WORDS Annette Klinger PHOTOS Dook

As far as site-responsive architecture goes, the designers of &Beyond Suyian Lodge could hardly have asked for a more captivating muse than the Laikipia Plateau in Kenya. The 17 000-hectare Suyian Conservancy – where architects Nick Plewman of Nicholas Plewman Architects and Alex Michaelis of UK-based Michaelis Boyd, together with interior designers Fox Browne Creative, were tasked with creating the luxury hotel – comprises five diverse habitats, including grass plains, riverine areas, acacia woodland, granitic inselbergs and a phonolite escarpment. The lodge perches on a ridge overlooking a rock sanctuary, its design DNA undeniably evocative of its diverse surroundings, yet singular in execution.

The main lodge is situated at the heart of the development, its composite, stratified form echoing the granite outcrops of the rock sanctuary. Fourteen domed clay-and-stone-clad suites fan out across the landscape. Nick and Alex describe the structures as being in perpetual dialogue with their geographical context. “The main challenge was embedding quite a big development in a relatively small, pristine site in such a way that it would recede into its environment,” says Nick.

Beyond the architectural form, Nick and Alex tethered the structures to the landscape with a deliberate deployment of materials. Volcanic rocks from the surrounding escarpment form the cladding of the cylindrical walls; the wild grasslands of the plateau are recreated in miniature on turf rooftops; and even the reddish-brown volcanic soil of the site is used as external rendering on the domes, arches and walls.

“The volcanic stones have oxidised and aged with time, so cladding the walls with them helps to embed the structures in the plateau,” says Nick. “Similarly, the roughened soil-and-lime-plastered surfaces of the domes and walls will eventually grow mould, lichens and mosses that will age naturally and accrue the kind of patina of time that is attached to the rocks around here.”

Echoing and inverting the form and materiality of the architecture, the interiors speak to the creative synergy between the teams. For every earth-rendered dome outside, there’s a vaulted lime-plaster ceiling counterpart; for every convex stone-clad external wall, there’s a concave of polished concrete inside. “The granite outcrops inspired the architecture, which led the way for the interior design to follow,” says Chris Browne of Fox Browne Creative – a joint partnership with his wife Debra Fox. “We had to tell a story of the intersection of nature and culture.”

Deftly sidestepping any luxury lodge interior clichés, Chris and Debra opted for a cool, muted palette and tactile yet refined materials, keeping adornment minimal. “Our sense is that most guests have had enough of ‘stuff’ and amenity creep,” says Chris. When decoration is deployed, it’s done intentionally – like the nod to the endemic Euphorbia tanaensis in a sculptural chair by Georgina Anderson of High Thorn in the boot room, and a Sarah Kelly painting in the pool room.

Paying tribute to the culture and craftsmanship of the local Samburu – including the hand-built Laikipia homesteads of the surrounds – Chris and Debra commissioned almost 80% of the furniture and fittings in Kenya. Rugs by Jireh Hand Woven Craft, earthenware by Ceramiqa Pottery, outdoor furniture by Kaa Hapa and glassware by Kitengela Glass punctuate the lodge with a design language that feels unique and uncontrived. “As design professionals, we listened to each other, so a real ‘truth’ started to emerge,” says Chris. “‘Less is more’ sounds like a cliché, but in this instance it worked.”

Nick agrees: “There is a calm minimalism to the place that allows the guest to focus on the environment – but it’s also quite a celebratory space.” And right about now, a little serene celebration sounds like something most weary travellers can get behind. | andbeyond.com

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If you’re looking to spend some time in the tropics, here are four luxe resorts that offer the ultimate escape.

