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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

Ekim 2021 | Botanik | Vol V TROPİKAL KUBBELER Yakın geleceğin tek nefes alma yeri mi? Yazı | Oktay Tutuş S adece bitkiler kullanarak yapılan kurtarılmış bölge niteliğindeki botanik kubbeleri yakın gelecekte daha çok konuşacağız. Tıpkı bir dönem hayvanat bahçelerinde olduğu gibi! Bugün dünyanın belli başlı noktalarında yer alan yüksek teknolojili botanik kubbelerin altındaki bitki örtüsü şüphesiz hepimiz için çok şey ifade ediyor. Çünkü bu yapılar yok ettiğimiz doğayı izlemek için bir vitrin görevi de üstleniyor. Akvaryum benzeri bu cam ve çelikten kubbelere bu yönden bakarsak, esas amaçlarını daha net idrak edebiliriz. Görünen ve gidişat o ki, bu hızla tüketmeye devam eder ve üzerinde yaşadığımız küreye iyi bakmazsak, bu kubbeler ve inşa edilecek yenileri ya da benzerleri yakında tek nefes alacağımız yerler olacak! Üzücü ama gerçek. Ümidimiz şu: Bu cam ve çelikten kubbelerin ziyaretçilerine verdikleri doğaya dönüş hevesi ve ‘yeşil parmak’ sayesinde üzücü olan gerçeğin ötelenmesi. Peki ama nasıl? EDEN PROJECT ÇIĞIR AÇTI Eden Project isimli sivil inisiyatifin kurucusu Sir Tim Smit, şu anda İngiltere’deki Cornwall’da yer alan az önce bahsettiğime benzer canlı kubbelerin çıkış noktasını şöyle anlatıyor: Devamı için... Print YUZU MAGAZINE - V Out of Stock View Details

Malte Marten discusses how the handpan changed his life, from playing on Berlin’s streets to touring, teaching, and creating meditative music. June 20, 2025 | VOL 15 MALTE MARTEN the HANDPAN CHANGED MY LIFE words Onur Basturk Every time I hear the sound of a handpan, I feel my energy shift and a deep sense of calm wash over me. There’s something almost otherworldly about its resonance—soothing yet powerful. Thanks to Malte Marten, one of the world’s most recognized handpan artists, I’ve become completely hooked on this instrument. Even as a child, Malte knew he wanted to be a musician and share his music with the world. In his early years, he put his work online, but it never quite found an audience—until he discovered the handpan in 2014. Unlike anything he had played before, this instrument pushed him beyond his comfort zone, shifting his music from carefully composed pieces to raw, improvised expression. Learning to play on the streets of Berlin, he realized how deeply his music connected with those who listened. For some, it was uplifting; for others, meditative. Many found it transformative. Today, Malte continues to share his passion, bringing people together through the power of sound. THE SOUND WAS UNLİKE ANYTHING I HAD EVER HEARD —ORGANIC, WARM, AND DEEPLY EMOTIONAL When and how did you first discover the handpan? What drew you to this instrument? And what was your life like before—what were you doing at the time? I discovered the handpan when I was 19, during a time of major change in my life. I had just quit school, my girlfriend was pregnant, and I was standing at the edge of adulthood, trying to figure out who I was and what kind of life I wanted to build. The moment I heard the handpan, something clicked inside me. The sound was unlike anything I had ever heard—organic, warm, and deeply emotional. It resonated with me in a way that felt almost familiar, as if it was speaking a language my heart already knew. Before that, my life was pretty undefined. I didn’t have a clear plan or a strong sense of direction. But when I found the handpan, it gave me purpose. It wasn’t just an instrument; it became a way to process my emotions, express myself without words, and create something meaningful at a time when everything around me was shifting. How has the handpan changed your life, both professionally and personally? The handpan completely transformed my life. Professionally, it opened doors I never even knew existed. I went from playing on the streets of Berlin to performing on stages around the world, collaborating with artists I deeply admire, and even building my own online teaching platform. I never imagined that an instrument could lead to touring, recording albums, and connecting with people from every corner of the globe. On a personal level, the handpan taught me resilience and trust. It showed me that you don’t need to follow a traditional path to build a meaningful life. It gave me the confidence to trust myself, even when others had doubts. But perhaps the biggest transformation was within—I learned patience, presence, and the importance of following my passion, no matter how uncertain the road ahead seemed. Every time I listen to your music, I feel a sense of calm and naturally slip into a meditative