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Nusfjord Village & Resort offers a winter escape in Lofoten, Norway, with restored Rorbu cabins, Arctic seafood, a spa, and two restaurants. February 2025 | TRAVEL a HYGGE HAVEN in LOFOTEN words Özlem Avcıoğlu Let’s start with the concept of Hygge, a Scandinavian philosophy—particularly rooted in Denmark—that has become increasingly popular as the secret to happiness. Geography plays a significant role in shaping a way of life. Imagine being in one of the Nordic countries, where the majority of the year is cold, rainy, and windy, with six months of darkness. You need something to seek comfort in, and that’s precisely what Hygge is about. At its core, Hygge is the art of creating cozy, inviting spaces. It’s about finding warmth, joy, and relaxation in simple pleasures. And while traveling to Lofoten in Norway during winter can be quite challenging, it’s undoubtedly a journey that embodies the essence of Hygge—offering moments of tranquility, warmth, and an appreciation for life’s simple comforts. Reaching Lofoten in harsh winter conditions requires more than just multiple flight connections—you also have to drive through dark, icy roads. Yet, after an exhausting journey, stepping into Nusfjord Village and Resort felt like wrapping myself in a warm, comforting blanket. The moment I arrived, I turned to my friend and said, “We’re not leaving this place for the next 48 hours!” And that’s exactly what we did—we canceled all other plans and immersed ourselves in the resort’s serene atmosphere. A RESORT THAT FEELS LIKE A VILLAGE Nusfjord Village & Resort is one of the most beautiful resorts I’ve ever stayed in. Nestled at the end of a secluded fjord, Nusfjord is also the oldest fishing village in Lofoten. The history of settlements here dates back to 425 BC. During Nusfjord’s golden era, more than 1,500 people lived in traditional fishing cabins known as Rorbu. Today, aside from the resort, only 16 people reside in Nusfjord year-round. The resort itself is dedicated to preserving the authentic spirit of Lofoten, as it consists entirely of restored Rorbucabins. While these cabins retain their traditional charm, they have been renovated to offer modern comforts and are all situated directly above the water. The resort truly feels like a small village. There’s a charming shop where you can spend hours browsing, along with a café, an art gallery, a spa, outdoor hot tubs, and two exceptional restaurants. Restaurant Karoline specializes in Arctic seafood, offering a superb menu, while Oriana Tavern is the perfect spot for those who love wood-fired pizza. Most of the ingredients used in both restaurants come from local farms and fishermen, ensuring that every meal is incredibly fresh.

3daysofdesign in Copenhagen presents Secto Design lighting, Müller Van Severen collections, Dinesen exhibitions, and Ariake and Parachilna. June 19, 2025 | DESIGN & INTERIORS OUR PICKS from 3DAYSOFDESIGN photos Elias Derboven (Valerie Objects), Irina_Boersma (Apartamento Secreto) 1 – THE INNOVATIVE ADILO Adilo marks a bold new chapter in the thirty-year design journey of Finnish lighting brand Secto Design. First unveiled during Milan Design Week, the piece is now on display in Copenhagen as part of 3daysofdesign. Merging the brand’s signature elements—Finnish birch and geometric precision—with an innovative fold-out mechanism, Adilo introduces a new kind of spatial poetry. Designed by Ilkka Kauppinen, the pendant can be seen at the brand’s showroom located at the entrance of the grand Odd Fellow Palace. 2 – NEW COLLECTIONS BY MULLER VAN SEVEREN Belgian design duo Muller Van Severen presents six new collections during this year’s 3daysofdesign in Copenhagen. Collaborations with BD Barcelona, valerie_objects, Hay, and Blēo reflect the studio’s artistic sensibility and multifaceted approach. The first collection, on view at The Lab, is RASTERS—a modular system of cabinets and paravents developed with OFFICE Kersten Geers David Van Severen for BD Barcelona. Based on the simple yet striking logic of architectural grid structures, RASTERS transforms a utilitarian idea into sculptural furniture. The second collection celebrates the tenth anniversary of Valerie Objects, for which Muller Van Severen has created new indoor and outdoor furniture pieces. Carrying forward the duo’s now-iconic visual language, the designs are artistic, sculptural, and emotionally resonant. (Location: Lilli Blå, Esplanaden 3) Their latest collaboration is with paint brand Blēo. For Blēo’s new ceramic collection, Muller Van Severen designed a special series of 12 tiles, all handmade using traditional techniques in Fez, Morocco. (Location: Blēo Showroom, Borgergade 20) 3 – APARTAMENTO SECRETO / Himitsuno Kakurega Presented in a hidden apartment on the third floor of The Conary, Apartamento Secreto / Himitsuno Kakurega is an intimate installation by Japanese furniture brand Ariake and Spanish lighting manufacturer Parachilna. The name translates from Japanese as “secret hideaway” and the space explores how two brands—geographically distant but united in their attention to detail and collaborative ethos—can come together to create a shared design language. Curated by Tine Daring, the installation welcomes visitors into a warm, lived-in atmosphere. Ariake’s contemplative furniture sets the tone for human connection, while Parachilna’s sculptural lighting transforms the space, allowing light to take on architectural form. The apartment is completed with pieces from Origin Made, rugs from Sera Helsinki, and sculptures by Gen Taniguchi, a master artisan from the 300-year-old Japanese studio Nao Washi. (Location: The Conary, 3rd Floor, Dronningens Tværgade 26) 4 – TWO SPECIAL EXHIBITIONS FROM DINESEN Denmark’s leading producer of high-end wooden flooring, Dinesen hosts two standout exhibitions during 3daysofdesign. The first, House of ORBI, transforms the gallery space of the Dinesen showroom into a display of select works from the ORBI summer schools—an initiative co-founded by Dinesen that blends architecture, nature, and education. The second exhibition, White, Light, Wood, is curated by Blēo and highlights the physical references behind the Whitescale palette created by renowned British architect John Pawson for Blēo. (Location: Dinesen Showroom, Søtorvet 5, 1371 Copenhagen)

Ariana Ahmad’s Moscow family home pairs English-style architecture with soft materials, layered light, and a private garden by Chris Beardshaw. July 16, 2025 | DESIGN & INTERIORS the ART of LIVING SOFTLY words Elena Grabar photos Mikhail Loskutov architect + interior designer Ariana Ahmad style Natalia Onufreichuk In a quiet, historic corner of Moscow, a serene family home designed by architect Ariana Ahmad unfolds with grace and intention. Rooted in English-style architecture and surrounded by a private garden imagined by British landscape designer Chris Beardshaw, the apartment feels at once timeless and deeply personal. A REINTERPRETED CLASSICISM The owners—a couple with a young child—gave Ariana full creative freedom. From two separate apartments, she shaped a single, flowing layout that begins with a generous entrance hall. A mosaic by English artist James Hill, crafted in Paris, anchors the entry alongside a sculptural console table. The space opens into an elegant, open-plan living area where the fireplace, lounge, and dining zones coexist with ease. “The building’s architecture suggested an understated kind of luxury,” Ariana says. “I wanted the interiors to reflect that spirit—classically structured, but with emotional depth and a sense of ease.” Behind a ribbed wood partition, a concealed door leads to the private wing: a smaller hallway, a home office, and a children’s zone. The layout plays with openness and retreat—balancing communal moments with quiet ones, in tune with family life. HARMONY OF MATERIALS AND LIGHT The palette throughout is soft and earthy—natural woods, chalky tones, layered neutrals. Texture brings everything to life: velvet-upholstered chairs from Audo Copenhagen, crystal lighting by Christopher Boots, and the rich grain of French herringbone parquet. Breccia di Sicilia marble wraps the kitchen backsplash and fireplace—its swirling pattern echoing the building’s original stonework and continuing the dialogue between exterior and interior. Custom-designed pieces blend seamlessly with furniture by Christophe Delcourt and Collection Particulier. De Gournay wallpaper, traditional window shutters, and diffused daylight enhance what Ariana calls a “softly Parisian” atmosphere—elegant, grounded, and calm. “Light and texture are inseparable in my work,” she adds. “I’m always looking for that quiet balance—where every surface holds the light in its own way.” ART AS ATMOSPHERE For Ariana, art is not an afterthought—it’s a quiet force that shapes the mood of a space. In the living room, monochrome vases by Véronique Ganne explore the limits of texture and glaze—matte, glossy, translucent. On the walls, diptychs by Paris-based Brazilian artist Daniela Busarello bring a poetic stillness, while a contemplative painting by Li Chevalier invites pause in the dining area. In the home office, a piece by Paul Bergigne reflects the subtle movement of nature. “Art gives the home its voice,” she says. “It creates presence—subtle, lasting, and intimate.” That feeling continues in the bathrooms, where black-and-white photographs by Masao Yamamoto offer visual haikus—delicate reflections on silence and transience. A TERRACE ABOVE THE CITY One of the home’s most treasured spaces is the open terrace overlooking the rooftops of old Moscow. Furnished with pieces by Minotti, it becomes a private summer haven for the family—just as thoughtful and balanced as the interiors. A space for breakfasts, reading, evening air. Here too, Ahmad’s design invites stillness and presence—a quiet rhythm shaped by memory, light, and the beauty of restraint.

