Matt Damon’ın oynadığı Marslı (The Martian) filmi sonrası daha da popüler hale gelen bir çöl Wadi Rum.  ​ Kum vadisi anlamına gelen Wadi Rum, Ürdün’ün güneyinde, Akabe’ye 40 kilometre uzaklıkta bir doğa harikası. Wadi Rum’un şöhretinin nedeni Mars yüzeyini andıran kızıl kumları, kayalıkları elbette. Buranın Marslı filminde neden set olarak kullanıldığını oraya gidince daha iyi anlıyorsunuz.    Gerçekten de vadinin iç taraflarına doğru ilerledikçe Mars yüzeyinde geziniyormuş gibi hissediyor insan. Çok acayip bir duygu!  Artık ya filmin yoğun etkisi ya da Mars’a karşı son dönemde gelişen popüler ilginin engellenemez hali. O kızıl kumların üzerinde gezinirken başka türlü bir havaya giriyorsun.    Bu Mars efektinin bir sonucu olsa gerek, Wadi Rum’da konaklamak isteyenler için yapılan kamp alanlarına balon kabinler (nam-ı diğer “bubble dome”) kondurulmuş. Bu balon kabinlerin alamet-i farikası tabii ki yattığın yerden gökyüzünü görebilmen. Doğayla bütünmüşsün gibi hissettirmesi. Yani alabildiğine şeffaf oluşu… Bir de tabii kendiliğinden uzay istasyonu efekti vermesi!   Son yıllarda çok moda olan bu balon kabinler dünyanın dört bir tarafında var aslında. İspanya’dan Avustralya’ya, İzlanda’dan Kanada ve Meksika’ya kadar...Sırf bunlarda kalmak için aylar öncesinden rezervasyon yaptıran var. Bir tür yeni deneyim çılgınlığı bu yani. ​ Peki o balonun içinde konaklamak nasıl bir şey?  ‘Aicha’ (@aichaluxury) adlı kamptaki balonda sadece bir gece kaldım ama şunları söyleyebilirim: Sanki çölün ortasında yatıyormuşum gibiydim.  Bir ara kuvvetli bir rüzgar çıktı. O garip uğultuyu iliklerime kadar hissettim!Sonra şakır şakır yağmur yağdı. O an dedim ki, galiba bu balonu sel alıp götürecek! Korkmadım desem yalan olur! Sabaha karşı ise yıldızlar göründü, ki o kısım nefisti işte… ​ Aicha dışında bir de Suncity Camp (@suncity_camp) var. O da biraz daha konforlu bir kamp. Ama her ikisinin de mantısı aynı: Konforlu bir balon kabin ya da çadırda gelenlere kızıl çöl deneyimini yaşatmak! ​ Benim kaldığım Aicha’da:    - Sabah saat 05.30 sularında kalkıp gün doğumunu izlemeye götürdü kampın çalışanı bedeviler. Arabalarla bir bir kızıl tepeye gittik. Sabah sabah bir tepeye tırmandık. Ama gün doğmaya başlayınca manzara olağanüstüydü!    - Sabah ve gece çok serin olduğu için dev bir kürk kaban veriyorlar. Onunla dolaşmak bile fantastikti!    - Gelelim eğlenceye! Çölün ortasında bedevilerin müziği eşliğinde çılgınca dansedeceğimi söyleseler inanmazdım, ama oldu! Hayatımda en çok eğlendiğim gecelerden biriydi. Bir süre sonra çöl soğuğuna aldırmadık, bedevilerin çaldığı canlı müzik eşliğinde deliler gibi dansedip göbek attık!  ​ Unutmadan:    - Wadi Rum’a gitmek için Amman ya da Akabe’ye uçabilirsiniz. Akabe daha yakın. Amman’dan Wade Rum arabayla iki ila üç saat sürüyor.    - Petra’yı görmeden dönmek olmaz. Wadi Rum’a çok yakın Petra. Günübirlik gidip dönülebilir.  June 2024 | TRAVEL english below İtalyan Alp yazının cazibesi words Laura Cottrell photos Courtesy of Grand Savoia Cortina / Francesca Polizzi D olomitler’in kalbinde yer alan Cortina d'Ampezzo yaz aylarında bambaşka bir kimliğe bürünüp muhteşem dağları, vadileri ve ormanlarıyla trekking sevenler, bisikletçiler, dağcılar ve macera arayanlar için bir cennete dönüşüyor. “Dolomitlerin Kraliçesi” olarak da anılan Cortina d'Ampezzo’nun en gözde oteli Grand Hotel Savoia Cortina d'Ampezzo da Alp yazı için kapılarını 12 hazirandan itibaren yeniden açıyor. Bu beş yıldızlı ikonik otel, UNESCO Dünya Mirası Listesi'nde yer alan görkemli Dolomitler'in yüksekliklerine birkaç dakika mesafede. 1912'de inşa edilen Grand Hotel Savoia’nın popülerliği 1956 yılında zirveye ulaşıyor. Çünkü otel o yıl Sophia Loren'in açılışını yaptığı Kış Olimpiyatları’na ev sahipliği yapıyor. Otelin Dolomitler’e bakan büyüleyici mekanı Terrazza 1224 hazirandan ekime kadar canlı müzik seansları, caz akşamları, DJ’li kokteyl saatlerine ev sahipliği yapıyor. Ayrıca Cortina genelinde birçok yaz etkinliği düzenleniyor. Kaçırılmaması gereken yaz etkinliklerinden biri de 18-21 Temmuz tarihleri arasında gerçekleşecek ACI Sport'un İtalya Grand Touring Otomobil Şampiyonası'nın üçüncü etabı olan Coppa d'Oro Delle Dolomiti. Üç gün sürecek yarışa10 farklı ülkeden 70'in üzerinde ekip katılacak. DOLOMITLER’DE BAŞKA NELER YAPILIR? 1. Geleneksel bir dağ kulübesinde dinlenin: Dolomitler'in her yerinde bulunan bu kulübeler, başlangıçta dağcılar için gece barınakları olarak hizmet vermiş. Yıllar geçtikçe bu kulübeler konforlu dağ sığınakları haline gelmiş. Hatta bazılarında sıcak küvet ve saunalar da bulunuyor. Çoğu dağ kulübesine yürüyerek, bazılarına ise jeep transferiyle ulaşılıyor. Aynı zamanda bu kulübeler yaz aylarında dağ yürüyüşünün ardından öğle yemeği için ideal bir mola noktası. 2. Yürüyüş yapın: Dolomitler’in güzelliğini deneyimlemenin en iyi yolu yürüyüşe çıkmak. Cortina d'Ampezzo, her seviyeden yürüyüşçünün ihtiyaçlarını karşılayacak 400 kilometreden fazla tabelalı patikaya sahip. Yürüyüş rotaları boyunca Torri ve Lagazuoi 5 bölgelerindeki en büyük açık Dünya Savaşı Müzesi, Dolomit Yolu ve Fosses Gölü gibi kaçırılmaması gereken pek çok nokta bulunuyor. 3. Dağ bisikletini deneyin Kasabayı çevreleyen birçok dolambaçlı patika ve yeşil vadide heyecan verici bir dağ bisikleti gezintisine çıkın. Bu gezintiye çıkmadan önce mutlaka Grand Hotel Savoia Cortina d'Ampezzo’nun lokal rehberlernei ve konsiyerjine rotalar konusunda danışın 4. Kaya tırmanışı yapın Sarp kayalar ve sonsuz mavi gökyüzü arasında tırmanışın olağanüstü özgürlüğü vardır! Tırmanış meraklıları için Dolomitler'de efsanevi rotalar var. Bunlardan biri de Via Ferrata. Birinci Dünya Savaşı sırasında askerlerin dağdaki önemli bir stratejik karakola ulaşması için oluşturulan Via Ferrata'da tarihin ayak izlerini takip edin. The allure of the Italian alpine summer C ortina d'Ampezzo, in the heart of the Dolomites, takes on a completely different identity during the summer months, transforming itself into a paradise for trekkers, cyclists, climbers and adventure seekers, with its magnificent mountains, valleys and forests. Cortina d'Ampezzo's most popular hotel, the Grand Hotel Savoia Cortina d'Ampezzo, also known as the "Queen of the Dolomites", reopens its doors for the Alpine Summer from June 12th. This iconic five-star hotel is located just minutes from the heights of the majestic Dolomites, a UNESCO World Heritage Site. Built in 1912, the Grand Hotel Savoia's popularity peaked in 1956. In that year the hotel hosted the Olympic Winter Games, opened by Sophia Loren. Terrazza 1224, the hotel's charming venue overlooking the Dolomites, hosts live music sessions, jazz evenings and cocktail hours with DJs from June to October. There are also many summer events organized throughout Cortina. One of the summer events not to be missed is the Coppa d'Oro Delle Dolomiti, the third round of the ACI Sport Italian Grand Touring Car Championship, which takes place from July 18 to 21. Over 70 teams from 10 different countries will take part in the three-day race. WHAT ELSE TO DO IN THE DOLOMITES? 1. Relax in a traditional alpine hut: These huts, which can be found all over the Dolomites, were originally used as shelters for mountaineers. Over the years they have become comfortable mountain refuges. Some even have hot tubs and saunas. Most of the huts can be reached on foot, while others can be reached by jeep transfer. These huts are also a great place to stop for lunch after a hike in the summer. 2. Hiking: Hiking is the best way to discover the beauty of the Dolomites. Cortina d'Ampezzo has more than 400 km of marked trails to satisfy the needs of hikers of all levels. There are many places to visit along the way, such as the largest open-air museum of the Second World War in the Torri and Lagazuoi 5 area, the Dolomite Path and Lake Fosses. 3. Try mountain biking: Take an exciting mountain bike ride through the many winding trails and green valleys that surround the city. Be sure to ask the local guides and the concierge at the Grand Hotel Savoia Cortina d'Ampezzo about the routes before you set off. 4. Go rock climbing: Between steep cliffs and endless blue skies, climbing is an extraordinary freedom! The Dolomites offer legendary routes for climbing enthusiasts. One of them is the Via Ferrata. Follow in the footsteps of history on the Via Ferrata, built during the First World War to allow soldiers to reach an important strategic outpost on the mountain.

