Ocak 2021 | Art | Türkiye YUZU Selections Vol - l KOLEKTA Yazı | Onur Baştürk D ijital sanat platformları arasında en geniş arşive sahip olan Kolekta’yla geçen yıl tanıştık. Galeri temsiliyeti olan sanatçılarla bağımsızları bir arada sunan Kolekta, 600’ü aşkın sanatçının 6000’e yakın sanat eserini tek bir adreste bulma imkanını sağladı sanatseverlere. Biz de bu yelpazesi geniş dev koleksiyondan Yuzu dünyasını yansıtanlarla bir seçki yaptık. Seçkilerin amacı genelde bir "öne çıkarma" gibi görünse de, aslında "yeniden bakma"yı da sağlıyor. Çünkü bazen ilk baktığımızda günlük rutinlerimizin hızlı döngüsü arasında dünyasına erişemediğimiz eserler olabiliyor. Onlara yeniden, sakin bir şekilde bakmak gerekiyor. Umarım ilk "Selections"ı seversiniz. Devamı gelecek... Unutmadan; işbirlikleri için İdil Berkant-Ali Kerem Bilge ve Aslı Boduroğlu'na çok teşekkürler. NADİDE AKDENİZ ALİ BİLGE AKKAYA DUYGU AYDOĞAN TUFAN BALTALAR BEKİR DİNDAR AHMET DURU LEYLA EMADİ ALP İŞMEN ÖZGE KAHRAMAN FATİH KAHYA FIRAT NEZİROĞLU ŞENER ÖZMEN LEYLA PEKMEN ERİNÇ SEYMEN APOLONIA SOKOL GÜLCAN ŞENYUVALI ALİ TAPTIK AYŞE TOPÇUOĞULLARI MEHMET ALİ UYSAL NADİDE AKDENİZ İsimsiz, 2011 Tuval üzerine yağlı boya, 160 x 160 cm ALİ BİLGE AKKAYA 1G1, 2014 Diasec, 45 x 61,5 cm DUYGU AKDOĞAN İnsan Sonrası Serisi, 2020 Polimer Kil, Epoksi Reçine, Akrilik, 70 x 35 x 7 cm TUFAN BALTALAR İsimsiz, 2017 Tuval üzerine yağlı boya, 60 x 90 cm BEKİR DİNDAR Ada, 2018 Fine art fotoğraf baskısı, kahverengi ahşap çerçeve, 50 x 50 cm AHMET DURU İstilacı Bitkiler I, 2020 Kâğıt üzerine karakalem, 32 x 37,5 cm LEYLA EMADİ Self Mutation, 2017 Akrilik, Ø 110 cm ALP İŞMEN Melek, 2020 Kâğıt üzerine mürekkep, 42 x 29.7 cm ÖZGE KAHRAMAN The Sound of the Underground, 2020 Pointillist Technique on Canvas, Ø 60 cm FATİH KAHYA İsimsiz, 2019 Keten bez üzerine yağlı boya, 45 x 63 cm (Çerçevesiz) FIRAT NEZİROĞLU Lonely Word, 2017 El dokuması, yün, pamuk, polyester, 93 x 139 cm ŞENER ÖZMEN Supermuslim, 2003 Alüminyum üzerine C-print baskı, 70 x 50 cm (her biri) LEYLA PEKMEN Daydreaming, 2020 Kâğıt üzerine akrilik, 21 x 29 cm ERİNÇ SEYMEN Konfor Alanı A, 2016 Kâğıt üzerine mürekkepli kalem, 72 x 72 cm APOLONIA SOKOL Marcel & Simon E., 2020 Tuval üzerine yağlı boya, 92 x 65 cm GÜLCAN ŞENYUVALI Çift, 2009 Bez üzerine karışık teknik, 20 x 30 cm ALİ TAPTIK Surface Phenomena Series 9, 2013 C-Print, 30 x 30 / 60 x 60 / 90 x 90 / 120 x 120 cm AYŞE TOPÇUOĞULLARI İsimsiz, 2018 Tuval üzerine akrilik, Ø 50 cm MEHMET ALİ UYSAL Paper Boat, 2017 Metal, site specific

Eylül 2021 | Seyahat | Türkiye Mars’ta bir otel odasında kalıyormuş gibi AKANA Yazı | Alp Tekin Bu yazın sürpriz otellerinden biri oldu Bodrum Cennet Koyu tarafındaki Akana. Sezonu hayli geç, temmuzun ikinci haftasında açmasına rağmen Akana sezonu hızlı yakaladı ve özellikle ağustos sonundaki plaj partileriyle adından söz ettirdi. Akana’nın dikkat çeken özelliklerinden biri de kuşkusuz otelin tasarımıydı. Yuvarlak otel odaları Bodrum’da alışık olunan bir şey değil. Bu yüzden Akana’nın odaları kısa sürede ilgi çekti. Mars’ta bir otel odasında kalıyormuş hissi veren Akana’nın gri tonu baskın odalarının mimarisi CDW (Contemporary Design Works) tarafından yapılmış. Otelin yatırımcısı Çağdaş Holding bünyesindeki CDW ekibi Akana’nın nasıl oluştuğunu şöyle anlatıyor: “Dış mimaride parça-bütün ilişkisini temel aldık. İklimin canlılığı, doğal dokunun ihtişamı ve tarihin derinliğini dengeli bir şekilde harmanlamayı hedefledik. Ahşap, hasır ve doğal kumaşların ön planda olduğu bohem stili, çağdaş ve minimal bir lüks anlayışı ile birleştirdik. Odalarda ve otel genelinde ise hologram efektli ışıklandırma kullandık. Bu da Akana’yı taçlandıran konseptin gizemli bir parçası oldu. Kısacası Akana, misafirlerin hayatın tüm renklerini seyrederken, kendilerini dinleyebilmek, daha dingin bir an yakalayabilmek ve yenilenmek için aradıkları her şeyi bulacakları bir ‘içe dönme oteli’ olarak konumlanmış oldu”.

