The name “Office for Trees” may sound unfamiliar, but that’s precisely what it’s meant to be. Here’s a modern workplace adorned with shade trees, shrubbery and hanging vines strategically placed to keep the heat out and embrace the beauty of every corner of interior design.
Seen from the street, the “Office for Trees” boasts the beauty of a see-through façade overlooking a well-maintained, inviting front yard.
Located in an urban district in Khanh Hoa Province, south central Vietnam, the building bears some resemblance to a solarium from a distance. It boasts a see-through façade made up entirely of glass to admit sunlight. Inside, beautiful workspaces enclosed by glass walls are disposed around a lush interior courtyard filled with trees and a pathway giving access to all the rooms.
Taken as a whole, it’s design that speaks volumes for the concept of the sustainable use of natural resources. While the country’s economy is picking up speed, the hidden danger of rapid urban growth is real. Lack of green spaces in the city and the realities of today’s climatic conditions are permeating all facets of people’s lives, affecting their health and well-being to put it mildly.
Conscious of changes in the environment, Pham Huu Son Architects, a group of young and dynamic architects based in Khanh Hoa, set out to create a different kind of business premises by incorporating the basic elements of nature into building spaces. The result is an ultramodern office providing 650 square meters of work area that’s calm and more conducive to creativity. Plus, it’s capable of carrying out the complete functionality for a variety of business operations.
A drawing of the first floor shows the main entry area (left) in relation to a stepping-stone garden pathway lined with green plants running the entire length of the building. / Courtesy of Pham Huu Son ArchitectsNature at work, a drawing of the office’s upper covering illustrates rows of skylights alternating with planter boxes filled with green plants. / Courtesy of Pham Huu Son ArchitectsNature at work, a drawing of the office’s upper covering illustrates rows of skylights alternating with planter boxes filled with green plants. / Courtesy of Pham Huu Son Architects
The “Office for Trees” consists of two buildings separated by an inner courtyard. Walk in the door, and you come to an impressive office reception/waiting room connected to the main office space at the rear.
Named the “Model House”, it contains an interior mockup complete with a bedroom, dining room, kitchen and bathroom designed to give customers a feel of how the design works. Between the buildings, a lush courtyard creates a focal point in the outdoors, improves natural ventilation and opens to admit daylight.
But what makes it stand out in a crowd is the glass façade that rises from the floor to the ceiling, resulting in a bright and airy office overlooking a koi pond and a well-kept, inviting front yard.
To reconnect with nature, the reception/waiting area is hemmed in by lush vegetation with a stepping-stone garden pathway connecting the front to the back of the building. Overall the interior is simple, clean and uncluttered with only a few pieces of furniture characteristic of minimalist ideas.
The office reception room up front is glazed using clear glass that stands tall from the floor to the ceiling. The interior is light, airy and uncluttered with a few pieces of furniture characteristic of minimalist design.Glass walls separate the ”Office for Trees” waiting room from a koi pond in the front yard adorned with lush vegetation.
A design based on mutually beneficial relationships, the “Office for Trees” is able to provide a comfortable work environment. On the outside, green plants thriving vigorously under the big hardwood canopy trees act as engine that drives natural air circulation, keeping the interior workspaces nice and cool throughout the day.
At the same time, an underground water tank keeps the gardens well supplied all year round, resulting in well-maintained landscapes. On the rooftop, solar panels provide clean and green energy, keeping the “Model House” cool and saving electricity costs.
Reconnecting with nature, a stepping-stone garden pathway lined with lush vegetation creates a sense of space in the workplace made light and airy by design.A park table and benches provide perfect outdoor room to chill out. They sit on the top of an underground water tank, a clever hack to save floor space in the inner courtyard.
A drone’s eye view shows the “Office for Trees” rooftop covered in planter boxes filled with lush foliage alternating with skylights providing ventilation and natural daylight.
Lastly, it’s clear that green spaces, adequate lighting and good ventilation play a vital role in improving health and productivity in the workplace. Together they create an atmosphere conducive to creativity, increased energy and enthusiasm for life. Thanks to well-thought-out design, there are amazing qualities aplenty here at the Office for Trees in Khanh Hoa, Vietnam.
/ Story: Lily J., Kangsadan K. / English version: Bob Pitakwong /
/ Photographs: Kranchanok Boonbamrung /
A brainstorming session took place on May 8, 2024 in what was described as a determined effort to take Thailand’s art and craft industry to the next level, ultimately accessing new markets and expanding their reach globally.
Organized by the Sustainable Arts and Crafts Institute of Thailand, SACIT, led by Ms. Naruedee Phurattanarak, director of research and development for artistic products at SACIT, the conference brought together nine experts from a wide range of disciplines to discuss three hot topics; “Unseen Craft”, “Thainess” or the key attributes of being Thai, and “Craft Power”. The panel speakers included luminaries in the art and craft world, namely Mr. Viboon Leesuwan, Mr. Meechai Taesujariya, Mr. Pairoj Pittayamatee, Mr. Asa Piwkhum, Mr. Phitirat Wongsutinwattana, Dr. Sirikorn Maneerin, Ms. Pawinee Santisiri, Ms. Supavee Sirinkraporn and Ms. Cholada Siddhivarn.
Naruedee Phurattanarak, director of research and development for artistic products at the Support Arts and Crafts International Centre of Thailand (SACIT).
The discussion on the theme of “SACIT Craft Power – The Future of Crafts: Guru Panel” represented a massive drive to assist and inspire craft makers, retailers and brands to go global and unlock the next level of growth for their business. Very briefly, it’s about challenging many popular perceptions that “craft products cannot be used in everyday life”. That being said, it makes perfect sense to try and change the way people think about arts and crafts on the global market by presenting quality craft goods that can be used every day and in so many different ways. Here’s a summary of the spontaneous discussion, one topic at a time.
Unseen Craft:
The first topic of discussion, named “Unseen Craft”, is mainly concerned with the moments of inspiration that go into creating art and craft products. Panel speaker Viboon Leesuwan, a member of the Royal Society of Thailand specialized in visual arts, talked about the enduring allure of Thailand’s traditional crafts. Viboon is an avid art collector with authoritative knowledge of crafts made from locally sourced materials. For many people, these are products that give great aesthetic pleasure and are valued for their usefulness.
Viboon said that for heritage craft skills to continue for a long time to come, it’s imperative that we foster good practice and general knowledge of art and craft among young people. As he put it, the key to success lies in the dissemination of ideas, values and learning to a wide audience.
