September 22, 2025 | Product KAST EXPANDS ITS CONCRETE UNIVERSE brand KAST photos Courtesy of KAST From its Nottinghamshire base, Kast has spent over two decades perfecting architecturally led concrete design. Acquired by Kohler Co. in 2023, the award-winning brand is globally recognised for its design-forward approach, minimalist DNA, and tactile craftsmanship. At Decorex 2025 (12–15 October), Kast unveils its latest evolution: a collection of handcrafted concrete countertops. Building on the success of its sculptural basins, the new range extends the brand’s universe with surfaces that combine material depth, refined boldness, and clean lines. Available in Kast’s full 28-colour palette, the countertops come in versatile formats — from wall-mounted slabs to double vanity tops, corner solutions, and coordinating shelves — designed for both residential and hospitality settings. “Designers have been asking for options that complement our basins both aesthetically and functionally,” notes Amy Bartlett, Creative Director at Kast. “With countertops, we’re opening up new possibilities for colour play, spatial flow, and personal expression.” Crafted from Kast’s proprietary concrete blend of Derbyshire limestone, fine sands, and high-grade pigments, the pieces adapt effortlessly to a spectrum of interiors — whether industrial or softly layered — offering designers a cohesive, customisable medium that elevates the everyday.

Seyahat + Stil + İnsan + Art + Botanik PEOPLE MONAD ORIGIN FORM-MAKER JAN ERNST INSIDE ELENA’s WORLD CHROMATIC NARRATIVES CECILE DEGOS NADER GAMMAS: in PURSUIT of LIGHT NINA YASHAR NEW VISIONS FOR NOW AND NEXT ASTRONAUTS MARCO & IPPOLITA: the VISIONARIES BEHIND ARTEMEST MAARTEN DE CEULAER the ST VINCENTS DUO KARIM+ELIAS PALOMBA SERAFINI ELISA UBERTI TIINA KARJALAINEN KIERYSCH JULIANA CAVALCANTI MALTE MARTEN: the HANDPAN CHANGED MY LIFE ALESSIA GENOVA: a STORY of VISION and RESOLVE REZZAN BENARDETE ETEREO DESIGN Show More

October 29, 2025 | DESIGN & INTERIORS a STUDY in CALM PRECISION words Alp Tekin photos İbrahim Özbunar (645 Studio) Set high on the hills of Istanbul’s Etiler district, Four Seasons R01 by Escape from Sofa embodies the quiet sophistication of a home designed for balance. The residence captures a rare equilibrium — where the city’s pulse hums softly in the background, while every space inside feels composed, grounded, and unhurried. “For us, design isn’t about withdrawing from the city,” says Mahmut Kefeli, co-founder of Escape from Sofa. “It’s about finding a softer balance with it.” That idea defines the essence of Four Seasons R01: a house that embraces Istanbul’s energy yet invites stillness. Through careful planning, a refined palette, and the orchestration of light, the architects create what they call a breathing balance — a living rhythm between exterior intensity and interior calm. Organized on a single level, the home unfolds as a continuous flow of light and proportion. Surfaces are left to speak their own language; transitions feel effortless. Ornament gives way to atmosphere. “Our sense of moderation isn’t about minimalism as reduction,” notes Kefeli, “but about bringing the essence to the surface.” CRAFTED MINIMALISM Natural materials — oak, lime plaster, onyx — define the home’s tactile warmth. Each carries both aesthetic and emotional resonance. Their textures age beautifully, recording traces of time, and connecting the interior to nature’s rhythm. For Escape from Sofa, craftsmanship is more than detail; it’s a form of comfort, the subtle luxury of the handmade. Light is the true protagonist here. It shifts gently across surfaces, marking the hours, the seasons, and the passing of the day. Nature, Kefeli emphasizes, is not a backdrop but the essence of design itself. Nearly every element, from built-in cabinetry to lighting and furniture, was custom-designed — an expression of what the studio calls crafted minimalism. Here, simplicity is human, tactile, and quietly expressive. “Every piece was shaped to fit the spirit of the house,” Kefeli says. “We believe everyday life should feel enriched — not by excess, but by refinement.”

Deceember 27, 2025 | PRODUCT DESIGN MINIPOD: a SOFTER WAY to WORK Designed by Defne Koz and Marco Susani for Koleksiyon, Minipod has been awarded the Compasso d’Oro 2025, one of the most established honours in international design. Announced at Expo 2025 Osaka and presented in Milan, the award also places Minipod in the permanent collection of the ADI Design Museum. SOFT WORK HABITAT Minipod is part of Koleksiyon’s ongoing exploration of the Soft Work Habitat—a design approach that challenges rigid, modernist work environments in favour of more adaptable, human-centred spaces. Inspired by David Sim’s Soft Citythinking, the concept translates urban softness into the scale of everyday work. A NEW KIND OF WORK POD Responding to post-pandemic shifts in working culture, Minipod moves beyond the conventional desk-and-chair setup. Compact and sculptural, it creates a semi-enclosed thinking capsule suitable for open offices, homes, and shared workspaces—offering focus without isolation. Height-adjustable for seated or standing use, it integrates wired and wireless power solutions, acoustic support, and a gently embracing backrest that balances privacy with openness. Steel elements are softened through fabric upholstery, introducing warmth into professional settings. DESIGNED TO ADAPT More than a functional object, Minipod responds to how people actually work today—across different postures, rhythms, and degrees of concentration. It invites movement, focus, and pause, creating moments of calm within collective environments. Conceived not simply as office furniture but as a living object, Minipod addresses contemporary needs for flexibility, concentration, and emotional comfort. Its Compasso d’Oro recognition reflects a broader shift toward design that prioritises human experience and cultural relevance over fixed typologies.

April 2025 | DESIGN & INTERIORS A SINGLE MAN HOUSE words Laura Cottrell photos Carbonelli & Seganti Drawing inspiration from Tom Ford’s A Single Man, this Rome residence bursts with creative energy and daring sophistication. Nestled on one of the city's most charming streets, the home transforms a classic artist’s atelier into a vibrant modern haven, celebrating high ceilings and captivating urban heritage—all masterfully envisioned by MarguttArchitetture founder Enzo di Claudio. Step inside and be greeted by a dramatic living area boasting nearly six-meter-high ceilings. A striking, natural-iron staircase not only bridges the two floors but also highlights an impressive full-wall bookshelf. This modular marvel, crafted around the golden ratio, pays a stylish nod to Japanese design icon Shiro Kuramata, infusing the space with an unmistakable avant-garde flair. The renovation kicked off with robust structural restoration that revealed the home’s original wooden ceilings and reopened a majestic arched window. This architectural gem frames a secret bohemian garden facing the Pincio, creating a dynamic interplay between bustling street energy and serene natural beauty. Upstairs, the private area dazzles with a crystal-clear bathroom, complete with a luxurious Turkish bath, serving as a chic backdrop for an expansive, transparent wardrobe. A visual thread connects this sophisticated space to a lower-floor retreat known as “Campanile.” With its dramatic proportions—a compact footprint soaring to a 6-meter height—this intimate room is designed for moments of deep reflection, melodic tunes, and immersive reading. Innovative lighting solutions add the final touch of modernity. Strategically placed spotlights, fixed to robust steel beams, work in harmony with the stunning Candela di Vals suspension lamps by Viabizzuno, casting a captivating glow that transforms every corner of the home. A Single Man House is not just a residence—it’s an exhilarating experience of art, design, and passion, boldly redefining what home can be in the heart of Rome.

Ocak 2021 | İnsan | İtalya Ergenliğini sev WE ARE WHO WE ARE Yazı | Onur Baştürk H erhalde hiç kimse ergenliğini muhteşem bir şekilde hatırlamıyordur. Keza muhteşem olması ergenliğin öz doğasına aykırı! Nitekim ergenlik dediğimiz şey; bir gün suratında berbat bir şekilde ortaya çıkıp ertesi gün yok olabilen serseri mayın sivilceler gibi gayet düzensiz, asla stabil olmayan bir ruh hali, balta girmemiş ormanlık arazi, vahşi doğanın ta kendisi! Tam “araf” aslında. Geçiş bölgesi ergenlik. Yetişkinliğe doğru evrildikçe de ergenlik boyunca yaptığın tüm o iniş çıkışları, hatta saçmalıkları bir anda unutup gidiyorsun. Yetişkinliğin önceden belirlenmiş düzenine teslim olur olmaz… O yüzden, içindeyken hiç mi hiç güzel gelmese de, aslında ergenlik güzel şey! Elbette bana ergenliği yeniden sevdirmiş biri var: Yönetmen Luca Guadagnino. “Call Me By Your Name” (bundan sonra kısaca CMBYN diyelim) desem anlayacaksınız. Ünlü yönetmenin CMBYN filmini çok çok sevmiş olanlar, sonbaharda HBO’da yayınlanmış yeni dizisine de eminim bayılacak: We Are Who We Are (Blu TV’de var). ELIO VE FRASER İtalya’daki bir Amerikan üssünde geçen dizide bu kez başroldeki ergenimiz: Fraser. CMBYN’deki Elio bir önceki kuşağın ergeniydi. Kültürlüydü, kendine ait bir dünyası olsa bile dış dünyayla o kadar da savaşmıyor, içine kapanmıyordu. Fraser öyle değil. Fraser şimdiki kuşağın ergeni. Dış dünyayla, otoriteyle bir pasif agresif bir savaşı var. Özellikle de lezbiyen annesiyle. Ama o da Elio gibi meraklı ve kültürlü. Tipik Z kuşağı mensubu sayılmaz. Üstelik kaynağı sadece internet değil, kitap okuyor. Her şeyi takip ediyor ve asla kimseyi yargılamıyor. Ama Elio gibi aşırı hassas ve kırılgan. O UPUZUN PARTİ SAHNESİ Gel gör ki We Are Who We Are’da sadece Fraser’a çakılıp kalmıyor yönetmen Guadagnino. Onun etrafındaki diğer ergenlerin dünyalarına da giriyor. Onların din, aile, sistem, cinsel kimlikteki akışkanlık meselesi gibi dertlerine odaklanıyor. Üstelik bunu uzun uzun yapıyor! Sahneler tipik Amerikan dizilerinde olduğu gibi hızlı bir şekilde akmıyor. Yavaş ve bazen olanca gerçekliğiyle bize yansıyor. Mesela ergenlerimizin bir parti sahnesi var. Öyle uzun ki, her detayı göstermiş yönetmen. Ben izlerken hiç sıkılmadım. Hatta kendim partileşmiş kadar oldum! YETİŞKİNLER NE KADAR RENKSİZ! Dizi ergenler kadar yetişkinlerin dünyasını da sorguluyor. Yetişkinlerin kendilerini tamamen “düzen” ve “sistem”e kaptırmalarını, hayatı sorgusuz ve renksiz yaşamalarındaki kayıtsızlığı görüyorsun. Özellikle de Chloe Sevigny’nin oynadığı Sarah ve Faith Alabi’nin oynadığı Jenny rollerinde bu kayıtsızlığın altını fazlasıyla çizmiş yönetmen. HER ŞEYİN BAŞI: YENİLENME Bir şey daha: Her Guadagnino yapımında olduğu gibi (hatırlayın CMBYN’de de vardı) karakterler değişime uğruyor. “Büyüyorlar” desem belki daha doğru... Ve biz onların yavaş yavaş başlayan değişimlerini izlerken hep şunu soruyoruz. Ya da en azından ben kendime sordum: “Ergenliğimden yetişkinliğime geçişte ruhsal olarak neler değişmişti, hepsini hatırlamam lazım”. Doğrusu bu ya, hatırlıyorsun. Ve gariptir, dizi sayesinde kendi ergenliğine şefkatle sarılıyor ve o zamanları çok daha iyi anlıyorsun. Ah en güzeli de, tıpkı Fraser ve suç ortağı Caitlin’in yaptığı hiçbir nedeni olmayan saçmalıklardan yapmak istiyorsun. İşte o kısım, yetişkinliğin berbat ikilemine giriyor: Şimdi böyle saçmalarsam alem ne der!

October 2024 | Design & Interiors FOR TURKISH THEIR FAVORITE EDIZIONE LIVING CORNERS, CHOSEN for YUZU - c h o i c e s - words Alp Tekin photos Abdullah Abukan creative director Erdi Eralp Uğur Authentic, elegant, and simple. These three words perfectly sum up the designs of Edizione Living, founded by Sema Gizem Özdemir and Burcu Burat. Inspired by local artisans, the brand’s products are crafted in small-scale, boutique workshops rather than factories. In the CHOICES project by Yuzu Magazine and Edizione Living, four leading figures from Istanbul’s design scene posed in different corners of the brand’s newly opened store in Fenerbahce, Istanbul. 1. DERYA TOROS Interior Architect / Toros & Partners co-founder I love the Elba Sofa in this corner because it’s both comfortable and stylish. The Pia Stool I’m sitting on, with its minimal and elegant design, adds a simple elegance and timeless aesthetic to any space. That’s why the Elba Sofa and Pia Stool were my picks from Edizione Living. 2. EMRE ÖZÜCOŞKUN Interior Architect / Cisimdesign co-founder Balance is a key element in all our projects. This Edizione corner feels close to me because it reminds me of the balance in materials, colors, and forms in our Cisimdesign projects. The harmony in the contrast between the bright, cool stool and the rug it stands on, along with the interplay between green plants and solid wood, beautifully reflects this balance. 3. FULYA BOZKURT Journalist / Editor-in-Chief of Marie Claire Maison Turkiye With its natural, raw wood furniture and handmade pieces, the Edizione Living collections perfectly align with my lifestyle. I love the sense of warmth and character that the sofas and couches, draped in soft natural linen, bring to a space. This Edizione Living corner, with its color palette that moves from chocolate brown to beige, feels incredibly cozy, modern, and comfortable. Their eco-friendly production and commitment to sustainability are also among the main reasons I choose this brand. I can already imagine spending hours around this dining table with my loved ones by candlelight! 4. ONUR BAŞTÜRK Publisher / Founder & Editorial Director of YUZU Magazine I chose this corner because this bedroom is exactly as I envisioned: natural, elegant, simple, and calming. The linen cover on the bed is especially wonderful, as I really value non-industrial materials in the bedroom. Think about it—we actually spend a huge part of our lives in the bedroom, and it deserves just as much care and attention as our other living spaces. I also love the wooden wardrobe here. To me, any type of wood is synonymous with tranquility. It’s so nice to see wood’s warm touch appearing more often in the design world these days; it makes me happy.

March 10, 2026 | DESIGN & INTERIORS the BEST of STOCKHOLM DESIGN DAYS words Maria Chiara Antonini New collections, new openings, new names: all the highlights that captured our attention in a Stockholm made even more enchanting by the snow. A WEEK OF INDEPENDENT DESIGN To understand the direction in which Nordic design is evolving and to discover the latest developments in interiors, Stockholm has long been the quintessential destination for design enthusiasts each February. This year, despite the cancellation of the official Stockholm Furniture Fair, numerous companies and studios independently organised a full week of presentations and events. The city buzzed with a shared commitment to celebrating Nordic creativity, fostering collaboration and innovation while strengthening synergies across the sector. Here are some of the discoveries that emerged from this remarkable week. RÖRSTRAND Rörstrand, Sweden’s oldest porcelain manufacturer and the second oldest in Europe, marks its 300th anniversary with two notable launches. The first is the archival relaunch of the iconic Blå Eld collection, designed by Hertha Bengtson, while the Swedish Grace glassware line is introduced in an elegant new blue shade. CLARION HOTEL SIGN Clarion Hotel Sign, designed by Gert Wingårdh and Stockholm’s largest hotel, has introduced three new signature suites in collaboration with the Bernadotte & Kylberg studio. Located on the hotel’s top floor, the Stratum Suites were created “to feel functional, harmonious and respectful of the outstanding view,” according to Oscar Kylberg, CEO of Bernadotte & Kylberg. The accompanying Stratum Collection furniture series—including a sofa, armchair, coffee table, desk and chair—is produced in Sweden, emphasising material quality, precision craftsmanship and long-term sustainability. WHERE FINNISH AND SWEDISH DESIGN MEET An atmospheric setting framed the exclusive Nordic design showcase Where Finnish and Swedish Design Meet. Held in a historic palace housing the Finnish Residence in Stockholm, the exhibition featured a curated selection of Nordic design by Ilkka Suppanen, emphasising cross-border collaboration between Finland and Sweden. Highlighted brands included Nola, known for inclusive public-space furniture, and Ihreborn, recognised for its sustainable production practices. NK INTERIOR — STAY CURIOUS Another remarkable exhibition was organised by NK Interior, featuring works by some of today’s most innovative designers. Titled Stay Curious, the showcase emphasised experimentation and artisanal skill. Highlights included the glassworks of Lisa Hilland, blown-glass lamps by SEKT, and the installation Forest by Mimmi Blomqvist. LAMMHULTS DESIGN GROUP The newly opened Lammhults Design Group showroom brings together the brands Lammhults, Abstracta, Fora Form and Ragnars under the concept Scandinavian Design. Multiplied. Led by CEO Susanna Hilleskog, the group presents its portfolio in inspiring environments, highlighting each brand’s identity while positioning design as a holistic solution. FERM LIVING Ferm Living unveiled its new collection, Imperfectly, Perfect, at the Nordic Nest Stockholm exhibition. The collection responds to evolving homes and daily routines, featuring the sculptural Orbo lounge chair, Kiru glassware crafted using the Japanese Kurinuki technique and the Aukko coffee table. It reflects Ferm Living’s focus on tactile materials, refined craftsmanship and functional versatility. LOUIS POULSEN At the Nordic Nest exhibition, Louis Poulsen celebrated the centenary of Verner Panton by reissuing the iconic Panthella lamp in its five original 1970s colours. “A deliberate choice,” explains Bank Bergström, CEO of the Nordic Nest Group, “intended to reconcile two complementary tendencies among our customers: the desire to acquire timeless design classics imbued with strong emotional value, and the wish to experiment with new colours. For us, it is an ongoing challenge to strike the right balance between heritage and innovation.” MIZETTO Two further events particularly captured our attention. The inauguration of the new showroom of Mizetto reflects a clear and forward-looking vision. As founders Malin Muskala and Richard Muskala explained, the intention is “to explore how furniture can function as systems, how flexibility can be architectural, and how design can create structure without limiting possibility.” STOCKHOLM CREATIVE EDITION Last but not least, Stockholm Creative Edition brought together designers and brands through an experimental exhibition format. The new edition offered a dynamic platform enriched by several promising names to watch, including Jenny Kästel of DRY STUDIOS, Myrsini Alexandridi, Mattsson Marnell and Studio Navet. We are confident that we will be hearing much more from them in the near future.

May 2025 | DESIGN & INTERIORS DRAPED in ILLUSION: LEE BROOM’s OVERTURE words Onur Basturk photos William Jess Laird Lee Broom’s signature blend of theatrical elegance and sculptural design takes on a new form—this time, across the walls. In his first-ever wallpaper collaboration, the acclaimed British designer joins forces with Calico Wallpaper to create Overture, a collection that transforms a two-dimensional surface into a three-dimensional stage, continuing Broom’s long-standing fascination with illusion and drapery. Channelling everything from his childhood spent in the theatre to his student years at Central Saint Martins—and more recently, his acclaimed Requiem lighting series—Broom brings deeply personal references to this new medium. With Calico’s artistic sensibility and cutting-edge technical approach, Overture becomes more than a decorative element; it’s a visual narrative, a surface that behaves like a curtain ready to rise on a performance. CALICO WAS THE IDEAL COLLABORATOR This is your first wallpaper collaboration – why now? What made Calico Wallpaper the right partner to bring Overture to life? This felt like the right moment to explore a new medium that could bring some of my long-standing ideas around illusion into a different context. Calico was the ideal collaborator, as their approach to wallpaper is deeply artistic, and their ability to merge traditional techniques with advanced technology made it possible to realise this vision. Their ethos of creating immersive, transformative surfaces aligned perfectly with what I wanted Overture to be—and with my own work. Calico is a great brand to work with; I’ve always been a fan and have known them for many years, so when they asked me, I had to say yes. DRAPERY HAS A NATURAL THEATRICALITY TO IT You've spoken about your early connection to theatre and drapery as a child actor. How did those formative memories shape the creative process behind this collection? My experiences in the theatre as a child actor had a lasting impact. I was always fascinated by the way set designers could use simple materials like fabric and light to create entire worlds on stage. One of my favourite memories of being in shows is after the first few weeks of rehearsals, when the set designer would come in and present a miniature version of the full stage design to the cast and talk us through how the scenery would evolve throughout the performance. With Overture, I drew on those memories, thinking about how drapery can suggest movement, emotion, and illusion. From Requiem's sculptural lighting to Overture's illusionistic wallpaper, drapery has been a recurring theme in your work. What keeps drawing you back to this motif? Drapery has a natural theatricality to it. It’s expressive, fluid, and full of suggestion. I’ve worked with it in many forms—from early installations in bars and restaurants during my student days to sculptural lighting pieces like Requiem. There’s something endlessly fascinating about its ability to appear soft and flowing, even when cast in solid materials. One of the key things that attracted me to this collaboration was the opportunity to present this medium in a very different way—giving the impression of fluid drapery while actually being something else entirely. IT’S NOT JUST WALL COVERING —IT’S ESSENTIALLY AN ART PIECE Overture transforms a flat surface into something almost architectural and immersive. How did you approach the challenge of making wallpaper feel spatial and alive? The idea was to take something inherently flat and give it the illusion of depth and movement. We used scale, light, and shadow to create that sense of dimension. I sketched out the original design, and then we had an artist hand-paint the entire wall covering. From a distance—or in a photograph—it looks real, but as you get closer, you can see all the brush marks of the paint. It almost has an impressionist quality to it, which I love. Working with Calico’s team and their technical processes allowed us to push the design into a more sculptural realm, making the wallpaper feel like it’s part of the architecture rather than simply applied to it. The names of the seven colourways—like Matinee, Recital, and Auditorium—evoke theatrical scenes. How important was storytelling in how you developed this series? Storytelling is always important to me in any of my designs. This collaboration in particular felt like it needed a very strong narrative from the outset. Once installed in someone’s home, the wallpaper is obviously a very prominent element of the interior—and in some ways, it dictates the overall space. That’s why it's important to have a story behind it. It gives the customer or client the ability to tell their friends or loved ones the history, the craftsmanship, and the concept behind the design. It’s not just wall covering—it’s essentially an art piece. Your work often sits at the intersection of art, design, and experience. What does this project say about the future of surfaces and how we live with them? For me, I don’t see why furniture, lighting, or surface finishes in an interior shouldn’t evoke the same emotions and conversations that art does within a space. I find it a little absurd that you could be at someone’s home for dinner and spend time discussing a painting—who created it, when it was conceived, the story behind it—while you’ve been sitting on a chair or at a table that no one has mentioned, or at least not with the same passion. I see surfaces, lighting, and furniture becoming part of a more emotive conversation—not just serving a functional purpose.

June 2024 | Design & Interiors TURKISH BELOW a WHITE Aegean HOME words Onur Baştürk photos Fevzi Öndü T he design of this white Aegean house in the Alaçatı region of Çeşme on the Aegean coast of Turkey belongs to SOTO Lab, founded by Dicle Begüm Arslan and Hatice Küstür. The house explores a distinctly Aegean style, basketry and rope pieces that draw on traditional crafts, built in furniture and raw linen textiles. While designing the interior the brief was keep the design functional and employing only natural materials. The result is simple, beach style vacation home with whitewashed walls and floors, furnishing made from natural materials, and a minimal palette of pale whites. ‘As SOTO, we generally prefer natural materials,' says Dicle Begüm Arslan, 'Our projects are mostly colorful. But in the Port Evi project, we designed a white, dreamy house at the special request of the homeowners. Therefore, the color palette of the project is monochrome’. Begüm and Hatice explain that the key design words of the Port Evi project are simplicity, natural light and soft tones. They also wanted to bring the stunning views from outside into the interior. RUSTIC MINIMALISM AND MODERN AEGEAN AESTHETICS ‘When we first entered the house, we were impressed by the double-height main volume and the fact that the ceiling in the living room was twice as high as the ceilings in the other rooms,’ says the SOTO team. ‘The architecture of the house is similar to the details of Alaçatı stone houses. Local materials from the region were used in the project. When designing the interior, we wanted the house to be an Aegean house and we wanted it to continue in this natural way. The best architectural terms to describe this house are rustic minimalism, modern Aegean aesthetics, Cycladic & sculptural forms, textural and woven details’. Most of the furniture in the house is from Gervasoni, Moda Bagno. The built-in cupboards and furniture are from Stil Ahşap. The designer lighting is by Kreon Lighting and the lighting in the high ceiling living room is Almendra Linear S6 by Flos, designed by Patricia Urquiola. Dining table and bench by Jenni Kayne - California. The paintings in the kitchen are by Yasemin Gülerhan, and the painting at the entrance is by Haluk Akakçe, who recently passed away. BEMBEYAZ bir EGE evi Ç eşme, Alaçatı’da yer alan bu bembeyaz Ege evinin tasarımı Dicle Begüm Arslan ve Hatice Küstür’ün kurduğu SOTO Lab’e ait. Port Evi; geleneksel el sanatları ve ham keten tekstillerden yararlanan, sepetçilik ve ip parçalarından oluşan belirgin bir Ege tarzını keşfediyor. İç mekan tasarlanırken tasarımın işlevsel olması ve sadece doğal malzemeler kullanılması hedeflenmiş. Sonuç: Beyaz badanalı duvarlar ve zeminler, doğal malzemelerden yapılmış mobilyalar ve soluk beyazlardan oluşan minimal bir paletle sade bir tatil evi. Dicle Begüm Arslan, “SOTO olarak genellikle doğal malzemeleri tercih ediyoruz” diyor, “Yaptığımız projeler çoğunlukla renkli. Ama Port Evi projesinde ev sahiplerinin özel isteğiyle bembeyaz, rüya gibi bir ev tasarladık. Bu nedenle projenin renk paleti monokrom”. Begüm ve Hatice, Port Evi projesinin anahtar tasarım sözcüklerini sadelik, doğal ışık ve yumuşak ton renkler olarak açıklıyor. Ayrıca dışardaki etkileyici manzarayı iç mekana taşımak da istemişler. RUSTİK MİNİMALİZM VE MODERN EGE ESTETİĞİ SOTO ekibi, “Eve ilk girdiğimizde çift yükseklikteki ana hacim ve salondaki tavanın diğer odalardaki tavanlardan iki kat daha fazla yüksek oluşu bizi etkiledi” diyor. “Evin mimarisi Alaçatı taş evlerindeki detaylarla benzerlik taşıyor. Bölgenin yerel malzemeleri projede kullanılmış. Biz de iç mimariyi oluştururken evin bir Ege evi olmasına ve bu doğallıkta ilerlemesini istedik. Bu evi anlatan en iyi mimari terimler ise rustik minimalizm, modern Ege estetiği, Cycladic & heykelsi formlar, dokusal ve örgü detaylar”. Evdeki çoğu mobilya Gervasoni, Moda Bagno’dan. Sabit dolaplar ve sabit mobilyalar ise Stil Ahşap’tan alınmış. Tasarım aydınlatmalar Kreon Lighting, yüksek tavanlı salondaki aydınlatma ise Flos’un Patricia Urquiola tasarımı Almendra Linear S6’sı. Yemek masası ve bench ise Jenni Kayne -California. Mutfaktaki tablolar Yasemin Gülerhan’dan, girişteki tablo ise yakın zamanda kaybettiğimiz Haluk Akakçe’ye ait.

March 27, 2026 | DESIGN & INTERIORS a BUNGALOW REWORKED words YUZU Editorial photos Graham Dunn, Gabriel Yuri Set on a quiet stair street in Silver Lake, Los Angeles, this 1940s bungalow has been carefully recalibrated rather than transformed. Over the course of a year, designer Gabriel Yuri approached the renovation with restraint—updating the home while preserving the character that defines it. At just under 100 square metres, the single-level, two-bedroom house is modest in scale. The challenge was to modernise without losing its essence. Yuri’s approach was to work with the existing plan, light and proportions, rather than impose a new identity. His studio, New Operations Workshop—founded in 2017—reflects a similar mindset, blending architecture, interiors and visual culture into a composed, cross-disciplinary practice. SILVER LAKE, LAYERED The house sits near the Corralitas Red Car Trail—once part of LA’s trolley network—and within walking distance of the Silver Lake Reservoir. It’s a neighbourhood long associated with creative life and modernist architecture, home to works such as Neutra’s VDL House and Lautner’s Silvertop. Yuri’s presence here is also personal. Splitting his time between New York and California, he acquired the house as a West Coast base while working on a nearby Neutra property in Hollywood. BUILT AROUND A SOFA The interior takes shape around a single piece: a vintage Marenco sofa, reupholstered in burnt orange velvet. From there, a quiet dialogue unfolds—drawing on 1970s Italian design, but grounded in a more relaxed Southern Californian sensibility. White walls and pale oak floors set a neutral base. Pieces such as a Poul Kjærholm PK22 chair and lighting by Eileen Gray and Charlotte Perriand introduce a modernist layer, while works by Luam Melake, Wolfgang Tillmans and Hiroshi Sugimoto add depth without excess. The result feels less like a period reference and more like a mood—somewhere between Italian precision and California ease. A LIGHT TOUCH Architectural intervention is kept to a minimum. The original footprint remains largely intact, with existing elements—such as the bathroom’s glass blocks—carefully preserved. Material choices follow the same logic: white surfaces, chrome details, black accents and controlled moments of colour. The kitchen stays close to its origins with all-white cabinetry, resisting current trends. What emerges is a space that holds different influences in balance. Calm, but not empty. Relaxed, but precise.

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.

July 16, 2025 | Urban TURKISH BELOW the QUIET RISE of the TURKISH RIVIERA words Onur Baştürk While Bodrum—the best-known stop along the Turkish Riviera—has long surrendered the spotlight to loud luxury (or show-off, flashy luxury, if you will), other stretches of Turkiye’s southern coast have remained relatively quiet, grounded, and understated. But that’s changing. We’re now witnessing the rise of the Riviera’s other side: the region around Fethiye and Gocek. In many ways, it all began with Yazz Collective, a design-forward hideaway accessible only by boat. Representing a vision of effortless luxury, Yazz’s popularity opened the door to two more newcomers this summer—Ahãma, set in Gunluklu Bay, and Miori, located in the famously scenic Bedri Rahmi Bay, one of the most picturesque coves in Gocek. Like Yazz, both are reachable only by sea. I haven’t yet been to Ahãma, but from what I’ve seen and experienced, Miori brings a distinctly different flavor. Sprawled across one side of Bedri Rahmi Bay—named after the famed Turkish painter and poet who once dropped anchor here in the 1970s—Miori channels the spirit of a sanctuary, with pine- and olive-covered hills rising up behind it. But at the same time, with its multiple venues and lively layout, it evokes memories of Reina, the iconic multi-concept nightlife spot that once lit up Istanbul. Inside Miori, you'll find six different spaces, including a line-up of restaurants that reflect the “something-for-every-mood” mindset of its seafaring guests: Isabel’s (Italian), Oko (Japanese), Miori by the Sea (seafood), and even an in-house bakery. When I spoke with Haldun Kilit, one of Miori’s founding partners, at the opening night, he explained: “One night they might feel like Italian, another night seafood. This way, guests don’t get tired of eating the same thing every evening. That’s the idea behind the variety.” CURATED BY A CHEF WHO KNOWS THE COAST All of Miori’s food concepts have been curated by Kemal Demirasal, the seasoned chef who first made waves in Alacatı with Barbun, followed by the widely acclaimed Alancha. I only had the chance to try Miori by the Sea, and the mains were genuinely well executed. That said, big launch events with shared plates often make it difficult to grasp the full flavor of a place—or the soul behind the menu. Part of me was hoping for an Alancha-level culinary narrative. A RIVA FIRST FOR TURKIYE Another elegant addition to this side of the Turkish Riviera: Turkiye’s first Riva Lounge. The legendary yacht brand, famous for its handcraftsmanship and Dolce Vita spirit, began opening lounges in 2019 across Sardinia, Venice, Monte Carlo, and Mallorca. Now, its Göcek outpost has dropped anchor within Miori—bringing the refined glamour of the open sea to shore. THE TWO WORLDS OF CESME Meanwhile, over on the Aegean side of the Turkish Riviera, Ceşme remains very much itself—a place of contrasts, and in many ways, a reflection of the country at large. Just like always, the crowd splits in two. The 16-to-25 set throws money at beach parties, while the 35+ crowd is after something slower, more tasteful, and more intentional. For a while, Elefante dinners at Before Sunset were a much-needed oasis for this second group. But this summer, it’s Sobremesa (a.k.a. Bir Yaz Gecesi Lokantası) that’s stealing the show. Set up right by the shore at Momo Dalyan after sunset, it has quickly become the new favorite. Go for the ‘ot kavurma’, Vongole, and Horiatiki Salad. One small suggestion to the Sobremesa team? Shrink the tables a little. Intimacy often comes from closeness—when you sit a bit tighter, eye contact becomes inevitable, and conversations tend to flow better. Which, really, suits the spirit of Sobremesa perfectly. ‘TURKISH RIVIERA’nın SESSİZ YÜKSELİŞİ ‘Turkish Riviera’nın en çok tanınan yeri Bodrum’da başrol ‘loud luxury’ye (show-off ya da flashy luxury de diyebiliriz pekala) kaptırılmışken, diğer güney Türkiye kıyılarında durum biraz daha sessiz sakin ve kendi halindeydi. Şimdilerde Turkish Riviera’nın diğer tarafının, yani Fethiye ve Göcek civarının yükselişine tanık oluyoruz. Aslında bu süreç, sadece tekneyle ulaşılabilen, karayolu bağlantısı olmayan Yazz Collective’in açılmasıyla başladı. ‘Effortless Luxury’ temsilcisi Yazz’ın ilgi görmesiyle bu yaz aynı bölgede iki yeni markayla tanıştık. Önce Günlüklü Koyu’nda açılan, konaklama birimleri de olan Ahama’yla. Ardından, Göcek’in en güzel koyu Bedri Rahmi Koyu’na konuşlanan Miori’yle… Ahama’yı henüz görmedim, ama Miori tarz olarak hayli farklı. Adını, 1970’lerde buraya gelen ünlü Türk ressam ve şair Bedri Rahmi Eyüboğlu’ndan alan koy, efsanevi Mavi Yolculuk’un ilk demirleme noktalarından biri. Çam ve zeytin ağaçlarıyla çevrili Bedri Rahmi Koyu gerçekten de bir sığınak gibidir… Koyun bir bölümüne boydan boya uzanmış Miori ise altı farklı mekanı içinde barındırmasıyla bir dönem İstanbul’da fırtınalar estirmiş Reina’yı anımsatıyor. Tıpkı Reina modeli gibi, Miori’nin de içinde farklı mutfaklardan restoranlar sıralanmış: İtalyanı (Isabel’s), Japonu (Oko), deniz ürünleri (Miori by the Sea) ve hatta bir adet ‘bakery’ci. Bu çeşitlilik teknecilerin ruh hali düşünülerek yapılmış. Mekanın ortaklarından Haldun Kilit ile açılış gecesinde konuşurken şöyle diyordu: “Bir akşam İtalyan’a, bir başka akşam deniz ürünleri restoranına gelebilirler. Böylece sürekli aynı yemekleri yemek zorunda kalmayacaklar. Bu çeşitlilik bu yüzden”. RESTORANLARIN KÜRATÖRÜ DENEYİMLİ BİR ŞEF Miori’deki tüm restoranların küratörlüğünü ise yıllar önce Alaçatı’da açtığı Barbun, daha sonra Alancha ile tanıdığımız deneyimli şef Kemal Demirasal yürütüyor. Yemek olarak sadece Miori by the Sea’yi denedim, özellikle ana yemekler gayet iyiydi. Ama açıkçası bu tür kalabalık davet yemeklerinde tabaklar ortaya karışık geldiği için yemekleri ya da mekanın ruhunu anlamak, sindirmek kolay olmuyor. Bir de galiba Kemal’den Alancha’daki deneyime benzer bir şey bekliyordum. RİVA LOUNGE DA VAR Tekneciler ve Turkish Riviera’nın bu tarafı için şık bir yenilik daha: El işçiliği ve Dolce Vita estetiğiyle ün salmış Riva yatlarının 2019’da başlayan ve Sardunya, Venedik, Monte Carlo, Mallorca gibi destinasyonlarda peş peşe açılan lounge serisinin Türkiye’deki ilk ayağı Miori’nin içinde yer alıyor. ÇEŞME’DEKİ İKİ AYRI KUTUP ‘Turkish Riviera’nın Ege kıyılarındaki en lokal versiyonu Çeşme’de ise her zamanki gibi kitleler -ülkenin kendisi gibi- ikiye ayrılmış durumda. 16-25 yaş arasındakiler çeşitli beach partilerde para saçarak coşarken, 35-40 yaş üstü kendine daha sakin ve gustolu yerler arıyor. Before Sunset’in arada bir yaptığı Elefante yemekleri bu kitle için geçtiğimiz sezonlarda bir can simidiydi. Momo Dalyan’ın bu yaz gün batımından sonra sahilde kurduğu yeni lokantası Sobremesa (namı diğer Bir Yaz Gecesi Lokantası) ise şimdilerde çok daha popüler. Menüden özellikle ot kavurma, vongole ve Horiatiki salatası tavsiye.... Sobremesa’cılara tavsiye ise masaları biraz küçültmeleri. Ne de olsa küçük ölçekli masa, daha sıkış tepiş, daha samimi ve karşınızdakilerle göz göze sohbete daha çok olanak sağlıyor. Sobremesa’nın da ruhuna uygun…

February 18, 2026 | DESIGN & INTERIORS the ART of BEING ECLECTIC words OB + Noah Mercer photos Sergey Krasyuk styling Yes We May Overlooking the sweeping skyline of Moscow, interior designer Julia Gorshkova has crafted an apartment that feels both cinematic and composed. Framed by panoramic views of Poklonnaya Gora and Victory Park, the residence blends classical poise with contemporary ease. Inside, a bas-relief of running horses nods to the nearby Triumphal Arch, while coffered ceilings, delicate moldings, and French parquet flooring create an atmosphere of eclectic elegance— a dialogue between context, emotion, and timeless design. A VIEW THAT SHAPED THE DESIGN What was the starting point behind “Eclectic Elegance – An Apartment for a Young Woman”? The starting point was the view itself. The panorama of Poklonnaya Gora and Victory Park became both backdrop and protagonist. The design was conceived not to compete with the view, but to amplify it — every axis, symmetry, and element was shaped to embrace that horizon. The bas-relief of running horses is striking. How did the nearby Triumphal Arch shape this idea? The Triumphal Arch has always embodied movement, victory, and grace. Translating that into the living room, the horses became a symbolic echo — a reminder that architecture is, at its best, a dialogue with history. The bas-relief anchors the interior to its setting, allowing the space to carry fragments of the city’s memory. What led you to bring a distinctly French atmosphere into a Moscow home? Parisian parquet, delicate moldings, the rhythm of coffers — these details carry an understated elegance. Bringing them here wasn’t about imitation but resonance: a way to enrich a Moscow interior with a subtle European accent, timeless yet never theatrical. ECLESTICISM HERE IS NOT CHAOS; IT’S BALANCE. EVERY ELEMENT, REGARDLESS OF ITS ERA, SPEAKS THE SAME REFINED LANGUAGE. In practice, what does “Eclectic Elegance” mean to you? It’s the art of weaving contrasts into harmony — antique elements alongside avant-garde furniture, classical symmetry offset by expressive art. Eclecticism here is not chaos; it’s balance. Every element, regardless of its era, speaks the same refined language. How did you balance classical elements with contemporary living needs? I approached tradition as a guiding framework, not a constraint. The coffered ceilings and ornate moldings bring rhythm and structure, while sliding portals and an open kitchen allow modern life to unfold seamlessly. It’s a dialogue between permanence and flexibility, memory and movement. When working eclectically, what rules or boundaries guide you? Restraint. Every element must serve a purpose. Eclecticism only works when it’s deliberate. I always ask: does this object, material, or texture contribute to the conversation? If not, it doesn’t belong. Take the avant-garde Bunny armchairs by Roman Plyus — their playful character enlivens the otherwise composed living room and reflects the client’s personality. How would you describe your interior design ethos in a sentence or two? To design is to choreograph emotions through space. I believe in interiors that are rooted in context yet open to timeless interpretation. Which design or architectural movements do you feel most aligned with today, and why? I feel closest to contemporary classicism — the ability to borrow the discipline of tradition while preserving the lightness of modern life. Also to European eclecticism, where narrative and individuality are never sacrificed for minimalism. If you had to define your signature in three words, what would they be? Contextual. Refined. Emotional. - The full story is featured in Vol.17 - Print VOL XVII - 2025 ₺970,00 Price Add to Cart

Haziran 2020 | Art | Türkiye ‘Doğanın kaotik ve ütopik etkisini yansıtıyorum’ Yazı | Onur Baştürk Y az sıcağının en sıcak sergilerinden biri Mehmet Üskül’ün “Roots”u. Renk derinliğiyle çarpan “Orman” serisini iki büyük işin, “Hedonizm” ve “Sürü”nün tamamladığı Roots sergisi geçtiğimiz günlerde Avlu Bebek’te açıldı. Üskül’le ilk kişisel sergisi olan Roots üzerine konuşurken farkettim: Karantina döneminde “İlk kez doğanın uyanışını hiçbir telaşım olmadan seyredebildim, enfesti” diyenlerin farkındalığı çok ama çok önemli. Nihayet doğayı telaşsız anlayabildiğimiz için. Roots’teki işler bu şansı bir kez daha sunuyor, mutlaka gezin! Avlu Bebek’teki ilk solo sergin “Roots”ta göze çarpan ilk şey: Doğanın kaotik halinin seyreden de hipnotik bir etki yaratması. Baktıkça kayboluyorsun. Aslında tam olarak doğayı mı resmediyorsun yoksa onun sende bıraktığı kaosu mu? Ne güzel, istediğim etki tam da buydu! Çalışma disiplini olarak bir sahneyi, bir görseli, hatta bir eskizi bile izleyerek çalışamıyorum. Resimlerimdeki kompozisyon genellikle doğaçlama bir şekilde o an ilerliyor. Bu yüzden aydınlık ya da karanlık, güvenli ya da tekinsiz ormanlar hayal ediyor ve onları resmediyorum. Benim için yeşil bir yaprak pembe bir aydınlıkla gayet ışıldayabilir ya da transparan mavi bir ağaç mor gökyüzüne uzanabilir. Doğanın bende bıraktığı kaotik, ütopik her türlü etkisini yansıtmayı tercih ediyorum. Renkleri kullanma biçimin de tablolarda öne çıkan bir başka özellik. Renklerde kusursuz olanın peşinde misin? Orman serisi için yanıtım, evet! Çünkü benim için kusursuz olan tabiatın ta kendisi! Bir kompozisyonun içinde tek bir rengin dahi onlarca tonu mevcutken, diğer renklerin de bir o kadar kalabalık olarak yer almasını istiyorum. Elbette dengeli bir armoni kullanarak… Ancak sergide olan “Hedonizm” adlı çalışmam için aynı şeyi söyleyemem. Konu olarak işlediğim son derece ilkel bir savaş sahnesiyken, bunu renk olarak ne kadar kusursuzlaştırsam da nafile… O İLKELLİK DAİMİ Eğer Hedonizm tablosuna bu ismi vermeseydin, bu kavram hiç aklıma gelmezdi. Çünkü tabloda bir kavga, insanların birbiriyle bitmeyen ego mücadelesi var. Tam anlatmak istediğin neydi? Hedonizm sergideki en eski çalışmam. Üniversitede “diploma resmi” dediğimiz mezuniyet resmim. Mezuniyet jürisi o yıl proje konusu olarak “hedonizm” kavramını duyurmuştu. Mezun olmaya hazırlanan herkes “hedonizm” kavramını kendine göre yorumladı. Ben bir kavga/savaş sahnesini resme dökmek istedim. Çünkü kavgadan, savaştan, kan dökülmesinden ve bu sahnelere neden olup izlemekten haz duyan birilerinin varlığına dikkat çekmek istiyordum. Günümüzde dahi son derece aşina olduğumuz bu sahnelerin, yaşanılan dönem ne olursa olsun, ilkelliğinin daimi olduğuna inandım. Bu nedenle figürlerde ve mekanda belli bir zamana işaret edecek kostüm, silah ve araç kullanmadım. Çalışma biçimin nasıl? Bildiğim kadarıyla Moda’da bir atölyen var. Kendini tamamen resimle mi tanımlıyorsun yoksa yaşam mücadelesi gereği başka alanlara da kayıyor musun? Evimle atölyem birbirine epey yakın. Bu yüzden erken saatlerde gelip geç saatlere kadar çalışabiliyorum. Gün ışığında resim yapmak benim için çok önemli! Gündüzleri üretim aşamasıyla, hava kararınca da resmi izleme, üzerine düşünme, yarını planlama aşamalarıyla günlük mesaimi tamamlıyorum. Birkaç yıl çeşitli atölyelerde yağlı boya resim eğitmenliği yaptım. Son iki yıldır ise daha çok kendi üretimime odaklandım. Şu an Avlu Bebek’te bir kısmını izlediğimiz “Orman” serisi de bu odaklanma sonucu ortaya çıktı. KUZEYİ DENEYİMLEMEK İSTİYORUM Yakın gelecek hayallerin neler? Kendini nerede görmek istiyorsun? Öncelikle şu an üretim yaptığım kişisel atölyemde kendimi çok özgür ve mutlu hissediyorum. Ama farklı coğrafyalarda, farklı iklimlerin resimlerime nasıl etki edeceğini düşünmek de beni heyecanlandırıyor. Mesela kuzeyin mavi-gri ve soğuk armonisi benim renk paletimi değiştirir mi, deneyimlemek istiyorum. Uzun vadede ise birçok coğrafyayı görmüş, oralarda üretim yapmış bir ressam olmayı, farklı kültürlerde farklı sergiler deneyimlemeyi, daha fazla izleyiciye ulaşarak üslup tanınırlığımı artırmayı planlıyorum. Son olarak: Sanat piyasamızı nasıl buluyorsun? Hem alıcı hem galeri sistemi hem de sanatçı bazında... Hâla bazı fuar ve sergilerde karşılaşılan siyasi, politik, erotik ve benzeri sınıflandırmaları ve yasaklamaları bu coğrafyaya yakıştıramıyor ve üzülüyorum. Sanatçının eseri elbette eleştiriye açıktır, lakin çalışmak istediği konunun sınırlandırılmasını anlayamıyorum! Son yıllardaki ekonomik koşullar sanatçıyı zorladığı kadar elbette galerileri de zorluyor, bunun farkındayım. Ancak bu döngüde sanatçının mağduriyeti yine daha olası. Birkaç yıldır daha sanatçı odaklı dijital sergileme ve satış platformları oluşturuluyor. Bu dijital girişimler sayesinde de bağımsız sanatçıların eserlerine rahatlıkla ulaşılabiliyor. Bunun yanında galeri olmayan, sanatçının direkt olarak ziyaretçi ve koleksiyonerle buluştuğu daha butik mekan alternatifleri de oluşuyor. Hal böyle olunca galeri sisteminin bağımsız bir sanatçıya ulaşabilmesi için sanatçıya sunduğu imkan ve koşulları revize etmesi gerekiyor. 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