August 24, 2025 | DESIGN & INTERIORS TR BELOW BUNYAMIN ATAN ‘PEOPLE THRIVE in the SOIL THEY COME FROM’ words & portrait photos Onur Baştürk Mardin-born architect Bünyamin Atan, founder of Hiza Architects, is one of the rising names on today’s architectural scene. Drawing from a deeply layered cultural memory, his work invites us to reconsider notions of origin, belonging, and contemporaneity. As one of the most closely watched voices of his generation, Atan defines architecture not merely as the production of buildings, but as an ongoing dialogue with history, culture, and geography. As an architect from Mardin, you grew up with a multilingual, multi-layered cultural memory. How does that shape Hiza Architecture’s work? When I first left for university, I saw two paths: to set my Mardin identity aside and blend into a new life, or to carry it proudly as part of who I am. Both were hard. Over time, I chose to lean closer to Mardin—its languages, its history, its urban fabric that has no real counterpart in modern architecture. For me, belonging is relative. Sometimes it’s to land, sometimes to history, sometimes to culture. Mardin sits at the crossroads of all three. I believe origin always shapes architecture, directly or indirectly. I’m one of those who believe, deeply, that people thrive in the soil they come from. FINDING BALANCE IN ‘HIZA’ The word Hiza is poetic and philosophical. How do you balance the temporary and the permanent, the quiet and the visible? Hiza means the trace a camel leaves in the desert. We took this very physical description and pulled it into a more abstract realm, imbuing it with meaning and identity. Working with abstract concepts in architecture isn’t easy, because everything eventually becomes physical. Maybe we thought that in making these transitions, we could find our own hiza —our own measure. Looking back, I see how much this approach has helped guide and regulate our work. In a way, it defines the relationship between past and future. But we want to be temporary as much as permanent. The reason lies in the etymology of hiza: a mark appears in the desert, like a layer. Then the wind comes, covering it with new layers until the sand eventually loosens, scattering again. That image became our guide. In every project, we start from this frame: geography, history, culture. A NATURAL EVOLUTION Local materials and traditions play a role in your work. How should contemporary architecture relate to the local? The “local” often feels too symbolic today. Even when tradition is applied faithfully, the users are rarely local. Think of Mediterranean tourism hubs—everyone competes to perfect “local architecture,” but the users are short-term visitors. What’s new is that contemporary users, after adopting global culture, have reshaped the local in their own image. It’s a natural evolution, a generational shift. My approach is to bring local knowledge into the present without pretending, without social engineering, without a top-down gaze. ON THE BODRUM MOSQUE Your futuristic Bodrum Mosque project sparked discussion… Yes—there was already a replica Ottoman mosque under construction, heavily criticized for being out of scale and inauthentic. Without demolishing, we reworked the design to create a mosque that feels true to Bodrum, rooted in the Aegean. THE MARIN PROJECT IN MARDIN Tell us about your Marin project in Mardin. The site sits just below the castle, overlooking new settlements, with five caves within the land. That was thrilling. Instead of mimicking Mardin, we looked to the mountain villages of Mesopotamia, which evolve over generations. Our aim was not only to let people experience Mardin’s historic texture, but also to create cultural knowledge about Mesopotamia. The program includes a mosque, chapel, library, galleries, restaurants, hotel, housing, and offices—an ambitious mix for Mardin’s geography. HIGH EXPECTATIONS OF ARCHITECTS Which fields outside architecture feed your work? I’ll admit, I expect a lot from architects. They should know sociology, photography, geography, history—and bring it all together as culture. I push myself the same way, forcing myself to stay a student. Each new project makes me feel like a beginner, but I embrace that by collaborating with people who can guide me. INSPIRATION AND THE POWER OF ILLUSION What inspires you? Poetry, photography—and nature. Driving through the countryside, you crest hill after hill, expecting difference, but always finding the same winding roads. That illusion fascinates me. Imagine building a place that gives people that feeling. Is there a building that still overwhelms you? Yes: the 4th-century Mor Evgin Monastery in Mardin’s Tur Abdin mountains. Its rootedness, its hidden-yet-visible stance, its rough materials, its interior atmosphere… it never stops inspiring me. BÜNYAMIN ATAN ‘MİMARLIĞIN KÖKENLE bir İLİŞKİ HALİ VAR’ Mardin kökenli mimar Bünyamin Atan, kurucusu olduğu Hiza Architects ile mimarlık sahnesinin yükselen isimlerinden. Çok katmanlı kültürel hafızasından beslenen yaklaşımıyla köken, aidiyet ve çağdaşlık kavramlarını yeniden düşünmeye davet ediyor. Kendi kuşağının dikkatle izlenen mimarlarından biri olarak mimarlığı yalnızca yapı üretimi değil; tarih, kültür ve coğrafya ile kurulan bir diyalog olarak tanımlıyor. Mardinli bir mimar olarak çok dilli, çok katmanlı bir kültürel hafızayla büyüdünüz. Bu aidiyet hissi, Hiza Mimarlık’ın üretimlerine nasıl yansıyor? Sizce mimarlıkta kökenin rolü ne kadar belirleyici? Üniversite yıllarıyla beraber Mardinli olmanın benim için iki temsil biçimi vardı. İlki, Mardinliliği bir kenara bırakıp yeni dahil olduğum hayatın bir parçası olmak. Diğeri ise bunun kıymetli bir şey olduğunu görünür kılıp kimlik olarak taşımaya çalışmak… İki yol da kendi içinde zordu. İlkinde yeni bir hayatı tam anlamıyla öğrenmek zaman ve emek istiyordu. Diğeri ise bana eşlik eden bilgileri -dersini tekrarlayan bir çocuk gibi hatırlamaya çalışıp- mimarlık kimliğiyle bir araya getirmeye çalışmaktı. Ailemden de kaynaklı olarak Mardin kimliği ile daha yakın bağ kurmayı, dilleri ve tarihi daha görünür kılmayı, modern mimarlıkta karşılığı olmayan kentsel dokusunu incelemeyi tercih ettim. Aidiyet kavramı ise göreceli. Bazen bulunduğun coğrafyaya ait olmak, bazen tarihe bazen de kültüre… Bunların ara kesitine odaklanıyorum. Mardin bu üç başlığın da iyi kesiştiği bir coğrafya. Bu üç başlığın da etnik kökeni şekillendirdiğine inanıyorum. Bu yüzden mimarlık kökenle doğrudan ya da dolaylı olarak ilişki halinde. Yani kesinlikle kökenle bir ilişki hali var. “İnsan toprağında yeşerir” kavramına inananlardanım! “Hiza” kelimesine yüklediğiniz anlam, şiirsel olduğu kadar felsefi de. Geçiciyle kalıcının, sessizle görünürün arasındaki bu dengeyi nasıl kuruyorsunuz? Hiza, devenin çölde bıraktığı ize deniyor. Bu somut tanımlamayı soyut bir düzleme çekip mana ve kimlik yüklemeye çalıştık. Mimarlık üretimini soyut kavramlar üzerinden işlemek kolay