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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.

April 2023 | Design & Interiors | Vol 9 HOME STYLISH HOME - I Sobremesa S obremesa is the name for the Spanish tradition of enjoying free moments at the end of a meal, relaxing, and enjoying each other’s company. This name is the inspiration for the kitchen accessories collection designed by New York-based Egyptian artist and chef Laila Gohar for HAY. Laila Gohar says of the Sobremesa collection, which includes a handmade market basket and a classic recycled cotton mesh shopping bag: “All the accessories are an extension of my world. I think of them as a little fantasy or dream. I do not tell you to put the tablecloth on and the vase in the middle. It’s much more exciting to use everything piece by piece and incorporate it into your world. The styles of all the pieces are adaptable. That’s why they are all unique”. for more Print VOL IX - 2023 Out of Stock Add to Cart No product

Kelly Hoppen reimagines a London townhouse with warm neutrals, layered textures, Crittall glazing, and details that balance light, comfort, and elegance. September 7, 2025 | DESIGN & INTERIORS KELLY HOPPEN: a LANGUAGE of BALANCE words Noah Mercer photos Mel Yates Few names in interior design embody timeless elegance quite like Kelly Hoppen. For over four decades, her calm neutral palette, layered textures, and philosophy of balance and harmony have defined interiors across the globe. Hoppen’s signature language blends Eastern simplicity with Western luxury, shaping homes that feel serene, personal, and quietly sophisticated. This London townhouse, once an artist’s studio with soaring ceilings and streams of natural light, has been reimagined under Hoppen’s hand. The result is a home that reflects her belief that interiors should not only function but also nurture the soul — warm, inviting, and effortlessly refined. GROUNDED IN LIGHT The renovation began on the ground floor, where the entrance, kitchen, dining, and living areas shed their heavy black joinery and stark finishes. In their place, Hoppen introduced a lighter, softer scheme: warm neutrals (Little Greene Slaked Lime Mid), bespoke lighting to highlight the dramatic beams, and furnishings that balance comfort with understated elegance. ABOVE THE STUDIO: A PRIVATE RETREAT On the first floor, the master suite was transformed from a dark, awkward space into a serene retreat. Tall gabled ceilings, a soaring four-metre Crittall window, and two generous dressing areas now frame an expansive atmosphere. The bathroom continues the home’s language of balance and flow, anchored by a spacious shower. One of the townhouse’s most intriguing details is its concealed entrance — a hidden door within the kitchen cabinetry leading to a striking staircase and the private suite above. The boot room, carved out of a former garage, was given the same careful attention. Full-height timber joinery, Crittall doors opening to both the garden and entrance hall, and a bespoke bench define the space. Practical details such as a dog wash and abundant storage show Hoppen’s seamless balance of beauty and utility. LAYERS OF BALANCE The brief called for a home that was light, warm, and neutral — an ideal canvas for Hoppen’s vision. She layered natural materials like linen, velvet, bouclé, plaster, and timber, with stone and metal adding depth and black accents anchoring the palette. Bespoke details, from pivot screens in the entrance hall to tailored joinery, imbue the project with intention. Lighting, meanwhile, was treated as architecture in itself: layered, atmospheric, and central to the home’s warmth. THE SPIRIT OF THE TOWNHOUSE This townhouse represents the evolution of Kelly Hoppen’s design philosophy: simplicity, harmony, and a mastery of architectural detail. What was once a challenging layout has become a home that balances openness with intimacy, light with warmth, and drama with quiet elegance.

