November 26, 2025 | DESIGN & INTERIORS BLONDIE SPACE words YUZU Editorial photos Liza Kulenenok styling Alyona Versh For interior designer Vlad Kudin, Blondie Space was a rare moment of true creative freedom: clients who trusted the process, made swift decisions, and left the design entirely open. Set in the centre of Minsk, the 70-square-metre apartment was reshaped into a contemporary home built around lightness and ease. Kudin’s first move was to merge the balcony into the main living area. The gesture unlocked a generous open space—paired with a guest room and a quiet bedroom—despite the compact footprint. Since the apartment would be used only occasionally, the design leaned toward simplicity, craft and originality rather than branded pieces or visual excess. CRAFTED FORMS, CONSIDERED ATMOSPHERE This approach led Kudin to design almost every piece from scratch: the sofa, dining table, metal bed, coffee table, and even the travertine washbasin. The art selection echoes the same personal touch—an Ilya Kozak chair in the bedroom, a commissioned Dinnerpainting by Lena Gil, and Kudin’s own steel sculptures and wall panels that give the space its crisp, modern energy. The palette remains deliberately soft: white and pale greys, entirely matte surfaces, no black. This clarity introduces a calm, airy quality to the rooms. Asymmetrical furniture brings a contemporary tension, while two-tone Viennese chairs add a subtle burst of colour. Stone appears sparingly—on the kitchen countertop, dining table and in the bathroom. Although the clients initially wanted more, Kudin advocated restraint to preserve the apartment’s sense of lightness. The result is a balanced composition where stone reads as refinement rather than weight. DESIGNING FOR LIGHTNESS The kitchen is intentionally minimal: no upper cabinets, a wide workspace, and a travertine countertop that continues the material narrative. The bathroom follows the same logic—an open walk-in shower, a two-pedestal travertine basin, and hidden storage integrated into matte plaster niches. Despite low ceilings and a tight plan, the apartment feels open, calm and almost weightless. For Kudin, Blondie Space became a small manifesto—an ideal palette for a compact home, a place where long-imagined asymmetrical forms finally took shape. As he reflects: “The most daring and interesting ideas often emerge from constraints.”

November 26, 2025 | DESIGN & INTERIORS a MODERN SANCTUARY in KEY BISCAYNE words YUZU Editorial interior design Lamarc Studio photos Mateo Soto production Karine Monié Just ten minutes from Miami’s vibrant rhythm, a quiet island home finds its pace. Designed by Marcela Restrepo of Lamarc Studio — the Colombian-born designer with studios in both California and Florida — this Key Biscayne residence blends modern refinement with the warmth of a deeply personal gallery. Nero Marquina marble and travertine checkerboard floors anchor the entry, where antique mirrors and sculptural accents echo a soft conversation between past and present. An RH Aquitante ceiling lamp, glass pieces by Reflections Copenhagen, and L’Object’s poetic forms set the tone for what the home embodies: serenity, clarity, and a sense of collected elegance. WHERE TWO AESTHETICS MEET The homeowners come from two very different stylistic worlds. One is drawn to crystal, moldings, and classical detail; the other to contemporary minimalism and clean lines. Rather than choosing sides, Lamarc Studio orchestrated a dialogue. “Classical elements were reinterpreted through a contemporary lens,” Restrepo notes. “Ornament and simplicity, history and modernity — meeting in harmony.” This balance plays out through Poliform’s Saint Germain modular sofa, Artefacto side tables, Tom Dixon’s Melt lighting, Iittala’s Aalto vase, and the sculptural presence of Baccarat and Lalique pieces. Each object adds a quiet rhythm, shaping the home into a thoughtful, lived-in gallery. A DAYLIGHT HOME, A NIGHTTIME GLOW A private elevator opens directly into sweeping views of the Atlantic and the Miami skyline. The entire residence unfolds across one level, where the living, dining, and bar areas form a fluid, continuous sequence ideal for gatherings. The bar — lit by Baccarat’s Mille Nuits fixtures and layered with Reflections Copenhagen objects, Assouline titles, Christofle accents, and Riva editions — reflects the owners’ love of hosting. In the living room, a Maxalto coffee table carries Cartier’s Panthère, Lalique’s Zeila panther, and Baccarat’s sculptural Mille Nuits vase, forming a tableau that feels both curated and effortless. The artworks — from Ignacio Iturria, Manuel Rendón, and Victor Rodriguez — punctuate the calm palette, standing out with clarity against the home’s gentle tones. AN ODE TO LIGHT, STONE AND ATMOSPHERE Miami’s warm light and endless-summer spirit informed every design decision. Very light ecru walls offset crisp white moldings; floors and veneers remain quiet, allowing expressive stones like Viola and Hermitage to become sculptural elements in their own right. The bedrooms embrace a more hushed language: natural textures, soft taupes, and subtle contrasts that encourage rest. Here, the restraint allows the art and furniture to take center stage, creating rooms that feel luminous and quietly confident. The owners’ background in ship design shaped the material palette — an appreciation for durability, aging, and surfaces that gather character over time. Travertine floors run throughout the home, creating a seamless and grounding foundation. Bathrooms, by contrast, deliver architectural boldness. In the primary bath, dramatic Viola stone vanities meet micro-cement finishes and a minimalist custom vanity, balancing intensity with calm. In the kitchen, a monolithic Hermitage waterfall island becomes the sculptural heart of the space, complemented by minimalist ivory cabinetry, matte black fixtures, clear quartz accents and DWR tractor stools.

