May 2023 | Design & Interiors english below Heykelsi içki kabini yazı Alp Tekin Partiye hazırız! Çünkü İstanbul merkezli Studio Lugo’nun geçtiğimiz günlerde sona eren Milano Tasarım Haftası’nda gösterilen ve büyük ilgi gören ürünü Cabinet 001, tam da bunun için yaratılmış. Zamanda yolculuk konseptinden ilham alan bu heykelsi kabin, Art Deco dönemine ve Memphis Design hareketine bir saygı duruşu olarak, mimari ve tasarımın farklı dönemlerini bünyesinde barındırıyor. Hafif kıvrımlı silüeti, bükülmüş kontrplaktan yapılan Cabinet 0001’in iç ve dış kabukları ahşap. Ürünün tasarımı kısmi paslanmaz pirinç dokunuşlar ve deri aksesuarlarla zenginleştirilmiş. Studio Lugo’nun kurucusu Doruk Kubilay anlatıyor: “Dolabın tasarım sürecinde, cesur renkler, desenler ve geniş kıvrımlar ile zarif ve geleneksel olmayan zarafete sahip heykelsi bir parça yaratılmasına öncelik verildi. Ürün, zanaatkar yerel işçilik ile nefis bir şekilde şekillendirildi. Hafif kıvrımlı silüeti, bükülebilen esnek kontradan yapıldı. Yüksek kontrastlı malzeme seçimi, eklektizm ve seçkinliğin bir örneği olmayı hak ediyor”. Sculptural drinking cabinet words Alp Tekin W e are ready to party! Because Cabinet 001, the product of Istanbul-based @ studiolugo , which was shown at Milan Design Week and attracted great attention, was created just for this mood. Inspired by the concept of time travel, this sculptural cabin embodies different periods of architecture and design as a tribute to the Art Deco era and the Memphis Design movement. The interior and exterior shells of Cabinet 0001 are wooden, with a slightly curved silhouette made of bent plywood. The design of the product is enriched with partial stainless brass and leather accessories. Doruk Kubilay, founder of Studio Lugo, explains: “During the design process of the cabinet, creating a sculptural piece with sleek and non-conventional elegance through bold colors, patterns and sweeping curves was prioritized. The product is deligthfully shaped by artisanal local craftsmanship. Its softly curved silhouette is made of bent plywood and the inner and outer shells are veneered with wood while design enriched with partial stainless brass touches, and leather accessories. High-contrast material selection is entitled to be an example of eclecticism and exclusiveness”.

April 2023 | Art & Culture | Vol 9 SALUSTIANO Art, like love, will exist forever words Onur Baştürk What is the criterion for choosing the faces in your works? Is it the beauty of the model’s face or the meaning in their facial expression? For me, the most important thing about a face is the spiritual and mental power it reflects. If it has enough spirituality in it, it is certainly beautiful. Which face has impressed you the most so far? I cannot be objective in this answer. The face of my son Horacio. What are the differences between the child model and the adult model? Which one is more inspiring for you in your work? Adults have an unnatural relationship with photography. We pose with our “best face” with the attitude of being favored. That does not suit me either. Children pose more spontaneously. For them, it is like a game. For example, the brothers Juan and Miguel Palacín who became angels consecutively. They posed with absolute naturalness. Of course, if the adult model is a professional, that is fine. For example, I have been working for several years with the model Zahara from Seville, who is beautiful and poses like a real artist. In your hyperrealistic paintings, the color in the background draws attention as much as the figure. You use red the most. Why red? First of all, let me state that my paintings are not hyperrealistic. Hyperrealism represents a photograph of reality, not reality. I do not try to make my paintings look like a photographic or naturalistic realist. My paintings are idealized versions of the classical Greco-Roman sculptural style. The background of my paintings is also plain. There is no specific description of the place. We can reflect ourselves on this plain and meaningless background. Because, in reality, they are landscapes or not. Abstracted landscapes... Why red? In Spanish, the color red is called “colorado”. Color and colorado have the same root as the Latin “coloratus” (to color, to give color). Therefore, red also stands for the color itself. In addition, red has great symbolic power. We all associate it with intense emotions, power, blood, and passion. The Hebrew word for red means blood, which is also the element of earth. And this name (“Adam”) was given to Adam, the first man. So this color is closely associated with the beginning of time, life-giving blood, the beginning of life, and the shedding of the first blood. For me, red is a metaphor for transcendence. THEY ARE MY FIGHTERS AGAINST UGLINESS Marina Con Pistola from the series “Terriotorio de Ternura” is one of your most impressive works. Violence or innocence? Which of these interests you? Although I work with fundamental concepts, I avoid anything that implies a definition. If there were violence in my work, that would also be a kind of violence! But if there is innocence, it is a combative innocence. There is an artifact in which a figure represents the angel of Eden. For me, Eden is a garden I created to defend and protect myself against mediocre and decorative art. It is self-indulgent, thoughtless, and ugly art. Yes, these guys with guns are my warriors in my war against this ugly art! When did you start to shape the style of your paintings? I have had a personal style since my teenage years. Of course, I have aged. But there are a few elements that have remained over the years: Like poetry, austerity, humor, and a bit of hooliganism. I read that you are a Hockney, Holbein, and Bacon fan. Why them? Although they are very different, what they have in common is that their paintings are full of mystery and suggestion. Who else have you drawn inspiration from? Michelangelo Antonioni, Stanley Kubrick, the poet Guillaume Apollinaire, David Bowie, Tadao Ando, Bugs Bunny, BMW commercials, my first communion, streets, quince jelly, 1970s advertisements, travel, and my son Horacio. How does living in Seville affect your art career? I really do not know how Seville has affected my work! My family is from another Andalusian province. That is why I have never felt 100 percent Sevillian. I think that being not only from Seville but also from Andalusia had an effect on me. Andalusia is a region where many cultures, religions, and races are interwoven. That is why we are so culturally rich and open-minded. Most of us have a special sensitivity to art and nature. ALL OF LIFE IS A DREAM, AND A DREAMS ARE... DREAMS You have also made NFTs of some of your popular works. What do you think about NFT? For me, virtual life has the same consistency as the life we dream about. Usually, we experience our dreams with the same intensity as the emotions we have when we are awake. Sometimes the line between dreaming and waking is blurred. As Plato describes in ‘The Myth of the Cave’ or as Segismundo, the character in Calderón de la Barca’s great play ‘Life is a Dream’, states: “All of life is a dream, and dreams are... Dreams”. The most important thing in art is the artistic experience. This experience is the same in real life, dreams, or virtual life. I believe that digital art will last. But it will not replace traditional art, as many think. I believe the real and the virtual will seamlessly coexist and enrich each other. Due to artificial intelligence, will the art of painting become extinct in the coming years? Art, like love, will exist forever. for more

Deceember 27, 2025 | PRODUCT DESIGN AVINGTON CHAIR The Avington Chair is the result of a quiet collaboration between Bill Amberg Studio and Joss Stoddart—a meeting of two material-led practices rooted in British craft traditions. Designed and made entirely in the UK, the chair brings together English oak and oak bark–tanned British leather, chosen as much for their tactile qualities as for their cultural lineage. Rather than beginning with a brief, the project evolved from an informal exchange: a sketch found in an old notebook, a shared respect for process, and a mutual understanding of proportion and restraint. The structure is defined by a hand-turned, fluted dowel construction that supports a slung leather seat and back, secured with discreet solid brass caps. Each detail is resolved through iteration, not embellishment—refined slowly through making. Material contrast plays a central role. The firmness of fumed English oak is offset by the softness of the leather, creating a chair that feels composed yet welcoming. Subtle hand-finishing gives the seat and back their comfort and longevity, while the restrained palette allows the materials to speak without distraction. Available as a carver with arms or a plain dining chair, and offered in dark fumed or light waxed oak, the Avington Chair reflects a shared belief in beauty through simplicity. It is a piece shaped by patience and mutual trust—less a statement, more a lasting companion at the table.