He said that mentoring and educating young adults in art and craft must go hand in hand with developing awareness about local wisdom, or customs and practices recognized and followed by local communities for many generations. According to Viboon, each craft product bears a geographic indication, or essential qualities and ingredients that tell the story of its origin and the process that goes into making it. Take for example “Pha Gab Bua”, which is a kind of handwoven fabrics made by Meechai Taesujariya, national artist for visual arts (handwoven fabrics category) and winner of a 2016 Master Artisans of Thailand Award.
Pha Gab Bua fabric is made using weaving patterns indigenous to Ubon Ratchathani Province that’s widely acclaimed for its unique design, original material, and the power of storytelling about the weaving technique and area or neighborhood from which it is made. More than anything else, it’s a heritage craft skill that people rely on as a means of securing a livelihood and, at the same time, stimulating the local economy.
Thainess:
The second topic deals with promoting “Thainess”, or qualities that are the key attributes of Thailand’s cultural traditions. From a different perspective, there’s a feeling of accomplishment in the product, something that gives a sense of history and heritage that makes people purchase Thai-made goods. With this knowledge, a craft maker can maximize his business potential, creating products that are trendy, tailoring them to meet the specific needs of young people and, at the same time, incorporating storytelling techniques in craft goods.
Panel speaker Pawinee Santisiri said that art and craft itself is a language that expresses creativity and imagination. And the power of storytelling comes handy as an important tool to communicate the values and usefulness of a product to potential buyers on the global market. To take it to the next level, the craft maker relies on a universal language to present designs and ideas that are easy to understand. The universal language is one of many strategies used to connect buyers and sellers, eventually giving a product the renown of a famous trademark, not to mention enhancing sales and expanding into new markets.
Essentially, art and craft is about conveying an idea, impression and feeling through a physical concrete form. For a product to be successful, it must answer the specific needs of a target group, for example by placing great emphasis on the pride and joy of being Thai and, at the same time, promoting a good understanding about cultural heritage and the craft skills that go into making the product. It’s a series of actions that starts at the early stage of education.
At the risk of stating the obvious, art and craft instructors as well as master artisans, students and designers all have an important role to play in furthering the progress of handicraft skills, ultimately continuing to strengthen and take pride of place in modern society.
Craft Power:
The third and most important topic of discussion has to do with “Craft Power”, which refers to the ability of art and craft to influence public opinion and the behavior of target audiences on the global market. About this subject, the experts concur that for the art and craft industry to prosper, the only way forward is to advocate for sustainability every step of the way.
Interestingly, the tourism industry helps a great deal in raising awareness about art and craft products, resulting in good customer experiences. This eventually translates into higher incomes from craft making, thereby allowing communities to improve conditions of life. Plus, by making design in an integral part of the art and craft industry, the possibilities are endless. Well-thought-out design gives rise to an exciting array of new products. And they can be anything from a variegated color ice-cream to building supplies needed to create beautiful works of architecture.
Technically speaking, the power of craft can come in many different shapes or forms, even starting from scratch. It’s a good place to start where nothing has ever been done before. Take for example creating a work of handicraft using raw materials from agriculture. Done right, it’s a way to help protect the environment by promoting good practices at both the upstream and downstream stretches of the manufacturing process. In the end, the economy, culture and society stand to benefit from it, thanks in part to enduring efforts at making knowledge available to a wide audience. Online platforms are one way of reaching out and connecting with consumers.
The three topics illustrated above lay the groundwork for the development of a generation direction in which Thailand’s art and craft industry is developing in the near future. The ideas generated from this discussion provide the framework for the preparation of a new book titled, “SACIT the Future of Craft, Trend Forecast 2025.” Taken as a whole, they symbolize a vigorous effort for the advancement of all facets of Thailand’s art and craft industry and, at the same time, advocate for sustainability every step of the way.
In order to obtain more information on Sacit Craft Trend Book 2025, please contact Product and Potential Development Division at 0-3536-7054-9 then 1385 or download the E-book at https://www.sacit.or.th/th/detail/2024-06-20-16-40-45
/ Story: Kangsadan K. / English version: Bob Pitakwong /
/ Photographs: Jar Concengco | Design Will Save the World /
Characterized by charm, good looks stripped down to the bare essentials, a two-story mountain retreat embraces the beauty of imperfection of brutalist architecture. From a distance, the rough appearance of raw concrete enhances the building’s exterior and façade rising above terraced contours that follow the natural descent towards the lush green landscape below.
Thanks to trees creating a camouflage privacy screen, a brutalist style mountain retreat merges harmoniously into the dark green of a wooded hillside outside Batangas City, the Philippines.
Located in Batangas, a city two hours by car to the south of Manila, the quiet vacation getaway named “Casa Borbon” is the brainchild of Cali Architects, an architectural practice based in Baguio City. It offers 77 square meters of living space nestled among trees and wooded hills. It was a difficult job, but the design team led by Amon Cali was able to create a home that merged into the countryside, a place advocating thoughtful use of the landscape and keeping the environment exactly like they found it.
A drawing of the master plan shows the positioning of a brutalist style home built into the hillside, hemmed in by trees that have been jealously preserved. / Courtesy of Cali ArchitectsA longitudinal view of the house plan in cross section shows the positioning of living, functional and utility spaces in relation to elements of nature in the surroundings. / Courtesy of Cali Architects
Made for cozy simple living, the brutalist style home boasts generous wall openings that admit plenty of natural daylight and cool breezes into the interior. As the architect intended, it exudes an air of raw, vibrant personality evidenced by what appears to be bare concrete surfaces and stark geometric shapes. By emphasizing honesty and natural materials, it blurs the boundaries between indoors and outdoors; meanwhile, treating functionality as more important than architectural embellishments.
Stark geometric shapes paired with the exterior devoid of embellishments create a unique look that gives the home warmth and a touch of nature.
But there is more to it than meets the eye. Where appropriate, polystyrene wall cladding is installed. It’s a lightweight material that’s resistant to water and moisture, plus it’s able to withstand a wide range of extremes of the seasons. Because it’s easy to install, the builders were able to complete the project in just eight months.
Taking everything into account, the house plan embraces minimalist interior design. On the ground floor, the dining room at the center gives an impression of the positive energy of family life. Nearby, tall glass walls separate the living room from a small dipping pool with poolside deck furniture. The second floor holds a more private area consisting of a sitting room and two bedrooms with balconies overlooking breathtaking landscapes.
A plunge pool and deck area with furniture lie between growing plants and the living room enclosed by glass walls.A simple poolside chair blends seamlessly with the minimalist outdoor environment.Generous openings on the second floor balcony allow air to flow in and out freely, creating the perfect chill-out zone with a view of the surrounding landscape.
