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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.

Villa Petricor in Tulum, Mexico, by CO-LAB Design Office pairs interiors with natural light and tropical gardens in a house designed for the Mexican coast. September 2023 | Design & Interiors english below VILLA PETRICOR words Alp Tekin photos Cesar Beja P etricor, yağmur damlalarının kuru toprak yüzeyine düştüğü anda oluşan toprak kokusuna verilen isim. Bu sözcük, antik Yunanca’da “kaya” anlamına gelen “petra” ile Yunan mitolojisindeki ikhṓr'un birleşmesinden oluşuyor. İşte bu kelimeden ismini alan Villa Petricor, tıpkı o toprak kokusu gibi sade ve dingin bir iç tasarıma sahip. Meksika’daki Tulum’da yer alan Villa Petricor, bulunduğu arazinin etrafındaki ağaçların etrafına inşa edilmiş. Doğal ışığın içeri girmesine izin verecek şekilde yapılan tasarım CO-LAB Design Office’e ait. Villa Petricor’u çevreleyen tropikal bahçe ise hem mahremiyet yaratıyor hem de tüm odalara yeşil bir fon sağlıyor. P etricor is the name given to the earthy smell that occurs when raindrops fall on the dry soil surface. The word is a combination of “petra” meaning “rock” in ancient Greek and ikhṓr in Greek mythology. Taking its name from this word, Villa Petricor has a simple and serene interior design just like that earthy scent. Located in Tulum, Mexico, Villa Petricor was built around the trees around its land. The design, which allows natural light to enter, belongs to CO-LAB Design Office. The tropical garden surrounding Villa Petricor both creates privacy and provides a green backdrop to all rooms.

Community VOL.5 PRIVATE DINNER marked the Vol.5 Fall launch at Kilimanjaro in Istanbul’s Bomontiada, with a menu by chef Melih Demirel. October 2021 | Community VOL.5 PRIVATE DINNER Partner: Kilimanjaro We celebrated the launch of our Vol.5 Fall edition with the YUZU community at a special dinner hosted at Kilimanjaro in Istanbul’s Bomontiada. The menu was prepared by chef Melih Demirel, consultant to d.ream group restaurants. Vol.5 sonbahar edisyonumuzun çıkışını YUZU komünitesiyle beraber İstanbul, bomontiada'daki Kilimanjaro’da düzenlediğimiz özel bir yemekle kutladık. Menüyü d.ream grubu restoranlarının danışmanı şef Melih Demirel hazırladı.

Shipwreck Lodge features eight shipwreck-inspired cabins amid the dunes of Namibia's Skeleton Coast, overlooking the Atlantic Ocean. June 2024 | Vol 12 TURKISH BELOW STARS HAVE NEVER BEEN SO CLOSE words Laura Cottrell photos Shawn van Eeden, Sonja Kilian, Micheal Turek, Martin Harvey, Denzel Bezuidenhout T o see the stars in a sky where there is no light at all, and to marvel once again at the cycle we are in... One of the places you will feel this most nakedly and deeply is Shipwreck Lodge in the middle of the desert. Located in Namibia, Shipwreck Lodge consists of eight cabins inspired by shipwrecks. Nestled among the sand dunes overlooking the Atlantic Ocean, the cabins look like something out of a Mad Max movie from the outside, but the interiors are very comfortable. The cabins are solar powered and all have showers, so don’t worry! And since the mornings and evenings can be chilly, the cabins have great wood-burning stoves. The lounge and restaurant in the center of the camp is also a surprise. WHAT TO DO HERE? First, immerse yourself in the rugged beauty and desolate landscapes of the desert. Join the Sundowner Tour. Take a sunset stroll to Roaring Dunes, where you can hear the unmistakable sound of the desert. Or explore the shores of the Atlantic Ocean and watch the sun disappear into the waves. Climbing the dunes of the world’s oldest desert is an experience in itself. Be sure to experience the thrill of sliding down the dunes on a sand board. Take a 4x4 tour on the Hoarusib River and experience an adventure. If you’re lucky, you might even see desert-adapted elephants and lions! Be sure to visit the seal colony at Möwe Bay. Day trips are available. There are also mysterious shipwrecks along the coast: The remains of the Suiderkus and Karimona shipwrecks. WHERE EXACTLY? 45 km north of Möwe Bay, between the Hoarusib and Hoanib rivers, in the Skeleton Coast National Park. ADDITIONAL INFORMATION - More than 44 percent of Namibia’s land area is protected. - Shipwreck Lodge is managed by Journeys Namibia, which promotes sustainable ecotourism. Gökyüzündeki yıldızları ışığın hiç olmadığı bir yerde izlemek ve içinde bulunduğumuz döngüye bir kez daha hayran kalmak… Bu hissi en çıplak ve derinden hissedeceğiniz yerlerden biri çölün ortasındaki Shipwreck Lodge. Namibya’da yer alan Shipwreck Lodge, gemi enkazlarından ilham alınarak yapılmış sekiz adet kabinden oluşuyor. Atlantik Okyanusu manzaralı kum tepelerinin arasındaki kabinler, dışardan bakınca Mad Max filmlerinden fırlamış gibi dursa da, iç kısımları gayet konforlu. Güneş enerjisiyle çalışan kabinlerin tümünde duş var, merak etmeyin! Ayrıca sabah ve akşamları serin olduğu için kabinlerde muhteşem odun sobaları mevcut. Kampın merkezinde yer alan lounge alanı ve restoran da ayrıca sürpriz. Öncelikle kendinizi çölün sert güzelliğine, ıssız manzaralarına bırakın. Bunun için “Sundowner” turuna katılın. Çölün kendine özgü sesinin duyulabildiği Roaring Dunes’a doğru gün batımında gezintiye çıkın. Ya da dalgalar arasında kaybolan güneşe bakarken Atlantik Okyanusu kıyısını keşfedin. Dünyanın en eski çölünün kum tepelerine tırmanmak da başlı başına harika bir deneyim. Bir kum tahtası üzerinde kum tepelerinden aşağı kaymanın heyecanını mutlaka yaşayın. Hoarusib nehrinde 4x4’lerle tura çıkıp macera yaşayın. Şanslıysanız çöle adapte olmuş fil ve aslanları da görebilirsiniz! Möwe Körfezi’ndeki fok kolonisini mutlaka görün. Buraya günübirlik geziler düzenleniyor. Ayrıca kıyı şeridini kaplayan gizemli gemi enkazları da burada: Suiderkus ve Karimona batıklarının kalıntıları… Möwe Körfezi’nin 45 km kuzeyinde, Skeleton Coast Ulusal Parkı’ndaki Hoarusib ve Hoanib Nehirleri arasında. - Namibya’da kara yüzeyinin yüzde 44’ünden fazlası korumaya alınmış durumda. - Shipwreck Lodge, sürdürülebilir eko turizmi destekleyen Journeys Namibia tarafından işletiliyor. for more Print VOL XII - 2024 Out of Stock Add to Cart

Fernanda Barbara and Fabio Valentim of UNA Barbara e Valentim reflect on Brazilian architecture, landscape, construction and two recent projects shaped by São Paulo. October 1, 2026 | DESIGN & INTERIORS the INTELLIGENCE of PLACE words Onur Baştürk photos MODULAR BAHIA - Joana França CASA JAPI- Nelson Kon PORTRAITS - Ruy Teixeira Brazilian architecture, in their view, stands out for its clarity, resilience and contextual intelligence. It is a practice frequently shaped by limitation, yet capable of generosity—addressing social, environmental and spatial urgencies with solutions that are both inventive and grounded. These reflections come from Fernanda Barbara and Fabio Valentim , founders of the São Paulo–based studio UNA Barbara e Valentim. The city they call home also serves as the primary lens through which they read architecture: a vast and complex metropolis that continually informs their thinking and tests their ideas. Through two recent projects, Barbara and Valentim reflect on landscape, construction and the evolving responsibilities of architecture today. CASA JAPI WAS CONCEIVED TO EXIST IN A HORIZONTAL DIALOGUE WITH THE LANDSCAPE From the beginning, UNA has been defined by a strong dialogue between architectural practice and academic research. Looking back today, how do these two fields continue to inform and challenge one another in your work? They remain deeply connected. Academic research pushes us to question methods and expand possibilities, while practice tests those ideas in real contexts. One constantly sharpens the other. Many of our investigations into sustainability, materiality and new construction systems have emerged—and matured—through this dynamic tension. In your recent projects—particularly Casa Japi and Modular Bahia—the relationship between architecture and landscape feels especially central. At what point does the connection to place truly begin for you in a project? It begins before any drawing. Site visits, climate, vegetation and topography inform the architecture before formal decisions are made. In both projects, architecture is not simply added to the landscape—it is arranged within it. The geometry and topography of the site, the sun’s path, the presence of water or forest all become lines that guide us from the very first steps. Casa Japi is a more introspective house, deeply shaped by its topography. What was the core idea guiding your spatial decisions in this project? Casa Japi was conceived to exist in a horizontal dialogue with the landscape. The key idea was controlled permeability: creating a house that protects itself from the street—compact and introspective—while opening fully to the inner garden. The radial plot and rammed-earth structure were fundamental to this approach, anchoring the architecture to the ground. FROM THE OUTSET, MODULAR BAHIA TREATED CLIMATE, LANDSCAPE AND CONSTRUCTION AS ONE SYSTEM Modular Bahia, on the other hand, operates in a very different context, where climate, landscape and construction technology must be considered together. What aspects were the most challenging—and the most exciting? Modular Bahia led us to think of climate, landscape and construction as a single system from the outset. The main challenge was translating the site’s complexity—the tropical climate, the sensitive territory between river and sea, and logistical constraints—into a precise and controlled building process. At the same time, this was also the most exciting dimension: working with an industrialised system while preserving architectural specificity, environmental performance and a strong relationship with place. The project allowed us to test how modular construction can be both rigorous and adaptable, responding to climate and landscape without sacrificing spatial quality. With Modular Bahia, you introduce the Modular BV system, redefining the balance between industrialised construction and architectural specificity. Are modular systems still widely misunderstood within architectural discourse? We believe they are. Modular systems are often associated with repetition, loss of authorship or reduced spatial quality. With Modular BV, our intention was to challenge this perception by showing that industrialised construction can be a framework for architectural precision rather than a limitation. The system offers control, efficiency and environmental performance while remaining open to adaptation, site conditions and design intent. It is not about standardising architecture, but about adaptability and constructive clarity. Modular thinking can open new possibilities, especially in regions with difficult access, tight construction schedules or pressing environmental constraints. BRAZILIAN ARCHITECTURE OFFERS A COMBINATION OF CLARITY, RESILIENCE AND CONTEXTUAL INTELLIGENCE Wood, CLT and engineered timber have long been central to your practice. How do you see their future within Brazilian architecture? Brazil has a remarkable opportunity to redefine its material culture around reforested wood and engineered timber. These materials are renewable, low-impact and well suited to our climate. Beyond that, they enable an architectural intelligence that values lightness, precision and sustainability. CLT and other engineered systems are no longer novelties; they are tools for faster, cleaner and more responsive construction. We see them as part of a future where building better also means building more responsibly. Modern Brazilian architecture is once again receiving strong international attention. What is driving this renewed interest? Brazilian architecture offers a combination of clarity, resilience and contextual intelligence. Architects here often work with limited means, yet propose inventive, essential and generous solutions while addressing social, environmental and territorial urgencies. How do you position your work in relation to Brazil’s modernist legacy? Does this heritage offer freedom, or does it sometimes set boundaries? Brazil’s modernist legacy is vast and complex. It provides a vocabulary of openness, integration and invention, but also carries limitations, especially when detached from its original social intentions. We see it as a field to revisit, expand and question. Our practice does not aim to replicate its forms, but to draw from its ethics. Today, that transformation requires new tools: climatic intelligence, circular thinking and greater attention to the places and people we design for. - The full story is featured in Vol.18 - Print VOL XVIII - 2026 €20,00 Price Add to Cart

House of Green Patios is a Lisbon apartment by AB+AC Architects, with planted patios, terracotta finishes, and a calm connection to nature. January 25, 2026 | DESIGN & INTERIORS HOUSE of GREEN PATIOS words YUZU Editorial photos Lourenco Teixeira de Abreu Designed by AB+AC Architects, House of Green Patios is an urban apartment in the heart of Lisbon, recast as a quiet retreat from the pace of the city. Framed by a generous terrace and a sequence of planted patios, the home explores a way of living in which nature, light, and spatial clarity shape everyday experience. Rather than seeking escape elsewhere, the brief focused on transforming the apartment itself into a place of pause and renewal. Architecture and landscape are closely intertwined, with greenery threaded throughout the plan so that each room maintains a visual connection to planted outdoor space. ORGANISED AROUND CALM The spatial organisation follows principles of essentialism. Circulation is treated as a tool for clarity—reducing visual noise and allowing space only for what is genuinely needed. Built-in joinery and concealed storage support a pared-back environment, while softened thresholds encourage fluid movement between rooms. Living, sleeping, working, and leisure areas are arranged to balance moments of togetherness with quieter, more private zones. Bedrooms, the home office, and recreational spaces are conceived as bright, calm cocoons, finished with warm wooden floors. In contrast, the kitchen, dining, and living areas form an open and informal social core, extending naturally towards the terrace. INSIDE AND OUTSIDE, IN DIALOGUE Outdoor space plays a central role in the project. Handmade Portuguese terracotta tiles continue seamlessly from the interior to the terrace, dissolving the boundary between inside and out. Smaller planted patios punctuate the plan, allowing greenery to filter deep into the apartment and become a constant presence rather than a decorative gesture. The planting palette—drawing on Mediterranean and Brazilian species—reinforces the home’s atmosphere as both lush and grounded, offering an everyday encounter with nature within an urban setting. MATERIAL CHOICES WITH INTENTION Materiality is approached with equal attention to sensory comfort and environmental responsibility. Earthy finishes such as terracotta, terrazzo, and stucco di calce give the interiors a tactile, grounded character. In the kitchen and bathrooms, terrazzo surfaces made from recycled construction debris were selected for their durability and reduced environmental impact, adding depth and texture without excess. High-performance windows, carefully positioned openings, and cross-ventilation strategies ensure generous daylight and year-round comfort, supporting the home’s energy performance while maintaining a calm interior climate. A MEASURED APPROACH TO URBAN LIVING House of Green Patios goes beyond renovation. It proposes a considered model for contemporary urban life—one in which nature is integrated from the outset, and the home becomes a flexible sanctuary shaped around everyday rituals. Designed to evolve over time, the project reflects AB+AC Architects’ restrained and humane approach to domestic architecture: thoughtful, grounded, and closely attuned to place.

Hampstead Townhouse is a 5,000 sq ft Victorian home reimagined by Callender Howorth for contemporary family living in London. December 6, 2025 | DESIGN & INTERIORS a REIMAGINED HAMPSTEAD TOWNHOUSE On a quiet, tree-lined street in Hampstead, a Victorian townhouse has been thoughtfully transformed by Callender Howorth into a warm, contemporary home for a creative family. The 5,000 sq ft property blends the charm of historic architecture with a fresh, modern rhythm. A COMPLETE RESET Untouched for more than three decades, the house required a full reinvention. The studio reworked every floor to suit modern family life and introduced a newly built basement — now home to a guest suite, wine cellar, cinema room and a gallery space created for the client’s art practice. This level sets the tone: functional, refined, and open to discovery. LIGHT, FLOW AND FAMILY LIVING The first floor brings together the kitchen, dining and drawing room in one generous, light-filled sweep. It’s designed for both everyday rituals and lively gatherings. Above, the master suite takes over the second floor, while children’s rooms and an attic guest area offer privacy and comfort across the upper levels. CONTEMPORARY WARMTH WITH A PERSONAL TWIST The design balances modernity with a lived-in soul. Callender Howorth pairs new and vintage pieces, textured materials and handcrafted details to create what founder Mark Howorth describes as “classic contemporary with a twist of funkiness.” “I love how the art and textures make this house a real Aladdin’s cave of discovery,” he says. “Every room reveals something unexpected.” Soft, chalky tones and layered fabrics run throughout, giving the home a sense of calm permanence — contemporary yet timeless. A STORY TOLD THROUGH SPACE The Hampstead Townhouse ultimately reads as a story of renewal. Through careful spatial planning, material richness and playful individuality, Callender Howorth has given a historic London home a new, characterful life.