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.”

Çapa 1 ABOUT US PRINT WEB SITE SOCIAL MEDIA AUDIENCE ADVERTISING & PARTNERSHIP OPPORTUNITIES YUZU COMMUNITY TEAM ABOUT US YUZU Magazine, published by YUZU Creative House, 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 COMMUNITY EVENTS COMMUNITY DINNER Partner: JUMBO April 2023, Avlu Bebek YUZU GREEN DAY Partners: Komşuköy, Miboso, EkBiçYeİç, DemGreen, Lucca, Homemade Aromaterapi, Kandilli Peyzaj, Entropia, Panerai May 2022, Komşuköy NEW YEAR DINNER Partner: ISOKYO December 2021, Raffles Istanbul VOL.5 PRIVATE DINNER Partner: KİLİMANJARO October 2021, Bomontiada GREEN MORNINGS Partner: GROHE April 2021, Avlu Bebek PICNIC WITH +1 Partner: +1 April 2021, KomşuKöy CREDITS FOUNDER & 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, Maria Chiara Antonini, Noah Mercer, Alp Tekin, Nicolas Vamvouklis PUBLISHER YUZU Creative House www.yuzucreativehouse.com ISTANBUL İnşirah Sokağı, No:25/1, Bebek, 34342 Beşiktaş LONDON Unit 501 Leroy House 434-436 Essex Road London N1 3FY, United Kingdom PRINT Published three times a year ISSN 2757-525X INTERNATIONAL DISTRIBUTION www.magazineheavendirect.com INSTAGRAM @yuzu.mag FOR PARTNERSHIPS AND BUSINESS OPPORTUNITIES info@yuzumagazine.com for more yuzumagazine.com Çapa 2 Çapa 3 Çapa 4 Çapa 5 Çapa 6 Çapa 7 Çapa 8

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 VELVET HOUSE DESIGN & INTERIORS FIVE YEARS, FIVE HOMES TRAVEL HOUSE MONTAGNA DESIGN & INTERIORS DAYLIGHT AS a WAY of LIVING DESIGN & INTERIORS SOFT BRUTALISM, REIMAGINED DESIGN & INTERIORS a QUIET HOUSE AMONG the PINES DESIGN & INTERIORS a SANCTUARY ABOVE the MUMBAI SKYLINE PRODUCT DESIGN AVINGTON CHAIR DESIGN & INTERIORS a CALM, MATERIAL-DRIVEN HOME in DUBAI PRODUCT DESIGN MINIPOD: a SOFTER WAY to WORK DESIGN & INTERIORS a QUIETLY SCULPTURAL HOME in DUBAI TRAVEL HOTEL SEVILLA: a BASE in MÉRIDA 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

January 10, 2026 | DESIGN & INTERIORS FIVE YEARS, FIVE HOMES words Onur Baştürk photos Portrait / Charlotte Lauwers. Bungalow Sint Martens Latem + Kortrijk Townhouse / Eric Petschek. Palingbeek + Pied a terre Brussels + Sint-Martens-Latem / Piet-Albert Goethals A conversation with Decancq Vercruysse Architects. Founded in 2021 by Hannes Decancq and Emiel Vercruysse, Decancq Vercruysse Architects has, in a short time, established a clear and composed presence within Belgium’s contemporary residential landscape. Based in Kortrijk, the studio works fluidly across architecture and interiors, approaching each project as a single composition shaped by light, material, and everyday life. The practice is defined by the founders’ complementary backgrounds. Decancq brings technical expertise grounded in years spent on construction sites, while Vercruysse—who previously worked at Vincent Van Duysen’s studio—contributes a refined sensitivity to materiality, proportion, and high-end residential atmospheres. Together, they share a belief that architecture should be human-centred, precise, and built to last. Marking their fifth year, we spoke with the studio about the five residential projects they have completed across Belgium, and the shared architectural language that connects them—one shaped by dialogue, clarity, and a commitment to long-term quality. Palingbeek - Photos: Piet-Albert Goethals A CONSISTENT WAY OF THINKING As you mark your fifth anniversary, how would you describe the core design approach of Decancq Vercruysse Architects today? Which values have remained unchanged since the beginning? From the beginning, our ambition has been to create homes that evoke comfort, intimacy, and a sense of safety. We strive to design architecture that is closely connected to nature, creating spaces that blur the boundary between inside and outside through the use of natural, warm materials. This approach has only grown stronger over the years and continues to define our work today. LIVING AS A DESIGN RESEARCH Townhouse Kortrijk functions both as your home and as a space for ongoing design research. How did living in the house influence its spatial organisation, material choices, and the relationship between interior and exterior? My days tend to be quite hectic, so the primary goal was to create a home that allows me to truly unwind at the end of the day. As my wife and I both draw a lot of calm from nature—much like walking through a forest—we wanted the house to feel as natural and grounding as possible. Given the townhouse’s location in the city centre, outdoor space was limited. We therefore made full use of the enclosed patio, carefully planting it with trees and greenery. The living room is located on the lower level, where filtered light and surrounding vegetation create a cocooning atmosphere. Upstairs, the kitchen and terrace are flooded with sunlight, offering a contrasting openness. Materiality plays a crucial role here. The living room is entirely clad in wood, reinforcing the warm, sheltered feeling we were aiming for and making the house a place of retreat. Bungalow Sint Martens Latem - Photos: Eric Petschek OPENNESS, ECONOMY, AND CONTEXT In your Brussels pied-à-terre, professional and private life coexist within a compact footprint. How did you balance spatial efficiency with comfort, and how did the Art Deco context inform your decisions? We worked with an open-plan layout for the living and dining areas, while subtly defining zones through a low, custom-designed furniture piece. This allows for openness without losing a sense of separation. The apartment has a natural flow, yet certain spaces can be closed off using refined metal and glass partitions. These details were directly inspired by the Art Deco context—a period in which metal craftsmanship plays a prominent role. This language was extended into other custom elements throughout the apartment, creating a cohesive dialogue between past and present. WORKING WITH WHAT ALREADY EXISTS In the Sint-Martens-Latem bungalow, you chose to preserve and reinforce the mid-century character rather than replace it. How do you decide when to preserve, reinterpret, or transform an existing building? Working with existing structures always begins with thorough research into the building’s original elements and its historical context. We look for meaningful references, often