From architectural viewpoints, Casa Borbon is unique in that the second floor can be accessed via stairs located both inside and outside of the house. Indoors, a spiral staircase built of steel connects downstairs to upstairs. Outdoors, another set of stairs leads to the second floor and continues to the rooftop deck hemmed in by planter boxes for gardening.
For privacy reasons, an outdoor set of stairs provides direct access to the second floor without passing through the interior of the first floor.An indoor spiral staircase crafted of steel gives access to the second floor. Designed to safe floor space, it blends beautifully with warm minimalist interior design.The rooftop deck is open to the sun, hemmed in by planter boxes for gardening.
In a few words, it’s well-thought-out home that conveys a great deal about brutalist architecture, one showcasing the rawness of materials fit to perform in the Tropical climate prevailing in Southeast Asia.
The lush appearance of plants growing vigorously makes the house entryway warm and welcoming in contrast to the rigidness of bare concrete walls.
/ Story: Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Nantiya June /
Studio Miti is founded by Prakit Kanha and Padirmkiat Sukkan, two architects who have been friends since college. They attended the same school of architecture at a university. Since 2010 the architectural firm has won acclaim for its expertise in materials science skills and ability to integrate knowledge of design with the circumstances that form the setting of worksite surroundings. Having earned many architectural design awards over the years, Studio Miti is clearly living up to his name.
The story of Studio Miti had its beginnings at a workbench inside a rented room that doubled as their humble abode. As the amounts of work increased, the pair thought it wise to move into a decent workplace. They moved several times to different places, among them a rental space on the ground floor of an apartment block that, albeit small, became their first design studio.
The turning point in their career as architects came as the company grew and grew to the point they decided to move again, this time to a permanent home with a brick façade showcasing materials that speak volumes about their ideals and corporate identity.
Studio Miti’s new office showcases the building’s principal face capable of staying open and shut as needed as one of its main design features.
For almost 15 years, Studio Miti has kept firmly to its guiding principle in design, one that combines knowledge of design with an understanding of the context that forms the setting of a place, plus the ability to research the structure and properties of materials used in construction.
In the fewest possible words, it’s about knowing what the materials are made of and how they can be used so as to achieve the best results and aesthetic appeal. Equally important is the ability to create design that’s conducive to improving the quality of life plus charm, good looks that inspire.
The company’s unflinching determination to stand by its design principle and beliefs is reflected in the looks of its new office set amidst the bustle of the Lad Phrao Soi 71 neighborhood in Bangkok where it moved into in 2024.
It’s an old townhouse that has since been lovingly restored as an office. It showcases the front façade covered in lightweight concrete blocks in dark gray that conveys a great deal about Studio Miti’s ideals and in-depth visions guiding its actions.
We have the pleasure of meeting with Padirmkiat Sukkan, co-founder of Sudio Miti, and getting to know more about the company’s design concept, plus taking a tour inside their new office. Join us in discovering the secrets behind the building façade crafted of gray concrete blocks, plus the design concept and beliefs that have put Studio Miti in a class in itself.
Q: Tell us about your journey, design principles and beliefs that guide your actions.
A: “As you know, Studio Miti has moved office several times over the years. Every time we moved, we did some experiments on the materials that we used. We tried to weigh the work we did to determine its essential quality. We believe in using real materials. By that is mean that we use pure materials in their original visual shape, color and texture without over embellishments.”
Flashback: Studio Miti’s old office building showcases brick façade ideas in every direction.Despite its solid brick exteriors, Studio Miti’s old office building feels open and airy, thanks to skylight systems that turn the interior into a well-lighted place.Enclosed workspace inside Studio Miti’s old office provides freedom from external disturbances, making it easy to stay focused during the work day. Plus, it’s adequately lit by overhead skylight systems.
“At our current location, we used mostly bricks as the material of choice. We experimented on brick constructioon as well as bricks and steel. This time, we tried using lightweight concrete blocks as the main material instead.
“In fact, we found it by chance at a worksite. We were using the product and, out of the blue, it broke at the seams at the midpoint. We discovered a curving contour inside it.
“It looked interesting when touched by light. So we took it apart and looked inside it. The effect was good by a touch of light. I thought we could build the entire building facade using this material. And we did. The same applied for other parts of the building, too.”
“We implemented this project, renovating an old townhouse built some 30 to 40 years ago. There were site limitations that we had to deal with. The external envelope was opaque, being built entirely of brickwork. It came with one restriction; a complete teardown was not permitted.
“So we created a building façade that’s capable of being open and shut as needed so as to control the amounts of natural daylight shining into the interior, thereby making it easy to stay focused during the work day.”
“Actually, we are interested in the design process. We look for ways, by which the tools that we use in designing diagrams can also be applicable or relevant to the materials being used as well.
“Oftentimes we put the materials to the test ourselves. It gives us confidence in doing designs, plus the benefits that come from touching it and getting the feel of the materials. It’s an important approach that we use.”
Q: What’s your thought on using real materials and creating Tropical design?
A: “On real materials and Tropical design, I regard the two concerns as being part of one cohesive whole.
“In a warm and humid climate like ours, first, I say we have to understand and be able to use the sun and the winds prevailing in the region to our benefit. It’s very basic to begin with. If we have the opportunity and the owner agrees and likes what we do, then we can develop the materials that we need together.
“And when it comes to using pure materials, I feel they are beautiful without being over embellished. We just need to find out how design can be used to make them look beautiful with little or no modification. To us, understanding the materials and how to them is of the utmost important.”
A meeting room-cum-recreation space on the ground floor feels bright and breezy, plus it’s easily modified to respond quickly to changing needs and activities.A meeting room for receiving clients is glazed using clear glass to admit natural daylight into the interior.
“Speaking of knowledge of a Tropical climate, I feel it’s a must-have for architects. Thai architects, especially, must have a good understanding of sunlight, the heat, humidity and the cold. They are the basics. To create designs, knowing all the basics takes priority over any other matter.
“But more than anything else, me have to make sure the kind of architecture that we create represents the owner. If not, at least it must speak volumes about the place, about the site and the context that forms the setting around it.”
Q: Help me understand some of the work you did in the past? A few examples, perhaps?
A: “To show you some of our past achievements and the results of our experiments, I say we used bricks. Bricks were the material that we used often. As for wood, we used that often, too. We used brickwork mixed with wood in the construction of Athita the Hidden Court Chiang Saen, a boutique hotel in Chiang Saen District of Chiang Rai Province. It’s a hybrid of brick and timber.”
