ROOM + WILD NATURALS: Wilbert Das

The term "utopia" originates from the Greek words "ou," meaning "no, not," and "topos," meaning "place," translating to "no place." Coined by Sir Thomas More in the 16th century, "utopia" initially denoted an imagined, nonexistent society. Over time, its meaning evolved to signify "a place of ideal perfection," reflecting More's concept of an idealized society described in his work of the same name. Thus, while originally a term for an unattainable ideal, "utopia" has come to represent an envisioned realm of ultimate perfection and harmony.

The essence of a hotel often mirrors the vision and personality of its creator. Much like art reflects the soul of the artist, a hotel conceived by a creative mind extends an invitation into the creator's world. It serves as a tangible expression of their tastes, values, and aspirations, offering guests a glimpse into the essence of the individual behind its design. In the case of Wilbert Das and the iconic UXUA Casa Hotel & Spa, this connection between creator and creation is particularly profound. To understand Das is to understand UXUA, and vice versa; they are inseparable entities, each integral to the other's narrative.

Wilbert Das, the former creative force behind Diesel, embarked on a transformative journey from the fast-paced fashion world of Europe to the tranquil shores of Trancoso, Brazil, driven by a desire to reconnect with nature and the essence of design. His transition from fashion icon to self-taught architect and sustainability advocate culminated in the creation of UXUA, a testament to his unwavering commitment to timeless elegance and environmental stewardship. Nestled within the idyllic setting of Trancoso, the property embodies Das' ethos of letting the landscape guide his vision, blending modern Brazilian design with indigenous influences to create a truly immersive experience.

UXUA isn't just a hotel; it's a sanctuary where time seems to stand still, allowing guests to immerse themselves in the rhythms of nature and the rich cultural tapestry of Trancoso. Das' meticulous attention to detail is evident in every corner of the property, from the handcrafted furnishings to the sustainable building practices that harmonize with the surrounding environment. At UXUA, guests are invited to embrace a slower pace of life, where the senses are awakened by the sights, sounds, and scents of the lush tropical landscape.

“Das’ journey reflects a deeply personal quest for authenticity and simplicity, a journey mirrored in the ethos of UXUA. Through innovative design, immersive experiences, and a commitment to conservation, Wilbert Das has created more than just a hotel; he has crafted a timeless masterpiece that celebrates the natural wonders of Trancoso.”

Brazilian Hotel | Uxua Casa Trancoso | Wilbert Das — Photo property of UXUA

UXUA embodies a philosophy of connection – to the land, to the people, and to oneself. Das' journey reflects a deeply personal quest for authenticity and simplicity, a journey mirrored in the ethos of his creation. Through innovative design, immersive experiences, and a commitment to conservation, Wilbert Das has created more than just a hotel; he has crafted a timeless masterpiece that celebrates the natural wonders and eternal essence of Trancoso.

In R+W Naturals, we connect with extraordinary people making waves in sustainability, art, design, architecture, gastronomy, wellness, and wildlife — from travel and hospitality industry icons to acclaimed architects, designers, influential artists, forward-thinking musicians, and boundary-pushing chefs. Wilbert Das is one of the original inspirations for the Naturals Series as a true Room + Wild pioneer. We spoke to Das about letting the location and the ideas lead the work, his quest for authenticity, and creating utopia.

R+W: You are a creator in every sense of the word. Tell us about your journey as a designer, from fashion to architectural restoration to hospitality to artisanal furniture design.

WD: After a 21-year career at the same company as a fashion designer, and later creative director, I’ve always had my love for architectural and 3D design. In the last years of my fashion career, it resulted in new lines for my clients in furniture, lighting, linens, and a lot of shop, showroom, office design, yachts, and planes, as well as a few hospitality projects.

It was very inspiring to go into design areas that have a greater longevity than seasonal fashion collections. I was more and more pulled into the design of objects and spaces, and restoration projects in particular. I’ve always loved the sustainability appeal, as well as the ability to easily use reclaimed materials.

In Brazil, in particular, it was possible to do so much with historic spaces and the richness of older, reclaimed materials like hardwoods, combined with a very strong and still-thriving craft tradition. The local artisans retain older knowledge, much in the way they still do in Italy, and these kinds of places inspire me to do a lot for collaborations.

