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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.

November 2022 | Design & Interiors | VOL VIII MIAMI BEACH HOUSE Yazı / writer | Onur Baştürk Fotoğraflar / Photos | Tim Williams M iami’deki bu evin mimarisi Art Deco’nun son aşaması olarak tarif edilen, 1930’la 1945 yılları arasında hüküm sürmüş “Streamline Moderne” anlayışının şık bir ürünü. Evin içini yeniden tasarlayan Sanayi 313 ekibi ise kendini tek bir estetik ya da akımla kısıtlamamış. Sanayi 313’ün sahibi tasarımcı Enis Karavil, ev sahiplerinin Miami Beach’in tarihi dokusuna ve modern yaşamın kolaylıklarına atıfta bulunan bir tasarım istediğini söylüyor: “Benim için yaşanmışlık çok önemliydi. Evin dokusuna uyum sağlayacak tasarımların yanı sıra yüksek tavanların büyüsüyle kuvvetli bir kontrast yaratabileceğine inandığım tasarımlara yer verdim. Ailenin değişik kültürlerden gelen yapısına ithafen, dünyanın farklı kıta ve dönemlerinden seçilmiş aksesuarları Miami’nin renk ve havasını taşıyan bu yapıya yerleştirdim. Evin ışığı yerleştirme sırasında büyük rol oynadı. Doğal ışığın aydınlatma tasarımıyla dengelenmesi de önem taşıyan unsurların başındaydı”. MAKSİMALİST DETAYLARDA MİNİMAL VURGU Evi tasarlarken homojen bir hikâye kurgulamadığını söyleyen Karavil, farklı detay ve unsurlarla şaşırtmak istediğinden bahsediyor: “Eski dönemlerin günümüzle çatışması beni heyecanlandırıyor. İçinde geleneksel izler taşıyan modern bir tavrı benimsiyorum. Bu nedenle kontrast yaratan elementleri beraber kullandım. Maksimalist detaylarda minimalist bir abartıyı vurguladım. Büyük ebatlı, maskülen tasarımlara yer verdim. İnce, feminen ve sıcak dokunuşlarla detayları tamamladım. Ahşap, mermer, bronz ve cam gibi malzemeleri ön plana çıkarırken sade renkleri tercih ettim. Farklı yıllara ait antika ve aksesuarlara ise modern mobilyalar eşlik etti”. Enis Karavil, evin her bölümünün aynı rahatlıkta kullanılabilmesi için mobilyaların estetiği kadar fonksiyonel olmasına da dikkat etmiş. Stili güzel ama kullanışsız parçalara yer vermemiş. T he architecture of this house in Miami is a stylish product of the “Streamline Moderne” approach, which is described as the last stage of Art Deco, which was popular between 1930 and 1945. The Sanayi 313 team, which redesigned the interior of the house, did not limit itself to a single aesthetic or trend. Enis Karavil, the designer of Sanayi 313, says that the homeowners wanted a design that refers to the historical texture of Miami Beach and the conveniences of modern life: “Experience was very important to me. In addition to designs that will adapt to the texture of the house, I have included designs that I believe can form a strong contrast with the magic of high ceilings. I placed accessories selected from different continents and periods of the world in this structure, which carries the color and atmosphere of Miami, in reference to the family’s origin from different cultures. The light of the house played a big role in the placement. Balancing the natural light with the lighting design was also one of the most important elements”. MINIMUM HIGHLIGHT IN MAXIMALIST DETAILS Saying that he did not construct a homogeneous story while designing the house, Karavil mentions that he wants to surprise with different details and elements: “The clash of ancient times with the present excites me. I adopt a modern attitude with traditional traces. I adopt a modern attitude with traditional traces. I also emphasized a minimalist exaggeration in maximalist details. I included large-sized, masculine designs. I completed the details with subtle, feminine, and warm touches. I preferred simple colors while highlighting materials such as wood, marble, bronze, and glass. Antiques and accessories from different years were accompanied by modern furniture.” Enis Karavil has paid attention to the functionality as well as aesthetics of the furniture so that every part of the house can be used with the same comfort. Tamamı için... | For more... Print VOL VIII - 2022 / 23 Out of Stock View Details No product