Lamarc Studio's Key Biscayne residence by Marcela Restrepo blends classical details and modern minimalism with expressive stone, art, and light. November 26, 2025 | DESIGN & INTERIORS a MODERN SANCTUARY in KEY BISCAYNE words YUZU Editorial interior design Lamarc Studio photos Mateo Soto production Karine Monié Just ten minutes from Miami’s vibrant rhythm, a quiet island home finds its pace. Designed by Marcela Restrepo of Lamarc Studio — the Colombian-born designer with studios in both California and Florida — this Key Biscayne residence blends modern refinement with the warmth of a deeply personal gallery. Nero Marquina marble and travertine checkerboard floors anchor the entry, where antique mirrors and sculptural accents echo a soft conversation between past and present. An RH Aquitante ceiling lamp, glass pieces by Reflections Copenhagen, and L’Object’s poetic forms set the tone for what the home embodies: serenity, clarity, and a sense of collected elegance. WHERE TWO AESTHETICS MEET The homeowners come from two very different stylistic worlds. One is drawn to crystal, moldings, and classical detail; the other to contemporary minimalism and clean lines. Rather than choosing sides, Lamarc Studio orchestrated a dialogue. “Classical elements were reinterpreted through a contemporary lens,” Restrepo notes. “Ornament and simplicity, history and modernity — meeting in harmony.” This balance plays out through Poliform’s Saint Germain modular sofa, Artefacto side tables, Tom Dixon’s Melt lighting, Iittala’s Aalto vase, and the sculptural presence of Baccarat and Lalique pieces. Each object adds a quiet rhythm, shaping the home into a thoughtful, lived-in gallery. A DAYLIGHT HOME, A NIGHTTIME GLOW A private elevator opens directly into sweeping views of the Atlantic and the Miami skyline. The entire residence unfolds across one level, where the living, dining, and bar areas form a fluid, continuous sequence ideal for gatherings. The bar — lit by Baccarat’s Mille Nuits fixtures and layered with Reflections Copenhagen objects, Assouline titles, Christofle accents, and Riva editions — reflects the owners’ love of hosting. In the living room, a Maxalto coffee table carries Cartier’s Panthère, Lalique’s Zeila panther, and Baccarat’s sculptural Mille Nuits vase, forming a tableau that feels both curated and effortless. The artworks — from Ignacio Iturria, Manuel Rendón, and Victor Rodriguez — punctuate the calm palette, standing out with clarity against the home’s gentle tones. AN ODE TO LIGHT, STONE AND ATMOSPHERE Miami’s warm light and endless-summer spirit informed every design decision. Very light ecru walls offset crisp white moldings; floors and veneers remain quiet, allowing expressive stones like Viola and Hermitage to become sculptural elements in their own right. The bedrooms embrace a more hushed language: natural textures, soft taupes, and subtle contrasts that encourage rest. Here, the restraint allows the art and furniture to take center stage, creating rooms that feel luminous and quietly confident. The owners’ background in ship design shaped the material palette — an appreciation for durability, aging, and surfaces that gather character over time. Travertine floors run throughout the home, creating a seamless and grounding foundation. Bathrooms, by contrast, deliver architectural boldness. In the primary bath, dramatic Viola stone vanities meet micro-cement finishes and a minimalist custom vanity, balancing intensity with calm. In the kitchen, a monolithic Hermitage waterfall island becomes the sculptural heart of the space, complemented by minimalist ivory cabinetry, matte black fixtures, clear quartz accents and DWR tractor stools.

