November 6, 2025 | Art & Culture TRIARCHY: the THREE FORCES of POWER words Can Memiş artworks Can Akgumus Can Akgumus’s new solo exhibition Triarchy has opened at Kairos Gallery in Istanbul, on view until November 22. The show draws from the notion of “triarhic governance” — a system where three powers coexist — to examine not what power is, but how it manifests through form, body, and image. Structured around three axes — The Thrones, The Body, The Act, and Black Swan — the exhibition explores the reflections of authority in contemporary visual culture. Within this ecology of images, created partly through digital tools, Akgumus lowers traditional symbols of power to eye level, inviting viewers into a more direct and unsettling dialogue with them. At its conceptual core lies a hybrid, three-legged human figure first introduced in the artist’s 2024 Black Swan 2 series. Generated through AI, this anomalous being resists anthropomorphic norms, destabilizing how we perceive the human form. What might seem like a defect becomes a point of rupture — a conceptual crack through which new connections between species, materials, and technologies begin to emerge (1). Yet this fracture continues to search for a language of its own. Triarchy suggests that such a language is nourished by anomaly, contrast, and the unexpected. Akgumus, whose practice stems from photography, questions the medium’s classical principles of “presence” and “archive.” The first assumes the photographer’s physical presence; the second, that what is shown has indeed taken place. Akgumus argues that in AI-based production, neither principle holds, opening instead what he calls “a free image world” (2). The once-documentary claim of “showing as it is” gives way to speculative compositions — manipulated, fluid, and consciously constructed. Echoing Roland Barthes, Akgumus seems to propose that the photograph’s power now lies not in shock, but in thought (3). Across the exhibition, ambiguity and distortion become central motifs. Blurred contours, hollow spaces, and the uneasy merging of reality and fiction unsettle the viewer’s gaze. They warn against the seduction of spectacle, revealing that true disruption lies in reflection, not reverence. In The Thrones, symbols of authority are stripped of grandeur — thrones that merge with their surroundings, dissolve in solitude, or transform into feminine stages. The Body, The Act confronts how power infiltrates the body, presenting sculptural forms that embody both vulnerability and resistance. The final axis, Black Swan, turns melancholy into a lens for loss — of ideals, struggles, or vanished worlds. Instead of human figures, a lone black swan embodies the spectral weight of absence (4). In Broken Circle, a baroque-inspired golden crown is deformed, flattened, and photographed against black marble. The resulting image captures the tension between brokenness and representation. Coincidentally, hours after the exhibition’s opening, a real-life echo emerged: jewels from the Louvre’s 18th-century collection were stolen, leaving behind a shattered imperial crown. Its fractured form, once a symbol of empire, now seems to mirror Akgumus’s inquiry — when stripped of reverence, what remains of power but emptiness? Through Triarchy, Akgumus transforms symbols of dominance into studies of fragility, exposing the hollow spaces behind the spectacle of authority. TR BELOW TRIARCHY: İktidarın Üç Tesiri Can Akgümüş’ün yeni solo sergisi Triarchy, Kairos Galeri’de izleyiciyle buluşmaya başladı. 22 Kasım’a kadar sürecek sergi, üç otoritenin birlikte hükmettiği “triarşik yönetim”lerden yola çıkıyor. Triarchy sergisi, iktidarın ne olduğundan çok, onun bize nasıl yansıdığını üç eksen üzerinden ele alıyor: “The Thrones” (Tahtlar), “The Body, The Act” (Beden ve Eylem), “Black Swan” (Siyah Kuğu). Sanatçının dijital üretim araçlarını da kullanarak kurduğu imge ekolojisinde otorite figürlerine ait imge ve konumlar izleyicinin göz hizasına indirilerek konumlandırılmış. Sergideki üretimlerin çıkış noktası, Akgümüş’ün 2024 tarihli Black Swan 2 serisinde yer alan üç bacaklı insan figürüne uzanıyor. Yapay zekâ aracılığıyla üretilen ve insan biçimli temsilin dışında kalan bu anomalik figür, Akgümüş’ün dördüncü solo sergisi için kurucu bir imgeye dönüşmüş. İlk bakışta bir kusur gibi görünen bu deformasyon, insan bedenine dair temsili istikrarsızlaştırarak kavramsal bir çatlak açıyor. İnsan kavrayışında yaşanan çatlakla beraber, diğer canlı türleri ve maddi varlıklarla yeni bağlantılar kurulurken, karmaşık medya-teknolojik arayüzler de oluşturuluyor (1). Ancak bu hat, kendisini ifade edebileceği bir dilin arayışında. Triarchy, bu dilin anomaliden, beklenmedik kompozisyondan ve kontrasttan beslendiğini açıklıkla savunuyor. Fotoğraf pratiğinden gelen Can Akgümüş, fotoğrafın iki temel dayanağına — “oradalık” (presence) ve arşiv ilkelerine — dikkat çekiyor. İlki, fotoğrafçının fiziksel olarak orada bulunduğuna; ikincisi ise gösterilenin gerçekten yaşanmış olduğuna ilişkin kabule dayanıyor. Akgümüş, yapay zekâ temelli üretimlerde bu iki ilkenin artık geçerli olmadığını ve bunun yapay zekâya “özgür bir imge dünyası” sunduğunu öne sürüyor (2). İzleyiciye “olduğu gibi gösterme” iddiası sunan fotoğrafik görüntü, yerini olası görüntüler, manipülatif müdahaleler ve kurmaca imgelere bırakıyor. Fotoğraf kuramcısı Roland Barthes, fotoğrafın izleyeni ürküttüğü, allak bullak ettiği ya da yaraladığı anlarda değil; düşünceyle yüklü olduğu anlarda yıkıcılaştığını söyler (3). Akgümüş’ün ürettiği kurmaca görseller de düşünceyle kuvvetli bağlara sahip. Triarchy sergisinde yer alan serileri takip ederken gözümüze çarpan fluluk, boşluk ya da gerçekle gerçek-dışını birbirine katan tuhaflıklar bizi gördüğümüz ihtişamın büyüsüne kapılmamaya ya da o ihtişamın ağırlığında paralize olmamaya çağırıyor. Yıkıcılığı da tam olarak burada! Hafıza alanında çalışan Akgümüş, milyonlarca görsel veriden yeni bir görsel yaratan yapay zekânın üretken kapasitesiyle etkileşim halinde. Benzer bir jest — var olandan yeni bir anlatı kurma gayreti — sanatçının Burried isimli işinde de karşımızda: Kişisel arşivinde yer alan materyaller, notlar, eskizler ve günlüklerden yarattığı kâğıt hamurla yeni bir anlatı kuruyor. Triarchy sergisinin ilk eksenini oluşturan Thrones serisi, otoritenin maddi ve sembolik yüzeylerini tartışmaya açıyor. Hükümranlık rejimleriyle özdeş olan taht, zihnimizde gösterişi ve erişilmezliği çağrıştırıyor. Seride, yerleşik temsil biçimlerine mesafelenmiş tahtlar var: Yaslandığı mimari yapıyla bütünleşip kendi sınırlarını yok eden Rex Tyrannidis; yalnızlığıyla kudretini tümden yitirmiş Rex Infelix; dişil bir sahneye dönüşen Regina Noctis... Bir duvar boyunca farklı formlardaki tahtlar yan yana sergilendiklerinde, maddi temelleriyle beraber bu sergilemenin nesnesine dönüşüyorlar. İkinci eksen The Body, The Act serisi ise bedenin nasıl bir kuşatma alanına dönüşüp otoritenin bedenlerin içinden nasıl geçtiğini sorguluyor. Dolaba asılı halde duran soyut bir gövde formu ya da kostüm olarak dikilmiş bir beden, varoluş mücadelelerinin imleyicisi olarak yer alıyor. Dolaplardan çıkmak için mücadele eden, kendi varoluşuna sahip çıkan bedenlerin ortak eylemi, belirli bir bedende olma fikrinden kurtulmakla başlar. Sergideki üçüncü eksen ise Black Swan serisinin beşinci edisyonuyla tamamlanıyor. Bu eksendeki görsellerin diline sızan melankoli, bu mesafeden bakınca bir kaybı düşündürüyor. İktidarın bizde yol açtığı bu melankolik deneyimi neyin kaybı olarak okuyacağız? Kaybedilen ülkeler, mücadeleler, meydanlar, idealler, hayatta olmayanlar ya da kayıp nesneler... Seri, Edward Hopper’ın Soir Blue’sünden farklı görsel kodlarla işliyor melankoliyi. Dürer ya da Caravaggio’dan da farklı... Siyah bir kuğu temsiliyle yapıyor üstelik. Kaybedilmiş olan şeyin fantazmagorik gerçekliğini üreten bir sahnede gibiyiz (4). Kaybın ardından, neyi kaybettiğimiz üzerine düşünmeye davet ediliyoruz. Son olarak, Akgümüş Broken Circle (Kırık Çember) isimli çalışmasında, barok esintiler taşıyan altın renkli bir tacı önce deforme edip yatay bir forma dönüştürüyor, ardından fotoğraflayarak sergiye yerleştiriyor. Siyah mermer yüzeyin altın rengiyle yarattığı kontrast, tacın kırıklığı ile temsil ettiği otorite arasındaki gerilimi de açığa çıkarıyor. Serginin açılışından birkaç saat sonra, bu gerilim Paris’ten gelen bir haberle tamamlanmış oldu. Louvre Müzesi’nin 18. yüzyıla ait koleksiyonundaki mücevherler yedi dakikalık bir soygunda çalınmıştı. Hırsızlar mücevherlerle beraber kaçarken, İmparatoriçe Eugénie’ye ait bir imparatorluk tacını düşürmüşlerdi. Müzenin dışında, güvenlik görevlileri tarafından bulunmayı bekleyen o kırık taç, Napolyon ihtişamının ve Fransa’yı Avrupa’nın merkez ülkesi olarak ilan eden siyasi projenin sembolü olmaya devam edebilir miydi? Yoksa bulunduğu Apollon Galerisi’ndeki kurşun geçmez vitrinlerden kaçırıldıktan sonra artık yalnızca kendi kaderini mi temsil edebilirdi? Otoriteye ait konumlar, nesneler ya da imgelere bahşedilmiş dokunulmazlığı, Triarchy’de olduğu gibi, otoritenin ellerinden aldığımızda o ihtişamdan geriye koca bir boşluk kalıyor. Kraliyet mücevherlerinin yer aldığı, yüzlerce çalışanı olan bir galeriden kaçırılırken yere düşüp kırılmış bir kraliyet tacı da aynı boşluğa işaret ediyor. 1 - Braidotti, Rosi. İnsan Sonrası Bilgi. Çev. Seyran Sam, Eda Çaça. İstanbul: Kolektif Kitap, 2021, s. 25. 2- Piksel Bülten, “Günümüz Sanatında Yapay Zekâ Araçlarının Sınırlarını Keşfetmek: Sanatçı Söyleşileri #1”, ed. Furkan Öztekin, 8 Mart 2024 3- Barthes, Roland. Aydınlık Oda – Fotoğraf Üstüne Not. Çev. Mehmet Rifat, Sema Rifat. İstanbul: Yapı Kredi Yayınları, 2024, s. 46.