DESIGN & INTERIORS a GENTLE RHYTHM in LA a MODERN SANCTUARY in KEY BISCAYNE BLONDIE SPACE LIVING TRADITIONS, QUIET REVOLUTIONS LUCAS MUÑOZ MUÑOZ: MATERIALS DON’T DIE CASA CAPIROTE a FUNCTIONALIST HOME a LONDON ICON REBORN with SHAYNE BRADY ZTP HOUSE a STUDY in CALM PRECISION QUIET GEOMETRY by the SEA DAVID ROCKWELL ‘Casa Roja was where Frida felt free to be herself’ MID-CENTURY MODERN for TODAY the ELEGANCE of CONTRAST DUBAI DESIGN WEEK, UP CLOSE ISERN SERRA MEDITERRANEAN STILLNESS CASA ERÉNDIRA: LIGHT & SHADOW KOVA: MADE to LAST INSIDE an ALMATY PENTHOUSE LIVING with LIGHT in KAPLANKAYA Show More

Travel + Design & Interiors+ People + Art & Culture + Botany + Yuzu Film | instagram @yuzu.mag CURRENT ISSUE VOL-17 BUY NOW HIGHLIGHTS TOREL QUINTA DA VACARIA ARCLINEA ERIK JOHANSSON CASA ERENDIRA BENJAMIN HABBEL KAPLANKAYA, E HOUSE DESIGN & INTERIORS a GENTLE RHYTHM in LA DESIGN & INTERIORS a MODERN SANCTUARY in KEY BISCAYNE PRODUCT FRENCH CRAFT, SCANDINAVIAN CLARITY DESIGN & INTERIORS BLONDIE SPACE DESIGN & INTERIORS LIVING TRADITIONS, QUIET REVOLUTIONS VOL 17 LUCAS MUÑOZ MUÑOZ: MATERIALS DON’T DIE DESIGN & INTERIORS CASA CAPIROTE ART & CULTURE MAPPING YOUNG ART: BASE 2025 SHOP / PRINT VOL - 17 ART & CULTURE TRACING the NAHIL PEOPLE the VISIONARIES BEHIND ARTEMEST DESIGN & INTERIORS a FUNCTIONALIST HOME 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

November 26, 2025 | PRODUCT FRENCH CRAFT, SCANDINAVIAN CLARITY Eldvarm introduces the Fumi collection, created with French designer Guillaume Delvigne. The series brings two refined essentials — the Fumi Companion Set and the Fumi Log Holder — designed for today’s compact, efficient stove culture. CRAFT, MADE VISIBLE Inspired by long-handled Japanese fan brushes, the Companion Set distills soft curves and sculptural geometry into tools meant to be displayed as much as used. Visible screws, precise metalwork and warm wood details highlight Eldvarm’s commitment to honest construction and lasting quality. GEOMETRY WITH EASE The Log Holder carries the same clean language. Folded, powder-coated steel creates a form that feels light yet robust, functioning naturally as a holder for firewood, magazines or textiles. A quiet blend of French refinement and Scandinavian simplicity, distilled into two thoughtful, enduring pieces.

November 26, 2025 | DESIGN & INTERIORS a GENTLE RHYTHM in LA words YUZU Editorial photos Will Myers production Karine Monié Just ten minutes from Miami’s vibrant rhythm, a quiet island home finds its pace. Designed by Marcela Restrepo of Lamarc Studio — the Colombian-born designer with studios in both California and Florida — this Key Biscayne residence blends modern refinement with the warmth of a deeply personal gallery. Drawing inspiration from early Boston and Philadelphia interiors, the design blends the pragmatism of early American homes with the charm of the British countryside — not through literal imitation, but through atmosphere. Tongue-and-groove paneling, beadboard, a built-in pantry and breakfast nook bring subtle craftsmanship to the foreground, while moments of whimsy appear in Pierre Frey’s powder-room wallpaper, bold tiles and the mix of vintage and contemporary lighting. The palette stays light and refined: whites, creams, pale greens and blues set a serene tone, paired with oak flooring, Carrara marble and hand-selected tiles from Italy and Sonoma. Visual Comfort pieces, including Thomas O’Brien’s Piaf chandelier, weave together old and new. “We see ourselves as custodians of a home’s story,” Irpino notes. “Timeless materials create continuity — a dialogue between past and present.” Throughout, playful details enliven the calm. Clarence House’s floral dining-room wallpaper introduces confident movement, while sculptural lighting and expressive color choices add character without overwhelming the space. The result is a home that feels layered and quietly expressive — a meeting point between LA brightness, New England restraint and the poetic intimacy of the English countryside.

November 5, 2025 | PRODUCT antoniolupi RADIATORS photos Courtesy of antoniolupi Designed to combine warmth, comfort, and contemporary elegance, antoniolupi’s radiators bring design and wellbeing into perfect balance. More than functional elements, they transform daily routines into moments of quiet luxury — from the gentle warmth of a towel to the refined atmosphere they create throughout the home. Among the standout models, BIT by Brian Sironi turns heat into a visual statement with its sculptural vertical rhythm, while Katana by AL Studio slices through space with the precision and elegance of its namesake blade. Stecca, designed by Nevio Tellatin, redefines simplicity with clean lines and subtle grooves, and Rigo, again by Sironi, distills form to its essence — a pure architectural gesture of warmth. Each piece reflects antoniolupi’s philosophy: functional beauty, crafted with precision and designed to enhance the everyday.

October 27, 2025 | PRODUCT SOFT STEEL ZUCCHETTI x LC ATELIER photos Monica Armani and Luca Dallabetta, PH: k-448 A Day With LC Atelier, PH: Tobia Faverio In the calm courtyard of LC Atelier, Milan, Zucchetti’s A Day With series opens a new chapter — one that celebrates creative interpretation and material poetry. Here, designer Monica Armani’s Sablier collection takes center stage. Inspired by the silhouette of an hourglass, its soft lines and harmonious proportions give stainless steel an unexpected sense of fluidity. The sandblasted finish, velvety to the touch, reflects LC Atelier’s refined aesthetic — an interplay of light, balance, and quiet precision. In this dialogue, the faucet becomes more than a functional element; it’s a silent sculpture that unites utility and grace. Founded by Lucrezia Calvi, LC Atelier is an interior architecture studio that approaches each project as a personal narrative — crafted through collaboration, material sensitivity, and contextual awareness. “We chose Sablier for its softened, elegant forms,” says Calvi. “It resonates with our idea of space and how aesthetics and function can speak the same language.” The visual story unfolds through simple gestures: a hand brushing against cool metal, water cascading among lilies, a ray of light slipping over steel and glass. Every frame captures continuity, not contrast — where design dissolves into atmosphere. Zucchetti and LC Atelier’s collaboration reveals a shared philosophy: the pursuit of beauty in everyday gestures. Sablier embodies this dialogue — an object that holds the delicacy of time, shaped by Italian craftsmanship and timeless design.

