London and Istanbul–based design studio Ahu, founded by Eda Akaltun and Mevce Çıracı, presents “Nahıl – Ahu’s New Journey: On Object, Space and Ritual” at the Küçük Mustafa Paşa Hammam in Istanbul from 8 to 16 November. Inspired by Ottoman traditions of craftsmanship, celebration, and community, the exhibition reinterprets a forgotten cultural heritage through a contemporary design lens.

 

ENCOUNTERING THE NAHIL TRADITION

 

The “Nahıl” tradition in Ottoman culture symbolizes abundance, celebration, and community. How did the idea of translating this tradition into a contemporary exhibition emerge?

 

We first encountered the nahıl tradition while researching Istanbul’s urban life. It’s one of those cultural practices that has always been around us, yet rarely understood in depth. Because they were ceremonial and temporary structures, none have survived physically — though traces remain in Levni’s miniatures and the writings of Evliya Çelebi. The nahıl’s collective nature — bringing together the skills of multiple artisans — naturally aligns with our own collaborative practice. We wanted to revive this forgotten heritage through a contemporary exhibition.

 

Your exhibition title brings together three notions: “object, space, and ritual.” How do these ideas relate to one another, and what role does ritual play in Ahu’s design approach?

 

These notions — object, space, and ritual — shape how the collection is experienced. We see objects not only as aesthetic or functional entities but also as vessels of memory and narrative. The 15th-century Küçük Mustafa Paşa Hammam, where the exhibition takes place, goes beyond being a display venue — it evokes a sense of cleansing and gathering, much like a ritual itself. Ritual, in this sense, is central to both the historical context of the nahıl and the curatorial framework of the show. Through craftsmanship and material, the daily rituals of the past transform into a contemporary story.

 

The materials you use — wood, stone, fabric, marquetry, and ebru — seem to serve as narrative elements as much as aesthetic ones. What was it like to tell a story through materials?

 

Working with different materials and techniques is like hearing the same story told by different voices. The motifs that Eda created, inspired by Ottoman and Anatolian symbols, take on new forms across mediums — each material adds its own tone and emotion, offering a distinct perspective to the same narrative.

 

INSPIRED BY 16TH-CENTURY ISTANBUL

 

The exhibition takes place inside the 15th-century Küçük Mustafa Paşa Hammam. How did this historic setting influence the experience and meaning of the show?

 

Curated by Gem Alf, the exhibition unfolds as a choreography where objects and architecture intertwine. Visitors move from domed halls to intimate chambers, echoing the ritual of cleansing and gathering inherent to the hammam. The interplay of stone, light, and spatial rhythm amplifies the nahıl’s symbolic power, adding both visual and sensory depth. Interestingly, when we designed the collection, the venue hadn’t yet been decided — yet our research into 16th-century Istanbul life naturally guided the forms. This connection allowed the geometric structures of the objects to harmonize effortlessly with the space.

 

“Nahıl” marks Ahu’s first exhibition in Istanbul. How does this project represent a turning point for both of you and for the studio’s future?

 

The collection is produced in Istanbul, and the stories it tells also originate here. Our designs reflect both the city’s cultural fabric and its artisanal legacy. For this project, we collaborated with a wide range of local craftspeople, blending traditional techniques with contemporary interpretation. Moving forward, we want to continue exploring narratives rooted in our culture — creating objects that serve as storytellers, evolving with new materials and methods.