Together with Jonathan Leijonhufvud, Cura embarks on a journey across Bali's territory in search of stories that symbolize the essence of the island and its people.
The aesthetic admiration for architecture intertwines with a profound commitment to sharing narratives at a crucial moment in our history. Under Jonathan Leijonhufvud's gaze, Cura sheds light on these stories, aware that narrative is a radical and essential act, a source of regenerative creativity, and an authentic expression of love for life on our planet.
Each project presents a unique perspective, rooted in respect and preservation of Bali's environmental, cultural, and traditional richness, our shared and beloved home. Amid crucial decisions for the island's future, this journey explores challenges and solutions with optimism, illuminating initiatives that lead towards the healing of the territory and highlighting the connections between ecology, culture, beauty, and spirituality.
Through these narratives, we are invited to commit to a lifestyle aligned with our deepest convictions. The call to the world is clear: let us unite in this vital cause, replicating similar initiatives worldwide.
This project bears witness to the harmonious interconnection between ecology, culture, spirituality, and artistic sensitivity. Jonathan Leijonhufvud's photography transports us to the timeless beauty of these five original endeavors, where sustainability finds its gentle and natural rhythm.
Cura delves into the universe of Seba Mesdag, the creator of the indigo sanctuary in Bali.
Indigo dyeing, an ancient traditional technique used to dye textiles with a distinctive blue hue, has withstood the test of time, remaining a highly relevant artisanal form. This method has experienced a contemporary resurgence due to its aesthetic appeal and intrinsic connection to sustainable practices.
This rebirth finds its most tangible expression in Seba's personal project, Tian Taru, located in the fertile vicinity of bustling Ubud. This regenerative design sanctuary is much more than a mere getaway; it represents a transformative experience that seamlessly merges architecture, nature, and sustainability.
At Tian Taru, the connection with indigo extends beyond being merely a dyeing technique, as Seba integrates this ancestral practice into every corner of his project. Witnessing a day in the life of Tian Taru, CURA experiences firsthand what integration means. Guided by Seba through paths surrounded by indigo plants coexisting with other beings, the dwelling becomes a live testimony of the interconnection between daily life, work, passion, and sustainability.
From the majestic millennia-old rocks guarding the entrance, transmitting a magnetic energy, to the house overlooking the lush jungle that creates a mantle of security and protection, Tian Taru establishes itself as a space where architecture and nature converge harmoniously. The delightful lunch we experience upon arrival, cooked by Seba using ingredients gathered from the permaculture food forest, reinforces the idea of a life in symbiosis with the environment.
In the natural indigo dye workshop, a few meters from the residence, Seba goes beyond simple indigo preparation. Here, Batik patterns are designed, and workshops are conducted, integrating creativity with sustainable practices. This space expands into an artistic residency, and the studio team experiments with indigo plants, merging a passion for art with environmental responsibility.
Tian Taru, as a beacon of regenerative design, is not just a home but a philosophy of life. It is a tangible testimony of how a project can encapsulate the essence of living responsibly, without relying on excessive consumption, harmoniously integrating all aspects of existence. Seba has succeeded in creating a space that not only leaves a lasting impression on visitors but also illustrates how an integrated lifestyle can be the key to a more sustainable future.
The two main buildings comprising Tian Taru, meticulously designed by Seba, reflect an architecture that blends tradition and contemporaneity in perfect harmony.
The studio, a hanging structure, stands as a testament to skill and vision. Using wood and traditional techniques, Seba has managed to create a contemporary space perfectly integrated into the environment. This building, conceived as a place of work and reflection, is not only functional but also an architectural masterpiece.
The dwelling, on the other hand, features a careful selection of organic materials that emphasize the connection with nature. The mud walls not only create a unique aesthetic reflecting Seba's deep relationship with southern Spain and the tradition of vernacular houses but also contribute to the thermal regulation of the space. Seba has incorporated a cross-ventilation system into the core of the dwelling, using double walls hidden behind visible surfaces.
The ground floor of the dwelling contains the social areas, including the kitchen and living room, designed to create a cozy and open atmosphere. The second floor is reserved for the resting area, with family rooms offering an intimate and private retreat.
The project consists of two main buildings: the house, based on the traditional "Joglo" structure from the island of Java. A completely open dwelling without doors, incorporating vernacular design elements that allow for seamless flow between the interior and the lush surrounding vegetation. The two-story workshop, on the other hand, expands the creative and functional possibilities of the space.
The architecture of Tian Taru embodies Seba's vision, integrating the beauty of traditional techniques with the functionality of contemporary design. The Joglo vernacular house and the hanging studio intertwine, creating an architectural landscape that enhances the connection between humans and nature.
C: Is Bali your home? We understand that little is left to chance or logical choice; in many cases, something greater chooses for us. How did Sebas come to Bali, and how did Bali become a part of Seba? How do you think this geographical location has influenced the fusion of architecture, sustainability, and cultural commitment in your life project?
SM: I first came to Bali in 1989 to visit my uncle, who decided to return to Bali and build a house in Keliki. He had lived in Bali in the late 1930s when he was captured by the Japanese and spent 3 years in a prisoner-of-war camp. At 80, he returned to Bali and built the house of his dreams. During our visit, we helped with landscaping and slept in an open house. At that time, construction was still part of the community, and most of the work was done by villagers.
I slept in an open loft accessible by a ladder and woke up to the view of the volcano and rice fields bordered by forests and rivers. During this time, we traveled all over Bali, and it left a great impression on me. Most expatriates knew each other, and we quickly met in their homes. The lush gardens and open life at 14 were a fairy tale environment and an awakening that living behind closed doors and walls was not an option for me once I had the freedom to live outside an educational system.
C: How does your project align with the notion that we live in a digital age that favors immediacy and superficiality? Knowing that, to build a sustainable world, it is essential to understand complexity and commit to the long term. In our interpretation, Seneca's metaphor "It takes a whole life to learn to live" emphasizes the importance of fully engaging in all facets of life over time. How do you apply this idea to your work, recognizing that "learning to live" and making a significant impact require constant and deep involvement throughout life and in all areas?
SM: Working with indigo is a long process, and shortcuts cannot be taken. From cultivation to the finished piece, it takes time and concentration, allowing the mind to focus and be in the moment with every part of the process. It brings you closer to your environment. For our indigo to grow naturally without intervention, we first had to plant a native forest to protect it from the scorching sun.
Once depleted land, now, after 18 years, it has become a lush environment and continues to grow on its own. To the untrained eye, one would not realize that there is actually a plantation growing. Native trees, ferns, and other fauna grow hand in hand with the indigo.
There are many different techniques for making a dye vat, and depending on the environment around you, the techniques can vary. As we continue to learn, weintend to use only what is locally available, allowing us to make a unique vat for our area. Even when following a recipe, each vat is different, alive, and can dye instantly. It requires attention and care, and in doing so, your relationship with it grows.
C: We notice a very sophisticated and mature sense of aesthetics surrounding you and your projects. What were the main challenges in balancing aesthetics and sustainability?
SM: Working with the land in a non-intrusive way takes time. When I bought the farm, I slept in a bamboo hut. With no electricity, running water, and at that time, no digital devices, I was able to explore the surroundings. To bathe, we had to hike to a waterfall or river; to cook, make a fire, etc. This allowed me to first fall in love with the land and then fully respect it later on. I had time to get to know native trees, and with the help of the village, we started planting trees.
Not trees that are directly and obviously beneficial to humans, but rather to all native living creatures. Having visited protected sacred forests where small temples are barely visible, the forest becomes the main focus, and the sounds of nature that inhabit it are overwhelming. This made me realize that I wanted to live in such an environment. Building the house took 6 years. 6 years of working with simple tools and villagers.
We did virtually everything by hand, taking breaks to enjoy the process. We retreated, enjoyed the view, and gradually framed it organically. The windows became paintings that change during the day and mature over the years. Instead of building a treehouse, the small tree saplings are slowly becoming giants that embrace the house and hide it from the world. We rarely cut a branch, and if we do, it becomes a family affair.
C: Within our philosophy with our CURA project, where we value objects and spaces as bearers of stories, how have you incorporated a commitment to sustainability into the design and construction of your project, ensuring that each element is meaningful not only aesthetically but also enriching narratively?
SM: To build our project, we used natural and recycled elements whenever possible. Antique wood, stone, and clay were used. Every piece of wood has a story, and every stone was placed with the help of many. As I mentioned, the process was lengthy. The philosophy behind indigo is similar. It takes time and involves community help. We use every part of the plant, and once the dye is extracted, the leaves are returned to the earth. From the beginning, we knew we never wanted to work for others or make this part of our lives a business. This part of our life is a practice and a way to share a philosophy that we hope also inspires others to follow.
C: Considering objects as life companions, rich in their own stories and experiences, how do you believe the objects you have chosen for your life haveinfluenced and enriched your daily life, becoming an integral part of your personal experience? How do they find a place in the spaces you inhabit?
SM: Being surrounded by indigo and working with it, in an environment where we have played a big role in creating, is a privilege. You realize how generous nature is. How the simple act of planting a seedling can be so rewarding for many years, not just for your life but for those who come after. A dream here can become reality in one lifetime, as things grow so fast. When I come home after a day on the road, I find myself marveling, enriched by our environment.
I look in awe and feel blessed, but at the same time, dwarfed by the towering trees that keep growing. It is then that you realize how important it is to allow nature to grow, that its life cycle will outlast yours and many more after you, but that thanks to you it had that chance. Who doesn't wake up or feel slightly enriched when under a giant that has grown for hundreds of years and has provided protection, food, and shade to so many living beings? Now these trees shade our indigo, which, once transformed into dye, we can proudly wear knowing that to get it we had to plant a forest.
C: As a result of your project, what positive impacts have you observed in the local community?
SM: Our community is small. The village consists of 15 families, of which we know or have worked with at least one member of each family. By working with them on our project, they have learned a new trade that we hope they can share and continue if they wish. We have become a family, and some live on the land with us or are our neighbors. We give them the freedom to practice their religion and work according to their needs, which means they can take the day off whenever they want. During the construction process, we really had many workers planting a tree. Under one of the only trees already growing on the land, a sanctuary has been made where villagers come to pray during ceremonies. We hope to have had a positive impact on the village by admiring their ways and not trying to impose our own. That we can live in harmony and teach and learn from each other and respect the land on which we both live. Our workers say they feel at peace when they enter the property, which is nice to hear.
C: Considering your personal history in Bali, how do you believe it can contribute to global awareness of sustainability?
SM: By sharing our story and study with artists who come and learn about indigo and stay with us, we hope they will be inspired to create a similar environment in their places of origin. Not necessarily with indigo, but with the land around them. Realizing that the more you give, the more you receive when you are in a relationship with nature. When one is aware of their surroundings, their life becomes richer in many more ways.
C: What is your vision for the global replication of similar initiatives? Do you believe your projects can inspire others to engage in environmental and cultural conservation, both on the island and elsewhere in the world?
SM: I believe that in life one has to learn and then give back. I feel like I'm reaching the point where I can start giving back, and I hope that our project inspires others to follow a similar path. When that happens, it inspires me to keep going and keep learning. We must always be open to learning more. Indigo is a learning process, and by interacting with other artists, we are pushed to experiment with new materials, thus expanding our knowledge. Thanks to indigo, I have traveled to places like Japan and Bhutan, where I have learned and shared ideas. I think the goal of an artist is to mimic the beauty around us or to provoke others to engage with it, as well as to present the harm we have caused. If we can do that in an environmentally respectful way, then I believe or hope we can arouse interest in others to evoke those emotions wisely.
C: Addressing the integration of commitment to sustainability in design and construction, how have you considered establishing a harmonious relationship between human creativity and natural cycles? How has this integration influenced the execution of your project, and how do you believe it contributes to a lasting balance between creative expression and respect and conservation of the environment?
SM: When you work closely with nature, your relationship strengthens. Nature is my inspiration. So, when the nature around me is in balance, I hope to be as well. Sometimes, taking a step back and finding yourself in the daily chaos of urban life helps remind you how truly important nature is. I often say that we live in a bubble in our own world, but we are only reminded of how special that world is when we can share it and see it through the eyes of those seeing it for the first time. We tend to forget a reality when we live it every day, so I am grateful for those who have visited us and confirmed or expressed how lucky we really are. There is a cycle when working with nature; nothing is permanent, and things have to die for others to grow. There is little we can do to change nature's ways, but if we can be open to observing its natural process, then there are beautiful moments to share. When left alone, it finds a balance; at first, it is chaotic, everything pushing its way to the sky, trying to be noticed, trying to survive until a balance is formed. I hope to grow through the process of practicing with indigo and build a relationship that depends on my understanding with nature and that, guided by it, I can create what it wishes me to express.
C: What are your expectations for the long-term impact of your project in terms of sustainability and cultural preservation on the island of Bali?
SM: Since Bali attracts creative minds, I hope our project inspires creation on the island with respect. At the moment, there are many visitors trying to make as much money as possible. They are trying to change Bali to better suit their needs. This will cause Bali to lose its identity, alienating those who love it and irritating those who were born here. There is much to learn from each other and to build respectful relationships. Hopefully, our project connects people with the objects they have created. In the past, textiles had symbols, meanings, dyes had medicinal properties, they were used for protection, ceremonial purposes. If somehow our visitors can get some kind of connection with the object created by visiting us, then we hope they will respect the environment in which that object was created.
C: How significant is spiritual ritual in your life? How do you experience and live spirituality in Bali, where the unique practices of the place intertwine in everyday life? Do you think the rich spiritual connection of the place has influenced your daily choices, impacting your personal project?
SM: There are moments in life when one feels more spiritual than others. I know that when I am completely focused on my work, then the spiritual aspect of my life works hand in hand. But spirituality has its time and place, and with age one can focus more on that path in their life. At this moment in my life, living a spiritual life is not always easy, but I hope that with time I can follow a more spiritual life. The deeper I go into the practice of indigo, I hope that path evolves organically and naturally. I hope that the older I get, the more awake I feel.
C: Returning to Seneca's quote "it takes a whole life to learn to live," considering that you are very young and that much of your life has been lived in harmony and mature consonance with your principles. In light of this, how do you envision your next project, your future home, and your participation in the community? Will Bali continue to be the land that welcomes you?
SM: I have had dreams all my life. Those dreams remain imprinted in my mind. From a young age, I had the privilege of living in a dreamlike state, in a so-called fantasy world, untouched by reality. As I grew older, I searched for places that would allow me to live in that perfect world, feeling free, immersed in nature, and living among people who still have a strong bond with it.
Having lived in very simple homes throughout my life, I realized that it was in those places where I was the happiest. So, my plan is to downsize, have less, but at the same time, more space around me where nature can grow freely and without limitations.I have already bought land in both Bali and Spain, where I’ve planted trees and where there are plans to build small houses in the near future. Bali will always be my home, and so will Spain. Animals migrate, but they always return to the same places and I suppose I will too.
