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Jennifer and Alexander Warren-Gash discuss how Mashamba Garden & Terrace Design creates sustainable Mediterranean gardens and outdoor spaces in Mallorca. July 2024 | People | Vol 13 TR BELOW THE SECRET OF MEDITERRANEAN GARDENS words Onur Baştürk photos Alexander Warren-Gash If I asked you what is the essence of Mediterranean life, what would you say? Comfort, for example? The long summers? Or the magnificent sea? Actually, it comes down to one thing: the outdoor lifestyle. That is the essence of being Mediterranean. It's what Mashamba Garden & Terrace Design in Mallorca is all about, designing unique gardens and outdoor living spaces. Now let's listen to what Jennifer and Alexander Warren-Gash, founders of Mashamba, have to say about creating a Mediterranean garden... Mashamba Design was born in Mallorca. But I think there's a prequel. Alexander's love for nature and the years he spent in Africa and Costa Rica. How did it all start, Alexander? You are absolutely right! Costa Rica is synonymous with nature, but my love for the outdoors really began in Africa. I spent much of my childhood there. My father is perhaps one of the last great British eccentrics. In the office he was a highly respected ambassador. But out of the office he was traipsing through the jungle with a butterfly net. His passion for discovering new species of butterflies took him to many remote and exotic locations. I was lucky enough to accompany him on these adventures, going on my first expedition to Cameroon when I was 12 years old. And while my father was largely oblivious to anything that wasn't a butterfly, I was acutely aware of the beauty of nature all around me - including the lions, elephants and buffalo! Jennifer, how did you two meet? What is your division of labor in Mashamba? Alexander and I met on a blind date in Costa Rica and we've been inseparable ever since. We started working together at Mashamba when we moved to Mallorca. While Alexander is in charge of the gardens, I focus on creating magical outdoor living spaces. Curating outdoor art and designing terraces, outdoor kitchens and pool areas is my specialty. Sometimes Alexander and I work on the same projects, but my work also includes urban homes or penthouse roof terraces. What is your idea of a Mediterranean garden? The first plants most people think of are bougainvillea, lavender and olives. What about cacti and succulents that require less water? We are blessed in the Mediterranean with so many fantastic and diverse plants. Cacti and succulents are a great sustainable option, but really any native Mediterranean plant is drought tolerant by default. We like to mix cacti and succulents with native and other drought-tolerant plants to create arid gardens that require minimal watering. Beautiful flowering plants such as gaura, delosperna, echium, and bulbinella create lush and green eco-friendly gardens. But really, for us, the idea of a Mediterranean garden goes beyond the plants; it's a place you want to spend time in. You say that "outdoor living is the essence of Mediterranean living". Indeed it is. So what are your favorite plants in Mediterranean gardens? Funnily enough, plants are not the first thing we look at when we design. Although they are an important part of the garden, they are almost an afterthought. For us, the key to a good design is determining the flow of the space and incorporating all of the client's wants and needs. We ask questions like, where's the best place for a hidden seating area? How do we connect it to the house and the rest of the garden? What's the best vantage point for the mountain view and how can we take our clients there? It's only after the flow is decided that we start thinking about how plants fit into the design. Having said that, I have a few favorites that make it into most of our gardens. Gaura with its white or pink flowers. Rosemary clipped into clouds or hanging down walls, and Olives. Our own garden is full of these three because they are beautiful, easy to care for and require little water. Do you design gardens according to your clients' wishes or do you, like Mashamba, follow a particular style? Every garden we create is our best effort to interpret the client's dream. We consider the seasons they'll be visiting, their favorite plants and colors. How they'll use the garden and what features they'd like to include, such as an outdoor kitchen, petanque court, water fountain or even a large sculpture. Most of our clients choose Mashamba because they already know our style. Something we are well known for is our aromatic lawns. We mix ornamental grasses like Stipa and Pennisetum with perennial flowers like Gaura and Perovskia to create layers of color, texture and scent. Our designs can range from modern to wildly romantic to classic Mediterranean, but there's something distinctively Mashamba about them all. We like to call it relaxed elegance. What is the garden design you have done in the last few years that you liked the most? I do have a favorite garden, but it would be unprofessional of me to say which one! What I can say is that my favorite gardens inspire you to get outside to both explore and enjoy and to disconnect and be present. What gets you outside can be something as simple as a bench set up to take in the view. Or it can be something more magical, like a dining table set in the dappled light of an old carob tree. Another favorite aspect of our gardens is that they appeal to the senses. The sound of swaying grasses, the scent of jasmine, brushing against a soft-leafed plant, a riot of color, picking and eating an orange. What are the 5 essential plants for a good garden design? Most of our designs include a feature olive tree, old and gnarled, and plants like rosemary, agave and gaura. We also believe that every Mediterranean garden should have citrus, and we include at least one lemon tree in all of our gardens. What is the secret to a healthy garden? The real secret to a healthy garden is both soil preparation and appropriate watering. With these two ingredients - and assuming the plant selection is suitable for the climate - the garden will most likely thrive. The difference between planting in quality topsoil and existing soil can be enormous. We always recommend prioritizing spending on soil preparation over buying larger plants. A smaller plant in top soil will quickly outgrow a larger plant in poor soil. Alexander, is it hard to design cloud gardens? Designing cloud gardens is easy. The hard part is having the patience to wait for the cloud formations to take effect. The classic cloud garden consists of a single plant species formed into large organic shapes - much like a cloud. Our Mediterranean version differs from the classic design because we use a mix of species to create cloud banks with different textures and colors. We typically use two to three shrubs, such as rosemary, teucrium and lentiscus, and plant each variety in groups of three to five. With lots of pruning, they form a cloud garden in about a year. One of the great things about a cloud garden is that they are evergreen all year round. S ize Akdenizli yaşamın esas özünü sorsam nasıl bir yanıt verirdiniz? Mesela rahatlık mı? Uzun yazlar mı? Yoksa muhteşem deniz mi? Aslında tüm bunların hepsi tek bir şeye bağlanıyor: Açık hava yaşam tarzına. Akdenizli olmanın esas özü bu. Mallorca’daki Mashamba Garden & Terrace Design da işte bu fikirden hareket ederek benzersiz bahçe ve açık hava yaşam alanları tasarlıyor. Şimdi Mashamba’nın kurucuları Jennifer ve Alexander Warren-Gash’ın Akdenizli bahçe tasarımına dair söylediklerine kulak verelim… Mashamba Design’ın ortaya çıktığı yer Mallorca. Ama bir de öncesi var. Alexander’ın doğaya duyduğu sevgi, Afrika ve Kosta Rika’da geçirdiği yıllar. Her şey nasıl başladı Alexander? Çok haklısınız! Kosta Rika doğa ile eşanlamlıdır. Ama benim doğaya olan aşkım aslında Afrika'da başladı. Çocukluğumun büyük bir kısmını orada geçirdim. Babam belki de son büyük İngiliz eksantriklerinden biriydi. Çok saygı duyulan bir büyükelçiydi. Ama ofisinin dışında elinde bir kelebek ağıyla ormanda gezinirdi. Yeni kelebek türleri keşfetme tutkusu onu birçok uzak ve egzotik yere götürdü. Bu maceralarda ona eşlik edecek kadar şanslıydım. 12 yaşındayken Kamerun'a ilk keşif gezime gittim. Babam kelebek olmayan her şeyden büyük ölçüde habersizken, ben etrafımdaki doğanın son derece farkındaydım! Jennifer, Alexander’la nasıl bir araya geldiniz? Mashamba’daki iş bölümünüz nasıl? Alexander’la Kosta Rika'da bir ‘blind date’de tanıştık ve o zamandan beri ayrılmaz bir ikiliyiz. Mallorca'ya taşındıktan sonra Mashamba'da birlikte çalışmaya başladık. Alexander bahçelerden sorumlu, ben muhteşem açık hava alanları yaratmaya odaklanıyorum. Teraslar, açık hava mutfakları ve havuz alanları tasarlamak uzmanlık alanım. Bazen Alexander’la aynı proje üzerinde çalışıyoruz. Ancak benim işim aynı zamanda şehirdeki evleri ya da çatı katı teraslarını da içeriyor. Bir Akdeniz bahçesine dair vizyonunuz nedir? Çoğu kişinin aklına ilk gelen bitkiler begonvil, lavanta ve zeytin oluyor. Mesela daha az su gerektiren kaktüs ve sukulentlerle aranız nasıl? Akdeniz'de çok sayıda harika bitkiyle kutsanmış durumdayız. Kaktüs ve sukulentler en sürdürülebilir seçenek. Çünkü kuraklığa karşı daha toleranslılar. Minimum sulama gerektiren kuru bahçeler oluşturmak için kaktüs ve sukulentleri lokal ve yine kuraklığa dayanıklı bitkilerle karıştırmayı seviyoruz. Mesela Gaura, Delosperna, Echium ve Bulbinella gibi güzel çiçekli bitkiler… Ama bizim için Akdeniz bahçesi fikri bitkilerin de ötesinde, içinde vakit geçirmek isteyeceğiniz bir yer. “Açık hava yaşamı Akdeniz tarzı yaşamın özü” diyorsunuz. Gerçekten de öyle. Peki Akdeniz tarzı bahçelerde en sevdiğiniz bitkiler hangileri? İlginç gelebilir ama bahçe tasarımı yaparken ilk baktığımız şey bitkiler değil! Bahçenin önemli bir parçası olmalarına rağmen neredeyse sonradan aklımıza geliyor. Bizim için iyi bir tasarımın anahtarı, alanın akışını belirlemek ve müşterinin istek ve ihtiyaçlarını dahil etmek. Kendimize şunun gibi sorular soruyoruz: Gizli bir oturma alanı için en iyi yer neresi? Bu alanı eve ve bahçenin geri kalanına nasıl bağlayacağız? Dağ manzarasını izlemek için en iyi bakış açısı nedir ve müşterilerimizi oraya nasıl yönlendirebiliriz? Akışa karar verdikten sonra bitkilerin tasarıma nasıl uyum sağlayacağını düşünmeye başlıyoruz. Ama elbette bahçelerimizin çoğunda yer alan birkaç favorimiz var. Beyaz-pembe