July 6, 2025 | VOL 15 the ST VINCENTS DUO words Onur Basturk portrait photos Katie McCurdy photos Tijs Vervecken, Eline Willaert, Rechtstraat93 Housed in a beautifully restored 18th-century printing house in Antwerp, ST VINCENTS is more than just a store—it’s an experience. Founded by Henri Delbarre and Geraldine Jackman, who left behind careers in finance and law for a creative pursuit, this boutique gallery invites visitors to explore design in a way that feels both inspiring and immersive. As you move through its carefully curated spaces, unfolding into rooms of varying sizes toward the back of the building, you’re met with collectible pieces that blur the lines between art, design, and storytelling. In this interview, Henri and Geraldine share their journey from corporate life to creative entrepreneurship, the evolution of their concept, and the delicate balance of positioning themselves between a store and a gallery. How did the idea for ST VINCENTS come to life? What were you doing before, and how did your paths cross? We came from completely different worlds—Henri from finance, myself from law. We met in Amsterdam while working at the same consulting firm. It was a great place to work, a golden cage of sorts, but over time, the lack of fulfillment began to weigh on us. Henri took the first step, quitting his job to push himself toward his next move. Several months later, I faced a similar crossroads and decided to join him in navigating the unknown together. We had no clear roadmap, only the certainty that we wanted to create something. Several ideas were percolating at the time, but finding the right location truly shaped the concept, sparking new ideas and possibilities—it still does to this day. Initially, our vision was broad—a space where art, design, fashion, and hospitality could converge. At the time, we felt that most stores offered the same mass-produced products. We were drawn to the challenge of presenting design not just as a commercial entity but as something to be engaged with, admired, and understood—creating a unique design experience that would transcend typical retail spaces. How has ST VINCENTS evolved since its inception? ST VINCENTS has always been, and remains, a personal reflection of us, evolving in parallel with our own growth. Over time, we refined our selection and let go of what didn’t align with our values. Fashion, for instance, felt at odds with our commitment to sustainability and timelessness. And the café, while a great experience, began to overshadow everything else. The pandemic, in an unexpected way, gave us the headspace to regroup and focus on what resonated most with us—design. We honed in on authentic, thoughtful, and enduring pieces, made to order, that capture the zeitgeist of our time. OUR APPROACH TO EXHIBITIONS IS FLUID —THERE’S NO SET FORMULA. WE DON’T COMMIT OURSELVES TO A RIGID SCHEDULE Which product has garnered the most attention so far? Lighting is probably one of our standout categories. Over time, it has evolved beyond its purely functional role into something more—a sculptural art object that elevates a space. Unlike furniture—which comes with more concerns for customers (comfort, fit, compatibility, durability)—lighting is more versatile and less restrictive. It’s easier for people to envision a lighting piece in their home, no matter their existing decor or style. There’s also a practical side to it: lighting is less likely to be damaged or worn out over time, which makes customers feel more confident in their purchase. What are the pros and cons of positioning ST VINCENTS between a design store and a gallery? Over time, we have settled on “boutique gallery.” It feels like the most accurate description of what we do—we’re more than a store, as we feel the works we represent are more than just commodities. Galleries carry a certain prestige, and we believed the designers we work with deserve the same level of recognition. By adopting elements of the gallery format, we created a showcase where the narrative of the creators takes center stage, setting us apart from traditional retail concepts. At the same time, we maintain some elements of a store because we don’t want to be limited by a formal exhibition format. Our space hosts all of our designers under one roof, allowing us to stay flexible and responsive to new work and ideas. Unlike traditional galleries, which focus on specific exhibitions at certain times, we can curate and display work year-round, creating a more dynamic experience. Of course, operating in this “middle ground” comes with challenges. Design, in particular, is a unique space—it’s less regulated compared to galleries, and the market is still developing. This presents both risks and opportunities, as being somewhere in between allows us the flexibility to navigate these uncertainties while offering some security in a less mature market. In the end, it’s this hybrid model that works for us. It allows us to curate something personal and intentional while supporting both established and emerging designers. It’s a delicate balance, but it’s what differentiates us. What criteria do you use for exhibitions, and how do you shape your curatorial program? Our approach to exhibitions is fluid—there’s no set formula. We don’t commit ourselves to a rigid schedule; the flexibility we have is probably one of the perks of the boutique gallery format. Each year, we plan to scale back on shows, yet growing interest from designers keeps pulling us in. What we’ve found works best is a balance between invitation and opportunity. Many of our exhibitions come about when designers approach us with ideas or simply need a deadline to inspire their next creation. Other times, we feel that a designer’s work deserves to be highlighted—an opportunity to share their story and offer a deeper understanding and appreciation of their creative journey. We believe in letting designers set their own pace. Our focus is on showcasing work that feels intentional and reflects a designer’s unique voice, rather than being driven by market chatter. However, creators often feel pressure to produce new pieces just to stay relevant, sometimes at the expense of the work itself. This led us to create “The Edits”, a more flexible and sustainable format. It’s a capsule series—less pressured, more adaptable, and ranging from large showcases to intimate displays. While it primarily focuses on current works, it may also feature a mix of older and newer pieces, creating a dialogue between a designer’s past and present. With The Edits, we don’t expect designers to constantly reinvent the wheel. Instead, they can show us their work as it evolves. Outside of The Edits, we still host more traditional exhibitions when a specific narrative needs to be explored or when a new collection or aspect of an artist’s practice deserves to be highlighted. SINCE WE DON’T COME FROM A DESIGN BACKGROUND, WE’RE CONSTANTLY LEARNING FROM THE DESIGNERS WE COLLABORATE WITH. What are your criteria for the collectible products sold in the store? Many factors come into play—it’s not just about the work itself, but also the relationship, values, approach, and story behind it. Being a small team—just the two of us for a long time, and now three—means we have to be really intentional with every decision. We’re always keeping an eye on designers we admire, but we’re very careful about how many we work with at once. Being small means we can’t spread ourselves too thin—we want to give each designer the attention and support they deserve. So, the makers and designers we do end up working with have to be truly exceptional. Since we don’t come from a design background, we’re constantly learning from the designers we collaborate with. Their sensitivity, their poetry, their unique visual language—it’s all so inspiring. They give us new perspectives and insights into what drives them, and we learn so much in the process. It’s a two-way street, and that collaboration is really special to us. We also think a lot about integrity. In a world where companies often shift responsibility onto consumers, we believe businesses have to hold themselves to higher standards. Designers and artists are often at the forefront of what’s needed in society, and their values, processes, and sourcing reflect that. That’s why these things are so important to us. We want to work with creators who share our commitment to integrity, humanity, and sustainability. THE BUILDING’S CHARACTER HAS BECOME SUCH AN INTEGRAL PART OF ST. VINCENTS’ IDENTITY Your space is a restored 18th-century printing house—was choosing this location intentional? It was sheer chance—or serendipity—that we ended up at Kleine Markt 13. Originally, our criteria for a location were quite modest: something around 100 to 200 square meters, a space we could easily move into, a “plug-and-play” situation. We had actually passed by the building before, but it didn’t really register because of its derelict state, size, and the obvious costs involved. Still, it lingered in the back of our minds—you know, keeping options open—and when a realtor suggested we take a look, we decided to see it anyway. That’s when we fell in love with it: an 18th-century former printing office, spanning approximately 800 square meters across three floors. It had been abandoned for years, completely derelict, and had been on the market for a long time. But we could see the potential it harbored. The building had so much character, but it was a far more ambitious project than we had planned. There were so many factors working against us: we were on a tight deadline, had no renovation experience, and certainly no budget for a rehabilitation of this magnitude. The building itself became a source of inspiration and helped solidify the concept in a more concrete way. Maybe it was naïve optimism, but we believed that with a few adjustments, we could make it work. Despite friends and family trying to convince us otherwise, we signed the lease. For the renovation, we focused on the ground floor first, planning to expand into the building gradually. After a very bumpy renovation process—where, honestly, everything that could go wrong did go wrong—we finally opened four months behind schedule. The building’s character has become such an integral part of St. Vincents’ identity. BRIAN THOREEN HAS BEEN A FAVORITE SINCE BEFORE WE OPENED Which designers or collectible pieces have recently caught your eye? We’re drawn to creators who challenge norms and make us see—or feel—the world in a different way. Brian Thoreen has been a favorite since before we opened, remaining a key reference. What draws us to Brian’s work is his methodology and his ability to approach design with such intent. His work feels pure—understated yet extremely strong in concept, form, and material. Then there’s Marte-Mei van Haaster, who has completely shifted how we think about sustainability in design. She brings a poetic language to her work, and her entire process—how she integrates nature into design—is both effortless and profound. We’ve learned from her that sustainability isn’t just about sourcing or made-to-order; it’s about creating a harmonious relationship with nature. We’re currently working on a few projects together, and it’s been incredibly inspiring. We’re even planning a show with her at the end of this year or early next. Lastly, we’re excited to be working with Nick Valentijn, a young designer who recently graduated from the Maastricht Academy. His work is still evolving, but it already has such a unique and confident voice. It’s whimsical yet sophisticated, with this childlike magic to it—as if the objects could speak to you. Supporting emerging talent like Nick is incredibly rewarding, and we’re excited to host his show this May. for more Print VOL XV - SPRING 2025 790,00₺ Price Add to Cart

July 6, 2025 | DESIGN & INTERIORS a BOHEMIAN PIED-À-TERRE in WEST CHELSEA words Laura Cottrell photos Patrick Xiong interior design Tannehill Interiors stylist Tannehill Interiors Samantha Tannehill, Oliver Rumney and Susan Van Tassel Nestled in the heart of West Chelsea—just steps from the High Line—this colorful pied-à-terre captures the spirit of Manhattan living with a laid-back, bohemian twist. Designed by Samantha Tannehill of Tannehill Interiors, the space offers a vibrant retreat that channels the energy of the city while feeling deeply personal, grounded, and serene. From the moment you enter, it’s clear that this home is all about mood and material. The walls are coated in Farrow & Ball’s ever-changing Dimity, setting the tone for a journey of texture and tone. Vintage finds meet playful patterns, and rich hues—from navy kitchen cabinetry to a bold green dining nook—anchor the apartment’s personality. Inspired by the homeowners’ extensive travels through Africa, the interiors weave together global references, curated art, and handcrafted details to create a layered, soulful space. Samantha Tannehill, who happened to live down the hall from the clients, recalls how the design process began almost by chance. “There was a flood in their apartment, and that led to conversations about contractors and flooring,” she says. “Eventually, we ended up creating a home that feels like a true extension of who they are.” Throughout the home, textures play a leading role. Bouclé chairs, velvet pillows, linen wallpapers, and natural woven baskets come together to form a tactile experience that’s both cozy and elevated. The guest bedroom features enveloping pink walls and a floral wallpaper from Mitchell Black, while the main suite is wrapped in a warm, textured Art Deco pattern from Dedar. In the hallway, a gallery wall showcases artwork collected during the family’s philanthropic travels in Africa—subtle nods to culture and craft that inform the color palette and overall mood. The kitchen underwent one of the most dramatic transformations: what was once standard-issue wood cabinetry is now painted in Hale Navy by Benjamin Moore, enhanced with classic Schoolhouse hardware. The result is a space that feels timeless, bold, and deeply personal. In the dining nook, a custom green banquette sits beneath a Lloyd pendant by Soho Home, adding another punch of color and comfort. Lighting and furniture throughout the home—from the scallop chandelier in the entry to the Theodore armchair in the living room—enhance the eclectic yet considered feel of the apartment. For Tannehill, the aim was always to create a space filled with positive energy. “We wanted the homeowners to walk in and instantly feel at ease,” she says. “It’s joyful, it’s grounded—and most importantly, it feels like home.”