October 2, 2025 | TRAVEL TR BELOW the KEY is SLOWNESS words Onur Basturk photos Courtesy of KeyUrla Mornings at KeyUrla might begin with yoga by a forest pool or a walk through vineyards along the Urla Wine Route. Afternoons could mean a glass of local wine, a mushroom-and-honey pizza fresh from the wood-fired oven, or simply doing nothing at all—just sitting in your villa, listening to the breeze drift in from the pines. This new boutique hotel in İzmir’s Urla region offers all of it at once. The choice is entirely yours. The story starts with Can Ortabas, who planted the first seeds in 1996 with Uzbaş Farm—today known as the Uzbaş Arboretum. What began as rows of palms and thousands of plant species soon evolved into vineyards, and now, into KeyUrla: the final link in a journey rooted in the land. Together with co-founders Selim Özgörkey and Askar Alshinbayev, Ortabaş shares the vision: “Everything here grew out of time spent with nature. We wanted to share a way of life that doesn’t rush, that honors the local, and that respects the soil and its rhythm.” He’s right—step inside KeyUrla and you immediately feel that slower pace seeping in. Sitting under the pines, you catch yourself thinking: “Yes, I could spend hours here just looking at the sky.” ARCHITECTURE BY HAN TÜMERTEKİN The architecture, led by Aga Khan Award-winning architect Han Tümertekin, follows the rhythm of the landscape. The hotel’s 24 villas have been carefully nestled among the trees, positioned so that nature guides the design. “It wasn’t about integrating greenery into architecture—it was about turning the architecture into an extension of the greenery,”says Tümertekin. Local stone and craftsmanship are central. The Urla limestone used for the façades was sourced just a few kilometers away, reducing the carbon footprint while grounding the villas as natural extensions of the terrain. LOCAL INGREDIENTS, URBAN TOUCH An Urla, the hotel’s restaurant, makes an impression with its open kitchen, wood-fired oven, and pine-shaded tables. Under the guidance of chef Seray Öztürk, the menu is crafted entirely from local and seasonal ingredients. Hand-made pastas, wood-fired pizzas, seafood, and signature dishes are given a distinctly urban interpretation. As Öztürk explains: “We couldn’t ignore the richness of local produce. We didn’t have to look far—everything we needed was here. Using local ingredients and drawing on habits rooted in tradition, we created a cuisine that is familiar yet refined, and naturally authentic.” LOCATION Just 52 km from İzmir Adnan Menderes Airport and a short drive from Alaçatı or Seferihisar, KeyUrla feels worlds away. Step inside, and time instantly slows. YAVAŞLAMANIN ANAHTARI KeyUrla Sabahları orman içindeki havuz başında yoga yap ya da birçok bağ ve şaraphaneyi rotasında barındıran Urla Bağ Yolu’nda yürüyüş yap. Şarap tadım turlarına katıl ya da çam ağaçları altındaki restoranda taş fırından çıkan mantarlı-ballı pizzanın tadına bak… Ya da hiçbir şey yapmayıp odanda orman esintisini dinle! İzmir, Urla bölgesinin yeni oteli KeyUrla, birçok şeyi aynı anda vaat ediyor. Seçim size kalmış! Can Ortabaş önce -bugün Uzbaş Arboretum olarak bilinen- Uzbaş Çiftliği’ni kurdu (yıl 1996). 52 türde 250 bin üzerinde palmiye yetiştiren bu devasa yeşil müze, 1900 farklı bitki çeşidiyle çok geçmeden mutlaka görülmesi gereken bir yer haline geldi. Bu çiftlikle beraber keşfedilen bağ setleri ise yeni bir yolculuğu beraberinde getirdi: Urla Şarap Bağları. Şimdi bu ikiliyi tamamlayan son bir halka daha var, KeyUrla. Selim Özgörkey ve Askar Alshinbayev ile beraber KeyUrla’nın kurucu ortaklarından olan Can Ortabaş, “Burada her şey doğayla geçen zamanın içinden çıktı. Acele etmeyen, yereli onurlandıran, toprağa ve ritme saygı duyan bir yaşam biçimini paylaşmak istedik” diyor. Ortabaş haklı, KeyUrla’ya adım atar atmaz o yavaş ritmi hissedip içinize çekiyor ve sakinleşiyorsunuz. Çam ağaçlarının altındaki masalardan birine oturup, “Evet, saatlerce burada gökyüzüne bakabilirim” hissiyle dolup taşıyorsunuz! MİMARİ HAN TÜMERTEKİN’E AİT Ağaçlar demişken… KeyUrla’nın mimarisi, Ağa Han ödüllü mimar Han Tümertekin liderliğinde gerçekleşmiş ve otelin 24 villası ağaçlar arasına özenle yerleştirilmiş. Tüm yapılar, doğanın mimariyi yönlendirdiği bir anlayışla konumlanmış. “Var olan yeşili mimarlığa entegre etmek değil, mimariyi bu yeşilin bir uzantısına dönüştürmek gerekiyordu” diyor mimar Han Tümertekin. Villalardaki en önemli unsur yerel taşlar ve el işçiliği. Dış cephede kullanılan Urla kireç taşı, sadece 3-4 kilometre öteden çıkarılmış. Böylece hem karbon ayak izi azaltılmış hem de yapılar coğrafyanın doğal bir uzantısına dönüşmüş. LOKAL MALZEME, ŞEHİRLİ YORUM KeyUrla’nın restoranı An Urla; açık mutfağı, taş fırını, çam ağaçlarının altındaki masa düzeniyle dikkat çekiyor. Şef Seray Öztürk danışmanlığında oluşturulan menüde yerel ve mevsimsel ürünler kullanılıyor. El yapımı makarnalar, taş fırından pizzalar ve deniz ürünleri şehirli bir yorumla sunuluyor. Menüden özellikle levrek buğulama ve mantarlı pizza tavsiye! Şef Seray Öztürk menünün çıkış noktasını şöyle anlatıyor: “Bölgenin ürün zenginliğini göz ardı edemezdik. Bu nedenle lokal malzemelerle, köklerden gelen alışkanlıklarımızı düşünerek, tanıdık ama özenli, doğal bir mutfak kurguladık.” NEREDE? KeyUrla, İzmir Adnan Menderes Havalimanı’na 52 km uzaklıkta. İzmir, Alaçatı ve Seferihisar gibi merkezlere kısa sürüş mesafesinde yer alıyor.

August 2023 | YUZU BODRUM | Coffee Table Book TR below ARDA ÖNEN words & photos Onur Baştürk How did your Bodrum adventure start? I spent my childhood in Kerpe, located on the coast of the Black Sea. Because of my mother and father, I've always had a close relationship with the sea. I owned a small sailboat, canoe, and surf gear. In fact, we were surfing in big waves without even knowing it! Afterward, the whole family moved from Kerpe to Bodrum. During the summer months, I started to shuttle back and forth between Bodrum Marina and Yalikavak. There is a very renowned bar in Yalikavak called Teras Bar. There is a very renowned bar in Yalikavak called Teras Bar. Back then it was a British surfers' hangout place. It genuinely felt like overseas. I developed a brotherly relationship with Barış, the manager. I started out as a barboy. I was very happy. That's when I discovered that I take great satisfaction in assisting people to have a good time. And this line of work became my life. You opened Sail Loft in 2000. How did the process develop? Was it challenging or effortless? While working at Yalıkavak Terrace Bar, during the day I was coming to Gündoğan Bay, where the British surf sailing business is located, and started surfing and hanging out with surfers. In a short time, with an offer, I decided to do this work in a place where Sail Loft is located now. I was 21 years old. Of course, it was very hard, but it was fun! We were throwing parties by playing cassettes with a home stereo. As you can understand, we were wrapping tapes with a pen! Back then, the front of Sail Loft was sand all the way down to the sea and it was awesome. We were a real surf bar. I SAID THIS WOULD WORK OUT AND IT DID! In a short period of time, Sail Loft turned into a school of surfing during the day and an iconic bar, where people from all over Bodrum have fun, at night. What do you tie this success to? We are as we always have been. We have made friendships that last for years. We introduced each of our friends to our new friends. We played good music. We made good food. And we definitely avoided the braggartism. Everyone who came was very comfortable. Since 2000, we have been the gathering point for free-spirited people who enjoy life with their skin covered in salt and feet covered in sand! The spread of Instagram, of course, boosted its popularity. In fact, for a while, the popularity became much so we switched our account to a private account. For the last seven years, we have been managing it as a private account. It can be said that we grew up together with Sail Loft. When you take a look today, at what point do you see both yourself and Sail Loft? We undoubtedly grew together. I've jumped through a lot of hoops, and I've experienced a hard time. But I always kept on going. I said this will work out. I believe it did. Sail Loft today, has become a brand that has its own line and path, is experienced, puts emphasis on quality, and maintains its sports spirit. Now, I have become a somebody who enjoys living with the brand and works to make my year better than the last one. I am able to say that I am competing with myself. Bodrum maceran nasıl başladı? Çocukluğum Karadeniz kıyısındaki Kerpe’de geçti. Anne ve babadan dolayı denizle hep haşır neşirdim. Küçük bir yelkenlim, kanom ve sörf malzemem vardı. Hatta büyük dalgaların içinde hiç bilmeden dalga sörfü bile yapıyorduk! Daha sonra tüm aile Kerpe’den Bodrum’a taşındık. Yaz aylarında Bodrum Marina ve Yalıkavak arası mekik dokumaya başladım. Yalıkavak’ta Teras Bar diye çok meşhur bir bar var. O zamanlar İngiliz sörfçülerin takıldığı bir mekandı. Gerçekten yurtdışı gibiydi. İşletmecisi Barış ile abi-kardeş olduk. Barboy olarak işe başladım. Çok mutluydum. İnsanların güzel vakit geçirmelerini sağlamaktan büyük keyif aldığımı o zaman farkettim. Ve bu iş hayatım oldu. Sail Loft’u 2000 yılında açtın. Süreç nasıl gelişti? Yalıkavak Teras Bar’da çalışırken gündüzleri İngiliz sörf yelken firmasının bulunduğu Gündoğan koyuna gelip sörf yapmaya ve sörfçülerle takılmaya başladım. Kısa süre içerisinde bir teklifle şu an Sail Loft’un olduğu yerde bu işi yapmaya karar verdim. 21 yaşındaydım. Tabii ki çok zordu, ama eğlenceliydi! Ev tipi müzik seti ile kaset çalarak partiler yapıyorduk. Kalemle kaset sarıyorduk yani! O zamanlar Sail Loft’un önü denize kadar kumdu ve müthişti. Tam bir sörf barıydık. OLACAK BU İŞ DEDİM VE OLDU! Kısa sürede Sail Loft gündüz sörf okulu, gece ise Bodrum’un dört bir yanından gelenlerin eğlendiği ikonik bir bara dönüştü. Neye bağlıyorsun bu başarıyı? Hep olduğumuz gibi olduk. Uzun yıllar süren dostluklar edindik. Her arkadaşımızı yeni gelen arkadaşlarımızla tanıştırdık. Güzel müzik çaldık. Güzel yemek yaptık. Ve kesinlikle kasıntılıktan uzak durduk. Gelen herkes çok rahattı. 2000 yılından bugüne tuzlu tenleri ve kumlu ayaklarıyla hayatın tadını çıkaran özgür ruhlu insanların buluşma noktası olduk! Instagram’ın yaygınlaşması elbette popülerliği artırdı. Hatta bir ara popülerlik fazla geldi ve hesabımızı özel hesaba çevirdik. Son yedi yıldır özel hesap olarak yönetiyoruz. Sail Loft’la beraber büyüdün denilebilir. Bugün baktığında hem kendini hem de Sail Loft’u nasıl bir noktada görüyorsun? Kesinlikle beraber büyüdük. Çok büyük badireler atlattım, çok zorlandım. Ama hep sebat ettim. Olacak bu iş dedim. Oldu diye düşünüyorum. Sail Loft bugün, kendine ait bir çizgisi ve yolu olan, deneyimli, kaliteye önem veren, sporculuğunu koruyan bir marka oldu. Artık marka ile yaşamaktan büyük keyif alan ve her yılımı bir öncekinden daha iyi kurgulamak için çalışan biri oldum. Yarışım kendimle diyebilirim.