çiçekleriyle Gaura. Bulutlar halinde kırpılmış ya da duvarlardan aşağı doğru uzanan biberiye ve zeytinler. Kendi bahçemiz bu üçüyle dolu. Çünkü güzeller, bakımları kolay ve az su istiyorlar. Müşterilerin taleplerine göre mi bahçe tasarlıyorsunuz yoksa Mashamba olarak belli bir stili mi uyguluyorsunuz? Yarattığımız her bahçede müşterinin hayalini yorumlamak için çabalıyoruz. Yılın hangi zamanlarında bahçeyi ziyaret edeceklerini, en sevdikleri bitkileri ve renkleri göz önünde bulunduruyoruz. Bahçeyi nasıl kullanacaklarını, açık hava mutfağını, péntanque sahasını, su çeşmesini ve hatta büyük bir heykel gibi istedikleri özellikleri göz önünde bulunduruyoruz. Bizi seçiyorlar, çünkü tarzımızı biliyorlar. Oldukça iyi bildiğimiz bir şey de aromatik tarlamız. Stipas ve Pennisetum gibi süs otlarını Gaura ve Perovskia gibi çok yıllık çiçeklerle karıştırarak renk, doku ve koku katmanları oluşturuyoruz. Tasarımlarımız modernden çılgın romantiğe ve klasik Akdeniz'e kadar çeşitlilik gösteriyor. Ama hepsinde Mashamba'ya özgü bir şey var. Biz buna ‘rahat şıklık’ demeyi seviyoruz. Son yıllarda tasarladığınız ve en çok hoşunuza giden bahçe tasarımı hangisiydi? Favori bir bahçem var, ama hangisi olduğunu söylemem profesyonelce olmaz! Söyleyebileceğim tek şey, favori bahçelerimin hem keşfetmek ve eğlenmek hem de dışarı çıkmanıza ilham veriyor olması. Sizi dışarı çıkaran şey, manzarayı seyretmek için yerleştirilmiş bir bank gibi basit bir şey olabilir. Ya da yaşlı bir keçiboynuzu ağacının gölgeli ışığına yerleştirilmiş bir yemek masası gibi daha büyülü bir şey de olabilir. Bahçelerimizin bir diğer favori yönü de duyulara hitap etmesi. Sallanan çimlerin sesi, yasemin kokusu, yumuşak yapraklı bir bitkiye sürtünmek… İyi bir bahçe tasarımı için mutlaka olması gereken 5 bitki sizce hangisi? Tasarımlarımızın çoğunda asırlık ve budaklı bir zeytin ağacı ile biberiye, agave ve gaura gibi bitkiler yer alır. Ayrıca her Akdeniz bahçesinde narenciye olması gerektiğine inanıyoruz ve tüm bahçelerimizde en az bir limon ağacına yer veriyoruz. Sağlıklı bir bahçenin sırrı nedir? Sağlıklı bir bahçenin gerçek sırrı hem zemin hazırlığı hem de uygun miktarda sulama. Bu iki bileşen ve bitki seçiminin iklime uygun olması halinde bahçe gelişir. Kaliteli bir üst toprağa ekim yapmakla mevcut toprağa ekim yapmak arasındaki fark da çok büyük. Daha büyük bitkiler satın almak yerine zemin hazırlığına öncelik vermenizi öneririz. Üst topraktaki daha küçük bitki, zayıf topraktaki daha büyük bitkiyi kısa sürede geçebilir. Alexander, bulut bahçelerini tasarlamak zor mu? Aslında kolay. Zor olan kısım, bulut oluşumlarının etkisini göstermesini beklerken gereken sabır. Klasik bulut bahçesi, tıpkı bir bulut gibi büyük organik şekiller oluşturan tek bir bitki türünden yapılır. Bizim Akdeniz versiyonumuz klasik tasarımdan farklı. Çünkü farklı doku ve renklere sahip bulut kümeleri ekleyerek türlerin karışımını kullanıyoruz. Genellikle biberiye, Teucrium ve Lentiscus gibi iki ya da üç çalı kullanıyoruz. Her çeşidi üç ila beşli gruplar halinde dikiyoruz. Bol budama ile yaklaşık bir yıl içinde bir bulut bahçesi oluşuyor. Bir bulut bahçesinin en büyük avantajlarından biri, hep yeşil olması. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

Lucas Zito discusses his eight Milan Design Week presentations across Milan and Varedo, from the Buoy collection to GOOD SELECTION with Marika Caputo. April 2025 | DESIGN & INTERIORS LUCAS ZITO TAKES OVER MILAN words Onur Baştürk During Milan Design Week, your designs will be showcased across eight different venues throughout the city, almost as if you're set to take over with your creations. How did this extensive exhibition and organizational process come together, and which exhibitions should we be sure to see in sequence? I enjoy sharing my work within different contexts. Fortunately, there are even more possibilities than last year! During this year’s Milan Design Week, my work will be exhibited at eight distinct presentations: - GOOD SELECTION In addition to my Pan and Patch collections, previews of the works of 60 other designers will be featured. (Via Santa Cecilia 12B, Varedo) - NO SELECTION A special exhibition, highlighting the creative process of 41 of the 61 GOOD SELECTION designers. (BIM, Viale Piero e Alberto Pirelli 10) - MASTERLY / The Dutch in Milano Presentation of a 6m-high light installation from the Ivy collection. (Palazzo dei Giureconsulti, Piazza dei Mercanti 2) - LABÒ / Cultural Project Presentation with Modern Metier of the Buoy Café collection. (Fondazione Rodolfo Ferrari, Via Biella 6) - ForA / La Fabbrica del Vapore Presentation of select pieces from my new Patch collection. (Via Giulio Cesare Procaccini 4) - COMUNE Presentation with Polish design collective Dérive. (Superspatial, Via Nicola Antonio Porpora 126) - GALLERIA ROSSANA ORLANDI / RoCollectible Presentation of a special edition of the Buoy Offcut range, from the coffee-colored Dolls collection. (Via Matteo Bandello 14-16) - ATLAS CONCORDE STUDIO MILANO Presentation of the Buoy floor lamps and Offcuts in the center of Brera. (Via San Marco 12) AN EXHIBITION FOR US, BY US Among these exhibitions, the GOOD SELECTION—launched with Marika Caputo—stands out. What inspired the idea of curating an exhibition that brings together over 60 designers? GOOD SELECTION is a group exhibition, initiated and orchestrated by me and Marika Caputo, stands out for its collaborative ambition and international scope. It brings together over 60 international designers in a spirit of collaboration and networking. Conceived as a laboratory for encounters and exchanges, the exhibition brings together talents from all over Europe and beyond, offering an insight into contemporary creation in all its forms. After the first successful edition during Paris Design Week, GOOD SELECTION moves to a former furniture factory in Varedo with a 300 m2 space during Milan Design Week. In an increasingly dominated sector by complex commercial mechanisms, GOOD SELECTION is an accessible and non-profit alternative that frees artists from intermediaries and the high economic impositions characterizing the traditional design market. The elimination of any type of filter creates a more transparent and accessible sales system, giving full autonomy back to the designers. The exhibition of works does not imply giving up one’s economic autonomy; on the contrary, the sale guarantees a full profit for the artist, without any commission. “An exhibition for us, by us” is the motto that encapsulates the spirit of the project: an exhibition conceived and realized by designers, for designers. This is precisely why the project carries an intrinsic and indissoluble bond between artists in its DNA, rooted in the mutual awareness of being understood and valued. Although the excellence of design is showcased, the silent struggles of each artist are never forgotten: the twists and turns of the paths that lead designers to be recognized as such are often the common denominator. In fact, every artist shares an experience that translates into an authentic connection, fostering the creation of a dynamic and self-sustaining community where collaboration and mutual support are fundamental pillars. Similarly, for the works, what is sought is the complementarity and completeness of the pieces: the goal is to incorporate a wide variety of techniques, cultures, and disciplines, hoping that these can serve as inspiration for others and a stimulus for growth. In this new scenario, the artist is no longer just a creator but also a promoter and guardian of their own value, capable of establishing an authentic relationship with the public that enriches them in every way. The exhibition unfolds through different setups, where objects from various artists interact with each other, creating micro-scenarios that are either opposite or complementary. Each pairing becomes an act of enhancement, a moment in which the object itself emerges, revealing new potential. In this space, the exhibition transforms into a true promenade through different works and personalities: a path that guides the spectator, allowing them to immerse themselves in a plurality of universes, each with its own evocative power and perceptual capacity. Each scenario will be designed so that the relationship between the observer and the object is direct, encouraging true immersion. The fluid exploration of the space and objects in their entirety will enable the audience to feel more involved. The intent, in fact, is not to elevate the object to the status of a work of art by isolating it, but rather to bring it closer to the audience, so that it can be experienced personally and, most importantly, connected to each individual’s daily life. I ORIENTED MYSELF MORE TOWARD THE GENERAL DESIRE TO CREATE VALUE Since the beginning, your design approach has focused on merging aesthetics and functionality through ecological sustainability. Your 3D-printed designs have become your signature, and with the Buoy collection, you've captured widespread admiration. Have you integrated any new techniques or technologies into your eco-sustainability approach, or in other words, what additional measures have you taken to enhance this approach? I oriented myself more toward the general desire to create value, whether that value is expressed in physical forms or remains something to carry and embody. For this reason, alongside my constant experimentation with materials and forms, in September 2024 during the Paris Design Week, GOOD SELECTION was born, marking the beginning of a new direction, that of curating. The project embodies a value that transcends materiality, formed through cohesion, dialogue, and the creation of connections. It is not merely a showcase for design, but a bearer of a collective vision that unites artists with the intention of enhancing the power of collaboration and community. What are the key elements you consider most important in eco-sustainable design? Next to durability and recycled material especially beauty and quality so the owner/ user will respect, cherish and take good care of it which increases the life-span and reduces the ecological footprint. I ENJOY FOCUSING ON LIGHTING, TRANSLUCENCY AND THE INTERPLAY WITH SCALE Why choose lighting design? Do you plan to venture into other design fields as well? I enjoy focusing on lighting, translucency and the interplay with scale. My particular interest is to make light palpable and dense through the use of transparent materials refracting and diffracting the light.

Monica Fried designs a Long Island home in Old Westbury with Pierre Frey, Dedar, Mokum and Crosby Street Studios, plus a neutral art-filled palette. March 2024 | Design & Interiors english below COZY AND ELEGANT HOME IN LONG ISLAND words Alp Tekin photos Nicole Franzen L ong Island'ın kuzey kıyısında, Old Westbury’de yer alan bu evin tasarımında iç mimar Monica Fried ile çalışılmış. Şık ve zamansız bir zarafet oluşturmak isteyen Monica Fried, “Amacım hem işlevsel hem de şık olan, iyi seçilmiş parçalarla kalıcı bir zarafet elde etmekti” diyor. “Bu evde modaya uygun ya da fazla 'anlık' hiçbir şey yok bu evde”. Monica Fried, “Aşınma ve yıpranmaya dayanacak, ama yine de sofistike ve projede kullandığımız özel parçalara layık görünecek kumaş ve halılar buldum” diyor. “Pierre Frey, Dedar, Mokum, Crosby Street Studios gibi tüm favorilerimizle çalıştık”. SANATLA BİRLEŞEN NÖTR BİR PALET - Monica Fried, her alanda derinlik ve ilgi yaratmak için çoğunlukla nötr tonlar ve bol miktarda ahşap ve taş kullanmış. İç mimar, “Ev sahipleri sanat koleksiyonu yapmakla ilgileniyorlar ve nötr tonlar, koleksiyonları geliştikçe onlara daha fazla esneklik sağlayacak” diyor. - Ön girişteki kireçtaşı zeminler, sıcak meşe paneller ve Venedik tipi alçı duvarlar var. Monica Fried, "Bunlar sonsuza dek kullanılacak malzemeler ve biz de bu evi tasarlarken böyle düşündük" diyor. I nterior designer Monica Fried designed this home in Old Westbury, on the north shore of Long Island. "My goal was to create an enduring elegance with well-chosen pieces that are both functional and stylish. There is nothing trendy or too ‘of the moment”, says Monica Fried, who wanted to create a chic and timeless elegance. "I found fabrics and carpets that would stand up to wear and tear, but still look sophisticated and worthy of the special pieces we used in the project," says Monica Fried. "We worked with all our favourites such as Pierre Frey, Dedar, Mokum and Crosby Street Studios”. A NEUTRAL PALETTE THAT COMBINES WITH ART - Monica Fried used mostly neutrals and lots of wood and stone to create depth and interest in each space. “The homeowners are interested in collecting art and the neutral tones will give them more flexibility as their collection evolves,” says the interior designer. “They have acquired several contemporary pieces by Jacob Hashimoto and Orly Maiberg”. - The front entry has limestone floors, warm oak paneling as well venetian plaster walls. “These are forever materials and that’s how we looked at designing this home,” says Monica Fried.

Emil Humbert and Christophe Poyet discuss Humbert & Poyet’s low-key luxury philosophy and Villa Odaya’s Mediterranean-inspired interiors. October 17, 2025 | PEOPLE HUMBERT & POYET a QUIET KIND of LUXURY words Onur Baştürk photos Villa Odaya & Portraits - Francis Amiand /Courtesy of Humbert&Poyet Elegant yet bold. These two qualities run through the work of Humbert & Poyet, the architecture and interior design studio founded by Emil Humbert and Christophe Poyet, whose shared interests extend from design to fashion. For YUZU, we look at two projects that reflect their interpretation of the Mediterranean spirit, while our conversation with the duo offers a closer view of their approach, references and idea of luxury. LOW-KEY LUXURY IS AT THE HEART OF OUR WORK How would you summarise your design philosophy? Our philosophy is to approach each project in a unique way, drawing inspiration from its history and surroundings. We place great importance on craftsmanship and detail, and we often work with local artisans. By bringing together references from different periods and sources of inspiration, we create layered and distinctive spaces. Since founding the studio in 2008, we have focused on creating interiors that are both elegant and rigorous. We work with materials such as marble, wood and bronze to create timeless spaces. The idea of “low-key luxury” lies at the heart of our work. Above all, we aim to create an emotion that can then be translated into volume, material and atmosphere. Contrasting colours, patterns and textures allow us to play with the idea of luxury and give it a more expressive quality. In this way, luxury can become simpler, more playful and more approachable. What inspires you during the design process? We are inspired by the building itself — its heritage, its surroundings, its relationship with local culture and, of course, the client. We are also deeply interested in the history of art and design, particularly Art Deco, Modernism and the Memphis movement, often combined with a certain sense of classicism. Rothko’s paintings inspire us when it comes to colour, while Pierre Soulages influences the way we think about wall textures. We greatly admire both artists. Among designers, Gio Ponti remains a favourite. He was both a humanist and a genius, with a unique and joyful worldview that ran through everything he created. We are also drawn to the coherence of different design periods. In particular, we admire the work of major early 20th-century Art Deco designers such as Jean-Michel Frank and Émile-Jacques Ruhlmann. WE BOTH LOVE GOING TO GREECE What are your favourite destinations in the Mediterranean? CHRISTOPHE POYET: We both love going to Greece. It has some of the most extraordinary places in the world, and the landscapes are beautiful. EMIL HUMBERT: I’ve travelled along the Ionian coast and visited all the Cyclades islands. I’ve also crossed the Corinth Canal by boat. For me, Greece is almost an essential part of every summer. And where do you usually spend your summers? We spend much of our summer holidays in Sicily and on the Aeolian Islands, the volcanic archipelago north of Sicily. TWO PROJECTS, ONE MEDITERRANEAN SPIRIT 1- VILLA ODAYA: Set on a hill in the South of France, Villa Odaya offers 360-degree views over Cannes and the Lérins Islands. For the interiors, Christophe and Emil combined marble, brass and wood with mid-century furniture and modern art, all set against a blue palette inspired by the Mediterranean. One of the defining features is the sculptural staircase, whose geometric composition connects the villa’s four levels. 2- ULTIMATE PROVENCE: For Ultimate Provence, a winery in the heart of Provence, Christophe and Emil moved away from the traditional codes of winery design to create a more intimate and urban atmosphere. While responding to the functional requirements of the space, they combined raw and contemporary materials such as concrete with richer elements including aged oak, marble, brass and leather. The result gives the winery a more distinctive and unexpected character. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

Mart 2022 | Tasarım | Türkiye for english click here Eski taş ocağı artık sürdürülebilir yeni bir mahalle Yazı | Oktay Tutuş Y eni ve etkileyici mimari projelerin dikkat çekmesi, tasarımlarıyla neleri pratik bir şekilde çözdükleriyle doğru orantılı. Amaç her zaman ulvi olmak zorunda değil, ancak projelerin kesinlikle sürdürülebilir ve kaynak kullanımı konusunda cimri olması çok önemli. Çağımızın gidişatı o yönde ve biz de ister istemez bu modeldeki projeleri sunmayı tercih ediyoruz. Göteborg’un biraz dışında kalan eski bir taş ocağı madeni işletmesinin de kaderi, bahsettiğime benzer şekilde değişmek üzere. Oyulmuş, kullanılmış ve delik deşik edilmiş bir topoğrafyadan, sürdürülebilir bir mahalle olan Wendelstrand’a doğru evriliyor. Next Step Group tarafından geliştirilen, Snøhetta ile White Arkitekter tarafından Tham & Videgård, Andreas Martin-Löf Architects ve Liljewall ile birlikte tasarlanan bu konut projesinde çeşitli tipolojilerde 1000 ev ve çeşitli ortak alanlar planlanmış. Projenin ilk aşaması, Snøhetta tarafından tasarlanmış, manzarayla bütünleşen ortak bir bina olan Göl Evi ile başlıyor. Snøhetta tarafından tasarlanan bu Göl Evi’ne restoran, kafe, mağazalar, etkinlik alanları, ofisler ve spor salonu da içeren ve yeni mahallenin ortak yaşamının zeminini oluşturacak ortak alanlar eşlik edecek. Etkileyici olduğu kadar da mütevazı tasarımı tam olarak sitenin topoğrafyasını takip ediyor. Kuzeyden güneye doğru yükselerek yeşil alanı ve parkı çatı peyzajı boyunca devam ettiriyor. Projede tahmin edebileceğiniz üzere mümkün olduğunca az çevresel etki amaçlandığı için düşük karbon emisyonlu yerel malzemelere öncelik verilmiş. Bu nedenle ahşap ve taş, projenin baskın materyalleri. NEYSE Kİ… Bu tip yükselerek devam eden çatı tasarımları hem binanın etkileşimini hem de kullanım alanlarını genişletiyor. Bjarke Ingels’in BIG Architecture çatısı altında daha önce bu tip çatı tasarımlarının bambaşka kullanım amaçlarını ve çok çeşitli tezahürlerini görmüştük. Kuzeyliler başlarının üzerinde klasik bir çatı yerine, yaşayan bir alan olmasını tercih ediyor diye genelleyebilir miyiz? Projenin tamamlanması ve eski taş ocağının rehabilite edilerek bir mahalleye dönüşmesi 2024’e dek devam edecek diye öngörülüyor. Neyse ki dünyada başka örneklerle taş ocağı rehabilitasyonu yapılıyor da, sadece bizim İstanbul’a yakın taş ocaklarını havalimanı yapmamız konuşulmuyor artık! The old quarry is now a sustainable new neighborhood Words | Oktay Tutuş T he fate of an old quarry mining operation just outside of Gothenburg is about to change. It evolves from a carved, used and riddled topography to the sustainable neighborhood of Wendelstrand. Developed by Next Step Group and designed by Snøhetta and White Arkitekter in collaboration with Tham & Videgård, Andreas Martin-Löf Architects and Liljewall, 1000 houses of various typologies and various common areas are planned in this residential project. The first phase of the project begins with the Lake House, a collaborative building designed by Snøhetta that integrates with the landscape. This Lake House, designed by Snøhetta, will be accompanied by common areas, including a restaurant, cafe, shops, event spaces, offices and gym, which will form the basis of the communal life of the new neighborhood. Its impressive yet modest design follows the topography of the site exactly. It rises from north to south, continuing the green space and park along the roof landscape. As you can imagine, local materials with low carbon emissions were given priority, as the project aimed to have as little environmental impact as possible. Therefore, wood and stone are the dominant materials of the project. This type of ascending roof designs expands both the interaction of the building and its usage areas. In some of Bjarke Ingels’s projects, we have seen different uses of this type of roof design before. Can we generalize that northerners prefer a living space over their heads rather than a traditional roof? Çapa 4

