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Goddard Littlefair founders Jo Littlefair and Martin Goddard discuss two private homes at The OWO Residences by Raffles in London's Old War Office. September 3, 2026 | DESIGN & INTERIORS TWO WAYS of LIVING at the OWO words Onur Baştürk photos Julian Abrams (The OWO Residences) At The OWO in London, award-winning interior design practice Goddard Littlefair has created two distinct private homes, each shaped around a different way of living. London’s former Old War Office on Whitehall has an unusually strong architectural and historical identity. Now home to The OWO Residences by Raffles, the Grade II* listed Edwardian Baroque landmark also houses Raffles London. For two private homes on the fifth floor, Goddard Littlefair resisted the idea of a single design language, using imagined residents as the starting point for two distinct interiors. We spoke with founders Jo Littlefair and Martin Goddard about working within a building of such presence, deciding where contemporary interventions belong, and creating interiors that feel personal without becoming overly polished. A BUILDING WITH PRESENCE The OWO has an unusually strong architectural and historical identity. When designing a contemporary home within a building with such presence, how do you decide what to preserve, what to respond to, and where to introduce something entirely new? JO: You have to earn the right to add anything new to a building like this. The proportions, the sense of gravitas, that's not something we were ever going to compete with, so the first job was listening to the architecture rather than ignoring it. Once we understood what the building was giving us, it became much clearer where a contemporary gesture could sit comfortably alongside it. MARTIN: Our brief was to honour the history without letting it become a constraint. That's a fine line. We weren't interested in pastiche, and we weren't interested in ignoring 1906 either. Every material decision was tested against that context: does this feel considered within these walls, or does it feel like it's fighting them? The architecture gives you elegance, scale and proportion in spades, and we were very aware we were working within a building that has earned its place in London and in the nation. It demanded to be respected, and every choice was tested against that same question: did it sit in harmony with the building? At the same time, our ambition was to create genuinely desirable residences, so we wanted to peel back the stoicism of the building's exterior and deliver something welcoming and cocooning once you stepped inside. Rather than create a single design language for the two residences, you imagined two very different ways of living. How did those fictional residents take shape, and when did they begin to influence the architecture, materials and objects around them? MARTIN: We didn't want to default to one idea of luxury and repeat it twice down the corridor. So we asked who actually lives at an address like this, and the honest answer is more than one kind of person. That's really where the two residences began, not as two schemes but as two different sets of values. JO: Once we had a sense of who each resident was — someone with a collector's eye and a more sociable, fluid way of living in 5.06, someone more introspective and structured in 5.08 — the decisions started making themselves. A cocktail cabinet becomes a display of things gathered through travel for one person, and a dedicated space for music and quiet retreat for the other. The character came first. I started looking at life through the lens of the characters we'd created, and the objects followed. It became a habit, thinking about brands, restaurants, London life, and what each of them would actually enjoy. I'm a bit of a magpie and a nostalgic dreamer at heart, and I believe being selective about what you surround yourself with connects you to experiences, to emotions, to your own values. Those are the touches that make a house feel like home, and they're deeply personal. IT’S A QUESTION OF RESTRAINT You describe the spaces as “composed rather than decorated.” What does that distinction mean in practice, particularly in a project where craftsmanship, collectible pieces and bespoke details play such an important role? JO: Decorated implies you're filling a room. Composed means every piece is there because of its relationship to everything else: the piece beside it, the light above it, the surface it sits on. With this many bespoke and collectible pieces in play, that discipline matters even more, because it would be very easy to end up with a beautiful room that doesn't actually hang together. MARTIN: It's a question of restraint, really. We had extraordinary pieces to work with — hand-finished joinery, vintage furniture, bespoke rugs — and the temptation with that level of craft is to let each piece perform. We wanted them to work as a group instead, so the atmosphere feels settled rather than assembled. No single element steals the show, because the moment it does, all the surprise and delight is given away in an instant. You have to work around a room and make sure every piece has been through the rigour of selection. Placing things together well is a craft that isn't easily learned. It's really like painting a three-dimensional picture, so that wherever your eye lands in the room, a colour or a detail connects it to something else. TWO DISTRINCT MOOD, BOTH ROOTED IN QUIET LUXURY The two residences have very different atmospheres — one lighter, more fluid and collected; the other darker, more structured and architectural. Beyond palette, which design decisions were most important in shaping each home's character? MARTIN: Planning was just as important as materiality in the end. 5.06 is organised around a fluid sequence of spaces that supports informal entertaining, people moving easily between hosting, dining and lounging. 5.08 introduces much clearer moments of definition: a library wall, a dining booth, a separate den. That structure changes how a room feels to move through long before you consider what's in it. Before we even began, we spent real time thinking through the planning of both apartments. Historic buildings give you unusual spaces to work with by their nature, and with that comes opportunity. Working out where you can create moments of surprise and delight gives you a framework, and if that framework is right, the scheme you layer on top of it is already halfway to succeeding. JO: Texture carried a lot of the character too. In 5.06, it's about layering upholstery, mirror and hand-finished silk panels to build softness and richness without heavy contrast. In 5.08, we let the materials sit deeper and darker and balanced that with tailored, clean-lined furniture. Two very different moods, but both are still quiet luxury. Neither one is shouting. The quality of the materials spoke to the calibre of the building itself, too. We were conscious throughout of choosing fabrics and finishes that respected The OWO and its stature. EVIDENCE OF A LIFE Contemporary luxury residential design can become highly polished yet somewhat anonymous. How do you give a newly completed interior a sense of life, personality and history of its own? JO: You give it evidence of a life being lived, not just staged. Pieces that feel collected over time rather than placed all at once, a changing wall of artwork, glassware gathered through travel. Those details suggest a story before anyone's actually moved in, and that's what stops a finished interior feeling anonymous. MARTIN: It also comes down to not smoothing everything into one register. A home with personality has small frictions in it: a slightly playful dining arrangement next to a more formal seating group, an antique mirror beside something entirely new. That's closer to how people actually live, and it's what gives a space warmth rather than polish for its own sake.

