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June 10, 2026 | DESIGN & INTERIORS CONTENT PARTNERSHIP TR BELOW J U L À DESIGNING a SPACE to FEEL GOOD in photos Kadir Aşnaz Located in Ankara, the capital of Turkiye, Julà brings together a restaurant and design studio under one roof — a shared space shaped by the vision of Zeynep Ensert Yüksel and Asım Yüksel, founders of Jul Happy Project. We spoke with the duo about Julà, designing through atmosphere and creating spaces that quietly settle into everyday life. How was Jul Happy Project founded? We founded Jul Happy Project in 2021 with the idea of approaching the relationship people build with spaces from a more emotional, lived-in and lasting perspective. We had realised that many of the moments that genuinely make people feel good in daily life are deeply connected to atmosphere. That became our starting point. How would you describe your design approach? We don’t see space as merely a physical composition. The light, sound, rhythm, circulation, materiality and the feeling a space leaves behind are just as important to us as aesthetics. That’s why the principle that defines our approach is not creating spaces that simply “look good”, but spaces that “feel good”. Rather than relying on expressive gestures, we focus on timeless simplicity, natural materials and spaces that build a quiet connection with the people using them. For us, good design is something that may impress at first glance, but more importantly, deepens over time as you continue to inhabit it. Julà is not only a restaurant, but also a shared space with your design studio. How did that idea emerge? Having the studio and the restaurant within the same building was less a strategic decision and more something that felt aligned with the way we wanted to live and work. We believe creative processes become more genuine and grounded when they exist within everyday life. Designing upstairs while people gather, eat and spend time downstairs creates a far more nourishing atmosphere for us than a sterile office environment ever could. That coexistence brings a certain vitality to the project. Julà is a living space — constantly evolving, shifting and allowing us to observe how people move through it. Experiencing user behaviour, the rhythm of the space and the corners where people naturally linger continues to shape our design thinking. Your motto is “making small but meaningful moments of happiness within daily life visible.” How did you translate that feeling into Julà? That idea sat at the centre of almost every decision we made for Julà. We believe the spaces people connect with most are the ones that quietly elevate the rhythm of everyday life. So rather than building the experience around grand gestures, we focused on smaller yet memorable moments: the shadows cast by daylight throughout the day, the flow between the garden and the interior, the feeling of sharing a meal around a long communal table, a slow afternoon spent over coffee, or the scent of pizza fresh from the oven filling the room. For us, all of these became part of the design language. We wanted the atmosphere to feel calming and effortless, yet still full of character. More than creating a place you “go to”, we tried to create one that feels as though you already belong there. Brick, earthy tones and natural textures play a strong role in the material palette. What informed those choices? Materials are what ultimately define how a space ages and what kind of character it develops over time. At Julà, we intentionally gravitated towards materials that age naturally and carry a tactile memory. Brick, for example, was never simply an aesthetic choice. It became a way of connecting the building to the street it inhabits, while also bringing warmth and a sense of continuity to the space. For the palette, we chose softer tones that respond naturally to sunlight — earthy colours, natural woods, matte surfaces and tactile textures. Many spaces today try to capture attention instantly. We value the opposite approach much more: creating a language that reveals itself gradually, becoming richer the longer you spend within it. You bring together design, hospitality and brand identity under one roof. What were the most challenging and rewarding aspects of that holistic approach? The most challenging part was making sure every layer worked together with real consistency. Designing a strong interior alone is never enough. The dining experience, service language, graphic identity, music, operational flow and overall user experience all need to carry the same feeling. Particularly in hospitality projects, people sense that coherence very clearly, even if they don’t consciously identify it. The most rewarding part has been watching Julà gradually form its own community. Today, that is what matters most to us: creating places that genuinely become part of people’s lives. What kind of contribution do you hope Julà will make to Ankara’s dining scene? We often see more refined dining experiences leaning either too formal or too performative. With Julà, we wanted to create something more relaxed, more natural and more connected to daily life. Julà has a structure that enjoys evolving, changing and growing. Our goal was never simply to become “a restaurant known for good pizza”. Through gatherings, events and future sub-brands, we want to build an atmosphere where people feel comfortable, natural and genuinely at ease. J U L À İYİ HİSSETTİREN bir MEKAN TASARLAMAK Ankara Beytepe’de konumlanan Julà, hem tasarım ofisi hem de restoran. Bu yeni nesil hibrit mekanı tasarlayan vizyoner çift ise Jul Happy Project kurucuları Zeynep Ensert Yüksel ile Asım Yüksel. Hem Julà hem de Jul Happy Project’i yakından tanımaya hazır mısınız? Jul Happy Project nasıl kuruldu? 2021’de, insanların mekânlarla kurduğu ilişkiyi daha duygusal, yaşamsal ve kalıcı bir yerden ele alma isteğiyle kuruldu. Günlük hayat içinde insanı gerçekten iyi hissettiren anların çoğunun doğru atmosferle ilişkili olduğunun farkındaydık. Bu da başlangıç noktamız oldu. Tasarım yaklaşımınızı nasıl özetlersiniz? Mekânı sadece fiziksel kurgu olarak görmüyoruz. Bir mekânın ışığı, sesi, ritmi, dolaşımı, malzemesi ve insanlarda bıraktığı his; tasarımın en az estetik kadar önemli parçaları. Bu nedenle yaklaşımımızı tanımlayan en temel prensip, “iyi görünen” değil, “iyi hissettiren” mekânlar üretmek. Tasarladığımız projelerde gösterişli jestler yerine zamansız sadeliğe sahip, doğal malzeme kullanımı ön planda olan, kullanıcıyla bağ kuran bir atmosfer oluşturmaya odaklanıyoruz. Bizim için iyi tasarım, ilk bakışta etkileyen, ama daha önemlisi içinde vakit geçirdikçe derinleşen tasarım. Julà sadece bir restoran değil, tasarım ofisinizle birlikte kurgulanmış hibrit bir mekân. Bu dikey birliktelik fikri nasıl ortaya çıktı? Tasarım ofisiyle restoranın aynı yapı içinde yer alması stratejik bir karardan çok, yaşam biçimimize yakın hissettiğimiz bir fikirdi. Biz üretim süreçlerinin hayatın içinde olduğunda daha samimi ve gerçek olduğuna inanıyoruz. Üst katta tasarım üretirken alt katta insanların yemek yiyip sohbet etmesi bizim için steril bir ofis ortamından çok daha besleyici bir atmosfer. Bu birliktelik projeye canlılık katıyor. Julà her gün yaşayan, dönüşen, değişen ve gözlem yapabildiğimiz bir alan. Kullanıcı davranışlarını, mekânın ritmini, insanların hangi köşelerde daha uzun vakit geçirdiğini deneyimlemek tasarım yaklaşımımızı sürekli besliyor. Mottonuz, “Gündelik hayat içindeki küçük ama değerli mutluluk anlarını görünür kılmak”. Jula’da bu hissi nasıl kurdunuz? Bu yaklaşım Julà’daki bütün kararların merkezindeydi. Çünkü biz insanların en çok bağ kurduğu mekânların gündelik hayatın ritmini güzelleştiren yerler olduğuna inanıyoruz. Bu yüzden Julà’da deneyimi daha küçük ama güçlü anlar üzerinden kurmaya çalıştık. Gün ışığının gün içinde mekânda bıraktığı gölgeler, bahçeyle iç mekân arasındaki akış, uzun masada birlikte yemek paylaşma hissi, kahve içerken geçirilen sakin bir öğleden sonra ya da fırından çıkan pizzanın mekâna yayılan kokusu… Hepsi bizim için tasarımın bir parçasıydı. Mekânın kullanıcıyı yormayan, rahatlatan ama aynı zamanda karakterli hissettiren bir atmosferi olsun istedik. Bir yere “gitmiş” gibi değil de, zaten oraya aitmişsiniz gibi hissettiren bir kurgu oluşturmaya çalıştık. Malzeme seçiminde tuğla, toprak tonları ve doğal dokular öne çıkıyor. Bu tercihlerin arkasındaki düşünce neydi? Bir mekânın nasıl yaşlanacağını ve zamanla nasıl bir karakter kazanacağını belirleyen en önemli unsur malzemeler. Julà’da özellikle doğal yaş alan ve dokusal hafızası olan malzemelere yöneldik. Tuğla bizim için sadece görsel bir tercih değildi; yapının bulunduğu caddeyle ilişki kuran, mekâna sıcaklık ve süreklilik hissi veren temel bir unsurdu. Renk paletinde ise daha sakin, güneş ışığıyla yaşayan tonlar tercih ettik. Toprak renkleri, doğal ahşaplar, mat yüzeyler ve yumuşak dokular kullanarak mekânın gösterişten uzak, ama güçlü bir atmosfer kurmasını hedefledik. Bugün birçok mekân çok hızlı dikkat çekmeye çalışıyor. Biz tam tersine, zaman geçirdikçe daha fazla hissedilen bir dil kurmayı çok daha değerli buluyoruz. Tasarım, mutfak kültürü ve marka kimliğini tek bir yapı içinde birleştiriyorsunuz. Bu bütüncül yaklaşımda en zorlayıcı ve en tatmin edici taraflar neler oldu? En zorlayıcı taraf, tüm katmanların gerçekten tutarlı bir şekilde birlikte çalışmasını sağlamaktı. Çünkü sadece iyi bir iç mekân tasarlamak yetmiyor. Mutfak kültürü, servis dili, grafik dünyası, ortamın müziği, operasyon akışı ve kullanıcı deneyiminin aynı hissi taşıması gerekiyor. Özellikle gastronomi projelerinde insanlar bunu bilinçli olarak fark etmese bile, o bütünlük hissini çok net algılıyor. Bizim için en tatmin edici taraf, Julà’nın zamanla kendi topluluğunu oluşturmasını görmek oldu. Bugün en çok önemsediğimiz şey bu: İnsanların hayatında yer edinen mekânlar yaratabilmek. Julà, Ankara’daki yeme-içme sahnesine nasıl bir katkı sunmayı hedefliyor? Daha rafine bir yeme içme deneyimi sunan mekanların çoğunlukla ya fazla resmi ya da fazla gösterişli bir çizgide ilerlediğine tanık oluyoruz. Julà’da ise daha yumuşak, daha yaşamsal ve günlük hayatın içine karışabilen bir deneyim alanı açıyoruz. Değişip dönüşmeyi ve gelişmeyi çok seven bir yapısı var Julà’nın. Hedefimiz hiçbir zaman sadece “iyi pizza yapan bir restoran” olmak değil; etkinlikler, buluşmalar ve alt markalarla insanların kendilerini rahat, doğal ve ait hissedebilecekleri bir atmosfer kurmak. WEB https://www.julaankara.com INSTAGRAM https://www.instagram.com/julhappyproject/ https://www.instagram.com/julaankara/

