July 6, 2025 | VOL 15 the ST VINCENTS DUO words Onur Basturk portrait photos Katie McCurdy photos Tijs Vervecken, Eline Willaert, Rechtstraat93 Housed in a beautifully restored 18th-century printing house in Antwerp, ST VINCENTS is more than just a store—it’s an experience. Founded by Henri Delbarre and Geraldine Jackman, who left behind careers in finance and law for a creative pursuit, this boutique gallery invites visitors to explore design in a way that feels both inspiring and immersive. As you move through its carefully curated spaces, unfolding into rooms of varying sizes toward the back of the building, you’re met with collectible pieces that blur the lines between art, design, and storytelling. In this interview, Henri and Geraldine share their journey from corporate life to creative entrepreneurship, the evolution of their concept, and the delicate balance of positioning themselves between a store and a gallery. How did the idea for ST VINCENTS come to life? What were you doing before, and how did your paths cross? We came from completely different worlds—Henri from finance, myself from law. We met in Amsterdam while working at the same consulting firm. It was a great place to work, a golden cage of sorts, but over time, the lack of fulfillment began to weigh on us. Henri took the first step, quitting his job to push himself toward his next move. Several months later, I faced a similar crossroads and decided to join him in navigating the unknown together. We had no clear roadmap, only the certainty that we wanted to create something. Several ideas were percolating at the time, but finding the right location truly shaped the concept, sparking new ideas and possibilities—it still does to this day. Initially, our vision was broad—a space where art, design, fashion, and hospitality could converge. At the time, we felt that most stores offered the same mass-produced products. We were drawn to the challenge of presenting design not just as a commercial entity but as something to be engaged with, admired, and understood—creating a unique design experience that would transcend typical retail spaces. How has ST VINCENTS evolved since its inception? ST VINCENTS has always been, and remains, a personal reflection of us, evolving in parallel with our own growth. Over time, we refined our selection and let go of what didn’t align with our values. Fashion, for instance, felt at odds with our commitment to sustainability and timelessness. And the café, while a great experience, began to overshadow everything else. The pandemic, in an unexpected way, gave us the headspace to regroup and focus on what resonated most with us—design. We honed in on authentic, thoughtful, and enduring pieces, made to order, that capture the zeitgeist of our time. OUR APPROACH TO EXHIBITIONS IS FLUID —THERE’S NO SET FORMULA. WE DON’T COMMIT OURSELVES TO A RIGID SCHEDULE Which product has garnered the most attention so far? Lighting is probably one of our standout categories. Over time, it has evolved beyond its purely functional role into something more—a sculptural art object that elevates a space. Unlike furniture—which comes with more concerns for customers (comfort, fit, compatibility, durability)—lighting is more versatile and less restrictive. It’s easier for people to envision a lighting piece in their home, no matter their existing decor or style. There’s also a practical side to it: lighting is less likely to be damaged or worn out over time, which makes customers feel more confident in their purchase. What are the pros and cons of positioning ST VINCENTS between a design store and a gallery? Over time, we have settled on “boutique gallery.” It feels like the most accurate description of what we do—we’re more than a store, as we feel the works we represent are more than just commodities. Galleries carry a certain prestige, and we believed the designers we work with deserve the same level of recognition. By adopting elements of the gallery format, we created a showcase where the narrative of the creators takes center stage, setting us apart from traditional retail concepts. At the same time, we maintain some elements of a store because we don’t want to be limited by a formal exhibition format. Our space hosts all of our designers under one roof, allowing us to stay flexible and responsive to new work and ideas. Unlike traditional galleries, which focus on specific exhibitions at certain times, we can curate and display work year-round, creating a more dynamic experience. Of course, operating in this “middle ground” comes with challenges. Design, in particular, is a unique space—it’s less regulated compared to galleries, and the market is still developing. This presents both risks and opportunities, as being somewhere in between allows us the flexibility to navigate these uncertainties while offering some security in a less mature market. In the end, it’s this hybrid model that works for us. It allows us to curate something personal and intentional while supporting both established and emerging designers. It’s a delicate balance, but it’s what differentiates us. What criteria do you use for exhibitions, and how do you shape your curatorial program? Our approach to exhibitions is fluid—there’s no set formula. We don’t commit ourselves to a rigid schedule; the flexibility we have is probably one of the perks of the boutique gallery format. Each year, we plan to scale back on shows, yet growing interest from designers keeps pulling us in. What we’ve found works best is a balance between invitation and opportunity. Many of our exhibitions come about when designers approach us with ideas or simply need a deadline to inspire their next creation. Other times, we feel that a designer’s work deserves to be highlighted—an opportunity to share their story and offer a deeper understanding and appreciation of their creative journey. We believe in letting designers set their own pace. Our focus is on showcasing work that feels intentional and reflects a designer’s unique voice, rather than being driven by market chatter. However, creators often feel pressure to produce new pieces just to stay relevant, sometimes at the expense of the work itself. This led us to create “The Edits”, a more flexible and sustainable format. It’s a capsule series—less pressured, more adaptable, and ranging from large showcases to intimate displays. While it primarily focuses on current works, it may also feature a mix of older and newer pieces, creating a dialogue between a designer’s past and present. With The Edits, we don’t expect designers to constantly reinvent the wheel. Instead, they can show us their work as it evolves. Outside of The Edits, we still host more traditional exhibitions when a specific narrative needs to be explored or when a new collection or aspect of an artist’s practice deserves to be highlighted. SINCE WE DON’T COME FROM A DESIGN BACKGROUND, WE’RE CONSTANTLY LEARNING FROM THE DESIGNERS WE COLLABORATE WITH. What are your criteria for the collectible products sold in the store? Many factors come into play—it’s not just about the work itself, but also the relationship, values, approach, and story behind it. Being a small team—just the two of us for a long time, and now three—means we have to be really intentional with every decision. We’re always keeping an eye on designers we admire, but we’re very careful about how many we work with at once. Being small means we can’t spread ourselves too thin—we want to give each designer the attention and support they deserve. So, the makers and designers we do end up working with have to be truly exceptional. Since we don’t come from a design background, we’re constantly learning from the designers we collaborate with. Their sensitivity, their poetry, their unique visual language—it’s all so inspiring. They give us new