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Haziran 2020 | Seyahat | Portekiz Lizbon’daki ‘saray yavrusu’nda Türk sürprizi Yazı | Onur Baştürk V akit gecenin ilerleyen saatleri… Bir süredir Lizbon’da yaşayan Madonna’nın sıkça gittiği fado barı Mesa de Frades’ten gelen müzik seslerini arkamda bırakarak yokuşu çıkıyorum. Küçük meydana çıktığımda aradığım şey bir ‘saray yavrusu’ kapısı. Tabii ki yine kapıları karıştırıyorum! Elimdeki iri ve uzun anahtarla başka kapıları da açmak için zorluyorum. Kapılar ve ardındakilerle ilgili bir sorunum var galiba… Neyse, nihayet o ‘saray yavrusu’ kapısını buluyor ve içeriye giriyorum. 1783 yılında, dönemin en ünlü çini ustalarından birinin yaptığı bir binadayım. Portekizliler “palacette” diyor bu tarz binalara. Yani “saray yavrusu”. Ve işte Lizbon’un en güzel mahallelerinden birindeki bu saray yavrusu, son iki yıldır bir Türk oteli: Casa Dell’Arte. SADECE ÜÇ ODASI VAR Bodrum Torba’da 2006’da açılmış, “sanat oteli” olarak da bilinen meşhur Casa dell’Arte’nin yurtdışındaki ilk şubesi burası. Lizbon’daki otel her açıdan ilginç. Bir kere sadece üç odası var. Klasik bir otel gibi değil. Resepsiyonda sürekli birileri yok. Avlusu, ortak mutfağı ve her köşeden/duvardan fışkıran şahane sanat eserleriyle aslında bir sanat koleksiyonerinin evinde kalıyormuş gibi hissediyorsunuz. Otelin sahibesi Ahu Büyükkuşoğlu Serter’in asıl amacı da bu hissi yaratmakmış. Nitekim bunda başarılı olmuş da… Hem 18. yüzyıldan kalma tarihi doku hem de yerli-yabancı sanat eserleri sayesinde. Evet otelin içinde Türk sanatçıların eserleri ağırlıkta: Nuri İyem, Bedri Rahmi Eyüboğlu, Neşe Erdok ve Nuri Bilge Ceylan o sanatçılardan sadece birkaçı. Bu koleksiyonu otelin diğer ortağı Gamze Büyükkuşoğlu yönetiyor. İKİ YIL BEKLEMİŞ Ahu Büyükkuşoğlu Serter’in aslında Lizbon’da otel açmak gibi bir planı yokmuş. Ama işleri için bu şehre sık sık gidip geldikçe şunu farketmiş: Lizbon’un giderek yükselen bir destinasyon olduğunu… 1783’ten kalma bu binayı gözüne kestirince Casa dell’Arte’yi Lizbon’a açmaya karar vermiş. Ama binayı satın alabilmek için tam iki yıl beklemiş. SANAT ÜSSÜ Çoğunluğu minimalist ve modern çizgide olan Lizbon otellerinin aksine, Serter kendi otelinde varolan tarihi dokuyu, çinili duvarları hiç bozmamış. Aynen korumuş. Bu yüzden de otel kısa sürede şehrin en hip otelleri arasına girmiş. Otelin altına açılan sanat galerisiyle beraber Casa dell’Arte Lizbon, tam anlamıyla bir sanat üssü haline gelmiş. SIRA DİĞER AVRUPA ŞEHİRLERİNDE Ahu Serter’in sürprizleri Lizbon’la sınırlı değil. Bu konsepti şimdi diğer Avrupa kentlerine de taşımak istiyor. Bu arada Lizbon’daki otelin müdürleri de Türk; Emre Çelik ve Karpat Deviren. Her ikisinin de Lizbon’a dair söylediği şey şu: “Buraya geleceğin Barselona’sı diyorlar. Gerçekten de öyle. Çünkü en çok yatırım alan Avrupa şehirlerinden biri. Aynı zamanda genç bir şehir. Sosyal hayat hareketli ve sanata çok önem veriyorlar”. SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

Eylül 2020 | Art | Turkey Miniatures with Matisse and Warhol through them Words | Onur Baştürk He brought his miniature art to Starbucks coffee cups in his "Mythology" series, which was exhibited first at the Mamut Art Project and then at the Saatchi Gallery in London in 2017. In the "Olympos / Portraits-1" exhibition curated by Taner Ceylan, he drew attention with his work titled "Self-Portrait", all made with 24 K. real gold on transparent paper. I can briefly describe him as "the artist who made miniature up-to-date". I am talking about Onur Hastürk. Currently, Anna Laudel is on the agenda with her "Assimilation" exhibition in Dusseldorf, which will last until the end of October. The main vein of the exhibition is Matisse and Warhol. What brings them together is miniature. Here is Onur Hastürk's unique world .. How did you think of intersecting the world of miniature with the world of Henri Matisse and Andy Warhol in the exhibition "Assimilation"? Is it the pleasure of bringing different worlds together or is it a move abroad? For a long time, I have been trying to establish a link between East-West, traditional-current, past and present. I do intensive reading and research before the production processes. In such a moment, in the proceedings book of the symposium titled "Islamic Aesthetics in Modern Art" held at the Goethe Institute, published in December 2005, Henri Matisse's words following his visit to the "Masterpieces of Islamic Art" exhibition organized by Ernst Kühnel in Munich in 1910 are the starting point of the exhibition created: “Eastern miniatures made me aware of all forms of sensory perceptions possible for me. With the type of painting used in these miniatures, this art expresses a large and truly unique field. This helped me get rid of the copycat painting ”. I didnt know that…. On the other hand, Matisse was one of the artists that attracted me with his oil painting works, which he named "Odalisque" (Turkish origin "Odalık"), especially between 1910-1929. What about Warhol? Warhol's different patterns (women's shoes, feminine boys, inviting figures, etc.) in the drawings he made as gold-plated on paper in his book "A Gold Book" and his series impressed me incredibly. The use of "gold" as an art material over the centuries and its multi-layered relationship in art has always been of interest to me. The first reflection of Andy Warhol in my works started with the "One More Coffee" series, where I interpret classic miniature works on Starbucks paper cups at the 2016 Mamut Art Project, which I am a participant of and which enables me to be visible in contemporary art. So I realized that even though we were at different times, there is an invisible bond that connects us with the shining stars of western art, Matisse and Warhol. In fact, everything was there, waiting for me in front of me. It was only to show how this was seen through the eyes of a miniature artist in the present. Therefore, after 110 years (with a spatial reference), the idea of bringing this exhibition, in which Matisse's works are reinterpreted in the classical miniature style, with the audience at the Germany / Anna Laudel Düsseldorf Gallery, emerged. ART | Kategorinin diğer yazıları ‘Resimlerin kendi içinde tedirgin olmasını önemsiyorum’ Mahremiyeti sorgulamak daha erotik Yuzu & nom-studios sunar ‘LOOP’ sergisi Kemal Özen "Gam'zede" Online Sergi Hangi yetişkin bir ‘Gam’zede’ değil ki artık? Ali Elmacı’nın atölye günleri notları May Parlar "Collective Solitude" Online Sergi Lara Kamhi’yle paradokslar ve izolasyon üzerine... BASE’in yeni dijital projesi yakında Sessiz Odanın Çığlığı İtalya’daki müzeden salgına bakınca… Yıldızı daha da parlayacak: Salman Toor Online açılış yapan İstanbullu sergi

Temmuz 2022 | Bodrum Coffee Table Book | GASTRO & FUN TRATTORIA IL MANDARINO Yazı & Fotoğraflar | Onur Baştürk İ talyan bir babayla İranlı bir annenin kızı Melina Di Cristina. Fatih Sultan Mehmet Köprüsü’nü Japonlar’la beraber yapan İtalyan ekipte yer alan babasının işi dolayısıyla 1988’de İstanbul’a taşınıyor. Sonraki yıllarda tüm aile artık tamamen İstanbullu oluyor. Üniversite sonrası uzun yıllar kurumsal hayatta yönetici asistanlığı yapan Melina, bundan dört yıl önce kışın İstanbul’da çok bunalıyor ve “Havanın en sıcak olduğu yer burasıydı” dediği Bodrum’da alıyor soluğu. Bir hafta kalıp dönerim dediği Bodrum’da bir yıl kalıyor ve bu sırada Bitez’de Çilingir Sofrası adlı mekanın müdavimi oluyor. Gel zaman git zaman, Melina mekanın devredileceğini öğreniyor ve kendini bir anda eşi Cenk Kırmacı’yla beraber buranın sahibi olarak buluyor. Eşinin, “İtalyan lokantası yapmalısın” teşvikiyle babaannesinin çok eski yemek tarifi kitabını raftan indirip harıl harıl çalışmaya başlıyor. Böylece Bitez’deki mandalina bahçesi içinde yer alan Trattoria il Mandarino macerası başlamış oluyor. writer & photography | Onur Baştürk M elina Di Cristina, the daughter of an Italian father and an Iranian mother. She moved to Istanbul in 1988 due to the job of his father, who was part of the Italian team that built the Fatih Sultan Mehmet Bridge together with the Japanese. In the following years, the whole family has become entirely from Istanbul. Melina, who worked as an administrative assistant in corporate life for many years after university, got very depressed in Istanbul in winter four years ago and got in Bodrum, where she says, “This was the warmest place”. She stayed for a year in Bodrum, where she said she would stay for a week and return, and meanwhile, she became a regular at a place called Çilingir Sofrası in Bitez. In time, Melina learned that the place will be transferred and then suddenly found herself as the owner of the place with her husband Cenk Kırmacı. With the encouragement of her husband, “You should make an Italian restaurant,” she took down her grandmother’s very old recipe book and started working hard. Thus, the adventure of Trattoria il Mandarino, located in the tangerine orchard in Bitez, has begun. Tamamı için... For more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

