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

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

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

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

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

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

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

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

Eva Papadaki discusses 10AM, from its Athens artist agency and lofts to Apotheke, a natural care collection shaped by Greek traditions and daily rituals. September 14, 2026 | vol 19 the RHYTHM of 10AM words Nicolas Vamvouklis photos Portraits — Thanassis Krikis + Haris Farsarakis 10AM Lofts — Douglas Martin Eveleigh Penthouse — Hana Jelovcan + Letizia Cigliutt Venue — Salva Lopez + Mary Leo Showroom — Hana Jelovcan First came the agency, followed by Apotheke, a care and healing collection rooted in ancient Greek traditions, and eventually, hospitality. Through 10AM, the Athens-based cultural constellation she founded, Eva Papadaki brings together a multidisciplinary world held together by a shared sensibility. At its core is what she calls “liberating simplicity.” How would you describe the world of 10AM? It’s a multidisciplinary universe where creativity meets space and ritual. It began as an agency before expanding into hospitality and design. The agency, lofts and apotheke share one rhythm: making through welcome and care. How did the name come about? It comes from its first shape, built around ten artists: 10 Artists Management. At the same time, 10AM marks the start of a day. As the project grew, the name remained as both an origin and a recurring beginning. How do the different sides of 10AM come together? 10AM has three expressions of a vision. The agency works with artists and on fashion-led creative direction. The lofts translate that thinking into accommodation with character and calm. The apotheke brings that philosophy into everyday rituals via natural products and attention. I BURN INCENSE EACH MORNING What does care mean to you? Presence. It means being there in what you make, how you receive people and how you treat the body. Care is quiet, but it can be felt. What is one daily ritual you never skip? I burn incense each morning. The scent and smoke shift the atmosphere. They clear the room, steady my mood and anchor my pace. What is your favourite item from apotheke? I cannot choose only one. Apotheke is not about a single object. Each product complements another, so the value lies in how they are used together, as an everyday practice. ATHENS IS NEVER PERFECT, AND THAT IS WHY IT STAYS ALIVE What keeps you inspired in Athens? Athens is never perfect, and that is why it stays alive. It has ancient history, 70s apartments, concrete and sea. Ruins hold the light, and contradiction becomes part of its texture. Beauty here appears through friction. If you could live somewhere else, where would it be? I am drawn to Seoul. There is sensitivity there that feels precise. Forms, objects and gestures seem considered. Athens is raw and instinctive, while Seoul is controlled and attentive. One speaks to my roots, the other to my curiosity. What is the next step for you? I am developing a concept around retreat and living: places where architecture, ambience and small habits are experienced together. Not destinations to pass through, but settings to inhabit differently. Let's close with a wish. To find a life that feels conscious, grounded and aligned with who you are. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €22,00 Price Add to Cart

Dubai Design Week returns from 4–9 November 2025 with exhibitions, installations and talks. Director Natasha Carella discusses its human-centred vision. 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.

L.E/Miami brings luxury travel brands and buyers to Miami Beach, with Event Director Zahava Abend discussing its curation, networking and growth. May 2025 | Travel TR BELOW words Onur Baştürk L.E/MIAMI crowd don’t follow TRENDS; THEY DEFINE THEM F ounded 12 years ago by Serge Dive and Sarah Ball, creators of leading platforms such as PURE Life Experiences, We Are Africa, Further East, Do Not Disturb and SET, L.E/Miami has been described as "the Art Basel of the travel industry". The goal of L.E/Miami, which stands for "limited edition," is to bring together forward-thinking travel professionals to create new connections and ideas. I know from my first L.E/Miami experience last year that the exhibitors and brands were anything but ordinary. Brands that promise design and experience were at the forefront. In addition, L.E/Miami avoided a boring way of bringing its audience together. Let me put it this way: In the middle of the L.E/Miami section of the Miami Beach Convention Center was a bar with a giant LED screen and a DJ booth across from it! During the meetings, the music volume was kept to a minimum, but when there was a break, it immediately went into party mode. So who attends L.E/Miami organization and how does the selection process work? I asked all my questions to the Event Director, Zahava Abend. THIS YEAR’S L.E/ MIAMI IS THE BIGGEST EVER IN TERMS OF DELEGATE NUMBERS L.E/ Miami is celebrating its 12th anniversary this year. Originally created to connect lifestyle travel brands with influential buyers representing the "creative class," how far do you think it has come in fulfilling its ambitious manifesto in 12 years? Serge Dive – CEO & Founder of This is Beyond, our parent company, and L.E/Miami – first envisioned the show after reading the seminal 2002 book, Richard Florida’s Rise of the Creative Class. After carving out a unique context for experiential travel (PURE Life Experiences) he couldn’t shake the feeling that contemporary travel, and those designing travel experiences for creatives, needed a similar space, too. From the beginning, L.E/Miami was decidedly rebellious - the "anti-trade show," if you will. Then, and ever since, our biggest ambition has been for L.E/Miami to be the leading luxury trade event for lifestyle hospitality – to be as ‘limited edition’ as our name. In this regard, we’ve succeeded: this year’s L.E/ Miami is the biggest ever in terms of delegate numbers, and as far as