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Mayıs 2020 | Seyahat | Türkiye Karavan tatiline dair merak ettiğiniz her şey Yazı | Onur Baştürk İ lk ışığı Jules Verne Travel Genel Müdürü Ayşe Yağcı Büyükpınar yakmış, onunla Yuzu için konuştuğumuzda, “Bu yaz tekne ve karavan tatilleri çok gözde olacak” demişti. Ayşe’nin dediği de oldu. Hiç olmadığı kadar karavan tatili konuşulmaya başlandı. Eş, dost birbirine karavanla tatile çıkmanın nasıl bir şey olduğunu, kaça patlayacağını sormaya başladı. İşin ehli genç bir karavan girişimcisine, PampaCamper şirketinin sahibi Sinan Bilen’e tüm bu soruları sorup toplu bir aydınlanma sağlamak istedim. Sinan’ın karavan turizmine ilgisi altı yıl önceki Almanya seyahati sırasında başlamış. Tüm ailelerin hafta sonları dahi karavanlarına atlayıp yakın destinasyonlara tatile gittiğine görünce, “Neden bizim ülkemizde de olmasın?” diye düşünüp bu işe bulaşmış. İlk dönemler sadece kiralama yapmış, sonra da kişiye özel karavan üretimi… Sinan’a, “Size gelen talepler arttı mı?” diye soruyorum. Yanıtı şu oluyor: “Evet, artış var. Ama insanlar hâlâ planlama aşamasında. Çünkü şehirlerarası seyahat yasağı devam ediyor. Ne zaman biteceği de belli değil. Bu yasak kalkmadan rezervasyonlarını yapıp karavanlarını ayıranlar şanslı olacak. Çünkü yasak kalktıktan sonra bir hücum etme durumu kesin yaşanacak. Bir de normal zamanlarda bir hafta süreyle kiralama talebi olurdu. Ama bu yaz 10, hatta 15 güne kadar çıkacak kiralama süresi. İnsanlar uzun süre evde oturmanın acısını yazın daha çok gezerek çıkarmak isteyecek. Üstelik izole olmayı sürdürerek..” KİRALAMA FİYATLARI NASIL? Hepimizin en çok merak ettiği şeylerden biri de karavan kiralama fiyatları. Sinan, karavan modellerine göre tüm fiyatları sıralıyor: “Karavan kiralama ücretleri aydan aya ve aracına göre değişiyor. Otel sistemindeki gibi Temmuz / Ağustos ayları fiyatlar biraz daha yüksek. Üç kişilik campervan tipli aracın yüksek sezonda günlük ücreti 700 lira. Alkoven tip, beş kişilik araçların günlük fiyatı ise 800 lira. Kiralama süresi minimum bir hafta olmalı. 10 gün ve üzeri kiralamalarda indirim yapılıyor. Unutmadan; bizdeki tüm araçlar tam donanımlı. Klima, tente, mutfak ekipmanları, sıcak su, masa, sandalye… Hepsi tüm araçlarımızda mevcut”. YA TUVALET BOZULURSA? Peki karavan tatili herkese göre mi? Hatırlıyorum, bundan on yıl önce Antalya’dan Bodrum’a kadar karavanla gitmiştim. Ve dakika bir gol bir, karavanın tuvaleti bozulmuştu! Sonradan yaptırdık filan ama karavanla tatil yaparken böyle sürprizlere hazırlıklı olmak lazım. “Elbette” diyor Sinan Bilen, “Evdeki konforu karavanda ararsanız sonu biraz hüsran olabilir. Karavan size konfor veya lüksü vermez, ama özgürlük verir. Önceliği özgürlük ve doğa olan için tuvalet ve duşun pek sorun olacağını düşünmüyorum. İlk kez karavan kiralayan müşterilerimiz tuvalet ve duş olayından biraz korkuyor ama kiralama sonunda hiçbir sorun yaşamadıklarını ve alıştıklarını da iletiyor”. HANGİ CAMPINGLER İYİ? Karavan camping’leri konusunda Avrupa’dan hâlâ çok geride olduğumuzu söylüyor Sinan. “Bunun en büyük sebebi karavan camping’i işletmenin ülkemizde kârlı bir iş olmaması. Buna rağmen Datça’daki Aktur Camping ve Hisarönü’ndeki Altınkum Camping, Avrupa standartlarında hizmet sunmaya başladı. Marketi, çamaşırhanesi, atık su boşaltım sistemleriyle diğerlerinden daha iyi diyebiliriz. Akyaka’daki Orman Camping de fena değil. Ama bu sene camping alanlarının pek tercih edileceğini düşünmüyorum”. KARAVANLA GÜNEYDE NERELERE GİDİLİR? Sinan Bilen’den bize bir karavan rotası çizmesini istiyorum. 10 günlük, karavanla güney rotası mesela? Bu işle uğraşan biri olarak onun tercihi nasıl yerler olurdu? “Eğer karavanla tatil yapıyorsam daha ıssız, izole yerleri tercih ederim. Turuma Antalya Adrasan ile başlardım. Harika denizini ve sakin koylarını seviyorum. Bir sonraki durağım Kaş olurdu. Elbette Kaş çok izole bir yer değil, ama sakin koyları mevcut. Daha sonra Ege’ye doğru yola çıkar, Dalaman’daki Sarsala Koyu’na geçerdim. Yolu biraz tıngır mıngır, ama huzurlu bir yerdir. Sonraki durağım Datça olurdu. Palamutbükü ve yakınındaki koylar hem karavanla konaklamaya uygun hem de sakin ve izole bölgeler. Yolunu gitmeye üşenmezseniz Knidos burnuna kadar gidebilirsiniz. Şahane günbatımını oradan izlemek için! Son durağım ise Gökova Körfezi’nde, Akyaka’nın biraz ilerisindeki Akbük Koyu olurdu. Sabah erken saatte uyanıp denize girme keyfini orada rahatlıkla yaşamak mümkün”. UNUTMADAN Sinan Bilen’in şirketi Bodrum ve İzmir’den de karavan teslimi yapabiliyor. Rezervasyonları www.pampacamper.com sitesi ve instagram hesabı üzerinden alıyor. Sinan Bilen çekme karavanlar için BE sınıfı ehliyet gerektiğini hatırlatıyor. Ayrıca çekme karavanları arabayla çekmenin zor olduğunu, özellikle rampa çıkarken ve bozuk yollarda kullanırken sıkıntı yaratabileceğini söylüyor. Motokaravanlar için ise B sınıfı ehliyet yeterli oluyor. SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

This Bitez summerhouse in Bodrum pairs Esra Kazmirci’s interior design with İlhan Örücü’s architecture across a main house and guesthouse. Ağustos 2022 | Bodrum Coffee Table Book | EV / HOUSE BİTEZ’DE MODERN VE BOHEM BİR YAZLIK Yazı | Rana Korgül Fotoğraflar | Kadir Aşnaz B itez’de konumlanan bu ev, Esra Kazmirci Mimarlık tasarımı. Evin sahipleri bir baba ve iki çocuğu... Aile, yazları şehir hayatını burada devam ettirebilmek için sakin ve aynı zamanda tüm imkanların bulunduğu Bitez’i tercih etmiş. İç mimar Esra Kazmirci evin genel hatlarını şöyle özetliyor: “Modern hatları olan evin geçmişi iki yıllık. Mimari tasarımını İlhan Örücü üstlenmiş. İç mekan tasarımı bize ait. Müstakil arazi içinde yer alan ev iki bölümden oluşuyor. Üst kotta ana ev ve havuzun yan tarafından inilen basamaklarla ulaşabileceğiniz misafirhane bölümü var. Eve ilk girdiğimizde mekanı bölen duvarlar vardı. Müşterinin isteği doğrultusunda buralarda ufak tefek değişiklikler yapıldı. Ebeveyn yatak odası olarak düşünülen odada ise dolap alanı yetersiz olduğu için ev geriye doğru büyütüldü. Giyinme odasını da içine kattığımız bir süit haline getirildi. Ayrıca evin iç alanlarını ferah göstermek için salonla mutfağın mekansal ayrımı yerine İtalyan camlı masif meşe separasyon kullanarak geniş bir mekan algısı yakaladık. Oda içlerinde gerekli görülen yerlerde, hakim olan lake tonlarında bronz- füme ayna kullanıldı. Gün ışığının hakim olduğu evdeki geçirgenliği azaltmamak adına bazı yerlerde sadece tül kullandık. Zemin katta komple kumlu ve epoksi uygulaması yapılmış bej renkte taşlar, karışık ölçüde döşendi. Odalarda meşe lamine parke tercih ettik. Genel koridor ve banyolarda ise doğal taş kullandık. Banyoların uzun duş cephelerinde podima taşı uygulayarak farklı bir dinamizm yaratıldı”. A MODERN AND BOHEMIAN SUMMERHOUSE IN BITEZ writer | Rana Korgül photography | Kadir Aşnaz L ocated in Bitez, this house is designed by Esra Kazmirci Architecture. The owners of the house are a father and his two children... The family chose Bitez because it is peaceful and has all the amenities needed to maintain city life during the summer. Interior designer Esra Kazmirci summarizes the general outline of the house as follows: “The two-year-old house has contemporary lines. The architectural design was undertaken by İlhan Örücü. The house’s interior design is ours. The house, which is located on a detached land, consists of two parts. The main house and the guesthouse section are located on the upper level and are accessible through steps that descend from the poolside. When we first entered the house, there were walls dividing the space. Minor changes were made here in line with the customer’s request. In the room, which was thought to be the master bedroom, the house was enlarged backward because the closet space was insufficient. It was turned into a suite with a dressing room. Additionally, we have accomplished a spacious space perception by using Italian glass solid oak separation to make the interior rooms of the house look spacious rather than physically separating the living room and kitchen. In the rooms, bronze-smoked mirrors in the dominant lacquer tones were employed where considered necessary. We used only tulle in some places in order not to reduce the permeability in the house where daylight is dominant. Beige stones of various sizes, both sand- and epoxy-coated, were laid on the ground floor. We preferred oak laminated flooring in the rooms. We used natural stone in corridors and bathrooms. A different dynamism was created by applying podima stones on the long shower facades of the bathrooms.” Tamamı için... For more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

Ağutos 2021 | Türkiye Ormanlar neden her zamankinden daha yoğun yanıyor Yazı | Onur Baştürk K ötü haberi baştan vereyim: Hepimizin çok üzüldüğü orman yangınları maalesef bitecek gibi görünmüyor. Yakın zamanda CNN’e konuşan London School of Economics’ten Çevresel Coğrafya uzmanı Thomas Smith’e göre, “Yangın mevsimi uzuyor, yangınlar büyüyor, ormanlar her zamankinden daha yoğun bir şekilde yanıyor”. Orman yangınlarını söndürme konusunda kendimizi yalnız ve çaresiz hissedebiliriz, ama yangınların yarattığı tahribat konusunda yalnız değiliz. Özellikle temmuz ayında kuzey yarımküre alevlerle boğuştu, boğuşmaya da devam ediyor. En şaşırtıcı örneklerden biri Rusya Sibirya'sındaki Yakutsk. Burası dünyanın en soğuk şehri olarak bilinir. Ancak temmuz ayında haftalarca süren sıcak hava dalgaları sonucunda bu bölgede çok büyük yangınlar çıktı. Verilere göre 6.5 milyon dönümden fazla alan yandı. Bu da yaklaşık 5 milyon futbol sahası demek. Amerika’nın Oregon eyaletinde, yine geçen ay çıkan Bootleg orman yangınının yoğun dumanı ise kıtanın bir ucundaki New York’ta bile hissedildi. Bu yangını takip edenlerin cümleleri hâlâ hafızalarda: “On yıl önce yangınların gerçekten böyle hareket ettiğini görmüyorduk. Bir günde elli bin dönümden fazla arazi yandı”. TAM BİR KISIRDÖNGÜ Copernicus İklim Değişikliği Servisi'ne göre Avrupa'nın çoğu, Batı ABD, güneybatı Kanada ve Güney Amerika'nın bazı bölgeleri Haziran ayında ortalamadan daha kurak koşullar yaşadı. Bu da orman yangınlarının daha fazla oluşmasına neden oldu. Yüksek sıcaklıklar. Düşük nem. Az yağış. Kuru bitki örtüsü. Hızlı rüzgârlar… Büyük orman yangınlarının oluşması için bunların bir araya gelmesi yetiyor. Elbette kötü arazi yönetimi gibi birçok faktör de orman yangınlarında rol oynuyor, ancak iklim değişikliği yangınları daha sık ve yoğun hale getiriyor. Bir konu daha var: Orman yangınları kısır bir iklim döngüsünün parçası olarak görülüyor. İklim değişikliği sadece yangınları körüklemekle kalmıyor, ormanların yanması krizi daha da kötüleştiriyor. Çünkü atmosfere daha fazla karbon salınımı oluyor! Copernicus İklim Değişikliği Servisi’nden Mark Parrington’a göre, “Temmuz ortasına kadar toplam tahmini emisyon, önceki yılın yaz döneminin toplamından daha yüksek”. EN KUVVETLİ ADIM Peki ne yapmalıyız? Aslında her şey birbirine öyle bağlı ki... Bireysel olarak iklim değişikliği konusunda yapabileceklerimiz elbette var. Ama şu an sanırım en önemli şey, yanan arazilerin imara, betona, yeni otellere açılmaması. Bu arazilerin kendi ekosistemi içinde kendini yenilemesine izin verilmesi. En azından bunu başarırsak, önümüzdeki yazlarda bu arazilere inşaat yapılması önlenirse, en kuvvetli adımlardan biri atılmış olacak.

Ryan Saghian designs Josh Heald’s Cheviot Hills home in Los Angeles with retro details, Bauhaus style, and vintage Charles Rennie Macintosh chairs. March 2024 | Design & Interiors english below DESIGNER RYAN SAGHIAN’S LATEST PROJECT words Laura Cottrell R yan Saghian’ın zevkli tasarımlarını takip ediyor ve onun tasarım anlayışını seviyoruz. Ham ve rafine tasarımları kendine özgü bir stille karıştıran Ryan Saghian, kendi neslinin en yetenekli isimlerinden biri. Kendi adını taşıyan Los Angeles merkezli tasarım markasının yanı sıra Saghian, “Unapologetically Chic” kitabının da yazarı. Saghian, Los Angeles Times tarafından hem 2023 hem de 2022'de En İyi 25 tasarımcıdan biri olarak seçilmişti. Ryan Saghian’ın tasarladığı son proje ise senarist, yönetmen ve yapımcı Josh Heald’ın evi. Los Angeles, Cheviot Hills'teki evin tasarım anlayışı retro dokunuşlarla modern zarif bir sadeliğin harmanlanmış hali. Ryan Saghian, “Bu ev için sıcak bir palet ve duygusal bir soyutlama tercih ettim" diyor. Sonuç mu? Uyumlu bir şekilde bir araya gelen farklı stillerin sanatsal bir füzyonu. Yemek odasındaki minimalist halat armatürler ve kabartma sanat eserleri vintage Charles Rennie Macintosh sandalyelerin ikonik Bauhaus stilliyle kontrast oluşturuyor. Ayrıca kadife yemek sandalyeleri yemek odasına sofistike ve zamansız bir görünüm katıyor. W e follow Ryan Saghian's tasteful designs and love his sense of design. Mixing raw and refined designs with a distinctive style, Ryan Saghian is one of the most talented names of his generation. In addition to his eponymous Los Angeles-based design brand, Saghian is also the author of the book 'Unapologetically Chic'. Saghian was named one of the Los Angeles Times' Top 25 Designers of 2023 and 2022. The latest project designed by Ryan Saghian is the home of screenwriter, director and producer Josh Heald. Located in Cheviot Hills, Los Angeles, the home's design concept is a blend of retro touches and modern, elegant simplicity. "For this house, I went for a warm palette and emotional abstraction," says Ryan Saghian. The result? An artistic fusion of styles that work together harmoniously. In the dining room, minimalist rope fixtures and relief artwork contrast with the iconic Bauhaus style of vintage Charles Rennie Macintosh chairs. The velvet dining chairs add a sophisticated and timeless look for this truly elegant dining room.

Vol VI examines Akira Miyawaki's micro forest method in Europe and India, covering urban cooling, biodiversity, and carbon capture. Ocak 2022 | Botanik | Vol VI 10 KAT DAHA HIZLI BÜYÜYEN MİKRO ORMANLAR Yazı | Oktay Tutuş A şırı sıcak havayı soğutacak olan nedir? Yanıt belli: Ağaçlar. Özellikle de kentlerde betonlaşmadan dolayı oluşan ısı adalarını engelleyecek olan yine onlar. Ama doğal bir ormanın ne kadar uzun zamanda oluştuğu da herkesin malumu. İşte burada Miyawaki metodu devreye giriyor. 1970’lerde Japon botanikçi Akira Miyawaki’nin geliştirdiği ve halen onun ismiyle anılan bu yöntemin özü mikro ormanlar yaratmak. Avrupa, Hindistan ve diğer ülkelerde iklim krizine bir tepki olarak insanlar daha az yer kaplayan bu mikro ormanları yaratıyor. Bu ormanlar küçük olsa bile böcekler ve yeni bitki türleri dahil olmak üzere biyolojik çeşitliliği hemen kendine çekiyor. Ayrıca bu küçük orman parçaları karbon tutulmasına katkıda bulunuyor, şehirlerin yükselen sıcaklıklara uyum sağlamasına yardımcı oluyor. Devamı için... Print VOL VI - 2022 Out of Stock View Details

Casa do Passadiço reimagines a six-storey Victorian townhouse in London, balancing historic character with contemporary interiors, art, and family life. January 26, 2026 | DESIGN & INTERIORS a CONTEMPORARY TAKE on a LONDON HOME words YUZU Editorial interior design Casa do Passadiço photos Francisco de Almeida Dias production Karine Monié Located in one of London’s most established residential neighbourhoods, this six-storey Victorian townhouse has been carefully restored and reimagined by the Portuguese interior design studio Casa do Passadiço. Built in the early 1900s, the house retains its architectural character while being adapted for contemporary family life. Casa do Passadiço oversaw the full remodelling of the interiors, from interior architecture to decoration. The aim was to strike a balance between elegance and comfort—creating a home that feels refined, yet genuinely lived-in. A CONTEMPORARY READING OF A VICTORIAN HOME For Cláudia Soares Pereira and Catarina Soares Pereira, the project began with the house itself. Elements typical of 19th-century English homes—proportions, surface treatments, and detailing—formed the foundation of the design approach. “The challenge was to respect the home’s identity and traditions, while bringing it into the present with a contemporary vision,” the designers explain. Rather than a nostalgic recreation, the result is a measured reinterpretation, where history remains visible but never dominant. COLOUR, MATERIAL, AND ATMOSPHERE A soft, restrained palette runs throughout the house, punctuated by carefully placed contrasts. Corridors are treated in black and white, offering graphic clarity, while the reception room remains largely white, accented with subtle gold details. In the dining area, a bespoke hand-painted wallpaper by de Gournay introduces a botanical motif that recalls a traditional English garden—bringing colour and depth without overwhelming the space. Neutral tones define the family room and study, where darker woods and leather finishes lend the home office a quietly masculine character. Upstairs, the atmosphere becomes more personal: warm hues and walnut wood in the main bedroom; soft pinks with aqua green accents on the girls’ floor; and layered blues throughout the boys’ level. ART, CRAFT, AND COLLECTED PIECES Natural materials—plaster, wood, stone, and wallpaper—were selected to honour the house’s history. In the living room, sculptural sofas by Vladimir Kagan are paired with hand-carved wooden wall panels crafted in Portugal by Casa do Passadiço’s artisans. Art plays a central role in shaping the home’s character. All artworks are by women artists, including pieces by Beatriz Milhazes and Tracey Emin, adding cultural depth and a contemporary edge. Custom de Gournay wallpapers also appear in the powder rooms on the ground and lower-ground floors, reinforcing a sense of continuity throughout the house. The result is a home that feels distinctly British yet quietly international—characterful without excess, elegant without formality, and designed to be lived in as much as it is to be admired.

Artist Vardal Caniş discusses her Tables You Can't Be series, YUZU Magazine and The Beach of MOMO Dalyan's art lunch event in Dalyan. July 2024 | Art & Culture TURKISH BELOW LET’S MEET at the 'TABLES YOU CAN'T BE' lunch Y uzu Magazine and The Beach of MOMO Dalyan organize "Tables You Can't Be" lunch tomorrow. The theme is inspired by artist Vardal Caniş's "Tables we are not at" series, which was exhibited at Mamut Art Project last may. Vardal Caniş will transform the tables of those attending the lunch at MOMO Dalyan into a work of art. How will she do it? Vardal explains... You previously had an exhibition in Istanbul where you painted the apartments you lived in. It was really an exquisite story of leaving a mark. Did you really paint all the apartments with roses in that work? It was in 2018. It was the first time I had lived in a house for more than a year! Moving was almost an impulsive act for me, and I felt like it was a "thing" that I needed to think about. I am somehow very attached to my past, almost addicted! I love the things I lived through, for better or worse, and respect them in a way I don't know why. The exhibition "Places I grew up in" was born out of these feelings. Umraniye, Kanlıca, Besiktas, Balat, Nisantasi, Bakırkoy, Kadıkoy, Kurtulus, Ferikoy, Ortakoy... I changed 19 houses between these neighborhoods in 10 years! At some point, probably because I had nothing else to do, I started this exhibition. I have a habit of keeping a diary. With a similar motivation, I wanted to record the places where I grew up, to keep alive the beautiful memories of these houses and streets that occupy an important place in my personal history. I prepared a website. I designed an exhibition that could be visited online, using Google Maps to navigate around the city. How did the "Tables We Are Not At" series come about? I had neglected painting for a long time. I didn't have the confidence to paint and put it in a gallery because I couldn't find or search for a subject that I could stand behind with courage or that meant something to me. I made a conscious decision to draw a table with the silkscreen I did for Borderless' Editions series. And the rest followed. Setting a table, gathering around a table, long conversations, the small touches of people who make places into homes without the need for a table with four legs, the bottom of a wall in the shade of which you sit with two bagels in a bag and a glass of Raki... These moments are precious to me. I try to understand my vacillation between feeling comfortable in a place or not. Trying to understand myself is also a kind of mental gymnastics. I also question issues such as our class differences, our understanding of happiness, our views on life while making these paintings. As the saying goes, 'The criterion for being fully settled in a house is when you cook for the first time. As you asked question after question, I realized that there is a parallel between the places I grew up in and the series of tables. There is a tendency to the grove that makes a person who they are. I think that the fact that all my works come from this essence makes it inevitable that they will have similar meanings at some point. I have not limited the Tables series to a number. I don't know where it will go, but there are still many worlds I want to tell through tables. OUR DINNER AT MOMO DALYAN WILL BE LIKE A 'PRESENT MOMENT' THAT I'M WATCHING FROM THE FUTURE. At the dinner we will have at MOMO Dalyan, you will turn the tables into paintings. What do you want to say about this project? When I live a moment, I sometimes feel that it will turn into a memory. Our dinner at Momo Dalyan will be like a 'present moment' that I am watching from the future. I wonder how I will experience it. Living this time as an eye that observes itself and everyone else... Looking behind the frame like a director makes me excited and curious. What are your sources of inspiration? Literature, music and painting... Reşat Ekrem Koçu is someone who has significantly influenced my work, perspective and motivation. I grew up in a house with a rich library, with two women who were in the habit of writing every day, my mother and my grandmother. They gave me a world view that allowed me to enjoy the meaning of things. I also read Turkish literature and listened to arabesque. In the field of painting, Bedri Rahmi Eyüboğlu, Tiraje Dikmen, Aliye Berger, Füreya Koral, Fahrünnisa Zeyd and Sabiha Rüştü Bozcalı, the strong and unique women of the Şakir Paşa family. My esteemed teacher from the Academy, Gülçin Aksoy, who recently passed away, is also among the names that have influenced me. ‘OLAMADIĞINIZ MASALAR’ yemeğinde BULUŞALIM B u perşembe Yuzu Magazine ve The Beach of MOMO Dalyan, “Olamadığınız Masalar” isimli bir öğle yemeği daveti gerçekleştirecek. Bu davetin temasına ilham kaynağı ise sanatçı Vardal Caniş’in geçtiğimiz mayısta Mamut Art Project’te sergilenen “Olmadığmız Masalar” serisi. Vardal Caniş, MOMO Dalyan’daki yemeğe katılanların masalarını sonradan bir sanat eserine dönüştürecek. Nasıl mı? Vardal anlatıyor… Daha önce İstanbul'da yaşadığın apartmanları boyadığın bir sergi yapmıştın. Gerçekten nefis bir iz bırakma hikâyesiydi. O çalışmada gerçekten tüm apartmanları gülle boyadın mı? 2018 yılıydı. İlk kez bir evde bir yılı aşkın süredir oturuyordum! Ev değiştirmek benim için neredeyse dürtüsel bir eylemdi ve üzerine düşünmem gereken bir “şey” olduğunu hissediyordum. Geçmişime bir şekilde çok bağlıyım. Hatta neredeyse bağımlı! Yaşadığım şeyleri iyi/kötü ayırmaksızın seviyor ve nedenini bilmediğim bir biçimde saygı duyuyorum. “Yetiştiğim Yerler” sergisi de bu duygularla doğdu. Ümraniye, Kanlıca, Beşiktaş, Balat, Nişantaşı, Bakırköy, Kadıköy, Kurtuluş, Feriköy, Ortaköy … Bu semtler arasında 10 yılda 19 ev değiştirdim! Bir noktada, herhalde yapacak bir işim de yoktu, bu sergiye giriştim. Düzenli günlük tutma alışkanlığı olan biriyim. Benzer bir motivasyonla yetiştiğim yerleri kayıt altına almak, kişisel tarihimde önemli bir alan kaplayan bu evlerin, sokakların güzel hatıralarını yaşatmak istedim. Bir web sitesi hazırladım. Google Maps’in şehir içinde gezinti yapabilme özelliğiyle online olarak da dolaşılabilecek bir sergi tasarladım. Peki “Olmadığımız Masalar” serisi nasıl oluştu? Uzun zamandır resim yapmayı ihmal ediyordum. Arkasında cesaretle durabileceğim ya da benim için anlam ifade eden bir tema bulamadığım ve aramadığım için resim yapmak, onu bir galeriye koyacak güveni kendimde görmüyordum. Bilinçli bir sofra çizme kararını Borderless’ın Editions serisi için hazırladığım serigrafiyle aldım. Sonrasında devamı geldi. Sofra kurmak, bir masa etrafında toplanmak, uzun sohbetler, dört ayaklı bir masaya ihtiyaç duymadan gittiği yerleri yuvaya dönüştüren insanların ufak dokunuşları, bir poşetin içindeki iki simit ve bir kadeh rakıyla gölgesine oturduğunuz bir duvarın dibi… Bu anlar benim için kıymetli. Bir yerde rahat hissetmek ya da hissetmemek arasındaki bocalayışımı anlamaya çalışıyorum. Kendimi anlamaya çalışmak aynı zamanda bir tür zihin jimnastiği. Sınıfsal farklarımız, mutluluk anlayışımız, hayat görüşlerimiz gibi konuları da bu resimleri yaparken sorguluyorum. ‘Bir eve tam anlamıyla taşınmış olmanın kriteri, evde ilk defa yemek pişirildiği zamandır’ denir ya. Şimdi siz peş peşe sorunca yetiştiğim yerlerle masalar serisi arasındaki paralellik olduğunu anladım. Kişiyi kendisi yapan kor bir meyli var. Sanırım tüm çalışmalarımın o özden çıkıyor oluşu onların benzerlik gösteren anlamlar taşımasını belli bir noktada kaçınılmaz kılıyor. Masalar serisini bir sayı ile sınırlamış değilim. Dönüşeceği yerleri bilemiyorum, ama hâlâ masalar üzerinden anlatmak istediğim çok dünya var. MOMO DALYAN’DAKİ YEMEĞİMİZ GELECEKTEN İZLEDİĞİM BİR ‘ŞİMDİKİ AN’ GİBİ OLACAK MOMO Dalyan'da yapacağımız yemekte de masaları sonradan resme dönüştüreceksin. Bu projeyle ilgili ne söylemek istersin? Bir anı yaşarken onun bir anıya dönüşeceğini bazen hissediyorum. Momo Dalyan’daki yemeğimiz de sanki gelecekten izlediğim bir ‘şimdiki an’ gibi olacak. Nasıl deneyimleyeceğimi merak ediyorum. Kendini ve herkesi izleyen bir göz olarak o zamanı yaşamak… Bir yönetmen gibi bir kadrajın arkadasından bakmak heyecanlandırıyor, meraklandırıyor. İlham kaynakların neler? Edebiyat, müzik ve resimde... Reşat Ekrem Koçu çalışmalarımı, perspektifimi ve motivasyonumu önemli ölçüde etkilemiş biri. Zengin kütüphanesi olan bir evde, günlük yazma alışkanlığı olan iki kadınla, annem ve ninemle büyüdüm. Bir şeyin anlamlı olmasından zevk almamı sağlayacak dünya görüşünü bana onlar kazandırdı. Ayrıca Türk edebiyatı okuyor, arabesk dinliyorum genelde. Resim alanında ise Bedri Rahmi Eyüboğlu, Tiraje Dikmen, Şakir Paşa ailesinin güçlü, şahsına münhasır kadınları Aliye Berger, Füreya Koral, Fahrünnisa Zeyd ve Sabiha Rüştü Bozcalı. Yakın zamanda kaybettiğimiz akademiden değerli öğretmenim Gülçin Aksoy da beni etkilemiş isimlerdendir.

Decancq Vercruysse Architects discusses five Belgian homes, from Palingbeek to Kortrijk Townhouse, and the ideas connecting its residential work. January 10, 2026 | DESIGN & INTERIORS FIVE YEARS, FIVE HOMES words Onur Baştürk photos Portrait / Charlotte Lauwers. Bungalow Sint Martens Latem + Kortrijk Townhouse / Eric Petschek. Palingbeek + Pied a terre Brussels + Sint-Martens-Latem / Piet-Albert Goethals A conversation with Decancq Vercruysse Architects. Founded in 2021 by Hannes Decancq and Emiel Vercruysse, Decancq Vercruysse Architects has, in a short time, established a clear and composed presence within Belgium’s contemporary residential landscape. Based in Kortrijk, the studio works fluidly across architecture and interiors, approaching each project as a single composition shaped by light, material, and everyday life. The practice is defined by the founders’ complementary backgrounds. Decancq brings technical expertise grounded in years spent on construction sites, while Vercruysse—who previously worked at Vincent Van Duysen’s studio—contributes a refined sensitivity to materiality, proportion, and high-end residential atmospheres. Together, they share a belief that architecture should be human-centred, precise, and built to last. Marking their fifth year, we spoke with the studio about the five residential projects they have completed across Belgium, and the shared architectural language that connects them—one shaped by dialogue, clarity, and a commitment to long-term quality. Palingbeek - Photos: Piet-Albert Goethals A CONSISTENT WAY OF THINKING As you mark your fifth anniversary, how would you describe the core design approach of Decancq Vercruysse Architects today? Which values have remained unchanged since the beginning? From the beginning, our ambition has been to create homes that evoke comfort, intimacy, and a sense of safety. We strive to design architecture that is closely connected to nature, creating spaces that blur the boundary between inside and outside through the use of natural, warm materials. This approach has only grown stronger over the years and continues to define our work today. LIVING AS A DESIGN RESEARCH Townhouse Kortrijk functions both as your home and as a space for ongoing design research. How did living in the house influence its spatial organisation, material choices, and the relationship between interior and exterior? My days tend to be quite hectic, so the primary goal was to create a home that allows me to truly unwind at the end of the day. As my wife and I both draw a lot of calm from nature—much like walking through a forest—we wanted the house to feel as natural and grounding as possible. Given the townhouse’s location in the city centre, outdoor space was limited. We therefore made full use of the enclosed patio, carefully planting it with trees and greenery. The living room is located on the lower level, where filtered light and surrounding vegetation create a cocooning atmosphere. Upstairs, the kitchen and terrace are flooded with sunlight, offering a contrasting openness. Materiality plays a crucial role here. The living room is entirely clad in wood, reinforcing the warm, sheltered feeling we were aiming for and making the house a place of retreat. Bungalow Sint Martens Latem - Photos: Eric Petschek OPENNESS, ECONOMY, AND CONTEXT In your Brussels pied-à-terre, professional and private life coexist within a compact footprint. How did you balance spatial efficiency with comfort, and how did the Art Deco context inform your decisions? We worked with an open-plan layout for the living and dining areas, while subtly defining zones through a low, custom-designed furniture piece. This allows for openness without losing a sense of separation. The apartment has a natural flow, yet certain spaces can be closed off using refined metal and glass partitions. These details were directly inspired by the Art Deco context—a period in which metal craftsmanship plays a prominent role. This language was extended into other custom elements throughout the apartment, creating a cohesive dialogue between past and present. WORKING WITH WHAT ALREADY EXISTS In the Sint-Martens-Latem bungalow, you chose to preserve and reinforce the mid-century character rather than replace it. How do you decide when to preserve, reinterpret, or transform an existing building? Working with existing structures always begins with thorough research into the building’s original elements and its historical context. We look for meaningful references, often within the same period, and select key elements around which to build the design. At the same time, flexibility is essential. We have learned that preserving everything is not always the right choice. Sometimes, transforming or reinterpreting a specific element leads to a stronger overall design. These decisions can be difficult, but it is our responsibility as architects to ensure that each intervention contributes coherently to the project as a whole. Kortrijk Townhouse - Photos: Eric Petschek ARCHITECTURE IN DIALOGUE WITH LANDSCAPE The Palingbeek project reconnects a farmhouse to its rural surroundings. How did architecture and landscape speak to one another here, particularly through the terrace and roof design? The existing farmhouse was largely closed off from its surroundings. We retained part of the original structure, which now accommodates more intimate functions such as bedrooms and bathrooms. In contrast, we added a new volume that opens the house towards the surrounding landscape. This dialogue between old and new strengthens both structures. The covered and heated terrace plays a key role, allowing the clients to experience the outdoors throughout the year and reinforcing the connection between architecture and landscape. In the wooded Sint-Martens-Latem residence, influences from Japanese architecture and Frank Lloyd Wright are subtly present. How did you balance rootedness and openness in a house that anchors itself in nature yet opens fully to the forest? Material choices were essential in anchoring the house within its forested context. The brown brick almost appears as if it could have been formed from the forest soil itself, emerging from the ground through a sequence of walls and stairs. Wood forms the second key material. Finished in a darker tone, it avoids excessive contrast with the surrounding tree trunks. Large windows lighten the composition and open the house to its surroundings. Positioned on all sides, they create a continuous visual connection, giving inhabitants the feeling of living within and looking through the forest. MATERIAL AS IDENTITY Across these projects, materiality plays a defining role. How do materials shape atmosphere and identity in your work, and what ultimately guides your choices? Materiality is fundamental to our work. We carefully select materials that resonate with both the context and the client. Together with form and proportion, materials give a project its identity and sense of place, something we consider essential. Pied a terre Brussels - Photos: Piet-Albert Goethals REFERENCES AND PRACTICE Looking more broadly at influences, which architects, movements, or disciplines continue to inform your thinking today? During my studies, I spent time in the United States, where I had the opportunity to experience a wide range of architecture, from Frank Lloyd Wright to John Lautner. What struck me most was the freedom of these designs and their generous use of natural, warm materials. These houses felt deeply inviting and intimate, and that quality continues to inspire our studio’s work. We aim to translate this sense of warmth and spatial generosity into contemporary projects, adapted to today’s contexts and needs. WORKING AS A DUO As a duo, how do you divide roles within the practice, and where do your perspectives complement one another most strongly? Architecture has become increasingly complex, making collaboration more essential than ever. The era of the all-encompassing architect is long behind us. Hannes and I come from very different backgrounds. His education is strongly construction-focused, while mine is rooted in interior architecture and design. Within the studio, this division allows me to focus on design and spatial concepts, while Hannes oversees licensing and construction. This clarity brings calm and efficiency to our practice. We each invest our energy in what we do best and what we truly enjoy, which is something our clients deeply appreciate. Sint-Martens-Latem - Photos: Piet-Albert Goethals

Aralık 2021 | Botanik | Vol V BİR ZAMANLAR BURASI HEP YEŞİLLİKTİ Yazı | Oktay Tutuş B ugünden çok da uzak olmayan bir gelecekte bir çiftçi düşünün. Size daha önce geleneksel yollarla tarım yapılan bir araziyi işaret ederek başlıktaki tanıdık cümleyi söylüyor. Sonra da aynı arazi içerisinde bir hangarı gösteriyor ve diyor ki: “Şimdi sadece burası yeşillik!” Çünkü bu çiftçi her yıl daha fazla gübre kullandığı, zararlılara karşı daha fazla ilaç attığı, buna karşılık ise verimin git gide düştüğü bu arazide tarımı bırakmış. Onun yerine akıllı sistemler tarafından kontrol edilen, toprak istemeyen ve en önemlisi birkaç kata varan oranda daha fazla verim aldığı dikey tarım uygulamalarına yatırım yapmış. Ve halinden çok da memnun. Bu bahsettiğim gelecek aslında şu anda dünyanın farklı noktalarında yaşanıyor. Büyük çaptaki üreticiler şimdilerde bu akıllı tarım alanlarını uçak hangarları, terk edilmiş fabrikalar, alışveriş merkezleri, otoparklar, üniversite kampüsleri ve konteynerlere taşımış durumda. Hatta tüketicinin bizzat kendi eliyle yiyeceğini alabilmesi için süpermarketlerdeki bir dolap içinde bile ürünleri yetiştirilebiliyorlar. Bu iş şu anda öyle popüler ve hızlı büyüyor ki, bu konuda iş yapan start-up ya da köklü şirketlere yapılan yatırım inanılmaz boyutlarda. Devamı için... Print YUZU MAGAZINE - V Out of Stock View Details

ENNE and YUZU Magazine present artworks by Ahmet Rüstem Ekici, Hakan Sorar and Hamza Kırbaş as part of Art Basel Miami Week 2023. December 2023 | Art & Culture ENNE & YUZU’S ART BASEL MIAMI EVENT Artificial intelligence-made artworks shown at the event organized by ENNE and Yuzu Magazine within the scope of Art Basel Miami Week 2023 AHMET RUSTEM EKİCİ & HAKAN SORAR Altered Surfaces AI Generated Video 3:00 Ahmet Rüstem and Hakan Sorar narrate a story in which patterns interweave to create a stable and unchanging surface, much like ceramics. Their project, named "Altered Surfaces," showcases a process that blends over 300 ceramic patterns, depicting a journey between memories and moments. By rendering ceramics, which are among the challenging elements of architecture, into a fluid state, they establish connections between symbols and memories. HAMZA KIRBAS 1- The Garden of the Past 01* 50, 2023 This artwork presents the relationship between the individual and objects in the form of an image, as a phenomenon in the "moment." Imagine taking a stroll through the world of images. What you are imagining is essentially creating a new image on the canvas of the past. The image of the past exists to envision the image of the future and to create the image of the future, we can consider the image as a phenomenon. As I create this image, I believe that I am a part of the image existing in the "moment," represented by an image of a chair. It leaves traces behind, traces of experiences that have been lived. 2- Metamorphosis 3' 37'' Loop, 2023 The Silent Symphony of Transformation Beyond the spoken words of everyday life lies a profound and intricate language, a universal form of expression that transcends the limits of sound. It is a language of signs and symbols, known as sign language, which forms the backdrop of a deep artistic narrative told not through words but through movement and symbolism. Like a word in sign language, the concept of metamorphosis begins with a single seed of thought, a silent gesture of possibility. It is a spark in the silent chambers of the mind, a seed promising transformation. Imagine the concept of metamorphosis in sign language, beginning with a single thought, a silent gesture of possibility. Picture the timeless symbol of transformation, the butterfly, but envision its form composed of symbols from sign language instead of vibrant colored wings. In this artwork, the butterfly soars through the air, leaving behind an elegant trail of intricate, complex signs that narrate the story of profound change. In this piece, the silent language of sign becomes a bridge between the observer and the metamorphosis unfolding before their eyes. The signs are like notes in a musical score, each contributing to the harmonious composition of change. The metamorphosis embodied in the signs of the butterfly invites us to contemplate the beauty of transformation in all its silent splendor. Metamorphosis, like a word in sign language, speaks to us without making a sound. It reminds us that change is not merely a verbal declaration but a visual and instinctive experience. 3- Eternal Defiance 02'00" Loop, 2023 "Eternal Defiance" emerges as an image from a future beyond time and space. This work, which places the audience at the center of the image, takes them on a journey as a phenomenon within the perceptual integrity of the viewer. A structure made of glass containing a burning chair, a paradox that challenges reality. The artwork captures the essence of human defiance by imagining the unquenchable spirit within the fragility of existence. It invites viewers to contemplate the delicate balance between vulnerability and unwavering determination in a context belonging to another world.

Casa Capirote is a calm contemporary apartment in Sevilla by Alejandro Cateto, shaped by Triana pottery, natural light, craft and lime mortar. November 17, 2025 | DESIGN & INTERIORS CASA CAPIROTE Casa Capirote distils the spirit of Sevilla into a calm, contemporary interior shaped by craft, light, and a quietly refined sense of place. In Casa Capirote, Alejandro Cateto distills the character of Sevilla into a calm, contemporary interior. The project takes its cue from the city’s most emblematic craft—Triana pottery—whose colours, patterns and artisanal spirit appear throughout the space. From the geometric headboard and exposed beams to the custom sink and ceramic accents, these references echo the decorative language of Plaza de España, lending the apartment a sense of place and quiet authenticity. The layout is conceived as a fluid, multifunctional space, defined not by walls but by curtains. This simple yet intentional device allows the interior to shift between open, social living and a more intimate, private atmosphere. The result is a home that adapts to daily rhythms while retaining a clean, uninterrupted aesthetic. Natural light plays a central role. By avoiding fixed partitions, the apartment remains bright and open, with daylight highlighting the earth and green tones that anchor the palette. The warmth of this light amplifies the feeling of continuity with the outdoors, creating a soft, inviting environment shaped by the cadence of the city. Walls finished in lime mortar reinforce the connection to Andalusian building traditions, adding texture without visual weight. Ceramic details deepen this link to local heritage, while contemporary furniture—with its organic lines and understated forms—introduces a refined counterpoint. Together, they strike a balance between modern comfort and craft-driven character. Casa Capirote reflects Sevilla not through literal motifs, but through material sensitivity, atmosphere and rhythm. It is a home that honours the city’s architectural and cultural lineage, while translating it for a quieter, more sophisticated contemporary life.

CoolRooms Hotels is opening two restored palaces in Porto and Lisbon: Palácio Duarte in Q3 2025 and Palácio do Patriarcado in Q4. April 2025 | TRAVEL Coming Soon: COOLROOMS ARRIVE in PORTUGAL words Onur Baştürk photos CoolRooms Palacio de Villapanés (Seville) CoolRooms Hotels, renowned for transforming historic gems into luxury escapes, is expanding its international portfolio with two sensational new openings in Portugal. This exciting expansion marks a new chapter for the brand, already celebrated for its award-winning properties in Spain (for instance, the Palacio de Villapanes in Seville, as seen in photos). With meticulous restoration and a refined hospitality concept that merges history, design, and exclusivity, CoolRooms Hotels elevates every travel experience to an art form. COOLROOMS PALACIO DUARTE - Porto Imagine stepping into an 18th-century Baroque marvel nestled in the heart of Porto. Once known as Palacio do Belmonte, the soon-to-be CoolRooms Palacio Duarte is undergoing a meticulous restoration to reclaim its former glory. Set between Porto’s storied parishes—Cedofeita, Miragaia, S. Nicolau, Sé, Santo Ildefonso, and Victória—this grand manor house boasts an iconic two-story façade, a striking mansard roof, and finely sculpted granite that whispers tales of a bygone era. Scheduled to open in Q3 2025, Palacio Duarte isn’t just a hotel—it’s a living, breathing testament to the elegance of the past, seamlessly infused with modern design and comfort. COOLROOMS PALACIO DO PATRIARCADO - Lisbon Across the Tagus River in Lisbon, luxury takes on a new meaning at the CoolRooms Palacio do Patriarcado. This 18th-century architectural gem, once the heart of Lisbon’s Patriarchate and a venue graced by Pope John Paul II in 1982, has been reimagined into a 56-room haven of opulence. Located in one of Lisbon’s most exclusive districts—neighboring the Goethe Institute and the German Embassy—this palace is set to welcome guests in Q4 2025. More than just a place to stay, Palacio do Patriarcado offers an immersive cultural experience, complete with a terrace restaurant, bar, dedicated event spaces, a swimming pool, and a state-of-the-art fitness center.

Cabin Devín by Ark-Shelter and Archekta is a 20-square-metre off-grid home above the vineyards of Devín, opening toward the Austrian Alps. March 22, 2026 | DESIGN & INTERIORS CABIN DEVIN words YUZU Editorial photos BoysPlayNice A structure that opens to its landscape. Set above the vineyards of Devín, with views stretching toward the Austrian Alps, Cabin Devín approaches living in a more reduced, deliberate way. Designed by Ark-Shelter together with Archekta — led by Martin Mikovčák and Viktor Mikovčák, with contributions from Barbora Šimášková, Ondrej Vavro and Radovan Hnidka — the project fits a complete living environment into just 20 square metres. It doesn’t read as small. The space opens, shifts and extends outward, working less as an object and more as a frame for its surroundings. From the outside, the cabin appears compact, almost closed. Then the façades begin to move. Two sides fold down into terraces, revealing sliding glass walls behind them. The contained volume opens into a pavilion. Most of the day unfolds in this in-between condition — not quite inside, not fully outside — where the landscape is always present, never decorative. LIVING IN THE THRESHOLD The interior is organised with restraint. A compact kitchenette, a bathroom, built-in storage — everything reduced to what is needed. What defines the space are a series of precise gestures. A concrete sink, placed directly within a window frame, draws the gaze outward. It slows down a simple, everyday gesture. In moments like this, the project reveals its intent: not to add, but to recalibrate how space is experienced. As evening sets in, the atmosphere shifts. A suspended lamp reveals a sleeping area above, accessed by a retractable ladder integrated into the cabinetry. The upper level is deliberately different — enclosed, quieter, with a single skylight framing the night sky. After the openness below, it feels contained, almost protective. OFF-GRID, BUT NOT DEFINED BY IT Technically, the cabin operates entirely off-grid. Photovoltaic panels, battery storage and a hybrid system allow it to function across all seasons. Water is stored within the structure, while ventilation and shading are carefully controlled. Yet these systems remain in the background. They support the space without defining it. What stays is a sense of calibration. Nothing feels excessive, nothing feels missing. The project does not attempt to redefine living — it edits it. It points to a quieter idea of living: measured, deliberate, and closely tied to place.

Berrak Yurdakul speaks with Onur Baştürk about four attitudes to embrace in life, Buddhism, her training in Tibet, and Chogye Trichen Rinpoche. December 2020 | People TR Below BERRAK YURDAKUL The 4 Attitudes to Embrace in Life Words Onur Baştürk The Peacock That Doesn't Speak, The Sixth Race, The Guardian of Two Worlds, A Homemade Parachute, Seven Thoughts About You... Berrak Yurdakul’s books have always carried a subtle wisdom and guidance that never feels condescending. Recently, she’s begun sharing her insights not only through her books but also via online seminars. What sets her apart from other self-improvement guides is this: her solid training in Tibet and her openness about being a Buddhist. How did you come to embrace Buddhism? Did you undergo any formal training? I first encountered Buddhism in my twenties. I was deeply impressed by its approach to the mind, its emphasis on mental discipline, and its realism. During a trip to Nepal, I met Chogye Trichen Rinpoche, who had settled there after the Chinese occupation of Tibet. A brief conversation with Rinpoche was enough to awaken in me the desire to become a Buddhist. I later studied with other teachers, but primarily, I consider myself a student of Trichen Rinpoche. He left his earthly body in 2007, but we believe the teacher-student connection transcends death. SEEING MY OWN PRIDE AND VIOLENCE How did your transformation unfold? Integrating Buddhist practices into my life brought about significant changes. Buddhism teaches us to confront our own darkness. Like many, I had a mind programmed to blame others for the injustices, cruelty, and lack of love in the world while absolving myself of any responsibility. When I looked at myself objectively, I realized that all those dark elements existed within me, too. I saw my own pride, the violence I carried openly and secretly, my selfishness, my hypocrisies, and much more. Completely purging oneself of these isn’t easy, but even acknowledging their existence is a big step forward. Is Buddhism a religion or a teaching? This is a common point of confusion. Buddhism isn’t a religion because Buddha wasn’t a prophet—he was a human being, just like you or me. He looked into his own mind, came to know it, and gained great freedom as a result. He tells us how he achieved this freedom, teaches us the methods he practiced, and assures us that we can find all the answers to existence within ourselves if we apply these practices. You don’t need to be a Buddhist to benefit from Buddhist practices. Regardless of your beliefs, mindfulness and meditation can help you achieve inner freedom, get to know yourself better, and open your heart. FOREVER THE WOUNDED GAZELLE, BECAUSE… I loved your piece on “The Four Attitudes to Life.” The first one is “the wounded gazelle.” You say that, like a wounded gazelle, a person should find a sanctuary where they can heal and return to it often. Why a wounded gazelle? Can’t we visit this sanctuary when we’re not feeling wounded? Must a person always be broken to reconnect with their essence? From a Buddhist perspective, we are always the wounded gazelle. Whether we feel good or bad doesn’t change our wound. This wound comes from not knowing our true nature and being disconnected from our real essence, which is made of love and compassion. PAIN HURTS LESS The second attitude is the “strong lion.” Here you say, “One must not give in to upsetting and shocking situations or let gloomy thoughts take over.” Can you elaborate? It’s essential to fully experience every moment, whether it’s joyful or sorrowful. Life is made up of all these experiences. Rejecting unpleasant moments as “bad” only creates division and conflict. We can’t run away from negative thoughts, but we can strive not to identify with them. By “not being taken over,” I mean staying present with all negative feelings, thoughts, and experiences without letting them consume you. You stay with whatever is happening but avoid getting lost in the narrative your mind creates about it. This attitude brings calm during difficult times and, most importantly, keeps you from falling into the deep pit of self-pity. Over time, practice shows us that when our mind doesn’t overreact or resist, pain hurts less. The most beautiful attitude is “the wind.” Can you explain it further? Our inner state often changes easily based on external influences. If we find our surroundings unpleasant or unattractive, we want to leave. If we’re near someone we’ve labeled as “unlikeable,” we want to get away. The wind, however, makes no such distinctions. It doesn’t find any place ugly or dislike anyone. It isn’t a victim of duality. The wind sees and accepts everything as it is. It moves freely and contentedly everywhere. I also liked the “madman’s attitude,” but it confused me. Is it just about being indifferent to praise and criticism? “Indifference to praise and criticism” is actually a significant mastery. It’s not something you can achieve without inner freedom and escaping the grip of the ego. Otherwise, you might pretend to be unaffected, but in truth, you’re just acting. To truly not be influenced by others’ opinions, you need to have achieved great inner victories. When our minds and hearts are in the hands of the ego, we spend most of our time caring about what others think of us and trying to win their approval. It’s a colossal waste of time and energy. BERRAK YURDAKUL Hayata Karşı Takınılması Gereken 4 Tavır Konuşmayan Tavus Kuşu Camio, Altıncı Irk, İki Cihanın Bekçisi, Ev Yapımı Bir Paraşüt, Senin Hakkında Yedi Şey Düşündüm... Berrak Yurdakul’un kitaplarında üstten bakmayan ince bir bilgelik ve yol göstericilik her daim vardı. Son dönemlerde ise öğrendiklerini sadece kitaplar aracılığıyla değil, online seminerlerle de aktarıyor. O, diğer kişisel gelişimcilerden şu açıdan net bir şekilde ayrılıyor: Tibet’teki sağlam eğitimi ve Budist oluşunu gizlememesiyle... Budizmi benimseyişin nasıl oldu? Bilgileri nerede aldın, herhangi bir eğitimden geçtin mi? Budizmle yirmili yaşlarımda tanıştım ve budist görüşün zihne yaklaşımından, zihin eğitimine verdiği önemden, gerçekçiliğinden çok etkilendim. Bir Nepal seyahatim sırasında, Çin işgalinden sonra Nepal’e yerleşen ‘Chogye Trichen Rinpoche’ ile karşılaştım. Rinpoche ile biraz sohbet etmem, budist olmak isteğini içimde uyandırmaya yetti. Daha sonra başka öğretmenlerle çalıştım, ama esas olarak Trichen Rinpoche’nin öğrencisiyim. Rinpoche, 2007 yılında bu dünyada kullandığı bedenden ayrıldı ama biz öğretmen öğrenci bağının ölümle kopmayacak kadar güçlü olduğuna inanırız. KENDİ KİBRİMİ, ŞİDDETİMİ GÖRDÜM! Dönüşüm sürecin nasıl oldu? Budist pratikleri hayatıma entegre edip çalışmaya başladıktan sonra kendimde birçok değişim gözlemledim. Budizm bize kendi karanlık taraflarımıza bakmayı öğretir. Ben de çoğu insan gibi dünyada gördüğüm adaletsizlikten, zulümlerden, sevgisizlikten dolayı hep başkalarını suçlamaya ve kendimi temize çıkarmaya programlanmış bir zihne sahiptim. Objektif bakışla kendime bakınca, tüm bu karanlık unsurların benim içimde de olduğunu gördüm! Kendi kibrimi, içimde açıkça ve gizlice taşıdığım şiddeti, bencilliğimi, iki yüzlülüklerimi ve daha başka birçok şeyi gördüm. Budizm din mi öğreti mi? Bu konuda kafalar hep karışıktır... Budizm din değil çünkü Buddha bir peygamber değil. Senin, benim gibi bir insan. Kendi zihnine bakmış ve onu tanıyarak büyük bir özgürlük kazanmış. Bize bu özgürlüğü nasıl kazandığını anlatır, kendi uyguladığı yöntemleri öğretir ve pratikleri yaparsak varoluşa dair bütün yanıtları kendimizin bulabileceğini söyler. Budist pratiklerden faydalanmak için budist olmak gerekmez. Hangi inanca sahip olursanız olun, mindfulness ve meditasyon pratikleriyle içsel özgürlükler kazanabilir, kendinizi daha iyi tanımayı ve kalbinizi açmayı öğrenebilirsiniz. DAİMA YARALI CEYLANIZ, ÇÜNKÜ... “Hayata karşı takınılması gereken dört tavır” yazına bayılmıştım. O tavırlardan ilki “yaralı ceylan tavrı”. Diyorsun ki, insan tıpkı bir yaralı ceylan gibi kendini iyileştireceği bir sığınak bulmalı ve oraya sık sık gitmeli. Neden yaralı bir ceylan gibi? Böyle hissetmediğim zamanlarda da kendi yarattığım sığınağa gidemez miyim? İnsanın özünü hissetmesi için hep darbeli mi olması gerekiyor? Budist bakış açısına göre bizler daima yaralı ceylanız! Kendimizi kötü ya da iyi hissetmemiz yaramıza dair hiçbir şey değiştirmez. Çünkü yaramız gerçek doğamızı bilmeyişimizden, sevgi ve şefkatten oluşan gerçek varlığımızdan uzaklaşmış olmaktan kaynaklanır. ACI DAHA AZ ACITIR İkinci tavır, güçlü aslan tavrı. Burada da “İnsan üzücü ve sarsıcı durumlara kendini kaptırmamalı, kasvetli düşüncelerin eline geçirmemeli zihnini” diyorsun. Üzüntülü veya sevinçli, her anın tamamen yaşanması gerekli. Hayat bunların bütünü. Hiçbir tecrübeyi bu kötü diye itip uzaklaştırmaya çalışmamalı. Bu sadece bölünme ve çatışma yaratır. Olumsuz düşüncelerden asla kaçamayız, ama onlarla özdeşleşmemeye gayret etmeli. Ele geçmekten kasıt budur: Kendini zihnin içeriğine kaptırmadan tüm kötü duygularla, düşüncelerle, tecrübelerle kalabilmek... Her ne oluyorsa onunla kalırız, ama zihnimizin o ana dair yazdığı hikâyenin içine dalmayız. Bu tavır bize zor zamanlarda sükunet getirir ve en önemlisi kendine acımanın derin çukuruna düşmekten korur. Zamanla pratiğimiz bize şunu gösterir: Zihnimiz abartılı tepkiler vermediği ve direnç göstermediği zaman acı daha az acıtır. En güzel tavır, rüzgâr tavrı. Onu biraz daha açar mısın? Genellikle içsel durumumuz dış tesirlere göre kolayca değişir. Bulunduğumuz yeri çirkin ya da kötü görüyorsak oradan hemen çıkmak isteriz. ‘Sevmiyorum, beğenmiyorum’ diye etiketlediğimiz birinin yanındaysak ondan uzaklaşmak isteriz. Rüzgâr böyle ayrımlar yapmaz. Hiçbir yeri kötü bulmaz, kimseyi beğenmemezlik etmez, ikiliğin kurbanı değildir. Herkesi ve her şeyi olduğu gibi görür, kabul eder. Her yerde aynı kolaylıkla, aynı hoşnutlukla dolaşır. Bir başka hoşuma giden ama kafamı karıştıran tavır da delilerin tavrı! Sadece eleştiri ve övgüye kayıtsız kalma durumundan mı ibaret delilerin tavrı? ‘Sadece eleştiri ve övgüye kayıtsız kalabilmek’ dediğimiz şey aslında büyük bir ustalık gerektiriyor. İçsel olarak özgürleşmeden, egonun elinden kaçmadan yapılabilecek şey değildir bu. Ancak etkilenmiyormuş gibi, numara yaparsın belki. Gerçekten etkilenmemek için büyük içsel zaferler kazanmış olmak gerekir. Aklımız ve kalbimiz egonun eline geçmişken, zekâmız egoya hizmet ederken vaktimizin büyük bir bölümünü başkalarının bizim hakkımızda ne düşündüğünü önemseyerek ve kendimizi başkalarına beğendirmeye çalışarak geçiriyoruz. Bu çok büyük bir zaman ve enerji israfı. RÜYADAYKEN RÜYADA OLDUĞUNU ANLAMAK İÇİN... Bir başka merak ettiğim mesele: Rüyadayken rüyada olduğunu bilmek. Bunu yapabilmek için nasıl bir zihin eğitimi gerekiyor? Tibet’te ‘rüya yogası’ olarak bilinen bir pratik yapılır. Bu pratik, rüyayı yönetebilmek için yapılan bir pratiktir ve rüyadayken rüyada olduğunu bilmek ilk adımdır. Hiç de kolay olmayan bu ilk adımı atabilmek için gün boyu bazı özel egzersizler yapılır. Bir zamanlar gizli öğretiler olan tüm bu pratiklere artık kolayca ulaşılabiliyor. İletişim çağının en güzel taraflarından biri bu: Tüm manastırlar canlı yayın yapıyor, çok büyük hocalar online dersler veriyor, eskiden ‘sır’ olan pratikler herkese açıldı.

Inside Orient Express Venezia at Palazzo Donà Giovannelli in Venice, reimagined by architect Aline Asmar d’Amman through an eight-year transformation. August 26, 2026 | VOL 19 the NEW ERA of a 600-YEAR-OLD PALAZZO words Onur Basturk photos Giulio Ghirardi (Courtesy of Orient Express Venezia) With a history spanning six centuries, Palazzo Donà Giovannelli has returned as Orient Express Venezia, reimagined by architect and interior designer Aline Asmar d’Amman. Following the opening of Orient Express La Minerva in Rome and the launch of the La Dolce Vita Orient Express train in 2025, the project signals a new chapter for the brand in Italy. Rather than restoring the Venetian palazzo as a monument frozen in time, Asmar d’Amman approached it as a living structure shaped by memory, craftsmanship, and contemporary energy. Throughout the eight-year transformation, her intention was for guests to experience the Palazzo with a cinematic sense of progression. Orient Express carries a unique mythology of travel. Where did you begin when translating that legacy into a physical space? A world of wonders unfolds at the evocation of the Orient Express. It carries a sense of glamour and sophistication, the very best of the art of travel and a certain mystique of exceptional journeys rooted in the golden age. Here, ritual and movement shape a romantic idea of travel as a passage, crafted through deeply thoughtful design and meticulous attention to detail. Throughout this creative journey, the Orient Express Hotel at Palazzo Dona Giovannelli became a dialogue between two worlds: the Palazzo’s historical legacy, a 15th-century Venetian crown jewel bringing permanence, intimacy, and memory, and Orient Express introducing movement, glamour, and the romance of travel. Keeping both worlds in dialogue rather than blending them, I immersed myself in each and tried to create a passionate dialogue between two strong identities. References to the golden age of travel are woven in with subtle precision: travel trunks appear as bedside tables, while grand interior architecture is treated as wonder cabinets, underlined with wood marquetry, brass details, and etched mirrors that capture the soul of the palazzo’s historical features in reflection. In more contemporary rooms, a 1930s atmosphere quietly permeates the space through lacquered woods, refined finishes, and original antique chairs by Paul Follot flanking chess tables with Murano glass checkered plateaux. Everywhere, from the Piano Nobile’s ornate salons to the more contemporary spaces, bespoke drink cabinets invite interaction, opening like curated cases designed to spark curiosity and engagement, reinforcing the journey of discovery. At Orient Express Palazzo Dona Giovannelli, there is always this tension between stillness and movement, intimate and grand, past and present, which defines the essence of its legendary art of travel imagined as a theatrical voyage through Venice. OVER THE LAST EIGHT YEARS, I MOVED THROUGH EPOCHS AND ERAS, UNCOVERING STORIES EMBEDDED IN WORN SURFACES AND CEILING FRESCOES, EACH LAYER CARRYING ITS OWN MEMORY This project unfolded over nearly eight years. How did that extended timeline shape your design decisions? How did your initial vision evolve over time? Over the last eight years, I moved through epochs and eras, listening closely, revealing and unearthing every story, from the worn surfaces beneath our hands to the frescoes on the ceilings, each layer carrying its own memory. The restoration of Palazzo Dona Giovannelli, home to the Orient Express Venezia hotel, became a true labour of love, requiring rare interventions, from drying the palazzo’s foundations and building a dam around the façade walls, to the careful removal and treatment of each stone on the walls and floors. It became a revelation of how closely architecture and environment are bound together in Venice. Over nearly a decade, hundreds of specialised artisans worked across fresco restoration, sculpture, gilding, and woodwork. Young artisans, joinery makers, metal specialists, craftsmen mastering leather cladding and terrazzo floors, as well as highly skilled marble makers, all joined in a communal gesture shaped by devotion and artistry. Behind every perfect detail, there are thousands of hours spent mending beauty. During the process, hidden layers of history were uncovered and naturally integrated into the evolving narrative of the space. Beyond a monument to history, I see the Orient Express Venezia at Palazzo Dona Giovannelli as a living story, where the past continuously shapes the future. Fragments of original mouldings appear within contemporary rooms, reflected in etched mirrors and varnished woods, in a continuous dialogue between heritage and modernity. Pieces once hidden or damaged are reintroduced with grace, allowing the story of the palazzo to remain visible in conversation with architectural nowness. This unfolding deeply shaped my design decisions. Rather than shifting my vision, the discovery of the Palazzo’s many layers deepened it into a more intimate dialogue with its history. My approach is never nostalgic about the past but always in conversation with it. You describe the transformation as a “theatrical sequence of wonders.” How did you translate this idea into spatial terms? I wanted guests to experience the palazzo as a cinematic progression, where layers of history gradually reveal themselves through surfaces, objects, and space. This is the essence of Venice: mystery, drama, and celebration set between stone and water, movement and eternity. Guests move through the Palazzo like protagonists within a story, encountering fragments of history, traces of the lives that shaped the space, and moments of unexpected beauty. Here, the walls are always speaking. The Palazzo was once home to noble Venetian families, from the Duke of Urbino to the Donà and Giovanelli families, and hosted grand occasions such as the wedding of the Duke of Urbino’s son to Princess Vittoria Farnese in the 16th century. Centuries later, its Piano Nobile welcomed scholars from across Europe, continuing its role as a place of exchange. I wanted this spirit to remain perceptible today through the architecture, curated art, and a sense of lived-in elegance and intimacy. VENICE INSPIRES ME AS A MEETING POINT BETWEEN EAST AND WEST — A DUALITY ALREADY EMBEDDED WITHIN THE PALAZZO ITSELF Venice has long been a gateway between East and West. How did this dual identity shape your design approach? Venice deeply inspires me as a meeting point between East and West. Born in Beirut, I feel a personal connection to the city’s layered cultural identity and recognise many correspondences between Venetian architecture and my own heritage. I never experienced the Serenissima as foreign, but with a sense of familiarity, as if returning to a source of inspiration. That duality already exists within the palazzo itself. The neo-Gothic staircase by Gian Battista Meduna reveals an architectural language where Gothic forms meet arabesque influences, geometric ornamentation, frescoes, and luminous stained glass — traces of Venice’s long history of exchange and movement. Crowned by a celestial vault, the octagonal staircase leads into spaces like the Sala della Cultura, shaped by ideas, encounters, and cultural dialogue. Here, Venice expresses itself as it always has: a cosmopolitan world where East and West coexist naturally. Lapis lazuli tones, Italian marbles, vintage furniture, and contemporary bespoke design come together like a layered memory of a grand tour, balancing richness, sensuality, and restraint. The idea of the “Lost Colors of Venice” plays a key role. How did this concept shape the material and colour palette? The “Lost Colors of Venice” became central to my approach to the renovation. Inspired by 16th-century pigments and poetic lore, these are not vanished colours, but rediscovered ones — faded fragments of myth and memory brought into the present with a contemporary sensibility. The first time I entered Palazzo Dona Giovannelli, I was struck by these living colours spread across its historical walls and surfaces. Patinas washed by time became both my guide and inspiration, informing everything from stone and marble selections to moiré fabrics, velvets, and material accents. This feeling culminates in the Colori Persi Suite, where the tones of the ceiling fresco seem to spill into the room, creating a luminous dialogue between past and present. The lost colours continue throughout, threaded through cocoon-like moiré fabrics that subtly echo the movement of the Venetian laguna. THE WAGON BAR IS CONCEIVED AS AN ART DECO SPEAKEASY INSPIRED BY THE ORIGINAL RAILCAR LOUNGES OF THE ORIENT EXPRESS The Orient Express is rooted in movement, transition, and journey. How did you bring that sense of motion into a static structure like a palazzo? Inspired by the golden age of travel, historic trunks are reinterpreted as wonder cabinets throughout the Palazzo — from bedside tables and wardrobes to dressing rooms, even concealing bathrooms within the suites. They bring the rituals of departure and arrival into the interiors, creating a quiet sense of slow travel throughout the space. This continuity extends into the Wagon Bar, conceived as an Art Deco speakeasy inspired by the original railcar lounges of the Orient Express. In the Corte del Conte lobby, monumental bookcases and shelving compositions guide movement through layered surfaces of memory, almost like curated stations within the Palazzo. The Cherubini Suite takes its name from the cherubs running across its walls, recalling that Venetian grandeur has always embraced joy and movement. A rediscovered frieze by Sebastiano Santi unfolds across the walls with dancing putti and women playing ancient instruments — movement suspended mid-song — while a layer of Renaissance faces crowns the space with wisdom and poetry. I wanted to respond thoughtfully to these multiple layers of history, embracing the legacy while introducing a new interior architecture into the room with timeless elegance and permanent rhythm. Spaces like Il Corte del Conte transform a former courtyard into a dramatic living room. How do you approach such bold architectural interventions? One of the greatest challenges in the renovation was the ground floor itself. Today’s lobby was once an open courtyard shaped only by air, light, and the elements. Historically, the Palazzo was always a place of gathering and celebration, and I wanted to preserve that warmth and sense of belonging. What was once a passageway is now conceived as a generous living room. I introduced a grand library-like architectural structure within the Palazzo itself, seamlessly integrating technical functions into monumental shelving and hidden compartments. The intention was never to create the feeling of a technical intervention, but to bring timeless elegance and natural ease into the space. Wood-clad libraries with Murano details subtly conceal contemporary technology, including the new entrance hidden behind Venetian artisanal glass doors. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €22,00 Price Add to Cart