YUZU Magazine, published by YUZU Creative House and founded by Onur Baştürk, covers design, architecture, travel and art, based in London and Istanbul. Çapa 1 ABOUT US PRINT WEB SITE SOCIAL MEDIA AUDIENCE ADVERTISING & PARTNERSHIP OPPORTUNITIES YUZU COMMUNITY TEAM ABOUT US YUZU Magazine, published by YUZU Creative House, is a global publication positioned at the intersection of design, architecture, travel, contemporary art, and culture — expressed across print, digital, and film. More than a magazine, YUZU is a sophisticated platform where creative ideas and encounters unfold — reflecting an aesthetic, conscious way of living. PRINT Published three times a year, the 192-page hardcover edition — designed in the spirit of a coffee table book — lies at the heart of YUZU. Distributed internationally via Magazine Heaven Direct (MHD) in cities including London, Paris, New York, Los Angeles, Toronto, Berlin, Madrid, Milan, and Lisbon, YUZU has become a collectible publication for design professionals and creative audiences worldwide. Each issue is curated like an exhibition — bringing together architectural projects, interiors, designers, artists, and voices shaping contemporary culture. The summer editions focus on the Aegean & Mediterranean, spotlighting homes, hotels, and restaurants across the region, as well as the stories of designers, architects, and artists who live or create there. (Annual physical reach: approx. 500,000 readers) WEB SITE yuzumagazine.com expands YUZU’s world online. Structured around sections such as DESIGN & INTERIORS, TRAVEL, PEOPLE, ART & CULTURE, PRODUCT, FILM, and CITY GUIDE, the website publishes weekly features, interviews, and travel stories — connecting emerging Mediterranean and global design voices with an international readership. (Average 350,000 unique visitors per month ) SOCIAL MEDIA Instagram (@yuzu.mag ) serves as YUZU’s daily visual and editorial platform — a digital gallery that merges aesthetics with ideas. Featuring design projects, travel destinations, and creative collaborations, it connects a global community through reelsseries such as Meet the Tastemakers and Architect’s Diary. (Average monthly reach: 500,000) AUDIENCE YUZU is a global community of creative minds, distributed by UK-based Magazine Heaven Direct across major cities worldwide—including the US, Canada, and the UK. United by a passion for design, architecture, contemporary art, and discovering standout travel spots and design hotels, the YUZU audience spans curious young adults to culture-savvy professionals, with a strong balance across genders. ADVERTISING & PARTNERSHIP OPPORTUNITIES YUZU is not only a publication but also a connector within the creative community. In addition to media partnerships with international events such as Art Antwerp, Art Brussels, CAN Ibiza Art Fair, and Lisbon Art Weekend, YUZU also hosts gatherings at its own event space in Istanbul. Among these, the Design/Dialogue talk series stands out — bringing together architects, designers, and cultural figures to explore ideas of design, identity, and future ways of living. YUZU x Hotel de Louvre YUZU x Vondom YUZU x Andrea Lupi YUZU x Villa Lena YUZU x Enne Miami COMMUNITY EVENTS COMMUNITY DINNER Partner: JUMBO April 2023, Avlu Bebek YUZU GREEN DAY Partners: Komşuköy, Miboso, EkBiçYeİç, DemGreen, Lucca, Homemade Aromaterapi, Kandilli Peyzaj, Entropia, Panerai May 2022, Komşuköy NEW YEAR DINNER Partner: ISOKYO December 2021, Raffles Istanbul VOL.5 PRIVATE DINNER Partner: KİLİMANJARO October 2021, Bomontiada GREEN MORNINGS Partner: GROHE April 2021, Avlu Bebek PICNIC WITH +1 Partner: +1 April 2021, KomşuKöy MASTHEAD FOUNDER & EDITOR IN CHIEF Onur Baştürk onur@yuzumagazine.com CREATIVE & DESIGN DIRECTOR Ozan Uzun FILM EDITOR Abdullah Abukan ADVERTISING PARTNERSHIPS Seray Kanberoğlu, Sibel İpek PROJECT ASSISTANT Sinan Budak CONTRIBUTING WRITERS Kristina Avdeeva, Laura Cottrell, Maria Chiara Antonini, Noah Mercer, Nicolas Vamvouklis, Rajesh Punj PUBLISHER YUZU Creative House www.yuzucreativehouse.com ISTANBUL İnşirah Sokağı, No:25/1, Bebek, 34342 Beşiktaş LONDON Unit 501 Leroy House 434-436 Essex Road London N1 3FY, United Kingdom ISSN print 2757-525X online 2822-6658 INTERNATIONAL DISTRIBUTION www.magazineheavendirect.com INSTAGRAM @yuzu.mag FOR PARTNERSHIPS AND BUSINESS OPPORTUNITIES info@yuzumagazine.com for more yuzumagazine.com Çapa 2 Çapa 3 Çapa 4 Çapa 5 Çapa 6 Çapa 7 Çapa 8

Lee Broom discusses Overture, his first wallpaper collaboration with Calico Wallpaper, shaped by theatrical drapery, illusion, light, and shadow. May 2025 | DESIGN & INTERIORS DRAPED in ILLUSION: LEE BROOM’s OVERTURE words Onur Basturk photos William Jess Laird Lee Broom’s signature blend of theatrical elegance and sculptural design takes on a new form—this time, across the walls. In his first-ever wallpaper collaboration, the acclaimed British designer joins forces with Calico Wallpaper to create Overture, a collection that transforms a two-dimensional surface into a three-dimensional stage, continuing Broom’s long-standing fascination with illusion and drapery. Channelling everything from his childhood spent in the theatre to his student years at Central Saint Martins—and more recently, his acclaimed Requiem lighting series—Broom brings deeply personal references to this new medium. With Calico’s artistic sensibility and cutting-edge technical approach, Overture becomes more than a decorative element; it’s a visual narrative, a surface that behaves like a curtain ready to rise on a performance. CALICO WAS THE IDEAL COLLABORATOR This is your first wallpaper collaboration – why now? What made Calico Wallpaper the right partner to bring Overture to life? This felt like the right moment to explore a new medium that could bring some of my long-standing ideas around illusion into a different context. Calico was the ideal collaborator, as their approach to wallpaper is deeply artistic, and their ability to merge traditional techniques with advanced technology made it possible to realise this vision. Their ethos of creating immersive, transformative surfaces aligned perfectly with what I wanted Overture to be—and with my own work. Calico is a great brand to work with; I’ve always been a fan and have known them for many years, so when they asked me, I had to say yes. DRAPERY HAS A NATURAL THEATRICALITY TO IT You've spoken about your early connection to theatre and drapery as a child actor. How did those formative memories shape the creative process behind this collection? My experiences in the theatre as a child actor had a lasting impact. I was always fascinated by the way set designers could use simple materials like fabric and light to create entire worlds on stage. One of my favourite memories of being in shows is after the first few weeks of rehearsals, when the set designer would come in and present a miniature version of the full stage design to the cast and talk us through how the scenery would evolve throughout the performance. With Overture, I drew on those memories, thinking about how drapery can suggest movement, emotion, and illusion. From Requiem's sculptural lighting to Overture's illusionistic wallpaper, drapery has been a recurring theme in your work. What keeps drawing you back to this motif? Drapery has a natural theatricality to it. It’s expressive, fluid, and full of suggestion. I’ve worked with it in many forms—from early installations in bars and restaurants during my student days to sculptural lighting pieces like Requiem. There’s something endlessly fascinating about its ability to appear soft and flowing, even when cast in solid materials. One of the key things that attracted me to this collaboration was the opportunity to present this medium in a very different way—giving the impression of fluid drapery while actually being something else entirely. IT’S NOT JUST WALL COVERING —IT’S ESSENTIALLY AN ART PIECE Overture transforms a flat surface into something almost architectural and immersive. How did you approach the challenge of making wallpaper feel spatial and alive? The idea was to take something inherently flat and give it the illusion of depth and movement. We used scale, light, and shadow to create that sense of dimension. I sketched out the original design, and then we had an artist hand-paint the entire wall covering. From a distance—or in a photograph—it looks real, but as you get closer, you can see all the brush marks of the paint. It almost has an impressionist quality to it, which I love. Working with Calico’s team and their technical processes allowed us to push the design into a more sculptural realm, making the wallpaper feel like it’s part of the architecture rather than simply applied to it. The names of the seven colourways—like Matinee, Recital, and Auditorium—evoke theatrical scenes. How important was storytelling in how you developed this series? Storytelling is always important to me in any of my designs. This collaboration in particular felt like it needed a very strong narrative from the outset. Once installed in someone’s home, the wallpaper is obviously a very prominent element of the interior—and in some ways, it dictates the overall space. That’s why it's important to have a story behind it. It gives the customer or client the ability to tell their friends or loved ones the history, the craftsmanship, and the concept behind the design. It’s not just wall covering—it’s essentially an art piece. Your work often sits at the intersection of art, design, and experience. What does this project say about the future of surfaces and how we live with them? For me, I don’t see why furniture, lighting, or surface finishes in an interior shouldn’t evoke the same emotions and conversations that art does within a space. I find it a little absurd that you could be at someone’s home for dinner and spend time discussing a painting—who created it, when it was conceived, the story behind it—while you’ve been sitting on a chair or at a table that no one has mentioned, or at least not with the same passion. I see surfaces, lighting, and furniture becoming part of a more emotive conversation—not just serving a functional purpose.