Jolson’s House of Light in Melbourne centres on a planted courtyard, sculptural brickwork, natural light and a tactile interior shaped around art and privacy. September 19, 2026 | DESIGN & INTERIORS HOUSE of LIGHT words Noah Mercer photos Anson Smart stylist Claire Delmar production Karine Monié Surrounded by increasingly dense development in Melbourne, Jolson’s House of Light turns away from the conventional idea of an outlook. A three-storey planted courtyard instead brings landscape, daylight and privacy into the centre of the home. The owners had lived on the site, around five kilometres from central Melbourne, since 2005. Over time, apartment buildings rose around them, narrowing views, reducing daylight and eroding privacy. Rather than leave, they chose to reconsider what living on the site could mean. Designed by Melbourne architecture and interior design studio Jolson, the house does not attempt to recover what was lost. Instead, it creates another kind of outlook. At its centre, a three-level courtyard filled with plants, terraces and cascading greenery becomes both the visual focus of the house and its principal source of light. Completed after a six-year process, House of Light turns attention away from the surrounding city and towards vegetation, material, art and changing daylight. BUILDING THE VIEW The site has an earlier connection to Melbourne’s history. It was once occupied by converted stables built for horses that pulled some of the city’s first trams. Today, the house meets the street with a 14-metre-high façade composed of 26,000 handmade Spanish bricks. Variations in tone, irregular coursing and softly contoured openings give the surface a more fluid quality, while changing daylight accentuates the texture of the masonry. The transition inside is deliberately pronounced. For Stephen Jolson, founder and creative director of Jolson, the entrance marks a shift from urban density to a quieter interior condition. Beyond it, the courtyard takes over. Developed with landscape designer Florian Wild, the planting begins with a fernery below ground and rises through terraces and cascading vines. Over time, the vegetation is intended to form a loose veil between the rooms and the courtyard. LIGHT AS MATERIAL Natural light is one of the house’s primary organising elements. Rather than entering mainly from the perimeter, daylight is drawn vertically through the building and dispersed across pale, curved surfaces. Polished plaster walls shift between warm white and soft cream throughout the day, while the central stair carries light through several levels. Three flights rise beneath a curved, skylit ceiling, making the stair one of the clearest expressions of the project’s sectional approach. “The shifting tone of natural light across curved plaster, the cool touch of stone underfoot, and the softened acoustics of layered surfaces all work together to create a deeply emotive experience,” says Jolson. The house is arranged across five levels, from basement to third floor. The ground floor contains the entrance and a study facing the courtyard; bedrooms and bathrooms occupy the level above. In the main bedroom, an opening cut into the masonry captures sky and daylight without sacrificing privacy. A TACTILE INTERIOR The material palette relies on variation in texture rather than contrast. Silver Orion stone runs through the house in different finishes, while aged stone-oak veneer and hand-painted timber joinery bring warmth. Bronze appears selectively in frames, sliding doors and a ribbon-like handrail. Other details refer to the owners’ longstanding connection with horses and equestrian life. Woven natural-cord screens, saddle-leather joinery and hand-finished elements introduce these references without turning them into decoration. ARCHITECTURE FOR ART The house developed alongside the owners’ growing interest in contemporary art. Working with art consultant Swee Lim, they began collecting during the design process. The collection includes works by Sally Smart, Ben Quilty, Yang Yongliang, Marion Borgelt, Sarah Rayner, Alex Seton and First Nations artist Mantua Nangala, with recurring themes of nature, ecology and relationships to country. “Architecture is an act of interpretation not dissimilar to art,” says Jolson. “House of Light is a sculptural form that responds to its robust surroundings and creates a moment for pause and contemplation.”

Knightsbridge is a Grade II listed Edwardian residence by Bergman Design House, shaped by Hyde Park views, warm materials, and equestrian details. August 27, 2025 | DESIGN & INTERIORS KNIGHTSBRIDGE ELEGANCE words Karine Monie photos Vigo Jansons interior design Bergman Design House A magical yet deeply inviting home—pure class in the heart of Knightsbridge, just steps from Harrods and Hyde Park. Set within a Grade II listed Edwardian landmark from 1902, this £26.5 million residence balances serene elegance with modern comfort. The interiors are wrapped in rich layers of butter-wax leather, cashmere, marble, and warm woods, creating an atmosphere that is both refined and welcoming. Inspired by Hyde Park’s sweeping views and the stables nearby, subtle equestrian details run through the design, lending depth and character. DESIGN HERITAGE The home belongs to Knightsbridge Gate—a restored Grade II listed Edwardian building originally designed by W.D. Caröe and reimagined by MSMR architects. While the North façade has been carefully preserved, the South façade was reinterpreted with pergolas and terraces. Inside, Bergman Design House, led by Marie Soliman and Albin Berglund, infused warmth and texture into every space. Principal rooms overlook Belgravia, framed by bespoke joinery and a rich palette of natural materials. ATMOSPHERE “The atmosphere we aimed to create is one of serene elegance and modern comfort,” says Marie Soliman. High ceilings, abundant natural light, and a calm color palette establish a sense of openness, while luxurious details—linen, brass, marble, and warm timber—keep it sophisticated yet inviting. DESIGN FLOW The duplex unfolds in open concept, with the living, dining, and kitchen flowing seamlessly together—ideal for entertaining or family gatherings. Private suites extend onto terraces with views across the city, while versatile spaces such as the home office echo the intimacy of a private members’ club. The family lounge doubles as a cozy retreat with state-of-the-art AV for cinematic evenings. Outdoor terraces offer quiet moments of retreat—an urban sanctuary in every sense. COLOR & MATERIAL STORY “We loved the contrast of ice blue with rich browns and mochas, especially around the black fireplace,” Soliman explains. Neutral-toned sofas balance the palette, while in the bedrooms, a mix of tan and dark grey leather adds warmth in a refined way. Custom lighting—from statement chandeliers to subtle recessed fixtures—enhances the atmosphere room by room. EQUESTRIAN ELEGANCE Echoing Hyde Park and its riding paths, Bergman Design House wove equestrian heritage into the interiors. Wax box leather, saddle stitching, and unlacquered brass with natural patina recall the craft of saddle-making, while timbers and travertine bring a tactile richness. “There’s an ethereal quality here—glamorous and elite, yet playful,” Soliman reflects. THE BIGGER PICTURE Despite the project’s incredibly tight 10-month deadline, the design team embraced the challenge. The result: a Knightsbridge home that serves equally as a full-time family residence or an exquisite pied-à-terre, where heritage and modernity coexist effortlessly. CURATED DETAILS Beyond the architecture, the interiors are layered with collaborations and carefully chosen pieces: bespoke furniture and joinery by Bergman Design House, wallpaper by Fromental, rugs by Riviere and Nordic Knots, art by Hannes Schauer and Julie Massie, as well as iconic designs from Minotti, Andrew Martin, Arteriors, Soho Home, and RH. Together, they create a curated environment that feels both highly personal and distinctly London.