Athita the Hidden Court Chiang Saen, a boutique hotel in Chiang Saen District of Chiang Rai, Thailand’s northernmost province. / Courtesy of Studio MitiAthita the Hidden Court Chiang Saen / Courtesy of Studio MitiAthita the Hidden Court Chiang Saen / Courtesy of Studio MitiAthita the Hidden Court Chiang Saen / Courtesy of Studio Miti
“If I may show you a project built entirely of bricks, or brickwork mixed with steel, it’s the “High Brick House” or “Baan Look Moo”.
High Brick House / Courtesy of Studio MitiHigh Brick House / Courtesy of Studio MitiHigh Brick House / Courtesy of Studio MitiHigh Brick House / Courtesy of Studio Miti
“In fact, we’re working on another one, too. I believe bricks release the heat faster. We’re working on a house project called “Baan Yoo Yen”. It’s built entirely of bricks. The wind blows through it, keeping the interiors nice and coo. It benefits from traditional beliefs about Tropical design. By creating indoor thermal comfort, we can rely less on air conditioning.”
Baan Yoo Yen / Courtesy of Studio MitiBaan Yoo Yen / Courtesy of Studio Miti
“Every piece of work has its distinct character. It’s a quality of being aesthetically pleasing that lies deeper than traditional beliefs per se, even deeper than knowledge of a Tropical climate. I’m referring to an understanding of human nature, and knowledge about the circumstances around a worksite. They are the mystery we’re trying to unravel, leading to further development.”
Q: Tell us about the Goal of Studio Miti, or the object of your ambition.
A: “As for the goal of Studio Mini in ten years from now, I want to provide an idea foundation for younger members on the team today. I believe we have the capacity to develop further.
“There’s still a lot to learn. There’s more to it than design in and of itself. It may involve understanding the context that forms the setting of a place, be it socially or economically. There are lessons to learn going forward. The transmission of knowhow from us to younger members on the team is important. We want to provide the tool they can take with them.”
High ceilinged workspace inside Studio Miti’s new office is well-lit by natural daylight. Among others, the redesigned building facade can open and shut as needed to provide privacy and freedom from external disturbances, making it easy to stay focused on the task at hand.
“If I get lucky, we will move forward together. If I get luckier, they may move on to their future undertakings, where they continue to grow in their line of work. But everyone must have the basic knowledge to begin with, knowledge about the climate prevailing in Thailand, knowledge about the context that forms the setting of a place.
“It’s something that’s more than meets the eye. That’s the basics that will help them grow and mature and, at the same time, give us the old guards at Studio Miti the impetus to grow and develop as well.”
“I believe the future of our office isn’t up to me alone. Rather, it comes from younger members on the team who must understand this, and work together toward a common goal.”
Like the opening scene of a movie, a luxury resort named Amber Kampot nestles warmly amidst lush mangrove forests and tidal ponds straddling the boundary between land and sea in southern Cambodia. Embracing the charm of rural life, it offers a wonderful panorama of the Kampot River lined with picturesque fishing villages. Needless to say, the region is widely regarded as a treasure trove of culture, history and beautiful coastlines.
The waterfront resort is aglow under the lights as the night unfolds. Seen from a distance, the building façade built of heavy timber framing is stained to a dark shade that perfectly blends into the wider landscape of southern Cambodia.
Characterized by rectangular precision, the waterfront vacation getaway consists of a principal building that includes foyers, service facilities and the entrance to villas for guest accommodations. The luxurious country villas come in three types, each offering a spacious veranda overlooking a meticulously manicured lawn and gardens bursting with curb appeal.
Amber Kampot boasts 6,000 square meters of indoor and outdoor living space designed for travelers seeking luxury accommodations in a peaceful environment. The overall effect is impressive. To the West, the misty mountain peaks of Bokor National Park are visible from miles around, while the tidal mouth of the Kampot River creates unforgettable hotel experiences.
A drawing of the floor plan of Villa Type 1A. / Courtesy of Bloom Architecture
A drawing of the floor plan of Villa Type 1B. / Courtesy of Bloom Architecture
A drawing of the floor plan of Villa Type 2. / Courtesy of Bloom Architecture
A drawing of the floor plan of the principal building and nearby swimming pool overlooking the Kampot River. / Courtesy of Bloom Architecture
A charcoal sketch of the master plan illustrates the positioning of the principal building, the riverfront pier and villas for guest accommodations disposed around tidal pools and pristine mangrove forests at the estuary of the Kampot River, southern Cambodia. / Courtesy of Bloom Architecture
Apart from nature’s most unspoiled landscapes, fresh air and sunshine, vernacular style homes stand as a testament to the fishing community’s rich cultural heritage. Together, they provide the Phnom Penh-based firm Bloom Architecture with valuable inspiration. And the result of all this is a hideaway luxury resort warmly cocooned among the trees, green foliage and tidal pools.
From a design point of view, the principal building and villas for guest accommodations are built strong, thanks to heavy timber framing stained to a dark shade that blends with the natural surroundings. Quality stains penetrate the wood grain, preventing moisture damage. Plus, they merge with growing plants and bodies of water in the background, creating a verdant oasis perfect for relaxation.
A diverse array of foliage plants adds privacy screen protection to a villa for guest accommodations.
Amber Kampot offers three types of accommodation, including detached and semi-detached houses known as Villa Type 1A, Villa Type 1B, and Villa Type 2. They vary in size depending on the number of guests staying and share one outstanding feature – an off-the-grid getaway where privacy takes priority. Each villa has a roofed platform along the outside that connects with nature, creating a perfect blend of cozy indoors and beautiful outdoors.
Step into the room, and you find the interiors painted a cool-toned white alternating with spots lacking embellishment intended to showcase the rawness of wood and concrete surfaces. Together they speak volumes for the beauty of vernacular culture – the forms and the crafts of carpentry unique to skilled builders in this part of Cambodia. Their signature lies in the perfect blend between traditional woodworking, an emphasis on natural lighting and the floors covered in sandstone pavers.
Plants with colorful foliage permeate through the living spaces at Amber Kampot, blurring the boundaries between indoors and outdoors.
Minimalist vessel sinks paired with greenery give off good vibes.
A glass wall hung with pleated curtains opens and shuts as needed to regulate the amounts of light streaming into the room. It visually connects with a lush lawn hemmed in by trees and the understory of colorful shrubbery.
