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Çamlıca House by XYZ Design reimagines year-round log cabin living in Istanbul with Honka's Finnish pine structure and an open, fluid layout. January 2025 | DESIGN & INTERIORS TR BELOW a NEW TAKE on LOG CABIN LIVING words Alp Tekin photos İbrahim Özbunar Located in Camlıca, Istanbul, the Camlıca House is a log cabin project designed by XYZ Design. It sits in a secluded area surrounded by natural landscaping elements, where the homeowners previously lived in a mansion. Their first request to the XYZ Design team was clear: this living space, meant to be used year-round, should steer away from the typical winter cabin concept. The design team responded by creating an ambiance entirely independent of traditional log cabin aesthetics. At the heart of the project lies a log house by Honka, a Finland-based brand. The cabin rests atop a reinforced concrete basement. The logs, made from premium Finnish pine, were shipped in pieces from Finland and assembled on-site. These pine logs also shape the architectural language of the house. Instead of creating enclosed spaces on the ground floor, the design connects various areas with an open and fluid layout. The dining area, living room, lounge, and winter garden are separated by sliding and folding systems, allowing for seamless transitions between spaces when desired. The home’s color palette revolves around shades of beige and brown, harmonizing beautifully with the natural textures of stone and wood. Details in brass and vibrant colors from the homeowners’ art collection add a striking contrast. In contrast, the basement level takes on a more industrial and raw aesthetic, distinct from the upper floors. It features microtopping floors, wooden wall cladding, and furniture in unconventional forms. İstanbul, Çamlıca’da bulunan ve XYZ Design tarafından tasarlanan Çamlıca Evi isimli bu kütük ev projesi, ev sahiplerinin daha önce yaşadığı köşkün de yer aldığı doğal peyzaj unsurlarıyla çevrili izole bir alanda konumlanıyor. Ev sahiplerinin XYZ Design ekibinden ilk isteği şu olmuş: Her mevsim kullanılacak bu yaşam alanının kışlık ev konseptinden uzak olması. Dolayısıyla tasarım ekibi kütük ev atmosferinden bağımsız bir ambiyans yaratmış. Projenin odağında Finlandiya merkezli Honka markasının kütük evi var. Kütük ev, betonarme bodrum kat üzerinde yükseliyor. Özel Fin çamından üretilmiş kütükler demonte olarak Finlandiya’dan getirilmiş ve arazide kurulmuş. Fin çamından üretilen kütük strüktür aynı zamanda evin tasarım dilini oluşturuyor. Evin zemin katında kapalı mekanlar yaratmak yerine birbirine açılan, ilişkileri olan mekanlar kurgulanmış. Yemek alanı, oturma alanı, dinlenme alanı ve kış bahçesi, kayar-katlanır sistemlerle ayrılıyor. İstenildiğinde bu mekanlar arasında akışkan bir devamlılık sağlanabiliyor. Evdeki renk paleti ise bej ve kahve skalası arasında. Renkler doğal taş ve ahşabın özgün dokularıyla bütünleşiyor. Detaylar ise pirinç malzeme ve sanat koleksiyonundaki canlı renklerle buluşuyor. Bodrum kat ise üst katlardan bağımsız olarak daha endüstriyel ve ham detaylara sahip. Zeminde microtopping malzeme, duvar yüzeylerde ahşap kaplama ve mobilya seçimlerinde farklı formlar tercih edilmiş.

April 2023 | Design & Interiors english below Laxmi’nin konforlu bohem ofis tasarımı T asarım felsefesini “doğa ve kültürü bağlayan yaşayan mekanlar yaratmak” olarak açıklayan Laxmi Interiors’ın son projelerinden biri Divine Circus markası için tasarladıkları ofis. İstanbul’un Boğaz kıyısı semtlerinden Yeniköy’de yer alan ofis projesi ile ilgili Laxmi kurucusu Pınar Hacıarifoğlu şöyle diyor: “Müzik kültürü; bir toplumun müzik alanında ürettiği, tükettiği, nesilden nesile ilettiği birikimlerin tümü. Bu bağlamdan bakınca, duygu ve düşünceleri ritimlerle ifade etme sanatına odaklanan bu ofis tasarımında samimi bir tasarım yaratmayı hedefledik. Geleneksel olmayan, sanat ve ruhla uğraşan bohem bir tasarım dili oluşturduk. En önemli çabamız; huzur ve aidiyet duygusu veren, konfordan ödün vermeyen, günümüz yaşantısının ihtiyaçlarına yanıt verebilen tasarımdı. Dekor; gösterinin tematik ve estetik olarak aktif bir aktörü olabilirse başarılıdır. Oyuncularla rekabet etmeden, mekanda üretilen anlatıya derinlik katarsa görevini yerine getirmiş demektir. Tıpkı sahne sanatlarında olduğu gibi. Buradaki sahne ise sıcak ve açık renk tonlarının tuvali oluşturduğu, nötr bir sahne. En önemli tasarım kodumuz rahatlatıcı ve huzur verici olması”. Laxmi's comfortable bohemian office design O ne of the latest projects of Laxmi Interiors, which describes its design philosophy as "creating living spaces that connect nature and culture", is the office they designed for the Divine Circus brand. Laxmi founder Pınar Hacıarifoğlu, who is the founder of Laxmi, says about the office project located in Yeniköy, one of the districts on the Bosphorus coast of Istanbul: “We aimed to create a sincere design in this office design, which focuses on the art of expressing emotions and thoughts with rhythms. We created an unconventional, bohemian design language that deals with art and spirit. Our most important effort; It was a design that gave a sense of peace and belonging, did not compromise on comfort, and was able to respond to the needs of today's life. Decor; it is successful if the show can have a thematically and aesthetically active actor. If it adds depth to the narrative produced in the space without competing with the actors, it means that it has fulfilled its mission. Just like in the performing arts. The scene here is a neutral scene where warm and light tones form the canvas. Our most important design code is to be relaxing and peaceful”.

