Ocak 2022 | Tasarım | Finlandiya 290 milyon yıllık ağaçtan ilham alan kütüphane Yazı | Alp Tekin N orveçli mimarlık stüdyosu Snøhetta’nın Pekin'de yapılacak bir kütüphane için açıkladığı tasarım projesi hem stili hem de alt metnindeki hikâyesiyle göz kamaştırıyor! Proje, kütüphanenin çatısını destekleyen ağaç benzeri sütunlardan oluşuyor ve tüm bu sütunlar 16 metre yüksekliğindeki camlarla çevrili. Snøhetta ekibi, ağaç benzeri bu sütunların 290 milyon yıllık bir ağaç türü olan Ginkgo’nun gölgesine atıfta bulunmak üzere tasarlandığının altını çiziyor. Gingko Biloba, yelpaze şeklinde yaprakları olan büyük bir ağaç. Çin, Japonya ve Kore bitki örtüsünde sıkça rastlanan Ginkgo Biloba, en uzun yaşayan ağaç türlerinden biri. Öyle ki, bu ağaçlar bin yıl kadar yaşayabiliyor. Çin’deki bazı ağaçların 2500 yaşın üzerinde olduğu söyleniyor! Hatta 1945 yılında Hiroşima'ya atılan atom bombasının düştüğü yerden sadece 2 kilometre uzaklıkta bulunan 6 adet Gingko Biloba ağacının patlamadan kurtulan tek canlı varlıklar olarak tarihe geçtiği biliniyor. Bitkinin kurutulmuş yaprakları ise çay yapmak için kullanılıyor ve faydaları say say bitmiyor! Projenin tasarım stili de tıpkı ilham kaynağı Gingko gibi. Doğrusal sütunlar zemin seviyesinden uzayıp açılıyor ve çatı seviyesine gelindiğinde Ginkgo yaprağı “kanopi”ye benzeyen katmanlara ayrılıyor. Snøhetta ekibi şöyle diyor: “Ağaç benzeri çevreye sahip basamaklı peyzaj alanları, insanları binadaki yolculuklarında oturup mola vermeye davet ediyor. Bir ağacın altında oturup en sevdiğiniz kitabı okuma fikrini yaratıyor”. — English below — Library inspired by 290 million year old tree Words Alp Tekin The design project announced by Norwegian architecture studio Snøhetta for a library to be built in Beijing is dazzling both with its style and its story in the subtext! The project consists of tree-like pillars that support the library's roof, all surrounded by 16-metre-high glass. The Snøhetta team underlines that these tree-like pillars were designed to refer to the shadow of Ginkgo, a 290-million-year-old tree species. Gingko Biloba is a large tree with fan-shaped leaves. Commonly found in the vegetation of China, Japan and Korea, Ginkgo Biloba is one of the longest living tree species. So much so that these trees can live up to a thousand years. Some trees in China are said to be over 2500 years old!In fact, it is known that 6 Gingko Biloba trees, located only 2 kilometers away from the place where the atomic bomb dropped on Hiroshima in 1945, went down in history as the only living beings that survived the explosion. The dried leaves of the plant are used to make tea and its benefits are endless! The design style of the project is just like the inspiration Gingko. The linear pillars extend and open from ground level, and by the roof level, the ginkgo leaf separates into “canopy-like” layers. Says the Snøhetta team: “The cascading landscape areas with tree-like surroundings invite people to sit and take a break from their journey through the building. It creates the idea of sitting under a tree and reading your favorite book”.

August 2023 | Design & Interiors english below YACHT CLASSIC HOTEL Muhteşem dönüşüm photos İbrahim Özbunar O rijinal binası 25 yıl önce yapılan Fethiye’deki Yacht Classic Hotel, mimar Şebnem Buhara liderliğindeki BOU DESIGN tarafından yenilendi. Buhara yaptıkları değişimle ilgili şunları anlatıyor: “Burada bir stil var. Belirgin, cazibeli, üst zevke seslenen ve az rastlanan bir riviera stili. Yacht Classic Hotel, marinası olan bir otel olarak, benzerlerinden hemen ayrışıyor. Dünya mutfağından örnekler sunan Mori restoranı ve sanat ile tasarımı buluşturan atmosferini de düşünecek olursanız, Yacht Classic Hotel’i bir konaklama mekanı değil; bir yaşam tarzının ta kendisi olarak kurguladığımı anlayabilirsiniz. Dolayısıyla bu vizyonu yansıtabilmek için oteli hem mimari, hem iç-dış tasarım, hem dekorasyon, hem de peyzajıyla bir bütün olarak ele aldım ve her parçayla büyük resme odaklandım”. Restorasyon için eski oteli bütün konstrüksiyonuna kadar söken, gerekli güçlendirmeleri yapan, bütün altyapı tesisatları değiştiren, cepheleri yenileyen, odaları genişleten ve neredeyse sıfırdan tasarım yapan mimar Şebnem Buhara ve BOU Design ekibi, tasarımdaki serin ve rahat lüks temasını, ‘sanat ve tasarım’ disiplinleri ile tamamlamış. Otelde yer alan tüm sanat eserleri, bütünüyle otele ait bir sanat koleksiyonunu oluşturmuş durumda. Yani koridorlarda ilerlerken gördüğünüz her parça özgün ve bir sanatçı eseri. Kendisi de bir heykel sanatçısı olan Buhara, son yıllardaki her projesinde ‘sanat’ dokusunu mutlaka mekanda kullanıyor ve odak noktaları yaratıyor. Mesela lobi alanında Bekir Sert’in limited edition ipek baskıları ve yağlıboya tabloları yer alırken, koridorlarda Atölye 20’nin sanatçılarına ait ve Bou Collection özel seçkisinden eserler, odalarda ise Emel Güneş’e ait eserler bulunuyor. Amazing transformation Y acht Classic Hotel in Fethiye, whose original building was built 25 years ago, was renovated by BOU DESIGN, led by architect Şebnem Buhara. Buhara explains the change they made: “This boutique hotel has a stunning atmosphere and it has a unmatched lifestyle. A distinctive, alluring, high-classy and a refined riviera style… Yacht Classic Hotel, as a boutique hotel with a marina and its Mori restaurant, should has a totally unique brand positioning in Mediterranean accomodation market. And it became. Now, Yacht Classic Hotel is not just an hotel, all rooms and environment combines art and design, the Mori restaurant offers a high quality world cuisine experience and whole atmospheres that I have planned reflect a tastefull vision. When I was started my dream design hotel I focused on the big picture: Architecture, interior-exterior design, decoration and landscaping and art” Architect Şebnem Buhara and her BOU Design team, dismantled the original hotel to its entire construction for restoration, made the necessary reinforcements, changed all the infrastructure installations, renewed the facades, expanded the rooms and completed the cool and comfortable luxury theme in the design with the disciplines of 'art and design'. All the artworks placed in the hotel creates the Fethiye Yacht Classic Hotel’s own art collection. Buhara, who is also a sculpture artist, has always used the texture of 'art' in every project in recent years and creates focal points. For example, there are limited edition silk prints and oil paintings of Bekir Sert in the lobby area, while in the corridors there are works by the artists of Atölye 20 from the Bou Collection special selection, and in the rooms there are works by Emel Güneş.

