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Oneworld Ayurveda in Ubud, Bali offers a seven-day Panchakarma program with personalized Ayurvedic treatments, yoga, and vegetarian meals. October 9, 2025 | TRAVEL RESET in BALI: INSIDE the PANCHAKARMA EXPERIENCE words Rengin Atik photos Courtesy of Oneworld Ayurveda After a twelve-hour flight, I landed in Bali with a suitcase full not just of clothes but of expectations. I had signed up for a weeklong program of Panchakarma — Ayurveda’s most powerful detox method — and the anticipation was running high. Let me say this right away: the moment I stepped into Oneworld Ayurveda in Ubud, I felt as though I had crossed into another dimension. It was as if the entire world around me had suddenly vanished. What came next? Let’s begin… THE BEGINNING OF THE STORY “Living in balance is the key to happiness, and that’s what I aim to offer,” says Claude Chouinard, founder of Oneworld Ayurveda. His path, however, was far from ordinary. After a successful career in Canada, Claude left everything behind in 1992 to embark on what was meant to be a one-year spiritual journey through Southeast Asia and India. That one year stretched into eight — years of deep inner exploration that profoundly transformed his view of life. Along the way, he discovered Ayurveda, yoga, and Eastern healing traditions. In 2000, Claude was drawn to Bali by the island’s powerful spiritual energy and settled there. He began modestly, opening a small spa in Ubud, but his vision expanded quickly. By 2003, together with his partner Iyan, he co-founded Oneworld Retreats. A decade later, his vision evolved once again, leading to the creation of Oneworld Ayurveda — Bali’s first authentic Panchakarma center, blending ancient Indian wisdom with Balinese serenity. WHAT IS PANCHAKARMA? Literally translated, Panchakarma means “five actions.” This ancient Ayurvedic practice consists of five therapeutic steps designed to deeply cleanse the body of toxins and restore balance to the doshas — Vata, Pitta, and Kapha. According to Ayurveda, everything in the universe is made up of five elements — earth, water, fire, air, and space (ether) — and the three doshas are expressions of these elements in different forms. Vata embodies kinetic energy and movement (air and space), Pitta represents thermal and biochemical energy — heat (fire and water), while Kapha symbolizes potential energy, cohesion, and structure (water and earth). The program offers 7, 14, or 21-night options under the supervision of Ayurvedic doctors and yoga instructors, who craft fully personalized treatments based on each guest’s unique dosha profile. By assessing physiological traits and psychological tendencies, Oneworld Ayurveda practitioners design daily routines, diets, and activities specific to you. THE INVISIBLE LINK TO MY INNER TURBULENCE My very first day was a challenge on its own. My body had to adapt not only to a new living space but also to the humidity and the long, sudden rains in the middle of Bali’s lush forests. That first afternoon, during my consultation with Ayurveda gynecologist Dr. Resmi V. Rajagobal (BAMS), my body type, diet, and Ayurvedic supplements were determined. I turned out to be 50% Vata, 27% Kapha, and 23% Pitta. Flipping through the beautifully prepared booklet we were given, I stopped at the pages describing Vata traits and imbalances. Every word mirrored the silent struggles I had carried in daily life — insomnia, waking in the night and being unable to fall back asleep, and much more. For the first time, I could see the invisible link between my inner restlessness and my outer experiences. That’s how my journey began. CLEAR OUTLINES OF THE DAYS Each morning began at 6:00 a.m. with the gentle sounds of meditation bowls. At 6:30, a gong resonated throughout the property, reminding everyone that yoga was about to start. The rest of the day unfolded with nourishing vegetarian meals, toxin-releasing massage therapies, and treatments that left me feeling deeply renewed. Add to that attentive doctor consultations and another round of wholesome, flavorful dining, and every day flowed in a fulfilling rhythm of wellness — from sunrise to sunset. Meals could be ordered to the room, enjoyed on the terrace, or shared with other guests in communal spaces. On some evenings, I chose to have dinner alone in my room, surrounded by the Bali jungle. QUESTIONS ABOUT HOW WE LIVE The experts at Oneworld Ayurveda do more than provide a physically fulfilling program. They encourage you to think outwardly about Western health practices and inwardly about the way you live outside this sanctuary. I had assumed my greatest challenge here would be giving up coffee — a small luxury that had anchored my mornings for years. Yet as the days unfolded, I realized caffeine wasn’t the real struggle. What unsettled me most was something simpler: not being able to take my daily long walks. The rhythm of walking, I discovered, had been my hidden form of meditation all along. HOLISTIC SYNCHRONIZATION Every part of the facility and the experience can be summed up with one phrase: holistic synchronization. Every detail had been carefully thought through and personalized. Nothing was overlooked. Even upon departure, we were given advice on how to sustain the benefits gained here — from continuing dietary adjustments to light yoga, and ideally dedicating equal time to detox in the “real world.” HOW I FELT WHEN LEAVING Oneworld Ayurveda is not simply a retreat — it’s an invitation to return to yourself. For me, the realization was simple yet profound: healing doesn’t always come from adding more to your life. Sometimes, it begins with stopping, letting go, and allowing yourself to rest. By the end of my seven-day journey, I felt profoundly lighter — not just in body, but in spirit. I returned home not only with glowing skin and a calmer mind, but with a renewed awareness of how balance can be lived. And with the conviction that everyone should experience this at least once — to rebalance themselves and to recognize how modern life has thrown our doshas off course.