Alcova founders Valentina Ciuffi and Joseph Grima discuss the platform’s DNA, new venues, and future vision for Milan Design Week 2025. March 2025 | DESIGN & INTERIORS MEET the FOUNDERS of ALCOVA VALENTINA CIUFFI & JOSEPH GRIMA words Onur Baştürk portrait photo Piergiorgio Sorgetti Alcova, launched by Valentina Ciuffi and Joseph Grima during Milan Design Week in 2018, will return this year for its ninth edition from April 7–13, 2025. In addition to Villa Borsani and Villa Bagatti Valsecchi in Varedo, Alcova introduces two new venues this year: the former SNIA Factory and the Pasino Glasshouses. In our EXCLUSIVE INTERVIEW with Valentina and Joseph, we discussed Alcova’s DNA, its criteria, and the platform’s future vision. ALCOVA HAS MULTIPLE LAYERS IN ITS DNA In your previous interviews, you mentioned that Alcova is conceptually nomadic—indeed, its venues used to change every year. However, this year—as with last year—Villa Borsani and Villa Bagatti Valsecchi are once again serving as Alcova exhibition spaces. Yes, in addition to Borsani and Valsecchi, there are two new venues, yet it still appears that Alcova is shifting towards a more fixed setup. What are your thoughts on this? We believe the premise of this question is incorrect. Alcova is a nomadic platform but does not change location every year. Since the beginning—starting with the former panettone factory—we have moved every two years. We spent two years there (2018-19), then two years at the former military hospital, and only in the case of the former slaughterhouse did we stay for just one year due to the start of a construction project. For Villa Bagatti and Villa Borsani, we are staying for two years, as per Alcova’s usual practice. Additionally, as you correctly noted, we are introducing two new locations: the Pasino Glasshouses where orchids were originally cultivated, and the large modernist factory of Snia. These locations are very close to those you visited last year, Villa Bagatti and Villa Borsani. But nothing has changed in Alcova’s format—our standard approach has always been to change locations every two years, not every year. What is in Alcova’s DNA? What motivates you? Alcova has multiple layers in its DNA. One of them is certainly being an independent fair that takes place in unconventional spaces—sites never before open to the city—which we interweave with contemporary design narratives. This approach allows objects, exhibitions, and installations to engage in a meaningful dialogue with architecture, creating a unique and compelling context. We have followed this path since the very beginning. But perhaps the most crucial aspect of Alcova’s DNA is its role as a platform for showcasing design research. While we have grown significantly in recent years, we have never stopped highlighting independent designers and experimental practices, alongside startups, galleries, museums, schools, and various institutions that come to present their work. WE BELIEVE ALCOVA HAS GROWN ORGANICALLY Since its debut in 2018, how do you think Alcova has evolved? Have there been any changes along the way? We believe Alcova has grown organically. As we mentioned, the core formula has not changed—we remain focused on showcasing design research and independent designers. This year, we are working across a vast area, spanning four locations, but that doesn’t necessarily mean Alcova will always operate on this scale. Next year, for instance, it could take place in a more compact space. In Miami, where we debuted in 2023, we work with more limited spaces. What matters to us is the quality and profile of the exhibitors, along with the strength of the architecture and the location. This kind of evolution is natural for a project that has gained a solid reputation over the years, becoming more widely recognized and, as a result, increasingly capable of attracting interest. From exhibiting the work of 20 designers in 2018, you now have many more participants and a similarly larger audience. Does this growth intimidate you? No, as we mentioned in response to the previous question, we are not intimidated by something that is entirely natural, normal, and healthy. A project that began more than seven years ago has to grow—otherwise, it would stagnate. The key is to continue evolving in a way that makes sense, gaining greater visibility and reaching a broader audience. What matters most, and what we are focusing on, is enhancing the experience for those who visit Alcova. This is not always easy during Salone del Mobile, given the sheer number of visitors and the fact that some of our spaces are quite small. WE SEEK INNOVATION IN MATERIALS, DESIGN, AND PRODUCTION How did you discover the two new venues added this year—the former SNIA Factory and The Pasino Glasshouses? As far as I know, both of you often enjoy wandering around Milan and uncovering the city's abandoned, forgotten spots, right? As you said, it is part of our practice to investigate the urban fabric of Milan and its surroundings in search of architecturally significant sites—places with an iconic value that are ready to be reactivated but would otherwise be difficult for the public to access. We approached Varedo in the same way. Even though one of the sites, Villa Borsani, is perfectly preserved and visitable by appointment, our approach remains consistent. As for the Pasino’s Glasshouses and the former Snia factory, the decision was quite straightforward since they are located on the same road as Villa Bagatti and Villa Borsani. Naturally, after activating these two locations last year, we walked this route many times, and these two architectural gems did not escape our notice. In fact, we had already discovered them last year, but due to timing constraints, we weren’t able to open them to the public. This year, however, these two major additions will make the trip to Varedo even more worthwhile. Although the exhibition spaces at Alcova are rented, the criteria for selecting designers is always discussed. What criteria do you use to evaluate the proposals you receive from designers? Yes, although Alcova’s spaces are rented, there are clear selection criteria that guide us in choosing from the large number of applications we receive. Innovation, experimentation, and research are at the core of our interests. We look for innovation in materials, in design language, and in production methods—these are all key themes for us. Design that explores social issues is equally important in shaping the ideal mix for an exhibition like ours. Another crucial factor in our selection process is the ability of exhibitors to engage with the spaces they are assigned. When applicants express a preference for a specific location, we always request a project proposal that demonstrates an understanding of the site and an ability to create an experience for visitors. We strongly believe that objects can communicate more effectively when they are presented in a compelling, well-executed display that interacts meaningfully with the surrounding architecture. ALCOVA WILL ALWAYS STAY TRUE TO ITS ESSENCE How do you envision Alcova’s future? Do you have any plans, or is the evolution of this platform unfolding naturally? We hope that Alcova will always stay true to its essence. We also hope this journey will take us to new places around the world. As you know, we took our first step in this direction with Miami, and there may be more locations in the future. That said, Milan and Salone del Mobile’s week remain not only our place of origin but also our most significant appointment. We look forward to returning and continuously raising the bar at this pivotal event for the international design scene. At the same time, we will soon be exploring new exhibition formats within Milan’s design landscape.

Kim Lambert discusses transforming a family home in Hoggs Hollow, Toronto, through material contrasts, natural textures, and atmospheric lighting. 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

July 16, 2026 | DESIGN & INTERIORS CALIFORNIA, with a MEDITERRANEAN SOUL words Noah Mercer photos Yoshihiro Makino styling Emily Bowser production Karine Monié On a quiet, palm-lined street in Santa Monica, Ilios feels less like a California house than a home shaped by Mediterranean memory. Designed by Hatch Architecture, it channels its owners' Greek and Armenian heritage through atmosphere rather than literal references. Originally built in 1989, the house already possessed a few defining architectural elements, including a central circulation spine and a double-height atrium. Rather than erase them, architect Christopher Hatch McLeanreinterpreted the existing structure, stripping away unnecessary partitions and awkward geometries to reveal a clearer, more fluid sequence of spaces. The home's new identity is rooted in simplicity—not minimalism as an aesthetic, but as a way of allowing architecture and everyday rituals to breathe. LIGHT AS ARCHITECTURE At its centre sits the project's defining gesture: an elliptical oculus skylight that turns the changing sky into the home's quiet protagonist. Positioned above the central spine, it washes the interiors with shifting tones throughout the day—from soft, marine-filtered mornings to warm amber sunsets before settling into deep evening blue. More than a skylight, it acts as a living clock, connecting the rhythms of the house to those of nature. This luminous axis also functions as a gallery, where contemporary Greek and Armenian artworks accompany movement through the home. Gentle curves replace rigid corridors, recalling the softened forms of Cycladic architecture without becoming nostalgic. Even the original staircase has been transformed into a sculptural white form that naturally draws the eye upwards. A SOFTER LANGUAGE That same sense of restraint extends to the material palette. Layered whites, pale woods and warm neutrals capture and diffuse California's abundant daylight, while bronze and black accents provide quiet definition. In the kitchen, Bofficabinetry pairs with Gaggenau appliances, balancing understated craftsmanship with everyday functionality. In the living room, a Flos Overlap pendant hangs above a Steinway piano, while a Greek antique coffee table introduces a subtle reminder of the family's heritage. Stone brings another layer of permanence. Satin-finished Volakas marble and Calacatta surfaces lend the interiors a quiet sense of weight, particularly in the primary suite, conceived as a private retreat with spa-like calm. Dornbracht's Vaia fittings, oversized Poliform wardrobes and handcrafted timber bathing stools complete a space where comfort is expressed through restraint rather than excess. LIVING BETWEEN INSIDE AND OUT Designed for gathering as much as for retreat, the kitchen opens naturally onto expansive dining and outdoor living areas through oversized pivot doors and fully pocketing glass walls. A Tekio paper lantern by Santa & Cole anchors the dining room with a soft, diffused glow, while Mediterranean planting—including sculptural specimens supplied by Plant Daddies—extends the interiors into lush gardens beyond. As the boundaries between inside and outside quietly dissolve, the house embraces California's relaxed way of living while remaining unmistakably Mediterranean in spirit.

