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Elisa Uberti discusses her sculptural ceramics, slow design practice, and inspirations from habitat, primitive crafts, and Metropolis. July 28, 2025 | VOL 15 an ODE to SOFTNESS and COMFORT words Onur Basturk photos Studio Mut’s, Ibrahim Touhami, Studio B.Helle Maison Mouton Noir, Laila Pozzo Elisa Uberti’s sculptural works look as though they belong to another planet—even exuding futuristic qualities. When I share my observation with her, Uberti responds: “My intention isn’t to create something futuristic, but rather to design a unique microcosm that reflects my artistic sensibility and defies conventional standards… Through my deeply personal work, I express my dreams and emotions. That said, I am indeed drawn to certain futuristic visions—especially in the realms of utopian architecture and urban planning. For example, the bubble houses of the ‘70s or the futuristic vision of Metropolis. These elements likely imbue my work with an out-of-time or other-planet dimension". She also mentions that she works very instinctively, creating “emotional, sensitive, and timeless pieces”—like an ode to softness and comfort. Although she explains that the form of her ceramics evolves over time based on the inspirations and ideas she wishes to express, she never forgets to add: “The essence has remained the same from the very beginning.” EVERYTHING RELATED TO HABITAT, WHETHER IT’S ARCHITECTURE OR PRIMITIVE HUTS, FEEDS MY THINKING AND MY CREATIVE PROCESS So, what inspires her the most? She lists her inspirations as follows: “What inspires me most is the idea of dwelling as protection—the notion of comfort that lies at the heart of my work. Everything related to habitat, whether it’s architecture or primitive huts, feeds my thinking and my creative process. Primitive art and crafts in general are also major sources of inspiration for me. I like the idea of creating a form, whether functional or not, using very few materials and tools. This allows me to refocus on the essence of creation. As my discoveries and desires evolve, so do my sources of inspiration; the list is infinite and in perpetual motion.” Uberti explains that in her work she also explores the relationship between the frugal use of time and beauty. This approach is about beauty emerging not through haste and speed, but through care, the unexpected details revealed by the process, and natural authenticity. In short, it’s the complete opposite of rapid production! She summarizes: “My work is part of a slow design approach. When a customer orders a piece, they sometimes have to wait several months. The process requires patience and a certain flexibility, because sometimes I spend more than a week on a piece that eventually cracks or breaks as it dries.” EACH PIECE IS HANDCRAFTED, SO EVEN IN LIMITED SERIES LIKE THE LAMPS, EVERY ITEM IS UNIQUE. TREATED AS SCULPTURES, NO TWO SHARE THE SAME FORM And what about the secret of her technique? “I very rarely apply glaze, as I like the raw texture and natural nuances of the clay,” Uberti explains. “I work with the Colombin modeling technique, which consists of building up a shape by superimposing strands of clay and then smoothing them. A technique that has been used for thousands of years, it requires only a few hand tools and allows great freedom of form. In my work, I'm constantly seeking a balance between technical constraints and freedom of gesture.” Elisa Uberti describes her work as straddling the boundaries between art, design, and craft. “However, since my approach is fundamentally sculptural, I primarily identify myself as an artist. The functionality of my pieces becomes almost secondary. Even though some pieces do have a purpose, above all, I strive to create delicate, emotional objects. At the same time, as a designer, I am very attracted to the idea of designing collections—especially in collaboration with retailers, galleries, or publishing houses.” THE MOTHER’S WOMB IS A PROTECTIVE SANCTUARY, AND THERE’S NO DOUBT THAT AN UNCONSCIOUS CONNECTION EXISTS BETWEEN MY WORK AND PREGNANCY When she was studying ceramics, Uberti mentioned that she was pregnant with her second child, and she recalls that the round shapes she was developing at the time gave her the feeling of caressing a baby’s head: “The mother's womb is a protective sanctuary, and there’s no doubt that an unconscious connection exists between my work and pregnancy—a connection that influences my approach to form and material.” Before she embarked on ceramics, Elisa Uberti’s life was immersed in an entirely different world: the fashion industry. Having worked in fashion for 15 years, she even created her own ready-to-wear brand: “It was an adventure that allowed me to express my creativity through clothing—a truly enriching experience. Then I joined the retail sector, where I spent many hours in front of a screen designing numerous garments. After a while, I felt the need to return to a more manual, sensory approach with a different relationship to time. Moreover, mass consumption, the lack of transparency in production factories, and the obsolescence of products discarded season after season had become too far removed from my values. It was essential for me to reconnect with an artistic practice that resonated more with me.” So, how did her path intersect with ceramics? Uberti shares the rest of her story: “Sensitive to the beauty of ceramic objects, I naturally turned to craftsmanship. I love the contact with clay, which allows me to reconnect with the primitive work at the origin of object creation. Textiles still influence my work today. In particular, I use soft, supple, light, and mobile woolen yarns, which contrast with the coarser, more rigid ceramics.” for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