Temmuz 2021 | Volume IV - Y A Z ROLAND HERLORY “Pozitif Riviera ruh halini aşılamaya çalışıyoruz” Yazı | Sibel İpek B u yıl 50’inci yaşını kutlayan Vilebrequin’in sırrına vakıf olmak için markanın CEO’su Roland Herlory’ye kulak verin. Herlory, tasarımlarının bir noktasına mutlaka sinen 70’lerdeki St Tropez ruhunu, plajda yaşama sanatını ve sürdürülebilir ürün yaratmanın kodlarını zarif bir şekilde anlatıyor. Markanın başlangıç hikâyesini çok merak ediyorum... Vilebrequin’in geçmişi 1971’de başlayan bir aşk hikâyesine dayanıyor. Markanın kurucusu Fred Prysquel aslında dünyanın farklı coğrafyalarında yarışları takip eden bir Formula 1 muhabiri. Bir gün St Tropez’deyken plajda Yvette’i görüp aşık oluyor. Kendini Yvette’e beğendirmek için herkesten farklı görünmeye karar veriyor ve Kaliforniyalı sörfçülerin şort modelleri ile Afrika’nın wax adı verilen desenli kumaşlarından aldığı ilhamla kendine mayolar yapıyor. Başarı çok kısa sürede geliyor; hem Yvette Fred’e aşık oluyor hem de şortları gören tüm ünlüler aynısından sipariş ediyor! İşte bu Vilebrequin’i eşsiz yapan ve başka hiçbir markada olmayan bir aşk hikâyesi... . St Tropez 70’lerin özgürlük ve cazibe merkezlerinden biriydi... Vilebrequin’in marka ruhuna bu özgürlüğün de etkisi olmuştur mutlaka değil mi? Evet, St Tropez o yıllarda dünyanın merkeziydi. Mick ve Bianca Jagger çifti 1971’de St Tropez’de evlendiği zaman burası ünlüler için özgürlüklerinin tadını çıkarttığı bir buluşma noktasıydı. Vilebrequin olarak biz de müşterilerimize mutlaka bu pozitif Riviera ruh halini aşılamaya çalışıyoruz. Nerede olursa olsunlar. İster St Tropez, Los Angeles, İstanbul ister St Barts ya da Forte dei Marmi’de. Tamamı için... Print YUZU MAGAZINE - IV Out of Stock View Details

April 2025 | Art & Culture a MEDITERRANEAN JOURNEY by FRAN ANIORTE At Galerie SCENE OUVERTE (Paris), immerse yourself in the magical realism of Fran Aniorte, a Spanish artist and designer whose creative journey traverses the vibrant landscapes of Barcelona and Istanbul. Running from March 28 to May 17, 2025, this exhibition unveils a universe where art, design, and craft seamlessly converge. Fran Aniorte’s work defies conventional boundaries. His diverse creations—ranging from art objects and immersive installations to innovative homeware designs—invite viewers into a realm where the extraordinary resides within the everyday. In his own words, "The real luxury is the experiences we live: the human contact, the connection with nature, the rediscovery of silence and all that is becoming rare like craftsmanship and authenticity." This ethos permeates every piece, echoing a profound appreciation for genuine, lived moments. Inspired by the enchantment of a Mediterranean summer night, the collection evokes a poetic atmosphere, transforming nature into an enchanted realm. Each artwork radiates a timeless aura of mystery, beckoning audiences to embark on a sensory journey—a journey where light, shadow, and emotion coalesce into an experience that is both elegant and joyful. As Aniorte describes, “This collection invites a sensory journey inspired by a poetic vision of The Mediterranean. Timeless, elegant and joyful, a dreamlike universe to uplift the soul.” Here, light and mystery serve as metaphors for the extraordinary hidden within the folds of our everyday lives, crafting an ode to both the seen and unseen, the crafted and the natural. * Galerie SCENE OUVERTE, 13 rue Bonaparte, Paris

Eylül 2020 | Art | Turkey Miniatures with Matisse and Warhol through them Words | Onur Baştürk He brought his miniature art to Starbucks coffee cups in his "Mythology" series, which was exhibited first at the Mamut Art Project and then at the Saatchi Gallery in London in 2017. In the "Olympos / Portraits-1" exhibition curated by Taner Ceylan, he drew attention with his work titled "Self-Portrait", all made with 24 K. real gold on transparent paper. I can briefly describe him as "the artist who made miniature up-to-date". I am talking about Onur Hastürk. Currently, Anna Laudel is on the agenda with her "Assimilation" exhibition in Dusseldorf, which will last until the end of October. The main vein of the exhibition is Matisse and Warhol. What brings them together is miniature. Here is Onur Hastürk's unique world .. How did you think of intersecting the world of miniature with the world of Henri Matisse and Andy Warhol in the exhibition "Assimilation"? Is it the pleasure of bringing different worlds together or is it a move abroad? For a long time, I have been trying to establish a link between East-West, traditional-current, past and present. I do intensive reading and research before the production processes. In such a moment, in the proceedings book of the symposium titled "Islamic Aesthetics in Modern Art" held at the Goethe Institute, published in December 2005, Henri Matisse's words following his visit to the "Masterpieces of Islamic Art" exhibition organized by Ernst Kühnel in Munich in 1910 are the starting point of the exhibition created: “Eastern miniatures made me aware of all forms of sensory perceptions possible for me. With the type of painting used in these miniatures, this art expresses a large and truly unique field. This helped me get rid of the copycat painting ”. I didnt know that…. On the other hand, Matisse was one of the artists that attracted me with his oil painting works, which he named "Odalisque" (Turkish origin "Odalık"), especially between 1910-1929. What about Warhol? Warhol's different patterns (women's shoes, feminine boys, inviting figures, etc.) in the drawings he made as gold-plated on paper in his book "A Gold Book" and his series impressed me incredibly. The use of "gold" as an art material over the centuries and its multi-layered relationship in art has always been of interest to me. The first reflection of Andy Warhol in my works started with the "One More Coffee" series, where I interpret classic miniature works on Starbucks paper cups at the 2016 Mamut Art Project, which I am a participant of and which enables me to be visible in contemporary art. So I realized that even though we were at different times, there is an invisible bond that connects us with the shining stars of western art, Matisse and Warhol. In fact, everything was there, waiting for me in front of me. It was only to show how this was seen through the eyes of a miniature artist in the present. Therefore, after 110 years (with a spatial reference), the idea of bringing this exhibition, in which Matisse's works are reinterpreted in the classical miniature style, with the audience at the Germany / Anna Laudel Düsseldorf Gallery, emerged.

