pages 220–221). And for those who love to see reinterpretations of cultural concerns, but in a contemporary context, look no further than the funky W hotel, the latest outpost from this über-chic brand (pages 184, 202–205).
In our collection of houses, interiors are extremely varied. Because most are lived in by their owners, each sports an individual style that differs greatly one from the next. We have family homes with practical arrangements for teens, funky bedrooms for kids, family AV rooms for home entertainment. There are homes with private yoga rooms, attached offices, bars and studios. Some sport priceless art and artefacts, others are more down to earth.
Where they are unified, however, is in the care given to selection of furniture and furnishings, and in the quality. We’re seeing a lot less Asian style; Euro flair is on the rise. Along with Christian Laigre lookalikes—think sleek sofas with ottomans in cream and dark wood—there are iconic pieces from Italy and the Americas. These may be accented by some Asian decorative pieces, but that is what they are: accents.
One of the most notable changes is in the field of kitchen design. In the past, kitchens were tucked away in the back of the villa and equipment was rudimentary at best. Even high-end rental villas often didn’t have an oven, relying on a gas cylinder and hob for cooking. All that has changed with easy access to imported, high-end brands such as Bosch, Miele and Boretti, and the plethora of talented cabinet makers now resident on the island.
Detlev Hauth is one such artisan. After stints at Boffi, Poliform, Artemide and other big contemporary manufacturing companies, he moved to Bali nine years ago and set up a studio called Casa Moderno to manufacture products aimed at the German market. “Germany needs quality,” he notes, “and all my people here in Bali have the necessary skills.” Combining German technology with Italian sophistication, as well as Bali’s natural materials and craft skills, his kitchens are both sleek and functional (see pages 176–177).
Methods and technical know-how are European, materials and craftsmanship totally Balinese. For cabinets, he uses what he considers the best rail system in the world—a German one—to ensure that drawers and cupboards slide very smoothly and don’t slam shut, while other pieces are locally made but equally sleekly finished. “We also produce furniture for villas, shops and offices—all contemporary,” he says, adding that problems start once the style is set in the modernist idiom. “Clean lines need higher quality. If you produce a traditional Indonesian table or you build a traditional Balinese house you can hide all the mistakes; this is not so in contemporary—with contemporary, all is exposed.”
Detlav is but one of many such craftsmen based in Bali today. As competition grows, the demand for sophisticated products that really work, expands. Nobuyuki Narabayashi, or Nara-san, of Desain9 agrees. Having worked for many years at Japanese design supremo, Super Potato, he is now at the helm of an extremely individual design firm in Bali. As an interior designer of both commercial spaces (check out his refined craftsmanship at The Junction in Seminyak—page 219) and residential, he is well placed to comment on the scene in Bali.
Desain9 is, however, a little different to many of the design ateliers on the island, in that its specific aim is to use recycled materials as much as possible and transform them into new, timeless products. “As you know, Bali has an extremely particular culture and regional tradition,” explains Nara-san, “but that originality is disappearing because of today’s design homogeneity. My challenge is to re-compose true Balinese items, re-make the old culture, and transform it into new products.”
It’s certainly encouraging to see that companies like Desain9 have such an ethos and they stick with their ethics. They put their money where their mouth is, as it were. Their products and interior finishes look very slick and very contemporary—but at their heart lies a reinterpretation of Bali.
Indonesian architect Budi Pradono’s roof form at Villa Issi was purposely angled so as to obtain shifting patterns of light on the rigorous volcanic rock wall in the stairwell.
Another company that takes its sustainability credentials seriously is Ibuku, under the creative direction of Elora Hardy. Currently gaining publicity for its entirely built-in-bamboo Green Village residential project near Ubud, it uses several different species of bamboo to build in ways that are “in integrity with nature”. In the hands of Ibuku, bamboo is beginning to cast off its somewhat old-fashioned reputation, as designers manipulate bamboo’s versatility in furniture, flooring and wall materials.
“Quite often we cut splits of bamboo, then laminate them together under pressure,” explains Elora. “And if we want a graphic element, we slice duri bamboo lengthwise to reveal the nodes and internodes.” Then, instead of using the material to make an entire table or door, Ibuku may incorporate bamboo detailing within individual pieces. The end result is something sophisticated, something modern, yet something that retains a connection with Bali’s natural beauty. See the doors and kitchen counter on pages 84–85 for more of an idea of Elora’s work.
In contrast to Desain9 and Ibuku, some designers have begun experimenting with more industrial materials, moving away from Bali’s natural resources. As the island matures and expands, so does the availability of higher-tech methods and materials. Ateliers specializing in synthetic rattans, all-weather wicker, acrylic and polyurethane are proliferating. Heat and humidity, not to mention sea breezes and pollution, all take their toll, so many home owners are making more practical choices in their choice of décor items.
The wow factor in this 33-m swimming pool is a glass bottom in the shallow end. It allows for sneaky peeking from the games room below. Designed by KplusK Associates, the pool is surrounded by a number of discrete modern pavilions set aside, above and below.
Some of the quirky furniture pieces designed and manufactured by Valentina Audrito and Abhishake Kumbha at Word of Mouth combine such modern materials with witty, tongue-in-cheek expressions that are sold both overseas and on the island (see pages 212–215). Their inspiration comes from their lives, they say, but even though they’re Bali based, there’s not much in the way of tropicality in their work. Benches, chairs and loungers may be made in Bali, but they stand outside the vernacular in terms of style.
In addition to such locally made pieces with a European slant, home owners also have the choice of buying items made overseas. Each year, Mario Gierotto sources at the Salone Internazionale del Mobile in Milan to select items for his trendy home wares and furniture shop, simplekoncepstore: he believes that the increased population of expats has led to the demand for European pieces. In his own home (see pages 170–173) he mixes quality imports with some custom-crafted items and artworks that he has picked up locally. He is by no means alone in this.
Overall, as with the architecture, it is variety, quality and a certain individuality that we celebrate in this book. Most home owners have worked full-time on sourcing, designing, and incorporating their personalities into their homes—and because of the plethora of choices they now have on the island, they’ve been able to weave together highly covetable looks. We also invite you to look at some of the websites of designers, shops and manufacturers listed at the back of the book.
Conclusion
One thing that became very evident during that process of compiling this book is that Bali has a unique ability to keep re-inventing itself. Even though there is a more mercantile outlook nowadays, the island still retains its rich culture steeped in tradition and ritual, its welcoming people, and the beauty of its landscape. This is the Bali that attracted people in the first