perspectives and insights into what drives them, and we learn so much in the process. It’s a two-way street, and that collaboration is really special to us. We also think a lot about integrity. In a world where companies often shift responsibility onto consumers, we believe businesses have to hold themselves to higher standards. Designers and artists are often at the forefront of what’s needed in society, and their values, processes, and sourcing reflect that. That’s why these things are so important to us. We want to work with creators who share our commitment to integrity, humanity, and sustainability. THE BUILDING’S CHARACTER HAS BECOME SUCH AN INTEGRAL PART OF ST. VINCENTS’ IDENTITY Your space is a restored 18th-century printing house—was choosing this location intentional? It was sheer chance—or serendipity—that we ended up at Kleine Markt 13. Originally, our criteria for a location were quite modest: something around 100 to 200 square meters, a space we could easily move into, a “plug-and-play” situation. We had actually passed by the building before, but it didn’t really register because of its derelict state, size, and the obvious costs involved. Still, it lingered in the back of our minds—you know, keeping options open—and when a realtor suggested we take a look, we decided to see it anyway. That’s when we fell in love with it: an 18th-century former printing office, spanning approximately 800 square meters across three floors. It had been abandoned for years, completely derelict, and had been on the market for a long time. But we could see the potential it harbored. The building had so much character, but it was a far more ambitious project than we had planned. There were so many factors working against us: we were on a tight deadline, had no renovation experience, and certainly no budget for a rehabilitation of this magnitude. The building itself became a source of inspiration and helped solidify the concept in a more concrete way. Maybe it was naïve optimism, but we believed that with a few adjustments, we could make it work. Despite friends and family trying to convince us otherwise, we signed the lease. For the renovation, we focused on the ground floor first, planning to expand into the building gradually. After a very bumpy renovation process—where, honestly, everything that could go wrong did go wrong—we finally opened four months behind schedule. The building’s character has become such an integral part of St. Vincents’ identity. BRIAN THOREEN HAS BEEN A FAVORITE SINCE BEFORE WE OPENED Which designers or collectible pieces have recently caught your eye? We’re drawn to creators who challenge norms and make us see—or feel—the world in a different way. Brian Thoreen has been a favorite since before we opened, remaining a key reference. What draws us to Brian’s work is his methodology and his ability to approach design with such intent. His work feels pure—understated yet extremely strong in concept, form, and material. Then there’s Marte-Mei van Haaster, who has completely shifted how we think about sustainability in design. She brings a poetic language to her work, and her entire process—how she integrates nature into design—is both effortless and profound. We’ve learned from her that sustainability isn’t just about sourcing or made-to-order; it’s about creating a harmonious relationship with nature. We’re currently working on a few projects together, and it’s been incredibly inspiring. We’re even planning a show with her at the end of this year or early next. Lastly, we’re excited to be working with Nick Valentijn, a young designer who recently graduated from the Maastricht Academy. His work is still evolving, but it already has such a unique and confident voice. It’s whimsical yet sophisticated, with this childlike magic to it—as if the objects could speak to you. Supporting emerging talent like Nick is incredibly rewarding, and we’re excited to host his show this May. for more Print VOL XV - SPRING 2025 970,00₺ Price Add to Cart

Seyahat + Stil + İnsan + Art + Botanik PEOPLE MARCO & IPPOLITA: the VISIONARIES BEHIND ARTEMEST MAARTEN DE CEULAER CURIOSITY. CRAFT. EMOTION. MARSHA LIPTON BUNYAMIN ATAN ‘PEOPLE THRIVE in the SOIL THEY COME FROM’ HAKAN YILDIZ BE ORIGINAL by PANERAI Vol.1 S A N D : the SILENT STORYTELLER an ODE to SOFTNESS and COMFORT the SHAPE of SOUND to COME PALOMBA SERAFINI the ST VINCENTS DUO JULIANA CAVALCANTI a CITY, a CALLING, a DESIGN JOURNEY ALESSIA GENOVA a STORY of VISION and RESOLVE MALTE MARTEN the HANDPAN CHANGED MY LIFE ELVAN KARADENİZ This house is like a butterfly perched on a rock MURAT DEDE Design isn’t a destination—it’s a process in constant evolution REZZAN BENARDETE RESIN & RESOLVE: How Tina Frey Turned Passion into Design CLEMENT BRAZILLE ‘Playing with limits is a recurring theme in my work’ JOHN SHARP TURNING GARDENS INTO LIVING THEATERS THE DUO in SEARCH of BALANCE and BEAUTY Etereo Show More

October 31, 2025 | DESIGN & INTERIORS ZTP HOUSE a STUDY in BALANCE words Noah Mercer photos İbrahim Özbunar (645 Studio) Bordering Istanbul’s Northern Forests, ZTP House explores a quiet tension between structure and softness, nature and precision. Designed by Folistudio, the Istanbul-based creative practice founded by Ece Gökmenoğlu and M. Onur Durna, the house transforms a strict geometric shell into a flowing sequence of warm, tactile interiors. By softening sharp architectural lines through curved gestures and layered textures, the designers have instilled a distinctly contemporary character into the space. The diamond-shaped plan unfolds through full-height glazing, framing the surrounding forest while allowing daylight to penetrate deep into the interiors. At the heart of the home, a “floating” bookshelf in brushed steel and glass acts as both divider and display — a sculptural vitrine for books and art pieces. Nearby, the structural columns have been reinterpreted as visual anchors, turning engineering necessity into an expressive architectural gesture. The material palette moves fluidly between restraint and intensity: oak, linen, and plaster surfaces are counterbalanced by bold cobalt, terracotta, and deep burgundy tones. These accents punctuate the calm, introducing rhythm and warmth to the open plan. More than a statement on minimalism, ZTP House is a study in balance — a home where daily life unfolds in quiet continuity with the landscape beyond the glass. TR BELOW ZTP HOUSE bir DENGE ÇALIŞMASI İstanbul’un Kuzey Ormanları’yla komşu olan ZTP House, yapı ve yumuşaklık, doğa ve hassasiyet arasındaki sessiz karşıtlığı araştırıyor. Ece Gökmenoğlu ve M. Onur Durna’nın kurduğu İstanbul merkezli Folistudio tasarımı ZTP House’da ilk dikkat çeken özellik, geometrik kabuğun sıcak ve dokunsal iç mekanların ardışık bir akışına dönüştürülmesi. İç alandaki keskin mimari çizgileri kavisli formlar ve katmanlı dokularla yumuşatan Folistudio ekibi, böylece mekana belirgin bir çağdaş karakter kazandırmış. Evin elmas biçimli planı tam yükseklikteki cam panellerle çevrili. Bu da dışardaki manzarayı hem çerçeveliyor hem de gün ışığı mekanın derinliklerine kadar taşınıyor. Evin merkezinde yer alan fırçalanmış çelik ve camdan yapılma “yüzer” kitaplık ise hem bölücü hem de sergileme elemanı olarak işlev görüyor: Kitaplar ve sanat objeleri için bir vitrin gibi. Kitaplığın yanındaki taşıyıcı kolonlar ise heykelsi odaklara dönüştürülmüş. Böylece yapısal bir gereklilik estetik bir jest haline getirilmiş. Malzeme paleti dinginlik ile cesur renkler arasında gidip geliyor. Meşe, keten ve sıva yüzeyleri kobalt, toprak tonları ve koyu bordo gibi doygun renk alanlarıyla dengeleniyor. Bu yoğun anlar, sakinliği noktalayarak açık plan içinde ritim yaratıyor. Özetle ZTP House, bir minimalizm manifestosundan çok bir denge araştırması; camın ötesindeki manzarayla süreklilik içinde gelişen bir yaşamın sahnesi.