WORDS Lynette Botha PHOTOS SUPPLIED, Leila Brewster, Charles Gichuh

Mauritius: LUX* Belle Mare

Reopening at the end of 2023 after a devastating fire, the popular LUX* Belle Mare has emerged bolder and better than ever. The luxurious resort boasts 174 suites and villas, designed to reflect both the charm of Mauritius and a modern aesthetic. The renovation, led by Mauritian architect Jean François Adam and designer Jean-Marc Tang, has reimagined the resort’s architecture and interiors, capturing the essence of indoor-outdoor living.

Inside, you’re welcomed by a blend of contemporary elegance and local cultural influences, characterised by high ceilings, natural wood finishes and plush furnishings in soothing oceanic hues. A tropical pathway leads to a redesigned lobby featuring intricate arches adorned with hand-glazed, riad-inspired tiles, celebrating traditional Mauritian craftsmanship and setting the scene for what lies ahead. In addition to five restaurants, including Amari by Michelin-star chef Vineet Bhatia, the resort also features multiple bars, a state-of-the-art fitness centre, and the LUX* ME Spa, which offers wellness experiences tailored to guests’ needs. | luxresorts.com

Zanzibar: Bawe Island

Recently redeveloped by the Cocoon Collection with designer Daniele Lago of interiors brand LAGO, Bawe Island resort is a secluded sanctuary on a small coral island off the coast of Zanzibar. Surrounded by turquoise waters, this exclusive resort’s private bungalows feature distinct rustic architecture and interiors inspired by Zanzibar’s Swahili, Arabic and Indian heritage.

While the resort has undergone a major design refresh, adding contemporary luxury through decor and furnishings, the traditional coral stone walls, intricate wood carvings and thatched roofing have been preserved. The interiors are filled with colourful textiles, LAGO furniture, handcrafted Zanzibari elements,
and ambient lighting that complements the island’s natural tones. The open-air common spaces include a thatched lounge, dining areas with panoramic ocean views, and a beachside bar. Embodying the essence of tranquillity and seclusion, with a minimalist approach to design, Bawe Island remains a Tanzanian gem. | baweisland.com

Seychelles: Waldorf Astoria Platte Island

Opened in 2024, Waldorf Astoria Platte Island occupies what was once a coconut plantation just one kilometre in length and 500 metres in width. Designed by the team at ECO-ID Architects, the resort embraces eco-conscious architecture, leaving much of the island untouched. Inspired by the pattern of the hawksbill sea turtle’s shell, the main structures feature airy, faceted canopies, while the villas are set back to protect vital turtle nesting sites. In the communal areas, locally crafted seashell curtains and driftwood art take pride of place, connecting guests to the island’s natural beauty.

Each villa’s open-plan interiors make the most of sustainable materials such as PET weaves, bamboo and moisture-resistant decking, and incorporate sliding partitions for privacy. Each villa also has its own private deck, splash pool and garden, as well as direct beach access.

Dedicated to conservation – and 95% powered by solar – the resort is a sanctuary that honours and protects Platte Island’s delicate ecosystem, without compromising on any mod cons or luxe design details. | hilton.com

Kenya: Jannah Lamu

Also completed in 2024, Jannah Lamu is the creation of Kenyan designer-hotelier Anna Trzebinski. Located in Lamu Island’s village of Shela, it merges the area’s traditional Swahili architecture with
Anna’s bohemian-chic aesthetic. (Anna previously opened Hemingways Eden Residence in Nairobi, transforming her personal home into the city’s chicest boutique art hotel.)

With similar flair, Jannah Lamu is full of character, and has a unique layout. Termed a “constellation hotel”, it comprises a variety of interconnected spaces, using both indoor and outdoor settings to blur the line between private and communal areas. A central spiral staircase leads to a shaded rooftop, which offers uninterrupted views over the Indian Ocean. Intricately fashioned windows allow sunlight to stream into the serene Swahili-inspired interiors.

