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Casa do Passadiço reimagines a six-storey Victorian townhouse in London, balancing historic character with contemporary interiors, art, and family life. January 26, 2026 | DESIGN & INTERIORS a CONTEMPORARY TAKE on a LONDON HOME words YUZU Editorial interior design Casa do Passadiço photos Francisco de Almeida Dias production Karine Monié Located in one of London’s most established residential neighbourhoods, this six-storey Victorian townhouse has been carefully restored and reimagined by the Portuguese interior design studio Casa do Passadiço. Built in the early 1900s, the house retains its architectural character while being adapted for contemporary family life. Casa do Passadiço oversaw the full remodelling of the interiors, from interior architecture to decoration. The aim was to strike a balance between elegance and comfort—creating a home that feels refined, yet genuinely lived-in. A CONTEMPORARY READING OF A VICTORIAN HOME For Cláudia Soares Pereira and Catarina Soares Pereira, the project began with the house itself. Elements typical of 19th-century English homes—proportions, surface treatments, and detailing—formed the foundation of the design approach. “The challenge was to respect the home’s identity and traditions, while bringing it into the present with a contemporary vision,” the designers explain. Rather than a nostalgic recreation, the result is a measured reinterpretation, where history remains visible but never dominant. COLOUR, MATERIAL, AND ATMOSPHERE A soft, restrained palette runs throughout the house, punctuated by carefully placed contrasts. Corridors are treated in black and white, offering graphic clarity, while the reception room remains largely white, accented with subtle gold details. In the dining area, a bespoke hand-painted wallpaper by de Gournay introduces a botanical motif that recalls a traditional English garden—bringing colour and depth without overwhelming the space. Neutral tones define the family room and study, where darker woods and leather finishes lend the home office a quietly masculine character. Upstairs, the atmosphere becomes more personal: warm hues and walnut wood in the main bedroom; soft pinks with aqua green accents on the girls’ floor; and layered blues throughout the boys’ level. ART, CRAFT, AND COLLECTED PIECES Natural materials—plaster, wood, stone, and wallpaper—were selected to honour the house’s history. In the living room, sculptural sofas by Vladimir Kagan are paired with hand-carved wooden wall panels crafted in Portugal by Casa do Passadiço’s artisans. Art plays a central role in shaping the home’s character. All artworks are by women artists, including pieces by Beatriz Milhazes and Tracey Emin, adding cultural depth and a contemporary edge. Custom de Gournay wallpapers also appear in the powder rooms on the ground and lower-ground floors, reinforcing a sense of continuity throughout the house. The result is a home that feels distinctly British yet quietly international—characterful without excess, elegant without formality, and designed to be lived in as much as it is to be admired.

Artist Vardal Caniş discusses her Tables You Can't Be series, YUZU Magazine and The Beach of MOMO Dalyan's art lunch event in Dalyan. July 2024 | Art & Culture TURKISH BELOW LET’S MEET at the 'TABLES YOU CAN'T BE' lunch Y uzu Magazine and The Beach of MOMO Dalyan organize "Tables You Can't Be" lunch tomorrow. The theme is inspired by artist Vardal Caniş's "Tables we are not at" series, which was exhibited at Mamut Art Project last may. Vardal Caniş will transform the tables of those attending the lunch at MOMO Dalyan into a work of art. How will she do it? Vardal explains... You previously had an exhibition in Istanbul where you painted the apartments you lived in. It was really an exquisite story of leaving a mark. Did you really paint all the apartments with roses in that work? It was in 2018. It was the first time I had lived in a house for more than a year! Moving was almost an impulsive act for me, and I felt like it was a "thing" that I needed to think about. I am somehow very attached to my past, almost addicted! I love the things I lived through, for better or worse, and respect them in a way I don't know why. The exhibition "Places I grew up in" was born out of these feelings. Umraniye, Kanlıca, Besiktas, Balat, Nisantasi, Bakırkoy, Kadıkoy, Kurtulus, Ferikoy, Ortakoy... I changed 19 houses between these neighborhoods in 10 years! At some point, probably because I had nothing else to do, I started this exhibition. I have a habit of keeping a diary. With a similar motivation, I wanted to record the places where I grew up, to keep alive the beautiful memories of these houses and streets that occupy an important place in my personal history. I prepared a website. I designed an exhibition that could be visited online, using Google Maps to navigate around the city. How did the "Tables We Are Not At" series come about? I had neglected painting for a long time. I didn't have the confidence to paint and put it in a gallery because I couldn't find or search for a subject that I could stand behind with courage or that meant something to me. I made a conscious decision to draw a table with the silkscreen I did for Borderless' Editions series. And the rest followed. Setting a table, gathering around a table, long conversations, the small touches of people who make places into homes without the need for a table with four legs, the bottom of a wall in the shade of which you sit with two bagels in a bag and a glass of Raki... These moments are precious to me. I try to understand my vacillation between feeling comfortable in a place or not. Trying to understand myself is also a kind of mental gymnastics. I also question issues such as our class differences, our understanding of happiness, our views on life while making these paintings. As the saying goes, 'The criterion for being fully settled in a house is when you cook for the first time. As you asked question after question, I realized that there is a parallel between the places I grew up in and the series of tables. There is a tendency to the grove that makes a person who they are. I think that the fact that all my works come from this essence makes it inevitable that they will have similar meanings at some point. I have not limited the Tables series to a number. I don't know where it will go, but there are still many worlds I want to tell through tables. OUR DINNER AT MOMO DALYAN WILL BE LIKE A 'PRESENT MOMENT' THAT I'M WATCHING FROM THE FUTURE. At the dinner we will have at MOMO Dalyan, you will turn the tables into paintings. What do you want to say about this project? When I live a moment, I sometimes feel that it will turn into a memory. Our dinner at Momo Dalyan will be like a 'present moment' that I am watching from the future. I wonder how I will experience it. Living this time as an eye that observes itself and everyone else... Looking behind the frame like a director makes me excited and curious. What are your sources of inspiration? Literature, music and painting... Reşat Ekrem Koçu is someone who has significantly influenced my work, perspective and motivation. I grew up in a house with a rich library, with two women who were in the habit of writing every day, my mother and my grandmother. They gave me a world view that allowed me to enjoy the meaning of things. I also read Turkish literature and listened to arabesque. In the field of painting, Bedri Rahmi Eyüboğlu, Tiraje Dikmen, Aliye Berger, Füreya Koral, Fahrünnisa Zeyd and Sabiha Rüştü Bozcalı, the strong and unique women of the Şakir Paşa family. My esteemed teacher from the Academy, Gülçin Aksoy, who recently passed away, is also among the names that have influenced me. ‘OLAMADIĞINIZ MASALAR’ yemeğinde BULUŞALIM B u perşembe Yuzu Magazine ve The Beach of MOMO Dalyan, “Olamadığınız Masalar” isimli bir öğle yemeği daveti gerçekleştirecek. Bu davetin temasına ilham kaynağı ise sanatçı Vardal Caniş’in geçtiğimiz mayısta Mamut Art Project’te sergilenen “Olmadığmız Masalar” serisi. Vardal Caniş, MOMO Dalyan’daki yemeğe katılanların masalarını sonradan bir sanat eserine dönüştürecek. Nasıl mı? Vardal anlatıyor… Daha önce İstanbul'da yaşadığın apartmanları boyadığın bir sergi yapmıştın. Gerçekten nefis bir iz bırakma hikâyesiydi. O çalışmada gerçekten tüm apartmanları gülle boyadın mı? 2018 yılıydı. İlk kez bir evde bir yılı aşkın süredir oturuyordum! Ev değiştirmek benim için neredeyse dürtüsel bir eylemdi ve üzerine düşünmem gereken bir “şey” olduğunu hissediyordum. Geçmişime bir şekilde çok bağlıyım. Hatta neredeyse bağımlı! Yaşadığım şeyleri iyi/kötü ayırmaksızın seviyor ve nedenini bilmediğim bir biçimde saygı duyuyorum. “Yetiştiğim Yerler” sergisi de bu duygularla doğdu. Ümraniye, Kanlıca, Beşiktaş, Balat, Nişantaşı, Bakırköy, Kadıköy, Kurtuluş, Feriköy, Ortaköy … Bu semtler arasında 10 yılda 19 ev değiştirdim! Bir noktada, herhalde yapacak bir işim de yoktu, bu sergiye giriştim. Düzenli günlük tutma alışkanlığı olan biriyim. Benzer bir motivasyonla yetiştiğim yerleri kayıt altına almak, kişisel tarihimde önemli bir alan kaplayan bu evlerin, sokakların güzel hatıralarını yaşatmak istedim. Bir web sitesi