October 27, 2025 | Art & Culture ISOLA SPACE BRIDGING MILAN and DUBAI words Onur Baştürk One year after opening its Dubai office, Milan-based Isola Design Group introduces its first permanent venue: Isola Space. Opening on November 4, in sync with Dubai Design Week, the project marks a first for both the brand and the Emirati city. Designed by architect and creative director Elif Resitoglu, Isola Space occupies a prominent location within The Lana Promenade, Dorchester Collection, the new landmark building designed by Foster + Partners for Omniyat. “We always dreamed of creating a home for our global community — a space that could go beyond design weeks and festivals,” says Gabriele Cavallaro, CEO of Isola Design Group. “That vision led us to open a branch in Dubai, and now, The Lana Promenade has become the ideal place for our community to gather, share ideas, and inspire local collectors and design enthusiasts alike.” ICONS OF TOMORROW For its debut, Isola Space presents “Icons of Tomorrow”, a group exhibition bringing together designers shaping the future of contemporary design. Highlights include Epoche Studio’s fossil-and-aluminum side table, Jinil Park’s series translating sketches into three-dimensional forms, and Aina Kari + Giovanni Botticelli Studio’s reinterpretation of Venetian glass craftsmanship. The outdoor area features Alkimista’s sculptural seating and Pots and Pines’ handmade planters. The exhibition remains open until December 6. WHERE DESIGN MEETS DAILY LIFE Beyond its role as a gallery, Isola Space integrates a café and design store, creating a fluid connection between design and everyday life. Visitors can explore works by more than 30 international designers and studios including Alessa Dresel, Anton Kuzmin + Ivan Melnichuck, Federico Stefanovich, Studio Mignone, Szymon Keller, and Forks Plus. The interiors feature collaborations with ALPI (Patricia Urquiola’s Quadra surfaces), Arper, B&T, Ton, Armourcoat, Montalbano, Sandalyeci, Vescom, Acumen Light, and Dubai Audio, reflecting the platform’s attention to materiality and refined craftsmanship. STRENGTHENING A CROSS-CULTURAL DIALOGUE With the opening of Isola Space, the brand reinforces its ambition to bridge Milan and Dubai’s creative ecosystems. Today, Isola connects over 2,000 designers and studios from 70 countries, redefining design not merely as exhibition culture but as a living, shared practice embedded in everyday life.

September 16, 2025 | Art & Culture TR BELOW in SYNC with the FUTURE This September, Istanbul turns up the volume. From 17–21 September 2025, Noise_Media Art takes over Yapı Kredi bomontiada, bringing together artists, musicians, and technologists for five days of digital experimentation and after-dark energy. Born with an egalitarian, forward-thinking spirit, Noise has quickly claimed its place among the world’s most exciting media art festivals. The 2025 edition pushes further—immersive installations, cutting-edge digital works, and performances that blur the line between club and gallery. The music program, OI_Music, reads like a pulse check on the global electronic scene: modular rave futurist Cleo Leigh, dubstep heavyweight Loefah, Grammy-winning grime voice Flowdan, alongside Istanbul’s own disruptors—GLVRE, Semi, Fosil, Maui. On the art side, Russia’s acclaimed collective AES+F stages the Turkey premiere of TURANDOT 2070, a cinematic digital opera that fuses Puccini with AI-driven futures. Add to this a cross-section of galleries—from Anna Laudel and Zilberman to Paris, Zurich, and Berlin names—and you have a festival that’s less about borders, more about flows. Noise_Media Art isn’t just an event; it’s a signal. A reminder that Istanbul belongs at the center of the conversation when art, technology, and culture converge. GELECEKLE SENKRON: Noise_Media Art Eylül’de İstanbul sesini yükseltiyor. 17–21 Eylül 2025 tarihlerinde Noise_Media Art, Yapı Kredi bomontiada’yı devralıyor ve sanatçıları, müzisyenleri, teknoloji dünyasını beş gün süren dijital bir deneyim ve gece hayatıyla buluşturuyor. Egaliter ve ileriye bakan bir ruhla doğan Noise, kısa sürede dünyanın en heyecan verici medya sanat festivallerinden biri oldu. 2025 edisyonu ise çıtayı daha da yukarı taşıyor: Immersif enstalasyonlar, sınırları zorlayan dijital işler ve kulüp ile galeriyi birbirine yaklaştıran performanslar. Müzik bölümünde OI_Music, küresel elektronik sahnenin nabzını tutuyor: Modüler rave geleceğini kuran Cleo Leigh, dubstep efsanesi Loefah, Grammy ödüllü grime vokali Flowdan ve İstanbul’un sahneyi sarsan isimleri—GLVRE, Semi, Fosil, Maui… Sanat tarafında ise Rus kolektif AES+F, Puccini’yi yapay zekâ ile harmanlayan dijital opera TURANDOT 2070’in Türkiye prömiyerini gerçekleştiriyor. Yanı sıra Anna Laudel ve Zilberman gibi Türkiye’nin önde gelen galerilerinden Paris, Zürih ve Berlin temsilcilerine kadar uzanan katılımcılar, sınırların değil akışların belirlediği bir festival kurguluyor. noise.ist | @noise_media_art

October 21, 2025 | DESIGN & INTERIORS DUBAI DESIGN WEEK, UP CLOSE words Onur Basturk Now in its 11th year, Dubai Design Week continues to shape the region’s creative landscape as a hub for ideas, innovation, and cultural exchange. Taking place from 4–9 November 2025 in strategic partnership with Dubai Design District (d3) and supported by Dubai Culture, this edition presents a dynamic line-up of exhibitions, installations, and talks. We sat down with director Natasha Carella to discuss its evolving curatorial vision and how design can inspire more human-centred futures.. THIS YEAR BUILDS ON OUR HUMAN-CENTRED APPROACH What do you see as the defining theme of 2025? Rather than centering the festival around a single theme, our approach is guided by a set of principles that shape how we curate each edition. The first is a commitment to high-quality, original design that contributes meaningfully to the global discourse. The second is ensuring that what we present reflects the creative voices of the SWANA region and the wider Global South, in dialogue with international perspectives. And the third is exploring how design can actively contribute to building better futures—socially, culturally, and environmentally. Design spans a wide range of disciplines, from architecture and interiors to urban planning, graphics, product, and industrial design. The festival aims to reflect this diversity through an extensive programme of exhibitions, installations, special commissions, product launches, activations, workshops, talks, and our two anchor fairs, Downtown Design and Editions. Together, they showcase design’s ability to bridge scales—from the intimate and material to the systemic and civic. This year, the curatorial direction builds on a more reflective and human-centred approach that we’ve been nurturing in recent years. It looks at design not only as a practice of innovation but as a social connector—how it helps us live together, communicate, and care for one another and for the world around us. In that sense, it’s less about defining a trend and more about reaffirming design’s role as a shared language that can imagine and shape more inclusive and interconnected futures. How will this human-centred approach shape the experience for visitors and participants? Much of our programming this year is intentionally research-driven and multidisciplinary, exploring how design can respond to human and environmental contexts. In Abwab, themed In the Details, Bahrain’s Maraj Studio revisits ornamentalism as a form of storytelling. Their winning pavilion, Stories of the Isle and the Inlet, uses embroidered mesh inspired by thob al nashil to narrate the threatened ecology of an island off Bahrain’s coast. It’s a powerful example of how detail and decoration can become a language for preserving cultural memory. Similarly, Urban Commissions 2025, themed Courtyard, invites designers to reimagine this archetype as a site of connection. The winning proposal by Some Kind of Practice reinterprets Emirati housh typologies into new shared spatial solutions, highlighting how design can cultivate belonging and collective experience. Other programming extends this approach, connecting design with sound, ecology, and performance. Projects such as Ajzal—a contemporary interpretation of the majlis—reflect on the act of gathering, while Nikken Sekkei’s collaboration with a local woodworking family celebrates craftsmanship and the people behind the process. The d3 Architecture Exhibition, organised in partnership with RIBA, explores how architecture intersects with community, further underscoring the festival’s human focus. We also seek to expand dialogue beyond design audiences. Multidisciplinary initiatives like Bootleg Griot, whose programming weaves storytelling, music, and migration narratives, and our inclusion of book clubs, spoken-word poets, educators, and philosophers, encourage wider public engagement. REGIONAL TALENT LIES AT THE HEART OF DUBAI DESIGN WEEK Regional talent has always been central to the festival. How does DDW 2025 highlight designers from the Middle East alongside international names? Regional talent is central to the ethos of Dubai Design Week. Each edition is designed to spotlight the creative intelligence within the Middle East and the wider Global South, while positioning these voices in dialogue with international names. We work closely with design initiatives and institutions that nurture creative communities year-round—such as Art Jameel and the King Abdulaziz Center for World Culture (Ithra) from Saudi Arabia, Design Doha in Qatar, and the UAE National Pavilion. Each plays a vital role in supporting designers who explore material innovation and identity in ways deeply rooted in place. This year’s programme continues to build on those relationships while introducing new ones. Downtown Design, the festival’s headline fair, remains the most significant platform for contemporary design in the region. Alongside international names such as Kartell, Vitra, Stellar Works, and Roche Bobois, it features strong regional representation through showcases by Tashkeel’s Tanween Programme, 1971 Design Space, and MAKE’s Athath Fellowship. The UAE Designer Exhibition, supported by Dubai Culture, expands mentorship for emerging designers and introduces Lebanese designer Nada Debs as its headline mentor. The festival will also host the culmination of several award platforms that recognise excellence and innovation across the region. The inaugural d3 Awards focus on architecture, celebrating emerging talent in the MENA region, while the RIBA Gulf Future Architects Awards spotlight architectural innovation and education. Together, these initiatives create pathways for new voices to be seen alongside established ones, reinforcing Dubai’s role as a bridge for design talent across the region and beyond. DESIGN WEEKS PLAY AN ESSENTIAL CULTURAL AND SOCIAL ROLE In your view, where does Dubai Design Week stand among global events like Milan Design Week or London Design Festival—and what cultural and social role do design weeks play today? At their core, design weeks around the world share a purpose: to convene communities, exchange ideas, and explore how design can shape our collective future. We have deep respect for other design weeks—each reflects its own context and audience, and all play a vital role in strengthening the global design ecosystem. Dubai Design Week is part of that landscape. What distinguishes our approach is a focus on nuance, diversity, and cultural context. We aim to highlight non-Western communities and markets, and to reflect the richness and complexity of geographies that are sometimes underrepresented or viewed through a limited lens in global conversations. Thanks to Dubai’s unique positioning—culturally, geographically, and economically—we are able to foster collaborations that cut across regions and disciplines, resulting in projects that are both locally grounded and globally resonant. We also strive to reveal the subtleties within regions, showcasing the layers within cultures and subcultures that are often flattened by broader narratives. The festival brings together leading international names—from architectural firms and global design brands to cultural institutions and creative businesses—alongside designers, thinkers, and collectives from across the SWANA region and the wider Global South. The dialogue that emerges between these communities is one of reciprocity rather than contrast: an exchange of methodologies, material cultures, and worldviews that together expand how we imagine design’s role in society. Beyond that, design weeks play an essential cultural and social role. They create key moments in the calendar where designers, institutions, and brands share the results of their year-round programming, launch new products, and reconnect with peers across the global design ecosystem. In Dubai, that moment of convergence brings together architects, designers, educators, businesses, and the public—creating an exchange that extends beyond industry. It becomes a space where ideas circulate, collaborations take root, and new networks form, ultimately strengthening the creative and cultural economy as a whole. And importantly, we hope to build more relationships across the global design ecosystem, including with other design weeks. We see great value in collaboration over competition and would love to see more cross-platform exchanges that amplify our shared purpose.

