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Artist Salustiano speaks with Onur Baştürk about the color red, portraiture, NFTs, AI and the influence of Seville and Andalusia on his work. April 2023 | Art & Culture | Vol 9 SALUSTIANO Art, like love, will exist forever words Onur Baştürk What is the criterion for choosing the faces in your works? Is it the beauty of the model’s face or the meaning in their facial expression? For me, the most important thing about a face is the spiritual and mental power it reflects. If it has enough spirituality in it, it is certainly beautiful. Which face has impressed you the most so far? I cannot be objective in this answer. The face of my son Horacio. What are the differences between the child model and the adult model? Which one is more inspiring for you in your work? Adults have an unnatural relationship with photography. We pose with our “best face” with the attitude of being favored. That does not suit me either. Children pose more spontaneously. For them, it is like a game. For example, the brothers Juan and Miguel Palacín who became angels consecutively. They posed with absolute naturalness. Of course, if the adult model is a professional, that is fine. For example, I have been working for several years with the model Zahara from Seville, who is beautiful and poses like a real artist. In your hyperrealistic paintings, the color in the background draws attention as much as the figure. You use red the most. Why red? First of all, let me state that my paintings are not hyperrealistic. Hyperrealism represents a photograph of reality, not reality. I do not try to make my paintings look like a photographic or naturalistic realist. My paintings are idealized versions of the classical Greco-Roman sculptural style. The background of my paintings is also plain. There is no specific description of the place. We can reflect ourselves on this plain and meaningless background. Because, in reality, they are landscapes or not. Abstracted landscapes... Why red? In Spanish, the color red is called “colorado”. Color and colorado have the same root as the Latin “coloratus” (to color, to give color). Therefore, red also stands for the color itself. In addition, red has great symbolic power. We all associate it with intense emotions, power, blood, and passion. The Hebrew word for red means blood, which is also the element of earth. And this name (“Adam”) was given to Adam, the first man. So this color is closely associated with the beginning of time, life-giving blood, the beginning of life, and the shedding of the first blood. For me, red is a metaphor for transcendence. THEY ARE MY FIGHTERS AGAINST UGLINESS Marina Con Pistola from the series “Terriotorio de Ternura” is one of your most impressive works. Violence or innocence? Which of these interests you? Although I work with fundamental concepts, I avoid anything that implies a definition. If there were violence in my work, that would also be a kind of violence! But if there is innocence, it is a combative innocence. There is an artifact in which a figure represents the angel of Eden. For me, Eden is a garden I created to defend and protect myself against mediocre and decorative art. It is self-indulgent, thoughtless, and ugly art. Yes, these guys with guns are my warriors in my war against this ugly art! When did you start to shape the style of your paintings? I have had a personal style since my teenage years. Of course, I have aged. But there are a few elements that have remained over the years: Like poetry, austerity, humor, and a bit of hooliganism. I read that you are a Hockney, Holbein, and Bacon fan. Why them? Although they are very different, what they have in common is that their paintings are full of mystery and suggestion. Who else have you drawn inspiration from? Michelangelo Antonioni, Stanley Kubrick, the poet Guillaume Apollinaire, David Bowie, Tadao Ando, Bugs Bunny, BMW commercials, my first communion, streets, quince jelly, 1970s advertisements, travel, and my son Horacio. How does living in Seville affect your art career? I really do not know how Seville has affected my work! My family is from another Andalusian province. That is why I have never felt 100 percent Sevillian. I think that being not only from Seville but also from Andalusia had an effect on me. Andalusia is a region where many cultures, religions, and races are interwoven. That is why we are so culturally rich and open-minded. Most of us have a special sensitivity to art and nature. ALL OF LIFE IS A DREAM, AND A DREAMS ARE... DREAMS You have also made NFTs of some of your popular works. What do you think about NFT? For me, virtual life has the same consistency as the life we dream about. Usually, we experience our dreams with the same intensity as the emotions we have when we are awake. Sometimes the line between dreaming and waking is blurred. As Plato describes in ‘The Myth of the Cave’ or as Segismundo, the character in Calderón de la Barca’s great play ‘Life is a Dream’, states: “All of life is a dream, and dreams are... Dreams”. The most important thing in art is the artistic experience. This experience is the same in real life, dreams, or virtual life. I believe that digital art will last. But it will not replace traditional art, as many think. I believe the real and the virtual will seamlessly coexist and enrich each other. Due to artificial intelligence, will the art of painting become extinct in the coming years? Art, like love, will exist forever. for more

December 2024 | Art & Culture FOR ENGLISH ‘MERIDIANS’TA BU 5 ESERİ KAÇIRMAYIN words Alp Tekin Bu yılki Art Basel Miami Beach, büyük ölçekli işlere adanmış eserlerden oluşan “Meridians”ın beşinci yılını kutluyor. Şimdi, küratörlüğünü Yasmil Raymond'un üstlendiği 2024 seçkisinden kaçırılmaması elzem 5 büyük esere göz atma zamanı. 1. ANASTASIA BAY / Venus Over Manhattan Paris doğumlu Brüksel merkezli Anastasia Bay'in Art Basel için özel olarak yapılan Maestra Lacrymae Acte V başlıklı çok boyutlu enstalasyonu sanatçının resim, opera ve tarihi mitleri bir araya getiren son kişisel sergisi devamını temsil ediyor. Bay'in enstalasyonu, benzersiz şekilli paneller üzerine yapılmış üç büyük resimden oluşan bir süit ve ilk kez Maestra Lacrymae'de tanıtılan anıtsal bir Harlequin kuklasını içeriyor. Yaklaşık beş metre uzunluğundaki kukla, Belçika'daki Nord Karnavalı gibi festivallerde sıkça görülen ve aynı zamanda Bay'in resimlerindeki kalabalıkların üzerinde yükselen dev kuklalara da gönderme yapıyor. Bay için bu karakter, tarihsel mit ile çağdaş kimliği birbirine bağlayarak dönüşüm ve direniş temalarını somutlaştırıyor. Maestra Lacrymae Acte V, M17 standında görülebilir. Photos / Courtesy of the artist and Venus Over Manhattan, New York. 2. ALICE AYCOCK / Galerie Thomas Schulte 1970'lerde Gordon Matta-Clark ve 112 Greene Street Gallery çevresindeki New Yorklu sanatçılar topluluğunun en genç üyelerinden biri olan Alice Aycock’un büyük ölçekli heykel ve enstalasyonlarında genellikle sibernetik, fenomenoloji, fizik, post-yapısalcılık, bilimsel keşifler ve bilgisayar programcılığı gibi çeşitli temalar mimari ve heykel arasındaki kesitte yer alıyor. Art Basel Miami Beach’te ise sanatçının Goya adlı eseri sergilenecek. Berlin merkezli Galerie Thomas Schulte tarafından sunulacak bu yeni eser, toz boya kaplı alüminyum çelikten yapılmış, zaman zaman gergin, zaman zaman da gevşek, kıvrılan şeritlerden oluşan bir girdabı tasvir ediyor. Photo / Sanatçının HOOP-LA isimli (2014) çalışmasından. 3. PORTIA MUNSON / P-P-O-W Portia Munson yaklaşık 30 yıldır seri üretim ürünlere gömülü gizli kültürel kodları deşifre etmek için hazır tüketim ürünlerinden oluşan maksimal enstalasyonlar, heykeller, resimler ve dijital baskılar yaratıyor. İkinci el mağazaları ve bit pazarlarını tarayarak yüzlerce nesne toplayan Munson, Art Basel Miami Beach’te sergilenecek “Bound Angel, 2021” adlı eserinde seri üretimin kimlik oluşumu üzerindeki etkisini ve bunun sonucunda toplumsal cinsiyet eşitliği, üreme hakları ve ekolojik kriz için süregelen mücadele arasındaki bağlantıyı inceliyor. 4. ROBERTO HUARCAYA / Rolf Art Peru'nun en seçkin ve kendini işine adamış çağdaş sanatçılarından biri olan Roberto Huarcaya, 2014'ten bu yana dikkatini kamerasız fotoğrafçılığa yöneltti ve fotoğrafın kökenlerine dönerek ilkel gerçeklikleri yakalamak için ilkel bir teknik kullanarak 'fotogramlar' üretiyor. Art Basel Miami Beach’te Huarcaya’nın “Amazogramas” serisinden anıtsal bir çerçeve göreceğiz. 5. ZHU JINSHI / Pearl Lam Galleries İmpasto soyut resim ve Xuan kâğıt enstalasyonlarının öncüsü olan Zhu Jinshi'nin Pathway başlıklı eseri “Meridians”ın yıldızlarından. Çelik çerçeveler üzerine monte edilmiş üç adet kesişen yarı dairesel Xuan kâğıt yapısından oluşan eser, ziyaretçilerin gezinmesi için geniş bir matris oluşturuyor. Bu çalışma, pirinç kâğıdı, pamuk ipliği ve ince bambunun şiirsel kullanımıyla gelenek, doğa ve gerçeklik arasındaki bağlantıları keşfediyor.

Insiders / Outsiders? brings Aboriginal Australian and Moroccan artists together at Palácio Duques de Cadaval in Évora through October 26, 2025. June 24, 2025 | Art & Culture INSIDERS / OUTSIDERS? words Laura Cottrell photos of Exhibition Francisco Nogueira This season, the historic Palácio Duques de Cadaval in Évora, Portugal, presents Insiders / Outsiders?—a compelling exhibition that brings together contemporary Aboriginal Australian artists and Moroccan artists from the Essaouira School. On view through October 26, 2025, the show features approximately sixty works from the Yannick and Ben Jakober Foundation, inviting viewers to reflect on themes of identity, inclusion, and the blurred lines between center and periphery. Curated by Spanish writer and curator Enrique Juncosa, the exhibition is a collaboration with the Fondation Jardin Majorelle in Marrakech and the Sa Bassa Blanca Museum in Mallorca—two institutions that, like the artists on view, exist in fluid conversation between cultures, disciplines, and traditions. A CROSS-CULTURAL DIALOGUE At the heart of Insiders / Outsiders? lies a juxtaposition of two seemingly distant artistic movements. Yet both emerged around the same time and share a common genesis: the support and recognition of so-called “outsiders.” More importantly, both traditions champion a deep, intuitive inner vision—art that doesn't mirror the world but reimagines it. On one side, viewers encounter works by members of L’École de Essaouira, a movement born in the 1980s thanks to Danish art dealer Frédéric Damgaard. Drawn from a group of self-taught painters—fishermen, carpenters, and craftsmen—this Moroccan school reflects a uniquely local and spontaneous aesthetic. Artists such as Boujemâa Lakhdar, Mohamed Tabal, and Moustapha El Haddar transformed everyday life into poetic abstraction, their works pulsing with bold color, rhythm, and symbolism. On the other, the exhibition traces the rise of contemporary Aboriginal Australian art, whose modern chapter began in 1971 when teacher Geoffrey Bardon encouraged local communities to paint on canvas for the first time. While Aboriginal visual culture stretches back over 60,000 years, this shift to canvas brought global recognition. Today, thousands of Aboriginal artists are represented across community art centers and institutions worldwide. Their works convey complex Dreamtime narratives, land-based knowledge, and spiritual continuity in striking, often pointillist compositions. AN UNEXPECTED AND PROFOUND DIALOGUE Together, these two strands form an unexpected and profound dialogue. While rooted in different geographies—Australia’s vast interior and Morocco’s Atlantic coast—they both speak to memory, ancestry, and the act of storytelling through form and color. The setting for this cross-cultural conversation could not be more fitting. Located in the heart of Évora, facing the Roman temple, the Palácio Duques de Cadaval embodies centuries of Portuguese history and architectural layering—from Mudéjar to Gothic and Manueline styles. Still owned by the Cadaval family, the palace was built atop a former Moorish castle and has been meticulously preserved. With its inner courtyards, sweeping residential halls, and family pantheon church, the palace is not only a historical monument—it is a living archive. Insiders / Outsiders? offers more than a visual encounter; it is an invitation to reconsider the frameworks through which we view art and artists. Who is an insider, and who decides? Can tradition thrive without institutional validation? And what happens when the margins become the center? At a time when the art world is increasingly globalized yet often uneven in its attention, this exhibition creates space for authentic voices—voices that are rooted, reflective, and undeniably relevant.