“In Brazil, in particular, it was possible to do so much with historic spaces and the richness of older, reclaimed materials like hardwoods, combined with a very strong and still-thriving craft tradition. The local artisans retain older knowledge, much in the way they still do in Italy”

— Wilbert Das

R+W: What has been the most fulfilling, yet challenging architectural restoration project to date?

WD: UXUA Maré is the newest project we’re working on, an oceanfront natural reserve just down the beach from our hotel on Itapororoca Beach, which is near but feels very remote. We’re committed to very low-density development, with reintroduction of certain native plant species and enriching local wildlife. Here, we’ve decided to reconstruct existing historic farmhouses, giving them a new purpose and life, with open-living contemporary design and the introduction of color seen in UXUA.

The most challenging part of that project is actually disassembling them as much as a 400 km distance from where we are now, marking them so as to be able to identify every single piece, and reconstructing all according to today’s needs and standards. In recent years, we and some others in Brazil have specialized in using these antique homes for source materials we recycle, but to actually reconstruct a home entirely with its original design and integrity is something I haven’t yet seen. It’s a big challenge, but certain ideas like the introduction of mid-century design elements, replacing mud walls with glass, and the addition of surprising colour touches has made this very fulfilling — surprising even myself and my collaborators with the results.

“UXUA Maré is our newest project. We’re committed to very low-density development, with reintroduction of certain native plant species and enriching local wildlife. Here, we’ve decided to reconstruct existing historic farmhouses, giving them a new purpose and life, with open-living contemporary design and the introduction of color seen in UXUA.”

— Wilbert Das

R+W: Brazil holds a special place in our hearts. It’s a country unlike anywhere else in the world, especially in terms of the diversity and beauty of its landscapes. Tell us about visiting Trancoso for the first time. What was your first impression and what made you want to stay? Has it changed over time?

WD: I’d known Brazil pretty well before visiting Trancoso the first time in 2004. I’d been directed there by neighbours of an old villa we had restored in Italy. They told me they found a village in Bahia that felt like that old house, which was very much a mix of 16th century Venetian countryside villa and late 20th century eclectic, modern design.

When I arrived in Trancoso it was in June, and at the time, there was almost no tourism outside of the Christmas / New Year period. I was the only visitor in town, and the pace of things felt so slow over my first days, I kind of freaked out and wondered how I could leave the place sooner than the week I’d planned to stay. But over a short time, my thinking changed completely, and I was looking for ways to extend my stay. I was totally enchanted by this place stuck in time with close contact to nature, which somehow had a contemporary and dynamic feeling of modern living, with strong human values and connection. All the interests I really look for when I travel were here: abundance of nature, warmth of local people, quality of food, music (which, at the time, was incredibly local with almost no global influence), wonderful climate year-round. All these elements were present, and still are today, because even as the town has grown and attracted more attention, it’s kept its essence. There are quite a few people like myself who’ve invested in keeping certain heritage alive, even deepening it, with craft traditions, organic agriculture, and traditional fishing.

“I was totally enchanted by this place stuck in time with close contact to nature, which somehow had a contemporary and dynamic feeling of modern living, with strong human values and connection. All the interests I really look for when I travel were here: abundance of nature, warmth of local people, quality of food, music (which, at the time, was incredibly local with almost no global influence), wonderful climate year-round. All these elements were present, and still are today, because even as the town has grown and attracted more attention, it’s kept its essence.”

— Wilbert Das

I would say that even with the recent years’ introduction of more shops, restaurants, and galleries, the essence still remains. The year-round aspect of tourism has actually benefited the community and people dedicated to making lives in Trancoso, continuing certain traditions instead of abandoning them.

“We’ve been totally dedicated to not cutting down trees — a challenge which has inspired lots of creativity in identifying solutions. Marrying our design ideas with existing vegetation resulted in many people commenting that our creations somehow felt like a natural part of the landscape, as if they’d always been there. ”

— Wilbert Das

R+W: How have the location and landscape been sources of creativity and inspiration?

WD: We’ve been totally dedicated to not cutting down trees — a challenge which has inspired lots of creativity in identifying solutions. Marrying our design ideas with existing vegetation usually resulted in many people (our guests, friends, visitors and even locals) to comment that our creations somehow felt like a natural part of the landscape, as if they’d always been there. People tell us they don’t remember a time when UXUA was not there. This is very rewarding — to feel we’ve been patient and caring enough to make something so in harmony with its setting. This is now the standard for all we do.

R+W: How has your creative journey shifted since moving to Trancoso?

WD: Leaving the hectic, seasonal, deadline-obsessed fashion cycle for the organic pace of our work in Bahia was very fulfilling. Letting ideas lead the work instead of schedules or commercial targets — this changed my life and my thinking. It didn’t lessen my appetite to always search for something new, but it did raise my goal to try to achieve a certain timelessness in what we produce.

In Trancoso itself, I was never very attracted to working on a beachfront setting. (UXUA the hotel is in the centre of the historical part of the village on a hilltop overlooking the ocean.) But in recent years, we found an incredible piece of beachfront land which had existing rainforest and restinga around a few previously cleared areas, offering an inviting challenge to insert low-density development while rewilding the previously cleared areas. It's mixing design and conservation in a way that we love.

“Letting ideas lead the work instead of schedules or commercial targets — this changed my life and my thinking. It didn’t lessen my appetite to always search for something new, but it did raise my goal to try to achieve a certain timelessness in what we produce.”

— Wilbert Das

R+W: Where do you find your day-to-day inspiration?

WD: The work itself is the inspiration. Because we limit ourselves to projects that allow us to advance creativity and perform conservation at the same time, we know we’re setting an example we can be proud of, and we never get tired of this.

The established conservation restrictions are very much part of this, obliging us to innovate and find ways to achieve what we want without seeking ways to avoid or work around the limitations — we actually embrace them. Developers frequently have made projects in which they impose upon landscapes, and we instead let landscapes lead, imposing parameters. This ends up being a great source of inspiration and also liberating in setting such clear elements to work with.

We always keep our eyes open — this is an important thing for us — always open to new ideas.

R+W: What is a typical day in the life of Wilbert Das like?

WD: Enjoy a wonderful Bahian breakfast, of course, and have a normal working day divided among the hotel, our farm and beachfront project — the latter two being newer projects which require a lot of attention. I also find time for product design. In recent years we’ve allowed our atelier within the hotel property to grow its production into hand-woven kaftans and blankets, ceramics, accessories, and natural cosmetics and foodstuffs. These are all very small productions, but quite a special addition to the hotel. We love the idea of products that can only be encountered in one place, not globally distributed, and without the ‘same day delivery’ we’ve all become accustomed to which has banalized consumption. We’re a very ‘slow production,’ letting creativity lead, as well using all reclaimed and organic materials, which is very special.

“We love the idea of products that can only be encountered in one place, not globally distributed, and without the ‘same day delivery’ we’ve all become accustomed to which has banalized consumption. We’re a very ‘slow production,’ letting creativity lead, as well using all reclaimed and organic materials, which is very special.”

— Wilbert Das

R+W: Tell us about your background and where you grew up. Is connecting to nature something that you always wanted to explore and return to?

WD: I grew up on a farm in the south of the Netherlands and studied fashion at the art institute in Aarnham, [ArtEZ University of the Arts]. It was never an idea to stay with farm living all my life, but the desire was definitely to stay close to nature, and not live in a densely populated scenario where nature isn’t the protagonist. Having created our farm UXUA Roça, I have come full circle in a way. I’m using many things learned throughout my career, taken on many design elements, and applying creativity to farming, not just in design but in techniques such as agroforestry, pushing for innovation as I’ve always done throughout my career. A farm is somewhere I’m always happy, and I’ve admired some trends a lot, such as in Italy with the agroturismo movement over the years — a way of producing food and eating that is so satisfying.

“Having created our farm UXUA Roça, I have come full circle in a way. I’m using many things learned throughout my career, taken on many design elements, and applying creativity to farming, not just in design but in techniques such as agroforestry, pushing for innovation as I’ve always done throughout my career.”

— Wilbert Das

R+W: What travel or life experience inspired the creation of UXUA?

WD: As travellers, we’ve always liked to stay as close to people and their culture as possible. Back in the 80s and 90s, we were renting rooms in private homes, renting casas or apartments, long before that became a trend and a well-marketed commercial option. We would find ways to live the local life, making countless trips around the world on all the continents and remote corners, and becoming very familiar with certain places in Asia, Africa and the Americas. Cuba was a wonderful visit for us because its lack of tourist infrastructure obliged ‘going native’ in a sense, which was wonderful.

We loved small boutique hotels because you’d get to know the owners who really knew and were ready to share the ins and outs of the destination, and also worked close with creativity.