April 2023 | People | Vol 9 TR BELOW ANATOMY of a BOTANIST Words + Photos Onur Baştürk Enverina Rina Qorraj is the manager and partner of Kandilli Botany in Kandilli, one of the historic districts on the Bosphorus side of Istanbul. Her acquaintance with the plant world began when her family started a nursery. Rina, who started to go to the nursery after high school, could closely observe the plants as she took care of them. “I walked around with a watering hose in one hand and a plant book in the other. My curiosity grew more and more; I learned the life stages of the plants and their Latin names”, she explains. Influenced by this childhood experience, Rina began studying at ITU’s Faculty of Landscape Architecture and graduated at the top of her class. During her studies, she began working in the family business, Kandilli Botany. In this way, she found the opportunity to combine theory and practice. After graduation, she both continued her occupation professionally and changed her view of landscape architecture. So much so that because of her landscape architecture work in the mansion gardens, she also did her master’s thesis on this subject. I GO AND SELECT ALL THE PLANTS MYSELF So what is it like to run a botanical business? Rina answers, “A botanical company is in a race against time. Our service involves living materials, and their needs vary depending on the season. These needs must be met in the right way and promptly”. Kandilli Botany sells native and imported plants. “Our first choice for plant supply is domestic production”, she says. “There are places in Turkey that produce well in certain regions, but the plant diversity is low and unfortunately the production capacity is limited. It is also difficult to find older plants from domestic production. This is because few production facilities go back many years, making this a tradition. Therefore, we import plants from abroad that we cannot find in Turkey. We supply outdoor plants from Italy and indoor plants from the Netherlands. Since the Italian plants grow and complete their root work in similar climatic conditions, there are no problems in adaptation when they come to us". SOME PLANTS MAY HAVE DIFFERENT NEEDS Rina says to consider the following when choosing plants for indoor use, “If your house is bright, choose Ficus Lyrata, Bucida, and Philodendron varieties; if it is semi-bright, you can go for Heteropanax and Dicksonia varieties. If you want to bring the feel of an outdoor garden indoors, you can consider strelitzia or palm species. Houseplants are normal plants that require less water, depending on the species. I do not think you will have a hard time when they are taken care of with love. Only the needs of some plants may be different. For example, the watering technique of the Dicksonia tree is different from other plants. Its whole body needs to be moistened. It is not easy to do this indoors”. THOSE WHO WANT THE SMELL OF THEIR GRANDMOTHER’S GARDEN... Rina lists the main points for a good garden landscape as follows: “Depending on the scale, tree outdoors is a must. The tree becomes determinant outdoors and creates its own space. You can spend pleasant hours in its shade and observe a tree. The type of plant we choose should also appeal to our senses. Especially our sense of smell. Based on my experience with my clients, I can say the following: people who want to create a new garden usually want the scent of their grandmother’s garden, choosing from their childhood memories. It might be the linden blossom or the peony blooming in the spring. The trees that have impressed me the most lately are Quercus (oak) species, Gingko Biloba (temple tree), Tilia (linden), Parrotio Persica (iron tree), and Platanus (plane tree). HOW THE SOIL OF THE PLANT SHOULD BE The choice of soil for the plant is also an important point. Take note of Rina’s opinions in this regard: “The soil for indoor and outdoor use is different. Especially indoors, peat rich in fiber should be used. In addition to soil, the pot size in which the plant is placed is also important. The soil loses fertility if the plant is in the same pot for a long time. For this reason, the soil must be renewed regularly. Outdoors, the mobility of the soil may cause it to fall over. In this case, additions must be made. In addition, organic and natural fertilizers can be used depending on the season and the plant’s needs”. BİR BOTANİKÇİNİN ANATOMİSİ Enverina Rina Qorraj, İstanbul’un Boğaz tarafındaki tarihi semtlerinden Kandilli’de yer alan Kandilli Botanik’in yöneticisi ve ortağı. Bitki dünyasıyla tanışması ailesinin fidanlık kurmasıyla başlıyor. Okul çıkışı fidanlığa gitmeye başlayan Rina, bitkilerin bakımını yaparken onları yakından gözlemleme fırsatı buluyor. O günleri, “Bir elimde sulama hortumu, diğer elimde ise bitki kitabıyla geziyordum. Merakım gittikçe artıyor, Latince isimleriyle birlikte bitkinin yaşam evrelerini öğreniyordum” diye anlatıyor. Çocukluğundaki bu deneyimin etkisiyle İTÜ Peyzaj Mimarlığı Bölümü’nü okumaya başlıyor Rina ve bölüm birincisi olarak okulu bitiriyor. Üniversite yıllarında ise aile şirketi Kandilli Botanik’te çalışmaya başlıyor. Böylece teoriyle pratiği birleştirme şansı buluyor. Mezun olduktan sonra hem profesyonel olarak mesleğini sürdürüyor hem de peyzaj mimarisine bakış açısı farklılaşıyor. Öyle ki, yalı bahçelerinde yaptığı peyzaj çalışmaları nedeniyle yüksek lisans tezini de bu konu üzerine gerçekleştiriyor. Rina için bu sürecin ilginç bir yanı daha var. Tez çalışmasının konusu olan Komili ve Moniem Yalıları’nın peyzaj tasarımı ve uygulamasını bizzat yapmış olması. “Benim için inanılmaz bir öz eleştiriydi” diyor Rina, “Teorimi, pratikte hayata geçirmiştim”. TÜM BİTKİLERİ BİZZAT GİDİP SEÇİYORUM Peki bir botanik işletmesini yönetmek nasıl bir şey? Şöyle yanıtlıyor Rina: “Bir botanik işletmesi zamanla yarış halindedir. Sunduğumuz hizmet canlı materyaller içeriyor ve mevsime göre ihtiyaçları farklılaşıyor. Bu ihtiyaçlara doğru şekilde ve zamanında müdahale edilmesi gerekiyor ”. Kandilli Botanik’te yerli ve ithal bitkiler satılıyor. “İlk tercihimiz yerli üretim” diyor Rina. “Türkiye’de belli bölgelerde iyi şekilde üretim yapan yerler var, ama bitki çeşitliliği az ve üretim kapasitesi kısıtlı. Bir de yerli üretimde yaşça büyük bitki bulmak zor. Nedeni ise uzun yıllara dayanan ve bunu bir geleneğe dönüştüren üretim yerinin az olması. Bu nedenle Türkiye’de bulamadığımız bitkileri yurtdışından ithal ediyoruz. Dış mekan bitkilerini İtalya, iç mekan bitkilerini ise Hollanda’dan tedarik ediyoruz. İtalyan bitkilerinin benzer iklim koşullarında yetiştirilmiş ve kök çalışmasını tamamlamış olmasından dolayı işletmemize geldikten sonra adaptasyonlarında bir sorun yaşanmıyor”. BAZI BİTKİLERİN FARKLI İHTİYAÇLARI OLABİLİYOR İç mekan için bitki seçerken şunlara dikkat edilmesi gerektiğini söylüyor Rina: “Eviniz aydınlık ise Ficus Lyrata, Bucida ve Philadendron çeşitlerini tercih edin, yarı aydınlık ise Heteropanax, Dicksonia çeşitlerine yönelebilirsiniz. Dış mekandaki bahçe duygusunu içeriye taşımak isterseniz Strelitzai ya da palmiye türleri düşünülebilir. İç mekan bitkileri düzenli ve türüne göre az su isteyen bitkiler oluyor. Severek bakıldığında zorlanacağınızı düşünmüyorum. Sadece bazı bitkilerin ihtiyaçları faklı olabiliyor. Mesela Dicksonia ağacının sulama tekniği diğer bitkilerden farklı. Tüm gövdesinin ıslatılması gerekiyor. Bunu iç mekanda yapmak kolay değil”. BABAANNESİNİN BAHÇESİNDEKİ KOKUYU İSTEYENLER... İyi bir bahçe peyzajı için olmazsa olmazlarını şöyle sıralıyor Rina: “Ölçeğe bağlı olarak dış mekanda ağaç, olmazsa olmazım. Ağaç, dış mekanda tanımlayıcı oluyor ve kendi mekanını yaratıyor. Bir ağacı seyretmek kadar, gölgesinde de keyifli saatler geçirmek mümkün. Seçeceğimiz bitki türleri duyularımıza da hitap etmeli. Özellikle koku duyumuz. Müşterilerimle yaşadığım deneyimlerden yola çıkarak şunu söyleyebilirim: Yeni bahçe sahibi olacak kişiler genellikle babaannesinin bahçesindeki kokuyu çocukluk anılarından seçerek arzuluyor. Bu koku ıhlamur ağacı çiçeği ya da ilkbaharda çiçek açan şakayığın kokusu olabilir. Son zamanlarda beni en çok etkileyen ağaçlar ise şunlar: Quercus (Meşe) türleri, Gingko Biloba (Mabet Ağacı), Tilia (Ihlamur), Parrotio Persica (Demir Ağacı), Platanus (Çınar). TOPRAK NASIL OLMALI Bitkinin toprak seçimi de önemli bir konu. Bu konuda Rina’nın görüşlerini mutlaka not edin: “İç mekanla dış mekanda kullanılan toprak farklı. Özellikle iç mekanda lif yoğunluklu torf kullanılmalı. Toprak ile birlikte bitkinin bulunduğu saksı ölçüsü de önemli. Bitki uzun süre aynı saksıda tutulduğunda toprak verimliliğini kaybeder. Bu nedenle periyodik sürelerle toprağın tazelenmesi gerekiyor. Dış mekanda ise toprak hareketliliğinden çökmeler olabilir. İlave yapılması gerekir. Ayrıca mevsime ve bitkinin ihtiyaçlarına göre organik ve doğal gübreler kullanılabilir”. for more Print VOL - IX SPRING 2023 Out of Stock Add to Cart

December 2021 | Community NEW SWAHA - NEW YEAR DINNER Partner: Raffles Istanbul - Isokyo Our New Year’s dinner, featuring personalized mantras for each guest placed on the tables, was held at Isokyo within Raffles Istanbul Hotel. Bringing together an exclusive group, our New Swaha dinner became one of the city’s most talked-about events. Her davetliye özel hazırlanmış mantraların masalarda yer aldığı yeni yıl yemeğimiz, Raffles İstanbul Oteli içindeki Isokyo’da yapıldı. Seçkin bir topluluğu bir araya getiren New Swaha yemeğimiz şehrin en çok konuşulan organizasyonlarından biri oldu.

December 2024 | Urban ENGLISH BELOW ŞEHİRDE en son BUNLAR OLDU words Onur Baştürk Medya işinde olmanın en berbat yanı: İnsanlar sen sormadan kendini, projesini, dün yediği yemekteki sosu, hafta sonları Londra’ya gidip geldiğini, saçına/yüzüne yaptırdığı son işlemi, ne kadar çok kazandığını, hatta sevişirken hangi sesleri çıkardığını (dahi) anlatıyor, sen de dinliyorsun. Yıllar içinde dinlemeye o kadar alıştım ki, kendimle ilgili bir şey anlatmak tuhaf gelmeye bile başladı. Zaten insanlar dinlemeyi değil, anlatmayı seviyor (Bakınız bununla ilgili bir tavsiyem var, BBC dizisi The Listeners). Aslında buna anlatmak da demeyelim, ‘saçmak’ diyelim. Çünkü çağın olayı bu: Ne kadar kendini saçarsan o kadar varsın. Buna inanılıyor ve adına da “içerik üretmek” diyorlar, değil tabii. Başlangıç niteliğindeki bu sosyal hayat serzenişimden sonra şehir turuna hızlıca başlayabiliriz. İlk durak, Rixos Tersane. Şu sıra burada event yapmayan marka kalmadı gibi. Peş peşe o kadar çok event oldu ki, pes ve çoğuna da pas! Ben en çok Borusan Otomotiv'in distribütörü olduğu MINI’nin yeni modellerini tanıttığı eventi beğendim. Neden? Çünkü ana sahneden bara, canlı performans köşesinden girişe kadar müthiş özenli tasarım vardı. En az yeni MINI Cooper 5 Kapı ve yeni MINI Cooper Cabrio modelleri kadar event tasarımına bayıldım. Ayrıca o gece İcra Kurulu Başkanı Hakan Tiftik’in aktardığı şu bilgiye de şaşırdım: 2024’ün ilk 10 ayında toplam MINI satışları 3 bin adetle tüm zamanların rekorunu kırmış. Ayrıca elektrikli MINI’nin satışları da 5 kat artmış. Bu artışı yapanlarla mümkünse her gece İstanbul’un en pahalı restoranı Arkestra’da buluşup ekonomiye olan katkılarını kutlamak istiyorum. Vazgeçtim, her gece bayar… İkinci durak, İstinye Park. İstanbul’un en çok Arap turist çeken AVM’si. Burası yeni bir yeme-içme alanı doğurdu geçtiğimiz haftalarda. İçinde Cova’nın da bulunduğu bu uzun yeme-içme koridorunun karşılıklı konumlanmış yıldızları ise Epoca ve Cantinery. Epoca’da katıldığım Melis Göral Jewelry yemek davetinden gördüğüm kadarıyla burası Zorlu AVM’nin yan yana konumlanmış Morini ve Cantinery’si gibi bir yer olma hedefini taşıyor. Bu arada Melis Goral Jewelry’nin İstinye Park’taki yeni mağazasının tasarımı Enis Karavil’in liderlik ettiği Sanayi 313’e ait. Bu tasarım bilgisini de onca laf kalabalığımın arasında not düşeyim. BİR DE BUNLAR OLDU… - Frankie’nin 2’inci yaş kutlaması için yapılan ‘dinner parrty’de ambiyans, eğlence çok New York’tu, ama keşke restoranın ilk açıldığı dönemdeki yemekleri menüde kalabilseydi… - Son zamanlarda tasarımını en çok beğendiğim restoran Suadiye’deki La Plage oldu. Melisa Obertelli ve Eren Karacaoğlan’ın kurucusu olduğu Architag Design tasarımı mekanın her köşesi birbiriyle uyumlu ve zevkli. Özellikle barı nefis. - Şu sıra Kuruçeşme yükselişte, ama her türlü yükseliyor! Misal, yeni açılan restoranlardan Carla’nın menüsünde ana yemek fiyatına satılan (850 liralık) guacamole var. Sipariş verdiğimiz garsonun söylediğine göre, “Guacamolenin avokadosu çok özelmiş, ondan fiyatı böyleymiş”. Peki, öyle olsun. HERE’S WHAT’S HAPPENING in the CITY The worst part of working in media? People volunteer every detail about themselves—unasked. Their projects, the sauce they had with last night’s dinner, their weekend trips to London, their latest cosmetic tweaks, their earnings, and yes, even the sounds they make during sex. And you just listen. Over the years, I’ve gotten so used to listening that talking about myself now feels awkward. But let’s face it—people love talking, not listening. (Pro tip: check out the BBC series The Listeners for a refreshing take on this.) Actually, let’s not even call it “talking.” Let’s call it “oversharing.” Because that’s the essence of the age we live in: the more you expose yourself and your life, the more you seem to exist. People truly believe this—and call it “content creation.” It’s not, of course. Now that I’ve gotten this little reflection out of the way, let’s dive into a quick tour of the city. STOP #1: RIXOS TERSANE It seems every brand worth its salt has hosted an event here recently. There have been so many back-to-back events that I’ve lost count—and interest in most. But I have to say, my favorite was Borusan Otomotiv’s launch for MINI’s new models. Why? Because the attention to detail was incredible—from the main stage to the bar, from the live performance area to the entrance. It was as impressive as the new MINI Cooper 5-Door and MINI Cooper Convertible models themselves. Also, here’s a surprising fact I learned from Borusan Otomotiv CEO Hakan Tiftik that night: in the first 10 months of 2024, MINI sold 3,000 units in Turkey, setting an all-time record. Plus, sales of the electric MINI have increased fivefold. Honestly, I’d love to meet the people behind those sales at Istanbul’s priciest restaurant, Arkestra, and toast their contribution to the economy. STOP #2: ISTINYE PARK Istanbul’s go-to mall for Arab tourists recently unveiled a new dining zone. The stars of this extended corridor, which also features Cova, are undoubtedly Epoca and Cantinery. From what I observed at the Melis Goral Jewelry dinner I attended at Epoca, the place seems to aspire to be İstinye Park’s version of Zorlu’s Morini and Cantinery duo. A side note: Melis Goral Jewelry’s new boutique at Istinye Park was designed by Enis Karavil and his team at Sanayi 313. AND ALSO… - Frankie’s second-anniversary dinner party had a very New York vibe in terms of ambiance and entertainment. If only the menu still featured the dishes from when the restaurant first opened… - Kurucesme is having a moment—quite literally rising in every way. For instance, Carla, one of the area’s newest restaurants, serves guacamole priced at 850 lira. The waiter told us it’s because the avocados are “very special.” Sure, let’s go with that.

October 27, 2025 | DESIGN & INTERIORS the ELEGANCE of CONTRAST words Elena Grabar photos Sergey Krasyuk style Yes We May A reimagined English-style house near Moscow blends heritage and modern design. In a quiet cottage community just outside Moscow, architect Natalia Sablina, founder of Sablina A&D, transformed a traditional English-style house into a refined balance between opposites: classical architecture, contemporary interiors, and a curated collection of modern art. The result is a space where heritage and modernity coexist — and where design becomes a cultural dialogue. BETWEEN STRUCTURE AND SOFTNESS Originally 350 m², the house was expanded to 750 m² during a complete reconstruction that preserved its symmetrical English façade while introducing new architectural elements: a front portico, a round attic window, a bay overlooking the garden, and a pergola-covered terrace. “From the beginning, I knew I wanted to offset the formality of the public spaces with softer, more intimate private areas,” says Natalia Sablina. The clients — a young family — requested a home built on strong contrasts. The ground floor unfolds through a sequence of formal yet expressive spaces: a grand entry hall with a walk-in wardrobe, the owner’s study, and a sculptural staircase framed by contemporary art. The open-plan living and dining area is visually anchored by striking works — from an Op Art piece by Tatiana Andreeva to a 1958 abstraction by Léon Zack. Art here is more than aesthetic. Raising two daughters who plan to study architecture, the family wanted the home to serve as a quiet education in culture and design. “They asked me to help select pieces that would immerse the girls in contemporary visual language,” Sablina recalls. TEXTURE, TONE, AND BALANCE At the centre of the kitchen stands a monolithic island in black marble. Upstairs, the private wing includes two children’s bedrooms and a serene master suite with a separate bathroom. A spacious walk-in closet — equivalent to two rooms — serves as a buffer between hallway and bedroom. The attic floor hosts a guest room, the wife’s study, a gym, and a playroom. Throughout the house, materials create a unified rhythm: leather-textured stone, natural wood veneers, and plaster-framed windows recall classical detailing but with a quiet, minimal cadence. “These are materials tied to classical architecture, but reinterpreted with restraint — they express the dual spirit of the house,” says Sablina. A DIALOGUE WITH THE LANDSCAPE The colour scheme plays on graphic tension — black and white — reflecting the clients’ urban sensibility. Through the floor-to-ceiling windows, the contrast softens into the garden’s natural tones, where the terrace and fireplace flow seamlessly outdoors. Designed with Tatiana Kamanina Studio, the landscape forms a quiet bridge between architecture and nature. Seasonal blooms — from snowdrops and lilacs to pale hydrangeas — echo the palette’s gentle shift from deeper interior hues to lighter tones in the open air. LINES MADE TANGIBLE Pieces by Kelly Wearstler, Minotti, and Poliform anchor the interior, while lighting by CTO Lighting, RUBN, and Oluce adds sculptural rhythm throughout. All millwork and finishes were handcrafted by local artisans. “We are incredibly proud of the stonework, wood, and plaster,” says the architect. “Everything was made to measure, from my original drawings.” This is a house where opposites meet — not to clash, but to reveal harmony through contrast. A classical shell filled with a modern rhythm.

September 16, 2025 | VOL 16 MILOS, in SLOW MOTION words Nicolas Vamvouklis photos 1-Courtesy Domes White Coast Milos, 2-Onur Basturk, 3- Emre Doğru There’s an island in the Cyclades where the landscape resembles sculpture, the sea turns turquoise in unexpected coves, and the food tells stories of salt, earth, and sun. Milos is not just beautiful—it feels self-authored, as if shaped by nature with a designer’s eye. Lying quietly in the Aegean, Milos has slowly become a discreet magnet for those in search of elemental luxury. Artists, architects, and travelers with a taste for the unpolished are now coming here not only for the beaches, but for the feeling—of openness, of texture, of something rare. The island is shaped like a horseshoe, its topography defined by its volcanic origin. This geological past has endowed Milos with mineral-rich cliffs, soft sandy arcs, and rock formations that flirt with abstraction. What sets it apart is its refusal to be flashy. It doesn’t overperform. It simply is—and that is its greatest seduction. THE SHAPE OF A PLACE Your introduction to Milos will likely be Adamas (or Adamantas), the main port. The town is modest, a bit sleepy around the edges, but it holds a few key ingredients for settling in: shaded cafes, car rentals, pharmacies, and bakeries for that essential morning spanakopita (a traditional pie made with spinach and feta cheese). From there, roads fan out across the island toward beaches, villages, and viewpoints that seem to unroll slowly, like scenes in a slow cinema. Drive north, and you reach Plaka—the capital and perhaps the most picturesque village on the island. Its alleys are tight, its walls blindingly white, and the light, especially near sunset, hits like a filterless dream. A climb to the old Venetian Castle rewards you with one of the finest sunsets in the Aegean. Below Plaka, the seaside villages of Klima, Mandrakia, and Firopotamos offer another kind of magic. These tiny, postcard-like settlements are defined by their syrmata—brightly painted boat garages nestled into the rocks. Fishermen once used them to store their vessels, but today some have been turned into holiday homes, their facades cheerful in red, yellow, green, and blue. They’re impossibly photogenic and oddly calming, as if color and rhythm could soothe the soul. WHERE THE SEA WRITES THE STORY But Milos is, above all, about water. The island boasts more than 70 beaches—a staggering variety for its size. The most iconic is Sarakiniko. Here, white volcanic rock has been carved by wind and sea into smooth, lunar curves. The absence of vegetation and the glare of the sun bouncing off the chalk-white surfaces create an otherworldly experience. Visitors don’t just swim here—they wander, climb, sit, stare. It’s as much a landscape as a seascape. Then there’s Firiplaka, where rose-colored cliffs tower above shallow turquoise waters, and Tsigrado, reachable only by a rope and ladder descent through a cleft in the rock—a small price for what feels like a private Eden. For a full experience of Milos’s coastline, book a boat to Kleftiko. Once a pirate hideout, it is a collection of sea caves, rock arches, and sapphire pools accessible only by water. Here, swimming feels ceremonial! TRACES OF THE PAST Milos also holds a quiet pride in its ancient heritage. The island is the birthplace of the Venus de Milo, the famed statue of Aphrodite now residing in the Louvre. Discovered accidentally in 1820 by a farmer near the village of Trypiti, the sculpture remains a powerful symbol of classical beauty. For a glimpse into this and more, the Archaeological Museum in Plaka houses Cycladic figurines, Roman relics, and a faithful plaster cast of the original goddess herself. FLAVORS OF THE AEGEAN If nature is the dominant force on Milos, food is its elegant reply. The island’s culinary scene balances simplicity and sophistication with ease. Traditional taverns still thrive, but in recent years, a handful of standout restaurants have elevated the offer—making dining part of the island’s deeper charm. The most talked-about address right now is Makris Restaurant, located within Domes White Coast Milos, perched above the sea on the island’s northwestern edge. Led by chef Petros Dimas, whose résumé includes stints in Michelin-starred kitchens, Makris has carved out a reputation for refined Greek cuisine with a contemporary sensibility. Dimas doesn’t obscure local ingredients but highlights them—red mullet is served with fennel and citrus, squid is delicately grilled and paired with smoked eggplant, while desserts play on Greek nostalgia with elegant restraint. The setting is equally arresting: a sleek, whitewashed terrace that overlooks the coast’s moonlike terrain. In Tripiti, another standout is Barriello, a sophisticated taverna housed in a 19th-century building. The setting is all stone arches and soft candlelight, but the kitchen is firmly contemporary. Local fava with capers, seafood pasta with saffron, and inventive vegetarian plates round out a menu that changes often. The wine list is Greek and proud—spotlighting organic and natural bottles from small producers. For those drawn to places with a lived-in, almost bohemian charm, Oh Hamos! near Adamas is a must. Run by a local family, this tavern is known for growing its own produce, making its own cheese, and hand-writing its menus with endearing commentary. Dishes are hearty—think goat with rosemary, baked aubergines, and stuffed zucchini blossoms. The shaded terrace, buzzing with conversation and shaded by trees, encapsulates a version of Greece that is unpretentious and deeply satisfying. Seafood lovers should also consider Medusa, in the tiny fishing village of Mandrakia. Tables are perched on the rocks just above the water. There’s no booking system—you come, you wait, you eat what the fishermen brought in that morning. Grilled octopus, marinated anchovies, and fried calamari are served simply but perfectly. The vibe? Slow and salt-kissed. Cafés and bars on the island tend to lean casual, but you’ll find thoughtful aesthetics in places like Aggeliki Ice Cream Shop in Adamas—a family-run spot serving fresh fig gelato, and Utopia Café in Plaka, a prime spot for a sundown cocktail with sweeping views. TIME SLOWS Accommodation on the island reflects the same understated elegance. Many properties have embraced Cycladic minimalism—white tones, natural textures, hand-crafted details. At the top end, Skinopi Lodge offers sculptural villas set into the cliff, almost invisible from afar. Closer to the port, Salt Suites & Executive Rooms in Pollonia deliver design-minded comfort a few steps from the sea. Domes White Coast Milos, where Makris Restaurant is located, merges boutique luxury with earthy aesthetics—all neutral palettes, rough stone, and clean lines. Unlike some islands that invite you to “do,” Milos encourages you to “be.” Sit longer, swim slower, eat better. Its magic lies not in spectacle, but in attention. You don’t rush Milos—and it doesn’t rush you. You find yourself seduced not by curated experiences, but by elemental ones: the warmth of a rock under the sun, the quiet at dusk, the crispness of a tomato just picked. For travelers with a sensitivity to design, to mood, to space, Milos is an island that offers something increasingly rare: room to breathe. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 970,00₺ Price Add to Cart

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 - SPRING 2025 970,00₺ Price Add to Cart

August 24, 2025 | DESIGN & INTERIORS TR BELOW BUNYAMIN ATAN ‘PEOPLE THRIVE in the SOIL THEY COME FROM’ words & portrait photos Onur Baştürk Mardin-born architect Bünyamin Atan, founder of Hiza Architects, is one of the rising names on today’s architectural scene. Drawing from a deeply layered cultural memory, his work invites us to reconsider notions of origin, belonging, and contemporaneity. As one of the most closely watched voices of his generation, Atan defines architecture not merely as the production of buildings, but as an ongoing dialogue with history, culture, and geography. As an architect from Mardin, you grew up with a multilingual, multi-layered cultural memory. How does that shape Hiza Architecture’s work? When I first left for university, I saw two paths: to set my Mardin identity aside and blend into a new life, or to carry it proudly as part of who I am. Both were hard. Over time, I chose to lean closer to Mardin—its languages, its history, its urban fabric that has no real counterpart in modern architecture. For me, belonging is relative. Sometimes it’s to land, sometimes to history, sometimes to culture. Mardin sits at the crossroads of all three. I believe origin always shapes architecture, directly or indirectly. I’m one of those who believe, deeply, that people thrive in the soil they come from. FINDING BALANCE IN ‘HIZA’ The word Hiza is poetic and philosophical. How do you balance the temporary and the permanent, the quiet and the visible? Hiza means the trace a camel leaves in the desert. We took this very physical description and pulled it into a more abstract realm, imbuing it with meaning and identity. Working with abstract concepts in architecture isn’t easy, because everything eventually becomes physical. Maybe we thought that in making these transitions, we could find our own hiza —our own measure. Looking back, I see how much this approach has helped guide and regulate our work. In a way, it defines the relationship between past and future. But we want to be temporary as much as permanent. The reason lies in the etymology of hiza: a mark appears in the desert, like a layer. Then the wind comes, covering it with new layers until the sand eventually loosens, scattering again. That image became our guide. In every project, we start from this frame: geography, history, culture. A NATURAL EVOLUTION Local materials and traditions play a role in your work. How should contemporary architecture relate to the local? The “local” often feels too symbolic today. Even when tradition is applied faithfully, the users are rarely local. Think of Mediterranean tourism hubs—everyone competes to perfect “local architecture,” but the users are short-term visitors. What’s new is that contemporary users, after adopting global culture, have reshaped the local in their own image. It’s a natural evolution, a generational shift. My approach is to bring local knowledge into the present without pretending, without social engineering, without a top-down gaze. ON THE BODRUM MOSQUE Your futuristic Bodrum Mosque project sparked discussion… Yes—there was already a replica Ottoman mosque under construction, heavily criticized for being out of scale and inauthentic. Without demolishing, we reworked the design to create a mosque that feels true to Bodrum, rooted in the Aegean. THE MARIN PROJECT IN MARDIN Tell us about your Marin project in Mardin. The site sits just below the castle, overlooking new settlements, with five caves within the land. That was thrilling. Instead of mimicking Mardin, we looked to the mountain villages of Mesopotamia, which evolve over generations. Our aim was not only to let people experience Mardin’s historic texture, but also to create cultural knowledge about Mesopotamia. The program includes a mosque, chapel, library, galleries, restaurants, hotel, housing, and offices—an ambitious mix for Mardin’s geography. HIGH EXPECTATIONS OF ARCHITECTS Which fields outside architecture feed your work? I’ll admit, I expect a lot from architects. They should know sociology, photography, geography, history—and bring it all together as culture. I push myself the same way, forcing myself to stay a student. Each new project makes me feel like a beginner, but I embrace that by collaborating with people who can guide me. INSPIRATION AND THE POWER OF ILLUSION What inspires you? Poetry, photography—and nature. Driving through the countryside, you crest hill after hill, expecting difference, but always finding the same winding roads. That illusion fascinates me. Imagine building a place that gives people that feeling. Is there a building that still overwhelms you? Yes: the 4th-century Mor Evgin Monastery in Mardin’s Tur Abdin mountains. Its rootedness, its hidden-yet-visible stance, its rough materials, its interior atmosphere… it never stops inspiring me. BÜNYAMİN ATAN ‘MİMARLIĞIN KÖKENLE bir İLİŞKİ HALİ VAR’ Mardin kökenli mimar Bünyamin Atan, kurucusu olduğu Hiza Architects ile mimarlık sahnesinin yükselen isimlerinden. Çok katmanlı kültürel hafızasından beslenen yaklaşımıyla köken, aidiyet ve çağdaşlık kavramlarını yeniden düşünmeye davet ediyor. Kendi kuşağının dikkatle izlenen mimarlarından biri olarak mimarlığı yalnızca yapı üretimi değil; tarih, kültür ve coğrafya ile kurulan bir diyalog olarak tanımlıyor. Mardinli bir mimar olarak çok dilli, çok katmanlı bir kültürel hafızayla büyüdünüz. Bu aidiyet hissi, Hiza Mimarlık’ın üretimlerine nasıl yansıyor? Sizce mimarlıkta kökenin rolü ne kadar belirleyici? Üniversite yıllarıyla beraber Mardinli olmanın benim için iki temsil biçimi vardı. İlki, Mardinliliği bir kenara bırakıp yeni dahil olduğum hayatın bir parçası olmak. Diğeri ise bunun kıymetli bir şey olduğunu görünür kılıp kimlik olarak taşımaya çalışmak… İki yol da kendi içinde zordu. İlkinde yeni bir hayatı tam anlamıyla öğrenmek zaman ve emek istiyordu. Diğeri ise bana eşlik eden bilgileri -dersini tekrarlayan bir çocuk gibi hatırlamaya çalışıp- mimarlık kimliğiyle bir araya getirmeye çalışmaktı. Ailemden de kaynaklı olarak Mardin kimliği ile daha yakın bağ kurmayı, dilleri ve tarihi daha görünür kılmayı, modern mimarlıkta karşılığı olmayan kentsel dokusunu incelemeyi tercih ettim. Aidiyet kavramı ise göreceli. Bazen bulunduğun coğrafyaya ait olmak, bazen tarihe bazen de kültüre… Bunların ara kesitine odaklanıyorum. Mardin bu üç başlığın da iyi kesiştiği bir coğrafya. Bu üç başlığın da etnik kökeni şekillendirdiğine inanıyorum. Bu yüzden mimarlık kökenle doğrudan ya da dolaylı olarak ilişki halinde. Yani kesinlikle kökenle bir ilişki hali var. “İnsan toprağında yeşerir” kavramına inananlardanım! “Hiza” kelimesine yüklediğiniz anlam, şiirsel olduğu kadar felsefi de. Geçiciyle kalıcının, sessizle görünürün arasındaki bu dengeyi nasıl kuruyorsunuz? Hiza, devenin çölde bıraktığı ize deniyor. Bu somut tanımlamayı soyut bir düzleme çekip mana ve kimlik yüklemeye çalıştık. Mimarlık üretimini soyut kavramlar üzerinden işlemek kolay değil. Çünkü yaptığımız her üretim fiziki eyleme evriliyor. Belki bu geçişleri yapmak bize ve üretimlerimize bir hiza getirir diye düşündüm. Kuruluşumuzdan bu yana yaptıklarımıza baktığımda, bu kurgunun bizi denetlediğini görüyorum. Ama geçici de olmak istiyoruz kalıcı da! Nedeni, hizanın etimolojik anlamında gizli: Çölde bir iz çıkıyor, bir katman gibi. Rüzgârla birlikte bu katman yeni katmanların altında kalıyor ve zaman içerisinde sıkılaşmış kum taneleri tekrar diğer taneler gibi ayrışıp dağılıyor. Bu tanım bize şahane bir rehber! Bir projeyi ele alırken tamamen bu bağlamda hareket ediyoruz. Coğrafya, tarih, kültür… BU ÇOK DOĞAL BİR EVRİLME Tasarımlarınızda yerel malzeme ve bölgesel mimari değerler belirgin rol oynuyor. Sizce çağdaş mimarlık yerel olanla nasıl bir ilişki kurmalı? Buna yanıtım biraz farklı. Yerel olanın çok sembolik kaldığını düşünüyorum. Çünkü yerel mimaride geleneği tüm normlarıyla ele alsak bile, kullanıcısı artık yerel olmuyor! Akdeniz’deki herhangi bir ülkenin herhangi bir turizm bölgesini ele alalım. Hepsi yerel mimariyi en iyi şekilde icra etmek için yarışıyor. Bu yapıların kullanıcıları ise çoğunlukla kısa dönemli kullanıcılar. O yapının yaz sıcağına verdiği yanıtı görüyor, ama kış rüzgârına olan dayanıklılığını görmüyorlar. Günümüzde yerel mimarlık inşaat ekonomisinde kendisine böyle yer bulabildi. Yeni olan şey, bu güncel kullanıcıların çağdaş mimarlık kültürünü benimsedikten sonra yerel olanı da kendilerine benzetmiş olması… Bu çok doğal bir evrilme. Aslında bir kuşak dönüşümü. Düşünün, köylüsünüz ve köyde eviniz var. Bakımı zor, bağı bahçesi bir dert. İlk fırsatta, daha kolay olduğu için şehirde bir apartman dairesi alırsınız. Ama bu da yorucu ve sıkıcı gelir. Derken ekonominiz düzeldiği llk anda müstakil yaşama geçersiniz. Çünkü bağ bahçe, sağlıklı ürün gibi kaygılarınız oluşur, tarih bilinciniz artar, geçmiş daha anlamlı ve güçlü gelir. Böylece öze dönüş başlar. Köydeki eve dönüp restore eder, oradaki eski yaşama dönersiniz. Ama tamamen yeni biri olarak… Sorunuza yanıt verecek olursam: “Mış” gibi yapmadan, toplum mühendisliğinden kaçınarak ve üstten bakmadan yerel bilgileri günümüz kullanıcısına sunmaya çalışıyorum. Kullanıcıların yeni olduklarını kabul ederek… BODRUM CAMİİ PROJESİ ÜZERİNE… Fütüristik Bodrum Camii projeniz de çok konuşulmuştu… Aslında mevcut bir proje yapılmış ve inşaatı başlamıştı. Yapılan proje, geleneksel Osmanlı camilerinin bir taklidi olduğu için Bodrumlular’dan eleştiri almıştı. Aynı zamanda iri bir yapı olduğu için doku açısından yanlış proje olduğu konusunda herkes mutabıktı. Yerel ve merkezi yönetimden bir talep oluştu ve ben öyle dahil oldum. Mevcut inşaatın geldiği yeri koruyarak, yıkmadan, Bodrum’a ait, Ege’nin içinde olduğunu hissettiren bir cami yapmaya çalıştık. MARDİN’DEKİ MARİN PROJESİ Bir de Mardin’deki iddialı Marin projesi var. O projeyi anlatabilir misiniz? Şöyle: Mardin’de yeni bir proje için bize ulaştılar. Yeri ilk öğrendiğimde çok şaşırdım. Çünkü Mardin’in yeni yerleşimine bakan, tarihi dokunun içinde olmayan, ama kalenin hemen dibinde konumlanmış bir arazi söz konusuydu. Üstelik arazi içinde irili ufaklı beş mağara da bulunuyordu. Bu da bizi epey heyecanlandırdı. Mardin’in geçmişiyle geleceği konusunu işleyebileceğimiz bir yer olduğunu gördüm. Biz de bir Mardin taklidinden ziyade, Mezopotamya’nın dağ köylerini referans aldık. Malum, bu köyler iki veya üç kuşak boyunca kurulur ve nihai görüntüsüne ulaşır. Mardin gibi şehirler ise binlerce yıllık bir zaman diliminde kendini var eder. Bu yerel tespit vesilesiyle yol haritamız daha belirgin hale geldi. Projenin amacı sadece Mardin’in tarihi dokusunu deneyimlemek değil, Mezopotamya’ya dair bir kültür ve bilgi oluşturma amacıyla kurgulandı. İçince mescit, şapel, konferans salonları, kütüphane, sanat galerisi, restoranlar, otel, konut ve ofisler bulunuyor. Bu kadar çok fonksiyonu bir arada bulundurması Mardin coğrafyası için çok şey ifade ediyor. MİMARDAN BEKLENTİM ÇOK! Disiplinler arası düşünmeye açık bir yaklaşımınız var. Mimarlık dışındaki hangi alanlar sizi besliyor ya da mimari düşünce yapınızı etkiliyor? Mimarlığı yaparken sakin kalmaya çalışıyorum, ancak başkalarının ürettiği mimarlığa sakin kalamıyorum! Hayranlık ya da eleştirimi en yüksek dozda yaşıyorum. Mimarlık okuması yaparken mimardan her şeyi beklediğimi itiraf etmeliyim. Hatta eleştirdiğim kavramları bile yapmalarını bekliyorum. Toplumu bilsin, topluma seslensin, yani toplum mühendisliği yapsın beklentisine giriyorum. Kendi projelerimde ise bu tavrı üstten bakış diye eleştiriyorum. Geriye çekilmeyi daha doğru buluyorum. O nedenle kendimi tenzih ederek söylüyorum. Mimar sosyoloji bilmeli, fotoğraf çekmeyi bilmeli, çok coğrafya görmüş ve anlamış olması gerekli, tarih bilmeli ve son olarak da bunların bir ara kesiti olarak kültürlü olmalı. Evet, mimardan beklentim çok! Ben de bu bağlamda öğretime devam ediyorum diyebilirim. Teknik olarak kendimi hâlâ bazı alanlarda öğrenci olmaya zorluyorum. Bu aslında öğrenmeyi sevmek. Yeni bir proje başladığında beceriksizmişim gibi bir his geliyor. Ama öğrenmeyi sevdiğim için hemen telefona sarılıp o alanda bana yol arkadaşlığı edecek olanları davet ediyorum. EN ETKİLEYİCİ YAPI MOR EVGİN MANASTIRI İlham aldığınız şeyler? Her şeyden etkilenen biriyim, ama doğayla tanımlayacak olursam: Taşrada, ardı sıra dizilmiş tepelerde yol almak. Taşrada yolda giderken, her tepenin ardında farklı bir şey var duygusuna kapılırım, ama her zaman birbirine benzeyen, kaybolan ve kıvrılan tekdüze yollar ile karşılaşırım. Bu benim için büyüleyici bir yanılma hissi! Düşünsenize bir mekanı böyle bir hisse sahip olacak şekilde kurgulamayı başarıyorsunuz. İnanılmaz olurdu. Sizi hâlâ büyüleyen ya da yeniden düşünmeye sevk eden bir mimari yapı ya da detay var mı? Abartılı gelebilir, ama dünya üzerinde benim için en etkileyici yapı Mor Evgin Manastırı. Mardin’de Turabdin Dağları’nda konumlanmış bir 4. yüzyıl yapısı. Yerine ait oluşuyla, hem saklanan hem görünen duruşuyla, yapı malzemesindeki nizami olmayışla, iç mekanda sunduğu atmosferiyle…

November 5, 2025 | DESIGN & INTERIORS a FUNCTIONALIST HOME words Alp Tekin photos Alex Shoots Buildings In Prague’s New Town, architect Martin Cenek turns his own apartment into a meditation on form, function, and memory. The result is a space where modernist precision meets quiet, lived warmth. In a late-1930s functionalist building in Prague’s New Town, architect Martin Cenek has transformed his own apartment into a quiet reflection on time, identity, and design. The 49-square-metre flat — both home and experiment — balances restoration with renewal. Cenek approached the project as both architect and inhabitant. Original windows, doors, and fittings were meticulously restored, while a raw concrete ceiling, once hidden under plaster, now anchors the living room with sculptural clarity. A new block of custom furniture in stained oak and white lacquer conceals the bathroom, kitchen, and storage — a minimalist gesture that shapes space without erasing history. Every piece tells a story: Thonet chairs from his great-grandparents, a 1930s lamp from his great-uncle’s office, a rare tubular chair by Karel Ort, and a Nendo “Fusion” sofa coexist naturally, joined by a pink piglet stool — a humorous gift that softens the discipline of the space. Cenek calls the renovation an exercise in coexistence: between past and present, precision and play. The result is a home that feels deeply personal yet profoundly architectural — a modest ode to Prague’s modernist spirit.

September 3, 2025 | Art & Culture TR BELOW the THREE-LEGGED CAT: 18th ISTANBUL BIENNIAL The Istanbul Biennial, one of the city’s most anticipated cultural events, returns this fall with a route that turns Istanbul itself into an exhibition. Running from September 20 to November 23, 2025, the 18th edition—organized by İKSV with the support of Koç Holding—comes under the intriguing title The Three-Legged Cat. The Istanbul Biennial, one of the city’s most anticipated cultural events, returns this fall with a route that turns Istanbul itself into an exhibition. Running from September 20 to November 23, 2025, the 18th edition—organized by İKSV with the support of Koç Holding—comes under the intriguing title The Three-Legged Cat. Curated by Christine Tohmé, this biennial unfolds over three years. Its first chapter brings together works by more than 40 artists across eight venues within walking distance along the Beyoğlu–Karaköy axis. Staying true to its nomadic spirit, the Istanbul Biennial once again reimagines the relationship between art and the city, weaving Istanbul’s streets, buildings, and public spaces into its very fabric. WALKING THE CITY The route offers a fluid experience, allowing visitors to move easily on foot and encounter art in the rhythm of the city. Among the venues is the Greek Primary School of Galata, restored between 2019 and 2024, and now reopening as a biennial space. In Karaköy, the newly revived Zihni Han makes its public debut, while a ground-floor gallery at No. 35 Meclis-i Mebusan Avenue reemerges as a cultural stop, having once been part of the 3rd Istanbul Design Biennial. Nearby, the early 20th-century Muradiye Han joins the route after its recent restoration, alongside Gallery 77 just across the street. The historic Cone Factory, once producing sweets and ice cream cones, also transforms into a biennial venue. Between Karaköy and Beyoğlu, the Garden of the Former French Orphanage offers visitors both a place to pause and an exhibition site, while on İstiklal Avenue, the iconic Elhamra Han—built in 1827 as one of Istanbul’s first theaters—hosts the biennial for the very first time. (Explore all venues on the map: link ) A THREE-YEAR JOURNEY Tohmé envisions the biennial as a process unfolding across three stages: 2025: Over 40 artists’ works presented through exhibitions, performances, screenings, and talks. 2026: The creation of a permanent art academy and a public program in collaboration with local initiatives. 2027: A final chapter bringing together the works and experiences of the previous two years in an exhibition and workshop series. ÜÇ AYAKLI KEDİ: 18. İSTANBUL BİENALİ 20 Eylül – 23 Kasım 2025 tarihleri arasında gerçekleşecek 18. İstanbul Bienali, şehri bir kez daha yaşayan bir sergi rotasına dönüştürmeye hazırlanıyor. İstanbul Kültür Sanat Vakfı (İKSV) tarafından, 2007–2036 Bienal Sponsoru Koç Holding’in desteğiyle düzenlenen bienal, bu yıl “Üç Ayaklı Kedi” başlığıyla izleyiciyi karşılıyor. 20 Eylül – 23 Kasım 2025 tarihleri arasında gerçekleşecek 18. İstanbul Bienali, şehri bir kez daha yaşayan bir sergi rotasına dönüştürmeye hazırlanıyor. İstanbul Kültür Sanat Vakfı (İKSV) tarafından, 2007–2036 Bienal Sponsoru Koç Holding’in desteğiyle düzenlenen bienal, bu yıl “Üç Ayaklı Kedi” başlığıyla izleyiciyi karşılıyor. Küratörlüğünü Christine Tohmé’nin üstlendiği ve üç yıla yayılacak bu edisyon, ilk ayağında Beyoğlu–Karaköy hattında birbirine yürüyüş mesafesinde yer alan sekiz farklı mekânda 40’tan fazla sanatçının üretimini bir araya getiriyor. Bienal, her zamanki gibi sabit bir sergi mekânına bağlı kalmıyor; şehri, sokakları, tarihi yapıları sergi dokusunun bir parçası haline getiriyor. ŞEHİRLE İÇ İÇE ROTA Rotanın önemli duraklarından biri, Galata Rum Okulu. 1885’te inşa edilen, 1910–1988 yılları arasında eğitim kurumu olarak kullanılan yapı, 2012’den bu yana bir kültür-sanat mekânı olarak yeniden işlev kazanmıştı. 2019–2024 arasında kapsamlı bir restorasyondan geçen bina, bu yıl tekrar bienal mekânları arasına katılıyor. Karaköy’de ilk kez izleyiciye kapılarını açacak Zihni Han, şehrin ticaret ve zanaat tarihinden bugüne taşınan bir yapı olarak öne çıkıyor. Hemen yakınında bulunan, Meclis-i Mebusan Caddesi’ndeki bir bina da (no. 35) zemin katındaki galeriyle bienal mekânına dönüşüyor. Karaköy’ün tarihî dokusundaki bir diğer yapı ise Muradiye Han. 20. yüzyıl başlarından günümüze ulaşan hanın zemin katı, 2021’de tamamlanan restorasyonun ardından ilk kez bienale ev sahipliği yapacak. Tam karşısında yer alan Galeri 77 de bu yıl rotada yer alıyor. Yine bölgede bulunan ve bir dönem şekerleme ile dondurma külahı üretimi yapılan Külah Fabrikası, geçmişten bugüne uzanan hikâyesiyle bienal mekânları arasında dikkat çekiyor. Rotanın Beyoğlu yönünde, Eski Fransız Yetimhanesi Bahçesi, Boğazkesen Caddesi üzerinde ziyaretçilerin soluklanacağı bir durak olacak. Bienalin İstiklal Caddesi’ndeki durağı ise, Osmanlı ve Avrupa mimari unsurlarını harmanlayan eklektik cephesiyle Elhamra Han. 1827’de İstanbul’un ilk tiyatro salonlarından biri olarak inşa edilen yapı, bugün altı katlı bir han olarak şehrin belleğinde yaşıyor. Bu yıl bienale ilk kez ev sahipliği yapacak olan Elhamra Han’ın ikinci katındaki iki daire, sanatçıların üretimlerine açılıyor. (Bienal mekânlarını haritada görüntülemek için: link ) ÜÇ YILA YAYILAN BİENAL Christine Tohmé, bienali üç ayağa yayılan bir yapı olarak kurguluyor. Kendi sözleriyle: “Üç ayağı üzerinde 2025’ten 2027’ye uzanan 18. İstanbul Bienali, bir kediyi andırıyor. Zaman içinde esneyerek ayaklarını yere basıyor; sohbetlerden, egzersizlerden ve aralıksız haber akışından beslenen bir ritmi benimsiyor.” 2025 (ilk ayak): 40’tan fazla sanatçının işleri, sergiler, performanslar, gösterimler ve konuşmalar. 2026 (ikinci ayak): Kalıcı bir sanat akademisi kurulması ve yerel inisiyatiflerle işbirliği içinde geliştirilecek kamusal programlar. 2027 (üçüncü ayak): Bienalin iki yıl boyunca ürettiği deneyimlerin ve işlerin sergileneceği son sergi ve atölye programı.

August 14, 2025 | TRAVEL TEN HOUSES, ONE VISION words Onur Basturk In a world where luxury travel often leans on surface glamour, Les Maisons CAB offers something far richer — an invitation to live inside a work of art. Spread across Europe and the Caribbean, these ten remarkable vacation homes are not just styled with museum-worthy pieces; they are curated, immersive environments where design history, architectural heritage, and contemporary art converge. CASA BIBI - PANAREA STAYING INSIDE THE COLLECTION The vision belongs to Hubert Bonnet — Belgian collector, aesthete, and founder of Fondation CAB. For more than two decades, Bonnet has pursued a singular passion: the intersection of modernist and vernacular architecture from the 1930s to the 1970s. Over the years, he quietly assembled a portfolio of extraordinary properties — from the modular Maison Prouvé in Saint-Paul-de-Vence to a sun-washed retreat in Panarea — each restored in collaboration with architects of equal renown: Marc Corbiau, Louis-Herman de Koninck, Charles Zana, Christophe Gevers, Louis Vincent, and Jean-Jacques Honegger among them. LES AILES - GENEVA Inside, the interiors speak a fluent language of form and function. Pieces by Jean Prouvé, Alvar Aalto, Hans Wegner, Charlotte Perriand, and India Mahdavi sit alongside avant-garde sculptures and contemporary works pulled directly from the Fondation CAB collection. Some homes are enriched with site-specific commissions — a Sol LeWitt wall painting at Villa Paquebot in Knokke, a Mathis Bensimon fresco animating Casa Bibi in Panarea. The seed for this living-gallery concept was planted years earlier, when François Laffanour introduced Bonnet to a 1944 demountable house by Jean Prouvé. The encounter became a turning point in his appreciation for functional, modular design — a sensibility that now permeates each Maison CAB. PARIS SELECTION Originally private residences where Bonnet himself lived, the houses were opened to guests in 2024, extending the Fondation’s artistic spirit far beyond its Brussels and Saint-Paul-de-Vence spaces. It’s an evolution that transforms the act of travel: staying in a Maison CAB is not simply booking a home, but inhabiting a layered narrative of architecture, art, and place. From the Caribbean rhythms of Casa Bibi in Las Terrenas to the Alpine crispness of Chalet Bibi in Verbier, from the Mediterranean ease of Casa Bibi in Panarea to the quiet modernism of Belle Vue in Brussels, each address holds a distinct sense of place. The portfolio spans Paris (Jacob), Geneva (Les Ailes), London (London Mews), Knokke (Le Paquebot), and Saint-Paul-de-Vence — home to both the Fondation CAB and the iconic Maison Prouvé. Ten destinations, one vision: preserving rare architectural heritage, ensuring its longevity, and offering a way of traveling that is both deeply personal and culturally resonant. REPUBLIQUE DOMINICAINE SELECTION

Yuzu Community JOIN yuzu COMMUNITY If you’re curious about new ideas and new people... If you love sharing experiences and exchanging perspectives... If you’re done saying “it’s always the same crowd”... If you’re looking for a community of like-minded souls... If you enjoy designing not only products or spaces, but also your own life... If you don’t define yourself by FOMO or JOMO... If the Swedish philosophy of Lagom — “not too much, not too little, just right” — speaks to you... Then join our YUZU COMMUNITY gatherings — where creative people from every field come together. These events are intimate dinners and special meet-ups designed to connect, inspire, and spark conversation. For each edition, we also collaborate with brands that share our mindset and values. To get priority access, simply fill out the membership form below and wait for your confirmation email from us. Community Application Form First name* Last name* Email* Phone* your profession* your age* your instagram account link* Register COMMUNITY DINNER Partner: JUMBO April 2023, Avlu Bebek NEW SWAHA - NEW YEAR DINNER Partner: ISOKYO December 2021, Raffles Istanbul VOL.5 PRIVATE DINNER Partner: KİLİMANJARO October 2021, bomontiada GREEN MORNINGS Partner: GROHE April 2021, Avlu Bebek A GREEN CONVERSATION Partner: +1 April 2021, Komşuköy YUZU GREEN DAY Partner: Komşuköy, Miboso, Ek Biç Ye İç, DemGreen, Lucca, Homemade, Kandilli Peyzaj, Panerai May 2022, Komşuköy