Decor highlights local craftsmanship, with woven furniture, hand-carved woodwork and luxe accents that offer an elegant counterpoint to the rustic setting. Each suite has access to Jannah’s traditional dhow boats, making leisurely trips along the coastline a breeze. Emphasising a deep respect for the cultural and social fabric of Shela, Anna wants Jannah Lamu to become an immersive experience that celebrates Kenyan art and heritage. | jannahlamu.com

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Amid the magnificent Kenyan wilderness lies a luxurious lodge that’s both architecturally interesting and deeply relaxing – a space where guests can connect with nature, and themselves.

How did Angama Amboseli come about? Well… What do lodge owners do during a pandemic lockdown? Go shopping, of course – and not for the usual ‘add to cart’ purchase, but for something much more exciting: a new luxury lodge!” says Nicky Fitzgerald, co-owner of Angama. “We thought, why only have one [Angama Mara], when two would be just as great – and our guests could then extend their time with us on safari in Kenya?” Located in the Kimana Sanctuary, and basking in the shadow of Mount Kilimanjaro, Angama

Amboseli is an intimate lodge surrounded by a forest of towering fever trees, and offers guests the opportunity to take part in a truly extraordinary experience – seeing some of the last remaining “super tuskers” roaming freely in the wild. These elephants with grand tusks that skim the ground as they walk are a rare sight, and – along with the other giant of this landscape, Mount Kilimanjaro – they are the inspiration for much of Angama Amboseli’s design.

Architect Jan Allan and interior designers Annemarie Meintjes and Alison Mitchell crafted Angama Amboseli with a deep reverence for its natural surroundings. There are plenty of bold, rounded edges and curves woven throughout, with the rough textures of the exterior contrasting the serene, calming interiors that pay homage to the monochromatic and industrial styles of the 1960s and ’70s – an era when Amboseli National Park first gained prominence. Angama’s signature touches – Fermob rocking chairs, playful details, and a balance of minimalism and opulence – bring a sense of familiarity to guests, making the lodge both a luxurious retreat and a natural extension of its environment.

Each of the 10 spacious guest suites features floor-to-ceiling screened doors, ensuring that the tallest freestanding mountain in the world serves as a constant, awe-inspiring backdrop that’s visible from every corner. The communal guest area offers seamless indoor-outdoor dining, complemented by an expansive baraza and a sundowner firepit; additional features include a safari shop, a games room for the whole family, a gallery and a makers’ studio showcasing Kenyan artisans, and a photography studio available to assist guests with everything from camera hire and photo editing to professional photoshoots. The highlight is the raised elephant viewing tower – and the elevated rimflow pool surrounded by fever trees and a drinking trough, which allows guests to marvel at the gentle giants up close. The perennial streams at Kimana also attract other wildlife in addition to the tuskers, including eland, buffalo, reedbuck, giraffe, zebra, lion, cheetah and the elusive leopard.

“When we set about looking for a new site, certain key Angama brand touchpoints had to be met,” says Nicky. “These included a great view, good potential for wildlife observation, a known destination with easy access, and a lodge that would have a significant impact on both the community and the reserve in which it operated. And that’s exactly what we found. What could be more splendid than breath-taking views of Kilimanjaro, the presence of the greatest elephants in Africa (and conserving a critical corridor for these immense beasts to wander along their ancient migratory pathways), and Maasai landlords?”

Angama Amboseli is designed not just as a luxurious getaway, but as a place where guests can slow down, breathe, and truly connect with nature and with themselves. More than that, its commitment to preserving the delicate ecosystem and supporting local communities highlights its role as a leader in 21st-century conservation.

“We couldn’t be prouder of this property,” says Nicky, “and our guests couldn’t be more delighted.” | angama.com

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Curated micro-festival Littlegig is taking its creative ethos to a remote Lamu archipelago off Kenya’s East African coast.

Founded in 2013 by Georgia Black, the festival has taken place in both Cape Town’s Franschhoek and Kenya, taking artistry to intimate and remote settings where guests can fully immerse themselves in the carefully curated experience.