December 2024 | Urban ENGLISH BELOW İSTANBUL'DA YIL SONU: MEKANLAR ve PARTİLER words Onur Baştürk Yılın son haftasına girerken İstanbul’da yeni restoran açılması çok da beklenen bir şey değildir. Özellikle de bu ekonomik iklimde. Ama işte burası sürprizli bir şehir, arada böyle şeyler oluyor. O yeni restoran barın ismi Cozy. Lucca’dan ayrılan Emrah Gencer’in kurucu ortakları arasında olduğu Cozy’nin iç tasarımı Rezzan Benardete Interiors’a ait. Henüz fırından yeni çıktığı için gidip görmüş değilim, bunlar sadece ön bilgi olsun, gördükten sonra ayrıca yazarım. MEZKLA’NIN TUHAF YANI Gel gör ki bir ay önce açılan yeni bir restoran daha var, Etiler’de açılan Mezkla. İsminden dolayı Meksika mutfağı olduğunu sanıp heveslenmiştim, ama Meksika ve Akdeniz mutfağının karışımıymış. Peki bu karışım olmuş mu? Amaca yaklaşmışlar diyelim. Biz arkadaşlarımla Chili İçli Köfte ve Mariposa Karides denedik. Mariposa Karides’in en çok tütsülenmiş biberli orzosunu sevdim. Chili İçli Köfte’ye de on üzerinden 7 verdim. En olmasa da olur dediğim tabak, odun ateşinde pişmiş brokoliydi. O da benim hatam, “Hadi sipariş edelim “ diye ısrar eden bendim! Taco’lara gelince bir itiraf: Başka restoranlarda daha iyi taco’lar yedim. Mezkla’nın en iyi yanı ise geniş tekila/mezkal bazlı kokteyl menüsü. Chili’sinden Tommy, Paloma ve Mezcalita’sına kadar her çeşit var ve hepsi de 10 puan! Mezkla’nın en tuhaf yanı ise konuksever olmayan kapısı. “Rezervasyonunuz var mı?” diyerek önümüze etten duvar ören güvenlik görevlisi bir de üstüne, “Beca’ya gelmediniz değil mi? Herkes bizi orayla karıştırıyor” dedi. Tuhaftı. Neyse, bu tatsız girişi Mezkla’nın müdürü Sina Baltutan tüm profesyonelliği ve kibarlığıyla düzeltti. Sina’nın yolu açık olsun! Bu arada Mezkla’nın iç tasarımı Gab Foods girişimiyle tanıdığımız Gabriela Palatchi Elhadef’in Gab Studio’suna ait. Tasarım başarılı, ama aydınlatmanın bir kısmı çoğu İstanbul restoranında olduğu gibi “sorgu ışığıyla” geçiştirilmiş, bu hayli üzücü. YILIN EN İYİ UĞURLAMA PARTİSİ En çok eğlendiğim partide ise tamamen objektif olmam mümkün değil! Çünkü Yuzu Community’nin 2024’teki son partisinde mimar dj ikili Alp Usluduran ve Doruk Kubilay öyle iyi bir set çaldılar ki, bir kez daha onlara bin teşekkür! Tabii Simply Perfect ve nefis atıştırmalıklarla bizi doyuran Pigalle’e de… Alp ve Doruk’un çaldığı Yuzu partisinin ertesi gecesinde ise -yine onlar sayesinde- kendimi Zorlu PSM’deki Fideles performansında buldum! Fideles’in performansı müthişti, ama ben yine kalabalığın sosyolojisindeydim. Her kesimden insan vardı diyebilirim. Özellikle de: Siyah gözlüklerini asla çıkarmayan (nedenini sonradan öğrendim) yarı sert delikanlı yarı şehirli cool -bazen de ter kokabilen- erkekler topluluğu ile müzikten zevk almaya çalışırken almaya çalışırken ortamın hafif tekinsizliği nedeniyle kız arkadaşlarına sıkı sıkı sarılmış diğer erkekler topluluğu… Hiçbir tarafa aidiyet hissetmediğimden bir süre sonra çıktım tabii. YEAR-END in ISTANBUL: SURPRISES, SPOTS, and PARTIES The final week of the year isn’t exactly the prime time for new restaurant openings in Istanbul—especially given the current economic climate. But hey, this city has a way of surprising us, and every now and then, things like this happen. The latest addition is Cozy, a restaurant-bar co-founded by Emrah Gencer, who you might know from Lucca. The interior design is by Rezzan Benardete Interiors, and while I haven’t had the chance to check it out yet (still fresh out of the oven), consider this a little heads-up. I’ll report back once I’ve visited. THE WEIRDEST PART OF MEZKLA? But there’s another newcomer that beat Cozy to it by about a month: Mezkla, located in Etiler. The name had me dreaming of Mexican cuisine, but it turns out it’s more of a Mexican-Mediterranean fusion. So, did the fusion work? Let’s just say they’re on the right track. My friends and I tried the Chili İçli Köfte and the Mariposa Shrimp. The best part of the shrimp dish was the smoky, peppery orzo—it really stood out. As for the Chili İçli Köfte, I’d give it a solid 7 out of 10. The one dish I could’ve done without? The wood-fired broccoli. But that’s on me—I was the one insisting, “Let’s try it too!” Now, about the tacos: confession time. I’ve had better tacos at other places. What Mezkla really excels at, though, is its margarita/tequila-based cocktail menu. From Chili and Tommy margaritas to Paloma and Mezcalita, they’ve nailed it. Every single one deserves a 10/10. The weirdest part of Mezkla? The less-than-welcoming bouncer at the entrance. He stopped us with a stern “Do you have a reservation?” and then added, “You’re not here for Beca, right? Everyone keeps confusing us with them.” Strange vibes, to say the least. Thankfully, Mezkla’s manager, Sina Baltutan, swooped in with utmost professionalism and charm to make up for the awkward welcome. Here’s to Sina and his bright future! On a design note, the interiors are by Gabriela Palatchi Elhadef’s Gab Studio, known for Gab Foods. The design is lovely, but like many Istanbul restaurants, the lighting falls flat—more “interrogation room” than “ambience.” A real shame. PARTIES, DJs, AND THE YEAR’S BEST SEND-OFF When it comes to the most fun New Year’s party I attended, I’ll admit I can’t be entirely objective. The final Yuzu Community bash of 2024 was unforgettable, thanks to the architect-DJ duo Alp Usluduran and Doruk Kubilay, who spun an incredible set. A thousand thanks to them once again! And, of course, props to Pigalle for keeping us fueled with their delicious bites and to Simply Perfect, the tequila that perfectly matched the vibe of the night. The night after that epic Yuzu party, I found myself—thanks to Alp and Doruk—at Zorlu PSM for Fideles’ performance. It was phenomenal. But true to form, I couldn’t help but analyze the crowd. The people-watching didn’t disappoint: a mix of “too-cool-to-take-off-my-sunglasses” urban tough guys (I later found out the reason for the shades) and another group of slightly anxious men clutching their girlfriends for dear life in the faintly edgy atmosphere. Neither group felt like my crowd, so I called it a night early. Here’s to Istanbul, where the unexpected keeps us on our toes and the parties keep us dancing. Bring it on, 2025!

September 16, 2025 | Art & Culture TR BELOW :mentalKLINIK TAKES OVER ISTANBUL portrait photo Nazlı Erdemirel From September 18 to October 18, 2025, PILEVNELI Dolapdere hosts a striking exhibition by Brussels-based artist duo :mentalKLINIK. Titled Lunatic Poets, the show distills four years of their practice into a multi-layered experience where the digital and the physical unfold simultaneously. Sculptures, robotic works, and spatial installations meet a meta-cinematic environment that invites audiences into a double-edged performative reality. With Lunatic Poets, the duo unleashes the excess of contemporary life as a hyper-charged ecosystem—like hacking into an algorithm caught in an endless loop after a panic attack on a nightclub floor. The result is an unbearably funny yet unsettling universe, transmitting an unapologetic consciousness in real time. The exhibition takes its cue from the archetype of the meczup—the “holy fool” of Anatolia, a figure carrying a wisdom outside the system. By channeling this spirit into an abandoned party atmosphere, :mentalKLINIK stages a scenario of resistance that directly challenges the Western tradition of normalizing madness. ANOTHER LAYER AT LUCCA On the very same day, a second :mentalKLINIK intervention opens at Lucca as part of the LUCCA × PİLEVNELİcollaboration. Running until September 28, Almost Surprised unfolds as a conceptual takeover, disrupting the venue’s everyday rhythm and reimagining it through the duo’s artistic gestures. By twisting function into fiction, Lucca becomes a stage for a parallel reading—one where nightlife and contemporary art collide. :mentalKLINIK ve İSTANBUL ÇIKARMASI 18 Eylül – 18 Ekim 2025 tarihleri arasında İstanbul’daki PİLEVNELİ Dolapdere’de dikkat çekici bir sergi var: Brüksel merkezli sanatçı ikilisi :mentalKLINIK’in dört yıllık üretim sürecinin ürünü olan MECZUP ŞAİRLER (Lunatic Poets). Dijital ve fiziksel düzlemleri aynı anda açımlayan sergide bir yanda heykeller, mekânsal yerleştirmeler ve robotik eserler yer alacak, diğer yanda ise izleyiciyi çift katmanlı performatif bir gerçekliğe davet eden meta-sinematik bir yerleştirme. Sanatçı ikilisi, bu sergisinde güncel insanın aşırılığını hiper-yüklü bir ekosistem olarak serbest bırakıyor. Sanki bir gece kulübünde panik atak geçirip sonsuz döngüye takılan bir algoritmaya sızmak gibi… Acı verecek derecede komik ve tekinsiz bu evren, utanmaz bir bilinci doğrudan aktarıyor. MECZUP ŞAİRLER, Anadolu’nun sistem dışı bir bilgelik taşıyıcısı olan meczup arketipinden ilham alıyor ve deliliği, :mentalKLINIK’in terk edilmiş parti atmosferinde bir direniş senaryosuna dönüştürerek, akıl hastalığını normalleştirmeye odaklanan Batı düşüncesine meydan okuyor. AYNI ANDA LUCCA’DA BİR BAŞKA PROJE Bu serginin açıldığı gün LUCCA × PİLEVNELİ iş birliğiyle bir başka :mentalKLINIK projesine tanık olacağız. 28 eylüle dek Lucca’da sürecek Almost Surprised adlı bu proje aslında kapsamlı bir kavramsal “takeover”. :mentalKLINIK, mekanı alışılmış ritminden çıkarıp bambaşka bir dünyaya açacak. Almost Surprised, sanatçı ikilisinin mekâna dönük jestleri ile işlevini sürdürmekte olan Lucca’yı sanat bağlamında farklı bir okumaya açacak.