hazırladım. Google Maps’in şehir içinde gezinti yapabilme özelliğiyle online olarak da dolaşılabilecek bir sergi tasarladım. Peki “Olmadığımız Masalar” serisi nasıl oluştu? Uzun zamandır resim yapmayı ihmal ediyordum. Arkasında cesaretle durabileceğim ya da benim için anlam ifade eden bir tema bulamadığım ve aramadığım için resim yapmak, onu bir galeriye koyacak güveni kendimde görmüyordum. Bilinçli bir sofra çizme kararını Borderless’ın Editions serisi için hazırladığım serigrafiyle aldım. Sonrasında devamı geldi. Sofra kurmak, bir masa etrafında toplanmak, uzun sohbetler, dört ayaklı bir masaya ihtiyaç duymadan gittiği yerleri yuvaya dönüştüren insanların ufak dokunuşları, bir poşetin içindeki iki simit ve bir kadeh rakıyla gölgesine oturduğunuz bir duvarın dibi… Bu anlar benim için kıymetli. Bir yerde rahat hissetmek ya da hissetmemek arasındaki bocalayışımı anlamaya çalışıyorum. Kendimi anlamaya çalışmak aynı zamanda bir tür zihin jimnastiği. Sınıfsal farklarımız, mutluluk anlayışımız, hayat görüşlerimiz gibi konuları da bu resimleri yaparken sorguluyorum. ‘Bir eve tam anlamıyla taşınmış olmanın kriteri, evde ilk defa yemek pişirildiği zamandır’ denir ya. Şimdi siz peş peşe sorunca yetiştiğim yerlerle masalar serisi arasındaki paralellik olduğunu anladım. Kişiyi kendisi yapan kor bir meyli var. Sanırım tüm çalışmalarımın o özden çıkıyor oluşu onların benzerlik gösteren anlamlar taşımasını belli bir noktada kaçınılmaz kılıyor. Masalar serisini bir sayı ile sınırlamış değilim. Dönüşeceği yerleri bilemiyorum, ama hâlâ masalar üzerinden anlatmak istediğim çok dünya var. MOMO DALYAN’DAKİ YEMEĞİMİZ GELECEKTEN İZLEDİĞİM BİR ‘ŞİMDİKİ AN’ GİBİ OLACAK MOMO Dalyan'da yapacağımız yemekte de masaları sonradan resme dönüştüreceksin. Bu projeyle ilgili ne söylemek istersin? Bir anı yaşarken onun bir anıya dönüşeceğini bazen hissediyorum. Momo Dalyan’daki yemeğimiz de sanki gelecekten izlediğim bir ‘şimdiki an’ gibi olacak. Nasıl deneyimleyeceğimi merak ediyorum. Kendini ve herkesi izleyen bir göz olarak o zamanı yaşamak… Bir yönetmen gibi bir kadrajın arkadasından bakmak heyecanlandırıyor, meraklandırıyor. İlham kaynakların neler? Edebiyat, müzik ve resimde... Reşat Ekrem Koçu çalışmalarımı, perspektifimi ve motivasyonumu önemli ölçüde etkilemiş biri. Zengin kütüphanesi olan bir evde, günlük yazma alışkanlığı olan iki kadınla, annem ve ninemle büyüdüm. Bir şeyin anlamlı olmasından zevk almamı sağlayacak dünya görüşünü bana onlar kazandırdı. Ayrıca Türk edebiyatı okuyor, arabesk dinliyorum genelde. Resim alanında ise Bedri Rahmi Eyüboğlu, Tiraje Dikmen, Şakir Paşa ailesinin güçlü, şahsına münhasır kadınları Aliye Berger, Füreya Koral, Fahrünnisa Zeyd ve Sabiha Rüştü Bozcalı. Yakın zamanda kaybettiğimiz akademiden değerli öğretmenim Gülçin Aksoy da beni etkilemiş isimlerdendir.

Decancq Vercruysse Architects discusses five Belgian homes, from Palingbeek to Kortrijk Townhouse, and the ideas connecting its residential work. January 10, 2026 | DESIGN & INTERIORS FIVE YEARS, FIVE HOMES words Onur Baştürk photos Portrait / Charlotte Lauwers. Bungalow Sint Martens Latem + Kortrijk Townhouse / Eric Petschek. Palingbeek + Pied a terre Brussels + Sint-Martens-Latem / Piet-Albert Goethals A conversation with Decancq Vercruysse Architects. Founded in 2021 by Hannes Decancq and Emiel Vercruysse, Decancq Vercruysse Architects has, in a short time, established a clear and composed presence within Belgium’s contemporary residential landscape. Based in Kortrijk, the studio works fluidly across architecture and interiors, approaching each project as a single composition shaped by light, material, and everyday life. The practice is defined by the founders’ complementary backgrounds. Decancq brings technical expertise grounded in years spent on construction sites, while Vercruysse—who previously worked at Vincent Van Duysen’s studio—contributes a refined sensitivity to materiality, proportion, and high-end residential atmospheres. Together, they share a belief that architecture should be human-centred, precise, and built to last. Marking their fifth year, we spoke with the studio about the five residential projects they have completed across Belgium, and the shared architectural language that connects them—one shaped by dialogue, clarity, and a commitment to long-term quality. Palingbeek - Photos: Piet-Albert Goethals A CONSISTENT WAY OF THINKING As you mark your fifth anniversary, how would you describe the core design approach of Decancq Vercruysse Architects today? Which values have remained unchanged since the beginning? From the beginning, our ambition has been to create homes that evoke comfort, intimacy, and a sense of safety. We strive to design architecture that is closely connected to nature, creating spaces that blur the boundary between inside and outside through the use of natural, warm materials. This approach has only grown stronger over the years and continues to define our work today. LIVING AS A DESIGN RESEARCH Townhouse Kortrijk functions both as your home and as a space for ongoing design research. How did living in the house influence its spatial organisation, material choices, and the relationship between interior and exterior? My days tend to be quite hectic, so the primary goal was to create a home that allows me to truly unwind at the end of the day. As my wife and I both draw a lot of calm from nature—much like walking through a forest—we wanted the house to feel as natural and grounding as possible. Given the townhouse’s location in the city centre, outdoor space was limited. We therefore made full use of the enclosed patio, carefully planting it with trees and greenery. The living room is located on the lower level, where filtered light and surrounding vegetation create a cocooning atmosphere. Upstairs, the kitchen and terrace are flooded with sunlight, offering a contrasting openness. Materiality plays a crucial role here. The living room is entirely clad in wood, reinforcing the warm, sheltered feeling we were aiming for and making the house a place of retreat. Bungalow Sint Martens Latem - Photos: Eric Petschek OPENNESS, ECONOMY, AND CONTEXT In your Brussels pied-à-terre, professional and private life coexist within a compact footprint. How did you balance spatial efficiency with comfort, and how did the Art Deco context inform your decisions? We worked with an open-plan layout for the living and dining areas, while subtly defining zones through a low, custom-designed furniture piece. This allows for openness without losing a sense of separation. The apartment has a natural flow, yet certain spaces can be closed off using refined metal and glass partitions. These details were directly inspired by the Art Deco context—a period in which metal craftsmanship plays a prominent role. This language was extended into other custom elements throughout the apartment, creating a cohesive dialogue between past and present. WORKING WITH WHAT ALREADY EXISTS In the Sint-Martens-Latem bungalow, you chose to preserve and reinforce the mid-century character rather than replace it. How do you decide when to preserve, reinterpret, or transform an existing building? Working with existing structures always begins with thorough research into the building’s original elements and its historical context. We look for meaningful references, often within the same period, and select key elements around which to build the design. At the same time, flexibility is essential. We have learned that preserving everything is not always the right choice. Sometimes, transforming or reinterpreting a specific element leads to a stronger overall design. These decisions can be difficult, but it is our responsibility as architects to ensure that each intervention contributes coherently to the project as a whole. Kortrijk Townhouse - Photos: Eric Petschek ARCHITECTURE IN DIALOGUE WITH LANDSCAPE The Palingbeek project reconnects a farmhouse to its rural surroundings. How did architecture and landscape speak to one another here, particularly through the terrace and roof design? The existing farmhouse was largely closed off from its surroundings. We retained part of the original structure, which now accommodates more intimate functions such as bedrooms and bathrooms. In contrast, we added a new volume that opens the house towards the surrounding landscape. This dialogue between old and new strengthens both structures. The covered and heated terrace plays a key role, allowing the clients to experience the outdoors throughout the year and reinforcing the connection between architecture and landscape. In the wooded Sint-Martens-Latem residence, influences from Japanese architecture and Frank Lloyd Wright are subtly present. How did you balance rootedness and openness in a house that anchors itself in nature yet opens fully to the forest? Material choices were essential in anchoring the house within its forested context. The brown brick almost appears as if it could have been formed from the forest soil itself, emerging from the ground through a sequence of walls and stairs. Wood forms the second key material. Finished in a darker tone, it avoids excessive contrast with the surrounding tree trunks. Large windows lighten the composition and open the house to its surroundings. Positioned