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December 6, 2025 | DESIGN & INTERIORS a REIMAGINED HAMPSTEAD TOWNHOUSE On a quiet, tree-lined street in Hampstead, a Victorian townhouse has been thoughtfully transformed by Callender Howorth into a warm, contemporary home for a creative family. The 5,000 sq ft property blends the charm of historic architecture with a fresh, modern rhythm. A COMPLETE RESET Untouched for more than three decades, the house required a full reinvention. The studio reworked every floor to suit modern family life and introduced a newly built basement — now home to a guest suite, wine cellar, cinema room and a gallery space created for the client’s art practice. This level sets the tone: functional, refined, and open to discovery. LIGHT, FLOW AND FAMILY LIVING The first floor brings together the kitchen, dining and drawing room in one generous, light-filled sweep. It’s designed for both everyday rituals and lively gatherings. Above, the master suite takes over the second floor, while children’s rooms and an attic guest area offer privacy and comfort across the upper levels. CONTEMPORARY WARMTH WITH A PERSONAL TWIST The design balances modernity with a lived-in soul. Callender Howorth pairs new and vintage pieces, textured materials and handcrafted details to create what founder Mark Howorth describes as “classic contemporary with a twist of funkiness.” “I love how the art and textures make this house a real Aladdin’s cave of discovery,” he says. “Every room reveals something unexpected.” Soft, chalky tones and layered fabrics run throughout, giving the home a sense of calm permanence — contemporary yet timeless. A STORY TOLD THROUGH SPACE The Hampstead Townhouse ultimately reads as a story of renewal. Through careful spatial planning, material richness and playful individuality, Callender Howorth has given a historic London home a new, characterful life.

February 3, 2026 | DESIGN & INTERIORS MONOLITH LODGE words YUZU Editorial photos György Palkó Some houses begin to tell their story even before they are built. Monolith Lodge, set in Dobogókő—a popular destination near Pilisszentkereszt in Hungary—is one of them. Designed by Pyxis Nautica, the project waited patiently for years before taking shape. With the involvement of the Hello Wood team, it eventually emerged as a calm yet confident architectural presence, settled deep within the forest. FROM CONCEPT TO COLLABORATION The story begins with a concept plan that captured the client’s attention. Dobogókő’s natural character, paired with Pyxis Nautica’s architectural approach, laid the groundwork for a house that feels both contemporary and closely attuned to its surroundings. The client’s vision, the architectural design, and Hello Wood’s design-and-build experience come together in a shared narrative. At this stage, Hello Wood joined the project as a design-driven contractor, further refining the concept through close collaboration. Beyond construction, the team worked hand in hand with the designers to ensure that every detail resonated with the spirit of the site and aligned with the character of Hello Wood Resorts. STRUCTURE, SPACE, AND RHYTHM With approximately 105 square metres of heated interior space, the house is expanded by a 16-square-metre gallery. Covered and open terraces wrap around the building, creating a direct and fluid connection between interior spaces and the surrounding landscape. The structure is built on a reinforced concrete foundation, while the walls and roof are formed from five-layer, exposed-quality CLT (cross-laminated timber) panels. Combined with a standing-seam metal roof, the use of CLT technology allowed the main structure to be assembled in just three days, with the entire project completed within six months. THE MONOLITH The name Monolith Lodge comes from the project’s most defining architectural gesture: a monolithic concrete chimney. More than a functional element, it stands as the visual and conceptual core of the house. Its rough, board-formed surface echoes throughout the building, establishing a quiet continuity between concrete, timber, and nature. Charred wood cladding, exposed concrete surfaces, and large openings towards the landscape balance a sense of solidity with openness. The resulting atmosphere feels strong yet calm—contemporary in its language, timeless in its presence. A PLACE TO RETURN TO Revived from an idea once set aside, Monolith Lodge now exists as a contemporary retreat in the heart of the forest. Pyxis Nautica’s plans, realised by Hello Wood and operated under Hello Wood Resorts, transform a vision into a home, a home into an experience, and an experience into a place that quietly invites return.

September 28, 2025 | TRAVEL TR BELOW LISBON’s DUALITY: BAIRRO ALTO HOTEL words Onur Basturk photos Courtesy of Bairro Alto Hotel (Rooftop: Manuel Manso, BAHR: Francisco Nogueira, Suites: Manuel Manso + Francisco Nogueira) Bairro Alto is one of my favorite places to stay in Lisbon. Part of the charm lies in its setting—right where two neighborhoods that shape the city’s identity meet: the refined elegance of Chiado and the bohemian edge of Bairro Alto. That duality is also what defines the hotel itself. BAHR’S BOHEMIAN MANIFESTO And then, of course, there’s the view. The rooftop terrace bar remains one of the best spots in Lisbon for an evening drink—a stop you can’t miss if you’re in the city. The hotel also hides a very different kind of surprise on the fifth floor: BAHR, a restaurant with a bohemian, provocative edge. Designed by thestudio, it pays homage to the neighborhoods it belongs to—and to the artists and writers who once animated them. Its starting point was the “Bohemian Manifesto,” a tribute to irreverence and free spirit. The creative lineage runs from Camões and Bocage to Eça de Queiroz and Amadeo de Souza Cardoso. BAHR features bespoke design touches as well. The installation at the entrance captures the raw essence of Bairro Alto, while standout furniture pieces include Valentin Loellmann’s benches, Lloyd Powell’s chairs and side tables, Johanson Design’s high “Jupiter” bar stools, Jader Almeida’s chairs from Brazil, and Carl Hansen & Son’s leather seating. Even the tableware carries intention: handmade porcelain by Studio Neves, Costa Nova ceramics, and Cutipol cutlery. THE TOUCH OF ATELIER BASTIR Spread across four 18th-century buildings, Bairro Alto Hotel was among the pioneers of the five-star boutique concept in Portugal. Its architecture, which respects the original lines while adapting them to the 21st century, bears the signature of Pritzker Prize-winner Souto de Moura. The interiors (with the exception of BAHR & Terrace) were created by Atelier Bastir. José Pedro Vieira and Diogo Rosa Lã translated Lisbon through a personal lens—contemporary and sophisticated, yet anchored in classical references. Their approach embraces contrasts: antiques and vintage pieces paired with wood, wicker, marble, and ceramics; classical paintings set against modern lighting. A MONUMENTAL THREE-STORY TAPESTRY Art plays a defining role in the hotel’s atmosphere. Alongside Rui Chafes’ sculptures in the lobby and Rui Calçada Bastos’ photographs, guests will find works by Julião Sarmento, Pedro Cabrita Reis, Pedro Calapez, João Louro, and José Pedro Cortes. A newly commissioned work by Vasco Araújo adds to the collection. Perhaps the most striking is a monumental macramé tapestry by Diana Menezes Cunha of Oficina 166—stretching across three floors, its design recalls Lisbon’s hills and connects directly with the palette of the city’s façades. LISBON’un İKİLİ RUHU: BAIRRO ALTO HOTEL Bairro Alto, Lizbon’da konaklamayı en çok sevdiğim otellerden biri. Çünkü otel kentin kimliğini şekillendiren iki tarihi mahallenin kesişim noktasında: Seçkin ve zarif Chiado ile alternatif ve bohem Bairro Alto. Bu ikilik otelin kimliğini de oluşturuyor. BAHR’IN BOHEM MANİFESTOSU Ama dahası da var, mesela manzara! Bairro Alto’nun teras barı halen Lizbon’daki en iyi akşamüstü içkisi alınabilecek noktalardan biri. Lizbon’a geldiyseniz, uğramanız gereken noktalardan. Otelin bir de bohem ve kışkırtıcı tarza sahip beşinci kat restoranı BAHR var. Burası oldukça farklı bir atmosfere sahip. thestudio tarafından tasarlanan mekan, otelin parçası olduğu Bairro Alto ve Chiado mahallelerine ve buralarda yaşamış tüm ünlü isimlere saygı duruşu niteliğinde. Nitekim restoranın çıkış noktası, özgür ruhu ve aykırılığıyla “Bohem Manifestosu”. Camões’ten Bocage’a, Eça de Queiroz’dan Amadeo de Souza Cardoso’ya uzanan sanatçılar ve yazarlar bu projenin ilham kaynakları arasında. BAHR’a özel üretilmiş parçalar da var. Mesela restoran girişindeki enstalasyon, Bairro Alto’nun özünü somutlaştırıyor. Mekanı karakterize eden diğer dikkat çekici parçalar arasında Valentin Loellmann’ın bankları, Lloyd Powell’ın koltuk ve yan sehpaları, Johanson Design’ın yüksek “Jupiter” bar tabureleri, Brezilyalı tasarımcı Jader Almeida’nın sandalyeleri ve Danimarkalı Carl Hansen & Son’un deri koltukları bulunuyor. Masalar için seçilen parçalar da özenle belirlenmiş: Studio Neves’in sipariş üzerine yaptığı el yapımı porselenler, Costa Nova seramikleri ve Cutipol çatal-bıçakları. ATELIER BASTIR DOKUNUŞU 18. yüzyıldan kalma dört binayı kapsayan Bairro Alto, aynı zamanda Portekiz’deki beş yıldızlı butik otel konseptinin öncülerinden. Orijinal hatları korunarak 21. yüzyıla adapte edilen otelin mimarisi 2011 Pritzker ödüllü mimar Souto de Moura’ya ait. İç tasarım ise (BAHR&Terrace restoranı hariç) Atelier Bastir tarafından yapılmış. Dekoratör José Pedro Vieira ve mimar Diogo Rosa Lã’dan oluşan Atelier Bastir, Lizbon’un kişisel bir yorumunu iç mekana taşımak istemiş: Klasik referansları kaybetmeden, daha çağdaş ve sofistike bir çizgiyle… Bu nedenle antika ve vintage parçaları ahşap, hasır, seramik ve mermerle; klasik tabloları ise modern aydınlatmalarla harmanlamaktan kaçınmamışlar. ÜÇ KAT BOYUNCA UZANAN DEVASA HALI Oteldeki sanat eserleri de dikkat çekici. Lobideki Rui Chafes’in heykelleri ya da Rui Calçada Bastos’un fotoğrafları gibi otelin ilk döneminden kalma referans eserlerin yanı sıra Julião Sarmento, Pedro Cabrita Reis, Pedro Calapez, João Louro gibi tanınmış isimlerin eserleri, José Pedro Cortes’in fotoğrafları ve Vasco Araújo’nun yeni sipariş edilmiş bir çalışması da yer alıyor. Otel için özel olarak üretilen bir başka başyapıt ise üç kat boyunca uzanan, şehrin tepelerini hatırlatan bir desenle tasarlanmış devasa makramé duvar halı (Oficina 166’den Diana Menezes Cunha).

Ekim 2021 | Tasarım | VOL V GAD SUNAR AMAN KAPADOKYA Yazı | Onur Baştürk H er mimarlık ofisinin hayran olduğum bazı projeleri var. Mesela favori GAD Mimarlık projelerim Esma Sultan, Borusan Kültür Merkezi ve AHK Kundu Villaları. Şimdi bu üçünün arasına yakın zamanda bir yenisi daha eklenecek: Kapadokya’daki Aman projesi. Evet, Bodrum’daki Amanruya’ya bir ‘kardeş’ geliyor. Üstelik iddialı projeye sahip bir kardeş bu. GAD’ın (Global Architectural Development) kurucusu Gökhan Avcıoğlu’yla sadece Aman’la sınırlı kalan bir konuşma yapmak istemedim tabii. Kapadokya’daki bir başka otel projesi de girdi konularımız arasına, unutulmaz Esma Sultan da… Öncelikle Kapadokya’daki Aman projesinden bahsedelim. Bu heyecan verici proje nasıl başladı? Bizi nasıl bir Aman bekliyor? Aman, 25 yıl önce Adrian Zecha tarafından Bali’de başlamış. Lokale değer veren bir felsefesi var: Çevreye duyarlı, personel olarak o yöre insanıyla çalışıyor, yerel malzemeleri kullanıyor, kısacası bulunduğu bölgede damdan düşer gibi değil sanki oranın bir parçasıymış gibi hareket ediyor. Ayrıca Aman’larda mahremiyet çok önemli. Devamı için... Print YUZU MAGAZINE - V Out of Stock View Details

May 2025 | DESIGN & INTERIORS A RIVER, A REFLECTION, A RETREAT IDA Design Mates reimagines family living in a sun-drenched Astana apartment where ornamental heritage meets sculptural calm. words Karine Monie photos Damir Otegen interior design IDA Design Mates styling Aisha Adilshiyeva / Moldir Samat / Zhanbota Aitaliyeva Bathed in light and mirrored by water, this elegant riverside apartment in Astana is more than a home—it’s a quiet celebration of harmony, detail, and personal story. Designed by Aisha Adilshiyeva, founder of IDA Design Mates, the project is a poetic response to place: its flowing arches, shimmering surfaces, and rich craftsmanship echo both the movement of the nearby river and the cultural rhythms of Kazakhstan. The journey began before the space even existed. “We started talking nearly a year before the family found the apartment,” recalls Adilshiyeva. “Our conversations began on Instagram—warm, easy, and filled with trust.” When the right home finally appeared, the vision clicked into place: a space for a young family with three energetic sons, designed to be serene, layered, and full of light. WHERE THE RIVER MEETS THE ROOM Located within one of the city’s most coveted complexes, the apartment offers sweeping views of the Ishim River. The proximity to water became both inspiration and guiding principle. “We wanted the river to reflect inside,” says Adilshiyeva, who used mirrored surfaces in the living room and kitchen to echo the light and flow beyond the glass. The effect is atmospheric—a sense of calm that moves through the home like a quiet current. ORNAMENT, REWRITTEN At first glance, the interiors feel restrained and modern—but look closer and a deeper design language unfolds. Custom asymmetrical moldings and stylized floral motifs pay homage to traditional Kazakh ornamentation. “We spent two months just designing the patterns for the ceilings and walls,” notes Adilshiyeva. “They’re unique, geometric, and softly expressive—never strictly classical.” A PALETTE IN BALANCE White walls serve as a clean canvas, allowing pastel tones and bold accents to emerge through carefully curated furniture—such as the sculptural Etcetera lounge chair, the arched mosaic fireplace with red detailing by artist Art Oskolok, and the Wiggle Chair by Frank Gehry near the entrance. “We were working with a large load-bearing column and used it to introduce twin arches,” says Adilshiyeva. “To me, rhythmic arches offer softness and depth—they bring order, without rigidity.” CRAFT & CURVE Throughout the space, craftsmanship takes center stage. Local artisans were commissioned to produce custom shelving, while the fireplace—featuring blue buntings and blooming poppies—required over 100 hours of handcrafting. Natural materials were layered throughout: wood for warmth, marble for refinement, metal and mirror for lightness and dimension. Even lighting became a sculptural element. In the living room, Roche Bobois’s Flou suspension floats like a glowing cloud. Over the dining table, a parabolic chandelier, also by Roche Bobois, creates a dynamic gesture in space—bridging design and geometry. Other pieces by Visual Comfort, Ingo Maurer, and New Works punctuate the apartment with a refined rhythm.

March 2025 | Vol 14 JOHN SHARP TURNING GARDENS INTO LIVING THEATERS words Onur Baştürk photos Sean Hazen He has an academic background in mixed media and sculpture. He also had an early career in event production, curating, styling and collecting. And for some time now, he has been a pioneer in the landscape industry. With a contemporary eye and innovative approach, John Sharp tells botanical stories and reinvents the exteriors of historic homes designed by iconic architects like John Lautner and Richard Neutra. In 2018, Sharp established his own studio in Los Angeles, California, and is a charismatic creator driven by a deep love of the natural world, regenerative systems, and life. What kind of roadmap do you follow when you start a landscape project? When working with nature, natural materials, and people, it is especially useful to take a very process-oriented approach, rather than trying to control the end result or arrive at an exact predetermined destination. I think a lot of design work can feel overworked, overcooked, too manicured and controlled. A lot of what we do is about reawakening a wild dimension and timelessness of a place, so when we chart our course. We know from the beginning that we want to leave room for ideas and energies to evolve and emerge that might take us somewhere new. As we gather information to set our sight lines, we take in the existing conditions, learn about the unique ecologies of the place, including environmental, social, and architectural. We establish the parameters of the project, identifying resources and needs, intentions and desires. From there, we develop material and plant palettes. We draw inspiration from everywhere-our clients, the site's uniqueness, our artistic community, design heroes, tradition, and the cultural zeitgeist. How do you draw inspiration from architecture when designing landscapes? For example, how have houses designed by legends like John Lautner and Richard Neutra influenced your landscape work? When working on projects with distinctive and/or historic architecture, we often draw from the architectural language of the site, allowing it to inform and inspire the outdoor environment. Legends like John Lautner and Richard Neutra, with their bold modernist visions, have greatly influenced my work. Their provocative designs - whether futuristic, risky, or deeply integrated with nature - encourage a timeless approach that pushes boundaries while maintaining integrity. I view a property as a whole, where architecture, people and land are in constant dialogue. Structures like Lautner's fluid spaces or Neutra's seamless indoor-outdoor transitions reveal incredible spatial opportunities that can be extended into the landscape. This philosophy of connectivity, where land and architecture speak to each other, is a guiding principle. Each project becomes a narrative where the relationship between human habitation and nature is central, optimally leading us to design that is forward-thinking yet grounded in a timeless ethos. Do you design gardens to client specifications or do you have a specific garden style as Studio John Sharp? If so, how would you describe that style? More of the latter, but with careful listening to our clients' ideas and preferences - we love to challenge our own and our clients' ideas of likes and dislikes, and leave plenty of room for new stories and "je ne sais quoi" factors. Exterior programming - such as outdoor wellness, play and gathering spaces - is naturally heavily influenced by dialogue with our clients. Bringing a distinctive style to each of these spaces and ensuring a cohesive whole is part of the specific value we deliver as a design studio. Our creative identity is constantly evolving, but our work is characterized by a spirit of playfulness, a reverence for natural life, an embrace of slow, traditional materials and methods, and an unapologetically expressive, painterly and borderline punk style. In our own humble agency of change as a design studio, we work to cultivate natural environments that are vital and alive, inviting and moving. When we have done our job well, the gardens may take on the attributes of a living theater, enveloping the characters in an unusual, transportive, dreamy, symphonic, retro-future, and whimsical outdoor setting for many pages to unfold. What are the 5 must-have plants for a garden design? This summer it’s been Dracena Dracos, Native Salvia and Sages, Globe shaped Pittosporum, various colored Agaves and layers of Muhly grasses. What is the secret to a healthy garden? Consideration, love, and vested interest. Our process aims to bring our clients into an active practice of care, attunement and knowledge of their garden. We serve as a bridge of reconnection with nature. I appreciate that you are creating drought-tolerant gardens, because I think gardens that require a lot of watering are going to disappear in the near future. What do you think? Yes, we are not fundamentalists, but we love native gardens for this very reason - once established, they require minimal watering. Native gardens also attract local wildlife and habitat. We love to support ecosystems with pollinator gardens, which can often operate with minimal watering. Packets of wildflower seeds can be watered by rain. Which of the gardens you have designed for famous actors have impressed you the most? Sophia Bush was one of my first big clients. I was so inspired by her desire for "do-it-yourself" gardening during the pandemic. Between the organic garden and the chicken coop, we were able to work together to create a complete homesteading dream that was a special retreat for so many and even had its own custom egg cartons. What are the garden styles you most admire from different climates and continents outside the U.S.? We love Mediterranean gardens, especially Balearic ones, but have now begun to reimagine the English garden. If you were a garden, how would you like to be treated by the gardener? I want the gardener to ask me what I have to say and to listen to what I have to say. If I were producing fruits and vegetables, I would want to be regularly harvested and enjoyed. I would want to experience a reciprocal connection with the people and place where I live. I would like to be observed and known, and to have optimal conditions for growth and expression. for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

February 2025 | DESIGN & INTERIORS -content partnership- TR BELOW CASA FOSCOLO a HISTORIC BUILDING REBORN words Onur Basturk We are in a 19th-century historical building in the heart of Beyoglu, Istanbul. Restored and reimagined by I-AM, this architectural gem now stands as a 25-room hotel, a proud member of Design Hotels. More than just a hotel, it also houses a bookstore and an art gallery, making it a dynamic cultural space. Its new name, Casa Foscolo, is a nod to the building’s storied past. Emre Kuzlu, architect and founding partner of I-AM, which has offices in London, Istanbul, Dubai, Riyadh, and Jakarta, shares the details of the Casa Foscolo project with YUZU. ANALYZING THE EXISTING STRUCTURE What was the design process behind Casa Foscolo? Casa Foscolo was conceived as more than just a hotel—it was envisioned as a space where hospitality and art intertwine, offering a holistic experience in every detail. The project’s owner, MV Holding, sought an innovative, experience-driven approach to bring this vision to life, and that’s where we came in. We began by conducting a thorough analysis of the building’s existing condition. This allowed us to determine the necessary structural interventions while ensuring the preservation of its original character. We then explored various adaptive reuse scenarios, shaping our concept proposals based on the historical, cultural, and commercial context of the area. The final design aligned seamlessly with the client’s expectations. Throughout the restoration process, we focused on preserving original materials, enhancing architectural details, and integrating modern structural requirements. Interior design and brand identity development progressed in parallel with these efforts. At every stage, our goal was to honor Casa Foscolo’s history while making it relevant to today’s urban landscape. A STRIKING ARCH FORM THAT PAYS HOMAGE TO HISTORY What challenges did you face during the design process? Given the building’s age, location, and its status as a registered historical landmark, the project presented significant challenges. Working on a protected structure in Beyoğlu is particularly demanding, requiring a meticulous, lengthy, and sometimes exhausting process. Fortunately, the design strategy we developed ensured a smooth execution. Another major challenge was balancing Casa Foscolo’s multiple functions—it operates as a hotel, an art gallery, and a public space all at once. Merging these diverse elements into a cohesive whole was a complex task, both architecturally and in terms of user experience design, but it was also a highly rewarding process. What was the primary goal for Casa Foscolo’s design? Do you think you achieved it? Our aim was to transform Casa Foscolo into a living, dynamic meeting point rather than just another hotel. We wanted to create a space that stayed true to its historical context while catering to the needs of contemporary city life and its visitors. Looking at the final result, I believe we successfully brought this vision to life. How do the red arches in the lobby reference the building’s history? When defining Casa Foscolo’s identity, we carefully considered the building’s past, its surroundings, and the emotions we wanted the brand to evoke. Color selection played a key role in this process. After exploring different tones, we chose terracotta, a shade that both reflects the structure’s history and resonates with Beyoğlu’s vibrant spirit. This hue became a modern reinterpretation of the building’s original materials—bold, striking, and full of character. The distinctive arch forms serve as a direct architectural reference to the building’s neoclassical heritage. We wanted to highlight these powerful shapes as a way of reinterpreting historical architectural elements. The combination of color and form resulted in an identity that respects the past while embracing the energy of the present. The mirrored ceiling further amplifies this experience, transforming the arches into an immersive installation. More than just an architectural intervention, these arches embody the artistic soul of Casa Foscolo. When the entrance doors open, they create a strong and memorable visual statement from the outside. And as you step in, standing beneath the arches and looking up, you become part of the story they tell. INSPIRATION AND REFERENCES BEHIND CASA FOSCOLO What references shaped Casa Foscolo’s identity? We drew inspiration from the building’s history, Asmalımescit’s layered cultural fabric, and Beyoğlu’s role as a crossroads of artistic and social interaction. Originally built between 1890 and 1900, the structure was commissioned by the Venetian Foscolo family for their maritime company, Foscolo Mango & Co. Ltd., as a pioneering apart-hotel. In the 1930s, it was acquired by the German Holstein family. The building’s location, in Beyoglu’s "Four Roads District," also played a crucial role in shaping the design approach. Much like this neighborhood, Casa Foscolo is envisioned as a convergence point of diverse cultural, artistic, and social influences. The logo and graphic identity merge historical references with contemporary textures, reinforcing this dialogue between past and present. ART SELECTION AND CURATION How were the artworks selected? Did you collaborate with a curator? The client already had a remarkable art collection. As the brand and interior narrative of the space took shape, the curation of the artworks was led by art consultant Meriç Aktaş, in collaboration with the client. Some pieces were selected together, ensuring a seamless integration with the space’s overall concept. For example, the niche behind the reception desk features a piece by Ayşe Gül Süter, an artist known for her work centered on color and light. Another of her works, placed above the fireplace in the lobby, creates a striking contrast with the marble mantelpiece and exposed brick, blending historical references with a contemporary aesthetic. Behind the signature arch structure, a work by Moscow-based artist Oleg Dou further enhances the artistic narrative of the space. İstanbul’un kalbi Beyoğlu’nda 19. yüzyıldan kalma tarihi bir yapıdayız. Restorasyon, mimari, yeniden işlevlendirme, iç mimari ve marka kimliği çalışmaları I-AM tarafından yapılan bu tarihi yapı, bugün artık Design Hotels üyesi 25 odalı bir otel. Aynı zamanda kitabevi ve sanat galerisi gibi alanları da içinde barındıran dinamik bir alan. Yeni ismi ise binanın geçmiş tarihine atıfta bulunuyor, Casa Foscolo. Londra, İstanbul, Dubai, Riyadh ve Jakarta’da ofisleri bulunan I-AM’in kurucu ortağı mimar Emre Kuzlu, Casa Foscolo projesine dair detayları YUZU için anlattı. ÖNCE BİNANIN MEVCUT DURUMUNU ANALİZ ETTİK Casa Foscolo projesinde nasıl bir tasarım süreci izlendi? Casa Foscolo projesi sıradan bir otel konseptinin ötesine geçerek sanat ve konaklamanın iç içe geçtiği, her detayıyla bütüncül deneyim sunan bir mekan yaratma arzusuyla başladı. Proje sahibi MV Holding’in bu vizyonu hayata geçirecek yenilikçi ve deneyim odaklı bir yaklaşıma ihtiyacı vardı ve bu arayış bizi buluşturdu. Öncelikle binanın mevcut durumunu detaylı bir şekilde analiz ettik. Böylece hem yapısal açıdan gerekli müdahaleler hem de binanın özgün karakterinin nasıl korunacağı belirlendi. Ardından yeniden kullanım senaryoları üzerinde çalışıldı. Yapının bulunduğu bölgenin tarihi, kültürel ve ticari bağlamından yola çıkarak oluşturduğumuz senaryolar üzerinden hazırladığımız konsept önerileri müşterinin beklentileriyle örtüştü. Restorasyon sürecinde özgün malzemelerin korunması, mimari detayların iyileştirilmesi ve modern yapısal gereksinimlerin entegrasyonuna odaklandık. İç mimari ve marka kimliği süreçleri de bu aşamaya paralel olarak ilerledi. Her adımda amacımız Casa Foscolo’nun geçmişini yüceltirken günümüz dinamiklerine uygun bir yapı yaratmaktı. ÇARPICI KEMER FORMU BİNANIN TARİHİNE BİR GÖNDERME Tasarım sırasında yaşadığınız zoruluklar oldu mu? Projenin yapısı, lokasyonu, binanın mevcut koşulları ve 2. derece tarihi eser olması nedeniyle zor bir uygulama sürecini beraberinde getirdi. Özellikle Beyoğlu bölgesinde bulunan tescilli yapılar için daha da zor, uzun soluklu ve yer yer yıpratıcı bir süreç. Neyse ki oluşturduğumuz kurgu sayesinde her şey olabildiğince sorunsuz ilerledi. Ayrıca Casa Foscolo’nun hem otel hem sanat galerisi hem de bir kamusal alan olarak hizmet verecek olması da bizim için önemli bir tasarım problemini teşkil ediyordu. Bu farklı fonksiyonları dengeli bir şekilde bir araya getirmek, hem mimari hem de deneyim tasarımı açısından oldukça düşündürücü; ama bir yandan keyifli bir süreçti. Casa Foscolo tasarımında ulaşmak istediğiniz ana hedef neydi? Nihayetinde buna ulaşabildiniz mi? Hedefimiz Casa Foscolo’yu sadece bir otel olmaktan çıkarıp yaşayan, dinamik bir buluşma noktası haline getirmekti. Tarihi bağlamını kaybetmeden, günümüzün kent hayatına ve kullanıcı beklentilerine uygun bir mekan yaratmak istedik. Bugün baktığımızda, bu vizyonu büyük ölçüde gerçekleştirdiğimizi söyleyebilirim. Lobi alanındaki kırmızı kemerler binanın tarihine nasıl bir göndermede bulunuyor? Casa Foscolo’nun kimliğini oluştururken yapının geçmişi, bulunduğu bölge ve markanın yaratmak istediği duygu üzerine çok kafa yorduk. Renk seçimi de bu sürecin önemli bir parçasıydı. Başlangıçta farklı tonlar üzerine çalıştık, ancak terrakota kiremit rengi, hem yapının tarihine hem de Beyoğlu’nun enerjik ruhuna en iyi şekilde yanıt verdi. Bu renk, yapının özgün malzemelerinin modernize edilmiş bir yorumu olarak şekillendi: Güçlü, çarpıcı ve karakteristik. Çarpıcı kemer formu ise yapının neoklasik üslubuna ve tarihine doğrudan bir gönderme yapıyor. Binanın geçmişindeki mimari öğeleri yeniden yorumlayarak, bu güçlü formu ön plana çıkarmak istedik. Renk ve form birleştiğinde Casa Foscolo’nun geçmişine saygı duyan ve bugünün dinamik ruhunu yansıtan mimari kimliği ortaya çıktı. Bu kemerli müdahale, yapıya ve markaya kazandırmak istediğimiz ruh, enerji ve dinamizmin mekânsal karşılığı oldu. Tavandaki ayna yüzeyle birlikte mekânsal deneyimi zenginleştiren bir enstalasyon haline geldi. Sonuç olarak, bu ikonik kemerler sadece bir mimari müdahale değil, aynı zamanda yapının sanatsal kimliğinin parçası. Binanın giriş kapısı açıldığında dışardan bakan biri için güçlü ve karakteristik bir sahne yaratıyor. İçeriye adım attığınızda ise kemerlerin önünde durup hafifçe yukarı baktığınızda bu anlatının bir parçası haline geliyorsunuz. Hangi referansları baz alarak Casa Foscolo’nun kimliğini oluşturdunuz? Yapının tarihi, Asmalımescit’in katmanlı kültürel yapısı ve Beyoğlu’nun simgesel kavşak noktalarından ilham aldık. 1890-1900 yılları arasında inşa edilen bu yapı, Venedikli Foscolo ailesi tarafından kurulan denizcilik şirketi Foscolo Mango & Co. Ltd. için öncü bir apart-otel olarak tasarlanmış. 1930’larda ise bina Alman Holstein ailesi tarafından devralınmış. Yapının bulunduğu yer ise Beyoğlu’nun “Dört Yol Bölgesi”. Burası markanın temel tasarım yaklaşımını şekillendirdi. Nitekim, Casa Foscolo da tıpkı bu bölge gibi farklı kültürel, sanatsal ve sosyal etkileşimlerin kesiştiği bir nokta. Logo ve grafik dili, binanın geçmişinden gelen çizgilerle modern dokuları bir araya getiriyor. Sanat eserleri neye göre seçildi? Küratörle mi çalıştınız? Müşterinin zaten çok değerli bir sanat koleksiyonu vardı. Yapının marka ve iç mekân tasarımıyla anlatısı ortaya çıktıkça, eserlerin kürasyonu ve yerleşimleri müşterinin sanat danışmanı Meriç Aktaş öncülüğünde şekillendi. Bazı seçimleri ise birlikte yaptık. Mesela resepsiyonun arkasındaki niş için, üretimlerinin merkezinde renk ve ışığı konumlandıran sanatçı Ayşe Gül Süter’in eserini seçtik. Aynı şekilde, lobi alanındaki şöminenin üzerinde yer alan başka bir Ayşe Gül Süter eseri, mermer şömine çerçevesi ve tuğla duvar dokusunun tarihi referansını çağdaş çizgisiyle günümüze taşıyor. Kemerli yapının arkasında ise Moskovalı sanatçı Oleg Dou’nun eseri yer alıyor.

Haziran 2020 | Tasarım | Türkiye Algoritma tabanlı ahşap mağara süiti Yazı | Alp Tekin 1 112 adet ladin parçasının algoritma tabanlı bir programla bir araya getirildiği, uzaktan bakınca ahşap mağarayı andıran bir süitte kalmak ister miydiniz? Tasarım meraklısı biriyseniz yanıtınız “Evet” olmalı. Çünkü Hyades Mountain Resort’un bu tasarım süiti ahşap bir uzay gemisi kamarası gibi aynı zamanda. Yenilikçi ve kesinlikle zihin açıcı… Hyades Mountain Resort, Yunanistan’ın Kyllini Dağı eteklerinde yer alan Trikala Korinthias köyünde. Resort’un bu süiti Tenon Mimarlık’ın eseri. Mimarlık ofisi süitin arka tarafını bir mağaranın iç kısmına benzer şekilde kavisli duvarlara sahip bir şekilde tasarlamış. Ön tarafı ise küllü siyah fayanslarla süslenmiş. Tenon’cular bu durumu şöyle açıklıyor: “Arka taraf bir sığınak gibi tasarlandı. Bu yüzden sert ve koruyucu bir kabuğa sahip. Ön taraf ise daha yumuşak ve davetkâr. İki taraf arasında net bir ayrım yapmak istedik”. Süitte kullanılan 1112 adet ladinin ortaya çıkışında kullanılan algoritma tabanlı program ise stüdyonun iki mimarı Apostolos Mitropoulos ve Thanos Zervos’un fikri. Bu program sayesinde kesilen ahşap parçalar daha sonra 55 büyük modül oluşturularak bir araya getirilmiş. Hepsi elle şekillendirilip düzeltildikten sonra mağara benzeri yapıya monte edilmiş. 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 28, 2026 | vol 19 GIORGOS SAMOILIS words Onur Baştürk photos George Venios & Giorgos Samoilis Meet chef Giorgos Samoilis, who returned to Sifnos after a career in molecular biology and years spent summering on the island. Today, he is behind Cantina and Pelicanos, two of Sifnos’ most talked-about restaurants. You began your career in molecular biology before moving into the kitchen. What led you from science to cooking, and how does that background shape the way you approach food today? Fourteen years in research and academia were enough to close a beautiful circle in this amazing world of discoveries and knowledge. Wanting to move away from the big cities — where science is usually practised — and build a lifestyle closer to nature and my roots in the Greek islands became the catalyst for this major shift in my life. The hard-earned skills I acquired in my first career path have been instrumental in cooking and in managing my teams and restaurants. The kitchen is a laboratory in which we apply temperatures, acids and timing to proteins, carbohydrates and lipids, transforming them into something delicious that we can happily serve and eat instead of publish. What first pulled you towards Sifnos? Was it a deliberate move, or something that evolved naturally over time? My mother’s family comes from Sifnos. We have a family home on the island, and I spent part of my summers there as a child. At some point, the idea of moving permanently to Sifnos became a necessity. Do you live and work on the island year-round? How does Sifnos change across seasons, and how does that influence the way you cook? I spend around six months of the year in Sifnos, during the period when the restaurants operate, from May to October. Together with my teams, we create hyper-local, ingredient-driven menus, so seasonality is inevitable. Sifnos — like most places in Greece — has four distinct seasons. Within them, we can also recognise many micro-seasons, especially through the way products such as fruits, vegetables, fish, milk and meat appear, disappear and evolve. It is exciting and keeps us grounded in the “nowness” of the island. This process fuels the creativity that shapes our menus. THE SPIRIT OF CAMARADERIE BETWEEN RESTAURATEURS, CHEFS AND PRODUCERS IS WHAT SETS SIFNOS APART GASTRONOMICALLY Sifnos has a long-standing culinary tradition. How do you position your work in relation to that heritage? We are very lucky to have the opportunity to create food in a place that, despite its small size, has such a deep gastronomic tradition. With respect for this heritage, we learn from tradition and from the people who carry it forward — the locals — while also bringing new ideas and creating new know-how within an ever-changing world full of challenges. Sifnos is increasingly recognised as one of Greece’s most compelling gastronomic destinations. What, in your opinion, sets the island apart? This did not happen by chance. We are a group of young professionals — restauranteurs, chefs, hotel owners and producers — who have actively shaped this new gastronomic identity over the past 15 years, even before the early days of Omega3, which we started back in 2013. There is a genuine spirit of camaraderie and collaboration between us, and in my opinion, this is what truly sets Sifnos apart from other islands. Beyond the restaurants, what kind of life do you find yourself living on the island? The truth is that I spend most of my time between my restaurants and projects: Cantina, Pelicanos, Lamarina and our newly formed permaculture farm. But I still find time to swim at my secret spots — which I will not reveal here! I also often find myself enjoying traditional dishes at the tavernas in Kamares port or in Vathi. BEYOND THE HUNDRED STEPS AND THE PEBBLED SHORELINE, CANTINA FEELS FAR REMOVED FROM THE TYPICAL SEA-VIEW GREEK ISLAND RESTAURANT. Your approach is often described as “hyper-local.” What does that mean in practice — both in sourcing and in the daily rhythm of the kitchen? Local produce — and the people behind it — are the reason Cantina exists. This requires a highly inspired, passionate and skilful team of professionals who understand and respect the processes of nature, while constantly searching for the best that Sifnos has to offer. Every night, we go to sleep thinking about what we’ll cook tomorrow. When someone visits Cantina for the first time, what kind of experience do you hope they leave with? The Cantina experience begins the moment you reserve your table. You realise you are going to a place where food sits at the centre of the experience, and that it has little to do with a typical Greek island spot with a beautiful view. You come for the food and the wine. Once you arrive, the experience deepens as you walk down the 100 steps and cross the 200 metres from our cellar along the pebbled beach to the restaurant. Music drifts out from the kitchen. An untold show begins as the sun goes down and the moon comes up. I like to think that three hours later, as you walk back up those steps, you stop for a moment, look behind you, and begin thinking differently about your own next steps after leaving Sifnos. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €20,00 Price Add to Cart

January 2023 | Travel | Vol VII english below MASSERIA MOROSETA yazı Onur Baştürk fotoğraflar Salva Lopez O penhouse dergisinin kurucularından Andrew Trotter’nin tasarladığı ilk mimari yapı olan Masseria Moroseta, Puglia kırsalının tam kalbinde, İtalyanlar’ın “Citta Bianca (Beyaz Şehir)” diye tanımladıkları büyüleyici Ostuni’ye sadece üç kilometre uzaklıkta. Masseria Moroseta, bölgede sıkça bulunan ve “masserie” olarak bilinen eski çiftlik evlerinden ilhamla yapılmış modern bir butik otel. Çoğunun yaşı 500’e kadar dayanmış zeytin ağaçlarının olduğu beş hektarlık bir arazinin içinde yer alan otelin yapımında geleneksel teknikler ve yerel malzeme kullanılmış. Sadelik ve basitlik ise tasarımın iki anahtar kelimesi olmuş. AVLUDAKİ UZUN MASALARDA AKŞAM YEMEĞİ Geleneksel çiftlik evlerinde olduğu gibi Masseria Moroseta’da her şey ortadaki avlunun etrafında şekilleniyor. Avluyu bölen ortadaki merdiven ortak alan ve odalara geçişi sağlıyor. Geniş avlu içinde gerçekleşen ve tüm misafirlerin toplu halde uzun masalara oturduğu akşam yemekleri ise Masseria Moroseta’nın olmaz olmazı. Şef Giorgia Eugenia Goggi bu akşam yemekleri için çiftlikte yetişen mevsimsel ürünleri her sabah dikkatli bir şekilde seçiyor ve ortaya her gün değişen geçici bir menü çıkıyor. Yemeklere eşilik eden zeytinyağı da otelin kendi zeytinliğinin üretimi. Şef Goggi, “Soğuk sıkım zeytinyağımız tartışmasız mutfağımızın kahramanı” diyor. EKOLOJİK TASARIM Masseria Moroseta’nın tasarım detayları da özenle düşünülmüş. Sadece görünüm olarak değil, ekolojik olarak da. Mesela tonozlu tavan, taş zemin ve geri dönüştürülmüş yalıtıma sahip 80 cm’lik duvarlar sayesinde otel kışın çok az ısıtmaya ihtiyaç duyuyor. Yazın da klima kullanımı neredeyse minimumda. Çünkü en sıcak günlerde bile içerisi serin oluyor. Ayrıca çapraz havalandırma pencereleri ile tüm alanların ekstra havalandırılmasına gerek kalmıyor. Güneş panelleri tüm otele yeterli elektrik ve ısıyı sağlıyor. Otelin organik çiftliğinde ise hem kendi su kaynakları var hem de yemeklerde kullanılan tüm malzemeler orada yetiştiriliyor. YAKIN MESAFEDEKİ NEFİS KASABALAR Otelden dışarı çıkınca keşfedilecek çok fazla şey var. Mesela arabayla 12 km uzaklıktaki Torre Guaceto. Yapılaşmadan uzak, korunmuş doğal plajlarıyla nefis bir denize sahip olan Torre Guaceto’yu bisiklet kiralayarak gezmek de mümkün. Otele kısa sürüş mesafesinde olan diğer kasabalar da birbirinden nefis: Cisternino, Alberobello, Martina Franca, Lecce ve tıpkı Ostuni gibi göz alıcı bir beyazlığa ve yerleşime sahip Polignano al Mare. MASSERIA MOROSETA writer Onur Baştürk photo Salva Lopez D esigned by Andrew Trotter, co-founder of Openhouse magazine, Masseria Moroseta is right in the heart of the Puglia countryside, just three kilometers from the charming Ostuni, which Italians call "Citta Bianca (White City)". Masseria Moroseta is a modern boutique hotel inspired by the old farmhouses commonly found in the area, known as the “masserie”. Traditional techniques and local materials were used in the construction of the hotel, which is located on a five-hectare land with olive trees, most of which are up to 500 years old. Simplicity and simplicity were the two keywords of the design. DINNER AT LONG TABLES IN THE COURT As in traditional farmhouses, everything in Masseria Moroseta is shaped around the central courtyard. The middle staircase dividing the courtyard provides access to the common areas and rooms. Dinners, which take place in the large courtyard and where all the guests sit at long tables, are a must at Masseria Moroseta. Chef Giorgia Eugenia Goggi carefully selects seasonal farm-grown produce for these dinners each morning, resulting in a temporary menu that changes daily. The olive oil that accompanies the meals is also the production of the hotel's own olive grove. “Our cold-pressed olive oil is the undisputed hero of our cuisine,” says Chef Goggi. ECOLOGICAL DESIGN The design details of Masseria Moroseta have also been carefully considered. Not only visually, but also ecologically. For example, the hotel needs very little heating in winter, thanks to the vaulted ceiling, stone floor and 80cm walls with recycled insulation. In summer, the use of air conditioners is almost at a minimum. It stays cool even on the hottest days. In addition, there is no need for extra ventilation of all areas with cross ventilation windows. EXCELLENT TOWNS NEARBY There is so much to discover once you step out of the hotel. For example, Torre Guaceto, which is 12 km away by car. It is also possible to visit Torre Guaceto, which has a beautiful sea with its protected natural beaches, away from construction, by renting a bicycle. Other towns within a short drive from the hotel are also delightful: Cisternino, Alberobello, Martina Franca, Lecce and Polignano al Mare, which has a striking whiteness and settlement just like Ostuni.

June 20, 2025 | TRAVEL TR BELOW SUYAH POOL CLUB Italian Meets Japanese -content partnership- Meet Suyah Pool Club, the standout concept of this summer season at Susona Bodrum, LXR Hotels & Resorts. Located in Torba, Bodrum, Suyah takes its name from the Japanese words for "water" and "home," perfectly capturing the dynamic energy of Bodrum and the sophisticated spirit of Susona. Inspired by Italian and Japanese cultures, Suyah Pool Club is more than just a poolside experience—it's a lifestyle. Its philosophy of Fluid Harmony flows through every detail, from the design to the culinary offerings. Created under the guidance of Executive Chef Kaan Yıldırım, the menu fuses the bold flavors of Italian cuisine with the refined precision of Japanese gastronomy. Guests can expect fresh, shareable plates throughout the day—think nourishing bowls, pasta, and pizzas, as well as local delicacies like Bodrum calamari and mussels. A diverse selection of sushi, uramaki, sashimi, and nigiri rounds out the menu’s vibrant East-meets-West character. For those seeking a heightened level of comfort, Suyah Pool Club offers stylish cabanas by the pool and on the pier, each accommodating up to three guests. In short, Suyah Pool Club redefines the rhythm of summer in Bodrum with an atmosphere that embodies the art of quiet luxury. SUYAH POOL CLUB İTALYAN ve JAPON KARIŞIMI -içerik ortaklığı- Bodrum, Torba’da konumlanan Susona Bodrum LXR Hotels & Resorts’un bu yaz öne çıkacak olan konseptiyle tanışın: Suyah Pool Club. Adını Japonca “su” ve “ev” kelimelerinin birleşiminden alan Suyah Pool Club, Bodrum’un dinamizmini ve Susona’nın sofistike ruhunu yansıtıyor. İtalyan ve Japon kültürlerinden ilham alan Suyah Pool Club, özgün konseptiyle bir havuz deneyiminden çok daha fazlası: Suyah’ın özünde bulunan “Fluid Harmony” anlayışı mekanın tasarımından gastronomisine kadar her detaya yansıyor. Susona Bodrum’un executive şefi Kaan Yıldırım’ın danışmanlığında hazırlanan menü, İtalyan mutfağının zengin aromalarını Japon gastronomisinin rafine tatlarıyla harmanlıyor. Günün her saatinde taze ve paylaşmaya uygun seçenekler sunan menüde sağlıklı bowl çeşitleri, lezzetli makarna ve pizzalar, Bodrum kalamarı ve midyesi gibi yerel tatların yanı sıra sushi, uramaki, sashimi ve nigiri seçeneklerinden oluşan zengin bir Uzakdoğu seçkisi ön plana çıkıyor. Suyah Pool Club şık kabanalarıyla da konforu üst seviyeye taşıyor. Havuz başında ve iskelede yer alan kabanalar üç kişiye kadar kullanım imkânı sunuyor. Kısacası Suyah Pool Club, “sessiz lüks” anlayışıyla tasarlanan özgün atmosferiyle Bodrum’un yaz ritmini yeniden tanımlıyor.

September 10, 2025 | DESIGN & INTERIORS ORCHESTRATED DESIGN on the FETHIYE COAST words Noah Mercer photos İbrahim Özbunar - 645 Studio On the sunlit cape of Fethiye, on Turkiye’s southern coast, XO Cape Arnna rises as a destination where architecture, history, and experience converge. Designed by Yeşim Kozanlı Architects & Interior Design, the hotel draws inspiration from the region’s ancient cultures—particularly the Luwians, known as the “children of light”—and reimagines their spirit of hospitality for today. MULTI-SENSORY JOURNEY The design philosophy, described as Orchestrated Design, treats architecture like a symphony: each space takes on its own role, creating harmony between light, sound, texture, scent, and taste. From the lobby, envisioned as a luminous prelude, to the main axis that links dining and gathering spaces, the hotel unfolds as a multi-sensory journey. Olive trees appear like recurring notes throughout the interiors, grounding the design in the local landscape. SPACES THAT ENGAGE THE SENSES Every corner of XO Cape Arnna has been conceived as a “stage” for experience. The lobby’s lighting shifts throughout the day to create rhythm, spa ceilings shimmer with reflective surfaces inspired by flowing water, and the diverse gastronomy venues capture cultural richness with distinctive atmospheres. A patisserie channels the freshness of a spring garden, while restaurants ranging from Italian to Asian cuisines each carry their own identity. Pastel tones, organic forms, and the recurring presence of olive trees soften the atmosphere, while reflective ceilings, dark woods, and natural stone add depth and character to the interiors. EXTRA ORDINARY HOSPITALITY The name XO is derived from both “Extra Old”—symbolizing maturity and refinement—and “Extra Ordinary,” embodying a philosophy that goes beyond the expected. More than a physical structure, Cape Arnna is envisioned as a living composition. Guests become active participants in its rhythm, immersed in layers of light, sound, and scent as part of a carefully orchestrated design narrative.

March 2024 | Design & Interiors english below COMING SOON: THE ELEVATION GRAVITY words Alp Tekin G aggenau “The Elevation Gravity” konseptini 16-21 Nisan tarihleri arasında düzenlenecek Milano Tasarım Haftası kapsamında tanıtmaya hazırlanıyor. Ama bu tanıtımdan önce konseptin ön izlenimi için online bir basın toplantısı gerçekleştirildi. Biz de editör, tasarımcı ve mimarlarla birlikte İstanbul’dan bu basın toplantısını izlemek için Nisbetiye 10’da yer alan Cosentino showroom’unda bir araya geldik. BSH Türkiye Pazarlama Direktörü Burak Destici’nin konuşması ile başlayan buluşmada bir süre sonra online basın toplantısına bağlandık ve tüm davetlilerle Milano’nun en özel villalarından Villa Necchi Campiglio’daki paneli dinledik. Moderatörlüğünü Studio Ashby kurucusu ve iç mimarı Sophie Ashby’nin üstlendiği panelde Gaggenau Dünya Başkanı Dr. Peter Goetz, Tasarım Başkanı Sven Baacke, 1zu33 Mimari Studio Kurucu ve CEO’su Hendrik Müller yer alıyordu. Ve tüm konuşmacılar Milano Tasarım Haftası için hazırlanan “The Elevation of Gravity” konseptini, markanın yakın gelecekteki başyapıtlarını ve gelecek planlarını ilk kez paylaştı. G aggenau is preparing to unveil "The Elevation Gravity" concept during Milan Design Week from 16 to 21 April. But before the presentation, an online press conference was held to preview the concept. We came together with editors, designers and architects from Istanbul to watch this press conference at the Cosentino showroom at Nisbetiye 10. The meeting started with a speech by Burak Destici, Marketing Director of BSH Turkey, and after a while we connected to the online press conference and listened to the panel discussion at Villa Necchi Campiglio, one of the most exclusive villas in Milan. Moderated by Studio Ashby founder and interior designer Sophie Ashby, the panel included Gaggenau World President Dr. Peter Goetz, Head of Design Sven Baacke, Founder and CEO of 1zu33 Architectural Studio Hendrik Müller. For the first time, all the speakers shared the concept of "The Elevation of Gravity" for Milan Design Week, the brand's upcoming masterpieces and future plans.

May 2024 | Art & Culture HANS OP DE BEECK “Life is never one-dimensional” words Onur Baştürk photos Studio Hans Op de Beeck BVBA I read that daily life is your biggest source of inspiration. But everyday life is a vast universe. Which details of everyday life interest you the most? Genuinely small, seemingly unremarkable actions or moments: My daughter falling asleep on my lap, the baker on the corner carefully placing his colorful cakes in the window, a gardener calmly sweeping leaves from the road, an old woman patiently helping a child on the playground... These seemingly insignificant moments are the true essence of life for me. They subtly reflect the big picture of the human condition. But it can also be everyday objects or places that inspire me: a half-eaten birthday cake from the day before or an abandoned amusement park. I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. THIS PETRIFIED IMAGE MAKES ONE THINK OF POMPEII: A LIFE FROZEN IN TIME I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. The gray color, which you like to use in many of your sculptures, installations, and even other works, makes the figures appear frozen or petrified in time. Is there another reason for the gray? What do you do to get this gray? The most prominent part of my work is what I do with monochromic gray. That’s why they are more known than the works I do in a different tone. I have also made sculptures with a combination of two or three colors. Also, most of my scripts for video, theater and opera are full-color. But at some point in my practice, I discovered my own shade of gray that makes sculptural objects, interiors, or landscapes seem fossilized, made of stone, pigmented plaster. This petrified image makes one think of Pompeii: A life frozen in time. I discovered, nearly by accident, that the gray coating I invented - a technique of layering many thin layers of coating over the sculpture - reflects light very precisely, almost velvet-like. I think it gives a special flavor to what is depicted. A soft skin that abstracts the figurative forms into a kind of parallel, silent world. The absence of colors allows you to focus on the light. My work is never about simulating reality as it is, about literal mimesis or imitation; it is about abstracting the world to evoke a mood, to interpret, and to touch the essence beneath the skin of reality. I want to evoke a mood, a visual, sensory form of fiction that the viewer can identify with and experience before understanding it. My monochromatic works in velvet gray, black and white, or light blue and soft green are quiet, concentrated variants of what we know. That is why I don’t work with ready-made products. My sculptures and installations, hundreds of square meters in size, are made by hand because of the power of interpretation. How is your engagement with gray outside of artworks? Do you wear gray, for instance? Haha, no. I have no particular preference for gray when it comes to clothes or my own living space. Awake and sleep, movement and stillness, life and death... I think a series of dichotomies like this is the main theme of your work. Do you intend to say to the audience, “This is what life is like”? I have always avoided making big words about life or even trying to explain how life works in a pedantic way. I have no wisdom to offer, but I try to reflect on life with the viewer and share the same questions and wonders. Life is a tragicomic phenomenon. I think it is essential to show both the ridiculous and the serious, joy and the pain. Life is never one-dimensional. As you mentioned, I love the moments when we let go of control, ourselves, and our identity and surrender to the unknown, intoxication, sleep, or the subconscious. There are so many unknowns, darknesses, and mysteries that lie outside the linguistic comprehension of the world, logic, and intellectual legitimacy. Art is one of the instruments that touch these concepts. “The Horseman”, “’The Boatman” and “Hélène”… In the future, would there be a new hero figure like these? In these works, I tried to offer the viewer the beginnings of all kinds of possible stories that he or she could project onto these figures. Who are they, where do they come from, where are they in their lives, what is happening in their lives, and where are they going? “The Horseman” and “The Boatman” are lonely travelers, heading for the rest of their lives with their modest belongings. They are a kind of nameless anti-heroes. The little monkey on the horseman’s shoulder has a look in his eyes that says, “Where have we come again?” The horseman himself looks over his shoulder with a similar look. This is almost the opposite of the heroic military ruler or king depicted on a prancing horse. Because such depictions can be found in abundance throughout the history of sculpture. The female boxer Hélène is an extremely fragile young girl. Not a muscular athlete. She is an introverted girl who we can assume took up boxing mostly to defend herself against the evil world she encountered on the road. We find her sitting submissively in a quiet, isolated spot in a moment of peaceful introspection. I understand that you see them as some kind of enigmatic heroes. Because each one is depicted in a unique but unremarkable way. Alongside my already planned big, architectural, immersive installations, I am also envisioning sculptures of some fictional characters, such as a mysterious blind woman with an owl on her arm, two children dressed in oversized adult clothes, a woman in her 50s caressing a fox on a chaise lounge. PROJECTS THAT REQUIRE TEN LARGE TRUCKS TO MOVE What are the challenges of creating a large-scale work? How long does it take for large-scale work, and how does it feel to have that patience? Last year, I made a 1900 square meter installation for the Lyon Biennale. For my solo exhibition at the Amos Rex Museum in Helsinki, I created a 2,000-square-meter immersive experience. These are projects that usually require ten large trucks for transportation. There is a lot of organization and logistics involved. Fortunately, I have a small team and a great manager who takes care of all these practical needs for me. It takes months to create such large installations with my team. We usually work on several exhibitions and installations in parallel. Because I do about 30 exhibitions a year. I paint big watercolor pieces at night. During the day, we work on new sculptures in my studio. Sometimes there are periods when I sleep very little. We face new challenges with every major new installation. Like when we made my life-size carousel. It was to be shown outdoors for the first time and had to withstand the wind and the weather. It took a lot of research to understand how it should be built. I also made a cinematographic film with computer-generated photo-realistic sets (CGI) and recordings made in “green key” studios with which I had no experience. This kind of technical and difficult organizational work gets the adrenaline flowing, which is also motivating. I WORK WITH COMBINED TECHNIQUES I am also curious about the stages in the creation process of your works. If it’s not a secret, can you tell me a little bit about it? I work with combined techniques for human figures. The model comes to the studio to pose, and together, we look for an expressive but comfortable and natural pose. We then do extensive photo documentation of the pose and face. We usually create a pattern on the model’s arms, hands, lower legs, and feet. We shape the head with non-drying, long-lasting clay, and the body usually with PU foam or similar lightweight, easily workable material. Then we plaster it properly, sand it and make a large mold. We can cast the sculpture monolithically from a single material, usually polyester, and for outdoor use, sometimes bronze. The final touch is the monochrome coating that my team and I developed together. EVEN THE MOST ORDINARY OBJECT CAN BECOME A GREAT ART The following sentence is from an interview: "It is always very simple to conceive an idea. The hardest part is to bring it to life." Have you ever had an idea that you had a hard time realizing? I indeed believe that the main idea of an artwork can be very simple and come to life when it is in perfect balance with the content of an artwork. Even completely ordinary objects, such as bottles on a table, become great art when painted with the proper poetic sensitivity and artistic precision. Seemingly meaningless objects then become real, fundamental content. I made a lot of sculptures and watercolors or wrote texts that I failed to execute and had to throw away. You have to make mistakes to learn. You have to keep evaluating with self-criticism while not compromising your standards. Because sooner or later you will regret it! Can a work of art not be without a subject? Or how important is the subject for you? Is it more important to start with a feeling? Indeed, I once made a bold statement that art doesn't have to have a subject (laughs). What I meant was that when the artist knows how to find the delicate balance between form and content, even the most ordinary object can become great art. I am not against art that depicts big, grandiose historical subjects or art that assumes an activist responsibility toward current issues. However, Vermeer's painting of a woman pouring milk in a quiet room or Morandi's small collection of thin bottles on a table also deeply expresses the world, melancholy, and the human condition. In my work, whether it is film, theater, watercolor, or a monumental installation, I primarily try to evoke a compelling mood that immediately stimulates sensory experience. From there, I can add multi-layered elements or include them between the lines of the image. First of all, I seek images that transcend the boundaries of time and space, images that are universal. In addition, I have absolutely no qualms about covertly integrating current affairs. This allows my work to be anachronistic and eclectic, addressing all times. BEING AN ARTIST IS ABOUT CONSTANTLY REINVENTING YOURSELF Lastly, what stage of your life are you in right now? How do you feel when you look back at the works you created in the past? Do you say: "I did it," or "I still have a long way to go"? I am the father of four wonderful children, and being able to build a strong bond of love and trust with them is my most crucial achievement in life. I have held more than five hundred exhibitions in the field of art. I traveled the world. I wrote and directed plays and movies, I wrote their scripts. I directed and staged operas. The life I have lived so far already feels so complete. So, if my life ends here and now, I feel that I have already lived it to the fullest. But I will never feel "complete" as it is said. Because life continues to be a never-ending mental and emotional journey. Being an artist is actually about reinventing yourself over and over again. I look with satisfaction at some of my work that I know I will be proud of and happy with until my last day. But of course, I also have works that I think are not strong enough artistically today. I continue to self-criticize and look for ways to improve myself. This is not just about myself as an artist, but also as a human being, a father, a friend. I wish to continue to work on myself and keep learning. for more No product

Kasım 2021 | Tasarım | Türkiye ES DEVLIN’İN SON NUMARASI Ünlü parfümün 100. yılına özel Es Devlin fotoğrafı | Alfonso Duran B eyonce’nin meşhur Formation Tour’unda herkesin hayranlıkla izlediği sahne tasarımı ona aitti. 2018 Coachella’sında, The Weeknd’in dijital heykelle göz dolduran sahnesi de onun eseriydi. Zaten daha önce U2, Kanye West, Billie Eilish ve Adele için de setler tasarlamıştı. Louis Vuitton’un 2020 sonbahar kış koleksiyonu için hazırladığı defile tasarımı ayrıca müthişti. İngiliz sanatçı ve tasarımcı Es Devlin’den bahsediyorum. Devlin, son dönemin dikkat çeken isimlerinden. Popüler kültür alanında işler yapıyor gibi görünse de, yelpezesi çok geniş. En son Londra Tasarım Bienali için yaptığı değişim için orman adlı tasarımı konuşulmuştu. Devlin şimdi de dikkat çekici bir başka işe imza atmaya hazırlanıyor: Yarın Miami’de açılacak olan Five Echoes adlı dev labirent… Chanel No5’in 100’üncü yılını kutlamak için yapılan bu açık hava labirenti, ışık ve ses efektleriyle hayata geçirilecek ve 1000’i aşkın bitki, çalı ve ağaçtan oluşan geçici bir ormanla etrafı sarılacak. Five Echoes projesinin amacı tüm duyuları aynı anda harekete geçirmek. Devlin proje için, “Kendimiz ve orman arasındaki bağlantıyı hatırlatmayı amaçlıyor. Ziyaretçiler, labirentin beş eş merkezli yolundan dolambaçlı dans rotasını takip ederken görme, koku alma ve ses duyularını harekete geçirecek” diyor.