state. What do you experience when you play? That’s beautiful to hear—thank you for sharing that. When I play, I often enter a state of flow where time feels different, as if it stretches or disappears altogether. It’s hard to describe because it’s not just about the notes or rhythms; it’s about the space between them, the pauses, the breath within the music. Sometimes, I feel deeply connected to my emotions—joy, sadness, longing, peace—all flowing through my hands into the instrument. Other times, I’m not thinking or feeling anything specific; I’m just fully present, letting the music unfold naturally. I think that’s why people experience a meditative quality in the sound—because it comes from a place of pure presence, without expectations or judgment. IT HAS A MEDITATIVE, ALMOST HYPNOTIC QUALITY BECAUSE OF ITS RICH HARMONICS AND RESONANT TONES. Is the handpan mainly a meditative instrument, or does it have a deeper purpose beyond relaxation and sound healing? I believe the handpan is all of that and more. Yes, it has a meditative, almost hypnotic quality because of its rich harmonics and resonant tones, but it’s not limited to that. For me, it’s a tool for expression. It can be soothing and grounding, but it can also be playful, rhythmic, and dynamic. The handpan has the power to create deep emotional landscapes—it can comfort, inspire, and even challenge you. I’ve seen people moved to tears, not out of sadness, but because it touches something raw and authentic within them. While it’s often used in meditation or sound healing, it’s also an incredibly versatile instrument that speaks to the heart in many different ways. I believe that in a few years, the handpan will be in every other living room. It will be taught in primary schools and integrated into both popular and classical music. Every day, I receive more collaboration requests from major artists. Recently, I released an album with Timbaland, which reassures me that this vision is closer than ever. ONE OF THE MOST BEATIFUL THINGS ABOUT THE HANDPAN IS ITS ACCESSIBILITY You’re the world’s first handpan teacher, offering online courses with your own unique method. How easy is it to learn? How long does it typically take to feel confident playing? One of the most beautiful things about the handpan is its accessibility. You don’t need years of musical training to create something that sounds beautiful. The layout of the notes and the intuitive nature of the instrument make it easy for beginners to start playing and finding joy in it right away. That said, like any instrument, mastering it takes time, patience, and practice. My method focuses on building a strong foundation while encouraging creative exploration. Some students feel confident within weeks, while others take more time—it really depends on how much time and love you put into it. But the key is this: it’s not about how fast you learn; it’s about enjoying the process. What do you think is driving the growing interest in the handpan? Is it part of a larger shift toward mindfulness, or is it simply the magic of its sound? I think it’s a combination of both. The sound of the handpan is naturally captivating—rich, warm, and resonant, with a quality that feels both ancient and futuristic. People hear it for the first time and are immediately drawn in, often without knowing why. It speaks directly to the heart, bypassing the analytical mind. At the same time, we live in a fast-paced, often disconnected world. Many people are searching for ways to slow down, to reconnect with themselves and something deeper. The handpan offers that—a simple, tactile way to be present, to create without pressure, and to find moments of peace. I do believe its rise in popularity is part of a broader shift in consciousness. People are craving authenticity, connection, and experiences that feel real. The handpan is more than just an instrument—it’s a reminder that beauty lies in simplicity, that music is for everyone, and that sometimes, the most powerful sounds are the ones that come from the heart. for more Print VOL XV - 2025 Out of Stock Add to Cart