July 28, 2025 | VOL 15 an ODE to SOFTNESS and COMFORT words Onur Basturk photos Studio Mut’s, Ibrahim Touhami, Studio B.Helle Maison Mouton Noir, Laila Pozzo Elisa Uberti’s sculptural works look as though they belong to another planet—even exuding futuristic qualities. When I share my observation with her, Uberti responds: “My intention isn’t to create something futuristic, but rather to design a unique microcosm that reflects my artistic sensibility and defies conventional standards… Through my deeply personal work, I express my dreams and emotions. That said, I am indeed drawn to certain futuristic visions—especially in the realms of utopian architecture and urban planning. For example, the bubble houses of the ‘70s or the futuristic vision of Metropolis. These elements likely imbue my work with an out-of-time or other-planet dimension". She also mentions that she works very instinctively, creating “emotional, sensitive, and timeless pieces”—like an ode to softness and comfort. Although she explains that the form of her ceramics evolves over time based on the inspirations and ideas she wishes to express, she never forgets to add: “The essence has remained the same from the very beginning.” EVERYTHING RELATED TO HABITAT, WHETHER IT’S ARCHITECTURE OR PRIMITIVE HUTS, FEEDS MY THINKING AND MY CREATIVE PROCESS So, what inspires her the most? She lists her inspirations as follows: “What inspires me most is the idea of dwelling as protection—the notion of comfort that lies at the heart of my work. Everything related to habitat, whether it’s architecture or primitive huts, feeds my thinking and my creative process. Primitive art and crafts in general are also major sources of inspiration for me. I like the idea of creating a form, whether functional or not, using very few materials and tools. This allows me to refocus on the essence of creation. As my discoveries and desires evolve, so do my sources of inspiration; the list is infinite and in perpetual motion.” Uberti explains that in her work she also explores the relationship between the frugal use of time and beauty. This approach is about beauty emerging not through haste and speed, but through care, the unexpected details revealed by the process, and natural authenticity. In short, it’s the complete opposite of rapid production! She summarizes: “My work is part of a slow design approach. When a customer orders a piece, they sometimes have to wait several months. The process requires patience and a certain flexibility, because sometimes I spend more than a week on a piece that eventually cracks or breaks as it dries.” EACH PIECE IS HANDCRAFTED, SO EVEN IN LIMITED SERIES LIKE THE LAMPS, EVERY ITEM IS UNIQUE. TREATED AS SCULPTURES, NO TWO SHARE THE SAME FORM And what about the secret of her technique? “I very rarely apply glaze, as I like the raw texture and natural nuances of the clay,” Uberti explains. “I work with the Colombin modeling technique, which consists of building up a shape by superimposing strands of clay and then smoothing them. A technique that has been used for thousands of years, it requires only a few hand tools and allows great freedom of form. In my work, I'm constantly seeking a balance between technical constraints and freedom of gesture.” Elisa Uberti describes her work as straddling the boundaries between art, design, and craft. “However, since my approach is fundamentally sculptural, I primarily identify myself as an artist. The functionality of my pieces becomes almost secondary. Even though some pieces do have a purpose, above all, I strive to create delicate, emotional objects. At the same time, as a designer, I am very attracted to the idea of designing collections—especially in collaboration with retailers, galleries, or publishing houses.” THE MOTHER’S WOMB IS A PROTECTIVE SANCTUARY, AND THERE’S NO DOUBT THAT AN UNCONSCIOUS CONNECTION EXISTS BETWEEN MY WORK AND PREGNANCY When she was studying ceramics, Uberti mentioned that she was pregnant with her second child, and she recalls that the round shapes she was developing at the time gave her the feeling of caressing a baby’s head: “The mother's womb is a protective sanctuary, and there’s no doubt that an unconscious connection exists between my work and pregnancy—a connection that influences my approach to form and material.” Before she embarked on ceramics, Elisa Uberti’s life was immersed in an entirely different world: the fashion industry. Having worked in fashion for 15 years, she even created her own ready-to-wear brand: “It was an adventure that allowed me to express my creativity through clothing—a truly enriching experience. Then I joined the retail sector, where I spent many hours in front of a screen designing numerous garments. After a while, I felt the need to return to a more manual, sensory approach with a different relationship to time. Moreover, mass consumption, the lack of transparency in production factories, and the obsolescence of products discarded season after season had become too far removed from my values. It was essential for me to reconnect with an artistic practice that resonated more with me.” So, how did her path intersect with ceramics? Uberti shares the rest of her story: “Sensitive to the beauty of ceramic objects, I naturally turned to craftsmanship. I love the contact with clay, which allows me to reconnect with the primitive work at the origin of object creation. Textiles still influence my work today. In particular, I use soft, supple, light, and mobile woolen yarns, which contrast with the coarser, more rigid ceramics.” for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 970,00₺ Price Add to Cart

October 9, 2025 | TRAVEL RESET in BALI: INSIDE the PANCHAKARMA EXPERIENCE words Rengin Atik photos Courtesy of Oneworld Ayurveda After a twelve-hour flight, I landed in Bali with a suitcase full not just of clothes but of expectations. I had signed up for a weeklong program of Panchakarma — Ayurveda’s most powerful detox method — and the anticipation was running high. Let me say this right away: the moment I stepped into Oneworld Ayurveda in Ubud, I felt as though I had crossed into another dimension. It was as if the entire world around me had suddenly vanished. What came next? Let’s begin… THE BEGINNING OF THE STORY “Living in balance is the key to happiness, and that’s what I aim to offer,” says Claude Chouinard, founder of Oneworld Ayurveda. His path, however, was far from ordinary. After a successful career in Canada, Claude left everything behind in 1992 to embark on what was meant to be a one-year spiritual journey through Southeast Asia and India. That one year stretched into eight — years of deep inner exploration that profoundly transformed his view of life. Along the way, he discovered Ayurveda, yoga, and Eastern healing traditions. In 2000, Claude was drawn to Bali by the island’s powerful spiritual energy and settled there. He began modestly, opening a small spa in Ubud, but his vision expanded quickly. By 2003, together with his partner Iyan, he co-founded Oneworld Retreats. A decade later, his vision evolved once again, leading to the creation of Oneworld Ayurveda — Bali’s first authentic Panchakarma center, blending ancient Indian wisdom with Balinese serenity. WHAT IS PANCHAKARMA? Literally translated, Panchakarma means “five actions.” This ancient Ayurvedic practice consists of five therapeutic steps designed to deeply cleanse the body of toxins and restore balance to the doshas — Vata, Pitta, and Kapha. According to Ayurveda, everything in the universe is made up of five elements — earth, water, fire, air, and space (ether) — and the three doshas are expressions of these elements in different forms. Vata embodies kinetic energy and movement (air and space), Pitta represents thermal and biochemical energy — heat (fire and water), while Kapha symbolizes potential energy, cohesion, and structure (water and earth). The program offers 7, 14, or 21-night options under the supervision of Ayurvedic doctors and yoga instructors, who craft fully personalized treatments based on each guest’s unique dosha profile. By assessing physiological traits and psychological tendencies, Oneworld Ayurveda practitioners design daily routines, diets, and activities specific to you. THE INVISIBLE LINK TO MY INNER TURBULENCE My very first day was a challenge on its own. My body had to adapt not only to a new living space but also to the humidity and the long, sudden rains in the middle of Bali’s lush forests. That first afternoon, during my consultation with Ayurveda gynecologist Dr. Resmi V. Rajagobal (BAMS), my body type, diet, and Ayurvedic supplements were determined. I turned out to be 50% Vata, 27% Kapha, and 23% Pitta. Flipping through the beautifully prepared booklet we were given, I stopped at the pages describing Vata traits and imbalances. Every word mirrored the silent struggles I had carried in daily life — insomnia, waking in the night and being unable to fall back asleep, and much more. For the first time, I could see the invisible link between my inner restlessness and my outer experiences. That’s how my journey began. CLEAR OUTLINES OF THE DAYS Each morning began at 6:00 a.m. with the gentle sounds of meditation bowls. At 6:30, a gong resonated throughout the property, reminding everyone that yoga was about to start. The rest of the day unfolded with nourishing vegetarian meals, toxin-releasing massage therapies, and treatments that left me feeling deeply renewed. Add to that attentive doctor consultations and another round of wholesome, flavorful dining, and every day flowed in a fulfilling rhythm of wellness — from sunrise to sunset. Meals could be ordered to the room, enjoyed on the terrace, or shared with other guests in communal spaces. On some evenings, I chose to have dinner alone in my room, surrounded by the Bali jungle. QUESTIONS ABOUT HOW WE LIVE The experts at Oneworld Ayurveda do more than provide a physically fulfilling program. They encourage you to think outwardly about Western health practices and inwardly about the way you live outside this sanctuary. I had assumed my greatest challenge here would be giving up coffee — a small luxury that had anchored my mornings for years. Yet as the days unfolded, I realized caffeine wasn’t the real struggle. What unsettled me most was something simpler: not being able to take my daily long walks. The rhythm of walking, I discovered, had been my hidden form of meditation all along. HOLISTIC SYNCHRONIZATION Every part of the facility and the experience can be summed up with one phrase: holistic synchronization. Every detail had been carefully thought through and personalized. Nothing was overlooked. Even upon departure, we were given advice on how to sustain the benefits gained here — from continuing dietary adjustments to light yoga, and ideally dedicating equal time to detox in the “real world.” HOW I FELT WHEN LEAVING Oneworld Ayurveda is not simply a retreat — it’s an invitation to return to yourself. For me, the realization was simple yet profound: healing doesn’t always come from adding more to your life. Sometimes, it begins with stopping, letting go, and allowing yourself to rest. By the end of my seven-day journey, I felt profoundly lighter — not just in body, but in spirit. I returned home not only with glowing skin and a calmer mind, but with a renewed awareness of how balance can be lived. And with the conviction that everyone should experience this at least once — to rebalance themselves and to recognize how modern life has thrown our doshas off course.