Santorini travel guide to Oia hotels, Cycladica Private Villas, volcanic beaches, boat trips and distinctive caldera views across the island. August 2024 | Vol 13 LIFE HERE is LIKE a WAKING DREAM words & photos Kristina Avdeeva G reek holidays in Santorini are high on the list of unforgettable adventures. The volcanic origin of the island against the backdrop of white houses and blue domes of the churches gives an association with fantastic cinema. Throughout history, the appearance of the island has changed many times. What modern man sees today is the result of a powerful explosion in 1707 that created a crescent-shaped caldera, making this place one of the most beautiful and unique in the entire Cyclades archipelago. IT CAN BE REMINISCENT OF THE STAR WARS MOVIE Renting a car in Santorini increases the chances of seeing more non-tourist routes. Feel free to visit archaeological museums, wineries, the beaches of Theros Wave Bar, Paralia Koloumpo or Paralia Agios Nikolaos - each of them will remind you of the Star Wars movie. And along the way, count the Greek churches, go inside if possible and do not hesitate to admire the surrounding wonder. MINIMALIST AND MEDITATIVE: ANDRONIS ARCADIA If you're on holiday for a long time, it's a good idea to stay in different places. The fishing village of Oia in the north of the island is much smaller than the capital Thira, but there are some interesting places to visit. Andronis Arcadia Hotel in Oia is an elegant and inspiring meditation center from the Preferred Standards of ExcellenceTM collection. Minimalism in architecture that complements the relief and recalls primitive times, while at the same time representing the highest levels of comfort and style. A distinctive feature feature - an isolated area, not included in the chain of houses of typical Santorini architecture, can rightly be considered the hallmark of this place. Guests of the hotel, in addition to an unforgettable experience in it, receive a ticket to the front row for a show of amazing sunsets, which are pleasant to watch from their own pool with a glass of local wine. TRUE ROMANTICS: LASKARINA AND YANNIS Fans of authentic city life should choose Cycladica Private Villas. The creators, Yannis and Laskarina, have built a real oasis, taking into account their personal experience of living on the island and respecting centuries-old traditions, without forgetting the quality standards of 5-star hotels. One of the best examples of "yposkafo", the Greek term for building architecture partially buried in the ground, are the Cycladica Villas: narrow and deep houses with a cool living room in the front, bedrooms in the back, a small kitchen and a magnificent terrace with a hypnotic view of the caldera. Laskarina and Yannis are true romantics, in love with the history of their native island, and have made their dream come true. And they will be your guides to the surrounding sights. Don't miss the boat trip: a picnic on the water, fascinating new perspectives on Santorini and stories from Yannis, whose ancestors still remember one of the last eruptions. You will remember this day with great pleasure. This summer, everyone who visits her will have the opportunity to enjoy the island not only from the terrace, but also from the water. Yannis' hard work and patience finally made it possible to complete the construction and launch of the wooden boat. The fulfillment of a long time dream will double the impressions of your stay on the island. You can be sure that this will be one of the unforgettable adventures of your life. ANOTHER HIDDEN PLACE, KATIKIES KIRINI On the other side of the village of Oia is another hidden place, Katikies Kirini. It is part of a group of boutique hotels located in different parts of the islands of Santorini and Mykonos. The villas are an extension of the snow-white village houses that, from a distance, resemble snow caps on the peaks or powdered sugar on an Easter cake. From here, a familiar view of the caldera opens up, but from a slightly different side - and it will definitely fall into the treasury of memories of unforgettable landscapes. Reserve a table at Selene Restaurant with the concierge. Michelin-starred chef Ettore Botrini returns to forgotten traditions, embodying the most vivid fantasies of Greek cuisine. Within the walls of a charming medieval era, with a glass of wine from the Santorini vineyard, the evening turns into a romantic fairy tale under a blue moon in a starry sky. Wherever the roads lead in Santorini, no matter what plan you choose for the day, a classic taverna or a Michelin starred restaurant, a wild beach or a private pool in a villa, against the backdrop of a volcanic landscape, you will feel like the hero of a movie traveling to another planet. In this place, life is a waking dream, and this dream is better seen with your own eyes. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

Fondation CAB in Saint-Paul-de-Vence presents Partenaires Particuliers, a 2025 exhibition connecting Supports/Surfaces with contemporary art. April 2025 | Art & Culture a DYNAMIC REAWAKENING of FRENCH AVANT-GARDE words Alp Tekin photos Antoine Lippens From 14 March to 2 November 2025, the Fondation CAB in Saint-Paul-de-Vence is the stage for an electrifying exhibition that revives the spirit of the Supports/Surfaces movement alongside cutting-edge contemporary art. Curated by Hugo Vitrani—the visionary behind the Palais de Tokyo—this show spotlights a seminal chapter in French art history, breathing new life into works that shattered traditional boundaries. Supports/Surfaces, one of the founding forces of French contemporary art, transformed the landscape of both painting and sculpture. Between 1970 and 1971, a vibrant group of artists—predominantly hailing from the south of France—joined forces to stage four groundbreaking collective exhibitions. Icons such as André-Pierre Arnal, Vincent Bioulès, Louis Cane, Marc Devade, Daniel Dezeuze, Noël Dolla, Toni Grand, Bernard Pagès, Jean-Pierre Pincemin, Patrick Saytour, André Valensi, and Claude Viallat challenged conventions by declaring themselves painters, even as their work unsettled audiences accustomed to the familiar rigidity of stretched canvases. In Partenaires Particuliers, the exhibition acts as a fertile field—seeding the past with a dozen historic pieces that encapsulate the raw, unfiltered energy of this avant-garde movement. These works, ranging from brushless paintings to canvases folded, burnt, or reassembled, serve as a manifesto for La peinture en question, the initial declaration of a group that continually evolved, critiqued, and ultimately transcended its own boundaries. In 1969, Louis Cane, Daniel Dezeuze, Patrick Saytour, and Claude Viallat boldly asserted: “The object of painting is painting itself, and the paintings exhibited relate only to themselves. They do not appeal to an ‘elsewhere’... They offer no escape, because the surface, through the ruptures of form that are operated upon it, prohibits the viewer’s mental projections or dreamlike ramblings.” Adding to this rich historical tapestry, the exhibition also features an eclectic mix of works by both past and present artists from London, Mexico City, New York, Los Angeles, Toronto, Martinique, and Paris. With contributions from names like Ernest Breleur, Pierre Buraglio, Edith Dekyndt, Ladji Diaby, Miho Dohi, Torkwase Dyson, Fred Everlsey, Melinda Fourn, Kapwani Kiwanga, Renée Levi, Myriam Mihindou, Brandon Ndife, Jack O’Brien, Robert Overby, Bernard Pages, Jean-Pierre Pincement, and Hall Haus, Partenaires Particuliers promises a vibrant dialogue between eras and geographies.

Essence of Japan is a calm family home in West London by Yoko Kloeden Design, shaped by Japanese principles, natural materials, and quiet detail. January 26, 2026 | DESIGN & INTERIORS ESSENCE of JAPAN words YUZU Editorial photos Anna Stathaki A quiet London home shaped by Japanese design. Located on a residential street in Ealing, West London, Essence of Japan is a two-storey 1960s terraced house transformed into a calm and inward-looking family home by Yoko Kloeden Design. The project translates Japanese spatial principles into a contemporary London context—measured, restrained, and free of nostalgia. Designed for a professional couple relocating from Hong Kong, the brief centred on simplicity, natural materials, and a strong sense of place. Having stood empty for years, the house required a complete refurbishment. Rather than imposing a new identity, the design approach focused on creating a pared-back envelope defined by wood, tactility, and carefully considered detail. A DESIGN LANGUAGE ROOTED IN RESTRAINT Founded in 2016, Yoko Kloeden Design is known for creating homes shaped by material honesty and a close relationship with nature. For Essence of Japan, Yoko Kloeden worked with craftspeople trained in Japan and sourced authentic materials directly from the country. Sustainability and ethical sourcing informed both construction choices and finishes throughout the project. The result is not a literal interpretation of Japanese interiors, but a lived-in expression of their underlying principles—clarity, flexibility, and calm. THRESHOLDS, TRANSITIONS, AND FLOW The entrance plays a defining role in the home. The hallway was extended to create a clear separation between interior and exterior, accommodating generous shoe storage, concealed cabinetry, and a full-height mirror. Oak and concrete establish a restrained material palette that continues throughout the house, lending cohesion and continuity. Clean lines and natural surfaces shape the circulation spaces, allowing rooms to unfold gradually rather than abruptly. LIVING WITH INTENTION In the living and dining area, wellbeing informed many design decisions. Due to the client’s dust allergy, soft furnishings were kept to a minimum. Wooden slatted acoustic panels improve sound quality while adding warmth and rhythm, complemented by a bespoke grass rug sourced from Japan. The kitchen follows the same logic: compact, efficient, and deliberately understated, with grey marble countertops adding a quiet sense of depth and durability. FLEXIBLE SPACES AND QUIET DETAILS Adaptability was central to the layout. A multi-purpose room functions as both home office and guest bedroom, divided by traditional Shoji paper sliding screens designed with Wabi Sabi Design. A custom-built wooden platform serves as a yoga space, seating, or a base for a futon, with integrated storage when not in use. In the guest WC, porcelain tiles by Japanese manufacturer INAX and split bamboo detailing introduce gentle curves and softness to an otherwise minimal palette. RESTING CLOSE TO THE GROUND The main bedroom reflects the clients’ preference for sleeping on a futon. Bespoke tatami mattresses were made in Tokyo, while a wall-to-wall oak headboard—referencing a boutique hotel in Nara—adds warmth and structure. Bathrooms continue the same restrained language, with marble acting as both visual anchor and tactile surface. Rather than importing a style, Essence of Japan embraces a way of living—one grounded in calm, intention, and material clarity. A quietly crafted retreat, designed for everyday life in the city.

Nisan 2020 | Seyahat | Fas Açıl susam açıl: Marakeş Yazı | Özlem Avcıoğlu F as dendiğinde akla gelen ilk şehir, toprağının renginden dolayı neredeyse tamamı kızıl olan Marakeş. Biraz İslami gelenekten biraz da Mağrip mimarisinin özelliği nedeniyle zenginliğin de yoksulluğun da yüksek duvarlar arkasına gizlendiği, kendini hemen göstermeyen kapalı bir şehir… Eskiyle yeninin birbiriyle çarpıştığı Marakeş, aynı zamanda ünlü modacı Yves Saint Laurent’nin şehri. Hatta şehrin bu kadar tanınıp ziyaretçi çekmesinin en büyük sebeplerinden biri kendisi. “Bana renkleri bu şehir öğretti. Onun ışığına, cüretkâr melezliğine ve coşkulu keşiflerine tutundum” der Yves Saint Laurent. Bu iddialı cümlesine şunu da ekleyerek: “Marakeş’ten önce her şey siyahtı”. Marakeş’e giderseniz bu sözlere hak vereceksiniz. Çünkü kentin unsurlardan biri renk. Dikkat çeken ilk renk maviyle mor arasındaki göz alıcı parlak tonuyla Majorelle mavisi. Fas çinilerinde ve Berberi evlerinin pencere kenarlarında yıllardır kullanılan bu mavi ton, Yves Saint Laurent Sokağı üzerindeki Jardin Majorelle’den almış ismini. KÜLLERİ O BAHÇEDE Nitekim Marakeş’te beni en çok büyüleyen yer her daim Jardin Majorelle. Çeşit çeşit kaktüsler, palmiye ağaçları ve ufak havuzların yer aldığı bu tropik bahçe, Fransız ressam Jacques Majorelle’in eseri. 1920’lerde Marakeş’e yerleşen ressam, stüdyosunun da bulunduğu evinin etrafında bu bahçeyi oluşturmuş. Evin çevresini nadide ağaç, bitki ve çiçek türleriyle donatarak bir mücevher gibi işlemiş burayı. Bu bahçe ressamın Kuzey Afrika yerlilerini ve manzaralarını betimleyen yağlıboya tabloları gibi başyapıtlarından biri haline gelmiş. Jacques Majorelle bakım maliyetlerini karşılamak için bahçeyi 1950’lere doğru ücretli olarak halka açmış. Majorelle’in 1962 yılında hayatını kaybetmesinin ardından bahçe ve içinde bulunan evi Fransız modacı Yves Saint Laurent satın almış ve yeniden dizayn etmiş. Laurent burayı o kadar sevmiş ki, 2008 yılında öldükten sonra külleri bu bahçeye savrulmuş. MUSEE SAINT LAURENT Majorelle Bahçesi’ne yürüme mesafesinde açılan Musée Saint Laurent Marrakech ise bu ufuk açıcı ziyaretin en yeni durağı. 2017’de açılan müze, tasarımcıyı ve üretimlerini yakından tanımak için eşsiz bir deneyim sunuyor. Pierre Bergé-Yves Saint Laurent Vakfı sayesinde bugüne dek korunan binlerce couture parça, Mondrian elbiseden Le Smoking takıma ikonik YSL tasarımları, eskizler, Warhol gibi sanatçıların imzasını taşıyan portreler müzenin kalıcı koleksiyonunda yer alıyor. EN İYİ OTEL MANDARIN Konaklamaya gelirsek… Bu şehirde iki seçeneğiniz var. Ya şehrin karmaşası içinde kalıp gece gündüz Marakeş’i yaşamak ya da gündüz şehrin keşmekeşini yaşayıp gece şehre 15 dakika uzaklıkta bir lüks otelde kalarak durumu dengelemek… Benim tercihim her iki ziyaretimde de ikincisi oldu. Merkeze 10 dakika uzaklıktaki Mandarin Oriental Marrakech ’ten çok memnun kaldım. Toprak rengi tonları, dev havuzu, bahçesi, kendine ait havuzlu villalarıyla bence şehrin en iyi oteli. İçinde açılan Hakkasan Ling Ling ise Marakeş’in fazla turistik yeme-içme hayatına yeni ve lezzetli bir soluk. Marakeş’i ilk ziyaretimde kaldığım ve son zamanlarda renove edilen, yine şehrin dışında bulunan Aman grubunun resort oteli Amanjena da konaklamak için en iyi seçeneklerden biri. LA MAMOUNIA BOZULMUŞ Marakeş’in en ünlü oteli Endülüs mimarisinden izler taşıyan La Mamounia ise şehir merkezinde olmak isteyenler için en iyi seçenek. Kalmasanız da yolunuz öğle veya akşam yemeği için bir şekilde buraya düşüyor. Ancak ben oteli eski halinden çok şey kaybetmiş buldum. Gireni çıkanı fazla olan, aşırı turistik, servisi aksayan, yemekleri vasat bir otel haline dönüşmüş. Yine de barı akşamüstleri için en iyi seçenek. MUTLAKA: EL FENN Son yıllarda kendine has odalarıyla adından söz ettiren El Fenn Oteli ise şehrin en güzel ve ünlü ‘riad’ı, yani geleneksel Fas mimarisinde yapılmış sarayı. Odalarının her biri başka renk olan otel, kalmak için bana fazla klostrofobik gelse de altındaki kafesi, tasarım dükkânı ve terasındaki lokantası mutlaka ziyaret edilmeli. Öğle ya da akşam yemeği bu lokantada yenmeli. UNUTMADAN… 1. Yaklaşık 11 yıl önce gittiğimde beni kendine hayran bırakan şehrin en ünlü lokantası Dar Yacout 'u gör. Havuzlu tarihi villası ve iç dekorasyonuyla hep büyüleyici. Ama biraz fazla turistik tabii. 2. Marakeş surların içindeki eski şehir Medina ve ‘yeni şehir’ olarak olarak ikiye ayrılmış. Medina tarihi yapılarla ve pazarlarla dolu, yeni şehir ise modern binalar, dükkânlar ve malikanelerle. Her ikisini de yürüyerek gez. 3. Medina’nın çarşıları (Medina Souks), turistlerin en çok ziyaret ettiği noktalardan biri. Buranın kaosunda kaybol ve lokal yemekleri sağlıklı ve modern bir şekilde sunan Nomad Restoran'ın ‘souk’lara bakan terasında öğle yemeği ye. 4. Gece eğlencesi için Comptoir Darna ’yı dene. 5. Genellikle grupların kapattığı bir başka nefis, aynı zamanda instagram güzeli oteli mutlaka gör: Ksar Char Bagh. 6. Fas mutfağıyla ünlü Al Fassia 'yı , dekorasyonunu çok sevdiğim Bo-Zin 'i ve Avustralya mutfağı yemekleriyle yeni nesil bir Marakeş restoranı olan Plus61 Marrakech 'i denemeden dönme! SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

Vilebrequin CEO Roland Herlory discusses the brand's 1971 love story, St Tropez's 1970s Riviera spirit, beach living and sustainable design. Temmuz 2021 | Volume IV - Y A Z ROLAND HERLORY “Pozitif Riviera ruh halini aşılamaya çalışıyoruz” Yazı | Sibel İpek B u yıl 50’inci yaşını kutlayan Vilebrequin’in sırrına vakıf olmak için markanın CEO’su Roland Herlory’ye kulak verin. Herlory, tasarımlarının bir noktasına mutlaka sinen 70’lerdeki St Tropez ruhunu, plajda yaşama sanatını ve sürdürülebilir ürün yaratmanın kodlarını zarif bir şekilde anlatıyor. Markanın başlangıç hikâyesini çok merak ediyorum... Vilebrequin’in geçmişi 1971’de başlayan bir aşk hikâyesine dayanıyor. Markanın kurucusu Fred Prysquel aslında dünyanın farklı coğrafyalarında yarışları takip eden bir Formula 1 muhabiri. Bir gün St Tropez’deyken plajda Yvette’i görüp aşık oluyor. Kendini Yvette’e beğendirmek için herkesten farklı görünmeye karar veriyor ve Kaliforniyalı sörfçülerin şort modelleri ile Afrika’nın wax adı verilen desenli kumaşlarından aldığı ilhamla kendine mayolar yapıyor. Başarı çok kısa sürede geliyor; hem Yvette Fred’e aşık oluyor hem de şortları gören tüm ünlüler aynısından sipariş ediyor! İşte bu Vilebrequin’i eşsiz yapan ve başka hiçbir markada olmayan bir aşk hikâyesi... . St Tropez 70’lerin özgürlük ve cazibe merkezlerinden biriydi... Vilebrequin’in marka ruhuna bu özgürlüğün de etkisi olmuştur mutlaka değil mi? Evet, St Tropez o yıllarda dünyanın merkeziydi. Mick ve Bianca Jagger çifti 1971’de St Tropez’de evlendiği zaman burası ünlüler için özgürlüklerinin tadını çıkarttığı bir buluşma noktasıydı. Vilebrequin olarak biz de müşterilerimize mutlaka bu pozitif Riviera ruh halini aşılamaya çalışıyoruz. Nerede olursa olsunlar. İster St Tropez, Los Angeles, İstanbul ister St Barts ya da Forte dei Marmi’de. Tamamı için... Print YUZU MAGAZINE - IV Out of Stock View Details

3daysofdesign 2026 returns to Copenhagen from 10–12 June with eight design districts, meeting points and selected exhibitions across the city. June 8, 2026 | DESIGN & INTERIORS DESIGN UNFOLDS ACROSS COPENHAGEN words YUZU Editorial 3daysofdesign 2026 returns to Copenhagen from 10–12 June, once again unfolding across the city. Shaped around this year’s theme, “Make This Moment Matter”, the festival is organised across eight different Design Districts spread throughout Copenhagen. As always, the festival avoids concentrating design in a single fairground setting. Instead, it invites visitors to experience Copenhagen in a slower, more conscious way — moving through the city and discovering how design intersects with public space and everyday life. Rather than functioning as a conventional fair, the festival encourages visitors to experience Copenhagen itself. Here are this year’s districts and our selection of exhibitions from each neighbourhood: 1- CHRISTIANSHAVN Material Matters, HAY, Dusty Deco, rombach glas 2- FREDERIKSSTADEN SANCAL, Designmuseum Danmark, USM Modular Furniture, Magnus Olesen, Designs of the Time, Studio Pallavi, ALPI 3- HOLMEN Ferm Living, BOLIA, Louis Poulsen, Marazzi, BLOND, Hem, BAUX, 3XN GXN, The Royal Danish Academy 4- ISLANDS BRYGGE Tomomi Yokoyama Design, Seiko Akashi Design, Rosti, Københavns Møbelsnedkeri 5- KONGENS NYTORV 101 Copenhagen, Aesop X Other Matter, Arthur Rottier, Carl Hansen & Søn, FRAMING, LAYERED, Magis, NORDICMODERN, raawiii, SAVO, Secto Design 6- KULTUR Danish Architecture Center, Local Gallery, Tina Frey Designs, Objects of Desire, Homo Faber Fellowship, FANZI 7- NORDHAVN GUBI, Parachilna, Origin Made, VELUX, ARIAKE, Zimmer + Rohde, Ladies & Gentlemen Studio 8- ROSENGÅRDEN &Tradition, Fritz Hansen, Montana Furniture, Fredericia, Louise Roe, A-N-D, TABLEAU + SECOLO, ASKO, Matias Moellenbach MEETING POINTS: i—Points Introduced last year, the i—Points return as one of the festival’s meeting points. Located across different parts of the city, these spaces offer visitors a place to pause, navigate the programme, connect with others and shape their own route through the festival. TERENZIANI: REAL IMPACT HAPPENS IN THE PRESENT This year’s theme, “Make This Moment Matter”, was visually developed by the emerging design studio and exhibition platform On Display. Speaking about the theme, Signe Byrdal Terenziani, CEO of 3daysofdesign, says: “We are living in a time shaped by chaos, uncertainty and filtered realities. As a result, people are searching for deeper meaning. Make This Moment Matter is a powerful reminder that the only place where we can truly make an impact is the present moment. The past inspires us, the future motivates us — but real impact can only be created in the here and now.” DESIGN SHOULD BE ABOUT INTENTION, NOT SPECTACLE For Terenziani, the theme also functions as a call to action: “Designers are increasingly questioning the role of their own practice: Why are we making this? What purpose does it serve? How does it affect our communities and the planet? When you say Make This Moment Matter, you also acknowledge that the choices we make have long-term consequences. It encourages us to switch off autopilot and act more consciously. That includes the collaborations we build, the ideas we develop together and the stories we choose to tell. At the same time, the theme carries a sense of optimism. It reminds us that design can help us shape a better future together.” Could “Make This Moment Matter” also be read as a response to overproduction and overconsumption? Terenziani’s answer is direct: “Absolutely. It invites us to pause before producing something new and ask whether it genuinely adds value to people, culture and the planet. I believe design should be about intention rather than spectacle. This theme encourages us to focus not on ‘more’, but on what is truly meaningful.”

Alvorada Villa in Dubai is an open-plan family home with interiors designed by Marie Claire Mrad for owners Bridie and Chris Hani, featured in YUZU. November 2023 | Design & Interiors english below A Dubai villa where white and black design words Alp Tekin photos Walid Rashid K endi ismini taşıyan stüdyosuyla dikkat çekici projeler yapan iç mimar Marie Claire Mrad’in son projesi Alvorada Villa. Dubai’de yer alan proje için Mrad şöyle diyor: “Minimalizm ile keskin bir lüks hissi arasındaki hassas denge. Bu evin ilham kaynağı işte tam da buydu”. Bridie & Chris Hani çiftine ait olan villanın etrafını bir havuz ve barbekü alanına sahip salonu bulunan 250 metrekarelik açık hava terası sarıyor. İki katlı villada tüm iç duvarlar kaldırılmış ve geriye sadece yapısal sütunlar bırakılmış. Böylece tüm fonksiyonların birbiriyle iletişim kurup mükemmel bir uyum içinde olduğu açık bir alan yaratılmış. Dört ana alan (ana yaşam alanı, bar, TV alanı ve mutfak) herhangi bir görsel engel olmaksızın, her alanın tanımı bozulmadan yan yana yerleştirilmiş. Marie-Claire Mrad, “Mekanda hiçbir duvar veya görsel engel olmadan mükemmel bir akış elde etmek istedim” diyor. “Tüm proje boyunca görüş açık: İç mekandaki farklı işlevler birbirleriyle uyumlu bir şekilde iletişim kuruyor”. “Gerçek lüks, projenin konseptinde yatıyor” diyen Mrad, “Mobilyalardan aydınlatmaya kadar her ayrıntı mekana özel olarak düşünüldü, tasarlandı ve uygulandı”. A lvorada Villa is the latest project of interior architect Marie Claire Mrad, who creates remarkable projects with her studio bearing her name. For the project in Dubai, Mrad says: “The delicate balance between minimalism and a sharp sense of luxury. That was exactly the inspiration for this house”. Owned by Bridie & Chris Hani couple, the villa is surrounded by a 250 square meter outdoor terrace with a pool and lounge with barbecue area. In the two-storey villa, all interior walls were removed, leaving only the structural columns. Thus, an open space was created where all functions communicate with each other and are in perfect harmony. The four main areas (main living area, bar, TV area and kitchen) are placed side by side without any visual obstruction, keeping the definition of each area intact. “I wanted to have a perfect flow in the space, with no walls or visual obstacles,” says Marie-Claire Mrad. “The view is open throughout the whole project: in the interior, the different functions are communicating in a harmonious way between each other; and from the interior to the exterior, the envelope disappears to make the indoor one with the outdoor, creating a frame or a scene in each space”. “The true luxury resides in the conception of the project,” said Brad, “Everything is customized. From the furniture to the lighting, every single detail was thought of, conceived and executed specifically for the space”.

Martin Cenek transforms his 49-square-metre apartment in Prague’s New Town into a Functionalist Home balancing restored details with custom furniture. November 5, 2025 | DESIGN & INTERIORS a FUNCTIONALIST HOME words Alp Tekin photos Alex Shoots Buildings In Prague’s New Town, architect Martin Cenek turns his own apartment into a meditation on form, function, and memory. The result is a space where modernist precision meets quiet, lived warmth. In a late-1930s functionalist building in Prague’s New Town, architect Martin Cenek has transformed his own apartment into a quiet reflection on time, identity, and design. The 49-square-metre flat — both home and experiment — balances restoration with renewal. Cenek approached the project as both architect and inhabitant. Original windows, doors, and fittings were meticulously restored, while a raw concrete ceiling, once hidden under plaster, now anchors the living room with sculptural clarity. A new block of custom furniture in stained oak and white lacquer conceals the bathroom, kitchen, and storage — a minimalist gesture that shapes space without erasing history. Every piece tells a story: Thonet chairs from his great-grandparents, a 1930s lamp from his great-uncle’s office, a rare tubular chair by Karel Ort, and a Nendo “Fusion” sofa coexist naturally, joined by a pink piglet stool — a humorous gift that softens the discipline of the space. Cenek calls the renovation an exercise in coexistence: between past and present, precision and play. The result is a home that feels deeply personal yet profoundly architectural — a modest ode to Prague’s modernist spirit.

April 10, 2026 | vol 17 MADE in LISBON: TWO CRAFTS, ONE VISION photos André Nave In Lisbon’s Príncipe Real, a new address quietly redefines how we experience Portuguese design. Conceived by jewellery designer and architect Sofia Esquivel and the ceramic duo Isac Coimbra and Diogo Ferreira, the shared space brings together two disciplines united by craftsmanship, geometry, and form. More than a showroom, it acts as a living studio — a place where materials, ideas, and people intersect. With its earthy palette and sculptural displays, the interior mirrors the brands’ sensibilities: thoughtful, tactile, and distinctly contemporary. Together, Esquivel. and GRAUº invite visitors into an intimate dialogue between silver and clay, tradition and experiment, object and emotion. Príncipe Real has become one of Lisbon’s most creative neighbourhoods in recent years. What, in your view, makes this area so special from a design perspective? Príncipe Real stands out for how it blends heritage with experimentation. Historic façades and leafy squares sit alongside concept stores and creative studios, giving the area a layered, evolving identity. It feels both authentic and forward-looking — where design honours the past while constantly embracing new ideas. With your new space, how do you hope to contribute to Lisbon’s design landscape? Our space reflects the dialogue between authenticity and experimentation. It’s the first time jewellery and ceramics — our two authorial expressions — are presented together under one roof in Lisbon. Beyond that, we want to foster interaction. Both Esquivel. and GRAUº invite direct contact between creator and visitor, offering bespoke commissions and consultations that make design a shared experience. How did the idea of bringing ceramics and jewellery together under one roof first come about? SOFIA: As a jewellery brand, I knew direct contact with the public was essential. When I found the space, I realised it was slightly too big, so I thought of GRAUº. We’ve often shared events and audiences — and a similar creative mindset. ISAC + DIOGO: Opening a physical space was always part of our vision, though we imagined it would come later. When Sofia reached out, we knew this was the right moment to grow and evolve — we couldn’t say no. Both brands share a focus on geometry and detail. Where do you see the common ground between silver and clay? Both Esquivel. and GRAUº are rooted in craft and precision. With clay, geometry emerges through shaping and structure; with metal, it’s in the accuracy of cutting and finishing. The connection lies in our shared attention to detail — a respect for materials, process, and the deliberate rhythm of making. EVENTS LIKE LISBON BY DESIGN AND LISBON DESIGN WEEK HAVE HELPED SHAPE THIS MOVEMENT — WE WERE FORTUNATE TO JOIN BOTH Sofia, your jewellery draws inspiration from architecture — from Modernism to Art Deco and Organic Architecture. What fascinates you most about translating buildings into wearable pieces? SOFIA: I’ve always been fascinated by scale — how changing proportions alters the way we relate to space and form. During my MA in Scenography in London, this interest became almost an obsession. When I began designing jewellery, I naturally turned to architecture, sketching buildings that moved me and translating their essence into small, wearable structures. Each piece reflects a fragment of a space or a detail that caught my eye — it’s never just jewellery; it carries a story. I love how something monumental can be reimagined as something intimate enough to wear. GRAUº’s work balances a modern and tribal aesthetic. How would you describe this tactile, sensory universe that defines your ceramics? And what’s driving Lisbon’s growing design scene? ISAC + DIOGO: Our work merges raw textures with refined forms — pieces that feel grounded in tradition yet carry a modern edge. Clay invites touch, while geometry brings precision and clarity. We explore the space where raw, almost tribal roots meet minimalist design. Portugal, and Lisbon in particular, has a deep craft tradition — from ceramics and textiles to tilework and wood carving. In recent years, there’s been a revival of these crafts through contemporary reinterpretation. Designers are merging old techniques with new aesthetics, creating work that feels both timeless and fresh. Events such as Lisbon by Design and Lisbon Design Week have played an essential role in amplifying this movement, and we were fortunate to take part in both. Events like these give visibility to both established and emerging designers, while offering a mix of exhibitions, workshops and open studios, which helps connect local talent to national and international networks. People are visiting Lisbon not just for its historic beauty, but to also see galleries, studios, craft shops and interact with the design scene in person. And we definitively want to be a part of this, through our new space. Address: Rua Nova de São Mamede, 13 - store 11, Lisbon - The full story is featured in Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

Origin Made is a Porto-based design company founded by Gabriel Tan and Cherie Er, preserving Portuguese crafts through small-batch design objects. March 2025 | DESIGN & INTERIORS ORIGIN MADE CRAFTING TOMORROW from YESTERDAY words Soraia Martins Six years have passed since the foundation of the Porto-based design company Origin Made. Its founders, Gabriel Tan and Cherie Er, came all the way from the other side of the world to settle in this Portuguese town that sits close to many of the workshops and skilled artisans they have always been interested in working with to create meaningful design pieces that combine functionality and beauty. Rooted in Portuguese craftsmanship while expanding across borders, Origin Made is keen on telling stories of tradition, materiality, and the human touch. By working in small-batch productions and valuing the uniqueness of handmade processes, Origin Made not only preserves crafts that seem lost in time but also gives them renewed relevance in today’s design landscape. And their story is as thoughtful as everything they make. How did Origin Made begin? Besides your travels to Porto and discovering a quiet industry devoted to crafts, how did Origin Made take shape into what we know today? Origin Made began quite organically during our early travels to Porto, even before we decided to move to the city. What struck us most was discovering these incredible family-run workshops that had been perfecting their craft for generations yet remained relatively unknown to the wider world. The city had this remarkable ecosystem of craftspeople—woodworkers, metalworkers, ceramicists—all working with traditional techniques but not yet well connected with contemporary markets. That disconnect really sparked something in us. Along with Cherie, Origin Made’s co-founder, we saw an opportunity to bridge these artisans’ exceptional skills with modern design sensibilities. Our commitment to slow, thoughtful production and our belief in creating contemporary pieces that honor traditional craftsmanship definitely helped shape Origin Made into what it is today. THE ART OF SLOW MAKING: WHY HANDCRAFTED OBJECTS MATTER What are your backgrounds, and what led you to dedicate your life to design and craftsmanship? My (Gabriel Tan) journey in design began with my industrial design education at the National University of Singapore and then as a co-founder of the design collective Outofstock Design. But what shaped my perspective was working across different cultural contexts—from Singapore to New York, Barcelona to Japan, before finally settling down in Portugal, specifically Porto. These experiences showed me how design can be a powerful way to preserve and evolve craft traditions. Cherie worked in finance before joining me on this journey of reviving crafts through design. Her people skills and business acumen are key to the success of Origin Made. Can you tell me what the Japanese Mingei folk crafts movement is? The Mingei movement deeply resonates with our philosophy at Origin Made. Founded by Soetsu Yanagi in the 1920s, it celebrates the beauty of everyday objects made by folk artisans. What is fascinating about Mingei is its emphasis on the beauty that emerges from necessity and function—objects made to be used, not just displayed. The movement champions the idea that true beauty comes from integrating utility, necessity, and the natural making process. At Origin Made, we have expanded this philosophy in an interesting way—while we embrace Mingei’s core principle of functional beauty, we also recognize that beauty itself serves a function. We believe that objects and art perform an intangible but very real function. They generate emotions, pleasant moods, and lasting memories that contribute to our overall well-being. A beautiful, crafted sculpture might not have an obvious physical utility like a chair or a bowl, but its presence can transform a space, evoke joy, or create moments of contemplation. What was your first collection? How did you come up with it, and what was its underlying inspiration? Our first collection was deeply inspired by Portuguese craft traditions, particularly barro preto. The first pieces I designed for Origin Made were the Charred Vases, which have since become our perennial bestsellers. This traditional Portuguese way of firing clay in an underground kiln results in pieces that take on a distinctive finish and usually produce cookware such as oven pots and casserole dishes. The characteristic geometric forms of the Charred Vases introduced a new typology of products for barro preto application—decorative vases for floral arrangements. CRAFTED NARRATIVES, TIMELESS OBJECTS How do you see your evolution as a brand and studio since you first started? While Origin Made started by offering smaller collectible objects and home décor items, over the years, we began introducing small furniture items such as dining chairs, side tables, display plinths, and lighting. This year, Origin Made has made the jump to introduce larger furniture items, such as our first dining table—the Monumental Table designed by Gabriel Tan, and our very first upholstered seating, the Chalé Chair, a lounge seat designed by Hallgeir Homstvedt. We also launched our first collections of floor and wall rugs—Teia and Margem—signaling our foray into textile products. With this expansion of our interior offerings to cover a range of furniture, lighting, rugs, and design objects, we can now construct complete interior environments that genuinely reflect our philosophy where heritage crafts, modern design, and natural materials meet to create spaces that encourage gathering and connection. What do you enjoy the most about Origin Made and your work? The most satisfying aspect is witnessing the dialogue between traditional craftsmanship and contemporary design. There is something magical about seeing an artisan with decades of experience interpret our designs through their craft, often adding subtle nuances that can only come from deep material knowledge. I particularly enjoy the moments of discovery—finding new workshops, learning about traditional techniques, and seeing how these can be reimagined for contemporary contexts. The relationships we have built with craftspeople have become the heart of what we do. CELEBRATING TIME-HONORED TECHNIQUES Can you describe the process of collaborating with small, family-run workshops, solo artists, and craftspeople? Our collaboration process is very personal and built on mutual respect. We and our collaborating designers spend time understanding each workshop’s unique capabilities, their traditional techniques, and their preferred ways of working. It is never about imposing our design requirements; instead, we develop designs that embrace their expertise while gently pushing into new territory. We are constantly learning from their deep knowledge of materials and techniques. This process requires patience, as making by hand can’t be rushed, but this slower pace allows for thoughtful development and refinement of each piece. A crucial aspect of our approach is understanding and respecting the natural rhythm and capacity of small, family-run workshops. Most of our craftspeople and workshops aren’t set up for, nor interested in, large-scale production. They are artists and skilled makers who prioritize quality and attention to detail over quantity. This is why we consciously work in small-batch productions, typically creating limited quantities of each piece. This approach allows our artisan partners to maintain high standards without feeling pressured or overwhelmed by production demands. Sometimes, this means longer lead times, but we believe it is worth preserving the integrity of the craftsmanship and ensuring our artisan partners' well-being. THE HUMAN TOUCH BEHIND EVERY OBJECT What are your absolute favorite materials to work with? I have a particular affinity for wood and also metal, such as brass, because of how it ages and develops character over time. These materials tell a story through their use and wear. I am also drawn to pottery and ceramics. What makes clay unique isn’t just its physical properties but how they have been understood and worked with by the seasoned hands of craftspeople over generations. Which techniques are closer to your hearts and definitely part of your creative process? There is just something profound traditional joinery techniques, including joints that have been refined over centuries and can hold up structures and weights without any need for mechanical fasteners. We are also deeply interested in metal spinning, clay throwing techniques, stonemasonry, and basket weaving. What is it you desire the most for Origin Made going forward? While our journey began in Porto and our roots in Portuguese craftsmanship remain strong, our vision for Origin Made’s future is increasingly global. We see incredible opportunities to discover and support craft cultures not just in the Iberian Peninsula but across Asia, South America, Africa, and beyond. Each region has its own rich heritage of craftsmanship, often preserved through generations of artisans, and we are excited to explore these diverse traditions and techniques. https://origin-made.com @originmade

Temmuz 2020 | Seyahat | Türkiye Alaçatı Top 10 Yazı | Onur Baştürk D oğruya doğru, o eski Alaçatı yok. Bazen çok sert esen o rüzgarı gibi, kendini rüzgarın yönüne bırakmış savruluyor Alaçatı. Buna rağmen hâlâ tarzını, tavrını, özgünlüğünü koruyan mekanları, otelleri var. İşte Alaçatı ve civarının Top 10’u… 1. Before Sunset Bu yaz virüs nedeniyle değişiklik yaptılar. Akşamüstü Elefante adını verdikleri yeni restoranlarında gerçekten usta işi yemekler servis ediyorlar. Yemekler günbatımında başlıyor, geç saatlere kadar sürüyor. 2. Balıkçı Niyazi Isolee Plage içindeki Balıkçı Niyazi’nin karidesi, patlıcanı, kalamarı ve atomu ne zaman gitseniz aynı tatta oluyor. Hem salaş hem deniz kıyısında hem de öğleden sonraları çok kalabalık olmuyor. 3. Asma Yaprağı Ovacık yolu üzerine konuşlanmış yeni yerindeki büyük bahçe en büyük artısı. Yemekleri yıllardır bildiğimiz gibi, aynı kalitede. 4. Bom Dia Çok yeni nesil, çok Los Angeles! Alaçatı’nın o meşhur klasik kahvaltısından, pişisinden sıkılanlar için en şık çözüm burası. Granolası müthiş. Acı biber reçelli tostu ve Siesta adlı Meksika usulü yumurtası da… 5. Beach of Momo Geçen yaz günbatımı partisi denilince akla gelen ilk plajdı Momo. Bu yıl partiler çoğu aklı başında plajda olduğu gibi burada da orta tempoda ilerliyor, herkes kendi köşesinde takılıyor. Momo’nun kokteylleri ve karpuzlu mantısı ise hâlâ çok iyi. 6. Biblos Resort 600’e yakın coconut ağacı, bine yakın palmiyesi, onlarca farklı bitki çeşidiyle en başta bir botanik park gibi Biblos Resort. Sırf bu yönüyle bile görülmeye değer! “Alaçatı’nın Mandarin Orieantal”i konumundaki otelde mutlaka deneyimlenmesi gerekenleri ise şöyle sıralayabiliriz: Tuzda levreği nefis Amante restoranı, masaj süiti dahi bulunan spa ve “tarladan sofraya” felsefesini benimsemiş, yüzyıllık zeytin ağaçlarının altındaki yeni restoran Olea. 7. Alavya Geceleri iyice taşkın hale köyün gürültüsünün ve kalabalığının tam ortasında şık bir vaha olmayı sürdürüyor Alavya. İlk açıldığından beri çizgisini bozmadı. Odalarının Hakan Ezer imzalı tasarımı hâlâ çok iyi ve güncel. Üstelik akşam 18.00 itibariyle Mitu’yu eski dost Agrilia’ya devrediyorlar, bu da bir başka iyi yanı otelin. 8. Kolburano’s Damla&Emre Kolburan çiftinin Reisdere köyündeki pizzacısı her şeyden öte samimi hikâyesiyle çekiyor insanı kendine. 200 yıllık eski bir marangoz atölyesi olan binada hayallerini gerçeğe dönüştüren Kolburan çiftinin, odun fırınından çıkardıkları pizzaları şarap eşliğinde gayet güzel gidiyor. 9. The Stay İzole olmak, kendi halinde takılmak, sadece belli bir çevreye ait insanları görmek, akşamları kendiliğinden gelişebilen partilere akmak… “Under The Dome” dizisinde olduğu gibi, kendini dış dünyadan yüksek korkuluklarla ayıran The Stay’in kendine has havasının özeti kısaca bu. 10. Fahri’nin Yeri Ferdi Baba mı Fahri’nin Yeri mi derseniz, benim tercihim Fahri’nin Yeri. Bir şekilde daha sempatik burası. Ayrıca kremalı şevketibostanı başta olmak üzere mezeleri harika! SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

Aethos co-founder Benjamin Habbel discusses its tech-driven community, meaningful travel, and plans for global expansion beyond Europe. June 14, 2025 | VOL 15 BENJAMIN HABBEL AETHOS and the FUTURE of TRAVEL words Onur Basturk In an era where hospitality is evolving beyond traditional stays, Benjamin Habbel and Jeff Coe, co-founders of Aethos, are leading this transformation by blending community, technology, and meaningful experiences. With Aethos Hotels and its dedicated app, Habbel is building a global network where like-minded travelers can connect, prioritize well-being, and seek new adventures. “We’re seeing the rise of a new kind of luxury—one that prioritizes meaningful moments over material excess,” says Habbel, who, in this interview, shares the philosophy behind Aethos, its unique approach to hospitality, and what the future holds for travel. WE’RE MORE THAN JUST A HOTEL —WE’RE A TECH-DRIVEN COMMUNITY OF CURIOUS TRAVELERS In a past interview, you mentioned that Europe is rich in culture and incredible experiences, yet few hospitality concepts truly embrace this. Did this gap inspire the creation of Aethos Hotels? Could you share the story behind the brand? Aethos was born out of a deeper need in travel—not just for a place to stay, but for a community that nurtures connection, discovery, and purpose. We’re more than a hotel company—we’re a tech-driven community of curious travelers. Our vision is to create a global members’ club for people seeking more—more connection, more wellness, more adventure. For example, at Aethos Mallorca, we’ve created a barefoot luxury experience that champions well-being and adventure while remaining deeply rooted in the local community. The idea began with a desire to blend meaningful experiences, locally rooted hospitality, and the power of technology to bring like-minded people together across the globe. Aethos has a unique growth strategy—you acquire and transform existing properties across different regions. What do these properties have in common? When selecting a site, do you prioritize the location or the building itself? Both matter equally, but what we truly prioritize is the potential to create sanctuaries that inspire connection and discovery. Each property is chosen for its story—whether it’s the architecture, the history, or the surrounding community— and its ability to integrate seamlessly into our global network. These spaces are more than hotels; they’re places where our members can find their people, experience wellness, and embark on adventures. Who is Aethos designed for? What kind of travelers do you see choosing to stay at Aethos? Our members and guests are curious, open-minded individuals who crave more from their travels. They’re not just looking for a room; they want connection, wellness, adventure, and cultural discovery. Through the Aethos app, we connect a global community spanning 50+ countries, offering everything from one-on-one introductions to small group digital pods that help our members build meaningful relationships wherever they go. WE’RE SEEING THE RISE OF A NEW KIND OF LUXURY —ONE THAT PRIORITIZES MEANINGFUL MOMENTS OVER MATERIAL EXCESS Hospitality is shifting toward brands like Aethos that emphasize ‘community’ and ‘experience.’ How do you see this trend evolving? This trend resonates deeply with us because Aethos is built on these very pillars. People are no longer satisfied with passive travel; they want active engagement. Our app, retreats, and exclusive spaces create an ecosystem where members can connect, grow, and experience more. We’re seeing the rise of a new kind of luxury—one that prioritizes meaningful moments over material excess. Are travelers’ expectations shifting in line with this trend? Do you think hotels are becoming more than just places to stay? Without question. Hotels are becoming platforms for connection, discovery, and personal growth. Aethos properties are designed as sanctuaries where our members can recharge, but also as gateways to transformative experiences—whether it’s a longevity retreat in Ericeira or kiteboarding in Sardinia. Today, hotels must be more than just places to stay—they should spark deeper experiences. Will Aethos remain limited to Europe, or do you have plans to expand globally? While Europe remains our current focus, our global mindset is already evident. Our community spans over 50 countries, and our retreats take members to iconic destinations worldwide, from the Galápagos to Sardinia. We plan to expand beyond Europe with intention—always staying true to our philosophy of connection, authenticity, and discovery. What makes Aethos Hotels unique? What sets you apart from other hospitality brands? What sets Aethos apart is that we’re not just offering a stay—we’re shaping a global lifestyle. But the real differentiator is our community. Through the Aethos app, our members have access to a global network and curated experiences that expand their body, mind, and soul. You first entered the hospitality industry with your Voyat venture. What key lessons did that experience teach you? Voyat taught me the power of technology in shaping guest experiences and fostering loyalty. With Aethos, we’ve taken those lessons further by building a platform that connects members in meaningful ways—through personalized introductions, digital pods, and access to a global network of like-minded travelers. THE FUTURE IS ABOUT HYBRID SPACES THAT BLUR THE LINES BETWEEN WORK, WELLNESS, AND LEISURE. TRAVELERS WILL PRIORITIZE COMMUNITY, SUSTAINABILITY, AND TRANSFORMATIVE EXPERIENCES When choosing a hotel, what matters most to you—its design or its facilities? For me, it’s the overall feeling of the place. Design sets the mood and creates a sense of belonging, but the facilities bring it to life. Whether it’s a serene wellness space, vibrant communal areas, or an adventure hub, what matters is that it all works together to create a space where people feel at ease and inspired. Have any hotels or destinations inspired you during your travels? How have these experiences shaped Aethos? I’m always drawn to places that feel authentic— where the culture, history, and soul of a destination are palpable. These experiences have deeply influenced Aethos’ philosophy of rootedness. Every property stays true to its surroundings while creating spaces for connection, exploration, and personal growth. How does Aethos define luxury? At Aethos, luxury is about intention and balance. It’s the ability to connect deeply—with yourself, others, and the destination. Our retreats and experiences are tailored to expand your body, mind, and soul, while our sustainable practices ensure we give back to the communities and environments we’re part of. Authenticity and personalization are at the core of everything we do. Finally, what are your predictions for the future of hospitality? The future is about hybrid spaces that blur the lines between work, wellness, and leisure. Travelers will prioritize community, sustainability, and transformative experiences. While technology will enhance personalization, human connection will stay at the core. Hospitality brands that embrace this shift—offering more than just a place to stay— will define the next era of the industry. for more Print VOL XV - 2025 Out of Stock Add to Cart

Architect Iraz Kutlar opens his nature-integrated house in Ahmetçe Village, Northern Aegean. Onur Baştürk explores its design near Simurg Inn. October 2, 2026 | Design & Interiors An architect's house communing with nature words & photos Onur Baştürk Architect Iraz Kutlar's house is right next to the Simurg Inn Hotel in Ahmetçe Village. But the house is so well hidden that it is not even visible from the hotel. Kutlar achieved this with a very successful installation and landscaping. In addition, since he went beyond classical standards and designed the entire structure by dividing it into different units, there is a conscious hotel atmosphere throughout the house. The result is a modern house that is different from its counterparts in the region. How did you first come to the Northern Aegean? How did you decide to settle here? My real acquaintance with the Northern Aegean was thanks to an architectural project I did in Koruoba Village. While doing the project, I was constantly staying at Simurg Inn. The magical atmosphere of the hotel, the clean mountain air in the village and its proximity to the sea attracted me very much. Finally, in 2020, I bought a land from Ahmetçe Village and built my house. What were your priorities when designing your home? My first goal in design was to build a house communing with nature. I paid great attention to these subjects in the materials I chose and the landscape design. I also wanted to provide a hotel's comfort to my friends who came to visit That's why I wanted to separate the rooms from the main living room. I designed the living room area entirely focused on socialization. The interior design of the house is quite simple and northern. Is your general understanding of design in this direction? Simplicity and functionality have always been my priority in my design approach! What do you like most about the Northern Aegean? The virginhood of the region impresses me a lot. The moment I step foot here from Istanbul, I feel like I am in a completely different world: with sunrise and sunset, clouds, moonlight, sea, fresh air... How does your one day at home go? I start the day with a walk in the forest in the morning. On summer days when the weather is nice, I always go swimming after a walk. I designed one room of the house as an office. After breakfast, I go to the office and start my designs. What are your favorite places in the region? Simurg Inn's winter garden is my favorite place. They make delicious cocktails. Demirciköy's village coffee place is great! Pizza Mera is a really soulful place, its pizzas are amazing. I also like the hiking routes around Ahmetçe Village, and Küçükkuyu and Ayvacık markets. Northern Aegean is becoming increasingly popular. How do you think the development of the region should be? Olive groves should never be opened to development! In addition, all buildings to be built must be compatible with the flora and existing village-type buildings. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

July 20, 2026 | DESIGN & INTERIORS DESIGNING with SUNSET words Karine Monie photos Omar Tajmouati portrait Mehdi Triqui In Casablanca's leafy Anfa Supérieur neighbourhood, Ali Lahlou Design Studio has transformed a 1970s residence into a home where colour shapes the entire experience. Inspired by the shifting tones of a sunset, the interiors move from warm oranges to soft evening blues, creating spaces that feel distinct yet quietly connected. Designed for a young couple — a jewellery designer and an entrepreneur with a shared passion for art — the house balances the elegance of Haussmannian Parisian apartments with a fresh, contemporary sensibility. Bespoke furniture, carefully selected materials and a growing art collection give every room its own character. A HOUSE PAINTED BY LIGHT Built in 1976, the house offered generous proportions, clean lines and abundant natural light — the ideal canvas for Ali Lahlou's vision. "Colour was at the very heart of this project," says the designer. "I imagined the house as a journey through a sunset, where the light shifts slowly and each shade blends into the next." That idea shapes every room. Terracotta gradually softens into muted blues, creating gentle transitions rather than sharp contrasts. Here, colour is treated less as decoration than as an architectural tool, defining atmosphere throughout the house. The entrance immediately sets the tone. A sculptural Calacatta marble table welcomes visitors with the quiet confidence of a boutique hotel lobby, before the interiors unfold towards a series of lounges, fireplaces, a library-inspired living room and a pergola opening onto the garden. PARISIAN ELEGANCE, REIMAGINED The owners wanted the warmth of a Parisian apartment without reproducing one literally. Walnut herringbone floors establish that connection, while a restrained architectural shell allows furniture, artworks and materials to take centre stage. Soft velvets sit alongside enamelled glass, rainbow onyx meets Calacatta marble, and warm walnut contrasts with cooler mineral surfaces. Bespoke furniture by Ateliers Jouffre is complemented by pieces from Glas Italia, Ligne Roset, Roche Bobois, CC-Tapis and Lladró, while artworks by Moroccan artists including Mahi Binebine, Abderrahim Iqbi and Abou Elouakar Mohamed reinforce the home's strong artistic identity. Rather than taking inspiration from a single reference, Ali Lahlou designed the house around a feeling. Parisian elegance meets contemporary Moroccan creativity, while colour becomes the thread that ties everything together. More than a beautifully designed residence, it is a home where every room feels touched by the changing light of sunset.