March 2023 | Design & Interiors Photographic and white: SUMEI L ocated in Sanya (San Ya Shi) city of Hainan, the popular touristic island of China, Sumei Skyline Coast Hotel draws attention with its photographic design. Designed by GS Design, the purest tone of white is used to highlight the sky, sea view and sunset in the interiors of the hotel. By adopting this classic color, GS Design wanted to transform the hotel into a sophisticated work of art with a long service life. Çin’in popüler turistik adası Hainan’ın Sanya (San Ya Shi) şehrinde yer alan Sumei Skyline Coast Hotel fotografik tasarımıyla dikkat çekiyor. GS Design tasarımı otelin iç mekanlarında gökyüzü, deniz manzarası ve gün batımını öne çıkarmak için beyazın en saf tonu kullanılmış. GS Design bu klasik rengi benimseyerek oteli, uzun kullanım ömrüne sahip, sofistike bir sanat eserine dönüştürmek istemiş.

January 2023 | Place & People | Vol VIII TR below EMİRHAN PARALI Words + Photos | Onur Baştürk It wouldn’t be wrong of me to say that Emirhan Paralı, a founding partner of Markus, one of Istanbul’s most trendy restaurants, has been socializing with his dog Iggy, who has the air of a movie star just as much as Emirhan. Because the last time I saw Emirhan and Iggy, it was at the opening of an exhibition, and Emirhan did not put Iggy down even for a second. Before you run into this wonderful duo around Istanbul’s coolest and most bohemian corners, hear what Emirhan has to say... What’s your dream Istanbul like? A city whose aesthetic values and historical culture are taken care of, where new construction is subject to certain regulations, and above all, a city that is designed for human life. How do you experience Istanbul? I experience a different area each day. I have basically formed a triangle between Maslak, Beyoğlu, and the Anatolian side. So, I’m only able to spare a very limited amount of time to enjoy the city nowadays. Markus has two separate locations. Tavern in Beyoglu and Markus Prime Ribs Society in Maslak. What are the pros and cons of that? This year has been quite busy for us. We’ve renovated Tavern in Beyoglu from top to bottom. We’ve opened up our new place Markus To Go with the “Fast Good” concept, and finally, we’ve opened another venue with the same concept as the one in Maslak in Emaar Square on the Anatolian side. If Markus was a person, how would you describe them? We had actually constructed a ‘persona’ before coming up with our name and formulating our brand identity. Markus is someone who makes their own rules, a sincere, unpredictable, yet trustworthy person. What do you like most about social life in Istanbul, and what is one thing you can’t stand? I like the places where I can enjoy both good food and entertainment at the same time. One thing I can’t stand at all is when there is bad music playing somewhere I’m visiting. İstanbul’un gözde restoran markalarından Markus’un ortağı Emirhan Paralı, en az kendisi kadar film yıldızı edasındaki köpeği Iggy’yle sosyalleşiyor desem yanlış olmaz. Çünkü Emirhan ve Iggy’yi en son bir sergi açılışında gördüm ve Emirhan bir saniye bile kucağından indirmedi Iggy’yi. Bu şahane ikiliye İstanbul’un cool ve bohem yerlerinde ansızın rastlamadan önce Emirhan’a kulak verin... Hayalindeki İstanbul nasıl bir yer? Estetik değerleriyle tarihi kültürüne sahip çıkılan, yapılaşması belirli bir regülasyona tabi olan ve insan yaşamına yönelik tasarlanmış bir şehir. İstanbul’u nasıl yaşıyorsun? Her gün farklı bir bölgesini deneyimliyorum. Maslak, Beyoğlu ve Anadolu Yakası arasında bir üçgen kurmuş durumdayım. Dolayısıyla şu sıra şehrin keyfini çıkarabilmek için çok limitli zaman yaratabiliyorum. Markus iki farklı lokasyonda. Beyoğlu’ndaki Tavern ve Maslak’taki Markus Prime Ribs Society. Bunun artıları ve eksileri neler? Bu yıl çok hareketli geçti. Beyoğlu’ndaki Tavern’i baştan sona yeniledik. Bağdat Caddesi’nde Markus To Go adlı yeni “Fast Good” konseptimizi hayata geçirdik ve son olarak Maslak’taki konseptin aynısını Anadolu Yakası’ndaki Emaar Square’de açtık. Markus bir insan olsaydı, onu nasıl tanımlardın? Aslında ismimizi seçmeden ve marka kimliğimizi çalışmadan önce bir ‘persona’ oluşturmuştuk. Markus kendi kurallarını belirleyen, samimi, şaşırtıcı ama aynı zamanda güven veren biri. İstanbul sosyal hayatında en çok hoşuna giden ve en çok katlanamadığın şey nedir? İyi yemek ve eğlenceyi bir arada yakalayabildiğim yerleri seviyorum. En katlanamadığım şey ise gittiğim yerde kötü müzik çalması. Tamamı için... | For more... Print VOL VIII - 2022 / 23 Out of Stock View Details