değil. Çünkü yaptığımız her üretim fiziki eyleme evriliyor. Belki bu geçişleri yapmak bize ve üretimlerimize bir hiza getirir diye düşündüm. Kuruluşumuzdan bu yana yaptıklarımıza baktığımda, bu kurgunun bizi denetlediğini görüyorum. Ama geçici de olmak istiyoruz kalıcı da! Nedeni, hizanın etimolojik anlamında gizli: Çölde bir iz çıkıyor, bir katman gibi. Rüzgârla birlikte bu katman yeni katmanların altında kalıyor ve zaman içerisinde sıkılaşmış kum taneleri tekrar diğer taneler gibi ayrışıp dağılıyor. Bu tanım bize şahane bir rehber! Bir projeyi ele alırken tamamen bu bağlamda hareket ediyoruz. Coğrafya, tarih, kültür… BU ÇOK DOĞAL BİR EVRİLME Tasarımlarınızda yerel malzeme ve bölgesel mimari değerler belirgin rol oynuyor. Sizce çağdaş mimarlık yerel olanla nasıl bir ilişki kurmalı? Buna yanıtım biraz farklı. Yerel olanın çok sembolik kaldığını düşünüyorum. Çünkü yerel mimaride geleneği tüm normlarıyla ele alsak bile, kullanıcısı artık yerel olmuyor! Akdeniz’deki herhangi bir ülkenin herhangi bir turizm bölgesini ele alalım. Hepsi yerel mimariyi en iyi şekilde icra etmek için yarışıyor. Bu yapıların kullanıcıları ise çoğunlukla kısa dönemli kullanıcılar. O yapının yaz sıcağına verdiği yanıtı görüyor, ama kış rüzgârına olan dayanıklılığını görmüyorlar. Günümüzde yerel mimarlık inşaat ekonomisinde kendisine böyle yer bulabildi. Yeni olan şey, bu güncel kullanıcıların çağdaş mimarlık kültürünü benimsedikten sonra yerel olanı da kendilerine benzetmiş olması… Bu çok doğal bir evrilme. Aslında bir kuşak dönüşümü. Düşünün, köylüsünüz ve köyde eviniz var. Bakımı zor, bağı bahçesi bir dert. İlk fırsatta, daha kolay olduğu için şehirde bir apartman dairesi alırsınız. Ama bu da yorucu ve sıkıcı gelir. Derken ekonominiz düzeldiği llk anda müstakil yaşama geçersiniz. Çünkü bağ bahçe, sağlıklı ürün gibi kaygılarınız oluşur, tarih bilinciniz artar, geçmiş daha anlamlı ve güçlü gelir. Böylece öze dönüş başlar. Köydeki eve dönüp restore eder, oradaki eski yaşama dönersiniz. Ama tamamen yeni biri olarak… Sorunuza yanıt verecek olursam: “Mış” gibi yapmadan, toplum mühendisliğinden kaçınarak ve üstten bakmadan yerel bilgileri günümüz kullanıcısına sunmaya çalışıyorum. Kullanıcıların yeni olduklarını kabul ederek… BODRUM CAMİİ PROJESİ ÜZERİNE… Fütüristik Bodrum Camii projeniz de çok konuşulmuştu… Aslında mevcut bir proje yapılmış ve inşaatı başlamıştı. Yapılan proje, geleneksel Osmanlı camilerinin bir taklidi olduğu için Bodrumlular’dan eleştiri almıştı. Aynı zamanda iri bir yapı olduğu için doku açısından yanlış proje olduğu konusunda herkes mutabıktı. Yerel ve merkezi yönetimden bir talep oluştu ve ben öyle dahil oldum. Mevcut inşaatın geldiği yeri koruyarak, yıkmadan, Bodrum’a ait, Ege’nin içinde olduğunu hissettiren bir cami yapmaya çalıştık. MARDİN’DEKİ MARİN PROJESİ Bir de Mardin’deki iddialı Marin projesi var. O projeyi anlatabilir misiniz? Şöyle: Mardin’de yeni bir proje için bize ulaştılar. Yeri ilk öğrendiğimde çok şaşırdım. Çünkü Mardin’in yeni yerleşimine bakan, tarihi dokunun içinde olmayan, ama kalenin hemen dibinde konumlanmış bir arazi söz konusuydu. Üstelik arazi içinde irili ufaklı beş mağara da bulunuyordu. Bu da bizi epey heyecanlandırdı. Mardin’in geçmişiyle geleceği konusunu işleyebileceğimiz bir yer olduğunu gördüm. Biz de bir Mardin taklidinden ziyade, Mezopotamya’nın dağ köylerini referans aldık. Malum, bu köyler iki veya üç kuşak boyunca kurulur ve nihai görüntüsüne ulaşır. Mardin gibi şehirler ise binlerce yıllık bir zaman diliminde kendini var eder. Bu yerel tespit vesilesiyle yol haritamız daha belirgin hale geldi. Projenin amacı sadece Mardin’in tarihi dokusunu deneyimlemek değil, Mezopotamya’ya dair bir kültür ve bilgi oluşturma amacıyla kurgulandı. İçince mescit, şapel, konferans salonları, kütüphane, sanat galerisi, restoranlar, otel, konut ve ofisler bulunuyor. Bu kadar çok fonksiyonu bir arada bulundurması Mardin coğrafyası için çok şey ifade ediyor. MİMARDAN BEKLENTİM ÇOK! Disiplinler arası düşünmeye açık bir yaklaşımınız var. Mimarlık dışındaki hangi alanlar sizi besliyor ya da mimari düşünce yapınızı etkiliyor? Mimarlığı yaparken sakin kalmaya çalışıyorum, ancak başkalarının ürettiği mimarlığa sakin kalamıyorum! Hayranlık ya da eleştirimi en yüksek dozda yaşıyorum. Mimarlık okuması yaparken mimardan her şeyi beklediğimi itiraf etmeliyim. Hatta eleştirdiğim kavramları bile yapmalarını bekliyorum. Toplumu bilsin, topluma seslensin, yani toplum mühendisliği yapsın beklentisine giriyorum. Kendi projelerimde ise bu tavrı üstten bakış diye eleştiriyorum. Geriye çekilmeyi daha doğru buluyorum. O nedenle kendimi tenzih ederek söylüyorum. Mimar sosyoloji bilmeli, fotoğraf çekmeyi bilmeli, çok coğrafya görmüş ve anlamış olması gerekli, tarih bilmeli ve son olarak da bunların bir ara kesiti olarak kültürlü olmalı. Evet, mimardan beklentim çok! Ben de bu bağlamda öğretime devam ediyorum diyebilirim. Teknik olarak kendimi hâlâ bazı alanlarda öğrenci olmaya zorluyorum. Bu aslında öğrenmeyi sevmek. Yeni bir proje başladığında beceriksizmişim gibi bir his geliyor. Ama öğrenmeyi sevdiğim için hemen telefona sarılıp o alanda bana yol arkadaşlığı edecek olanları davet ediyorum. EN ETKİLEYİCİ YAPI MOR EVGİN MANASTIRI İlham aldığınız şeyler? Her şeyden etkilenen biriyim, ama doğayla tanımlayacak olursam: Taşrada, ardı sıra dizilmiş tepelerde yol almak. Taşrada yolda giderken, her tepenin ardında farklı bir şey var duygusuna kapılırım, ama her zaman birbirine benzeyen, kaybolan ve kıvrılan tekdüze yollar ile karşılaşırım. Bu benim için büyüleyici bir yanılma hissi! Düşünsenize bir mekanı böyle bir hisse sahip olacak şekilde kurgulamayı başarıyorsunuz. İnanılmaz olurdu. Sizi hâlâ büyüleyen ya da yeniden düşünmeye sevk eden bir mimari yapı ya da detay var mı? Abartılı gelebilir, ama dünya üzerinde benim için en etkileyici yapı Mor Evgin Manastırı. Mardin’de Turabdin Dağları’nda konumlanmış bir 4. yüzyıl yapısı. Yerine ait oluşuyla, hem saklanan hem görünen duruşuyla, yapı malzemesindeki nizami olmayışla, iç mekanda sunduğu atmosferiyle…

Travel + Design & Interiors+ People + Art & Culture + Botany + Yuzu Film | instagram @yuzu.mag CURRENT ISSUE AEGEAN & MEDITERRANEAN 2025 BUY NOW HIGHLIGHTS PATMOS GUIDE STILL WILD, STILL SUBLIME JULIANA CAVALCANTI a CITY, a CALLING, a DESIGN JOURNEY MALTE MARTEN the HANDPAN CHANGED MY LIFE JOANA & JOSHUA’s ECO-CONSCIOUS VISION AMAN VENICE PEOPLE BUNYAMIN ATAN ‘PEOPLE THRIVE in the SOIL THEY COME FROM’ DESIGN & INTERIORS KIM LAMBERT ‘LIGHT and SHADOW SHAPE the ATMOSPHERE’ PEOPLE Be Original by PANERAI HAKAN YILDIZ TRAVEL a DREAMY LONG WEEKEND in AMALFI DESIGN & INTERIORS MODERN LOFT SHAPED by EIFFEL and the STATUE of LIBERTY DESIGN & INTERIORS MODERN BOHEMIA on the AEGEAN DESIGN & INTERIORS MUMBAI’s NEW DESIGN LANDMARK DESIGN & INTERIORS HARMONIOUS LIVING in FRANKFURT’s WESTEND DESIGN & INTERIORS the TIMBER MANIFESTO DESIGN & INTERIORS the ARTIST RETREAT TRAVEL the MAN in SUITE 8065 DESIGN & INTERIORS a LAKESHORE RETREAT of QUIET LUXURY 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

Seyahat + Stil + İnsan + Art + Botanik PEOPLE BUNYAMIN ATAN ‘PEOPLE THRIVE in the SOIL THEY COME FROM’ HAKAN YILDIZ BE ORIGINAL by PANERAI Vol.1 S A N D : the SILENT STORYTELLER an ODE to SOFTNESS and COMFORT the SHAPE of SOUND to COME PALOMBA SERAFINI the ST VINCENTS DUO JULIANA CAVALCANTI a CITY, a CALLING, a DESIGN JOURNEY ALESSIA GENOVA a STORY of VISION and RESOLVE MALTE MARTEN the HANDPAN CHANGED MY LIFE ELVAN KARADENİZ This house is like a butterfly perched on a rock MURAT DEDE Design isn’t a destination—it’s a process in constant evolution REZZAN BENARDETE RESIN & RESOLVE: How Tina Frey Turned Passion into Design CLEMENT BRAZILLE ‘Playing with limits is a recurring theme in my work’ THE DUO in SEARCH of BALANCE and BEAUTY Etereo AURELIEN RIVOIRE PASTRY MUST EVOLVE with the TIMES COSTANTINO GUCCI & EDWARD RANERI ‘The Reflection Fascinates Us’ ALEXANDER’S DESIGN ODYSSEY MADS & MIKKEL KORNERUP SHAMBALLA’s LIGHT Show More

August 4, 2025 | VOL 15 SAND: the SILENT STORYTELLER words Alp Tekin photos Courtesy of Karim+Elias Have you ever found yourself drifting into the endless expanse of the desert landscape? If so, you might sense a similar feeling in the sand-focused design explorations of Karim+Elias, the Dubai-based studio founded by Karim Tamerji and Elias El Hage. Why is your design focus on desert sand? Is it solely related to the geography you live in, or are there other reasons as well? Our studio’s work is essentially built on two interconnected narratives: adopting a local material with cultural significance—desert sand—and preserving an ancient artisanal technique—rammed earth. Founded in the UAE in 2022, our studio’s vision has been deeply influenced by the geography of the Arab region, particularly its vast desert landscapes. Sand is an ever-present element in this environment, carrying a profound historical, cultural, and symbolic significance. We saw this as an opportunity worth exploring and asked ourselves: "How can we honour the region’s most abundant natural material in a way that bridges cultural and geographical boundaries?" We began by working with Dubai’s landscape, crafting earthen works and spatial experiences inspired by the country’s terrain. Today, our practice is expanding into neighbouring Arab nations such as Saudi Arabia, Qatar, and Jordan, continuing to explore the material’s potential across the region. Did everything start with the success of your installation at Downtown Design 2022? If that hadn’t happened, would sand still be your primary material? Sand has become the defining 'material of meaning' for the studio. Beyond Downtown Design, we have always been committed to celebrating this art form in diverse ways. Can we define the essence of your designs as sculpting with sand? Or how would you describe it? Through creative exploration, we have developed a distinct approach to working with rammed earth, with the goal of preserving and evolving the ancient art of "sculpting with sand." Much like the traditions of marble sculpting or wood carving, we see ourselves as revivalists—honouring a time-honoured craft while reimagining it through a contemporary lens. OUR UPCOMING INSTALLATIONS FOLLOWING ‘THE DESERT RELICS’ (2024) WILL EXPLORE NEW NARRATIVES, INSPIRING FRESH DESIGN INTERPRETATIONS ROOTED IN THE DESERT LANDSACEPE Do you mostly work with spherical forms? Will you explore other shapes in the future? Each project dictates the evolution of our craft. The challenges that arise push our R&D forward, allowing us to explore new ways of expressing form, colour, and function through our material. With both 'IOTA' (2022) and 'From This Earth' (2024), our large-scale public art installations, we explored modular spheres, experimenting with geometry, texture, and structural composition. These projects helped us transform what is traditionally perceived as a heavy material into something that appears light, soft, and contemporary. Looking ahead, our plans include further art installations and architectural interventions across the Arab region, as well as new product designs currently in development. In the art domain, our upcoming installations following ‘The Desert Relics’ (2024) will explore new narratives, inspiring fresh design interpretations rooted in the desert landscape. In architecture, we are pushing the material further with Sand Skins, introducing rammed earth as a refined interior and exterior surface finish, as thin as 7 cm where required. We have experimented with smooth, fluted, and organic textures across various projects, each offering its own distinct artistic expression. Over the next year, we look forward to unveiling installations for both private and commercial spaces. Are your creations purely collectible designs, or do you also create functional pieces like furniture? This year, we launched our first-ever product design line, The Desert Drop series. The collection begins with a grand coffee table, crafted from sand droplets and melted glass—a design inspired by the fluidity of oasis water. The series will expand to include wall sconces and vases, offering more accessible, sculptural pieces for stylists, designers, and homeowners. WE TAKE GREAT PRIDE IN DESERT LANDSCAPES AND THE MEANING THEY BRING TO OUR WORK I’m curious about your technique—how do you work with sand? And what are the challenges of working with it? The process is simple yet precise. We create each piece using a proportioned mix of local earth, clay, and water, compacted into sedimentary layers within custom-made moulds. Whether for an object, a sculpture, or an architectural wall, all materials are locally sourced and naturally pigmented in a diverse range of earthen tones. One of the main challenges is manipulating a heavy material to achieve softer, more organic geometries—creating the illusion of weightlessness and fluidity while maintaining structural integrity. How does the desert make you feel? We take great pride in desert landscapes and the meaning they bring to our work. Their simplicity is a humbling reminder of the region’s heritage and our primal connection to the earth. Spending time in the desert or by the seaside—which would you choose? Both! Especially in a rare and special place like Khor Al Adaid in Qatar, where the desert meets the sea in a breathtaking natural harmony. for more Print VOL XV - SPRING 2025 20,00€ Price Add to Cart

