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August 10, 2026 | Art & Culture PETER BUGGENHOUT words Rajesh Punj photos Ugo Carmeni (FDVN Venezia 2026) Belgian artist Peter Buggenhout is among the artists featured in The Only True Protest Is Beauty, the inaugural exhibition of Fondazione Dries Van Noten at Venice's Palazzo Pisani Moretta, on view until 4 October 2026. In this conversation, he reflects on material, perception and why a sculpture can never be understood from a single point of view. AFTERMATH If the history of sculpture has long been tethered to endurance, where method and material manifest meaning, then Belgian artist Peter Buggenhout begins precisely at the point of collapse, when matter loses its place and original purpose. In his book Minima Moralia: Reflections on a Damaged Life, German philosopher Theodor W. Adorno coined the aphorism “the whole is the false”, arguing that what collapses is not just matter but the very idea of coherence. Essentially, what we hold to be true is always subject to change, and Buggenhout asserts through his work an aftermath of unease and serene ugliness. If his materials have long since died, these are their ghosts taking their place back in reality. His works challenge what we understand sculpture to be: rooted and reassuring, rising from the ground up, restless and unresolved; burdened by their former selves. Stripped of their original identity—even beauty—Buggenhout’s assemblages reek of the end of everything, and for that he sees them as faceless and formless. As he explains, “you’re never finished with a piece,” insisting “you can walk around it many times… and from every position it changes.” What is presented is far from a complete object that sits on the boundary between art and the audience, but an ever-emerging entity that burrows into the mind, tormenting the visual ease with which we see and receive the world. Blackened and bludgeoned accumulations of materials resist the possibility of any fixed lexicon or language, refusing to settle into a single meaning. Installed within the eighteenth-century interiors of Palazzo Pisani Moretta on Venice’s Grand Canal, as part of former fashion designer Dries Van Noten’s inaugural exhibition The Only True Protest Is Beauty, Buggenhout’s assemblages challenge the building’s illusion of grandeur. The palazzo, as he observes, is filled from top to bottom with marble, yet “mainly fake and painted marble.” A space shaped by the theatrical ambitions of the eighteenth century, where “everything was about hiding the structure underneath… to make you dream away reality.” Against this backdrop, his work—dense, dirt-filled, abject and unattractive—might be expected to confront the decoration and decorum of the palatial rooms. And yet, as Buggenhout states, “you would expect a clash of characters… yet, strangely enough, it merges. It blends.” Here, the histories of different materials rub shoulders in a homage to what the future leaves behind. AUTONOMY BEFORE DIALOGUE I’ve only seen a few images of the Palazzo, and, more importantly, not so much of your work installed within it. And it’s such a particular space, so charged historically and visually, that I’m curious to understand how your work is entering into that context. What are you showing there? The piece is part of a series, I am a Tablet. It consists of two marble elements. It fits quite well in the Palazzo, because there’s a lot of marble there, but it mainly fake and painted marble. A space shaped by the theatrical ambitions of the eighteenth century, where everything was about hiding the structure underneath… to make you dream away reality. Against this backdrop, his work, dense, dirt-filled, abject and unattractive, you would expect to confront the decoration and decorum of the palatial rooms. And yet, as Buggenhout sites, “you would expect a clash of characters… yet, strangely enough way, it merges. It blends. That’s interesting, because one would almost assume a kind of opposition, between that language of illusion, of surface, of a kind of seduction even, and your work, which insists so strongly on material presence, on weight, on exposure rather than concealment. And yet what you’re describing is not a resistance, but a kind of absorption, or coexistence. And in practical terms, how did you arrive at the placement of the work? Did you need to spend time in the Palazzo, to understand how the piece might inhabit those rooms? I went there, and I made some mock-ups, like collage proposals, where I placed images of my work into photographs of the space. From that I made a proposal for how it might be. And then I decided to make this piece especially for that space, taking into account how it would look there. MANY GATES, MANY KEYS And were you aware of the other artists’ works, for The Only True Protest is Beauty exhibition, in relation to yours? Or were you thinking more independently of that dialogue? Not really. I tend to do the same thing every time. Years ago, I was invited to a group show at Gladstone Gallery, New York in 2012, curated by Ugo Rondinone, and I was told ‘just act as if it’s a solo show’, and everything else will be draped around it. And I did the same here. I knew there would be textiles, fashion, photography, smaller works in a big Palazzo, so I thought maybe I should do the same thing, bring in something large and let it define itself. That’s quite a decisive position, to effectively suspend the idea of dialogue in favour of asserting the work’s own autonomy. And perhaps that’s what allows it to then enter into relation on its own terms, rather than being shaped in advance by what surrounds it. I can imagine, though, that your work carries a very particular kind of presence in that setting, not only physically, in terms of scale and weight, but also atmospherically. I don’t know, because I installed everything before the other works were there. I was the first to install, so I didn’t see that confrontation. For me, the work always finds a way to connect. I often compare my work to a castle with many gates. To get in, you need a key, but there are many keys. Once you find one, you’re in. And it doesn’t matter if the work is shown with medieval art, or land art, or whatever, there’s always a key that fits somewhere, and it connects. WHERE MATERIALS MEET That’s a powerful image, the idea that the work doesn’t prescribe a single point of entry, but instead offers multiple ways in, depending on the viewer and the moment. It suggests that meaning isn’t fixed, but continuously activated through encounter. When I think back to the works I’ve seen, especially when we spoke before at Axel Vervoort, what stays with me is their strong sense of presence. The way the materials come together doesn’t feel composed in a traditional sense, but almost as if they’ve arrived at a state of necessity. I’m interested in how that happens for you: how these materials, so disparate in themselves, begin to take on such a unified force. Is there a moment in the process when you recognise that something is coming together, or does it remain open even then? Well, I think one thing that is quite important is that I consider every part of the piece, every material, as something autonomous. It has to remain autonomous, and it has to remain what it is, in its own natural behaviour. But what is really important is how things touch each other, how two materials, or colours, or feelings, bump into each other. The way they meet. They can intertwine, or they can caress, or they can clash, really press against each other. All these different possibilities of what a border can be between two things. And this is multiplied across many materials, many sensations. That’s why you cannot explain the whole piece in one word. It’s too many things at once, not only the materials, but also the borders between them, which are always shifting and changing. So, it’s not the elements themselves, but the relationships between them, the points of contact, that generate meaning. Almost as if the work exists in those tensions, in those thresholds, rather than in the materials alone. And perhaps that’s why, as a viewer, the experience never quite resolves. Yes, exactly. You can walk around it many times, six times, ten times, and every time it changes. Even during the day, with different light, it changes. You’re never finished with a piece. And I think this also has to do with how we try to simplify things. We always try to reduce things so that we can understand them. But then we don’t really understand them, we just reduce them. I often say, the world we live in is not a globe. The globe is already a simplification. The real world is much more like my pieces, it’s pushing and pulling and stretching, everything interacting at once. It’s far more complex than a simple shape. THERE IS NO FRONT That’s a striking way of putting it, that the work resists the kind of reduction we rely on to make sense of things. And that in a way, it asks the viewer to remain within that complexity, rather than resolving it too quickly. It also makes me think about language, about the difficulty of speaking about the work at all. Because the moment we begin to describe it, we’re already simplifying it, reducing it to something more stable than it actually is. Yes, exactly. If you can describe it completely, then it’s already a reduction. That’s also why you cannot really photograph the work, because from another side, it’s completely different. When you install a piece, do you think about where the viewer first meets it? There is no front. The pieces are front on every side. I’m very careful about that. If you can only see it from one side, then you don’t really understand the piece. You have to move around it.

March 2025 | DESIGN & INTERIORS a MODERN TUSCAN HAVEN in ONTARIO words Karine Monie photos Lauren Miller interior design Studio Brocca Nestled at the entrance of a scenic pathway leading to a French chateau, this new Ontario home—owned by an Italian family—radiates timeless elegance. Surrounded by lush greenery that offers both privacy and a sense of serenity, the residence is a masterful blend of minimalist design and warm, inviting hues, drawing inspiration from the rustic charm of Tuscany. HISTORIC ROOTS, CONTEMPORARY VISION Situated on the former site of a 1940 property in Vaughan, Ontario, the home pays homage to its rich past while embracing modern aesthetics. The location itself, marked by the pathway that guides visitors toward a majestic French chateau on the riverbank, sets an evocative backdrop where history meets contemporary design. DESIGN PHILOSOPHY: UNDERSTATED LUXURY At the heart of this transformation is Studio Brocca, led by interior designer Samantha Brocca. With an emphasis on clean lines and natural materials, Brocca’s vision was to craft a space that exudes “understated luxury with a harmonious blend of natural materials, cozy tones, and playful sculptural accents.” The result is a serene yet sophisticated ambiance where every element—from the tall, linear window designs to subtle arch details—coalesces into a balanced, modern environment. A TUSCAN PALETTE IN A CANADIAN SETTING Drawing on the homeowners’ deep connection with Italy, particularly Tuscany, the interior color palette evokes the rolling hills and vineyards of the Tuscan. “We feel that the colour palette reminds us of the Tuscan wine country and rolling hills, but the contemporary touches bring the Tuscan palate into modern design,” the family shares. Stacked wood-framed openings in the bedroom, reminiscent of rows of trees in a vineyard, further enhance this connection, enriching the gray Canadian months with warmth and color. COLOR OF THE YEAR: MOCHA MOUSSE A striking feature of the home is the extensive use of Pantone’s Color of the Year 2025, Mocha Mousse. This rich, earthy tone is interwoven throughout the various rooms, adding depth and a luxurious feel to the interiors. The use of Mocha Mousse complements the natural materials and warm beige accents, creating a backdrop that is both refined and inviting. HARMONIZING MATERIALS AND TEXTURES Material choices play a pivotal role in reinforcing the home’s connection to nature and its refined aesthetic. Marbles with terracotta, green, and brown undertones echo the natural surroundings, while warm woods lend a harmonious balance throughout the space. Cream linens and rich, muted bronze metals add subtle grandeur without overpowering the design. “The green marble was the first item we selected for the home, before we broke ground—and we did anything to make it happen,” recalls Brocca, highlighting the meticulous attention to detail that went into material selection.

July 16, 2026 | DESIGN & INTERIORS CALIFORNIA, with a MEDITERRANEAN SOUL words Noah Mercer photos Yoshihiro Makino styling Emily Bowser production Karine Monié On a quiet, palm-lined street in Santa Monica, Ilios feels less like a California house than a home shaped by Mediterranean memory. Designed by Hatch Architecture, it channels its owners' Greek and Armenian heritage through atmosphere rather than literal references. Originally built in 1989, the house already possessed a few defining architectural elements, including a central circulation spine and a double-height atrium. Rather than erase them, architect Christopher Hatch McLeanreinterpreted the existing structure, stripping away unnecessary partitions and awkward geometries to reveal a clearer, more fluid sequence of spaces. The home's new identity is rooted in simplicity—not minimalism as an aesthetic, but as a way of allowing architecture and everyday rituals to breathe. LIGHT AS ARCHITECTURE At its centre sits the project's defining gesture: an elliptical oculus skylight that turns the changing sky into the home's quiet protagonist. Positioned above the central spine, it washes the interiors with shifting tones throughout the day—from soft, marine-filtered mornings to warm amber sunsets before settling into deep evening blue. More than a skylight, it acts as a living clock, connecting the rhythms of the house to those of nature. This luminous axis also functions as a gallery, where contemporary Greek and Armenian artworks accompany movement through the home. Gentle curves replace rigid corridors, recalling the softened forms of Cycladic architecture without becoming nostalgic. Even the original staircase has been transformed into a sculptural white form that naturally draws the eye upwards. A SOFTER LANGUAGE That same sense of restraint extends to the material palette. Layered whites, pale woods and warm neutrals capture and diffuse California's abundant daylight, while bronze and black accents provide quiet definition. In the kitchen, Bofficabinetry pairs with Gaggenau appliances, balancing understated craftsmanship with everyday functionality. In the living room, a Flos Overlap pendant hangs above a Steinway piano, while a Greek antique coffee table introduces a subtle reminder of the family's heritage. Stone brings another layer of permanence. Satin-finished Volakas marble and Calacatta surfaces lend the interiors a quiet sense of weight, particularly in the primary suite, conceived as a private retreat with spa-like calm. Dornbracht's Vaia fittings, oversized Poliform wardrobes and handcrafted timber bathing stools complete a space where comfort is expressed through restraint rather than excess. LIVING BETWEEN INSIDE AND OUT Designed for gathering as much as for retreat, the kitchen opens naturally onto expansive dining and outdoor living areas through oversized pivot doors and fully pocketing glass walls. A Tekio paper lantern by Santa & Cole anchors the dining room with a soft, diffused glow, while Mediterranean planting—including sculptural specimens supplied by Plant Daddies—extends the interiors into lush gardens beyond. As the boundaries between inside and outside quietly dissolve, the house embraces California's relaxed way of living while remaining unmistakably Mediterranean in spirit.

October 1, 2025 | Product EXTRAORDINARY in the EVERYDAY brand ARCLINEA photos Daniel Civetta Founded in 1925, Italian kitchen brand Arclinea has long redefined the kitchen not just as a place for cooking, but as the very heart of the home. A pioneer of modern Italian design, the brand’s enduring collaboration with Antonio Citterio has transformed kitchens into architectural experiences—spaces shaped by light, material, and rhythm, where function and elegance seamlessly coexist. The brand’s ongoing series, “Extraordinary, Everyday,” embodies this vision. Through real-life stories captured across different geographies, the series reveals how kitchens bring together people, nature, and daily rituals, showing the extraordinary potential of the everyday. Its latest chapter takes us to Portugal, to Casa No Tempo, part of Silent Living. Designed by architect Manuel Aires Mateus, this timeless estate features the handle-free Thea kitchen in white lacquer—a space conceived not just for cooking, but for sharing and connection. Surrounded by nature, the kitchen unites the purity of contemporary design with the grounded simplicity of rural life. “The kitchen is where it all comes together: food, people, stories. With Arclinea, we created a space that feels open, generous, and full of meaning—where sharing a meal means connecting to the land, to each other, and to time. Casa No Tempo isn’t just a house (casa); it’s a way of living. It invites you to slow down, pay attention, and find the extraordinary in the everyday.” — João Rodrigues At its core, Arclinea continues to ask the same question: What makes the everyday extraordinary? The answer lies in the table set anew each day, in stories shared, and in the way a space can root us more deeply in life itself.

September 2024 | Art & Culture TURKISH BELOW ART BASEL PARIS Highlights words Onur Baştürk The third Paris edition of Art Basel, the world's leading art fair, kicks off with VIP Preview Days on October 16 and 17 and runs through October 20. Taking place at the Grand Palais, the fair will feature 195 leading galleries from 42 countries and regions, including 64 established French galleries and 53 new galleries. Art Basel 2024, directed by Clément Delépine, will see a 27 percent increase in the number of participating galleries compared to last year. EMERGENCE Here are the highlights of this year's fair. First is Emergence, dedicated to the radical work of emerging talents and new voices. With 16 stunning solo presentations, 14 of the Emergence exhibitors are making their debut at Art Basel Paris. Emergence will unfold across the striking balconies surrounding the central nave of the Grand Palais – which, prior to the building’s renovation, had been inaccessible for almost two decades – providing a symbolic frame for a show that will bridge the past and the present. PREMISE Another highlight of the fair is Premise, where nine galleries will present unique curatorial presentations. Premise provides a platform for presentations that aim to expand our understanding of traditional art history by focusing on fascinating but little-known artistic practices. In Premise, which features nine galleries, Istanbul-based THE PILL gallery will present the installation The AmbassaDRESS (1978) by Paris-based Turkish artist Nil Yalter. The installation tells the semi-fictional story of an ambassador's wife's collaboration with the Nazis during World War II. Yalter will also participate in the inaugural Artist Talk. SPECIAL PROJECT FROM MIU MIU This year's expanded Art Basel Paris Public Program will feature exhibitions, installations, monumental sculptures, and curatorial projects by contemporary artists such as Ghada Amer, Jesse Darling, Niki de Saint Phalle, Ali Cherri, and Thomas Schütte at several prestigious venues in Paris. With Miu Miu as an official partner, this year's program will feature five new venues, including the Domaine National du Palais-Royal and the Petit Palais, underscoring Art Basel's deep ties to the city. Miu Miu will also present a special project entitled "Tales & Tellers" at the Palais d'Iéna as part of the program. Oh La La!, Art Basel Paris's new initiative celebrating the re-exhibition of unexpected or unusual works of art, will bring together 33 galleries to create an exciting itinerary through the Grand Palais during the second half of the fair week. Dünyanın önde gelen sanat fuarı Art Basel’ın üçüncü Paris edisyonu 16 ve 17 Ekim'deki VIP Ön İzleme Günleriyle başlayacak ve 20 Ekime kadar sürecek. Grand Palais'de gerçekleşecek fuara 42 ülke ve bölgeden, 64'ü Fransa'da yerleşik ve 53'ü yeni olmak üzere 195 önde gelen galeri katılacak. Clément Delépine tarafından yönetilecek Art Basel 2024, geçen yıla kıyasla katılımcı galerilerde yüzde 27'lik bir artışa sahne olacak. EMERGENCE Bu yılki fuarın dikkat çekici bölümlerini şöyle sıralayabiliriz. İlki, yükselen yeteneklerin ve yeni seslerin radikal çalışmalarına adanmış Emergence. 16 etkileyici solo stant sunumun sergileneceği Emergence katılımcılarından 14’ü Art Basel’ın Paris fuarına ilk kez katılıyor. Galeries Lafayette'in de resmi ortağı olduğu Emergence, Grand Palais'nin orta nefini çevreleyen çarpıcı balkonlarda - binanın yenilenmesinden önce neredeyse yirmi yıldır erişilemez durumdaydı - geçmiş ve bugün arasında bir köprü kuracak. PREMISE Dokuz galerinin tekil küratöryel sunumlar sergileyeceği Premise ise fuarın bir başka öne çıkan bölümü. Premise, ilgi çekici ancak az bilinen sanatsal pratiklere odaklanarak geleneksel sanat tarihine ilişkin anlayışımızı genişletmeyi amaçlayan sunumlar için bir platform sağlıyor. Dokuz galerinin yer aldığı Premise’de İstanbul merkezli galeri THE PILL, Paris merkezli Türkiyeli sanatçı Nil Yalter'in The AmbassaDRESS (1978) isimli enstalasyonunu sergileyecek. Enstalasyon, bir büyükelçinin eşinin İkinci Dünya Savaşı sırasında Nazilerle yaptığı iş birliğinin yarı kurgusal hikâyesini ele alıyor. Yalter aynı zamanda Art Basel Paris Conversations programı kapsamında Premiere Artist Talk'a da katılacak. MIU MIU’DAN ÖZEL PROJE Bu yılki genişletilmiş Art Basel Paris Public Program çerçevesinde ise Paris'in birçok ünlü mekanı Ghada Amer, Jesse Darling, Niki de Saint Phalle, Ali Cherri ve Thomas Schütte gibi modern sanatçıların sergilerine, enstalasyonlarına, anıtsal heykellerine ve küratöryel projelerine ev sahipliği yapacak. Miu Miu’nun resmi partnerliğindeki bu yılki programa Domaine national du Palais-Royal ve Petit Palais başta olmak üzere beş yeni mekan eklenerek Art Basel’ın şehirle olan derin bağının altı çizilecek. Ayrıca Miu Miu bu program çerçevesinde Palais d'Iéna'da “Tales & Tellers” başlıklı özel bir proje gerçekleştirecek. Art Basel Paris'in alışılmadık sanat eserlerinin yeniden sergilenmesini kutlayan yeni girişimi Oh La La! ise 33 galeriyi bir araya getirerek, fuar haftasının ortasında Grand Palais'de heyecan verici bir güzergah oluşturacak.