pushing boundaries goes, our aim is always to reinvent the wheel and shake things up, year over year. The L.E/Miami crowd don’t follow trends; they define them, so it’s ultra-important we’re at the forefront of innovation as an industry event. In the new digital world, where people are used to meeting via Zoom or Teams, what do you think is the biggest advantage L.E/Miami offers attendees? Hospitality is inherently social - it's literally built on face-to-face relationships - and L.E/Miami is the ultimate way to facilitate those connections. From up to 45 structured, pre-scheduled meetings to off-the-cuff encounters, we pack as much networking as possible into the four-day program. In fact, the first day of the show - Open House - is an all-day festival of free-flowing networking, F&B and a killer lineup of talks and workshops. Whether it's over coffee on the show floor, during the evening events or over lunch, (almost) every hour of the day at L.E/ brings a new opportunity to connect with someone new. For me, that's something that can never be replicated or replaced by a virtual show. Maybe for other industries, but not for travel. THE L.E/ TEAM SPENDS THE MAJORITY OF THEIR TIME - 361 DAYS A YEAR - CURATING THE GUEST LIST FOR THE SHOW What criteria are used to select L.E/Miami exhibitors? How are hotels and buyers selected? The L.E/ team spends the majority of their time - 361 days a year - curating the guest list for the show, and they do it all by hand. Before they're approved, each prospective buyer or exhibitor goes through an extensive application process - sharing key data such as annual revenue, percentage of suite bookings and a client list - to make sure they're the right fit for L.E/Miami. They’re then required to submit references, who the team then reach out to personally to triple-check their contemporary travel credentials. This precision and thoroughness means the show is incredibly curated and the barrier for entry is higher than ever – curation is the most important part of what we do, the part of our jobs we spend the most time on, and it’s this USP that makes the L.E/ Miami guestlist so relevant. In terms of who makes the cut? What makes a hotel or buyer ‘L.E/’ is intangible, but you know it when you see it. From bijoux independents to multiglobal brands, we’re looking for suppliers who’re progressive, innovative and perhaps most critically, can demonstrate a commitment to lifestyle and culture, whether through their programming, F&B or interior design. More than ever, visuals are everything, so they also have to look incredible. For buyers, we’re after the people and agents with a specific client base: those who curate travel for HNW individuals from the arts and lifestyle industries – people with a fascinating story to tell. OUR SUPPLIER SPLIT İS ABOUT 60% INDEPENDENT AND 40% BRANDED In L.E./Miami it is possible to have a meeting with a hotel group with a large number of hotels, followed by a meeting with a Tuscan eco-hotel with 8 rooms. In my opinion, the small eco-sustainable hotel is more responsible and rebellious than the big hotel. Do you want to create a kind of balance by bringing together large and small hotels at this fair? While 2024 will be our biggest show to date, with 600 exhibitors and 625 buyers, we never want the heart of L.E/ Miami – our commitment to showcasing the most rebellious brands in contemporary travel – to be diluted. Our team are constantly on the lookout for new and exciting hotels, which is why we put together our yearly Master List of Hotel Openings (link) – each year, from tiny independents to the latest big-brand outposts. We believe that diversity is what makes contemporary travel so dynamic, and that large chains have much to learn from small independents, and vice versa. Our supplier split is about 60% independent and 40% branded - this need for balance is also why we offer space and stands on the L.E. show floor to all hotels with contemporary credentials, regardless of size. In terms of sustainability, it's more front of mind than ever. We're conscious of waste, so in 2024 only fully recyclable 'corn' water cups will be offered on the show floor. We won't be providing tote bags this year, instead encouraging the collective to bring their own to be customized and screen printed on the showfloor in collaboration with Urban Worldwide. ALL RUMOURS, I’M AFRAID! Why was Miami chosen as the location for L.E/Miami? Is there any chance that the location will change one day? I heard that it might move to Portugal... All rumours, I’m afraid! We did host a retreat in Lisbon a few years back, and it’s definitely in sync with the L.E/ vibe. And obviously, our collective come from every continent on earth – we’re a truly global community. But we don’t currently have any plans to move away from our namesake. We selected Miami as our home – and it will remain so – for several reasons: it’s a global hub of cultural happenings, from Art Deco to Art Basel to the Grand Prix; it’s got a large international airport and iconic hospitality presence. Above all, it’s a city that is constantly reinventing itself to remain contemporary and future-facing. What would you say if I asked you to describe L.E/Miami in three words? Curated. Contemporary. Rebellious. ‘ L.E/Miami kitlesi trendleri takip etmez, TRENDLERİ TANIMLAR’ P URE Life Experiences, We Are Africa, Further East, Do Not Disturb ve SET gibi önde gelen platformların yaratıcıları olan Serge Dive ve Sarah Ball’un 12 yıl önce kurduğu L.E/Miami’yi tanımlamak için kısaca “seyahat sektörünün Art Basel’ı” deniliyor. Açılımı “limited edition” olan L.E/Miami’nin amacı trendsetter seyahat profesyonellerini bir araya getirmek ve böylece yeni bağlantılar ve fikirler oluşmasını sağlamak. Geçen yılki ilk L.E/Miami deneyimimden biliyorum. Katılımcılar ve markaların hiçbiri sıradan değildi. Tasarım ve deneyim vaat eden markalar ön plandaydı. Dahası L.E/Miami, kitlesini bir araya getirmeyi sıkıcı bir şekilde yapmaktan kaçınmıştı. Şöyle anlatayım: Miami Beach Convention Center’ın L.E Miami için ayrılmış bölümünün tam ortasında bir bar, üzerinde dev bir led ekran ve onun karşısında ise dj kabini vardı! Toplantılar boyunca müziğin sesi minimum seviyeye iniyor ama mola verildiği anlarda anında parti moduna