Sixty lucky guests will experience the convergence of some of Africa’s best creative talents such as literature and activism persona Tsitsi Dangarembga (Zimbabwe), visual activist and celebrated photographer Zanele Muholi (South Africa), and star filmmaker Wanuri Kahiu (Kenya). Music headliner is Grammy-nominated Valerie June (USA), hailed by the New York Times as one of America’s “most intriguing, fully formed new talents.” 

“Our mission is for Littlegig Lamu to create a diverse temporary community on this tiny East African archipelago,” says festival founder Georgia Black. “We want to amplify the global influence of Africa’s creative economy. And we want to experience the ancient and bohemian setting that is Lamu, with people who share our absolute wonder that such a place exists in our lifetime.”

Spanning over three days, the programme offers talks, art installations, live music and film screenings set up across a variety of exciting locations such as heritage forts, beaches, gardens and villas. 

The three-day event itinerary is as follows:

DAY 1:

MANGROVE SWIM CLUB (DAILY): Swimming in the mangroves at morning high tide, trailed by a beautifully restored taxi boat is one of Lamu life’s greatest privileges.

SHELA ART BY FOOT: A programme of performances, talks, shows and installations at some of Shela’s famed villas and spaces. Opening address by headliner Tsitsi Dangarembga. Art talk by headliner Zanele Muholi. African music video talk by Blinky Bill.

ALL HAIL PEPONI: Lunch at the legendary Peponi Hotel, whose menu, masterminded by Chef Ray Cournede is one of the best in East Africa.

MANDA VOYAGE & FLOATING BAR UNPLUGGED Dhow Sunset sail with musicians and Chef’s Table Beach BBQ. An Unplugged show at the Floating Bar with a performance by music headliner Valerie June. 

DAY 2:

OLD TOWN ANCIENT WISDOM: A walking route through Lamu Old Town with good coffee and a performance by Njoki Karu. A visit to one of Lamu Old Town’s most beautiful villas Kinooni House, with a talk and presentation by legendary Dutch trend forecaster Li Edelkoort who will be launching her book ‘Proud South’ to Africa at the event. Introduction by Brian Afande of Nairobi XR (extended reality) agency BlackRhino whose mission is to design, democratize and deploy XR technologies in Africa.

PALM GARDEN THEATRE & FILM FESTIVAL: A 30-minute solo theatre comedy by actor, writer and director Mugambi Nthiga. Followed by a celebration of important moments in East African cinema told by some of its makers, including headliner Wanuri Kahiu and producer Lucinda Engelhardt. 

DAY 3:

FARAWAY KIZINGO: 20-minutes by speedboat is the other-worldly, beautifully detailed 

Kizingo Eco Lodge. Performances and jam sessions by Valerie June, Fadhilee and friends, and heavenly swimming.

BANANA HOUSE BANQUET: Swahili feast at Banana House, Lamu’s lush and low-key hotel hangout for artists and seekers. With music performance by Lisa Oduor-Noah. 

MARARAHA DUNE PARTY: Closing party, open to the public, at a music venue in the dunes, Mararaha Village. Including the launch of Blinky Bill’s new album, which he will perform live, and a DJ set by Nairobi’s DJ IV. 

There will only be 60 guests, who have either been invited to buy tickets or have successfully applied. Applications can be made here. 

Cost includes the full programme, with food, drinks and boat transport where applicable. Cost excludes flights and accommodation. 

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Leave no trace they said – not one. And that’s precisely what the remarkable new Angama Safari Camp, a roving wildlife encampment in Kenya’s legendary Maasai Mara, has managed to accomplish. 

The scene is well documented: your senses are heightened, and the hair on the back of your neck prickles as an unmistakable lion’s roar seems to come from just a few paces away. Only a thin sheet of canvas separates you from certain, primitive demise.

As you lie awake, the roars slowly dissipate and the song of early birds fills the air, soon to be replaced by the irrepressible sound of thousands of wild beasts, their hooves thundering across the African plains. And just like that, another dawn breaks over Kenya’s Maasai Mara, home to the greatest wildlife spectacle in the world.

Combining the raw wildness of Africa with the luxuries of 21st-century camping – could there be a more romantic adventure? From the start, the aim of the new Angama Safari Camp was to exceed the expectations of the discerning modern-day traveller, combining total exclusivity and privacy with unwavering respect for the fragile environment.

The answer lies in the very definition of safari, which means “to journey” in Swahili. The word takes us back to the 1920s and ’30s, when, with Herculean logistics, sprawling camps in the middle of nowhere were set up “just for me”. To deliver such an experience in today’s world, the Angama team sat down with Jan Allan of Canvas By Design, Nairobi’s master tentmaker. Jan has been solving design and engineering problems since he was a child, and understands how exacting the brand is about putting their guests’ needs first.

Slowly, the solutions emerged: interchangeable poles, flexibility and adaptability where possible, a compromise here (a vanity without plumbing) and a challenge to solve there (what would an Angama safari be without red Fermob rocking chairs?). And at the heart of all the logistics is a Tetris-fundi’s delight: a 16-ton truck converted to spec and fondly named Big Bertha, in which everything can be moved from place to place.

With the framework in place, VISI’s own Annemarie Meintjes set to work on the interiors. Together with Alison Mitchell, she lovingly sourced items from as far afield as France and Cape Town, all of which were shipped to and stored in Nairobi.

Another problem-solver extraordinaire was Dom Matthews, because every piece of canvas needs a bag, every glass needs a padded crate, and everything needs to be made to measure. And all of this took place under the watchful eye of hospitality legend Nicky Fitzgerald, developing the 61st property of her extensive career. John Vogel designed the furniture, managing to stay true to the aesthetic while ensuring that every elegant item he created could be flat-packed. In keeping with the overall look, John’s signature weaves form the headboards and mirror backings.

The final result is a movable camp that is built to last, yet treads lightly. All you need – but nothing more – is here, and pure simplicity is at the heart of its sophistication. But all of these efforts notwithstanding, the real magic is not in the stuff. It’s in the place. It’s in the people. It’s the Kenyans themselves who make the Maasai Mara the quintessential safari destination, and who bring Angama Safari Camp to life with their love of being of service to others, and with their grace.

Looking for more architectural inspiration? Take a look at this KwaZulu-Natal safari villa.

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Characterised by classic forms and strict proportions, this beautiful Swahili-styled villa on the Kilifi coast is a study in symmetry.

It’s an extraordinary stretch of land: six acres of Kilifi coastline on a clifftop overlooking Sirai Beach, thick with ancient baobabs and leading down to white sand so soft it squeaks beneath bare feet. At its centre, surrounded by landscaped tropical gardens, is a stately private home for a 12-strong blended family. The main building comprises a downstairs dining area and separate formal lounge, connected by a colossal, partially-covered outdoor seating area. This is topped by a palatial master suite, upstairs study and lounge.

A series of interleading courtyards fan out from this central point, leading to sleeping quarters in two separate wings and affording the owners voluminous yet cohesive living space. As architect Nick Plewman explains, the entire building is arranged around the central oversized, semi-outdoor sunken lounge that allows the family and guests to make the most of the temperate climate. “The main circulation moves out laterally from there and a long colonnade runs through the site to connect the living areas.”

Material choices, informed by the vernacular use of coral stone, Lamu plaster and makuti thatch, allow this private residence to settle comfortably into its remarkable landscape. A key consideration of the build was harnessing the best of the two prevailing winds that circulate in the area. “The stately tower and vertical slits in the upper levels induce vertical air flow, drawing up the cooling monsoon during the hot season,” explains Nick.

READ MORE: Rural Kenyan Retreat

These simple yet effective elements also make a suitable nod to the architectural style of the traditional Arabic stone houses found on nearby Lamu island. Another well-considered adoption of Arabic architecture lies in the use of brise-soleil screens that form a strong narrative throughout the home. These fretwork screens – made from a selection of brass, plastered concrete and timber – aren’t just whimsical decoration. They’re hardworking elements that allow for privacy and air flow.

Exterior walls, plastered in natural lime, bound with egg white and polished with beeswax, offer a natural burnished lustre to the site. And this bleached-bone tone continues seamlessly inside where, sheltered from the heat of the African sun, it’s all about natural textures and raw linens, in a colour palette informed by the surrounding baobabs. “Artisanal pieces were sourced from Kenya, Morocco, India and South Africa, yet the home feels unmistakably Kenyan,” says Chris Browne of Fox Browne Creative, tasked with the project. “The interiors are rooted in Swahili design that captures the languorous ambience of the coast.”

Tucked into an estuary leading to a creek, Kilifi is a lesser-visited stretch of the Kenyan coastline that has largely escaped the major developments that have changed the face of Mombasa. And this genteel home, with its well-proportioned arches and fortress-like demeanour, has the feeling of a natural and authentic addition to the landscape.

For more information about the villa, visit siraihouse.com.

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Hailing from Nairobi, Kenya, graphic designer and illustrator Monica Obaga creates colourful artworks inspired, in part, by animation, Kisii soapstone sculptures and Maasai beadwork. VISI caught up with her to find out more about what influences her work and what she loves most about being creative.

Where are you currently based?

I’m newly based in Washington, D.C. Spring in this city is a revelation.

From Monica Obaga’s sketchbook

How did you initially get into illustration and graphic art?

I’ve been doodling all my life. My maths exercise books in Standard 3 can prove it, wherever they are… Up until I was 12, I thought I would be a fashion designer.

What do you love most about being creative?

What I love most about being creative is that it’s the thing that can take a situation from hopeless to endless in possibility. Creativity is inherently human because we don’t know the future. We’re creating each moment as we live it. If creation is the act of making from nothing, then creativity is the attitude required for it to happen.  When you’re aware of it, it’s so empowering!

Describe your style in three words.

Colourful, minimal, African. 

How much has Africa influenced and inspired your work?

Funny story… my first real colour palette was based on Maasai beadwork. It’s evolved over the years but that was my way of stamping my work as African without being derivative. The abstract, organic shapes in my work are directly influenced by the soapstone sculpture from Kisii, where my parents are from. I love that something that could be called ‘modern minimal’ is a traditional craft of my people.

I don’t consider myself a great artist, but when I started posting on the internet, you couldn’t run a search for African artists that weren’t from West Africa. I think I just wanted to encourage young and talented African people to put their work out there, in progress, without fear. There is so much out there now, so in turn, young and incredibly talented Africans inspire me today!

Girl Effect

Girl Effect

Is there a project you’ve worked on that has stood out for you?

So many! I really loved working with Girl Effect on illustrating their global teen-girl-powered e-zine. That was one of the times I really felt like I was giving back and honouring my past. I illustrated a tote bag for a sustainable fashion company and have carried the bag around with me all year. I was also lucky enough to work with Wanuri Kahiu illustrating her Design Indaba presentation. Because of her, I got to explore and share African mythology in the geekiest way possible. What a treat!

Image credit: Priscilla Debar for Fauborg

Any exciting plans for 2019?

I am currently working on a dream project with a dream company, but I can’t talk about it yet. Stay tuned!

To see more of Monica’s work, visit monicaobaga.com. Follow Monica on Instagram to keep up to date with her latest projects.

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Social enterprise Ocean Sole heads up an initiative that collects discarded flip-flops that wash up on beaches and turns them into magnificent animal sculptures that are available for purchase online.

Based in Kenya, Ocean Sole has cleared over 1 000 tonnes of sandal waste from oceans and waterways, having recycled 500 000 flip-flops last year alone. The initiative provides a steady income and employment to over 900 Kenyans and 10% of proceeds goes directly into the preservation of marine life.

The video below features flip-flop artist Francis Mutua, who explains the process behind the creation of the animal sculptures. The sculptures all vary in size and are all handmade by local producers.

For more information about this incredible initiative, visit oceansole.co.ke.

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Angama Mara’s Shamba is a magical vegetable garden within the unfenced Maasai Mara.

Angama Mara is a Kenyan safari lodge that overlooks the Maasai Mara National Reserve. Owner Nicky Fitzgerald commissioned former architect Ian Dommisse, project manager at Dommisse Landscapes, to create a shamba (a vegetable garden in Swahili) that had some of the magic of Babylonstoren.

As well as an experience for guests, the intention with the garden is to provide fresh organic greens for fine dining and to showcase the lodge’s zero-waste practices (composting, worm farming and recycling activities, including Ecobricking their nonrecyclables).

Ian felt that a formal grid arrangement wouldn’t belong in the wild Mara. Instead, he decided to allow curvy waterways and collection dams that simultaneously prepare the garden for the dry season and divide it into five organically shaped zones, each with a unique and interesting feature. Visitors can take the direct path linking the areas in the most efficient manner, or they can embark on a meandering journey of mazes and labyrinths. One zone features 12 raised calabash beds – Ian’s favourite element of the garden. Each bed has a predominant vegetable in addition to companion herbs and flowers. Every three months the produce is harvested and new plants are planted one bed to the right, so it takes three years before the same plant grows in a particular spot.

“It’s a really slow vegetable clock,” says Ian. In addition to perma culture practices such as companion planting, crop rotation, water catchment, working with topography and biomimicry, Kenyan approaches like organic pest control remedies and medicinal trees and herbs were incorporated. But the pests can be a little bigger in Kenya!

“The main challenge has been to keep the destructive wild animals out,” says Ian. “In the dry season the elephants climb up the escarpment and walk right past the garden. Other potential invaders are porcupines, antelope and baboons. Rather than using electric fencing, we tried more natural solutions: beehives and sharp rocks to deter elephants, a sunken stone wall to stop the porcupines, and wait-a-bit thorn to create a thick, spiky barrier,” he explains. One of the Shamba keepers sleeps in a manyatta (house) on the boundary of the garden, as human scent is a strong repellent, too.

The garden installation took just over a year to complete, and its secret pathways and fruit trees will continue to develop over the next few years. The Angama Mara team has swelled to tend the shamba and it is thriving. Guests can have a picnic in the garden overlooking the Mara, enjoying fresh produce that they picked themselves. | angama.com

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Wildlife sanctuary Segera collaborated with Carolin Dekeyser’s Nay Palad Hideaway, a company that creates objects and destinations, and architect Daniel Pouzet, to make this giant bird’s nest in Kenya a reality.

Set in the heart of the Laikipia plains, one of Kenya’s most spectacular safari locations, Nay Palad Bird Nest is a one-of-a-kind accommodation on the grounds of Segera Retreat, an award-winning sustainable luxury destination. Perched amid the treetops on a river teeming with wildlife, the Bird Nest offers views of the plains by day that are matched only by those of the stars at night. In the morning, guests awaken to the magical sounds of animals at play.

Nay Palad collaborated on the Bird Nest with conservationist Jochen Zeitz, the founder of Segera Retreat. Another good friend, Daniel Pouzet, the architect behind Nay Palad Hideaway, created the Bird Nest’s one-of-a-kind design. Natural and raw materials were used to construct the nest, including farmed wood and tree branches woven together by members of the local community.

While the nest has been designed for two, it is able to accommodate a family or guests keen to sleep out on the top deck. For lucky guests staying at the sanctuary for more than five nights, the bird’s nest experience, which includes champagne and picnic dinners and breakfasts, is included in the rate. | naypaladhideaway.com

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