Outside, gray stone paver patios, foot bridges and garden pathways give access to all the villas. Each one of them is enclosed by a fence of wooden stakes that doubles as privacy screen protection within hotel premises. Nearby, trees and the understory of shrubs and hanging vines thrive luxuriantly keeping the villas cool in summer.
A garden bridge gives access to all the villas on the resort set amidst pristine mangrove forests at the tidal mouth of the Kampot River, southern Cambodia.
Back on the waterfront, the principal building contains a restaurant offering fusion cuisine bringing together ingredients from different cultures and recipes. As to be expected, there’s also a spa for health and beauty treatment as well as a gym and a swimming pool. Nearby, a riverfront esplanade provides ample space where people may walk for pleasure.
Fresh air and sunshine! The riverfront resort is silhouetted against mangrove forests with the misty peaks of Kampot Mountain visible from miles around.
Briefly, Amber Kampot is a marriage of rural charm and well-thought-out design, a translation of complex ideas into a form easily understood by everyone. Unequivocally, the design team at Bloom Architecture has succeeded in creating a romantic villa getaway ensconced in nature. Swing by Amber Kampot on your next country sojourn.
Amid the ever-changing trends setting the stage for the future, there are people who feel a yearning to live a simpler, more traditional lifestyle. Their emotional attachment to family roots and cultural origins is set down in permanent forms. Here, the story of a Hmong family’s journey is manifested in a house that has since been renovated as a homestay in Ha Giang, a province in Vietnam’s Northeast renowned for its unspoiled countryside.
An aerial view of the old cluster house renovated as a homestay in relation to traditional-style homes in the neighborhood.
Beautifully restored to its former glory, Pavi Homestay offers 380 square meters of usable space ensconced in a region famous for its richness in long-standing traditions. In this remote corner of Vietnam bordering on China, misty blue mountains can be seen from miles around. It’s easy to get why every aspect of Hmong culture is jealous preserved, residential architecture included.
A side elevation view of Pavi Homestay silhouetted against the mountain peaks and wooded hillsides of Meo Vac, a rural district of Ha Giang Province.
As tourism grows, demands for accommodation increase. And that’s where the architectural firm Trung Tran Studio based in Son La is brought into play. It’s tasked with renovating this old house as a homestay and, at the same time, maintaining every distinctive feature in its original state. Before you know it, the old cluster house unique to Hmong culture transforms to take on a new role as homestay destinations.
A diagram shows the ground floor of the old cluster house before renovation. / Courtesy of Trung Tran Studio
A drawing of the ground floor after renovation shows the positioning of rooms for guest accommodations in relation to a system of roofed corridors and support facilities, including a small restaurant and bar. / Courtesy of Trung Tran Studio
A diagram shows the second floor of the main house before renovation. / Courtesy of Trung Tran Studio
A drawing of the second floor of the homestay project shows details of space utilization in the main house, the side house and semi-outdoor rooms after renovation. / Courtesy of Trung Tran Studio
Pavi Homestay is located in Meo Vac, a rural district of Ha Giang Province. Beautifully handcrafted, the buildings and the land merge into the mountain valley environment where time goes by slowly. It consists of three parts; the main house, the side house, and a system of roofed corridors for walking along.
The old house nestles warmly in an area known for considerable diversity in cultures and lifestyles. Together they convey a great deal about the ethnic communities living in the region, which also includes Dong Van and the Dong Van Stone Plateau.
The newly renovated main house is a two-story building offering eight rooms for guest accommodation. Here, the details make all the difference in design. Each room boasts the quality of being individual in an interesting way. Each one of them gives a sense of being a small stand-alone home, although they are all in one place.
Unlike the main house, the side house is designed as a family lodging. It’s easy to get why age differences in consumer behavior are factored in the house plan. This is evidenced by the way a row of three rooms are separated for privacy, each one of them fully equipped with modern conveniences.
As to be expected, the bedroom for mom and dad is located downstairs, connected to the rooms for kids by a flight of stairs. The children’s rooms are decorated with curved designs giving off good vibes, plus they create a sense of space, privacy and deep relaxation.
A glimpse into the side house made for family accommodations. The parents’ bedroom is on the ground floor connected to kids’ rooms by a flight of stairs.
Step outside, and you come to a system of roofed corridors providing access to all the rooms and support facilities, including a small restaurant and bar. Overall, the outdoor ambience is peaceful with a wonderful panorama of the mountain peaks and wooded hillsides that have made Ha Giang Province a sought-after destination for travelers.
An atrium hemmed in by a system of roofed corridors offers plenty of ample space for an al fresco luncheon and dinner, or a rendezvous with nature.
Inside and outside, Pavi Homestay is different from what is usual in that its physical appearance is pleasingly old-fashioned plus the quality of being local. For strength and durability, the original heavy timber framing, posts and beams remain very much intact. They were put together by traditional methods of construction.
A room decorated with lots of wood makes the interior feel warm and welcoming.
The building exteriors have the appearance of rammed earth walls, roofed over with unglazed, brownish colored tiles like everything else in this part of Vietnam. Such is the elegance and standard practice since times past. Together they work in tandem to make Pavi Homestay attractive in its own special way, in the meantime providing a window into ethnic Hmong culture from past to present.
The rough texture of rammed earth walls boasts the beauty of vernacular homes unique to Hmong culture.
Arched doorway openings go hand in hand with open-concept floor plans, making a modest room feel spacious.
Archway forming passages between rooms create a harmonious fusion with the natural environment.
As the evening unfolds, the atrium is aglow under the lights in contrast to the dark gray of earthen roof tiles that form the upper covering of Pavi Homestay.
In a few words, Pavi Homestay is the story of rich and subtle meanings, a travel destination embraced by nature and time-honored human tradition unique to Vietnam’s Northeastern Region.
An aerial view shows a part of the verdant countryside that’s home to a Hmong community where Pavi Homestay is located.
/ Story: Wuthikorn Sut, Kangsadan K. / English version: Bob Pitakwong /
/ Photographs: Soopakorn Srisakul /
A home and café combination merges into the countryside vernacular of Chanthaburi, a province in Thailand’s eastern corridor bestowed with pristine forests, mountains and sea breezes. Designed for the Tropical climate prevailing in the area, it boasts the simplicity of extended eaves overhanging the walls. Together they provide protection from the elements keeping the interior cozy and cool in summer, while the gable front glazed using clear glass affords the view of a beautiful garden landscape.
Named “Ruen Lek”, the small contemporary home consists of two parts; a semi-outdoor café located downstairs and a living space upstairs with wrap-around balconies made for coffee or just chilling out.
