Saltlick is a steak restaurant – with every detail considered. A rich sense of materialism greets patrons with tactile finishes such as the leather dining booths, marble table tops and feature, hand carved, limestone wine bath.
For nearly two decades, KU DE TA has enchanted the world with its exquisite cuisine, charm, and legendary parties, establishing itself as one of the original Balinese beach clubs. Nestled on the sandy shores of Seminyak, Bali, this idyllic beachfront space is designed for sun-soaked days and unforgettable island nights.
Recently, the upstairs restaurant underwent a stunning redesign by DKO, setting the stage for a new dining experience —SaltLick. DKO’s vision was to create a dining destination that blends local charm with international appeal. A design that engages all the senses. Where touch, smell, sight, and taste are heightened to create a memorable dining experience.
In an interview with Architecture and Design Australia, DKO Director Interiors Michael Drescher explains the genesis of the project.
Architecture and Design Australia: Can you describe the initial vision for this project and how it evolved over time?
I clearly remember first meeting the clients on site. We had been communicating over video calls prior to travelling to Bali, but this was the moment we could all meet and walk the venue together, allowing us to understand directly their vision and how we could help. Personally, I had been to Ku De Ta many times on personal holidays and had eaten in the previous restaurant which was to become Saltlick. It always feels special when I get to design a space I’ve visited and experienced before. It makes me reflect on my previous memories and trust my instincts on how the space needs to respond.
Ku De Ta was Bali’s original beach club. After long discussions with the clients, understanding its deeper history, and learning about their guests, our vision was to peel back some of the layers that had been added to the venue over time and return to Ku De Ta’s roots as the best venue on Seminyak beach.
To achieve this, we worked closely with the Head Chef, Jeremy Hunt. We understand that to create a restaurant which attracts both locals and international guests, the connection between interior design and food needs to be strong. You can’t have one without the other. Chef Jeremy and the clients were very clear about Saltlick’sfood direction– it was to be a sensory dining experience where guests would dine while experiencing how their dinner was prepped and cooked, all whilelooking out to the beautiful Bali sunset.
Our design developed as the food and wine offering became known. When we as designers understood how the food was to be cooked, presented and plated, we could then design the space where guests could be seated and experience the meal.
What were the biggest challenges you faced during the design and construction phases, and how did you overcome them?
Infusing culture authentically into the design. We overcame this by selecting locally sourced materials; furniture was all made locally or from nearby regions, which also included art and sculpture. Our vision was to peel back many of the layers that had been added to Ku De Ta over the years. In peeling back these layers, we were constantly exposed to new design challenges. To help us with this, we always had the legacy of Ku De Ta to guide us. The location of this venue and the incredible team working there meant we needed to restrain in design rather than add to it.
During the renovation and in the creation of Saltlick, Ku De Ta needed to stay open and operating. We need to move both the main prep and cooking kitchen for whole venue, including the famous pastry kitchen. We worked closely with the operations team and builders to ensure that during the construction phase, guests would become excited for what was ahead. The first area to be revealed to Ku De Ta was the prep and pastry kitchen. It glows, and all visitors on the ground and first level now look over to this area to experience the behind-the-scenes actions. It is probably one of the best views from a kitchen I have personally ever experienced.
How did you ensure that the project met the client’s needs and expectations?
Close collaboration was key. There’s no way we could have delivered this project without constant contact with everyone involved, from the design team to the client, to the chef and venue manager, to the builders and furniture makers. My team and I visited Bali many times and we had a group WhatsApp that included all parties where we discussed everything from building details to fabrics and lighting levels. Our weekly construction meetings, conducted in Indonesian and English, were critical in being able to deliver a project like this.
Given this was a renovation project, it also meant during the demolition stage there were many surprises, and our design had to keep adapting to what we found. As a group, we tackled everything that came our way together - and I feel it has created a better restaurant because of this. We needed to respect the history of the restaurant and venue, but we also needed to make sure we were delivering a restaurant that would set a new benchmark for Seminyak.
Were there any unique or innovative techniques or materials used in this project?
One unique element of Saltlick was the inclusion of an open kitchen, as well as an open prep and pastry kitchen. This allows all diners at Ku De Ta and Saltlick to witness the culinary artistry in action, evoking the senses. Within the Saltlick restaurant, meat-filled cabinets alongside wine displays enhances the connection to food and drink. The main bar and dining tables featuring leathered marble expressed the natural veining of the marble while mimicking the veining of the steak. The restaurant is meant to be touched as much as it is seen and smelt.
