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November 5, 2025 | DESIGN & INTERIORS a LONDON ICON REBORN with SHAYNE BRADY words Onur Basturk photos Mark Scott (Portraits + Gallery at The Savoy + The Park) Few London landmarks embody tradition and theatre quite like Simpson’s in the Strand. Once celebrated for its silver carving trolleys and wood-panelled dining rooms, the Grade II–listed restaurant closed its doors in 2020 — a quiet close to more than two centuries of hospitality. Now, under the vision of Jeremy King — the legendary restaurateur behind The Ivy, Le Caprice, and The Wolseley — this London icon is preparing for a grand return. At the centre of the revival stands Shayne Brady, founder of Studio Shayne Brady and one of London’s leading hospitality designers. Renowned for crafting interiors that balance heritage with warmth, Brady has shaped some of the city’s most beloved destinations, from The Savoy’s Gallery and The Aubrey at Mandarin Oriental to Bob Bob Ricard City. The restoration of Simpson’s represents not only one of his most ambitious undertakings yet, but also a deeply personal project — an opportunity to reimagine a British institution while preserving its soul. Set to reopen in January 2026, the renewed Simpson’s will include two restaurants, two distinctive bars, and a small ballroom, each space conceived to evoke continuity rather than nostalgia. (Images of the project are not yet available for publication.) A SHARED VISION WITH JEREMY KING Simpson’s in the Strand is one of London’s most storied dining institutions. What was your first reaction when you were approached to lead its restoration — and what excited you most about reimagining such a historic icon? When Jeremy King asked if I’d like to work on bringing Simpson’s in the Strand back to life, my answer was an immediate, resounding yes. Collaborating with Jeremy is always a joy — we’ve worked together for over a decade, and each opportunity feels like an exciting new chapter in his incredible legacy. It’s a rare privilege to help shape a London icon for a new generation while honouring the memories of those who already love it. The project sits at a fascinating intersection between preservation and reinvention. How did you balance respecting Simpson’s heritage with introducing a new sense of energy and relevance for today’s audience? It’s definitely a balance — Simpson’s is a Grade II–listed building, so you must respect its heritage while gently bringing it into the present. However, I don’t think we’re reinventing it at all. In today’s world, I hope there’s a shift back toward legacy brands with strong foundations, heritage, and history. Designs that follow trends tend to disappear quickly. With Simpson’s in the Strand, we’re staying true to its heritage and originality. I believe that by restoring its original grandeur, it will attract a discerning new audience who want to be part of its next chapter. Working with Jeremy King — who has shaped some of London’s most beloved restaurants — must bring its own dynamic. How would you describe your creative dialogue with him throughout the process? Jeremy and I met in 2010 and have worked together in many capacities ever since. We share a mutual respect; the relationship is part client, part mentor, part friend. After so many years, we have a shorthand — I almost know before saying an idea whether I’m pushing it too far or if it aligns with how he envisions the space. Likewise, he has such a thoughtful approach to design that he pushes me further, and together we create truly special spaces. Everything is discussed; no detail is too small. DESIGN WITHIN CONSTRAINTS The building’s Grade II–listed status naturally comes with design challenges and constraints. Can you share a moment or design detail that captures how you navigated those limitations creatively? We couldn’t — and didn’t want to — move any walls, so we relied on colour, texture, and materiality to define and update the spaces while enhancing what was already there. It’s a challenge, but one we’re used to. Studio Shayne Brady recently revamped Gallery at The Savoy, so we’re very familiar with working creatively within listed buildings. Your work often carries what you describe as “a hug from your favourite loved one” — an emotional resonance that goes beyond aesthetics. How does that sentiment translate into a project as grand and layered as Simpson’s? To call Simpson’s an iconic London space is an understatement. People have a real love for it — the kind of love you can’t fake — and the tradition embedded in that building is hard to put into words. There are people who’ve been coming here for decades, even generations, and they’re so excited to see it reopen. A close friend told me how their grandparents used to bring them here for special occasions — that’s the kind of history we’re talking about. We feel a huge responsibility not just to bring it back to life, but to do it justice. It’s about honouring those who’ve always cherished it while ensuring the next generations can fall in love with it too and keep those traditions alive. HOSPITALITY, AT ITS BEST, IS PURE ESCAPISM Many of your projects — from The Savoy to The Aubrey at Mandarin Oriental — reveal a sense of timeless atmosphere. What draws you to hospitality as a medium for storytelling through design? Hospitality, at its best, is pure escapism — just like storytelling. Books, theatre, film — they all transport you somewhere else, and I’ve always been drawn to that idea. I love weaving classic references with contemporary touches, layering lighting, art, and craft to create spaces that feel both transportive and deeply comfortable. How do influences like classical architecture and Eileen Gray shape your work today, and how does craftsmanship keep that dialogue alive? Those influences share a common thread: everything was designed with purpose and intention. We try to work the same way. A room can be beautiful, but if it doesn’t function — if it doesn’t make people feel good — then it’s missing its reason for being. Craftsmanship is vital to that. Skilled makers can translate ideas into pieces that last and feel special. Without that level of craft, design risks becoming disposable. Finally, as you look ahead to Simpson’s reopening in 2026, what do you hope guests will feel when they step inside? I hope they feel embraced — as though they’ve stepped into a space that offers a break from the outside world. More than anything, I hope it brings them joy and becomes a place where they’ll create lasting memories.

April 13, 2026 | DESIGN & INTERIORS L’APPARTAMENTO RETURNS words Noah Mercer photos Courtesy of Artemest During Milan Design Week, Artemest returns to Palazzo Donizetti with the fourth edition of L’Appartamento. Repositioning craft within a contemporary spatial narrative, the exhibition remains one of the week’s quieter highlights. A GRAND TOUR, REFRAMED This year’s edition is shaped around the idea of “Italian grandeur”. Not as surface-level opulence, but as something quieter—expressed through atmosphere, memory, and detail. Drawing on the spirit of the Grand Tour, it unfolds as a sequence of interiors moving between Venice, Naples, Rome, Palermo and Florence. The approach continues Artemest’s evolving exhibition language—one that moves fluidly between past and present. As founders Marco Credendino and Ippolita Rostagno shared with YUZU , L’Appartamento was conceived to place craftsmanship within lived environments. Objects are not presented in isolation, but as part of complete interiors—each room carrying its own narrative. ROOMS, REINTERPRETED Within this framework, five international studios reinterpret different rooms of the palazzo. Sasha Adler Design approaches the entrance and reading room through a Venetian lens, balancing ornament with restraint. Rockwell Group introduces a more animated, social energy to the dining room, drawing from Naples’ layered cultural life. March and White Design (MAWD) interprets Rome through the living room, shaping a space where structure and emotion coexist. Charlap Hyman & Herrero look to Palermo for the entertainment rooms, translating the spirit of 19th-century salons into a more atmospheric setting. Urijowan Alsharif Interiors completes the sequence with a bedroom inspired by Florence, expressed through a softer sense of proportion and harmony. For the first time, the exhibition extends outdoors. A carefully composed courtyard expands the experience beyond the interiors, softening the boundary between inside and out. WHEN April 21 – April 26 (10 AM – 6 PM) Palazzo Donizetti, Via Gaetano Donizetti 48 ABOUT ARTEMEST Founded in 2015, Artemest is a curated platform bringing together furniture, lighting, décor and art by master artisans across Italy.

