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

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

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

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

December 20, 2025 | vol 17 NINA YASHAR NEW VISIONS for NOW and NEXT words Onur Basturk photos Portraits of Nina Yashar + Nilufar Depot: The First Decade / Filippo Pincolini In 2015, Milan’s legendary gallery Nilufar expanded its universe with a second exhibition space — a 1,500-square-metre venue inspired by La Scala Opera House — aptly named Nilufar Depot. As founder Nina Yashar recalls, “This space was born as an experiment and, over the years, has grown into a living, open laboratory.” A decade later, Yashar celebrates the evolution of that experiment with Nilufar Depot: The First Decade — a richly illustrated book retracing the gallery’s journey — and a site-specific performance by Martino Gamper, conceived in dialogue with the Depot’s architecture and spirit. Gamper’s presence carries symbolic weight: in 2015, he designed the opening dinner’s installation — an ensemble of over 150 unique seating pieces. His return now marks a new chapter in Nilufar Depot’s story, a gesture that bridges memory and transformation. In our conversation, Nina Yashar shares her inspiring vision: “Being visionary once meant seeing what others couldn’t. Today, it means creating space — for dialogue, for experimentation, for new perspectives.” With these words, she perfectly captures the spirit of our time — and of Nilufar itself. I NEVER WANTED THE DEPOT TO BECOME STATIC This year marks the tenth anniversary of Nilufar Depot — a space that has become synonymous with experimentation and discovery. When you look back, what emotions define this milestone for you? It’s a mix of pride and gratitude. When we opened Nilufar Depot in 2015, I knew we were stepping into something new — a space that could accommodate large-scale installations, historical works, and experimental pieces all at once. Ten years later, the project has grown beyond my expectations, so what defines this milestone for me is a deep sense of evolution. It hasn’t only been about design, but about building a place where ideas can take shape freely. You’ve described Nilufar Depot as “a living, open laboratory.” What has kept this spirit of experimentation alive for an entire decade? I think it was the decision to remain open to change. I never wanted the Depot to become static; in fact, each year we’ve challenged ourselves to take new risks, bring in unexpected voices, and rethink how we use the space. It’s the designers, curators, and even the audience that have kept it alive. Looking back at Nilufar Depot, which moment or collaboration feels most defining to you? The exhibition on Lina Bo Bardi and Giancarlo Palanti in 2018 stands out as a defining moment for both the space and my curatorial approach. It required immense historical care, but also a great emotional investment. It captured what I wanted the Depot to represent — a space that doesn’t simply follow trends but gives room to important stories, even when they’re complex or demand precision and sensitivity. Another key moment was the renovation of the space itself in 2015, when we decided to lower the floor by 80 cm. It was risky and stressful at the time, but it turned out to be the right decision — it gave us the freedom to grow vertically and to think bigger. MARTINO’S PERFORMANCE WASN’T ABOUT ERASING HISTORY, BUT REACTIVATING IT — MUCH LIKE NILUFAR ITSELF For the tenth anniversary, you invited Martino Gamper to return — exactly a decade after he designed the inaugural setting for Nilufar Depot. What inspired this renewed collaboration? Martino was there from the very beginning. In 2015, when I curated the inaugural installation, I invited him to create a powerful gesture for the opening dinner, and he responded with 100 unique chairs, arranged in a site-specific setting, and a table for 25 designed especially for the occasion — a work that truly captured the Depot’s spirit from day one. For the tenth anniversary, I curated the concept with the intention of marking the moment not only with a celebration but with a transformative act. Martino brought his own language, his energy, and unpredictability to the space. He doesn’t look back with nostalgia; he reactivates and reinvents what he touches. That’s exactly the spirit I wanted to bring into this new chapter. Martino’s performance mirrors Nilufar’s own evolution. How do you see this dialogue between his work and the space? It’s very much aligned. His work isn’t decorative — it’s process-based. It challenges what we think an object should be, just as the Depot challenges what a gallery can be. His performance for the anniversary wasn’t about erasing history, but about reactivating it — and that’s also how I see Nilufar evolving. I DON’T CARE IF SOMEONE IS KNOWN OR NEW — ONLY THAT THEIR WORK HAS MEANING How do you decide which designers or artists truly resonate with the Nilufar universe? For me, it’s about integrity — not in a moral sense, but in the coherence between thought, process, and execution. I’m drawn to people who use design to explore something deeper, whether that’s material, history, or form. It’s less about style and more about substance. I don’t care whether someone is established or emerging; what matters is that their work has genuine meaning. What kind of “new visions” do you hope to welcome in the next decade of Nilufar Depot? I’d like to explore new formats — perhaps more interdisciplinary collaborations, new materials, or even new geographies. The goal is to keep the Depot flexible. We’ve built a strong identity, but I don’t want it to become predictable. The next decade is about continuing to take risks, to reinvent, and to stay curious. One concrete step is expanding the international presence of Nilufar Edition. After defining its language and vision, the next challenge is to take it beyond the Depot — integrating it into homes and global platforms. It’s a way to share our curatorial voice more widely, while staying grounded in quality and artistic intent. YOU HAVE TO AVOID CHASING THE MARKET, BECAUSE TRENDS ARE LOUD — BUT SHORT-LIVED Nilufar’s long-standing motto is “Discovering, crossing, creating.” How has this philosophy evolved for you personally since founding the gallery in 1979? In the early years, “discovering” meant physically traveling — going to markets, visiting archives, meeting artisans — it was very hands-on. “Crossing” was about mixing time periods and cultures instinctively, without overthinking it. Today, the approach is more structured, but the spirit remains the same. What has changed is the scale. Now I work with a broader network of designers and collaborators, and I think more about how each choice fits into a wider cultural conversation. But at the core, I’m still doing the same three things — just with more tools and more perspective. Nilufar is known for anticipating trends, yet it remains timeless. What does it take to create something that feels both of the moment and enduring? You have to