August 2024 | Vol 13 LIFE HERE is LIKE a WAKING DREAM words & photos Kristina Avdeeva G reek holidays in Santorini are high on the list of unforgettable adventures. The volcanic origin of the island against the backdrop of white houses and blue domes of the churches gives an association with fantastic cinema. Throughout history, the appearance of the island has changed many times. What modern man sees today is the result of a powerful explosion in 1707 that created a crescent-shaped caldera, making this place one of the most beautiful and unique in the entire Cyclades archipelago. IT CAN BE REMINISCENT OF THE STAR WARS MOVIE Renting a car in Santorini increases the chances of seeing more non-tourist routes. Feel free to visit archaeological museums, wineries, the beaches of Theros Wave Bar, Paralia Koloumpo or Paralia Agios Nikolaos - each of them will remind you of the Star Wars movie. And along the way, count the Greek churches, go inside if possible and do not hesitate to admire the surrounding wonder. MINIMALIST AND MEDITATIVE: ANDRONIS ARCADIA If you're on holiday for a long time, it's a good idea to stay in different places. The fishing village of Oia in the north of the island is much smaller than the capital Thira, but there are some interesting places to visit. Andronis Arcadia Hotel in Oia is an elegant and inspiring meditation center from the Preferred Standards of ExcellenceTM collection. Minimalism in architecture that complements the relief and recalls primitive times, while at the same time representing the highest levels of comfort and style. A distinctive feature feature - an isolated area, not included in the chain of houses of typical Santorini architecture, can rightly be considered the hallmark of this place. Guests of the hotel, in addition to an unforgettable experience in it, receive a ticket to the front row for a show of amazing sunsets, which are pleasant to watch from their own pool with a glass of local wine. TRUE ROMANTICS: LASKARINA AND YANNIS Fans of authentic city life should choose Cycladica Private Villas. The creators, Yannis and Laskarina, have built a real oasis, taking into account their personal experience of living on the island and respecting centuries-old traditions, without forgetting the quality standards of 5-star hotels. One of the best examples of "yposkafo", the Greek term for building architecture partially buried in the ground, are the Cycladica Villas: narrow and deep houses with a cool living room in the front, bedrooms in the back, a small kitchen and a magnificent terrace with a hypnotic view of the caldera. Laskarina and Yannis are true romantics, in love with the history of their native island, and have made their dream come true. And they will be your guides to the surrounding sights. Don't miss the boat trip: a picnic on the water, fascinating new perspectives on Santorini and stories from Yannis, whose ancestors still remember one of the last eruptions. You will remember this day with great pleasure. This summer, everyone who visits her will have the opportunity to enjoy the island not only from the terrace, but also from the water. Yannis' hard work and patience finally made it possible to complete the construction and launch of the wooden boat. The fulfillment of a long time dream will double the impressions of your stay on the island. You can be sure that this will be one of the unforgettable adventures of your life. ANOTHER HIDDEN PLACE, KATIKIES KIRINI On the other side of the village of Oia is another hidden place, Katikies Kirini. It is part of a group of boutique hotels located in different parts of the islands of Santorini and Mykonos. The villas are an extension of the snow-white village houses that, from a distance, resemble snow caps on the peaks or powdered sugar on an Easter cake. From here, a familiar view of the caldera opens up, but from a slightly different side - and it will definitely fall into the treasury of memories of unforgettable landscapes. Reserve a table at Selene Restaurant with the concierge. Michelin-starred chef Ettore Botrini returns to forgotten traditions, embodying the most vivid fantasies of Greek cuisine. Within the walls of a charming medieval era, with a glass of wine from the Santorini vineyard, the evening turns into a romantic fairy tale under a blue moon in a starry sky. Wherever the roads lead in Santorini, no matter what plan you choose for the day, a classic taverna or a Michelin starred restaurant, a wild beach or a private pool in a villa, against the backdrop of a volcanic landscape, you will feel like the hero of a movie traveling to another planet. In this place, life is a waking dream, and this dream is better seen with your own eyes. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

April 2025 | DESIGN & INTERIORS ELEGANT COUNTRYSIDE SANCTUARY words Elena Grabar photos Mikhail Loskutov architect & interior design Ariana Ahmad stylist Natalia Onufreichuk Set in the tranquil countryside of the Moscow region, this residence is more than a retreat—it is a family’s story, told through architecture and design. Created by architect and interior designer Ariana Ahmad, the house balances sophistication with warmth, offering spaces that flow effortlessly between quiet solitude and lively gatherings. Here, design is not just about aesthetics but about crafting an environment that evolves with its inhabitants. A THOUGHTFUL COLLABORATION This project is the result of a long-term partnership between the owners and their trusted design team. Their shared vision has shaped a home where architectural elegance meets everyday comfort. The residence also serves as a showcase for the family’s expanding contemporary art collection, seamlessly integrating art into daily life. A HOME DESIGNED TO EVOLVE This generously proportioned 2,100 m² residence features a layout that adapts to the shifting rhythms of family life. The entrance opens into interconnected spaces where natural light highlights carefully curated materials. The main living areas unfold in a seamless flow, while a private suite ensures comfort for the homeowner’s mother. A dedicated spa area with a pool, hammam, and massage room adds an element of resort-like relaxation. Upstairs, the private quarters provide a peaceful retreat, while the attic serves as a space for creativity and leisure. Below ground, a wine cellar and thoughtfully designed storage solutions ensure effortless organization. UNDERSTATED LUXURY IN EVERY DETAIL Soft, earthy tones create a home that feels both elegant and inviting. Bespoke hand-painted wallpapers add depth and texture, while custom plaster panels by Tollis Studio in Paris introduce an artistic focal point in the spa, elevator, and master bedroom. Rich oak paneling and a built-in library enhance the sense of craftsmanship and warmth. A CURATED SELECTION OF DESIGN ICONS Throughout the home, carefully selected furnishings elevate the atmosphere. A custom Christophe Delcourt table makes a statement at the entrance, complemented by a gold-accented Lasvit chandelier. In the master dressing room, a striking white onyx bench by Charles Kalpakian blends function with artistry. The children’s rooms feature refined pieces by Pierre Yovanovitch, while the playroom is enriched with whimsical designs by Hubert Le Gall. In the living room, Zhu Hong’s "Drops" installation interacts with shifting light, adding an element of movement beneath a striking Agostino Bonalumi artwork. A HOME THAT BREATHES ART Art is deeply woven into this residence, with works by Agostino Bonalumi, Yuri Kuper, Igor Chelkovski, Simone Pheulpin, Zhu Hong, Wang Keping, Masao Yamamoto, and Daniela Busarello creating a dialogue between past and present, form and emotion. Here, architecture and design do not merely frame life—they enrich it.