May 14, 2026 | Art & Culture WAITING to be a FLOWER UNDERNEATH the FIG TREE words Goksen Bugra photos Gokhan Tanrıover This week at Photo London, Istanbul-based gallery Bosfor presents a solo exhibition by photographer Gokhan Tanrıover: Waiting to be a Flower Underneath the Fig Tree. Moving between memory, myth and inherited stories, the series traces the artist’s connection to a small village on the Turkish Aegean coast through analogue photography and darkroom printing. Ahead of the presentation, we spoke with Tanrıover about memory, belonging and the slow rituals of analogue photography. This year you’ll be taking part in Photo London with Bosfor, with a solo presentation. Could you tell us a little about the series Waiting to be a Flower Underneath the Fig Tree, which you’ll be showing there? Three of my grandparents were born in a small village on the Turkish Aegean coast, scented with fig trees and the salt of the sea, edged by tides and dotted with the empty stone houses of long-abandoned villages. It is a place I never lived in, only visited; a place that now exists for me mostly through stories: histories that shift each time they are told, half-remembered anecdotes, hyperbole, things that may or may not have happened. “Waiting to be a Flower Underneath the Fig Tree” began as a way to step into that landscape and make work from inside it. Visually, the series moves between the village and what surrounds it: empty stone houses softened by figs growing through their walls, the saline light of the coast, fragments of figures, quieter still lifes built around objects I came across or carried with me. Some images began on long walks through abandoned settlements; others were arranged later, more deliberately, once a story had stayed with me long enough to take form. I returned again and again with my medium-format camera and treated the territory as a stage, wandering through it as a partial outsider, anchored only by familial bonds, retelling the stories that surfaced as I walked. The work hinges between fact and fiction, lived history and inherited stories, brushed by myth: the rebirth of Narcissus, the slow demise of Echo. The fig tree threads through all of this. Its flower hides inside the fruit, which felt like a fitting image for a place that exists for me through what was withheld and what was passed on in fragments. Back in the darkroom, the prints add another layer of subjectivity over an already malleable narrative. What I’m constructing, piece by piece, is a new visual family archive. One that doesn’t claim to be true, but tries to be honest. I TRAVELLED TO THE VILLAGE WHERE THESE STORIES TOOK PLACE AND ENTERED AN INTENSE PERIOD OF MAKING WORK In this series, how did family stories and oral narratives become a starting point for you? The stories were always there, long before I thought of making work from them. Growing up, family gatherings would inevitably circle back to the village, and someone would begin telling a story that everyone had heard before but that nobody ever told the same way twice. Details would shift. New characters would appear. I never knew which parts were true, and after a while I stopped trying to separate fact from embellishment, because the telling itself was the point. In some ways, this project grew out of an earlier body of work, Confessionals, where I used my own childhood memories as material. There was a delay of several years while I pursued my master’s and my practice-based research took me elsewhere. But when I relocated to Madrid from London, leaving behind the city where I had lived most of my life, I felt a sharp pang of nostalgia for the idea of home and what it means to me. The village came back into focus. What pulled me there with urgency was the realisation that my grandmother, the last gatekeeper of these stories, was losing her hold on them. Her dementia was advancing, and the tales I had grown up with, tales in which my ancestors took on the roles of almost legendary characters, were beginning to dissolve. I travelled to the village where these tales took place and spent an intensive period making new work in a way that was entirely new to me. I walked through the landscape looking for physical traces of the stories — the wells, the stone walls, the overgrown paths — and waited for certain ones to find their form. The photograph of the well came together only after several visits, when I finally stood before one whose depth was barely perceptible, holding nothing but dust and the sediment of old wishes. How has living between Izmir, London, Madrid, and now Barcelona shaped your sense of belonging? I was born in Izmir and moved to London twice, first as a toddler and then again at the age of ten. I also spent several years in Istanbul early on. Growing up between English and Turkish, I often wasn’t sure which language truly felt like my first. Even now, calling either one my mother tongue feels too definitive, as I’ve never felt fully tied to a single geography or identity. That complicated relationship with language has followed me everywhere. After spending most of my life in London, I moved to Madrid and later to Barcelona, where Catalan became yet another language shaping daily life. I now speak three languages, all with accents of varying strength, which means I’m constantly asked where I’m really from. Over time, I’ve realised my sense of belonging has less to do with geography and more to do with the spaces I build for myself — spaces I allow only a select few into. IT WAS ONLY DURING MEDICAL SCHOOL THAT THINGS BEGAN TO CRACK OPEN How did your transition from medical training—something that takes a long time and a great deal of effort—into photographic art unfold? What did that turning point change in your life? I think there is a quiet violence in choosing a career as a teenager and being expected to build a life around it. I was good at science, and in the environment I grew up in that was enough to set a direction. Medicine was the obvious path: it was respected, demanding, and rewarded the kind of discipline I had. What I could name, even then, was that I loved to draw. But in my family, as in many others, the arts were never presented as something you could truly make a living from. It was only during medical school that things began to crack open. I started working with artists and photographers, not behind the camera but in front of it, modelling for life drawing classes, taking part in performances, lending my body to other people’s projects. I was fascinated by the decisions they were making, the way they constructed an image or a gesture, and over time I found myself wanting to be the one making those decisions rather than simply being shaped by them. I bought a camera. I photographed compulsively, without method, which is almost unrecognisable from the way I work now. The decision to leave medicine was not gradual; it was sharp, almost impulsive, though I think it had been building beneath the surface for a long time. I didn’t want to keep treating photography as an escape from a life that left me anxious and depleted. I wanted it to become the life itself. Once I made that shift, photography stopped being the place I fled to and became the place I live in.

