Nestled beneath the elevated structure of OMA House, the Good Times General Store’s timber-clad entrance contrasts with the rugged thatched volumes on either side. A patterned lattice ceiling, cylindrical columns and dark entrance steps articulate the sheltered forecourt, while the pinkish concrete structure and decorative masonry screen above reveal the building’s layered architectural composition.

Location: Seminyak, Bali, Indonesia

Potato Head’s New Bali Store by OMA Brings Together Craft, Circularity and Innovation

Words by Yatzer

In an age when sustainability has become an increasingly familiar refrain in hospitality, Bali-based Potato Head is taking a more hands-on approach to putting environmental ideals into practice. Its first permanent retail space, the Good Times General Store, designed by OMA, reimagines the conventional retail experience as an exercise in circularity, craftsmanship and creative exchange. Located within the brand’s Desa Potato Head resort village in Seminyak, the store strikes a careful balance between local building traditions and modern construction. Bringing together sustainably made products and experimental workshops, it invites visitors to engage not only with what they buy but also with how things are made and what happens to them afterwards.

A close-up of the Good Times General Store’s timber-clad entrance reveals precisely aligned wooden panels and discreet metal lettering bearing the store’s name. Dark wooden steps lead into the warmly lit retail interior, where handcrafted objects and a boldly patterned textile are visible, contrasting with the entrance’s restrained contemporary detailing.

Photography by Sharon Angelia.

A close-up of the Good Times General Store’s retail displays reveals shelves supported by substantial, irregularly grained timber uprights, showcasing woven baskets, ceramics and assorted handcrafted accessories. Alongside, a deep-set window frames the building’s dense thatch cladding, emphasising the interplay between natural textures, artisanal objects and OMA’s minimalist architectural detailing.

Photography by Sharon Angelia.

An arrangement of contemporary chairs crafted from bamboo and speckled recycled materials sits atop roughly hewn stone slabs inside Potato Head’s Good Times General Store. The juxtaposition of playful furniture forms, raw stone plinths and textured earthen walls reflects the project’s fusion of traditional craftsmanship and experimental design, with a deep black portal framing the adjoining workshop.

Photography by Sharon Angelia.

Founded in Indonesia in 2010, Potato Head is a multifaceted creative ecosystem encompassing a resort, beach club, restaurants and bars, music and nightlife programming, wellness experiences, and apparel and furniture collections. Guided by the mantra "Good Times Do Good", the brand champions the idea that pleasure and environmental responsibility need not be mutually exclusive, an ethos embodied by its commitment to reducing waste and developing circular solutions.

The Good Times General Store extends this philosophy to retail, marking the latest chapter in Potato Head’s ongoing collaboration with OMA. The Rotterdam-based practice previously designed Potato Head Studios, also known as OMA House, the architectural centrepiece of the brand’s beachfront complex. Just as that project challenged the exclusivity of conventional resort architecture by encouraging communal interaction, the new store similarly prioritises openness and participation.

Developed with Ade Herkarisma, Potato Head’s Group Head of Architecture and Development, the store’s material palette draws on Balinese building traditions, reinterpreted through a distinctly contemporary lens. Locally sourced alang-alang thatch, a traditional Balinese roofing material, clads the exterior, lending the cubic volumes nestled beneath OMA House’s elevated structure a richly textured, almost sculptural presence.

An exterior view of the Good Times General Store reveals a sculptural volume clad in densely layered alang-alang thatch, juxtaposed against the pinkish concrete columns and cantilevered floors of OMA House. Tropical foliage, hanging vines and dappled sunlight soften the angular composition, highlighting the dialogue between traditional Balinese materials and contemporary architecture.

Photography by Sharon Angelia.

The thatch-clad exterior of Potato Head’s Good Times General Store nestles beneath OMA House’s elevated concrete structure, partially concealed by dense tropical greenery. A large timber-framed window reveals the warmly lit interiors, while a shaded wooden deck and landscaped pathway establish a seamless transition between the building and its lush Balinese surroundings.

Photography by Sharon Angelia.

A close-up exterior view of OMA’s Good Times General Store captures the contrast between its coarse alang-alang thatch cladding and the monumental, reddish concrete structure of Potato Head Studios above. A precisely framed timber window, lush tropical planting and dramatic afternoon shadows emphasise the interplay between vernacular craftsmanship and contemporary architectural geometry.

Photography by Sharon Angelia.

A close-up of OMA House’s pink-toned concrete columns, gridded soffit and smooth walls reveals the architectural structure sheltering Potato Head’s Good Times General Store. Behind lush tropical vegetation, the store’s rough thatch-clad volume contrasts with the geometric precision of the concrete, while trailing vines and sharply defined shadows introduce an organic counterpoint.

Photography by Sharon Angelia.

Nestled beneath the elevated structure of OMA House, the Good Times General Store’s timber-clad entrance contrasts with the rugged thatched volumes on either side. A patterned lattice ceiling, cylindrical columns and dark entrance steps articulate the sheltered forecourt, while the pinkish concrete structure and decorative masonry screen above reveal the building’s layered architectural composition.

Photography by Sharon Angelia.

The entrance to OMA’s Good Times General Store is framed by a timber-clad volume beneath a woven lattice ceiling supported by cylindrical columns. Flanking walls finished in coarse alang-alang thatch and beds of tropical planting lend the contemporary façade a distinctly Balinese character, while orange display elements are visible through the glazed entrance.

Photography by Sharon Angelia.

Bright orange display structures with circular niches and angular openings create a striking architectural sequence inside Potato Head’s Good Times General Store. Their speckled recycled-material surfaces contrast with pale timber panels and terrazzo flooring, while a succession of dark-framed portals establishes a strong visual axis connecting the store’s interconnected retail and workshop spaces.

Photography by Sharon Angelia.

OMA’s Good Times General Store features a lounge-like retail space furnished with two rounded, geometrically patterned sofas, a matching ottoman and an organically shaped rug. Slender bamboo display shelves flank a dark-framed central opening, while monolithic stone display platforms and warm rammed-earth walls create a tactile setting for the store’s curated objects.

Photography by Sharon Angelia.

A playful chair made from speckled recycled material stands on a roughly hewn stone display platform inside Potato Head’s Good Times General Store. The sculptural composition contrasts with the minimalist rammed-earth walls and pale terrazzo flooring, while a sequence of deep black architectural portals frames softly upholstered seating and vibrant orange shelving in the adjoining spaces.

Photography by Sharon Angelia.

Inside, rammed-earth walls made from local clay give the spaces a warm, grounded character, while pale terrazzo floors embedded with recycled bamboo offcuts introduce a subtle graphic playfulness. Despite the raw earthiness of the materials, which also include reclaimed timber and bamboo, the interiors feel decidedly modern thanks to a minimalist design language defined by clean geometries, a muted palette and precisely placed openings. These include dark-framed portals that establish sightlines between adjoining rooms, and expansive windows that bring the surrounding tropical planting into the rooms.

The store is organised into five interconnected spaces that together trace the lifecycle of materials and objects. The first three are devoted to Potato Head’s expanding range of products and collaborations, showcasing artisan-made souvenirs, books, records and lifestyle accessories, followed by the brand’s Bali-inspired apparel collection, and concluding with Wasted, a collection of furniture and homeware crafted from discarded plastics and other waste materials in collaboration with British designer Max Lamb.

Custom shelving supported by thick, irregularly grained timber uprights showcases a curated assortment of woven baskets, hand-thrown ceramics, wooden tableware and traditional textiles at the Good Times General Store. A striking red, black and cream patterned textile anchors the symmetrical composition, contrasting with the pale rammed-earth walls and terrazzo flooring embedded with recycled bamboo offcuts.

Photography by Sharon Angelia.

Three stacked display blocks made from recycled aggregate and exposed pebbles form a sculptural rack for vinyl records inside the Good Times General Store. Behind them, slender shelving supported by rustic timber uprights displays books and colourful decorative objects, while a large window overlooking tropical planting reinforces the interior’s connection to nature.

Photography by Sharon Angelia.

A close-up captures a woman examining a translucent, pale green glass plate with a subtly irregular, bubbled texture at Potato Head’s Good Times General Store. Warm natural light catches the glass’s tiny imperfections and concentric markings, highlighting the tactile qualities and individual character of the handcrafted objects showcased in the store.

Photography by Sharon Angelia.

A woven conical hat with vivid blue edging rests on a stack of roughly hewn stone blocks inside OMA’s Good Times General Store. The simple arrangement highlights the textural contrast between delicate handwoven fibres and rugged mineral surfaces, complemented by warm rammed-earth walls and a timber-framed window revealing the building’s thick thatch exterior.

Photography by Sharon Angelia.

A centrally positioned circular wash station, finished in pale terrazzo with embedded bamboo offcuts, anchors the symmetrical composition of Potato Head’s natural-dye studio. Timber racks displaying fabric samples and custom wooden workstations line the rammed-earth walls, while a deep black doorway frames a succession of adjoining interiors, highlighting OMA’s carefully orchestrated sightlines.

Photography by Sharon Angelia.

A sculptural circular wash station anchors the Good Times General Store’s natural-dye studio, its smooth, cream-coloured surface embedded with scattered bamboo fragments and fitted with stainless-steel basins. Rammed-earth walls, timber furniture and expansive garden-facing windows create a warm, understated setting for hands-on workshops exploring traditional dyeing techniques.

Photography by Sharon Angelia.

The natural-dye studio at OMA’s Good Times General Store features a timber workbench topped with stainless steel and fitted with multiple industrial-style spray taps. Behind it, wooden racks hold rows of white fabric, while a small window frames a traditional loom. Floor-to-ceiling glazing opens the space towards a sheltered timber deck and tropical planting.

Photography by Sharon Angelia.

The remaining two spaces shift the focus from finished products to the processes behind them. One is a natural-dye studio that produces pigments from food and plant waste collected across the resort and hosts public workshops in dyeing, painting and pattern-making. The other is dedicated to plastic-moulding demonstrations and experimentation with recycled plastic sourced from waste collectors and upcyclers across Bali and Java. Here, a wall of transparent containers filled with shredded HDPE plastic, arranged in a spectrum of colours, doubles as an eye-catching installation and a material library, illustrating how discarded resources can become a source of creative possibility.

A woman wearing a grey Potato Head Bali cap embroidered with the brand’s Good Times Do Good motto stretches a piece of pale yellow fabric during a natural-dye workshop. Her textured grey wrap-style outfit complements the studio’s warm timber furnishings, while the softly lit composition draws attention to the tactile experience of working with textiles.

Photography by Sharon Angelia.

Two staff members dressed in terracotta-coloured outfits hold up a large piece of golden-yellow fabric decorated with scattered botanical markings inside the Good Times General Store’s natural-dye studio. Standing on either side of a circular wash station, they illustrate the store’s hands-on approach to traditional craft and creative experimentation.

Photography by Sharon Angelia.

Five staff members dressed in coordinated terracotta-coloured workwear display pieces of naturally dyed fabric around a circular wash station at Potato Head’s Good Times General Store. The pale textiles, marked with delicate yellow and orange botanical patterns, contrast with the warm rammed-earth walls, illustrating the store’s emphasis on hands-on experimentation and traditional dyeing techniques.

Photography by Sharon Angelia.

A traditional wooden handloom occupies a sunlit corner of the Good Times General Store, its intricate timber framework and bright blue cords contrasting with the minimalist rammed-earth interior. Tall timber-framed windows reveal the building’s textured thatch cladding, establishing a visual dialogue between Balinese craftsmanship, natural materials and contemporary architecture.

Photography by Sharon Angelia.

Viewed through a dramatic, dark-framed doorway, the Good Times General Store’s sewing studio features custom timber workstations and chairs arranged symmetrically against a large window overlooking lush tropical vegetation. The contrast between the shadowy passage, warm rammed-earth walls and sunlit interior accentuates OMA’s restrained architectural language.

Photography by Sharon Angelia.

OMA’s sewing and plastic recycling workshop at Potato Head’s Good Times General Store combines timber workstations equipped with sewing machines, rammed-earth walls and pale terrazzo flooring embedded with recycled bamboo offcuts. A cylindrical earthen column punctuates the room, while a colourful grid of recycled plastic samples and illuminated displays animates the far wall.

Photography by Sharon Angelia.

A close-up captures a woman operating a manual plastic injection-moulding machine at Potato Head’s Good Times General Store. Wearing a green Potato Head cap, she feeds small pieces of bright red recycled plastic into the machine’s funnel, while transparent containers filled with colourful shredded plastic and illuminated blue screens form a vivid industrial backdrop.

Photography by Sharon Angelia.

A woman operates a plastic-processing machine inside the Good Times General Store’s recycling workshop, where a wall of transparent containers holds shredded plastic in vivid bands of blue, green, red, orange and yellow. Integrated digital screens and industrial equipment contrast with the warm rammed-earth walls, making material recovery and transformation part of the store’s visual identity.

Photography by Sharon Angelia.

With weaving, upcycling and sewing workshops due to join the programme in 2027, the store is set to keep evolving. “Retail can be more than a transaction,” says Potato Head founder Ronald Akili. “At the Good Times General Store, we want people to understand what they bring home, who made it, what it’s made from, and what its next life could be.”

Two softly curved sofas upholstered in geometric-patterned beige fabric face one another across a matching ottoman and irregularly shaped rug. Positioned between timber garment rails displaying Potato Head’s clothing collections, the seating arrangement brings a residential sensibility to OMA’s minimalist retail interior, with vivid orange display structures visible through the central doorway.

Photography by Sharon Angelia.

With weaving, upcycling and sewing workshops due to join the programme in 2027, the store is set to keep evolving. “Retail can be more than a transaction,” says Potato Head founder Ronald Akili. “At the Good Times General Store, we want people to understand what they bring home, who made it, what it’s made from, and what its next life could be.”

An oblique exterior view reveals the sculptural thatch-clad volumes of Potato Head’s Good Times General Store tucked beneath OMA House’s elevated concrete structure. Deep-set timber windows and doors punctuate the coarse, organic surfaces, while a dark wooden deck, steps and integrated bench create a transitional space between the interior workshops and landscaped surroundings.

Photography by Sharon Angelia.

A frontal view of Potato Head’s Good Times General Store reveals its thick, sculptural exterior walls clad in coarse alang-alang thatch, punctuated by a large recessed timber-framed window. A dark wooden platform with an integrated bench runs along the façade, contrasting with the organic cladding and the elevated concrete structure of OMA House above.

Photography by Sharon Angelia.