avoid chasing the market, because trends are loud — but short-lived. What lasts is clarity. When a piece has a strong identity and a reason to exist, it stands the test of time. I’m always looking for work that remains compelling when the noise fades, that feels grounded in real intent. With Nilufar Edition, you bridged design and Renaissance craftsmanship. How does this project reflect your current perspective on design and culture? Nilufar Edition embodies my wish to make high-quality design more accessible while preserving the gallery’s curatorial spirit. Produced in-house with careful attention to material and detail, it’s a coherent collection where every piece is both functional and expressive — and designers are chosen for their process, not their popularity. Throughout your career, you’ve embodied a visionary mindset — intuitive yet bold. What does being “visionary” mean to you today, and how has that meaning evolved over time? Being visionary used to mean seeing what others didn’t. Today, to me, it means creating space — for dialogue, experimentation, and new perspectives. It’s less about the individual and more about the ecosystem. That’s why I value collaboration more than ever. After decades of shaping the world of collectible design, what still surprises or excites you most about this field? The unpredictability. Every year, someone new emerges with an approach I’ve never seen before. It could be a material, a gesture, or a point of view that feels fresh. What excites me is that design never stops evolving. I see it as a reflection of the world — and if you think of it that way, the world is never still. If you had to define Nilufar Depot’s spirit in one word, what would it be? Alive. for more Print VOL XVII - 2025 ₺970,00 Price Add to Cart

December 5, 2025 | vol 16 ASTRONAUTS words Nicolas Vamvouklis From stars to steel, a design duo in Athens lets materials and imagination guide the way. Let’s start by introducing ASTRONAUTS. ASTRONAUTS is a creative studio founded by Danae Dasyra and Joe Bradford, specializing in limited-edition objects. We first met during our design studies in the UK. Years later, we returned to Greece and transformed a long-standing friendship into a creative partnership. Our practice is rooted in making. Materials and processes take the lead, and design emerges as our response. We subvert industrial manufacturing conventions by fabricating everything in-house, in our Athens-based workshop. Being physically close to the objects during their creation allows us to work sculpturally, which is essential to developing our distinctive visual language. We carefully consider how people encounter our work and strive to create moments of surprise. We want them to find beauty in the unexpected, to imagine the stories behind these objects, and to think about what they might become. In doing so, we hope to challenge conventional ideas of aesthetics and objecthood. What does this name represent for you? The name ASTRONAUTS pays homage to where our studio began—Greece. It combines “astro,” meaning star, and “nauts,” meaning sailor. The phrase “sailors of the stars” felt poetic to us. When we decided to follow the uncertain and unconventional path of a creative career, it felt like chasing an improbable dream—like a child saying they want to become an astronaut and travel into space. It speaks to that sense of wonder, risk, and the leap into the unknown. It reminds us that our journey is driven by curiosity, imagination, and belief. What are the challenges of working as a duo? We sit at opposite ends of the table, both literally and figuratively. Danae is the studio’s creative lead, responsible for the direction and design of our pieces, including color and material selection. Joe leads physical research and oversees fabrication, translating ideas into material outcomes. Our distinct yet complementary skill sets allow us to trust each other’s areas of expertise while remaining aligned in vision. Of course, as with any close collaboration, challenges arise. It’s impossible to fully satisfy both perspectives all the time. Compromise is essential. Our bench, Gemini, captures this duality. It’s a double-seater sculpture exploring unity and tension. The seats sit close but don’t face one another; they look in the same direction, yet aren’t perfectly aligned. Just like us. WE FELT A RAW, UNFILTERED ENERGY IN ATHENS What led you to settle in Athens? During a vacation, we felt a raw, unfiltered energy in Athens. Compared to other European cities, it offered something rare: physical space, mental space, and potential. We saw an opportunity to build something of our own. Since relocating, we’ve been able to work in a full-scale studio—not just a corner desk. This change in scale has transformed our practice, allowing us to pursue larger, more complex projects. Athens has a smaller creative scene, which fosters more direct, personal relationships. Where do you usually draw inspiration from? We consider ourselves a process-driven studio. Materials and techniques are our starting point, and design emerges as a response. At the moment, our work revolves around hydroforming—a process where sealed metal vessels are shaped and inflated using water. This has led water to become a recurring source of inspiration: the movement of rivers, the reflective surface of the sea, or the way droplets cling to glass. Water also appears in our narratives. For instance, our mirror Narcissus offers a modern retelling of the myth. The mirror’s reflective steel mimics the fatal pool that captivated the young man. METAL IS OFTEN CODED AS MASCULINE, SO WE CHALLENGE THAT BY USING CURVACEOUS, FLUID FORMS What draws you to this technique? Joe discovered hydroforming on YouTube and suggested we try it out. It was fun from the start. The technique, traditionally industrial, felt fresh and full of creative potential. What we love most is its unpredictability. When inflating the metal, we can’t fully predict the final form. This partial surrender allows each piece to become truly unique. It makes our process sculptural—we respond to volume and shape in real time. Letting go of control creates room for surprise, and the results are often challenging in the best possible way. Many of your pieces have a refined, otherworldly finish. How do you choose materials? We gravitate toward materials and finishes that feel unfamiliar, as if they belong to another reality. They become blank canvases we can fill with meaning, narrative, and function. Because of hydroforming, metal is our material protagonist. The process distorts it to the point where it’s almost unrecognizable—many people mistake our work for plastic. That ambiguity is something we embrace. There’s also a softness in pieces like Gemini. Do you enjoy exploring contrasts? Absolutely. In Gemini, the metal has sharp, almost aggressive facets. So we paired it with soft, fluffy flokati. The result is a playful contradiction: Come sit—it’s cozy… but it might hurt. Are you willing to take the risk? As a studio composed of a male fabricator and a female creative director, we’re aware of stereotypes. We enjoy playing with those expectations. Metal is often coded as masculine, so we challenge that by using curvaceous, fluid forms. Sometimes we make the metal look wet. Pairing it with soft, tactile materials introduces unexpected femininity, adding nuance and ambiguity. What are you currently working on? We’re developing a new series that explores hydroforming with aluminum. We’re partnering with a finishing studio specializing in custom coloring techniques. Together, we’ll apply bespoke treatments to our new sculptural homewares. It’s an exciting evolution of our material vocabulary. Speaking of dreams, what’s a project you’ve always longed to realize? We dream of designing a sculptural water fountain for a public square in Athens. The city struggles with heat, and public water features can lower temperatures and improve microclimates. We’d love to create a large-scale, accessible piece that combines aesthetic presence with environmental function—something poetic, useful, and rooted in care for the city we call home. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

April 3, 2026 | vol 17 ATHENIAN FREQUENCIES words & interviews Nicolas Vamvouklis Athens hums with a renewed creative charge — a mix of art, design, and experimentation that feels both grounded and electric. From virtual worlds to sensual furniture, from rebellious branding to edible architecture, a generation of Greek talents is redefining how creativity looks, feels, and tastes. We met four of them to talk about inspiration, identity, and power. THEO TRIANTAFYLLIDIS Visual Artist portrait photo / Nikos Katsaros Your work sits between tech, fantasy, and performance. What’s been sparking your imagination lately? There are too many sparks right now — it feels like the world is on fire. I’ve been having a lot of apocalyptic daydreams about climate wars and trying to turn that anxiety into creative material. You’ve turned virtual space into something intimate. What’s the secret ingredient? I always try to approach technology critically, to find an emotional and bodily response to it. Making digital worlds tactile, sensory, and a bit awkward gives people a way to enter the work instead of standing across from it. And then, sometimes, if we’re lucky, a certain magic brings the work to life — and it starts speaking on its own. Does being Greek influence the worlds you create, or are they from another planet entirely? I’ve been struggling with that question for a while. “Greekness” for me is more about a connection to geography and a way of thinking — a spirit of place, and a pragmatic approach to both aesthetic and technical challenges. That attitude seeps into everything I make. Any exciting shows coming up? We recently opened If/Then at the Ujazdowski Castle Centre for Contemporary Art in Warsaw, on view until February 2026. We built a fully functional Polish version of the “Feral Metaverse” catapult. It’s a really fun show — don’t miss it. POLINA MILIOU Designer & Sculptor portrait photo Giorgos Sfakianakis You make pieces that are both furniture and characters. How do you want people to live with them? My pieces appear organic and animated, yet they also suggest monumental or sacred geometry. It’s this ambiguity I want people to experience: moments when they feel caught in the act, mid-gesture, and others when they seem serene and poised. Your sculptures feel alive. What’s been inspiring you these days? Throughout my practice, I explore femininity as fluidity, strength, nurture, and playfulness. Lately, womanhood has been a recurring subject. I notice that during a woman’s thirties, there’s a period of heightened awareness — of body, of experience — a transformation. So right now, I’m inspired by “a 35-year-old woman.” What does a good day in the studio look like? Music, orange light, the sound of tools and slaps, coffee, then more decaf. Drawing symbols through self-invented puzzle games. And for some reason, having a horror movie playing in the background always helps. Where in Athens do you go when you need a creative reset? In summer, I go to the beach to collect rocks, pebbles, and bits of plastic. In winter, to parks for flowers and leaves. They’re tiny but full of information — something always clicks. And if I really need to reset, I’ll just go for a margarita with ice in Kypseli. NIKOS GEORGOPOULOS Art Director & Founder of Marlon Tate Let’s start with the name. Who is Marlon Tate? It’s the creative agency I founded in 2022, with offices in Athens, London, Jupiter, and Mars. The last two are, of course, mythical — but we like to keep the dream alive. The name itself is pure fiction, borrowed from Marlon Brando’s first name and Sharon Tate’s last. Tell me about this cosmic expansion. What’s the view like up there? As good as one can imagine. Our journey has always been imaginary, and honestly that’s where its strength lies. When everything begins in the mind, there are no limits to what you can build. Your universe is full of bold color and attitude. What drives this sense of rebellion? Probably my need to find balance — to preserve the space between madness and vulnerability. I’ve always been like that. Launching my own agency gave me the freedom to build a team and collectively pursue the kind of work I truly believe in. We blend fiction and surreal storytelling to create viral ads, fictional news, made-up brands, and moments of star power — often just for our own amusement. If design could say one thing about our time, what would it shout? Nothing is really impossible. You just have to close your eyes and imagine it. Design is a force — it storms through boundaries, breaks assumptions, and reshapes what we thought we knew. How does the Greek capital feed your creativity? I was born and raised in Athens, and even after more than a decade in London, I always imagined a kind of heroic return. The city inspires me not only through its vibrant cultural energy but also on a deeper, emotional level. KAROLOS MICHAILIDIS Architect & Cook You call yourself “The Food Architect.” How do design and gastronomy come together in your world? They represent the two sides of my personality — balancing between structure and spontaneity. Designing a dish is not unlike designing a space: both orchestrate light, shape, and texture. I often say that senses like sound and light coexist with flavor. A meal is more than what’s on the plate. What are your all-time favorite recipes? I always return to pastitsio — a comforting layering of tradition and technique; a humble chickpea soup that becomes a canvas for aromatics; and delicate tarts, both sweet and savory, that allow freedom and intention, adapting to every season. If you had to choose one cuisine beyond the Mediterranean, which would it be? Impossible to pick one. Japanese for its precision and reverence to nature; Italian for its soulful simplicity; French for its rigor; Vietnamese for its balance and freshness. Each carries a philosophy that resonates with how I approach design and flavor. There is no creation without tradition, and vice versa. What inspires your next dish or the way you curate an experience? Inspiration springs from memory, landscape, and material form — fields I cultivate both as architect and cook. I design each dish like a space: through rhythm and contrast. Every experience should feel like a dialogue between nature, emotion, and the senses. And what does Athens bring to your table? It feeds me with contrasts — ancient and contemporary, loud and slow, raw and poetic. Beneath its grey surfaces lies a rhythm that sparks curiosity and imagination. Its markets, cafés, and hidden corners remind me that creativity thrives in imperfection. - The full story is featured in Vol.18 - Print VOL XVII - 2025 ₺970,00 Price Add to Cart

Seyahat + Stil + İnsan + Art + Botanik PEOPLE MADE in LISBON: TWO CRAFTS, ONE VISION ATHENIAN FREQUENCIES MONAD ORIGIN FORM-MAKER JAN ERNST INSIDE ELENA’s WORLD CHROMATIC NARRATIVES CECILE DEGOS NADER GAMMAS: in PURSUIT of LIGHT NINA YASHAR NEW VISIONS FOR NOW AND NEXT ASTRONAUTS MARCO & IPPOLITA: the VISIONARIES BEHIND ARTEMEST MAARTEN DE CEULAER the ST VINCENTS DUO KARIM+ELIAS PALOMBA SERAFINI ELISA UBERTI TIINA KARJALAINEN KIERYSCH JULIANA CAVALCANTI MALTE MARTEN: the HANDPAN CHANGED MY LIFE ALESSIA GENOVA: a STORY of VISION and RESOLVE Show More

April 10, 2026 | vol 17 MADE in LISBON: TWO CRAFTS, ONE VISION photos André Nave In Lisbon’s Príncipe Real, a new address quietly redefines how we experience Portuguese design. Conceived by jewellery designer and architect Sofia Esquivel and the ceramic duo Isac Coimbra and Diogo Ferreira, the shared space brings together two disciplines united by craftsmanship, geometry, and form. More than a showroom, it acts as a living studio — a place where materials, ideas, and people intersect. With its earthy palette and sculptural displays, the interior mirrors the brands’ sensibilities: thoughtful, tactile, and distinctly contemporary. Together, Esquivel. and GRAUº invite visitors into an intimate dialogue between silver and clay, tradition and experiment, object and emotion. Príncipe Real has become one of Lisbon’s most creative neighbourhoods in recent years. What, in your view, makes this area so special from a design perspective? Príncipe Real stands out for how it blends heritage with experimentation. Historic façades and leafy squares sit alongside concept stores and creative studios, giving the area a layered, evolving identity. It feels both authentic and forward-looking — where design honours the past while constantly embracing new ideas. With your new space, how do you hope to contribute to Lisbon’s design landscape? Our space reflects the dialogue between authenticity and experimentation. It’s the first time jewellery and ceramics — our two authorial expressions — are presented together under one roof in Lisbon. Beyond that, we want to foster interaction. Both Esquivel. and GRAUº invite direct contact between creator and visitor, offering bespoke commissions and consultations that make design a shared experience. How did the idea of bringing ceramics and jewellery together under one roof first come about? SOFIA: As a jewellery brand, I knew direct contact with the public was essential. When I found the space, I realised it was slightly too big, so I thought of GRAUº. We’ve often shared events and audiences — and a similar creative mindset. ISAC + DIOGO: Opening a physical space was always part of our vision, though we imagined it would come later. When Sofia reached out, we knew this was the right moment to grow and evolve — we couldn’t say no. Both brands share a focus on geometry and detail. Where do you see the common ground between silver and clay? Both Esquivel. and GRAUº are rooted in craft and precision. With clay, geometry emerges through shaping and structure; with metal, it’s in the accuracy of cutting and finishing. The connection lies in our shared attention to detail — a respect for materials, process, and the deliberate rhythm of making. EVENTS LIKE LISBON BY DESIGN AND LISBON DESIGN WEEK HAVE HELPED SHAPE THIS MOVEMENT — WE WERE FORTUNATE TO JOIN BOTH Sofia, your jewellery draws inspiration from architecture — from Modernism to Art Deco and Organic Architecture. What fascinates you most about translating buildings into wearable pieces? SOFIA: I’ve always been fascinated by scale — how changing proportions alters the way we relate to space and form. During my MA in Scenography in London, this interest became almost an obsession. When I began designing jewellery, I naturally turned to architecture, sketching buildings that moved me and translating their essence into small, wearable structures. Each piece reflects a fragment of a space or a detail that caught my eye — it’s never just jewellery; it carries a story. I love how something monumental can be reimagined as something intimate enough to wear. GRAUº’s work balances a modern and tribal aesthetic. How would you describe this tactile, sensory universe that defines your ceramics? And what’s driving Lisbon’s growing design scene? ISAC + DIOGO: Our work merges raw textures with refined forms — pieces that feel grounded in tradition yet carry a modern edge. Clay invites touch, while geometry brings precision and clarity. We explore the space where raw, almost tribal roots meet minimalist design. Portugal, and Lisbon in particular, has a deep craft tradition — from ceramics and textiles to tilework and wood carving. In recent years, there’s been a revival of these crafts through contemporary reinterpretation. Designers are merging old techniques with new aesthetics, creating work that feels both timeless and fresh. Events such as Lisbon by Design and Lisbon Design Week have played an essential role in amplifying this movement, and we were fortunate to take part in both. Events like these give visibility to both established and emerging designers, while offering a mix of exhibitions, workshops and open studios, which helps connect local talent to national and international networks. People are visiting Lisbon not just for its historic beauty, but to also see galleries, studios, craft shops and interact with the design scene in person. And we definitively want to be a part of this, through our new space. Address: Rua Nova de São Mamede, 13 - store 11, Lisbon - The full story is featured in Vol.17 - Print VOL XVII - 2025 ₺970,00 Price Add to Cart

YUZU magazine I Stories in Architecture, Design, Travel and Culture CURRENT ISSUE VOL-18 BUY NOW HIGHLIGHTS NINA YASHAR YVES SALOMON EDITIONS DECANCQ VERCRUYSSE A.K. ATELIER HOTEL SEVILLA MUMBAI HOUSE PEOPLE MADE in LISBON: TWO CRAFTS, ONE VISION CITY GUIDE MILAN, THROUGH its INSIDERS PEOPLE ATHENIAN FREQUENCIES TRAVEL at DUN ALUINN, TIME SLOWS ART & CULTURE SCULPTURES that RESEMBLE FURNITURE DESIGN & INTERIORS a DIFFERENT KIND of BOUTIQUE at CALA DI VOLPE ART & CULTURE ART PARIS LANGUAGE, REPARATION, DESIGN DESIGN & INTERIORS a BUNGALOW REWORKED TRAVEL CINNAMON CANOPY DESIGN & INTERIORS RESTORING a QUIET LEGACY PEOPLE MONAD ORIGIN DESIGN & INTERIORS BETWEEN HOUSE and GARDEN 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 CURRENT ISSUE VOL-18 BUY NOW

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.”

July 6, 2025 | VOL 15 the ST VINCENTS DUO words Onur Basturk portrait photos Katie McCurdy photos Tijs Vervecken, Eline Willaert, Rechtstraat93 Housed in a beautifully restored 18th-century printing house in Antwerp, ST VINCENTS is more than just a store—it’s an experience. Founded by Henri Delbarre and Geraldine Jackman, who left behind careers in finance and law for a creative pursuit, this boutique gallery invites visitors to explore design in a way that feels both inspiring and immersive. As you move through its carefully curated spaces, unfolding into rooms of varying sizes toward the back of the building, you’re met with collectible pieces that blur the lines between art, design, and storytelling. In this interview, Henri and Geraldine share their journey from corporate life to creative entrepreneurship, the evolution of their concept, and the delicate balance of positioning themselves between a store and a gallery. How did the idea for ST VINCENTS come to life? What were you doing before, and how did your paths cross? We came from completely different worlds—Henri from finance, myself from law. We met in Amsterdam while working at the same consulting firm. It was a great place to work, a golden cage of sorts, but over time, the lack of fulfillment began to weigh on us. Henri took the first step, quitting his job to push himself toward his next move. Several months later, I faced a similar crossroads and decided to join him in navigating the unknown together. We had no clear roadmap, only the certainty that we wanted to create something. Several ideas were percolating at the time, but finding the right location truly shaped the concept, sparking new ideas and possibilities—it still does to this day. Initially, our vision was broad—a space where art, design, fashion, and hospitality could converge. At the time, we felt that most stores offered the same mass-produced products. We were drawn to the challenge of presenting design not just as a commercial entity but as something to be engaged with, admired, and understood—creating a unique design experience that would transcend typical retail spaces. How has ST VINCENTS evolved since its inception? ST VINCENTS has always been, and remains, a personal reflection of us, evolving in parallel with our own growth. Over time, we refined our selection and let go of what didn’t align with our values. Fashion, for instance, felt at odds with our commitment to sustainability and timelessness. And the café, while a great experience, began to overshadow everything else. The pandemic, in an unexpected way, gave us the headspace to regroup and focus on what resonated most with us—design. We honed in on authentic, thoughtful, and enduring pieces, made to order, that capture the zeitgeist of our time. OUR APPROACH TO EXHIBITIONS IS FLUID —THERE’S NO SET FORMULA. WE DON’T COMMIT OURSELVES TO A RIGID SCHEDULE Which product has garnered the most attention so far? Lighting is probably one of our standout categories. Over time, it has evolved beyond its purely functional role into something more—a sculptural art object that elevates a space. Unlike furniture—which comes with more concerns for customers (comfort, fit, compatibility, durability)—lighting is more versatile and less restrictive. It’s easier for people to envision a lighting piece in their home, no matter their existing decor or style. There’s also a practical side to it: lighting is less likely to be damaged or worn out over time, which makes customers feel more confident in their purchase. What are the pros and cons of positioning ST VINCENTS between a design store and a gallery? Over time, we have settled on “boutique gallery.” It feels like the most accurate description of what we do—we’re more than a store, as we feel the works we represent are more than just commodities. Galleries carry a certain prestige, and we believed the designers we work with deserve the same level of recognition. By adopting elements of the gallery format, we created a showcase where the narrative of the creators takes center stage, setting us apart from traditional retail concepts. At the same time, we maintain some elements of a store because we don’t want to be limited by a formal exhibition format. Our space hosts all of our designers under one roof, allowing us to stay flexible and responsive to new work and ideas. Unlike traditional galleries, which focus on specific exhibitions at certain times, we can curate and display work year-round, creating a more dynamic experience. Of course, operating in this “middle ground” comes with challenges. Design, in particular, is a unique space—it’s less regulated compared to galleries, and the market is still developing. This presents both risks and opportunities, as being somewhere in between allows us the flexibility to navigate these uncertainties while offering some security in a less mature market. In the end, it’s this hybrid model that works for us. It allows us to curate something personal and intentional while supporting both established and emerging designers. It’s a delicate balance, but it’s what differentiates us. What criteria do you use for exhibitions, and how do you shape your curatorial program? Our approach to exhibitions is fluid—there’s no set formula. We don’t commit ourselves to a rigid schedule; the flexibility we have is probably one of the perks of the boutique gallery format. Each year, we plan to scale back on shows, yet growing interest from designers keeps pulling us in. What we’ve found works best is a balance between invitation and opportunity. Many of our exhibitions come about when designers approach us with ideas or simply need a deadline to inspire their next creation. Other times, we feel that a designer’s work deserves to be highlighted—an opportunity to share their story and offer a deeper understanding and appreciation of their creative journey. We believe in letting designers set their own pace. Our focus is on showcasing work that feels intentional and reflects a designer’s unique voice, rather than being driven by market chatter. However, creators often feel pressure to produce new pieces just to stay relevant, sometimes at the expense of the work itself. This led us to create “The Edits”, a more flexible and sustainable format. It’s a capsule series—less pressured, more adaptable, and ranging from large showcases to intimate displays. While it primarily focuses on current works, it may also feature a mix of older and newer pieces, creating a dialogue between a designer’s past and present. With The Edits, we don’t expect designers to constantly reinvent the wheel. Instead, they can show us their work as it evolves. Outside of The Edits, we still host more traditional exhibitions when a specific narrative needs to be explored or when a new collection or aspect of an artist’s practice deserves to be highlighted. SINCE WE DON’T COME FROM A DESIGN BACKGROUND, WE’RE CONSTANTLY LEARNING FROM THE DESIGNERS WE COLLABORATE WITH. What are your criteria for the collectible products sold in the store? Many factors come into play—it’s not just about the work itself, but also the relationship, values, approach, and story behind it. Being a small team—just the two of us for a long time, and now three—means we have to be really intentional with every decision. We’re always keeping an eye on designers we admire, but we’re very careful about how many we work with at once. Being small means we can’t spread ourselves too thin—we want to give each designer the attention and support they deserve. So, the makers and designers we do end up working with have to be truly exceptional. Since we don’t come from a design background, we’re constantly learning from the designers we collaborate with. Their sensitivity, their poetry, their unique visual language—it’s all so inspiring. They give us new perspectives and insights into what drives them, and we learn so much in the process. It’s a two-way street, and that collaboration is really special to us. We also think a lot about integrity. In a world where companies often shift responsibility onto consumers, we believe businesses have to hold themselves to higher standards. Designers and artists are often at the forefront of what’s needed in society, and their values, processes, and sourcing reflect that. That’s why these things are so important to us. We want to work with creators who share our commitment to integrity, humanity, and sustainability. THE BUILDING’S CHARACTER HAS BECOME SUCH AN INTEGRAL PART OF ST. VINCENTS’ IDENTITY Your space is a restored 18th-century printing house—was choosing this location intentional? It was sheer chance—or serendipity—that we ended up at Kleine Markt 13. Originally, our criteria for a location were quite modest: something around 100 to 200 square meters, a space we could easily move into, a “plug-and-play” situation. We had actually passed by the building before, but it didn’t really register because of its derelict state, size, and the obvious costs involved. Still, it lingered in the back of our minds—you know, keeping options open—and when a realtor suggested we take a look, we decided to see it anyway. That’s when we fell in love with it: an 18th-century former printing office, spanning approximately 800 square meters across three floors. It had been abandoned for years, completely derelict, and had been on the market for a long time. But we could see the potential it harbored. The building had so much character, but it was a far more ambitious project than we had planned. There were so many factors working against us: we were on a tight deadline, had no renovation experience, and certainly no budget for a rehabilitation of this magnitude. The building itself became a source of inspiration and helped solidify the concept in a more concrete way. Maybe it was naïve optimism, but we believed that with a few adjustments, we could make it work. Despite friends and family trying to convince us otherwise, we signed the lease. For the renovation, we focused on the ground floor first, planning to expand into the building gradually. After a very bumpy renovation process—where, honestly, everything that could go wrong did go wrong—we finally opened four months behind schedule. The building’s character has become such an integral part of St. Vincents’ identity. BRIAN THOREEN HAS BEEN A FAVORITE SINCE BEFORE WE OPENED Which designers or collectible pieces have recently caught your eye? We’re drawn to creators who challenge norms and make us see—or feel—the world in a different way. Brian Thoreen has been a favorite since before we opened, remaining a key reference. What draws us to Brian’s work is his methodology and his ability to approach design with such intent. His work feels pure—understated yet extremely strong in concept, form, and material. Then there’s Marte-Mei van Haaster, who has completely shifted how we think about sustainability in design. She brings a poetic language to her work, and her entire process—how she integrates nature into design—is both effortless and profound. We’ve learned from her that sustainability isn’t just about sourcing or made-to-order; it’s about creating a harmonious relationship with nature. We’re currently working on a few projects together, and it’s been incredibly inspiring. We’re even planning a show with her at the end of this year or early next. Lastly, we’re excited to be working with Nick Valentijn, a young designer who recently graduated from the Maastricht Academy. His work is still evolving, but it already has such a unique and confident voice. It’s whimsical yet sophisticated, with this childlike magic to it—as if the objects could speak to you. Supporting emerging talent like Nick is incredibly rewarding, and we’re excited to host his show this May. for more Print VOL XV - 2025 ₺970,00 Price Add to Cart

Haziran 2022 | İnsan | Vol VII İSPANYA’DA BİR UÇUŞ DENEYİMİ Yazı | Mert Çam B arselona’da yaşamaya karar verdiğimde kafamdaki birkaç seçenek arasında bulunan pilotaj eğitimi başta çok da mantıklı görünmese de, bir arkadaşım vasıtasıyla Barselona yakınlarındaki küçük, yerel bir havalimanına konuşlanmış pilotluk okulunu ziyaret ettiğimde kararımı verdim. Kapsamlı sağlık raporları ve sınavın ardından bu serüvene hemen başladım. Hobi olarak bile olsa uçmayı öğrenip kendi kullandığım uçakla istediğim her yere gidecektim. Bu süreçte aldığım geri bildirimlerin hemen hepsi zorlu şartlar, sert ve sıkıcı eğitmenler, hayli kısıtlayıcı havacılık kurallarıyla uçma hevesimin bir süre sonra eziyete dönüşeceği yönündeydi. Ancak unuttukları bir şey vardı. Burası belki de Avrupa’nın en rahat insanlarının yaşadığı İspanya’ydı! MOTORUMUZ ARIZALANDI, İNDİR BİZİ! Bu tatlı gerçekle yer eğitimlerinden sonraki ilk uçuşumda karşı karşıya geldim. 1996 model eski bir Cessna uçak ve yanımda o gün tanıştığım Paco adlı eğitmenimle beraber! Bir adrenalin bağımlısı olarak tedirginlikten çok heyecan duyuyor olsam da, bahsedilen o zorlu kurallar ve gereksiz kısıtlamalardan dolayı istediklerimi yapamayacakmışım gibi hissediyordum. Ta ki Paco her şeyin kurallara uygun olduğuna emin olduktan sonra tüm hakimiyeti bana bırakıp “Vamos! (Gidelim!)” diyene kadar. O telefonunda sosyal medyayla ilgilenirken ben de kendimi Barselona semalarında uçarken buldum. Tamamı için... Print VOL VII - 2022 Out of Stock View Details No product

Mart 2022 | İnsan | Türkiye Benim Düzüm, Babama Ters Yazı | Yasemin Yapanar B en bir müddettir havalı kariyerden çok daha ötesini istiyorum! Cebimdeki paraya değil, biriktirdiğim deneyimlere bakıyorum. Çok çocuklu bir aileye sahip olmayı değil, kadın başıma çılgın hayallerimin peşinden koşabilmeyi diliyorum. Biraz orada, biraz burada özgür bir hayat kuruyorum. Kendi gerçekliğimi yaratıyor, hayallerimden bile güzel bir hayat kurma yolunda ilerliyorum. Nereye gittiğimi bilmeden, kalbimin sesini takip ederken benim düzümün, babamın tersi olduğunu görüyorum. Söylenen bir babam, uyum sağlayan bir anam ve tam zıttım bir abim var benim. Çocukluğumdan beri, ailem ne diyorsa onun tam tersini yapma gibi bir inadım var. Bir süredir Kostarika’dayım. Bir müddet daha da dönmeyi düşünmüyorum. Arada bir babamdan gelen dolar kuru hatırlatmaları beni kaygıya soksa da, gözyaşlarımla kazandığım parayla buralarda biraz daha kalmayı ve hatta önümüzdeki kışı burada geçirmeyi diliyorum. Her ne kadar babam her konuşmamızda dönmemi söylese de dinlemiyorum. Epey bir süredir ailemin dediklerini yapmıyor, onların yürü dediği yoldan yürümüyor, doğrularını mutlak doğru bellemiyorum. Bedelini ödemeye razı olarak, doğru bildiğimi yapıyorum. Nereye varacağını öngöremediğim halde sonsuz güvendiğim kendi yolumdan yürürken, ailemin üzülmesinden tedirgin olmuyorum. Keza başkalarının dediği yolu yürüyünce de ben üzülüyorum! Bu matematiğe göre, en azından birimiz mutlu olabiliyoruz. ONLARIN HAKLISIYLA BİZİM DOĞRUMUZ BİR DEĞİL Kendime, “Eğer ailem olmasalardı onların fikirlerini alır mıydım?” diye soruyorum. Her daim kaygılı babamın, bu konular özelinde kesin almazdım biliyorum. Bir kulağımdan gireni diğer kulağımdan salmaya bakıyorum. Bazen kulağıma takılı kalıyor ve babamın kaygısı bana geçiyor. Bunun sebebi de söylediklerinde ‘haklı’ olması. Ailelerimizin yönlendirmelerine kanmamızın en büyük sebebi haklı olmaları ya zaten. Ama onların haklısıyla bizim doğrumuz bir değil ki. Eğer her haklı olanın sözünü dinleseydik, evden sokağa adım atmamamız gerekirdi. Şahsen haklı olana hak vermekten yoruldum. Haklının değil, kendi doğrumun peşinden gitmeyi seçiyorum. Çünkü etrafımdaki tüm ‘haklılara’ rağmen, kendi doğrularımın peşinden gittikçe, kendi yollarımın taşlarına takılıp yeniden kalktıkça, kendi denizimde kulaç attıkça hayat benden yana akıyor. Bana ne yapmam gerektiğini söyleyenlere değil, nasıl yardımcı olabileceğini soranlara ihtiyacım var. HATALARIMA ALAN TANISINLAR Ben ailemin aklını değil, sevgisini istiyorum. Düşünceleri onlara kalsın, bana koşulsuz sevgilerini versinler. Akıl öğretmenim değil, güvendiğim limanım olsunlar. Hata yapayım, onlara kaçayım. Koyunlarında ağlayayım. Sıcacık sarsınlar beni. ‘Ben sana demiştim’ demesinler. Hatalarıma alan tanısınlar. Kapsasınlar beni. ‘’Seni anlayamıyoruz ama kim olursan ol, ne yaparsan yap, biz her zaman seni destekleyeceğiz’’ desinler. Bunları yapmamayı tercih ederlerse de kendileri bilirler. Muhabbetim azalır, sevgim baki kalır.

April 2022 | People TR BELOW a FULLY GREEN MEDIA PLATFORM words Onur Baştürk Imagine a media platform where the sole focus is on green projects that inspire the entire planet. They capture and showcase these projects, regardless of where they are in the world, introducing both the projects and their creators to a global audience. Their mission? To highlight people and organizations making an effort to tackle environmental issues, no matter how small, and to spark a positive movement. Sounds like a dream media platform? Well, it already exists! Meet Going Green Media, a UK-based initiative. Founded in 2019 by Ben, an architecture graduate, Going Green Media has documented sustainable innovations and projects in countries like Spain, Singapore, Indonesia, the UK, and Denmark. Here, Ben and Ciara—who later joined the team—share the story of Going Green Media. GOING GREEN: A SOURCE OF ECO-POSITIVITY When did the idea for Going Green Media first come to life? BEN: It all started as a domino effect for us. I studied architecture and went vegan in 2019. Ciara had gone vegan much earlier and grew up surrounded by nature in Florida. Naturally, we both became aware of the harmful impact of animal agriculture on climate change. CIARA: When Ben started Going Green in 2019, the initial focus was solely on sustainable architecture. When I joined the team in 2020, we realized there was immense potential to cover many facets and opportunities within sustainability. Ben: We wanted to be a genuinely positive voice. Instead of fixating on the world's grim trajectory, we aimed to highlight the fact that there are people around the world—whether on a global scale or in their own small ways—making a difference. That’s why our goals continue to evolve. We want Going Green to be a source of eco-positivity. HELPING THE PLANET GOES BEYOND SIMPLE SOLUTIONS Among all the projects you’ve documented so far, which one has impressed you the most? It’s impossible to pick a single favorite. Our mission is to explore sustainable ideas! Some of the projects we visit are super high-tech and developed by highly skilled engineers, doctors, and scientists. Others are grassroots initiatives led by ordinary people whose passion turned into transformative projects. What moves us most is the dedication and passion of the people we meet. What’s your workflow like? Do you evaluate requests you receive, or do you seek out green projects yourselves? We’re both incredibly committed and tenacious workers! At the heart of what we do is thoroughly researching every brand or project we collaborate with. This helps us stay true to our values in everything we produce. We never want to come across as influencers who promote products or campaigns purely for payment. Before filming a green project, we question everything—from their ethical practices to their track record. Sustainability has become such a buzzword in recent years that some brands use it to appear eco-friendly. What’s your take on that? The growing popularity of sustainable products and buzzwords has its pros and cons. There will always be profit-driven companies looking to exploit this trend. Brands that label themselves as eco-friendly without making meaningful changes to their production processes or environmental impact are the worst offenders. We often get approached by companies wanting us to promote their “sustainable” or “biodegradable” products. But a quick glance at their websites and social channels is often enough to reveal whether they’re genuinely planet-friendly or not. Helping the planet isn’t just about creating plastic-free or plant-based products. It’s also about how a company treats its employees and values the people providing raw materials for their products. We consider all of these factors. If a company has a “B-Corp” certification, it definitely increases our willingness to work with them. Is it challenging to travel to other countries to document projects? How do you fund these trips? We’re self-made and didn’t rely on financial support from our families. When we decided to launch Going Green, we kept working full-time jobs. We would take paid leave or use our free days for Going Green shoots. Most of our travel is still funded through ad revenue and sponsorships from charitable organizations. TAMAMEN YEŞİL bir MEDYA Şöyle bir medya düşünün: Odaklarında sadece tüm gezegene ilham veren yeşil projeler var. Onları çekip yayınlıyorlar. Dünyanın neresinde olursa olsun farketmiyor, projenizi ve sizi tüm dünyaya tanıtıyorlar. Amaçları şu: Çevre sorunları konusunda hiçbir şey yapmamak yerine bir şey yapmaya çalışan insanları, kurumları ön plana çıkartmak ve pozitif bir hareket yaratmak…Böyle bir medya olabilir mi? Oldu bile! İngiltere çıkışlı Going Green Media. Mimarlık eğitimi almış Ben’in 2019'da kurduğu dijital platform Going Green Media şimdiye kadar İspanya, Singapur, Endonezya, İngiltere ve Danimarka gibi ülkelerdeki sürdürülebilir yenilikleri ve projeleri çekip belgeledi. Going Green Media’nın hikâyesini kurucusu Ben ve ekibe sonradan dahil olan Ciara beraber anlatıyor. GOING GREEN BİR EKO-POZİTİFLİK KAYNAĞI Going Green Media fikri ilk ne zaman ortaya çıktı? BEN: Tüm olanlar bizim için gerçekten domino etkisiydi. Ben mimarlık okudum ve 2019'da vegan oldum. Ciara ise çok daha önce vegan olmuş ve Florida'da doğayla çevrili bir yerde büyümüş. Dolayısıyla kendiliğinden hayvansal tarımın iklim değişikliği üzerindeki zararlı etkilerini öğrenmeye yönelmiştik. CIARA: Ben 2019'da Going Green'i başlatırken kanalın başlangıçta sadece sürdürülebilir mimariye odaklanmasını istedi. 2020'de benim ekibe katılmamla birlikte sürdürülebilirlik alanında birçok yönü ve fırsatı kapsamak için çok potansiyel olduğunu fark ettik. BEN: Gerçekten olumlu bir ses olmak istedik. Dünyanın kasvetli gidişatına odaklanmak yerine küresel olarak ya da sadece kendi içlerinde bir fark yaratmak için ellerinden gelenin en iyisini yapan insanlar olduğu gerçeğini vurgulamak istedik. Bu nedenle hedeflerimiz gelişmeye ve değişmeye devam ediyor. Going Green'i bir eko-pozitiflik kaynağı yapmak istiyoruz. Ana akım medyanın aksine ilham veren, çözüm üreten proje ve insanlara odaklanıyorsunuz. Çözüm üretenler sizce yeterli mi? Dünya bu inanılmaz yolculukta gerçekten daha yolun başında. Gidecek uzun bir yol var! Tanıştığımız birçok insan ve çektiğimiz yeşil projeler, çevre dostu bir geleceğin öncüleri. GEZEGENE YARDIM ETMEK BUNLARLA SINIRLI DEĞİL Çektikleriniz arasında şu ana kadar sizi en çok etkileyen kimin projesi oldu? Tek bir favori seçemeyiz. Çünkü amacımız sürdürülebilir fikirleri ele almak! Ziyaret ettiğimiz projelerden bazıları süper yüksek teknolojili ve son derece nitelikli mühendisler, doktorlar ve bilim insanları tarafından geliştirilmiş. Diğerleri ise sıradan insanların tutkulu projelere dönüşen işleri. Bizim için etkileyici olan tanıştığımız insanların tutkusu ve özverisi. Nasıl bir çalışma süreciniz var? Size gelen talepleri mi değerlendiriyorsunuz yoksa siz mi yeşil projeleri bulup çekiyorsunuz? İkimiz de son derece özverili ve inatçı çalışkanlarız! Bu nedenle işimizin özü birlikte çalıştığımız her markayı ya da projeyi derinlemesine incelemek. Böylece yaptığımız her şeyde değerlerimize bağlı kalabiliyoruz. Bir ürünü ya da kampanyayı sadece ücret karşılığı tanıtan influencer’lar gibi olmak asla istemiyoruz. Bu nedenle yeşil bir projeyi çekmeden önce onların etik anlayışlarından geçmiş performanslarına kadar her şeyi sorguluyoruz. Sürdürülebilirlik son yıllarda o kadar çok kullanıldı ki, bazı markalar bu kavramı kullanarak kendilerini çevreci gösterebiliyor. Ne dersiniz? Sürdürülebilir ürünlerin ve moda sözcüklerin popülaritesindeki artışın pek çok artı ve eksisi var. Bundan yararlanmak isteyen kâra aç şirketler her zaman olacak. Ürünlerinin üretim süreci ve satışının çevreyi nasıl etkilediğine dair önemli bir değişiklik yapmadan çevre dostu olarak kendini etiketleyen markalar ise gerçekten en kötüsü! "Sürdürülebilir" ya da “çözünebilir” ürünlerini tanıtmamızı isteyen şirketler bize de sıkça yazıyor. Ama gezegene yardımcı olamayacaklarını anlamak için web siteleri ve sosyal kanallarına hızlıca bir göz atmak yeterli. Çünkü gezegene yardım etmek sadece bir ürünün plastik içermemesi ya da bitki bazlı olmasıyla sınırlı değil. Yanı sıra o şirketin çalışanlarına nasıl davrandığı, ürün için ham madde sağlayan kişilere ne kadar değer verdiği de önemli. Tüm bunlara bakıyoruz. Hatta bir şirket “B-Corp” sertifikasına sahipse onlarla çalışma isteğimiz daha da artıyor. İngiltere dışındaki ülkelere gidip proje çekmek zor olmuyor mu? Finansmanı nasıl sağlıyorsunuz? Ailelerimizden finansal destek almadan kendi kendimizi yetiştiriyoruz. İkimiz de hibeler, burslar, krediler arayarak ve çalışarak üniversiteye girdik. Tanışıp Going Green'i başlatmaya karar verdiğimizde ikimiz de tam zamanlı işlerimizde çalışmaya devam ettik. Ücretli izin alarak ya da boş günlerimizde Going Green için çekimler yaptık. Seyahatlerimizin çoğunu reklam gelirlerinden ve hayırsever kuruluşlardan gelen sponsorluklarla finanse etmeye devam ediyoruz.