July 6, 2025 | VOL 15 JULIANA CAVALCANTI a CITY, a CALLING, a DESIGN JOURNEY words Laura Cottrell & Onur Basturk Is the city that makes you happiest also the one that leads you to your true calling? For Juliana Cavalcanti, the answer is yes. Born in Brazil, her journey took her from São Paulo to Lisbon, then London, and ultimately back to Lisbon—the city where she instantly felt at home and discovered her passion for interior design. A LONG BUT ORGANIC JOURNEY Juliana, let’s start from the beginning. You began your career in fashion, right? Yes, my journey has many different chapters, and each has taken me down a unique path. I graduated in fashion design in São Paulo and worked at a luxury brand in Brazil for a few years. But I always dreamed of living in Europe. I initially planned to move to Milan for a master’s in fashion marketing, especially since I have an Italian passport. But then I visited Lisbon to see my best friend—this was 18 years ago—and everything changed. I felt so incredibly happy here that I decided to stay. I met so many wonderful people who made me feel good, and I couldn’t see any reason to leave. I was young and very free-spirited! I started working at my friend’s fashion showroom, but I soon realized it wasn’t enough for someone like me, who thrives on hard work. So, I moved to London for a job at another company. However, after living there for a little over a year, I missed my life in Lisbon—its sunshine, its people—so much that I returned! I realized this was my happy place, no matter what. I stayed in fashion for a few more years. I launched my own brand and worked as a creative director, which I enjoyed. But Lisbon wasn’t a strong market for fashion, and I began feeling frustrated. Over time, I also started seeing the industry differently—it all felt a bit shallow to me. Around that time, I got an offer to rebrand a new hotel in Chiado owned by a French client. My role as creative director involved elevating the hotel’s image, and I loved it! I fell in love with hospitality and began consulting for other hotels, helping them with creative direction and experience design. Often, we’d also discuss interior design concepts, and that’s when I realized how much I enjoyed that aspect. One day, a client who couldn’t find an interior designer they liked asked me to create the entire space with them. That was my first full dive into interior design. From there, my career naturally shifted towards this field. Eventually, I decided to leave all my consulting work as a creative director behind and open my own studio dedicated entirely to interior design and decoration. It’s been a long but organic journey. There were many challenges, but I can confidently say I’ve found myself and love what I do more than ever before. Design should engage all of our senses. How do you incorporate this idea into your work? Absolutely! Engaging all the senses is at the heart of what we do. When you walk into a space, the first sense that comes alive is your vision. From there, so many details and choices influence how the space makes you feel—touch, sound, and even scent come into play. What’s your top priority in the design process? Colors and textures? Our main goal is to make people feel comfortable and welcome. We aim for subtle elegance—spaces that invite rather than overwhelm. Colors and textures play a huge role. Rich textures add depth and sophistication without being excessive. I love working with warm earth tones because they feel grounding and inviting. Even small details, like the thickness of a shelf or the softness of a curve, can completely change the way a space is experienced. Your designs have a calm elegance. Would you take on a project that prioritizes extravagance? It depends on how far it deviates from our style. I love a challenge, but if a project doesn’t align with my aesthetic or values, I’d rather not take it on. When you’re creative, you need to be passionate about what you’re working on—people can feel that energy in the final result. How does Lisbon influence your work? Lisbon inspires me with its understated beauty, which we try to reflect in our projects. The light, the sense of space that comes from the river, the hills that create varying levels—there’s so much about this city that sparks creativity. Do you prefer designing homes or public spaces like hotels and restaurants? I think I love both, but in different ways. Clients who value design are often more willing to invest in their homes, which allows for more unique pieces. In public spaces, there are sometimes restrictions due to the risk of damage to high-value items, but these constraints can push you to be more creative. The process is also different—public spaces tend to be more dynamic and professional, while home projects are slower and often involve personal family matters, which can make them more challenging. HIGHLIGHTS IN LISBON FOR DESIGN ENTHUSIASTS Which places in Lisbon would you recommend to design enthusiasts? You can find inspiration just by wandering around Lisbon, but here are some highlights: MAAT MUSEUM: The architecture is stunning, and the museum sits along the Tagus River, hosting incredible exhibitions. MUSEU NACIONAL do AZULEJO: Tiles are a signature of Portuguese design and history. This museum, set in a historic palace, showcases their evolution over time and contemporary approaches. GALERIA DACIANO DA COSTA: Daciano da Costa is one of Portugal’s most iconic mid-century designers. This gallery is a must-see. GALERIA BESSA PEREIRA: The best spot for vintage furniture design! Also, don’t miss the incredible ceramic studios (check ahead for appointments) or art galleries: CERAMIC STUDIOS: Studio Mirante, Main Edition + Marta Cypel, Joana Passos, Marta Raimundo, Persson & Miller, Grau Ceramica, Sedimento Studio, Oficina Marques. ART GALLERIES: Galeria Francisco Fino, Galeria Foco, Galeria Madragoa, Galeria Rui Freire, Galeria Vera Cortes, Galeria Filomena Soares. for more Print VOL XV - SPRING 2025 790,00₺ Price Add to Cart

Seyahat + Stil + İnsan + Art + Botanik P U R E: SCULPTING SILENCE in WHITE INSIDERS / OUTSIDERS? SAND, SUN, and CONTEMPORARY ART: CAN ART FAIR GROUNDED in VENICE: Rethinking Architecture from the Ground Up a NEW CHAPTER in DUBAI’s ART SCENE UGO RONDINONE’s ’TERRONE’ a POETIC MEDITATION on IDENTITY CURTAINS UP: ART BRUSSELS 2025 SPRING MEETS ART in ISTANBUL: CI Bloom a MEDITERRANEAN JOURNEY by FRAN ANIORTE a DYNAMIC REAWAKENING of FRENCH AVANT-GARDE HIDDEN LIGHTS CERAMIC BRUSSELS 2025: Shaping Creativity MODERN-DAY MYTHOLOGICAL HEROES RALPH PUCCI’s MIAMI MOMENT: a SHOWCASE of BOLD DESIGN TIME to GET to KNOW ART ANTWERP NEFELI PAPADIMOULI the SKIN CONNECTS US to the OUTSIDE WORLD BOSCO SODI Unique, unrepeatable explorations DON’T MISS THESE 5 WORKS at MERIDIANS a SERENE PAUSE at ALCOVA MIAMI - SOMETHING LAST - EXHIBITION SPREADING THROUGH the VINEYARDS Show More

Travel + Design & Interiors+ People + Art & Culture + Botany + Yuzu Film | instagram @yuzu.mag CURRENT ISSUE AEGEAN & MEDITERRANEAN 2025 BUY NOW HIGHLIGHTS CAPRI GUIDE LDW: LISBON’s CREATIVE AWAKENING ELVAN KARADENİZ LEE BROOM JOANA & JOSHUA’s ECO-CONSCIOUS VISION AMAN VENICE VOL 16 P U R E: SCULPTING SILENCE in WHITE DESIGN & INTERIORS a BOHEMIAN PIED-À-TERRE in WEST CHELSEA PEOPLE the ST VINCENTS DUO PEOPLE JULIANA CAVALCANTI a CITY, a CALLING, a DESIGN JOURNEY DESIGN & INTERIORS the LUND COLLECTION TULUM DESIGN & INTERIORS SKY HIGH, LAID-BACK PEOPLE ALESSIA GENOVA a STORY of VISION and RESOLVE ART & CULTURE INSIDERS / OUTSIDERS? NEW / pre-order VOL - 16 / AEGEAN & MEDITERRANEAN 2025 TRAVEL SUYAH POOL CLUB Italian Meets Japanese PEOPLE MALTE MARTEN the HANDPAN CHANGED MY LIFE TRAVEL the SOUND of SILENCE More Content 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