David Morris’s new boutique at Hotel Cala di Volpe, designed by Studio Eivind, brings art, craftsmanship and a lighter Mediterranean atmosphere. April 2, 2026 | DESIGN & INTERIORS a DIFFERENT KIND of BOUTIQUE at CALA DI VOLPE words YUZU Editorial Set within the iconic Hotel Cala di Volpe, the new David Morris boutique introduces a distinct presence within a seasonal Mediterranean setting. Conceived by Studio Eivind, the space translates the language of a London jeweller into something more attuned to the rhythms of Sardinia—lighter, more intuitive, and less formal. The result is a layered interior where art, craftsmanship and architecture come together: Petra Börner’s figurative works, bespoke furniture and the hotel’s architectural heritage combine to create a space that feels both composed and quietly playful. A LIGHTER LANGUAGE FOR SUMMER The new David Morris boutique at Hotel Cala di Volpe brings together art, craftsmanship and the relaxed glamour of the Mediterranean. What was your starting point when rethinking this space within such a specific setting? An important starting point was recognising how different this setting is from David Morris’ city flagships on Bond Street or Rue Saint-Honoré. Cala di Volpe is a seasonal destination. Clients arrive on holiday—their guards are down, their phones are off, and the rhythm of life is slower. The boutique therefore needed to speak in a different tone. Rather than the formality of a metropolitan flagship, it could be lighter, more intuitive and quietly playful—something that captures a guest’s imagination as much as their eye. Early in the process, I came across Petra Börner’s The Bathers, which immediately resonated. The sense of sun, leisure and spontaneity felt aligned with the spirit of Cala di Volpe. Each figure carries its own personality, and that narrative became a thread running through the space. The project brings together artists and designers such as Petra Börner, Emma Donnersberg and Max McClintock. How do these different voices shape the atmosphere of the space, and what do they allow you to express that a single design language might not? Collaboration allows an interior to move beyond a single perspective. Each contributor introduces a different sensibility—whether narrative, sculptural presence or material experimentation—and together they create a more layered and nuanced environment. In this project, Petra Börner’s work brings a strong narrative dimension, Emma Donnersberg’s pieces introduce a tactile, sculptural quality, and Max McClintock contributes a younger, more experimental design voice. These elements don’t compete; they build a dialogue that gives the space depth and individuality. It also reflects David Morris as a house. There is a longstanding openness to working with different creative voices, so it felt natural for the space to evolve through collaboration. Your studio often speaks about creating layered, narrative-driven interiors. How do you translate that idea into a physical retail space? I tend to think about how a space should feel before considering how it looks. There should be an emotional response—a sense of curiosity, ease or quiet excitement. When someone tells me they felt something upon entering a space, that’s the most meaningful outcome. In retail, this extends to how the space is experienced over time. I often spend time with the sales teams to understand how they interact with clients—the rhythms of those conversations and where the key moments lie. In that sense, the boutique becomes a kind of stage: the team are the performers, and the design provides the setting and tools for that interaction. DESIGNING FOR ATMOSPHERE, NOT DISPLAY Before founding Studio Eivind, you worked with fashion houses such as Alexander McQueen and Louis Vuitton. How has that background shaped the way you approach interiors today? Fashion taught me the importance of narrative and atmosphere. Every element contributes to a larger story—about identity, craftsmanship and emotion—and that way of thinking translates directly into interiors. It also instilled a certain discipline. In fashion, nothing is ever truly final; there is always room for refinement. Perhaps the most lasting lesson was learning to trust instinct—to recognise when something feels right and to follow that through. Looking ahead, how do you see retail spaces evolving—particularly in destinations like Cala di Volpe, where hospitality, culture and design intersect? Retail is becoming less about fixed formats and more about experience. The relationship between brand and client is increasingly direct and personal, and spaces need to respond to that shift. In destinations like Cala di Volpe, this creates an opportunity to move beyond traditional retail and towards something more fluid—spaces that feel closer to hospitality, or even to private environments. It’s less about display, and more about atmosphere, interaction and memory.

Alec Holland designed a mid-century penthouse in New York's Central Park West, pairing vegan-friendly materials with views of Central Park. December 2024 | DESIGN & INTERIORS TURKISH BELOW MID-CENTURY AESTHETIC in a PENTHOUSE HAVEN words Karine Monie photos Traver Parker Nestled atop a prestigious building designed in 1929 by the renowned New York architect Rosario Candela, this sophisticated penthouse seamlessly blends mid-century aesthetics with contemporary touches. With interior design by Alec Holland, the apartment boasts breathtaking views of Central Park West while embracing an ethical and refined lifestyle. THE ALLURE OF MID-CENTURY AESTHETICS Holland’s vision for the space was largely inspired by his passion for mid-century aesthetics. This enduring style shaped every detail of the project. “I grew up surrounded by mid-century design, so having a space where I could truly highlight my favorite designers and pieces was incredibly exciting,” he shares. The apartment features a neutral color palette influenced by the calming tones of Central Park’s natural scenery. “The park’s stunning views inspired me to soften the tones. I used warm walnut accents and creamy textured fabrics throughout the space,” Holland explains. A vintage rug in the living room serves as a nod to the client’s former bohemian style. VEGAN-FRIENDLY CHOICES One of the standout features of the design is its adherence to a vegan lifestyle. “Since my client is vegan, we opted for faux leather for the dining chairs and bed, balancing style with ethics,” Holland says. The white boucle-textured sofa adds a touch of luxury, while mustard-toned vintage chairs introduce playful contrasts inspired by the bold palettes of the 20th century. A SANCTUARY AMIDST THE HUSTLE AND BUSTLE The overall ambiance of the home offers a serene retreat from the fast pace of urban life. “I always strive for my designs to feel like an escape, especially in New York!” Holland emphasizes. By prioritizing comfort and a strong aesthetic, he has created a space where the stress of the day melts away the moment one steps through the door. A MOVING ADVENTURE One of the most unforgettable moments of the project involved transporting the striking 10-foot-long sofa into the living room. Instead of cutting the sofa to fit, Holland came up with a bold solution: hoisting it onto the top of the elevator. “It was one of the craziest things I’ve ever witnessed!” he recalls with a laugh. FURNITURE AND MATERIAL HIGHLIGHTS - Dining Room: Chairs by Knoll, rug by Chilewich, sconces by Allied Maker, custom floral glasswork by Lyons Glass, vintage Mogens Koch cubby bookshelf (Modern Link). - Living Room: Sofa and pendant light by Fair, custom coffee table by ROOM, Jens chairs and TV console by DWR, artwork by Menashe Kadishman. - Stairs and Landing: Lighting fixture by Allied Maker, Saarinen table by Knoll, chairs by DWR. - Office: Custom walnut desk, vintage Wegner Wishbone chair, sofa by Ben Soleimani, side table by Global Home. MID-CENTURY ESTETİĞİNE SAHİP PENTHOUSE New York’taki lüks daireler üzerindeki etkisiyle tanınmış mimar Rosario Candela’nın tasarladığı 1929 tarihli binada yer alan bu modern ve zarif çatı katı, şehrin prestijli Central Park West bölgesinde yer alıyor. Yüzyıl ortası estetiğini modern bir dokunuşla harmanlayan dairenin iç tasarımı Alec Holland’a ait. YÜZYIL ORTASI CAZİBESİ Alec Holland’ın bu ev için en önemli ilham kaynağı, onu her zaman büyüleyen bir tarz olan yüzyıl ortası tasarımına olan tutkusu. Holland, “Yüzyıl ortası estetiğiyle çevrili bir halde büyüdüm, bu nedenle en sevdiğim tasarımlar ve tasarımcılardan bazılarına yer vereceğimiz bir alana sahip olmaktan dolayı heyecanlıyım” diye duygularını paylaşıyor. Holland, evin genelindeki renkler için nötr bir palet tercih etmiş. “Central Park'ın muhteşem manzarası, tonları yumuşatmam için bana ilham verdi ve sıcak ceviz vurguları ile kremsi dokulu kumaşları evin her yerine yerleştirdim. Oturma odasındaki vintage halı, müşterimin geçmişteki bohem tarzına bir selam niteliği taşıyor” diye açıklıyor Holland. VEGAN DOSTU SEÇİMLER Holland, “Bu evdeki mobilyalarda bol miktarda ceviz ağacı ve çeşitli dokulu kumaşlar kullanmayı tercih ettim” diyor. Evin tasarımımdaki en dikkat çekici özellik, vegan yaşam tarzı için özenle tasarlanmış sahte deri seçimi. Holland, “Müşterim vegan olduğu için yemek sandalyeleri ve yatak için suni deriler seçerek hem stil hem de etik kaygıların karşılanmasını sağladım” diye ekliyor. “Kanepedeki beyaz buklet lüks bir dokunuş katarken, hardal rengi yan sandalyeler gibi 20. yüzyıldan esinlenen renk tonları da eğlenceli kontrastlar sağlıyor”. KOŞUŞTURMANIN ORTASINDA BİR SIĞINAK Tasarımcı evin içinde dingin bir atmosfer yaratmayı hedeflemiş. Holland, “Projelerimin her zaman bir mola gibi hissettirmesini istiyorum, özellikle de New York'ta!” diyor. Güçlü stili konforla birleştirmeye odaklanan Holland, müşterilerin kapıdan içeri adım attıklarında günün tüm stresinin eriyip gittiğini hissetmelerini sağlamış. BİR KANEPE MACERASI 10 fit uzunluğundaki çarpıcı kanepeyi oturma odasına taşımak ise tam bir maceraya dönüşmüş! Holland kanepeyi taşımak için cesur bir çözüm bulmuş: Kanepeyi asansörün üstüne çıkarmak! “Şahit olduğum en çılgınca şeylerden biriydi,” diye anlatıyor Holland. DETAYLAR - YEMEK ODASI: Sandalyeler, Knoll . Halı, Chilewich. Aplikler, Allied Maker. Özel Çiçekli Cam Yapı, Lyons Glass. Kitaplık, Modern Link'ten Vintage Mogens Koch Cubby. - OTURMA ODASI: Kanepe ve sarkıt ışık, Fair. Sehpa, ROOM'dan özel tasarım. Jens Yan Sandalyeler ve TV Konsolu DWR. Sanat eseri, Menashe Kadishman. - MERDİVENLER VE SAHANLIK: Aydınlatma armatürü Allied Maker. Masa, Knoll'dan Saarinen. Sandalyeler, DWR. - OFİS: Ceviz masa özel tasarım. Sandalye eski bir Wegner Wishbone sandalyesi. Kanepe, Ben Soleimani. Sehpa ise Global Home.

Rasmus Astrup discusses SLA's nature-based urban design in Denmark, from Novo Nordisk Nature Park and Naturkraft to Copenhagen's Copenhill. May 2021 | Design | Turkey türkçe için tıklayın RASMUS ASTRUP "We have no choice but to bring nature to cities" Words | Onur Baştürk R asmus Astrup, partner and project director of SLA, one of Scandinavia's leading landscape, urban design and architecture studios. Astrup, an expert in sustainable landscape architecture, integrated climate adaptation and nature-based design, leads SLA's forward-thinking landscape projects. The award-winning Novo Nordisk Nature Park with its 100% water balance, the lush Copenhill Power Plant and Urban Recreation Area built on the roof of the waste-to-energy generation facility of Reinvent Paris and Copenhagen with its air-cleaning facades are among Astrup's most up-to-date projects. In recent years, we have come across architectural designs in which green is prominent and even the leading role. Organic farming areas and mini parks are created on the roof areas of the buildings. Parks with socializing areas are being built in unused idle areas of cities. There are even ecological cities that will be rebuilt, such as BiodiverCity in Malaysia. Do you think all this is enough? Or is it just the beginning for the "green revolution"? First of all, green is just a color -so I am happy to hear “ecological”- because yes, this is just the beginning and we are so far from there. There are so many crises in the world right now, and even though all the current focus understandable is on the pandemic, I belive that the biodiversity crise is the biggest of them all, and cities can actually contribute to solve it. When we bring nature into the cities, we are not only solving problems like stormwater, urban heat island and pollution. We are also creating awareness, well being and social connections. Will we come across cities with increased green areas in the next decade? Are you optimistic about this issue? We are currently experiencing a global demand from our clients towards more urban space and city nature, and that is definitely positive and bringing me optimistic energy. Basically the urban space is the “social glue” or the democratic fundament for cities. We always use City Nature as a broad term for our approach to urban design, we want to make them sustainable, resilient and healthy, but we also believe that the urban public realm is the most democratic place. It’s the place where everyone can meet equally and engage despite gender, age and religion. As in Liam Young's fictionalized film "Planet City" of 2050, what we need to do is return a significant part of the world to the wild? Is this our salvation? What do you think about this? Yes we need to bring nature into cities, and yes it has to be more wild to solve to global challenges, but for us the wild expression has 2 purposes. It both brings a lot of climatic utility values, but equally it also brings an aesthetic value. Actually there are several scientific evidence reports that concludes how important wild nature is for our mental health, but in our studio it’s also a clear design driver. We are deeply inspired by the process and dynamics of nature. NOVO NORDİSK IS MY FAVORITE PROJECT In one of your interviews, you showed the parking lot for Novo Nordisk as your favorite project to date. What excited you about that project? And I am really curious about is; What is the project that excites you right now? Novo Nordisk Nature Campus is the Global Head Quarter for the biggest company in Denmark, and a world leading supplier of diabetes medicine. When we together with them developed their previously grey concrete area into a super wild nature campus, it was a paradigm shift. It was the first time we managed to get a global company to commercially brand themselves with our values. They did it internally for the employees, but also externally to brand the company with biodiversity, 100 % stormwater management and sustainable materials. I actually still think it’s my favorite project because of what it started. For a project in Denmark, you found a quarry containing waste stone fragments and used those pieces to create pavements in the parking lot. Can such a sustainability study be included in every project? Yes it can, because it’s all about how we are working in the studio. It’s embedded in our design process, always to be starting with research, knowledge and discussions. It happens before we start to design an actual shape. So in that particular projects we initiated our projects with a 3 days road trip around the projects site, and it was there we discovered the nearby quarry with a lot of beautiful left over granite gravel, that then became a design driver for the pavement. The "New Order of Nature" project was also very interesting and caught my attention… Doesn't moving and scaling nature according to users' demands also mean spoiling people too much? I think the short version is that you can never spoil people with too much nature. People are part of nature, this is the “order” where all of us belong. WE CREATED AN ICONIC EXPLORATION AND NATURE ARENA There are points in your "Naturkraft" project that I do not understand. There is talk of a human-made form of ecosystem. Can you give information about the exact implementation and actualisation? The ambition of Naturkraft located on the Danish west coast is to create an iconic exploratorium and nature arena about the power and aesthetic values of nature. It’s extra relevant these days to make awareness about how nature can provide new solutions to old problems. It’s a round nature arena that encourages and challenges visitors to experiences on the powers of nature through physical play, enlightening learning activities and intuitive understanding of the interaction between humans and nature. Here, visitors will get fascinated by, experience, feel and sense how the physical and aesthetic powers of nature will shape the sustainable cities and communities of the future. WHAT DID THE SEWING ON THE POWER ROOF PROVIDED? The landscape design on the steeply sloping roof of the power plant in Copenhagen was also quite extraordinary. I see such projects as a kind of "green dressing". Can it be valid for every building? Is the sustainability of such a landscape 100 percent? Or is it necessary to constantly renew plant varieties? We work with the same values anywhere, and it’s based on nature, so therefore the projects never look the same! Nature is responding to climate, topography and in cities it’s influenced by culture. When our friends from BIG invited us to design the park along the skislope, we wanted to work with the existing biodiversity of the surroundings, but we discovered that there wasn’t any. Therefore we had to add new nature, a planting that not only would work on the super steep roof on a plus 80 meters tall waste to energy facility -but also a planting that would bring biodiversity to the surroundings. A new resilient planting that would be spread by birds and wind, so it generously brought value not only to the users that climb it but also to the surroundings. MY PASSION IS NOT TO BE GOOD, BUT BEING How do you view the world, cities and your profession when you are at the beginning of your career? What has changed in your vision over the years? What remained the same? My passion and curiosity is actually growing by the years. It’s this weird paradox, that the more knowledge you gain, the more you understand how much else you need to discover, learn and develop. It’s also the beauty of our profession, you never get “good enough”. Not that I am driven by being good, my passion is to “do good”. I think the projects we work with in SLA are bigger and more complex than ever. We are not just designing projects that is getting built, we are also working with thought leading, strategic advising on city level, books and exhibitions. Do be able to do that we have an interdisciplinary mix of competences, from biologist, anthropologist to light designers. And I love the input’s and endless knowledge it brings me. Finally, I am also curious about the design approach you have adopted in landscaping. Do you want to make nature too regular, or do you want the liberation of nature to reveal the flaws, as in the far eastern philosophy Wabi-Sabi? We definitely agree with the Wabi Sabi view in the perfection in natures processes. The fact that it’s a process means that it’s never the same, it can not be tamed. Many people spend their whole life trying to defeat or control nature is because they think it’s chaotic, but it’s not. It’s another order, the nature order. If we all understood and accepted that fact, the world would be far better. Print YUZU MAGAZINE - III Out of Stock for more

La Caseta is Borja Mas Rodriguez and Rosa’s restored countryside house in L’Ametlla de Mar, south of Barcelona, preserving Catalonia’s rustic character. june 2023 | Mediterranean | Vol 10 english below LA CASETA Bir Akdeniz Rüyası words Onur Baştürk photos Iulia Pironea L a Caseta, Barselonalı çift Borja ve Rosa’nın tanıştıkları günden beri hayalini kurdukları bir ev projesiydi. Şimdi o hayale kavuşmanın mutluluğu içindeler. La Caseta’nın tasarımı aynı zamanda mimar olan Borja Mas Rodriguez’e ait. Barselona’nın güneyinde küçük bir kasaba olan L’Ametlla de Mar’ın kırsal arazisinde konumlanan evin çevresi zeytin, badem ve keçiboynuzu ağaçlarıyla çevrili. Yani tam bir Akdeniz rüyası! L’Ametlla de Mar nasıl bir yer? Neden orayı seçtiniz? La Cala olarak da bilinen L’Ametlla de Mar, Katalonya’nın güneyinde yer alan, balıkçılık geleneğine sahip küçük bir köy. Eşim Rosa’nın büyükanne ve büyükbabası 50 yıl önce burada bir ev almış. Çünkü Rosa’nın ailesi üç kuşaktır balıkçılıkla ilgileniyor. Rosa her yazını ailesiyle birlikte bu köyde geçirmiş. Bu da bizi oraya çok yakın küçük bir ev satın almaya yönlendirdi. Hem dışardaki dünyayla bağlantımızı kesebileceğimiz hem de çok yakın bir mesafede bağlantıyı tekrar kurabileceğimiz bir kırsal alana sahip olma fikrini sevdik. Barselona’nın kalabalığından uzaklaşıp kumsalda olmayı ve köy hayatını yeniden yaşamayı da... La Caseta orijinal özellikleri korunarak yeniden yapılmış bir ev. Borja, projenin özelliklerini anlatabilir misin? La Caseta gibi köyün eteklerinde yer alan evlere genellikle köyde ‘tros’ deniliyor. Köydeki her ailenin kendi ‘tros’unun olması da yaygın bir durum. Katalonya’da geleneksel inşaat yöntemleri uygulanıyor ve ‘tros’lar oldukça sade bir görünüme sahip. Başından beri bu sadeliği vurgulamak, mekana güçlü bir karakter kazandıran ahşap kirişler ve seramik tonozları göstermek istedik. Ek olarak, mevcut duvarlardaki görünümü değiştirmeden iç mekana daha fazla doğal ışık girmesine izin vermek amacıyla stratejik açıklıklar yaptık. Böylece evi kırsal alana daha çok açarak iç ve dış mekan arasında güçlü bir bağlantı kurduk. Ana amacımız her zaman ölçülü, basit, ince müdahalelerle La Caseta’nın özgünlüğünü korumak oldu. Evin özünü, orijinal yapının rustikliğiyle yenilenmenin sadeliği arasındaki denge tanımlıyor. Ayrıca mekana bütünlük katmak için tüm odalarda ankastre mobilyalar ve bölgenin çevresiyle bütünleşen lake demir ve hasır pergolalar kullandık. TASARIM VE SANATLA UĞRAŞANLARA KAPIMIZ AÇIK La Caseta’da yaşamak nasıl bir deneyim? Barselona’da, sahile çok yakın Barceloneta semtinde yaşıyoruz. Ama son yıllarda mahallenin popülerliği arttı, çok sayıda turisti kendine çekti. Eşim Rosa’nın buraya çok yakın La Roseta ve La Cala isimli iki kafesi de var. La Caseta ise birlikte üçüncü projemiz ve tanıştığımızdan beri hayalimiz. Aynı zamanda otel açma hayalimizin ilk adımı. Hafta sonları vaktimizi burada geçiriyoruz. Başından beri La Caseta’nın, benzer zevk ve ilgi alanlarına sahip insanlarla tanışabileceğimiz bir yer haline gelmesi arzumuz vardı. Şimdi sıklıkla evimizi paylaşıyor, tasarım ve sanatla uğraşan kişilere kapılarımızı açıyoruz. Evinize yakın bölgede gittiğiniz favori plaj ve restoranlar hangileri? En sevdiğimiz plajlar Cala de l’Estany Podrit, Cala Vidre, L’Illot ve Cala Mosques. Eşsiz güzelliğe ve Akdeniz havasına sahip sakin yerler. L’Ametlla de Mar köyündeki La Llotja restoranı ise taze balık ve ton balığı yemek için ideal. Enfes ızgara et ve balıklar için El Tomaset’i tavsiye ederiz. Ayrıca doğal bir limanda yer alan favori sahil barımız La Subasta de l’Estany’den bahsetmeyi de unutmayalım. A Mediterranean Dream L a Caseta was a house project that Barcelona couple Borja and Rosa had dreamed of since the day they met. Now they enjoy the happiness of achieving that dream. The design of La Caseta belongs to Borja Mas Rodriguez, who is also an architect. Located in the countryside of L’Ametlla de Mar, a small town in the south of Barcelona, the house is surrounded by olive, almond, and carob trees. An exact Mediterranean dream! Borja, what’s L’Ametlla de Mar like? Why did you choose there? L’Ametlla de Mar, also known as La Cala, is a small village in the south of Catalonia that has a fishing tradition. My wife Rosa’s grandparents bought a house here 50 years ago. The reason is the strong bond between the village and the fishing. Because Rosa’s family has been fishing for three generations. Rosa spent every summer in this village with her family. This led us to buy a small house very close to there. We loved the idea of having a countryside where we could both disconnect from the outside world and reconnect at a very close distance. Also, getting away from the crowd and dizzying speed of Barcelona, being on the beach and reliving the village life... La Caseta is a house that has been rebuilt with its original features preserved. Borja, can you share the features of the project? Houses on the outskirts of the village, such as La Caseta, are often called ‘tros’ in the village. It is also common for each family in the village to have their own ‘tros’. Traditional construction methods are used in Catalonia and the ‘tros’ have a very basic appearance. We wanted from the beginning to emphasize this simplicity and show the wooden beams and ceramic vaults that give the space a strong character. Also, we made strategic openings to let more natural light in without altering the look of the existing walls. Thus, we established a strong connection between the indoors and the outdoors by opening the house more to the countryside. Our main goal has always been to preserve the originality of La Caseta with measured, simple and subtle interferences. The essence of the house is defined by the balance between the rusticity of the original structure and the simplicity of the renovation. Besides, we used built-in furniture and lacquered iron and wicker pergolas that commune with the surrounding area in all rooms to add integrity to the space. OUR DOOR IS OPEN TO THOSE ENGAGED IN DESIGN AND ART What is it like to live in La Caseta? We live in Barcelona, in the neighborhood of Barceloneta, very close to the beach. But in recent years, the neighborhood’s popularity has grown and attracted a large number of tourists. My wife Rosa also has two cafes, La Roseta and La Cala, very close to here. La Caseta is our third project together and our dream since we met. It is also the first step in our dream of opening a hotel. We spend our weekends here. From the beginning, we had a desire for La Caseta to become a place where we could meet people with similar tastes and interests. Now we often share our home and open our doors to people engaged in design and art. What are your favorite beaches and restaurants near your home? Our favorite beaches are Cala de l’Estany Podrit, Cala Vidre, L’Illot and Cala Mosques. Calm places with unique beauty and Mediterranean flair. La Llotja restaurant in the village of L’Ametlla de Mar is ideal for eating fresh fish and tuna. We recommend El Tomaset for delicious grilled meat and fish. And let’s not forget to mention our favorite beach bar, La Subasta de l’Estany, located in a natural harbor. Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart for more

Architect Şebnem Buhara and BOU Design renovate Yacht Classic Hotel in Fethiye, integrating Mori restaurant, marina spaces, and a curated art collection. August 2023 | Design & Interiors english below YACHT CLASSIC HOTEL Muhteşem dönüşüm photos İbrahim Özbunar O rijinal binası 25 yıl önce yapılan Fethiye’deki Yacht Classic Hotel, mimar Şebnem Buhara liderliğindeki BOU DESIGN tarafından yenilendi. Buhara yaptıkları değişimle ilgili şunları anlatıyor: “Burada bir stil var. Belirgin, cazibeli, üst zevke seslenen ve az rastlanan bir riviera stili. Yacht Classic Hotel, marinası olan bir otel olarak, benzerlerinden hemen ayrışıyor. Dünya mutfağından örnekler sunan Mori restoranı ve sanat ile tasarımı buluşturan atmosferini de düşünecek olursanız, Yacht Classic Hotel’i bir konaklama mekanı değil; bir yaşam tarzının ta kendisi olarak kurguladığımı anlayabilirsiniz. Dolayısıyla bu vizyonu yansıtabilmek için oteli hem mimari, hem iç-dış tasarım, hem dekorasyon, hem de peyzajıyla bir bütün olarak ele aldım ve her parçayla büyük resme odaklandım”. Restorasyon için eski oteli bütün konstrüksiyonuna kadar söken, gerekli güçlendirmeleri yapan, bütün altyapı tesisatları değiştiren, cepheleri yenileyen, odaları genişleten ve neredeyse sıfırdan tasarım yapan mimar Şebnem Buhara ve BOU Design ekibi, tasarımdaki serin ve rahat lüks temasını, ‘sanat ve tasarım’ disiplinleri ile tamamlamış. Otelde yer alan tüm sanat eserleri, bütünüyle otele ait bir sanat koleksiyonunu oluşturmuş durumda. Yani koridorlarda ilerlerken gördüğünüz her parça özgün ve bir sanatçı eseri. Kendisi de bir heykel sanatçısı olan Buhara, son yıllardaki her projesinde ‘sanat’ dokusunu mutlaka mekanda kullanıyor ve odak noktaları yaratıyor. Mesela lobi alanında Bekir