Article Category: Lifestyle

Reminiscent of the Balinese landscapes they first encountered when visiting the country in the 1990s, Dimitri Tran and Adrien Portier were impressed the moment they set foot on what was to be the resort’s site. “The gentle river and stunning waterfall juxtaposed with boundless rice fields in the backdrop present an authentic vision of Bali, a postcard perfect view of the island. To this day, we haven’t tired of the scenery,” beams Tran.

The natural features of the locale influenced the design of the project from the onset. A meandering river forming part of the subak rice field irrigation system and a local community that has managed to preserve its authentic Balinese charm served as inspirations. Even the name Nirjhara—Sanskrit for waterfall—was chosen to echo the indigenous roots of the property.

For the architecture, the designers primarily relied on local wood and stone. “Indonesians have been cutting and carving stones for decorative purpose for centuries and we referred to their expertise to create tactile and visual contrasts through the combination of smooth grey andesite and rugged volcanic stones,” divulges Portier.

The layout of Nirjhara resort is interspersed with open spaces and pavilions reminiscent of traditional bales—places of gathering for families and local communities in Balinese society. This is also reflected in the spacious common areas, located at the heart of the property, where guests are encouraged to partake in activities organised by the resort, interact with the hosts, and experience Balinese culture.

The hotel follows a modern tropical approach to design—public spaces and river pavilions draw inspiration from Balinese architecture, while the treehouses are relatively contemporary and experimental. On the other hand, the Yoga Shala centre seamlessly merges with nature and pushes the boundaries of sustainable construction.

“We thoroughly enjoyed designing Shala. It sits in a unique location. It is bordered by a charming river and faces an imposing waterfall and a natural green wall connected to the surrounding rice paddies. While planning the yoga pavilion, we realised that the direct proximity to nature dictated its design. So, while Nirjhara’s overall architecture does not typically use bamboo, it felt like a logical choice for the yoga centre,” explains Tran.

The villas feature clean lines, earthy tones and decorative accents imbued with the quintessence of Indonesian design, while offering a fresh perspective on a tropical aesthetic. For each suite, the resort collaborated exclusively with local artisans and emerging artists from the archipelago to produce bespoke pieces that exhibit exceptional levels of craftsmanship and to promote contemporary Indonesian art, respectively.

Through the use of natural materials combined with expert craftsmanship, the artisans handcrafted elegant, tactile pieces such as fabrics and kimonos produced on the island, woven rattan furniture for the suites, coconut panelling for the headboards, and extensive use of wood carving seen across the resort.

Earthy tones dominate the palette, lending the property a quaint, timeless appeal. The beige hue of marble from Sulawesi, the varying grey shades of the stone cladding, or the perpetually evolving colour of wood panelling serve as the perfect backdrop.

The decorative fabrics are handwoven in East Bali and dyed using natural, plant-based indigo. The turquoise green of the pools and ponds is seen in the batu hijau or green stone used throughout the resort. Not to mention the thriving tropical garden around the property that creates a veritable palette of rich rainbow hues.

“Sustainable luxury is the overarching theme. Yet we wanted the resort to be an experiential place, where guests could feel at home yet utterly transported,” says Portier. While Tran shares, “We do not view sustainability as a marketing scheme. We genuinely believe that businesses should care about the environment, regardless of their industry or location. Some of the most powerful initiatives we’ve incorporated are likely to go unnoticed, although their impact is highly tangible.”

Some of the measures undertaken include setting up heat pumps and solar water heaters, using wood for construction that was either reclaimed, upcycled or grown on certified sustainable plantations, eliminating single-use plastic, setting up a water purification facility on-site to bottle drinking water in recycled glass containers, removing single-use bathroom amenities in each of our suites.

It’s no wonder then that Nirjhara redefines the notion of sustainable luxury with its refined and contemporary design. “We did not want to create yet another eco-lodge. Our take on sustainability is ubiquitous yet discreet. It has been one of our core values since the inception of the project and tangible efforts were made throughout, from design to construction. We believe that sustainability and luxury can go hand in hand without having to compromise,” concludes Portier.

Sprawled over nearly 6,400 sq ft of area, the Aangan Retreat in Kannur, Kerala references its idyllic location with an exquisite yet surreal design language. Styled by interior design practice Dtale Decor, the property uses premium materials and textures to give way to an aesthetic that is both elegant and relaxed.

