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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

September 7, 2025 | DESIGN & INTERIORS KELLY HOPPEN: a LANGUAGE of BALANCE words Noah Mercer photos Mel Yates Few names in interior design embody timeless elegance quite like Kelly Hoppen. For over four decades, her calm neutral palette, layered textures, and philosophy of balance and harmony have defined interiors across the globe. Hoppen’s signature language blends Eastern simplicity with Western luxury, shaping homes that feel serene, personal, and quietly sophisticated. This London townhouse, once an artist’s studio with soaring ceilings and streams of natural light, has been reimagined under Hoppen’s hand. The result is a home that reflects her belief that interiors should not only function but also nurture the soul — warm, inviting, and effortlessly refined. GROUNDED IN LIGHT The renovation began on the ground floor, where the entrance, kitchen, dining, and living areas shed their heavy black joinery and stark finishes. In their place, Hoppen introduced a lighter, softer scheme: warm neutrals (Little Greene Slaked Lime Mid), bespoke lighting to highlight the dramatic beams, and furnishings that balance comfort with understated elegance. ABOVE THE STUDIO: A PRIVATE RETREAT On the first floor, the master suite was transformed from a dark, awkward space into a serene retreat. Tall gabled ceilings, a soaring four-metre Crittall window, and two generous dressing areas now frame an expansive atmosphere. The bathroom continues the home’s language of balance and flow, anchored by a spacious shower. One of the townhouse’s most intriguing details is its concealed entrance — a hidden door within the kitchen cabinetry leading to a striking staircase and the private suite above. The boot room, carved out of a former garage, was given the same careful attention. Full-height timber joinery, Crittall doors opening to both the garden and entrance hall, and a bespoke bench define the space. Practical details such as a dog wash and abundant storage show Hoppen’s seamless balance of beauty and utility. LAYERS OF BALANCE The brief called for a home that was light, warm, and neutral — an ideal canvas for Hoppen’s vision. She layered natural materials like linen, velvet, bouclé, plaster, and timber, with stone and metal adding depth and black accents anchoring the palette. Bespoke details, from pivot screens in the entrance hall to tailored joinery, imbue the project with intention. Lighting, meanwhile, was treated as architecture in itself: layered, atmospheric, and central to the home’s warmth. THE SPIRIT OF THE TOWNHOUSE This townhouse represents the evolution of Kelly Hoppen’s design philosophy: simplicity, harmony, and a mastery of architectural detail. What was once a challenging layout has become a home that balances openness with intimacy, light with warmth, and drama with quiet elegance.

Kasım 2021 | Tasarım | Dubai Dubai Expo 2020’nin en iyileri Yazı | Oktay Tutuş P andemi nedeniyle bu yıla ertelenenen ve 31 mart 2022’ye kadar sürecek olan Expo 2020, gezegenin dört bir yanından ziyaretçilerini yeni bir dünyanın oluşumuna katılmaya davet ediyor. Dubai'de gerçekleşen etkinlikte 192 ülkenin pavyonları yer alıyor. Expo'nun ana teması “Akılları Birleştirmek, Geleceği Yaratmak”. Bu tema etrafında şekillendirilmiş yaratıcı pavyonlar heyecan verici tasarımlar sunuyor. Ülkelerin teknoloji ve yenilik sunan sıra dışı pavyonları geleceğimizi şekillendirecek “Sürdürülebilirlik, Mobilite ve Fırsat” temaları üzerine düşünmeye davet ediyor. Expo 2020’de Türkiye yok. Sebebi gergin ilişkilerimiz mi yoksa bu konular hakkında söyleyecek ya da gösterecek bir şeyimizin olmayışı mı; kestirmek zor. Ancak bu, dünya ülkelerinin pavyonları arasında gezinmemize engel değil. BELÇİKA Vincent Callebaut Architectures ve Assar Architects tarafından tasarlandı. Yoğun yeşillik ile fütürist tasarımı masif ahşapla birleştirdiği için “Yeşil Kemer” olarak adlandırılıyor. Pavyon, sürdürülebilir kalkınma açısından örnek olmayı hedefliyor. Rejeneratif döngüsel ekonomiye, biyo-temelli ve jeo-kaynaklı malzemelere, biyoiklimsel kurallar ile yenilenebilir enerjilerin entegrasyonuna ve ayrıca biyoçeşitliliğin ve doğanın korunmasına övgü niteliğinde bir yapı. RUSYA Pavyonun mimarı SPEECH ofisinden Sergei Tchoban. Mimar, ulusal pavyon imajını somutlaştırırken, durdurulamaz ilerici gelişme, yaratıcılık ve ilerleme için ön koşul olarak sürekli hareket fikrinden yola çıkmış. Altı farklı renkteki alüminyum borularla küresel cepheyi donatan mimarın Expo'ya renk katan tasarımı, Rusya'nın soğuk iklimine tezat bir canlılık ve sıcaklıkta. FİNLANDİYA Finlandiya Pavyonu, ülkenin yüksek yaşam kalitesine katkıda bulunarak, onun doğa ve sürdürülebilirlik ile derin bağlantısını sergiliyor. JKMM Architects tarafından tasarlanan "Kar Pelerini" isimli pavyon, İskandinav ülkesi tarafından savunulan döngüsel ekonomi ilkelerini somutlaştırırken, malzemeler ve atmosferi aracılığıyla Fin doğal ortamlarını ustaca çağrıştırıyor. KANADA Toronto merkezli Moriyama & Teshima Architects ve inşaat şirketi ElisDon tarafından tasarlanan Kanada Pavyonu, geleneksel Mashrabiya'ya atıfta bulunan ahşap kafes cephesiyle Arap mimari unsurlarını Kanada'nın manzaralarıyla birleştirerek iki kültürü sentezliyor. Montréal merkezli KANVA firması