The brainchild of GLA Design Studio, a Bangkok-based architectural practice, the home and café combination offers 110 square meters of usable space. It stands parallel to a nearby homestay destination called “Baan Lek Villa”, separated only by a center courtyard lying in between.
The upstairs living space with a garden view is enclosed by a wrap-around balcony made for coffee and floor seating ideas.
By design, the yard filled with greenery and fresh air provides a respite from the hustle and bustle of daily life, while lush lawns hemmed in by healthy trees and shrubs create a cooling effect during warm weather.
A diagram of the first floor plan shows the positioning of the coffee shop, customer service areas and support facilities in relation to outdoor environments. / Courtesy of GLA Design Studio
A drawing of the second floor plan shows the living space with a home office enclosed by a wrap-around balcony made for relaxation. / Courtesy of GLA Design Studio
A front elevation view shows the small home and café combination on the right side of the property, separated from the main homestay villa on the left by a center courtyard filled with greenery. / Courtesy of GLA Design Studio
Thoughtfully devised to run cool in summer, the first floor is kept closer to the ground, slightly raised at plinth level. For good ventilation, the storefront and a side wall are fitted with bi-fold door systems that fully open from one end to the other, while the other side wall lined with a souvenir display shelf is glazed using clear glass paneling for visibility.
Awning windows at the top of the glass wall open to admit fresh outdoor air. Underneath them, glass paneling lined with a souvenir display shelf lets natural daylight shine through.
The coffee bar itself is set further towards the back with plenty of room behind it for cooking light meals. From here, the nearby “Baan Lek Villa” homestay can be seen across the center courtyard. Up front, a few sets of tables and shares are ready for customers who prefer relaxing and dining in the open air.
A place to hang out with friends, the coffee bar is set further towards the back, creating a sense of depth. There’s plenty of room behind the countertop for making drinks and cooking light meals.
Taken as a whole, the small café makes a good first impression as a peaceful place to enjoy a nice cup of bean juice, lean back and chill. Besides good local food, the atmosphere is warm and welcoming, thanks in part to the crisp cool canopy of overhanging trees, native shrubs and vines thriving luxuriantly. Together they bring back memories of Chanthaburi in times past like the architects at GLA Design Studio intended.
The second floor contains a humble abode and office space with a large drafting table. Simple, well-lit and well-ventilated, the room is enclosed by a wrap-around balcony designed for sitting on the floor with legs hanging. The side entrance at the top of the stairs affords views of green spaces and, beyond, the Baan Lek Villa homestay. For privacy, the second floor of Ruen Lek is set slightly lower than that of the main villa.
The upstairs living space with a garden view is enclosed by a wrap-around balcony made for coffee and floor seating ideas.
For privacy, the second floor of the home and café building is set slightly lower than that of the nearby main villa.
Except for the glass façades on two sides, the walls are built of handmade bricks and the floors covered in fireclay handmade tiles sourced locally. For charm, good looks that blend into the community and local traditions, door and window casings and decorative materials are made entirely of real wood.
Morning light creates a warm ambience, enhancing the brown of wooden balcony floors and the orange of fireclay tiles on the home office floor.
From a design point of view, it’s a home that speaks volumes for a desire to be close to nature and a love of the allure of Chanthaburi’s unspoiled countryside. And the team at GLA Design Studio has succeeded in doing exactly that. The result is a cozy dwelling that’s a little bit modern, a little bit country mixed in one place that’s simple yet attractive, inviting and warm.
A center courtyard filled with shade trees and lush foliage separates the home and café combination from the nearby Baan Lek Villa homestay.
A way to connect with nature, the center courtyard is kept cool by shade trees and lush vegetation. Nearby, a driveway surfaced with gravel gives access to the main villa raised on piles.
/ Story: MNSD, Wuthikorn / English version: Bob Pitakwong /
/ Photographs: Sitthisak Namkham /
The mere sight of a beautiful contemporary art exhibition fills the audience with awe. Named the Spirits of Maritime Crossing, the show evokes pleasant memories of interaction between two cultures in times past. Figuratively speaking, the Spirits of Maritime Crossing is a tale of two rivers – a confluence where the beautiful Chao Phraya River in Thailand meets the iconic Grand Canal, a major water traffic corridor in Venice, Italy.
Making his point, artist Pichet Klunchun expresses his idea during a performance art show that’s part of the Spirits of Maritime Crossing art exhibition at the 60th Venice Biennale.
Welcome to the show featuring masterpieces by artists from Thailand as well as their counterparts from across Southeast Asia. It’s a part of the main attractions at the 60th Venice Biennale happening now, from mid-April until November 24, 2024.
Curated by the Bangkok Art Biennale Foundation, the show tells the story a relationship between the world’s two major cities in an artistic manner. It sheds light on the ties between Bangkok, once upon a time nicknamed Venice of the East, and the original Venice, a city amid a lagoon in the Adriatic Sea more than 10,000 kilometers away by sea.
The official delegation gracing the opening ceremony in Venice includes, from left, – Ms. Kundhinee Aksornwong, Minister of the Royal Thai Embassy in Rome; – H.E. Mr. Paolo Dionisi, Italian Ambassador to Thailand; – Mr. Thapana Sirivadhanabhakdi, CEO of the Thai Beverage Public Company Limited (ThaiBev) as Chairman and Founder of the Bangkok Art Biennale Foundation; – Professor Dr. Apinan Poshyananda, the exhibition curator; – Ms. Kobkarn Wattanavrangkul, Chair of the Bangkok Art and Culture Center (BACC); and – Mr. Andrea Marcon, Consul of Thailand for the Venice Triveneto.
In central respects, the Spirits of Maritime Crossing helps to explain the annals of history from a different perspective. It revisits the events and experiences in times past, ranging from European discoveries, to the diaspora of people from their homelands, to colonialism and the assimilation of people into different societies across Southeast Asia. And the story is being told through visual arts, among them drawings and sculptures, multimedia and video installation art.
A Symphony Dyed Blue, 2024 4K video, 6:13 min . Artist: Kawita Vatanajyankur (Thailand)
Palazzo Smith Mangilli Valmarana (second from left) is the venue for the Spirits of Maritime Crossing art exhibition at Venice Biennale 2024. The Neoclassic style palace looks out over the iconic Grand Canal, the main water traffic corridor in Venice.
My Mother and I II: The Composers in the Machine, 2024 . Artist: Kawita Vatanajyankur
The Spirits of Maritime Crossing contemporary art exhibition is happening at Palazzo Smith Mangilli Valmarana, a Neoclassic style palace overlooking the Grand Canal in Venice. Already there’s an atmosphere of excitement, and a wealth of interest and intrigue among international audiences.