There is a particular pleasure in staying in a historic villa surrounded by a garden, with the deep blue waters of the Swedish archipelago stretching beyond it. At Villa Pauli, in Djursholm, just outside central Stockholm, that sense of retreat is closely tied to the history of the house itself. October 13, 2026 | TRAVEL VILLA PAULI: A NEW CHAPTER words Maria Chiara Antonini photos Hannes Söderlund There is a particular pleasure in staying in a historic villa surrounded by a garden, with the deep blue waters of the Swedish archipelago stretching beyond it. At Villa Pauli, in Djursholm, just outside central Stockholm, that sense of retreat is closely tied to the history of the house itself. Villa Pauli has more than a century of history behind it. The family who commissioned it was among the most prominent and influential figures in Sweden’s economic and financial life. The year 1906, engraved in the stone portal framing the wooden entrance door that leads from the park into the villa, marks the beginning of its construction, which was completed in 1907. The name Villa Pauli is a tribute to Anna Pauli, daughter of Johan Wilhelm Smitt, one of Sweden’s wealthiest men in the 19th century. Smitt made his fortune in Latin America during the 1850s, co-founded Enskilda Bank and founded Handelsbanken. The villa was designed by architect Ragnar Östberg and adorned with works by painter Georg Pauli and sculptor Carl Eldh. More than a century later, many of its original details remain intact. The wood panelling of the entrance and grand ground-floor hall, the frescoes in the principal drawing room and the large stone fireplaces throughout the villa all contribute to its distinctive character. Villa Pauli remained a private residence until 1968 and became a private members’ club in 1986. Today, the property is entering a new chapter in its history, opening its doors to guests looking for a more intimate way to experience Stockholm. The first phase of the transformation introduced a new wing with an oceanfront restaurant, wellness club, poolside spaces, rooftop terraces, a tennis court and additional hospitality areas. A CONTEMPORARY LAYER The architectural vision for the addition was led by architect Jonas Glock, whose approach centred on what he describes as “a contemporary layer in time” within one of Djursholm’s most historically significant estates. “Historic buildings should never become frozen in time,” Glock explains. “The ambition of this new project was to add something unmistakably contemporary while allowing the original villa to remain the emotional and architectural heart of the estate. The new spaces are designed as a reflection of our own time, carefully added onto the existing story.” The result is deliberately understated from a distance. The expansion preserves the visual integrity of the surrounding park while allowing the estate to evolve without competing with the original villa. Large glass façades, restored stone elements, handcrafted brickwork and reinterpreted historical materials establish a measured relationship between old and new. The second phase of the project focuses more directly on hospitality, with additional rooms and three suites now available to guests who are not members of the club. BEYOND SCANDINAVIAN MINIMALISM The interiors, created by SPIK Studios under the creative direction of Nina Glendinning, deliberately move beyond the restrained language of Scandinavian minimalism. Instead, they embrace a richer and more expressive aesthetic: jewel-toned velvets, dark-stained oak, limestone floors, brass details, hand-painted murals, mirrored surfaces, vintage references and contemporary artworks come together in an eclectic but carefully balanced composition. Throughout the villa, tactile materials and handcrafted details encourage a slower reading of the spaces. Rather than pursuing a predictable interpretation of luxury, the intention was to create interiors that feel intimate and slightly unexpected, with details that reveal themselves gradually. “We wanted the spaces to feel immersive and emotionally charged,” says Glendinning. “There are hidden references throughout — in the textiles, the artwork, even in the shapes of the furniture. It should feel personal and atmospheric, never anonymous.” A NEW RHYTHM At the heart of the new addition is St. Nobl, Villa Pauli’s restaurant. Conceived as a natural extension of the historic villa, it unfolds across a series of interconnected spaces, from an indoor atrium and bar to terraces and poolside dining areas. Velvet, marble, Murano glass chandeliers, mirrored surfaces and richly textured fabrics continue the material language found elsewhere in the new interiors. Beyond the spa, gym and tennis courts, one of Villa Pauli’s more unusual additions is the sauna boat: a small private motorised sauna that heads out onto the water, offering a different perspective on the Swedish archipelago. At Villa Pauli, the original architecture remains the point of departure, while the new interventions introduce another layer rather than attempting to recreate the past. The result is a place where history, architecture, hospitality and contemporary design continue to evolve together.

Studiopepe’s Silos coffee table collection for Uniqka, unveiled at Milan Design Week, pairs sculptural forms, leather legs and varied natural finishes. May 2024 | Design & Interiors english below Exclusive for Uniqka by Studiopepe: Silos words Alp Tekin photos Emre Dörter & Matteo Bellomo & Stefania Zanetti M ilano Tasarım Haftası sırasında tanıtılan ve dikkatimizi çeken tasarımlardan biri de Studiopepe tarafından Uniqka için tasarlanan Silos Koleksiyonu oldu. Mimari zarafet ve heykelsi estetiğin kusursuz birleşimi olarak tanımlanan bu geniş sehpa koleksiyonundaki her parça kendi özgü karakterine sahip. Milano merkezli Studiopepe’nin tasarladığı koleksiyonun ilhamı ise Silo yapıları. Endüstriyel mimarinin katı ve sağlam duruşuna sahip olan koleksiyon, kıvrımlı yüzeyleri ve kütleli formu ile aynı zamanda zarif bir görüntü ortaya koyuyor. Deri ayaklar ve farklı malzeme seçenekleriyle sunulan sehpa yüzeyleri koleksiyona zengin bir doku ve renk paleti katmış. Natürel malzeme seçeneklerine sahip olan Silos sehpalar, estetik görüntüsünün yanı sıra dokunsal bir deneyim de sunuyor. Üç farklı boyuta sahip Silos Koleksiyonu, geniş renk paleti ve malzeme seçenekleriyle yatak odası, salon, ofis, toplantı odası gibi pek çok yaşam alanında kullanılabiliyor. O ne of the designs that caught our attention during Milan Design Week was the Silos collection designed by Studiopepe for Uniqka. Described as the perfect combination of architectural elegance and sculptural aesthetics, each piece in this large coffee table collection has its own unique character. Designed by Milan-based Studiopepe, the collection is inspired by the Silo structures. The collection, which has the rigid and solid stance of industrial architecture, also presents an elegant appearance with its curved surfaces and massive form. Leather legs and coffee table tops with different material options add a rich texture and color palette to the collection. Silos coffee tables with natural material options offer a tactile experience as well as an aesthetic appearance. Available in three different sizes, the Silos collection can be used in many living spaces such as bedrooms, living rooms, offices and meeting rooms with its wide color palette and material options.

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

Barbare Studio's first exhibition, Sense of Place, brings contemporary art to Barbare Vineyards in Tekirdağ, curated by T. Melis Golar. November 2024 | Art & Culture TURKISH BELOW EXHIBITION SPREADING THROUGH the VINEYARDS words Burcu Dimili Wine production dates back further than we might think—around 8,000 years. The cultivation of grapes and winemaking, first traced in Mesopotamia, began in the regions of Armenia, Georgia, and Iran. This tradition, which has continued for thousands of years, also has many local examples in Turkey. Tekirdağ and Çanakkale have become prominent locations in recent years, with Barbare Vineyards located in the hills of the Barbaros town in Tekirdağ being one of them. These vineyards, spanning 230 acres, practice organic, sustainable, and biodynamic farming. Alongside the vineyards, there is also a restaurant and accommodation facility. Barbare Vineyards, in operation since 2002, hosted an art project this year. Barbare Studio, founded by Celine Topsakal, is a multidisciplinary art platform. With the material and spiritual support of Barbare Vineyards, the platform offers space to Turkish artists while aiming to deepen the relationship between humans and the land by combining art and viticulture. The first exhibition of Barbare Studio, "Sense of Place," curated by T. Melis Golar, was held from September to November. The exhibition featured works by Dilşad Aladağ, Valentina Bacci, Serra Bilgincan, Dilan Bozer, Didem Erk, Berkay Kahvecioğlu, Milo Kester, Lalin Mercan, Rhian Harris Mussi, Sam Nicholson, Büşra Özdemir, Furkan Öztekin, Arthur Rabut, Eda Şarman, Cengiz Tekin, and Murat Yıldız. Titled "Sense of Place," inspired by the French word "terroir," the exhibition refers to many themes through its name. The term “terroir” defines the climate, soil, geographical structure, and cultivation methods of the region where the vineyards are located. It is a concept that greatly influences the taste profile of wines. This definition also poetically represents the human connection to nature. WHAT DID THE EXHIBITION REMIND US OF? The "Sense of Place" exhibition, deeply intertwined with the geography, climate, ecological diversity, boundaries, and history of Barbare Vineyards, reminded us of the importance of creating space, being present on the land while producing, and listening to the soil. The exhibition also marked the first part of the guest artist and curator program. The curator guest for this program will be T. Melis Golar for the next three years. Through the research, responses, and works created by the artists based on what Barbare Vineyards offers, the program will foster a learning structure where each exhibition inspires the next. If you're interested in understanding the lands of Thrace and reinterpreting the mythological, biological, topographical, and linguistic relationships, you can follow the exhibition series and perhaps visit Tekirdağ during the second edition. ÜZÜM BAĞLARINA YAYILAN SERGİ Şarap yapımı insanlık tarihinde tahmin ettiğimizden daha eskiye -yaklaşık 8000 yıl öncesine- uzanıyor. Mezopotamya’da ilk izlerine rastlanan üzüm yetiştiriciliği ve şarap yapımı Ermenistan, Gürcistan ve İran bölgelerinde başlıyor. Binlerce yıldır devam eden bu üretimin Türkiye’de de birçok lokal örneği var. Tekirdağ ve Çanakkale son yıllarda dikkat çeken lokasyonlar. Tekirdağ’ın Barbaros kasabası tepelerinde yer alan Barbare Bağları da bunlardan biri. 230 dönüm içinde organik, sürdürülebilir ve biyodinamik tarım yapılan bağların içinde aynı zamanda restoran ve konaklama tesisi bulunuyor. 2002 yılından beri faaliyette olan Barbare Bağları bu yıl bir de sanat projesine ev sahipliği yaptı. Celine Topsakal kuruculuğunda hayata geçen Barbare Studio multidisipliner bir sanat platformu. Barbare Bağları’nın maddi manevi desteğiyle Türkiye’deki sanatçılara alan açan platform, sanat ve bağcılığı bir arada düşünerek insanın coğrafyayla olan ilişkisine derinlik kazandırmayı hedefliyor. Barbare Studio’nun eylül-kasım aylarında izleyiciyle buluşan ilk sergisi “Yer Duygusu” ise T. Melis Golar küratörlüğünde gerçekleşti. Sergide Dilşad Aladağ, Valentina Bacci, Serra Bilgincan, Dilan Bozer, Didem Erk, Berkay Kahvecioğlu, Milo Kester, Lalin Mercan, Rhian Harris Mussi, Sam Nicholson, Büşra Özdemir, Furkan Öztekin, Arthur Rabut, Eda Şarman, Cengiz Tekin ve Murat Yıldız’ın çalışmaları karşımıza çıktı. Fransızca’daki “terroir” kelimesinden referansla “Yer Duygusu” adını alan sergi, aslında isim seçimiyle birçok temaya referans veriyor. Üzüm bağlarının bulunduğu bölgenin iklimi, toprağı, coğrafi yapısı ve yetiştirilme yöntemlerini tanımlayan terroir kelimesi, şarapların tat profilini büyük ölçüde etkileyen bir kavram. Bu tanım aynı zamanda insanın doğa ile bağını şiirsel bir biçimde temsil ediyor. SERGİ NELERİ HATIRLATTI? “Yer Duygusu” sergisi Barbare’nin bulunduğu coğrafya, iklim, ekolojik çeşitlilik, sınır ve tarih ile bütünleştiği için bize alan açmayı, üretirken arazide olmayı ve toprağı dinlemeyi hatırlattı. Sergi bir yandan da misafir sanatçı ve küratör programının ilk bölümüydü. Programın küratör konuğu üç yıl boyunca T. Melis Golar olacak. Sanatçıların Barbare Bağları’nın sunduklarına dair araştırmaları, verdikleri yanıtlar ve oluşturdukları üretimler sonucunda birbirinden öğrenen bir yapı sunacak. Her sergi bir sonraki serginin başlığına ilham olacak. Eğer Trakya topraklarını anlamak ve mitolojik, biyolojik, topografik, dilbilimsel ilişkileri yeniden yorumlamak isterseniz sergi serisini takip edebilir, ikinci edisyonda yolunuzu Tekirdağ’a düşürebilirsiniz.