July 2024 | Travel TURKISH BELOW MAGNIFICENT SERENITY on the edge of the CLIFF words Laura Cottrell T he view from Alila Villas Uluwatu, perched atop the limestone cliffs overlooking the ocean on Bali's Buket Peninsula, can be briefly described as follows: A perfect picture! Each of Alila's 65 villas overlooks the Indian Ocean. Designed by Singaporean architects WOHA, the villas have a natural feel with materials such as wood, stone and rattan. The wood is recycled from railroad ties and telephone poles. The bamboo ceilings and rattan in the modern interiors are locally sourced, and the roof of each villa is made from local lava rock. One of the most popular spots at Alila Villas Uluwatu is the Sunset Cabana Bar. At the Sunset Cabana Bar, where you can watch the sunset from the ocean view, it is possible to go to another dimension with the sound of the waves coming from below and a cocktail to sip! One of Alila Villas' standout features is its restaurants. The Mediterranean-inspired Cire, with its focus on fresh vegetables, fruits, legumes, fish and olive oil, and the Warung, serving healthy traditional Balinese dishes, are sanctuaries for foodies. www.alilavillasuluwatujourney.com UÇURUM kenarındaki ŞAHANE DİNGİNLİK B ali’nin Buket Yarımadası’nda, okyanusa doğru uzanan kireçtaşı kayalıklarının üzerindeki uçurumda konumlanan Alila Villas Uluwatu’nun manzarasını kısaca şöyle tanımlamak mümkün: Kusursuz bir resim! Alila’daki 65 villanın her biri Hint Okyanusu manzaralı. Singapurlu mimarlık ofisi WOHA tarafından tasarlanan villalar ahşap, taş ve rattan gibi malzemeler sayesinde doğal dokunuşlara sahip. Ahşap malzemeler demiryolu traversleri ve telefon direklerinden geri dönüştürülerek elde edilmiş. Modern stildeki iç mekanlarda yer alan bambu tavanlar ve rattanlar ise lokal üretim. Her villanın çatısında lokal lav kayaları kullanılmış. Alila Villas Uluwatu’nun en gözde noktalarından biri Sunset Cabana Bar. Günbatımının okyanus manzarasına bakarak görkemli bir şekilde izlenebildiği Sunset Cabana Bar’da, aşağıdan gelen dalgaların sesi ve yudumlanacak kokteyl eşliğinde başka bir boyuta geçmek gayet mümkün! Alila Villas’ın güçlü yanlarından biri de restoranları. Akdeniz'den ilham alan ve taze sebze, meyve, baklagiller, balık ve zeytinyağı odaklı Cire ile sağlıklı geleneksel Bali yemekleri sunan The Warung; yemek meraklıları için kutsal birer mabed niteliğinde. www.alilavillasuluwatujourney.com

Stay + Architect's Diary + Meet the Tastemakers + Partnerships YUZU FILM STAY A POSTVENETIAN DREAM: Inside The Venice Venice Hotel Escape to a Sea-Only Sanctuary on the Turkish Riviera YUZU x Hotel de Louvre YUZU x Ace Hotel Athens YUZU x Villa Lena YUZU x L’AND Vineyards YUZU x Cullinan Belek YUZU x Bayou Villas STAY ARCHITECT’S DIARY ARCHITECT’S DIARY YUZU x Andrea Lupi with Antonio Lupi YUZU x Praxitelis Kondylis with Aimasia Project YUZU x Kemal Serkan Demir YUZU x Erhan Sağır YUZU x Mahmut Kefeli YUZU x Hasan Burak Akyıldız YUZU x Pınar Hacıaifoğlu YUZU x Yeşim Kozanlı YUZU x Melike Altınışık YUZU x Derya Toros YUZU x Cisim Design (Erdem İşler + Emre Özücoşkun) MEET THE TASTEMAKERS YUZU x Gökşen Buğra founder of Gallery Bosfor YUZU x Burak Beşer Momo's Owner MEET THE TASTEMAKERS PARTNERSHIPS SUMMER IN ISTANBUL with VILEBREQUIN VONDOM OPENING BEYMEN ART ROOM with BEYMEN AEGEAN JOY with MOMO BDRM OPEN TABLE with TERRA MADRE MYSTICAL SCOTLAND with BROTHERS ARCHITECTURE & HISTORY & GASTRONOMY with PALOMA FINESSE ART DINNER with Anna Laudel Gallery ART BASEL MIAMI BEACH EVENT with ENNE SHEPARD FAIREY with LG OLED ART COMMUNITY GATHERING with HAMM COMMUNITY DINNER with ISTANBUL MODERN

September 11, 2025 | TRAVEL a RETREAT AMONG the VINES: TOREL QUINTA DA VACARIA words Onur Basturk photos Luis Ferraz (Courtesy of Quinta da Vacaria) I knew I had truly arrived in the Douro Valley—the northern Portuguese wine region stretching from Porto to the Spanish border—when terraced vineyards began to blanket every hillside in sight. The view from the car was nothing short of spectacular: vines climbing from steep slopes all the way to the hilltops, while the Douro River wound peacefully through the valley floor. And then, just an hour and a half later (the drive from Porto Francisco Sá Carneiro Airport), the hotel where I would spend the weekend appeared quietly before me: Torel Quinta da Vacaria. A HISTORY ROOTED IN THE 1600s The Douro Valley is the world’s oldest demarcated wine region, with viticulture here dating back to Roman times. The vineyards that include the estate I stayed at—Quinta da Vacaria—date back to 1616. That year, when the property became part of the Society of Jesus, its story began to be recorded. It started to take shape with a house built by Friar Luís Álvares de Távora. Even then, the estate was producing around 70 barrels of wine annually—an impressive figure for the era. The chapel dedicated to Our Lady of the Good Event, built in 1732, still stands almost entirely intact today at the entrance of the hotel. Over the following 150 years, Quinta da Vacaria grew significantly. What began as 25 hectares has expanded to 60 hectares of vineyards, with a vital role in producing world-class Port and DOC wines. In 2015, the estate was acquired by the Portuguese Marec Group, and shortly after, in collaboration with the Torel Boutiques group, the hotel project began. Torel Quinta da Vacaria is therefore a newcomer—having opened only last year. SCHISTÓ: A GASTRONOMIC HIGHLIGHT If anything matches the meditative walks through the vineyards and the serene river views from my room, it is the gastronomy. The hotel’s standout dining destination—one not to be missed even if you’re not staying overnight—is Schistó. Named after the region’s emblematic schist stone, the restaurant is a “tribute to Portuguese cuisine” shaped by the vision of Portugal’s most Michelin-starred chef, Vítor Matos (holder of five stars), together with chef Vítor Gomes and sous-chef Carolina Columbano. With only 14 seats, Schistó offers an intimate experience where guests sit directly before the open kitchen. The space feels like a fine dining theatre, with floor-to-ceiling pale green drapes and Guatemalan green marble underfoot creating an atmosphere that disconnects you from the outside world. Among the dishes I sampled—part of what is described as a “ten-moment gastronomic journey”—my favourites were the Rainbow Trout from the Douro River and a reinterpreted version of the traditional Cozido à Portuguesa. As Chef Matos explains: “We took Douro’s traditional, familiar Portuguese cuisine and turned it into a fun and daring experience. At the heart of our kitchen are always the ingredients—we try to extract as much flavour as possible.” And a special thanks must go to sommelier Carlos Eduardo. Thanks to his pairings, I discovered wines so exceptional that, ever since, I can hardly bring myself to accept anything less. A MUST: WINE TASTING AT CASA DA VINHA Another unforgettable moment during my stay was the experience at Casa da Vinha, perched atop the vineyards with sweeping 360-degree views across the Douro. If possible, walk there rather than take a buggy—the climb through century-old vines takes no more than 20 minutes. At the top, you’re rewarded with an extraordinary wine-tasting session. Reservations are essential, but the chance to explore Quinta da Vacaria’s finest wines in such a setting, guided by expert knowledge, was truly remarkable. THE ASTOLFI TOUCH The interiors of the hotel were entrusted to a familiar name: Joana Astolfi, founder of Studio Astolfi. Not long ago, I stayed at The Verse, one of Lisbon’s newest hotels, also designed by her, and I was captivated by her palette, material harmony, and refined details. At Torel Quinta da Vacaria, she continues this signature approach, sourcing ceramics, wicker, and wooden furniture primarily from Portuguese makers and artisans such as Depozito, A Vida Portuguesa, Oficina Marques, Banema Studio, Burel Chiado Interiors, Felipa Almeida, Bordallo Pinheiro, and Fabricaal. Architect Luís Miguel Oliveira, meanwhile, preserved the white façade of the original main house while painting the estate’s second-oldest building burgundy to evoke wine—a detail that looks particularly striking from the pool, especially at sunset. Many of the rooms also feature small outdoor bathtubs—mine included. If the weather had been warmer, I would have indulged without hesitation. FINAL DETAILS - Don’t be surprised if you feel a gentle tremor while sitting in your room—there’s a train line running just behind the hotel, and every so often one passes by. In fact, within the estate itself stands a historic railway bridge. - At the hotel’s spa, be sure to book the Vineyard Experience. This 120-minute ritual begins with a body scrub made of salt, grape, wine, and almond oil, followed by a dip in a pool infused with Quinta da Vacaria’s grape- and red wine-based ingredients.

August 2023 | YUZU BODRUM | Coffee Table Book english below YAZ YALIKAVAK HOTEL A slında eski bir Yalıkavak oteli Yaz Yalıkavak . 1994 yılında açılmış, ama 2017 yılına kadar farklı bir isimle işletilmiş. 2017’de otelin sahibi olan ailenin üçüncü kuşağından İnanç Işıklar ve Elif Sünget hem tasarımı hem de bakış açısını baştan aşağı değiştirmiş. Tabii otelin ismini de… Uzun süre gayrimenkul alanında çalışan İnanç Işıklar ve kurumsal şirketlerde farklı pozisyonlarda çalışmış Elif Sünget’in en çok üzerinde durdukları nokta şu: Bodrum’da çok fazla büyük ve lüks segment otel var, ama Yaz Beach gibi konforlu butik otel çok az. İşte Yaz Yalıkavak Hotel o eksiği gidermeye çalışan bir otel. Denize sıfır oluşu, odalara asansörsüz ve buggy’siz kolayca ulaşılması, oda tasarımının fazlalıklardan arınmış, sade ve çabasız hali Yaz Yalıkavak ’ın en büyük artılarından… Popüler Yalıkavak mekanlarından The Galliard Cove House’un da içinde yer aldığı Yaz Yalıkavak Hotel’in plaj restoranı Verano, bu mekanın danışmanlığında işletiliyor. Y az Yalıkavak is actually an old Yalıkavak hotel. It was founded in 1994 but operated under a different name until 2017. In 2017, İnanç Işıklar and Elif Sünget, the hotel's third generation owners, have completely changed both the design and its standpoint. Of course, the name of the hotel too… İnanç Işıklar, who has long worked in real estate, and Elif Sünget, who has held various positions in corporate companies, emphasize the following: In Bodrum, there are too many large and luxury hotels, but far too few comfortable boutique hotels like Yaz Beach. Now, Yaz Yalıkavak Hotel tries to remedy this. The best features of Yaz Beach are its location on the seafront, easy access to the rooms without a lift or buggy, and the simple and effortless, excess free room designs. Verano, the beach restaurant of Yaz Yalıkavak Hotel, which also includes The Galliard Cove House, a popular Yalıkavak venue, is managed under this venue's consultancy.

Seyahat + Stil + İnsan + Art + Botanik ART & CULTURE MAPPING YOUNG ART: BASE 2025 TRACING the NAHIL TRIARCHY: the THREE FORCES of POWER LISBON ART WEEKEND the CITY as GALLERY ISOLA SPACE BRIDGING MILAN and DUBAI IST.FESTIVAL: Rethinking Reality the WORLD NEEDS a LITTLE MAGIC AMSTERDAM DESIGN FLOW: GLUE & TANK TOGETHER in SYNC with the FUTURE :mentalKLINIK TAKES OVER ISTANBUL on the RED CARPET: BRAD WALLS’ PASSÉ CHRISTOPHER HERWIG: BEAUTY in the EVERYDAY a GALLERY at HOME in SOHO the THREE-LEGGED CAT: 18th ISTANBUL BIENNIAL HÉLOÏSE PIRAUD CERAMICS is INHERENTLY UNCERTAIN JOLINE KWAKKENBOS CREATING in LEROS WAS MAGICAL and TRANSFORMATIVE P U R E: SCULPTING SILENCE in WHITE INSIDERS / OUTSIDERS? SAND, SUN, and CONTEMPORARY ART: CAN ART FAIR GROUNDED in VENICE: Rethinking Architecture from the Ground Up Show More

July 2024 | People | Vol 13 TR BELOW THE SECRET OF MEDITERRANEAN GARDENS words Onur Baştürk photos Alexander Warren-Gash If I asked you what is the essence of Mediterranean life, what would you say? Comfort, for example? The long summers? Or the magnificent sea? Actually, it comes down to one thing: the outdoor lifestyle. That is the essence of being Mediterranean. It's what Mashamba Garden & Terrace Design in Mallorca is all about, designing unique gardens and outdoor living spaces. Now let's listen to what Jennifer and Alexander Warren-Gash, founders of Mashamba, have to say about creating a Mediterranean garden... Mashamba Design was born in Mallorca. But I think there's a prequel. Alexander's love for nature and the years he spent in Africa and Costa Rica. How did it all start, Alexander? You are absolutely right! Costa Rica is synonymous with nature, but my love for the outdoors really began in Africa. I spent much of my childhood there. My father is perhaps one of the last great British eccentrics. In the office he was a highly respected ambassador. But out of the office he was traipsing through the jungle with a butterfly net. His passion for discovering new species of butterflies took him to many remote and exotic locations. I was lucky enough to accompany him on these adventures, going on my first expedition to Cameroon when I was 12 years old. And while my father was largely oblivious to anything that wasn't a butterfly, I was acutely aware of the beauty of nature all around me - including the lions, elephants and buffalo! Jennifer, how did you two meet? What is your division of labor in Mashamba? Alexander and I met on a blind date in Costa Rica and we've been inseparable ever since. We started working together at Mashamba when we moved to Mallorca. While Alexander is in charge of the gardens, I focus on creating magical outdoor living spaces. Curating outdoor art and designing terraces, outdoor kitchens and pool areas is my specialty. Sometimes Alexander and I work on the same projects, but my work also includes urban homes or penthouse roof terraces. What is your idea of a Mediterranean garden? The first plants most people think of are bougainvillea, lavender and olives. What about cacti and succulents that require less water? We are blessed in the Mediterranean with so many fantastic and diverse plants. Cacti and succulents are a great sustainable option, but really any native Mediterranean plant is drought tolerant by default. We like to mix cacti and succulents with native and other drought-tolerant plants to create arid gardens that require minimal watering. Beautiful flowering plants such as gaura, delosperna, echium, and bulbinella create lush and green eco-friendly gardens. But really, for us, the idea of a Mediterranean garden goes beyond the plants; it's a place you want to spend time in. You say that "outdoor living is the essence of Mediterranean living". Indeed it is. So what are your favorite plants in Mediterranean gardens? Funnily enough, plants are not the first thing we look at when we design. Although they are an important part of the garden, they are almost an afterthought. For us, the key to a good design is determining the flow of the space and incorporating all of the client's wants and needs. We ask questions like, where's the best place for a hidden seating area? How do we connect it to the house and the rest of the garden? What's the best vantage point for the mountain view and how can we take our clients there? It's only after the flow is decided that we start thinking about how plants fit into the design. Having said that, I have a few favorites that make it into most of our gardens. Gaura with its white or pink flowers. Rosemary clipped into clouds or hanging down walls, and Olives. Our own garden is full of these three because they are beautiful, easy to care for and require little water. Do you design gardens according to your clients' wishes or do you, like Mashamba, follow a particular style? Every garden we create is our best effort to interpret the client's dream. We consider the seasons they'll be visiting, their favorite plants and colors. How they'll use the garden and what features they'd like to include, such as an outdoor kitchen, petanque court, water fountain or even a large sculpture. Most of our clients choose Mashamba because they already know our style. Something we are well known for is our aromatic lawns. We mix ornamental grasses like Stipa and Pennisetum with perennial flowers like Gaura and Perovskia to create layers of color, texture and scent. Our designs can range from modern to wildly romantic to classic Mediterranean, but there's something distinctively Mashamba about them all. We like to call it relaxed elegance. What is the garden design you have done in the last few years that you liked the most? I do have a favorite garden, but it would be unprofessional of me to say which one! What I can say is that my favorite gardens inspire you to get outside to both explore and enjoy and to disconnect and be present. What gets you outside can be something as simple as a bench set up to take in the view. Or it can be something more magical, like a dining table set in the dappled light of an old carob tree. Another favorite aspect of our gardens is that they appeal to the senses. The sound of swaying grasses, the scent of jasmine, brushing against a soft-leafed plant, a riot of color, picking and eating an orange. What are the 5 essential plants for a good garden design? Most of our designs include a feature olive tree, old