The exhibition curator, Professor Dr. Apinan Poshyananda, was on hand to deliver the keynote address at the opening ceremony in Venice, along with a troupe of modern and contemporary artists from Thailand and across Southeast Asia. They included artists Kawita Vatanajyankur and Jakkai Siributr of Thailand, Priyageetha Dia of Singapore, and Thai dancer Pichet Klunchun who gave a special performance at the gathering.
Calling for Rain, 2021 . Artist: Khvay Samnang (Cambodia)
The Sea is a Blue Memory, 2022 . Artist: Priyageetha Dia (Singapore)
The evening ceremony was graced by the screening of a short film starring Marina Abramovic, a Serbian American conceptual artist/performer and winner of the Golden Lion Award. The event took place at Generali’s Procuratie Vecchie located at the famed Piazza San Marco in Venice.
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Aside from Marina Abramovic, the visiting troupe include 15 established artists as well as new, rising stars from Thailand and across the ASEAN Region. They include Pichet Klunchun (Thailand), Priyageetha Dia (Singapore), Jitti Kasemkitwattana (Thailand), Nakrob Moonmanas (Thailand), Jompet Kuswidanato (Indonesia), Bounpaul Phothyzan (Laos), Alwin Reamillo (the Philippines), Khvay Samnang (Cambodia), Moe Satt (Myanmar-the Netherlands), Jakkai Siributr (Thailand), Natee Utarit (Thailand), Kawita Vatanajyankur (Thailand), and Yee I-Lann (Malaysia), and Truong Cong Tung (Vietnam).
The Spirits of Maritime Crossing art exhibition at Venice Biennale 2024 is being sponsored by the Bangkok Art Biennale Foundation (BAB) in collaboration with the Thai Beverage Public Company Limited (ThaiBev) as well as public and private organizations, including:
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The Tourism Authority of Thailand (TAT), the Bangkok Metropolitan Administration (BMA), the Thailand Convention and Exhibition Bureau (a public organization), the One Bangkok Holdings Company Limited, the Thai Airways International Public Company Limited, the Central Group, the 100 Tonson Foundation, the Fraser and Neave Holdings Bhd (F&NHB), the Fraser and Neave, Limited (F&NL), the Saigon Beer-Alcohol-Beverage Corporation (SABECO), plus:
The Chang International Company Limited, the Sangsom Company Limited, the Ch Karnchang Public Company Limited, the Bangkok Expressway and Metro Transport Public Company Limited, the Tang Contemporary Art Company Limited, the Generali Life Assurance (Thailand) Public Company Limited, Richard Koh Fine Art (Singapore, Bangkok, Kuala Lumpur), Nova Contemporary, Warin Lab Contemporary, Silverlens Gallery, Flowers Gallery, and the Amarin Corporations Public Company Limited, and its business affiliations.
For the latest news on contemporary art events organized by the Bangkok Art Biennale Foundation, follow us on Facebook and Instagram at: BkkArtBiennale
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A little bit about the venue:
Having been closed for more than 12 years for renovation, Palazzo Smith Mangilli Valmarana, a palace in Venice, Italy, opened its doors to visitors for the first time in mid-April 2024, performing a role as venue for the Spirits of Maritime Crossing art exhibition at the 60th Venice Biennale.
At one time, it was the residence of Joseph Smith, a British consul, art collector and connoisseur in Venice. Also called Consul Smith, he assisted many artists during his lifetime, acts of kindness that saw his home transform into a thriving art center and meeting place popular among artists. The palace later changed hands and the new owner, Count Giuseppe Mangilli, decided to hire Giannantonio Selva to renovate the interiors in the Neoclassic style, thereby restoring the home to its former glory as we see it today.
Tucked away amidst the crisp mountain air and dense green plants thriving under tree cover, a quaint country café takes center stage giving off friendly vibes. It’s enclosed by glass walls on three sides, while perimeter fence walls of large breeze blocks in pastel brown speak volumes for the humble origins of mankind.
Lying furthest from everything else, a lazy brook passes by reflecting sunlight glistening with sparkles in misty winds. Aptly named “Mitbury the Public House”, the café and nearby support buildings merge into the cool shade of wooded hills in the backdrop. It’s arguably the most exquisite kind of scenery. And it’s located right here in Mae Rim District, only a short ride from Chiang Mai’s city center.
At the risk of stating the obvious, the aroma of coffee beans being ground and roasted in the background smells like heaven. There’s nothing like chilling out, sipping one’s favorite Morning Brew on a quiet day at nature’s edge.
The project comprises three small buildings with a chic coffee bar located at the center of the property. The other two buildings lie hidden in plain sight behind the walls of perforate blocks in muted brown designed to promote ventilation and regulate sunlight. The coffee bar itself affords 140 square meters of restaurant space canopied by overhanging trees.
A charcoal sketch of the premises illustrates the positioning of the café and two support buildings enclosed by a perforate wall and surrounding terrain features. / Courtesy of WOS Architects
A side-elevation view of the café building in cross section, silhouetted against a breeze block wall lying under the canopy of overhanging trees / Courtesy of WOS Architects
The brainchild of WOS Architects, a Bangkok-based architectural practice, Mitburi the Public House is a design masterpiece that seeks reconnections with the natural world.
Walk in the door, and you find an ample space used for guests and seating. Interestingly, the rough textured wall in soft pastel beige at the back is the sight to behold. It stands overlooking the space used for preps, the coffee bar and kitchen.
From a distance, a paved passageway glides past lush lawns leading to first building that houses the café and kitchen. The second building holds storage space and staff quarters, while the third is a complete toilet building. By design, they lie hidden from view behind the perforate brick walls.
A footbridge gives access to nearby wooded hills. It’s built of structural I-beam framing, with wooden planks and railings of wire infill panels for protection against slip and fall accidents.
All of them are built of structural steel framing. Where appropriate, the exterior walls are crafted of natural building materials sourced from within the community. Immediately appealing among them is the floor tiled in grayish brown. It lies covered with thin slabs of baked clay from a local kiln, creating charm, good looks that embrace imperfect simplicity.
For visual continuity, the café building itself is enclosed by glass walls on three sides, with a pair of transom windows at the top of the front door. A clean, well-lighted place, the interior is warm and welcoming, thanks to pale soft lights that are less distracting, adding romantic appeal to the room.
