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Shanna Gatanis transforms a 1950s building in Winter Park into a residential-style studio inspired by Palm Springs modernism, vinyl culture and colour. September 30, 2026 | DESIGN & INTERIORS a STUDIO WITH a SOUNDTRACK words YUZU Editorial photos Michael Pelzer (Office Images), John Dantas (Portraits) production Karine Monié In Winter Park, Florida, Shanna Gatanis Design Studio transforms a 1950s building into a residential-style flagship shaped by Palm Springs modernism, vinyl culture and a relaxed approach to working. For Shanna Gatanis, returning to Winter Park has particular significance. The Florida neighbourhood is where her studio began more than two decades ago. Rather than creating a conventional office or showroom, Gatanis reworked the existing 1950s building as a sequence of residential-style rooms — spaces meant to be experienced rather than simply viewed. A RETURN TO FLORIDA The studio moves between two references that have shaped Gatanis’ practice: Florida and New York. One bathroom leans into retro Florida with vintage mint-green tile, while another takes on a darker New York mood, with photography by 1970s subway photographer JF Con and a custom vanity made by Grafton Furniture in Miami. Palm Springs modernism and midcentury architecture run through the project in a contemporary way. Clean lines, curved thresholds, breezeblock, stone, wood and marble form the architectural framework, while lacquer, wallpaper, fabric and strong colour bring warmth and personality. DESIGNED LIKE A RECORD Music plays a central role in the studio. Gatanis once worked as a roadie for John Mellencamp, and the experience of seeing different people come together through music stayed with her. Here, that idea appears in the rhythm of the interiors and the way one space leads into the next. The record lounge makes this connection most visible. Built around an open circular fireplace, it brings together a Technics turntable, Steinway speakers, a curved seating pit and a collection ranging from Nina Simone and Miles Davis to The Clash, De La Soul and Dolly Parton. Black-and-white photographs of musicians add a more personal layer. LESS SHOWROOM, MORE HOME The drawing room, conference room and furniture gallery continue the residential feel, with furniture, textiles and materials presented much as they would be in a home. Blues, burgundies and grounded neutrals sit alongside lacquered finishes, wallpaper and fabric, while natural oak, brushed metal, stone, tactile textiles and vintage pieces give the interiors depth without making them feel overworked.

Salone del Mobile 2025 brings design and interiors to Milan with installations by Robert Wilson, Paolo Sorrentino and Pierre-Yves Rochon. March 2025 | DESIGN & INTERIORS SALONE 2025 BUILDINGS WORLDS FIT for the FUTURE words Onur Baştürk The 63rd Salone del Mobile.Milano, set to kick off on April 8, is launching a new challenge: building worlds fit for the future! The fair’s key themes are industrial production, sustainable innovation, and emotional intelligence… Last year, the fair wrapped up with record-breaking numbers—over 370,000 professionals from 146 countries. Despite global uncertainties, this year’s Salone will once again open its doors with completely sold-out exhibition spaces. In Salone 2025’s cultural program, three site-specific installations will be showcased—two at the fair and one within the city. Pierre-Yves Rochon’s installation “Villa Héritage” will be presented in Pavilion 13-15, Paolo Sorrentino’s “La dolce attesa” in Pavilion 22-24, and finally, Robert Wilson’s work titled “Mother” will open at Museo Pietà Rondanini - Castello Sforzesco. A master in the creative use of light, Robert Wilson will also craft his own vision for Michelangelo’s work titled “The Mother” — an artwork considered one of Milan’s most iconic pieces alongside Leonardo’s Last Supper. Project curator Franco Laera explains, “For Wilson, light is not merely an adornment to what we see; it is what truly enables us to see.” Robert Wilson is also curating the official opening night at La Scala and will be one of the special guests at the inaugural Euroluce International Lighting Forum—a global gathering designed to discuss the major issues in lighting design. The forum, scheduled for April 10-11, will bring together experts from various fields including lighting designers, creatives, architects, scientists, and lighting professionals. SORRENTINO’S WAITING ROOM The installation “La dolce attesa” by Oscar-winning Paolo Sorrentino is poised to be one of the most captivating projects. This installation creates an invisible bridge between the present and the future. As Sorrentino himself puts it, “Waiting is one of the greatest misfortunes in life. To wait is to suffer. So perhaps we should rethink the way we wait. In doing so, waiting might become less painful. A sweet wait, on the other hand, is a journey—a striking and mesmerizing journey. Our waiting room aspires to be something else.” Salone del Mobile President Maria Porro adds, “Opening the doors of Salone del Mobile to Paolo Sorrentino is a deeply moving experience. With ‘La dolce attesa,’ he invites us all to experience something profoundly affecting. This installation is not just a space; it is a narrative composed of images, sounds, and breaths, reminding us that waiting is a universal emotion.” ITA’S SUPPORT The Italian Trade Agency (ITA) is once again playing a pivotal role at Salone del Mobile.Milano by helping to develop new exhibition formats in two key markets—the United States and China. ITA is bringing a large number of highly qualified foreign professionals from 35 different countries to Milan.

Inside Dama in Istanbul’s Nişantaşı, where SOTO Lab and Arcus Studio shape an all-day restaurant that turns into a listening bar after dark. September 28, 2026 | DESIGN & INTERIORS DESIGNING from DAY to NIGHT words Noah Mercer photos Fevzi Ondu In Istanbul’s Nişantaşı neighbourhood, Dama moves between different rhythms throughout the day, from an all-day restaurant to a listening bar after dark. Designed by SOTO Lab and Arcus Studio, the space was conceived around this changing identity. Begüm Arslan of SOTO Lab and Ali Kaan Maraş of Arcus Studio talk to YUZU about the thinking behind Dama and how its design took shape. AN ALL-DAY IDENTITY What was the brief for Dama when you first began the design process? Dama came to us with an “All Day Eatery” brief. The idea was to create a neighbourhood meeting place: somewhere for breakfast and coffee in the morning, working and small bites during the day, before turning into a listening bar with cocktails in the evening. By keeping the menu focused on finger food, they wanted Dama to stand out primarily for its atmosphere and cocktails. The location was great, but the shape of the space was challenging. The rear receives very little natural light, while the front has two façades. These conditions became important factors in shaping the design. We positioned the café and restaurant at the front as the daytime space, while the rear became the hi-fi bar for the evening. What was the main idea behind Dama’s spatial character? It was really a combination of things. We had a clear design language from the outset, and the existing qualities of the space reinforced it. Its corner position allowed us to create a strong connection between inside and out. This sense of openness allowed us to make bold, characterful design decisions despite the relatively low ceiling height. The ceiling became one of the defining elements of the space. We drew inspiration from traditional Japanese architecture for the woven panels set within the minimalist timber grid structure. BETWEEN INSIDE AND OUT What were some of the key design decisions in terms of layout, circulation and the transition between different areas? The brief itself — Dama’s dual identity as a café-restaurant and a listening bar — directly shaped the layout, circulation and different areas of the space. In the café-restaurant, for example, we wanted the interior and exterior to feel connected, so we used a concrete-effect micro-topping on the floor. As you move into the listening bar, the flooring changes to glossy burgundy ceramic. It’s a subtle shift that reinforces the feeling of moving from outside to inside. What was your approach to the material and colour palette? We were quite bold with both material and colour. Colour and minimalism are already central to our design language as a studio. At Dama, the palette is built around burgundy, grey-blue and accents of green. Burgundy ceramic appears across the floors and walls, while grey-blue is used on other wall surfaces. Together, they create a backdrop that feels bold without becoming overwhelming, while small accents of green in the furniture distinguish particular elements within the space. Furniture plays an important role in Dama’s character. Were any pieces designed specifically for the space? The lounge seating, tables and stools were all custom-designed by us for Dama. Alongside these, we introduced vintage pieces, including the loose chairs, a two-seater mid-century leather sofa and Murano wall lights. From the beginning, we wanted Dama to feel sensual, inviting, intimate and modern. We chose vintage pieces because they are objects that already have a place in our collective memory and can create an emotional connection with a space. AFTER DARK How did the hi-fi bar become part of the design? It was clear from the beginning that Dama would turn into a listening bar in the evenings. We therefore conceived the hi-fi area as an extension of the long bar, so that it would feel like a natural continuation of the overall design language. At the same time, we wanted the transition into evening to become visible. Without disrupting the overall design, we introduced small neon-green accents and Barrisol light boxes integrated into the grid system. These elements help mark the space’s transformation from day to night. Once Dama was completed, what surprised you most about the way people began using the space? We were surprised and happy to see Dama equally busy during the day and at night, and to see people using the low pavement along the corner façade as an informal seating area. Even when you design a place around an all-day concept, one identity often becomes more dominant; people tend to think of somewhere as either a daytime or a nighttime place. Seeing Dama work equally well as both has been particularly rewarding. We also thought the pavement at the corner might be too low for people to sit on comfortably. Instead, people not only sit there, but even gather on the ground opposite it. Seeing people use the space in this unexpected way has been a very welcome surprise.