Ocak 2022 | Tasarım | Amerika for english click here NORTHWOOD ADU En Verimli Konut Ünitesi Yazı | Alp Tekin A merika’nın orta batısında giderek yıldızı parlayan mimarlık firmalarından biri T+E+A+M. Bu mimarlık ofisi şu sıralar Michigan Ann Arbor'da enerji açısından verimli konut ünitesi Northwood ADU ile konuşuluyor. Donmaya karşı korumalı, yüksek yalıtımlı ADU’nun en önemli özelliği sığ temel teknolojisini kullanması. Doğrudan zemine inşa edilebilen ve yoğun emek gerektiren şantiye çalışmalarına duyulan ihtiyacı azaltan ilk bina modeli ADU. ADU’NUN SIRRI NE? Az bakım gerektiren düşük atık kaplama malzemelerine (metal, fiber çimento levha gibi) sahip ADU, aslında bir yapısal yalıtımlı paneller (SIPS) kabuğundan oluşuyor. Radyant ısıtmalı zeminlere ve mini bölmelere sahip olan ADU’nun alan deneyiminde görsel gürültü de mümkün olduğunca azaltılmış. Tek kişilik yatak odası, mutfağın üzerinde köşk benzeri bir yapının üzerine oturtulmuş. Pencereler ise mahremiyeti korumak ve iç mekanı ormanla gökyüzüne bağlamak için stratejik olarak yerleştirilmiş. T+E+A+M kurucu ortakları Ellie Abrons ve Adam Fure, Norttwood ADU’nun diğer iki kurucu ortağı Meredith Miller ve Thom Moran ile birlikte halka açık bir alana, 19 dönümlük konut arazisinin kullanımını en üst düzeye çıkarmak için projenin ilk örneğini tamamlamış bulunuyor. ADU konutları yerleşim yerindeki hane sayısını ikiye katlayan bir modele sahip olduğu için özellikle konut sıkıntısı olan şehirlerde popüler olacağı kesin. NORTHWOOD ADU Words | Alp Tekin T +E+A+M is one of the architectural firms whose star is shining in the midwest of America. This architecture office is currently in talks with the energy efficient housing unit Northwood ADU in Ann Arbor, Michigan. The homeowners, T+E+A+M co-founders Ellie Abrons and Adam Fure, along with the firm’s other two co-founders Meredith Miller and Thom Moran, completed the project to maximize the use of their. 19-acre residential lot adjacent to a public wooded area. As an urban strategy, ADUs are increasingly popular in cities with housing shortages as they double the number of households on a residential lot. While the size is limited by zoning regulations, Northwood ADU reaches as far back as possible to the lot line and adds an independent residential addition/unit in the backyard of the existing single-family residence. Technically an addition with its own systems, the 730-square-foot structure is a continuous shell of structural insulated panels (SIPS) with low-maintenance, low-waste cladding materials (metal, fiber cement board, mesh) expressed as independent layers. It is the first building in Ann Arbor to utilize frost-protected, highly insulated shallow foundation technology common in Scandinavia which allows for it to be constructed directly on the ground and reduces the need for labor intensive site work. Additionally, the SIPS only have a 1/8” allowance and thus create a tight, high R-value envelope. The walls are R-28 and the roof is R-26. Based on “blower door test” results, Northwood ADU is one of Michigan’s most efficient buildings. Featuring radiant heated floors and mini-splits, the experience of the space is expanded by reducing visual noise and expressing the volumetric interior of the SIPS shell where possible. The single bedroom sits atop a pavilion-like structure over the kitchen. Exposed LSL joists and painted brackets introduce texture and color without extraneous finishes. Windows are located strategically to maintain privacy from the main house and connect the interior with the forest and sky. Çapa 4

August 2023 | YUZU BODRUM | Coffee Table Book TR below SAHİR EROZAN Let’s go back to the beginning of the story... It’s 1977. Ayla Emiroğlu opens her place in the heart of Bodrum, naming it Maça Kızı after her curly hair. Years later, her son, Sahir Erozan—who would go on to become a partner in Maça Kızı and turn it into what it is today—was preparing to leave for the United States. Sahir recalls those days: “I was studying at ITU, but the school was frequently shut down due to the political climate. I’d lost touch with my studies. My mom realized this couldn’t go on and sent me to America to study business. While she was starting her Maça Kızı journey, I had begun working in restaurants in the U.S. By the time I was 23, I had opened my first restaurant there.” Meanwhile, Sahir spent summers in Turkey, and the story of Maça Kızı unfolded in different locations—moving from Bodrum’s center to Gümbet, then Torba, and finally Gölköy. “When I came back in 1992, Maça Kızı had relocated to Gölköy. I brought over bartenders I’d worked with in America and made small adjustments to the place. I started enjoying it. After Bodrum, going back to Washington felt harder and harder.” SWIMMING TO WHERE MAÇA KIZI IS NOW After a 20-year journey in Washington, Sahir returned to Turkey for good in 2003. At that time, Maça Kızı had left its spot in Gölköy, and his mother, Ayla, was searching for a new location. “One day, I swam from Ship A Hoy to the area where Maça Kızı stands today. Back then, there was no road access. I got out of the water and sat on the beach, observing the angle of the sunlight and the wind—because these things are critical. In Bodrum, having minimal wind and sunlight that doesn’t disappear early are the ultimate luxuries. This place fit the bill perfectly. That’s how Maça Kızı found its new home.” THE RISE BEGINS IN 2005 “I was lucky,” says Sahir. “We opened at a time when Turkey was experiencing economic growth. Maça Kızı’s recognition on the global stage began around 2005. An article in the New York Times described Bodrum as ‘Turkey’s St. Tropez.’ Bodrum was steadily gaining prominence, and my friends from the U.S. started visiting frequently. As a result, the percentage of foreign guests at the hotel, which was initially around 30 percent, rose to nearly 70 percent.” words Onur Baştürk Önce hikâyenin başlangıcına dönelim... Yıl 1977, Ayla Emiroğlu kıvırcık saçlarından dolayı Maça Kızı ismini verdiği mekanını Bodrum merkezde açar. Yıllar sonra Maça Kızı’na ortak olup bugünlere getirecek olan oğlu Sahir Erozan ise Amerika’ya gitmeye hazırlanmaktadır. O günleri şöyle anlatıyor Sahir Erozan: “İTÜ’de okuyordum ama dönemin şartlarından dolayı okul devamlı kapalıydı. Okuldan kopmuştum. Annem baktı ki böyle olmayacak, beni Amerika’ya işletme okumaya gönderdi. Onun Maça Kızı serüveni başlarken ben de Amerika’da restoranlarda çalışmaya başlamıştım. Derken 23 yaşında orada ilk restoranımı açtım.” Sahir yazları Türkiye’ye gidip gelirken Maça Kızı’nın macerası da yer değiştirerek devam eder: Bodrum merkezin ardından Gümbet’e, oradan Torba’ya ve Gölköy’e... “1992’de geldiğimde Maça Kızı Gölköy’e taşınmıştı. Ben de Amerika’da çalıştığım barmenleri getiriyor, küçük dokunuşlar yapıyordum mekana. Hoşuma gitmeye başlamıştı. Bodrum’dan sonra Washington’a tekrar dönmek zor geliyordu”. YÜZEREK MAÇA KIZI’NIN OLDUĞU YERE GELDİM Sonunda Sahir Erozan, Washington’daki 20 yıllık macerasından sonra 2003’te Türkiye’ye tamamen döner. O sırada Maça Kızı Gölköy’deki yerinden çıkmış, annesi Ayla Hanım yeni bir yer aramaktadır. “Bir gün Ship A Hoy’dan yüzerek şu an Maça Kızı’nın olduğu bölgeye geldim. O zaman yolu filan yoktu. Denizden çıkıp sahilde oturdum. Gün ışığının açısına, rüzgârına baktım. Çünkü bunlar çok önemli. Rüzgârın patlamaması ve güneşin erkenden gitmemesi en büyük lükslerden biri Bodrum’da. Burası her iki açıdan da uygundu. Böylece Maça Kızı’nı buraya taşıdık.” YÜKSELİŞ 2005’LERDE “Şanslıydım” diyor Sahir, “Türkiye’nin ekonomik olarak yükseldiği doğru bir zamanda açtık. Maça Kızı’nın global arenada tanınması ise 2005’lerde başladı. New York Times’da bir yazı çıkmıştı, ‘Türkiye’nin St. Tropez’si Bodrum’ diye. Bodrum yavaş yavaş yükseliyordu. Amerika’daki dostlarım da sıkça gelip gittiler. Böylece ilk başta otelde yüzde 30 olan yabancı misafir oranı yüzde 70’lere kadar geldi.”