Otro Oaxaca is Grupo Habita's 16-room Oaxaca hotel, designed by RootStudio's João Boto Caeiro, with interiors by Carlos Couturier and local artisans. August 2023 | TRAVEL OTRO OAXACA For travelers, not tourists words Onur Baştürk photos Sergio Lopez Meet the newest project of Grupo Habita, which we know with its hotels such as Terrestre, Casa Habita, Escondido, Confesa df, opened this month: Otro Oaxaca. Seemingly modest from the street, the hotel houses a series of picturesque courtyards, an underground spa and a surprise rooftop terrace behind its historic façade. Everything in the hotel, which invites you to see Oaxaca in a different way, is one hundred percent locally produced. Carlos Couturier and Moisés Micha, co-founders of Grupo Habita, said: “Oaxaca is a city we know really well and is very close to us. Otro Oaxaca embodies the spirit of a true local friend”. Otro Oaxaca's building was designed by a team of local architects at RootStudio led by João Boto Caeiro, an important figure in Oaxaca's creative community. The cruciform walkway in the design of the hotel's floor plan is inspired by the UNESCO World Heritage Site of Mitla, near the city. The interiors designed by Carlos Couturier reveal the craftsmanship of the region. Everything from the furniture to the linens has been designed specifically for Otro Oaxaca, using locally sourced materials by local artisans. The elegant simplicity and the sense of serenity in the common areas are felt in the same way in the 16 accommodation units.

Airstream RVs pair iconic silver exteriors with minimalist interiors, while AutoCamp offers stays in the trailers at nine locations across America. December 2023 | Vol 10 TR below TRAVEL DREAMS with AIRSTREAM words Onur Baştürk photos Courtesy of AutoCamp One of my sweetest and most American dreams is to travel in the iconic Airstream, with its silver exterior design and charm that no one can resist. And without having to plan where you’re going... I could do without the pink flamingo! As you know, the pink flamingo is an iconic part of Airstream travel. Of course, everything has a solution. It is possible to have this experience without owning an Airstream. AutoCamp is known for incorporating this deep-rooted heritage into its camps. AutoCamp, the exclusive lodging partner of Airstream, has nine locations across America, from the Catskills to Zion, from Yosemite to Asheville. AutoCamp, which is redefining the camping experience by combining the feeling of “sleeping under the stars” with boutique hotel services, has several lodging options such as cabins and tents as well as Airstream. But here’s my favorite: Airstream! Before I forget, each AutoCamp has a clubhouse where campers socialize. Each clubhouse is unique to its location. My favorite is the Joshua Tree Clubhouse, a modern interpretation of the traditional Quonset hut. An icon of American culture, Airstream RVs are admired not only for their romantic, sweet-dream exteriors, but also for their spacious, modern, minimalist interiors and front panoramic window design. Invented by Wally Byam in 1931, Airstreams take 350 hours to build. Completely handcrafted in Jackson Center, Ohio, Airstreams have many fans. The Airstream International Club has more than 16,000 members! En tatlı ve en Amerikan hayallerimden biri gümüş renkli dış tasarımıyla kimsenin kayıtsız kalamayacağı bir cazibeye sahip olan ikonik Airstream’le yola çıkmak. Hem de nereye gideceğini önceden planlamadan... Pembe flamingo olmasa da olur! Malum, Airstream seyahatlerinin sembolik bir parçası da pembe flamingo. Elbette her şeyin bir çözümü var. Airstream sahibi olmadan da bu deneyimi yaşamak mümkün. AutoCamp, bu köklü mirasa kamplarında yer vermesiyle biliniyor. Airstream’in özel konaklama ortağı olan AutoCamp; Catskills’ten Zion’a, Yosemite’den Asheville’e kadar Amerika çapında dokuz lokasyonda yer alıyor. Kamp deneyimini yeniden tanımlayan ve “yıldızların altında uyuma” hissini butik otel hizmetleriyle birleştiren AutoCamp’de Airstream’in yanı sıra kabin ve çadır gibi farklı konaklama seçenekleri de var. Ama işte benim favorim belli, Airstream! Unutmadan, her bir AutoCamp’de kampta konaklayanların sosyalleştiği bir Clubhouse yer alıyor. Her Clubhouse bulunduğu lokasyona göre tasarlanıyor. Benim favorim ise geleneksel Quonset kulübelerinin modern bir yorumu olan Joshua Tree’deki Clubhouse. Amerikan kültürü ikonu Airstream karavanları, aslında sadece tatlı hayaller kurduran romantik dış cephesiyle değil; geniş, modern ve minimalist iç mekanları ve ön tarafta yer alan panoramik pencere tasarımıyla da hayranlık verici. 1931 yılında Wally Byam tarafından icat edilen Airstream’lerin yapımı 350 saat sürüyor. Jackson Center, Ohio’da tamamen el yapımı olarak üretilen Airstream’lerin seveni hayli çok. Airstream International Club’ın 16 binden fazla üyesi var! for more Print VOL XII - 2024 Out of Stock Add to Cart

Studio Plow founder Brit Apperson discusses a 1920 Pacific Heights home in San Francisco, redesigned with natural materials, vintage pieces, and warmth. December 2023 | Design & Interiors english below A Cozy San Francisco Home words Karine Monie photos Nicole Franzen S an Francisco’daki bu evin iç tasarımı Studio Plow’a ait. Proje detaylarını Studio Plow kurucusu Brit Apperson anlatıyor. Evin bulunduğu bölge tam nerede? San Francisco'nun Pacific Heights Bölgesi'nde. Evin mimari tarzını ve ne zaman inşa edildiğini anlatabilir misin? 1920'de inşa edilmiş. Dış cephesi oldukça klasik bir San Francisco binası. Bir zamanlar iki daireye ayrılmış, ancak geçmişte bir noktada tek ailelik bir ev olarak birleştirilmiş. 2000'li yılların başında ise yenilenip modernize edildikten sonra ev biraz steril, eski ve soğuk bir hisse bürünmüş. Tasarımda ne tür malzemeler kullandın? Mevcut malzemelerin çoğunu kullanmayı ve bunları müşterinin zevkine, projenin hedeflerine uygun hale getirecek şekilde modernize etmeyi hedefledim. Yün halılar, mermer ve masif ahşap yüzeyler, yün ve geri dönüştürülmüş kumaşlar gibi lüks ama aynı zamanda dayanıklı, sağlıklı bir çevreyi teşvik eden doğal malzemelere odaklandık. Hiçbir şeyin çok “değerli” durmaması önemliydi. Bu dengeyi sağlamak için üst düzey zanaatkârlar tarafından hazırlanmış parçaları, iyi tasarlanmış kitlesel pazar tipi parçalarla kasıtlı olarak harmanladık. Ayrıca mekana yaşanmışlık hissi kazandırmak için oturma odasındaki kadife Togo sandalyeler gibi çeşitli vintage parçalar kullandık. Evi tasarlarken ilham kaynakların nelerdi? Müşterimizle daha önce yaptığımız çalışmalar nedeniyle onların zevkleri ve önceliklerini biliyordum ve bu benim için en önemli ilham kaynağıydı. Kökleri Meksika'da olan müşterimizin konutta yer alan birçok parçayla güçlü bir kültürel bağı vardı. Ek olarak, bir moda tutkunu ve sanat aşığı olarak müşterinin modaya dönük bakış açısı, parça seçimimizin ardındaki önemli bir ilham kaynağı oldu. T he interior design of this house in San Francisco belongs to Studio Plow. Studio Plow founder Brit Apperson explains all the project details about the house. Could you name and describe the area where the home is located? This project is located in the Pacific Heights District of San Francisco, California. Could you describe the architectural style of the home and when was it built? The 4,142 sq. foot home was originally built in 1920. It is, at least on the exterior, a very classic San Francisco residential building. It was once separated into two flats but combined at some point in the past into a single-family home. After being renovated in the early 2000s and modernized in that very “dot-com” way, the home was left feeling a little bit sterile, dated and cold. What type of materials did you decide to use in this home and why? We aimed to utilize many of the existing bones of the space and refinish them or work with them in a way that would modernize them to align with the client's taste and the project goals. We focused on natural materials that promoted a healthy environment while simultaneously luxurious but resilient such as wool rugs, marble and solid wood surfaces, and wool and recycled fabrics. It was important that nothing felt too “precious” and to strike this balance we intentionally blended high-end artisan crafted pieces with well designed mass-market type pieces. We also sourced a selection of vintage pieces such as the velvet Togo chairs in the drawing room to bring a sense of lived-in coziness to the space. What were your sources of inspiration to design and decorate this home? This home became an extension of our relationship with the clients through our first shared residential project with them and pushing that envelope. Our previous work with them was a key source of inspiration having already built a rapport and understanding of their tastes and priorities. With roots in Mexico, our client had a strong cultural connection to many of the pieces featured throughout the residence. Additionally, as a fashion enthusiast and art lover, the client's fashion-forward perspective was a key inspiration behind our selection of pieces.