August 14, 2025 | TRAVEL TEN HOUSES, ONE VISION words Onur Basturk In a world where luxury travel often leans on surface glamour, Les Maisons CAB offers something far richer — an invitation to live inside a work of art. Spread across Europe and the Caribbean, these ten remarkable vacation homes are not just styled with museum-worthy pieces; they are curated, immersive environments where design history, architectural heritage, and contemporary art converge. CASA BIBI - PANAREA STAYING INSIDE THE COLLECTION The vision belongs to Hubert Bonnet — Belgian collector, aesthete, and founder of Fondation CAB. For more than two decades, Bonnet has pursued a singular passion: the intersection of modernist and vernacular architecture from the 1930s to the 1970s. Over the years, he quietly assembled a portfolio of extraordinary properties — from the modular Maison Prouvé in Saint-Paul-de-Vence to a sun-washed retreat in Panarea — each restored in collaboration with architects of equal renown: Marc Corbiau, Louis-Herman de Koninck, Charles Zana, Christophe Gevers, Louis Vincent, and Jean-Jacques Honegger among them. LES AILES - GENEVA Inside, the interiors speak a fluent language of form and function. Pieces by Jean Prouvé, Alvar Aalto, Hans Wegner, Charlotte Perriand, and India Mahdavi sit alongside avant-garde sculptures and contemporary works pulled directly from the Fondation CAB collection. Some homes are enriched with site-specific commissions — a Sol LeWitt wall painting at Villa Paquebot in Knokke, a Mathis Bensimon fresco animating Casa Bibi in Panarea. The seed for this living-gallery concept was planted years earlier, when François Laffanour introduced Bonnet to a 1944 demountable house by Jean Prouvé. The encounter became a turning point in his appreciation for functional, modular design — a sensibility that now permeates each Maison CAB. PARIS SELECTION Originally private residences where Bonnet himself lived, the houses were opened to guests in 2024, extending the Fondation’s artistic spirit far beyond its Brussels and Saint-Paul-de-Vence spaces. It’s an evolution that transforms the act of travel: staying in a Maison CAB is not simply booking a home, but inhabiting a layered narrative of architecture, art, and place. From the Caribbean rhythms of Casa Bibi in Las Terrenas to the Alpine crispness of Chalet Bibi in Verbier, from the Mediterranean ease of Casa Bibi in Panarea to the quiet modernism of Belle Vue in Brussels, each address holds a distinct sense of place. The portfolio spans Paris (Jacob), Geneva (Les Ailes), London (London Mews), Knokke (Le Paquebot), and Saint-Paul-de-Vence — home to both the Fondation CAB and the iconic Maison Prouvé. Ten destinations, one vision: preserving rare architectural heritage, ensuring its longevity, and offering a way of traveling that is both deeply personal and culturally resonant. REPUBLIQUE DOMINICAINE SELECTION

August 4, 2025 | VOL 16 SWIM, DINE, RESTORE, REPEAT Living by the ANTIPAROS flow words Onur Basturk photos Courtesy of The Rooster If you’ve been to Paros in high season, you’ll know the feeling—when the crowds, the chaos, and the nightly cocktail circuit at Medusa start to wear a little thin. That’s when you know it’s time for a breather. And the best escape? Antiparos, of course. Just a stone’s throw away, but with a whole different vibe: quieter, cooler, and beautifully bohemian. Just a short hop away, but with a more refined, bohemian energy. After all, the island holds the memories of backpacking hippies who danced wildly at Disco La Luna and The Doors in the 1970s. FIRST STOP: A LONG LUNCH AT BEACH HOUSE The moment you arrive in Antiparos, the plan’s obvious: head straight to Beach House on Apantima Beach. Set on one of the island’s most sheltered coves, it’s an easygoing, barefoot kind of place. The menu is a celebration—seabreams, groupers, amberjacks, dry-aged beef, wild mushrooms... And one line that sums it all up: “Nose-to-tail, Root-to-stalk… Recipes with apheresis at their core.” NEXT UP: THE ROOSTER AT GOLDEN HOUR After Beach House, make your way to The Rooster. Hidden between open fields and mystical caves, and facing a protected beach, it’s one of the best spots on the island to catch the sunset. The Rooster is a soulful kind of place—tailor-made for today’s traveler. With its House of Healing, where energy-clearing rituals reconnect you with Mother Earth, and a three-bedroom organic farmhouse, it’s a destination with real depth. The vision belongs to Athanasia Comninos, who comes from a prominent Greek shipping family. The story of The Rooster began one summer, when founder Athanasia Comninos arrived on the island with her young daughter and a close friend. She rented a house; that summer, she fell in love with the island—and that’s when the story of The Rooster began. THE SOUNDTRACK: RUSTLING BAMBOO AND GOAT BELLS With just 17 suites in various sizes, each one offering sweeping views of the Aegean and its own private garden, The Rooster is all about space, calm, and seclusion. At the heart of it is the House of Healing, a restorative sanctuary where every session begins with a one-on-one consultation designed to understand your lifestyle and wellness goals. Just 1.5 km away lies The Farmhouse, where many of the hotel’s organic ingredients are grown. It shares the same easy rhythm: the rustle of bamboo, the soft clink of goat bells, and the sleepy chorus of cicadas. FEELING SOCIAL? HEAD TO BARDÓT And if all that serenity has you craving a little buzz, head to Bardót. This effortlessly stylish bar-restaurant was created by hospitality veterans Thanasis Panourgias and Harry Spyrou—of Athens, Mykonos, and New York—together with LA- and London-based hotelier Leon Economidi. Across the street, the same team runs Maison Bardót, a multidisciplinary gallery space. And before the night turns into a dance floor? Start with dinner at Kalokeri, a village gem made for easy, delicious evenings. for more NEW / Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 20,00€ Price Add to Cart

August 22, 2025 | DESIGN & INTERIORS KIM LAMBERT ‘LIGHT and SHADOW SHAPE the ATMOSPHERE’ words Onur Basturk photos Lauren Miller production Karine Monié Curious about the story behind every space, Toronto interior designer Kim Lambert brings a refined yet soulful sensibility to her work. With over 20 years of experience spanning global luxury and boutique hospitality, she has built a practice rooted in narrative, collaboration, and quiet sophistication. In this conversation, she shares the vision behind her transformation of a family home in Hoggs Hollow—where architecture, atmosphere, and intimacy come together in balance. What was your first impression of the house when you encountered it for the first time? How did you read its potential? The house felt dated, with a layout that lacked fluidity. A partition between the formal dining room and the great room created a visual and spatial disconnect, blocking light from reaching the front of this generously scaled home. But the bones were there. The light, though subdued, hinted at softness, and the view of the ravine had a quiet beauty. I saw an opportunity to open things up—both literally and atmospherically—to bring lightness, cohesion, and a renewed sense of presence to the interiors. The home’s natural setting—tucked along a quiet riverbend in Hoggs Hollow, surrounded by mature trees—has a strong presence. How did this landscape influence your design approach? The home sits on the riverbend in Hoggs Hollow, nestled deep within a leafy enclave. Though very much in the city, it feels removed—an escape from the urban pace. That duality guided the tone of the interiors: grounded and composed, yet layered with warmth and intimacy. I wanted the design to feel attuned to the landscape—with natural materials, nuanced textures, and a quiet palette that would allow the views and light to speak. I LOVE WORKING WITH CONTRAST —NOT JUST VISUALLY, BUT EMOTIONALLY You mentioned that the brief called for “an entirely new narrative.” What were the core elements of that narrative for you? The intention was to rewrite the home’s story through a lens of refined contrast—where classical proportions meet a modern edge, and elegance finds depth through restraint. I was drawn to architectural periods where quietude and ornament existed in delicate balance, where clarity of form was softened by nuance. The resulting narrative is grounded in a kind of quiet tension: rustic materiality elevated by considered detailing, and the beauty of imperfection held in graceful dialogue with structure. Wabi-sabi sensibilities converge with classical cues, allowing textures to remain raw yet deliberate, and forms to stay sculpted and spare. A restrained palette—hot-rolled steel, cast plaster, dark-stained oak, bleached walnut, antique smoked mirror—unfolds through tactile contrast, softened by velvet, leather, and woven textures. What emerges is a home layered with texture and intention—timeless, grounded, and expressive, where each room reveals a quiet tension shaped by material richness and sculptural restraint. There’s a striking balance throughout the home between softness and structure, rustic textures and refined materials. How do you navigate this kind of contrast to create harmony? For me, harmony is about creating space for contrasts to complement rather than compete. Where there’s structure, I soften; where there’s texture, I refine. It’s a careful dialogue—materials playing off one another, allowing individual notes to shine without overwhelming the whole. The balance comes through restraint and rhythm, and through trusting the integrity of each material. Your use of tone and material often plays with light and shadow in a very intentional way. How did you explore that dynamic in this project? I love working with contrast—not just visually, but emotionally. Light and shadow give shape to the architecture and atmosphere to the interiors. Here, I used tone and material to deepen that interplay—matte against gloss, textured against smooth—so that even quiet moments have presence. The result is a layered experience of space, where subtle shifts in light become part of the design language. You’ve said that you wanted to evoke the atmosphere of a private hotel—inviting yet composed. What does it take to create that sense of calm and quiet luxury in a family home? Materiality and ambiance are at the core. But this is also a family home for six—four energetic young boys and their parents—so it had to hold both sophistication and livability. We wanted to create something elevated but unpretentious, where laughter and play could unfold within a backdrop of refinement. It’s about soft transitions, durable yet beautiful materials, and spaces that feel tailored without ever feeling precious. A careful balance of elegance and function. A THREAD OF CONTINUITY, RESTRAINT, AND RHYTHM Each room has its own character, yet there’s a quiet, poetic consistency that ties the spaces together. How would you describe that through-line in emotional or spatial terms? There’s a thread that runs through it all—one of continuity, restraint, and rhythm. The palette is grounded and tonal, the materials natural and nuanced. Each space tells its own story, but there’s a shared language that binds them together: a sense of flow, a lightness in form, and a calm that allows the home to breathe as one. The lighting you chose—Apparatus, Lee Broom, Anastassiades—feels sculptural and atmospheric. Do you approach lighting as an object or as a mood? Both. Lighting is where form and feeling intersect. I see it as sculpture, but also as emotion. It anchors a room, defines its tone, and shifts its mood throughout the day. The fixtures we chose are quiet statements—each one considered for how it holds space, casts shadow, and elevates the architecture around it

DESIGN & INTERIORS KIM LAMBERT ‘LIGHT and SHADOW SHAPE the ATMOSPHERE’ MODERN LOFT SHAPED by EIFFEL and the STATUE of LIBERTY MODERN BOHEMIA on the AEGEAN MUMBAI’s NEW DESIGN LANDMARK HARMONIOUS LIVING in FRANKFURT’s WESTEND the TIMBER MANIFESTO the ARTIST RETREAT a LAKESHORE RETREAT of QUIET LUXURY SHOOTING FOR the MOON in SUNNY ISLES a QUIET CONVERSATION with SPACE RESIDENCE MICHELLE: a CURATED LIFE DREAMING DESIGNING LIVING ANNIE LESLAU’s SAG HARBOR EDIT WHERE DESIGN MEETS INNER WORK a CINEMATIC QUIET the ART of LIVING SOFTLY the SHAPE of SOUND to COME a BOHEMIAN PIED-À-TERRE in WEST CHELSEA the LUND COLLECTION TULUM SKY HIGH, LAID-BACK Show More

August 21, 2025 | DESIGN & INTERIORS MODERN LOFT SHAPED by EIFFEL and the STATUE of LIBERTY words Alp Tekin photos Edvinas Bruzas We’re in Colmar, the picturesque French town known for its iconic colorful timber-framed houses, narrow streets, and lively balconies. But that’s not all. Colmar is also known as the home of artists such as Frédéric Auguste Bartholdi, who, in collaboration with Gustave Eiffel (the French engineer behind the Eiffel Tower), designed the famous Statue of Liberty. And here, in a home that seems to contrast with the romantic atmosphere of the town yet pays homage to its craftsmanship heritage, we find ourselves in the Milo Apartment project—reminiscent of New York lofts. The apartment's transformation, designed by London-based OZA Design, founded by Özge Öztürk and Alexandre Simeray, tells a striking “before-and-after” story. “The shock we felt when we first saw the apartment became the starting point of the design process,” Özge and Alexandre share. “What we encountered was a 112-year-old historic building that had been converted into an office. At first glance, it was a space that had lost its soul: carpet tiles, PVC ceiling panels, and fragmented partitions. My initial reaction was, ‘This is a lost cause.’ But this challenge only motivated us further! When my partner Alexandre visited the space, he called me and said, ‘You won’t believe it, but this project has incredible potential.’ That was the moment when the design’s story started to form in our minds. Our respect for the building’s history, original texture, and spirit became the inspiration for giving it a modern identity. We focused on preserving the historic traces in every detail while creating a timeless aesthetic. What initially seemed like a distant dream eventually turned into an exciting design journey.” ELEGANCE IN RIGIDITY Özge and Alexandre reveal that the primary inspiration for the design process was Colmar itself: “The design process began with the rich historical fabric of Colmar. Gustave Eiffel and Frédéric Auguste Bartholdi, with the powerful stories they contributed to this region’s heritage, were our sources of inspiration. The ironwork in the apartment was chosen to blend Eiffel’s engineering marvels with Bartholdi’s artistic elegance. We aimed to create a language where these two distinct geniuses intersected: an elegance within rigidity, an aesthetic within functionality! While walking through the streets of Colmar, we were drawn to the iron forms and architectural details of the buildings, which became fundamental elements guiding the design.” Özge and Alexandre emphasize that Colmar’s artisans were at the heart of the project: “We saw every piece not just as an object but as an artwork that nourished the soul of the space. By collaborating directly with local blacksmiths, carpenters, and ceramic artists, we infused the region’s character into the design. Each artisan contributed their unique touch, adding a distinctive story to the space. The lighting, for instance, was designed to mimic the warm yet sophisticated atmosphere of Colmar’s evening light. This approach deepened the meaning of the design and allowed us to establish an organic connection between the space and its surroundings.” TIMELESS MODERNITY The OZA Design duo describes the apartment’s design as timeless modernity: “Industrial modern chic might define one aspect of the design, but we aimed to give the project a multi-layered identity. We created a dialogue between minimalist lines, crafted iron details, and natural textures. By blending Colmar’s nostalgic spirit with contemporary design elements, we forged a language that honors the past while focusing on the future.” HIGHLIGHTS - Hidden storage solutions throughout the apartment maintain a clean and organized look. Above the guest suite, an 80-square-meter storage area is concealed behind mirrors that add light and depth to the space. - The reading lamps in the guest room were inspired by the Orient Express. - Black-stained wood contrasts with white plaster wall finishes, directly referencing the town’s coal industry heritage. - OZA Design collaborated with local art gallery Murmure to curate artwork that complements the project. The dining area features a sculpture by Yann Baco, while Franziskus Wendels’ paintings in the main bedroom are standout examples of this partnership. for more Print VOL XV - SPRING 2025 20,00€ Price Add to Cart

August 22, 2025 | TRAVEL a DREAMY LONG WEEKEND in AMALFI words Onur Basturk photos Courtesy of Hotel Miramalfi The 1960s… First came Fellini’s La Dolce Vita. Then the glamorous wave of Hollywood stars and European aristocracy descending on the Amalfi Coast. And soon after, a spontaneous style revolution: handmade leather sandals, linen dresses, Vietri ceramics. That iconic lifestyle of the ’60s still lingers on the Amalfi shores today. But to truly experience its allure, you need to know where to go. Consider this your compass. DAY ONE: MY HOTEL, MIRAMALFI From Naples Airport, the transfer wound its way through the dramatic Lattari Mountains framing the Sorrento Peninsula before descending towards the Amalfi Coast. Passing Ravello, the road down revealed staggering views—mesmerizing in every sense. By the time I arrived at Hotel Miramalfi, just five minutes from Amalfi’s center, my mind was still caught on those mountain vistas. The receptionist seemed to read my thoughts: “Would you like a cold prosecco?” Of course—who could ever refuse? I carried it straight to the balcony at Mario’s Lounge Bar, and there it was: the Amalfi view I had been dreaming of. Perched dramatically on the cliffs, Miramalfi is a design hotel with roots stretching back to 1956. Founded by Francesco Mansi after returning from years in Mexico, the hotel is still run by the Mansi family today. Miramalfi helped define the golden age of the 1960s, introducing modernist architecture to the Mediterranean and contributing to the emergence of beach club culture. A major renovation in 2022 gave Miramalfi a fresh identity while preserving its ’60s spirit. I felt it immediately upon entering my room: soft lines balanced with bold colors, and from the balcony, the endless sweep of the Mediterranean. The balcony alone could hold me captive for hours, yet Amalfi’s call was impossible to resist. My first stop was the hotel’s iconic beach club. With its saltwater pool and cheerful blue-and-white umbrellas, it radiated pure positivity. I swam, stretched out on a lounger, and drifted into a seaside nap—slipping into a dream with Amalfi as both the setting and the backdrop. That evening, I wandered into town—just 800 meters away—for dinner at Donna Stella Pizzeria, run by sisters Germana and Lorenza, affectionately known as the “Pizza Sisters.” The recommendation held true: the pizza was unforgettable. DAY TWO: EATING & DRINKING IN POSITANO The next morning began with an espresso on my balcony before walking down to Amalfi’s harbor to catch the ferry to Positano. Visiting in high season is pure madness—the crowds can be overwhelming. But it’s easy to escape them. Around 1 p.m., I slipped away to the now-iconic Da Adolfo for lunch, then returned to Positano afterward. Getting there is half the charm: look for the small boat marked with a red fish, reserved for those lucky enough to have a booking. Just one catch—reservations are famously elusive. No phone, no email. The best strategy? Show up and hope for the best. Back in Positano, sunset calls for a drink. Normally the place to be is Franco’s, but on this trip it was temporarily closed. The Champagne Bar at Le Sirenuse made for a worthy alternative. Other favorites include Tridente Cocktail Bar at Hotel Poseidon, La Giara Rooftop Bar, or the leafy, refined garden bar at Palazzo Murat (no sunset views here, but plenty of charm). For dinner, Chez Black remains the legendary go-to—reliable and ever-buzzing. Next2 offers a modern, design-forward take while keeping the atmosphere relaxed. Lo Guarracino is beloved for its seafood pasta by the sea, while Ristorante Da Gabrisa wins with panoramic views. La Tagliata is pure Italian family spirit—everyone on staff is related—and Casa Mele delivers an elegant, fine-dining feel. DAY THREE: STAYING PUT My third day was devoted entirely to Miramalfi. As the sun dipped, I headed to the hotel’s signature restaurant, Donna Emma—named after the founder’s wife, celebrated for her love of traditional Italian cooking. The menu reflects her spirit: handmade pasta, fresh seafood, seasonal vegetables—simple, soulful, and served on a terrace that seems to float above the sea. On my final morning, I sat once more on my balcony with a glass of prosecco, watching the light shift over the Amalfi horizon. And I made myself a quiet promise: Amalfi isn’t a once-in-a-lifetime place—it’s a place you return to.

TRAVEL a DREAMY LONG WEEKEND in AMALFI the MAN in SUITE 8065 TEN HOUSES, ONE VISION FLOW into L’AND SWIM, DINE, RESTORE, REPEAT Living by the ANTIPAROS flow LIVING with ART, BREATHING in CRETE VILLA MIRAÉ: a RIVIERA EDIT STILL WILD, STILL SUBLIME CAPRI GUIDE SUYAH POOL CLUB Italian Meets Japanese PATMOS GUIDE the SOUND of SILENCE BENJAMIN HABBEL AETHOS and the FUTURE of TRAVEL SEYCHELLES the SUSTAINABILITY SWIM LISBON’s VIBRANT NEW CULINARY HOTSPOT Santa Joana RESCHIO ANTWERP’s HIDDEN HAVEN: august COSTA RICA Nature's Playground Awaits! PAROS: NEW SHINING STAR of the CYCLADES Show More

August 15, 2025 | DESIGN & INTERIORS the ARTIST RETREAT & We are in a retreat house that is both an atelier and a home. Built 15 years ago by an artist couple, the house is designed by the renowned modernist architect Bartolomeu Costa Cabra—a key figure in the modern movement of Portuguese architecture. Consequently, the modernist approach in this project—the way the architecture responds to natural light, the careful selection of materials, and the smart functionality of the spaces—remains just as relevant today. Located in Lower Alentejo, the Artist Retreat is set in one of the best-preserved areas of this region of Portugal. Constructed using compressed earth, a traditional technique, the house rises naturally from the landscape as if it had always belonged there. The home is entered through a charming courtyard enclosed by walls adorned with orange trees and a fountain, and is divided into two distinct volumes connected by a central veranda. The second building is entirely dedicated to the atelier. Inside, the design reflects the artist couple’s personal taste, featuring vintage furniture and objects along with carefully selected textiles. (*) Fantastic Frank Lisbon curates a portfolio that includes works by some of Portugal’s leading architects and designers, as well as houses with great character and historical charm. for more Print VOL XV - SPRING 2025 20,00€ Price Add to Cart

July 27, 2025 | DESIGN & INTERIORS DREAMING DESIGNING LIVING words Karine Monie photos Alice Mesguich interior design Lichelle Silvestry It may be a workspace, but Lichelle Silvestry’s Paris studio feels every bit like a home—warm, refined, and deeply personal. Set within a 1918 building in the leafy 16th arrondissement, the space gracefully blends architectural heritage with a tailored modern rhythm, reflecting Silvestry’s distinct approach to timeless Parisian interiors. “I wanted the studio to feel calm, soulful, and quietly elegant,” she says. “It’s not just where we work—it’s a place that inspires us every day.” LOVE, LIGHT, AND A BIT OF SERENDIPITY The studio occupies a corner of Paris Lichelle had admired for years. “I always dreamed of living on this street,” she recalls. “One Sunday, we passed by and saw a tiny ‘For Sale’ sign in the window. By Monday, we were the first to visit—and the decision felt immediate, almost inevitable.” With soaring ceilings, generous light, and the rare presence of a gated garden, the space felt like a hidden gem. “It had soul,” she adds. “Exactly what I wanted to cultivate—for myself, and for my team.” A RESIDENTIAL APPROACH TO WORKSPACE DESIGN The six-month transformation was a full renovation, yet nothing about the final space feels overdesigned. “We approached it like we do a home,” says Silvestry. “The layout was shaped with a residential mindset first—function followed.” The result is a studio that balances openness and intimacy, creating a seamless dialogue between work and life. A STUDY IN PARISIAN REFINEMENT Every detail tells a story: a reclaimed limestone threshold, parquet floors, a fireplace sourced from the Marché aux Puces, and hand-finished brass hardware all nod to craftsmanship and permanence. “The goal was quiet luxury,” she explains. “A space that reflects the care and intention we bring to every project.” A Baccarat lantern from the 1920s became a central reference point, inspiring several bespoke pieces from Silvestry’s own furniture collection. An 18th-century tapestry informed the overall palette. Antique mirrors, custom joinery, and richly layered textures complete the picture—traditional yet fresh, understated but unforgettable. “Timeless Parisian interiors are a dance between classical heritage and personal narrative,” says Silvestry. “You need strong bones, yes—but also softness, intuition, and a touch of boldness.” In her studio, that philosophy comes to life through contrasts: a sculptural Art Deco console sits near a sleek Modulnova kitchen; period Louis XV chairs meet modern silhouettes and moody leathers. The balance is precise but never rigid—every corner is intentional, but still lived-in. LOOKING OUT, LOOKING AHEAD From her desk, Silvestry now gazes out onto the very street she once imagined calling home. “It feels like the beginning of something,” she smiles. “This studio may be the dream realized—but in Paris, the next chapter is always just around the corner.”

August 18, 2025 | DESIGN & INTERIORS the TIMBER MANIFESTO words Elena Grabar photos Mikhail Loskutov style Natalya Yagofarova Designed by interior architect Olga Ryukina for her own family, this timber-clad country home sits quietly among old spruces on a secluded woodland plot. At once architectural and intimate, it serves both as a retreat and as a personal design manifesto. LIVING WITH THE TREES When choosing the site, preserving the forest was the first principle. “We didn’t remove a single tree,” says Ryukina. “The house had to be part of the landscape, not imposed on it.” She oriented the building so that the main rooms face the forest, with floor-to-ceiling glazing opening the interiors to the view. The trees, she says, are the home’s true decoration—and its greatest luxury. Though her husband had long dreamed of a wooden house, Ryukina opted to add interior plasterboard walls to create more functional zoning. This brought technical challenges—wood moves, plaster does not—but with the help of engineers, the structural dynamics were resolved. The result is a space where the warmth of timber meets the precision of thoughtful planning. CIRCULARITY AND CALM The ground floor is fluid and intuitive. A double-height living room anchors the layout, which flows into a smaller lounge, dining area, kitchen, and pantry, with a guest bathroom and entrance hall completing the loop. “I love circular plans,” the designer explains. “They make daily life easier and offer multiple paths through the house—there’s always more than one way to move from A to B.” Upstairs, the mood shifts. The private wing includes the master bedroom with a walk-in wardrobe and study, a guest room, a child’s bedroom, and a family bathroom. In the central hall, open bookshelves frame a quiet reading nook with a view into the treetops. NATURAL TEXTURES, LAYERED TONES Every surface was considered with care. Porcelain stoneware defines the entry axis, while natural wood flooring adds warmth elsewhere. Marble—used for kitchen and bathroom counters—brings a tactile richness that Ryukina finds irresistible. “It’s not the most practical, but I love how it looks and feels. That matters more to me.” Timber remains the leading actor, yet it shares the stage with steel, tinted wall finishes, and custom joinery. Niches for logs are clad in brushed metal; a book alcove in the living room is tiled; door portals and a reading niche are finished in fine veneer. Vertical rhythms recur throughout—from panelled doors and wardrobes to ribbed glass and wooden handles. Even the art aligns with this geometry. In the upstairs hallway, a papier-mâché panel by Ulyana Khokhlova echoes the forest’s silent lines. A LOVE OF VINTAGE AND DETAIL The home’s atmosphere emerged piece by piece—guided by instinct and emotion. It began with a set of vintage Italian dining chairs and an armchair for the lounge. Slowly, the rest followed: a bespoke steel table, a curving sofa, a custom bed, stair sconces designed by Ryukina herself. “I always mix vintage with contemporary and made-to-order items. It softens the space and makes it feel lived-in, less defined by time.” This is a house born of attention—quiet, layered, and deeply personal. A retreat not only into nature, but into a world shaped by light, material, and the subtle discipline of beauty.

August 20, 2025 | DESIGN & INTERIORS MODERN BOHEMIA on the AEGEAN words Alp Tekin photos Burak Teoman interior design Selina Kazazoğlu In the coveted Pasalimanı enclave of Izmir’s Cesme, interior designer Selina Kazazoğlu has crafted a villa that stands out not only for its architecture and interiors, but for the lifestyle it embodies. A refined interpretation of modern bohemian style emerges from her aesthetic sensibility, functional solutions, and the strong rapport she built with the homeowner. The greatest source of inspiration? The client. Kazazoğlu set out to create a home that was modern yet bohemian, airy yet practical. The fact that it was once a 1970s-era house added a distinctive layer of character to the project. “I wanted to blend the spirit of that era with today’s modernity,” she says. STARTING POINT: CAMELLIA At the heart of the concept is Camellia, a painting by artist Mert Özgen, acquired by the homeowner. This piece became a guiding thread, adding an artistic dimension to every space. “I love mixing styles and placing small but bold surprises in every corner,” Kazazoğlu explains. The homeowner’s request for bespoke solutions for every function and piece of furniture made the project even more personal. Most of the furnishings were custom-designed; fabrics, upholstery, and drapery were all hand-picked. Colors and textures shift from room to room, giving each space its own mood. In the main living areas and on the exterior, select pieces from trusted design brands elevate the home’s quality benchmark. NATURAL HARMONY White and soft beige microcement and ceramics set the tone throughout, chosen for durability, easy maintenance, and practicality. The result is a timeless aesthetic where bohemian spirit meets clean, modern lines. FUNCTIONAL LUXURY Outdoor terraces and gardens are designed for hosting in style. Each seating area is fitted with its own integrated drink and service setup, enhancing comfort and convenience. “It’s like every corner has its own mini-kitchen,” Kazazoğlu notes. A SCULPTURAL GARDEN With the homeowner’s expertise in landscaping and an enviable plant collection, the garden reads like an open-air sculpture gallery. Towering 300–400-year-old cacti, rare species sourced from around the world, and lush, tropical greenery form a sustainable and artful landscape design—entirely green and striking from every angle. TR BELOW ÇEŞME’DEKİ MODERN BOHEM Çeşme’nin Paşalimanı bölgesinde iç mimar Selina Kazazoğlu imzasını taşıyan bu özel villa, sadece mimari ve iç mekan tasarımıyla değil, yansıttığı yaşam felsefesiyle de öne çıkıyor. Estetik bakış açısı, fonksiyonel çözümler ve ev sahibiyle kurulan güçlü bağ, modern bohem stilin rafine bir yorumunu ortaya koymuş. Projeyi şekillendiren en büyük ilham kaynağı ev sahibinin kendisi. Kazazoğlu’nun hedefi modern ama bohem, ferah ama işlevsel bir atmosfer yaratmak olmuş. Evin 70’li yıllar mimarisini taşıyan eski bir bina olması projeye ayrı bir karakter kazandırmış. “O dönemin ruhunu, günümüz modernliğiyle harmanlamak istedim” diyor Kazazoğlu. ÇIKIŞ NOKTASI CAMELLIA ADLI TABLO Projenin çıkış noktasında, ev sahibinin sanatçı Mert Özgen’den edindiği Camellia adlı tablo var. Kazazoğlu, bu eserle birlikte her mekana sanatsal bir katman eklemiş: “Tarzları harmanladım ve her alanda küçük ama cesur sürprizler yaratmak istedim”. Ev sahibinin her mobilya ve fonksiyon için özel tasarım talep etmesiyle proje daha da kişisel bir hal almış. Mobilyaların büyük bölümü projeye özel tasarlanmış; kumaşlar, döşemeler ve perdeler tek tek seçilmiş. Her mekanda renk ve dokular farklılaşarak kendine has bir atmosfer yaratılmış. Ana alanlarda ve dış cephede seçkin markaların tasarım ürünleri tercih edilerek kalite standardı yükseltilmiş. DOĞAL HARMONİ Beyaz ve açık bej tonlarında mikro çimento ve seramik, evin genel estetiğinde başrol oynuyor. Dayanıklılık, bakım kolaylığı ve pratiklik ön planda tutulmuş. Bohem ruh, modern çizgilerle harmanlanarak zamansız bir görünüm elde edilmiş. FONKSİYONEL LÜKS Bahçe ve teras alanları ise kalabalık misafirleri ağırlamaya uygun şekilde planlanmış. Her oturma grubuna entegre içki ve servis çözümleri konforu artırıyor. “Her köşe, kendi mini mutfağı varmış gibi oldu” diyor Kazazoğlu. PEYZAJDA SANATSAL DOKUNUŞ Ev sahibinin peyzaj konusundaki uzmanlığı ve geniş bitki koleksiyonu, bahçeyi adeta bir açık hava heykel galerisine dönüştürmüş. 300–400 yaşındaki kaktüsler, dünyanın dört bir yanından getirilen özel türler ve tamamen yeşilden oluşan tropik bitkilerle, sürdürülebilir ve estetik bir peyzaj kurgulanmış.