July 2022 | People Be Original by PANERAI ZEYNEP ÜNER Words Timur Can Ersoy Photos Elif Kahveci Zeynep’le yıllar önce Erciyes Kayak Merkezi’nde tanıştığımda yüksek enerjisine hayran kalmış, hatta sayesinde kayağa başlamıştım. Yayıncılık kariyeri 22 yıla yayılan, şu sıra Gain’de kendi deyimiyle “içerikçiliğe” devam eden Zeynep ekstrem sporları seviyor. Kısa saçlı stili ise onun vazgeçilmezi. ERKEK SPORLARI VE KIYAFETLERİNİ SEVERİM Seninle ilgili internette “Kısa saçın en cool durduğu kadın’” diye bir cümle var. Ne zamandan beri kısa saçlısın ve neden kısa saç? Çocukken de kısa saçlıydım. Çok yüzdüğüm için orta kulak sorunu yaşıyordum ve sonunda hep kestiriyordum. Beden dilim ve ilgi alanlarıma da çok yakışıyordu. Havalı dille “tomboy”, halk diliyle “erkek Fatma”ydım anlayacağın... Filiz Akın aile dostumuzdu. Hayatımda gördüğüm en güzel kadındı. Daha da güzel olan saçlarıydı. Ona çok özenirdim. Benzemek de isterdim, ama aşırı uzak bir hedefti tabii. Bir gün altı yaşında bitlenmişim, annem saçımı kestirmeye götürmüş. Üzülmeyeyim diye demişler ki, “Filiz Akın da kestirdi”. O zaman sarıya da boyar mısınız demiştim! Tamamı için... Print VOL VII - 2022 Out of Stock View Details

june 2023 | Design & Interiors english below BMW POP-UP STORE AT MANDARIN ORIENTAL BODRUM B MW Türkiye’nin “Retail Next” konsepti çerçevesinde geliştirdiği yeni nesil satış noktası BMW Pop-up Store, Bodrum’un prestijli otellerinden Mandarin Oriental Bodrum’da ziyaretçilerine ayrıcalıklı bir deneyim sunmak üzere kapılarını açtı. Perakendenin geleceğine ışık tutan bütüncül anlayışla tasarlanan BMW Pop-up Store, yeni müşteri beklenti ve ihtiyaçlarına uygun bir deneyim alanı. Sürdürülebilir lüksün merkeze alındığı BMW Pop-up Store, başta yeni BMW 7 Serisi olmak üzere BMW’nin farklı modellerine ev sahipliği yapacak. Borusan Otomotiv İcra Kurulu Başkanı Hakan Tiftik, BMW Pop-up Store’la ilgili şunları söylüyor: “Sürdürülebilirlik hedefleri çerçevesinde elektrifikasyonla başlayan dönüşüm sürecinde, BMW şimdi de perakende çözümlerinde geleceğin temellerini atan Retail Next konseptiyle pürüzsüz bir deneyim sunuyor”. Daha fazla bilgi için tıklayın B MW Pop-up Store, the new generation sales point developed by BMW Turkey in accordance with the "Retail Next" concept, opened its doors to visitors to offer a privileged experience in Mandarin Oriental Bodrum. Designed with a holistic approach to the future of retail, the BMW Pop-up Store offers an experience area that fits the needs of the new customer. Focusing on sustainable luxury, the BMW Pop-up Store will host different models of BMW, especially the new BMW 7 Series. Borusan Otomotiv Chief Executive Officer Hakan Tiftik says the following about the BMW Pop-up Store: “In the transformation process that started with electrification within the framework of sustainability goals, BMW now offers a smooth experience with the Retail Next concept, which lays the foundations of the future in retail solutions”. Click for more information

Ocak 2021 | Tasarım | Dünya Bu yıl bitecek 5 mimari proje Yazı | Alp Tekin 2 021’in en çok beklenen 5 mimari projesinin resmi geçidine hazır mısınız? Halen yapım aşamasında olan bu projelerin çoğu -elbette farklı sebeblerden dolayı- on yıldır devam ediyor! Tasarım ve inşaatı süreci eklenince aslında bu tarz büyük mimari projeler için bu süre normal olarak algılanıyor. Lafı uzatmadan; işte 2021’de bitecek o projeler… 1. Wormhole Library by MAD Architects / Çin Çin şehri Haikou’nun kıyı şeridini modernleştirme planı kapsamında yer alan bu fütüristik kütüphane MAD Architects ürünü. “Şehvetli bir şekilde kavisli” olarak tanımlanan Wormhole Library’nin tasarımı, adı üstünde, bir solucan deliği gibi kıvrımlarla ilerliyor. Bu yıl sonu bitecek olan 1380 metrekarelik bu kıvrımlı beyaz tesis, Güney Çin Denizi kıyısına çarpıcı bir şekilde oturuyor. Binada yer alan çeşitli boyutlardaki delikler doğal ışığın iç mekanı doldurmasına izin veriyor. Ayrıca bu delikler sayesinde oluşan dış koridorlar, ziyaretçilerin dinlenmesi için gölgeli alanlar oluşmasını sağlıyor. Kütüphane iki ayrı bölüme ayrılıyor. İlk bölüm 690 metrekarelik okuma alanı, kafe ve teras bölümü. İkinci bölüm ise bisiklet park sistemini de içeren 300 metrekarelik halka açık dinlenme alanı. 2. Hermès Atelier by Lina Ghotmeh / Fransa Yeni Hermés Atelier binası şöyle tanımlanıyor: Zanaatkârlık stüdyosu alanından çok daha fazlası! Lübnanlı asıllı Fransız mimar Lina Ghotmeh tarafından tasarlanan yeni atölye binasında geleneği korumak ve çevre üzerindeki etkiyi en aza indirmek için markanın değerlerine bağlı kalınmış. Deri çanta, obje, eyer üretimi için tasarlanan 6700 metrekarelik atölye binasının düz çatısının dikey düzeni, tavan açıklıklarıyla birleşmiş farklı boyutlardaki kemerleriyle dikkat çekiyor. Mimarın hedefi iç mekanı bol miktarda doğal ışıkla doldurmak olmuş. İyi hazırlanmış ve iyi düşünülmüş Hermès Atelier’nin şiirsel mimarisi sade estetiğe vurgu yapıyor. 