All these worldwide experiences we had travelling globally over the decades influenced us, and we wanted to give birth to a creative project with a lot of personality; localness; and luxury, in the sense of lushness, space and service. We tried to bring all that together in the creation of UXUA.

R+W: How is UXUA different from other luxury hotels and what story does it tell its guests? How do you ensure your brand vision extends in every experience at the hotel?

WD: UXUA is a very personal story, grown out of a passion to create beauty and rich experience, as opposed to following a business plan. Every decision in the life of the project was based on our own desire to have something connected to our own taste, as magical as possible in atmosphere — like a few places we love in the world — without making visitors sense repetition of detail and predictability, which has come to define the experience of much of global travel.

“At UXUA, every house has a totally different story. We made each one very different, to really distinguish them as ‘casas,’ communicating the easy and comfortable vibe of home, the welcoming feeling of being surrounded by a very personal embrace, not a cold, soulless one. ”

— Wilbert Das

At UXUA, every house has a totally different story. We made each one very different, to really distinguish them as ‘casas,’ communicating the easy and comfortable vibe of home, the welcoming feeling of being surrounded by a very personal embrace, not a cold, soulless one. We only repeat details in sheets, towels, and a few amenities we love, like our soaps, shampoos and sunscreen, which are found across the property.

In terms of brand vision, it is normal that it's distributed across everything because the project is personal. Nearly every aspect is created for our purposes, inspired by local craft traditions, organic materials, and recycling. There’s very little imported to make the project and keep it running. Even the sports and Vida Spa activities we promote, foods we explore from local biodiversity in our Vida Lab — these elements are very unique to us and our location, and reinforce the brand without screaming the brand name. Brand-building through immersion, stimulating all the senses, is really an opportunity to make a huge impact on our clients, a memorable one, a valuable one. Visitors will talk about and share what they’ve felt here, and that word-of-mouth among influential travellers has been key to our success.

R+W: Tell us about the process behind creating UXUA while staying true to the historic character of the area and not disrupting the environment.

WD: When we arrived, no-one was very interested in the historic Quadrado area, even after we started our project. But that area was one of the most beautiful settings we’ve ever seen, even worldwide, with its big grassy square blocked from car traffic, absent of visual and sound pollution. Such a timeless feeling — it was how we’d like to live. This very pedestrian lifestyle with your feet largely touching earth, grass, and sand, walking to restaurants, shops and beaches, several different natural biomes. This setting and its scale — small but also not — was so attractive.

In the restorations, we didn’t want to change façades, but update spaces, adding modern twists, not cutting down trees, avoiding using signage — which endures until today with countless visitors having difficulty locating exactly where the hotel is. The entire project is still very harmoniously integrated — visible and yet invisible at the same time, blending seamlessly with the old Quadrado homes.

R+W: What are your thoughts on hospitality today? What has changed and what has stayed the same? What do you think still needs to change to lead the industry in a positive direction?

WD: We were always very interested in the idea of staying in private, personal homes, and this inspired our hotel and the entire ‘casa hotel’ concept. But over time, this trend of holiday homes began to be introduced in ever-accelerating ways into the hospitality world, with much less personal and welcoming approaches, very connected to speculative real estate activity and investing.

We still believe in the concept of home-hospitality, but one of the major things we emphasize is delivering human attention and very personal service, because every traveller is seeking human attention and connection, especially in this digital, often remote, world. Bahians offer this kind of personal hospitality we love. They are perfect natural hosts, and have brought their charm and charisma to the hotel, where guests feel incredibly welcome, almost as if visiting a friend or family member. The way Bahians show attention is so honest, caring, and natural, and at times spontaneous, it’s such a pleasure. This aspect can be totally missing however, even in this part of the world, if a hospitality project is about ‘building’ and not building experiences.

“Creating dynamic communities always has to be considered, not just building neighbourhoods for tourists. Overinvestment in places with only profit goals isn’t the answer — we need respect for long-term balance of the environment, the destination’s social fabric, the local community’s identity. Projects based only on economic criteria won’t just lack soul, they can destroy destinations in every sense — and we need leaders to protect from this.”

— Wilbert Das

I hope somehow this unhealthy competition between villa rentals and hotels evolves to find a new harmony. It has upset the balance in some tourist destinations, with far too much investment in structures and not enough in hosts — those who welcome visitors and are able to really impact them personally, while also building their own quality lives and healthy urbanism. Creating dynamic communities always has to be considered, not just building neighbourhoods for tourists. Overinvestment in places with only profit goals isn’t the answer — we need respect for long-term balance of the environment, the destination’s social fabric, the local community’s identity. Projects based only on economic criteria won’t just lack soul, they can destroy destinations in every sense — and we need leaders to protect from this.