From inside the café, glass walls provide undisrupted visual continuity between indoors and outdoors. The floor is tiled in reddish brown slabs fired the old-fashioned way by a local kiln, the beauty of imperfections that blends with the surroundings.
The café building stands among the trees, enclosed by glass walls on three sides. They open to admit natural daylight and fresh outdoor air into the room.
Out-of-doors, yard landscaping ideas are just impressive. Perforate blocks in reddish brown fill up the entire boundary fence, blending seamlessly into the dark green of the forest’s edge. Located furthest to the rear, a footbridge built of steel I-beams, wooden planks and wire infill railings provide access to nearby forested hills.
Attention to detail is evidenced by the breeze block fence in muted brown that separates the business premises into clearly defined zones depending on functionality.
The complete toilet building stands hidden from view, separated from nearby lush lawns and café space by a wall of perforate bricks for ventilation.
The I-beams are painted a grayish green hue that merges into large areas of old woodlands in the background. Underneath the footbridge, a babbling stream runs idly by meandering through the rock-covered forest floor. Above it, cool breezes and leaves rustling in the trees entice the imagination.
Overall, the business premises keep firmly to the owner’s initial resolve to leave every tree and the nearby brook where they have always been, giving rise to house-among-trees ideas. For a good reason, they are built small and disposed around the periphery of the project site. The building shell is topped with a simple gable roof made of natural materials that are friendly to the environment.
To live and let live, a native tree stands where it’s always been. Cutting it down is not a choice.
Nature lovers should find the small café in the woods a paradise, thanks to rocks being used to create a set of steps leading to the glass-glazed façade, a clever hack to create visual continuity between indoors and outdoors.
Surrounded by lush lawns and shade trees, a set of rock steps adds beauty and functionality to the building’s glass-glazed façade.
Thanks to thoughtful design, the trio of small buildings in earthy browns lies beautifully ensconced among the trees and wooded hills in the background. Day in, day out, the smell of coffee ground and roasted fresh on site induces a sense of warmth and comfort among people who feel a yearning for the mountains.
It comes as no surprise that they name it “Mitbury”, a Thai term literally translated as a place for friendly people, and in this particular case, a café built into nature that celebrates the easy, laidback lifestyles that have made Chiang Mai famous. Swing by next time you’re in town!
Central Java, Indonesia – Neat and clean walls rise above a reflecting pool and lush lawns brightened up by shimmering lights. They are made attractive by warm-toned whites and smooth curved lines twirling lightly around like poetry in motion. Shaped into alternate ridges and grooves, the concrete surfaces in zingy warm hues slant up to the skyline reminiscent of a graceful dance. It’s an amazing innovation thoughtfully devised to sync with rhythms in the urban landscape that gives it aesthetic appeal.
A welcoming reception area lies adjacent to the reflecting pool designed to blend with the rounded contour at the very top of a white wall separating the restaurant’s interior from the exterior.
The clean, well-lighted trio of restaurant, café and bar is located in Central Java, an Indonesian province that’s home to the famous Borobudur Temple, one of the greatest Buddhist monuments in the world. Named “Tanatap Wall Garden”, it’s a delightful business space in a class of itself, one that advocates for form and function being joined in a way that requires less energy to operate.
The restaurant-cum-café and bar, together with its land that forms a verdant oasis, affords 2,500 square meters of commercial space nestled among beautiful cityscapes. It’s an all-encompassing design that combines commercial real estate with elements of nature in close physical association to the advantage of both.
A charcoal sketch shows the positioning of functional spaces in relation to existing big trees, a relationship to the advantage of both. / Courtesy of RAD+ar
A side elevation view in perspective illustrates the positioning of restaurant, café and bar spaces under lush tree cover. / Courtesy of RAD+ar
The concept delineated above is the brainchild of a high performing team at RAD+ar, an architectural practice based in Jakarta, Indonesia. The team of architects was tasked with transforming what used to be a parking garage into a calm, secluded garden in which to wine and dine; meanwhile preserving the existing natural environment and the property’s significance as part of a central business district.
The result is a piece of architecture showcasing perfectly clean, white walls rising among very big lush trees, a beautiful sight unlike anything out there. Viewed from above, the floor plan consists of three straight lines on the ground moving centrifugally from the center. Along these lines, concrete walls rise to different heights forming gently curved lines at the very top as they traverse among stands of homogeneous trees.
Viewed from above, the restaurant-cum-café and bar merges into beautiful and cool landscapes so that they become an indivisible whole.
Apart from bringing shade and regulating temperatures, the trees growing wild in every direction give the business premises charm, good looks that please the senses and the mind.
It’s design that comes from understanding the warm, humid climate prevailing in Central Java, and the company’s principles advocating for simple and sustainable lifestyles. Together they are the key attributes that make Tanatap Wall Garden one of the most agreeable places to be.
For a good first impression, the welcoming entryway is adorned with green spaces that create positive moments in people’s lives. It’s connected to a pathway system leading to cool and restful places amid the beautiful backyard landscape.
Old trees and new walls become inextricable parts of the design advocating for sustainability.
On the way, an 800-square-meter reflecting pool provides a focal point in the scenery, bringing joy, pleasure and contentment in nature’s peaceful embrace. Interestingly enough, tiers of seats similar to a sports arena are added to the mix in a way that’s proper in the circumstances.
A reflecting pool under tree cover provides a focal point in the landscape. It works in tandem with other passive design strategies creating thermal comfort for both indoors and outdoors.
A lounge area offers wide seating space and flexibility seamlessly integrated into the building’s architectural styles.
In addition to being a rendezvous for good food and drinks, Tanatap Wall Garden offers an enormous richness of nature-inspired outdoor rooms for those who love spending time indulging in music and live stage performances.
Keeping to its original concept, an amphitheater is put in for customers who appreciate dramatic works as a genre of literature and expression of ideas encouraging participation in the discourses of society. All of these features are neatly integrated in one cohesive design aesthetic.
Tiers of seats similar to a sports area lie under a pedestrian bridge connecting different parts of the building. By design, it’s a work of art that keeps creative energy flowing.
In short, it’s a metamorphosis of purpose that results in neat and clean white walls transforming into a stunning commercial space, in this particular case, a trio of restaurant, café and bar set amidst a verdant oasis.
From inside looking out, a part of the white wall with ridges and grooves in it is visible through the doorway at the furthest end.
The restaurant has a lovely garden under tree cover for those who prefer to wine and dine alfresco.
Drop by Tanatap Wall Garden for a drink or two next time you sojourn in Central Java. It’s an opportunity to experience the beauty of architecture and nature coming together in one indivisible design.
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