April 2025 | Art & Culture CURTAINS UP: ART BRUSSELS 2025 Following Art Cologne, which began in 1967, Art Brussels stands as the second oldest contemporary art fair in the world. Now, it returns for its 41st edition from April 24 to 27, 2025! Reaffirming its position as one of Europe’s leading contemporary art platforms, Art Brussels will host 165 galleries from 35 countries this year. Divided into five curated sections—Prime, Solo, '68 Forward, Discovery, and Invited—the 2025 edition will showcase works by over 800 artists. Expanding its scope this year, the fair focuses on all forms of contemporary art. Let’s take a quick look at the highlights… A CLOSER LOOK AT ART BRUSSELS 2025 - Sponsored by Delen Private Bank and Bank Van Breda, Art Brussels 2025 draws a diverse international lineup: 26% of the participating galleries are from Belgium, 17% from France, 13% from outside Europe, 8% from Germany, and another 8% from Mediterranean countries. TWO NOTABLE NEW INITIATIVES FOR 2025 - Art Brussels 2025 introduces two important new initiatives. The first is The Screen, a curated video art programme selected by Eliel Jones (Curator of Performance and Time-based Media at KANAL-Centre Pompidou) and filmmaker Alex Reynolds. Each selected video will be shown in a dedicated one-hour screening slot at the Tribune, ensuring maximum visibility for fair visitors. With two daily screenings from Friday to Sunday, The Screen aims to enrich the visitor experience by offering a focused space for video art. “While there is no unifying theme, all the selected works play with the forms of documentary and experimental essay,” say Jones and Reynolds. - The second initiative is Monumental Artworks, a section curated by Carine Fol (City of Brussels), a public art expert, showcasing large-scale installations. Featured artists include Willem Boel, Rui Chafes, Karl Karner, Jonathan Meese, Jean-Bernard Métais, Hilde Overbergh, Joost Pauwaert, Thomas Schönauer, and Antoine Waterkeyn. STRIKING INSTALLATIONS - Visitors are welcomed by site-specific projects, including an installation by Céline Condorelli—represented by Galeria Vera Cortês—which reimagines the fair’s entrance. Exploring the intersections of art, architecture, design, and civic engagement, Condorelli draws a connection between the moment of “arrival” and stepping onto a stage, using theatrical curtains to emphasize this performative threshold. - Another installation is Carton plein, an archive project by Juan d’Oultremont, which begins with the question: what remains after an exhibition ends? A memory, an echo, sometimes just an invitation. D’Oultremont has been collecting these fragments for years. His archive of over 10,000 carefully preserved exhibition invitations forms a map of Belgian contemporary art. Despite their temporary nature, these invitations offer insights into graphic trends, curatorial daring, and the evolution of past and present artists. DUFOUR’S MONUMENTAL INSTALLATION - The Fédération Wallonie-Bruxelles presents a monumental installation by young artist Maëlle Dufour. Since the beginning of her career, Dufour has focused on the destructive impact of humans on natural resources and living systems. For the fair, she has created hundreds of ceramic Oyas—porous clay vessels traditionally buried near plants to deliver water slowly to the roots. Their form and material recall plastic jerrycans. With this work, Dufour draws attention to the disappearance of water. - Maison Ruinart will showcase new works by guest artist Lélia Demoisy, created as part of the Dialogues with Nature programme. - The 75th anniversary of the Belgian Art Prize—which removed its age limit in 2017—is celebrated with a special exhibition titled Back to the Future in the Stibbe Lounge. The Discovery Acquisition Prize, supported by Moleskine, continues to focus on supporting museum collections. PERFORMANCES - Where the Body Begins Curated by Luk Lambrecht, this performance invites audiences to experience art beyond the visual—engaging on a deeper, more visceral level. When: Friday, April 25; Saturday, April 26; Sunday, April 27 — daily from 14:00 to 17:00 Where: Art Brussels, Hall 5 entrance - Breaking Free by Lieven De Boeck The Circus – Embracing Fluidity in Art and Identity This interactive performance allows visitors to assume any role—artist, curator, or critic—simply by donning the corresponding costume. By blurring the lines between creator and observer, it dissolves the divide between insider and outsider. When: Thursday, April 24 at 13:00, 15:00, and 17:00

July 2023 | Travel | Vol 10 english below KAPTANIN SEYİR DEFTERİ yazı Alp Tekin fotoğraf Christos Drazos B urası Santorini’nin sarp kayalıklara sahip bölgesi Caldera. Görkemli manzaranın ucuna konumlanmış süitler ise eski ve geleneksel bir kaptan evinin otele dönüştürülmüş hali olan Homeric Poems’e ait. Atina merkezli mimarlık ofisi Interior Design Laboratorium (IDL), otel binasından ayrı olarak duran bu üç süiti yenilerken adanın geçmişinden ilham almış. IDL’in temel ilkesi olan sadelik, aynı zamanda süitlere hakim olan duygu. İç mekan tasarımı detaylarında ise denizcilik geleneğinden referanslar kullanılmış: Ahşap, ip, deri, saz ve dayanıklı tekstiller. Ayrıca deniz haritaları, pusulalar, dürbünler, rahatlatıcı minderler, kalın şilteler... Süitlerin dikkat çeken diğer bir yanı, teknelerin ana yelkeninden ilham alan iki dikey yelken bezinin ortak dış alanı bölerek üç ayrı yemek alanı oluşturması. Salondaki mobilyalar Kaldera ve volkanı engelsiz bir şekilde görebilmek verandanın kenarına yerleştirilmiş. Süitlerin dış cephe rengi ise Kaldera manzarasıyla uyumlu. Ayrıca dış cephe, adanın karakteristik unsuru olan kırmızı ve siyah Santorini kayalarından inşa edilmiş. CAPTAIN’S JOURNAL words Alp Tekin photos Christos Drazos T his is the Caldera, the steep cliff region of Santorini. The suites, located at the edge of the magnificent view, belong to Homeric Poems, an old and traditional captain’s house converted into a hotel. Athens-based architecture firm Interior Design Laboratorium (IDL) was inspired by the island’s past when renovating these three suites, which stand apart from the hotel building. Simplicity, the basic principle of IDL, is also the feeling that dominates the suites. In the interior design details, references from the maritime tradition were used: wood, rope, leather, thatch, and durable textiles. Also nautical charts, compasses, binoculars, comfort cushions, thick mattresses... Another striking aspect of the suites is that two vertical sailcloths, inspired by the mainsail of the boats create three separate dining areas by dividing the common outer space. Living room furniture is placed on the edge of the veranda for an unobstructed view of the Caldera and the volcano. The suites’ exterior color is in harmony with the Caldera view. Also, the exterior is made of red and black Santorini rocks, the characteristic element of the island. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

December 5, 2025 | vol 16 ASTRONAUTS words Nicolas Vamvouklis From stars to steel, a design duo in Athens lets materials and imagination guide the way. Let’s start by introducing ASTRONAUTS. ASTRONAUTS is a creative studio founded by Danae Dasyra and Joe Bradford, specializing in limited-edition objects. We first met during our design studies in the UK. Years later, we returned to Greece and transformed a long-standing friendship into a creative partnership. Our practice is rooted in making. Materials and processes take the lead, and design emerges as our response. We subvert industrial manufacturing conventions by fabricating everything in-house, in our Athens-based workshop. Being physically close to the objects during their creation allows us to work sculpturally, which is essential to developing our distinctive visual language. We carefully consider how people encounter our work and strive to create moments of surprise. We want them to find beauty in the unexpected, to imagine the stories behind these objects, and to think about what they might become. In doing so, we hope to challenge conventional ideas of aesthetics and objecthood. What does this name represent for you? The name ASTRONAUTS pays homage to where our studio began—Greece. It combines “astro,” meaning star, and “nauts,” meaning sailor. The phrase “sailors of the stars” felt poetic to us. When we decided to follow the uncertain and unconventional path of a creative career, it felt like chasing an improbable dream—like a child saying they want to become an astronaut and travel into space. It speaks to that sense of wonder, risk, and the leap into the unknown. It reminds us that our journey is driven by curiosity, imagination, and belief. What are the challenges of working as a duo? We sit at opposite ends of the table, both literally and figuratively. Danae is the studio’s creative lead, responsible for the direction and design of our pieces, including color and material selection. Joe leads physical research and oversees fabrication, translating ideas into material outcomes. Our distinct yet complementary skill sets allow us to trust each other’s areas of expertise while remaining aligned in vision. Of course, as with any close collaboration, challenges arise. It’s impossible to fully satisfy both perspectives all the time. Compromise is essential. Our bench, Gemini, captures this duality. It’s a double-seater sculpture exploring unity and tension. The seats sit close but don’t face one another; they look in the same direction, yet aren’t perfectly aligned. Just like us. WE FELT A RAW, UNFILTERED ENERGY IN ATHENS What led you to settle in Athens? During a vacation, we felt a raw, unfiltered energy in Athens. Compared to other European cities, it offered something rare: physical space, mental space, and potential. We saw an opportunity to build something of our own. Since relocating, we’ve been able to work in a full-scale studio—not just a corner desk. This change in scale has transformed our practice, allowing us to pursue larger, more complex projects. Athens has a smaller creative scene, which fosters more direct, personal relationships. Where do you usually draw inspiration from? We consider ourselves a process-driven studio. Materials and techniques are our starting point, and design emerges as a response. At the moment, our work revolves around hydroforming—a process where sealed metal vessels are shaped and inflated using water. This has led water to become a recurring source