July 7, 2025 | VOL 16 P U R E: SCULPTING SILENCE in WHITE words Onur Basturk photos of Products & Exhibition Antoine Bootz This summer, the renowned New York-based design house RALPH PUCCI brings its distinctive vision to the serene landscapes of Provence. The exhibition, titled PURE, is set within the architectural masterpiece of Oscar Niemeyer's Pavilion at Château La Coste. Celebrating the 70th anniversary of the brand and 50 years under Ralph Pucci's leadership, this marks only the fourth contemporary design showcase at the esteemed art destination. At the heart of PURE lies a curated collection of sculptural works crafted from RALPH PUCCI's proprietary Plasterglass material. This unique medium, resembling plaster yet known for its durability, captures the artists' original touch. The exhibition features an all-white palette—tables, lighting, and seating—each piece handcrafted with clean lines and textured nuances, inviting contemplation on form and material. Complementing the visual experience, the exhibition is accompanied by a jazz soundtrack, echoing the innovative spirit of the 1950s—the era when the Pucci legacy began. Visitors will also have the rare opportunity to witness live sculpting sessions by RALPH PUCCI's Master Sculptor, offering an intimate glimpse into the creative process that defines the brand's ethos. DURING A VISIT TO CHÂTEAU LA COSTE WİTH MY SON MICHAEL, WE HAPPENED YO SHARE A RIDE FROM THE AIRPORT WITH PADDY MCKILLEN. THAT UNEXPECTED MEETING SPARKED A SEVEN-YEAR JOURNEY OF SHARED IDEAS, CULMINATING IN THE PURE EXHIBITION The genesis of the PURE exhibition at Château La Coste began with a serendipitous meeting between you and Paddy McKillen, the visionary behind Château La Coste. Could you share how this encounter evolved into the current collaboration? My son Michael and I travelled to Château La Coste to see the Paul Mathieu show, and we happened to share a ride from the airport with Paddy McKillen. We didn’t know each other then personally but we discovered we had a lot in common and shared a passion for art in all its forms. There was a mutual respect for each other’s work and a desire to collaborate. This show is the culmination of seven years of sharing ideas. PURE also commemorates significant milestones for your brand. How has RALPH PUCCI evolved over the decades, and what is your vision moving forward? My parents founded the business in the middle of the last century as a mannequin repair business. I joined in my early 20s and brought with me the buzzing creative scene of New York in the 70s. We repositioned the mannequin as a medium for art that could be reinterpreted creatively and exhibited as a sculptural form in its own right. We collaborated with leading fashion designers as well as artists – it was experimental and empowering. The next pivotal moment happened when I met Andrée Putman in the early 80s. She was excited by our world and asked me to represent her work in the US. While I wasn’t immersed in furniture design then, I understood her brilliance and knew the pieces should be sold as collectible. We had a gallery space below the studio where we started selling her pieces and our furniture business grew from there. We created the first collectible design gallery, and while this concept has been more widely adopted we are still the only one to have a sculpture studio and factory on site too. During covid, demand for mannequins fell away so since then we have focussed on furniture, lighting and art, and the craftsmen who created the mannequins previously now create the furniture. As we enter our eighth decade, my children are continuing to push RALPH PUCCI forward. Michael and Nicole are very involved in the business and have helped discover new artists as well as drive the business into new realms. This is our first show on mainland Europe and we’re looking forward to more milestones. I WANTED ALL THE WORKS TO BE PURE AND COMPLEMENT THE ARCHITECTURAL SETTING RATHER THAN DISTRACTING FROM IT All the works in PURE are rendered in white. What was the intention behind this choice, and what can visitors expect from the exhibition? Yes they are all white and they have all been sculpted by each artist at our New York sculpture studio. They’re made in our proprietary Plasterglass material which is unique – it can be manipulated by the artist but is incredibly strong and can even be used outdoors. I wanted all the works to be PURE and complement the architectural setting rather than distracting from it. Each one shows the hand of its maker and celebrates the imperfection of the handmade. Did the unique setting of Château La Coste influence the creation of the pieces? Were any works designed specifically for this location? When I first saw the Oscar Niemeyer building I immediately knew it was the right space for the show, and exactly how the show would be. They are all white to allow the visitor to explore the variations between the works and how the forms interact with the architecture and nature at Château La Coste. Jazz has been a consistent element in your galleries. Will it feature in this exhibition as well? Jazz is always the soundtrack for us and there is a curated playlist for the show that will enhance it, reflecting the innovative spirit of the 50s when my parents founded the business as well as enhancing the dreamlike atmosphere of the show. Lastly, do you have any favorite spots on the French Riviera you'd recommend? La Colombe D’Or is a classic spot filled with legendary art in St Paul De Vence. And another great hotel is Chateau Saint-Martin & Spa, in Vence. EDITOR’S NOTE: The exhibition, which opened on June 23, will be on view until September 25. for more NEW / Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 790,00₺ Price Add to Cart

DESIGN & INTERIORS a BOHEMIAN PIED-À-TERRE in WEST CHELSEA the LUND COLLECTION TULUM SKY HIGH, LAID-BACK the REINVENTION of a FORMER NUNS’ DORMITORY OUR PICKS from 3DAYSOFDESIGN INSIDE FREDERICIA’s INTERSECTIONS MA HOUSE: the BEAUTY of LESS LDW: LISBON’s CREATIVE AWAKENING JULIE DE HALLEUX: the CREATIVE MIND BEHIND LBD VILLA BIONICA DRAPED in ILLUSION: LEE BROOM’s OVERTURE A RIVER, A REFLECTION, A RETREAT LISBON by DESIGN: the 5th EDITION, the STRONGEST VOICE YET DOWNTOWN DESIGN ARRIVES in RIYADH a LIGHT-FILLED CLASSIC CURATED LIVING: AM COLLECTIVE REDEFINES the GALLERY ‘FUTURE ARCHITECTURE will be MORE INTERTWINED with NATURE’ LARA BOHINC’S TRIO: Nature, Craft, Surrealism LUCAS ZITO TAKES OVER MILAN UNFORM STUIDO’s SCULPTURAL FUTURE Show More

June 30, 2025 | DESIGN & INTERIORS the LUND COLLECTION TULUM words Alp Tekin photos Frenchie Cristogatin portrait photos Nirvana Bergman Design House’s boho–tropical escape on the Riviera Maya. Tucked between lush jungle and white sand, Marie Soliman and Albin Berglund’s Tulum hideout is part private villa, part design manifesto. The London-based duo behind Bergman Design House fell for the town’s laid-back rhythm—sun-drenched days, mystical cenotes, Maya ruins above turquoise waves—and turned that mood into a three-bedroom retreat. It’s also the first chapter of their new hospitality concept: The Lund Collection. A SECOND HOME WITH FIVE-STAR FLAIR “It’s personal,” says Soliman. “Our place to unplug—but also a fully serviced B&B for beauty-seeking travellers.” Book the whole villa and step into a curated flow of private chefs, on-call massages, cenote dips, and mezcal-fueled sunset cruises. DESIGN THAT BREATHES Renovated remotely in just eight months, the house balances crisp lines with raw texture. Sliding doors open to a jungle-framed pool; upstairs, a rooftop lounge catches golden-hour skies. Inside, terracotta floors, breezeblock screens, and pale plaster walls channel both function and craft. JUNGLE TONES, ARTISAN SOUL The palette? Clay, driftwood, sand, and deep green—drawn straight from the Tulum landscape. It’s all about feel: jute rugs, raffia pendants, embroidered throws. Local touches run deep—like curtain tassels woven by Dos Tierras, a women-led collective, or bathroom vanities carved from native Yucatán stone. BOHO EASE MEETS QUIET PRECISION Rooms mix folk art, vintage ceramics, and custom-made pieces in a way that feels curated, never overdone. Artist Emma Rubyn’s poolside mural—depicting one of Tulum’s oldest residents—is both tribute and time capsule. And those sensual curves? A nod to the cenotes nearby, grounding the villa in place and spirit.