July 20, 2026 | DESIGN & INTERIORS a FLOATING HOME in the FOREST words YUZU Editorial photos Ema Peter video Michal Zvonar Visuals In the forested hills of West Vancouver, a new residence by Openspace Architecture revisits the principles of West Coast Modernism through a quieter, more distilled architectural language. MODERNISM, SUSPENDED Built on land once owned by one of West Vancouver's early landowners, the residence is defined by its dramatic cantilevered upper floor. Supported by just three slender columns, the volume appears to float above the landscape, lending the house an unexpected sense of lightness. "The client had a strong vision and clear material palette, inspired by classic West Coast Modernism but interpreted more contemporarily," says Eric Pettit, Senior Associate at Openspace Architecture. Flat roofs, clerestory windows and open-plan living remain, while traditional post-and-beam construction gives way to exposed concrete walls and a concealed steel structure, resulting in a quieter, more minimalist architectural expression. Equally important was preserving the site's mature trees. Rather than clearing the land, the architects designed around them, allowing the house to settle naturally into the forest. Stretching horizontally across the site, the building preserves views towards the Pacific while positioning its upper floor against a backdrop of cedar and Douglas fir. Throughout the day, floor-to-ceiling glazing transforms the interiors into an ever-changing observatory of light, shadow and seasonal colour. A stream flowing beneath a floating bridge and alongside the primary suite introduces the gentle sound of moving water, adding another sensory layer to everyday life. THE WARMTH OF CONCRETE Materiality plays a central role, yet it is handled with remarkable restraint. Concrete — often associated with monumentality — takes on a softer character through board-formed surfaces that retain the grain of carefully selected timber planks. In the areas where people interact most closely with the walls, individual boards were hand-selected to leave a richer imprint in the concrete, reinforcing its tactile quality. Behind this sculptural simplicity lies a high-performance envelope designed to meet the demands of Canada's climate. Wood provides a natural counterbalance. Ribbed hemlock ceilings, stained after dozens of material studies to achieve the right walnut tone, extend across the main living spaces, while engineered fumed oak flooring and colour-matched oak joinery introduce warmth without disturbing the home's restrained palette. Outside, custom-stained cedar cladding echoes the subtle variations of the surrounding tree bark, strengthening the sense that the architecture belongs to its setting. DESIGNED AROUND LIGHT, LANDSCAPE AND LONGEVITY The plan balances openness with privacy. Living, dining and kitchen spaces flow seamlessly towards terraces, the pool and outdoor dining areas, encouraging an effortless indoor-outdoor lifestyle. A delicate bridge connects the main residence to a shared office pavilion, while the primary suite occupies its own lower level with direct access to the garden. Upstairs, the family bedrooms are arranged to maximise both privacy and views. Ultimately, the residence is less about architectural spectacle than about building a lasting relationship with its surroundings. Its restrained palette of concrete, timber, black metal and glass provides a calm backdrop for the forest beyond — a home designed not simply to sit within nature, but to encourage a deeper connection with it.

Secto Design's Lahti production center reveals 29 handmade wooden lighting models and Seppo Koho's approach to designing harmonious light in Finland. july 2023 | Design & Interiors turkish below Notes from ‘Secto Design Summer 2023’ words Onur Baştürk H elsinki’den bir buçuk saat uzaklıktaki Lahti’ye doğru giden otobüste bir grup dünya vatandaşıyız. İspanyolu, Yunanı, Fransızı, İsviçrelisi… Ahşap aydınlatmalarıyla nam salmış Finlandiya markası Secto Design’ın davetlisiyiz. Grupta global distribütörler, mimarlar ve medya var. Dışarda hava 25 derece. Kuzeyde serin bir hava beklerken İstanbul’dan daha sıcak bir havayla karşılaşmak şaşırtıcı. Otobüsle gittiğimiz yer ise Sectomo, yani Secto Design’ın üretim merkezi. Bu tür gezilere alışığım, o yüzden beklentimi minimum düzeyde tutuyorum. Ama üretim merkezine girince şaşırıyorum. Şundan dolayı: Markanın 29 farklı ahşap modeli gerçekten de el yapımıymış! Öncesinde el yapımı olduğuna dair bilgiye sahiptim, ama işte insan şüpheci varlık. Böylesi global bir markanın ürünlerinin hepsi el yapımı olabilir mi, yetişmesi imkansız diye düşünüyorsun. Yanılmışım, tüm modeller tek tek yapılıp monte ediliyor. İçerde inanılmaz bir sistem var. Tıkır tıkır işliyor. Tüm çalışanlar sessiz sakin işini yapıyor. Süper bir kuzeyli sakinliğinde. Her aşamayı bize gösteriyorlar, ama fotoğraf çekmek yasak. Nedeni de basit: Çünkü ürünler çok fazla kopyalanıyor ve haklı olarak ürünün yapılış aşamalarının sosyal medyada yayılmasını istemiyorlar. Bir nokta daha: O kadar ahşap malzemeyle uğraşılmasına rağmen içerde gram toz yok. Fabrikanın nemi de marangozların soluduğu havayı taze tutmak için sık sık ayarlanıyor. TASARIMCI SEPPO KOHO DA BİZİMLE Secto Design’ın tasarımcısı ise Seppo Koho. O da bizimle gezide ve sürekli bilgi veriyor. Her zaman ahşap işçiliğine ilgi duyan Seppo Koho'nun amacı, aydınlatmalar içinde yer alan ampullerden gelen o kör edici parlaklık olmadan, uyumlu ışık veren ürünler tasarlamak olmuş. BEYAZ GÖVDELİ HUŞ AĞACI Aydınlatmalarda kullanılan ağaç ise çoğunlukla huş ağacı. Finlandiya'da çok yaygın olan huş ağacı beyaz gövdeleriyle Finlandiya'nın güney kıyılarından kuzeydeki Lapland'a kadar uzanıyor. EKSİKLİĞİ GÖRDÜLER VE… Secto Design'ın kurucusu Tuula Jusélius ve tasarımcı Seppo Koho 1995 yılında tanışmış. Her ikisi de kuzey ahşabına, İskandinav tasarımına ve işçiliğine hem hayran hem de büyük saygı duyuyor. Tuula ve Seppo başlangıçta ahşap mobilyalar üretmiş. Daha sonra bu mobilyalarla uyumlu ahşap lamba eksikliğini görüp yeni bir koleksiyon yaratmışlar. Ahşabın aydınlatma malzemesi olarak kullanılması sektörde hem şaşkınlık hem de hayranlıkla karşılanmış. Kısa süre sonra da aydınlatma ürünleri ikonik hale gelmiş. Şu anda üretiminin yaklaşık yüzde 95'ini 80'den fazla ülkeye ihraç ediyorlar. O ülkelerden biri de Türkiye. Nitekim Secto Design ile birlikte 35 global global markanın temsilcisi olan İstanbul’’daki Diseno mağazasının kurucusu Nedim Yalçın Gülen de davetin simaları arasındaydı. ‘Secto Design Summer 2023’ten notlar W e are a group of citizens of the world on the bus that takes one and a half hours from Helsinki to Lahti. Spanish, Greek, French, Swiss... We are the guests of the Finnish brandSecto Design , which is famous for its wooden lighting. The group includes global distributors, architects, and media members. It is 25 degrees outside. While expecting a cool weather in the north, it is surprising to encounter warmer weather than Istanbul. The place we are heading to by bus is Sectomo, the production center of Secto Design. I am accustomed to this type of trip, so I keep my expectations to a minimum. However, when I enter the production center, I am pleasantly surprised. The reason being that the brand's 29 different wooden models are indeed handmade! I was aware of their handmade nature, but there is always a hint of skepticism within us. You wonder if all the products of such a global brand can be handmade, as it seems impossible to keep up. But I stand corrected, as all models are meticulously crafted and assembled one by one. There is an incredible system at work inside. Running like clockwork, with all employees calmly and quietly performing their tasks, reflecting the serene nature of the northern region. They guide us through each step of the process, although photography is prohibited. The reason behind this is quite simple: the products are prone to being extensively copied, and rightfully, they do not wish for the production stages to be widely spread on social media. Another noteworthy aspect is the meticulous cleanliness inside the facility, despite the handling of numerous wooden materials. The humidity of the factory is regularly adjusted to ensure fresh air for the carpenters. DESIGNER SEPPO KOHO IS ALSO WITH US Accompanying us on the tour is Seppo Koho, the designer of Secto Design, who constantly provides us with insightful information. With a longstanding interest in woodworking, Seppo Koho's goal has been to design products that emit harmonious light without the blinding brightness of light bulbs. BIRCH WITH WHITE TRUNK The primary tree used in Secto Design's lighting is birch, which is predominantly found in Finland. Birch trees, with their white trunks, stretch from the southern coast of Finland to the northern region of Lapland. THEY SAW THE LACK AND... Tuula Jusélius, the founder of Secto Design, and designer Seppo Koho first crossed paths in 1995. Both individuals hold a deep admiration and respect for northern wood, Scandinavian design, and craftsmanship. Initially, Tuula and Seppo focused on producing wooden furniture. However, they soon recognized the lack of wooden lamps that would complement their furniture collection, leading them to create a new lighting collection.The use of wood as a lighting material garnered surprise and admiration within the industry, and their lighting products quickly became iconic. Currently, approximately 95% of their production is exported to over 80 countries. Turkey is one of those countries, and Nedim Yalcin Gulen, the founder of Istanbul's Diseno store, which represents 35 global brands including Secto Design, was among the notable figures invited to the event.

Nisan 2020 | Seyahat | Myanmar Asya’nın mistik kapalı kutusu: Myanmar Yazı | Özlem Avcıoğlu Fotoğraflar | Özlem Avcıoğlu & Julian de Salaberry & Boris Ulzibat VE BAGAN… 9 ile 13. yüzyıl arası Pagan Krallığı zamanında Myanmar’ın eski kraliyet şehri Bagan’a sabah erken bir uçakla vardım. Zamanında 10 binden fazla inşa edilmiş tapınaklardan beş bine yakını günümüze kadar ulaşmış olan bu görkemli başkentte kalmak için tavsiye edeceğim tek bir otel var. O da tarihi sit alanının içinde bulunan Aureum Palace Hotel. Otel büyük bir alana yayılmış, çevresi tarihi tapınaklarla dolu ve yüzme havuzu tapınakların tam önünde! Hele villanız göl kenarında ise sabah gün doğarken 9. yüzyıldan kalma tapınakların üstünden yükselen balonların manzarasına uyanıyorsunuz, ki bu gerçekten paha biçilmez bir deneyim! Bu tarihi kent sadece Myanmar’ın değil, dünyanın en mistik yerlerinden biri. Bagan’da mutlaka yapmanız gereken iki şey var. İlki, tarihi tapınakların üstünden balon ile sabah gün doğarken uçmak. İkincisi ise gün batımına yakın tapınakların arasından at arabasıyla geçmek ya da bisiklet kiralayarak gezmek. Her gittiğiniz tapınak yeni bir keşif, yeni bir deneyim olacak. Bagan’ın en ünlü tapınağı ise Ananda Temple. İçinde dört adet devasa altın Buda heykeli var. Buraya kadar gitmişken hemen yakındaki Bambu Kasabası’na uğramayı ihmal etmeyin. NEHİR GEMİSİ: ANANDA SANCTUARY Bagan’dan Mandalay’a lüks bir nehir gemisi olan Ananda Sanctuary ile ulaştım. Ama uçmak ya da beş saatlik karayolu yolculuğu gibi seçenekleriniz de var. Ananda Sanctuary 21 lüks kabini olan, içinde güneşlenme alanı, ufak bir havuzu ve spa’sı olan bir nehir gemisi. Servis ve yemekler oldukça iyi, ancak yolculuk boyunca Mandalay’a ulaşana kadar neredeyse hiç manzara görmüyorsunuz. DÜNYANIN EN UZUN TAHTA KÖPRÜSÜ: U-BEIN Mandalay şehrinde lüks konaklama seçeneği yok. Bu yüzden otel yerine nehir gemisinde konaklamayı tercih ettim. Ananda Sanctuary ikinci gün Mandalay’a varıyor. Varır varmaz da önce Mandalay tepesine çıkıp oradaki pagodaları ziyaret ettim. Sonrasında ünlü U- Bein köprüsünde günü batırmak üzere iki kişilik yerel kayıklarla gezintiye çıktım. U-Bein, dünyanın en uzun tahta köprüsü olma özelliğini taşıyor. Köprünün üstünde yürüyen insanlar özellikle gün batımında harika bir manzara oluşturuyor. BEMBEYAZ HSINBYUME Myanmar’daki son günümü gemiden indikten sonra bir buçuk saat mesafedeki tarihi Mingun şehrine giderek geçirmek istedim. Birçok Myanmar fotoğraflarında görülen bembeyaz Hsinbyume pagodası ilk durağım oldu. 1816 yılında inşa edilmiş bu pagodanın terasları arasında kaybolmanızı ve bol bol fotoğraf çekmenizi öneririm. İkinci durağım yine Mingun’da iki ton ağırlığıyla dünyanın kullanılan en büyük çanı olma özelliğini taşıyan ‘The Great Bell of Mingun’ oldu. Akşamüstü Myanmar’daki son durağım Mandalay’dan Bangkok’a uçarak gezimi tamamladım. Kapılarını turizme açtıktan sonra hızla değişen ve gelişen bir Myanmar var. Fazla değişmeden, doğal ve güzel haliyle bu mistik ülkeyi görmek istiyorsanız bir an önce seyahat listenize alın derim! (*) Pagoda: Uzakdoğu ülkelerinde, genellikle çokgen planlı kuleler biçiminde olan tapınaklara verilen ad. A sya’nın kapalı kutusu Myanmar, İnsani Gelişme Endeksi’ne göre hayli alt sıralarda, oldukça fakir bir ülke. Buna rağmen enerjisi çok yüksek. Ruhani, mistik ve büyülü. 60 milyon nüfusuyla güneydoğu Asya’nın en büyük ikinci ülkesi olan Myanmar’ı zengin doğal kaynaklarına rağmen fakirleştiren olay ise 1962’den 2011’e kadar askeri rejimle yönetilmesi olmuş. Bu yüzden Tayland, Vietnam, Kamboçya, Endonezya gibi ülkelerdeki lüks oteller, kafeler, dükkanlar, lokantalar çok fazla yok Myanmar’da. 2011 yılından bu yana sivil hükümetin idaresi başlamış Myanmar’da. Ancak halen yönetimin önemli bir kısmı eski askerlerden oluşuyor. HEM SAĞDAN HEM SOLDAN TRAFİK Ülkede internet bağlantısı büyük otel ve lokantalarda çalışsa da, yer yer kesintiye uğruyor. Kredi kartı (sadece Visa ve Mastercard) otel ve bazı lokantalarda geçiyor. Ama nakit dolar her kapıyı açıyor. O da yeni ve kırışıksız olursa! Yoksa hemen geri veriyorlar! Zaten birçok yerde fiyatlar dolar üzerinden. Diğer Asya ülkelerine göre fiyatlar oldukça pahalı. Çünkü neredeyse rekabet yok. Trafik ise bizdeki gibi sağdan akıyor. Ama buna rağmen yolda sağdan direksiyonlu birçok araç görebiliyorsunuz. Hatta Heho gibi şehirlerde hem sağdan hem soldan akabiliyor trafik! ALTIN VE ELMASLA KAPLI: SHWEDAGON Myanmar gezime Bangkok’tan direk uçtuğum için eski başkent ve ülkenin en büyük şehri olan Yangon’dan başladım. Şehirde birkaç otel var. Ama 1920’lerden kalma kolonyal bir yapıdan dönüştürülmüş, tropikal dev bir bahçe içindeki havuz ve ufak binalardan oluşan Belmond Governor’s Residence, benim size önereceğim tek otel. Süitleri ferah, bahçesi ve barı çok güzel. Spa’sı iyi. Otelde İngiliz sömürge döneminden kalma ‘High Tea’, beş çayını mutlaka denemenizi öneririm. Yangon’a esas geliş nedenim şehrin ortasında yükselen 110 metrelik dev altın kaplama stupası ile Myanmar’ın en görkemli ‘pagoda’sı (*) Shwedagon’u ziyaret etmek. 2500 yıllık bu pagoda Myanmar’ın en kutsal yeri. Girdiğiniz andan itibaren sizi etkisi altına alan dev bir kompleks. Unutmadan: Diğer budist tapınaklarında olduğu gibi burada da pagodalara girerken ayakkabı ve çoraplarınızı çıkartmanız gerekiyor. Bastığınız yerin mermer, fayans, toprak olması bir şey farketmiyor. Shwedagon kimi elmas kimi altından kaplı yüzlerce tapınaktan oluşuyor. Meditasyon yapan keşişleri, kendini yere atıp dua edenleri, ellerindeki