November 2023 | People FOR TR CONVERSATION about ARCHITECTURE with ECE CEYLAN BABA words Onur Baştürk Our first face-to-face conversation with Yeditepe University Faculty of Architecture Dean Ece Ceylan Baba took place under a "tree of life". That “tree of life” was in a familiar place. A Ficus Australis, the symbol of Yuzu Garden, which opened in 2020 within Paloma Finesse in Antalya-Side. We met with Ece in that delightful garden at the beginning of the summer and talked about sustainable architecture and architectural approaches that are expected to dominate the world in the near future. Of course, not every topic could fit into our conversation that day as part of "Yuzu Weekend". That's why I wanted to publish here the long interview we had after that conversation. Because what Ece has to say concerns us all! ONE IS UTOPIA, THE OTHER IS DYSTOPIA How do you view architects’ projects aimed at “saving” or “healing” the world? For example, BIG’s Bjarke Ingels’ “Masterplanet” project or Liam Young’s fictional film “Planet City.” Can architects really make a difference in saving the world? The argument of saving or healing the world is quite ambitious for a single profession. However, I believe in the transformative power of space. People are influenced by the spaces they inhabit, and spaces, in turn, are influenced by people. They co-evolve like two living organisms contributing to each other. From this perspective, the impact of architecture on human life is significant. While the world’s resources are depleting, the universe has the ability to heal itself. Nevertheless, our era is marked by various crises, and various professionals are taking numerous measures to postpone the possible end of humanity. In the field of architecture, principles of sustainable design, energy efficiency, and the use of environmentally friendly materials have gained importance in the 21st century. Approaches like Masterplanet and Planet City have different arguments in this regard. We can describe them as a kind of duality, one being utopia and the other dystopia, two visionary works. BIG’s Masterplanet project envisions a world that comprehensively addresses the climate crisis and foresees a world where the entire global population lives in similar ideal urban spaces. The project proposes a masterplan for the world and resembles a utopia in some aspects. It approaches environmental issues with a comprehensive solution and places technology at the center of the project. It suggests a design action on a planetary scale, highlighting the inadequacy of current building and even city-scale measures in addressing the climate crisis. The project has a pragmatic architectural approach and offers a critical perspective on local climate crisis measures. In the film “Planet City,” Liam Young explores a dystopia that reinterprets the strong relationship between colonization, globalization, and the economy through metropolises, challenging conventional thinking. It narrates events in an imaginary city where approximately 10 billion people live, and the rest of the world is handed over to the wild nature by a collective decision. The speculative science fiction film suggests that climate change is not just an environmental issue but a political and ideological problem. Both projects are produced by architects and are not intended to be realized; they aim to draw attention to the climate crisis with their manipulative features and question the possibilities of architecture beyond conventional ideas about cities, urban life, the environment, and even the planet’s scale. Do you think the homes of the future will be completely independent from city grids and self-sufficient? What are your thoughts? Or will efforts in this regard remain largely individual? A city exists with its built environment, unbuilt environment, and the lives of the people within it. This situation forms a complex pattern and inherently does not contain uniqueness. The concept of self-sufficient home(s) is bound to eventually evolve into a network of similar lifestyles. Therefore, I believe that cities in the future will enable a non-individual, community- oriented way of life. SLA'S STRUCTURE IN COPENHAGEN IS A VERY GOOD EXAMPLE SLA’s structure in Copenhagen is quite a good example with its emphasis on greenery, even making it the centerpiece of architectural design. Creating organic farming areas and mini-parks on the rooftops of buildings, for instance. The most striking example is the landscape design on the steep roof of the energy plant in Copenhagen, designed by SLA. Do you think all of this is sufficient, or is it merely “greenwashing”? Sustainable design approaches in architecture are a multidisciplinary and holistic subject that involves various stakeholders. It encompasses different areas such as material selection, the presence of adaptable and functional programs, the relationship of the building with its geographical location, energy efficiency, and the use of eco-friendly construction technologies. We cannot return a piece of land taken from the city to wild nature by placing limited greenery on the facade or roof of a massive building. Nor can we make an unsustainable building sustainable by adding some green touches later, just to use it as a marketing argument with a “green building” certificate. This subject should involve a process that starts from the initial stages of design, continues with the involvement of users, and becomes a cyclical, living, and holistic process within life. Anything outside of this framework has the potential to become a form of greenwashing. SLA’s structure in Copenhagen, which I had the opportunity to observe on-site recently, is an excellent example due to its location in the city and its design approach. It successfully integrates the building’s non-public rooftop with the city, eliminates barriers safely, and presents an original idea. IT IS IMPOSSIBLE TO DELIVERY THE WORLD TO WILD NATURE Can we control further green degradation in the next decade? Are you optimistic about this? Research indicates that the world’s population will continue to grow, and consequently, the urban population is expected to increase relative to the rural population. Urban life still seems attractive and maintains its appeal. Therefore, we can say that the need for construction in cities will increase in the next decade. I would like to emphasize one point: repurposing the idle building stock in cities can help control further green degradation unless there is a real need for more green destruction. I am not optimistic about this if methods like improving the efficiency of existing buildings and developing policies that support shared space usage are not adopted. Is it really necessary for us to return a significant part of the world to wild nature? Is this our salvation? What are your thoughts? In fact, I addressed the answer to this question in the previous one. I do not believe it is possible to return a significant part of the world to wild nature. The urbanization trend is expected to continue as the population increases, and the current approach to construction, driven by the capital-focused system we live in, exacerbates this situation, creating environmental problems. One of the reasons for this is the strong appetite for producing mega-scale projects. In my 40s, I learned the power of imperfection. IN MY FORTIES, I HAVE LEARNED THE VALUE OF IMPERFECTION When you were just starting out, in your twenties, how did you view the world, cities, and your profession? What has changed in your vision over the years, and what has remained the same? That’s a wonderful question! In the early years of my professional life, I used to work with the aim of perfection in a project, research, building, or text. I believed it could be achieved, and I dreamed of the possibility of achieving this with proper planning. Years later, especially as I delved into the search for ideal spaces and ideal cities, I confronted the fact that the idealized space being strived for was closed to development, totalitarian, and stagnant. Yet, people are evolving beings, and so are spaces. There is a symbiotic relationship between them. Today, in my forties, I have learned the value of imperfection. I realized how valuable the reality with its flaws is, not the idealized one. I believe that the world and cities continue to evolve with their imperfections, and this is what makes them unique and allows them to differentiate and progress from one another.

