the area.

The mount, is inside a region called Wongaya Gede, where also we design a resort complex called Batukaru Resort. The region holds a very significance value in terms of natural amenities, hence, this potential is responded by mindful design. The site has both spiritual and natural attraction to begin with.

The region itself, Wongaya Gede, is remote from the city. It takes about two hours to reach from the airport, but the sense of retreat and refreshment is guaranteed. We are conducting research to study the significance of Wongaya Gede and highlight its unique features. A journal paper from the Faculty of Tourism at Udayana University, titled The Potential of Natural Tourism in Wongaya Gede by Ni Putu Sri Utami Putri, et al, released in 2024 covers this subject in detail :

This region is situated 650 meters above sea level, classifying it as a highland area. The majority of the land is used for rice cultivation, which explains the numerous Subak (ricefield irrigation) channels maintained by the community. Water amenities are nearby, including Pikat Waterfall, known for its refreshing and pure water. The area is cool and breezy; however, the waterfall must be reached on foot due to limited access. Closer look into the site project, the  site is blessed with a ricefield panorama, water spring, and local temple to honor its purity.

In Bali, water spring is spefically called beji and usually become the source of irrigation and water offerings. In our site, this spring is preserved uncompromised by building structure. It is one way to do a sustainable approach – if we can get guests introduced to water tradition of Bali, awareness will arise to sustain water resources, hence, take us closer to our sustainability goal.

Site Situation

Resort Batukaru From Bird Eye View

A challenge of is how a sustainability could accommodate a resort complex like Batukaru Resort that obviously needs immerse resources to run its facilities that spanned in the 54.900sqm area. The design then put extra focus on the water resource management to make sure the development does’nt interrupt the ‘vista’ which is the panoramic ricefield. This sustainable approach is also aligned with the original site’s value with the presence of Beji Temple inside the property.  All the design is developed under one corridor of storyline: ‘The Serendipity of Bayang Loka’.

Drop Off Area

‘Bayang Loka’ embodies the spirit of Wayang, a form of shadow puppet art. In Tabanan, the traditional local shadow puppet performance is known as ‘Cenk Blonk,’ centered around the characters Cenk and Blonk. This inspired us to develop artworks and ambient designs that capture the playful interplay of shadow and light against the backdrop of panoramic rice fields.

The building design reflects the charm of colonial architecture on the exterior, evoking a sense of historical significance. Inside, guests are welcomed by traditional interiors. This approach to colonial architecture is particularly fitting for Tabanan, a region that preserves its Dutch colonial-era buildings as historical landmarks.

Lobby

Under the goal of sustainability, the design focused on preserving as much existing trees as possible and preserve the ricefield. Despite the vast area, the development does’nt insist on the unit quantity resulting a cramped building mass. The masterplan is designed with as many green area as possible.

We want to keep close with nature. Our goal is to create sustainable facilities that not only stand the test of time but also enhance the natural environment they inhabit. By prioritizing thoughtful design and conservation, we aim to ensure that our development remains a timeless, harmonious part of its surroundings. This commitment to durability and environmental respect ensures that our facilities will continue to offer enduring value and beauty for generations to come.

Villa Passage & Restaurant

A lot comes to mind when we think about sustainability, especially in the context of architecture, landscape design, interiors, and artwork. While we often envision big, impactful solutions in our professional work, we should also consider how to incorporate sustainability into our everyday lives.

In our free time, we started a small project focused on recycling wasted paper. This initiative allows us to experiment with sustainable practices firsthand and make paper usable again. By taking this simple step, we hope to inspire others to think about sustainability in their daily routines.

The experiment requires tools that are very easy to acquire and can mostly be found at the nearest depot: a blender, wire mesh, a bucket, and a willingness to get our hands wet. Apparently, the process is super simple.

First, we tore all of our wasted paper into small pieces.

Second, using the torn paper, we mixed it in a bucket of water until it became paper porridge.

Third, we spread the paper porridge evenly on the wire mesh to dry.

