ART & DESIGN CERTAIN STYLE Clockwise from left: a house on Jencquel’s estate built out of a reclaimed ironwood bridge; a turtle-shaped structure that houses an indoor badminton court, built in conjuction with bamboo specialists, IBUKU; a bench made from a prized rambutan tree on Jencquel’s property. Facing page: a rental apartment on the estate; inside the badminton court clean-lined. “Most homes here are over-ornate,” says Jencquel, adding that the densely jungled site, with a stunning view overlooking a gorge, mattered more than anything. It now features rental properties and a badminton court. Jencquel is an exemplar of “slow design”, a movement that emphasises traditional techniques, the cultural sensitivities of a project’s locale and thoughtful, low-impact sustainability. His visions tend to percolate rather than erupt. Given, however, the increasing popularity of his work, not to mention that of Bali as a destination, he may need to speed up his process. In the past few years Jencquel has worked on projects for clients in Singapore, Thailand, Costa Rica and even the Republic of Congo. “You could say I created a little niche market on the equatorial belt,” he says. “Call it eight degrees latitude design.” Jencquel, 40, came to Bali eight years ago from Paris, where he worked for the French designer Christian Liaigre. (Liaigre “taught me how to design furniture,” he says.) His dream was to “capture” the Balinese lifestyle and export it to Venezuela, but political turmoil in his home country obliged him to voyage elsewhere. In 2011, after holidaying in Ubud, Bali’s spiritual heart, he founded Studio Jencquel, which designs homes and interiors that borrow heavily from their surroundings and that seek “meaning and emotional connections”. Of particular PHOTOS TOMMASO RIVA / LIVINGINSIDE 60 CENTURION-MAGAZINE.COM
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