Ocak 2021 | Seyahat | Norveç MANSHAUSEN Yazı | Levent Özçelik B u satırları yazarken “Şu an Norveç’te olmalıydım” düşüncesini aklımdan çıkaramıyorum! Hadi filmi biraz geriye saralım, mart ayının hemen başına. Mart’ın beşinci günü Oslo’dan İstanbul uçağına bindiğimde yaşanacakları tahmin etmeme imkan yoktu. Uçakta yan koltuğumda oturan yolcu, elinde dezenfektan ve kâğıt peçete ile koltuk, masa ne varsa siliyordu. Aslında o an aymaya başlamıştım. Bunlar pandeminin ayak sesleriydi. Şubat ayını Norveç kırsalı ve adalarında geçirdiğim için dünya ve internetle bağlantım minimum düzeydeydi. Pandemi etki alanının dışında, her şeyden bihaberdim. Oysa dönüş yolculuğu sırasında nisan ve eylülde çekim yapmak için yeniden Norveç seyahat planı yapıyordum. Ancak şimdi Norveç’te olmak yerine Kuzey Ege’de kuzeye özlem yazısı yazıyorum! Hayaller Norveç, gerçekler Ayvalık... Devamı için... Print YUZU MAGAZINE - II Out of Stock View Details

July 2024 | Design & Interiors TURKISH BELOW a SWELL of SYNERGY in the HAMPTONS words Laura Cottrell photos Nicole Franzen, Portrait Photo, Glen Allsop L ocated in the historic Hamptons’ village of Sag Harbour, the 1818 Collective is one of North America’s most inspiring concept shops. It is also a buzzing event space, with an ever-growing community network. Born from the dynamic creative synergy between interior designer, Kristin Fine, and Analisse Taft-Gersten, founder of ALT for Living, the 1818 Collective features old and modern furniture, lighting, artwork, decorative accessories and textiles from around the world. Kristin and Analisse, let's get to know you! Tell us about your lives to date - and how did you come together? We were both creatives with long, individual careers before we got together to create The 1818 Collective. Analisse founded ALT For Living more than 15 years ago. A successful, luxury textile showroom, it has grown to include locations in New York City, Los Angeles - and now Sag Harbor. Kristin ran her own high-end, residential interior design firm, Fine Concepts, working on projects all over the country. But we both have a love for Sag Harbor! So, when this very special old building came up for sale, we decided to create something historic together. How did the 1818 Collective emerge? We saw an opportunity to share our vision of showing what is beautiful to live with in a unique setting. We wanted to take an old house - preserving its worn parts and true character as a home - then fill it with treasures we have collected from near and far. These included old pieces, as well as new creations and collaborations inspired by the space itself. Why did you choose the Hamptons? The Hamptons is one of the most special places! With white sand beaches, the amazing ocean, rocky harbors, trails, gorgeous farms, lovely little old towns, an incredible food scene, vineyards and so much more. It’s an international destination – but it’s somehow still maintained a historic, small-town feel. It also has a rich history of attracting artists, who move here to find fresh inspiration. The Hamptons offers an interesting and interested clientele – both private individuals and members of the art trade - who have been so wonderfully supportive of what we’ve created. What inspires you? We’re inspired by all sorts of beauty. It could come from the smallest details found in the gorgeous natural world on Long Island’s East End - like the light and the ocean. Or we could be inspired by the things we see on our constant travels. And, of course, we’re inspired by the amazing the artists and makers we feature in our gallery. How would you describe your style? Our style is an ever-evolving mix. It is grounded in history - and the classics. We then try to create interest, tension and beauty by layering in the new. This could be adding a new ceramic to an antique table or a gorgeous new fabric to a vintage wing back. We just love juxtaposing things and creating an unusual balance - it’s a bit like making a painting or putting a dish. What are your favorite pieces from The 1818 Collective? That’s like being asked to choose your favorite child! It changes all the time because of the way they are all mixed and remixed together… But, if we are forced to choose... Analisse: I really love the gorgeous ceramic artistry of Olivia Cognet. Kristin: For me, it’s probably our vintage and unique maker lighting. HAMPTONS’DA kreatif bir SİNERJİ H amptons’daki tarihi Sag Harbour köyünde yer alan The 1818 Collective son zamanlarda gördüğümüz en ilham verici konsept dükkânlardan biri. Aynı zamanda bir etkinlik alanı da olan The 1818 Collective sürekli büyüyen bir topluluk ağına da sahip. İç mimar Kristin Fine ve ALT for Living Showroom’un kurucusu Analisse Taft-Gersten’in yaratıcı sinerjisinden doğan 1818’de, dünyanın dört bir yanından eski ve modern mobilya, aydınlatma, sanat eseri, dekoratif aksesuar ve tekstil ürünleri yer alıyor. Fine ve Taft-Gersten, “Bir şeyleri yan yana getiriyor ve alışılmadık bir denge sergiliyoruz” diyor, “Bir resim yapmak ya da bir yemeği bir araya getirmek gibi”. Kristin ve Analisse, önce sizi tanıyalım. Şu ana kadar neler yaptınız ve nasıl bir araya geldiniz? İkimiz de The 1818 Collective'deki ortaklığımızdan önce birbirinden ayrı uzun kariyerlere sahip yaratıcılarız. Analisse, 15 yılı aşkın bir süre önce New York City, Los Angeles ve şimdi Sag Harbor'da lokasyonları bulunan lüks bir tekstil showroomu olan ALT For Living'i kurdu. Kristin ise ülkenin her yerindeki projelerle kendi üst düzey konut iç tasarım firması Fine Concepts'i yönetiyordu. İkimizin de Sag Harbor'a tutkusu var ve bu çok özel tarihi bina satışa çıktığında birlikte bir oluşum yaratmaya karar verdik. The 1818 Collective nasıl ortaya çıktı? Eşsiz bir ortamda olmanın güzelliğini gösterme vizyonumuzu paylaşmak için bir fırsat yakaladık. Eski bir evin önce gerçek karakterini koruduk, sonra da bir ev olarak ele alıp dünyanın dört bir tarafından topladığımız parçaları içine yerleştirdik. İlhamlarınız neler? Her türlü güzellikten ilham alıyoruz. Long Island'ın Doğu Yakası'nın muhteşem doğal dünyasında bulunabilecek en küçük ayrıntılardan ya da yaptığımız seyahatlerde gördüklerimizden… Tarzınızı nasıl tanımlarsınız? Tarzımız sürekli gelişen bir karışım aslında. Özü ise tarihi ve klasik olanlara dayanıyor. Bunun üzerine yeniyi harmanlamaya çalışıyoruz. Mesela antika bir masaya yeni bir seramik ya da vintage bir parçaya muhteşem bir yeni kumaş eklemek gibi… Eşyaları yan yana koymayı ve alışılmadık bir denge yaratmayı seviyoruz. Bu biraz resim yapmak gibi… The 1818 Collective'in en sevdiğiniz ürünleri hangileri? En sevdiğiniz çocuğunuzu seçmek gibi bir şey bu! Ama eğer seçim yapmak zorunda kalsaydık… - Analisse: Olivia Cognet’nin muhteşem seramik sanatını gerçekten çok seviyorum. - Kristin: Bana göre vintage, benzersiz aydınlatmamız. Neden Hamptons'ı seçtiniz? Hamptons beyaz kumlu plajlar, kayalık limanlar, patikalar, muhteşem çiftlikler, küçük tarihi kasabalar, inanılmaz bir yemek ortamı ve üzüm bağlarına sahip özel bir yer. Bir şekilde hâlâ tarihi küçük kasaba hissini koruyan global bir yer. Ayrıca zengin bir tarihe sahip. Uzun yıllar boyunca her türden sanatçıya ev sahipliği yapmış ve ilham kaynağı olma statüsünü sürdürmüş. Yanı sıra Hamptons, yarattığımız şeyi harika bir şekilde destekleyen bireylerden oluşuyor.

