Most often, the Balinese residence comprises a collection of low-profile pavilions set in a walled compound (pekarangan), surrounded by fruit trees and ornamental shrubs. Each building is placed on a low plinth and surmounted by a hipped roof clad with clay pantiles or grass thatch. Some structures are open-sided, while others are enclosed by masonry walls. Each building has a specific function.

      Microcosm and Macrocosm

      Balinese architecture is grounded in a metaphysics that presents the universe as an integrated whole, where each part participates in the existence of every other part, and where the microcosm is perceived as a reflection of the macrocosm.

      Correct orientation in space, combined with ideas of ritual purity and pollution, are key concepts, providing a cosmological framework for maintaining a harmony between man and the rest of the universe. This view of the world derives from the Hindu idea of a divine cosmic order (dharma).

      Balinese Hinduism

      Indian religious beliefs in Southeast Asia date from the time of Christ when Indian merchants first developed trade links with the region. Balinese Hinduism, however, probably owes more to Javanese influences between the 14th and 16th centuries than it does directly to the Indian subcontinent. This was the era of the mighty East Javanese Majapahit empire (1292-c. 1525) whose political and cultural influence at its height extended over much of the Indonesian archipelago, including Bali. The Majapahit dynasty was the last in a long line of Hindu-Buddhist kingdoms in Java which in earlier centuries had been responsible for building the great temple complexes at Borobudur and Prambanan.

      By the end of the 15th century, however, the power of Majapahit had waned as new Muslim polities were established along the north coast of Java and elsewhere in the archipelago.

      The final collapse came in the early years of the 16th century, and led to the removal of the royal court to Bali, where earlier generations of Majapahit colonisers had established themselves as the local elite. These refugees included artisans, scholars, priests, and aristocrats, and they brought with them the religion, manners, and artistic conventions of the Javanese court. Over time, these cultural orientations became assimilated as part of the island’s unique cultural tradition, giving rise to a singularly Balinese style of Hinduism shot through with Buddhist influences and indigenous animism.

      A Tripartite Universe

      Balinese architecture is based on a set of cosmological orientations and ritual considerations which influence most aspects of life. The Balinese universe comes in multiples of three. The most basic is the division of the cosmos into three domains: the underworld (buhr), the realm of evil and malevolent spirits; the world of human beings (bhuwah); and the heavens above (swah), occupied by the gods and deified ancestors.

      This model can be mapped on to the local topography where natural divisions occur between the mountains at the center of the island, the hinterland, and the sea. The mountains are the holiest part of the island—the main places of worship are there—while the sea is cast as impure, home to malevolent spirits and evil influences. The coastal plains and foothills, the intermediate realm, is the proper abode of man.

      Location of Places in a Balinese Village

      1 Pura puseh

      2 Pura desa

      3 Balai banjar

      4 Pura dalem

      5 Cemetery

      6 Rice fields

      7 Vegetable gardens

      8 Orchards

      Balinese villages are usually arranged on a linear axis between the sea and the mountains. The temple of origin (pura puseh)-dedicated to the community’s founders—is at the uphill (kaja) end of the village, as befits deified ancestors, while the temple of the dead (pura dalem) and the cemetery are at the downhill or seaward (kelod) end, reflecting the polluting nature of death.

      A Sense of Place

      For the Balinese, everything has its correct place in the world, with the gods being placed on high, the malevolent spirits being positioned in the lowest regions, and mankind sandwiched between the two. Proper positioning in relation to the rest of the world is important for maintaining harmonious relations with the rest of the universe. Thus, Balinese architecture is mediated not only by measurement but by various spatial orientations. These ensure that buildings and their occupants are favorably placed.

      The two principal directions in Balinese cosmology and the most important points of reference are called kaja and kelod. Kaja is defined as “upstream” or “toward the mountains,” the central mountain range in Bali being identified as the abode of the gods. Kelod, conversely, lies the opposite way, “downstream” or “toward the sea,” considered a region of great impurity and malign influences, and the home of monstrous demons and malevolent spirits. In southern Bali, where most of the population live, kaja and kelod roughly correspond to north and south respectively, but on the opposite side of the island the reverse is, of course, the case. Kangin (east), kauk (west) and the intermediary compass points are almost of equal importance.

      Nawa-sanga

      The Balinese compass rose (nawa-sanga) stems from the four cardinal directions, their intermediaries, and the central area. Each point is linked to a particular deity-Hindu in origin-and has symbolic and ritual associations, such as corresponding numbers, colors, magical syllables, and mystical attributes. The compass rose provides a comprehensive framework for the proper orientation of buildings.