The Balinese temple or pura "Pura (temple)") (Sanskrit for: 'walled city') is designed as an open-air place of worship within enclosed walls, connected with a series of intricately decorated gates between its enclosures. This walled enclosure contains several shrines, meru "Meru (tower)") (towers) and bale (pavilions). The design, plan and layout of the pura follow the Tri Mandala concept of Balinese space allocation.[6]​ The three zones of mandala are Nista Mandala (jaba stepped), the outer zone; Madya Mandala (jabatengah), the middle zone and Utama Mandala (jero), the most sacred and sacred zone.

The Balinese temple usually contains a padmasana, the imposing lotus throne of the supreme deity, Acintya (Sang Hyang Widhi Wasa in modern Balinese), the pelinggih meru (a multi-roofed tower similar in design to the Nepalese or Japanese pagoda) and various pavilions, including the bale pawedan (Vedic chanting pavilion), the bale piyasan, the bale pepelik (offering pavilion), the bale panggungan, the bale murda and the gedong penyimpenan (storehouse of temple relics).

Unlike European architecture, Balinese houses and puri (palaces) are not created as a single extensive building, but as a series of structures within a fenced enclosure, each with special functions; such as the open pavilion in front for receiving guests, the master bedroom, other bedrooms, pelinggihan or pemrajan, a small family sanctuary, living rooms and kitchen. The kitchen and living room areas, which house daily home activities, are generally separate from the family sanctuary. Most of these pavilions are created in Balinese balé architecture, a thatched roof structure with or without walls, similar to the Javanese pendopo. The fenced area is connected with a series of gates. Balinese architecture recognizes two types of doors, the divided door candi bentar and the roofed door paduraksa or kori.

In the architecture of Balinese palaces, their size is larger, the ornamentation is richer, and they are more elaborately decorated than ordinary Balinese houses. The balé gede is a pavilion resting on 12 columns, where the eldest male of the family sleeps, while the wantilan") is a rectangular public building without walls, where people gather or cockfights take place. The bale kulkul is a raised structure, topped with a small pavilion where the kulkul") (Balinese slit drum) is placed. The kulkul would sound as an alarm during an emergency in the town, city or palace, or as a signal to gather the inhabitants. In Balinese villages there is a bale banjar, a public community building where the locals congregate.

Balinese gardens are usually designed in a natural tropical style, with decorative tropical plants in harmony with the environment. The garden is usually established according to the natural topography and its natural state is hardly disturbed. However, some water gardens have a formal design, with ponds and fountains, such as the Taman Ayun Water Garden or the Tirta Gangga Water Garden). bathing petirtaan both in Goa Gajah and Tirta Empul.

Bali's prominence as a popular island resort with great cultural significance has stimulated demand for modern Balinese architecture applied to tourism-related buildings. In this way, hotels, villas, cabins, restaurants, shops, museums and airports have incorporated Balinese themes, style and design into their architecture.

• - Candi.

• - Pure Besakih.

• - Julian Davison, Nengah Enu, Luca Invernizzi Tettoni, Bruce Granquist, Introduction to Balinese Architecture, Periplus Asian Architecture Series, 2003, ISBN 0-7946-0071-9.

Balinese architecture develops from traditional Balinese ways of life, its spatial organization, its community-based social relations. Philosophy and spirituality also influenced its design, mainly due to the observance of Balinese Hinduism. The common theme that often occurs in Balinese design is tripartite divisions.[2]​.

Traditional Balinese architecture adheres to strict and sacred building laws, allowing for much open space and consisting of a spacious courtyard with many small pavilions, surrounded by a wall to keep out evil spirits and decorated with statues of guardians.[4]​.

The philosophical and conceptual basis that underlines the development of traditional Balinese architecture includes several concepts such as:[5]​.

• - Tri Hita Karana: the concept of harmony and balance consists of three elements; atma (human), angga (nature) and jaya (gods). Tri Hita Karana prescribes three ways in which human beings should strive to foster a harmonious relationship with other human beings, nature and God.

• - Tri Mandala: the rules of spatial division and zoning. Tri Mandala is a spatial concept that describes three parts of realms, from Nista Mandala, the less sacred outer and lower mundane realm, Madya Mandala, the middle intermediate realm, to Utama Mandala, the more important inner and upper sacred realm.

• - Sanga Mandalaalso the rules of spatial division and zoning. The Sanga Mandala is the spatial concept related to directions, which divide an area into nine parts according to eight main and central cardinal directions (zenith). These nine cardinal directions are connected with the Hindu concept of "guardians of the directions", Dewata Nawa Sanga or nine guardian gods of the directions that appear in the mayapajit emblem of the Surya Mayapajit"). They are: center: Shiva, east: Isvara, west: Mahadeva, north: Vishnu, south: Brahma, northeast: Sambhu"), northwest: Sangkara"), southeast: Mahesora") and southwest: Rudra).

• - Tri Angga: the conception of hierarchy from the microcosm, the middle kingdom and the macrocosm. It is also connected with the following concept of Tri loka.[2]​.

• - Tri Loka: also the conception of hierarchy between three kingdoms bhur (Sanskrit: bhurloka), lower kingdom of animals and demons, bhuwah (Sanskrit: bhuvarloka) middle kingdom of humans and swah (Sanskrit: svarloka) upper kingdom of gods and deities.

• - Asta Kosala Kosali: The eight guidelines for architectural designs, which include the forms of niyasa (symbols) in pelinggih (shrine), pepalih (stages), their units of measurement, shapes and size, also dictate the appropriate decorations.

• - Arga Segara or Kaja Kelod: the sacred axis between arga or kaja (mountain) and segara or kelod (sea). The mountainous region is considered parahyangan, the abode of hyang or divinities, the intermediate plain between what is the kingdom of humans and the sea, like the kingdom of sea monsters and demons.

In addition to artistic and technical mastery, all Balinese architects (Balinese: Undagi) must master these Balinese philosophical concepts related to form, architecture and spatial organization.

The Balinese temple or pura "Pura (temple)") (Sanskrit for: 'walled city') is designed as an open-air place of worship within enclosed walls, connected with a series of intricately decorated gates between its enclosures. This walled enclosure contains several shrines, meru "Meru (tower)") (towers) and bale (pavilions). The design, plan and layout of the pura follow the Tri Mandala concept of Balinese space allocation.[6]​ The three zones of mandala are Nista Mandala (jaba stepped), the outer zone; Madya Mandala (jabatengah), the middle zone and Utama Mandala (jero), the most sacred and sacred zone.

The Balinese temple usually contains a padmasana, the imposing lotus throne of the supreme deity, Acintya (Sang Hyang Widhi Wasa in modern Balinese), the pelinggih meru (a multi-roofed tower similar in design to the Nepalese or Japanese pagoda) and various pavilions, including the bale pawedan (Vedic chanting pavilion), the bale piyasan, the bale pepelik (offering pavilion), the bale panggungan, the bale murda and the gedong penyimpenan (storehouse of temple relics).

Unlike European architecture, Balinese houses and puri (palaces) are not created as a single extensive building, but as a series of structures within a fenced enclosure, each with special functions; such as the open pavilion in front for receiving guests, the master bedroom, other bedrooms, pelinggihan or pemrajan, a small family sanctuary, living rooms and kitchen. The kitchen and living room areas, which house daily home activities, are generally separate from the family sanctuary. Most of these pavilions are created in Balinese balé architecture, a thatched roof structure with or without walls, similar to the Javanese pendopo. The fenced area is connected with a series of gates. Balinese architecture recognizes two types of doors, the divided door candi bentar and the roofed door paduraksa or kori.

In the architecture of Balinese palaces, their size is larger, the ornamentation is richer, and they are more elaborately decorated than ordinary Balinese houses. The balé gede is a pavilion resting on 12 columns, where the eldest male of the family sleeps, while the wantilan") is a rectangular public building without walls, where people gather or cockfights take place. The bale kulkul is a raised structure, topped with a small pavilion where the kulkul") (Balinese slit drum) is placed. The kulkul would sound as an alarm during an emergency in the town, city or palace, or as a signal to gather the inhabitants. In Balinese villages there is a bale banjar, a public community building where the locals congregate.

Balinese gardens are usually designed in a natural tropical style, with decorative tropical plants in harmony with the environment. The garden is usually established according to the natural topography and its natural state is hardly disturbed. However, some water gardens have a formal design, with ponds and fountains, such as the Taman Ayun Water Garden or the Tirta Gangga Water Garden). bathing petirtaan both in Goa Gajah and Tirta Empul.

Bali's prominence as a popular island resort with great cultural significance has stimulated demand for modern Balinese architecture applied to tourism-related buildings. In this way, hotels, villas, cabins, restaurants, shops, museums and airports have incorporated Balinese themes, style and design into their architecture.

• - Candi.

• - Pure Besakih.

• - Julian Davison, Nengah Enu, Luca Invernizzi Tettoni, Bruce Granquist, Introduction to Balinese Architecture, Periplus Asian Architecture Series, 2003, ISBN 0-7946-0071-9.