A wood panelled door and an opulent chandelier lead the way inside as glass windows overlook the verdant lawns. The flooring sees an assortment of mediums including wood, silver portoro and travertine marble—each bringing a unique character to the space.

We love how the creatives have used a variety of wooden shades and cement finishes for an intimate ambiance. Adding a pop of colour and vibrance to these regal, muted surfaces are artisan-crafted fuchsia pink and slate blue consoles, while a hand finished gilded mirror adds to the villa’s grandeur. Low lying furniture and dark toned materials ensure warmth throughout the property. 

Further beyond, a seemingly sculptural staircase is a sight to behold. The designers chose to encase this floating structure with steel rods, so as to provide support and have daylight illuminate it.

In the latter part of the retreat, vintage furniture including an aquamarine patina pendant lamp and teak accent armchairs further enhance the rustic appeal of the decor. With a fusion of modern, sleek and minimalistic architecture and stylish interiors, this retreat outdoes itself as a design oasis. 

The concept of ‘future’ has always been quite reliable in its ability to compel us to set goals for ourselves and move forward in life. This reliability depends on its predictability, allowing us to plan ahead and chart a course where we have a sense of control over where we are headed.

Of course, the future only truly exists in the present, so it’s easy to lose sight of today in our ambitions for tomorrow. However, when the present is turned upside down and the future is abruptly shrouded in an unknown darkness, we lose our sense of sight.

The sheer unpredictability creates a murky atmosphere of fear, foreboding and disquiet, where questions about our very freedom, courage and wisdom as both individuals and people, swirl in our minds, locking us down in a strange vacuum of liminality.

The virtual art show Future Is Not Fixed explores these very notions and states of being. The premier joint presentation by two of India’s prestigious art galleries, Nature Morte and Vadehra Art Gallery has been curated by Arjun Sawhney.

“When Arjun came up with this idea, we were immediately excited by it, as we were already seeing artists respond to the uncertainty and challenges that face us today. The works vary in scale, medium, and seniority of artists, making it an interesting mix of artists for different audiences,” divulges Roshini Vadehra of Vadehra Art Gallery.

“The show was conceived as a collaborative effort between two galleries, their artists and Arjun [Sawhney], to address some of the current global realities. It’s a strong representation of our subcontinent in the midst of our current times.” says Aparajita Jain, Director of Nature Morte.

About this ongoing art exhibit, Sawhney shares, “As time hung heavy and emotions raced, creatives from all over the globe attempted to express their feelings. Conversations with writers, designers and artists made me realise that these thoughts could be channelled to voice to what we all were feeling. So, the galleries and I asked select contemporary artists to create works on those lines. While viewers can interpret them in their own view, the artists have also presented their thoughts—not just in their art but also in prose.”

Future Is Not Fixed essays a creative interpretation of the unknown future, an artistic reflection of inner and outer worlds, a heightened sense of anxiety and solitude, and the new way of bearing these utterly unfamiliar times.

Atul Dodiya’s landscapes are pastoral scenes visualised in an old modernist, expressionist style. The oil on canvases transports the artist to a sublime zone on a spiritual level. They examine the inter-relation between subjectivity and objectivity, and the very perception of reality.

Ranbir Kaleka’s work (see above) explores the relationship between place and time. In this digital print, he combines aspects of both day and night, where the boundaries between the outside and inside are indiscernible. In this sea of ambiguity and monotony, the sole recourse is intense self-reflection through mirrors. And looking at oneself enhances this feeling of time severely lacking a sense of place.

Thukral & Tagra illustrate a civilisation devoid of any signs of life, drifting in a quagmire of stasis, failure and suspended time. The palette, so far removed from the real world, heightens the alarming implications.

Faiza Butt‘s It Rained That Day refers to the ephemeral storage of memory, which does not rely on imagery or narrative but on sensation—a need to be ‘felt’. The work (see below) depicts two individuals locked in an embrace. Their features are either hidden or generic, since their primary emotion of affection and support is meant to be the relatable aspects of their identity.

The swirly patterns or marbling in the background mimics an image of the heavens, reminding us of our connection with the universe, especially in these times of fear and lovelessness. “The uncertain times we’re currently living in, now so far removed from the concept of touch, also registers as a series of sensations. I wanted to leave the relationship shared by these two figures open to interpretation—they could be lovers, colleagues, siblings or family members in mourning,” says Butt.