Ekaterina Subbotina redesigned a 65-square-meter Moscow apartment with Japanese references, vintage design icons, and custom furniture for a young couple. September 24, 2025 | DESIGN & INTERIORS JAPANESE CALM, MODERN EDGE words Alp Tekin photos Elizaveta Gurovskaya interior design Ekaterina Subbotina / Ekaterina Subbotina Interiors stylist Svetlana Nosova For designer Ekaterina Subbotina, some projects come together with unexpected ease. “I immediately loved this one,” she says. “The clients reached out via social media asking for stylistic updates to a finished design by another studio. Workers were practically at the doorstep, ready to begin. My biggest success was convincing them to change the layout entirely. In less than a week, we reimagined the plan and started construction—without 3D visuals, only a few collages.” MODERN LINES, VINTAGE SOUL Set in one of Moscow’s historic neighborhoods, the apartment belongs to a young couple passionate about design and travel, with years spent living in Japan. Subbotina’s concept brings together clean modernism with vintage icons and subtle Japanese references. “Some pieces seemed to find us on their own,” she notes. A red leather chair by Pierre Guariche from the Space Age era, lighting by Isamu Noguchi and Louis Poulsen, and film photography shot by the homeowner in Japan all add layers of intimacy and timelessness. The palette leans into milky white, warm golden wood, and a few sharp black accents—anchored by a confident red highlight. Most surfaces are clad in alder veneer. “This warm wood texture with its delicate, almost invisible flecks keeps the interior from feeling flat,” says Subbotina. Her favorite detail: a large wooden portal framing the living room window, doubling as a functional ledge and an architectural gesture that draws the eye toward Moscow’s skyline. SMARTER SPACE The apartment’s original developer plan wasted 13 square meters on corridors—an enormous compromise in a 65-square-meter home. Subbotina reorganized the layout, eliminating one corridor and integrating it into the living and dining areas. The kitchen was tucked into a niche, while the bedroom was divided into a workspace and sleeping zone with a tall sliding door. “When it’s open during the day, only the office is visible from the living room, making the apartment feel lighter and more expansive,” she explains. CRAFTED AND COLLECTED Every detail was considered. The kitchen, bathroom furniture, and built-ins were custom-made by Chilis Studio to Subbotina’s sketches, paired with a solid oak countertop from Woodcraft Studio. Mirrors and children’s furniture came from Coma Coma, sofas and beds from Idealbeds, while vintage finds—from a Marcel Breuer chair to a Luna chair by Pierre Guariche—were sourced from Beke Gallery. “We wanted a space that feels alive—minimal but never sterile, personal yet timeless,” Subbotina says. With warm wood, vintage accents, and a few bold highlights, this Moscow apartment captures a refined sense of calm with an edge.

Villa Bionica is a contemporary home in the Moscow region by Ekaterina Yakovenko, shaped by fluid architecture, natural stone, and tactile interiors. May 2025 | DESIGN & INTERIORS VILLA BIONICA words Elena Grabar photos Sergey Krasyuk interior designer Ekaterina Yakovenko styling Natalia Onufreichuk This spacious villa in the Moscow region (also known as Villa Bionica) is the result of a fully collaborative design process led by interior designer Ekaterina Yakovenko. Working in close coordination with architects and engineers from the earliest planning stages, Yakovenko ensured a cohesive vision where architecture, interiors, and landscape merge seamlessly. A FLUID ARCHITECTURAL LANGUAGE The client, who remained closely involved throughout the project, envisioned a contemporary home defined by flowing lines and cutting-edge technology. In response, Yakovenko proposed a design built on soft, organic forms that move through the building like an unbroken flow. These fluid lines not only define the architecture but are echoed in custom furnishings, decorative details, and the surrounding landscape. "From the start, I suggested replacing the original clinker brick cladding with natural dolomite," she explains. "This material then became a key element inside the house as well, creating visual and tactile continuity between indoors and out." LIVING IN COMFORT AND STYLE The villa’s layout strikes a careful balance between public and private zones. On the ground floor, the heart of the home is an open-plan living area with kitchen, dining room, and lounge, where daylight floods in through expansive glazed openings. A spa zone—complete with a 15-meter overflow pool, hammam, and sauna—adds a touch of resort living to everyday life. A gym and a professional stainless-steel kitchen for guest chefs further elevate the lifestyle offering. Upstairs, five serene bedrooms each include en-suite bathrooms and walk-in wardrobes, while a dedicated office provides a quiet space for focused work. REDEFINED TONES AND TACTILE MATERIALS A palette of soft, neutral tones sets the mood throughout the home. Bronze details in the kitchen and warm terracotta accents in the living area—especially on the velvet-upholstered Turri sofa and B&B Italia armchairs—add depth and warmth. Rich textures and luxurious finishes are found in every corner: custom wall treatments, created using Yakovenko’s proprietary technique, deliver a velvety, suede-like effect, while rounded brass elements in a bronze finish enhance shelving, niches, and bedroom details. "I always strive to create a sense of harmony where every material, color, and shape speaks the same design language," says the designer. STONE AS SCULPTURE The home showcases a refined mix of natural stones—Fior di Bosco marble, Crystallo onyx from Henge, granite, and quartzite—bringing both visual depth and tactile richness. In the dining area, a bespoke marble table acts as a sculptural centerpiece. "Each project is a journey of creation and contemplation," Yakovenko concludes. "It takes time and care to build something truly beautiful—and time, after all, is our most precious resource."

Paros Cyclades travel guide covers Naoussa, mountain villages, beaches, nightlife, restaurants, and a day trip to neighboring Antiparos. June 2024 | Vol 13 TURKISH BELOW PAROS New shining star of the Cyclades words Onur Baştürk & Laura Cottrell P aros is having a moment! And that moment looks set to get bigger and bigger... With ever-more flights landing at the newly renovated airport, new luxury hotels opening at a record pace – along with dazzling boutiques and excellent restaurants, Paros is now the new, cool star of the Cyclades. It offers a great choice of uplifting experiences - from soaking up the atmosphere on the charming streets of Naoussa - to exploring hidden mountain villages, like Prodromos and Marpissa – or just taking time out to enjoy the glorious Greek sea and sunshine. DISCOVER THE CHARMING VILLAGES Once you've explored the two main centers of Paros, Parikia and Naoussa, it's well worth moving on to discover the lovely villages tucked away on the mountainous sides of the island. Lefkes, less than a 20-minute drive from Naoussa, enchants with its narrow, winding streets, colorful gates and blue-domed churches. It is home to the second largest Orthodox church on the island - so put the towering cathedral of Agia Triada at the top of your list - along with a visit to the Lefkiano tavern. A trip to the villages of Prodromos and Marpissa, on the eastern side of Paros, offers a quieter, more intimate experience away from the crowds. Prodromos is a typical Cycladic gem, with narrow, arched streets and bougainvillea-covered white houses. Be sure to stop by the Kallitechniko Kafenio (Art Cafe), where the owner, Maria Ragkousi, prepares delicious appetizers. Try her tender stuffed squid or cuttlefish cooked with wild fennel. TAKE A WALK A great way to explore Paros is on foot. One of the most popular walking areas is Paros Park - home to three easy hiking routes - located just a short drive from Naoussa GET LOST IN THE NIGHTLIFE OF PAROS When the sun goes down, the vibe builds up on Paros. Start the evening off with cooling sundowner, move onto a choice of choice of great restaurants – then head to Agosta to hang out late, listening to the sounds of summer. Here are some real Paros pearls: - Come Back: A perfect café bar for a sunset drink. - Fotis: Another ideal spot for your first cocktail of the night. - Bountaraki: A tavern with delicious food. It doesn't accept reservations – but you’ll get a table if you wait at the door for a while. - Sigi Ikthios: Located in the liveliest square of Naoussa, this iconic restaurant is a big local favorite - with fantastic fresh seafood. - Luaz: A modern restaurant with a beautiful sunset view. The sushi comes highly recommended. - Daverona: A modern restaurant - with meat and vegetarian options - for those who’ve had enough of seafood! - Ouzeri Halaris: A tavern serving good seafood and local Greek cuisine in a lively atmosphere, right next to the port of Piso Livadi. - Mouragio, Manolis and Taverna Aliki: If you like to eat your fresh seafood as