telefonla fotoğraf çeken budist rahipleri ve yerleri süpüren gönüllüleriyle bambaşka bir dünya. Burada birkaç saat geçirip hepsi birbirinden farklı tüm binaları dolaşmanızı, akşam hava kararırken de binlerce mumdan oluşan manzaraya bakarak dileklerinizi dileyip öyle dönmenizi tavsiye ederim. ALIŞVERİŞ HAYAL KIRIKLIĞI Myanmar’da hemen hemen alışveriş yok denebilir. Yangon’un en büyük yerel çarşısı Scot Market oldukça küçük ve renksiz. Buradan tek aldığım şey kadife parmak arası yerel terlikler oldu. Rangoon Tea House’un hemen üst katında bulunan Hla Day ise şehrin tek çağdaş yerel tasarım ürünleri satan konsept dükkanı. INLE GÖLÜNDEKİ BALIKÇILAR Yangon’da iki gece kaldıktan sonra üçüncü günün sabahı ünlü Inle Lake’e ulaşmak için Heho şehrine uçtum. Kısa bir uçuşun ardından indiğim şehirde önce ‘parasol’ yani Myanmar’ın ünlü şemsiyelerinin yapıldığı bir atölyeyi ziyaret ettim. Ardından gittiğim 130 yıllık tahta bir binanın içindeki rahip okulu ‘Shwe Yan Pyay Monastery’de yetişen gençleri gözlemlemek de çok etkileyiciydi. Inle, Nyaungshwe kentinde bulunan bir tatlı su gölü. Myanmar’daki en büyük göl olmasının yanı sıra gölün içerisinde birçok insan sırıklar üzerinde kurulmuş evlerde yaşıyor. Göl içerisinde Myanmar’a özgü geleneksel balıkçılık yapıyorlar. Göl üstünde nefis bir restoran olan Inle Heritage House’a ikişer kişilik yerel teknelerle ulaştım. Yoldayken buranın sembolü olan balıkçılar inanılmaz akrobatik hareketler yaparak bol bol fotoğraf karesi verdiler bana. GÖL KENARINDAKİ ŞAHANE OTEL Öğleden sonra tekrar tekneye binerek suda yüzen lotus tarlası içinden yol alarak kalacağım otel Villa Inle Boutique Resort’a ulaştım. Hayatımda gördüğüm en muhteşem, renkli ve egzotik karşılamayla otelin iskelesine çıktım. Unutmadan: Inle’de Aureum Palace Hotel&Resort, Inle Prices Resort ve Inle Resort and Spa gibi konaklamak için 5-6 tane daha iyi seçenek var. Benim otelim Villa Inle Boutique Resort’taki villalar göl kenarındaydı. Bahçesi, villaları, yüzme havuzuyla Myanmar standartlarında mükemmel iki gece geçirdim. 1500 CİVARINDA TAPINAK: SHWE INDEIN PAGODA Bu bölgenin başka bir özelliği de yaşayan çok sayıda kabile olması. Sekiz ana etnik grubun (Bamar, Karen, Karenni, Shan, Mon, Kachin, Chin ve Rakhayn) bulunduğu Myanmar’da, anayasa tarafından tanınan yaklaşık 135 etnik grup bulunuyor. İkinci günün sabahında tekneyle bu etnik grupların yerel pazarından başladık. Daha sonra benim dünyada gördüğüm en etkileyici yerlerden biri olan Shwe Indein Pagoda’yı ziyaret ettik. Nehir kenarından bir yolla ulaşılan bu tepede 1500 civarında, 8. yüzyıl ile 18. yüzyıl arası yapılmış tapınak ve stupa var. Hiçbiri birbirine benzemiyor. Aralarında gezinmek, o taşlara dokunmak beni adeta büyüledi. Ayrılmak istemedim.