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Casa da Represa is a timber family retreat in the Brazilian countryside, shaped by reservoir views, natural materials and inherited objects. September 23, 2026 | DESIGN & INTERIORS CASA DA REPRESA words Noah Mercer photos Courtesy of 24-7 Arquitetura On the edge of a reservoir in the Brazilian countryside, 24 7 Arquitetura shapes a family retreat around timber, landscape and memory. A RURAL ARCHETYPE, REFRAMED Casa da Represa was conceived during the pandemic as a weekend retreat for a young family with two children — a place for long stays, gatherings and time away from the city. The clients had been drawn to another house by 24 7 Arquitetura, a single-storey project on a horse farm with the proportions of a barn. When they acquired a large site by a reservoir, that familiar rural archetype became the starting point. Founded in 2008 by architects Gustavo Tenca and Giuliano Pelaio, the Campinas-based practice has developed a body of work shaped by climate, topography and a careful use of natural resources. At Casa da Represa, that approach begins with the landscape itself. Set within more than 24,000 square metres of land, the house sits between forest, water and distant mountain views. Rather than flattening the site, the architects divided the programme across three staggered levels, allowing the building to follow the natural slope. FOLLOWING THE LAND The central pavilion gives the house its clearest identity, with a pitched roof and dark timber exterior. Lower volumes extend from it, keeping the composition close to the ground and reducing the sense of scale. Green roofs help the architecture recede further into the landscape. Large openings frame the reservoir and surrounding forest, but the relationship with nature is not only visual. Orientation, natural ventilation and material performance were considered from the beginning. Cross ventilation allows the main social spaces to function without air conditioning, supported by insulation and carefully positioned openings. BUILT IN TIMBER The structure itself extends this relationship with the site. Casa da Represa was developed using a CLT — cross-laminated timber — system, chosen as a more sustainable alternative to conventional construction. Timber defines both the architecture and its atmosphere. Charred wood wraps the central volume and continues into selected interiors, including the wine cellar, kitchen, games room and barbecue area. Its darker surface is balanced by Tauari wood flooring throughout the principal living and private spaces. Stone introduces a cooler counterpoint: basalt in the barbecue area, Itaúnas granite in the bathrooms and limestone around the pool. Outside, a pine deck extends the house towards the landscape. The palette is deliberately restrained. Rather than layering finishes, the architecture relies on the contrast between timber, stone and glass, allowing the materials themselves to carry much of the character. MEMORY IN THE INTERIOR The most personal layer of Casa da Represa comes from another house altogether. At the beginning of the project, the clients took the architects to the family’s old farmhouse, built in 1870 and once home to their Portuguese great-grandparents. A selection of furniture and objects from the house was then brought into the new residence. A solid-wood chaise longue, benches, sideboards, lamps, paintings, porcelain, cabinetry and a dressing table now sit alongside contemporary Brazilian design. They are not treated as historic objects or arranged with nostalgia. Instead, they are absorbed naturally into the interiors, giving the house a sense of continuity that new architecture rarely achieves. Casa da Represa finds its character in this balance: between rural form and contemporary construction, between the scale of the house and the landscape around it, and between a new family retreat and objects carried forward from an earlier one.

Interviews and profiles from YUZU Magazine with architects, designers, artists, gallerists, chefs and founders shaping design and culture worldwide. PEOPLE HUMBERT & POYET, THE ESSENCE OF THEIR DESIGNS: LOW-KEY LUXURY PATRICIA URQUIOLA EVA PAPADAKI: THE RHYTHM OF 10AM ALEXANDER DIAZ ANDERSSON ATHENIAN FREQUENCIES ALİ BERKMAN EMRE ÖZÜCOŞKUN BE ORIGINAL by PANERAI HAYDN VON WERP KAMILA SOLARZ GUILLAUME MATZ GIORGOS SAMOILIS TEKLA EVELINA SEVERIN MADE IN LISBON: ESQUIVEL AND GRAUº MONAD ORIGIN JAN ERNST FORM-MAKER ELENA SARMISTRARO CECILE DEGOS NADER GAMMAS NINA YASHAR NEW VISIONS FOR NOW AND NEXT ASTRONAUTS Show More

A Lokal in Kağıthane, Istanbul, designed by Sanayi313, reframes the office as a social club with raw concrete, plywood and a sunken seating area. April 13, 2026 | DESIGN & INTERIORS a NEXT-GENERATION OFFICE, SOCIAL CLUB STYLE words Fulya Bozkurt & Eftelya Topçu photos İbrahim Özbunar Designed by Sanayi313, this workspace softens its industrial backdrop with human-centred details, reframing the office as a social club. A SHIFT IN HOW WE WORK In a city like Istanbul, the idea of an office can no longer be reduced to desks, chairs and grey carpets. Expectations have shifted. A Lokal, developed by Assembly in Kağıthane, responds to this change with a clear sense of purpose. It is not simply a place to work, but a setting where people can genuinely connect. From the outset, Sanayi313’s founder, Enis Karavil, approached the project with a broader question in mind—not only how the space would function, but what kind of atmosphere it would create. The generous ceiling height and the sequence of vaulted forms running along the corridor introduce a subtle sense of depth. Paired with a restrained, monochrome palette and filtered natural light, the space feels composed and quietly removed from the city outside. MATERIAL BALANCE Rather than concealing the building’s industrial structure, Karavil and his team chose to work with it. Raw concrete retains its presence, yet is softened by the warmth and familiarity of plywood. This tension—between raw and refined, hard and soft—defines the space, giving it a sense of depth and lived-in character. A SUNKEN SEATING AREA At its centre sits the most distinctive feature: a sunken seating area, informally referred to as the “conversation pit”. It functions as the social heart of A Lokal. Formed through subtle level changes, this lowered zone shifts interaction away from the formality of standing meetings, inviting people into a more relaxed, eye-level exchange. As the designers note, the intention was not simply to create a place to work side by side, but to encourage moments of genuine encounter—where hierarchies dissolve and ideas move freely. Elsewhere, boundaries remain deliberately fluid. Meeting rooms adapt throughout the day, hosting anything from screenings and podcast recordings to informal dinners. Workspaces line the façade, drawing in daylight and maintaining a visual connection to the city beyond. BEYOND THE OFFICE Ultimately, A Lokal offers a considered response to the quiet isolation of contemporary working life. It replaces routine with a sense of belonging—less “going to work”, more “heading to the local to meet others”. In this way, it recalls the familiarity of traditional neighbourhood gathering spaces, reinterpreted for today.