of inspiration: the movement of rivers, the reflective surface of the sea, or the way droplets cling to glass. Water also appears in our narratives. For instance, our mirror Narcissus offers a modern retelling of the myth. The mirror’s reflective steel mimics the fatal pool that captivated the young man. METAL IS OFTEN CODED AS MASCULINE, SO WE CHALLENGE THAT BY USING CURVACEOUS, FLUID FORMS What draws you to this technique? Joe discovered hydroforming on YouTube and suggested we try it out. It was fun from the start. The technique, traditionally industrial, felt fresh and full of creative potential. What we love most is its unpredictability. When inflating the metal, we can’t fully predict the final form. This partial surrender allows each piece to become truly unique. It makes our process sculptural—we respond to volume and shape in real time. Letting go of control creates room for surprise, and the results are often challenging in the best possible way. Many of your pieces have a refined, otherworldly finish. How do you choose materials? We gravitate toward materials and finishes that feel unfamiliar, as if they belong to another reality. They become blank canvases we can fill with meaning, narrative, and function. Because of hydroforming, metal is our material protagonist. The process distorts it to the point where it’s almost unrecognizable—many people mistake our work for plastic. That ambiguity is something we embrace. There’s also a softness in pieces like Gemini. Do you enjoy exploring contrasts? Absolutely. In Gemini, the metal has sharp, almost aggressive facets. So we paired it with soft, fluffy flokati. The result is a playful contradiction: Come sit—it’s cozy… but it might hurt. Are you willing to take the risk? As a studio composed of a male fabricator and a female creative director, we’re aware of stereotypes. We enjoy playing with those expectations. Metal is often coded as masculine, so we challenge that by using curvaceous, fluid forms. Sometimes we make the metal look wet. Pairing it with soft, tactile materials introduces unexpected femininity, adding nuance and ambiguity. What are you currently working on? We’re developing a new series that explores hydroforming with aluminum. We’re partnering with a finishing studio specializing in custom coloring techniques. Together, we’ll apply bespoke treatments to our new sculptural homewares. It’s an exciting evolution of our material vocabulary. Speaking of dreams, what’s a project you’ve always longed to realize? We dream of designing a sculptural water fountain for a public square in Athens. The city struggles with heat, and public water features can lower temperatures and improve microclimates. We’d love to create a large-scale, accessible piece that combines aesthetic presence with environmental function—something poetic, useful, and rooted in care for the city we call home. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

April 2023 | Community COMMUNITY DINNER Partner: Jumbo The chef of the “Spring Spirit” themed Yuzu Community Dinner was Yılmaz Öztürk. Held at Avlu Bebek with the support of Jumbo, the table setting’s elegant and eye-catching details were curated by Edizione Living and Parla Flower. “Spring Spirit” temalı Yuzu Community Dinner'ın şefi Yılmaz Öztürk’tü. Jumbo'nun katkılarıyla Avlu Bebek'te gerçekleşen yemeğin sofra düzenindeki dikkat çeken şık detaylar ise Edizione Living ve Parla Flower’a aitti.

November 2022 | Travel below english 30 dönümlük adanın lüks sırrı 3 0 dönümlük, sadece size özel, yemyeşil ormana sahip bir ada. Ve bu adanın üzerinde yer alan 40 havuzlu villa. İşte Six Senses Krabey’in kısa bir özeti! Kamboçya açıklarındaki Krabey Adası’ndaki Siz Senses’ın villaları klasik balıkçı evlerinin mimarisinden esinlenmiş. Özel havuzlu villalar güneşlenmek ve açık havada havuz başında yemek yemek için ideal. Özellikle okyanus villaları muhteşem gün batımı manzarasına sahip. Adanın tepesinde yer alan Six Senses Spa ise kutsal Khmer Kbal Spean Nehri'nden esinlenmiş. Otelin en iddialı restoranları ise pan-Asya mutfağından örnekler sunan Aha Restoran ve Khmer mutfağının modern bir yorumu olan Tree Restoran. Krabey Adası’na Kamboçya anakarasından 15 dakikalık bir deniz transferiyle ulaşılıyor. Bu transferden sonra arabayla Kamboçya Sihanouk Uluslararası Havalimanı ise sadece 10 dakika. The luxury secret of the 30-acre island A n island of 30 acres with a lush forest, just for you. And 40 pool villas located on this island. Here is a brief summary of Six Senses Krabey! The villas of Six Senses on Krabey Island off the coast of Cambodia are inspired by the architecture of classic fishermen's houses. Villas with private pools are ideal for sunbathing and outdoor poolside dining. Especially the ocean villas have amazing sunset views. Six Senses Spa, located on the top of the island, was inspired by the sacred Khmer Kbal Spean River. The most assertive restaurants of the hotel are Aha Restaurant, which offers examples of pan-Asian cuisine, and Tree Restaurant, which is a modern interpretation of Khmer cuisine. Krabey Island is reached by a 15-minute sea transfer from the mainland of Cambodia. After this transfer, Cambodia Sihanouk International Airport is only 10 minutes by car.

March 22, 2026 | DESIGN & INTERIORS CABIN DEVIN words YUZU Editorial photos BoysPlayNice A structure that opens to its landscape. Set above the vineyards of Devín, with views stretching toward the Austrian Alps, Cabin Devín approaches living in a more reduced, deliberate way. Designed by Ark-Shelter together with Archekta — led by Martin Mikovčák and Viktor Mikovčák, with contributions from Barbora Šimášková, Ondrej Vavro and Radovan Hnidka — the project fits a complete living environment into just 20 square metres. It doesn’t read as small. The space opens, shifts and extends outward, working less as an object and more as a frame for its surroundings. From the outside, the cabin appears compact, almost closed. Then the façades begin to move. Two sides fold down into terraces, revealing sliding glass walls behind them. The contained volume opens into a pavilion. Most of the day unfolds in this in-between condition — not quite inside, not fully outside — where the landscape is always present, never decorative. LIVING IN THE THRESHOLD The interior is organised with restraint. A compact kitchenette, a bathroom, built-in storage — everything reduced to what is needed. What defines the space are a series of precise gestures. A concrete sink, placed directly within a window frame, draws the gaze outward. It slows down a simple, everyday gesture. In moments like this, the project reveals its intent: not to add, but to recalibrate how space is experienced. As evening sets in, the atmosphere shifts. A suspended lamp reveals a sleeping area above, accessed by a retractable ladder integrated into the cabinetry. The upper level is deliberately different — enclosed, quieter, with a single skylight framing the night sky. After the openness below, it feels contained, almost protective. OFF-GRID, BUT NOT DEFINED BY IT Technically, the cabin operates entirely off-grid. Photovoltaic panels, battery storage and a hybrid system allow it to function across all seasons. Water is stored within the structure, while ventilation and shading are carefully controlled. Yet these systems remain in the background. They support the space without defining it. What stays is a sense of calibration. Nothing feels excessive, nothing feels missing. The project does not attempt to redefine living — it edits it. It points to a quieter idea of living: measured, deliberate, and closely tied to place.

December 2023 | Design & Interiors english below A Cozy San Francisco Home words Karine Monie photos Nicole Franzen S an Francisco’daki bu evin iç tasarımı Studio Plow’a ait. Proje detaylarını Studio Plow kurucusu Brit Apperson anlatıyor. Evin bulunduğu bölge tam nerede? San Francisco'nun Pacific Heights Bölgesi'nde. Evin mimari tarzını ve ne zaman inşa edildiğini anlatabilir misin? 1920'de inşa edilmiş. Dış cephesi oldukça klasik bir San Francisco binası. Bir zamanlar iki daireye ayrılmış, ancak geçmişte bir noktada tek ailelik bir ev olarak birleştirilmiş. 2000'li yılların başında ise yenilenip modernize edildikten sonra ev biraz steril, eski ve soğuk bir hisse bürünmüş. Tasarımda ne tür malzemeler kullandın? Mevcut malzemelerin çoğunu kullanmayı ve bunları müşterinin zevkine, projenin hedeflerine uygun hale getirecek şekilde modernize etmeyi hedefledim. Yün halılar, mermer ve masif ahşap yüzeyler, yün ve geri dönüştürülmüş kumaşlar gibi lüks ama aynı zamanda dayanıklı, sağlıklı bir çevreyi teşvik eden doğal malzemelere odaklandık. Hiçbir şeyin çok “değerli” durmaması önemliydi. Bu dengeyi sağlamak için üst düzey zanaatkârlar tarafından hazırlanmış parçaları, iyi tasarlanmış kitlesel pazar tipi parçalarla kasıtlı olarak harmanladık. Ayrıca mekana yaşanmışlık hissi kazandırmak için oturma odasındaki kadife Togo sandalyeler gibi çeşitli vintage parçalar kullandık. Evi tasarlarken ilham kaynakların nelerdi? Müşterimizle daha önce yaptığımız çalışmalar nedeniyle onların zevkleri ve önceliklerini biliyordum ve bu benim için en önemli ilham kaynağıydı. Kökleri Meksika'da olan müşterimizin konutta yer alan birçok parçayla güçlü bir kültürel bağı vardı. Ek olarak, bir moda tutkunu ve sanat aşığı olarak müşterinin modaya dönük bakış açısı, parça seçimimizin ardındaki önemli bir ilham kaynağı oldu. T he interior design of this house in San Francisco belongs to Studio Plow. Studio Plow founder Brit Apperson explains all the project details about the house. Could you name and describe the area where the home is located? This project is located in the Pacific Heights District of San Francisco, California. Could you describe the architectural style of the home and when was it built? The 4,142 sq. foot home was originally built in 1920. It is, at least on the exterior, a very classic San Francisco residential building. It was once separated into two flats but combined at some point in the past into a single-family home. After being renovated in the early 2000s and modernized in that very “dot-com” way, the home was left feeling a little bit sterile, dated and cold. What type of materials did you decide to use in this home and why? We aimed to utilize many of the existing bones of the space and refinish them or work with them in a way that would modernize them to align with the client's taste and the project goals. We focused on natural materials that promoted a healthy environment while simultaneously luxurious but resilient such as wool rugs, marble and solid wood surfaces, and wool and recycled fabrics. It was important that nothing felt too “precious” and to strike this balance we intentionally blended high-end artisan crafted pieces with well designed mass-market type pieces. We also sourced a selection of vintage pieces such as the velvet Togo chairs in the drawing room to bring a sense of lived-in coziness to the space. What were your sources of inspiration to design and decorate this home? This home became an extension of our relationship with the clients through our first shared residential project with them and pushing that envelope. Our previous work with them was a key source of inspiration having already built a rapport and understanding of their tastes and priorities. With roots in Mexico, our client had a strong cultural connection to many of the pieces featured throughout the residence. Additionally, as a fashion enthusiast and art lover, the client's fashion-forward perspective was a key inspiration behind our selection of pieces.

December 2023 | Vol 10 TR below TRAVEL DREAMS with AIRSTREAM words Onur Baştürk photos Courtesy of AutoCamp One of my sweetest and most American dreams is to travel in the iconic Airstream, with its silver exterior design and charm that no one can resist. And without having to plan where you’re going... I could do without the pink flamingo! As you know, the pink flamingo is an iconic part of Airstream travel. Of course, everything has a solution. It is possible to have this experience without owning an Airstream. AutoCamp is known for incorporating this deep-rooted heritage into its camps. AutoCamp, the exclusive lodging partner of Airstream, has nine locations across America, from the Catskills to Zion, from Yosemite to Asheville. AutoCamp, which is redefining the camping experience by combining the feeling of “sleeping under the stars” with boutique hotel services, has several lodging options such as cabins and tents as well as Airstream. But here’s my favorite: Airstream! Before I forget, each AutoCamp has a clubhouse where campers socialize. Each clubhouse is unique to its location. My favorite is the Joshua Tree Clubhouse, a modern interpretation of the traditional Quonset hut. An icon of American culture, Airstream RVs are admired not only for their romantic, sweet-dream exteriors, but also for their spacious, modern, minimalist interiors and front panoramic window design. Invented by Wally Byam in 1931, Airstreams take 350 hours to build. Completely handcrafted in Jackson Center, Ohio, Airstreams have many fans. The Airstream International Club has more than 16,000 members! En tatlı ve en Amerikan hayallerimden biri gümüş renkli dış tasarımıyla kimsenin kayıtsız kalamayacağı bir cazibeye sahip olan ikonik Airstream’le yola çıkmak. Hem de nereye gideceğini önceden planlamadan... Pembe flamingo olmasa da olur! Malum, Airstream seyahatlerinin sembolik bir parçası da pembe flamingo. Elbette her şeyin bir çözümü var. Airstream sahibi olmadan da bu deneyimi yaşamak mümkün. AutoCamp, bu köklü mirasa kamplarında yer vermesiyle biliniyor. Airstream’in özel konaklama ortağı olan AutoCamp; Catskills’ten Zion’a, Yosemite’den Asheville’e kadar Amerika çapında dokuz lokasyonda yer alıyor. Kamp deneyimini yeniden tanımlayan ve “yıldızların altında uyuma” hissini butik otel hizmetleriyle birleştiren AutoCamp’de Airstream’in yanı sıra kabin ve çadır gibi farklı konaklama seçenekleri de var. Ama işte benim favorim belli, Airstream! Unutmadan, her bir AutoCamp’de kampta konaklayanların sosyalleştiği bir Clubhouse yer alıyor. Her Clubhouse bulunduğu lokasyona göre tasarlanıyor. Benim favorim ise geleneksel Quonset kulübelerinin modern bir yorumu olan Joshua Tree’deki Clubhouse. Amerikan kültürü ikonu Airstream karavanları, aslında sadece tatlı hayaller kurduran romantik dış cephesiyle değil; geniş, modern ve minimalist iç mekanları ve ön tarafta yer alan panoramik pencere tasarımıyla da hayranlık verici. 1931 yılında Wally Byam tarafından icat edilen Airstream’lerin yapımı 350 saat sürüyor. Jackson Center, Ohio’da tamamen el yapımı olarak üretilen Airstream’lerin seveni hayli çok. Airstream International Club’ın 16 binden fazla üyesi var! for more Print VOL XII - 2024 Out of Stock Add to Cart

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.

January 13, 2026 | PRODUCT DESIGN UNIQKA at TEN, in BORGONA words YUZU Editorial Istanbul-based design brand Uniqka marks its tenth anniversary with Borgona, presented this week at Maison&Objet in Paris (15–19 January 2026). The presentation brings together the material-led design approach Uniqka has developed over the past decade within a single, carefully composed colour landscape. Co-founder Kerem Ariş explains: “Borgona is a new signature colour for us. We chose a shade of burgundy because it carries time within it. It is not trend-driven; instead, it deepens and matures—much like craftsmanship.” Rather than reading as a retrospective, the presentation offers a quiet and assured view of where Uniqka’s design language stands today. The brand’s most defining collections are revisited in Borgona, allowing form, texture and material intelligence to align through chromatic restraint. The atmosphere looks forward rather than back, reflecting a design approach that has reached clarity through time. Among the works on display are Lara Bohinc’s Betsy Collection—including the console, bench, standing mirror, side table and a new stool introduced for this milestone year—alongside Studiopepe’s Silos Collection, shown through new versions of the long table and side table. They are joined by Defne Koz’s Plato trays, Romy Kühne’s Koni pendant lamp, CARA \ DAVIDE’s sculptural Rotonda boxes, Bilge Nur Saltık’s Bellis jewellery holder and Jacob de Baan’s Zero pendant lamps. Brought together in a single tone, the pieces form a restrained dialogue across scales and disciplines. Borgona sits in a balanced space between emotion and permanence. It recalls the depth of aged wine, the softness of velvet and the quiet strength of earth. “As a shade of red, it represents passion and celebration,” Ariş adds, “but in a more composed and timeless way. Both classic and contemporary—after ten years, this best describes who we are: rooted, confident and still evolving.”

Şubat 2022 | Tasarım | Türkiye for english click here Yeni Karaköy Lokantası’nın tasarım kodları Yazı | Alp Tekin Fotoğraflar | Flufoto 2 000 yılından bu yana gündüzleri esnaf lokantası, akşamları ise modern meyhane olarak varlığını sürdüren Karaköy Lokantası geçtiğimiz yaz aynı sokak üzerinde yeni yerine taşınmıştı. Tarihi bir apartmandan bu kez bir şehir otelinin altına. Yine de Karaköy Lokantası en başından beri oluşturduğu kimliği burada da devam ettirdi. ÇİNİLER BAŞROLDE Yeşim Bakırkür’ün liderlik ettiği Ypsilon Tasarım’ın yaptığı yeni Karaköy Lokantası’nın en dikkat çekici unsuru, mutfak ile yemek alanını birbirinden ayıran duvardaki el yapımı çiniler. Lokanta için özel tasarlanan bu çiniler Türkiye’deki seramik endüstrisinin öncülerinden Gorbon Seramik’te üretilmiş. Lokantanın cam eklentisi de dahil tüm zeminde uygulanan mermer mozaik döşemeyle bütünlüklü bir zemin algısı yaratılmak istenmiş. Girişten yemek alanına kadar tüm mekanı kapsayan ahşap modüler tavan ise açılı ve derinlikli formuyla akustik kontrol, iklimlendirme, aydınlatma, müzik yayını gibi tüm unsurları aynı anda çözüyor. Lokantaya girenleri karşılayan meze dolabı ve bar, beklerken yemek seçimi ve içki servisine imkan verecek şekilde tasarlanmış. Uzun, monoblok yapısıyla girişte etkin bir yeri olan barın tezgâhı, mat yüzeyiyle doğal taşın kullanımını ve temasını yumuşatıyor. The design codes of the New Karaköy Restaurant Words | Alp Tekin Photography | Flufoto K araköy Restaurant, which has been serving as an artisan restaurant during the day and as a modern tavern in the evenings since 2000 in Karaköy, moved to its new location on the same street last summer. From a historical apartment, this time under a city hotel. Despite this, Karaköy Lokantası has maintained the identity it created from the very beginning. The most striking element of the new Karaköy Restaurant, built by Ypsilon Design, led by Yeşim Bakırkür, is the handmade tiles on the wall separating the kitchen and dining area. These tiles, specially designed for the restaurant, were produced by Gorbon Seramik, one of the pioneers of the ceramic industry in Turkey. With the marble mosaic flooring applied on the entire floor, including the glass addition of the restaurant, an integrated floor perception was intended to be created. The wooden modular ceiling covering the entire space from the entrance to the dining area, on the other hand, solves all the elements such as acoustic control, air conditioning, lighting, music broadcasting at the same time with its angled and deep form. Çapa 4

February 2024 | Design & Interiors english below A WELLNESS HOME based on feng shui principles words Alp Tekin Y in&Yang ve Feng Shui felsefesine göre tasarlanan Vancouver’ın Kitsilano tarafında yer alan bu ev projesinin iç dizaynı Kalu Interiors’a ait. Hem sakin hem de enerji dolu bir ambiyansa sahip evin estetiğinden odalardaki renk paletine kadar her şey Feng Shui ilkelerinden ilham alınarak yapılmış. Evin ana alanları için siyah ve beyaz tercih edilmiş. Kalu Interiors’dan Phyllis Lui, "Hem zarif hem abartısız, dramatik bir alan yaratmak istedik" diyor. K alu Interiors designed the interior of this home in Vancouver's Kitsilano neighborhood based on the principles of Yin&Yang and Feng Shui. With an ambiance that is both serene and energetic, everything from the aesthetics to the color palette of the rooms is inspired by Feng Shui principles. Black and white were chosen for the main areas of the home. "We wanted to create a dramatic space that was both elegant and understated,” says Phyllis Lui of Kalu Interiors. “In each and every room, they are interesting items and objects that show the personality of the homeowners. For instance, in the powder room, the flowers are planted into a shoe. In the playroom, there is a cheeky monkey motif coming off the wallpaper on the ceiling. In the living room, the throw and pillows add an extra level of quirkiness and interest to the space”.

july 2023 | AEGEAN SPIRIT | Vol 10 english below MONOLITHUS’UN SIRLARI words Onur Baştürk photos Yiorgos Kordakis styling Anestis Michalis 2 0 metre uzunluğunda ve 20 metre genişliğinde insan yapımı bir monolit. Sanki başından beri oradaymış, volkanik bir patlama sonrası oluşmuş gibi. Nitekim dört yatak odalı Monolithus isimli bu ev projesinin ilham kaynağı da yüzyıllar boyu aşınmış büyük volkanik kaya parçaları... Monolithus’un yapımında kullanılan insan yapımı yekpare beton blok ise odaları bölen, yüksek duvarlarla gölgelenmiş avlu ve terasların köşeli düzenlemesiyle kesilmiş. Monolithus, Santorini merkezli mimarlık ofisi Kapsimalis’in tasarımı. Finikia köyünün dışında yer alan Monolithus projesi geometrik formuyla olduğu kadar dış cephesindeki toprak renkli betonla da dikkat çekiyor. Bulunduğu coğrafyanın dokusu ve renklerine göre tasarlanan bu renk, yazın parlak ışığında beyazımsı ve yumuşak, güneşin olmadığı anlarda ise kahverengi ve griye dönüşüyor. UZAY ÜSSÜNÜ ANDIRIYOR Gelelim Monolithus’un bir uzay üssünü de andıran formuna... En tepedeki kavisli aşınmış form; ada manzarasına bakan terasa bağlanan, tonozlu çatıya sahip bir yatak odasına ev sahipliği yapıyor. Zemin katın açık planı ise Ege Denizi’nin mavisiyle, öndeki asmaların sarı ve yeşil renkleriyle, dış avlu ve teraslarla doğrudan ilişki içinde. Monolitin yüzeyindeki delikler ise manzarayı çerçeveliyor. Aynı zamanda dışardaki ışığı doğrudan tüm yapının kalbine getiriyor. Kapsimalis ekibi evin dış ve iç mekanlarına beton, siyah taş, mermer, ahşap, demir, kadife, kil ve camdan yapılmış el yapımı mobilyalar yerleştirmiş. SECRETS of MONOLITHUS A man-made monolith 20 meters long and 20 meters wide. It’s like it’s been there all along, lik e it was formed after a volcanic eruption. As a matter of fact, the inspiration for this four-bedroom house project called Monolithus is large volcanic rock pieces that have been eroded for centuries. The man-made monolithic concrete block used in the construction of Monolithus was cut with the angular arrangement of the courtyards and terraces shaded by high walls, dividing the rooms. Monolithus is designed by the Santorini-based architectural office, Kapsimalis. The Monolithus project, which is located outside the village of Finikia, draws attention with its geometric form as well as with the soil-colored concrete on the exterior. Designed according to the texture and colors of the geography, this color turns whitish and soft in the bright light of summer and brown and gray when there is no sun. ALSO RESEMBLES A SPACE STATION Now, about the form of Monolithus, which also resembles a space base... The curved, worn form at the top houses a bedroom with a vaulted roof that connects to the terrace overlooking the island view. The open plan of the ground floor is in direct contact with the blue waters of the Aegean Sea, the yellow and green colors of the vines in the front, and the outer courtyards and terraces. The holes in the surface of the monolith frame the view. It also brings the outside light directly to the heart of the entire structure. The Kapsimalis team placed handmade furniture made of concrete, black stone, marble, wood, iron, velvet, clay and glass in the exterior and interior spaces of the house. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

February 18, 2025 | TRAVEL LE SOLEIA: a STORY SHAPED by the SUN words Onur Baştürk photos Alexandre Tabaste On Avenue Victor Hugo in Nice, Le Soleia opens its doors with a quiet confidence. Not as a spectacle, but as a place tuned to light — the kind that shifts from pale morning to amber evening along the Riviera. The new hotel by Inwood Hotels, conceived by Oscar Lucien Ono and his studio Maison Numéro 20, is shaped around a single presence: the sun, treated less as a motif than as a guiding principle. WE ARE INSPIRED BY THE SUN’S MYTHS AND ITS WARMTH Step past the Art Deco façade and the atmosphere settles immediately. Volumes are generous but not imposing. Materials are natural, tactile, sun-ready. Ochres and sandy beiges recall façades bleached by years of coastal light. Marble in warm tones, wicker, ceramics, sheer fabrics and turned wood soften the geometry of the interiors. In the lobby, a plaster amphora by Thibault Perrigne sits in quiet dialogue with a globe-like lamp, while sculpted suns and discreet wave motifs appear like signatures rather than statements. The Mediterranean is present, but filtered — less postcard, more memory. For Ono, this solar thread is not decorative; it is the narrative spine of the project: “At Maison Numéro 20, every project starts with a story. We love writing a narrative for each setting, and especially finding a strong throughline capable of giving meaning to each choice. At Le Soleia, this starting point naturally presented itself: the sun. A concept that is both simple and universal, yet deeply symbolic. The sun inspires us both through the mythological imagery it evokes and through what it physically provides: warmth, softness, well-being – almost enveloping. We wanted to translate this solar presence into the décor, not in a literal way, but sensibly. Upon entry, a solar fresco by Raphael Schmidt, enhanced with gold leaf, welcomes the visitor as a source of light. The spaces are designed like cocoons, with a soft colour palette that evokes the sun, but also the sea, the palm trees, and the Promenade des Anglais. The project thus echoes the most precious aspects of the Mediterranean: its light, its way of life, and that solar energy that shapes both landscapes and emotions.” ECHOES OF THE RIVIERA That sensitivity to light unfolds quietly from space to space. Stylised palms and sketched suns appear in frescoes like passing breezes. Overhead, a ceiling fresco imagined by Ono — laser-cut and painted wood — traces celestial lines that suggest sun, wind and motion without ever becoming literal. In the restaurant, layered greens evoke a shaded palm grove, with light filtered through glass as if through leaves. In the rooms and suites, ochres, terracottas and sea-washed tones create soft, protective interiors where texture does most of the talking: wave-shaped headboards, crumpled fabrics, ceramics, woven details. The feeling is calm, grounded, and gently sensorial. Ono approaches the Riviera with the same restraint — not as a style to reproduce, but as a language to reinterpret: “At Maison Numéro 20, we never seek to reproduce the past or fall into nostalgia. Our approach is to reinterpret the codes of a place with a contemporary perspective. At Le Soleia, the codes of the Mediterranean guided us: ceramics, the wave motif, plaster, wicker, but also a colour palette inspired by the landscape. Solar, mineral, and soft tones that evoke the light, the sea, the sand, the palm trees, and that very particular atmosphere of the Riviera. A region's heritage inspires us primarily through its uses, materials, and colours. We research, observe, then translate these references into a current, refined language, paying particular attention to detail. Textures are reworked, patterns simplified, and colours nuanced to create spaces that are rooted in their environment while remaining resolutely contemporary. It’s less about making references than making echoes – capturing the Mediterranean spirit, its softness, and natural elegance, and embedding it in a classical contemporary writing that is timeless and alive.”

August 8, 2025 | VOL 15 FLOW into L’AND words Onur Basturk photos Courtesy of L’AND After a fast-paced, art-filled weekend in Lisbon (take note: Lisbon Art Weekend is amazing!), I leave the city behind and head toward Alentejo. My destination: L’AND Vineyards. Less than an hour’s drive from Lisbon, the shift in atmosphere is immediate. Everything slows down. The last rays of sunlight paint the lake in front of L’AND in shades of deep orange, creating an incredible view. Even more mesmerizing is the futuristic, prism-like architecture of the retreat, which transforms under the shadows of the trees and the warm hues of the sunset. I later learn that this striking design was inspired by Alentejo’s traditional white-walled courtyards. Designed by Promontório, the building features four distinct cut-outs, creating different spaces—reception, lounge, restaurant terrace, and an industrial courtyard. The inspiration behind the architecture isn’t far away either. The town of Montemor-o-Novo, known for its whitewashed houses, is just four kilometers from L’AND. EVEN IF YOU'RE NOT STAYING, TRY MAPA L’AND Vineyards Relais & Châteaux is more than just a hotel—it’s an experience built around multiple themes. The first, of course, is wine. Surrounded by six hectares of organic vineyards, the estate cultivates Touriga Nacional, Touriga Franca, Alicante Bouschet, and Syrah for red wines, as well as Gouveio for whites. Wine lovers can tour the vineyards, visit the cellar, and join guided tastings or workshops on grape varieties and winemaking. I even participated in one and crafted my own red wine! Another defining theme at L’AND is gastronomy. Whether you’re staying at the hotel or not, there’s one thing you shouldn’t miss: MAPA, the restaurant. Chef David Jesus curates a tasting menu that feels like a carefully researched culinary journey. Every dish tells a story, every plate is a work of art. And despite the number of courses, you leave the table feeling surprisingly light—thanks to the menu’s focus on fresh, locally sourced ingredients. One standout feature of MAPA, aside from its understated ambiance, is the spectacular Tom Dixon pendant lights that cover nearly the entire ceiling. THE MÁRCIO KOGAN TOUCH Design is an integral part of L’AND’s identity. The interiors are the work of renowned Brazilian architect Márcio Kogan, known for projects like the Fasano Hotel in São Paulo and La Península in Mexico. The hotel’s furniture collection includes pieces by celebrated designers like Tom Dixon, Vladimir Kagan, Jorge Zalzuspin, and George Nakashima. The wool rugs in the suites are handmade by Fabricaal in Reguengos de Monsaraz, and an extraordinary, almost spiritual painting by Michael Biberstein graces the hotel’s lobby. A BED WITH A SKY VIEW One of my favorite things about L’AND was my room—with a skylight right above my bed, I fell asleep gazing at the stars. Another moment of deep relaxation? Naturally, at the hotel’s spa. The Vinotherapy Spa offers facials, body treatments, and massages using wine byproducts—grape seeds, skins, pulp, and stems. for more Print VOL XV - 2025 ₺970,00 Price Add to Cart