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P T Villa Ayu, a joint venture
company formed specifically to
build Amandari, aimed to fill a
gap in the market and serve
"those multitudes of travellers interested
Hinduism. The sage planted a Boa tree
(the first in Bali), and moved on to
Campuhan and then to Taro, where he
settled permanently. The name of the local
village, Kedawatan, means 'place of the
Singaraj a
to witness and experience the extra- Gods' and Amandari means, literally,
ordinary cultural life of the people of peace and heavenly beings. Every six
Bali". The site was therefore chosen, not months for the last 1500 years, there has
for its proximity to the beach, but for the been a great procession leading along a
cultural diversity of the surroundings. narrow road right through what is now
Ubud is Indonesia's foremost artist the hotel site. The architect was not
colony, with art galleries, antique shops allowed to build over this path, and the
and museums. Nearby, the village of Mas roofs were cut through to provide a clear
INDIAN OCEAN is known for woodcarving, Sukawati has opening to the heavens.
an art market and Celuk has craftsmen The architecture of the hotel is based
working with gold and silver. on the local vernacular - and designed
Project Data: The history of the site is unique in Bali, by an Australian. Peter Muller, who
Client:Joint venture company, P.T. Villa and reflects the strong spiritual heritage has designed resort hotels in Egypt,
Ayu, Indonesia of the region. In fifth century Northern Malaysia and the Philippines, and the Bali
Architect: Peter Muller, Sydney, Australia India, there was a great sage who, during Oberoi in Seminyak, was also one of the
Contractors: Tunas Jayu P.T. Bali. meditation, was visited by an angel of original entrepreneurs. With Amandari,
Covered Area: 15,000 sq.m. light, and instructed to follow this light he wanted to go beyond the concept of
Completion: September 1989. until it landed. The ball oflight landed in
Amandari is sister hotel to Amanpuri, Bali at the spring below the site, and it Below: Interior of one of Amandari's private
Thailand (see page 40). became the first area in Bali to practice pavilions, looking towards the swimming pool.
Top: The thatched bungalows follow the
contours of the rice terraces.

Above: A view of Amandari's wall-lined

village 'streets', showing an elevated garden
and one of the pavilions.

Below: Roof plan of Amandari, showing

the arrangement of pavilion suites
overlooking the rice terraces (right) and the
Ayung River gorge (below).


- 1:&Co
26 MIMAR 36


individual bungalows, and design a hotel impression that the buildings rise from the The accommodation consists of 28
village, with wall-lined 'streets'. He also lower rice terraces. The main pool was private pavilion suites, each with a total
decided to use local materials and local designed not only as an attractive focal living area of 100-150 square metres. All
labour. After a preliminary study, he set point, but to follow the contours of one the suites have dramatic views over the
up his own on-site office, staffed by local of the rice terraces. rice terraces and the A yung River gorge,
architecture graduates. He lived and Arrival is at an open pavilion hall which with volcanoes to the west and the ocean
worked on the site almost continuously, leads into an internal courtyard. The bar to the south. Each pavilion suite has a
from April 1988 to October 1989. and coffee area is at the far end of the hall traditional Balinese gateway opening onto
Consideration for the physical aspects with views over the gorge and the pool. a walled garden, an open-plan living
of the site and the nearby village of The restaurant is raised well above the room and a terrace. Sixteen 'duplex'
Kedawatan had a strong influence on the pool, and looks over it to a small pavilion suites have an upstairs bedroom.
scheme. Peter Muller wanted Amandari platform, on which evening musical Two luxury pavilions have their own
to 'melt into' the landscape like another performances are given. (Not all of the swimming pools.
village. The site itself consisted of a series tables have a view of the platform below, The urban nature of the development
of contoured rice terraces, which he however, and due to their clustering, the has led to a highly architecturally
modelled into the scheme; giving the seating is somewhat unequal.) articulated design. Movement through

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Section A-A

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MIMAR 36 27

Above: One of the pavilion suites with

private pool.

Below: Entrance gate to the main pavilion


Right: The main pavilion suite, with

upstairs bedroom.
28 MIMAR 36


the spaces and the views that emerge as designs by the Australian Neville Marsh Top: A view of the restaurant.
one walks through the gardens, are simple but luxurious; every
courtyards and streets, are very carefully pavilion suite has a king-size canopy bed. Above: A detail of the corner of the
considered. The whole effect is hightly All the designs are inspired by the restaurant.
controlled, and to some extent one is Balinese traditions of stone and
aware of the cuntrived effect - which is wood-carving. Right: A typical walkway, as seen from
nevertheless well executed. While the With local materials and building the entrance reception area.
complex does not quite 'melt' into the technology, it made sense to use a local
landscape, it maintains the scale and workforce, familiar with both. The The care with which Amandari has
configuration of a small village. project used the skilled work of several been built makes it a welcome addition
. A great deal of attention was paid to craftspeople from the surrounding to the hotels and bungalow resorts that
detail and materials. Local materials used area including stone masons, and are transforming the Blanese landscape;
include thatched grass, stone and bamboo. woodcarvers; screenprinted and woven and it may well act as a model for future
The pavilions themselves are made from fabrics for the interior furnishings were development on the island.
Indonesian teak - an expensive and also locally supplied. Of the local labour - EDITORS
highly durable and insect-resistant timber. force of 600, which consisted mainly of
Furniture - supplied by local firms to villagers, 250 were women. PHOTOGRAPHS: HASAN-UDDIN KHAN LMl

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