It takes less than an hour to dry them with our AC blower (we used an outdoor AC unit), and the result is beautifully textured new paper. We can feel the raw texture with our skin. We see an opportunity to use this new paper for things like gift cards, invitation cards, or name cards. Following the successful experiment, we’ve already decided to change all of our business cards to use recycled paper.

The cards contain a plant seed, so when buried, they will grow into a plant. No more wasted, unsustainable traces left on Mother Earth. We are very proud of our experiment and urge everybody else to switch to reusable materials for the sustainability of our planet!

As we take immense pride in our culture, our enthusiasm extends to exploring the diverse archipelago of Indonesia. We understand that what makes us unique is our deep-rooted connection with Balinese philosophy. It is an enriching experience, respecting other cultures across the archipelago and sharing a unique interpretation of their beauty.

The process is the same: we dig into local values to identify which aspects can be highlighted in the design language. What always thrills us is the opportunity to learn something new—how, in some ways, we share a common tradition, yet in other ways, it carries different meanings and perspectives.

Like in West Sumbawa, we are learning about a local culture called Saleng Tulung, Saleng Tulang, and Saleng Totang. These embody the philosophical meanings of mindfulness, caring, and awareness deeply rooted in the local culture. ‘Saleng Tulung’ means to help each other. ‘Saleng Tulang’ means to stay aware of each other’s needs, and ‘Saleng Totang’ means to nurture each other.

We implement these values into our landscape design at Rantung Beach, West Sumbawa, for a resort project aiming for a green-sustainable certificate. The traditions of the West Sumbawan people are interpreted as a mindful, empathetic, and aware approach toward the site. This entails paying extra attention to sustain the existing ecosystem.

Site Situation

The sustainable mission focuses not only on preserving but also on enhancing the existing environment and adding natural value. We have a dry site located near the coast, covering an area of approximately 59,000 m². We are not aiming to create a dull or uninteresting landscape; rather, we intend to make it greener, more tropical, and inviting.

The mission comes with certain parameters for classification as a green development. These parameters are assessed by a private green institution that guides us to achieve the criteria of ‘Appropriate Site Development.’ They include the ratio of built area to open area (which must be below 50%), shading trees covering 50% of the area, and compliance with Regulation of the Ministry of Home Affairs No. 1 of 2007 Article 13, Regulation of the Minister of Public Works No. 5/PRT/M/2008, and Green Open Space Article 2.3.1. 

Overall, these regulations recommend which vegetation should be planted to fulfill the green development criteria – we intend to follow and incorporate as much local vegetation on site as possible.

Another consideration, we realize that there are many unique big trees in the existing site. Accompanied by the client, we are going to explore the nearby jungle to select wild trees to be incorporated into the property. This also reduces energy waste by not importing trees from outside the island.

Ultimately, the design should transform the overall ambiance of the open space, adding luxury value and a feeling of seclusion. If we only focus on the criteria of green development without incorporating a sense of aesthetics, we believe it goes against the goal of sustainability, which is to sustain appreciation for nature as long as possible. What we do must also align with our client’s strategic goal of properly maintaining their property.

By integrating all these aspects we believe harmony will be achieved—the marriage of our philosophy and the cultural values of West Sumbawa.

It is no coincidence that we remain closely connected to our roots in Balinese architecture. In his book, ‘Traditional Architecture of Bali’, I Nyoman Gelebet once summarized that the enduring relevance of traditional architecture, still significant after five centuries, speaks volumes about its sustainability across time and eras.

We have ‘taksu’, or the closest equivalent in English, which is ‘the soul’. It refers to the total ambiance and appearance of a building that gives ‘taksu’—resulting in our hearts being moved by the experience. It appears spiritual and rich with meaning, somehow recharging our energy.

When we were commissioned to design resort facilities on a 5800m² plot of land in Tabanan, our client reminded us that the strongest amenities a resort could provide are its traditions. We are on the same page to give this project its ‘soul’ or ‘taksu’ to live inside the hearts of guests – because location-wise, the resort is not in a tourism zone. The plot is located deep in a rural area; building regulations classify this area as ‘residential’. Therefore, major structures and facilities need to proceed carefully as long as they promote Balinese culture and concern for Nature.

We write “Nature” with a capital ‘N’ because the nature of the site is very serene. It appears as a nestled area unknown to the rest of the world. The jungle is ancient, and the river is pure. We can imagine this resort becoming a modern expression of ‘silent luxury’, giving its own pride to the guests who discover it.

Indeed, we intend the guest to discover the new expression of tradition. In this process, we arrange an storyline that guide us into our goal. We highlight the concept with a tagline ‘The Serendipity of Wanadesa’s Solitude’. The main highlight is the word Wanadesa that means a ‘forrest village’ – a concept where wellness and serendipity seamlessly come together. This concept is enhanced by the site’s unique features and potential: a natural, endless spring within the site; the Yeh River flowing nearby; and Pura Beji located next to the site. The ambiance resembles a forest, where no trees were cut during the conceptualization and design phase.

The idea is to incorporate an authentic Tabanan-style architecture from the Majapahit era, characterized by its masculinity and bulkiness, fused with local materials such as sandstones, paras stones, and woods. Incorporating elements like the Meru and Pura-like shapes, we aim to achieve a robust architectural presence.

In the solitude of the forrest in the infuse of Tabanan-style, the bulkiness resembles a monastic atmosphere that gives safety and protection. The use of local stone material adds harmony to the region – also it blends perfectly with greeneries in the background. The entrance will give present of Tabanan’s soul as first impression.

Further exploring Balinese architecture, the design study implements the ‘meru’ as the main theme of the roof. In traditional architecture, ‘undagi’, or traditional architects, signify ‘roof’ as ‘the head’ and ‘a wall’ as ‘the body’. This is why the structure of a traditional house’s roof is often more complicated and holds significant meaning. For ‘meru’, it signifies the spiritual height of a building. The more ‘meru’ tiers there are, the more sacred the building is considered.

We still have the freedom to how the original form inspired a design. But the idea is to give a rememberence of the previous craftmanship and if possible opening a new thought the possibility how the shape of ‘meru’ could be explored without compromising the original tradition – spiritual value.

After all, this ‘hidden luxury’ is equipped with five-star facilities. Currently, there are no similar facilities nearby. It includes private villas spread along the river setback in five different types, a yoga deck, and a poolside restaurant. Most sacred of all is a Beji (water spring) temple inside the resort, finely integrated within the amenities.

The resort design is the result of our deep study and understanding of traditional architecture. Originally, traditional architecture functioned as part of religious complexes or rural residences. Adapting this for a resort requires careful consideration of how well it fits operational requirements and complies with regulations. Following all of this is a commitment to nature, people, and tradition.

New friends, colleagues, and interns have added to the diversity of our team. It never fails to amaze us that our workplace could be such a beautiful container filled with numerous experiences from different backgrounds—representing all the archipelagos of Indonesia.

Everybody is united under the banner of Swarna Hutama Loka and gathered at The Silas Agrotourism facility in Bedugul. We see the faces anticipating new energy for whatever we are about to do.

The surprise was kept secret by the team until the right moment. With our new blue T-shirts shouting “GROW BIG,” we coloured the highland lawn in Bedugul with navy blue, and once the organizer opens the event with a prayer, it become obvious that we are apparently being prepared for a tense game.

We are a group of over 60 people, much like a small army of young talents. On this occasion, how to unleash the energy? It is channelled through the division of each team, challenged with a teamwork game. Now everybody is hyped for the competition, each wanting to be the best team out of the five major teams divided randomly. Some teams excel at card games, others win through physical challenges, and one team accomplished them all. In the spirit of fair play, everybody remains sporting.

Though maybe some wants a rematch.

But..there is one game where all the team must united and forget all the competition. In the last game, the team of Swarna Hutama Loka must unite to face our challenger – The Silas Team. The game is simple yet philosophic: Swarna Hutama Loka is given a candle light and must guard it to the checkpoint. The checkpoint is a pole raising our flag. While the challenger, will attack from all side with water – from behind, upfront, side, and even upper ground. At all cost, we must protect the candle. And we did it. We are successfully to surpassed the ordeal.

We understand, that game is the illustration of how we as a team – if we keep tight and close to each other – we can combine our talents for our common goals.

The games are now over. We change into banquet formal attire, and everyone agrees to use a ‘strikingly colourful’ theme for this occasion. The banquet is where the team presents their latest work in filmography—moving pictures beautifully directed to represent our journey. Not forgetting the bloopers of everybody’s comic moments – there is nothing too shame to share.

Mixed emotions fill the banquet—melancholy and laughter. The next agenda is the proudest one: the nominations of awards to acknowledge hard work, loyalty, and talent. Among the awards, the Gold and Platinum Awards are especially recognized for loyalty of up to 6 or more years being part of the team. Another prestigious award is the Rising Star Award, recognizing outstanding performance that goes beyond expectations in every division. From the banquet table, we can catch the proud faces of those receiving this recognition.

Everyone is proud and joyful. We’ve deepened our connections with one another, all united under the shared goal of UNITE and GROW BIG. The sense of camaraderie and collective purpose is strong, and we’re excited about moving forward together, stronger and more cohesive than ever.

From this event, we come back stronger to welcome new challenges. Until we see each other again next year! –

This event has been supported by our valuable friends, without whom its success would not have been possible. For that, we extend our utmost gratitude to:

In retrospect, it is always a designer’s dream to be in tune with the environment. We are on the road to gaining more awareness of sustainable design as our concerns grow over excessive exploitation. We are aware that this could potentially change the facade of Bali, known as the Island of Paradise. On the other hand, a solution needs to be provided to accommodate functional and facility requirements that are feasible. We believe that careless and hasty sustainable development is as dangerous as unsustainable practices, as ultimately it leads to wasted effort and land.

In Balangan, Jimbaran, we adopt this mindset for a retreat house. Our client owns land directly bordering the coastline, situated atop a solid cliff rock with an irregular plot shape. Access is very narrow, as it depends on existing stairs. This property will only be accessed by foot, which is not an issue since this house is intended as a retreat, away from traffic.

The plan was to build a house structure above the rock without altering the original existing situation. Both we and the owner realize it is not an easy task because the surface is solid rock (which also guarantees a stable foundation). With a strong bond, our client gives us the freedom to transform this majestic site into a modern, humble retreat house.

We propose a story first: The house will tell the story of ‘Uma Karang,’ which means ‘The House of Cliff.’ It revolves around the integration of natural materials into the elements and textures, with a focus on fine details using wood and limestone to achieve a soft, elegant contrast. The design is modern yet warm and inviting, aiming to create a sense of comfort and relaxation. It is meant to be a haven filled with love, laughter, happiness, and the peace of God.

The construction should not alter the face of the cliff. According to regulations, the land falls within the tourism zone and limited preserved zone, permitting the construction of a house structure with a maximum ground-built coefficient of 50% of the land size. Since the land is very close to the seashore, we checked the permit for setbacks and are required to maintain a 0.5m setback for public access/road. The structure naturally stands above the coral reef, ensuring it does not affect sand abrasion.

Inside, the picturesque view of Balangan Beach is the main focal point. The interior features three bedrooms, a living room, a private pool, and an outdoor balcony. The best time, of course, is during sunset when the warmth of the sun permeates through the windows, highlighting the craftsmanship of the wooden finishes and structure.

This retreat harmonizes modern comfort with the serene beauty of its natural surroundings. From the tranquil outdoor spaces to the thoughtfully designed interior, every detail reflects a commitment to blending luxury with the essence of Balinese coastal living. It stands as a testament to sustainable architecture that respects and enhances its environment, offering a sanctuary where one can truly unwind and reconnect with nature.

Over the last decade, a new destination has slowly emerged to the north of Ubud. This area is often associated with Ubud’s historical fame. Just 10 km to the north from Ubud town, this region has the authentic natural scenery much like the untouched Ubud of the past. This region is known as Payangan.

Often, people choose to reside in this area with its hilly environment, still blessed with the Tukad Petanu river. Resort development is underway in this area but aims to maintain its true connection to the surrounding environment—otherwise, there will be nothing left for future generations.

In this writing, we want to share how we embrace the locality for a retreat house in Bukian, Payangan crafted very specially for our client. The site is highly contoured and posed a challenge for utilizing building mass and distributing facilities. Vertical circulation must be carefully considered for safety and convenience.

“However, aside from the technical challenges, we began the creative process with research on the cultural and traditional values of Bukian. Through this, we discovered a unique traditional craft found only in Bukian: the art of making umbrellas, known as Payung Cukup and Payung Lunas.

The craft is already rare in today’s era, and information about it is equally scarce; not many academic papers discuss Payung Lunas. We managed to study a paper released by Segara Widya Journal written by I Made Suparta, I Nyoman Suardina, and I Wayan Murda entitled ‘The Craftsmanship of Payung Cukup and Payung Lunas in Bukian, Gianyar’. This paper is the primary source of information on how this art form is crafted.

It is gathered from the information that, in current usage, Payung Lunas is often built in much smaller proportions to meet the demand for resort or hotel decorations. However, its actual size is meant to fully cover the body when worn on the head.

Source image Google Search, a man is using Payung Cukup

This craft is originally crafted from bamboo skeleton and skin tied with bamboo fiber. It has several parts: neb, pengawak, sengkulung, sebeh, and kampid. A short definition of this parts:

Neb is is the bamboo blade positioned at the top and is the shortest in size. Pengawak is the body comprises bamboo blades arranged upwards, with the size gradually increasing towards both the top and bottom from the neb. Sengkulung, positioned underneath the inner part of the umbrella directly below the neb, has a half-oval shape with asymmetric dimensions. Sebeh refers to the side edges of the umbrella, which are made from woven or carved bamboo strips that serve as reinforcement. Kampid or ‘wing’ in Balinese refers to the side sections positioned to the left and right of the neb and pengawak, arranged vertically.

The parts is the same for Payung Lunas and Payung Cukup, only it differs in size. Payung Lunas is smaller. We are now truly inspired by this craft. To think that we can apply its form to architectural design is a strong possibility. Naturally, it serves a function similar to that of a roof, and from a design perspective, it could provide a unique shape while reintroducing the ‘payung lunas’, which is starting to disappear.

The top of Bukian Villa’s roof is the interpretation of Payung Lunas and the whole proportion too. We try to reinterpret the surface with light coloured shingles roof to match with Payung Lunas original material – light bamboo skin. See as a whole, this villa is like a Payung Lunas that has house body. This mass is become a major façade the very first we enter the site and if this property is pictured from across the river.

The design is now under tender process and we are thrilled to anticipate the construction. We believe, architecture can be perceived wider than only a leisure facilities. If we sensible enough to take a look at local value, there is always something unique to discover and inspiring.

We imagine an outdoor space nestled in the heart of Sanur village and capturing the essence of Bali’s ‘Morning Glory’ where we welcome the sunrise in Sanur’s horizon.

On the driveway along Sanur’s coastline, we wander along Danau Tamblingan road under a line of trees canopy covering us from the heat of the glorious sun. Very close to the pedestrian way, a modest signage is carved with “Andaz” indicates our arrival at the main gate of Andaz Bali.

Stepping into the property, the outdoor atmosphere subtly transforms with giant canopies from Trembesi trees (samenea saman) and our path adorned by russelia and hymenocallis swaying on the surface of ‘kerobokan’ stone. Guests seek the feeling of entering a wilderness and anticipate a warm Balinese welcome. As we approach the reception entrance, the grand Majapahit gate shows a sense of prestige – we are like royals arriving to our heritage home. Take the journey deeper until we see the coast horizon, there will be a story we want to tell. 

