September 2024 | Urban ENGLISH BELOW BARDOT vs. MORINI words Onur Baştürk İstanbul’un son dönem sosyal hayatının mini özeti şu: Artık adım başı her yer Espresso Lab. Fine-dining restoranlara ilgi azalıyor, ama meyhane ve ocakbaşı tarzı restoranlara olan ilgi artarak aynen devam ediyor. Misal, Gümüşsuyu’ndaki Topaz artık modern ocakbaşı Tere oldu. Bir de Valeron artık ‘millli dj’. Bu hafta her yerde o çıkıyor. Yeni mekan olarak ise bir tek Zorlu’daki Beymen’in bir süredir hazırlıklarını sürdürdüğü Bardot açıldı. Bir öğle yemeği davetiyle açılan Bardot için daha ilk günden şunu söylemek mümkün: Burası ‘kadınların Papermoon’u olur… Nitekim tren kompartımanı gibi uzayıp giden Bardot’nun açılış yemeğindeki tüm masaları kadın egemendi. Beymen’in yeme-içme sektöründeki bu ilk adımının hayli pahalıya patladığını mekana adım atar atmaz anlıyorsunuz. Öncelikle restoranın tasarımı New York merkezli iç mimarlık ofisi Roman and Williams’a ait. Bir dönemin meşhur Boom Boom Room’unu tasarlayan Roman and Williams ikilisinin son dönem yaptıkları en güzel proje Tin Building’di. Pekala Bardot da çok iyi işleri arasına girebilir. Çünkü mekandaki her detay gerçekten çok iyi. Bardot yemeğinde Bardot’nun kendisi kadar Morini de konuşuldu. Çünkü herkesin malumu: Beymen, Morini’ye çıkması için ihtarname göndermiş. Olay tıpkı, kiracısına “Yurtdışından kızım geldi, evi bir an önce boşaltın” diyen ev sahibi gibi. Yurtdışından gelen kız bu durumda Bardot oluyor tabii. Peki Morini gerçekten çıkacak mı? Hayır, bir yere gittikleri yok. Aynen devam edeceklermiş. Öğrendiğim kadarıyla sözleşmeleri devam ediyor. Yine de ekip ve yıllardır Morini müdavimi olanlar için epey tatsız ve haksız bir durum tabii. Olayın bir başka yönü de Bardot’nun açılış davetine Morini ekibine yakın olan simalardan kimin gelip gelmeyeceğiydi. Misal, Derin Mermerci. Davet edildi mi bilinmez, ama sonuçta Mermerci gelmedi. Bir başka isim Burcu Esmersoy’du. Esmersoy Bardot’ya geldi ama ertesi günlerde de Morini’cilerin İstinye Park’taki restoranı Clove’da doğum günü kutlaması yaptı. Bir bakıma herkesin gönlünü aldı denilebilir. A quick snapshot of Istanbul’s recent social scene: Espresso Lab spots are popping up on every corner. Fine-dining restaurants seem to be losing their appeal, but the interest in meyhane and ocakbaşı-style eateries remains strong. For example, Topaz in Gümüşsuyu has now transformed into Tere, a modern ocakbaşı. Oh, and Valeron has become a national DJ—he’s performing everywhere this week! As for new places, the only recent opening is Bardot, launched by Beymen at Zorlu, after much anticipation. After just one lunch, it’s safe to say: Bardot is likely to become the "Papermoon for women." Indeed, the opening lunch at Bardot, with its long, train-car-like layout, was dominated by women at every table. The restaurant’s design is by the New York-based interior design studio Roman and Williams. This duo, famous for designing the iconic Boom Boom Room, recently completed one of their finest projects, Tin Building. It looks like Bardot may also become one of their standout works. At Bardot’s opening, another hot topic was Morini. As everyone knows, Beymen has sent a notice for Morini to vacate. It’s kind of like a landlord saying, "My daughter is coming from abroad, you need to move out immediately." In this case, the "daughter from abroad" is Bardot, of course. So, will Morini actually leave? Apparently not. From what I’ve heard, they’re not going anywhere since their lease is still valid. But it’s definitely an awkward situation for them. Another aspect of the incident was the question of which of the people close to the Morini team would respond to Bardot's invitation. Derin Mermerci, for example. It is not known if she was invited, but in the end Mermerci did not come. Another name was Burcu Esmersoy. Esmersoy came to Bardot's, but in the following days she celebrated her birthday at Clove, Morini's restaurant in İstinye Park. In a way, she could be said to have made everyone happy.

