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Som Interior founders Özge Yıldız Taşkıran and Berat Taşkıran discuss Meet The Icons, Vondom, and Atmosphera in Istanbul. August 2024 | VOL 13 TURKISH BELOW New expansions of Som Interior words Alp Tekin portrait photos Abdullah Abukan - content partnership - H aving opened the first Turkish store of the Spanish outdoor brand, Vondom, at addresistanbul Home Decoration Center, Som Interior founders Özge Yıldız Taşkıran and Berat Taşkıran keep making new expansions. Creating a new brand called Meet The Icons at addresistanbul and soon launching the products of their outdoor brand Atmosphera in Türkiye, Taşkıran couple says, "We closely follow the current design developments around the world", and adds, "Our goal is to always be a few steps ahead in this field in Türkiye". How did the journey of Som Interior begin? We founded it in 2012 in Çukurcuma, Istanbul. We aimed to present the concept of modern furniture, which we constantly think about while designing and implementing projects, as our main business, to everyone by creating a new brand. At the time we created our brand, it simply would not be easy to find furniture of high quality and up-to-date design in Türkiye, except for imported furniture. That is why we have managed to become a brand that is admired and followed in a short time. How would you briefly describe Som Interior's design line? Som Interior's design line is to offer sophisticated and original designs with high quality. We closely follow the current design around the world and strive to be a few steps ahead in this field in our country. We bring the concept of modern luxury to interiors with original furniture in simple lines, but making a difference in details and material choices. What is the content of your new concept, Meet The Icons? Meet the Icons is our new concept featuring iconic pieces of the design world whose lines we find close to our own. Our aim here is to include products that are complementary to ours. Primarily lighting, as well as coffee tables and consoles, and iconic furniture... We tried to offer a new space that gives the sense of touring a design museum. In Meet The Icons, we feature lighting brands including Martinelli Luce, Nemo, Foscarini, Oluce, and Contardi, as well as Zanotta, Glas Italia, and other brands that stand out and are recognized for their designs. WE WERE IMPRESSED by THE UNIQUENESS OF VONDOM DESIGNS You launched Vondom's first store in Türkiye. Why Vondom? We always intended to bring our success in indoor furniture to the outdoors. We received a lot of requests for this. Although we produced our designs, we were not able to offer a holistic outdoor solution. As we crossed paths with Vondom, we were impressed by the uniqueness of its design language and its exceptional outdoor furniture. Working with some of the world's best designers, Vondom has a wide range of products, all elements of which are made in Europe, addressing many different needs, from the pool and beach to the garden, the terrace of a luxury villa, and even large social spaces such as shopping malls and hospitals. It is a brand that combines modern design language with quality materials in all these products. That's why we believed that Vondom would fit very well into our brand culture. Atmosphera will also be included among your brands soon... Yes, Atmosphera is a brand that combines Italian elegance with teak, ceramic and colorful materials. As Som Interior, we wish to offer different alternatives to outdoor products by combining them. In doing so, we care that our customers enjoy the service with the Som Interior difference. So, we are going to keep adding special selections from different brands to our outdoor collection. MUST BE RESISTANT TO SUNLIGHT So, what are the features you pay the most attention to in outdoor products? The most significant feature is, of course, the product's resistance to UV light, sea salt, weather conditions, etc. Also the ease of maintenance. The Vondom products in particular are certified to withstand sunlight, sea salt, fire, and even weather conditions down to -70 degrees Celsius. And this is a big advantage for use and maintenance. Som Interior’ın yeni açılımları - içerik ortaklığı - İ spanyol outdoor markası Vondom’un ilk Türkiye mağazasını addresistanbul Ev Dekorasyon Merkezi’nde açan Som Interior kurucuları Özge Yıldız Taşkıran ve Berat Taşkıran çifti, yeni açılımlar yapmaya devam ediyor. addresistanbul’da Meet The Icons isimli yeni bir marka daha yaratan ve yakın zamanda outdoor markası Atmosphera’nın ürünlerini de Türkiye’de satışa çıkaracak olan Taşkıran çifti, “Dünyadaki güncel tasarım gelişmelerini yakından takip ediyoruz” diyor, “Hedefimiz bu alanda Türkiye’de her zaman birkaç adım önde olmak”. Som Interior’ın hikâyesi nasıl başladı? 2012’de İstanbul, Çukurcuma’da kurduk. Esas işimiz olan proje tasarım ve uygulamayı yaparken üzerinde sürekli düşündüğümüz modern mobilya konseptini yeni bir marka yaratarak herkese sunmak istedik. Markamızı yarattığımız dönemde Türkiye’de ithal mobilya dışında güncel tasarım ve yüksek kalitede mobilya bulmak pek mümkün değildi. Bu nedenle kısa sürede beğenilerek takip edilen bir marka olmayı başardık. Som Interior'ın tasarım çizgisini nasıl özetlersiniz? Som Interior'ın tasarım çizgisi, sofistike ve özgün tasarımları yüksek kalite ile sunmak. Dünyada güncel tasarımı yakından takip ediyoruz ve bu alanda ülkemizde birkaç adım önde olmaya gayret ediyoruz. Yalın çizgide, ancak detaylar ve malzeme seçimlerinde fark yaratan özgün mobilyalarla modern lüks kavramını iç mekanlara taşıyoruz. TASARIM MÜZESİ GEZİYORMUŞ GİBİ BİR HİS… Yeni konseptiniz Meet The Icons’ın içeriği nedir? Meet the Icons, çizgisini kendimize yakın bulduğumuz tasarım dünyasının ikonik parçalarına yer veren yeni konseptimiz. Burada amacımız bizim ürünlerimizle tamamlayıcı nitelikteki ürünlere yer vermek. Başta aydınlatmalar olmak üzere sehpa ve konsollar, ayrıca ikonik mobilyalar… Tasarım müzesi geziyormuş gibi bir his veren, yeni bir alan sunmak istedik. Martinelli Luce, Nemo, Foscarini, Oluce, Contardi gibi aydınlatma markalarıyla beraber Zanotta, Glasitalia gibi tasarımlarıyla ön plana çıkan ve tanınan markalara Meet The Icons’ta yer veriyoruz. VONDOM TASARIMLARININ ÖZGÜNLÜĞÜ BİZİ ETKİLEDİ Vondom'un ilk Türkiye mağazasını açtınız. Neden Vondom? İç mekan mobilyalarındaki başarımızı dış mekana taşımayı uzun zamandır planlıyorduk. Bu konuda çok talep geliyordu. Her ne kadar kendi tasarımlarımızı üretsek de, bütüncül bir dış mekan çözümü sunamıyorduk. Yolumuz Vondom’la kesişince, hem tasarım dilinin özgünlüğü hem de alışılmışın dışındaki dış mekan mobilyaları bizi etkiledi. Vondom, gerçekten de dünyanın en iyi tasarımcılarıyla çalışan, tüm elementleri Avrupa’da üretilen, havuzdan plaja bahçeden lüks bir villanın terasına, hatta AVM ve hastane gibi büyük sosyal alanlara kadar birçok farklı ihtiyaca hitap eden geniş bir ürün yelpazesine sahip. Tüm bu ürünlerde modern tasarım diliyle kaliteli malzemeyi birleştirebilmiş bir marka. Bu nedenle Vondom’un marka kültürümüze çok iyi uyum sağlayacağını düşündük. Yakın zamanda bir de Atmosphera markalarınız arasına eklenecek… Evet, Atmosphera markası İtalyan zarafetini tik, seramik ve renkli malzemelerle birleştiren çok beğendiğimiz bir marka. Som Interior olarak outdoor ürünlerinde farklı alternatifleri birleştirerek sunmak istiyoruz. Bunu yaparken de müşterilerimizin Som Interior farkıyla hizmet almasını önemsiyoruz. Bu nedenle outdoor koleksiyonumuza farklı markalardan özel seçkiler eklemeye devam edeceğiz. GÜNEŞ IŞINLARINA DAYANIKLI OLMALI Peki outdoor ürünlerinde en çok dikkat ettiğiniz özellikler neler? En çok dikkat ettiğimiz özellik elbette ürünün UV ışığı, deniz tuzu, hava şartları gibi koşullara karşı dayanıklı olması. Ayrıca bakımının kolaylığı. Özellikle Vondom ürünlerinin güneş ışınlarına, deniz tuzuna, yangına ve hatta -70 dereceye kadar hava koşullarına dayanıklılık sertifikası bulunuyor. Bu da kullanım ve bakım anlamında büyük avantaj. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

Karim+Elias is a Dubai-based studio founded by Karim Tamerji and Elias El Hage, exploring desert sand through rammed-earth design. August 4, 2025 | VOL 15 SAND: the SILENT STORYTELLER words Alp Tekin photos Courtesy of Karim+Elias Have you ever found yourself drifting into the endless expanse of the desert landscape? If so, you might sense a similar feeling in the sand-focused design explorations of Karim+Elias, the Dubai-based studio founded by Karim Tamerji and Elias El Hage. Why is your design focus on desert sand? Is it solely related to the geography you live in, or are there other reasons as well? Our studio’s work is essentially built on two interconnected narratives: adopting a local material with cultural significance—desert sand—and preserving an ancient artisanal technique—rammed earth. Founded in the UAE in 2022, our studio’s vision has been deeply influenced by the geography of the Arab region, particularly its vast desert landscapes. Sand is an ever-present element in this environment, carrying a profound historical, cultural, and symbolic significance. We saw this as an opportunity worth exploring and asked ourselves: "How can we honour the region’s most abundant natural material in a way that bridges cultural and geographical boundaries?" We began by working with Dubai’s landscape, crafting earthen works and spatial experiences inspired by the country’s terrain. Today, our practice is expanding into neighbouring Arab nations such as Saudi Arabia, Qatar, and Jordan, continuing to explore the material’s potential across the region. Did everything start with the success of your installation at Downtown Design 2022? If that hadn’t happened, would sand still be your primary material? Sand has become the defining 'material of meaning' for the studio. Beyond Downtown Design, we have always been committed to celebrating this art form in diverse ways. Can we define the essence of your designs as sculpting with sand? Or how would you describe it? Through creative exploration, we have developed a distinct approach to working with rammed earth, with the goal of preserving and evolving the ancient art of "sculpting with sand." Much like the traditions of marble sculpting or wood carving, we see ourselves as revivalists—honouring a time-honoured craft while reimagining it through a contemporary lens. OUR UPCOMING INSTALLATIONS FOLLOWING ‘THE DESERT RELICS’ (2024) WILL EXPLORE NEW NARRATIVES, INSPIRING FRESH DESIGN INTERPRETATIONS ROOTED IN THE DESERT LANDSACEPE Do you mostly work with spherical forms? Will you explore other shapes in the future? Each project dictates the evolution of our craft. The challenges that arise push our R&D forward, allowing us to explore new ways of expressing form, colour, and function through our material. With both 'IOTA' (2022) and 'From This Earth' (2024), our large-scale public art installations, we explored modular spheres, experimenting with geometry, texture, and structural composition. These projects helped us transform what is traditionally perceived as a heavy material into something that appears light, soft, and contemporary. Looking ahead, our plans include further art installations and architectural interventions across the Arab region, as well as new product designs currently in development. In the art domain, our upcoming installations following ‘The Desert Relics’ (2024) will explore new narratives, inspiring fresh design interpretations rooted in the desert landscape. In architecture, we are pushing the material further with Sand Skins, introducing rammed earth as a refined interior and exterior surface finish, as thin as 7 cm where required. We have experimented with smooth, fluted, and organic textures across various projects, each offering its own distinct artistic expression. Over the next year, we look forward to unveiling installations for both private and commercial spaces. Are your creations purely collectible designs, or do you also create functional pieces like furniture? This year, we launched our first-ever product design line, The Desert Drop series. The collection begins with a grand coffee table, crafted from sand droplets and melted glass—a design inspired by the fluidity of oasis water. The series will expand to include wall sconces and vases, offering more accessible, sculptural pieces for stylists, designers, and homeowners. WE TAKE GREAT PRIDE IN DESERT LANDSCAPES AND THE MEANING THEY BRING TO OUR WORK I’m curious about your technique—how do you work with sand? And what are the challenges of working with it? The process is simple yet precise. We create each piece using a proportioned mix of local earth, clay, and water, compacted into sedimentary layers within custom-made moulds. Whether for an object, a sculpture, or an architectural wall, all materials are locally sourced and naturally pigmented in a diverse range of earthen tones. One of the main challenges is manipulating a heavy material to achieve softer, more organic geometries—creating the illusion of weightlessness and fluidity while maintaining structural integrity. How does the desert make you feel? We take great pride in desert landscapes and the meaning they bring to our work. Their simplicity is a humbling reminder of the region’s heritage and our primal connection to the earth. Spending time in the desert or by the seaside—which would you choose? Both! Especially in a rare and special place like Khor Al Adaid in Qatar, where the desert meets the sea in a breathtaking natural harmony. for more Print VOL XV - 2025 Out of Stock Add to Cart

August 27, 2026 | Art & Culture SIMON FUJIWARA the ARCHITECTURE of EXPERIENCE words Rajesh Punj exhibition photos Andrea Rossetti portrait photos Jörg von Bruchhausen A thought-provoking conversation with Simon Fujiwara on A Whole New World , which recently closed at Mudam Luxembourg, and the questions of identity, reality and experience that continue to shape his practice. “We are, in a sense, our own fictions.” — after Jorge Luis Borges Few artists of his generation have examined the unstable architecture of identity with the wit and conceptual precision of Simon Fujiwara. Across installation, film, sculpture and immersive exhibition environments, the Berlin-based artist has consistently returned to the question of how the self is made: through memory, image, desire, performance and, increasingly, the relentless mechanisms of visibility that define contemporary life. Danish philosopher Søren Kierkegaard once warned that “the greatest hazard of all, losing one’s self, can occur very quietly in the world, as if it were nothing at all.” The observation feels uncannily resonant in relation to Fujiwara’s sense of the real, where the erosion of selfhood is rarely dramatic, but instead staged through systems of projection, circulation and display. His works occupy the fertile space between autobiography and invention, where personal history becomes narrative and narrative assumes the force of truth. In recent years, this inquiry has taken on renewed urgency through projects such as Who the Bær, a seemingly innocent figure that operates as a vessel for projection, ideology, trauma and the circulation of images in a digitally saturated culture. What appears playful is never merely so. Beneath the seduction of the surface lies a more unsettling meditation on the politics of representation, spectatorship and the fictions through which we come to know ourselves. At a moment when identity is increasingly staged, branded and endlessly reproduced, Fujiwara’s work asks whether the self has itself become an exhibition space — a site of perpetual construction and display. A DIFFERENT REALITY RP: You mention a new studio in Mallorca. SF: Yes. It’s an old house with agricultural buildings. It’s not going to be massive, it’s not a huge thing, but it’s also a way to try something else because my work is quite urban in a way. My work is so much about conflict and collage, ideas and worlds that collide and meet and produce new problems. The aesthetic of my work is about that somehow. I’ve always worked in cities, so I’m curious to see what working in a non-urban place is going to be like because, in this village, people don’t even know what’s happening in the Middle East. It’s a completely different reality. RP: That must be an incredible idea — the potential for it to really challenge your work. SF: Let’s see. Because when I think about my work, I realise that I’ve always made it to solve problems for myself, in a way, or to try to engage with problems within my life, or with how to live in this world. All the works are like life rafts in this sea of madness that we’re in. If it’s a question around Anne Frank, or an STD, or a ‘MeToo’ problem, or whatever, I can hold on to that, and it can become a metaphor for all the struggles that I’m experiencing on a daily basis — and I know everybody else is too. Part of that has been using language, because we’re surrounded by so much of it today. There is very little that is unsaid, unmarketed, unbranded, untouched. We’re in this exhausted world where every single thing has already been described. RP: It’s interesting. It’s as if silence has become its own kind of commodity. SF: Absolutely. I like this phrase, “the airless quality of capitalism.” There’s almost no oxygen left in the room, and I’m telling you, in the next ten to twenty years, there will be entrance tickets to cities. There will be ticketing; it’s simply going to happen. There is already something of that in certain parts of historic centres. It feels like the only way to sustain this way of living. So I keep seeing, in the real world, how much it is bending to the logic of theme park worlds. THE LOGIC OF THE THEME PARK RP: Which is extraordinary and unsettling at the same time. SF: Exactly. Architects in the 1980s were already talking about Disneyland as a kind of urban utopia in America, because it was one of the few places where you could simply walk down the street. And what it takes to create that most basic act — walking from a shop to a park to a castle to the next thing — is something we take for granted in Europe. But Europe itself was constructed that way. Kingdoms, gods, kings, land: these are not natural things, they are constructs. In that sense, we already had our own natural Disneys. We’re very snooty now about what theme parks are, but in a way, we live in them, and perhaps always have. RP: So Europe itself becomes a set, a stage. SF: Precisely. And that’s why, when I started studying theme parks, I found them fascinating, because they have such clear parallels with museums. A museum is also a place where you buy a ticket, queue and enter a controlled space for delight, pleasure and sometimes even danger. You are brought into other worlds, but there are rules: you can’t touch paintings, shout or behave however you want. I began asking myself why these sanctuaries are so appealing to us today. We went through that whole 1990s moment of institutional critique, when museums were supposed to be open — no tickets, no boundaries; it was about smell, light and atmosphere. But now we are back to wanting the blockbuster, branded experience. I feel that’s because the world outside has become this kind of chaos, where we know we are being controlled but we’re not told the rules. We know we are in this strange theme park, but we don’t know when we are transgressing, or how much information is being taken from us. It’s very murky. RP: So the museum becomes a place of clarity. SF: Exactly. These places, where the rules are clear, somehow offer comfort. I mean, I’m half Japanese, and people are obsessed with Japan now. Talk about a rule-based society — a place with ancient codes for how to talk, dress, move. In its own way, that too is a kind of theme park. I started asking myself how this could become artistic, how it could become a gesture within art that was interesting. So much of my work is already about entertainment and performativity, so bringing the installations together wasn’t a huge stretch. I simply thought, MUDAM is this extraordinary museum, half shopping mall, half I. M. Pei building, with all the aura of the Louvre architect, so why not use the full logic of a theme park? There are signposts, maps, worlds. Only here, the princess is not a princess, but the beauty queen caught in a 'topless scandal'; the mascot is not Mickey Mouse, but a cartoon bear having an identity crisis. A PLACE TO BELONG RP: They become contemporary myths. SF: Exactly, they map onto one another. And the final thing that really interested me about theme parks is that we are craving shared narratives. Culturally, communally, in this globalised moment, we are all longing for something we can rally around: a story. We can no longer really do that through religion, for obvious reasons. So I’ve also been thinking about what it means to create an experience that is shared rather than fragmented. I don’t expect people to immediately jump on board with syphilis, or whatever I might be speaking about specifically, but the atmosphere of the place can make you feel welcomed. That’s what theme parks do. They let you know where you are; there is always a map that situates you and reassures you that you are in the right place. And I thought, if I can make you feel, at an animal, bodily level, that you belong in this museum and that this is for you, then it creates something like the atmosphere of a church, or a place of gathering. Those are the ingredients, in a way. RP: It’s extraordinary how all of this seems to be shifting at once — the idea of the real, the image, experience itself. SF: Yes, and it’s only about to get weirder. The world is about to become much stranger in terms of how we describe the real and how we experience it. AI is obviously one element of that, but there’s another side as well: people are now openly interested in hallucinogenic drugs, psychedelics, altered states, consciousness. All this language that once felt marginal now seems fully part of contemporary discourse. To me, that’s an acknowledgement that reality is far more complex than we previously understood, and that the technological changes we’re living through are part of that shift. MATERIALS OF TRUTH RP: And beyond questions of reality and identity, I wanted to ask about material — your choice of materials and processes, and how these relate to what you are trying to address. SF: I’ve always tried to use the material that best speaks to what I’m trying to convey, and sometimes the choice is very intrinsic to the idea itself. For example, when I made a version of Anne Frank in wax, working with people from Madame Tussauds, it was because I was interested in that very specific history: the idea that famous people are rendered three-dimensionally in wax because, before photography, it was one of the closest technologies to truth. And when you begin to look into the history of Madame Tussauds, it becomes extraordinary. She was in the palace of Louis XIV, making flowers for Marie Antoinette, so the history of Madame Tussauds is, in a way, part of the history of the modern world itself. During the French Revolution, she was supposed to be killed because she had been in the palace — not exactly the right place to be. But because she had learned from her father how to make realistic wax figures, she saved herself by offering to go to the sites where the aristocracy had been beheaded, take death masks and remake them in wax so that these figures would be remembered. She then took this bag of wax heads to London and opened her apartment on Baker Street with a display of French aristocrats on skewers with blood. That was the first Madame Tussauds. And that is already eighteenth-century England: pleasure gardens, the beginnings of entertainment culture. For me, all of that is fascinating because the history of the modern world can almost be told through wax figures. So when I came to Anne Frank, I knew I needed to make that wax rendering, and I needed it to be made with the people who had worked within Madame Tussauds. In that sense, the collaborators themselves can become part of the material. RP: You have me seeing everything differently.

