January 2025 | Urban ENGLISH BELOW COZY ve PARALIAKI words Onur Baştürk Yeni yılın ilk günleriyle beraber en çok konuşulan ve görülmek istenen restoran kuşkusuz Etiler’deki Cozy oldu. Cozy’ye farklı gecelerde farklı arkadaş gruplarıyla gittim ve her seferinde servis ve yemek aynı çizgideydi. Keza kalabalık da öyle. Her masanın kalabalığı -buna çok önem verenler için söylüyorum- “biriydi”. Bir yandan da restoran neredeyse mum ışığıyla aydınlatıldığı için masadakilerin birbirini ilk bakışta görmesi hayli zor. Bu aydınlatma tercihi ise epeydir hiçbir İstanbul restoranında görmediğimiz türden. Ben bayılıyorum ve olması gereken budur diyorum. Ama çoğu restoran halen masaları ve insanları tepedeki berbat spot ışıklarıyla “sorgu ışığı” gibi aydınlatmakla maalesef ısrarlı. Gelelim Cozy’nin yemeklerine… Her tabağı ortaya söylemekte fayda var. Mesela: Kivi Carpaccio’lu Ton Balığı Tartar. Doğruya doğru, kivinin tadı nedeniyle ilk bakışta bu birleşim “olmamış” hissi veriyor, ama bir süre sonra alışkanlık da yapıyor. Diğer ortaya sipariş edilecek tabaklar ise şöyle: Ilık Rozbif Salata, şarap soslu muazzam Chateaubriand, Trüflü Mafaldine Makarna ve Kızarmış Aslan Balığı. Cozy’nin benim ilgimi çeken diğer yanı ise Rezzan Benardete Interiors tarafından yapılan tasarımı. Masa örtülerindeki sempatik işlemeler ve kokteyl bardaklarındaki Yayoi Kusama efekti gibi detaylardan tutun da antika aydınlatmalar ve vintage-modern karışımı mobilyalarla oluşturulmuş eklektik ambiyans, uzun süredir restoranlarda görmediğimiz bir bütünlüğe sahip. BODRUM’DAKİ PARALIAKI ARTIK BEBEK’TE Yazın Stay Grubu’nun Bodrum’daki Bobo’su içinde açılan Paraliaki, uzun bir dönem Ankara’daki Trilye restoran olacağı konuşulan Bebek’teki yere açıldı. Trilye’nin ruhsat alamayışı, restoran açılmamasına rağmen aylarca çalıştırdığı personel epey konuşulmuştu. Sonunda Trilye’nin açtığı yoldan Stay Grubu’nun Paraliaki'si yürüdü ve hızlı bir şekilde mekanlarını açtılar. Bodrum’daki Paraliaki’yi yazın deneyimlememiş biri olarak söyleyeyim, menü hayli Sea&Salt’muş (en başta da Atom). Sea&Salt da bir dönem Niyazi’ydi. Neyse, orası çok karmaşık hikaye. Paraliaki’nin menüsü ve o gün arkadaşlarla tattığımız mezeler lezizdi ama tek bir tabakta hayal kırıklığı yaşadık. Üç kişi paylaşırız umuduyla söylediğimiz Deniz Mahsullü Erişte (1200 TL) porsiyon olarak hayli küçüktü. Paraliaki’nin dümdüz gri tonunu ve balıkçı gibi durmayan ahşap masalarını da sevdim. Ama bir akustik problemi var. Konuşma gürültüsünden dolayı restorandan dayak yemiş gibi çıktım. With the arrival of the new year, the most talked-about and sought-after restaurant is undoubtedly Cozy in Etiler. I’ve visited Cozy on different nights with various groups of friends, and each time, the service and food were consistently on point. The crowd, too, was consistently the same—in case you care about such details, every table seemed to have "someone." That said, the restaurant is so dimly lit—practically by candlelight—that it’s quite hard for those at the table to even spot each other at first glance. This lighting choice is something we haven’t seen in any Istanbul restaurant for quite a while. Personally, I love it and firmly believe this is how it should be. Yet, most places still stubbornly insist on illuminating their tables and patrons with harsh overhead spotlights that feel like an interrogation room. Now, let’s talk about the food at Cozy. Sharing plates is definitely the way to go here. For instance: Tuna Tartare with Kiwi Carpaccio. To be fair, the kiwi’s flavor might feel a bit "off" at first, but over time, this dish grows on you. Other dishes perfect for sharing include the Warm Roast Beef Salad, the divine Chateaubriand with Wine Sauce, Truffle Mafaldine Pasta, and the Fried Lionfish. Another aspect of Cozy that caught my attention is its design, crafted by Rezzan Benardete Interiors. From the charming embroidery on the tablecloths and the Yayoi Kusama-like details on the cocktail glasses to the antique lighting and the eclectic mix of vintage-modern furniture, the ambiance offers a level of cohesiveness we rarely see these days. PARALIAKI FROM BODRUM IS NOW IN BEBEK Paraliaki, which opened over the summer within the Stay Group’s Bobo in Bodrum, has taken over the Bebek spot that was long rumored to become home to Ankara’s famed Trilye restaurant. Trilye’s inability to obtain a license—and the fact that they kept their staff employed for months despite not opening—was quite the talk of the town. In the end, Stay Group’s Paraliaki followed the path Trilye paved and swiftly opened their doors. As someone who didn’t get the chance to try Paraliaki in Bodrum, I have to say, the menu here leans heavily towards Sea&Salt (especially with their take on Atom). Sea&Salt, by the way, was once known as Niyazi—though that’s a long and convoluted story. The menu and the mezes we tried with friends that day were delicious overall, but there was one dish that left us disappointed. The Seafood Tagliatelle (priced at 1,200 TL) was surprisingly small in portion, even though we had hoped it would be enough for three people to share. I did, however, appreciate Paraliaki’s straightforward gray tones and the wooden tables that don’t scream “fish restaurant.” But the acoustics in the restaurant were an issue. The noise from conversations was so overwhelming that I left feeling like I’d been beaten up by the sound.