and gnarled, and plants like rosemary, agave and gaura. We also believe that every Mediterranean garden should have citrus, and we include at least one lemon tree in all of our gardens. What is the secret to a healthy garden? The real secret to a healthy garden is both soil preparation and appropriate watering. With these two ingredients - and assuming the plant selection is suitable for the climate - the garden will most likely thrive. The difference between planting in quality topsoil and existing soil can be enormous. We always recommend prioritizing spending on soil preparation over buying larger plants. A smaller plant in top soil will quickly outgrow a larger plant in poor soil. Alexander, is it hard to design cloud gardens? Designing cloud gardens is easy. The hard part is having the patience to wait for the cloud formations to take effect. The classic cloud garden consists of a single plant species formed into large organic shapes - much like a cloud. Our Mediterranean version differs from the classic design because we use a mix of species to create cloud banks with different textures and colors. We typically use two to three shrubs, such as rosemary, teucrium and lentiscus, and plant each variety in groups of three to five. With lots of pruning, they form a cloud garden in about a year. One of the great things about a cloud garden is that they are evergreen all year round. S ize Akdenizli yaşamın esas özünü sorsam nasıl bir yanıt verirdiniz? Mesela rahatlık mı? Uzun yazlar mı? Yoksa muhteşem deniz mi? Aslında tüm bunların hepsi tek bir şeye bağlanıyor: Açık hava yaşam tarzına. Akdenizli olmanın esas özü bu. Mallorca’daki Mashamba Garden & Terrace Design da işte bu fikirden hareket ederek benzersiz bahçe ve açık hava yaşam alanları tasarlıyor. Şimdi Mashamba’nın kurucuları Jennifer ve Alexander Warren-Gash’ın Akdenizli bahçe tasarımına dair söylediklerine kulak verelim… Mashamba Design’ın ortaya çıktığı yer Mallorca. Ama bir de öncesi var. Alexander’ın doğaya duyduğu sevgi, Afrika ve Kosta Rika’da geçirdiği yıllar. Her şey nasıl başladı Alexander? Çok haklısınız! Kosta Rika doğa ile eşanlamlıdır. Ama benim doğaya olan aşkım aslında Afrika'da başladı. Çocukluğumun büyük bir kısmını orada geçirdim. Babam belki de son büyük İngiliz eksantriklerinden biriydi. Çok saygı duyulan bir büyükelçiydi. Ama ofisinin dışında elinde bir kelebek ağıyla ormanda gezinirdi. Yeni kelebek türleri keşfetme tutkusu onu birçok uzak ve egzotik yere götürdü. Bu maceralarda ona eşlik edecek kadar şanslıydım. 12 yaşındayken Kamerun'a ilk keşif gezime gittim. Babam kelebek olmayan her şeyden büyük ölçüde habersizken, ben etrafımdaki doğanın son derece farkındaydım! Jennifer, Alexander’la nasıl bir araya geldiniz? Mashamba’daki iş bölümünüz nasıl? Alexander’la Kosta Rika'da bir ‘blind date’de tanıştık ve o zamandan beri ayrılmaz bir ikiliyiz. Mallorca'ya taşındıktan sonra Mashamba'da birlikte çalışmaya başladık. Alexander bahçelerden sorumlu, ben muhteşem açık hava alanları yaratmaya odaklanıyorum. Teraslar, açık hava mutfakları ve havuz alanları tasarlamak uzmanlık alanım. Bazen Alexander’la aynı proje üzerinde çalışıyoruz. Ancak benim işim aynı zamanda şehirdeki evleri ya da çatı katı teraslarını da içeriyor. Bir Akdeniz bahçesine dair vizyonunuz nedir? Çoğu kişinin aklına ilk gelen bitkiler begonvil, lavanta ve zeytin oluyor. Mesela daha az su gerektiren kaktüs ve sukulentlerle aranız nasıl? Akdeniz'de çok sayıda harika bitkiyle kutsanmış durumdayız. Kaktüs ve sukulentler en sürdürülebilir seçenek. Çünkü kuraklığa karşı daha toleranslılar. Minimum sulama gerektiren kuru bahçeler oluşturmak için kaktüs ve sukulentleri lokal ve yine kuraklığa dayanıklı bitkilerle karıştırmayı seviyoruz. Mesela Gaura, Delosperna, Echium ve Bulbinella gibi güzel çiçekli bitkiler… Ama bizim için Akdeniz bahçesi fikri bitkilerin de ötesinde, içinde vakit geçirmek isteyeceğiniz bir yer. “Açık hava yaşamı Akdeniz tarzı yaşamın özü” diyorsunuz. Gerçekten de öyle. Peki Akdeniz tarzı bahçelerde en sevdiğiniz bitkiler hangileri? İlginç gelebilir ama bahçe tasarımı yaparken ilk baktığımız şey bitkiler değil! Bahçenin önemli bir parçası olmalarına rağmen neredeyse sonradan aklımıza geliyor. Bizim için iyi bir tasarımın anahtarı, alanın akışını belirlemek ve müşterinin istek ve ihtiyaçlarını dahil etmek. Kendimize şunun gibi sorular soruyoruz: Gizli bir oturma alanı için en iyi yer neresi? Bu alanı eve ve bahçenin geri kalanına nasıl bağlayacağız? Dağ manzarasını izlemek için en iyi bakış açısı nedir ve müşterilerimizi oraya nasıl yönlendirebiliriz? Akışa karar verdikten sonra bitkilerin tasarıma nasıl uyum sağlayacağını düşünmeye başlıyoruz. Ama elbette bahçelerimizin çoğunda yer alan birkaç favorimiz var. Beyaz-pembe çiçekleriyle Gaura. Bulutlar halinde kırpılmış ya da duvarlardan aşağı doğru uzanan biberiye ve zeytinler. Kendi bahçemiz bu üçüyle dolu. Çünkü güzeller, bakımları kolay ve az su istiyorlar. Müşterilerin taleplerine göre mi bahçe tasarlıyorsunuz yoksa Mashamba olarak belli bir stili mi uyguluyorsunuz? Yarattığımız her bahçede müşterinin hayalini yorumlamak için çabalıyoruz. Yılın hangi zamanlarında bahçeyi ziyaret edeceklerini, en sevdikleri bitkileri ve renkleri göz önünde bulunduruyoruz. Bahçeyi nasıl kullanacaklarını, açık hava mutfağını, péntanque sahasını, su çeşmesini ve hatta büyük bir heykel gibi istedikleri özellikleri göz önünde bulunduruyoruz. Bizi seçiyorlar, çünkü tarzımızı biliyorlar. Oldukça iyi bildiğimiz bir şey de aromatik tarlamız. Stipas ve Pennisetum gibi süs otlarını Gaura ve Perovskia gibi çok yıllık çiçeklerle karıştırarak renk, doku ve koku katmanları oluşturuyoruz. Tasarımlarımız modernden çılgın romantiğe ve klasik Akdeniz'e kadar çeşitlilik gösteriyor. Ama hepsinde Mashamba'ya özgü bir şey var. Biz buna ‘rahat şıklık’ demeyi seviyoruz. Son yıllarda tasarladığınız ve en çok hoşunuza giden bahçe tasarımı hangisiydi? Favori bir bahçem var, ama hangisi olduğunu söylemem profesyonelce olmaz! Söyleyebileceğim tek şey, favori bahçelerimin hem keşfetmek ve eğlenmek hem de dışarı çıkmanıza ilham veriyor olması. Sizi dışarı çıkaran şey, manzarayı seyretmek için yerleştirilmiş bir bank gibi basit bir şey olabilir. Ya da yaşlı bir keçiboynuzu ağacının gölgeli ışığına yerleştirilmiş bir yemek masası gibi daha büyülü bir şey de olabilir. Bahçelerimizin bir diğer favori yönü de duyulara hitap etmesi. Sallanan çimlerin sesi, yasemin kokusu, yumuşak yapraklı bir bitkiye sürtünmek… İyi bir bahçe tasarımı için mutlaka olması gereken 5 bitki sizce hangisi? Tasarımlarımızın çoğunda asırlık ve budaklı bir zeytin ağacı ile biberiye, agave ve gaura gibi bitkiler yer alır. Ayrıca her Akdeniz bahçesinde narenciye olması gerektiğine inanıyoruz ve tüm bahçelerimizde en az bir limon ağacına yer veriyoruz. Sağlıklı bir bahçenin sırrı nedir? Sağlıklı bir bahçenin gerçek sırrı hem zemin hazırlığı hem de uygun miktarda sulama. Bu iki bileşen ve bitki seçiminin iklime uygun olması halinde bahçe gelişir. Kaliteli bir üst toprağa ekim yapmakla mevcut toprağa ekim yapmak arasındaki fark da çok büyük. Daha büyük bitkiler satın almak yerine zemin hazırlığına öncelik vermenizi öneririz. Üst topraktaki daha küçük bitki, zayıf topraktaki daha büyük bitkiyi kısa sürede geçebilir. Alexander, bulut bahçelerini tasarlamak zor mu? Aslında kolay. Zor olan kısım, bulut oluşumlarının etkisini göstermesini beklerken gereken sabır. Klasik bulut bahçesi, tıpkı bir bulut gibi büyük organik şekiller oluşturan tek bir bitki türünden yapılır. Bizim Akdeniz versiyonumuz klasik tasarımdan farklı. Çünkü farklı doku ve renklere sahip bulut kümeleri ekleyerek türlerin karışımını kullanıyoruz. Genellikle biberiye, Teucrium ve Lentiscus gibi iki ya da üç çalı kullanıyoruz. Her çeşidi üç ila beşli gruplar halinde dikiyoruz. Bol budama ile yaklaşık bir yıl içinde bir bulut bahçesi oluşuyor. Bir bulut bahçesinin en büyük avantajlarından biri, hep yeşil olması. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

February 2025 | PEOPLE SHAUNA GILLIES-SMITH LANDSCAPE ARCHITECTURE is KEY to CITIES words Laura Cottrell photos (1) Richard Mandelkorn, (2-3-4-5-6-7) Chuck Choi, (8) Trent Bell, (9) Millenium Partners Boston Massachusetts-based landscape architecture studio Ground, led by Harvard-trained Shauna Gillies-Smith, creates playful and unexpected spaces defined by fluid curves and bright colors. The team believes that landscapes should spark moments of surprise and joy in public spaces and emphasizes that the success of urban landscapes depends on dynamic public engagement. “Well-designed outdoor spaces help us reconnect—with each other and with nature,” says Shauna Gillies-Smith, as she shares her thoughts with us. What are the most important features to consider in the landscape design of public spaces in cities? A key feature is creating spaces that accommodate various group sizes, allowing individuals to feel a sense of ownership, even if only for a short time. Plants, trees, and other natural elements play a crucial role in grounding people, offering a deeper connection to their surroundings. Public spaces should reflect the beauty and complexity of seasonal and temporal changes, fostering a greater awareness of nature and life beyond daily routines. This connection helps build a stronger sense of community and places people in touch with the broader world. What are your priorities in landscape design at Ground? When I transitioned from architecture to landscape architecture, it was because I wanted to create spaces that evoke joy and surprise—those moments when you turn a corner and discover something unexpected. At Ground, we aim to offer this experience in every project, regardless of the client or community. Our focus is on designing spaces that engage with the unique social and cultural context of each place. Our work is rooted in a dialogue with its surroundings, combining tried-and-true materials and strategies—often applied in unconventional, unexpected ways—to keep the experience fresh and relevant. MIYAWAKI FORESTS ARE FASCINATING "Trees, shrubs, and perennials play a very important role in our projects and offer much more than visual appeal" is your motto. This perspective aligns with the concept of the Micro Forest, developed by Japanese botanist Akira Miyawaki in the 1970s. What are your thoughts? Do these microforests also help reduce the urban heat island effect? Miyawaki forests are fascinating—they’re dense, miniature ecosystems designed to accelerate plant succession. By planting a diverse range of species in close proximity, these forests become powerful tools for promoting biodiversity. When it comes to mitigating the urban heat island effect, trees play a critical role: the denser the planting, the greater the cooling effect. While Miyawaki forests offer incredible ecological benefits, they are compact and can be difficult to move through. We are deeply interested in them and continuously seek ways to incorporate them into our projects. However, it is equally—if not more—important to integrate these principles into larger, more accessible public spaces, such as streetscapes, parks, and plazas. This approach ensures a meaningful impact both environmentally and in terms of public experience. LANDSCAPE URBANISM HIGHLIGHTS NATURE’S VITAL ROLE IN CITIES What does the future of landscape architecture look like? What can we expect in the near future? Landscape architecture is becoming increasingly central to the design and planning of cities. The rise of landscape urbanism highlights the importance of nature in urban infrastructure, recognizing that landscapes are fundamental to a city's functionality and health. The COVID-19 pandemic underscored the need for high-quality outdoor spaces, shaping how we approach landscape design moving forward. In the near future, I believe we will see a greater emphasis on landscapes that not only enhance urban spaces but also support habitats and pollinators. These spaces will be more complex, biodiverse, and deeply integrated into the social and environmental fabric of our cities. THE GOAL IS TO BALANCE HUMAN AND WILDLIFE NEEDS Some argue that parts of cities should be returned to wildlife. Do you think this is possible? The feasibility of returning parts of cities to wildlife depends on the context, character, and scale of the landscape in question. While some animals can adapt to urban environments, others may struggle to coexist. It’s important to recognize that while we can’t fully revert urban spaces back to nature, we can design environments that support a diverse range of habitats within the urban fabric. The goal is to create spaces that balance human needs with those of wildlife, fostering coexistence in ways that are both practical and sustainable for all species involved.