Media Partner Yuzu Magazine December 2024 | Art & Culture FOR TR TIME to GET to KNOW ART ANTWERP words Onur Baştürk NELE VERHAEREN Managing Director ANDRIESSE-EYCK GALERIE Marijn van Kreij BELGIAN GALLERY Cindy Wright BY LARA SEDBON Stephen Whittaker DE BOER Brad Phillips DE BOER Michael St John Cut GALLERY FIFTY ONE Bruno V. Roels GALLERY FIFTY ONE Bruno V. Roels GALLERY FIFTY ONE Bruno V. Roels GALERIA PRESENÇA Diogo Nogueira GALERIE CLAIRE GASTAUD Milène Sanchez GALERIE DYS Abel Burger GALERI FLEUR+ WOUTER Fiona Lutjenhuis GALERIE FLEUR+ WOUTER Fiona Lutjenhuis GALERI FLEUR + WOUTER Fiona Lutjenhuis GALLERY SOFIE VAN de VELDE Koos Buster GUY PIETERS GALLERY KETELEER GALLERY Jo Lle Dubois MAGNIN-A Amadou Sanogo UITSALLING GALLERY Aaron-Victor Peeters UITSALLING GALLERY Elia Vanderheyden BASE ALPHA GALLERY Nadia Naveau Anthena VALERIUS GALLERY Ethel Coppieters NELE VERHAEREN Managing Director ANDRIESSE-EYCK GALERIE Marijn van Kreij BELGIAN GALLERY Cindy Wright BY LARA SEDBON Stephen Whittaker DE BOER Brad Phillips DE BOER Michael St John Cut GALLERY FIFTY ONE Bruno V. Roels GALLERY FIFTY ONE Bruno V. Roels GALLERY FIFTY ONE Bruno V. Roels GALERIA PRESENÇA Diogo Nogueira GALERIE CLAIRE GASTAUD Milène Sanchez GALERIE DYS Abel Burger GALERI FLEUR+ WOUTER Fiona Lutjenhuis GALERIE FLEUR+ WOUTER Fiona Lutjenhuis GALERI FLEUR + WOUTER Fiona Lutjenhuis GALLERY SOFIE VAN de VELDE Koos Buster GUY PIETERS GALLERY KETELEER GALLERY Jo Lle Dubois MAGNIN-A Amadou Sanogo UITSALLING GALLERY Aaron-Victor Peeters UITSALLING GALLERY Elia Vanderheyden BASE ALPHA GALLERY Nadia Naveau Anthena VALERIUS GALLERY Ethel Coppieters The contemporary art fair Art Antwerp, organized by Art Brussels, is returning to Antwerp Expo for its fourth edition from December 12 to 15. Since its debut in 2021, the fair has been known for its cheerful year-end atmosphere and will once again host 70 galleries carefully selected by the Invited Committee. One of Art Antwerp’s highlights is its ability to bring together both established and emerging artists. This year, visitors can look forward to large-scale installations by artists such as Aaron-Victor Peeters (Uitstalling Art Gallery), Bruno V. Roels (Gallery FIFTY ONE), Florian Tomballe (PLUS-ONE Gallery), Bert De Geyter (Settantotto Art Gallery, Ghent), and Willem Boel (BARBÉ, Ghent). To further spotlight each gallery's project, Nina Hendrickx, the former director of Antwerp’s renowned Zeno X Gallery, has been invited as the curatorial text writer. We spoke with the fair’s director, Nele Verhaeren, to learn everything we’re curious about. Over to her… What are Art Antwerp's strategies and how does it differ from other fairs? Would you consider Art Antwerp an example of the growing trend of micro or boutique art fairs? Art Antwerp stands out for its unique DNA. Often described as a "boutique fair," it favours a direct and friendly approach, with direct contact between gallery owners, collectors, artists, and visitors. The experience goes well beyond the mere discovery of art: it is also about creating memorable moments. One can admire major works, listen to inspiring talks for young collectors or more specialized collectors, wander among monumental installations in the aisles, or even enjoy a glass or a dish under the Christmas trees, all in a warm and festive atmosphere. Art Antwerp is also appreciated for its human scale size, which makes it easy to explore. Although it has a strong regional dimension, it aims to be open to the world: among the 70 participating galleries from 11 countries presenting 250 international artists. THE PROCESS IS SIMPLE, ONCE INVITED THE GALLERY IS ON BOARD What criteria do you use to select galleries for Art Antwerp? Do you also accept applications from galleries that reach out directly? A selection of galleries, done by our Invitation Committee, that participated in the previous edition of Art Antwerp are the first ones to receive an invitation to participate again. Once their applications are submitted (deadline is in spring), the Invitation Committee extends invitations to a newly selected list of international galleries. We send out invitations on behalf of the Invitation Committee to encourage these galleries to join the committed participants. The process is very simple, once invited the gallery is on board. We frequently receive spontaneous inquiries from galleries interested in participating. For these galleries, we request that they submit a detailed stand proposal along with information about their gallery profile. After careful consideration and a vote by the Invitation Committee, we inform the respective gallery whether they have been accepted or not. GALLERIES NOW PREFER SOLO PRESENTATIONS Was the representation of artists under 35 years old deliberate or coincidental? Initially, during the uncertain times of the pandemic, the fair predominantly consisted of galleries who were participating in 7 to 10 fairs annually, showcasing group exhibitions featuring established artists. Their primary motivation was to be part of a resilient event amidst the prevailing challenges. Meanwhile, the international fair calendar picked up again and nowadays there are even more fairs than ever. Galleries at Art Antwerp are now driven by a desire to establish sustainable relationships with the artistic and cultural community of Antwerp, Flanders and surrounding regions. Therefore, this shift to see more younger artists represented is a logical consequence. Younger galleries, which typically partake in fewer fairs, are inclined to feature emerging artists. Galleries are increasingly spotlighting individual artists, which is reflected in the notable proportion of solo or duo projects, making up 31% of this year's presentations. The solo presentations are the best way to for a gallery to introduce an artist. Nevertheless, it's important to acknowledge that the remaining 70% of artists are over 35 years old, and we continue to host galleries that represent highly acclaimed artists. For instance, Lelong & Co Gallery, a participant since the first edition, showcases works by big names such as Pierre Alechinsky, David Hockney, David Nash, Kiki Smith, to name a few. Maurice Verbaet Gallery presents pieces by renowned Belgian artists from the latter half of the 20th century, while Guy Pieters offers works by international established names such as Sam Francis and Yves Klein. Therefore, Art Antwerp presents a diverse array, blending the vigour of youthful talent with the gravitas of established artists. What was the purpose of introducing the Best Booth Award? What are the criteria for selecting the winner? Following the conclusion of our third edition (Art Antwerp 2023), we have observed a significant evolution in the quality and boldness of the booths. An increasing number of galleries are opting for artistically ambitious projects, often focused on the work of a single artist or a duo. Although each gallery has carte blanche to present its booth, these innovative projects have particularly captured attention, generating excitement among visitors. It is with this in mind that we have decided to create the Best Booth Prize. Several criteria will guide the selection. The committee members will evaluate, in particular: - the quality of the exhibited works, - the coherence and originality of the project, - the curatorial audacity, - the visual engagement and aesthetic impact, - the trajectory of the artist (CV) or artists presented, - and openness to diversity or emerging talents or the recognition of a career. To give an example, the project by Gallery FIFTY ONE, which presents a solo by Bruno V. Roels, is a potential candidate. Their booth, designed as a sort of waiting room leading to paradise, perfectly exemplifies boldness and originality in concept. But there are, of course, other examples. The Prize could also go to an artist’s presenting a body of work such as Marijn Van Keij at Andriesse Eyck with works on paper, drawings and collage created the last 10 years. ART ANTWERP AIMS TO MAINTAIN ITS BOUTIQUE CHARACTER What is Art Antwerp’s vision for the future? Do you plan to keep the fair boutique-sized in the coming years, or are there plans for expansion? Art Antwerp is committed to preserving the fair's intimate and boutique character. We cherish the limited capacity of the halls and the spacious aisles, which we believe are crucial to the fair's charm. The cozy atmosphere is a fundamental element that distinguishes our fair and makes it a unique experience for all who attend. Art Antwerp has established itself as a vibrant hub for a diverse community of art enthusiasts, fashion designers, architects, curators, museum directors, art lovers, and entrepreneurs. Attending an art fair is more than just an activity; it's a lifestyle choice that resonates with the cultural and creative interests of a discerning audience. Year after year, we've seen a steady increase in the number of visitors. We are committed to maintaining this momentum and building upon the enthusiasm that Art Antwerp generates. Our aim is to continue fostering this dynamic environment, where passion for art and design not only brings people together but also inspires and enriches their lives. While we are dedicated to maintaining our deep local connections with a strong stake of galleries from Antwerp and we are equally focused on broadening the fair's international reach by welcoming more international galleries. Since there is no open call for applications, the existence of the fair may still be relatively unknown to foreign galleries, and we recognize the need to increase our visibility in the international art community. By adopting a more global (European) perspective, we aim to offer our visitors an even richer array of artistic talent to explore going from a mix of established to young artists. In addition to showcasing a diverse selection of art, we are committed to enhancing the overall experience of the fair. We strive to ensure that Art Antwerp remains a warm and inviting space for visitors, particularly during the festive end-of-year period. Our objective is to create an ambiance that not only exhibits outstanding art but also harmonizes with the celebratory atmosphere of the season.

October 4, 2025 | VOL 16 the VOCMOS SPIRIT: SMALL, PERSONAL, and FULL of SOUL words Laura Cottrell Some people work in hospitality. Others live it. For Frederik Kubierschky and Catharina Lütjen, founders of Vocabolo Moscatelli, it’s the latter. Their story started in the heart of Swiss five-star hospitality, where they met, learned the ropes, and dreamt up a vision for something more personal—an intimate retreat in Umbria, Italy, where hospitality is about genuine care, thoughtful details, and a sense of belonging. We sat down with Frederik and Catharina to talk about what it means to build a place that feels like home, why Vocabolo Moscatelli is more than a boutique hotel, and how they’re redefining modern hospitality—one thoughtful stay at a time. You both come from strong backgrounds in hospitality. How have your experiences shaped the vision behind Vocabolo Moscatelli? Our story began years ago in the world of Swiss five-star hospitality, where our paths first crossed. Frederik brought his deep experience as a Clef d'Or Chef Concierge, and I had focused on guest relations, sales, and marketing. It didn’t take long for us to realize we made a strong team. We were both lucky to have received top-notch training in the industry, which shaped how we think about service, guest care, and teamwork. Over time, we learned that true hospitality isn’t just about luxury—it’s about creating a sense of belonging, crafting unforgettable experiences, and doing it all with passion and integrity. Today, as we lead our own little boutique hotel, Vocabolo Moscatelli, we know exactly the kind of hospitality we want to create—not just for our guests, but also for our team. We believe a happy team is the foundation of great hospitality. In short, the years we spent in some of the most luxurious and demanding settings have shaped how we approach hospitality in 2025. As we shape the future of our boutique hotel, we keep asking ourselves: What does modern hospitality look like? We’re not just following trends; we want to stay ahead of the curve—creating a place that embraces today’s traveler’s desire for authenticity, connection, and meaningful experiences, while also caring deeply for the well-being of both our guests and our team. IT FELT LIKE WE DIDN’T CHOOSE UMBRIA; UMBRIA CHOOSE US! When did the idea of opening your own hotel first come up—and why Umbria? It’s hard to pin down the exact moment, but we both remember a scene like it was yesterday. We were working at a luxury hotel when a guest was checking out. She smiled at us and said, “You two... If you ever open your own hotel, let me know. I’ll be there.” Those simple words left a big impression—and sparked a dream. That dream is now Vocabolo Moscatelli. We were also incredibly lucky to cross paths with an investor who believed in us and our vision. That support gave us the chance to create something truly special. As for Umbria, it was an opportunity—and we fell in love with this unique region of Italy instantly. It felt like we didn’t choose Umbria; Umbria chose us! Vocabolo Moscatelli is a restored 12th-century monastery. What drew you to this place? Its energy—and its timeless beauty! How was the restoration process? Restoring Vocabolo Moscatelli wasn’t just about preserving a building—it was about breathing new life into a place full of history and character, and creating an atmosphere that feels both timeless and fresh. Our approach was shaped by a deep respect for the region’s heritage, combined with a vision for what modern hospitality should feel like in 2025. From the start, we knew we wanted to preserve the elements that make the building so unique—like the stone walls and wooden beams. Of course, bringing modern comforts into such a historic space came with its challenges. It required careful planning and close collaboration with talented artisans and our architect. Jacopo Venerosi Pesciolini from the Florence-based studio Archiloop and his team designed spaces that transform the atmosphere of this ancient monastery into a warm, timeless experience. The use of local craftsmanship added a special layer of character to the interiors. Some of our rooms and suites even have black outdoor bathtubs for two, placed on private terraces. Each room and suite also features its own color concept. UNLIKE BIGGER, MORE ANONYMOUS PROPERTIES, OUR SMALL SCALE ALLOWS US TO CREATE AN INCREDIBLY PERSONAL AND GUEST-FOCUSED EXPERIENCE How does the small scale of your hotel shape the way you welcome and connect with guests? Unlike bigger, more anonymous properties, our small scale allows us to create an incredibly personal and guest-focused experience. We truly pay attention to the needs and preferences of each individual guest. Our team knows guests by name—and they know us, too. We take the time to build genuine relationships with the people who stay with us. Many of our guests return not just for the beauty of the place, but because they feel connected to the team, the other guests, and the unique “VocMos” vibe. That sense of belonging and community is a big part of what makes our hotel special. How does the region’s nature and culture shape the identity of Vocabolo? The natural beauty of the region is an essential part of who we are. Vocabolo is a place where guests can step away from the chaos of daily life and reconnect with nature. The peaceful, rural atmosphere is woven into the overall experience of the hotel. Everything we do, from art to architecture, is inspired by the cultural heritage of the region. We also celebrate local festivals and traditions, weaving them into the guest experience—like our “Passata” event in August, where we make tomato sauce together for three days, or our special ceramic workshops with local artisans like Elena (Endiadi) in our chapel or garden. The slower rhythm of life here is at the heart of the Vocabolo Moscatelli experience. What are some of the standout features of the hotel? - Our Cotto Etrusco tiles. Every room has its own color story, and all the tiles—especially those in the bathrooms—are handmade for us in Umbria, just 20 minutes from Vocabolo Moscatelli. - The Bamboo Dome. - Double outdoor bathtubs on the terraces. - Our hemp-linen textiles! They’re sustainable, breathable, and durable—hemp has a long tradition in Umbria, historically used for rope, fabric, and household items. - The fire pit: Every evening, Frederik lights a fire in the garden, creating a warm, cozy atmosphere. After dinner, we invite both hotel guests and restaurant diners to gather around the fire, sharing a glass of our homemade limoncello. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 970,00₺ Price Add to Cart

Şubat 2021 | Art | Türkiye Olağanüstü denklikler, ince benzerlikler Yazı | Alp Tekin F arklı jenerasyonlardan iki sanatçı. 1962’li Alp İşmen ve 1992’li Yüksel Dal. İkisi bu haftadan itibaren aynı sergide buluşuyor. Mixer’deki “Olağanüstü denklikler, ince benzerlikler” sergisinde. Sergi adını Umberto Eco’nun Foucault Sarkacı romanından almış. Her şeyden önce, serginin sinema filmi ismi gibi duran uzun adına vurulduğumu itiraf etmem gerek. Bu uzun sergi isminin anlamı ise şu: İlk başta görünenin değil, daha derine inildikçe fark edilenin izini sürmek ve tabii iki farklı sanatçının işlerindeki birbirine eş ince detayları keşfetmeye çalışmak… Denklik ise şuradan kaynaklanıyor: İki sanatçı da pratiğini kalem ve kâğıtla yapmayı yeğliyor. Mürekkep her ikisi için de vazgeçilmez bir deneyim alanı. Alp İşmen’in çalışmalarına hayran olup işlerini yakından takip edenler için aslında bu sergi şunu da sağlıyor: Bonus olarak yeni bir sanatçı ve dünyasını keşfetme şansı. Bu nedenle yeni bir sanatçıyla yan yana aynı sergide yer alması İşmen’in mütevazı tavrı diyebiliriz. KAFATASI O KADAR GÜZEL Kİ… Yeni sergideki işlerinde de insan ve hayvan iskeletlerine sıkça rastladığımız Alp İşmen, bu konuyla ilgili bir röportajında şöyle diyor: “Şu işleyen mükemmel organizmayı ayakta tutan kemikler ve ona hareket katan beynin korunduğu kafatası o kadar güzel ki… Sanat tarihi boyunca da bir sürü anlam yüklenmiş. Çünkü gizemli ve ürkütücü”. O zaman, iki sanatçının dünyasından çıkma gizemli desenlere sahip bu serginin son kullanma tarihini de verelim: 3 nisan.

Haziran 2022 | Tasarım | İtalya Salone del Mobile 60 Yaşında 6 haziranda kapılarını açan dünyanın en büyük tasarım fuarı Salone del Mobile bu yıl 60’ıncı yaşını kutluyor. Bu yılki fuarda mimar Mario Cucinelli tarafından tasarlanan bir enstalasyon merkez unsur olarak yer alıyor ve fuarın bundan sonra gideceği noktayı da işaret ediyor: “Design with Nature / Doğayla Tasarlamak”. Cucinelli bu yerleştirmede üç ana unsura dikkati çekmek istemiş: Ekolojik Geçişin Aciliyeti, Kentsel Unsurun İlk Yapıtaşı: Ev, Bir Maden Olarak Şehir. Ünlü mimar, bundan sonra tasarımcıların yaptıkları işler bu üç unsura odaklanmak zorunda diye düşünüyor ve 1400 metrekarelik yerleştirmesinde geleceğin ideal yaşamını temsil edeceğini belirtiyor. MARIA PORRO’NUN ATAĞI Milano Tasarım Haftası pandemiyle birlikte uzun yıllardır değiştirmediği başkanını değiştirmişti. Yeni başkan Maria Porro küratör olarak da hızlı bir başlangıç yaptı. Özellikle genç tasarımcılarla firmaların arasındaki bağlantıyı kuvvetlendirmek istiyor Porro ve bu yıl 600’den fazla genç tasarımcıyla bir sergiye imza atıyor. “Designing for our future selves / Gelecekteki benliğimiz için tasarlamak” başlıklı sergi 23’üncüsü yapılacak SaloneSatellite bünyesinde yer alıyor. Bu yıl etkinlik, “herkes için özerkliği, konforu, hareketi, kullanılabilirliği, etkileşimi ve güvenliği teşvik eden tasarım üzerine düşüncelere” davet edecek. EUROCUCINA’YA DİKKAT Chiara Alessi, Maria Cristina Didero ve Beatrice Leanza'nın küratörlüğünde, çağdaş tasarım sahnesindeki en heyecan verici seslerin yaptığı konuşmalar ve tartışmalarla etkinliği zenginleştiren bir Talks takvimi de fuara eşlik ediyor. Tüm bunlardan ayrı olarak fuarın yan etkinliklerinde 23’üncü kez düzenlenen bienal EuroCucina da var. 16 bin metrekarelik bir alana yayılan geniş ürün yelpazesiyle 82 katılımcıyı bir araya getiren firmaların mutfak önerilerinin bulunduğu standlar şüphesiz ilgi çekecek. EuroCucina'nın doğal bir tamamlayıcısı olarak FTK Technology for the Kitchen (Mutfak için Teknoloji), daha sürdürülebilir bir gelecek için sorumlu, kapsayıcı ve bağlantılı teknolojiyi sergileyecek. Etkinlik, koruma ve pişirme sanatının ne olacağına dair yenilikçi ürünler, prototipler ve konseptler sunarak yerli teknolojiye ayrıcalıklı bir yansıma olmayı hedefliyor. ŞOV YAPACAK Ayrıca bir de Salone Internazionale del Bagno (Uluslararası Banyo Fuarı), tüm ilgili profesyonelleri ve aynı zamanda modern tüketiciyi çekme yeteneği sayesinde kendisini önemli bir uluslararası erişime sahip dinamik bir ticaret fuarı olarak kanıtlamış olmanın güveniyle geliyor. Etkinlik, 17 bin metrekareden fazla alana yayılmış, mobilya ve aksesuarlardan duş kabinlerine, sıhhi tesisattan radyatörlere, musluk ve armatürlerden küvetlere kadar uluslararası üretim sahnesinin en iyilerini sergileyen 172 katılımcıyla bir şov yapacak.

December 15, 2025 | Art & Culture a FILM on ARCHITECTURE, MOVEMENT and SPACE words YUZU Editorial photos Derek Pedros On our YouTube channel, we are sharing Casa No Tempo: Possibilities of Inhabiting, a film by director Derek Pedrós, which approaches architecture as a lived and felt atmosphere rather than a static object. Set in Portugal’s Alentejo region, the film unfolds within Casa No Tempo, designed by Manuel Aires Mateus for Silent Living, and forms part of Pedrós’s ongoing visual research into the relationship between architecture, movement, and the human body. ATMOSPHERE AS A FORM OF RESEARCH How do you describe your practice as a filmmaker, and what guides your work? I see my work as a form of visual research. I’m not interested in documenting architecture as a static object, but in understanding the emotional dimension that inhabits a space. I explore what makes me feel a certain way, and how a space becomes a container for stories, forming a unique memory for anyone who experiences it. I try to move away from the “cold” perception of architecture and focus instead on the emotional response that presence creates. My practice sits at the intersection of architecture and movement, using the human body as a way to measure these emotional qualities. What guides me is the search for atmosphere: how a space breathes, how it offers protection, and the particular rhythm of life it proposes. It’s about moving beyond the purely visual to reveal the invisible qualities that shape the experience of a place. PERMANENCE, SILENCE AND THE ACT OF INHABITING What was it about Casa no Tempo that first captured your interest? For a long time, I was drawn to the mysterious calm of this place. There is a magnetic quality in the architecture of Aires Mateus and in Silent Living’s approach that captivated me completely, compelling me to explore it further. Beyond the aesthetics, however, what truly drew me in was the concept of permanence that Manuel Aires Mateus has created here. It felt like a legacy of memory. I wanted to understand that silence, and to see whether I could translate that sense of protection and timelessness into a visual language. You’ve called Aires Mateus’s architecture “a structure that makes life possible.” How did you translate the dialogue between body and space in this film? Manuel Aires Mateus has said that architecture creates a “structure that makes life desirable.” To explore this idea, I collaborated with dancer Elena Castellanos, whose spatial sensitivity allowed us to investigate this “temple of calm” designed by the architect. We didn’t approach the film as a performance, but as an act of inhabiting. Her movement became a way to enter into dialogue with the space itself—to ask questions without expecting clear answers, and to understand the subtle, silent exchange that emerges when we feel emotionally connected to a place. The body becomes the key to unlocking the atmosphere, suggesting that a building is never fully alive until it is inhabited. BETWEEN ENDURANCE AND MOVEMENT Your work often reflects on “the tension between what endures and the life that moves through it.” At Casa No Tempo, in which moment or scene did you feel this tension most vividly? I believe this tension is inherent to both life and architecture: the desire to create something that endures in a world defined by impermanence. More than in a specific scene, I felt it throughout the process of our stay. We spent time observing how different layers come together in the present moment—how fleeting sensations, such as morning light touching a surface or the sound of the wind, gain significance once you realise they will never repeat themselves. For this reason, we focused on being fully present, trying to document the honest identity of the place. One of the reasons I work across both still image and film is precisely to explore this duality: photography as something that endures, and film as something that unfolds through time—both working together to preserve the essence of a space. This project deepens your view of architecture as an atmosphere read through the body. How does it shape where your research goes next? Casa no Tempo has been a milestone in my research. It confirmed that my interest lies less in the spectacle of architecture and more in its ability to support life and well-being. Moving forward, I want to go deeper into the idea of inhabiting. I’m interested in continuing to explore spaces that propose distinct ways of living, working across different cultures and geographies. By doing so, I can contrast my own experience with other approaches to architecture and hospitality around the world.