April 2024 | Design & Interiors EVOLUTION of SALONE DEL MOBILE words Onur Baştürk photos Courtesy of Salone del Mobile April is a busy month for the design and art world! First, the 62nd edition of the Salone del Mobile will be held at Rho Fiero Milano from April 16 to 21, followed by the opening of the Venice Biennale. But the star of this article is the Salone del Mobile. Let's take a look at what's on offer at this year's fair. The goal of this year's fair is to give the design community more of a vision of the future and to be an open ecosystem and experience space to connect the community. That's why the key words for this year's fair are "evolution" and "innovation". Maria Porro, President of the Salone del Mobile Milano, explains: "Capturing new trends, the evolution of an entire sector, involving and listening to all communities, near and far, identifying new approaches, methods and technologies, experimenting, being, as we say, on the frontier... All this is still the passion of the Salone del Mobile". This year, for the first time, the Salone del Mobile will use neuroscience to improve the visitor's experience. First, the neurological, emotional and perceptual responses of visitors to the fair in previous years were analyzed. This data was then used to create a symmetrical path that supports the stands on the outer perimeter walls. The main street navigation was also expanded. Cultural installations and rest areas were created to counteract the typical "museum fatigue" that can occur at the Salone. For example, instead of the 1.2-kilometer walk in previous years, visitors will now only need to walk 640 meters to visit all the stands. There will also be three major installations at the Salone. The first is a project by David Lynch. Lynch's installation, "A Thinking Room," consists of symbolic doors that lead into two identical, mirrored thinking rooms. The second installation is called "Under The Surface". Designed by Accurat, Design Group Italia and Emiliano Ponzi for the International Bathroom Exhibition (Pavilion 10), this installation explores the power, fascination and fragility of water alongside ethics, sustainability and technology. The installation aims to make visitors question their daily habits regarding the use of water. The large, fluid and inviting stage at the center of EuroCucina will present an unprecedented vision of the present and future of the natural material, with artists, designers and chefs from around the world. But that's not all! The 2024 events will bring together more than 1900 participants, including 600 young talents under 35 and 22 design schools. Nisan ayı tasarım ve sanat dünyası için aşırı yoğun! Önce Salone del Mobile’in 62’inci edisyonu için 16-21 Nisan tarihleri arasında Rho Fiero Milano’da olacağız, daha sonra da Venedik Bienali açılacak. Ama bu yazının yıldızı Salone del Mobile. Şimdi fuarda bu yıl neler var, ona bir bakalım. Bu yılki fuarın hedefi tasarım topluluğuna geleceğin vizyonunu daha çok sunabilmek ve topluluğu birbirine bağlamak için açık bir ekosistem ve deneyim alanı olabilmek. Bu nedenle fuarın bu yılki anahtar kelimeleri “evrim” ve “inovasyon”. Salone del Mobile Milano Başkanı Maria Porro şöyle diyor: “Yeni trendleri, tüm bir sektörün evrimini, yakın ve uzak tüm toplulukları dahil edip dinleyerek yakalamak, yeni yaklaşımlar, metodolojiler ve teknolojiler belirlemek, deneyler yapmak, dediğimiz gibi sınırda olmak… Tüm bunlar bugün hâlâ Salone del Mobile'ın tutkusu”. Salone del Mobile’de bu yıl ilk kez ziyaretçi deneyimini iyileştirmek için nörobilimden yararlanılacak. Öncelikle, geçmiş yıllarda ziyaretçilerin fuar içinde izlediği güzergahta verdiği nörolojik, duygusal ve algısal tepkiler analiz edilmiş. Daha sonra da bu verilerden yola çıkılarak dış çevre duvarlarındaki stantları destekleyen simetrik bir yol oluşturulmuş. Ayrıca ana yol navigasyonu genişletilmiş. Salone'de ortaya çıkabilen tipik “müze yorgunluğuna” karşı kültürel enstalasyonlar ve sessiz alanlar yaratılmış. Böylece, önceki yıllardaki 1.2 kilometrelik yürüyüş mesafesinin aksine, artık tüm stantları ziyaret etmek için sadece 640 metrelik bir yürüyüş yeterli olacak. Salone’de ayrıca üç büyük enstalasyon olacak. İlki, David Lynch'in projesi. Lynch’in “A Thinking Room” adlı enstalasyonu; birbirinin aynısı olan, aynalı iki düşünme odasına girilmesi için tasarlanmış sembolik kapılardan oluşuyor. İkinci enstalasyon ise “Under The Surface”. Etik, sürdürülebilirlik ve teknolojinin yanı sıra suyun gücü, büyüleyiciliği ve kırılganlığını konu alan bu enstalasyon Accurat, Design Group Italia ve Emiliano Ponzi tarafından Uluslararası Banyo Sergisi (Pavilyon 10) için tasarlandı. Enstalasyon, ziyaretçilerin su kullanımıyla ilgili günlük alışkanlıklarını sorgulamalarını amaçlıyor. EuroCucina'nın tam ortasında yer alan büyük, akıcı ve davetkâr sahne ise dünyanın dört bir yanından sanatçılar, tasarımcılar ve şeflerle birlikte doğanın sunduğu malzemelerin bugünü ve geleceğine ilişkin benzeri görülmemiş bir vizyon sunacak. Elbette bu kadar değil! 2024 etkinlikleri 35 yaş altı 600 genç yetenek ve 22 tasarım okulu da dahil olmak üzere 1900'den fazla katılımcıyı bir araya getirecek.

October 2024 | DESIGN & INTERIORS TURKISH BELOW a FRENCH TOUCH in MOSCOW’s HEART words Elena Gabar photos Mikhail Loskutov styling Natalia Onufreichuk This bright and spacious 330 m² apartment is located in an iconic historic building on Petrovski Boulevard in central Moscow. The owners, a family with three children, acquired two separate units, enlisting architect and interior designer Ariana Ahmad to create their dream home. “The owners have exquisite taste, so they held high expectations for the layout, interior design, furniture selection, and decor. They dreamed of having four bedrooms and a large living-dining area for family gatherings,” says Ariana. “Having spent part of their lives in their beloved Paris, they wanted their Moscow residence to echo the spirit of French interiors.” Ariana designed the interior with a cohesive and refined approach, featuring a monochromatic palette, graphic elements in the black lines of designer furniture, and vibrant accents. All walls, built-in furniture, window sills, and radiators are painted in a unified color. A distinctive Hungarian-point parquet floor, inspired by the Ottoman style, together with decorative moldings, white tones, natural marble, and antique verdure tapestries, establishes a Parisian ambiance. The furniture selection balances functionality with standout design, led by the iconic LC4 chaise longue by Le Corbusier as the living room’s centerpiece. Ariana convinced the owners that this masterpiece deserved to anchor the space. It’s complemented by elegant De Padova chairs in ochre-beige leather, a lively touch in the grey and white palette. To harmonize with the leather, a Piet Boon sofa and a fabric-upholstered Bonaldo chair were added. In the dining area, comfortable swivel chairs by Patricia Urquiola, upholstered in practical leather, add both style and functionality. The owners chose unique lighting from the Apparatus studio, designed by Jeremy Anderson and Gabriel Hendifar. These innovative yet retro-inspired fixtures are thoughtfully placed throughout the apartment, with standout pieces enhancing the dining area. DISTINCTIVE TOUCHES Artworks bring distinctive character to the design. The dining area is perfectly accented by Majorettes, a painting by artist Gorel, while antique verdure tapestries adorn the walls in the living room and foyer. “I love how the expressive accents and graphic lines of the furniture stand out against the monochromatic architectural backdrop of this interior,” says Ariana. MOSKOVA’NIN KALBİNDE FRANSIZ DOKUNUŞU Bu aydınlık ve ferah daire Moskova'nın merkezindeki Petrovski Bulvarı üzerinde bulunan ikonik tarihi bir binada yer alıyor. Üç çocuklu bir aile olan ev sahipleri iki ayrı birim satın alarak hayallerindeki evi yaratması için mimar ve iç mimar Ariana Ahmad’la çalışmış. “Ev sahipleri seçkin bir zevke sahip. Bu nedenle yerleşim düzeni, iç tasarım ve mobilya seçimi konusundaki beklentileri yüksekti. Dört yatak odası ve aile toplantıları için geniş bir oturma-yemek alanı hayal ediyorlardı” diyor Ariana. “Zamanlarının bir bölümünü çok sevdikleri Paris'te geçirdiklerinden, Moskova'daki dairelerine Fransız ruhunu aşılamak istediler”. Ariana iç mekan tasarımını mobilyaların siyah çizgilerindeki grafik detaylar ve canlı vurguları öne çıkaran bir kompozisyonla hazırlamış. Tüm duvarlar, entegre mobilyalar, pencere pervazları ve radyatörler tek bir renge boyanmış. Osmanlı tarzına özgü Macar parke zemin, dekoratif pervazlar, beyaz tonlar, doğal mermer ve antika verdure halılarla birlikte Paris'ten ilham alan bir ambiyans yaratılmış. Mobilyalar hem işlevsellik hem de çarpıcı tasarım için seçilmiş. Le Corbusier'nin ikonik LC4 şezlongu ise oturma odasının en önemli parçası. Ariana, ev sahiplerini bu şaheserin mekana hakim olması gerektiğine ikna ettiğini söylüyor. Gri-beyaz paleti sarı-bej deriden zarif De Padova sandalyeler tamamlıyor. Deriyi dengelemek için bir Piet Boon kanepe ve kumaş döşemeli bir Bonaldo sandalye eklenmiş. Yemek alanı için Patricia Urquiola'nın pratik deriden rahat döner sandalyeleri seçilmiş. Apparatus stüdyosundan orijinal aydınlatmalar ise ev sahiplerinin tercihi. FARKLI DOKUNUŞLAR Sanat eserleri tasarıma farklı dokunuşlar katıyor. Yemek alanının kompozisyonu, sanatçı Gorel'in “Majorettes” adlı tablosuyla mükemmel bir şekilde tamamlanıyor. Ayrıca, oturma odası ve fuaye duvarları antika verdure halılarla süslenmiş. Ariana, “Mobilyaların etkileyici vurguları ve grafik çizgilerinin iç mekanın tek renkli mimari zemininde öne çıkmasını seviyorum” diyor.