August 2024 | Urban ENGLISH BELOW INSTAGRAM’ın OLMADIĞI PENCERESİZ DÜNYADAN notlar words Onur Baştürk I nstagram bir haftadır kapalı ve çoğu insan VPN’le instagrama girmeye alıştı bile. Zaten VPN internetteki tüm içeriklere tam erişim özgürlüğü isteyenlerin hayatından hiçbir zaman tam olarak çıkmamıştı. Hep bir şekilde cepte tutuluyordu, ne olur ne olmaz diye… Ancak instagramla beraber görüldü ki, erişimin engellenmiş olması ne instagram’daki etkili influencer’ların tam olarak umrunda oldu (paylaşımlarına hiçbir şey yokmuş gibi devam ettikleri için) ne de sokaktaki insanın… X platformundaki belli başlı kanaat önderlerinin tepkisi haricinde güçlü bir tepkiden bahsetmek de ne yazık ki mümkün değil. Hatta, “Keşke TikTok da kapatılsa” diyen bile var. Elbette bunun sonu yok. Her şey kapatılsın, kafamızı kuma gömelim ve hiçbir şey görmeyelim, duymayalım ve bilmeyelim diyebilirler, diyebilirsiniz. Ama maalesef yeni dünyada işler böyle yürümüyor. Türkiye “instagramla müzakere” gibi kimsenin tam olarak anlamadığı bir oyunu oynarken teknoloji, yeni yaşam tarzları ve yeni fikirler alıp başını gidiyor. Hayat çok hızlandı, ama biz burada ne yazık ki kapanan kapıları güvenilir bir çilingirle (o da VPN oluyor) açmaya çalışan zavallılar gibiyiz. Instagramın kapatılmasını sadece “ekonomik kayıp” olarak görenler ise işin bir başka problemli tarafı. Evet instagramda bir ekonomi var, irili ufaklı birçok marka orada ticaret de yapıyor. Ama instagram aslında herkesin kendini ifade etmesine olanak sağlayan -sev ya da sevme- bir içerik platformu. Herkesin kişisel medyası yani. Bir bakıma herkesin dünyaya açılan penceresi. Şimdi o pencere kapandı. Öylece, pat diye. Ve her durumda penceresizlik berbat bir şeydir. Hava alamıyormuş gibi hisseder, boğulursun. NOTES from the WINDOWLESS WORLD with INSTAGRAM TURNED OFF I nstagram has been down for a week and most people have already gotten used to using a VPN. After all, a VPN has never completely disappeared from the lives of those who want complete freedom of access to all content on the Internet. It was always somehow in the pocket, just in case... However, in the case of Instagram, we saw that the blocked access did not really affect the influencers with many followers on Instagram (as they continued to post as if nothing was happening), nor the people on the street... Unfortunately, it is not possible to speak of a strong reaction other than the reaction of certain opinion leaders on the X platform. There are even some who say "I wish TikTok would be shut down too". Of course, there is no end to this. You can say that everything should be shut down, that we should bury our heads in the sand and not see, hear, or know anything. But unfortunately, this is not how things work in the new world. While Turkey is playing a game like "Negotiating with Instagram" that nobody fully understands, technology, new lifestyles and new ideas are taking over. Life has accelerated a lot, but unfortunately we are like poor people trying to open closed doors with a reliable locksmith (that would be a VPN). Those who see Instagram's shutdown only as an "economic loss" are missing another problematic side of the issue. Yes, there is an economy on Instagram, with many brands large and small doing business there. But Instagram is actually a content platform that allows everyone to express themselves - like it or not. It's everyone's personal medium. In a way, it's been everyone's window to the world. Now that window is closed. Just like that, suddenly, for no reason. And anyway, windowlessness is a terrible thing. You feel like you can't breathe, like you're suffocating.

January 05, 2026 | DESIGN & INTERIORS SOFT BRUTALISM, REIMAGINED words YUZU Editorial photos Walid Rashid interior design Marie Claire Mrad In a quiet enclave of Dubai’s Al Mahra, a 2007 villa originally shaped by traditional Arabic architecture has been reimagined through a bold yet carefully calibrated interior transformation. Led by interior architect Marie Claire Mrad, the project softens brutalist minimalism with warmth, craft, and a fully bespoke approach. The home belongs to Christopher Hani, owner and CEO of Bull Contracting, who oversaw the villa’s general contracting and joinery works. Shared with his wife, Bridie Ellen, and their young daughter, the house reflects a dynamic lifestyle and a strong desire for spaces designed around hosting, openness, and daily life. For Hani, the project became a personal testing ground—one that allowed creative and technical boundaries to be pushed in tandem. OPENING THE HOUSE TO LIGHT AND FLOW All internal walls were removed to create a continuous open plan, organised around a dramatic double-height staircase and extending seamlessly toward the outdoor pool terrace. A skylight draws natural light deep into the interior, while subtle shifts in material and proportion define living, dining, and bar areas without interrupting flow. “The concept itself was not typical of Dubai’s residential projects,” says Mrad. “We introduced elements such as brushed stainless steel wall cladding, a glowing bar made of Patagonia—a rare and luxurious natural stone—and fully customised furniture and lighting to create something truly bespoke for this villa.” RAW MATERIALS, SOFTENED Brushed stainless steel, lava stone, charcoal steel, dark mirrors, and custom-crafted furniture establish a strong architectural language. Yet restraint is key. “I wanted the home to feel bold, yet warm and livable,” Mrad explains. “The interplay of natural light through the skylight and the contrast between rough textures and softer elements guided many design decisions.” A deep palette of charcoal, steel grey, and dark stone is offset by desaturated blues that introduce relief and depth. At the centre of the composition, a luminous 13-foot Patagonia stone bar—shipped from Lebanon—acts as both sculptural anchor and visual counterpoint. “Overall, the colour scheme reinforces the architectural strength of the design while ensuring the house still feels inviting,” she notes. A FULLY BESPOKE INTERIOR From the outset, the project was conceived as entirely custom. All furniture and lighting were designed and produced by Marie Claire Mrad’s Beirut studio. Technical ambition shaped the architecture too: instead of conventional sliding doors, a remote-controlled system allows all glass panels to stack to one side, opening the main living areas fully to the terrace. Art and objects complete the narrative. A Spider chandelier by Mb-Designlab Paris anchors the living space, while a monumental face-mask sculpture by Marco Oliver dominates the double-height stair wall. Works from Bali and sculptural pieces from Thailand add rhythm and a subtle global layer. The result is a home that reframes luxury through intention rather than excess—brutalist in its honesty, minimal in its clarity, and softened by colour, light, and craft.