Casa Foscolo is a 25-room hotel in Beyoğlu, Istanbul, restored by Emre Kuzlu of I-AM as a cultural space with a bookstore and art gallery. February 2025 | DESIGN & INTERIORS -content partnership- TR BELOW CASA FOSCOLO a HISTORIC BUILDING REBORN words Onur Basturk We are in a 19th-century historical building in the heart of Beyoglu, Istanbul. Restored and reimagined by I-AM, this architectural gem now stands as a 25-room hotel, a proud member of Design Hotels. More than just a hotel, it also houses a bookstore and an art gallery, making it a dynamic cultural space. Its new name, Casa Foscolo, is a nod to the building’s storied past. Emre Kuzlu, architect and founding partner of I-AM, which has offices in London, Istanbul, Dubai, Riyadh, and Jakarta, shares the details of the Casa Foscolo project with YUZU. ANALYZING THE EXISTING STRUCTURE What was the design process behind Casa Foscolo? Casa Foscolo was conceived as more than just a hotel—it was envisioned as a space where hospitality and art intertwine, offering a holistic experience in every detail. The project’s owner, MV Holding, sought an innovative, experience-driven approach to bring this vision to life, and that’s where we came in. We began by conducting a thorough analysis of the building’s existing condition. This allowed us to determine the necessary structural interventions while ensuring the preservation of its original character. We then explored various adaptive reuse scenarios, shaping our concept proposals based on the historical, cultural, and commercial context of the area. The final design aligned seamlessly with the client’s expectations. Throughout the restoration process, we focused on preserving original materials, enhancing architectural details, and integrating modern structural requirements. Interior design and brand identity development progressed in parallel with these efforts. At every stage, our goal was to honor Casa Foscolo’s history while making it relevant to today’s urban landscape. A STRIKING ARCH FORM THAT PAYS HOMAGE TO HISTORY What challenges did you face during the design process? Given the building’s age, location, and its status as a registered historical landmark, the project presented significant challenges. Working on a protected structure in Beyoğlu is particularly demanding, requiring a meticulous, lengthy, and sometimes exhausting process. Fortunately, the design strategy we developed ensured a smooth execution. Another major challenge was balancing Casa Foscolo’s multiple functions—it operates as a hotel, an art gallery, and a public space all at once. Merging these diverse elements into a cohesive whole was a complex task, both architecturally and in terms of user experience design, but it was also a highly rewarding process. What was the primary goal for Casa Foscolo’s design? Do you think you achieved it? Our aim was to transform Casa Foscolo into a living, dynamic meeting point rather than just another hotel. We wanted to create a space that stayed true to its historical context while catering to the needs of contemporary city life and its visitors. Looking at the final result, I believe we successfully brought this vision to life. How do the red arches in the lobby reference the building’s history? When defining Casa Foscolo’s identity, we carefully considered the building’s past, its surroundings, and the emotions we wanted the brand to evoke. Color selection played a key role in this process. After exploring different tones, we chose terracotta, a shade that both reflects the structure’s history and resonates with Beyoğlu’s vibrant spirit. This hue became a modern reinterpretation of the building’s original materials—bold, striking, and full of character. The distinctive arch forms serve as a direct architectural reference to the building’s neoclassical heritage. We wanted to highlight these powerful shapes as a way of reinterpreting historical architectural elements. The combination of color and form resulted in an identity that respects the past while embracing the energy of the present. The mirrored ceiling further amplifies this experience, transforming the arches into an immersive installation. More than just an architectural intervention, these arches embody the artistic soul of Casa Foscolo. When the entrance doors open, they create a strong and memorable visual statement from the outside. And as you step in, standing beneath the arches and looking up, you become part of the story they tell. INSPIRATION AND REFERENCES BEHIND CASA FOSCOLO What references shaped Casa Foscolo’s identity? We drew inspiration from the building’s history, Asmalımescit’s layered cultural fabric, and Beyoğlu’s role as a crossroads of artistic and social interaction. Originally built between 1890 and 1900, the structure was commissioned by the Venetian Foscolo family for their maritime company, Foscolo Mango & Co. Ltd., as a pioneering apart-hotel. In the 1930s, it was acquired by the German Holstein family. The building’s location, in Beyoglu’s "Four Roads District," also played a crucial role in shaping the design approach. Much like this neighborhood, Casa Foscolo is envisioned as a convergence point of diverse cultural, artistic, and social influences. The logo and graphic identity merge historical references with contemporary textures, reinforcing this dialogue between past and present. ART SELECTION AND CURATION How were the artworks selected? Did you collaborate with a curator? The client already had a remarkable art collection. As the brand and interior narrative of the space took shape, the curation of the artworks was led by art consultant Meriç Aktaş, in collaboration with the client. Some pieces were selected together, ensuring a seamless integration with the space’s overall concept. For example, the niche behind the reception desk features a piece by Ayşe Gül Süter, an artist known for her work centered on color and light. Another of her works, placed above the fireplace in the lobby, creates a striking contrast with the marble mantelpiece and exposed brick, blending historical references with a contemporary aesthetic. Behind the signature arch structure, a work by Moscow-based artist Oleg Dou further enhances the artistic narrative of the space. İstanbul’un kalbi Beyoğlu’nda 19. yüzyıldan kalma tarihi bir yapıdayız. Restorasyon, mimari, yeniden işlevlendirme, iç mimari ve marka kimliği çalışmaları I-AM tarafından yapılan bu tarihi yapı, bugün artık Design Hotels üyesi 25 odalı bir otel. Aynı zamanda kitabevi ve sanat galerisi gibi alanları da içinde barındıran dinamik bir alan. Yeni ismi ise binanın geçmiş tarihine atıfta bulunuyor, Casa Foscolo. Londra, İstanbul, Dubai, Riyadh ve Jakarta’da ofisleri bulunan I-AM’in kurucu ortağı mimar Emre Kuzlu, Casa Foscolo projesine dair detayları YUZU için anlattı. ÖNCE BİNANIN MEVCUT DURUMUNU ANALİZ ETTİK Casa Foscolo projesinde nasıl bir tasarım süreci izlendi? Casa Foscolo projesi sıradan bir otel konseptinin ötesine geçerek sanat ve konaklamanın iç içe geçtiği, her detayıyla bütüncül deneyim sunan bir mekan yaratma arzusuyla başladı. Proje sahibi MV Holding’in bu vizyonu hayata geçirecek yenilikçi ve deneyim odaklı bir yaklaşıma ihtiyacı vardı ve bu arayış bizi buluşturdu. Öncelikle binanın mevcut durumunu detaylı bir şekilde analiz ettik. Böylece hem yapısal açıdan gerekli müdahaleler hem de binanın özgün karakterinin nasıl korunacağı belirlendi. Ardından yeniden kullanım senaryoları üzerinde çalışıldı. Yapının bulunduğu bölgenin tarihi, kültürel ve ticari bağlamından yola çıkarak oluşturduğumuz senaryolar üzerinden hazırladığımız konsept önerileri müşterinin beklentileriyle örtüştü. Restorasyon sürecinde özgün malzemelerin korunması, mimari detayların iyileştirilmesi ve modern yapısal gereksinimlerin entegrasyonuna odaklandık. İç mimari ve marka kimliği süreçleri de bu aşamaya paralel olarak ilerledi. Her adımda amacımız Casa Foscolo’nun geçmişini yüceltirken günümüz dinamiklerine uygun bir yapı yaratmaktı. ÇARPICI KEMER FORMU BİNANIN TARİHİNE BİR GÖNDERME Tasarım sırasında yaşadığınız zoruluklar oldu mu? Projenin yapısı, lokasyonu, binanın mevcut koşulları ve 2. derece tarihi eser olması nedeniyle zor bir uygulama sürecini beraberinde getirdi. Özellikle Beyoğlu bölgesinde bulunan tescilli yapılar için daha da zor, uzun soluklu ve yer yer yıpratıcı bir süreç. Neyse ki oluşturduğumuz kurgu sayesinde her şey olabildiğince sorunsuz ilerledi. Ayrıca Casa Foscolo’nun hem otel hem sanat galerisi hem de bir kamusal alan olarak hizmet verecek olması da bizim için önemli bir tasarım problemini teşkil ediyordu. Bu farklı fonksiyonları dengeli bir şekilde bir araya getirmek, hem mimari hem de deneyim tasarımı açısından oldukça düşündürücü; ama bir yandan keyifli bir süreçti. Casa Foscolo tasarımında ulaşmak istediğiniz ana hedef neydi? Nihayetinde buna ulaşabildiniz mi? Hedefimiz Casa Foscolo’yu sadece bir otel olmaktan çıkarıp yaşayan, dinamik bir buluşma noktası haline getirmekti. Tarihi bağlamını kaybetmeden, günümüzün kent hayatına ve kullanıcı beklentilerine uygun bir mekan yaratmak istedik. Bugün baktığımızda, bu vizyonu büyük ölçüde gerçekleştirdiğimizi söyleyebilirim. Lobi alanındaki kırmızı kemerler binanın tarihine nasıl bir göndermede bulunuyor? Casa Foscolo’nun kimliğini oluştururken yapının geçmişi, bulunduğu bölge ve markanın yaratmak istediği duygu üzerine çok kafa yorduk. Renk seçimi de bu sürecin önemli bir parçasıydı. Başlangıçta farklı tonlar üzerine çalıştık, ancak terrakota kiremit rengi, hem yapının tarihine hem de Beyoğlu’nun enerjik ruhuna en iyi şekilde yanıt verdi. Bu renk, yapının özgün malzemelerinin modernize edilmiş bir yorumu olarak şekillendi: Güçlü, çarpıcı ve karakteristik. Çarpıcı kemer formu ise yapının neoklasik üslubuna ve tarihine doğrudan bir gönderme yapıyor. Binanın geçmişindeki mimari öğeleri yeniden yorumlayarak, bu güçlü formu ön plana çıkarmak istedik. Renk ve form birleştiğinde Casa Foscolo’nun geçmişine saygı duyan ve bugünün dinamik ruhunu yansıtan mimari kimliği ortaya çıktı. Bu kemerli müdahale, yapıya ve markaya kazandırmak istediğimiz ruh, enerji ve dinamizmin mekânsal karşılığı oldu. Tavandaki ayna yüzeyle birlikte mekânsal deneyimi zenginleştiren bir enstalasyon haline geldi. Sonuç olarak, bu ikonik kemerler sadece bir mimari müdahale değil, aynı zamanda yapının sanatsal kimliğinin parçası. Binanın giriş kapısı açıldığında dışardan bakan biri için güçlü ve karakteristik bir sahne yaratıyor. İçeriye adım attığınızda ise kemerlerin önünde durup hafifçe yukarı baktığınızda bu anlatının bir parçası haline geliyorsunuz. Hangi referansları baz alarak Casa Foscolo’nun kimliğini oluşturdunuz? Yapının tarihi, Asmalımescit’in katmanlı kültürel yapısı ve Beyoğlu’nun simgesel kavşak noktalarından ilham aldık. 1890-1900 yılları arasında inşa edilen bu yapı, Venedikli Foscolo ailesi tarafından kurulan denizcilik şirketi Foscolo Mango & Co. Ltd. için öncü bir apart-otel olarak tasarlanmış. 1930’larda ise bina Alman Holstein ailesi tarafından devralınmış. Yapının bulunduğu yer ise Beyoğlu’nun “Dört Yol Bölgesi”. Burası markanın temel tasarım yaklaşımını şekillendirdi. Nitekim, Casa Foscolo da tıpkı bu bölge gibi farklı kültürel, sanatsal ve sosyal etkileşimlerin kesiştiği bir nokta. Logo ve grafik dili, binanın geçmişinden gelen çizgilerle modern dokuları bir araya getiriyor. Sanat eserleri neye göre seçildi? Küratörle mi çalıştınız? Müşterinin zaten çok değerli bir sanat koleksiyonu vardı. Yapının marka ve iç mekân tasarımıyla anlatısı ortaya çıktıkça, eserlerin kürasyonu ve yerleşimleri müşterinin sanat danışmanı Meriç Aktaş öncülüğünde şekillendi. Bazı seçimleri ise birlikte yaptık. Mesela resepsiyonun arkasındaki niş için, üretimlerinin merkezinde renk ve ışığı konumlandıran sanatçı Ayşe Gül Süter’in eserini seçtik. Aynı şekilde, lobi alanındaki şöminenin üzerinde yer alan başka bir Ayşe Gül Süter eseri, mermer şömine çerçevesi ve tuğla duvar dokusunun tarihi referansını çağdaş çizgisiyle günümüze taşıyor. Kemerli yapının arkasında ise Moskovalı sanatçı Oleg Dou’nun eseri yer alıyor.

