Calling Bangkok home, his professional and personal lives have centered around, in his words, this “sublime” region. At parties, Bensley positions models in the tub with dry ice and bottles of champagne to pour for guests lounging on the couches. If it’s ugly, we paint over it. These are by James Mortimer, the young British artist whose influence by fin de siècle immoral literature sashays in the room via a painting of expressionless, alabaster nudes in a garden behind the bed. “He was a real warrior.” “This is my dad’s room,” Bensley says leaning back in a high-backed chair, his Jack Russells Chang, Chuck, Bubby and Sammy scampering about. Two Bill Bensley-designed destinations featuring his trademark style and extravagance. Originally built in in 1975, the house has since been through countless renovations over the years. The middle of 2018 will see the opening of a tented camp along 1.5 kilometres of rivers and waterfalls that is pure-Bensley in its aim and audacity. Founder Bill Bensley and his partner in life and work, Jirachai Rengthong, are behind a whopping 200-plus properties in over 30 countries, mostly concentrated within Asia, but also scattered elsewhere around the globe. He’s finally completed the newest royal palace of a Malaysian Sultan, one of the approximately 5-percent of his projects that are private residences – they’re bread-and-butter money-makers, he admits, but he won’t take on an assignment unless he thinks it’s going to be fun.It would be difficult to understate the amount of empty wall space between frames: if Bensley hangs a painting, he hangs 10. I love his language of markings. No trees were cut down in the construction, the 100-square-metre inside-outside suites are tents on stilts that ensure the natural flow of irrigation and migration patterns, staff will come from the Shinta Mani Foundation for responsible tourism in Siem Reap, and guests will come via zipline, two of them in fact, from the area’s highest point over the trees and the river, landing in the reception area to a gin and tonic.His portfolio includes some of the most iconic properties in Asia, from the bucket-list standard-bearer Four Seasons Tented Camp Chiang Rai in Thailand to the new, super-buzzy J.W. Now, thanks to a handful of new boundary-pushing projects, 2018 is looking like the year Bill Bensley brings us into … Bill Bensley, the creative mind behind some of the world's most incredible luxury resorts, shares his design philosophies -- and it starts with having fun. "+$("#pullQuotesVal").val()+" "+galleryJsonData[0].img[c].imgCaption+"The other of Bensley and Jirachai’s shared life’s work is Baan Botanica, their fanciful yet comfortable home in a quiet neighbourhood in far-upper Sukhumvit, in Bangkok. ‘It’s the refurbishment of Lamarck University that was built in 1880,’ Bensley says with a wink in acknowledgement that the university is a fictional inspiration. Overflowing with antiques, artefacts and plants, the ever-changing home of the American architect and his partner, horticulturist Jirachai Rengthong, is a design masterclass.
The house is a place of experimentation. WorldWild, which will take eight years to build, will allow endangered animals to roam free across 95 per cent of a 2,000-hectare site, while humans visitors will be restricted to 5 per cent. The setting is unlikely: deep in the Cambodian rainforest in the Southern Cardamom National Park.From Phuket to Da Nang, Indonesia to Cambodia, in partnership with Rosewood or the InterContinental, JW Marriott or the Four Seasons, the name Bill Bensley is a guarantee that your accommodation is going to have more than a touch of verve, glamour and irreverence. “It’s a repository for the best-of-the-best shopping,” he says. “I have a serious shopping addiction. He devours books and researches each project heavily, delving into the history of Cambodia, Laos, Bali and more to come up with transcendent concepts that aren’t merely hotels, they’re experiences. Now, all the 12 Chinese horoscope animals are represented there."on Condé Nast Traveler magazine!"Once again, the challenge was: how do we take a [piece of] architecture that’s normally very small, no wider than 10 meters, and make it 200 meters?
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