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Lara Bohinc discusses Betsy, Anima and Fallen Empire, three furniture collections created with Uniqka, Maison Phelippeau and Serafini. April 2025 | DESIGN & INTERIORS LARA BOHINC’S TRIO: Nature, Craft, Surrealism words Onur Baştürk photo credit Betsy / Stefania Zanetti & Matteo Bellomo Anima & Fallen Empire / Rebecca Reid Designer Lara Bohinc debuts three striking new collections at Milan Design Week. Through her partnerships with Uniqka, Serafini, Maison Phelippeau, and Inata, Bohinc presents an extensive range of work encompassing leather, marble, and upholstered seating. We spoke with Lara Bohinc about these three new collections. This year in Milan, you're launching three distinct collections through three different collaborations. Could you summarize each partnership in just one sentence? I have two collections launching at Alcova—Betsy in collaboration with Uniqka and Anima in collaboration with Maison Phelippeau. We also have a third collection, Fallen Empire, which will be displayed at Serafini Gallery in downtown Milan. Betsy is a collection of leather furniture inspired by the beauty of birds, with layered panels mimicking feathers, draped over bold, sculptural, and voluminous forms. Using saddlery leather—known for its thick yet supple texture—the incredible artisans at Uniqka cut, treat, and meticulously layer each "feather" piece-by-piece onto wooden frames, topped with a selection of coloured wood surfaces. The Betsy Collection comprises five distinctive pieces: a round coffee table, a side table, a console, a bench, and a standing mirror. In collaboration with Serafini, we have created Fallen Empire, a collection of marble furniture which pays homage to the forgotten fragments of lost civilizations, fusing the grandeur of ancient ruins with contemporary design. The collection comprises four pieces, a coffee table, a side table, a console, and a dining table. Inspired by dreams of nature, which symbolize a desire for peace and balance, Anima blurs the boundaries between reality and imagination.This collection transforms the historic villa into a surreal landscape of rolling hills, lakeshores, and organic forms, blurring the boundaries between reality and imagination. At the heart of the collection are three limited edition upholstered seating pieces—the Anima Sofa, Armchair, and Occasional Chair—created in collaboration with Maison Phelippeau, a revered French upholstery house known for its artisanal expertise, and enveloped in pure alpaca wool by Inata, a sustainable Peruvian textile brand. Complementing the seating is a Dark Woods Table, crafted in Portugal from solid mahogany. The common feature of all three collections is that you've worked with a wide range of very different materials—including leather and marble. Typically, designers tend to work with similar materials. As a designer, do you intentionally choose this diversity? I’ve always been drawn to exploring a wide range of materials in my designs, as each one offers its own unique influence on both the form and function of a piece. Across all three collections, I’ve focused on natural, organic materials, but each brings a unique quality to the collection — allowing me to explore the balance between softness and hardness, flexibility and rigidity, and how these qualities can enhance the overall design experience. I BELIEVE THAT DESIGN SHOULD BRING JOY How would you sum up your design philosophy? My design philosophy revolves around the idea of playfulness. I believe that design should bring joy and personality into people's spaces. Furniture and objects are not just functional items but can become companions within a room, each with its own character. My aim is to create pieces that invite interaction and foster a sense of connection, encouraging people to feel at home and spend time with their surroundings. I’VE ALWAYS BEEN FASCINATED BY DREAMS AND SURREALISM The Anima collection, created in collaboration with Maison Phelippeau, draws inspiration from Jungian psychology. Why Jung—was there a specific reason, and how did it influence the collection? From a young age, I’ve always been fascinated by dreams and surrealism, intrigued by how these elements can be translated into the physical world. When developing the Anima collection in collaboration with Maison Phelippeau, I was inspired by Jungian psychology because of its deep exploration of the unconscious and the human psyche. In today’s age of AI, digital creations lack the tangible beauty and substance of real-world materials; I wanted to create something that evoked those surreal, dreamlike qualities but was grounded in reality. The collection reflects this balance—capturing the essence of those elusive, ethereal ideas while using real, well-crafted materials that feel both beautiful and authentic in the physical world. What key features did you focus on regarding the materials and textures in Anima? Developed in collaboration with Maison Phelippeau, a renowned French upholstery house celebrated for its artisanal craftsmanship, each seating piece is meticulously handcrafted in London, ensuring a zero-carbon footprint. The furniture is made entirely from natural materials, including Vanadium steel coils, horsehair, and wool, all wrapped in luxurious alpaca wool from Inata, a sustainable textile brand from Peru. The collection is defined by its soft curves and twin peaks with a central dip, subtly inspired by natural landscapes and evoking the symbolic imagery of lips, imbuing the pieces with a poetic, sculptural elegance. Alongside the seating, the Dark Woods Table, made from solid mahogany in Portugal, features floating, organic surfaces resting on bold, rock-like forms. These surfaces are shaped using a combination of 5D laser cutting and hand chiseling, achieving a striking contrast between refined craftsmanship and the raw essence of the material. BETSY COLLECTION: INSPIRED BY LAYERED FEATHERS What inspired the Betsy collection you designed for Uniqka? How did working with leather feel, and were there any challenges? Inspired by nature, particularly the layering of feathers on birds, I’ve always been fascinated by the way these natural forms combine texture, movement, and structure. This led me to explore leather as a material, which offers a unique balance of malleability and rigidity. Leather is interesting because, while it can be shaped and molded, it still retains body and structure, allowing it to hold volume and create dynamic, interesting forms. It has a softness that shows movement, yet remains firm enough to maintain its shape. I experimented with cutting leather into small pieces and assembling them onto wooden frames to create designs that evoke the warmth and fluidity of feathered creatures. Partnering with Uniqka’s dynamic team, we were able to bring this vision to life, resulting in a playful and personality-filled collection that captures both the texture and movement I sought to emulate. The Fallen Empire collection, developed with the Serafin brand, is all about marble. What’s the story behind this collection? The Fallen Empire collection reflects on the ruins of once-great civilizations, celebrating the grandeur of stone and the inevitability of decay. It acknowledges that while empires may fall, their remnants endure—symbols of a distant past that continue to resonate across time. By blending the ancient with the modern, my intention was to create pieces that embody both the strength and fragility of time. Each design merges jagged, irregular edges reminiscent of ancient architectural ruins with geometric elements inspired by arches and windows.

Bang & Olufsen's Head of Design Tiina Karjalainen Kierysch discusses timeless aesthetics, circular design, Beoplay H100, and Recreated Classics. July 12, 2025 | PEOPLE the SHAPE of SOUND to COME words Onur Basturk Bang & Olufsen has never been just another electronics brand. For over a century, it’s redefined the boundaries between sound and sculpture, technology and emotion. As the industry moves toward sustainability and more personal experiences, B&O stays ahead by doing what it does best—challenging norms. In this conversation, Head of Design Tiina Karjalainen Kierysch shares her thoughts on legacy, longevity, and why emotion might just be tech’s most powerful feature. Bang & Olufsen’s design language has evolved over the years, yet the core idea of “timeless aesthetics” remains constant. How do you balance this legacy with innovative design decisions? A huge part of our legacy is the mindset behind how we create products rather than the aesthetics themselves. What sets Bang & Olufsen apart from the general consumer-electronics industry is that we have always done things differently. Being unconventional is practically part of our DNA. Our products not only look different, but they also function and interact very differently from many competing products. As a designer, being able to challenge the status quo is liberating and offers a huge opportunity to explore completely new archetypes—rethinking use cases, shapes, interactions, and tactility. We even go so far as to change the meaning of entire product categories from time to time. For example, in the 1990s we transformed CD players from black plastic boxes into beautiful glass displays that could create an entire evening playlist for you. Another example is Beosound Shape, where we re-contextualised a speaker as an art piece on the wall—we often see things differently. Our founders, Peter Bang and Sven Olufsen, had a mission: “a never-failing will to create only the best, continuing to find new ways and improvements.” One hundred years later, we carry this legacy forward by continuing to challenge the status quo and keeping an open mind toward evolving creation, technologies, and manufacturing processes. 2. In new products like the Beoplay H100, elements such as modularity and reparability are emphasised. How early do these sustainability-focused decisions enter your design process? Our teams design in a modular way, and this is built in from the very beginning of the process so that parts can be repaired or exchanged later in their lifetimes. When new technologies emerge, products can also be upgraded through software. The modular-design expectations and targets we set for ourselves are challenging, yet they make the teams highly motivated. When it comes to sustainability, we work with the Cradle to Cradle certification, which provides a framework for assessing circularity and sustainability performance. Another approach to longevity is repurchasing old products, restoring them, and making them compatible with modern technology—we call these our Recreated Classics. We need to work together as an industry and solve the problems we can only solve collectively, using technological advancements to drive positive change and a culture of circularity. We strive to learn and improve constantly in this field while inspiring others to join the movement. I’M FASCINATED BY NEW SENSORY EXPERIENCES—ESPECIALLY THOSE INVOLVING TACTILITY, MOVEMENT, OR SOUND You’re leading the reimagining of iconic B&O products from the past. What is the biggest challenge in these redesign processes—staying true to the original form, integrating new technologies, or adapting to today’s user habits? Reintroducing products from the past gives us an opportunity to highlight, celebrate, and bring back some of our most iconic designs. These designs are icons for a reason, so when considering any updates we approach them very carefully, protecting their design integrity. We look at whether there are elements to improve, how colours and materials can fit into a contemporary context, and how we can connect yesterday’s interfaces to future user experiences seamlessly. You’ve worked across a wide range of sectors—from industrial products to transportation design. How have these cross-disciplinary experiences influenced your approach at Bang & Olufsen? Each sector I’ve worked in has brought specific lessons, especially regarding processes. I’ve learned a great deal from the clarity of product-development structures in transportation design and from the importance of innovation processes within craft in the fashion and luxury industries. Most of my experience has also been in international settings—Europe, the US, and Asia—which has given me invaluable cultural insights. From this mix of influences, I’ve distilled best practices and, most importantly, a mindset that guides everything I do. I’m a designer and design leader who believes in the power of creativity and people. When exploring future ideas and solutions, I aim for a better world—one that needs more collaboration and a more sustainable tomorrow. I find joy in building teams that strive toward that goal through design excellence and care. What does good design mean to you? How would you describe your relationship with sensory elements like sound, form, and tactility? A product must be well-made and well thought-through—a great fit for your life that provides beautiful solutions. As designers, we have an important responsibility to push the boundaries of circularity when developing products. Design is a universal language. Through a product’s design, we visually communicate with potential customers and users, not only through its shapes or colours but also through the way it feels, sounds, and interacts with you. Great designs are often founded on unique ideas; they are memorable and leave a lasting impression. I think a product should move you—delight you, inspire you, or spark your curiosity. Sound, form, and tactility play a huge role in that emotional impact. Products stand out to me when I can recall how they looked or felt. I’m intrigued by how design triggers emotions and by the magic that happens when technology meets art and imagination. New experiences also fascinate me—things I’ve never encountered before that engage the senses with tactility, movement, or sound. I’m drawn to products created in remarkable ways, where you can feel the care for design excellence. When a product makes sense both rationally and emotionally—and gives you an overwhelming feeling of excitement—you feel the true strength, value, and power of design. MAGIC HAPPENS WHEN WE ENTER A JOINT CREATIVE FLOW You’ve said that sustainability is not just about materials but about building long-term emotional connections with users. Can you share an example where this idea shaped a project? Listening to music is an emotional experience. Bringing back memories from the 1990s with a refurbished Beosound 9000c connected to modern speakers and an app adds another emotional layer—memories come alive again in a future format. Aside from the Beosound 9000c, our Recreated Classics programme has introduced the Beogram 4000c record player and, more recently, the Beogram 3000c, revitalising classic Bang & Olufsen listening experiences. We want our products to be investments—objects that can be passed on to the next generation. In a world where consumer-electronics products can become obsolete quickly, we ensure they can be updated over time, with both hardware and software. Our products are designed modularly so that parts can be repaired or exchanged when needed. Together with our customers, we also create personalised products through our Atelier programme, where colours, materials, and finishes can be customised. Emotional connections often become even stronger when you, as the customer, help design the final result. What motivates you most during the design process—silence or sound? What kind of environments fuel your creativity? A huge source of inspiration is the teams I work with. Magic happens when we enter a joint creative flow. Through deep collaboration and by leveraging everyone’s expertise, we can conceptualise and design products we would never have imagined on our own. Being inspired by each other’s creative minds makes me forget time and space and dive into new imaginative worlds. Sound often inspires us in the studio when we create together, while silence is equally important for diving deeply into individual imagination and thought. What advice would you give to young designers—especially those looking to balance technology, craftsmanship, and emotional resonance in their work? Always remember that your individual contribution is unique. Nobody else will approach a design exactly the way you do. Identify your distinctive characteristics as a designer and use your personality to bring unique value to every design conversation. Stay curious and keep an open mindset for learning new things, perspectives, and methods. It will enrich you and your creativity, and you’ll enjoy your journey as a designer. At the same time, you’ll energise those around you. Dare to propose unusual, even crazy ideas—designers always have the power to propose. And remember to have fun!

Green Day at Komşuköy featured Miboso Wellbeing, EK BİÇ YE İÇ, Lucca, Panerai, sound therapy by Merdol Can Dinçer, and music by Bayram Özcan. Mayıs 2022 | Community YUZU GREEN DAY Partners: Komşuköy, Miboso, Ek Biç Ye İç, DemGreen, Lucca, Homemade Aromaterapi, Kandilli Peyzaj, Entropia, Panerai On May 22, 2022, we hosted the first edition of Green Day at Komşuköy. The day began with an aura cleansing session at the Miboso Wellbeing booth. Later, we joined Merdol Can Dinçer's sound therapy session. The organic dishes from EK BİÇ YE İÇ’s open buffet, led by Chef İbrahim Tunç, filled our kraft plates and were perfectly paired with Lucca's delicious gin-based cocktails. Some of us explored Panerai models at the Entropia Club booth, while others admired the artworks displayed outdoors by Vision Art Platform, Galeri Bosfor, Kalyon Kültür, and Martch Art Project. We were blessed with essential oils from Homemade Aroma Therapy, captivated by the plants of Kandilli Botanik, and, as the evening approached, we lost ourselves in the music of dj Bayram Özcan. Looking forward to seeing you at the next Green Day! * 22 mayıs 2022'de ilkini düzenlediğimiz Green Day'de mekanımız Komşuköy'dü. Güne Miboso Wellbeing standında aura temizliği yaparak başladık. Daha sonra Merdol Can Dinçer'in ses terapisine katıldık. EK BİÇ YE İÇ'in şefi İbrahim Tunç liderliğindeki açık büfesinden kraft tabaklarımıza doldurduğumuz organik yemeklere Lucca'nın cin bazlı nefis kokteylleri eşlik etti. Kimimiz Entropia Club'ın standında Panerai modellerini inceledi kimimiz Vision Art Platform, Galeri Bosfor, Kalyon Kültür ve Martch Art Project'in açık havaya konuşlandırdığı sanat eserlerini… Homemade Aromatherapy'nin uçucu yağlarıyla kutsandık, Kandilli Botanik'in bitkilerine hayran olduk ve tabii dj Bayram Özcan'ın müziğiyle akşama doğru kendimizden geçtik! Yeni Green Day'lerde görüşmek üzere!