Şubat 2023 | People ALP ÖZCAN Words Onur Basturk Alp Özcan talks about founding Alen Yacht in 2004, the new Alen 77 model, and his lifelong passion for the sea. You’ve always been deeply connected to the maritime world, haven’t you? Yes, it’s been a part of my life for as long as I can remember. I’ve been sailing since I was six years old. When I was nine, my family sent me to a boarding school by a lake in Switzerland. I trained and competed in sailing races every day there. Then, in 2000, my father had a sailing yacht built in France. I spent half the year at sea with that boat. Besides sailing, I’ve also done kitesurfing and freediving, and I’ve been on countless boats. That exposure led me to believe that boats could be designed and built to offer better functionality and design. After all, only someone with extensive experience at sea can truly design and produce a more "sea-worthy" boat. THE FIRST "WALK-AROUND" BOAT CONCEPT What would you say are the standout qualities of your yacht company? What sets us apart the most is our unique designs. In 2008, we introduced the world’s first "walk-around" boat concept. This design maximizes usability from bow to stern. Unlike traditional boats where the space is often limited to seating around a table at the rear, the "walk-around" concept creates various functional areas on the deck, reclaiming previously wasted space. Another advantage is its safety, which is now a priority for many European and American manufacturers who have adopted the concept. Beyond design, our commitment to producing only 7-8 boats a year allows us to maintain strict quality control. Most of our team has been with us since 2004, and today we’re a group of around 100. We operate in a 10,000-square-meter facility equipped with the latest technology. STAYING PUT WITHOUT ANCHORING Which of your models are you most proud of? The Alen 55 is our best-selling model. Imagine driving an open-top Bentley along the coastal roads of Italy—that’s the feeling you get cruising at 35 knots on the Alen 55. At 17 meters, it’s neither too big nor too small—a seasoned sailor can handle it solo. It’s the perfect "weekend boat". What are the three key features of your new Alen 77 model? The Alen 77, which continues the "walk-around" concept, features four cabins and two crew cabins. Thanks to its advanced technological equipment and machinery, it’s 30% more fuel-efficient and faster compared to boats of similar size and weight. Additionally, it offers a DPS (Dynamic Positioning System) option that uses GPS coordinates to keep the boat stationary without anchoring. This feature simplifies maneuvering, even with a smaller crew. A HIDDEN GEM: AMORGOS AND PANTELLERIA What does sailing mean to you? Happiness, peace, adventure, and freedom! I could spend the entire year at sea. The ability to step off the boat into a bustling crowd whenever I want and then retreat back to solitude is incredibly liberating. I never stay in one place for more than two or three days—I’m always in discovery mode. So far, I’ve kept my boats at a size I could manage without a crew. Being alone or sometimes with friends on the water is a unique experience. There’s always something to do on a boat, which suits me perfectly since I can’t sit still. Where are you planning to sail this summer? This summer, I’ll likely visit the islands of Patmos, Arki, and Marathi in the Aegean. From there, I’ll head to Mykonos. In Italy, Capri is on the list. Since Alen Yacht has another shipyard in St. Tropez, I spend a few months in the South of France every year. For a hidden gem, I’d recommend the secluded Amorgos Island in Greece or Pantelleria Island, located between Sicily and Tunisia

Sinan Bey’s Ranch in Mumcular, Bodrum, welcomes guests with wood-fired pizzas made by Sinan Sarpkan and a communal dining experience. Eylül 2022 | Bodrum Coffee Table Book | THE PEOPLE OF BODRUM SİNAN BEY ÇİFTLİĞİ Tekne motorunun yol açtığı şahane çiftlik Yazı & Fotoğraflar | Onur Baştürk Methini hep duyduğum ama fırsat bulup gidemediğim bir yerdi Sinan Bey’in Çiftliği. Sonunda vakit yaratıldı, rezervasyon yapıldı ve Yalıkavak’tan yola çıkıp 45 dakika sonra Mumcular tarafındaki Bahçeyaka’da buldum kendimi. Kolay da olmadı, çünkü navigasyon sürekli farklı yerleri gösteriyordu. Çiftliğe giriş yaptıktan beş dakika sonra ise durumum şuydu: Bir taş evin arka bahçesindeki uzun masada, ilk kez tanıştığım insanlarla beraber Sinan Bey’in elleriyle yaptığı çeşit çeşit pizzaları yiyordum. Çeşit çeşit pizza derken abartmıyorum, çünkü Sinan Sarpkan o gün tam yedi çeşit pizza yaptı. “Bu kez çok doyduk” dediğimiz anda yenisini çıkarttı odun fırınından. Hemen söyleyeyim: Pizzaların hepsi çok hafif, o yüzden ağırlık hissetmiyorsun. Zaten peyniri çiftlikten. Patlıcan, domates ve diğer sebzeler de köyden... Her şey dibine kadar doğal yani. YENİ İNSANLAR TANIYORSUN Burası bir restoran değil. Kendiliğinden gelişen bir misafir ağırlama olayı. Çünkü burası bir ev. Ama evet, yoğun talepten dolayı arayıp isminizi yazdırmanız gerekiyor. Son altı yıldır Sinan Bey’in çiftliğinin olayı bu. Grup halinde gelemiyorsan, var olan grubun yanına oturtuyor seni Sinan Sarpkan, “Siz tanışıp kaynaşın” diyerek. SİNAN BEY RANCH words & photos | Onur Baştürk Sinan Bey’s Ranch was a place I always heard praise for but never found the chance to go to. Finally, time was created, a reservation was made and I set off from Yalıkavak and found myself in Bahçeyaka on the Mumcular side, 45 minutes later. It wasn’t easy either, because the navigation was constantly showing different places. Five minutes after entering the ranch, my situation was like this: At the long table in the backyard of a stone house, I was eating all kinds of pizzas made by Mr. Sinan’s hands, together with the people I met for the first time. I am not exaggerating when I say various kinds of pizza because that day Sinan Sarpkan made seven kinds of pizza. As soon as we said, “We ate enough this time,” he took out a new one from the wood oven. Let me tell you right away: All of the pizzas are very light, that’s why you don’t feel heavy. Cheese comes from the ranch. Eggplant, tomatoes and other vegetables are also come from the village... Everything is natural to its core. YOU GET TO KNOW NEW PEOPLE This is not a restaurant. A spontaneously emerged hospitality event. Because this is a house. But yes, due to high demand, you need to call and get your name written up. This has been the case on Sinan Bey’s ranch for the last six years. If you aren’t able to come as a group, Sinan Sarpkan seats you next to the group who was already there, saying, “Meet and blend in”. It is nice actually, you get to meet new people. Tamamı için... For more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