Seyahat + Stil + İnsan + Art + Botanik 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 ZEYNEP EROL ‘I love this authenticity’ KAAN BERGSEN THE PIZZERIA IN A VILLAGE OF TEN MEHMET ÖKSÜZ: I SEE BODRUM JUST AS I WANT TO SEE DİLARA KARABAY CHEF SANTIAGO LASTRA Show More

June 20, 2025 | VOL 15 MALTE MARTEN the HANDPAN CHANGED MY LIFE words Onur Basturk Every time I hear the sound of a handpan, I feel my energy shift and a deep sense of calm wash over me. There’s something almost otherworldly about its resonance—soothing yet powerful. Thanks to Malte Marten, one of the world’s most recognized handpan artists, I’ve become completely hooked on this instrument. Even as a child, Malte knew he wanted to be a musician and share his music with the world. In his early years, he put his work online, but it never quite found an audience—until he discovered the handpan in 2014. Unlike anything he had played before, this instrument pushed him beyond his comfort zone, shifting his music from carefully composed pieces to raw, improvised expression. Learning to play on the streets of Berlin, he realized how deeply his music connected with those who listened. For some, it was uplifting; for others, meditative. Many found it transformative. Today, Malte continues to share his passion, bringing people together through the power of sound. THE SOUND WAS UNLİKE ANYTHING I HAD EVER HEARD —ORGANIC, WARM, AND DEEPLY EMOTIONAL When and how did you first discover the handpan? What drew you to this instrument? And what was your life like before—what were you doing at the time? I discovered the handpan when I was 19, during a time of major change in my life. I had just quit school, my girlfriend was pregnant, and I was standing at the edge of adulthood, trying to figure out who I was and what kind of life I wanted to build. The moment I heard the handpan, something clicked inside me. The sound was unlike anything I had ever heard—organic, warm, and deeply emotional. It resonated with me in a way that felt almost familiar, as if it was speaking a language my heart already knew. Before that, my life was pretty undefined. I didn’t have a clear plan or a strong sense of direction. But when I found the handpan, it gave me purpose. It wasn’t just an instrument; it became a way to process my emotions, express myself without words, and create something meaningful at a time when everything around me was shifting. How has the handpan changed your life, both professionally and personally? The handpan completely transformed my life. Professionally, it opened doors I never even knew existed. I went from playing on the streets of Berlin to performing on stages around the world, collaborating with artists I deeply admire, and even building my own online teaching platform. I never imagined that an instrument could lead to touring, recording albums, and connecting with people from every corner of the globe. On a personal level, the handpan taught me resilience and trust. It showed me that you don’t need to follow a traditional path to build a meaningful life. It gave me the confidence to trust myself, even when others had doubts. But perhaps the biggest transformation was within—I learned patience, presence, and the importance of following my passion, no matter how uncertain the road ahead seemed. Every time I listen to your music, I feel a sense of calm and naturally slip into a meditative state. What do you experience when you play? That’s beautiful to hear—thank you for sharing that. When I play, I often enter a state of flow where time feels different, as if it stretches or disappears altogether. It’s hard to describe because it’s not just about the notes or rhythms; it’s about the space between them, the pauses, the breath within the music. Sometimes, I feel deeply connected to my emotions—joy, sadness, longing, peace—all flowing through my hands into the instrument. Other times, I’m not thinking or feeling anything specific; I’m just fully present, letting the music unfold naturally. I think that’s why people experience a meditative quality in the sound—because it comes from a place of pure presence, without expectations or judgment. IT HAS A MEDITATIVE, ALMOST HYPNOTIC QUALITY BECAUSE OF ITS RICH HARMONICS AND RESONANT TONES. Is the handpan mainly a meditative instrument, or does it have a deeper purpose beyond relaxation and sound healing? I believe the handpan is all of that and more. Yes, it has a meditative, almost hypnotic quality because of its rich harmonics and resonant tones, but it’s not limited to that. For me, it’s a tool for expression. It can be soothing and grounding, but it can also be playful, rhythmic, and dynamic. The handpan has the power to create deep emotional landscapes—it can comfort, inspire, and even challenge you. I’ve seen people moved to tears, not out of sadness, but because it touches something raw and authentic within them. While it’s often used in meditation or sound healing, it’s also an incredibly versatile instrument that speaks to the heart in many different ways. I believe that in a few years, the handpan will be in every other living room. It will be taught in primary schools and integrated into both popular and classical music. Every day, I receive more collaboration requests from major artists. Recently, I released an album with Timbaland, which reassures me that this vision is closer than ever. ONE OF THE MOST BEATIFUL THINGS ABOUT THE HANDPAN IS ITS ACCESSIBILITY You’re the world’s first handpan teacher, offering online courses with your own unique method. How easy is it to learn? How long does it typically take to feel confident playing? One of the most beautiful things about the handpan is its accessibility. You don’t need years of musical training to create something that sounds beautiful. The layout of the notes and the intuitive nature of the instrument make it easy for beginners to start playing and finding joy in it right away. That said, like any instrument, mastering it takes time, patience, and practice. My method focuses on building a strong foundation while encouraging creative exploration. Some students feel confident within weeks, while others take more time—it really depends on how much time and love you put into it. But the key is this: it’s not about how fast you learn; it’s about enjoying the process. What do you think is driving the growing interest in the handpan? Is it part of a larger shift toward mindfulness, or is it simply the magic of its sound? I think it’s a combination of both. The sound of the handpan is naturally captivating—rich, warm, and resonant, with a quality that feels both ancient and futuristic. People hear it for the first time and are immediately drawn in, often without knowing why. It speaks directly to the heart, bypassing the analytical mind. At the same time, we live in a fast-paced, often disconnected world. Many people are searching for ways to slow down, to reconnect with themselves and something deeper. The handpan offers that—a simple, tactile way to be present, to create without pressure, and to find moments of peace. I do believe its rise in popularity is part of a broader shift in consciousness. People are craving authenticity, connection, and experiences that feel real. The handpan is more than just an instrument—it’s a reminder that beauty lies in simplicity, that music is for everyone, and that sometimes, the most powerful sounds are the ones that come from the heart. for more Print VOL XV - SPRING 2025 790,00₺ Price Add to Cart

June 24, 2025 | VOL 15 ALESSIA GENOVA a STORY of VISION and RESOLVE words Onur Basturk Just like the pilot episode of a series, let me start by summarizing the beginning of the story: Alessia Genova, who studied interior design at Politecnico di Milano, attended Salone del Mobile a few months after graduating.. At the event, she met Adam D. Tihany, the founder and CEO of Tihany Design, and confidently expressed her desire to work for him in the future.". That moment sparked the beginning of her remarkable career. In 2007, Alessia joined Tihany Design as a designer. By 2020, she had become the brand’s first managing partner. In 2022, Condé Nast Traveller named her one of the “12 People to Watch,” a prediction that proved accurate when, in March 2024, Adam D. Tihany announced the sale of his brand to his partner, Alessia Genova. This much-anticipated move marked the pinnacle of their 15-year collaboration, the last four of which were spent in partnership. Today, Genova leads the New York-based studio’s impressive portfolio, which spans from hotels to golf clubs, while continuing to deepen the studio’s commitment to design excellence. MOMENTS THAT CAN CHANGE YOUR LIFE COME UNEXPECTEDLY, BUT YOU HAVE TO BE READY TO EMBRACE THEM Your career story is truly inspiring for many young designers. Let’s go back to that pivotal moment—just a few months after graduating from Politecnico di Milano—when you met Adam D. Tihany at Salone del Mobile. Could the Alessia of that day have imagined that, in 2024, she would own Tihany Design? Life is all about the choices we make at every moment—so, do you think that encounter was pure coincidence, or was it your intuition guiding you? What’s your take? I could have never imagined that meeting would lead me to where I am today. It was completely unplanned, almost like a dream unfolding. You hope for something special—you say you want it—but deep down, you think it’s unlikely. That’s when you end up asking for more than you initially dared. When I first approached Adam about working for him, I quickly realized how unprepared I was. I didn’t speak English, I didn’t have a portfolio, and I barely understood what a portfolio was. But his reaction gave me a glimmer of hope—maybe not a job, but at least an internship. What carried me through was sheer determination. I believe it was a mix of intuition, timing, and preparation. Moments that can change your life come unexpectedly, but you have to be ready to embrace them. I was at a point where I was yearning to explore beyond Italy’s borders—something my parents, who had never lived outside Italy, couldn’t quite understand. Today, looking back, it feels like everything aligned perfectly, even though it didn’t seem that way at the time. If you could give advice to your younger self at Salone del Mobile, what would it be? I would tell her to keep the same innocence and courage she had that day. Those qualities are what made her fearless enough to approach Adam and ask for an opportunity. MY APPROACH IS ORGANIC, I’M NOT RUSHING Since taking over Tihany Design from Adam D. Tihany, how has the studio evolved? What new goals and strategies have you set? This past year has been transformative. My priority has been to ensure a seamless business transition while maintaining our commitment to growth and design excellence. Today, we have offices in New York, Rome, and Bangkok—which is part of the studio's evolution over the last year—a development I love and that supports my dreams. Looking ahead, I aim to grow our residential portfolio, strengthen our branding and creative consultancy services, develop a furniture line, and enter the luxury retail sector, which is new for us. My approach is organic; I’m not rushing, but rather focusing on doing things the right way. Adam D. Tihany once said about you, “For years, I felt that Alessia would take on this critical role to strengthen Tihany Design in the years ahead.” What would you like to say about him? Adam has been an incredible mentor. He constantly pushed me to reach new heights, and I’ll always be grateful for the trust he placed in me. Tihany Design is a pioneering studio in the realm of luxury hospitality and travel. Meanwhile, the industry is constantly evolving with emerging concepts like sustainable luxury and quiet luxury. In your view, what concepts will dominate the industry in 2025 and beyond? How do you see design evolving in this context? ‘Quiet luxury’ and ‘understated luxury’ are terms that are becoming increasingly recurrent. Design changes with time, like fashion, and in the future, we will likely see a return to more opulent luxury, reflecting the era in which we live. MY TOP PRIORITIES FOR BOTH ARE: EXCEPTIONAL SERVICE, AN UNEXPECTED MOMENT OR DETAIL, AND COMFORT Working with major hotel chains can sometimes feel like a constraint on creativity in design, given their established design codes that often need to be followed. What’s your perspective on this? It’s a nuanced challenge. Every brand has its own rules to define its identity and differentiate itself in the market. That doesn’t mean all hotels are the same. Yes, compromises are sometimes necessary, especially when considering practicality and maintenance, but constraints can also spark creativity. It’s the designer’s job to push boundaries and create something fresh that stands out, even within predefined parameters. As someone who creates spaces where people celebrate unforgettable moments, what do you personally look for in a restaurant or hotel? Could you name three key priorities for each? This is a tough question because I tend to approach these spaces with a critical eye. However, my top priorities for both are: Exceptional service. An unexpected moment or detail. Comfort. These elements are intrinsically linked to design. It’s our responsibility to create spaces that enable hoteliers and restaurateurs to deliver these experiences seamlessly. Which project has excited you the most this year, and why? It’s impossible to choose just one. 2024 has been an extraordinary year for us. We’ve worked on three projects in Italy—Cortina, Rome, and Antognolla—and opened Victoria Palace, our residential tower in Honolulu. We’re also expanding our footprint in Asia, with a new Bangkok office opening soon. Several projects are still under wraps until 2025, but one particularly special project will debut in Las Vegas on New Year’s Eve. Is there a project you’ve been dreaming of, something you feel you absolutely must accomplish in the future? I have a few. Designing a luxury retail space and a yacht are at the top of my list. We’ve also designed a private jet, and I hope that project either resumes or leads to new opportunities in aviation. I’m also curious about your personal style. How would you describe your approach to design? Are you more connected to your Italian roots, or do you embrace a blend of Italian and New York influences? My approach is eclectic. Each project is different because I believe the style we design should suit the client perfectly. While my clients and project locations are diverse, my Italian sensibility always finds its way into my work, sometimes in ways I don’t even realize. A COMPELLING NARRATIVE AND EXCELLENT SPACE PLANNING When starting a new project at Tihany Design, what are the key principles that guide your process? The foundation of every successful project lies in two key elements: a compelling narrative and excellent space planning. The narrative connects the space to its context—be it the building’s history, the local culture, or the client’s vision. Before we think about aesthetics or materials, we focus on how people will move through and experience the space. Careful consideration of traffic flow, functional zones, and spatial harmony is essential. When we get these fundamentals right, the rest of the design naturally falls into place. This approach ensures the spaces we create are not only beautiful but also timeless and functional. for more Print VOL XV - SPRING 2025 790,00₺ Price Add to Cart

September 2024 | Vol 13 TURKISH BELOW ZEYNEP EROL ‘I love this authenticity’ How was your first visit to Assos? I first came in 1985. In those years, my husband Sami was scuba diving. This is how we used to come and go to the region. It was impossible not to admire the sea and under the sea. And the untouched nature of the region stole me away. The calm, sea and a passion for diving led us to buy a house in Behramkale Bay in 1987. In 1990, we completed our first house and moved there. When our family grew, we decided to move to a bigger place. We had the chance to buy the house behind our first house, which Faruk Malhan had built for himself but decided to sell. How did the process of arranging the interior and exterior of the house go? We made small changes inside the house, but we left the main lines exactly the same. Behramkale is already within the complete protected area. Therefore, it was out of the question to make a new addition. In 2010, we took the house next to it and turned it into a guest house. The process of obtaining permission from the Board of Monuments for this house took four years. Then we destroyed the wall in between and enlarged the garden. These houses, which were spread over time and obtained according to the needs, turned into our living space where we found a lot of peace. Right now, life in the garden takes up more space than life in the house, but that suited our sense of freedom very well. What attracted you to the North Aegean? I love its vast untouchedness, its simple but clean living spaces, and the group of friends I acquired over the years made up of genuine people. The fact that I have established a different friendship with the villagers because I have been from here for 34 years has always enabled me to keep my foot on the ground. I love this authenticity. It is very good for me to deshell beans with Mevlide or to be a confidant for Ülzile's problems. At the same time, you produce here... How does your typical day go? I spent almost the entire pandemic period here. In winter, we took walks on the edge of Gemedere. But apart from that, I produced... First, we made the flower of life with master Kadir on the garden stones of the house, and then we made large-scale versions of some of my jewelry with Remzi, the blacksmith master in the village. So my garden was overflowing with sculptures. THIS REGION WILL CONTINUE TO DEVELOP, IT IS INEVITABLE. I HOPE THE DEVELOPMENT HAPPENS WITHOUT LOSING ITS AUTHENTICITY What are your favorite places in the region? For me, eating at Muzaffer (Yıldız Hotel) in the harbor is still the most authentic thing. I had my first meal there in 1985. We spent countless New Year's Eve there with our groups of friends. We welcomed the new year by waltzing in the courtyard of the tall house. The harbor continues to impress me even today. There is a concern about the popularity of Assos and its surroundings. What do you think about that? Of course, a lot of new space has opened up, but I like the authentic ones. For example, Pizza Mera is one of the places I like. This region will continue to develop, it is inevitable. I hope the development happens without losing its authenticity. And it gets filled with beautiful people. My biggest fear is the formation of closed communities. Their proliferation means that the region is becoming like everywhere else... I hope that doesn't happen. For 34 years, we have had very good times in this liberated area. I would like our children and grandchildren to have the same pleasure, collecting lavender from the field and chasing butterflies in the olive groves and continue to listen to Nuri Efendi's life. To eat the fish they caught in the sparkling sea and create their own stories... Assos’a ilk gelişin nasıl oldu? İlk kez 1985’de geldim. O yıllarda eşim Sami tüple dalış yapıyordu. Bu şekilde bölgeye gelip gidiyorduk. Buranın denizine ve deniz altına hayran kalmamak mümkün değildi. Bir de bölgenin bakirliği beni benden almıştı. Sakinlik, deniz ve dalma tutkusu bizi 1987’de Behramkale koyunda ev almaya yöneltti. 1990’da ilk evimizi tamamlayıp taşındık. Ailemiz büyüyünce daha büyük bir yere geçmeye karar verdik. İlk evimizin arkasında bulunan, Faruk Malhan’ın kendisi icin yaptırdığı, ama satmaya karar verdiği evi alma şansımız oldu. Evin içini ve dışını düzenleme süreci nasıl gelişti? Evin içinde ufak tefek değişiklikler yaptık, ama ana hatları aynen bıraktık. Zaten Behramkale komple sit alanı içinde. Bu nedenle yeni bir ilave yapmak söz konusu değildi. 2010’da yan evi de alıp misafir evine dönüştürdük. Bu ev için de Anıtlar Kurulu’ndan izin alma süreci dört yıl sürdü. Daha sonra aradaki duvarı yıkarak bahçeyi büyüttük. Zamana yayılmış ve ihtiyaçlar doğrultusunda oluşmuş bu evler, çok huzur bulduğumuz yaşam alanlarımıza dönüştü. Şu anda bahçedeki yaşam evin içindeki yaşamdan daha fazla yer tutuyor, ama bu da bizim özgürlük hissimize çok uygun düştü. Kuzey Ege’de seni çeken ne oldu? Uçsuz bucaksız bakirliğini, basit ama temiz yaşam alanlarını ve yıllar içinde sahici insanlardan oluşan arkadaş grubumu seviyorum. 34 yıldır buralı olmaktan ötürü köylülerle iç içe, farklı bir dostluk kurmuş olmak ayağımı yere hep sağlam basmamı sağladı. Bu sahiciliği çok seviyorum. Mevlide’yle beraber fasulye ayıklamak ya da Ülzile’nin sorunlarına dert ortağı olmak bana çok iyi geliyor. Aynı zamanda burada üretiyorsun da… Bir günün nasıl geçiyor? Pandemi sürecinin tamamını neredeyse burada geçirdim. Kışın Gemedere kenarında yürüyüşler yaptık. Ama onun dışında ürettim de… Önce evin bahçe taşlarına Kadir Usta ile yaşam çiçeğini, sonra da bazı takılarımın büyük ölçekli hallerini köydeki demirci ustası Remzi ile yaptık. Böylece bahçem heykellerle dolup taştı. Bölgede en çok sevdiğin yerler neresi? Benim icin hâlâ limandaki Muzaffer’de (Yıldız Otel) yemek yemek en otantik şey. İlk kez 1985’de orada yemek yemiştim. Sayısız yılbaşı gecesini arkadaş gruplarımızla orada geçirdik. Uzun evin avlusunda valsler yaparak yeni yıla girdik. Liman, bugün bile beni hâlâ etkilemeye devam eder. Assos ve çevresinin popüler oluşuyla ilgili bir kaygı var. Ne düşünüyorsun bu konuda? Elbette yeni çok yer açıldı ama ben otantik olanı severim. Mesela Pizza Mera sevdiğim yerlerden biri. Bu bölge gelişmeye devam edecek, bu kaçınılmaz. Umarım sahiciliğini yitirmeden gelişir. Güzel insanlarla dolar. En büyük korkum sitelerin oluşması. Bu durumun çoğalması bölgenin her yer gibi olmaya başlaması demek… Umarım bu gerçekleşmez. 34 yıldır bu kurtarılmış bölgede çok güzel yıllarımız oldu. Çocuklarımızın ve torunlarımızın da aynı keyifle, lavantaları tarladan toplayıp zeytinliklerin içinde kelebekler peşinde koşarak, Nuri Efendi’nin hayatını dinlemeye devam etmelerini isterim. Pırıl pırıl deniz sularında, kendi topladıkları balıkları yiyip kendi hikâyelerini oluşturmalarını da… for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

July 2023 | Vol 10 TR below EMRE ÖZÜCOŞKUN BE ORIGINAL by PANERAI - VI words Alp Tekin photos OB He embraces Japandi; Japanese and Scandinavian style simplicity. Travels without a design theme do not float his boat. Watches, on the other side, are an integral part of his personal style. He admits his amazement for the times when he did not use to wear watches. Meet the most charismatic guest of the Be Original by Panerai series: Emre Özücoşkun, co-founder of cisimdesign, an Istanbul-based architectural office. Which important elements do you look to most in architectural design? Using natural materials, color/material/form/function harmony and avoiding unnecessary ornaments... All of these are the elements that we discussed day and night while establishing Cisimdesign with my partner Erdem. To this day after 13 years, we still try our hardest to make sure we do not compromise what we have started with. You and your partner Erdem Isler are also very close friends. Is it difficult or easy to work out partnership and friendship together? How did your story begin? We’ve known each other since the university times. Yet, there were many friends whom we had closer bonds with! It was not until we took a step into this sector that we actually have started bonding. At one point we found ourselves making partnership plans. Like our design approach, our partnership and friendship style sits on a sweet line of balance. We often get together in our social lives as well, and we occasionally go on vacations. A smooth balance of friendship and partnership, I guess such relationship falls into the minority category. How would you define your design approach? Looking at the common theme of our projects, one can easily spot the simplicity of Japanese and Scandinavian. If I had to give a name, I would say “Japandi”. Where and what do you imagine yourself doing ten years from now? I dream of enhancing cisimdesign’s existence in Europe by increasing the number of projects. I would love to have a foot in Europe while maintaining our Istanbul-based presence. Building my own house on the west coast of the Aegean is also among my dreams. DEXAMENES AND PERIANTH ARE MY FAVORITE HOTELS Can you list the highlights of your personal lifestyle? From fashion to architecture, from art to travel, I have a style that is intertwined with the design. As a touring car geek, BMW’s newest touring model is my favorite. Visvim, which interprets the Japanese authentic attitude in a modern way, is my favorite clothing brand. And the Swiss modular furniture brand USM is the masterpiece of my home. Are the Aegean and Mediterranean your favorite getaway destinations? Bodrum is an inseparable part of mine since my childhood. Recently I have been going to Folegandros, a small Greek island. Unlike Bodrum, it is a calm, quiet island. Which made me realize that I also seek for a balance for my summer vacations. Is design a factor that guides you when deciding on a trip? I can easily say none of my trips lack the factor of design theme! Since I am not a fan of discovering new cities, I usually shuttle back and forth between 7-8 places. It tempts me to feel local, to get lost in the cities I know. The same applies to my hotel choices. Which hotels stroke you with their designs? Dexamenes in the Peloponnese and Perianth in Athens. I LOVE DIVER’S WATCHES What are the two tips of your time-spending spectrum? Apart from times I spend at cisimdesign, I dive into the magazines that I’ve been subscribed to for years. I have an obsession which I have to make sure I read every single line in that magazine. For the last couple years, I’ve been avoiding unnecessary socialization. Can you fit your day in 24 hours? Or are you one of those people who cannot get enough of it? I have a built-in biological alarm! No matter what time I go to bed, I start the day very early. Not sure if it is healthy or not, but that way I can get the most of it. So, I’m really fine by 24-hours. How is your relationship with your watch? I am in love with my watches! It actually started a few years ago. I now find it really hard to believe I did not use to wear watches back then. I love diver watches, although I’m not the perfect target customer. My Panerai Submersible is the one I Iove the most. Japon ve İskandinav stili yalınlığı, yani “Japandi”yi seviyor. İçinde tasarım teması olmayan seyahatlerin ona göre olmadığını söylüyor. Kişisel stilinin ayrılmaz bir parçası ise saatler. Saat kullanmadığı dönemlere bakıp şaşırdığını itiraf ediyor. Be Original by Panerai serisinin en karizmatik konuğuyla tanışın: İstanbul merkezli mimarlık ofisi cisimdesign’ın kurucu ortağı Emre Özücoşkun. Mimari tasarımda en çok önem verdiğin unsurlar genelde ne oluyor? Doğal malzemeler kullanmak, renk/malzeme/form/fonksiyon uyumu ve gereksiz süsten uzak durmak... Tüm bunlar, ortağım Erdem’le beraber Cisimdesign’ı kurarken uzun uzun konuştuğumuz ve geride bıraktığımız 13 sene boyunca taviz vermeden uygulamaya gayret ettiğimiz unsurlar. Ortağın Erdem İşler’le aynı zamanda çok yakın iki dostsunuz. Ortaklık ve dostluğu bir arada yürütmek zor mu kolay mı? Hikâyeniz nasıl başladı? Biz üniversiteden tanışıyoruz, ama okuldayken birbirimizden çok daha yakın arkadaşlarımız vardı! Esas yakın dostluğumuz sektöre adım atmamızla oluştu. Bir noktada kendimizi ortaklık planları yaparken bulduk. Tasarım anlayışımız gibi ortaklık ve dostluk şeklimiz de tatlı bir denge üzerinde oturuyor. O uyuma önem veriyoruz. Sosyal hayatlarımızda da sık sık bir araya geliyoruz, tatillere gidiyoruz. Sanırım dostluk ve ortaklığı kolay yürüten azınlıktanız. Tasarım anlayışını nasıl özetlersin? Projelerimizin ortak çizgisine bakınca Japon ve İskandinav yalınlığını görmek zor değil. İlla bir isim vermek gerekirse, “Japandi” diyebilirim. On yıl sonra kendini, nerede, ne yaparken hayal ediyorsun? Cisimdesign olarak özellikle Avrupa’da yaptığımız projelerin çoğalmasını hayal ediyorum. İstanbul merkezli olmaya devam edip bir ayağımızın da Avrupa’da olması fena olmaz. Ege’nin batı kıyısında kendi evimi inşa etmek de hayallerim arasında. FAVORİ OTELLERİM DEXAMENES VE PERIANTH Kişisel yaşam stilinde öne çıkanları sıralayabilir misin? Modadan mimarlığa, sanattan seyahate tasarımla iç içe bir stilim var. Touring araba merakım nedeniyle BMW’nin yeni touring modeli favorim. Japon otantik tavrını modern bir şekilde yorumlayan Visvim ise favori giyim markam. İsviçreli modüler mobilya markası USM de evimin ‘masterpiece’i. Ege ve Akdeniz’de tatil için sevdiğin destinasyonlar? Çocukluğumdan beri Bodrum vazgeçilmezim. Son dönemde ufak bir Yunan adası olan Folegandros’a gidiyorum. Bodrum’un aksine sakin, sessiz bir ada. Yaz tatilinde de bir denge gözettiğimi farkettim. Bir seyahate karar verirken tasarım seni yönlendiren bir unsur mu? İçinde tasarım teması olmayan seyahatim yok diyebilirim! Yeni şehirler keşfetme sevdalısı olmadığım için hemen hemen tüm seyahatlerim 7-8 şehir arasında geçiyor. Lokal hissetmek, bildiğim şehirler içinde kaybolmak beni cezbediyor. Otel seçimlerime de benzer şekilde yaklaşıyorum. Favori tasarım otellerin hangileri? Peloponnese’de Dexamenes ve Atina’da Perianth. DALIŞ SAATLERİNİ SEVİYORUM Vaktini en çok neye harcarsın ve en çok neye harcamazsın? Cisimdesign dışındaki vaktimi yıllardır abonesi olduğum dergilere ayırırım. Tek bir satır bırakmadan okuyup tamamlamak gibi bir saplantım var. Son yıllarda gereksiz sosyalleşmeden kaçınıyorum. Zaman sana yetiyor mu? Yoksa “Bir gün 24 saat değil, 30 saat olmalı” diyenlerden misin? Doğal bir alarm sahibiyim! Kaçta yatarsam yatayım güne çok erken başlıyorum. Az uyku sağlıklı mı bilmiyorum, ama günü dolu dolu yaşadığım kesin. Kısacası, 24 saat bana yetiyor. Saatinle ilişkin nasıl? Nasıl saatler kullanmayı tercih edersin? Saatlerimin üzerine titrerim! Saatlerle ilişkim aslında birkaç yıl önce başladı. Şimdi saat takmadığım dönemlere bakıp şaşırıyorum. Çok maceracı bir yapım olmamasına rağmen dalış saatlerini seviyorum. Panerai Submersible vazgeçilmez saatim. for more Print VOL - X AEGEAN & MEDITERRANEAN EDITION 2023 Out of Stock Add to Cart

Temmuz 2021 | Volume IV - Y A Z O SÖĞÜT AĞACININ ALTINDA ‘YEŞİLMİŞİK’ MUHABBETİ Yazı | Onur Baştürk Fotoğraflar | Elif Kahveci N e zaman şehirdeki binaları arkamda bırakıp Polonezköy yoluna girsem mutlu oluyorum. Özellikle ağaçların yola dek uzanan dalları arasından geçerken böyle oluyor. Anlık, çabasız bir mutluluk. En güzeli de bu değil midir? Bu nedenle o yoldan her seferinde daha yavaş geçmek istiyorum. Tadına tam varabilmek için... Cumhuriyet Köyü’ndeki Komşuköy’e geldiğimde de hep aynı hissiyatı yaşıyorum: Biraz daha mı kalsam, biraz daha mı şu yeşilliklere bakıp dalsam, biraz daha, biraz daha... Bu kez bunlara bir şey daha eklendi: Bu sohbet daha çok mu uzasa, sabaha kadar şu söğüt ağacının altında konuşsak mı? O zaman detay vereyim. O gün Komşuköy’deki o söğüt ağacının altında beş kişiydik. Moda tasarımcısı Aslı Filinta, Komşuköy’ün kurucu ortaklarından Özden Akyıldız, şef Maksut Aşkar, oyuncu Eylül Su Sapan ve ben. Ağacın altındaki sohbetimizde yiyip içtiğimiz şeylerden tutun da, doğanın bize ne hissettirdiğinden ve kendi hayatımızda doğaya saygı adına neler yaptığımıza kadar birçok ‘yeşil’ alt başlıkta konuştuk. Kimi zaman savrulduk, sohbetin akışına uyduk. Doğanın kendisi gibi işte, sohbeti sıkıcı bir moderatör gibi yönetmektense serbest bırakmayı tercih ettim. İşte o sohbetten seçtiğim anlar... “NEOLOKAL’İ TAMAMEN VEJETARYEN YAPACAKTIM” ONUR: Madem Komşuköy’deyiz. Güzel yiyip içiyoruz. Herkese önce nasıl beslendiğini sorayım... EYLÜL: Ben et yemiyorum. Vejetaryenim. Vegan olmayı da denedim. Ama sonra yapamadım. Vejetaryen olmam hem köpek sahiplenmemle hem de aldığım ürünlerin içeriğini okumamla başladı diyebilirim. Sanırım herkes aynı döngüyü yaşıyor. İçeriğe bakınca, biz neler yiyormuşuz gerçeğinin farkına varıyorsun. ASLI: Ben de bir buçuk yıldır et yemiyorum. Balığı da eşim Tolga’yla aramız bozulmasın diye yiyorum! MAKSUT: Geçen yıl çok radikal bir fikir gelmişti aklıma. Ortağıma dedim ki, “Seneye Neolokal’i tamamen vejetaryen olarak açmayı planlıyorum”. Söyledim ve tabii yuttum o lafı! Çünkü bunu yaparsak batma ihtimalimiz çok yüksekti. Neyse ki menü içerisinde çok vejetaryen seçeneğimiz var. Ama ben, “Neden Türkiye’nin ilk vejetaryen fine-dining restoranı olmasın?” diye düşünüyordum. ONUR: Sen et yiyorsun ama, değil mi Maksut? MAKSUT: Evet, ama şöyle düşün: Viyana’da bir tane vejetaryen restoran var, adı Tian. Şefi Paul Ivic vejetaryen değil. Bana göre Avrupa’daki en iyi vejetaryen restoranlarından biri. Aslında her şey güllük gülistanlık olsaydı; yani bombalamalar ve kapanıp açılmalar olmasaydı, eminim vejetaryen Neolokal projesinin arkasında dururdum. “CEKETİM ATIK PARÇALARDAN YAPILDI” ONUR: Sosyal ve iş hayatınızda tabiata saygı adına neler yapıyorsunuz? Nasıl çözümleriniz var? MAKSUT: Özellikle bu noktada insanlar kadar, etki alanlarını düşününce markalara, iş dünyasına da büyük görevler düşüyor. Mesela Anadolu Efes’in yeşil şişesinin arkasındaki QR kodu okuttuğunuzda bir tohum topu atılıyor. Elbette tabiatı koruyup geliştirmenin yanında insanların tabiatla bağlarını güçlendirecek, onlara tabiatın değerini hatırlatacak çalışmalar da çok önemli. Ben kendi markam Neolokal’i kurarken hayal ettiğim şey şuydu: Yeni nesil toprağa dokunmuyor, toprağı bilmiyor. Sanıyorlar ki domates süpermarkette yetişiyor. Onlara bunu öğretmeliyiz. ONUR: Eylül 28 yaşında, ona soralım. Gerçekten öyle mi Eylül? EYLÜL: Evet tabii, annemlerin nesline göre topraktan ayrı, asfaltta büyüyen bir gençliğiz. MAKSUT: İşte benim için de toprağı tanımayan birinin mutfakta yemek pişirebilmesi soru işaretiydi. Bu nedenle Kilyos Gümüşdere’de altı yıl önce bir bahçe kurduk. Her yıl neyi, nasıl ekeceğimize karar veriyoruz. Mutfak ekibi gidip hasat ediyor. Malzemenin değeri çok önemli. Benim için tabiata saygı bu anlama geliyor. ÖZDEN: Maksut’un bahsettiği konuyla bağlantılı bir şey söylemek istiyorum. Biz de Komşuköy olarak bu kaygılarla son beş yıldır USLA Akademi’nin müfredatındayız. Orada okuyan aşçı adayları her cuma buraya gelerek ekip biçip topluyorlar. Yaz sıcağında bir kilo fasulye toplamanın ne kadar zahmetli bir iş olduğunu görüyorlar. Bunu görünce de o fasulyeyi hemen çöpe atamaz bir hale geliyorlar. Sürdürülebilirlik dediğimiz şey bütünü kullanmak, israf etmemek aslında. EYLÜL: Aynen öyle. Ben de sevgilimi motive ettim bu dönemde! Beraber çöpleri ayırıyoruz. Aslında etrafımızdaki birçok insan, özellikle benim yaşımdakiler, yaptığımız küçük bir şeyin çok da işe yaramadığını düşünüyor. İlla çok büyük bir şey yapılması gerektiğine inanıyor. Oysa bu da önemli. ONUR: Peki sen neler yapıyorsun Aslı? ASLI: Üzerimdeki ceket atık parçalardan yapıldı. Bu yaptığımız şeyin adı ileri dönüşüm. Bu süreç anne olmamla beraber başladı. Çocuğuna bir tane kaşmir kazak alıyorsun. Sen onu alana kadar zaten çocuk büyüyor. Özellikle kadınların dolaplarındaki kıyafetlerin yüzde 60’ı kullanmadıkları ürünlerden oluşuyor. Annesinden kalmıştır ya da başka birinden. Veremiyordur ama giyemiyordur da... Bu yüzden web sitemizde bir ileri dönüşüm hizmeti başlattık. Hizmeti satın aldığın zaman ben o giyemediğin ürünü kapından aldırıyorum. “Nasıl olsaydı bu kıyafeti giyerdin?” diye soruyorum. Sonra onu ileri dönüştürerek, yani bizdeki atık kumaşları da kullanarak tekrar değerlendirip sana yolluyorum. Mesela geçen yıl martta New York’ta bir defile yaptım. O defilede annemin bütün çeyizlerini çıkarıp kullandım! Üzerimdeki gömleğin dantelleri de annemin zamanında eliyle yaptığı bir dantel örgüsü. ONUR: Moda denilen kavrama inanıyor musun Aslı? ASLI: Şöyle örnek vereyim: Beş buçuk yaşındaki oğlum online derse katılıyor. Öğretmeni oğluma soruyor, “Annen ne iş yapıyor?” diye. Oğlumdan şöyle bir yanıt geliyor: “Annem moda tasarımcısıydı ama modayı bıraktı”. Soranlara böyle diyorum artık, şahane değil mi? Tamamı için... 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January 2023 | People BE ORIGINAL by PANERAI vol-l HAKAN YILDIZ Words & Photos Onur Baştürk Sabah 06.00’da Beykoz Konakları’ndaki evinden kalkıp Sidney’deki Bondi Beach’in mikro bir versiyonu olan Riva Surf House’da sörf yapmaya gidiyor. Bir saat kadar dalgalarla boğuştuktan sonra soluğu şirketi Haker Group’un Levent’teki ofisinde alıyor. Creed, Juliette Has A Gun, Memo, Frederic Malle, Amouage ve Diptyque gibi birçok global parfüm markasının Türkiye temsilciliğini yaptığı ofisinde bir yandan işlerle ilgileniyor bir yandan da hayalini kurduğu yeni deneyimler, hobiler için planlama yapıyor. Çünkü onun hayat tarzının olmazsa olmazlarından biri yeni deneyimler yaşamak. Kendisi gibi düşünenler için de yakın zamanda bir web sitesi açtı: www.bucketlist.com.tr Hobilerini işe dönüştüren başarılı iş insanı Hakan Yıldız’dan bahsediyorum. Hakan’la sörf yaptığı Riva’da buluştuk ve Karadeniz’in hırçın dalgaları eşliğinde hayat tarzını, şimdiye kadar gerçekleştirdiği çılgın deneyimleri konuştuk. SÖRF, TABİATIN BİZE VERDİĞİ BEDAVA SÜRÜŞ KEYFİ Seni bildim bileli ekstrem sporlara meraklısın. En son bıraktığımda kite yapıyordun, şimdi dalga sörfü. Sörfe geçişin nasıl oldu? Genel anlamda sporu, özellikle doğada yapılan sporları seviyorum. Ama yaptığım sporlara ekstrem demek doğru gelmiyor. Snowboard, kitesurf veya dalga sörfü yapabilirsiniz, ama bunu ekstreme taşımak aldığınız riskle doğru orantılı. Mesela 1 ya da 2 metrelik bir dalgada sörf yapmanın riski çok yoktur, ama 6 metrelik bir dalgada yapıyorsanız risk yüksektir. Yani yaptığınız gerçek anlamda ekstrem spor olur. Aynı şekilde dağda kayak ve snowboard yapabilirsiniz, ama ulaşımı sadece helikopterle olan bir dağdan kayak ya da snowboard yapıp uçurumun kıyısından paraşüt açıyorsanız o zaman benim gözümde ciddi bir ekstrem sporcusunuz! Yapmaktan keyif aldığım her spor ise mevsimine göre değişiyor. Yazın kitesurf yapıyorum. Akyaka, Urla ve Gökçeada’da. Ama İstanbul’da dört mevsim dalga sörfü yapabiliyorum. O yüzden kitesurf’den dalga sörfüne geçişten ziyade, bulunduğum coğrafya ve mevsim hangi spora elverişliyse onu yapmayı tercih ediyorum. Dalga sörfünü ise küçüklüğümden beri yapmak istiyordum. Sabah kalkıp elinde sörf board’u ile denize giden biri, arabası ve çantasıyla işe giden birine göre daha kaliteli bir hayat yaşıyor gibi hissediyordum. Sörfü ilk nerede yapmaya başladın? Türkiye’nin bu spor için elverişli olduğunu yaklaşık üç yıl önce keşfettim. Önce Kocaeli’nin Babalı köyündeki Danube Surf House’da, Tolga Hadımoğlu hocamdan ve yetiştirdiği öğrencilerden sörf dersi aldım. Hemen hemen birçok haftasonunu orada geçirdim. Bir kış ayında ise Sri Lanka’da sörf kampına gittim. Daha sonra İstanbul Riva ve Şile’de dalga sörfü yapılacak sahiller keşfettim. Meğer Karadeniz bu spor için bir cennetmiş! Riva Surf House’da Samet Mutlugün sörfümü geliştirmem için ciddi destek oldu. Evime yakın mesafede olduğundan dolayı fırsat buldukça, dalga durumuna göre, sabah 6 gibi Riva’ya gidip erkenden suda olmayı tercih ediyorum. Sonrası duş ve ofis! Seni sörfe çeken ne oldu? Öncelikle saatlerce suda zaman harcayıp aynı zamanda çok güzel bir manzaranın tadını çıkarıyorum. Bireysel bir spor olsa da; suda dalgaları izleyip bir sonraki alacağınız dalgayı heyecanla beklerken, gelişiminize yardımcı olan birçok tanımadığınız sörfçüyle bağ kuruyorsunuz. Ayrıca sörf hem eğlenceli hem de sağlık, mental sağlık ve atletizm açısından son derece faydalı bir spor. Sörf öğrenmek kolay mı zor mu? Ne kadar sürüyor eğitimi? Bir teorim var. Eğer yeni bir hobiye başlamak istiyorsanız, aralıksız sekiz saatlik eğitimden sonra hayatınıza motor kullanmaktan kitesurf’e kadar birçok spor veya hobiyi temel seviyede ekleyebilirsiniz. En azından benim için bu şekilde oldu. Ama aynı şeyi dalga sörfü için söyleyemiyorum! Aldığınız keyfe karşı harcamanız gereken emek bir o kadar fazla. Dalga sörfü eğitimi son derece basit aslında. Temel bilgileri öğrenmeniz maksimum 1 ya da 2 saat. Ama asıl hikaye öğrendiğiniz temel bilgiyi suda uygulamak! Bu nedenle eğitim hiç bitmiyor. Bir dalga diğeriyle aynı olmuyor. Dalga yakalamak çok ayrı bir beceri. Diyelim yakaladınız, dalgada kayabilmek bambaşka bir beceri. Yani tüm bu süreci tamamlamak zamanınızı alıyor. KATİL BALİNALAR BİZDEN KORKUP YÖN DEĞİŞTİRİYORDU Norveç’te katil balinalarla yüzme deneyimi de yaşadın. Tam bir hafta sürdü diye biliyorum. O deneyimi anlatır mısın? Bir gün arkadaşlarımla yemekteydim. Deneyimlerden ve herkesin ‘bucketlist’inde neler olduğundan bahsediyorduk. Arkadaşım, katil balinalarla yüzmek gibi bir hayali olduğunu söyledi. Ben de bu deneyim için en doğru adresin neresi olduğunu söyledim. Yaklaşık bir yıl önceden rezervasyonunu yaptığımız katil balinalar ve kambur balinalarla yüzme deneyimi için kasım 2019’da Norveç’e doğru yola çıktık. Bu muhteşem canlıları kendi tabiatlarında görme fikri bizi çok heyecanlandırmıştı. Bir araştırma teknesinden yolcu ağırlayabilen bir tekneye çevrilen 1958 yapımı Kinfish teknesinin ufak kamarasında 3 kişi, tam 1 hafta deniz üzerinde konakladık. Norveç’te kasım ayında hava sabah 8 gibi aydınlanıp 15.30 gibi kararır. Hava genellikle gündüz 9 derece civarında olup suyun sıcaklığı da 8 derece gibidir. Kısacası buz gibi! Büyük deniz canlılarıyla ilgili belgeseli olan Patrick Dykstra rehberliğinde her sabah saat 7’de DrySuit adı verilen soğuk suya dayanıklı giysilerimizi giyiyor, botlara atlayıp katil balinaların yüzme rotasını bulmak için yola çıkıyorduk. Koca okyanusta bu canlıları bulmak için teknemiz diğer balıkçı tekneleriyle iletişime geçip hangi bölgelerde görüldükleri hakkında bilgi ediniyordu. Yüzme rotalarını bulduğumuzda, onları rahatsız etmeyecek şekilde yüzdükleri yönün biraz önünde durup elimizde sualtı kameralarıyla sessiz bir şekilde suya giriyorduk. Çoğu kez katil balina dediğimiz Orca sürülerinin suda hemen altımızdan ve yakınımızdan geçmesine tanık olduk. Bize bir şey yaptılar mı? Tabii ki hayır! Yaklaşık 8 metre uzunluğunda ve 5 ton ağırlındaki bu canlılar sizin suda tam olarak nerede olduğunuzun çok farkındalar. Bizim onlardan korkmamızın yanı sıra onlar da bizden korkuyordu. Hatta birçok kez suya girmemizin ardından yönlerini değiştirip kaçtıklarına tanık olduk. Yani tehlike değiller mi? Kulağa başta korkunç gelse de aslında katil balinalar bir yunus türü. Bu balinaların insana saldırganlığı hemen hemen hiç yok. Aynı şeyi kambur balinalar için de söyleyebiliriz. Zaten hiçbir canlı bir tehdit altında değilse kendi besin zinciri dışındaki bir canlıya zarar vermek istemez. Maalesef bunu sadece insanlar yapıyor. DENEYİMLER BİZİMLE KALIR, EŞYALAR GİBİ DEĞİLDİR Sonunda tüm bu ekstrem deneyimleri herkese yaşatabileceğin bir de web sitesi kurdun: Bucketlist. Nereden aklına geldi bu proje? Çoğumuzun günlük rutinleri birbirine benziyor aslında. Sabah kalkıyoruz, çok keyifli olmayan haberleri izleyip keyif almadığımız trafikte, azınlık hariç, keyif almadığımız bir işe gidip, akşam yine trafikte eve gelip yemeğimizi yiyip televizyon programlarını izleyerek geçiriyoruz. Bu döngünün içerisinde mutlu olabilmek adına bize geçici mutluluk veren yemek alışkanlıkları, alışveriş alışkanlıkları ve hayat tarzları ediniyoruz. Aslında bakış açımızı biraz değiştirirsek tüm hayatımızın ne kadar değişeceğini görebiliriz. Bunu söylüyorum, çünkü benzer süreçten kendim geçtim ve aradaki farkı biliyorum. Dostlarınızla keyifli bir ortamda bulunduğunuzda inceleyin. İnsanlar birbirlerine yaşadıkları anıları anlatırken mutlu olur, gittikleri bir yerden bahsederken veya birlikte yaşadıkları bir deneyimi konuşurken… Çünkü yaşadığımız deneyimler hep bizimle kalır, eşyalar gibi değildir. Çok sevdiğiniz bir telefonun heyecanını alana kadar ya da aldıktan sonra 1 saat yaşarsınız. Daha sonra ilk heyecanınız kaybolur. Yaşadığınız bir deneyimi ise ömür boyu hatırlarsınız ve her bulunduğunuz ortamda anlatırsınız. Çünkü o size kalıcı bir mutluluk vermiştir. Bu fikirden yola çıktım: Neden yaşadığımız deneyimleri ve anıları biriktirmeye başlamıyoruz? Özellikle bunu sevdiklerimizle birlikte paylaşarak yapmıyoruz? AKTİF SPOR YAPTIĞIM İÇİN HAFİF SAAT TERCİHİM Doğada zaman daha mı yavaş akıyor yoksa zamanı hissetmiyor musun? Yavaş akıyor. Ama bu güzel bir haber. Çünkü oturup çevrenizi izlemeye, incelemeye veya kendinizi dinlemeye olanak sağlıyor. Sörf çekimi sırasında kullandığın Panerai’nin Submersible model saatleri balıklama dalmadığın sürece suya dayanıklı. Nasıl bir duyguydu sörf sırasında saat kullanmak? Açıkçası sörf yaparken benim için iki kriter var. İlki şu: Saati bilmek isterim. Çünkü gün içinde yapmam gereken birçok şey var. Eğer kolumda saat olmazsa çok rahat üç saatimi suda geçirebilirim. O yüzden saat olmazsa olmazım. İkinci kriter, aktif spor yaptığım için hafif saat kullanmak benim için önemli. Her iki açıdan da beni son derece memnun etti açıkçası.