December 6, 2025 | DESIGN & INTERIORS URBANJOBS PRESENTS: a BOOK on the MAKING of THEIR RESTAURANT DESIGN words YUZU Editorial photos İbahim Özbunar - 645 Studio food photos Buket Yaşar Opened at IstinyePark Izmir and designed by Urbanjobs, chef Osman Sezener’s restaurant ESCA has quickly settled into the city’s culinary landscape with a calm confidence. The restaurant brings together Sezener’s Mediterranean-minded approach to cooking with a spatial language rooted in refined simplicity. This meeting of food and design is documented in a coffee-table book by YUZU Creative House — a considered volume that lays out ESCA’s design journey with clarity and restraint. The publication serves as both inspiration and documentation — a resource for gastronomy, architecture and design professionals alike. Through Ibrahim Ozbunar’s cinematic photography, the book traces the project’s foundations: Sezener’s early vision for the space, Urbanjobs’ conceptual framework, material and lighting choices, and the collaborative dialogue between chef and designers. SINCERE, REFINED, FLUID Urbanjobs’ founder and lead designer Murat Dede describes the atmosphere of ESCA as “sincere, refined, fluid.” In the book’s interview, he reflects on the origins of the design: “ESCA’s starting point was ‘Worldly Flavors, Mediterranean Heart.’ Our aim was to make this principle visible at every scale of the space. We saw the amorphous, non-conventional leased shell not as a limitation but as an opportunity to stretch the plan. From the earliest sketches, the sculptural bar emerged as the social anchor — a 360-degree circulation spine and a focal point that leaves a mark on the spatial memory. Working through proportion and balance, we connected the technical areas, main dining hall and service zones in a way that maintains constant visual and acoustic dialogue. In doing so, we translated the layered everyday energy of the Mediterranean into the interior’s organisation.” MATERIALS THAT AGE WITH GRACE Dede also emphasises the intention behind the material palette: “Travertine flooring, textured wood cladding, bronze detailing and natural textiles. This palette creates a tone-on-tone depth that responds beautifully to shifts in daylight and evening light. Surfaces that age well support the idea of a space whose story grows richer over time.” MAKING QUIET REFINEMENT VISIBLE Another section of the book delves into the creative partnership between Urbanjobs and Chef Sezener: “The process unfolded through a co-creative approach that translated the menu’s natural, local and unlayered narrative into spatial form. From the first meetings, our shared intention was to express the honesty and simplicity of the kitchen through a kind of quiet refinement in the space. We shaped the flow scenarios around service logistics, rhythm and light-sound comfort. The bar’s 360-degree use aligned directly with the chef’s vision of placing social interaction at the centre.” TR BELOW URBANJOBS sunar TASARLADIKLARI RESTORANIN YAPIM SÜRECİ KİTABA DÖNÜŞTÜ Urbanjobs’ın tasarladığı İstinyePark İzmir’de açılan şef Osman Sezener’in restoranı ESCA, şehrin gastronomi sahnesine yeni bir soluk getirdi. Akdeniz kültürünü merkeze alan mutfak yaklaşımıyla Urbanjobs’ın rafine lüks ve sade duyarlılığı bir araya getiren mekânsal kurgusunun birleştiği ESCA’nın tüm yaratım süreci kapsamlı bir kitapta bir araya geldi. YUZU Creative House tarafından hazırlanan coffee-table book formatındaki bu özel yayın, ESCA’nın tasarım sürecini bütünlüklü bir çerçeveyle görünür kılıyor. Hem gastronomi sektörü hem de mimarlık ve tasarım profesyonellerine ilham verecek bu yayın, projenin arka planını tüm katmanlarıyla anlatan kapsamlı bir belge niteliğinde. Kitapta; Osman Sezener’in mekanın ilk adımlarını nasıl oluşturduğu, Urbanjobs’ın kavramsal yaklaşımı, malzeme seçimleri ve ışık kurgusu, ayrıca şef Sezener ve Urbanjobs arasındaki yaratıcı süreç İbrahim Özbunar’ın sinematik stildeki fotoğrafları eşliğinde sunuluyor. SAMİMİ, RAFİNE VE AKIŞKAN ESCA’nın atmosferini “Samimi, rafine, akışkan” olarak tanımlayan Urbanjobs kurucusu ve baş tasarımcısı Murat Dede, kitapta yer alan röportajında tasarım hikayesini böyle anlatıyor: “ESCA’nın çıkış noktası ‘Worldly Flavors, Mediterranean Heart’. Amacımız, mekanın her ölçeğinde bu ilkeyi görünür kılmaktı. Amorf ve konvansiyonel olmayan kiralanmış kabuğu bir kısıt değil, plan şemasını esneten bir imkan olarak okuduk. Erken eskizlerde sosyal çekim merkezi olarak konumlanan heykelsi bar, hem dolaşımı 360 derece yöneten omurga hem de mekan hafızasında iz bırakan odak noktası oldu. Oran–denge ilişkisinden ilerleyerek teknik hacimler, ana salon ve servis zonlarını sürekli görsel/işitsel temas kuracak biçimde bağladık. Böylece Akdeniz’in katmanlı gündelik hayat enerjisini iç mekan örgüsüne tercüme ettik”. YAŞ ALDIKÇA GÜZELLEŞEN YÜZEYLER Murat Dede, ESCA kitabında malzeme seçimine de değiniyor: “Traverten zemin, dokulu ahşap kaplamalar, bronz detaylar ve doğal tekstiller. Bu palet, gündüz - gece ışık varyasyonlarına iyi yanıt veren bir ton sür ton derinlik üretiyor. Yaş aldıkça güzelleşen yüzeyler, mekanın zamanla katmanlanan hikâyesini destekliyor” GÖSTERİŞSİZ BİR RAFİNE HALİ GÖRÜNÜR KILMAK Kitaptaki bir başka bölümde Murat Dede, Şef Osman Sezener ile tasarım süreci boyunca nasıl yaratıcı bir iş birliği içinde olduklarını anlatıyor: “Süreç, menünün doğal, yerel ve katmansız anlatısını mekana çeviren bir eş-yapım yaklaşımıyla ilerledi. İlk buluşmalardan itibaren ortak hayal; mutfağın dürüstlüğünü ve sadeliğini, mekanda gösterişsiz bir rafinelikle görünür kılmaktı. Akış senaryolarını servis lojistiği, ritim ve ses–ışık konforu üzerinden kurguladık. Barın 360 derece kullanımı, şefin sosyal etkileşimi öncelikli kılan vizyonuyla doğrudan örtüştü”.

Mayıs 2021 | Botanik | Türkiye Save The Flowers Yazı | Alp Tekin M imar Gülnar Ocakdan Karaytuğ, markası Save The Flowers’la bitki tabloları yapıyor desek yeridir. Yurt içi ve yurt dışından topladığı bitkileri özenle kurutarak onları birer tabloya dönüştüren Karaytuğ, bu işe nasıl başladığını şöyle anlatıyor: “Her şey çiçekleri uzun yıllar saklayabilme fikriyle başladı. Kimi zaman Çanakkale’nin bozkırlarından kimi zaman Sarıkamış’ın dağlarından çiçekler, yapraklar, otlar toplamaya başladım. Bu hobime mimar gözlüğümü de takınca yaşam alanlarımıza değer katabilecek, fark yaratan bir dekorasyon fikri doğdu. Camdan tablolar içerisinde birbirinden farklı çiçek tasarımları kısa sürede bir iş fikrine dönüştü. 2016’dan beri bu işi profesyonel olarak Save The Flowers markası altında yapıyorum”. EN ÇOK İLGİ GÖREN: GELİNCİK Karaytuğ, bazı sabit tasarımlarının olduğunu ama her yıla özel bir tasarım serisi çıkardığını söylüyor. Çoğu bitkiyi bizzat toplayıp kurutuyor, bazı bitkileri ise yurt dışından temin ediyormuş Karaytuğ. En beğenilen tasarımlarının ise gelincik tabloları olduğunu belirtiyor: “Gelincik her yıl çok kısa bir dönemde çıkıyor ve çok narin bir bitki olduğundan zorlu kurutma işlemlerinden geçirip sınırlı sayıda satışa sunuyoruz” Karaytuğ, bu el yapımı hassas çiçek tablolarını online olarak satıyor. Türkiye ve hatta dünyanın pek çok yerine kargo ile özenle gönderiyor. Son sözü ona bırakalım: “Bitkilere bakma konusunda çok vakti olmayan ya da ilgilenemeyen, ama mekanlara kattığı zenginlikten de vazgeçemeyen insanlara bitkileri tablo içinde bir sanat eseri gibi sunuyoruz. Bu felsefeden ötürü de çerçevelerimizde doğal olmayan malzemeleri kullanmıyoruz. Çerçevelerimiz ahşap ve cam malzemelerden oluşuyor”.

A Milan city guide through the eyes of designers, featuring their favourite restaurants, galleries, shops, hotels and cultural addresses across the city. April 6, 2026 | Travel DESIGNERS' GUIDE to MILAN words Maria Chiara Antonini Experience Milan through the eyes of five architecture studios and designers. STUDIOPEPE For a refined breakfast or an elegant coffee break, we return to Pasticceria Marchesi 1824, with its timeless old-world charm. Our restaurant list ranges from Røst, with its cool atmosphere and creative cuisine, to La Pesa, a true Milanese classic. For a more traditional “old Milan” vibe, we recommend Latteria San Marco, while those seeking a subtly Parisian atmosphere should head to Tram Tram. To experience the most compelling art exhibitions, Triennale Milano is an institution, consistently offering a rich and diverse cultural program. Fondazione Prada follows, as much for its striking architecture as for its exhibitions, alongside PAC, set beside the Villa Reale. Then Pirelli HangarBicocca, where vast, monumental spaces redefine industrial architecture. When it comes to inspiration, we hold two places especially close to our hearts: Fondazione Achille Castiglioni and the Fornasetti showroom—an extraordinary space where one could easily spend entire days, and one of our favorite places in Milan. INFO Founded by Arianna Lelli Mami and Chiara Di Pinto in 2006, Studiopepe is known for its refined and eclectic approach, spanning interiors, hospitality, and product design. https://studiopepe.info PARISOTTO + FORMENTON For a leisurely breakfast or a quick lunch break, Pasticceria Sissi is a true city staple—an informal yet authentic spot. An institution in its own right is Bar Basso, a genuine observatory of the international design community. It was here that the iconic Negroni Sbagliato was born, becoming a symbol of the place; yet what truly makes it special is the collective energy that fills the space during Milan Design Week. For art lovers, Galleria Cadogan’s Milan venue creates a dialogue between tradition and experimentation. With its luminous courtyard, typically Milanese architectural elements, and a contemporary aesthetic, it presents a rich program of exhibitions throughout the year. Another compelling art address is Galleria Mazzoleni, located in one of the city’s most elegant and culturally vibrant districts. Libreria at 10 Corso Como, now under the direction of Tiziana Fausti, is dedicated to books and magazines on photography, fashion, design, and art: for us, a true after-work pleasure, immersed in a setting that constantly evolves and transforms. To discover Milan by night, among its early twentieth-century architecture, Piazza Meda is home to some of the city’s most significant buildings, including Palazzo Bolchini with its distinctive portico, designed by the architect Pier Luigi Magistretti. We had the privilege of restoring and enhancing the gallery itself, bringing harmony back to its historic elements: the lighting design highlights both the architecture and the celebrated sculpture by Arnaldo Pomodoro, transforming the square into a small jewel box. Finally, understated yet authentic hospitality awaits at Casa Brera. Housed in a Rationalist building recently restored to its original beauty, the hotel strikes the right balance between history and design, offering an atmosphere that is at once intimate and cosmopolitan. Its panoramic rooftop, in the heart of the city, is not to be missed. INFO Working across architecture, interiors, and product design, Parisotto+Formenton moves between scales with a research-driven approach. www.studioparisottoeformenton.it FEDERICA BIASI My day often begins at PAN Milano, a contemporary Japanese bakery. The space was designed by WOK, architect friends who have done an excellent job, creating an environment that feels both essential and welcoming. To immerse myself in art, I turn to Galleria Ciaccia Levi, an international gallery known for its rigorous curatorial program. I am particularly drawn to the direct relationship between the works and the space, which encourages a slow and focused viewing experience. I am also very fond of Galleria Lia Rumma, an essential reference point for contemporary art in Italy. Altatto is one of the most compelling projects dedicated to contemporary vegetarian cuisine in Milan. I appreciate its creative yet rigorous approach: everything—from the dishes to the space—operates through subtraction and precision. Another of my favorite restaurants is Sandì, which interprets a new idea of Milanese hospitality: quiet, calibrated, never ostentatious. The atmosphere is rarefied, and the cuisine follows the same measured pace, crafting a slow and deeply conscious experience. I would also add Ai Fiori Blu, a recent, informal, and convivial address where the cooking is refined and the atmosphere lively, free from forced aesthetic constructions. For architecture, Quartiere Gallaratese stands apart. With the Monte Amiata complex by Carlo Aymonino and Aldo Rossi, it reflects a broader idea of collective living. For those who prefer not to stay in a conventional hotel, Concoct Milano offers a model of diffuse hospitality built around the idea of a temporary home: each apartment is conceived as a small, autonomous design project. INFO Since founding her studio in 2015, Federica Biasi has developed a language rooted in clarity, material sensitivity, and restraint. https://www.federicabiasi.com SIMONA CARDINETTI A relaxing spot for my daytime coffee break is Caffè Fernanda, located inside the Accademia di Belle Arti di Brera and the Pinacoteca di Brera. Dedicated to Fernanda Wittgens—the first woman in Italy to direct a state museum and a key figure in the reconstruction of the Pinacoteca after the Second World War—it is a place where art is truly in the air, furnished with paintings, original bas-reliefs, marble floors, and imposing doors. For a total immersion in design, Compasso design gallery is the perfect address. Spread over four floors, it showcases highly curated contemporary design alongside historic pieces by renowned masters, such as Gio Ponti and Osvaldo Borsani. I love it because stepping inside feels like entering another world—surrounded by iconic works created by some of the greatest designers in history. For music lovers, I recommend the Teatro Gerolamo. Just a short walk from the Duomo, this small nineteenth-century theatre resembles a miniature Teatro Alla Scala. Entirely clad in wood and faithful to its original style, it hosts contemporary theatre programming as well as performances and art installations. A true architectural jewel, and still relatively little known, is the Santa Maria presso San Satiro Church. This beautiful fifteenth-century church, hidden among large and imposing buildings, contains a masterpiece by Donato Bramante. Faced with limited space, he created a remarkable trompe-l'œil choir that produces an extraordinary illusion of depth. In the heart of Brera, a historic restaurant I adore is Rigolo. Inside, photographs of the many notable figures who have dined there over the years line the walls, alongside cartoons specially created for the restaurant by illustrators. The atmosphere is warm and welcoming, with tables dressed in classic white tablecloths, wooden Thonet chairs, and a delightful outdoor terrace overlooking a charming square. INFO After years working as a set designer for international events, Simona Cardinetti now divides her practice between interiors and object design. cardinettisimona.com VALENCIA/BISCOTTINI To truly discover Milan, the best way is on foot. One of the most evocative streets for a walk—where you can admire some of the city’s most beautiful residential buildings all along a single stretch, designed by BBPR, Vietti, and GPA Monti—is Via dei Cavalieri del Santo Sepolcro, tucked behind the Church of San Simpliciano. Another must-see address is the small neighborhood that unfolds around Via Lincoln. Here, rows of tiny, brightly colored houses with private gardens—each painted in a different hue—create a vibrant oasis that feels worlds away from Milan. For a coffee break, two favorite spots: Loste Café, always bustling but well worth it for its truly excellent pastries, and La Belle Aurore, a historic bar often chosen as a film set. Among restaurants, Nino is a recent addition—offering subtly reinterpreted Milanese dishes in a warm, carefully curated setting, with architectural and design choices that closely reflect our own aesthetic sensibility. Located inside Casa degli Artisti—one of Italy’s earliest concrete buildings, constructed by Luigi Go—Degustazione Bistrò overlooks one of Milan’s hidden gardens. At Galleria l’Affiche, you can purchase artworks of every kind and price range, from posters and prints to more significant pieces. For a total immersion in art books, Taschen shop is an essential stop: don’t miss the store’s beautiful terrazzo floors, custom-designed by artist Jonas Wood. For a step back in time, and a key destination for lovers of paper in all its forms, visit the historic stationery shop and print studio Bonvini 1909, which still operates with vintage manual presses. When it comes to staying in the city, we recommend two places: casaBase, a hybrid of hostel and artists’ residence within a creative hub with a rich year-round programme of events, and Vmaison, set in a small building in the Brera district overlooking a private garden. INFO Founded in 2016, Valencia Biscottini works across architecture, interiors, and urban research. https://valenciabiscottini.com