May 2025 | DESIGN & INTERIORS LISBON by DESIGN: the 5th EDITION, the STRONGEST VOICE YET words Onur Basturk Now in its fifth year, LISBON by DESIGN has firmly established itself as Portugal’s standout platform for contemporary design and exceptional craftsmanship. From May 22 to 25, the fair returns to the elegant halls of Palacete Gomes Freire in central Lisbon—an intimate yet grand setting that reflects the event’s mission: celebrating the richness of creative practice while pushing its boundaries. PORTRAIT JULIE by Claudia Rocha A.D.U. Studio AMANDA HAEGHEN ANA RITA DE ARRUDA ANA RITA DE ARRUDA BAPTISTE DA SILVA BAPTISTE DA SILVA CLOILDE DE KERSAUSON CLOILDE DE KERSAUSON DE LA ESPADA DIOGO AMARO ESTADO BRUTO ESTADO BRUTO JACEK JAN JASKOLA JACEK JAN JASKOLA This anniversary edition brings together 28 designers and studios, blending renowned names with emerging voices in an exceptionally curated showcase. What sets this year apart is its distinctly international outlook: while Portuguese talent remains central, LISBON by DESIGN also welcomes a new generation of creators from across Europe. Among the featured participants are De La Espada, Rosana Sousa, Barro, and Estado Bruto, alongside international names such as Amande Haeghen, Barbara Portailler, Tomek Sadurski, Zoé Wolker, Jacek Jan, and OMARCITY World—whose outdoor installation will animate the Palacete garden for the first time. Also on view are works by Superchi, A.D.U. Studio, and Lava Earth Objects, showcasing a diverse approach to materiality and form. From collectible furniture to sculptural pieces, everything on display is new and created exclusively for the fair. Rooted in sustainable practices and respect for artisanal heritage, each work reflects a bold and future-forward approach to design. MARGAUX CAREL MARIANA RALO MARIANA RALO OMARCITY OMARCITY PETIT BOUQUET ROSANA SAUSA ROSANA SAUSA STUDIO EEME STUDIO EEME TIAGO MOURA TOMEK SADURSKI VADIM ZOE WALKER ZOE WALKER FROM LISBON, WITH BOLD INTENT Founded by Julie de Halleux, LISBON by DESIGN has become more than just a fair. It’s a catalyst for creative exchange, a launchpad for emerging talent, and a bridge between Portugal’s design scene and the global stage. Over the years, it’s attracted thousands of collectors, architects, hoteliers, and design lovers from across Europe and beyond—drawn to its focus on quality, sustainability, and soul. This year’s highlights include an experimental exhibition curated by Sam Baron in collaboration with De La Espada, exploring the art of sitting. Meanwhile, Burel Factory unveils a new collection designed with cork producer Blackcork, under the creative direction of Rui Tomás and Toni Grilo. A series of talks on “sustainability in design” will further enrich the program. Rising Portuguese talent Rosana Sousawill present her collection of stools and benches crafted from repurposed walnut and oak—an inspiring case study in how traditional woodworking meets circular design. And for the second year, the Morgado do Quintão Sustainable Design Award will recognize outstanding contributions to conscious creativity—fittingly sponsored by the Algarve-based organic vineyard known for supporting projects at the intersection of nature, community, and design. With each edition, LISBON by DESIGN grows in ambition and reach—while remaining deeply grounded in craft, collaboration, and context. Five years in, it continues to shape the future of design with purpose and perspective.

Mayıs 2021 | Tasarım | Çin Hayranlık uyandıran ‘The Seeds’ Yazı | Alp Tekin M erkezi Shanghai’de bulunan mimarlık stüdyosu ZJJZ Atelier’nin son projesi gerçekten hayranlık uyandıran türden: The Seeds. Çin'in Jiangxi kentindeki Tree Wow Oteli’nin bir kısmı için tasarlanan “tohum” şeklindeki bu dört kabinle mimarlık stüdyosu tamamen doğal ortamı yansıtmak istemiş. Başarılı olmuşlar da! Dış cephesinde ahşap kiremitler ve aynalı alüminyum fayanslar kullanılan The Seeds kabinleri için ZJJJ Atelier mimarları şöyle diyor: “Alüminyum karolar doğanın tüm renklerini yansıtıyor. Böylece hava ve doğanın renkleri değiştikçe binaların da görünümü değişiyor! Bir bitkinin kökleri gibi, bu yansıtıcı kaplama her evi toprağa bağlıyor sanki”. The Seeds kabinlerinin dördü de bir düzenek üzerinde yükseliyor. Bu yüzden kabinlere merdivenle erişiliyor. Kabinlerin içinde ise bir yatak odası, banyo, depolama alanı ve uzanmak için bir çatı katı yer alıyor. Her bölmenin yüzeylerine yerleştirilen yuvarlak pencereler çevrenin özel görüntüsünü sağlayacak şekilde düzenlenmiş. Kabinlerin yan tarafındaki daha küçük pencereler ise bitişikteki ormanlık alana bakıyor. Çatı katındaki daha büyük olan pencereler ise ağaçlar ve gökyüzünün manzarasını izlemek için ideal!

Ağustos 2022 | Bodrum Coffee Table Book | GASTRO & FUN KARNAS BAĞLARI Yazı & Fotoğraflar | Onur Baştürk S elva ve Haluk İşmen’in 2005 yılında kurduğu Karnas Bağları, son yıllarda özellikle lüks segment otellerde konaklayan turistlerin gözde uğrak yerlerinden biri. Nedenlerini şöyle sıralayabiliriz: 1. Buranın ambiyansı Toskana’yı anımsatıyor. Ziyaretçiler zeytin bahçeleri, meyve ağaçları ve asmaların arasından geçen kıvrımlı, romantik ve pastoral bir yolu takip ederek selvi ağaçlarıyla çevrili, terrakota malzemenin kullanıldığı bir binaya ulaşıyor. 2. Karnas Bağları, Roma döneminde dikildiği söylenen bin senelik ihtişamlı zeytin ağacı dahil olmak üzere kimisi genç, kimisi yüzlerce yıllık olan Memecik, Domat ve Gemlik türlerinden 2500 adet zeytin ağacına ev sahipliği yapıyor. 3. Buranın alameti farikası Zinfandel üzümü. Kaliforniya Napa Vadisi’nde yetişen meşhur Zinfandel üzümü, İşmen çifti sayesinde uzun süredir burada da yetişiyor ve elde edilen şarap yemeklerin yanında servis ediliyor. 4. Dahası, bağ restoranında sunulan yemekler çok leziz. Slow Food Bodrum kurucularından şef Aslı Mutlu tarafından hazırlanan menüde keşkek risotto, piruhi ve bağ otlarıyla pişirilmiş kuzu yer alıyor. Ayrıca restoranın gün batımı manzarası bu gastronomik deneyime eşlik eden en şahane unsur. KARNAS VINEYARDS writer & photography | Onur Baştürk K arnas Vineyards, founded by Selva and Haluk İşmen in 2005, in recent years, has been one of the most popular destinations particularly for tourists staying in luxury segment hotels. We can list the reasons as follows: 1. The ambiance here reminds of Tuscany. By following a curled, romantic, and idyllic path through olive gardens, fruit trees, and vineries, visitors reach a building made of terracotta, surrounded by cypress trees. 2. Karnas Vineyards is home to 2500 olive trees, some of which are young and some of which are hundreds of years old, from the Memecik, Domat, and Gemlik types, including the exquisite olive tree that is said to have been planted in the Roman period. 3. The trademark of this place is the Zinfandel grape. The famous Zinfandel grape, which grows in California’s Napa Valley, has been growing, for a long time, here as well, thanks to the İşmen couple, and its wine is served next to meals. 4. Furthermore, the meals served in the vineyard restaurant is very delicious. In the menu, composed by Chef Aslı Mutlu, one of the founders of Slow Food Bodrum, risotto, piruhi and lamb cooked with vineyard seasonings take place. Additionally, the restaurant’s sunset view is the most striking element that chaperones this gastronomic experience. Tamamı için... For more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

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

November 2023 | Vol 11 english below PATRICIA URQUIOLA “We must rebuild a new ecological thinking” words Onur Baştürk portrait photos Marco Craig & Nicola Carignani product photos Leonardo Duggento İ yi bir projenin her zaman paylaşarak şekillendiğine inanıyor. Sürdürülebilirlik konusunda kelimelerin popülerliğine takılıp kalmayın diyor. Sevdiğim esas motto’su ise şu: İnatçılık olmadan yenilik yapılamaz! Ünlü tasarımcı Patricia Urquiola tüm “en”lerinin ötesinde aynı zamanda samimi. Ama o “en”leri saymadan olmaz: 2001’de kendi stüdyosunu açan, çalışmalarından bazıları New York’taki MoMa ve Londra’daki Victoria & Albert Müzesi’nde sergilenen Urquiola’nın tasarımını yaptığı en yeni mekanlar arasında Vicenza’daki mücevher müzesi Museo del Gioiello, Barselona’daki Mandarin Oriental, Berlin’deki Hotel Das Stue ve Milano’daki Hotel Four Seasons Spa yer alıyor. Şimdiye kadar tasarım yaptığı markaları sıralamak ise havalı bir geçit töreni gibi: Agape, Alessi, Axor-Hansgrohe, Baccarat, Boffi, Budri, De Padova, Driade, Flos, Gan, Georg Jensen, Glas Italia, Haworth, Kartell, Kvadrat, Listone Giordano, Louis Vuitton, Moroso, Mutina, Rosenthal ve Verywood. İyi bir projenin her zaman paylaşarak şekillendiğine inandığınızı okumuştum. Buradan yola çıkarak, tasarım sürecinizin ve h ayata bakış açınızın “paylaşma” üzerine kurulu olduğunu anlıyorum. Bu her zaman böyle miydi yoksa deneyim ve yaş almakla birlikte mi gelişti? Takım çalışmasını her zaman çok sevdim. Hem üniversite yıllarında yaptığım grup projelerinde hem de bir “topluluk stüdyosu” olarak gördüğüm Studio Urquiola’da. Ekibim ve müşterilerle sürekli fikir alışverişinde bulunarak yan yana çalışmayı seviyorum. Bu çok önemli, çünkü her tasarım aşaması tartışma ve diyaloğun bir sonucu. Sonuçta her şirketin kendine ait tarihi, mirası ve saygı duyup projede yansıtmaya çalıştığım bir dili var. S he believes that a good project is always shaped through sharing. When it comes to sustainability, don’t get hung up on the popularity of words, she says. Her main motto that I like is this: Innovation cannot be made without stubbornness! Famous designer Patricia Urquiola, beyond all her “bests” is also very sincere. But we can’t do without counting those “bests”: among the newest places designed by Urquiola, who opened her own studio in 2001 with some of her works exhibited at MoMa in New York and the Victoria & Albert Museum in London, are the jewelry museum Museo del Gioiello in Vicenza, Mandarin Oriental in Barcelona, Hotel Das Stue in Berlin and Hotel Four Seasons Spa in Milan. Listing the brands she has made designs for so far is like a cool parade: Agape, Alessi, Axor-Hansgrohe, Baccarat, Boffi, Budri, De Padova, Driade, Flos, Gan, Georg Jensen, Glas Italia, Haworth, Kartell, Kvadrat, Listone Giordano, Louis Vuitton, Moroso, Mutina, Rosenthal and Verywood. I read in an interview that living together is one of your fundamental principles and that you believe that a good project is always shaped by sharing. Based on this, I understand that your design process and your perspective on life are based on “sharing”. Has this always been the case or has it evolved over time with experience and age? I’ve always loved teamwork. Both in the group projects I did during my university years and in Studio Urquiola, which I see as a “community studio”. I love working side by side with my team and clients, constantly exchanging ideas. It’s very important because every phase of design is a result of discussion and dialogue. After all, every company has its own history, heritage and language which I respect and try to reflect in the project. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

June 2024 | Design & Interiors TURKISH BELOW a WHITE Aegean HOME words Onur Baştürk photos Fevzi Öndü T he design of this white Aegean house in the Alaçatı region of Çeşme on the Aegean coast of Turkey belongs to SOTO Lab, founded by Dicle Begüm Arslan and Hatice Küstür. The house explores a distinctly Aegean style, basketry and rope pieces that draw on traditional crafts, built in furniture and raw linen textiles. While designing the interior the brief was keep the design functional and employing only natural materials. The result is simple, beach style vacation home with whitewashed walls and floors, furnishing made from natural materials, and a minimal palette of pale whites. ‘As SOTO, we generally prefer natural materials,' says Dicle Begüm Arslan, 'Our projects are mostly colorful. But in the Port Evi project, we designed a white, dreamy house at the special request of the homeowners. Therefore, the color palette of the project is monochrome’. Begüm and Hatice explain that the key design words of the Port Evi project are simplicity, natural light and soft tones. They also wanted to bring the stunning views from outside into the interior. RUSTIC MINIMALISM AND MODERN AEGEAN AESTHETICS ‘When we first entered the house, we were impressed by the double-height main volume and the fact that the ceiling in the living room was twice as high as the ceilings in the other rooms,’ says the SOTO team. ‘The architecture of the house is similar to the details of Alaçatı stone houses. Local materials from the region were used in the project. When designing the interior, we wanted the house to be an Aegean house and we wanted it to continue in this natural way. The best architectural terms to describe this house are rustic minimalism, modern Aegean aesthetics, Cycladic & sculptural forms, textural and woven details’. Most of the furniture in the house is from Gervasoni, Moda Bagno. The built-in cupboards and furniture are from Stil Ahşap. The designer lighting is by Kreon Lighting and the lighting in the high ceiling living room is Almendra Linear S6 by Flos, designed by Patricia Urquiola. Dining table and bench by Jenni Kayne - California. The paintings in the kitchen are by Yasemin Gülerhan, and the painting at the entrance is by Haluk Akakçe, who recently passed away. BEMBEYAZ bir EGE evi Ç eşme, Alaçatı’da yer alan bu bembeyaz Ege evinin tasarımı Dicle Begüm Arslan ve Hatice Küstür’ün kurduğu SOTO Lab’e ait. Port Evi; geleneksel el sanatları ve ham keten tekstillerden yararlanan, sepetçilik ve ip parçalarından oluşan belirgin bir Ege tarzını keşfediyor. İç mekan tasarlanırken tasarımın işlevsel olması ve sadece doğal malzemeler kullanılması hedeflenmiş. Sonuç: Beyaz badanalı duvarlar ve zeminler, doğal malzemelerden yapılmış mobilyalar ve soluk beyazlardan oluşan minimal bir paletle sade bir tatil evi. Dicle Begüm Arslan, “SOTO olarak genellikle doğal malzemeleri tercih ediyoruz” diyor, “Yaptığımız projeler çoğunlukla renkli. Ama Port Evi projesinde ev sahiplerinin özel isteğiyle bembeyaz, rüya gibi bir ev tasarladık. Bu nedenle projenin renk paleti monokrom”. Begüm ve Hatice, Port Evi projesinin anahtar tasarım sözcüklerini sadelik, doğal ışık ve yumuşak ton renkler olarak açıklıyor. Ayrıca dışardaki etkileyici manzarayı iç mekana taşımak da istemişler. RUSTİK MİNİMALİZM VE MODERN EGE ESTETİĞİ SOTO ekibi, “Eve ilk girdiğimizde çift yükseklikteki ana hacim ve salondaki tavanın diğer odalardaki tavanlardan iki kat daha fazla yüksek oluşu bizi etkiledi” diyor. “Evin mimarisi Alaçatı taş evlerindeki detaylarla benzerlik taşıyor. Bölgenin yerel malzemeleri projede kullanılmış. Biz de iç mimariyi oluştururken evin bir Ege evi olmasına ve bu doğallıkta ilerlemesini istedik. Bu evi anlatan en iyi mimari terimler ise rustik minimalizm, modern Ege estetiği, Cycladic & heykelsi formlar, dokusal ve örgü detaylar”. Evdeki çoğu mobilya Gervasoni, Moda Bagno’dan. Sabit dolaplar ve sabit mobilyalar ise Stil Ahşap’tan alınmış. Tasarım aydınlatmalar Kreon Lighting, yüksek tavanlı salondaki aydınlatma ise Flos’un Patricia Urquiola tasarımı Almendra Linear S6’sı. Yemek masası ve bench ise Jenni Kayne -California. Mutfaktaki tablolar Yasemin Gülerhan’dan, girişteki tablo ise yakın zamanda kaybettiğimiz Haluk Akakçe’ye ait.

September 10, 2025 | Art & Culture CHRISTOPHER HERWIG: BEAUTY in the EVERYDAY words Onur Basturk photos Christopher Herwig From 27 September to 12 October 2025, 212 Photography Istanbul returns for its 8th edition, bringing photography and art to nearly 30 venues across the city. Since its founding in 2018, the festival has gone beyond photography to embrace visual storytelling across disciplines, introducing audiences to diverse talents from around the world. Among this year’s highlights is Christopher Herwig, renowned for documenting Soviet-era architecture and uncovering beauty in the everyday. In this conversation, he reflects on his journeys and the story behind his iconic bus stop series. JOURNEYS IN PHOTOGRAPHY Looking back on your journey from your early years in photography to today, which experience has been the most transformative for you? When I biked from London to St. Petersburg in 2002, I anticipated that I might not see many stereotypical tourist attractions along the way, so I created a game for myself: I had to photograph something every hour while biking. This forced me to look for beauty and magic in the everyday things around me—either by finding the special qualities that made them unique or by composing the subjects in a way that made the ordinary appear like a superhero. Having travelled to more than 90 countries, which geography has most changed your perspective on photography? I love photographing in the far north of North America and Europe in the summer, when the sun takes forever to set and the light stays magical for several hours. In contrast, when I’m near the equator, I always feel rushed and unsatisfied, as the light changes so quickly during sunrise and sunset. THE ORIGINS OF A SOVIET BUS STOP STORY How did the idea of photographing Soviet-era bus stops first come about? I first noticed the bus stops while biking through Lithuania, Latvia, and Estonia, and then into Russia. I started a small collection at that point. But after moving to Kazakhstan and spending three years traveling throughout Central Asia, it felt natural to expand the collection as I discovered more along the way. Eventually, I was hooked and began traveling with the sole purpose of finding bus stops throughout all former Soviet countries. Do you see this project merely as an architectural archive, or also as a window into the socio-cultural fabric of the period? I don’t see the project so much as an architectural archive. For me, the word “archive” feels frozen in the past. I see the bus stop designs as opportunities for individual artists to express themselves. Many of them feel like works in progress, in the sense that I hope people see the images and designs, use them as inspiration, and build on them, allowing them to evolve. I also believe that some of these bus stops can serve as a window into the lives of people who lived during the Soviet Union, on an individual level, separate from the broader historical narrative. I feel I can connect with the bus stop designs through the hopes and dreams of these creative individuals. In your work, there is a clear effort to find beauty in the “ordinary objects of everyday life.” In your opinion, what kinds of stories can a bus stop tell us? For me, bus stops can be quite different from one another, and from the research we’ve done, their backstories vary widely—some were state-organized propaganda projects, while others were initiated and built by locals for their own enjoyment. This variety is what attracts me: seeing the different creative ideas expressed. For example, in Niitsiku, Estonia, a group of men from the local furniture factory decided they wanted a bus stop, and they wanted it to be something special they could be proud of. It was not a state initiative; they did it for themselves and built a fabulous bus stop they called “the Spider.” From hitchhiking from Vancouver to Cape Town, to walking across Iceland, to cycling through Europe—how did these journeys shape your relationship with photography? Being able to travel overland at a relatively slow pace is a luxury—something I’m very fortunate and grateful to have experienced for many years. Seeing the places in between the more traditionally famous locations gave me the chance to notice repeating patterns in the details that caught my eye, while also absorbing things at a more relaxed, natural pace. What has been the most unforgettable moment you experienced while shooting in remote and challenging geographies? In 2000, a small group of us were hiking in the far north of the Canadian province of Saskatchewan, looking for a very remote area with rare sand dunes. We reached the dunes, photographed them, and had arranged for a floatplane to pick us up on the shore of Lake Athabasca. But we got stuck in a storm for days. Since we were carrying a lot of heavy camera equipment, we had packed barely enough food for the trip and ran out once we were delayed. Although it may have only been a couple of days living off local berries, it felt like forever until the plane finally found us. Lessons learned: pack light, bring extra food, and always be prepared for sudden, extreme weather.

Ocak 2022 | Art | İsviçre for english click here NOMAD ST MORITZ Dev fuarların devri bitiyor mu? Yazı | Oktay Tutuş D ünyada sayısız fuar var, ama katılımcıyla izleyici ve potansiyel alıcı arasındaki iletişimi sağlayabilen fuar çok az. En çok tartışılan şey ise fuar endüstrisinin markalara mı yoksa alıcılara mı daha çok hizmet ettiği. Geldiğimiz noktada çoğu marka, gelişen teknoloji sayesinde kendi tanıtımını hedef kitlesine yine kendisi yapıyor. Bu fuarlar adına kötü bir haber, çünkü gereklilikleri tartışmaya açıldı. Fuar için yapılan masrafların çok daha azını harcayarak, daha yüksek bilinirlik ve satış elde etmek, markalar açısından mümkün. Bu da bildiğimiz anlamda klasik fuarcılığın yakın geçmişte form değiştirmesine yol açtı. BİR ÇEŞİT MİKRO FUARCILIK 2017’den beri klasik kalıplar dışında bir tasarım ve sanat fuarı anlayışını benimseyen NOMAD, yeni nesil fuarlara güzel bir örnek. Seyahat, doğru insanlar ve kurumları bir araya getiren mekan odaklı sergileriyle NOMAD, şimdiden kendine özel ve küçük bir topluluk oluşturdu bile. NOMAD bugüne dek St. Moritz, Monako, Venedik gibi şehirlerde yapıldı ve bir edisyonu da Cannes’da sanal olarak gerçekleşti. Bu yıl ise 1-6 Mart tarihleri arasında yeniden St. Moritz’e geri dönüyor. NOMAD’i diğerlerinden ayıran şey, seçme galeri ve kurumları yine özenle seçilmiş bir davetli ve koleksiyoner listesinden kişilerle buluşturması. Aslında bir çeşit mikro fuarcılık. Giorgio Pace ve Nicolas Bellavance-Lecompte tarafından tasarlanan NOMAD sanat, mimari ve tasarım arasında çok kişisel ve benzersiz bir diyalog kuruyor. Önceden tasarlanmış, belirli ölçülerdeki fuar mekanları yerine St. Moritz'deki Chesa Planta'nın zarif tarihi iç mekanlarını, Monako'daki Villa La Vigie’yi ya da Venedik'teki Palazzo Soranzo Van Axel’in büyük odalarını kendine mesken tutuyor. Son üç yılda yapılan her bir edisyonuna dünyanın en kaymak tabakası diye rahatlıkla tanımlayabileceğimiz 4 bin misafir katıldı. Her biri 4 ya da 5 gün süren bu etkinliklere katılmak ise özel davetiyeyle sınırlanıyor. St. Moritz’deki yeni fuar ise Engadin Vadisi’nde bulunan Chesa Planta’da yapılacak. Zamanında Avrupa aristokrasisinin ileri gelenlerine hizmet vermiş bu barok binada geçen temmuz NOMAD’in yaz edisyonu yapılmıştı. SADECE SERGİLER YOK Bu fuarın farkı sadece mekanları değil, müşterilerine neler sunduğu. Sergiye ek olarak, katılımcılar kendi müşterileri için özel etkinlikler düzenleyebiliyor. NOMAD ekibi, galeri ve özel proje isteklerine göre akşam yemeği, kokteyl, parti, açık hava deneyimi dahil olmak üzere bir dizi sosyal aktiviteyi de düzenliyor. Burada sadece bir şeyler alıp satmak üzerine kurulu bir sistemden çok, zaten birbirine aşina bir grubun bir araya gelip kültür ve fikir alışverişi yapması söz konusu. Şimdi klasik fuarcılıkla NOMAD tarzı özel gezici fuarların nasıl aynı kulvarda var olabileceğini bir düşünün. Sizce hangisi kazanır? Is the era of big fairs coming to an end? Words | Oktay Tutuş T here are countless fairs in the world, but very few fairs can provide communication between the exhibitor, the audience and the potential buyer. The most debated issue is whether the trade show industry serves brands or buyers more. At this point, most brands are promoting themselves to their target audience thanks to the developing technology. This is bad news for fairs, because their requirements are up for debate. It is possible for brands to achieve higher awareness and sales by spending much less than the expenses made for the fair. This has led to a change in form in the recent past, as we know the classical fair organization. Adopting a design and art fair concept other than classical patterns since 2017, NOMAD is a good example of new generation fairs. With its space-focused exhibitions that bring together travel, the right people and institutions, NOMAD has already created a small community of its own. NOMAD has so far been in St. Moritz, Monaco, Venice, etc. This year, between March 1-6, back to St. Moritz. What sets NOMAD apart from others is that it brings together selected galleries and institutions with people from a carefully selected list of invitees and collectors. Designed by Giorgio Pace and Nicolas Bellavance-Lecompte, NOMAD establishes a very personal and unique dialogue between art, architecture and design. Instead of pre-designed fairgrounds of certain sizes, St. Moritz, the elegant historic interiors of Villa La Vigie in Monaco, or the grand rooms of Palazzo Soranzo Van Axel in Venice. Each edition of the last three years has been attended by 4000 guests, which we can easily define as the world's creamiest layer. Participating in these events, each of which lasts 4 or 5 days, is limited to a special invitation. Çapa 3

January 2023 | Design & Interiors below english Q-Residence Projesi yazı Alp Tekin İ ç mekan tasarımı Erdem Hamza Mimarlık tarafından yapılan Q-Residence projesi İstanbul’daki Quasar binasında yer alıyor. Erdem Hamza bu projede şehir hayatı temposundan ilham alan dinamik, modern, rafine bir mekan yaratmak istemiş. Bunun için de dairenin mevcut planı değiştirilmiş ve daha ferah kullanımı hedefleyen yeni bir oturum planı oluşturulmuş. The Q-Residence Project writer Alp Tekin T he Q-Residence project, whose interior design was made by Erdem Hamza Architecture, is located in the Quasar building in Istanbul. The project aims to create a dynamic, modern, refined space inspired by the hustle and bustle of city life. For this delicate balancing first of all, the existing plan of the apartment has been changed and a new session plan has been created aimed at more efficient and spacious use.

May 2023 | Design & Interiors | Vol 9 english below KOSTA RİKA’NIN YİN VE YANG’İ yazı Onur Baştür k fotoğraflar BoysPlayNice M imar Dagmar Štěpánová, uluslararası ödüllü mimarlık stüdyosu Formafatal’ın kurucusu. Formafatal’ın hem Prag hem de Dagmar’ın taşındığı Kosta Rika’da ofisi var. Mimari faaliyetlerine ek olarak Dagmar, Kosta Rika ormanlarında ortak yatırımcısı olduğu özel villaların kiralanması işini de yürütüyor. Dagmar’ın ofisi Formafatal’ın tamamladığı villa projelerden biri de Kosta Rika’da, Uvita kasabası yakınlarında yer alan Achioté. Bu proje Kosta Rika’daki ilk “sıkıştırılmış toprak” (rammed earth) uygulaması. Minimalist tasarıma sahip, “Jaspis” ve “Nefrit” adı verilen iki villadan oluşan Achioté, gür ormanın dik bir kenarında kısmen yükseltilmiş. Hemen önünde ise Pasifik Okyanusu’nun sonsuz manzarası var. Dagmar Štěpánová projeyi şöyle anlatıyor: “Her iki villa da kısa süreli kiralamalar için tasarlandı. Amacım, hem sofistike hem son derece minimalist ve basit hem de biyofilik iç mekanlara sahip sürdürülebilir evler tasarlamaktı. Projede gereksiz hiçbir unsur yok. Villaların mimarisi, yemyeşil tropik bitki örtüsünün aksine ince ve keskin hatlara sahip. Bu da bilinçli olarak tasarlandı. Seçilen malzeme ve renkler de çevreyle mükemmel bir şekilde örtüştü” YİN ENERJİSİNİ JASPIS, YANG’İ İSE NEFRIT TEMSİL EDİYOR Štěpánová projenin iç mekanlarındaki renk konseptinin villalar inşa edilmeden önce konumlarında algılanan enerjilere yanıt olduğunu söylüyor. “İlk villa, yani Jaspis, yin enerjisinin bir yansıması. Sadece görsel olarak değil, titreşimleriyle de okyanusa ve gökyüzüne bağlı. Kum tonlarındaki bir renk konseptiyle bu bağlantıyı oluşturmayı hedefledim. Nefrit Villa ise yang enerjisinin yansıması. Nefrit villasında zemin ve ormanla olan bağı hissedebilirsiniz. Burada seçilen renk konsepti bu enerjilere bir yanıt niteliğinde. Bu nedenle beton zemini kırmızı- terracotta renginde... Aslında her iki villa da ilk bakışta çok göze çarpmıyor, mütevazı görünüyor. Ancak villanın içinden geçip terasa doğru birkaç adım atınca okyanus manzarası açılıyor ve kendinizi sonsuzluk havuzu ile yatak odasının cömert alanında buluyorsunuz” PROJEYLE İLGİLİ DETAYLAR Okyanus manzarasına yönelik tüm cepheler çerçevesiz camdan tasarlanmış. Cam cephelerin kayar ve masif kısımlarının profilleri beton tavan döşemesindeki oluklara gömülmüş. Kosta Rika iklimi ve yüksek nemi göz önünde bulundurularak malzemeler olabildiğince dayanıklı seçilmiş. Kilden yapılan “sıkıştırılmış toprak” duvarları üretmek için Brezilya’daki Terra Compact şirketinden deneyimli bir uzman davet edilmiş. Nefrit Villa’daki yeşil döşemeli sandalye Moustache, yemek masası sandalyeleri Axoque, yazı masası Moooi, gri tabure Muuto, okuma aydınlatmaları Ingo Maurer, duvar aydınlatması Micro Pinza ve Artemide. COSTA RICA’S YIN AND YANG words Onur Baştürk photos BoysPlayNice A rchitect Dagmar Štěpánová is the founder of the international award-winning architecture firm Formafatal. Formafatal has offices in Prague and Costa Rica, where Dagmar has relocated. In addition to her architectural practice, Dagmar is also involved in the rental business of private villas in the forests of Costa Rica, in which she is a co- investor. One of the villa projects completed by Dagmar’s office, Formafatal, is Achioté, located near the town of Uvita in Costa Rica. This project is the first “rammed earth” application in Costa Rica. Achioté consists of two villas of minimalist design called “Jaspis” and “Nefrit”, partially elevated on a steep edge of the lush forest. Directly in front of it is the endless view of the Pacific Ocean. Dagmar Štěpánová describes the project as follows: “Both villas are designed for short-term rentals. My goal was to design sustainable houses with sophisticated and extremely minimalist interiors and simple and biophilic ones. There are no unnecessary additional elements in the project. The architecture of the villas has thin and sharp lines in contrast with the lush tropical vegetation. This was intentionally designed that way. The chosen materials and colors also blend perfectly with the surroundings”. JASPIS REPRESENTS YIN ENERGY, AND NEFRIT REPRESENTS YANG Štěpánová says that the color concept in the project’s interiors is a response to the energies perceived at the villas’ location before they are built. “The first villa, Jaspis, reflects the yin energy. It is connected to the sea and the sky, not only visually but also through its vibrations. I wanted to create this connection with a color scheme in sandy tones. The Nefrit Villa is the reflection of the Yang energy. In the Nefrit Villa, you can feel the connection between the ground and the forest. The color concept chosen here is a response to these energies. That is why the concrete floor is red-terracotta color. In fact, at first glance, both villas are inconspicuous and appear modest. In addition, when you walk through the villa and take a few steps towards the terrace, the view of the sea opens up, and you find yourself in the generous space of the infinity pool and the bedroom”. DETAILS ABOUT THE PROJECT All the facades for the sea view are made of frameless glass. The profiles of the sliding and solid parts of the glass facades are recessed into the grooves of the concrete ceiling. Considering the Costa Rican climate and high humidity, the materials were chosen to be as durable as possible. An experienced specialist from Terra Compact in Brazil was contracted to make the walls from “rammed earth” made of clay. Nefrit Villa’s green upholstered armchair is Mustache; dining chairs are Axoque; the desk is Moooi, the gray stool is Muuto; reading lamps are Ingo Maurer, and wall lighting is Micro Pinza and Artemide. for more Print VOL IX - 2023 Out of Stock Add to Cart No product

September 7, 2025 | DESIGN & INTERIORS a HAUSSMANN REIMAGINED words Karine Monie interior design Olga Ashby Interiors photos Vigo Jansons production Karine Monie Set in the 7th arrondissement, just steps from the Eiffel Tower and Musée d’Orsay, this Paris home captures the effortless elegance of the city. Within its Haussmannian bones — stone façades, wrought iron details, a circular layout — designer Olga Ashby wove together modern comfort, tactile richness, and Parisian flair. Travertine Epic coffee tables by Gubi, rattan accents in the bedroom, and dark wood grounding notes set the stage for a natural yet refined palette. In the living room, NV Gallery’s Carol armchair and a sculptural Wicker Willow floor lamp by Gubi strike a balance of playfulness and poise. Upholstery in chenille, velvet, and bouclé adds softness and sheen, layering casual comfort with understated luxury. OLGA ASHBY’S VISION The owners, wishing to avoid the inevitable debates that come with shared decision-making, handed full creative control to Olga Ashby, founder and creative director of Olga Ashby Interiors. Her approach leaned into the spirit of Paris itself. “I went for a casual, relaxed look, ignoring tools of symmetry,” she explains. “I think Paris is all about collecting.” Much like the galleries and couture houses that inspire the city — she cites Schiaparelli’s headquarters as a reference — the apartment unfolds as a curated mix of eras and influences. REWORKING A HAUSSMANN LAYOUT Though built in 1900, the apartment came with quirks rather than turnkey charm. “Funny enough, the flat didn’t have a functioning kitchen; the flow was cut as the main bathroom opened into a corridor,” Ashby recalls. Ten months later, the transformation resulted in a home with two bedrooms, two bathrooms, a powder room by the entrance, and a stone-clad kitchen seamlessly tied into the overall design. The circular layout of the architecture guided the design, ensuring an easy sense of movement and connection between spaces. This fluidity extends to the interiors, where ornate lighting, comfortable furniture, and objets d’art coexist naturally — a place to host, share a drink, or curl up with a book. LAYERS OF ATMOSPHERE A warm, earthy palette of whites, caramels, and greens shapes the backdrop, while art — much of it impulsively acquired by Ashby herself — brings bursts of color and energy. Three antique mirrors left by the previous owner add another layer of history, their patinated gold frames amplifying the sense of timelessness. MATERIAL POETRY Ashby leaned on her signature mix of textures and finishes. Travertine anchors the living areas and powder room, while rattan adds a touch of stylish ease in the bedroom. Dark wood grounds the rooms, counterbalancing the luminous palette, and the upholstery — chenille, velvet, bouclé — lends softness and sheen. In the dining area, a Latti table from La Redoute Intérieurs is paired with Miami chairs by Liang & Eimil, softened by a bench upholstered in Mark Alexander fabric. Above, artworks by Megan Fatharly and Trowbridge Gallery infuse a layer of individuality. Just as importantly, vintage pieces mingle with contemporary furniture and art. “Having beautiful historical bones, we were excited about using contemporary design, but we also shopped vintage as I cannot imagine the project without it,” Ashby says.