Search this site

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

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

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

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

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

Patricia Urquiola discusses collaborative design and ecological thinking, alongside projects for Museo del Gioiello, Alessi and Flos in Milan and beyond. October 7, 2023 | PEOPLE PATRICIA URQUIOLA “We must rebuild a new ecological thinking” words Onur Baştürk portrait photos Marco Craig & Nicola Carignani product photos Leonardo Duggento S he believes that a good project is always shaped through sharing. When it comes to sustainability, don’t get hung up on the popularity of words, she says. Her main motto that I like is this: Innovation cannot be made without stubbornness! Famous designer Patricia Urquiola, beyond all her “bests” is also very sincere. But we can’t do without counting those “bests”: among the newest places designed by Urquiola, who opened her own studio in 2001 with some of her works exhibited at MoMa in New York and the Victoria & Albert Museum in London, are the jewelry museum Museo del Gioiello in Vicenza, Mandarin Oriental in Barcelona, Hotel Das Stue in Berlin and Hotel Four Seasons Spa in Milan. Listing the brands she has made designs for so far is like a cool parade: Agape, Alessi, Axor-Hansgrohe, Baccarat, Boffi, Budri, De Padova, Driade, Flos, Gan, Georg Jensen, Glas Italia, Haworth, Kartell, Kvadrat, Listone Giordano, Louis Vuitton, Moroso, Mutina, Rosenthal and Verywood. I read in an interview that living together is one of your fundamental principles and that you believe that a good project is always shaped by sharing. Based on this, I understand that your design process and your perspective on life are based on “sharing”. Has this always been the case or has it evolved over time with experience and age? I’ve always loved teamwork. Both in the group projects I did during my university years and in Studio Urquiola, which I see as a “community studio”. I love working side by side with my team and clients, constantly exchanging ideas. It’s very important because every phase of design is a result of discussion and dialogue. After all, every company has its own history, heritage and language which I respect and try to reflect in the project. I read in an interview that living together is one of your fundamental principles and that you believe that a good project is always shaped by sharing. Based on this, I understand that your design process and your perspective on life are based on “sharing”. Has this always been the case or has it evolved over time with experience and age? I’ve always loved teamwork. Both in the group projects I did during my university years and in Studio Urquiola, which I see as a “community studio”. I love working side by side with my team and clients, constantly exchanging ideas. It’s very important because every phase of design is a result of discussion and dialogue. After all, every company has its own history, heritage and language which I respect and try to reflect in the project. The way we live life is constantly changing. Especially now we are entering a new era with artificial intelligence. I would like to ask you as one of the generations that has seen the development of the internet: From the perspective of a designer and architect, where do you think the world is evolving? I don’t have a bad opinion about the evolution of technology, I use it a lot in my work. I am actually very curious about the opportunities that the virtual universe opens up for the world of architecture and design. This is always a topic of ongoing conversation in my studio, with clients and with colleagues. I think AI performs best when designed as a supplementary tool, rather than a replacement for us. Our intelligence and our skills are very different. Technology works best as a partner and support. But I believe it is not just a question of knowing how to use digital means, but of reflecting on how one can adapt to them. And vice versa. DON’T FOCUS ON THE WORDS AND THEIR POPULARITY “Sustainability” has become so popular that do you think the word is sometimes used just because of its popularity? Rather than focusing on words and their popularity, as Timothy Morton suggests, I believe we should focus more on rebuilding a new ecological way of thinking. And to succeed we must go beyond the environmental apocalyptic thought in simplicist terms. We need to consider this ecological thought as the shadow of an idea not yet thought, that is carried by other ideas until nothing remains halted by his presence. Design must more and more open up to other conversations and disciplines. We need to design in the optics of upcycling, we need to enhance the beauty of regeneration. Nowadays, a designer must pay attention to the durability of not only objects but also projects. We must use and interpret materials better, keeping in mind a clear concept of circularity. We should focus on the value of objects that permeates over time and generations, not on their first use. For this, we need to learn more about designing! When we start a project we must think about the product’s end of life and how it can be disassembled and reused at the end. One of the highlights of Mr. Loveland, the new improved version of the Lowland you designed in 2000, is sustainability. Can you tell us about this feature of Mr. Loveland? Improving existing versions of the products is a sustainable approach. The aim of the improved version of the product is to increase the value of the existing one by making it compatible with the modern lifestyle. This also ensures that each product becomes something timeless and lasting. The new composition I made with Moroso in the 2000s, which fits elegantly into the original concept this year, has been updated with upcycled materials. The seat and back were made softer and the steel tubes were replaced with solid wooden bases. This increased the architectural quality of the series by preserving its uniqueness both alone and in the composition. CABOCHE’S INSPIRATION IS A BRACELET FROM THE 1930’S The “Pheaby” chair you designed for Moroso was inspired by Greek mythology. Can you tell us about the design and functional features of Pheaby? The name Pheaby comes from Artemis, the goddess of hunting and forests in Greek mythology, also known as the goddess of waxing moon. Her epithet Phoebe was a counterpart to the name of her twin brother Phoebus, or Apollo the sun god. This duality was of inspiration for the chair’s design, which combines together elements of artisanal craftsmanship with industrial thinking, resulting in a structurally efficient piece. The legs resemble a carpenter’s trestle rather than a traditional chair, supporting a softly- rounded seat that lacks sharp edges. This design represents the waxing moon shining through the trees, embodying the concept of using the unexpected to create comfort and usability. The Caboche you designed for Foscarini has a story related to Istanbul. Can you tell that story? For the lamp Caboche I took inspiration from an object purchased during a trip, a Bakelite bracelet from the 1930s. The name comes from a technical term used to indicate one of the best-known cuts for diamonds and precious stones. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