Gigi Scaria‘s Trail and Stumble weaves in an element of stagnation into his otherwise familiar visual language of exploring dynamic architectural structures and spaces. A sense of suspension and lack of direction embody this series (see below) of acrylic on canvas, where a traveller or wanderer or explorer is restricted from pursuing new experiences and connections.

“I wanted to explore stagnation in architecture, and a sense of suspension and lack of direction. I consider these images to be predictive in some sense, representing an alteration in travelling and general cultures from which we are yet to emerge and then subsequently redefine,” says Scaria.

Jagannath Panda presents a layered narrative with Urban Pecker 2. It examines the human relationship with the natural world and explores the paradoxical nature of comings and goings as a truth of time. “I developed a meaningful interaction and emotional bond with this little bird during the lockdown. My wife and I built a nest, and over weeks, it became home to a whole new generation of sparrows. I was simultaneously confronted with imagery of migrant labour making their arduous journeys home, which made me think of the Hindu deity Ram as he was leaving for vanvas. I wanted to explore both narratives—of birth and arrival as well as the plight of leaving,” shares Panda.

Martand Khosla‘s sculptural work No reason to care uses the basic building blocks of architecture—frames, doors, windows and furnishings—as confetti, party favours as the band plays on and the ship begins to lilt, and where our ancestral roots in cubism, surrealism and constructivisim provide both guidance and solace. “My sculptural practice continues to concern itself with contemporary dilemmas of urbanism, migration and displacement. This work is part of a series that explores the constant realignment of urban settlements in India,” says Khosla.

Riyas Komu‘s portrait on canvas Tragic Day Optimist is drawn from an image he came across on the Internet. Withdrawn from the world, the work (see below) draws towards itself, pulling us closer to the depths of emotion that engulf us all. “This particular portrait came to me in a flash. The thought centre lays in abeyance, in the forgetfulness of one’s own memory,” says Komu.

Dhruvi Acharya‘s Strike and Lockdown perfectly conveys our contemporary situation. In her watercolour entitled Strike, we see women wearing masks to protect their health while Saraswati, the goddess of knowledge, is blindfolded, lashing out randomly with her sword. In the work Lockdown, a single figure is lost amid clouds. “Strike is about the forces that strike out our freedoms, health and finances. It is also about hope—hope that the thoughtlessness with which humans treat all other living things on our planet will be struck down. On the other hand, Lockdown is about the isolation, fear and confusion this virus has made us all suffer through,” says Acharya.

Asim Waqif‘s Ontogenesis X synthesises the organic with the technological, accentuating the grey areas between the two, resulting in elegant confusions.

Of Waqif’s work (see above), Peter Nagy, the American artist created with reviving Nature Morte in the late 1980s, says, “Nature is now a trope, manufactured for various purposes, not least of which to bolster our human egos. The hybrid is now the preeminent model, assemblage the norm, purity a nonsensical myth. This sculpture by Asim Waqif sits comfortably within this interstitial zone, acting responsibly towards both the manmade and the natural.”

Manisha Parekh‘s Stumble is constructed entirely of cut and pasted papers, reminding us of cellular structures, genetic codes, and viral paths.

In a candid conversation, Sawhney concludes, saying, “Of them all, I find Riyas Komu’s depiction of the migrant woman haunting; the pathos and contemplation in the eyes is striking. And the chaos in Nidhi Agarwal’s abstracts reflects the ups and downs in our minds.”

Future Is Not Fixed is available for viewing until September 20 on NatureMorte.com and VadehraArt.com

An avant garde design sensibility paired with a strong passion for coffee, cocktails and cuisines have all contributed towards the making of United Coffee House (UCH) Rewind, an all-purpose venue in Chandigarh. 

Conceptualised by Chromed Design Studio, the space is modern, contemporary and trendy but with a decidedly vintage charm. It stands apart from its cafe contemporaries due to its restro-bar layout, which further enunciates a regal charm and diverse characteristics of both a cafe and a restaurant. 

In order to magnify the transition of a 75-year-old coffee house into a new and hip, modern restro-bar, the 2,750 sq ft space breaks away from the clichéd version of a regular coffee house. 