on all sides, they create a continuous visual connection, giving inhabitants the feeling of living within and looking through the forest. MATERIAL AS IDENTITY Across these projects, materiality plays a defining role. How do materials shape atmosphere and identity in your work, and what ultimately guides your choices? Materiality is fundamental to our work. We carefully select materials that resonate with both the context and the client. Together with form and proportion, materials give a project its identity and sense of place, something we consider essential. Pied a terre Brussels - Photos: Piet-Albert Goethals REFERENCES AND PRACTICE Looking more broadly at influences, which architects, movements, or disciplines continue to inform your thinking today? During my studies, I spent time in the United States, where I had the opportunity to experience a wide range of architecture, from Frank Lloyd Wright to John Lautner. What struck me most was the freedom of these designs and their generous use of natural, warm materials. These houses felt deeply inviting and intimate, and that quality continues to inspire our studio’s work. We aim to translate this sense of warmth and spatial generosity into contemporary projects, adapted to today’s contexts and needs. WORKING AS A DUO As a duo, how do you divide roles within the practice, and where do your perspectives complement one another most strongly? Architecture has become increasingly complex, making collaboration more essential than ever. The era of the all-encompassing architect is long behind us. Hannes and I come from very different backgrounds. His education is strongly construction-focused, while mine is rooted in interior architecture and design. Within the studio, this division allows me to focus on design and spatial concepts, while Hannes oversees licensing and construction. This clarity brings calm and efficiency to our practice. We each invest our energy in what we do best and what we truly enjoy, which is something our clients deeply appreciate. Sint-Martens-Latem - Photos: Piet-Albert Goethals

Aralık 2021 | Botanik | Vol V BİR ZAMANLAR BURASI HEP YEŞİLLİKTİ Yazı | Oktay Tutuş B ugünden çok da uzak olmayan bir gelecekte bir çiftçi düşünün. Size daha önce geleneksel yollarla tarım yapılan bir araziyi işaret ederek başlıktaki tanıdık cümleyi söylüyor. Sonra da aynı arazi içerisinde bir hangarı gösteriyor ve diyor ki: “Şimdi sadece burası yeşillik!” Çünkü bu çiftçi her yıl daha fazla gübre kullandığı, zararlılara karşı daha fazla ilaç attığı, buna karşılık ise verimin git gide düştüğü bu arazide tarımı bırakmış. Onun yerine akıllı sistemler tarafından kontrol edilen, toprak istemeyen ve en önemlisi birkaç kata varan oranda daha fazla verim aldığı dikey tarım uygulamalarına yatırım yapmış. Ve halinden çok da memnun. Bu bahsettiğim gelecek aslında şu anda dünyanın farklı noktalarında yaşanıyor. Büyük çaptaki üreticiler şimdilerde bu akıllı tarım alanlarını uçak hangarları, terk edilmiş fabrikalar, alışveriş merkezleri, otoparklar, üniversite kampüsleri ve konteynerlere taşımış durumda. Hatta tüketicinin bizzat kendi eliyle yiyeceğini alabilmesi için süpermarketlerdeki bir dolap içinde bile ürünleri yetiştirilebiliyorlar. Bu iş şu anda öyle popüler ve hızlı büyüyor ki, bu konuda iş yapan start-up ya da köklü şirketlere yapılan yatırım inanılmaz boyutlarda. Devamı için... Print YUZU MAGAZINE - V Out of Stock View Details

ENNE and YUZU Magazine present artworks by Ahmet Rüstem Ekici, Hakan Sorar and Hamza Kırbaş as part of Art Basel Miami Week 2023. December 2023 | Art & Culture ENNE & YUZU’S ART BASEL MIAMI EVENT Artificial intelligence-made artworks shown at the event organized by ENNE and Yuzu Magazine within the scope of Art Basel Miami Week 2023 AHMET RUSTEM EKİCİ & HAKAN SORAR Altered Surfaces AI Generated Video 3:00 Ahmet Rüstem and Hakan Sorar narrate a story in which patterns interweave to create a stable and unchanging surface, much like ceramics. Their project, named "Altered Surfaces," showcases a process that blends over 300 ceramic patterns, depicting a journey between memories and moments. By rendering ceramics, which are among the challenging elements of architecture, into a fluid state, they establish connections between symbols and memories. HAMZA KIRBAS 1- The Garden of the Past 01* 50, 2023 This artwork presents the relationship between the individual and objects in the form of an image, as a phenomenon in the "moment." Imagine taking a stroll through the world of images. What you are imagining is essentially creating a new image on the canvas of the past. The image of the past exists to envision the image of the future and to create the image of the future, we can consider the image as a phenomenon. As I create this image, I believe that I am a part of the image existing in the "moment," represented by an image of a chair. It leaves traces behind, traces of experiences that have been lived. 2- Metamorphosis 3' 37'' Loop, 2023 The Silent Symphony of Transformation Beyond the spoken words of everyday life lies a profound and intricate language, a universal form of expression that transcends the limits of sound. It is a language of signs and symbols, known as sign language, which forms the backdrop of a deep artistic narrative told not through words but through movement and symbolism. Like a word in sign language, the concept of metamorphosis begins with a single seed of thought, a silent gesture of possibility. It is a spark in the silent chambers of the mind, a seed promising transformation. Imagine the concept of metamorphosis in sign language, beginning with a single thought, a silent gesture of possibility. Picture the timeless symbol of transformation, the butterfly, but envision its form composed of symbols from sign language instead of vibrant colored wings. In this artwork, the butterfly soars through the air, leaving behind an elegant trail of intricate, complex signs that narrate the story of profound change. In this piece, the silent language of sign becomes a bridge between the observer and the metamorphosis unfolding before their eyes. The signs are like notes in a musical score, each contributing to the harmonious composition of change. The metamorphosis embodied in the signs of the butterfly invites us to contemplate the beauty of transformation in all its silent splendor. Metamorphosis, like a word in sign language, speaks to us without making a sound. It reminds us that change is not merely a verbal declaration but a visual and instinctive experience. 3- Eternal Defiance 02'00" Loop, 2023 "Eternal Defiance" emerges as an image from a future beyond time and space. This work, which places the audience at the center of the image, takes them on a journey as a phenomenon within the perceptual integrity of the viewer. A structure made of glass containing a burning chair, a paradox that challenges reality. The artwork captures the essence of human defiance by imagining the unquenchable spirit within the fragility of existence. It invites viewers to contemplate the delicate balance between vulnerability and unwavering determination in a context belonging to another world.

Casa Capirote is a calm contemporary apartment in Sevilla by Alejandro Cateto, shaped by Triana pottery, natural light, craft and lime mortar. November 17, 2025 | DESIGN & INTERIORS CASA CAPIROTE Casa Capirote distils the spirit of Sevilla into a calm, contemporary interior shaped by craft, light, and a quietly refined sense of place. In Casa Capirote, Alejandro Cateto distills the character of Sevilla into a calm, contemporary interior. The project takes its cue from the city’s most emblematic craft—Triana pottery—whose colours, patterns and artisanal spirit appear throughout the space. From the geometric headboard and exposed beams to the custom sink and ceramic accents, these references echo the decorative language of Plaza de España, lending the apartment a sense of place and quiet authenticity. The layout is conceived as a fluid, multifunctional space, defined not by walls but by curtains. This simple yet intentional device allows the interior to shift between open, social living and a more intimate, private atmosphere. The result is a home that adapts to daily rhythms while retaining a clean, uninterrupted aesthetic. Natural light plays a central role. By avoiding fixed partitions, the apartment remains bright and open, with daylight highlighting the earth and green tones that anchor the palette. The warmth of this light amplifies the feeling of continuity with the outdoors, creating a soft, inviting environment shaped by the cadence of the city. Walls finished in lime mortar reinforce the connection to Andalusian building traditions, adding texture without visual weight. Ceramic details deepen this link to local heritage, while contemporary furniture—with its organic lines and understated forms—introduces a refined counterpoint. Together, they strike a balance between modern comfort and craft-driven character. Casa Capirote reflects Sevilla not through literal motifs, but through material sensitivity, atmosphere and rhythm. It is a home that honours the city’s architectural and cultural lineage, while translating it for a quieter, more sophisticated contemporary life.