François Farcy presents Memento Floris at Galerie Anthologie in Paris, uniting painting, sculpture, scent and an original soundtrack by Arthur Phanel. September 5, 2026 | Art & Culture MEMENTO FLORIS With Memento Floris, François Farcy will explore memory beyond the image. words Onur Baştürk We have never documented our lives more obsessively, yet perhaps never been less present within them. In Memento Floris, François Farcy will explore how memory is carried through colour, material, music and scent. Flowers — rooted in memories of his grandmother’s house and garden — will form a thread between childhood, absence and the passage of time. Presented at Galerie Anthologie in Paris from September 23–27, the exhibition will bring together painting, sculpture, an original soundtrack by Arthur Phanel and an olfactory work within a single sensory landscape. TO TRULY FEEL THE PRESENT MOMENT Do you think this constant need to document our lives is changing the way we remember them? It changes things a lot. I think we often focus more on trying to record a moment than actually experiencing it. And emotions play an important role in the way our brain creates memories. You only have to look at people during the Bastille Day fireworks, for example: so many are watching them through a screen. In a way, we lose part of the reality of the experience, and our perception of the moment becomes altered. I think we need to be fully present to really experience a moment and all its beauty. Of course, photographs and recordings can also be beautiful ways of recalling certain moments later on. But remembering something is very different from simply looking back at an image. With Memento Floris, I want people to reconnect with that idea: to truly feel the present moment and allow memory to reconstruct it through all our senses. THE MEMORY OF FLOWERS Flowers have been part of your work for some time, rooted in memories of your grandmother’s house and garden. What is it about them that still allows you to speak about memory, absence and transmission without becoming simply symbolic? Flowers are symbolic for me, of course, because they naturally speak about the cycles of life: blooming, flourishing, fading, disappearing and returning. But at the same time, they are not only symbols. They are also very real elements of my memories. The flowers I paint bring me back to specific times, places and seasons from my childhood in Neufmoulin, in the Somme region of France, through their colours, scents, textures and the way they change over time. Poppies in the fields immediately take me back to summer and to the fields in front of my grandmother Christiane Granger’s house. Flowers covered with frost or morning dew can evoke winter, or the chill of early autumn. For me, flowers carry memory through many different senses. They are visual, but also olfactory and emotional. Sometimes a smell or a colour can bring something back much more vividly than a photograph. That is why I keep returning to them. They allow me to speak about the passing of time and the cycles of life, but they are also deeply connected to real experiences and memories. They are not simply symbols that I place into the work; they are already part of the memories themselves. BEYOND THE CANVAS For this exhibition, painting moves beyond the canvas into sculpture, sound and scent. At what point did you realise that painting alone was no longer enough to express what you wanted Memento Floris to become? Whenever I visited a painting exhibition, I felt that something was missing: smell, and more generally the involvement of the other senses. I always thought it would be beautiful to experience an exhibition in a more complete way, with all of my senses activated. I’m very sensitive to these things, so I can sometimes recreate those sensations in my mind quite easily. A smell, a light, an image or even a certain atmosphere can take me back in time. But I know this does not happen as naturally for everyone, and that is partly what made me want to explore the idea more deeply through Memento Floris. What I really hope is that people leave the exhibition having rediscovered a memory they had forgotten. There is something almost magical about remembering something you thought was lost, as if it had been stored somewhere inside you, in a kind of inner library, and suddenly a word, an image, a perfume or a certain light gives you access to it again. Personally, I have also been craving a stronger connection to my own past. I want to remember more, and I have become increasingly attentive to what my senses capture around me. At the same time, it felt urgent to develop this concept now, in a society that is becoming increasingly digital. We are constantly looking at the world through screens, and I find that slightly frightening. The soundtrack, composed by Arthur Phanel under your artistic direction, was conceived to resonate with the paintings rather than illustrate them. How did that dialogue between image and music develop, and what could sound express that the paintings could not? Music has become incredibly important in my life; today, I would even say it feels vital. Sound has this extraordinary ability to bring back a memory almost instantly. The simple sound of a church bell, for example, can take me back to the church near my grandmother’s village: to a happy Easter Sunday celebration, or even to her funeral. In that sense, music can take you through time just as powerfully as smell, colour or any other sensory experience. What I wanted with Memento Floris was for people to enter a kind of bubble as they move through the exhibition. I don’t want the music to explain the paintings or tell people what they are supposed to feel. I want to show the works, let the music do its own magic, and allow people to connect with their own memories and interpretations. The dialogue with Arthur developed very naturally. I shared the paintings, the memories and the ideas behind the exhibition with him, but I wanted him to have the freedom to respond to the project in his own artistic language. What interested us was precisely what music could add without explaining anything. The paintings are fixed, while sound introduces time, movement and expectation. We wanted the music to carry the concept of Memento Floris into another medium, creating another emotional layer around the paintings — something perhaps more instinctive. The paintings and the music do not explain one another; they coexist. Somewhere between the two, I hope each visitor can find something that belongs to their own memory. MADELEINES FROM MY GRANDMOTHER’S KITCHEN Scent can trigger memory instantly. Is there a particular smell that takes you straight back to a person, place or moment? The smell that takes me back most instantly is that of madeleines fresh from the oven in my grandmother’s kitchen. That warm, golden smell of cake takes me straight back to my childhood. For me, it is an incredibly happy smell, but also one that belongs to a time that has passed. It carries the presence of my grandparents and takes me back to a younger, more innocent version of myself, when life felt simple and I had no real responsibilities. At the time, I did not realise how happy I was. Looking back, I think it was one of the happiest periods of my life. What fascinates me is that a smell can bring back much more than an image. It can suddenly restore an entire atmosphere, a person, a place and even the feeling of who you were at that moment. Before you have time to think about it, the memory is already there.

Antonio Aricò discusses Magna Graecia, his terracotta collection for Seletti inspired by ancient Greek colonies and his roots in Reggio Calabria, Italy. june 2023 | Mediterranean Design | Vol 10 english below GÜNEY İTALYA’NIN TERRACOTTA RUHU words Onur Baştürk photos A. Muscatello venue Campicello (Strait of Messina) art director Aricò A ntonio Aricò güney İtalya’da doğup büyümüş bir tasarımcı ve kreatif direktör. Seletti ile iş birliği sonucu ortaya çıkan Magna Graecia isimli yeni koleksiyonu da öyle: Güney İtalya’daki antik Yunan kolonilerinin stilistik özelliklerinden ilham alınarak tasarlanmış, tamamen terracotta’dan yapılma bir obje serisi. Hem iç hem de dış mekanda kullanılabilen Magna Graecia; dünyadaki tüm terasları, bahçeleri, verandaları ve aynı zamanda salonları, istila etme hırsına sahip bir Akdenizli. Ama bu hırs tam aksine masum. Çünkü Aricò, Akdeniz’in sıcak ve güneşli atmosferini her yere ulaştırmak istiyor. Güney İtalya’nın neresinde doğdun? Sicilya’nın hemen karşısındaki sahilde, Reggio Calabria kasabasında doğdum. Gianni Versace’nin doğduğu kasaba. Benim gözümde büyüleyici bir yer. Reggio Calabria hakkında en çok sevdiğim şey hâlâ gerçek bir yer oluşu. Ayrıca güçlü zıtlıklar açısından zengin bir yer. Güzelliğinin yanı sıra güneye özgü bir kaosu da var, ki bu benim için insan yaşamının bir metaforu. Akdeniz’de olmak tasarımlarını nasıl etkiliyor? Aslında bu zamanla ilgili bir mesele. Okurken dünyayı dolaşmalı ve çalışmaya başladığın ilk yıllarda seyahat edip hızlı olmalısın. Olgunlaştığını hissettiğinde ise -yaşının 60 olması gerekmiyor- yavaşlamayı öğrenmelisin. Az ama iyi yönde şeyler yapmayı seçmelisin. Sanırım Akdeniz yaklaşımımın sırrı bu! TERRACOTTA SPIRIT OF SOUTHERN ITALY A ntonio Aricò is a designer and creative director born and raised in southern Italy. As his new collection, Magna Graecia, realized in cooperation with Seletti, is a series of objects inspired by the stylistic features of ancient Greek colonies in southern Italy and made entirely of terracotta. Magna Graecia, which can be used both indoors and outdoors, is a Mediterranean with an ambition to invade all the terraces, gardens, patios and at the same time the halls, the entrance part of the houses in the world. However, this ambition is rather innocent. Because Aricò wants to bring the warm and sunny atmosphere of the Mediterranean to everywhere. Where in southern Italy were you born? I was born in the town of Reggio Calabria, located along the beach just across Sicily. The town where Gianni Versace was born. In my eyes, it’s a fascinating place. What I love most about Reggio Calabria is that it’s still an authentic place. It is also a place that is rich in terms of powerful contrasts. In addition to its beauty, it also has a southern chaos, which to me is a metaphor for human life. How does being in the Mediterranean affect your designs? Actually, it’s a matter of time. While studying, you should travel around the world, and you should travel and be fast in the first few years you start working. When you feel growing mature - you don’t have to be 60 - you must learn to slow down. You have to choose to do things in a small but good way. I think that’s the secret of my Mediterranean approach! for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

Community Dinner brought Spring Spirit to Avlu Bebek, with chef Yılmaz Öztürk, partner Jumbo, and table details by Edizione Living and Parla Flower. April 2023 | Community COMMUNITY DINNER Partner: Jumbo The chef of the “Spring Spirit” themed Yuzu Community Dinner was Yılmaz Öztürk. Held at Avlu Bebek with the support of Jumbo, the table setting’s elegant and eye-catching details were curated by Edizione Living and Parla Flower. “Spring Spirit” temalı Yuzu Community Dinner'ın şefi Yılmaz Öztürk’tü. Jumbo'nun katkılarıyla Avlu Bebek'te gerçekleşen yemeğin sofra düzenindeki dikkat çeken şık detaylar ise Edizione Living ve Parla Flower’a aitti.

Ece Ceylan Baba and Onur Baştürk discuss sustainable architecture, Bjarke Ingels' BIG Masterplanet, Liam Young's Planet City, and SLA in Copenhagen. 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.

Alcova Miami presents Something Last, a meditative design exhibition curated by Jialun Xiong during Miami Art Week, bringing together emerging designers. December 2024 | Art & Culture FOR TURKISH a SERENE PAUSE at ALCOVA MIAMI - SOMETHING LAST - words Alp Tekin Undoubtedly, one of the standout stars of Miami Art Week will be the second Miami edition of Alcova, the forward-thinking contemporary design platform typically showcased during Milan Design Week. Among the highlights of Alcova's new Miami edition is Something Last, a must-see exhibition curated by Los Angeles-based designer Jialun Xiong. This meditative design showcase offers a rare moment of tranquility amid Miami’s vibrant art scene, featuring works by emerging artists and designers Cindy Hsu Zell, Devin Wilde, Jialun Xiong, Mary Ratcliffe Studio, Vy Voi Studio, and Xiaoyan Wei. Focusing on timeless visual expressions, Something Last distills design to its purest elements: form, point, line, light, and shadow. From handcrafted wooden furniture to porcelain lighting, architectural ceramics to metal fixtures, the exhibition unites each designer's discipline through the soothing repetition of these fundamental components. The absence of color eliminates distractions, underscoring the themes of purity and simplicity. Adding to the immersive experience, Something Last is accompanied by curated soundscapes by Silence Please and custom-scented candles by Studio/JIALUN XIONG. EXHIBITION ID STUDIO / JIALUN XIONG – Los Angeles This Los Angeles-based multidisciplinary design studio explores the ideas of duality and creative restraint across spatial, furniture, lighting, and object design. CINDY HSU ZELL – Los Angeles Growing up near the San Gabriel Mountains, Cindy Hsu Zell studied fine arts and animation at the University of Southern California. Her Mythos collection of ceramic wall sculptures, showcased at Alcova Miami, draws on ancient storytelling through the use of fundamental forms and materials. DEVIN WILDE – Brooklyn, NY Born and raised in Brooklyn, New York, artist and ceramicist Devin Wilde’s work reflects an eclectic mix of styles, including Art Deco, Classicism, and Postmodernism. Exploring the relationship between form and shadow, Wilde focuses on the interplay of light to create drama and evoke both ancient and modern sensibilities. MARY RATCLIFFE STUDIO – Toronto, Canada Based in Toronto, Mary Ratcliffe Studio is dedicated to creating contemporary works with meticulous attention to detail, quality, and longevity. VY VOI – NY & Vietnam Vy Voi is a design studio founded by industrial designer and ceramic artist Steffany Trần, with bases in New York and Sài Gòn, Vietnam. The studio focuses on objects, lighting, and furniture design. WEI XIAOYAN STUDIO – Shanghai, China Wei Xiaoyan Studio specializes in spatial design, installations, and artistic furniture. By merging traditional Chinese craftsmanship with contemporary design, the studio reimagines concepts of time and eternity through experimental yet functional art pieces that explore the hidden power of materials and light. * ALCOVA MIAMI LOCATION: Miami River Inn, 118 SW South River Dr, Miami, FL 33130

Northwood ADU by T+E+A+M is an energy-efficient home in Ann Arbor, Michigan, designed by Ellie Abrons, Adam Fure, Meredith Miller and Thom Moran. Ocak 2022 | Tasarım | Amerika for english click here NORTHWOOD ADU En Verimli Konut Ünitesi Yazı | Alp Tekin A merika’nın orta batısında giderek yıldızı parlayan mimarlık firmalarından biri T+E+A+M. Bu mimarlık ofisi şu sıralar Michigan Ann Arbor'da enerji açısından verimli konut ünitesi Northwood ADU ile konuşuluyor. Donmaya karşı korumalı, yüksek yalıtımlı ADU’nun en önemli özelliği sığ temel teknolojisini kullanması. Doğrudan zemine inşa edilebilen ve yoğun emek gerektiren şantiye çalışmalarına duyulan ihtiyacı azaltan ilk bina modeli ADU. ADU’NUN SIRRI NE? Az bakım gerektiren düşük atık kaplama malzemelerine (metal, fiber çimento levha gibi) sahip ADU, aslında bir yapısal yalıtımlı paneller (SIPS) kabuğundan oluşuyor. Radyant ısıtmalı zeminlere ve mini bölmelere sahip olan ADU’nun alan deneyiminde görsel gürültü de mümkün olduğunca azaltılmış. Tek kişilik yatak odası, mutfağın üzerinde köşk benzeri bir yapının üzerine oturtulmuş. Pencereler ise mahremiyeti korumak ve iç mekanı ormanla gökyüzüne bağlamak için stratejik olarak yerleştirilmiş. T+E+A+M kurucu ortakları Ellie Abrons ve Adam Fure, Norttwood ADU’nun diğer iki kurucu ortağı Meredith Miller ve Thom Moran ile birlikte halka açık bir alana, 19 dönümlük konut arazisinin kullanımını en üst düzeye çıkarmak için projenin ilk örneğini tamamlamış bulunuyor. ADU konutları yerleşim yerindeki hane sayısını ikiye katlayan bir modele sahip olduğu için özellikle konut sıkıntısı olan şehirlerde popüler olacağı kesin. NORTHWOOD ADU Words | Alp Tekin T +E+A+M is one of the architectural firms whose star is shining in the midwest of America. This architecture office is currently in talks with the energy efficient housing unit Northwood ADU in Ann Arbor, Michigan. The homeowners, T+E+A+M co-founders Ellie Abrons and Adam Fure, along with the firm’s other two co-founders Meredith Miller and Thom Moran, completed the project to maximize the use of their. 19-acre residential lot adjacent to a public wooded area. As an urban strategy, ADUs are increasingly popular in cities with housing shortages as they double the number of households on a residential lot. While the size is limited by zoning regulations, Northwood ADU reaches as far back as possible to the lot line and adds an independent residential addition/unit in the backyard of the existing single-family residence. Technically an addition with its own systems, the 730-square-foot structure is a continuous shell of structural insulated panels (SIPS) with low-maintenance, low-waste cladding materials (metal, fiber cement board, mesh) expressed as independent layers. It is the first building in Ann Arbor to utilize frost-protected, highly insulated shallow foundation technology common in Scandinavia which allows for it to be constructed directly on the ground and reduces the need for labor intensive site work. Additionally, the SIPS only have a 1/8” allowance and thus create a tight, high R-value envelope. The walls are R-28 and the roof is R-26. Based on “blower door test” results, Northwood ADU is one of Michigan’s most efficient buildings. Featuring radiant heated floors and mini-splits, the experience of the space is expanded by reducing visual noise and expressing the volumetric interior of the SIPS shell where possible. The single bedroom sits atop a pavilion-like structure over the kitchen. Exposed LSL joists and painted brackets introduce texture and color without extraneous finishes. Windows are located strategically to maintain privacy from the main house and connect the interior with the forest and sky. Çapa 4

Kalu Interiors and Phyllis Lui design a Wellness Home in Vancouver's Kitsilano using Yin & Yang, Feng Shui principles and a black-and-white palette. February 2024 | Design & Interiors english below A WELLNESS HOME based on feng shui principles words Alp Tekin Y in&Yang ve Feng Shui felsefesine göre tasarlanan Vancouver’ın Kitsilano tarafında yer alan bu ev projesinin iç dizaynı Kalu Interiors’a ait. Hem sakin hem de enerji dolu bir ambiyansa sahip evin estetiğinden odalardaki renk paletine kadar her şey Feng Shui ilkelerinden ilham alınarak yapılmış. Evin ana alanları için siyah ve beyaz tercih edilmiş. Kalu Interiors’dan Phyllis Lui, "Hem zarif hem abartısız, dramatik bir alan yaratmak istedik" diyor. K alu Interiors designed the interior of this home in Vancouver's Kitsilano neighborhood based on the principles of Yin&Yang and Feng Shui. With an ambiance that is both serene and energetic, everything from the aesthetics to the color palette of the rooms is inspired by Feng Shui principles. Black and white were chosen for the main areas of the home. "We wanted to create a dramatic space that was both elegant and understated,” says Phyllis Lui of Kalu Interiors. “In each and every room, they are interesting items and objects that show the personality of the homeowners. For instance, in the powder room, the flowers are planted into a shoe. In the playroom, there is a cheeky monkey motif coming off the wallpaper on the ceiling. In the living room, the throw and pillows add an extra level of quirkiness and interest to the space”.

Mayıs 2020 | Seyahat | İzlanda İzlanda’nın Sırları Yazı | Onur Baştürk Y az mevsiminin yazılı olmayan kuralı nedir? Güneye inmek! Oysa dört yıl önce benim en güzel yazım İzlanda’ya geçmişti! Atlas Okyanusu’nun kuzeyine konuşlanmış bu volkanik adanın taşına, toprağına, suyuna ve kendiliğinden gizemine aşık olmuştum, hiç abartmıyorum. Üstelik böyle hisseden yalnızca ben değilim. Hâlâ dünyanın en çok merak edilen destinasyonları arasında İzlanda. Bu favori durumlarını da 2012’de başlattıkları turizm tanıtımına borçlular. Gerçi tanıştığım bir Reykjavik’li genç kadın bu durumdan hiç hoşnut değildi, “Her yer turist doldu, eskiden daha mutluyduk” diyordu ama olsun, topu topu 330 bin kişinin yaşadığı bu adada herkese yer var! Türkiye gibi kalabalık bir ülkeden sonra İzlanda fazlasıyla huzur demek, hem de ultra huzur! Şimdi gelelim İzlanda’nın sırlarına… DEĞİYOR! Uzak bir ülke İzlanda. Direkt uçuş yok, aktarmayla gidiliyor. Ben Kopenhag aktarmalı gitmiş ve Icelandair’in uçaklarına hayran kalmıştım! Beklemediğiniz kadar konforlu uçakları. İnternet bağlantısı var. Dahası, uçağa orta bölüme yapılmış bir kapıdan biniyorsunuz. ÖNCE ARABA Keflavik Havalimanı’na indiniz, ilk yapmanız gereken bir araba kiralamak. Çünkü İzlanda’da gezip görülecek yerler birbirine uzak ve illa ki bir arabanız olmalı. İsterseniz gidilecek yerlere tur da alabilirsiniz. Her yere tur var. Ben birkaç kez tur da aldım, Golden Circle kısmına mesela. Ama sıkıldım. “Yirmi dakika sonra otobüste buluşalım” konuşmaları beni sıkıyor. Kiralık arabayla daha özgür olursunuz, inanın bana! MUTLAKA: HARPA İzlanda’nın üçte ikisinin yaşadığı Reykjavik’ten başlayalım. Çok büyük bir yer değil. İki, bilemedin üç saatte gezersiniz. Modern mimariye sahip şahane kilisesİ Hallgrimskirkja’yı, yine nefis bir tasarım sahip opera evi Harpa’yı ve dükkânların sıralandığı Downtown’ı… Reykjavik’te yeme-içme alemi şahane, bayılacaksınız. Önce liman tarafındaki Lobster&Stuff’a gidip ıstakoz çorbası için. Ardından oraya çok yakın mesafedeki Icelandair Marina Otel’in barına, yani Slippbarinn’e uğrayın. Çok iyi kokteyl yapıyorlar. Sabah brunch için Coocoo’s Nest, deniz ürünleri için Fiskfelagio (The Fish Company diye de geçiyor), öğle yemeği için Ostabudin ve Bergsson Mathus, geleneksel İzlanda yemeği için Apotek’e (barı da iyi) gidin. Reykjavik’te geceye başlamak için Kex en iyisi. Kex, bildiğin hostel. Ama gördüğüm en stil hostellerden biri… Geceyi sonlandırmak için ise canlı müzik mekanı Hurra’ya gidin. Burası cumartesileri 04.30’a kadar açık. En iyi happy hour ise Kaffibarinn’de, onu es geçmeyeyim. ŞELALER DİYARI Reykyavik dışındaki ilk rotanız güney olsun. Rotayı Vik kasabasına doğru kırın. Bu yol üzerinde iki tane şahane şelale var. Skogafoss şelalesi en sevdiğim. Üşenmeyin, yukarısına kadar çıkın. Trekking sevenler için nefis yürüme yolları var. Diğer şelale ise Seljalandfoss. Daha romantik bir şelale. Kahvenizi alıp suyun kenarında yudumlayın. Evet, İzlanda’da şelaleden bol bir şey yok. En meşhuru aslında Gullfoss ya da bilinen İngilizce ismiyle Golden Falls. En gürül gürül çağlayanı. Birkaç şelale daha göreyim derseniz: 122 metrelik Haifoss’u da listenize alın. Sonra Dynjandi’ye gidin. Bir de tabii Selfoss ile Ridley Scott’ın Prometheus filminin açılış sahnesinin çekildiği Dettifoss’a… AH O SİYAH KUMSAL! Vik’e gelmeden Siyah Kumsal’a, nam-ı diğer Reynisfjara’ya da uğrayın. İki büyük kumsaldan oluşuyor burası. Tam instagramlık manzarası var. Kumsala hayran olacağınız kadar tatlı Puffin kuşlarına da bayılacaksınız. Özellikle akşamüstü toplu halde kayalıklarda tünüyorlar. Penguene benzeyen bu kuşları hain İzlandalılar yiyor maalesef! O yüzden menülerde puffin görürseniz direkt es geçin! BUZUL GÖLÜNE ÇIK Buzul gölü Jökulsarlon. Vik’ten sonra iki saat daha yol gidip buraya da uğrayın. İrili ufaklı buzulların etrafında poz verin. Eğer şansınıza güneş varsa ortaya çıkan görüntü inanılmaz oluyor. BİR, İKİ, ÜÇ: HADİ FIŞKIR! Geysir’ı görmeden olmaz. Yeraltı sularının magmaya dokunması ya da magmanın çok yakınından geçmesi sonucu ısınmayla oluşan nefis bir doğa olayı. Gulfoss civarındaki Geysir bölgesinde irili ufaklı fışkıran su kaynakları var. Ama en büyüğünün adı Stokkur. Üç dakika, bilemedin altı dakikada bir yerin altından su fışkırıyor yeryüzüne. Aman suya elinizi değdirmeyin, çünkü en az 80 ila 100 derece! BEN EV KİRALADIM Dikkat! Otelinizi çok önceden rezerve edin, yoksa ortada kalırsınız! İzlanda’da fazla otel yok ve özellikle temmuz ve ağustos aylarında oteller dolup taşıyor. Yoğunluktan dolayı ben ev kiralamak zorunda kaldım. Üstelik ev bir Türk’e aitti! Şaka gibi ama, adada toplam 65 Türk var ve ben gidip bir Türk’ün evini kiralamış oldum, gerçekten hayat enteresan. DUMANI MEŞHUR O YANARDAĞ Geçmiş yıllarda dumanı yüzünden Avrupa hava trafiğini kilitlemiş meşhur ve ismini söylemesi zor yanardağ Eyjafjallajökull’u uzaktan gördüm. Zaten güneye giderken yol üzerinde. Ama hep zirvesi bulutlu… Yanardağın hemen yakınında yer alan turistik bir merkez de var. Yanardağın patlamasından etkilenen bir çiftçi ailenin nasıl hayatta kaldığını anlatan bir belgesel gösteriyorlar orada. Çıkışta da yanardağ külü, taşı ve bunun gibi ıvır zıvırı satıyorlar. Bence gereksiz, hiç takılmayın burada… SICAK NEHİR EN GÜZELİ Blue Lagoon, yani dışarısı buz gibiyken içi 40 derecelik termal yapay göle girmek en popüler İzlanda turist akvitivesi. Ben ölüp bitmedim. Onun yerine daha doğal bir yere, Hveragerdi kasabasının yukarısındaki dağdan akan sıcak nehre girin daha iyi. Oraya daha çok yerliler gidiyor. Yanınıza da içki de alın tabii! ATLA TURLAMAK İSTİYORSAN… Atlar! İzlanda’ya özgü atları görmeden, fotoğraflamadan ya da onlarla bir tura çıkmadan olmaz. Zaten adım başı bu atlara rastlamak mümkün! Eğer bu atlarla tur da yapayım, doğanın içinde fink atayım diyorsanız iki güzel at çiftliğinin adresini vereyim: Biri Eldhestar, diğeri Viking Horses. ÇİM EVLER MASAL GİBİ İzlanda'nın dağlık bölgelerinde yer alan Jökuldalsheiði’deki çim ev Sænautasel masal gibi bir çim ev. 1843’te inşa edilmiş ve tam 95 yıl insanlar bu çim evde yaşamış. MAĞARA SEVİYORSAN… İzlanda’da farklı boyutlarda çok fazla mağara var. Mağaralar ülkenin tarihinde önemli. Çünkü birçoğu sert kışlarda insanlar veya hayvanlar için barınak görevi görmüş. Dahası bazı kaplıcalar bile mağaraların içinde yer alıyor. Mesela Game of Thrones’un aşk sahnesiyle ünlü Grjótagjá. Ancak maalesef içinde yıkanmak mümkün değil! İzlanda'daki en ünlü mağaralar aslında buzul buz mağaraları. Ama doğal bir mavi buzul mağarasını sadece kış aylarında, yani ekim ortasından marta kadar görmek mümkün. Unutmadan: En ünlü buzul mağara Crystal, Vatnajökull buzulunda. 2011'den beri her yıl ortaya çıkıyor. Ama içine girmek tehlikeli olduğu için bu mağaraya rehberle girilebiliyor. Ayrıca mağaraya girmeden önce size krampon, farlı bir kask ve buz baltası veriliyor! UNUTMADAN…. 1. Üç ünlü ulusal parkı var İzlanda’nın. Benim favorilerim Thingvellir ve Vatnajökull. Bir de Snæfellsjökull var. Ama ilk ikisine gitseniz yeterli olacaktır. Özellikle de Thingvellir harika! 2. 1973'te Amerikan Donanması’na ait bir uçak İzlanda'nın güneyinde yer alan Sólheimasandur'daki siyah sahile düşmüş. Kalıntılar hâlâ denize çok yakın olan kumun üzerinde duruyor ve tabii ki instagrammer’lar için nefis bir malzeme sunuyor! Sólheimasandur uçak enkazına erişmek için belli bir noktaya kadar araçla gidebilirsiniz. Daha sonra aracınızı parkedip yaklaşık bir saat yürümeniz gerek. SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

Casa 333 is a 420-square-metre family home in the Moscow region by interior designers Lesia Grishina and Andrey Scobinov of 5545 Studio. June 3, 2026 | DESIGN & INTERIORS CASA 333 words Elena Grabar photo Mikhail Loskutov styling Natalia Onufreichuk This 420-square-metre house in the Moscow region, known as Casa 333, is the family home of interior designers Lesia Grishina and Andrey Scobinov, founders of 5545 Studio. Conceived as a deeply personal project, the house balances mid-century influences with natural materials, vintage finds, and a quietly collected atmosphere. RETHINKING SPACE Originally acquired with finished façades but a raw concrete interior, the house required a full spatial reorganisation. The main challenge was the ground floor, where the kitchen and dining areas were disconnected and the entrance lacked a clear sense of arrival. A subtle extension allowed the designers to introduce a proper entrance hall without altering the existing architecture. The entire floor was reorganised into a cohesive open-plan layout, with the kitchen and dining area now acting as the social centre of the house. Two gallery-like sightlines organise the interior. One creates a long perspective from the entrance towards a focal artwork, while the other connects both levels and leads to a sculptural staircase. INTIMATE LIVING The upper floor is organised into four bedroom suites, each with its own dressing room and bathroom, ensuring privacy and comfort. A former garage was transformed into a compact entertaining space for informal gatherings. Finished in walnut veneer and terrazzo, the room makes the most of its compact proportions, creating a warm and enclosed atmosphere. TACTILE BALANCE Italian mid-century design quietly shapes the atmosphere of the house, interpreted through a contemporary lens. The palette combines warm woods, muted tones, and cooler mineral surfaces. Oak flooring and veneered joinery soften the otherwise restrained material palette, balanced by microcement surfaces and softly curved gallery walls. “We wanted to create a calm interior grounded in natural textures and a clear aesthetic language,” says Lesia Grishina. A COLLECTED HOME Furniture selections balance sculptural presence with everyday function. A sofa by Edra anchors the living space, while vintage pieces by Vico Magistretti, Pierre Paulin, Tobia Scarpa, and Paolo Tilche introduce a stronger sense of character. Several elements were custom-designed, including dining tables, a library desk, and the Trizzle seating set. A steel bench created for the project later became the starting point for the designers’ own furniture collection, Neman. Art is woven throughout the house, bringing together works by Jackson Pollock, Pablo Picasso, Wassily Kandinsky, and Mark Rothko alongside ceramics, glass, and textiles. “Vintage pieces bring a sense of continuity and personal history to the interior,” the designers note.

Patmos guide to beaches, villages, hotels and dining, from Chora and Skala nightlife to Grikos, Patmos Aktis and remote Psili Ammos. August 2024 | Travel TURKISH BELOW PATMOS GUIDE words Onur Baştürk CHORA In this beautiful village around the historic St. John's Monastery, you should first have dinner at Vaggelis. The beef ragu is very good, but the service team at Vaggelis is very snobbish and reservations are very problematic. Your options for the later hours are both close together and very entertaining: Stoa, Thalami, Astivi and Pougki. In fact, most people go to the Casbah after socializing at the Stoa. GRIKOS The favorite of the Grikos bay is of course the Patmos Aktis Hotel. The hotel, which stands out for its elegant, sophisticated and simple architectural design, has 56 rooms. All rooms and suites are very spacious. Be sure to swim at the Patmos Aktis beach and dine at the Plefsis Tavern. Petra Bay, just in front of Patmos Aktis, catches the eye with the beauty of its sea. There is a shabby bar-restaurant here. But be careful, the toilets are terrible! Plaki beach on the south side of Petra is the favorite of nudists. SKALA The biggest village on the island. Long-time vacationers and "hangovers" all meet at Houston in the square and have brunch. The Patmians is another social gathering place right next to Houston. It is essential to go to Ginger and Kasbah late at night. Kasbah, in particular, is famous for its after-parties that start after 3 a.m. Benetos, in the quiet bay of Sapsila, just outside Skala, is a popular 14-table restaurant opened by Susan Matthaiou in the summer of '97. Reservations by phone. Benetos also has a restaurant in Chora. KAMPOS At the far end of this region is a lovely bay, Geranos (Livadi Geranou). Geranos is one of the most beautiful beaches on the island. In Kampos Bay, our favorites are two different places: The first one is a beach club, Atmos. More comfortable and stylish. The other one is more bohemian, Sea Sun. The restaurant on Lampi Beach is one of our favorites for lunch. This restaurant serves fresh seafood and you should try the lobster noodles. PSILI AMMOS This is probably one of the most difficult places to reach on the island. You reach at a certain point with your car or motorcycle, the rest is a 40-minute walk! What awaits you when you reach Psili Ammos by passing the hills is a beautiful beach, a sea often wavy, and a cute restaurant with especially great french fries and meatballs. LEFKES There is a secret paradise where everyone goes at sunset. It's called Lefkes. On this beach there's a bar made of caravans. They only serve ouzo and wine. And fries and calamari! But when you see the sunset, you don't want anything else. One warning: There are no toilets here. You should come accordingly. CHORA Tarihi Saint John’s Manastırı’nın etrafındaki bu şahane köyde önce Vaggelis’e gidip bir akşam yemeği yiyin. ‘Beef Ragu’su çok iyi ama Vaggelis’in servis ekibi çok snob ve rezervasyon konusunda çok problemli. İlerleyen saatler için seçenekleriniz hem birbirine yakın hem de çok eğlenceli: Stoa, Thalami, Astivi ve Pougki. GRIKOS Grikos koyunun favorisi tabii ki Patmos Aktis Oteli. Zarif, sofistike ve fazlalıklardan arınmış sade mimari tasarımıyla dikkat çeken otelin 56 odası var. Tüm oda ve süitler oldukça geniş. Patmos Aktis’in plajında denize girip akşamüstü mutlaka Plefsis tavernasında yemek yiyin. Patmos Aktis’in biraz ilerisinde yer alan Petra koyu ise denizinin güzelliğiyle dikkat çekiyor. Burada da salaş bir bar-restoran var. Ama dikkat, tuvaletleri berbat! Petra’nın güney tarafında yer alan Plaki adlı plaj ise nudistlerin favorisi. SKALA Adanın en büyük köyü. Uzun süre tatil yapanlar ve ‘geceden kalma’ olanların hepsi meydandaki Houston’da buluşup geç kahvaltı yapıyor. The Patmians ise hemen Houston’un yanında bir başka sosyalleşme mekanı. Gece geç saatlerde Ginger ve Kasbah’a gitmek elzem. Özellikle Kasbah gece 03.00’dan sonra başlayan ‘after’ partileriyle ünlü. Skala’nın biraz dışında, Sapsila isimli sakin koyda konuşlanan Benetos ise Susan Matthaiou’nun ’97 yazında açtığı 14 masalık popüler bir restoran. Rezervasyonu telefonla yapıyorlar. Bu arada Benetos’un bir de Chora’da restoranı var. KAMPOS Bu bölgenin en ucunda nefis bir koy var, Geranos (Livadi Geranou). Geranos adanın en güzel denizine sahip plajlardan biri. Kampos koyunda ise favorimiz iki farklı mekan: İlki bir beach club, Atmos. Daha konforlu ve şık. Diğeri ise daha bohem, Sea Sun. Lampi Beach’teki restoran ise öğle yemeği için favorilerimizden biri. Taze deniz ürünleri servis edilen bu restoranda ıstakozlu makarnayı denemelisiniz. PSILI AMMOS Herhalde adanın en ulaşılması zor koylarından biri burası! Aracınız ya da motorunuzla bir yere kadar gidiyorsunuz, sonrası 40 dakikalık bir yürüyüş! Tepeleri aşarak Psili Ammos’a vardığınız zaman sizi bekleyen şey ise nefis bir kumsal, çoğu zaman dalgalı bir deniz ve özellikle köftesiyle patates kızartması müthiş olan şirin bir lokanta. LEFKES Gün batımı için herkesin gittiği gizli bir cennet var. Oranın adı Lefkes. Bu plajda karavandan bozma bir bar var. Sadece uzo ve şarap servisi yapıyorlar. Bir de patates kızartması ve kalamar! Ama insan gün batımı izlerken zaten daha fazlasını istemiyor. Bir uyarı: Burada hiç tuvalet yok. Ona göre gelmenizde fayda var. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

House Montagna is a renovated chalet by Maison Osaïn in Courmayeur, shaped by local materials, alpine views, and a calm, contemporary interior. January 7, 2025 | VOL 17 SILENCE of the ALPS words Onur Baştürk photos Tijs Vervecken At the foot of Mont Blanc, nestled on the slopes of Courmayeur, House Montagna stands as a contemporary refuge shaped by nature’s rhythm. Once a humble mountain chalet, it has been reimagined by the Belgian collective Maison Osaïn into a place where simplicity and serenity define the experience of living. The structure, rebuilt almost entirely from local materials, opens directly to the alpine landscape — where light, texture, and silence become the true architecture. Strategically positioned at the edge of the ski slopes, the house balances rugged authenticity with refined craftsmanship. Inside, aged oak and soft grey concrete create a dialogue between warmth and restraint; each space flows naturally into the next, framing views of the valley and the peaks beyond. Behind this transformation stands Maison Osaïn, founded in 2022 by architect Thomas Maria Verschuren and designer Ann Butaye. A SANCTUARY ON THE MONT BLANC SLOPES — A PLACE TO EXHALE House Montagna is a renovated chalet that feels both authentic and new. How did you balance its mountain heritage with a contemporary language? We wanted to honor the spirit of the region — not replicate the past, but reinterpret it with integrity. The chalet was almost entirely rebuilt using local materials. Its exterior echoes traditional alpine homes: slate stones and timber-framed windows anchor it in its surroundings. For the interiors, we sourced aged oak planks that already carried traces of life. Their imperfections bring depth and authenticity. To balance the warmth of the reclaimed wood, we introduced rough concrete and microcement for the walls and floors — soft grey tones that let the timber breathe. It’s this contrast between old and new, rustic and refined, that gives the house its serene, timeless quality. A sanctuary carved into the Mont Blanc slopes; a place to exhale after a long day on the mountain. The project was conceived as a place to disconnect. How did you translate calm, simplicity, and slowness into spatial design and material choices? The project was conceived as a refuge — a place to disconnect and slow down. Given its modest footprint of 50 square meters per floor over three levels, the design focused on openness and flow. Built-in benches along the perimeter walls double as storage and accommodate functions such as en suite bathrooms. This keeps the central space open — light-filled, transparent, and connected. By avoiding corridors and partitions, a natural continuity emerges: visual connections, shifting perspectives, and a quiet dialogue between spaces. This openness nurtures awareness — of one another, of light, of the surrounding landscape. It’s an architecture of calm and connection. The material palette was deliberately restrained: wood and concrete. The warmth of timber meets the raw honesty of concrete. The natural hue of the wood asserts a gentle presence against the soft grey surfaces. This simplicity invites mental stillness — allowing materials to speak their own language, unadorned and unhurried. CONCRETE CAPTURES THE RAW STRENGTH OF THE PEAKS, WHILE WOOD ECHOES THE SLENDER TREES ALONG THE RIDGES, BRINGING WARMTH AND TACTILITY WITHIN The chalet stands at the edge of the slopes, surrounded by mountains. How did the landscape — its light, textures, and rhythm — influence your architectural and interior decisions? Perched at the edge of the slopes, the chalet lives in close dialogue with its surroundings. We believe architecture should bring nature as near as possible — not as a framed view, but as an experience that seeps into daily life. Concrete reflects the rawness of the peaks, their strength and permanence. Wood mirrors the slender trees tracing the ridgelines, adding warmth and tactility to the interiors. Together, they create a language that feels both grounded and serene — a tactile translation of the landscape itself. When the slopes fall silent at dusk, the mountain turns still. In that calm isolation, the chalet becomes a cocoon for reflection and shared presence. Its quiet simplicity invites closeness — a reminder that stillness is not emptiness, but depth. Maison Osaïn works closely with local artisans, artists, and partners. What does collaboration mean to you, and how do these creative exchanges shape the final atmosphere of your spaces? We see ourselves less as architects imposing a vision and more as curators of space, creating a framework in which others can bring their mastery to life. We deeply believe in the synergy that emerges when different disciplines meet. This openness means the process is never entirely predictable — and that’s what makes it exciting. The key is trust: finding partners who understand your philosophy and can interpret it through their own craft. For instance, we told the local carpenter we wanted to work with wood that already had a life behind it. He took us to his workshop, where he had gathered reclaimed boards, each with its own story. From these, he crafted the cabinetry, beds, and kitchen — pieces that carried warmth and history into the new space. Because the site was perched high on the mountain, sometimes only accessible by cable car or helicopter, the process was unpredictable. We often didn’t know exactly how things would look until they arrived. Yet every surprise was a good one. It’s in these moments — where trust meets craftsmanship — that the true soul of a project emerges. Natural and circular materials are central to your philosophy. How do you define sustainability in practice — beyond material selection — and how did this idea manifest in House Montagna? A sustainable home, to us, is one that remains relevant through time — not because it follows fashion, but because it embodies balance and permanence. Its simplicity gives it longevity. Its restraint gives it strength. In House Montagna, this philosophy guided every decision. The chalet draws from traditional mountain materials but reinterprets them through a contemporary lens. It feels both rooted and renewed — honest and enduring. THE TURNING POINT WAS DEEPLY PERSONAL Maison Osaïn brings together two perspectives — architecture and design, logic and emotion. How do you divide roles when working together on a project? Does the process merge naturally? When a man and a woman design together, both the masculine and the feminine find their way into the space. That duality lies at the heart of Maison Osaïn — structure and softness, reason and intuition, function and feeling. Although it might seem the opposite, Ann is often the more practical one when it comes to planning. She designs from lived experience — thinking about flow, comfort, and how people truly inhabit a space. I tend to start from concept — from atmosphere, proportion, and the emotional resonance of an idea. Ann’s touch defines a home’s warmth and sense of belonging, while I focus on its technical and architectural framework. Material and color decisions are always shared — a dialogue where instinct meets precision. Maison Osaïn was born from a desire to give deeper meaning to the idea of home. What led you to create this platform, and what values guide your work today? The turning point was deeply personal. When Ann fell ill, we were confronted with life’s fragility. Caring for one another became a quiet ritual that reshaped our idea of home — extending beyond emotion to what we surround ourselves with, from nourishing food to honest, tactile materials. This experience shaped our philosophy: natural materials, chosen with intention, create spaces where people can truly thrive. Color, texture, and scent are not decorative but essential — awakening the senses and calming the mind. Our work is guided by a set of values we defined early on: care, stillness, sincerity. Nature as a compass. Beauty as a language. A home that quietly nourishes the soul. If you had to describe the essence of Maison Osaïn in one sentence — not as a brand, but as a way of living — what would it be? As our baseline says: Sincere living. To us, that means living with intention — surrounded only by what feels true and meaningful. It’s about embracing simplicity not as absence, but as depth. Creating spaces that breathe honesty, warmth, and quiet strength. Sincere living is not just a design philosophy — it’s a way of being: gentle, grounded, and deeply human. - The full story is featured in Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

Temmuz 2021 | Volume IV - Y A Z NARU Lime soslu marine barbunu favori Yazı & Fotoğraflar | Onur Baştürk O nca İstanbullu mekan arasında bu yaz Bodrum’da öne çıkacak gurme restoranlardan biri olacak Naru. Mekanın iki ortağı Özgür Arıkan ve Çağlar Kanzık’ın dediği gibi, onlar Bodrumlu bir marka: “Diğer tüm restoranların çoğu kendilerini farklı şehir ve ülkelerde kanıtlamış başarılı zincir markalar. Biz ise Bodrumlu bir Bodrum markasıyız”. Yeme-içme tutkunları Özgür ve Çağlar’ı geçen yaz Dereköy Lokantası vesilesiyle tanıdı. Restoranın yanı başındaki dekorasyon dükkânı Leleg Living’e ise hepimiz ayrıca hayran kaldık. Peki Naru’nun Dereköy Lokantası’ndan farkı neler olacak? İşte iki ortağın yanıtı: “Naru’nun Dereköy’den en büyük farkı plajının olması. Ayrıca sabah saat 10’dan akşama kadar süren bir yemek servisine sahip olması. Naru ve Dereköy’ün mutfakları/menüleri birbirine göz kırpsa da, Naru’da geniş bir kokteyl menüsü ve deniz mahsülü ağırlıklı bir mutfak olacak. Ama Dereköy’de yarattığımız aynı samimiyet ve rahat ortamı Naru’da da yaratmak en baştaki önceliğimiz”. Devamı için... Print YUZU MAGAZINE - IV Out of Stock View Details