May 2025 | VOL 15 TR BELOW ELVAN KARADENİZ This house is like a butterfly perched on a rock words & photos Onur Basturk We’re in the iconic house in Kayalar Village, built atop a massive rock by Elvan Karadeniz and her father, architect Coskun Karadeniz. How did you first come to the Northern Aegean? What was it like? I first came here as a child. We camped for years along the coastline between Assos and Küçükkuyu. There were only a few guesthouses in the ancient harbor of Assos—most of the businesses you see along the coast today didn’t exist back then. Hardly anyone came. That’s when we discovered the mountain villages. We used to go up to buy milk and eggs. Eventually, we bought land in Kayalar Village—exactly 25 years ago! The land was essentially a giant rock and scree slopes. Although it was five acres, there wasn’t a flat spot to stand on. Just a long, narrow, steep rock and cliff. It was hard to even call it “land.” I can honestly say this house is the most miraculous creation of my father, Coşkun Karadeniz. You live in this house, designed by your father. What can you tell us about it? We built it together in 2007, with great excitement. For an architect, designing your own home is a unique kind of freedom and joy. I’m lucky I experienced it so early in life. It’s a single-story house with a modern architectural approach—perched gently on the rock like a butterfly. It doesn’t clash with nature; it blends into it, disappears within it. The way it responds to external elements—terrain, wind, sun, climate—is remarkable. My father deserves a standing ovation for this. Structurally, it was also ahead of its time in terms of detailing and execution. Everything was considered: rainwater collection, natural ventilation, daylight planning... We’ve lived here for 17 years. Besides the peace and energy this region brings, I believe the house itself contributes to our sense of comfort and happiness. I’ve lived many phases of life here—from youth to motherhood. I raised both of my sons in this house. And over the years, most of my professional work has also been rooted in this region. What’s a typical day like at home? My father always says: “If someone wakes up in a summer house, has breakfast, and wants to leave immediately—there’s something wrong with the architecture.” The layout of indoor, semi-open, and open spaces should encourage you to stay and enjoy the house. We spend a lot of time at home. There’s a space for every hour of the day and every weather. Sometimes, we don’t leave for days. Even in summer, we often skip the beach during the day and go only in the evening. We host a lot—poolside parties, afternoon drinks, long dinners under the stars... What do you love most about the Northern Aegean? It’s a privilege to be part of this region—with its generous nature and stunning sea. But maybe the best part is that it’s made up of small villages, connected by untouched forests and winding nature roads. Since there’s no singular center, it hasn’t fallen victim to mass tourism. Many still say, “There’s not much to do here.” And that’s exactly why the region still lives on its own terms. No nightclubs, no shopping crazes, no dressed-up social scenes... How would you describe the feeling of being from the Northern Aegean? It feels grounded—humble, sincere, real. It’s a way of life that doesn’t chase image or spectacle. Nature isn’t a backdrop here; it’s part of life—with all its insects, snakes, boars, and foxes. At the same time, it has a vibrant social rhythm of its own: eating fresh fish with your feet in the sand, chatting over tea in village cafés, or finding great coffee and high-quality food in small, thoughtfully run spots. Some favorite local spots? Yahya’s Place, Kozluyalı, Simurg Sea, Gulet, Yengeç, Carlos’ Place (Troas Hotel), Avlu Café, Nadas, Casa Mila Restaurant, Leo Beach, No Name Beach, Uzun Ev, Yıldız Restaurant… You’ve worked on architectural projects in many of these villages. How would you describe your architectural approach? Contemporary and relevant—sincere, functional, and stripped of ornamentation, pretense, or outdated imitations. ELVAN KARADENİZ Bu ev kaya üzerine konmuş bir kelebek gibi! Elvan Karadeniz’in babası Coşkun Karadeniz’le birlikte yaptığı, dev bir kaya üzerine oturtulmuş, Kayalar Köyü’ndeki ikonik evdeyiz… Kuzey Ege’ye ilk gelişin nasıl oldu? Ne hissetmiştin? İlk kez çocukken geldim. Assos- Küçükkuyu arasındaki sahil şeridinde yıllarca kamp yaptık. Assos Antik limanda bile birkaç pansiyon vardı. Sahildeki işletmelerin yüzde 90’ı yoktu. Çok az insanın uğradığı yerlerdi. Dağdaki köyleri o zaman keşfettik. Süt, yumurta almaya giderdik. Sonra Kayalar Köyü’nden bir arazi aldık. Tam 25 yıl önce! Arazi dev bir kaya ve onun eteklerinden ibaretti. Beş dönüm olmasına rağmen üzerinde yürüyecek doğru düzgün alanı yoktu. Dar, uzun, korkutucu bir kaya ve uçurumdu. Oraya ‘arsa’ demek bile zordu. Babam, mimar Coşkun Karadeniz’in en mucizevi eseri bu ev diyebilirim. Peki baban Coşkun Karadeniz'in tasarladığı ve aynı zamanda yaşadığınız bu evin tasarımına dair neler söylersin? Bu yapıyı 2007 yılında büyük bir heyecanla babamla birlikte yaptık. Mimarın kendi evini yapması büyük özgürlük ve keyifli bir süreç. Genç yaşımda bunu deneyimlediğim için şanslıyım. Bu ev; kayanın üzerine bir kelebek gibi konan, doğaya hiç dokunmayan, aksine içine girip birleşen, kaybolan, tek katlı, modern mimari anlayışla tasarlanmış bir yapı. Araziyle ilişkisi, iklim, rüzgâr, güneş gibi dış faktörlere dair çözümleme detayları gerçekten müthiş ve babamın büyük bir alkışı hakettiği bir proje. Ayrıca yapı, detay çözümleri ve uygulama açısından da döneminin ötesinde bir teknoloji ve işçilik başarısı. Yağmur suyunun depolara toplanmasından, doğal havalandırma ve doğal ışık detaylarına kadar her şeyi düşünülmüş yapı. 17 senedir bu evde yaşıyoruz. Bölgenin insana verdiği coşku ve huzurun yanı sıra, bu evin de yaşam konforu ve mutluluğa bir katkısı olduğunu düşünüyorum. Gençliğimden anneliğime kadar çeşitli evreleri bu evde deneyimledim. İki oğlumu burada büyüttüm. Ve tabii yıllardır mesleki üretimim ağırlıklı bu bölgede. Evde bir günün nasıl geçiyor? Babamın bir söylemi var, “Yazlık evlerde insanlar sabah kalkıp kahvaltı ettikten sonra evden çıkma hissi duyuyorsa mimaride bir eksiklik vardır”. Bu nedenle kapalı, yarı açık ve açık alanların doğru planlanması insanı evin içinde tutan, evde rahat vakit geçirmeye olanak sağlayan bir şey. Biz evde çok vakit geçiriyoruz. Günün her saatine, iklimin her türüne uygun yaşam alanlarımız var. Günlerce evden çıkmadığımız oluyor. Yazın en sıcak günlerinde bile denize gitmiyor ya da akşama doğru gidiyoruz. Misafirimiz bol oluyor. Havuz başı birliktelikleri, akşamüstü içkileri, akşam yemekleri, gece uzun sofralar… Kuzey Ege’nin en çok nesini seviyorsun? Bonkör doğası, şahane deniziyle Kuzey Egeli olmak ayrıcalıklı bir his. Ama belki de en önemli faktör, bölgenin yapısı itibariyle el değmemiş orman ve doğa yollarıyla birbirine bağlanan ayrı ayrı köylerden oluşması. Tek bir merkez olmadığı için popüler turizme kurban gitmemesi… Birçok insana göre bölgede hâlâ “çok da yapacak bir şey yok”. İşte bu yapacak çok şeyin olmaması tam da bölgenin hâlâ kendi halinde yaşamasını sağlayan şey! Gece kulüpleri, barlar, alışveriş çılgınlığı, bol makyajlı davetler burada yok. Kuzey Egeli olmak sence nasıl bir duygu? Mütevazi bir hissi var. İçten, gerçek. İmajlar peşinde koşmayan, ayakları toprağa değen bir duygu. Doğanın pazarlama olarak değil, hayatın parçası olduğu bir yaşam. Böceğiyle, yılanıyla, domuzuyla, tilkisiyle… Kendine özgü zengin bir sosyal yaşamı da var. Ayakların kumdayken lezzetli bir mevsim balığı yemek, köy kahvelerinde çay içip sohbet etmek, ölçekli ve kaliteli şehirli kafelerde güzel kahve ve kaliteli yemek yemek gibi… En çok gittiğin mekanlar? Yahya’nın Yeri, Kozluyalı, Simurg Sea, Gulet, Yengeç, Carlos’un Yeri (Troas Otel), Avlu Kafe, Nadas, Casa Mila’nın restoranı, Leo Beach, No Name Beach, Uzun Ev, Yıldız Restoran… Bölgedeki birçok köyde mimari projelerin var. Mimari yaklaşımını nasıl özetlersin? Çağdaş ve güncel anlayışı temel alan, samimi ve fonksiyonel, süslemeden, -mış gibilerden, eski taklitlerden kaçınan bir yaklaşım. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

December 2023 | Vol 11 english below An architect's house communing with nature words & photos Onur Baştürk M imar Iraz Kutlar’ın evi Ahmetçe Köyü’ndeki Simurg Inn Oteli’nin hemen yanı başında. Ama ev o kadar iyi gizlenmiş ki, otelden bakınca görünmüyor bile. Kutlar çok başarılı bir yerleştirme ve peyzajla bunu başarmış. Ayrıca klasik standartların dışına çıkıp tüm yapıyı farklı birimlere bölerek tasarladığı için evin bütününde bilinçli bir otel havası da var. Sonuçta, bölgedeki benzerlerinden farklı, modern bir ev çıkmış ortaya. Kuzey Ege’ye ilk gelişin nasıl oldu? Buraya yerleşmeye nasıl karar verdin? Kuzey Ege ile gerçek anlamda tanışmam Koruoba Köyü’nde yaptığım mimari bir proje sayesinde oldu. Projeyi yaparken sürekli Simurg Inn’de konaklıyordum. Otelin büyülü atmosferi, köydeki tertemiz dağ havası ve denize yakın olması beni çok cezbetmişti. Sonunda 2020 yılında Ahmetçe Köyü’nden bir arazi aldım ve evimi yaptım. Evini tasarlarken önceliklerin ne oldu? Tasarımdaki ilk hedefim doğayla hemhal bir ev yapmaktı. Seçtiğim malzeme ve peyzaj tasarımında bu konulara çok özen gösterdim. Ayrıca eve gelen dostlarıma otel konforu yaşatmak istiyordum. O yüzden odaların yer aldığı bölümleri ana salondan ayırmak istedim. Salon kısmını da tamamen sosyalleşme odaklı tasarladım. Evin iç tasarımı oldukça sade ve kuzeyli. Genel olarak tasarım anlayışın bu yönde mi? Basitlik ve işlevsellik tasarım anlayışımda her zaman önceliğim olmuştur! Kuzey Ege’nin en çok nesini seviyorsun? Bölgenin bakirliği beni çok etkiliyor. İstanbul’dan buraya adım attığım anda bambaşka bir dünyada gibi hissediyorum: Gündoğumu ve günbatımı, bulutlar, mehtap, deniz, temiz havayla beraber… Evde bir günün nasıl geçiyor? Sabahları güne orman yürüyüşüyle başlıyorum. Havanın güzel olduğu yaz günlerinde yürüyüş sonrası mutlaka denize girerim. Evin bir odasını ofis olarak tasarladım. Kahvaltı sonrası ofise geçip tasarımlarıma başlıyorum. Bölgede en çok sevdiğin yerler neresi? Simurg Inn’in kış bahçesi en sevdiğim yer. Nefis kokteyller yapıyorlar. Demirciköy’ün köy kahvesi harika! Pizza Mera ise gerçekten çok ruhlu bir mekan, pizzaları şahane. Ayrıca Ahmetçe Köyü civarındaki yürüyüş rotalarını, Küçükkuyu ve Ayvacık pazarlarını da seviyorum. Kuzey Ege giderek popürleşiyor. Bölgenin gelişimi sence nasıl olmalı? Zeytinlikler asla imara açılmamalı! Ayrıca yapılacak tüm yapıların doğa örtüsü ve mevcut köy tipi binalara uyumlu olması gerekiyor. A rchitect Iraz Kutlar's house is right next to the Simurg Inn Hotel in Ahmetçe Village. But the house is so well hidden that it is not even visible from the hotel. Kutlar achieved this with a very successful installation and landscaping. In addition, since he went beyond classical standards and designed the entire structure by dividing it into different units, there is a conscious hotel atmosphere throughout the house. The result is a modern house that is different from its counterparts in the region. How did you first come to the Northern Aegean? How did you decide to settle here? My real acquaintance with the Northern Aegean was thanks to an architectural project I did in Koruoba Village. While doing the project, I was constantly staying at Simurg Inn. The magical atmosphere of the hotel, the clean mountain air in the village and its proximity to the sea attracted me very much. Finally, in 2020, I bought a land from Ahmetçe Village and built my house. What were your priorities when designing your home? My first goal in design was to build a house communing with nature. I paid great attention to these subjects in the materials I chose and the landscape design. I also wanted to provide a hotel's comfort to my friends who came to visit That's why I wanted to separate the rooms from the main living room. I designed the living room area entirely focused on socialization. The interior design of the house is quite simple and northern. Is your general understanding of design in this direction? Simplicity and functionality have always been my priority in my design approach! What do you like most about the Northern Aegean? The virginhood of the region impresses me a lot. The moment I step foot here from Istanbul, I feel like I am in a completely different world: with sunrise and sunset, clouds, moonlight, sea, fresh air... How does your one day at home go? I start the day with a walk in the forest in the morning. On summer days when the weather is nice, I always go swimming after a walk. I designed one room of the house as an office. After breakfast, I go to the office and start my designs. What are your favorite places in the region? Simurg Inn's winter garden is my favorite place. They make delicious cocktails. Demirciköy's village coffee place is great! Pizza Mera is a really soulful place, its pizzas are amazing. I also like the hiking routes around Ahmetçe Village, and Küçükkuyu and Ayvacık markets. Northern Aegean is becoming increasingly popular. How do you think the development of the region should be? Olive groves should never be opened to development! In addition, all buildings to be built must be compatible with the flora and existing village-type buildings. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

Mayıs 2021 | Art | Türkiye SABO ile dünyadaki tüm zamanlar Yazı | Begüm Güney V ersus Art Project, 3 Haziran-10 Temmuz tarihleri arasında SABO’nun ikinci kişisel sergisi “Time Machine”e ev sahipliği yapıyor. Sergi, zaman kavramının bulanıklaştığı bugünlerde ‘an’da kalma mücadelesi vermeksizin geçmişi ve geleceği birleştiriyor. “Paracetamol” adlı ilk serginden bu yana iki yıl geçti. Bu süreçte yeni serginin oluşma hikâyesini ve Fulya Çetin’in ifadesiyle ‘plastiğinin öyküsünü’ merak ediyorum. Kavramsal olarak hangi konuları ele aldın? Versus Art Project’ te açmış olduğum “Paracetamol” sergimden hemen sonra çalışmalarına başladığım proje oldu “Time Machine”. Kişisel birtakım anı ve hikâyelerimi anlattığım ilk sergimin ardından bu kez hikâyeyi daha geniş tutarak genel bir bakış yakalamaya çalıştım. Zaman çizelgem içerisindeki ufak hatıralardan başlayan serüven, insanlık tarihine ve sonrasında da geleceğe uzanan bir anlatıma evrildi. Bu sergide insanlığın başarıları, kayıpları, umutları, tecrübeleri, hayal kırıklıkları arasında yolculuk halinde olurken, bir taraftan da zaman makinesi içerisine bizzat kendim girip kişisel bir serüvene çıktığımı da belirtmeliyim. Özellikle bu yolculuk yapmış olduğum Time Machine sanatçı kitapları ile başladı. Öncelikle yakın zamanlı eskiz defterlerimi yeniden ele aldım. Bu defterlerin içerisindeki sayfalardan bir seçki oluşturdum. Sonrasında bu seçkiyi tamamen el yapımı bir kitaba dönüştürmek ilk adımım oldu. Aslında bir nevi kendi işlerimi kopyalama fikri üzerine yoğunlaştım. Sayfaları bitirip kitabın ciltlenmesini de tamamladığımda, istediğim boyut ve formatta ilk el yapımı sanatçı kitabımı bitirmiş oldum. Sonrasında kopyala işlemleri diğer kitapları tamamlayana kadar devam etti. Sonuç olarak birbirinin aynısı olmaya çalışan, toplamda altı adet el yapımı Time Machine sanatçı kitapları ve sergimin adı ortaya çıktı. Seni bu formatta kopyalamaya iten şey neydi? Notlarımı, fikirlerimi netleştirmek ve düzenlemek diyebilirim. Defterlerin içerisinde işlenmemiş halde bulunan her bir parçayı yerli yerine oturtmak bir şekilde. Kopyalama fikrinin dikkatimi çekmesinin nedeni bu oldu. İşlerimi yaparken onları tekrar ele alıp düzenlediğim zamanlar sıkça karşıma çıkıyor. İster istemez yaptığım bir deseni bir kez daha çizmek, değiştirmek durumunda kalabiliyorum. Bu şekilde doğru sonuca yönelmem kolaylaşıyor. İlk kitap bittiğinde tüm sayfaları tekrar kopyalama fikri de bu şekilde ortaya çıktı. Her sayfayı yan yana koyduğumda ve dikkatli bakıldığında görünen ufak farklılıklar işin büyüsünü daha da artırıyor. VERDİĞİMİZ KARARLAR NE KADAR DOĞRU Seride sıklıkla tipografiye yer veriyorsun. Neden? Tipografiler, başlıklar, metinler farklı bir açıdan ilgimi çekiyor. İşlerime dahil ederek tasarım dilini zenginleştirmeyi seviyorum. Bazen tek bir cümle çoğu şeyi özetleyerek anlatabiliyor. İzlediğim bir filmde ya da okuduğum bir kitapta geçen günlük konuşma cümlelerini not alıp ileride kullanmak için biriktiriyorum. Zamanı gelince cümleler ve işler mutlaka birbirlerine kavuşuyor zaten. Ara sıra bu notlara bakıp birbirlerinden kopuk bu cümlelerin alt alta gelerek anlamsız diyaloglar kurmasını izliyorum. PARALEL EVRENDE NASIL HİKÂYELER YAZILIYOR Serginle izleyiciyi hangi zamana götürüyorsun? Sergide geçmiş, şu an ve gelecek anlarının hepsi mevcut. Geçmişte yaşanmış ve tarihe yazılmış başarı öykülerinin yanı sıra günümüze ulaşan hatıralar ve gelecek kaygılarını, tüm bunların yanında belki de anlamsız bir şekilde emekleme çabalarımızı görüyoruz. Verdiğimiz kararlar ne kadar doğru? Bu tür yolculuklarda geçmiş hatalarımızı telafi etmeyi seçer miydik? Umarsızca yolumuza devam edersek gelecekte bizi neler bekliyor? Bunun gibi soruları sormaya çalıştım. Figürlerin geçmiş, şimdi ve gelecek zamanda yolculuk yapıyor ve tek bir düzlemde birleştirdiğin zaman ve mekan olguları kendi yaşamından anlar ile döngüsel bir ironi yaratıyor. Bugün bu durum gerçekten ‘ironik’ mi? Hepimizin geçmişte değiştirmek istediği ufak ya da büyük anıları, silmek istediği hatıraları mutlaka vardır. “It Sucks To Be You” işlerinde olduğu gibi her zaman başkalarının kusurlarını görüp bir anda “Don’t Give Up The Ship” işlerindeki batan gemiyi asla terketmeyen kaptan rolünde kendimizi buluyoruz. Tüm bu duygusal iniş çıkışlar ile verdiğimiz kararlar bizim zamanımızı şekillendiriyor. Peki paralel evrenlerde ya da henüz keşfedilmemiş ikili dünyalarda nasıl hikâyeler yazılıyor? Bunları henüz bilmiyoruz! Kim bilir, belki ilerde diğer versiyonlarımız ile bir araya gelip her birimizin verdiği kararları masaya yatırabileceğimiz bir zaman yaşarız. Yapıtlarında tarihten referanslar ve metinler sıkça karşımıza çıkıyor. Tarihten bugüne insanlığın başarı ve başarısızlıkları neler? Açıkçası en çok odaklandığım nokta, özellikle son birkaç senedir tabiatın sesini duyurmaya çalışıp bizlere göndermiş olduğu tüm alarmlara gözümüzü, kulağımızı kapatmamız oldu. Bu bizim en büyük başarısızlığımız. Şu an sahip olduğumuz tek evimize yaptığımız bu tahribatın yanında savaşların, fetihlerin ya da zaferlerin hiçbir önemi kalmıyor. Ne yazık ki geçmişi değiştiremiyoruz ama bir es verip anı farketmek ve geleceği ufak da olsa iyileştirmeye çalışmak bizim elimizde. Son olarak bu seri geçmişten ve şimdiden geleceğe ne söylüyor? Kendimize yüklediğimiz değerin sandığımız kadar fazla olmadığını, geçmişin yaşanmış bir anı kadar silik, geleceğin ise birçok alternatifi olan yollardan oluşabileceğini anlatıyor. Tüm süreç dönüp dolaşıp şu an verdiğimiz kararların önemini vurguluyor.

July 14, 2025 | VOL 16 content partnership the SUSTAINABILITY SWIM words Sibel İpek Marion Aube´, CSR Project Leader at Vilebrequin, shares insights on sustainability practices and future initiatives. As one of the leaders in luxury swimwear how do you integrating sustainability into the overall business strategy? Sustainability has always been a natural process at Vilebrequin, intrinsic to the development of our products, from the very first step of the selection of the fibers to its selling, including its manufacturing. Each time we start to work on a new product, we think about its whole life cycle, even repairability! As of today, 100% of our men swimwear is produced in Europe and Mediterranean region. Since 2018, we have started to incorporate more and more recycled materials into our star product, the men’s swimwear. It took 2 years to have all polyamid fibers recycled making our suppliers engaged into this environmental approach and testing and adjusting our fabrics to keep the same high level of quality. Today 98% of men’s swimwear at Vilebrequin is made from recycled materials. Are there any further innovations for its sustainability efforts? I n order to increase the sustainability of our range of products, we started to use natural fibers into our swimwear. In 2022, we had a collaboration with Woolmark and could launch the first wool swim shorts. This collection of wool swimwear has been very successful and is still continuing as an essential every season for Vilebrequin. This year, we are launching a swim short in linen. Developed with an Italian partner, this fabric has been treated with fluoride-free water repellent system, which enables it to be very light and practical to wear into the water. How does Vilebrequin ensure transparency and accountability in its sustainability practices? Vilebrequin’s website is giving information for each product about its environmental caracteristics, such as its traceability (where it is woven, where it is printed/dyed, where it is manufactured) and its recycled materials. Since Summer 2025 collection, the products sold in stores have a care label with a QR code, enabling the customer to go directly on the product sheet on the website to have an easy access to all information. Are there any specific targets or milestones that Vilebrequin aims to achieve in terms of sustainability by a certain timeframe? Our goal is to provide the most transparent information about our products. For example all our suppliers have to sign a chemical commitment letter which ensures the tracaeability of our products. We also have regular controls in our suppliers factories. Next step for Vilebrequin is to implant a traceability system which will enable to track each product and calculate its carbon footprint. The aim is to achieve a vision of a responsible company in 2030 : Shaping the future of vacations through innovative products, an engaged team and eco-responsible practices to achieve profitability and reduce our carbon footprint. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

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

May 2021 | Design | Turkey türkçe için tıklayın RASMUS ASTRUP "We have no choice but to bring nature to cities" Words | Onur Baştürk R asmus Astrup, partner and project director of SLA, one of Scandinavia's leading landscape, urban design and architecture studios. Astrup, an expert in sustainable landscape architecture, integrated climate adaptation and nature-based design, leads SLA's forward-thinking landscape projects. The award-winning Novo Nordisk Nature Park with its 100% water balance, the lush Copenhill Power Plant and Urban Recreation Area built on the roof of the waste-to-energy generation facility of Reinvent Paris and Copenhagen with its air-cleaning facades are among Astrup's most up-to-date projects. In recent years, we have come across architectural designs in which green is prominent and even the leading role. Organic farming areas and mini parks are created on the roof areas of the buildings. Parks with socializing areas are being built in unused idle areas of cities. There are even ecological cities that will be rebuilt, such as BiodiverCity in Malaysia. Do you think all this is enough? Or is it just the beginning for the "green revolution"? First of all, green is just a color -so I am happy to hear “ecological”- because yes, this is just the beginning and we are so far from there. There are so many crises in the world right now, and even though all the current focus understandable is on the pandemic, I belive that the biodiversity crise is the biggest of them all, and cities can actually contribute to solve it. When we bring nature into the cities, we are not only solving problems like stormwater, urban heat island and pollution. We are also creating awareness, well being and social connections. Will we come across cities with increased green areas in the next decade? Are you optimistic about this issue? We are currently experiencing a global demand from our clients towards more urban space and city nature, and that is definitely positive and bringing me optimistic energy. Basically the urban space is the “social glue” or the democratic fundament for cities. We always use City Nature as a broad term for our approach to urban design, we want to make them sustainable, resilient and healthy, but we also believe that the urban public realm is the most democratic place. It’s the place where everyone can meet equally and engage despite gender, age and religion. As in Liam Young's fictionalized film "Planet City" of 2050, what we need to do is return a significant part of the world to the wild? Is this our salvation? What do you think about this? Yes we need to bring nature into cities, and yes it has to be more wild to solve to global challenges, but for us the wild expression has 2 purposes. It both brings a lot of climatic utility values, but equally it also brings an aesthetic value. Actually there are several scientific evidence reports that concludes how important wild nature is for our mental health, but in our studio it’s also a clear design driver. We are deeply inspired by the process and dynamics of nature. NOVO NORDİSK IS MY FAVORITE PROJECT In one of your interviews, you showed the parking lot for Novo Nordisk as your favorite project to date. What excited you about that project? And I am really curious about is; What is the project that excites you right now? Novo Nordisk Nature Campus is the Global Head Quarter for the biggest company in Denmark, and a world leading supplier of diabetes medicine. When we together with them developed their previously grey concrete area into a super wild nature campus, it was a paradigm shift. It was the first time we managed to get a global company to commercially brand themselves with our values. They did it internally for the employees, but also externally to brand the company with biodiversity, 100 % stormwater management and sustainable materials. I actually still think it’s my favorite project because of what it started. For a project in Denmark, you found a quarry containing waste stone fragments and used those pieces to create pavements in the parking lot. Can such a sustainability study be included in every project? Yes it can, because it’s all about how we are working in the studio. It’s embedded in our design process, always to be starting with research, knowledge and discussions. It happens before we start to design an actual shape. So in that particular projects we initiated our projects with a 3 days road trip around the projects site, and it was there we discovered the nearby quarry with a lot of beautiful left over granite gravel, that then became a design driver for the pavement. The "New Order of Nature" project was also very interesting and caught my attention… Doesn't moving and scaling nature according to users' demands also mean spoiling people too much? I think the short version is that you can never spoil people with too much nature. People are part of nature, this is the “order” where all of us belong. WE CREATED AN ICONIC EXPLORATION AND NATURE ARENA There are points in your "Naturkraft" project that I do not understand. There is talk of a human-made form of ecosystem. Can you give information about the exact implementation and actualisation? The ambition of Naturkraft located on the Danish west coast is to create an iconic exploratorium and nature arena about the power and aesthetic values of nature. It’s extra relevant these days to make awareness about how nature can provide new solutions to old problems. It’s a round nature arena that encourages and challenges visitors to experiences on the powers of nature through physical play, enlightening learning activities and intuitive understanding of the interaction between humans and nature. Here, visitors will get fascinated by, experience, feel and sense how the physical and aesthetic powers of nature will shape the sustainable cities and communities of the future. WHAT DID THE SEWING ON THE POWER ROOF PROVIDED? The landscape design on the steeply sloping roof of the power plant in Copenhagen was also quite extraordinary. I see such projects as a kind of "green dressing". Can it be valid for every building? Is the sustainability of such a landscape 100 percent? Or is it necessary to constantly renew plant varieties? We work with the same values anywhere, and it’s based on nature, so therefore the projects never look the same! Nature is responding to climate, topography and in cities it’s influenced by culture. When our friends from BIG invited us to design the park along the skislope, we wanted to work with the existing biodiversity of the surroundings, but we discovered that there wasn’t any. Therefore we had to add new nature, a planting that not only would work on the super steep roof on a plus 80 meters tall waste to energy facility -but also a planting that would bring biodiversity to the surroundings. A new resilient planting that would be spread by birds and wind, so it generously brought value not only to the users that climb it but also to the surroundings. MY PASSION IS NOT TO BE GOOD, BUT BEING How do you view the world, cities and your profession when you are at the beginning of your career? What has changed in your vision over the years? What remained the same? My passion and curiosity is actually growing by the years. It’s this weird paradox, that the more knowledge you gain, the more you understand how much else you need to discover, learn and develop. It’s also the beauty of our profession, you never get “good enough”. Not that I am driven by being good, my passion is to “do good”. I think the projects we work with in SLA are bigger and more complex than ever. We are not just designing projects that is getting built, we are also working with thought leading, strategic advising on city level, books and exhibitions. Do be able to do that we have an interdisciplinary mix of competences, from biologist, anthropologist to light designers. And I love the input’s and endless knowledge it brings me. Finally, I am also curious about the design approach you have adopted in landscaping. Do you want to make nature too regular, or do you want the liberation of nature to reveal the flaws, as in the far eastern philosophy Wabi-Sabi? We definitely agree with the Wabi Sabi view in the perfection in natures processes. The fact that it’s a process means that it’s never the same, it can not be tamed. Many people spend their whole life trying to defeat or control nature is because they think it’s chaotic, but it’s not. It’s another order, the nature order. If we all understood and accepted that fact, the world would be far better. Print YUZU MAGAZINE - III Out of Stock for more

March 2025 | DESIGN & INTERIORS REVIVING HISTORY in WEST VANCOUVER words Karine Monie photos Ema Peter Photography interior design Falken Reynolds In West Vancouver, British Columbia, a 1975 home has been transformed into a living work of art by Falken Reynolds . Co-founders Chad Falkenberg and Kelly Reynolds, “The owner loved the soul of the house and was so clear about the life she envisioned living in,” recall Falkenberg and Reynolds. “While we were really intentional about the space planning and functional details, they fade into the background because of the eclectic layering of materials and forms. The house feels vintage and has a sense of history – onyx, bronzed glass, vintage lighting, the soft curves of the furniture.” A COLOR PALETTE IN HARMONY WITH ART The design journey began with a warm, sensuous foundation. “We wanted warm and sensuous colors as a foundational palette so the artworks could shine and the furnishings could be an extension of the art – both in their eclectic forms and also in their bold colors,” explain the design duo. The curated hues not only highlight the owner’s impressive art collection but also set a refined stage for the carefully chosen furnishings. TEXTURED LAYERS AND THOUGHTFUL MATERIALS Every surface tells a story in this meticulously renovated home. Light natural hardwood flows throughout the interiors, unifying spaces and grounding the design in its West Coast context. In the kitchen, Corian solid surface millwork was skillfully curved to soften the door fronts facing the water, diffusing light with an almost poetic elegance. Reclaimed brick-like tiled bases and backsplashes evoke a nod to another era, while vintage glass and crystal lighting add layers of glamour and playful charm. RE-IMAGINING A CHARACTER-FILLED FIREPLACE One of the most striking transformations is the reinstallation of a character-filled fireplace. Originally clad in unique onyx, the old fireplace was set to block the view until the homeowner decided on a daring change. Collaborating with master stonemason Robb Webb, the team salvaged the honey and amber hued onyx—an homage to the home’s storied past—and reinstalled it in a new curved design. RENOVATION WITH A CONTEMPORARY TOUCH Breathing new life into the historic structure, the renovation preserved the home’s inherent character while embracing modern functionality. By stripping the house back to its structure and reopening the spaces, Falken Reynolds maintained the large windows and skylights that frame the breathtaking views. KEY ARCHITECTURAL TRANSFORMATIONS Additional design highlights include a curated selection of 1970’s-inspired furnishings—such as the sculptural Tactile sofa by Baxter—that infuse the space with glamour and casual sophistication. From its layered materials to its artful reinstallation of historical elements, this West Vancouver home stands as a testament to Falken Reynolds’ ability to marry heritage with innovation. The result is a refined yet approachable space—an intimate, sensual retreat that not only celebrates its storied past but also offers a warm embrace for modern living.

June 6, 2026 | Art & Culture media partner YUZU an ART FAIR SHAPED by the ISLAND CAN IBIZA words Onur Basturk As CAN Art Fair Ibiza returns for its fifth edition this June, the fair continues to shape a different pace for contemporary art in the Mediterranean. Bringing together 30 international exhibitors alongside an expanding OFF Program and CAN Local initiative, CAN increasingly feels less like a conventional fair and more like something embedded within the island itself. YUZU is among this year’s media partners of the fair. We spoke with curator Saša Bogojev about Ibiza’s atmosphere, smaller-scale art experiences, and why the fair has grown beyond the traditional white-cube format. A SMALLER, MORE RELAXED ALTERNATIVE TO THE STANDARD ART FAIR MODEL Over the past five years, CAN Ibiza has become one of the Mediterranean’s most closely watched contemporary art gatherings. What do you think Ibiza offers to the art world today that other fairs or cities cannot? I think we landed on something that the world is slowly discovering as a sustainable alternative to standard art fair practice. Instead of large, overwhelming fairs in busy cities, we offer smaller events with hand-picked presenters, held in a relaxing and more informal environment. With the island being so beautiful and having a lot to offer on its own, every participant and visitor already feels good about being there in the first place, so everything else feels like a bonus. CAN Ibiza does not seem to revolve around a single central theme this year. Yet there is still a strong shared atmosphere throughout the fair, shaped by ideas of place, landscape, and perception. Was this something you consciously wanted to build into the curatorial framework? No, the themes usually propose themselves, and as a curator, I love seeing that happen. As commercial events, fairs aren’t easy to fully curate in that sense, but that dynamic also has its value because they often point to a larger picture of the world around us. I was particularly excited to see a number of works touching on the subject of illusion, especially sculptural works, and humanity’s shifting experience of understanding and trusting reality. IT’S IMPORTANT TO MAKE MORE OF THE ISLAND PART OF THE FAIR ITSELF Why was it important for CAN to move beyond the traditional fair format and engage more directly with Ibiza itself? And how much does the island shape your approach to contemporary art? For us — and I’m saying “us” because the OFF Program isn’t something I’m personally curating — it’s important to go beyond the fair format so more of the island becomes part of the project. From the first year, we didn’t want to be a circus that shows up once a year, puts on a show, and then leaves. The OFF Program is our way of connecting what already exists on the island with what we bring, and vice versa. It’s also a way to motivate visitors to explore locations and parts of Ibiza they might otherwise overlook, and hopefully discover something that stays with them. IT’S DIFFICULT TO DEFINE EXACTLY WHAT MAKES A WORK “EXCITING” You describe CAN Ibiza’s selection process as “artist-first.” What do you personally look for when selecting galleries and artists for the fair? I’m constantly looking at art — virtually, at galleries, fairs, studios, everywhere really — and I’m always excited when I come across works that genuinely feel exciting. It’s hard to describe exactly what makes a work “exciting,” because it can be the subject matter, the technique, the atmosphere, the attitude behind it, or even the way people talk about it. So the core idea is simply to identify those kinds of works and then find the right people willing to present them at CAN. Where do you see CAN Ibiza five years from now? I see it — or better, I hope to see it — becoming a globally recognised synonym for a unique art event that is equally enjoyed and appreciated by both visitors and the artists and galleries participating in it.

October 27, 2025 | Art & Culture ISOLA SPACE BRIDGING MILAN and DUBAI words Onur Baştürk One year after opening its Dubai office, Milan-based Isola Design Group introduces its first permanent venue: Isola Space. Opening on November 4, in sync with Dubai Design Week, the project marks a first for both the brand and the Emirati city. Designed by architect and creative director Elif Resitoglu, Isola Space occupies a prominent location within The Lana Promenade, Dorchester Collection, the new landmark building designed by Foster + Partners for Omniyat. “We always dreamed of creating a home for our global community — a space that could go beyond design weeks and festivals,” says Gabriele Cavallaro, CEO of Isola Design Group. “That vision led us to open a branch in Dubai, and now, The Lana Promenade has become the ideal place for our community to gather, share ideas, and inspire local collectors and design enthusiasts alike.” ICONS OF TOMORROW For its debut, Isola Space presents “Icons of Tomorrow”, a group exhibition bringing together designers shaping the future of contemporary design. Highlights include Epoche Studio’s fossil-and-aluminum side table, Jinil Park’s series translating sketches into three-dimensional forms, and Aina Kari + Giovanni Botticelli Studio’s reinterpretation of Venetian glass craftsmanship. The outdoor area features Alkimista’s sculptural seating and Pots and Pines’ handmade planters. The exhibition remains open until December 6. WHERE DESIGN MEETS DAILY LIFE Beyond its role as a gallery, Isola Space integrates a café and design store, creating a fluid connection between design and everyday life. Visitors can explore works by more than 30 international designers and studios including Alessa Dresel, Anton Kuzmin + Ivan Melnichuck, Federico Stefanovich, Studio Mignone, Szymon Keller, and Forks Plus. The interiors feature collaborations with ALPI (Patricia Urquiola’s Quadra surfaces), Arper, B&T, Ton, Armourcoat, Montalbano, Sandalyeci, Vescom, Acumen Light, and Dubai Audio, reflecting the platform’s attention to materiality and refined craftsmanship. STRENGTHENING A CROSS-CULTURAL DIALOGUE With the opening of Isola Space, the brand reinforces its ambition to bridge Milan and Dubai’s creative ecosystems. Today, Isola connects over 2,000 designers and studios from 70 countries, redefining design not merely as exhibition culture but as a living, shared practice embedded in everyday life.

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

Aralık 2020 | İnsan | Türkiye Under'30 Yazı | Onur Baştürk Lal Batman, Miro Gerede Erkaya, Buğra Büyükşimşek, Kutsal Engeç Devamı için... Print YUZU MAGAZINE - II Out of Stock View Details

April 25, 2026 | VOL 18 ISTANBUL’s NEW COOL SPOT: Hovagimyan words Onur Basturk In every city, what feels “cool” shifts over time, and Istanbul is no exception. A decade ago, Karakoy was in its prime. There were only a handful of restaurants, but they were good. The neighbourhood had not yet been overtaken by low-quality crowds, and the Galataport development — with its open-air mall atmosphere — had not yet reshaped the waterfront. And yet, despite everything, Karakoy endures. Karakoy Lokantası is still here, even if it has changed address. Istanbul Modern remains, even if it now sits within Galataport. And today, Karaköy has a new highlight: Hovagimyan Hotel and Suites, standing directly opposite the Peninsula — a symbol of a very different, more polished world. A BUILDING WITH A LONG MEMORY What makes Hovagimyan recall the Karakoy of its earlier, more characterful days begins with the building itself. The hotel occupies a structure from the 1910s designed by architect Leon Nafilyan, who brought a Parisian sensibility to the heart of Istanbul. With more than a century behind it, the building feels like a quiet time traveller, carrying the city’s memory within its walls. This historic han has been carefully reactivated through the refined vision of Rana and Erol Tabanca — the duo behind projects such as Alavya in Alacati and OMM (Odunpazarı Modern Museum) in Eskisehir, both known for contributing meaningfully to Turkey’s cultural landscape. OUR AIM WAS NOT TO DISPLAY THE PAST, BUT TO LIVE WITH IT Hovagimyan includes 21 suites of varying sizes. The first thing that draws you in is the view: the Historic Peninsula on one side, the Bosphorus on the other. But there is another layer. The rooms are furnished with Art Nouveau and Art Deco antiques and artworks, all selected from Erol Tabanca’s personal collection. Creative Director Selina Pirinccioglu explains that preserving the building’s character while giving it a new life was central to the project: “This is not a hotel that repeats a single idea throughout. It carries traces of different periods and reflects Istanbul’s layered identity. Our aim was not to display the past, but to make it possible to live with it.” FAMILIAR FLAVOURS, REVISITED General Manager Aslı Buyuka highlights what sets Hovagimyan apart: “We didn’t try to invent a new concept. We focused on how to keep a strong building alive in a special part of Istanbul. That’s why we didn’t limit ourselves to the accommodation experience alone, but designed a flow that extends throughout the day. The restaurant at the entrance and the Penthouse becoming meeting points are part of this idea.” As Büyüka notes, the ground floor hosts a restaurant shaped under the consultancy of chef Seray Öztürk: sen’den. As its name suggests in Turkish, sen’den brings a sense of familiar intimacy to the table, interpreted with a contemporary touch. Think crisp fried mussels, lamb baked with orzo, lentil mantı, bonito pilaki with olives, beef brisket, freekeh rice with seafood — and, to finish, a salted-caramel rice pudding that quietly steals the scene. - The full story is featured in Vol.18 - Print / NEW VOL XVIII - 2026 ₺1.000,00 Price Add to Cart

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

November 2024 | Travel FOR ENGLISH ŞIK ve FRANSIZ DAĞ KAÇAMAKLARI words Pınar Yılmaz / Deliciae BAGATELLE COURCHEVEL Üç vadinin kalbinde, 2200 metre yükseklikte yer alan Bagatelle Courchevel, 500 metrekarelik panoramik terasıyla benzersiz bir yemek deneyimi sunuyor. 60'ların özgür ruhundan ilham alan neşeli atmosferiyle ünlü olan restoran, Bagatelle Grup Şefi Rocco Seminara ve Executive Şef Jules Pronost’un hazırladığı Akdeniz esintili lezzetlerle gastronomik mükemmeliyeti bir araya getiriyor. Chalet tarzı dekorasyonu ve canlı müzik programlarıyla sıcak ve davetkâr bir atmosfer sunan Bagatelle Courchevel, bu kış sezonunda kayak severlerin vazgeçilmez duraklarından biri olmaya aday. CHALET FRANCE COURCHEVEL Şimdi gözünüzü kapatıp hayal edin: Kapıdan içeri girdiğinizde sizi kahverengi modern ahşap kaplama ve kaşmir grisi yünle kaplanmış oyuklarla kontrast oluşturan retro yer karoları karşılıyor. İçerdeki modern iç mimariye vintage mobilyalar eşlik ediyor. Burası Courchevel'den sadece 18 dakika uzaklıkta, Champagny-En-Vanoise vadisinde yer alan Chalet France. Doğu ile batıyı kusursuz bir şekilde harmanlamasıyla ünlü iç mimar Kelly Hoppen tarafından tasarlanan Chalet France, dağda şıklığı yeniden tanımlama iddiasında, ki bu iddianın hakkını veriyor. 16 kişi kapasiteli Chalet France geniş cam pencereleri sayesinde dağların büyüleyici manzarasını da sunuyor. ECRIN BLANC RESORT COURCHEVEL Geleneksel Savoyard tarzında ahşap ve taş kullanılarak inşa edilen Écrin Blanc, üç vadinin tam kalbinde, Courchevel kayak merkezinde yer alıyor. 127 odası ve süiti bulunan otel, çiftlerden geniş gruplara kadar her türlü misafir kitlesine hitab ediyor. Özel yeraltı tüneliyle Fransız Alpleri'nin en büyük eğlence ve su merkezi Aquamotion’a erişim sunan otel, konfor ve eğlenceyi bir araya getiriyor. Écrin Blanc otelinin kalbinde yer alan Cellier ise günün her saatinde, yerel üreticilerin sunduğu lezzetlerin yer aldığı bir menü sunuyor. L'AVENTURE BY BAGATELLE COURCHEVEL Bagatelle Group ve Maison Tournier, Courchevel 1850’nin ünlü L’Aventure restoranını yeniden canlandırmak için güçlerini birleştirdi. 2000 yılından bu yana Courchevel’in simgesi olan L’Aventure, gelenek ve moderni dengeleyen zarif bir dönüşümün ardından kabare tarzındaki gösteriler ve dans performanslarıyla misafirlerine unutulmaz geceler yaşatmaya hazır! Elbette tasarımcı Sam Baron’un dekorasyonu ve Fransız gastronomisinin kış lezzetlerinden hazırlanan yeni menüsüyle… CLUB MED VAL D'ISÈRE Val D’Isère, sadece dünyaca ünlü bir kayak merkezi olmanın ötesinde, Fransız Alpleri'nin kalbinde özel bir yaşam tarzını simgeler. Bu benzersiz karakter ve zarif lüks, iç mimarlar Marc Hertrich ve Nicolas Adnet’i Club Med Val D’Isère’in resepsiyon ve yaşam alanlarını yenilerken ilham kaynağı olmuş. Dağ ruhunu yansıtan doğal malzemeler ve zarif detaylarla donatılan otel, konuklarına otantik bir konfor sunuyor. Her detayı özenle tasarlanan alanda, Val D’Isère'in sembolü olan altın kartal tüylerini taşıyan özel yapım panoramik bir halı yer alırken, özenle yerleştirilmiş odun duvarları ve derin bir şömine, mekanın dağ ruhunu pekiştiriyor. Bar salonuna bitişik yeni bir alan olan Salon Dynamique ise kırmızı ve buz mavisi tonlarındaki kumaşlar, suni kürk battaniyeler ve son ahşap kakmalarla uyumlu trompe l'oeil parke halıyla dekore edilmiş. Tavandaki benzersiz avize aydınlatma ustaları Beau&Bien tarafından Limoges porseleninden yapılmış.

June 2024 | Design & Interiors english below MEET THREE NEW BOAT MODELS words Pınar Yılmaz D eniz yaşamını çoğu tekne sahibi, “şehir gürültüsünden uzakta, sakin ve huzur dolu” olarak tarif eder. Gerçekten de öyledir! Peki bu yılın deniz üstündeki en yeni yaşam alanlarını merak ediyor musunuz? İşte üç iddialı tekne modeli… NUMARINE’İN EN BÜYÜK MODELİ Numarine’in denize indirilen en büyük ve yeni modeliyle tanışın: 37XP - M/Y Maya. Sofistike bir estetiğe ve cesurca tasarlanmış işlevsellikleri bir araya getiren Maya, birinci sınıf bir yat deneyimi. Süperyat, kompozit bir üst yapıya ve tam yer değiştirmeli çelik bir gövdeye sahip. Birden fazla geniş sosyal alana sahip olan Maya'nın iç tasarımı Rezzan Benardete’ye ait. Yatın ana güverte salonu ve kabinleri büyük pencerelerden yararlanarak güneş ışığından bolca faydalanıyor. Geniş dış mekanlar ise yeni modelin en önemli avantajı. 37XP, ana güverte üzerindeki ana süit dahil olmak üzere yedi misafir kabinine kadar konaklama imkanı sağlıyor. SÜRDÜRÜLEBİLİRLİĞE BAĞLILIK: GREENLINE 58 FLY Too Design'dan Marco Casali ve MICAD mühendislik arasındaki iş birliğinin ürünü olan Greenline Yachts 58 Fly, sade ve kullanışlı bir iç mekan tasarımına sahip. 58 Fly, Greenline'ın zanaatkârlık ve sürdürülebilir yeniliklere olan bağlılığını yansıtıyor. Greenline Yachts Sahibi Vladimir Zinchenko, “Yatçılığın gelecek vizyonunda ilerlerken odak noktamız hem lüks hem de çevre dostu deneyimler sunmak. Sadece tekne inşa etmekle ilgilenmiyoruz, okyanuslara olan saygının mirasını oluşturmakla da ilgiliyiz” diyor. RAND BOATS’DAN ROAMER 29 Kökleri İskandinav tasarımına dayanan Rand Boats; şıklık, zarafet, lüks ve konforu bir arada sunan fonksiyonel tekneler üretiyor. Kurucusu ve mimarı Carl Kai Rand, detaylara oldukça önem veriyor. Yeni modellerden Roamer 29, kullanım kolaylığı, stil ve konforu bir arada sunarak seyir keyfini en üst seviyeye taşıyor. Korunaklı dümen alanı ise tüm hava şartlarında konforlu bir şekilde seyir yapılmasına olanak sağlıyor. Ayrıca teknenin ince düşünülmüş planı ve geniş depolama alanları teknenin her santimetresini kullanışlı hale getiriyor. Rand’ın inovatif ve sosyalleşme odaklı tasarım DNA’sından yola çıkarak tasarlanan Roamer’da 180 derece dönebilen dümen mahalli koltukları kokpit masası etrafında dört kişilik bir sosyal alan da yaratıyor. Ayrıca ön güvertesindeki güneşlenme alanı açılarak büyük boy bir güneşlenme minderine dönüşüyor. M ost boat owners describe life at sea as "a quiet and peaceful life away from the noise of the city". Indeed it is! But are you curious about this year's newest living spaces at sea? Here are three ambitious models... NUMARINE'S LARGEST MODEL Meet Numarine's largest and newest model ever launched: 37XP - M/Y Maya. Combining sophisticated aesthetics and boldly designed functionality, Maya offers a premium yachting experience. The superyacht features a composite superstructure and full displacement steel hull. Maya's interior is designed by Rezzan Benardete and features several spacious social areas. The yacht's main deck saloon and staterooms benefit from large windows that allow for plenty of sunlight. Spacious exterior spaces are the main advantage of the new model. The 37XP can accommodate up to seven guest cabins, including a master suite on the main deck. COMMITMENT TO SUSTAINABILITY: GREENLINE 58 FLY A collaboration between Marco Casali of Too Design and MICAD Engineering, Greenline Yachts 58 Fly features a simple and practical interior design. The 58 Fly reflects Greenline's commitment to craftsmanship and sustainable innovation. "As we move forward in our vision for the future of yachting, our focus is on delivering experiences that are both luxurious and environmentally friendly. We are not just about building boats, we are about creating a legacy of respect for the oceans we explore. ROAMER 29 BY RAND BOATS Rooted in Scandinavian design, Danish craftsmanship and recycling, Rand Boats produces functional boats that combine elegance, grace, luxury and comfort. Founder and architect Carl Kai Rand pays great attention to detail. The Roamer 29, one of the new models, maximizes cruising pleasure by combining ease of use, style and comfort. The sheltered helm area allows for comfortable cruising in all weather conditions. In addition, the boat's thoughtful layout and ample storage space make every inch of the boat useful. Based on Rand's innovative and social design DNA, Roamer's 180-degree swivel helm seats create a social space for four around the cockpit table. In addition, the foredeck sunbathing area opens up into an oversized sunpad.