E House by Setenay Erkul Architects is a three-storey family home in Istanbul, pairing wood and marble with sculptural furniture and forest views. January 2025 | DESIGN & INTERIORS TR BELOW E HOUSE: Redefining Comfort and Elegance words Alp Tekin photos Sinan Çırak E House by Setenay Erkul Architects brings together the charm of nature and the sophistication of modern design. Situated on Istanbul’s Asian side, this family home enjoys an enviable location, bordering a lush forest that serves as both a backdrop and an inspiration for the project. Spread across three floors, the home is a serene retreat designed for seamless living. The ground floor, where the living room, dining area, and winter garden are located, is a true celebration of its surroundings. Interior architect Setenay Erkul has embraced natural materials such as wood and marble in their most authentic forms, infusing the space with a sense of timeless elegance. The careful curation of sculptural elements and refined finishes results in a design that feels both inviting and artful. Adding to the allure are standout furniture pieces from renowned brands such as B&B Italia, De Sede, Cassina, Flos, Vibia Lighting, Foscarini, Roche Bobois, Andreu World, Cattelan Italia, Arketipo, Gamma, and Axor. These iconic designs, paired with custom touches, transform the interiors into a space where luxury and livability coexist effortlessly. Setenay Erkul Architects tasarımı E House, İstanbul'un Anadolu yakasında, ormana komşu bir aile evi projesi. Üç katlı yapının zemin katında ormana bakan bir oturma odası, yemek alanı ve kış bahçesi yer alıyor. Ahşap, mermer gibi doğal malzemeleri en otantik halleriyle iç mimar Setenay Erkul, heykelsi, zarif ve davetkâr bir yaşam alanı yaratmayı istemiş. Evde kullanılan malzemeler sanat eserleriyle birlikte sofistike ve sıcak bir denge kuruyor. E House’da önce çıkan mobilyalar arasında B&B Italia, De Sede, Cassina, Flos, Vibia Lighting, Foscarini, Roche Bobois, Andreu World, Cattelan Italia, Arketipo, Gamma ve Axor yer alıyor.

21 House of Stories is a hybrid hospitality concept by Alessandro and Mauro Benetton, with hotels in Milan Città Studi and Navigli. September 2024 | Travel TURKISH BELOW Innovative hotel concept by Benetton brothers 21 HOUSE OF STORIES words Onur Baştürk The most different and innovative hotel concept I came across during L.E/Miami was 21 House of Stories. This Milan-based hotel group describes the world they have created as "an innovative hybrid hospitality concept". "Because,” they say, “we are different from a traditional hotel. It's also a place where people can gather, meet and connect”. Yes, these words are also reminiscent of Soho House. But like SH, 21 House of Stories does not require membership. Moreover, their inclusiveness is quite surprising. They organize public events that focus on social issues such as sustainability, recycling, gender identity, technology, and art. They also provide a space for those who have ideas, projects and stories related to such social issues. The first hotel was opened in Milan Città Studi and the second in Milan Navigli, with plans to expand to other European cities in the near future. The creators of 21 House of Stories are brothers Alessandro and Mauro Benetton. When they first set out, the Benetton brothers considered "21 Ways of Living" for the name of the project, but decided on 21 House of Stories because it better reflected the spirit of community. ROOMS INSPIRED BY STORYTELLING The hotel has different room types. But all the rooms have the element of storytelling at the heart of their design. The rooms are named after narrative archetypes inspired by the storytelling found in every fairy tale. The Creator stands out for its creative design, the Wizard for those with a more visionary mindset, the Outlaw room challenges the norm with its lofted space featuring two dynamic areas, Junior Suite Hero for those looking for something a little more daring. Finally, room 609: the SuperHero, with an amazing 100 square meter terrace. Thanks to its unique design, SuperHero can also be used for parties and events. PANORAMIC TERRACES AND A RECOMMENDATION The most striking area of 21 House of Stories in Navigli are the panoramic terraces on the seventh and eighth floors, with 360-degree views of the city skyline. These terraces are home to the I Mirador cocktail bar. Inspired by Italian piazzas and the Iberian "mirador" (meaning "viewpoint"), the architectural design of I Mirador is all about the view. Inspired by the Italian tradition of spending Sundays with loved ones, Domenica is the dining and cocktail area of 21 House. Domenica offers a selection of traditional dishes reinterpreted in a modern way. Inspired by the concept of an Italian grandmother's recipe book, the menu is both sophisticated and casual. The kitchen, led by young chefs Diego Pioli and Alessio Roberto Albiero, is naturally guided by the seasons. Recommendation: Try the paccheri ai tre pomodori. Benetton kardeşlerin yenilikçi otel konsepti 21 HOUSE OF STORIES L.E/Miami günleri sırasında tanıştığım en farklı ve yenilikçi otel konsepti 21 House of Stories’di. Milano merkezli bu otel grubu yarattığı dünyayı, “yenilikçi bir hibrit konukseverlik konsepti” olarak tanımlıyor. “Çünkü” diyorlar, “Biz geleneksel bir otelden farklıyız. Burası aynı zamanda insanların bir araya gelmesi, tanışması ve bağlantı kurması için yaratılmış bir alan”. Evet, ilk bakışta bu sözler Soho House’u anımsatıyor. Ama SH gibi üyelik istemiyor 21 House of Stories. Üstelik kapsayıcılıkları hayli şaşırtıcı. Sürdürülebilirlik, geri dönüşüm, cinsiyet kimliği, teknoloji ve sanat gibi sosyal temalara odaklanan, herkese açık ortak etkinlikler yapıyorlar. Ayrıca bunun gibi sosyal konularda fikri, projesi ve hikâyesi olanlara alan sağlıyorlar. İlki Milano Città Studi'de, ikincisi ise Milano Navigli’de açılan otel yakın zamanda Avrupa’nın başka şehirlerine de açılmayı hedefliyor. 21 House of Stories’in yaratıcıları ise Alessandro ve Mauro Benetton kardeşler. Benetton kardeşler ilk yola çıktıklarında projenin ismi için “21 Way of Living”i düşünmüş, ama topluluk ruhunu daha iyi yansıtacağı gerekçesiyle 21 House of Stories isminde karar kılmışlar. ODALAR HİKÂYE ANLATICILIĞINDAN İLHAM ALIYOR Otelin farklı oda modelleri var. Ama tüm odalar hikâye anlatma unsurunu doğrudan tasarımın kalbine yerleştiriyor. Odalar, her masalda bulunan hikâye anlatıcılığından lham alarak anlatı arketiplerinin isimlerini taşıyor. Yaratıcı tasarımıyla öne çıkan The Creator, daha vizyoner düşünce yapısına sahip olanlar için Wizard, iki dinamik alana sahip çatı katı Outlaw, biraz daha cesur bir şeyler arayanlar için Junior Suite Hero ve son olarak room 609. Burası ‘SuperHero’ olarak da adlandırılan, 100 metrekarelik harika bir terasa sahip beklenmedik bir süit. SuperHero benzersiz tasarımı sayesinde parti ve etkinlikler için de kullanılabiliyor. PANORAMİK TERASLAR VE BİR TAVSİYE Navigli’deki 21 House of Stories’in en dikkat çekici alanı yedinci ve sekizinci katlarda yer alan, şehrin siluetini 360 derece gören panoramik teraslar. Bu teraslarda kokteyl bar I Mirador’u bulacaksınız. İtalyan piazzalarından ve Iber ‘mirador’larından (“seyir noktası” anlamında) ilham alan I Mirador’un mimari tasarımı tamamen manzara odaklı. İtalyanlar’ın pazar günlerini sevdikleriyle birlikte geçirme geleneğinden ilham alan Domenica ise 21 House’un yemek ve kokteyl alanı. Domenica'da, modern bir şekilde yeniden yorumlanmış geleneksel yemeklerden oluşan bir seçki sunuluyor. İtalyan bir anneannenin tarif kitabı konseptinden etkilenen menü ise hem sofistike hem rahat. Genç şefler Diego Pioli ve Alessio Roberto Albiero tarafından yönetilen mutfağa elbette mevsimler rehberlik ediyor. Tavsiye: Paccheri ai tre pomodori’yi mutlaka deneyin…

Julia Gorshkova's Moscow apartment pairs classical detailing with contemporary ease, framing panoramic views of Poklonnaya Gora and Victory Park. February 18, 2026 | DESIGN & INTERIORS the ART of BEING ECLECTIC words OB + Noah Mercer photos Sergey Krasyuk styling Yes We May Overlooking the sweeping skyline of Moscow, interior designer Julia Gorshkova has crafted an apartment that feels both cinematic and composed. Framed by panoramic views of Poklonnaya Gora and Victory Park, the residence blends classical poise with contemporary ease. Inside, a bas-relief of running horses nods to the nearby Triumphal Arch, while coffered ceilings, delicate moldings, and French parquet flooring create an atmosphere of eclectic elegance— a dialogue between context, emotion, and timeless design. A VIEW THAT SHAPED THE DESIGN What was the starting point behind “Eclectic Elegance – An Apartment for a Young Woman”? The starting point was the view itself. The panorama of Poklonnaya Gora and Victory Park became both backdrop and protagonist. The design was conceived not to compete with the view, but to amplify it — every axis, symmetry, and element was shaped to embrace that horizon. The bas-relief of running horses is striking. How did the nearby Triumphal Arch shape this idea? The Triumphal Arch has always embodied movement, victory, and grace. Translating that into the living room, the horses became a symbolic echo — a reminder that architecture is, at its best, a dialogue with history. The bas-relief anchors the interior to its setting, allowing the space to carry fragments of the city’s memory. What led you to bring a distinctly French atmosphere into a Moscow home? Parisian parquet, delicate moldings, the rhythm of coffers — these details carry an understated elegance. Bringing them here wasn’t about imitation but resonance: a way to enrich a Moscow interior with a subtle European accent, timeless yet never theatrical. ECLESTICISM HERE IS NOT CHAOS; IT’S BALANCE. EVERY ELEMENT, REGARDLESS OF ITS ERA, SPEAKS THE SAME REFINED LANGUAGE. In practice, what does “Eclectic Elegance” mean to you? It’s the art of weaving contrasts into harmony — antique elements alongside avant-garde furniture, classical symmetry offset by expressive art. Eclecticism here is not chaos; it’s balance. Every element, regardless of its era, speaks the same refined language. How did you balance classical elements with contemporary living needs? I approached tradition as a guiding framework, not a constraint. The coffered ceilings and ornate moldings bring rhythm and structure, while sliding portals and an open kitchen allow modern life to unfold seamlessly. It’s a dialogue between permanence and flexibility, memory and movement. When working eclectically, what rules or boundaries guide you? Restraint. Every element must serve a purpose. Eclecticism only works when it’s deliberate. I always ask: does this object, material, or texture contribute to the conversation? If not, it doesn’t belong. Take the avant-garde Bunny armchairs by Roman Plyus — their playful character enlivens the otherwise composed living room and reflects the client’s personality. How would you describe your interior design ethos in a sentence or two? To design is to choreograph emotions through space. I believe in interiors that are rooted in context yet open to timeless interpretation. Which design or architectural movements do you feel most aligned with today, and why? I feel closest to contemporary classicism — the ability to borrow the discipline of tradition while preserving the lightness of modern life. Also to European eclecticism, where narrative and individuality are never sacrificed for minimalism. If you had to define your signature in three words, what would they be? Contextual. Refined. Emotional. - The full story is featured in Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