November 5, 2025 | DESIGN & INTERIORS MARSHA LIPTON words Pınar Yılmaz A visionary mind at the intersection of art, finance, and technology, Dr. Marsha Lipton has dedicated her career to protecting the identity of physical objects in the digital realm. With experience at J.P. Morgan, an academic foundation in chemistry, and a collector’s eye, she’s redefining one of the art world’s most essential concepts: trust. Your journey spans finance, technology, and art. What led you to found Numeraire Future Trends? Numeraire Future Trends grew out of a lifelong fascination with science, technology, finance, and art — a convergence that felt almost inevitable. I began my career as a trader, first in London’s financial district and later on Wall Street, after earning a PhD in Physical Chemistry and an MBA from the University of Chicago. Those years taught me how to live with risk, make decisions with imperfect information, and filter meaningful signals from noise — a data-driven discipline that still anchors my work today. Over time, I became intrigued by the transparency and traceability offered by blockchain technology. It promised a kind of digital integrity long missing from the world of physical assets. Yet I soon realized that NFTs, in their current form, fell short of that promise. They were often misunderstood and misrepresented — pointing to images stored elsewhere rather than securing or verifying the artworks themselves. The token might persist, but the image it referenced remained vulnerable. That realization sparked a deeper ambition: to integrate technology into the art world responsibly, with the object itself at the centre. Alongside Dr. Thomas Hardjono from MIT, we developed a system where trust resides not in paper documentation but within the object itself. When I began collecting, I noticed how fragile the foundations of authenticity and provenance could be. Documents, galleries, even artists disappear — and records fade. That’s where Numeraire was born: from the idea that trust should be embedded not in certificates, but in the very essence of the object. Why are your Digital Product Passports and AI-based “Object Fingerprint” technology so vital for collectors? Forgery today is far more sophisticated than ever before. AI-powered printing techniques can produce copies capable of deceiving even the most experienced experts. This threatens the very foundation of trust upon which the art world is built. At Numeraire, we address this through Digital Product Passports reinforced by AI-driven Object Fingerprinting. Instead of paper certificates, we record the object’s unique physical characteristics — surface texture, pigment distribution, or the microscopic pattern of a metal or gemstone. These details generate a permanent digital identity stored securely on the blockchain. Artists, galleries, and documentation may come and go, but the object’s own trace remains. In that sense, the values we safeguard today can endure confidently in tomorrow’s world. Can this technology also be applied beyond art — for example, to jewellery and watches? Absolutely. The idea behind Numeraire is simple yet powerful: every object is unique. The texture of a painting, the surface of a metal, the veins of a stone — none can ever be replicated exactly. That makes a tremendous difference in the world of limited-edition jewellery and watches. A Rolex or Cartier bracelet no longer needs a paper certificate to prove authenticity; the material itself becomes the evidence. Each piece carries its own digital identity, enabling verification and transparency across the entire value chain — for brands, collectors, and consumers alike. Where do you see digital identity systems heading over the next decade? What begins today within the worlds of culture and art will soon expand to fields as diverse as medicine, defence, sustainable manufacturing, and luxury goods. In the near term, our aim is clear: to establish a new standard of trust across art, design, and the luxury industries. Our vision is both simple and ambitious — to create a verification technology that stays one step ahead of imitation, protecting authenticity in an increasingly digital world.

April 2021 | Community A GREEN CONVERSATION Partner: +1 That day in Istanbul, at Komşuköy in Cumhuriyet Village, there were five of us under that willow tree: fashion designer Aslı Filinta, Komşuköy co-founder Özden Akyıldız, chef Maksut Aşkar, actress Eylül Su Sapan, and YUZU founder Onur Baştürk. Our conversation under the tree touched on many "green" topics, from the food and drinks we enjoyed to how nature makes us feel and what steps we take in our own lives to show respect for nature. İstanbul, Cumhuriyet Köyü’ndeki Komşuköy’de o gün o söğüt ağacının altında beş kişi bir aradaydı. Moda tasarımcısı Aslı Filinta, Komşuköy’ün kurucu ortağı Özden Akyıldız, şef Maksut Aşkar, oyuncu Eylül Su Sapan ve YUZU kurucusu Onur Baştürk. Ağaç altındaki sohbette yiyip içtiğimiz şeylerden tutun da, doğanın bize ne hissettirdiği ve kendi hayatımızda doğaya saygı adına neler yaptığımıza kadar birçok ‘yeşil’ alt başlık konuşuldu.

September 22, 2025 | Product MERITALIA: a SOFT SPACE brand MERITALIA photos Claudia Zalla Founded in 1987, Meritalia® has long been a bold voice in Italian radical design. Since 2023, the brand has been part of Italian Radical Design, alongside icons like Gufram and Memphis. Its catalogue spans legends—Gaetano Pesce, Mario Bellini, Achille and Pier Giacomo Castiglioni, Carlo Contin—along with a new generation of designers such as Francesco Meda. With A Soft Space, the third chapter of its Living series, Meritalia® returns to the intimacy of the home. The campaign captures the dialogue between objects and everyday gestures—wide perspectives paired with quiet, close details—showing how design comes alive in daily life. Iconic pieces take center stage: Pesce’s La Michetta (in both sofa and bed versions), the Shadow armchair, and the playful Gli Amici poufs. They are joined by 2025 debuts: Meda’s Palma chair and sofa, Bellini’s sculptural Opera table, plus Pesce’s eclectic Montanara and modular Colorado sofas. Each piece interacts with natural materials—wood, terracotta, leather, metal—building a layered, sensory environment enriched with artworks and textures in warm, buttery tones. There are no screens, no distractions—just design, material, and human presence. A Soft Space strips away the noise to reframe how we live with objects: furnishings that blend into the architecture, yet bring personality and freedom into the everyday.