Edizione Living presents four Istanbul design figures choosing favorite corners at its new Fenerbahçe store, including the Elba Sofa and Pia Stool. October 2024 | Design & Interiors FOR TURKISH THEIR FAVORITE EDIZIONE LIVING CORNERS, CHOSEN for YUZU - c h o i c e s - words Alp Tekin photos Abdullah Abukan creative director Erdi Eralp Uğur Authentic, elegant, and simple. These three words perfectly sum up the designs of Edizione Living, founded by Sema Gizem Özdemir and Burcu Burat. Inspired by local artisans, the brand’s products are crafted in small-scale, boutique workshops rather than factories. In the CHOICES project by Yuzu Magazine and Edizione Living, four leading figures from Istanbul’s design scene posed in different corners of the brand’s newly opened store in Fenerbahce, Istanbul. 1. DERYA TOROS Interior Architect / Toros & Partners co-founder I love the Elba Sofa in this corner because it’s both comfortable and stylish. The Pia Stool I’m sitting on, with its minimal and elegant design, adds a simple elegance and timeless aesthetic to any space. That’s why the Elba Sofa and Pia Stool were my picks from Edizione Living. 2. EMRE ÖZÜCOŞKUN Interior Architect / Cisimdesign co-founder Balance is a key element in all our projects. This Edizione corner feels close to me because it reminds me of the balance in materials, colors, and forms in our Cisimdesign projects. The harmony in the contrast between the bright, cool stool and the rug it stands on, along with the interplay between green plants and solid wood, beautifully reflects this balance. 3. FULYA BOZKURT Journalist / Editor-in-Chief of Marie Claire Maison Turkiye With its natural, raw wood furniture and handmade pieces, the Edizione Living collections perfectly align with my lifestyle. I love the sense of warmth and character that the sofas and couches, draped in soft natural linen, bring to a space. This Edizione Living corner, with its color palette that moves from chocolate brown to beige, feels incredibly cozy, modern, and comfortable. Their eco-friendly production and commitment to sustainability are also among the main reasons I choose this brand. I can already imagine spending hours around this dining table with my loved ones by candlelight! 4. ONUR BAŞTÜRK Publisher / Founder & Editorial Director of YUZU Magazine I chose this corner because this bedroom is exactly as I envisioned: natural, elegant, simple, and calming. The linen cover on the bed is especially wonderful, as I really value non-industrial materials in the bedroom. Think about it—we actually spend a huge part of our lives in the bedroom, and it deserves just as much care and attention as our other living spaces. I also love the wooden wardrobe here. To me, any type of wood is synonymous with tranquility. It’s so nice to see wood’s warm touch appearing more often in the design world these days; it makes me happy.

Pablo Pérez Palacios discusses PPAA, his Mexico City studio, with Onur Baştürk: architecture shaped around nature in Copas and Las Golondrinas. April 2025 | VOL 14 ‘FUTURE ARCHITECTURE will be MORE INTERTWINED with NATURE’ words Laura Cottrell & Onur Basturk photo credit Rory Gardiner (Copas), Rafael Gamo (Las Golondrinas + Zarzales + Tlalpuente + Casa Roca) ZARZALES Bring nature to the forefront, even shaping the architecture around it... It sounds simple in theory, but in practice it's quite a challenge. Mexico City-based PPAA (Pérez Palacios Arquitectos Asociados), founded in 2018 by Pablo Pérez Palacios, is one of the rare studios that achieves this in every project. We spoke with Palacios about this unique architectural approach, which prioritizes ideas over forms, and other insights. TLALPUENTE What is your design language as PPAA, and which materials best embody this philosophy? Our design language is rooted in the concept of creating an architecture of ideas rather than forms. It is an approach where concepts are inspired by nature and natural materials become integral to our architectural vocabulary. We emphasize the use of materials that respond to the context of the site, ensuring that our projects remain respectful of their surroundings and reflect the inherent beauty of nature. This approach underscores our commitment to designing spaces that harmonize with their surroundings while maintaining a strong conceptual foundation. Can we say that the architecture of the future will feature more houses in harmony with nature or incorporating natural elements? Absolutely. It’s inevitable that future architecture will be more deeply intertwined with nature. Architecture can no longer be viewed as separate from its environment; instead, it must strive to maintain a harmonious and balanced relationship with it. This means not only integrating natural elements like vegetation but also addressing factors such as climate, rainfall, and local ecosystems in the design process. The future of architecture will require a thoughtful, adaptive approach, prioritizing coexistence with nature at every stage—from conception to completion. Do you have any other predictions for the future of architecture? What might happen? I foresee a future where technology will evolve beyond being a tool for construction methods; it will become a means to respect, preserve and coexist with the natural environment. As technology advances, it will provide innovative solutions that allow architecture to adapt more seamlessly to its surroundings, ensuring that built structures do not compromise but rather enhance the natural landscapes they inhabit. CASA ROCA THE ROCK WAS DISCOVERED DURING CONSTRUCTION, AND WE DECIDED TO PRESERVE IT FOR BOTH ITS AESTHETIC APPEAL AND CONCEPTUAL SIGNIFICANCE You describe Copas as a project rooted in respect for nature. Could you elaborate on this? What measures were taken in the project to honor that respect, and what ideas were put into practice? Nature has always been our primary source of inspiration, and our ultimate goal is to create environments that echo the unique atmospheres found in natural settings. For the Copas project, we started by carefully considering the site itself, with particular attention to the tree canopies. The location’s dramatic topography inspired us to design a series of platforms that integrate the various program elements, allowing users to experience the space at the height of the trees. This approach preserved the majority of the existing trees while incorporating the natural rock formations as key architectural features. By respecting and enhancing the natural landscape, we ensured minimal disruption to the environment. Copas stands out with its distinct platforms, including the terrace. What was the intent behind this design? The platform design wasn't just a deliberate stylistic choice but rather a natural response to a deep understanding of the site and its topography. By creating a series of platforms, we were able to adapt to the terrain, using it to our advantage. These elevated exterior spaces rise to the height of the tree canopies, offering an experience that feels like floating among the trees. This approach fosters a deep connection with nature while allowing the architecture to seamlessly blend into its surroundings. In the Copas project, the rock in the middle of the courtyard feels like a work of art. Was this planned beforehand, or was it added during the project? The rock was discovered during the construction process