July 2024 | Urban ENGLISH BELOW BODRUM ve ÇEŞME neden TUTUNAMADI words Onur Baştürk B eyaz Türkler için bu yazın dillden düşmeyen çoklu denklemi malum: Birincisi, Yunan Adaları’ndan birine gidip döndükten sonra iştahlı bir şekilde şu muhabbeti yapmak: “Valla o kadar yedik içtik, toplam şu kadar ödedik. Çeşme’de, Bodrum’da olsaydık bunun beş-altı katını ödemiştik”. İkincisi ise Coldplay’in Avrupa’da verdiği konserlerden birini yakalayıp “Muhteşem bir deneyimdi” diyerek anlatmaya doyamamak… Kendimi çemberin dışında bırakmıyorum. Hatta ikinci muhabbete pek yakında Helsinki-Coldplay konseri deneyimiyle katılmış olacağım, ısrarla bekleyiniz… Esas konu ise tatilini Türkiye dışında geçirmeyi tercih edenlerin bu yaz daha da artması. “Neden böyle oldu”nun en önemli nedeni Türkiye’deki otel ve restoran fiyatlarının çok pahalı oluşu, ki bu sonuna kadar doğru. Bodrum ve Çeşme’deki restoranlara gidince şahane kazıklanıyoruz. Ama büyük resme bakınca kaçırdığımız bir şey daha var: Özgün ve otantik olma meselesi. Yunan Adaları’ndaki tatilin bu denli sevilmesinin bir nedeni de oradaki restoranların basitliği, kendine özgü tavrı, yani kimlikli oluşu. Yıllar geçse de değişmemesi. Lezzetinin aynı kalması. Bodrum ya da Çeşme’deki bir restorana gittiğinizde maalesef lezzet her zaman değişkendir. Ya malzeme iyi değildir ya da başka bir sorun vardır. Dahası, menüler hep trendlere göre belirlenir. Bir restoran menüsüne kral yengeç koyduysa diğeri de mutlaka koyar. Bulunulan konum ve malzemeye göre menü hazırlamak yerine bolca “orada olmayan ürün” menüye boca edilir. Elbette bunun aksini yapan özgün tavırlı restoran da var. Ama sayıları o kadar az ve maliyetlere o kadar hızlı yeniliyorlar ki… Bir başka şey daha: Yunan Adaları’nda denize girmenin bir seremoni olmaması. Malum, giriş ücreti ve içerde harcama limiti gibi şeylerle yorulmuyorsunuz. BİR ŞEYLER ARTIK DEĞİŞMELİ Evet fiyatlar önemli bir etken, ama “tatil kültürü” daha önemli. Türkiye’de yıllar içinde kendiliğinden oluşmuş ucube tatil kültürünün artık değişmesi gerekiyor. Hem lokal hem de yabancı turistin geleceği için… Tamam, çılgın fiyatların ödendiği lüks restoran da olsun, ama onun yanında fiyatı uygun, karakterli, yemeği şahane restoranlar da olsun. Kaldı ki, birbirine benzeyen onlarca lüks restoran ve otelin olduğu Bodrum yarımadası kaliteli yabancı turist için de çekici değil. Kaliteli turist bir gün Scorpios’a ya da benzer bir restorana gitti, tamam. Ertesi gün “Bodrumlu” bir şey görmek ister. Göremeyince de gider. Bir noktadan sonra ne yapsın The Maine’i, Zuma’yı ya da lüks markaların üst üste bindirildiği, İstinye Park’ın mikro halini anımsatan Mandarin’i… Misal: Birkaç hafta önce gittiğim Capri, kaliteli Amerikalı turist doluydu. Sebebi de üç-beş otel, plaj ya da restoran değil. Capri’nin vaat ettiği yaşam kültürü ve o kültürün halen titizlikle korunuyor oluşu. Öyle ki, Capri’ye gider gitmez o yaşam kültürüne kapılıp gidiyorsunuz. Kendinizi film setinde gibi hissediyorsunuz. Bodrum’un ya da diğer popüler tatil beldelerimizin ise vaat ettiği bir yaşam kültürü artık yok. Sadece aşırı fiyatlar, trafik ve görgüsüzlüğün baskın hali var. Bu baskın hali yıkacak olan da özgün olana geri dönüp kendini yeniden inşa etmeyi başaranlar olacak. What BODRUM and ÇEŞME have MISSED out on F or white Turks, the multiple equations of this summer are well known: The first is to go to one of the Greek islands and return with the following conversation: "Well, we ate and drank so much that we paid this much in total. If we had been in Çeşme or Bodrum, we would have paid five or six times as much". The second is to see one of Coldplay's concerts in Europe and say, "It was an amazing experience... I am not leaving the circle. In fact, I will join the second conversation very soon with the Helsinki-Coldplay concert experience, so stay tuned... The main point is that the number of people who prefer to spend their holidays outside Turkey has increased even more this summer. The main reason "why this happened" is that hotel and restaurant prices in Turkey are very expensive, which is absolutely true. When we go to restaurants in Bodrum and Çeşme, we get ripped off. But there is something else that we are missing when we look at the big picture: The question of being original and authentic. One of the reasons vacations to the Greek Islands are so popular is the simplicity of the restaurants there, their unique attitude, their identity. It doesn't change over the years. The taste remains the same. Unfortunately, if you go to a restaurant in Bodrum or Çeşme, the taste is always different. Either the ingredients are not good or there is some other problem. What's more, the menus are always based on trends. If one restaurant puts king crab on the menu, another will do the same. Instead of preparing menus according to location and ingredients, a lot of "products that are not there" are put on the menu. Of course, there are restaurants with a unique attitude that do the opposite. But there are so few of them, and they lose out to cost so quickly... Another thing: swimming in the sea in the Greek Islands is not a ceremony. You know, you don't get tired with things like entrance fees and spending limits. SOMETHING HAS TO CHANGE Yes, prices are an important factor, but "holiday culture" is more important. The freak vacation culture that has spontaneously developed in Turkey over the years needs to change. For the future of both local and foreign tourists... OK, there should be luxury restaurants with crazy prices, but there should also be restaurants with affordable prices, character and great food. Besides, the Bodrum peninsula with dozens of similar luxury restaurants and hotels is not attractive for quality foreign tourists. A quality tourist will go to Scorpios or a similar restaurant one day, fine. The next day he wants to see something "Bodrumian". And if he doesn't see it, he leaves. After a certain point, what is he supposed to do with The Maine, Zuma or Mandarin, where luxury brands are piled on top of each other and look like a micro-version of İstinye Park... For example: Capri, which I visited a few weeks ago, was full of quality American tourists. And not because of three or four hotels, beaches or restaurants. It is the culture of life that Capri promises, and the fact that this culture is still meticulously preserved. So much so that when you go to Capri, you are immersed in that culture of life. You feel like you are on a movie set. Bodrum or other popular holiday destinations no longer have the culture of life they promised. There is only the dominant state of excessive prices, traffic and vulgarity. It will be those who manage to go back to the original and rebuild themselves who will destroy this dominant state.

January 2025 | VOL 14 ESCAPING into NATURE words Laura Cottrell photos Riley Snelling Founded by Canadian architect Heather Dubbeldam, Dubbeldam Architecture + Design is a Toronto-based studio known for its innovative and eco-friendly projects. The studio takes the initiative to conduct its own design research, focusing on making residential spaces more livable. Their ongoing research on sustainable design in Canada and Scandinavia explores regenerative architecture, climate-positive developments, urban resilience, and how these ideas are embraced in Canada. Dubbeldam has a long list of accolades, including the Canada Council for the Arts Professional Prix de Rome and the 2024 Architectural Practice Award from the Royal Architectural Institute of Canada. Two of their nature-immersed projects, designed around the theme of escape, are elegant examples of their forward-thinking approach. CATCHACOMA COTTAGE Location | The Kawarthas, Ontario Designed for a large family of three generations, this single-story cottage is located on a peninsula with panoramic views of Lake Catchacoma. With its sloping topography rising from the waterfront, the cottage is seamlessly integrated with its surroundings and establishes a deep connection with the landscape. The steep sloping roof lines of the cottage connect three volumes, each following the natural slope of the site and with different floor heights. Where roof lines meet at different heights, skylights direct light and natural ventilation to the spaces in the attic and the living room. The design approach is to make connection with the landscape continuous and to increase the enjoyment of the experience. According to Heather Dubbeldam, “Views and access to the exterior are featured along every axis. Immediately upon entry, a large glazed sliding door opens up to views of the lake”. In addition to the dark accents, a palette of white and wood is used in the interior of the house. The inner walls are covered with maple plywood. Integrity is also ensured with charcoal gray doors and cabinets. BUNKIE ON THE HILL Location | Muskoka, Ontario Being the smallest of a collection of cabins scattered across four family properties, Bunkie on the Hill sits in a quiet haven in the trees on top of a steep hillside. The split-roof design of the house, which is a contemporary interpretation of the traditional A-frame style, has two intersecting walls that create window openings where roof volumes are separated. These geometric windows overlook the view of the forest and the lake below. Despite its compact size, Bunkie's interior is quite functional. There are shelves and nooks in the small corners. The interior of the house offers a fantastic view of the forest and lake. Natural materials complete the rustic landscape surrounding Bunkie. Interior materials include oak flooring, maple plywood and cedar veneer. These materials are supported by dark coal window frames, gray stone countertops and furniture. for more Print VOL XIV - 2024 / 25 970,00₺ Regular Price 870,00₺ Sale Price Add to Cart

November 17, 2025 | Art & Culture TR BELOW MAPPING YOUNG ART: BASE 2025 Bringing together recent art graduates from across Turkiye, BASE returns for its ninth edition at The Ritz-Carlton Residences, Istanbul B Block. As BASE’s media partner, YUZU joins an edition taking place from 26–30 November 2025 under the main sponsorship of Trendyol Sanat, showcasing works by 151 young artists from 43 universities across a range of disciplines. Founded with the mission of supporting young artists’ creativity, strengthening their motivation to produce, and fostering dialogue between graduates, art professionals and audiences, BASE continues to build its platform with the guidance of a distinguished selection committee. The 2025 jury includes Ani Çelik Arevyan, Canan Dağdelen, Canan Tolon, Derya Yücel, Ebru Yetişkin, Eda Kehale Argün, Ferda Dedeoğlu, Gürbüz Doğan Ekşioğlu, Guido Casaretto, İnci Furni, İrfan Önürmen, İsmet Doğan, M. Wenda Koyuncu, Necmi Sönmez, Pınar Öğrenci and Selim Bilen. BOUNDARIES / POSSIBILITIES Curator Derya Yücel frames this year's edition under the theme ‘Boundaries/Possibilities’: “Throughout history, art has been one of the most powerful ways of thinking about, questioning and transcending boundaries. These boundaries are not only geographical or political; they exist within cultural, social and personal experiences as well. The lines between human and non-human, individual and society, nature and city, body and consciousness, truth and imagination, self and other—are at once defining and porous, sometimes sharp, sometimes fluid, sometimes indeterminate. Young artists’ practices emerge precisely in these spaces where boundaries are questioned, stretched and transformed. As they make visible the tensions between norm and deviation, self and other, the real and the imagined, they open the door to new ways of relating, new meanings, new possibilities of being. BASE’s ninth edition positions their work at this intersection”. BASESELECTED 2025 Free and open to the public each day, BASE will also host six parallel exhibitions alongside the main graduate showcase. BASELECTED 2025 presents recent works by 65 artists who have participated in different editions of BASE since 2017. In collaboration with Trendyol Sanat, “Guest Country Romania: A View on Contemporary Art Production” brings together nearly 80 works by 13 young Romanian artists who graduated within the past decade. BASE and Kale Tasarım ve Sanat Merkezi (KTSM) co-present “Take Good Care of Your World”, featuring a selection of works by 15 ceramic artists engaging with social and environmental concerns and imagining pathways to a more sustainable future. The BASE × Jumbo exhibition “The Memory of the Table” brings together artworks in which artists reinterpret Jumbo’s timeless designs, highlighting sustainable production and the rich cultural resonance of the dining table. Out of gallery GENÇ SANATIN HARİTASI: BASE 2025 Out of gallery Türkiye’deki yeni mezun sanatçıları aynı çatı altında buluşturan BASE, The Ritz-Carlton Residences, Istanbul B Blok’ta dokuzuncu edisyonuyla geri dönüyor. YUZU’nun da medya partneri olduğu BASE, 26–30 Kasım 2025 tarihleri arasında Trendyol Sanat ana sponsorluğunda düzenlenecek ve etkinlik 43 üniversiteden yeni mezun 151 genç sanatçının farklı disiplinlerde ürettiği işleri bir araya getirecek. SINIRLAR / OLASILIKLAR Genç sanatçıların sanat profesyonelleri ve izleyicilerle kurduğu diyaloğu güçlendirmeyi hedefleyen BASE, bu yıl da güçlü bir seçici kurulla ilerliyor. Ani Çelik Arevyan, Canan Dağdelen, Canan Tolon, Derya Yücel, Ebru Yetişkin, Eda Kehale Argün, Ferda Dedeoğlu, Gürbüz Doğan Ekşioğlu, Guido Casaretto, İnci Furni, İrfan Önürmen, İsmet Doğan, M. Wenda Koyuncu, Necmi Sönmez, Pınar Öğrenci ve Selim Bilen’in değerlendirmeleriyle şekillenen seçki, güncel sanatın genç seslerine kapsamlı bir alan açıyor. BASE’in küratörü Derya Yücel, bu yılki çerçeveyi “Sınırlar/Olasılıklar” olarak tanımlıyor: “Sanat, tarih boyunca sınırları düşünmenin, sorgulamanın ve aşmanın en güçlü yollarından biri oldu. Sınırlar yalnızca coğrafi ya da politik değil; kültürel, toplumsal ve kişisel deneyimlerde de var. İnsan ile insan olmayan, birey ile toplum, doğa ile kent, beden ile bilinç, hakikat ile hayal, ben ile öteki arasındaki çizgiler hem belirleyici hem geçirgendir—kimi zaman keskin, kimi zaman muğlak, kimi zaman belirsiz. Genç sanatçıların üretimleri bu sınırların sorgulandığı, esnetildiği ve dönüştürüldüğü alanlarda ortaya çıkıyor. Sanatçılar, norm ile anormallik, ben ile öteki, gerçek ile düş arasındaki gerilimleri görünür kılarken; yeni ilişkilenme biçimlerinin, anlamların ve varoluş ihtimallerinin kapısını aralıyor. BASE’in dokuzuncu edisyonu üretimleri tam bu kesişimde konumlandırıyor”. BASESELECTED 2025 BASE, her gün ücretsiz olarak ziyarete açık olacak ve 2025 mezunlarının sergisinin yanı sıra eşzamanlı altı sergiye daha ev sahipliği yapacak. BASELECTED 2025, 2017’den bu yana BASE’e katılmış 65 genç sanatçının güncel üretimlerinden bir kesit sunacak. BASE ve Trendyol Sanat işbirliğindeki “Konuk Ülke Romanya: Çağdaş Sanat Üretimine Bakış” sergisi ise Romanya’dan son on yılda mezun olmuş 13 genç sanatçının yaklaşık 80 eserini bir araya getiriyor. BASE ve Kale Tasarım ve Sanat Merkezi (KTSM) ortaklığındaki “İyi Bak Dünyana” sergisi, toplumsal ve çevresel sorunlara duyarlı 15 seramik sanatçısının sürdürülebilir bir gelecek üzerine düşünen üretimlerini sunacak. BASE ve Jumbo işbirliğinde gerçekleşecek “Sofranın Hafızası”, sanatçıların zamansız Jumbo tasarımlarını yeniden yorumladıkları işleri odağına alarak sürdürülebilir sanat ve sofra kültürüne dikkat çekecek.

Şubat 2021 | Tasarım | Dünya Arabasız, caddesiz, akıllı şehir: The Line Yazı | Mert Çam S uudi Arabistan denince zihinlerimizde beliren fikirler yakın gelecekte tümden değişeceğe benziyor. Zira Suudi Arabistan veliaht prensi Muhammed bin Salman (MBS), yakın zamanda kapsamlı bir reform projesi başlattı. MBS, bu reformlar listesiyle ülkesinin imajını olumlu yönde değiştirmeyi amaçlarken ekonomik çeşitlilik, daha iyi yaşam standartları, kültürel gelişim gibi konulara önem vereceğini iddia ediyor. Hatta 35 yılın ardından müze, tiyatro ve sinemaların açılması olumlu yeniliklerin habercisi olmuş Suudi halkı için. NEDEN DEĞİŞİYOR Kuşkusuz bu değişim isteğinin nedeni ülkenin petrole olan bağımlılığını ortadan kaldırmak. Hali hazırda ülkenin en büyük ticari işbirlikçisi olan British Petrol’ün bile yatırımlarını daha az petrolün kullanıldığı bir geleceğe göre planlaması bu adımların ne kadar gerekli olduğunun kanıtı. Sonuç olarak Suudi Arabistan, Birleşik Arap Emirlikleri'nin Dubai ve Abu Dhabi'de yaptığı gibi ülkenin çehresini değiştirecek birbirinden yenilikçi projeleri peş peşe kamuoyuna sunmaya başladı. Öyle ki, bu projeler tamamlandığında geleceğin sorunlarına da çözüm sağlayacak. Nasıl mı? Araştırmalar gösteriyor ki yakın gelecekte iklim değişikliği, hava kirliliği ve suların yükselmesiyle yaklaşık bir milyar insan yaşayacak yeni yerler aramak zorunda kalacak. Suudi yönetimi bu ihtiyacın bir kısmını karşılamaya aday gibi görünüyor. Çok konuşulan, iddialı “The Line” projesiyle… BİLİM KURGU FİLMLERİNDEKİ GİBİ The Line, “Neom mega-şehri projesi”nin ilk ayağı. Akıllı şehir konseptli bir yerleşim merkezi. İnşaatına bu yıl başlanan projenin toplamda 200 milyar dolara mal olacağı öngörülüyor. Tasarımı ve sunduğu teknolojiyle bilim kurgu filmlerindeki şehirleri andıran The Line’ın özelliklerine gelince… 1. İnce bir şerit olarak (170 kilometre uzunluğunda) tasarlanan The Line, doğa dostu bir şehir olacak. Yüzde yüz yeşil enerjiyle işletilecek ve karbondioksit üretmek yerine doğadaki karbondioksitin emilimini sağlayacak bir sistem sunacak. 2. İçinde hiçbir şekilde araba, otoyol ve cadde bulunmayacak. Dolayısıyla hava kirliliği, karbondioksit salınımı ve trafik kazaları da olmayacak. 3. Tasarımın yüzeyi 170 kilometrelik şerit boyunca uzanan yaşam modülleri şeklinde planlanmış. Bu modüllerde sadece yürüme ve bisiklet yolları, yeşil alanlar, yaşam alanları ve tarım bölgeleri olacak. 4. Şehrin uzunluğuna rağmen bulunduğunuz modülde okul, hastane, alışveriş merkezi gibi birçok birim olacağından ihtiyacınız olan her yere birkaç dakikalık bir yürüme mesafesi uzağında olacaksınız. 5. Eğer şehrin başka bölgelerine gitmeyi arzu ederseniz yerin altındaki ultra hızlı trenleri, şoförsüz taksileri ya da kendi kendine uçan hava taksilerini kullanabilirsiniz. Bu şekilde şehrin başından sonuna sadece yirmi dakikada ulaşıyor olacaksınız. Şehirde birçok birim yapay zeka ile yönetilecek ve sayısız robotik yardımcı hizmetinizde olacak. 6. Proje bitiminde şehirde dünyanın her yerinden bir milyon kişinin yaşayacağı ve şehrin 380 bin kişiye iş imkanı sağlayacağı söyleniyor. Şehir eğer planlandığı gibi tamamlanırsa insanlık tarihinin yapımı en pahalı ve gelişmiş şehri olacak gibi duruyor.

March 2024 | Design & Interiors english below A N D R E A L U P I Curious, Aesthete and Brave interview Onur Baştürk A ndrea Lupi, artistic director of Antoniolupi, talks to yuzu about why he is inspired by fashion brands and the iconic object they are presenting for the first time at this year’s Salone del Mobile. What does it mean to be Art Director of a brand like antoniolupi? It’s a big responsibility, but it’s also a beautiful thing. It didn’t take me many years to find myself in this position. In the beginning, I worked with the designers, listening to their ideas and trying to draw the outline of the company together. Then I realized that this did not lead to a unique and recognizable antoniolupi style, because it was very difficult to work with many different architects, each with their own style, and bring them together in a recognizable style. So I decided to take over the artistic direction of antoniolupi. If I asked you to describe yourself in three words, what would you say? Curious, aesthete and brave. Aesthete because it is part of my DNA as a person to surround myself with beautiful things. Curious because I love to delve deeper into everything I don’t know, because I am aware that there is always so much to learn. And courageous because over the years I carried out so many projects for my company that few other entrepreneurs would have had the courage to undertake. From the Corian project to the new project we will present at the 2024 Salone. I read that your main reference point is fashion brands. Why fashion brands? Very simple, because I don’t see in our industry something to learn from others, but only in fashion I can perceive those stimuli to create beautiful new things. When I look at the fashion shows, the collections, the colors and material combinations, I can take the right ideas to incorporate into my antoniolupi bathroom project. Family tradition and innovation. Do you ever find yourself torn between the two? Always, because the company was born with my father over seventy years ago. He was a small artisan producer of mirrors and bathroom accessories, and I fought when I joined the company trying to carry on another type of project, a path to grow and not remain just a small glass workshop. So I’m always torn in trying to maintain our tradition, and we do it through the quality of our products and the tailoring production still 100% Made in Italy, and at the same time the awareness of having to look forward, to the future and to new technologies, always presenting innovative paths that lead us to be the point of reference in our sector. AN ICONIC OBJECT TO BE UNVEILED AT THE SALONE DEL MOBILE At last year’s Salone del Mobile you exhibited your furniture designed by Carlo Colombo for the first time and there was a lot of talk about this surprise. Will furniture design continue? Yes, definitely. In order for Antoniolupi to grow and become more and more international, it was necessary to change the concept of being just a bathroom furniture company and try to approach other areas of the house. So last year’s project was for me the beginning of a new thought: that is, to try to create not only bathroom objects, but to start giving the possibility of designing a house in the Antoniolupi style, creating sofas, armchairs, carpets, anything that allows us to give a recognizable product. So I will certainly move forward. In addition, we will try to present other things that go beyond what an entrepreneur in our sector might think today. In fact, I can tell you in advance that at the 2024 Salone del Mobile we will present a new object that will become an icon in the world of design, in the world of music and perhaps even in the world of youth: a music console designed with Carlo Colombo and an international artist like DJ Albertino. A ntoniolupi’nin artistik direktörü Andrea Lupi, neden moda markalarından ilham aldığını ve bu yılki Salone Del Mobile’de ilk kez sunulacak, ikonik olmaya aday objeyi yuzu’ya anlatıyor. antoniolupi’nin sanat yönetmeni olmak sizin için ne ifade ediyor? Büyük bir sorumluluk, ama aynı zamanda güzel bir şey. Kendimi bu pozisyonda bulmam uzun yıllar sürmedi. Başlangıçta tasarımcılarla birlikte çalıştım, onların fikirlerini dinledim ve şirketin ana hatlarını birlikte çizmeye çalıştım. Daha sonra bunun benzersiz ve tanınabilir bir antoniolupi tarzına götürmediğini farkettim. Çünkü her biri kendi tarzına sahip birçok farklı mimarla çalışmak ve bunları tanınabilir tek bir tarzda bir araya getirmek çok zordu. Bu nedenle şirketin sanatsal yönetimini devraldım. Kendinizi üç kelimeyle tanımlamanızı istesem, ne söylerdiniz? Meraklı, estetik ve cesur. Estetik, çünkü etrafımda güzel şeylerin olması DNA’mın bir parçası. Meraklı, çünkü bilmediğim her şeyi derinlemesine araştırmayı seviyorum. Her zaman öğrenecek çok şey olduğunun farkındayım. Cesurum çünkü şirketim için çok az girişimcinin cesaret edebileceği pek çok proje gerçekleştirdim. Ana referans noktanızın moda markaları olduğunu okumuştum. Neden moda markaları? Çünkü sektörümüzde başkalarından öğrenecek bir şey görmüyorum! Ama modada bu