Tierra Design provided us the masterplan to come up with softscape story and alongside us Rimba Bali Garden will execute our design as landscape contractor. During the process we preserved many big trees that we deem valueable. The masterplan also already adjusting its flow to surround the existing trees instead of cutting them down. Sustainability is a shared goal at Andaz, aligning everyone toward a common vision.

When SHL Asia embarked on the project in 2018, we take our story from the spirit of the region’s values. We imagine an outdoor space nestled in the heart of Sanur village and capturing the essence of Bali’s ‘Morning Glory’ where we welcome the sunrise in the Sanur’s horizon. At the same time, everything needed to stay clean and modern that there are enough sunlight in the outdoor to give a light and refreshing mood.

The brainstorming anchored in the tagline of ‘The Sanur Village’ is a testament to an authentic ambiance of the traditional coastline community. They live close to outdoor activities and can feel the salt air. The resemblance is caught when we pass the main lobby; we will be facing the courtyard plaza as the center of open space. Balinese architects, or ‘undagi,’ always emphasize a central courtyard called ‘natah’ as the balancing harmony among building masses that often serve a multifunctional purpose for spiritual or communal occasions. To decorate the courtyard’s background, there is a ‘Bale Kulkul’ and existing Bodhi Tree adornized by hymenocallis as its soft pedestal. Arrival to this plaza has signify a transition to start our landscape journey.

Passing the courtyard plaza, buildings radiates warm ambience because of their wood finishings. We share the common vision from architect and owner that we need to soften the building geometry with lee kuan yew vine (Vernonia elliptica) combined with ‘mousetail plant’ vine (Phyllanthus myrtifolius). The vines falls in wildery manner like a natural curtain and its volume is covering the hard edge of the building structure.Everybody loves how it turns out make the building blend perfectly with the greenery and the combination gives the impression of less monotounus vine. It adds the artistic value in term of plants volume and proportion – but we have more in our mind talking about artistic.

Andaz clearly requires an artistic touch in various areas. It means exhibit the local skills of the Balinese and making it a center to narrate our story. We propose to our clients that our narrative should revolve around well-known Balinese folklores and spiritual mythology that ordinary Balinese are familiar with. This concept is executed with satisfaction through collaboration with local artists, carvers, and craftsmen.

The water fountain in the inner courtyard features four elephants with fishtails facing four directions inspired by ‘Gajah Mina’ as the conveyance of God Baruna – The God of Oceans. The fountain provides circulation for a large fish pond before we enter the reception lobby. 

Another pond if we wander further, there is ‘The Pancuran’ sculptures consists of three water fountain in the shape of Balinese shrine.

Related to Hindu mythology, there is the sculpture of ‘Lembu Nandini,’ depicting the reverence for Shiva as Balinese practice Shivaism Hindu in their religious belief. Also, ‘The Ganesha’ sculpture represents the wisdom of God Ganesha.

From local folklores, there is a sculpture of ‘Men Brayut’ strongly tied to Sanur’s legendary figure, Ni Pollok, a woman who dedicated her life to the art of dance and elevated Sanur in the eyes of Westerners

When relaxing in the swimming pool, water features also tell stories with sculptures depicting a frog family called ‘Katak Dongkang’ and ‘Boma’ sculptures—a Barong figure that neutralizes negative energy. Both represent a natural ambiance full of the sounds of frogs (‘Katak Dongkang’) and protection (‘Boma’).

The journey reaches its peak when Andaz is behind us, and we step onto the beach sand to face the sunrise horizon. The circulation between guests and mere passersby on the beach is not troubled, despite Andaz being meant to be a private space. There is no intention to design intimidating boundaries other than a dense sea grapes tree (cocoloba uvifera) to signify the separation of private and public areas. When designed correctly, the landscape has the role of connecting outdoor spaces without altering the nature too much. Andaz is a source of pride for us, and now that it’s already operating, it continues to attract tourists interested in experiencing the new style of modern tropical Bali and finding tranquility in the morning glory of Sanur.