May 2025 | DESIGN & INTERIORS DOWNTOWN DESIGN ARRIVES in RIYADH words Onur Basturk Riyadh gets its first taste of Downtown Design from 20–23 May, as the fair lands at JAX District with a sharp focus on contemporary, high-quality design. We caught up with Director Mette Degn-Christensen to talk about this exciting debut and Saudi Arabia’s creative momentum. THERE’S INCREDIBLE ENERGY IN SAUDI ARABIA RIGHT NOW Downtown Design will be held in Riyadh for the first time this year, following its well-established presence in Dubai. Could you tell us about the goals and highlights of this inaugural edition? Our first edition of Downtown Design Riyadh will present a dynamic selection of some of the most innovative and sought-after names in the international design scene, alongside emerging designers and creatives from across the Middle East. For over a decade, Downtown Design has been the Middle East’s leading fair for contemporary, high-quality design, acting as a catalyst for growth in the region’s creative scene. We’ve become a key platform for both the industry and emerging talent. Now, we are expanding our reach to bring our established curatorial approach and global network to Saudi Arabia’s fast-evolving design market—creating a fair in KSA, for KSA. Our aim is to create an unmissable event for design enthusiasts, professionals, and the culturally curious alike—those based in Saudi Arabia, the wider region, and international audiences working in or looking to enter the market. The demand for high-quality interiors and a new, modern aesthetic in the Kingdom is unprecedented, and we see this as a much-needed platform to serve this dynamic and rapidly growing market. There’s incredible energy in Saudi Arabia right now—enthusiasm and a growing confidence in design as a vital part of our surroundings and daily lives. The Kingdom is investing in quality, creativity, and long-term thinking—and design is at the heart of that. Some exhibitor highlights include Huda Lighting’s large-scale installation of ten architectural and decorative lighting brands; Venni’s showcase of hand-blown glassworks in collaboration with Michele De Lucchi and Peter Marino; Visionnaire’s refined artistry; and Serafini’s functional furniture highlighting Italian heritage. Helen Chislett Gallery will present collectible design by names like Heatherwick Studio, Roome London, Tom Faulkner, and Object Studio. Maison Louis Drucker will debut a digital-craft collaboration with TRAME and Aranda\Lasch, exploring algorithmic design rooted in traditional craftsmanship to reimagine the iconic café chair first created in 1885. This project, called ENLACE, merges the potential of digital design with the art of cane weaving—showcasing how generative technologies can complement, rather than replace, artisanal processes. The fair will also feature a space dedicated to collectible design and ultra-high-end collections presented by international galleries and makers known for exceptional craftsmanship and contemporary vision. One highlight is Gallery COLLECTIONAL, showcasing the sculptural lighting of New York-based Apparatus Studio, vintage-inspired creations of Draga & Aurel, and works by Laurids Gallee, Mario Tsai, Sabine Marcelis, Steven John Clark, and Refractory. We’re particularly excited about the strong selection of contemporary Saudi creatives featured in this first edition. There’s so much energy in the local design scene—studios drawing from heritage, experimenting with materials, and building a visual language that bridges local identity and global conversations. We’re looking forward to Designed in Saudi, a strategic initiative led by the Architecture and Design Commission that positions the Kingdom as a global design destination. It’s dedicated to empowering local designers and supporting the growth of the industrial design sector in Saudi Arabia. The Kingdom’s creative talent will be showcased with brands such as NWII.III, where founder Noura Suleiman will debut the studio’s Mezlaj furniture collection, and Jotun will unveil an experiential colour concept by Amani Ibrahim that draws on architectural features from five different Saudi regions. WE HAVE A CURATION PROCESS How were the designers and design studios selected or invited for Downtown Design Riyadh? Do the participating studios share any common qualities or values? For every edition of the fair, we assemble a line-up that combines global brands, regional debuts, creative showcases, and a spotlight on Saudi talent. There is a strong emphasis on material craftsmanship, spatial innovation, and programming tailored to a diverse, high-calibre audience. The Riyadh edition reflects the essence of Downtown Design—contemporary, high-quality, and original. We have a curation process for all applications to ensure quality, relevance, and alignment with our vision. This allows us to support both international brands and emerging creative talent while contributing meaningfully to Saudi Arabia’s evolving design scene. We aim to present an inspiring mix—lifestyle products, new collections from globally known brands, and future-proof solutions for modern interiors—alongside regional studios. Downtown Design is boutique in scale and feel, allowing us to offer a refined, purposeful experience instead of a large-scale supplier show. Our audience is well-travelled, design-savvy, and culturally curious—often true aficionados—so our offering is carefully tailored to meet those expectations, not just to mimic other fairs. There’s a consistent focus on premium interior design across hospitality and residential sectors, showcasing both global names and limited-edition works that visitors can explore, buy, or commission. STRATA: LAYERS OF EARTH Is there a specific theme guiding this year’s Downtown Design Riyadh? Rather than one overarching theme, we curate a filtered, inclusive showcase that spans relevant sectors and topics, all grounded in local context and materiality. This year, we’re thrilled to collaborate with Karim+Elias, who are presenting an urban intervention titled Strata, meaning “layers of earth.” The concept draws on Diriyah’s Najdi architectural style and the traditional rammed-earth technique. The modular seating installation—over 50 triangular components—will be handmade using local earth and positioned in the JAX District’s courtyards, surrounded by greenery. JAX District itself, the fair’s venue, is situated in Diriyah, a UNESCO heritage site known as the “City of Earth.” It’s a powerful setting for conversations around sustainability, locality, and heritage-driven design. We see Strata as a perfect embodiment of how we integrate local identity, sustainable thinking, and craftsmanship into our programming. We’re also presenting Woven by Ruba Al Khaldi—an interactive pavilion first shown at the 2023 London Design Biennale. It celebrates the Bedouin craft of Al-Sadu through a 50-meter tapestry and a working loom with digital exhibits. The piece expresses shared values—innovation, nature, spirituality, knowledge, and wellness—through craft and design. Another key installation is the Iwan Pavilion, winner of the 2023 Tanween Foldable Pavilion Challenge. It’s a collaborative project inspired by traditional Islamic architecture, brought to life by Itra, Mamou-Mani Architects, and Abay. THERE’S A REAL SENSE OF MOMENTUM IN RIYADH What are your personal impressions of Riyadh? How would you describe the city? I know it sounds cliché, but it’s genuinely been an encouraging experience. There’s so much ambition, readiness, and energy in the people we meet. It’s incredibly exciting to be part of this movement and transformation. There’s a real sense of momentum in Riyadh. Over the past year, the city has continued to surprise me—in the best way. The opportunities are vast, and while it’s hard work, it’s a rewarding and fascinating process to be a part of. WE SEE OUR PLATFORM CONTRIBUTING TO THIS DYNAMIC SHIFT Based on your experience in Dubai, do you think Riyadh has the potential to become a design and art hub as well? Absolutely—and I believe it’s already happening, especially in the arts. That’s precisely why we’re launching the fair in Riyadh: there’s a growing demand for quality design, and we see our platform contributing to this dynamic shift, aligned with Vision 2030. How do you feel about hosting the fair at the end of May? I’m asking specifically in regard to the heat, as the event takes place during quite a warm period. Fortunately, the entire fair takes place indoors, and we have excellent air conditioning! Naturally, we expect evenings to be busier, and our opening hours reflect that. But it’s still May—not August—and we’ve designed everything with the climate in mind. Are there any plans for Downtown Design to expand into other cities across the Middle East? We’re certainly open to it and are reviewing long-term strategies—so stay tuned!

June 14, 2026 | TRAVEL Content Partnership a TIMELESS LANDMARK in IZMIR Meet the iconic SWISSÔTEL BÜYÜK EFES, a landmark closely woven into the life of Izmir — one of the most refined and economically vital places on Turkey’s Aegean coast. Originally opened in 1964 as Büyük Efes Hotel, and among Turkey’s first five-star hotels, the building has long occupied a place in the city’s collective memory. Reintroduced under the Swissôtel brand in 2008, it carries its heritage into the present through a contemporary lens. The hotel brings together the precision of Swiss hospitality and the warmth of Turkish welcome. Another defining aspect of Swissôtel Büyük Efes is its commitment to art. With a collection of over 800 works, the hotel functions almost as a modern gallery. From sculptures by Fernando Botero to works by Lorenzo Quinn, Rabarama and Antony Gormley, alongside Turkish artists such as Varol Topaç, Atilla Galatalı, Şadi Çalık, Jale Yılmabaşar and Erdoğan Ersen, each space offers a different aesthetic register. This strong artistic presence turns the hotel into a cultural meeting point, not just a place to stay. This art-led atmosphere is complemented by Swissôtel’s philosophy of wellbeing. Pürovel Spa & Sport invites guests to rediscover physical and mental balance. Gastronomy is an integral part of the experience. The Italian restaurant Scappi, included in the Michelin Recommended list, brings a refined take on world cuisine to Izmir, while the gourmet steak restaurant Comensa, opening in spring 2026, is set to add a new voice to the city’s dining scene.

February 2024 | Design & Interiors english below An Art-Filled Apartment with a Classy Touch words Leon Williams M odern sanat eserleriyle ön plana çıkan Florida, Fort Lauderdale’deki okyanus manzaralı bu evin tasarımı The Art Of Design’a ait. Beyaz, krem ve yumuşak griler sayesinde dingin bir atmosfere sahip olan evin tasarımıyla ilgili The Art Of Design’dan Monica Slodarz şunları söylüyor: “İlham kaynağımız okyanusun kıyısında dingin, abartısız, konforlu bir cennet yaratmaktı. Okyanusun akışkanlığı; hafif kavisli mobilyaları kullanmamızda ve deniz kabuğundan esinlenen bir dekorasyon yaratmamızda büyük etken oldu”. Slodarz, “En büyük ikilem ise mahremiyet sağlamaktı. Dairenin güneyindeki eski binanın manzarasını engellemekle tamamı cam olan ön cepheden gelen doğal ışığı en üst düzeye çıkarmak arasındaki doğru dengeyi bulmaya çalıştık” diyor. “Bunun için özenli bir mekânsal planlama, özel mobilyaların stratejik olarak yerleştirilmesi, günün saatine ve mahremiyet gereksinimlerine göre ayarlanabilen yenilikçi gölgeleme çözümlerinin kullanılması gerekiyordu”. DETAYLAR Dairedeki mobilya ve aydınlatmalar 1stdibs, Studio Oliver Gustav, Michael Anastassiades, Ralph Pucci, Avenue Road, Art + Loom, Living Divani, Cassina, Piero Lissoni, Boconcept, Sawkille, Minotti, Hive, Luminaire, Pierre Yovanovitch, Patricia Urquiola, EWE Studio, The Future Perfect, DWR, Luca Nichetto, Kvadrat, Gubi, Holly Hunt, Ligne Roset ve Paola Lenti’den seçilmiş. Duvarlara eserleri yerleştirilen sanatçılardan bazıları ise şöyle sıralanıyor: Jesus Soto, Elias Crespin, Gerold Miller, Katja Strunz, Victor Vasarely, Javier Callejas, Jose Dávila, Claudia Wieser, Niyoku Ikuta, Candida Hofer, George Rousse, Claudio Parmiggiani. T he Art Of Design designed this ocean-view apartment in Fort Lauderdale, Florida, which is characterised by modern artworks. Monica Slodarz from The Art Of Design says the following about the design of the house, which has a serene atmosphere thanks to white, cream and soft greys: “Our sources of inspiration were deeply rooted in the coastal surroundings and the desire to create a haven of serenity and understated luxury. The fluidity of the ocean influenced the use of organic shapes and textures in the home, such as gently curved furniture, seashell-inspired decor and driftwood accents.” "The biggest dilemma was finding the right balance between providing privacy, blocking the view of an old building next door in the south of the apartment and maximizing the natural light coming from that exterior wall that was all glass," says Slodarz. “This required thoughtful spatial planning, the strategic placement of custom built in furniture and the use of innovative shading solutions that could be adjusted according to the time of day and privacy requirements”. DETAILS The furniture and lighting in the apartment are from 1stdibs, Studio Oliver Gustav, Michael Anastassiades, Ralph Pucci, Avenue Road, Art + Loom, Living Divani, Cassina, Piero Lissoni, Boconcept, Sawkille, Minotti, Hive, Luminaire, Pierre Yovanovitch, Patricia Urquiola, EWE Studio, The Future Perfect, DWR, Luca Nichetto, Kvadrat, Gubi, Holly Hunt, Ligne Roset and Paola Lenti. Some of the artists whose works were placed on the walls are as follows: Jesus Soto, Elias Crespin, Gerold Miller, Katja Strunz, Victor Vasarely, Javier Callejas, Jose Dávila, Claudia Wieser, Niyoku Ikuta, Candida Hofer, George Rousse, Claudio Parmiggiani.

Şubat 2022 | Tasarım | Amerika for english click here Selim Vural’ın NY’daki yenilikçi projesi LILLY Yazı | Onur Baştürk N ew York’ta yaşayan mimar Selim Vural’la geçtiğimiz yıl yuzu vol3 bahar sayısı için Dune House adlı projesini konuşmuştuk. “Earth Sheltering” anlayışıyla yapılan, kendine kendine yetebilen, doğayla uyumlu bir konut projesiydi Dune House. Render’larını görür görmez heyecanlanmıştım. Selim Vural’ın mimarlık ofisi Studio Vural şimdi yeni bir projeyle karşımızda: Lilly. Ve bu proje de aynı şekilde heyecan verici, yenilikçi ve şaşırtıcı. PASİF MİMARİ VE SÜRPRİZ ZAMBAKLI ÇATI Manhattan’daki Bryant Park yakınlarında konuşlanacak Lilly, sıradan bir ‘tower’ değil. Mimar Selim Vural, Lilly projesini “Pasif mimarinin bir sonraki adımı” olarak nitelendiriyor. Peki pasif mimari anlayış nedir? Özetle şu: Pasif mimaride herhangi bir mekanik ve elektrikli sistem kullanılmadan sistem yapı elemanlarıyla oluşturuluyor. İç mekanların kışın sıcak, yazın serin kalmasını sağlamak için güneş ve rüzgar enerjisiyle yapı malzemelerinin doğal özelliklerinden faydalanılıyor. 18 konut ve 23 ticari kattan oluşan hibrit bina Lilly, işte bu özelliklerle donatılmış bir proje. Ama Lilly’nin çok çarpıcı bir başka özelliği daha var: Dış cephesindeki bitki örtüsü! Her bahar açan, yılın geri kalanında yeşil kalan ve az bakım gerektiren Asya zambaklarıyla süslenmiş geniş bir yeşil çatı cephesine sahip Lilly. Bu görüntüsü binaya hem çok estetik bir görüntü kazandırıyor hem de doğal bir yalıtım sağlanmış oluyor. ENERJİ KAYBI MİNİMUM Yeşil çatının altındaki ofisler doğal olarak yan camlarla aydınlatılıyor. Alt konut birimleri ise iyi yalıtılmış bir cepheden bol miktarda doğal ışık ve hava alıyor. Lilly’nin yeşil çatı yalıtımı, üçlü yalıtımlı cam ve ısı değişimli hava girişleriyle desteklenen jeotermal bir sistem sayesinde ısıtılıp soğutuluyor. Bu sistem iç mekana temiz hava sağlıyor ve böylece enerji kaybı benzeri görülmemiş seviyelere iniyor. “TEMİZ BİR GELECEĞİN ÖNÜNÜ AÇMAK İÇİN” “Lilly'yi seviyoruz. O çok güzel, güçlü ve doğanın bir gücü” diyen Vural, temiz bir geleceğin önünü açmada mimarlığın rolünün çok önemli olduğunu da bu projesiyle vurgulamak istiyor. Selim Vural's innovative project in New York LILLY Words | Onur Baştürk W e talked to architect Selim Vural, who lives in New York, about his project called Dune House for the spring issue of yuzu vol3 last year. Dune House was a self-sufficient housing project in harmony with nature, built with the understanding of “Earth Sheltering”. I was excited as soon as I saw renders. Studio Vural, the architectural office of Selim Vural, is now here with a new project: Lilly. And this project is equally exciting, innovative and surprising. Lilly, which will be located near Bryant Park in Manhattan, is no ordinary tower. Architect Selim Vural describes the Lilly project as "the next step in passive architecture". So what is passive architectural understanding? In summary, this is the following: In passive architecture, the system is created with structural elements without using any mechanical and electrical systems. In order to keep the interiors warm in winter and cool in summer, the natural properties of building materials are used with solar and wind energy. Lilly, a hybrid building consisting of 18 residences and 23 commercial floors, is a project equipped with these features. But Lilly has another striking feature: the vegetation on its exterior! Lilly, which blooms every spring, stays green the rest of the year, and features a wide green roof front adorned with low-maintenance Asian lilies. This appearance both gives the building a very aesthetic appearance and provides a natural insulation. “We love Lilly. She is very beautiful, strong and a force of nature”, Vural says, and with this project he wants to emphasize that the role of architecture is very important in paving the way for a clean future. Çapa 4

Şubat 2022 | Tasarım | Türkiye for english click here Usdesign’dan dinamik bir ofis tasarımı Yazı | Alp Tekin İ ç mimar ve tasarımcı Alp Usluduran’ın mimarlık ofisi Usdesign’ın son projelerinden biri YNS yaşam teknolojileri. Bu ofis projesi için oluşturdukları bakışı açısını şöyle anlatıyor Alp Usluduran: “Ofis tasarımlarında kurguladığımız enerjik ve samimi tasarım dille çalışma ortamlarını daha eğlenceli hale getirmeyi hedefliyoruz. YNS, hastanelere tedarik ettiği test kitleri ve teknolojik ekipmanlarla sağlık sektöründe önemli rol oynayan bir şirket. Ofisin kurumsal kimliğini oluştururken sağlıklı olmak ve sağlıklı hissetmek gibi tanımları ele alarak yola çıktık. Mekanda doğayı anımsatacak renklere, doğal malzemelere, doğayı yansıtacak organik ve yumuşak formlara yer verdik”. MEKANDAKİ BÜYÜKLÜK ALGISI Toplam 125 metrekarelik YNS ofisini tasarlarken kalıplaşmış iç mimari planlamalardan uzaklaşmak istemiş Alp Usluduran. Bu nedenle ofisin mekan sirkülasyonunu oluştururken 55 derecelik açılar ve ofisin tasarım dilinin temelini oluşturan organik formlarla mekan hissiyatını büyütmeyi yeğlemiş. Mekandaki mimari sirkülasyona göre konumlandırılan sabit mobilyalar da bu geometrik dile hizmet eden yönlendiriciler. Özellikle mobilyalarda kullanılan tasarım dili de mekandaki büyüklük algısını artıran temel öğeler olmuş. YEŞİLİN TONLARI “Ofisin yeşil tonlarındaki renkleri hem şirketin hizmet verdiği sağlık sektörüne vurgu yapıyor hem de doğayı çağrıştırıyor” diyor Usluduran. “Temizlik ve sağlığı vurgulayan beyaz rengin yoğunlukta olduğu bir atmosferi ise özellikle planladık. Mekana dinamizm ve canlılık sağlamak amacıyla, özellikle ön plana çıkması istenen alanları somon renginin farklı bir tonu ile vurguladık. Doğallığı hissettirmek için ise mobilya tasarımları masif meşe ağacı ile harmanlandı. Mekan içerisinde bolca kullanılan tropik bitkilerle mekana enerji ve canlılık vermeyi hedefledik” A dynamic office design from Usdesign Words | Alp Tekin O ne of the latest projects of Usdesign, the architectural office of interior architect and designer Alp Usluduran, is YNS living technologies. Alp Usluduran explains the perspective they created for this office project as follows: “We aim to make working environments more enjoyable with the energetic and friendly design language we have built in office designs. YNS is a company that plays an important role in the health sector with the test kits and technological equipment it supplies to hospitals. While creating the corporate identity of the office, we started out by considering definitions such as being healthy and feeling healthy. We have included colors, natural materials, and organic and soft forms that will reflect nature in the space.” While designing the 125 square meter YNS office, Alp Usluduran wanted to move away from stereotyped interior design plans. For this reason, while creating the space circulation of the office, it preferred to enlarge the sense of space with 55-degree angles and organic forms that form the basis of the office's design language. Fixed furniture positioned according to the architectural circulation in the space are also routers that serve this geometric language. The design language used especially in furniture has also been the main element that increases the perception of size in the space. Çapa 4

Kasım 2021 | Tasarım | Türkiye Venedik’teki Hologra-MAA Yazı | Alp Tekin Fotoğraflar | NAARO M imar Melike Altınışık’ın stüdyosu MAA, HOLOGRA-MAA projesiyle Venedik Mimarlık Bienali 2021 ile paralel olarak beşincisi düzenlenen European Culture Center’ın “Time Space - Existence” sergisinde yer alıyor. Mayısta açılan ve 21 kasımda sona erecek Palazzo Bembo’daki sergide, MAA’in İstanbul'daki Radyo TV Kulesi ile Seul'deki Robot ve AI Müzesi projelerinin zaman, mekan ve varoluş hikayeleri cam piramitler içindeki holografik alanlarda, kavramsal video ve ses enstalasyonlarıyla keşfediliyor. European Cultural Center (ECC) bu sergiyle geleceği şekillendirmede önemli role sahip mimar, üniversite, tasarımcı, sanatçı, fotoğrafçı ve mühendislik şirketlerini bir araya getirerek bilgi aktarımını teşvik etmeye amaçlamış. Melike Altınışık Architects’in yanı sıra aynı sergide Zurich-Block Research Group (BRG) ve Zaha Hadid Architects , NANO Architecture, MIT Massachusetts Institute of Technology, Beijing Institute of Fashion Technology, LOD, ATP Architects and Engineers, TETRO Arquitetura, LOVE Architecture and Urbanism gibi daha birçok global ekip ağırlıyor. HOLOGRA-MAA projesinin sponsorları ise şöyle: Jotun, Metal Yapı Eng & Const, Şişecam Flat Glass, VitrA.

December 2024 | Urban ENGLISH BELOW ŞEHİRDE en son BUNLAR OLDU words Onur Baştürk Medya işinde olmanın en berbat yanı: İnsanlar sen sormadan kendini, projesini, dün yediği yemekteki sosu, hafta sonları Londra’ya gidip geldiğini, saçına/yüzüne yaptırdığı son işlemi, ne kadar çok kazandığını, hatta sevişirken hangi sesleri çıkardığını (dahi) anlatıyor, sen de dinliyorsun. Yıllar içinde dinlemeye o kadar alıştım ki, kendimle ilgili bir şey anlatmak tuhaf gelmeye bile başladı. Zaten insanlar dinlemeyi değil, anlatmayı seviyor (Bakınız bununla ilgili bir tavsiyem var, BBC dizisi The Listeners). Aslında buna anlatmak da demeyelim, ‘saçmak’ diyelim. Çünkü çağın olayı bu: Ne kadar kendini saçarsan o kadar varsın. Buna inanılıyor ve adına da “içerik üretmek” diyorlar, değil tabii. Başlangıç niteliğindeki bu sosyal hayat serzenişimden sonra şehir turuna hızlıca başlayabiliriz. İlk durak, Rixos Tersane. Şu sıra burada event yapmayan marka kalmadı gibi. Peş peşe o kadar çok event oldu ki, pes ve çoğuna da pas! Ben en çok Borusan Otomotiv'in distribütörü olduğu MINI’nin yeni modellerini tanıttığı eventi beğendim. Neden? Çünkü ana sahneden bara, canlı performans köşesinden girişe kadar müthiş özenli tasarım vardı. En az yeni MINI Cooper 5 Kapı ve yeni MINI Cooper Cabrio modelleri kadar event tasarımına bayıldım. Ayrıca o gece İcra Kurulu Başkanı Hakan Tiftik’in aktardığı şu bilgiye de şaşırdım: 2024’ün ilk 10 ayında toplam MINI satışları 3 bin adetle tüm zamanların rekorunu kırmış. Ayrıca elektrikli MINI’nin satışları da 5 kat artmış. Bu artışı yapanlarla mümkünse her gece İstanbul’un en pahalı restoranı Arkestra’da buluşup ekonomiye olan katkılarını kutlamak istiyorum. Vazgeçtim, her gece bayar… İkinci durak, İstinye Park. İstanbul’un en çok Arap turist çeken AVM’si. Burası yeni bir yeme-içme alanı doğurdu geçtiğimiz haftalarda. İçinde Cova’nın da bulunduğu bu uzun yeme-içme koridorunun karşılıklı konumlanmış yıldızları ise Epoca ve Cantinery. Epoca’da katıldığım Melis Göral Jewelry yemek davetinden gördüğüm kadarıyla burası Zorlu AVM’nin yan yana konumlanmış Morini ve Cantinery’si gibi bir yer olma hedefini taşıyor. Bu arada Melis Goral Jewelry’nin İstinye Park’taki yeni mağazasının tasarımı Enis Karavil’in liderlik ettiği Sanayi 313’e ait. Bu tasarım bilgisini de onca laf kalabalığımın arasında not düşeyim. BİR DE BUNLAR OLDU… - Frankie’nin 2’inci yaş kutlaması için yapılan ‘dinner parrty’de ambiyans, eğlence çok New York’tu, ama keşke restoranın ilk açıldığı dönemdeki yemekleri menüde kalabilseydi… - Son zamanlarda tasarımını en çok beğendiğim restoran Suadiye’deki La Plage oldu. Melisa Obertelli ve Eren Karacaoğlan’ın kurucusu olduğu Architag Design tasarımı mekanın her köşesi birbiriyle uyumlu ve zevkli. Özellikle barı nefis. - Şu sıra Kuruçeşme yükselişte, ama her türlü yükseliyor! Misal, yeni açılan restoranlardan Carla’nın menüsünde ana yemek fiyatına satılan (850 liralık) guacamole var. Sipariş verdiğimiz garsonun söylediğine göre, “Guacamolenin avokadosu çok özelmiş, ondan fiyatı böyleymiş”. Peki, öyle olsun. HERE’S WHAT’S HAPPENING in the CITY The worst part of working in media? People volunteer every detail about themselves—unasked. Their projects, the sauce they had with last night’s dinner, their weekend trips to London, their latest cosmetic tweaks, their earnings, and yes, even the sounds they make during sex. And you just listen. Over the years, I’ve gotten so used to listening that talking about myself now feels awkward. But let’s face it—people love talking, not listening. (Pro tip: check out the BBC series The Listeners for a refreshing take on this.) Actually, let’s not even call it “talking.” Let’s call it “oversharing.” Because that’s the essence of the age we live in: the more you expose yourself and your life, the more you seem to exist. People truly believe this—and call it “content creation.” It’s not, of course. Now that I’ve gotten this little reflection out of the way, let’s dive into a quick tour of the city. STOP #1: RIXOS TERSANE It seems every brand worth its salt has hosted an event here recently. There have been so many back-to-back events that I’ve lost count—and interest in most. But I have to say, my favorite was Borusan Otomotiv’s launch for MINI’s new models. Why? Because the attention to detail was incredible—from the main stage to the bar, from the live performance area to the entrance. It was as impressive as the new MINI Cooper 5-Door and MINI Cooper Convertible models themselves. Also, here’s a surprising fact I learned from Borusan Otomotiv CEO Hakan Tiftik that night: in the first 10 months of 2024, MINI sold 3,000 units in Turkey, setting an all-time record. Plus, sales of the electric MINI have increased fivefold. Honestly, I’d love to meet the people behind those sales at Istanbul’s priciest restaurant, Arkestra, and toast their contribution to the economy. STOP #2: ISTINYE PARK Istanbul’s go-to mall for Arab tourists recently unveiled a new dining zone. The stars of this extended corridor, which also features Cova, are undoubtedly Epoca and Cantinery. From what I observed at the Melis Goral Jewelry dinner I attended at Epoca, the place seems to aspire to be İstinye Park’s version of Zorlu’s Morini and Cantinery duo. A side note: Melis Goral Jewelry’s new boutique at Istinye Park was designed by Enis Karavil and his team at Sanayi 313. AND ALSO… - Frankie’s second-anniversary dinner party had a very New York vibe in terms of ambiance and entertainment. If only the menu still featured the dishes from when the restaurant first opened… - Kurucesme is having a moment—quite literally rising in every way. For instance, Carla, one of the area’s newest restaurants, serves guacamole priced at 850 lira. The waiter told us it’s because the avocados are “very special.” Sure, let’s go with that.

July 2023 | Travel | Vol 10 english below KAPTANIN SEYİR DEFTERİ yazı Alp Tekin fotoğraf Christos Drazos B urası Santorini’nin sarp kayalıklara sahip bölgesi Caldera. Görkemli manzaranın ucuna konumlanmış süitler ise eski ve geleneksel bir kaptan evinin otele dönüştürülmüş hali olan Homeric Poems’e ait. Atina merkezli mimarlık ofisi Interior Design Laboratorium (IDL), otel binasından ayrı olarak duran bu üç süiti yenilerken adanın geçmişinden ilham almış. IDL’in temel ilkesi olan sadelik, aynı zamanda süitlere hakim olan duygu. İç mekan tasarımı detaylarında ise denizcilik geleneğinden referanslar kullanılmış: Ahşap, ip, deri, saz ve dayanıklı tekstiller. Ayrıca deniz haritaları, pusulalar, dürbünler, rahatlatıcı minderler, kalın şilteler... Süitlerin dikkat çeken diğer bir yanı, teknelerin ana yelkeninden ilham alan iki dikey yelken bezinin ortak dış alanı bölerek üç ayrı yemek alanı oluşturması. Salondaki mobilyalar Kaldera ve volkanı engelsiz bir şekilde görebilmek verandanın kenarına yerleştirilmiş. Süitlerin dış cephe rengi ise Kaldera manzarasıyla uyumlu. Ayrıca dış cephe, adanın karakteristik unsuru olan kırmızı ve siyah Santorini kayalarından inşa edilmiş. CAPTAIN’S JOURNAL words Alp Tekin photos Christos Drazos T his is the Caldera, the steep cliff region of Santorini. The suites, located at the edge of the magnificent view, belong to Homeric Poems, an old and traditional captain’s house converted into a hotel. Athens-based architecture firm Interior Design Laboratorium (IDL) was inspired by the island’s past when renovating these three suites, which stand apart from the hotel building. Simplicity, the basic principle of IDL, is also the feeling that dominates the suites. In the interior design details, references from the maritime tradition were used: wood, rope, leather, thatch, and durable textiles. Also nautical charts, compasses, binoculars, comfort cushions, thick mattresses... Another striking aspect of the suites is that two vertical sailcloths, inspired by the mainsail of the boats create three separate dining areas by dividing the common outer space. Living room furniture is placed on the edge of the veranda for an unobstructed view of the Caldera and the volcano. The suites’ exterior color is in harmony with the Caldera view. Also, the exterior is made of red and black Santorini rocks, the characteristic element of the island. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

November 2022 | Design & Interiors | Turkey Tom Dixon’ın İstanbul çıkarması Yazı | Onur Baştürk M obilya markalarının AVM’si Skyland Hom’un geçtiğimiz hafta önemli bir konuğu vardı. Yalçın Gülen’in kurduğu Diseno markasının davetlisi olarak İstanbul’a gelen ünlü İngiliz tasarımcı Tom Dixon. İkonik hale gelmiş S sandalyesiyle bilinen Dixon sadece mobilya değil, aydınlatma ve aksesuar tasarımlarıyla da yıllardır iç mimarların ve dekorasyon sevenlerin gözdesi. Hayat hikâyesi de dolu dolu. Tunus’un Sfax şehrinde doğuyor Dixon. Çocukluğunun ilk yılları Tunus, Fas ve Mısır arasında geçiyor. Ailesi İngiltere’ye taşınınca hayatında yeni ve farklı bir sayfa açılıyor. Gittiği sanat okulunda önce seramikle tanışıyor. Ama geçirdiği motosiklet kazası sonrası sanat okulunu bırakıp müziğe merak salıyor ve Funkapolitan adlı grupta bas çalmaya başlıyor. O dönemi şöyle anlatıyor Dixon: “Nasıl şu anda dj olmak modaysa o dönemlerde de bir grupta çalmak aynı şeydi”. Dixon’ın içinde olduğu grup kısa sürede Londra’da ün kazanıyor ve The Clash, Simple Minds gibi ünlü gruplarla turneye çıkmaya başlıyor. “DOĞUŞTAN YETENEKLİ OLMANIZA GEREK YOK” O dönemin ruhu Dixon’ın şimdiki işini oluşturmasını sağlıyor. Bir röportajında dediği gibi: “Benzersiz bir tavrınız olduğu sürece insanlar bunun etrafında toplanacaktır. Doğuştan yetenekli olmanıza gerek yok. Kendiniz bir şeyler yapmayı öğrenebilirsiniz”. Nitekim Dixon, ikinci bir motosiklet kazası sonrası bu kez de müzik kariyerine son veriyor ve metal hurdalardan mobilya üretip Londra gece hayatında tanıştığı insanlara bu tasarımları satmaya başlıyor. Bu “benzersiz tavrı” kısa sürede ilgi görüyor ve Dixon kendi yolunu hızlıca çizmeye başlıyor. İkonik S sandalyeyi bu dönemde üretiyor ve kendi ismini taşıyan markayı kurmadan önce 10 yıl Habitat’ta çalışıyor. Dixon şu anda 75 ülkede, koku ve tekstil sektörü dahil olmak üzere yaklaşık bin farklı ürün tasarlayıp satıyor. YİRMİNCİ YILINI KUTLUYOR Bu yıl Dixon, kendi ismini taşıyan markasının 20. yılını kutluyor. Diseno’nun kurucusu Yalçın Gülen de Dixon’ı bu vesileyle mağazasında ağrılamak istemiş. Hatırlatayım; geçtiğimiz haziranda yapılan Milano Tasarım Haftası’nda Dixon’ın yirmi yıllık çalışmalarını inceleyen “Twenty” isimli bir sergi düzenlenmişti. O gece Diseno’nun davetinde yanımda oturan Dixon, bana en çok İstanbul müzeleri ve İstanbul’un tasarım ve lüks dünyasına ilişkin sorular sordu. Soho House’da konaklayan Dixon’a Arter, Pera Müzesi ve eğer vakti kalırsa Dirimart Galeri’ye gitmesini önerdim. Ve bir de Pandeli’de öğle yemeği yemesini… The debut of designer Tom Dixon in Istanbul Writer | Onur Baştürk S kyland Hom, the mall for furniture brands, had a special guest last week. The renowned British designer Tom Dixon who came to Istanbul as a guest of the Diseno brand founded by Yalçın Gülen. Dixon, best known for its iconic S chair, has been the favorite for interior designers and décor enthusiasts for years, not just with furniture but also with lighting and accessory designs. And he has a rich life story to tell. Dixon was born in Sfax, Tunisia. He spent the early years of his childhood in Tunisia, Morocco, and Egypt. When his family moved to England, a new and distinct chapter of his life began. He first discovered ceramics while attending art school. However, he dropped out of art school after his motorcycle accident, became interested in music, and joined the band Funkapolitan as a bass player. This is how Dixon describes that period: “Back then, it was as fashionable to be a musician as it is now to be a DJ”. Soon after, Dixon's band quickly gained a reputation in London and began touring with well-known groups such as The Clash and Simple Minds. "YOU DON'T HAVE TO BE NATURALLY TALENTED" The spirit of that period helps Dixon to create his current business. As he stated in an interview, “If you have a unique attitude, people will gravitate toward you. You don't have to be naturally talented. You can learn to do things on your own”. In fact, following a second motorcycle accident, Dixon gave up on his music career and started producing furniture from scrap metal and selling these designs to people he met in London nightlife. This "unique attitude" instantly attracts attention, and Dixon quickly begins to make his own way. During this time, he designed the renowned S chair and worked for Habitat for ten years before launching his own brand. Currently, Dixon designs and sells around one thousand distinct items in 75 countries, including the fragrance and textile industries. CELEBRATING HIS TWENTIETH YEAR This year, Dixon celebrates the 20th anniversary of his brand. Yalçın Gülen, the founder of Diseno, wanted to host Dixon in his store on this occasion. Let me remind you that during the Milan Design Week in June of last year, an exhibition titled "Twenty" was held to review Dixon's twenty years of work. Dixon, seated next to me that evening at Diseno's invitation, mostly asked me questions about Istanbul museums and the design and luxury world of Istanbul. I recommended to Dixon, who was staying at the Soho House, to visit the Artery, the Pera Museum, and, if he had time, the Dirimart Gallery. And to have lunch at Pandeli...

March 2023 | Design & Interiors | Vol 9 The third-generation Lupi is following in his grandfather’s footsteps words | Sibel İpek T he brand that Antonio Lupi founded under his own name in Tuscany when he was in his early 20s was initially a crystal and glass manufacturer. In the following years, it differentiated itself in bathroom products, becoming one of the leading brands sold in 80 countries. The current representative of the 70-year-old brand antoniolupi is Jonathan Lupi, a member of the third generation of the family. Jonathan Lupi, who describes himself as “ambitious, creative, curious and communicative”, spent most of his childhood in the company’s factory, assisted by his grandfather Antonio. Jonathan recalls this time with a smile: “I was six years old and kept asking them to transport me in the vehicles used to ship the goods! They would put me in a big box for fun and pretend to send me to a different place each time”. I AM FOLLOWING IN HIS FOOTSTEPS Being the third generation in business is considered the most difficult. How have you dealt with this challenge? Of course, I cannot deny that being the third generation is difficult, but nothing is impossible. I dedicate myself to my work to drive success and keep our brand in the first place. I also try to do my best and strengthen our teamwork. Being a team and making the people you work with feel comfortable is a fundamental imperative. After all, we would be nothing if we did not work with the right people! My secret to achieving my goal is to follow in my grandfather’s footsteps. I use his advice and teachings as a guide. After internalizing all of that, I innovatively adapt them to our times. Likewise, I am fortunate to work in practice with my father, Nello, every day and benefit from his experience. for more Print VOL IX - 2023 Out of Stock Add to Cart No product