Elena Salmistraro discusses her creative practice, collaborations with Alessi, and the role of colour across furniture, jewellery, rugs, and art. February 26, 2026 | vol 17 INSIDE ELENA’s WORLD words Maria Chiara Antonini photos Courtesy of Elena Salmistraro Known worldwide for her playful and imaginative creativity, Elena Salmistraro has become one of the most sought-after collaborators among design companies today. The Italian product designer and artist studied art at the Brera Academy before graduating first in Fashion Design and later in Industrial Design. I met her in her Milanese studio—and here’s what she told me. I’VE NEVER TRIED TO BUILD A PERSONA—I’VE ALWAYS REMAINED TRUE TO MYSELF Your creativity ranges from furniture for Busnelli, Driade and Cappellini to ceramics for Bosa and Lithae, from a piano for Steinway and Disney to installations for Guglielmi. How do you express your ideas through so many different projects? What I try to do is play on that subtle boundary that both unites and separates different disciplines—the same one that can exist between a sofa, a fabric, or a vase. In design, thanks to my artistic background, I’ve always been fascinated by language and authorship, because these are the elements that allow you to move across different fields without appearing forced or out of context. Consistency, genuineness, and authenticity are the foundations of my journey. Today you are famous for your recognizable and unique stylistic signature. How long did it take you to achieve the success you have today? There are no shortcuts. Everything I’ve achieved is the result of years of hard work, invaluable failures, and many sleepless nights. I believe the appreciation and affection I receive stems from my personality. I’ve never tried to build a persona—I’ve always remained true to myself. WORKING WITH ALESSI WAS A GREAT HONOUR FOR ME How do you choose the companies you collaborate with? Harmony comes first. Having a good product isn’t enough, nor is a good story. What I consider fundamental is the energy we create, the feeling of moving in the same direction. I deeply respect a company’s language and identity, because a collaboration is always a mutual dialogue, a journey together—never just a matter of working side by side. You designed a jewellery line for Alessi. What did you like most? Working with Alessi was a great honour for me. During my visit to the company and their museum, I discovered that the true heart of their expertise lies in the crafting of steel. I realised the potential of a material often considered poor or ordinary, and with Alessi it could be transformed into something surprising. From this intuition, the collection was born—designed to create a physical and intimate bond with the wearer. COLOUR IS A TRUE LANGUAGE—NOT SIMPLY A DECORATIVE ORNAMENT With the Tai Ping rugs you brought colour and modernity. How important is the choice of colour? For me, colour is a true language—not simply a decorative ornament, but a way to express feelings and emotions. For that specific collection, I wanted to work as if they were real paintings, not just decorative rugs. The goal was to create pieces capable of transforming the atmosphere of an entire space. Finding the right colours was like tuning a musical instrument. Three adjectives to define your style. And a piece of valuable advice you were given when you were starting out? Imperfect, Emotional, Material. “They’ll try to take away that childlike look from you. Don’t let them.” Alessandro Mendini told me. - The full story is featured in Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

Onur Hastürk discusses Assimilation at Anna Laudel in Düsseldorf, tracing how miniature art connects his practice with Henri Matisse and Andy Warhol. Eylül 2020 | Art | Turkey Miniatures with Matisse and Warhol through them Words | Onur Baştürk He brought his miniature art to Starbucks coffee cups in his "Mythology" series, which was exhibited first at the Mamut Art Project and then at the Saatchi Gallery in London in 2017. In the "Olympos / Portraits-1" exhibition curated by Taner Ceylan, he drew attention with his work titled "Self-Portrait", all made with 24 K. real gold on transparent paper. I can briefly describe him as "the artist who made miniature up-to-date". I am talking about Onur Hastürk. Currently, Anna Laudel is on the agenda with her "Assimilation" exhibition in Dusseldorf, which will last until the end of October. The main vein of the exhibition is Matisse and Warhol. What brings them together is miniature. Here is Onur Hastürk's unique world .. How did you think of intersecting the world of miniature with the world of Henri Matisse and Andy Warhol in the exhibition "Assimilation"? Is it the pleasure of bringing different worlds together or is it a move abroad? For a long time, I have been trying to establish a link between East-West, traditional-current, past and present. I do intensive reading and research before the production processes. In such a moment, in the proceedings book of the symposium titled "Islamic Aesthetics in Modern Art" held at the Goethe Institute, published in December 2005, Henri Matisse's words following his visit to the "Masterpieces of Islamic Art" exhibition organized by Ernst Kühnel in Munich in 1910 are the starting point of the exhibition created: “Eastern miniatures made me aware of all forms of sensory perceptions possible for me. With the type of painting used in these miniatures, this art expresses a large and truly unique field. This helped me get rid of the copycat painting ”. I didnt know that…. On the other hand, Matisse was one of the artists that attracted me with his oil painting works, which he named "Odalisque" (Turkish origin "Odalık"), especially between 1910-1929. What about Warhol? Warhol's different patterns (women's shoes, feminine boys, inviting figures, etc.) in the drawings he made as gold-plated on paper in his book "A Gold Book" and his series impressed me incredibly. The use of "gold" as an art material over the centuries and its multi-layered relationship in art has always been of interest to me. The first reflection of Andy Warhol in my works started with the "One More Coffee" series, where I interpret classic miniature works on Starbucks paper cups at the 2016 Mamut Art Project, which I am a participant of and which enables me to be visible in contemporary art. So I realized that even though we were at different times, there is an invisible bond that connects us with the shining stars of western art, Matisse and Warhol. In fact, everything was there, waiting for me in front of me. It was only to show how this was seen through the eyes of a miniature artist in the present. Therefore, after 110 years (with a spatial reference), the idea of bringing this exhibition, in which Matisse's works are reinterpreted in the classical miniature style, with the audience at the Germany / Anna Laudel Düsseldorf Gallery, emerged.

The Turkish Riviera unfolds by boat through Fethiye Bay and Göcek, with secluded coves, waterside restaurants, ancient ruins and sailing routes. August 2023 | MEDITERRANEAN | Vol 10 english below TURKISH RIVIERA words & photos Kristina Avdeeva @seasouldiary Yazz Collective photos Fevzi Öndü Y ıldızlara dikkatlice bakınca Orion’u kolayca bulabilirim. Ardından Perseus ve Pleiades’i. Çünkü gökyüzünde tek bir bulut yok. Rüzgâr da yok. Deniz sanki siyah bir ayna gibi gökyüzünü yansıtıyor. Sık sık demir attığımız Wall Bay’e, sadece komşu sahildeki Adaia Göcek restoranın loş ışıkları geliyor. Dalaman Havalimanı uzakta değil gibi. Fethiye’nin şehir ışıkları da dağların arkasından görünüyor. Ama biz battaniyeye sarınmış; şehrin gürültüsünü ve telaşını unutmuş, hiçbir şeyden korkmuyoruz. Bu sihir her gece Göcek koylarında yaşanıyor. TÜRK RIVIERA’SININ EN ÖNEMLİ ÖZELLİĞİ Fethiye Körfezi’ni gezerken teknede yemek pişirebilir ya da sadece denizle ulaşılan restoranlarda tembel tembel vakit geçirebilirsiniz. Bu durum Türk Rivierası’nı dünyadaki çoğu yerden ayıran bir özellik. Şöyle anlatayım: Bazen önceden yer ayırtarak karaya demirliyor ve akşam yemeğine gidiyoruz. Park yeri ödemesi yemeğe dahil oluyor. Bu her yerde bu şekilde. Bir yandan da özel bir saygı göstergesi. İskelelerine gelip kıyıdaki hizmetlerini kullanıyor ve yemek yiyorsunuz. Bir diğer eşsiz özellik ise iskelenin kristal berraklıktaki suyunda yüzmek ve demirleyen yatların yanında yelken açma olanağı. Yani diğer insanları ve tekneleri görüyorsunuz, ama etrafınızdaki özgürlük ve güzellik duygusu nedeniyle hâlâ vahşi koyu hissediyorsunuz. Bu büyülü bölgeyi özel kılan da bu. O nedenle birçok ülke ve kıtayı gördükten sonra bile Göcek’e geri dönmek istiyorsunuz. İYİ BİR RÜZGÂR OLDUĞUNDA... Kapı Deresi, Adaia Göcek, Zeytin Restoran, Onno Bar ve diğer mekanlar çam ağaçlarının arasında gizlenmiş ve birbirine yakın mesafede konumlanmış. Bazen yatçılar Göcek Körfezi sınırını geçmez ve tüm haftayı burada geçirmeyi tercih eder. Ama yılın herhangi bir zamanı, birinci sınıf bir yelken için iyi bir rüzgâr olduğunda büyük fırsatlar doğar. Çünkü A noktasından B noktasına gitmek için uzun saatler harcamanıza, acele etmenize gerek kalmaz. En sevdiğiniz şeyi yapabilir ve ardından iskelede durup dağların huzurlu manzarası eşliğinde soğuk biranın tadını çıkarabilirsiniz! KARACAÖREN ADASI’NIN SIRRI Eski zamanlarda, burada sadece Tanrıların yaşamasına izin verilirmiş ve onlar bu pitoresk kıyılar boyunca yer alan antik anıtlarda kendilerini hatırlatan izler bırakmış. O izleri görmek için en iyi rota Likya Yolu. Muğla ve Antalya kıyıları arasında, yaklaşık 300 mil uzunluğundaki Likya Yolu; İz, Cold Water Bay gibi muhteşem yüzme noktalarına, bozulmamış plajlara erişim sağlıyor. Bu kadar uzun bir rota için zamanınız yoksa, ama yine de eski tarihle tanışmak istiyorsanız Gemiler Adası’na (St. Nicholas Adası) gidebilirsiniz. Antik kent kalıntılarını ve turkuaz deniz suyu manzarasını görmek için adanın kuzey tarafında demirleyin. Adanın tepesinde bir deniz feneri var, günbatımı izlemek için mükemmel bir yer! Doğuda Babadağ’ı ve Ölüdeniz manzarasını, batıda ise kaplumbağa şeklindeki Karacaören adasını görebilirsiniz. Bu gizli yeri pek kimse bilmez. Birkaç on yıl önce bir balıkçı ailesi, dünyanın her yerinden gelen yatçıları Türk misafirperverliği ile burada karşılayıp yemek vermeye başladı. Tüm bunlar bugün de devam ediyor. KARADA SOSYALLEŞMEK İÇİN... - Teknede kalan bir münzevinin hayatı dışarı çıkmakla değişebilir! Bunun kanıtı, gastronomi sahnesinde önemli bir oyuncu olarak kendini kanıtlamış, doğayla çevrili bir koyda yer alan Yazz Collective. - Göcek’te lokal markaların yer aldığı butikler arasında yürüyüş D-Marin Resort’ta son buluyor. Burası, bölgedeki tek beyaz kumlu plajıyla en göz alıcı nokta. D Breeze isimli restoranında öğle yemeği yedikten sonra ayaklarınızı denize sokmaya kesinlikle değer. - Eski kasabası, mis kokulu çarşısı ve kayalıklara oyulmuş Likya mezarlarıyla Fethiye de görülmesi gereken bir yer. Fethiye’de otantik Türk lokumu satan “Servet”e mutlaka göz atın. - Fethiye’deki beş yıldızlı Yacht Classic Hotel’in zarif restoranında ise James Bond filmlerinden ilham alın. Nitekim bir keresinde Daniel Craig, birinci sınıf hizmetin ve lezzetli yemeklerin tadını çıkarıp yatçılık hayatına daha fazla aşık olmak için birkaç günlüğüne buraya gelmişti. I can easily find Orion when I look at stars carefully. Then Perseus and Pleiades. Because there is not a single cloud in the sky. No wind either. The sea reflects the sky like a black mirror. Only the dim lights of the Adaia Gocek restaurant on the neighboring beach reach Wall Bay, where we often anchor. Dalaman Airport seems not far. City lights of Fethiye also come into view behind the mountains. But we are covered in blankets; forgotten about the noise and bustle of the city, unafraid of anything. This magic happens every night in Göcek bays. THE MOST IMPORTANT FEATURE OF THE TURKISH RIVIERA While cruising in Fethiye Bay, you can cook on the boat or spend some lazy time at restaurants only accessible by the sea. This is a feature that distinguishes the Turkish Riviera from most places in the world. Let me put it this way: Sometimes we make reservations in advance and anchor ashore to go to dinner. Parking fee is included in the meal. It’s the same everywhere. It’s also a sign of respect. You come to their pier, use their services on the shore and dine. Another unique feature is the opportunity to swim in the pier’s crystal clear water and sail alongside the anchored yachts. So you see other people and boats, but you still feel the wild bay thanks to the sense of freedom and beauty around you. That is what makes this magical place special. That is why you want to come back to Göcek even after seeing many countries and continents. WHEN THERE IS A GOOD WIND... Kapı Deresi, Adaia Göcek, Zeytin Restaurant, Onno Bar, and other venues are hidden among pine trees and located close to each other. Sometimes yachtsmen do not cross the Göcek Bay border and prefer to spend the whole week here. But at a time of the year, when there is a good wind for a first-class sail, great opportunities occur. Because you do not need to rush and spend long hours to get from point A to point B. You can do your favorite thing and then enjoy a cold beer standing on the pier with the peaceful view of the mountains! THE SECRET OF KARACAOREN ISLAND In the old days, only Gods are allowed to live here and they left traces of themselves in these ancient monuments located along these picturesque shores. Lycian Way is the best route to see those traces. The Lycian Way, approximately 300 miles long between the coasts of Muğla and Antalya provides access to magnificent swimming spots and unspoiled beaches such as İz and Cold Water Bay. If you do not have time for such a long route yet still want to meet the ancient history, you can go to Gemiler Island (St. Nicholas Island). Anchor on the north side of the island to see the ruins of the ancient city and the view of tempting turquoise sea water. There is a lighthouse at the top of the island, the perfect place to watch the sunset! You can see Babadag and Oludeniz in the east, and the turtle-shaped Karacaoren island in the west. Not many people know this secret spot. A few decades ago, a fishermen’s family started to serve dinner here welcoming yachtsmen from all over the world with Turkish hospitality. All this continues today. TO SOCIALIZE ON THE LAND... - The life of an anchorite staying on a boat can change by going outside! Evidence of this is the Yazz Collective which has proven itself as a major player in the gastronomy scene and is located in a bay surrounded by nature. - The walk along the local brand boutiques in Göcek ends at D-Marin Resort. This is the most glamorous spot with the only white sand beach in the area. Definitely worth getting your feet in the sea after having lunch at its restaurant named D Breeze. - Fethiye with its old town, fragrant bazaar, and Lycian tombs carved into the rocks is another must-see. Be sure to check out “Servet” which sells authentic Turkish delight in Fethiye. - Get inspired by James Bond movies in the elegant restaurant of the five-star Yacht Classic Hotel in Fethiye. Indeed, Daniel Craig once came here for a few days to enjoy world-class service and delicious food and fall even more in love with the yachting life. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

BIG SEE Festival founder Zmago Novak discusses the 2026 theme, architectural excess and human scale at the Portorož festival in Slovenia. May 15, 2026 | Art & Culture media partner YUZU BIG SEE and the RIGHT AMOUNT words Onur Basturk Zmago Novak’s Portrait Primoz Korosec Ahead of BIG SEE Festival 2026, YUZU — an official media partner of the festival — speaks with founder Zmago Novak about excess, relevance and why “measure” may once again become architecture’s most valuable idea. BIG SEE Festival has never positioned itself merely as an annual gathering. Founded by Zmago Novak, the Slovenia-based platform has gradually evolved into a year-round ecosystem connecting architecture, design and creative culture across South-East Europe and beyond. Through conferences, awards and editorial programmes, BIG SEE approaches architecture not as spectacle, but as a discipline tied to relevance, responsibility and human scale. Its 2026 edition, taking place in Portorož under the theme “Too much? What is just enough?”, arrives at a moment when architecture is increasingly shaped by questions of excess and visibility. We spoke with Novak about the platform’s evolution, the culture of overproduction surrounding contemporary design, and why “enough” may once again become one of architecture’s most necessary ideas. MORE THAN A FESTIVAL BIG SEE has evolved far beyond a festival. Looking back, what transformed it into a year-round ecosystem? And although rooted in Slovenia and Southeast Europe, do you now see the platform operating on a more global scale? If there was one trigger, it was obviously the pandemic in 2020–21. At that time, when physical contact became nearly impossible for more than a year, we had to move the platform into the digital space. By its nature, digital operates continuously — and social media even more so. Interestingly, alongside strengthening our digital presence, we also expanded across the region once travel became possible again, co-hosting BIG SEE events in places such as Skopje, Istanbul and Podgorica. At the same time, our conferences, award programmes and expos continued to grow, especially now that the architecture and design programmes have merged into one festival. We began a quarter of a century ago as a Slovenian publishing platform and award show. Over time, we expanded steadily across the region, and today, as creative practices themselves have become increasingly international, BIG SEE is growing outward as well. We aim to remain globally relevant, while recognising that physical contact and regional context still matter deeply. South-East Europe remains our core environment — both culturally and professionally. AN EXCESS OF ALMOST EVERYTHING The 2026 theme, “Too much? What is just enough?”, feels both direct and quietly provocative. Do you believe architecture and design are currently facing a problem of excess—or is it more a question of losing direction? I believe the world as a whole is facing an excess of almost everything. Design and architecture exist within that same condition, while also responding to clients whose expectations are often excessive themselves. There is a very delicate balance between steering a project towards more sustainable and responsible solutions, and being perceived as disconnected from contemporary culture or ambition. BEYOND VISIBILITY The BIG SEE Awards emphasise substance over spectacle, and context over scale. In a culture increasingly driven by visibility, how do you see this position resonating with today’s architectural and design landscape? Thanks for noticing our efforts around substance. Architects and designers live within the same realities as everyone else. We are all experiencing climate change, witnessing the immense energy demands of massive data centres, and trying to understand what the AI revolution may bring within the next decade. We are attempting to keep things in perspective, so that the human scale remains relevant. That idea was embedded in our name from the very beginning: BIG originally stood for Bio-Intelli-Gence — or “gens,” meaning people in Latin. Humanity has evolved anatomically, mentally and socially over tens of thousands of years. It’s striking to consider how quickly that entire framework could transform into something beyond our grasp. The conference programme deliberately creates moments of friction, pairing different voices to encourage debate rather than consensus. In your view, is what’s missing today more dialogue—or a stronger critical stance? A productive dialogue is impossible without a critical stance. On the other hand, we should also avoid reaching a point where constant criticism prevents anything from being implemented. A democratic cycle of three to six years feels like a reasonable compromise, allowing enough time for ideas to be tested. The real challenge is finding the balance between being a constructive critic — someone trying to improve things — and becoming purely destructive. THE ETHICS OF MEASURE At the core of BIG SEE is the idea of “measure” — finding the right balance. As the platform evolves, how do you personally define the line between what is enough and what is too much? “Measure” feels like a somewhat forgotten concept today — yet one we urgently need to recover. And yes, it carries a deeply ethical dimension, one that still needs to be understood through the classical idea that knowledge, ethics and aesthetics are all different faces of the same coin. Modernity often presents itself as radically new, but in reality it always remains connected to history, and is quickly absorbed back into it. Perhaps one becomes more aware of this with maturity, but I hope humanity as a whole is beginning to recognise it too.

Muzaffer Yıldırım discusses building Mars Entertainment Group and Nupera with Menderes Utku, from his Fatih childhood to hospitality in Beyoğlu. January 2021 | People TR Below MUZAFFER YILDIRIM Creating Something New Defines Who I Am Words Onur Baştürk Photos Emre Doğru Muzaffer Yıldırım is an entrepreneur constantly brimming with ideas, a fact he openly embraces. Turning his excitement into tangible projects lies at the heart of his character and life’s path. But there’s more to him than just that. Here’s a look at Muzaffer Yıldırım’s relentless journey from past to present. Don’t take a break—read it all in one go! What motivates you to create something new? Creating something new is part of my nature—maybe even my purpose in life. My goal is to make a positive contribution to the world and bring change through what I do. I can’t stop myself; my mind is constantly buzzing with countless ideas! Every project I’ve undertaken so far—cinemas, sports clubs, restaurants, hotels—has one thing in common: I never get involved in something I wouldn’t personally experience. If I wouldn’t live, stay, work out, watch a movie, or dine there, I don’t pursue it. The thought of “This place needs something like this” is often the spark for a new project. Will these endless dreams ever stop? I don’t know. Does it scare me sometimes? Absolutely! FROM TWO PIGEONS TO 150: A CHILDHOOD IN FATIH From the Muzaffer who trained pigeons in Fatih to the Muzaffer of today, what has changed, and what has remained the same? I was born into a migrant family in Fatih, the son of a politically active father. Looking back, I see that the character I built in childhood has carried on into who I am today. Yes, I used to keep pigeons. Starting with just two, I ended up with 150. While others with larger setups had fewer birds, I think my drive to do things big and impactful started back then. That same philosophy, ambition, and persistence are still with me. I used to be a fighter on the streets; now I fight in other ways. But let me tell you this—I’m committed to getting along with life and adding value to it. I DIDN'T LEAVE BECAUSE I GOT BORED You’ve said goodbye to many of the ventures you’ve built, like Mars and MAC. Were those purely strategic decisions, or did you leave because you got bored? Some of the businesses we started were designed from day one to eventually be sold. This was the case for both cinema and sports. Mars Entertainment Group, for example, was something Menderes Utku and I built and developed with the intention of selling. Today, we’ve sold off all of its assets, fulfilling the dreams we had in the 2000s. So no, I didn’t leave these ventures because I got bored.. Menderes has this analogy for me: “You steer the boat, drop anchor, guide the boat to the anchor, and then throw the anchor farther ahead. You’re always focused on moving the anchor forward.” CREATING CINEMA EXPERIENCES WITH MENDERES UTKU The risks you and Menderes Utku took when founding Mars and the results you achieved are incredible. How did the idea for luxurious cinema experiences come about? In the mid-1990s, Menderes and I constantly talked about doing something new. At the time, I had left Alarko and was receiving several job offers. With the intention of becoming entrepreneurs, we set up a fantastic office with what little money we had and began our journey. We saw an opportunity in the cinema industry and decided to invest. But to do so, we needed capital. Using our existing funds, we launched Nupera, which later helped finance our cinema investments. In 2002, we opened a cinema under the Ritz-Carlton that served sushi and champagne. The idea came partly from Menderes, who hadn’t been to a movie theater in years and said, “Wouldn’t it be great if we could enjoy going to the movies again?” WE KNEW OUR ROLES IN THE PARTNERSHIP What are the similarities and differences between you and Menderes Utku when it comes to work? Menderes and I started as friends, then became partners, and eventually family. While we have significant differences in character, our greatest shared trait is this: “Whatever we do, we aim to do it in the best way possible.” Our human values and core philosophies align perfectly. The difference lies in how we approach work. Menderes is far more strategic and looks at things from diverse perspectives. When developing a project, he plays the defensive role, while I’m more optimistic. In our partnership, we had a clear understanding of our roles. While Menderes focused on thoroughly analyzing the negative aspects of a project, I would look at the positive side. Ultimately, if we could both accept the worst-case scenario, we would move forward with the investment. This blend of perspectives often led to remarkable results. THE NUPERA ERA: 15 YEARS OF AUTHENTICITY Nupera was legendary for Istanbul. What stands out to you from that time? When Nupera opened in 2002, Beyoğlu had little to offer beyond seedy bars and nightclubs. Apart from Babylon, the area lacked vibrant venues. By launching Nupera in what was seen as a dodgy neighborhood, we introduced a fresh experience to people’s lives. Globally, it was reminiscent of Soho’s rise or London’s revitalized Indian quarter. New spaces always spark curiosity and draw people eager to experience something different. At Nupera, you could see people from all walks of life mingling—those heading to the adjacent nightclubs alongside our patrons. The mystery of Beyoğlu at that time was incredibly appealing. Nupera wasn’t about commercial gain; it was a genuine, hands-on venture where I worked the door, served at the bar, and Menderes handled the music. That authenticity lasted 15 years. We eventually decided to close it down, not because it wasn’t doing well, but because we had stopped going ourselves. Is there anyone who inspires you in hospitality? André Balazs, the visionary behind Chateau Marmont, Chiltern Firehouse, Sunset Beach, The Standard, and The Mercer. READY TO BUILD BOATS, WATCH OUT! You named your boat “Belka” after your mother. How did the design process go? Yes, I named it after the strongest woman I know—my mother. I’ve always loved the sea. My first experiences were with inflatable rowboats, followed by small speedboats. My dream of “Belka” began in 2012 when I saw Rıza Tansu’s “Only Now” in Bodrum. By 2016, after selling my company and finally having the means, I turned that dream into reality. Designing Belka took years of thought and collaboration with Tansu; construction itself took three years. MUZAFFER YILDIRIM Yeni Bir Şey Yaratmak Benim Karakterim Kafasından her an binbir proje geçen bir girişimci Muzaffer Yıldırım. Zaten bunu kabul ediyor. Heyecanlandığı an hayalindeki projeyi gerçekleştirmek onun karakteri ve hayat çizgisinin özü. Ama bu kadar değil, fazlası da var. İşte Muzaffer Yıldırım’ın dünden bugüne soluksuz yolculuğu. Seni yeni bir şey yapmaya iten motivasyon nedir? Yeni bir şey yapmak sanırım benim karakterim! Hatta varoluş nedenim. Amacım yaptıklarımla yaşama pozitif bir katkı sağlamak, bir şeyleri değiştirebilmek. Kendimi bu konuda durduramıyorum; aklımda sayısız proje uçuşuyor! Bugüne kadar hayata geçirdiğimiz sinemalar, spor kulüpleri, restoranlar ve otellerin tek bir ortak özelliği var. İçinde yaşamayacağım, konaklamayacağım, spor yapmayacağım, film izlemeyeceğim ya da yemek yemeyeceğim hiçbir projeye girmiyorum! ‘Burada böyle bir yere ihtiyaç var, keşke şöyle bir yer olsa’ düşüncesi beni yeni bir projeye taşıyan belki de en büyük motivasyon. Bu uçuşan hayaller ne zaman biter bilmiyorum. Bazen korkutuyor mu? Evet! İKİ GÜVERCİNLE BAŞLAYIP 150 GÜVERCİNE SAHİP OLMUŞTUM Fatih’te güvercinlere takla attıran Muzaffer’den şimdiki Muzaffer’e: Yıllar sende neleri değiştirdi, neleri değiştirmedi? Göçmen bir ailede, partizan bir babanın oğlu olarak Fatih’te dünyaya geldim. Aslında çocukluktaki karakter oluşumumun devamını tam da ‘bugünkü ben’ olarak görebiliyorum. Evet, güvercin beslerdim. İki güvercinle başlayıp 150 güvercine sahip olmuştum. Daha fazla sayıda güvercin besleyenlerin elli güvercini olurken benim bu sayıya iki güvercinle ulaşmam, bir şeyi yaparken büyük ve etkileyici yapmakla ilgili bir derdim olduğunu gösteriyor. Çocukluktaki bu felsefem, iddiam, hırsım, hatta kavgacılığım ve vazgeçmeme kültürüm halen devam ediyor. O zaman sokakta savaşçıydım, şimdi de savaşçıyım. Değişen sadece şekli. Ama şunu söyleyeyim: Hayatla iyi geçinmeye ve hayata değer katmaya gönlüm var... SIKILDIĞIM İÇİN BIRAKMADIM! Yarattığın işlerle bir noktadan sonra vedalaşıyorsun. Mars ya da MAC’lerde olduğu gibi. Bu olması gereken ticari hamle mi yoksa bir yandan da sıkıldığın için mi bırakıyorsun? Kurduğumuz bazı işler, daha ilk günden ‘Satarız’ diye başladığımız işlerdi. Sinema da spor da öyleydi. Mars Entertainment Group aslında kurulup geliştirilip satılmak üzere Menderes Utku ile beraber tasarladığımız bir oluşumdu. Bugün bu grubun tüm değerlerini sattık. 2000’li yıllarda kurduğumuz hayalleri gerçekleştirmiş olduk. Yani bu işleri sıkıldığım için bırakmadım. Ortağımın benimle ilgili şöyle bir tarifi vardır: “Teknenin yönünü çeviriyorsun, çapasını atıyorsun, çapaya kadar tekneyi götürüyorsun, sonra o çapayı tekrar atıyorsun. Devamlı o çapayı ileri atmakla ilgili bir derdin var”. Mars’ın kuruluşu sırasında Menderes Utku’yla beraber aldığınız riskler ve gelinen sonuç şahane. Hakikaten konforlu sinema salonu fikri nasıl çıkmıştı? 1998 yılı ortalarında Menderes’le yeni bir şeyler yapmak üzerine hep konuşuyorduk. O dönem Alarko’dan ayrılmıştım ve birçok iş teklifi alıyordum. Girişimci olmak ve yeni işler yapmak niyetiyle masaya oturup üç kuruş paramızla muhteşem bir ofis yaptık ve yolculuğumuza başladık. Sinema sektörünün eksiğini, açığını, gelecek noktasını görüp beraber sinema endüstrisine yatırım kararı aldık. Ama buraya yatırım yapmak için öncelikle paraya ihtiyacımız vardı. Varolan bir miktar paramızla Nupera’yı yaptık. Sonraki sinema yatırımlarımıza katkı sağladı. 2002'de Ritz Carlton’ın altında açtığımız suşili, şampanyalı salon ise biraz da Menderes’in uzun yıllardır sinemaya gitmeyişi ve “Sinemadan eskisi gibi keyif alabilsek, bir şeyler içsek” konuşmasıyla gelişen bir fikir oldu. MENDERES’LE ORTAKLIĞIMIZDA ROLLERİMİZİ İYİ BİLİYORDUK Menderes Utku ile aranızda iş anlamında nasıl benzerlik ve farklılıklar var? Menderes ile önce arkadaşlığımız sonra ortaklığımız gelişti. Aile olduk. Çok önemli karakter farklılıklarımız var, ama ortak özelliklerimizin en değerlisi şu: “Ne yapıyorsak en iyisini yapmak”. İnsani değerlerimiz, ana felsefemiz de aynıdır. Sadece iş yapma şeklimiz farklı. Menderes çok daha stratejiktir, farklı pencerelerden bakar. Proje geliştirirken önümdeki defansif karakterdir. Ben daha optimistim. Menderes’le ortaklığımızda rollerimizi çok iyi biliyorduk. O bir işin negatif yönünü çok fazla tartışırken, ben tam aksine pozitif yönüne bakardım. Sonunda en kötüsüne razıysak o projeye yatırımı yapardık. Bu da farklı bakış açılarının şahane sonuçlarını ortaya çıkardı. NUPERA’DAKİ O SAMİMİYET 15 YIL SÜRDÜ Nupera dönemi İstanbul için efsaneydi. Senin o dönemden unutamadığın şeyler var mı? Nupera 2002’de açıldığında Beyoğlu’nda pavyon ve kötü barlar dışında bir şey yoktu. Tüm Beyoğlu’nda belki sadece Babylon vardı. O dönem gidilmesi zor, batakhane olarak algılanan bir yerde mekan açarak insanların hayatına yeni bir deneyim sunduk. Yeni yerler insanlarda her zaman merak uyandırır ve yenilikleri deneyimlemek, yaşamak isterler. Nupera’ya gelen insanlarla yan tarafta pavyona gelen insanları bir arada görebiliyorduk. Beyoğlu’nun o dönemdeki gizemi çok çekiciydi. Nupera hiçbir ticari kaygı olmadan, kapısında çalıştığım, barında servis yaptığım, müziğini Menderes’in yaptığı samimi bir yerdi. O samimiyet 15 yıl sürdü. Mekan işleyişini sürdürürken ve doluyken, artık kendimiz gitmediğimiz için kapatma kararı aldık. İLHAM KAYNAĞIM ANDRE BALAZS Otel alanında ilham aldığın biri var mı? Andre Balazs. Chateau Marmont, Chiltern Firehouse, Sunset Beach, The Standard ve The Mercer’ı yaratan adam. Alaçatı dışında güneyin diğer noktalarında, mesela Bodrum’da bir Stay açma hayalin var mı? Aslında Alaçatı ya da Bodrum’da başka Stay açma hayalim yok (EDİTÖRÜN NOTU: 2024 yazında Bodrum'da Bobo by The Stay açıldı). Ancak gerçeği söylemek gerekirse, bir yeri görüp oranın ruhu ve enerjisinden etkilendiğim zaman hayallerim başlıyor. Stay’i yurt dışında açma hayalim var. Londra, Berlin, Milano, Paris, Miami, Los Angeles gibi ruhumuza uygun şehirleri sayabilirim. TEKNE YAPMAYA BAŞLIYORUM, SAVULUN! Teknene annenin ismini (“Belka”) verdin. Ne kadar sürdü teknenin tasarımı? Bizzat onunla da uğraştın, ilgilendin. Evet, tekneme tanıdığım en güçlü kadının, annemin ismini verdim: Belka. Denize ilk çıkışım kürekli şişme botla başladı, küçük sürat botlarıyla devam ettim. Denizde olmayı, denizi hep sevdim. Belka’nın hayali 2012 yılında Rıza Tansu yapımı “Only Now” isimli tekneyi ilk kez Bodrum’da gördüğüm an başladı. Şirketimi sattığım için artık biraz paramın olduğu, daha lüks bir şey yapabileceğim dönemde ise hayalim gerçekleşti. Belka’nın tasarımında Rıza Tansu ile anlaşmaya vardığımız yıl 2016’nın eylül ayıdır. Öncesindeki dört yıl tekneyi nasıl yaparız diye kafa yormakla geçti. Yapımı üç yıl sürdü.

Blancostudio founder Conchita Blanco designs a Japanese ryokan-inspired home in Ubud, Bali, with local timber and a Balinese daydream-house pavilion. January 2025 | VOL 14 RYOKAN + BALE BENGONG her words Onur Baştürk photos Pempki It’s a delightful surprise to come across a home in Ubud, Bali, that’s inspired by the traditional Japanese ‘ryokan’. Anna, the owner, was deeply moved by the sense of peace and completeness she experienced during her travels in Japan. Working with Bali-based Blancostudio, she brought this serene, Zen-like retreat to life, naming the project 'Her'. “From the start, Anna and I had a shared vision of creating a wooden studio with Japanese influences,” says Blancostudio founder Conchita Blanco. Conchita, who spent much of her early childhood in Bali before moving to Australia, is the granddaughter of Spanish painter Don Antonio Blanco and Balinese dancer Ni Rondji. After completing her studies in Australia, she returned to Bali, first working at Indonesia's top architecture firm, Andramatin, before setting up her own studio. The 'Her' project is inspired by the traditional Japanese 'ryokan', but it also incorporates elements of the Balinese 'bale bengong', which charmingly means 'daydream house'. This skillful blend of Japanese and Balinese design comes to life in 'Her', which was built using wood from an old tree found on the banks of the Bengawang River in Java. Now, let’s take a closer look at the story behind 'Her' through Conchita’s perspective. How would you sum up Her in one sentence? Her is a Japanese-influenced home escape on stilts with Balinese roots. Anna's travels to Japan and her appreciation of Zen design are the two most important elements in the creation of the Her project. How did the design process evolve with these references? As a mother of two, I understand Anna's need to have a space in the house where she can escape for a moment. That's why I wanted her to have her own oasis of calm that would give her a sense of detachment from her surroundings. I referenced both Zen and Japanese minimalist aesthetics in the design to create a peaceful, new environment for her. What were the difficulties and benefits of designing a project inspired by Japanese ryokan in Bali? Since the beginning of my architectural career, I often travel to Japan for inspiration and to learn more about design because I have always been fascinated by both traditional and modern Japanese design. So I wouldn't say it was a design challenge, but an asset. You worked on this project with your husband, Avalon Carpenter, the founder of Kalpa Taru. What was Kalpa Taru's contribution to the project? Do you usually collaborate with your husband on projects? I also work as a creative director and designer at Kalpa Taru. Since 2018, I have been designing custom furniture and products for high-end clients and designers at Kalpa Taru. Kalpa Taru's contribution to the project is key to the success of the project because I believe the success of any project lies between the relationship between the makers and the designer. Kalpa Taru delivered high quality woodwork and for this project we worked closely together from the selection of every wooden component, finishing and construction methods. Working with solid wood structures requires highly skilled carpenters, and this project wasn't about intricate wood carvings and ornaments, it was about creating something flawless with seamless joinery. And yes, Blancostudio and Kalpa Taru often collaborate on many projects, in fact I feel that our most successful projects are always the ones we have done together. AND AS THE WIFE OF A CARPENTER, I HAVE A DEEP PASSION FOR WOOD, ESPECIALLY TEAK How would you summarize Blancostudio's design approach and style? Our design philosophy has always been to create something that will last, with a strong sense of belonging to the place and its users. We care about building something that exists in harmony with nature and is not intrusive, which is why we often incorporate the use of local materials while drawing inspiration from the vernacular style of the place. Our design style is minimalist with respect to traditional materials and methods. What are your sources of inspiration? At Blancostudio we work with a lot of natural materials because I believe it expresses their age and place in history. There is beauty in working with natural materials, where we often allow their patina to wear off and become part of our design, enriching it. And as the wife of a carpenter, I have a deep passion for wood, especially teak. There are so many layers to designing with wood, as each species has different strengths and beauty. It is really fascinating to me because it is a living material, you have to understand its nature and methods before you can design something out of it. However, our design approach comes from our respect for the material - and this is where I find most of my design inspiration. What brought you back to Bali, Indonesia after living in Australia for 10 years? Family - I have a big family and now as a new mother of two, I am happy to be back home and have my family close to help me raise my family. THERE HAS BEEN A RAPID INCREASE IN MASSIVE DEVELOPMENT IN BALI, SO MUCH SO THAT I FEEL QUITE SAD ABOUT IT How do you see Bali's future vision in design, is it getting better or stagnating? There has been a rapid increase in massive development in Bali, so much so that I feel quite sad about it. Bali is known as the island of the gods, I feel that many of us here share the same concern of what Bali will become if it continues to cater to all these massive developments that have no respect for Balinese culture and its environmental impact. To stop this, we need the government to step down and put strict rules and restrictions on building, without this I am afraid that the culture of Bali will slowly diminish and the island will suffer in return. blancostudio.co @blancostudio.bali for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

Pulp Galerie's Paris exhibition revisits Gaetano Pesce's 1994 Chiat/Day offices, presenting sculptures that resemble furniture until May 30. April 2, 2026 | Art & Culture SCULPTURES that RESEMBLE FURNITURE words Onur Basturk photos Alexis Narodetzki At its newly opened space in Paris, Pulp Galerie presents an exhibition centred on Gaetano Pesce’s 1994 Chiat/Day New York offices. Now lost, the project proposed a radical alternative to the workplace—fluid, non-hierarchical spaces without fixed desks or standardisation. On view until May 30, the exhibition revisits Pesce’s work through a contemporary lens. We spoke with Pulp Galerie founders Paul Ménacer-Poussin and Paul-Louis Betto about the exhibition and the thinking behind the gallery. WEE SEE OURSELVES AS AN ART GALLERY, NOT A FURNITURE STORE What led you to start Pulp Galerie in 2022? Was it driven by a gap you noticed, or more by instinct? A deep attraction to design was at the origin of Pulp Galerie—first the 1970s, then the 1980s. From the outset, the intention was to highlight a distinct selection, shaped by our eye and our own vision of beauty. Your selection places form before function. How do you define this position today? For us, we are an art gallery, not a furniture store. Our aim is to present sculptures that resemble furniture. This leads to pieces where the user must adapt, sometimes moving away from traditional ergonomics. We are drawn to the creative freedom of designers from that era, when codes had yet to be defined and conventions were being rethought. Today’s design embraces this idea of creation, but perhaps with less freedom, as pieces must appeal to editors and have the potential to become commercial successes. IT WAS A DREAM, AND WE HAVE MADE IT A REALITY What does opening on rue de Seine change for you? For us, opening in this neighborhood is a true achievement. It was a dream, and we have made it a reality. The galleries on rue de Seine represent, to us, the heart of the international historical design scene. Being there gives our gallery a new level of credibility—almost like an internationally recognized “rue de Seine” stamp. This space also opens up new possibilities for presenting our selection. Our goal is to create thematic exhibitions that best showcase our key discoveries and favorites. Your current exhibition focuses on Gaetano Pesce. How did you approach it—and why does his work feel relevant today? For several years now, Pulp Galerie has become well known for its specialization in the work of Gaetano Pesce. The offices designed for the agency Chiat/Day are, for us, one of his most important projects. We spent a year and a half acquiring pieces in order to present them in a comprehensive thematic exhibition, with a strong curatorial approach. This exhibition is accompanied by our first book, written like an investigation, bringing together interviews with people who inspired the project, took part in its creation, or worked within those spaces. What directions will define your upcoming programme? We have chosen to focus our upcoming programme on thematic and monographic exhibitions. At PAD Paris, we will present a curated selection featuring key pieces such as a Square Lamp by Gaetano Pesce and a Liquid Bench by Ross Lovegrove. This will be followed by Debout les Meubles!, an exhibition exploring anthropomorphic furniture, and later a monographic show dedicated to Yves de la Tour d’Auvergne, a French sculptor and designer who bends material like origami.

Villa Miraé is a five-star hotel in Cap d’Antibes, designed by Oscar Lucien Ono with Riviera interiors, gardens, and two restaurants. July 29, 2025 | TRAVEL VILLA MIRAÉ: a RIVIERA EDIT words Laura Cottrell photos Alexandre Tabaste Tucked away in the pine-covered hills of Cap d’Antibes, a storied mansion once known as Impérial Garoupe has been quietly reimagined as Villa Miraé—a five-star hideaway where design, craftsmanship, and a Riviera state of mind converge. Now part of the Relais & Châteaux collection and under the wing of Inwood Hotels, the newly unveiled Villa Miraé is the vision of Oscar Lucien Ono, founder of Maison Numéro 20, who brings his signature blend of poetic modernity and old-world finesse to the French Riviera. This isn’t just a renovation—it’s a slow, sensorial unfolding. “A space should feel like a story,” says Ono. “It should move you—visually, emotionally, atmospherically.” And Miraé does exactly that. A PALETTE OF SEA, SUN, AND SCENTED GARDENS Each corner of the property is wrapped in a narrative of the Riviera’s most enduring elements: the sea, the sun, and gardens in full bloom. The story plays out in tones of ochre, blue, and green, threaded through thirty-five rooms—including eight suites with private terraces—each styled with intent and intimacy. Blush-toned walls, Roman tile roofs, and Burgundy stone floors give the hotel the air of a Provençal hamlet frozen in a golden hour. But make no mistake: this is quiet luxury at its most considered. Ono’s eye for craft is everywhere—hand-painted ceilings by Antonin Lamotte, bespoke mosaics by Friul Mosaïque, and sculptural Murano glass lighting that feels more like collectible art than decor. Maison Numéro 20 furnishings complete the picture: tactile, timeless, and effortlessly edited. WHERE DESIGN BECOMES ATMOSPHERE Villa Miraé’s design doesn’t shout—it hums. The reception space is soft and cinematic: rattan armchairs, linen-wrapped lanterns, a golden ceiling that nods to sunlit skies. A custom mosaic, suspended canvases, and light that drips like honey add depth and dimension. It’s a space that invites pause. True to his background as an ensemblier décorateur, Ono fuses architecture with decorative arts, emotion with function. His interiors are less about statement and more about story—anchored in materiality, light, and the subtle tension between contrast and calm. CULINARY POETRY BY MAURO COLAGRECO The Miraé experience extends beyond the rooms. It moves onto the plate, led by none other than Mauro Colagreco, the three-Michelin-starred chef behind the hotel’s two restaurants. Amarines, the evening destination, offers an immersive, ocean-inspired setting: sea urchin-shaped lights, mirrored surfaces, nacre ceilings, and hand-painted details that play with reflection and rhythm. Miraé, the sun-drenched all-day spot, leans into Riviera ease—terrace seating, local flavors, and the kind of laid-back elegance that defines la dolce vita. A MODERN CLASSIC ON THE COTE D’AZUR With Villa Miraé, Oscar Lucien Ono doesn’t just design rooms—he creates moments. Moments that whisper of another time, another pace. Where light, texture, and stillness invite you to slow down, disconnect, and rediscover the art of living well.

Dalaman Zeytinliburun is a 12-unit hillside complex by Yeşim Kozanlı, combining sustainable design and shared living above Dalaman Bay and Karacagöl. Ocak 2022 | Tasarım | Türkiye for english click here DALAMAN ZEYTİNLİBURUN Yeşim Kozanlı’nın son projesi Yazı | Onur Baştürk Y eşim Kozanlı Architecture&Interior Design’ın heyecan verici projelerinden biri Dalaman Zeytinliburun. Dalaman koyu ve Karacagöl’e bakan yamaç üzerindeki proje, 12 özel konaklama birimi ve nitelikli ortak alanlardan oluşan bir kompleks. Yeşim Kozanlı projeyle ilgili yuzu’nun sorularını yanıtlıyor… EVLERİ MİNİMUM İNŞAAT ATIĞIYLA YAPACAĞIZ Proje nasıl doğdu? Lüks, çok uzun zamandır sürdürülebilirlik ve modernlik kavramlarıyla flört halinde. Tüketiciler çevresel ve sosyal olarak daha çok bilinçlense de, yüksek tüketim ekonomisi, sosyal kaygılar ya da yönetim kaygıları, sürdürülebilir projelerin uygulanmasını zorlaştırıyor. Son yıllarda hayatımızda önemli yer edinen, geri dönüşüm, zamanın değeri ve organik yaşam gibi kavramlar, projelerimizde bizi daha sürdürülebilir ürünler üretmeye yöneltiyor. El değmemiş bir topoğrafya ile hayatımıza giren Dalaman projesi, ulaşmak istediğimiz tüm bu değerleri tasarımlarımıza yansıtabileceğimiz bir proje oldu. Doğa ile dost, sade-lüks stile duyduğumuz özlem ve projenin çözmeye can attığımız zorlukları Zeytinliburun’un hayata geçmesine sebep oldu. Böylesine eğimli bir yüzeyde proje nasıl yükseldi? Çözmeye can attığımız zorlukların ilk sırasında bölgenin topoğrafya özellikleri geliyor. Projenin en önemli özelliği çevreye karşı duyarlılığı ve çevresel etkileri. Dalaman Zeytinliburun projesi, Dalaman koyu ve Karacagöl’e bakan yamaç üzerinde, topoğrafyanın biçimlendirilmesiyle değişen 12 özel konaklama birimi ve nitelikli ortak alanlardan oluşan bir kompleks. Proje hedeflerini esas alan mimari tasarım kararlarının temelinde, zemin ile yapı uyumunun her ölçekte yeniden kurulması yer alıyor. 41 dönüm üzerine kurulu olan projede, geri dönüşüm özelliğinden dolayı çelik konstrüksiyon ile modüler bir teknoloji tercih edilerek zemine minimum değen yapılar elde edildi. Özellikle eğimin oldukça dikleştiği yamaçlarda bulunan evler, saha dışı üretim yöntemleriyle üretilmeye uygun olarak tasarlandı. En az malzeme ile üretime imkan vererek, hem çevreye verilecek tahribatın önüne geçmeyi hem de minimum inşaat atığıyla projemizi hayata geçirmeyi hedefliyoruz. Tüm bunlar projemizin mimari karakterini oluşturan temel özellikler. KOLEKTİF BİR YAŞAM ALANI Tasarım detaylarından bahseder misiniz? Dalaman projesinde sosyal ortak alanlar, yerel tarım atölyeleri ve ekoturizm olanaklarıyla kolektif bir yaşam alanı hedefliyoruz. Yaşam alanlarındada gördüğümüz detaylarda yine bu özelliklere paralel bir yaklaşım var. Heykelsi bir siluetle tasarlanan yapılar ton-sür-ton renkler ve bitki örtüsüyle uyum içinde şekilleniyor. ‘Double height’ yapılar ve cam yüzeylerle ışık alan noktalar maksimize ediliyor. Ferahlatıcı bir şeffaflık sağlanıyor. İç mekanlarda kullanılan yoğun ahşap öğeler ve sade tasarım ise doğanın yapıdaki şeffaflık ile içeriye taşınmasına olanak sağlıyor. Bu da kullanıcıya huzur veriyor. Yatay mimarinin imkan sağladığı sonsuz manzaranın hakimiyeti ise görüntüyü engelleyecek her türlü ekstradan kaçınarak maksimize edilecek. Çeşitli duvar parçaları hem gölge sağlayacak hem de heykelsi silueti daha çok vurgulayacak. KOMŞUCULUĞUN OLDUĞU BİR PROJE BU Proje burada yaşayacak olanlara nasıl bir deneyim sunuyor? Son yıllarda zamanın etkisi güçlü bir şekilde görünür hale geldi. Bu da bizi daha çok yalnızlaştırdı. Eşi benzeri olmayan “bir arada olmak” duygusu gittikçe azaldı. “Özel alanların” özel olarak tasarlanmayışı, bizleri duygusal bir kapanışa, kolektif olmayan bir yaşam tarzına yöneltti. Dalaman projesi ise bir site kompleksinden öte sosyal etkileşimi yüksek, ortak alanları sayesinde yaşayanları bir araya getiren ve deyim yerindeyse yüksek standartlara “komşuculuk” terimini modern bir dille yeniden entegre eden bir yaşam alanı projesi. Kompleks, içinde yaşayanlara huzur ve rafine bir yaşam alanı sunarken özel alana saygı duyuyor ve bu yaklaşımla insanları bir araya getiriyor. İçinde bulundurduğu ekoturizm özellikleri ortak bir bilinç oluştururken, barındırdığı küçük tarım alanları ve seralar sayesinde insanların toprakla bağ kurmalarını, hatta kendi sofralarına üretim yapmalarını sağlıyor. Ekoturizm özelliklerinden ve yerel olmak kavramlarından bahseder misiniz? Basitçe ekoturizm, yeryüzündeki doğal kaynakların sürdürülebilirliğini güvence altına alır. Bunun yanı sıra yerel halkların ekonomik kalkınmasına destek olur. Dalaman Zeytinliburun projesi; topoğrafya ile olan ilişkisinden tutun da ortak alanlar, yerel tarım workshopları, yerel iş gücü istihdamı ve sosyal, kültürel bütünlüğe kadar birçok ekoturizm maddesini içinde barındırıyor. Y eşim Kozanlı's latest project Dalaman Zeytinliburun is one of the exciting projects of Yeşim Kozanlı Architecture & Interior Design. The project on the hillside overlooking Dalaman Bay and Karacagöl is a complex consisting of 12 private accommodation units and qualified common areas. Yeşim Kozanlı answers yuzu's questions about the project... How was the project born? Luxury has been flirting with the concepts of sustainability and modernity for a very long time. Although consumers are becoming more environmentally and socially conscious, high consumption economy, social or management concerns make it difficult to implement sustainable projects. Concepts such as recycling, value of time and organic life, which have taken an important place in our lives in recent years, lead us to produce more sustainable products in our projects. The Dalaman project, which entered our lives with an untouched topography, has become a project where we can reflect all these values that we want to reach into our designs. How did the project rise on such an inclined surface? The topographic features of the region come first among the challenges we are eager to solve. The most important feature of the project is its sensitivity to the environment and its environmental impacts. The basis of architectural design decisions based on the project objectives is the re-establishment of the harmony between the ground and the building at every scale. In the project, which is built on 41 decares, steel construction and a modular technology were preferred due to its recycling feature, and structures that touched the ground minimally were obtained. Especially the houses on the slopes where the slope is quite steep were designed to be produced with off-site production methods. By enabling production with the least amount of material, we aim to both prevent the destruction to be caused to the environment and implement our project with minimum construction waste. All these are the basic features that make up the architectural character of our project. What kind of experience does the project offer to those who will live here? In recent years, the influence of time has become strongly visible. This made us even more lonely. The unique feeling of "together" diminished. The fact that the “private spaces” were not specially designed led us to an emotional closure, a non-collective lifestyle. The Dalaman project, on the other hand, is more than a site complex, it is a living space project with high social interaction, bringing the residents together thanks to its common areas, and reintegrating the term "neighborhood" with a modern language, so to speak, to high standards. While the complex offers tranquility and a refined living space to its inhabitants, it respects the private space and brings people together with this approach. While the ecotourism features it contains create a common consciousness, thanks to the small agricultural areas and greenhouses it contains, it enables people to connect with the soil and even produce for their own table. Çapa 1

Tierra Patagonia Hotel by Cazu Zegers Arquitectura overlooks Sarmiento Lake in Chilean Patagonia, featuring 40 scenic rooms and Uma Spa. April 2023 | TRAVEL TIERRA PATAGONIA words Özlem Avcıoğlu Staying at the Tierra Patagonia Hotel, whose architecture caught my attention years ago, was one of my biggest dreams. I might even have gone to Patagonia just for that reason! Tierra Patagonia is one of the most beautiful hotels not only in Chile but also in the world... Torres del Paine National Park, located in Chilean Patagonia, is the most charming place in the region with its emerald green lakes, magnificent mountain ranges and wildlife. Tierra Hotel is also here, right next to the steep mountains and Sarmiento Lake, which shimmers throughout the day. The architect of the hotel, which opened in 2012, is Cazu Zegers Arquitectura. The building takes its shape from the strong winds known for their intensity that are characteristic of the region and can even rip the hinges of car doors. Architect Cazu Zegers finds nature so fascinating that he believes there should be almost no buildings here, and he literally immerses the hotel in nature. LOOKS LIKE AN ANIMAL FOSSIL From the outside, the hotel looks like a fossil of a prehistoric animal, clad in fully washed lenga wood panelling, fixed to the floor with stone setts to achieve the silver color of water-worn wood. This form also encourages hotel guests to go outside. Tierra, which has glass all over to let the view in, also has an equally attractive spa: Uma Spa. The spa's outdoor jacuzzi is the favorite place to sip a glass of Carmenere wine in the evening. ALL 40 ROOMS HAVE A VIEW All 40 rooms in the two-story hotel have large windows that reflect vast steppes and sky of Patagonia. Minimalist furnished rooms with wooden and sheepskin rugs are decorated in Scandinavian style. “Sustainability” is, of course, one of the issues Tierra attaches importance to. Various methods have been used to reduce energy use. A pilot program is being carried out to test solar panels. Tierra also participated in planting one million trees in Patagonia.

October 2024 | Art & Culture FOR ENGLISH İSTANBUL’DA GÖRÜLMESİ GEREKEN 5 SERGİ words Burcu Dimili 1. NAZAN AZERİ, İÇİMDEKİ ŞARKILAR @Loft Art Nazan Azeri’nin resim, fotoğraf ve video gibi farklı türlerden çalışmalarını bir araya getiren sergi Nergis Abıyeva küratörlüğünde, Loft Art’ın bu yılki prestij sergisi olarak açıldı. Sergi 1 Aralık tarihine dek ziyaret edilebilecek. 2. “2.5B” @YUNT Geçtiğimiz yıl açılan YUNT, Murat Germen’in küratörlüğünü üstlendiği 2.5B başlıklı sergiyle yeni sezonu karşıladı. 6 Aralık tarihine dek görülebilecek sergi, iki boyut ile üç boyutun ara noktasındaki bir temsil yöntemi olan iki buçuk boyut evrenini keşfetmeye davet ediyor. Sergide yer alan sanatçılar: Tanzer Arığ, Gökçen Ataman Tanyer, Nora Byrne, Gizem Çeşmeci, Nermin Er, Semih Zeki. 3. TAVİLOĞLU KOLEKSİYONU, BİR KOLEKSİYONER HİKÂYESİ @çeşitli mekânlar Mustafa Taviloğlu’nun 1972 yılında büyük bir heyecanla başlattığı ve 52 yıldır büyütmeye devam ettiği Taviloğlu Koleksiyonu, yedi alana yayılan bir sergilemeyle izleyiciyle buluştu. Derya Yücel ve Marcus Graf küratöryel imzası taşıyan, 903 sanatçının 2412 eserini barındıran koleksiyon, 15 Aralık tarihine dek ziyaret edilebilir. 4. ALEKOS FASSIANOS, BİZANS’A YELKEN AÇMAK @Zeyrek Çinili Hamam Zeyrek Çinili Hamam’da 31 Aralık’a kadar devam edecek olan “Bizans’a Yelken Açmak” sergisi, Yunan sanatçı Alekos Fassianos’un (1935-2022) eserleriyle İstanbul’un tarihi ve kültürel mirasını bir araya getiriyor. Küratörlüğünü Anlam de Coster’in üstlendiği sergi, Atina’da bulunan Alekos Fassianos Müzesi iş birliğiyle düzenleniyor ve hamamın restorasyon çalışmaları sırasında keşfedilen Bizans sarnıcında gerçekleşiyor. 5. AVNİ LİFİJ @1851.gallery İstanbul’un yeni galerisi 1851.gallery, Avni Lifij’in daha önce görülmemiş fotoğraflarıyla kapılarını açtı. Kerim Suner kuruculuğundaki galerinin ilk sergisi Avni Lifij’in platin-paladyum baskı ile üretilmiş fotoğraflarından oluşuyor. 1914 kuşağı ressamlarından Avni Lifij’in fotoğraflarını 100 yıl sonra ilk kez özel olarak hazırlanmış bir sergiyle görmek isterseniz yolunuzu 1851.gallery’ye düşürebilirsiniz.

Ekim 2021 | Art | Vol V ÖZER TORAMAN Bilinçli bir rüya kurgulayıcısı Yazı | Timur Can Ersoy O esnada dünya dönmeye devam eder. Özer Toraman’ın Pi Artworks’te açtığı son sergisinin ismi bu. Şimdi geriye yaslanıp rahatlayın: Resimlerinde özellikle açık pastel tonları kullanan, iki cinsiyete de ait olmayan melez figürler yaratan, sergideki işlerinin umutsuzluk ve yalnızlık hislerinden özgürleşmek için birkaç anahtar sunduğunun altını çizen Özer Toraman’ın uçsuz bucaksız hayal evreniyle tanışın… Resme olan ilgin ne zaman başladı? 1989 yılında Van'ın çok küçük bir köyünde doğdum. Dış dünya ile pek bağlantısı olduğu söylenemez. 9 yaşına kadar doğa ile iç içe geçirdiğim bu dönemde resim yapmak. hayal gücümü geliştirme olanağı sağladı ve hayatımda yer edinmeye başladı. Devamı için... Print YUZU MAGAZINE - V Out of Stock View Details