August 14, 2025 | DESIGN & INTERIORS a LAKESHORE RETREAT of QUIET LUXURY words Matteo Pazzagli photos Doublespace Photography Along the southern shore of Lake Ontario, where the horizon opens wide and piers frame the water’s edge, a private residence unfolds as a sensory journey. Conceived by ACDO — the Toronto-based studio co-founded by former Yabu Pushelberg designers Abe Chan and Sam Khouvongsavanh — this 10,000-square-foot home merges the calm of a retreat with the drama of generous, double-height volumes. What began as two penthouses became one seamless residence, designed to offer its owner a sense of escape. Here, intimate spaces — an ensuite tucked away, a solarium suspended on a bridge — flow into expansive zones for living, dining, and gathering. The design takes cues from panoramic bay views and the quiet luxury of Aman resorts, balanced with the refined elegance of Hong Kong’s Mandarin Oriental and Peninsula hotels. LIGHT AND SHADOW DANCE OVER WEATHERED WOOD, MOROCCAN ZELLIGE, AND COOL TRAVERTINE, SHAPING A SHIFTING ATMOSPHERE The palette is deeply considered, shifting with the seasons: rich blues for summer, grey-green tones for winter, walnut that nods to Asian teak, and matte oaks recalling driftwood along the shore. Light and shadow play across weathered wood, handcrafted Moroccan zellige tiles, and cool travertine, creating an ever-changing atmosphere. The owner’s art — from Vietnamese lacquer paintings by Bui Huu Hung to sculptural works by David Salazar and Romain Langlois — anchors the spaces in a worldly sensibility. There’s an ease here that comes from layering influences. Coastal references meet Asian details: latticed wood ceilings, the soft grain of walnut, the hush of stone underfoot. “The lakeshore setting dictated the direction,” the designers recall. “The uninterrupted view of the water’s horizon provided a sense of tranquility that became central to the inspiration.” This is a home shaped as much by memory as by place — travel through Asia and Southeast Asia distilled into materials and proportions. It’s a setting where a dramatic living space can host a crowd, yet a bedroom can cocoon you in stillness; where every surface holds the light in its own way, and the lake’s presence is felt in every room.

Mart 2021 | Art | İtalya Botticelli ve 550 yıllık mirası Yazı | Burak Demirkaya S andro Botticelli’nin “Madalyon Tutan Genç Adam” tablosu bir ay önce Sotheby’s New York’ta 92 milyon dolara satılarak rekor kırmıştı. Şimdiye kadar satılan en pahalı ‘ikinci eski usta resmi’ olan tablonun yeni sahibinin Rus bir alıcı olduğu söyleniyor. Oysa Botticelli’nin bu tablosu biçimsel nedenlerden dolayı uzun süre boyunca ilgi çekmemiş, tablo 18. yüzyıl sonlarına kadar Gallerli bir lordun köşkünün duvarını süslemişti. O zamana dek tablodan en cok etkilenen kişi lordun evine on iki yaşında ikinci eş olarak taşınan tiyatro sanatçısı Maria Chiappini’ydi. Londralı tüccar Frank Sabine ile Newborough Lordu arasında geçen bir anekdota göre tablonun değerinin o yıllarda Jean Baptiste Greuze’nin herhangi bir tablosunun kopyası kadar bile olamayacağından bahsedilmişti! Yıllar sonra Londralı tüccar Frank Sabin’in Sir Thomas Merton’a sattığı tablo, varisleri tarafından 1982 yılında Christie’s’de 810 bin sterlin karşılığı müzayedeye çıkarılarak el değiştirmişti. Son on yıldır ismi bilinmeyen Amerikalı sahibi tarafından birkaç kez ünlü müzayede evlerine ödünç verilen ve İtalyan sanatçının en iyi korunmuş bir düzine eseri arasında gösterilen tablo, sonunda Sotheby’s müzayede evinin New York’tan online olarak düzenlediği müzayedede komisyonlar dahil tam 92 milyon dolara alıcı buldu. KÜÇÜK FİCİ YA DA BOTTICELLI Son yıllarda müzayedelerde eserlerinin adını daha sık duyduğumuz İtalyan ressam Sandra Botticelli’nin hayatıyla ilgili fazla bilgi mevcut değil. Bildiğimiz en önemli şey, 1445 yılında dünyaya gelen Botticelli’nin Ortaçağ karanlığından Rönesans’a geçişte en etkili ressamlardan biri olduğu… Asıl adı Alessandro di Mariano di Vanni Filpepi olan ressama kendisinden yaşça büyük dört abisinden birinin “küçük fici” anlamına gelen Botticelli takma adını verdiği söyleniyor. Floransa’da yaşayan Botticelli’nin hayatı Lorenzo de Medici’nin ölümü ve Fransa Kralı VII Charles’ın şehri işgalinden sonra önemli ölçüde değişti. Bu dönemde Floransa toplumunun ahlakını eleştiren Savanarola adlı bir keşiş, kent üzerinde önemli etkiler yaratmaya başlamıştı bile. Bu dini yönlendirmeler sonucu çıkan yangınlarda Botticelli’nin baş yapıtlarından “Prinavera” ve “Venüsün Doğuşu” yanmaktan son anda kurtarıldı. Ancak hâlâ ne kadar eserin tahrip edildiği kesin olarak bilinmiyor. Floransa arşivlerine göre 1502 yılında Botticelli’nin gay olduğuna dair spekülasyonlar başlatılmış. Ama sanat tarihçileri o yıllarda cinsel yönelimlerin yaygın bir hakaret biçimi olarak kullanılmasından dolayı kesin bir kanıya varabilmiş değil.

September 2024 | DESIGN & INTERIORS TURKISH BELOW AN ART-FILLED, DYNAMIC NEW YORK HOME words Karine Monie photos Sarah Elliott Christin Farrar, founder of C. Farrar Design, designed this dynamic home filled with playful artwork and furnishings on Manhattan's Upper East Side. "The older homes on the West Side are more traditional and serious, but the owners trusted me to go in a different direction,” says Christin Farrar. "The family has an extensive art collection, from Damien Hirst to Martin Whatson. I wanted the house to reflect their optimistic outlook on travel, fun and life. The biggest compliment I always get is that the energy in the house is so good and all the rooms feel so warm”. HIGHLIGHTING THE ART AND BALANCING COLORS Expertly melding the homeowners’ art collection with elegant furnishings and a warm, comfortable color and materials palette, Christin Farrar delivered unique spaces that spoke to the homeowners’ needs and lifestyle. “The couple is heavily invested in collecting large colorful modern art, so I tried very hard to stay more restrained with color, using broken whites, grays and soft beiges to let the art speak for itself. The homeowners’ affinity for deep blues, however, ultimately won out in a few places. The hue can be seen in the de Gournay foyer and two blue lacquered bars on the second and seventh floors and, of course, the magnificent ombre runner that runs the entirety of the seven floors”. SOURCES - Furniture and lighting: De Gournay, Jiun Ho, Urban Electric, Christian Liaigre, Gubi, Lindsay Adelman, Adriano Garbino, Holly Hunt, Apparatus, Atelier Alain Ellouz, Zimmer + Rohde, Minotti, The Rug Company, Allied Maker, Kravet, Holland and Sherry, Phillip Jeffries, Zak + Fox, Thomas Hayes Studio, Blu Dot, Missoni, Roll & Hill, Janus et Cie, etc. - Artworks: Arno Elias, Retna, Karl Benjamin, Martin Whatson, Miya Ando, etc. SANAT DOLU DİNAMİK BİR NEW YORK EVİ C. Farrar Design kurucusu Christin Farrar, Upper East Side, Manhattan’da tasarladığı bu evi, “Eğlenceli sanat eserleri ve mobilyalarla dolu dinamik bir aile evi” olarak tanımlıyor. Christin Farrar, “Batı Yakası'ndaki eski evler daha geleneksel ve biraz daha ciddi, ama ev sahipleri farklı bir yön izlemem konusunda bana güvendi,” diyor. “Ailenin Damien Hirst’ten Martin Whatson’a kadar uzanan geniş bir sanat koleksiyonu var. Dolayısıyla evin onların seyahat, eğlence ve hayata iyimser bakış açısını yansıtmasını istedim. Sürekli olarak aldığım en büyük iltifat, evdeki enerjinin çok iyi olması ve tüm odaların çok sıcak hissettirmesi”. SANATI VURGULAMAK VE RENKLERİ DENGELEMEK Christin Farrar ev sahiplerinin sanat koleksiyonunu zarif mobilyalar ve sıcak bir renk ve malzeme paletiyle ustalıkla bir araya getirerek, ev sahiplerinin ihtiyaçlarına ve yaşam tarzlarına hitap eden benzersiz alanlar yaratmış. “Ailenin büyük ve renkli modern sanat eserleri koleksiyonuna büyük yatırımları var. Bu nedenle renkleri daha ölçülü tutmaya çalıştım. Kırık beyazlar, griler ve yumuşak bejler kullanarak sanatın kendi adına konuşmasına izin verdim. Ancak ev sahiplerinin koyu mavilere olan eğilimi nihayetinde birkaç yerde galip geldi” DETAYLAR - Mobilya ve aydınlatmalar: De Gournay, Jiun Ho, Urban Electric, Christian Liaigre, Gubi, Lindsay Adelman, Adriano Garbino, Holly Hunt, Apparatus, Atelier Alain Ellouz, Zimmer + Rohde, Minotti, The Rug Company, Allied Maker, Kravet, Holland and Sherry, Phillip Jeffries, Zak + Fox, Thomas Hayes Studio, Blu Dot, Missoni, Roll & Hill, Janus et Cie, vb. - Sanat eserleri: Arno Elias, Retna, Karl Benjamin, Martin Whatson, Miya Ando, vb.

December 2024 | Art & Culture FOR TURKISH RALPH PUCCI’s MIAMI MOMENT: a SHOWCASE of BOLD DESIGN words Matteo Pazzagli A Quick Reminder for Those Who Might Have Missed It During the Art Basel Miami Rush: RALPH PUCCI, during Art Basel Miami Beach, unveiled Primal Mysteries—its first in-house collection in nearly a decade. If you missed the buzz, the exhibition continues at the brand’s striking new 10,000-square-foot gallery in Wynwood, which opened in December 2023. The gallery features fresh creations by the studio’s Manhattan-based sculptors, alongside vibrant contributions from collaborators Marjorie Salvaterra and Patrick Naggar. A JOURNEY TO THE ROOTS OF CREATIVITY Primal Mysteries is more than a furniture collection—it’s a homage to the timeless essence of art. Drawing inspiration from modernist masters like Giacometti and Brancusi while paying tribute to ancient cultural expressions, the pieces exude a raw, handcrafted energy. The focus? Sculptural lighting and tables that are grounded yet refined. Each piece is crafted by hand at RALPH PUCCI’s Manhattan studio. Standouts like the Giant Mask and Primal Chandelier offer a refreshing antidote to today’s overly digital world with their tactile, earthy vibe. MARJORIE SALVATERRA California-based photographer Marjorie Salvaterra, known for her ability to explore the multifaceted roles demanded of women through black-and-white imagery, surprises with Sheila in Technicolor. This surreal series drenched in bold, commanding hues delves into the complexities and contradictions of modern womanhood. PATRICK NAGGAR A longtime RALPH PUCCI collaborator, Patrick Naggar once again demonstrates why he’s a design icon. Known for blending historical and cultural references with modern aesthetics, Naggar’s contributions include fresh tones for his Amalfi and Positano chairs, alongside elegant new designs like the Floral Chandelier and Twisted Stem Wall Sconces.

Aralık 2020 | Tasarım | Dünya 2020’nin en iyi tasarım evleri Yazı | Alp Tekin House in Los Vilos / Şili Tokyo merkezli mimarlık ofisi Ryue Nishizawa’nın tasarladığı, Şili’nin Pasifik Okyanusu kıyısındaki Los Vilos’ta konuşlanmış dalgalı beton çatıya sahip bu ev, yıl boyunca tasarım meraklılarının radarındaydı. Eve karakterini veren muhteşem çatı evi üç bölüme ayırıyor: Ön tarafta sauna, ortada bir yatak odası ve oturma odası. Arkada ise terasa uzanan bir mutfak ve yemek odası. The Red Roof / Vietnam TAA Design’ın Vietnam'daki “The Red Roof”u yenilikçi ve organik tarıma fırsat veren tasarımıyla ön plana çıktı. 2020 Dezeen Ödülleri'nde Yılın Kırsal Evi ve Yılın Mimari Projesi unvanını kazanan evin çatısı taraçalar halinde tarım alanlarına ayrılmış. Bumpers Oast / İngiltere ACME'nin tasarladığı bu ev İngiltere’nin güneydoğusunda. Şerbetçiotu kurutma fırınlarından ilham alarak yapılan evin dışını kaplamak için 41 binden fazla karo kullanılmış. Bumpers Oast evleri her biri büyük, yuvarlak odalarla dolu beş yüksek kuleden oluşuyor. Casa Mérida / Meksika Bu beton ev ise Yucatán Mérida'da 80 metre uzunluğunda bir alanda yer alıyor. Mimar Ludwig Godefroy, Mayalar’ın kültür mirasına saygı göstermek için tasarımında onların yaşam tarzından ilham almış. Mesela eski bir Maya yol sistemi olan Sacbe'ye atıfta bulunan kanallara yer vermiş evin dış alanlarında. Landaburu Borda / İspanya Mimar Jordi Hidalgo Tané, Navarra dağlarına bakan bu eski tarihi İspanyol evini hem yenilemiş hem de dağın altına gizlediği ek bir beton binayla genişletmiş. Cam bir koridorla tarihi ana eve bağlanan bu ek uzantı, hem ortama yeni bir hava vermiş hem de doğanın bir parçası gibi görünmeyi başarmış. House with a Greenhouse / Çek Cumhuriyeti RicharDavidArchitekti tarafından Chlum kasabasında yaşayan bir aile için yapılan bu tek katlı ev 2020’nin en ‘star’ evi olabilir! İçinde bir kaktüs serası da barındıran evin üzeri polikarbonat bir sera çatıyla taçlandırılmış. Tek kelimeyle muhteşem! La Torre Bianca / İtalya-Puglia La Torre Bianca, yani “Beyaz Kule” olarak adlandırılan Gagliano del Capo'daki bu villa, DOS Architects kurucularından mimar Lorenzo Grifantini’ya ait. Londra'daki hayatlarının koşuşturmacasından uzakta ailesi için bu evi tasarlayan mimar, beyaz kulenin arkasındaki küçük bir merdivenle üç katı birbirine bağlamış ve çatıya küçük bir seyir terası kondurmayı ihmal etmemiş. Minimal White Buildings / Menorca Adası Mimar Marina Senabre tarafından tasarlanan bu Menorca evi, birbirine bakan iki beyaz minimal yapının sadeliği ve duvara asılmış sanat eseri hissi veren penceredeki kırsal manzaralarıyla insanı büyülüyor! STİL | Kategorinin diğer yazıları Bir Edition üçlüsü: Sanat, parti ve iyi yemek Bodrum’a sürpriz: Dioriviera pop-up Emre Buga’nın stil atlası İçinden Aman stili geçen bir rüya Janus mu alırdınız Glassafe mi? Köprü + Heykel + Galeri: The Twist İstanbullu Tilda Swinton’ın ‘athleisure’ tarzı Fütüristik otel ‘Svart’ın açılmasına az kala Murat Süter’in ‘lacivert’ sırrı ‘Parazit’in evi aslında gerçek değildi Evi değiştir: Blush mı Green Benjamin mi? Edwina Sponza’nın stil kodları Korona Sonrası Şehir Tabelaları ‘Beslenme farkındalığınız’ ne durumda? Bodrumlu Uzakdoğulu: Leleg Living Bu yazın başrolünde: Soho Roc House Korona günlerinde yaratıcı bir ‘karton’ masa!

July 2026 | TRAVEL BENEDICTA & BENOÎT’S Utopian Paradise words Onur Baştürk For London-based Benedicta Linares Pearce, her dream was always one thing: to stay in touch with Menorca, the place where she was born. Benedicta’s dream and her devotion to the island were shared by her husband Benoît, who, soon after his first trip to Menorca, fell “under the mysterious pull of the island”. Eventually, the couple bought two ‘finca’ (Spanish for “estate”) in the heart of the island. They launched the first ‘finca’, Es Bec d’Aguila, in 2018 and the second, Son Blanc Farmhouse, an eco-sustainable hotel, in 2023. F or London-based Benedicta Linares Pearce, her dream was always one thing: to stay in touch with Menorca, the place where she was born. Benedicta’s dream and her devotion to the island were shared by her husband Benoît, who, soon after his first trip to Menorca, fell “under the mysterious pull of the island”. Eventually, the couple bought two ‘finca’ (Spanish for “estate”) in the heart of the island. They launched the first ‘finca’, Es Bec d’Aguila, in 2018 and the second, Son Blanc Farmhouse, an eco-sustainable hotel, in 2023. Benedicta and Benoît transformed a traditional farmhouse into a self-sufficient model and spent five years working on this utopian community-based eco-hotel. All the while, they challenged themselves to achieve a real impact on climate change. The couple’s coincidental meeting with architect Anne- Cecile Comar, co-founder of Atelier du Pont, is another integral element of the Son Blanc story. Anne-Cecile, who is emotionally attached to Menorca like Benedicta and Benoît, used local materials to design the hotel, including Menorcan clay, reclaimed wood from a Spanish monastery, marès, the local limestone, and ceramics. Traditional architectural features were retained, including wide floor slabs, arched openings, and vaulted ceilings. TRAIL WALKS & GONG BATH The local stone and the landscapes it forms are the most striking aspects of both the island and Son Blanc. Walking along the trails, accompanied by low stone walls, is the most wonderful thing you can do during your stay in Son Blanc. Not just a walk, of course. Whether it’s yoga, meditation, or taking a gong bath and traveling through other dimensions... Or doing nothing at all and sunbathing by the pool overlooking the sea carved into the rock is another alternative. A PRIMITIVE AND FESTIVE CULINARY EXPERIENCE Son Blanc’s cuisine is centered on simple, healthy, authentic, and local dishes. Indeed, they describe their cuisine as “primitive and festive”. Inspired by the earth and the sea, raw, fire-cooked, or pickled ingredients are served in a sparkling, salty, Mediterranean, vibrant, and spontaneous presentation. On the other hand, the hotel’s ecological practices are not merely in words. - They adopt zero waste. For this, they apply the composting method. - They resort to innovative systems to reduce consumption. Radiant ceiling panels used to heat and cool the building, and the nine geothermal wells... WE DESIRE TO DO THINGS ON OUR OWN SMALL SCALE, FOR BIG CHANGES Surrounded by endemic species of wild olive trees and pines, Son Blanc offers 15 rooms. As Benedicta and Benoit say, “This is more than a hotel; it is a family cottage that reconnects us to our essence, to our natural and social environment, and above all to ourselves”. Benoit has one more remarkable thing to say about Son Blanc, which he calls “a family journey”: “Our daughter, now eight years old, has grown up with this project and believes that Son Blanc is the fourth child in the family. In a way, she’s right. Because Son Blanc Farmhouse is the embodiment of a family journey. It is a way of molding the ambitions and dreams of Benedicta and me. It is also a way to share our environmental and social values with our children and other people. We just have a desire to do things on our own small scale to help with the big changes that the world needs to undertake”. for more Print VOL XII - 2024 Out of Stock Add to Cart

July 23, 2025 | DESIGN & INTERIORS PALOMBA SERAFINI words Onur Basturk photos Courtesy of ps+a Get ready to discover the story of a remarkable partnership, shaped by design! Ludovica Serafini and Roberto Palomba, the visionary creators of the Palomba Serafini brand founded in 1994, share their journey of determination, hard work, and inspiring experiences. PERHAPS THE MOST SIGNIFICANT MOMENT IS REALIZING THAT YOU ARE A MATURE PROFESSIONAL WHO IS VALUABLE TO THE INDUSTRY. Last year, you celebrated your 30th anniversary. Looking back at your 30-year design journey, can you share the most memorable and standout moments for you? R: It has been a long journey without ever stopping—everything has been unforgettable. It has been so wonderful (and still is) that I find it difficult to define one moment as better than another. However, perhaps the most memorable part wasn’t a single event but rather the awareness of having achieved success. When you realize that what you do is appreciated, that your ideas are valued, that people buy your projects, and that you’ve reached a level of design maturity that can be sustained, you understand the value of your journey. The truly memorable part consists of many small fragments that, when put together, create a sense of awareness. Perhaps the most significant moment is realizing that you are a mature professional who is valuable to the industry. The most meaningful moments are those of awareness—they give you the drive to do even more. L: A few years ago, we renovated one of our homes in Salento, specifically in Sogliano Cavour (LE). We furnished it with objects we’ve designed from the beginning of our career to today—projects spanning different materials: wood, fabric, upholstered pieces, mirrors, sanitary ware, ceramics, metals, and lighting. By incorporating all these elements, one can see they are all part of the same vision: individual elements forming a harmonious whole, much like instruments in an orchestra. This demonstrates the common thread in our continuous research into form applied to function, which has been our focus since the beginning. THE FUSION OF THESE TWO VISIONS —THE SARDINIAN AND THE ROMAN —HAS ALLOWED US TO DEVELOP A DISTINCTIVE AND INNOVATIVE APPROACH You’ve probably answered this a million times, but I’m curious—how did you two meet? Was it romantic? What kind of day was it? R: We met at a dance in Rome while both studying architecture in the Eternal City. After eight months of persistent courting, we began dating. From that day on, we have never been apart, and alongside our life together, we began realizing our professional dream. In 1994, we founded the Palomba Serafini studio. L: The places we come from have significantly contributed to our creativity. R: I am from Sardinia, a wild and authentic land, rich in ancient history and deeply rooted traditions. Sardinia’s breathtaking landscapes, with rugged coastlines and lush mountains, have profoundly influenced my approach to design. L: I come from Rome, a city that is a true open-air museum, where historical eras blend into one magnificent metropolis. Rome is a city of contrasts, where the ancient intertwines with the modern, and Baroque opulence coexists with Renaissance sobriety. The fusion of these two visions—the Sardinian and the Roman—has allowed us to develop a distinctive and innovative approach. What were the early days of PS+A like? R: Very quiet. It was just the two of us, with plenty of time to dedicate to our work. We would come home, and the days felt endless; sometimes, we’d find ourselves staring at the wall, asking each other: “What will we be when we grow up?” Today, on the other hand, the days fly by! Sometimes, we can’t even find time for a break. Everything is so hectic—a true race against time, with so much to do that we often realize the day has ended before completing half of what we had planned. The difference between those early days and now is that back then, we had time. Yet today, we might still be asking ourselves the same question: “What will we be when we grow up?” And the answer is probably just one: on vacation! MISTAKES ARE NOT DEFEATS BUT LEARNING OPPORTUNITIES —A FUNDAMENTAL STEP TOWARD GROWTH What advice would you give to the impatient Gen Z when it comes to work? Don’t try to leave your mark at all costs—focus on being yourself. Designing is one of the most powerful forms of self-analysis because it forces you to reflect on yourself and society. Every design decision represents a path among thousands, and that path is yours alone. No one—not even artificial intelligence—can choose it for you, because only you possess the motivations that drive you in that direction. Being a designer means knowing who you are and who you want to become. To express that through your work, you must be willing to make mistakes. Mistakes are not defeats but learning opportunities—a fundamental step toward growth. Expecting immediate success without failure leads to frustration. True success comes with patience and perseverance. L: My advice to young people is to study extensively. Today’s creative world moves at an incredible speed, with tight design deadlines, but knowledge is essential. It acts as a puzzle that you later reorganize through your unique perspective, allowing you to create distinctive projects and stand out. Conformity is the total loss of value for a creative. So, my advice is: study hard, travel as much as possible, and never let yourself get distracted by your phone. Observe details, understand why they exist in a particular time and place, and reinterpret their meaning in the present. Work hard—only perseverance pays off. Inspiration must be sought through experiences and collaborations beyond architecture and design—whether in cinema, literature, or fashion. Sharing both your work and life—what has it brought into your lives? L&R: When we work with shared values and a unified vision, not only does it make disagreements rare, but it also builds a deep and harmonious connection that reflects in every project. A project created by four hands is not just the result of collaboration but a merging of minds that enrich one another. It is a shared journey where every decision is the outcome of constant dialogue and mutual commitment, strengthening each idea over time. During the design process, who makes the final call? Who’s the real boss? Do you argue, or are there areas where you’re always in sync? L&R: At the core, there is profound harmony and mutual understanding. Occasionally, one of us becomes more invested in an idea, but there are no real arguments—just immense respect and admiration for each other’s vision. Every project is enriched by our exchange of perspectives, making it even more meaningful. It’s hard to categorize your creative career. But what excites you the most—designing spaces (homes, hotels,etc.) or products? R: We are excited by challenges—anything new and different that pushes us to rethink ourselves. This mindset sets us apart because doing something you’ve never done before truly allows you to learn a great deal. L: Personally, I was born an architect. As a child, I would spend hours observing my mother’s floor plans, imagining myself as a tiny ant walking through the various rooms and inventing stories. Architecture is an innate passion for me. I see an architect as someone with a global vision, an ability to refine an idea step by step until it reaches its full potential. So, definitely architecture. I’M NOT A FAN OF LARGE TABLES WITH TOO MANY CHAIRS LEFT EMPTY —IT MAKES ME FEEL A BIT SAD Roberto, I read somewhere that you’re not a fan of dining chairs at home. And I think also wardrobes in the bedroom? Can I ask why? Are there other rules or types of furniture you avoid at home? I’m not a fan of large tables with many chairs around them that, in the end, remain empty. When they are visible all day in a living room, they make me feel a little sad. I prefer, as I did in my own home, to transform the table into a kind of installation, bringing out chairs only when needed. I don’t like seeing empty chairs around a table, with all the legs creating disorder. But if you’re lucky enough to have a separate dining room, then you can have as many chairs as you like. As for wardrobes, I believe they are best placed near the entrance of the house. When you arrive home, you step into your own space, take off your day clothes, and in that moment, you can begin to unwind. The wardrobe moment should be a transition from the outside world into a personal retreat. I have no objections to specific furniture pieces, but I certainly have my own rituals, like everyone else. Ludovica, for you, what makes the perfect home design? What elements do you prioritize the most? I think the word perfection is tied to the concept of the "here and now." I embrace disorder—it holds great value for me. From chaos, something new is always born. Perfection is unattainable; as far as I’m concerned, the word could disappear from the dictionary altogether. The fundamental aspect of a home is its mood—a reflection of the inhabitant’s state of mind. Good design should create harmony within a space. Since we inhabit spaces in many forms—our home, a car, a museum—we should aim to make each of them feel good to be in. That’s what truly matters. MUTUAL TRUST AND A GREAT DEAL OF PATIENCE Over the past 30 years, you’ve collaborated with leading brands like Zanotta, Foscarini, Poltrona Frau, Bosa, and Lema. What are the key elements to ensure harmony between a designer and a brand? R: Mutual trust and a great deal of patience. For designers, respect for the brand is essential. Too often, we see projects where designers impose their personal vision without honoring the company’s identity. A successful collaboration requires synergy: I bring my vision, the company brings its identity, and together we create something more significant than what either could achieve alone. Listen, learn, respect—these are the principles that foster growth. L: I deeply believe in the principle of Yin and Yang—harmony cannot exist without a degree of contrast. The essence of any authentic collaboration is shaped by differences. A designer-brand relationship goes beyond the professional—it is, above all, a human connection. It involves intense exchanges, highs and lows, moments of great synergy, and inevitable friction. But it’s precisely in those tensions that the deepest insights emerge, the strongest ideas take shape, and the most meaningful results are achieved. Is there a particular brand collaboration that you’ll never forget? Can you share why? R: Personally, I think back to the years spent at Zanotta with Martino Zanotta, who, sadly is no longer with us. Those were truly wonderful years. Of course, there was the professional side, but what made them so special was the deep friendship we shared—beyond just our work relationship. That bond extended far beyond the business, making every moment meaningful. L: Without a doubt, one of the most important experiences of my career was meeting Enrico Astori and beginning to work with Driade. I had the opportunity to form a deep connection with an extraordinary architect—not only in terms of vision but also on a human, cultural, and creative level. He was an incredible source of inspiration, and in the world of design, he is the person I miss the most. Another company where designing is always a pleasure, and perhaps one of the longest-running collaborations we have, is Foscarini. We started working with them on glass lamps when their headquarters were still in Murano—projects that later became bestsellers. With Foscarini, every collaboration has been a constant journey of discovery. WHEN YOU HAVE DOUBTS, YOU SEEK ANSWERS, AND THAT PROCESS OFTEN LEADS TO INNOVATIVE AND BETTER SOLUTIONS Roberto, in one of your interviews, you said, “I’m still a child, and I hope to stay a child forever. Growing up means losing curiosity, and I’m still growing.” That was so inspiring! Do you think growing up equals being boring? Is a designer more successful and effective when they preserve their inner child? R: I believe that growing up allows you to gain experience and greater control over your work, which is certainly valuable. However, one must be careful not to let experience become a limitation. Sometimes, because we know certain approaches, finishes, or designs work, we tend to repeat them and lose the desire to question ourselves. I believe youth is defined by having doubts, while maturity sometimes leads to false certainties. The key is to embrace doubt as an opportunity rather than a limitation. When you have doubts, you seek answers, and that process often leads to innovative and better solutions. If you stop questioning and assume that what has worked before will always work, eventually, someone else will come along and do it better—challenging your approach and offering something new. That’s exactly what I did when I was younger: questioning existing ideas. When we’re young, we must doubt what came before us. When we’re older, we must learn to doubt ourselves. So if being childlike means staying curious and always questioning, then yes—preserving that mindset is essential for any designer Should a designer be an unattainable, almost godlike figure, or more down-to-earth? R: I don’t believe designers should be seen as deities. Designers are human beings like everyone else. The issue is that some have turned this profession into a kind of cult, and as long as people admire them uncritically, they will continue to cultivate that image. For me, design is a beautiful profession that deserves respect and recognition, but it is still a profession—not a status. If a designer creates successful projects, they absolutely deserve admiration, just like any other professional. However, when admiration turns into worship, when designers claim to be above others or behave as if they are untouchable—that’s an entirely different story. Let’s think carefully about karma. L: In today’s world, where everyone seems to claim expertise in everything—whether as great chefs, designers, photographers, or critics—I, as someone who is simply an architect, often feel like a secondary figure. Perhaps, then, the ability to impose one’s vision is more valuable than ever. However, on my journey, I will always encounter people who believe themselves to be great, even when their profession has little to do with creativity. for more Print VOL XV - 2025 Out of Stock Add to Cart

January 27, 2026 | DESIGN & INTERIORS the BEST of Maison&Objet words Maria Chiara Antonini Hundreds of exhibitors and thousands of visitors animated the Paris trade fair dedicated to design and the world of interiors. A vibrant crossroads of ideas, materials, and visions, where furniture, decorative objects, textiles, and ceramics engaged in a continuous dialogue, transforming the fair into a living narrative of contemporary design. A SHARED LANGUAGE With over 67,000 visitors and 2,294 exhibitors, the latest Paris edition of Maison&Objet once again confirmed its role as a privileged observatory on the future of interior design. An unmissable event that continues to capture and interpret the transformations of contemporary living. The common thread running through the showcased novelties is clear: a renewed focus on traditional crafts—from ceramics and textiles to glassmaking—reinterpreted through contemporary design languages that seamlessly blend memory, materiality, creative vision, and modern aesthetics. The collections on display thus become tools for reflection, offering sensitive responses to the evolving needs of everyday life, with the aim of enhancing quality of life through design. But what will the interiors of the future look like? Offering a possible answer is Elizabeth Leriche, scenographer and trend forecaster, and curator of the exhibition What’s New? In Decor. “The interiors of tomorrow will be increasingly modular, designed to adapt to constantly evolving lifestyles. The pursuit of wellbeing, comfort, and a reassuring sense of familiarity will remain central,” she explains. Her installation, which interprets living as a layering of time, fits seamlessly into the theme of the 2026 edition, Past Reveals Future, presenting a broad and multifaceted vision of décor as fertile ground for design experimentation. CRAFT, REVISITED Ceramics take center stage, marking a heartfelt return to an artisanal aesthetic: vibrant surfaces, bold patterns, intense colors, and a material richness that becomes decoration in itself. A prime example is the new collection by Paola Paronetto, created in collaboration with Giovanni Botticelli, designed to meet the demands of increasingly sophisticated interior projects. This vision is echoed in the new dinnerware line designed by Belgian-Peruvian artist Shirley Villavicencio Pizango, known as Shurleey, for Serax, where flowers, plants, and fruit are transformed into poetic illustrations that enliven the table. Strong character and formal rigor define the identity of Table Machine, which makes color and geometry its contemporary hallmark. More classic in tone, with earthy hues and tactile surfaces, are the collections by Mos Portugal and Onofrio Acone, the latter also selected by Elizabeth Leriche for her installation. The floral world weaves through many of the collections, taking on ever-new forms: from Doing Goods cutlery adorned with delicate raised floral motifs, to the textile realm, where brands such as Goyaal Living and Jamini celebrate a slow, welcoming way of living—one defined by calm, intimacy, and an elegance that evokes the timeless charm of the countryside. LIGHTING AS NARRATIVE Lighting design also embraces bold colors and playful forms. The new collections by Ferroluce, Fermob, and Valerie Objects combine imaginative expression and experimentation with cutting-edge technology, transforming light into a narrative and scenographic element. Furniture design, too, takes center stage, with soft, enveloping lines like those proposed by Pedrali and Morpho, inviting a more mindful way of experiencing living spaces—one that fosters connection with oneself, with others, and with beauty. The new chair by House of Capricorn stands as a declaration of love for craftsmanship, a dialogue between mastery and traditional know-how that also resonates in the world of surfaces: from the ceramic tiles of Portuguese brand Theia to those of Turkish label Karoistanbul, characterized by modular, combinable forms designed to create unique, highly personalized solutions. TOWARDS TOMORROW And what about the hospitality of the future? Rudy Guénaire, through his installation Suite 2046, envisions it as an experience suspended between storytelling and visual poetry: “an architecture that strips back to the essentials and dares to dream big.” A journey that reinterprets everyday rituals, transforming them into a sensitive narrative poised between beauty, imagination, and desire.

September 2023 | Design & Interiors english below Kaş’ın yeni tasarım oteli words Alp Tekin photos İbrahim Özbunar M imar Yeşim Kozanlı’nın tasarladığı Radisson Blu Hotel Kaş projesi, bulunduğu bölgeye saygı niteliğinde bir mimariye sahip. Otelin taş cepheleri, Kaş'ın tarihi evlerinde sıkça rastlanan zanaatkâr işçiliğin bir yansıması. Duvarlar ise nesiller boyu aktarılan bilgiyle hayat bulan geleneksel "köy sıvası" tekniğiyle kaplanmış. Bu sıva, estetik açıdan sadece Kaş'ın özünü yansıtmakla kalmıyor, aynı zamanda doğal bir yalıtım da sağlıyor. Daha az kat ve daha geniş alanlara sahip olan projede toprak renkleri yoğun olarak kullanılmış. Ayrıca yapının mimarisinden iç mimari detaylarına kadar tüm hikâye, “Yeniyim, ama ben buralıyım” fikrinden yola çıkarak oluşturulmuş. Otelin doğal taş zemini ve el yapımı özel seramiklerle kaplı yüzeyleri ise doğadan ilham alan tasarım felsefesinin devamı. Otelin açık alanlarında Kaş'ın bitki örtüsünü yansıtan lokal ağaç ve bitkiler yer alıyor. Güneşli ve gölgeli alanları etkili şekilde ayıran seperatörler, iç ve dış alan ilişkisinin her noktada yaşanmasına imkan sağlıyor. Kaş’s new design hotel R adisson Blu Hotel Kas project in Kaş, designed by Yesim Kozanlı, has an architecture that respects the essence of its region. The stone façades of the hotel are a reflection of the craftsmanship that is common in Kaş’s historical houses. The walls, on the other hand, are covered with the traditional "village plaster" technique, which comes to life with knowledge passed down through generations. This plaster not only reflects the essence of Kaş in terms of aesthetics, but also provides a natural insulation. Earth colors were used extensively in the project, which has fewer floors and larger areas. In addition, the whole story, from the architecture of the building to the interior details, was created based on the idea of “I’m new, but I'm from here”. The hotel's natural stone floors and surfaces covered with handmade special ceramics are the continuation of the nature-inspired design philosophy. There are local trees and plants reflecting the vegetation of Kaş in the open areas of the hotel. The separators that effectively separate the sunny and shady areas allow the relationship between indoor and outdoor space to be experienced at every point.

