November 2024 | Travel CAPE TOWN for FOOD NERDS Words Tudor Caradoc-Davies (Cape Town) & Robyn Alexander (Kalk Bay) Production Sven Alberding / Bureaux Photos Warren Heath/ Bureaux One of the most beautiful cities in the world, Cape Town is also turning into one of the best indie foodie destinations. From artisan bakeries and butcheries to craft breweries, coffee roasters and a wave of maverick chefs, for sheer variety and value for money, it’s difficult to beat the ‘Mother City’. THE CITY BOWL Unlike many metropolises dominated by skyscrapers and a stark financial district, Cape Town’s inner-city manages to effortlessly mix business and pleasure. From the easy pedestrian feel of Bree Street to the east city, Kloof Street and micro-districts in between, your options are endless. From fantastic fine dining restaurants from to hole-in-the-wall burger joints, you will not go hungry. JASON BAKERY Cape Town’s go-to inner-city baker, Jason Lilley offers up so much more than just bread. Get there any time from 7am on a weekday and the place is already busy with Capetonians getting their morning coffee and breakfast. Be sure to try his chorizo egg tartlets and bacon croissants in the morning, the porchetta sandwich for lunch, lobster rolls on ‘Lobster Roll Fridays’ and take a loaf of sourdough back home if you are self-catering. If you visit on the weekend before climbing Table Mountain, get a sugar kick from Jason’s fabled doughssants. His take on a ‘cronut’ (croissant and donut) they have a well-deserved cult following in the city. @jasonbakerycpt CLARKE’S While not limited to the category, Clarkes excels at the post big night breakfast and brunch. With possibly the best burger in Cape Town (grass-fed beef patty topped with Underberger cheese), the Rooster dog (with kimchi, sriracha, miso mayo and toasted peanuts) and a great Bloody Mary that they claim “people rise from the dead for”, Clarkes draws crowds both nursing themselves back to speech after the previous night and making plans for tonight. @clarkescapetown ARCADE Dubbing itself a “resto-bar” Arcade combines old school industrial cool with a drinks and food menu that will keep you hanging out at the pavement tables any time from 5pm to 2am (kitchen closes at 11pm). Try a chicken prego roll or the McQueen burger (cucumber yoghurt relish, pickled red onion, avocado, rocket, coriander and basil) with sweet potato fries and wash it down with a cocktail. @arcade_ct TRUTH COFFEE If Mad Max drank coffee in Cape Town, this steampunk-themed cafe would be his local. Renowned for their coffee (try the Resurrection Baby) and the beautiful, outlandish coffee machine that makes your brew, Truth also make good food (smash a Steampunk Florentine for breakfast or the Ultimate Steak Sandwich for lunch) and serve up drinks at night. We recommend the Devil’s Peak First Light Golden Ale. @truthcoffee.capetown HONEST CHOCOLATE These guys do chocolate, but it’s not your normal chocolate. Using ethically sources raw cocoa from Ecuador (as opposed to the roasted cocoa most manufacturers use), they make incredible chocolate treats that are free from preservatives, additives and emulsifiers (all the crap stuff you read on the back of a chocolate wrapper). Their chocolate is also dairy-free and uses agave nectar in place of processed sugar. As if you needed another reason to sample some quality chocolate, there is a secret gin bar at the back of their Wale Street store. @honestchocolate MARBLE CAPE TOWN Chef David Higgs has brought his fire-cooking celebration to Cape Town. At the top of the restored heritage Union Castle building, Marble has wrap-around rooftop views of Table Mountain, the V&A Waterfront’s working harbour and the Atlantic ocean and is set to be the spot for glam sundowners this summer. Offering a real destination feel, the 220-seater restaurant continues the signature Marble fire-cooking style – with a touch of Cape Town added to the mix. @marble_capetown CHEFS WAREHOUSE & CANTEEN Feted chef Liam Tomlin is at it again… his new vision for the three storey-building on Bree Street (formerly The Bailey) has totally re-invented the space, with a back-to-the-original Chefs Warehouse & Canteen on the ground floor (global tapas and an edgy urban style); a brand-new restaurant, Merchant, on the first floor (championing local producers in fresh new ways) with a tasting menu and a more casual bar menu; and a rooftop events venue called Room 91. @chefswarehouse_canteen HEIRLOOM Fresh from an extensive renovation, the signature restaurant at Cape Grace, re-born as Heirloom, has mesmerising views over the marina to Table Mountain, and a fine-dining approach to match. Chef Asher Abramowitz (ex The Bailey) takes a diametrically opposite approach to the fine-dining culture of theatrics, with daringly minimalist four- and seven-course tasting menus and vibrant seasonal à la carte menu. Not a hint of foam, drizzle or garnish in sight, but rather a monochromatic white-themed palette throughout the menu. https://www.capegrace.com/restaurant/heirloom-restaurant/ THE STRANGERS CLUB This beautiful, old house in Greenpoint, Cape Town has over the years been shaped into a welcoming, comfortable and bright space that zings with good vibes. Even this backpack is quietly enjoying the ambience of the courtyard. Everyone is welcome. With lots of white and natural wood, you start to feel a bit of zen when you walk through the doors, it does feel a shame to open a laptop. The hospitality is anything but slow though, you can tell from the get-go that well-oiled systems are in place to keep the feeling of calm in the air for the customers. @thestrangersclubct ART OF DUPLICITY Tucked away in a former warehouse at the back of an 1894 storefront, this roaring speakeasy beckons. An ex-Miss South Africa exits an unmarked door when we arrive at the secret location (we’re not at liberty to mention names, it’s a secret bar, after all). Acknowledged by a furtive-looking doorman, he takes us through the unmarked door and down a dimly lit passageway (don’t be deterred by the random toilet) that eventually leads to another door, this one marked “No Entry”. Said doorman knocks. A sleuth opens. A man dressed in steampunk attire answers, requesting a password. We’re in… transported to 1920. @art.of.duplicity LA COLOMBE An iconic eatery that consistently serves up immaculately conceived plates and sublime service in a tranquil setting. High up on the slopes of the Constantiaberg mountains, Silvermist Wine Estate is a veritable jewel in the Constantia Wine Valley’s crown. And it is here, on this farm, that you’ll find La Colombe, an internationally acclaimed two-decade-old institution that was founded on the historic Constantia Uitsig wine estate (in 1996), having relocated to Silvermist under chef-proprietor Scot Kirton in 2014. @lacolombect FYN One of the most exciting epicurean experiences in the city plays out on the fifth floor of an innercity block, in a moody, loft-like space with an open kitchen at its heart. A regular on the World’s Best Restaurants Top 100 list, chef Peter Tempelhoff’s restaurant offers food that is African-inspired, using Japanese flavours, aesthetics and techniques. He and chef Ashley Moss put endless thought and care into a kaiseki-style menu that runs the gamut of tastes and textures, each course presented in intriguing and creative ways. Springbok, abalone, Cape wagyu and garlic buchu meet ponzu, karashi and shiso, each yielding a hit of flavour so lingering and sublime, you never want it to end. @fynrestaurantcpt THE RED ROOM Liam Tomlin’s newest restaurant has flung open its doors at The Mount Nelson! Aptly named The Red Room, it occupies the space that was formerly The Grill Room (back in the 80s this downstairs venue was the Cape Town hotspot for elegant dinner dances). It’s recently been transformed into an opulent speakeasy-esque stage (in shades of red, naturally) for a sublime pan-Asian feast of small plates. https://www.belmond.com CLUB KLOOF Lobster-red walls, burnt-orange banquettes, a lemon-yellow Amalfi-esque bar in the back courtyard… bold colour is the signature of this vibey Kloof Street eatery and bar. Club Kloof comes from chef Shayne Shutte and Michael Carter, the duo behind Kloof Street favourite Our Local. They modestly call their cuisine “Italian-ish”, focussing on simple but excellent ingredients in small-plate-sharing format. @clubkloof_ WOODSTOCK/SALT RIVER As the city expands these gritty industrial suburbs are gradually getting gentrified. Old factories and warehouses are rejuvenated as some of the coolest restaurants and bars, several breweries and Cape Town’s only inner-city gin distillery. OCEAN JEWELS Half fish shop, half relaxed fish restaurant, Ocean Jewels is hugely popular with people shopping and working at the trendy hub that is the Woodstock Exchange. Serving up sustainable seafood dishes from fish tacos to calamari, salmon and tuna burgers and multiple combinations in between, you can also buy excellent local fish like yellowtail and snoek to take home. It’s a great spot to take in lunch if you are taking in the stunning street art of Woodstock (tours available for download from voicemail.me ). @oceanjewelsfish SORBETIERE Within a stone’s throw from the Woodstock Exchange, pop into Sorbetiere to finish off your lunch with a little sweet something. Expect some outlandish flavours in both sorbets and ice creams from lemon, lime and tequila to malt ice cream inspired by a local brewery. Look out for flavours infused with local ingredients like Rooibos tea or naartjie and chili. @sorbetiere DEVIL’S PEAK BREWERY & THE TAPROOM One of Cape Town’s most popular craft breweries, from its Salt River HQ the Devil’s Peak Taproom also serves up phenomenal pub grub with a view of the eponymous Devil’s Peak in the background. The best pulled pork sandwich in Cape Town and a world class cheese burger are the main attractions, but there is quality throughout the menu. All should obviously be washed down with one of the many beers on offer. www.devilspeakbrewing.co.za WOODSTOCK BAKERY If you visit the Old Biscuit Mill on a Saturday, be sure to pick up some of the wood-fired bread (try the sourdough) from this local artisanal baker. KALK BAY Just 30 minutes from the city centre, Kalk Bay is a beguiling coastal enclave where leisurely beachfront strolling meets quirky vintage shopping. With just the right amount of everyday bustle, and plenty of eccentric residents attracted by its combination of vintage appeal and hippie-inflected cool, Kalk Bay has an authentic village atmosphere that makes it a perfect day out from Cape Town during a holiday in the city. OLYMPIA A true Kalk Bay institution that has been delighting Capetonian foodies since 1997, Olympia Café is open all day and serves superb breakfasts as well as delicious lunches and dinners. It may look a bit rough around the edges, and has never taken bookings (it’s well worth standing in line) but that’s all part of the charm – we suggest you settle in at midday, just before the lunch rush starts, and order the seafood linguine. @olympia_cafe TRUE LOVE COFFEE The smallest coffee spot in Kalk Bay is also one its finest: True Love Coffee is just big enough to contain the barista and the espresso machine, but serves up delicious cortados and flat whites all day long. If they haven’t sold out already, do have a pasteis de nata (Portuguese custard tart) too – they’re a house specialty. @truelove_kalkbay CHARDONNAY DELI Situated directly opposite the entrance to Dalebrook tidal pool is Chardonnay Deli (chardonnaydeli.co.za/kalk-bay/), where you can sit either outside in the sunny courtyard or indoors (a better idea on windy days) and enjoy a wide range of breakfast or lunch options. Save room for dessert, because the house-made cakes are a highlight, particularly the flourless chocolate gateau and the classic carrot cake. You can also pick up a few treats – or ready-made meal options for dinner at your Airbnb – from the adjacent deli section before you depart. @chardonnay_deli HARBOUR HOUSE Situated right above the wall at Kalk Bay harbour, Harbour House (harbourhouse.co.za) is the most upmarket of the area’s many restaurants, and serves top-notch fresh seafood accompanied by truly spectacular views. Order one of the daily fish specials – you won’t regret it. The wine list is impressive, too. @harbourhouseza THE ICE CAFE Perfectly petite with a pretty vintage shop front, The Ice Café is Kalk Bay’s only dedicated ice-cream shop, and likely to be packed from morning till night if you’re here during the summer months. If it’s available, try the Amarula ice cream – flavoured with a popular locally made cream liqueur – for something you’re unlikely to get anywhere else in the world. SIROCCO CAFE Especially enjoyable on hot summer evenings, Sirocco Café has a wide selection of seating options set up outdoors under a tall palm tree, making it perfect for watching the world go by as you sip a cocktail or glass of chilled rosé. Open all day from breakfast time onwards, it’s a good spot for casual dining – the Napolitan-style pizzas are highly rated, and ideal for sharing. @sirocco_cafe BOB’S BAGEL CAFE Located alongside the petite green space of Lever’s Park, Bob’s Bagel Café serves up authentic, freshly baked bagels – on busy days they can sell out – and superlative coffee that’s roasted and ground on site. There’s also a small gallery on the premises, so you can peruse some local art and ceramics while you wait for your order, then go and sit in the park to enjoy your food and drinks.

March 2025 | Vol 14 JOHN SHARP TURNING GARDENS INTO LIVING THEATERS words Onur Baştürk photos Sean Hazen He has an academic background in mixed media and sculpture. He also had an early career in event production, curating, styling and collecting. And for some time now, he has been a pioneer in the landscape industry. With a contemporary eye and innovative approach, John Sharp tells botanical stories and reinvents the exteriors of historic homes designed by iconic architects like John Lautner and Richard Neutra. In 2018, Sharp established his own studio in Los Angeles, California, and is a charismatic creator driven by a deep love of the natural world, regenerative systems, and life. What kind of roadmap do you follow when you start a landscape project? When working with nature, natural materials, and people, it is especially useful to take a very process-oriented approach, rather than trying to control the end result or arrive at an exact predetermined destination. I think a lot of design work can feel overworked, overcooked, too manicured and controlled. A lot of what we do is about reawakening a wild dimension and timelessness of a place, so when we chart our course. We know from the beginning that we want to leave room for ideas and energies to evolve and emerge that might take us somewhere new. As we gather information to set our sight lines, we take in the existing conditions, learn about the unique ecologies of the place, including environmental, social, and architectural. We establish the parameters of the project, identifying resources and needs, intentions and desires. From there, we develop material and plant palettes. We draw inspiration from everywhere-our clients, the site's uniqueness, our artistic community, design heroes, tradition, and the cultural zeitgeist. How do you draw inspiration from architecture when designing landscapes? For example, how have houses designed by legends like John Lautner and Richard Neutra influenced your landscape work? When working on projects with distinctive and/or historic architecture, we often draw from the architectural language of the site, allowing it to inform and inspire the outdoor environment. Legends like John Lautner and Richard Neutra, with their bold modernist visions, have greatly influenced my work. Their provocative designs - whether futuristic, risky, or deeply integrated with nature - encourage a timeless approach that pushes boundaries while maintaining integrity. I view a property as a whole, where architecture, people and land are in constant dialogue. Structures like Lautner's fluid spaces or Neutra's seamless indoor-outdoor transitions reveal incredible spatial opportunities that can be extended into the landscape. This philosophy of connectivity, where land and architecture speak to each other, is a guiding principle. Each project becomes a narrative where the relationship between human habitation and nature is central, optimally leading us to design that is forward-thinking yet grounded in a timeless ethos. Do you design gardens to client specifications or do you have a specific garden style as Studio John Sharp? If so, how would you describe that style? More of the latter, but with careful listening to our clients' ideas and preferences - we love to challenge our own and our clients' ideas of likes and dislikes, and leave plenty of room for new stories and "je ne sais quoi" factors. Exterior programming - such as outdoor wellness, play and gathering spaces - is naturally heavily influenced by dialogue with our clients. Bringing a distinctive style to each of these spaces and ensuring a cohesive whole is part of the specific value we deliver as a design studio. Our creative identity is constantly evolving, but our work is characterized by a spirit of playfulness, a reverence for natural life, an embrace of slow, traditional materials and methods, and an unapologetically expressive, painterly and borderline punk style. In our own humble agency of change as a design studio, we work to cultivate natural environments that are vital and alive, inviting and moving. When we have done our job well, the gardens may take on the attributes of a living theater, enveloping the characters in an unusual, transportive, dreamy, symphonic, retro-future, and whimsical outdoor setting for many pages to unfold. What are the 5 must-have plants for a garden design? This summer it’s been Dracena Dracos, Native Salvia and Sages, Globe shaped Pittosporum, various colored Agaves and layers of Muhly grasses. What is the secret to a healthy garden? Consideration, love, and vested interest. Our process aims to bring our clients into an active practice of care, attunement and knowledge of their garden. We serve as a bridge of reconnection with nature. I appreciate that you are creating drought-tolerant gardens, because I think gardens that require a lot of watering are going to disappear in the near future. What do you think? Yes, we are not fundamentalists, but we love native gardens for this very reason - once established, they require minimal watering. Native gardens also attract local wildlife and habitat. We love to support ecosystems with pollinator gardens, which can often operate with minimal watering. Packets of wildflower seeds can be watered by rain. Which of the gardens you have designed for famous actors have impressed you the most? Sophia Bush was one of my first big clients. I was so inspired by her desire for "do-it-yourself" gardening during the pandemic. Between the organic garden and the chicken coop, we were able to work together to create a complete homesteading dream that was a special retreat for so many and even had its own custom egg cartons. What are the garden styles you most admire from different climates and continents outside the U.S.? We love Mediterranean gardens, especially Balearic ones, but have now begun to reimagine the English garden. If you were a garden, how would you like to be treated by the gardener? I want the gardener to ask me what I have to say and to listen to what I have to say. If I were producing fruits and vegetables, I would want to be regularly harvested and enjoyed. I would want to experience a reciprocal connection with the people and place where I live. I would like to be observed and known, and to have optimal conditions for growth and expression. for more Print VOL XIV - 2024 / 25 ₺970,00 Regular Price ₺870,00 Sale Price Add to Cart

February 2025 | PEOPLE SHAUNA GILLIES-SMITH LANDSCAPE ARCHITECTURE is KEY to CITIES words Laura Cottrell photos (1) Richard Mandelkorn, (2-3-4-5-6-7) Chuck Choi, (8) Trent Bell, (9) Millenium Partners Boston Massachusetts-based landscape architecture studio Ground, led by Harvard-trained Shauna Gillies-Smith, creates playful and unexpected spaces defined by fluid curves and bright colors. The team believes that landscapes should spark moments of surprise and joy in public spaces and emphasizes that the success of urban landscapes depends on dynamic public engagement. “Well-designed outdoor spaces help us reconnect—with each other and with nature,” says Shauna Gillies-Smith, as she shares her thoughts with us. What are the most important features to consider in the landscape design of public spaces in cities? A key feature is creating spaces that accommodate various group sizes, allowing individuals to feel a sense of ownership, even if only for a short time. Plants, trees, and other natural elements play a crucial role in grounding people, offering a deeper connection to their surroundings. Public spaces should reflect the beauty and complexity of seasonal and temporal changes, fostering a greater awareness of nature and life beyond daily routines. This connection helps build a stronger sense of community and places people in touch with the broader world. What are your priorities in landscape design at Ground? When I transitioned from architecture to landscape architecture, it was because I wanted to create spaces that evoke joy and surprise—those moments when you turn a corner and discover something unexpected. At Ground, we aim to offer this experience in every project, regardless of the client or community. Our focus is on designing spaces that engage with the unique social and cultural context of each place. Our work is rooted in a dialogue with its surroundings, combining tried-and-true materials and strategies—often applied in unconventional, unexpected ways—to keep the experience fresh and relevant. MIYAWAKI FORESTS ARE FASCINATING "Trees, shrubs, and perennials play a very important role in our projects and offer much more than visual appeal" is your motto. This perspective aligns with the concept of the Micro Forest, developed by Japanese botanist Akira Miyawaki in the 1970s. What are your thoughts? Do these microforests also help reduce the urban heat island effect? Miyawaki forests are fascinating—they’re dense, miniature ecosystems designed to accelerate plant succession. By planting a diverse range of species in close proximity, these forests become powerful tools for promoting biodiversity. When it comes to mitigating the urban heat island effect, trees play a critical role: the denser the planting, the greater the cooling effect. While Miyawaki forests offer incredible ecological benefits, they are compact and can be difficult to move through. We are deeply interested in them and continuously seek ways to incorporate them into our projects. However, it is equally—if not more—important to integrate these principles into larger, more accessible public spaces, such as streetscapes, parks, and plazas. This approach ensures a meaningful impact both environmentally and in terms of public experience. LANDSCAPE URBANISM HIGHLIGHTS NATURE’S VITAL ROLE IN CITIES What does the future of landscape architecture look like? What can we expect in the near future? Landscape architecture is becoming increasingly central to the design and planning of cities. The rise of landscape urbanism highlights the importance of nature in urban infrastructure, recognizing that landscapes are fundamental to a city's functionality and health. The COVID-19 pandemic underscored the need for high-quality outdoor spaces, shaping how we approach landscape design moving forward. In the near future, I believe we will see a greater emphasis on landscapes that not only enhance urban spaces but also support habitats and pollinators. These spaces will be more complex, biodiverse, and deeply integrated into the social and environmental fabric of our cities. THE GOAL IS TO BALANCE HUMAN AND WILDLIFE NEEDS Some argue that parts of cities should be returned to wildlife. Do you think this is possible? The feasibility of returning parts of cities to wildlife depends on the context, character, and scale of the landscape in question. While some animals can adapt to urban environments, others may struggle to coexist. It’s important to recognize that while we can’t fully revert urban spaces back to nature, we can design environments that support a diverse range of habitats within the urban fabric. The goal is to create spaces that balance human needs with those of wildlife, fostering coexistence in ways that are both practical and sustainable for all species involved.

December 8, 2025 | VOL 15 HUMANO TOUCH words Laura Cottrell photos Edward Sumner As a pioneer of lifestyle hospitality in Mexico, Grupo Habita quickly captured the attention of design hotel enthusiasts with its first openings in the late '90s—starting with HABITA Hotel. The group’s architecture-enthusiast founders, Carlos Couturier and Moisés Micha, infused Mexico City’s vibrant chaos with a bold design vision. Through their boutique hotels—our favorite being Condesa DF—they played a key role in transforming the city into a must-visit destination for design lovers. Lately, their focus has shifted to Oaxaca, where they’ve unveiled a series of breathtaking hotels, including Escondido, Otro Oaxaca, and Hotel Terrestre. Now, they’re making waves once again with a brand-new addition to the region: Hotel Humano, set in the world-renowned surf destination of La Punta Zicatela. Located on a pedestrian-friendly street just steps from the beach, Humano—like all Grupo Habita properties—is deeply inspired by and created in collaboration with its surrounding community. A COLOR PALETTE TO FALL IN LOVE WITH Designed by Jorge Hernandez de la Garza, the hotel’s architecture stays true to Grupo Habita’s signature aesthetic: raw concrete, clay tiles, exposed brick, and tropical wood. The interiors by Plantea Estudio are equally striking, with a captivating palette of deep wine reds, burnt oranges, and soft whites that radiate warmth and character. The common areas and rooms strike a seamless balance between simplicity and comfort, blending elements of mid-century modernism with Scandinavian interiors. At the same time, the region’s surf culture is deeply embedded in the hotel’s aesthetic and overall atmosphere. Adding to its authenticity, Javier Gómez’s handcrafted wooden partitions, doors, and furniture reflect the essence of Oaxaca, effortlessly blending local craftsmanship with contemporary design. Meanwhile, the hotel’s 39 rooms are transformed into unique, art-filled sanctuaries with one-of-a-kind drawings by Mexico City-based architect and artist Lucio Muniain. For breathtaking ocean sunsets, the rooftop terrace is the place to be. Another highlight? Dinners curated by chef Marion Chateau of Marseille’s famed La Relève, turning every evening into a gastronomic delight. The nearest airport, Puerto Escondido International Airport, is just a 20-minute drive from Hotel Humano—making this design-forward surf retreat as accessible as it is stunning. - The full story is featured in Vol.15 - Print VOL XV - 2025 ₺970,00 Price Add to Cart

October 1, 2025 | Product EXTRAORDINARY in the EVERYDAY brand ARCLINEA photos Daniel Civetta Founded in 1925, Italian kitchen brand Arclinea has long redefined the kitchen not just as a place for cooking, but as the very heart of the home. A pioneer of modern Italian design, the brand’s enduring collaboration with Antonio Citterio has transformed kitchens into architectural experiences—spaces shaped by light, material, and rhythm, where function and elegance seamlessly coexist. The brand’s ongoing series, “Extraordinary, Everyday,” embodies this vision. Through real-life stories captured across different geographies, the series reveals how kitchens bring together people, nature, and daily rituals, showing the extraordinary potential of the everyday. Its latest chapter takes us to Portugal, to Casa No Tempo, part of Silent Living. Designed by architect Manuel Aires Mateus, this timeless estate features the handle-free Thea kitchen in white lacquer—a space conceived not just for cooking, but for sharing and connection. Surrounded by nature, the kitchen unites the purity of contemporary design with the grounded simplicity of rural life. “The kitchen is where it all comes together: food, people, stories. With Arclinea, we created a space that feels open, generous, and full of meaning—where sharing a meal means connecting to the land, to each other, and to time. Casa No Tempo isn’t just a house (casa); it’s a way of living. It invites you to slow down, pay attention, and find the extraordinary in the everyday.” — João Rodrigues At its core, Arclinea continues to ask the same question: What makes the everyday extraordinary? The answer lies in the table set anew each day, in stories shared, and in the way a space can root us more deeply in life itself.

February 3, 2026 | DESIGN & INTERIORS MONOLITH LODGE words YUZU Editorial photos György Palkó Some houses begin to tell their story even before they are built. Monolith Lodge, set in Dobogókő—a popular destination near Pilisszentkereszt in Hungary—is one of them. Designed by Pyxis Nautica, the project waited patiently for years before taking shape. With the involvement of the Hello Wood team, it eventually emerged as a calm yet confident architectural presence, settled deep within the forest. FROM CONCEPT TO COLLABORATION The story begins with a concept plan that captured the client’s attention. Dobogókő’s natural character, paired with Pyxis Nautica’s architectural approach, laid the groundwork for a house that feels both contemporary and closely attuned to its surroundings. The client’s vision, the architectural design, and Hello Wood’s design-and-build experience come together in a shared narrative. At this stage, Hello Wood joined the project as a design-driven contractor, further refining the concept through close collaboration. Beyond construction, the team worked hand in hand with the designers to ensure that every detail resonated with the spirit of the site and aligned with the character of Hello Wood Resorts. STRUCTURE, SPACE, AND RHYTHM With approximately 105 square metres of heated interior space, the house is expanded by a 16-square-metre gallery. Covered and open terraces wrap around the building, creating a direct and fluid connection between interior spaces and the surrounding landscape. The structure is built on a reinforced concrete foundation, while the walls and roof are formed from five-layer, exposed-quality CLT (cross-laminated timber) panels. Combined with a standing-seam metal roof, the use of CLT technology allowed the main structure to be assembled in just three days, with the entire project completed within six months. THE MONOLITH The name Monolith Lodge comes from the project’s most defining architectural gesture: a monolithic concrete chimney. More than a functional element, it stands as the visual and conceptual core of the house. Its rough, board-formed surface echoes throughout the building, establishing a quiet continuity between concrete, timber, and nature. Charred wood cladding, exposed concrete surfaces, and large openings towards the landscape balance a sense of solidity with openness. The resulting atmosphere feels strong yet calm—contemporary in its language, timeless in its presence. A PLACE TO RETURN TO Revived from an idea once set aside, Monolith Lodge now exists as a contemporary retreat in the heart of the forest. Pyxis Nautica’s plans, realised by Hello Wood and operated under Hello Wood Resorts, transform a vision into a home, a home into an experience, and an experience into a place that quietly invites return.

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. 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. 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.

March 24, 2026 | DESIGN & INTERIORS RESTORING a QUIET LEGACY A house reopened to light, landscape and time. words Noah Mercer photos Tijs Vervecken In Knokke-Le-Zoute, just a short walk from the coastline and overlooking one of the area’s most established parks, Villa Sous Tous Vent sits with a certain quiet presence. Originally built in 1926 by architect Valentin Vaerwyck, the house once belonged to Belgian painter Albert Saverys. That history still lingers, not in obvious ways, but in the atmosphere — in how the house feels settled, almost resistant to unnecessary change. The recent renovation, led by Maison Osaïn, works with that existing character rather than against it. Spaces are opened up where needed, but without losing their sense of enclosure. Light moves more freely now, passing through the house rather than stopping within it. The result is subtle, but noticeable over time. REWORKING THE INTERIOR WITHOUT OVERDEFINING IT The interiors are guided by a careful balance between continuity and adjustment. The kitchen, positioned at the centre of the house, is treated as a working space first — open enough to connect with the garden, but not overly exposed. It holds its place without dominating. Elsewhere, the approach shifts slightly. The bathroom is more inward-looking, quieter, closer to a place of retreat than routine. Materials are used with restraint. Nothing feels overly decorative, but the spaces aren’t stripped back either. The project avoids clear statements, favouring a more measured rhythm. This is where Maison Osaïn, founded by architect Thomas Maria Verschuren and designer Ann Butaye, becomes more legible. Their approach is less about transformation, more about recalibration — allowing the house to move forward without losing its original tone. EXTENDING THE HOUSE INTO THE LANDSCAPE The collaboration with landscape designer Piet Oudolf shifts the project outward. His planting doesn’t frame the house in a conventional way. It softens it, sometimes even loosens it. The garden grows into the architecture rather than sitting beside it. Boundaries blur gradually. What begins as a defined interior starts to dissolve into something more open, especially in the way views, planting and circulation overlap. Alongside this, the artistic layer is developed with the Italian collective KALPA, founded by Olga Niescier. Works by Eleanor Herbosch, Annelies Toussaint and Sabine Pagliarulo are placed throughout the house. They don’t draw attention to themselves immediately, but they change how the spaces are read over time. In the end, the project doesn’t position itself as a statement. It feels more like a continuation — of the house, of its setting, and of a way of living that doesn’t need to be fully defined to be understood.

December 11, 2025 | Art & Culture TR BELOW NEW VOICES, EMERGING NARRATIVES words YUZU Editorial photos Fatih Yılmaz Spaces sometimes register a city’s pulse in their quietest moments. In Karakoy, the gallery of Saint Benoît High School does exactly that, hosting the 2024–2025 exhibition of SaDe — the Artist Support Fund by IKSV and Mercedes-Benz Turk. The space gathers new works by young artists, each balancing fragility and resilience. SaDe offers both financial and mentorship support to emerging practitioners. This year, the programme takes on added weight by focusing on artists affected by the Kahramanmaras earthquakes, expanding its purpose with a sense of urgency. The six participating artists — Rozelin Akgün, Cemil Çalkıcı, Aylin Çankaya, Gökçe Çetin, Nesime Karateke and Macide Yalçınkaya — present work shaped by recent months: pieces marked by geography, memory and the freedoms of contemporary expression. In some, material speaks loudly; in others, silence does the work. Together, they carve out subtle spaces that gesture toward art’s capacity to steady and to heal. At the opening, IKSV General Director Görgün Taner emphasised SaDe’s role as a broader ecosystem that connects young artists with networks and visibility. Mercedes-Benz Turk Executive Board President Süer Sülün highlighted the programme’s significance in a post-earthquake context, where supporting artistic production becomes even more vital. Guided by mentors Serkan Taycan, Emre Hüner, Aslıhan Demirtaş, Nazlı Pektaş, Evrim Kavcar and Günseli Baki, the artists shaped ideas into works grounded in material and context. Open until 21 December, the exhibition is not only a showcase of emerging voices but a reminder of how essential it is to sustain artistic production in Turkey. YENİ SESLER, YENİ HİKÂYELER: SaDe Mekânlar bazen bir kentin ve neslin nabzını en sessiz hâliyle tutar. Karaköy, Saint Benoît Lisesi’nin galerisi bugünlerde tam da böyle bir yer: İKSV ve Mercedes-Benz Türk işbirliğiyle 2022’den beri sürdürülen SaDe – Sanatçı Destek Fonu’nun 2024–2025 dönemi sergisi sebebiyle genç sanatçıların yeni üretimleriyle dolu. Serginin programı görsel sanatlar alanında çalışan genç isimlere hem maddi hem de mentorluk desteği sunuyor. Özellikle bu yıl, Kahramanmaraş merkezli depremlerden etkilenen sanatçıları odağına alarak desteğin yönünü daha da anlamlı bir yere taşıyor. Sergide yer alan altı isim — Rozelin Akgün, Cemil Çalkıcı, Aylin Çankaya, Gökçe Çetin, Nesime Karateke ve Macide Yalçınkaya — son aylarda yürüttükleri çalışmaların taze, kimi zaman yaralı, kimi zaman umutlu katmanlarını izleyiciye açıyor. Her biri, içinde bulundukları coğrafyanın ağırlığını, bireysel hafızalarını ve güncel sanatın sunduğu ifade özgürlüğünü kendi dillerinde yeniden şekillendiriyor. İKSV Genel Müdürü Görgün Taner, açılış konuşmasında SaDe’nin sadece finansal bir destek programı olmadığını, genç sanatçıların profesyonel ağlarla temas etmelerini, deneyim paylaşımını ve üretim süreçlerinin görünürlük kazanmasını sağlayan geniş bir ekosistem olduğunu vurguladı. Mercedes-Benz Türk İcra Kurulu Başkanı Süer Sülün ise kültür-sanata uzun yıllardır süren katkılarının bu programla güncel bir boyut kazandığını, özellikle deprem sonrası dönemde sanat aracılığıyla iyileşmenin önemine dikkat çekti. Bu yılın SaDe mentorları —Serkan Taycan, Emre Hüner, Aslıhan Demirtaş, Nazlı Pektaş, Evrim Kavcar ve Günseli Baki— sanatçıların süreçlerine eşlik ederek, fikirlerin olgunlaşması, malzemenin güçlenmesi ve her üretimin kendi bağlamına yerleşmesi için kritik bir rol oynadı. 21 Aralık'a kadar ziyaret edilebilen sergi, sadece genç sanatçıların işlerini görmek için değil, Türkiye’de sanat üretimini desteklemenin ne kadar hayati olduğunu yeniden düşünmek için de bir fırsat sunuyor.

July 2024 | People | Vol 13 TR BELOW THE SECRET OF MEDITERRANEAN GARDENS words Onur Baştürk photos Alexander Warren-Gash If I asked you what is the essence of Mediterranean life, what would you say? Comfort, for example? The long summers? Or the magnificent sea? Actually, it comes down to one thing: the outdoor lifestyle. That is the essence of being Mediterranean. It's what Mashamba Garden & Terrace Design in Mallorca is all about, designing unique gardens and outdoor living spaces. Now let's listen to what Jennifer and Alexander Warren-Gash, founders of Mashamba, have to say about creating a Mediterranean garden... Mashamba Design was born in Mallorca. But I think there's a prequel. Alexander's love for nature and the years he spent in Africa and Costa Rica. How did it all start, Alexander? You are absolutely right! Costa Rica is synonymous with nature, but my love for the outdoors really began in Africa. I spent much of my childhood there. My father is perhaps one of the last great British eccentrics. In the office he was a highly respected ambassador. But out of the office he was traipsing through the jungle with a butterfly net. His passion for discovering new species of butterflies took him to many remote and exotic locations. I was lucky enough to accompany him on these adventures, going on my first expedition to Cameroon when I was 12 years old. And while my father was largely oblivious to anything that wasn't a butterfly, I was acutely aware of the beauty of nature all around me - including the lions, elephants and buffalo! Jennifer, how did you two meet? What is your division of labor in Mashamba? Alexander and I met on a blind date in Costa Rica and we've been inseparable ever since. We started working together at Mashamba when we moved to Mallorca. While Alexander is in charge of the gardens, I focus on creating magical outdoor living spaces. Curating outdoor art and designing terraces, outdoor kitchens and pool areas is my specialty. Sometimes Alexander and I work on the same projects, but my work also includes urban homes or penthouse roof terraces. What is your idea of a Mediterranean garden? The first plants most people think of are bougainvillea, lavender and olives. What about cacti and succulents that require less water? We are blessed in the Mediterranean with so many fantastic and diverse plants. Cacti and succulents are a great sustainable option, but really any native Mediterranean plant is drought tolerant by default. We like to mix cacti and succulents with native and other drought-tolerant plants to create arid gardens that require minimal watering. Beautiful flowering plants such as gaura, delosperna, echium, and bulbinella create lush and green eco-friendly gardens. But really, for us, the idea of a Mediterranean garden goes beyond the plants; it's a place you want to spend time in. You say that "outdoor living is the essence of Mediterranean living". Indeed it is. So what are your favorite plants in Mediterranean gardens? Funnily enough, plants are not the first thing we look at when we design. Although they are an important part of the garden, they are almost an afterthought. For us, the key to a good design is determining the flow of the space and incorporating all of the client's wants and needs. We ask questions like, where's the best place for a hidden seating area? How do we connect it to the house and the rest of the garden? What's the best vantage point for the mountain view and how can we take our clients there? It's only after the flow is decided that we start thinking about how plants fit into the design. Having said that, I have a few favorites that make it into most of our gardens. Gaura with its white or pink flowers. Rosemary clipped into clouds or hanging down walls, and Olives. Our own garden is full of these three because they are beautiful, easy to care for and require little water. Do you design gardens according to your clients' wishes or do you, like Mashamba, follow a particular style? Every garden we create is our best effort to interpret the client's dream. We consider the seasons they'll be visiting, their favorite plants and colors. How they'll use the garden and what features they'd like to include, such as an outdoor kitchen, petanque court, water fountain or even a large sculpture. Most of our clients choose Mashamba because they already know our style. Something we are well known for is our aromatic lawns. We mix ornamental grasses like Stipa and Pennisetum with perennial flowers like Gaura and Perovskia to create layers of color, texture and scent. Our designs can range from modern to wildly romantic to classic Mediterranean, but there's something distinctively Mashamba about them all. We like to call it relaxed elegance. What is the garden design you have done in the last few years that you liked the most? I do have a favorite garden, but it would be unprofessional of me to say which one! What I can say is that my favorite gardens inspire you to get outside to both explore and enjoy and to disconnect and be present. What gets you outside can be something as simple as a bench set up to take in the view. Or it can be something more magical, like a dining table set in the dappled light of an old carob tree. Another favorite aspect of our gardens is that they appeal to the senses. The sound of swaying grasses, the scent of jasmine, brushing against a soft-leafed plant, a riot of color, picking and eating an orange. What are the 5 essential plants for a good garden design? Most of our designs include a feature olive tree, old and gnarled, and plants like rosemary, agave and gaura. We also believe that every Mediterranean garden should have citrus, and we include at least one lemon tree in all of our gardens. What is the secret to a healthy garden? The real secret to a healthy garden is both soil preparation and appropriate watering. With these two ingredients - and assuming the plant selection is suitable for the climate - the garden will most likely thrive. The difference between planting in quality topsoil and existing soil can be enormous. We always recommend prioritizing spending on soil preparation over buying larger plants. A smaller plant in top soil will quickly outgrow a larger plant in poor soil. Alexander, is it hard to design cloud gardens? Designing cloud gardens is easy. The hard part is having the patience to wait for the cloud formations to take effect. The classic cloud garden consists of a single plant species formed into large organic shapes - much like a cloud. Our Mediterranean version differs from the classic design because we use a mix of species to create cloud banks with different textures and colors. We typically use two to three shrubs, such as rosemary, teucrium and lentiscus, and plant each variety in groups of three to five. With lots of pruning, they form a cloud garden in about a year. One of the great things about a cloud garden is that they are evergreen all year round. S ize Akdenizli yaşamın esas özünü sorsam nasıl bir yanıt verirdiniz? Mesela rahatlık mı? Uzun yazlar mı? Yoksa muhteşem deniz mi? Aslında tüm bunların hepsi tek bir şeye bağlanıyor: Açık hava yaşam tarzına. Akdenizli olmanın esas özü bu. Mallorca’daki Mashamba Garden & Terrace Design da işte bu fikirden hareket ederek benzersiz bahçe ve açık hava yaşam alanları tasarlıyor. Şimdi Mashamba’nın kurucuları Jennifer ve Alexander Warren-Gash’ın Akdenizli bahçe tasarımına dair söylediklerine kulak verelim… Mashamba Design’ın ortaya çıktığı yer Mallorca. Ama bir de öncesi var. Alexander’ın doğaya duyduğu sevgi, Afrika ve Kosta Rika’da geçirdiği yıllar. Her şey nasıl başladı Alexander? Çok haklısınız! Kosta Rika doğa ile eşanlamlıdır. Ama benim doğaya olan aşkım aslında Afrika'da başladı. Çocukluğumun büyük bir kısmını orada geçirdim. Babam belki de son büyük İngiliz eksantriklerinden biriydi. Çok saygı duyulan bir büyükelçiydi. Ama ofisinin dışında elinde bir kelebek ağıyla ormanda gezinirdi. Yeni kelebek türleri keşfetme tutkusu onu birçok uzak ve egzotik yere götürdü. Bu maceralarda ona eşlik edecek kadar şanslıydım. 12 yaşındayken Kamerun'a ilk keşif gezime gittim. Babam kelebek olmayan her şeyden büyük ölçüde habersizken, ben etrafımdaki doğanın son derece farkındaydım! Jennifer, Alexander’la nasıl bir araya geldiniz? Mashamba’daki iş bölümünüz nasıl? Alexander’la Kosta Rika'da bir ‘blind date’de tanıştık ve o zamandan beri ayrılmaz bir ikiliyiz. Mallorca'ya taşındıktan sonra Mashamba'da birlikte çalışmaya başladık. Alexander bahçelerden sorumlu, ben muhteşem açık hava alanları yaratmaya odaklanıyorum. Teraslar, açık hava mutfakları ve havuz alanları tasarlamak uzmanlık alanım. Bazen Alexander’la aynı proje üzerinde çalışıyoruz. Ancak benim işim aynı zamanda şehirdeki evleri ya da çatı katı teraslarını da içeriyor. Bir Akdeniz bahçesine dair vizyonunuz nedir? Çoğu kişinin aklına ilk gelen bitkiler begonvil, lavanta ve zeytin oluyor. Mesela daha az su gerektiren kaktüs ve sukulentlerle aranız nasıl? Akdeniz'de çok sayıda harika bitkiyle kutsanmış durumdayız. Kaktüs ve sukulentler en sürdürülebilir seçenek. Çünkü kuraklığa karşı daha toleranslılar. Minimum sulama gerektiren kuru bahçeler oluşturmak için kaktüs ve sukulentleri lokal ve yine kuraklığa dayanıklı bitkilerle karıştırmayı seviyoruz. Mesela Gaura, Delosperna, Echium ve Bulbinella gibi güzel çiçekli bitkiler… Ama bizim için Akdeniz bahçesi fikri bitkilerin de ötesinde, içinde vakit geçirmek isteyeceğiniz bir yer. “Açık hava yaşamı Akdeniz tarzı yaşamın özü” diyorsunuz. Gerçekten de öyle. Peki Akdeniz tarzı bahçelerde en sevdiğiniz bitkiler hangileri? İlginç gelebilir ama bahçe tasarımı yaparken ilk baktığımız şey bitkiler değil! Bahçenin önemli bir parçası olmalarına rağmen neredeyse sonradan aklımıza geliyor. Bizim için iyi bir tasarımın anahtarı, alanın akışını belirlemek ve müşterinin istek ve ihtiyaçlarını dahil etmek. Kendimize şunun gibi sorular soruyoruz: Gizli bir oturma alanı için en iyi yer neresi? Bu alanı eve ve bahçenin geri kalanına nasıl bağlayacağız? Dağ manzarasını izlemek için en iyi bakış açısı nedir ve müşterilerimizi oraya nasıl yönlendirebiliriz? Akışa karar verdikten sonra bitkilerin tasarıma nasıl uyum sağlayacağını düşünmeye başlıyoruz. Ama elbette bahçelerimizin çoğunda yer alan birkaç favorimiz var. Beyaz-pembe çiçekleriyle Gaura. Bulutlar halinde kırpılmış ya da duvarlardan aşağı doğru uzanan biberiye ve zeytinler. Kendi bahçemiz bu üçüyle dolu. Çünkü güzeller, bakımları kolay ve az su istiyorlar. Müşterilerin taleplerine göre mi bahçe tasarlıyorsunuz yoksa Mashamba olarak belli bir stili mi uyguluyorsunuz? Yarattığımız her bahçede müşterinin hayalini yorumlamak için çabalıyoruz. Yılın hangi zamanlarında bahçeyi ziyaret edeceklerini, en sevdikleri bitkileri ve renkleri göz önünde bulunduruyoruz. Bahçeyi nasıl kullanacaklarını, açık hava mutfağını, péntanque sahasını, su çeşmesini ve hatta büyük bir heykel gibi istedikleri özellikleri göz önünde bulunduruyoruz. Bizi seçiyorlar, çünkü tarzımızı biliyorlar. Oldukça iyi bildiğimiz bir şey de aromatik tarlamız. Stipas ve Pennisetum gibi süs otlarını Gaura ve Perovskia gibi çok yıllık çiçeklerle karıştırarak renk, doku ve koku katmanları oluşturuyoruz. Tasarımlarımız modernden çılgın romantiğe ve klasik Akdeniz'e kadar çeşitlilik gösteriyor. Ama hepsinde Mashamba'ya özgü bir şey var. Biz buna ‘rahat şıklık’ demeyi seviyoruz. Son yıllarda tasarladığınız ve en çok hoşunuza giden bahçe tasarımı hangisiydi? Favori bir bahçem var, ama hangisi olduğunu söylemem profesyonelce olmaz! Söyleyebileceğim tek şey, favori bahçelerimin hem keşfetmek ve eğlenmek hem de dışarı çıkmanıza ilham veriyor olması. Sizi dışarı çıkaran şey, manzarayı seyretmek için yerleştirilmiş bir bank gibi basit bir şey olabilir. Ya da yaşlı bir keçiboynuzu ağacının gölgeli ışığına yerleştirilmiş bir yemek masası gibi daha büyülü bir şey de olabilir. Bahçelerimizin bir diğer favori yönü de duyulara hitap etmesi. Sallanan çimlerin sesi, yasemin kokusu, yumuşak yapraklı bir bitkiye sürtünmek… İyi bir bahçe tasarımı için mutlaka olması gereken 5 bitki sizce hangisi? Tasarımlarımızın çoğunda asırlık ve budaklı bir zeytin ağacı ile biberiye, agave ve gaura gibi bitkiler yer alır. Ayrıca her Akdeniz bahçesinde narenciye olması gerektiğine inanıyoruz ve tüm bahçelerimizde en az bir limon ağacına yer veriyoruz. Sağlıklı bir bahçenin sırrı nedir? Sağlıklı bir bahçenin gerçek sırrı hem zemin hazırlığı hem de uygun miktarda sulama. Bu iki bileşen ve bitki seçiminin iklime uygun olması halinde bahçe gelişir. Kaliteli bir üst toprağa ekim yapmakla mevcut toprağa ekim yapmak arasındaki fark da çok büyük. Daha büyük bitkiler satın almak yerine zemin hazırlığına öncelik vermenizi öneririz. Üst topraktaki daha küçük bitki, zayıf topraktaki daha büyük bitkiyi kısa sürede geçebilir. Alexander, bulut bahçelerini tasarlamak zor mu? Aslında kolay. Zor olan kısım, bulut oluşumlarının etkisini göstermesini beklerken gereken sabır. Klasik bulut bahçesi, tıpkı bir bulut gibi büyük organik şekiller oluşturan tek bir bitki türünden yapılır. Bizim Akdeniz versiyonumuz klasik tasarımdan farklı. Çünkü farklı doku ve renklere sahip bulut kümeleri ekleyerek türlerin karışımını kullanıyoruz. Genellikle biberiye, Teucrium ve Lentiscus gibi iki ya da üç çalı kullanıyoruz. Her çeşidi üç ila beşli gruplar halinde dikiyoruz. Bol budama ile yaklaşık bir yıl içinde bir bulut bahçesi oluşuyor. Bir bulut bahçesinin en büyük avantajlarından biri, hep yeşil olması. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

Temmuz 2022 | Bodrum Coffee Table Book | GASTRO & FUN TRATTORIA IL MANDARINO Yazı & Fotoğraflar | Onur Baştürk İ talyan bir babayla İranlı bir annenin kızı Melina Di Cristina. Fatih Sultan Mehmet Köprüsü’nü Japonlar’la beraber yapan İtalyan ekipte yer alan babasının işi dolayısıyla 1988’de İstanbul’a taşınıyor. Sonraki yıllarda tüm aile artık tamamen İstanbullu oluyor. Üniversite sonrası uzun yıllar kurumsal hayatta yönetici asistanlığı yapan Melina, bundan dört yıl önce kışın İstanbul’da çok bunalıyor ve “Havanın en sıcak olduğu yer burasıydı” dediği Bodrum’da alıyor soluğu. Bir hafta kalıp dönerim dediği Bodrum’da bir yıl kalıyor ve bu sırada Bitez’de Çilingir Sofrası adlı mekanın müdavimi oluyor. Gel zaman git zaman, Melina mekanın devredileceğini öğreniyor ve kendini bir anda eşi Cenk Kırmacı’yla beraber buranın sahibi olarak buluyor. Eşinin, “İtalyan lokantası yapmalısın” teşvikiyle babaannesinin çok eski yemek tarifi kitabını raftan indirip harıl harıl çalışmaya başlıyor. Böylece Bitez’deki mandalina bahçesi içinde yer alan Trattoria il Mandarino macerası başlamış oluyor. writer & photography | Onur Baştürk M elina Di Cristina, the daughter of an Italian father and an Iranian mother. She moved to Istanbul in 1988 due to the job of his father, who was part of the Italian team that built the Fatih Sultan Mehmet Bridge together with the Japanese. In the following years, the whole family has become entirely from Istanbul. Melina, who worked as an administrative assistant in corporate life for many years after university, got very depressed in Istanbul in winter four years ago and got in Bodrum, where she says, “This was the warmest place”. She stayed for a year in Bodrum, where she said she would stay for a week and return, and meanwhile, she became a regular at a place called Çilingir Sofrası in Bitez. In time, Melina learned that the place will be transferred and then suddenly found herself as the owner of the place with her husband Cenk Kırmacı. With the encouragement of her husband, “You should make an Italian restaurant,” she took down her grandmother’s very old recipe book and started working hard. Thus, the adventure of Trattoria il Mandarino, located in the tangerine orchard in Bitez, has begun. Tamamı için... For more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

January 25, 2026 | PEOPLE NADER GAMMAS in PURSUIT of LIGHT words Onur Basturk photos Courtesy of Nader Gammas (Portrait / Ben Cope) Trained as an architect, Nader Gammas treats light as an architectural material—one that defines structure, space, and atmosphere.Born in the United States and shaped by his Syrian roots, his practice is informed by an architectural education and a deep sensitivity to how light conditions experience. Since his debut at Art Dubai in 2017, Gammas has developed a restrained yet expressive language in which light operates not as an addition, but as a primary architectural act—shaping space through presence rather than ornament. FROM ARCHITECTURE TO ILLUMINATION Your work often sits between sculpture and function, with light taking on an architectural role. When did lighting become your primary medium? While working on a private residence, I realized that a single lighting element could both solve the functional need for illumination and act as a sculptural presence within the space. That moment clarified how light could carry both purpose and expression at once. You’ve described your process as reducing architecture to structure and light. How does this idea continue to shape the way you design today? Architecture demands discipline, and lighting follows a similar logic. Recently, I’ve been pushing further into organic inspirations, but always within an architectural framework. Structure remains essential—it’s what allows experimentation to stay grounded. MATERIAL, CRAFT, AND TOTEM Totem (2025), commissioned by Bottega Veneta for NOMAD Abu Dhabi, translates the Intrecciato language into light. How did you approach reinterpreting a fashion house’s craft heritage through material and form? Totem distills the essence of Bottega Veneta’s Intrecciato weave into a sculptural, architectural form. By deconstructing the weave and rebuilding it vertically, the piece reinterprets the house’s language while remaining rooted in its identity. Each hand-cut ceramic block amplifies the Foulard and Bombé variations of the weave. Matte and glossy finishes echo the shifting textures of leather, subtly disorienting the viewer. Structured around a steel spine, the work sits between sculpture and function, revealing layers of craft, material, and light. Ceramics play a central role in Totem. What draws you to this material, and how do you work with its tactile, imperfect nature at an architectural scale? I’m deeply fascinated by ceramics at the moment. It’s a material that invites experimentation and allows me to push toward what comes next. I began this exploration with Vessels. With Totem, the aim was to offer immediate visual clarity, while leaving deeper layers of meaning to unfold over time—an encounter shaped equally by instinct and intention. TIMELESSNESS IS A BELIEF THAT UNDERPINS MY WORK Your pieces often feel both ancient and contemporary at once. Is this sense of timelessness something you consciously pursue, or does it emerge naturally through making? Timelessness is a belief that underpins my work. I try to place myself in the mindset of those who came before us, whose design thinking wasn’t driven by micro-trends but by a broader understanding of life and continuity. Atmosphere is a defining quality of your work. When beginning a new piece, do you start with a specific mood in mind, or does it develop through experimentation? There is always a mood in mind from the start. It’s a conscious decision, because it ultimately defines the piece. My work has often leaned toward darker, heavier atmospheres, but recently I’ve been moving toward something brighter and lighter. DUBAI’S REGIONAL HISTORY IS RELATIVELY SPARSE You’re currently collaborating with designers such as Kelly Wearstler and Stephen Sills. What makes a collaboration meaningful for you, and how do these exchanges influence your practice? I value collaborations, particularly with experienced designers. They often introduce ideas I hadn’t previously considered, opening new ways of thinking. I now see my work as a series of seeds—starting points that others can take further. Having lived and worked across different geographies, you’re now based in Dubai. How does place—past and present—continue to inform your design language? Dubai’s regional history is relatively sparse, and that absence is liberating. The lack of a dominant architectural precedent allows for a more open dialogue and a greater freedom to explore new possibilities.

February 2021 | Art & Culture TR BELOW FIRAT NEZİROĞLU My main pursuit is trying to understand life Words Melissa Övem You have a multidisciplinary background where art and craft intersect. An artist, academic, dancer… yet you call yourself a “weaver.” Why? The Renaissance sought reality, and like the artisans of that era, I still create my weavings without any digital tools. Weaving is an ancient craft. In all beliefs and ancient scriptures, weaving is equated with magic. For me, weaving is a tool to understand life. That’s why I call myself a weaver. My main pursuit is trying to understand life. I WANTED TO MAKE A STATEMENT AND LEAVE... You describe design as “designing emotions” and attribute your success to an “exchange of emotions.” Were the emotions that fueled your expressions always positive? Not really. In my youth, I drew inspiration from negative emotions. Life was hard, ruthless—typical teenage angst. I spent 12 years at Dokuz Eylül University’s Faculty of Fine Arts, first as a student, then as a research assistant. Mobbing was rampant. Professors blocked my exhibitions, and even though I taught in the weaving studio, they didn’t allow me to use it. Administrators refused to let me attend international exhibitions I was invited to. In 2011, I resigned from the institution. I wanted to make a statement and leave. So, I wove all my professor colleagues’ legs as seen under toilet doors—visible through their underwear, pants, skirts. I also wove myself, turned to the wall, sulking, and pouring my heart out: "Pissing Fırat." After that, I held an exhibition titled "Mental Hospital," left my resignation letter and exhibition invitation on the department head’s desk, and walked out. That year, "Pissing Fırat" was selected for Akbank’s Contemporary Artists Exhibition, then for Siemens Art. Later, I started working with Zilberman Gallery. Akbank took me to Korea. "Pissing Fırat" was sold at Sotheby’s. The following year, I was on the cover of Christie’s magazine. That’s how it all began. I SPEAK THE LANGUAGE OF ANATOLIA Yes, that piece propelled your career significantly. Do you always respond to the wrongs done to you through your art? I’ve always recorded my departures through performance art. When I bid farewell to Dokuz Eylül University with the "Mental Hospital" exhibition, I also responded to the doctor who “accidentally” left me partially paralyzed for a year with a video titled "I Am Human." But as years passed, and my ties to life grew stronger, I forgave everyone. I began to better understand what it means to love and enjoy life. I started creating works that internalized the wisdom, tolerance, and hospitality of Anatolia. My global recognition stems from speaking the language of Anatolia. Like a tree without roots withering away, I’ve connected more deeply to my roots. My mother is of Greek descent, my father Macedonian, and my name is Fırat. They don’t know why they named me that, but I understand it better now. Every year, I visit Mardin, Antep, and Diyarbakır. I’ve spoken at almost every art faculty in Anatolia. We’ve shared emotions, and by sharing, we’ve multiplied. Now, I draw from positive emotions. What are your ways of coping with life? When I face a wall and try to break through it by punching, I always end up hurt. So, I walk along the wall, looking for a passage or a door. If I don’t find one, I turn around and walk a different path. I think this is the fundamental problem of verbal or written communication. Imagine holding a glass with a lovely drink inside. You enjoy its taste—wonderful. Then I take the same glass, but it breaks in my hand, cutting me. Much later, when someone mentions that glass, you think of the pleasure, and I think of the pain. We can never fully understand each other. So, when faced with something—or someone—that challenges me, I don’t force it. WHAT SETS ME APART: THE EMPTY SPACES You’ve developed a weaving technique that is both contemporary and rooted in tradition, making it uniquely yours and impossible to replicate. How do you interpret this technique? In Anatolia, kilims are a language; they can be read. A language evolves, changes, transforms—it lives. Today, if we want to say something, we need to speak in a way that is understood. I apply the Anatolian kilim technique as it is. What sets me apart is the empty spaces. I create pieces where weaving, voids, light, and shadow coexist. This narrative language is woven into the fabric with my unique knot. The monofilament warps (vertical threads in weaving) enhance the sense of emptiness, evoking a perception of reality with light and shadow. The fact that my technique is taught in universities across the U.S., Mexico, and Canada, and that I’ve been commissioned to weave portraits of Queen Sirikit of Thailand and Queen Elizabeth, is because I speak the language of today. How do you choose the people for your portraits? The faces in my portraits are all my friends. When I capture the emotion in their eyes, I feel closer to life’s and reality’s secrets. Their outlook on life and expressions deeply move me. As a Renaissance man, beauty is my primary criterion. Sanatla zanaatın bir arada olduğu çok disiplinli bir geçmişiniz var. Sanatçı, akademisyen, dansçı... Ama kendinizi “dokumacı” olarak adlandırıyorsunuz. Neden? Rönesans gerçekliğini arıyor ve o dönem zanaatkârları gibi hâlâ hiçbir dijital enstrüman kullanmadan dokumalarımı yapıyorum. Dokuma çok kadim bir kültür. Tüm inanışlar ve kadim yazıtlarda dokumacılık büyücülükle eş. Bir taraftan bu çok hoşuma gidiyor. Çünkü ‘”kader ağlarını ördü”, “birbirimize görünmez ağlarla bağlıyız”, “hayat bir pamuk ipliğine bağlı” gibi bilgiler bize hayat ve dokumayla ilgili eski bilgileri yeniden hatırlatıyor. Dokuma, hayatı anlamamda bir araç. Bu yüzden dokumacı diyorum kendime. Hayatı anlamaya çalışmak benim asıl işim. BİR SÖZ SÖYLEYİP GİTMEK İSTEDİM VE… Tasarımı “duygu tasarlamak” olarak, başarınızın kaynağını da “duygu alışverişi” olarak tanımlıyorsunuz. Bu dışavurumlarınıza kaynak olan duyguların hepsi pozitif miydi? Aslında gençliğimde negatif duygulardan besleniyordum. Hayat zor, acımasız; vesaire. Tam ergenlik hali. 12 yıl Dokuz Eylül Üniversitesi Güzel Sanatlar Fakültesi’nde okudum ve araştırma görevlisi olarak çalıştım. Mobbing had safhadaydı. Sergilerimi engelleyip dokuma atölyesinde hoca olduğum halde atölyeyi kullanmama izin vermeyen hocalar, yurtdışı sergilerine davet aldığım halde izin vermeyen yöneticiler derken, 2011 yılında kurumdan istifa ettim. Bir söz söyleyip gitmek istedim. Bütün hoca arkadaşlarımı tuvalet kapılarının altından bacakları görünür şekilde dokudum! İç çamaşırları, pantolonları, etekleri... Kendimi de duvara dönmüş, küsmüş, içimi dökerken dokudum: “İşeyen Fırat”. Sonra “Akıl Hastanesi” isimli bir sergi açtım, istifa mektubumu ve sergi davetiyemi bölüm başkanının masasına bırakıp çıktım. “İşeyen Fırat” o yıl önce Akbank Günümüz Sanatçıları Sergisi’ne seçildi, sonra Siemens Sanat. Ardından Zilberman Gallery ile çalışmaya başladım. Akbank beni Kore'ye götürdü. “İşeyen Fırat” Sotheby’s’de satıldı. Ertesi yıl Christie's dergisine kapak oldum. Serüven böyle başladı. ANADOLU DİLİYLE KONUŞUYORUM Evet, o eser size devasa bir ivme kazandırdı. Size karşı yapılmış hatalara/yanlışlara hep sanatınızla mı yanıt verirsiniz? Gidişlerimi hep bir performansla kaydettim hayatıma. “Akıl Hastanesi” sergisiyle Dokuz Eylül Üniversitesi’ne veda ederken beni ‘yanlışlıkla’ bir yıl kadar felç bırakan doktoruma da “Ben Bir İnsanım” isimli videoyla yanıt vermiştim. Yıllar geçip hayatla bağlarım güçlendikçe herkesi affettim. Hayatın tadını çıkarmanın ne demek olduğunu daha iyi anladım. Anadolu bilgeliğini, hoşgörüsünü içselleştirdiğim işler yapmaya başladım. Dünyada daha çok tanınmamın nedeni Anadolu diliyle konuşuyor olmam. Köksüz ağaç solar misali, köklerime daha sıkı bağlandım. Annem Yunan kökenli, babam Makedon, ismim Fırat. Nedenini onlar da bilmiyor, ama ben şimdi daha iyi anlıyorum. Her yıl Mardin, Antep ve Diyarbakır’ı görüyorum. Anadolu'da neredeyse bütün üniversitelerin sanat fakültelerine gidip konuştum. Duygularımızı paylaştıkça çoğaldık... Artık pozitif duygulardan besleniyorum. Hayatla başa çıkma yöntemleriniz neler? Eğer karşıma bir duvar çıkmışsa ve ben o duvarı aşmak için yumrukluyorsam hep canım yanıyor. Bu yüzden duvar boyu ilerleyip bir geçit, kapı arıyorum. Bulamazsam da arkamı dönüp başka yollarda yürüyorum. Sözlü ya da yazılı iletişimin temel sorunu bu bence. Bir bardak var elinizde. İçinde de güzel bir içecek. Tadına varıyorsunuz, harika. Sonra ben alıyorum aynı bardağı elime, tam içerken bardak kırılıyor, elimi kesiyor, canım acıyor. Nice zaman sonra biri bize bardak deyince siz güzeli hatırlıyor anlıyorsunuz, ben acıyı. Tam anlaşmamız mümkün olmuyor. Bu nedenle bana zorluk çıkaran her neyse, anlaşamıyorsam hiç zorlamıyorum. BENİ FARKLI KILAN KISIM, BOŞLUK Çağdaş sanat içinde kabul gören, geleneksel dokumaya bağlı kalan ve taklit edilemeyen bir dokuma tekniğiniz var. Bu tekniği nasıl yorumlarsınız? Anadolu'da kilim bir dildir, okunur. Dil gelişir, değişir, dönüşür yani yaşar. Bugün bir söz söylemek istiyorsak anlaşılır şekilde konuşmalıyız. Anadolu kilim tekniğini aynen uyguluyorum. Beni farklı kılan kısım, boşluk. Dokuma, boşluk, ışık ve gölgenin bir arada olduğu eserler üretiyorum. Bu anlatım dilini dokuma ve dokuma içinde kendime ait bir düğümle dokuyorum. Misina çözgüler (dokumadaki dikey tutucu iplikler) boşluk hissini destekliyor. Işık ve gölgeyle bir gerçeklik algısı uyanıyor. Amerika, Meksika ve Kanada'daki üniversitelerde tekniğimin derslerde anlatılması, Tayland Kraliçesi Queen Sirikit ve Kraliçe Elizabeth'in portresini dokumak için sipariş almam bugünün diliyle konuşuyor olmam nedeniyle gerçekleşti. Portrelerinizdeki insanları neye göre seçip dokuyorsunuz? Portrelerimde kullandığım suretlerin tamamı arkadaşlarım. Onların gözündeki duyguları yakaladığımda hayat ve gerçeklikle ilgili sırlara biraz daha yaklaştığıma inanıyorum. Kesinlikle hayata bakışları ve ifadeleri beni çok etkiliyor. Bir Rönesans adamı olduğum için güzellik temel kıstasım. Ancak kurgudan olabildiğince uzak duruyorum. Sanatın bir modası var, sanatçıların kullandığı sıra dışı kelimeler. O moda içinde, o sözler içinde ben yokum, olmaya da niyetim yok.

August 15, 2025 | DESIGN & INTERIORS the ARTIST RETREAT & We are in a retreat house that is both an atelier and a home. Built 15 years ago by an artist couple, the house is designed by the renowned modernist architect Bartolomeu Costa Cabra—a key figure in the modern movement of Portuguese architecture. Consequently, the modernist approach in this project—the way the architecture responds to natural light, the careful selection of materials, and the smart functionality of the spaces—remains just as relevant today. Located in Lower Alentejo, the Artist Retreat is set in one of the best-preserved areas of this region of Portugal. Constructed using compressed earth, a traditional technique, the house rises naturally from the landscape as if it had always belonged there. The home is entered through a charming courtyard enclosed by walls adorned with orange trees and a fountain, and is divided into two distinct volumes connected by a central veranda. The second building is entirely dedicated to the atelier. Inside, the design reflects the artist couple’s personal taste, featuring vintage furniture and objects along with carefully selected textiles. (*) Fantastic Frank Lisbon curates a portfolio that includes works by some of Portugal’s leading architects and designers, as well as houses with great character and historical charm. for more Print VOL XV - 2025 ₺970,00 Price Add to Cart

January 2025 | DESIGN & INTERIORS TR BELOW a NEW TAKE on LOG CABIN LIVING words Alp Tekin photos İbrahim Özbunar Located in Camlıca, Istanbul, the Camlıca House is a log cabin project designed by XYZ Design. It sits in a secluded area surrounded by natural landscaping elements, where the homeowners previously lived in a mansion. Their first request to the XYZ Design team was clear: this living space, meant to be used year-round, should steer away from the typical winter cabin concept. The design team responded by creating an ambiance entirely independent of traditional log cabin aesthetics. At the heart of the project lies a log house by Honka, a Finland-based brand. The cabin rests atop a reinforced concrete basement. The logs, made from premium Finnish pine, were shipped in pieces from Finland and assembled on-site. These pine logs also shape the architectural language of the house. Instead of creating enclosed spaces on the ground floor, the design connects various areas with an open and fluid layout. The dining area, living room, lounge, and winter garden are separated by sliding and folding systems, allowing for seamless transitions between spaces when desired. The home’s color palette revolves around shades of beige and brown, harmonizing beautifully with the natural textures of stone and wood. Details in brass and vibrant colors from the homeowners’ art collection add a striking contrast. In contrast, the basement level takes on a more industrial and raw aesthetic, distinct from the upper floors. It features microtopping floors, wooden wall cladding, and furniture in unconventional forms. İstanbul, Çamlıca’da bulunan ve XYZ Design tarafından tasarlanan Çamlıca Evi isimli bu kütük ev projesi, ev sahiplerinin daha önce yaşadığı köşkün de yer aldığı doğal peyzaj unsurlarıyla çevrili izole bir alanda konumlanıyor. Ev sahiplerinin XYZ Design ekibinden ilk isteği şu olmuş: Her mevsim kullanılacak bu yaşam alanının kışlık ev konseptinden uzak olması. Dolayısıyla tasarım ekibi kütük ev atmosferinden bağımsız bir ambiyans yaratmış. Projenin odağında Finlandiya merkezli Honka markasının kütük evi var. Kütük ev, betonarme bodrum kat üzerinde yükseliyor. Özel Fin çamından üretilmiş kütükler demonte olarak Finlandiya’dan getirilmiş ve arazide kurulmuş. Fin çamından üretilen kütük strüktür aynı zamanda evin tasarım dilini oluşturuyor. Evin zemin katında kapalı mekanlar yaratmak yerine birbirine açılan, ilişkileri olan mekanlar kurgulanmış. Yemek alanı, oturma alanı, dinlenme alanı ve kış bahçesi, kayar-katlanır sistemlerle ayrılıyor. İstenildiğinde bu mekanlar arasında akışkan bir devamlılık sağlanabiliyor. Evdeki renk paleti ise bej ve kahve skalası arasında. Renkler doğal taş ve ahşabın özgün dokularıyla bütünleşiyor. Detaylar ise pirinç malzeme ve sanat koleksiyonundaki canlı renklerle buluşuyor. Bodrum kat ise üst katlardan bağımsız olarak daha endüstriyel ve ham detaylara sahip. Zeminde microtopping malzeme, duvar yüzeylerde ahşap kaplama ve mobilya seçimlerinde farklı formlar tercih edilmiş.