Franck Lebraly discusses Mediterranean art, Southern France, Cannes, and the artists who shaped his work, from Klein and Matisse to Cocteau. July 2024 | Art & Culture TURKISH BELOW FRANCK LEBRALY The HERO of our LAST ISSUE words Onur Baştürk T hank you all for your positive comments on the cool cover of Yuzu's latest Aegean and Mediterranean themed issue. Of course, we also have a special thank you! We would like to thank artist Franck Lebraly, whose drawings and frescoes can be found in many exclusive hotels and restaurants in the South of France, for the special drawing he designed for our cover. And now it's time to get to know Lebraly's art inspired by the Mediterranean lifestyle... Your drawings have references that remind the 70's Southern France… I think this is an unconscious and undeniable trace: all the images of the French Riviera that have continued to grow in me since my childhood along with masters like Picasso, Klein, Matisse or Leger, and the creativity that emerged in the 70s… But above all the lifestyle of Southern France. Simple and bright like my drawings! I live between Paris and Southern France so I can compare the two. If you like nature, going out, feeling the heat and enjoying the light on your face, life is easier in the south. Your drawings are like a soul relative of the world of Klein and Cocteau. What do you say? There is an obvious connection with Klein. His work has always inspired me. Since it can reflect the power of simplicity with a single color. But I'm not in line with Cocteau. People used to compare me to him. This of course is satisfying and makes me smile. But I feel more like Matisse or Marco del Re. I am trying to do my work in my own style. I WAS LUCKY TO BE CLOSE TO THE SEA AND MOUNTAINS In which part of Southern France were you born and raised? How was your childhood? I was born and raised in Cannes. It was a very happy childhood. I was lucky to be close to the sea and mountains. On weekends we would explore all near villages, Provence and Italy. My father used to show us many of the masterpieces he restored since he was an art objects restorer. Like Picasso. My uncle was a painter and he would sell his paintings at the flea market. FRANCK'S FAVORITE SPOTS What are your favorites about summer? Summer is the time I wait for all year! First, it is inspiring to walk on the seafront early in the morning to catch the first light of the day. Exhibitions are held in many museums throughout the summer to rediscover the works of many artists, which is wonderful. Everything is easy with such beautiful weather, you can spend most of your time outside! Also, being in a culture where Provence, Italy, and the Mediterranean are together is already like a reward. The saddest part is when summer ends. Where are your favorite places in Southern France? Hotels: Hotel le Sud in Juan Les Pins, Hotel Amour in Nice, and La Colombe d'Or in St Paul de Vence. Restaurants: Baba Restaurant in Antibes, Le Mouré Rouge in Cannes, and Maison Fonfon in Monaco. And the modern art museum, The Maeght Foundation. FRANCK LEBRALY Son sayımızın kahramanı Y uzu'nun Ege ve Akdeniz temalı son sayısının (Vol-13) cool kapağı için yaptığınız pozitif yorumlar için herkese teşekkürler. Elbette bizim de özel bir teşekkürümüz var! Çizim ve fresklerine Güney Fransa’nın birçok seçkin otel ve restoranlarında rastlanan sanatçı Franck Lebraly'ye kapağımız için tasarladığı özel çizim için çok teşekkür ediyoruz. Ve şimdi Lebraly'nin Akdeniz yaşam tarzından ilham aldığı sanatıyla tanışma zamanı... Çizimlerinde 70'ler Güney Fransa'sını anımsatan referanslar var… Sanırım bilinçsizce, yadsınamaz bir iz bu: Picasso, Klein, Matisse ya da Leger gibi ustalarla birlikte çocukluğumdan beri içimde büyümeye devam eden Fransız Rivierası'nın tüm görüntüleri ve 70'lerde ortaya çıkan yaratıcılık… Ama her şeyden önce Fransa'nın güneyindeki yaşam tarzı. Çizimlerim gibi basit ve parlak! Paris ile Fransa'nın güneyi arasında yaşıyorum, bu yüzden ikisini karşılaştırabilirim. Eğer doğayı, dışarı çıkmayı, sıcağı hissetmeyi ve yüzünüze vuran ışığın tadını çıkarmayı seviyorsanız, güneyde hayat daha kolay. Çizimlerin Klein ve Cocteau'nun dünyasıyla ruh akrabası gibi. Ne dersin? Klein ile bariz bir bağlantı var. Onun çalışmaları bana hep ilham verdi. Tek renkle sadeliğin gücünü yanısıtabildiği için. Ama Cocteau ile aynı çizgide değilim. İnsanlar eskiden beni onunla karşılaştırıyordu. Elbette bu tatmin edici ve beni gülümsetiyor. Ama kendimi daha çok Matisse ya da Marco del Re gibi hissediyorum. Kendi stilimde işimi yapmaya çalışıyorum. DENİZ VE DAĞLARA YAKIN OLDUĞUM İÇİN ŞANSLIYDIM Güney Fransa'nın hangi bölgesinde doğup büyüdün. Çocukluğun nasıldı? Cannes'da doğup büyüdüm. Çok mutlu bir çocukluktu. Denize ve dağlara yakın olduğum için şanslıydım. Hafta sonları etraftaki tüm köyleri, Provence'ı ve İtalya'yı keşfe çıkardık. Babam sanat objeleri restoratörü olduğu için restore ettiği birçok başyapıtı bize gösteriyordu. Mesela Picasso gibi. Amcam da ressamdı ve resimlerini bit pazarında satıyordu. FRANCK’IN FAVORİ NOKTALARI Yaza dair sevdiğin şeyler neler? Yaz, tüm yıl boyunca beklediğim dönem! Öncelikle günün ilk ışıklarını yakalamak için sabah erken saatlerde deniz kıyısında yürümek ilham verici. Birçok sanatçının eserlerini yeniden keşfedebilmek için yaz boyunca pek çok müzede sergiler yapılıyor, bu da şahane. Böyle güzel bir havayla her şey kolay, zamanınızın çoğunu dışarda geçirebilirsiniz! Ayrıca Provence, İtalya ve Akdeniz’in bir arada olduğu bir kültür içinde olmak zaten ödül gibi. En üzücü kısmı ise yazın sona erdiği zaman. Güney Fransa’da favori yerlerin neresi? Oteller: Juan Les Pins’teki Hotel le Sud, Nice’deki Hotel Amour ve St Paul de Vence’deki La Colombe d’Or. Restoranlar: Antibes’teki Baba Restaurant, Cannes’daki Le Mouré Rouge ve Monako’daki Maison Fonfon. Bir de modern sanat müzesi The Maeght Foundation. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

JOUFFRE NYC presents the L’écho exhibition, pairing upholstered furniture by Studio Giancarlo Valle and other designers with Enkev natural materials. August 2024 | DESIGN & INTERIORS TURKISH BELOW L’écho exhibition by JOUFFRE NYC words Laura Cottrell photos Joe Kramm Welcome to the L'écho exhibition at the New York studio of Jouffre, the textile brand founded in 1987 by Charles Jouffre in Lyon, the capital of silk! In this unique exhibition, all natural materials are transformed in the hands of artisans into stunning furniture and decorations that whisper the story of a tradition. The showroom presents a stage of upholstered designs that reflect all the brand's past collaborations, including the 'Cage Sofa' by Studio Giancarlo Valle. Jouffre x RRP's Henge Club Chair, Echo Chair designed by Jouffre Design Director Taylor Scott Ross, Pina Coffee Table in walnut and Patagonian quartzite by Brooklyn-based Gregory Beson, Studio Luddite's sophisticated lighting Dormus Sconces and Stagg Lamp, Bowen Liu's modular Plank Side Tables, and Luke Malaney's whimsical Kansas Lamp, sculpted from milk-painted ash with hammered brass shades, add to the showroom's vibrancy. This exhibition is not just a showcase, but a bold expression of historic craftsmanship. Natural materials were the standard in traditional flooring design until the '50s and '60s. This change ushered in a new era that emphasized comfort, style, durability and efficiency, and required the use of urethane-based foams. Enkev was at the forefront, developing innovative natural materials that were compatible with modern production processes. Jouffre has partnered with Enkev to integrate innovative and newly developed flooring materials into the designs on display. Enkev's materials include Cocolok and Taillok - coconut fibers and horsehair rubberized with natural latex. These renewable materials have improved antimicrobial properties that are better for the environment and human health. www.jouffre.com JOUFFRE’den L’écho sergisi Charles Jouffre tarafından ipeğin başkenti Lyon'da 1987’de kurulmuş tekstil markası Jouffre’nın, New York’taki atölyesinde gerçekleşen L'écho sergisine buyurun! Bu eşsiz sergide yer alan tüm doğal malzemeler zanaatkârların elinde çarpıcı mobilya ve dekorlara dönüşerek bir geleneğin hikâyesini bize fısıldıyor. Showroom, Studio Giancarlo Valle'nin ‘Cage Sofa’sı da dahil olmak üzere markanın tüm geçmiş iş birliklerini yansıtan döşemeli tasarımlardan oluşan bir sahne sunuyor. Jouffre x RRP imzalı Henge Club Chair, Jouffre Tasarım Direktörü Taylor Scott Ross tarafından tasarlanan Echo Chair, Brooklyn merkezli Gregory Beson'un ceviz ve Patagonya kuvarsitinden yapılmış Pina Sehpa, Studio Luddite'ın sofistike aydınlatmaları Dormus Aplikler ve Stagg Lamba, Bowen Liu'nun modüler Plank Yan Sehpaları ve Luke Malaney’nin dövülmüş pirinç gölgeli süt boyalı dişbudaktan yontulmuş ilginç Kansas Lambası showroom'un canlılığına katkıda bulunuyor. Bu sergi sadece bir vitrin değil, aynı zamanda tarihi zanaat tekniklerinin cesur bir ifadesi. Çünkü geleneksel döşeme tasarımında 50'li ve 60'lı yıllara kadar doğal malzemeler standarttı. Bu değişim; konfor, stil, dayanıklılık ve verimliliği vurgulayan yeni bir çağ başlattı ve üretan bazlı köpüklerin kullanılmasını gerektirdi. Enkev, çağdaş üretim süreçlerine uyacak şekilde yenilikçi doğal malzeme geliştirerek ön saflarda yer aldı. İşte Jouffre, yenilikçi ve yeniden tasarlanmış döşeme malzemelerini sergilenen tasarımlara entegre etmek için Enkev ile bir ortaklık kurdu. Enkev'in malzemeleri arasında Cocolok ve Taillok-hindistan cevizi lifleri ve doğal lateksle kauçuklaştırılmış at kılı yer alıyor. Bu yenilenebilir malzemeler çevre ve insan sağlığı için daha iyi, daha antimikrobiyal özelliklere sahip. www.jouffre.com

Sahir Erozan recounts how Ayla Emiroğlu founded Maça Kızı and how he transformed the Bodrum hotel after returning to Turkey from Washington. August 2023 | YUZU BODRUM | Coffee Table Book TR below SAHİR EROZAN Let’s go back to the beginning of the story... It’s 1977. Ayla Emiroğlu opens her place in the heart of Bodrum, naming it Maça Kızı after her curly hair. Years later, her son, Sahir Erozan—who would go on to become a partner in Maça Kızı and turn it into what it is today—was preparing to leave for the United States. Sahir recalls those days: “I was studying at ITU, but the school was frequently shut down due to the political climate. I’d lost touch with my studies. My mom realized this couldn’t go on and sent me to America to study business. While she was starting her Maça Kızı journey, I had begun working in restaurants in the U.S. By the time I was 23, I had opened my first restaurant there.” Meanwhile, Sahir spent summers in Turkey, and the story of Maça Kızı unfolded in different locations—moving from Bodrum’s center to Gümbet, then Torba, and finally Gölköy. “When I came back in 1992, Maça Kızı had relocated to Gölköy. I brought over bartenders I’d worked with in America and made small adjustments to the place. I started enjoying it. After Bodrum, going back to Washington felt harder and harder.” SWIMMING TO WHERE MAÇA KIZI IS NOW After a 20-year journey in Washington, Sahir returned to Turkey for good in 2003. At that time, Maça Kızı had left its spot in Gölköy, and his mother, Ayla, was searching for a new location. “One day, I swam from Ship A Hoy to the area where Maça Kızı stands today. Back then, there was no road access. I got out of the water and sat on the beach, observing the angle of the sunlight and the wind—because these things are critical. In Bodrum, having minimal wind and sunlight that doesn’t disappear early are the ultimate luxuries. This place fit the bill perfectly. That’s how Maça Kızı found its new home.” THE RISE BEGINS IN 2005 “I was lucky,” says Sahir. “We opened at a time when Turkey was experiencing economic growth. Maça Kızı’s recognition on the global stage began around 2005. An article in the New York Times described Bodrum as ‘Turkey’s St. Tropez.’ Bodrum was steadily gaining prominence, and my friends from the U.S. started visiting frequently. As a result, the percentage of foreign guests at the hotel, which was initially around 30 percent, rose to nearly 70 percent.” words Onur Baştürk Önce hikâyenin başlangıcına dönelim... Yıl 1977, Ayla Emiroğlu kıvırcık saçlarından dolayı Maça Kızı ismini verdiği mekanını Bodrum merkezde açar. Yıllar sonra Maça Kızı’na ortak olup bugünlere getirecek olan oğlu Sahir Erozan ise Amerika’ya gitmeye hazırlanmaktadır. O günleri şöyle anlatıyor Sahir Erozan: “İTÜ’de okuyordum ama dönemin şartlarından dolayı okul devamlı kapalıydı. Okuldan kopmuştum. Annem baktı ki böyle olmayacak, beni Amerika’ya işletme okumaya gönderdi. Onun Maça Kızı serüveni başlarken ben de Amerika’da restoranlarda çalışmaya başlamıştım. Derken 23 yaşında orada ilk restoranımı açtım.” Sahir yazları Türkiye’ye gidip gelirken Maça Kızı’nın macerası da yer değiştirerek devam eder: Bodrum merkezin ardından Gümbet’e, oradan Torba’ya ve Gölköy’e... “1992’de geldiğimde Maça Kızı Gölköy’e taşınmıştı. Ben de Amerika’da çalıştığım barmenleri getiriyor, küçük dokunuşlar yapıyordum mekana. Hoşuma gitmeye başlamıştı. Bodrum’dan sonra Washington’a tekrar dönmek zor geliyordu”. YÜZEREK MAÇA KIZI’NIN OLDUĞU YERE GELDİM Sonunda Sahir Erozan, Washington’daki 20 yıllık macerasından sonra 2003’te Türkiye’ye tamamen döner. O sırada Maça Kızı Gölköy’deki yerinden çıkmış, annesi Ayla Hanım yeni bir yer aramaktadır. “Bir gün Ship A Hoy’dan yüzerek şu an Maça Kızı’nın olduğu bölgeye geldim. O zaman yolu filan yoktu. Denizden çıkıp sahilde oturdum. Gün ışığının açısına, rüzgârına baktım. Çünkü bunlar çok önemli. Rüzgârın patlamaması ve güneşin erkenden gitmemesi en büyük lükslerden biri Bodrum’da. Burası her iki açıdan da uygundu. Böylece Maça Kızı’nı buraya taşıdık.” YÜKSELİŞ 2005’LERDE “Şanslıydım” diyor Sahir, “Türkiye’nin ekonomik olarak yükseldiği doğru bir zamanda açtık. Maça Kızı’nın global arenada tanınması ise 2005’lerde başladı. New York Times’da bir yazı çıkmıştı, ‘Türkiye’nin St. Tropez’si Bodrum’ diye. Bodrum yavaş yavaş yükseliyordu. Amerika’daki dostlarım da sıkça gelip gittiler. Böylece ilk başta otelde yüzde 30 olan yabancı misafir oranı yüzde 70’lere kadar geldi.”

Ariana Ahmad designed this Moscow apartment with travertine, textured wood, custom furniture, Li Chevalier art and pieces by Christophe Delcourt. July 29, 2026 | DESIGN & INTERIORS a SENSE of MEASURE words Elena Grabar photos Eugenia Baranova Custom-designed pieces, collected artworks, and a restrained palette of travertine and wood shape Ariana Ahmad's Moscow apartment, where architecture and collectible design become part of everyday life. SHAPING FLOW Designed by architect and interior designer Ariana Ahmad, the apartment underwent a complete reconfiguration to create a more fluid and intuitive way of living. From the very first meeting, it became clear that the client was looking for more than a beautifully executed interior. He wanted a home with a clear point of view — one shaped as much by atmosphere as by architecture. The resulting interior is defined by restraint, refined materiality and bespoke craftsmanship. Carefully considered artworks, custom-designed furniture and a warm, tactile palette come together to create spaces that feel composed without ever becoming austere. At the centre of the open-plan living space, a structural pier subtly separates the kitchen from the living room while incorporating wine refrigerators, display cabinets and a kitchen island. Rather than acting as a barrier, it becomes the functional heart of the home. The transition towards the corridor and the children's wing is marked by a shelving unit designed by French designer Christophe Delcourt specifically for the project. Functioning as both a room divider and a sculptural object, it establishes rhythm while gently connecting different parts of the apartment. LIGHT AS A MATERIAL One of the guiding ideas behind the project was to preserve a sense of sunlight despite Moscow's often limited daylight. Louvered shutters and a palette of soft, luminous tones help maintain that feeling throughout the apartment, even during the darker months of the year. For Ahmad, preserving a sense of sunlight was one of the project's defining ideas. The walls were finished using a glazing technique, with multiple layers of paint applied to achieve the depth and softly luminous quality of aged plaster. Travertine appears throughout the apartment — on floors, skirting boards and door portals — establishing a strong architectural framework that unifies the spaces. Richly textured wood softens its presence and introduces warmth, while carefully integrated bronze details complete the material palette with understated elegance. CURATED FORMS Rather than being assembled all at once, the furniture and art collection grew gradually over time, allowing the interior to evolve with each addition. Many of the pieces were custom-made and inhabit the rooms almost like sculptures, reinforcing the apartment's distinct identity. Works by French artist Li Chevalier became an integral part of the collection, while sculptures by Portuguese artist Rui Matos introduce a playful artistic presence to the family areas. Several bespoke elements were created exclusively for the project, including the living room library and the bed in the primary bedroom, both designed by Christophe Delcourt. The Valcucine kitchen forms part of the architectural composition, balancing sculptural presence with everyday practicality. QUIET BALANCE Travertine, bronze and richly textured wood lend the apartment a sense of weight and permanence, softened by light, art and carefully considered details. Rather than drawing attention to individual objects, the interior succeeds through proportion, materiality and atmosphere — revealing itself gradually over time. The result is a home that feels layered yet quietly restrained, shaped by trust, thoughtful selection and a shared understanding of how space should be experienced.