within the same period, and select key elements around which to build the design. At the same time, flexibility is essential. We have learned that preserving everything is not always the right choice. Sometimes, transforming or reinterpreting a specific element leads to a stronger overall design. These decisions can be difficult, but it is our responsibility as architects to ensure that each intervention contributes coherently to the project as a whole. Kortrijk Townhouse - Photos: Eric Petschek ARCHITECTURE IN DIALOGUE WITH LANDSCAPE The Palingbeek project reconnects a farmhouse to its rural surroundings. How did architecture and landscape speak to one another here, particularly through the terrace and roof design? The existing farmhouse was largely closed off from its surroundings. We retained part of the original structure, which now accommodates more intimate functions such as bedrooms and bathrooms. In contrast, we added a new volume that opens the house towards the surrounding landscape. This dialogue between old and new strengthens both structures. The covered and heated terrace plays a key role, allowing the clients to experience the outdoors throughout the year and reinforcing the connection between architecture and landscape. In the wooded Sint-Martens-Latem residence, influences from Japanese architecture and Frank Lloyd Wright are subtly present. How did you balance rootedness and openness in a house that anchors itself in nature yet opens fully to the forest? Material choices were essential in anchoring the house within its forested context. The brown brick almost appears as if it could have been formed from the forest soil itself, emerging from the ground through a sequence of walls and stairs. Wood forms the second key material. Finished in a darker tone, it avoids excessive contrast with the surrounding tree trunks. Large windows lighten the composition and open the house to its surroundings. Positioned on all sides, they create a continuous visual connection, giving inhabitants the feeling of living within and looking through the forest. MATERIAL AS IDENTITY Across these projects, materiality plays a defining role. How do materials shape atmosphere and identity in your work, and what ultimately guides your choices? Materiality is fundamental to our work. We carefully select materials that resonate with both the context and the client. Together with form and proportion, materials give a project its identity and sense of place, something we consider essential. Pied a terre Brussels - Photos: Piet-Albert Goethals REFERENCES AND PRACTICE Looking more broadly at influences, which architects, movements, or disciplines continue to inform your thinking today? During my studies, I spent time in the United States, where I had the opportunity to experience a wide range of architecture, from Frank Lloyd Wright to John Lautner. What struck me most was the freedom of these designs and their generous use of natural, warm materials. These houses felt deeply inviting and intimate, and that quality continues to inspire our studio’s work. We aim to translate this sense of warmth and spatial generosity into contemporary projects, adapted to today’s contexts and needs. WORKING AS A DUO As a duo, how do you divide roles within the practice, and where do your perspectives complement one another most strongly? Architecture has become increasingly complex, making collaboration more essential than ever. The era of the all-encompassing architect is long behind us. Hannes and I come from very different backgrounds. His education is strongly construction-focused, while mine is rooted in interior architecture and design. Within the studio, this division allows me to focus on design and spatial concepts, while Hannes oversees licensing and construction. This clarity brings calm and efficiency to our practice. We each invest our energy in what we do best and what we truly enjoy, which is something our clients deeply appreciate. Sint-Martens-Latem - Photos: Piet-Albert Goethals

January 9, 2026 | TRAVEL TWO LANDSCAPES, ONE VISION VELVET HOUSE words Onur Baştürk photos Portrait - Yvan Moreau, Houses - Michael De Pasquale + Martina Maffini Velvet House is a growing collection of rental homes in France, quietly hidden within nature. Each house is designed as the kind of place one might dream of owning—secluded, thoughtfully composed, and far removed from everyday noise. There are no neighbours, no distractions; just space to live and rest. The idea behind Velvet House is rooted in a personal memory. Founder Gaspard Konrad traces it back to the summers of his childhood: “Every summer, we left Paris for the Atlantic coast, to a house overlooking the ocean, lost among the dunes of Saint-Girons beach. It wasn’t luxurious, but it had everything—waves, silence, the scent of pine trees, an endless horizon. That’s where I learned to surf, to slow down, and to feel truly alive. That house shaped me.” With Velvet House, Konrad wanted to create places where others could feel what he once felt. To translate this vision into space, he collaborated with Label Experience, the Paris-based global design agency led by CEO and Creative Director Sophie Darrière. Today, Velvet House homes are set within two distinct natural landscapes: the Vaudoué house, at the edge of the Fontainebleau Forest, and the Anneville house, located along the Seine River in Normandy. While each responds differently to its setting, both are conceived as characterful, soulful retreats, deeply connected to their surroundings. Here, Sophie Darrière shares her perspective on the spirit of Velvet House and the design thinking behind these quietly immersive homes. WHERE IT BEGAN How did your path cross with Velvet House? When the first house was proposed, did you imagine it would grow into a long-term collaboration? Our collaboration with Velvet House began with a meeting with Gaspard Konrad, an entrepreneur deeply passionate about creating a collection of unique houses immersed in nature. The project started at a very early stage, and we visited several locations together. Since then, we’ve had the privilege of designing the first two houses, and we hope this shared adventure will continue with future projects. What was the initial idea or emotion that shaped the Vaudoué