“In the process of designing UCH Rewind, we aimed to achieve a radiating environment with a unique mix of classical styles. It is infused with a contemporary burst of colours that comes together like a rendezvous,” says Abhigyan Neogi, principal and founder of Chromed Design Studio.

Right from the doorway, this resto-bar promises to enthrall visitors. A giant dome shaped entrance is constructed with glass cladding and brass lattice. It embodies arches and hints at the sheer grandeur of the space. 

Within, an unconventional seating area features boho-chic lighting, patterned flooring with colour blocked tiles and overpowering hints of blue. The holistic theme of the restaurant is realised through arches and domes of varying shapes and sizes in brass lattice. A Sabyasachi-inspired wallpaper adds to the vintage vibe insinuated by the arches and ties the space together. 

The main dining area is inspired from many divergent eras of architecture. Baroque print on the vaulted ceiling symbolises vintage luxury and eminence, while dramatic motifs enhance the gothic, stained-glass windows to generate a colossal effect on patrons.

Our favourite element is the prodigious candelabra chandelier that emerges from the carefully curated ceiling to lend a timeless and ethnic appeal to the entire space. An ellipse-shaped glass as well as vinyl stickers with similar patterns as seen on the brass lattice are other key elements.

The booth-style seating is draped with heavy curtains in blended shades of orange. Above, ornate and embellished motifs decorate the curved ceiling. A bohemian pattern of arch-shaped mouldings is etched on the wall, which serves as a focal point of the restaurant. Seen near the bar is a pop of colour provided by an illuminated backdrop that encompasses a waffle slab in the shape of an arch. 

We love that, throughout this venue, explicit details pay tribute to the history of architecture and effortlessly connect the past with the present.

Imagine holidaying in the very same heritage property, whose guest list has included legends such as writers Ernest Hemingway and Gertrude Stein, and artists Pablo Picasso and Marc Chagall! We certainly are…. We really wish we were at the Hôtel du Cap-Eden-Roc in the French Riviera right about now. Although, there’s one more reason why. 

It’s because this year, the glorious French property is celebrating its 150th anniversary by reopening three dining venues styled by Brazilian architect Patricia Anastassiadis, founder of Anastassiadis Arquitetos.

The historic setting—an illustrious gateway to the past—was originally constructed in 1870 by Alexis de Pletscheyeff, former captain of the Hussards of the Russian Imperial Guard and a group of French aristocrats and investors as a retreat for intellectuals and artists. It is set in the most picturesque part of the French Riviera, and is also renowned for being the inspiration behind novelist F Scott Fitzgerald’s fictional Hotel des Étrangers.

Anastassiadis, who is known for her repertoire of timeless structures, was roped in to conceptualise  three main dining areas—Bar La Rotonde, The Eden-Roc Grill and Restaurant Louroc. The brief was quite simply to ensure that each venue respects the history and memories of the hotel, and pay homage to the creative minds that have set foot in its premises over the years.

The designer says, “I’ve always found it to be a privilege to include history and tradition in my practice. These, as well as the works of architects and interior designers who came before me, serve as my inspiration. For this project, I was excited to reference the many iconic aspects of the property and have an ongoing dialogue with its rich past, even as I began a new chapter.”

For Bar La Rotonde—an oval shaped section that lies encompassed by rampant gardens—Anastassiadis  brought the outdoors in with a plethora of soft green shades. The curvy, rounded furniture pieces, including her designs such as Uchoa and Zelda bamboo chairs, hint at the free flowing silhouettes found in nature.

These are perched on and around a central, oval rug in shades reproduced from the leaves of the surrounding garden. Arched doorways offering serene views and an alabaster light fixture by Atelier Alain Ellouz further enhance the bespoke setting, which was conceptualised as a pathway to the sea.

On the other hand, The Eden-Roc Grill is rather sporty and is draped in nautical blues and reds, and is synonymous with the French Riviera style. Whereas Restaurant Louroc looks out to the Mediterranean Sea and Lérins Islands. Here, Anastassiadis retained the former arches and podium and employed them within a contemporary layout, spruced with sophisticated furnishings in blue and coral hues.

Crafting a space that was truly one of its kind, the designer custom curated all the furniture including the Riviera Sofa, Eden-Roc Chair and the Audrey Console. The walls are made using corrugated wooden panels to be reminiscent of ocean waves and feature the original trompe l’oeil as a tribute to the hotel’s remarkable heritage.