tarafından oluşturulan ve ekosistemlerin geleceğinin belirsizliğine şiirsel bir yansıma olan Traces enstalasyonu ise bu senteze eşlik ediyor. SÜRDÜRÜLEBİLİRLİK PAVYONU Grimshaw Architects tarafından tasarlanan Sürdürülebilirlik Pavyonu, insan faaliyetlerinin çevre üzerindeki etkisini ele alan bir yapı. Eski yapılardan biri olan proje, etkinlikten sonra bilim merkezi olacak. Enerji ve su temini açısından özerk bir yapı olarak faaliyet göstermeyi hedefliyor. GÜNEY KORE Expo'nun mobiliteye ayrılmış bölgesi içerisinde ışıldayan sıra dışı pavyonun sahibi Güney Kore, 1597 adet döner küple inşa ettiği pavyonuyla halkının enerjisini yansıtmaya çalışıyor. Moon Hoon ve Mooyuki ofislerince tasarlanan yapıyı kabaca bir stadyuma benzetmek de mümkün. Ancak hem dijital hem de analog yüzleri bulunan bu döner küplerle geleceğe dair mesajlar veren bir stadyum. HOLLANDA Expo 2020 Dubai'deki Hollanda pavyonu suyu ve enerji toplayan, yağmur ve gıda üreten dairesel bir iklim sistemi önererek sanat, mimari ve teknoloji arasındaki füzyonu somutlaştıran geçici bir biyotop yaratıyor. Bu doğal süreçler arasında yarattığı duygusal anlatıyı Kossmanndejong'un küratörlüğünde geliştirilen ziyaretçi deneyimi ve V8 Architects tarafından tasarlanan mimarisiyle birleştiren pavyon, en çok merak ve hayranlık uyandıranlardan birisi. İNGİLTERE İngiltere'nin Expo 2020 Dubai'ye katkısı, kültürel çeşitliliği ve işbirliğini kutlayan, İngiltere'yi kültürlerin ve fikirlerin buluşma yeri olarak vurgulayan ahşap bir heykel yapısı olmuş. Sanatçı ve tasarımcı Es Devlin tarafından yaratılan Poem Pavilion, ziyaretçilerin girdilerini kolektif şiirlere dönüştürmek için gelişmiş makine öğrenimi algoritmaları kullanıyor. Daha sonra bunları kullanarak pavyonu serginin kendisine dönüştürüyor ve binanın cephesindeki ekranlarda okunabiliyor. SİNGAPUR “Nature.Nurture.Future” başlığı altında, WOHA Architects ve peyzaj tasarımı pratiği Salad Dressing tarafından tasarlanan pavyon, Singapur'un City in Nature vizyonunu özetleyen bir kentsel çevre örneği sergiliyor. Çok katmanlı yeşil alan, teknoloji ve doğanın evliliği yoluyla sürdürülebilirlik ve dayanıklılık fikirlerini vurgulayan kendi kendine yeterli bir ekosistem yaratarak ziyaretçilere yeşil bir deneyim sunuyor.

February 10, 2026 | DESIGN & INTERIORS LIVING on a CONCRETE CANVAS words Karolin Apik photos Burak Teoman Designed by BE Interiors founder Buket Güney, this residence brings together the raw clarity of concrete-effect surfaces with the refined depth of dark tones. Balanced by natural materials, the interior reads as both assertive and serene—a composed setting for everyday life. For the designer, a home is not merely a place to live, but an experiential environment that forms an emotional bond with its users. This perspective is clearly reflected in the house designed for a family of four—parents and two daughters. Home to an industrialist father and a lawyer mother, the project embodies a design approach that allows space for both sharp lines and confident, characterful choices. Out of gallery CONCRETE AS A STARTING POINT The starting point was the client’s request for concrete-effect walls and ceilings, paired with a preference for darker colours. Departing from conventional palettes, Güney reinterpreted this inclination through the textures and tones of natural materials. Treated almost as a clean canvas, these surfaces become the unifying ground that runs continuously throughout the home. By extending the same language across floors, walls and ceilings—and carrying it through to doors and the staircase—the house gains a strong architectural narrative, as if shaped from a single material. Set against this calm, neutral backdrop, more expressive design elements come forward, sharpening the home’s character. AN OPEN PLAN SHAPED BY LIGHT One of the most significant architectural moves was the removal of most interior walls. From the entrance onward, the living room, kitchen and shared areas unfold as a single open plan. The former corridor wall was re-formed with panels, while the lighting scheme integrated into the staircase and ceiling was conceived as part of this open composition. The intention was to strengthen the connection with the garden and allow daylight to reach deeper into the house. Spanning a total interior area of 325 square metres, the ground floor brings together the entrance hall, living room and kitchen in a continuous flow. The same level also accommodates the master bedroom, a children’s room and a guest WC, while the upper floor houses a young adult’s room and a laundry. Transitions between spaces are defined not by rigid boundaries, but by floor lines and sliding–pivot doors, allowing areas to separate when needed while preserving a sense of continuity. Out of gallery MATERIAL CONTINUITY AND CALM This holistic thinking extends to material choices. Porcelain flooring (laminam) is used throughout the ground floor and continues up the staircase, while parquet flooring introduces warmth in the bedroom areas. Concrete-effect plaster (colortek) is applied to walls, ceilings and doors. In the kitchen, dark porcelain countertops (neolith) are balanced with oak and lacquered cabinetry; bathrooms likewise foreground porcelain surfaces. Across the furnishings, marble, travertine, natural stone and varying tones of wood act as complementary layers.

Nisan 2022 | Art | Türkiye Sürprizli bir ara fuar CI BLOOM Yazı | Onur Baştürk T ürkiye’nin önde gelen güncel sanat fuarı Contemporary İstanbul (CI), geçtiğimiz yılın eylül ayında ilk kez Tersane İstanbul’da düzenlenmişti. Hem Tersane İstanbul’un yeni bir mekan oluşu hem de uzun bir aradan sonra fiziksel bir fuara katılmanın kalabalıklarda yarattığı heyecan nedeniyle CI’ın 17. edisyonuna ilgi hayli büyük olmuştu. 23 GALERİ VAR Bu yıl yine eylül ayında gerçekleşecek CI öncesi yeni versiyon bir fuarla daha tanışacağız: CI Bloom. Mayısta Tersane İstanbul’da, Akbank ana sponsorluğunda yapılacak CI Bloom’da yabancı galeriler yok. Sadece 23 yerli galeri var. Onlar da seçici kurulun davetiyle belirlenmiş. Peki seçici kurulda kimler var? Sırasıyla şu isimler: Adnan Yerebakan (Sanatorium), Doğa Öktem ve Tankut Aykut (Oktem Aykut), Moiz Zilberman (Zilberman Gallery), Oktay Duran (Art On İstanbul), Suela Cennet (The Pill) ve Yeşim Turanlı (Pi Artworks). 23 galeri ise şöyle sıralanıyor: Ambidexter, Anna Laudel, Art On Istanbul, artSümer, Bozlu Art Project, Büro Sarıgedik, C.A.M. Galeri, Dirimart, Ferda Art Platform, Galeri 77, MERKÜR, Galeri Siyah Beyaz, Galerist, Martch Art Project, Öktem Aykut, Pg Art Gallery, Pi Artworks, Piramid Sanat, İstanbul, Sanatorium, The Pill, Vision Art Platform, x-ist, Zilberman Gallery. WU’DAN TOWNHOUSE’A 10 Mayısta ön izlemeyle başlayacak CI Bloom’un bir diğer sürprizi de yeme-içmeye oldukça geniş yer ayırması. Bu ara dönem fuarında yer alacak markalar şöyle sıralanıyor: Wu Bomonti, Momo, Cup of Joy, Markus Ribs, Sail Loft, Townhouse, Petra, Borsa, Parle ve Nappo Pizza. 15 mayısta sona erecek fuar nedeniyle Tersane İstanbul civarının bir kez daha yoğun bir şekilde hareketli olacağını söylemek pek kehanet olmasa gerek. Detaylı bilgi için: contemporaryistanbul.com Biletler: mobilet.com

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

October 2024 | Art & Culture FOR ENGLISH İSTANBUL’DA GÖRÜLMESİ GEREKEN 5 SERGİ words Burcu Dimili 1. NAZAN AZERİ, İÇİMDEKİ ŞARKILAR @Loft Art Nazan Azeri’nin resim, fotoğraf ve video gibi farklı türlerden çalışmalarını bir araya getiren sergi Nergis Abıyeva küratörlüğünde, Loft Art’ın bu yılki prestij sergisi olarak açıldı. Sergi 1 Aralık tarihine dek ziyaret edilebilecek. 2. “2.5B” @YUNT Geçtiğimiz yıl açılan YUNT, Murat Germen’in küratörlüğünü üstlendiği 2.5B başlıklı sergiyle yeni sezonu karşıladı. 6 Aralık tarihine dek görülebilecek sergi, iki boyut ile üç boyutun ara noktasındaki bir temsil yöntemi olan iki buçuk boyut evrenini keşfetmeye davet ediyor. Sergide yer alan sanatçılar: Tanzer Arığ, Gökçen Ataman Tanyer, Nora Byrne, Gizem Çeşmeci, Nermin Er, Semih Zeki. 3. TAVİLOĞLU KOLEKSİYONU, BİR KOLEKSİYONER HİKÂYESİ @çeşitli mekânlar Mustafa Taviloğlu’nun 1972 yılında büyük bir heyecanla başlattığı ve 52 yıldır büyütmeye devam ettiği Taviloğlu Koleksiyonu, yedi alana yayılan bir sergilemeyle izleyiciyle buluştu. Derya Yücel ve Marcus Graf küratöryel imzası taşıyan, 903 sanatçının 2412 eserini barındıran koleksiyon, 15 Aralık tarihine dek ziyaret edilebilir. 4. ALEKOS FASSIANOS, BİZANS’A YELKEN AÇMAK @Zeyrek Çinili Hamam Zeyrek Çinili Hamam’da 31 Aralık’a kadar devam edecek olan “Bizans’a Yelken Açmak” sergisi, Yunan sanatçı Alekos Fassianos’un (1935-2022) eserleriyle İstanbul’un tarihi ve kültürel mirasını bir araya getiriyor. Küratörlüğünü Anlam de Coster’in üstlendiği sergi, Atina’da bulunan Alekos Fassianos Müzesi iş birliğiyle düzenleniyor ve hamamın restorasyon çalışmaları sırasında keşfedilen Bizans sarnıcında gerçekleşiyor. 5. AVNİ LİFİJ @1851.gallery İstanbul’un yeni galerisi 1851.gallery, Avni Lifij’in daha önce görülmemiş fotoğraflarıyla kapılarını açtı. Kerim Suner kuruculuğundaki galerinin ilk sergisi Avni Lifij’in platin-paladyum baskı ile üretilmiş fotoğraflarından oluşuyor. 1914 kuşağı ressamlarından Avni Lifij’in fotoğraflarını 100 yıl sonra ilk kez özel olarak hazırlanmış bir sergiyle görmek isterseniz yolunuzu 1851.gallery’ye düşürebilirsiniz.

August 2023 | Travel english below BİR GECELİK KIZIL ÇÖL DENEYİMİ words Onur Baştürk M att Damon’ın oynadığı “The Martian (Marslı)” filmi sonrası daha da popüler olmuş bir çöl Wadi Rum. Kum vadisi anlamına gelen Wadi Rum, Ürdün’ün güneyinde, Akabe’ye 40 kilometre uzaklıkta bir doğa harikası. The Martian’ın çekildiği Wadi Rum’un yüzeyi gerçekten de kızıl kum ve kayalıklarıyla Mars’ı andırıyor. Çölün neden set olarak kullanıldığını oraya gidince daha iyi anlıyorsunuz. Bu Mars efektinin görkemli bir sonucu olarak Wadi Rum’da konaklamak isteyenler için “bubble dome”ların ağırlıkta olduğu konforlu kamp alanları peş peşe açılmıştı. İşte Suncity Camp onlar arasında en iyisi. UZAY İSTASYONU EFEKTİ Malum, bu jeodezik kubbelerin alametifarikası yattığın yerden gökyüzünü görebilmen. Doğayla bütünmüşsün gibi hissettirmesi. Yani alabildiğine şeffaf oluşu… Bir de tabii kendiliğinden uzay istasyonu efekti vermesi! Suncity Camp alanındaki ‘bubble dome’da sadece bir gece kaldım ama şunları söyleyebilirim: - Bir ara kuvvetli bir rüzgâr çıktı. Uğultusunu iliklerime kadar hissettim. - Sonra şakır şakır yağmur yağdı. O an dedim ki, galiba bu kabini sel alıp götürecek. - Sabaha karşı ise yıldızlar göründü, ki o kısım nefisti işte… SABAH SAAT 05.30’DA…. Suncity Camp’in en güzel geleneklerinden biri ise şu: Kampta çalışan Bedeviler sabah saat 05.30 sularında gün doğumunu izlemeye götürüyor. Kampın az ilerisinde, arabayla gidilen kızıl bir tepe var. İşte o tepeye çıkartıyorlar. Sabahın körü olduğu için ilk başta biraz mızmızlanıyorsun, ama gün doğmaya başlayınca her şeyi unutuyorsun. Çünkü manzaranın olağanüstülüğü karşısında dilin tutuluyor. Bu arada Wadi Rum’da konaklama deneyimi sadece yürüyüş, bisikletle gezme gibi aktiviteler içermiyor. Sürpriz bir şekilde eğlence de var! Akşam yemeğinden sonra Bedeviler enstrümanlarını alıp çalmaya başladığı andan itibaren yerinizde sabit durmanız pek olası değil. NASIL GİDİLİR? Wadi Rum’a gitmek için Amman ya da Akabe’ye uçabilirsiniz. Akabe daha yakın. Amman’la Wadi Rum arası arabayla üç saat sürüyor. Wadi Rum, Petra’ya yakın. O nedenle Petra’yı görmeden dönmek olmaz. Günübirlik gidip dönülebilir. ONE NIGHT RED DESERT EXPERIENCE W adi Rum is a desert that became even more popular after the movie “The Martian” starring Matt Damon. Wadi Rum, meaning sand valley, is a natural wonder in the south of Jordan, 40 kilometers from Aqaba. The surface of Wadi Rum, where The Martian was filmed, really resembles Mars with its red sand and rock s. You understand better why the desert is used as a set when you go there. As a magnificent result of this Mars effect, comfortable campsites with bubble domes were opened one after the other for those who wanted to stay in Wadi Rum. Here Suncity Camp is the best among them. SPACE STATION EFFECT As you know, the trademark of these geodesic domes is that you can see the sky from where you lie down. Making you feel like you are one with nature. That is, being as transparent as possible… And of course, it gives a space station effect by itself! AT 05.30 IN THE MORNING…. One of the most beautiful traditions of Suncity Camp is this: Bedouins working in the camp take them to watch the sunrise at around 05.30 in the morning. A little further from the camp is a red hill that can be reached by car. Here they take it to the top. You whine a little at first because it's early in the morning, but when the sun comes up, you forget everything. Because you are speechless in the face of the extraordinary scenery. HOW TO GO? You can fly to Amman or Aqaba to go to Wadi Rum. Aqaba is closer. It takes three hours by car from Amman to Wadi Rum. Wadi Rum is close to Petra. Therefore, it is not possible to return without seeing Petra. You can go and return daily.

June 30, 2025 | DESIGN & INTERIORS the LUND COLLECTION TULUM words Alp Tekin photos Frenchie Cristogatin portrait photos Nirvana Bergman Design House’s boho–tropical escape on the Riviera Maya. Tucked between lush jungle and white sand, Marie Soliman and Albin Berglund’s Tulum hideout is part private villa, part design manifesto. The London-based duo behind Bergman Design House fell for the town’s laid-back rhythm—sun-drenched days, mystical cenotes, Maya ruins above turquoise waves—and turned that mood into a three-bedroom retreat. It’s also the first chapter of their new hospitality concept: The Lund Collection. A SECOND HOME WITH FIVE-STAR FLAIR “It’s personal,” says Soliman. “Our place to unplug—but also a fully serviced B&B for beauty-seeking travellers.” Book the whole villa and step into a curated flow of private chefs, on-call massages, cenote dips, and mezcal-fueled sunset cruises. DESIGN THAT BREATHES Renovated remotely in just eight months, the house balances crisp lines with raw texture. Sliding doors open to a jungle-framed pool; upstairs, a rooftop lounge catches golden-hour skies. Inside, terracotta floors, breezeblock screens, and pale plaster walls channel both function and craft. JUNGLE TONES, ARTISAN SOUL The palette? Clay, driftwood, sand, and deep green—drawn straight from the Tulum landscape. It’s all about feel: jute rugs, raffia pendants, embroidered throws. Local touches run deep—like curtain tassels woven by Dos Tierras, a women-led collective, or bathroom vanities carved from native Yucatán stone. BOHO EASE MEETS QUIET PRECISION Rooms mix folk art, vintage ceramics, and custom-made pieces in a way that feels curated, never overdone. Artist Emma Rubyn’s poolside mural—depicting one of Tulum’s oldest residents—is both tribute and time capsule. And those sensual curves? A nod to the cenotes nearby, grounding the villa in place and spirit.

Mayıs 2021 | Art | İngiltere Uçtu uçtu, KAWS uçtu G erçek ismi Brian Donnelly olan Amerikalı sanatçı KAWS’nin gözleri X işaretiyle kapanmış, beyaz eldivenli, Mickey Mouse’u andıran, palyaço benzeri meşhur figürü Companion bu kez bir sıcak hava balonu olarak karşımıza çıktı! KAWS ve uzun süredir birlikte çalıştığı AllRightsReserved, KAWS: HOLIDAY adı verilen balonu ilk kez önceki gün İngiltere'nin Bristol kentinde uçurdu. 42 metre uzunluğuyla dünyanın en büyük sıcak hava balonu olan bu heykel, sizce Kapadokya’ya da gelse şahane olmaz mıydı? Unutmadan: Bundan iki yıl önce, Hong Kong’taki Art Basel’de 35 metrelik dev şişme Companion heykelini liman sularına bırakılmış ve o yılın selfie rekorunu muhtemelen bir gün içinde kırmıştı KAWS. Son olarak da Brooklyn Müzesi’nde 5 Eylül’e kadar sürecek “What Party” adı verilen bir sergisi açılmıştı KAWS’nin. Bu sergide sanatçının toplam 167 işi yer alıyor. İlk çıkış dönemindeki sokak işleri ve resimlerinden tutun da, Companion’un bol versiyonlu çeşit çeşit heykeline kadar her şey yer alıyor sergide...

March 2025 | DESIGN & INTERIORS ORIGIN MADE CRAFTING TOMORROW from YESTERDAY words Soraia Martins Six years have passed since the foundation of the Porto-based design company Origin Made. Its founders, Gabriel Tan and Cherie Er, came all the way from the other side of the world to settle in this Portuguese town that sits close to many of the workshops and skilled artisans they have always been interested in working with to create meaningful design pieces that combine functionality and beauty. Rooted in Portuguese craftsmanship while expanding across borders, Origin Made is keen on telling stories of tradition, materiality, and the human touch. By working in small-batch productions and valuing the uniqueness of handmade processes, Origin Made not only preserves crafts that seem lost in time but also gives them renewed relevance in today’s design landscape. And their story is as thoughtful as everything they make. How did Origin Made begin? Besides your travels to Porto and discovering a quiet industry devoted to crafts, how did Origin Made take shape into what we know today? Origin Made began quite organically during our early travels to Porto, even before we decided to move to the city. What struck us most was discovering these incredible family-run workshops that had been perfecting their craft for generations yet remained relatively unknown to the wider world. The city had this remarkable ecosystem of craftspeople—woodworkers, metalworkers, ceramicists—all working with traditional techniques but not yet well connected with contemporary markets. That disconnect really sparked something in us. Along with Cherie, Origin Made’s co-founder, we saw an opportunity to bridge these artisans’ exceptional skills with modern design sensibilities. Our commitment to slow, thoughtful production and our belief in creating contemporary pieces that honor traditional craftsmanship definitely helped shape Origin Made into what it is today. THE ART OF SLOW MAKING: WHY HANDCRAFTED OBJECTS MATTER What are your backgrounds, and what led you to dedicate your life to design and craftsmanship? My (Gabriel Tan) journey in design began with my industrial design education at the National University of Singapore and then as a co-founder of the design collective Outofstock Design. But what shaped my perspective was working across different cultural contexts—from Singapore to New York, Barcelona to Japan, before finally settling down in Portugal, specifically Porto. These experiences showed me how design can be a powerful way to preserve and evolve craft traditions. Cherie worked in finance before joining me on this journey of reviving crafts through design. Her people skills and business acumen are key to the success of Origin Made. Can you tell me what the Japanese Mingei folk crafts movement is? The Mingei movement deeply resonates with our philosophy at Origin Made. Founded by Soetsu Yanagi in the 1920s, it celebrates the beauty of everyday objects made by folk artisans. What is fascinating about Mingei is its emphasis on the beauty that emerges from necessity and function—objects made to be used, not just displayed. The movement champions the idea that true beauty comes from integrating utility, necessity, and the natural making process. At Origin Made, we have expanded this philosophy in an interesting way—while we embrace Mingei’s core principle of functional beauty, we also recognize that beauty itself serves a function. We believe that objects and art perform an intangible but very real function. They generate emotions, pleasant moods, and lasting memories that contribute to our overall well-being. A beautiful, crafted sculpture might not have an obvious physical utility like a chair or a bowl, but its presence can transform a space, evoke joy, or create moments of contemplation. What was your first collection? How did you come up with it, and what was its underlying inspiration? Our first collection was deeply inspired by Portuguese craft traditions, particularly barro preto. The first pieces I designed for Origin Made were the Charred Vases, which have since become our perennial bestsellers. This traditional Portuguese way of firing clay in an underground kiln results in pieces that take on a distinctive finish and usually produce cookware such as oven pots and casserole dishes. The characteristic geometric forms of the Charred Vases introduced a new typology of products for barro preto application—decorative vases for floral arrangements. CRAFTED NARRATIVES, TIMELESS OBJECTS How do you see your evolution as a brand and studio since you first started? While Origin Made started by offering smaller collectible objects and home décor items, over the years, we began introducing small furniture items such as dining chairs, side tables, display plinths, and lighting. This year, Origin Made has made the jump to introduce larger furniture items, such as our first dining table—the Monumental Table designed by Gabriel Tan, and our very first upholstered seating, the Chalé Chair, a lounge seat designed by Hallgeir Homstvedt. We also launched our first collections of floor and wall rugs—Teia and Margem—signaling our foray into textile products. With this expansion of our interior offerings to cover a range of furniture, lighting, rugs, and design objects, we can now construct complete interior environments that genuinely reflect our philosophy where heritage crafts, modern design, and natural materials meet to create spaces that encourage gathering and connection. What do you enjoy the most about Origin Made and your work? The most satisfying aspect is witnessing the dialogue between traditional craftsmanship and contemporary design. There is something magical about seeing an artisan with decades of experience interpret our designs through their craft, often adding subtle nuances that can only come from deep material knowledge. I particularly enjoy the moments of discovery—finding new workshops, learning about traditional techniques, and seeing how these can be reimagined for contemporary contexts. The relationships we have built with craftspeople have become the heart of what we do. CELEBRATING TIME-HONORED TECHNIQUES Can you describe the process of collaborating with small, family-run workshops, solo artists, and craftspeople? Our collaboration process is very personal and built on mutual respect. We and our collaborating designers spend time understanding each workshop’s unique capabilities, their traditional techniques, and their preferred ways of working. It is never about imposing our design requirements; instead, we develop designs that embrace their expertise while gently pushing into new territory. We are constantly learning from their deep knowledge of materials and techniques. This process requires patience, as making by hand can’t be rushed, but this slower pace allows for thoughtful development and refinement of each piece. A crucial aspect of our approach is understanding and respecting the natural rhythm and capacity of small, family-run workshops. Most of our craftspeople and workshops aren’t set up for, nor interested in, large-scale production. They are artists and skilled makers who prioritize quality and attention to detail over quantity. This is why we consciously work in small-batch productions, typically creating limited quantities of each piece. This approach allows our artisan partners to maintain high standards without feeling pressured or overwhelmed by production demands. Sometimes, this means longer lead times, but we believe it is worth preserving the integrity of the craftsmanship and ensuring our artisan partners' well-being. THE HUMAN TOUCH BEHIND EVERY OBJECT What are your absolute favorite materials to work with? I have a particular affinity for wood and also metal, such as brass, because of how it ages and develops character over time. These materials tell a story through their use and wear. I am also drawn to pottery and ceramics. What makes clay unique isn’t just its physical properties but how they have been understood and worked with by the seasoned hands of craftspeople over generations. Which techniques are closer to your hearts and definitely part of your creative process? There is just something profound traditional joinery techniques, including joints that have been refined over centuries and can hold up structures and weights without any need for mechanical fasteners. We are also deeply interested in metal spinning, clay throwing techniques, stonemasonry, and basket weaving. What is it you desire the most for Origin Made going forward? While our journey began in Porto and our roots in Portuguese craftsmanship remain strong, our vision for Origin Made’s future is increasingly global. We see incredible opportunities to discover and support craft cultures not just in the Iberian Peninsula but across Asia, South America, Africa, and beyond. Each region has its own rich heritage of craftsmanship, often preserved through generations of artisans, and we are excited to explore these diverse traditions and techniques. https://origin-made.com @originmade

December 2022 | Design & Interiors below english Özgün tasarım ve zanaat: Tangere Yazı Alp Tekin Fotoğraflar Emre Dörter I n-Between Design Platform kurucuları Bilgen Coşkun ve Dilek Öztürk ile tasarım küratörü Francois Leblanc Di Cicilia tarafından hayata geçirilen TANGERE, tekstil tasarımı üzerinden yaşam alanlarındaki duygusal deneyimi zenginleştirmeyi hedefliyor. TANGERE, Latince’de dokunmak, bağlanmak, hareket etmek, etkilemek ve ulaşmak anlamına geliyor. 19. yüzyılda Paris ve İstanbul’u birbirine bağlayan Orient Express’in yolculuk deneyiminden ilham alan TANGERE, tasarım üzerinden farklı kültürleri bir araya getiriyor. İlk aşama için, globalde başarılı projelere imza atan ve Avrupa’da farklı şehirlerde çalışan Bethan Laura Wood, Christian Haas, David/Nicolas ve Mae Engelgeer ile iş birliği gerçekleştirilmiş. İpek kumaşlar kullanılarak zanaatkârlar tarafından üretilen yastıklar, hayatı kutlayan lüks yaşam tarzını simgeliyor. Original design and craft: Tangere Writer Alp Tekin Photos Emre Dörter T ANGERE, implemented by In-Between Design Platform founders Bilgen Coşkun and Dilek Öztürk and design curator Francois Leblanc Di Cicilia, aims to enrich the emotional experience in living spaces through textile design. TANGERE means touching, connecting, moving, affecting and reaching in Latin. Inspired by the travel experience of the Orient Express, which connected Paris and Istanbul in the 19th century, TANGERE brings different cultures together through design. For the first phase, cooperation was made with Bethan Laura Wood, Christian Haas, David/Nicolas and Mae Engelgeer, who have accomplished successful projects globally and worked in different cities in Europe. Pillows produced by artisans using silk fabrics symbolize the luxurious lifestyle that celebrates life.

May 6, 2026 | DESIGN & INTERIORS a HOUSE THAT HOLDS its SHAPE photos Tina Kulic For Italian-Canadian interior designer Maria DeCotiis, a home doesn’t need to choose between style and everyday life. In this recent project in Vancouver, she brings the two into balance — designing a house for her brother, Marco DeCotiis, and his three daughters that feels both composed and lived-in. Built in 2024, the house presents a contemporary exterior, while the interiors lean toward a quiet neoclassicism. Classic elements are used with restraint, set within a clean, modern framework. A SHARED REFERENCE The project begins with a shared visual memory. Raised in an Italian household with roots in Puglia, and shaped by frequent visits to Rome and Paris, the siblings draw from a familiar architectural language — applied here with control. Marble, plaster mouldings, white oak herringbone floors and unlacquered brass introduce continuity without nostalgia. The approach is deliberate: start with function, define a few key elements, and refine through detail. The result is measured — grounded, but current. A PLAN FOR CHANGE The structure reflects a longer view. Marco developed the house as a duplex, living in one half while renting the other — a practical move that anticipates change. Inside, the same logic holds. Spaces are open yet defined, materials tactile but durable. A single tone runs across the main floor — walls, kitchen and mouldings — creating continuity and warmth. DETAIL, NOT EXCESS The palette remains soft, with controlled shifts in tone. Burgundy in the powder room, navy in the primary suite, a muted lavender-grey in the girls’ bathroom — each gesture is precise. Some spaces carry more weight. The primary bathroom, in Eros grey marble with brass and black accents, reads as a retreat. Marco’s bedroom moves darker — more personal, more contained. Elsewhere, small details do the work. A curved black vanity, gold hardware, a saturated wall — emphasis without excess. In the end, the house is defined by balance. Lived-in, but composed. Contemporary, without urgency.

july 2023 | Design & Interiors english below Urla Stone House words Alp Tekin photos Burak Teoman B ol ağaçlıklı bir arazi içerisinde yer alan bu taş evin tasarımı iç mimar Selina Kazazoğlu’na ait. Türkiye’de, Urla’da konumlanan evin iç mekanlarını büyütmek için mutfak- salon ve antre duvarlarla ayrılmamış. Duvarlar yerine mobilyalarla seperasyon sağlanmış. Taş duvarların rustik görüntüsüyle modern ve hip mobilyaların kontrastı evin dikkat çeken bir diğer özelliği. Kazazoğlu evle ilgili şöyle diyor: “Aydınlatma benim olmazsa olmazım. Önceliğim aydınlatmalar oldu. Daha sonra taş evin doku yoğunluğunu boğuculuktan uzaklaştırmak amacıyla sıvadan şömine tasarlandı. Tavanlardaki koyu renk ahşaplar ise beyaza boyanarak ferah ve açık bir alan oluşturuldu. Böylece taş ev daha modern bir ambiyansa büründü” Kazazoğlu evin dekorasyon tarzıyla ilgili şunları anlatıyor: “Taş duvarların rustik bir görüntü oluşturmasına rağmen kullanılan mobilyalar modern ve hip ürünlerden seçilerek kontrast yaratıldı. Canlı renkler eve enerji verdi. Açık bej tonlar hakim olan evde konforlu oturma alanları yaratıldı”. T he design of this stone house, which is located in a forested land, belongs to Selina Kazazoğlu. In order to enlarge the interior spaces of the house located in Urla, Turkey, the kitchen-living room and anteroom are not separated by walls. Separation is provided with furniture instead of walls. The contrast of modern and hip furniture with the rustic look of the stone walls is another striking feature of the house. Kazazoğlu says the following about the house: “Lighting is a must for me. My priority was the lighting. Later, a plaster fireplace was designed in order to remove the texture density of the stone house from suffocating. The dark woods on the ceilings were painted white to create a spacious and open space. In addition, the stone house took on a more modern ambiance” Kazazoğlu tells the following about the decoration style of the house: “Although the stone walls create a rustic look, the furniture used was chosen from modern and hip products to create a contrast. Vibrant colors energized the house. Comfortable seating areas were created in the house, which is dominated by light beige tones”.

January 2025 | VOL 14 RYOKAN + BALE BENGONG her words Onur Baştürk photos Pempki It’s a delightful surprise to come across a home in Ubud, Bali, that’s inspired by the traditional Japanese ‘ryokan’. Anna, the owner, was deeply moved by the sense of peace and completeness she experienced during her travels in Japan. Working with Bali-based Blancostudio, she brought this serene, Zen-like retreat to life, naming the project 'Her'. “From the start, Anna and I had a shared vision of creating a wooden studio with Japanese influences,” says Blancostudio founder Conchita Blanco. Conchita, who spent much of her early childhood in Bali before moving to Australia, is the granddaughter of Spanish painter Don Antonio Blanco and Balinese dancer Ni Rondji. After completing her studies in Australia, she returned to Bali, first working at Indonesia's top architecture firm, Andramatin, before setting up her own studio. The 'Her' project is inspired by the traditional Japanese 'ryokan', but it also incorporates elements of the Balinese 'bale bengong', which charmingly means 'daydream house'. This skillful blend of Japanese and Balinese design comes to life in 'Her', which was built using wood from an old tree found on the banks of the Bengawang River in Java. Now, let’s take a closer look at the story behind 'Her' through Conchita’s perspective. How would you sum up Her in one sentence? Her is a Japanese-influenced home escape on stilts with Balinese roots. Anna's travels to Japan and her appreciation of Zen design are the two most important elements in the creation of the Her project. How did the design process evolve with these references? As a mother of two, I understand Anna's need to have a space in the house where she can escape for a moment. That's why I wanted her to have her own oasis of calm that would give her a sense of detachment from her surroundings. I referenced both Zen and Japanese minimalist aesthetics in the design to create a peaceful, new environment for her. What were the difficulties and benefits of designing a project inspired by Japanese ryokan in Bali? Since the beginning of my architectural career, I often travel to Japan for inspiration and to learn more about design because I have always been fascinated by both traditional and modern Japanese design. So I wouldn't say it was a design challenge, but an asset. You worked on this project with your husband, Avalon Carpenter, the founder of Kalpa Taru. What was Kalpa Taru's contribution to the project? Do you usually collaborate with your husband on projects? I also work as a creative director and designer at Kalpa Taru. Since 2018, I have been designing custom furniture and products for high-end clients and designers at Kalpa Taru. Kalpa Taru's contribution to the project is key to the success of the project because I believe the success of any project lies between the relationship between the makers and the designer. Kalpa Taru delivered high quality woodwork and for this project we worked closely together from the selection of every wooden component, finishing and construction methods. Working with solid wood structures requires highly skilled carpenters, and this project wasn't about intricate wood carvings and ornaments, it was about creating something flawless with seamless joinery. And yes, Blancostudio and Kalpa Taru often collaborate on many projects, in fact I feel that our most successful projects are always the ones we have done together. AND AS THE WIFE OF A CARPENTER, I HAVE A DEEP PASSION FOR WOOD, ESPECIALLY TEAK How would you summarize Blancostudio's design approach and style? Our design philosophy has always been to create something that will last, with a strong sense of belonging to the place and its users. We care about building something that exists in harmony with nature and is not intrusive, which is why we often incorporate the use of local materials while drawing inspiration from the vernacular style of the place. Our design style is minimalist with respect to traditional materials and methods. What are your sources of inspiration? At Blancostudio we work with a lot of natural materials because I believe it expresses their age and place in history. There is beauty in working with natural materials, where we often allow their patina to wear off and become part of our design, enriching it. And as the wife of a carpenter, I have a deep passion for wood, especially teak. There are so many layers to designing with wood, as each species has different strengths and beauty. It is really fascinating to me because it is a living material, you have to understand its nature and methods before you can design something out of it. However, our design approach comes from our respect for the material - and this is where I find most of my design inspiration. What brought you back to Bali, Indonesia after living in Australia for 10 years? Family - I have a big family and now as a new mother of two, I am happy to be back home and have my family close to help me raise my family. THERE HAS BEEN A RAPID INCREASE IN MASSIVE DEVELOPMENT IN BALI, SO MUCH SO THAT I FEEL QUITE SAD ABOUT IT How do you see Bali's future vision in design, is it getting better or stagnating? There has been a rapid increase in massive development in Bali, so much so that I feel quite sad about it. Bali is known as the island of the gods, I feel that many of us here share the same concern of what Bali will become if it continues to cater to all these massive developments that have no respect for Balinese culture and its environmental impact. To stop this, we need the government to step down and put strict rules and restrictions on building, without this I am afraid that the culture of Bali will slowly diminish and the island will suffer in return. blancostudio.co @blancostudio.bali for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart