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Pa.te.os is a four-house retreat in Alentejo, Portugal, designed by Manuel Aires Mateus for Sofia and Miguel Charters near Melides and the Atlantic. August 2023 | yuzu’s choice | Vol 10 english below Pa.te .os Sakin ve vahşi bir güzel lik words Onur Baştürk photos João Guimarães & Francisco Nogueira S ofia ve Miguel Charters, 15 yıl önce aldıkları bir yazlık evde arkadaşlarını ağırlamış ve o zamandan bugüne misafir ağırlamak en sevdikleri şeylerden biri haline gelmişti. İşte bu sayımızın “tasarım favorisi” olan Pa.te.os projesi bu tutkunun görkemli bir sonucu! Atlantik Okyanusu manzaralı dört evden oluşan proje Lizbon’a bir saat uzaklıkta, Alentejo kıyı şeridinde ve Melides köyüne beş kilometrelik mesafede. Pa.te.os, sakin ve vahşi bir güzellik. Mantar meşeleri, çam ağaçları, zeytin ağaçları ve çilek ağaçlarından oluşan bir manzaranın içinde. Sofia ve Miguel tarafından geliştirilen üzüm bağı, bu pastoral manzarayı tamamlayan bir başka unsur. Sadece 15 dakikalık bir araba yolculuğuyla Portekiz’in en büyük kumsal şeridine ulaşılan Pa.te.os için Sofia ve Miguel şöyle diyor: “Hiçbir gizli numara içermeyen Pa.te.os, gerçek bir duyusal deneyim sunmak amacıyla konfor ve işlevi göz ardı etmeden malzemelerin gerçekliğini yansıtıyor”. MANUEL AIRES MATEUS ANLATIYOR Sofia ve Miguel, Pa.te.os projesinde eskiyi taklit etmek yerine geleneği yeniden yorumlamayı istemiş. Nihayetinde, Portekiz’in güney bölgesindeki mimari projelerde yaygın olan Arap etkisiyle doğayla yakın teması en üst düzeye çıkaran veranda konseptini birleştirmişler. Bu vizyonlarını nitelikli bir pratiğe dökmesi için de aynı zamanda arkadaşları olan ünlü Portekizli mimar Manuel Aires Mateus’a başvurmuşlar. Elbette Manuel Aries Mateus’a projeyle ilgili sorularımız vardı. Şimdi söz onda... Pa.te.os’u oluşturan ve bir sanat eseri gibi duran bu dört evde temel mimari yaklaşımınız neydi? Arazi ve doğa mı sizi yönlen dirdi? Evet, tüm tasarım doğadan yararlanıyor ve onunla bütünleşiyor. Bu dört ev, zamanla kaybolan harabeler gibi peyzajla bütünleşiyor. Bu formlar yapıların, yerleşik olanın, harabelerin ve sınırların hatıraları olarak ortaya çıkıyor. Sonuçta mekanlar her zaman benzersizdir. Dışa açılmaları ve farklı yaşam deneyimlerini korumaları ile ayırt edilirler. Bu projede hedefiniz dış alanları içeriye kadar genişletmek miydi? Bu hedef bir bakıma veranda kavramına yeni bir bakış açısı olabilir mi? Dört evin uyku alanları büyük bir mahremiyetle tasarlandı. Oturma odaları ise dış alanla güçlü bir ilişki içinde. İç mekanlar mantıksal bir süreklilik içinde daima dışarıya doğru uzanıyor. Her evin geniş bir ortak alana açılan kendi avlusu var. Ayrıca verandalara açılan manzaralı alanlar ve özel teraslı alanlar da yer alıyor. Misafirlerin hem farklı evler arasında ortak ilişki kurmasına hem de kendilerini mahrem alanlarda izole etmesine olanak tanındı. DAHA BASİT EVLER, DAHA AZ YAPAYLIK Evlerin havuzu da ayrı bir figür gibi. Bu form özellikle mi yapıldı? Bu büyük yüzme havuzu evleri geometrik olarak birbirine bağlıyor. Dört ev suyun kendisinde birleşiyor. Çünkü su iklimde güçlü bir etkiye sahip ve bir şekilde her zaman arzulanan bir yer. Bu nedenle havuzu dört evi birleştirmek için kullandık. Brüt beton ve ahşap, evin ana malzemeleri gibi görünüyor. Bu malzemeleri hangi kriterlere göre seçtiniz? İlham, koku, renk, doku; kısacası tüm proje dağlar ve denizin peyzajla iç içe yaşama anlayışından yola çıkıyor. Kullanılan malzemelerin (gerçek ahşap, doğal brüt beton ve taş) bir amacı da samimiyet duygusunu vermek. Renk paleti ise yeryüzündeki malzemelerin doğal tonlarından oluşuyor. Yaşadığımız alanlarda doğanın etkisini artık daha fazla hissetmek istiyoruz. Sizce gelecekte buna dair başka ne tür gelişmeler olacak? Giderek daha fazla sadeliğe dönme ihtiyacı duyuyoruz. Bugün dünyanın mücadele ettiği sorunlar bunu anlamamıza neden oluyor. Bu sadece bir ihtiyaç değil, aynı zamanda dünyanın kalkınmasına dair bir katkı. Dünyadaki ağırlığımızı azaltmak için... Yaşamı belirli şekillerde basitleştirmek gerekiyor: Daha basit evler, daha az altyapı, daha az teknoloji, daha az yapaylık, daha az eşyaya sahip olmak... Bugün hepimizin hissettiği yol bu. Calm and wild beauty S ofia and Miguel Charters hosted their friends in a summer house they bought 15 years ago, and hosting has become one of their favorite things ever since. The Pa.te.os project, the “design favorite” of this issue, is a glorious result of this passion! The project consists of four houses with views of the Atlantic Ocean one hour away from L isbon, on the Alentejo coastline, and five kilometers away from the village of Melides. Pa.te.os, a calm and wild beauty. In a landscape of cork oaks, pine trees, olive trees, and strawberry trees. The vineyard developed by Sofia and Miguel is another element that completes this pastoral landscape. Sofia and Miguel tell about Pa.te.os, which is only a 15-minute drive to Portugal’s largest beach strip: “With no hidden tricks, Pa.te.os reflects the reality of materials without compromising comfort and function to offer a true sensory experience”. MANUEL AIRES MATEUS TELLS Sofia and Miguel preferred to reinterpret tradition instead of imitating the old in the Pa.te.os project. They ultimately combined the concept of the patio, which maximizes close contact with nature, with the Arabian influence common in architectural projects in the southern region of Portugal. In order to put these visions into qualified practice, they turned to their friend, the famous Portuguese architect Manuel Aires Mateus. We of course had questions for Manuel Aries Mateus about the project. He has the word now... What was your basic architectural approach in these four houses that make up Pa.te.os and look like works of art? Did the land and nature guide you? Yes, the whole design benefits from nature and integrates with it. These four houses integrate with the landscape like ruins disappear over time. These forms emerge as memories of structures, the inhabited, ruins, and borders. After all, places are always unique. They are distinguished by their openness and preservation of different life experiences. Was your goal in this project to extend the exterior spaces to the interior? Might this goal, in a way, be a new way of looking at the concept of a patio? The sleeping areas of the four houses were designed with great privacy. The living rooms, on the other hand, have a strong relationship with the exterior. The interiors always extend outward in a logical continuity. Each house has its own courtyard that opens onto a large common area. There are also scenic areas opening to verandas and areas with private terraces. Guests are allowed to establish a common relationship between different houses and to isolate themselves in private areas. SIMPLER HOUSES, LESS ARTIFICIALITY The pool of the houses are like separate figures. Was this form made on purpose? This large swimming pool connects the houses geometrically. The four houses merge on the water itself. Because water has a strong influence on the climate and is somehow always a desirable place. That’s why we used the pool to connect the four houses. Exposed concrete and wood seem to be the primary materials of the house. According to which criteria did you choose these materials? Inspiration, smell, color, texture, in short, the whole project is based on the understanding that the mountains and the sea live together with the landscape. Another purpose of the materials used (real wood, natural exposed concrete and stone) is to give a sense of intimacy. The color palette consists of natural tones of earth materials. More and more, we want to feel the impact of nature in the areas where we live. What other developments do you think will happen in this context in the future? More and more we need to return to simplicity. The problems the world faces today make us understand this. This is not only a need, but also a contribution to the world’s development. To reduce our weight in the world... It is necessary to simplify life in certain ways: simpler houses, less infrastructure, less technology, less artificiality, fewer possessions... That’s the way we all feel today. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

January 2023 | Design & Interiors english below Snøhetta’nın son projesi Bolder D ört kabinden oluşan The Bolder, Norveç'in batı kıyısındaki Lysefjorden'in kenarında yer alıyor. Norveçli mimarlık ofisi Snøhetta’nın projesi olan Bolder, çevredeki doğa ile mümkün olan en iyi şekilde uyum sağlamak ve iç mekanla dış mekan arasındaki çizgiyi bulanıklaştırmak için tasarlanmış. Doğa üzerinde minimum ayak izi bırakan Bolder, manzaraya uyum sağlayacak şekilde inşa edilmiş. Snøhetta's latest project: Bolder C onsisting of four cabins, The Bolder is located on the edge of Lysefjorden on Norway's west coast. Bolder, the project of Norwegian architecture firm Snøhetta, was designed to blend in with the surrounding nature in the best possible way and to blur the line between indoor and outdoor. Bolder, which leaves a minimal footprint on nature, was built to blend in with the landscape.

CAN Ibiza returns in June 2026 with 30 international exhibitors, an expanded OFF Program, and curator Saša Bogojev on art beyond the fair format. June 6, 2026 | Art & Culture media partner YUZU an ART FAIR SHAPED by the ISLAND CAN IBIZA words Onur Basturk As CAN Art Fair Ibiza returns for its fifth edition this June, the fair continues to shape a different pace for contemporary art in the Mediterranean. Bringing together 30 international exhibitors alongside an expanding OFF Program and CAN Local initiative, CAN increasingly feels less like a conventional fair and more like something embedded within the island itself. YUZU is among this year’s media partners of the fair. We spoke with curator Saša Bogojev about Ibiza’s atmosphere, smaller-scale art experiences, and why the fair has grown beyond the traditional white-cube format. A SMALLER, MORE RELAXED ALTERNATIVE TO THE STANDARD ART FAIR MODEL Over the past five years, CAN Ibiza has become one of the Mediterranean’s most closely watched contemporary art gatherings. What do you think Ibiza offers to the art world today that other fairs or cities cannot? I think we landed on something that the world is slowly discovering as a sustainable alternative to standard art fair practice. Instead of large, overwhelming fairs in busy cities, we offer smaller events with hand-picked presenters, held in a relaxing and more informal environment. With the island being so beautiful and having a lot to offer on its own, every participant and visitor already feels good about being there in the first place, so everything else feels like a bonus. CAN Ibiza does not seem to revolve around a single central theme this year. Yet there is still a strong shared atmosphere throughout the fair, shaped by ideas of place, landscape, and perception. Was this something you consciously wanted to build into the curatorial framework? No, the themes usually propose themselves, and as a curator, I love seeing that happen. As commercial events, fairs aren’t easy to fully curate in that sense, but that dynamic also has its value because they often point to a larger picture of the world around us. I was particularly excited to see a number of works touching on the subject of illusion, especially sculptural works, and humanity’s shifting experience of understanding and trusting reality. IT’S IMPORTANT TO MAKE MORE OF THE ISLAND PART OF THE FAIR ITSELF Why was it important for CAN to move beyond the traditional fair format and engage more directly with Ibiza itself? And how much does the island shape your approach to contemporary art? For us — and I’m saying “us” because the OFF Program isn’t something I’m personally curating — it’s important to go beyond the fair format so more of the island becomes part of the project. From the first year, we didn’t want to be a circus that shows up once a year, puts on a show, and then leaves. The OFF Program is our way of connecting what already exists on the island with what we bring, and vice versa. It’s also a way to motivate visitors to explore locations and parts of Ibiza they might otherwise overlook, and hopefully discover something that stays with them. IT’S DIFFICULT TO DEFINE EXACTLY WHAT MAKES A WORK “EXCITING” You describe CAN Ibiza’s selection process as “artist-first.” What do you personally look for when selecting galleries and artists for the fair? I’m constantly looking at art — virtually, at galleries, fairs, studios, everywhere really — and I’m always excited when I come across works that genuinely feel exciting. It’s hard to describe exactly what makes a work “exciting,” because it can be the subject matter, the technique, the atmosphere, the attitude behind it, or even the way people talk about it. So the core idea is simply to identify those kinds of works and then find the right people willing to present them at CAN. Where do you see CAN Ibiza five years from now? I see it — or better, I hope to see it — becoming a globally recognised synonym for a unique art event that is equally enjoyed and appreciated by both visitors and the artists and galleries participating in it.

Carlos Bunga's Inhabit the Contradiction at Lisbon's CAM uses fragile architectural forms to examine memory, displacement, home and impermanence. November 27, 2025 | Art & Culture CARLOS BUNGA: INHABITING CONTRADICTION words YUZU Editorial photos Pedro Pina At Lisbon’s CAM – Centro de Arte Moderna Gulbenkian, Portuguese-born and Barcelona-based artist Carlos Bunga unveils his most expansive installation to date — a work that gathers memory, displacement and architectural fragility into a single, quietly resonant gesture. Inhabit the Contradiction, curated by Mocca Toronto's artistic director Rui Mateus Amaral, begins with one of Bunga’s own surrealist drawings, My First House Was a Woman. The piece recalls his mother’s journey fleeing civil war in Angola in 1975 — pregnant, carrying her two-year-old daughter and unborn son toward an uncertain refuge in Portugal. TEMPORARY STRUCTURES, LASTING ECHOES Bunga’s practice has long resisted the notion of permanence. Using deceptively modest materials — cardboard, tape, paint — he builds forms that feel simultaneously monumental and vulnerable. His installations settle into space the way memories do: tentatively, in layers, shaped by the ongoing tension between making and unmaking. In CAM’s Nave, cylindrical columns rise like a forest of improvised trunks, echoing both architecture and nature. Across the building, domestic objects — tables, lamps, cabinets, rugs — appear gently altered, as if carrying the trace of previous lives. Garden chairs are brought indoors, softening the boundary between museum and exterior. These gestures create a loose architecture of belonging, attentive to how easily the concept of “home” can shift, dissolve or be rebuilt. DIALOGUE WITH A COLLECTION IN FLUX A striking dimension of the exhibition is Bunga’s engagement with CAM’s collection. The freedom to move experimentally through the institution’s holdings aligns with his ongoing exploration of thresholds — between the visible and the invisible, the public and the private, loss and recovery. He gravitates toward works that resist easy category: installations that rely on organic material to regenerate, portable sculptures, incomplete sequences, shadow-driven photographs, pieces completed through correspondence. Placed alongside his own ephemeral structures, they form a meditation on absence, impermanence and reinvention. Curator Rui Mateus Amaral frames the project within the paradox that shaped the Gulbenkian Foundation itself — an institution born after its founder’s death, marked by a man who lived nomadically and found refuge in Portugal during World War II. Bunga channels this tension, folding presence and absence, certainty and precarity into the exhibition’s core. THE INSTALLATION’S MOST POWERFUL MOMENT The most striking moment arrives not at the opening, but weeks later. On 14 March, Bunga will return to CAM to cut, collapse and recompose the installation in real time. Creation becomes performance; structure gives way to movement; destruction becomes another form of drawing. Inhabit the Contradiction offers no tidy resolution — and that is its strength. It invites visitors to stand within the unstable spaces where life rearranges itself. In Bunga’s hands, fragility becomes a structure, and impermanence a way of seeing.

Serhan Gürkan's Göztepe home occupies a former nuns' dormitory in Izmir, reimagined with contemporary interiors and Designmixer wallpaper. June 19, 2025 | VOL 15 the REINVENTION of a FORMER NUNS’ DORMITORY words Ebru Kılıç photos Ali Bekman Izmir is a city full of surprises. At first glance, you might think you’ve grasped its essence, but the deeper you look, the more stories emerge. Architect Serhan Gürkan’s home in Göztepe, Izmir, is no exception. Nestled on a street lined with apartment buildings, this detached house carries a visible trace of old Izmir. “This is an authentic Izmir neighborhood, where real locals still live—there’s a grocer, a greengrocer, a dry cleaner, cafés, bakeries… It has a completely different spirit,” says Serhan Gürkan. He had always dreamed of designing a home for himself here, in the very streets he wandered as a child, moving between his grandmother’s and aunt’s houses. When the opportunity arose to restore one of these nostalgic homes with a contemporary design approach, he didn’t hesitate. From the outside, the house appears to be a modest, single-story structure. However, it was once a dormitory for the priests and nuns of a church that still stands just across the street. As soon as you step inside, you’re greeted by a high-ceilinged entrance hall— peaceful and quiet, yet bursting with energy, even in the intricate details of the wallpaper. “The windows and doors between the rooms and the hallway create a sense of both transparency and a labyrinthine layout. As you move through the space, you keep discovering new corners, thinking, ‘Wait, there’s more?’” Gürkan explains. One of the boldest design choices in the house is the wallpaper, created in collaboration with Designmixer. It adopts the style of classic toile de Jouy, but with an unconventional twist—its theme revolves around nudity. “We wanted to evoke the feeling of sin, something far removed from the ascetic life of nuns,” he adds. I LIKE TO CREATE DIFFERENT EMOTIONAL ATMOSPHERES WITHIN THE SPACES I DESIGN The entrance level was originally structured around a long, narrow hallway lined with small rooms for the nuns. Rather than eliminating these spaces, Gürkan preserved their essence while repurposing them. “These rooms, with their 4-meter-high ceilings, have been transformed into a dining room, living room, and bedroom. The kitchen, slightly lower and opening onto the garden, was also integrated into this level. The main hallway— wide, tall, and full of character—has become the focal point of the house, a space where both past and present residents have gathered. It’s a true meeting point,” Gürkan says. for more Print VOL XV - 2025 Out of Stock Add to Cart

Rina Qorraj discusses managing Kandilli Botany in Istanbul, landscape architecture, plant sourcing, and indoor and garden care with Onur Baştürk. April 2023 | People | Vol 9 TR BELOW ANATOMY of a BOTANIST Words + Photos Onur Baştürk Enverina Rina Qorraj is the manager and partner of Kandilli Botany in Kandilli, one of the historic districts on the Bosphorus side of Istanbul. Her acquaintance with the plant world began when her family started a nursery. Rina, who started to go to the nursery after high school, could closely observe the plants as she took care of them. “I walked around with a watering hose in one hand and a plant book in the other. My curiosity grew more and more; I learned the life stages of the plants and their Latin names”, she explains. Influenced by this childhood experience, Rina began studying at ITU’s Faculty of Landscape Architecture and graduated at the top of her class. During her studies, she began working in the family business, Kandilli Botany. In this way, she found the opportunity to combine theory and practice. After graduation, she both continued her occupation professionally and changed her view of landscape architecture. So much so that because of her landscape architecture work in the mansion gardens, she also did her master’s thesis on this subject. I GO AND SELECT ALL THE PLANTS MYSELF So what is it like to run a botanical business? Rina answers, “A botanical company is in a race against time. Our service involves living materials, and their needs vary depending on the season. These needs must be met in the right way and promptly”. Kandilli Botany sells native and imported plants. “Our first choice for plant supply is domestic production”, she says. “There are places in Turkey that produce well in certain regions, but the plant diversity is low and unfortunately the production capacity is limited. It is also difficult to find older plants from domestic production. This is because few production facilities go back many years, making this a tradition. Therefore, we import plants from abroad that we cannot find in Turkey. We supply outdoor plants from Italy and indoor plants from the Netherlands. Since the Italian plants grow and complete their root work in similar climatic conditions, there are no problems in adaptation when they come to us". SOME PLANTS MAY HAVE DIFFERENT NEEDS Rina says to consider the following when choosing plants for indoor use, “If your house is bright, choose Ficus Lyrata, Bucida, and Philodendron varieties; if it is semi-bright, you can go for Heteropanax and Dicksonia varieties. If you want to bring the feel of an outdoor garden indoors, you can consider strelitzia or palm species. Houseplants are normal plants that require less water, depending on the species. I do not think you will have a hard time when they are taken care of with love. Only the needs of some plants may be different. For example, the watering technique of the Dicksonia tree is different from other plants. Its whole body needs to be moistened. It is not easy to do this indoors”. THOSE WHO WANT THE SMELL OF THEIR GRANDMOTHER’S GARDEN... Rina lists the main points for a good garden landscape as follows: “Depending on the scale, tree outdoors is a must. The tree becomes determinant outdoors and creates its own space. You can spend pleasant hours in its shade and observe a tree. The type of plant we choose should also appeal to our senses. Especially our sense of smell. Based on my experience with my clients, I can say the following: people who want to create a new garden usually want the scent of their grandmother’s garden, choosing from their childhood memories. It might be the linden blossom or the peony blooming in the spring. The trees that have impressed me the most lately are Quercus (oak) species, Gingko Biloba (temple tree), Tilia (linden), Parrotio Persica (iron tree), and Platanus (plane tree). HOW THE SOIL OF THE PLANT SHOULD BE The choice of soil for the plant is also an important point. Take note of Rina’s opinions in this regard: “The soil for indoor and outdoor use is different. Especially indoors, peat rich in fiber should be used. In addition to soil, the pot size in which the plant is placed is also important. The soil loses fertility if the plant is in the same pot for a long time. For this reason, the soil must be renewed regularly. Outdoors, the mobility of the soil may cause it to fall over. In this case, additions must be made. In addition, organic and natural fertilizers can be used depending on the season and the plant’s needs”. BİR BOTANİKÇİNİN ANATOMİSİ Enverina Rina Qorraj, İstanbul’un Boğaz tarafındaki tarihi semtlerinden Kandilli’de yer alan Kandilli Botanik’in yöneticisi ve ortağı. Bitki dünyasıyla tanışması ailesinin fidanlık kurmasıyla başlıyor. Okul çıkışı fidanlığa gitmeye başlayan Rina, bitkilerin bakımını yaparken onları yakından gözlemleme fırsatı buluyor. O günleri, “Bir elimde sulama hortumu, diğer elimde ise bitki kitabıyla geziyordum. Merakım gittikçe artıyor, Latince isimleriyle birlikte bitkinin yaşam evrelerini öğreniyordum” diye anlatıyor. Çocukluğundaki bu deneyimin etkisiyle İTÜ Peyzaj Mimarlığı Bölümü’nü okumaya başlıyor Rina ve bölüm birincisi olarak okulu bitiriyor. Üniversite yıllarında ise aile şirketi Kandilli Botanik’te çalışmaya başlıyor. Böylece teoriyle pratiği birleştirme şansı buluyor. Mezun olduktan sonra hem profesyonel olarak mesleğini sürdürüyor hem de peyzaj mimarisine bakış açısı farklılaşıyor. Öyle ki, yalı bahçelerinde yaptığı peyzaj çalışmaları nedeniyle yüksek lisans tezini de bu konu üzerine gerçekleştiriyor. Rina için bu sürecin ilginç bir yanı daha var. Tez çalışmasının konusu olan Komili ve Moniem Yalıları’nın peyzaj tasarımı ve uygulamasını bizzat yapmış olması. “Benim için inanılmaz bir öz eleştiriydi” diyor Rina, “Teorimi, pratikte hayata geçirmiştim”. TÜM BİTKİLERİ BİZZAT GİDİP SEÇİYORUM Peki bir botanik işletmesini yönetmek nasıl bir şey? Şöyle yanıtlıyor Rina: “Bir botanik işletmesi zamanla yarış halindedir. Sunduğumuz hizmet canlı materyaller içeriyor ve mevsime göre ihtiyaçları farklılaşıyor. Bu ihtiyaçlara doğru şekilde ve zamanında müdahale edilmesi gerekiyor ”. Kandilli Botanik’te yerli ve ithal bitkiler satılıyor. “İlk tercihimiz yerli üretim” diyor Rina. “Türkiye’de belli bölgelerde iyi şekilde üretim yapan yerler var, ama bitki çeşitliliği az ve üretim kapasitesi kısıtlı. Bir de yerli üretimde yaşça büyük bitki bulmak zor. Nedeni ise uzun yıllara dayanan ve bunu bir geleneğe dönüştüren üretim yerinin az olması. Bu nedenle Türkiye’de bulamadığımız bitkileri yurtdışından ithal ediyoruz. Dış mekan bitkilerini İtalya, iç mekan bitkilerini ise Hollanda’dan tedarik ediyoruz. İtalyan bitkilerinin benzer iklim koşullarında yetiştirilmiş ve kök çalışmasını tamamlamış olmasından dolayı işletmemize geldikten sonra adaptasyonlarında bir sorun yaşanmıyor”. BAZI BİTKİLERİN FARKLI İHTİYAÇLARI OLABİLİYOR İç mekan için bitki seçerken şunlara dikkat edilmesi gerektiğini söylüyor Rina: “Eviniz aydınlık ise Ficus Lyrata, Bucida ve Philadendron çeşitlerini tercih edin, yarı aydınlık ise Heteropanax, Dicksonia çeşitlerine yönelebilirsiniz. Dış mekandaki bahçe duygusunu içeriye taşımak isterseniz Strelitzai ya da palmiye türleri düşünülebilir. İç mekan bitkileri düzenli ve türüne göre az su isteyen bitkiler oluyor. Severek bakıldığında zorlanacağınızı düşünmüyorum. Sadece bazı bitkilerin ihtiyaçları faklı olabiliyor. Mesela Dicksonia ağacının sulama tekniği diğer bitkilerden farklı. Tüm gövdesinin ıslatılması gerekiyor. Bunu iç mekanda yapmak kolay değil”. BABAANNESİNİN BAHÇESİNDEKİ KOKUYU İSTEYENLER... İyi bir bahçe peyzajı için olmazsa olmazlarını şöyle sıralıyor Rina: “Ölçeğe bağlı olarak dış mekanda ağaç, olmazsa olmazım. Ağaç, dış mekanda tanımlayıcı oluyor ve kendi mekanını yaratıyor. Bir ağacı seyretmek kadar, gölgesinde de keyifli saatler geçirmek mümkün. Seçeceğimiz bitki türleri duyularımıza da hitap etmeli. Özellikle koku duyumuz. Müşterilerimle yaşadığım deneyimlerden yola çıkarak şunu söyleyebilirim: Yeni bahçe sahibi olacak kişiler genellikle babaannesinin bahçesindeki kokuyu çocukluk anılarından seçerek arzuluyor. Bu koku ıhlamur ağacı çiçeği ya da ilkbaharda çiçek açan şakayığın kokusu olabilir. Son zamanlarda beni en çok etkileyen ağaçlar ise şunlar: Quercus (Meşe) türleri, Gingko Biloba (Mabet Ağacı), Tilia (Ihlamur), Parrotio Persica (Demir Ağacı), Platanus (Çınar). TOPRAK NASIL OLMALI Bitkinin toprak seçimi de önemli bir konu. Bu konuda Rina’nın görüşlerini mutlaka not edin: “İç mekanla dış mekanda kullanılan toprak farklı. Özellikle iç mekanda lif yoğunluklu torf kullanılmalı. Toprak ile birlikte bitkinin bulunduğu saksı ölçüsü de önemli. Bitki uzun süre aynı saksıda tutulduğunda toprak verimliliğini kaybeder. Bu nedenle periyodik sürelerle toprağın tazelenmesi gerekiyor. Dış mekanda ise toprak hareketliliğinden çökmeler olabilir. İlave yapılması gerekir. Ayrıca mevsime ve bitkinin ihtiyaçlarına göre organik ve doğal gübreler kullanılabilir”. for more Print VOL IX - 2023 Out of Stock Add to Cart

Bungalow Reworked is Gabriel Yuri’s restrained renovation of a 1940s Silver Lake house, reflecting New Operations Workshop’s cross-disciplinary practice. March 27, 2026 | DESIGN & INTERIORS a BUNGALOW REWORKED words YUZU Editorial photos Graham Dunn, Gabriel Yuri Set on a quiet stair street in Silver Lake, Los Angeles, this 1940s bungalow has been carefully recalibrated rather than transformed. Over the course of a year, designer Gabriel Yuri approached the renovation with restraint—updating the home while preserving the character that defines it. At just under 100 square metres, the single-level, two-bedroom house is modest in scale. The challenge was to modernise without losing its essence. Yuri’s approach was to work with the existing plan, light and proportions, rather than impose a new identity. His studio, New Operations Workshop—founded in 2017—reflects a similar mindset, blending architecture, interiors and visual culture into a composed, cross-disciplinary practice. SILVER LAKE, LAYERED The house sits near the Corralitas Red Car Trail—once part of LA’s trolley network—and within walking distance of the Silver Lake Reservoir. It’s a neighbourhood long associated with creative life and modernist architecture, home to works such as Neutra’s VDL House and Lautner’s Silvertop. Yuri’s presence here is also personal. Splitting his time between New York and California, he acquired the house as a West Coast base while working on a nearby Neutra property in Hollywood. BUILT AROUND A SOFA The interior takes shape around a single piece: a vintage Marenco sofa, reupholstered in burnt orange velvet. From there, a quiet dialogue unfolds—drawing on 1970s Italian design, but grounded in a more relaxed Southern Californian sensibility. White walls and pale oak floors set a neutral base. Pieces such as a Poul Kjærholm PK22 chair and lighting by Eileen Gray and Charlotte Perriand introduce a modernist layer, while works by Luam Melake, Wolfgang Tillmans and Hiroshi Sugimoto add depth without excess. The result feels less like a period reference and more like a mood—somewhere between Italian precision and California ease. A LIGHT TOUCH Architectural intervention is kept to a minimum. The original footprint remains largely intact, with existing elements—such as the bathroom’s glass blocks—carefully preserved. Material choices follow the same logic: white surfaces, chrome details, black accents and controlled moments of colour. The kitchen stays close to its origins with all-white cabinetry, resisting current trends. What emerges is a space that holds different influences in balance. Calm, but not empty. Relaxed, but precise.