Villa Lavender is an Aegean residence in Seferihisar designed by Office Istanbul Architects, the studio led by architect Kemal Serkan Demir. February 2024 | Design & Interiors english below A bold, futuristic and transparent Aegean project words Onur Baştürk C esur, fütüristik ve şeffaf. Aynı anda hem görkemli hem de meditatif. Seferihisar tepelerinde yer alan Villa Lavender projesini en iyi şekilde bu kelimeler anlatıyor. Ege’nin sakin, doğal ortamına konumlanan proje, mimar Kemal Serkan Demir liderliğindeki Office Istanbul Archtitects tasarımı. Bulunduğu coğrafyanın pitoresk ortamıyla uyumlu Villa Lavender projesinde iç ve dış mekan arasında ilişkinin sürekliliği amaçlanmış. Böylece yapının her köşesinin doğa ile yakın temas halinde olması sağlanmış. Projede öne çıkan diğer bir unsur ise ışık ve gölge. Nitekim Kemal Serkan Demir projeyi hayata geçirmek için malzemeleri bir araya getirmeye başladıklarında, önceliklerinin ışığı ve doğanın örüntüsünü olabildiğince canlı bir şekilde yakalamak olduğunu söylüyor. Projenin sonrasında ise en önemli duygu ve fikirler Villa Lavender arsasının üst köşesinden manzaraya bakarken şekillenmiş. “Arazinin ortasında mucizevi bir şekilde bir lavanta kümesi vardı. Tüm arsanın sadece lavantayla kaplı olduğunda inanılmaz pastel mor renkte bir kumaş gibi görüneceğini hayal ettik” diyor Kemal Serkan Demir. “Çevreyle iletişim kurmanın bir yolunu bulmak, bize bütünsel bir mekânsal deneyim yaratma şansı verdi. Doğrusal terapi havuzlarının yanı sıra panoramik manzaralar, villanın volumlü görünümünü yansıtarak güçlü bir karakteristik içeren farklı perspektife sahip sahneler yarattı”. B old, futuristic and transparent. Majestic and meditative at the same time. These words best describe the Villa Lavender project located in the hills of Seferihisar. Located in the calm, natural environment of the Aegean, the project is designed by Office Istanbul Archtitects led by architect Kemal Serkan Demir. In the Villa Lavender project, which is in harmony with the picturesque environment of the geography, the continuity of the relationship between indoor and outdoor spaces is aimed. Thus, it is ensured that every corner of the building is in close contact with nature. Another prominent element in the project is light and shadow. As a matter of fact, Kemal Serkan Demir says that when they started to bring the materials together to realise the project, their priority was to capture the light and the pattern of nature as vividly as possible. After the project, the most important feelings and ideas were shaped while looking at the view from the upper corner of the Villa Lavender plot. "Miraculously, there was a cluster of lavender in the centre of the plot. We imagined that the whole plot would look like an incredible pastel purple fabric when it was covered only with lavender," says Kemal Serkan Demir. "Finding a way to communicate with the surrounding, gave us a chance to create a holistic spatial experience. Panoramic views alongside linear therapy pools reflect the volumentic appearances of the residence, creating various scenes of perspective that contain a strong characteristic”.

Şubat 2022 | Tasarım | Vol VI YENİDEN RUH KAZANAN BİR ORMAN EVİ Yazı | Alp Tekin Fotoğraflar | Ali Bekman K emer Country’deki bu kütük ev tekstil sektörünün tanınmış bir çiftine, Gülden ve Yılmaz Yılmaz çiftine ait. Daha önce bir kez revizyona uğramış olan ev, Yasemin Arpaç ve Sabahattin Emir’in tasarım stüdyosu Ofist tarafından yeniden tasarlanıp güncellenmiş. Arpaç, “Burası ormanla bağı bir hayli koparılmış bir orman eviydi” deyip ekliyor: “Yılmaz çifti pandeminin başında, bir ay gibi kısa bir süre içerisinde bu eve taşınmak durumunda kalınca her şeyi sil baştan yapmak yerine akıllı dokunuşlarla evi tekrar ele almaya karar verdik. Son derece yoğun şehirli hayatı olan aile için hedefimiz, şehirli yaşantısıyla orman ilişkisini dengede tutmak oldu”. BİRAZ RENK BİRAZ SICAKLIK Yenileme projesindeki önceliğin fazla modernleştirilmiş bu soğuk orman evini sıcak bir hale getirmek, şehirli hayattan kopmadan ormanla ilişkisini kurmak olduğunun altını çiziyor Yasemin Arpaç: “Doğayı eve, evi doğaya yaklaştırmak istedik. Renk kullanımında ev sahipleri son derece cesur. Bu nedenle evin geneline hakim olan beyaz ve antrasit renklere ek olarak ana salonda petrol, turuncu ve kiremit renklerini kullandık. Böylece biraz daha sofistike bir hava elde ettik. Bahçe kat alanında ise yeşil ve sarı kullanarak daha sıcak, samimi, yumuşak bir hava hedefledik”. Devamı için... Print VOL VI - 2022 Out of Stock View Details No product

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

Mayıs 2020 | İnsan | Türkiye Aras ve Deniz: Biraz cesaret ve özgüven şart! Yazı | Onur Baştürk T ürk instagram kullanıcıları arasında ‘çift’ profili olan hayli fazla. Gösteriş yapmayı seveni, muhafazakârı, maceracısı, gezgini; çeşit çeşit ‘çift’ profili var yani. Aras ve Deniz ise hepsinden ayrılıyor. Çünkü onca yerli heteroseksüel çift profilinin yanında -benim bildiğim kadarıyla- tek gay çift profili onlarınki. 80 bin küsur takipçiye sahip, biri mühendis diğeri tasarımcı bu çiftin hem stil pozlarını hem de gezip gördükleri yerleri epeydir takipteyim. Peki gerçekten profillerinden göründüğü gibi mükemmel bir çift yaşamına mı sahipler? Aras ve Deniz’in samimi ve eğlenceli yanıtlarına buyurun… YURTDIŞINDAKİ ÇİFTLER BİZE İLHAM VERDİ Beraber yaşamak, beraber seyahat etmek ve tüm bunları yaparken çok eğlenmek… İmrenilesi bir çiftsiniz! Peki çift olarak “ahenk” sırrınız nedir? Öncelikle iltifat için teşekkür ederiz! Dışardan böyle algılanmak bizi mutlu ediyor. Aslında aramızdaki doğal bir uyum. Bunun için özel bir şey yapmıyoruz. Sadece varolan ahengi artırmak için bazı sırlarımız var:) En önemlisi birbirimize saygı duymamız. Sonuçta Aras’ın sevmediği şeyleri Deniz biliyor, Deniz’in sevmediği şeyleri de Aras. Ayrıca sürekli fikir alışverişi yapıyoruz. Birbirimizin hem zevkine güveniyoruz hem de fikrine. Böylece aramızdaki saygı+iletişim+sevgi+aşk ve güven bu ahengi korumamızı sağlıyor! Ortak instagram hesabı açma fikri nasıl ortaya çıktı? Ortak hesap fikri aslında ilişkimiz kadar uzun süreli bir fikir değil. İlk günden beri gezmeyi, yeni yerler keşfetmeyi seviyoruz. Şimdiden 20’yi aşkın lokasyona gitmişiz ve henüz gidip görülecekler listemizin yarısında bile değiliz! Yurtdışı seyahatlerimiz sırasında tanıştığımız ve hayatlarını özgürce yaşadıklarını gördüğümüz çok tatlı çiftler oldu. Aralarında, bu şekilde hesap açıp sosyal medyada ses getirmiş olanlar da vardı. Bize onlar ilham verdi. KIRMIZI PANJURLU EV HAYALİ KURAN BİR ÇİFT OLMADIK Peki instagramda sadece mükemmel olan tarafı mı gösteriyorsunuz? Arada sürtüşmeler oluyor mu? Olmaz mı:) Bu sürtüşmeler hayatın bir parçası. Hiçbir zaman yan yana oturup ufka bakarak kırmızı panjurlu ev hayalleri kuran aşırı ciciş bir çift olmadık! Laf aramızda, öyle çiftler bize hep komik geldi! Bir de instagram bizim için bir fotoğraf albümü. Ve kimse evindeki albüme tartışırken çekilen bir fotoğrafını koymaz. Bize göre iki erkeğin birlikte olması bir kadınla erkeğin birlikte olmasından çok daha şiddetli bir durum! İlişkiyi gerçek tutan şey, zıt düşündüğün konularda bile ortak paydada buluşup o doğal şiddeti sönümleyebilmek. Mesela sözümüzü asla esirgemeyiz birbirimizden. Bu durum sürtüşmelere de neden oldu, oluyor ve olacaktır. Her konuda fikir birliği sağladığımızı düşünmeyin sakın:) Bu olayların sonu önemli: Tartışma bitmeden alanı terketme ve ne olursa olsun küs uyuma! Sosyal medyaya dair yakın gelecek planlarımızda bu didişmeli gündelik hallerimizi daha çok yansıtma gibi bir hayalimiz var. YENİ NESİL ÇOK AÇIK GÖRÜŞLÜ Sanırım ülke sınırları içinde sizin gibi ‘açık’ bir şekilde çift profili olan yok. Bu bir özgüven mi yoksa olması gereken mi sizin için? Bizimki bildiğimiz ilk profil evet, ama tek profil değil. Birilerine azıcık da olsa cesaret verebiliyorsak ne mutlu bize! Çünkü bizim için bu durum ‘normal’. Binlerce çift profilinden farksız. Bu tür cesaretlendirmelere özellikle bizim gibi ülkelerde çok gerek var. Ne yazık ki öyle bir kesim var ki; bireysel hesaplarında bile cinsel yönelimleri belli olacak diye endişe duyuyor. Arkadaşımız olan ama gizlilik nedeniyle bizi takip edemeyenler bile var. Birazcık cesaret ve özgüven şart! Ülkemiz her şeyi kabul edebilen bir ülke. Sadece güçlü durmak lazım. Yeni nesil çok açık görüşlü. O yüzden herkes istediği şekilde yaşamalı. Elbette saygı çerçevesi dahilinde… NEFRETE, NEFRETE YAKLAŞINCA İŞLER ÇÖZÜLMÜYOR Olumsuz yorumlarla başa çıkma sırrınız nedir? Aldığımız tepkilerin çoğu olumlu. Bu bizi çok mutlu ediyor ve daha da cesaretlendiriyor. Birçok kişiden bizden ilham aldıkları yönünde mesajlar alıyoruz, ki bunu duymak çok değerli. Bazen de çok şaşırıyoruz, çünkü hiç beklemediğimiz ünlü kişilerden öyle güzel yorumlar geliyor ki hediye gibi oluyor. Olumsuz tepkiler de olmuyor değil. Ama onlar bizim için o kadar önemsiz ve değersiz ki; genelde okuyor, gülüyor ve yok sayıp geçiyoruz. Nadiren tepki verme ihtiyacı duyuyoruz. Geçenlerde biri fotoğrafımızın altına, “Cehenneme gideceksiniz” yazmış. Üşenmedik, araştırdık ve bir şekilde telefon numarasına ulaştık. Adam özür dilemekten mahvoldu. Yani iletişim çok önemli. Nefrete nefretle yaklaşınca işler çözülmüyor. Anlatmak, öğretmek gerek. Ortak hesabı yönetmenin zorlukları var mı? “Hayır bunu koyma, kendimi beğenmedim” diyor mu birinizden biri? Zorluklar hesabı yönetme noktasından daha çok fotoğraf çekimi ve paylaşımlara karar verme aşamasında yaşanıyor. Az önce bahsettiğimiz sürtüşmelerin çıkış noktalarından biri de bu anlarda yaşanan zorluklar. Doğru karelere karar vermek ya da içeriği, ışığı veya pozu iyi görseller yakalamak saatlerimizi alabiliyor. SEKİZİNCİ YILIMIZI KUTLADIK Ne kadar süredir berabersiniz? Bir gün yollarınız ayrılırsa bu ortak hesaba ne olacak? Bu yıl sekizinci yılımızı kutladık Venedik’te, tahtaya vurun:) Salgın nedeniyle daha da unutulmaz bir seyahat oldu. Yollarımızı ayırma gibi bir planımız yok, ama hayatın ne getireceğini hiçbirimiz bilemeyiz. Öyle bir durumda da yaşadıklarından pişman olan insanlar olmadığımız için hepsi güzel bir anı olarak kalacaktır. Asıl soru; bu hesabı gören herhangi biri bizlerden biriyle bir şey yaşama topuna girer mi, onu düşünmek gerek. Seyahatlere ortak mı karar veriyorsunuz? Nasıl belirleniyor rotalar? Her zaman gitme hayalleri kurduğumuz rotaların upuzun bir listesi tam önümüzde açık duruyor zaten. Sadece bunları doğru sıraya sokmaya çabalıyoruz. Mesela gideceğimiz yerdeki özel günlere ve organizasyonlara bakıyoruz. Venedik Karnavalı, San Francisco Pride ya da Paris’e ucuzluk zamanı gitmek gibi… Elbette kararlar ortak veriliyor. Konu seyahat ise en uyumlu anlarımızı yaşıyoruz. PARİS İKİNCİ EVİMİZ GİBİ Şimdiye dek en çok sevdiğiniz şehirler ve oteller hangileri oldu? Türkiye’de Sacred House ve Simurg Inn gerçekten çok özel bir deneyimdi. Yaz tatili olarak da Mandarin Oriental Bodrum. Bangkok bizi çok mutlu etti diyebiliriz. Deniz bir süre Paris’te yaşadığı için Paris aşığı. Bulunmaktan en çok keyif aldığımız iki şehir Los Angeles ve Barselona oldu. Otel listemiz ise hayli uzun: Barselona’da Soho House. Bu otelin konumunu ve cana yakın ilgisini çok seviyoruz. Roma’da Hotel Hassler. Roma’ya aşığız. Keşke bir de denize yakın olsa ve gece hayatı akşam 22.00’da bitmese! Paris’te ise Ritz. Bu şehir sanki ikinci evimiz gibi… Venedik’te Aman Oteli. Burası bizim için çok çok özel. İyi ki festival zamanı gitmiş ve kostümlerimizle birkaç günlüğüne Ortaçağ’ı yaşamışız. Los Angeles’ta Chateau Marmont. Bu otel tıpkı Paris’teki Ritz gibi. Özellikle akşamları bahçesinin her köşesinde ünlü birini görebiliyorsunuz. Berlin’de Gorki Apartments… Açıkçası Berlin’e bir türlü ısınamadık. Çünkü biz gittiğimizde hava gerçekten çok soğuktu ve yaz insanları olduğumuz için şehri tam anlamıyla yaşayamadık. O yüzden Berlin bir şansı daha hak ediyor. AĞUSTOSTA MYKONOS PLANI Bu yıl içinde belirlediğiniz rotalar -salgına rağmen- vardır mutlaka… Gerekli önlem ve tedbirleri almak kaydıyla bu yıl da gezmek ve görmekten uzak kalmaya hiç niyetimiz yok:) Önce ağustosta Mykonos planımız var. Daha sonra sonbaharda spontan bir Paris kaçamağı olabilir. Son olarak da yılbaşına New York’ta girerek 2020’nin tüm negatif enerjisini üzerimizden silkeleyerek atmayı planlıyoruz. Sonrası için diğer rotalar: Marakeş, Tokyo, Cancun, Sao Paulo ve Ölüler Günü’nde Puebla. Şimdi ayrı ayrı yanıtlayacağınız bir soru geliyor. Aras seyahatteyken nasıl biridir Deniz? Ve Deniz, Aras evdeyken nasıl biridir? Aras: Deniz seyahatteyken aşırı planlı birine dönüşür. Nereye, saat kaçta, hangi yollardan gideceğimiz hep onun kontrolündedir. Ayrıca mükemmelliyetçidir. Onun yanında dünyanın neresinde olursa ol, kendini hep evde ve güvende gibi hissedersin. Deniz: Aras gerçekten her eve lazım. Mutfakta çok başarılı ve bana kıyasla oldukça sabırlı. Bununla birlikte şikayetçi olduğum tek konu bana göre evde fazla titiz oluşu. 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!

Şubat 2021 | Seyahat | Meksika ‘Covidfreeland’ Tulum’dan güncel notlar Yazı & Fotoğraflar | Edwina Sponza İ stanbul-Cancun pandemi esnasında yaptığım ilk uzun uçuştu. Uçak boş olur sanıyordum ama tamamen doluydu. THY çok temiz diyebilirim. Çok dikkatli davranıyorlar. Maske kontrolü gayet düzgündü mesela. Meksika PCR testi istemiyor. Bu nedenle biraz tedirgin oldum açıkçası. Burası “Covidfreeland” diyebilirim. Herkes tamamen yaz havasında. Tıpkı geçtiğimiz yaz Çeşme’de bizim olduğumuz gibi… Otel ve restoranlarda kontrol var. Ateş ölçme, maske, vesaire. Çalışanların hepsi maskeli. Her masada dezenfektan var. Mağazalara maskesiz giremiyorsun. Ama plajda kimse maske takmıyor. Mağazaların olduğu caddede herkes maskeli. Ben hep Sanara’da kalıyorum. Geçen sefer de burada kalmıştım. Çünkü en güzel yoga stüdyosu burada. New York’tan çok iyi yoga hocaları geliyor. Her sabah ve her akşam ders var. Sebze ağırlıklı bir restoranları var. Sahibi Malibulu bir çift. Mutfak tamamen ‘healing’e yönelik. Be Tulum’un yemeği inanılmaz. Hem öğle hem akşam için ortamı çok güzel. Itzki ve Arca diye iki mekan denedim. İkisi de lezzetliydi. “Atila” diye minicik bir bar var plajın üzerinde. Aksamüstü margaritası inanılmaz! Bu yıl Bagatelle açılmış. Sadece uğradım. Dekoru çok güzeldi ama bence çok St. Tropez havası olmuş. Yakışmamış buranın bohem ortamına. Los Bowls kahvaltı için çok tatlı bir mekan. Matchamama da değişmemiş, çok güzeldi yine…

Casa Muxarabi by mf+arquitetos is a Brazilian home shaped by courtyards, filtered light, red hardwood, and a quiet connection to the landscape. June 28, 2026 | VOL 18 CASA MUXARABI words Onur Baştürk photos Fernando Guerra Working from the inland city of Franca in São Paulo state, mf+arquitetos approaches architecture through measured gestures rather than grand statements. Founded by Mariana Garcia Oliveira and Filipi Oliveira, the practice is shaped by clear geometries, honest materials, and a consistent dialogue between interior space and landscape. Casa Muxarabi reflects this attitude with quiet confidence. Named after the lattice screens that filter light throughout the home, the house is composed through courtyards, shadows, and permeable layers that shift with the day. It is an architecture that does not compete with nature, but lives alongside it. THE MUXARABI WAS INDEED THE STARTING POINT OF THE PROJECT The house takes its name from the muxarabi — the lattice screens that filter light throughout the project. Was this element the starting point for the design? How did the idea first take shape? The muxarabi was indeed the starting point of the project. From it, we structured the entire logic of light, shadow, and visual permeability throughout the house. The idea emerged during the very first site visits, when we understood that filtering light would be essential to creating an intimate, soft atmosphere that changes constantly over the course of the day. Casa Muxarabi is arranged as a linear pavilion, divided by a long central courtyard. What was the guiding intention behind this spatial composition? The decision to design a linear pavilion divided by a central courtyard stemmed from the desire to create a continuous flow while simultaneously establishing an axis of pause and contemplation. The courtyard functions as the heart of the project. It organizes circulation, provides natural ventilation, and reinforces the presence of nature as a structuring element of daily life in the house. Red hardwoods, solid walls and a light, minimal roof come together to express the warmth of the earth. How did you approach the material palette to achieve this gentle sense of grounding? The material palette was conceived to convey warmth and a strong connection to the ground. The red hardwood and solid walls reinforce a sense of permanence and protection, while the light roof counterbalances this weight with delicacy. We sought a balance between warm textures and more neutral surfaces, creating an environment that asserts itself without losing serenity. You’ve described the house as appearing “like a fine line drawn between sky and earth” when seen from afar. What does this quiet silhouette represent for you? The fine line we describe between sky and earth represents our ambition to create a quiet architecture that inserts itself respectfully into the landscape. It is a house that does not compete with its surroundings, but rather engages in dialogue with them, as if it were gently resting on the site and asserting its presence in a subtle way. SIMPLE GESTURES, POWERFUL IMPACT The relationship between inside and out is a recurring theme in your work. Which architectural decisions were key to creating that continuity here? The continuity between interior and exterior is the result of several key decisions: generous openings, fluid circulation, the use of similar materials indoors and outdoors, and direct integration with the central courtyard. We sought to minimize physical and visual barriers, allowing the space to dissolve naturally between built and natural environments. The furniture choices feel controlled, timeless, and deliberately unobtrusive—allowing the landscape to take the lead. How did you shape this interior curation? The furniture curation was guided by the intention to create an environment that complements the architecture without overwhelming it. We chose pieces with clean lines, natural materials, and a discreet presence. The goal was always to allow the landscape to remain the protagonist, while the interior reinforces a sense of calm and timelessness. Where does Casa Muxarabi sit within your broader architectural practice? What has the project taught you or revealed to you along the way? Within our practice, Casa Muxarabi represents a deepening of our pursuit of an essential, honest architecture fully integrated with its context. The project taught us about the power of simple gestures, such as controlling light, opening a courtyard, and working with natural materials. It was a process that reinforced our belief that architecture can be both poetic and functional, discreet yet deeply meaningful. - The full story is featured in Vol.18 - Print VOL XVIII - 2026 €20,00 Price Add to Cart

Casa TO in La Punta Zicatela, Oaxaca, Mexico, is a hotel by Ludwig Godefroy Architecture, inspired by an Oaxacan temple and sites in Istanbul and London. January 2023 | Travel CASA TO Opened in La Punta Zicatela on the Pacific coast of Mexico's rising region of Oaxaca, Casa TO is a hidden oasis with unusual architecture. The hotel project, designed by Ludwig Godefroy Architecture, presents the traditional and the avant-garde together. It stands out with its simplicity and use of concrete, clay, steel, wood. Casa TO, a reinterpretation of an Oaxacan temple, has two historical inspirations. The first is the Basilica Cistern in Istanbul. The other is Hornsey Wood Reservoir in Finsbury Park, London, built in the 19th century. Meksika’nın yükselen bölgesi Oaxaca’nın Pasifik kıyısındaki La Punta Zicatela bölgesinde açılan Casa TO, alışılmadık mimariye sahip gizli bir vaha. Ludwig Godefroy Mimarlık’ın tasarımını yaptığı otel projesi, geleneksel ve avangardı bir arada sunuyor. Beton, kil, çelik, ahşap kullanımı ve sadeliğiyle ön plana çıkıyor. Bir Oaxacan tapınağının yeniden yorumlanması olan Casa TO’nun iki tarihi ilhamı var. İlki, 6. yüzyıldan kalma İstanbul’daki Yerebatan Sarnıcı. Diğeri ise 19. yüzyılda inşa edilen Londra Finsbury Park'taki Hornsey Wood Reservoir.