Murat Dede, founder of Urbanjobs, discusses restaurant design, sensory spaces, and the layered architectural language of Scalla in Istanbul. May 2025 | VOL 15 MURAT DEDE Design isn’t a destination—it’s a process in constant evolution words Onur Basturk photos Onur Basturk (Portraits) İbrahim Özbunar + Ece Pekbaşaran (Scalla) For Murat Dede, founder of the Istanbul-based interior architecture studio Urbanjobs, design is about more than just aesthetics. It’s about creating experiences that leave a lasting impression. His approach brings creativity and function together—from shaping a space’s flow to choosing materials that age with character. Known for standout restaurant projects across Istanbul, Dede shares his thoughts on originality, sensory design, and what makes a space truly memorable. LIGHTING IS THE MOST POWERFUL ELEMENT You’re known for your restaurant projects. Was that a deliberate decision? Partly. The main reason is that while residential projects are experienced by just a few, restaurants are open to many. These spaces become living, breathing environments within the architectural shell we create, which makes the design process more meaningful for us. Seeing people enjoy and feel good in the spaces we design is incredibly fulfilling—it shows that design can truly become a lived experience. You’ve designed some of Istanbul’s most notable restaurants—Batard, Momo Bebeköy & Momo Dalyan, and Scalla among them. In your view, what are the non-negotiables in restaurant design? When designing a restaurant, spatial organization, fluid circulation, and sensory experience must all be considered as a whole. From the moment a guest walks in, how they’re guided through the space, how they feel, and the overall rhythm of the interior form the backbone of the design. Circulation should be smooth, allowing staff and guests to move without disruption. Lighting is the single most powerful factor in shaping a restaurant’s atmosphere. Rather than flat, even lighting, we prefer layered and focused accents that give the space identity and elevate the perception of food and materials. Material selection is equally important—it defines the spirit of the space, creates direct contact with the user, and gains character over time. Acoustics are just as critical as visual elements. The space needs a sound identity that avoids echo and allows conversations to be heard comfortably. Finally, the design must connect deeply with the brand’s identity. The goal isn’t just to build an interior—it’s to shape the guest’s experience, influence how they feel, and leave a lasting impression. THIS IDEA GUIDED THE ARCITECTURAL LANGUAGE OF SCALLA What story did you want to tell with your recent project, Scalla? It all started with a name, a concept, and a feeling. “Scalla,” meaning staircase or ascension in Italian, inspired the architectural language. We wanted to express this idea of layers through shifting heights, interwoven volumes, perspective plays, and transitions in materials. One of the central features is the curved glass façade, which appears to separate the interior and exterior but actually connects them. This system defines the space, softens the light, and adds a sense of flow. The curves break away from static, flat surfaces and make the architecture feel more alive—more welcoming. It’s much like building flavors in a dish—layered, textured, and memorable. In the same way, we built the space using layers of materials, light, shadow, and form to create a rich, immersive experience. WE OFTEN COME ACROSS COPYCAT DESIGNS Designs are often copied—especially in restaurants. What’s your view on this? It’s something we see all the time. But copying the visible surface misses the point. True design is about the thinking behind the space—the context, the function, the brand’s identity. When you replicate something without that foundation, you end up with a space that might look good on the surface but lacks soul and depth. Do you have go-to materials, or does it depend on the project? It always depends on the context and the story we want to tell. But we frequently use natural stone, wood, and metal—materials that are tactile, authentic, and evolve over time. The way they reflect light and the emotional impact they carry are central to our material choices. What sets Urbanjobs apart from other studios? We see design not just as an aesthetic practice but as a holistic narrative. Every project is shaped by light, texture, material, and flow—all considered with the user experience in mind. We also place great importance on precision and detail, as well as integrating new technologies and production techniques. That’s what sets us apart from more traditional interior architecture approaches. What fuels your creativity—the city, nature, or something else? It’s never just one thing. Sometimes it’s the chaos and rhythm of the city, sometimes the stillness of nature. Travel and different cultures inspire me, but often it’s the small moments—the texture of a stone, the way sand feels underfoot, or how light plays across a surface. Inspiration can come from anywhere, if you’re present enough to notice. If you had no limitations, what kind of project would you want to design? Honestly, I’m happy where I am. For me, it’s not about reaching a final result—it’s about the journey. Design is a living, growing process that evolves with every new project and challenge. Freedom in design doesn’t mean having everything—it means knowing what to choose and why, and understanding how those choices shape you. Do you have any personal design principles in your everyday life? Yes—eliminating excess and focusing on what truly matters. Just like materials and light define the spirit of a space, I care about making sure the things I surround myself with in life also carry meaning. TR BELOW MURAT DEDE Tasarım varış noktası değil, dönüşen bir süreç İstanbul merkezli iç mimarlık stüdyosu Urbanjobs’un kurucusu Murat Dede’ye göre tasarım sadece estetikle ilgili değil; kalıcı izlenim bırakan deneyimler yaratmakla ilgili. Mekânın akışını şekillendirmekten zamanla güzelleşen malzemeleri seçmeye kadar uzanan yaklaşımı, yaratıcılığı işlevsellikle buluşturuyor. İstanbul genelinde dikkat çeken restoran projelerine imza atan Dede; özgünlük, duyusal tasarım ve bir mekanı gerçekten unutulmaz kılan unsurlar üzerine düşüncelerini paylaşıyor. MEKAN ATMOSFERİNDE EN GÜÇLÜ UNSUR AYDINLATMA Restoran tasarım projeleriniz daha çok ön planda. Bu özel bir tercih mi? Yaptığımız diğer projeler sınırlı sayıda insana ulaşırken, restoranlar birçok farklı insan tarafından deneyimleniyor. Restoranların oluşturduğumuz mimari kabuk içinde yaşayan bir organizmaya dönüşmesi tasarım pratiğini bizim için çok güçlü ve anlamlı kılıyor. İnsanların bu mekansal kompozisyon içinde vakit geçirirken hissettikleri keyif sadece estetik bir tatmin değil, aynı zamanda tasarımın yaşamsal bir deneyime dönüştüğünü görmek açısından da müthiş! Batard, Momo Bebeköy & Momo Dalyan ve Scalla gibi önde gelen İstanbullu restoranlara tasarım yaptınız. Sizce restoran tasarımında olmazsa olmazlar neler? Restoran tasarlarken mekansal organizasyon, akışkanlık ve duyusal deneyim bütün olarak ele alınmalı. Kullanıcının mekana girişinden itibaren nasıl yönlendirildiği, nasıl hissettiği ve tüm alanın ritmi tasarımın temel omurgasını oluşturuyor. Sirkülasyonun akıcı olması, servis personeli ve misafirlerin hareketlerini kesintisiz kılacak şekilde düzenlenmesi gerekiyor. Aydınlatma, restoranın atmosferini belirleyen en güçlü unsur. Homojen bir ışık yerine katmanlı ve noktasal vurgu