This Humid House

What happens when, instead of visiting Lunuganga, you get to stay?

Most visits to Geoffrey Bawa’s garden estate unfold over a 90-minute tour. This November, we have four days.

Time to see the garden early and late. To return to the same path and find it different. To experience what weather, light and simply spending more time in a place can reveal.

That time is central to 𝙎𝙩𝙖𝙜𝙞𝙣𝙜 𝙩𝙝𝙚 𝙀𝙣𝙘𝙤𝙪𝙣𝙩𝙚𝙧. We look before we make. And over two workshop days, what we notice becomes the starting point for temporary botanical interventions made with discarded material gathered from the estate.

Nothing is made to remain. The making is simply another way of looking.

𝗦𝘁𝗮𝗴𝗶𝗻𝗴 𝘁𝗵𝗲 𝗘𝗻𝗰𝗼𝘂𝗻𝘁𝗲𝗿
𝟭𝟴–𝟮𝟭 𝗡𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟮𝟬𝟮𝟲
𝗟𝘂𝗻𝘂𝗴𝗮𝗻𝗴𝗮, 𝗦𝗿𝗶 𝗟𝗮𝗻𝗸𝗮

In collaboration with the Geoffrey Bawa Trust.

Early Bird rates end 27 September.

For the full itinerary and reservations: [email protected]

Images copyright of the Geoffrey Bawa Trust. Photographs by Banuka Vithanage.

Sowon and Odom, February 2026

Images: Jovian for This Humid House
Design: This Humid House
Floral Partner: solcreative.kh
Ceremonial Specialist: Seilboth Lorn
Traditional Ceremony:
Production: Hailong Event
Videography: 𝗟𝗘𝗪’𝗦.𝗠𝗘𝗗𝗜𝗔
Music: Vanthan
Lighting: Bella Panggabean LX ON-SET
Drone 🎥: Jovian and cantfindthis for This Humid House

A storybook-perfect arch (and sunset) on the lawn for S&W 🐶

For Vesak Day, we return to the lotus. 🪷

In 𝘛𝘩𝘦 𝘎𝘪𝘢𝘯𝘵 𝘓𝘰𝘵𝘶𝘴𝘦𝘴 (1960), Zhang Daqian (张大千) enlarges the flower to monumental scale. Spanning six panels and more than eight metres in length, the work creates a world of its own.

The lotus was a lifelong subject for Zhang, who cultivated the plant himself and returned to it repeatedly in his paintings. Here, the lotus becomes architecture. Leaves and flowers sweep across the composition with a tectonic presence.

A flower long intertwined with Buddhist thought, rendered at a scale that asks to be encountered rather than simply observed.

Wishing a peaceful Vesak Day to all who celebrate.

Images by Wang Zhiyi, courtesy of Musée Cernuschi. Video via Sotheby’s.

For S&W, enchantment via a soft invasion of ivy and light at the iconic CHIJMES—a green grove moulded into the nave of the church, with vows exchanged beneath a chandelier of orchids.

Dreamt up together with , architect of dreams 💭

Just before the procession: a flurry of marrow and pistachio, folded into precious posies of orchids, amaranth and sarracenia.

With for S&W at CHIJMES

A year ago this week, we were deep in the build at Chelsea, working alongside neighbours we admired enormously— , and among them—each booth slowly becoming its own strange universe over the course of the week.

Tabula Rosa was our contribution to that conversation. A tropical landscape that sat somewhere between seduction and unease.

What feels especially striking looking back is how differently everyone approached the language of flowers, and how much space there still was for those differences to coexist side by side.

As this year’s show comes to a close today, we wanted to share a few works we especially enjoyed following from afar—Wagner and Frida’s continued openness and experimentation, ’s wonderfully eccentric installation at Museum of Curiosities, and the many flower friends whose generosity, curiosity and distinct ways of seeing continue to make this world feel expansive and alive.

Part of what continues to make Chelsea interesting to us is the way it can still accommodate very different ideas about what flowers are for, and what they might be capable of expressing.

Images courtesy of