InterContinental Hotel Archives Neal Prince ASID

Neal Prince R.A., A.S.I.D

(Curriculum Vitae)

InterContinental Hotel Corporation Digital Archives


Bali Beach InterContinental Hotel
Sanur, Bali, Indonesia (1966-1986)

InterContinental Hotel Collections
held by the Neal Prince Estate Holding Trust
Mr. Neal Prince,
R.A., A.S.I.D
(Curriculum Vitae)
Index Holdings Relating to the 1940's
Index Holdings Relating to the 1950's
Index Holdings Relating to the 1960's
Index Holdings Relating to the 1970's
Index Holdings Relating to the 1980's
Index Holdings Relating to the 1990's
Biography 2000's
 Mr. Neal Prince Resource Image Data Base
InterContinental  Hotels 

John B. Gates,
Chairman of the Board
Robert Huyot,
Chairman of the Board
Hans Sternick,
Chairman of the Board
John P. Sutherland,
Latin American
Mario Di Genova,
Europe/Africa Divsions
R. Kane Rufe,
Sr. Vice President
Far East/Pacific Division
John C. Carrodus
Sr. Vice President
of Services
Neal A. Prince
Vice President
Graphics and Interior Designs
Departmental Staff and Contractual Designers:
Kenneth Smith,
Charles R Alvey,
Graphic Designer
Richard Simpson,
Graphic Designer
 Bill Embery
Dale & Pat Keller,
Joe Grusczak,
Trisha Wilson,
James Ray Baker,
Irene D'Alessio,
Interior Designer

Arie deZanger,
IHC Photographer


InterContinental Hotel was a subsidiary of Pan Am Airlines

Pan Am Logo InterContinental Hotel Corporation Digital Archives

 * * * Webpage is being updated * * *

Who is Mr. Neal Prince? Mr. Prince is a trained Architect from Rice University, an Art Historian, Art Collector and a person with a vast passion for Motion Pictures and Theatre History, especially Set Designs. These elements came together to build a foundation to Mr. Prince's skills, which later became recognized as his ability for designing Hotel and Restaurant Interiors. Mr. Prince incorporated his own passions of above, into an International branding philosophy that remains as strong today as it was when he developed his philosophy of Hotel and Restaurant Designs, which is visible today, in Hotels worldwide. But what makes Mr. Prince different? He was a pioneer within this Industry, along with Dale and Pat Keller, of Hong Kong, in designing Hotels in countries that never had an International Hotel presence. Mr. Prince, along with Kenneth Smith (Interior Designer), Charles Alvey (Graphic Designer), Richard Simpson (Graphic Designer), William Embury (Interior Designer), Joe Grusczak (Interior Designer), James Ray Baker (Interior Designer) and Irene D'Alessio (Interior Designer) and many others were the first, to sent the standards for International Hotel Interiors. And what is incredible is that he did not have the grand budgets that most designers have today. Mr. Prince used local talents and products, when available and appropriate, to augment his designs, which, in return, allowed local Artist, Gallery Owners, Merchants and vendors to view InterContinental not as an invader, but as a partner in creating new sources of commence within the local economy. What is even more unique in Mr. Prince being different, was that Mr. Prince has always credited his success, not in the terms of "I", but "WE". Mr. Prince, being from Corsicana, Texas, has always remained modest and respectful and always have contributed his success due to the fact that designing hotels is a "TEAM" effort, from his Departmental Staff to his Professional Associate Designers that he had brought on to do a certain project for the vast inventory of InterContinental Hotel holdings. This website is to bring together the collections, resources, stories and images documenting a period of time, before computers, mobile phones, fax's or video conferencing. This website is to recapture the time when International Hotel Design Industry remained in its infancy before the growth and development into what we have today as multi billion dollar companies. Each Hotel on this website will encompass how Mr. Prince and his Staff and Professional Associates overcame the troubles of designing Hotels, from a historic point of view, to what was necessary to open the Hotels, maintain the Hotels, and what lessons were learned to be applied for the next project.



Bali Beach InterContinental Hotel



Dong Kingdom, Artist

 Rendering designed by Dong Kingman, Artist (1966)



Lead Interior Designer:

Neal Prince ASID Intercontinental Hotel Designer Pan-Am

Neal A. Prince, R.A., A.S.I.D, Lead Designer

V.P. of Graphic and Interior Design Department, InterContinental Hotel Group 1960-1985






Lobby -

Photograph courtesy of Arie de Zanger, IHC Photographer


Sanur, Bali, Indonesia




605 completely air-conditioned hotel guestrooms, with 41 cottages for a more native experience within the resort.

 - No Photograph is available at this time-


How does Mr. Prince's identify an outstanding Hotel?

Response: When you arrive at the Hotel, telephone room service and order a club sandwich to be delivered to your room. Once the room service had delivered your requested club sandwich, take a moment to access how it was prepared, what materials they used to create your club sandwich and then taste the sandwich. Mr. Prince firmly believes, from 55 years of travelling around the world that if a Hotel is able to prepare the "simple" club sandwich correctly, then that Hotel is being operated correctly.




4 specialty restaurants, an informal restaurant, 2 cocktail lounge, 2 bars, snack bar and a poolside snack bar for the Hotel Guest enjoyment.




Meeting Facilities:

2 function rooms to accommodating up to 900 people.

 - No Photograph is available at this time-



Examples of Samples for Guestroom or Lobby Decor Artifacts:

Tiger -



Balinese Masks

Balinese masks are of ancient origin and act like lightning rods in the sense that they attract the spirit of the person to be portrayed. They are sacred.

The Balinese believe that living masks can provide inspiration for the wearer, whether a dancer or an actor. The plot of the play or dance comes from the mask. In other words, as the Balinese say, the mask "speaks".

Masks are used in dance and drama performances and are treated with a great deal of respect.

They represent the faces of gods, heroes and revered persons. Masks are put on the head, the most sacred part of the body, and never on the ground.

Masks take many forms. They are usually carved from a softwood called "pule". Endless sanding and at least 40 coats of paint achieve a striking surface.

They are usually kept out of sight, wrapped inside a box, which is often covered with a white cloth.



Bali wooden Buddha hand, hand crafted out of teak wood.


Bali Native wood craving, of a wooden native snake, hand crafted out of teak wood and hand painted.


Bali hand crafted from Teak wood, of four pigs laying next to each other.


Bali hand crafted from Teak wood, of a native fish.


Bali Teak wood sculpture of a man crouched, mounted to a base and  presented to Mr. Prince as an Award of Outstanding Service, provided to the Asian/Pacific Division of InterContinental Hotels. 


CUPS; Eight (8) Chinese carved nut-wood rice wines cups with silver linings (each approx. 1-1/2” high by 2-1/2” high by 2-1/2” diameter





Mr. Neal Prince, R.A., A.S.I.D (1966)

Mr. Neal Prince, overlooking the pool area after directing the natives to assisting him by having them crawl up the Palm Trees to remove the coconuts as they dropping upon the unknown Hotel Guests, in a violent manner, as they sun bathed.  This would be a example of Mr. Prince's ability to see every project, from all points of view. Even when its relates to issues from the top of the trees.


Images held by the Collection:

Dong Kingdom, Artist
Image provided by the Neal Prince Estate Holding Trust, NAPT
Rendering of the Bali Beach Hotel, by Dong Kingman.


Artist:           Dong Kingman (1911-2000), American

Title:            "InterContinental Bali Beach Hotel, in Sanur, Bali, Indonesia" (Commissioned Rendering, Commercial, Hotel opened in 1966)

Date:            ca. 1964/1965

Medium:      Water Color

Materials:     Paper

Markings:     Signed, lower right corner “D. Kingman

Framed:       Yes, item has remained in the original frame when presented to the Board of Directors of InterContinental¹ of how the new exterior would view of the Hotel after the completion, as rendered by Mr. Kingman.

Provence:    -Neal Prince Estate Holding Trust

-Neal Prince

Footnote¹:   Once the presentation was completed, it was custom at the time to discard the renderings once the Hotel was completed. Mr. Prince retained this rendering from destruction by acquiring this original artwork for his own archives.

Institutions Holdings:     

                              See review the Official Website of Dong Kingman for the vast list of Institutions that hold or have exhibited his massive works of art. That link would be


Dong Kingman (1911-2000), American

Mr., Kingman was born in Oakland, California. His father was a Chinese immigrant who worked as a laundryman and dry goods merchant. The family returned to Hong Kong when the artist was a child. There he studied traditional painting and calligraphy, as well as European styles, and worked briefly in an architectural drafting office and with a motion picture company. His early ambition was to direct films. He returned to United States during the Depression and supported his painting by working in his brother's factory and as a houseboy for a San Francisco family. After a successful first show of watercolors in 1933 he joined the Works Progress Administration for five years while also teaching at the Academy of Advertising Arts in San Francisco. In 1940, the Metropolitan Museum of Art bought one of Mr., Kingman's paintings, and later two more. His New York solo debut was at Midtown Gallery in 1942. In the same year he was awarded the first of two Guggenheim Fellowships. After serving in the Army during World War II, he moved to New York, where he taught at Columbia University and Hunter College, and at the Famous Artist School in Westport, Conn. Mr. Kingman also showed with Wildenstein and Hammer Galleries in New York, but magazines and films expanded his audience. He did many illustrations, including covers for Time, Life and Saturday Review of when he was introduced to Mr. Neal Prince and Herbert Waide Hemphill, Jr. His urban scenes have a cheered in 1954 while on a cultural exchange program sponsored by the State Department. The scroll was published in Life. He also painted mood-setting scenes for films like "Flower Drum Song"-1961 and "55 Days at Peking"-1963, and was technical and promotional adviser for "The World of Suzie Wong"-1960. The paintings appeared in the films or were records of production. In a 1997 book on Mr. Kingman is peppered with photographs of the artist posing beside Hollywood celebrities. In 1964, Mr. Prince contacted Mr. Kingman in a water color rendering of one of their newly Hotels in Bali, Indonesia. Mr. Kingman accepted the Commercial work which became a great success with the Board of Directors of InterContinental Hotel.  Once the presentation was completed, it was custom at the time to discard the renderings once the Hotel was completed. Mr. Prince retained this rendering from destruction by acquiring this original artwork for his own archives. This item has been held by Mr. Prince since that time. In 1981, The Ministry of Culture of the People's Republic of China arranged a show of his paintings in Beijing. The Taipei Fine Arts Museum in Taiwan organized "40 Years of Watercolors by Dong Kingman" in 1994; in 1999 a retrospective was organized by the Taichung provincial Museum in Taiwan. Another retrospective was schedule to tour in the United States from 2000-2001. In 2000, the Academy of Motion Picture Arts and Sciences organized an exhibition of his film-related work. Paintings by Mr. Kingman are owned by the Metropolitan Museum, the Museum of Modern Art in New York, the Whitney Museum of American Art, The Brooklyn Museum of Art and the Museum of Fine Arts, Boston, and are in Private Collections, such as Mr. Prince's Estate Trust.  





InterContinental HOTEL




NEAL PRINCE, ca. 1961

The approach to hotel design differs greatly from interior design for an individual. The latter is dictated by the aesthetic environmental pleasures of one particular person or family, whereas hotel design is a coordinated effort between the functional requirements if IHC Hotel Management and Operations, the architectural concept and space allocation, the desires of the local hotel company, the limitations of restrictive budgets, and the harmony and market of the country in which a hotel is located – all combined to produce a profit marking plant reflecting the current international tastes of a widely diversified market.

Although standardization would appear to be desirable in a rapidly growing industry, experience indicates the most successful efforts are based on individuality related to the country of origin rather than standardization of design, but with an overlying emphasis of international standardization of quality and service.

Each hotel in each location produces its own surveyed, conceptual, and operational requirements of IHC, its own local interior designers, and its own problems of local availability and manufacturing; however, the following outline of goals is generally applicable:

A. To produce good design based primarily on the functional needs and requirements of IHC Operations in order that Management can merchandise fully the facilities provided and develop a high quality of service; this design to be approached simultaneously along the following avenues:

1. Concept (objectivity) – initiated by IHC Operations and local Hotel Company (where applicable).

2. Function (utility) – based on past experience and current consumption of practical innovation.

3. Construction (fabrication) – utilization of local market facilities and methods wherever possible.

4. Budget (feasibility) – dictated by market surveys indicating the initial expenditure warranted by projected profits.

5. Beauty (design) – a conglomerate result of the thinking and ideas of all parties involved coordinated into a smooth, compatible result.

B. To insure that the original design concept and subsequent development of each project is based not on the likes and dislikes of any one faction but expresses the taste and insures the comfort of the international guest; and also utilizes, wherever possible, the trades, manufactures and craftsmen as well as the arts and crafts, ornamentation, styles, and traditions indigenous to the country in which a project is located.


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