house? How did its position at the edge of Fontainebleau Forest guide the early design intent? The founding idea was the sensation of being nestled within the forest, almost like an old forest keeper’s house. Its position at the edge of Fontainebleau Forest dictated everything: the notion of a secluded refuge, deeply and authentically connected to the surrounding landscape. WE WANTED TO CREATE A PREMIUM HOUSE Holistic design, craftsmanship and environmental sensitivity are core to Label Experience. How did these principles take form in the Velvet House homes? Our holistic approach is first expressed through the direct relationship between interior and exterior. Windows frame the landscape and invite nature into the house, creating a comfortable and warm cocoon that never feels cluttered. Inside, materials echo the environment: weathered wood, natural leather, textured stone and dark metal. A subtle balance is established between vintage pieces and custom-designed furniture. The living areas, widely open to the landscape, embody this approach—a place anchored in its site that breathes with its surroundings. BALANCING RURAL AND CONTEMPORARY Velvet House brings hotel-level comfort into a countryside retreat. How did you balance rural character with a contemporary sensibility, and what atmosphere were you aiming to create? We wanted to create a premium house without ever drifting into something smooth or impersonal. The inclusion of vintage furniture adds soul and a sense of narrative. We worked carefully with materials, volumes and visual openings so the house could fade into the landscape and fully absorb it. The aim was a seamless balance between the rural character of the site and a contemporary sensibility. Which elements most strongly shape the atmosphere—light, materials or landscape? Where do you feel the soul of these homes resides? Light, materials and, above all, the presence of nature play a defining role. Yet the soul of the house lies in its contemporary interpretation of a forest keeper’s home: a place of silence, welcome and sharing—a refuge where memories can genuinely take shape. TWO LANSCAPES, ONE IDEA Anneville is the second chapter of your work with Velvet House. What connects the two projects, and what did Anneville allow you to explore differently? While the Vaudoué house is nestled within forested hills, Anneville opens onto a serene pond and a horizontal, water-oriented landscape. The two projects are connected by a strong relationship to nature, which is the guiding thread of the Velvet House concept: authenticity, comfort, timeless elegance and harmony with the environment. Though not a hotel, Velvet House aims to offer hotel-style comfort. How did guest experience guide your design decisions? Every detail was conceived to offer the level of comfort expected from an exceptional hotel house, while preserving a sense of domestic warmth. The objective was to create places that feel premium yet deeply human, allowing each guest to enjoy a secluded and memorable experience. A NEW IDEA OF LUXURY How do these homes reflect your studio’s vision for hospitality? And where do you see the future of luxury retreats heading? For us, true luxury today lies in premium yet warm environments—spaces that offer genuine privacy, silence and a privileged relationship with nature. Refuges that enable a deep disconnection from everyday life. This is the vision of hospitality we pursue within Velvet House: sensitive, understated and rooted in experience. https://www.velvet-house.com

DESIGN & INTERIORS 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 INSIDE a REPULSE BAY DUPLEX HIFILIFE: SOUND as SPACE the ART of QUIET PRESENCE a COLLABORATION BUILT on TRUST: Yves Salomon Éditions & Dimorestudio a REIMAGINED HAMPSTEAD TOWNHOUSE URBANJOBS PRESENTS: a BOOK on the MAKING of THEIR RESTAURANT DESIGN a GENTLE RHYTHM in LA a MODERN SANCTUARY in KEY BISCAYNE BLONDIE SPACE LIVING TRADITIONS, QUIET REVOLUTIONS CASA CAPIROTE a FUNCTIONALIST HOME a LONDON ICON REBORN with SHAYNE BRADY Show More

TRAVEL 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 SWIM, DINE, RESTORE, REPEAT Living by the ANTIPAROS flow LIVING with ART, BREATHING in CRETE VILLA MIRAÉ: a RIVIERA EDIT Show More

January 7, 2025 | VOL 17 SILENCE of the ALPS words Onur Baştürk photos Tijs Vervecken At the foot of Mont Blanc, nestled on the slopes of Courmayeur, House Montagna stands as a contemporary refuge shaped by nature’s rhythm. Once a humble mountain chalet, it has been reimagined by the Belgian collective Maison Osaïn into a place where simplicity and serenity define the experience of living. The structure, rebuilt almost entirely from local materials, opens directly to the alpine landscape — where light, texture, and silence become the true architecture. Strategically positioned at the edge of the ski slopes, the house balances rugged authenticity with refined craftsmanship. Inside, aged oak and soft grey concrete create a dialogue between warmth and restraint; each space flows naturally into the next, framing views of the valley and the peaks beyond. Behind this transformation stands Maison Osaïn, founded in 2022 by architect Thomas Maria Verschuren and designer Ann Butaye. A SANCTUARY ON THE MONT BLANC SLOPES — A PLACE TO EXHALE House Montagna is a renovated chalet that feels both authentic and new. How did you balance its mountain heritage with a contemporary language? We wanted to honor the spirit of the region — not replicate the past, but reinterpret it with integrity. The chalet was almost entirely rebuilt using local materials. Its exterior echoes traditional alpine homes: slate stones and timber-framed windows anchor it in its surroundings. For the interiors, we sourced aged oak planks that already carried traces of life. Their imperfections bring depth and authenticity. To balance the warmth of the reclaimed wood, we introduced rough concrete and microcement for the walls and floors — soft grey tones that let the timber breathe. It’s this contrast between old and new, rustic and refined, that gives the house its serene, timeless quality. A sanctuary carved into the Mont Blanc slopes; a place to exhale after a long day on the mountain. The project was conceived as a place to disconnect. How did you translate calm, simplicity, and