November 26, 2025 | DESIGN & INTERIORS LIVING TRADITIONS, QUIET REVOLUTIONS words Alp Tekin Mustras was born out of a desire to reconnect—with land, memory, and the quiet poetry of handmade things. Founded in 2019 by Fabrizio Felici and Martina Carcangiu, the project moves between design and craft, tradition and renewal. Each object begins with a story, shaped slowly by local artisans using age-old techniques and raw materials chosen with care. Emerging in response to a disappearing heritage and the silent retreat of rural communities, Mustras offers something rare: a contemporary vision rooted in slowness, meaning, and place. How did the two of you come together? MARTINA - Our personal and professional journey together has been shaped by complementary experiences and a shared vision. Although we come from different backgrounds, our paths kept crossing—eventually leading to the project we’re working on today. Fabrizio studied architecture at the Polytechnic University of Turin and spent sixteen years living and working there. In 2015, he made the bold move to return to Sardinia and open his own studio. That decision marked the beginning of his path in experimental design, merging traditional craftsmanship with contemporary aesthetics. My background, on the other hand, has always been rooted in the arts. I studied Visual Arts at the Academy of Fine Arts in Florence and later earned a master’s in Cultural and Artistic Event Management at Palazzo Spinelli. I then worked as gallery manager at Cartavetra, a contemporary art gallery. It was through that vibrant art scene that I met Fabrizio. We first met in Tuscany, then again in Sardinia, and immediately realized we shared a common vision at the intersection of design, art, and architecture. Despite our different trajectories, we had overlapping references—one of which is Bimbia Fresu, an extraordinary architect and sculptor whose work unites Sardinian craft traditions with design innovation. Though I loved living in Florence, I always longed to return to my homeland. As often happens with those from islands, I dreamed of reconnecting with my roots professionally. So I joined Fabrizio in Sardinia. Since then, we’ve been combining our experiences and ideas through Mustras. THE BIRTH OF MUSTRAS Tell us how Mustras began. FABRIZIO - After moving back to Sardinia, I focused my architectural practice on projects that allowed me to explore the island’s vernacular roots. I sought out remote and peripheral areas, diving into the history of these places and the materials and techniques they held. Architecture is often a slow, constraint-driven process, whereas design offers more flexibility and immediacy. That’s how the idea of Mustras took shape. What began as a research initiative eventually evolved into a brand. My aim was to understand the full potential of materials and techniques, while delving into traditional culture and the symbolic language embedded within it. I also wanted to invite external designers into the conversation, creating a dialogue between Sardinian identity and diverse cultural perspectives. Meeting Martina was a turning point. Her contribution shifted Mustras into a new phase. Together, we began exploring the transformative threshold where design and architecture become art through craftsmanship. That journey led us to the overarching theme of “inhabiting”—a concept that transcends physical space and speaks to memory, presence, and emotion. Mustras is adaptable to any context. Our goal is to find the extraordinary within the everyday—to uncover what is rare and meaningful. That means taking something ancient and singular and merging it with contemporary needs and sensibilities. Every piece in our collections is the result of both theoretical inquiry and hands-on experimentation. These are objects created slowly and thoughtfully, as an act of resistance to the speed of modern life. To bring this philosophy into production, we work with high-quality local materials and artisanal methods. Natural dyes, skilled craftspeople, ethical sourcing, and the selection of the finest raw materials are all essential to our process. As a result, our pieces are typically produced in limited, numbered editions. PRESERVING CRAFT, CULTIVATING CULTURE Mustras draws heavily on traditional crafts. How do you support and sustain this heritage? MARTINA - To treat craftsmanship as a resource means embracing a long-term vision rooted in slow and meaningful growth. Intergenerational dialogue is central to this process—we believe in creating opportunities for traditional knowledge to be shared with younger generations, allowing it to evolve consciously rather than merely be preserved. Many of the techniques we work with are intricate and require highly specialized skills. That makes them even more valuable. We collaborate with artisans across more than 15 different communities in Sardinia, many based in remote areas that are home to deeply rooted craft traditions. Mustras itself was born in a small village in the heart of Sardinia. Our goal from the start was to build something anchored in local values and techniques while also welcoming artistic research and design-led thinking. We aim to create a network of craft excellence—one that moves beyond consumer logic and creates a positive impact on local communities by reinforcing both identity and economy. We see craftsmanship as a cultural and economic resource—particularly vital to the future of small towns. Techniques such as hand-weaving, basketry, and the use of natural pigments are part of a legacy that must evolve sustainably. Every object we produce is more than a product—it’s the outcome of a vision shaped with intention and care. IN A FAST-PACED WORLD, SLOW CRAFTMANSHIP OFFERS A DEEPER RESPONSE: A WAY OF LIVING SHAPED BY BEAUTY AND MEANING. WE BELIEVE IN THE LASTING GRACE OF OBJECTS THAT AGE WITH DIGNITY —ALWAYS RETAINING RELEVANCE Globally, craftsmanship faces shared challenges. What are your thoughts on the future of handmade work? FABRIZIO - The Mustras model is one that can be adapted to various geographies facing similar questions. When we think about the future of handmade work, we believe the key lies in balancing preservation with innovation, and local identity with intercultural dialogue. Maintaining that balance isn’t easy. Without thoughtful direction, the result can either be a nostalgic repetition of the past or a generic standardization that erases meaningful roots. Contemporary architecture, for instance, has blurred boundaries due to globalization and the cross-pollination of disciplines—craft now finds itself in a similar position. One of the most urgent aspects