close to the water as possible, go for Aliki, a modest fishing village on the south coast of Paros. Aliki’s pier is home to these magnificent taverns, lined up side by side. All three are excellent. - Galazia Hytra: Serving fresh seafood and Greek classics, adjusted to suit the modern palate. Set in the Summer Senses Luxury Resort. - Statheros: Feast on sticky, honey-cheese pies, slow-cooked chickpeas and Cycladic wines at the family-run Statheros. - Agosta: For a live DJ, plus great vibes and energy, head for Agosta late at night. FIND YOUR FAVORITE BEACH - Monastiri: A stylish beach club with delicious food prepared by famous chef, Dimitris Skarmoutsos. - Aliki: More of a local than a tourist beach. But with a lovely restaurant for lunch - Thalassamou. Try the ceviche, shrimp saganaki and pesto squid. - Kolymbithres: Set close to Naoussa, this is one of the busiest beaches on the island. - Kalogeros: Famous for its clay rocks, used to make face and body masks. - Tsoukalaia: Perfect for those who love peace and seclusion. - Golden Beach: The best place to windsurf on Paros. - Pounda: The island’s most crowded beach club, famous for its great DJ’s and parties - like those held on Mykonos. - Santa Maria Beach: A long beach with a comfortable, laid-back feel. - Lageri: Hard to reach, but worth the effort to enjoy its unusual beauty. - Cabana Beach Bar: Set in Parikia Bay, Cabana is one of the hottest beach clubs on the island. Best time to go is late afternoon: the party and DJ sets start after 17:00. TAKE A DAY TRIP TO ANTIPAROS Take a boat trip to Antiparos and stop off at the Blue Lagoon – so called because of its brilliant turquoise water. Then moor your boat in front of Vathis Volos Beach and hop off to enjoy a fantastic lunch at Pipinos, a traditional seafood tavern. The center of Antiparos is small - but worth exploring. Take a look at the center, then visit the Antiparos cave. Located 10 kilometers south of the harbor, the 85-meter-deep cavern has an impressive array of million-year-old stalactites and stalagmites. Y enilenen havalimanı sonrası artan uçuşları, peş peşe açılan yeni lüks otelleri, göz kamaştıran şık butikleri ve rafine restoranlarıyla Paros; abisi Mykonos’un gölgesinden çoktan sıyrıldı: Artık yeni cool! Naoussa'nın büyüleyici sokaklarını keşfetmekten Prodromos ve Marpissa gibi gizli dağ köylerini keşfetmeye kadar Paros harika deneyimlerle dolu. İşte Paros önerilerimiz…. KÖYLERİ KEŞFEDİN… Paros’un iki ana merkezi Parikia ve Naoussa dışında adanın dağlık taraflarında görülmeye değer gizli köyler var. Bunlardan biri, Naoussa'dan arabayla yaklaşık 18 dakika uzaklıktaki Lefkes. Dar ve dolambaçlı sokakları, renkli kapıları ve mavi kubbeli kiliseleriyle büyüleyici olan Lefkes’te, adanın en büyük ikinci Ortodoks kilisesi olan Agia Triada Katedrali yer alıyor. Ziyaret etmeyi unutmayın… Ziyaret edilmesi gereken ikinci adres ise Lefkiano tavernası. Paros’un doğu tarafında yer alan Prodromos ve Marpissa köyleri ise kalabalıktan uzak, daha lokal ve sessiz bir deneyim için görülmeye değer. Özellikle Prodromos; dar geçitli, kemerli sokakları ve begonvilli beyaz evleriyle tipik Kiklad güzelliğini yansıtıyor. Prodromos’da, sahibi Maria Ragkousi'nin inanılmaz lezzetli mezeler ürettiği Kallitechniko Kafenio’ya ('Arty Café') mutlaka uğrayın. Kalamar dolması ve yabani rezene ile haşlanmış mürekkep balığı tadın. YÜRÜYÜŞ YAPIN… Paros’u keşfetmenin en iyi yollarından biri yürüyüş yapmak. Popüler yürüyüş rotalarından biri, Naoussa'dan arabayla kısa bir mesafede bulunan Paros Parkı. Burada üç kolay yürüyüş rotası var. Ayrıca Lefkes ve Prodromos'u birbirine bağlayan ikonik Bizans yolu da adanın vahşi doğasını keşfetmenin için mükemmel. MORAITIS ŞARAPHANESİNE UĞRAYIN… 1910'dan bu yana şarapçılıkla uğraşan Moraitis ailesinin şaraphanesini ziyaret edip hem şarap yapım sürecini öğrenin hem de şarap tadımı yapın. Şaraphane, Naoussa’nın merkezine kısa bir yürüyüş mesafesinde. PLAJLAR ARASINDA FAVORİNİZİ BULUN… - Monastiri: Menüsü ünlü şef Dimitris Skarmoutsos tarafından hazırlanan, lezzetli yemeklere sahip şık bir plaj kulübü. - Aliki: Turistik değil, gayet lokal bir plaj. Üstelik iyi bir öğle yemeği için sevimli bir restoranı da var: Thalassamou. Ceviche, karides saganaki ve pesto kalamarı deneyin. - Kolymbithres: Naoussa'ya yakın bu plaj adanın en yoğun plajlarından biri. - Kalogeros: Yüz ve vücut maskesi yapmak için kullanılan kil kayalarıyla meşhur. - Tsoukalaia: Sessiz ve tenha kumsalları sevenler için. - Golden Beach: Rüzgar sörfü yapmak isteyenleri buraya alalım. Çünkü en uygun plaj. - Pounda: Paros'un partileriyle meşhur, en kalabalık beach club’ı. Mykonos’taki partilerin benzerlerini arıyorsanız sizi Pounda’ya alalım. Çünkü en iyi dj ve partiler burada. - Santa Maria Beach: Uzun bir kumsala sahip. Rahat etmek çok ideal. - Lageri: Ulaşması zor, ama varınca değiyor. Alışılmadık bir güzelliğe sahip. - Livadia: Parikia’ya en yakın plaj. Kumu nedeniyle sevebilirsiniz. - Cabana Beach Bar: Parikia Körfezi'nde yer alan Cabana adanın en iyi beach club’larından. Saat 17.00’dan sonra dj eşliğinde partinin başladığı Cabana’ya öğleden sonra gitmek elzem. GÜNÜBİRLİK ANTIPAROS'A GİDİP GEZİN… Eğer Antiparos’a tekneyle gidecekseniz; Tigani, Panteronisi ve Glaropounta adalarının oluşturduğu turkuaz deniziyle bilinen ‘Blue Lagoon’u mutlaka ziyaret edin. Lagüne girdiğinizde suyun rengindeki şaşırtıcı tonlara hayran olacaksınız. Daha sonra tekneyi Vathis Volos Plajı'nın önüne yanaştırıp geleneksel bir deniz ürünleri tavernası olan Pipinos’ta görkemli bir öğle yemeği yiyin. Antiparos’un merkezi küçük, ama gezip dolaşmaya değer. Merkezi gezdikten sonra Antiparos mağarasına da uğrayın. Limanın 10 kilometre güneyinde yer alan, 85 metre derinliğindeki dikey mağara, milyon yıllık sarkıt ve dikitleriyle çok etkileyici. Ayrıca, Antiparos’a gelmişken Sosis plajına da göz atın. PAROS’UN GECE HAYATINDA KAYBOLUN… - Bountaraki: Rezervasyon kabul etmeyen, ama kapıda biraz beklerseniz yer bulabileceğiniz, çok lezzetli yemeklere sahip bir taverna. - Sigi Ikthios: Naoussa'nın en canlı meydanında yer alan bu ikonik restoran taze deniz ürünleriyle favorimiz. - Luaz: Güzel bir gün batımı manzarasına sahip modern bir restoran. Suşileri tavsiye. - Daverona: Deniz ürünlerinden bıkanlar için et ve vejetaryen seçenekleri olan modern bir restoran. - Come Back: Gün batımı içkisi için mükemmel bir kafe bar. - Ouzeri Halaris: Piso Livadi limanının hemen yanında, canlı bir atmosferde iyi deniz ürünleri ve yerel Yunan mutfağı sunan taverna. - Mouragio, Manolis ve Taverna Aliki: Deniz ürünlerini taze ve deniz kenarına olabildiğince yakın yemeyi seviyorsanız, Aliki'ye gidin. Paros'un güney sahilindeki bu mütevazı balıkçı köyünün rıhtımında bu üç şahane taverna yan yana sıralanıyor. Üçü de çok iyi. - Galazia Hytra: Taze deniz ürünleri ve Yunan klasiklerinin modern damak tadına göre uyarlanmış halini servis ediyorlar. Summer Senses Luxury Resort içinde. - Statheros: Aile işletmesi Statheros'ta ballı peynirli turtalar, yavaş pişirilmiş nohutlar ve Kiklad şaraplarını tadın. - Fotis: Gecenin ilk kokteylini yudumlamak için ideal bir nokta. - Agosta: Dj müziği eşiliğinde eğlenmek mi istediniz? O zaman sizi gece geç saatlerde Agosta'ya alalım. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

December 2024 | Travel FOR ENGLISH 2025'in KAÇIRILMAMASI GEREKEN 5 LÜKS ETKİNLİĞİ words Pınar Yılmaz / Deliciae 1 - ST MORITZ POLO WORLD CUP ON SNOW (January 24-26, 2025, Switzerland) Buzla kaplı sahalarda oynanan bu eşsiz polo turnuvası, zarafet ve sporu bir araya getiriyor. Her yıl St. Moritz'in büyüleyici kış manzaraları eşliğinde sporun lüksle buluştuğu bu etkinlik, 2025'te de lüks yaşam tarzı meraklıları ve spor tutkunlarını ağırlayacak. 2 - THE I.C.E. ST. MORITZ (February 21-22, 2025, Switzerland) Dünyanın en zarif klasik otomobillerinin donmuş St. Moritz Gölü üzerinde sergilendiği The I.C.E. St. Moritz şubat ayında otomobil tutkunlarını büyüleyici bir ortamda buluşturuyor. Statik sergilerin yanı sıra, buz üzerinde düzenlenen dinamik geçit törenleriyle bu etkinlik, araçların zarafetini kışın soğuk ama görkemli atmosferinde gözler önüne seriyor. 3 - GOODWOOD FESTIVAL OF SPEED (July 3-6, 2025, UK Goodwood Festival of Speed, hız tutkunları ve motorsporları meraklılarını İngiltere'deki tarihi Goodwood House'un etrafında bir araya getiriyor. Festivalde hem klasik hem de modern yarış arabaları sergileniyor ve sürat gösterileri düzenleniyor. 4 - PEBBLE BEACH CONCOURS d’ELEGANCE (August 17, 2025, California, USA) Kaliforniya’da düzenlenen Pebble Beach Concours d'Elegance, dünyanın en nadir ve değerli klasik otomobillerinin sergilendiği prestijli bir otomobil etkinliği. 2025'te bir kez daha dünyanın en seçkin otomobil koleksiyonerlerini ve tasarım meraklılarını ağırlayacak olan bu etkinlik, otomobillerin estetik mükemmelliğini kutlayan bir sergi ve yarışma olarak öne çıkıyor. 5 - MONACO YACHT SHOW (September 24-27, 2025, Monaco) Denizcilik dünyasının prestijli etkinliği Monaco Yacht Show her yıl lüks yatları ve denizcilik sektöründeki son yenilikleri sergiliyor. 2025'te Monte Carlo'nun görkemli atmosferinde gerçekleşecek olan fuar, dünyanın dört bir yanından yat sahipleri, yatırımcılar ve deniz tutkunlarını bir araya getiriyor.