3. Little Island by Heatherwick Studio / New York Yedi yıllık sürecin ardından New York’un tartışmalı “Little Island” (eski adıyla Pier 55) projesi nihayet bu bahar sonu açılıyor. Mathews Nielsen Landscape Architects ile birlikte Thomas Heatherwick tarafından tasarlanan proje dünyanın en çok beklenen projelerinden biri. Çeşitli yüksekliklerdeki kolonlar üzerinde desteklenmiş, 132 adet mantar şeklindeki beton kaptan oluşan Little Island, 100 ağaç ve çeşitli bitki türüne ev sahipliği yapacak. Ayrıca 800 kişilik amfi tiyatro dahil, üç açık hava performans alanını da içinde barındıracak. 4. Yang-Liping Performing Arts Centre by Studio Pei-Zhu / Çin Çinli balerin Yang Liping'in adını taşıyan, Çin’in Dali kentindeki bu merkezin neredeyse beş yıldır inşaatı sürüyor. Studio Pei-Zhu’nun tasarımı olan proje, iç ve dış mekan arasındaki sınırların bulanıklaştığı, serbestçe akan bir alanı gözler önüne seriyor. Cangshan sıradağları ile Erhai gölü arasındaki bir platoda yer alan binanın mimarisi manzarayı ustaca yansıtıyor. Dirsekli çatının şekli aynı zamanda çevredeki tepeleri ve vadileri taklit eder nitelikte. Plazanın içinde bir kapalı tiyatro (Ying) ve bir açık hava tiyatrosu (Yang) yer alıyor. 5. Floating Music Hub by NLÉ / Sao Vicente, Cape Verde Nijeryalı mimar ve NLÉ'nin kurucusu Kunlé Adeyemi aslında bu proje için çalışmaya 2012’de başlamış. Önce Nijerya'nın en büyük şehri Lagos'un lagününde yer alan Makoko Yüzer Okulu için deneysel bir prototip yapmış. Şimdi ise São Vicente adasındaki (Batı Afrika ülkesi Cape Verde'yi oluşturan 10 volkanik kara kütlesinden biri) liman kenti Mindelo'nun sakin bir koyunda tasarımının kalıcı versiyonunu kuruyor Adeyemi: Floating Music Hub. Bu yıl tamamlanacak olan 779 metrekarelik komplekste bir performans salonu, kayıt alanı ve küçük bir otel yer alıyor. Proje çeşitli ölçeklerdeki üç yüzer gemiden oluşuyor.

August 22, 2025 | DESIGN & INTERIORS KIM LAMBERT ‘LIGHT and SHADOW SHAPE the ATMOSPHERE’ words Onur Basturk photos Lauren Miller production Karine Monié Curious about the story behind every space, Toronto interior designer Kim Lambert brings a refined yet soulful sensibility to her work. With over 20 years of experience spanning global luxury and boutique hospitality, she has built a practice rooted in narrative, collaboration, and quiet sophistication. In this conversation, she shares the vision behind her transformation of a family home in Hoggs Hollow—where architecture, atmosphere, and intimacy come together in balance. What was your first impression of the house when you encountered it for the first time? How did you read its potential? The house felt dated, with a layout that lacked fluidity. A partition between the formal dining room and the great room created a visual and spatial disconnect, blocking light from reaching the front of this generously scaled home. But the bones were there. The light, though subdued, hinted at softness, and the view of the ravine had a quiet beauty. I saw an opportunity to open things up—both literally and atmospherically—to bring lightness, cohesion, and a renewed sense of presence to the interiors. The home’s natural setting—tucked along a quiet riverbend in Hoggs Hollow, surrounded by mature trees—has a strong presence. How did this landscape influence your design approach? The home sits on the riverbend in Hoggs Hollow, nestled deep within a leafy enclave. Though very much in the city, it feels removed—an escape from the urban pace. That duality guided the tone of the interiors: grounded and composed, yet layered with warmth and intimacy. I wanted the design to feel attuned to the landscape—with natural materials, nuanced textures, and a quiet palette that would allow the views and light to speak. I LOVE WORKING WITH CONTRAST —NOT JUST VISUALLY, BUT EMOTIONALLY You mentioned that the brief called for “an entirely new narrative.” What were the core elements of that narrative for you? The intention was to rewrite the home’s story through a lens of refined contrast—where classical proportions meet a modern edge, and elegance finds depth through restraint. I was drawn to architectural periods where quietude and ornament existed in delicate balance, where clarity of form was softened by nuance. The resulting narrative is grounded in a kind of quiet tension: rustic materiality elevated by considered detailing, and the beauty of imperfection held in graceful dialogue with structure. Wabi-sabi sensibilities converge with classical cues, allowing textures to remain raw yet deliberate, and forms to stay sculpted and spare. A restrained palette—hot-rolled steel, cast plaster, dark-stained oak, bleached walnut, antique smoked mirror—unfolds through tactile contrast, softened by velvet, leather, and woven textures. What emerges is a home layered with texture and intention—timeless, grounded, and expressive, where each room reveals a quiet tension shaped by material richness and sculptural restraint. There’s a striking balance throughout the home between softness and structure, rustic textures and refined materials. How do you navigate this kind of contrast to create harmony? For me, harmony is about creating space for contrasts to complement rather than compete. Where there’s structure, I soften; where there’s texture, I refine. It’s a careful dialogue—materials playing off one another, allowing individual notes to shine without overwhelming the whole. The balance comes through restraint and rhythm, and through trusting the integrity of each material. Your use of tone and material often plays with light and shadow in a very intentional way. How did you explore that dynamic in this project? I love working with contrast—not just visually, but emotionally. Light and shadow give shape to the architecture and atmosphere to the interiors. Here, I used tone and material to deepen that interplay—matte against gloss, textured against smooth—so that even quiet moments have presence. The result is a layered experience of space, where subtle shifts in light become part of the design language. You’ve said that you wanted to evoke the atmosphere of a private hotel—inviting yet composed. What does it take to create that sense of calm and quiet luxury in a family home? Materiality and ambiance are at the core. But this is also a family home for six—four energetic young boys and their parents—so it had to hold both sophistication and livability. We wanted to create something elevated but unpretentious, where laughter and play could unfold within a backdrop of refinement. It’s about soft transitions, durable yet beautiful materials, and spaces that feel tailored without ever feeling precious. A careful balance of elegance and function. A THREAD OF CONTINUITY, RESTRAINT, AND RHYTHM Each room has its own character, yet there’s a quiet, poetic consistency that ties the spaces together. How would you describe that through-line in emotional or spatial terms? There’s a thread that runs through it all—one of continuity, restraint, and rhythm. The palette is grounded and tonal, the materials natural and nuanced. Each space tells its own story, but there’s a shared language that binds them together: a sense of flow, a lightness in form, and a calm that allows the home to breathe as one. The lighting you chose—Apparatus, Lee Broom, Anastassiades—feels sculptural and atmospheric. Do you approach lighting as an object or as a mood? Both. Lighting is where form and feeling intersect. I see it as sculpture, but also as emotion. It anchors a room, defines its tone, and shifts its mood throughout the day. The fixtures we chose are quiet statements—each one considered for how it holds space, casts shadow, and elevates the architecture around it

February 2025 | DESIGN & INTERIORS NATALJA KENT’s CHROMATIC VISION words Harper Ellis Project Images Jason O’Rear, courtesy of Beacon Capital Partners Portrait of Natalja Kent Dana Pleasant In the heart of West Los Angeles, a striking new public artwork is redefining the urban landscape. Commissioned for 1440 Sepulveda, this large-scale installation by Czech-American artist Natalja Kent injects bold color, movement, and vibrancy into the neighborhood, offering a dynamic visual experience that shifts with the viewer’s perspective. “This piece is a public homage to the delightful and healing power of light, color, movement, and play,” says Kent. Inspired by its surroundings, the work not only enhances the building’s architectural presence but also fosters a deeper connection between the space and the community. Originally built in 1986, 1440 Sepulveda was a solid structure in need of a transformation. Beacon Capital Partnersacquired the building with a vision to create inspiring workplaces, enlisting Ware Malcomb as the repositioning architect and Club Studio to consult on branding, art, and environmental graphics. BRINGING ART TO THE FACADE One of the biggest challenges of the project was translating Kent’s intricate, light-based work into a durable and maintainable facade-scale installation. The goal was to preserve the richness of color and detail while ensuring it could withstand time and elements. The process took nearly two years, with a deep exploration of materials and techniques. The final work, now an unmistakable presence in the neighborhood, is a testament to the transformative power of art in architecture. A PALETTE INSPIRED BY LOS ANGELES Kent drew inspiration from the surrounding environment—the ocean’s deep blues, the lush green park across the street, the golden sunlight filtering through trees, and the energy of West LA’s diverse community. “I meditated on these external elements and performed a movement meditation with lights in response,” she explains. Using light-sensitive paper, she recorded her movements, translating them into architectural-scale chromograms—her signature abstract, gradient-infused works. HONORING THE LIGHT AND SPAVE MOVEMENT For the mural, Kent created seven large-scale chromograms using a process she developed over seven years. Each composition reflects the rhythms of the neighborhood, the hues of the Pacific Ocean, and the play of nearby public spaces. The artwork was then scaled up, transferred onto powder-coated aluminum panels using a pigment process, and baked onto 12 x 4-foot panels for lasting vibrancy. Inside the building, the artistic experience continues. The lobby, with its soaring ceilings, is flanked by a full-length living wall on one side and Kent’s vibrant works on the other, infusing the space with creativity and energy from every angle.

January 2024 | Vol 11 TR below an ADVENTURE from CALIFORNIA to the NORTHERN AEGEAN words Alp Tekin pho tos Onur Baştürk There are many villages located at the foothills of the Ida Mountains in the northern Aegean region of Turkey. One of them is Yeşilyurt. And one of the best hotels in Yeşilyurt, a village of Ayvacık, Çanakkale, is Nadas. I get surprised when I enter Nadas, because it’s on a very large land. Moreover, since it is located in the upper part of the village, it is completely surrounded by the forest, and everywhere is green. The hotel, consisting of 11 rooms and 3 villas, has two important creators: The first is the investor of the hotel, Süleyman Uysal. The other is Hande Gündoğar. The real story is how these two people from different worlds came together for Nadas… Hande Gündoğar has been living in Laguna Beach, California in the USA for the last 17 years. Picture Laguna Beach now: To the southwest of the Orange County. A small town with picturesque beaches and long hiking trails, attracting six million visitors every year during the summer season filled with art festivals... Hande Gündoğar, who was running a restaurant here with her husband, comes to Turkey on a summer vacation after the sudden death of her husband. During her holiday, she also stops by the Northern Aegean, to Yesilyurt, to see a friend. She meets many people in the village, except for Süleyman Uysal. A month after returning to the USA, Hande receives a phone call: “Would you work with us at Nadas in Yeşilyurt?” Because everyone keeps telling Süleyman Uysal that Hande is the best for this job. Afterwards, things develop rapidly: Hande’s immediate transition from California to Ida Mountains in the first days of opening up after the pandemic and her starting a new life here. Nadas opens shortly after and quickly stands out among the best hotels in the region. THE TARGET IS ABROAD Uysal and Gündoğar are now eager to take Nadas even further. They aim to both invest in the hotel’s restaurant from a gastronomic point of view and open a branch of Nadas abroad. Frankly, it looks like this part of the Northern Aegean will become more active and productive thanks to these two creative people from different worlds. Kuzey Ege tarafında yer alan Kaz Dağları eteklerine konumlanmış birçok köy var. Onlardan biri de Yeşilyurt. Çanakkale, Ayvacık’a bağlı Yeşilyurt’un en iyi otellerinden biri ise Nadas. Nadas’ın içine girince şaşırıyorum, çünkü çok geniş bir arazisi var. Üstelik köyün yukarısında konumlandığı için etraf tamamen orman, yer gök yeşil! 11 oda ve 3 villadan oluşan otelin iki önemli yaratıcısı var: İlki, otelin yatırımcısı Süleyman Uysal. Diğeri ise Hande Gündoğar. Esas hikâye, farklı dünyalara sahip bu iki insanın Nadas için nasıl bir araya geldiği… Hande Gündoğar son 17 yıldır Amerika’da, Kaliforniya’daki Laguna Beach’te yaşıyor. Hemen Laguna Beach’i gözünüzde canlandırın: Orange County’nin güneybatısı. Pitoresk plajlar ve uzun yürüyüş parkurlarına sahip, sanat festivalleriyle dolu yaz mevsiminde her yıl altı milyon ziyaretçinin akın ettiği küçük bir kasaba… Burada eşiyle beraber bir restoran işleten Hande Gündoğar, eşinin ani ölümü sonrası bir yaz tatilinde Türkiye’ye geliyor. Tatil sırasında arkadaşını görmek için Kuzey Ege’ye de uğruyor, Yeşilyurt’a. Köyde birçok insanla tanışıyor, ama Süleyman Uysal hariç. Amerika’ya döndükten bir ay sonra Hande bir telefon alıyor: “Yeşilyurt’taki Nadas’ta bizimle çalışır mısınız?” Çünkü herkes “Bu iş için en iyisidir” diyerek Hande’yi söylüyor Süleyman Uysal’a. Sonrasında olaylar hızla gelişiyor: Pandemiden sonraki ilk açılma günlerinde Hande’nin Kaliforniya’dan Kaz Dağları’na dikey geçişi ve burada başlayan yeni yaşamı. Kısa süre sonra Nadas açılıyor ve bölgenin iyi otelleri arasında hızla ön plana çıkıyor. HEDEF YURTDIŞI Uysal ve Gündoğar şimdi Nadas’ı daha da ileriye taşıma hevesinde. Hem gastronomik açıdan otelin restoranına yatırım yapmayı hem de yurtdışında Nadas’ın bir şubesini açmayı hedefliyorlar. Doğrusu, farklı dünyalara sahip bu iki yaratıcı insan sayesinde Kuzey Ege’nin bu kısmı daha çok hareketlenip verimli hale gelecek gibi. for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

March 2025 | Vol 14 JOHN SHARP TURNING GARDENS INTO LIVING THEATERS words Onur Baştürk photos Sean Hazen He has an academic background in mixed media and sculpture. He also had an early career in event production, curating, styling and collecting. And for some time now, he has been a pioneer in the landscape industry. With a contemporary eye and innovative approach, John Sharp tells botanical stories and reinvents the exteriors of historic homes designed by iconic architects like John Lautner and Richard Neutra. In 2018, Sharp established his own studio in Los Angeles, California, and is a charismatic creator driven by a deep love of the natural world, regenerative systems, and life. What kind of roadmap do you follow when you start a landscape project? When working with nature, natural materials, and people, it is especially useful to take a very process-oriented approach, rather than trying to control the end result or arrive at an exact predetermined destination. I think a lot of design work can feel overworked, overcooked, too manicured and controlled. A lot of what we do is about reawakening a wild dimension and timelessness of a place, so when we chart our course. We know from the beginning that we want to leave room for ideas and energies to evolve and emerge that might take us somewhere new. As we gather information to set our sight lines, we take in the existing conditions, learn about the unique ecologies of the place, including environmental, social, and architectural. We establish the parameters of the project, identifying resources and needs, intentions and desires. From there, we develop material and plant palettes. We draw inspiration from everywhere-our clients, the site's uniqueness, our artistic community, design heroes, tradition, and the cultural zeitgeist. How do you draw inspiration from architecture when designing landscapes? For example, how have houses designed by legends like John Lautner and Richard Neutra influenced your landscape work? When working on projects with distinctive and/or historic architecture, we often draw from the architectural language of the site, allowing it to inform and inspire the outdoor environment. Legends like John Lautner and Richard Neutra, with their bold modernist visions, have greatly influenced my work. Their provocative designs - whether futuristic, risky, or deeply integrated with nature - encourage a timeless approach that pushes boundaries while maintaining integrity. I view a property as a whole, where architecture, people and land are in constant dialogue. Structures like Lautner's fluid spaces or Neutra's seamless indoor-outdoor transitions reveal incredible spatial opportunities that can be extended into the landscape. This philosophy of connectivity, where land and architecture speak to each other, is a guiding principle. Each project becomes a narrative where the relationship between human habitation and nature is central, optimally leading us to design that is forward-thinking yet grounded in a timeless ethos. Do you design gardens to client specifications or do you have a specific garden style as Studio John Sharp? If so, how would you describe that style? More of the latter, but with careful listening to our clients' ideas and preferences - we love to challenge our own and our clients' ideas of likes and dislikes, and leave plenty of room for new stories and "je ne sais quoi" factors. Exterior programming - such as outdoor wellness, play and gathering spaces - is naturally heavily influenced by dialogue with our clients. Bringing a distinctive style to each of these spaces and ensuring a cohesive whole is part of the specific value we deliver as a design studio. Our creative identity is constantly evolving, but our work is characterized by a spirit of playfulness, a reverence for natural life, an embrace of slow, traditional materials and methods, and an unapologetically expressive, painterly and borderline punk style. In our own humble agency of change as a design studio, we work to cultivate natural environments that are vital and alive, inviting and moving. When we have done our job well, the gardens may take on the attributes of a living theater, enveloping the characters in an unusual, transportive, dreamy, symphonic, retro-future, and whimsical outdoor setting for many pages to unfold. What are the 5 must-have plants for a garden design? This summer it’s been Dracena Dracos, Native Salvia and Sages, Globe shaped Pittosporum, various colored Agaves and layers of Muhly grasses. What is the secret to a healthy garden? Consideration, love, and vested interest. Our process aims to bring our clients into an active practice of care, attunement and knowledge of their garden. We serve as a bridge of reconnection with nature. I appreciate that you are creating drought-tolerant gardens, because I think gardens that require a lot of watering are going to disappear in the near future. What do you think? Yes, we are not fundamentalists, but we love native gardens for this very reason - once established, they require minimal watering. Native gardens also attract local wildlife and habitat. We love to support ecosystems with pollinator gardens, which can often operate with minimal watering. Packets of wildflower seeds can be watered by rain. Which of the gardens you have designed for famous actors have impressed you the most? Sophia Bush was one of my first big clients. I was so inspired by her desire for "do-it-yourself" gardening during the pandemic. Between the organic garden and the chicken coop, we were able to work together to create a complete homesteading dream that was a special retreat for so many and even had its own custom egg cartons. What are the garden styles you most admire from different climates and continents outside the U.S.? We love Mediterranean gardens, especially Balearic ones, but have now begun to reimagine the English garden. If you were a garden, how would you like to be treated by the gardener? I want the gardener to ask me what I have to say and to listen to what I have to say. If I were producing fruits and vegetables, I would want to be regularly harvested and enjoyed. I would want to experience a reciprocal connection with the people and place where I live. I would like to be observed and known, and to have optimal conditions for growth and expression. for more Print VOL XIV - 2024 / 25 €20,00 Price Add to Cart

April 2024 | Design & Interiors english below Vondom's flagship store opening in Istanbul D ünyaca ünlü İspanyol outdoor mobilya markası Vondom’un Türkiye’deki ilk mağazası Design-Link (*) International Brands Agency koordinasyonuyla Som Interior tarafından addresistanbul’da açılıyor. 6 mayısta Yuzu Magazine ev sahipliğinde gerçekleşecek açılış partisine tasarımcı, mimar Ramon Esteve de katılacak. Esteve, Vondom markası için The Factory, Faz, Frame ve Pixel gibi koleksiyonlar tasarlamıştı. Ramon Esteve Yuzu’nun 10’uncu sayısında yer alan röportajında tasarladığı koleksiyonları şöyle tanımlıyordu: “The Factory endüstriyel, Frame hafif, Pixel çok yönlü ve modüler, Faz ise kültürel. Ama hepsi zamansız ve her mekana entegre olabiliyor”. Som Interior kurucuları Özge Yıldız Taşkıran ve Berat Taşkıran ise Vondom mağazası açılışıyla ilgili heyecanlı: “Som Interior olarak her zaman yenilikçi ve yüksek kaliteli tasarımlar sunmayı hedefleyerek koleksiyonumuzu genişletiyoruz. Amacımız, müşterilerimize her alanda Som Interior vizyonunda bir yaşam tarzı sunmak. Bu nedenle iç mekan koleksiyonumuzla birlikte, bu tasarım anlayışımızı dış mekana da taşıma kararı aldık. İnovasyon ve estetiği ön planda tutan yaklaşımımıza uygun olarak, dünyaca ünlü İspanyol outdoor markası Vondom’un İstanbul Flagship mağazasını açmaktan büyük heyecan duyuyoruz. addresistanbul'da 750 metrekarelik alanda açacağımız mağazada tüm ikonik açık alan ürünlerini görebileceksiniz”. Editörün notu: (*) Design-Link, Vondom’un yanı sıra antoniolupi, Moroso, Foscarini, Miniforms, Zanotta, Saba, Glasitalia, Porada, Laura Meroni, Contardi, Ingo Maurer gibi dünyaca ünlü pek çok tasarım markasının Türkiye temsilcisi. T he first store of the world-renowned Spanish outdoor furniture brand Vondom in Turkiye will be opened in addresistanbul by Som Interior in coordination with Design-Link (*) International Brands Agency. On May 6, designer and architect Ramon Esteve will attend the opening party hosted by Yuzu Magazine. Esteve has designed collections such as The Factory, Faz, Frame and Pixel for the Vondom brand. In his interview in the 10th issue of Yuzu, Ramon Esteve describes the collections he has designed as follows: ‘The Factory is industrial, Frame is lightweight, Pixel is versatile and modular and Faz is cultural. But all of them are timeless and can be integrated into any space.’ Som Interior founders Özge Yıldız Taşkıran and Berat Taşkıran are excited about the opening of the Vondom store: ‘As Som Interior, we are expanding our collection, always striving to offer innovative and high-quality designs. Our goal is to offer our customers a lifestyle with the Som Interior vision in every area. With this in mind, we have decided to take this design approach outdoors, along with our indoor furniture collection. In line with our approach of prioritizing innovation and aesthetics, we are very excited to open the Istanbul Flagship Store of the world-renowned Spanish outdoor brand Vondom. The flagship store, which we are opening in addresistanbul on an area of approximately 750 square meters, will feature all the iconic outdoor products'.

July 6, 2026 | VOL 19 the LUCCA SUMMER CONTINUES Now in its 22nd year, Lucca remains one of Istanbul’s defining restaurant-bars. Over the past five summers, the brand has also built a strong presence in Bodrum through Lucca Beach. For summer 2026, the concept enters a new chapter with its move to Demirbükü Bay. Surrounded by pine forests and a longer stretch of coastline, the new setting allows Lucca Beach to evolve beyond the traditional beach-club format. Gastronomy, cocktail culture, nature and entertainment come together in a more layered, all-day experience. Founder Cem Mirap describes Demirbükü as one of Bodrum’s most dynamic emerging destinations and a place where the relationship between landscape and hospitality feels increasingly important. The design takes inspiration from Mediterranean cinema of the 1950s, blending natural materials and warm textures with subtle retro references. In the kitchen, a Michelin-recommended team focuses on Mediterranean flavours and local ingredients, with signature dishes including Octopus Escabeche, Bodrum Seafood Ceviche and Chili Sea Bass. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €20,00 Price Add to Cart

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