slowness into spatial design and material choices? The project was conceived as a refuge — a place to disconnect and slow down. Given its modest footprint of 50 square meters per floor over three levels, the design focused on openness and flow. Built-in benches along the perimeter walls double as storage and accommodate functions such as en suite bathrooms. This keeps the central space open — light-filled, transparent, and connected. By avoiding corridors and partitions, a natural continuity emerges: visual connections, shifting perspectives, and a quiet dialogue between spaces. This openness nurtures awareness — of one another, of light, of the surrounding landscape. It’s an architecture of calm and connection. The material palette was deliberately restrained: wood and concrete. The warmth of timber meets the raw honesty of concrete. The natural hue of the wood asserts a gentle presence against the soft grey surfaces. This simplicity invites mental stillness — allowing materials to speak their own language, unadorned and unhurried. CONCRETE CAPTURES THE RAW STRENGTH OF THE PEAKS, WHILE WOOD ECHOES THE SLENDER TREES ALONG THE RIDGES, BRINGING WARMTH AND TACTILITY WITHIN The chalet stands at the edge of the slopes, surrounded by mountains. How did the landscape — its light, textures, and rhythm — influence your architectural and interior decisions? Perched at the edge of the slopes, the chalet lives in close dialogue with its surroundings. We believe architecture should bring nature as near as possible — not as a framed view, but as an experience that seeps into daily life. Concrete reflects the rawness of the peaks, their strength and permanence. Wood mirrors the slender trees tracing the ridgelines, adding warmth and tactility to the interiors. Together, they create a language that feels both grounded and serene — a tactile translation of the landscape itself. When the slopes fall silent at dusk, the mountain turns still. In that calm isolation, the chalet becomes a cocoon for reflection and shared presence. Its quiet simplicity invites closeness — a reminder that stillness is not emptiness, but depth. Maison Osaïn works closely with local artisans, artists, and partners. What does collaboration mean to you, and how do these creative exchanges shape the final atmosphere of your spaces? We see ourselves less as architects imposing a vision and more as curators of space, creating a framework in which others can bring their mastery to life. We deeply believe in the synergy that emerges when different disciplines meet. This openness means the process is never entirely predictable — and that’s what makes it exciting. The key is trust: finding partners who understand your philosophy and can interpret it through their own craft. For instance, we told the local carpenter we wanted to work with wood that already had a life behind it. He took us to his workshop, where he had gathered reclaimed boards, each with its own story. From these, he crafted the cabinetry, beds, and kitchen — pieces that carried warmth and history into the new space. Because the site was perched high on the mountain, sometimes only accessible by cable car or helicopter, the process was unpredictable. We often didn’t know exactly how things would look until they arrived. Yet every surprise was a good one. It’s in these moments — where trust meets craftsmanship — that the true soul of a project emerges. Natural and circular materials are central to your philosophy. How do you define sustainability in practice — beyond material selection — and how did this idea manifest in House Montagna? A sustainable home, to us, is one that remains relevant through time — not because it follows fashion, but because it embodies balance and permanence. Its simplicity gives it longevity. Its restraint gives it strength. In House Montagna, this philosophy guided every decision. The chalet draws from traditional mountain materials but reinterprets them through a contemporary lens. It feels both rooted and renewed — honest and enduring. THE TURNING POINT WAS DEEPLY PERSONAL Maison Osaïn brings together two perspectives — architecture and design, logic and emotion. How do you divide roles when working together on a project? Does the process merge naturally? When a man and a woman design together, both the masculine and the feminine find their way into the space. That duality lies at the heart of Maison Osaïn — structure and softness, reason and intuition, function and feeling. Although it might seem the opposite, Ann is often the more practical one when it comes to planning. She designs from lived experience — thinking about flow, comfort, and how people truly inhabit a space. I tend to start from concept — from atmosphere, proportion, and the emotional resonance of an idea. Ann’s touch defines a home’s warmth and sense of belonging, while I focus on its technical and architectural framework. Material and color decisions are always shared — a dialogue where instinct meets precision. Maison Osaïn was born from a desire to give deeper meaning to the idea of home. What led you to create this platform, and what values guide your work today? The turning point was deeply personal. When Ann fell ill, we were confronted with life’s fragility. Caring for one another became a quiet ritual that reshaped our idea of home — extending beyond emotion to what we surround ourselves with, from nourishing food to honest, tactile materials. This experience shaped our philosophy: natural materials, chosen with intention, create spaces where people can truly thrive. Color, texture, and scent are not decorative but essential — awakening the senses and calming the mind. Our work is guided by a set of values we defined early on: care, stillness, sincerity. Nature as a compass. Beauty as a language. A home that quietly nourishes the soul. If you had to describe the essence of Maison Osaïn in one sentence — not as a brand, but as a way of living — what would it be? As our baseline says: Sincere living. To us, that means living with intention — surrounded only by what feels true and meaningful. It’s about embracing simplicity not as absence, but as depth. Creating spaces that breathe honesty, warmth, and quiet strength. Sincere living is not just a design philosophy — it’s a way of being: gentle, grounded, and deeply human. - The full story is featured in Vol.17 - Print / NEW VOL XVII - 2025 970,00₺ Price Add to Cart