geçiliyordu. Peki L.E/Miami organizasyonuna kimler, nasıl katılıyor? Süreç nasıl işliyor? Merak edilen tüm soruları 19 mayıs pazartesi günü başlayacak L.E/Miami öncesi Event Direktörü Zahava Abend’e sordum. BU YILKİ L.E/ MIAMI KATILIMCI SAYISI AÇISINDAN ŞİMDİYE KADARKİ EN BÜYÜK ETKİNLİK Bu yıl L.E/ Miami 12. yıldönümünü kutluyor. Lifestyle seyahat markalarını 'yaratıcı sınıfı' temsil eden etkili alıcılarla bir araya getirmek için kurulan fuar, 12 yılda bu iddialı manifestosunu ne kadar yerine getirebildi? Ana şirketimiz This is Beyond ve L.E/Miami'nin CEO'su ve Kurucusu Serge Dive, Richard Florida'nın 2002 tarihli “Yaratıcı Sınıfın Yükselişi” adlı ufuk açıcı kitabını okuduktan sonra bu programı tasarladı. Deneyimsel seyahat için benzersiz bir konsept olan PURE Life Experiences’i oluşturduktan sonra çağdaş seyahatin ve yaratıcı kişiler için seyahat deneyimi tasarlayanların da benzer bir alana ihtiyacı olduğunu hissetti. L.E/Miami en başından beri kararlı bir şekilde isyankâr oldu. Tabiri caizse, bir anti-ticaret gösterisi! Başlangıçtan bu yana en büyük hedefimiz, L.E/Miami'nin lifestyle konaklama sektörü için önde gelen lüks ticaret etkinliği olmasıydı, ismimiz gibi 'sınırlı sayıda' kalarak… Bu konuda başarılı olduk. Bu yılki L.E/Miami, katılımcı sayısı açısından şimdiye kadarki en büyük etkinlik ve sınırları zorlama konusunda amacımız her zaman tekerleği yeniden icat etmek ve her yıl bir şeyleri sarsmak! Çünkü L.E/Miami kitlesi trendleri takip etmez; onları tanımlar, bu nedenle bir sektör etkinliği olarak yeniliklerin ön saflarında yer almamız son derece önemli. İnsanların Zoom veya Teams üzerinden toplantı yapmaya alıştığı yeni dijital dünyada, L.E/Miami'nin katılımcılara sunduğu en büyük avantaj nedir? Misafirperverlik doğası gereği sosyaldir. Kelimenin tam anlamıyla yüz yüze ilişkiler üzerine kuruludur ve L.E/Miami bu bağlantıları kolaylaştırmanın en iyi yolu. Dört günlük programa 45'e varan önceden planlanmış toplantıdan tutun da plansız karşılaşmalara kadar mümkün olduğunca çok ağ kurma etkinliği sığdırıyoruz. Aslında, fuarın ilk günü yapılan Open House, serbest akışlı ağ oluşturma, yeme-içme ve müthiş bir konuşma ve atölye çalışması dizisiyle dolu tam günlük bir festival. İster fuar alanında kahve içerken, ister akşam etkinliklerinde ya da öğle yemeğinde olsun, L.E/'de günün (neredeyse) her saati yeni biriyle bağlantı kurmak için yeni bir fırsat var. Sanal bir fuarla asla kıyaslanamayacak bir şey bu. Diğer sektörler için belki, ama seyahat için değil. L.E/ EKİBİ YILIN 361 GÜNÜNÜ FUARIN KONUK LİSTESİNİ OLUŞTURMAK İÇİN HARCIYOR! L.E/ Miami katılımcılarını hangi kriterlere göre seçiyor? L.E/ ekibi zamanının çoğunu -yılda 361 gün!- fuarın konuk listesini oluşturmak için harcıyor. Fuara kabul edilmeden önce her muhtemel alıcı veya katılımcı, L.E/Miami için doğru eşleşme olduğundan emin olmak için yıllık gelirlerini, süit rezervasyonlarının yüzdesini ve müşteri listesi gibi önemli verilerini paylaşarak kapsamlı bir başvuru sürecinden geçiyor. Daha sonra katılımcının çağdaş seyahat kimlik bilgilerini üç kez kontrol etmek için kişisel olarak ulaştığı referansları göndermesi gerekiyor. Bu hassasiyet ve titizlik, şovun inanılmaz derecede küratörlü olduğu ve içerde yer almanın her zamankinden daha zor olduğu anlamına geliyor. Nitekim küratörlük, yaptığımız işimizin n çok zaman harcadığımız kısmı ve L.E / Miami konuk listesini bu kadar ilgili kılan da bu USP. Kimler bu listeye giriyor? Bir otel veya alıcıyı 'L.E/' yapan şey soyuttur, ancak onu gördüğünüzde anlarsınız! Bijoux bağımsızlarından çok uluslu markalara kadar, ilerici, yenilikçi ve belki de en önemlisi, ister programlama ister yeme-içme veya iç tasarım yoluyla olsun, yaşam tarzı ve kültüre bağlılığını gösterebilen tedarikçiler arıyoruz. Alıcılar için ise belirli bir müşteri tabanına sahip kişi ve acentelerin peşindeyiz: Sanat ve yaşam tarzı endüstrilerinden HNW bireyleri için seyahat düzenleyenler - anlatacak büyüleyici bir hikâyesi olan kişiler… TEDARİKÇİ DAĞILIMIMIZ YÜZDE 60 BAĞIMSIZ YÜZDE 40 MARKALARDAN OLUŞUYOR L.E/ Miami'de çok sayıda oteli olan bir otel zinciriyle toplantı yaptıktan hemen sonra 8 odalı bir ekolojik Toskana oteliyle de toplantı yapmak mümkün. Bana kalırsa küçük eko-sürdürülebilir otel, büyük otelden daha sorumlu ve asi. Bu fuarda büyük ve küçük ölçekteki otelleri bir araya getirerek bir tür denge mi yaratmak istiyorsunuz? Bu yıl 600 katılımcı ve 625 alıcıyla bugüne kadarki en büyük fuarımızı yapıyoruz. Ama L.E/ Miami'nin ana fikrinin, çağdaş seyahatin en asi markalarını sergileme sözümüzün asla sulandırılmasını istemiyoruz. Ekibimiz sürekli olarak yeni ve heyecan verici oteller arayışında. Bu nedenle her yıl küçük bağımsızlardan en yeni büyük markalara kadar yıllık otel açılışlarını takip ediyoruz. Çağdaş seyahati bu kadar dinamik kılan şeyin çeşitlilik olduğuna ve büyük zincirlerin küçük bağımsızlardan öğreneceği çok şey olduğuna inanıyoruz. Tedarikçi dağılımımız kabaca yüzde 60 bağımsız ve yüzde 40 markalardan oluşuyor. Bu denge ihtiyacı aynı zamanda büyüklüğü ne olursa olsun çağdaş kimliğe sahip tüm otellere L.E/ fuar alanında yer sunmamızın nedeni. Sürdürülebilirlik ise her zamankinden daha fazla ön planda. İsraf konusunda bilinçliyiz ve bu nedenle 2024 yılındaki fuar alanında sadece tamamen geri dönüştürülebilir 'mısır' su bardakları sunulacak. Bu yıl bez çantalar dağıtmayacağız. Bunun yerine Urban Worldwide ile işbirliği yaparak, kitlemizi kendi çantalarını getirmeye teşvik edeceğiz. MAALESEF HEPSİ SÖYLENTİ! L.E/Miami için yer olarak neden Miami seçildi? Lokasyonun bir gün değişme ihtimali var mı? Portekiz'e taşınabileceğini duymuştum… Maalesef hepsi söylenti! Birkaç yıl önce Lizbon'da bir inzivaya ev sahipliği yapmıştık ve organizasyon L.E/ havasıyla çok uyumluydu. Açıkçası kolektifimiz dünyadaki her kıtadan geliyor. Çünkü biz gerçekten küresel bir topluluğuz. Şu anda Miami’den uzaklaşmak gibi bir planımız yok. Miami'yi evimiz olarak seçmemizin birkaç nedeni var. Art Deco'dan Art Basel'e ve Grand Prix'ye kadar kültürel etkinliklerin küresel bir merkezi. Büyük bir uluslararası havalimanı ve ikonik konaklama tesisleri var. Hepsinden önemlisi, çağdaş ve geleceğe dönük kalmak için kendini sürekli olarak yeniden keşfeden bir şehir! L.E/ Miami'yi üç kelimeyle tanımlamanızı istesem ne derdiniz? Kürasyonlu. Çağdaş. Asi.

May 2023 | Travel | VOL VIII english below Yazı Oktay Tutuş AMAN NEW YORK New York’un sessizlik vahası A man Resorts sessiz, sakin ve gizli saklı noktalarda açtıkları otellerinin yanı sıra özenli servisiyle bilinen bir marka. Ama 2014’te bir sürpriz yapıp Tokyo’nun ortasında otel açtılar. Şimdi de New York’un orta yerinde yaz sonu açtıkları yeni otelle ezber bozmaya devam ediyorlar. Aman New York, Manhattan Adası’nın ortasında 5. Cadde ve 57. Cadde’nin kesiştiği noktada yer alan Crown Building’i kendine mesken seçtiğinde herkes binanın neye benzeyeceğine dair meraktaydı. MoMA’nın ilk evi olan bu 100 yıllık bina hem tarihi hem de mimari açıdan bir cevher olarak lanse edildiğinden, onun bu mirasa uygun yenilenip yenilenmeyeceği soru işaretiydi. Bu iş için Aman Resorts, daha önce de birlikte çalıştığı Jean-Michel Gathy ve stüdyosu Denniston Architects’e 25 katlı binayı 82 süit ve 22 rezidans oluşturacak şekilde dönüştürme işini teslim etti. Açılışta görüldü ki, usta işi bir renovasyon ve adeta yeniden yaratılmış bir ambiyansla kapılarını açan otelin “Şehir içinde sessiz bir vaha” vaadi gerçekmiş! New York’un ortasında bir sessizlik ve rahatlama hissi yaratmak için cam ve ses yalıtımı gibi unsurlar, bina genelinde minimalist bir renk ve malzeme paletiyle birleştirilmiş. Meşe, ceviz ve tarçın; ahşap kaplamalar, zeminler, kapılar ve özel mobilyalar için kullanılmış. Bronz, pirinç, paslanmaz çelik ve karartılmış çelik ise sıcaklık katmak için kullanılan metaller olmuş. Markanın Asyalı olmasının referansları; dokuma rattan sepetleri andıran bir desenle döşenmiş dokulu taş zeminler dahil olmak üzere çeşitli detaylarda gizlenmiş. Her süitte Hasegawa Tōhaku’nun 15. yüzyıldan kalma sanat eseri Pine Trees’den ilham alan büyük bir duvar resmi olması da yine markanın Asyalı köklerine saygı duruşu niteliğinde. Jean-Michel Gathy daha önce Aman’ın Grand Canal üzerinde bulunan Venedik otelini de yeniden tasarlamak üzere görevlendirilmişti. Gathy’le yaptığım röportaja, bu iki tarihi binayı karşılaştırmasını isteyerek başlamayı tercih ettim. VENEDİK VE NEW YORK ARASINDA FARK VAR Bugüne dek Aman Resorts ile birçok projeye imza attınız. Sanıyorum Aman Venice hariç tasarım anlamında diğerlerinde oldukça özgür bırakılmıştınız. Bu açıdan bakacak olursak, Aman Venice ile Aman New York arasında benzerlikler var mı? Çünkü her iki projede de mevcut bir tarihi yapının modern bir forma dönüştürülmesi ihtiyacı vardı. İki otelden hangisi daha zordu? Ne demek istediğinizi anlıyorum, renovasyon açısından benziyorlar ama tasarlanan ürün açısından benzerlik yok. Aman Venice tamamen tarihiydi. Hem teknik özellikler hem de zemin, duvar, tavan desenlerinin ve pervazların işlenmesi nedeniyle yenilenme süreci son derece zordu. Ama yapısını değiştirmedik, duvar ve tavana dokunmadık. Çünkü geçmişin dışında tamamlayıcı olmak zorundaydık. Yaptığımız şey gerçekten olağanüstü karmaşıktı ama olağanüstü bir sözleşmeye sahip olduğumuz için çok şanslıydık. New York ise çok farklı. New York’ta bomboş bir yerimiz vardı ve bu bomboş mekanın içini yeniden inşa etmek zorunda kaldık. Boş olduğunda New York’u Venedik’e benzetebilirsiniz. Ama kaplamalar vs. açısından kıyaslanamaz. New York’un tasarımı zordu. Çünkü çok sayıda kod, çok sayıda düzenleme vardı. Yangın kodlarını biliyorsunuz. Sonra erişim kodlarınız var, dikey sirkülasyon var. Bunlar Venedik’te yoktu. Şimdi açıkçası özet olarak zor, ama bu bir tasarım sorunu. Her iki mülkün de yükselttiğimiz mevcut mülkler olduğu bir gerçek. Ancak yükseltme seviyeleri farklı: Aman Venice temelde daha fazla dekorasyon, Aman New York ise daha çok iç tasarımdı. New York’un ortasındaki bir binanın işlevsel olarak yeniden tasarlanma süreci nasıldı? Mesela binanın geçmişinin tasarımınıza etkisi oldu mu? New Yorklu bir binayı güzel bir otele dönüştürmek zordu. Mesela asansörlerin konumu bizim için zordu. Oda boyutları ve pencerelerin konumu da öyle... Düzgün bir otel tasarlarken pencerenin yatak odasına akıllıca uyduğundan emin olmak istersiniz. Hepsi teknik şeyler... Onun dışında erkeksi bir tasarım yarattık. New York’un erkeksi bir yer olduğunu unutmayın. New York ‘hardcore’ ve zorludur! KİMSENİN FARKETMEYECEĞİ TEMEL BİR ŞEY VAR New York projesiyle ilgili pek çok kişinin bilmediği ve bize de anlatabileceğiniz bir detay var mı? Kimsenin anlayamayacağı ya da farketmeyeceği temel bir şey var. Bence çok etkili: Batıda bir odadan diğerine bir kapıdan geçilir. Batı budur. Asya’ya giderseniz, mekanlar duvarların aksine ayrı ya da ekranlarla bölünür. Eski binalarda perdelerle ayrılmış birbirinden güzel köşkler vardır. Aman bir Asya markası, aslen Asya DNA’sına sahip. Ve bir Batı ülkesinde bir Asya ürünü üretiyoruz. Bu yüzden projede ekranlarla eksiksiz bir kompozisyon oluşturmaya karar verdim. Lobide bekleme alanı ve merdivenleri ayıran ekranlarla karşılaşıyorsunuz. Her yerde ekranlar göreceksiniz. Ve bu ekranlar aslında Asya’ya gönderme yapıyor. Bir tasarımcı olarak bu projede sizi en çok ne tatmin etti? Sanırım beni tek bir unsur tatmin etmiyor. Eksiksiz proje ve tasarımın bütünlüklü dili olması gerekiyor. Aman’ın birbirine bağlı bir dil var. Onu huzurlu yapan da bu. Hiçbir yerde bir ülkeden diğerine gittiğinizi hissetmiyorsunuz. Tek bir ülke. Dengeli, uyumlu bir tasarımdan diğerine geçiyorsunuz. Malzemeler ve renkler tutarlı. Bu da ürünü huzurlu kılıyor. BİR GECEDE SIFIRDAN 100’E ÇIKMADIM Dünyaca ünlü bir süperstar mimar ve tasarımcı olarak tanınmak sizi ve işinizi nasıl etkiliyor? Bir süperstar olduğumu söyleme nezaketini gösteriyorsun, ama ben kendime o gözle bakmıyorum. Mesleğimle tamamen sorunsuz bir şekilde büyüdüğümü düşünüyorum. Bir gecede sıfırdan 100’e çıkmadım. Aşamalı olarak iyi bir piyanist olduğunuzda bunun hayatınızın bir parçası olduğunu kabul edersiniz. Elimden gelenin en iyisini yaparım. Ben bir yıldız değilim. Yaptığım şey tutarlı olmak. Şirketi kurduğumuzda hiç hata yapmadık. Bugün sahip olduğumuz itibar bunun sonucu. İşini iyi yaptığında bir yıldız olmuyorsun. Sadece işini en iyi şekilde yapmaya çalışmalısın. Kişisel olarak, aslında çok düşük profilliyim. Çok özel bir hayatım, eşim ve çocuklarım var. Mahremiyetlerine saygı duyuyor ve asil biri olmaya çalışıyorum. Pazarım nedeniyle çok bağlantım var. Bu insanlarla tanışmak için birçok yere davet ediliyoruz. Normal bir hayat yaşayarak işimin yoğunluğuna ayak uyduruyorum. Aile hayatının sağlığım için önemli olduğunu düşünüyorum. Eşim ve ben safarileri severiz. Tutkumuz, arabayı kırsala sürmek ve bir yerde yemek yemek için durmak. Temelde basit biriyim. Words Oktay Tutuş AMAN NEW YORK New York’s Oasis of Silence A man Resorts is a brand known for its elaborative service, as well as the hotels they open in quiet, peaceful and secret locations. However; in 2014, they made a sur prise and opened a hotel in the center of Tokyo. Now, they continue to break the routine with the new hotel they opened in the middle of New York at the end of the summer. When Aman New York chose the Crown Building, which is located at the intersection of 5th and 57th Streets in the middle of Manhattan Island, everyone was curious about what the building would look like. Since this 100-year-old building, the first home of MoMA, was touted as a substance in terms of both history and architecture, it was a question mark whether this building would be renovated in accordance with this heritage. For this work, Aman Resorts handed over to former collaborator Jean-Michel Gathy and his studio Denniston Architects the job of transforming the 25-floor building to create 82 suites and 22 residences. At the opening, it was seen that the promise of a “quiet oasis in the city” of the hotel, which opened its doors as a result of a masterful renovation and with an almost recreated ambiance, came true! Components such as glass and soundproofing are combined with a minimalist color and material palette throughout the building to create a sense of silence and relaxation in the middle of New York City. Oak, walnut and cinnamon are used for wood veneers, floors, doors and custom furniture. Bronze, brass, stainless steel and blackened steel were the metals used to add warmth. References to the brand’s Asianness are hidden in diversified details, including textured stone floors laid in a pattern reminiscent of woven rattan baskets. In each suite, there is a 15th-century artwork of Hasegawa Tōhaku, inspired by Pine Trees stands in another homage to the brand’s Asian roots and is a large mural. Jean-Michel Gathy was previously commissioned to redesign Aman’s Venice hotel on the Grand Canal. I chose to start my interview with Gathy by asking him to compare these two historic buildings. THERE IS A DIFFERENCE BETWEEN VENICE AND NEW YORK You have done many projects with Aman Resorts so far. I think you were flexible in terms of design except for Aman Venice. Are there any similarities between Aman Venice and Aman New York from this angle? Because there was a need to transform an existing historical structure into a modern form in both projects. Which of the two hotels was harder? I see what you mean, they are similar in terms of renovation but not in terms of the designed product. Aman Venice was completely historical. The renovation process was extremely difficult due to both the technical features and the processing of the floor, wall, ceiling patterns, and moldings. But we did not change its structure, and did not do anything to the wall and ceiling. Because we had to put them together outside of the past. What we did was extraordinarily complicated, but we were very lucky to have an extraordinary contract. New York is very different. We had an empty place in New York and we had to rebuild the inside of this empty place. You can liken New York to Venice when it is empty. But they are incomparable in terms of coatings, etc. The design of New York was difficult. Because there were a lot of codes and editing. You know the fire codes. Then you have access