Haziran 2020 | Art | Türkiye Geçici ama hafızalarda kalıcı olan müdahaleler Yazı | Alp Tekin D ev boyutlardaki yerleştirmeleriyle tanınan Christo ve Jeanne- Cluade Javacheff çiftini yeniden hatırlama zamanı. Çünkü Jeanne-Claude’un 2009 yılındaki ölümünün ardından Christo da geçtiğimiz günlerde 84 yaşındayken New York’taki evinde öldü. Bu muhteşem sanatçı çiftten geriye yaratıcılıkla beslenen müthiş bir aşk hikâyesi ve sınırları her daim zorlamış eserler kaldı. Neler mi yaptı bu çılgın çift? Neler yapmadı ki desek daha doğru olur! Aynı gün doğan (13 haziran 1935) ve 1958’te tanışan Christo ve Jeanne-Claude, çevre için yeni bir bakış açısı yaratmayı amaçlıyorlardı. Bu nedenle geçici müdahaleler serisini başlattılar. Bu müdahaleler kapsamında bir Volkswagen arabayı (1963), binaları (1967-68, 1971-95), bir Ortaçağ kulesini (1968), bir çeşmeyi (1968), kıyıyı ve kayaları (1969), adaların etrafını (1980-83) ve ağaçları (1997-98) sentetik kumaşla kapladılar. Bu eserlerin hepsi bir ila üç hafta gibi sınırlı bir sürenin ardından yeniden eski haline çevrildi. Kullanılan malzemenin tümü geri dönüştürüldü. 100 BİN METREKARELİK YÜZEN İSKELELER Çiftin en çok ses getiren işlerini şöyle bir sıralayalım: Üç yıllık bir izin sürecinin ardından 1983 yılında Miami'nin Biscayne Körfezi'ndeki 11 adanın etrafını 600 bin metrekareden fazla kırmızı polipropilen kumaşla kapladılar. Bu projenin adı “Surrounded Islands”dı. Kaliforniya’da ürettikleri “Running Fence” projesinde ise 59 farklı özel mülkün üstünden geçen, beş buçuk metre yükseklikte, 39 kilometre uzunluğunda beyaz naylon kumaştan bir çit yaptılar. Amaç, ekonomik ve sosyal düzeyleri farklı arsa sahipleri arasında bir kesişim noktası yaratabilmekti. 1971’de projesini çizdikleri, yapımı ancak 1995 yılında gerçekleştirilen “Wrapped Reichstag” projesi de büyük ilgi gören işlerdendi. Berlin’deki Alman Parlamentosu’nu 100 bin metrekare gümüş kumaş ve 90 profesyonel dağcının yardımıyla paketlediler. Parlemento iki hafta boyunca bu paketli haliyle kalmıştı. 1962’de yaptıkları “Wall of Oil Barrels-The Iron Curtain” adlı çalışma ise tamamen varillerden oluşuyordu ve çiftin diğer işlerine göre daha politik bir tavra sahipti. Varilleri, Paris’in Visconti sokağından geçişi engelleyecek şekilde, bu kez izin almadan yığmışlardı. Fikrini 70’li yıllarda geliştirdikleri bir diğer proje “Floating Piers”’ın hayata geçirilmesi ancak Jeanne-Claude’un ölümünden sonra mümkün olabildi. 2016 yılında İtalya’nın Iseo Gölü’nde yapıldı Floating Piers. 100 bin metrekarelik alanı kaplayan, sarı kadife çiçeği rengindeki yüzen iskelelerden oluşan bu yürüyüş yolu çiftin daha önceki yerleştirmeleri gibi halka açıktı. Üç hafta boyunca açık kalan göl üzerindeki bu devasa sarı yoldan binlerce insan yürüdü, ortaya çarpıcı fotoğraflar çıktı. LONDRA MASTABA Çiftin yine 1977’de tasarladığı bir başka proje olan “Mastaba”yı, Christo eşinin anısına ithaf ederek 2018’de tamamladı ve Mastaba’yı Londra’da açtı. İsmini Antik Mısır’daki tavanı düz, yanları eğimli banktan ve mezardan alan Mastaba heykeli aslında 410 bin adet renkli varilden oluşacak ve Abu Dabi’ye yakın bir çölde inşa edilerek dünyanın en büyük heykeli olacaktı. Ama Serpentine Galeri’nin davetiyle Londra’da yapıldı ve Londra Mastaba 7 bin 506 varille yapıldı. Yani tasarlanan ilk heykelin küçültülmüş bir versiyonuydu. ART | Kategorinin diğer yazıları ‘Resimlerin kendi içinde tedirgin olmasını önemsiyorum’ Mahremiyeti sorgulamak daha erotik Yuzu & nom-studios sunar ‘LOOP’ sergisi Kemal Özen "Gam'zede" Online Sergi Hangi yetişkin bir ‘Gam’zede’ değil ki artık? Ali Elmacı’nın atölye günleri notları May Parlar "Collective Solitude" Online Sergi Lara Kamhi’yle paradokslar ve izolasyon üzerine... BASE’in yeni dijital projesi yakında Sessiz Odanın Çığlığı İtalya’daki müzeden salgına bakınca… Yıldızı daha da parlayacak: Salman Toor Online açılış yapan İstanbullu sergi

Aralık 2021 | Tasarım | Vol V YENİ EVİNİZ BELKİ DE 3D YAZICIYLA İNŞA EDİLECEK Yazı | Oktay Tutuş Ü ç boyutlu (3D) yazıcı teknolojisi, kompleks tasarımları gerçeğe dönüştürmek üzere. 1980’lerden bu yana, özellikle tasarımcı, mimar ve üretim yapan firmalar tarafından prototip yapımında 3D kullanılıyor. Ama son 10 yılda bu ileri teknoloji şaşırtıcı derecede gelişti. Artık üç boyutlu yazıcıların evde kullanılabilecek fotokopi makinesi formunda olanlarından tutun da, laboratuvarda yapay organ yapabilenlerine kadar hayal gücünü sınırsız tutan örnekleri geliyor. Hemen her endüstriyi dönüştürebilecek güçteki bu yüksek teknoloji yazıcılar konusunda en çok heyecanlanan sektör ise inşaat. Gezegenimizdeki karbon emisyonun yüzde 11’inden tek başına sorumlu olan geleneksel yöntemlerle yapılan inşaatlara, neredeyse sıfıra yakın emisyon oranlarıyla alternatif olabilecek bu yöntem ne zaman yaygın olarak kullanılacak? Bu yılki Venedik Mimarlık Bienali için Zaha Hadid Architects tarafından tasarlanan Striatus, bu soruya bir yanıt niteliğinde. Kasım 2021’e kadar Giardini della Marinaressa’da sergilenecek 16x12 metrelik bu yaya köprüsü, usta inşaatçıların geleneksel teknikleri ve gelişmiş bilgisayar teknolojisiyle hesaplanmış tasarım, mühendislik ve robotik üretimi birleştiren türünün ilk örneği. Bu da bize gösteriyor ki, 3D baskı çok daha az malzemeyle, çelik takviye ya da harç gerektirmeyen güçlü beton yapılar oluşturmak için kullanılabilir. Bu teknikle 3D baskı teknolojisiyle üretilmiş beton parçaları bir araya getirmek ve dünyanın en kompleks tasarımlarını hayata geçirmek mümkün. Devamı için... Print YUZU MAGAZINE - V Out of Stock View Details