September 22, 2025 | Product KAST EXPANDS ITS CONCRETE UNIVERSE brand KAST photos Courtesy of KAST From its Nottinghamshire base, Kast has spent over two decades perfecting architecturally led concrete design. Acquired by Kohler Co. in 2023, the award-winning brand is globally recognised for its design-forward approach, minimalist DNA, and tactile craftsmanship. At Decorex 2025 (12–15 October), Kast unveils its latest evolution: a collection of handcrafted concrete countertops. Building on the success of its sculptural basins, the new range extends the brand’s universe with surfaces that combine material depth, refined boldness, and clean lines. Available in Kast’s full 28-colour palette, the countertops come in versatile formats — from wall-mounted slabs to double vanity tops, corner solutions, and coordinating shelves — designed for both residential and hospitality settings. “Designers have been asking for options that complement our basins both aesthetically and functionally,” notes Amy Bartlett, Creative Director at Kast. “With countertops, we’re opening up new possibilities for colour play, spatial flow, and personal expression.” Crafted from Kast’s proprietary concrete blend of Derbyshire limestone, fine sands, and high-grade pigments, the pieces adapt effortlessly to a spectrum of interiors — whether industrial or softly layered — offering designers a cohesive, customisable medium that elevates the everyday.

November 2023 | People FOR TR CONVERSATION about ARCHITECTURE with ECE CEYLAN BABA words Onur Baştürk Our first face-to-face conversation with Yeditepe University Faculty of Architecture Dean Ece Ceylan Baba took place under a "tree of life". That “tree of life” was in a familiar place. A Ficus Australis, the symbol of Yuzu Garden, which opened in 2020 within Paloma Finesse in Antalya-Side. We met with Ece in that delightful garden at the beginning of the summer and talked about sustainable architecture and architectural approaches that are expected to dominate the world in the near future. Of course, not every topic could fit into our conversation that day as part of "Yuzu Weekend". That's why I wanted to publish here the long interview we had after that conversation. Because what Ece has to say concerns us all! ONE IS UTOPIA, THE OTHER IS DYSTOPIA How do you view architects’ projects aimed at “saving” or “healing” the world? For example, BIG’s Bjarke Ingels’ “Masterplanet” project or Liam Young’s fictional film “Planet City.” Can architects really make a difference in saving the world? The argument of saving or healing the world is quite ambitious for a single profession. However, I believe in the transformative power of space. People are influenced by the spaces they inhabit, and spaces, in turn, are influenced by people. They co-evolve like two living organisms contributing to each other. From this perspective, the impact of architecture on human life is significant. While the world’s resources are depleting, the universe has the ability to heal itself. Nevertheless, our era is marked by various crises, and various professionals are taking numerous measures to postpone the possible end of humanity. In the field of architecture, principles of sustainable design, energy efficiency, and the use of environmentally friendly materials have gained importance in the 21st century. Approaches like Masterplanet and Planet City have different arguments in this regard. We can describe them as a kind of duality, one being utopia and the other dystopia, two visionary works. BIG’s Masterplanet project envisions a world that comprehensively addresses the climate crisis and foresees a world where the entire global population lives in similar ideal urban spaces. The project proposes a masterplan for the world and resembles a utopia in some aspects. It approaches environmental issues with a comprehensive solution and places technology at the center of the project. It suggests a design action on a planetary scale, highlighting the inadequacy of current building and even city-scale measures in addressing the climate crisis. The project has a pragmatic architectural approach and offers a critical perspective on local climate crisis measures. In the film “Planet City,” Liam Young explores a dystopia that reinterprets the strong relationship between colonization, globalization, and the economy through metropolises, challenging conventional thinking. It narrates events in an imaginary city where approximately 10 billion people live, and the rest of the world is handed over to the wild nature by a collective decision. The speculative science fiction film suggests that climate change is not just an environmental issue but a political and ideological problem. Both projects are produced by architects and are not intended to be realized; they aim to draw attention to the climate crisis with their manipulative features and question the possibilities of architecture beyond conventional ideas about cities, urban life, the environment, and even the planet’s scale. Do you think the homes of the future will be completely independent from city grids and self-sufficient? What are your thoughts? Or will efforts in this regard remain largely individual? A city exists with its built environment, unbuilt environment, and the lives of the people within it. This situation forms a complex pattern and inherently does not contain uniqueness. The concept of self-sufficient home(s) is bound to eventually evolve into a network of similar lifestyles. Therefore, I believe that cities in the future will enable a non-individual, community- oriented way of life. SLA'S STRUCTURE IN COPENHAGEN IS A VERY GOOD EXAMPLE SLA’s structure in Copenhagen is quite a good example with its emphasis on greenery, even making it the centerpiece of architectural design. Creating organic farming areas and mini-parks on the rooftops of buildings, for instance. The most striking example is the landscape design on the steep roof of the energy plant in Copenhagen, designed by SLA. Do you think all of this is sufficient, or is it merely “greenwashing”? Sustainable design approaches in architecture are a multidisciplinary and holistic subject that involves various stakeholders. It encompasses different areas such as material selection, the presence of adaptable and functional programs, the relationship of the building with its geographical location, energy efficiency, and the use of eco-friendly construction technologies. We cannot return a piece of land taken from the city to wild nature by placing limited greenery on the facade or roof of a massive building. Nor can we make an unsustainable building sustainable by adding some green touches later, just to use it as a marketing argument with a “green building” certificate. This subject should involve a process that starts from the initial stages of design, continues with the involvement of users, and becomes a cyclical, living, and holistic process within life. Anything outside of this framework has the potential to become a form of greenwashing. SLA’s structure in Copenhagen, which I had the opportunity to observe on-site recently, is an excellent example due to its location in the city and its design approach. It successfully integrates the building’s non-public rooftop with the city, eliminates barriers safely, and presents an original idea. IT IS IMPOSSIBLE TO DELIVERY THE WORLD TO WILD NATURE Can we control further green degradation in the next decade? Are you optimistic about this? Research indicates that the world’s population will continue to grow, and consequently, the urban population is expected to increase relative to the rural population. Urban life still seems attractive and maintains its appeal. Therefore, we can say that the need for construction in cities will increase in the next decade. I would like to emphasize one point: repurposing the idle building stock in cities can help control further green degradation unless there is a real need for more green destruction. I am not optimistic about this if methods like improving the efficiency of existing buildings and developing policies that support shared space usage are not adopted. Is it really necessary for us to return a significant part of the world to wild nature? Is this our salvation? What are your thoughts? In fact, I addressed the answer to this question in the previous one. I do not believe it is possible to return a significant part of the world to wild nature. The urbanization trend is expected to continue as the population increases, and the current approach to construction, driven by the capital-focused system we live in, exacerbates this situation, creating environmental problems. One of the reasons for this is the strong appetite for producing mega-scale projects. In my 40s, I learned the power of imperfection. IN MY FORTIES, I HAVE LEARNED THE VALUE OF IMPERFECTION When you were just starting out, in your twenties, how did you view the world, cities, and your profession? What has changed in your vision over the years, and what has remained the same? That’s a wonderful question! In the early years of my professional life, I used to work with the aim of perfection in a project, research, building, or text. I believed it could be achieved, and I dreamed of the possibility of achieving this with proper planning. Years later, especially as I delved into the search for ideal spaces and ideal cities, I confronted the fact that the idealized space being strived for was closed to development, totalitarian, and stagnant. Yet, people are evolving beings, and so are spaces. There is a symbiotic relationship between them. Today, in my forties, I have learned the value of imperfection. I realized how valuable the reality with its flaws is, not the idealized one. I believe that the world and cities continue to evolve with their imperfections, and this is what makes them unique and allows them to differentiate and progress from one another.

May 2024 | Art & Culture HANS OP DE BEECK “Life is never one-dimensional” words Onur Baştürk photos Studio Hans Op de Beeck BVBA I read that daily life is your biggest source of inspiration. But everyday life is a vast universe. Which details of everyday life interest you the most? Genuinely small, seemingly unremarkable actions or moments: My daughter falling asleep on my lap, the baker on the corner carefully placing his colorful cakes in the window, a gardener calmly sweeping leaves from the road, an old woman patiently helping a child on the playground... These seemingly insignificant moments are the true essence of life for me. They subtly reflect the big picture of the human condition. But it can also be everyday objects or places that inspire me: a half-eaten birthday cake from the day before or an abandoned amusement park. I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. THIS PETRIFIED IMAGE MAKES ONE THINK OF POMPEII: A LIFE FROZEN IN TIME I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. The gray color, which you like to use in many of your sculptures, installations, and even other works, makes the figures appear frozen or petrified in time. Is there another reason for the gray? What do you do to get this gray? The most prominent part of my work is what I do with monochromic gray. That’s why they are more known than the works I do in a different tone. I have also made sculptures with a combination of two or three colors. Also, most of my scripts for video, theater and opera are full-color. But at some point in my practice, I discovered my own shade of gray that makes sculptural objects, interiors, or landscapes seem fossilized, made of stone, pigmented plaster. This petrified image makes one think of Pompeii: A life frozen in time. I discovered, nearly by accident, that the gray coating I invented - a technique of layering many thin layers of coating over the sculpture - reflects light very precisely, almost velvet-like. I think it gives a special flavor to what is depicted. A soft skin that abstracts the figurative forms into a kind of parallel, silent world. The absence of colors allows you to focus on the light. My work is never about simulating reality as it is, about literal mimesis or imitation; it is about abstracting the world to evoke a mood, to interpret, and to touch the essence beneath the skin of reality. I want to evoke a mood, a visual, sensory form of fiction that the viewer can identify with and experience before understanding it. My monochromatic works in velvet gray, black and white, or light blue and soft green are quiet, concentrated variants of what we know. That is why I don’t work with ready-made products. My sculptures and installations, hundreds of square meters in size, are made by hand because of the power of interpretation. How is your engagement with gray outside of artworks? Do you