for craft’s future is generational continuity. It’s essential not only to keep traditional skills alive, but to enrich them with new perspectives. We also believe in rediscovering slowness as a form of resistance—a way to promote ethical, mindful production. In a fast-paced world, slow craftsmanship offers a deeper response: a way of living shaped by beauty and meaning. We believe in the lasting grace of objects that age with dignity—always retaining relevance. A MATERIAL LANGUAGE Your collection includes a wide range of materials. What kinds of pieces are currently part of Mustras? FABRIZIO - Right now, our collection includes handwoven objects in rush and raffia inspired by traditional Sardinian basketry; naturally dyed table linens and wall textiles using local plants; wool and cotton rugs and tapestries hand-loomed with symbolic motifs from Sardinian culture; and ceramics shaped from island clay that explore daily rituals and gestures. MARTINA - Our embroidered textiles—such as tablecloths and wall hangings—are deeply tied to the island. We use only native Sardinian plants to dye our linen. Wool weaving is another area of exploration. We draw on archaic symbols that may feel distant from contemporary life, and instead of bridging that gap, we acknowledge it—treating it as fertile ground for thought. Our work in ceramics starts with traditional forms that we transform into contemporary reflections on living. Even when these pieces transcend the geographic borders of Sardinia, they remain rooted in its identity through the use of local materials. As we explore history and tradition, we often find surprising points of connection with other cultural legacies. Artists from outside the island, such as Raffaele Di Vaia, have found resonance in Sardinian symbology. His sculpture "Una volta di notte" interweaves his own artistic research with local symbols, creating forms that seem to float between languages, times, and dimensions. SARDINIA IS A RUGGED AND LAYERED LAND, FULL OF MEMORY For someone visiting Sardinia for the first time—beyond the typical tourist routes—what places would you recommend in terms of design and gastronomy? MARTINA - Sardinia is a rugged and layered land, full of memory. Its identity is expressed not only through its landscapes but through its symbolic and cultural heritage. Take ceremonial breads, for example—more than sustenance, they are linked to religious rituals and life cycles. This symbolic language is written across the island. The Domus de Janas, prehistoric rock-cut tombs, speak of a deep and archaic relationship with the sacred. That primal energy still resonates today, shaping the work of artists like Costantino Nivola. His museum in Orani is a wonderful place to experience that legacy. Many symbols survive through generational rituals—such as the Sant’Efisio festival, when the streets are carpeted in petals and traditional garments bring ancestral memory to life. Sardinia is where time and gesture intertwine. While there are many wonderful places we could suggest, our most heartfelt advice is this: explore the island slowly. Let your curiosity guide you. Often, the most meaningful moments arise from the simplest encounters—a greeting from a woman outside her home, a song drifting from a village square, or an unexpected flavor.

November 19, 2025 | VOL 17 LUCAS MUÑOZ MUÑOZ: MATERIALS DON’T DIE words Onur Baştürk portrait photos Michelle Margot + Francesco Stelitano As Design Mumbai returns for its second edition this November (26–29), the fair partners with THE Park Hotels to unveil an exclusive café by designer Lucas Muñoz Muñoz. Celebrated for his conceptual yet tactile approach, Muñoz will transform repurposed materials from the hotel group’s refurbishment projects into a temporary installation that questions what becomes of objects once they fall out of fashion — when something once considered iconic quietly loses its place in time. Blurring the boundaries between craft, concept, and sustainability, the café reflects Muñoz’s ongoing fascination with giving materials a renewed sense of dignity and purpose. True to his process, the final outcome will take shape through what he’s given — spontaneous, imperfect, and deeply human. In our conversation, he opens up about the collaboration, the poetry of reimagining the old, and why design, at its best, should always stay in dialogue with time and place. MATERIALS AREN’T BORN OR DIE AS WE BEINGS DO Lucas, you’re designing THE Park Hotels Café for this year’s Design Mumbai. How did this collaboration come about, and what was the starting point for the project? Design Mumbai approached me directly. After they visited my studio, we agreed to collaborate. Not long after, the opportunity arose to work together on creating THE Park Hotels café for the event. After a couple of meetings, we all realised that an experimental approach was exactly what we were looking for—so we decided to make it happen. The café will be built using repurposed materials from the hotel group’s refurbishment projects. How did working with these materials shape your design approach? Yes—that was the initial idea, and it will indeed be a defining part of the installation’s ethos. Repurposing materials and objects has been part of my professional practice for more than 20 years—it’s become something of a house trademark. But we’re also exploring other ideas to avoid repeating patterns and to test new strategies for a café space that exists only for a few days and leaves as little trace as possible once it’s taken down. The project revolves around the theme of “a second life” for materials. What does this theme mean to you personally and within your practice? I wouldn’t call it a “second life,” since materials aren’t born or die as we beings do. It’s more about giving them a purposeful time of presence within our context. Even a small human intervention gives a material a reason to remain—it prevents it from becoming waste or residue. When it has a function, it gains the respect of the community. It’s about dignifying objects and materials so they’re not perceived as outsiders. INDIA’S INFLUENCE How did the specific context of India influence your creative process? Did local culture or the way materials are perceived here bring new perspectives to your work? I was fortunate to be part of the PUBLICA public art festival in Delhi nine years ago. For that installation, I spent about two months in a remote village in Uttar Pradesh, working with students from the International Institute of Fine Arts in Modinagar. I learnt a lot about India—its incredibly strong craft culture—and I left the country full of jugaad energy (the art of makeshift, ingenious solutions). A DIALOGUE OF MATERIALS Collaboration and the idea of materials “speaking to each other” are central to your practice. Can you tell us more about this approach? My career started as part of a collective studio, enPieza!, where I learnt that the wildest ideas are possible when you work as a group. Even though my name is now at the forefront of projects, that’s really the result of an evolution—from solo craftsman to leading large commissions. As my practice grew, I began calling on the best professionals I’d met and bringing their expertise into each new challenge. Then cross-pollination happens, and we make the project come alive together. One of the key skills in this process is managing all those different personalities. With materials, it’s quite similar—some are more aggressive, some brittle, others more flexible or cooperative. It’s about understanding which combinations perform best for the purpose. - The full interview is featured in our latest issue, Vol.17 - Print / NEW VOL XVII - 2025 970,00₺ Price Add to Cart

November 17, 2025 | Art & Culture TR BELOW MAPPING YOUNG ART: BASE 2025 Bringing together recent art graduates from across Turkiye, BASE returns for its ninth edition at The Ritz-Carlton Residences, Istanbul B Block. As BASE’s media partner, YUZU joins an edition taking place from 26–30 November 2025 under the main sponsorship of Trendyol Sanat, showcasing works by 151 young artists from 43 universities across a range of disciplines. Founded with the mission of supporting young artists’ creativity, strengthening their motivation to produce, and fostering dialogue between graduates, art professionals and audiences, BASE continues to build its platform with the guidance of a distinguished selection committee. The 2025 jury includes Ani Çelik Arevyan, Canan Dağdelen, Canan Tolon, Derya Yücel, Ebru Yetişkin, Eda Kehale Argün, Ferda Dedeoğlu, Gürbüz Doğan Ekşioğlu, Guido Casaretto, İnci Furni, İrfan Önürmen, İsmet Doğan, M. Wenda Koyuncu, Necmi Sönmez, Pınar Öğrenci and Selim Bilen. BOUNDARIES / POSSIBILITIES Curator Derya Yücel frames this year's edition under the theme ‘Boundaries/Possibilities’: “Throughout history, art has been one of the most powerful ways of thinking about, questioning and transcending boundaries. These boundaries are not only geographical or political; they exist within cultural, social and personal experiences as well. The lines between human and non-human, individual and society, nature and city, body and consciousness, truth and imagination, self and other—are at once defining and porous, sometimes sharp, sometimes fluid, sometimes indeterminate. Young artists’ practices emerge precisely in these spaces where boundaries are questioned, stretched and transformed. As they make visible the tensions between norm and deviation, self and other, the real and the imagined, they open the door to new ways of relating, new meanings, new possibilities of being. BASE’s ninth edition positions their work at this intersection”. BASESELECTED 2025 Free and open to the public each day, BASE will also host six parallel exhibitions alongside the main graduate showcase. BASELECTED 2025 presents recent works by 65 artists who have participated in different editions of BASE since 2017. In collaboration with Trendyol Sanat, “Guest Country Romania: A View on Contemporary Art Production” brings together nearly 80 works by 13 young Romanian artists who graduated within the past decade. BASE and Kale Tasarım ve Sanat Merkezi (KTSM) co-present “Take Good Care of Your World”, featuring a selection of works by 15 ceramic artists engaging with social and environmental concerns and imagining pathways to a more sustainable future. The BASE × Jumbo exhibition “The Memory of the Table” brings together artworks in which artists reinterpret Jumbo’s timeless designs, highlighting sustainable production and the rich cultural resonance of the dining table. GENÇ SANATIN HARİTASI: BASE 2025 Türkiye’deki yeni mezun sanatçıları aynı çatı altında buluşturan BASE, The Ritz-Carlton Residences, Istanbul B Blok’ta dokuzuncu edisyonuyla geri dönüyor. YUZU’nun da medya partneri olduğu BASE, 26–30 Kasım 2025 tarihleri arasında Trendyol Sanat ana sponsorluğunda düzenlenecek ve etkinlik 43 üniversiteden yeni mezun 151 genç sanatçının farklı disiplinlerde ürettiği işleri bir araya getirecek. SINIRLAR / OLASILIKLAR Genç sanatçıların sanat profesyonelleri ve izleyicilerle kurduğu diyaloğu güçlendirmeyi hedefleyen BASE, bu yıl da güçlü bir seçici kurulla ilerliyor. Ani Çelik Arevyan, Canan Dağdelen, Canan Tolon, Derya Yücel, Ebru Yetişkin, Eda Kehale Argün, Ferda Dedeoğlu, Gürbüz Doğan Ekşioğlu, Guido Casaretto, İnci Furni, İrfan Önürmen, İsmet Doğan, M. Wenda Koyuncu, Necmi Sönmez, Pınar Öğrenci ve Selim Bilen’in değerlendirmeleriyle şekillenen seçki, güncel sanatın genç seslerine kapsamlı bir alan açıyor. BASE’in küratörü Derya Yücel, bu yılki çerçeveyi “Sınırlar/Olasılıklar” olarak tanımlıyor: “Sanat, tarih boyunca sınırları düşünmenin, sorgulamanın ve aşmanın en güçlü yollarından biri oldu. Sınırlar yalnızca coğrafi ya da politik değil; kültürel, toplumsal ve kişisel deneyimlerde de var. İnsan ile insan olmayan, birey ile toplum, doğa ile kent, beden ile bilinç, hakikat ile hayal, ben ile öteki arasındaki çizgiler hem belirleyici hem geçirgendir—kimi zaman keskin, kimi zaman muğlak, kimi zaman belirsiz. Genç sanatçıların üretimleri bu sınırların sorgulandığı, esnetildiği ve dönüştürüldüğü alanlarda ortaya çıkıyor. Sanatçılar, norm ile anormallik, ben ile öteki, gerçek ile düş arasındaki gerilimleri görünür kılarken; yeni ilişkilenme biçimlerinin, anlamların ve varoluş ihtimallerinin kapısını aralıyor. BASE’in dokuzuncu edisyonu üretimleri tam bu kesişimde konumlandırıyor”. BASESELECTED 2025 BASE, her gün ücretsiz olarak ziyarete açık olacak ve 2025 mezunlarının sergisinin yanı sıra eşzamanlı altı sergiye daha ev sahipliği yapacak. BASELECTED 2025, 2017’den bu yana BASE’e katılmış 65 genç sanatçının güncel üretimlerinden bir kesit sunacak. BASE ve Trendyol Sanat işbirliğindeki “Konuk Ülke Romanya: Çağdaş Sanat Üretimine Bakış” sergisi ise Romanya’dan son on yılda mezun olmuş 13 genç sanatçının yaklaşık 80 eserini bir araya getiriyor. BASE ve Kale Tasarım ve Sanat Merkezi (KTSM) ortaklığındaki “İyi Bak Dünyana” sergisi, toplumsal ve çevresel sorunlara duyarlı 15 seramik sanatçısının sürdürülebilir bir gelecek üzerine düşünen üretimlerini sunacak. BASE ve Jumbo işbirliğinde gerçekleşecek “Sofranın Hafızası”, sanatçıların zamansız Jumbo tasarımlarını yeniden yorumladıkları işleri odağına alarak sürdürülebilir sanat ve sofra kültürüne dikkat çekecek.

Çapa 1 ABOUT US PRINT WEB SITE SOCIAL MEDIA AUDIENCE ADVERTISING & PARTNERSHIP OPPORTUNITIES YUZU COMMUNITY TEAM ABOUT US YUZU is a global publication positioned at the intersection of design, architecture, travel, contemporary art, and culture — expressed across print, digital, and film. More than a magazine, YUZU is a sophisticated platform where creative ideas and encounters unfold — reflecting an aesthetic, conscious way of living. PRINT Published three times a year, the 192-page hardcover edition — designed in the spirit of a coffee table book — lies at the heart of YUZU. Distributed internationally via Magazine Heaven Direct (MHD) in cities including London, Paris, New York, Los Angeles, Toronto, Berlin, Madrid, Milan, and Lisbon, YUZU has become a collectible publication for design professionals and creative audiences worldwide. Each issue is curated like an exhibition — bringing together architectural projects, interiors, designers, artists, and voices shaping contemporary culture. The summer editions focus on the Aegean & Mediterranean, spotlighting homes, hotels, and restaurants across the region, as well as the stories of designers, architects, and artists who live or create there. (Annual physical reach: approx. 500,000 readers) WEB SITE yuzumagazine.com expands YUZU’s world online. Structured around sections such as DESIGN & INTERIORS, TRAVEL, PEOPLE, ART & CULTURE, PRODUCT, FILM, and CITY GUIDE, the website publishes weekly features, interviews, and travel stories — connecting emerging Mediterranean and global design voices with an international readership. (Average 350,000 unique visitors per month ) SOCIAL MEDIA Instagram (@yuzu.mag ) serves as YUZU’s daily visual and editorial platform — a digital gallery that merges aesthetics with ideas. Featuring design projects, travel destinations, and creative collaborations, it connects a global community through reelsseries such as Meet the Tastemakers and Architect’s Diary. (Average monthly reach: 500,000) AUDIENCE YUZU is a global community of creative minds, distributed by UK-based Magazine Heaven Direct across major cities worldwide—including the US, Canada, and the UK. United by a passion for design, architecture, contemporary art, and discovering standout travel spots and design hotels, the YUZU audience spans curious young adults to culture-savvy professionals, with a strong balance across genders. ADVERTISING & PARTNERSHIP OPPORTUNITIES YUZU is not only a publication but also a connector within the creative community. In addition to media partnerships with international events such as Art Antwerp, Art Brussels, CAN Ibiza Art Fair,and Lisbon Art Weekend, YUZU also hosts gatherings at its own event space in Istanbul. Among these, the Design/Dialogue talk series stands out — bringing together architects, designers, and cultural figures to explore ideas of design, identity, and future ways of living. YUZU x Hotel de Louvre YUZU x Vondom YUZU x Andrea Lupi YUZU x Villa Lena YUZU x Enne Miami YUZU COMMUNITY YUZU COMMUNITY DINNER VOL 1 Partner: JUMBO Nisan 2023, Avlu Bebek YUZU GREEN DAY Partner: KomşuKöy, Miboso, EkBiçYeİç, DemGreen, Lucca, Homemade Aromaterapi, Kandilli Peyzaj, Entropia, Panerai Mayıs 2022, KomşuKöy NEW SWAHA - NEW YEAR DINNER Partner: ISOKYO Aralık 2021, Raffles İstanbul YUZU VOL5 PRIVATE DINNER Partner: KİLİMANJARO Ekim 2021, BomontiAda GREEN MORNINGS Partner: GROHE Nisan 2021, Avlu Bebek O SÖĞÜT AĞACININ ALTINDA ‘YEŞİLMİŞİK’ MUHABBETİ Partner: +1 Nisan 2021, KomşuKöy TEAM EDITOR IN CHIEF Onur Baştürk onur@yuzumagazine.com CREATIVE + DESIGN DIRECTOR Ozan Uzun SENIOR EDITOR (sorumlu) Rengin Atik ADVERTISING PARTNERSHIPS Seray Kanberoğlu, Hande Vatandost PROJECT ASSISTANT Sinan Budak CONTRIBUTING WRITERS & VIDEOGRAPHERS Kristina Avdeeva, Soraia Martins, Abdullah Abukan, Bilal İmren, Laura Cottrell, Alp Tekin. PUBLISHER www.weareyuzu.co Yuzu Medya Yayıncılık İnşirah Sokağı, No:25/1, Bebek, 34342 Beşiktaş, İstanbul PRINT Published three times a year ISSN 2757-525X INTERNATIONAL DISTRIBUTION MHD - www.magazineheavendirect.com INSTAGRAM @yuzu.mag FOR PARTNERSHIPS AND BUSINESS OPPORTUNITIES info@yuzumagazine.com FOR ONLINE SALE & SUBSCRIPTION www.yuzumagazine.com/shop for more yuzumagazine.com Çapa 2 Çapa 3 Çapa 4 Çapa 5 Çapa 6 Çapa 7 Çapa 8

November 17, 2025 | DESIGN & INTERIORS CASA CAPIROTE Casa Capirote distils the spirit of Sevilla into a calm, contemporary interior shaped by craft, light, and a quietly refined sense of place. In Casa Capirote, Alejandro Cateto distills the character of Sevilla into a calm, contemporary interior. The project takes its cue from the city’s most emblematic craft—Triana pottery—whose colours, patterns and artisanal spirit appear throughout the space. From the geometric headboard and exposed beams to the custom sink and ceramic accents, these references echo the decorative language of Plaza de España, lending the apartment a sense of place and quiet authenticity. The layout is conceived as a fluid, multifunctional space, defined not by walls but by curtains. This simple yet intentional device allows the interior to shift between open, social living and a more intimate, private atmosphere. The result is a home that adapts to daily rhythms while retaining a clean, uninterrupted aesthetic. Natural light plays a central role. By avoiding fixed partitions, the apartment remains bright and open, with daylight highlighting the earth and green tones that anchor the palette. The warmth of this light amplifies the feeling of continuity with the outdoors, creating a soft, inviting environment shaped by the cadence of the city. Walls finished in lime mortar reinforce the connection to Andalusian building traditions, adding texture without visual weight. Ceramic details deepen this link to local heritage, while contemporary furniture—with its organic lines and understated forms—introduces a refined counterpoint. Together, they strike a balance between modern comfort and craft-driven character. Casa Capirote reflects Sevilla not through literal motifs, but through material sensitivity, atmosphere and rhythm. It is a home that honours the city’s architectural and cultural lineage, while translating it for a quieter, more sophisticated contemporary life.

November 7, 2025 | DESIGN & INTERIORS MARCO & IPPOLITA: the VISIONARIES BEHIND ARTEMEST words Onur Basturk photos Tomaso Lisca and Luca Argenton (L’Appartamento) Shaping a global home for Italian craft and contemporary design. L’Appartamento by Artemest was undoubtedly one of the standout projects at Milan Design Week 2025. Curated within Palazzo Donizetti, the exhibition was filled with such memorable pieces that I vividly recall getting lost among the colors and textures, examining each one in detail. Every corner of Palazzo Donizetti seemed to tell its own unique story—which, after all, is what we appreciate the most, isn't it? It's the narrative that emerges when great design pieces come together. This curiosity led me directly to Artemest founders Marco Credendino and Ippolita Rostagno—I truly wanted to understand the vision behind Artemest. A DIGITAL STAGE FOR ITALIAN CRAFT You founded Artemest in 2015 with the mission of introducing Italian craftsmanship to a global audience. Could you share why you opted for a digital approach? Italian craftsmanship is celebrated worldwide for its beauty and centuries-old traditions. Yet, much of it remained hidden away in remote locations and small ateliers, often inaccessible to international connoisseurs and interior design studios unless they traveled directly to Italy. When we founded Artemest, our goal was to share these artisan stories and their unique creations with a broader audience—and what better way than through a digital platform? Beyond simply showcasing products, we tell their stories, provide videos of how pieces are crafted, and offer narrative context for each object. Your journeys across Italy are central to Artemest’s identity. Have there been any unforgettable encounters during these trips? Absolutely, these journeys are the most enriching part of our endeavor. One particularly meaningful encounter occurred at the very beginning of Artemest's journey, while the idea was still taking shape. I met Simone and Francesca from Bronzetto, a Florentine atelier specializing in artistic brasswork. Their Wormhole floor lamp became one of the first products we ever featured. This encounter still embodies the collaborative spirit at the heart of everything we do. SELECTING THE MASTERS What are your criteria when selecting artisans? We seek fundamental elements such as excellence in craftsmanship, a deep connection to local heritage, a desire for innovation, and a collaborative spirit. It’s a deeply human process. We’re not merely showcasing objects; we’re building a community. And when selecting pieces, what elements do you prioritize—craftsmanship, storytelling, innovation, or a combination of all three? All three elements are essential. Craftsmanship is the foundation—it must be impeccable. But we also look for pieces that carry a narrative, where the technique, material, or form connects to a region, a history, or a cultural theme. Innovation brings relevance, ensuring that the objects we present are not just rooted in the past but also meaningful in today’s design landscape and trends. SUSTAINING HERITAGE How do values like sustainability and cultural heritage shape your relationships with artisans? How do you maintain traditions while embracing innovation? For us, sustainability means cultural and artistic sustainability—preserving centuries-old knowledge and ensuring these crafts continue to thrive for future generations. We view ourselves both as guardians and facilitators, honoring the past while ensuring relevance today. Innovation doesn’t replace tradition; instead, it provides new purpose and meaning within the contemporary world. DESIGN COMES ALIVE AT PALAZZO DONIZETTI L’Appartamento by Artemest at Palazzo Donizetti during Milan Design Week 2025 garnered significant attention. What was the concept behind the project? For Milan Design Week 2025, celebrating our 10th anniversary, we presented the third edition of L’Appartamento by Artemest—a project close to our hearts, born from our passion to showcase how craftsmanship and design exist in real-life spaces. The exhibition was a showhouse celebrating the timeless allure of Italian craftsmanship and design through the lens of internationally renowned designers. This year we collaborated with 1508 London, Champalimaud Design, Meyer Davis, Nebras Aljoaib, Romanek Design Studio, and Simone Haag, each transforming different rooms within the palazzo. They featured furniture, lighting, home décor, and art pieces curated from 180 of Italy’s finest artisans, brands, and artists. Visitors described the experience as profoundly emotional, noting how each space told a unique story and evoked a powerful sense of place, culture, and timelessness. Will these physical experiences continue? How do you see them evolving alongside your digital platform? Absolutely! These physical experiences are not a departure from our digital roots but an extension of them. While our digital platform provides broad reach and scale, physical projects add depth and atmosphere to our storytelling. We want visitors to experience the artisans we represent firsthand, engaging emotionally and physically with spaces rich in stories. LEARNING FROM CRAFT Ippolita, what was the most impactful moment in your creative journey, and how did it shape Artemest's philosophy? My most formative experience was studying sculpture and ceramics for five years at the Istituto d'Arte in Florence. The focus was deeply rooted in craftsmanship, and my greatest lesson was that there are no shortcuts—you must invest countless hours, months, and