ASTRONAUTS founders Danae Dasyra and Joe Bradford discuss their Athens studio, hydroformed metal objects, material experiments, and creative process. December 5, 2025 | vol 16 ASTRONAUTS words Nicolas Vamvouklis From stars to steel, a design duo in Athens lets materials and imagination guide the way. Let’s start by introducing ASTRONAUTS. ASTRONAUTS is a creative studio founded by Danae Dasyra and Joe Bradford, specializing in limited-edition objects. We first met during our design studies in the UK. Years later, we returned to Greece and transformed a long-standing friendship into a creative partnership. Our practice is rooted in making. Materials and processes take the lead, and design emerges as our response. We subvert industrial manufacturing conventions by fabricating everything in-house, in our Athens-based workshop. Being physically close to the objects during their creation allows us to work sculpturally, which is essential to developing our distinctive visual language. We carefully consider how people encounter our work and strive to create moments of surprise. We want them to find beauty in the unexpected, to imagine the stories behind these objects, and to think about what they might become. In doing so, we hope to challenge conventional ideas of aesthetics and objecthood. What does this name represent for you? The name ASTRONAUTS pays homage to where our studio began—Greece. It combines “astro,” meaning star, and “nauts,” meaning sailor. The phrase “sailors of the stars” felt poetic to us. When we decided to follow the uncertain and unconventional path of a creative career, it felt like chasing an improbable dream—like a child saying they want to become an astronaut and travel into space. It speaks to that sense of wonder, risk, and the leap into the unknown. It reminds us that our journey is driven by curiosity, imagination, and belief. What are the challenges of working as a duo? We sit at opposite ends of the table, both literally and figuratively. Danae is the studio’s creative lead, responsible for the direction and design of our pieces, including color and material selection. Joe leads physical research and oversees fabrication, translating ideas into material outcomes. Our distinct yet complementary skill sets allow us to trust each other’s areas of expertise while remaining aligned in vision. Of course, as with any close collaboration, challenges arise. It’s impossible to fully satisfy both perspectives all the time. Compromise is essential. Our bench, Gemini, captures this duality. It’s a double-seater sculpture exploring unity and tension. The seats sit close but don’t face one another; they look in the same direction, yet aren’t perfectly aligned. Just like us. WE FELT A RAW, UNFILTERED ENERGY IN ATHENS What led you to settle in Athens? During a vacation, we felt a raw, unfiltered energy in Athens. Compared to other European cities, it offered something rare: physical space, mental space, and potential. We saw an opportunity to build something of our own. Since relocating, we’ve been able to work in a full-scale studio—not just a corner desk. This change in scale has transformed our practice, allowing us to pursue larger, more complex projects. Athens has a smaller creative scene, which fosters more direct, personal relationships. Where do you usually draw inspiration from? We consider ourselves a process-driven studio. Materials and techniques are our starting point, and design emerges as a response. At the moment, our work revolves around hydroforming—a process where sealed metal vessels are shaped and inflated using water. This has led water to become a recurring source of inspiration: the movement of rivers, the reflective surface of the sea, or the way droplets cling to glass. Water also appears in our narratives. For instance, our mirror Narcissus offers a modern retelling of the myth. The mirror’s reflective steel mimics the fatal pool that captivated the young man. METAL IS OFTEN CODED AS MASCULINE, SO WE CHALLENGE THAT BY USING CURVACEOUS, FLUID FORMS What draws you to this technique? Joe discovered hydroforming on YouTube and suggested we try it out. It was fun from the start. The technique, traditionally industrial, felt fresh and full of creative potential. What we love most is its unpredictability. When inflating the metal, we can’t fully predict the final form. This partial surrender allows each piece to become truly unique. It makes our process sculptural—we respond to volume and shape in real time. Letting go of control creates room for surprise, and the results are often challenging in the best possible way. Many of your pieces have a refined, otherworldly finish. How do you choose materials? We gravitate toward materials and finishes that feel unfamiliar, as if they belong to another reality. They become blank canvases we can fill with meaning, narrative, and function. Because of hydroforming, metal is our material protagonist. The process distorts it to the point where it’s almost unrecognizable—many people mistake our work for plastic. That ambiguity is something we embrace. There’s also a softness in pieces like Gemini. Do you enjoy exploring contrasts? Absolutely. In Gemini, the metal has sharp, almost aggressive facets. So we paired it with soft, fluffy flokati. The result is a playful contradiction: Come sit—it’s cozy… but it might hurt. Are you willing to take the risk? As a studio composed of a male fabricator and a female creative director, we’re aware of stereotypes. We enjoy playing with those expectations. Metal is often coded as masculine, so we challenge that by using curvaceous, fluid forms. Sometimes we make the metal look wet. Pairing it with soft, tactile materials introduces unexpected femininity, adding nuance and ambiguity. What are you currently working on? We’re developing a new series that explores hydroforming with aluminum. We’re partnering with a finishing studio specializing in custom coloring techniques. Together, we’ll apply bespoke treatments to our new sculptural homewares. It’s an exciting evolution of our material vocabulary. Speaking of dreams, what’s a project you’ve always longed to realize? We dream of designing a sculptural water fountain for a public square in Athens. The city struggles with heat, and public water features can lower temperatures and improve microclimates. We’d love to create a large-scale, accessible piece that combines aesthetic presence with environmental function—something poetic, useful, and rooted in care for the city we call home. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

Daikin Stylish and Emura air conditioners pair award-winning design with A+++ efficiency, Flash Streamer technology, Wi-Fi and Onecta app control. July 2024 | Design & Interiors ENGLISH BELOW BU YAZIN İKİLİSİ: STYLISH ve EMURA - içerik ortaklığı - S ıcak havalar nedeniyle lüks değil ihtiyaç haline gelen klimalar artık hayatımızın bir parçası. Dolayısıyla klimaların tasarımı da önemli bir detay. “Evime klima alacağım, ama nereye koymalıyım?”, “Duvardaki tabloyla uyum sağlar mı?”, “Ya klima çok kaba durursa?” gibi sorularınız varsa rahat olun. İklimlendirme sektöründe 100 yıllık geçmişe sahip Daikin, konfor ve verimliliğin yanı sıra şık tasarım beklentilerine de yanıt veriyor. DEKORASYONLA UYUMLU STYLISH KLİMA daikin.com.tr/stylish Klima gamında siyah, gümüş, beyaz gibi renk seçenekleri ve zarif hatlara sahip tasarımları bulunan Daikin’in bu ürünlerinden biri Stylish kliması. Ödüllü iç ünite tasarımı ve şık kapak açılma mekanizması sayesinde yaşam alanlarına estetiği getiren Stylish, 189 mm derinliği ile pazarın en ince tasarımına sahip. Daikin Stylish, siyah mat ve beyaz mat renk seçenekleriyle evdeki dekorasyonla da uyum sağlıyor. Good Design, iF Tasarım ve Reddot Ürün Tasarım Ödülü dahil olmak üzere dünyanın en prestijli ve tanınmış tasarım yarışmalarından en iyi ödüllere sahip olan Stylish klimalar, sadece tasarımıyla değil, verimlilik değerleriyle de öne çıkıyor. Hem ısıtma hem de soğutmada A+++ ’a varan verimlilik değerleri ile sektörün en yüksek verimlilik sunan ürünlerinden biri olan Stylish, enerji tüketimini azaltıyor. Üç boyutlu hava akımı özelliği sayesinde odanın her yerine eşit miktarda hava dağıtıyor. Stylish klimalarda bulunan ‘Flash Streamer’ teknolojisi zararlı partiküller, kokular ve alerjenleri parçalayan yüksek hızlı elektronlar ürettiği için temiz bir iç ortam havası sağlıyor. Ayrıca bu klimalar sahip olduğu standart Wi-Fi bağlantısıyla Android ve Apple cihazlarda mevcut olan ücretsiz uygulama Onecta üzerinden kontrol edilebiliyor. KAVİSLİ ÇİZGİLERE SAHİP EMURA KLİMA daikin.com.tr/emura Daikin’in tasarım ödüllü bir diğer kliması Emura ise ahenkli hava akışını temsil eden kavisli çizgilere sahip. Emura yumuşak kenar detaylarının yanı sıra mat beyaz, mat siyah ve gümüş olmak üzere üç renk seçeneğiyle eve mükemmel uyum sağlıyor. Emura klimada patenti Daikin’e ait ‘Flash Streamer’ teknolojisi var. Havadaki partikülleri yüzde 99,9 oranında temizleyebilen bu teknoloji, aynı zamanda A+++'a varan sezonsal verimlilik değerine de sahip. Emura da özel tasarım uzaktan kumandası ve telefonunuza indirilen uygulamasıyla her yerden kontrol imkanı veriyor. Meet STYLISH & EMURA, this SUMMER’S DUO - content partnership - A ir conditioners, which have become a necessity rather than a luxury due to the hot weather, are now a part of our lives. Therefore, the design of air conditioners is also an important detail. If you have questions such as "I'm going to buy an air conditioner for my home, but where should I put it?", "Will it match the painting on the wall?", "What if the air conditioner looks too rude?", relax. With a 100-year history in the air conditioning industry, Daikin meets expectations for comfort, efficiency and stylish design. STYLISH AIR CONDITIONER IN HARMONY WITH DECORATION daikin.com.tr/stylish Daikin's Stylish air conditioner is one of these products, with color options such as black, silver and white, and designs with elegant lines. Bringing aesthetics to living spaces with its award-winning indoor unit design and stylish door opening mechanism, Stylish has the thinnest design on the market with a depth of 189 mm. Daikin Stylish also blends in with home décor with its matte black and matte white color options. Awarded top prizes in the world's most prestigious design competitions, including Good Design, iF Design and the Reddot Product Design Award, Stylish air conditioners stand out not only for their design but also for their efficiency. Stylish, one of the most efficient products in the sector, with efficiencies up to A++++ in both heating and cooling, reduces energy consumption. Thanks to its three-dimensional airflow, it distributes air evenly throughout the room. Flash Streamer technology in the Stylish air conditioners produces high-speed electrons that break down harmful particles, odors and allergens, ensuring clean indoor air. The air conditioners also have standard Wi-Fi connectivity and can be controlled via Onecta, a free app available for Android and Apple devices. EMURA AIR CONDITIONER WITH CURVED LINES daikin.com.tr/emura Emura, another design award-winning air conditioner from Daikin, features curved lines that represent harmonious airflow. In addition to its soft edge details, Emura blends perfectly into the home with three color options: matte white, matte black and silver. Emura air conditioner features Daikin's patented Flash Streamer" technology. This technology, which can clean 99.9 percent of particles in the air, also has a seasonal efficiency rating of up to A++++. Emura also offers control from anywhere with its specially designed remote control and application downloaded to your mobile phone.

CO-LAB founders Joana Gomes and Joshua Beck discuss biophilic architecture, sustainable design, and the studio’s practice in Tulum, Mexico. February 2025 | DESIGN & INTERIORS JOANA & JOSHUA’s ECO-CONSCIOUS VISION words Onur Baştürk They prioritize eco-conscious design and refuse to take on projects that threaten sensitive ecosystems. For them, sustainability is more than just a buzzword; it’s a core value. They also incorporate handmade elements that bring depth and texture to their work, favoring these over mass-produced, soulless perfection. I’m referring to Joana Gomes and Joshua Beck. Are you ready for an inspiring conversation with the duo who founded CO-LAB in Tulum, Mexico in 2010, and quickly brought their vision of biophilic architecture to life? Joana and Joshua, how did you meet and how did you decide to found CO-LAB? We first met in Rotterdam - Joana was working at MVRDV and Joshua at OMA. Our first collaborations on design competitions quickly showed how our shared values - especially in sustainability, design and craftsmanship - complemented each other. As our personal relationship grew, we realized that we enjoyed working together and saw an opportunity to bring our ideas to life through a collaborative practice. What began as a few collaborations naturally evolved into the founding of CO-LAB. Our goal was to create a design studio that combines environmental consciousness with artistry, and modern design with handcrafted elements. We aim to make architecture not only functional, but also emotionally resonant, deepening the connection between people, space and nature. Is there a specific reason why you chose Tulum as the location for CO-LAB? By the way, you also had a plan to open a CO-LAB office in Costa Rica. Did it open? Tulum was an ideal choice for us because of its raw, natural beauty - a perfect setting for developing designs that are in harmony with nature. It allowed us to fully explore our vision of creating sustainable, biophilic architecture. The landscape, climate, and local materials provided a unique canvas for our work. As for Costa Rica, the plan is still a work in progress. Given Costa Rica's strong commitment to environmental sustainability and its rich biodiversity, it fits perfectly with CO-LAB's philosophy; we are working on some projects there, but the office hasn't opened yet. What is your division of labor? Are your ideas and dreams mostly the same, or do you create projects with different ideas? We are both actively involved in every phase of a project, especially during the conceptual stages. Our diverse ideas enrich the creative process and encourage us to explore various possibilities, leading to more refined and cohesive designs. This dynamic exchange enables us to create spaces that are both functional and shaped by different perspectives. What do you think are the 3 most important characteristics of CO-LAB? 1. Integration with Nature: Our designs aim to bring the beauty of outdoor spaces into indoor environments, allowing for a deeper, more meaningful connection with nature. We believe that incorporating natural elements into everyday life has a profound effect on well-being, fostering a deeper appreciation for the environment and motivating a stronger desire to protect it. 2. Artisanal Craftsmanship: In reaction to perfect mass-produced, soulless objects, we embrace handcrafted elements that bring depth and texture to our projects. The true beauty of a space lies in the subtle imperfections and marks left by human hands. This interaction between maker and material infuses a building with energy, making it feel more authentic, alive, and emotionally engaging. 3. Sustainability: We always prioritize eco-conscious design. We decline projects that compromise sensitive ecosystems and choose eco-friendly materials whenever possible. While we do use concrete in our Tulum projects due to the hurricane zone, we view this as a necessary balance between durability and sustainability. For us, sustainability is more than just material choices - it is a commitment to respect and protect the environment through mindful design. VILLA PETRICOR IN TODAY’S FAST-PACES WORLD, THE CONNECTION TO NATURE IS CRUCIAL, AS PEOPLE SEEK SPACES THAT PROVIDE OPENNESS, TRANQUILITY, AND NATURAL LIGHT LUUM TEMPLE The use of fluid transitions between interior and exterior spaces has increased in recent projects. You did this long before with the Villa Petricor project. Do we want to feel nature and natural light more now, what do you think? Absolutely. In today’s fast-paced world, the connection to nature is crucial, as people seek spaces that provide openness, tranquility, and natural light. Villa Petricor was an exploration of this principle, and we've continued to integrate these ideas into all of our projects. We believe the desire for biophilic design is growing because, deep down, we all crave a connection to nature. It offers not only aesthetic pleasure, but also emotional restoration. What are the common features of your projects so far? First, a strong connection to the environment. A direct relationship with the landscape, using operable windows, courtyards and other design elements to bring the outside in. Second, a minimalist yet organic aesthetic. Clean lines combined with natural, textural elements that reflect the raw beauty of the materials. The third is sustainability. From sourcing local materials and artisans to using energy-efficient systems, sustainability is at the heart of everything. What are the advantages and disadvantages of living and working in Tulum? Living in Tulum offers the incredible advantage of being immersed in nature, which continuously fuels our creativity. The pace of life is slower, which allows us to reflect deeply on our work and think more holistically about design. However, the logistical challenges can be significant—access to materials and infrastructure is often limited, which means we have to be resourceful and adaptive. But these challenges also drive innovation, pushing us to work closely with local artisans and craftsmen, enhancing the authenticity of our projects. What other projects are you working on at the moment, especially your latest project in the Seychelles? The Seychelles project is designed to celebrate the natural beauty of the island while embracing sustainability. We're using locally sourced materials and designing in harmony with the landscape to minimize environmental impact. We are also working on several other projects, including a large residence in India, a house in Jamaica, a house in Costa Rica, and several projects in Mexico. We love working in different regions as it allows us to research and experiment with local techniques, materials and cultural contexts. I'm curious about what inspires you both - it could be anything. JOANA: I find endless inspiration in nature - organic shapes, textures and the way light interacts with the environment. Whether it's the intricate patterns in leaves or the flow of water, these elements influence how I approach design. I'm also inspired by ancient architecture, especially structures that have stood the test of time and feel deeply connected to their surroundings. JOSHUA: I am inspired by spending time in nature. I enjoy long swims in the ocean, visiting different coral reefs and marveling at the complexity and creativity of natural forms-it never ceases to amaze me. Another source of inspiration is our almost 3-year-old daughter, who is the most incredible human being. for more CASA TEPUI Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

Radisson Blu Hotel Kaş, designed by Yeşim Kozanlı, pairs stone façades with traditional village plaster in a design shaped by the Turkish coastal town. September 2023 | Design & Interiors english below Kaş’ın yeni tasarım oteli words Alp Tekin photos İbrahim Özbunar M imar Yeşim Kozanlı’nın tasarladığı Radisson Blu Hotel Kaş projesi, bulunduğu bölgeye saygı niteliğinde bir mimariye sahip. Otelin taş cepheleri, Kaş'ın tarihi evlerinde sıkça rastlanan zanaatkâr işçiliğin bir yansıması. Duvarlar ise nesiller boyu aktarılan bilgiyle hayat bulan geleneksel "köy sıvası" tekniğiyle kaplanmış. Bu sıva, estetik açıdan sadece Kaş'ın özünü yansıtmakla kalmıyor, aynı zamanda doğal bir yalıtım da sağlıyor. Daha az kat ve daha geniş alanlara sahip olan projede toprak renkleri yoğun olarak kullanılmış. Ayrıca yapının mimarisinden iç mimari detaylarına kadar tüm hikâye, “Yeniyim, ama ben buralıyım” fikrinden yola çıkarak oluşturulmuş. Otelin doğal taş zemini ve el yapımı özel seramiklerle kaplı yüzeyleri ise doğadan ilham alan tasarım felsefesinin devamı. Otelin açık alanlarında Kaş'ın bitki örtüsünü yansıtan lokal ağaç ve bitkiler yer alıyor. Güneşli ve gölgeli alanları etkili şekilde ayıran seperatörler, iç ve dış alan ilişkisinin her noktada yaşanmasına imkan sağlıyor. Kaş’s new design hotel R adisson Blu Hotel Kas project in Kaş, designed by Yesim Kozanlı, has an architecture that respects the essence of its region. The stone façades of the hotel are a reflection of the craftsmanship that is common in Kaş’s historical houses. The walls, on the other hand, are covered with the traditional "village plaster" technique, which comes to life with knowledge passed down through generations. This plaster not only reflects the essence of Kaş in terms of aesthetics, but also provides a natural insulation. Earth colors were used extensively in the project, which has fewer floors and larger areas. In addition, the whole story, from the architecture of the building to the interior details, was created based on the idea of “I’m new, but I'm from here”. The hotel's natural stone floors and surfaces covered with handmade special ceramics are the continuation of the nature-inspired design philosophy. There are local trees and plants reflecting the vegetation of Kaş in the open areas of the hotel. The separators that effectively separate the sunny and shady areas allow the relationship between indoor and outdoor space to be experienced at every point.

Nina Yashar discusses Nilufar Depot's first decade, Martino Gamper's anniversary performance, and the gallery's future of experimentation. December 20, 2025 | vol 17 NINA YASHAR NEW VISIONS for NOW and NEXT words Onur Basturk photos Portraits of Nina Yashar + Nilufar Depot: The First Decade / Filippo Pincolini In 2015, Milan’s legendary gallery Nilufar expanded its universe with a second exhibition space — a 1,500-square-metre venue inspired by La Scala Opera House — aptly named Nilufar Depot. As founder Nina Yashar recalls, “This space was born as an experiment and, over the years, has grown into a living, open laboratory.” A decade later, Yashar celebrates the evolution of that experiment with Nilufar Depot: The First Decade — a richly illustrated book retracing the gallery’s journey — and a site-specific performance by Martino Gamper, conceived in dialogue with the Depot’s architecture and spirit. Gamper’s presence carries symbolic weight: in 2015, he designed the opening dinner’s installation — an ensemble of over 150 unique seating pieces. His return now marks a new chapter in Nilufar Depot’s story, a gesture that bridges memory and transformation. In our conversation, Nina Yashar shares her inspiring vision: “Being visionary once meant seeing what others couldn’t. Today, it means creating space — for dialogue, for experimentation, for new perspectives.” With these words, she perfectly captures the spirit of our time — and of Nilufar itself. I NEVER WANTED THE DEPOT TO BECOME STATIC This year marks the tenth anniversary of Nilufar Depot — a space that has become synonymous with experimentation and discovery. When you look back, what emotions define this milestone for you? It’s a mix of pride and gratitude. When we opened Nilufar Depot in 2015, I knew we were stepping into something new — a space that could accommodate large-scale installations, historical works, and experimental pieces all at once. Ten years later, the project has grown beyond my expectations, so what defines this milestone for me is a deep sense of evolution. It hasn’t only been about design, but about building a place where ideas can take shape freely. You’ve described Nilufar Depot as “a living, open laboratory.” What has kept this spirit of experimentation alive for an entire decade? I think it was the decision to remain open to change. I never wanted the Depot to become static; in fact, each year we’ve challenged ourselves to take new risks, bring in unexpected voices, and rethink how we use the space. It’s the designers, curators, and even the audience that have kept it alive. Looking back at Nilufar Depot, which moment or collaboration feels most defining to you? The exhibition on Lina Bo Bardi and Giancarlo Palanti in 2018 stands out as a defining moment for both the space and my curatorial approach. It required immense historical care, but also a great emotional investment. It captured what I wanted the Depot to represent — a space that doesn’t simply follow trends but gives room to important stories, even when they’re complex or demand precision and sensitivity. Another key moment was the renovation of the space itself in 2015, when we decided to lower the floor by 80 cm. It was risky and stressful at the time, but it turned out to be the right decision — it gave us the freedom to grow vertically and to think bigger. MARTINO’S PERFORMANCE WASN’T ABOUT ERASING HISTORY, BUT REACTIVATING IT — MUCH LIKE NILUFAR ITSELF For the tenth anniversary, you invited Martino Gamper to return — exactly a decade after he designed the inaugural setting for Nilufar Depot. What inspired this renewed collaboration? Martino was there from the very beginning. In 2015, when I curated the inaugural installation, I invited him to create a powerful gesture for the opening dinner, and he responded with 100 unique chairs, arranged in a site-specific setting, and a table for 25 designed especially for the occasion — a work that truly captured the Depot’s spirit from day one. For the tenth anniversary, I curated the concept with the intention of marking the moment not only with a celebration but with a transformative act. Martino brought his own language, his energy, and unpredictability to the space. He doesn’t look back with nostalgia; he reactivates and reinvents what he touches. That’s exactly the spirit I wanted to bring into this new chapter. Martino’s performance mirrors Nilufar’s own evolution. How do you see this dialogue between his work and the space? It’s very much aligned. His work isn’t decorative — it’s process-based. It challenges what we think an object should be, just as the Depot challenges what a gallery can be. His performance for the anniversary wasn’t about erasing history, but about reactivating it — and that’s also how I see Nilufar evolving. I DON’T CARE IF SOMEONE IS KNOWN OR NEW — ONLY THAT THEIR WORK HAS MEANING How do you decide which designers or artists truly resonate with the Nilufar universe? For me, it’s about integrity — not in a moral sense, but in the coherence between thought, process, and execution. I’m drawn to people who use design to explore something deeper, whether that’s material, history, or form. It’s less about style and more about substance. I don’t care whether someone is established or emerging; what matters is that their work has genuine meaning. What kind of “new visions” do you hope to welcome in the next decade of Nilufar Depot? I’d like to explore new formats — perhaps more interdisciplinary collaborations, new materials, or even new geographies. The goal is to keep the Depot flexible. We’ve built a strong identity, but I don’t want it to become predictable. The next decade is about continuing to take risks, to reinvent, and to stay curious. One concrete step is expanding the international presence of Nilufar Edition. After defining its language and vision, the next challenge is to take it beyond the Depot — integrating it into homes and global platforms. It’s a way to share our curatorial voice more widely, while staying grounded in quality and artistic intent. YOU HAVE TO AVOID CHASING THE MARKET, BECAUSE TRENDS ARE LOUD — BUT SHORT-LIVED Nilufar’s long-standing motto is “Discovering, crossing, creating.” How has this philosophy evolved for you personally since founding the gallery in 1979? In the early years, “discovering” meant physically traveling — going to markets, visiting archives, meeting artisans — it was very hands-on. “Crossing” was about mixing time periods and cultures instinctively, without overthinking it. Today, the approach is more structured, but the spirit remains the same. What has changed is the scale. Now I work with a broader network of designers and collaborators, and I think more about how each choice fits into a wider cultural conversation. But at the core, I’m still doing the same three things — just with more tools and more perspective. Nilufar is known for anticipating trends, yet it remains timeless. What does it take to create something that feels both of the moment and enduring? You have to avoid chasing the market, because trends are loud — but short-lived. What lasts is clarity. When a piece has a strong identity and a reason to exist, it stands the test of time. I’m always looking for work that remains compelling when the noise fades, that feels grounded in real intent. With Nilufar Edition, you bridged design and Renaissance craftsmanship. How does this project reflect your current perspective on design and culture? Nilufar Edition embodies my wish to make high-quality design more accessible while preserving the gallery’s curatorial spirit. Produced in-house with careful attention to material and detail, it’s a coherent collection where every piece is both functional and expressive — and designers are chosen for their process, not their popularity. Throughout your career, you’ve embodied a visionary mindset — intuitive yet bold. What does being “visionary” mean to you today, and how has that meaning evolved over time? Being visionary used to mean seeing what others didn’t. Today, to me, it means creating space — for dialogue, experimentation, and new perspectives. It’s less about the individual and more about the ecosystem. That’s why I value collaboration more than ever. After decades of shaping the world of collectible design, what still surprises or excites you most about this field? The unpredictability. Every year, someone new emerges with an approach I’ve never seen before. It could be a material, a gesture, or a point of view that feels fresh. What excites me is that design never stops evolving. I see it as a reflection of the world — and if you think of it that way, the world is never still. If you had to define Nilufar Depot’s spirit in one word, what would it be? Alive. for more Print VOL XVII - 2025 Out of Stock Add to Cart

Tina Frey discusses her shift from finance to design, the origins of Tina Frey Designs, and resin-based work inspired by San Francisco and Montecito. March 2025 | VOL 14 RESIN & RESOLVE: How Tina Frey Turned Passion into Design words Sibel İpek Tina Frey is a truly inspiring designer and entrepreneur, known for her unique minimalist style and innovative use of materials. Born in Hong Kong and raised in Canada, she initially ventured into the world of finance, working with big names like Ernst & Young and Christian Dior. But her heart was always drawn to art and design, prompting her to make a bold career shift. That's when she founded Tina Frey Designs, focusing on beautiful, resin-based home décor items like bowls, lamps, and vases. Tina has become a global sensation with her elegant, hand-sculpted pieces that seamlessly blend functionality and artistry. Drawing inspiration from nature, her travels, and everyday moments, her work embodies a timeless simplicity with clean lines and organic shapes. Tina’s dedication to sustainability and craftsmanship has garnered her a devoted following, solidifying her as a key player in modern home décor and design. Now splitting her time between San Francisco and Montecito, she continues to expand her product lines and push the boundaries of her creativity. Tina shares her inspiration, the challenges she’s faced as an entrepreneur, and the future of her brand in an ever-evolving design landscape with the Yuzu community. IT IS FUNNY THAT I PURSUED FINANCE AS A CAREER BECAUSE I GUESS I KNEW FROM A YOUNG AGE THAT CREATIVITY AND MAKING ART WAS MY TRUE PASSION How did you first realize that art, especially working with resin, was your true passion, despite your background in finance? It is funny that I pursued finance as a career because I guess I knew from a young age that creativity and making art was my true passion. It was always so enjoyable and second nature to me that it never occurred that this could also be a profession. I was raised in an environment where having a career meant focusing on security rather than following your heart. I chose resin as a material of focus since I loved the versatile qualities of the material, how it can mimic glass, porcelain, stone or clay. What challenges did you face in transitioning from a stable corporate career to starting your own design studio? When I made the transition, I remember removing my finance and business minded hat and focused on creating something I was excited about that came from my heart. I didn’t have a business plan or a clear idea of my audience; I simply wanted to create and share my work. At my first exhibition, I was completely unprepared—I didn’t even have line sheets or an order pad. It wasn't until someone asked how to order that I realized this was a potential business and that people actually like my creations. I learned everything on the go and was still consulting in my finance career when I first started the company. I worked crazy hours to get it off the ground and every penny from my finance career was put into growing my business. I am glad I didn't know how much work and how hard it would be at times since it was good to delve in without fear or questioning of whether I was doing the right thing or not. How did your former career in finance help you build Tina Frey Designs? Having the former career definitely had its benefits since I knew the business side instinctively, so I was able to focus on the creative things while the business side sort of ran on autopilot. I was also very fortunate to have the income from financial consulting to fund the growth of my business. Can you tell us about the moment or experience that pushed you to finally make the leap into a full-time art career? Was there ever a time when you doubted your decision to leave finance for design, and how did you overcome that? When I started my company, I was still consulting in finance four days a week. As the business was growing, I started reducing my consulting hours to 3 days, then 2 days, then 1 day, then no days! I remember when it struck me that the safety net of my old career was ending and that I would be supporting the growth of my company through its own cash flow. Even though the company was growing, it was still a mental hurdle to know that the old career was not behind me. I also knew that I did not want to go back to my old life and there was never a doubt. That's not to say that there have not been challenging times in the last 17 years of my company. There was a time about 7 years ago when I was a bit burned out and so overworked that I had to adjust my way of working and my life balance. Once I did that, I regained my focus and excitement for creativity. I LOVE SIMPLICITY AND MINIMAL DESIGN Your designs often have a minimalist and organic aesthetic. How do you balance simplicity with functionality in your pieces? Thanks for the kind words about my work! I love simplicity and minimal design. However, I also appreciate the human element that makes each piece more personal. I like the idea of sculpting in clay first because you can see and appreciate the indentations left on the fingers that remain part of the final design. There is also an imperfection in the pieces that is uneven and natural, and there is a beauty in that imperfection that makes it human. How do the environments you live in, such as San Francisco and Montecito, inspire your color choices and design forms? I am definitely inspired by my surroundings. I’ve always loved travel, fashion, and design. When I see these things and think of interiors, I see how something could look amazing in a space. This can influence the color combinations of the collection. The shapes are often influenced by nature. I love how there is a softness that results from the elements. Imagine driftwood softened by the ocean and sand. You've created a wide variety of products, from tableware to lamps. How do you decide what to design next and what drives your creativity? I haven't run out of ideas yet—in fact, I have more ideas than I can execute for each season or collection. It’s actually more challenging to resist creating too many things at once! ONE OF THE REASONS I LOVE RESIN IS THAT IT’S MORE DURABLE THAN GLASS OR PORCELAIN, YET THE FINAL FORMS CAN BE UNEXPECTED What is the story behind your Mushroom Lamp and the large collection of vases? How does necessity influence your designs? I love useful objects. Perhaps it's the practical side of me from my finance background that makes me feel that creating something functional justifies its purpose. However, I’ve come to appreciate the value of making something simply for its form and beauty, even if it serves no function. There’s something to be said for the intrinsic value of beauty. Your pieces have been described as looking like sea glass or porcelain. How do you achieve such different textures with resin? One of the reasons I love resin is that it’s more durable than glass or porcelain, yet the final forms can be unexpected. There are shapes and effects you can achieve with resin that aren’t possible with traditional materials, which makes it so fascinating to work with. I also prefer a soft, sanded finish in my designs, as it highlights the handmade aspect without any visible seams. What emotions or experiences do you hope people will have when they interact with your designs? I want people to feel the love and intention behind each piece. I believe in energy, and even if we can’t see it, I know it exists. When I create a piece, it truly comes from my heart, and I hope to share that positive energy with the world. You often mention travel as a source of inspiration. Can you share how a particular destination influenced a recent design? I was in Copenhagen recently to visit 3DD. The Scandinavians have a very beautiful aesthetic that really resonates with me. There is a clean minimalism that fits very well with my designs. Even the colors have a cool feel to them that has definitely influenced my collections in the past. Is there a particular piece you've created that holds special meaning for you, and why? This is a tough question since so many pieces hold special significance. Each was created during a specific period in my life, influenced by different experiences along the way. It’s a journey akin to life itself, making it hard to pinpoint one particular moment as everyone is special in its own right. for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart