The Indonesian hotelier unveils the last stage of Desa Potato Head—his unique vision for a hotel-meets-community centre that has been a decade in the making
As any hotelier will tell you, building a hotel requires an almost masochistic appetite for long project deadlines, eye-watering expense outflow and an even longer horizon for an adjusted-for-inflation return on investment. In most cases, five years is a bare minimum, but in the case of Ronald Akili’s ambitious Desa Potato Head project, that horizon has stretched to a decade—and the Jakarta-based real-estate developer turned hotelier is still not done.
The first salvo was fired in 2010 when Akili—the son of prominent Indonesian entrepreneur and collector Rudy Akili, who also opened the Akili Museum of Art in Jakarta—launched Potato Head Beach Club in a quiet stretch of Bali’s Seminyak neighbourhood.
By any yardstick, it was a game-changer: a slick mix of restaurant, music club, bar and pool, and social hangout for both locals and the greater community of hipsters that turned the tired old trope of Bali as the backdrop for surfers, yogis, spiritual shrines, traditional gamelan orchestras and kohl-eye-lined dancers on its head. For here was a thoroughly fresh take on Bali, a place whose setting was steeped in tradition but whose programming felt thoroughly millennial.
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Exhibit B was five years in the making. In 2015, Akili opened the 58-suite Katamama right next to Potato Head Beach Club, tapping Indonesian architect Andra Martin and Singapore-based interior designers Takenouchi Webb to create a quietly modern space that was layered with teak and terrazzo, Balinese bricks and hand-made Javanese tiles. It was another instant hit.
Even so, few really appreciated that both Potato Head Beach Club and Katamama—and the sweep of restaurants that Akili opened in the interim in Singapore and Hong Kong as well—were test beds for a more ambitious expression of his belief that genuine hospitality “lies in the interaction between different cultures.” Specifically, “authentic, not ethnic” has been an abiding mantra. This year, Akili launches in stages what he describes as the last piece of the puzzle: the Creative Centre.
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