September 3, 2025 | Art & Culture TR BELOW the THREE-LEGGED CAT: 18th ISTANBUL BIENNIAL The Istanbul Biennial, one of the city’s most anticipated cultural events, returns this fall with a route that turns Istanbul itself into an exhibition. Running from September 20 to November 23, 2025, the 18th edition—organized by İKSV with the support of Koç Holding—comes under the intriguing title The Three-Legged Cat. The Istanbul Biennial, one of the city’s most anticipated cultural events, returns this fall with a route that turns Istanbul itself into an exhibition. Running from September 20 to November 23, 2025, the 18th edition—organized by İKSV with the support of Koç Holding—comes under the intriguing title The Three-Legged Cat. Curated by Christine Tohmé, this biennial unfolds over three years. Its first chapter brings together works by more than 40 artists across eight venues within walking distance along the Beyoğlu–Karaköy axis. Staying true to its nomadic spirit, the Istanbul Biennial once again reimagines the relationship between art and the city, weaving Istanbul’s streets, buildings, and public spaces into its very fabric. WALKING THE CITY The route offers a fluid experience, allowing visitors to move easily on foot and encounter art in the rhythm of the city. Among the venues is the Greek Primary School of Galata, restored between 2019 and 2024, and now reopening as a biennial space. In Karaköy, the newly revived Zihni Han makes its public debut, while a ground-floor gallery at No. 35 Meclis-i Mebusan Avenue reemerges as a cultural stop, having once been part of the 3rd Istanbul Design Biennial. Nearby, the early 20th-century Muradiye Han joins the route after its recent restoration, alongside Gallery 77 just across the street. The historic Cone Factory, once producing sweets and ice cream cones, also transforms into a biennial venue. Between Karaköy and Beyoğlu, the Garden of the Former French Orphanage offers visitors both a place to pause and an exhibition site, while on İstiklal Avenue, the iconic Elhamra Han—built in 1827 as one of Istanbul’s first theaters—hosts the biennial for the very first time. (Explore all venues on the map: link ) A THREE-YEAR JOURNEY Tohmé envisions the biennial as a process unfolding across three stages: 2025: Over 40 artists’ works presented through exhibitions, performances, screenings, and talks. 2026: The creation of a permanent art academy and a public program in collaboration with local initiatives. 2027: A final chapter bringing together the works and experiences of the previous two years in an exhibition and workshop series. ÜÇ AYAKLI KEDİ: 18. İSTANBUL BİENALİ 20 Eylül – 23 Kasım 2025 tarihleri arasında gerçekleşecek 18. İstanbul Bienali, şehri bir kez daha yaşayan bir sergi rotasına dönüştürmeye hazırlanıyor. İstanbul Kültür Sanat Vakfı (İKSV) tarafından, 2007–2036 Bienal Sponsoru Koç Holding’in desteğiyle düzenlenen bienal, bu yıl “Üç Ayaklı Kedi” başlığıyla izleyiciyi karşılıyor. 20 Eylül – 23 Kasım 2025 tarihleri arasında gerçekleşecek 18. İstanbul Bienali, şehri bir kez daha yaşayan bir sergi rotasına dönüştürmeye hazırlanıyor. İstanbul Kültür Sanat Vakfı (İKSV) tarafından, 2007–2036 Bienal Sponsoru Koç Holding’in desteğiyle düzenlenen bienal, bu yıl “Üç Ayaklı Kedi” başlığıyla izleyiciyi karşılıyor. Küratörlüğünü Christine Tohmé’nin üstlendiği ve üç yıla yayılacak bu edisyon, ilk ayağında Beyoğlu–Karaköy hattında birbirine yürüyüş mesafesinde yer alan sekiz farklı mekânda 40’tan fazla sanatçının üretimini bir araya getiriyor. Bienal, her zamanki gibi sabit bir sergi mekânına bağlı kalmıyor; şehri, sokakları, tarihi yapıları sergi dokusunun bir parçası haline getiriyor. ŞEHİRLE İÇ İÇE ROTA Rotanın önemli duraklarından biri, Galata Rum Okulu. 1885’te inşa edilen, 1910–1988 yılları arasında eğitim kurumu olarak kullanılan yapı, 2012’den bu yana bir kültür-sanat mekânı olarak yeniden işlev kazanmıştı. 2019–2024 arasında kapsamlı bir restorasyondan geçen bina, bu yıl tekrar bienal mekânları arasına katılıyor. Karaköy’de ilk kez izleyiciye kapılarını açacak Zihni Han, şehrin ticaret ve zanaat tarihinden bugüne taşınan bir yapı olarak öne çıkıyor. Hemen yakınında bulunan, Meclis-i Mebusan Caddesi’ndeki bir bina da (no. 35) zemin katındaki galeriyle bienal mekânına dönüşüyor. Karaköy’ün tarihî dokusundaki bir diğer yapı ise Muradiye Han. 20. yüzyıl başlarından günümüze ulaşan hanın zemin katı, 2021’de tamamlanan restorasyonun ardından ilk kez bienale ev sahipliği yapacak. Tam karşısında yer alan Galeri 77 de bu yıl rotada yer alıyor. Yine bölgede bulunan ve bir dönem şekerleme ile dondurma külahı üretimi yapılan Külah Fabrikası, geçmişten bugüne uzanan hikâyesiyle bienal mekânları arasında dikkat çekiyor. Rotanın Beyoğlu yönünde, Eski Fransız Yetimhanesi Bahçesi, Boğazkesen Caddesi üzerinde ziyaretçilerin soluklanacağı bir durak olacak. Bienalin İstiklal Caddesi’ndeki durağı ise, Osmanlı ve Avrupa mimari unsurlarını harmanlayan eklektik cephesiyle Elhamra Han. 1827’de İstanbul’un ilk tiyatro salonlarından biri olarak inşa edilen yapı, bugün altı katlı bir han olarak şehrin belleğinde yaşıyor. Bu yıl bienale ilk kez ev sahipliği yapacak olan Elhamra Han’ın ikinci katındaki iki daire, sanatçıların üretimlerine açılıyor. (Bienal mekânlarını haritada görüntülemek için: link ) ÜÇ YILA YAYILAN BİENAL Christine Tohmé, bienali üç ayağa yayılan bir yapı olarak kurguluyor. Kendi sözleriyle: “Üç ayağı üzerinde 2025’ten 2027’ye uzanan 18. İstanbul Bienali, bir kediyi andırıyor. Zaman içinde esneyerek ayaklarını yere basıyor; sohbetlerden, egzersizlerden ve aralıksız haber akışından beslenen bir ritmi benimsiyor.” 2025 (ilk ayak): 40’tan fazla sanatçının işleri, sergiler, performanslar, gösterimler ve konuşmalar. 2026 (ikinci ayak): Kalıcı bir sanat akademisi kurulması ve yerel inisiyatiflerle işbirliği içinde geliştirilecek kamusal programlar. 2027 (üçüncü ayak): Bienalin iki yıl boyunca ürettiği deneyimlerin ve işlerin sergileneceği son sergi ve atölye programı.

February 2024 | Travel english below The Landing House in Joshua Tree words Alp Tekin photos Ye Rin Mok K aliforniya'daki Joshua Tree Ulusal Parkı girişinden sadece birkaç dakika uzaklıkta bulunan Landing House, Mojave Çölü'nün engebeli doğal manzarasına entegre edilmiş modern bir ahşap ev. Mimarisi Industry of All Nations’a ait, tamamen sürdürülebilirlik üzerine tasarlanan ev, mahremiyet ve huzur için tasarlanmış bir sığınak olarak tanımlanabilir. Stratejik olarak dikilmiş bir Yucca ağacının konukları karşıladığı Landing House’un Homestead Modern’den kiralanabildiğini de not belirtmiş olalım. L ocated just minutes from the entrance to Joshua Tree National Park in California, the Landing House is a modern log home integrated into the rugged natural landscape of the Mojave Desert. The house, whose architecture belongs to Industry of All Nations, is designed entirely on sustainability. It can be described as a shelter designed for privacy and tranquility. We should also note that the Landing House, where a strategically planted Yucca tree welcomes g uests, can be rented from Homestead Modern.

Mart 2022 | Seyahat | İtalya | Vol II PUGLIA’nın en iyi saklanan lüks sırrı Yazı | Alp Tekin İ talya’nın Puglia bölgesinin yeni tasarım otellerinden Palazzo Daniele, aslında 159 yıllık bir aile sarayının otele dönüştürülmüş hali. Çağdaş sanat küratörü Francesco Petrucci’nin ailesinin 1861’de inşa ettiği bu ev, son bir yıldır bölgenin en lüks ve dikkat çeken mekanı. ESKİYLE YENİ ARASINDA DENGE Palazzo Daniele eskiyle yeni arasında denge sağlamayı başarmış nadir otellerden. Dokuz süiti olan Palazzo, ünlü otelci Gabriele Salini’nin yeni oluşturduğu GS Collection ile Milanolu tasarım stüdyosu Palomba Serafini Associati tarafından yeniden tasarlanıp güncellenmiş. Böylece minimalizmle 19. yüzyıl ihtişamının uyumlu bir kombinasyonu çıkmış ortaya. Bir yandan sarayın yüz yıllık fresklerine huzur içinde bakıyor bir yandan da Marakeş’ten getirtilen ketenlerin, Japonya’dan alınmış bakır çaydanlıkların mekanla uyumuna hayran oluyorsunuz. Petrucci’nin kendi sanat koleksiyonundan bahsetmeye bile gerek yok. Koleksiyondan seçilen eserler Palazzo’nun her yanını süslüyor. Süitlerin her birinde Claudio Abbate, Eva Jospin ve Christian Frosi gibi çağdaş sanatçıların eserlerinin yanı sıra, mekanı aydınlatarak pratik bir amaca da hizmet eden Simon d’Exea imzalı olağanüstü tasarlanmış ışık kutularına yer verilmiş. YAĞMUR DUŞU Süitlerden birinde yer alan yağmur duşu ise İtalyan sanatçı Andrea Sala tarafından tasarlanmış. Altı metre yüksekliğindeki tavandan akan suyun yarattığı ambiyans, yaşayan bir enstalasyon gibi. HER YIL ORADA: CAPO D’ARTE Puglia’nın Salento bölgesindeki Gagliano del Capo köyündeki otel, iki farklı kıyıya açılan bir kapı aynı zamanda: Adriyatik’in kayalık kıyı şeridiyle İyonya Denizi’nin kumlu plajlarına... Palazzo Daniele’nin bulunduğu köy gastronomi duraklarının bolluğu ve uluslararası sanat gösterisi Capo d’Arte’yle de meşhur. Nitekim Capo d’Arte yine Petrucci’nin organize ettiği bir etkinlik. Bu sanat etkinliği sayesinde bölge yavaş yavaş daha çok duyulmaya başladı. Buna rağmen 2019’un nisan ayında açılmış Palazzo Daniele hâlâ Puglia’nın “en iyi saklanan sırrı” olarak biliniyor. Unutmadan: Helen Mirren’ın otele çok yakın mesafedeki Tricase kasabasında barı var. Eeğer giderseniz oraya da uğramayı ihmal etmeyin. Tamamı için... Print YUZU MAGAZINE - II Out of Stock View Details No product

March 2025 | DESIGN & INTERIORS a SEASIDE HOME in BRITISH COLUMBIA words Karine Monie photos Mary McNeill Knowles Creative interior design Studio HA/WA stylist Monika Tischer On the Eastern coast of British Columbia’s Vancouver Island, a newly completed bungalow is redefining West Coast living with a burst of natural light, smart design, and local craftsmanship. Nestled along the tranquil shores of the Strait of Georgia in Qualicum Beach—renowned for its endless white sands and serene waters—this home delivers unbeatable views and a vibrant connection to its surroundings. DESIGN THAT CELEBRATES NATURE AND CRAFTMANSHIP Infused with West Coast Contemporary style and a modern twist, this two-bedroom, two-bath bungalow is all about bringing the outdoors in. Expansive windows showcase breathtaking treetops, soft ocean hues, and a calming sky, while a palette of neutral tones, warm wood finishes, and cool blue accents echoes the nearby ocean. Every detail is meticulously curated—locally sourced stone slabs from Vancouver Island Marble make a striking impact in the main bath, kitchen, and fireplace, and these textures resonate through the furniture, rugs, and even the principal bedroom walls. Local talent shines with original artwork by Victoria-based Joy Kinna, and bespoke lighting from B.C.-based AND Light adds a contemporary flourish. A STUDIO WITH VISION The creative force behind this project is STUDIO HA/WA, led by founder and creative director Erin Hannon-Watkinson, whose experience at Yabu Pushelberg informs a design approach that’s as eco-conscious as it is stylish. “Our projects are designed with their surroundings in mind to ensure longevity and lessen our impact on the environment,” Erin explains. A SEAMLESS BLEND OF FORM AND FUNCTION Inspired by West Coast Contemporary cues like vaulted roof lines and clean overhangs, the design is a masterclass in marrying form and function. Each space flows naturally into the next, unified by a consistent design language that celebrates nature. Here, large windows and doors aren’t just features—they’re dynamic frames showcasing nature’s ever-changing artwork, from lush treetops to sweeping ocean vistas. LOCALLY ROOTED, GLOBALLY INSPIRED Drawing from the calming essence of its natural surroundings, the interior blends neutral tones with subtle blue/grey undertones and warm wood accents. A strong local focus is evident, with community-sourced materials like stone, wood, and lighting fixtures enriching every corner. The natural grain of the stone—highlighted in the travertine-clad ensuite, linear fireplace stone, and pebbled-look floor tiles—brings a unique, tactile quality that grounds the entire home in its coastal character.

January 10, 2026 | DESIGN & INTERIORS FIVE YEARS, FIVE HOMES words Onur Baştürk photos Portrait / Charlotte Lauwers. Bungalow Sint Martens Latem + Kortrijk Townhouse / Eric Petschek. Palingbeek + Pied a terre Brussels + Sint-Martens-Latem / Piet-Albert Goethals A conversation with Decancq Vercruysse Architects. Founded in 2021 by Hannes Decancq and Emiel Vercruysse, Decancq Vercruysse Architects has, in a short time, established a clear and composed presence within Belgium’s contemporary residential landscape. Based in Kortrijk, the studio works fluidly across architecture and interiors, approaching each project as a single composition shaped by light, material, and everyday life. The practice is defined by the founders’ complementary backgrounds. Decancq brings technical expertise grounded in years spent on construction sites, while Vercruysse—who previously worked at Vincent Van Duysen’s studio—contributes a refined sensitivity to materiality, proportion, and high-end residential atmospheres. Together, they share a belief that architecture should be human-centred, precise, and built to last. Marking their fifth year, we spoke with the studio about the five residential projects they have completed across Belgium, and the shared architectural language that connects them—one shaped by dialogue, clarity, and a commitment to long-term quality. Palingbeek - Photos: Piet-Albert Goethals A CONSISTENT WAY OF THINKING As you mark your fifth anniversary, how would you describe the core design approach of Decancq Vercruysse Architects today? Which values have remained unchanged since the beginning? From the beginning, our ambition has been to create homes that evoke comfort, intimacy, and a sense of safety. We strive to design architecture that is closely connected to nature, creating spaces that blur the boundary between inside and outside through the use of natural, warm materials. This approach has only grown stronger over the years and continues to define our work today. LIVING AS A DESIGN RESEARCH Townhouse Kortrijk functions both as your home and as a space for ongoing design research. How did living in the house influence its spatial organisation, material choices, and the relationship between interior and exterior? My days tend to be quite hectic, so the primary goal was to create a home that allows me to truly unwind at the end of the day. As my wife and I both draw a lot of calm from nature—much like walking through a forest—we wanted the house to feel as natural and grounding as possible. Given the townhouse’s location in the city centre, outdoor space was limited. We therefore made full use of the enclosed patio, carefully planting it with trees and greenery. The living room is located on the lower level, where filtered light and surrounding vegetation create a cocooning atmosphere. Upstairs, the kitchen and terrace are flooded with sunlight, offering a contrasting openness. Materiality plays a crucial role here. The living room is entirely clad in wood, reinforcing the warm, sheltered feeling we were aiming for and making the house a place of retreat. Bungalow Sint Martens Latem - Photos: Eric Petschek OPENNESS, ECONOMY, AND CONTEXT In your Brussels pied-à-terre, professional and private life coexist within a compact footprint. How did you balance spatial efficiency with comfort, and how did the Art Deco context inform your decisions? We worked with an open-plan layout for the living and dining areas, while subtly defining zones through a low, custom-designed furniture piece. This allows for openness without losing a sense of separation. The apartment has a natural flow, yet certain spaces can be closed off using refined metal and glass partitions. These details were directly inspired by the Art Deco context—a period in which metal craftsmanship plays a prominent role. This language was extended into other custom elements throughout the apartment, creating a cohesive dialogue between past and present. WORKING WITH WHAT ALREADY EXISTS In the Sint-Martens-Latem bungalow, you chose to preserve and reinforce the mid-century character rather than replace it. How do you decide when to preserve, reinterpret, or transform an existing building? Working with existing structures always begins with thorough research into the building’s original elements and its historical context. We look for meaningful references, often within the same period, and select key elements around which to build the design. At the same time, flexibility is essential. We have learned that preserving everything is not always the right choice. Sometimes, transforming or reinterpreting a specific element leads to a stronger overall design. These decisions can be difficult, but it is our responsibility as architects to ensure that each intervention contributes coherently to the project as a whole. Kortrijk Townhouse - Photos: Eric Petschek ARCHITECTURE IN DIALOGUE WITH LANDSCAPE The Palingbeek project reconnects a farmhouse to its rural surroundings. How did architecture and landscape speak to one another here, particularly through the terrace and roof design? The existing farmhouse was largely closed off from its surroundings. We retained part of the original structure, which now accommodates more intimate functions such as bedrooms and bathrooms. In contrast, we added a new volume that opens the house towards the surrounding landscape. This dialogue between old and new strengthens both structures. The covered and heated terrace plays a key role, allowing the clients to experience the outdoors throughout the year and reinforcing the connection between architecture and landscape. In the wooded Sint-Martens-Latem residence, influences from Japanese architecture and Frank Lloyd Wright are subtly present. How did you balance rootedness and openness in a house that anchors itself in nature yet opens fully to the forest? Material choices were essential in anchoring the house within its forested context. The brown brick almost appears as if it could have been formed from the forest soil itself, emerging from the ground through a sequence of walls and stairs. Wood forms the second key material. Finished in a darker tone, it avoids excessive contrast with the surrounding tree trunks. Large windows lighten the composition and open the house to its surroundings. Positioned on all sides, they create a continuous visual connection, giving inhabitants the feeling of living within and looking through the forest. MATERIAL AS IDENTITY Across these projects, materiality plays a defining role. How do materials shape atmosphere and identity in your work, and what ultimately guides your choices? Materiality is fundamental to our work. We carefully select materials that resonate with both the context and the client. Together with form and proportion, materials give a project its identity and sense of place, something we consider essential. Pied a terre Brussels - Photos: Piet-Albert Goethals REFERENCES AND PRACTICE Looking more broadly at influences, which architects, movements, or disciplines continue to inform your thinking today? During my studies, I spent time in the United States, where I had the opportunity to experience a wide range of architecture, from Frank Lloyd Wright to John Lautner. What struck me most was the freedom of these designs and their generous use of natural, warm materials. These houses felt deeply inviting and intimate, and that quality continues to inspire our studio’s work. We aim to translate this sense of warmth and spatial generosity into contemporary projects, adapted to today’s contexts and needs. WORKING AS A DUO As a duo, how do you divide roles within the practice, and where do your perspectives complement one another most strongly? Architecture has become increasingly complex, making collaboration more essential than ever. The era of the all-encompassing architect is long behind us. Hannes and I come from very different backgrounds. His education is strongly construction-focused, while mine is rooted in interior architecture and design. Within the studio, this division allows me to focus on design and spatial concepts, while Hannes oversees licensing and construction. This clarity brings calm and efficiency to our practice. We each invest our energy in what we do best and what we truly enjoy, which is something our clients deeply appreciate. Sint-Martens-Latem - Photos: Piet-Albert Goethals

September 10, 2025 | DESIGN & INTERIORS TUSCAN SPIRIT, GUATEMALAN SOUL words & production Karine Monie photos Topofilia Studio design Elemento In Antigua Guatemala—a UNESCO World Heritage site where cobblestone streets meet centuries-old ruins—an extraordinary home has been reimagined as a retreat that bridges time. The property, dating back to the 17th century, has been transformed into a sanctuary where Spanish Colonial architecture and subtle Moroccan notes meet contemporary elegance. The result is a house that honors history while embracing the rhythms of modern family life. A LIVING LEGACY Set beside the Ruina San Agustin, a 1650s church and convent, the property itself carries a remarkable legacy. Portions of the first-floor walls are believed to date back to the same period. During restoration, the design team uncovered a hidden arch near the pool—once thought to be the entrance to the convent’s stables—revealing yet another layer of narrative. Over the centuries, the house has evolved: the second floor was added in 1994, while carved beams in the living-dining room were repurposed from a 1930s Antiguan hotel, preserving echoes of the city’s past. BLENDING ERAS The vision was to create a house that felt timeless yet current—“the cozy feeling of grandma’s house but with a modern twist,” as Sara Rodriguez of Elemento describes. To achieve this, the designers celebrated original elements like terracotta floors, natural stone walls, and dark wood beams, while introducing contemporary touches through lighting, art, and the interplay of glass with traditional ironwork. Modern amenities—including automated lighting, climate control in bedrooms, and enlarged windows—make the home both functional and luxurious, without compromising its historic fabric. A NATURE-INSPIRED PALETTE Elemento embraced a neutral palette to let the home’s materials speak. Terracotta, olive green, and natural stone anchor the interiors, while Tuscan-inspired shades of green, light blue, and beige define each bedroom, evoking the feel of an Italian countryside retreat. Stucco walls in white and beige provide balance, while dark porcelain floors and a redesigned pool lined with gray tile lend a subtle contemporary contrast. TUSCAN CHARM, GUATEMALAN CRAFT For the owners, the house echoed the spirit of old Tuscan villas—an influence visible in the warm, layered palettes and even the modern kitchen, which draws inspiration from traditional Italian farmhouses. Yet equally central was a celebration of Guatemalan artistry. Custom furniture, lighting, and artworks were commissioned from local artisans, makers, and carpenters. “Both the homeowners and we at Elemento are very proud to be Guatemalan,” says co-founder Daniela de la Riva. This pride resonates in every detail, grounding the Tuscan-inspired vision in the craftsmanship of Guatemala. WEAVING OLD AND NEW Perhaps the most powerful gesture came from the unearthed arch, which became “the heart of the project.” It embodies the spirit of the house itself: a structure that carries the weight of history yet welcomes the energy of the present. By weaving together eras, cultures, and traditions, Elemento has created a home that is both a retreat and a living testament to Antigua’s layered past.

June 19, 2025 | VOL 15 the SOUND of SILENCE words Soraia Martins photos Richard Gaston (Casa no Tempo + Herdade no Tempo)) Renée Rae & Tim Reed (Cabanas no Rio + Casas na Areia) Ana Sofia & Nelson Garrido (Casa na Terra) Renée Kemps (Santa Clara 1728) Casa no Tempo Stepping into the stone-clad entrance of Santa Clara 1728, its grandeur astounds me. The moon-shaped lamp by designer Davide Groppi hangs above a sprawling sofa, and a mighty staircase invite us to explore. This 18th-century building in the heart of the Santa Clara quarter in Lisbon hides an impressive guest house, where historic legacy and architectural elegance intertwine. The owner is João Rodrigues, a pilot by trade and hospitality devotee by heart, who decided to transform family-owned houses into places where guests can disconnect and be one with nature – and themselves. Within this gracefully understated space, João tells the story of how Silent Living came to be – organically, with time, and without an explicit plan. Now, Silent Living stands as a growing collection of five houses, two restaurants, and one estate, all between Lisbon and Alentejo. The first house was Casas na Areia, which began as a weekend house, a place to escape to and be together as a family. In addition to an aesthetically uncluttered vision brought to life by long-time friend and architect Manuel Aires Mateus – who worked on all the properties – this house stands out for a remarkable feature: a floor covered in sand with a heated concrete pavement beneath, an ode to its idyllic location in the dunes of Comporta, in coastal Alentejo. Soon, it was not just João and his family gathering there, but friends. Friends of friends. And before long, strangers. The house, once private, had opened its doors to a quiet kind of hospitality rooted in memory and simplicity. Then came Cabanas no Rio, two thatched roof fisherman’s huts facing the Sado river and sitting very close to Casas na Areia – both properties located inside the natural reserve, where guests are free to enjoy nature in all its glory. Herdade no Tempo KEEPING SUSTAINABILITY AT ITS CORE, CEIA SOURCES MANY OF ITS INGREDIENTS FROM ANOTHER SILENT LIVING PROPERTY, HERDADE NO TEMPO, HOLISTIC FARMING ESTATE IN THE HEART OF ALENTEJO Casa na Terra Back at Santa Clara 1728, where João and his family have moved in permanently, Lisbon hums just outside its heavy wooden doors. The rhythm of the city overwhelms even the most adventurous. But inside, time stands still. Light moves gently through the tall windows, softening these centuries-old walls. Next to the main entrance we find Ceia, the fine dining restaurant that has been captivating food enthusiasts all over town. The epicurean experience is led by head chef Renato Bonfim and team, delighting guests with a 10-course menu spread across a communal table that accommodates up to 14 diners. The new chapter – ‘Change’ – evokes the need for environmental education and encourages guests to reflect on the role food plays in our lives. Keeping sustainability at its core, Ceia sources many of its ingredients from another Silent Living property, Herdade no Tempo, a 1000-acre regenerative and holistic farming estate even further south, in the very heart of inner Alentejo. Entrusted to João’s family in his grandfather will, both Herdade no Tempo and Casa no Tempo – yet another unique guest house that feels like a dream within a dream – have been restored and cared for to keep the cycles of nature running as smoothly as possible. Every detail was generously crafted to blend with the surrounding landscape, where nature and design truly come together to create a home. Here, silence is vast, almost tangible. Casa na Terra, still in Alentejo, close to the Alqueva lake, is the fifth and last – so far – house belonging to the Silent Living collection, an architectural, mostly concrete work of art, with the only visible element being a canopy with a circular skylight emerging from the ground. Cabanas no Rio WHEREVER YOU FIND YOURSELF, THERE ARE NO GRAND GESTURES, NO EXTRAVAGANT DETAILS Casas na Areia As Silent Living keeps consolidating its rightful place as an ever-evolving constellation of guest houses across Portugal, the intention becomes clearer: to create places where guests can feel safe, cared for, and at ease. Wherever you find yourself, there are no grand gestures, no extravagant details. The architecture, using local materials and respecting traditional craftsmanship whenever possible; the textures, the rituals of the day; a window opened to let in the morning air, a walk at dusk - all these moments invite you to reconnect, be present, and enjoy the sound of silence. Santa Clara 1728 for more Print VOL XV - 2025 ₺970,00 Price Add to Cart

December 2022 | Design & Interiors below english Sadeliğe aşık olmak: Jiro Yazı Oktay Tutuş T asarımcı John Tree’nin gerçekten sıra dışı olmayan bu sandalye tasarımında anahtar kelime: Yalınlık. Tasarımcı dünyanın en basit ve üretimi en kolay malzemelerinden biri olan kontrplak üzerine bir Japon titizliğinde eğilerek onu insan vücudu için mükemmel bir desteğe dönüştürmüş. Jiro isimli bu tasarım, omurga ve sırtın üst tarafının (kanatlar) formunu saygıyla destekliyor ama sarmıyor. Bükülmüş yapısı sayesinde rahatlık sunuyor ama fazla sokulmuyor. Çok basit olan malzemesi aynı zamanda çevreci. Çünkü hem ahşap atıklardan üretiliyor hem de oldukça dayanıklı. Ayrıca üretim sırasında çok da zahmetli makine kullanımı gerektirmiyor. Gerçek bir tasarımcının işi de bu tip yalın ve çevreye duyarlı malzemelerden harika ürünler ortaya çıkartarak hayatımızı kolaylaştırmak değil mi zaten? Rediscover your love for simplicity: Jiro Writer Oktay Tutuş T he key word in designer John Tree's odd chair design is simplicity. The designer bent over plywood, one of the world's simplest and most basic materials, and transformed it into a perfect support for the human body. Jiro, the chair, respects the shape of the spine and the upper side of the back (wings), but it does not surround it. Thanks to its bent structure, it offers comfort and is not inserted much. The elementary material is very environmentally friendly. Because it is made from wood waste and is durable, it does not necessitate extensive machine use during production. Isn't it a true designer's job to make our lives easier by creating outstanding products made from simple and environmentally friendly materials?