March 2023 | Design & Interiors | Vol 9 SIMON LEGALD THE PURSUIT OF HONEST DESIGN words | Onur Baştürk B it made of recycled plastic, Allez which refers to the French bistro culture, Porta the cool table lamp, Eddy whose lighting I also admire, Era consisting of lounge chairs, Circus the colorful pouf series and, of course, Form, the series that introduces them the most. Oh, and then there are the Phantom lamps and Jalousi the rolling cabinet series. Of course, I cannot list them all. Because there are many products that Danish designer Simon Legald has designed for Normann Copenhagen. Simon has something to say about his designs: “For me, simplicity defines the true identity of objects and makes them credible. I try not to add unnecessary details to my designs”. That’s why I avoid formulating long sentences and let Simon do the talking. THIS IS MORE LACK OF IMAGINATION I would like to start with the Form series you designed in 2014. We have seen later copies of the chair, the first product in the series, or those inspired by it. Could it be that what makes a design memorable and successful can also be copied? Copying a product does not mean it’s something that will be remembered. I do not think so. Only time will tell. But it is definitely an indication that the design is successful. The main reason to copy a product has to do with money. They see that the product is selling well. The easiest way to replicate that sale is to cheat. I think this is more a sign of a lack of imagination. When you designed Form, you studied hundreds of chair designs from different years. Which elements have evolved and which have remained constant in the design of the chairs? The shell of the chairs has improved greatly in the process to provide more comfort. But the binding of the legs and the feeling of being “one piece” remained the sole focus throughout the process. Your “Bit” series is my favorite recycled plastic design. What was the origin of “Bit”? For this series, I had to speak to a factory that has been working on this material for nearly 20 years, but was never very interested in it. I thought there might be a way to use this material for simple functionality. So I came up with a product where the material is the main focus. I recently released a similar collection, Pix Lamp. A series of spherical pendant lamps made from a combination of recycled plastic waste. ALLEZ TOOK A LOT OF TIME Danish design is often characterized by minimalism and functionality. In the design of the Allez chair, you reference French city life and bistro culture... I love the French bistro atmosphere! Time seems to stand still when you walk into an old classic café in Paris. Allez is, of course, a modern interpretation of the old. It is also a tribute to France. Allez can be used both indoors and outdoors. Was it difficult to do this? How did you find a middle ground in the material to make it bifunctional? Yes, it was difficult in terms of engineering. It took a lot of time. Indoor and outdoor materials have been put together countless times. Meanwhile, all the chair materials can be disassembled and transported in packages to keep the carbon footprint low. What is your relationship with coffeehouse culture? I do not go to cafes much anymore. When I have time, I like to brew my own coffee. Is the design of the chair you sit on in a restaurant important to you, or is it comfortable? Both! The design is the first thing you see that draws you to the product. But it does not really serve its purpose if it’s not comfortable. THE 1950s IS INSPIRING I read it in your interview. You say, “Honesty makes a product understandable and defines its functionality”. Does honesty mean avoiding unnecessary details? Yes, more in the sense that I avoid unnecessary things. For me, details are part of the product. For example, fx stitches in furniture are needed and can be done in many ways. So I try to work with the details given. I focus on the product and the material rather than adding something just for the sake of aesthetics. What design are you working on right now? When will we see this work? There are a lot of interesting things. I spend a lot of time working on sustainable materials especially. I will have interesting news during the “3daysofdesign” that will take place in Copenhagen from June 7 to 9, 2023! What about your favorite design hotel? I love the citizenM. The colors are fresh and not garish. Is there a time that inspired you? 1950s! An era of furniture design that has a lot to offer. Designer pieces from that era are still relevant today. That’s also inspiring. Creating a design that will last generations is the most sustainable way. for more Print VOL IX - 2023 Out of Stock Add to Cart No product

Five luxury events in 2025 span St. Moritz, Goodwood, Pebble Beach and Monaco, from snow polo and classic cars to yacht showcases. December 2024 | Travel FOR TURKISH 5 LUXURY EVENTS NOT to MISS in 2025 words Pınar Yılmaz / Deliciae 1 - ST MORITZ POLO WORLD CUP ON SNOW (January 24-26, 2025, Switzerland) This unique polo tournament, played on ice-covered fields, combines elegance and sport. Set amidst the enchanting winter landscapes of St. Moritz, this event brings together luxury and sports every year. In 2025, it will once again host luxury lifestyle enthusiasts and sports fans. Photo: Kathrin Gralla 2 - THE I.C.E. ST. MORITZ (February 21-22, 2025, Switzerland) The I.C.E. St. Moritz showcases the world’s most elegant classic cars on the frozen Lake St. Moritz, captivating automobile enthusiasts in a stunning setting. In addition to static displays, dynamic parades on ice highlight the grace of these cars against the cold yet majestic winter atmosphere. 3 - GOODWOOD FESTIVAL OF SPEED (July 3-6, 2025, UK The Goodwood Festival of Speed gathers speed enthusiasts and motorsport fans around the historic Goodwood House in England. The festival features both classic and modern racing cars, with speed demonstrations held throughout the event. 4 - PEBBLE BEACH CONCOURS d’ELEGANCE (August 17, 2025, California, USA) Held in California, the Pebble Beach Concours d'Elegance is a prestigious automobile event showcasing the world’s rarest and most valuable classic cars. In 2025, it will once again welcome the world’s most distinguished car collectors and design enthusiasts, celebrating the aesthetic perfection of automobiles through an exhibition and competition. 5 - MONACO YACHT SHOW (September 24-27, 2025, Monaco) The Monaco Yacht Show is a prestigious event in the world of yachting, featuring luxury yachts and the latest innovations in the maritime industry. In 2025, the show will once again bring together yacht owners, investors, and maritime enthusiasts from around the globe in the glamorous setting of Monte Carlo.