Lighting played in important role in the design, as we needed to ensure the kitchen staff could work their magic while guests dine by subtle artificial light as the sunset’s glow warms the restaurant.
How does this project fit into your broader portfolio and design philosophy?
My design philosophy is about creating spaces that are authentic, timeless and honest. Every project is individual, and that is how we need to respond. Without working closely with Chef Jeremy Hunt on this project, we wouldn’t have had the theatrics of the cooking or the pastry kitchen. We took many working parts of a kitchen and put them on show for the whole venue. It wasn’t just about creating Saltlick; it was about how Saltlick would also add to Ku De Ta.
This is a steak restaurant, and our clients wanted that to be the base of our design thinking and choices. We designed a restaurant to allow the sunset of the Seminyak beach to glow and create a space where the smells and sounds of the food being prepared and cooked create a complete sensory experience.
What inspired you to pursue a career in architecture, and how has your perspective changed since you began?
I grew up in Noosa, QLD in the 1980s with a father in construction and a mother in real estate. During this time, there was huge development and I was completely exposed to it - I think my fate was always sealed.
At about the age of ten, my family built a house on ten acres of property and used a local designer. The house, in plan, was shaped like a bird with wings spread.
It was probably the first time I understood what it meant to design for location and to design for climate. The house was one room wide and positioned to capture the breezes.
My father built it himself out of masonry, timber and stone. I believed I helped where I could or was allowed. They still live in the house to this day and it has truly last the test of time. It demonstrates that building in quality materials and designing correctly can give a building longevity.
Can you discuss a project or moment in your career that significantly shaped your approach to architecture and design?
I remember it like it was yesterday. My father was working on a house designed by Kerry Hill:the Ogilvie house.
Kerry Hill was visiting Noosa and was doing a site visit when my father brought me along, given my early interest in architecture and design.
He was so kind in explaining his designing thinking for the house, from planning through to materiality. He spoke about designing for the client, designing for the site, designing for feeling. To this day, it is one of the most considered houses I have visited and holds a very special place in my heart.
How do you stay current with architectural trends and technologies?
I make sure to connect with all industry peers. Some of my closest friends have come from relationships through work and products. There are so many elements we need to be across as designers: from the materials we build with, the appliances we design around, furniture, fabrics, artwork and lighting. Strong relationships mean your connections will be able to help keep you informed once they begin to know and understand your design personality.
As a designer, the more we know and learn about a product, the more we understand to use and specify it. I have been incredibly lucky to visit factories, galleries, artisan design studios both locally and around the world. In the creation of products, you speak to people from incredible backgrounds and experiences. This is what I love about what I do as a career. You are working alongside so many people from diverse backgrounds and interests, and you never know where this will take you.
Recently I was lucky enough to visit the studio of Toan Nguyen in Milan. To sit with and to listen to the designer and creator of pieces of furniture you specify for projects is something you can’t really explain. It demonstrates how it takes so many minds across the globe to create objects, spaces and places which everyone can enjoy and experience.
What role do you think sustainability plays in modern architecture, and how do you incorporate it into your work?
The way we view our projects now is completely different from how we used to. We don’t walk into spaces now and imagine them empty and starting again. We reflect on and study spaces which have lasted through time. When I look to my own city of Melbourne, there are incredible restaurants which haven’t been touched for decades. These spaces have been created with the knowledge of food, or wine, and the personalities of the people infusing them. I often reflect on current design – and how we now look at spaces and design to stand out and to try to be individual whilst really ending up the same.
We look to traditional methods in hospitality design and always work closely with all parties involved to make sure the space will be successful. We work with local craftspeople and materials which will last and age with the venue. We see the longevity and adaptability of a space one as the best ways we can respond to sustainability in design and modern architecture.
What advice would you give to young architects just starting their careers?
A career in architecture and interior design occupies every hour and minute of the day. I can’t walk into a space and not analyse it; I can’t eat at a restaurant and not feel under the table for acoustic treatment. You need to embrace learning and curiosity to seek knowledge of history and how it has informed the built environment. For myself, I travel a lot to feed this. I need to understand the immense history we have and how each country has responded to design given their context, political, religious and other influences.
To be honest, travel has come at the expense of other areas in life, but for me personally, it’s part of my design journey and that’s not just due to architecture; it’s also about people.
To design, you need to know people, you need to collaborate, and you need to network. I can’t design someone’s home without them completely trusting me. I need to know my clients personally. The same applies with a restaurant like Saltlick. It involves spending a lot of time with the client, manager and chef. Architecture and design are about people fundamentally. The beautiful thing about this world is as people we are so varied - so to design - we need to learn, respect, connect and respond.