even years to genuinely master your craft. The intimacy, solitude, and physical intensity of artistic practice instill a unique fearlessness. My profound gratitude for this knowledge inspired me to establish Artemest, ensuring the transfer of these valuable Italian artisan skills to younger generations. With your background in modern dance, do you see a connection between movement and design? Dance teaches essential design elements—flow, form, and emotion. It provided me with an intuitive understanding of how space and objects interact with the body. To me, design is choreography in three dimensions, with every piece meant to move and communicate within its environment. BEYOND E-COMMERCE Marco, coming from a digital entrepreneurship background, how did you approach building a platform highlighting craftsmanship’s tactile, nuanced qualities? It was challenging yet exhilarating! From the outset, we knew Artemest couldn't operate as a conventional e-commerce site. We had to approach it as curators and storytellers. Our goal was to translate touch into visuals and heritage into text—to essentially make the intangible tangible. We focused heavily on photography, editorial content, and immersive design experiences, creating digital windows into the artisan world through studio visits, interviews, and behind-the-scenes footage. Our mission was always to build trust, emotional connections, and desire in a digital space without losing the essence of exceptional Italian craftsmanship and design. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 970,00₺ Price Add to Cart

Matt Damon’ın oynadığı Marslı (The Martian) filmi sonrası daha da popüler hale gelen bir çöl Wadi Rum.  ​ Kum vadisi anlamına gelen Wadi Rum, Ürdün’ün güneyinde, Akabe’ye 40 kilometre uzaklıkta bir doğa harikası. Wadi Rum’un şöhretinin nedeni Mars yüzeyini andıran kızıl kumları, kayalıkları elbette. Buranın Marslı filminde neden set olarak kullanıldığını oraya gidince daha iyi anlıyorsunuz.    Gerçekten de vadinin iç taraflarına doğru ilerledikçe Mars yüzeyinde geziniyormuş gibi hissediyor insan. Çok acayip bir duygu!  Artık ya filmin yoğun etkisi ya da Mars’a karşı son dönemde gelişen popüler ilginin engellenemez hali. O kızıl kumların üzerinde gezinirken başka türlü bir havaya giriyorsun.    Bu Mars efektinin bir sonucu olsa gerek, Wadi Rum’da konaklamak isteyenler için yapılan kamp alanlarına balon kabinler (nam-ı diğer “bubble dome”) kondurulmuş. Bu balon kabinlerin alamet-i farikası tabii ki yattığın yerden gökyüzünü görebilmen. Doğayla bütünmüşsün gibi hissettirmesi. Yani alabildiğine şeffaf oluşu… Bir de tabii kendiliğinden uzay istasyonu efekti vermesi!   Son yıllarda çok moda olan bu balon kabinler dünyanın dört bir tarafında var aslında. İspanya’dan Avustralya’ya, İzlanda’dan Kanada ve Meksika’ya kadar...Sırf bunlarda kalmak için aylar öncesinden rezervasyon yaptıran var. Bir tür yeni deneyim çılgınlığı bu yani. ​ Peki o balonun içinde konaklamak nasıl bir şey?  ‘Aicha’ (@aichaluxury) adlı kamptaki balonda sadece bir gece kaldım ama şunları söyleyebilirim: Sanki çölün ortasında yatıyormuşum gibiydim.  Bir ara kuvvetli bir rüzgar çıktı. O garip uğultuyu iliklerime kadar hissettim!Sonra şakır şakır yağmur yağdı. O an dedim ki, galiba bu balonu sel alıp götürecek! Korkmadım desem yalan olur! Sabaha karşı ise yıldızlar göründü, ki o kısım nefisti işte… ​ Aicha dışında bir de Suncity Camp (@suncity_camp) var. O da biraz daha konforlu bir kamp. Ama her ikisinin de mantısı aynı: Konforlu bir balon kabin ya da çadırda gelenlere kızıl çöl deneyimini yaşatmak! ​ Benim kaldığım Aicha’da:    - Sabah saat 05.30 sularında kalkıp gün doğumunu izlemeye götürdü kampın çalışanı bedeviler. Arabalarla bir bir kızıl tepeye gittik. Sabah sabah bir tepeye tırmandık. Ama gün doğmaya başlayınca manzara olağanüstüydü!    - Sabah ve gece çok serin olduğu için dev bir kürk kaban veriyorlar. Onunla dolaşmak bile fantastikti!    - Gelelim eğlenceye! Çölün ortasında bedevilerin müziği eşliğinde çılgınca dansedeceğimi söyleseler inanmazdım, ama oldu! Hayatımda en çok eğlendiğim gecelerden biriydi. Bir süre sonra çöl soğuğuna aldırmadık, bedevilerin çaldığı canlı müzik eşliğinde deliler gibi dansedip göbek attık!  ​ Unutmadan:    - Wadi Rum’a gitmek için Amman ya da Akabe’ye uçabilirsiniz. Akabe daha yakın. Amman’dan Wade Rum arabayla iki ila üç saat sürüyor.    - Petra’yı görmeden dönmek olmaz. Wadi Rum’a çok yakın Petra. Günübirlik gidip dönülebilir.  January 2024 | TRAVEL TR below BEACH CLUB on TOP of the MOUNTAIN words Joel Nunez-Smith photos Gray Malin Could there be a beach club on top of the mountain? Of course it can! It could very well be! There is no sand at Aspenx Beach Club designed by Gray Malin, but there is more. Magnificent views of the Highland Bowl and Elk Range, the wonderful contrast of bright red&white stripes on white snow and a vintage atmosphere inspired by beach clubs in Miami. Aspenx opens its new season as of the end of this month. This mountain beach club, which has a ticketed entrance fee, is open on Fridays and Saturdays. Dağda beach club olur mu? Gayet olabilir! Gray Malin’in tasarladığı Aspenx Beach Club’ta kum yok ama fazlası var. Highland Bowl ve Elk Range'in muhteşem manzarası, kırmızı parlak çizgilerin beyaz kar üzerindeki şahane kontrastı ve Miami'deki beach club’lardan ilhamla yaratılan vintage atmosfer. Aspenx, ocak sonu itibariyle yeni sezonunu açıyor. Giriş ücreti biletli olan, dj performanslarıyla eğlencenin doruğa çıktığı bu dağ beach club’ı cuma ve cumartesi günleri açık. Bazen pazar günleri de…