Gaggenau previews The Elevation of Gravity at Milan Design Week with Sophie Ashby, Peter Goetz, Sven Baacke and Hendrik Müller at Villa Necchi Campiglio. March 2024 | Design & Interiors english below COMING SOON: THE ELEVATION GRAVITY words Alp Tekin G aggenau “The Elevation Gravity” konseptini 16-21 Nisan tarihleri arasında düzenlenecek Milano Tasarım Haftası kapsamında tanıtmaya hazırlanıyor. Ama bu tanıtımdan önce konseptin ön izlenimi için online bir basın toplantısı gerçekleştirildi. Biz de editör, tasarımcı ve mimarlarla birlikte İstanbul’dan bu basın toplantısını izlemek için Nisbetiye 10’da yer alan Cosentino showroom’unda bir araya geldik. BSH Türkiye Pazarlama Direktörü Burak Destici’nin konuşması ile başlayan buluşmada bir süre sonra online basın toplantısına bağlandık ve tüm davetlilerle Milano’nun en özel villalarından Villa Necchi Campiglio’daki paneli dinledik. Moderatörlüğünü Studio Ashby kurucusu ve iç mimarı Sophie Ashby’nin üstlendiği panelde Gaggenau Dünya Başkanı Dr. Peter Goetz, Tasarım Başkanı Sven Baacke, 1zu33 Mimari Studio Kurucu ve CEO’su Hendrik Müller yer alıyordu. Ve tüm konuşmacılar Milano Tasarım Haftası için hazırlanan “The Elevation of Gravity” konseptini, markanın yakın gelecekteki başyapıtlarını ve gelecek planlarını ilk kez paylaştı. G aggenau is preparing to unveil "The Elevation Gravity" concept during Milan Design Week from 16 to 21 April. But before the presentation, an online press conference was held to preview the concept. We came together with editors, designers and architects from Istanbul to watch this press conference at the Cosentino showroom at Nisbetiye 10. The meeting started with a speech by Burak Destici, Marketing Director of BSH Turkey, and after a while we connected to the online press conference and listened to the panel discussion at Villa Necchi Campiglio, one of the most exclusive villas in Milan. Moderated by Studio Ashby founder and interior designer Sophie Ashby, the panel included Gaggenau World President Dr. Peter Goetz, Head of Design Sven Baacke, Founder and CEO of 1zu33 Architectural Studio Hendrik Müller. For the first time, all the speakers shared the concept of "The Elevation of Gravity" for Milan Design Week, the brand's upcoming masterpieces and future plans.

Watch YUZU Film features on hotels, architecture, design and travel, including Architect's Diary interviews with designers and studio founders. FILM STAY A POSTVENETIAN DREAM: Inside The Venice Venice Hotel Escape to a Sea-Only Sanctuary on the Turkish Riviera YUZU x Hotel de Louvre YUZU x Ace Hotel Athens YUZU x Villa Lena YUZU x L’AND Vineyards YUZU x Cullinan Belek YUZU x Bayou Villas STAY ARCHITECT’S DIARY ARCHITECT’S DIARY YUZU x Andrea Lupi with Antonio Lupi YUZU x Praxitelis Kondylis with Aimasia Project YUZU x Kemal Serkan Demir YUZU x Erhan Sağır YUZU x Mahmut Kefeli YUZU x Hasan Burak Akyıldız YUZU x Pınar Hacıaifoğlu YUZU x Yeşim Kozanlı YUZU x Melike Altınışık YUZU x Derya Toros YUZU x Cisim Design (Erdem İşler + Emre Özücoşkun) MEET THE TASTEMAKERS YUZU x Gökşen Buğra founder of Gallery Bosfor YUZU x Burak Beşer Momo's Owner MEET THE TASTEMAKERS PARTNERSHIPS SUMMER IN ISTANBUL with VILEBREQUIN VONDOM OPENING BEYMEN ART ROOM with BEYMEN AEGEAN JOY with MOMO BDRM OPEN TABLE with TERRA MADRE MYSTICAL SCOTLAND with BROTHERS ARCHITECTURE & HISTORY & GASTRONOMY with PALOMA FINESSE ART DINNER with Anna Laudel Gallery ART BASEL MIAMI BEACH EVENT with ENNE SHEPARD FAIREY with LG OLED ART COMMUNITY GATHERING with HAMM COMMUNITY DINNER with ISTANBUL MODERN

Şubat 2022 | Botanik | Vol VI BİTKİ BAKIMI DENEYİMLERİ Yazı | Oktay Tutuş & Onur Baştürk E ğer söz konusu olan bitki bakımı ise her meraklı bir süre sonra kendine özgü bakım yöntemleri geliştiriyor. Elbette bazı yöntemler ortak. Onların uygulanmaması ya bitkinin az gelişmesine ya da ölmesine yol açıyor. Bitkilerinize iyi bakmak istiyorsanız her zaman başkalarının neler yaptığını dinlemeli ve onlardan yeni şeyler öğrenmeye açık olmalısınız. Tek bir doğrunun olmadığını unutmadan ve her bitkiyi kendi bulunduğu koşullarda değerlendirerek... CALATHEA ORBIFOLIA Calathea ailesine ait Orbifolia çok yakışıklı bir bitki. Bazıları benim bitkilere olan tutkuma benzer şekilde yaprak güzelliğine de hayran olur. Bu tür bir botanik meraklısıysanız, Calathea Orbifolia gerçekten görkemli. Orbifolia ile ilgili internette yaygın bir yanlış var, onu düzeltmek isterim. Bu bitki az ışıkta serpilmiyor, hayır. Tersine kuvvetli ışık olan ortamlarda tutulması gerekli. Yazın erken saatlerdeki sabah güneşi ya da akşam güneşiyle direkt teması seviyor Calathea Orbifolia. Dikkat edilmesi gereken unsur, bitkinin 27 derece üstü sıcaklıklarda kurumaya başlaması. Orbifolia için bir şekilde sıcaklığı ve nemi stabilize etmelisiniz. Saksınız kalorifer peteklerine yakın ise içi çakıl taşı doldurulmuş saksı altlarına su döküp yakınına koyun. Üzerine su sıkmayın. Onun yerine yapraklarını nemli bezle temizleyin. Yaprakları havasız ortamda ıslak kalırsa bitlenmesi ya da mantar olması kaçınılmaz. Gelelim sulamaya... Bu konuda tutumlu olmanıza gerek yok. Toprak iyi süzüyorsa ve kökler ıslak kalmıyorsa bolca sulayabilirsiniz. Ama kesinlikle içme suyu ya da temiz bir suyla sulanması lazım. pH 7.5 üzerini sevmediğini de ekleyeyim. Orbifolia ve türevleri hava akımını seviyor. Tamamen kapalı odalarda bakmayı düşünmeyin. Sürekli hava akımına muhtaçlar. Bu onlara sandığınızdan daha iyi geliyor. Eğer tüm bunlara rağmen almayı düşünüyorsanız, eve getirdiğinizde mutlaka toprağını değiştirin. Torflu saksı toprağına bol ponza taşı ya da lava kırığı, olmadı strafor ekleyerek bir karışım yapın. Hayatını kurtarmış olursunuz! (Oktay) MONSTERA DELICIOSA (DEVE TABANI) Çok popüler, çok güzel ve çok dayanıklı bir tür olduğu için aslında bakımı da çok kolay. Şu noktalara dikkat edilirse daha büyük yapraklı ve gösterişli olması mümkün. Öncelikle Monstera’yı güneşe çok yakın ya da aydınlık bir noktaya yerleştirmelisiniz. Ben bir arkadaşımın çok yaşlı olan Monstera’sından aldığım minik bir yavruyu devasa boyutlara eriştirmeyi başardım. Henüz büyümemişken güney cepheye bakan bir pencerenin kenarındaydı ve çoğu zaman öğle güneşi alıyordu. Sulamayı kontrollü, ama bolca yaptım. Her bir yaprak öncekinden daha büyük çıkmaya ve parçalanmaya başladıktan bir süre sonra saksısını değiştirdim. En son yaklaşık bir metre çapında, devasa bir dış mekan saksısına diktim. Uzun bir süre onun içinde bıraktım. Şu an yapraklarının neredeyse 1 metrekare olacak kadar büyüdüğünü söyleyebilirim! Evet, Monstera güneşi ve suyu çok sever. Aksini söyleyen arkadaşlarım bana her zaman suyunu fazla verdiğimi söyledi, ama dinlemedim. Havadar bir yerde, rahat gelişebileceği, besleyiciliği iyi bir toprakla dolu büyük saksıda, güneşe çok yakın durmak koşuluyla sizin Monstera’nızın da dev boyutlara ulaşmaması için bir neden yok. (Oktay) Devamı için... Print VOL VI - 2022 Out of Stock View Details No product

Ağustos 2020 | Seyahat | Türkiye Urla’nın en yenisi: Teruar Yazı | Edwina Sponza S anki bir çöl boşluğu içinde, heykel görüntüsündeki zeytin ağaçlarının arasında, modern ve sakin bir bina. Alabildiğine sessiz bir ortam. Sadece rüzgarın sesini duyuyorsun. Gün batımının ışığı binanın duvarlarına turuncu bir ışık bırakmış. Ve içerde çok sade ama o sadelik içinde sırıtmayan şık bir restoran var… Burası Teruar. Hem otel hem restoran. Daha çok yeni, haziran ortası kapılarını açmış. Urla’da açılan Teruar’ın sözlük anlamı şu: Bir mahsulün kendine özgü büyüme ortamını içeren çevresel özellikler… İşte bütün o özellikler bir karakteri yansıtıyormuş. Teruar da bu karakteri ifade etmek için kullanılıyormuş. FAVORİM, TUNA YANINDA KIRMIZI SOĞAN PÜRESİ Teruar’ın büyük bir arka bahçesi var. İçinde iki kocaman zeytin ağacı. Onların arasında bir sedir. İçkini orada da içebiliyorsun. Menüsü “nouvelle cuisine” akımından. Şef Osman Serdaroğlu’nun başında olduğu mutfağın felsefesi ise şu: Üzerinde durulan toprağa köklenmek. Emeğini iyi mahsül üretmeye adayan üreticilerden kendi yöresine sadık ürünleri toplamak… O gece önce kömür ateşinde kızarmış harika bir ekmek ve yörenin peyniriyle başladık yemeğe. Ardından enginar püresi, hafif baharatlı, otlu bir salata içinde kokusu mis çilekler geldi. Doğrusu uzun zamandır bu kadar güzel kokan çilek yememiştim! Favorim ise tuna yanında kırmızı soğan püresi tabağı oldu. İncecik bir ton, rozbif inceliğinde. Bir de ızgara. Çok ama çok lezzetliydi. Final tabağım deniz mahsullü ev yapımı pappardelleydi. Seferihisar mandalinasından yapılan sorbet tatlısı ise enfesti. Sarıyla turuncu arası böyle canlı bir renk yok. Ve böyle mis bir koku! Kısacası benim gözümden Teruar; servisiyle, yemekleriyle, ortamıyla çok güzel ve huzurlu bir yer olmuş. Sakin, dingin bir duygu bıraktı bende. Çok sevdim. SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

After more than 20 years in Istanbul, MARKA took its first international step in London. Held at the Design Museum on 13 October, with STEPEVI as global partner, MARKA London Capsule Edition brought together figures from design, architecture, fashion, art and hospitality. October 23, 2026 | Art & Culture INSIDE MARKA LONDON: the WAY WE WANT to LIVE words Onur Baştürk photos Richard Heald After more than 20 years in Istanbul, MARKA took its first international step in London. Held at the Design Museum on 13 October, with STEPEVI as global partner, MARKA London Capsule Edition brought together figures from design, architecture, fashion, art and hospitality. HOW DO OUR TASTES SHAPE OUR CHOICES? Es Devlin was a particular draw. Her newly opened exhibition, Other Worlds, was in the same museum, giving us the chance to hear her discuss her approach, then see it take shape in her work. BJ Cunningham, MARKA’s long-standing moderator, set the tone for the day: “How do our tastes shape our choices? What does luxury mean today?” The circular seating arrangement in the museum’s lofty central space helped shape these discussions. Speakers and listeners sat close together, with the programme unfolding through a series of 15-minute sessions. Subjects changed quickly, but it was easy to hear the connections between an interior designer’s observations and a fashion designer’s thinking. In conversation with the museum’s chief curator, Johanna Agerman Ross, Devlin spoke about finding a space of her own. For me, her words made for a particularly powerful start to the day: “Every child tries to work out how to fit a piece into the right space. But there was no space for me. This exhibition is for people like me. People who have tried glassmaking, mapmaking or bookselling, only to be told they don’t belong anywhere. Yet not fitting in can be a powerful impetus to create a new space that fits your own shape.” Anyone who has had to keep explaining why they work across disciplines will recognise the feeling. Devlin described a shift from seeking a place to belong to creating one of her own. It was a thought to carry into the rest of the day: how do the spaces, objects and experiences we design help people find a place for themselves? ALEX EAGLE: LUXURY IS HAVING WHAT YOU NEED CLOSE AT HAND In her discussion with Çağdaş Ertuna, creative director Alex Eagle offered an answer rooted in everyday life. Talking about the interiors of London’s 180 The Thames, she also described how her understanding of luxury had changed: “I’ve asked myself many times what luxury means. When I first became interested in fashion, luxury meant ease. It was having something you could put on at six in the morning and wear comfortably. In fashion, luxury was about fabric, but also effortlessness. Later, when I moved into spaces and interiors, it became about environments that allow you to live your life with ease.” Eagle’s idea of design making life easier extended to the city itself: “Luxury is having what you need close at hand. You can be curious and excited, and it’s all within reach. Being offered new experiences is a real luxury.” She was just as specific about what she looks for in an interior. “I’m usually fascinated by the bones of a space,” she said, before turning to materials: “Anything that feels alive in some way appeals to me. If you have a good floor and a beautiful colour on your walls, you’ve already done much of the work.” Her advice on developing an eye was to treat looking as a form of research: “When you see something you like, ask yourself why. Find out about its history, explore what lies behind it and put in the work.” SHAYNE BRADY: THE KEY TO LIGHTING IS SHADOW When we remember a place, which details can we actually recall? The floor, lighting, sound or the chair we sit in can make us feel at ease, even if we cannot quite say why. I had this in mind as I listened to interior designer Shayne Brady, founder of Studio Shayne Brady, discuss lighting: “In every bar we design, you’ll see a table lamp placed between two people. It creates a cocooning atmosphere, perfect for a romantic evening. The key to lighting is shadow. What makes restaurants inviting is having enough dark spaces.” Brady’s emphasis on shadow suggested why a room’s effect is so difficult to explain simply by listing what is in it. Journalist and author Dylan Jones approached the same idea from another direction: “Value for money is about how you feel, not what it costs.” JEREMY KING: A GOLDEN AGE FOR RESTAURANTS For restaurateur Jeremy King, creating that feeling begins with knowing what you want: “To anyone who creates anything, I would say this: be clear about what you want. Otherwise, you lose focus and become confused.” It is a question worth returning to with every decision that shapes a place: what kind of experience do we want people to have here? King’s optimism was striking. Even as the discussion turned to Brexit, the pandemic, tax rises and changing habits, he resisted the idea that these were the worst of times: “I live by a motto: don’t get upset today about something you won’t remember in a month or a year. The only thing missing in London right now is positivity. I think people will look back on this period as a golden age for restaurants.” That optimism did not stop him questioning the growing sameness in hospitality: “The downside of the world today is that everything is becoming increasingly alike. You walk into a five-star hotel and have no idea where you are. Everything looks the same.” A reminder that a place should bear traces of its city, the people who run it and those who come to it. The influence of a city on its spaces and creative life was also the subject of “The Istanbul Effect”, a panel bringing together Lucca and Cantinery founder Cem Mirap, İrem Kınay and Seda Gazioğlu. A point raised during the discussion captured the constant need to adapt when working in Istanbul: “Creative people living in Istanbul don’t have the luxury of settling into a fixed way of thinking. They generally have to keep changing and questioning how they think, because they cannot predict what tomorrow will bring.” KENT JACKSON: IF IT ISN’T SUSTAINABLE, IT ISN’T BEAUTIFUL Architect Kent Jackson of Skidmore, Owings & Merrill extended the discussion of design’s impact beyond the building, to its neighbourhood and environment: “We wanted to see whether we could create a building that behaved like a tree. One that draws in air, filters and stores carbon dioxide, and ideally contributes to its neighbourhood. Simply achieving net-zero carbon isn’t enough; we need to give something back to our surroundings.” Designers’ responsibilities also came into focus when industrial designer Sebastian Conran discussed AI and robotics. He questioned the ambition to make robots that are exact replicas of people, asking instead what we actually need the technology to do. As he put it: “We must make sure AI is our servant, not our master.” WHAT WE TAKE AWAY What stayed with me from MARKA London was less a single definition of luxury than a set of questions about how people want to live. What makes a place feel good? How well do we understand the reasons behind our choices? What does the work we produce give back to its surroundings? For me, the value of this first London gathering lay in the opportunity to think through these questions together.