Inside Casa MAGMA, SUITE Arquitetos explores curved architecture, mineral surfaces and tactile interiors for CASACOR São Paulo 2026. September 21, 2026 | DESIGN & INTERIORS CASA MAGMA words Noah Mercer photos Pedro Ocanhas For CASACOR São Paulo 2026, SUITE Arquitetos conceived Casa MAGMA for Portinari as a 215-square-metre interior where curved architecture, mineral surfaces and custom-designed elements form a continuous, tactile landscape. Casa MAGMA has a deliberately introspective quality. Designed by SUITE Arquitetos — Carolina Mauro, Daniela Frugiuele, Luiza Monari and Filipe Troncon — the project begins with the idea of shelter, but interprets comfort through more than softness. Lowered ceilings, curved walls, earthy tones and textured surfaces create a sense of enclosure, while the materials gradually reveal their depth as you move through the space. INSIDE CASACOR SAO PAULO Founded in São Paulo in 1987, CASACOR has grown into one of the Americas’ leading platforms for architecture, interiors and landscape design. Each edition brings together architects, interior designers and landscape designers to create individual spaces within a shared setting, often in collaboration with design brands. For the 2026 São Paulo edition, themed “Mind and Heart,” SUITE Arquitetos approached Casa MAGMA not as a sequence of separate rooms, but as connected atmospheres. The living room, dining area, master suite and tea bar unfold around a central space the architects describe as the heart of the project, while sculptural volumes and rounded transitions soften the boundaries between them. A ROOM AT THE CENTRE The shift in mood begins at the entrance. Burgundy velvet curtains, reddish tones and textured surfaces create a darker, more contained threshold before a large curved wall draws the eye towards the main living area. Clad in Portinari’s Vestígios Decor Mix, its three-dimensional surface takes its cue from geological strata, turning an architectural divider into one of the defining elements of the interior. Beyond it, the living room sits slightly below the surrounding floor. Rounded sofas and dense rugs gather around the centre, while broad curves replace hard divisions. Portinari’s Argilas porcelain runs through the central core, with colours drawn from Brazil’s coast, forests and cerrado. A fireplace finished in Petra Fóssil anchors the room and adds another mineral note. Rather than functioning as decoration, the surfaces establish the rhythm of the interior. Furniture, architecture and finishes are closely interwoven, working within a restrained vocabulary of curves, recesses, muted colour and contrasts in texture. FROM SURFACE TO OBJECT At the rear, the kitchen, dining area and tea bar form a more open sequence, linked by diffuse lighting, earthy tones and mineral finishes. A Supra Hide sink by Deca is integrated into the countertop, while the pendant above the island takes the project’s material language beyond floors and walls. Based on SUITE Arquitetos’ Hydria design, it was reworked for Casa MAGMA using natural crystals and tubes made from Portinari Petra. It is one of the project’s more interesting moves. Stone is treated not simply as a finish, but as something that can become an object, a detail or a source of light. The same thinking continues throughout Casa MAGMA, where Portinari’s ceramic coverings and sintered stones move between architecture, furniture and sculptural elements. A QUIETER PRIVATE ZONE The master suite shifts the atmosphere once more. Described by the architects as a “contemporary den,” it feels lighter and more protected, with curved portals, pale fabrics and natural materials replacing the darker intensity of the entrance. Behind the bed, Argilas Decor SRD porcelain introduces an irregular linear texture, while Nogueira Bourbon by Duratex continues through the woodwork. Casa MAGMA is most convincing when its material richness is allowed to remain quiet. The surfaces are expressive, but the overall language stays controlled. Curves recur without becoming ornamental; earthy colours bring warmth without pushing the interior towards rusticity. What remains is a strong sense of continuity between architecture, furniture and finish — less a collection of individual objects than a single, enveloping interior.

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

Jambo Zuri follows Onur Baştürk at Zuri Zanzibar in Kendwa, exploring Jestico&Whiles' eco-minded design and Václav Dejčmar's island retreat. September 2024 | TRAVEL JAMBO* ZURİ! words Onur Baştürk (*) Jambo means "hello" in Swahili I landed in Zanzibar around 3:00 a.m. after a seven-hour THY flight and entered the island via the temporary airport, which was located in an abandoned container. In the morning, I yawned on the terrace of the bungalow where I was staying at Zuri Zanzibar and it hit me: I had come to a truly exquisite place, the nature was incredible! Situated on the western Kendwa coast of the island, Zuri means "beautiful" in Swahili. It is the result of a 10-year project by Czech entrepreneur and documentary filmmaker Václav Dejčmar. Dejčmar is an interesting profile in his own right. For one thing, he owns the best-known modeling agency in Eastern Europe. He is also the founder of an algorithmic trading company and the DOX modern art center in Prague. Dejčmar summarizes his efforts to create Zuri as follows: "This place is the result of my passion for Zen, the aesthetics of nature, the beauty of simplicity and freedom from the daily routine”. A HOTEL BUILT WITH ECOLOGICAL PRINCIPLES Zuri is located on the 300-meter-long strip of white sand of Kendwa, a rare spot without huge tidal changes. With a total of 55 villas and bungalows, it's like a small village. A village where modern and traditional African design meet, of course. All the villas and bungalows are surrounded by so much vegetation that it makes you go crazy with happiness. Designed by London and Prague-based Jestico&Whiles, the bungalows and villas have a refined and uncomplicated style. There is enough comfort, no exaggeration. While building Zuri on 13 acres of land, the Jestico&Whiles team took care to act with ecological principles at every point of the process. For example, all roofs are made of “nyasi” (Tanzanian grass) or local wooden shingles. These two were chosen because they are more sustainable than the typical Makuti roof used in the region... Zuri, by the way, is the first African resort to be certified by EarthCheck, a global advisory center specializing in sustainable tourism. To achieve this, the hotel team has implemented a number of technical practices, particularly in water and waste management. For example, they source water from their own wells. They do not use the water sources of Kendwa village. They also use ozone technology (one of the first hotels in Africa to use this mechanism) to remove bacteria from the water they extract from the well. THE SECRET OF SPICES IN THE SPICE GARDEN Zanzibar is famous for its spice farms. It is a wonderful experience to go to one of these farms and eat black pepper or turmeric from the branch and see a vanilla tree. One of the biggest areas in Zuri is dedicated to the Spice Garden. This garden has ginger, turmeric, pepper, cumin and many more varieties. Those who wish can have an interactive workshop on Swahili cuisine full of spices in this garden. WHAT TO DO IN ZANZIBAR - GO TO THE ROCK: You know, the place that keeps popping up on Instagram, on a rock in the middle of the ocean. When I went there, the water under The Rock had receded. Because Zanzibar is a tidal land. The sea you saw five minutes ago can be far away in an hour. - SPEND TIME AT THE KITE BEACH: The south side of Zanzibar is a kite surfing paradise. There are kite schools side by side. - HAVE FUN AT THE FULL MOON PARTY: The most interesting party I went to in Zanzibar was the traditional party of the island which is held every full moon period. All the locals of the island flock to this party in Kendwa and they dance non-stop all night long. - SEE STONE TOWN: Stone Town, the center of Zanzibar, is a UNESCO World Heritage Site. So you should go and see it. If you get lost in the streets of this old town, look out for the gates! These beautiful gates are a mixture of different cultures and at the same time a symbol of the wealth of the old times. Speaking of different cultures, you can sum it up like this: If you go to the Beach House, Stone Town's famous place to watch the sunset, the food options on the menu are listed as follows; Indian, Portuguese, British, African and Omani. Zanzibar is an island that is a mixture of all these cultures. - GO TO THE MANGROVE FOREST: And of course, don't forget to see the forest of mangrove trees that hold the water... (*) Jambo Swahili dilinde “Merhaba” demek. Zanzibar’a yedi saatlik THY uçuşu sonrası gece saat 03.00 dolaylarında indim ve harabe bir konteyner içine konuşlanmış geçici havalimanından sonra adaya giriş yaptım. Sabah olunca Zuri Zanzibar’da kaldığım bungalovun terasına esneyerek çıktım ve o an anladım: Gerçekten nefis bir yere gelmişim, doğa inanılmazdı! Adanın batıya bakan Kendwa sahilinde yer alan Zuri, Swahili dilinde “güzel” anlamına geliyor. Burası Çek girişimci ve belgesel yapımcısı Václav Dejčmar’ın 10 yıllık projesinin sonucu. Dejčmar başlı başına ilginç bir profil. Bir kere Doğu Avrupa'nın en tanınmış mankenlik ajansının sahibi. Aynı zamanda algoritmik ticaret üzerine bir şirketi ve Prag'daki DOX adlı modern sanat merkezinin kurucusu. Dejčmar, Zuri’yi yaratma çabasını şöyle özetliyor: “Burası Zen'e, doğanın estetiğine, sadeliğin güzelliğine ve günlük rutinden kopup özgürleşmeye karşı tutkumun eseri”. EKOLOJİK İLKELERLE YAPILAN BİR OTEL Zuri, çok büyük gelgit değişiklikleri olmayan nadir bir nokta olan Kendwa’nın 300 metre uzunluğundaki beyaz kum şeridinde yer alıyor. Toplamda 55 tane olan villa ve bungalovlarıyla burası küçük bir köy gibi. Elbette modern ve geleneksel Afrika tasarımının buluştuğu bir köy. Tüm villa ve bungalovlar ise insanı mutluluktan çıldırtacak kadar kadar çok bitki örtüsüyle çevrili. Londra ve Prag merkezli Jestico&Whiles tarafından tasarlanan bungalov ve villalar, rafine ve karmaşık olmayan bir stilde yapılmış. Yeterli konfor var, abartı yok. Jestico&Whiles ekibi 13 dönümlük arazide Zuri’yi inşa ederken sürecin her noktasında ekolojik ilkelerle hareket etmeye özen göstermiş. Mesela tüm çatılar “nyasi” (Tanzanya otu) ya da yerel ahşap zonalardan yapılmış. Bu ikisinin seçilme nedeni, bölgede kullanılan tipik Makuti çatısına göre daha sürdürülebilir olması… Bu arada Zuri, sürdürülebilir turizm konusunda uzman olan global danışma merkezi EarthCheck'in sertifikasına sahip ilk Afrika tesisi. Bunu başarmak için otel ekibi, su ve atık yönetimi başta olmak üzere bir dizi teknik uygulama yapmış. Mesela suyu kendi kuyularından temin ediyorlar. Kendwa köyünün su kaynaklarını kullanmıyorlar. Ayrıca kuyudan çıkardıkları suyu ozon teknolojisiyle (Afrika'da bu mekanizmayı kullanan ilk otellerden biri) bakteriden arındırıyorlar. 'SPICE GARDEN'DA BAHARATLARIN SIRRI Malum, Zanzibar baharat çiftlikleriyle ünlü. O çiftliklerden birine gidip dalından karabiber ya da zerdeçal yemek, vanilyanın ağacını görmek şahane bir deneyim. Zuri bu konuda da üstüne düşeni yapmış ve büyük alanlardan birini Spice Garden’a ayırmış. Bu bahçede zencefil, zerdeçal, biber ve kimyon ve daha birçok çeşit bulunuyor. İsteyenler bu bahçede baharatlarla dolu Swahili mutfağı hakkında interaktif atölye çalışması da yapabiliyor. ZANZİBAR’DA NELER YAPILIR - THE ROCK’A GİDİN: Hani instagramda sürekli karşımıza çıkan, deniz ortasındaki kaya üzerine konuşlanmış olan mekan. Ben gittiğimde The Rock’ın altındaki sular çekilmişti. Çünkü Zanzibar bir gelgit diyarı. Beş dakika önce gördüğünüz deniz, bir saat sonra çok uzaklara çekilmiş olabiliyor. - KITE SAHİLİNDE VAKİT GEÇİRİN: Zanzibar’ın güney tarafı tam bir kite sörf cenneti. Yan yana kite okulları var. - DOLUNAY PARTİSİNDE EĞLENİN: Zanzibar’da gittiğim en ilginç parti her dolunay dönemi yapılan adanın geleneksel partisiydi. Kendwa’da yapılan bu partiye adanın tüm lokalleri akın ediyor ve gece boyu hiç durmadan dansediyorlar. - STONE TOWN’I GÖRÜN: Zanzibar’ın merkezi Stone Town UNESCO dünya mirası listesinde. O yüzden gidip görmeli. Bu eski şehrin sokaklarında kaybolurken kapılara dikkat! Hepsi birbirinden güzel bu kapılar farklı kültürlerin bir karışımı ve aynı zamanda eski dönemlerin zenginlik sembolü. Farklı kültürler demişken olayı şöyle özetlemek mümkün: Stone Town’ın meşhur gün batımı izleme mekanı Beach House’a gittiğinizde menüde yemek seçenekleri şöyle sıralanıyor; Hint, Portekiz, İngiliz, Afrika ve Umman. Zanzibar tüm bu kültürlerin karışımı olan bir ada. - MANGROVE ORMANINA GİDİN: Ve tabii suyu tutan Mangrove ağaçlarının olduğu ormanı görmeyi unutmayın…

Feria Habitat Valencia brought 14 Turkish architects and interior designers to Valencia, invited by Design-Link for meetings and events hosted by Vondom. October 2024 | DESIGN & INTERIORS TURKISH BELOW TURKISH ARCHITECTS at FERIA HABITAT VALENCIA words Alp Tekin photos Design Link Spain's largest international furniture and lighting fair, Feria Habitat, took place in Valencia from September 30th to October 3rd. This year's edition saw the participation of a team of 14 Turkish architects and interior designers. Invited by Design-Link, the Turkish representative of the Spanish outdoor brand Vondom, the group included Design-Link co-founders, interior architects Senem Atay and Merve Ertürer Güçhan; Ozge & Berat Taşkıran, co-founders of the Vondom Istanbul Flagship Store and Som Interior; Zoom TPU co-founder and interior architect Atilla Kuzu; Bou Design founder, architect Şebnem Buhara; Eke Architecture founder, architect Öznur Turan Eke; Aukett Swanke Istanbul Managing Partner, architect Burcu Şenparlak; Doğuş Construction Director, architect Fatoş Öcal; Mine Sayın Architecture and Design Studio founder, interior architect Mine Sayın; Mimaristudio co-founder, architect Ayça Akkaya Kul; Ofist co-founder and interior architect Yasemin Arpaç; Cisim Design co-founder and interior architect Erdem İşler; and Mer128 co-founder, interior architect Merve Özkardeşler. On the first day, the entire team gathered at the Vondom booth, where they had the opportunity to meet architect and designer Ramon Esteve. The following evening, they were invited to Vondom’s exclusive rooftop party at the Barcelo Hotel, where they met renowned designer Jean-Marie Massaud. TÜRK MİMARLAR FERIA HABITAT VALENCIA’DAYDI İspanya’nın en büyük uluslararası mobilya ve aydınlatma fuarı Feria Habitat her yıl olduğu gibi 30 Eylül- 3 Ekim tarihleri arasında Valencia’da gerçekleşti ve bu yılki edisyona Türkiye'den 14 kişilik mimar ve iç mimar ekibi katıldı. İspanyol outdoor markası Vondom’un Türkiye Temsilcisi Design-Link'in davetiyle Valencia'ya giden ekipte Design-Link kurucu ortakları iç mimar Senem Atay ve iç mimar Merve Ertürer Güçhan, Vondom İstanbul Flagship Mağazası ve Som Interior kurucu ortakları Ozge & Berat Taşkıran, Zoom TPU kurucu ortağı ve iç mimar Atilla Kuzu, Bou Design kurucusu mimar Şebnem Buhara, Eke Mimarlık kurucusu mimar Öznur Turan Eke, Aukett Swanke İstanbul Yönetici Ortağı mimar Burcu Şenparlak, Doğuş İnşaat Direktörü mimar Fatoş Öcal, Mine Sayın Architecture and Design Studio kurucusu iç mimar Mine Sayın, Mimaristudio kurucu ortağı mimar Ayça Akkaya Kul, Ofist kurucu ortağı ve iç mimar Yasemin Arpaç, Cisim Design kurucu ortağı ve iç mimar Erdem İşler, Mer128 kurucu ortağı ve iç mimar Merve Özkardeşler yer aldı. İlk gün tüm ekip fuardaki Vondom standında buluştu ve mimar, tasarımcı Ramon Esteve ile tanıştı. Ertesi akşam ise tüm ekip Vondom'un Barcelo Hotel'in rooftop'ında verdiği partiye davetliydi ve burada ünlü tasarımcı Jean-Marie Massaud ile tanıştı.

NOMAD Hamptons brought art, design and open-air installations to The Watermill Center, featuring Gio Ponti, Rachel Hayes and The Oman Collection. July 18, 2026 | Art & Culture NOMAD HAMPTONS: HIGHLIGHTS installation photos Ivan Erofeev (Courtesy of NOMAD) Rather than occupying conventional fair halls, NOMAD has built its reputation as a travelling micro-fair staged inside historic villas, landmark hotels and culturally significant buildings—making architecture as central to the experience as the works themselves. Following editions in St. Moritz, Monaco, Venice, Capri and Abu Dhabi, it made its U.S. debut this summer at The Watermill Center in the Hamptons (25–28 June 2026). Founded in 1992 by theatre director and artist Robert Wilson, The Watermill Center is recognised as a unique space where architecture, landscape and artistic experimentation converge. Over four days, galleries, gardens and open-air installations became one continuous exhibition, dissolving the boundaries between art, design and landscape. 1- Gio Ponti × Robert Wilson: Correspondence Among the fair's most thoughtful exhibitions, Correspondence explored the creative dialogue between Gio Ponti and Robert Wilson through drawings, ceramics, archival materials and collectible design, revealing unexpected parallels between two visionary figures. 2- Fields of Vision by Rachel Hayes, presented by Giorgio Armani Installed across the South Lawn, Rachel Hayes' large-scale textile intervention invited visitors to sit, picnic and inhabit the artwork itself. Rather than functioning as a sculpture to observe, it became a landscape to experience. 3- The Oman Collection by Gaetano Pesce Among the highlights was Gaetano Pesce's final exploration of material and nature. Presented by Kalei NYC in collaboration with the Gaetano Pesce Estate, The Oman Collection brought together the Oman Chair and the monumental Oman Throne—a tribute to Oman's frankincense tree translated into Pesce's unmistakable sculptural language. 4- Gallery FUMI As always, London's Gallery FUMI delivered one of NOMAD's most refined presentations, bringing together works by Max Lamb, Charlotte Kingsnorth, Rowan Mersh and Jeremy Anderson, among others. Throughout the exhibition, craftsmanship and material experimentation remained in constant dialogue. 5- Lola Montes – Flower Flame, presented by Ashlee Harrison Presented by New York-based Ashlee Harrison, Flower Flame introduced another contemporary voice to NOMAD Hamptons' multidisciplinary programme, adding to the fair's dialogue between art, design and material experimentation. 6- Botanical Series by Sydney Albertini, presented by Sisley Paris Sydney Albertini's imagined botanical landscapes brought colour and spontaneity to The Watermill Center, blurring the line between memory, travel and fantasy. Presented by Sisley Paris, the installation became one of the fair's most uplifting moments. 7- Sorgin Gallery Where Light Becomes Form explored Brazilian modernism through works by Joaquim Tenreiro, Jorge Zalszupin, Hugo França, Rodrigo Simão and jewellery by Charo Casteres, placing landscape, light and materiality at the centre of the conversation. 8- UNNO Gallery & K'AB JUUN Mexico City and New York-based UNNO Gallery & K'AB JUUN presented Entre Orígenes, an exhibition exploring how traditional craftsmanship continues to evolve through contemporary design. Bringing together works by designers and artists from across Latin America, the presentation celebrated material knowledge, cultural memory and the enduring dialogue between heritage and innovation. 9- Collectors Lounge by Jessica Gersten Design More than a VIP lounge, Jessica Gersten's installation became one of the social centres of NOMAD. Layering collectible furniture, artisanal materials and works by Maison Gerard, John Salibello, Espasso and Nader Gammas, it reflected the fair's domestic rather than institutional spirit. 10- The Future Perfect The Future Perfect once again demonstrated why it remains one of the leading voices in contemporary collectible design. Works by Chen Chen & Kai Williams and John Hogan explored material innovation through sculptural furniture, glass and functional objects. 11- Eric Firestone Gallery One of the fair's strongest gallery presentations paired Almo Talud's vividly coloured paintings with Torben Gammelgaard's expressive ceramic sculptures, creating an engaging dialogue between folklore, humour and identity. 12- GLIF – Altered Heritage by Habif Mimarlık Representing Istanbul, Habif Mimarlık's GLIF project reimagined historical furniture through architectural interventions in marble, brass, leather, stainless steel and wood. A thoughtful exercise in preserving material memory while giving heritage objects an entirely contemporary presence. 13- Maison Gerard Blending French Art Deco with contemporary collectible design, Maison Gerard presented one of the fair's most elegant displays, where historical furniture, lighting and contemporary works shared the same refined visual language. 14- Todd Merrill Studio Presented as a salon-style installation, Todd Merrill Studio brought together contemporary design and fine art through works by Laura Facey, John Procario, Draga & Aurel and others, closing the fair with one of its most accomplished design presentations. 15- J. Lohmann Gallery New York-based J. Lohmann Gallery presented a refined selection of contemporary decorative arts, bringing together works in ceramics, glass and metal by an international roster of artists. The presentation highlighted material innovation while remaining deeply rooted in craftsmanship.