Mayıs 2022 | Tasarım | Vol VII 'ROCKET MAN’DEN İKONİK ELTON’A Yazı | Alp Tekin A vrupa’nın birçok ülkesinde mağazası bulunan Danimarka çıkışlı mobilya markası Bolia, ilkbahar-yaz koleksiyonunda İskandinav doğasına referanslar içeren hafif bir tasarım evreni sunuyor. Farklı ülkelerin tasarımcıları tarafından yaratılan yeni koleksiyondaki her ürün yine nesiller boyu kullanılacak şekilde yapılmış. Özellikle iç mekan koleksiyonu Bowie, The Visti ve Elton adlı üç yeni koltukla beraber genişletilmiş. Elton, Tonny Glisman ve Karl Rüdiger ikilisinin tasarımı. Şehirli insanların modern ihtiyaçlarını anlamaya çalışan ikili, mobilya tasarımına gerçekçi bir bakış açısı getirmeyi istiyor. Zamansız bir kanepe olarak nitelenen Elton ise el yapımı hafif masif ahşap iskeleti ve iyi düşünülmüş konstrüksiyonu ile zarif bir İskandinav tasarımı. Elton'ın iç kısmı optimum konfor sağlayan özel bir metal çerçeve ve fiberglas takviyeli naylon çıtalarla inşa edilmiş. Yuzu’nun hem Elton hem de tasarıma dair merak ettiği her şeyi Glismand & Rüdiger adına Karl Rüdiger yanıtlıyor. Tamamı için... Print VOL VII - 2022 Out of Stock View Details No product

August 20, 2025 | DESIGN & INTERIORS MODERN BOHEMIA on the AEGEAN words Alp Tekin photos Burak Teoman interior design Selina Kazazoğlu In the coveted Pasalimanı enclave of Izmir’s Cesme, interior designer Selina Kazazoğlu has crafted a villa that stands out not only for its architecture and interiors, but for the lifestyle it embodies. A refined interpretation of modern bohemian style emerges from her aesthetic sensibility, functional solutions, and the strong rapport she built with the homeowner. The greatest source of inspiration? The client. Kazazoğlu set out to create a home that was modern yet bohemian, airy yet practical. The fact that it was once a 1970s-era house added a distinctive layer of character to the project. “I wanted to blend the spirit of that era with today’s modernity,” she says. STARTING POINT: CAMELLIA At the heart of the concept is Camellia, a painting by artist Mert Özgen, acquired by the homeowner. This piece became a guiding thread, adding an artistic dimension to every space. “I love mixing styles and placing small but bold surprises in every corner,” Kazazoğlu explains. The homeowner’s request for bespoke solutions for every function and piece of furniture made the project even more personal. Most of the furnishings were custom-designed; fabrics, upholstery, and drapery were all hand-picked. Colors and textures shift from room to room, giving each space its own mood. In the main living areas and on the exterior, select pieces from trusted design brands elevate the home’s quality benchmark. NATURAL HARMONY White and soft beige microcement and ceramics set the tone throughout, chosen for durability, easy maintenance, and practicality. The result is a timeless aesthetic where bohemian spirit meets clean, modern lines. FUNCTIONAL LUXURY Outdoor terraces and gardens are designed for hosting in style. Each seating area is fitted with its own integrated drink and service setup, enhancing comfort and convenience. “It’s like every corner has its own mini-kitchen,” Kazazoğlu notes. A SCULPTURAL GARDEN With the homeowner’s expertise in landscaping and an enviable plant collection, the garden reads like an open-air sculpture gallery. Towering 300–400-year-old cacti, rare species sourced from around the world, and lush, tropical greenery form a sustainable and artful landscape design—entirely green and striking from every angle. TR BELOW ÇEŞME’DEKİ MODERN BOHEM Çeşme’nin Paşalimanı bölgesinde iç mimar Selina Kazazoğlu imzasını taşıyan bu özel villa, sadece mimari ve iç mekan tasarımıyla değil, yansıttığı yaşam felsefesiyle de öne çıkıyor. Estetik bakış açısı, fonksiyonel çözümler ve ev sahibiyle kurulan güçlü bağ, modern bohem stilin rafine bir yorumunu ortaya koymuş. Projeyi şekillendiren en büyük ilham kaynağı ev sahibinin kendisi. Kazazoğlu’nun hedefi modern ama bohem, ferah ama işlevsel bir atmosfer yaratmak olmuş. Evin 70’li yıllar mimarisini taşıyan eski bir bina olması projeye ayrı bir karakter kazandırmış. “O dönemin ruhunu, günümüz modernliğiyle harmanlamak istedim” diyor Kazazoğlu. ÇIKIŞ NOKTASI CAMELLIA ADLI TABLO Projenin çıkış noktasında, ev sahibinin sanatçı Mert Özgen’den edindiği Camellia adlı tablo var. Kazazoğlu, bu eserle birlikte her mekana sanatsal bir katman eklemiş: “Tarzları harmanladım ve her alanda küçük ama cesur sürprizler yaratmak istedim”. Ev sahibinin her mobilya ve fonksiyon için özel tasarım talep etmesiyle proje daha da kişisel bir hal almış. Mobilyaların büyük bölümü projeye özel tasarlanmış; kumaşlar, döşemeler ve perdeler tek tek seçilmiş. Her mekanda renk ve dokular farklılaşarak kendine has bir atmosfer yaratılmış. Ana alanlarda ve dış cephede seçkin markaların tasarım ürünleri tercih edilerek kalite standardı yükseltilmiş. DOĞAL HARMONİ Beyaz ve açık bej tonlarında mikro çimento ve seramik, evin genel estetiğinde başrol oynuyor. Dayanıklılık, bakım kolaylığı ve pratiklik ön planda tutulmuş. Bohem ruh, modern çizgilerle harmanlanarak zamansız bir görünüm elde edilmiş. FONKSİYONEL LÜKS Bahçe ve teras alanları ise kalabalık misafirleri ağırlamaya uygun şekilde planlanmış. Her oturma grubuna entegre içki ve servis çözümleri konforu artırıyor. “Her köşe, kendi mini mutfağı varmış gibi oldu” diyor Kazazoğlu. PEYZAJDA SANATSAL DOKUNUŞ Ev sahibinin peyzaj konusundaki uzmanlığı ve geniş bitki koleksiyonu, bahçeyi adeta bir açık hava heykel galerisine dönüştürmüş. 300–400 yaşındaki kaktüsler, dünyanın dört bir yanından getirilen özel türler ve tamamen yeşilden oluşan tropik bitkilerle, sürdürülebilir ve estetik bir peyzaj kurgulanmış.

April 2024 | Design & Interiors english below Innovative Zen adaptation MONK words Alp Tekin photos Emre Dörter M odern bir Japon ve Asya mutfağı restoranı olan Monk’un fotoğraflarına bakınca huzurlu ve sakin bir duyguya kapılmamak elde değil. Çünkü Bursa’da yer alan Monk’un tasarımını üstlenen Wangan ekibi, Zen felsefesinden ilham alarak tasarım kodlarını oluşturmuş. Kendi içinde dinamik ve kompleks detay örgülere sahip olan tasarımda ahşap, doğal taş, pişmiş toprak ve metal olmak üzere dört temel elementin işlenmiş malzemeleri kullanılmış. Az sayıda malzemeyle özgün katmanların yaratıldığı projede, Zen felsefesinin sadelik, doğallık ve sakinlik değerlerine doğrudan gönderme yapılıyor. Doğal malzeme seçkilerine ağırlık verilen tasarımın ana hatları ve gizli detaylarında ise Zen bahçelerinin çizgisel yapısından esinlenilmiş. Restoranın atmosferine uygun olarak tasarlanan, el yapımı Japon kâğıtlar üzerine yapılmış, Asya felsefesinde gücü ve başarıyı temsil eden Koi balığı desenleri ise öne çıkan bir başka detay. Farklı kotlar üzerine tasarlanan 180 kişilik restoran; sushi barı, genel oturma alanları ve terastan oluşuyor. Monk’un hareketli mobilyaları da Wangan tarafından projeye özel olarak tasarlanmış. Projede katkıda bulunan diğer isimleri ise şöyle sıralayabiliriz: Desen tasarımı Designmixer ve sanatçılar Aysun Bozoklu ile Melike Şanlı. W hen we looked at the photos of Monk, a modern Japanese and Asian cuisine restaurant, this is what we felt: Peace and calm. Because the Wangan team that designed Monk in Bursa, Turkey, created the design codes inspired by Zen philosophy. The design, which has dynamic and complex patterns of details in itself, uses processed materials of four basic elements: wood, natural stone, terracotta and metal. In the project, where unique layers are created with a small number of materials, direct reference is made to the values of simplicity, naturalness and serenity of Zen philosophy. The contours and hidden details of the design, which emphasizes the selection of natural materials, are inspired by the linear structure of Zen gardens. Another striking detail is the Koi fish pattern, which represents the strength and success of Asian philosophy, printed on handmade Japanese paper designed to match the atmosphere of the restaurant. Designed on multiple levels, the 180-seat restaurant consists of a sushi bar, general seating and a terrace. Monk's movable furniture was also specially designed by Wangan for the project. Other names that contributed to the project include Design mixers and artists Aysun Bozoklu and Melike Sanli.