var. Defileleri, koleksiyonları, renk ve malzeme kombinasyonlarını izlerken, banyo projeme katmak için doğru fikirler alabiliyorum. Aile geleneği ve yenilikçi olmak. Hiç ikisi arasında kaldığınızı hissettiniz mi? Her zaman. Çünkü şirket yetmiş yıl önce babamla birlikte doğdu. Babam ayna ve banyo aksesuarları üreten küçük bir zanaatkârdı ve ben şirkete katıldığımda başka bir şekilde projeyi devam ettirmek, büyümek ve sadece küçük bir cam atölyesi olarak kalmamak için mücadele ettim. Bu yüzden geleneğimizi sürdürmeye çalışırken her zaman ikilemde kaldım. Geçen yılki Salone del Mobile’de Carlo Colombo tarafından tasarlanan mobilyalarınızı ilk kez sergilediniz ve bu sürpriz hakkında çok konuşuldu. Mobilya tasarımı devam edecek mi? Evet, kesinlikle. antoniolupi’nin büyümesini ve giderek daha global bir karaktere sahip olmasını sağlamak için sadece bir banyo mobilyası şirketi olarak kalma konseptini bozmak, bunun yerine evin diğer alanlarına da yaklaşmaya çalışmak gerekiyordu. Dolayısıyla geçen yılki proje benim için yeni bir düşüncenin başlangıcıydı. Artık sadece banyo objeleri değil; kanepe, koltuk, halı, tanınabilir bir ürün vermemizi sağlayan herhangi bir şey yaratarak antoniolupi tarzında ev tasarlama imkanı vermeye başlayacağız. Dolayısıyla, kesinlikle ilerleyeceğim. Aslında Salone del Mobile 2024’te tasarım, müzik ve belki de gençlik dünyasında ikonik hale gelecek yeni bir nesne sunacağımızı şimdiden söyleyebilirim! Carlo Colombo ve DJ Albertino gibi global bir sanatçıyla birlikte tasarlanan bir müzik konsolu. Çünkü sadece kendi kategorimdeki ürünlerle uğraşmayı değil, yeni ufuklarla cesurca yüzleşmeyi seviyorum. Tek bir nesne ve bir müzik nesnesi kadar sıra dışı olsa bile…

April 2025 | VOL 14 ‘FUTURE ARCHITECTURE will be MORE INTERTWINED with NATURE’ words Laura Cottrell & Onur Basturk photo credit Rory Gardiner (Copas), Rafael Gamo (Las Golondrinas + Zarzales + Tlalpuente + Casa Roca) ZARZALES Bring nature to the forefront, even shaping the architecture around it... It sounds simple in theory, but in practice it's quite a challenge. Mexico City-based PPAA (Pérez Palacios Arquitectos Asociados), founded in 2018 by Pablo Pérez Palacios, is one of the rare studios that achieves this in every project. We spoke with Palacios about this unique architectural approach, which prioritizes ideas over forms, and other insights. TLALPUENTE What is your design language as PPAA, and which materials best embody this philosophy? Our design language is rooted in the concept of creating an architecture of ideas rather than forms. It is an approach where concepts are inspired by nature and natural materials become integral to our architectural vocabulary. We emphasize the use of materials that respond to the context of the site, ensuring that our projects remain respectful of their surroundings and reflect the inherent beauty of nature. This approach underscores our commitment to designing spaces that harmonize with their surroundings while maintaining a strong conceptual foundation. Can we say that the architecture of the future will feature more houses in harmony with nature or incorporating natural elements? Absolutely. It’s inevitable that future architecture will be more deeply intertwined with nature. Architecture can no longer be viewed as separate from its environment; instead, it must strive to maintain a harmonious and balanced relationship with it. This means not only integrating natural elements like vegetation but also addressing factors such as climate, rainfall, and local ecosystems in the design process. The future of architecture will require a thoughtful, adaptive approach, prioritizing coexistence with nature at every stage—from conception to completion. Do you have any other predictions for the future of architecture? What might happen? I foresee a future where technology will evolve beyond being a tool for construction methods; it will become a means to respect, preserve and coexist with the natural environment. As technology advances, it will provide innovative solutions that allow architecture to adapt more seamlessly to its surroundings, ensuring that built structures do not compromise but rather enhance the natural landscapes they inhabit. CASA ROCA THE ROCK WAS DISCOVERED DURING CONSTRUCTION, AND WE DECIDED TO PRESERVE IT FOR BOTH ITS AESTHETIC APPEAL AND CONCEPTUAL SIGNIFICANCE You describe Copas as a project rooted in respect for nature. Could you elaborate on this? What measures were taken in the project to honor that respect, and what ideas were put into practice? Nature has always been our primary source of inspiration, and our ultimate goal is to create environments that echo the unique atmospheres found in natural settings. For the Copas project, we started by carefully considering the site itself, with particular attention to the tree canopies. The location’s dramatic topography inspired us to design a series of platforms that integrate the various program elements, allowing users to experience the space at the height of the trees. This approach preserved the majority of the existing trees while incorporating the natural rock formations as key architectural features. By respecting and enhancing the natural landscape, we ensured minimal disruption to the environment. Copas stands out with its distinct platforms, including the terrace. What was the intent behind this design? The platform design wasn't just a deliberate stylistic choice but rather a natural response to a deep understanding of the site and its topography. By creating a series of platforms, we were able to adapt to the terrain, using it to our advantage. These elevated exterior spaces rise to the height of the tree canopies, offering an experience that feels like floating among the trees. This approach fosters a deep connection with nature while allowing the architecture to seamlessly blend into its surroundings. In the Copas project, the rock in the middle of the courtyard feels like a work of art. Was this planned beforehand, or was it added during the project? The rock was discovered during the construction process and we immediately decided to preserve it as an essential element of the project. It was retained not only for its aesthetic value, but also for its conceptual significance. The rock is a perfect example of how our architecture seeks to engage with nature, and demonstrates our commitment to incorporating natural features as integral components of our designs, rather than altering or removing them. LAS GOLODRINAS THE MATTE BLACK COATING WAS INTENDED TO MINIMIZE THE ARCHITECTURE’S PERCEPTION AS A DISTINCT, ISOLATED OBJECT In the Las Golondrinas project, you covered the house with a matte black coating called Corev Mooth. What was the reason for this design choice? The intention behind using the matte black coating was to reduce the perception of the architecture as a distinct, isolated object. Black, like white, is never purely monochromatic; it changes and interacts with light and its natural surroundings, taking on different hues depending on the lighting conditions. This treatment allows the architecture to recede, making it less of a protagonist and shifting the visual focus to the natural environment, allowing the surrounding landscape to retain its prominence. COPAS for more Print VOL XIV - 2024 / 25 970,00₺ Regular Price 870,00₺ Sale Price Add to Cart

June 2023 | Design & Interiors english below New generation florist RIBBON K lasik çiçekçi dükkanlarını unutun. Tasarımı Barlas+Parlak stüdyosuna ait olan İstanbul, Bebeköy’deki Ribbon Flowers yeni nesil bir çiçekçi. Ribbon Flowers’taki çiçek sergileme alanları farklı kotlardaki bloklardan oluşuyor. Bu alan çiçeklerin ön planda olması için beyaz ve soft renklerde tasarlanmış. Çiçeklerin sergilendiği alandaki blok fikri ise showroom’un diğer alanlarında farklı detay ve renklerde karşımıza çıkıyor. F orget the classic flower shops! Ribbon Flowers in Bebeköy, Istanbul, designed by Barlas+Parlak studio, is a new generation florist. The flower display areas at Ribbon Flowers consist of blocks at different le vels. This area is designed in white and soft colors so that the flowers are in the foreground. The idea of a block in the area where the flowers are displayed appears in different details and colors in other areas of the showroom.