November 6, 2025 | Art & Culture TRIARCHY: the THREE FORCES of POWER words Can Memiş artworks Can Akgumus Can Akgumus’s new solo exhibition Triarchy has opened at Kairos Gallery in Istanbul, on view until November 22. The show draws from the notion of “triarhic governance” — a system where three powers coexist — to examine not what power is, but how it manifests through form, body, and image. Structured around three axes — The Thrones, The Body, The Act, and Black Swan — the exhibition explores the reflections of authority in contemporary visual culture. Within this ecology of images, created partly through digital tools, Akgumus lowers traditional symbols of power to eye level, inviting viewers into a more direct and unsettling dialogue with them. At its conceptual core lies a hybrid, three-legged human figure first introduced in the artist’s 2024 Black Swan 2 series. Generated through AI, this anomalous being resists anthropomorphic norms, destabilizing how we perceive the human form. What might seem like a defect becomes a point of rupture — a conceptual crack through which new connections between species, materials, and technologies begin to emerge (1). Yet this fracture continues to search for a language of its own. Triarchy suggests that such a language is nourished by anomaly, contrast, and the unexpected. Akgumus, whose practice stems from photography, questions the medium’s classical principles of “presence” and “archive.” The first assumes the photographer’s physical presence; the second, that what is shown has indeed taken place. Akgumus argues that in AI-based production, neither principle holds, opening instead what he calls “a free image world” (2). The once-documentary claim of “showing as it is” gives way to speculative compositions — manipulated, fluid, and consciously constructed. Echoing Roland Barthes, Akgumus seems to propose that the photograph’s power now lies not in shock, but in thought (3). Across the exhibition, ambiguity and distortion become central motifs. Blurred contours, hollow spaces, and the uneasy merging of reality and fiction unsettle the viewer’s gaze. They warn against the seduction of spectacle, revealing that true disruption lies in reflection, not reverence. In The Thrones, symbols of authority are stripped of grandeur — thrones that merge with their surroundings, dissolve in solitude, or transform into feminine stages. The Body, The Act confronts how power infiltrates the body, presenting sculptural forms that embody both vulnerability and resistance. The final axis, Black Swan, turns melancholy into a lens for loss — of ideals, struggles, or vanished worlds. Instead of human figures, a lone black swan embodies the spectral weight of absence (4). In Broken Circle, a baroque-inspired golden crown is deformed, flattened, and photographed against black marble. The resulting image captures the tension between brokenness and representation. Coincidentally, hours after the exhibition’s opening, a real-life echo emerged: jewels from the Louvre’s 18th-century collection were stolen, leaving behind a shattered imperial crown. Its fractured form, once a symbol of empire, now seems to mirror Akgumus’s inquiry — when stripped of reverence, what remains of power but emptiness? Through Triarchy, Akgumus transforms symbols of dominance into studies of fragility, exposing the hollow spaces behind the spectacle of authority. TR BELOW TRIARCHY: İktidarın Üç Tesiri Can Akgümüş’ün yeni solo sergisi Triarchy, Kairos Galeri’de izleyiciyle buluşmaya başladı. 22 Kasım’a kadar sürecek sergi, üç otoritenin birlikte hükmettiği “triarşik yönetim”lerden yola çıkıyor. Triarchy sergisi, iktidarın ne olduğundan çok, onun bize nasıl yansıdığını üç eksen üzerinden ele alıyor: “The Thrones” (Tahtlar), “The Body, The Act” (Beden ve Eylem), “Black Swan” (Siyah Kuğu). Sanatçının dijital üretim araçlarını da kullanarak kurduğu imge ekolojisinde otorite figürlerine ait imge ve konumlar izleyicinin göz hizasına indirilerek konumlandırılmış. Sergideki üretimlerin çıkış noktası, Akgümüş’ün 2024 tarihli Black Swan 2 serisinde yer alan üç bacaklı insan figürüne uzanıyor. Yapay zekâ aracılığıyla üretilen ve insan biçimli temsilin dışında kalan bu anomalik figür, Akgümüş’ün dördüncü solo sergisi için kurucu bir imgeye dönüşmüş. İlk bakışta bir kusur gibi görünen bu deformasyon, insan bedenine dair temsili istikrarsızlaştırarak kavramsal bir çatlak açıyor. İnsan kavrayışında yaşanan çatlakla beraber, diğer canlı türleri ve maddi varlıklarla yeni bağlantılar kurulurken, karmaşık medya-teknolojik arayüzler de oluşturuluyor (1). Ancak bu hat, kendisini ifade edebileceği bir dilin arayışında. Triarchy, bu dilin anomaliden, beklenmedik kompozisyondan ve kontrasttan beslendiğini açıklıkla savunuyor. Fotoğraf pratiğinden gelen Can Akgümüş, fotoğrafın iki temel dayanağına — “oradalık” (presence) ve arşiv ilkelerine — dikkat çekiyor. İlki, fotoğrafçının fiziksel olarak orada bulunduğuna; ikincisi ise gösterilenin gerçekten yaşanmış olduğuna ilişkin kabule dayanıyor. Akgümüş, yapay zekâ temelli üretimlerde bu iki ilkenin artık geçerli olmadığını ve bunun yapay zekâya “özgür bir imge dünyası” sunduğunu öne sürüyor (2). İzleyiciye “olduğu gibi gösterme” iddiası sunan fotoğrafik görüntü, yerini olası görüntüler, manipülatif müdahaleler ve kurmaca imgelere bırakıyor. Fotoğraf kuramcısı Roland Barthes, fotoğrafın izleyeni ürküttüğü, allak bullak ettiği ya da yaraladığı anlarda değil; düşünceyle yüklü olduğu anlarda yıkıcılaştığını söyler (3). Akgümüş’ün ürettiği kurmaca görseller de düşünceyle kuvvetli bağlara sahip. Triarchy sergisinde yer alan serileri takip ederken gözümüze çarpan fluluk, boşluk ya da gerçekle gerçek-dışını birbirine katan tuhaflıklar bizi gördüğümüz ihtişamın büyüsüne kapılmamaya ya da o ihtişamın ağırlığında paralize olmamaya çağırıyor. Yıkıcılığı da tam olarak burada! Hafıza alanında çalışan Akgümüş, milyonlarca görsel veriden yeni bir görsel yaratan yapay zekânın üretken kapasitesiyle etkileşim halinde. Benzer bir jest — var olandan yeni bir anlatı kurma gayreti — sanatçının Burried isimli işinde de karşımızda: Kişisel arşivinde yer alan materyaller, notlar, eskizler ve günlüklerden yarattığı kâğıt hamurla yeni bir anlatı kuruyor. Triarchy sergisinin ilk eksenini oluşturan Thrones serisi, otoritenin maddi ve sembolik yüzeylerini tartışmaya açıyor. Hükümranlık rejimleriyle özdeş olan taht, zihnimizde gösterişi ve erişilmezliği çağrıştırıyor. Seride, yerleşik temsil biçimlerine mesafelenmiş tahtlar var: Yaslandığı mimari yapıyla bütünleşip kendi sınırlarını yok eden Rex Tyrannidis; yalnızlığıyla kudretini tümden yitirmiş Rex Infelix; dişil bir sahneye dönüşen Regina Noctis... Bir duvar boyunca farklı formlardaki tahtlar yan yana sergilendiklerinde, maddi temelleriyle beraber bu sergilemenin nesnesine dönüşüyorlar. İkinci eksen The Body, The Act serisi ise bedenin nasıl bir kuşatma alanına dönüşüp otoritenin bedenlerin içinden nasıl geçtiğini sorguluyor. Dolaba asılı halde duran soyut bir gövde formu ya da kostüm olarak dikilmiş bir beden, varoluş mücadelelerinin imleyicisi olarak yer alıyor. Dolaplardan çıkmak için mücadele eden, kendi varoluşuna sahip çıkan bedenlerin ortak eylemi, belirli bir bedende olma fikrinden kurtulmakla başlar. Sergideki üçüncü eksen ise Black Swan serisinin beşinci edisyonuyla tamamlanıyor. Bu eksendeki görsellerin diline sızan melankoli, bu mesafeden bakınca bir kaybı düşündürüyor. İktidarın bizde yol açtığı bu melankolik deneyimi neyin kaybı olarak okuyacağız? Kaybedilen ülkeler, mücadeleler, meydanlar, idealler, hayatta olmayanlar ya da kayıp nesneler... Seri, Edward Hopper’ın Soir Blue’sünden farklı görsel kodlarla işliyor melankoliyi. Dürer ya da Caravaggio’dan da farklı... Siyah bir kuğu temsiliyle yapıyor üstelik. Kaybedilmiş olan şeyin fantazmagorik gerçekliğini üreten bir sahnede gibiyiz (4). Kaybın ardından, neyi kaybettiğimiz üzerine düşünmeye davet ediliyoruz. Son olarak, Akgümüş Broken Circle (Kırık Çember) isimli çalışmasında, barok esintiler taşıyan altın renkli bir tacı önce deforme edip yatay bir forma dönüştürüyor, ardından fotoğraflayarak sergiye yerleştiriyor. Siyah mermer yüzeyin altın rengiyle yarattığı kontrast, tacın kırıklığı ile temsil ettiği otorite arasındaki gerilimi de açığa çıkarıyor. Serginin açılışından birkaç saat sonra, bu gerilim Paris’ten gelen bir haberle tamamlanmış oldu. Louvre Müzesi’nin 18. yüzyıla ait koleksiyonundaki mücevherler yedi dakikalık bir soygunda çalınmıştı. Hırsızlar mücevherlerle beraber kaçarken, İmparatoriçe Eugénie’ye ait bir imparatorluk tacını düşürmüşlerdi. Müzenin dışında, güvenlik görevlileri tarafından bulunmayı bekleyen o kırık taç, Napolyon ihtişamının ve Fransa’yı Avrupa’nın merkez ülkesi olarak ilan eden siyasi projenin sembolü olmaya devam edebilir miydi? Yoksa bulunduğu Apollon Galerisi’ndeki kurşun geçmez vitrinlerden kaçırıldıktan sonra artık yalnızca kendi kaderini mi temsil edebilirdi? Otoriteye ait konumlar, nesneler ya da imgelere bahşedilmiş dokunulmazlığı, Triarchy’de olduğu gibi, otoritenin ellerinden aldığımızda o ihtişamdan geriye koca bir boşluk kalıyor. Kraliyet mücevherlerinin yer aldığı, yüzlerce çalışanı olan bir galeriden kaçırılırken yere düşüp kırılmış bir kraliyet tacı da aynı boşluğa işaret ediyor. 1 - Braidotti, Rosi. İnsan Sonrası Bilgi. Çev. Seyran Sam, Eda Çaça. İstanbul: Kolektif Kitap, 2021, s. 25. 2- Piksel Bülten, “Günümüz Sanatında Yapay Zekâ Araçlarının Sınırlarını Keşfetmek: Sanatçı Söyleşileri #1”, ed. Furkan Öztekin, 8 Mart 2024 3- Barthes, Roland. Aydınlık Oda – Fotoğraf Üstüne Not. Çev. Mehmet Rifat, Sema Rifat. İstanbul: Yapı Kredi Yayınları, 2024, s. 46.

Seyahat + Stil + İnsan + Art + Botanik ART & CULTURE a FILM on ARCHITECTURE, MOVEMENT and SPACE NEW VOICES, EMERGING NARRATIVES GRACE: BEAUTY WITHOUT a FRAME MELEK ZEYNEP BULUT OPEN MONUMENTS CARLOS BUNGA: INHABITING CONTRADICTION LUCAS MUÑOZ MUÑOZ: MATERIALS DON’T DIE MAPPING YOUNG ART: BASE 2025 TRACING the NAHIL TRIARCHY: the THREE FORCES of POWER LISBON ART WEEKEND the CITY as GALLERY ISOLA SPACE BRIDGING MILAN and DUBAI IST.FESTIVAL: Rethinking Reality the WORLD NEEDS a LITTLE MAGIC AMSTERDAM DESIGN FLOW: GLUE & TANK TOGETHER in SYNC with the FUTURE :mentalKLINIK TAKES OVER ISTANBUL on the RED CARPET: BRAD WALLS’ PASSÉ CHRISTOPHER HERWIG: BEAUTY in the EVERYDAY a GALLERY at HOME in SOHO the THREE-LEGGED CAT: 18th ISTANBUL BIENNIAL Show More

January 05, 2026 | DESIGN & INTERIORS DAYLIGHT AS a WAY of LIVING words YUZU Editorial photos Clemens Poloczek interior design Studio Two Eleven Studio Two Eleven’s first international project carries a quiet confidence. Located in a calm residential neighborhood of Berlin, overlooking Templiner Park, the apartment reads less like a designed showcase and more like a carefully composed place to live. FROM MEMORY TO SPACE Founded in Istanbul by Ozlem Kaya and Lesar Kaya, Studio Two Eleven takes its name from a childhood home—Ozlem’s grandmother’s house on 211th Street. Arched doorways, mosaic floors, and simple yet well-crafted details left a lasting imprint. Today, these memories continue to inform the studio’s approach. Architecture, for them, is shaped not by abstraction, but by lived experience, routine, and atmosphere. FOLLOWING THE LIGHT At the Berlin Templiner Park Residence, daylight became the guiding principle. Unusually bright for Berlin’s typically darker housing stock, the apartment offered a rare opportunity to let light structure the space. The layout was opened up, allowing the living, dining, and kitchen areas to flow together in a single, continuous sequence. Rather than filling the interior with furniture, the home was deliberately kept open—leaving room for yoga, quiet work, and flexible daily rituals. Material choices reinforce this sense of calm. Natural wood introduces warmth, while stainless steel brings clarity and precision. Walls and ceilings share the same tone, softening boundaries and enhancing spatial depth. The bedroom shifts into darker hues to support rest, while the main living area faces the park, drawing in light and long views. Furniture is present but restrained—selected for its timeless design and quiet decorative value, never overpowering the architecture. Despite the challenges of working across borders, languages, and local systems, the collaboration unfolded smoothly. The result is a straightforward, functional home that reflects Studio Two Eleven’s core principles: clarity, calmness, and a sense of timeless balance.

