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June 2023 | Travel | Vol 10 TR BELOW KALESMA Not a hotel, like a village Words Onur Baştürk Photos Salva Lopez There is a Mykonos saying I just learned: “When a couple gets married, they build a village”. In a word, they take the first step of a village that will grow and develop through generations. K-Studio, responsible for the architecture of Kalesma opened in 2021, started off with this idea also. “Kalesma is not a hotel, it is a village”, they say: “We designed a village of whitewashed studios and villas which is parametrically arranged around a central area as if pixelating the landscape, inspired by the honesty of the islanders, and embracing the raw beauty of the arid rocky land and the navy blue sea”. MEDITATIVE SUNSET PLATFORM K-Studio, which is also the architect of Mykonos’ new airport, adopts a holistic approach in its work and attaches great importance to the heritage of craftsmanship. An interesting detail from the hotel as an example: The circular structure used to turn wheat into flour was preserved near the traditional stone ‘aloni’ and redesigned as a meditative platform for watching the sunset. By the way, let me remind you: It is a wonderful experience to watch both the sunrise and the sunset from Kalesma located in Ornos! The interior design of Kalesma belongs to Vangelis Bonios. Bonios’ style is based on creating sophisticated, modern and timeless spaces using raw materials. One of the important features of Kalesma is that the rooms have a special heated infinity pool. This is a feature that no other hotel in Mykonos offers. Yeni öğrendiğim bir Mykonos deyişi var, “Bir çift evlendiğinde bir köy kurmuş olur” diye. Yani aslında nesilden nesile büyüyüp gelişecek bir köyün ilk adımını atıyorlar. 2021’de açılan Kalesma’nın mimarisini üstlenen K-Studio da bu fikirden yola çıkmış. “Kalesma bir otel değil, köy” diyorlar: “Kurak kayalık arazinin ve lacivert denizin ham güzelliğini kucaklayan, ada halkının dürüstlüğünden ilham alan, merkezi bir alanın etrafında, sanki manzarayı pikselleştiriyormuş gibi parametrik olarak düzenlenmiş beyaz badanalı stüdyolar ve villalardan oluşan bir köy tasarladık”. MEDİTATİF GÜNBATIMI PLATFORMU Aynı zamanda Mykonos’un yeni havalimanının da mimarı olan K-Studio, çalışmalarında bütünsel bir yaklaşım benimsiyor ve zanaatkârlık mirasına çok önem veriyor. Mesela otelden ilginç bir detay: Buğdayın un haline getirilmesi için kullanılan dairesel yapı, geleneksel bir taş olan ‘aloni'nin yakınında muhafaza edilmiş ve gün batımı izlenebilecek meditatif bir platform olarak yeniden tasarlanmış. Yeri gelmişken hatırlatayım: Ornos’da konumlanan Kalesma’dan hem gündoğumu hem günbatımı izlemek şahane bir deneyim! Kalesma'nın iç mekan tasarımı ise Vangelis Bonios'a ait. Bonios'un stili, ham malzemeler kullanarak sofistike, modern ve zamansız mekanlar yaratmak üzerine kurulu. Kalesma’nın önemli özelliklerinden biri de odaların özel ısıtmalı sonsuzluk havuzuna sahip oluşu. Bu Mykonos’taki hiçbir otelde olmayan bir özellik.

Şubat 2022 | Tasarım | Türkiye for english click here Usdesign’dan dinamik bir ofis tasarımı Yazı | Alp Tekin İ ç mimar ve tasarımcı Alp Usluduran’ın mimarlık ofisi Usdesign’ın son projelerinden biri YNS yaşam teknolojileri. Bu ofis projesi için oluşturdukları bakışı açısını şöyle anlatıyor Alp Usluduran: “Ofis tasarımlarında kurguladığımız enerjik ve samimi tasarım dille çalışma ortamlarını daha eğlenceli hale getirmeyi hedefliyoruz. YNS, hastanelere tedarik ettiği test kitleri ve teknolojik ekipmanlarla sağlık sektöründe önemli rol oynayan bir şirket. Ofisin kurumsal kimliğini oluştururken sağlıklı olmak ve sağlıklı hissetmek gibi tanımları ele alarak yola çıktık. Mekanda doğayı anımsatacak renklere, doğal malzemelere, doğayı yansıtacak organik ve yumuşak formlara yer verdik”. MEKANDAKİ BÜYÜKLÜK ALGISI Toplam 125 metrekarelik YNS ofisini tasarlarken kalıplaşmış iç mimari planlamalardan uzaklaşmak istemiş Alp Usluduran. Bu nedenle ofisin mekan sirkülasyonunu oluştururken 55 derecelik açılar ve ofisin tasarım dilinin temelini oluşturan organik formlarla mekan hissiyatını büyütmeyi yeğlemiş. Mekandaki mimari sirkülasyona göre konumlandırılan sabit mobilyalar da bu geometrik dile hizmet eden yönlendiriciler. Özellikle mobilyalarda kullanılan tasarım dili de mekandaki büyüklük algısını artıran temel öğeler olmuş. YEŞİLİN TONLARI “Ofisin yeşil tonlarındaki renkleri hem şirketin hizmet verdiği sağlık sektörüne vurgu yapıyor hem de doğayı çağrıştırıyor” diyor Usluduran. “Temizlik ve sağlığı vurgulayan beyaz rengin yoğunlukta olduğu bir atmosferi ise özellikle planladık. Mekana dinamizm ve canlılık sağlamak amacıyla, özellikle ön plana çıkması istenen alanları somon renginin farklı bir tonu ile vurguladık. Doğallığı hissettirmek için ise mobilya tasarımları masif meşe ağacı ile harmanlandı. Mekan içerisinde bolca kullanılan tropik bitkilerle mekana enerji ve canlılık vermeyi hedefledik” A dynamic office design from Usdesign Words | Alp Tekin O ne of the latest projects of Usdesign, the architectural office of interior architect and designer Alp Usluduran, is YNS living technologies. Alp Usluduran explains the perspective they created for this office project as follows: “We aim to make working environments more enjoyable with the energetic and friendly design language we have built in office designs. YNS is a company that plays an important role in the health sector with the test kits and technological equipment it supplies to hospitals. While creating the corporate identity of the office, we started out by considering definitions such as being healthy and feeling healthy. We have included colors, natural materials, and organic and soft forms that will reflect nature in the space.” While designing the 125 square meter YNS office, Alp Usluduran wanted to move away from stereotyped interior design plans. For this reason, while creating the space circulation of the office, it preferred to enlarge the sense of space with 55-degree angles and organic forms that form the basis of the office's design language. Fixed furniture positioned according to the architectural circulation in the space are also routers that serve this geometric language. The design language used especially in furniture has also been the main element that increases the perception of size in the space. Çapa 4

November 2022 | Design & Interiors | VOL VIII MIAMI BEACH HOUSE Yazı / writer | Onur Baştürk Fotoğraflar / Photos | Tim Williams M iami’deki bu evin mimarisi Art Deco’nun son aşaması olarak tarif edilen, 1930’la 1945 yılları arasında hüküm sürmüş “Streamline Moderne” anlayışının şık bir ürünü. Evin içini yeniden tasarlayan Sanayi 313 ekibi ise kendini tek bir estetik ya da akımla kısıtlamamış. Sanayi 313’ün sahibi tasarımcı Enis Karavil, ev sahiplerinin Miami Beach’in tarihi dokusuna ve modern yaşamın kolaylıklarına atıfta bulunan bir tasarım istediğini söylüyor: “Benim için yaşanmışlık çok önemliydi. Evin dokusuna uyum sağlayacak tasarımların yanı sıra yüksek tavanların büyüsüyle kuvvetli bir kontrast yaratabileceğine inandığım tasarımlara yer verdim. Ailenin değişik kültürlerden gelen yapısına ithafen, dünyanın farklı kıta ve dönemlerinden seçilmiş aksesuarları Miami’nin renk ve havasını taşıyan bu yapıya yerleştirdim. Evin ışığı yerleştirme sırasında büyük rol oynadı. Doğal ışığın aydınlatma tasarımıyla dengelenmesi de önem taşıyan unsurların başındaydı”. MAKSİMALİST DETAYLARDA MİNİMAL VURGU Evi tasarlarken homojen bir hikâye kurgulamadığını söyleyen Karavil, farklı detay ve unsurlarla şaşırtmak istediğinden bahsediyor: “Eski dönemlerin günümüzle çatışması beni heyecanlandırıyor. İçinde geleneksel izler taşıyan modern bir tavrı benimsiyorum. Bu nedenle kontrast yaratan elementleri beraber kullandım. Maksimalist detaylarda minimalist bir abartıyı vurguladım. Büyük ebatlı, maskülen tasarımlara yer verdim. İnce, feminen ve sıcak dokunuşlarla detayları tamamladım. Ahşap, mermer, bronz ve cam gibi malzemeleri ön plana çıkarırken sade renkleri tercih ettim. Farklı yıllara ait antika ve aksesuarlara ise modern mobilyalar eşlik etti”. Enis Karavil, evin her bölümünün aynı rahatlıkta kullanılabilmesi için mobilyaların estetiği kadar fonksiyonel olmasına da dikkat etmiş. Stili güzel ama kullanışsız parçalara yer vermemiş. T he architecture of this house in Miami is a stylish product of the “Streamline Moderne” approach, which is described as the last stage of Art Deco, which was popular between 1930 and 1945. The Sanayi 313 team, which redesigned the interior of the house, did not limit itself to a single aesthetic or trend. Enis Karavil, the designer of Sanayi 313, says that the homeowners wanted a design that refers to the historical texture of Miami Beach and the conveniences of modern life: “Experience was very important to me. In addition to designs that will adapt to the texture of the house, I have included designs that I believe can form a strong contrast with the magic of high ceilings. I placed accessories selected from different continents and periods of the world in this structure, which carries the color and atmosphere of Miami, in reference to the family’s origin from different cultures. The light of the house played a big role in the placement. Balancing the natural light with the lighting design was also one of the most important elements”. MINIMUM HIGHLIGHT IN MAXIMALIST DETAILS Saying that he did not construct a homogeneous story while designing the house, Karavil mentions that he wants to surprise with different details and elements: “The clash of ancient times with the present excites me. I adopt a modern attitude with traditional traces. I adopt a modern attitude with traditional traces. I also emphasized a minimalist exaggeration in maximalist details. I included large-sized, masculine designs. I completed the details with subtle, feminine, and warm touches. I preferred simple colors while highlighting materials such as wood, marble, bronze, and glass. Antiques and accessories from different years were accompanied by modern furniture.” Enis Karavil has paid attention to the functionality as well as aesthetics of the furniture so that every part of the house can be used with the same comfort. Tamamı için... | For more... Print VOL VIII - 2022 / 23 Out of Stock View Details No product

October 2021 | Community VOL.5 PRIVATE DINNER Partner: Kilimanjaro We celebrated the launch of our Vol.5 Fall edition with the YUZU community at a special dinner hosted at Kilimanjaro in Istanbul’s Bomontiada. The menu was prepared by chef Melih Demirel, consultant to d.ream group restaurants. Vol.5 sonbahar edisyonumuzun çıkışını YUZU komünitesiyle beraber İstanbul, bomontiada'daki Kilimanjaro’da düzenlediğimiz özel bir yemekle kutladık. Menüyü d.ream grubu restoranlarının danışmanı şef Melih Demirel hazırladı.

October 27, 2025 | PRODUCT SOFT STEEL ZUCCHETTI x LC ATELIER photos Monica Armani and Luca Dallabetta, PH: k-448 A Day With LC Atelier, PH: Tobia Faverio In the calm courtyard of LC Atelier, Milan, Zucchetti’s A Day With series opens a new chapter — one that celebrates creative interpretation and material poetry. Here, designer Monica Armani’s Sablier collection takes center stage. Inspired by the silhouette of an hourglass, its soft lines and harmonious proportions give stainless steel an unexpected sense of fluidity. The sandblasted finish, velvety to the touch, reflects LC Atelier’s refined aesthetic — an interplay of light, balance, and quiet precision. In this dialogue, the faucet becomes more than a functional element; it’s a silent sculpture that unites utility and grace. Founded by Lucrezia Calvi, LC Atelier is an interior architecture studio that approaches each project as a personal narrative — crafted through collaboration, material sensitivity, and contextual awareness. “We chose Sablier for its softened, elegant forms,” says Calvi. “It resonates with our idea of space and how aesthetics and function can speak the same language.” The visual story unfolds through simple gestures: a hand brushing against cool metal, water cascading among lilies, a ray of light slipping over steel and glass. Every frame captures continuity, not contrast — where design dissolves into atmosphere. Zucchetti and LC Atelier’s collaboration reveals a shared philosophy: the pursuit of beauty in everyday gestures. Sablier embodies this dialogue — an object that holds the delicacy of time, shaped by Italian craftsmanship and timeless design.

January 2023 | Design & Interiors below english Ekolojik gökdelen mümkün mü? yazı Oktay Tutuş Y anıtı Düsseldorf’tan alıyoruz: AllesWirdGut Architektur & Hertl.Architekten; kent belediyesinin yeni teknik yönetim binasının tasarımı için açılan yarışmada sundukları kazanan tasarımlarıyla hem ekolojik hem de sosyal sorumluluk vadediyor. Binanın iklim ve enerji konsepti, fotovoltaik sistemler, yağmur suyu hasadı, beton çekirdekli aktivasyon, jeotermal enerji ve ek yerel ısıtma ve soğutma yoluyla yenilenebilir kaynaklardan yerel potansiyellerin kullanılmasını sağlayacak şekilde düşünülmüş. Ayrıca, binanın istenen pozitif eko-dengesine uygun olarak, kulenin tüm katlarının ahşap-beton kompozit yapıda inşa edilmesi uygun bulunmuş. Bu da demek oluyor ki, önceden inşa edilmiş parçalar burada bir lego gibi birleştirilecek ve böylece hem inşaattan hem de taşıma maliyetlerinden tasarruf sağlanacak. Yüksek derecede prefabrikasyon ve kısa taşıma yollarına bir de tavanların hibrit yapısı da eklenince kaynak tasarruflu çözüme erişileceğini düşünüyor mimarlar. Fotovoltaik ve merkezi olmayan ventilasyon elemanları ile ayrı ayrı geliştirilen zik zak cephe elemanları da yaz aylarında pasif gölgelemeyi, kışın güneş enerjisinden enerji üretimi ile birleştirecek. Binanın yapımına henüz başlanmadı, ancak gelecekte yapılacak gökdelen projelerinde hibrit deneylerin yapılmasının önünü açacak örnek bir proje olacak ümidini taşıyoruz. Eco-friendly skyscraper writer Oktay Tutuş W e get an answer from Düsseldorf: Alleswirdgut Architektur & herst.architekten; their winning designs in the competition for the design of the City Municipality's new technical management building promise both ecological and social responsibility. The building's climate and energy concept provide for utilizing local potentials from renewable sources through photovoltaic systems, rainwater harvesting, concrete-core activation, geothermal energy, and supplementary local heating and cooling. Also in line with the desired positive eco-balance of the building is the timber-concrete composite construction of all tower floors. Furthermore, following the desired positive eco-sequence of the building, it was appropriate to construct all of the tower's floors in a wood-concrete composite structure. This way, prefabricated parts will be assembled like Legos, saving both construction and transportation costs. The individually developed zigzagged facade with photovoltaic and decentralized ventilation elements combines passive shading in summer with solar energy production in winter. The building's construction has yet to begin, but we hope it will be an exemplary project that will pave the way for hybrid experiments in future skyscraper projects.

March 2025 | DESIGN & INTERIORS SALONE 2025 BUILDINGS WORLDS FIT for the FUTURE words Onur Baştürk The 63rd Salone del Mobile.Milano, set to kick off on April 8, is launching a new challenge: building worlds fit for the future! The fair’s key themes are industrial production, sustainable innovation, and emotional intelligence… Last year, the fair wrapped up with record-breaking numbers—over 370,000 professionals from 146 countries. Despite global uncertainties, this year’s Salone will once again open its doors with completely sold-out exhibition spaces. In Salone 2025’s cultural program, three site-specific installations will be showcased—two at the fair and one within the city. Pierre-Yves Rochon’s installation “Villa Héritage” will be presented in Pavilion 13-15, Paolo Sorrentino’s “La dolce attesa” in Pavilion 22-24, and finally, Robert Wilson’s work titled “Mother” will open at Museo Pietà Rondanini - Castello Sforzesco. A master in the creative use of light, Robert Wilson will also craft his own vision for Michelangelo’s work titled “The Mother” — an artwork considered one of Milan’s most iconic pieces alongside Leonardo’s Last Supper. Project curator Franco Laera explains, “For Wilson, light is not merely an adornment to what we see; it is what truly enables us to see.” Robert Wilson is also curating the official opening night at La Scala and will be one of the special guests at the inaugural Euroluce International Lighting Forum—a global gathering designed to discuss the major issues in lighting design. The forum, scheduled for April 10-11, will bring together experts from various fields including lighting designers, creatives, architects, scientists, and lighting professionals. SORRENTINO’S WAITING ROOM The installation “La dolce attesa” by Oscar-winning Paolo Sorrentino is poised to be one of the most captivating projects. This installation creates an invisible bridge between the present and the future. As Sorrentino himself puts it, “Waiting is one of the greatest misfortunes in life. To wait is to suffer. So perhaps we should rethink the way we wait. In doing so, waiting might become less painful. A sweet wait, on the other hand, is a journey—a striking and mesmerizing journey. Our waiting room aspires to be something else.” Salone del Mobile President Maria Porro adds, “Opening the doors of Salone del Mobile to Paolo Sorrentino is a deeply moving experience. With ‘La dolce attesa,’ he invites us all to experience something profoundly affecting. This installation is not just a space; it is a narrative composed of images, sounds, and breaths, reminding us that waiting is a universal emotion.” ITA’S SUPPORT The Italian Trade Agency (ITA) is once again playing a pivotal role at Salone del Mobile.Milano by helping to develop new exhibition formats in two key markets—the United States and China. ITA is bringing a large number of highly qualified foreign professionals from 35 different countries to Milan.

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

November 27, 2025 | Art & Culture CARLOS BUNGA: INHABITING CONTRADICTION words YUZU Editorial photos Pedro Pina At Lisbon’s CAM – Centro de Arte Moderna Gulbenkian, Portuguese-born and Barcelona-based artist Carlos Bunga unveils his most expansive installation to date — a work that gathers memory, displacement and architectural fragility into a single, quietly resonant gesture. Inhabit the Contradiction, curated by Mocca Toronto's artistic director Rui Mateus Amaral, begins with one of Bunga’s own surrealist drawings, My First House Was a Woman. The piece recalls his mother’s journey fleeing civil war in Angola in 1975 — pregnant, carrying her two-year-old daughter and unborn son toward an uncertain refuge in Portugal. TEMPORARY STRUCTURES, LASTING ECHOES Bunga’s practice has long resisted the notion of permanence. Using deceptively modest materials — cardboard, tape, paint — he builds forms that feel simultaneously monumental and vulnerable. His installations settle into space the way memories do: tentatively, in layers, shaped by the ongoing tension between making and unmaking. In CAM’s Nave, cylindrical columns rise like a forest of improvised trunks, echoing both architecture and nature. Across the building, domestic objects — tables, lamps, cabinets, rugs — appear gently altered, as if carrying the trace of previous lives. Garden chairs are brought indoors, softening the boundary between museum and exterior. These gestures create a loose architecture of belonging, attentive to how easily the concept of “home” can shift, dissolve or be rebuilt. DIALOGUE WITH A COLLECTION IN FLUX A striking dimension of the exhibition is Bunga’s engagement with CAM’s collection. The freedom to move experimentally through the institution’s holdings aligns with his ongoing exploration of thresholds — between the visible and the invisible, the public and the private, loss and recovery. He gravitates toward works that resist easy category: installations that rely on organic material to regenerate, portable sculptures, incomplete sequences, shadow-driven photographs, pieces completed through correspondence. Placed alongside his own ephemeral structures, they form a meditation on absence, impermanence and reinvention. Curator Rui Mateus Amaral frames the project within the paradox that shaped the Gulbenkian Foundation itself — an institution born after its founder’s death, marked by a man who lived nomadically and found refuge in Portugal during World War II. Bunga channels this tension, folding presence and absence, certainty and precarity into the exhibition’s core. THE INSTALLATION’S MOST POWERFUL MOMENT The most striking moment arrives not at the opening, but weeks later. On 14 March, Bunga will return to CAM to cut, collapse and recompose the installation in real time. Creation becomes performance; structure gives way to movement; destruction becomes another form of drawing. Inhabit the Contradiction offers no tidy resolution — and that is its strength. It invites visitors to stand within the unstable spaces where life rearranges itself. In Bunga’s hands, fragility becomes a structure, and impermanence a way of seeing.

November 2023 | People FOR TR CONVERSATION about ARCHITECTURE with ECE CEYLAN BABA words Onur Baştürk Our first face-to-face conversation with Yeditepe University Faculty of Architecture Dean Ece Ceylan Baba took place under a "tree of life". That “tree of life” was in a familiar place. A Ficus Australis, the symbol of Yuzu Garden, which opened in 2020 within Paloma Finesse in Antalya-Side. We met with Ece in that delightful garden at the beginning of the summer and talked about sustainable architecture and architectural approaches that are expected to dominate the world in the near future. Of course, not every topic could fit into our conversation that day as part of "Yuzu Weekend". That's why I wanted to publish here the long interview we had after that conversation. Because what Ece has to say concerns us all! ONE IS UTOPIA, THE OTHER IS DYSTOPIA How do you view architects’ projects aimed at “saving” or “healing” the world? For example, BIG’s Bjarke Ingels’ “Masterplanet” project or Liam Young’s fictional film “Planet City.” Can architects really make a difference in saving the world? The argument of saving or healing the world is quite ambitious for a single profession. However, I believe in the transformative power of space. People are influenced by the spaces they inhabit, and spaces, in turn, are influenced by people. They co-evolve like two living organisms contributing to each other. From this perspective, the impact of architecture on human life is significant. While the world’s resources are depleting, the universe has the ability to heal itself. Nevertheless, our era is marked by various crises, and various professionals are taking numerous measures to postpone the possible end of humanity. In the field of architecture, principles of sustainable design, energy efficiency, and the use of environmentally friendly materials have gained importance in the 21st century. Approaches like Masterplanet and Planet City have different arguments in this regard. We can describe them as a kind of duality, one being utopia and the other dystopia, two visionary works. BIG’s Masterplanet project envisions a world that comprehensively addresses the climate crisis and foresees a world where the entire global population lives in similar ideal urban spaces. The project proposes a masterplan for the world and resembles a utopia in some aspects. It approaches environmental issues with a comprehensive solution and places technology at the center of the project. It suggests a design action on a planetary scale, highlighting the inadequacy of current building and even city-scale measures in addressing the climate crisis. The project has a pragmatic architectural approach and offers a critical perspective on local climate crisis measures. In the film “Planet City,” Liam Young explores a dystopia that reinterprets the strong relationship between colonization, globalization, and the economy through metropolises, challenging conventional thinking. It narrates events in an imaginary city where approximately 10 billion people live, and the rest of the world is handed over to the wild nature by a collective decision. The speculative science fiction film suggests that climate change is not just an environmental issue but a political and ideological problem. Both projects are produced by architects and are not intended to be realized; they aim to draw attention to the climate crisis with their manipulative features and question the possibilities of architecture beyond conventional ideas about cities, urban life, the environment, and even the planet’s scale. Do you think the homes of the future will be completely independent from city grids and self-sufficient? What are your thoughts? Or will efforts in this regard remain largely individual? A city exists with its built environment, unbuilt environment, and the lives of the people within it. This situation forms a complex pattern and inherently does not contain uniqueness. The concept of self-sufficient home(s) is bound to eventually evolve into a network of similar lifestyles. Therefore, I believe that cities in the future will enable a non-individual, community- oriented way of life. SLA'S STRUCTURE IN COPENHAGEN IS A VERY GOOD EXAMPLE SLA’s structure in Copenhagen is quite a good example with its emphasis on greenery, even making it the centerpiece of architectural design. Creating organic farming areas and mini-parks on the rooftops of buildings, for instance. The most striking example is the landscape design on the steep roof of the energy plant in Copenhagen, designed by SLA. Do you think all of this is sufficient, or is it merely “greenwashing”? Sustainable design approaches in architecture are a multidisciplinary and holistic subject that involves various stakeholders. It encompasses different areas such as material selection, the presence of adaptable and functional programs, the relationship of the building with its geographical location, energy efficiency, and the use of eco-friendly construction technologies. We cannot return a piece of land taken from the city to wild nature by placing limited greenery on the facade or roof of a massive building. Nor can we make an unsustainable building sustainable by adding some green touches later, just to use it as a marketing argument with a “green building” certificate. This subject should involve a process that starts from the initial stages of design, continues with the involvement of users, and becomes a cyclical, living, and holistic process within life. Anything outside of this framework has the potential to become a form of greenwashing. SLA’s structure in Copenhagen, which I had the opportunity to observe on-site recently, is an excellent example due to its location in the city and its design approach. It successfully integrates the building’s non-public rooftop with the city, eliminates barriers safely, and presents an original idea. IT IS IMPOSSIBLE TO DELIVERY THE WORLD TO WILD NATURE Can we control further green degradation in the next decade? Are you optimistic about this? Research indicates that the world’s population will continue to grow, and consequently, the urban population is expected to increase relative to the rural population. Urban life still seems attractive and maintains its appeal. Therefore, we can say that the need for construction in cities will increase in the next decade. I would like to emphasize one point: repurposing the idle building stock in cities can help control further green degradation unless there is a real need for more green destruction. I am not optimistic about this if methods like improving the efficiency of existing buildings and developing policies that support shared space usage are not adopted. Is it really necessary for us to return a significant part of the world to wild nature? Is this our salvation? What are your thoughts? In fact, I addressed the answer to this question in the previous one. I do not believe it is possible to return a significant part of the world to wild nature. The urbanization trend is expected to continue as the population increases, and the current approach to construction, driven by the capital-focused system we live in, exacerbates this situation, creating environmental problems. One of the reasons for this is the strong appetite for producing mega-scale projects. In my 40s, I learned the power of imperfection. IN MY FORTIES, I HAVE LEARNED THE VALUE OF IMPERFECTION When you were just starting out, in your twenties, how did you view the world, cities, and your profession? What has changed in your vision over the years, and what has remained the same? That’s a wonderful question! In the early years of my professional life, I used to work with the aim of perfection in a project, research, building, or text. I believed it could be achieved, and I dreamed of the possibility of achieving this with proper planning. Years later, especially as I delved into the search for ideal spaces and ideal cities, I confronted the fact that the idealized space being strived for was closed to development, totalitarian, and stagnant. Yet, people are evolving beings, and so are spaces. There is a symbiotic relationship between them. Today, in my forties, I have learned the value of imperfection. I realized how valuable the reality with its flaws is, not the idealized one. I believe that the world and cities continue to evolve with their imperfections, and this is what makes them unique and allows them to differentiate and progress from one another.

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.

March 2023 | Travel | VOL 9 SPIRIT of ORIENT EXPRESS words Alp Tekin The first and most famous example of the luxury train travel experience is undoubtedly the 150-year-old Orient Express. This train, which connects Paris and Istanbul, is one of the starting points for the concept of luxury travel. From 1883 until First World War, the carriages of the Orient Express carried countless diplomats, aristocrats, artists, and kings. Even the agreement that ended the First World War was signed in car number 2419 of this train. After this agreement, the journeys of the Orient Express were also history, and various countries and museums protected the train’s carriages. Until recent years... With the change in travel culture and the emergence of experience-oriented ‘slow tourism’, the spirit of luxury train travel and the Orient Express started to live again. ONCE A YEAR, PARIS - ISTANBUL The first brand to keep the spirit of the Orient Express alive is the Belmond Hotel Group, which owns many hotels around the world, including the Cipriani Hotel in Venice. In fact, Belmond began working on the luxury train concept in 1977, calling it “Venice Simplon-Orient-Express, A Belmond Train” or VSOE for short. Exactly 40 years after that date, Belmond, which has been part of LVMH since 2019, has introduced the Eastern Oriental Express on the Far East route in addition to the VSOE train. The most interesting of the Belmond trains is undoubtedly the VSOE. In addition to its iconic trip from Paris to Istanbul once a year, the VSOE route passes through the following cities between March and November: Paris, Cannes, Florence, Venice, Rome, Verona, Vienna, Innsbruck, Prague, Budapest, Bucharest, Geneva, Brussels, and Amsterdam. for more Print VOL IX - 2023 Out of Stock Add to Cart

October 27, 2025 | DESIGN & INTERIORS MID-CENTURY MODERN for TODAY words Noah Mercer photos Mikhail Loskutov style Yes We May On the top floor of a residential complex in central Moscow — built on the former site of the city’s legendary watch factory — architect Nikita Kostik, founder of A01.Studio, designed his own apartment as a quiet study in proportion, material, and light. The 64-square-metre residence interprets mid-century modern not as a nostalgic style, but as a living language reimagined through the logic of architecture and the context of the city. The result feels timeless yet deeply personal — a space where form follows emotion and design serves serenity. A complete reconfiguration opened the plan into a continuous, circular flow, turning the apartment into an observation deck above Moscow. From every angle — even from the bathroom — the skyline becomes a part of the interior narrative. Natural light moves freely through open spaces, softening the geometry and creating a sense of balance and ease. Materials were chosen for their honesty and tactile presence: concrete, poplar root, Verde Alpi and Royal Rosa marble, alongside brushed stainless steel. Each surface contributes to an atmosphere of calm precision. Complementing these are Knoll chairs, USM pieces, and lighting by Flos, Atelier Areti, Zieta, Artemide, Ingo Maurer, and Martinelli Luce — design icons that bridge past and present with quiet confidence. Nordic Knots rugs and Iconico and Fantini fixtures add subtle tactile rhythm, while custom furniture and art objects by Kostik himself introduce a layer of introspection. The apartment’s duality — between structure and emotion, intimacy and openness — defines its character. Natural materials, precise proportions, and curated details form a cohesive dialogue in which aesthetics serve the mood rather than dictate it. In this personal retreat above the city, mid-century modern is no longer a style of the past but a language of presence — one that speaks of calm, integrity, and connection.

Nisan 2020 | Art | Türkiye LARA KAMHİ ‘Aşırı kalabalık bizi özümüzden uzaklaştırdı’ Yazı | Onur Baştürk L ara Kamhi 10 yıldır sinematik sanatlar alanında üretim yapan bir çağdaş sanatçı ve yönetmen. “Transparency of Being” adlı belgesel filmini karantina günlerinde online olarak Youtube ve Vimeo’da herkesin erişimine açmıştı. Gündelik hayat, teknolojik iletişim ve ulaşım platformlarının istilası ile tinsellik üzerine karşılaştırmalı gözlemlerden oluşan belgeseli izledikten sonra Lara Kamhi’yi aradım ve merak ettiklerimi sordum. Yaptığın işi erişime açarak belgeselin adı gibi transparan davranmış oldun. Tıpkı müzelerin, galerilerin işlerini dijitalde erişime açması gibi, sanat sence tamamen dijitale mi evriliyor? Yakın zamanda aracı kurumlar ortadan kalkacak mı? Ne dersin? Uzun zamandır akımlardan söz etmiyoruz, dikkatinizi çekerim. Süreçler de paylaşım sistemleri de bireyselleşti. Özellikle son 15-20 yıldır küresel krizlerle ve dijital mecraların yaygınlaşmasıyla birlikte bireyler bir topluluğa dahil olmadan veya galerilere ihtiyaç duymadan seslerini duyurur oldu. Kısıtlamalara ve hatta galeri sisteminin tekdüzeliğine inat sokak akımları zirve yaptı! Çünkü engel olundukça sanat güçlenecektir. Bu sanatın doğasında var. Ve o engele rağmen sanatını icra etmenin yollarını bulan yine bireyler olacak. Kurumlar değil. Sanatın dijitale evrildiği bir gerçek, ancak bu dijital mecralar da el becerisi, teknik bilgi ve disiplinli bir çalışma gerektiriyor. Öyle sanıldığı gibi kolay değil, daha bile zorlaşabiliyor süreç. MİLYONLARCA GERÇEK VAR Belgeselin kalabalıkları, ulaşım ve iletişimin aşırı hallerini gösterirken bir yandan da yalnız kalan/kalabilen bireye de odaklanıyor. Ortasını mı bulmalıyız yoksa sil baştan yeni bir anlayış mı gelmeli? Şöyle olmalı, böyle olmalı diyemem. Gözlemim, bu aşırı kalabalığın bizi özümüzden uzaklaştırdığı yönünde. Ancak bir yandan da bu özünü kaybetme durumu bizi onu aramaya iten. Bu bir paradoks! Mesela gerçekliğimizi yitirdik ve bu yüzden sürekli onu yaratmaya çalışıyoruz. Benzer bir kısırdöngü bu. Tüm dijital paylaşımlar birer gerçeklik oluşturmaya başladıkça, fiziksel olan gerçeklik de niteliğini kaybetti. Bu durum da bizi yine paradoksal bir biçimde onun sayısız temsiliyetini yaratmaya sürükledi. Sinematik teknolojiler ne yönde gelişiyor dikkat edin: Gerçekliğin daha kusursuz halini nasıl yaratabilirim? Tüm mesele bu. Sosyal medyaya bir de bu gözle bakın: Milyonlarca gerçek var! Bazı temel kavramlar kaybolmaya başlayınca kaçınılmaz şekilde baştan tanımlanmaları gerekiyor. Böyle bir ara dönemdeyiz. Sonucuna kolektif bir biçimde hep birlikte karar vereceğiz! HAYAT TARZIMIN ADI BİREYSEL İZOLASYON! ‘Transparency of Being’i neden Japonya’da çektin? Bir yakınımın Japonya’da film çekimi vardı. Ön araştırma sürecinde yanına yardıma gitmiştim. Bu yolculuktan film çekerek döndüm. Japonya ve Güney Kore gibi ülkeler uzun süredir radarımdaydı. Hem tinselliğin en geleneksel halinin korunduğu hem de son derece teknolojik sistemler… Bu iki zıt gözüken elementin birbiriyle barınma ve birbirini besleme biçimlerini araştırıyordum. Sonrasında aynı konuya değinen bir ikinci versiyonu katıldığım bir sergi için gittiğim Tunus’ta çektim. Japonya ve Tunus taban tabana zıt kültürler. Bu kavramları bir de ters köşeden irdelemek ilginç oldu. Ancak o projenin montajı henüz tamamlanmadı. Biraz daha vakti var! Senin için bireysel izolasyon zor mu kolay mı? Meğer benim hayat tarzımın bir adı varmış: Bireysel izolasyon:) Aslında bunu hâlâ çekinerek söylüyorum, çünkü senelerdir evden çalışmak, vaktinin büyük kısmını dışarı çıkmadan evde geçirmek bir nevi kolaycılık veya tembellik olarak kodlandı toplum tarafından. Ancak sanırım artık bunun bir geçerliliği yok. Herkes gördü bunun çok da kolay bir iş olmadığını! ‘Transparency of Being’ hangi festivallerde gösterildi? Belgesel ilk senesinde İstanbul Sonar Festivali’nde, Redbull Art Around projesi kapsamında ve Bilsart Galeri’de gösterildi. İkinci senesinde yolculuğuna İstanbul Experimental Film Festivali, yine İstanbul’da Adam Sanat Evi, Bolonya’da Weekend on the Moon etkinliği ve Atrabilious Amsterdam Experimental Film Festivali’nde devam etti. Şu sıra ne üzerinde çalışıyorsun? Son iki aydır bir müzik videosu üzerine çalışıyordum. Tam bitirecektim ve yayınlayacaktık ki, iki gün içerisinde dünya değişti. Aslında ilginçtir: Videoyu evde tek başıma minik setler, ışıklar kurup çekimler yaparak, çok bireysel bir süreçte üretmiştim. Bugüne kadar bu tip çok proje yapmış olmama rağmen bu video kendi özelinde bana pek çok şeyin bireysel bir şekilde yaratılabileceğini tekrar gösterdi. Kendimi bu hususta şanslı hissediyorum. Çalışma sistemim tüm projelerimi evden yürütmeme olanak sağlıyor! MÜZİĞİ BIRAKMIŞ GİBİ HİSSETMEDİM Yıllar önceki ilk karşılaşmamızda müzikle ilgili bir şey yapmak istiyordun. Zaman içinde yol seni çağdaş sanatçı olmaya doğru çıkardı. Seçimi sen mi yaptın yoksa hayat mı bu noktaya getirdi? Hayat da seçimler sonucunda bir noktaya gelmiyor mu zaten? Evet, bu benim seçimimdi. Hayat da destek oldu. Çok ilginç, kendimi hiçbir zaman müziği bırakmış gibi hissetmedim. Ya da ben çağdaş sanatçı oldum, ben yönetmen oldum da diyemedim aslında. Tüm süreçler birbirini besledi, yarattı. Son olarak: Kendini kalabalıklarda mı güvende hissedersin yoksa tek başınayken mi? Gerçek güven duygusunu içinizde hissedersiniz. Onunla olan meselenizi çözerseniz, kalabalıkta da tek başına da güvende hissedebilirsiniz kendinizi. Ben artık her ikisinde de güvende hissediyorum çoğunlukla. Ama bir tercih yapmam gerekirse tek başına daha huzurlu olduğum bir gerçek! ART | Kategorinin diğer yazıları ‘Resimlerin kendi içinde tedirgin olmasını önemsiyorum’ Mahremiyeti sorgulamak daha erotik Yuzu & nom-studios sunar ‘LOOP’ sergisi Kemal Özen "Gam'zede" Online Sergi Hangi yetişkin bir ‘Gam’zede’ değil ki artık? Ali Elmacı’nın atölye günleri notları May Parlar "Collective Solitude" Online Sergi Lara Kamhi’yle paradokslar ve izolasyon üzerine... BASE’in yeni dijital projesi yakında Sessiz Odanın Çığlığı İtalya’daki müzeden salgına bakınca… Yıldızı daha da parlayacak: Salman Toor Online açılış yapan İstanbullu sergi

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 Out of Stock Add to Cart