and we immediately decided to preserve it as an essential element of the project. It was retained not only for its aesthetic value, but also for its conceptual significance. The rock is a perfect example of how our architecture seeks to engage with nature, and demonstrates our commitment to incorporating natural features as integral components of our designs, rather than altering or removing them. LAS GOLODRINAS THE MATTE BLACK COATING WAS INTENDED TO MINIMIZE THE ARCHITECTURE’S PERCEPTION AS A DISTINCT, ISOLATED OBJECT In the Las Golondrinas project, you covered the house with a matte black coating called Corev Mooth. What was the reason for this design choice? The intention behind using the matte black coating was to reduce the perception of the architecture as a distinct, isolated object. Black, like white, is never purely monochromatic; it changes and interacts with light and its natural surroundings, taking on different hues depending on the lighting conditions. This treatment allows the architecture to recede, making it less of a protagonist and shifting the visual focus to the natural environment, allowing the surrounding landscape to retain its prominence. COPAS for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

Bodrum comes alive through Mehmet Öksüz’s memories of Kumbahçe, local food, untouched bays and the coastal town’s changing character. August 2024 | Vol 13 TR BELOW I SEE BODRUM JUST AS I WANT TO SEE words Mehmet Öksüz E veryone has a Bodrum. Or a Bodrum for everyone. This coastal town, where I was born and grow up, offers me what I want see. This is a place that doesn't come down on me. I love this so much. My mother is from Rhodes, and my father is from Crete. They migrated to Bodrum during the population exchange period. I grew up in Kumbahçe which is one of the neighborhoods with the most beautiful beach. Two stores and one bakery. We did not use to lock our door. Here, there are terrace roofs. My cousins and I used to eat watermelon on the roof and sleep under the stars. In a west-facing house next to Zeki Müren's house. Imagine a neighborhood whose every street takes to the sea. The rhythms of the Halikarnas disco and the smell of jasmine flowers. Of course, our elders always say, "The 80s were completely different". But, ı am lucky. I had to chance to experience some beautiful aspects of Bodrum. THERE IS SUCH A THING AS A BODRUM SANDAL My parents were shopkeepers. My grandfather sold Bodrum sponge. Lots of foreign tourists. I'm not exaggerating, everyone brought home a fortune. A wealth, a happiness. Qualified stalls, authentic shops and all the beauty I witnessed... There is such a thing as a Bodrum sandal. The property owner did not use to increase the rent just so that the man could continue that job. Those who produced geographically valuable works were respected by the craftsman. Now they are much less. But, ı am lucky. I see Bodrum as I want to see it. I am wearing those glasses. I've stopped sighing about it now. It is like a nostalgic and retrospective dream. Maybe, a little illusion. I still love living here. THE ONLY PLACE THAT MAKES ME FEEL LIKE BODRUM Since my childhood, my curiosity on architecture has encouraged me to choose what is beautiful in perception. Sociocultural and economic diversity has been reflected in spaces and streets. Needs have changed. Those coming from big cities have searched for comfort. They have covered the peninsula and made it an elite place. But, the place that makes me feel like Bodrum will always be the center of Bodrum. There are nostalgic and unchanging places in the center of Bodrum. Like Sakallı Köfteci, Çakır Ali and Tepecik Döner. If I want to eat something like a sandwich, I definitely prefer them. Since I moved to my new home, I've also gotten into the habit of going to restaurants in my neighborhood. I prefer light food for lunch. If I want to eat something local, my choice is definitely Kısmet Lokantası. UNTOUCHED BAYS, BREATHTAKING SUNSETS Recently we also got a boat. Oh! Sailing to untouched bays, breathtaking sunsets. Ada Boğazı is one of the places I like the most. It's great to wake up there in the morning and watch the sunset. When I want to relax, I prefer Kissebükü, Pabuç or Poyraz Bay. The silhouettes of the coasts are just perfect... SO MANY BEAUTIFUL BAYS ARE FILLED WITH UNPLEASANT HOUSES As someone who rides a bicycle from home to work, Yalıkavak, Gündoğan and Türkbükü are always far away from me. Since it is exposed to the northeast wind, the sea is not very clear. That is why I do not like it at all. Of course, resort life is very popular in our city. Construction companies have built houses very close to each other in Bodrum. All these beautiful bays are filled with houses that are not pleasing to the eye. Even a summer resident pays a terrible price in a year just to live in the house for a few months. Of course, if the buyer and the seller are satisfied, there is nothing for me to say. May everyone be happy. I love Demir Evleri, which are very close to Amanruya hotel. They are wonderful living areas. They should be seen. Inspiration should be gained. In addition, Bodrum is full of new experiences gastronomically. I like that. I like the fact that there are more places where we can put on our best dresses and go. NEW ADDRESS of GİBİ BODRUM There used to be a beachwear brand in the new address of Gibi Bodrum. It was a very attractive and mysterious shop. With its huge bougainvillea, Mykonos red windows and white limestone... But this beautiful building was not well maintained. We protected the building, maintained it and arranged its courtyard. This is one of the very few stone houses with a preserved silhouette in Bodrum Marina. To be here means so much luck and happiness! BODRUM’U GÖRMEK İSTEDİĞİM GİBİ GÖRÜYORUM H erkesin bir Bodrum’u var. Ya da herkese göre bir Bodrum. Benim için doğup büyüdüğüm bu sahil kasabası ben ne görmek istersem o. Üstüme üstüme gelmeyen bir yer burası. Bunu çok seviyorum. Anne tarafı Rodos, baba tarafım Giritli. Mübadele zamanı göçmüşler Bodrum’a. Sahille ilişkisi en güzel olan semtlerden birinde, Kumbahçe’de büyüdüm. İki dükkân, bir fırın. Kapı falan kilitlemezdik. Teras çatılar vardır burada. Kuzenlerimle damda karpuz yiyip yıldızlarla uyurduk. Zeki Müren ile komşu, batıya bakan bir evde. Her sokağı denize açılan bir mahalle düşünün. Kulaklarımda Halikarnas diskosunun ritimleri, burnumda yasemin çiçekleri. Tabii eskiler hep anlatır, “80 ler bambaşkaydı” diye. Ama olsun. Ben ucundan da olsa bazı güzel katmanlarını yakaladım Bodrum’un. BODRUM SANDALETİ DİYE BİR ŞEY VARDIR Ailem çarşı esnafıydı. Dedem Bodrum süngeri satardı. Yığınla yabancı turist. Hiç abartmıyorum, herkes evine çuvalla para getirirdi. Bir bereket, bir mutluluk. Nitelikli tezgâhlar, otantik dükkânlar ve maruz kaldığım onca güzellik… Bodrum sandaleti diye bir şey vardır. Sırf o işi o adam devam ettirebilsin diye mal sahibi kirayı artırmazdı. Çoğrafik değerde zanaat üretene saygısı vardı esnafın ve ona yardımcı olunurdu. Şimdi hepsi çok daha az. Ama olsun! Görmek istediğim gibi görüyorum Bodrum’u. Takıyorum o gözlükleri. Vah vah etmeyi artık bıraktım. Nostaljik ve retrospektif bir rüya gibi. Belki de biraz ilüzyon. Burada yaşamayı hâlâ çok seviyorum. BANA BODRUM GİBİ HİSSETTİREN TEK YER Çocukluğumdan bu yana mimariye olan merakım beni algıda güzel olanı seçmeye teşvik etti. Sosyokültürel ve ekonomik çeşitlilik mekanlara