CoolRooms Hotels is opening two restored palaces in Porto and Lisbon: Palácio Duarte in Q3 2025 and Palácio do Patriarcado in Q4. April 2025 | TRAVEL Coming Soon: COOLROOMS ARRIVE in PORTUGAL words Onur Baştürk photos CoolRooms Palacio de Villapanés (Seville) CoolRooms Hotels, renowned for transforming historic gems into luxury escapes, is expanding its international portfolio with two sensational new openings in Portugal. This exciting expansion marks a new chapter for the brand, already celebrated for its award-winning properties in Spain (for instance, the Palacio de Villapanes in Seville, as seen in photos). With meticulous restoration and a refined hospitality concept that merges history, design, and exclusivity, CoolRooms Hotels elevates every travel experience to an art form. COOLROOMS PALACIO DUARTE - Porto Imagine stepping into an 18th-century Baroque marvel nestled in the heart of Porto. Once known as Palacio do Belmonte, the soon-to-be CoolRooms Palacio Duarte is undergoing a meticulous restoration to reclaim its former glory. Set between Porto’s storied parishes—Cedofeita, Miragaia, S. Nicolau, Sé, Santo Ildefonso, and Victória—this grand manor house boasts an iconic two-story façade, a striking mansard roof, and finely sculpted granite that whispers tales of a bygone era. Scheduled to open in Q3 2025, Palacio Duarte isn’t just a hotel—it’s a living, breathing testament to the elegance of the past, seamlessly infused with modern design and comfort. COOLROOMS PALACIO DO PATRIARCADO - Lisbon Across the Tagus River in Lisbon, luxury takes on a new meaning at the CoolRooms Palacio do Patriarcado. This 18th-century architectural gem, once the heart of Lisbon’s Patriarchate and a venue graced by Pope John Paul II in 1982, has been reimagined into a 56-room haven of opulence. Located in one of Lisbon’s most exclusive districts—neighboring the Goethe Institute and the German Embassy—this palace is set to welcome guests in Q4 2025. More than just a place to stay, Palacio do Patriarcado offers an immersive cultural experience, complete with a terrace restaurant, bar, dedicated event spaces, a swimming pool, and a state-of-the-art fitness center.

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

Berrak Yurdakul speaks with Onur Baştürk about four attitudes to embrace in life, Buddhism, her training in Tibet, and Chogye Trichen Rinpoche. December 2020 | People TR Below BERRAK YURDAKUL The 4 Attitudes to Embrace in Life Words Onur Baştürk The Peacock That Doesn't Speak, The Sixth Race, The Guardian of Two Worlds, A Homemade Parachute, Seven Thoughts About You... Berrak Yurdakul’s books have always carried a subtle wisdom and guidance that never feels condescending. Recently, she’s begun sharing her insights not only through her books but also via online seminars. What sets her apart from other self-improvement guides is this: her solid training in Tibet and her openness about being a Buddhist. How did you come to embrace Buddhism? Did you undergo any formal training? I first encountered Buddhism in my twenties. I was deeply impressed by its approach to the mind, its emphasis on mental discipline, and its realism. During a trip to Nepal, I met Chogye Trichen Rinpoche, who had settled there after the Chinese occupation of Tibet. A brief conversation with Rinpoche was enough to awaken in me the desire to become a Buddhist. I later studied with other teachers, but primarily, I consider myself a student of Trichen Rinpoche. He left his earthly body in 2007, but we believe the teacher-student connection transcends death. SEEING MY OWN PRIDE AND VIOLENCE How did your transformation unfold? Integrating Buddhist practices into my life brought about significant changes. Buddhism teaches us to confront our own darkness. Like many, I had a mind programmed to blame others for the injustices, cruelty, and lack of love in the world while absolving myself of any responsibility. When I looked at myself objectively, I realized that all those dark elements existed within me, too. I saw my own pride, the violence I carried openly and secretly, my selfishness, my hypocrisies, and much more. Completely purging oneself of these isn’t easy, but even acknowledging their existence is a big step forward. Is Buddhism a religion or a teaching? This is a common point of confusion. Buddhism isn’t a religion because Buddha wasn’t a prophet—he was a human being, just like you or me. He looked into his own mind, came to know it, and gained great freedom as a result. He tells us how he achieved this freedom, teaches us the methods he practiced, and assures us that we can find all the answers to existence within ourselves if we apply these practices. You don’t need to be a Buddhist to benefit from Buddhist practices. Regardless of your beliefs, mindfulness and meditation can help you achieve inner freedom, get to know yourself better, and open your heart. FOREVER THE WOUNDED GAZELLE, BECAUSE… I loved your piece on “The Four Attitudes to Life.” The first one is “the wounded gazelle.” You say that, like a wounded gazelle, a person should find a sanctuary where they can heal and return to it often. Why a wounded gazelle? Can’t we visit this sanctuary when we’re not feeling wounded? Must a person always be broken to reconnect with their essence? From a Buddhist perspective, we are always the wounded gazelle. Whether we feel good or bad doesn’t change our wound. This wound comes from not knowing our true nature and being disconnected from our real essence, which is made of love and compassion. PAIN HURTS LESS The second attitude is the “strong lion.” Here you say, “One must not give in to upsetting and shocking situations or let gloomy thoughts take over.” Can you elaborate? It’s essential to fully experience every moment, whether it’s joyful or sorrowful. Life is made up of all these experiences. Rejecting unpleasant moments as “bad” only creates division and conflict. We can’t run away from negative thoughts, but we can strive not to identify with them. By “not being taken over,” I mean staying present with all negative feelings, thoughts, and experiences without letting them consume you. You stay with whatever is happening but avoid getting lost in the narrative your mind creates about it. This attitude brings calm during difficult times and, most importantly, keeps you from falling into the deep pit of self-pity. Over time, practice shows us that when our mind doesn’t overreact or resist, pain hurts less. The most beautiful attitude is “the wind.” Can you explain it further? Our inner state often changes easily based on external influences. If we find our surroundings unpleasant or unattractive, we want to leave. If we’re near someone we’ve labeled as “unlikeable,” we want to