March 2024 | Design & Interiors english below COMING SOON: THE ELEVATION GRAVITY words Alp Tekin G aggenau “The Elevation Gravity” konseptini 16-21 Nisan tarihleri arasında düzenlenecek Milano Tasarım Haftası kapsamında tanıtmaya hazırlanıyor. Ama bu tanıtımdan önce konseptin ön izlenimi için online bir basın toplantısı gerçekleştirildi. Biz de editör, tasarımcı ve mimarlarla birlikte İstanbul’dan bu basın toplantısını izlemek için Nisbetiye 10’da yer alan Cosentino showroom’unda bir araya geldik. BSH Türkiye Pazarlama Direktörü Burak Destici’nin konuşması ile başlayan buluşmada bir süre sonra online basın toplantısına bağlandık ve tüm davetlilerle Milano’nun en özel villalarından Villa Necchi Campiglio’daki paneli dinledik. Moderatörlüğünü Studio Ashby kurucusu ve iç mimarı Sophie Ashby’nin üstlendiği panelde Gaggenau Dünya Başkanı Dr. Peter Goetz, Tasarım Başkanı Sven Baacke, 1zu33 Mimari Studio Kurucu ve CEO’su Hendrik Müller yer alıyordu. Ve tüm konuşmacılar Milano Tasarım Haftası için hazırlanan “The Elevation of Gravity” konseptini, markanın yakın gelecekteki başyapıtlarını ve gelecek planlarını ilk kez paylaştı. G aggenau is preparing to unveil "The Elevation Gravity" concept during Milan Design Week from 16 to 21 April. But before the presentation, an online press conference was held to preview the concept. We came together with editors, designers and architects from Istanbul to watch this press conference at the Cosentino showroom at Nisbetiye 10. The meeting started with a speech by Burak Destici, Marketing Director of BSH Turkey, and after a while we connected to the online press conference and listened to the panel discussion at Villa Necchi Campiglio, one of the most exclusive villas in Milan. Moderated by Studio Ashby founder and interior designer Sophie Ashby, the panel included Gaggenau World President Dr. Peter Goetz, Head of Design Sven Baacke, Founder and CEO of 1zu33 Architectural Studio Hendrik Müller. For the first time, all the speakers shared the concept of "The Elevation of Gravity" for Milan Design Week, the brand's upcoming masterpieces and future plans.

May 2024 | Design & Interiors english below ITALIAN-INFUSED BOLDNESS MEETS CHIC LOFT LIVING words Karine Monie photos Sergey Ananiev N ew York'taki çatı katı dairelerinden, Barok referanslardan ve Dimorestudio, Renzo Mongiardino ve Studio Peregalli gibi İtalyan tasarımcıların parlak çalışmalarından esinlenen bu daire lüks bir senfoninin içine dalmak gibi. Pembeler, bordolar, sepyalar, maviler, yeşiller ve koyu grilerden oluşan tasarım ise sürükleyici bir drama havasında! Evin tüm tasarımı Well Done Interiors kurucusu mimar ve iç mimar Olimpiada Arefieva’ya ait. Olimpiada Arefieva, "Tavanın muhteşem yüksekliğinden (17 fit / 5 metre) çok etkilendim. Çünkü bu, şehirdeki apartman dairelerinde sıkça görebileceğiniz bir şey değil," diyor. "Ayrıca tavandan tabana pencereler ve odun şöminesini de hemen sevdim”. Olimpiada Arefieva, "Bina, dört cephesinden ikisinde göze çarpan bir eğime sahip olan çarpıcı tasarımıyla öne çıkıyor" diyor. "Bu nedenle, binadaki tüm dairelerin birkaç duvarı da odaların merkezine doğru eğimli ve bu da büyük bir etki yaratıyor”. Moskova'nın merkezinde nehre bakan bu dairenin ilham kaynağı aynı zamanda 19. yüzyılın sonlarındaki endüstriyel mimari. Olimpiada, “Bir mimar olarak karmaşık alanlarla çalışmayı seviyorum ve bir dekoratör olarak renk, desen ve zarif kumaşlarla uğraşmayı seviyorum, müşterilerimin istediği de tam olarak buydu” diyor. Olimpiada Arefieva, "Renzo Mongiardino ve Studio Peregalli'nin etkisi bu projede çok açık ve doğrudan değil, ancak onların çalışmalarına hayranım ve sürekli onlardan yeni bir şey öğreniyorum" diye itiraf ediyor. "Onların gerçek birer iç mekan simyacısı olduğuna inanıyorum ve ben de onlardan biri olmaya çalışıyorum”. I nspired by New York penthouses, Baroque references and the brilliant work of Italian designers such as Dimorestudio, Renzo Mongiardino and Studio Peregalli, this apartment is like diving into a symphony of luxury. The design in pinks, burgundies, sepias, blues, greens and dark grays is an immersive drama! The entire design is by architect and interior designer Olimpiada Arefieva, founder of Well Done Interiors. “I was very impressed by the spectacular height of the ceiling (17-foot /5-meter) as it is not something you often see in city apartments,” remembers Olimpiada Arefieva. “I also immediately loved the floor to ceiling windows and the wood burning fireplace”. “The building stands out due to its striking design, featuring a noticeable incline on two out of its four facades,” describes Olimpiada Arefieva. “Due to this, several walls of all the apartments in the building are also inclined towards the center of the rooms, which makes a great impact”. Overlooking the river in the center of Moscow, this apartment is also inspired by the industrial architecture of the late 19th century. “As an architect I love working with complex spaces and as a decorator I love dealing with color, patterns and exquisite fabrics, which was exactly what my clients wanted”, says Olimpiada. “The influence of Renzo Mongiardino and Studio Peregalli are not so obvious and direct in this project, but I admire their work and constantly learn from them,” confesses Olimpiada Arefieva. “I believe they are true interior alchemists and I am trying to be one”. It resulted in mixing patterns, working with fabrics, covering walls, ceilings and furniture with ornaments and prints in this home where industrial meets classic with a bold and contemporary twist.

December 23, 2025 | DESIGN & INTERIORS HIFILIFE: SOUND as SPACE words YUZU Editorial photos İbrahim Özbunar Located within Akasya Shopping Mall in Istanbul, HIFILIFE reads less as a retail store and more as a carefully composed environment—one where sound is treated as a spatial condition rather than a product on display. Designed by I-AM under the creative direction of Emre Kuzlu, the project reframes high-fidelity audio as something to be lived with, not demonstrated. Bringing together brands such as Bang & Olufsen, Sennheiser, KEF and Klipsch, the space deliberately avoids conventional showroom logic. Instead, it unfolds at an unhurried pace, encouraging visitors to pause, listen and explore sound on their own terms. At its centre, the Hi-Fi Bar acts as a social anchor—a place for conversation, listening and exchange. From here, the store opens into a sequence of zones where sound is expressed through material and light. Aluminium panels lend precision and balance; oak veneers introduce warmth. Perforated metal ceilings and acoustic surfaces support clarity, while ceramic finishes and concrete textures bring the experience back to a human scale. More intimate listening rooms, defined by timber slats and felt panels, offer focused acoustic environments. These spaces function as quiet cocoons, allowing sound to be experienced without distraction. Rather than foregrounding technology, HIFILIFE holds craft, material and human interaction in careful balance. Positioned within Istanbul’s design and sound landscape, it is a calm, considered destination—one that invites attentive listening and a slower way of engaging with space.

August 22, 2026 | Art & Culture AMUSEMENT as METHOD words Rajesh Punj For the Luxembourg Pavilion at the Venice Biennale, Aline Bouvy presents La Merde, moving between film, sculpture and installation. On view at the Arsenale’s Sale d’Armi until 22 November 2026, the exhibition explores the body, identity and the spaces we inhabit. In conversation with Rajesh Punj, Bouvy reflects on material, failure and colour. “The body is the inscribed surface of events,” argued French historian Michel Foucault, a proposition that resonates with particular force in the work of Brussels-based artist Aline Bouvy, where the body is neither fixed nor resolved but continuously shaped by encounter, memory and cultural inscription. Bouvy observes that “the body is never neutral, it carries everything,” articulating a position that moves away from representation towards something more unstable: the body as site, as process; something both emotional and unmanageable. A vessel capable of carrying a multitude of characteristics, it is equally prone to self-doubt. In that sense, her work unfolds less as depiction than as exposure—of systems, habits, idiosyncrasies and the invisible structures that determine how we see and sense the world. If the body is unstable, slipping, so too is the space that contains it. As Irish-American art critic and academic Brian O’Doherty insisted, “there is no such thing as a neutral space,” a statement that dismantles the long-held fiction of the white cube as an entirely passive, unproblematic arena. In Bouvy’s practice, the exhibition space is not simply activated by art; it becomes a stage, with her artworks appearing as mismatched props and the atmosphere taking on something of an amusement park. Less static, it becomes a site of rehearsal, spectacle and encounter. Conjuring Canadian sociologist Erving Goffman’s observation that “the world is a stage,” Bouvy turns metaphor into method. The exhibition operates as a dramaturgical field, where objects are positioned, bodies are implied or performed, and the spectator is inevitably implicated. Bouvy’s installations function like scenes in which sculpture takes on the logic of theatre: less autonomous object than accessory, less resolved form than participant in a wider choreography. In such a context, her work recalls Polish modernist painter Tadeusz Kantor’s assertion that “the object is an actor,” imbued with a presence that exceeds its material condition. Yet Bouvy complicates this further: her objects are not only actors but residues—traces of action, use and transformation. They hover between action and symbols of unease, humour and hurt, inhabiting what might be described as a threshold condition. This is also where the work engages most directly with the body’s limits, its excesses, its abjections and its refusals. Here, the ideas of Bulgarian-French literary critic Julia Kristeva are unavoidable: “the abject… disturbs identity, system, order.” Bouvy’s practice does not simply illustrate this disturbance; it stages it, often through materials and gestures that provoke discomfort precisely because they remain so close to lived experience. And yet this is never without a certain playfulness and stupidity. There is an unmistakable current of amusement and spectacle running through the work, aligning it, however obliquely, with the logic of entertainment. BETWEEN PLACES AND IDENTITIES RP: I imagine you’re in Venice… AB: Yes, I’m in Venice. I tried to find a place that was a little bit quiet. I’m on my phone as well; I need to keep the battery going on my computer. RP: Thank you for making the time. It’s been a little difficult to organise. AB: Of course. We have some technical issues at the moment, so it’s okay. When you show a film, you always think you just push play and everything is going to work, and of course, it doesn’t. RP: Just to situate things clearly, particularly in the context of the Biennale, which still insists on a national structure of representation, am I right in understanding that you were born in Belgium but are representing Luxembourg? And how do you yourself navigate that positioning? AB: I was born in Belgium, but I was raised in Luxembourg. I took Luxembourgish nationality when I was about eighteen. And I live between Luxembourg and Belgium because my studio is in Brussels. It’s a very small country; it would be a little bit boring to live and work only in Luxembourg. So, very often I’m associated with Belgian art because I’m more related to Belgium through my work. But my nationality is Luxembourgish. And of course, I’ve done exhibitions in Luxembourg as well, so between the two, it can be a little confusing. RP: It’s interesting, and perhaps increasingly complicated, because the idea of nationality feels both structurally imposed and conceptually unstable at the same time. We are all, as you say, living in relatively small and interconnected European contexts, and yet these distinctions persist. You mentioned your Spanish background as well, so there is already a layering of identity there. AB: Yes, my mother is Spanish. She came to Belgium in the 1960s. I grew up with many languages. It’s a bit like navigating different cultures; it’s very interesting. RP: I was speaking recently with another Belgian artist, Koen Vanmechelen, about Venice and about the possibility, or even the necessity, of moving beyond these national frameworks altogether. What you’re describing—this movement between Belgium, Luxembourg and Spain—seems to resist any fixed categorisation. Can you explain your material choices in that light, in Venice but also in relation to earlier projects at Künstlerhaus Bethanien in Berlin in 2019 and La Ferme du Buisson in Marseille in 2024? I’m interested in how context, place and subject begin to determine the form your work takes. AB: Sometimes the best way might be a performance or an installation, depending on the subject. For instance, for the project in Venice, the idea of this character that lives with us, between us, but has this shape, was already something I had in mind more than ten years ago. It stayed there, and I was waiting, maybe, for the right moment. When the invitation came, I really wanted to work with a cinematographic image, almost like a kind of “candy paper” for the subject. You know, something very beautiful. I mean, even an iPhone image can be beautiful, but we are used to the language of cinema. So it was the right opportunity. I had more than a year to focus on the work, a curatorial team to work with and, of course, some budget, because cinema is very expensive. ONE THING NOURISHES ANOTHER RP: What you’re describing suggests that the material is not a fixed starting point but something that emerges through a convergence of idea, context and opportunity. I wonder, when you arrive at a decision about material, is that something you test and revise through trial and error, or does it feel more instinctive? AB: I think it comes naturally. Sometimes it’s financial; sometimes it’s also curiosity. For example, when I discovered you could scan your body with those scanners that look like a gun, I immediately thought, I want to scan my body. And that’s what I did. Then later, when I was invited to reflect on what sculpture means today in a sculpture park in Antwerp, I used that 3D scan. It was already there; it accompanied the process. So it’s always like one thing nourishes another. I don’t feel afraid of materials. But materials come second. It’s really what I project into the subject that brings me to how it will manifest. RP: There’s also a sense, listening to you, that your practice is fundamentally process-driven—that you are learning through each work rather than refining a single formal language. Would you say that your work evolves through experience, through doing, rather than through a predetermined direction? AB: Yes, very much. That’s the excitement for me, to experience new ways of doing. I have nothing to lose, really. What I gain is the experience of being in this activity, being an artist, having colleagues. Art history is very important to me. I like to make links to other artists, other practices. You’re never alone; it’s always a dialogue with what has been there before and what exists alongside you. RP: And within that process, there must be moments of failure, of collapse, of things not resolving as expected. I’m interested in how you position those moments: whether they are obstacles or whether they become integral to the way the work develops. AB: Yes, of course. Failures are part of the process. But after each project, you’ve learned something, and there’s always the energy to continue. What I want is excitement. Even with Venice, I had never worked with film before. It can fail, but it was important for me. At least it allows me to enter another world, the cinema world, which is very different. There’s hierarchy, collaboration, trust. DARING MORE, FEARING LESS RP: So your ideas remain open, fluid even, rather than fixed or resolved in advance. It seems that there is a willingness to allow the work to change as it unfolds rather than to control it too tightly from the outset. AB: Yes. And maybe with time, I care less about failing. Maybe it’s age, or experience. I feel I have nothing to lose, so I dare more. And I think that’s what pushes you further, towards your own limits, towards what you don’t yet know. RP: One aspect of your work that I find particularly compelling is your relationship to colour, or perhaps more precisely, to its restraint or even its refusal. There is often a tension between material presence and chromatic absence. I’m thinking here especially of your exhibition The Price of the Ticket in Marseille, where colour, or the lack of it, becomes almost ideological. Could you speak about that choice and how you approached colour in that context? AB: It’s funny because I’m actually quite afraid of colour. I don’t think I’m a very good colourist. Often, I use the natural colour of materials—plaster, for example. But two years ago, I did an exhibition in Marseille called The Price of the Ticket, based on the ideology of Disneyland. The space was a perfect white cube, and I started thinking again about Brian O’Doherty and his writing on the white cube. How neutral is white? So I made everything white: costumes, sculptures, the whole space. But the whiteness became something else. It showed a kind of latent violence. It was too white, almost anaemic, like everything had been drained out. For me, it was about questioning this supposed neutrality. RP: And in Venice, does colour operate differently? I’m curious whether the shift into film and into a more cinematic language has altered your relationship to colour and image. AB: Yes, it’s different. The film is very colourful, maybe the most colourful thing I’ve done.

Aralık 2020 | Tasarım | Dünya ‘EASY PEASY AKŞAM YEMEĞİNDE KULLANDIĞIMIZ TUZLUK YA DA BİBERLİK GİBİ’ Yazı | Onur Baştürk İ skandinav tasarım anlayışıyla İtalyan çizgisini bir araya getirmesiyle tanınmış, yıldızı her daim yüksek tasarımcılardan biridir Luca Nichetto. Nitekim bu iki anlayışı sentezlemesine uygun olarak bir ayağı İtalya’da bir ayağı İsveç’te. Uluslararası markalar için farklı ürün tasarımları gerçekleştirmiş Nichetto’nun en çok bilinen tasarımlarını şöyle hızlı bir şekilde hatırlatabilirim: De La Espada için yaptığı Elysia koltuğu, &tradition markasına tasarladığı Lato sehpa, Bernhardt Design için ürettiği Luca Koleksiyonu oturma grubu, Et al. adlı İtalyan markasına yaptığı Classy sandalyeleri ve tabii Venedikli aydınlatma markası Lodes için tasarladığı unutulmaz Jefferson aydınlatması. Nichetto şimdi yeni bir aydınlatma tasarımıyla daha gündemde. Tıpkı Jefferson gibi Lodes markası için tasarladığı Easy Peasy ile. İç içe geçmiş katmanlardan oluşan taşınabilir ve şarj edilebilir bir masa üstü lambası olan Easy Peasy’nin çıkışı dolayısıyla Luca Nichetto’yu Stokholm’deki ofisinde yakaladım ve hem tasarımları hem de kendisine dair merak ettiklerimi sordum. Devamı için... Print YUZU MAGAZINE - II Out of Stock View Details

Şubat 2021 | Seyahat | Portekiz Çiçek dürbününden bir şehir: Lizbon Yazı | Sezgi Olgaç “Benim için hiçbir çiçek buketinin, Lizbon’un güneşi altında parlayan renk demeti kadar değeri yoktur.” Fernando Pessoa’ya “Huzursuzluğun Kitabı”nda bu yaşam dolu cümleler yazdıran şehir, kendisinin de doğum yeri olan, ışıltılı, rengârenk, melankolik ve zarif Lizbon’dan başkası değil. Lizbon’u kendine has bir şehir yapan nedir? Bu soruya birçok yanıt verilebilir. Hâlâ kullanımda olan nostaljik tramvayları, Atlantik okyanusuna kıyısı olması, şehri bölerek okyanusa dökülen Tejo Nehri, kırık dökük, rengârenk evlerle dolu sokakları... Bana göre Lizbon’u başka şehirlerden ayıran en çarpıcı özelliği; kendine has ışığı. Lizbon’a vardığınızda, ister havaalanında ister bir tren istasyonunda olun, şehir merkezine doğru hareket etmeye başladığınızda sizi ilk önce bu tarifsiz ışık karşılar. Sabah çok erken saatlerde güneşin doğmasıyla seramik kaldırımlara dökülmeye başlayan bu ışık, uzun saatler boyunca, aynı benzersiz görkemiyle tüm şehri sarıp sarmalar. Fotoğrafa, görüntülere, ışığa ve gölgeye meraklı, bütün bunların peşinden gitmeyi seven biri olarak Lizbon’a ilk önce bu ışıltısıyla aşık olduğumu söyleyebilirim. Bu zarif şehir, eşsiz ışığını güneşli iklimi kadar biraz da sokaklarını ve binalarını süsleyen seramiklere borçlu. Lizbon görebileceğiniz en zarif kaldırımların, meydanların, caddelerin şehri. Hayranlık uyandıran desenlerle süslü taş kaldırımların ve caddelerin geometrisi, adeta şehrin ışığını en iyi şekilde yansıtmak üzere tasarlanmış. Bu yüzden Lizbon’da yürürken biraz da gözü şehrin ayakların altına serdiği yazılara, çiçek desenlerine, geometrik şekillere, mermer ve kireç taşından mozaiklere vermek gerek. Bu desenlerin bir araya gelişi, Lizbon’u adeta ışığın yansımasıyla motifleri durmaksızın değişen, her sokakta zihninizde yeni imgelere yer açan, çiçek dürbününden bir şehre dönüştürüyor. LİZBON’A HAS AZULEJO SERAMİKLERİ Lizbon’un hem sokaklarını hem de binaların dış cephelerini kaplayan bu seramik süslemeler, şehre 16. yüzyıldan, Arap etkisinde olduğu dönemlerden yadigâr. “Azulejo” adı verilen, Portekiz’e has bu seramikler, şehrin girift tarihini bugüne dek taşıyan, rengarenk bir harita gibi. İster Alfama, ister Graça, ister São Bento semtinde olun, yolunuza çıkan tüm binalarda sizi Azulejo’ların karşıladığını göreceksiniz. GERÇEK BİR FADO DENEYİMİ İÇİN TASCA BELA’YA Lizbon beş duyu arasından sadece görme duyunuza hitap eden bir şehir değil. Biraz dikkat kesilince şehrin ve hatta Portekiz’in resmi soundtrack’i sayılan “Fado” müziğine ait melodilerin, şehrin her köşe başından süzüldüğünü duyabilirsiniz. Tıpkı Portekizceden başka bir dilde olmayan “saudade” kelimesi gibi, bu benzeri olmayan müzik de içinde hem mutluluk hem de melankoliden izler taşır. Portekizcedeki kelime anlamı “kader” olan Fado müziğinin bestelerini seslendiren “fadist”ler, acı, keder, hüzün yüklü hikâyeleri abartıya kaçmayan bir dokunaklılıkla yorumlar. Turistik mekanlardan kaçınarak, gerçek bir fado gecesine tanık olmak, Lizbon’da mutlaka yapılması gerekenlerden biri. Gerçek bir fado deneyimi için Tasca Bela ya da Tasca do Chico’yu ziyaret edebilirsiniz. BACALHAU’YU MUTLAKA DENEYİN Avrupa’nın en batısında ve Atlantik Okyanusu’nun kıyısında yer alan Lizbon, deniz ürünleri açısından çok zengin. Ülke mutfağındaki yeri tartışmasız olan, farklı şekillerde pişirilen ve servis edilen “Bacalhau” yani morina balığı, mutlaka denenmesi gereken tatlardan biri. Portekiz mutfağının dillere destan bir yıldızı daha var; başka ülkelerde benzerine rastlayamayacağınız ünlü tatlısı Pastel de Nata. Denemek isteyenler için en iyi adres Manteigaria. KÂŞİFLERİN SEFERE ÇIKTIĞI YER: BELEM Tejo nehrinin kıyısındaki Belem, Portekiz tarihine yön vermiş meşhur Portekizli kâşiflerin seferlerine çıktıkları yer. 15. Ve 16. yüzyılda bilinmeyen yönlere doğru yolculuğa çıkan bu kaşifler, bugün Belem’deki Padrão dos Descobrimentos/Keşifler Anıtı’nda ölümsüzleşmiş. Anıtın en üst katına çıkarak Lizbon ve Tejo Nehri’ni yukarıdan görme fırsatı kaçırılmamalı… ŞEHRİN EN CANLI BÖLGESİ: ALFAMA 1700’lü yıllarda şehri yerle bir eden depremden hiç etkilenmemiş, otantik sokaklarını hâlâ koruyan fotojenik Alfama ise şehrin en canlı bölgesi. 28 numaralı tramvayın metalik gıcırtıları, kiliselerin çan sesleri ve Fado ezgileri eşliğinde Alfama’nın sürprizli sokaklarında kaybolmak, bir çiçek dürbününde gezinmek gibi. EN İYİ MURAL ÖRNEKLERİ SAO BENTO’DA Lizbon’un klasik yüzünün ötesinde, daha modern bölgelerini görmek için rotayı Chiado, Baixa ya da Principe Real bölgelerine çevirmek gerek. Bohem cafe’leri, yaratıcı atölyeleri, sokak aralarındaki mural ve graffiti örnekleriyle São Bento ise Lizbon’un en sevdiğim bölgelerinden biri. SİNTRA’YA GİTMEDEN OLMAZ Lizbon’a yaklaşık 40-45 dakikalık bir tren yolculuğu mesafesindeki Sintra, ortaçağdan kalma bir masal diyarına adım atmak isteyenler için büyülü bir durak. Sintra’da yer alan Pena Palace, Monserrate Palace, Quinta da Regaleira gibi peri masallarını andıran şatolar ve saraylar, Portekiz kral ve kraliçelerinin görkemli yaşamlarını günümüze taşımış. Sintra’yı en popüler dönemler olan Temmuz-Ağustos aylarından kaçınarak ziyaret etmekte fayda var. Gitmişken Piriquita pastanesinde Sintra’ya özgü hamurlu tatlı Travesseiros’un tadına da bakmadan dönmemeli. BİR BAŞKA DURAK: OBİDOS Lizbon’a sadece bir saat mesafedeki Obidos ise çoğunlukla ziyaretçiler tarafından gözden kaçırıldığından, bir nebze gölgede kalmış. 12. yüzyıldan kalma, surlar arasına kurulu bir Ortaçağ yerleşimi olan Obidos, dokusunu korumuş, son derece fotojenik ve kendine has bir kasaba. Dar sokakların arasında karşınıza çıkan kiremit çatılı, beyaz badanalı, begonvillerle sarılmış evler ve edebiyata verilen önem, Obidos’un sakladığı sürprizlerden bazıları. Sanki bir kütüphanede uyuyormuşsunuz hissi vermek üzere tasarlanmış The Literary Man Oteli ve tarihi bir kiliseden kütüphaneye dönüştürülmüş Livraria de Santiago, Portekiz’de gördüğüm en ilginç yerler arasında.

July 16, 2026 | DESIGN & INTERIORS the WHITE ARCADE words Noah Mercer photos Mia Interior Photography production Karine Monié Tucked into Dubai's leafy The Villa neighbourhood, The White Arcade transforms a traditional Spanish-style residence into a calm family sanctuary defined by light, rhythm and sculptural simplicity. Designed by D'Ora Tokai Designs, the home belongs to an Emirati couple raising three children while navigating demanding international careers. Originally characterised by heavy proportions, decorative detailing and colourful finishes, the villa retained the charm of its Spanish origins but felt visually dense. Instead of erasing that identity, designer D'Ora Tokai reinterpreted it through a quieter architectural language, drawing equally from Moorish geometry and European restraint. "Rather than redesigning the house, we refined its language," she says. The result is an interior where arches, natural materials and carefully filtered daylight create a home that feels calm, sculptural and quietly balanced. ARCHITECTURE IN SOFT CURVES The defining motif is the arch. Present only in a few original openings, it became the starting point for the entire renovation, expanding across doorways, passages, windows and ceiling transitions. Repeated throughout the house, these gentle curves soften the architecture while establishing a calm rhythm that connects every room. "Arches became the heartbeat of the project," Tokai says. "They slow movement and soften the way spaces unfold." At the heart of the home sits a double-height courtyard, reorganised as its emotional and architectural centre. Once sunken and visually disconnected, it has been transformed into a luminous gathering space anchored by a bespoke C-shaped sofa designed by DOT Objects, D'Ora Tokai's furniture collection. Echoing the surrounding arches, the sculptural piece embraces the courtyard rather than occupying it, becoming the first gesture visitors encounter upon entering the house. Above, a glazed roof draws daylight deep into the interior, creating layered views between both floors and allowing family life to unfold naturally around its quiet centre. "We wanted the courtyard to become the emotional centre of the home," she says. A RESTRAINED PALETTE Built around the soft white hues of Pantone's 2026 Colour of the Year, Cloud Dancer, the interiors unfold in layered whites, warm neutrals and soft oak tones. "White isn't an absence of colour," Tokai says. "It's a way of revealing proportion, light and calm." That same restraint extends to the material palette. Light oak herringbone flooring, bespoke white and sage-green joinery, neutral Spanish tiles and brushed brass detailing create a calm visual language, while Carrara marble, travertine, white onyx and softly veined quartz introduce texture without disturbing the overall serenity. Almost every major furniture piece was designed specifically for the project through DOT Objects, from the courtyard sofa to the formal dining table carved from white onyx, the living room seating and the children's bedrooms. Carefully selected pieces from CB2, Crate & Barrel, Vitra and West Elm complement the bespoke elements without competing for attention. The only deliberate departure from the monochrome palette appears in the preparation kitchen, where muted sage-green cabinetry introduces a subtle sense of play. A circular internal window connects adjoining spaces, bringing both practicality and a gentle moment of surprise into the otherwise restrained architecture. Rather than simply renovating a Spanish villa, The White Arcade reimagines it through a softer architectural lens. Blending Mediterranean, Moorish and European influences, D'Ora Tokai has created a home that feels restorative in every sense. "A well-designed home should quietly support everyday life," she says. "When a house brings clarity, families naturally feel more connected."