May 2024 | Urban english below Bir Mardin Bienali deneyimi words Onur Baştürk M ardin’e daha önce çok gittim, ama Bienal zamanı eski şehri ilk kez deneyimledim. Bekletmeden söylemeli: Bienalin iki emekçisi Döne Otyam ve Hakan Irmak gerçekten müthiş bir iş yapıyorlar. Tamamen kendi olanakları ve ilişki ağlarıyla bir bienali 6’ıncı edisyonuna kadar getirip büyütmek, geliştirmek kolay bir iş değil. Neredeyse Venedik Bienali’nden hemen sonra gördüğüm Mardin Bienali deneyiminden en çok aklımda kalanlar ise şunlar oldu: 1. Yokuşlu yollarda, merdivenlerde bir aşağı bir yukarı çıkarak, bazen kaybolup bazen de nefes nefese kalarak Bienal mekanları arasında turlamak eğlenceliydi. Her ne kadar “Neden bir yönlendirme tabelası yok?” diye söylensem de bu kendine özgü labirent deneyimini de başka bir şehirde yaşamak imkansızdır. 2. Bazı Bienal mekanlarında şu ikilemi yaşadım: Beni etkileyen sanat eseri miydi yoksa mekanın kendisi mi? İtiraf ediyorum; çoğu zaman, mesela Develi Han’da, mekanın ruhu, dokusu daha çok ön plana çıkıyordu. Bazen de tam tersi oldu: Başka fuarlarda defalarca gördüğüm bir eseri mekanın kendisi sayesinde daha dikkatle inceledim. Yani Mardin’in tarihi mekanlarının ön plana çıkması kötü bir şey değil. Aksine, burayı farklı kılan şey bu. 3. İstanbul’a döndüğümde, “İyi eserler var mıydı?” sorusuyla çok sık karşılaştım. Venedik Bienali’ne dair bu soruyu sormak mümkün. Ama Mardin Bienali’nde her şey bir bütün. Çünkü bin yıllık, bir kısmı viran halde bir yapının içinde bir dijital video izlemek ya da bir enstalasyon görmek bile yetiyor insana. Daha fazlası da olur elbette. Ama bunu “hemen, şimdi” bekliyor olmak biraz da batının o meşhur doyumsuzluğu ve sabırsızlığından kaynaklanıyor. Keza, Bienal’le ilgisiz, bir mekanın organizasyon hatasından kaynaklı dj olayının da bağlamından özenle kopartılıp bambaşka anlamlar yüklenerek, sosyal medyada çiğnenmek suretiyle bir dedikodu/linç çığına dönüştürülmesi yine batıya özgü şımarıklığa dair tipik bir örnekti. NEDEN KIRLANGIÇLAR Bienal sırasında şahane bir yemeğe de katıldım. Bienalin kurumsal sponsorlarından Beylerbeyi İçecek Pazarlama’nın düzenlediği yemek, Mardin’in yeni otellerinden Arura’nın terasındaydı ve teması da “Kırlangıç Saati”ydi. Haliyle, “Neden kırlangıçlar?” diye sordum yemeği organize edenlere… Meğer bahar ayları, özellikle de mayıs, kırlangıçların Mardin’e geldiği dönemmiş. Gökyüzü onların dansıyla şenlenir ve kırlangıçları izlemek herkese keyif verirmiş. Yemeğin temasına uygun olarak lokal sanatçılarla da iş birliği yapılmış. Bawer Doğanay bu temaya uygun şişe tasarımı yapmış, Zahit Mungan ise kırlangıç uçurtmaları… Unutmadan: Bienalin teması “Daha Uzaklara” idi. Bana kalırsa Bienal yıllar içinde şunu da sağlamış oldu: Batıda yaşayan insanların “çok uzakta olduğunu” düşündüğü bir şehri sanat sayesinde onların algısına daha yakın kıldı. A Mardin Biennial experience I have been to Mardin many times, but it was during the Biennial that I experienced the old city for the first time. I have to say this right away: Döne Otyam and Hakan Irmak, the two workers of the Biennial, are doing a really great job. It is not an easy task to bring a biennial to its 6th edition, to grow and develop it entirely with one's own means and networks. What I remember most from my experience of the Mardin Biennial, which I saw almost immediately after the Venice Biennial, are the following: 1. It was fun to walk around the Biennial venues on the hilly streets, up and down the stairs, sometimes getting lost and sometimes out of breath. Although I wondered, "Why isn't there a direction sign?", it was impossible to have this unique labyrinth experience in any other city. 2. I had this dilemma in some of the Biennial venues: Was it the artwork that impressed me or the space itself? I have to admit that most of the time, for example in Develi Han, the spirit and texture of the space was more prominent. Sometimes it was the other way around: I would look more closely at a work I had seen many times in other fairs, thanks to the space itself. In other words, it is not a bad thing that Mardin's historical sites come to the fore. On the contrary, this is what makes it different. 3. When I returned to Istanbul, I was confronted with the question "Were there any good works?" but I think this question is wrong. It is possible to ask this question about the Venice Biennial. But in the Mardin Biennial, everything is a whole. Because it is enough to watch a digital video or see an installation in a thousand-year-old building, some of which is in ruins. Of course, there will be more. But to expect it "right now" is partly due to the West's famous insatiability and impatience. WHY THE SWALLOWS Organized by Beylerbeyi Icecek Pazarlama, one of the Biennial's corporate sponsors, the dinner was held on the terrace of Arura, one of Mardin's new hotels, and the theme was "Swallow Time". Naturally, I asked the organizers, "Why swallows?" It turns out that spring, especially May, is the time when swallows come to Mardin. The sky would be alive with their dance and everyone would enjoy watching them. In keeping with the theme of the dinner, local artists were also involved. Bawer Doganay designed bottles in line with the theme, while Zahit Mungan created swallow kites... Oh, before I forget: The theme of the Biennial was "Farther Away". In my opinion, the Biennial has achieved this over the years: It brought a city that people in the West thought was "too far away" closer to their perception through art.