get away. The wind, however, makes no such distinctions. It doesn’t find any place ugly or dislike anyone. It isn’t a victim of duality. The wind sees and accepts everything as it is. It moves freely and contentedly everywhere. I also liked the “madman’s attitude,” but it confused me. Is it just about being indifferent to praise and criticism? “Indifference to praise and criticism” is actually a significant mastery. It’s not something you can achieve without inner freedom and escaping the grip of the ego. Otherwise, you might pretend to be unaffected, but in truth, you’re just acting. To truly not be influenced by others’ opinions, you need to have achieved great inner victories. When our minds and hearts are in the hands of the ego, we spend most of our time caring about what others think of us and trying to win their approval. It’s a colossal waste of time and energy. BERRAK YURDAKUL Hayata Karşı Takınılması Gereken 4 Tavır Konuşmayan Tavus Kuşu Camio, Altıncı Irk, İki Cihanın Bekçisi, Ev Yapımı Bir Paraşüt, Senin Hakkında Yedi Şey Düşündüm... Berrak Yurdakul’un kitaplarında üstten bakmayan ince bir bilgelik ve yol göstericilik her daim vardı. Son dönemlerde ise öğrendiklerini sadece kitaplar aracılığıyla değil, online seminerlerle de aktarıyor. O, diğer kişisel gelişimcilerden şu açıdan net bir şekilde ayrılıyor: Tibet’teki sağlam eğitimi ve Budist oluşunu gizlememesiyle... Budizmi benimseyişin nasıl oldu? Bilgileri nerede aldın, herhangi bir eğitimden geçtin mi? Budizmle yirmili yaşlarımda tanıştım ve budist görüşün zihne yaklaşımından, zihin eğitimine verdiği önemden, gerçekçiliğinden çok etkilendim. Bir Nepal seyahatim sırasında, Çin işgalinden sonra Nepal’e yerleşen ‘Chogye Trichen Rinpoche’ ile karşılaştım. Rinpoche ile biraz sohbet etmem, budist olmak isteğini içimde uyandırmaya yetti. Daha sonra başka öğretmenlerle çalıştım, ama esas olarak Trichen Rinpoche’nin öğrencisiyim. Rinpoche, 2007 yılında bu dünyada kullandığı bedenden ayrıldı ama biz öğretmen öğrenci bağının ölümle kopmayacak kadar güçlü olduğuna inanırız. KENDİ KİBRİMİ, ŞİDDETİMİ GÖRDÜM! Dönüşüm sürecin nasıl oldu? Budist pratikleri hayatıma entegre edip çalışmaya başladıktan sonra kendimde birçok değişim gözlemledim. Budizm bize kendi karanlık taraflarımıza bakmayı öğretir. Ben de çoğu insan gibi dünyada gördüğüm adaletsizlikten, zulümlerden, sevgisizlikten dolayı hep başkalarını suçlamaya ve kendimi temize çıkarmaya programlanmış bir zihne sahiptim. Objektif bakışla kendime bakınca, tüm bu karanlık unsurların benim içimde de olduğunu gördüm! Kendi kibrimi, içimde açıkça ve gizlice taşıdığım şiddeti, bencilliğimi, iki yüzlülüklerimi ve daha başka birçok şeyi gördüm. Budizm din mi öğreti mi? Bu konuda kafalar hep karışıktır... Budizm din değil çünkü Buddha bir peygamber değil. Senin, benim gibi bir insan. Kendi zihnine bakmış ve onu tanıyarak büyük bir özgürlük kazanmış. Bize bu özgürlüğü nasıl kazandığını anlatır, kendi uyguladığı yöntemleri öğretir ve pratikleri yaparsak varoluşa dair bütün yanıtları kendimizin bulabileceğini söyler. Budist pratiklerden faydalanmak için budist olmak gerekmez. Hangi inanca sahip olursanız olun, mindfulness ve meditasyon pratikleriyle içsel özgürlükler kazanabilir, kendinizi daha iyi tanımayı ve kalbinizi açmayı öğrenebilirsiniz. DAİMA YARALI CEYLANIZ, ÇÜNKÜ... “Hayata karşı takınılması gereken dört tavır” yazına bayılmıştım. O tavırlardan ilki “yaralı ceylan tavrı”. Diyorsun ki, insan tıpkı bir yaralı ceylan gibi kendini iyileştireceği bir sığınak bulmalı ve oraya sık sık gitmeli. Neden yaralı bir ceylan gibi? Böyle hissetmediğim zamanlarda da kendi yarattığım sığınağa gidemez miyim? İnsanın özünü hissetmesi için hep darbeli mi olması gerekiyor? Budist bakış açısına göre bizler daima yaralı ceylanız! Kendimizi kötü ya da iyi hissetmemiz yaramıza dair hiçbir şey değiştirmez. Çünkü yaramız gerçek doğamızı bilmeyişimizden, sevgi ve şefkatten oluşan gerçek varlığımızdan uzaklaşmış olmaktan kaynaklanır. ACI DAHA AZ ACITIR İkinci tavır, güçlü aslan tavrı. Burada da “İnsan üzücü ve sarsıcı durumlara kendini kaptırmamalı, kasvetli düşüncelerin eline geçirmemeli zihnini” diyorsun. Üzüntülü veya sevinçli, her anın tamamen yaşanması gerekli. Hayat bunların bütünü. Hiçbir tecrübeyi bu kötü diye itip uzaklaştırmaya çalışmamalı. Bu sadece bölünme ve çatışma yaratır. Olumsuz düşüncelerden asla kaçamayız, ama onlarla özdeşleşmemeye gayret etmeli. Ele geçmekten kasıt budur: Kendini zihnin içeriğine kaptırmadan tüm kötü duygularla, düşüncelerle, tecrübelerle kalabilmek... Her ne oluyorsa onunla kalırız, ama zihnimizin o ana dair yazdığı hikâyenin içine dalmayız. Bu tavır bize zor zamanlarda sükunet getirir ve en önemlisi kendine acımanın derin çukuruna düşmekten korur. Zamanla pratiğimiz bize şunu gösterir: Zihnimiz abartılı tepkiler vermediği ve direnç göstermediği zaman acı daha az acıtır. En güzel tavır, rüzgâr tavrı. Onu biraz daha açar mısın? Genellikle içsel durumumuz dış tesirlere göre kolayca değişir. Bulunduğumuz yeri çirkin ya da kötü görüyorsak oradan hemen çıkmak isteriz. ‘Sevmiyorum, beğenmiyorum’ diye etiketlediğimiz birinin yanındaysak ondan uzaklaşmak isteriz. Rüzgâr böyle ayrımlar yapmaz. Hiçbir yeri kötü bulmaz, kimseyi beğenmemezlik etmez, ikiliğin kurbanı değildir. Herkesi ve her şeyi olduğu gibi görür, kabul eder. Her yerde aynı kolaylıkla, aynı hoşnutlukla dolaşır. Bir başka hoşuma giden ama kafamı karıştıran tavır da delilerin tavrı! Sadece eleştiri ve övgüye kayıtsız kalma durumundan mı ibaret delilerin tavrı? ‘Sadece eleştiri ve övgüye kayıtsız kalabilmek’ dediğimiz şey aslında büyük bir ustalık gerektiriyor. İçsel olarak özgürleşmeden, egonun elinden kaçmadan yapılabilecek şey değildir bu. Ancak etkilenmiyormuş gibi, numara yaparsın belki. Gerçekten etkilenmemek için büyük içsel zaferler kazanmış olmak gerekir. Aklımız ve kalbimiz egonun eline geçmişken, zekâmız egoya hizmet ederken vaktimizin büyük bir bölümünü başkalarının bizim hakkımızda ne düşündüğünü önemseyerek ve kendimizi başkalarına beğendirmeye çalışarak geçiriyoruz. Bu çok büyük bir zaman ve enerji israfı. RÜYADAYKEN RÜYADA OLDUĞUNU ANLAMAK İÇİN... Bir başka merak ettiğim mesele: Rüyadayken rüyada olduğunu bilmek. Bunu yapabilmek için nasıl bir zihin eğitimi gerekiyor? Tibet’te ‘rüya yogası’ olarak bilinen bir pratik yapılır. Bu pratik, rüyayı yönetebilmek için yapılan bir pratiktir ve rüyadayken rüyada olduğunu bilmek ilk adımdır. Hiç de kolay olmayan bu ilk adımı atabilmek için gün boyu bazı özel egzersizler yapılır. Bir zamanlar gizli öğretiler olan tüm bu pratiklere artık kolayca ulaşılabiliyor. İletişim çağının en güzel taraflarından biri bu: Tüm manastırlar canlı yayın yapıyor, çok büyük hocalar online dersler veriyor, eskiden ‘sır’ olan pratikler herkese açıldı.

Inside Orient Express Venezia at Palazzo Donà Giovannelli in Venice, reimagined by architect Aline Asmar d’Amman through an eight-year transformation. August 26, 2026 | VOL 19 the NEW ERA of a 600-YEAR-OLD PALAZZO words Onur Basturk photos Giulio Ghirardi (Courtesy of Orient Express Venezia) With a history spanning six centuries, Palazzo Donà Giovannelli has returned as Orient Express Venezia, reimagined by architect and interior designer Aline Asmar d’Amman. Following the opening of Orient Express La Minerva in Rome and the launch of the La Dolce Vita Orient Express train in 2025, the project signals a new chapter for the brand in Italy. Rather than restoring the Venetian palazzo as a monument frozen in time, Asmar d’Amman approached it as a living structure shaped by memory, craftsmanship, and contemporary energy. Throughout the eight-year transformation, her intention was for guests to experience the Palazzo with a cinematic sense of progression. Orient Express carries a unique mythology of travel. Where did you begin when translating that legacy into a physical space? A world of wonders unfolds at the evocation of the Orient Express. It carries a sense of glamour and sophistication, the very best of the art of travel and a certain mystique of exceptional journeys rooted in the golden age. Here, ritual and movement shape a romantic idea of travel as a passage, crafted through deeply thoughtful design and meticulous attention to detail. Throughout this creative journey, the Orient Express Hotel at Palazzo Dona Giovannelli became a dialogue between two worlds: the Palazzo’s historical legacy, a 15th-century Venetian crown jewel bringing permanence, intimacy, and memory, and Orient Express introducing movement, glamour, and the romance of travel. Keeping both worlds in dialogue rather than blending them, I immersed myself in each and tried to create a passionate dialogue between two strong identities. References to the golden age of travel are woven in with subtle precision: travel trunks appear as bedside tables, while grand interior architecture is treated as wonder cabinets, underlined with wood marquetry, brass details, and etched mirrors that capture the soul of the palazzo’s historical features in reflection. In more contemporary rooms, a 1930s atmosphere quietly permeates the space through lacquered woods, refined finishes, and original antique chairs by Paul Follot flanking chess tables with Murano glass checkered plateaux. Everywhere, from the Piano Nobile’s ornate salons to the more contemporary spaces, bespoke drink cabinets invite interaction, opening like curated cases designed to spark curiosity and engagement, reinforcing the journey of discovery. At Orient Express Palazzo Dona Giovannelli, there is always this tension between stillness and movement, intimate and grand, past and present, which defines the essence of its legendary art of travel imagined as a theatrical voyage through Venice. OVER THE LAST EIGHT YEARS, I MOVED THROUGH EPOCHS AND ERAS, UNCOVERING STORIES EMBEDDED IN WORN SURFACES AND CEILING FRESCOES, EACH LAYER CARRYING ITS OWN MEMORY This project unfolded over nearly eight years. How did that extended timeline shape your design decisions? How did your initial vision evolve over time? Over the last eight years, I moved through epochs and eras, listening closely, revealing and unearthing every story, from the worn surfaces beneath our hands to the frescoes on the ceilings, each layer carrying its own memory. The restoration of Palazzo Dona Giovannelli, home to the Orient Express Venezia hotel, became a true labour of love, requiring rare interventions, from drying the palazzo’s foundations and building a dam around the façade walls, to the careful removal and treatment of each stone on the walls and floors. It became a revelation of how closely architecture and environment are bound together in Venice. Over nearly a decade, hundreds of specialised artisans worked across fresco restoration, sculpture, gilding, and woodwork. Young artisans, joinery makers, metal specialists, craftsmen mastering leather cladding and terrazzo floors, as well as highly skilled marble makers, all joined in a communal gesture shaped by devotion and artistry. Behind every perfect detail, there are thousands of hours spent mending beauty. During the process, hidden layers of history were uncovered and naturally integrated into the evolving narrative of the space. Beyond a monument to history, I see the Orient Express Venezia at Palazzo Dona Giovannelli as a living story, where the past continuously shapes the future. Fragments of original mouldings appear within contemporary rooms, reflected in etched mirrors and varnished woods, in a continuous dialogue between heritage and modernity. Pieces once hidden or damaged are reintroduced with grace, allowing the story of the palazzo to remain visible in conversation with architectural nowness. This unfolding deeply shaped my design decisions. Rather than shifting my vision, the discovery of the Palazzo’s many layers deepened it into a more intimate dialogue with its history. My approach is never nostalgic about the past but always in conversation with it. You describe the transformation as a “theatrical sequence of wonders.” How did you translate this idea into spatial terms? I wanted guests to experience the palazzo as a cinematic progression, where layers of history gradually reveal themselves through surfaces, objects, and space. This is the essence of Venice: mystery, drama, and celebration set between stone and water, movement and eternity. Guests move through the Palazzo like protagonists within a story, encountering fragments of history, traces of the lives that shaped the space, and moments of unexpected beauty. Here, the walls are always speaking. The Palazzo was once home to noble Venetian families, from the Duke of Urbino to the Donà and Giovanelli families, and hosted grand occasions such as the wedding of the Duke of Urbino’s son to Princess Vittoria Farnese in the 16th century. Centuries later, its Piano Nobile welcomed scholars from across Europe, continuing its role as a place of exchange. I wanted this spirit to remain perceptible today through the architecture, curated art, and a sense of lived-in elegance and intimacy. VENICE INSPIRES ME AS A MEETING POINT BETWEEN EAST AND WEST — A DUALITY ALREADY EMBEDDED WITHIN THE PALAZZO ITSELF Venice has long been a gateway between East and West. How did this dual identity shape your design approach? Venice deeply inspires me as a meeting point between East and West. Born in Beirut, I feel a personal connection to the city’s layered cultural identity and recognise many correspondences between Venetian architecture and my own heritage. I never experienced the Serenissima as foreign, but with a sense of familiarity, as if returning to a source of inspiration. That duality already exists within the palazzo itself. The neo-Gothic staircase by Gian Battista Meduna reveals an architectural language where Gothic forms meet arabesque influences, geometric ornamentation, frescoes, and luminous stained glass — traces of Venice’s long history of exchange and movement. Crowned by a celestial vault, the octagonal staircase leads into spaces like the Sala della Cultura, shaped by ideas, encounters, and cultural dialogue. Here, Venice expresses itself as it always has: a cosmopolitan world where East and West coexist naturally. Lapis lazuli tones, Italian marbles, vintage furniture, and contemporary bespoke design come together like a layered memory of a grand tour, balancing richness, sensuality, and restraint. The idea of the “Lost Colors of Venice” plays a key role. How did this concept shape the material and colour palette? The “Lost Colors of Venice” became central to my approach to the renovation. Inspired by 16th-century pigments and poetic lore, these are not vanished colours, but rediscovered ones — faded fragments of myth and memory brought into the present with a contemporary sensibility. The first time I entered Palazzo Dona Giovannelli, I was struck by these living colours spread across its historical walls and surfaces. Patinas washed by time became both my guide and inspiration, informing everything from stone and marble selections to moiré fabrics, velvets, and material accents. This feeling culminates in the Colori Persi Suite, where the tones of the ceiling fresco seem to spill into the room, creating a luminous dialogue between past and present. The lost colours continue throughout, threaded through cocoon-like moiré fabrics that subtly echo the movement of the Venetian laguna. THE WAGON BAR IS CONCEIVED AS AN ART DECO SPEAKEASY INSPIRED BY THE ORIGINAL RAILCAR LOUNGES OF THE ORIENT EXPRESS The Orient Express is rooted in movement, transition, and journey. How did you bring that sense of motion into a static structure like a palazzo? Inspired by the golden age of travel, historic trunks are reinterpreted as wonder cabinets throughout the Palazzo — from bedside tables and wardrobes to dressing rooms, even concealing bathrooms within the suites. They bring the rituals of departure and arrival into the interiors, creating a quiet sense of slow travel throughout the space. This continuity extends into the Wagon Bar, conceived as an Art Deco speakeasy inspired by the original railcar lounges of the Orient Express. In the Corte del Conte lobby, monumental bookcases and shelving compositions guide movement through layered surfaces of memory, almost like curated stations within the Palazzo. The Cherubini Suite takes its name from the cherubs running across its walls, recalling that Venetian grandeur has always embraced joy and movement. A rediscovered frieze by Sebastiano Santi unfolds across the walls with dancing putti and women playing ancient instruments — movement suspended mid-song — while a layer of Renaissance faces crowns the space with wisdom and poetry. I wanted to respond thoughtfully to these multiple layers of history, embracing the legacy while introducing a new interior architecture into the room with timeless elegance and permanent rhythm. Spaces like Il Corte del Conte transform a former courtyard into a dramatic living room. How do you approach such bold architectural interventions? One of the greatest challenges in the renovation was the ground floor itself. Today’s lobby was once an open courtyard shaped only by air, light, and the elements. Historically, the Palazzo was always a place of gathering and celebration, and I wanted to preserve that warmth and sense of belonging. What was once a passageway is now conceived as a generous living room. I introduced a grand library-like architectural structure within the Palazzo itself, seamlessly integrating technical functions into monumental shelving and hidden compartments. The intention was never to create the feeling of a technical intervention, but to bring timeless elegance and natural ease into the space. Wood-clad libraries with Murano details subtly conceal contemporary technology, including the new entrance hidden behind Venetian artisanal glass doors. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €22,00 Price Add to Cart

Patricia Urquiola discusses collaborative design and ecological thinking, alongside projects for Museo del Gioiello, Alessi and Flos in Milan and beyond. October 7, 2023 | PEOPLE PATRICIA URQUIOLA “We must rebuild a new ecological thinking” words Onur Baştürk portrait photos Marco Craig & Nicola Carignani product photos Leonardo Duggento S he believes that a good project is always shaped through sharing. When it comes to sustainability, don’t get hung up on the popularity of words, she says. Her main motto that I like is this: Innovation cannot be made without stubbornness! Famous designer Patricia Urquiola, beyond all her “bests” is also very sincere. But we can’t do without counting those “bests”: among the newest places designed by Urquiola, who opened her own studio in 2001 with some of her works exhibited at MoMa in New York and the Victoria & Albert Museum in London, are the jewelry museum Museo del Gioiello in Vicenza, Mandarin Oriental in Barcelona, Hotel Das Stue in Berlin and Hotel Four Seasons Spa in Milan. Listing the brands she has made designs for so far is like a cool parade: Agape, Alessi, Axor-Hansgrohe, Baccarat, Boffi, Budri, De Padova, Driade, Flos, Gan, Georg Jensen, Glas Italia, Haworth, Kartell, Kvadrat, Listone Giordano, Louis Vuitton, Moroso, Mutina, Rosenthal and Verywood. I read in an interview that living together is one of your fundamental principles and that you believe that a good project is always shaped by sharing. Based on this, I understand that your design process and your perspective on life are based on “sharing”. Has this always been the case or has it evolved over time with experience and age? I’ve always loved teamwork. Both in the group projects I did during my university years and in Studio Urquiola, which I see as a “community studio”. I love working side by side with my team and clients, constantly exchanging ideas. It’s very important because every phase of design is a result of discussion and dialogue. After all, every company has its own history, heritage and language which I respect and try to reflect in the project. I read in an interview that living together is one of your fundamental principles and that you believe that a good project is always shaped by sharing. Based on this, I understand that your design process and your perspective on life are based on “sharing”. Has this always been the case or has it evolved over time with experience and age? I’ve always loved teamwork. Both in the group projects I did during my university years and in Studio Urquiola, which I see as a “community studio”. I love working side by side with my team and clients, constantly exchanging ideas. It’s very important because every phase of design is a result of discussion and dialogue. After all, every company has its own history, heritage and language which I respect and try to reflect in the project. The way we live life is constantly changing. Especially now we are entering a new era with artificial intelligence. I would like to ask you as one of the generations that has seen the development of the internet: From the perspective of a designer and architect, where do you think the world is evolving? I don’t have a bad opinion about the evolution of technology, I use it a lot in my work. I am actually very curious about the opportunities that the virtual universe opens up for the world of architecture and design. This is always a topic of ongoing conversation in my studio, with clients and with colleagues. I think AI performs best when designed as a supplementary tool, rather than a replacement for us. Our intelligence and our skills are very different. Technology works best as a partner and support. But I believe it is not just a question of knowing how to use digital means, but of reflecting on how one can adapt to them. And vice versa. DON’T FOCUS ON THE WORDS AND THEIR POPULARITY “Sustainability” has become so popular that do you think the word is sometimes used just because of its popularity? Rather than focusing on words and their popularity, as Timothy Morton suggests, I believe we should focus more on rebuilding a new ecological way of thinking. And to succeed we must go beyond the environmental apocalyptic thought in simplicist terms. We need to consider this ecological thought as the shadow of an idea not yet thought, that is carried by other ideas until nothing remains halted by his presence. Design must more and more open up to other conversations and disciplines. We need to design in the optics of upcycling, we need to enhance the beauty of regeneration. Nowadays, a designer must pay attention to the durability of not only objects but also projects. We must use and interpret materials better, keeping in mind a clear concept of circularity. We should focus on the value of objects that permeates over time and generations, not on their first use. For this, we need to learn more about designing! When we start a project we must think about the product’s end of life and how it can be disassembled and reused at the end. One of the highlights of Mr. Loveland, the new improved version of the Lowland you designed in 2000, is sustainability. Can you tell us about this feature of Mr. Loveland? Improving existing versions of the products is a sustainable approach. The aim of the improved version of the product is to increase the value of the existing one by making it compatible with the modern lifestyle. This also ensures that each product becomes something timeless and lasting. The new composition I made with Moroso in the 2000s, which fits elegantly into the original concept this year, has been updated with upcycled materials. The seat and back were made softer and the steel tubes were replaced with solid wooden bases. This increased the architectural quality of the series by preserving its uniqueness both alone and in the composition. CABOCHE’S INSPIRATION IS A BRACELET FROM THE 1930’S The “Pheaby” chair you designed for Moroso was inspired by Greek mythology. Can you tell us about the design and functional features of Pheaby? The name Pheaby comes from Artemis, the goddess of hunting and forests in Greek mythology, also known as the goddess of waxing moon. Her epithet Phoebe was a counterpart to the name of her twin brother Phoebus, or Apollo the sun god. This duality was of inspiration for the chair’s design, which combines together elements of artisanal craftsmanship with industrial thinking, resulting in a structurally efficient piece. The legs resemble a carpenter’s trestle rather than a traditional chair, supporting a softly- rounded seat that lacks sharp edges. This design represents the waxing moon shining through the trees, embodying the concept of using the unexpected to create comfort and usability. The Caboche you designed for Foscarini has a story related to Istanbul. Can you tell that story? For the lamp Caboche I took inspiration from an object purchased during a trip, a Bakelite bracelet from the 1930s. The name comes from a technical term used to indicate one of the best-known cuts for diamonds and precious stones. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

Edizione Living’s Choices project brings four Istanbul design figures, including Derya Toros, to its Fenerbahçe store to share their favorite corners. October 2024 | Design & Interiors FOR ENGLISH EDIZIONE LIVING’teki FAVORİ KÖŞELERİNİ YUZU için SEÇTİLER - c h o i c e s - words Alp Tekin photos Abdullah Abukan creative director Erdi Eralp Uğur Otantik, zarif ve sade. Sema Gizem Özdemir ve Burcu Burat’ın kurucusu olduğu Edizione Living tasarımlarının üç kelimeyle özeti böyle. Yerel zanaatkârlardan ilham alan markanın ürünleri fabrikasyon olmayan, butik işletmelerde üretiliyor. Yuzu Magazine ve Edizione Living’in ‘Choices’ isimli projesinde ise İstanbul tasarım dünyasının dört ismi markanın İstanbul, Fenerbahçe’de açılan mağazasının farklı köşelerinde poz verdi. 1. DERYA TOROS İç Mimar / Toros & Partners kurucu ortağı Bu köşede Elba Kanepe’yi seviyorum, çünkü hem rahat hem de çok şık bir görünüme sahip. Üzerinde oturduğum Pia Tabure ise minimal ve zarif tasarımıyla her mekana sade bir şıklık ve zamansız bir estetik katabilecek güzellikte. Bu nedenle Elba Kanepe ve Pia Tabure, Edizione Living’deki seçimim oldu. 2. EMRE ÖZÜCOŞKUN İç Mimar / Cisimdesign kurucu ortağı Tüm projelerimizde denge olmazsa olmaz unsurlardan biri. Bu Edizione köşesi bana Cisimdesign projelerimizdeki malzeme, renk ve formlardaki dengeyi çağrıştırdığı için daha yakın hissettirdi. Parlak ve soğuk tabure ile üzerinde durduğu halının kontrastlığındaki uyum, yeşil bitkilerle masif ahşabın birbirine göz kırpması, bu dengenin en güzel yansımaları. 3. FULYA BOZKURT Editör Doğal, işlenmemiş ham ahşap mobilyalar ve el işi üretimleriyle Edizione Living koleksiyonları benim yaşam tarzımla mükemmel uyum sağlıyor. Yumuşacık doğal keten kumaşlarla giydirilen koltuk ve kanepelerin mekanlarda yarattığı yaşanmışlık hissine bayılıyorum. Edizione Living’in bu köşesi çikolata kahveden beje açılan renk sakalası ile son derece rahat, modern ve konforlu. Çevreye duyarlı üretimleri ve sürdürülebilirlik misyonu da markayı tercih etmemin en önemli nedenlerinden biri. Mum ışığı eşliğinde bu yemek masasında en sevdiklerimle geçireceğim saatleri hayal edebiliyorum! 4. ONUR BAŞTÜRK Yayıncı / YUZU Magazine Kurucusu & Editoryal Direktör Bu köşeyi seçtim, çünkü bu yatak odası tam da hayalimdeki gibi: Doğal, zarif, sade ve huzur verici. Özellikle yataktaki keten yatak kılıfı harika, çünkü yatak odasında malzemenin fabrikasyon olmamasını önemsiyorum. Düşünsenize, aslında hayatımızın çok büyük bir bölümünü yatak odasında geçiriyoruz ve aslında orası da en az diğer yaşam alanlarımız kadar değerli ve özenli olmalı. Bir yandan bu köşedeki ahşap dolap da favorim oldu. Ahşabın her türlüsü benim için sakinlikle eşdeğer. Nitekim artık tasarım dünyasında da ahşabın o sıcak dokunuşunu daha çok görüyor olmak beni mutlu ediyor.

Onur Baştürk visits The Rooster on Antiparos: 17 suites, a House of Healing, private gardens, and a long lunch at Beach House on Apantima Beach. August 4, 2025 | VOL 16 SWIM, DINE, RESTORE, REPEAT Living by the ANTIPAROS flow words Onur Basturk photos Courtesy of The Rooster If you’ve been to Paros in high season, you’ll know the feeling—when the crowds, the chaos, and the nightly cocktail circuit at Medusa start to wear a little thin. That’s when you know it’s time for a breather. And the best escape? Antiparos, of course. Just a stone’s throw away, but with a whole different vibe: quieter, cooler, and beautifully bohemian. Just a short hop away, but with a more refined, bohemian energy. After all, the island holds the memories of backpacking hippies who danced wildly at Disco La Luna and The Doors in the 1970s. FIRST STOP: A LONG LUNCH AT BEACH HOUSE The moment you arrive in Antiparos, the plan’s obvious: head straight to Beach House on Apantima Beach. Set on one of the island’s most sheltered coves, it’s an easygoing, barefoot kind of place. The menu is a celebration—seabreams, groupers, amberjacks, dry-aged beef, wild mushrooms... And one line that sums it all up: “Nose-to-tail, Root-to-stalk… Recipes with apheresis at their core.” NEXT UP: THE ROOSTER AT GOLDEN HOUR After Beach House, make your way to The Rooster. Hidden between open fields and mystical caves, and facing a protected beach, it’s one of the best spots on the island to catch the sunset. The Rooster is a soulful kind of place—tailor-made for today’s traveler. With its House of Healing, where energy-clearing rituals reconnect you with Mother Earth, and a three-bedroom organic farmhouse, it’s a destination with real depth. The vision belongs to Athanasia Comninos, who comes from a prominent Greek shipping family. The story of The Rooster began one summer, when founder Athanasia Comninos arrived on the island with her young daughter and a close friend. She rented a house; that summer, she fell in love with the island—and that’s when the story of The Rooster began. THE SOUNDTRACK: RUSTLING BAMBOO AND GOAT BELLS With just 17 suites in various sizes, each one offering sweeping views of the Aegean and its own private garden, The Rooster is all about space, calm, and seclusion. At the heart of it is the House of Healing, a restorative sanctuary where every session begins with a one-on-one consultation designed to understand your lifestyle and wellness goals. Just 1.5 km away lies The Farmhouse, where many of the hotel’s organic ingredients are grown. It shares the same easy rhythm: the rustle of bamboo, the soft clink of goat bells, and the sleepy chorus of cicadas. FEELING SOCIAL? HEAD TO BARDÓT And if all that serenity has you craving a little buzz, head to Bardót. This effortlessly stylish bar-restaurant was created by hospitality veterans Thanasis Panourgias and Harry Spyrou—of Athens, Mykonos, and New York—together with LA- and London-based hotelier Leon Economidi. Across the street, the same team runs Maison Bardót, a multidisciplinary gallery space. And before the night turns into a dance floor? Start with dinner at Kalokeri, a village gem made for easy, delicious evenings. for more Print VOL XVI - AEGEAN & MEDITERRANEAN 2025 Out of Stock Add to Cart

DJ Carlita speaks with Onur Baştürk about quarantine in Tulum, her Istanbul roots, Mexico City, Burning Man, and performing with Mayan Warrior. April 2020 | People DJ CARLITA’s QUARANTINE DAYS in TULUM Words Onur Baştürk Carla, born in Istanbul to a Turkish father and an Italian mother, goes by the DJ name “Carlita.” At just 24 years old, she’s already performed in almost every corner of the world, gaining a dedicated following. Her star rose even higher after her set at Burning Man. We caught up with Carlita during the lockdown days of the pandemic. Carla, how has the pandemic affected your work? The last performance I did was on March 13th in Mexico. After that, all my shows were gradually postponed. Now, most promoters expect me to create an exclusive online DJ set for them or go live on Instagram, Zoom, or Twitch. Are you currently in Tulum? Yes, everyone seems to think I’m living the dream in Tulum! And honestly, it is much more comfortable and beautiful than being in an apartment or a house. There hasn’t even been a single reported case here yet. But restrictions are tightening here too. I was actually in my home in Mexico City when the virus began to spread. About a month and a half ago, four friends and I decided to fly to Tulum. At first, it was quite relaxed. Some restaurants were still open, and we could go into town to shop at supermarkets without any issues. But once Mexico entered “Stage 3,” restrictions increased significantly. Going to the beach or swimming in the sea became prohibited. If the police see someone on the beach, they can hand out a three-day jail sentence! If you leave the beach area to go into town, there’s a chance you might not be allowed back. Everything is closed now—even some pharmacies. ATMs are out of cash. I once spent two and a half hours just looking for toothpaste. HAS THE FEAR OF THE VIRUS LESSENED? How are you feeling right now? I’m not used to staying in one place for more than ten days! My work requires me to constantly move between locations. Slowing down and adapting to this new normal wasn’t easy at first. But now, I’m living in the moment and finding joy in small things. Watching the sunrise and sunset every day has become something that truly makes me happy. Are there many people in Tulum? What’s the vibe like? People from all over the world have flocked here to quarantine—Italians, Americans, Brits. But we’re all being very careful. If someone new somehow manages to arrive, which is rare given the travel restrictions, they quarantine themselves for two weeks just like anywhere else. Since there haven’t been any cases here, the fear of the virus has decreased compared to the early days. Now, the main concern is simply surviving in Tulum. The weather is getting hotter, and the restrictions are becoming stricter. Living under these conditions in this heat is becoming increasingly difficult. Is it hard to perform at Burning Man? Not really. The challenging part is getting invited to the good camps to perform. I play at “Mayan Warrior,” and it’s been an incredible experience for me. For example, in December, I played at a wedding in Colombia. When I asked why they chose me, they said they first heard me at “Mayan Warrior” and started following me from then on. How did you become a DJ? I started playing the piano when I was three, thanks to my parents. At eight, I picked up the cello. Then came my conservatory years at the Royal Academy of Music in London. When I went to university in Boston, I developed an interest in DJing. At 24, you’ve practically performed everywhere—from East Asia to Europe and Canada. You once mentioned how you basically toured the world during New Year’s. I’ve gotten used to long trips. But yes, the toughest one was during New Year’s, flying from Mexico to Istanbul, Istanbul to Vietnam, and then back to Mexico—all in six days! And that’s not counting the layovers. Where was your most unforgettable performance? Right here in Tulum! At Maxa Camp, I played a 10-hour nonstop set for over 2,000 people. The energy was just incredible. You moved from NYC to Mexico—why? What drew you to Mexico? I think it’s because it reminds me so much of Istanbul. Honestly, I feel like I’m living in a Spanish-speaking version of Istanbul.

Luxury accessories collaborations bring together Franck Müller, Ferrari, Moncler and Gucci across watches, pens, luggage, headphones and smart rings. September 2024 | Design & Interiors FOR TURKISH LUXURY ACCESSORIES collaborations words Pınar Yılmaz / Deliciae 1. Franck Muller & S.T. Dupont With their shared passion for art and innovation, Franck Muller and S.T. Dupont present the Master Lighter, a masterful fusion of the elegance of Haute Horlogerie. The result of two years of development, this lighter is a technical masterpiece with a double-faced clock with a three-day power reserve integrated into its mechanism! The Master Lighter, whose every detail reflects the heritage of Franck Muller and the exquisite craftsmanship of S.T. Dupont, is limited to 88 pieces. 2. Ferrari & Montblanc Montblanc, renowned for its luxury writing instruments, has collaborated with Ferrari to create a limited edition pen that pays homage to the legendary Enzo Ferrari. This pen combines the craftsmanship of Montblanc with the iconic design elements of Ferrari. 3. Lamborghini & Roger Dubuis Lamborghini and Roger Dubuis have created a unique collaboration that reflects both brands' passion for innovation and performance. The Excalibur Spider Huracán brings the performance and aesthetic elements of the Huracán supercar to watch design. The watch's internal movement is inspired by Lamborghini's iconic V10 engine. 4. Moncler x Rimowa Italian luxury apparel brand Moncler and German luggage brand Rimowa have made a remarkable collaboration by presenting an exclusive luggage collection that combines design and functionality. The collection is full of elements that reflect the DNA of both brands. This line of luggage blends Rimowa's signature durable aluminum construction with Moncler's innovative design aesthetic. 5. Bang&Olufsen & Ferrari Danish luxury audio manufacturer Bang&Olufsen has partnered with Ferrari to launch a special Ferrari-designed version of the Beoplay EX. The headphones combine Ferrari's iconic red color and bold style with Bang&Olufsen's superior sound quality. 6. Gucci x Oura Gucci, the leading Italian fashion brand, has collaborated with Oura, an innovative brand in health and fitness technology, to create a unique collection of smart rings that combine luxury and technology. The Gucci & Oura ring is both a technological marvel capable of tracking health data and a stylish accessory that reflects Gucci's elegant design aesthetic.