Edizione Living’s Choices project brings four Istanbul design figures, including Derya Toros, to its Fenerbahçe store to share their favorite corners. October 2024 | Design & Interiors FOR ENGLISH EDIZIONE LIVING’teki FAVORİ KÖŞELERİNİ YUZU için SEÇTİLER - c h o i c e s - words Alp Tekin photos Abdullah Abukan creative director Erdi Eralp Uğur Otantik, zarif ve sade. Sema Gizem Özdemir ve Burcu Burat’ın kurucusu olduğu Edizione Living tasarımlarının üç kelimeyle özeti böyle. Yerel zanaatkârlardan ilham alan markanın ürünleri fabrikasyon olmayan, butik işletmelerde üretiliyor. Yuzu Magazine ve Edizione Living’in ‘Choices’ isimli projesinde ise İstanbul tasarım dünyasının dört ismi markanın İstanbul, Fenerbahçe’de açılan mağazasının farklı köşelerinde poz verdi. 1. DERYA TOROS İç Mimar / Toros & Partners kurucu ortağı Bu köşede Elba Kanepe’yi seviyorum, çünkü hem rahat hem de çok şık bir görünüme sahip. Üzerinde oturduğum Pia Tabure ise minimal ve zarif tasarımıyla her mekana sade bir şıklık ve zamansız bir estetik katabilecek güzellikte. Bu nedenle Elba Kanepe ve Pia Tabure, Edizione Living’deki seçimim oldu. 2. EMRE ÖZÜCOŞKUN İç Mimar / Cisimdesign kurucu ortağı Tüm projelerimizde denge olmazsa olmaz unsurlardan biri. Bu Edizione köşesi bana Cisimdesign projelerimizdeki malzeme, renk ve formlardaki dengeyi çağrıştırdığı için daha yakın hissettirdi. Parlak ve soğuk tabure ile üzerinde durduğu halının kontrastlığındaki uyum, yeşil bitkilerle masif ahşabın birbirine göz kırpması, bu dengenin en güzel yansımaları. 3. FULYA BOZKURT Editör Doğal, işlenmemiş ham ahşap mobilyalar ve el işi üretimleriyle Edizione Living koleksiyonları benim yaşam tarzımla mükemmel uyum sağlıyor. Yumuşacık doğal keten kumaşlarla giydirilen koltuk ve kanepelerin mekanlarda yarattığı yaşanmışlık hissine bayılıyorum. Edizione Living’in bu köşesi çikolata kahveden beje açılan renk sakalası ile son derece rahat, modern ve konforlu. Çevreye duyarlı üretimleri ve sürdürülebilirlik misyonu da markayı tercih etmemin en önemli nedenlerinden biri. Mum ışığı eşliğinde bu yemek masasında en sevdiklerimle geçireceğim saatleri hayal edebiliyorum! 4. ONUR BAŞTÜRK Yayıncı / YUZU Magazine Kurucusu & Editoryal Direktör Bu köşeyi seçtim, çünkü bu yatak odası tam da hayalimdeki gibi: Doğal, zarif, sade ve huzur verici. Özellikle yataktaki keten yatak kılıfı harika, çünkü yatak odasında malzemenin fabrikasyon olmamasını önemsiyorum. Düşünsenize, aslında hayatımızın çok büyük bir bölümünü yatak odasında geçiriyoruz ve aslında orası da en az diğer yaşam alanlarımız kadar değerli ve özenli olmalı. Bir yandan bu köşedeki ahşap dolap da favorim oldu. Ahşabın her türlüsü benim için sakinlikle eşdeğer. Nitekim artık tasarım dünyasında da ahşabın o sıcak dokunuşunu daha çok görüyor olmak beni mutlu ediyor.

Onur Baştürk visits The Rooster on Antiparos: 17 suites, a House of Healing, private gardens, and a long lunch at Beach House on Apantima Beach. August 4, 2025 | VOL 16 SWIM, DINE, RESTORE, REPEAT Living by the ANTIPAROS flow words Onur Basturk photos Courtesy of The Rooster If you’ve been to Paros in high season, you’ll know the feeling—when the crowds, the chaos, and the nightly cocktail circuit at Medusa start to wear a little thin. That’s when you know it’s time for a breather. And the best escape? Antiparos, of course. Just a stone’s throw away, but with a whole different vibe: quieter, cooler, and beautifully bohemian. Just a short hop away, but with a more refined, bohemian energy. After all, the island holds the memories of backpacking hippies who danced wildly at Disco La Luna and The Doors in the 1970s. FIRST STOP: A LONG LUNCH AT BEACH HOUSE The moment you arrive in Antiparos, the plan’s obvious: head straight to Beach House on Apantima Beach. Set on one of the island’s most sheltered coves, it’s an easygoing, barefoot kind of place. The menu is a celebration—seabreams, groupers, amberjacks, dry-aged beef, wild mushrooms... And one line that sums it all up: “Nose-to-tail, Root-to-stalk… Recipes with apheresis at their core.” NEXT UP: THE ROOSTER AT GOLDEN HOUR After Beach House, make your way to The Rooster. Hidden between open fields and mystical caves, and facing a protected beach, it’s one of the best spots on the island to catch the sunset. The Rooster is a soulful kind of place—tailor-made for today’s traveler. With its House of Healing, where energy-clearing rituals reconnect you with Mother Earth, and a three-bedroom organic farmhouse, it’s a destination with real depth. The vision belongs to Athanasia Comninos, who comes from a prominent Greek shipping family. The story of The Rooster began one summer, when founder Athanasia Comninos arrived on the island with her young daughter and a close friend. She rented a house; that summer, she fell in love with the island—and that’s when the story of The Rooster began. THE SOUNDTRACK: RUSTLING BAMBOO AND GOAT BELLS With just 17 suites in various sizes, each one offering sweeping views of the Aegean and its own private garden, The Rooster is all about space, calm, and seclusion. At the heart of it is the House of Healing, a restorative sanctuary where every session begins with a one-on-one consultation designed to understand your lifestyle and wellness goals. Just 1.5 km away lies The Farmhouse, where many of the hotel’s organic ingredients are grown. It shares the same easy rhythm: the rustle of bamboo, the soft clink of goat bells, and the sleepy chorus of cicadas. FEELING SOCIAL? HEAD TO BARDÓT And if all that serenity has you craving a little buzz, head to Bardót. This effortlessly stylish bar-restaurant was created by hospitality veterans Thanasis Panourgias and Harry Spyrou—of Athens, Mykonos, and New York—together with LA- and London-based hotelier Leon Economidi. Across the street, the same team runs Maison Bardót, a multidisciplinary gallery space. And before the night turns into a dance floor? Start with dinner at Kalokeri, a village gem made for easy, delicious evenings. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

DJ Carlita speaks with Onur Baştürk about quarantine in Tulum, her Istanbul roots, Mexico City, Burning Man, and performing with Mayan Warrior. April 2020 | People DJ CARLITA’s QUARANTINE DAYS in TULUM Words Onur Baştürk Carla, born in Istanbul to a Turkish father and an Italian mother, goes by the DJ name “Carlita.” At just 24 years old, she’s already performed in almost every corner of the world, gaining a dedicated following. Her star rose even higher after her set at Burning Man. We caught up with Carlita during the lockdown days of the pandemic. Carla, how has the pandemic affected your work? The last performance I did was on March 13th in Mexico. After that, all my shows were gradually postponed. Now, most promoters expect me to create an exclusive online DJ set for them or go live on Instagram, Zoom, or Twitch. Are you currently in Tulum? Yes, everyone seems to think I’m living the dream in Tulum! And honestly, it is much more comfortable and beautiful than being in an apartment or a house. There hasn’t even been a single reported case here yet. But restrictions are tightening here too. I was actually in my home in Mexico City when the virus began to spread. About a month and a half ago, four friends and I decided to fly to Tulum. At first, it was quite relaxed. Some restaurants were still open, and we could go into town to shop at supermarkets without any issues. But once Mexico entered “Stage 3,” restrictions increased significantly. Going to the beach or swimming in the sea became prohibited. If the police see someone on the beach, they can hand out a three-day jail sentence! If you leave the beach area to go into town, there’s a chance you might not be allowed back. Everything is closed now—even some pharmacies. ATMs are out of cash. I once spent two and a half hours just looking for toothpaste. HAS THE FEAR OF THE VIRUS LESSENED? How are you feeling right now? I’m not used to staying in one place for more than ten days! My work requires me to constantly move between locations. Slowing down and adapting to this new normal wasn’t easy at first. But now, I’m living in the moment and finding joy in small things. Watching the sunrise and sunset every day has become something that truly makes me happy. Are there many people in Tulum? What’s the vibe like? People from all over the world have flocked here to quarantine—Italians, Americans, Brits. But we’re all being very careful. If someone new somehow manages to arrive, which is rare given the travel restrictions, they quarantine themselves for two weeks just like anywhere else. Since there haven’t been any cases here, the fear of the virus has decreased compared to the early days. Now, the main concern is simply surviving in Tulum. The weather is getting hotter, and the restrictions are becoming stricter. Living under these conditions in this heat is becoming increasingly difficult. Is it hard to perform at Burning Man? Not really. The challenging part is getting invited to the good camps to perform. I play at “Mayan Warrior,” and it’s been an incredible experience for me. For example, in December, I played at a wedding in Colombia. When I asked why they chose me, they said they first heard me at “Mayan Warrior” and started following me from then on. How did you become a DJ? I started playing the piano when I was three, thanks to my parents. At eight, I picked up the cello. Then came my conservatory years at the Royal Academy of Music in London. When I went to university in Boston, I developed an interest in DJing. At 24, you’ve practically performed everywhere—from East Asia to Europe and Canada. You once mentioned how you basically toured the world during New Year’s. I’ve gotten used to long trips. But yes, the toughest one was during New Year’s, flying from Mexico to Istanbul, Istanbul to Vietnam, and then back to Mexico—all in six days! And that’s not counting the layovers. Where was your most unforgettable performance? Right here in Tulum! At Maxa Camp, I played a 10-hour nonstop set for over 2,000 people. The energy was just incredible. You moved from NYC to Mexico—why? What drew you to Mexico? I think it’s because it reminds me so much of Istanbul. Honestly, I feel like I’m living in a Spanish-speaking version of Istanbul.

Luxury accessories collaborations bring together Franck Müller, Ferrari, Moncler and Gucci across watches, pens, luggage, headphones and smart rings. September 2024 | Design & Interiors FOR TURKISH LUXURY ACCESSORIES collaborations words Pınar Yılmaz / Deliciae 1. Franck Muller & S.T. Dupont With their shared passion for art and innovation, Franck Muller and S.T. Dupont present the Master Lighter, a masterful fusion of the elegance of Haute Horlogerie. The result of two years of development, this lighter is a technical masterpiece with a double-faced clock with a three-day power reserve integrated into its mechanism! The Master Lighter, whose every detail reflects the heritage of Franck Muller and the exquisite craftsmanship of S.T. Dupont, is limited to 88 pieces. 2. Ferrari & Montblanc Montblanc, renowned for its luxury writing instruments, has collaborated with Ferrari to create a limited edition pen that pays homage to the legendary Enzo Ferrari. This pen combines the craftsmanship of Montblanc with the iconic design elements of Ferrari. 3. Lamborghini & Roger Dubuis Lamborghini and Roger Dubuis have created a unique collaboration that reflects both brands' passion for innovation and performance. The Excalibur Spider Huracán brings the performance and aesthetic elements of the Huracán supercar to watch design. The watch's internal movement is inspired by Lamborghini's iconic V10 engine. 4. Moncler x Rimowa Italian luxury apparel brand Moncler and German luggage brand Rimowa have made a remarkable collaboration by presenting an exclusive luggage collection that combines design and functionality. The collection is full of elements that reflect the DNA of both brands. This line of luggage blends Rimowa's signature durable aluminum construction with Moncler's innovative design aesthetic. 5. Bang&Olufsen & Ferrari Danish luxury audio manufacturer Bang&Olufsen has partnered with Ferrari to launch a special Ferrari-designed version of the Beoplay EX. The headphones combine Ferrari's iconic red color and bold style with Bang&Olufsen's superior sound quality. 6. Gucci x Oura Gucci, the leading Italian fashion brand, has collaborated with Oura, an innovative brand in health and fitness technology, to create a unique collection of smart rings that combine luxury and technology. The Gucci & Oura ring is both a technological marvel capable of tracking health data and a stylish accessory that reflects Gucci's elegant design aesthetic.

Ben Brown discusses founding Ben Brown Fine Arts, expanding to Hong Kong, the art market, and collecting works by Agnes Martin and Alighiero Boetti. August 2024 | Art & Culture TURKISH BELOW BEN BROWN ‘I would like to buy a bigger Agnes Martin’ words Onur Baştürk photos Ben Brown Fine Arts When Ben Brown opened his first, eponymous art gallery in the heart of Mayfair, London in 2004, it quickly established itself on the international art scene. Exhibitions of leading gallery artists, including Candida Höfer, Tony Bevan, Claude & François-Xavier Lalanne and Heinz Mack hit the headlines. As did important exhibitions of 20th century masters, such Lucio Fontana, Alighiero Boetti and Gerhard Richter. Five years later, Ben Brown Fine Arts boldly opened a pioneering exhibition space in Hong Kong - the first international gallery to establish a presence in what soon became a major global art center. And in 2021, Ben opened a third gallery, located in Palm Beach, Florida. Its inaugural exhibition celebrated the legacy of 20th-century American and European artists whose work developed radical approaches, including Alexander Calder, Georg Baselitz, and Andy Warhol. You began your art career at Sotheby’s. What did you learn in the 10 years you worked there? An enormous amount! I learned to look at paintings very closely: I got to see hundreds and hundreds of works: many of them were bad - but some were very, very good. This was the in 1990s - when the art market was very flat. What motivated you to start Ben Brown Fine Arts? I realised that there is a much bigger world out there than I could experience in the auction houses. I wanted to work with artists - and also have the opportunity to sell paintings. Now, I do both of these things, which I greatly enjoy. You were the first international gallery to open in Hong Kong. And you have continued to grow, turning Ben Brown Fine Art into a global brand. Tell us about your expansion... When I first opened in Hong Kong, the city was the centre of the Chinese art market. There was no one else really exhibiting Western art - and I saw it as my job to open the eyes of Asian collectors to foreign influences. It was clear that, at some stage, they would move on from buying their standard Chinese art. I brought great artists and great shows to Hong Kong, including a show of 15 Picasso paintings. Sadly, I think this was underappreciated at the time – it was maybe too early for that sort of show. But then, the change did happen. What was the first artwork you bought? Does it have a special memory for you? I bought a group of four paintings for a total cost of 800 GBP. They were not very good. And I sadly can’t remember the name of the artist! What was the last artwork you bought? A great Boetti self-portrait from 1973. AT ART BASEL I MAKE MY MONEY DOWNSTAIRS, THEN GO UPSTAIRS TO BUY ART As a collector, which is your favourite art fair? Art Basel is the greatest fair in the world! I like to make my money downstairs at the beginning - then go upstairs to buy artworks! How do you see the art market moving in 2024: will it shrink or grow? I think this year will mark an improvement as - and when - interest rates begin to go down. What works or artists are you hoping to add to your collection this year? I would like to buy a bigger and better Agnes Martin than the small one I currently own. After that, I’d like a good Picasso... BEN BROWN ‘Daha büyük bir Agnes Martin almak istiyorum’ Ben Brown, 2004 yılında Londra Mayfair'in kalbinde kendi adını taşıyan ilk sanat galerisini açtıktan kısa süre sonra uluslararası sanat sahnesinde yerini aldı. Candida Höfer, Tony Bevan, Claude & François-Xavier Lalanne ve Heinz Mack gibi önde gelen sanatçılarının sergileri manşetlere çıktı. Lucio Fontana, Alighiero Boetti ve Gerhard Richter gibi 20. yüzyıl ustalarının önemli sergileri de öyle… Beş yıl sonra Ben Brown Fine Arts, Hong Kong'da öncü bir sergi alanı açtı. Ben Brown’ın galerisi kısa süre içinde önemli bir küresel sanat merkezi haline gelen Hong Kong’ta varlık gösteren ilk uluslararası galeriydi. Ve 2021 yılında Ben, Palm Beach-Florida'da üçüncü bir galeri açtı. Açılış sergisinde Alexander Calder, Georg Baselitz ve Andy Warhol gibi radikal yaklaşımlar geliştiren 20. yüzyıl Amerikalı ve Avrupalı sanatçıların mirasını kutladı. Şimdi söz Ben Brown’da… Sanat kariyerinize Sotheby's'de başladınız. Orada çalıştığınız 10 yıl içinde neler öğrendiniz? Muazzam şeyler! Öncelikle resimlere yakından bakmayı öğrendim. Yüzlerce, ama yüzlerce eser gördüm. Birçoğu kötüydü, ama bazıları çok çok iyiydi. Üstelik bunlar sanat piyasasının çok durgun olduğu 90'lı yıllardı. Ben Brown Fine Arts'ı kurmak için sizi motive eden neydi? Dışarda, müzayede evlerinde deneyimleyebileceğimden çok daha büyük bir dünya olduğunu farkettim! Sanatçılarla çalışmak ve aynı zamanda resim satma fırsatına sahip olmak istedim. Şimdi bunların ikisini de yapıyorum ve bundan büyük keyif alıyorum. Hong Kong'da açılan ilk global galeri oldunuz. Ve Ben Brown Fine Art'ı küresel bir marka haline getirerek büyümeye devam ettiniz… Evet, Hong Kong'da ilk galeriyi açtığımda şehir Çin sanat piyasasının merkeziydi. Batı sanatını sergileyen başka kimse yoktu. Asyalı koleksiyonerlerin gözlerini yabancı etkilere açmayı bir misyon olarak gördüm. Bir aşamada standart Çin sanatını satın almaktan vazgeçecekleri açıktı. Hong Kong'a 15 Picasso tablosundan oluşan bir sergi de dahil olmak üzere büyük sanatçılar ve büyük sergiler getirdim. Ne yazık ki o dönemde bunun değerinin bilinmediğini düşünüyorum. Belki de bu tür bir sergi için çok erkendi. Ama sonra, değişim gerçekleşti. Satın aldığınız ilk sanat eseri hangisiydi? Sizin için özel bir anısı var mı? Toplam 800 Sterlin’e dört tablodan oluşan bir eser satın almıştım. Çok iyi değillerdi. Ve ne yazık ki ressamın adını hatırlayamıyorum! Satın aldığınız son sanat eseri neydi? 1973'ten harika bir Boetti otoportresi. ART BASEL’DA PARAMI AŞAĞIDA KAZANIYOR, SONRA SANAT ESERİ ALMAK İÇİN YUKARI ÇIKIYORUM! Bir koleksiyoner olarak en sevdiğiniz sanat fuarı hangisi? Art Basel dünyanın en büyük fuarı! Başlangıçta paramı alt katta kazanmayı seviyorum - sonra sanat eserleri satın almak için üst kata çıkıyorum! 2024'te sanat piyasasının nasıl hareket edeceğini görüyorsunuz: Küçülecek mi yoksa büyüyecek mi? Bence bu yıl, faiz oranları düşmeye başladığında -ve düştüğünde- bir iyileşmeye işaret edecek. Bu yıl koleksiyonunuza hangi eser ya da sanatçıları eklemeyi umuyorsunuz? Şu anda sahip olduğumdan daha büyük ve daha iyi bir Agnes Martin almak istiyorum. Ondan sonra iyi bir Picasso istiyorum...

Urla Stone House in Turkey has interiors by Selina Kazazoğlu that pair rustic stone walls with modern furniture in a restored house in Urla, Izmir. july 2023 | Design & Interiors english below Urla Stone House words Alp Tekin photos Burak Teoman B ol ağaçlıklı bir arazi içerisinde yer alan bu taş evin tasarımı iç mimar Selina Kazazoğlu’na ait. Türkiye’de, Urla’da konumlanan evin iç mekanlarını büyütmek için mutfak- salon ve antre duvarlarla ayrılmamış. Duvarlar yerine mobilyalarla seperasyon sağlanmış. Taş duvarların rustik görüntüsüyle modern ve hip mobilyaların kontrastı evin dikkat çeken bir diğer özelliği. Kazazoğlu evle ilgili şöyle diyor: “Aydınlatma benim olmazsa olmazım. Önceliğim aydınlatmalar oldu. Daha sonra taş evin doku yoğunluğunu boğuculuktan uzaklaştırmak amacıyla sıvadan şömine tasarlandı. Tavanlardaki koyu renk ahşaplar ise beyaza boyanarak ferah ve açık bir alan oluşturuldu. Böylece taş ev daha modern bir ambiyansa büründü” Kazazoğlu evin dekorasyon tarzıyla ilgili şunları anlatıyor: “Taş duvarların rustik bir görüntü oluşturmasına rağmen kullanılan mobilyalar modern ve hip ürünlerden seçilerek kontrast yaratıldı. Canlı renkler eve enerji verdi. Açık bej tonlar hakim olan evde konforlu oturma alanları yaratıldı”. T he design of this stone house, which is located in a forested land, belongs to Selina Kazazoğlu. In order to enlarge the interior spaces of the house located in Urla, Turkey, the kitchen-living room and anteroom are not separated by walls. Separation is provided with furniture instead of walls. The contrast of modern and hip furniture with the rustic look of the stone walls is another striking feature of the house. Kazazoğlu says the following about the house: “Lighting is a must for me. My priority was the lighting. Later, a plaster fireplace was designed in order to remove the texture density of the stone house from suffocating. The dark woods on the ceilings were painted white to create a spacious and open space. In addition, the stone house took on a more modern ambiance” Kazazoğlu tells the following about the decoration style of the house: “Although the stone walls create a rustic look, the furniture used was chosen from modern and hip products to create a contrast. Vibrant colors energized the house. Comfortable seating areas were created in the house, which is dominated by light beige tones”.

Verride Palácio Santa Catarina is an 18th-century palace hotel in Lisbon, reimagined by owner Kees Eijrond with Portuguese art and quiet, local interiors. February 10, 2026 | TRAVEL an OPEN HOUSE in the HEART of LISBON words Onur Baştürk One of Lisbon’s most distinctive hotels, Verride Palácio Santa Catarina rises quietly above the city. Set within an 18th-century palace in the Chiado district, the building carries layers of Lisbon’s past—rebuilt after the 1755 earthquake, reshaped over time, and eventually reimagined as a hotel by its owner, Kees Eijrond. From the beginning, Eijrond was clear that this would not be a conventional hotel. “For me, it was important that whoever entered the house would feel they were entering the palace of a noble family in Portugal,” he says. “We wanted to bring back the atmosphere of a private city palace. It’s not immense. It has its own proportions.” SPACE, QUIETNESS, BEAUTY Spread across 4,000 square metres, Verride Palácio contains just 18 rooms and suites—a decision that deliberately resists efficiency in favour of experience. “Some people strongly suggested dividing the spaces to create more rooms,” Eijrond recalls. “But I said, no. I don’t want numbers. I want beauty. You need space and quietness.” This philosophy shapes the way the hotel is experienced. Circulation unfolds like a sequence of domestic rooms rather than a traditional hotel layout. There are living rooms instead of lounges, a breakfast room rather than a formal restaurant—spaces designed to be inhabited, not passed through. “I had no experience in making a hotel,” Eijrond admits, “but I understood that space itself had to be felt. Everything is space.” ARCHITECTURE FIRST The palace’s transformation was led by architect Teresa Nunes da Ponte, with interiors by Andrea Previ. Moorish arches, finely crafted stucco ceilings, and traditional Portuguese azulejos remain integral to the building, preserving the clarity and restraint of its Pombaline structure. “I always respect architecture,” Eijrond says. “It’s essential that architecture leads, and decoration follows.” That balance became central to the project. Together, the team worked around three guiding principles: quiet, elegant, and local. QUIET, ELEGANT, LOCAL Much of the furniture was designed specifically for the hotel and produced in Lisbon. Art throughout the palace is by Portuguese artists, integrated naturally rather than presented as statements. “Whatever we chose—chairs, tables—I felt it should be made in Portugal,” Eijrond explains. “The level of craftsmanship here is immense.” The interiors never compete with the building itself. Instead, proportion, material, and light work together to create an atmosphere of calm—one that feels increasingly rare in city hotels. A PALACE, OPEN TO THE CITY Verride Palácio Santa Catarina was never intended to be closed off. “Everyone who comes to Lisbon can enter,” Eijrond says. “You don’t have to stay. You can simply ask for a glass of water at reception, and enjoy the beauty.” That gesture captures the spirit of the place. History here is not staged but lived. Luxury is defined not by excess, but by space, silence, and generosity. More than a hotel, Verride is an open house in the city—a reminder that when heritage is treated with care, it can remain intimate, human, and quietly contemporary.

Derek Pedrós’s film Casa No Tempo examines architecture, movement and space in the Alentejo residence designed by Manuel Aires Mateus for Silent Living. December 15, 2025 | Art & Culture a FILM on ARCHITECTURE, MOVEMENT and SPACE words YUZU Editorial photos Derek Pedros On our YouTube channel, we are sharing Casa No Tempo: Possibilities of Inhabiting, a film by director Derek Pedrós, which approaches architecture as a lived and felt atmosphere rather than a static object. Set in Portugal’s Alentejo region, the film unfolds within Casa No Tempo, designed by Manuel Aires Mateus for Silent Living, and forms part of Pedrós’s ongoing visual research into the relationship between architecture, movement, and the human body. ATMOSPHERE AS A FORM OF RESEARCH How do you describe your practice as a filmmaker, and what guides your work? I see my work as a form of visual research. I’m not interested in documenting architecture as a static object, but in understanding the emotional dimension that inhabits a space. I explore what makes me feel a certain way, and how a space becomes a container for stories, forming a unique memory for anyone who experiences it. I try to move away from the “cold” perception of architecture and focus instead on the emotional response that presence creates. My practice sits at the intersection of architecture and movement, using the human body as a way to measure these emotional qualities. What guides me is the search for atmosphere: how a space breathes, how it offers protection, and the particular rhythm of life it proposes. It’s about moving beyond the purely visual to reveal the invisible qualities that shape the experience of a place. PERMANENCE, SILENCE AND THE ACT OF INHABITING What was it about Casa no Tempo that first captured your interest? For a long time, I was drawn to the mysterious calm of this place. There is a magnetic quality in the architecture of Aires Mateus and in Silent Living’s approach that captivated me completely, compelling me to explore it further. Beyond the aesthetics, however, what truly drew me in was the concept of permanence that Manuel Aires Mateus has created here. It felt like a legacy of memory. I wanted to understand that silence, and to see whether I could translate that sense of protection and timelessness into a visual language. You’ve called Aires Mateus’s architecture “a structure that makes life possible.” How did you translate the dialogue between body and space in this film? Manuel Aires Mateus has said that architecture creates a “structure that makes life desirable.” To explore this idea, I collaborated with dancer Elena Castellanos, whose spatial sensitivity allowed us to investigate this “temple of calm” designed by the architect. We didn’t approach the film as a performance, but as an act of inhabiting. Her movement became a way to enter into dialogue with the space itself—to ask questions without expecting clear answers, and to understand the subtle, silent exchange that emerges when we feel emotionally connected to a place. The body becomes the key to unlocking the atmosphere, suggesting that a building is never fully alive until it is inhabited. BETWEEN ENDURANCE AND MOVEMENT Your work often reflects on “the tension between what endures and the life that moves through it.” At Casa No Tempo, in which moment or scene did you feel this tension most vividly? I believe this tension is inherent to both life and architecture: the desire to create something that endures in a world defined by impermanence. More than in a specific scene, I felt it throughout the process of our stay. We spent time observing how different layers come together in the present moment—how fleeting sensations, such as morning light touching a surface or the sound of the wind, gain significance once you realise they will never repeat themselves. For this reason, we focused on being fully present, trying to document the honest identity of the place. One of the reasons I work across both still image and film is precisely to explore this duality: photography as something that endures, and film as something that unfolds through time—both working together to preserve the essence of a space. This project deepens your view of architecture as an atmosphere read through the body. How does it shape where your research goes next? Casa no Tempo has been a milestone in my research. It confirmed that my interest lies less in the spectacle of architecture and more in its ability to support life and well-being. Moving forward, I want to go deeper into the idea of inhabiting. I’m interested in continuing to explore spaces that propose distinct ways of living, working across different cultures and geographies. By doing so, I can contrast my own experience with other approaches to architecture and hospitality around the world.

Tuscan Guatemalan SOUL is an Antigua Guatemala home by Elemento, blending Spanish Colonial architecture, Tuscan influences, and local craftsmanship. September 10, 2025 | DESIGN & INTERIORS TUSCAN SPIRIT, GUATEMALAN SOUL words & production Karine Monie photos Topofilia Studio design Elemento In Antigua Guatemala—a UNESCO World Heritage site where cobblestone streets meet centuries-old ruins—an extraordinary home has been reimagined as a retreat that bridges time. The property, dating back to the 17th century, has been transformed into a sanctuary where Spanish Colonial architecture and subtle Moroccan notes meet contemporary elegance. The result is a house that honors history while embracing the rhythms of modern family life. A LIVING LEGACY Set beside the Ruina San Agustin, a 1650s church and convent, the property itself carries a remarkable legacy. Portions of the first-floor walls are believed to date back to the same period. During restoration, the design team uncovered a hidden arch near the pool—once thought to be the entrance to the convent’s stables—revealing yet another layer of narrative. Over the centuries, the house has evolved: the second floor was added in 1994, while carved beams in the living-dining room were repurposed from a 1930s Antiguan hotel, preserving echoes of the city’s past. BLENDING ERAS The vision was to create a house that felt timeless yet current—“the cozy feeling of grandma’s house but with a modern twist,” as Sara Rodriguez of Elemento describes. To achieve this, the designers celebrated original elements like terracotta floors, natural stone walls, and dark wood beams, while introducing contemporary touches through lighting, art, and the interplay of glass with traditional ironwork. Modern amenities—including automated lighting, climate control in bedrooms, and enlarged windows—make the home both functional and luxurious, without compromising its historic fabric. A NATURE-INSPIRED PALETTE Elemento embraced a neutral palette to let the home’s materials speak. Terracotta, olive green, and natural stone anchor the interiors, while Tuscan-inspired shades of green, light blue, and beige define each bedroom, evoking the feel of an Italian countryside retreat. Stucco walls in white and beige provide balance, while dark porcelain floors and a redesigned pool lined with gray tile lend a subtle contemporary contrast. TUSCAN CHARM, GUATEMALAN CRAFT For the owners, the house echoed the spirit of old Tuscan villas—an influence visible in the warm, layered palettes and even the modern kitchen, which draws inspiration from traditional Italian farmhouses. Yet equally central was a celebration of Guatemalan artistry. Custom furniture, lighting, and artworks were commissioned from local artisans, makers, and carpenters. “Both the homeowners and we at Elemento are very proud to be Guatemalan,” says co-founder Daniela de la Riva. This pride resonates in every detail, grounding the Tuscan-inspired vision in the craftsmanship of Guatemala. WEAVING OLD AND NEW Perhaps the most powerful gesture came from the unearthed arch, which became “the heart of the project.” It embodies the spirit of the house itself: a structure that carries the weight of history yet welcomes the energy of the present. By weaving together eras, cultures, and traditions, Elemento has created a home that is both a retreat and a living testament to Antigua’s layered past.