Sert’in limited edition ipek baskıları ve yağlıboya tabloları yer alırken, koridorlarda Atölye 20’nin sanatçılarına ait ve Bou Collection özel seçkisinden eserler, odalarda ise Emel Güneş’e ait eserler bulunuyor. Amazing transformation Y acht Classic Hotel in Fethiye, whose original building was built 25 years ago, was renovated by BOU DESIGN, led by architect Şebnem Buhara. Buhara explains the change they made: “This boutique hotel has a stunning atmosphere and it has a unmatched lifestyle. A distinctive, alluring, high-classy and a refined riviera style… Yacht Classic Hotel, as a boutique hotel with a marina and its Mori restaurant, should has a totally unique brand positioning in Mediterranean accomodation market. And it became. Now, Yacht Classic Hotel is not just an hotel, all rooms and environment combines art and design, the Mori restaurant offers a high quality world cuisine experience and whole atmospheres that I have planned reflect a tastefull vision. When I was started my dream design hotel I focused on the big picture: Architecture, interior-exterior design, decoration and landscaping and art” Architect Şebnem Buhara and her BOU Design team, dismantled the original hotel to its entire construction for restoration, made the necessary reinforcements, changed all the infrastructure installations, renewed the facades, expanded the rooms and completed the cool and comfortable luxury theme in the design with the disciplines of 'art and design'. All the artworks placed in the hotel creates the Fethiye Yacht Classic Hotel’s own art collection. Buhara, who is also a sculpture artist, has always used the texture of 'art' in every project in recent years and creates focal points. For example, there are limited edition silk prints and oil paintings of Bekir Sert in the lobby area, while in the corridors there are works by the artists of Atölye 20 from the Bou Collection special selection, and in the rooms there are works by Emel Güneş.

Lucas Muñoz Muñoz discusses his repurposed-material café for THE Park Hotels at Design Mumbai in India, in an interview with Onur Baştürk. November 19, 2025 | VOL 17 LUCAS MUÑOZ MUÑOZ: MATERIALS DON’T DIE words Onur Baştürk portrait photos Michelle Margot + Francesco Stelitano As Design Mumbai returns for its second edition this November (26–29), the fair partners with THE Park Hotels to unveil an exclusive café by designer Lucas Muñoz Muñoz. Celebrated for his conceptual yet tactile approach, Muñoz will transform repurposed materials from the hotel group’s refurbishment projects into a temporary installation that questions what becomes of objects once they fall out of fashion — when something once considered iconic quietly loses its place in time. Blurring the boundaries between craft, concept, and sustainability, the café reflects Muñoz’s ongoing fascination with giving materials a renewed sense of dignity and purpose. True to his process, the final outcome will take shape through what he’s given — spontaneous, imperfect, and deeply human. In our conversation, he opens up about the collaboration, the poetry of reimagining the old, and why design, at its best, should always stay in dialogue with time and place. MATERIALS AREN’T BORN OR DIE AS WE BEINGS DO Lucas, you’re designing THE Park Hotels Café for this year’s Design Mumbai. How did this collaboration come about, and what was the starting point for the project? Design Mumbai approached me directly. After they visited my studio, we agreed to collaborate. Not long after, the opportunity arose to work together on creating THE Park Hotels café for the event. After a couple of meetings, we all realised that an experimental approach was exactly what we were looking for—so we decided to make it happen. The café will be built using repurposed materials from the hotel group’s refurbishment projects. How did working with these materials shape your design approach? Yes—that was the initial idea, and it will indeed be a defining part of the installation’s ethos. Repurposing materials and objects has been part of my professional practice for more than 20 years—it’s become something of a house trademark. But we’re also exploring other ideas to avoid repeating patterns and to test new strategies for a café space that exists only for a few days and leaves as little trace as possible once it’s taken down. The project revolves around the theme of “a second life” for materials. What does this theme mean to you personally and within your practice? I wouldn’t call it a “second life,” since materials aren’t born or die as we beings do. It’s more about giving them a purposeful time of presence within our context. Even a small human intervention gives a material a reason to remain—it prevents it from becoming waste or residue. When it has a function, it gains the respect of the community. It’s about dignifying objects and materials so they’re not perceived as outsiders. INDIA’S INFLUENCE How did the specific context of India influence your creative process? Did local culture or the way materials are perceived here bring new perspectives to your work? I was fortunate to be part of the PUBLICA public art festival in Delhi nine years ago. For that installation, I spent about two months in a remote village in Uttar Pradesh, working with students from the International Institute of Fine Arts in Modinagar. I learnt a lot about India—its incredibly strong craft culture—and I left the country full of jugaad energy (the art of makeshift, ingenious solutions). A DIALOGUE OF MATERIALS Collaboration and the idea of materials “speaking to each other” are central to your practice. Can you tell us more about this approach? My career started as part of a collective studio, enPieza!, where I learnt that the wildest ideas are possible when you work as a group. Even though my name is now at the forefront of projects, that’s really the result of an evolution—from solo craftsman to leading large commissions. As my practice grew, I began calling on the best professionals I’d met and bringing their expertise into each new challenge. Then cross-pollination happens, and we make the project come alive together. One of the key skills in this process is managing all those different personalities. With materials, it’s quite similar—some are more aggressive, some brittle, others more flexible or cooperative. It’s about understanding which combinations perform best for the purpose. - The full interview is featured in our latest issue, Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

Eylül 2021 | Art | Türkiye SEN HANGİ “CRAZY BUNNY”SİN? Yazı | Alp Tekin A ytaç Beyazgül’ün kişisel sergisi “Crazy Bunny”, Yuzu Magazine işbirliğiyle Avlu Bebek’te açıldı. Sanatçının her biri farklı bir tavşan formundaki, büyük boyutlu soyut resimleri renk geçişleriyle insanı hemen tavlıyor. Aytaç’a “Crazy Bunny”lerin sırrını sorduk. Neden “Bunny” figürü? Bunny’leri senin için ilginç kılan ne? Bunny figürü aslında kendimi göstermek istediğim bir silüet. Hani çoğumuz gittiğimiz yerlerde bulunduğumuz ortamın havasına uymak için o ortama uygun bir maske takarız ya! İşte Bunny'ler aslında benim maskelerim. İçimde barındırdığım renklerimin dışavurumu. Elbette izleyici de bu renk armonisinde kendini görüyor, kendini buluyor. Crazy Bunny’lerin formları, renkleri izleyici üzerinde belki de bambaşka duygular uyandırıyor. Benim için hüzünlü olan bir renk ve form, bu resme bakan bir başka kişi için bambaşka anılarla coşku ve mutluluk hissi uyandırabiliyor. Sonuçta ‘Bunny’ formu hepimizin aklında, hafızasında farklı noktalara temas ediyor. Tablolarında renk patlaması var. Bu özel bir tercih mi? Renksizlik, yani rengin olmadığı her şey bana biraz uzak. Bu yüzden yaptığım işlerde rengi her yerde kullanmayı severim. Resimdeki coşku ve heyecanı renklerle göstermek, insanlara hayatımızda renklerin olduğunu hatırlatmak amaçlarımdan biri. Crazy Bunny serisinde de aslında soyut formda tavşanlar var. Bu tavşanlar gerçek hayatta gördüğümüz tavşanlar değil. Biz o formu tavşana benzetiyoruz. Bu formdaki tavşanlarda da hayatın renklerini yansıtıyorum. Kimisinde coşku var kimisinde hüzün ve sakinlik. Bu seriye devam mı yoksa yeni bir şey mi düşünüyorsun? Yeniliklere her zaman açığım. İşlerimde genellikle bir seriye başladığımda uzun bir süre o seriyi her teknikte, her malzemede görmeyi tercih ederim. Her anlatım farklı yönlere sürükler ve farklı şeylerin başlangıcı olur. Ne zaman bir seride doyma noktasına ulaşırsam sanırım kendiliğinden bir diğer seriye geçiş yapıyorum. Tüm bunny’ler içinde favorin hangisi? Papyonlu olanlar favorim. Elbette sanatçı her işini ayrı sever, ama bazı işlere anlam ve içsellik olarak daha bağlıdır. İlham aldığın ressamlar kimler? Bu sorunun yanıtı resme başladığım dokuz yaşımdan beri aynı: Vincent Van Gogh. Bir şekilde büyük bir bağ ile ona bağlıyım. Yaptığım eserlerde bilinçaltımdaki renk kaynağım olduğuna inanıyorum.