Designed as a summer house for a family gathering across generations, Casa Riviera brings together the architecture of Gui Mattos and the interiors of Studio Julliana Camargo on the Brazilian coast. October 13, 2026 | DESIGN & INTERIORS CASA RIVIERA words YUZU Editorial photos Fran Parente Designed as a summer house for a family gathering across generations, Casa Riviera brings together the architecture of Gui Mattos and the interiors of Studio Julliana Camargo on the Brazilian coast. The house is defined by a restrained architectural palette of exposed concrete, cumaru wood and glass, allowing the surrounding landscape to remain constantly present. Within that framework, Julliana Camargo introduces warmth through colour, natural stone, Brazilian furniture and objects collected from different regions of the country. Rather than treating the interiors as a separate layer, the studio works closely with the architecture, using material, furniture and craft to soften its strong lines and create a house that feels relaxed, generous and lived in. A PRECISE USE OF COLOUR Colour appears in deliberate moments rather than as an overall gesture. In the kitchen, green and blue steel cabinetry brings a sharper note to the concrete and timber, while elsewhere a curved green sofa and red dining chairs punctuate the quieter material palette. These interventions give individual rooms their own character without breaking the continuity of the house. Natural surfaces remain central: rustic granite from Minas Gerais and Donatello quartzite sit alongside cumaru, glass and concrete, creating a balance between weight, texture and colour. The result is not a conventionally neutral coastal interior. Instead, colour is used selectively, bringing energy to spaces that remain closely connected to the tones and textures of the landscape outside. MADE IN BRAZIL Brazilian design and craft form another important layer of the project. Furniture, lighting and objects were sourced from across the country, including pieces produced in Bahia and works connected to Pataxó and Waurá artisans. Rather than functioning as decoration, these objects give the interiors a stronger cultural and material identity. Contemporary design sits beside traditional making, allowing different forms of Brazilian craft to coexist within the same rooms. This mix also keeps the interior from feeling overly resolved. Pieces with distinct origins, materials and scales are brought together gradually, creating a sense of accumulation rather than a single decorative scheme. A HOUSE FOR GATHERING Casa Riviera was conceived around family life, and that sense of collective use runs through the interior. The open spaces allow different generations to gather without imposing a rigid formality, while the relationship between inside and outside remains continuous. Camargo’s contribution is most visible in the way the house balances the strength of its architecture with a more tactile, domestic rhythm. Concrete and glass provide clarity; timber, textiles, colour and crafted objects introduce warmth. Together, the architecture and interiors create a summer house that feels distinctly Brazilian — not through a single visual language, but through its materials, its furniture, its craft and the ease with which they sit alongside one another.

Monolith Lodge is a contemporary forest retreat in Dobogókő near Pilisszentkereszt, Hungary, designed by Pyxis Nautica and realised with Hello Wood. February 3, 2026 | DESIGN & INTERIORS MONOLITH LODGE words YUZU Editorial photos György Palkó Some houses begin to tell their story even before they are built. Monolith Lodge, set in Dobogókő—a popular destination near Pilisszentkereszt in Hungary—is one of them. Designed by Pyxis Nautica, the project waited patiently for years before taking shape. With the involvement of the Hello Wood team, it eventually emerged as a calm yet confident architectural presence, settled deep within the forest. FROM CONCEPT TO COLLABORATION The story begins with a concept plan that captured the client’s attention. Dobogókő’s natural character, paired with Pyxis Nautica’s architectural approach, laid the groundwork for a house that feels both contemporary and closely attuned to its surroundings. The client’s vision, the architectural design, and Hello Wood’s design-and-build experience come together in a shared narrative. At this stage, Hello Wood joined the project as a design-driven contractor, further refining the concept through close collaboration. Beyond construction, the team worked hand in hand with the designers to ensure that every detail resonated with the spirit of the site and aligned with the character of Hello Wood Resorts. STRUCTURE, SPACE, AND RHYTHM With approximately 105 square metres of heated interior space, the house is expanded by a 16-square-metre gallery. Covered and open terraces wrap around the building, creating a direct and fluid connection between interior spaces and the surrounding landscape. The structure is built on a reinforced concrete foundation, while the walls and roof are formed from five-layer, exposed-quality CLT (cross-laminated timber) panels. Combined with a standing-seam metal roof, the use of CLT technology allowed the main structure to be assembled in just three days, with the entire project completed within six months. THE MONOLITH The name Monolith Lodge comes from the project’s most defining architectural gesture: a monolithic concrete chimney. More than a functional element, it stands as the visual and conceptual core of the house. Its rough, board-formed surface echoes throughout the building, establishing a quiet continuity between concrete, timber, and nature. Charred wood cladding, exposed concrete surfaces, and large openings towards the landscape balance a sense of solidity with openness. The resulting atmosphere feels strong yet calm—contemporary in its language, timeless in its presence. A PLACE TO RETURN TO Revived from an idea once set aside, Monolith Lodge now exists as a contemporary retreat in the heart of the forest. Pyxis Nautica’s plans, realised by Hello Wood and operated under Hello Wood Resorts, transform a vision into a home, a home into an experience, and an experience into a place that quietly invites return.

Andrea Lupi discusses antoniolupi, fashion influences, and a music console created with Carlo Colombo and DJ Albertino for Salone del Mobile 2024. March 2024 | Design & Interiors english below A N D R E A L U P I Curious, Aesthete and Brave interview Onur Baştürk A ndrea Lupi, artistic director of Antoniolupi, talks to yuzu about why he is inspired by fashion brands and the iconic object they are presenting for the first time at this year’s Salone del Mobile. What does it mean to be Art Director of a brand like antoniolupi? It’s a big responsibility, but it’s also a beautiful thing. It didn’t take me many years to find myself in this position. In the beginning, I worked with the designers, listening to their ideas and trying to draw the outline of the company together. Then I realized that this did not lead to a unique and recognizable antoniolupi style, because it was very difficult to work with many different architects, each with their own style, and bring them together in a recognizable style. So I decided to take over the artistic direction of antoniolupi. If I asked you to describe yourself in three words, what would you say? Curious, aesthete and brave. Aesthete because it is part of my DNA as a person to surround myself with beautiful things. Curious because I love to delve deeper into everything I don’t know, because I am aware that there is always so much to learn. And courageous because over the years I carried out so many projects for my company that few other entrepreneurs would have had the courage to undertake. From the Corian project to the new project we will present at the 2024 Salone. I read that your main reference point is fashion brands. Why fashion brands? Very simple, because I don’t see in our industry something to learn from others, but only in fashion I can perceive those stimuli to create beautiful new things. When I look at the fashion shows, the collections, the colors and material combinations, I can take the right ideas to incorporate into my antoniolupi bathroom project. Family tradition and innovation. Do you ever find yourself torn between the two? Always, because the company was born with my father over seventy years ago. He was a small artisan producer of mirrors and bathroom accessories, and I fought when I joined the company trying to carry on another type of project, a path to grow and not remain just a small glass workshop. So I’m always torn in trying to maintain our tradition, and we do it through the quality of our products and the tailoring production still 100% Made in Italy, and at the same time the awareness of having to look forward, to the future and to new technologies, always presenting innovative paths that lead us to be the point of reference in our sector. AN ICONIC OBJECT TO BE UNVEILED AT THE SALONE DEL MOBILE At last year’s Salone del Mobile you exhibited your furniture designed by Carlo Colombo for the first time and there was a lot of talk about this surprise. Will furniture design continue? Yes, definitely. In order for Antoniolupi to grow and become more and more international, it was necessary to change the concept of being just a bathroom furniture company and try to approach other areas of the house. So last year’s project was for me the beginning of a new thought: that is, to try to create not only bathroom objects, but to start giving the possibility of designing a house in the Antoniolupi style, creating sofas, armchairs, carpets, anything that allows us to give a recognizable product. So I will certainly move forward. In addition, we will try to present other things that go beyond what an entrepreneur in our sector might think today. In fact, I can tell you in advance that at the 2024 Salone del Mobile we will present a new object that will become an icon in the world of design, in the world of music and perhaps even in the world of youth: a music console designed with Carlo Colombo and an international artist like DJ Albertino. A ntoniolupi’nin artistik direktörü Andrea Lupi, neden moda markalarından ilham aldığını ve bu yılki Salone Del Mobile’de ilk kez sunulacak, ikonik olmaya aday objeyi yuzu’ya anlatıyor. antoniolupi’nin sanat yönetmeni olmak sizin için ne ifade ediyor? Büyük bir sorumluluk, ama aynı zamanda güzel bir şey. Kendimi bu pozisyonda bulmam uzun yıllar sürmedi. Başlangıçta tasarımcılarla birlikte çalıştım, onların fikirlerini dinledim ve şirketin ana hatlarını birlikte çizmeye çalıştım. Daha sonra bunun benzersiz ve tanınabilir bir antoniolupi tarzına götürmediğini farkettim. Çünkü her biri kendi tarzına sahip birçok farklı mimarla çalışmak ve bunları tanınabilir tek bir tarzda bir araya getirmek çok zordu. Bu nedenle şirketin sanatsal yönetimini devraldım. Kendinizi üç kelimeyle tanımlamanızı istesem, ne söylerdiniz? Meraklı, estetik ve cesur. Estetik, çünkü etrafımda güzel şeylerin olması DNA’mın bir parçası. Meraklı, çünkü bilmediğim her şeyi derinlemesine araştırmayı seviyorum. Her zaman öğrenecek çok şey olduğunun farkındayım. Cesurum çünkü şirketim için çok az girişimcinin cesaret edebileceği pek çok proje gerçekleştirdim. Ana referans noktanızın moda markaları olduğunu okumuştum. Neden moda markaları? Çünkü sektörümüzde başkalarından öğrenecek bir şey görmüyorum! Ama modada bu var. Defileleri, koleksiyonları, renk ve malzeme kombinasyonlarını izlerken, banyo projeme katmak için doğru fikirler alabiliyorum. Aile geleneği ve yenilikçi olmak. Hiç ikisi arasında kaldığınızı hissettiniz mi? Her zaman. Çünkü şirket yetmiş yıl önce babamla birlikte doğdu. Babam ayna ve banyo aksesuarları üreten küçük bir zanaatkârdı ve ben şirkete katıldığımda başka bir şekilde projeyi devam ettirmek, büyümek ve sadece küçük bir cam atölyesi olarak kalmamak için mücadele ettim. Bu yüzden geleneğimizi sürdürmeye çalışırken her zaman ikilemde kaldım. Geçen yılki Salone del Mobile’de Carlo Colombo tarafından tasarlanan mobilyalarınızı ilk kez sergilediniz ve bu sürpriz hakkında çok konuşuldu. Mobilya tasarımı devam edecek mi? Evet, kesinlikle. antoniolupi’nin büyümesini ve giderek daha global bir karaktere sahip olmasını sağlamak için sadece bir banyo mobilyası şirketi olarak kalma konseptini bozmak, bunun yerine evin diğer alanlarına da yaklaşmaya çalışmak gerekiyordu. Dolayısıyla geçen yılki proje benim için yeni bir düşüncenin başlangıcıydı. Artık sadece banyo objeleri değil; kanepe, koltuk, halı, tanınabilir bir ürün vermemizi sağlayan herhangi bir şey yaratarak antoniolupi tarzında ev tasarlama imkanı vermeye başlayacağız. Dolayısıyla, kesinlikle ilerleyeceğim. Aslında Salone del Mobile 2024’te tasarım, müzik ve belki de gençlik dünyasında ikonik hale gelecek yeni bir nesne sunacağımızı şimdiden söyleyebilirim! Carlo Colombo ve DJ Albertino gibi global bir sanatçıyla birlikte tasarlanan bir müzik konsolu. Çünkü sadece kendi kategorimdeki ürünlerle uğraşmayı değil, yeni ufuklarla cesurca yüzleşmeyi seviyorum. Tek bir nesne ve bir müzik nesnesi kadar sıra dışı olsa bile…