Marie Claire Mrad reimagines a 2007 villa in Dubai’s Al Mahra with bespoke interiors, brushed steel, and a luminous Patagonia stone bar at its center. January 05, 2026 | DESIGN & INTERIORS SOFT BRUTALISM, REIMAGINED words YUZU Editorial photos Walid Rashid interior design Marie Claire Mrad In a quiet enclave of Dubai’s Al Mahra, a 2007 villa originally shaped by traditional Arabic architecture has been reimagined through a bold yet carefully calibrated interior transformation. Led by interior architect Marie Claire Mrad, the project softens brutalist minimalism with warmth, craft, and a fully bespoke approach. The home belongs to Christopher Hani, owner and CEO of Bull Contracting, who oversaw the villa’s general contracting and joinery works. Shared with his wife, Bridie Ellen, and their young daughter, the house reflects a dynamic lifestyle and a strong desire for spaces designed around hosting, openness, and daily life. For Hani, the project became a personal testing ground—one that allowed creative and technical boundaries to be pushed in tandem. OPENING THE HOUSE TO LIGHT AND FLOW All internal walls were removed to create a continuous open plan, organised around a dramatic double-height staircase and extending seamlessly toward the outdoor pool terrace. A skylight draws natural light deep into the interior, while subtle shifts in material and proportion define living, dining, and bar areas without interrupting flow. “The concept itself was not typical of Dubai’s residential projects,” says Mrad. “We introduced elements such as brushed stainless steel wall cladding, a glowing bar made of Patagonia—a rare and luxurious natural stone—and fully customised furniture and lighting to create something truly bespoke for this villa.” RAW MATERIALS, SOFTENED Brushed stainless steel, lava stone, charcoal steel, dark mirrors, and custom-crafted furniture establish a strong architectural language. Yet restraint is key. “I wanted the home to feel bold, yet warm and livable,” Mrad explains. “The interplay of natural light through the skylight and the contrast between rough textures and softer elements guided many design decisions.” A deep palette of charcoal, steel grey, and dark stone is offset by desaturated blues that introduce relief and depth. At the centre of the composition, a luminous 13-foot Patagonia stone bar—shipped from Lebanon—acts as both sculptural anchor and visual counterpoint. “Overall, the colour scheme reinforces the architectural strength of the design while ensuring the house still feels inviting,” she notes. A FULLY BESPOKE INTERIOR From the outset, the project was conceived as entirely custom. All furniture and lighting were designed and produced by Marie Claire Mrad’s Beirut studio. Technical ambition shaped the architecture too: instead of conventional sliding doors, a remote-controlled system allows all glass panels to stack to one side, opening the main living areas fully to the terrace. Art and objects complete the narrative. A Spider chandelier by Mb-Designlab Paris anchors the living space, while a monumental face-mask sculpture by Marco Oliver dominates the double-height stair wall. Works from Bali and sculptural pieces from Thailand add rhythm and a subtle global layer. The result is a home that reframes luxury through intention rather than excess—brutalist in its honesty, minimal in its clarity, and softened by colour, light, and craft.

Nisan 2020 | Seyahat | Yunanistan Tsipouro içmeden o adadan dönmeyin! Yazı | Rana Korgül A tina’nın 50 mil güneyinde, sessiz sakin ama tüm asaletiyle yaşayan Spetses Adası’nın ismini hayatımda ilk kez on yıl önce Mikonos’a yaptığımız bir çekimde duymuştum. Orada tanıştığım restoran danışmanı, “Esas gitmeniz gereken yer Spetses Adası. Yunan Adaları’nın en güzeldir!” demişti. Bu konuşmadan kısa bir süre sonra internette de hakkında fazla bilgi edinemediğim Spetses’te buldum kendimi. Atina’daki Pire limanından Flying Dolphin feribotuyla iki saatte varılıyor Spetses’e. Adaya varınca at arabaları karşılıyor sizi. Adada ulaşım faytonlar ya da motosikletlerle sağlanıyor. Araba ise tek tük. Sadece etrafı 22.5 km olan ada çam ağaçlarıyla kaplı ve inanılmaz hoş bir kokusu var. Bu koku çeşitli edebiyatçılar ve ressamlara ilham olmuş defalarca. Spetses’in en önemli özelliği, tüm güzelliğine rağmen büyük turist turlarının istilasına uğramamış olması. Üstelik hiç bozulmamış, sakin, şık ve A plus kalitede. Bizim pek bilmediğimiz bir ada olmasına rağmen, Avrupa jetset’inin çok yakından takip edip ziyaret ettiği bir ada burası. Asil, köklü ve zengin Yunan ailelerinin yazlık malikanelerinin bulunduğu adada bugünün armatörlerinin evleri de mevcut. Ada sadece çam ve zeytin kaplı doğasıyla değil, tipik mimarisini yansıtan 17. ve 20. yüzyılın değişik stillerdeki beyaza boyanmış evleri, neo-klasik villalarıyla da dikkat çekiyor. Dapia’daki çarşısında dolaşırken dere taşlarıyla mozaik döşenmiş sokakları ve evlerin iç avluları şahane. Adada taşkın, uçuk, vur patlasın çal oynasın şeklinde bir eğlence söz konusu değil. Harika yemeklerin yenildiği, çeşitli meze ve balık restoranlarının yanı sıra sadece birkaç tane kafe ve bar var. Bunlardan en ünlüsü ve en özeli çocukluğundan beri ailecek adada yaşayan, adanın en samimi ve güler yüzlü insanı Christos Orloff’a ait olan eski limandaki Orloff Restoran. Burada ne yediysem, hepsi birbirinden lezzetliydi. Ahtapotundan risottosuna, musakkasından sardalyasına, cheesecake’inden mastikalı yani damla sakızlı milföyüne kadar. Bu yemeklerle şarabın yanı sıra Ouzo çok iyi gidiyor, ama Ouzo’nun tatlı oluşundan hoşlanmayanlara, ki bunlardan biri benim, anasonu ve şekeri az Tsipouro’yu tavsiye ederim. Hatta Ouzo bardağında soğuk ve sek, buzsuz ve susuz içilen Tsipouro’yu içmeden dönmeyin! Orloff ‘tan sonra geceye devam etmek isteyenler olursa diye Throubi, Bikini, Balkoni, La Luz, Votsalo ve Guzel adlı barları tavsiye edebilirim. Müzik güzel, insanlar güzel... Herkes mutlu, kendisiyle barışık ve rahat... 50’li yılların başında Spetses’te İngilizce öğretmeni olarak çalışmış, Büyücü adlı romanın yazarı John Fowles ada hakkında şu sözleri söylemiş: “Venüs’ün altında, kırmızımsı mavi gece denizinde, görkemli siyah bir balina gibi ilk defa gördüğümde nefesim kesilmişti. Şu an gözlerimi kapadığımda halen nefesimi kesebiliyor ve onu hatırlayabiliyorum. Bu güzelliği tüm Ege’de bile görmek nadirdir”. Fowles’a katılmamak mümkün mü? Adadan ayrılırken Christos Orloff ve kardeşi Vassilis’in “Sen artık burada turist değil, ziyaretçisin. Yakında geri geleceğini biliyoruz ve seni bekliyoruz” demesi çok hoştu. İstanbul’a geri döner dönmez, “Acaba ne zaman ve nasıl tekrar geri gidebilirim?” diye planlar yapmaya başlamıştım. Aradan geçen on yıl içinde Spetses’e sık sık gider oldum. BUNLARI NOT EDİN - Flying Dolphin feribot biletini Hellenic Seaways’in web sitesinden ayırtın. Biletin print halini Pire Limanı’ndaki ofise gidip alın. - Motosiklet kiralayıp adayı mutlaka gezin. - Adanın etrafında bizim guletlere benzeyen ‘Kaiki’lerle turlayın. - Denizden deniz kestanesi toplayın ve bıçak yardımıyla temizleyip limon sıkarak yumurtalarını yiyin. - Çarşıdaki sokak arası dükkanları dolaşın. Palissandros Era, Nord, The Closet, On the Deck ve Ratih gibi. - Dapia’daki meşhur otel Poseidonion Grace’in bahçesinde kahve molası verin. - Adaya has badem ezmeli un kurabiyesinden tadın. - Geceleri açık olan, sahildeki minik kilise Agios Mamas’da mum yakıp bir dilek tutun. - Bu plajlara gidin: Kaiki, Paradise, Vrelos, Xylokerisa, Zogeria, Agia Paraskeyi ve ünlü Bekiris mağarasının bulunduğu Agioi Anargyroi. - Orloff Resort ya da Klimis Otel’de konaklayın. - Orloff Restoran dışında Tarsanas, Ombra, The Olive Press, Liotrivi, Mourayo ve Vinoterra’ya gidin.