R+W: Tell us about your transition into furniture design. Has the Trancoso community inspired this transition?

WD: Furnishings have already been a huge interest of mine, even while in the fashion industry. I’ve licensed furniture designs with Moroso and Diesel in Italy, beginning in 2007, and lighting with Foscarini, as well as linens and other decor. There was a lot of furnishing going into retail design in my fashion days, and I’ve just always loved three-dimensional design.

The transition into Trancoso inspired me to work recognizing certain limitations here while celebrating certain strengths, like natural fibres and the highly skilled artisans of fibers, hardwood, indigenous weaving and body painting that we’ve incorporated into our furniture. It's been an interesting and inspiring experience to work with these artisans and Pataxós from the nearby reserve.

“The transition into Trancoso inspired me to work recognizing certain limitations here while celebrating certain strengths, like natural fibres and the highly skilled artisans of fibers, hardwood, indigenous weaving and body painting that we’ve incorporated into our furniture. ”

— Wilbert Das

R+W: What is your design process with the UXUA Casa Home collection? What materials do you use and how do you utilize the native landscape as your inspiration?

WD: It's both a collection and not one at the same time. There’s an underlying energy and spirit among the pieces, but they’re all very unique objects which come from our day-to-day life, inspired by symbolism from Brazil or Trancoso. Cadeira Paz is inspired by the olive branch that is molded over the main door at the São João Batista Centenary Church. Brazilian modernism design is also a huge inspiration, being one of the most important periods in furniture design worldwide, with very collectible pieces.

Brazil has a very unique way of designing, which attracted us. It’s very authentic and not contaminated by international trends. We do a lot of pieces influenced by the land and materials, and with nods to the Brazilian modernism era. Another inspiration is the simplicity of farm furniture. We always come up with interesting mixes of new and traditional.

“Brazil has a very unique way of designing, which attracted us. It’s very authentic and not contaminated by international trends. We do a lot of pieces influenced by the land and materials, and with nods to the Brazilian modernism era. Another inspiration is the simplicity of farm furniture. We always come up with interesting mixes of new and traditional.”

— Wilbert Das

R+W: Each of your furniture pieces tells a story. What is the story behind the whale piece?

WD: We have a whale story, which isn’t quite as epic as that of Melville and Moby-Dick, but much more contemporary, charming, and sustainable. It begins with a very common walk on our local beaches — which are endless — where we came upon a group of fishermen holding a spontaneous barbecue of grilled fish. I saw they were using something very unusual as a cutting board. I was pretty certain it was of organic origins, and was fascinated to learn it was actually whale bone that had washed up on the spot. I asked if they would sell it to me or trade something for it, as is still often an occurrence in Trancoso tracing back to a quite recent barter-based economy, and we agreed. Eventually, I added steel legs to the piece and our whale bone side table was born.

R+W: How are you practicing sustainability in furniture design? How can the furniture industry be more regenerative?

WD: I don’t think it’s possible to be more sustainable than we are at the moment, with so much of the wood we use being reclaimed. We source many beams from old demolished homes, which ends up giving us access to many kinds of hardwoods that are no longer available. The wood is sourced within the region so nothing is imported.

The furniture industry is going through a similar path that fashion did with fast fashion circa 2010s — trying to get into trends of constant change, shortening the lifetime of furnishings, which is arguably one of the worst directions. While we cannot change this global trend, we can push back in our own small way, as do many others, by doing only unique pieces in a slow pace, hoping for timelessness and a long, long life for the product.

“The furniture industry is going through a similar path that fashion did with fast fashion circa 2010s — trying to get into trends of constant change, shortening the lifetime of furnishings, which is arguably one of the worst directions. While we cannot change this global trend, we can push back in our own small way, as do many others, by doing only unique pieces in a slow pace, hoping for timelessness and a long, long life for the product.”

— Wilbert Das

R+W: Room + Wild hotels set trends instead of following them. Sustainability is always a core ethos and has been for many years. UXUA is one of the first hotels to embrace its native environment and slow travel. What is UXUA’s core ethos and how does it reflect Trancoso?

