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.

November 2024 | Travel TURKISH BELOW NINE ORCHARD Where History Meets Modern Comfort words Onur Baştürk photos Nine Orchard One of the highlights of my last visit to New York was the Swan Room bar at Nine Orchard, where I enjoyed a margarita before grabbing a snack at the Corner Bar. It was mid-April and a bit chilly, perfect for exploring the vibrant shops of the Lower East Side. Nine Orchard hotel is located in a beautifully restored building that dates back to 1912, formerly the Jarmulowsky Bank, which had been vacant since the mid-2000s. Rather than a complete redesign, the hotel features a careful restoration achieved through collaboration with local New York artists and creators. They contributed to every detail, from the artwork and minibar selections to the bathroom materials and sound system. Architectural historians also helped preserve the building's historic character, integrating original design elements into the façade, including a recreated clock that once hung above the entrance. In the lobby, large arched windows and meticulously restored cornice moldings reflect the building's original design. FURNITURE IS FROM LOCAL MANUFACTURER Each room is simple yet elegantly designed, featuring at least one large window—a wonderful luxury for a stay in New York! The furniture has been specially crafted by local manufacturers, while durable and aesthetically pleasing vintage items have been sourced from Europe. The bathrooms, uniquely designed by Reza Nouranian Design, showcase a trendy collection of black and white stones imported from Spain, Greece, and Portugal. Relaxation areas have also been thoughtfully designed by Reza Nouranian Design in collaboration with Fernando Santiago. MANAGED BY IGNACIO MATTOS Nine Orchard's two restaurants are managed by Ignacio Mattos who is known as one of New York's most exciting chefs. Corner Bar is one of these restaurants. RESTAURANTS AROUND NINE ORCHARD - SHABUSHABU MAYUMON: Tucked away at 115 Division Street, this cozy 8-seat spot serves up an incredible “shabu shabu” tasting menu—think Japanese hot pot at its finest! The chefs whip up mouthwatering pork belly, A5 Miyazaki wagyu, and American wagyu right in front of you, cooking it in bubbling broth and pairing it with delicious sauces like sweet soy and spicy pumice. They’re pretty proud of their skills, boldly stating, “No one else can serve high-quality cooked meat with our amazing spices in just 10 seconds!” - CERVO’S: With its lively mosaic tiles and comfy wood panels, Cervo’s is bursting with energy! This restaurant draws inspiration from the coastal traditions of Spain and Portugal, serving up a tasty homage to the seafood from the Iberian Peninsula—all in the heart of New York City. - CORIMA: The culinary concept of Corima, which means "circle of sharing," focuses on the northern region of Mexico, specifically the states of Sonora and Chihuahua. At Corima, chef Fidel Caballero interprets the materials and techniques of his hometown in northern Mexico in a way that has not been done before. Sotol, which tastes like tequila and mezcal and which Fidel calls "progressive Mexican," is a must try. Bonus: Lobster Nicuatole, Salsa Veracruzana and Black Cod. - TOLO: The menu of Tolo owned by Chinese chef Ron Yan, who has spent his last decade working on New York's culinary scene, offers a variety of dishes from raw seafood to noodles and typhoon shelter-style chicken. - DIRTY CANDY: This place is a gem! Dirty Candy is all about vegetables and is actually the only veggie restaurant in town. Chef Amanda Cohen is on a mission to make veggies tastier than anything you’ve ever had before. Get ready to have your mind blown by how delicious plant-based dishes can be! LOWER EAST SIDE’IN GİZEMLİ COOL’U New York’u son ziyaretimde en zevk aldığım yerlerden biri Nine Orchard’ın Swan Room isimli barıydı. Bu görkemli barda margarita içip daha sonra yan taraftaki Corner Bar’da bir şeyler atıştırmış, sonra da o enerjiyle dışarı çıkmıştım. Nisan ortasıydı, hava soğuktu, Lower East Side’ın enerjik caddelerinde yer alan farklı dükkânlar arasında gezinmek şahaneydi! Nine Orchard otelinin binası tam da bu yeni enerjinin ortasında yer alıyor. 1912’de inşa edilen, eskiden Jarmulowsky Bankası olan ve 2000’lerin ortalarından beri boş duran bu mimari hazine değerindeki bina, tam da tahmin ettiğim gibi yeniden tasarlanmamış, sadece restore edilmiş. 116 odaya sahip Nine Orchard’ın restorasyonu için büyük bir tasarım firmasıyla çalışmak yerine, birçoğu Nine Orchard’ın bulunduğu mahallede yaşayıp çalışan çok yönlü New Yorklu yaratıcılar ve sanatçılarla iş birliği yapılmış. Her odada asılı olan sanat eserlerinden mini bar seçimine, banyo malzemelerinden otel genelindeki özel ses sistemine kadar her türlü detay bu uzman kadro tarafından yapılmış. İlham kaynağı The Dakota gibi ikonik New York binaları olan Nine Orchard’ın restorasyonunda mimarlık tarihçilerinden de yardım alınmış. Böylece binanın tarihi karakteri titizlikle korunmuş ve restore edilen cephedeki orijinal mimari ve tasarım unsurları benimsenmiş. Hatta binanın ana girişinin üzerinde asılı olan, ama yıllar önce kaybolan orijinal saat bile yeniden yaratılmış. Bir zamanlar banka veznedarlarının çalıştığı lobide ise orijinal resimlerden yola çıkılarak büyük, kemerli pencereler ve özenle restore edilmiş korniş pervazlar yeniden yapılmış. ODALARDAKİ MOBİLYALAR LOKAL ÜRETİCİDEN Sade, ama gösterişi dozunda olan her odada en az bir büyük pencere bulunuyor, ki bu da bir New York konaklaması için şahane bir lüks! Odalardaki mobilyalar ise New York’taki lokal mobilya üreticileriyle çalışılarak özel olarak üretilmiş. Ayrıca Avrupa'dan dayanıklı, işlevsel ve elbette estetik açıdan hoş vintage parçalar tedarik edilmiş. Reza Nouranian Design tarafından benzersiz bir şekilde tasarlanan banyolarda ise İspanya, Yunanistan ve Portekiz'den temin edilen siyah ve beyaz taşlardan oluşan son moda bir koleksiyon yer alıyor. Dinlenme alanlarının tasarımı da Reza Nouranian Design ve Fernando Santiago'nun ortak çalışmasıyla gerçekleşmiş. IGNACIO MATTOS YÖNETİMİNDE Nine Orchard’ın iki restoranı New York'un en heyecan verici şeflerinden biri olarak kendini hızla kabul ettiren Ignacio Mattos yönetiminde. Bu restoranlara Corner Bar dahil. NINE ORCHARD ÇEVRESİNDEKİ RESTORANLAR - SHABUSHABU MAYUMON 115 Division Street'teki sekiz kişi oturma kapasiteli bu restoranda Japon hotpot’u olan “Shabu shabu” tadım menüsü servis ediliyor. Restoranın aşçıları birinci sınıf domuz göbeği, A5 Miyazaki wagyu ve Amerikan wagyu etini kaynar et suyunda çalkalayıp ardından tatlı soya, keskin biberli ponzu ve fındıklı miso gibi soslarla terbiye ediyor. Ayrıca çok iddialılar, “Başka hiçbir restoran bizim gibi 10 saniye içinde aynı kalitede baharatlar ve malzemelerle yüksek kalitede pişmiş et sunamaz”. - CERVO’S Mozaik karolar ve rahat ahşap panellerle inşa edilmiş bu yüksek enerjili restoran İspanya ve Portekiz'in kıyı geleneklerinden esinlenen menüsüyle öne çıkıyor. Bir bakıma İber Yarımadası'nın deniz ürünlerine New York şehir merkezinde bir övgü. - CORIMA “Paylaşım çemberi” anlamına gelen Corima’nın mutfak konsepti Meksika'nın kuzey bölgesine, özellikle de Sonora ve Chihuahua eyaletlerine odaklanıyor. Şef Fidel Caballero, Kuzey Meksika'daki memleketinin malzemelerini ve tekniklerini daha önce ifade edilmemiş bir şekilde yorumluyor. Fidel'in ‘Progressive Mexican’ olarak adlandırdığı menüde tekila ile mezcal arasında bir tadı olan Sotol mutlaka denenmeli. Ayrıca: Istakoz Nicuatole, Salsa Veracruzana ile Siyah Morina Balığı da… - TOLO Son on yılını New York'un mutfak sahnesinde çalışarak geçirmiş Çinli şef Ron Yan'a ait bir restoran olan Tolo’nun menüsünde çiğ deniz ürünlerinden noodle'a ve Typhoon Shelter tarzı tavuğa kadar çeşitli yemekler açık mutfak fonunda sunuluyor. - DIRTY CANDY İşte civarın en farklı restoranı. Bir sebze restoranı olan Dirty Candy için şehrin tek sebze restoranı da diyebiliriz. Çünkü gerçekten sebzeden başka bir şey servis etmiyorlar ve amaçları sebzeleri daha önce yediğiniz her şeyden daha lezzetli hale getirmek. Mutfağın başında ödüllü şef Amanda Cohen var. for more Print VOL XIV - 2024 / 25 ₺970,00 Price Add to Cart