In an interview with Onur Baştürk, Giuseppe Lo Schiavo discusses Suspicious Reality, digital craftsmanship, perception, and the Mediterranean. September 5, 2026 | Art & Culture GIUSEPPE LO SCHIAVO SUSPICIOUS REALITY words Onur Basturk Giuseppe Lo Schiavo works at the edge of the real, where simplification meets excess and perception begins to shift. The Mediterranean, for him, is both memory and landscape. Your images sit between the real and the artificial. Why does that interest you? Honestly, I struggle with the very notion of "artificial." Everything that exists is real, or natural, in its own way. So I'm not sure I see myself as working between two territories; I'd rather say I'm questioning the border itself. What interests me is reality on steroids — a hyperbole of the real, somewhere between simplification and amplification. A piece like Paris in Rosy Retrospection works exactly on that edge. It's a low-poly 3D scan of floral arrangements found discarded on a Parisian street before being moved inside a hotel. The reduction in geometry strips the bouquet down, and at the same time the image amplifies its presence. Simplification and excess at the same time — that's the territory I'm interested in. Your landscapes feel familiar, yet slightly off. What role does this dissonance play? Yes, the dissonance is deliberate. The Windowscapes series is built on hybrids, and that slight off-ness is exactly the point. Our brain isn't used to seeing reality amplified at that level, because amplification is usually something we reserve for memory, not for what's in front of us in the present. So the viewer is caught in a small cognitive short-circuit, looking at something that behaves like a memory but presents itself as a live image. That confusion is part of the attraction. I think of these works as cognitive experiments more than landscapes. You work with AI and digital tools, yet retain strong authorship. How do you define your role? There's a misconception I'd like to address. Most of my work isn't AI-generated; it's built on digital craftsmanship, which is almost the opposite of AI. I model everything in 3D from scratch. I use physics-based simulation software to render wind, sun, clouds — the camera itself. Every element is sculpted by hand in a virtual space, and then a photograph is taken inside that space. A single piece can take months to build. In that sense, my process is closer to a painter's than to someone prompting a model with text. I have full authorial control over the scene and every atmospheric element. AI enters my practice only in specific cases, mostly for complex video animations or code-based experiments, where the medium itself becomes part of the inquiry. I don't curate outputs; I build the world the image comes from. I’M NOT INTERESTED IN AN ACCURATE REALITY, BUT IN IT’S SUREEAL EDGE — A “SUSPICIOUS REALITY” THAT FEELS PLAUSIBLE, YET NEVER QUITE SETTLES Your work often suggests a “reconstructed nature.” Are you representing it, or reimagining it? I reimagine it. I'm not interested in an accurate version of reality; I'm interested in its surreal edge, in what I'd call a suspicious reality — something that looks plausible but doesn't quite let you settle into it. And I'd push back gently on the word "nature" itself. I apply the same logic to other subjects, for instance in Fragments of Reality, where I worked with a 3D scan of a destroyed car coming from a war zone in Ukraine, placing it inside a refined domestic interior. The object carries a weight that doesn't belong to the space it now inhabits — a memory intruding into a setting that wasn't built to hold it. A Windowscape can be a landscape, but it can also be an interior view treated as one. So what I'm really reimagining is perception, more than nature as a category. Your images carry a quiet, almost romantic atmosphere. How do you position yourself in relation to that tradition? I understand the reading, but I'd distance myself from that tradition. The romantic landscape is built around an observer — often a heroic one — projecting meaning onto vastness. In my work, that figure isn't there, and human presence is absent altogether. What's left isn't contemplation; it's emptiness, suspension, waiting. The viewer can sit in a space where nothing is happening yet. MY SCHOOL WAS ON THE BEACH. THE SEA IS, QUITE LITERALLY, MY PLACENTA — I KNOW ITS LIGHT AND THE STORIES IT CARRIES In recent works — including those shown at Art Paris 2026 — the presence of the sea feels particularly strong. What does the Mediterranean represent to you? I was born in Calabria, in what was once Magna Graecia. My school was on the beach. The sea is, quite literally, my placenta. I know its light; I know the stories it has carried across centuries. The Mediterranean has been a recurring subject in my work, most recently in a video installation at Palazzo Vecchio in Florence on the migration routes from North Africa, and in Southern Gateway, a piece commissioned by Bvlgari, where the 3D scan of an ancient sculpture from the Vatican Museum becomes a threshold — a passage between cultures, journeys and time. So for me, the Mediterranean is never just a landscape. It's dream and memory at once, light and border at once. These framed views towards the sea suggest both distance and longing. What sits behind them? The series started during lockdown, when windows became our only way of looking at the world. That period left a mark on the work — the window as a device that connects and separates at the same time, a frame that lets you see but not reach. There's also a more personal layer. My father was a window maker. I don't think I control that influence; it's something I'm unconsciously drawn to, and I've stopped trying to explain it away. So the longing in these images isn't only about the sea — it's about the threshold itself, what it means to look from inside towards something you can't quite touch. What has most shaped your visual language? The most formative influence on my work isn't artistic; it's evolutionary biology. It gave me a kind of detachment from reality — a way of looking at the world more objectively, from a distance that lets me hold two things at once: that everything makes sense, and that nothing really does. That tension is the engine of my visual language. On the visual side, video art and performance have been central. Bill Viola and Studio Azzurro shaped my sense of time, slowness and immersion — the idea that a video, or an image, can be deeply transformative and evocative. Dimitris Papaioannou — an Aegean voice that resonates with the themes of this issue — for the way he composes the body into living tableaux that feel sculptural and cinematic at once, with references to ancient Greek art.

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

Bünyamin Atan discusses Hiza Architects, Mardin, and how cultural memory, local knowledge, and belonging shape his approach to contemporary architecture. August 24, 2025 | DESIGN & INTERIORS TR BELOW BUNYAMIN ATAN ‘PEOPLE THRIVE in the SOIL THEY COME FROM’ words & portrait photos Onur Baştürk Mardin-born architect Bünyamin Atan, founder of Hiza Architects, is one of the rising names on today’s architectural scene. Drawing from a deeply layered cultural memory, his work invites us to reconsider notions of origin, belonging, and contemporaneity. As one of the most closely watched voices of his generation, Atan defines architecture not merely as the production of buildings, but as an ongoing dialogue with history, culture, and geography. As an architect from Mardin, you grew up with a multilingual, multi-layered cultural memory. How does that shape Hiza Architecture’s work? When I first left for university, I saw two paths: to set my Mardin identity aside and blend into a new life, or to carry it proudly as part of who I am. Both were hard. Over time, I chose to lean closer to Mardin—its languages, its history, its urban fabric that has no real counterpart in modern architecture. For me, belonging is relative. Sometimes it’s to land, sometimes to history, sometimes to culture. Mardin sits at the crossroads of all three. I believe origin always shapes architecture, directly or indirectly. I’m one of those who believe, deeply, that people thrive in the soil they come from. FINDING BALANCE IN ‘HIZA’ The word Hiza is poetic and philosophical. How do you balance the temporary and the permanent, the quiet and the visible? Hiza means the trace a camel leaves in the desert. We took this very physical description and pulled it into a more abstract realm, imbuing it with meaning and identity. Working with abstract concepts in architecture isn’t easy, because everything eventually becomes physical. Maybe we thought that in making these transitions, we could find our own hiza —our own measure. Looking back, I see how much this approach has helped guide and regulate our work. In a way, it defines the relationship between past and future. But we want to be temporary as much as permanent. The reason lies in the etymology of hiza: a mark appears in the desert, like a layer. Then the wind comes, covering it with new layers until the sand eventually loosens, scattering again. That image became our guide. In every project, we start from this frame: geography, history, culture. A NATURAL EVOLUTION Local materials and traditions play a role in your work. How should contemporary architecture relate to the local? The “local” often feels too symbolic today. Even when tradition is applied faithfully, the users are rarely local. Think of Mediterranean tourism hubs—everyone competes to perfect “local architecture,” but the users are short-term visitors. What’s new is that contemporary users, after adopting global culture, have reshaped the local in their own image. It’s a natural evolution, a generational shift. My approach is to bring local knowledge into the present without pretending, without social engineering, without a top-down gaze. ON THE BODRUM MOSQUE Your futuristic Bodrum Mosque project sparked discussion… Yes—there was already a replica Ottoman mosque under construction, heavily criticized for being out of scale and inauthentic. Without demolishing, we reworked the design to create a mosque that feels true to Bodrum, rooted in the Aegean. THE MARIN PROJECT IN MARDIN Tell us about your Marin project in Mardin. The site sits just below the castle, overlooking new settlements, with five caves within the land. That was thrilling. Instead of mimicking Mardin, we looked to the mountain villages of Mesopotamia, which evolve over generations. Our aim was not only to let people experience Mardin’s historic texture, but also to create cultural knowledge about Mesopotamia. The program includes a mosque, chapel, library, galleries, restaurants, hotel, housing, and offices—an ambitious mix for Mardin’s geography. HIGH EXPECTATIONS OF ARCHITECTS Which fields outside architecture feed your work? I’ll admit, I expect a lot from architects. They should know sociology, photography, geography, history—and bring it all together as culture. I push myself the same way, forcing myself to stay a student. Each new project makes me feel like a beginner, but I embrace that by collaborating with people who can guide me. INSPIRATION AND THE POWER OF ILLUSION What inspires you? Poetry, photography—and nature. Driving through the countryside, you crest hill after hill, expecting difference, but always finding the same winding roads. That illusion fascinates me. Imagine building a place that gives people that feeling. Is there a building that still overwhelms you? Yes: the 4th-century Mor Evgin Monastery in Mardin’s Tur Abdin mountains. Its rootedness, its hidden-yet-visible stance, its rough materials, its interior atmosphere… it never stops inspiring me. BÜNYAMİN ATAN ‘MİMARLIĞIN KÖKENLE bir İLİŞKİ HALİ VAR’ Mardin kökenli mimar Bünyamin Atan, kurucusu olduğu Hiza Architects ile mimarlık sahnesinin yükselen isimlerinden. Çok katmanlı kültürel hafızasından beslenen yaklaşımıyla köken, aidiyet ve çağdaşlık kavramlarını yeniden düşünmeye davet ediyor. Kendi kuşağının dikkatle izlenen mimarlarından biri olarak mimarlığı yalnızca yapı üretimi değil; tarih, kültür ve coğrafya ile kurulan bir diyalog olarak tanımlıyor. Mardinli bir mimar olarak çok dilli, çok katmanlı bir kültürel hafızayla büyüdünüz. Bu aidiyet hissi, Hiza Mimarlık’ın üretimlerine nasıl yansıyor? Sizce mimarlıkta kökenin rolü ne kadar belirleyici? Üniversite yıllarıyla beraber Mardinli olmanın benim için iki temsil biçimi vardı. İlki, Mardinliliği bir kenara bırakıp yeni dahil olduğum hayatın bir parçası olmak. Diğeri ise bunun kıymetli bir şey olduğunu görünür kılıp kimlik olarak taşımaya çalışmak… İki yol da kendi içinde zordu. İlkinde yeni bir hayatı tam anlamıyla öğrenmek zaman ve emek istiyordu. Diğeri ise bana eşlik eden bilgileri -dersini tekrarlayan bir çocuk gibi hatırlamaya çalışıp- mimarlık kimliğiyle bir araya getirmeye çalışmaktı. Ailemden de kaynaklı olarak Mardin kimliği ile daha yakın bağ kurmayı, dilleri ve tarihi daha görünür kılmayı, modern mimarlıkta karşılığı olmayan kentsel dokusunu incelemeyi tercih ettim. Aidiyet kavramı ise göreceli. Bazen bulunduğun coğrafyaya ait olmak, bazen tarihe bazen de kültüre… Bunların ara kesitine odaklanıyorum. Mardin bu üç başlığın da iyi kesiştiği bir coğrafya. Bu üç başlığın da etnik kökeni şekillendirdiğine inanıyorum. Bu yüzden mimarlık kökenle doğrudan ya da dolaylı olarak ilişki halinde. Yani kesinlikle kökenle bir ilişki hali var. “İnsan toprağında yeşerir” kavramına inananlardanım! “Hiza” kelimesine yüklediğiniz anlam, şiirsel olduğu kadar felsefi de. Geçiciyle kalıcının, sessizle görünürün arasındaki bu dengeyi nasıl kuruyorsunuz? Hiza, devenin çölde bıraktığı ize deniyor. Bu somut tanımlamayı soyut bir düzleme çekip mana ve kimlik yüklemeye çalıştık. Mimarlık üretimini soyut kavramlar üzerinden işlemek kolay değil. Çünkü yaptığımız her üretim fiziki eyleme evriliyor. Belki bu geçişleri yapmak bize ve üretimlerimize bir hiza getirir diye düşündüm. Kuruluşumuzdan bu yana yaptıklarımıza baktığımda, bu kurgunun bizi denetlediğini görüyorum. Ama geçici de olmak istiyoruz kalıcı da! Nedeni, hizanın etimolojik anlamında gizli: Çölde bir iz çıkıyor, bir katman gibi. Rüzgârla birlikte bu katman yeni katmanların altında kalıyor ve zaman içerisinde sıkılaşmış kum taneleri tekrar diğer taneler gibi ayrışıp dağılıyor. Bu tanım bize şahane bir rehber! Bir projeyi ele alırken tamamen bu bağlamda hareket ediyoruz. Coğrafya, tarih, kültür… BU ÇOK DOĞAL BİR EVRİLME Tasarımlarınızda yerel malzeme ve bölgesel mimari değerler belirgin rol oynuyor. Sizce çağdaş mimarlık yerel olanla nasıl bir ilişki kurmalı? Buna yanıtım biraz farklı. Yerel olanın çok sembolik kaldığını düşünüyorum. Çünkü yerel mimaride geleneği tüm normlarıyla ele alsak bile, kullanıcısı artık yerel olmuyor! Akdeniz’deki herhangi bir ülkenin herhangi bir turizm bölgesini ele alalım. Hepsi yerel mimariyi en iyi şekilde icra etmek için yarışıyor. Bu yapıların kullanıcıları ise çoğunlukla kısa dönemli kullanıcılar. O yapının yaz sıcağına verdiği yanıtı görüyor, ama kış rüzgârına olan dayanıklılığını görmüyorlar. Günümüzde yerel mimarlık inşaat ekonomisinde kendisine böyle yer bulabildi. Yeni olan şey, bu güncel kullanıcıların çağdaş mimarlık kültürünü benimsedikten sonra yerel olanı da kendilerine benzetmiş olması… Bu çok doğal bir evrilme. Aslında bir kuşak dönüşümü. Düşünün, köylüsünüz ve köyde eviniz var. Bakımı zor, bağı bahçesi bir dert. İlk fırsatta, daha kolay olduğu için şehirde bir apartman dairesi alırsınız. Ama bu da yorucu ve sıkıcı gelir. Derken ekonominiz düzeldiği llk anda müstakil yaşama geçersiniz. Çünkü bağ bahçe, sağlıklı ürün gibi kaygılarınız oluşur, tarih bilinciniz artar, geçmiş daha anlamlı ve güçlü gelir. Böylece öze dönüş başlar. Köydeki eve dönüp restore eder, oradaki eski yaşama dönersiniz. Ama tamamen yeni biri olarak… Sorunuza yanıt verecek olursam: “Mış” gibi yapmadan, toplum mühendisliğinden kaçınarak ve üstten bakmadan yerel bilgileri günümüz kullanıcısına sunmaya çalışıyorum. Kullanıcıların yeni olduklarını kabul ederek… BODRUM CAMİİ PROJESİ ÜZERİNE… Fütüristik Bodrum Camii projeniz de çok konuşulmuştu… Aslında mevcut bir proje yapılmış ve inşaatı başlamıştı. Yapılan proje, geleneksel Osmanlı camilerinin bir taklidi olduğu için Bodrumlular’dan eleştiri almıştı. Aynı zamanda iri bir yapı olduğu için doku açısından yanlış proje olduğu konusunda herkes mutabıktı. Yerel ve merkezi yönetimden bir talep oluştu ve ben öyle dahil oldum. Mevcut inşaatın geldiği yeri koruyarak, yıkmadan, Bodrum’a ait, Ege’nin içinde olduğunu hissettiren bir cami yapmaya çalıştık. MARDİN’DEKİ MARİN PROJESİ Bir de Mardin’deki iddialı Marin projesi var. O projeyi anlatabilir misiniz? Şöyle: Mardin’de yeni bir proje için bize ulaştılar. Yeri ilk öğrendiğimde çok şaşırdım. Çünkü Mardin’in yeni yerleşimine bakan, tarihi dokunun içinde olmayan, ama kalenin hemen dibinde konumlanmış bir arazi söz konusuydu. Üstelik arazi içinde irili ufaklı beş mağara da bulunuyordu. Bu da bizi epey heyecanlandırdı. Mardin’in geçmişiyle geleceği konusunu işleyebileceğimiz bir yer olduğunu gördüm. Biz de bir Mardin taklidinden ziyade, Mezopotamya’nın dağ köylerini referans aldık. Malum, bu köyler iki veya üç kuşak boyunca kurulur ve nihai görüntüsüne ulaşır. Mardin gibi şehirler ise binlerce yıllık bir zaman diliminde kendini var eder. Bu yerel tespit vesilesiyle yol haritamız daha belirgin hale geldi. Projenin amacı sadece Mardin’in tarihi dokusunu deneyimlemek değil, Mezopotamya’ya dair bir kültür ve bilgi oluşturma amacıyla kurgulandı. İçince mescit, şapel, konferans salonları, kütüphane, sanat galerisi, restoranlar, otel, konut ve ofisler bulunuyor. Bu kadar çok fonksiyonu bir arada bulundurması Mardin coğrafyası için çok şey ifade ediyor. MİMARDAN BEKLENTİM ÇOK! Disiplinler arası düşünmeye açık bir yaklaşımınız var. Mimarlık dışındaki hangi alanlar sizi besliyor ya da mimari düşünce yapınızı etkiliyor? Mimarlığı yaparken sakin kalmaya çalışıyorum, ancak başkalarının ürettiği mimarlığa sakin kalamıyorum! Hayranlık ya da eleştirimi en yüksek dozda yaşıyorum. Mimarlık okuması yaparken mimardan her şeyi beklediğimi itiraf etmeliyim. Hatta eleştirdiğim kavramları bile yapmalarını bekliyorum. Toplumu bilsin, topluma seslensin, yani toplum mühendisliği yapsın beklentisine giriyorum. Kendi projelerimde ise bu tavrı üstten bakış diye eleştiriyorum. Geriye çekilmeyi daha doğru buluyorum. O nedenle kendimi tenzih ederek söylüyorum. Mimar sosyoloji bilmeli, fotoğraf çekmeyi bilmeli, çok coğrafya görmüş ve anlamış olması gerekli, tarih bilmeli ve son olarak da bunların bir ara kesiti olarak kültürlü olmalı. Evet, mimardan beklentim çok! Ben de bu bağlamda öğretime devam ediyorum diyebilirim. Teknik olarak kendimi hâlâ bazı alanlarda öğrenci olmaya zorluyorum. Bu aslında öğrenmeyi sevmek. Yeni bir proje başladığında beceriksizmişim gibi bir his geliyor. Ama öğrenmeyi sevdiğim için hemen telefona sarılıp o alanda bana yol arkadaşlığı edecek olanları davet ediyorum. EN ETKİLEYİCİ YAPI MOR EVGİN MANASTIRI İlham aldığınız şeyler? Her şeyden etkilenen biriyim, ama doğayla tanımlayacak olursam: Taşrada, ardı sıra dizilmiş tepelerde yol almak. Taşrada yolda giderken, her tepenin ardında farklı bir şey var duygusuna kapılırım, ama her zaman birbirine benzeyen, kaybolan ve kıvrılan tekdüze yollar ile karşılaşırım. Bu benim için büyüleyici bir yanılma hissi! Düşünsenize bir mekanı böyle bir hisse sahip olacak şekilde kurgulamayı başarıyorsunuz. İnanılmaz olurdu. Sizi hâlâ büyüleyen ya da yeniden düşünmeye sevk eden bir mimari yapı ya da detay var mı? Abartılı gelebilir, ama dünya üzerinde benim için en etkileyici yapı Mor Evgin Manastırı. Mardin’de Turabdin Dağları’nda konumlanmış bir 4. yüzyıl yapısı. Yerine ait oluşuyla, hem saklanan hem görünen duruşuyla, yapı malzemesindeki nizami olmayışla, iç mekanda sunduğu atmosferiyle…

Melissa & Miller transforms a historic Philadelphia home with Scandinavian design, artisan craftsmanship, and works by Ai Weiwei and Damien Hirst. September 2024 | DESIGN & INTERIORS TURKISH BELOW CRAFTSMANSHIP and SCANDINAVIAN ELEGANCE words Karine Monie photos Brian Wetzel This home in Philadelphia's historic Main Line neighborhood showcases Scandinavian design and the craftsmanship of small artisans from around the world. Stripped down to its essentials, the home exudes a serene, calming atmosphere with a neutral palette and subtle touches of color. The existing interior architecture and design was very nouveau and grand. “We stripped everything down to create a serene and calming space, streamlining areas to enhance relaxation. The entire project spanned nine months” says Melissa Urdang Bodie, co-founder of Melissa & Miller. "The inspiration for the interior design was undeniably rooted in the outdoors," explains Melissa. "We enhanced the kitchen by removing walls and installing a large window/door that opens onto their stunning garden. Inside, the powder room features cloud-like wallpaper. In the breakfast room, chairs in a warm green tone add a welcoming touch, echoing the natural beauty that surrounds the home”. AI WEIWEI AND DAMIEN HIRST WORKS The clients had a clear vision of a neutral palette for their home, though the designers gently encouraged a touch of color, such as the green chairs in the breakfast room. Their art collection is predominantly vibrant, highlighted by exceptional pieces from artists like Ai Weiwei and Damien Hirst, which added depth and character to the project. THE PERFECT SCANDINAVIAN-INSPIRED DINING ROOM It was designed to have a focal point without feeling overbearing. “We opted for a limewashed wall to add movement, and the Scandinavian wooden pendants created perfect simplicity while casting a beautiful glow,” says Melissa. “As always, we experimented with a variety of dining chairs, prioritizing look, comfort, and proportion. We value collaborating with small artisans and makers worldwide, and we finally found the perfect chair from Sarza, who sources furniture from South Africa”. USTALIK ve İSKANDİNAV ŞIKLIĞI Philadelphia'nın tarihi Main Line bölgesindeki bu ev İskandinav tasarımını ve dünyanın dört bir yanından gelen küçük zanaatkârların işçiliğini sergiliyor. Mevcut iç mimari ve tasarımı son derece modern ve görkemli olan evi yeniden tasarlayan Melissa & Miller'ın kurucu ortağı Melissa Urdang Bodie, “Sakin bir alan yaratmak için her şeyi elden geçirdik ve rahatlamayı artırmak için alanları düzenledik. Tüm proje dokuz ay sürdü” diyor. “İç tasarımın ilham kaynağı inkar edilemez bir şekilde dış mekandı,” diye açıklıyor Melissa. “Duvarları kaldırıp muhteşem bahçeye açılan büyük bir pencere/kapı yerleştirerek mutfağı zenginleştirdik. İçerde, tuvalet odasında bulut benzeri bir duvar kâğıdı bulunuyor. Kahvaltı salonundaki sıcak yeşil tonlu sandalyeler, evi çevreleyen doğal güzelliği yansıtan hoş bir dokunuş katıyor.” AI WEIWEI VE DAMIEN HIRST ESERLERİ Müşterilerin evleri için net bir nötr palet vizyonu vardı. Ancak tasarımcılar kahvaltı salonundaki yeşil sandalyeler gibi renk dokunuşlarını kibarca teşvik etmeyi ihmal etmemişler. Ai Weiwei ve Damien Hirst gibi sanatçıların olağanüstü eserleriyle öne çıkan ve projeye derinlik ve karakter katan sanat eserleri de oldukça canlı. İSKANDİNAV ESİNTİLİ YEMEK ODASI Melissa yemek odasına hareket katmak için kireç badanalı bir duvar tercih etmiş. “İskandinav ahşaplar güzel bir ışıltı verdi ve mükemmel bir sadelik yarattı” diyor. “Her zaman olduğu gibi, görünüm, konfor ve orantıya öncelik vererek çeşitli yemek sandalyeleri denedik. Dünya çapında küçük zanaatkârlar ve üreticilerle iş birliği yapmaya önem veriyoruz. Sonunda Güney Afrika'dan mobilya tedarik eden Sarza'dan mükemmel sandalyeyi bulduk”.

Ludovica Serafini and Roberto Palomba, founders of Palomba Serafini, discuss 30 years of design and their Roman and Sardinian influences. July 23, 2025 | DESIGN & INTERIORS PALOMBA SERAFINI words Onur Basturk photos Courtesy of ps+a Get ready to discover the story of a remarkable partnership, shaped by design! Ludovica Serafini and Roberto Palomba, the visionary creators of the Palomba Serafini brand founded in 1994, share their journey of determination, hard work, and inspiring experiences. PERHAPS THE MOST SIGNIFICANT MOMENT IS REALIZING THAT YOU ARE A MATURE PROFESSIONAL WHO IS VALUABLE TO THE INDUSTRY. Last year, you celebrated your 30th anniversary. Looking back at your 30-year design journey, can you share the most memorable and standout moments for you? R: It has been a long journey without ever stopping—everything has been unforgettable. It has been so wonderful (and still is) that I find it difficult to define one moment as better than another. However, perhaps the most memorable part wasn’t a single event but rather the awareness of having achieved success. When you realize that what you do is appreciated, that your ideas are valued, that people buy your projects, and that you’ve reached a level of design maturity that can be sustained, you understand the value of your journey. The truly memorable part consists of many small fragments that, when put together, create a sense of awareness. Perhaps the most significant moment is realizing that you are a mature professional who is valuable to the industry. The most meaningful moments are those of awareness—they give you the drive to do even more. L: A few years ago, we renovated one of our homes in Salento, specifically in Sogliano Cavour (LE). We furnished it with objects we’ve designed from the beginning of our career to today—projects spanning different materials: wood, fabric, upholstered pieces, mirrors, sanitary ware, ceramics, metals, and lighting. By incorporating all these elements, one can see they are all part of the same vision: individual elements forming a harmonious whole, much like instruments in an orchestra. This demonstrates the common thread in our continuous research into form applied to function, which has been our focus since the beginning. THE FUSION OF THESE TWO VISIONS —THE SARDINIAN AND THE ROMAN —HAS ALLOWED US TO DEVELOP A DISTINCTIVE AND INNOVATIVE APPROACH You’ve probably answered this a million times, but I’m curious—how did you two meet? Was it romantic? What kind of day was it? R: We met at a dance in Rome while both studying architecture in the Eternal City. After eight months of persistent courting, we began dating. From that day on, we have never been apart, and alongside our life together, we began realizing our professional dream. In 1994, we founded the Palomba Serafini studio. L: The places we come from have significantly contributed to our creativity. R: I am from Sardinia, a wild and authentic land, rich in ancient history and deeply rooted traditions. Sardinia’s breathtaking landscapes, with rugged coastlines and lush mountains, have profoundly influenced my approach to design. L: I come from Rome, a city that is a true open-air museum, where historical eras blend into one magnificent metropolis. Rome is a city of contrasts, where the ancient intertwines with the modern, and Baroque opulence coexists with Renaissance sobriety. The fusion of these two visions—the Sardinian and the Roman—has allowed us to develop a distinctive and innovative approach. What were the early days of PS+A like? R: Very quiet. It was just the two of us, with plenty of time to dedicate to our work. We would come home, and the days felt endless; sometimes, we’d find ourselves staring at the wall, asking each other: “What will we be when we grow up?” Today, on the other hand, the days fly by! Sometimes, we can’t even find time for a break. Everything is so hectic—a true race against time, with so much to do that we often realize the day has ended before completing half of what we had planned. The difference between those early days and now is that back then, we had time. Yet today, we might still be asking ourselves the same question: “What will we be when we grow up?” And the answer is probably just one: on vacation! MISTAKES ARE NOT DEFEATS BUT LEARNING OPPORTUNITIES —A FUNDAMENTAL STEP TOWARD GROWTH What advice would you give to the impatient Gen Z when it comes to work? Don’t try to leave your mark at all costs—focus on being yourself. Designing is one of the most powerful forms of self-analysis because it forces you to reflect on yourself and society. Every design decision represents a path among thousands, and that path is yours alone. No one—not even artificial intelligence—can choose it for you, because only you possess the motivations that drive you in that direction. Being a designer means knowing who you are and who you want to become. To express that through your work, you must be willing to make mistakes. Mistakes are not defeats but learning opportunities—a fundamental step toward growth. Expecting immediate success without failure leads to frustration. True success comes with patience and perseverance. L: My advice to young people is to study extensively. Today’s creative world moves at an incredible speed, with tight design deadlines, but knowledge is essential. It acts as a puzzle that you later reorganize through your unique perspective, allowing you to create distinctive projects and stand out. Conformity is the total loss of value for a creative. So, my advice is: study hard, travel as much as possible, and never let yourself get distracted by your phone. Observe details, understand why they exist in a particular time and place, and reinterpret their meaning in the present. Work hard—only perseverance pays off. Inspiration must be sought through experiences and collaborations beyond architecture and design—whether in cinema, literature, or fashion. Sharing both your work and life—what has it brought into your lives? L&R: When we work with shared values and a unified vision, not only does it make disagreements rare, but it also builds a deep and harmonious connection that reflects in every project. A project created by four hands is not just the result of collaboration but a merging of minds that enrich one another. It is a shared journey where every decision is the outcome of constant dialogue and mutual commitment, strengthening each idea over time. During the design process, who makes the final call? Who’s the real boss? Do you argue, or are there areas where you’re always in sync? L&R: At the core, there is profound harmony and mutual understanding. Occasionally, one of us becomes more invested in an idea, but there are no real arguments—just immense respect and admiration for each other’s vision. Every project is enriched by our exchange of perspectives, making it even more meaningful. It’s hard to categorize your creative career. But what excites you the most—designing spaces (homes, hotels,etc.) or products? R: We are excited by challenges—anything new and different that pushes us to rethink ourselves. This mindset sets us apart because doing something you’ve never done before truly allows you to learn a great deal. L: Personally, I was born an architect. As a child, I would spend hours observing my mother’s floor plans, imagining myself as a tiny ant walking through the various rooms and inventing stories. Architecture is an innate passion for me. I see an architect as someone with a global vision, an ability to refine an idea step by step until it reaches its full potential. So, definitely architecture. I’M NOT A FAN OF LARGE TABLES WITH TOO MANY CHAIRS LEFT EMPTY —IT MAKES ME FEEL A BIT SAD Roberto, I read somewhere that you’re not a fan of dining chairs at home. And I think also wardrobes in the bedroom? Can I ask why? Are there other rules or types of furniture you avoid at home? I’m not a fan of large tables with many chairs around them that, in the end, remain empty. When they are visible all day in a living room, they make me feel a little sad. I prefer, as I did in my own home, to transform the table into a kind of installation, bringing out chairs only when needed. I don’t like seeing empty chairs around a table, with all the legs creating disorder. But if you’re lucky enough to have a separate dining room, then you can have as many chairs as you like. As for wardrobes, I believe they are best placed near the entrance of the house. When you arrive home, you step into your own space, take off your day clothes, and in that moment, you can begin to unwind. The wardrobe moment should be a transition from the outside world into a personal retreat. I have no objections to specific furniture pieces, but I certainly have my own rituals, like everyone else. Ludovica, for you, what makes the perfect home design? What elements do you prioritize the most? I think the word perfection is tied to the concept of the "here and now." I embrace disorder—it holds great value for me. From chaos, something new is always born. Perfection is unattainable; as far as I’m concerned, the word could disappear from the dictionary altogether. The fundamental aspect of a home is its mood—a reflection of the inhabitant’s state of mind. Good design should create harmony within a space. Since we inhabit spaces in many forms—our home, a car, a museum—we should aim to make each of them feel good to be in. That’s what truly matters. MUTUAL TRUST AND A GREAT DEAL OF PATIENCE Over the past 30 years, you’ve collaborated with leading brands like Zanotta, Foscarini, Poltrona Frau, Bosa, and Lema. What are the key elements to ensure harmony between a designer and a brand? R: Mutual trust and a great deal of patience. For designers, respect for the brand is essential. Too often, we see projects where designers impose their personal vision without honoring the company’s identity. A successful collaboration requires synergy: I bring my vision, the company brings its identity, and together we create something more significant than what either could achieve alone. Listen, learn, respect—these are the principles that foster growth. L: I deeply believe in the principle of Yin and Yang—harmony cannot exist without a degree of contrast. The essence of any authentic collaboration is shaped by differences. A designer-brand relationship goes beyond the professional—it is, above all, a human connection. It involves intense exchanges, highs and lows, moments of great synergy, and inevitable friction. But it’s precisely in those tensions that the deepest insights emerge, the strongest ideas take shape, and the most meaningful results are achieved. Is there a particular brand collaboration that you’ll never forget? Can you share why? R: Personally, I think back to the years spent at Zanotta with Martino Zanotta, who, sadly is no longer with us. Those were truly wonderful years. Of course, there was the professional side, but what made them so special was the deep friendship we shared—beyond just our work relationship. That bond extended far beyond the business, making every moment meaningful. L: Without a doubt, one of the most important experiences of my career was meeting Enrico Astori and beginning to work with Driade. I had the opportunity to form a deep connection with an extraordinary architect—not only in terms of vision but also on a human, cultural, and creative level. He was an incredible source of inspiration, and in the world of design, he is the person I miss the most. Another company where designing is always a pleasure, and perhaps one of the longest-running collaborations we have, is Foscarini. We started working with them on glass lamps when their headquarters were still in Murano—projects that later became bestsellers. With Foscarini, every collaboration has been a constant journey of discovery. WHEN YOU HAVE DOUBTS, YOU SEEK ANSWERS, AND THAT PROCESS OFTEN LEADS TO INNOVATIVE AND BETTER SOLUTIONS Roberto, in one of your interviews, you said, “I’m still a child, and I hope to stay a child forever. Growing up means losing curiosity, and I’m still growing.” That was so inspiring! Do you think growing up equals being boring? Is a designer more successful and effective when they preserve their inner child? R: I believe that growing up allows you to gain experience and greater control over your work, which is certainly valuable. However, one must be careful not to let experience become a limitation. Sometimes, because we know certain approaches, finishes, or designs work, we tend to repeat them and lose the desire to question ourselves. I believe youth is defined by having doubts, while maturity sometimes leads to false certainties. The key is to embrace doubt as an opportunity rather than a limitation. When you have doubts, you seek answers, and that process often leads to innovative and better solutions. If you stop questioning and assume that what has worked before will always work, eventually, someone else will come along and do it better—challenging your approach and offering something new. That’s exactly what I did when I was younger: questioning existing ideas. When we’re young, we must doubt what came before us. When we’re older, we must learn to doubt ourselves. So if being childlike means staying curious and always questioning, then yes—preserving that mindset is essential for any designer Should a designer be an unattainable, almost godlike figure, or more down-to-earth? R: I don’t believe designers should be seen as deities. Designers are human beings like everyone else. The issue is that some have turned this profession into a kind of cult, and as long as people admire them uncritically, they will continue to cultivate that image. For me, design is a beautiful profession that deserves respect and recognition, but it is still a profession—not a status. If a designer creates successful projects, they absolutely deserve admiration, just like any other professional. However, when admiration turns into worship, when designers claim to be above others or behave as if they are untouchable—that’s an entirely different story. Let’s think carefully about karma. L: In today’s world, where everyone seems to claim expertise in everything—whether as great chefs, designers, photographers, or critics—I, as someone who is simply an architect, often feel like a secondary figure. Perhaps, then, the ability to impose one’s vision is more valuable than ever. However, on my journey, I will always encounter people who believe themselves to be great, even when their profession has little to do with creativity. for more Print VOL XV - 2025 Out of Stock Add to Cart

Le Sirenuse Mare opens in Nerano on the Amalfi Coast, designed by Annarita Aversa and Studio Architetti Artigiani Anonimi, with art by Alba Clemente. August 10, 2026 | VOL 19 LE SIRENUSE MARE a NEW CHAPTER in a QUIET BAY words Onur Basturk photos Le Sirenuse Mare — Steffan Giftthaler Family Portrait — Lorenzo Bringheli I step out of my room at Le Sirenuse and make my way down to the beach below—moving through the crowds—to catch the boat that will take me to the hotel’s new beach club, Le Sirenuse Mare. I’m not alone. Four other guests join me, and for a moment it feels like stepping into a new season of The White Lotus. Everyone has their own presence. One woman, in particular, stands out—wearing high-heeled leather boots in the midday heat. After a 50-minute journey, we arrive at Marina di Cantone, one of the quieter corners of the Amalfi Coast. A fishing village known mostly to insiders, it feels calm and unhurried—more frequented by locals and those who know where to go. Most simply call it Nerano, after the hilltop town above. Its best-known dish, Spaghetti alla Nerano, is built on the deceptively simple pairing of zucchini and cheese. Why Nerano? Antonio Sersale, representing the second generation of the family behind Le Sirenuse, answers directly: “We’ve been looking for a place where our guests could enjoy the sea. Nerano was a natural choice—we’ve been coming here for lunch as a family for years. My father Franco even had his wedding here. For me, it captures the warm, authentic side of Italy that Le Sirenuse has always embraced.” AUTHENTICITY, RESPECT FOR PLACE, AND A SEARCH FOR BALANCE BEYOND FLEETING TRENDS At Le Sirenuse Mare, the spatial sequence reveals itself in layers. A stepped entrance leads in. Then comes Rose’s Bar—recalling the understated beach bars of Italy’s dolce vita years—alongside the Emporio Sirenuse boutique. Beyond, the layout opens into two focal points: a restaurant set within a generous garden, and finally the beach club itself, reached by a series of steps—lined with green-and-white umbrellas and five elegant cabanas dressed in hand-embroidered fabrics from India. Five years in the making, the project is designed by Studio Architetti Artigiani Anonimi, led by Annarita Aversa: “As a part-time resident of the Amalfi Coast, I have always seen Le Sirenuse as an exemplary entrepreneurial model—one that has built, across generations, an authentic narrative rooted in family values, and a virtuous relationship between hospitality and its territory. To me, its elegance lies in the balance behind every decision: slow, thoughtful, and intentional, reflecting the Sersale family’s deep awareness of their identity. The project began with a careful reading of this identity, with the aim of translating it into a contemporary, non-rhetorical temporary architectural intervention, set within a remote coastal landscape very different from Positano. It is grounded in the brand’s enduring values: authenticity, respect for place, and a constant search for balance and harmony, beyond fleeting trends. Adding a new layer to this long-standing story, in tune with the present, was made possible by a strong alignment of vision between designers and client.” From the outset, Aversa approached the project as a landscape intervention: “A stretch of coastline that had been compromised by interventions in the 1970s needed to be carefully restored through the use of materials consistent with the context. The large asphalt tennis court was therefore reimagined as a garden articulated into human-scale terraces. We reflected at length on this, seeking to create a sequence of simple spaces—almost outdoor living rooms—in which the garden would remain the protagonist. The intervention can be considered fully successful also thanks to the masterful guidance of architect Paolo Pejrone, with whom I had already collaborated in the past. The project unfolds in two key moments: the seafront façade and the discovery of the garden. The façade defines the coastline west of the Nerano tower—animated by Alba Clemente’s drawings by day and softened by lantern light at night. The second moment is the garden: a sequence of intimate, well-proportioned ‘green rooms’ set within Mediterranean planting. On the final terrace, the temporary nature of the intervention becomes more explicit—stage-like structures house the bars, while a work by Giuseppe Ducrot forms a visual focal point. A small piazzetta, conceived as a setting for social life.” EVERY ELEMENT DRAWS FROM AMALFI CULTURE The level of craftsmanship is immediately apparent. Hand-painted ceramic surfaces, bespoke wrought iron furniture, ceramic and plaster lighting, glass lanterns, rammed lapillus flooring, carefully crafted timber structures. “Every element draws from Amalfi culture, but is reinterpreted through the lens of Le Sirenuse. The colour palette evolves from the tones of the historic house into lighter, more marine shades—copper greens and coral tones typical of 19th-century Vietri ceramics. The green ceramic patterns reinterpret traditional motifs, establishing a direct dialogue with local craftsmanship. The furnishings reflect the dolce vita lifestyle of the Amalfi Coast. With contributions from local artists such as Lucio Liguori, the space gains further depth—alongside Alba Clemente’s works, which unfold along the staircase, bringing stories of the region into the space.” A BRIEF LOOK BACK AT LE SIRENUSE When four Neapolitan siblings—Anna, Aldo, Paolo and Franco Sersale—set out in 1951, they recognised that visitors were falling in love with Positano. They converted their family villa into a small hotel with just eight rooms: Le Sirenuse. The following year, John Steinbeck stayed and wrote: “We went to the Sirenuse, an old family house converted into a first-class hotel… Every room has its little balcony and looks out over the blue sea to the island of the Sirens.” Today, the hotel has grown to 58 rooms and marks its 75th anniversary. Antonio and his wife Carla live in Positano throughout the season. Antonio oversees the hotel’s management and strategy, while Carla curates Emporio Sirenuse. Their son Aldo runs La Sponda, Franco’s Bar and Aldo’s bar-bistrot. His Don’t Worry Bar, shaped by his fascination with Tokyo’s listening bar culture, translates that influence into Le Sirenuse—a discreet, speakeasy-style space where classic cocktails are paired with vinyl-played jazz and pop. ANTONIO SERSALE ‘IN ORDER NOT TO CHANGE, YOU HAVE TO CHANGE’ Le Sirenuse has evolved within the same family for over 75 years. What does it mean to you, personally, to carry this legacy forward? It is the greatest pride in my life. I dedicate all my love and energy to it and seeing it bloom fills me with joy! What are, for you, the most challenging and the most rewarding aspects of running a family-owned hotel? The most challenging is for sure dealing with the staff to ensure they are happy and can communicate the joy of working here to the guests. The most rewarding is seeing our guests happy and enjoying our establishments. Looking back, how do you reflect on the evolution of Le Sirenuse—and how do you balance preserving its identity while allowing it to evolve? Yes I always do so. I live by the saying of: in order not to change you have to change. That is why I am constantly thinking how I can make the Sirenuse better for our guests and for the people working there. Positano has seen a significant rise in tourism in recent years. How has this intensity shaped your experience—both positively and negatively? It has encouraged to render our hotel an oasis of peace and tranquility during the daytime juxtaposing itself to the world outside. A place where our guests can enjoy the views of Positano and the Hotel without having to leave the premises. I imagine you have many personal memories connected to the hotel. Is there one that has stayed with you more than others? My uncle sitting in the lobby and talking to guests as they came in… he was always charming amusing but most of all welcoming. You spend the season living at Le Sirenuse. What does a typical day at the hotel look like for you? I like to walk the property in the morning—checking everything is in order, speaking to staff, understanding how they feel. Afternoons are for emails, then walks in the mountains, followed by cocktails with guests and dinner with visiting friends. BEFORE LEAVING One of the clearest expressions of the collaboration between the first and second generations of the Sersale family is Franco’s, the streetside bar a short walk from the hotel. Once a staff car park, it was transformed into a panoramic, art-filled setting—initiated by Franco and completed by Antonio after his passing in 2015. Order a Negroni. Or a Margarita. Don’t overthink it. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €22,00 Price Add to Cart