Search this site

Hans Op de Beeck discusses monochrome gray sculpture, immersive installations and everyday life in an interview with Onur Baştürk for YUZU Magazine. May 2024 | Art & Culture for turkish HANS OP DE BEECK “Life is never one-dimensional” words Onur Baştürk photos Studio Hans Op de Beeck BVBA I read that daily life is your biggest source of inspiration. But everyday life is a vast universe. Which details of everyday life interest you the most? Genuinely small, seemingly unremarkable actions or moments: My daughter falling asleep on my lap, the baker on the corner carefully placing his colorful cakes in the window, a gardener calmly sweeping leaves from the road, an old woman patiently helping a child on the playground... These seemingly insignificant moments are the true essence of life for me. They subtly reflect the big picture of the human condition. But it can also be everyday objects or places that inspire me: a half-eaten birthday cake from the day before or an abandoned amusement park. I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. THIS PETRIFIED IMAGE MAKES ONE THINK OF POMPEII: A LIFE FROZEN IN TIME I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. The gray color, which you like to use in many of your sculptures, installations, and even other works, makes the figures appear frozen or petrified in time. Is there another reason for the gray? What do you do to get this gray? The most prominent part of my work is what I do with monochromic gray. That’s why they are more known than the works I do in a different tone. I have also made sculptures with a combination of two or three colors. Also, most of my scripts for video, theater and opera are full-color. But at some point in my practice, I discovered my own shade of gray that makes sculptural objects, interiors, or landscapes seem fossilized, made of stone, pigmented plaster. This petrified image makes one think of Pompeii: A life frozen in time. I discovered, nearly by accident, that the gray coating I invented - a technique of layering many thin layers of coating over the sculpture - reflects light very precisely, almost velvet-like. I think it gives a special flavor to what is depicted. A soft skin that abstracts the figurative forms into a kind of parallel, silent world. The absence of colors allows you to focus on the light. My work is never about simulating reality as it is, about literal mimesis or imitation; it is about abstracting the world to evoke a mood, to interpret, and to touch the essence beneath the skin of reality. I want to evoke a mood, a visual, sensory form of fiction that the viewer can identify with and experience before understanding it. My monochromatic works in velvet gray, black and white, or light blue and soft green are quiet, concentrated variants of what we know. That is why I don’t work with ready-made products. My sculptures and installations, hundreds of square meters in size, are made by hand because of the power of interpretation. How is your engagement with gray outside of artworks? Do you wear gray, for instance? Haha, no. I have no particular preference for gray when it comes to clothes or my own living space. Awake and sleep, movement and stillness, life and death... I think a series of dichotomies like this is the main theme of your work. Do you intend to say to the audience, “This is what life is like”? I have always avoided making big words about life or even trying to explain how life works in a pedantic way. I have no wisdom to offer, but I try to reflect on life with the viewer and share the same questions and wonders. Life is a tragicomic phenomenon. I think it is essential to show both the ridiculous and the serious, joy and the pain. Life is never one-dimensional. As you mentioned, I love the moments when we let go of control, ourselves, and our identity and surrender to the unknown, intoxication, sleep, or the subconscious. There are so many unknowns, darknesses, and mysteries that lie outside the linguistic comprehension of the world, logic, and intellectual legitimacy. Art is one of the instruments that touch these concepts. “The Horseman”, “’The Boatman” and “Hélène”… In the future, would there be a new hero figure like these? In these works, I tried to offer the viewer the beginnings of all kinds of possible stories that he or she could project onto these figures. Who are they, where do they come from, where are they in their lives, what is happening in their lives, and where are they going? “The Horseman” and “The Boatman” are lonely travelers, heading for the rest of their lives with their modest belongings. They are a kind of nameless anti-heroes. The little monkey on the horseman’s shoulder has a look in his eyes that says, “Where have we come again?” The horseman himself looks over his shoulder with a similar look. This is almost the opposite of the heroic military ruler or king depicted on a prancing horse. Because such depictions can be found in abundance throughout the history of sculpture. The female boxer Hélène is an extremely fragile young girl. Not a muscular athlete. She is an introverted girl who we can assume took up boxing mostly to defend herself against the evil world she encountered on the road. We find her sitting submissively in a quiet, isolated spot in a moment of peaceful introspection. I understand that you see them as some kind of enigmatic heroes. Because each one is depicted in a unique but unremarkable way. Alongside my already planned big, architectural, immersive installations, I am also envisioning sculptures of some fictional characters, such as a mysterious blind woman with an owl on her arm, two children dressed in oversized adult clothes, a woman in her 50s caressing a fox on a chaise lounge. PROJECTS THAT REQUIRE TEN LARGE TRUCKS TO MOVE What are the challenges of creating a large-scale work? How long does it take for large-scale work, and how does it feel to have that patience? Last year, I made a 1900 square meter installation for the Lyon Biennale. For my solo exhibition at the Amos Rex Museum in Helsinki, I created a 2,000-square-meter immersive experience. These are projects that usually require ten large trucks for transportation. There is a lot of organization and logistics involved. Fortunately, I have a small team and a great manager who takes care of all these practical needs for me. It takes months to create such large installations with my team. We usually work on several exhibitions and installations in parallel. Because I do about 30 exhibitions a year. I paint big watercolor pieces at night. During the day, we work on new sculptures in my studio. Sometimes there are periods when I sleep very little. We face new challenges with every major new installation. Like when we made my life-size carousel. It was to be shown outdoors for the first time and had to withstand the wind and the weather. It took a lot of research to understand how it should be built. I also made a cinematographic film with computer-generated photo-realistic sets (CGI) and recordings made in “green key” studios with which I had no experience. This kind of technical and difficult organizational work gets the adrenaline flowing, which is also motivating. I WORK WITH COMBINED TECHNIQUES I am also curious about the stages in the creation process of your works. If it’s not a secret, can you tell me a little bit about it? I work with combined techniques for human figures. The model comes to the studio to pose, and together, we look for an expressive but comfortable and natural pose. We then do extensive photo documentation of the pose and face. We usually create a pattern on the model’s arms, hands, lower legs, and feet. We shape the head with non-drying, long-lasting clay, and the body usually with PU foam or similar lightweight, easily workable material. Then we plaster it properly, sand it and make a large mold. We can cast the sculpture monolithically from a single material, usually polyester, and for outdoor use, sometimes bronze. The final touch is the monochrome coating that my team and I developed together. EVEN THE MOST ORDINARY OBJECT CAN BECOME A GREAT ART The following sentence is from an interview: "It is always very simple to conceive an idea. The hardest part is to bring it to life." Have you ever had an idea that you had a hard time realizing? I indeed believe that the main idea of an artwork can be very simple and come to life when it is in perfect balance with the content of an artwork. Even completely ordinary objects, such as bottles on a table, become great art when painted with the proper poetic sensitivity and artistic precision. Seemingly meaningless objects then become real, fundamental content. I made a lot of sculptures and watercolors or wrote texts that I failed to execute and had to throw away. You have to make mistakes to learn. You have to keep evaluating with self-criticism while not compromising your standards. Because sooner or later you will regret it! Can a work of art not be without a subject? Or how important is the subject for you? Is it more important to start with a feeling? Indeed, I once made a bold statement that art doesn't have to have a subject (laughs). What I meant was that when the artist knows how to find the delicate balance between form and content, even the most ordinary object can become great art. I am not against art that depicts big, grandiose historical subjects or art that assumes an activist responsibility toward current issues. However, Vermeer's painting of a woman pouring milk in a quiet room or Morandi's small collection of thin bottles on a table also deeply expresses the world, melancholy, and the human condition. In my work, whether it is film, theater, watercolor, or a monumental installation, I primarily try to evoke a compelling mood that immediately stimulates sensory experience. From there, I can add multi-layered elements or include them between the lines of the image. First of all, I seek images that transcend the boundaries of time and space, images that are universal. In addition, I have absolutely no qualms about covertly integrating current affairs. This allows my work to be anachronistic and eclectic, addressing all times. BEING AN ARTIST IS ABOUT CONSTANTLY REINVENTING YOURSELF Lastly, what stage of your life are you in right now? How do you feel when you look back at the works you created in the past? Do you say: "I did it," or "I still have a long way to go"? I am the father of four wonderful children, and being able to build a strong bond of love and trust with them is my most crucial achievement in life. I have held more than five hundred exhibitions in the field of art. I traveled the world. I wrote and directed plays and movies, I wrote their scripts. I directed and staged operas. The life I have lived so far already feels so complete. So, if my life ends here and now, I feel that I have already lived it to the fullest. But I will never feel "complete" as it is said. Because life continues to be a never-ending mental and emotional journey. Being an artist is actually about reinventing yourself over and over again. I look with satisfaction at some of my work that I know I will be proud of and happy with until my last day. But of course, I also have works that I think are not strong enough artistically today. I continue to self-criticize and look for ways to improve myself. This is not just about myself as an artist, but also as a human being, a father, a friend. I wish to continue to work on myself and keep learning. for more Print VOL XII - 2024 Out of Stock Add to Cart

Cisimdesign’s Moda apartment takes cues from modern Parisian homes, combining natural materials, pastel colors, soft details and unexpected marble. Ocak 2022 | Tasarım | Türkiye for english click here Moda’daki modern Paris apartmanı dairesi Yazı | Alp Tekin E rdem İşler ve Emre Özücoşkun’un sahibi olduğu Cisimdesign’ın tasarladığı Moda’daki bu evin projesi Paris’in modern apartman dairelerinden ilham alınarak yapılmış. Emre Özücoşkun, “Çok klasik bir tabir olacak ama zamansız bir çizgiye sahip bu daire. Çıkış noktamız şuydu: Doğal malzemeler, pastel renkler ve yumuşak detayların uyumunu yakalamak”. Mermer, evin geneline hakim olan malzemelerden biri. Mermere sadece mobilyalarda değil, kapı pervazında dahi rastlanabiliyor. “Malzeme geçişleri ve kullanım alanlarında yaptığımız ufak sürprizler bizi heyecanlandırıyor” diyor Cisimdesign ortakları: “Mermeri alışılagelmişin dışında bir alanda kullanma fikri de bu şekilde ortaya çıktı”. Erdem ve Emre, evin geneline hakim olan uyumu mobilya seçimi ve tasarımında da devam ettirmiş: “Seçkiyi belirlerken Cisimdesign tasarımı mobilyalarla satın alınacak mobilyalar arasında bir denge kurmaya çalışıyoruz. Moda Evi’nde de bu şekilde ilerledik. Masalar, yataklar, dolaplar, kütüphaneler Cisimdesign tasarımı. Sandalyeler, koltuklar ve aydınlatmalar ise satın alma olacak. Kurguyu bu şekilde hazırladık”. Contemporary Parisian apartment in Moda Yazı | Alp Tekin T he project of this house in Moda, designed by Cisimdesign, owned by Erdem İşler and Emre Özücoşkun, was inspired by the modern apartments of Paris. Emre Özücoşkun said, “It will be a very classic term, but this apartment has a timeless line. Our starting point was: To catch the harmony of natural materials, pastel colors and soft details”. Marble is one of the materials that dominate the house in general. Marble can be found not only in furniture, but also in door jambs. “We are excited by the little surprises we make in material transitions and usage areas,” says Cisimdesign partners: “This is how the idea of using marble in an unusual area came about”. Erdem and Emre continued the harmony that dominates the house in general in furniture selection and design: “While determining the selection, we are trying to establish a balance between the furniture designed by Cisimdesign and the furniture to be purchased. This is how we proceeded at the Fashion House. Tables, beds, cabinets, libraries Cisimdesign design. Chairs, armchairs and lighting will be purchased. This is how we prepared the fiction.” Çapa 2

ACDO designed this 10,000-square-foot Lake Ontario residence with double-height volumes, coastal materials, and Asian-inspired details. August 14, 2025 | DESIGN & INTERIORS a LAKESHORE RETREAT of QUIET LUXURY words Matteo Pazzagli photos Doublespace Photography Along the southern shore of Lake Ontario, where the horizon opens wide and piers frame the water’s edge, a private residence unfolds as a sensory journey. Conceived by ACDO — the Toronto-based studio co-founded by former Yabu Pushelberg designers Abe Chan and Sam Khouvongsavanh — this 10,000-square-foot home merges the calm of a retreat with the drama of generous, double-height volumes. What began as two penthouses became one seamless residence, designed to offer its owner a sense of escape. Here, intimate spaces — an ensuite tucked away, a solarium suspended on a bridge — flow into expansive zones for living, dining, and gathering. The design takes cues from panoramic bay views and the quiet luxury of Aman resorts, balanced with the refined elegance of Hong Kong’s Mandarin Oriental and Peninsula hotels. LIGHT AND SHADOW DANCE OVER WEATHERED WOOD, MOROCCAN ZELLIGE, AND COOL TRAVERTINE, SHAPING A SHIFTING ATMOSPHERE The palette is deeply considered, shifting with the seasons: rich blues for summer, grey-green tones for winter, walnut that nods to Asian teak, and matte oaks recalling driftwood along the shore. Light and shadow play across weathered wood, handcrafted Moroccan zellige tiles, and cool travertine, creating an ever-changing atmosphere. The owner’s art — from Vietnamese lacquer paintings by Bui Huu Hung to sculptural works by David Salazar and Romain Langlois — anchors the spaces in a worldly sensibility. There’s an ease here that comes from layering influences. Coastal references meet Asian details: latticed wood ceilings, the soft grain of walnut, the hush of stone underfoot. “The lakeshore setting dictated the direction,” the designers recall. “The uninterrupted view of the water’s horizon provided a sense of tranquility that became central to the inspiration.” This is a home shaped as much by memory as by place — travel through Asia and Southeast Asia distilled into materials and proportions. It’s a setting where a dramatic living space can host a crowd, yet a bedroom can cocoon you in stillness; where every surface holds the light in its own way, and the lake’s presence is felt in every room.

April 2023 | Design & Interiors english below B House B ennu Tunç Yaşar, Lara Hekimoğlu Şen ve Süreyya Güven tarafından kurulan Podna Mimarlık’ın son projesi B House, İstanbul-Göktürk’te bulunan bir bahçe dubleks konut projesi. Podna ekibi B House tasarımı için yola çıkış noktalarını şöyle anlatıyor: “Evin en büyük eksiği gün ışığıydı. Tasarıma başlamadan önce bu konuda müşteri ile aynı görüşteydik. Zemin katta ayrı bir alan olarak bulunan ve neredeyse hiç gün ışığı almayan mutfağı yaşam alanına dahil ederek, mekandaki gün ışığını homojen bir şekilde tüm kata dağıtmak istedik. Eve girdiğimiz andan itibaren tüm zemin katı tek bir alan olarak görüp mutfaktan başlayarak oturma alanına doğru uzayan bir yolculuk var. Oval köşeli hatlardan oluşan bir kabuk tasarımı, eve girdiğiniz andan itibaren ahşap sıcaklığı ile sizi karşılıyor ve oturma alanına doğru yaklaştıkça dokulu boyaya dönüşüyor. Mutfak adasında ise dokulu korten görünümlü malzeme, bu bölümü öne çıkarmak ve etrafındakilerden ayrıştırmak için seçilen bir ürün. Oturma grubu da yine oval hatlı kabuk tasarımıyla bütünlük sağlıyor”. photo Kadir Aşnaz B House, the latest project of Podna Architecture, founded by Bennu Tunç Yaşar, Lara Hekimoğlu Şen and Süreyya Güven, is a garden duplex residence project located in Göktürk, Istanbul. The Podna team describes their starting points for the B House design: “The biggest shortcoming of the house was daylight. Before we started the design, we were in agreement with the customer on this issue. We wanted to distribute the daylight homogeneously to the entire floor by incorporating the kitchen, which is located on the ground floor as a separate area and receives almost no daylight, into the living area. From the moment we enter the house, there is a journey starting from the kitchen and extending to the living area, seeing the entire ground floor as a single space. A shell design consisting of oval angular lines welcomes you with the warmth of wood from the moment you enter the house and turns into textured paint as you approach the seating area. In the kitchen island, the textured corten-looking material is a product chosen to highlight this section and differentiate it from its surroundings. The sitting group also provides integrity with its oval-shaped shell design”.

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

At Paloma Finesse in Side, Antalya, YUZU Garden unites designs by Onur Baştürk and Tülay Tosun with Ece Tonbul, Feride Edige and Pro İletişim. May 2021 | Botany YUZU GARDEN We love collaborating with brands that share our vision and values. Especially when the collaboration involves plants—let's admit it, we go beyond love and pour our hearts into it! After all, YUZU was born as a botanical brand before evolving into a lifestyle community and content platform. YUZU Garden, which recently opened at Paloma Finesse in Side, Antalya, is the product of a delightful “green” collaboration. The concept design of the garden was created by YUZU founder and editor-in-chief Onur Baştürk, while landscape architect Tülay Tosun brought it to life in an impressively short time—just ten days. Of course, this project owes its realization to the vision of Paloma Hotels’ Chairperson Ece Tonbul and Pro İletişim founder Feride Edige, who acted as the bridge connecting the two brands. A SERENE AND MEDITATIVE GARDEN The concept of YUZU Garden draws inspiration from the meditative and open design of Zen gardens, emphasizing stones and rocks. To suit the region where Finesse is located, the garden has been enriched with tropical plants. At its center stands a Ficus Australis tree, a symbol of “life, death, and rebirth” found in many cultures. Beneath its shade, horizontal stone slabs provide a space for visitors to gather, reflect on their lives, and contemplate the world around them. In essence, YUZU Garden by Finesse is designed as a space for pausing, observing, tasting (thanks to its special gin-based cocktails), being alone, coming together, and simply marveling. - TR below - Dünyaya aynı gözlerle baktığımız, değerlerimizin paralel olduğu markalarla iş birliği yapmayı seviyoruz. Özellikle bu iş birliği bitkilerle ilgiliyse, itiraf ediyoruz, kendimizden taşıyoruz! Çünkü biliyorsunuz, YUZU önce bir botanik markası olarak doğdu. Daha sonra yaşam tarzı topluluğu ve içerik platformuna doğru evrildi. Antalya, Side'deki Paloma Finesse'de açılan YUZU Garden da nefis bir ‘yeşil’ işbirliği ürünü. Bahçenin konsept tasarımını YUZU kurucusu ve yayın yönetmeni Onur Baştürk yaptı. Uygulamayı peyzaj mimarı Tülay Tosun (on gün gibi çok kısa bir sürede) gerçekleştirdi. Elbette YUZU Garden’ın yaratılmasını sağlayan, Paloma Hotels Yönetim Kurulu Başkanı Ece Tonbul ile iki markayı bir araya getirerek iletişim köprüsü kuran Pro İletişim sahibi Feride Edige’nin vizyonları oldu. SAKİN VE MEDİTATİF BİR BAHÇE YUZU Garden’ın konsepti Zen bahçelerinin meditatif, geniş alan bırakan, taş ve kaya ağırlıklı biçiminden ilham alıyor. Finesse’in bulunduğu coğrafyaya uygun olarak tropik bölge bitkileriyle zenginleştirilen bahçenin merkezine birçok kültürde karşımıza çıkan, “yaşam, ölüm ve yeniden doğuş”un simgesi konumunda bir Ficus Australis ağacı yerleştirildi. Ficus’un gölgelik alanındaki yatay taşlar ise insanların ağaç altında bir araya gelmesi, hem kendi hayatları hem de yaşadıkları dünya hakkında düşünmelerini sağlayacak bir mola yeri olarak düşünüldü. Kısacası YUZU Garden by Finesse; durma, görme, tatma (bahçeye özel hazırlanan cin bazlı kokteylleri dolayısıyla), yalnız kalma, bir olma ve hayran kalma alanı olarak tasarlandı.

Panghia: Gizem and Ali Geylan discuss the brand’s Istanbul roots, Gilan legacy, innovative materials, and jewelry designs including Halo and Curva. January 2025 | DESIGN & INTERIORS TR BELOW the ARTFUL VISION of PANGHIA words Pınar Yılmaz photos Courtesy of Panghia Gizem and Ali Geylan share the journey of Panghia, their next-generation jewelry brand that merges art and craftsmanship. What is Panghia’s source of inspiration? GİZEM: The idea was born from the spirit of Istanbul, a city bridging two continents, but the journey has taken us around the world. The legacy we inherited from the Gilan brand was not just a lesson in craftsmanship but also a deep understanding of the soul of materials. In the gemstone markets of India, we met some of the world’s most exquisite stone artisans. There, we didn’t just select stones; we also learned the stories they carried and the rich traditions of craftsmanship behind them. The countless journeys I took with Ali became the foundation of Panghia. Whether it was listening to the silence in Kyoto’s Zen gardens or getting lost in the vibrant streets of Mexico City… One morning in Florence, we discussed how a sketch could be born; another day, we spent hours admiring a painting in a museum in New York. These travels are not just personal memories; they are details that permeate Panghia’s soul. ALİ: Using the metaphor of a journey to describe Panghia’s creative process is quite fitting because the process truly began like a journey. One of our earliest designs, the Timeless Loop Bracelet, with its simplicity and timelessness, feels like the essence of this journey. How would you describe your collaborative dynamic? GİZEM: It’s an enjoyable challenge! Sometimes we champion the same idea; other times, we head in completely different directions. In the end, what emerges is the result of our shared perspective. ALİ: The design process for us feels like a dialogue. I focus on pushing the boundaries of materials, while Gizem is more story-driven, thinking about the emotions a design will convey. This balance can be seen in the Halo earrings, where the lightness of titanium meets the elegance of gold. Could you tell us about the innovative materials and craftsmanship techniques you use in your designs? GİZEM: Our aim is to transform the stories of nature into art. The Amaranth wood used in the Curva bracelet allowed us to translate the warmth and natural texture of South American forests into an elegant work of art. This material comes to life at the intersection of traditional craftsmanship and contemporary art. Panghia respects the essence of every material, offering an aesthetic vision that shapes the future. ALİ: The gold used in the Éternel ring is reshaped at the molecular level using special bending techniques. This method enhances not only the material’s aesthetic appeal but also its durability. Moreover, we strive to preserve nature’s inherent elegance in every design. Sustainability is not just a responsibility but a fundamental part of our design philosophy. What is Panghia’s vision for the future? GİZEM: Panghia’s future vision is to become an ambassador of art and craftsmanship on the global stage, inspired by Istanbul’s timeless aesthetic legacy. We aim to collaborate with innovative contemporary art hubs such as Southbank Centre and Serpentine Gallery in London. Additionally, participating in global events like Frieze Art Fair will bring Panghia’s aesthetic values to art enthusiasts. Events like FIAC and Paris Design Week will offer us the opportunity to share Panghia’s timeless vision with Parisians. In New York, our goal is to be part of renowned art institutions such as the Metropolitan Museum of Art and the Whitney Museum. Gizem - Ali Geylan, sanat ve zanaati buluşturdukları yeni nesil mücevher markaları Panghia'nın yolculuğunu bizimle paylaşıyor. Panghia’nın ilham kaynağı nedir? GİZEM: Fikir, İstanbul’un iki kıta arasında köprü kuran ruhuyla doğdu ama yolculuk bizi dünyanın dört bir yanına taşıdı. Gilan markasından aldığımız miras, sadece zanaatkârlığa dair bir bilgi değil, aynı zamanda malzemenin ruhunu anlamak üzerine bir ders gibiydi. Hindistan’ın taş pazarlarında dünyanın en seçkin taş üreticileriyle tanıştık. Orada yalnızca taş seçmedik; o taşların taşıdığı hikâyeleri ve köklü zanaatkârlık geleneklerini de öğrendik. Ali’yle çıktığımız sayısız yolculuk da Panghia’nın temel taşlarını oluşturdu. Kyoto’nun Zen bahçelerinde oturup sessizliği dinlediğimiz günlerde ya da Mexico City’nin renkli sokaklarında kaybolduğumuzda... Bir sabah Floransa’da bir eskizin nasıl doğabileceğini konuştuk, başka bir gün New York’ta bir müzede saatlerce bir tabloya baktık. Bu yolculuklar sadece kişisel hatıralar değil, Panghia’nın ruhuna işleyen detaylar oldu. ALİ: Panghia’nın yaratıcı sürecini anlatmak için yolculuk metaforunu kullanmak çok uygun olur. Çünkü bu süreç gerçekten de yolculuk gibi başladı. İlk tasarımlarımızdan biri olan Timeless Loop Bilezik, yalınlığı ve zamansızlığıyla bu yolculuğun özeti gibi. GİZEM: Tasarım süreci bizim için bir diyalog gibi. Ben daha hikâye odaklıyım. Bir tasarımın hangi duyguyu yansıtacağını düşünüyorum. Ali ise malzemenin sınırlarını zorlamayı seviyor. Titanyumun hafifliğini altının zarafetiyle buluşturduğu Halo küpede olduğu gibi… Peki birlikte çalışmak nasıl? GİZEM: Keyifli bir meydan okuma! Bazen aynı fikri savunuyoruz bazen tamamen farklı yönlere gidiyoruz. Sonunda ortaya çıkan şey ikimizin ortak bakış açısının ürünü oluyor. Tasarımlarınızda kullandığınız yenilikçi materyaller ve zanaat tekniklerinden bahseder misiniz? GİZEM: Tasarımlarımızda doğanın hikâyelerini sanata dönüştürmeyi hedefliyoruz. Curva bilezikte kullanılan Amaranth ağacı, Güney Amerika ormanlarının sıcaklığını ve doğal dokusunu zarif bir sanat eserine dönüştürmemizi sağladı. Bu malzeme, geleneksel zanaatkârlıkla çağdaş sanatın birleştiği bir noktada hayat buluyor. Panghia, her malzemenin özüne saygı duyarak, geleceği şekillendiren bir estetik anlayışı sunuyor. ALİ: Éternel yüzükte kullanılan altın, özel bükme teknikleriyle moleküler seviyede yeniden şekillendirildi. Bu yöntem sadece malzemenin estetik gücünü değil, dayanıklılığını da artırıyor. Ayrıca her tasarımda, doğanın kendine özgü zarafetini korumaya yönelik bir çaba gösteriyoruz. Sürdürülebilirlik sadece bir sorumluluk değil, tasarım felsefemizin parçası. Panghia’nın gelecek vizyonu nedir? GİZEM: Panghia’nın gelecek vizyonu, İstanbul’un zamansız estetik mirasından ilham alarak global arenada bir sanat ve zanaat elçisi olmak. Londra’da çağdaş sanatın yenilikçi merkezlerinden biri olan Southbank Centre ve Serpentine Gallery gibi mekanlarla iş birliği yapmayı hedefliyoruz. Ayrıca, Frieze Art Fair gibi global etkinliklerde yer alarak Panghia’nın estetik değerlerini sanatseverlerle buluşturmayı amaçlıyoruz. FIAC ve Paris Design Week gibi etkinlikler ise Panghia’nın zamansız vizyonunu Parisliler’e sunmamıza olanak tanıyacak. New York’ta ise Metropolitan Museum of Art ve Whitney Museum gibi sanat merkezlerinde yer almayı hedefliyoruz.

Nobu Hotel Toronto brings the calm of a Japanese ryokan to the city, with Studio Munge shaping restrained interiors around ritual, texture, and views. June 6, 2026 | TRAVEL NOBU TORONTO DRAWS from the JAPANESE RYOKAN words YUZU Editorial photos Ema Peter Photography production Karine Monié High above Toronto’s Entertainment District, Canada’s first Nobu Hotel brings a quieter approach to hospitality. Inspired by the atmosphere of a Japanese ryokan, the project favours calm, ritual, and material clarity over spectacle. Designed by Studio Munge under the direction of Alessandro Munge, the hotel occupies the upper levels of a new mixed-use development built on the site of a former Canadian glass manufacturing facility. Fragments of that industrial history remain throughout the project. Original glass blocks have been preserved and incorporated into the fitness area, while the retained street façade maintains a connection with the neighbourhood’s architectural memory. Above it, two slender residential towers rise around a central void that cuts through the structure between the ninth and tenth floors, drawing daylight deep into the building. The opening becomes one of the project’s defining features. From the gym, guests can watch snowfall or rain descend through the space above, while rooms higher up look down into the illuminated core below. BETWEEN CITY AND SANCTUARY The interiors avoid overt references to Japanese design. Instead, the influence appears through proportion, rhythm, and restraint. Studio Munge approached the project less as a luxury hotel and more as a residential retreat in the sky — somewhere removed from the pace of the city below. That sense of calm begins on arrival. Canadian landscape references are quietly woven together with details inspired by Japanese metal craftsmanship, particularly the layered forging techniques traditionally used in blades. Rather than translating these references literally, the design abstracts them into textures, surfaces, and spatial transitions. A bespoke work by Toronto-based artist Dennis Lin anchors the entrance sequence, reinforcing the project’s connection to the city’s creative scene. THE SOAKING TUB AS A RITUAL OF RESTORATION The guestrooms continue the hotel’s restrained atmosphere. Soft blue tones drawn from sky and water establish a subdued mood throughout, while layouts prioritise openness, views, and ease of movement. Nearly every room includes a walk-in wardrobe and generous living area, with soaking tubs positioned beside windows overlooking the city. The wooden soaking tub — a defining element across Nobu Hotels — becomes central here too. Rooted in Japanese bathing culture, where bathing is treated as a restorative ritual rather than routine, it reinforces the hotel’s slower rhythm. The city remains present throughout, though carefully framed so it never overwhelms the sense of retreat. MATERIAL RESTRAINT Material consistency shapes much of the hotel’s atmosphere. The restrained palette focuses on tonal continuity and texture, with Tundra Grey stone from Turkiye used throughout floors, walls, bathrooms, and millwork. Finished with a leathered texture, it introduces tactility without visual heaviness. Rift-cut white oak adds warmth and structure across wall panelling, screens, and custom furniture, while indigo-dyed textiles, carved wood details, and handcrafted Kawara tiles introduce quieter layers of craftsmanship. In the public areas, a bronze chainmail chandelier — designed to evoke the drape of a folded kimono — provides one of the few deliberately dramatic moments within an otherwise measured interior landscape. Set across levels 41 to 45 with just 36 guestrooms, Nobu Hotel Toronto favours calm over spectacle — a quieter presence above the city.

Vilebrequin’s Marion Aube discusses recycled materials, product traceability and the swimwear brand’s sustainability goals for 2030. July 14, 2025 | VOL 16 content partnership the SUSTAINABILITY SWIM words Sibel İpek Marion Aube´, CSR Project Leader at Vilebrequin, shares insights on sustainability practices and future initiatives. As one of the leaders in luxury swimwear how do you integrating sustainability into the overall business strategy? Sustainability has always been a natural process at Vilebrequin, intrinsic to the development of our products, from the very first step of the selection of the fibers to its selling, including its manufacturing. Each time we start to work on a new product, we think about its whole life cycle, even repairability! As of today, 100% of our men swimwear is produced in Europe and Mediterranean region. Since 2018, we have started to incorporate more and more recycled materials into our star product, the men’s swimwear. It took 2 years to have all polyamid fibers recycled making our suppliers engaged into this environmental approach and testing and adjusting our fabrics to keep the same high level of quality. Today 98% of men’s swimwear at Vilebrequin is made from recycled materials. Are there any further innovations for its sustainability efforts? I n order to increase the sustainability of our range of products, we started to use natural fibers into our swimwear. In 2022, we had a collaboration with Woolmark and could launch the first wool swim shorts. This collection of wool swimwear has been very successful and is still continuing as an essential every season for Vilebrequin. This year, we are launching a swim short in linen. Developed with an Italian partner, this fabric has been treated with fluoride-free water repellent system, which enables it to be very light and practical to wear into the water. How does Vilebrequin ensure transparency and accountability in its sustainability practices? Vilebrequin’s website is giving information for each product about its environmental caracteristics, such as its traceability (where it is woven, where it is printed/dyed, where it is manufactured) and its recycled materials. Since Summer 2025 collection, the products sold in stores have a care label with a QR code, enabling the customer to go directly on the product sheet on the website to have an easy access to all information. Are there any specific targets or milestones that Vilebrequin aims to achieve in terms of sustainability by a certain timeframe? Our goal is to provide the most transparent information about our products. For example all our suppliers have to sign a chemical commitment letter which ensures the tracaeability of our products. We also have regular controls in our suppliers factories. Next step for Vilebrequin is to implant a traceability system which will enable to track each product and calculate its carbon footprint. The aim is to achieve a vision of a responsible company in 2030 : Shaping the future of vacations through innovative products, an engaged team and eco-responsible practices to achieve profitability and reduce our carbon footprint. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

Dubbeldam Architecture + Design creates Catchacoma Cottage and Bunkie on the Hill, two nature-connected homes in Ontario designed by Heather Dubbeldam. January 2025 | VOL 14 ESCAPING into NATURE words Laura Cottrell photos Riley Snelling Founded by Canadian architect Heather Dubbeldam, Dubbeldam Architecture + Design is a Toronto-based studio known for its innovative and eco-friendly projects. The studio takes the initiative to conduct its own design research, focusing on making residential spaces more livable. Their ongoing research on sustainable design in Canada and Scandinavia explores regenerative architecture, climate-positive developments, urban resilience, and how these ideas are embraced in Canada. Dubbeldam has a long list of accolades, including the Canada Council for the Arts Professional Prix de Rome and the 2024 Architectural Practice Award from the Royal Architectural Institute of Canada. Two of their nature-immersed projects, designed around the theme of escape, are elegant examples of their forward-thinking approach. CATCHACOMA COTTAGE Location | The Kawarthas, Ontario Designed for a large family of three generations, this single-story cottage is located on a peninsula with panoramic views of Lake Catchacoma. With its sloping topography rising from the waterfront, the cottage is seamlessly integrated with its surroundings and establishes a deep connection with the landscape. The steep sloping roof lines of the cottage connect three volumes, each following the natural slope of the site and with different floor heights. Where roof lines meet at different heights, skylights direct light and natural ventilation to the spaces in the attic and the living room. The design approach is to make connection with the landscape continuous and to increase the enjoyment of the experience. According to Heather Dubbeldam, “Views and access to the exterior are featured along every axis. Immediately upon entry, a large glazed sliding door opens up to views of the lake”. In addition to the dark accents, a palette of white and wood is used in the interior of the house. The inner walls are covered with maple plywood. Integrity is also ensured with charcoal gray doors and cabinets. BUNKIE ON THE HILL Location | Muskoka, Ontario Being the smallest of a collection of cabins scattered across four family properties, Bunkie on the Hill sits in a quiet haven in the trees on top of a steep hillside. The split-roof design of the house, which is a contemporary interpretation of the traditional A-frame style, has two intersecting walls that create window openings where roof volumes are separated. These geometric windows overlook the view of the forest and the lake below. Despite its compact size, Bunkie's interior is quite functional. There are shelves and nooks in the small corners. The interior of the house offers a fantastic view of the forest and lake. Natural materials complete the rustic landscape surrounding Bunkie. Interior materials include oak flooring, maple plywood and cedar veneer. These materials are supported by dark coal window frames, gray stone countertops and furniture. for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

Modelhane is an office and bag workshop designed by Podna Architecture, the studio founded by Bennu Tunç Yaşar, Lara Hekimoğlu Şen and Süreyya Güven. September 2023 | Design & Interiors english below MODELHANE Farklı bir ofis+atölye words Alp Tekin photos Kadir Aşnaz B ennu Tunç Yaşar, Lara Hekimoğlu Şen ve Süreyya Güven tarafından kurulan Podna Mimarlık’ın son projesi Modelhane, hem ofis hem de çanta üretim atölyesi olarak tasarlanmış bir proje. Modelhane üç ana mekandan oluşuyor: Toplantı odası ile sergileme alanı, çalışma masaları ve kesim bölümü. Podna ekibi tasarım sürecinde mekan içinde görüşü engellemeyen, ama mekanları kendi içinde birbirinden ayrıştıran bir yöntem benimsemiş. Tavandaki brüt beton sistemi ile uyumlu olacak şekilde, farklı geometri içeren tuğlalar kullanılarak, hem çanta sergileme alanı hem de ofis ve atölye bölümlerini ayırmak için seperatörler tasarlanmış. Üretim tarafında çalışma masaları ve atölyeyi ayrıştırmak için yarı geçirgen malzeme seçimi ile silüet görüntüsü elde edilmiş. Podna ekibi proje için şöyle konuşuyor: “Modelhane sade, hafif ve geçirgen mekan kurgusu ile üretim atölyesine yeni bir bakış açısı getirmeyi hedefledi” A different office+workshop M odelhane, the latest project of Podna Architecture, founded by Bennu Tunç Yaşar, Lara Hekimoğlu Şen and Süreyya Güven, is a project designed both as an office and a bag production workshop. The model shop consists of three main spaces: the meeting room and the exhibition area , the work desks and the cutting section. During the design process, the Podna team adopted a method that does not obstruct the view within the space, but separates the spaces from each other. In harmony with the exposed concrete system on the ceiling, using bricks with different geometries, separators have been designed to separate both the bag display area and the office and workshop sections. On the production side, a silhouette image is obtained with the choice of semi-permeable materials to separate the work desks and the workshop. The Podna team talks about the project as follows: “The modelhane aimed to bring a new perspective to the production workshop with its plain, light and permeable space setup”.

Inside a 340-square-metre São Paulo apartment where Kiko Castello Branco blends Brazilian design, travertine, warm timber and treetop views. September 21, 2026 | DESIGN & INTERIORS a SAO PAULO APARTMENT AMONG the TREETOPS words Noah Mercer photos Carolina Lacaz In São Paulo’s Jardins district, Kiko Castello Branco Arquitetura reworks a 340-square-metre apartment around openness, Brazilian design and surrounding greenery. Travertine, warm timber and a layered furniture selection create a natural sense of continuity. Set on the fourth floor of a corner building, AC Apartment sits almost level with the surrounding tree canopy. That proximity to the landscape became a starting point for Kiko Castello Branco Arquitetura, which had previously worked with the owners — a couple with two daughters — on the guest house of their countryside retreat. The original plan is formed by two volumes rotated at 45 degrees and joined by a central winter garden, with social and private areas occupying separate wings. Rather than undoing that structure, the architects opened sightlines and softened the transitions between spaces. OPENING THE PLAN The change is apparent as soon as the lift doors open. Walls around the entrance hall were removed, allowing the living areas to come into view immediately, while partitions leading towards the bedrooms were replaced by rounded corners. One of the former bedrooms was incorporated into the social area and converted into a home cinema. The winter garden was also reconsidered. Heavy mullions gave way to glazing with concealed profiles, making the greenery feel less like a framed view and more like an extension of the interior. Travertine flooring and a slatted Louro Pardo timber ceiling continue across the social spaces, tying the rooms together. At one end, the winter garden draws the surrounding canopy into the room. At the other, a long Michelangelo Bordeaux marble sideboard runs along the wall, echoed by a custom bench beneath the windows that combines stone plinths with upholstered seating. Together, these elements give the open plan structure without dividing it. BRAZILIAN DESIGN ACROSS GENERATIONS The furniture brings together different moments in Brazilian design rather than adhering to a single period. Pieces by Eduardo Chalabi, Roberta Banqueri and Jader Almeida sit alongside designs by Sergio Rodrigues, Percival Lafer and Jorge Zalszupin, with works by Mula Preta Studio and Isabelle de Mari completing the living room. The mix feels collected rather than overly composed. Off-white, green and caramel upholstery sits against warm timber, while works by Arthur Grangeia and Domingos Tótora introduce another layer. Throughout, the trees outside remain a constant presence. STONE, TIMBER AND A SCARPA REFERENCE The dining room continues the same dialogue between Brazilian design and bespoke architecture. At its centre is Jorge Zalszupin’s 3.5-metre Guanabara table, sourced from an antique dealer and paired with Bernardo Figueiredo’s Prima chairs and Arthur Casas’ Amorfa pendant. Catuaba wood cabinetry follows the building’s structural rhythm, concealing storage, a bar and a stone sink behind an almost uninterrupted surface. Pocket doors open onto the kitchen, enlarged by removing the former pantry and part of the service area. A timber-and-stone island combines food preparation with informal dining, while the floor introduces a less expected reference: small Bege Bahia marble tiles set in terrazzo grout, inspired by Carlo Scarpa’s floor for the Olivetti Showroom in Venice.

In Equal Bodies, photographer Chloe Rosser discusses her London upbringing and book Form&Function, exploring body image, gender, identity and nudity. January 2024 | Art & Culture TR Below EQUAL BODIES of CHLOE ROSSER from VOL-9 N aked human bodies placed in empty rooms positioned like statues. It doesn't matter their gender, age, body shape or skin color. All equal. Photographer Chloe Rosser's 74 photographs in her first book “Form & Function” subvert the idea of nudity and challenge the mainstream understanding of body image by capturing the fluidity of gender and identity. Can you describe yourself as you see yourself? I grew up in London. On my father’s side I’m English and on my mother’s I’m Polish. Before I studied photography, I began a degree in physics and philosophy. My work has definitely been shaped by my life. I’m interested in how people’s bodies work, both when static and in motion. As well as how our relationship with the body changes over time. Being inclusive and treating people fairly is very important to me. As is making sure I’m constantly learning and exploring. Your work of “Form&Function” where you portray human bodies, tell us the story behind it. “Form&Function” looks at our complicated relationship with the human body, as not only a symbol in culture, but also on a personal level. I’m taking what should be intimately familiar, and turning it into strange, foreign sculptures. They become almost inhuman, but if you look closely you can find moments where human actions have taken place. On one figure, you can see a red mark from a recent scratch, on another the impression left by underwear is visible on the skin. We could see all kinds of body figures, slim, overweight, skinny and all… Is this a protest to the beauty standards where everybody has to be beautiful in the same way nowadays? Yes, absolutely! It’s important to show realistic bodies of normal people and especially to show these different bodies on equal terms. Many of the people I work with warn me that they’re not flexible, but when I’m photographing them, I’m still able to make wonderfully strange shapes with them. I’ve also worked with people who range from age 20 up to age 70, but it’s hard to tell what age people are from these images. I TRY TO DESEXUALISE MY FIGURES Also you photograph male, female, transgender and gender fluid people. Was this on purpose to grab attention towards gender equality ? Yes it was. I wanted to make sure to include people from a range of genders because that reflects how people are. I find it so interesting that often the first thing viewers do is try to figure out the gender, age or race of the figures in these images. And that they often get it wrong. I’m not making fun of people for this, but rather pointing out that you can’t tell everything that you might think you can from looking at someone’s skin. It’s also important to me not to explain who’s who in the images, but to let that be ambiguous. Where is ‘sex’ in your philosophy of creating your art? Considering nude bodies is the attention of the art. I try to desexualise my figures. I’m not interested in sexual attraction here. I’m more much intent on looking at human flesh as a malleable building block. If they’re desexualised then the figures are freed from the critical side that also comes with that kind of gaze. Can you explain the surroundings of the F&F photos? All photos are shot in an empty room with no items and clothing. As if it's meant to be void. The spaces I use are usually homes or lived in spaces, sometimes the homes of the models themselves. I strip them bare so that they become anonymous, but I like to capture the marks on the walls and floors. These show that the spaces are used and lived in, just like how marks and scars on the skin show that the body is lived in. Can you explain why you choose human bodies to portray and the abstracted shapes of the people you shoot? Is there a story behind? The human body is one of the most intimate subjects for imagery, and using actual human flesh that has not been digitally altered is what gives my images their strength. I hide identifying features such as the head, hands and hair, so that you can’t make the usual assumptions or judgements that you would when looking at a portrait of a person. This allows you to approach the figure as a sculpture rather than an individual. CHLOE ROSSER'IN EŞİT BEDENLERİ H eykel gibi konumlandırılmış, boş odalara yerleştirilmiş çıplak insan vücutları. Cinsiyetleri, yaşları, beden şekilleri ya da ten renklerinin önemi yok. Hepsi eşit. Fotoğraf sanatçısı Chloe Rosser’ın ilk kitabı “Form&Function”daki 74 fotoğrafı, çıplaklık fikrini alt üst ediyor ve cinsiyetle kimliğin akışkanlığını yakalayarak ana akım beden imajı anlayışına meydan okuyor. Kendini senin gözünden tanıtır mısın? Londra'da büyüdüm. Babam İngiliz, anne tarafım Polonyalı. Fotoğraf eğitimi almadan önce fizik ve felsefe okudum. İşim kesinlikle hayatım tarafından şekillendirildi. İnsanların bedenlerinin hem statik hem de hareket halindeyken nasıl çalıştığıyla ilgileniyordum. Aynı zamanda bedenle olan ilişkimizin zaman içinde nasıl değiştiğini de… Benim için kapsayıcı olmak ve insanlara adil davranmak çok önemli. Sürekli öğrendiğimden ve keşfettiğimden emin olmak gibi! Form&Function'da insan bedenlerini fotoğraflıyorsun. Çalışmanın hikâyesini anlatır mısın? “Form&Function” insan vücuduyla olan karmaşık ilişkimize yalnızca bir sembol olarak değil, aynı zamanda kişisel düzeyde bakıyor. Yakından tanıdık olması gerekenleri alıp garip, yabancı heykellere dönüştürüyorum. Neredeyse insanlık dışı hale geliyorlar! Ancak yakından bakarsanız, insan eylemlerinin gerçekleştiği anları bulabilirsiniz. Bir figürde, yakın zamanda gerçekleşmiş bir çizikten kırmızı bir iz görebilirsiniz. Bir diğerinde iç çamaşırın bıraktığı iz cildinde görülebilir. Çalışmalarında zayıf, sportif, kilolu ve daha birçok beden tanımlamasını yansıtıyorsun. Bu tavrın günümüzdeki herkesin aynı standartta olmasını bekleyen güzellik anlayışına karşı bir protesto mu? Evet, kesinlikle! Normal insanların bedenlerini eşit şartlarda göstermek önemli. Birlikte çalıştığım insanların çoğu esnek olmadıkları konusunda beni uyarıyor, ama onları fotoğrafladığımda ortaya çok harika ve tuhaf şekiller çıkıyor. Ayrıca 20 ila 70 yaş aralığındaki insanlarla çalıştım. Fotoğraflara bakınca hangi insanın kaç yaşında olduğunu söylemeniz çok zor. FİGÜRLERİ CİNSİYETSİZLEŞTİRİYORUM Aynı zamanda kadın, erkek, trans birey, ‘gender fluid’ bireyler gibi toplumun her kesiminden insanlarla çalışıyorsun. Bu durum cinsiyet eşitliğine bir gönderme mi? Evet, her insanı dahil ettiğimden emin olmak istedim. Çünkü bu, insanların nasıl olduğunu yansıtıyor. Bunu ilginç buluyorum. Çünkü çoğu zaman izleyicinin yaptığı ilk şey, bu görüntülerdeki figürlerin cinsiyetini, yaşını ya da ırkını anlamaya çalışmak oluyor. Çoğu zaman da yanlış anlıyorlar! Birinin tenine bakarak bunun söylenmeyeceğine dikkat çekiyorum. Ayrıca görüntülerde kimin kim olduğunun belirsiz olması benim için önemli. Çalışmalarının odak noktası çıplak bedenler. Seks olgusunun felsefendeki yeri nedir? Figürlerimi cinsiyetsizleştirmeye çalışıyorum. Cinsel çekicilikle ilgilenmiyorum. Daha çok insan bedenine şekillendirilebilir bir yapı taşı olarak bakmaya niyetliyim. Form&Function projendeki tüm fotoğraflarda sanki bir boşluğu simgeler gibi eşyasız, boş ve sade ortamları tercih ediyorsun. Neden? Kullandığım mekanlar genellikle evler. İsimsiz olmaları için onları soyuyorum, ama duvar ve zemindeki işaretleri yakalamayı seviyorum. Bunlar, tıpkı derideki iz ve izlerin vücudun içinde yaşadığını gösterdiği gibi, mekanların kullanıldığını ve içinde yaşanıldığını gösteriyor. Alışılmadık formdaki çıplak bedenleri işliyorsun. Bu tavrını açıklayabilir misin? İnsan bedeni imgeleme için en mahrem konulardan biri ve dijital olarak değiştirilmemiş gerçek insan etini kullanmak imgelerime güç veren şey. Baş, eller ve saç gibi tanımlayıcı özellikleri saklıyorum. Böylece bir kişinin portresine bakarken yaptığınız olağan varsayımları ya da yargıları yapamıyorsunuz. Bu, figüre bir bireyden ziyade bir heykel olarak yaklaşmanızı sağlıyor.

December 2022 | Design & Interiors below english KEMERBURGAZ HOUSE K emerburgaz Evi, doğaya ve sanata aşık genç bir çiftin bugünkü hayatlarının ve gelecekle ilgili planlarının analitik bir özeti. Orman ve nehirle çevrili olan arazi; yön, doğal manzara, büyüklük ve konum açısından o kadar çok imkana sahip ki, mülkün tamamından yararlanılmış. Projenin mimarı Sotiris Tsoulos, iç mimarı ise Soto Interiors. Projenin geliştirilmesi için ilham kaynakları ve temel kavramlar nelerdi? Doğa, Kemerburgaz Evi'nin ana ilham kaynağı ve bu proje için kavramsal tasarımın dayandığı 'anahtar kelime'. Belgrad Ormanı ile İstanbul'un merkezi arasında yer alan arsanın konumu, şehrin karmaşasından kaçış yeri olan projenin konseptini tanımladı. Bu dinginlik duygusunu tasarımımızda yansıtmaya çalıştık. Karşılaşılan zorluklar nelerdi? Parselin yanında dere bulunuyor. Bu nedenle sel ihtimaline karşı arsa yükseltildi. Tabii ki proje boyunca karşılaşılan en büyük zorluklardan biri de Türkiye'deki olağanüstü enflasyonu. Bütçe sürekli revize edildi. Projede kullanılan inşaat teknikleri ve ana malzemeler nelerdi? Sel ve deprem riski nedeniyle ev 1.5 metre yükseklikte. Boşlukları doldurmak için Jet Grout (grouting) tekniği kullanıldı. Bu ana yapım yöntemlerinden bir kısmı betonarme ve çelik yapılar. Ana malzemeler meşe ağacı ve bazalt kaplama, tabandan tavana cam pencereler ve minimum çevresel etkiye sahip çatıdaki güneş panelleri. EVİN KİMLİK KARTI Kemerburgaz Residence Architect: Sotiris Tsoulos Interior Architect: Soto Interiors / https://www.soto-lab.com/ Contractor: Seba İnşaat Year: 2020 - 2021 K emerburgaz House is an analytical summary of the present life and future plans of a young couple in love with nature and art. The land surrounded by forest and river; it has so many possibilities in terms of direction, scenic view, size and location that the entire property has been utilized. The architect of the project is Sotiris Tsoulos, and the interior architect is Soto Interiors. What were the inspirations and key concepts for the development of the project? Nature is the main inspiration for Kemerburgaz House and it is the ‘keyword’ that the conceptual design relies on for this project. The location of the plot that set between Belgrade Forest and the central of Istanbul defined the project concept that is a place for escape from city’s chaos. We embrace this feeling of serenity in our design. What were the difficulties, or first setbacks encountered? There is a stream next to the plot. The plot needs to be elevated due to the flood and anticipated Istanbul’s earthquake risk. And of course, one of the main difficulties throughout the project is the extraordinary inflation in Turkey. The budget constantly revised. What were the construction techniques and the principal materials used in the project? Because of the flood and the earthquake risk the house is elevated in 1.5meters. In order to fill the void space, Jet Grout (grouting) technique used. A part from that main construction methods are concrete and steel structures. The principal materials are oak wood and basalt cladding, floor to ceiling glass windows, solar panels in the roof with minimal environment impact, the house successfully pairs sustainability and livability.

Lisbon Design Week 2025 brought together more than 95 participants across Marvila and Lisbon's creative districts, featuring Sobre Mesa and Alma Mater. June 5, 2025 | DESIGN & INTERIORS LDW : LISBON’s CREATIVE AWAKENING words Onur Basturk After exploring Lisbon last November during LAW (Lisbon Art Weekend), I returned at the end of May, precisely when the Jacaranda trees were in full bloom, draping the city in vibrant purple hues. This time, I came to experience LDW (Lisbon Design Week)—an event just as spirited and creative as the blooming Jacarandas themselves. Adding to the excitement, the eighth edition of the contemporary art fair ARCO Lisboa was happening simultaneously, alongside the energetic Lisbon by Design event just a week prior. Clearly, Lisbon continues to boldly amplify its voice in the global design and art scenes. As an avid observer, I must say: the city still has enormous potential to explore! Now, onto LDW’s third edition, spotlighting both local and international designers residing in Portugal. Just like LAW, LDW encourages exploration rather than confinement, spreading out across various neighborhoods and creative hubs. This approach makes the event especially thrilling—you find yourself eager to discover new designers and areas each day. Soon, neighborhoods like São Bento, Campo d’Ourique, Príncipe Real, Belém, and Marvila become charmingly familiar. With over 95 participants, a meticulously organized schedule was indispensable, facilitated by the highly practical website: https://lisbondesignweek.com/en The driving force behind LBD is Michèle Fajtmann, who has lived across Brussels, New York, Warsaw, London, and Lisbon. Having spent 15 years in top international law firms, Michèle decided to follow her passion for Portuguese design by founding LBD with like-minded creatives. As Michèle beautifully puts it: “Only by exploring new paths can we truly challenge ourselves and discover the extraordinary.” HIGHLIGHTS OF THE WEEK Here are some standout experiences from the vibrant five-day event: SOBRE MESA EXHIBITION A collaborative effort between Spanish studio MUT Design (founders Alberto Sánchez and Eduardo Villalón) and Portuguese designer João Xará, the Sobre Mesa exhibition explored the delightful tradition of leisurely after-meal moments spent around the table—known as "Sobre Mesa." The exhibition featured exquisite creations by over 20 talented designers. LOCKE RISING Among my absolute favorites was "Alma Mater," a thoughtful installation by AB+AC Architects (Arianna Bavuso and Andre Chedid) at Locke de Santa Joana, my chosen accommodation last November. "Alma Mater," meaning "nourishing mother" in Latin, featured a collectible series crafted from darkened iron and beeswax. Inspired by the sustaining relationship between sun and earth, this series poetically bridges energy, matter, and human experience, inviting visitors to pause, reflect, and find serenity.Also captivating were the fresh new works by Mariana Ralo and Terrakota, displayed within the charming courtyard of Locke’s Santa Joana restaurant. LUSO COLLECTIVE’S STRIKING EXHIBITION IN MARVILA Once an industrial hub, Marvila has transformed into a hotspot brimming with creative studios, galleries, and cultural events. Revitalized warehouses now echo Brooklyn’s early creative energy, with Renzo Piano’s striking Prata Riverside Village becoming an emblem of this dynamic shift.One unforgettable highlight in Marvila was Luso Collective’s "Perspective & Matter" exhibition. Displaying the impressive works of designers such as Rosana Sausa, Zoe Wolker, and Sofia de Francesco, the venue—a dramatically atmospheric former warehouse cellar—was as striking as the artworks themselves. TRIPLE DISCOVERY AT BANEMA Visiting Banema in Campo De Ourique offered three enticing discoveries: Diogo Amaro’s stunning new collection, the exciting debut of the Portuguese design collective BORA, and ALPI’s innovative wooden veneers created in collaboration with top international designers. XISTO AT MADE IN SITU French designer Noé Duchaufour-Lawrance, renowned for projects ranging from architecture and furniture to limited-edition collections, moved to Portugal in 2018 and soon after opened his gallery, Made in Situ. During LDW, Lawrance introduced his latest creation, Xisto, inspired by the layered landscapes of the Côa Valley. Focusing on the endless evolution of earth, memory, and materials, Xisto's luminous creations left an indelible impression. - TAKE NOTE AND VISIT WHEN YOU’RE IN LISBON * Hamrei, a studio focused on collectible, planet-conscious furniture and objects—and DAM Lisbon, the accompanying event space where all of his creations come together under one roof. * Oficina Marques, the art and design studio where Gezo Marques and José Aparício Gonçalves craft works rooted in the motto “Tusa de Viver” (a reflection of art quietly seeping into everyday life)—plus their wonderful hybrid workshop-store. * FLORES, founded by Italian interior designer Valentina Pilia and architect Emma Pucci, who comes from a film production background—their space in the historic Santa Catarina neighborhood is worth the stop.