WD: When UXUA was created, sustainability as a word was not really our target but a natural result of our methods and conscience. Having worked in an industry like fashion, which is filled with mass consumption and quite a high contribution of pollution to the world, my counter reaction was to do the opposite of it all. And what we did was also what we liked — valuing the local resources and the people. Everything is made in Brazil, by Brazilians, listening to Brazilian music and eating Brazilian food. It was all very natural and we never used words like “eco” or overused the term “sustainable.” But our ethos was to always innovate and find beauty in expression, which has solid roots in conservation. But our ethos was to always innovate and find beauty in expression, which has solid roots in conservation. And if that beauty is attached to an image of an alluring tropical lifestyle, accompanied by excellence in service, flavour, and culture, then it can be aspirational. I believe that making responsible consumption aspirational, making it the ‘dream’ of many worldwide, can really contribute to change.

“And what we did was also what we liked — valuing the local resources and the people. Everything is made in Brazil, by Brazilians, listening to Brazilian music and eating Brazilian food. It was all very natural and we never used words like “eco” or overused the term “sustainable.” But our ethos was to always innovate and find beauty in expression, which has solid roots in conservation. ”

— Wilbert Das

Trancoso has always been a place with that essence — no big hotel chains, no big groups, everything was family based, private, small, built in the local style. There were no official rules, but everyone respected the local style. Strangely, now we have the first signs of people coming from outside and not really respecting that, but many are working quite successfully to educate them and direct things towards excellence.

R+W: How are you preserving the Bahia indigenous community and environment?

WD: Since day one, we have been working with the indigenous community; even the hotel name is a Pataxó word meaning “wonderful,” offered to us by the local leader of Barra Velha Pataxó community. Since then, I've been working with various young talents from Barra Velha in developing the indigenous graphisms, which were almost becoming extinct in the younger generations. We work on antique linens from Italy and sell them with luxury prices, which gives them a lot of pride and success stories, respect, and careers.

We have a local non-profit we work with called Association Despertar, which works from an UXUA property with a lot of support from local and national businesses in Brazil. It offers education to local families and career development, as well as engaging in environmental activism, such as entering and winning a civil action in 2017 against the region’s environmental secretary. That was probably one of the most substantive environmental challenges in a tourism region in Brazil. Amazingly, it was actually brought on by the tourism sector itself, pushing the public power to be more strict with environmental licensing and enforcement, and resulting in much better levels of preservation for our region.

“We have a local non-profit we work with called Association Despertar, which works from an UXUA property with a lot of support from local and national businesses in Brazil. It offers education to local families and career development, as well as engaging in environmental activism, such as entering and winning a civil action in 2017 against the region’s environmental secretary. ”

With Despertar and Conservation International — where my UXUA partner Bob Shevlin is a board member — we’ve also contributed to building the annual Organic Festival Trancoso, as well as a regional sustainable tourism organization called Futuri. We also work internationally as members of the Washington, D.C.-based Center for Responsible Tourism (CREST), which Bob is also a board member of.

All these pieces fit together and overlap in so many ways. Our macro-concern is the global tourism industry and how to drive it towards more sustainable practices. We try to play a very immediate role in this by setting high standards and tracking them meticulously, such as getting 20 of our local staff through university by 2020, a seemingly impossible task years ago.

Our preservation efforts regarding conserving the different biomes across Brazil and especially the Amazon really involve multi-faceted efforts, including some international fundraising efforts and media work.

R+W: Have you visited other parts of Brazil? Is there another special location that you hold close to your heart?

I have travelled extensively in Brazil and love many places, like Chapada dos Veadeiros in Goiás, close to Brasília. It’s beautiful, almost biblical, and filled with all kinds of waterfalls. Also, Chapada Diamantina in Bahia, not far from Salvador, is also full of canyon-like waterfalls and beautiful natural settings. These places are not new for Brazilian tourism but not super known internationally.

Bonito in Mato Grosso do Sul is a paradise-like situation of crystal-clear waters with huge beautiful fish, in the middle of a jungle filled with parrots and monkeys — the best nature experience I've had in Brazil.

Of course, Salvador, which I love, and Rio, one the most three-dimensional cities in the world. Brazil is too big to mention all its beauty, but these are my favourites.

UXUA Casa Hotel & Spa

BRAZIL

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Wilbert Das: Creating Utopia

ROOM + WILD NATURALS: Wilbert Das