October 27, 2025 | Art & Culture ISOLA SPACE BRIDGING MILAN and DUBAI words Onur Baştürk One year after opening its Dubai office, Milan-based Isola Design Group introduces its first permanent venue: Isola Space. Opening on November 4, in sync with Dubai Design Week, the project marks a first for both the brand and the Emirati city. Designed by architect and creative director Elif Resitoglu, Isola Space occupies a prominent location within The Lana Promenade, Dorchester Collection, the new landmark building designed by Foster + Partners for Omniyat. “We always dreamed of creating a home for our global community — a space that could go beyond design weeks and festivals,” says Gabriele Cavallaro, CEO of Isola Design Group. “That vision led us to open a branch in Dubai, and now, The Lana Promenade has become the ideal place for our community to gather, share ideas, and inspire local collectors and design enthusiasts alike.” ICONS OF TOMORROW For its debut, Isola Space presents “Icons of Tomorrow”, a group exhibition bringing together designers shaping the future of contemporary design. Highlights include Epoche Studio’s fossil-and-aluminum side table, Jinil Park’s series translating sketches into three-dimensional forms, and Aina Kari + Giovanni Botticelli Studio’s reinterpretation of Venetian glass craftsmanship. The outdoor area features Alkimista’s sculptural seating and Pots and Pines’ handmade planters. The exhibition remains open until December 6. WHERE DESIGN MEETS DAILY LIFE Beyond its role as a gallery, Isola Space integrates a café and design store, creating a fluid connection between design and everyday life. Visitors can explore works by more than 30 international designers and studios including Alessa Dresel, Anton Kuzmin + Ivan Melnichuck, Federico Stefanovich, Studio Mignone, Szymon Keller, and Forks Plus. The interiors feature collaborations with ALPI (Patricia Urquiola’s Quadra surfaces), Arper, B&T, Ton, Armourcoat, Montalbano, Sandalyeci, Vescom, Acumen Light, and Dubai Audio, reflecting the platform’s attention to materiality and refined craftsmanship. STRENGTHENING A CROSS-CULTURAL DIALOGUE With the opening of Isola Space, the brand reinforces its ambition to bridge Milan and Dubai’s creative ecosystems. Today, Isola connects over 2,000 designers and studios from 70 countries, redefining design not merely as exhibition culture but as a living, shared practice embedded in everyday life.

Susana Rocha “Mom, they made you a garden but it cannot be watered” DUPLEX, Lisbon November 3, 2025 | Art & Culture LISBON ART WEEKEND the CITY as GALLERY words Onur Baştürk Lisbon’s 7th Art Weekend brings together 250 artists and 50 venues, offering a panoramic view of the city’s creative pulse — from established institutions to experimental spaces. Lisbon’s creative calendar reaches one of its highlights this November as Lisbon Art Weekend (LAW) returns for its 7th edition, taking place from 6 to 9 November 2025. Since its founding in 2019 by Merve Pakyürek and Kean Paker, LAW has evolved into one of Europe’s most engaging and accessible art events — a citywide celebration that transforms Lisbon into a living map of galleries, institutions, and artist-run spaces. Free and open to all, the event brings together more than 250 artists, 50 venues, and 80 events, spanning exhibitions, performances, guided tours, talks, concerts, and open studios. The goal is simple yet profound: to make art part of everyday life, and to let the city’s rhythm be guided by creativity. AN OPEN AND INCLUSIVE CITY The 2025 edition continues to broaden LAW’s reach, linking emerging art spaces with major cultural institutionsand offering visitors a panoramic view of the city’s creative pulse. Curated itineraries by artists, collectors, and curators invite the public to discover Lisbon through multiple perspectives — from established museums along the riverfront to experimental spaces in Marvila and Arroios. HIGHLIGHTS ACROSS THE CITY New additions to this year’s circuit include the Arpad Szenes – Vieira da Silva Foundation, MACAM – Armando Martins Museum of Contemporary Art, and the PLMJ Foundation, each joining LAW’s expanding network of cultural spaces. At CAM – Gulbenkian Modern Art Centre, Franco-Algerian artist Zineb Sedira presents a concise overview of her photographic and film work, while at MAAT, conceptual artist Cerith Wyn Evans transforms architecture through light, rhythm, and language. Lisbon’s independent galleries capture the city’s energy at a more intimate scale. Pedro Cera Gallery showcases Evian Wenyi Zhang, while NO·NO Gallery brings together a multigenerational line-up — Ana Rebordão, António Olaio, Carlos Arteiro, Filipe Cortez, Keke Vilabelda, Magda Delgado, Miguel Marquês, Pablo Barreiro, Pedro Pascoinho, Pedro Valdez Cardoso, and Rui Neiva — each contributing a distinct visual rhythm. At Jahn und Jahn, a rare solo exhibition by Swiss artist Heidi Bucher highlights her ethereal latex “skins,” which imprint architecture with memory and time, and Kunsthalle Lissabon features Saodat Ismailova, one of Central Asia’s most distinctive voices in moving image. In the city’s east, The Balcony Gallery features Nuno Nunes-Ferreira, whose archive-based works reflect on Portugal’s recent history and collective memory. Galeria Filomena Soares hosts Rui Chafes, celebrated for his poetic wrought-iron sculptures, while Galeria Francisco Fino presents João Penalva, whose quiet narratives bridge literature and image. Spread across neighbourhoods and disciplines, these exhibitions outline Lisbon’s creative rhythm — diverse, curious, and unmistakably alive.

December 8, 2025 | VOL 15 HUMANO TOUCH words Laura Cottrell photos Edward Sumner As a pioneer of lifestyle hospitality in Mexico, Grupo Habita quickly captured the attention of design hotel enthusiasts with its first openings in the late '90s—starting with HABITA Hotel. The group’s architecture-enthusiast founders, Carlos Couturier and Moisés Micha, infused Mexico City’s vibrant chaos with a bold design vision. Through their boutique hotels—our favorite being Condesa DF—they played a key role in transforming the city into a must-visit destination for design lovers. Lately, their focus has shifted to Oaxaca, where they’ve unveiled a series of breathtaking hotels, including Escondido, Otro Oaxaca, and Hotel Terrestre. Now, they’re making waves once again with a brand-new addition to the region: Hotel Humano, set in the world-renowned surf destination of La Punta Zicatela. Located on a pedestrian-friendly street just steps from the beach, Humano—like all Grupo Habita properties—is deeply inspired by and created in collaboration with its surrounding community. A COLOR PALETTE TO FALL IN LOVE WITH Designed by Jorge Hernandez de la Garza, the hotel’s architecture stays true to Grupo Habita’s signature aesthetic: raw concrete, clay tiles, exposed brick, and tropical wood. The interiors by Plantea Estudio are equally striking, with a captivating palette of deep wine reds, burnt oranges, and soft whites that radiate warmth and character. The common areas and rooms strike a seamless balance between simplicity and comfort, blending elements of mid-century modernism with Scandinavian interiors. At the same time, the region’s surf culture is deeply embedded in the hotel’s aesthetic and overall atmosphere. Adding to its authenticity, Javier Gómez’s handcrafted wooden partitions, doors, and furniture reflect the essence of Oaxaca, effortlessly blending local craftsmanship with contemporary design. Meanwhile, the hotel’s 39 rooms are transformed into unique, art-filled sanctuaries with one-of-a-kind drawings by Mexico City-based architect and artist Lucio Muniain. For breathtaking ocean sunsets, the rooftop terrace is the place to be. Another highlight? Dinners curated by chef Marion Chateau of Marseille’s famed La Relève, turning every evening into a gastronomic delight. The nearest airport, Puerto Escondido International Airport, is just a 20-minute drive from Hotel Humano—making this design-forward surf retreat as accessible as it is stunning. - The full story is featured in Vol.15 - Print VOL XV - 2025 970,00₺ Price Add to Cart

December 23, 2025 | TRAVEL HOTEL SEVILLA: a BASE in MÉRIDA words YUZU Editorial photos Rodrigo Hermida The final stop on Grupo Habita’s map sits in the historic heart of Mérida, on the Yucatán Peninsula. Hotel Sevilla occupies a 16th-century casona (a colonial-era urban mansion organised around an inner courtyard), now quietly reworked into a measured and context-aware place to stay. Out of gallery Built over the ruins of the ancient Maya city of Tihó, Mérida is known for having Mexico’s second-largest historic centre. Spanish colonial architecture, wide streets, shaded plazas and a steady tropical rhythm define daily life here. The hotel is just one block from Plaza Grande, the city’s main square, where the cathedral, Casa de Montejo, street musicians and everyday movement intersect. Stately homes along Paseo de Montejo and the lively Mercado Lucas de Galvez—filled with textiles, crafts and local produce—are all within walking distance. The architecture of Hotel Sevilla brings past and present together without blurring the line between them. The original façade and colonial layout have been carefully retained, while new interventions are clearly contemporary. Concrete additions—a bar, pool and spiral staircase—sit alongside the historic fabric with restraint, establishing a calm balance rather than a visual competition. At the centre of the hotel, a double-height courtyard sets the pace of the day. A relaxed open-air cantina shaded by almond trees creates a gentle sense of activity, while the small bistro upstairs feels more contained and quiet. The kitchen works with French–Mexican influences, shaped by what is available at the nearby market. At the bar, classic cocktails lean on mezcal and tequila. The hotel has 17 rooms and four suites, all designed with a deliberate simplicity. Ceramic floors reference traditional Yucatán homes, custom furniture is made from local woods, and henequen textiles appear throughout. Grey concrete bathrooms add a Brutalist note, softened by warm brass details. In each room, a digital guide points guests toward nearby museums, galleries, restaurants and bars. Out of gallery To the rear of the property, a second courtyard offers a more inward-looking atmosphere. Here, a concrete pool—divided by an existing stone wall—occupies the space where stables once stood. Adjacent to it, the spa draws on Mayan wellness traditions, with a Tuj steam sauna, cold plunge and ritual-based treatments. It is a place designed for slowing down after a day spent walking the city. Hotel Sevilla does not attempt to frame Mérida as a spectacle. Instead, it works as a quiet point of entry into the city’s everyday rhythm—where history, architecture and daily life sit side by side, held together by a sense of balance and restraint.