codes, there is vertical circulation. The list goes on. They didn’t exist in Venice. It is hard to summarize, but this is a design issue. It is a fact that both properties are the properties that we are upgrading. But the upgrade levels are different. Aman Venice was basically more decoration; Aman New York was more like interior design. How was the process of functionally redesigning a building in the middle of New York? For example, did the history of the building have an impact on your design? It was hard to turn a New Yorker building into a nice hotel. For instance, the location of the elevators was difficult for us. So were the room sizes and the position of the windows... You have to make sure that the windows suit the room cleverly when you are designing a neat hotel. They are all technical stuff... Besides, we created a masculine design. Remember that New York is a masculine place. It is hardcore and tough! THERE IS ONE ESSENTIAL THING THAT NO ONE WILL NOTICE Is there a detail about the New York project that many people do not know and that you can tell us? There is one essential thing that no one will understand or notice. I think it is effective: In the west, you can pass from one room to another through a door. This is the West. If you go to Asia, the areas are separated or divided by screens as opposed to walls. There are beautiful mansions separated by curtains in the old buildings. Aman is an Asian brand; it has Asian DNA. And we are producing an Asian product in a Western country. So, I decided to include screens in a whole composition for the project. In the lobby, you see screens that separate the waiting area and the stairs. You will see screens everywhere. And these screens actually make reference to Asia. What satisfied you the most about this project as a designer? I don’t think a single element satisfies me. The complete project and design need to have complete language. Aman has an interconnected language. That is what makes it peaceful. You don’t feel like you are going from one country to another. One country. You are going from one balanced, harmonic design to another. The materials and colors are steady. I DID NOT GO FROM ZERO TO 100 IN ONE NIGHT How does being recognized as a worldwide known superstar architect and designer affect you and your business? You have the decency to say I am a superstar, but I don’t see myself that way. I believe I grew up with my profession very naturally. I did not go from zero to 100 in one night. As you improve as a pianist, you accept that it is now a part of your life. I am not a star. What I do is being consistent. We did not make any mistakes when we founded the company. The reputation we have today is the result of this. You are not going to be a star when you do your job well. You just have to try to do the best. Personally, I am actually very low profile. I have a very private life and my spouse and children. I respect their privacy and try to be a nobleman. Because of my market, I have many contacts, and we are invited to many places to meet these people. We do what is asked of us and focus. I maintain the intensity of my profession by living a normal life. I think family life is very important for my health. My spouse and I love safaris. Our passion is driving across the countryside and stopping for a bite to eat. for more... Print VOL VIII - 2022 / 23 Out of Stock View Details

Bagheera in Vancouver, Canada, is a speakeasy inspired by The Jungle Book, designed by Bergman Design House founders Marie Soliman and Albin Berglund. May 2024 | Design & Interiors english below 'The Jungle Book' -inspired speakeasy bar words Laura Cottrell photos Kyrani Kanavaros E ğer speakeasy bar sevenlerdenseniz, hatta speakeasy barların dekorasyonuyla yakından ilgiliyseniz bu mekanı mutlaka not alın: Kanada, Vancouver’daki Bagheera, son zamanlarda gördüğümüz en şahane tasarıma sahip speakeasy bar. Bir tren kabinini anımsatan Bagheera, Rudyard Kipling'in The Jungle Book adlı eserinden ilham alarak tasarlanmış. 19. ve 20. yüzyıl Hint ve Fransız referanslarından izler taşıyan Bagheera, maksimalist ve teatral bir deneyim sunuyor müdavimlerine. Marie Soliman ve Albin Berglund’un kurucusu olduğu Bergman Design House’un tasarladığı Bagheera’ya at yarışı üzerine bahis oynanan bir dükkândan (Happy Valley Turf Club olarak da adlandırılıyor) erişiliyor. Önce "King Louie" üzerine bahis oynanıyor, sonra da şifreyle bara giriş izni veriliyor! ORMANA DOĞRU YOLCULUK Marie Soliman, “Bagheera bir deneyim, zamanda geriye yolculuk yapmak, bir hazineyi aramak ve avlamak gibi” diyor. Barın girişinde 1800'ler sonu ve 1900'ler başındaki Hindistan'dan orijinal dönem kartpostalları yer alıyor. 60 kişilik görkemli ana kokteyl salonunda ise altın, koyu kırmızı, deniz mavisi ve morun tonları hissediliyor. Delhi ve Jaipur'daki antika pazarlarından temin edilen 1000'den fazla sikke ve bilezik ise mekan içinde adeta ışıldıyor. Marie Soliman, “Mekandaki ihtişamı artırmak için baştan aşağı lüks kumaş ve aksesuar karışımlarını bir araya getirdik" diyor. "Koyu renkli sert ahşaplar ve altın detaylarla birleştirilmiş zengin kadifeler düşünün”. "Mekan tam bir tiyatro deneyimi sunuyor!" diyor Albin Berglund. “Stüdyomuzda çalışmalarımıza maksimalizm ve zenginlik (ya da 'organize kaos' dediğimiz şey) getirmeyi sevdiğimiz bir sır değil”. I f you are a lover of speakeasy bars, or even if you are interested in the decor of speakeasy bars, take note of this bar: Bagheera in Vancouver, Canada, is the most beautifully designed speakeasy bar we've seen in a long time. Reminiscent of a train cabin, Bagheera was inspired by Rudyard Kipling's The Jungle Book. Drawing on 19th and 20th century Indian and French references, Bagheera offers its guests a maximalist and theatrical experience. Designed by Bergman Design House, founded by Marie Soliman and Albin Berglund, Bagheera is accessed through a shop (also called Happy Valley Turf Club) where bets are placed on horse races. First you bet on "King Louie" and then you get access to the bar with a password! JOURNEY THROUGH THE JUNGLE "Bagheera is an experience like traveling back in time, searching and hunting for a treasure," says Marie Soliman. The entrance to the bar is decorated with original postcards of India in the late 1800s and early 1900s. The lavish 60-seat main cocktail lounge is decorated in shades of gold, deep red, teal and purple. More than 1,000 coins and bangles sourced from antique markets in Delhi and Jaipur sparkle throughout the space. “We incorporated a luxurious blend of fabrics and fittings throughout to really dial up the glamour in the space,” says Marie Soliman. “Think rich velvets combined with dark hardwoods and gold detailing”. “The space offers a total theatrical experience!” says Albin Berglund. “It’s no secret that through our studio we like to bring maximalism and opulence (or what we call ‘organised chaos’) to our work and this jewel might be the truest expression of our signature style that we’ve done”.

Almaty penthouse by DesignCraft Interiors, founded by Assel Baimakhan, balances pastel hues, velvet textures, rare marbles, and sculptural accents. September 25, 2025 | DESIGN & INTERIORS INSIDE ALMATY PENTHOUSE interior design Assel Baimakhan photos Damir Otegen stylist Aigerim Akhmetova production Karine Monié Set high in the mountains of Almaty, this penthouse strikes a balance between softness and boldness. Pastel hues, velvet textures, and warm natural materials create a calm, enveloping base, while sculptural accents and flashes of color bring unexpected glamour. The result is a refined, layered home full of character and visual surprises. The project was realized by DesignCraft Interiors, founded by Chicago-based Assel Baimakhan. “From the very beginning, this felt like a special commission,” she recalls. The clients — a young couple with three children — knew exactly what they wanted: something bold, high-end, and unique. Most importantly, they gave her complete creative freedom. “That trust made the process inspiring and enjoyable.” CONCEPT AND INSPIRATION The design began with light. The first selections were Eichholtz chandeliers for the dining area and bathroom, which set the tone for the rest of the project. From there, custom furniture, rare marbles, and artistic accents came together to create a cohesive narrative of elegance and individuality. AN ELEGANG DINING SPACE The dining area centers on a bespoke cabinet designed by Baimakhan. Painted in a coffee-toned shade to blend with the walls, its sculptural facade adds depth and character. Inside, natural wood veneer echoes the large extendable dining table, designed to accommodate gatherings of up to five meters in length — a nod to Kazakh traditions of hospitality. Velvet-upholstered Eichholtz chairs, a statement chandelier, and a painting by Malik Mukanov complete the scene. LIVING WITH LAYERS The living room is built on contrasts: soft, rounded sofas set around a bold black Eichholtz coffee table, anchored by a striking Pietra Viva marble wall. Brass accents add a subtle glow, while Italian rugs and locally crafted solid beech double doors link craftsmanship with contemporary sensibility. MARBLE, BRASS, AND DETAIL Marble is used with confidence throughout: Panda stone in the kitchen, deep blue granite in the guest bath. Brass lighting by Eichholtz introduces warmth and shine, while custom cabinetry, range hoods, and millwork reveal the hand of skilled artisans. Even the compact kitchen feels elevated through materiality and design precision. A HOME THAT BREATHES DESIGN From terrazzo floors and bamboo ceilings to sculptural doors and bespoke furniture, this penthouse is a portrait of contemporary living. “We wanted to create a home that feels both timeless and unique,” says Baimakhan. The result flows between calm and bold, family and sophistication — a true reflection of the life lived within.

Villa Lena combines a Tuscany agriturismo hotel with an art foundation, artist residencies, organic farming and farm-to-table dining. December 2023 | Vol 10 TR below V ILLA LENA Tuscan Roots in Art and Agriculture words Onur Baştürk pho tos Frederik Vercruysse, Lottie Hampson, Daniela Civetta, Louise Palmberg, Marina Denisova There are many good accommodation options in the Tuscan countryside, but it would be unfair to describe Villa Lena, which is among these options, as just a hotel. Because, this is also the headquarters of the non-profit Villa Lena art foundation, which supports international artists. Offering a space for artists, writers, designers, producers, musicians and chefs to discover their own crafts, Villa Lena is also an “agriturismo” hotel. Agriturismo is a very common type of tourism in Italy, especially in Tuscany. In “agriturismo”, which brings together agriculture and tourism, you have the opportunity to stay in magnificent farmhouses in the middle of nature. These farmhouses have either vineyards or olive groves. Thus, during your stay, you can taste the farm’s own production of wines, olives and cheeses. Moreover, you are served “fine dining” meals made with these organic ingredients, which do not contain any additives. As a matter of fact, this is the main purpose of “agriturismo”: to revitalize tourism in the countryside by supporting those whose main occupation is agriculture, and to offer comfort and organic together in the middle of nature to those coming from the city. FROM THE LATE 19TH CENTURY TO TODAY The land of Villa Lena is surrounded by olive groves and vineyards. In fact, it is planned to make Villa Lena completely ecological in the next few years. To start this process, solar panels that help save energy have already been installed… At the center of Villa Lena is a villa dating back to the late 19th century. Built for an aristocratic family, the villa lives its heyday until the 1930s. It is then left into disrepair. In 2007, art world professional Lena Evstafyeva, musician-producer Jérôme Hadey and Parisian restaurateur Lionel Bensemoun bought the villa and founded the Villa Lena Agriturismo and Art Foundation. The main building now houses the arts foundation and artist-in-residence program. Surrounding it are converted historic agricultural buildings (old farmhouses, barns and hunting lodges) that provide accommodation… There are 74 rooms for accommodation. And private villas. For example, the villa named Maison Stento is a 20-minute walk from the reception. It offers the truly quiet Tuscan experience with panoramic views of rolling hills. Maison Stento even has its own private pool. EITHER SEARCH FOR MUSHROOM OR LEARN HOW TO MAKE NATURAL PERFUME Staying at Villa Lena also means participating in a very rich program. The program is open to everyone: from outdoor movie screenings to candlelight concerts, from renaissance flower painting to learning how to make fresh pasta, from searching for truffles to making natural perfumes... Osteria San Michele, Villa Lena’s “farm-to-table” restaurant, serves three meals with homemade pasta, freshly made cheeses and organic wines. OPEN DOOR ONCE A MONTH Lena Evstafyeva, one of the founders of Villa Lena, was working as a gallery director at Pace London before realizing her dream in Tuscany. Today, she manages both the foundation and the hotel. Lena also makes the entire foundation open to the public once a month, inviting curators, collectors, art professionals, and hotel guests to visit the studios, share meals, and listen to talks. Toskana kırsalında çok sayıda iyi konaklama seçeneği var, ama bu seçenekler arasında yer alan Villa Lena’yı sadece otel diye tanımlamak haksızlık olur. Çünkü burası aynı zamanda uluslararası sanatçıları destekleyen ve kâr amacı gütmeyen Villa Lena sanat vakfının merkezi. Sanatçı, yazar tasarımcı, yapımcı, müzisyen ve şeflere kendi zanaâtlarını keşfetmeleri için bir alan sunan Villa Lena, aynı zamanda bir “agriturismo” oteli. Agriturismo İtalya’da, özellikle de Toskana’da çok yaygın bir turizm türü. Tarımla turizmi buluşturan “agriturismo”da doğanın ortasındaki muhteşem çiftlik evlerinde konaklama fırsatı buluyorsunuz. Bu çiftlik evlerinin ya üzüm bağları ya da zeytinlikleri oluyor. Böylece konaklamanız sırasında çiftliğin kendi üretimi olan şaraplardan, zeytinlerden ve peynirlerden tadabiliyorsunuz. Dahası, hiçbir katkı maddesi içermeyen bu organik malzemelerle yapılmış yemekleri “fine dining” olarak servis alıyorsunuz. Nitekim “agriturismo”nun esas amacı bu: Hem esas işi tarım olanları destekleyerek kırsaldaki turizmi canlandırmak hem de şehirden gelenlere doğanın ortasında konforu ve organik olanı beraber sunmak. 19. YÜZYIL SONLARINDAN BUGÜNE Villa Lena’nın arazisi de zeytinlik ve üzüm bağlarıyla çevrili. Hatta önümüzdeki birkaç yıl içinde Villa Lena’nın tamamen ekolojik bir hale getirilmesi planlanıyor. Bu süreci başlatmak üzere enerji tasarrufu için güneş panelleri kurulmuş bile… Villa Lena’nın merkezinde ise geçmişi 19. yüzyıl sonlarına kadar uzanan villa yer alıyor. Aristokrat bir aile için inşa edilen villa, 1930’lara kadar en parlak dönemini yaşıyor. Daha sonra bakımsızlığa terkediliyor. 2007 yılında villayı sanat dünyası profesyoneli Lena Evstafyeva, müzisyen-yapımcı Jérôme Hadey ve Parisli restoran işletmecisi Lionel Bensemoun alıp Villa Lena Agriturismo ve Sanat Vakfı’nı kuruyor. Artık ana bina sanat vakfına ev sahipliği yapıyor. Onu çevreleyen dönüştürülmüş tarihi tarım binaları ise (eski çiftlik evleri, ahırlar ve av kulübeleri) konaklama birimleri… Konaklamak için 74 oda var. Bir de özel villalar. Mesela Maison Stento isimli villa, resepsiyona 20 dakikalık yürüme mesafesinde. Tam anlamıyla sessiz Toskana deneyimini engebeli tepelerin panoramik manzarası eşliğinde sunuyor. İSTER MANTAR ARA İSTER DOĞAL PARFÜM YAPMAYI ÖĞREN Villa Lena’da konaklamak aynı zamanda içeriği hayli zengin bir programa da ortak olmak anlamına geliyor. Herkesin katılımına açık programda yok yok: Açık havada film gösterimlerinden mum ışığında konserlere, rönesans dönemine özgü çiçek boyamasından taze makarna yapmayı öğrenmeye, yer mantarı aramaktan doğal parfüm yapımına kadar… Villa Lena’nın “tarladan sofraya” hizmet veren restoranı Osteria San Michele ise ev yapımı makarnalar, taze yapılmış peynirler ve organik şaraplarıyla üç öğün servis veriyor. AYDA BİR HERKESE AÇIK Villa Lena kurucularından Lena Evstafyeva, Toskana’daki bu hayalini gerçekleştirmeden önce Pace London’da galeri direktörü olarak çalışıyormuş. Bugün ise hem vakfı hem de oteli yönetiyor. Lena ayrıca, tüm vakfı ayda bir herkese açık hale getirip küratörleri, koleksiyonerleri, sanat profesyonellerini ve otel konuklarını stüdyoları ziyaret edip yemekleri paylaşmaya ve konuşmaları dinlemeye davet ediyor. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart