January 2023 | People TR Below ELİF BOYNER Words + Photos OB How did the idea of Vertical form? Did you always have this idea in your mind, what inspired you? The project got its name from ‘Vertical Farming’. But, when I first began to create Vertical, it was initially intended to be a sports-related project. In 2017, we created the SWEATers App, a mobile app that connects athletes. Then, we opened the SWEATers HUB in Bebek after realizing that the athletes needed places to gather. It was an athlete meeting point focused on runners and cyclists. We offered free water refill point there. We served glass bottled beverages. Monthly shower membership was 30 liras. Groups of 40–50 people were running while holding plastic bottles, leaving dozens of bottles behind. While many said they would not use the shower to avoid getting a membership, we noticed wet toilet paper being used as towels on the floor when we entered the restrooms. That is when I decided. So, I thought I should design places not just for people who take care of themselves, but also for those who look out for their world and the environment from now on! Because of this, when I founded Vertical, I wanted to find ways of “how to be sustainable” in city living spaces that were focused on food and beverages. At that time, I was very interested in vertical farming. It is a system that decreases the carbon footprint compared to traditional agriculture while saving 300 times the amount of water. It eliminates a lot of problems like packing and transportation footprint when consumed at the place of production. So, we started to build the project around vertical farming. What else is being done at Vertical to achieve the goal of reducing waste and minimizing carbon footprint? There is a cyclical system. For example, the kitchen of our restaurant, Circle, works with almost zero waste. Almost all of the ingredients used in the menu are used. The unused material is turned into another product by drying it in a dehydrator or a ‘freeze dryer.’ In our bar, coffee grounds turn into coffee liquor, apple peels into apple liquor, and vegetable and fruit pulp turn into banana peel chips in the evaporator machine. Those that cannot be transformed are composted. We created a new garden area out of compost manure. In addition, tests are carried out for fertilizer in our mushroom field. Soon the mushrooms on our menu will also grow with this fertilizer. Even if the mushrooms are left on the plate, they will be composted and become food again. This is one of the best examples of the cycle of “Nothing is lost, nothing is created in the universe”. It excites me and makes me smile. We also have a “Vertical No Waste Pop Up” kitchen in our garden. We make street food plates by utilizing the materials that we don’t use at Circle. The use of plastic bottles is restricted. We will soon stop purchasing glass bottled water and offer it in our own bottles to be refilled. One of our mottos is, “Recycling is so last season... REUSE!”. Because the main contribution is not recycling, but not using at all. We also don’t purchase liquid hand soap. We turn all waste oils used in kitchens into liquid hand soap. We obtain a face mask by drying the used coffee grounds. Aside from that, we reduce glass waste by encouraging guests to consume filtered water. We never use cleaning products containing chemicals. We established our 100-square-meter vertical field to demonstrate that agriculture is possible in the city. Currently, a big bag of garbage comes out from our place, where an average of 600 people come on a regular basis. This garbage is almost the same as the garbage of a family of five who consume irresponsibly. We continue to learn every day about how we can generate less waste. What are you doing to reduce your own carbon footprint? What can be done individually is very simple. The most important thing is to reduce consumption. Not consuming what we don’t need. Eating at responsible eating and drinking places. Paying attention to where the food you buy comes from and how it is produced. Keeping your cloth bag with you, not using plastic products, not using chemical cleaning and personal care products, even producing as many cleaning supplies as possible at home. Vertical fikri nasıl ortaya çıktı? Kafanda bu fikir hep var mıydı, nelerden ilham aldın? Proje ismini ‘Vertical Farming’den aldı. Ama aslında Vertical’ı geliştirmeye başladığımda spor odaklı bir proje olarak yola çıkmıştım. 2017’de SWEATers App adında sporcuları bir araya getiren bir mobil uygulama yaratmıştık. Ardından sporcuların bir araya geleceği lokasyonlara ihtiyacı olduğunu görerek Bebek’te SWEATers HUB’I açtık. Koşucu ve bisikletçi odaklı bir sporcu buluşma noktasıydı. Orada ücretsiz su dolum noktası sunduk. Cam şişeli içeceklere yer veriyorduk. Aylık duş üyeliği 30 liraydı. 40-50 kişilik spor grupları ellerinde pet şişelerle koşularını yapıyor, çıkarken arkalarında onlarca pet şişe bırakıyordu! Birçoğu üyelik almamak için duşu kullanmayacağını söylüyor, ama tuvaletlere girdiğimizde yerlerde havlu niyetine kullanılmış ıslak tuvalet kâğıtları buluyorduk. O dönem karar verdim. Bundan sonra yaratacağımız yerleri sadece kendine iyi bakan bireyleri değil, dünyasına ve çevresine de özen gösteren bireyleri düşünerek kurgulamalıyım diye! Bu nedenle Vertical’a başlarken, şehirdeki yeme-içme odaklı yaşam alanlarında “Nasıl sürdürülebilir olunur”un yollarını bulmak istedim. O dönem dikey tarım ilgimi çok çekiyordu. Geleneksel tarıma göre yüzde 98 karbon ayak izi azaltan, 300 kat su tasarrufu yapan bir sistem. Üretilen yerde tüketildiğinde lojistik ayak izi, paketleme gibi sorunları ortadan kaldırıyor. Böylece dikey tarım etrafında projeyi oluşturmaya başladık. Vertical’da minimum atık ve minimum karbon ayak izi hedefi için başka neler yapılıyor? Döngüsel bir sistem var. Mesela restoranımız Circle’ın mutfağı neredeyse sıfır atıkla çalışıyor. Menüde kullanılan malzemelerin neredeyse tamamı kullanılıyor. Kullanılmayan malzeme ya dehidratör ya da ‘freeze dryer’da kurutularak farklı bir ürüne dönüşüyor. Barımızda çıkan kahve posaları evaporatör makinasında kahve likörüne, elma kabukları elma likörüne, sebze ve meyve posaları ise muz kabuğu cipsine dönüşüyor. Dönüşemeyenler komposta gidiyor. Komposttan çıkan gübreyle yeni bir bostan alanımız oluştu. Ayrıca mantar tarlamızda gübre olarak testleri yapılıyor. Yakında menümüzdeki mantarlar da bu gübreyle yetişecek. Mantarlar tabakta kalsa bile komposta girerek tekrar gıdaya dönüşecek. Ayrıca bahçemizde “Vertical No Waste Pop Up” mutfağımız var. Circle’da tüketemediğimiz malzemeleri değerlendirerek street food tabakları yapıyoruz. Plastik şişe kullanımı ise yasak. Kısa zaman içinde cam şişe su alımını da sıfırlayarak kendi şişelerimizde satacağız. Tekrar doldurulacak şekilde. Mottolarımızdan biri, “Recycling is so last season... REUSE!”. Çünkü asıl katkı geri dönüşüm değil, hiç kullanmamak. Sıvı el sabunu alımını da sıfırladık. Mutfaklarda kullanılan tüm atık yağları sıvı el sabununa dönüştürüyoruz. Kullanılmış kahve posalarını kurutarak yüz maskesi elde ediyoruz. Bunların dışında misafirlerimizi filtreli su içmeye teşvik ederek cam atığımızı minimuma indiriyoruz. Kimyasal içeren temizlik ürünlerini asla kullanmıyoruz. Şehirde tarımın mümkün olduğunu anlatabilmek için dikey tarlamızı kurduk. Şu anda günlük ortalama 600 kişinin geldiği alanımızda bir büyük boy dolusu çöp çıkıyor. Bu çöp, sorumsuz tüketen beş kişilik bir ailenin çöpüyle neredeyse aynı! Her gün öğrenmeye devam ediyoruz. Daha az nasıl atık çıkarabiliriz diye. Kişisel olarak karbon ayak izini azaltmak için neler yapıyorsun? Bireysel yapılabilecekler basit. En önemlisi tüketimi azaltmak. İhtiyacımız olmayanı tüketmemek. Sorumlu yeme-içme noktalarından yemek. Aldığın gıdanın nereden geldiğine, ne şartlarda yetiştirildiğine önem vermek. Bez çantanı yanında bulundurmak, plastik ürünler kullanmamak, kimyasal temizlik ve kişisel bakım ürünleri kullanmamak. Tamamı için... | For more... Print VOL VIII - 2022 / 23 Out of Stock View Details

March 2025 | VOL 14 CLEMENT BRAZILLE ‘Playing with limits is a recurring theme in my work’ words Alp Tekin portrait photo Robin Bervini Geneva-based French designer Clément Brazille enjoys exploring the potential and limits of materials in his work, focusing particularly on production methods and the shaping of objects. It's striking that you use diverse materials like ocean travertine, ceramics, and wood in your work. What’s the reason behind this? Is it the pleasure of exploring different materials or pushing boundaries? You're right; I see myself first and foremost as a designer, and I believe it's my duty to understand all materials. Each material is like a blank canvas on which I want to leave my mark. Naturally, every material behaves differently, presenting a balance of constraints and benefits, where I believe innovation thrives. For me, the aesthetic qualities of an object are rarely a primary goal; they are more often a byproduct of a gesture, an idea, or a manufacturing process. Playing with limits is a recurring theme in my work. For instance, while stone has a heavy connotation, I prefer to draw it thin and light. Ceramics often evoke images of tableware and fragility, yet I like to use them in large formats, such as furniture or load-bearing elements. Which material attracts you the most, and why? Naturally, I would say clay and, by extension, ceramics. Clay, in its natural state, is a living and empirical element; a dialogue occurs when you work with it. It’s no coincidence that clay is used in art therapy to enhance emotional and mental well-being. Historically, civilizations utilized earth and ceramics as the first medium for writing. I learned the basics of clay from a self-taught ceramist who worked with renowned artists and collections. Ceramics can be both accessible and highly technical, as seen in applications like space components or technical watchmaking. The history and potential of ceramics fascinate me! If you were to view yourself and your work from an outsider's perspective, how would you define both? Fearless, intrepid, and determined! I trust my intuition with every project I start, integrating boldness, consistency, and a touch of originality. I never compromise on quality, craftsmanship, or the energy required to execute my vision. How did the idea of reinterpreting Harry Bertoia's works and the Bertoia Loom Chair come about? Fifteen years ago, I owned a Harry Bertoia chair, which became my office chair when I began weaving scarves and eventually clothing to enhance comfort and ergonomics. The following year, I was invited to exhibit an object of my choice in Paris, with the theme being “Vintage.” This led me to create a coherent weave using velvet fabric. An art dealer noticed this personalized icon and commissioned several pieces for decorators and architects. It emerged from a pragmatic idea! Today, I design new pieces year-round for decorators, allowing them to select the chair model, color, and fabric to suit each interior project. I collaborate with an upholsterer's workshop to handle the upholstery, delivering anywhere in the world. for more Print VOL XIV - 2024 / 25 ₺970,00 Price Add to Cart

May 2025 | Art & Culture a NEW CHAPTER in DUBAI’s ART SCENE words Karine Monie photos Courtesy of RARARES In the heart of Dubai’s thriving Financial District, a new space is redefining how fine art is experienced. Launched in 2024, RARARES is not just another contemporary art gallery — it’s a bold vision brought to life by founder, art director, and lead curator Marina Baisel. With her background in interior design and a lifelong passion for art, Baisel has created a gallery that makes fine art a vibrant, integral part of daily life. “Art has always been a central part of my life,” says Baisel. “My mission is to educate people about fine arts, nurture their creativity, and help them develop their own unique artistic taste.” Inspired by the Latin word rarus — meaning rarity and uniqueness — RARARES is committed to celebrating distinctive artistic voices from around the world. A SPACE WHERE ART AND LIFE CONVERGE RARARES offers a refreshing departure from Dubai’s typical gallery scene, which is often split between commercial giants and hyperlocal initiatives. Instead, the gallery champions a diverse range of emerging and established artists, fostering global dialogues and introducing rare talents to the region. The space itself, spanning approximately 100 square meters, is designed to be welcoming and intimate — a place where visitors from all walks of life can explore creativity freely. Each exhibition transforms the environment, offering new settings and experiences that resonate with the mission and themes of the featured artists. “My goal is to showcase art that inspires people to do good, motivates them toward greater accomplishments, and fosters a sense of purpose and possibility,” says Baisel. A GLOBAL VISION ROOTED IN DIVERSITY RARARES represents an impressive roster of international artists, carefully selected for their diversity, originality, and ability to inspire. Highlights include Ghaleb Hawila and Mariam Al Khoori from the UAE, Talal Altukhaes from Saudi Arabia, Zeina Abdullah from Egypt, Yuksel Dal from Turkiye, Mathias Hagen from Norway, Maria Bang Espersen from Sweden, and many more. “We have a strong understanding of the global art landscape and carefully select exceptional artists who inspire us to push the boundaries of the ordinary,” says Baisel.

November 2024 | Travel FOR TURKISH WINTER CHIC: FRENCH MOUNTAIN GETAWAYS words Pınar Yılmaz / Deliciae BAGATELLE COURCHEVEL Located at an altitude of 2,200 meters in the heart of the 3 Vallées, Bagatelle Courchevel offers a unique dining experience with its 500-square-meter panoramic terrace. Famous for its joyful atmosphere inspired by the free spirit of the 60s, the restaurant combines gastronomic excellence with Mediterranean-inspired flavors, crafted by Bagatelle Group's Chef Rocco Seminara and Executive Chef Jules Pronost. With its chalet-style decor and lively music programs, Bagatelle Courchevel creates a warm and inviting ambiance, making it a must-stop for ski lovers this winter season. CHALET FRANCE COURCHEVEL Now, close your eyes and imagine: As you walk through the door, you're greeted by retro floor tiles contrasting with the modern brown wood paneling and cozy nooks draped in cashmere-gray wool. Inside, vintage furniture complements the modern interior design. Located just 18 minutes from Courchevel in the Champagny-En-Vanoise valley, Chalet France is designed by renowned interior designer Kelly Hoppen, famous for seamlessly blending East and West. Chalet France aims to redefine elegance in the mountains—and it does so beautifully. Accommodating up to 16 guests, its large windows offer breathtaking views of the mountains. ECRIN BLANC RESORT COURCHEVEL Built in traditional Savoyard style with wood and stone, Écrin Blanc sits in the heart of the Three Valleys at the Courchevel ski resort. With 127 rooms and suites, the hotel caters to all kinds of guests, from couples to larger groups. It offers direct access to Aquamotion, the largest leisure and water park in the French Alps, via a private underground tunnel—combining comfort with fun. At the heart of Écrin Blanc is Cellier, serving a menu featuring local producers’ specialties, perfect for any time of day. L'AVENTURE BY BAGATELLE COURCHEVEL Bagatelle Group and Maison Tournier have joined forces to breathe new life into Courchevel 1850’s iconic L’Aventure restaurant. A symbol of Courchevel since 2000, L’Aventure is ready to offer unforgettable nights filled with cabaret-style shows and dance performances, following an elegant transformation that balances tradition and modernity. Of course, this comes with a refreshed winter menu showcasing the best of French gastronomy and a design by Sam Baron. CLUB MED VAL D'ISÈRE Val D’Isère, beyond being a world-renowned ski resort, symbolizes a unique lifestyle in the heart of the French Alps. This distinctive character and elegant luxury inspired interior designers Marc Hertrich and Nicolas Adnet while renewing the reception and living areas of Club Med Val D’Isère. Adorned with natural materials and elegant details that reflect the spirit of the mountains, the hotel offers guests an authentic comfort. In the meticulously designed space, a custom panoramic rug featuring the golden eagle feathers, the symbol of Val D’Isère, takes center stage, while carefully placed wooden walls and a deep fireplace reinforce the mountain spirit of the area. Adjacent to the bar lounge, the Salon Dynamique is decorated with fabrics in shades of red and icy blue, faux fur blankets, and a trompe l'oeil parquet floor that harmonizes with the latest wooden inlays. The unique chandelier lighting overhead is crafted from Limoges porcelain by the lighting artisans Beau & Bien.

April 2025 | VOL 14 COSTA RICA Nature's Playground Awaits! photos Courtesy of iStock So, why is everyone buzzing about Costa Rica? This little gem in Central America has so much to offer: lush rainforests, stunning volcanic mountains, beautiful beaches, winding rivers, and an incredible variety of wildlife. It’s an adventure waiting to happen! But there’s one standout reason that makes Costa Rica truly special: it’s home to a whopping five percent of the world’s biodiversity! And the country takes this responsibility seriously. In 2019, the United Nations recognized Costa Rica as a Champion of the Earth for its leadership in environmental policy. They’re not just talking the talk—back in 2017, Costa Rica ran on 100% renewable energy for 300 days! The goal? Aiming for 100% renewable electricity by 2030. Isn’t that amazing? And there’s so much more! Costa Rica boasts six different types of forests and 30 national parks. The latest addition, San Lucas National Park, was once a prison island but is now a sanctuary for howler monkeys, bats, and sea turtles, as well as a hiker's paradise. While many countries aspire to be eco-friendly like Costa Rica, the citizens here really lead the charge. For them, conservation isn’t just a buzzword; it’s a national mission. Thanks to this commitment, Costa Rica’s tourism scene is thriving with volunteer programs, carbon offset initiatives, and a strong ecotourism movement. Bernal Diaz, a Costa Rican biologist and farmer, put it well: “People often ask why this country has become a biodiversity hotspot. The main reason is our historical isolation from colonial powers. This has fostered self-sufficiency and a focus on education, democracy, and respect”. WHAT TO DO IN COSTA RICA 1. Take a Forest Bath in Monteverde At 4,662 feet above sea level, Monteverde feels like being on top of the world! The misty “cloud forests” here are magical, filled with thousands of insects, 2,500 plant species (including 420 types of orchids), and 400 bird species. Don’t miss the long steel-rope suspension bridges—it’s an exhilarating way to explore the forest! And yes, Costa Rica is famous for its ziplines! The Sky Trek is a must-try, featuring longer trails and more platforms that’ll make you feel like Tarzan. 2. Visit Indigenous Communities Experience “Pura Vida” (meaning pure life) in the Bribri protected area in the Talamanca Mountain Range along the Yorkin River. Here, you can connect with the local community, who welcome visitors into their homes to share their culture and culinary traditions. 3. Rafting on the Pacuare River The Pacuare River, winding from the Talamanca Mountains to the Caribbean, is one of the top five rafting spots in the world. Join a night rafting adventure to explore the rainforest while staying at eco-lodges like Tropical Rivers Lodge or Bajo del Tigre. 4. Hike in the National Parks With 30 national parks to choose from, take a day hike in one that catches your interest. Santa Rosa National Park has a unique dry forest and is known for its Olive Ridley sea turtle nesting sites.The Arenal Volcano National Park is perfect for thrill-seekers and offers natural hot springs and excellent birdwatching opportunities. Manuel Antonio National Park may be the smallest, but its breathtaking views and stunning beaches make it a favorite.Don’t miss Rincon de la Vieja National Park, where geothermal wonders await. Lastly, Marino Ballena National Park is your best bet for spotting humpback whales, especially between mid-July and October or from December to March. Bring your binoculars! 5. Surfing Adventures Surfing is a must in Costa Rica! Check out world-class surfing spots like Tamarindo, Espadilla, and Jaco Beach—there’s something for everyone, from beginners to seasoned pros. 6. Explore New Beaches Daily Whether you’re chasing stunning sunsets on the Pacific coast or colorful corals on the Caribbean side, Costa Rica’s beaches are simply gorgeous!Playa Conchal, with its turquoise bay, is perfect for snorkeling, while Punta Uva offers a peaceful escape. Manuel Antonio Beach is popular for good reason, just a short hike from the national park entrance. 7. Relax in Natural Hot Springs Soaking in the mineral-rich hot springs near Arenal and Rincon de la Vieja is pure bliss! Tabacón and Borinquen Mountain Resort are top spots to unwind. 8. Connect with Digital Nomads Costa Rica is a top pick for digital nomads, complete with its own digital nomad visa! The Nicoya Peninsula, especially around Tamarindo, Santa Teresa, and Malpais, has a vibrant community of locals and nomads. Explore cozy villas, surf cabins, and lively beach bars where you can groove to some salsa, soca, and calypso. for more Print VOL XIV - 2024 / 25 ₺970,00 Price Add to Cart

February 2025 | TRAVEL LISBON’s VIBRANT NEW CULINARY HOTSPOT Santa Joana words Onur Baştürk One of the most exciting and lively restaurants I’ve visited in Lisbon recently has to be Santa Joana. Opened in late October 2024, it is the flagship restaurant of the new Lisbon hotel by Locke, a brand with properties across major European cities, including London, Paris, and Berlin. Run in partnership with White Rabbit Projects, the restaurant is helmed by globally renowned chef and culinary director Nuno Mendes. Santa Joana blends Lisbon’s newfound energy with Portugal’s rich culinary history, offering a menu that showcases the country’s gastronomic traditions, evolution, and heritage—a true culinary journey through time. Sourcing ingredients from a vast network of farmers, producers, and artisans within a 300 km radius—including Wisdom Valley, Nutrifresco, and Carnes do Campo—the menu highlights the best of Portuguese land and sea. “One of the luxuries of working in Lisbon is having access to incredible ingredients,” says Chef Mendes, adding, “A few years ago, gastronomic language was barely present on our menus. Now, Lisbon is celebrating its produce and flavors on a whole new level.” SANTA JOANA’S SIGNATURE DISHES A tribute to traditional flavors, the standout dishes include Grilled Chicken with Pica Pau Sauce, Grilled Alentejo Pork Presa with Pickled Turnip & Roasted Walnut Sauce, Chickpea Fritters, Smoked Pork Chouriço, and Mussels from Sagres—all reflecting Portugal’s exceptional ingredients and culinary craftsmanship. 3 DISTINCT BARS CURATED WITH SPIRITLAND Santa Joana is more than just a restaurant—it’s also an ideal destination for parties, thanks to three uniquely designed bar spaces developed in collaboration with music and culture specialists Spiritland. It even hosted the Lisbon Art Weekend opening party, where an expat-heavy crowd transformed the atmosphere into something that felt distinctly New York. Upstairs, Bar Joana boasts an exciting wine selection, while O Pequeno, on the ground floor, stands out for its champagne and signature martini service. The cocktail menu features bold creations such as the Red Pepper & Tomato, made with ginjinha, red pepper, sun-dried tomato, and citrus, and the Apricot & Oolong, a whisky-based punch with apricot, oolong tea, fenugreek, and oat milk. A DESIGN ROOTED IN HISTORY Housed in a former monastery, Santa Joana’s interior is a tribute to Lisbon’s layered past. The space retains its original stonework and 17th-century architectural details, seamlessly integrated into a design-forward setting by the renowned studio Lázaro Rosa-Violán. The restaurant’s walls feature works by textile artist Carolina Vaz, Portuguese design studio Pareidólia, and ceramics atelier Grauo Cerâmica—each piece inspired by the building’s history and the archaeological discoveries made on-site.

Ocak 2022 | Tasarım | İtalya HiAm Uykuda gelinen son nokta Yazı | Oktay Tutuş P andemi sırasında gördük ki aslında en büyük yatırımı evimize ve dinlenebileceğimiz, yaşayacağımız ve temas edeceğimiz eşyalara yaparsak iç huzuru bulmamızın önünde engel kalmıyor! Bu noktadan baktığımızda en çok dinlenmeyi yatağımızda yapıyoruz. Ancak tüm teknolojik gelişmelere rağmen yatak tasarımları hâlâ çok fazla şey vadetmiyor. Özel yapım olanları ise başka şekilde değerlendirmek gerekiyor. HiAm isimli yeni konsept onlardan biri. Yüksek teknolojiyi ve İtalyan tasarımı ve malzemelerini bir araya getiren bu yatağı, Hi-Interiors isimli şirketleriyle Tallarico biraderler sunuyor. Ailelerinden gelen ahşap mobilya işini bir adım öteye geçiren bu yeni kuşak, akıllı mobilyalar üretiyor. Teknolojiyi kullanarak komple bir dinlenme deneyimi kurgulayan Hibed de onlardan birisi. Fizyolojik sağlığı harekete geçirmek için ortam ve okuma ışıkları, yüksek tanımlı ses sistemi, 70 inç ekran TV ve 4K projektör desteğini arkasına almış. Ek olarak, masajlar için programlanmış motorlu yatak bazaları ve kişiselleştirilmiş rahatlama anları için rafine bir koku yayıcı içeriyor ve bunların tümü yerel bir iOS uygulamasıyla etkinleştirilebiliyor. Yatak aynı zamanda sensörleri sayesinde ortamdaki rahatsız edici sesleri belirliyor ve yatağın sıcaklığını size göre ayarlıyor. Böylece çok yönlü bir dinlenmeyi mümkün kılıyor. HiAm veya Hibed sistemi, bir concierge hizmeti üzerinden sipariş verilebiliyor. Ahşap kaplamalarını kendi kişisel zevkinize göre değişecek renklerde kaplatabiliyorsunuz. hi-interiors.com

May 2024 | Design & Interiors english below The perfect tranquility in L.A.'s cool neighborhood words Karine Monie photos Neue Focus L os Angeles’daki Los Feliz, Hollywood bölgesinde yer alan şık bir yerleşim bölgesi. En iyi eğlence, restoran, butik ve iki nefis Frank Lloyd Wright evine ev sahipliği yapan Los Feliz, aynı zamanda kültürel kurumlara (Barnsdall Sanat Merkezi ve Autry Amerikan Batı Müzesi gibi) çok yakın. Louis & Rose'un müdürü, gayrimenkul geliştiricisi ve tasarımcı JD Irpino’nun evi de burada yer alıyor. "Şehrin bu bölgesini ve özellikle bu caddeyi - Nottingham Avenue - her zaman sevmişimdir” diyen JD Irpino’nun evinin tasarım ilhamı ise Kaliforniya sahili ve Fransız kırsalı. Bu nedenle mavi ve yeşil tonlardan oluşan yumuşak renk paleti, doğal taşlar ve ahşaplar; Güney Kaliforniya yaşam tarzına özgü rahat ama zarif bir atmosferde bir araya getirilmiş. Ev, İtalyan Arabescato şöminesi, ayrı bir kahvaltı köşesi ve eski İtalyan aydınlatma parçaları ile çarpıcı bir büyük odaya sahip. Yemek odası ise Pierre Frey'in el yapımı duvar kâğıdıyla süslenmiş. Ayrı kahvaltı köşesi hızlı yemek yemek, çalışmak ya da ders çalışmak için ideal. Büyük boy bir adaya sahip mutfakta ise Calacatta Monet mermeri hakim. Ayrıca Sub-Zero paslanmaz çelik aletler, Waterworks armatürler ve bir Wolf serisi bulunuyor. Tuvalet ise Calacatta Viola mermeri ile kaplanmış. Evde ayrıca Gregorius Pineo ve Hollyhocks'tan duvar kağıtları, çoğu İtalyan olan ve JF Chen ve Galerie Half'dan temin edilen vintage aydınlatma parçaları ile Visual Comfort ve Lightology'den bir seçki bulunuyor. L os Feliz in Los Angeles is a chic residential neighborhood in the Hollywood district. Home to the best entertainment, restaurants and boutiques, Los Feliz is also close to cultural institutions (such as the Barnsdall Art Center and the Autry Museum of the American West). It is also the home of real estate developer and designer JD Irpino, principal of Louis & Rose. "I've always loved this area of the city and this street - Nottingham Avenue - in particular,” says JD Irpino, whose home is inspired by the California coast and the French countryside. Hence the soft color palette of blues and greens, natural stones and woods are combined in a relaxed yet elegant atmosphere typical of the Southern California lifestyle. The home features a stunning great room with an Italian Arabescato fireplace, a separate breakfast nook, and vintage Italian lighting pieces. The dining room is adorned by a Pierre Frey handmade wallpaper. The separate breakfast nook is perfect for quick meals, work or studying. In the kitchen with an oversized island, Calacatta Monet marble prevails. There are also Sub-Zero stainless-steel appliances, Waterworks fixtures and a Wolf range. The powder room is filled with Calacatta Viola marble. All rooms feature custom fabricated steel windows and doors that open onto the expansive grounds and invite an abundance of natural light.

March 22, 2026 | DESIGN & INTERIORS the SPIRES APARTMENT words YUZU Editorial photos Liza Gurovskaya A quiet negotiation between modern and classic. In Moscow’s Spires residential complex, this 130 m² apartment by Yulia Starikova, founder of Starikova Architects, starts with a straightforward move: combining two separate units into one. But what’s interesting is not the merge itself — it’s what follows. The plan doesn’t feel assembled. It settles. Circulation is loose, almost unforced, and the apartment reads as a continuous space rather than a sequence of rooms. You move through it without really noticing where one zone ends and another begins. HOLDING THE BALANCE The brief wasn’t entirely clear-cut. The client, used to the comfort of a private house, wanted something more modern — but not at the expense of familiarity. Instead of choosing one direction, the project stays in between. A modern classic, but without the usual weight. Lines are kept clean, details are reduced, but there’s still a sense of softness in how everything comes together. Nothing feels overly styled. Nothing feels stripped back either. It’s less about contrast, more about holding a certain balance and not pushing it too far. A SPACE THAT DOESN’T INSIST There’s no single moment that defines the apartment. It’s quieter than that. What holds it together is consistency — in proportion, in tone, in how materials are used. The space doesn’t try to impress. It just works, gradually. You start to notice how everything aligns, how nothing feels out of place.

March 15, 2026 | PEOPLE FORM-MAKER JAN ERNST words YUZU Editorial photos (Courtesy of Jan Ernst) Marguerite Oelofse, Suly Kuhn of Laaaik Social Media, Jan Ernst, Tijs Vervecken, Justin Craythorne production Karine Monié Jan Ernst’s objects at the intersection of art, architecture and nature. In the work of South African designer and artist Jan Ernst, objects rarely appear fully engineered. Instead, they feel as if they have quietly grown into being. Across ceramics, lighting and sculptural pieces, Ernst explores the delicate territory between structure and imagination—where architectural discipline meets the unpredictable logic of nature. Ernst approaches design with the curiosity of both an artist and an architect. Trained in architecture in Barcelona, shaped by an art residency in France and grounded in his life in South Africa, his work sits at the intersection of art, architecture and nature. Organic forms balance poetic expression with functional intent, drawing inspiration from the elegance of Art Nouveau and the dreamlike theatricality of Surrealism. “My work moves fluidly between disciplines: it is concept-driven and sculptural, but also often functional and rooted in material exploration,” Ernst explains. “I think there’s something powerful in that tension—between form and function, intuition and precision.” Through limited-edition works and bespoke commissions, Ernst aims to create objects that are both sculptural and functional, emotional yet timeless. With new collections, residencies and exhibitions planned throughout the year, 2026 is shaping up to be a pivotal moment for the designer, whose practice is increasingly recognised within the evolving landscape of contemporary African design. A PRACTICE SHAPED BY LANDSCAPE Ernst’s relationship with form began long before architecture school. Growing up in an agricultural family in South Africa meant spending long hours outdoors, immersed in nature and observing the rhythms of growth, decay and seasonal change. “That upbringing instilled in me a deep sensitivity to organic form and the rhythms of growth and decay—something that continues to shape my work today,” he says. Frequent moves during childhood also exposed him to the diverse landscapes of South Africa—from coastal stretches to arid plains and fertile valleys. These shifting environments shaped his sensitivity to form, texture and the relationship between objects and space. Later, Ernst completed his Master’s degree in architecture in Barcelona, where the influence of Antoni Gaudí proved formative. “My time there expanded my understanding of how art, architecture, and environment can merge into something poetic and sculptural,” he says. After several years working in luxury residential architecture, Ernst began to feel drawn toward a more tactile form of expression. “That led me to ceramics and sculpture—mediums that allowed me to work more intuitively, and to reconnect with the raw, hands-on creativity I experienced as a child,” he explains. “Today, my practice is an ongoing exploration of the intersection between architecture, nature, and emotional form.” OBJECTS THAT CARRY ATMOSPHERE For Ernst, design is not only about form but about the atmosphere an object can create. He is interested in how objects hold memory, evoke mood and carry a quiet narrative through their material presence. Each piece is shaped through a balance between intention and instinct.“Every curve, cavity, and surface is intentional, yet guided by intuition—allowing space for imperfection, spontaneity, and surprise,” he says. “My practice is about creating forms that feel alive—objects that speak to their environment and invite contemplation, whether they live in a private home, a museum, or a wild, open landscape.” MATERIAL EXPLORATION Ceramics has always been at the heart of Ernst’s practice, but the studio’s material vocabulary has gradually expanded in recent years. A few years ago, Ernst began incorporating bronze into his work, creating a dialogue between ceramic’s grounded matte surface and bronze’s reflective fluidity. One of the first explorations was TIDE, a limited-edition series of candelabras inspired by the movement of ocean currents. Plaster entered the practice as a way to explore larger, more fluid forms. Ernst’s first plaster piece—a sculptural coffee table—demonstrated how structural clarity and poetic expression could coexist at a greater scale. The studio has also experimented with woven Imisi grass, a material deeply rooted in the Cape Town region where it grows naturally. Working with local artisans who have developed their own weaving traditions around the grass, Ernst and his team created pieces that feel both ancient and contemporary. A CONTEMPORARY AFRICAN PERSPECTIVE Ernst sees his work as part of a broader conversation around contemporary African design—one that brings together heritage and innovation. “I believe my work epitomizes contemporary African design because it celebrates the continent’s rich cultural legacy while pushing it into new, dynamic territories,” he says. Growing up in South Africa fostered a strong connection to land, craft traditions and storytelling. At the same time, Ernst’s international education and exhibitions have positioned his work within a global design dialogue. “My work reflects the rich traditions of craftsmanship and storytelling that Africa has long been known for, but it also embraces the global contemporary design landscape,” he explains. A PALETTE DRAWN FROM THE EARTH Colour plays a quiet yet deliberate role in Ernst’s work. Rather than dominating the objects, it reinforces their sculptural presence. His palette is largely inspired by tones found in nature: soft whites, deep charcoals, earthy terracottas and muted metallics. “These colours evoke a sense of timelessness and refined simplicity, complementing the sculptural forms and textures of the pieces,” Ernst says. Ultimately, Ernst sees himself less as a designer defined by discipline and more as a maker of forms. “I think of myself as a form-maker,” he says. “Using whatever language—be it art, design, or architecture—to explore ideas and evoke feelings. Whether a piece is collectible design, a sculptural object, or a functional light, it begins with the same intention: to create something meaningful and enduring.”

November 2022 | Travel | France below english Côte d’Azur’un en yenisi: Maybourne Riviera C laridge's, The Connaught, The Berkeley, The Maybourne Beverly Hills gibi efsanevi lüks otellerin sahibi Maybourne Hotel Group’un Côte d’Azur’daki son oteli çarpıcı tasarımıyla dikkat çekiyor. Roquebrune-Cap-Martin'in yukarısındaki kayalık bir yarımada üzerine inşa edilmiş Maybourne Riviera Oteli’nin mimarisi Jean-Michel Wilmotte'ye ait. Otel aynı zamanda gastronomik bir destinasyon olmaya hazırlanıyor. Üç Michelin yıldızlı Mirazur'un efsanevi Mauro Colagreco'su ve geçmiş yıllarda dünyanın En İyi 50 Restoranı listesinde bir numaranın sahibi olmuş şef Jean-Georges Vongerichten sayesinde. Otelin en üst katında yer alan şef Colagreco’nun restoranı Ceto ise yakın zamanda ilk Michelin yıldızını kazandı. The newest of the Côte d'Azur: Maybourne Riviera T he latest hotel of the Maybourne Hotel Group, the owner of legendary luxury hotels such as Claridge's, The Connaught, The Berkeley, The Maybourne Beverly Hills, on the Côte d'Azur draws attention with its striking design. The architecture of the Maybourne Riviera Hotel, built on a rocky peninsula above Roquebrune-Cap-Martin, belongs to Jean-Michel Wilmotte. The hotel is also preparing to become a gastronomic destination. Thanks to the legendary Mauro Colagreco of Mirazur with three Michelin stars and chef Jean-Georges Vongerichten, who has been number one in the list of the world's 50 Best Restaurants in the past years. Chef Colagreco's restaurant, Ceto, located on the top floor of the hotel, recently earned its first Michelin star.

Stay + Architect's Diary + Meet the Tastemakers + Partnerships FILM STAY A POSTVENETIAN DREAM: Inside The Venice Venice Hotel Escape to a Sea-Only Sanctuary on the Turkish Riviera YUZU x Hotel de Louvre YUZU x Ace Hotel Athens YUZU x Villa Lena YUZU x L’AND Vineyards YUZU x Cullinan Belek YUZU x Bayou Villas STAY ARCHITECT’S DIARY ARCHITECT’S DIARY YUZU x Andrea Lupi with Antonio Lupi YUZU x Praxitelis Kondylis with Aimasia Project YUZU x Kemal Serkan Demir YUZU x Erhan Sağır YUZU x Mahmut Kefeli YUZU x Hasan Burak Akyıldız YUZU x Pınar Hacıaifoğlu YUZU x Yeşim Kozanlı YUZU x Melike Altınışık YUZU x Derya Toros YUZU x Cisim Design (Erdem İşler + Emre Özücoşkun) MEET THE TASTEMAKERS YUZU x Gökşen Buğra founder of Gallery Bosfor YUZU x Burak Beşer Momo's Owner MEET THE TASTEMAKERS PARTNERSHIPS SUMMER IN ISTANBUL with VILEBREQUIN VONDOM OPENING BEYMEN ART ROOM with BEYMEN AEGEAN JOY with MOMO BDRM OPEN TABLE with TERRA MADRE MYSTICAL SCOTLAND with BROTHERS ARCHITECTURE & HISTORY & GASTRONOMY with PALOMA FINESSE ART DINNER with Anna Laudel Gallery ART BASEL MIAMI BEACH EVENT with ENNE SHEPARD FAIREY with LG OLED ART COMMUNITY GATHERING with HAMM COMMUNITY DINNER with ISTANBUL MODERN

December 23, 2025 | DESIGN & INTERIORS INSIDE a REPULSE BAY DUPLEX words YUZU Editorial photos Courtesy of Clement C Studio production Karine Monié Set above Repulse Bay, this duplex apartment in Hong Kong unfolds as a quiet study in balance, tactility and flow. Designed by Clement C Studio, the project approaches domestic space as a sequence of carefully calibrated moments—softened edges, layered surfaces and deliberate pauses. The apartment looks out toward the crescent-shaped shoreline of Repulse Bay, framed by mountain views that shift with the day’s light. Inside, the atmosphere mirrors its setting: calm, continuous and subtly sculptural. Completed in just two months, the interior relies on restraint rather than excess, allowing material choices and spatial transitions to define the experience. Movement through the home is shaped by rounded corners and flowing wall panels that soften thresholds and slow the pace. Staircase landings and corridor edges are treated as moments of pause, while an archway between the living and dining areas opens the main structural wall. The staircase itself becomes a sculptural transition between the social spaces below and the private quarters above. Materiality underpins this sense of continuity. Marble surfaces, textured wall finishes and sculptural lighting establish a calm rhythm, while generous wall planes host restrained, zen-like artworks. Detailing in the paneling and stair construction adds subtle depth without visual excess. The palette moves between taupe, grey and bronze—muted tones that bring warmth to a contemporary framework. Texture paint is used extensively, catching and diffusing light throughout the day. In the bathrooms, full-body travertine basins introduce an artisanal weight, their organic forms echoing the apartment’s softened geometry. Across panels and furniture, wood-grain film is used for its durability and consistency. Common in Japanese residential and hospitality interiors, it resists humidity and UV exposure while maintaining a natural appearance, contributing to the home’s calm visual continuity. Lighting is treated as a spatial tool rather than an accent. A sculptural pendant anchors the main living area, while smaller fixtures trace circulation routes, casting gentle shadows across textured surfaces and enhancing depth without disrupting the overall quiet. Rather than pursuing drama, this interior finds its strength in measured decisions and tactile clarity. Architecture, material and light work quietly together, shaping a contemporary domestic environment defined by flow, restraint and calm.

September 2023 | Design & Interiors english below MODELHANE Farklı bir ofis+atölye words Alp Tekin photos Kadir Aşnaz B ennu Tunç Yaşar, Lara Hekimoğlu Şen ve Süreyya Güven tarafından kurulan Podna Mimarlık’ın son projesi Modelhane, hem ofis hem de çanta üretim atölyesi olarak tasarlanmış bir proje. Modelhane üç ana mekandan oluşuyor: Toplantı odası ile sergileme alanı, çalışma masaları ve kesim bölümü. Podna ekibi tasarım sürecinde mekan içinde görüşü engellemeyen, ama mekanları kendi içinde birbirinden ayrıştıran bir yöntem benimsemiş. Tavandaki brüt beton sistemi ile uyumlu olacak şekilde, farklı geometri içeren tuğlalar kullanılarak, hem çanta sergileme alanı hem de ofis ve atölye bölümlerini ayırmak için seperatörler tasarlanmış. Üretim tarafında çalışma masaları ve atölyeyi ayrıştırmak için yarı geçirgen malzeme seçimi ile silüet görüntüsü elde edilmiş. Podna ekibi proje için şöyle konuşuyor: “Modelhane sade, hafif ve geçirgen mekan kurgusu ile üretim atölyesine yeni bir bakış açısı getirmeyi hedefledi” A different office+workshop M odelhane, the latest project of Podna Architecture, founded by Bennu Tunç Yaşar, Lara Hekimoğlu Şen and Süreyya Güven, is a project designed both as an office and a bag production workshop. The model shop consists of three main spaces: the meeting room and the exhibition area , the work desks and the cutting section. During the design process, the Podna team adopted a method that does not obstruct the view within the space, but separates the spaces from each other. In harmony with the exposed concrete system on the ceiling, using bricks with different geometries, separators have been designed to separate both the bag display area and the office and workshop sections. On the production side, a silhouette image is obtained with the choice of semi-permeable materials to separate the work desks and the workshop. The Podna team talks about the project as follows: “The modelhane aimed to bring a new perspective to the production workshop with its plain, light and permeable space setup”.

February 2024 | Art & Culture TR BELOW AMERICAN GLITCH What can the world trust? words Alp Tekin Technology, memory, American mythologies and narratives are always at the center of the work of New York-based multimedia artist duo Orejarena & Stein. And they currently have an ongoing exhibition titled "American Glitch" at Palo Gallery in New York. Presenting a series of new and recent photographs, "American Glitch" explores the slippage between fact and fiction. Orejarena & Stein examine how society is forced to question what is real and what is fake in the midst of an endless sea of information available at all times. It makes us question that too: What can the world trust, and what is a ‘glitch’? According to Orejarena & Stein, screen domination, conspiracy theories, fake news, and the emergence of the metaverse call us to question our reality and our potential existence in "simulation". Orejarena & Stein transform tools that others would consider artistic mistakes into intentional elements to provoke reflection on the intersection of technology, perception, and human experience. Using digital elements such as Adobe Photoshop and artificial intelligence tools, the exhibition combines large-scale prints of Orejarena & Stein's photographs with smaller prints of their "archive of real-life glitches" in an installation. New York merkezli multimedya sanatçı ikilisi Orejarena & Stein’ın çalışmalarında teknoloji, hafıza, Amerikan mitolojileri ve anlatıları her daim başrolde. Ve şu an ikilinin New York’taki Palo Gallery’de devam eden “American Glitch” isimli bir sergileri var. Bir dizi yeni ve yakın tarihli fotoğrafın sunulduğu “American Glitch”, gerçek ile kurgu arasındaki kaymayı inceliyor. Orejarena & Stein, her an ulaşılabilen sonsuz bilgi denizinin ortasında kalan toplumun neyin gerçek neyin sahte olduğunu sormak zorunda kalmasını inceliyor. Bize de bunu sorgulatıyor: “Dünya neye güvenebilir ve aksaklık nedir?” Orejarena & Stein'a göre ekran hakimiyeti, komplo teorileri, sahte haberler ve Metaverse’ün ortaya çıkışı; gerçekliğimizi ve ‘simülasyon'daki potansiyel varlığımızı sorgulamaya çağırıyor. Adobe Photoshop ve yapay zekâ araçları gibi dijital unsurların kullanıldığı sergide, Orejana & Stein'ın fotoğraflarının büyük ölçekli baskıları ile 'gerçek hayattaki aksaklık arşivi'nin daha küçük ölçekli baskıları bir enstalasyonla bir araya getiriliyor.