Haziran 2020 | Seyahat | İzlanda Santorini’de uçurum kenarı süiti Yazı | Alp Tekin T atilde doğal konforun ve tasarımı sevenlerin hep aklında olan yerlerden biridir Coco-Mat Eco Residences. Yunanistan’ın Serifos Adası’nda bulunan Coco-Mat’ın, bulunduğu doğayla uyumlu doğal mimari anlayış gerçekten hayranlık vericidir. Ama Coco-Mat’ın bu yaz ilk kez kapılarını açan bir oteli daha var ki, sanırım Serifos’taki otel bir süreliğine unutulacak! Santorini adasındaki bir uçurumun içinde yer alan Nature Eco Residences. Uçurumun içinde derken, 15 süitten oluşan otelin bazı odaları gerçekten de uçurumdaki kayalığın içine oyularak yapılmış! Yani bir tür uçuruma inşa edilmiş modern mağaralarda kalınıyor desek yanlış olmaz. Üç tip süit var Nature Eco’da. Sunset, sunset private garden ve infinity residence. Özellikle 60 metrekarelik infinity residence tam anlamıyla kayanın içine inşa edilmiş. Tüm odalar deniz ya da volkan manzarasına sahip. Odaların bazılarında balkon, bazılarında teras ya da özel açık hava jakuzileri var. Süitler vintage dekorasyon ürünleri, toprak tonlarındaki ahşap ve el yapımı mobilyalarla dekore edilmiş. Odaların çizgisi tipik Santorini mimarisine özgü düz çizgiler, ustalıkla yapılmış keskin beyaz eğrilerden oluşuyor. Otelin mimarı George Zafiriou’nun üzerinde durduğu tek bir şey var, o da gösterişsizlik. Bir de en ilkel olana geri dönme. Bunda başarılı olduğu da gün gibi ortada… SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

Maison&Objet's 2026 Paris fair brings together contemporary interiors, revived craft, and future-facing design, with highlights from Elizabeth Leriche. January 27, 2026 | DESIGN & INTERIORS the BEST of Maison&Objet words Maria Chiara Antonini Hundreds of exhibitors and thousands of visitors animated the Paris trade fair dedicated to design and the world of interiors. A vibrant crossroads of ideas, materials, and visions, where furniture, decorative objects, textiles, and ceramics engaged in a continuous dialogue, transforming the fair into a living narrative of contemporary design. A SHARED LANGUAGE With over 67,000 visitors and 2,294 exhibitors, the latest Paris edition of Maison&Objet once again confirmed its role as a privileged observatory on the future of interior design. An unmissable event that continues to capture and interpret the transformations of contemporary living. The common thread running through the showcased novelties is clear: a renewed focus on traditional crafts—from ceramics and textiles to glassmaking—reinterpreted through contemporary design languages that seamlessly blend memory, materiality, creative vision, and modern aesthetics. The collections on display thus become tools for reflection, offering sensitive responses to the evolving needs of everyday life, with the aim of enhancing quality of life through design. But what will the interiors of the future look like? Offering a possible answer is Elizabeth Leriche, scenographer and trend forecaster, and curator of the exhibition What’s New? In Decor. “The interiors of tomorrow will be increasingly modular, designed to adapt to constantly evolving lifestyles. The pursuit of wellbeing, comfort, and a reassuring sense of familiarity will remain central,” she explains. Her installation, which interprets living as a layering of time, fits seamlessly into the theme of the 2026 edition, Past Reveals Future, presenting a broad and multifaceted vision of décor as fertile ground for design experimentation. CRAFT, REVISITED Ceramics take center stage, marking a heartfelt return to an artisanal aesthetic: vibrant surfaces, bold patterns, intense colors, and a material richness that becomes decoration in itself. A prime example is the new collection by Paola Paronetto, created in collaboration with Giovanni Botticelli, designed to meet the demands of increasingly sophisticated interior projects. This vision is echoed in the new dinnerware line designed by Belgian-Peruvian artist Shirley Villavicencio Pizango, known as Shurleey, for Serax, where flowers, plants, and fruit are transformed into poetic illustrations that enliven the table. Strong character and formal rigor define the identity of Table Machine, which makes color and geometry its contemporary hallmark. More classic in tone, with earthy hues and tactile surfaces, are the collections by Mos Portugal and Onofrio Acone, the latter also selected by Elizabeth Leriche for her installation. The floral world weaves through many of the collections, taking on ever-new forms: from Doing Goods cutlery adorned with delicate raised floral motifs, to the textile realm, where brands such as Goyaal Living and Jamini celebrate a slow, welcoming way of living—one defined by calm, intimacy, and an elegance that evokes the timeless charm of the countryside. LIGHTING AS NARRATIVE Lighting design also embraces bold colors and playful forms. The new collections by Ferroluce, Fermob, and Valerie Objects combine imaginative expression and experimentation with cutting-edge technology, transforming light into a narrative and scenographic element. Furniture design, too, takes center stage, with soft, enveloping lines like those proposed by Pedrali and Morpho, inviting a more mindful way of experiencing living spaces—one that fosters connection with oneself, with others, and with beauty. The new chair by House of Capricorn stands as a declaration of love for craftsmanship, a dialogue between mastery and traditional know-how that also resonates in the world of surfaces: from the ceramic tiles of Portuguese brand Theia to those of Turkish label Karoistanbul, characterized by modular, combinable forms designed to create unique, highly personalized solutions. TOWARDS TOMORROW And what about the hospitality of the future? Rudy Guénaire, through his installation Suite 2046, envisions it as an experience suspended between storytelling and visual poetry: “an architecture that strips back to the essentials and dares to dream big.” A journey that reinterprets everyday rituals, transforming them into a sensitive narrative poised between beauty, imagination, and desire.