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Bihter Yasemin Adalı discusses The World Rises Through Pleasure, her Art On Istanbul exhibition exploring memory, dreams, liminality and renewal. March 14, 2026 | Art & Culture TR BELOW the WORLD RISES THROUGH PLEASURE words Burcu Dimili photos Emirkan Cörüt Bihter Yasemin Adalı’s new exhibition, The World Rises Through Pleasure, opened in early February at Art On Istanbul. Moving between personal and collective memory, wakefulness and dream, her work often inhabits spaces that feel both intimate and elusive. We spoke with Adalı about the ideas shaping her practice and this latest body of work. The exhibition runs until 28 March. AN UPWARD PULL The title The World Rises Through Pleasure carries both a visceral and existential tension. What does it represent for you today? In a way, the title is a dialogue with the “fatigue society” and the pleasure-driven culture of consumption that Byung-Chul Han describes. Today, pleasure is often treated as something fleeting—an object of momentary relief. For me, however, The World Rises Through Pleasure suggests that pleasure is not merely an escape, but a possibility for renewal. Drawing upon Jean-Luc Nancy’s insights in The Pleasure of Drawing, I view the artistic act as a sequence of formation, deformation, and reformation. Through this process, we reach a moment of transformation where the self and the work enter a state of flux. To find pleasure in this "becoming" is to resist the exhaustion of the achievement-subject and to embrace a life-affirming vitality. It recalls the sacred dimension of the body and an upward pull, a tension between earth and sky. In contrast to an increasingly digital and disembodied way of living, it points to a moment when the senses awaken and the body reconnects with the world through its own weight and desire. The idea of liminality, existing on a threshold seems to run throughout the exhibition. How does this condition appear in your work? A threshold is a space where we are neither fully inside nor fully outside—an uneasy but potential-filled zone. In my practice, this often appears through figures that never fully reveal themselves or through spaces that remain deliberately undefined. From a Heideggerian perspective, it is the space where being both reveals and conceals itself. I like to connect this idea to the critique that the French philosopher and psychoanalyst Luce Irigaray directs at Western philosophy. Irigaray argues that philosophy has long understood existence as something solid, grounded and constructed, while forgetting the fluid, invisible and vital element that makes everything possible: air, the space of breath. In my paintings, the layering and later scraping away of paint—along with images such as drifting curtains or candles waiting to be blown out on a cake—are attempts to crack openings of space where the soul can breathe. For me, the act of making is neither pure destruction nor pure construction. It unfolds in the fragile balance between the two: an attempt to reintroduce the feminine presence of the air element into the solidity of matter. THESE ARE “PSYCHOLOGICAL READY-MADES” Objects that extend beyond the surface of the painting—dominoes, punching bags, telephone receivers—belong to everyday life yet feel strangely unsettling. How do you think about these objects? For me, these are “psychological ready-mades”. Dominoes symbolise interconnected destinies and the inevitable collapse—or transformation—that begins with a single touch. The punching bag is a somatic image: it represents both the violence we are exposed to and the bodily resilience that absorbs it. The telephone receiver, meanwhile, feels like a remnant of unheard voices, broken communication and the deep loneliness within today’s digital noise. The garden metaphor in the exhibition moves between rooting, decay and transformation. In today’s atmosphere of speed and uncertainty, is it still possible to be “rooted”? Rooting should not be understood as a fixed position but rather as a sense of belonging in motion—being nourished by the deeper layers of one’s own existence. In the fluid and fragmented structure of our time, rooting may no longer be about the soil itself but about trusting the cycle of decay and transformation. A garden does not only bloom; it also withers and turns into compost. A seed waiting in a pot does not always sprout. To root oneself is to surrender to this cycle—to the ancient rhythm within uncertainty. In an age defined by speed, slowing down and walking towards one’s potential rather than running towards it may in fact be the most genuine form of rooting. The small cabin where dreams are shared anonymously feels like one of the most fragile moments in the exhibition. What role do dreams play in your practice? Dreams are where the collective unconscious speaks in its most exposed form. In my practice, I do not treat dreams as a kind of database but rather as an emotional residue. The anonymous cabin becomes a space of confession where the personal meets the public. It draws on the tradition of dream interpretation but filters it through a contemporary psychoanalytic lens—sometimes even bypassing interpretation altogether, allowing the act of overhearing to take precedence. Dreaming is an experience in which logic falls silent and images take over. Listening to one dream after another while observing the paintings through the window of the cabin creates an unexpected intimacy between viewers, while also opening a subtle dialogue between the paintings and the dreams themselves. YERLE GÖK ARASINDAKİ DİKEY GERİLİM Bihter Yasemin Adalı’nın yeni sergisi “Haz ile Göklenir Dünya” şubat başında Art On İstanbul’da ziyarete açıldı. Sanatçıyla yeni sergisinden hareketle üretim pratiğini konuştuk. Sergiyi görmek için son tarih: 28 Mart. O BELİRSİZ, AMA POTANSİYEL DOLU ALAN “Haz ile Göklenir Dünya” hem bedensel hem de varoluşsal bir gerilim taşıyor. Bu başlık bugünün dünyasında neye karşılık geliyor? Bu başlık, Byung-Chul Han’ın işaret ettiği o yorgunluk toplumu ve haz odaklı tüketim dünyası arasında kurduğum bir diyalog aslında. Bugün haz, genellikle anlık ve uçucu bir tüketim nesnesi olarak görülüyor. Oysa benim için “Haz ile Göklenir Dünya,” hazzı bir kaçış değil, bir diriliş imkânı olarak tanımlıyor. Bedensel olanın kutsallığını ve yerle gök arasındaki o dikey gerilimi hatırlatıyor. Bugünün dünyasındaki o donuklaşmış, dijitalleşmiş ve bedensizleşmiş varoluşa karşı; duyuların uyandığı, bedenin kendi ağırlığı ve arzusuyla yeniden dünyaya tutunduğu bir anı temsil ediyor. Jean-Luc Nancy’nin Çizimin Hazzı (The Pleasure of Drawing) adlı eserindeki düşüncelerinden yola çıkarak, sanatsal eylemi bir oluşum, bozma-onarma ve bu sırada dönüşüm dizisi olarak görüyorum. Bu süreç aracılığıyla, hem benliğin ve hem de üretimin bir akış haline girdiği varoluş (becoming) anlarına ulaşırız. Bu gibi süreçlerin hazları, bana yaşamın öğütücülüğüne direnen bir canlılık veriyor, öylece hazla gökleniyor dünya. “Eşikte var olma hali” serginin bütününe yansımış durumda. Bu halin üretimlerine yansımasından bahseder misin? Eşik, ne tam içeride ne de tam dışarıda olduğumuz o belirsiz ama potansiyel dolu alan. Benim üretimimde bu hal, figürlerin tam olarak belirmemesi veya mekânın tanımsızlığıyla, pencere pervazları ile kendini gösteriyor. Heideggerci bir yerden bakarsak; varlığın kendini hem açtığı hem de gizlediği aralık. Ben bu aralığı, Fransız düşünür ve psikanalist Luce Irigaray’ın Batı felsefesine yönelttiği eleştiriyle bağlamayı tercih ediyorum. Irigaray; felsefe tarihinin varlığı hep katı, toprağa bağlı ve inşa edilen bir şey olarak gördüğünü, ancak her şeyi mümkün kılan o akışkan, görünmez ve hayati olan nefes payını unuttuğunu söyler. Resimlerimde boyanın katmanlaşması ve sonra kazınması, başat imgeler arasında yer alan uçuşan perdeler, pasta üzerinde üflenmeyi bekleyen mumlar gibi imgeler tam da insanın ruhuna soluk aldıran havalanma alanını açma çabası. Benim için üretim ne tam bir yıkım ne de tam bir inşa. İkisinin arasındaki o kırılgan dengede, katı olanın içinde hava elementinin dişil varlığını yeniden yaşam repertuvarına katma eylemi. PSİKOLOJİK HAZIR-NESNE Resimden taşan nesneler - domino taşları, boks torbaları, telefon ahizeleri- gündelik hayata ait ama aynı zamanda tekinsiz. Bunları seçerken nasıl bir çağrışım haritası kuruyorsun? Bu nesneler benim için birer "psikolojik hazır-nesne". Domino taşları, birbirine bağlı olan kaderleri ve o ilk dokunuşla başlayacak olan kaçınılmaz yıkımı ya da dönüşümü simgeliyor. Boks torbası, hem maruz kaldığımız şiddeti hem de o şiddeti göğüsleyen bedensel direnci temsil eden somatik bir imge. Telefon ahizesi ise duyulmayan seslerin, kesilmiş iletişimin ve bugünün dijital gürültüsündeki o derin yalnızlığın bir kalıntısı gibi. Sergideki bahçe metaforu; köklenme, çürüme ve dönüşüm arasında salınıyor. Bugünün hız, belirsizlik ve istikrarsızlık ortamında “köklenmek” hâlâ mümkün mü? Köklenmeyi sabit bir duruş değil, hareket halindeki aidiyet ve kendi varlığındaki derinlerden beslenmek olarak yeniden tanımlayabiliriz belki de. Günümüzün akışkan olduğu kadar çok parçalı yapısında köklenmek, belki de toprağa değil, o çürüme ve dönüşüm döngüsünün varlığına güvenmekle mümkün. Bahçe hep çiçek açmıyor, aynı zamanda soluyor ve gübreye dönüşüyor. Saksıda bekleyen tohum bazen de filiz vermiyor. Köklenmek, bu döngüye, yani belirsizliğin içindeki o kadim ritme teslim olmak demek. Hız çağında yavaşlamak ve "potansiyeline koşmak yerine yürümek", aslında en gerçek köklenme biçimi. Rüyaların anonim bir alanda paylaşıldığı kulübe, serginin en kırılgan noktalarından biri. Rüyalar senin sanat pratiğinde nasıl bir yer tutuyor? Rüyalar, kolektif bilinçdışının en çıplak haliyle konuştuğu yer. Rüyaları birer "veritabanı" olarak değil, birer "duygusal tortu" olarak kullanıyorum. Anonim bir kulübe, bireysel olanın kamusal olanla buluştuğu bir itiraf alanı gibi. Rüya Tabirleri geleneğinden beslenen, ama onu bugünün psikanalitik süzgecinden geçiren ve hatta onu bile bypass ederek kulak misafirliğini önemseyen bir alan rüya kabini. Rüya görmek, mantığın sustuğu, imgenin hüküm sürdüğü bir deneyim ve galeriye bakan kulübenin penceresinden resimleri süzerken bir rüyadan diğerine kulak vermek hem bizi birbirimizle umulmadık bir anda samimi hale getiriyor, hem de resimler ve rüyalar arasında bir yakınlaşma sağlıyor.

Eldvarm presents Guillaume Delvigne’s Fumi collection, pairing the Fumi Companion Set with the versatile, powder-coated steel Fumi Log Holder. November 26, 2025 | PRODUCT FRENCH CRAFT, SCANDINAVIAN CLARITY Eldvarm introduces the Fumi collection, created with French designer Guillaume Delvigne. The series brings two refined essentials — the Fumi Companion Set and the Fumi Log Holder — designed for today’s compact, efficient stove culture. CRAFT, MADE VISIBLE Inspired by long-handled Japanese fan brushes, the Companion Set distills soft curves and sculptural geometry into tools meant to be displayed as much as used. Visible screws, precise metalwork and warm wood details highlight Eldvarm’s commitment to honest construction and lasting quality. GEOMETRY WITH EASE The Log Holder carries the same clean language. Folded, powder-coated steel creates a form that feels light yet robust, functioning naturally as a holder for firewood, magazines or textiles. A quiet blend of French refinement and Scandinavian simplicity, distilled into two thoughtful, enduring pieces.

Villa Quantum in Mallorca by Estudio Cano Arquitectura features Gunni & Trentino interiors and Minotti furniture by Marcio Kogan, Nendo and others. August 23, 2026 | DESIGN & INTERIORS BRUTALIST LIVING in MALLORCA words YUZU Editorial photos Courtesy of Minotti In Mallorca, Villa Quantum brings Brutalist-inspired architecture together with warm materials, fluid living spaces and a carefully selected collection of Minotti furniture, all framed by a constant relationship with water and the Mediterranean landscape. Designed by Estudio Cano Arquitectura (ECA), with interiors by Gunni & Trentino, Villa Quantum occupies approximately 1,300 square metres across three levels. Concrete, wood and glass establish the material framework of the house, while a selection of Minotti pieces brings together designs by Marcio Kogan, Rodolfo Dordoni, Nendo, Hannes Peer, Giampiero Tagliaferri and GamFratesi. Water is one of the defining elements of the project, appearing differently on each level. From the upper floor, the house looks towards the Mediterranean Sea; the intermediate level is organised around the infinity pool; and below, an underwater view of the pool creates another perspective. Together, they create a sequence of perspectives across the three levels of the house. LIGHT, CONCRETE AND TRANSPARENCY The architectural language is established at the entrance, where a reinforced-concrete portico is punctuated by geometric openings that filter natural light. Beneath it, two Elas Cord Outdoor armchairs by Marcio Kogan / Studio MK27 mark the first appearance of the Minotti collection. From here, a sculptural staircase combining concrete, wood and glass leads to the principal living areas. The same materials continue throughout the house, with transparency becoming particularly important in the shared spaces. Expansive sliding glass walls and the absence of beams and columns maintain visual continuity between the interiors and the surrounding landscape. In the double-height living room, the Roger seating system by Rodolfo Dordoni is positioned alongside a suspended fireplace. Giampiero Tagliaferri’s Diagramma coffee table and Nendo’s Tori Bold armchair and ottoman complete the setting. LIVING INSIDE AND OUT The dining areas extend this approach across the interior and exterior. Inside, Hannes Peer’s Nico table is paired with Torii dining little armchairs by Nendo. Outside, the Bézier Outdoor table by Marcio Kogan / Studio MK27 and Tape Cord Outdoor dining little armchairs overlook the infinity pool and the Mediterranean horizon. The terraces and outdoor lounges receive the same attention as the interiors. Daylight daybeds by GamFratesi and the Quadrado seating system by Marcio Kogan / Studio MK27 furnish areas fully exposed to natural light and the surrounding landscape, maintaining the same attention to comfort found indoors. SPACES FOR RETREAT Alongside its open communal areas, Villa Quantum includes a series of more private spaces: the primary suite, guest bedrooms and a wellness area with an indoor pool. Here, proportions, tactile materials and natural light establish a quieter atmosphere. In the primary suite, the Brasilia Bed and Superquadra bench, both by Marcio Kogan / Studio MK27, are joined by Hannes Peer’s Lilliam armchair. Together, the pieces sit within a quieter setting shaped by considered proportions, tactile materials and natural light. Across its three levels, Villa Quantum brings architecture, interiors and furniture into close relation with the landscape. Concrete provides the structural and visual framework, while wood, glass and the Minotti collection shape the living spaces around it. Water—from the Mediterranean to the infinity and indoor pools—remains a recurring presence across the three levels.

Toros and Partners' Paribu headquarters in Istanbul wins an iF Design Award for Office Interiors, with design by Derya Toros and Çetin Dalva. March 2024 | Design & Interiors english below TOROS&PARTNERS WINS AWARD FOR PARIBU HEADQUARTERS DESIGN words Alp Tekin 7 0 yıllık geçmişe sahip Almanya merkezli iF Design’ın ödülleri her daim tasarım ve mimarlık dünyasında ilgi çeker. Bu yıl da öyle oldu. Ödüller iki kategoride düzenleniyor. Biri, iF Design Award, diğeri iF Design Award Gold. iF TASARIM ÖDÜLÜ'ne layık görülmek, tanınmış tasarım uzmanları tarafından iki aşamalı titiz bir seçimden geçmek anlamına geliyor. Bu yıl 72 ülkeden 10.800 başvurunun yapıldığı iF Design Award’da İstanbul’damn bir ofis tasarımı da “Office Interiors” kategorisinde ödül alanlardan biri oldu: Uniq Istanbul’daki Paribu Headquarters. Kripto borsası şirketi Paribu’nun ofis tasarımı Toros and Partners’a ait. Derya Toros ve Çetin Dalva’nın kurucusu olduğu Toros and Partners, ofis tasarımına yenilikçi bir yaklaşım getirerek, teknolojiyi sanatla harmanlayan bir tasarım gerçekleştirmiş. Sanat eserlerinin kürasyonu Begüm Güney tarafından gerçekleştirilmiş. Bitkiler de en az teknoloji ve sanat kadar ofis tasarımında başrolde. Bitki styling’inde ise Toros&Partners’ın çözüm ortakları Yuzu Botany ve Kandilli Botanik. Derya Toros, Paribu’nun tasarımına ilişkin şunları söylüyor: “Ruhu olan işler tasarlamak sadece estetik bakış açısıyla değil, bütüncül bir yaklaşımla olmalı. Birbirini besleyen değerler bütünü yaratmak, teknoloji ve sanatı birlikte harmanlamak bize daha anlamlı geliyor. Sonuçta iyi kurgulanmış bir mekanın içinde yaşayanlar, dünyayı iyileştirmeye çalışırlar. Bu ruhla tasarım yapıyoruz. Hiçbir büyük iş, tek başına yapılamaz. Ekibime ve iş ortaklarıma çok şey borçluyum. En iyi işler, ancak işini iyi yapan insanlarla birlikte mümkün”. W ith a 70-year history, the iF Design awards from Germany always attract attention in the world of design and architecture. This year was no exception. The awards are divided into two categories. One is the iF Design Award and the other is the iF Design Award Gold. Winning the iF Design Award means going through a rigorous two-stage selection process by renowned design experts. In this year's iF Design Award, which received 10,800 entries from 72 countries, an office design from Istanbul was one of the winners in the "Office Interiors" category: Paribu headquarters at Uniq Istanbul. The office design of Paribu, a technology and crypto exchange company, is by Toros and Partners. Founded by Derya Toros and Çetin Dalva, Toros and Partners took an innovative approach to office design, combining technology and art. The artworks are curated by Begum Guney. Plants, like technology and art, play a leading role in office design. Toros&Partners' solution partners for plant styling are Yuzu Botany and Kandilli Botanik. Derya Toros says about the Paribu office design: "Designing work with a soul should not only be based on an aesthetic perspective, but also on a holistic approach. It makes more sense for us to create a set of values that nourish each other and to combine technology and art. After all, those who live in a well-designed space are trying to make the world a better place. We design with that in mind. No great work can be done in isolation. I owe a lot to my team and my business partners. The best work is only possible with people who do their jobs well.

Art and culture coverage from YUZU Magazine: contemporary exhibitions, artist interviews, biennales and museum shows from galleries around the world. ART & CULTURE INSIDE MARKA LONDON: THE WAY WE WANT TO LIVE PAD LONDON RETURNS to BERKELEY SQUARE OBJECTS for LISTENING COSMIC SOUND MICHALIS GOUMAS SUMMER RENAISSANCE NIKHIL CHOPRA THE FICTION OF SELF FRANÇOIS FARCY MEMENTO FLORIS INDIA MANY INDIAS, ONE EXHIBITION GIUSEPPE LO SCHIAVO SUSPICIOUS REALITY SIMON FUJIWARA THE ARCHITECTURE OF EXPERIENCE ALINE BOUVY AMUSEMENT AS METHOD PETER BUGGENHOUT HAUSER & WIRTH MENORCA THE STORIES CLAY CARRIES NOMAD HAMPTONS: HIGHLIGHTS AN ART FAIR SHAPED BY THE ISLAND CAN IBIZA 2026 BIG SEE AND THE RIGHT AMOUNT GOKHAN TANRIOVER WAITING TO BE A FLOWER UNDERNEATH THE FIG TREE ART PARIS’S RETURN TO THE GRAND PALAIS: MEASURED YET AMBITIOUS BEAUTY AS PROTEST IN VENICE SCULPTURES THAT RESEMBLE FURNITURE Show More

Julà is a restaurant and design studio in Ankara created by Jul Happy Project founders Zeynep Ensert Yüksel and Asım Yüksel, pairing food with design. June 10, 2026 | DESIGN & INTERIORS CONTENT PARTNERSHIP TR BELOW J U L À DESIGNING a SPACE to FEEL GOOD in photos Kadir Aşnaz Located in Ankara, the capital of Turkiye, Julà brings together a restaurant and design studio under one roof — a shared space shaped by the vision of Zeynep Ensert Yüksel and Asım Yüksel, founders of Jul Happy Project. We spoke with the duo about Julà, designing through atmosphere and creating spaces that quietly settle into everyday life. How was Jul Happy Project founded? We founded Jul Happy Project in 2021 with the idea of approaching the relationship people build with spaces from a more emotional, lived-in and lasting perspective. We had realised that many of the moments that genuinely make people feel good in daily life are deeply connected to atmosphere. That became our starting point. How would you describe your design approach? We don’t see space as merely a physical composition. The light, sound, rhythm, circulation, materiality and the feeling a space leaves behind are just as important to us as aesthetics. That’s why the principle that defines our approach is not creating spaces that simply “look good”, but spaces that “feel good”. Rather than relying on expressive gestures, we focus on timeless simplicity, natural materials and spaces that build a quiet connection with the people using them. For us, good design is something that may impress at first glance, but more importantly, deepens over time as you continue to inhabit it. Julà is not only a restaurant, but also a shared space with your design studio. How did that idea emerge? Having the studio and the restaurant within the same building was less a strategic decision and more something that felt aligned with the way we wanted to live and work. We believe creative processes become more genuine and grounded when they exist within everyday life. Designing upstairs while people gather, eat and spend time downstairs creates a far more nourishing atmosphere for us than a sterile office environment ever could. That coexistence brings a certain vitality to the project. Julà is a living space — constantly evolving, shifting and allowing us to observe how people move through it. Experiencing user behaviour, the rhythm of the space and the corners where people naturally linger continues to shape our design thinking. Your motto is “making small but meaningful moments of happiness within daily life visible.” How did you translate that feeling into Julà? That idea sat at the centre of almost every decision we made for Julà. We believe the spaces people connect with most are the ones that quietly elevate the rhythm of everyday life. So rather than building the experience around grand gestures, we focused on smaller yet memorable moments: the shadows cast by daylight throughout the day, the flow between the garden and the interior, the feeling of sharing a meal around a long communal table, a slow afternoon spent over coffee, or the scent of pizza fresh from the oven filling the room. For us, all of these became part of the design language. We wanted the atmosphere to feel calming and effortless, yet still full of character. More than creating a place you “go to”, we tried to create one that feels as though you already belong there. Brick, earthy tones and natural textures play a strong role in the material palette. What informed those choices? Materials are what ultimately define how a space ages and what kind of character it develops over time. At Julà, we intentionally gravitated towards materials that age naturally and carry a tactile memory. Brick, for example, was never simply an aesthetic choice. It became a way of connecting the building to the street it inhabits, while also bringing warmth and a sense of continuity to the space. For the palette, we chose softer tones that respond naturally to sunlight — earthy colours, natural woods, matte surfaces and tactile textures. Many spaces today try to capture attention instantly. We value the opposite approach much more: creating a language that reveals itself gradually, becoming richer the longer you spend within it. You bring together design, hospitality and brand identity under one roof. What were the most challenging and rewarding aspects of that holistic approach? The most challenging part was making sure every layer worked together with real consistency. Designing a strong interior alone is never enough. The dining experience, service language, graphic identity, music, operational flow and overall user experience all need to carry the same feeling. Particularly in hospitality projects, people sense that coherence very clearly, even if they don’t consciously identify it. The most rewarding part has been watching Julà gradually form its own community. Today, that is what matters most to us: creating places that genuinely become part of people’s lives. What kind of contribution do you hope Julà will make to Ankara’s dining scene? We often see more refined dining experiences leaning either too formal or too performative. With Julà, we wanted to create something more relaxed, more natural and more connected to daily life. Julà has a structure that enjoys evolving, changing and growing. Our goal was never simply to become “a restaurant known for good pizza”. Through gatherings, events and future sub-brands, we want to build an atmosphere where people feel comfortable, natural and genuinely at ease. J U L À İYİ HİSSETTİREN bir MEKAN TASARLAMAK Ankara Beytepe’de konumlanan Julà, hem tasarım ofisi hem de restoran. Bu yeni nesil hibrit mekanı tasarlayan vizyoner çift ise Jul Happy Project kurucuları Zeynep Ensert Yüksel ile Asım Yüksel. Hem Julà hem de Jul Happy Project’i yakından tanımaya hazır mısınız? Jul Happy Project nasıl kuruldu? 2021’de, insanların mekânlarla kurduğu ilişkiyi daha duygusal, yaşamsal ve kalıcı bir yerden ele alma isteğiyle kuruldu. Günlük hayat içinde insanı gerçekten iyi hissettiren anların çoğunun doğru atmosferle ilişkili olduğunun farkındaydık. Bu da başlangıç noktamız oldu. Tasarım yaklaşımınızı nasıl özetlersiniz? Mekânı sadece fiziksel kurgu olarak görmüyoruz. Bir mekânın ışığı, sesi, ritmi, dolaşımı, malzemesi ve insanlarda bıraktığı his; tasarımın en az estetik kadar önemli parçaları. Bu nedenle yaklaşımımızı tanımlayan en temel prensip, “iyi görünen” değil, “iyi hissettiren” mekânlar üretmek. Tasarladığımız projelerde gösterişli jestler yerine zamansız sadeliğe sahip, doğal malzeme kullanımı ön planda olan, kullanıcıyla bağ kuran bir atmosfer oluşturmaya odaklanıyoruz. Bizim için iyi tasarım, ilk bakışta etkileyen, ama daha önemlisi içinde vakit geçirdikçe derinleşen tasarım. Julà sadece bir restoran değil, tasarım ofisinizle birlikte kurgulanmış hibrit bir mekân. Bu dikey birliktelik fikri nasıl ortaya çıktı? Tasarım ofisiyle restoranın aynı yapı içinde yer alması stratejik bir karardan çok, yaşam biçimimize yakın hissettiğimiz bir fikirdi. Biz üretim süreçlerinin hayatın içinde olduğunda daha samimi ve gerçek olduğuna inanıyoruz. Üst katta tasarım üretirken alt katta insanların yemek yiyip sohbet etmesi bizim için steril bir ofis ortamından çok daha besleyici bir atmosfer. Bu birliktelik projeye canlılık katıyor. Julà her gün yaşayan, dönüşen, değişen ve gözlem yapabildiğimiz bir alan. Kullanıcı davranışlarını, mekânın ritmini, insanların hangi köşelerde daha uzun vakit geçirdiğini deneyimlemek tasarım yaklaşımımızı sürekli besliyor. Mottonuz, “Gündelik hayat içindeki küçük ama değerli mutluluk anlarını görünür kılmak”. Jula’da bu hissi nasıl kurdunuz? Bu yaklaşım Julà’daki bütün kararların merkezindeydi. Çünkü biz insanların en çok bağ kurduğu mekânların gündelik hayatın ritmini güzelleştiren yerler olduğuna inanıyoruz. Bu yüzden Julà’da deneyimi daha küçük ama güçlü anlar üzerinden kurmaya çalıştık. Gün ışığının gün içinde mekânda bıraktığı gölgeler, bahçeyle iç mekân arasındaki akış, uzun masada birlikte yemek paylaşma hissi, kahve içerken geçirilen sakin bir öğleden sonra ya da fırından çıkan pizzanın mekâna yayılan kokusu… Hepsi bizim için tasarımın bir parçasıydı. Mekânın kullanıcıyı yormayan, rahatlatan ama aynı zamanda karakterli hissettiren bir atmosferi olsun istedik. Bir yere “gitmiş” gibi değil de, zaten oraya aitmişsiniz gibi hissettiren bir kurgu oluşturmaya çalıştık. Malzeme seçiminde tuğla, toprak tonları ve doğal dokular öne çıkıyor. Bu tercihlerin arkasındaki düşünce neydi? Bir mekânın nasıl yaşlanacağını ve zamanla nasıl bir karakter kazanacağını belirleyen en önemli unsur malzemeler. Julà’da özellikle doğal yaş alan ve dokusal hafızası olan malzemelere yöneldik. Tuğla bizim için sadece görsel bir tercih değildi; yapının bulunduğu caddeyle ilişki kuran, mekâna sıcaklık ve süreklilik hissi veren temel bir unsurdu. Renk paletinde ise daha sakin, güneş ışığıyla yaşayan tonlar tercih ettik. Toprak renkleri, doğal ahşaplar, mat yüzeyler ve yumuşak dokular kullanarak mekânın gösterişten uzak, ama güçlü bir atmosfer kurmasını hedefledik. Bugün birçok mekân çok hızlı dikkat çekmeye çalışıyor. Biz tam tersine, zaman geçirdikçe daha fazla hissedilen bir dil kurmayı çok daha değerli buluyoruz. Tasarım, mutfak kültürü ve marka kimliğini tek bir yapı içinde birleştiriyorsunuz. Bu bütüncül yaklaşımda en zorlayıcı ve en tatmin edici taraflar neler oldu? En zorlayıcı taraf, tüm katmanların gerçekten tutarlı bir şekilde birlikte çalışmasını sağlamaktı. Çünkü sadece iyi bir iç mekân tasarlamak yetmiyor. Mutfak kültürü, servis dili, grafik dünyası, ortamın müziği, operasyon akışı ve kullanıcı deneyiminin aynı hissi taşıması gerekiyor. Özellikle gastronomi projelerinde insanlar bunu bilinçli olarak fark etmese bile, o bütünlük hissini çok net algılıyor. Bizim için en tatmin edici taraf, Julà’nın zamanla kendi topluluğunu oluşturmasını görmek oldu. Bugün en çok önemsediğimiz şey bu: İnsanların hayatında yer edinen mekânlar yaratabilmek. Julà, Ankara’daki yeme-içme sahnesine nasıl bir katkı sunmayı hedefliyor? Daha rafine bir yeme içme deneyimi sunan mekanların çoğunlukla ya fazla resmi ya da fazla gösterişli bir çizgide ilerlediğine tanık oluyoruz. Julà’da ise daha yumuşak, daha yaşamsal ve günlük hayatın içine karışabilen bir deneyim alanı açıyoruz. Değişip dönüşmeyi ve gelişmeyi çok seven bir yapısı var Julà’nın. Hedefimiz hiçbir zaman sadece “iyi pizza yapan bir restoran” olmak değil; etkinlikler, buluşmalar ve alt markalarla insanların kendilerini rahat, doğal ve ait hissedebilecekleri bir atmosfer kurmak. WEB https://www.julaankara.com INSTAGRAM https://www.instagram.com/julhappyproject/ https://www.instagram.com/julaankara/

September 2, 2026 | TRAVEL a STOCKHOLM LANDMARK THROUGH a BARCELONA LENS words Onur Basturk photos Ben Anders We spoke at length with Aaron Clarke and Marta Tuneu, founders of Barcelona-based ADC & Tuneu, about hospitality design and their redesign of Sheraton Stockholm’s public spaces. ADC & Tuneu discuss how they reshaped the public spaces of the 1971 Sheraton Stockholm while preserving the building’s architectural character — from the lobby and bars to the co-working areas and Mr. Bronck restaurant. They also reflect on the research behind the project and the references that informed its design. PRESERVING WHAT MAKES IT SPECIAL Hospitality design is increasingly expected to create spaces that appeal to locals as much as hotel guests. Has this changed the way you think about what a hotel should be? Absolutely. I think the role of a hotel has evolved enormously. Public spaces, and particularly lobbies, are no longer simply places to pass through on your way to your room — they have become social spaces in their own right. With Sheraton Stockholm, for example, when renovating the public spaces we thought about how they could feel more inviting and relevant to both guests and the wider city. We wanted to create spaces that people would genuinely want to spend time in. Sheraton Stockholm opened in 1971 and carries more than five decades of history. When you first walked into the building, what did you feel needed to be preserved, and what needed to change? It’s an older building that has seen a great deal of use over the years, and every hotel eventually requires maintenance. But for us, that does not mean changing the soul of the building. It means improving it, adapting it and designing it to meet today’s needs while preserving what makes it special. We felt it was a wonderful space, and we wanted the original structure to remain visible and shine through the new design. We exposed structural elements such as the huge columns, making the double-height volume a remarkable feature and allowing you to understand the scale and dimensions of the building as soon as you enter. The way the light enters and moves through the interior is magnificent, and we wanted to preserve that quality as much as possible. Appreciating the scale and proportions was key to our approach to Sheraton Stockholm. We wanted to bring some fun, pattern and colour into what could otherwise feel like a rigid building. Swedish design has such a strong identity, and we wanted to emphasise that through vibrant colours and a playful yet elegant approach, bringing back some of the glamour and spirit of the 1970s. WHEN WORKING IN SWEDEN, ASPLUND IS AN INEVITABLE REFERENCE Rather than simply referencing Scandinavian design, you looked to figures such as Gunnar Asplund and elements of Swedish visual culture, from Falu red to Svenskt Tenn. How did you bring these references into the interiors without falling into nostalgia? MARTA: I studied architecture for more than six years, and I’ve always been fascinated by architectural history. I find an enormous amount of inspiration in looking backwards — at buildings, interiors and projects from different periods — not simply as historical references, but as a way of understanding how ideas evolve. There is so much intelligence and invention embedded in the classics, particularly in the way they deal with proportion, scale, light and material. We are quite romantic in that sense; we believe there is great value in understanding what came before us. When working in Sweden, Asplund is an inevitable reference. His architecture has an extraordinary sensitivity to proportion, materiality and light, and there is something very human about the way he creates atmosphere within a space. These qualities were particularly relevant to how we approached Sheraton Stockholm. Fashion is also deeply embedded in the DNA of our studio. We don’t see the relationship between fashion and interiors as a superficial one; both are fundamentally about creating an atmosphere, a sense of identity and a way of inhabiting the world. Svenskt Tenn is a particularly strong reference for us in this project. The confidence with which it combines colour, pattern and scale is something we find incredibly inspiring. We are also looking carefully at the fashion scene in Northern Europe, particularly street style. Beyond the established fashion capitals of Paris, Milan, New York and London, there is a new fashion language emerging in the north that we find incredibly exciting. There is something very instinctive about the way colour, texture and pattern are combined — often bringing together pieces that, on paper, shouldn’t necessarily work, yet somehow create a natural and effortless whole. We wanted to translate that freedom and confidence into the interiors, allowing colour and pattern to be playful and unexpected while maintaining elegance, balance and a strong sense of proportion. WE ARE IN LOVE WITH THE 1970s There is a distinct 1970s character to the project, yet it never feels like a recreation of the period. How did you balance those historical references with a contemporary approach? We are in love with the 1970s, so you will see a lot of that period throughout the project. The red sofas, the carpet designs and some of the colour combinations all have a strong connection to that era. We looked carefully at the archives of suppliers we regularly work with and used those references as a starting point. We then reinterpreted and redesigned them to suit the project, paying particular attention to proportion, comfort, durability and current compliance requirements. The sofas, for example, are completely bespoke. We made them larger and adapted their proportions to the scale of the spaces and to the way a contemporary hotel needs to function today. For us, the idea is to capture the spirit of the 1970s rather than reproduce its aesthetics literally. We wanted the project to have that sense of glamour, colour and optimism associated with the period, but expressed through a contemporary lens. WE LIKE TO GO BACK TO THE ORIGINAL SOURCES You wanted to reconnect Sheraton with the life of Stockholm. How can design help build that relationship with a city? I think the best way to connect a building with its city is to really understand the place before starting to design. This is something we are very passionate about at ADC & Tuneu. We don’t believe that inspiration should come only from Pinterest, Instagram or the latest digital tools. Of course, they are useful, but they can also make everything feel very similar. We like to go back to the original sources: buying books, looking through archives, visiting museums, walking through the streets, observing how people live and discovering the details that you would never find online. For us, this research is what allows a project to feel genuinely connected to its location. You need to spend time in a city, understand its culture and its people, and really look at what is around you. That is where you find the references that make a project feel like it belongs to that particular place, rather than simply being placed there. Mr. Bronck has a noticeably quieter, more restrained design language than the lobby. Why was it important for the restaurant to have an atmosphere of its own? Mr. Bronck is different. It has its own entrance and serves a different purpose, which called for a more intimate atmosphere. We therefore made the colour palette softer and less saturated, creating something warmer, cosier and more distinctive. We also had to consider that some people will come to Mr. Bronck without ever staying at the hotel. For us, it was therefore important that the restaurant could have its own identity while still belonging to the same family. BARCELONA SENSIBILITY The project brings together Stockholm’s design heritage and influences from Barcelona. Where do you see the Barcelona side of ADC & Tuneu most clearly? The Barcelona side of ADC & Tuneu is more about our way of looking at things than about bringing obvious Spanish references into the project. We are a Barcelona-based studio, and the city is part of our DNA. Barcelona has an incredible architectural heritage, from Romanesque and Gothic architecture to Modernism and more contemporary work. I think you can see that Barcelona sensibility in the way we approached the project — the importance we place on proportion and architectural elements, but also in our love of colour, pattern, craftsmanship and a certain sense of warmth. We like spaces that feel elegant but never too serious, and that have a sense of life and personality. There is also something very Mediterranean in our approach to hospitality. We like interiors to feel welcoming, comfortable and lived-in, rather than overly perfect. At the same time, we wanted to be very respectful of Stockholm and Swedish design, so we were never trying to bring Barcelona to Stockholm. It was more about allowing our own perspective to meet the character of the city. I think the most interesting projects happen when you bring your own identity to a place without imposing it upon its character. For us, Stockholm was always going to be Stockholm — but seen through our Barcelona eyes. As interiors are increasingly experienced through images first, has hospitality design become too focused on how a space looks rather than how it feels? Images are an important part of hospitality design now, and of course we want our projects to photograph well. But I don’t think that should be a starting point. When a space is designed only around how it will look in an image, it can easily lose its authenticity. For us, it is about creating a complete experience rather than simply creating a beautiful image. MARTA LEADS THE CREATIVE, AARON MAKES IT WORK Aaron, your time at Soho House gave you an understanding of both design and operations. What from that experience still shapes the way you approach hotels today? Working on projects where design, food and beverage, service and operations all had to come together taught me to look at a hotel from many different perspectives. A beautiful space is not successful if it doesn’t function properly, if it doesn’t work for the staff, or if the guest experience doesn’t feel natural. That experience still influences the way we work at ADC & Tuneu today. I look at things very differently from Marta. Marta tends to focus more on the creative direction and the architectural and aesthetic side, while I am constantly thinking about how everything is going to function in reality — how people move through the space, how the staff use it, what happens behind the scenes and how the business operates. I think that combination is very valuable for us. We always want the design to be beautiful and have a strong identity, but it also has to work. You come from quite different creative backgrounds. When you begin a project together, where do your perspectives tend to diverge? MARTA: Aaron is English, I am Spanish — you can imagine… We always make it work. I lead the creative direction, and Aaron makes it happen. It’s a very natural balance between us — I tend to follow my instinct and push the creative side, while Aaron brings structure and finds a way to make the ideas work in reality. As we say in Catalan, Aaron is the “seny” and I am the “rauxa”. He brings rationality and structure, while I bring instinct and spontaneity. I think that balance is actually very important to the way we work together.

Photographer Ana Lui speaks with Onur Baştürk about capturing Ibiza and Mallorca, island life, natural light, and launching her Core Living business. August 11, 2026 | Vol 13 ANA LUI ‘Island life is definitely something that makes me happy!’ words Onur Baştürk photos Ana Lui Ana Lui has been photographing Ibiza for 13 years. There’s a natural ease and simplicity to her images of Ibiza and Mallorca—and an energy that makes you want to live there. I caught up with Ana in Mallorca to talk about the islands, her photography and the life behind the images. Would you say that finding good light and being constantly on the move are the two most important elements of your life? What other elements would you add? Yes, I only use natural light, and I always try to feel the space before I shoot. I believe there is beauty in everything - in every subject, in every place, in every person. It's just a matter of capturing it in the most serene and loving way. Thanks to Instagram, travel photography has become a profession that everyone aspires to. What advice would you give to those who want to do it? I think starting locally is a great idea for all beginners. Photograph and film all the new businesses or cool artisans in your town. Having an existing content makes you more desirable to all the magazines, blogs and brands that need images from your area. I remember shooting most of the places in Ibiza just for fun before I was approached by Condé Nast Traveller. My best advice is to be proactive and create every day! What are the most impressive places that you have ever photographed? Every place is so unique and special, but I think for me, in terms of nature and landscape, it was the Azores. I also loved my little trip to Harbour Island in the Bahamas, which was a totally idyllic place where all my senses relaxed and felt nourished. Interior design often plays a major role in your photos. What style of interiors do you like? I love interiors. I'm currently launching my new business called "Core Living", which will focus on renovating old houses in Mallorca and transforming them into modern living sanctuaries, focusing mainly on sustainability and well-being. I love functional spaces that are very simple yet soothing. Our home should be a sanctuary, a place where we can escape from the chaos of the world and find inner peace. I PRACTICE IQM EVERY DAY AND BEFORE/DURING EVERY SHOOT Can you tell us about the Quantum Healing (IQM) that you practice every day? How did you begin to work with this technique? Do you practice this technique before the photo shoot? I started practicing Quantum Healing in 2019, but before that I used a lot of visualization techniques, created vision boards for each year and did daily affirmations, which I think helped me a lot in booking my dream photography clients and getting the most amazing travel jobs. I practice IQM every day and before/during every shoot I do and this is something I will be talking about in my upcoming photography workshop. I'm super excited to share my techniques and holistic approach to photography with everyone very soon! IBIZA IS MORE RAW AND SPONTANEOUS What are the most impressive places that you have ever photographed? Every place is so unique and special, but I think for me, in terms of nature and landscape, it was the Azores. I also loved my little trip to Harbour Island in the Bahamas, which was a totally idyllic place where all my senses relaxed and felt nourished. You love Mallorca and Ibiza. What makes you happy about these two islands? Island life is definitely something that makes me happy! With a Mediterranean climate, stunning landscapes and beautiful beaches, these islands are perfect for relaxing. Mallorca's rich history, beautiful architecture, vibrant culture and delicious cuisine combined with a very interesting arts and crafts scene make it the place where I feel most at home. Ibiza, famous for its nightlife, is a little wilder. Ibiza is more raw and spontaneous. Both islands encourage a healthy and active lifestyle, with plenty of opportunities for hiking, swimming and sunbathing, as well as access to local and fresh produce. SHOOTING THE MADE IN IBIZA BOOK WAS AN INCREDIBLE EXPERIENCE What are your favorite places in Mallorca and Ibiza? In Mallorca I am currently based in Palma and very close to the Santa Catalina area. I enjoy having all the healthy cafes, yoga studios, fresh markets and beautiful seafront on my doorstep. Away from Palma, I love walking around Biniaraix, Formentor beach, Portixol for a quick drink at sunset, I love the drive from Deia to Andratx and I am really into the nudist part of Es Trenc beach at the moment. In Ibiza you can usually find me having breakfast at Passion in Marina Botafoch, lunch at La Paloma in the middle of the island and dinner at Hambre in Santa Eulalia or Il Buco in Santa Gertrudis. I also love Ses Boques for a quick dip and a plate of fried sardines, Dalt Vila old town for a sunset cocktail, hidden beaches around San Joan and for clubbing I think I'm a HI Ibiza girl (toilet is the place to be). I'm serious, the best party is always at the HI toilet! Your photographs are also featured in the book "Made in Ibiza". What parts of the island have you photographed? And can you tell us about the more undiscovered, hidden corners of Ibiza? Shooting the Made In Ibiza book was an incredible experience. Because I have been living on the island for 13 years, I met people and creatives I had never met before. Focusing on the talented artisans, farmers and artists who make the island a better place showed me another side of the island. We visited and photographed all the talents all over the island, either in their homes or at their workplaces. I learned a lot about the roots of Ibiza and I am very lucky to have been part of this project. SOMERTIMES THE PACE HERE IS SLOW AND STAGNANT, BUT I LEARN TO APPRECIATE IT MORE AND MORE EACH YEAR What are your favorite things about Mediterranean culture? I think a healthy lifestyle and being outdoors most of the time. Spaniards are very active and social people. They like to be outside and they like to get together and celebrate life. Celebrating the little things in life and having a siesta or a lazy Sunday, prioritizing mental well-being is something we shouldn't take for granted. Sometimes the pace here is slow and stagnant, but I learn to appreciate it more and more each year. - The full story is featured in Vol.13 - Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

Lisbon Art Weekend founders Merve Pakyürek and Marc Kean Paker discuss LAW's free, decentralized 2024 program across more than 40 city venues. November 2024 | Art & Culture TURKISH BELOW TIME to GET to KNOW LISBON ART WEEKEND words Onur Baştürk Lisbon is one of those cities you’ll want to visit again and again. Each trip reveals a different side, a new neighborhood to explore. This is the essence of Lisbon Art Weekend (LAW), held from November 7-10: an invitation for everyone to discover a new, contemporary art-focused Lisbon. Now in its 6th edition, LAW brings together over 200 artists across more than 40 venues for a four-day experience of contemporary art. One of LAW’s key missions is to energize Lisbon’s artistic ecosystem. With major museums and cultural institutions joining the event for the first time, this year’s edition promises to be the largest and most inclusive LAW to date. Let’s hear all the details from LAW’s founders, Merve Pakyürek and Marc Kean Paker, with Yuzu Magazine proudly supporting as a media partner. INCLUSIVITY AND ACCESSIBILITY How did the idea of creating an organization like LAW come about? The concept for Lisbon Art Weekend (LAW) was born out of a desire to make contemporary art in Lisbon more accessible and engaging on a broader scale. We saw that while the city had a vibrant and diverse art scene, it lacked an open event format to connect everything. Inspired by the "Gallery/Art Weekend" model from various European cities, our vision was to create a decentralized event that invites people to explore Lisbon’s art spaces, neighborhoods, and venues, allowing them to experience contemporary art in the context of the city itself. What are LAW’s characteristics and criteria? Inclusivity and accessibility are at the heart of LAW. We’re open to a wide range of art spaces, from commercial galleries to nonprofit institutions, artist-run initiatives, and museums. Our goal is to reflect the diversity and richness of contemporary art, and our selection committee, composed of art professionals, assesses each applicant to ensure a vibrant mix of perspectives and experiences. This openness is what gives LAW its unique and dynamic character, enriching the dialogue around contemporary art in Lisbon. LAW IS INTENTIONALLY DIFFERENT FROM LARGE COMMERCIAL FAIRS What sets LAW apart from major commercial art fairs like Frieze or Art Basel? LAW is intentionally different from large commercial fairs. Unlike Frieze or Art Basel, which are often commercially driven and held in centralized venues, LAW is designed to be decentralized, nonprofit, and free to attend. It encourages people to explore Lisbon’s neighborhoods and experience art in an authentic environment, rather than in a confined fair setting. We want LAW to be an open invitation for everyone to experience contemporary art without the high costs or pressures that sometimes come with major fairs. This creates a more welcoming, intimate atmosphere that fosters genuine engagement with both the art and the city itself. Did you specifically want LAW to be held in galleries or art-oriented spaces around the city, rather than in a single area like other fairs? Could this change in the coming years? Yes, this format was a deliberate choice. Lisbon’s unique neighborhoods and diverse spaces add to the experience. By scattering venues throughout the city, we encourage people to explore different parts of Lisbon and discover places they might not have visited otherwise. While there’s always room for change, we believe that the decentralized structure is fundamental to LAW’s identity. Can you highlight some standout features of this year’s LAW? The 2024 edition of LAW is our largest yet, featuring over 70 events across more than 40 venues, including participation from some of Lisbon’s major cultural institutions. For the first time, places like CAM - Centro de Arte Moderna Gulbenkian and MAAT are joining us, offering exclusive programming. Importantly, every event remains free of charge, underscoring our commitment to making contemporary art accessible to all. How long have you been living in Lisbon? How does the contemporary art scene here compare to that of other European cities? We’ve been part of Lisbon’s art scene since 2016, so we’ve had the opportunity to watch it grow and evolve. Lisbon’s contemporary art scene has a distinct character compared to other European cities; it’s approachable, unpretentious, and filled with creative energy, fostering a more intimate and genuine exchange between artists, galleries, and collectors. This atmosphere has greatly supported LAW’s growth, as Lisbon’s art community is open and collaborative. We believe this unique environment is what makes Lisbon such an inspiring place for LAW and for contemporary art in general. LISBON ART WEEKEND’i YAKINDAN TANIYIN Bir kez gittikten sonra defalarca gitmek isteyeceğiniz şehirlerden biri Lizbon. Çünkü her seferinde farklı bir yanını, mahallesini keşfetmek mümkün. 7-10 kasım tarihleri arasında düzenlenecek Lisbon Art Weekend’in (LAW)çıkış noktası da bu: Herkesi çağdaş sanat odaklı bir başka Lizbon’u keşfetmeye davet ediyor… Bu yıl 6’ıncı edisyonu yapılacak LAW, 40'tan fazla mekanda 200'den fazla sanatçıyı dört günlük bir çağdaş sanat deneyimi için bir araya getiriyor. Misyonlarından biri de Lizbon’un sanatsal ekosistemini canlandırmak… Bu yıl önemli müze ve kültür kurumlarının da ilk kez etkinliğe katılmasıyla Lizbon bugüne dek yapılan en kapsayıcı ve büyük LAW edisyonuna sahne olacak. Yuzu Magazine’in de medya partneri olarak destek verdiği LAW’la ilgili tüm detayları etkinliğin kurucuları Merve Pakyürek ve Marc Kean Paker’den dinleyelim… KAPSAYICILIK VE ERİŞİLEBİLİRLİK LAW gibi bir organizasyon oluşturma fikri nasıl ortaya çıktı? Lisbon Art Weekend (LAW) konsepti Lizbon'daki çağdaş sanatı daha geniş bir ölçekte erişilebilir ve ilgi çekici hale getirme arzumuzdan doğdu. Kentin canlı ve çeşitlilik içeren bir sanat ortamına sahip olduğunu, ancak tüm bunları birbirine bağlayabilecek açık bir etkinlik formatından yoksun olduğunu gördük. Avrupa'daki şehirlerin Gallery/Art Weekend konseptinden esinlenerek, insanları Lizbon'un sanat alanlarını, mahallelerini ve mekanlarını keşfetmeye ve çağdaş sanatı şehrin kendi bağlamında deneyimlemeye davet eden, merkezi olmayan bir etkinlik yaratmak istedik. LAW'ın özellikleri ve kriterleri neler? LAW'ın merkezinde kapsayıcılık ve erişilebilirlik yer alıyor. Ticari galerilerden kâr amacı gütmeyen sanat kurumlarına, sanatçı inisiyatiflerinden müzelere kadar geniş bir yelpazedeki sanat alanlarına açığız. Çağdaş sanatın çeşitliliğini ve zenginliğini yansıtmak istiyoruz. Sanat profesyonellerinden oluşan seçici kurulumuz her başvuruyu değerlendiriyor. Bu yaklaşım zengin bir perspektif ve deneyim çeşitliliği sağlayarak Lizbon'daki çağdaş sanat söylemi içindeki diyaloğu geliştiriyor. Bu açıklık LAW’a perspektif kazandıran en önemli unsur. LAW, BÜYÜK TİCARİ FUARLARDAN BİLİNÇLİ OLARAK FARKLI LAW'ı Frieze ya da Art Basel gibi büyük ticari sanat fuarlarından ayıran nedir? LAW, büyük ticari fuarlardan kasıtlı olarak farklı. Daha ticari odaklı olan ve genellikle merkezi mekanlarda düzenlenen Frieze ve Art Basel’ın aksine LAW, merkezi olmayan, kâr amacı gütmeyen ve katılımı ücretsiz olacak şekilde tasarlandı. İnsanları Lizbon'un mahallelerini keşfetmeye ve sanatı kapalı bir fuar ortamından ziyade organik ortamında deneyimlemeye teşvik ediyor. LAW'ın, büyük sanat fuarlarının getirdiği yüksek maliyetler veya baskılar olmadan herkesin çağdaş sanatı deneyimlemesi için bir davet olmasını istiyoruz. Bu yaklaşım, sanatla ve şehrin kendisiyle gerçek bir etkileşimi vurgulayan daha sıcak ve samimi bir ortam yaratıyor. LAW'ın tek bir alanda değil de, şehrin dört bir yanındaki galeriler ve sanat odaklı alanlarda yapılmasını özellikle mi istediniz? Önümüzdeki yıllarda bu durum değişebilir mi? Bu formatı bilinçli seçtik. Lizbon'un şehir manzarası, kendine özgü mahalleleri ve mekanları bu deneyime katkıda bulunuyor. Mekanların şehrin dört bir yanına dağılmış olması, insanları Lizbon'un farklı bölgelerine gitmeye ve başka türlü ziyaret edemeyecekleri alanları keşfetmeye teşvik ediyor. Bu merkezi olmayan yapının LAW'ın kimliğinin odağında yer aldığını düşünüyoruz. Bu yılki LAW'ın öne çıkan özellikleri neler? LAW'ın 2024 edisyonu Lizbon'daki önemli kültür kurumlarının katılımıyla 40'tan fazla mekanda 70'in üzerinde etkinliğin yer aldığı şimdiye kadarki en büyük edisyonumuz. İlk kez CAM - Centro de Arte Moderna Gulbenkian ve MAAT gibi mekanlar özel programlar sunarak katılıyor. Ayrıca, çağdaş sanatı herkes için erişilebilir kılma sözümüzü bir kez daha teyit ederek her etkinlik ücretsiz olarak gerçekleştirilecek. Ne kadar zamandır Lizbon'da yaşıyorsunuz? Lizbon'daki çağdaş sanat ortamı diğer Avrupa şehirlerine kıyasla nasıl? 2016'dan bu yana Lizbon'un sanat ortamına dahiliz. Dolayısıyla bu ortamın büyüdüğünü ve geliştiğini görme şansımız oldu. Lizbon'un çağdaş sanat ortamı diğer Avrupa şehirlerine kıyasla farklı bir havaya sahip; ulaşılabilir, gösterişsiz ve yaratıcı enerjiyle dolu. Bu da sanatçılar, galeriler ve koleksiyonerler arasında daha samimi ve otantik bir alışverişe olanak sağlıyor. Lizbon'un sanat topluluğu açık ve iş birlikçi olduğu için bu ortam LAW'ın gelişimini gerçekten destekledi. Lizbon'u LAW ve genel olarak çağdaş sanat için böylesine ilham verici bir yer haline getiren şeyin bu kendine özgü atmosfer olduğuna inanıyoruz.

July 2022 | People Be Original by PANERAI ZEYNEP ÜNER Words Timur Can Ersoy Photos Elif Kahveci Zeynep’le yıllar önce Erciyes Kayak Merkezi’nde tanıştığımda yüksek enerjisine hayran kalmış, hatta sayesinde kayağa başlamıştım. Yayıncılık kariyeri 22 yıla yayılan, şu sıra Gain’de kendi deyimiyle “içerikçiliğe” devam eden Zeynep ekstrem sporları seviyor. Kısa saçlı stili ise onun vazgeçilmezi. ERKEK SPORLARI VE KIYAFETLERİNİ SEVERİM Seninle ilgili internette “Kısa saçın en cool durduğu kadın’” diye bir cümle var. Ne zamandan beri kısa saçlısın ve neden kısa saç? Çocukken de kısa saçlıydım. Çok yüzdüğüm için orta kulak sorunu yaşıyordum ve sonunda hep kestiriyordum. Beden dilim ve ilgi alanlarıma da çok yakışıyordu. Havalı dille “tomboy”, halk diliyle “erkek Fatma”ydım anlayacağın... Filiz Akın aile dostumuzdu. Hayatımda gördüğüm en güzel kadındı. Daha da güzel olan saçlarıydı. Ona çok özenirdim. Benzemek de isterdim, ama aşırı uzak bir hedefti tabii. Bir gün altı yaşında bitlenmişim, annem saçımı kestirmeye götürmüş. Üzülmeyeyim diye demişler ki, “Filiz Akın da kestirdi”. O zaman sarıya da boyar mısınız demiştim! Tamamı için... Print VOL VII - 2022 Out of Stock View Details

Rixos Premium Bodrum is renovated by Arketipo Design with olive tree motifs, terrazzo floors, reclaimed oak and chestnut furniture, and local craft. Mart 2022 | Tasarım | Türkiye for english click here Arketipo’dan Bodrum Rixos’a ‘doğal’ güncelleme Yazı | Onur Baştürk A rketipo Design 2004 yılında tasarımını gerçekleştirdiği Bodrum Rixos’u yeni bir bakış açısıyla gözden geçirip güncelledi. Şimdi söz firmanın kurucu ortaklarından iç mimar Esin Sözer Kalender’de… Renovasyonda hedef neydi? Nasıl bir yenilik isteniyordu? Rixos Premium Bodrum, 1000’e yakın zeytin ağacının bulunduğu 187 dönümlük bir arazi içerisinde. Bu ağaçların tamamı koruma altında ve hatta 12 tanesi anıtsal ağaç statüsünde. Otelde her yıl 22 Eylül’de konuklarla birlikte zeytin hasadı yapılmaya başlanmış. Elde edilen mahsül, zeytinyağı ve salamura olarak sene boyunca misafirlere ikram ediliyor. Bu bilgiler ışığında, daha güncel bir yaklaşımla, otelin bulunduğu doğayla uyum içinde oluşunu vurgulayan bir tasarım geliştirmeyi hedefledik. Ancak geçmiş tasarımımız ve geçirdiği değişiklikler sonrasında iç mekanda gelinen noktada, klasik detaylarla birlikte biraz karmaşa hakimdi. Tasarım her anlamda kullanıcı davranışıyla dönüşen bir olgu. Burada da zamanla hem nihai kullanıcı hem de işletme ihtiyaçlarına yönelik yeni istekler oluşmuştu. Bu nedenle iç mekan tasarımını geliştirirken tüm fonksiyonları yeniden ele aldık ve yapısal kurguyu zeytin ağacının formu, rengi ve dokusu üzerinden geliştirdiğimiz stilize çalışmalarla destekledik. NASIL UYGULANDI Sanırım otel biraz daha hafiflemiş ve güncellenmiş oldu. Uygulama nasıl oldu? Proje ve uygulama için kısıtlı bir süremiz vardı. Yapımı uzun sürecek tüm imalatlardan kaçındık. Aynı zamanda etkileyici bir tasarım olması da gerekiyordu. Çok geniş açıklıkların olduğu alanlarda zeminde terrazzo malzemeyle ilüstratif cnc çalışmalar gerçekleştirdik. Bu desenlerin tamamı otele özel tasarlandı. Odalardan genel mekana uzanan bir kurgu ile geliştirildi. Mobilyaların üretiminde doğal ahşap malzeme kullanıldı. Ege ve Karadeniz’deki eski köylerin ahırlarından çıkan, kullanılmayan, 150-200 yıllık meşe ve kestane ağacı ahşapları kullanılarak imal edildi. Ayrıca lokal sanatçıları özel sanat eserleri tasarladı. Jülide Günce ile paper-mache tekniği ile bir duvar enstelasyonu çalıştık. Sosyal sorumluluk projesi kapsamında kadın zanaatkârlarla birlikte makrome bir sarkıt aydınlatma tasarımı geliştirdik. Odalarda yastıklar için yerel tezgahlarda kumaşlar dokundu, tasarlandı. Halıları yine Bodrumlu kadınlarla birlikte ürettik. Tasarladığımız ürünlerin özellikle kadın girişimcilerle, kolektif bir şekilde hayata geçtiğini görmek gerçekten müthiş. İlk tasarımdan yıllar sonra bu renovasyonu yaparken neler hissettiniz? Aslında bu otelin geçirdiği ikinci renovasyon. Biz 2004’de ilk tasarımı gerçekleştirdikten sonra 2012 yılında başka bir grup tarafından farklı bir çalışma yapılmıştı. 2020 yılında yapıyla tekrar buluştuğumuzda eski bir dostla yeniden karşılaşmış gibi olduk. Yıllar içerisinde edindiğimiz tecrübeyle eski bir tasarımımızı yeniden ele almak heyecan verici bir deneyimdi. 'Natural' update from Arketipo to Bodrum Rixos Words | Onur Baştürk A rketipo Design revised and updated Bodrum Rixos, which it designed in 2004, with a new perspective. Now the word is in Esin Sözer Kalender, one of the founding partners of the company, interior architect… What was the goal of the renovation? What kind of innovation was desired? Rixos Premium Bodrum is located on a land of 187 acres with nearly 1000 olive trees. All of these trees are under protection and 12 of them are in the status of monumental trees. The olive harvest started at the hotel on September 22 every year, together with the guests. The resulting product is served to guests throughout the year as olive oil and brine. In the light of this information, we aimed to develop a design that emphasizes the fact that the hotel is in harmony with the nature, with a more up-to-date approach. I think the hotel has become a little lighter and updated. How was the application? We had a limited time for the project and implementation. We avoided all productions that would take a long time to build. It also had to be an impressive design. In areas with very wide openings, we carried out illustrative cnc works with terrazzo material on the floor. All of these patterns were designed specifically for the hotel. Natural wood material was used in the production of furniture. It was manufactured using unused, 150-200 years old oak and chestnut woods from the barns of old villages in the Aegean and Black Sea Regions. In addition, local artists designed special works of art. We worked with Jülide Günce on a wall installation using the paper-mache technique. As part of the social responsibility project, we developed a macrame pendant lighting design together with female artisans. Çapa 4

Rezzan Benardete discusses her interior design practice, dream home in Muğla, and the warm, personalized spaces she creates for Cozy Restaurant. April 2025 | VOL 15 TR BELOW REZZAN BENARDETE words Onur Basturk photos Bilal İmren Rezzan Benardete, the creative mind behind Istanbul's most popular restaurant, Cozy, talks about her dream home project and her design essentials. What drew you to interior design, and how did you get started in this field? Design has always been a part of my life. Since childhood, my curiosity for details, eagerness to explore new ideas, and admiration for art naturally led me to this field. During my travels, studying different cultures' approaches to architecture and design deepened my passion. I began professionally with small-scale residential projects, and today, Rezzan Benardete Interiors stands out for its ability to bring character to spaces while balancing aesthetics and functionality. We design a diverse range of environments—from homes and offices to yachts and restaurants. What are the key elements that define your signature style? Naturalness, timelessness, and meticulous attention to detail! While I embrace a minimalist yet elegant approach, I always incorporate special details that add character to a space. These can be unique textures, high-quality materials, or artworks that complement the soul of the space. For me, simplicity is essential, but it should never feel cold or lifeless. The right use of materials and textures is indispensable in creating a warm and inviting atmosphere. PERSONALIZATION IS KEY —IT COULD BE A CUSTOM-DESIGNED PIECE OF FURNITURE, A VINTAGE ITEM, OR AN ARTWORK THAT REFLECTS THE HOMEOWNER’S STORY How does your design philosophy adapt to different types of projects, such as yachts, homes, and restaurants? I approach each project with the understanding that every space has its own story and context, yet my core design philosophy remains consistent. When designing yachts, I focus on maximizing limited space while maintaining luxury and comfort. The challenge lies in efficiently organizing compact areas, so I emphasize multifunctional furniture, smart storage solutions, and custom designs that optimize every square inch. I also favor light color palettes to enhance the perception of spaciousness. For residential projects, my priority is to create warm, welcoming spaces that reflect my clients’ lifestyles, while in restaurants, my goal is to design environments that offer guests an unforgettable experience. What are your must-haves in home design? Three essential elements: natural materials, well-balanced lighting design, and personalized details that give a home its soul. I love enhancing a space’s warmth through natural stones, wood, and textiles. Personalization is key—it could be a custom-designed piece of furniture, a vintage item, or an artwork that reflects the homeowner’s story. What did you focus on in your recent residential projects? I aimed to create a timeless design by blending classic elements with modern touches. I combined pieces that stand the test of time with custom-designed furniture and accessories that bring a fresh, innovative feel. Like a modern artwork atop a classic console or a sculptural coffee table that adds character to a minimalist space. EVERY DETAIL, FROM THE MENU TO DECOR, SHOULD REFLECT THE RESTAURANT’S IDENTITY When designing a restaurant, what is your priority—atmosphere or functionality? While elements are interconnected, my primary focus is always achieving harmony. Every detail, from the menu to the decor, should reflect the restaurant’s identity. Atmosphere is about the emotions guests feel the moment they step inside. For your recent project, Cozy Restaurant, what kind of space did you envision? For Cozy Restaurant, I envisioned a space where guests feel at home. I aimed to blend warmth with a touch of luxury by incorporating natural tones, soft textures, and warm lighting. Which design movements or periods influence your work the most? Modernism and the Bauhaus movement have significantly shaped my design approach. Additionally, the philosophy of Wabi-sabi inspires me to embrace the beauty of natural materials and imperfections. I also draw influence from the warm minimalism of Scandinavian design and the effortless elegance of Mediterranean architecture. If you could design your dream project without limitations, what would it be? My dream project would be a serene, timeless living space in Muğla (South Turkiye). I envision a home seamlessly integrated with the natural fabric of the Aegean—blending minimalism with sophistication, merging modern lines with the refined essence of traditional Turkish architecture. The space would be light-filled and airy, where soft neutrals and vibrant tones coexist harmoniously, and the boundaries between indoor and outdoor living nearly vanish. İstanbul'un popüler restoranı Cozy’nin tasarımını üstlenen Rezzan Benardete, hayalindeki ev projesini ve tasarımda olmazsa olmazlarını anlatıyor. Interior design’a sizi çeken neydi, bu alana nasıl başladınız? Tasarım her zaman hayatımın parçasıydı. Çocukluğumdan beri detaylara olan merakım, yenilikleri araştırma iştahım ve sanata olan hayranlığım beni bu alana yönlendirdi. Yaptığım seyahatlerde farklı kültürlerin mimari ve tasarım yaklaşımlarını incelemek bu alanda derinleşmemi sağladı. Önce küçük ölçekli ev projeleriyle başladım. Bugün ise Rezzan Benardete Interiors; mekanlara karakter kazandıran, estetik ve işlevselliği dengeli bir şekilde bir araya getiren tasarım anlayışıyla öne çıkıyor. Ev, ofis, yat ve restoranlara kadar geniş bir yelpazede tasarım yapıyoruz. Her projede, mekanın kimliğini ön plana çıkaran, detaylarıyla fark yaratan özgün bir atmosfer yaratmayı hedefliyoruz. İmza stilizi tanımlayan temel unsurlar neler? Doğallık, zamansızlık ve detaylara verilen özen! Sadelik ve şıklığın bir arada olduğu bir yaklaşımı benimsiyor olsam da, her zaman mekana karakter katan özel detaylar eklerim. Benzersiz dokular, kaliteli malzemeler ya da mekanın ruhunu tamamlayan sanat eserleri gibi… Sadelik benim için önemli, ancak sadelik hiçbir zaman soğuk ve ruhsuz olmamalı. Malzemelerin ve farklı dokuların doğru kullanımı sıcak bir atmosfer yaratmanın vazgeçilmezi. Yat, ev ya da restoran gibi farklı işlevdeki projelere tasarım çizginiz nasıl uyum sağlıyor? Her projenin kendine özgü bir hikâyesi ve bağlamı var. Ancak genel tasarım felsefem tüm projelerde geçerli. Yattaki sınırlı alanları lüks bir yaşam sunacak şekilde tasarlıyorum. Nitekim en büyük zorluk bu: Sınırlı alanı hem işlevsel hem de konforlu bir şekilde düzenlemek. Bu nedenle çok işlevli mobilyalar, akıllı depolama çözümleri ve alanın her santimetresini değerlendiren özel tasarımlar yapmaya özen gösteriyorum. Renk paletinde ise genellikle açık tonlar kullanarak mekanın daha geniş algılanmasını sağlıyorum. Ev projelerinde müşterilerimin kişisel yaşam tarzına uygun, sıcak ve davetkâr mekanlar yaratmaya odaklanıyorum. Restoranlarda ise misafirlerin unutulmaz bir deneyim yaşaması önceliğim oluyor. Ev tasarımında olmazsa olmazlarınız neler? Doğal malzemeler, dengeli bir ışık tasarımı ve mekana kişilik katan özel detaylar. Doğal taşlar, ahşap ve tekstil gibi malzemelerle mekanın sıcaklığını artırmayı seviyorum. Kişisellik ise evin ruhunu oluşturur. Bu da özel tasarım bir mobilya, vintage bir parça ya da ev sahibinin kişisel hikâyesini yansıtan bir sanat eseri olabilir. MEKANDAKİ HER DETAY RESTORANIN KİMLİĞİNİ YANSITMALI Restoran tasarlarken önceliğiniz nedir? Atmosfer mi yoksa işlevsel olması mı? Tüm unsurlar birbiriyle bağlantılı, ancak önceliğim her zaman bütünlük oluşturmak. Mekandaki her detayın, menüden dekorasyona kadar restoranın kimliğini yansıtması gerekiyor. Atmosfer ise misafirlerin mekana girdikleri andan itibaren hissettiği duygularla ilgili. Son projelerinizden biri olan Cozy’de nasıl bir yer hayal ettiniz? Misafirlerin kendilerini evindeymiş gibi hissedecekleri bir atmosfer yaratmayı hayal ettim. Bu sıcaklık hissini lüks bir dokunuşla birleştirdim. Tasarımda doğal tonlar, yumuşak dokular ve sıcak aydınlatmalar kullandım. Tasarım anlayışınızda en çok hangi dönem ya da akımlardan etkileniyorsunuz? Modernizm ve Bauhaus hareketi tasarım anlayışımda büyük etkiye sahip. Aynı zamanda wabi-sabi felsefesi sayesinde doğal malzemelerin ve kusurların güzelliğini benimsiyorum. Ayrıca İskandinav tasarımının minimalizmi ve Akdeniz mimarisinin doğal zarafeti de projelerimde etkili oluyor. Hayalinizdeki projeyi bir sınırlama olmaksızın tasarlayabilseydiniz, bu nasıl bir proje olurdu? Hayalimdeki proje Muğla’da sade, zamansız ve huzurlu bir yaşam alanı tasarlamak. Ege’nin doğal dokusuyla uyum içinde, minimal ama sofistike, modern çizgilerle geleneksel Türk mimarisinin zarif bileşimine sahip bir ev. Açık tonlarla güçlü ve dinamik renklerin iç içe geçtiği, ferah ve ışıkla dolu bir yaşam alanının olduğu, iç mekanla dış mekan arasındaki sınırların neredeyse tamamen kaybolduğu, geniş teraslar ve avluların olduğu bir ev tasarlardım. Evin her köşesinde hem dinginlik hem de estetiği yansıtacak bir sadelik olmasına özen gösterirdim. for more Print VOL XV - 2025 Out of Stock Add to Cart

Onur Baştürk visits Praia do Canal Nature Retreat in Portugal's Vicentine Coast Natural Park, with low-profile architecture by Atelier Bugio. April 25, 2026 | VOL 18 a QUIET, WILD RETREAT words Onur Basturk photos Francisco Nogueira Praia do Canal is a narrow, stony cove on Portugal’s southwestern coast, opening directly onto the Atlantic. There is none of the usual beach bustle here — only wind, waves and an open horizon. The cove lies within the Vicentine Coast Natural Park, a protected stretch of more than one hundred kilometres where the terrain shifts between cliffs, dunes, pine forests and open Atlantic. Reaching Praia do Canal is not straightforward — perhaps this is why it is often described as one of the Algarve’s last wild beaches. Just offshore, the sculptural rock formation Pedra da Agulha rises from the water like a quiet landmark. Not a lighthouse, yet still a point of orientation. Within this expansive setting sits Praia do Canal Nature Retreat, named after the cove itself. Set across a 220-hectare valley that opens towards the ocean, the retreat offers a version of luxury defined less by display and more by distance, silence and proximity to the land. ARCHITECTURE THAT FOLLOWS THE LAND Designed by Atelier Bugio, the architecture moves with the terrain rather than against it. Low-profile volumes follow the slope of the valley, leaving the horizon line largely uninterrupted. From afar, the retreat reads less as a hotel and more as a continuation of the landscape. The material palette reinforces this approach: stone, timber and earth-toned finishes echo the surrounding vegetation. Architecture here does not frame the scenery; it extends it. At the centre, an open forum and pool area act as a social anchor. At sunset, the sky reflects on the water, the wind shifts direction and the space takes on the calm of a natural amphitheatre — social, yet never loud. Guest rooms are deliberately restrained. The focus remains outward. Generous openings, terraces and low-set windows keep the landscape in constant view, allowing light and weather to shape the atmosphere of each space. A KITCHEN ROOTED IN PLACE At Praia do Canal, gastronomy is another expression of place. The kitchen draws on regional producers, seasonal ingredients and the character of a territory that sits between Alentejo and the Algarve. The main restaurant, Azeitona, presents local cuisine through a contemporary lens. Daily catch, seafood from Ria Formosa, regional cheeses and the robust flavours of southern Portugal shape the menu. The plates are not elaborate; the ingredients speak for themselves. THE WALK TO THE OCEAN One ritual quickly becomes non-negotiable: the morning walk to the beach. At a brisk pace it takes about an hour; at a slower rhythm, closer to ninety minutes. The reward is a shoreline that still feels untamed. Even standing at the edge of the Atlantic, feeling the cold spray carried by the wind, is an experience in itself. After the walk, the most natural place to slow down is the hotel’s spa. Treatment rooms open onto the landscape, keeping the connection to nature intact. A massage, followed by time in the pool, gently resets the pace of the day. Then, a cocktail at sunset, facing the horizon. In that moment, everything feels aligned — exactly as it should be. - The full story is featured in Vol.18 - Print VOL XVIII - 2026 €20,00 Price Add to Cart

July 2024 | Art & Culture FOR ENGLISH NOMAD CAPRI’ye dair 10 ŞAHANE ŞEY words Onur Baştürk Giorgio Pace ve Nicolas Bellavance-Lecompte tarafından 2017 yılında kurulan gezici sergi formatındaki NOMAD üçüncü kez Capri'deki muhteşem Certosa di San Giacomo’da gerçekleşti. İşte NOMAD Capri’den unutulmaz 10 şey. 1. Dubai ve Milano merkezli mimar, sanatçı ve tasarımcı kolektifi Etereo Design’ın Nilufar Gallery için sınırlı sayıda ürettiği "Faraglioni" koleksiyonu... Bir orta sehpa, bir yemek masası, bir sehpa ve iki konsol içeren "Faraglioni” koleksiyonu denizin ihtişamını iç mekana taşımak üzere tasarlanmış. Koleksiyondaki yemek masasının bronz ayakları kayalık oluşumlarına referans niteliğinde. “Dünyayı dönüştürmek için güzellik yaratıyoruz” diyen Etereo Design kurucuları Stefania Digregorio ile Mirko Sala Tenna, kullanılan bronzun kabuğunun kayaya mükemmel bir şekilde benzemesi için Brianza'dan bir zanaatkârla çalışmış. Ayrıca masanın üzerindeki cam, İtalyan cam sanatının başkenti Venedik'teki en iyi atölyelerden temin edilmiş. 2. Mexico City merkezli tasarım ve mimarlık stüdyosu ATRA’nın “Future Relics" başlıklı seçkisi… Çok yönlü Beluga modüler L-şekilli kanepe, uzun tüylü alpaka ile döşenmiş lüks Egge sandalyeler, beyaz oniks mermerden üretilmiş zarif Pebble sehpa ve Menaad serisinden benzersiz bir aydınlatmadan oluşan seçki; ATRA'nın doğa, teknolojik refah, maneviyat ve bu temalardan ilham alan etkileşimlerle olan ilişkisini yansıtıyor. 3. Keteni ana akım bir lüks kumaş haline getiren, St. Tropez’den St. Barts’a Miami’den Dubai’ye kadar büyük kıta pazarlarına kadar yayılan 100 % Capri markası kurucusu ve CEO'su Antonino Aiello'nun evinde gerçekleşen NOMAD Capri partisi… Ziyaretçileri evin beyaz çatısında danseden dansçıların karşıladığı parti gece geç saatlere kadar devam etti. Faraglioni kayalıklarına bakan beyazlar içindeki evdeki partinin gerçekten de unutulmazdı. 4. Moda tasarımcısı kariyerinin yanı sıra yıllardır uygulamalı sanat alanında deneyler yapan Christian Pellizzari’nin Murano camı, mermer ve demir masa lambalarından oluşan aydınlatma tasarımları… Pellizzari'nin Nilufar Gallery’de sergilenen aydınlatmalarında en büyük ilham kaynağı doğa ve onun iklim değişikliğine uyum sağlamak için geçirdiği ani değişimler. 5. Costantino Gucci ve Edward Raneri'den oluşan tasarım stüdyosu CELO1’ın Rossana Orlandi Galeri alanında sergilenen ayna ve camdan oluşan müthiş serisi… İzleyicinin algısıyla etkileşime giren nesne ve enstalasyonlar yaratmaya odaklanan Costantino ve Edward, genellikle cam ve ayna gibi yansıtıcı yüzeylerle çalışmayı tercih ediyor. Bu malzemeler izleyicinin yansımasını beklenmedik şekillerde etkiliyor. Mesela “Glimpse”, kozmik fenomenlerden esinlenen bir ayna ve daha geniş dairesel bir formun varlığına işaret ediyor. 6. Zanaatkârlığı ileri teknolojiyle harmanlayan heykellerin yaratılmasında uzmanlaşmış bir atölye olan Fonderia Nolana’nın "Copia Conforme" sergisi… Napoli Ulusal Arkeoloji Müzesi ve özellikle Villa Papiri koleksiyonundan eserlerin bronz ve reçineden yapılma reprodüksiyonlarının sergilendiği sergi, Fonderia Nolana ile müze arasındaki kopya üretimi için yapılan iş birliğinin belgelenmesini temsil ediyor. 7. Hafıza ve mimari perspektiflere adanmış “Capri Perspectives” projesi… Capri’nin tarihinden ilham alan projede Giuliano Andrea dell'Uva tarafından tasarlanan ve Forma & Cemento tarafından üretilen masa ve bu masa üzerindeki mavi ve beyaz fırça darbeli seramik tabaklar yer alıyor. 8. Certosa di San Giacomo’nun girişindeki alanda yer alan Alman sanatçı Wolfgang Laib’in “City of Silence” enstalasyonu… Enstalasyon hem Ortaçağ İtalya mimarisinden hem de antik İran'da Zerdüşt'ün bedenlenme ayinlerinde kullanılan sessizlik kulelerinden esinleniyor. Laib'in görsel anlatısının tekrarlayan özelliği olan kent manzaralarından izler de taşıyan enstalasyon, balmumundan yapılmış 20 heykelden oluşuyor. Sanki Laib bize, herkese ait olan ama aynı zamanda hiç kimseye ait olmayan bir tür ütopik, ideal bir şehir sunuyor. 9. Volumnia ve Spazio21’in alanında sergilenen Nuria Mora’nın el boyası seramik heykeli “Totem”… Enrica De Micheli'nin, Piacenza şehrinin güzelliği yıllardır saklı kalmış tarihi ve ikonik bir mekânının yeniden doğuş projesi. Antika ve modern tasarım konusunda deneyimli bir galerici olan Enrica De Micheli, Piacenza'nın kalbindeki eski bir rönesans kilisesinin içinde yüzyıl ortası İtalyan tasarımına adanmış bir sergi alanı sunuyor. 2016 yılında Reggio Emilia'da kurulan SpazioC21 ise yaratıcı projeler için bir merkez ve dinamik bir sergi mekânı. 10. Milano merkezli CARLOCINQUE Galeri’nin alanında yer alan Bertozzi&Casoni'nin hiper-gerçekçi seramik eserleri, Roberto Mora'nın geri dönüştürülmüş işleri… Tematik multidisipliner sergilere ev sahipliği yapan CARLOCINQUE Galeri, Positano'daki 18. yüzyıldan kalma zarif bir villada yeni bir şube açacak.

Milan recommendations from Studiopepe, Parisotto+Formenton, Federica Biasi and Simona Cardinetti, covering restaurants, art, architecture and hotels. April 6, 2026 | Travel DESIGNERS' GUIDE to MILAN words Maria Chiara Antonini Experience Milan through the eyes of five architecture studios and designers. STUDIOPEPE For a refined breakfast or an elegant coffee break, we return to Pasticceria Marchesi 1824, with its timeless old-world charm. Our restaurant list ranges from Røst, with its cool atmosphere and creative cuisine, to La Pesa, a true Milanese classic. For a more traditional “old Milan” vibe, we recommend Latteria San Marco, while those seeking a subtly Parisian atmosphere should head to Tram Tram. To experience the most compelling art exhibitions, Triennale Milano is an institution, consistently offering a rich and diverse cultural program. Fondazione Prada follows, as much for its striking architecture as for its exhibitions, alongside PAC, set beside the Villa Reale. Then Pirelli HangarBicocca, where vast, monumental spaces redefine industrial architecture. When it comes to inspiration, we hold two places especially close to our hearts: Fondazione Achille Castiglioni and the Fornasetti showroom—an extraordinary space where one could easily spend entire days, and one of our favorite places in Milan. INFO Founded by Arianna Lelli Mami and Chiara Di Pinto in 2006, Studiopepe is known for its refined and eclectic approach, spanning interiors, hospitality, and product design. https://studiopepe.info PARISOTTO + FORMENTON For a leisurely breakfast or a quick lunch break, Pasticceria Sissi is a true city staple—an informal yet authentic spot. An institution in its own right is Bar Basso, a genuine observatory of the international design community. It was here that the iconic Negroni Sbagliato was born, becoming a symbol of the place; yet what truly makes it special is the collective energy that fills the space during Milan Design Week. For art lovers, Galleria Cadogan’s Milan venue creates a dialogue between tradition and experimentation. With its luminous courtyard, typically Milanese architectural elements, and a contemporary aesthetic, it presents a rich program of exhibitions throughout the year. Another compelling art address is Galleria Mazzoleni, located in one of the city’s most elegant and culturally vibrant districts. Libreria at 10 Corso Como, now under the direction of Tiziana Fausti, is dedicated to books and magazines on photography, fashion, design, and art: for us, a true after-work pleasure, immersed in a setting that constantly evolves and transforms. To discover Milan by night, among its early twentieth-century architecture, Piazza Meda is home to some of the city’s most significant buildings, including Palazzo Bolchini with its distinctive portico, designed by the architect Pier Luigi Magistretti. We had the privilege of restoring and enhancing the gallery itself, bringing harmony back to its historic elements: the lighting design highlights both the architecture and the celebrated sculpture by Arnaldo Pomodoro, transforming the square into a small jewel box. Finally, understated yet authentic hospitality awaits at Casa Brera. Housed in a Rationalist building recently restored to its original beauty, the hotel strikes the right balance between history and design, offering an atmosphere that is at once intimate and cosmopolitan. Its panoramic rooftop, in the heart of the city, is not to be missed. INFO Working across architecture, interiors, and product design, Parisotto+Formenton moves between scales with a research-driven approach. www.studioparisottoeformenton.it FEDERICA BIASI My day often begins at PAN Milano, a contemporary Japanese bakery. The space was designed by WOK, architect friends who have done an excellent job, creating an environment that feels both essential and welcoming. To immerse myself in art, I turn to Galleria Ciaccia Levi, an international gallery known for its rigorous curatorial program. I am particularly drawn to the direct relationship between the works and the space, which encourages a slow and focused viewing experience. I am also very fond of Galleria Lia Rumma, an essential reference point for contemporary art in Italy. Altatto is one of the most compelling projects dedicated to contemporary vegetarian cuisine in Milan. I appreciate its creative yet rigorous approach: everything—from the dishes to the space—operates through subtraction and precision. Another of my favorite restaurants is Sandì, which interprets a new idea of Milanese hospitality: quiet, calibrated, never ostentatious. The atmosphere is rarefied, and the cuisine follows the same measured pace, crafting a slow and deeply conscious experience. I would also add Ai Fiori Blu, a recent, informal, and convivial address where the cooking is refined and the atmosphere lively, free from forced aesthetic constructions. For architecture, Quartiere Gallaratese stands apart. With the Monte Amiata complex by Carlo Aymonino and Aldo Rossi, it reflects a broader idea of collective living. For those who prefer not to stay in a conventional hotel, Concoct Milano offers a model of diffuse hospitality built around the idea of a temporary home: each apartment is conceived as a small, autonomous design project. INFO Since founding her studio in 2015, Federica Biasi has developed a language rooted in clarity, material sensitivity, and restraint. https://www.federicabiasi.com SIMONA CARDINETTI A relaxing spot for my daytime coffee break is Caffè Fernanda, located inside the Accademia di Belle Arti di Brera and the Pinacoteca di Brera. Dedicated to Fernanda Wittgens—the first woman in Italy to direct a state museum and a key figure in the reconstruction of the Pinacoteca after the Second World War—it is a place where art is truly in the air, furnished with paintings, original bas-reliefs, marble floors, and imposing doors. For a total immersion in design, Compasso design gallery is the perfect address. Spread over four floors, it showcases highly curated contemporary design alongside historic pieces by renowned masters, such as Gio Ponti and Osvaldo Borsani. I love it because stepping inside feels like entering another world—surrounded by iconic works created by some of the greatest designers in history. For music lovers, I recommend the Teatro Gerolamo. Just a short walk from the Duomo, this small nineteenth-century theatre resembles a miniature Teatro Alla Scala. Entirely clad in wood and faithful to its original style, it hosts contemporary theatre programming as well as performances and art installations. A true architectural jewel, and still relatively little known, is the Santa Maria presso San Satiro Church. This beautiful fifteenth-century church, hidden among large and imposing buildings, contains a masterpiece by Donato Bramante. Faced with limited space, he created a remarkable trompe-l'œil choir that produces an extraordinary illusion of depth. In the heart of Brera, a historic restaurant I adore is Rigolo. Inside, photographs of the many notable figures who have dined there over the years line the walls, alongside cartoons specially created for the restaurant by illustrators. The atmosphere is warm and welcoming, with tables dressed in classic white tablecloths, wooden Thonet chairs, and a delightful outdoor terrace overlooking a charming square. INFO After years working as a set designer for international events, Simona Cardinetti now divides her practice between interiors and object design. cardinettisimona.com VALENCIA/BISCOTTINI To truly discover Milan, the best way is on foot. One of the most evocative streets for a walk—where you can admire some of the city’s most beautiful residential buildings all along a single stretch, designed by BBPR, Vietti, and GPA Monti—is Via dei Cavalieri del Santo Sepolcro, tucked behind the Church of San Simpliciano. Another must-see address is the small neighborhood that unfolds around Via Lincoln. Here, rows of tiny, brightly colored houses with private gardens—each painted in a different hue—create a vibrant oasis that feels worlds away from Milan. For a coffee break, two favorite spots: Loste Café, always bustling but well worth it for its truly excellent pastries, and La Belle Aurore, a historic bar often chosen as a film set. Among restaurants, Nino is a recent addition—offering subtly reinterpreted Milanese dishes in a warm, carefully curated setting, with architectural and design choices that closely reflect our own aesthetic sensibility. Located inside Casa degli Artisti—one of Italy’s earliest concrete buildings, constructed by Luigi Go—Degustazione Bistrò overlooks one of Milan’s hidden gardens. At Galleria l’Affiche, you can purchase artworks of every kind and price range, from posters and prints to more significant pieces. For a total immersion in art books, Taschen shop is an essential stop: don’t miss the store’s beautiful terrazzo floors, custom-designed by artist Jonas Wood. For a step back in time, and a key destination for lovers of paper in all its forms, visit the historic stationery shop and print studio Bonvini 1909, which still operates with vintage manual presses. When it comes to staying in the city, we recommend two places: casaBase, a hybrid of hostel and artists’ residence within a creative hub with a rich year-round programme of events, and Vmaison, set in a small building in the Brera district overlooking a private garden. INFO Founded in 2016, Valencia Biscottini works across architecture, interiors, and urban research. https://valenciabiscottini.com