ve sokaklara da yansıdı. İhtiyaçlar değişti. Büyükşehirden gelen konfor aradı. Yarımadayı kapladı, elitleştirdi. Ama bana Bodrum gibi hissettiren yer, hep Bodrum merkez olacak. Bodrum merkezde nostaljik, değişmeyen bazı yerler var. Sakallı Köfteci, Çakır Ali ve Tepecik Döner gibi. Ekmek arası bir şey yemek istersem mutlaka oraları tercih ediyorum. Yeni evime taşındığımdan beri yakınımdaki lokantalara gitme alışkanlığı da edindim. Öğlen hafif yemek seviyorum. Yöresel bir şey yemek istediğimde ise mutlaka Kısmet Lokantası. BAKİR KOYLAR, NEFİS GÜN BATIMLARI Son dönemde bir de kayık edindik. Oh! Ver elini bakir koylar, nefis gün batımları. Ada Boğazı gitmekten en çok keyif aldığım yerlerin başında geliyor. Sabah orada uyanmak ve günü orada batırmak şahane. Biraz sükunet istediğimde ise Kissebükü, Pabuç ya da Poyraz Koyu’nu tercih ediyorum. Kıyı siluetleri nefis… ONCA GÜZEL KOY METREKARE BUDALASI KUTULARLA DOLU Bisikletle evden işe giden biri olarak Yalıkavak, Gündoğan, Türkbükü tarafları bana hep uzak gelir. Poyraz rüzgârına açık olduğundan denizi de pek berrak değildir. Bu nedenle çok tercih etmiyorum. Elbette resort yaşamı kasabamızda çok revaçta. İnşaat firmaları çok sıkışık yaşamlar kurdular Bodrum’da. Onca güzel koy metrekare budalası kutularla doldu. Yazlıkçı bir resort sakini bile sadece evinde birkaç ay yaşamak için bir yılda korkunç bedeller ödüyor. Alan ve satan memnunsa diyecek bir şey yok tabii. Herkes mutlu olsun. Amanruya oteline çok yakın olan Demir Evleri’ne ise bayılıyorum. Müthiş bir yaşam kümesi. Gidip görülmeli. İlham alınmalı. Bir yandan gastronomik olarak da yeni deneyimlerle dolu Bodrum. Bunu seviyorum. Süslenip püslenip gidebildiğimiz yerlerin artması hoşuma gidiyor. GİBİ BODRUM’UN YENİ ADRESİ Gibi Bodrum’un yeni adresinde ise daha önce bir plaj giyimi markası vardı. Çok çekici ve gizemli bir dükkândı. Devasa begonvilleri, Mykonos kırmızısı pencereleri, bembeyaz kireçli taşlarıyla… Ama bu güzelim yapı çok bakımsızdı. Binayı olduğu gibi koruduk, bakımını yaptık ve avlusunu düzenledik. Bodrum Marina’da silueti korunan çok az taş evlerden birisi bu. Burada olmak çok şans, çok mutluluk! for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

March 2023 | Design & Interiors | Vol 9 The third-generation Lupi is following in his grandfather’s footsteps words | Sibel İpek T he brand that Antonio Lupi founded under his own name in Tuscany when he was in his early 20s was initially a crystal and glass manufacturer. In the following years, it differentiated itself in bathroom products, becoming one of the leading brands sold in 80 countries. The current representative of the 70-year-old brand antoniolupi is Jonathan Lupi, a member of the third generation of the family. Jonathan Lupi, who describes himself as “ambitious, creative, curious and communicative”, spent most of his childhood in the company’s factory, assisted by his grandfather Antonio. Jonathan recalls this time with a smile: “I was six years old and kept asking them to transport me in the vehicles used to ship the goods! They would put me in a big box for fun and pretend to send me to a different place each time”. I AM FOLLOWING IN HIS FOOTSTEPS Being the third generation in business is considered the most difficult. How have you dealt with this challenge? Of course, I cannot deny that being the third generation is difficult, but nothing is impossible. I dedicate myself to my work to drive success and keep our brand in the first place. I also try to do my best and strengthen our teamwork. Being a team and making the people you work with feel comfortable is a fundamental imperative. After all, we would be nothing if we did not work with the right people! My secret to achieving my goal is to follow in my grandfather’s footsteps. I use his advice and teachings as a guide. After internalizing all of that, I innovatively adapt them to our times. Likewise, I am fortunate to work in practice with my father, Nello, every day and benefit from his experience. for more Print VOL IX - 2023 Out of Stock Add to Cart No product

Haziran 2021 | Art | Türkiye Fiziksel CI’da dijital haller Yazı | Onur Baştürk C ontemporary İstanbul’a nihayet kavuştuk. “Nihayet” diyorum, çünkü aralık ayından bu yana pandemiyle üzerimize çöken belirsizlikten CI da nasibini almıştı. Önce dijital edisyon yapıldı, ardından fiziksel yapılacağı tarih defalarca ertelenmek zorunda kaldı. Dolayısıyla fiziksel fuara kavuşmak CI müdavimleri için şahane bir durum oldu. Bu nedenle ilk ön izleme gününde, yani açılır açılmaz, fuara gittiğimde durum şuydu: Bir buçuk yıl her şeyin dijital versiyonuna maruz kaldıktan sonra fiziksel bir sanat fuarında bulunmayı özlemişiz, ama sosyalleşmeyi de! Adım başı bir tanıdıkla karşılaşınca eserler kadar sosyalleşmek de haliyle vaktimi aldı. Peki Akbank ana sponsorluğunda yapılan fuar nasıldı? Elbette galeri sayısı önceki CI’lara göre daha az olduğu için (toplamda 26) tüm fuarı hızlıca gezip bitirebiliyordunuz. Yoğunluk üst kattaydı. Alt katta sadece dijital işlerin sergilendiği Plugin vardı. Galeri sayısının azlığı nedeniyle farklı ve şaşırtıcı işe rastlama olasılığı da düşüktü. Ama CI’ın şu dönemde yapılabiliyor olması bile bana kalırsa yeterliydi. Dahası, eylülde fuarın yeni edisyonu bekliyor bizi. Kısacası CI ekibi bu yıl sadece bu edisyonla yetinmeyip yenisi için de hemen çalışmaya başlayacak. SERVER DEMİRTAŞ VE ÖZER TORAMAN KONUŞULDU CI’ın en çok dikkat çeken işlerine gelince… Eserlerinde insan ve makine arasındaki ilişkiyi irdeleyen, Deleuze ve Guattari gibi filozoflardan beslenen, kinetik heykelleriyle tanıyıp sevdiğimiz Server Demirtaş’ın “Angel Boy” ve “Çığlık-2” adlı işleri her zamanki gibi etkileyiciydi. Özer Toraman’ın iki tablosu birden ilgi gördü. Hatta daha fuarın ilk dakikalarında bir tanesi satıldı. İki erkek figürün sergilendiği eserde ayrıca gözüm kaldı. Fiyatını sordum, 50 bin lira denildi. Satış fiyatı olarak euro’dan vazgeçildiğini görmek mutluluk vericiydi. Berkay Buğdan’ın heykeli, resimlerindeki lirik duyguyla karışık soyut anlatımını sevdiğim Erdinç Babat’ın son eserleri ve tabii Onur Mansız’ın hiperrealist tabloları CI’da dikkatimi çeken işler arasındaydı. Sinan Demirtaş, Leyla Emadi, Başak Tugay ve Alpin Arda Bağcık’ın işlerini de unutmayalım tabii… MARIO KLINGEMANN BİR TUTAM HAYAL KIRIKLIĞI Dijital işlerin yer aldığı Plugin’de ise yapay zeka işleriyle meşhur Mario Klingemann’ın eserine bakarken doğrusu biraz hayal kırıklığına uğradım. Belki de sanatçının çok ses getirmiş işi “Memories of Passersby I” daha etkileyici ve zekice olduğu için… Plugin’e gelen “Hyperdimensional Attractions: Sirius A” beni o kadar etkilemedi. Buna karşılık Hakan Sorar ve Ahmet Rüstem Ekici’nin Artivive aplikasyonuyla görüntülenebilen zekice dijital işlerini sevdim. Bu işlerden daha fazla olsa diye iç geçirdim. FERİDE İKİZ’İN KOLEKSİYONUNDA PAK DA VAR Koleksiyoner Feride İkiz’in kripto sanat dünyasının tanınmış sanatçılarının yer aldığı NFT koleksiyonu ise “Crash” adı altında House of Brothers Lounge’da sergileniyordu. Piksel Yeni Medya Programı’ndan Hande Şekerciler ve Arda Yalkın kürasyonunda yapılan Crash’te, eserleri en son Sotheby’s’de de satışa çıkmış Türk sanatçı Pak’ın da bir işi yer alıyordu. Pak’ın işini bilgisayar ekranından sonra bir fuarda görmek heyecan vericiydi. Ama benim bu koleksiyonda en çok sevdiğim iş, sanatçı kolektifi AES+F’in reenkarnasyon temalı işi oldu. Öyle ki, bu fütüristik videonun başından uzun süre ayrılamadım.

Brad Walls’ Passé is a New York exhibition of ballet photographs with a red-carpet installation and life-sized prints, on view September 12–14, 2025. September 10, 2025 | Art & Culture on the RED CARPET: BRAD WALLS’ PASSÉ words Noah Mercer Opening on September 12 in New York, PASSÉ marks Brad Walls’ most ambitious project to date—three years in the making and redefining ballet from above. Known for his minimalist aerial photography and internationally published series, Walls invites viewers not just to observe, but to step inside the frame—onto the very red carpet where the art was created, and into the intimate lives of the dancers themselves. Visitors enter through The Red Room, walking a full-length red carpet originally used during the shoot. At eye level, life-sized prints line the walls, bringing audiences face-to-face with the dancers in striking, intimate detail. Every element is conceived to blur the line between image and reality, performance and memory. ON THE RED CARPET The project is one of the largest choreographed ballet photoshoots ever attempted: 60 dancers, a 10-person crew, and a single 8-hour session of continuous shooting. A football field–sized red carpet covered the warehouse floor, while an equally massive bounce suspended overhead created diffused, cinematic light. A custom crane rig stabilized the camera, capturing meticulously storyboarded sequences—20 in total, 8 brought vividly to life. Choreographer Ian Schwaner played a key role, crafting movement sequences that merged classical discipline with graphic design. The cast included dancers from New York City Ballet, American Ballet Theatre, Joffrey Ballet School, and Ballet East—assembling some of the most accomplished performers in the country. A TACTILE CONNECTION Every visitor to PASSÉ receives a handwritten postcard from one of the featured ballerinas, printed with imagery from the series. These keepsakes transform observation into presence, offering a personal and lasting connection to the work. The origins of PASSÉ lie in a moment of vulnerability. During Walls’ first ballet shoot in 2021 with ballerina Montana Rubin, a group of young triplets approached her, visibly moved. “That moment struck me,” Walls recalls. “It reminded me that ballet, while celebrated for its perfection, is also deeply human. This project is about honoring that—making the distance between performer and viewer disappear.” EXHIBITION DETAILS Dates: September 12–14, 2025 Hours: 10 a.m. – 6 p.m. Location: 347 Broome Street, New York, NY

Nine Orchard is a restored 1912 hotel in New York’s Lower East Side, featuring local creative work, Reza Nouranian Design bathrooms, and Corner Bar. November 2024 | Travel TURKISH BELOW NINE ORCHARD Where History Meets Modern Comfort words Onur Baştürk photos Nine Orchard One of the highlights of my last visit to New York was the Swan Room bar at Nine Orchard, where I enjoyed a margarita before grabbing a snack at the Corner Bar. It was mid-April and a bit chilly, perfect for exploring the vibrant shops of the Lower East Side. Nine Orchard hotel is located in a beautifully restored building that dates back to 1912, formerly the Jarmulowsky Bank, which had been vacant since the mid-2000s. Rather than a complete redesign, the hotel features a careful restoration achieved through collaboration with local New York artists and creators. They contributed to every detail, from the artwork and minibar selections to the bathroom materials and sound system. Architectural historians also helped preserve the building's historic character, integrating original design elements into the façade, including a recreated clock that once hung above the entrance. In the lobby, large arched windows and meticulously restored cornice moldings reflect the building's original design. FURNITURE IS FROM LOCAL MANUFACTURER Each room is simple yet elegantly designed, featuring at least one large window—a wonderful luxury for a stay in New York! The furniture has been specially crafted by local manufacturers, while durable and aesthetically pleasing vintage items have been sourced from Europe. The bathrooms, uniquely designed by Reza Nouranian Design, showcase a trendy collection of black and white stones imported from Spain, Greece, and Portugal. Relaxation areas have also been thoughtfully designed by Reza Nouranian Design in collaboration with Fernando Santiago. MANAGED BY IGNACIO MATTOS Nine Orchard's two restaurants are managed by Ignacio Mattos who is known as one of New York's most exciting chefs. Corner Bar is one of these restaurants. RESTAURANTS AROUND NINE ORCHARD - SHABUSHABU MAYUMON: Tucked away at 115 Division Street, this cozy 8-seat spot serves up an incredible “shabu shabu” tasting menu—think Japanese hot pot at its finest! The chefs whip up mouthwatering pork belly, A5 Miyazaki wagyu, and American wagyu right in front of you, cooking it in bubbling broth and pairing it with delicious sauces like sweet soy and spicy pumice. They’re pretty proud of their skills, boldly stating, “No one else can serve high-quality cooked meat with our amazing spices in just 10 seconds!” - CERVO’S: With its lively mosaic tiles and comfy wood panels, Cervo’s is bursting with energy! This restaurant draws inspiration from the coastal traditions of Spain and Portugal, serving up a tasty homage to the seafood from the Iberian Peninsula—all in the heart of New York City. - CORIMA: The culinary concept of Corima, which means "circle of sharing," focuses on the northern region of Mexico, specifically the states of Sonora and Chihuahua. At Corima, chef Fidel Caballero interprets the materials and techniques of his hometown in northern Mexico in a way that has not been done before. Sotol, which tastes like tequila and mezcal and which Fidel calls "progressive Mexican," is a must try. Bonus: Lobster Nicuatole, Salsa Veracruzana and Black Cod. - TOLO: The menu of Tolo owned by Chinese chef Ron Yan, who has spent his last decade working on New York's culinary scene, offers a variety of dishes from raw seafood to noodles and typhoon shelter-style chicken. - DIRTY CANDY: This place is a gem! Dirty Candy is all about vegetables and is actually the only veggie restaurant in town. Chef Amanda Cohen is on a mission to make veggies tastier than anything you’ve ever had before. Get ready to have your mind blown by how delicious plant-based dishes can be! LOWER EAST SIDE’IN GİZEMLİ COOL’U New York’u son ziyaretimde en zevk aldığım yerlerden biri Nine Orchard’ın Swan Room isimli barıydı. Bu görkemli barda margarita içip daha sonra yan taraftaki Corner Bar’da bir şeyler atıştırmış, sonra da o enerjiyle dışarı çıkmıştım. Nisan ortasıydı, hava soğuktu, Lower East Side’ın enerjik caddelerinde yer alan farklı dükkânlar arasında gezinmek şahaneydi! Nine Orchard otelinin binası tam da bu yeni enerjinin ortasında yer alıyor. 1912’de inşa edilen, eskiden Jarmulowsky Bankası olan ve 2000’lerin ortalarından beri boş duran bu mimari hazine değerindeki bina, tam da tahmin ettiğim gibi yeniden tasarlanmamış, sadece restore edilmiş. 116 odaya sahip Nine Orchard’ın restorasyonu için büyük bir tasarım firmasıyla çalışmak yerine, birçoğu Nine Orchard’ın bulunduğu mahallede yaşayıp çalışan çok yönlü New Yorklu yaratıcılar ve sanatçılarla iş birliği yapılmış. Her odada asılı olan sanat eserlerinden mini bar seçimine, banyo malzemelerinden otel genelindeki özel ses sistemine kadar her türlü detay bu uzman kadro tarafından yapılmış. İlham kaynağı The Dakota gibi ikonik New York binaları olan Nine Orchard’ın restorasyonunda mimarlık tarihçilerinden de yardım alınmış. Böylece binanın tarihi karakteri titizlikle korunmuş ve restore edilen cephedeki orijinal mimari ve tasarım unsurları benimsenmiş. Hatta binanın ana girişinin üzerinde asılı olan, ama yıllar önce kaybolan orijinal saat bile yeniden yaratılmış. Bir zamanlar banka veznedarlarının çalıştığı lobide ise orijinal resimlerden yola çıkılarak büyük, kemerli pencereler ve özenle restore edilmiş korniş pervazlar yeniden yapılmış. ODALARDAKİ MOBİLYALAR LOKAL ÜRETİCİDEN Sade, ama gösterişi dozunda olan her odada en az bir büyük pencere bulunuyor, ki bu da bir New York konaklaması için şahane bir lüks! Odalardaki mobilyalar ise New York’taki lokal mobilya üreticileriyle çalışılarak özel olarak üretilmiş. Ayrıca Avrupa'dan dayanıklı, işlevsel ve elbette estetik açıdan hoş vintage parçalar tedarik edilmiş. Reza Nouranian Design tarafından benzersiz bir şekilde tasarlanan banyolarda ise İspanya, Yunanistan ve Portekiz'den temin edilen siyah ve beyaz taşlardan oluşan son moda bir koleksiyon yer alıyor. Dinlenme alanlarının tasarımı da Reza Nouranian Design ve Fernando Santiago'nun ortak çalışmasıyla gerçekleşmiş. IGNACIO MATTOS YÖNETİMİNDE Nine Orchard’ın iki restoranı New York'un en heyecan verici şeflerinden biri olarak kendini hızla kabul ettiren Ignacio Mattos yönetiminde. Bu restoranlara Corner Bar dahil. NINE ORCHARD ÇEVRESİNDEKİ RESTORANLAR - SHABUSHABU MAYUMON 115 Division Street'teki sekiz kişi oturma kapasiteli bu restoranda Japon hotpot’u olan “Shabu shabu” tadım menüsü servis ediliyor. Restoranın aşçıları birinci sınıf domuz göbeği, A5 Miyazaki wagyu ve Amerikan wagyu etini kaynar et suyunda çalkalayıp ardından tatlı soya, keskin biberli ponzu ve fındıklı miso gibi soslarla terbiye ediyor. Ayrıca çok iddialılar, “Başka hiçbir restoran bizim gibi 10 saniye içinde aynı kalitede baharatlar ve malzemelerle yüksek kalitede pişmiş et sunamaz”. - CERVO’S Mozaik karolar ve rahat ahşap panellerle inşa edilmiş bu yüksek enerjili restoran İspanya ve Portekiz'in kıyı geleneklerinden esinlenen menüsüyle öne çıkıyor. Bir bakıma İber Yarımadası'nın deniz ürünlerine New York şehir merkezinde bir övgü. - CORIMA “Paylaşım çemberi” anlamına gelen Corima’nın mutfak konsepti Meksika'nın kuzey bölgesine, özellikle de Sonora ve Chihuahua eyaletlerine odaklanıyor. Şef Fidel Caballero, Kuzey Meksika'daki memleketinin malzemelerini ve tekniklerini daha önce ifade edilmemiş bir şekilde yorumluyor. Fidel'in ‘Progressive Mexican’ olarak adlandırdığı menüde tekila ile mezcal arasında bir tadı olan Sotol mutlaka denenmeli. Ayrıca: Istakoz Nicuatole, Salsa Veracruzana ile Siyah Morina Balığı da… - TOLO Son on yılını New York'un mutfak sahnesinde çalışarak geçirmiş Çinli şef Ron Yan'a ait bir restoran olan Tolo’nun menüsünde çiğ deniz ürünlerinden noodle'a ve Typhoon Shelter tarzı tavuğa kadar çeşitli yemekler açık mutfak fonunda sunuluyor. - DIRTY CANDY İşte civarın en farklı restoranı. Bir sebze restoranı olan Dirty Candy için şehrin tek sebze restoranı da diyebiliriz. Çünkü gerçekten sebzeden başka bir şey servis etmiyorlar ve amaçları sebzeleri daha önce yediğiniz her şeyden daha lezzetli hale getirmek. Mutfağın başında ödüllü şef Amanda Cohen var. for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

December 2022 | Design & Interiors below english ERIK JUUL “Hedonistik sürdürülebilirliğe inanıyorum” Yazı Onur Baştürk G eçtiğimiz haftalarda Salt Galata’da, küratörlüğünü In-Between Tasarım Platformu’nun üstlendiği Commons & Communities global mimarlık sergisi ve semineri dolayısıyla Danimarkalı mimar Eric Juul ile kısa bir röportaj yapma şansımız oldu. Eric Juul ilk olarak evsizler için yaptığı projeyle dikkatimi çekmişti. Daha sonra da “Küçülerek büyük yaşa” kavramından bahsettiği bir röportajıyla… Orada şöyle diyordu Juul: “Herkesin her şeye bolca sahip olduğu bir zamanda yaşıyoruz. Bu nedenle artık hiçbir şeye sahip olmamanın büyük bir lüksü var”. Peki gerçekten küçülerek büyük yaşamak mümkün mü? Mesela eski dönemlerin üç oda bir salon evleri tarihe mi karışıyor? Ya da: Karışmalı mı?Mimar Juul şöyle diyor: “Yeşile ve doğaya fazla ilgi olması nedeniyle az tüketmeye dair artan bir ilgi var. Dolayısıyla mesele konut olduğunda küçük yaşamanın daha büyük bir yaşamla sonuçlanabileceğini gösteren çok fazla deneysel mimari göreceğiz. Çünkü ne kadar çok tüketirsek, tüketim o kadar hayatımızı yönetiyor. Daha az tüketmeye çalışın. Kendiniz ve aileniz için başka tür bir özgürlük yaratacaksınız. Ben hedonistik sürdürülebilirliğe inanıyorum. Bu da sürdürülebilir bir yaşamın daha keyifli bir yaşam yaratması gerektiği anlamına geliyor. Bizler sosyal yaratıklarız. Sahip olduğumuz en keyifli anlar diğer insanlarla beraber olduğumuz anlar. Mimarlık da buna hizmet eden alanlar yaratmalı”. Juul, bir mimar olarak dünyaya ve mesleğine bakış açısını şöyle özetliyor: “Bütün kıyamet teorileri geçersiz kaldı. Bu nedenle karamsarlık için istatistiksel bir kanıtımız artık yok. Üstelik küresel bir yeşil geçiş ihtiyacı ve enerji krizine rağmen… 50, 100 ya da 200 yıl geriye gidip ekonomik durum, tıp, çocuk ölümleri, yaşam beklentisi, cehalet, savaş sıklığı ve benzeri şeylere bir göz atın. Bu konularda en iyisine ulaşmak daha iyisini yapmaya devam ediyoruz. Bunu söylediğimde insanlar genellikle kızıyor ya da korkuyor. Korkuya sahip olanlar güce sahip olanlar! Ama lütfen, korkunun dünyayı yönetmesine izin vermeyelim. Bırakın pozitifliğin gücü dünyayı yönetsin”. ERIK JUUL “I believe in hedonistic sustainability” Writer Onur Baştürk W e had the chance to have a short interview with Danish architect Eric Juul for the Commons & Communities global architecture exhibition and seminar, curated by the In-Between Design Platform, in Salt Galata last week. Eric Juul first caught my attention with his project for the homeless. Later, in an interview where he talked about the concept of “Live big by getting smaller”. There Juul was saying: “We live in a time where everyone has everything in abundance. So there is the great luxury of not having anything anymore”. So, is it really possible to live big by getting smaller? For example, are the three bedroom and one living room houses of the old times vanishing into history? Or: Should it mix? Architect Juul says: “No its not over, but because of the green transition there’s an increasing interest for consuming less. And therefore, when it comes to housing, we will see more experimental architecture showing that small living can result in a greater life. Because the more we are consuming, the more the consumption rules our life. Try to consume less and you will create another kind of freedom for your self and your family. All this because of the demand for a green transition. But I believe in a hedonistic sustainability, which mean that a sustainable living should create a more joyful life. Otherwise the green transition would not happened, because no one, or only a very few, would like to sacrifice in the name of the climate. For instance: we are developing a concept called “Good Company architecture”, and the concept is to create smaller houses and instead get more shared spaces. We are social creatures and the most joyful moments we have is with other people. And because architecture is about to create the space for the life we would like to live, we should create architecture that’s invites to a conversation - a meeting”. Juul summarizes his perspective on the world and his profession as an architect: “All the doomsday theories have been put to shame, so we have no statistical evidence for pessimism. Despite the need for a global green transition and energy crisis. The joker is the Russian war in Ukraine. We have to be careful so it doesn’t escalate. But in general it’s amazing how we as a humankind are able to making things better for the most. Go back 50, 100 or 200 years and take a look at economical wealth, medical science, child mortality, life expectancy, illiteracy, frequency of war and so on. We continue to make it better for the most. People usually get angry or scared when I say so, (read Hans Roslings ‘Factfulness’). Those who own the fear -own the power! But please, don’t let fear rule the world. Let the power of positiveness rules the world. Also when we design houses and cities as architects.”.

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