wear gray, for instance? Haha, no. I have no particular preference for gray when it comes to clothes or my own living space. Awake and sleep, movement and stillness, life and death... I think a series of dichotomies like this is the main theme of your work. Do you intend to say to the audience, “This is what life is like”? I have always avoided making big words about life or even trying to explain how life works in a pedantic way. I have no wisdom to offer, but I try to reflect on life with the viewer and share the same questions and wonders. Life is a tragicomic phenomenon. I think it is essential to show both the ridiculous and the serious, joy and the pain. Life is never one-dimensional. As you mentioned, I love the moments when we let go of control, ourselves, and our identity and surrender to the unknown, intoxication, sleep, or the subconscious. There are so many unknowns, darknesses, and mysteries that lie outside the linguistic comprehension of the world, logic, and intellectual legitimacy. Art is one of the instruments that touch these concepts. “The Horseman”, “’The Boatman” and “Hélène”… In the future, would there be a new hero figure like these? In these works, I tried to offer the viewer the beginnings of all kinds of possible stories that he or she could project onto these figures. Who are they, where do they come from, where are they in their lives, what is happening in their lives, and where are they going? “The Horseman” and “The Boatman” are lonely travelers, heading for the rest of their lives with their modest belongings. They are a kind of nameless anti-heroes. The little monkey on the horseman’s shoulder has a look in his eyes that says, “Where have we come again?” The horseman himself looks over his shoulder with a similar look. This is almost the opposite of the heroic military ruler or king depicted on a prancing horse. Because such depictions can be found in abundance throughout the history of sculpture. The female boxer Hélène is an extremely fragile young girl. Not a muscular athlete. She is an introverted girl who we can assume took up boxing mostly to defend herself against the evil world she encountered on the road. We find her sitting submissively in a quiet, isolated spot in a moment of peaceful introspection. I understand that you see them as some kind of enigmatic heroes. Because each one is depicted in a unique but unremarkable way. Alongside my already planned big, architectural, immersive installations, I am also envisioning sculptures of some fictional characters, such as a mysterious blind woman with an owl on her arm, two children dressed in oversized adult clothes, a woman in her 50s caressing a fox on a chaise lounge. PROJECTS THAT REQUIRE TEN LARGE TRUCKS TO MOVE What are the challenges of creating a large-scale work? How long does it take for large-scale work, and how does it feel to have that patience? Last year, I made a 1900 square meter installation for the Lyon Biennale. For my solo exhibition at the Amos Rex Museum in Helsinki, I created a 2,000-square-meter immersive experience. These are projects that usually require ten large trucks for transportation. There is a lot of organization and logistics involved. Fortunately, I have a small team and a great manager who takes care of all these practical needs for me. It takes months to create such large installations with my team. We usually work on several exhibitions and installations in parallel. Because I do about 30 exhibitions a year. I paint big watercolor pieces at night. During the day, we work on new sculptures in my studio. Sometimes there are periods when I sleep very little. We face new challenges with every major new installation. Like when we made my life-size carousel. It was to be shown outdoors for the first time and had to withstand the wind and the weather. It took a lot of research to understand how it should be built. I also made a cinematographic film with computer-generated photo-realistic sets (CGI) and recordings made in “green key” studios with which I had no experience. This kind of technical and difficult organizational work gets the adrenaline flowing, which is also motivating. I WORK WITH COMBINED TECHNIQUES I am also curious about the stages in the creation process of your works. If it’s not a secret, can you tell me a little bit about it? I work with combined techniques for human figures. The model comes to the studio to pose, and together, we look for an expressive but comfortable and natural pose. We then do extensive photo documentation of the pose and face. We usually create a pattern on the model’s arms, hands, lower legs, and feet. We shape the head with non-drying, long-lasting clay, and the body usually with PU foam or similar lightweight, easily workable material. Then we plaster it properly, sand it and make a large mold. We can cast the sculpture monolithically from a single material, usually polyester, and for outdoor use, sometimes bronze. The final touch is the monochrome coating that my team and I developed together. EVEN THE MOST ORDINARY OBJECT CAN BECOME A GREAT ART The following sentence is from an interview: "It is always very simple to conceive an idea. The hardest part is to bring it to life." Have you ever had an idea that you had a hard time realizing? I indeed believe that the main idea of an artwork can be very simple and come to life when it is in perfect balance with the content of an artwork. Even completely ordinary objects, such as bottles on a table, become great art when painted with the proper poetic sensitivity and artistic precision. Seemingly meaningless objects then become real, fundamental content. I made a lot of sculptures and watercolors or wrote texts that I failed to execute and had to throw away. You have to make mistakes to learn. You have to keep evaluating with self-criticism while not compromising your standards. Because sooner or later you will regret it! Can a work of art not be without a subject? Or how important is the subject for you? Is it more important to start with a feeling? Indeed, I once made a bold statement that art doesn't have to have a subject (laughs). What I meant was that when the artist knows how to find the delicate balance between form and content, even the most ordinary object can become great art. I am not against art that depicts big, grandiose historical subjects or art that assumes an activist responsibility toward current issues. However, Vermeer's painting of a woman pouring milk in a quiet room or Morandi's small collection of thin bottles on a table also deeply expresses the world, melancholy, and the human condition. In my work, whether it is film, theater, watercolor, or a monumental installation, I primarily try to evoke a compelling mood that immediately stimulates sensory experience. From there, I can add multi-layered elements or include them between the lines of the image. First of all, I seek images that transcend the boundaries of time and space, images that are universal. In addition, I have absolutely no qualms about covertly integrating current affairs. This allows my work to be anachronistic and eclectic, addressing all times. BEING AN ARTIST IS ABOUT CONSTANTLY REINVENTING YOURSELF Lastly, what stage of your life are you in right now? How do you feel when you look back at the works you created in the past? Do you say: "I did it," or "I still have a long way to go"? I am the father of four wonderful children, and being able to build a strong bond of love and trust with them is my most crucial achievement in life. I have held more than five hundred exhibitions in the field of art. I traveled the world. I wrote and directed plays and movies, I wrote their scripts. I directed and staged operas. The life I have lived so far already feels so complete. So, if my life ends here and now, I feel that I have already lived it to the fullest. But I will never feel "complete" as it is said. Because life continues to be a never-ending mental and emotional journey. Being an artist is actually about reinventing yourself over and over again. I look with satisfaction at some of my work that I know I will be proud of and happy with until my last day. But of course, I also have works that I think are not strong enough artistically today. I continue to self-criticize and look for ways to improve myself. This is not just about myself as an artist, but also as a human being, a father, a friend. I wish to continue to work on myself and keep learning. for more No product

August 2023 | YUZU BODRUM | Coffee Table Book TR below SAHİR EROZAN Let’s go back to the beginning of the story... It’s 1977. Ayla Emiroğlu opens her place in the heart of Bodrum, naming it Maça Kızı after her curly hair. Years later, her son, Sahir Erozan—who would go on to become a partner in Maça Kızı and turn it into what it is today—was preparing to leave for the United States. Sahir recalls those days: “I was studying at ITU, but the school was frequently shut down due to the political climate. I’d lost touch with my studies. My mom realized this couldn’t go on and sent me to America to study business. While she was starting her Maça Kızı journey, I had begun working in restaurants in the U.S. By the time I was 23, I had opened my first restaurant there.” Meanwhile, Sahir spent summers in Turkey, and the story of Maça Kızı unfolded in different locations—moving from Bodrum’s center to Gümbet, then Torba, and finally Gölköy. “When I came back in 1992, Maça Kızı had relocated to Gölköy. I brought over bartenders I’d worked with in America and made small adjustments to the place. I started enjoying it. After Bodrum, going back to Washington felt harder and harder.” SWIMMING TO WHERE MAÇA KIZI IS NOW After a 20-year journey in Washington, Sahir returned to Turkey for good in 2003. At that time, Maça Kızı had left its spot in Gölköy, and his mother, Ayla, was searching for a new location. “One day, I swam from Ship A Hoy to the area where Maça Kızı stands today. Back then, there was no road access. I got out of the water and sat on the beach, observing the angle of the sunlight and the wind—because these things are critical. In Bodrum, having minimal wind and sunlight that doesn’t disappear early are the ultimate luxuries. This place fit the bill perfectly. That’s how Maça Kızı found its new home.” THE RISE BEGINS IN 2005 “I was lucky,” says Sahir. “We opened at a time when Turkey was experiencing economic growth. Maça Kızı’s recognition on the global stage began around 2005. An article in the New York Times described Bodrum as ‘Turkey’s St. Tropez.’ Bodrum was steadily gaining prominence, and my friends from the U.S. started visiting frequently. As a result, the percentage of foreign guests at the hotel, which was initially around 30 percent, rose to nearly 70 percent.” words Onur Baştürk Önce hikâyenin başlangıcına dönelim... Yıl 1977, Ayla Emiroğlu kıvırcık saçlarından dolayı Maça Kızı ismini verdiği mekanını Bodrum merkezde açar. Yıllar sonra Maça Kızı’na ortak olup bugünlere getirecek olan oğlu Sahir Erozan ise Amerika’ya gitmeye hazırlanmaktadır. O günleri şöyle anlatıyor Sahir Erozan: “İTÜ’de okuyordum ama dönemin şartlarından dolayı okul devamlı kapalıydı. Okuldan kopmuştum. Annem baktı ki böyle olmayacak, beni Amerika’ya işletme okumaya gönderdi. Onun Maça Kızı serüveni başlarken ben de Amerika’da restoranlarda çalışmaya başlamıştım. Derken 23 yaşında orada ilk restoranımı açtım.” Sahir yazları Türkiye’ye gidip gelirken Maça Kızı’nın macerası da yer değiştirerek devam eder: Bodrum merkezin ardından Gümbet’e, oradan Torba’ya ve Gölköy’e... “1992’de geldiğimde Maça Kızı Gölköy’e taşınmıştı. Ben de Amerika’da çalıştığım barmenleri getiriyor, küçük dokunuşlar yapıyordum mekana. Hoşuma gitmeye başlamıştı. Bodrum’dan sonra Washington’a tekrar dönmek zor geliyordu”. YÜZEREK MAÇA KIZI’NIN OLDUĞU YERE GELDİM Sonunda Sahir Erozan, Washington’daki 20 yıllık macerasından sonra 2003’te Türkiye’ye tamamen döner. O sırada Maça Kızı Gölköy’deki yerinden çıkmış, annesi Ayla Hanım yeni bir yer aramaktadır. “Bir gün Ship A Hoy’dan yüzerek şu an Maça Kızı’nın olduğu bölgeye geldim. O zaman yolu filan yoktu. Denizden çıkıp sahilde oturdum. Gün ışığının açısına, rüzgârına baktım. Çünkü bunlar çok önemli. Rüzgârın patlamaması ve güneşin erkenden gitmemesi en büyük lükslerden biri Bodrum’da. Burası her iki açıdan da uygundu. Böylece Maça Kızı’nı buraya taşıdık.” YÜKSELİŞ 2005’LERDE “Şanslıydım” diyor Sahir, “Türkiye’nin ekonomik olarak yükseldiği doğru bir zamanda açtık. Maça Kızı’nın global arenada tanınması ise 2005’lerde başladı. New York Times’da bir yazı çıkmıştı, ‘Türkiye’nin St. Tropez’si Bodrum’ diye. Bodrum yavaş yavaş yükseliyordu. Amerika’daki dostlarım da sıkça gelip gittiler. Böylece ilk başta otelde yüzde 30 olan yabancı misafir oranı yüzde 70’lere kadar geldi.”

August 15, 2025 | TRAVEL TR BELOW the MAN in SUITE 8065 words Onur Basturk Fifteen years ago, I took my very first cruise—also as a media guest—and quite literally walked into a film shoot happening on board. Now, years later, I’m back at sea. This time, there’s no director yelling “Cut!”, yet I can’t shake the feeling I’m in the middle of a movie. Maybe it’s the inevitable pull of the most famous ship in pop culture, the Titanic, planting that thought in my head. Or maybe the real magic lies in the fact that hundreds of people can spend days, weeks—even an entire month—on what is essentially a floating luxury mansion, barely stepping ashore except for organised excursions. And what does that mean? New friendships. Sudden romances. And yes… the occasional discreet intrigue. THE SHIP: EXPLORA I. THE SUITE: 43-SQUARE-METRE 8065 This particular journey is aboard Explora I, one of the newest additions to the MSC Group fleet—the third-largest cruise brand in the world. We set sail from Istanbul, and as I type, we’re gliding toward the island of Lesbos. Explora doesn’t look anything like your average passenger ship. For starters, there are only 461 suites, all with ocean views. Fewer people, more space—always a good thing. The ship’s sleek, superyacht-inspired design comes courtesy of British designer and architect Martin Francis, alongside long-time MSC collaborators SMC Design, AD Associates, and De Jorio Luxury and Yacht Projects. But I didn’t fully appreciate what sets Explora apart until I walked into Suite 8065. The space feels indulgent—43 square metres, I later discovered (with some suites reaching 70). There’s a living area, a separate walk-in wardrobe, and a bedroom cleverly divided by a partition. The best surprise? A large private balcony. At night, I’d sit out there, hypnotised by the rhythm of the waves in the open sea, half expecting a scene from Ruth Ware’s bestselling The Woman in Cabin 10 (soon to land on Netflix) to unfold. Luckily, unlike the travel-writer heroine of Ware’s novel, no one was thrown—or decided to throw themselves—off the balcony next door. And no, Ware’s plot has nothing to do with the real-life mystery of Dilek Ertek, the Turkish businesswoman thought to have fallen from a cruise ship near French Polynesia in 2022. That’s a whole other enigma—one that may yet get its own series or documentary. HOW DO YOU SPEND TIME AT SEA? The question I get the most: how do you fill your days on a cruise, especially when there’s nothing but water on the horizon? For me, during the 48-hour stretch sailing straight from Paros to Palermo, boredom never had a chance to make an appearance. Up on the very top deck, there’s an open-air track where I walked and ran (mostly to justify what came next). Then I gave in to the inevitable: eating and drinking my way through the voyage. Explora has six distinct restaurants—Japanese, French, Italian, a steakhouse, and more—plus the all-day Emporium Marketplace. Think buffet, but elevated and waste-conscious. How? Every station has an attendant who serves you—even if all you want is a single slice of cheese. At first, I found this slightly fussy. But then I remembered the mountain of untouched food I’ve seen piled high on buffet plates elsewhere, and the logic made perfect sense. One of my favourite spots was the Sky Lounge at the ship’s aft—the ultimate sunset perch for a glass (or several) of champagne, the horizon ahead, and a fleeting moment to wonder: Where is this ship—and my life—actually heading? OTHER NOTES FROM THE VOYAGE - The crew insists there’s “no plastic on board,” though I did see a passenger haul in a box of bottled water back in Paros. Technically, that shouldn’t have been allowed. - Explora’s RINA Dolphin Certification is a genuine highlight—the ship’s noise-reduction system means it disturbs dolphins far less than most vessels. Did I spot any? Absolutely—right as we were leaving Lesbos. - Your passport is collected when you board; your room key doubles as ID during shore excursions. Which means no passport weighing down your pocket on land. - And if you miss the ship’s departure time? It will leave without you. Rules are rules—and the sea, as they say, waits for no one. For information about Explora cruises https://explorajourneys.com 8065 NUMARALI KABİNDEKİ ADAM 15 yıl önce ilk cruise seyahatimi -yine medya davetlisi olarak- yapmış ve geminin içinde bir film çekimine denk gelmiştim. Şimdi yıllar sonra yeniden bir cruise seyahatindeyim. Bu kez film çeken yok, ama sanki bir filmin içindeymişim gibi hissediyorum! Cruise’ların böyle hissettiriyor oluşu popüler kültürün en bilindik ikonu Titanic yüzünden olabilir mi? Seyahat sırasında sıkça bu soru aklıma düştü. Belki de bu hissin altında yatan en büyük gizem, yüzlerce insanın günler ve haftalarca (bazen bir ay boyunca seyahat eden de olabiliyormuş) lüks bir malikâneyi andıran gemiden -kara turları hariç- hiç ayrılmamasıdır. Bu da ne anlama geliyor? Yeni arkadaşlıklar, aşklar ve hatta küçük entrikalar…. GEMİNİN ADI, EXPLORA I. SÜİTİM 43 METREKARELİK 8065 Bulunduğum cruise, dünyanın üçüncü büyük cruise markası olan MSC Grubu'nun yeni gemilerinden Explora 1. Kalkış limanımız İstanbul’du ve şu anda bu satırları yazarken Midilli Adası’na gelmek üzereyiz. Explora, geleneksel bir yolcu gemisinden görünüş olarak oldukça farklı. Öncelikle tamamı deniz manzaralı toplam 461 süiti var. Bu nedenle diğer yolcu gemilerine insan sayısı daha az, ki bu da bence iyi bir şey! Explora 1’in süper yatı andıran tasarımında İngiliz tasarımcı ve mimar Martin Francis’le çalışılmış. Diğer tasarımcılar ise uzun yıllardır MSC ile çalışan SMC Design, AD Associates ve De Jorio Luxury and Yacht Projects. Ama Explora’nın esas farkını 8065 numaralı süitime girdiğimde anlıyorum: Metrekare oldukça geniş (Sonradan öğreniyorum, meğer benim süit 43 metrekareymiş, 70 metrekarelik olan süitler de varmış). Otuma odası, kıyafetlerimi koyabileceğim gömme dolaplı ayrı bir alan ve seperatörle ayrılan yatak odası süitime dahil. Ama en büyük sürpriz, geniş bir balkonumun olması! Elbette geceleri balkonumdan açık denizdeki dalgaları hipnotize olmuş şekilde seyrederken Ruth Ware’in -yakında Netflix’te de gösterilecek- çok satan romanı “The Woman in 10 Cabin” aklıma geliyor. Neyse ki, romanın baş karakteri olan seyahat yazarının tanık olduğu gibi yan balkonumdan kimse aniden aşağı atlamıyor ya da atılmıyor! Ve hayır, Ware’in romanının 2022’de Fransız Polinezyası açıklarındaki cruise seyahati sırasında balkondan atladığı düşünülen Dilek Ertek’le ilgisi yok. O mesele zaten bir başka muamma. Belki yakında onun da dizisi, filmi ya da belgeseli çekilir… CRUISE’DA ZAMAN NASIL GEÇİYOR? Gelelim en çok merak edilen sorulara… Cruise’da zaman -özellikle de hiç kara görülmeyen günlerde- nasıl geçiyor? Doğrusu, Paros’tan ayrılıp Palermo’ya (Sicilya) doğru sadece denizde ilerlediğimiz 48 saatlik zaman diliminde sıkılmaya hiç vaktim olmadı. Mesela: Explora’nın en tepesinde bir açık hava parkuru var, orada yürüyüp koştum. Daha sonra kendimi yeme-içmeye verdim! Gemide altı farklı restoran var. Japon restoranından Fransız mutfağına, İtalyan restoranından steakhouse’a kadar uzanan bir çeşitlilik söz konusu. Bir de her öğle ve akşam açık Emporium Marketplace var. Burası bildiğimiz açık büfelerin daha konforlu ve israfı önleyen versiyonu. Nasıl mı? Her yiyecek istasyonunun başında bir görevli var. Bir dilim peyniri bile tabağınıza o servis ediyor. İlk başta bu oldukça yorucu gelmişti, ama sonra açık büfelerden tıka basa doldurulan ama asla tam olarak bitirilmeyen yemekleri düşününce bu sisteme hak verdim. Explora’da en çok vakit geçirdiğim yerlerden biri ise Sky Lounge’du. Geminin arka tarafındaki bu bar hem gün batımı izleyip “Bu gemi ve hayatım nereye gidiyor?” diye düşüncelere dalmak hem de bir kadeh (ya da çok kadeh!) şampanya yudumlamak için kesinlikle ideal bir noktaydı. GEMİDEN ÖNEMLİ BAŞKA DETAYLAR - “Gemide plastik kullanılmaz” dediler ama ben Paros’tan bir koli pet şişeyi gemiye sokan yolcu gördüm. Bence almamaları gerekiyordu. - Explora’nın en hoş yanı, RINA Yunus Sertifikası olması. Bu ne anlama geliyor? Su altı gürültüsünü azaltan sistemi sayesinde geminin yunusları daha az rahatsız ediyor olması… Peki yunus gördüm mü? Elbette, tam Midilli’den ayrıldığımız saatlerde… - Pasaportunuzu gemiye girdiğinizde teslim ediyorsunuz. Gemiden ayrılıp kara turuna çıktığınızda oda kartınız aynı zamanda kimliğiniz oluyor! Yani pasaportunuz bu turlar sırasında yanınızda olmuyor. - Peki ya geminin kalkış saatini kaçırırsanız? Tabii ki gemi sizi beklemiyor ve gidiyor! Çünkü: Hem kurallar hem de malum, yol beklemez! Daha fazla bilgi için https://explorajourneys.com

Ocak 2022 | İçerik Ortaklığı for english click here İçerik Ortaklığı YUZU olarak markalarla ortaklaşa içerik de üretiyoruz. İçerik ortaklığı, yuzu’daki diğer içeriklerden üç şekilde farklı. - Markayla yapılan anlaşma çerçevesinde içerik ortaklığı ücretli. - İçeriğin editoryal kontrolü yuzu’ya ait, ama içerik ortağımız yayınlanmadan önce ön izlemeyi görebiliyor. - İçerik ortaklığı yayınlanan içerikte mutlaka belirtiliyor. İçerik ortaklığı sadece yazı üzerine olabileceği gibi, sosyal medya kanallarımızı da kapsayan bir video çalışması olabiliyor. Video çalışmasını yuzu’nun iş birliği yaptığı kreatif ekipler gerçekleştiriyor. Aynı şekilde eğer içerik ortaklığında bir fotoğraf çalışması söz konusu ise yine bunu da yuzu’nun kreatif ekibi üstleniyor. Eğer yuzu’yla içerik ortaklığı yapmak istiyorsanız info@yuzumagazine.com ’a mail atın. Beraber neler yapabileceğimiz konusunda fikir geliştirelim. Content Partnership As yuzu, we also produce content jointly with brands. Content partnership differs from other content on yuzu in three ways. - Content partnership is paid within the framework of the agreement with the brand. - Yuzu has editorial control of the content, but our content partner can preview it before it's published. - Content partnership is definitely stated in the published content. Content partnership can be only on writing, or it can be a video work that includes our social media channels. The creative teams that yuzu collaborates with are performing the video work. Likewise, if there is a photography work in content partnership, yuzu's creative team undertakes it. If you want to make content partnership with yuzu, send an e-mail to info@yuzumagazine.com . Let's develop ideas about what we can do together. Çapa 9

October 1, 2025 | Product EXTRAORDINARY in the EVERYDAY brand ARCLINEA photos Daniel Civetta Founded in 1925, Italian kitchen brand Arclinea has long redefined the kitchen not just as a place for cooking, but as the very heart of the home. A pioneer of modern Italian design, the brand’s enduring collaboration with Antonio Citterio has transformed kitchens into architectural experiences—spaces shaped by light, material, and rhythm, where function and elegance seamlessly coexist. The brand’s ongoing series, “Extraordinary, Everyday,” embodies this vision. Through real-life stories captured across different geographies, the series reveals how kitchens bring together people, nature, and daily rituals, showing the extraordinary potential of the everyday. Its latest chapter takes us to Portugal, to Casa No Tempo, part of Silent Living. Designed by architect Manuel Aires Mateus, this timeless estate features the handle-free Thea kitchen in white lacquer—a space conceived not just for cooking, but for sharing and connection. Surrounded by nature, the kitchen unites the purity of contemporary design with the grounded simplicity of rural life. “The kitchen is where it all comes together: food, people, stories. With Arclinea, we created a space that feels open, generous, and full of meaning—where sharing a meal means connecting to the land, to each other, and to time. Casa No Tempo isn’t just a house (casa); it’s a way of living. It invites you to slow down, pay attention, and find the extraordinary in the everyday.” — João Rodrigues At its core, Arclinea continues to ask the same question: What makes the everyday extraordinary? The answer lies in the table set anew each day, in stories shared, and in the way a space can root us more deeply in life itself.

November 2024 | Travel TURKISH BELOW FLAVORS of ATHENS: WHERE to EAT + DRINK Words ONUR BAŞTÜRK 24 recommendations from Athens’ Thriving Food Scene. Note: Our guide is updated monthly! AKRA Located in Athens, Akra is a minimalist yet flavor-packed restaurant founded by chef Giannis Loukakis—known for Mourga and +Trofi in Thessaloniki—together with Spiros Pediaditakis. Loukakis, who values respect for ingredients, keeps his culinary techniques simple, just like at his Thessaloniki venues. The focus here is on seasonality, meaning the menu constantly evolves. Expect dishes that are smoked, grilled, or cooked over an open flame. Sustainability is key, with efforts to minimize food waste. Don’t miss the shared fish soup and the desserts! Instagram @akra_ath SOIL Chef Tasos Mantis, originally from Lesbos, developed his green thumb as a child, learning gardening from his father. After honing his skills at globally renowned restaurants, he returned to Greece and has spent the last decade tending his garden in Alepochori, a village an hour from Athens. This garden is an essential extension of Soil, his restaurant, where rare Greek herbs, edible flowers, and fresh vegetables often find their way onto the menu. Instagram @soilrestaurant.gr VEZENE Self-taught chef and butcher Ari Vezené is credited as one of the first in Athens to blend traditional Greek recipes with unique ingredients, creating complex flavor profiles cooked over a wood fire. Opened in 2011, Vezene remains a local favorite. Instagram @vezene BIRDMAN Birdman, another venture by chef Ari Vezené, is a cozy Japanese grill bar paying homage to Tokyo’s late-night eateries and jazz kissa bars. It serves next-gen yakitori alongside analog tunes. Must-tries include the Iberico Katsu and Mutton Tsukune. Instagram @birdmanathen s ATHENEE With a history dating back to 1939, this elegant venue has hosted iconic figures like Odysseas Elytis, Melina Mercouri, and Sophia Loren. Reopened by the Panas brothers, Athenee offers a blend of sophistication and timeless charm. Don’t miss the brunch or lunch experience. Instagram @atheneeathens PHARAOH Located in the lively Exarcheia neighborhood, known for its politically charged street art, rare record and vintage guitar shops, and vibrant live music bars, Pharaoh quickly became a popular spot after opening two years ago. This energetic restaurant and wine bar also features vinyl records spinning in the background. Don’t miss the traditional dishes by chef Manolis Papoutsakis, such as dolmadakia and beef with orzo. Be sure to explore the list of over 400 natural wines—they're fantastic! Instagram @pharaohathens LINOU SOUMPASIS & SIA This modern tavern, located in an old candle shop in Psiri, features lighting inspired by the delicate candles found in churches. Led by chef Lukas Mailer, the restaurant serves exquisite dishes like fish soup that are not to be missed. Instagram @lsandsia OKIO Casual yet stylish, Okio offers bold Asian twists on traditional Mediterranean recipes, with a focus on fish and seafood. Instagram @okio.restaurant TUDOR HALL Situated on the 7th floor of the King George Hotel, Tudor Hall stands out for its breathtaking views of the Acropolis. Perfect for a romantic evening, the menu presents modern takes on Greek cuisine through a concise à la carte and tasting menu. Instagram @tudorhallrestaurant NOLAN Just steps from Syntagma Square, this contemporary bistro defies culinary labels, blending global influences. In the summer, the team relocates to their Mykonos outpost, bringing their dynamic energy to the island. Instagram @nolanrestaurant OIKEIO A cozy two-story eatery with outdoor seating, Oikeio specializes in homestyle Greek dishes. Highlights include sardines, moussaka, and octopus in vinegar. Instagram @oikeio_restaurant COOKOOVAYA Korfu-born chef Periklis Koskinas (photo credit: Andreas Simopoulos) describes himself as an "untiring traveler”. His modern, open-kitchen restaurant focuses on fresh seafood, delivering dishes with bold flavors. Instagram @cookoovaya TANPOPO Opened in 2023 by chef Sotiris Kontzias, known for Nolan and Proveleggios, Tanpopo (meaning "dandelion" in Japanese) is an intimate ramen spot with just three tables. Start with a Tanpopo Negroni, then dive into the shoyu ramen with crispy pork and enoki mushrooms. Note: It closes at 6:30 PM daily, except Saturdays. Instagram @tanpopo.athens LINE Ranked 6th on the World’s 50 Best Bars list, Line occupies a former art gallery and stands out as a creative hub in Athens. The bar was founded by renowned mixologists Vasilis Kyritsis and Nikos Bakoulis, creators of The Clumsies, along with Dimitris Dafopoulos, co-founder of Three Cents Artisanal Beverages. At Line, ingredients aren’t just mixed into cocktails—they’re also made in-house. The bar produces its own fruit wines, beers, and artisanal bread, offering a truly unique experience. Instagram @line.athens HYTRA Chef George Felemegkas reimagines traditional Greek flavors in a modern context at Hytra. Instagram @hytra_restaurant IODIO IODIO is the latest venture of Michelin-starred chef Georgianna Hiliadaki, who also provides consultancy services to renowned restaurants like Zurbaran and Gatsby. Instagram @iodio_athens HERVÉ Hervé offers an avant-garde dining experience led by French-born chef Hervé Pronzato. With influences from French, Asian, and Italian cuisines, the seasonal menu highlights local ingredients and innovative techniques. Instagram @herverestaurant JERAR Located away from the tourist hub, Jerar is worth the trip. Chef Charis Nikolouzos crafts globally inspired dishes with Greek roots, including a standout “Mikrolimano Shrimp.” Instagram @jerar_athens DELTA Nestled within the Stavros Niarchos Foundation Cultural Center (SNFCC), Delta is a two-Michelin-starred restaurant that embodies the intersection of fine dining and sustainability. Located on the fifth floor of the building, which also houses the National Library of Greece and the Greek National Opera, Delta offers a dining experience as striking as its architectural surroundings. The restaurant is helmed by chefs George Papazacharias and Thanos Feskos, both of whom have honed their skills at some of Europe’s most prestigious establishments. Their philosophy places sustainability at the heart of their culinary approach, emphasizing local ingredients, innovative techniques, and zero-waste practices. Instagram @delta_restaurant SEYCHELLES Hidden in the vibrant Metaxourgeio neighborhood, Seychelles has been a favorite local hangout since it opened in 2014. The menu is all about simple, delicious Greek dishes with a creative touch—don’t leave without trying the wine-braised octopus and grilled beef tongue. Pair them with a glass of wine from their excellent selection and enjoy the warm, welcoming vibes. Photo Anthony Katra Instagram @seychellesrestaurant TAVERNA TON FILON The newest venture by Seychelles chef Yiannis Mousios, this cozy spot in Kolonos sources its ingredients from farms in Kimolos, Evia, and Crete. Highly recommended dishes include spinach and Rethymno Galomyzithra cheese-stuffed gigantes—a true standout! Instagram @tavernatonfilon GORLOMI Located in Kolonaki, Gorlomi is a sleek Italian restaurant designed by Bobotis+Bobotis Architects. The menu, crafted by chef Luca Piscazzi, shines with dishes like homemade pasta, risotto, and perfectly poached fish. Instagram @gorlomiathens BOTRINI’S Set in a old school building with a beautiful garden, Botrini’s is the brainchild of chefs Ettore Botrini and Nikos Billis. Their inspiration comes from the places they grew up: Ettore draws from the flavors of Corfu and Tuscany, while Nikos finds his roots in the Pelion region. The restaurant offers two exceptional tasting menus—Peripatos ("A Leisurely Walk") and Taksidi ("Journey")—featuring innovative dishes like swordfish marinated in seawater and creations celebrating Greece's tsipouradika culture. Photo Yiorgos Kaplanidis Instagram @botrinisrestaurant.official ASŌTOS A modern Greek restaurant in Pangrati, Asōtos is dedicated to high-quality, locally sourced ingredients. Chef Michael Merzenis embraces simplicity and excellent produce for a refined yet unpretentious experience. Instagram @aswtos_ ATİNA YEME-İÇME REHBERİ Atina'nın sürekli gelişen yeme-içme sahnesinden 24 öneri! (Not: Rehberimiz aylık olarak güncellenmektedir!) AKRA Selanik’in gastronomi sahnesinin halen en çok konuşulan restoranlarından biri olan Mourga ve yanı sıra +Trofi’nin (“Syntrofi” olarak okunuyor) kurucularından olan şef Giannis Loukakis’in Spiros Pediaditakis ile birlikte açtığı Atina’daki Akra, minimalist ambiyansa sahip ama lezzet açısından hayli yoğun bir restoran! Çünkü şef Loukakis büyük saygı duyduğu malzemelerle uğraşmayı fazla sevmiyor ve tıpkı Selanik’teki restoranlarda olduğu gibi burada da mevsimsellik tutkusu ön planda. Menü bu nedenle sürekli değişiyor ve neredeyse her şey tütsülenip ızgara yapılıyor ya da açık ateşte kızartılıyor. Ayrıca gıda israfı mümkün olduğunca en aza indirgenmiş durumda. Paylaşımlık gelen balık çorbası ve ayrıca tatlılara dikkat! Instagram @akra_ath SOIL Küçük yaşlarda babasından bahçe bakımını öğrenen Midillili şef Tasos Mantis, global üne sahip restoranlarda çalıştıktan sonra memleketine döndü ve son 10 yıldır Atina'ya bir saat uzaklıktaki Alepochori köyünde kendi bahçesiyle ilgileniyor. Şefin bahçesi aynı zamanda restoranı Soil'in vazgeçilmez bir uzantısı. Bu nedenle menüdeki yemeklere sık sık nadir Yunan otları, yenilebilir çiçekler ve taze sebzeler eşlik ediyor. Instagram @soilrestaurant.gr VEZENE New York doğumlu şef Ari Vezené kendi kendini yetiştirmiş bir şef ve kasap. Şef Vezené, geleneksel Yunan tariflerini farklı malzemelerle harmanlayıp odun ateşinde pişirerek karmaşık lezzet profilleri ortaya çıkaran Atina’daki ilk şef. 2011’de açılan Vezene halen popüler. Instagram @vezene BIRDMAN Şef Ari Vezene’nin bir başka restoranı olan Birdman, Tokyo’nun gece geç saatteki lokantalarına ve caz Kissa tarzı barlarına saygı duruşunda bulunan, yeni nesil yakitori servis eden ve analog melodiler sunan samimi bir Japon grill-bar. Iberico Katsu’su ve Mutton Tsukune’si özellikle tavsiye! Instagram @birdmanathen s ATHENEE Bu tarihi mekanın hikâyesi 1939’a dek uzanıyor. Öyle ki, zarif ve lüks ortamı yıllar boyunca Odysseas Elytis, Nikos Gatsos, Melina Mercouri, Sophia Loren, Anthony Quinn gibi 20. yüzyılın önemli figürlerini ağırlamış. 75 yıl sonra Spyros ve Chrysanthos Panas kardeşlerin mekanı yeniden açmasıyla tarih yeniden yazılmaya başlandı diyebiliriz. Brunch ya da lunch’ını mutlaka deneyin. Instagram @atheneeathens PHARAOH Sokakları siyasi içerikli duvar resimleriyle donanmış, nadir plak ve vintage gitar satan mağazaları ve canlı müzik barlarıyla bilinen Exarcheia mahallesinde iki yıl önce açılan Pharaoh, kısa sürede popüler olmuş bir restoran ve şarap barı. Aynı zamanda vinil plakların çaldığı hayli enerjik bir mekan! Şef Manolis Papoutsakis’in hazırladığı geleneksel yemeklerden mutlaka dolmadakia ve arpalı kızarmış dana etini deneyin! 400'den fazla doğal şaraptan oluşan listeye de mutlaka göz atın, harika şaraplar var! Instagram @pharaohathens LINOU SOUMPASIS & SIA Psiri’de yer alan bu yeni nesil taverna eski bir mum dükkânında yer alıyor ve mekan kiliselerde bulunan ince balmumu mumlarla aydınlatılıyor. Restoranın leziz mutfağı şef Lukas Mailer liderliğinde. Balık çorbasını mutlaka tatmalısınız! Instagram @lsandsia OKIO Cool ve casual bir ambiyansa sahip Okio’da geleneksel Akdeniz tariflerine cesur Asya dokunuşları yapılıyor. Restoranda balık ve kabuklu deniz ürünleri ön planda. Instagram @okio.restaurant TUDOR HALL Syntagma Meydanı'nın yanındaki King George Hotel'in yedinci katındaki Tudor Hall elbette öncelikle Akropolis manzarasıyla dikkat çekiyor. Eğer romantik bir akşam yemeği istiyorsanız burası tam size göre. Menü de yormuyor. Kısa bir alakart ve bir tadım menüsü etrafında inşa edilen menüde Yunan mutfağına modern bir yaklaşım var. Instagram @tudorhallrestaurant NOLAN Syntagma Meydanı'na birkaç adım mesafedeki bu modern bistronun mutfağında coğrafi kısıtlamalar yok. Kendilerini herhangi bir mutfak kategorisiyle sınırlandırmıyorlar. Yan tarafta bir de pastaneleri var, Sweet Nolan. Restoran yaz aylarında tüm ekibiyle birlikte Mykonos’taki yerlerine taşınıyor. Instagram @nolanrestaurant OIKEIO İki farklı katta, dışarda masaları olan, ev yemeği tarzı yemekler yapan küçük bir restoran. Menüsü taze malzemelerle hazırlanıyor. Sardalya, musakka ve sirkeli ahtapot gibi yemekler var. Instagram @oikeio_restaurant COOKOOVAYA Kendini “yorulmak bilmeyen bir gezgin” olarak tanımlayan Korfu doğumlu şef Periklis Koskinas’ın tamamen açık mutfağa sahip modern restoranında balık özellikle çok lezzetli! Instagram @cookoovaya TANPOPO Nolan ve Proveleggios’u açan şef Sotiris Kontzias’ın 2023’te açtığı ramen restoranı Tanpopo (Japonca'da karahindiba anlamına gelen taraxacum bitkisi), mütevazı bir tasarıma, üç masaya sahip ama yemekler enfes. Önce bir Tanpopo negroni söyleyin, sonra da kızarmış domuz eti ve enokili bir shoyu ramen sipariş edin. Restoranın cumartesi hariç her gün saat 18.30'da kapandığını hatırlatalım. Instagram @tanpopo.athens LINE Eski bir sanat galerisi içinde açılan Line, bu yılki The World’s 50 Best Bars listesine altıncı sıradan girdi. Global üne sahip The Clumsies’in kurucuları Vasilis Kyritsis ve Nikos Bakoulis ile Three Cents Artisanal Beverages’ın kurucu ortağı Dimitris Dafopoulos’un beraber açtığı Line’da malzemeler sadece karıştırılıp kokteyl olarak servis edilmiyor, aynı zamanda çoğu malzeme mekanın içinde yapılıyor. Öyle ki Line, kendi meyve şaraplarını, biralarını ve artizan ekmeklerini dahi üretiyor. Instagram @line.athens HYTRA Şef George Felemegkas tarafından hazırlanan Hytra menüsü, geleneksel Yunan lezzetlerinin modern bir yorumundan oluşuyor. Instagram @hytra_restaurant IODIO Zurbaran, Gatsby gibi restoranlara danışmanlık da veren Michelin yıldızlı şef Georgianna Hiliadaki’nin yeni restoranı. Instagram @iodio_athens HERVE Hervé’nin üç ortağı Herve Pronzato (Restorana adını veren Fransa doğumlu şef), George Efthimopoulos ve Grigoris Kikis’in cesur, yenilikçi, teşvik edici ve ilerici yemek deneyimine buyurun! Menüleri yılın her döneminde en iyi yerel malzemeleri yansıtacak şekilde mevsimsel olarak değişiyor. “Herhangi bir mutfak kategorisine girmiyoruz” diyorlar, “Ancak birçok mutfaktan, yerel sokak yemeklerinden ve pazarlardan, modern bir yaklaşımla sunulan geleneksel eski usul unutulmuş tekniklerden etkileniyoruz”. Merkezden biraz uzakta yer alan bu modern restoran için Fransız, Asya ve İtalyan mutfağından etkilenen füzyon yemekler içeriyor diyebiliriz. Instagram @herverestaurant JERAR Jerár, şehrin turistik merkezinden uzakta, ama iyi yemek söz konusu oldu mu mesafeler önemsizdir değil mi? Jerar’ın şefi Charis Nikolouzos, Yunan köklerini Fransız ve İtalyan mutfak detaylarıyla birleştiren global yemekler yapıyor. Özellikle “Mikrolimano Karidesi”ne dikkat! Instagram @jerar_athens DELTA İki Michelin yıldızlı Delta, Yunanistan Ulusal Kütüphanesi ve Yunan Ulusal Operası'na da ev sahipliği yapan Stavros Niarchos Vakfı Kültür Merkezi'nin (SNFCC) içinde yer alıyor. Binanın beşinci katındaki bu restoranın etkileyici iç tasarımı kadar her ikisi de Avrupa'nın en iyi restoranlarında eğitim almış şeflerine dikkat çekmek isteriz: George Papazacharias ve Thanos Feskos. İki şef de sürdürülebilirliği mutfaklarının merkezine koyuyor. Instagram @delta_restaurant SEYCHELLES 2014’te Metaxourgeio semtinde açılan popüler Yunan restoranı Seychelles’e gitmeden olmaz! Yüksek tavanlı bu davetkâr restoranda şarapta pişmiş ahtapot, ızgara dana dil ve kabak ve domatesli köfte tavsiye! Instagram @seychellesrestaurant TAVERNA TON FILON Seychelles’in başarısından sonra şef Yiannis Mousios 2023 sonlarında Kolonos'ta bu yeni mekanı açtı. Ürünlerini Kimolos, Evia ve Girit'teki çiftliklerden temin eden restoranın menüsünden ıspanaklı ve Rethymno Galomyzithra peynirli Gigantes tavsiye! Instagram @tavernatonfilon GORLOMI Kolonaki’de yer alan bu şık İtalyan restoranın tasarımı Bobotis+Bobotis Architects’e ait. Şef Luca Piscazzi tarafından hazırlanan menü ise ev yapımı makarna, risotto ve haşlanmış balıkla parlıyor. Instagram @gorlomiathens BOTRINI’S Botrini's güzel bir bahçeye sahip eski bir ilkokul binasında yer alıyor. Restoranın ilhamı bizzat şeflerinin, yani Ettore Botrini ve Nikos Billis’in büyüdüğü yerler. Ettore Botrini’nin ilham kaynakları Korfu ve Toskana, Nikos Billis'in ise Pelion Dağı. Botrini’s iki özel tadım menüsüne sahip: Peripatos (Yavaş bir yürüyüş) ve Taksidi (Yolculuk). Bu menülerde deniz suyunda marine edilmiş kılıç balığı ve Yunan tsipouradika kültürünün lezzetlerini kutlayan yemekler gibi yenilikçi kombinasyonlar var. Instagram @botrinisrestaurant.official ASŌTOS Şehrin en yeni restoranlarından biri olan Asōtos, Pangrati bölgesinde, Aminta Caddesi'nde açıldı. Modern bir Yunan mutfağı deneyimi sunan Asōtos, yerel üreticilerden tedarik edilen yüksek kaliteli malzemelere odaklanıyor. Şef Micheal Merzenis’in mottosunu hatırlatalım: Sadelik ve mükemmel malzeme! Instagram @aswtos_

August 2023 | YUZU BODRUM | Coffee Table Book english below YAZ YALIKAVAK HOTEL A slında eski bir Yalıkavak oteli Yaz Yalıkavak . 1994 yılında açılmış, ama 2017 yılına kadar farklı bir isimle işletilmiş. 2017’de otelin sahibi olan ailenin üçüncü kuşağından İnanç Işıklar ve Elif Sünget hem tasarımı hem de bakış açısını baştan aşağı değiştirmiş. Tabii otelin ismini de… Uzun süre gayrimenkul alanında çalışan İnanç Işıklar ve kurumsal şirketlerde farklı pozisyonlarda çalışmış Elif Sünget’in en çok üzerinde durdukları nokta şu: Bodrum’da çok fazla büyük ve lüks segment otel var, ama Yaz Beach gibi konforlu butik otel çok az. İşte Yaz Yalıkavak Hotel o eksiği gidermeye çalışan bir otel. Denize sıfır oluşu, odalara asansörsüz ve buggy’siz kolayca ulaşılması, oda tasarımının fazlalıklardan arınmış, sade ve çabasız hali Yaz Yalıkavak ’ın en büyük artılarından… Popüler Yalıkavak mekanlarından The Galliard Cove House’un da içinde yer aldığı Yaz Yalıkavak Hotel’in plaj restoranı Verano, bu mekanın danışmanlığında işletiliyor. Y az Yalıkavak is actually an old Yalıkavak hotel. It was founded in 1994 but operated under a different name until 2017. In 2017, İnanç Işıklar and Elif Sünget, the hotel's third generation owners, have completely changed both the design and its standpoint. Of course, the name of the hotel too… İnanç Işıklar, who has long worked in real estate, and Elif Sünget, who has held various positions in corporate companies, emphasize the following: In Bodrum, there are too many large and luxury hotels, but far too few comfortable boutique hotels like Yaz Beach. Now, Yaz Yalıkavak Hotel tries to remedy this. The best features of Yaz Beach are its location on the seafront, easy access to the rooms without a lift or buggy, and the simple and effortless, excess free room designs. Verano, the beach restaurant of Yaz Yalıkavak Hotel, which also includes The Galliard Cove House, a popular Yalıkavak venue, is managed under this venue's consultancy.

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