March 2024 | Urban english below İSTANBUL MU ATİNA MI? words Onur Baştürk R yan Murphy projesi “Feud”un Bette Davis ile Joan Crawford rekabetini konu edinen ilk sezonunda şöyle bir sahne vardır. Kendi filmini yönetmek isteyen Pauline, erkek egemen Hollywood’dan yakınınca Joan Crawford’un yardımcısı, yoldaşı, müthiş karakter Mamacita şöyle der: “Başını dik tut, senin zamanın geliyor”. Mamacita’nın gerekçesi de vardır. Kütüphaneye gidip ABD’deki erkek nüfusunun yıllar içinde azaldığını araştırmıştır. Ve 70’li yıllar için öngörüsünü söyler: “Kadın nüfusu yüzde 52’ye çıkacak. Bu da ne demek? Her şey kadınlar için yapılmaya başlanacak. Ekonomi daha çok kadınlar için dönecek ve onların dilinden anlayan kazanacak. Yani senin zamanın geliyor!” Doğrusu Mamacita’nın İstanbul yeme-içme sektörü için de bir araştırma yapmasını isterdim. Elimizde veri yok, ama gözle görülen bariz bir durum var. O da dışarı çıkıp sosyalleşen kadınların erkeklerden sayıca daha fazla oluşu. En popülerinden en orta halli mekanına kadar durum böyle. Hatta kadınların sayısı artıyor. İlginç olan, bu durumdan yine en çok kadınların şikayetçi oluşu. Kadın arkadaşlarımdan en çok duyduğum şey bu: “Bu gece masalarda yine kadın grupları var”. Gel gör ki İstanbul yeme-içme sektörü kadınların bu muhteşem enerjisini bir başka şehre, Atina’ya kaptırmak üzere. Evet, son zamanlarda Atina’ya doğru -özellikle hafta sonları- yoğun akıcı bir uçuş trafiği var. Şu sıra İstanbul’un en popüler mekanlarına oturun (Lucca, Momo ya da Bebek Hotel) açılış cümlesi hep aynı: “Hafta sonu Atina’daydım ve öyle eğlendik ki!” Üstelik tüm bunlar Euro&TL arasındaki şahane uçuruma rağmen gerçekleşiyor. O nedenle olayları yerinde gözlemlemek adına -pek yakında- komşuya uçacağım. Neler olup bitiyor diye. Ama ondan önce İstanbul’da olup biten son yeni detaylara buyurun… İSTANBUL’UN YENİ SICAK NOKTALARI - SALAZAR: Nişantaşı Must’tan tanıdığımız şef Kadir Aytekin bir süredir kendi kanatlarıyla uçuyor. Kardeşiyle açtığı F&B Group’un son numarası Etiler’de açılan Salazar. Delicatessen’in hemen yan tarafındaki Salazar; üstü açılan şık cam kafesiyle hem rahat hem benzerlerinden ayrılan bir restoran olmuş. Tasarımı Erhan Sağır elinden çıkan mekanda mutlaka Istakoz Tost, Yakitori Teriyaki Dana Bonfile ve Agnolotti denemelisiniz. Enfes. - ZORLU SAIL LOFT: Sail Loft’un yaratıcısı Arda Önen’in Vakkorama ile yaptığı iş birliği devam ediyor. Bu iş birliğinin en yeni sonucu Zorlu Vakkorama karşısında açılan Sail Loft. Bohem tadıyla bildiğimiz Sail Loft bu kez bir tık daha olgun, hayli parizyen ve şık bir versiyonla karşımızda. Yakında akşam yemeği sonrası partilere de başlayacaklar. ISTANBUL or ATHENS? I n the first season of the Ryan Murphy project "Feud", about the rivalry between Bette Davis and Joan Crawford, there is a scene like this. When Pauline, who wants to direct her own film, complains about male-dominated Hollywood, Joan Crawford's assistant and comrade Mamacita says: "Be patient, your time will come". Mamacita has her reasons. She went to the library and researched the decline of the male population in the US over the years. And she gives her prediction for the 70s: "The female population will rise to 52 per cent. What does that mean? Everything will be done for women. The economy will revolve more around women, and those who understand their language will win. So your time is coming!" To be honest, I wish Mamacita had done research on the food and beverage sector in Istanbul. We don't have any data, but one thing is obvious. There are more women than men who go out and socialise. This is the case from the most luxurious restaurants to the most mediocre ones. In fact, the number of women is increasing. The interesting thing is that it is women who complain most about this situation. This is what I hear most from my female friends: "There are groups of women at the tables again tonight". However, Istanbul's restaurant sector is about to lose this wonderful female energy to another city, Athens. Yes, there have been flights to Athens recently, especially at weekends. Sit in the most popular places in Istanbul right now (Lucca, Momo or Bebek Hotel) and the opening line is always the same: "I was in Athens this weekend and we had so much fun!" And all this despite the amazing Euro & TRY gap. That's why I'm going to fly to the neighbouring country - very soon - to observe things on the ground. To see what is going on. But before that, here are the latest news from Istanbul... ISTANBUL'S NEW HOTSPOTS - SALAZAR: Kadir Aytekin, the chef we know from Nisantasi Must, has been flying on his own wings for a while now. The latest restaurant in the F&B group he has opened with his brother is Salazar in Etiler. Located next to Delicatessen, Salazar is a cosy and unique restaurant with a stylish glass cage with an opening top. You must try the lobster toast, yakitori teriyaki beef tenderloin and agnolotti. Delicious! - ZORLU SAIL LOFT: The collaboration between Sail Loft creator Arda Önen and Vakkorama continues. The latest result of this collaboration is Sail Loft, which opened in front of Zorlu Vakkorama. Sail Loft, which we know for its bohemian side, is here this time with a more mature, very Parisian and stylish version.

YUZU magazine I Stories in Architecture, Design, Travel and Culture CURRENT ISSUE VOL-17 BUY NOW HIGHLIGHTS NINA YASHAR YVES SALOMON EDITIONS DECANCQ VERCRUYSSE A.K. ATELIER HOTEL SEVILLA MUMBAI HOUSE TRAVEL LE SOLEIA: a STORY SHAPED by the SUN PEOPLE CHROMATIC NARRATIVES PEOPLE SPACE BREATHES, REMEMBERS, and PROVOKES TRAVEL THE VERSE, LOCAL WAY DESIGN & INTERIORS the OSKLO DUO at HOME TRAVEL an OPEN HOUSE in the HEART of LISBON DESIGN & INTERIORS LIVING on a CONCRETE CANVAS DESIGN & INTERIORS MAISON MARIEL EVERY DETAIL HAS a STORY DESIGN & INTERIORS MONOLITH LODGE DESIGN & INTERIORS the BEST of MAISON&OBJET PEOPLE NADER GAMMAS: in PURSUIT of LIGHT DESIGN & INTERIORS ESSENCE of JAPAN More Content DESIGN & INTERIORS See More YUZU FILM See More TRAVEL See More WHERE YOU CAN FIND US EUROPE FRANCE: Paris UK: London SPAIN: Barcelona, Madrid, Bilbao. PORTUGAL: Lisbon, Porto. BELGIUM: Antwerp, Brussels, Gent, Zaventem. GERMANY: Berlin. TURKIYE: -Istanbul All Minoa Bookstores (Akaretler, Nişantaşı, Beyoğlu Tepebaşı, Maslak, Bağdat Caddesi, Etiler) Bey Karaköy Petra Gayrettepe -Bodrum Gibi Bodrum US CA / Los Angeles, San Diego, San Jose, Sacramento, Roseville. NY / New York, New Hartford. FL / Miami, Orlando, Jacksonville, Fort Myers, Fort Lauderdale. GA / Atlanta, AZ / Phoenix, WA / Seattle CANADA Toronto, Vancouver, Montreal. O nline Shop and Subscription YUZU SHOP INSTAGRAM @yuzu.mag

August 2023 | YUZU BODRUM | Coffee Table Book TR below SAHİR EROZAN Let’s go back to the beginning of the story... It’s 1977. Ayla Emiroğlu opens her place in the heart of Bodrum, naming it Maça Kızı after her curly hair. Years later, her son, Sahir Erozan—who would go on to become a partner in Maça Kızı and turn it into what it is today—was preparing to leave for the United States. Sahir recalls those days: “I was studying at ITU, but the school was frequently shut down due to the political climate. I’d lost touch with my studies. My mom realized this couldn’t go on and sent me to America to study business. While she was starting her Maça Kızı journey, I had begun working in restaurants in the U.S. By the time I was 23, I had opened my first restaurant there.” Meanwhile, Sahir spent summers in Turkey, and the story of Maça Kızı unfolded in different locations—moving from Bodrum’s center to Gümbet, then Torba, and finally Gölköy. “When I came back in 1992, Maça Kızı had relocated to Gölköy. I brought over bartenders I’d worked with in America and made small adjustments to the place. I started enjoying it. After Bodrum, going back to Washington felt harder and harder.” SWIMMING TO WHERE MAÇA KIZI IS NOW After a 20-year journey in Washington, Sahir returned to Turkey for good in 2003. At that time, Maça Kızı had left its spot in Gölköy, and his mother, Ayla, was searching for a new location. “One day, I swam from Ship A Hoy to the area where Maça Kızı stands today. Back then, there was no road access. I got out of the water and sat on the beach, observing the angle of the sunlight and the wind—because these things are critical. In Bodrum, having minimal wind and sunlight that doesn’t disappear early are the ultimate luxuries. This place fit the bill perfectly. That’s how Maça Kızı found its new home.” THE RISE BEGINS IN 2005 “I was lucky,” says Sahir. “We opened at a time when Turkey was experiencing economic growth. Maça Kızı’s recognition on the global stage began around 2005. An article in the New York Times described Bodrum as ‘Turkey’s St. Tropez.’ Bodrum was steadily gaining prominence, and my friends from the U.S. started visiting frequently. As a result, the percentage of foreign guests at the hotel, which was initially around 30 percent, rose to nearly 70 percent.” words Onur Baştürk Önce hikâyenin başlangıcına dönelim... Yıl 1977, Ayla Emiroğlu kıvırcık saçlarından dolayı Maça Kızı ismini verdiği mekanını Bodrum merkezde açar. Yıllar sonra Maça Kızı’na ortak olup bugünlere getirecek olan oğlu Sahir Erozan ise Amerika’ya gitmeye hazırlanmaktadır. O günleri şöyle anlatıyor Sahir Erozan: “İTÜ’de okuyordum ama dönemin şartlarından dolayı okul devamlı kapalıydı. Okuldan kopmuştum. Annem baktı ki böyle olmayacak, beni Amerika’ya işletme okumaya gönderdi. Onun Maça Kızı serüveni başlarken ben de Amerika’da restoranlarda çalışmaya başlamıştım. Derken 23 yaşında orada ilk restoranımı açtım.” Sahir yazları Türkiye’ye gidip gelirken Maça Kızı’nın macerası da yer değiştirerek devam eder: Bodrum merkezin ardından Gümbet’e, oradan Torba’ya ve Gölköy’e... “1992’de geldiğimde Maça Kızı Gölköy’e taşınmıştı. Ben de Amerika’da çalıştığım barmenleri getiriyor, küçük dokunuşlar yapıyordum mekana. Hoşuma gitmeye başlamıştı. Bodrum’dan sonra Washington’a tekrar dönmek zor geliyordu”. YÜZEREK MAÇA KIZI’NIN OLDUĞU YERE GELDİM Sonunda Sahir Erozan, Washington’daki 20 yıllık macerasından sonra 2003’te Türkiye’ye tamamen döner. O sırada Maça Kızı Gölköy’deki yerinden çıkmış, annesi Ayla Hanım yeni bir yer aramaktadır. “Bir gün Ship A Hoy’dan yüzerek şu an Maça Kızı’nın olduğu bölgeye geldim. O zaman yolu filan yoktu. Denizden çıkıp sahilde oturdum. Gün ışığının açısına, rüzgârına baktım. Çünkü bunlar çok önemli. Rüzgârın patlamaması ve güneşin erkenden gitmemesi en büyük lükslerden biri Bodrum’da. Burası her iki açıdan da uygundu. Böylece Maça Kızı’nı buraya taşıdık.” YÜKSELİŞ 2005’LERDE “Şanslıydım” diyor Sahir, “Türkiye’nin ekonomik olarak yükseldiği doğru bir zamanda açtık. Maça Kızı’nın global arenada tanınması ise 2005’lerde başladı. New York Times’da bir yazı çıkmıştı, ‘Türkiye’nin St. Tropez’si Bodrum’ diye. Bodrum yavaş yavaş yükseliyordu. Amerika’daki dostlarım da sıkça gelip gittiler. Böylece ilk başta otelde yüzde 30 olan yabancı misafir oranı yüzde 70’lere kadar geldi.”

January 05, 2026 | DESIGN & INTERIORS a SANCTUARY ABOVE the MUMBAI SKYLINE words YUZU Editorial photos Patricia Goijens Located on the 45th floor of a high-rise residential tower in Mumbai, Three Sixty West marks the first project in India by Belgian architect Dieter Vander Velpen. Commissioned by Oberoi Realty after they discovered his work online, the brief called for a full-floor, 16,000-square-foot residence that balances scale with intimacy, and contemporary international design with the realities of multigenerational family life. The result is a carefully choreographed interior landscape—elevated above the city, yet firmly grounded in daily routines. A CHOREOGRAPHY OF ARRIVAL AND FLOW The experience begins as the elevator doors open. Sculptural bronze doors lead into a foyer where artwork draws the eye toward expansive skyline views. Sightlines are deliberately composed: wooden claustras offer controlled glimpses into the living spaces beyond, creating a gradual spatial unfolding rather than an immediate reveal. The layout establishes a clear rhythm between formal areas and more inward-looking zones, allowing the apartment to adapt naturally to different moments of the day. SCALE, SOFTENED Within the main living spaces, monumentality is balanced by tactility. A Calacatta Viola marble fireplace and an expansive dining table anchor the interior, while sculptural travertine coffee tables, bespoke seating compositions, and warm walnut veneers bring the scale back to a human register. Carefully selected pieces—among them a De Sede armchair, Atelier Pendhapa coffee tables, and a Nova chandelier by Schwung in the family dining room—introduce moments of character without overwhelming the architecture. The overall atmosphere remains calm, layered, and quietly expressive. GARDENS IN THE SKY Indoor gardens function as subtle spatial connectors—one linking the living room and bar, another extending from the family kitchen. Fully retractable windows blur the boundary between interior and exterior, while limestone flooring continues seamlessly into these outdoor pockets. Gravel surfaces, large planters, and a palette of warm neutrals create an ever-changing interplay of light and texture, grounding the apartment’s vertical position in something tactile and natural. PRIVATE WORLDS, PANORAMIC VIEWS The residence includes two distinct primary suites, each conceived as a private retreat with its own material identity. In one, green onyx envelops the walls and floors of the en-suite bathroom, forming a rich, immersive backdrop for a sculptural soaking tub carved from the same stone. Positioned in front of a full-height window, the vanity turns the city view into a daily presence. CULTURAL INTELLIGENCE, CONTEMPORARY LANGUAGE A restrained yet nuanced material palette ties the interiors together: light-stained European oak flooring, natural plaster walls, walnut veneer, and patinated bronze details integrated into joinery and hardware. Subtle references to Vastu principles inform the orientation of key spaces, embedding cultural awareness without resorting to overt symbolism. More than a panoramic residence, Three Sixty West is an interior designed to be lived in over time. It is a study in balance—between openness and retreat, richness and restraint, elevation and intimacy—offering a calm, assured reading of contemporary luxury.

DESIGN & INTERIORS the OSKLO DUO at HOME LIVING on a CONCRETE CANVAS MAISON MARIEL EVERY DETAIL HAS a STORY MONOLITH LODGE the BEST of Maison&Objet ESSENCE of JAPAN a CONTEMPORARY TAKE on a LONDON HOME HOUSE of GREEN PATIOS DAVID/NICOLAS’ LATEST DESIGN at ADREA HOME, a QUIET ESCAPE from the NOISE of the WORLD FIVE YEARS, FIVE HOMES DAYLIGHT AS a WAY of LIVING SOFT BRUTALISM, REIMAGINED a QUIET HOUSE AMONG the PINES a SANCTUARY ABOVE the MUMBAI SKYLINE a CALM, MATERIAL-DRIVEN HOME in DUBAI a QUIETLY SCULPTURAL HOME in DUBAI HIFILIFE: SOUND as SPACE the ART of QUIET PRESENCE YVES SALOMON EDITIONS & DIMORESTUDIO Show More

January 05, 2026 | DESIGN & INTERIORS a QUIET HOUSE AMONG the PINES words YUZU Editorial | photos Elizaveta Gurovskaya Set within a pine forest and only a short walk from the edge of a calm lake, this country house was conceived as a lived-in retreat—one that balances daily life with a sense of withdrawal. Designed by interior designer Natalia Fedotova, the project draws on the restrained elegance of Belgian minimalism, translated into a domestic language that feels warm, practical, and quietly expressive. REWORKING THE PLAN Rather than working within the limits of the original developer’s plan, Fedotova chose to rethink the home from the inside out. A centrally placed winter garden was repurposed into a compact service core, housing a guest bathroom, a children’s washroom, pantry, and laundry. This move not only simplified the home’s technical infrastructure but also introduced a fluid, circular circulation—allowing daily life to unfold naturally, without interruption. Materiality sets the tone. Natural wood surfaces meet micro-concrete floors, while subtle chrome accents introduce a precise, contemporary edge. The palette remains intentionally soft and organic, keeping attention where it belongs: on the expansive forest views framed by the windows. The architecture steps back, letting nature lead. Moments of character appear quietly. An orange antoniolupi sink, vibrant cabinetry in the laundry room, and a curated mix of vintage lighting add rhythm without breaking the calm. Ceramics by Ekaterina Popova and artworks by contemporary artists—among them a linocut by V. Nasedkin and a painting by E. Bortnikov—are integrated with restraint, more discovered than displayed. The result is a home that feels both minimal and alive. Calm, but never impersonal. Designed to support family life rather than dominate it, the interior acts as a quiet framework—one that ultimately defers to its most enduring feature: the forest and lake just beyond the glass.

February 18, 2025 | VOL 17 LE SOLEIA: a STORY SHAPED by the SUN words Onur Baştürk photos Alexandre Tabaste On Avenue Victor Hugo in Nice, Le Soleia opens its doors with a quiet confidence. Not as a spectacle, but as a place tuned to light — the kind that shifts from pale morning to amber evening along the Riviera. The new hotel by Inwood Hotels, conceived by Oscar Lucien Ono and his studio Maison Numéro 20, is shaped around a single presence: the sun, treated less as a motif than as a guiding principle. WE ARE INSPIRED BY THE SUN’S MYTHS AND ITS WARMTH Step past the Art Deco façade and the atmosphere settles immediately. Volumes are generous but not imposing. Materials are natural, tactile, sun-ready. Ochres and sandy beiges recall façades bleached by years of coastal light. Marble in warm tones, wicker, ceramics, sheer fabrics and turned wood soften the geometry of the interiors. In the lobby, a plaster amphora by Thibault Perrigne sits in quiet dialogue with a globe-like lamp, while sculpted suns and discreet wave motifs appear like signatures rather than statements. The Mediterranean is present, but filtered — less postcard, more memory. For Ono, this solar thread is not decorative; it is the narrative spine of the project: “At Maison Numéro 20, every project starts with a story. We love writing a narrative for each setting, and especially finding a strong throughline capable of giving meaning to each choice. At Le Soleia, this starting point naturally presented itself: the sun. A concept that is both simple and universal, yet deeply symbolic. The sun inspires us both through the mythological imagery it evokes and through what it physically provides: warmth, softness, well-being – almost enveloping. We wanted to translate this solar presence into the décor, not in a literal way, but sensibly. Upon entry, a solar fresco by Raphael Schmidt, enhanced with gold leaf, welcomes the visitor as a source of light. The spaces are designed like cocoons, with a soft colour palette that evokes the sun, but also the sea, the palm trees, and the Promenade des Anglais. The project thus echoes the most precious aspects of the Mediterranean: its light, its way of life, and that solar energy that shapes both landscapes and emotions.” ECHOES OF THE RIVIERA That sensitivity to light unfolds quietly from space to space. Stylised palms and sketched suns appear in frescoes like passing breezes. Overhead, a ceiling fresco imagined by Ono — laser-cut and painted wood — traces celestial lines that suggest sun, wind and motion without ever becoming literal. In the restaurant, layered greens evoke a shaded palm grove, with light filtered through glass as if through leaves. In the rooms and suites, ochres, terracottas and sea-washed tones create soft, protective interiors where texture does most of the talking: wave-shaped headboards, crumpled fabrics, ceramics, woven details. The feeling is calm, grounded, and gently sensorial. Ono approaches the Riviera with the same restraint — not as a style to reproduce, but as a language to reinterpret: “At Maison Numéro 20, we never seek to reproduce the past or fall into nostalgia. Our approach is to reinterpret the codes of a place with a contemporary perspective. At Le Soleia, the codes of the Mediterranean guided us: ceramics, the wave motif, plaster, wicker, but also a colour palette inspired by the landscape. Solar, mineral, and soft tones that evoke the light, the sea, the sand, the palm trees, and that very particular atmosphere of the Riviera. A region's heritage inspires us primarily through its uses, materials, and colours. We research, observe, then translate these references into a current, refined language, paying particular attention to detail. Textures are reworked, patterns simplified, and colours nuanced to create spaces that are rooted in their environment while remaining resolutely contemporary. It’s less about making references than making echoes – capturing the Mediterranean spirit, its softness, and natural elegance, and embedding it in a classical contemporary writing that is timeless and alive.”

TRAVEL LE SOLEIA: a STORY SHAPED by the SUN THE VERSE, LOCAL WAY an OPEN HOUSE in the HEART of LISBON TWO LANDSCAPES, ONE VISION VELVET HOUSE SILENCE of the ALPS HOTEL SEVILLA: a BASE in MÉRIDA HUMANO TOUCH CHECK IN, TUNE OUT, LOOK CLOSER ALINE ASMAR D’AMMAN on DREAM of the DESERT RESET in BALI: INSIDE the PANCHAKARMA EXPERIENCE a SLOWER WAY to STAY the VOCMOS SPIRIT: SMALL, PERSONAL, and FULL of SOUL the KEY is SLOWNESS LISBON’s DUALITY: BAIRRO ALTO HOTEL MILOS in SLOW MOTION a RETREAT AMONG the VINES: TOREL QUINTA DA VACARIA a DREAMY LONG WEEKEND in AMALFI the MAN in SUITE 8065 TEN HOUSES, ONE VISION FLOW into L’AND Show More

February 10, 2026 | TRAVEL an OPEN HOUSE in the HEART of LISBON words Onur Baştürk One of Lisbon’s most distinctive hotels, Verride Palácio Santa Catarina rises quietly above the city. Set within an 18th-century palace in the Chiado district, the building carries layers of Lisbon’s past—rebuilt after the 1755 earthquake, reshaped over time, and eventually reimagined as a hotel by its owner, Kees Eijrond. From the beginning, Eijrond was clear that this would not be a conventional hotel. “For me, it was important that whoever entered the house would feel they were entering the palace of a noble family in Portugal,” he says. “We wanted to bring back the atmosphere of a private city palace. It’s not immense. It has its own proportions.” SPACE, QUIETNESS, BEAUTY Spread across 4,000 square metres, Verride Palácio contains just 18 rooms and suites—a decision that deliberately resists efficiency in favour of experience. “Some people strongly suggested dividing the spaces to create more rooms,” Eijrond recalls. “But I said, no. I don’t want numbers. I want beauty. You need space and quietness.” This philosophy shapes the way the hotel is experienced. Circulation unfolds like a sequence of domestic rooms rather than a traditional hotel layout. There are living rooms instead of lounges, a breakfast room rather than a formal restaurant—spaces designed to be inhabited, not passed through. “I had no experience in making a hotel,” Eijrond admits, “but I understood that space itself had to be felt. Everything is space.” ARCHITECTURE FIRST The palace’s transformation was led by architect Teresa Nunes da Ponte, with interiors by Andrea Previ. Moorish arches, finely crafted stucco ceilings, and traditional Portuguese azulejos remain integral to the building, preserving the clarity and restraint of its Pombaline structure. “I always respect architecture,” Eijrond says. “It’s essential that architecture leads, and decoration follows.” That balance became central to the project. Together, the team worked around three guiding principles: quiet, elegant, and local. QUIET, ELEGANT, LOCAL Much of the furniture was designed specifically for the hotel and produced in Lisbon. Art throughout the palace is by Portuguese artists, integrated naturally rather than presented as statements. “Whatever we chose—chairs, tables—I felt it should be made in Portugal,” Eijrond explains. “The level of craftsmanship here is immense.” The interiors never compete with the building itself. Instead, proportion, material, and light work together to create an atmosphere of calm—one that feels increasingly rare in city hotels. A PALACE, OPEN TO THE CITY Verride Palácio Santa Catarina was never intended to be closed off. “Everyone who comes to Lisbon can enter,” Eijrond says. “You don’t have to stay. You can simply ask for a glass of water at reception, and enjoy the beauty.” That gesture captures the spirit of the place. History here is not staged but lived. Luxury is defined not by excess, but by space, silence, and generosity. More than a hotel, Verride is an open house in the city—a reminder that when heritage is treated with care, it can remain intimate, human, and quietly contemporary.

February 11, 2025 | VOL 17 THE VERSE, LOCAL WAY words Onur Baştürk photos Francisco Nogueira I’ve stayed in all kinds of hotels across Lisbon — design-led, heritage, hidden gems — so I’d say I know the city’s hospitality scene pretty well. Yet The Verse, one of Lisbon’s newest boutique stays, instantly made it to my shortlist of favourites. Mostly because, for the first time, I actually felt like a local. Every morning I’d step out and head two doors down to Hello, Kristof, the effortlessly cool café that also hosts the hotel’s breakfast. It quickly became my little ritual — an Americano, a few pages from a magazine, the quiet buzz of São Bento waking up around me. But what really sealed the deal was the interior design by Studio Astolfi. The space nails that elusive blend of warmth and restraint — terracotta, olive green and chalky whites in perfect harmony. After a long day, walking into my room felt less like checking into a hotel and more like returning to a home in another city. For anyone who travels often, that feeling is rare — and precious. Because let’s be honest: a room that screams go out instead of slow down can be draining. Sometimes all you want is to stay in, breathe, and let the space hold you. The Verse understands that balance. A FEW QUICK NOTES – Perfectly placed on Rua de São Bento, one of Lisbon’s most characterful streets. – The lobby-bar hybrid is a smart nod to how people travel now — fluid, informal, always open. – Portuguese craftsmanship is everywhere, from artworks to bespoke details. – The founders — Andrew and Anna Richardson and David and Henry Clarkin — are all seasoned travellers who wanted a hotel that feels like home. Mission accomplished. - The full story is featured in Vol.17 - Print / NEW VOL XVII - 2025 ₺970,00 Price Add to Cart

February 14, 2026 | vol 17 CHROMATIC NARRATIVES words Maria Chiara Antonini photos Courtesy of Tekla Evelina Severin Tekla & Auping: Oliver Knauer/The LAB Newstalgia - Equip Hotel Paris: Maria Teresa Furnari Her collections are a celebration of colour, explored and discovered in countless ways—from art exhibitions to food to travel. From studying arts, crafts and design to opening her own studio, where she collaborates with interior design brands, Tekla Evelina Severin is all this and more. THE BEGINNINGS OF A COLOUR OBSESSION Tell me a bit about your journey as a creative: from your studies to opening your own studio. In 2015 I founded my studio, a multidisciplinary practice built around the language of colour. My initial inspiration for becoming a spatial designer came from the desire to create new immersive experiences and meaningful environments that would stand the test of time—as all good design should. Today you’re known as a colour expert. How did this passion begin, and how did it evolve into a profession? Did it start in my childhood, when the powder pink wall-to-wall rug in my room was—against my will—ripped out, and I somehow understood what colour and texture could do for a space? Or was it when my eyesight worsened at the age of nine, making me obsess over everything visually appealing because it suddenly felt so precious? I’m not sure, but I think both moments played a part. In any case, I’ve always believed in learning by doing—it’s the only way I know how to work. And I’ve also been lucky, beginning to work with colour just as a new era for it was unfolding, and getting the right attention at the right time. INSPIRATION EVERYWHERE Where do you find inspiration for your work? Everywhere. It could be a painting in a museum, or the way sunlight moves across a random suburban façade. And traveling—there’s nothing I love more than wandering through a new neighborhood, discovering different ways of living, new cities, landscapes, and houses. Food also inspires me: it blends history, culture, community, and a sensory experience for both eye and palate. For me, inspiration is a state of mind—it’s not just about what you see, but how you process it. What new projects are you working on now? Where will we see you in the coming months? My new collection for Layered launched in October. In November, my Elmo project with Sancal will officially debut in Madrid, and another project will be shown in New York. I’m also starting a new collaboration with an American company, working again with Ikea and Johanson Design for 2026—among many other things. As a colour expert, we have to ask: what colour is your home? I live with my boyfriend and our cat in a small rental apartment. The living room is pink, the bedroom is pistachio green (with a powder pink wall-to-wall carpet), and the kitchen has a butter yellow wall with checkered flooring in olive green, butter yellow, and violet. FAVOURITES AND SIGNATURES Is there a colour you’re especially drawn to right now—and why? Lately I’ve been very into a yellow-olive green tone, which you can also see in the “Fregio” rug from my latest Layered collection. But the colour I return to again and again is a version of peach. I love its delicate warmth and friendliness—less “childish” than pink, which makes it perfect for my work. Will you ever design a monochromatic collection? You mean only black and white? No, I don’t think so. But I’m happy to weave in neutrals alongside colours. Do you think it makes sense to announce a new colour trend every year? I do think trends are worth talking about, because they reflect the moment we’re living in and the culture we’re part of. But what I find more interesting is talking about colour combinations. A colour is always relative, never absolute, and it’s defined by its context. On social media and in your project photos, your outfits always harmonize carefully with the colours of the spaces. How much research goes into this? Hahha, yes—someone once asked me if the outfit or the design came first. Finding the right outfit for each project or setting actually takes a lot of research. It’s a bit complex—what started as a “scale figure” concept in my spaces has now become one of my signatures: the faceless female creator, appearing in matching outfits that both blend in and stand out at the same time. - The full story is featured in Vol.17 - Print / NEW VOL XVII - 2025 ₺970,00 Price Add to Cart