April 2023 | People | Vol 9 TR BELOW ANATOMY of a BOTANIST Words + Photos Onur Baştürk Enverina Rina Qorraj is the manager and partner of Kandilli Botany in Kandilli, one of the historic districts on the Bosphorus side of Istanbul. Her acquaintance with the plant world began when her family started a nursery. Rina, who started to go to the nursery after high school, could closely observe the plants as she took care of them. “I walked around with a watering hose in one hand and a plant book in the other. My curiosity grew more and more; I learned the life stages of the plants and their Latin names”, she explains. Influenced by this childhood experience, Rina began studying at ITU’s Faculty of Landscape Architecture and graduated at the top of her class. During her studies, she began working in the family business, Kandilli Botany. In this way, she found the opportunity to combine theory and practice. After graduation, she both continued her occupation professionally and changed her view of landscape architecture. So much so that because of her landscape architecture work in the mansion gardens, she also did her master’s thesis on this subject. I GO AND SELECT ALL THE PLANTS MYSELF So what is it like to run a botanical business? Rina answers, “A botanical company is in a race against time. Our service involves living materials, and their needs vary depending on the season. These needs must be met in the right way and promptly”. Kandilli Botany sells native and imported plants. “Our first choice for plant supply is domestic production”, she says. “There are places in Turkey that produce well in certain regions, but the plant diversity is low and unfortunately the production capacity is limited. It is also difficult to find older plants from domestic production. This is because few production facilities go back many years, making this a tradition. Therefore, we import plants from abroad that we cannot find in Turkey. We supply outdoor plants from Italy and indoor plants from the Netherlands. Since the Italian plants grow and complete their root work in similar climatic conditions, there are no problems in adaptation when they come to us". SOME PLANTS MAY HAVE DIFFERENT NEEDS Rina says to consider the following when choosing plants for indoor use, “If your house is bright, choose Ficus Lyrata, Bucida, and Philodendron varieties; if it is semi-bright, you can go for Heteropanax and Dicksonia varieties. If you want to bring the feel of an outdoor garden indoors, you can consider strelitzia or palm species. Houseplants are normal plants that require less water, depending on the species. I do not think you will have a hard time when they are taken care of with love. Only the needs of some plants may be different. For example, the watering technique of the Dicksonia tree is different from other plants. Its whole body needs to be moistened. It is not easy to do this indoors”. THOSE WHO WANT THE SMELL OF THEIR GRANDMOTHER’S GARDEN... Rina lists the main points for a good garden landscape as follows: “Depending on the scale, tree outdoors is a must. The tree becomes determinant outdoors and creates its own space. You can spend pleasant hours in its shade and observe a tree. The type of plant we choose should also appeal to our senses. Especially our sense of smell. Based on my experience with my clients, I can say the following: people who want to create a new garden usually want the scent of their grandmother’s garden, choosing from their childhood memories. It might be the linden blossom or the peony blooming in the spring. The trees that have impressed me the most lately are Quercus (oak) species, Gingko Biloba (temple tree), Tilia (linden), Parrotio Persica (iron tree), and Platanus (plane tree). HOW THE SOIL OF THE PLANT SHOULD BE The choice of soil for the plant is also an important point. Take note of Rina’s opinions in this regard: “The soil for indoor and outdoor use is different. Especially indoors, peat rich in fiber should be used. In addition to soil, the pot size in which the plant is placed is also important. The soil loses fertility if the plant is in the same pot for a long time. For this reason, the soil must be renewed regularly. Outdoors, the mobility of the soil may cause it to fall over. In this case, additions must be made. In addition, organic and natural fertilizers can be used depending on the season and the plant’s needs”. BİR BOTANİKÇİNİN ANATOMİSİ Enverina Rina Qorraj, İstanbul’un Boğaz tarafındaki tarihi semtlerinden Kandilli’de yer alan Kandilli Botanik’in yöneticisi ve ortağı. Bitki dünyasıyla tanışması ailesinin fidanlık kurmasıyla başlıyor. Okul çıkışı fidanlığa gitmeye başlayan Rina, bitkilerin bakımını yaparken onları yakından gözlemleme fırsatı buluyor. O günleri, “Bir elimde sulama hortumu, diğer elimde ise bitki kitabıyla geziyordum. Merakım gittikçe artıyor, Latince isimleriyle birlikte bitkinin yaşam evrelerini öğreniyordum” diye anlatıyor. Çocukluğundaki bu deneyimin etkisiyle İTÜ Peyzaj Mimarlığı Bölümü’nü okumaya başlıyor Rina ve bölüm birincisi olarak okulu bitiriyor. Üniversite yıllarında ise aile şirketi Kandilli Botanik’te çalışmaya başlıyor. Böylece teoriyle pratiği birleştirme şansı buluyor. Mezun olduktan sonra hem profesyonel olarak mesleğini sürdürüyor hem de peyzaj mimarisine bakış açısı farklılaşıyor. Öyle ki, yalı bahçelerinde yaptığı peyzaj çalışmaları nedeniyle yüksek lisans tezini de bu konu üzerine gerçekleştiriyor. Rina için bu sürecin ilginç bir yanı daha var. Tez çalışmasının konusu olan Komili ve Moniem Yalıları’nın peyzaj tasarımı ve uygulamasını bizzat yapmış olması. “Benim için inanılmaz bir öz eleştiriydi” diyor Rina, “Teorimi, pratikte hayata geçirmiştim”. TÜM BİTKİLERİ BİZZAT GİDİP SEÇİYORUM Peki bir botanik işletmesini yönetmek nasıl bir şey? Şöyle yanıtlıyor Rina: “Bir botanik işletmesi zamanla yarış halindedir. Sunduğumuz hizmet canlı materyaller içeriyor ve mevsime göre ihtiyaçları farklılaşıyor. Bu ihtiyaçlara doğru şekilde ve zamanında müdahale edilmesi gerekiyor ”. Kandilli Botanik’te yerli ve ithal bitkiler satılıyor. “İlk tercihimiz yerli üretim” diyor Rina. “Türkiye’de belli bölgelerde iyi şekilde üretim yapan yerler var, ama bitki çeşitliliği az ve üretim kapasitesi kısıtlı. Bir de yerli üretimde yaşça büyük bitki bulmak zor. Nedeni ise uzun yıllara dayanan ve bunu bir geleneğe dönüştüren üretim yerinin az olması. Bu nedenle Türkiye’de bulamadığımız bitkileri yurtdışından ithal ediyoruz. Dış mekan bitkilerini İtalya, iç mekan bitkilerini ise Hollanda’dan tedarik ediyoruz. İtalyan bitkilerinin benzer iklim koşullarında yetiştirilmiş ve kök çalışmasını tamamlamış olmasından dolayı işletmemize geldikten sonra adaptasyonlarında bir sorun yaşanmıyor”. BAZI BİTKİLERİN FARKLI İHTİYAÇLARI OLABİLİYOR İç mekan için bitki seçerken şunlara dikkat edilmesi gerektiğini söylüyor Rina: “Eviniz aydınlık ise Ficus Lyrata, Bucida ve Philadendron çeşitlerini tercih edin, yarı aydınlık ise Heteropanax, Dicksonia çeşitlerine yönelebilirsiniz. Dış mekandaki bahçe duygusunu içeriye taşımak isterseniz Strelitzai ya da palmiye türleri düşünülebilir. İç mekan bitkileri düzenli ve türüne göre az su isteyen bitkiler oluyor. Severek bakıldığında zorlanacağınızı düşünmüyorum. Sadece bazı bitkilerin ihtiyaçları faklı olabiliyor. Mesela Dicksonia ağacının sulama tekniği diğer bitkilerden farklı. Tüm gövdesinin ıslatılması gerekiyor. Bunu iç mekanda yapmak kolay değil”. BABAANNESİNİN BAHÇESİNDEKİ KOKUYU İSTEYENLER... İyi bir bahçe peyzajı için olmazsa olmazlarını şöyle sıralıyor Rina: “Ölçeğe bağlı olarak dış mekanda ağaç, olmazsa olmazım. Ağaç, dış mekanda tanımlayıcı oluyor ve kendi mekanını yaratıyor. Bir ağacı seyretmek kadar, gölgesinde de keyifli saatler geçirmek mümkün. Seçeceğimiz bitki türleri duyularımıza da hitap etmeli. Özellikle koku duyumuz. Müşterilerimle yaşadığım deneyimlerden yola çıkarak şunu söyleyebilirim: Yeni bahçe sahibi olacak kişiler genellikle babaannesinin bahçesindeki kokuyu çocukluk anılarından seçerek arzuluyor. Bu koku ıhlamur ağacı çiçeği ya da ilkbaharda çiçek açan şakayığın kokusu olabilir. Son zamanlarda beni en çok etkileyen ağaçlar ise şunlar: Quercus (Meşe) türleri, Gingko Biloba (Mabet Ağacı), Tilia (Ihlamur), Parrotio Persica (Demir Ağacı), Platanus (Çınar). TOPRAK NASIL OLMALI Bitkinin toprak seçimi de önemli bir konu. Bu konuda Rina’nın görüşlerini mutlaka not edin: “İç mekanla dış mekanda kullanılan toprak farklı. Özellikle iç mekanda lif yoğunluklu torf kullanılmalı. Toprak ile birlikte bitkinin bulunduğu saksı ölçüsü de önemli. Bitki uzun süre aynı saksıda tutulduğunda toprak verimliliğini kaybeder. Bu nedenle periyodik sürelerle toprağın tazelenmesi gerekiyor. Dış mekanda ise toprak hareketliliğinden çökmeler olabilir. İlave yapılması gerekir. Ayrıca mevsime ve bitkinin ihtiyaçlarına göre organik ve doğal gübreler kullanılabilir”. for more Print VOL IX - 2023 Out of Stock Add to Cart

January 7, 2025 | VOL 17 SILENCE of the ALPS words Onur Baştürk photos Tijs Vervecken At the foot of Mont Blanc, nestled on the slopes of Courmayeur, House Montagna stands as a contemporary refuge shaped by nature’s rhythm. Once a humble mountain chalet, it has been reimagined by the Belgian collective Maison Osaïn into a place where simplicity and serenity define the experience of living. The structure, rebuilt almost entirely from local materials, opens directly to the alpine landscape — where light, texture, and silence become the true architecture. Strategically positioned at the edge of the ski slopes, the house balances rugged authenticity with refined craftsmanship. Inside, aged oak and soft grey concrete create a dialogue between warmth and restraint; each space flows naturally into the next, framing views of the valley and the peaks beyond. Behind this transformation stands Maison Osaïn, founded in 2022 by architect Thomas Maria Verschuren and designer Ann Butaye. A SANCTUARY ON THE MONT BLANC SLOPES — A PLACE TO EXHALE House Montagna is a renovated chalet that feels both authentic and new. How did you balance its mountain heritage with a contemporary language? We wanted to honor the spirit of the region — not replicate the past, but reinterpret it with integrity. The chalet was almost entirely rebuilt using local materials. Its exterior echoes traditional alpine homes: slate stones and timber-framed windows anchor it in its surroundings. For the interiors, we sourced aged oak planks that already carried traces of life. Their imperfections bring depth and authenticity. To balance the warmth of the reclaimed wood, we introduced rough concrete and microcement for the walls and floors — soft grey tones that let the timber breathe. It’s this contrast between old and new, rustic and refined, that gives the house its serene, timeless quality. A sanctuary carved into the Mont Blanc slopes; a place to exhale after a long day on the mountain. The project was conceived as a place to disconnect. How did you translate calm, simplicity, and slowness into spatial design and material choices? The project was conceived as a refuge — a place to disconnect and slow down. Given its modest footprint of 50 square meters per floor over three levels, the design focused on openness and flow. Built-in benches along the perimeter walls double as storage and accommodate functions such as en suite bathrooms. This keeps the central space open — light-filled, transparent, and connected. By avoiding corridors and partitions, a natural continuity emerges: visual connections, shifting perspectives, and a quiet dialogue between spaces. This openness nurtures awareness — of one another, of light, of the surrounding landscape. It’s an architecture of calm and connection. The material palette was deliberately restrained: wood and concrete. The warmth of timber meets the raw honesty of concrete. The natural hue of the wood asserts a gentle presence against the soft grey surfaces. This simplicity invites mental stillness — allowing materials to speak their own language, unadorned and unhurried. CONCRETE CAPTURES THE RAW STRENGTH OF THE PEAKS, WHILE WOOD ECHOES THE SLENDER TREES ALONG THE RIDGES, BRINGING WARMTH AND TACTILITY WITHIN The chalet stands at the edge of the slopes, surrounded by mountains. How did the landscape — its light, textures, and rhythm — influence your architectural and interior decisions? Perched at the edge of the slopes, the chalet lives in close dialogue with its surroundings. We believe architecture should bring nature as near as possible — not as a framed view, but as an experience that seeps into daily life. Concrete reflects the rawness of the peaks, their strength and permanence. Wood mirrors the slender trees tracing the ridgelines, adding warmth and tactility to the interiors. Together, they create a language that feels both grounded and serene — a tactile translation of the landscape itself. When the slopes fall silent at dusk, the mountain turns still. In that calm isolation, the chalet becomes a cocoon for reflection and shared presence. Its quiet simplicity invites closeness — a reminder that stillness is not emptiness, but depth. Maison Osaïn works closely with local artisans, artists, and partners. What does collaboration mean to you, and how do these creative exchanges shape the final atmosphere of your spaces? We see ourselves less as architects imposing a vision and more as curators of space, creating a framework in which others can bring their mastery to life. We deeply believe in the synergy that emerges when different disciplines meet. This openness means the process is never entirely predictable — and that’s what makes it exciting. The key is trust: finding partners who understand your philosophy and can interpret it through their own craft. For instance, we told the local carpenter we wanted to work with wood that already had a life behind it. He took us to his workshop, where he had gathered reclaimed boards, each with its own story. From these, he crafted the cabinetry, beds, and kitchen — pieces that carried warmth and history into the new space. Because the site was perched high on the mountain, sometimes only accessible by cable car or helicopter, the process was unpredictable. We often didn’t know exactly how things would look until they arrived. Yet every surprise was a good one. It’s in these moments — where trust meets craftsmanship — that the true soul of a project emerges. Natural and circular materials are central to your philosophy. How do you define sustainability in practice — beyond material selection — and how did this idea manifest in House Montagna? A sustainable home, to us, is one that remains relevant through time — not because it follows fashion, but because it embodies balance and permanence. Its simplicity gives it longevity. Its restraint gives it strength. In House Montagna, this philosophy guided every decision. The chalet draws from traditional mountain materials but reinterprets them through a contemporary lens. It feels both rooted and renewed — honest and enduring. THE TURNING POINT WAS DEEPLY PERSONAL Maison Osaïn brings together two perspectives — architecture and design, logic and emotion. How do you divide roles when working together on a project? Does the process merge naturally? When a man and a woman design together, both the masculine and the feminine find their way into the space. That duality lies at the heart of Maison Osaïn — structure and softness, reason and intuition, function and feeling. Although it might seem the opposite, Ann is often the more practical one when it comes to planning. She designs from lived experience — thinking about flow, comfort, and how people truly inhabit a space. I tend to start from concept — from atmosphere, proportion, and the emotional resonance of an idea. Ann’s touch defines a home’s warmth and sense of belonging, while I focus on its technical and architectural framework. Material and color decisions are always shared — a dialogue where instinct meets precision. Maison Osaïn was born from a desire to give deeper meaning to the idea of home. What led you to create this platform, and what values guide your work today? The turning point was deeply personal. When Ann fell ill, we were confronted with life’s fragility. Caring for one another became a quiet ritual that reshaped our idea of home — extending beyond emotion to what we surround ourselves with, from nourishing food to honest, tactile materials. This experience shaped our philosophy: natural materials, chosen with intention, create spaces where people can truly thrive. Color, texture, and scent are not decorative but essential — awakening the senses and calming the mind. Our work is guided by a set of values we defined early on: care, stillness, sincerity. Nature as a compass. Beauty as a language. A home that quietly nourishes the soul. If you had to describe the essence of Maison Osaïn in one sentence — not as a brand, but as a way of living — what would it be? As our baseline says: Sincere living. To us, that means living with intention — surrounded only by what feels true and meaningful. It’s about embracing simplicity not as absence, but as depth. Creating spaces that breathe honesty, warmth, and quiet strength. Sincere living is not just a design philosophy — it’s a way of being: gentle, grounded, and deeply human. - The full story is featured in Vol.17 - Print VOL XVII - 2025 ₺970,00 Price Add to Cart

September 7, 2025 | DESIGN & INTERIORS a HAUSSMANN REIMAGINED words Karine Monie interior design Olga Ashby Interiors photos Vigo Jansons production Karine Monie Set in the 7th arrondissement, just steps from the Eiffel Tower and Musée d’Orsay, this Paris home captures the effortless elegance of the city. Within its Haussmannian bones — stone façades, wrought iron details, a circular layout — designer Olga Ashby wove together modern comfort, tactile richness, and Parisian flair. Travertine Epic coffee tables by Gubi, rattan accents in the bedroom, and dark wood grounding notes set the stage for a natural yet refined palette. In the living room, NV Gallery’s Carol armchair and a sculptural Wicker Willow floor lamp by Gubi strike a balance of playfulness and poise. Upholstery in chenille, velvet, and bouclé adds softness and sheen, layering casual comfort with understated luxury. OLGA ASHBY’S VISION The owners, wishing to avoid the inevitable debates that come with shared decision-making, handed full creative control to Olga Ashby, founder and creative director of Olga Ashby Interiors. Her approach leaned into the spirit of Paris itself. “I went for a casual, relaxed look, ignoring tools of symmetry,” she explains. “I think Paris is all about collecting.” Much like the galleries and couture houses that inspire the city — she cites Schiaparelli’s headquarters as a reference — the apartment unfolds as a curated mix of eras and influences. REWORKING A HAUSSMANN LAYOUT Though built in 1900, the apartment came with quirks rather than turnkey charm. “Funny enough, the flat didn’t have a functioning kitchen; the flow was cut as the main bathroom opened into a corridor,” Ashby recalls. Ten months later, the transformation resulted in a home with two bedrooms, two bathrooms, a powder room by the entrance, and a stone-clad kitchen seamlessly tied into the overall design. The circular layout of the architecture guided the design, ensuring an easy sense of movement and connection between spaces. This fluidity extends to the interiors, where ornate lighting, comfortable furniture, and objets d’art coexist naturally — a place to host, share a drink, or curl up with a book. LAYERS OF ATMOSPHERE A warm, earthy palette of whites, caramels, and greens shapes the backdrop, while art — much of it impulsively acquired by Ashby herself — brings bursts of color and energy. Three antique mirrors left by the previous owner add another layer of history, their patinated gold frames amplifying the sense of timelessness. MATERIAL POETRY Ashby leaned on her signature mix of textures and finishes. Travertine anchors the living areas and powder room, while rattan adds a touch of stylish ease in the bedroom. Dark wood grounds the rooms, counterbalancing the luminous palette, and the upholstery — chenille, velvet, bouclé — lends softness and sheen. In the dining area, a Latti table from La Redoute Intérieurs is paired with Miami chairs by Liang & Eimil, softened by a bench upholstered in Mark Alexander fabric. Above, artworks by Megan Fatharly and Trowbridge Gallery infuse a layer of individuality. Just as importantly, vintage pieces mingle with contemporary furniture and art. “Having beautiful historical bones, we were excited about using contemporary design, but we also shopped vintage as I cannot imagine the project without it,” Ashby says.

Mart 2021 | Art | Türkiye REFİK ANADOL Şimdi teleskop rüyalarının peşinde Yazı | Onur Baştürk Fotoğraflar | Emir Sarısaç R efik Anadol’un İstanbul’da bugüne kadar açtığı en kapsamlı sergi “Makine Hatıraları: Uzay”. Aslında kapsam kelimesi bile şu an yazarken bana yetersiz geldi. Çünkü Refik Anadol bu kez gözünü uzaydaki verilere dikmiş durumda. Sergide üç önemli teleskobun; Dünya’nın “selfie”sini çeken ISS’in, galaksiyi fotoğraflayan Hubble’ın ve 11 yıldır Mars’tan görüntü yollayan MRO’nun toplam iki milyona yakın verisinden elde edilmiş algoritmik bir rüya evreniyle baş başa bırakıyor bizi sanatçı. Yani kapsam hayli sonsuz ve terabaytlarla ölçüp biçilecek gibi değil. Derya deniz. Ünlü astrofizikçi Carl Sagan, 1980'lerde geniş kitlelere ulaşmış Cosmos adlı programının bir bölümünde şöyle demiş: “Hayal gücü bizi genellikle hiç var olmamış dünyalara taşır. Ama o olmadan hiçbir yere gidemeyiz”. Anadol’un yeni sergisi de bunun gibi: Hayal gücümüzü alıp öyle yerlere götürüyor ki, Dolapdere’deki Pilevneli Galeri’den çıktıktan sonra ayaklarımızı yere basmamız cidden çok zor. Sergide işlenen iki tema var. Her ikisi de Refik Anadol’un en başından beri tutkuyla izinden gittiği ve çözmek istediği şeyler: Hatıralar ve rüyalar. Özellikle ikinci bölüm olan “Rüyalar”da üç boyutlu veri heykelleriyle mekanla bütünleşmiş 15 dakikalık bir yapay zeka sineması enstalasyonu var. Bu yapay zeka sineması entalasyonu başlı başına iddialı bir önerme… İşin içine girince bırakmak isteyemeyeceğiniz kadar şahane detayı Refik Anadol’un ağzından dinleyin… Görüşmemizin daha kapsamlı ve daha felsefi kısmı ise nisanda yayınlanacak VOL3’te. DAHA HUZURLU BİR VERİ BİLMİYORUM Önceki işlerinizde insanlar ve doğanın bıraktığı verilerden yola çıkıyordunuz. Bu sergide teleskopların görüntüleri, yani hatıraları var. Uzaydan insanlığa ve dünyaya bir bakış sanki… Yanılıyor muyum? Çok doğru, önceki sergide insanların hatıralarına odaklanıyordum. Şimdi insanlığın, hatta evrenin hatıralarına odaklandım. Dolayısıyla küme büyüdü! Teleskop verilerinin herkese açık olduğunu bilmiyordum. Biz de erişebilir miyiz? Evet, sergideki veriler herkese açık. Tabii ki indirmesi zor! Belirli linklere girip belli kodlar yazmak gerekiyor. Mesela Mars’ın görüntü verileri Arizona Üniversitesi kontrolünde. Ama ulaşmak zor değil. Ben Mars’ın verilerine 2018’de ulaşmıştım. Eğer yapacağınız konu ve fikir yeterince yenilikçiyse kimse size ‘Bu veriye ulaşamazsın’ demiyor. Çünkü zaten verinin amacı insanlığa yardım etmek. Temel anlamda en objektif veriler bunlar. Ego yok, kişisel veri yok, mahremiyet problemi kaygısı yok. Doğruyu söylemek gerekirse, daha huzurlu bir veri bilmiyorum! AY’A İNMİŞLER, KESİN BİLGİ! Bu serginin ilham kaynağı NASA’nın yeni binası için yaptığınız veri heykeli aslında. NASA’yla yaptığınız işbirliğinden neler öğrendiniz? Her şey, altı kişilik NASA ekibinin 2018’de stüdyomuza yaptığı ziyaretle başladı. Yaptığım işlere çok iyi çalışmışlardı. Bilinçli ve hassastılar. Net bir şekilde istedikleri şeyi anlattılar. Şunu da belirteyim: NASA’yla çalışmak gerçekten zor. Federal bir kontrat yapıyorsun. Elini kolunu sallayarak yapabileceğin bir iş değil. Parmak izin alınıyor, FBI hep arkanda. Film gibi yani. Bütün testleri geçince de her şeyi önünüze seriyorlar. Hâlâ kontratımız bitmiş değil, devam ediyor. NASA için yaptığınız veri heykeli bitti ama değil mi? Tabii tabii. Aslında Mars’a iniş yapan Perseverance aracıyla beraber yeni binaları da kabaca açıldı. Sadece pandemi dolayısıyla büyük açılış yapmadılar. Yaptığımız işin bir kısmı da Perserverance inişindeki canlı yayında gösterildi. Ama ben paylaşamıyorum hâlâ. Tüm verileri gerçekten size açtılar mı? Uzaylılarla ilgili olanları filan… (Gülüyor) Ay’a inmişler! Benim gördüğüm veriler pek stüdyoya benzemiyordu! İnilmediğine dair komplolar Rusya ya da Çin’in spekülasyonu olabilir. Pilevneli Galeri'yi nasıl dönüştürdünüz sergi için? Şunu söyleyebilirim: İstanbul’daki sergi hepsinin en üst noktaya ulaştığı sergi oldu. Daha önce “Arşiv Rüyası”nı yapmıştık, ama o sergi küçük ölçekliydi. Verisi başkaydı. Bir bakıma 2018’den bu yana bir hayalin evrimleşmesi ve yükselişini yaşıyorum. Ayrıca Türkiye’de ilk kez izleyiciyi çevreleyen yapay zeka enstalasyonu bu ölçekte yapılacak. İşin içinde bir yapay zeka sineması var. Buna sinema demek zorundayım. Çünkü sadece bir enstalasyon diyemeyiz. 21. YÜZYILIN EN İYİ GÖSTERİM BİÇİMİ Projelerin yapılış sürecini her zaman şeffaf bir şekilde paylaşıyorsunuz. Bu serginin yapım süreci nasıl işledi? Veri kaynaklarını söyledim, hepsi açık kaynak. Gizli, kişiye ait veriden bahsetmiyoruz. İkinci süreç yapay zeka araştırması. Son dört yılda kendimi ve ekibimi çok ciddi bir yapay zeka araştırmasına tabi tuttum. Stüdyoda çok hızlı bir donanım gücümüz var. Bu sergideki gösterme biçimi bu donanımın son noktası. Pigmentleşen bir algoritma olduğu için en iyi teknolojiyi kullanmak gerekiyordu. Dolayısıyla hayal gücümüzün sınırlarını zorladık. Gösterim biçimi açısından bizi neler bekliyor? Birinci katta, serginin hafızasına dönüşen verileri ham şekilde gidip görebilecek izleyici. Oturup uzun uzun izlerseniz o makinenin hatıralarını görmüş olacaksınız. İkinci katta, izleyiciyi 18 parlak projeksiyonla çevreleyen bir sinema deneyimi olacak. Son olarak da bu rüyaların pigmentleşmiş yapay zeka veri resimleri ve heykelleri izlenebilecek. 21. yüzyılın belki de en iyi gösterim biçimlerini kullandık diyebilirim. Kapsamlı hali nisanda VOL III'te!

August 2023 | YUZU BODRUM | Coffee Table Book english below YAZ YALIKAVAK HOTEL A slında eski bir Yalıkavak oteli Yaz Yalıkavak . 1994 yılında açılmış, ama 2017 yılına kadar farklı bir isimle işletilmiş. 2017’de otelin sahibi olan ailenin üçüncü kuşağından İnanç Işıklar ve Elif Sünget hem tasarımı hem de bakış açısını baştan aşağı değiştirmiş. Tabii otelin ismini de… Uzun süre gayrimenkul alanında çalışan İnanç Işıklar ve kurumsal şirketlerde farklı pozisyonlarda çalışmış Elif Sünget’in en çok üzerinde durdukları nokta şu: Bodrum’da çok fazla büyük ve lüks segment otel var, ama Yaz Beach gibi konforlu butik otel çok az. İşte Yaz Yalıkavak Hotel o eksiği gidermeye çalışan bir otel. Denize sıfır oluşu, odalara asansörsüz ve buggy’siz kolayca ulaşılması, oda tasarımının fazlalıklardan arınmış, sade ve çabasız hali Yaz Yalıkavak ’ın en büyük artılarından… Popüler Yalıkavak mekanlarından The Galliard Cove House’un da içinde yer aldığı Yaz Yalıkavak Hotel’in plaj restoranı Verano, bu mekanın danışmanlığında işletiliyor. Y az Yalıkavak is actually an old Yalıkavak hotel. It was founded in 1994 but operated under a different name until 2017. In 2017, İnanç Işıklar and Elif Sünget, the hotel's third generation owners, have completely changed both the design and its standpoint. Of course, the name of the hotel too… İnanç Işıklar, who has long worked in real estate, and Elif Sünget, who has held various positions in corporate companies, emphasize the following: In Bodrum, there are too many large and luxury hotels, but far too few comfortable boutique hotels like Yaz Beach. Now, Yaz Yalıkavak Hotel tries to remedy this. The best features of Yaz Beach are its location on the seafront, easy access to the rooms without a lift or buggy, and the simple and effortless, excess free room designs. Verano, the beach restaurant of Yaz Yalıkavak Hotel, which also includes The Galliard Cove House, a popular Yalıkavak venue, is managed under this venue's consultancy.

December 15, 2025 | DESIGN & INTERIORS a COLLABORATION BUILT on TRUST: Yves Salomon Éditions & Dimorestudio words Onur Basturk photos Exhibition Images / Matteo Verzini Packshots / Lucas Durand Fontugne Yves Salomon continues its journey into interior design with Yves Salomon Éditions, developed under the creative direction of Marcellin Boyer. Designed in collaboration with Milan-based Dimorestudio, the first chapter of the new Yves Salomon Éditions collection was presented during Salone del Mobile 2025. The second chapter, Un Souffle de Vent, was unveiled last October at the Yves Salomon Paris showroom, coinciding with Design Miami/Paris. Here, Dimorestudio and Marcellin Boyer, Creative Director of Yves Salomon Éditions, reflect on the collaboration and the collection. DIMORESTUDIO Atmosphere as Material Your installation Un Souffle de Vent draws inspiration from Georges Perec’s Les Choses. What spoke to you in this text, and how did you translate its atmosphere into a spatial experience? Perec’s Les Choses reflects on the relationship between objects and human desire, revealing how everyday life is shaped by accumulation, routines, and the pursuit of meaning through material things. What moved us most was this sense of suspension—the way desire and longing coexist with stillness, and how the ordinary can become poetic. The installation initially began from the floor, almost as if emerging from the ground, helping us anchor this ethereal idea within a physical space. We were not illustrating the book, but rather capturing its breath—the fleeting quality that drifts through objects and images. The space becomes a quiet narrative composed of minimal presences, subtle shifts of light, and gentle rhythms that invite visitors to slow down and experience the poetry of the everyday. Dimorestudio is known for sculptural forms, tactile surfaces, and a balance between restraint and decorative richness. How does this new collection evolve that language, especially now that the pieces are recontextualised in Paris? Our language doesn’t change; it refines itself. We remove rather than add, allowing gesture, form, and material to speak with greater clarity. Recontextualising the collection in Paris introduces new nuances: proportions engage more directly with the architecture, surfaces gain depth, and the pieces reveal another, quieter dimension of themselves. Your ongoing collaboration with Yves Salomon Éditions has grown into a creative dialogue. How does partnering with a house rooted in exceptional savoir-faire shape your approach to this project? Working with a maison like Yves Salomon means engaging with quality as a cultural gesture. It’s not about luxury, but about precision, authenticity, and a deep understanding of materials. Their savoir-faire allows us to push the tactile boundaries of our interiors, exploring textures that become almost narrative in nature. The collaboration is built on trust. It’s not a simple addition of two perspectives, but a shared language that emerges in the space between their mastery and our vision. Themes of impermanence, memory, and quiet timelessness run through the installation. What role does emotion play in your interiors, and how did the idea of “a breath of wind” guide your decisions? Emotion is the true material we work with. A breath of wind is almost invisible, yet capable of transforming everything. We wanted the installation to possess that same quality—where a slight vibration, a soft reflection, or a gentle shift in light can alter perception. For us, emotion is never declared; it is suggested. The wind becomes a passage, a trace. We shaped the space using light elements, responsive surfaces, and subtle movements that accompany visitors rather than direct them, leaving behind an echo that lingers after the experience. MARCELLIN BOYER Building a Lasting Design Language What was the creative impulse behind expanding Yves Salomon Éditions from its fashion roots into the world of interior design? The creative impulse emerged from a meeting grounded in a shared passion for design. When Yves Salomon, Tamara Taichman, and I began discussing possible projects in this field, we quickly realised that we shared the same tastes and references. This immediate affinity created a natural and swift momentum to develop Éditions as an obvious extension of the Maison’s universe. The installation Un Souffle de Vent, developed with Dimorestudio, draws inspiration from Georges Perec’s Les Choses. How did this poetic universe—ideas of memory, impermanence, and the glow of evening light—shape the atmosphere and material direction of the collection? This poetic universe guided us towards a soft, almost suspended atmosphere. Together with Dimorestudio, we worked around the glow of evening light, materials that carry memory, and subtle tonalities. The ideas of impermanence and memory naturally led us towards living textures and materials that develop a patina over time. How did your creative dialogue with Dimorestudio influence the language of the collection? In what ways did you balance sculptural volume, tactile surfaces, and the subtle interplay between restraint and decorative richness? Our dialogue with Dimorestudio was primarily technical. Our role was to share our artisanal know-how and guide them in the selection of certain materials. In terms of pure creation, however, Emiliano Salci and Britt Moran were given complete freedom. They defined the aesthetic language of the collection, while we ensured it was faithfully translated through our techniques and materials. Several pieces reference Carlo Bugatti’s radical Art Nouveau spirit. How did you translate his aesthetic—bold, ornamental, and deeply inventive—into a contemporary expression that resonates with Yves Salomon Éditions’ material world and craftsmanship? Dimorestudio translated Carlo Bugatti’s spirit by reinterpreting some of his distinctive codes: passementerie, jewellery-like metalwork, and marquetry. On our side, the ateliers recreated these elements through our own expertise—passementerie in fur, metalwork in brass, and marquetry rendered using our intarsia technique. This is how Bugatti’s heritage found a contemporary expression aligned with Yves Salomon Éditions’ material universe. Looking ahead, what direction do you envision for Yves Salomon Éditions? Looking ahead, the intention is to continue exploring new aesthetic territories while remaining true to our roots: a deep engagement with materials and artisanal craftsmanship. We are also opening up to the world of vintage, integrating pieces that enrich our creative universe. Our goal is not to create a collection and then move on, as in fashion, but to build a lasting body of work—collections that remain current, are continuously offered, and are gradually enriched by new pieces.

November 5, 2025 | PRODUCT antoniolupi RADIATORS photos Courtesy of antoniolupi Designed to combine warmth, comfort, and contemporary elegance, antoniolupi’s radiators bring design and wellbeing into perfect balance. More than functional elements, they transform daily routines into moments of quiet luxury — from the gentle warmth of a towel to the refined atmosphere they create throughout the home. Among the standout models, BIT by Brian Sironi turns heat into a visual statement with its sculptural vertical rhythm, while Katana by AL Studio slices through space with the precision and elegance of its namesake blade. Stecca, designed by Nevio Tellatin, redefines simplicity with clean lines and subtle grooves, and Rigo, again by Sironi, distills form to its essence — a pure architectural gesture of warmth. Each piece reflects antoniolupi’s philosophy: functional beauty, crafted with precision and designed to enhance the everyday.

January 25, 2026 | DESIGN & INTERIORS HOUSE of GREEN PATIOS words YUZU Editorial photos Lourenco Teixeira de Abreu Designed by AB+AC Architects, House of Green Patios is an urban apartment in the heart of Lisbon, recast as a quiet retreat from the pace of the city. Framed by a generous terrace and a sequence of planted patios, the home explores a way of living in which nature, light, and spatial clarity shape everyday experience. Rather than seeking escape elsewhere, the brief focused on transforming the apartment itself into a place of pause and renewal. Architecture and landscape are closely intertwined, with greenery threaded throughout the plan so that each room maintains a visual connection to planted outdoor space. ORGANISED AROUND CALM The spatial organisation follows principles of essentialism. Circulation is treated as a tool for clarity—reducing visual noise and allowing space only for what is genuinely needed. Built-in joinery and concealed storage support a pared-back environment, while softened thresholds encourage fluid movement between rooms. Living, sleeping, working, and leisure areas are arranged to balance moments of togetherness with quieter, more private zones. Bedrooms, the home office, and recreational spaces are conceived as bright, calm cocoons, finished with warm wooden floors. In contrast, the kitchen, dining, and living areas form an open and informal social core, extending naturally towards the terrace. INSIDE AND OUTSIDE, IN DIALOGUE Outdoor space plays a central role in the project. Handmade Portuguese terracotta tiles continue seamlessly from the interior to the terrace, dissolving the boundary between inside and out. Smaller planted patios punctuate the plan, allowing greenery to filter deep into the apartment and become a constant presence rather than a decorative gesture. The planting palette—drawing on Mediterranean and Brazilian species—reinforces the home’s atmosphere as both lush and grounded, offering an everyday encounter with nature within an urban setting. MATERIAL CHOICES WITH INTENTION Materiality is approached with equal attention to sensory comfort and environmental responsibility. Earthy finishes such as terracotta, terrazzo, and stucco di calce give the interiors a tactile, grounded character. In the kitchen and bathrooms, terrazzo surfaces made from recycled construction debris were selected for their durability and reduced environmental impact, adding depth and texture without excess. High-performance windows, carefully positioned openings, and cross-ventilation strategies ensure generous daylight and year-round comfort, supporting the home’s energy performance while maintaining a calm interior climate. A MEASURED APPROACH TO URBAN LIVING House of Green Patios goes beyond renovation. It proposes a considered model for contemporary urban life—one in which nature is integrated from the outset, and the home becomes a flexible sanctuary shaped around everyday rituals. Designed to evolve over time, the project reflects AB+AC Architects’ restrained and humane approach to domestic architecture: thoughtful, grounded, and closely attuned to place.

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!