October 17, 2026 | CITY GUIDE | BODRUM LIGHT, CALM and ECO-CONSCIOUS words Alp Tekin Photos İbrahim Özbunar Set on a four-acre plot in Yalıkavak, this three-storey stone house has a footprint of 470 square metres and was originally built around 13 years ago using çilek taşı, a local stone found in Bodrum. Completed by Beril Khalaf Interiors in 2021, GKT Bodrum House has a light and calm atmosphere shaped by its vaulted ceilings and generous proportions. The open kitchen and sea-facing terrace on the entrance level are among the key spaces of the house. At the centre of the terrace is a wood-burning fireplace, designed with winter evenings in mind. Running parallel to it, in front of the living room, is a second terrace conceived as another comfortable living area. Covered by a pergola, it can be used throughout the year. POWERED BY THE SUN The lower level accommodates two children’s rooms and two guest rooms, all with direct access to the garden and the cultivated area with fruit trees. From the beginning of the construction process, all existing olive trees on the land were preserved, producing enough olives to meet the household’s own olive oil needs. Taking advantage of the site and the owner’s sensitivity to nature, the house also uses a solar system that now supplies all of its electricity. DIFFERENT LEVELS, DIFFERENT RHYTHMS Because the house sits on a sloping site, a series of outdoor seating areas has been created at different levels, each with its own atmosphere. At the same time of day, you can sit in full sun by the pool or move to a shaded corner beneath the olive trees for a cooler, quieter moment. Inside, microcement flooring was chosen for both durability and ease of use, while decorative plaster gives the walls a more tactile finish. The architecture draws on the solidity and compact character of traditional building methods, combined with high levels of insulation, heat-resistant glazing and carefully positioned openings that maximise natural daylight. for more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

Ağustos 2022 | Tasarım | Amerika İlham veren tasarımıyla BRIARCLIFF Yazı | Alp Tekin Fotoğraflar | Rafael Gamo 1 825'te kurulan ve Detroit şehir merkezinin kuzeybatısında yer alan Franklin, pitoresk ortamı ve büyük evleriyle tanınan bir bölge. Iannuzzi Studio tarafından yapılan bu bölgede yapılan Briarcliff evinin tasarımı da nesiller boyu inşa edilmiş üçgen çatılı klasik Michigan çiftliklerinden ilham alıyor. Bu tanıdık form elbette modern inşaat teknikleri ve yenilikçi detaylarla güncellenmiş. Evin yer aldığı çevreye özgü koşulları inceleyen ve ona göre tasarımı yapan Iannuzzi Studio, burada da ekolojik prefabrik çatı panelleriyla ek bir yapıya ihtiyaç duymayan çelik dirsekler kullanarak geniş açıklıkların oluşmasını sağlamış. Bu açıklıklar sayesinde güneş ışıklarının içeriye girmesi düşünülmüş. Dört ayrı bölüme ayrılan evdeki en geniş alan, havuza doğru uzanan geniş cam ve mahremiyet yaratan özel yapım duvarın kesintisiz bir hacimle yan yana durduğu yer. Ana giriş ve fuaye ise ön kapı yerine ana pavyonlardan ikisinin birbirinden ayrılmasıyla oluşturulan boşluğa ustaca yerleştirilmiş. BRIARCLIFF with its inspiring design Words | Alp Tekin Photography | Rafael Gamo F ounded in 1825 and located northwest of downtown Detroit, Franklin is an area known for its picturesque setting and large houses. The design of the Briarcliff home in this area by Iannuzzi Studio is also inspired by classic Michigan farms with gable roofs that have been built for generations. This familiar form has of course been updated with modern construction techniques and innovative details. The home’s functions are separated into four distinct pavilions, creating clear separations between private and public zones. The longest pavilion runs side-to-side across the property in an uninterrupted volume that features exposed steel bents, expansive glass towards the pool, and a wall of custom millwork creating privacy from the street. Eco-friendly, prefab roof panels allow large spans between the steel bents without need for additional structure Iannuzzi Studio always looks into site-specific environmental factors (sun, wind, views), and in this case, tried to balance all of these factors while ensuring privacy/openness and access/views as the client desired. It was important for the kitchen to be bathed in morning light.

Mous Lamrabat pairs Moroccan djellabas with Nike, Louis Vuitton and SpongeBob in playful, ironic photographs from his Mousganistan world. Ocak 2021 | Art | Türkiye MOUS LAMRABAT Lütfen ünlü olmama izin vermeyin Yazı | Onur Baştürk G eleneksel Fas kıyafeti ‘djellaba’yı Nike ya da Louis Vuitton gibi bir markayla buluşturuyor. Olmadı ‘Sünger Bob’ karakteriyle. Tüm fotoğrafları kendiliğinden fırlama, zorlama değil. Neşesi, ironik kışkırtıcılığı şahane. Bakmadan duramıyor, asla kayıtsız kalamıyorsun. İşte bu nedenle son dönemin en parlak yıldızlarından biri fotoğraf sanatçısı Mous Lamrabat. Hikâyesi Fas’ın kuzeyindeki bir Amazigh köyünde başlıyor. Belçika’nın Flaman şehri Sint-Niklaas’ta devam ediyor. Ailedeki dokuz çocuktan biri. Fotoğrafçılığa geçmeden önce Kraliyet Güzel Sanatlar Akademisi’nde iç mimarlık eğitimi alıyor. “Mousganistan” adını verdiği, kendine özgü ironik dünyayı yaratıp fotoğrafçılık dünyasında hızla adını duyurması ise üç yıl önce Fas’a yaptığı bir yolculuk sırasında gerçekleşiyor. “Fas tam oradaydı, kocaman bir fil gibi önümde duruyordu” diye hatırlıyor o zamanları. Devamı için... Print YUZU MAGAZINE - II Out of Stock View Details

Vocabolo Moscatelli is a restored 12th-century monastery and intimate boutique hotel in Umbria, founded by Frederik Kubierschky and Catharina Lütjen. October 4, 2025 | VOL 16 the VOCMOS SPIRIT: SMALL, PERSONAL, and FULL of SOUL words Laura Cottrell Some people work in hospitality. Others live it. For Frederik Kubierschky and Catharina Lütjen, founders of Vocabolo Moscatelli, it’s the latter. Their story started in the heart of Swiss five-star hospitality, where they met, learned the ropes, and dreamt up a vision for something more personal—an intimate retreat in Umbria, Italy, where hospitality is about genuine care, thoughtful details, and a sense of belonging. We sat down with Frederik and Catharina to talk about what it means to build a place that feels like home, why Vocabolo Moscatelli is more than a boutique hotel, and how they’re redefining modern hospitality—one thoughtful stay at a time. You both come from strong backgrounds in hospitality. How have your experiences shaped the vision behind Vocabolo Moscatelli? Our story began years ago in the world of Swiss five-star hospitality, where our paths first crossed. Frederik brought his deep experience as a Clef d'Or Chef Concierge, and I had focused on guest relations, sales, and marketing. It didn’t take long for us to realize we made a strong team. We were both lucky to have received top-notch training in the industry, which shaped how we think about service, guest care, and teamwork. Over time, we learned that true hospitality isn’t just about luxury—it’s about creating a sense of belonging, crafting unforgettable experiences, and doing it all with passion and integrity. Today, as we lead our own little boutique hotel, Vocabolo Moscatelli, we know exactly the kind of hospitality we want to create—not just for our guests, but also for our team. We believe a happy team is the foundation of great hospitality. In short, the years we spent in some of the most luxurious and demanding settings have shaped how we approach hospitality in 2025. As we shape the future of our boutique hotel, we keep asking ourselves: What does modern hospitality look like? We’re not just following trends; we want to stay ahead of the curve—creating a place that embraces today’s traveler’s desire for authenticity, connection, and meaningful experiences, while also caring deeply for the well-being of both our guests and our team. IT FELT LIKE WE DIDN’T CHOOSE UMBRIA; UMBRIA CHOOSE US! When did the idea of opening your own hotel first come up—and why Umbria? It’s hard to pin down the exact moment, but we both remember a scene like it was yesterday. We were working at a luxury hotel when a guest was checking out. She smiled at us and said, “You two... If you ever open your own hotel, let me know. I’ll be there.” Those simple words left a big impression—and sparked a dream. That dream is now Vocabolo Moscatelli. We were also incredibly lucky to cross paths with an investor who believed in us and our vision. That support gave us the chance to create something truly special. As for Umbria, it was an opportunity—and we fell in love with this unique region of Italy instantly. It felt like we didn’t choose Umbria; Umbria chose us! Vocabolo Moscatelli is a restored 12th-century monastery. What drew you to this place? Its energy—and its timeless beauty! How was the restoration process? Restoring Vocabolo Moscatelli wasn’t just about preserving a building—it was about breathing new life into a place full of history and character, and creating an atmosphere that feels both timeless and fresh. Our approach was shaped by a deep respect for the region’s heritage, combined with a vision for what modern hospitality should feel like in 2025. From the start, we knew we wanted to preserve the elements that make the building so unique—like the stone walls and wooden beams. Of course, bringing modern comforts into such a historic space came with its challenges. It required careful planning and close collaboration with talented artisans and our architect. Jacopo Venerosi Pesciolini from the Florence-based studio Archiloop and his team designed spaces that transform the atmosphere of this ancient monastery into a warm, timeless experience. The use of local craftsmanship added a special layer of character to the interiors. Some of our rooms and suites even have black outdoor bathtubs for two, placed on private terraces. Each room and suite also features its own color concept. UNLIKE BIGGER, MORE ANONYMOUS PROPERTIES, OUR SMALL SCALE ALLOWS US TO CREATE AN INCREDIBLY PERSONAL AND GUEST-FOCUSED EXPERIENCE How does the small scale of your hotel shape the way you welcome and connect with guests? Unlike bigger, more anonymous properties, our small scale allows us to create an incredibly personal and guest-focused experience. We truly pay attention to the needs and preferences of each individual guest. Our team knows guests by name—and they know us, too. We take the time to build genuine relationships with the people who stay with us. Many of our guests return not just for the beauty of the place, but because they feel connected to the team, the other guests, and the unique “VocMos” vibe. That sense of belonging and community is a big part of what makes our hotel special. How does the region’s nature and culture shape the identity of Vocabolo? The natural beauty of the region is an essential part of who we are. Vocabolo is a place where guests can step away from the chaos of daily life and reconnect with nature. The peaceful, rural atmosphere is woven into the overall experience of the hotel. Everything we do, from art to architecture, is inspired by the cultural heritage of the region. We also celebrate local festivals and traditions, weaving them into the guest experience—like our “Passata” event in August, where we make tomato sauce together for three days, or our special ceramic workshops with local artisans like Elena (Endiadi) in our chapel or garden. The slower rhythm of life here is at the heart of the Vocabolo Moscatelli experience. What are some of the standout features of the hotel? - Our Cotto Etrusco tiles. Every room has its own color story, and all the tiles—especially those in the bathrooms—are handmade for us in Umbria, just 20 minutes from Vocabolo Moscatelli. - The Bamboo Dome. - Double outdoor bathtubs on the terraces. - Our hemp-linen textiles! They’re sustainable, breathable, and durable—hemp has a long tradition in Umbria, historically used for rope, fabric, and household items. - The fire pit: Every evening, Frederik lights a fire in the garden, creating a warm, cozy atmosphere. After dinner, we invite both hotel guests and restaurant diners to gather around the fire, sharing a glass of our homemade limoncello. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart