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.

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.

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

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.

February 10, 2026 | DESIGN & INTERIORS LIVING on a CONCRETE CANVAS words Karolin Apik photos Burak Teoman Designed by BE Interiors founder Buket Güney, this residence brings together the raw clarity of concrete-effect surfaces with the refined depth of dark tones. Balanced by natural materials, the interior reads as both assertive and serene—a composed setting for everyday life. For the designer, a home is not merely a place to live, but an experiential environment that forms an emotional bond with its users. This perspective is clearly reflected in the house designed for a family of four—parents and two daughters. Home to an industrialist father and a lawyer mother, the project embodies a design approach that allows space for both sharp lines and confident, characterful choices. CONCRETE AS A STARTING POINT The starting point was the client’s request for concrete-effect walls and ceilings, paired with a preference for darker colours. Departing from conventional palettes, Güney reinterpreted this inclination through the textures and tones of natural materials. Treated almost as a clean canvas, these surfaces become the unifying ground that runs continuously throughout the home. By extending the same language across floors, walls and ceilings—and carrying it through to doors and the staircase—the house gains a strong architectural narrative, as if shaped from a single material. Set against this calm, neutral backdrop, more expressive design elements come forward, sharpening the home’s character. AN OPEN PLAN SHAPED BY LIGHT One of the most significant architectural moves was the removal of most interior walls. From the entrance onward, the living room, kitchen and shared areas unfold as a single open plan. The former corridor wall was re-formed with panels, while the lighting scheme integrated into the staircase and ceiling was conceived as part of this open composition. The intention was to strengthen the connection with the garden and allow daylight to reach deeper into the house. Spanning a total interior area of 325 square metres, the ground floor brings together the entrance hall, living room and kitchen in a continuous flow. The same level also accommodates the master bedroom, a children’s room and a guest WC, while the upper floor houses a young adult’s room and a laundry. Transitions between spaces are defined not by rigid boundaries, but by floor lines and sliding–pivot doors, allowing areas to separate when needed while preserving a sense of continuity. MATERIAL CONTINUITY AND CALM This holistic thinking extends to material choices. Porcelain flooring (laminam) is used throughout the ground floor and continues up the staircase, while parquet flooring introduces warmth in the bedroom areas. Concrete-effect plaster (colortek) is applied to walls, ceilings and doors. In the kitchen, dark porcelain countertops (neolith) are balanced with oak and lacquered cabinetry; bathrooms likewise foreground porcelain surfaces. Across the furnishings, marble, travertine, natural stone and varying tones of wood act as complementary layers.

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.”

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

February 10, 2026 | DESIGN & INTERIORS the OSKLO DUO at HOME words Onur Basturk photos Kort Havens Perched atop Trousdale’s rolling hills, this Beverly Hills residence is where mid-century lines meet expansive views and a grounded, earthy modernity. It belongs to Arya and Michael Martin, founders of OSKLO — a practice that merges architectural rigor with personal expression. In transforming this home, they envisioned a sanctuary: a place to raise a family, to walk in from work, and truly feel home. Their careful restoration marries legacy with new gestures, weaving in handcrafted OSKLO furniture, thoughtful materials and an unhurried rhythm of life. When you first saw the Trousdale home, you described it as “love at first sight.” What was it about that initial impression that struck you so deeply? The mid-century architecture of the home was remarkably well preserved — which, in Beverly Hills, is almost unheard of. It hadn’t been renovated or altered in any way. The u-shaped layout wraps around a central courtyard that serves as the focal point of the main hallways and dining room. It’s sensational. Built in 1966 by Benton & Parks, the house carries a rich architectural pedigree. How did you balance honoring its heritage with infusing your own contemporary vision? We kept the general floor plan intact, simply updating the finishes while maintaining the overall atmosphere. The result is a home that feels authentic, yet carries a distinctly OSKLO Beverly Hills aesthetic. WE DESIGNED THE COURTYARD AS AN HOMAGE TO HARAJUKU’S LUSH URBAN GARDENS Inside, you’ve layered influences from different eras and styles—Hollywood Regency, Italian modernism, David Hicks’ Britishism. How do you find harmony within this mix? Design periods and designers themselves have underlying influences that are built upon. Mid-century was born of Art Deco, and various modern periods thereafter infused their influences on mid-century and Bauhaus, whether Hollywood Regency, Italian and French modern, or British classicism with a certain savoir-faire. The garden takes cues from your time in Japan, with bonsai pines and moss-like grasses. How did Japanese aesthetics shape the outdoor experience? We approached the courtyard as an homage to the urban gardens and shrines of Harajuku in Tokyo — lush sanctuaries that seem to defy the city surrounding them. Birds nest in the trees, and layers of green create a sense of calm, an evergreen oasis in the midst of urban life. DESIGNING YOUR OWN HOME ALLOWS YOU TO TAKE RISKS THAT MANY CLIENTS MIGHT SHY AWAY FROM From pale oak floors to limestone fireplaces and earthy plaster tones, materiality is central to the project. What guided your choices in crafting this palette? Our goal was to bring warmth and intimacy to an architecture that can sometimes feel airy and cold. We achieved this through creamy, earthy plaster walls and tones of limestone and natural stone that feel soft on the eye. When the architecture is perfect, less is always more — and this home had that quality from the very beginning. As designers, what was it like to create a home for yourselves? In what ways did the process differ from client projects? Designing your own home allows you to take risks that many clients might shy away from. You can fully commit to the details — the Jacques Adnet chandelier, the forged Paul Evans brutalist hardware on doors and cabinets — pieces that took a career to collect. These elements add depth and personality, making the home truly your own. We’re a multigenerational household — our mom lives with us and is a loving caregiver to our son. The house benefits from an incredible family-oriented layout, with rooms spread across the width of the home and the primary bedroom tucked privately at the rear. It’s a layout that balances togetherness and seclusion beautifully. THE HOUSE IS A TROVE OF COLLECTED MEMORIES You’ve spoken about filling the house with objects from your travels and personal life. How did those intimate stories find their way into the design? The house is a trove of collected memories. A pair of carved stone Japanese dragons sits beside pottery found at a Tokyo flea market; across the room, a surrealist marble statue from Madrid faces a bronze urn gifted by my grandfather. There’s also a first edition of Prince of Persia, one of the first gifts I gave Arya after we married. Every piece tells a story — personal, emotional, and connected to our journey. The house also became the setting for your new “Trousdale Collection.” How did this space inspire the collection’s design language? The essence of refined but lavish 1960s Beverly Hills living became the foundation for our Trousdale Collection. The Quincy Sofa, with its simplistic shape but overt details and upholstery, sits opposite the late-1960s Carlton Chairs — groovy, low-slung, and upholstered in bold fabrics that made us fall in love with Boucher again. The Hillcrest dining table, paired with copper velvet chairs, offers a subtle nod to Jean-Michel Frank and Ruhlmann. Much like designers from Lloyd Wright to Lautner, we approached every piece — every placement — with intent. Each object designed and positioned by our Studio OSKLO team reflects both our creative legacy and the story of who we are as a family. - The full story is featured in Vol.17 - Print / NEW VOL XVII - 2025 ₺970,00 Price Add to Cart

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.

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 DESIGN & INTERIORS the ART of BEING ECLECTIC TRAVEL LE SOLEIA: a STORY SHAPED by the SUN PEOPLE CHROMATIC NARRATIVES PEOPLE SPACE BREATHES, REMEMBERS, and PROVOKES TRAVEL THE VERSE, LOCAL WAY DESIGN & INTERIORS the OSKLO DUO at HOME TRAVEL an OPEN HOUSE in the HEART of LISBON DESIGN & INTERIORS LIVING on a CONCRETE CANVAS DESIGN & INTERIORS MAISON MARIEL EVERY DETAIL HAS a STORY DESIGN & INTERIORS MONOLITH LODGE DESIGN & INTERIORS the BEST of MAISON&OBJET PEOPLE NADER GAMMAS: in PURSUIT of LIGHT 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

February 18, 2026 | DESIGN & INTERIORS the ART of BEING ECLECTIC words OB + Noah Mercer photos Sergey Krasyuk styling Yes We May Overlooking the sweeping skyline of Moscow, interior designer Julia Gorshkova has crafted an apartment that feels both cinematic and composed. Framed by panoramic views of Poklonnaya Gora and Victory Park, the residence blends classical poise with contemporary ease. Inside, a bas-relief of running horses nods to the nearby Triumphal Arch, while coffered ceilings, delicate moldings, and French parquet flooring create an atmosphere of eclectic elegance— a dialogue between context, emotion, and timeless design. A VIEW THAT SHAPED THE DESIGN What was the starting point behind “Eclectic Elegance – An Apartment for a Young Woman”? The starting point was the view itself. The panorama of Poklonnaya Gora and Victory Park became both backdrop and protagonist. The design was conceived not to compete with the view, but to amplify it — every axis, symmetry, and element was shaped to embrace that horizon. The bas-relief of running horses is striking. How did the nearby Triumphal Arch shape this idea? The Triumphal Arch has always embodied movement, victory, and grace. Translating that into the living room, the horses became a symbolic echo — a reminder that architecture is, at its best, a dialogue with history. The bas-relief anchors the interior to its setting, allowing the space to carry fragments of the city’s memory. What led you to bring a distinctly French atmosphere into a Moscow home? Parisian parquet, delicate moldings, the rhythm of coffers — these details carry an understated elegance. Bringing them here wasn’t about imitation but resonance: a way to enrich a Moscow interior with a subtle European accent, timeless yet never theatrical. ECLESTICISM HERE IS NOT CHAOS; IT’S BALANCE. EVERY ELEMENT, REGARDLESS OF ITS ERA, SPEAKS THE SAME REFINED LANGUAGE. In practice, what does “Eclectic Elegance” mean to you? It’s the art of weaving contrasts into harmony — antique elements alongside avant-garde furniture, classical symmetry offset by expressive art. Eclecticism here is not chaos; it’s balance. Every element, regardless of its era, speaks the same refined language. How did you balance classical elements with contemporary living needs? I approached tradition as a guiding framework, not a constraint. The coffered ceilings and ornate moldings bring rhythm and structure, while sliding portals and an open kitchen allow modern life to unfold seamlessly. It’s a dialogue between permanence and flexibility, memory and movement. When working eclectically, what rules or boundaries guide you? Restraint. Every element must serve a purpose. Eclecticism only works when it’s deliberate. I always ask: does this object, material, or texture contribute to the conversation? If not, it doesn’t belong. Take the avant-garde Bunny armchairs by Roman Plyus — their playful character enlivens the otherwise composed living room and reflects the client’s personality. How would you describe your interior design ethos in a sentence or two? To design is to choreograph emotions through space. I believe in interiors that are rooted in context yet open to timeless interpretation. Which design or architectural movements do you feel most aligned with today, and why? I feel closest to contemporary classicism — the ability to borrow the discipline of tradition while preserving the lightness of modern life. Also to European eclecticism, where narrative and individuality are never sacrificed for minimalism. If you had to define your signature in three words, what would they be? Contextual. Refined. Emotional. - The full story is featured in Vol.17 - Print / NEW VOL XVII - 2025 ₺970,00 Price Add to Cart

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

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

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

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