How Bill Bensley tells stories through his architecture

Bill Bensley is one of the most visionary hospitality designers of our time. Hotels around the world bear his colourful, detail-oriented signature. In an exclusive conversation with moments, he reveals why good architecture must always tell a story.

Whether it’s a ​“Four Seasons”, and ​“InterContinental” or a ​“JW Marriott” – they are all clients of Bill Bensley. Here, the famous hotel designer explains what makes a good hotel room, what luxury means to him, and which hotels are not to be missed.

What is the first thing you look at when you enter a hotel room?

BB: To be honest, the bed. Is it inviting? Cosy? If a hotel can’t get the bed right, why should I stay there? I want a bed that’s so tempting that you deliberately miss your check-out time. With soft sheets, plump pillows, heavy blankets… And I look at the view. Where does your gaze fall when you pull back the curtains? On a bare wall? A car park? That would be tragic. You should know immediately where you are when you look out. And last but not least: the lighting. If the lighting is poor, the whole room suffers. No one looks good in cold white light – not even Brad Pitt. I love soft, atmospheric, flattering lighting.

And when do you feel truly at home in a hotel room?

BB: When the room no longer looks like a hotel room. When there are books on the shelf that I really want to read. When the art on the walls is not mass-produced, but tells me something about the place. I love rooms that tell curated stories rather than simply being stylishly decorated. Rooms with patina, personality, and a few surprises. When the room smells right, sounds right, and feels like someone has thought about how people really live – not just sleep – then I feel at home. And if there’s a good gin in the minibar – all the better.

You started out as a landscape architect and designed your first hotel early on in your career. What fascinates you so much about designing hotels that you still do it today?

BB: I think it’s the endless opportunity to surprise – myself and everyone who enters one of my rooms. Design is fuelled by an insatiable curiosity, a love affair with stories, culture, and nature. Every project is a new adventure, a blank sheet on which I can dream away with materials, colours, and stories.

Your designs always reflect the location and its history. How much research goes into your projects?

BB: Rather a lot – in fact, an awful lot of research! For me, design begins with a plane ticket and a notebook. Every place has a story buried beneath the ground, and my job is to dig it up. Whether it’s an abandoned palace in Rajasthan or a jungle in Cambodia, I want to know what was there, who lived there, which gods were worshipped, which myths were believed. Only then does the architecture begin to ​‘come alive’. I talk to local artisans, learn traditional techniques, explore the landscape and everyday life – it’s about the spirit of the place, not just the visuals. When you adopt this approach, design emerges organically from a place. Without this research, you’re just a decorator. And I’m not a decorator – I’m a storyteller.

I once had the opportunity to stay at ​‘The Siam’ in Bangkok, which you designed – it reminded me more of a museum than a hotel.

BB: Ah, ​‘The Siam’ – that was a project close to my heart. A crazy idea, fuelled by a love of art, antiques, and storytelling. It’s a place that’s more like a journey through time than a hotel. I wanted every guest to feel like they were waking up in a story. The cultural background of a place provides the backbone for my work – without it, I might as well be designing airport lounges.

Luxury is a very open concept. What does it mean to you?

BB: At the beginning of my career, luxury was synonymous with opulence for me – magnificent chandeliers, marble floors, excessive wealth. But over the years, this understanding has completely changed. Today I know that true luxury is not about excess – it is about connecting with a place, its culture, and its environment. When you design with respect for local heritage and sustainable practices, luxury becomes something that grounds and touches you – not just impresses you. In this regard, I find that sustainability is absolutely central. Nature and its people are the foundation of the future of hospitality. Without them, there can be no luxury.

Why does sustainability play such an important role in your hotel projects?

BB: For me, the future lies in creating experiences that are not only aesthetically extraordinary, but also ethically sustainable. Luxury should no longer mean excess, but should grant access – to clean air, unspoilt nature, and authentic local culture. A truly luxurious resort of the future will regenerate rather than exploit, support rather than displace, and educate as well as entertain. Sustainability is no longer an afterthought – it is the soul of every project. I am particularly proud of the gentle construction method used at ​‘Shinta Mani Wild’.

What is so special about this project for you?

BB: I simply love everything about it – from the zipline check-in to the complete and utter solitude in the middle of the jungle. This camp, with just 15 tents in the heart of the Cambodian jungle, plays a central role in protecting part of the Cardamom National Park. The income from our guests finances the daily work of the NGO Wildlife Alliance, which protects the forest and its animals – and guests get to learn about this first-hand. They accompany rangers on their patrols, help remove traps, rescue animals – and experience authentic conservation work. And afterwards? They jump over river rocks with their personal ​‘adventure butler’, paddle through mangroves, or swim under waterfalls – with breakfast served on the riverbank. It’s the essence of my 35-year career – combined in one great, unforgettable experience.

Hotel design has changed significantly in recent years. What positive developments have you observed?

BB: Designing hotels today is very different from when I started in the 1980s. People are finally moving away from building boring boxes. Guests long for personality, stories, and experiences. They want to feel something, they want to remember where they’ve been. Another positive change is the focus on genuine sustainability – not superficial ​‘greenwashing’, but well-thought-out, effective measures. Ten years ago, I was met with blank stares when I talked about recycled materials or renaturation. Today, customers actively ask me how to build responsibly. That is real progress.

And what are the negative developments?

BB: A common mistake in hotel design is to prioritise form over experience. Too often, designers focus on big statements or trendy aesthetics – and forget the fine details that make a space truly inviting and memorable. When design is egocentric rather than well thought-out, the result is a sterile space. True luxury lies in craftsmanship, authenticity, and the sensitive balance between beauty and comfort.

Many of your hotel projects are located in Asia. Why do you enjoy working there so much?

BB: Asia is my playground – and my home. I have been living and working here for over three decades. As a designer, I love the creative freedom. In large parts of Asia, especially in countries such as Thailand, Cambodia, Vietnam, and Bali, there is an incredible openness to bold ideas. Clients are not afraid of colour, imagination, or playful elements. On the contrary – they want a hotel to tell a story, to have layers, meaning, a soul. And that’s exactly the kind of environment I thrive in. In Europe, the logistics, climate, and regulations are completely different. You spend more time dealing with bureaucracy than designing magic.

You are a keen traveller. Can you recommend three hotels that you particularly like to our readers?

BB: There are quite a few: Awasi in the Atacama Desert, Huka Lodge in New Zealand, Hoshinoya in Kyoto, Ballyfin in Ireland and Jack’s Camp in Botswana. They are all simply breathtaking – because they offer such unique experiences.

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