A layered layout, curved walls and an earthy palette that echoes the city’s mountainous terrain—the Forest For Rest spa in southwestern China transports you to a realm where nature seems to seep into the modern world, bringing with it the serenity and purity of the wild outdoors.

Located on a popular pedestrian shopping street in Chongqing, the 29,000 sq ft space features a labyrinthine entrance with several curved walls defining multiple paths to enter the inner domain. Leaping Creative, a Guangzhou based brand experience design company, gave the interiors a natural and instinctive progression. The result is akin to exploring a fantastical desert terrain that reveals a lush forest.

The Leaping Creative design team chose the Hercules beetle as the icon for this leisure and wellness brand, since it symbolises healing, energy and vitality. “The process of Forest for Rest’s spa services is redesigned with the floor plan, to guide the costumer’s journey along the brand narrative. The Hercules beetle imagery is extended to print materials, screens, 3D installations and merchandise, to create an immersive experience,” says project manager, Dongzhi You.

Forest For Rest, which appeals primarily to the younger generation, also upgraded its foot spa experience by breathing new life into the quaint old practice of foot bath therapy that has roots in traditional Chinese medicine.

Textured painting and a warm terrazzo are custom made for the wall and floor of the entrance as well as the dining room, along with all the furniture and lighting fixtures. A handmade green carpet with a turf-like texture covers the seating area. While the foot bath and spa rooms feature nature stone to complement the terrazzo flooring.

Aglow with a soft light, the waiting area is decorated with art installations that instill a sense of mystery and tranquillity. Before entering the foot bath and spa rooms, a dedicated space for changing footwear also works as a prelude for what lies ahead.

Based on Chinese poetic notions, this area is characterised by curved and semi-enclosed seating nooks and a soft dreamscape look. “Our favourite part is the shoe changing area. With the concept of ‘moonlight shallow’, it presents soothing, poetic scenes,” says design director Zen Zheng.

The inner chambers are designed around comfort, privacy and simplicity. These minimalist spaces induce a profound sense of relaxation. In the spa rooms, frosted glass installed above the tub, is embedded with an LED screen that displays mottled light and shadows, accentuating the feeling of lounging in a pool under a leafy canopy deep in the forest.

Positioned at the heart of Muharraq’s old town is the boutique Nuzul Al Salam. The Bahrain hotel’s majlis or reception area marks the entryway of this quaint structure wrapped around a central courtyard—a magnificent conservatory of sorts filled with lemon and orange trees. Wood and cane armchairs are scattered throughout this green oasis to enjoy the glossy foliage and citrusy aroma under the blue sky.

Part of the Year of Zayed initiative headed by HE Noura Al Kaabi of UAE’s Ministry of Culture and Knowledge Development, the hotel is a joint endeavour of HE Shaikha Mai Al Khalifa and designer Ammar Basheir.

“We have been collaborating on cultural projects throughout my career. When it came to this project, we both instantly knew the direction we wanted to pursue. As much as I wanted to give the hotel a contemporary look and feel, it was crucial for me to keep the essence of a traditional Bahraini home intact,” says Basheir.

The over 9,600 sq ft hotel houses a reception area, foyer, dining room, courtyard and six bedrooms—two on the ground floor and four upstairs. “Although I wanted to keep the original form of the traditional house, especially the courtyard, I wanted to rethink it with a new staircase. The parametric staircase, made entirely of 700 pieces of oak, is inspired by Bahraini boats,” says Basheir.

With the desire to celebrate Bahraini craftsmanship, the interior designer commissioned local artisans to make furnishings for the hotel. Fashion designer Hala Kaiksow created the bedding with gold thread embroidery and motifs from the Epic of Gilgamesh as well as the tapestry that was made in Lebanon by Basheir’s friends from Bokja Designs in the same theme. All the artworks on display have been sourced from native artists.

The bedroom interiors in coral, blue, lavender and yellow are mainly inspired by the Epic of Gilgamesh, with each chamber named after a theme from the ancient Mesopotamian poem. For the majlis and dining rooms, Basheir uses shades of teal, while doors and window shutters are painted seafoam blue—a sort of nautical homage to Muharraq’s famed coastline.

The hotel sits as the first destination for visitors of the Pearling Path, a UNESCO World Heritage Site. Even so Basheir says that he did not want to use “any predictable Arabic patterns or arabesque motifs, which is very clichéd. I like adding an element of surprise and the metamorphic light in the dining room is definitely something I wanted to incorporate as a way to communicate with visitors. It’s a kinetic wall with moon eclipse lights that adapts to one’s physical movement. It is almost as if you are having a dialogue with the wall if you are sitting alone. I wanted to truly to engage all the senses,” he explains.

Modern furniture offsets vintage accessories such as old radios and bespoke handmade tapestry from Bokja Design with Gilgamesh motifs. A lot of brass, bronze and embroidered fabrics are seen in the decadent colonial styled hotel. The custom tiles in the courtyard in blue and green bird motif are reminiscent of old colonial tiles; also used here is the local favourite terrazzo, which is customised for the property.

Colonial style furniture, traditional Bahraini elements, jewel tones, modern furnishings, indigenous flora and maritime allusions makes Nuzul Al Salam a unique venue that transports you to another realm where time ceases to exist. “My favourite spot in the house is no doubt the verdurous secret garden terrace I designed in the Sun Room, which serves as the perfect hideaway from city life,” smiles Basheir.

Scroll below for more images of Nuzul Al Salam by Ammar Basheir…

Mountain stays are lovely but strenuous experiences. Being in the midst of all that alpine beauty, under a picture perfect, cloudy blue sky is like a direct shot of rejuvenating energy for the city weary soul. And yet to thoroughly enjoy that beauty requires immoderate amounts of inclined climbing.

It stands to reason that the best way to enjoy a mountain stay is in a resort that makes the most of those gorgeous views. And right now, we wish we were up in the rugged hills of Byasi village in Uttarakhand,  where along the banks of the river Ganga lies Taj Rishikesh. Laid out on a stepped slope, this boutique hotel owned by Arjun Mehra blends into the surrounding landscape with the perfect balance of contemporary design and traditional elements.

Taj Rishikesh comprises a welcome block with 40 guest rooms across three floors, a central courtyard that connects each storey, a banquet hall, infinity pools, and various social spaces such as a bar, spa, specialty restaurants and yoga pavilions.

Then there are the 40 villas that are positioned in a natural progression along the terraced landscape on a site originally used for stepped farming, doing away with the need for excessive excavation. The pool commands a clear view of the river, while the spa is embedded into the earth overlooking the banks.

With minimal cutting and a focus on native plant species, the landscaping by Joel Burega brings out the natural splendour of the surroundings, while allowing the buildings to blend seamlessly into the environment. A dark metal structure, exposed wooden cladding and indigenous slate roofing makes up the understated exterior of the hotel.

Edifice Consultants adapted and further developed the architectural design concept by Canadian Architect, YH2 to mimic the local structures with sloping roofs, stone and wood cladding, and slate roofing. The team, including Mihir Bhatt, Radhika Dey, Pallavi Jitkar, Akshata Bane, Binu Kuriokose and Kolathu Baskaran, also designed the backdoor areas of the hotel that are critical to its functionality.

In a first-of-its-kind in the country, 200mm thick stone cladding on light-weight walls comprise the exterior, where metallic strings hold the vertical facade of the stone in tension and keep it intact. All the superstructures were fabricated in a factory in Haryana and assembled on site. Plus, the weather-resistant external wooden panelling from Canada adds character to the structure.

The interiors, done by Singapore based Eco-ID, are a stylish composition of artworks and fabrics toned down to highlight the breathtaking outdoors. With the intention to source both the interior and exterior design elements as well as local skillset, the wooden flooring compliments the indigenously manufactured furniture. The exterior hardwood Douglas fir from Canada and hemlock wood used in the interiors remain the only base materials sourced externally.

The property is not without sustainable additions—solar panels are incorporated to generate hot water, the stone edifice maintains an ambient temperature difference between the exteriors and interiors, and the open corridors ventilate the building efficiently. An STP system placed at the lower level provides just the right amount of water required for the landscape, maintaining the water table and ecosystem of the site.

We’re enamoured by the sound of the flowing river and scents of the regional flora that are as much a part of the architecture as the building materials and spaces. Set around a central courtyard with large terraces, the public spaces make the most of the panoramic vistas, while each room is awash with natural light and has a view of the river gurgling in the valley below.