ışıklarıyla mekâna kimlik kazandırmak, yemekler ve malzemelerin algılanışını güçlendiriyor. Malzeme seçimi ise mekanın ruhunu tanımlayan, kullanıcıyla doğrudan temas eden ve zamanla karakter kazanan bir unsur. Akustik tasarım da önemli. Ses kimliği deneyimi doğrudan etkiliyor. Yankıyı önleyen, konuşmaların rahatça duyulabildiği bir sistem oluşturulmalı. Son olarak tasarım, restoranın marka kimliğiyle güçlü bir bağ kurmalı. Önemli olan bir iç mekân yaratmak değil, misafirin deneyimini şekillendiren ve hafızasında iz bırakan bir atmosfer yaratmak. BU FİKİR SCALLA’NIN MİMARİ DİLİNE YÖN VERDİ Son projelerinizden biri olan Scalla’da yaratmak istediğiniz hikaye neydi? Başlangıçta bir isim, bir konsept ve bir his vardı. Bunları somutlaştırmak için her aşamada bilinçli tercihler yaparak ilerledik. Her şey, Scalla isminin çağrıştırdığı kavramlarla başladı. Scalla, İtalyanca'da merdiven, kademe ve yükseliş anlamına geliyor. Bu fikir mekanın mimari diline yön verdi. Mekandaki katmanlaşma hissini yansıtmak için farklı yükseklikler, iç içe geçen hacimler, perspektif oyunları ve malzeme geçişleri oluşturma fikirleri devreye girdi. En önemli fikir ise eğrisel cam sistemi. İç ve dış mekanı birbirinden ayırırmış gibi görünen, ama aslında ayırmayan bir cam cephe sistemi kurguladık. Bu eğrisel doğrama sistemi, mekanın mimari kimliğini güçlendirip kullanıcı deneyimini farklı bir boyuta taşıyor. Eğrisel camların verdiği hisle mekan statik olmaktan çıkıp akışkan, davetkâr ve yaşayan bir forma büründü. Çünkü geleneksel düz yüzeylerin aksine, bu camlar ışığı yumuşatarak mekana derinlik katıyor. Yemekte kullanılan malzemelerin katmanlar halinde bir araya gelerek damakta zengin bir tat bırakması gibi! Mekanda da bu hisleri yaratmamız gerektiğini düşündüm. Mekanda kullanılan malzeme ve dokular da üst üste gelerek ışık, gölge ve form arasında dengeli bir etkileşim kuruyor ve deneyimi katmanlı hale getiriyor. KOPYALAMAYLA SIKÇA KARŞILAŞIYORUZ Tasarımlar sürekli kopyalanıyor, özellikle restoranlar birbirinden çok fazla tasarım ilhamı alıyor. Bu konuda ne düşünüyorsunuz? Tasarımın sürekli kopyalanması, özellikle restoranlar gibi deneyim odaklı mekanlarda sıkça karşılaştığımız bir durum. Ancak önemli olan yüzeyde görünenin değil, tasarımın ardındaki düşünce ve deneyimin nasıl kurgulandığı. Çünkü gerçek bir tasarım o mekâna özgü bağlam, işleyiş ve markanın kimliği dikkate alarak kurgulanır. Bu nedenle bire bir kopyalamalar yüzeyde etkileyici, ama içerik olarak zayıf ve ruhsuz mekanlar ortaya çıkarır. Kullandığınız malzemeler projeye göre değişiyor mu yoksa her projede kullanmayı sevdiğiniz malzemeler var mı? Projenin bağlamına, işlevselliğe ve atmosfer kurgusuna göre şekilleniyor. Ancak doğal taş, ahşap ve metali, yüzeyde kalmadığı, dokunulduğunda hissedildiği ve zamanla yaş aldığı için projelerimizde sıkça tercih ediyoruz. Urbanjobs’ı diğer iç tasarım stüdyolarından ayıran özellikler sizce neler? En temel özellik, tasarımı bir estetik pratikten öte bütünsel bir anlatı olarak ele almamız. Her projede ışık, doku, malzeme ve akışkanlık gibi unsurlar, kullanıcının mekan içindeki deneyimini şekillendirmek için kurgulanıyor. Bu deneyimi oluşturan temel öğeler ise malzeme ve detay ölçeğindeki titizliğimiz. Tasarım sürecine teknoloji ve yeni üretim tekniklerini entegre etmemiz de Urbanjobs’ı klasik iç mimarlık pratiğinden ayırıyor. BAZEN ŞEHİRDEKİ KAOS BAZEN DİNGİNLİK… Yaratıcılığınızı neler besliyor? Şehir mi doğa mı yoksa bir akım ya da dönemin ruhu mu? Yaratıcılığımı tek bir kaynağa indirgeyemem. Çünkü tasarım süreci farklı duygularla beslenen katmanlı bir süreç. Bazen şehirdeki kaos ilham veriyor, bazen de doğanın dinginliği… Bazen seyahat etmek, farklı kültürleri deneyimlemek, bazen de anın içindeki detaylar: Kumun ayak altındaki hissi, bir taşın dokusu gibi… ÖNEMLİ OLAN YOLUN KENDİSİ Lmitiniz olmasaydı ve istediğiniz şekilde tasarım yapabilseydiniz; nerede, nasıl bir tasarım yapmak isterdiniz? Şu anki halimden memnunum! Benim için önemli olan bir anda sonuca ulaşmak değil, o sonuca giden yolun kendisi ve ondan keyif almak. Tasarım bir varış noktası değil; sürekli dönüşen, gelişen ve her yeni proje ile beslenen bir süreç. Bu süreçte edindiğim tüm birikimler, karşılaştığım her yeni zorluk ve ürettiğim her fikir beni ileriye taşıyor. Üstelik gelecekte ne yapacağımın belirsizliği de beni motive ediyor. Tasarımda özgürlük her şeye sahip olmak değil, neyi neden seçtiğin ve o seçimin seni nasıl şekillendirdiğini bilmek! Kişisel hayatınıza dair tasarım kurallarınız, kodlarınız var mı? Fazlalıklardan arınmak, gerçekten değerli olana odaklanmak, sadece işimde değil, hayatımın birçok alanında benimsediğim bir ilke. Dokuların, malzemelerin, ışığın yarattığı his bir mekanın kimliğini nasıl belirliyorsa, kişisel hayatımda da hissettiğim her şeyin anlam taşımasını önemsiyorum. for more Print VOL XV - 2025 Out of Stock Add to Cart

Four Seasons R01 is an Istanbul residence by Escapefromsofa, shaped by oak, lime plaster, onyx, custom details, and crafted minimalism. October 29, 2025 | DESIGN & INTERIORS a STUDY in CALM PRECISION words Alp Tekin photos İbrahim Özbunar (645 Studio) Set high on the hills of Istanbul’s Etiler district, Four Seasons R01 by Escape from Sofa embodies the quiet sophistication of a home designed for balance. The residence captures a rare equilibrium — where the city’s pulse hums softly in the background, while every space inside feels composed, grounded, and unhurried. “For us, design isn’t about withdrawing from the city,” says Mahmut Kefeli, co-founder of Escape from Sofa. “It’s about finding a softer balance with it.” That idea defines the essence of Four Seasons R01: a house that embraces Istanbul’s energy yet invites stillness. Through careful planning, a refined palette, and the orchestration of light, the architects create what they call a breathing balance — a living rhythm between exterior intensity and interior calm. Organized on a single level, the home unfolds as a continuous flow of light and proportion. Surfaces are left to speak their own language; transitions feel effortless. Ornament gives way to atmosphere. “Our sense of moderation isn’t about minimalism as reduction,” notes Kefeli, “but about bringing the essence to the surface.” CRAFTED MINIMALISM Natural materials — oak, lime plaster, onyx — define the home’s tactile warmth. Each carries both aesthetic and emotional resonance. Their textures age beautifully, recording traces of time, and connecting the interior to nature’s rhythm. For Escape from Sofa, craftsmanship is more than detail; it’s a form of comfort, the subtle luxury of the handmade. Light is the true protagonist here. It shifts gently across surfaces, marking the hours, the seasons, and the passing of the day. Nature, Kefeli emphasizes, is not a backdrop but the essence of design itself. Nearly every element, from built-in cabinetry to lighting and furniture, was custom-designed — an expression of what the studio calls crafted minimalism. Here, simplicity is human, tactile, and quietly expressive. “Every piece was shaped to fit the spirit of the house,” Kefeli says. “We believe everyday life should feel enriched — not by excess, but by refinement.”

Orient Express traces the history of luxury rail travel from Paris to Istanbul and its revival through Belmond's Venice Simplon-Orient-Express. March 2023 | Travel | VOL 9 SPIRIT of ORIENT EXPRESS words Alp Tekin The first and most famous example of the luxury train travel experience is undoubtedly the 150-year-old Orient Express. This train, which connects Paris and Istanbul, is one of the starting points for the concept of luxury travel. From 1883 until First World War, the carriages of the Orient Express carried countless diplomats, aristocrats, artists, and kings. Even the agreement that ended the First World War was signed in car number 2419 of this train. After this agreement, the journeys of the Orient Express were also history, and various countries and museums protected the train’s carriages. Until recent years... With the change in travel culture and the emergence of experience-oriented ‘slow tourism’, the spirit of luxury train travel and the Orient Express started to live again. ONCE A YEAR, PARIS - ISTANBUL The first brand to keep the spirit of the Orient Express alive is the Belmond Hotel Group, which owns many hotels around the world, including the Cipriani Hotel in Venice. In fact, Belmond began working on the luxury train concept in 1977, calling it “Venice Simplon-Orient-Express, A Belmond Train” or VSOE for short. Exactly 40 years after that date, Belmond, which has been part of LVMH since 2019, has introduced the Eastern Oriental Express on the Far East route in addition to the VSOE train. The most interesting of the Belmond trains is undoubtedly the VSOE. In addition to its iconic trip from Paris to Istanbul once a year, the VSOE route passes through the following cities between March and November: Paris, Cannes, Florence, Venice, Rome, Verona, Vienna, Innsbruck, Prague, Budapest, Bucharest, Geneva, Brussels, and Amsterdam. for more Print VOL IX - 2023 Out of Stock Add to Cart

Freediver Şahika Ercümen discusses her record dives, marine conservation, expeditions to the North Pole and her Panerai watches in this interview. August 2023 | People | Vol 9 TR below ŞAHiKA ERCÜMEN BE ORIGINAL by PANERAI - V words OB photos Ayşegül Dinçkök, Tamer Günal Guillaume Nery, a free-diving athlete like you, said in an interview published on Yuzu, “I dive until I reach a state of deep calm. Up to that point, I fight against the force of the water. When I reach the bottom, I find peace by giving up the struggle and accepting the situation”. What interests me most is this stillness! Is it different every time? I am curious about your experience. I’m sure it’s different every time and for everyone. For me, every dive feels like a new adventure, a fresh experience—a rebirth! As I descend deeper into the water, I embrace total surrender, trust, focus, and pure joy. It’s like a deep meditation, yet it also demands sharp awareness and peak athletic performance. On the other hand, does this deep calm lead to addiction, like the main character in Luc Besson’s “Le Grand Bleu”? For example, was there a time when you did not want to stay there and never went back up? Absolutely! In that moment when you become one with the water, you feel as though you could stay there without breathing, as if time has come to a complete standstill. The water itself is also something that transforms you. You recovered thanks to water after being allergic as a child and hardly leaving the house. Could that be the message of water to you? For example, it is like the messenger who delivers a message to us on the land about the pollution of the waters. For me, life did not begin with the first breath I took, but with the first breath, I held. I know that other lives can change the way my life has changed. I feel responsible for marine conservation projects and bringing more people to the water. I FEEL LIKE FISH OUT OF WATER! Do you have the stress of breaking a record in diving? What part of that work is the record? Is it indispensable? When does it become a disadvantage, and when does it become an advantage? The record-breaking part is something else entirely. Quite exhausting. A record dive takes about 3-4 minutes, but you have been working towards it for months. Also, you only have one chance. To reach this level, you put everything you have, materially and mentally. In fact, diving is the easiest part! Especially organizing the world record is a very stressful job. Finding sponsors, hiring referees, organizing underwater shoots and safety teams... But apart from wanting to break records, I also like to push the limits. If I set a record goal, I can raise the bar. In one of your interviews, you said, “70 percent of the work is mental toughness. Anyone can train physically for 10 hours a day, but it’s your mental strength that makes the difference”. At this point, do you prefer not to tire yourself out with daily routine tasks to keep your mind in check? A lot has to do with how we perceive it. Are the things we call problems really problems? Or are they opportunities we can address gracefully, making us more experienced and powerful? By gently stretching the patterns of my mind, I move forward in harmony with it. I believe you are one of the best people to stay in the moment. What do you feel when you go ashore and mingle with people? When people drift off, expose themselves to social media stimuli, and shift their focus... I feel like a fish out of water! But I can adapt quickly. For example, I can retreat and meditate for 10 days without speaking. But I can go to three cities every day and participate in events. . . In social media, the criterion is our own fine line. As long as we stay balanced and aware, there is still hope. I WILL DIVE INTO THE NORTH POLE Is it true that a diver’s heart slows to 20 beats per minute in the water? What other changes are there? Yes, it is true. Blood is drawn from the arms and legs and concentrated in the vital organs, namely the heart, and brain, and the pulse rate drops. The lungs shrink into a fist because of the pressure, and the blood condenses, so they do not stick together. We call these changes the mammalian diving reflex. These changes are observed in dolphins, whales, and humans. In other words, miraculous changes occur in the human body when he/she dives. When he/she comes to the surface, everything returns to how it was. Is there another corner of the world where you have not dived yet, but would definitely visit if you had the opportunity? Antarctica really impressed me! Now it’s the North Pole’s turn! I AM NOT AWARE OF THE TIME WHILE ON LAND Do you understand the value of time better when you are in the water? In the water, I feel most clearly how relative time is. You hold your breath for minutes; even a few seconds are vital. But I am unaware of the time I watch the sunset on land. I say, “The sun has set, and it’s the evening”. I do not think it would be wrong to say that a good dive watch is your best friend in the water. With that in mind, what do you think of Panerai’s dive watches? Panerai is a watch resistant to harsh conditions and great depths. I can identify very well with my own philosophy. Sizin gibi serbest dalış sporcusu olan Guillaume Nery, Yuzu’da yayınlanan röportajında şöyle demişti: “Derin bir sükunet haline erişene dek dalıyorum. O noktaya kadar suyun kuvvetine karşı mücadele veriyorum. Dibe eriştiğimde ise savaşmayı bırakmış ve durumu kabullenmiş bir şekilde sükuneti buluyorum”. En merak ettiğim şey işte o sükunet hali! Her seferinde farklı mı oluyor? Deneyiminizi merak ediyorum... Her seferinde ve herkes için farklı olduğuna eminim. Benim için her bir dalış yeni bir serüven, yeni bir deneyim, yeniden doğuş! Suda metrelerce derine inerken tamamen teslimiyet, güven, yüzde 100 odaklanma ve keyif almayı seçiyorum. Derin bir meditasyon hali, ama aynı zamanda tamamen uyanık ve yüksek bir sportif performans gerektiren bir süreç. Bir yandan da o derin sükunet -tıpkı Luc Besson’un Derinlik Sarhoşluğu filmindeki ana karakterde olduğu gibi- bir bağımlılığa da yol açıyor mu? Mesela orada kalmak ve yukarı hiç çıkmak istemediğiniz bir an oldu mu? Olmaz mı! Suyla bir olduğunuz an, hiç nefes almadan orada kalabilecek gibi hissediyorsunuz kendinizi, zaman tamamen duruyor. Suyun kendisi sizi dönüştüren bir şey aynı zamanda. Alerjik bünyesi olan ve evden pek dışarı çıkmayan çocukluk günlerinden sonra kendinizi su sayesinde yeniden yarattınız. Suyun size mesajı olabilir mi bu? Biz karadakilere suların kirliliği hakkında mesaj veren elçi gibi mesela. Benim için hayat ilk nefes aldığımda değil, ilk nefesimi tuttuğumda başladı. Benim hayatımın değiştiği gibi başka yaşamların da değişebileceğini biliyorum. Kendimi hem denizleri koruma projelerinde hem de daha çok insanı suyla buluşturma konusunda sorumlu hissediyorum. SUDAN ÇIKMIŞ BALIĞA DÖNÜYORUM! Dalışlarda rekor kırma stresi oluyor mu? Rekor bu işin ne kadarını kapsıyor? Olmazsa olmazı mı? Ne zaman dezavantaja ve avantaja dönüşüyor? Rekor kırma kısmı tamamen başka boyut. Epey stresli. Bir rekor dalışı yaklaşık 3-4 dakika sürüyor, ama bunun için aylarca çalışıyorsunuz. Üstelik tek bir hakkınız var. O seviyeye gelebilmek için maddi manevi her şeyinizi ortaya koyuyorsunuz. Aslında işin en kolay kısmı dalmak! Özellikle dünya rekorunu organize etmek oldukça stresli bir iş. Sponsor bulmak, hakemleri getirtmek, sualtı çekimlerinin ve güvenlik ekiplerinin organizasyonunu yapmak... Ama rekor kırmanın yanı sıra limitleri keşfetmeyi de seviyorum. Rekor hedefi koymak çıtayı yükseltmemi sağlıyor. Bir röportajınızda “İşin yüzde 70’i zihin kuvveti. Herkes günde 10 saat fiziksel antrenman yapabilir, ama farkınızı ortaya koyan mental kuvvetiniz” demiştiniz. Bu noktada zihne hükmetmek adına gündelik rutin problemlerle kendinizi yormamayı mı tercih ediyorsunuz? Pek çok şey onu nasıl algıladığımızla ilgili. Acaba problem dediğimiz şeyler gerçekten problem mi? Yoksa üstesinden zarif bir şekilde gelebileceğimiz, bizi daha çok tecrübe sahibi yapıp güçlendiren fırsatlar mı? Zihnimin kalıplarını yumuşak bir şekilde esneterek, onunla uyum halinde ilerliyorum. Anda kalmayı en iyi başaranlardan birisinizdir diye düşünüyorum. Peki karaya çıkıp insan arasına karışınca ne hissediyorsunuz? İnsanlar sosyal medya uyarıcılarına maruz kalmış ve odağı kaymış bir şekilde sürüklenirken... Sudan çıkmış balığa dönüyorum! Ama hızlı adapte olan biriyim. Mesela 10 gün inzivaya çekilip hiç konuşmadan meditasyon yapabilirim. Ama günde üç şehre gidip etkinliklere de katılabilirim... Sosyal medyada ise kriter, kendi ince çizgimiz. Dengede kalıp farkında olduğumuz sürece hâlâ umut var. KUZEY KUTBU’NDA DALIŞ YAPACAĞIM Dalışçıların kalbinin su içinde dakikada 20 kere atacak kadar yavaşladığı doğru mu? Başka ne gibi değişiklikler oluyor? Evet, doğru. Kan, kol ve bacaklardan çekilip hayati organlara, yani kalp ve beyne yoğunlaşıyor, nabız düşüyor. Akciğerler basınçtan dolayı bir yumruk kadar küçülüyor ve yapışmasın diye içine kan yoğunlaşıyor. Bu değişimlere dalıcı memeli refleksi diyoruz. Yunuslarda, balinalarda, insanlarda gözlemlenen değişimler. Yani dalış yaparken insan vücudunda mucizevi değişimler oluyor. Yüzeye çıkınca her şey eski haline geri dönüyor. Dalmadığınız, ama fırsat olsa mutlaka dalarım dediğiniz dünyanın farklı bir köşesi var mı? Antarktika beni çok etkilemişti! Şimdi sıra Kuzey Kutbu’nda! KARADA ZAMANIN FARKINDA DEĞİLİM Suyun içindeyken zamanın değeri daha mı iyi anlaşılıyor? Su, zamanın nasıl da izafi olduğunu en çarpıcı hissettiğim yer. Dakikalarca nefes tutuyorsunuz ve birkaç saniye bile hayati öneme sahip. Ama karada gün batımı izlerken saatin farkında bile olmuyorum. “Güneş battı akşam oldu” diyorum... İyi bir dalış saatinin sudaki en iyi dostunuz olduğunu söylemek yanlış olmaz sanırım. Bu anlamda Panerai’nin dalış saatlerini nasıl buluyorsunuz? Panerai zor şartlara ve derinliklere çok dayanıklı bir saat. Kendi felsefemle çok özdeşleştiriyorum. for more Print VOL IX - 2023 Out of Stock Add to Cart

Art defines The Art Of Design's ocean-view apartment in Fort Lauderdale, Florida, where Monica Slodarz pairs modern works with Cassina and Minotti. February 2024 | Design & Interiors english below An Art-Filled Apartment with a Classy Touch words Leon Williams M odern sanat eserleriyle ön plana çıkan Florida, Fort Lauderdale’deki okyanus manzaralı bu evin tasarımı The Art Of Design’a ait. Beyaz, krem ve yumuşak griler sayesinde dingin bir atmosfere sahip olan evin tasarımıyla ilgili The Art Of Design’dan Monica Slodarz şunları söylüyor: “İlham kaynağımız okyanusun kıyısında dingin, abartısız, konforlu bir cennet yaratmaktı. Okyanusun akışkanlığı; hafif kavisli mobilyaları kullanmamızda ve deniz kabuğundan esinlenen bir dekorasyon yaratmamızda büyük etken oldu”. Slodarz, “En büyük ikilem ise mahremiyet sağlamaktı. Dairenin güneyindeki eski binanın manzarasını engellemekle tamamı cam olan ön cepheden gelen doğal ışığı en üst düzeye çıkarmak arasındaki doğru dengeyi bulmaya çalıştık” diyor. “Bunun için özenli bir mekânsal planlama, özel mobilyaların stratejik olarak yerleştirilmesi, günün saatine ve mahremiyet gereksinimlerine göre ayarlanabilen yenilikçi gölgeleme çözümlerinin kullanılması gerekiyordu”. DETAYLAR Dairedeki mobilya ve aydınlatmalar 1stdibs, Studio Oliver Gustav, Michael Anastassiades, Ralph Pucci, Avenue Road, Art + Loom, Living Divani, Cassina, Piero Lissoni, Boconcept, Sawkille, Minotti, Hive, Luminaire, Pierre Yovanovitch, Patricia Urquiola, EWE Studio, The Future Perfect, DWR, Luca Nichetto, Kvadrat, Gubi, Holly Hunt, Ligne Roset ve Paola Lenti’den seçilmiş. Duvarlara eserleri yerleştirilen sanatçılardan bazıları ise şöyle sıralanıyor: Jesus Soto, Elias Crespin, Gerold Miller, Katja Strunz, Victor Vasarely, Javier Callejas, Jose Dávila, Claudia Wieser, Niyoku Ikuta, Candida Hofer, George Rousse, Claudio Parmiggiani. T he Art Of Design designed this ocean-view apartment in Fort Lauderdale, Florida, which is characterised by modern artworks. Monica Slodarz from The Art Of Design says the following about the design of the house, which has a serene atmosphere thanks to white, cream and soft greys: “Our sources of inspiration were deeply rooted in the coastal surroundings and the desire to create a haven of serenity and understated luxury. The fluidity of the ocean influenced the use of organic shapes and textures in the home, such as gently curved furniture, seashell-inspired decor and driftwood accents.” "The biggest dilemma was finding the right balance between providing privacy, blocking the view of an old building next door in the south of the apartment and maximizing the natural light coming from that exterior wall that was all glass," says Slodarz. “This required thoughtful spatial planning, the strategic placement of custom built in furniture and the use of innovative shading solutions that could be adjusted according to the time of day and privacy requirements”. DETAILS The furniture and lighting in the apartment are from 1stdibs, Studio Oliver Gustav, Michael Anastassiades, Ralph Pucci, Avenue Road, Art + Loom, Living Divani, Cassina, Piero Lissoni, Boconcept, Sawkille, Minotti, Hive, Luminaire, Pierre Yovanovitch, Patricia Urquiola, EWE Studio, The Future Perfect, DWR, Luca Nichetto, Kvadrat, Gubi, Holly Hunt, Ligne Roset and Paola Lenti. Some of the artists whose works were placed on the walls are as follows: Jesus Soto, Elias Crespin, Gerold Miller, Katja Strunz, Victor Vasarely, Javier Callejas, Jose Dávila, Claudia Wieser, Niyoku Ikuta, Candida Hofer, George Rousse, Claudio Parmiggiani.

Olga Ryukina’s Timber Manifesto is a timber-clad country home designed for her family among old spruces, with interiors shaped by light and material. August 18, 2025 | DESIGN & INTERIORS the TIMBER MANIFESTO words Elena Grabar photos Mikhail Loskutov style Natalya Yagofarova Designed by interior architect Olga Ryukina for her own family, this timber-clad country home sits quietly among old spruces on a secluded woodland plot. At once architectural and intimate, it serves both as a retreat and as a personal design manifesto. LIVING WITH THE TREES When choosing the site, preserving the forest was the first principle. “We didn’t remove a single tree,” says Ryukina. “The house had to be part of the landscape, not imposed on it.” She oriented the building so that the main rooms face the forest, with floor-to-ceiling glazing opening the interiors to the view. The trees, she says, are the home’s true decoration—and its greatest luxury. Though her husband had long dreamed of a wooden house, Ryukina opted to add interior plasterboard walls to create more functional zoning. This brought technical challenges—wood moves, plaster does not—but with the help of engineers, the structural dynamics were resolved. The result is a space where the warmth of timber meets the precision of thoughtful planning. CIRCULARITY AND CALM The ground floor is fluid and intuitive. A double-height living room anchors the layout, which flows into a smaller lounge, dining area, kitchen, and pantry, with a guest bathroom and entrance hall completing the loop. “I love circular plans,” the designer explains. “They make daily life easier and offer multiple paths through the house—there’s always more than one way to move from A to B.” Upstairs, the mood shifts. The private wing includes the master bedroom with a walk-in wardrobe and study, a guest room, a child’s bedroom, and a family bathroom. In the central hall, open bookshelves frame a quiet reading nook with a view into the treetops. NATURAL TEXTURES, LAYERED TONES Every surface was considered with care. Porcelain stoneware defines the entry axis, while natural wood flooring adds warmth elsewhere. Marble—used for kitchen and bathroom counters—brings a tactile richness that Ryukina finds irresistible. “It’s not the most practical, but I love how it looks and feels. That matters more to me.” Timber remains the leading actor, yet it shares the stage with steel, tinted wall finishes, and custom joinery. Niches for logs are clad in brushed metal; a book alcove in the living room is tiled; door portals and a reading niche are finished in fine veneer. Vertical rhythms recur throughout—from panelled doors and wardrobes to ribbed glass and wooden handles. Even the art aligns with this geometry. In the upstairs hallway, a papier-mâché panel by Ulyana Khokhlova echoes the forest’s silent lines. A LOVE OF VINTAGE AND DETAIL The home’s atmosphere emerged piece by piece—guided by instinct and emotion. It began with a set of vintage Italian dining chairs and an armchair for the lounge. Slowly, the rest followed: a bespoke steel table, a curving sofa, a custom bed, stair sconces designed by Ryukina herself. “I always mix vintage with contemporary and made-to-order items. It softens the space and makes it feel lived-in, less defined by time.” This is a house born of attention—quiet, layered, and deeply personal. A retreat not only into nature, but into a world shaped by light, material, and the subtle discipline of beauty.

Cosme is a Luxury Collection hotel in Naoussa, Paros, designed by Interior Design Laboratorium with Cycladic interiors and the Parostià restaurant. August 2023 | AEGEAN SPIRIT | Vol 10 english below C O S M E words Leon Williams photos Giorgos Sfakianakis C osme, Paros’un en iyi restoranlarının da yer aldığı Naoussa’da yer alıyor. Luxury Collection ailesinin bu yeni otelinin tasarımı Atina merkezli Interior Design Laboratorium’a (IDL) ait. Paros’un balıkçı köylerinden ilham alarak tasarlanan Cosme’nin, Naoussa körfezini gören panoramik manzarası tek kelimeyle şahane. Otelin diğer şahane unsuru ise havuzun yanındaki Parostià restoran. İsmini geleneksel Parian evlerinin taş fırınından alan Parostià’nın küratörlüğünü ünlü Yunan şef Yiannis Kiorohlou yapıyor. Onun ‘Medite-Grecian’ yaklaşımı Parostià’daki yemeklerin ortak paydası. Cosme’nin resepsiyonu otelin en önemli noktalarından biri. Farklı objeler ve dünyanın dört bir yanındaki antika dükkânlarından gelen mobilyaların titizlikle bir araya getirildiği bu alanda eklektik bir estetik var. Etkileyici mermer zeminler ise Syros’un eski klasik binaları ya da Paros’un kaptan evleri gibi tarihi Kiklad yapılarına atıfta bulunuyor. Kısacası modern ve geleneksel stil uyumlu bir şekilde buluşuyor. Cosme’deki mobilyalar ise özel yapım. Mobilyaların renkleri, Yunanistan ile eşanlamlı geleneksel beyaz rengin yanı sıra zeytin yeşili, koyu bordo, kırmızı ve mavi gibi yoğun sıcak tonlardan seçilmiş. Hasır çardakların gölgelediği teraslarla tamamlanan 40 adet süitin yer aldığı otelin göze çarpan bir başka seksi yanı elbette yarım ay şeklindeki ana havuzu! C osme is located in Naoussa where there are the best restaurants of Paros. This new hotel in the Luxury Collection family was designed by the Athens-based Interior Design Laboratorium (IDL). The panoramic view of Cosme, designed by Paros’s fishing villages, overseeing the Naoussa gulf, is astonishing. Another great element of the hotel is the Parostià restaurant next to the pool. Taking its name after the stone oven of traditional Parian houses, Parostià is curated by the famous Greek chef Yiannis Kiorohlou. His ‘Medite-Grecian‘ approach is the common denominator among dishes in Parostià. Cosme’s reception is one of the most important points of the hotel. An eclectic aesthetic was created in this area, where different objects and furniture from antique shops around the world are meticulously assembled. Impressive marble floors refer to historical Cycladic structures such as the old classical buildings of Syros or the captains’ houses of Paros. So, the modern and traditional styles meet in harmony. The furniture in Cosme is custom-made. The colors of the furniture were selected among intense warm tones such as olive green, dark claret red, red, blue, etc., as well as the traditional white color that is almost a synonym for Greece. Another noticeable sexy aspect of the hotel with 40 suits that are complemented with terraces under the shadow of straw gazebos is, of course, the main pool in half-moon shape! for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

Qreative Design transforms Obica in Adliya, Bahrain, with theatrical interiors, a chandelier made from 78,000 mother-of-pearl shells, and marble flooring. April 2025 | DESIGN & INTERIORS DAZZLING DINING: THEATRICAL DECOR & OPULENT DESIGN words Karine Monie photos Fadhi Muhammed interior design Qreative Design In the heart of Adliya, Bahrain’s vibrant district known for its eclectic mix of fine dining and cultural hotspots, Obica—a new restaurant and lounge—is set to redefine luxury. With a bespoke design that fuses the grandeur of palaces and theaters with modern sophistication, this stunning venue is a true celebration of opulence and innovative artistry. At the core of the design lies a rich tapestry of materials and bold color choices. Sparkling hexagonal mirrors catch the eye, while a show-stopping chandelier—crafted from 78,000 mother-of-pearl shells—serves as the ultimate centerpiece, evoking Bahrain’s illustrious pearling heritage. Deep burgundy and emerald green hues imbue the space with depth and a visceral connection to nature, balanced perfectly by cream pearl white accents that lend lightness and harmony. Qreative Design, led by architect and interior designer Mohamed Alqari, has transformed the venue into a dynamic narrative of cultural heritage and modern luxury. The design elegantly incorporates architectural elements from Bahrain’s storied past with a contemporary twist: existing columns are reimagined as grand pillars in the bar, while hidden AC grills, seamlessly integrated into ceilings and pillars, tackle the desert heat with discreet efficiency. Meticulous craftsmanship is evident in every detail—from the bespoke marble flooring, composed of 415 precisely cut pieces completed in just seven months, to the luxurious textures and patterned accents that define the interiors. INSPIRED BY LONDON’S MEMBERS’ CLUBS Drawing inspiration from the majestic splendor of palaces, the dramatic flair of theaters, exclusive private members’ clubs in London, and the refined elegance of Parisian design, Mohamed Alqari has created a space that is as much a feast for the eyes as it is a celebration of experiential dining. Scenic wallpapers by Ananbo and a vintage 19th-century mirror imported from England add layers of historical depth and charm, while whimsical corridors featuring Cole & Son wallpaper lead guests through an immersive journey that culminates in a grand powder room lobby designed to evoke intrigue and delight.

N53 at One&Only One Za'abeel in Dubai pairs restrained interiors by Bergman Design House founders Marie Soliman and Albin Berglund with rich materials. June 25, 2026 | DESIGN & INTERIORS a LOUNGE ABOVE the CITY words YUZU Editorial photos One&Only One Za’abeel + Bergman Design House + Vigo Jansons High above Dubai, on the 53rd floor of One&Only One Za'abeel, N53 approaches the idea of the lounge less as spectacle and more as atmosphere. Designed by London-based studio Bergman Design House, the space sits within The Link — the dramatic cantilever connecting the hotel’s twin towers — though the interiors take a more restrained direction. For co-founders Marie Soliman and Albin Berglund, the project was shaped around balance and restraint. Deep caramel, cognac and charcoal tones run throughout the interiors, layered with dark woods, brushed metals, leather and Cipollino marble. Rather than leaning into the heavy visual language often associated with cigar lounges, N53 introduces a softer and more residential sense of comfort through controlled lighting, acoustic softness and carefully proportioned seating areas. MATERIAL, CRAFT AND RHYTHM Craft plays a central role across the space. A large marquetry installation inspired by falconry references regional heritage without becoming overly literal, while Murano glass floor lights, bespoke metalwork and tailored cabinetry add texture and depth throughout the lounge. Many of the materials were chosen for the way they age, bringing a quieter sense of permanence to the project within Dubai’s fast-moving hospitality landscape. The layout moves fluidly between seating clusters, cigar displays and quieter corners overlooking the city, including a concealed humidor reserved for private guests. Throughout the project, the emphasis appears less on visual excess and more on rhythm — a place shaped around slowing down, conversation and lingering above the city rather than simply observing it.

Onur Hastürk discusses Assimilation at Anna Laudel Düsseldorf, connecting miniature art with Henri Matisse and Andy Warhol through East-West references. Eylül 2020 | Art | Turkey Miniatures with Matisse and Warhol through them Words | Onur Baştürk He brought his miniature art to Starbucks coffee cups in his "Mythology" series, which was exhibited first at the Mamut Art Project and then at the Saatchi Gallery in London in 2017. In the "Olympos / Portraits-1" exhibition curated by Taner Ceylan, he drew attention with his work titled "Self-Portrait", all made with 24 K. real gold on transparent paper. I can briefly describe him as "the artist who made miniature up-to-date". I am talking about Onur Hastürk. Currently, Anna Laudel is on the agenda with her "Assimilation" exhibition in Dusseldorf, which will last until the end of October. The main vein of the exhibition is Matisse and Warhol. What brings them together is miniature. Here is Onur Hastürk's unique world .. How did you think of intersecting the world of miniature with the world of Henri Matisse and Andy Warhol in the exhibition "Assimilation"? Is it the pleasure of bringing different worlds together or is it a move abroad? For a long time, I have been trying to establish a link between East-West, traditional-current, past and present. I do intensive reading and research before the production processes. In such a moment, in the proceedings book of the symposium titled "Islamic Aesthetics in Modern Art" held at the Goethe Institute, published in December 2005, Henri Matisse's words following his visit to the "Masterpieces of Islamic Art" exhibition organized by Ernst Kühnel in Munich in 1910 are the starting point of the exhibition created: “Eastern miniatures made me aware of all forms of sensory perceptions possible for me. With the type of painting used in these miniatures, this art expresses a large and truly unique field. This helped me get rid of the copycat painting ”. I didnt know that…. On the other hand, Matisse was one of the artists that attracted me with his oil painting works, which he named "Odalisque" (Turkish origin "Odalık"), especially between 1910-1929. What about Warhol? Warhol's different patterns (women's shoes, feminine boys, inviting figures, etc.) in the drawings he made as gold-plated on paper in his book "A Gold Book" and his series impressed me incredibly. The use of "gold" as an art material over the centuries and its multi-layered relationship in art has always been of interest to me. The first reflection of Andy Warhol in my works started with the "One More Coffee" series, where I interpret classic miniature works on Starbucks paper cups at the 2016 Mamut Art Project, which I am a participant of and which enables me to be visible in contemporary art. So I realized that even though we were at different times, there is an invisible bond that connects us with the shining stars of western art, Matisse and Warhol. In fact, everything was there, waiting for me in front of me. It was only to show how this was seen through the eyes of a miniature artist in the present. Therefore, after 110 years (with a spatial reference), the idea of bringing this exhibition, in which Matisse's works are reinterpreted in the classical miniature style, with the audience at the Germany / Anna Laudel Düsseldorf Gallery, emerged. ART | Kategorinin diğer yazıları ‘Resimlerin kendi içinde tedirgin olmasını önemsiyorum’ Mahremiyeti sorgulamak daha erotik Yuzu & nom-studios sunar ‘LOOP’ sergisi Kemal Özen "Gam'zede" Online Sergi Hangi yetişkin bir ‘Gam’zede’ değil ki artık? Ali Elmacı’nın atölye günleri notları May Parlar "Collective Solitude" Online Sergi Lara Kamhi’yle paradokslar ve izolasyon üzerine... BASE’in yeni dijital projesi yakında Sessiz Odanın Çığlığı İtalya’daki müzeden salgına bakınca… Yıldızı daha da parlayacak: Salman Toor Online açılış yapan İstanbullu sergi