March 2025 | DESIGN & INTERIORS MEET the FOUNDERS of ALCOVA VALENTINA CIUFFI & JOSEPH GRIMA words Onur Baştürk portrait photo Piergiorgio Sorgetti Alcova, launched by Valentina Ciuffi and Joseph Grima during Milan Design Week in 2018, will return this year for its ninth edition from April 7–13, 2025. In addition to Villa Borsani and Villa Bagatti Valsecchi in Varedo, Alcova introduces two new venues this year: the former SNIA Factory and the Pasino Glasshouses. In our EXCLUSIVE INTERVIEW with Valentina and Joseph, we discussed Alcova’s DNA, its criteria, and the platform’s future vision. ALCOVA HAS MULTIPLE LAYERS IN ITS DNA In your previous interviews, you mentioned that Alcova is conceptually nomadic—indeed, its venues used to change every year. However, this year—as with last year—Villa Borsani and Villa Bagatti Valsecchi are once again serving as Alcova exhibition spaces. Yes, in addition to Borsani and Valsecchi, there are two new venues, yet it still appears that Alcova is shifting towards a more fixed setup. What are your thoughts on this? We believe the premise of this question is incorrect. Alcova is a nomadic platform but does not change location every year. Since the beginning—starting with the former panettone factory—we have moved every two years. We spent two years there (2018-19), then two years at the former military hospital, and only in the case of the former slaughterhouse did we stay for just one year due to the start of a construction project. For Villa Bagatti and Villa Borsani, we are staying for two years, as per Alcova’s usual practice. Additionally, as you correctly noted, we are introducing two new locations: the Pasino Glasshouses where orchids were originally cultivated, and the large modernist factory of Snia. These locations are very close to those you visited last year, Villa Bagatti and Villa Borsani. But nothing has changed in Alcova’s format—our standard approach has always been to change locations every two years, not every year. What is in Alcova’s DNA? What motivates you? Alcova has multiple layers in its DNA. One of them is certainly being an independent fair that takes place in unconventional spaces—sites never before open to the city—which we interweave with contemporary design narratives. This approach allows objects, exhibitions, and installations to engage in a meaningful dialogue with architecture, creating a unique and compelling context. We have followed this path since the very beginning. But perhaps the most crucial aspect of Alcova’s DNA is its role as a platform for showcasing design research. While we have grown significantly in recent years, we have never stopped highlighting independent designers and experimental practices, alongside startups, galleries, museums, schools, and various institutions that come to present their work. WE BELIEVE ALCOVA HAS GROWN ORGANICALLY Since its debut in 2018, how do you think Alcova has evolved? Have there been any changes along the way? We believe Alcova has grown organically. As we mentioned, the core formula has not changed—we remain focused on showcasing design research and independent designers. This year, we are working across a vast area, spanning four locations, but that doesn’t necessarily mean Alcova will always operate on this scale. Next year, for instance, it could take place in a more compact space. In Miami, where we debuted in 2023, we work with more limited spaces. What matters to us is the quality and profile of the exhibitors, along with the strength of the architecture and the location. This kind of evolution is natural for a project that has gained a solid reputation over the years, becoming more widely recognized and, as a result, increasingly capable of attracting interest. From exhibiting the work of 20 designers in 2018, you now have many more participants and a similarly larger audience. Does this growth intimidate you? No, as we mentioned in response to the previous question, we are not intimidated by something that is entirely natural, normal, and healthy. A project that began more than seven years ago has to grow—otherwise, it would stagnate. The key is to continue evolving in a way that makes sense, gaining greater visibility and reaching a broader audience. What matters most, and what we are focusing on, is enhancing the experience for those who visit Alcova. This is not always easy during Salone del Mobile, given the sheer number of visitors and the fact that some of our spaces are quite small. WE SEEK INNOVATION IN MATERIALS, DESIGN, AND PRODUCTION How did you discover the two new venues added this year—the former SNIA Factory and The Pasino Glasshouses? As far as I know, both of you often enjoy wandering around Milan and uncovering the city's abandoned, forgotten spots, right? As you said, it is part of our practice to investigate the urban fabric of Milan and its surroundings in search of architecturally significant sites—places with an iconic value that are ready to be reactivated but would otherwise be difficult for the public to access. We approached Varedo in the same way. Even though one of the sites, Villa Borsani, is perfectly preserved and visitable by appointment, our approach remains consistent. As for the Pasino’s Glasshouses and the former Snia factory, the decision was quite straightforward since they are located on the same road as Villa Bagatti and Villa Borsani. Naturally, after activating these two locations last year, we walked this route many times, and these two architectural gems did not escape our notice. In fact, we had already discovered them last year, but due to timing constraints, we weren’t able to open them to the public. This year, however, these two major additions will make the trip to Varedo even more worthwhile. Although the exhibition spaces at Alcova are rented, the criteria for selecting designers is always discussed. What criteria do you use to evaluate the proposals you receive from designers? Yes, although Alcova’s spaces are rented, there are clear selection criteria that guide us in choosing from the large number of applications we receive. Innovation, experimentation, and research are at the core of our interests. We look for innovation in materials, in design language, and in production methods—these are all key themes for us. Design that explores social issues is equally important in shaping the ideal mix for an exhibition like ours. Another crucial factor in our selection process is the ability of exhibitors to engage with the spaces they are assigned. When applicants express a preference for a specific location, we always request a project proposal that demonstrates an understanding of the site and an ability to create an experience for visitors. We strongly believe that objects can communicate more effectively when they are presented in a compelling, well-executed display that interacts meaningfully with the surrounding architecture. ALCOVA WILL ALWAYS STAY TRUE TO ITS ESSENCE How do you envision Alcova’s future? Do you have any plans, or is the evolution of this platform unfolding naturally? We hope that Alcova will always stay true to its essence. We also hope this journey will take us to new places around the world. As you know, we took our first step in this direction with Miami, and there may be more locations in the future. That said, Milan and Salone del Mobile’s week remain not only our place of origin but also our most significant appointment. We look forward to returning and continuously raising the bar at this pivotal event for the international design scene. At the same time, we will soon be exploring new exhibition formats within Milan’s design landscape.

Mart 2022 | Seyahat | İtalya | Vol II PUGLIA’nın en iyi saklanan lüks sırrı Yazı | Alp Tekin İ talya’nın Puglia bölgesinin yeni tasarım otellerinden Palazzo Daniele, aslında 159 yıllık bir aile sarayının otele dönüştürülmüş hali. Çağdaş sanat küratörü Francesco Petrucci’nin ailesinin 1861’de inşa ettiği bu ev, son bir yıldır bölgenin en lüks ve dikkat çeken mekanı. ESKİYLE YENİ ARASINDA DENGE Palazzo Daniele eskiyle yeni arasında denge sağlamayı başarmış nadir otellerden. Dokuz süiti olan Palazzo, ünlü otelci Gabriele Salini’nin yeni oluşturduğu GS Collection ile Milanolu tasarım stüdyosu Palomba Serafini Associati tarafından yeniden tasarlanıp güncellenmiş. Böylece minimalizmle 19. yüzyıl ihtişamının uyumlu bir kombinasyonu çıkmış ortaya. Bir yandan sarayın yüz yıllık fresklerine huzur içinde bakıyor bir yandan da Marakeş’ten getirtilen ketenlerin, Japonya’dan alınmış bakır çaydanlıkların mekanla uyumuna hayran oluyorsunuz. Petrucci’nin kendi sanat koleksiyonundan bahsetmeye bile gerek yok. Koleksiyondan seçilen eserler Palazzo’nun her yanını süslüyor. Süitlerin her birinde Claudio Abbate, Eva Jospin ve Christian Frosi gibi çağdaş sanatçıların eserlerinin yanı sıra, mekanı aydınlatarak pratik bir amaca da hizmet eden Simon d’Exea imzalı olağanüstü tasarlanmış ışık kutularına yer verilmiş. YAĞMUR DUŞU Süitlerden birinde yer alan yağmur duşu ise İtalyan sanatçı Andrea Sala tarafından tasarlanmış. Altı metre yüksekliğindeki tavandan akan suyun yarattığı ambiyans, yaşayan bir enstalasyon gibi. HER YIL ORADA: CAPO D’ARTE Puglia’nın Salento bölgesindeki Gagliano del Capo köyündeki otel, iki farklı kıyıya açılan bir kapı aynı zamanda: Adriyatik’in kayalık kıyı şeridiyle İyonya Denizi’nin kumlu plajlarına... Palazzo Daniele’nin bulunduğu köy gastronomi duraklarının bolluğu ve uluslararası sanat gösterisi Capo d’Arte’yle de meşhur. Nitekim Capo d’Arte yine Petrucci’nin organize ettiği bir etkinlik. Bu sanat etkinliği sayesinde bölge yavaş yavaş daha çok duyulmaya başladı. Buna rağmen 2019’un nisan ayında açılmış Palazzo Daniele hâlâ Puglia’nın “en iyi saklanan sırrı” olarak biliniyor. Unutmadan: Helen Mirren’ın otele çok yakın mesafedeki Tricase kasabasında barı var. Eeğer giderseniz oraya da uğramayı ihmal etmeyin. Tamamı için... Print YUZU MAGAZINE - II Out of Stock View Details No product

June 19, 2025 | VOL 15 the REINVENTION of a FORMER NUNS’ DORMITORY words Ebru Kılıç photos Ali Bekman Izmir is a city full of surprises. At first glance, you might think you’ve grasped its essence, but the deeper you look, the more stories emerge. Architect Serhan Gürkan’s home in Göztepe, Izmir, is no exception. Nestled on a street lined with apartment buildings, this detached house carries a visible trace of old Izmir. “This is an authentic Izmir neighborhood, where real locals still live—there’s a grocer, a greengrocer, a dry cleaner, cafés, bakeries… It has a completely different spirit,” says Serhan Gürkan. He had always dreamed of designing a home for himself here, in the very streets he wandered as a child, moving between his grandmother’s and aunt’s houses. When the opportunity arose to restore one of these nostalgic homes with a contemporary design approach, he didn’t hesitate. From the outside, the house appears to be a modest, single-story structure. However, it was once a dormitory for the priests and nuns of a church that still stands just across the street. As soon as you step inside, you’re greeted by a high-ceilinged entrance hall— peaceful and quiet, yet bursting with energy, even in the intricate details of the wallpaper. “The windows and doors between the rooms and the hallway create a sense of both transparency and a labyrinthine layout. As you move through the space, you keep discovering new corners, thinking, ‘Wait, there’s more?’” Gürkan explains. One of the boldest design choices in the house is the wallpaper, created in collaboration with Designmixer. It adopts the style of classic toile de Jouy, but with an unconventional twist—its theme revolves around nudity. “We wanted to evoke the feeling of sin, something far removed from the ascetic life of nuns,” he adds. I LIKE TO CREATE DIFFERENT EMOTIONAL ATMOSPHERES WITHIN THE SPACES I DESIGN The entrance level was originally structured around a long, narrow hallway lined with small rooms for the nuns. Rather than eliminating these spaces, Gürkan preserved their essence while repurposing them. “These rooms, with their 4-meter-high ceilings, have been transformed into a dining room, living room, and bedroom. The kitchen, slightly lower and opening onto the garden, was also integrated into this level. The main hallway— wide, tall, and full of character—has become the focal point of the house, a space where both past and present residents have gathered. It’s a true meeting point,” Gürkan says. for more Print VOL XV - 2025 Out of Stock Add to Cart

January 2023 | Travel | Vol VII english below MASSERIA MOROSETA yazı Onur Baştürk fotoğraflar Salva Lopez O penhouse dergisinin kurucularından Andrew Trotter’nin tasarladığı ilk mimari yapı olan Masseria Moroseta, Puglia kırsalının tam kalbinde, İtalyanlar’ın “Citta Bianca (Beyaz Şehir)” diye tanımladıkları büyüleyici Ostuni’ye sadece üç kilometre uzaklıkta. Masseria Moroseta, bölgede sıkça bulunan ve “masserie” olarak bilinen eski çiftlik evlerinden ilhamla yapılmış modern bir butik otel. Çoğunun yaşı 500’e kadar dayanmış zeytin ağaçlarının olduğu beş hektarlık bir arazinin içinde yer alan otelin yapımında geleneksel teknikler ve yerel malzeme kullanılmış. Sadelik ve basitlik ise tasarımın iki anahtar kelimesi olmuş. AVLUDAKİ UZUN MASALARDA AKŞAM YEMEĞİ Geleneksel çiftlik evlerinde olduğu gibi Masseria Moroseta’da her şey ortadaki avlunun etrafında şekilleniyor. Avluyu bölen ortadaki merdiven ortak alan ve odalara geçişi sağlıyor. Geniş avlu içinde gerçekleşen ve tüm misafirlerin toplu halde uzun masalara oturduğu akşam yemekleri ise Masseria Moroseta’nın olmaz olmazı. Şef Giorgia Eugenia Goggi bu akşam yemekleri için çiftlikte yetişen mevsimsel ürünleri her sabah dikkatli bir şekilde seçiyor ve ortaya her gün değişen geçici bir menü çıkıyor. Yemeklere eşilik eden zeytinyağı da otelin kendi zeytinliğinin üretimi. Şef Goggi, “Soğuk sıkım zeytinyağımız tartışmasız mutfağımızın kahramanı” diyor. EKOLOJİK TASARIM Masseria Moroseta’nın tasarım detayları da özenle düşünülmüş. Sadece görünüm olarak değil, ekolojik olarak da. Mesela tonozlu tavan, taş zemin ve geri dönüştürülmüş yalıtıma sahip 80 cm’lik duvarlar sayesinde otel kışın çok az ısıtmaya ihtiyaç duyuyor. Yazın da klima kullanımı neredeyse minimumda. Çünkü en sıcak günlerde bile içerisi serin oluyor. Ayrıca çapraz havalandırma pencereleri ile tüm alanların ekstra havalandırılmasına gerek kalmıyor. Güneş panelleri tüm otele yeterli elektrik ve ısıyı sağlıyor. Otelin organik çiftliğinde ise hem kendi su kaynakları var hem de yemeklerde kullanılan tüm malzemeler orada yetiştiriliyor. YAKIN MESAFEDEKİ NEFİS KASABALAR Otelden dışarı çıkınca keşfedilecek çok fazla şey var. Mesela arabayla 12 km uzaklıktaki Torre Guaceto. Yapılaşmadan uzak, korunmuş doğal plajlarıyla nefis bir denize sahip olan Torre Guaceto’yu bisiklet kiralayarak gezmek de mümkün. Otele kısa sürüş mesafesinde olan diğer kasabalar da birbirinden nefis: Cisternino, Alberobello, Martina Franca, Lecce ve tıpkı Ostuni gibi göz alıcı bir beyazlığa ve yerleşime sahip Polignano al Mare. MASSERIA MOROSETA writer Onur Baştürk photo Salva Lopez D esigned by Andrew Trotter, co-founder of Openhouse magazine, Masseria Moroseta is right in the heart of the Puglia countryside, just three kilometers from the charming Ostuni, which Italians call "Citta Bianca (White City)". Masseria Moroseta is a modern boutique hotel inspired by the old farmhouses commonly found in the area, known as the “masserie”. Traditional techniques and local materials were used in the construction of the hotel, which is located on a five-hectare land with olive trees, most of which are up to 500 years old. Simplicity and simplicity were the two keywords of the design. DINNER AT LONG TABLES IN THE COURT As in traditional farmhouses, everything in Masseria Moroseta is shaped around the central courtyard. The middle staircase dividing the courtyard provides access to the common areas and rooms. Dinners, which take place in the large courtyard and where all the guests sit at long tables, are a must at Masseria Moroseta. Chef Giorgia Eugenia Goggi carefully selects seasonal farm-grown produce for these dinners each morning, resulting in a temporary menu that changes daily. The olive oil that accompanies the meals is also the production of the hotel's own olive grove. “Our cold-pressed olive oil is the undisputed hero of our cuisine,” says Chef Goggi. ECOLOGICAL DESIGN The design details of Masseria Moroseta have also been carefully considered. Not only visually, but also ecologically. For example, the hotel needs very little heating in winter, thanks to the vaulted ceiling, stone floor and 80cm walls with recycled insulation. In summer, the use of air conditioners is almost at a minimum. It stays cool even on the hottest days. In addition, there is no need for extra ventilation of all areas with cross ventilation windows. EXCELLENT TOWNS NEARBY There is so much to discover once you step out of the hotel. For example, Torre Guaceto, which is 12 km away by car. It is also possible to visit Torre Guaceto, which has a beautiful sea with its protected natural beaches, away from construction, by renting a bicycle. Other towns within a short drive from the hotel are also delightful: Cisternino, Alberobello, Martina Franca, Lecce and Polignano al Mare, which has a striking whiteness and settlement just like Ostuni.

Aralık 2021 | Art | Türkiye FAAR CONCEPT EVLERİ Fahrettin Aykut’un sürpriz projesi Yazı | Onur Baştürk M imar ve tasarımcı Fahrettin Aykut yeni bir projeye başladı. Sadece konut mimarisi içermeyen bu projede arazi alım-satım ve yönetimini de üstleniyor. Aykut. Yeni projesinin ilk evini ise Bodrum Pınarbelen’de gerçekleştirmeye hazırlanıyor. İşte, Fahrettin Aykut’un deyimiyle, “İşin içinde azman bir ticaret kasması olmayınca her şeyi düzgün giden” bu yeni sürecin detayları… GÖSTERİŞLİ KOMŞULARIN OLDUĞU SİTELERDE YAŞAMAK İSTEMİYORLAR Arazi alım-yönetimi, kurulumu ve bir de üstüne yapılacak evin tasarım. Çok kapsamlı ve çok emek isteyen bir proje bu. Neden böyle bir işe kalkıştın? Öncelikle net ve dolaysız sorun için teşekkürler. Beni bu sürece iten şey, bugünün emlak yapım yönetim sisteminin kendi içinde yaşadığı girdap ve ortada kalan bir grup doğru beklentili insan. Ayrıca Türkiye’nin tasarım yaşam trendlerinin bu olgularla girdiği yaşam savaşı… Ben de yıllardır bu savaş içinde mücadele veren bir tasarımcıyım. Nedir bu girdap? Öncelikle korkunç pahalı araziler. Ardından bu araziler üzerinden maksimum kazancı elde etmeye çalışan girişimciler (doğal olan bu elbette). Dipsiz inşaat maliyetleri. Delinen, sürekli oynanan, tasarımda birincil belirleyici olan, birçoğu doğru ama bir o kadarı tuhaf olabilen imar notları… İşte bu muhteşem üçlünün sonunda sürekli yüksek gelir düzeyini hedeflemek zorunda kalan girişimcilerle, “luxury” adı altında gösterişli 3D sanal görsellerle bezenerek düş dünyaları hattını geçemeyen ve arazilerin adeta oyularak yapıldığı beton kültürlü yapılardan oluşan yüzlerce proje… Bunun karşılığında arada kalmış, hedef kitle olarak görülmeyen, alıcı dediğimiz gelir düzeyi belirli bir noktaya gelmiş, eğitimi-yaşam görgüsü ile ne istediğini bilen, bu isteği arazi, tarım, doğallık, sıfır atık, sıfır karbon ve kendi enerjisi ile yaşayan sakin evler olan bir grup insan yaşıyor bu ülkede. Onlar gösterişli komşulardan oluşan marka sitelerde yaşamak istemiyorlar. Ve inan azınlık değiller! Elbette milyon dolarları yok, ama döngüye yetecek imkanları var. İşte ben bu insanları hedef aldım ve gördüm ki arazi bulmak üzerine hafriyatsız, betonsuz, ekolojiyi tahrip etmeyen, hafif ama kalıcı, doğa dostu doğru yapıyı tasarlamak, perdesine kadar proje uygulama yönetimini yapmak ciddi bir beklentinin karşılığı. Hem tasarımcı olarak benim hem de bu formda hayatını geçireceği yerleşkeyi arayan insanların beklentisi bu. Bende arazilere, arazi sahiplerine ulaşıp kimi zaman satın alım, kimi zaman onları da içine alan küçük ölçekli arazide büyük yaşam önergeleri oluşturmaya karar verdim. İşin içinde azman bir ticaret kasması olmayınca her şey düzgün gidiyor aslında. Yağmur suyunu depolayıp kullanabilen, kendi atığını tekrar toprağa döndürebilen, elektriğini üretebilen, hafif konstrüksiyon ama görsel ya da yaşam alanları olarak son derece konforlu yapılar bunlar. UCUZ VE BÜYÜK ARAZİ, HAFİF AMA KONFORLU EV İlk proje Bodrum Pınarbelen’de olacak. Tüm konut projeleri bu durumda kişiye özel değil mi? Yani belli bir konsept çatısı altında toplanmış değil anladığım kadarıyla... Evet aynen. Tüm projeler perdesinden tülüne, en başta araziye ve kişinin isteklerine göre oluşacak. Aslında sabit olan tek şey strüktürel dil. Yani hafif inşaat teknikleri denebilir. Bodrum Kızılağaç olmasının sebebi şu: İlk proje kendi arazimde olacak. Ama şimdiden sipariş almaya başladım. Ve şunu gördüm; ucuz ve büyük arazi, hafif ama konforlu bir ev, ulaşılabilir ve sağlıklı bir hayat önergesi benim hedef kitlem için. KOMÜN YAŞANTISINA EV SAHİPLİĞİ YAPACAK İlk proje evin tasarım incelikleri ve çizgisine dair neler söylersin? Önceliğin neler oldu? Bu evin en önemli özelliği geleneksel komün yaşantısına ev sahipliği yapacak olması. Çünkü tüm odalar ve salon ortak bir avluya açılıyor. Tüm doğramalar da sonuna kadar açılıyor. Böylece yaz ve bahar ayları iklimlenme için nadir klima kullanımı ihtiyacı olacak. Evin içinde büyük bir ada mutfak var. Ortak bir yaşam alanı. Herkes orada buluşsun diye. Tüm cepheleri açılabilen bir salon mevcut. Böylece ılık bir bahar akşamı üstü kapalı terasta kahvenizi yudumlayabiliyorsunuz. O sırada kuşların ekolojik havuzdan su içmelerini kameraya almak için hamle yapıyorsunuz. Bunlar basit, ama ulaşılabilir düşler olmalı hepimiz için.

Kasım 2021 | Tasarım | Dubai Dubai Expo 2020’nin en iyileri Yazı | Oktay Tutuş P andemi nedeniyle bu yıla ertelenenen ve 31 mart 2022’ye kadar sürecek olan Expo 2020, gezegenin dört bir yanından ziyaretçilerini yeni bir dünyanın oluşumuna katılmaya davet ediyor. Dubai'de gerçekleşen etkinlikte 192 ülkenin pavyonları yer alıyor. Expo'nun ana teması “Akılları Birleştirmek, Geleceği Yaratmak”. Bu tema etrafında şekillendirilmiş yaratıcı pavyonlar heyecan verici tasarımlar sunuyor. Ülkelerin teknoloji ve yenilik sunan sıra dışı pavyonları geleceğimizi şekillendirecek “Sürdürülebilirlik, Mobilite ve Fırsat” temaları üzerine düşünmeye davet ediyor. Expo 2020’de Türkiye yok. Sebebi gergin ilişkilerimiz mi yoksa bu konular hakkında söyleyecek ya da gösterecek bir şeyimizin olmayışı mı; kestirmek zor. Ancak bu, dünya ülkelerinin pavyonları arasında gezinmemize engel değil. BELÇİKA Vincent Callebaut Architectures ve Assar Architects tarafından tasarlandı. Yoğun yeşillik ile fütürist tasarımı masif ahşapla birleştirdiği için “Yeşil Kemer” olarak adlandırılıyor. Pavyon, sürdürülebilir kalkınma açısından örnek olmayı hedefliyor. Rejeneratif döngüsel ekonomiye, biyo-temelli ve jeo-kaynaklı malzemelere, biyoiklimsel kurallar ile yenilenebilir enerjilerin entegrasyonuna ve ayrıca biyoçeşitliliğin ve doğanın korunmasına övgü niteliğinde bir yapı. RUSYA Pavyonun mimarı SPEECH ofisinden Sergei Tchoban. Mimar, ulusal pavyon imajını somutlaştırırken, durdurulamaz ilerici gelişme, yaratıcılık ve ilerleme için ön koşul olarak sürekli hareket fikrinden yola çıkmış. Altı farklı renkteki alüminyum borularla küresel cepheyi donatan mimarın Expo'ya renk katan tasarımı, Rusya'nın soğuk iklimine tezat bir canlılık ve sıcaklıkta. FİNLANDİYA Finlandiya Pavyonu, ülkenin yüksek yaşam kalitesine katkıda bulunarak, onun doğa ve sürdürülebilirlik ile derin bağlantısını sergiliyor. JKMM Architects tarafından tasarlanan "Kar Pelerini" isimli pavyon, İskandinav ülkesi tarafından savunulan döngüsel ekonomi ilkelerini somutlaştırırken, malzemeler ve atmosferi aracılığıyla Fin doğal ortamlarını ustaca çağrıştırıyor. KANADA Toronto merkezli Moriyama & Teshima Architects ve inşaat şirketi ElisDon tarafından tasarlanan Kanada Pavyonu, geleneksel Mashrabiya'ya atıfta bulunan ahşap kafes cephesiyle Arap mimari unsurlarını Kanada'nın manzaralarıyla birleştirerek iki kültürü sentezliyor. Montréal merkezli KANVA firması tarafından oluşturulan ve ekosistemlerin geleceğinin belirsizliğine şiirsel bir yansıma olan Traces enstalasyonu ise bu senteze eşlik ediyor. SÜRDÜRÜLEBİLİRLİK PAVYONU Grimshaw Architects tarafından tasarlanan Sürdürülebilirlik Pavyonu, insan faaliyetlerinin çevre üzerindeki etkisini ele alan bir yapı. Eski yapılardan biri olan proje, etkinlikten sonra bilim merkezi olacak. Enerji ve su temini açısından özerk bir yapı olarak faaliyet göstermeyi hedefliyor. GÜNEY KORE Expo'nun mobiliteye ayrılmış bölgesi içerisinde ışıldayan sıra dışı pavyonun sahibi Güney Kore, 1597 adet döner küple inşa ettiği pavyonuyla halkının enerjisini yansıtmaya çalışıyor. Moon Hoon ve Mooyuki ofislerince tasarlanan yapıyı kabaca bir stadyuma benzetmek de mümkün. Ancak hem dijital hem de analog yüzleri bulunan bu döner küplerle geleceğe dair mesajlar veren bir stadyum. HOLLANDA Expo 2020 Dubai'deki Hollanda pavyonu suyu ve enerji toplayan, yağmur ve gıda üreten dairesel bir iklim sistemi önererek sanat, mimari ve teknoloji arasındaki füzyonu somutlaştıran geçici bir biyotop yaratıyor. Bu doğal süreçler arasında yarattığı duygusal anlatıyı Kossmanndejong'un küratörlüğünde geliştirilen ziyaretçi deneyimi ve V8 Architects tarafından tasarlanan mimarisiyle birleştiren pavyon, en çok merak ve hayranlık uyandıranlardan birisi. İNGİLTERE İngiltere'nin Expo 2020 Dubai'ye katkısı, kültürel çeşitliliği ve işbirliğini kutlayan, İngiltere'yi kültürlerin ve fikirlerin buluşma yeri olarak vurgulayan ahşap bir heykel yapısı olmuş. Sanatçı ve tasarımcı Es Devlin tarafından yaratılan Poem Pavilion, ziyaretçilerin girdilerini kolektif şiirlere dönüştürmek için gelişmiş makine öğrenimi algoritmaları kullanıyor. Daha sonra bunları kullanarak pavyonu serginin kendisine dönüştürüyor ve binanın cephesindeki ekranlarda okunabiliyor. SİNGAPUR “Nature.Nurture.Future” başlığı altında, WOHA Architects ve peyzaj tasarımı pratiği Salad Dressing tarafından tasarlanan pavyon, Singapur'un City in Nature vizyonunu özetleyen bir kentsel çevre örneği sergiliyor. Çok katmanlı yeşil alan, teknoloji ve doğanın evliliği yoluyla sürdürülebilirlik ve dayanıklılık fikirlerini vurgulayan kendi kendine yeterli bir ekosistem yaratarak ziyaretçilere yeşil bir deneyim sunuyor.

January 2023 | Art & Culture Tek gece, tek eser: HUY Writer Onur Baştürk A karetler’deki Vision Art Platform’da tek gecelik özel bir sergi düzenlendi. Sanatçı Sefa Çakır’ın “HUY” isimli işi galerinin giriş katındaki duvarı tamamen kaplarken, geceye katılan davetli ve koleksiyonerler uzun uzun Çakır’ın işine bakarak kendi çıkarımlarını, hissettiklerini paylaştı. Beral Madra’nın Sefa Çakır’ın işi üzerinden kaleme aldığı özel bir yazı var, şimdi o yazıdan bir kısmı paylaşmak istiyoruz: “Sefa Çakır’ın özel olarak, alışılmamış bir sunumla tek bir gece ve birkaç saat sergilenmek üzere üretilen HUY başlıklı kâğıt üstüne marker tekniğiyle yapılan siyah-beyaz çizgi resmi, ilk bakışta sürrealist bir anlatımda olmasına karşın, gravür benzeri ince işlenmiş bir çizgi resim olarak geleneksel resmin yarattığı o bildik-tanıdık etkiyi bırakabilir. Rönesans gravürlerinde, Albrecht Dürer, Vasari gibi ressamların gravürlerinde izlenen ve zaman içinde klasik resim sanatında yerleşik kompozisyonları çağrıştıran bir görüntünün etkisidir, bu. Çağlar boyunca toplumlara yeryüzü gerçekleri ve gökyüzü düşleri arasındaki ilişkilerin, büyük anlatıların yarattığı metaforları yansıtan bir görüntünün etkisidir, bu. Resim, içerdiği düzen ve imgelerle üç aşamada bakmayı öneriyor. Resme alttan başlayarak bakıldığında bir grup insanın gökyüzüne doğru heyecanla ya da endişe ile baktığı, olağanüstü bir olaya tanık olduğu izleniyor. Bu bakış günümüzün beklenmedik olaylarında, savaş ve terör koşullarında hiç de yadırganamaz. İkinci aşamada bu bakışın sırrı açıklanıyor; bir kız çocuğu gökyüzünden aşağı doğru düşmektedir. Burada iki yorum geçerli olabilir: Çocuk, klasik resimlerde algılandığı gibi olası bir tanrının armağanıdır; ya da çocuk bir kaza, bir şiddet sonucu tehlikeli bir biçimde düşmektedir. Yerel ve küresel bağlamda “çocuk” olgusunda toplumların yaşadığı ikilemlerini düşününce bu imge de karşılığını buluyor. Bu anlatıya arka planda bir mekân kurgulanıyor; tarihsel geçmişi çağrıştıran sütunlu bir mimari, ki bu da klasik resimlerde var olan bir metafordur, burada bireysel ve toplumsal epistemolojideki “bellek” sorununa işaret ediyor. DİJİTAL ÜRETİMLE HESAPLAŞMA Sanat tarihindeki çizgi resimler günümüzde üretilen resimler için her zaman önemli bir altyapı oluşturur. Sefa Çakır’ın resimlerindeki geleneksel çizgi resim üretimi günümüzdeki görsel dilin içerdiği teknik ve dijital üretim ile bir hesaplaşmadır. Bilgisayar tekniklerinin ve dijital görsel dilin etkin olduğu sanat üretiminde çizimin, çizgi resmin nerede olduğunu sorguluyor Çakır, 2008’den günümüze ürettiği çocuk imgesinin çoğul örneklerini içeren çizgi resimlerinde. 2017’den günümüze ise çocuk imgeleri daha kalabalık kompozisyonlarda ve zaman-mekan ilişkisi içinde gösteriliyor. Kâğıt üstüne ve en sade biçimiyle çizgi resim hala dinamik bir görsel dil mi oluşturuyor? İnsan elinin ürettiği çizimin sürdürülmesinde nasıl bir yöntem uygulanmalı? Başka türden bir yapıt, -renkli resim ya da heykel için bir eskiz değil de -bağımsız bir üretim olarak çizgi-resim onun yapıtlarında bu üretimin günümüzdeki etkisi ve gücü hakkında bir güvence veriyor”

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.

September 2024 | TRAVEL JAMBO* ZURİ! words Onur Baştürk (*) Jambo means "hello" in Swahili I landed in Zanzibar around 3:00 a.m. after a seven-hour THY flight and entered the island via the temporary airport, which was located in an abandoned container. In the morning, I yawned on the terrace of the bungalow where I was staying at Zuri Zanzibar and it hit me: I had come to a truly exquisite place, the nature was incredible! Situated on the western Kendwa coast of the island, Zuri means "beautiful" in Swahili. It is the result of a 10-year project by Czech entrepreneur and documentary filmmaker Václav Dejčmar. Dejčmar is an interesting profile in his own right. For one thing, he owns the best-known modeling agency in Eastern Europe. He is also the founder of an algorithmic trading company and the DOX modern art center in Prague. Dejčmar summarizes his efforts to create Zuri as follows: "This place is the result of my passion for Zen, the aesthetics of nature, the beauty of simplicity and freedom from the daily routine”. A HOTEL BUILT WITH ECOLOGICAL PRINCIPLES Zuri is located on the 300-meter-long strip of white sand of Kendwa, a rare spot without huge tidal changes. With a total of 55 villas and bungalows, it's like a small village. A village where modern and traditional African design meet, of course. All the villas and bungalows are surrounded by so much vegetation that it makes you go crazy with happiness. Designed by London and Prague-based Jestico&Whiles, the bungalows and villas have a refined and uncomplicated style. There is enough comfort, no exaggeration. While building Zuri on 13 acres of land, the Jestico&Whiles team took care to act with ecological principles at every point of the process. For example, all roofs are made of “nyasi” (Tanzanian grass) or local wooden shingles. These two were chosen because they are more sustainable than the typical Makuti roof used in the region... Zuri, by the way, is the first African resort to be certified by EarthCheck, a global advisory center specializing in sustainable tourism. To achieve this, the hotel team has implemented a number of technical practices, particularly in water and waste management. For example, they source water from their own wells. They do not use the water sources of Kendwa village. They also use ozone technology (one of the first hotels in Africa to use this mechanism) to remove bacteria from the water they extract from the well. THE SECRET OF SPICES IN THE SPICE GARDEN Zanzibar is famous for its spice farms. It is a wonderful experience to go to one of these farms and eat black pepper or turmeric from the branch and see a vanilla tree. One of the biggest areas in Zuri is dedicated to the Spice Garden. This garden has ginger, turmeric, pepper, cumin and many more varieties. Those who wish can have an interactive workshop on Swahili cuisine full of spices in this garden. WHAT TO DO IN ZANZIBAR - GO TO THE ROCK: You know, the place that keeps popping up on Instagram, on a rock in the middle of the ocean. When I went there, the water under The Rock had receded. Because Zanzibar is a tidal land. The sea you saw five minutes ago can be far away in an hour. - SPEND TIME AT THE KITE BEACH: The south side of Zanzibar is a kite surfing paradise. There are kite schools side by side. - HAVE FUN AT THE FULL MOON PARTY: The most interesting party I went to in Zanzibar was the traditional party of the island which is held every full moon period. All the locals of the island flock to this party in Kendwa and they dance non-stop all night long. - SEE STONE TOWN: Stone Town, the center of Zanzibar, is a UNESCO World Heritage Site. So you should go and see it. If you get lost in the streets of this old town, look out for the gates! These beautiful gates are a mixture of different cultures and at the same time a symbol of the wealth of the old times. Speaking of different cultures, you can sum it up like this: If you go to the Beach House, Stone Town's famous place to watch the sunset, the food options on the menu are listed as follows; Indian, Portuguese, British, African and Omani. Zanzibar is an island that is a mixture of all these cultures. - GO TO THE MANGROVE FOREST: And of course, don't forget to see the forest of mangrove trees that hold the water... (*) Jambo Swahili dilinde “Merhaba” demek. Zanzibar’a yedi saatlik THY uçuşu sonrası gece saat 03.00 dolaylarında indim ve harabe bir konteyner içine konuşlanmış geçici havalimanından sonra adaya giriş yaptım. Sabah olunca Zuri Zanzibar’da kaldığım bungalovun terasına esneyerek çıktım ve o an anladım: Gerçekten nefis bir yere gelmişim, doğa inanılmazdı! Adanın batıya bakan Kendwa sahilinde yer alan Zuri, Swahili dilinde “güzel” anlamına geliyor. Burası Çek girişimci ve belgesel yapımcısı Václav Dejčmar’ın 10 yıllık projesinin sonucu. Dejčmar başlı başına ilginç bir profil. Bir kere Doğu Avrupa'nın en tanınmış mankenlik ajansının sahibi. Aynı zamanda algoritmik ticaret üzerine bir şirketi ve Prag'daki DOX adlı modern sanat merkezinin kurucusu. Dejčmar, Zuri’yi yaratma çabasını şöyle özetliyor: “Burası Zen'e, doğanın estetiğine, sadeliğin güzelliğine ve günlük rutinden kopup özgürleşmeye karşı tutkumun eseri”. EKOLOJİK İLKELERLE YAPILAN BİR OTEL Zuri, çok büyük gelgit değişiklikleri olmayan nadir bir nokta olan Kendwa’nın 300 metre uzunluğundaki beyaz kum şeridinde yer alıyor. Toplamda 55 tane olan villa ve bungalovlarıyla burası küçük bir köy gibi. Elbette modern ve geleneksel Afrika tasarımının buluştuğu bir köy. Tüm villa ve bungalovlar ise insanı mutluluktan çıldırtacak kadar kadar çok bitki örtüsüyle çevrili. Londra ve Prag merkezli Jestico&Whiles tarafından tasarlanan bungalov ve villalar, rafine ve karmaşık olmayan bir stilde yapılmış. Yeterli konfor var, abartı yok. Jestico&Whiles ekibi 13 dönümlük arazide Zuri’yi inşa ederken sürecin her noktasında ekolojik ilkelerle hareket etmeye özen göstermiş. Mesela tüm çatılar “nyasi” (Tanzanya otu) ya da yerel ahşap zonalardan yapılmış. Bu ikisinin seçilme nedeni, bölgede kullanılan tipik Makuti çatısına göre daha sürdürülebilir olması… Bu arada Zuri, sürdürülebilir turizm konusunda uzman olan global danışma merkezi EarthCheck'in sertifikasına sahip ilk Afrika tesisi. Bunu başarmak için otel ekibi, su ve atık yönetimi başta olmak üzere bir dizi teknik uygulama yapmış. Mesela suyu kendi kuyularından temin ediyorlar. Kendwa köyünün su kaynaklarını kullanmıyorlar. Ayrıca kuyudan çıkardıkları suyu ozon teknolojisiyle (Afrika'da bu mekanizmayı kullanan ilk otellerden biri) bakteriden arındırıyorlar. 'SPICE GARDEN'DA BAHARATLARIN SIRRI Malum, Zanzibar baharat çiftlikleriyle ünlü. O çiftliklerden birine gidip dalından karabiber ya da zerdeçal yemek, vanilyanın ağacını görmek şahane bir deneyim. Zuri bu konuda da üstüne düşeni yapmış ve büyük alanlardan birini Spice Garden’a ayırmış. Bu bahçede zencefil, zerdeçal, biber ve kimyon ve daha birçok çeşit bulunuyor. İsteyenler bu bahçede baharatlarla dolu Swahili mutfağı hakkında interaktif atölye çalışması da yapabiliyor. ZANZİBAR’DA NELER YAPILIR - THE ROCK’A GİDİN: Hani instagramda sürekli karşımıza çıkan, deniz ortasındaki kaya üzerine konuşlanmış olan mekan. Ben gittiğimde The Rock’ın altındaki sular çekilmişti. Çünkü Zanzibar bir gelgit diyarı. Beş dakika önce gördüğünüz deniz, bir saat sonra çok uzaklara çekilmiş olabiliyor. - KITE SAHİLİNDE VAKİT GEÇİRİN: Zanzibar’ın güney tarafı tam bir kite sörf cenneti. Yan yana kite okulları var. - DOLUNAY PARTİSİNDE EĞLENİN: Zanzibar’da gittiğim en ilginç parti her dolunay dönemi yapılan adanın geleneksel partisiydi. Kendwa’da yapılan bu partiye adanın tüm lokalleri akın ediyor ve gece boyu hiç durmadan dansediyorlar. - STONE TOWN’I GÖRÜN: Zanzibar’ın merkezi Stone Town UNESCO dünya mirası listesinde. O yüzden gidip görmeli. Bu eski şehrin sokaklarında kaybolurken kapılara dikkat! Hepsi birbirinden güzel bu kapılar farklı kültürlerin bir karışımı ve aynı zamanda eski dönemlerin zenginlik sembolü. Farklı kültürler demişken olayı şöyle özetlemek mümkün: Stone Town’ın meşhur gün batımı izleme mekanı Beach House’a gittiğinizde menüde yemek seçenekleri şöyle sıralanıyor; Hint, Portekiz, İngiliz, Afrika ve Umman. Zanzibar tüm bu kültürlerin karışımı olan bir ada. - MANGROVE ORMANINA GİDİN: Ve tabii suyu tutan Mangrove ağaçlarının olduğu ormanı görmeyi unutmayın…

October 21, 2025 | DESIGN & INTERIORS DUBAI DESIGN WEEK, UP CLOSE words Onur Basturk Now in its 11th year, Dubai Design Week continues to shape the region’s creative landscape as a hub for ideas, innovation, and cultural exchange. Taking place from 4–9 November 2025 in strategic partnership with Dubai Design District (d3) and supported by Dubai Culture, this edition presents a dynamic line-up of exhibitions, installations, and talks. We sat down with director Natasha Carella to discuss its evolving curatorial vision and how design can inspire more human-centred futures.. THIS YEAR BUILDS ON OUR HUMAN-CENTRED APPROACH What do you see as the defining theme of 2025? Rather than centering the festival around a single theme, our approach is guided by a set of principles that shape how we curate each edition. The first is a commitment to high-quality, original design that contributes meaningfully to the global discourse. The second is ensuring that what we present reflects the creative voices of the SWANA region and the wider Global South, in dialogue with international perspectives. And the third is exploring how design can actively contribute to building better futures—socially, culturally, and environmentally. Design spans a wide range of disciplines, from architecture and interiors to urban planning, graphics, product, and industrial design. The festival aims to reflect this diversity through an extensive programme of exhibitions, installations, special commissions, product launches, activations, workshops, talks, and our two anchor fairs, Downtown Design and Editions. Together, they showcase design’s ability to bridge scales—from the intimate and material to the systemic and civic. This year, the curatorial direction builds on a more reflective and human-centred approach that we’ve been nurturing in recent years. It looks at design not only as a practice of innovation but as a social connector—how it helps us live together, communicate, and care for one another and for the world around us. In that sense, it’s less about defining a trend and more about reaffirming design’s role as a shared language that can imagine and shape more inclusive and interconnected futures. How will this human-centred approach shape the experience for visitors and participants? Much of our programming this year is intentionally research-driven and multidisciplinary, exploring how design can respond to human and environmental contexts. In Abwab, themed In the Details, Bahrain’s Maraj Studio revisits ornamentalism as a form of storytelling. Their winning pavilion, Stories of the Isle and the Inlet, uses embroidered mesh inspired by thob al nashil to narrate the threatened ecology of an island off Bahrain’s coast. It’s a powerful example of how detail and decoration can become a language for preserving cultural memory. Similarly, Urban Commissions 2025, themed Courtyard, invites designers to reimagine this archetype as a site of connection. The winning proposal by Some Kind of Practice reinterprets Emirati housh typologies into new shared spatial solutions, highlighting how design can cultivate belonging and collective experience. Other programming extends this approach, connecting design with sound, ecology, and performance. Projects such as Ajzal—a contemporary interpretation of the majlis—reflect on the act of gathering, while Nikken Sekkei’s collaboration with a local woodworking family celebrates craftsmanship and the people behind the process. The d3 Architecture Exhibition, organised in partnership with RIBA, explores how architecture intersects with community, further underscoring the festival’s human focus. We also seek to expand dialogue beyond design audiences. Multidisciplinary initiatives like Bootleg Griot, whose programming weaves storytelling, music, and migration narratives, and our inclusion of book clubs, spoken-word poets, educators, and philosophers, encourage wider public engagement. REGIONAL TALENT LIES AT THE HEART OF DUBAI DESIGN WEEK Regional talent has always been central to the festival. How does DDW 2025 highlight designers from the Middle East alongside international names? Regional talent is central to the ethos of Dubai Design Week. Each edition is designed to spotlight the creative intelligence within the Middle East and the wider Global South, while positioning these voices in dialogue with international names. We work closely with design initiatives and institutions that nurture creative communities year-round—such as Art Jameel and the King Abdulaziz Center for World Culture (Ithra) from Saudi Arabia, Design Doha in Qatar, and the UAE National Pavilion. Each plays a vital role in supporting designers who explore material innovation and identity in ways deeply rooted in place. This year’s programme continues to build on those relationships while introducing new ones. Downtown Design, the festival’s headline fair, remains the most significant platform for contemporary design in the region. Alongside international names such as Kartell, Vitra, Stellar Works, and Roche Bobois, it features strong regional representation through showcases by Tashkeel’s Tanween Programme, 1971 Design Space, and MAKE’s Athath Fellowship. The UAE Designer Exhibition, supported by Dubai Culture, expands mentorship for emerging designers and introduces Lebanese designer Nada Debs as its headline mentor. The festival will also host the culmination of several award platforms that recognise excellence and innovation across the region. The inaugural d3 Awards focus on architecture, celebrating emerging talent in the MENA region, while the RIBA Gulf Future Architects Awards spotlight architectural innovation and education. Together, these initiatives create pathways for new voices to be seen alongside established ones, reinforcing Dubai’s role as a bridge for design talent across the region and beyond. DESIGN WEEKS PLAY AN ESSENTIAL CULTURAL AND SOCIAL ROLE In your view, where does Dubai Design Week stand among global events like Milan Design Week or London Design Festival—and what cultural and social role do design weeks play today? At their core, design weeks around the world share a purpose: to convene communities, exchange ideas, and explore how design can shape our collective future. We have deep respect for other design weeks—each reflects its own context and audience, and all play a vital role in strengthening the global design ecosystem. Dubai Design Week is part of that landscape. What distinguishes our approach is a focus on nuance, diversity, and cultural context. We aim to highlight non-Western communities and markets, and to reflect the richness and complexity of geographies that are sometimes underrepresented or viewed through a limited lens in global conversations. Thanks to Dubai’s unique positioning—culturally, geographically, and economically—we are able to foster collaborations that cut across regions and disciplines, resulting in projects that are both locally grounded and globally resonant. We also strive to reveal the subtleties within regions, showcasing the layers within cultures and subcultures that are often flattened by broader narratives. The festival brings together leading international names—from architectural firms and global design brands to cultural institutions and creative businesses—alongside designers, thinkers, and collectives from across the SWANA region and the wider Global South. The dialogue that emerges between these communities is one of reciprocity rather than contrast: an exchange of methodologies, material cultures, and worldviews that together expand how we imagine design’s role in society. Beyond that, design weeks play an essential cultural and social role. They create key moments in the calendar where designers, institutions, and brands share the results of their year-round programming, launch new products, and reconnect with peers across the global design ecosystem. In Dubai, that moment of convergence brings together architects, designers, educators, businesses, and the public—creating an exchange that extends beyond industry. It becomes a space where ideas circulate, collaborations take root, and new networks form, ultimately strengthening the creative and cultural economy as a whole. And importantly, we hope to build more relationships across the global design ecosystem, including with other design weeks. We see great value in collaboration over competition and would love to see more cross-platform exchanges that amplify our shared purpose.

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

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

july 2023 | Design & Interiors english below Erhan Sağır tasarımı BARLEY words Alp Tekin T asarımı Erhan Sağır Design Studio tarafından yapılan şef restoranı Barley, İstanbul’un Etiler semtinde açılacak. Erhan Sağır; gastronomi, tasarım ve sanatı bir araya getirerek şef restoranı konseptini bir adım ileriye taşıdıklarını söylüyor. Barley’nin arka bahçesinde Ahmet Güneştekin’den seçilen eserlerin sergileneceği bir sanat galerisi, alt katında ise speakeasy bar yer alacak. Erhan Sağır restoranın tasarımıyla ilgili şunları söylüyor: “Barley’nin genel tasarımında hedefimiz misafirlerin kendilerini evlerinin verandasındaymış gibi hissetmeleriydi. Bu nedenle tasarım hikâyemizin anahtar kelimeleri rahatlık, samimiyet ve doğallık oldu. Restoranın önemli unsurlarından biri açık mutfak. Nitekim açık mutfak Erhan Sağır Design Studio olarak benimsediğimiz ve keyifle uyguladığımız bir konsept. Samimiyeti vurguladığımız bir ayrıntı. Restorandaki doğallığı kullandığımız malzemelerle yaratmaya çalıştık. İskeleti oluşturan çelik konstrüksiyonu ahşap, termo wood ile kaplayarak ortama sıcak ve samimi bir hava kattık. Kapalı alanların zemininde ise terrazzo kullandık”. BARLEY designed by Erhan Sağır T he chef restaurant Barley, designed by Erhan Sağır Design Studio, will be opened in the Etiler district of Istanbul. Erhan Sağır says that by bringing together gastronomy, design and art, they have taken the chef restaurant concept one step further. In the backyard of Barley, there will be an art gallery where selected works by Ahmet Güneştekin will be exhibited, and there will be a speakeasy bar on the lower floor. Erhan Sağır says the following about the design of the restaurant: “Our goal in the overall design of Barley was for guests to feel like they were on the porch of their home. Therefore, the key words of our design story were comfort, sincerity and naturalness. One of the important elements of the restaurant is the open kitchen. As a matter of fact, the open kitchen is a concept that we, as Erhan Sağır Design Studio, adopt and apply with pleasure. A detail that we emphasize sincerity. We tried to create the naturalness in the restaurant with the materials we use. We added a warm and friendly atmosphere to the environment by covering the steel construction that makes up the skeleton with wood and thermo wood. We used terrazzo on the floor of indoor areas”.