Gaye Su Akyol speaks with Onur Baştürk in Turkey about quarantine, new music, touring, quantum possibilities, and TRT videos made with İdil Ergün. May 2020 | People | Turkey Conversation with GSA among with plenty of possibilities: “Life turns into what you have been convinced” Words | Onur Baştürk H ere is a conversation with Gaye Su Akyol (GSA) as we review all possibilities. Read right away before quantum offers new possibilities. I wonder your state of mind during these quarantine days. Are you the ones who says ''I have put myself in a creative session'' or the ones that says ''I am not doing anything’’. I am experiencing a lot of different emotions but I know it is normal. You do not encounter with an epidemic such as this everyday. But I will say this; clearly I have been waiting for this period for a long time! Surviving was like living in a organism that stinks from bottom to the top. Diseased, malignant, foul, ambitious and unbalanced… The world as it is now were already like this last time we have left it. We have faced the truth that we can not go on with the system we used to live in, or probability of another world, and with consuming, shameless, arrogant gluttonous people. Are we all faced it yet? I don't know... But one thing is for sure: Either we fit in to this or we will be gone. NO, WE WON'T BE REACHING NIRVANA INSTANTLY How does this period reflected to your music? I have got lots of new songs. Notes, some groundwork, verses... I have got enough to fill at least two albums. Think of the notes on the book as if they have been done by music; drafs, scribbles, moods, ideas.. “The things you can not make fun of will seize you”, my mind is currently scrabbling with this sentence, applying it everywhere like a litmus paper. Does this epidemic will achieve to change ourselves? Or once everything settles down will we forget this will ever happened and live like we used to do? No, we won't be reaching to nirvana instantly. But we are in something historical. Once this period is over we will be able to agree lots of things all so easily. Like a stone thrown in the water, we have also inevitably changed, and we will be keep changing. Maybe it won't look like something revolutionary or maybe some of us will resist to it and will try to go back as it is used to be but it's futile, lot of things will change. IT WAS LIKE A MIRACLE AND A TORTURE Before the epidemic you were traveling a lot due to music tour. Did you miss traveling to other countries/cities? 2019 is like both a miracle and a torture! We gave over 100 concerts in different places on earth. Even changed three planes and five different cars within the same day. At these times my migraine showed up again which was dormant over the years. On one hand there was headaches and exhaustion, on the other hand there was excitement and passion, yet I have yearned so much being able to just sitting at home, doing nothing and having no responsibilities... For me 2020 is taking a breathe, resting, having a chat with myself, updating my needs and creating in my home. With the epidemic it became a must but I am not complaining. Frankly, I have missed my home, friends even more I missed myself, I haven't yet to missed any other place. I WON'T BE SURPRISED IF THERE WOULD BE ANY ZOMBI ATTACK There are theories of virus being a conspiracy... How much are you close to this idea or how far? Everything is possible! All these theories like “Someone in China ate a bat and got infected then infected the world'' or “We are all in a simulation, and got an error now it needs to be shut down” or ''The families who runs the world are declared themselves a biological war and this virus is a part of it'' are nonsense. If there would be a zombi attack tomorrow I won't be surprised. Althought it is the very thing that connect me to the life; being everything possible. LIFE TURNS INTO WHAT YOU HAVE BEEN CONVINCED I dont know if you have watched the movie called ''Mr. Nobody’’. The film were talking about the choices and the parallel lifes and universes affecting by each choice. Now I want to ask a parallel universe and quantum question: Were there be any other Gaye that may give other decisions on the past and moved on differently than your path? If you believe there would be and if you had the chance, which Gaye's life would be interesting that you would follow? When you look at the universe from the eyes of the quantum mechanic that would tell us none of the physical action is certain and predictable and everything we know is nothing but statistical data. We are currently know not so much about the quantum physics and they are quite limited. The universe is filled with infinite possibilities, and I am quite neutral to the idea of another me living in one of those infinite possibilities. It is hard to be convinced by any of this. They have left blurred and unknown this on my programming. Life turns into what you have been convinced. So you must be very careful what you have been convinced with. TRT'S STUDIO AMBIANCE BACK IN 70’s “Rock’n Roll musical Societie’s” live records broadcasting came across with the isolation days, and I think it is good. When did you come out with this idea? Exactly one year before, we have recorded it on May-2019, and planned to broadcast it within two months. Althought it took longer, and we had also tours going on,other video projects and exhibition projects got in between. For the last 8 months videos were waiting ready to be published. We did a little overhaul and wanted to sent them to the infinity which felt good... I wanted to recreate the ambiance of TRT back in 70’s while there was no CGI and computer based effect were very little. So we have recorded in front of the green curtain and converting them into retro futurist videos while we were trying to catch the ambience of those years. All the videos are the product of İdil Ergün. There was no other intervention besides talking about the ambiance and its connection with the music. I think freedom is the corner stone of such collective works. On some videos we have used Anatolian motifs and symbols. What have you watched/read/listened during this period ? What I love to watch and finished series are Normal People, Anne With An E, The Kominsky Method, The Marvelous Mrs. Maisel, Bosch and Undone. Beside these I have watched the Miles Davis “Birth Of The Cool”. On Spotify I have made a list called ''GSA'yla Karantina Keyfs’’. I am now adding some of the musics I listen to the list. I have read Allen Ginsberg's ''Kaddish'', Shunryu Suzuki's '' Zen Mind, Beginner's Mind'' and Judith Butler's ''Gender Trouble’’. İNSAN | Kategorinin diğer yazıları Sosyal mesafe çemberinde sonsuza dek mutlu yaşadı… Ekmeklerinin en sıkı müdavimi Sezen Aksu En yeni seksi şef: Karpat Deviren GSA’yla bol olasılıklı konuşma: ‘Hayat ikna olduğun şeye dönüşüyor’ Bir Milanolunun gözünden ‘yeni normal’ ‘Normal’ değiliz hiçbirimiz Antarktika’ya kendi kullandığı uçakla giden maceracı şef Hareketli, yanık tenli, insan canlısı bir çocuk büyüttük Akyaka’da Transhuman evrimine hazır mısınız ’74PODCAST’lerde gelecek konuşmaları Korona günlerinde “Arizona Dream” Tulum’da karantinada olmayı dj Carlita anlatıyor Beden Oyunları Korona günlerinde Alaçatı Hayat, mutfağa kapanıp mükemmelin peşinde koşmak değil Çünkü aylarca çeşitli manastırlarda kaldım… Karantinada yalnız değilim, çünkü köpeğim Zeus var! Yalnız yaşama sanatı: Ohitorisama!

Plan a Hydra trip from Athens with 12 tips on Hydronetta, Techne, Spilia, Four Seasons, Bisti and Agios Nikolaos, plus Leonard Cohen history. Ağustos 2022 | Seyahat | Yunanistan Hydra’ya dair 12 adet bilgi & tavsiye H ydra’ya gittiğinizde şu 12 madde mutlaka cebinizde bulunsun. 1. Hydronetta: Günbatımı nefis. Denize gir, sonra tekrar ıslak ıslak kokteylini yudumla. 2. Techne: İyi yemek, iyi manzara, şahane kitle. 3. Spilia: Ahşap şezlonglarına kurul, liman manzarasına karşı kitabını oku, sakinleş. 4. Four Seasons: Öğle yemeği için en ideal seçim. Adanın en taze deniz ürünleri orada. 5. İl Casta: Makarnaları için saatlerce beklemeye değer. Özellikle limonlu zencefilli olan için. 6. Xeri Elia Douskos: Küçük bir meydanda, mütevazı bir taverna. 7. Veranda: Romantizm barı. Akşamüstü için enfes. 8. Amalour: Adanın sosyalleşme barı. 9. Cool Mule: Meşhur ev yapımı dondurmacı. 10. Bisti ve Agios Nikolaos plajları: Adanın öteki tarafındaki en güzel plajlar. 11. 1960’larda bir süre burada yaşamış Leonard Cohen’le beraber şöhreti daha çok katlanmış bir ada Hydra. Cohen’in evi adanın yukarısında ve gezilebiliyor. Şimdi geçmişe dönelim. İki eski sevgilinin yollarının kesiştiği 1960’lar Hydra’sına... Norveçli Marianne Ihlen, ailesinin tüm karşı çıkışlarına rağmen yazar sevgilisi Axel’le evlenmiş, çocuğu olmuştur. Bir süre sonra kendini dönemin bohem adası Hydra’da bulur. Kocasının aniden onu terketmesinin ardından suyu, elektriği olmayan bu küçük adada çocuğuyla beraber tek başına kalır. Bir gün, babasının ismini yaşatan çocuğu Axel’e süt almak için bakkala inen Marianne hayatının aşkıyla tanışır: Leonard Cohen’le... Bundan sonrası şahane gelişir: Kalabalık yemekler, şarkılar, şiirler, her gün tazelenen bir aşk... İkilinin efsane aşkları kısa sürede Cohen’e nefis şarkılar da yazdırır: So Long Marianne, Hey, That’s No Way to Say Goodbye, Bird on the Wire... 12. Atina’ya feribotla bir buçuk saat uzaklıktaki Hydra’da motorlu araç yok, fayton da. Her yere yürümek zorundasınız. Ya da küçük teknelere binip gideceğiniz koya denizden varabilirsiniz. 12 important facts about Hydra 1. Hydronetta: The sunset is exquisite. Get into the sea, then sip your wet cocktail again. 2. Techne: Good food, good view, great audience. 3. Spilia: Set up on your wooden sun loungers, read your book against the harbor view, relax. 4. Four Seasons: The ideal choice for lunch. The freshest seafood on the island is there. 5. Il Casta: It's worth waiting hours for their pasta. Especially for the lemon ginger one. 6. Xeri Elia Douskos: A modest tavern in a small square. 7. Patio: Romance bar. Perfect for the evening. 8. Amalour: The island's socializing bar. 9. Cool Mule: The famous homemade ice cream parlor. 10. Bisti and Agios Nikolaos beaches: The most beautiful beaches on the other side of the island. 11. Hydra is an island whose fame has doubled with Leonard Cohen, who lived here for a while in the 1960s. 12. Hydra, an hour and a half away from Athens by ferry, has no motor vehicles, no phaetons. You have to walk everywhere. Or you can get on small boats and reach the bay from the sea.

Bolzano’s Christmas Market brings 74 Alpine huts, local treats and a 20-metre-tall wishing tree to Walther Square, with shows and art across the city. December 2024 | Travel TURKISH BELOW BEST CHRISTMAS MARKET Bolzano words Laura Cottrell Nestled in the enchanting Italian Dolomites, Bolzano is often called the “Gateway to the Dolomites.” This elegant and sophisticated town, where Italian and Austrian cultures beautifully intertwine, hosts Italy’s oldest and largest Christmas market, drawing over a million visitors from around the globe each year. The Christmas Market begins on November 28 and runs until January 6, transforming the heart of Walther Square into a festive wonderland. With 74 traditional wooden Alpine huts and a 20-meter-tall “Wishing Tree” adorned with over 1,300 twinkling lights as its iconic centerpiece, the market offers a magical holiday experience. Visitors can browse an array of handcrafted gifts, from felt slippers and embroidered tablecloths to traditional nativity figures. And, of course, no visit is complete without sampling local delicacies like cured meats, mulled apple cider, and the beloved strudel. This year, the Bolzano Christmas Market emphasizes environmental consciousness and respect for nature. Local and low-impact products are prioritized, alongside efficient waste management, energy-saving measures, and sustainable transportation initiatives. A few more festive highlights: Every Saturday morning, the "La Regina delle Nevi" (Queen of the Snow) ice show takes place on the skating rink at Town Hall Square. Meanwhile, as part of the "Angelus Loci" (City of Angels) program, installations by local artists curated by franzLAB symbolically represent angels across the city. Bolzano’s Christmas spirit is a perfect blend of tradition, charm, and sustainability, making it an unforgettable destination this holiday season. EN İYİ CHRISTMAS MARKET Bolzano Dolomitler’e açılan kapı olarak da bilinen Bolzano, büyüleyici İtalyan Dolomitler’inde yer alıyor. İtalya ve Avusturya kültürünün karışımı olan bu zarif ve sofistike kasaba İtalya'nın en eski ve en büyük Noel pazarına ev sahipliği yapıyor ve her yıl dünyanın dört bir yanından bir milyondan fazla ziyaretçi ağırlıyor. Her yıl 28 kasımda başlayıp 6 ocak’a kadar devam eden Noel Pazarı, Walther Meydanı'nın kalbinde kuruluyor. Tam 74 geleneksel ahşap dağ evi kurulduğu pazarın ikonik simgesi ise 20 metre yüksekliğindeki, 1300'den fazla ışıkla süslenmiş olan görkemli “Dilek Ağacı”. Ziyaretçiler Noel Pazarı’nda keçe terlikler ve işlemeli masa örtülerinden geleneksel doğum figürlerine kadar bir dizi el yapımı hediyeye göz atabiliyor. Ayrıca kurutulmuş etleri, elma şarabını ve strudel gibi yöresel lezzetleri de unutmayalım! Bu yıl Bolzano'daki Noel Pazarı tezgâhları çevreyi desteklemeye ve doğaya saygı göstermeye adanmış. Bu nedenle pazarda lokal ve çevreye düşük etkili ürünler kullanılıyor. Ayrıca verimli atık yönetimi, enerji tasarrufu ve sürdürülebilir ulaşıma önem veriliyor. Son birkaç detay: Her Cumartesi sabahı “La Regina delle Nevi” buz gösterisi Belediye Meydanı pistinde yapılıyor. “Angelus Loci” (Melekler Şehri) kapsamında ise lokal sanatçıların franzLAB küratörlüğündeki enstalasyonları şehrin dört bir yanındaki meleklerin sembolik bir temsilini sunuyor.