Le Sirenuse Mare brings the spirit of Positano to the beach, with Mediterranean food, relaxed summer rituals and life by the sea. August 10, 2026 | VOL 19 LE SIRENUSE MARE a NEW CHAPTER in a QUIET BAY words Onur Basturk photos Le Sirenuse Mare — Steffan Giftthaler Family Portrait — Lorenzo Bringheli I step out of my room at Le Sirenuse and make my way down to the beach below—moving through the crowds—to catch the boat that will take me to the hotel’s new beach club, Le Sirenuse Mare. I’m not alone. Four other guests join me, and for a moment it feels like stepping into a new season of The White Lotus. Everyone has their own presence. One woman, in particular, stands out—wearing high-heeled leather boots in the midday heat. After a 50-minute journey, we arrive at Marina di Cantone, one of the quieter corners of the Amalfi Coast. A fishing village known mostly to insiders, it feels calm and unhurried—more frequented by locals and those who know where to go. Most simply call it Nerano, after the hilltop town above. Its best-known dish, Spaghetti alla Nerano, is built on the deceptively simple pairing of zucchini and cheese. Why Nerano? Antonio Sersale, representing the second generation of the family behind Le Sirenuse, answers directly: “We’ve been looking for a place where our guests could enjoy the sea. Nerano was a natural choice—we’ve been coming here for lunch as a family for years. My father Franco even had his wedding here. For me, it captures the warm, authentic side of Italy that Le Sirenuse has always embraced.” AUTHENTICITY, RESPECT FOR PLACE, AND A SEARCH FOR BALANCE BEYOND FLEETING TRENDS At Le Sirenuse Mare, the spatial sequence reveals itself in layers. A stepped entrance leads in. Then comes Rose’s Bar—recalling the understated beach bars of Italy’s dolce vita years—alongside the Emporio Sirenuse boutique. Beyond, the layout opens into two focal points: a restaurant set within a generous garden, and finally the beach club itself, reached by a series of steps—lined with green-and-white umbrellas and five elegant cabanas dressed in hand-embroidered fabrics from India. Five years in the making, the project is designed by Studio Architetti Artigiani Anonimi, led by Annarita Aversa: “As a part-time resident of the Amalfi Coast, I have always seen Le Sirenuse as an exemplary entrepreneurial model—one that has built, across generations, an authentic narrative rooted in family values, and a virtuous relationship between hospitality and its territory. To me, its elegance lies in the balance behind every decision: slow, thoughtful, and intentional, reflecting the Sersale family’s deep awareness of their identity. The project began with a careful reading of this identity, with the aim of translating it into a contemporary, non-rhetorical temporary architectural intervention, set within a remote coastal landscape very different from Positano. It is grounded in the brand’s enduring values: authenticity, respect for place, and a constant search for balance and harmony, beyond fleeting trends. Adding a new layer to this long-standing story, in tune with the present, was made possible by a strong alignment of vision between designers and client.” From the outset, Aversa approached the project as a landscape intervention: “A stretch of coastline that had been compromised by interventions in the 1970s needed to be carefully restored through the use of materials consistent with the context. The large asphalt tennis court was therefore reimagined as a garden articulated into human-scale terraces. We reflected at length on this, seeking to create a sequence of simple spaces—almost outdoor living rooms—in which the garden would remain the protagonist. The intervention can be considered fully successful also thanks to the masterful guidance of architect Paolo Pejrone, with whom I had already collaborated in the past. The project unfolds in two key moments: the seafront façade and the discovery of the garden. The façade defines the coastline west of the Nerano tower—animated by Alba Clemente’s drawings by day and softened by lantern light at night. The second moment is the garden: a sequence of intimate, well-proportioned ‘green rooms’ set within Mediterranean planting. On the final terrace, the temporary nature of the intervention becomes more explicit—stage-like structures house the bars, while a work by Giuseppe Ducrot forms a visual focal point. A small piazzetta, conceived as a setting for social life.” EVERY ELEMENT DRAWS FROM AMALFI CULTURE The level of craftsmanship is immediately apparent. Hand-painted ceramic surfaces, bespoke wrought iron furniture, ceramic and plaster lighting, glass lanterns, rammed lapillus flooring, carefully crafted timber structures. “Every element draws from Amalfi culture, but is reinterpreted through the lens of Le Sirenuse. The colour palette evolves from the tones of the historic house into lighter, more marine shades—copper greens and coral tones typical of 19th-century Vietri ceramics. The green ceramic patterns reinterpret traditional motifs, establishing a direct dialogue with local craftsmanship. The furnishings reflect the dolce vita lifestyle of the Amalfi Coast. With contributions from local artists such as Lucio Liguori, the space gains further depth—alongside Alba Clemente’s works, which unfold along the staircase, bringing stories of the region into the space.” A BRIEF LOOK BACK AT LE SIRENUSE When four Neapolitan siblings—Anna, Aldo, Paolo and Franco Sersale—set out in 1951, they recognised that visitors were falling in love with Positano. They converted their family villa into a small hotel with just eight rooms: Le Sirenuse. The following year, John Steinbeck stayed and wrote: “We went to the Sirenuse, an old family house converted into a first-class hotel… Every room has its little balcony and looks out over the blue sea to the island of the Sirens.” Today, the hotel has grown to 58 rooms and marks its 75th anniversary. Antonio and his wife Carla live in Positano throughout the season. Antonio oversees the hotel’s management and strategy, while Carla curates Emporio Sirenuse. Their son Aldo runs La Sponda, Franco’s Bar and Aldo’s bar-bistrot. His Don’t Worry Bar, shaped by his fascination with Tokyo’s listening bar culture, translates that influence into Le Sirenuse—a discreet, speakeasy-style space where classic cocktails are paired with vinyl-played jazz and pop. ANTONIO SERSALE ‘IN ORDER NOT TO CHANGE, YOU HAVE TO CHANGE’ Le Sirenuse has evolved within the same family for over 75 years. What does it mean to you, personally, to carry this legacy forward? It is the greatest pride in my life. I dedicate all my love and energy to it and seeing it bloom fills me with joy! What are, for you, the most challenging and the most rewarding aspects of running a family-owned hotel? The most challenging is for sure dealing with the staff to ensure they are happy and can communicate the joy of working here to the guests. The most rewarding is seeing our guests happy and enjoying our establishments. Looking back, how do you reflect on the evolution of Le Sirenuse—and how do you balance preserving its identity while allowing it to evolve? Yes I always do so. I live by the saying of: in order not to change you have to change. That is why I am constantly thinking how I can make the Sirenuse better for our guests and for the people working there. Positano has seen a significant rise in tourism in recent years. How has this intensity shaped your experience—both positively and negatively? It has encouraged to render our hotel an oasis of peace and tranquility during the daytime juxtaposing itself to the world outside. A place where our guests can enjoy the views of Positano and the Hotel without having to leave the premises. I imagine you have many personal memories connected to the hotel. Is there one that has stayed with you more than others? My uncle sitting in the lobby and talking to guests as they came in… he was always charming amusing but most of all welcoming. You spend the season living at Le Sirenuse. What does a typical day at the hotel look like for you? I like to walk the property in the morning—checking everything is in order, speaking to staff, understanding how they feel. Afternoons are for emails, then walks in the mountains, followed by cocktails with guests and dinner with visiting friends. BEFORE LEAVING One of the clearest expressions of the collaboration between the first and second generations of the Sersale family is Franco’s, the streetside bar a short walk from the hotel. Once a staff car park, it was transformed into a panoramic, art-filled setting—initiated by Franco and completed by Antonio after his passing in 2015. Order a Negroni. Or a Margarita. Don’t overthink it. - The full story is featured in Vol.19 - Print / NEW VOL XIX - Aegean & Mediterranean 2026 €20,00 Price Add to Cart

June 2024 | Design & Interiors TURKISH BELOW ITALIAN DESIGN and ART MEET in Manhattan Home words Laura Cottrell photos Joshua McHugh T his apartment on Manhattan's Upper East Side, owned by a couple with three children, was designed by interior designer Annie Leslau. "When the owners are away from New York, they spend a lot of time at the lake or ocean," says Annie Leslau, who was inspired by mid-century Italian furniture. “So it was important for their city home to feel Zen and connected to elements of nature," says Annie Leslau. The dining table in the home was meticulously crafted to fit the homeowners' needs. "We designed a solid walnut dining table that extends at the touch of a button," says Annie Leslau. Leslau chose Hiroko Takeda's work for the entryway. A piece by Joe Henry Baker also takes center stage in the living room. Carefully selected fixtures from Allied Maker, Lindsey Adelman, Apparatus, Giopato & Coombes, and Roll & Hill complement the overall design and create a warm and inviting ambiance throughout the home. Annie Leslau points out the following detail about the home's lighting: "The integration of ambient and accent lighting throughout the home not only highlights architectural details, but also adds a layer of sophistication”. SOURCES - Living room: Poltrona Frau chairs, Moroso sofa, travertine coffee tables, The Invisible Collection rug, custom marble side table, alabaster wall sconce, custom shelving as room divider. - Entryway: Hiroko Takeda artwork custom made for project, Lindsey Adelman sconce, custom marble shelf, Allied Maker pendant. - Bedroom: Maharam wool wallcovering, custom Kvadrat bedding, Allied Maker pendants, Radnor long hair alpaca rug, Lawson Fenning nightstands, custom millwork. İTALYAN TASARIMI ve SANATIN BULUŞTUĞU Manhattan evi Ü ç çocuklu bir çifte ait olan Manhattan, Upper East Side’daki bu daire iç mimar Annie Leslau tasarımı. Evin tasarımında yüzyıl ortası İtalyan mobilyalarından ilham alan Annie Leslau, “Ev sahipleri New York dışındayken göl ya da okyanus kenarında çok zaman geçiriyor. Bu nedenle şehirdeki evlerinin zen hissini vermesi ve doğa unsurlarıyla bağlantılı olması önemliydi" diyor. Evdeki yemek masası ev sahiplerinin ihtiyaçlarına uyum sağlaması için titizlikle hazırlanmış. Annie Leslau, “Masif ceviz bir yemek masası tasarladık. Bir düğmeye basılarak masanın genişliği uzatılabiliyor” diyor. Leslau evin girişi için Hiroko Takeda’nın eserini seçmiş. Ayrıca Joe Henry Baker’ın bir eseri de oturma odasının merkezinde yer alıyor. Allied Maker, Lindsey Adelman, Apparatus, Giopato & Coombes ve Roll & Hill’den özenle seçilen armatürler ise genel tasarımı tamamlayarak evin içinde sıcak ve davetkâr bir ambiyans yaratıyor. Annie Leslau evin aydınlatmasıyla ilgili şu detaya dikkat çekiyor: “Evin genelinde ortam ve vurgu aydınlatmasının entegrasyonu sadece mimari detayları vurgulamakla kalmıyor, aynı zamanda sofistike bir katman da ekliyor”. DETAYLAR - Oturma odasındaki sandalyeler Poltrona Frau, kanepe ve sehpalar Moroso. - Yatak odasındaki yün duvar kaplama Maharam’dan, yatak Kvadrat, komodinler ise Lawson Fenning.

May 2020 | People | Turkey Conversation with GSA among with plenty of possibilities: “Life turns into what you have been convinced” Words | Onur Baştürk H ere is a conversation with Gaye Su Akyol (GSA) as we review all possibilities. Read right away before quantum offers new possibilities. I wonder your state of mind during these quarantine days. Are you the ones who says ''I have put myself in a creative session'' or the ones that says ''I am not doing anything’’. I am experiencing a lot of different emotions but I know it is normal. You do not encounter with an epidemic such as this everyday. But I will say this; clearly I have been waiting for this period for a long time! Surviving was like living in a organism that stinks from bottom to the top. Diseased, malignant, foul, ambitious and unbalanced… The world as it is now were already like this last time we have left it. We have faced the truth that we can not go on with the system we used to live in, or probability of another world, and with consuming, shameless, arrogant gluttonous people. Are we all faced it yet? I don't know... But one thing is for sure: Either we fit in to this or we will be gone. NO, WE WON'T BE REACHING NIRVANA INSTANTLY How does this period reflected to your music? I have got lots of new songs. Notes, some groundwork, verses... I have got enough to fill at least two albums. Think of the notes on the book as if they have been done by music; drafs, scribbles, moods, ideas.. “The things you can not make fun of will seize you”, my mind is currently scrabbling with this sentence, applying it everywhere like a litmus paper. Does this epidemic will achieve to change ourselves? Or once everything settles down will we forget this will ever happened and live like we used to do? No, we won't be reaching to nirvana instantly. But we are in something historical. Once this period is over we will be able to agree lots of things all so easily. Like a stone thrown in the water, we have also inevitably changed, and we will be keep changing. Maybe it won't look like something revolutionary or maybe some of us will resist to it and will try to go back as it is used to be but it's futile, lot of things will change. IT WAS LIKE A MIRACLE AND A TORTURE Before the epidemic you were traveling a lot due to music tour. Did you miss traveling to other countries/cities? 2019 is like both a miracle and a torture! We gave over 100 concerts in different places on earth. Even changed three planes and five different cars within the same day. At these times my migraine showed up again which was dormant over the years. On one hand there was headaches and exhaustion, on the other hand there was excitement and passion, yet I have yearned so much being able to just sitting at home, doing nothing and having no responsibilities... For me 2020 is taking a breathe, resting, having a chat with myself, updating my needs and creating in my home. With the epidemic it became a must but I am not complaining. Frankly, I have missed my home, friends even more I missed myself, I haven't yet to missed any other place. I WON'T BE SURPRISED IF THERE WOULD BE ANY ZOMBI ATTACK There are theories of virus being a conspiracy... How much are you close to this idea or how far? Everything is possible! All these theories like “Someone in China ate a bat and got infected then infected the world'' or “We are all in a simulation, and got an error now it needs to be shut down” or ''The families who runs the world are declared themselves a biological war and this virus is a part of it'' are nonsense. If there would be a zombi attack tomorrow I won't be surprised. Althought it is the very thing that connect me to the life; being everything possible. LIFE TURNS INTO WHAT YOU HAVE BEEN CONVINCED I dont know if you have watched the movie called ''Mr. Nobody’’. The film were talking about the choices and the parallel lifes and universes affecting by each choice. Now I want to ask a parallel universe and quantum question: Were there be any other Gaye that may give other decisions on the past and moved on differently than your path? If you believe there would be and if you had the chance, which Gaye's life would be interesting that you would follow? When you look at the universe from the eyes of the quantum mechanic that would tell us none of the physical action is certain and predictable and everything we know is nothing but statistical data. We are currently know not so much about the quantum physics and they are quite limited. The universe is filled with infinite possibilities, and I am quite neutral to the idea of another me living in one of those infinite possibilities. It is hard to be convinced by any of this. They have left blurred and unknown this on my programming. Life turns into what you have been convinced. So you must be very careful what you have been convinced with. TRT'S STUDIO AMBIANCE BACK IN 70’s “Rock’n Roll musical Societie’s” live records broadcasting came across with the isolation days, and I think it is good. When did you come out with this idea? Exactly one year before, we have recorded it on May-2019, and planned to broadcast it within two months. Althought it took longer, and we had also tours going on,other video projects and exhibition projects got in between. For the last 8 months videos were waiting ready to be published. We did a little overhaul and wanted to sent them to the infinity which felt good... I wanted to recreate the ambiance of TRT back in 70’s while there was no CGI and computer based effect were very little. So we have recorded in front of the green curtain and converting them into retro futurist videos while we were trying to catch the ambience of those years. All the videos are the product of İdil Ergün. There was no other intervention besides talking about the ambiance and its connection with the music. I think freedom is the corner stone of such collective works. On some videos we have used Anatolian motifs and symbols. What have you watched/read/listened during this period ? What I love to watch and finished series are Normal People, Anne With An E, The Kominsky Method, The Marvelous Mrs. Maisel, Bosch and Undone. Beside these I have watched the Miles Davis “Birth Of The Cool”. On Spotify I have made a list called ''GSA'yla Karantina Keyfs’’. I am now adding some of the musics I listen to the list. I have read Allen Ginsberg's ''Kaddish'', Shunryu Suzuki's '' Zen Mind, Beginner's Mind'' and Judith Butler's ''Gender Trouble’’. İNSAN | Kategorinin diğer yazıları Sosyal mesafe çemberinde sonsuza dek mutlu yaşadı… Ekmeklerinin en sıkı müdavimi Sezen Aksu En yeni seksi şef: Karpat Deviren GSA’yla bol olasılıklı konuşma: ‘Hayat ikna olduğun şeye dönüşüyor’ Bir Milanolunun gözünden ‘yeni normal’ ‘Normal’ değiliz hiçbirimiz Antarktika’ya kendi kullandığı uçakla giden maceracı şef Hareketli, yanık tenli, insan canlısı bir çocuk büyüttük Akyaka’da Transhuman evrimine hazır mısınız ’74PODCAST’lerde gelecek konuşmaları Korona günlerinde “Arizona Dream” Tulum’da karantinada olmayı dj Carlita anlatıyor Beden Oyunları Korona günlerinde Alaçatı Hayat, mutfağa kapanıp mükemmelin peşinde koşmak değil Çünkü aylarca çeşitli manastırlarda kaldım… Karantinada yalnız değilim, çünkü köpeğim Zeus var! Yalnız yaşama sanatı: Ohitorisama!

February 2023 | Design & Interiors english below Uzay gemisi değil, TPAO M imar Melike Altınışık bizi şaşırtmaya devam ediyor. Başarılı mimarın son projesi Zonguldak Filyos’ta yapımına başlanacak olan ve bir uzay gemisini andıran TPAO (Türkiye Petrolleri Anonim Ortaklığı) binası. Melike Altınışık Architects (MAA), antik çağda “Billaius” olarak bilinen, Filyos vadisi ve nehrinin Karadeniz'e döküldüğü önemli bir noktada yer alan TPAO Yönetim binasını dalgakıran duvarının eşiğinde bir seyir alanı oluşturacak şekilde tasarlamış. Proje mimari tasarım açısından geçmişle geleceğin, tarih ile teknolojinin birbirine karıştığı bir eşik olarak tanımlanıyor. Bina, ofis olarak hizmet vermenin yanı sıra dalgakıran eşiğinde konumlanan bir gözlem mekânı. Dalgakıran eşiğindeki bina üç kattan oluşuyor ve 4.5 metre yüksekliğindeki dalgakıran duvarı 9 metreye yükseltiliyor. Batı yönünde Karadeniz'e doğru çıkıntı yapan seyir terasından tarihi Filyos coğrafyası ve Karadeniz tüm etkileyici doğasıyla gözlemlenirken, doğu yönünde ise Filyos Limanı gözlemleniyor. Binanın 2023 yılının ilk çeyreğinde tamamlanması planlanıyor. Yazı | Alp Tekin Not a spaceship, TPAO Writer | Alp Tekin A rchitect Melike Altınışık continues to surprise us. The last project of the successful architect is the TPAO (Turkish Petroleum Corporation) building, which will start to be built in Zonguldak Filyos and resembles a spaceship. Melike Altınışık Architects (MAA) designed the TPAO Administration Building, known as “Billaius” in ancient times, at an important point where the Filyos valley and river flow into the Black Sea, to create a viewing area on the threshold of the breakwater wall. In terms of architectural design, the project is defined as a threshold where the past and the future, history and technology intermingle. In addition to serving as an office, the building is an observation place located on the threshold of the breakwater. The building on the threshold of the breakwater consists of three floors and the 4.5-meter-high breakwater wall is raised to 9 meters. The building is scheduled to be completed in the first quarter of 2023.