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Hotel Le Sud in Antibes channels the Côte d’Azur through terracotta, rattan, Klein blue, local craftsmanship and frescoes by Franck Lebraly. July 2023 | Travel | Vol 10 english below PICASSO, LEGER VE MATISSE’İN İZİNDE yazı | Rengin Atik E ğer Côte d’Azur’un sanatsal ruhu ve yumuşak tonlarının başrolde olduğu incelikli bir otelde konaklamak istiyorsanız Hotel Le Sud listenizin en başında olmalı. 2020 yazında açılan otel Antibes’te, Juan-Les-Pins’in tam merkezinde. Le Sud’un yaratıcıları ise Julien Lizée ve Lizée.Hugot mimarlık ofisinin kurucularından Stéphanie Lizée. CÓTE d’AZUR’A SAYGI DURUŞU Otelin bulunduğu bölgenin kültürel ve sanatsal zenginliği, hem renk paleti seçiminde hem de grafik ve dekorasyonda büyük bir ilham kaynağı olmuş. Stéphanie, Antibes’deki Picasso Müzesi ve Biot’taki Fernand Léger Müzesi’ne yaptığı ziyaretlerden sonra otelin renk paletine karar verdiğini söylüyor: Pişmiş toprak tonları, yeşil, sarı ve Klein mavisi. Nitekim Pablo Picasso, Fernand Léger, Jean Cocteau, Henri Matisse ve Vallauris kasabasından çıkma nefis seramik işler, otelin genel ruhunun bir özeti. Bir bakıma, 20. yüzyıl ortalarında sanatçılara fazlasıyla ilham vermiş coşkulu Côte d’Azur’a bir saygı duruşu gibi Hotel Le Sud. Bu nedenle otelin tasarımında kiremitli duvarlar, kumtaşı, terracotta, rattan gibi ayrıntılarla yerel zanaatkârlar tarafından yapılan özel tasarım mobilyalar başrolde. Aynı şekilde, otelin logosundan tutun da, duvarlar ve barda göze çarpan fresklerini tasarlayan sanatçı Franck Lebraly de öyle... FOLLOWING PICASSO, LEGER AND MATISSE words | Rengin Atik I f you want to stay in a delicate hotel with the artistic spirit and soft tones of the Côte d ‘Azur, Hotel Le Sud should be at the top of your list. Opened in the summer of 2020, the hotel is located in Antibes, right in the center of Juan- Les-Pins. The creators of Le Sud are Julien Lizée and Stéphanie Lizée, one of the founders of the “Lizée.Hugot” architectural office. TRIBUTE TO CÓTE d’AZUR The cultural and artistic richness of the region where the hotel is located has been a great source of inspiration both in the color palette choice and in graphics and decoration. Stéphanie says that after visiting the Picasso Museum in Antibes and the Fernand Léger Museum in Biot she decided on the hotel’s color palette: terracotta shades, green, yellow, and Klein blue. Indeed, the exquisite ceramic works from the town of Pablo Picasso, Fernand Léger, Jean Cocteau, Henri Matisse, and Vallauris are a summary of the overall spirit of the hotel. In a way, Hotel Le Sud is like a tribute to the enthusiastic Côte d ‘Azur that inspired artists in the mid-20th century. Thus, tiled walls, details of sandstone, terracotta, and rattan, and designer furniture made by local artisans have a leading role in hotel’s design. Likewise does the artist Franck Lebraly, who designed the prominent frescoes of the walls, bar, and hotel logo. for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

Studio HA/WA designed a West Coast Contemporary bungalow in Qualicum Beach, using local materials, natural light, and ocean views to shape its interiors. March 2025 | DESIGN & INTERIORS a SEASIDE HOME in BRITISH COLUMBIA words Karine Monie photos Mary McNeill Knowles Creative interior design Studio HA/WA stylist Monika Tischer On the Eastern coast of British Columbia’s Vancouver Island, a newly completed bungalow is redefining West Coast living with a burst of natural light, smart design, and local craftsmanship. Nestled along the tranquil shores of the Strait of Georgia in Qualicum Beach—renowned for its endless white sands and serene waters—this home delivers unbeatable views and a vibrant connection to its surroundings. DESIGN THAT CELEBRATES NATURE AND CRAFTMANSHIP Infused with West Coast Contemporary style and a modern twist, this two-bedroom, two-bath bungalow is all about bringing the outdoors in. Expansive windows showcase breathtaking treetops, soft ocean hues, and a calming sky, while a palette of neutral tones, warm wood finishes, and cool blue accents echoes the nearby ocean. Every detail is meticulously curated—locally sourced stone slabs from Vancouver Island Marble make a striking impact in the main bath, kitchen, and fireplace, and these textures resonate through the furniture, rugs, and even the principal bedroom walls. Local talent shines with original artwork by Victoria-based Joy Kinna, and bespoke lighting from B.C.-based AND Light adds a contemporary flourish. A STUDIO WITH VISION The creative force behind this project is STUDIO HA/WA, led by founder and creative director Erin Hannon-Watkinson, whose experience at Yabu Pushelberg informs a design approach that’s as eco-conscious as it is stylish. “Our projects are designed with their surroundings in mind to ensure longevity and lessen our impact on the environment,” Erin explains. A SEAMLESS BLEND OF FORM AND FUNCTION Inspired by West Coast Contemporary cues like vaulted roof lines and clean overhangs, the design is a masterclass in marrying form and function. Each space flows naturally into the next, unified by a consistent design language that celebrates nature. Here, large windows and doors aren’t just features—they’re dynamic frames showcasing nature’s ever-changing artwork, from lush treetops to sweeping ocean vistas. LOCALLY ROOTED, GLOBALLY INSPIRED Drawing from the calming essence of its natural surroundings, the interior blends neutral tones with subtle blue/grey undertones and warm wood accents. A strong local focus is evident, with community-sourced materials like stone, wood, and lighting fixtures enriching every corner. The natural grain of the stone—highlighted in the travertine-clad ensuite, linear fireplace stone, and pebbled-look floor tiles—brings a unique, tactile quality that grounds the entire home in its coastal character.

Brown&Brown creates slow-living homes in Aberdeenshire, drawing on Scottish architecture, natural materials, and sustainable design. January 14, 2026 | VOL 15 HOME, a QUIET ESCAPE from the NOISE of the WORLD words Onur Baştürk photos Courtesy of Brown&Brown If you’ve ever driven through Aberdeenshire’s scenic roads, stepped out early for a morning walk from a cozy town hotel, or toured a whisky distillery, you’ve probably felt the region’s unique slow rhythm—like it’s whispering a story to you. That same feeling is being brought to life in architectural projects across Aberdeenshire and beyond by Brown&Brown, an award-winning studio shaping modern Scottish architecture. With offices in both Aberdeenshire and Inverness, their ethos is perfectly in tune with the character of the region: creating well-considered, conscious, and understated homes. Cairn House THE CONCEPT OF SLOW LIVING ALIGNS PERFECTLY WITH THE IDEA OF VALUING ONE’S HOME. IT EMPHASIZES A MINDFUL APPROACH TO LIFE I ask Andrew Brown, one of the founders of Brown&Brown, “Your residential projects seem to embody the philosophy of slow living. What are your thoughts on this concept, which has gained popularity in recent years?” Andrew responds, “The concept of slow living aligns perfectly with the idea of valuing one’s home. It emphasizes a mindful approach to life, encouraging individuals to savor moments, appreciate their surroundings, and cultivate a genuine connection with the present. In the rush of modern life, embracing a slower pace allows for a deeper appreciation of the simple pleasures that a well-loved home can offer. Mindfulness, in the context of home, involves being fully present and engaged in the living space. It means appreciating the subtle details, the play of light through the windows, the tactile qualities of materials, and the comforting ambiance that permeates the space. We try to bring these considerations to our residential projects and make a conscious effort to consider how someone could live well in any space we create.” Arbor House | PH. Jim Stephenson Alongside slow living, there has also been a rise in homes designed with a retreat-like quality. Could the challenges of chaotic city life be driving more people toward secluded living? I share this thought with Andrew and ask for his take: “We’re not sure what causes people to seek seclusion in their homes, but it could certainly be the pressures of modern life. It is harder than ever to ‘turn off’ from the world, from work, and from noise. As a result, the notion of ‘home’ as a place where you can leave the world behind, both literally and metaphorically, has never been more relevant.” I then ask Andrew what ‘home’ means to him. “Our own sense of home is wrapped up in notions of seclusion and retreat,” he explains. “Feeling at home means being at ease, leaving the worries of the world behind, and having the opportunity to focus on life’s simpler aspects.” Harmony House | PH. Dapple Photography OUR WORK DRAWS FROM THE TRADITIONS OF SCOTTISH ARCHITECTURE Our conversation shifts to the design process. “Every project begins with learning from the client,” Andrew shares. “We start by understanding what they like and dislike, how they want to live, how they spend time together or alone, what their interests are, and so on. From this foundation, we begin forming a picture of how a home can be designed around these elements. Context is also central to our work—getting to know the land, understanding how a building can integrate into the landscape is crucial for us.” I ask whether there is a particular architectural movement that inspires Brown&Brown. Andrew’s answer is clear: “Our work draws from the traditions of Scottish architecture, particularly those that respond to natural materials and the surrounding landscape. Additionally, we take inspiration from many mid-century modern buildings.” Sustainable architecture is a widely discussed topic among architectural studios, yet for many, it remains theoretical rather than practical. I know that one of Brown&Brown’s key focuses is minimizing their projects’ carbon footprint, but I’m curious about the other sustainable strategies they implement. Andrew explains: “We adopt a ‘sustainable by design’ approach, rather than buildings only being sustainable by the addition of renewable technologies. These systems are important, of course, but a home works best when simple sustainable strategies are integrated into the design from the outset. Considerations such as orientation, thermal mass, natural cross-ventilation, and locally sourced materials create the conditions that allow technologies such as sustainable heating and ventilation systems to function at their best.” Hillview Pavilion CONTEXTUAL RESPONSE, LIGHT AND LINE Tidal House, Arbor House, Cairn House, and Harmony House—when I ask Andrew about the common material and stylistic elements among these Brown&Brown projects, he sums them up succinctly: “Contextual response. Light and line. Tactile material palettes. In short, they are designed around how the inhabitants want to live”. One project that stands out with its integration of landscaping is Hillview Pavilion, where part of the roof is dedicated to greenery. On this, Andrew remarks: “We believe a home’s design doesn’t stop at the outer walls. How it meets and interacts with its landscape—whether it becomes a part of its surroundings—is essential to its success”. Tidal House

Fantastic Frank Frankfurt features Grand Etage Arndtstrasse, a Japanese-inspired home in Frankfurt’s Westend with Bulthaup and Boffi interiors. August 15, 2025 | DESIGN & INTERIORS HARMONIOUS LIVING in FRANKFURT’s WESTEND & words Matteo Pazzagli photos Fantastic Frank Frankfurt A Grand Etage with Japanese soul, Bulthaup precision, and Boffi elegance — from Fantastic Frank Frankfurt. In the leafy southern Westend, within a stately Wilhelminian-era building, this newly renovated Grand Etage takes over the entire first floor, framing serene courtyard views where century-old trees set the tone for refined urban living. From the moment you step inside, the mood is set by a dark bamboo-clad hallway that opens into airy, light-filled rooms. Ceiling heights reaching four meters lend a gallery-like presence — perfect for art collectors — while the design strikes a seamless balance between contemporary comfort and traditional craft. Handmade shoji screens filter the light, and works by acclaimed artists such as Manfredo de Souzanetto and Issao Takahashi bring cultural depth and quiet drama. At the heart of the home, a sleek Bulthaup kitchen anchors the open living-dining space. Its crisp white surfaces and brushed steel detailing are understated yet exacting — a place where cooking, conversation, and entertaining flow with ease. Elegant stucco mouldings and layered lighting add a touch of formality, without compromising on warmth. The master suite is conceived as a private retreat, with double doors leading to a tranquil space that includes a mobile infrared sauna in rich dark cherry wood. A Japanese tea room invites slow rituals and moments of stillness, while the Boffi and RS Schnitzer bathrooms wrap daily routines in tactile luxury. Set in one of Frankfurt’s most coveted districts, the Grand Etage Arndtstrasse offers the best of both worlds — calm, tree-lined streets and a vibrant neighborhood scene. Grüneburgpark and the Palmengarten are a short stroll away, while nearby cafés, restaurants, and wine bars make city life effortlessly engaging. Practicalities are equally well-considered: a separate wine cellar, generous storage rooms, and a private garage space complete this rare find.

Mayıs 2020 | Seyahat | Japonya Kyoto’da bir ‘ryokan’da kaldım Yazı & Fotoğraflar | Özlem Avcıoğlu Ş u kesinlikle doğru: Japon kültürünü tanımak istiyorsanız mutlaka Kyoto’yu ziyaret etmelisiniz. Çünkü şehir üç yüzyıla yakın Japonya’nın başkenti olduğu için sayısız tarihi ve kültürel mekânı barındırıyor. Ayrıca zen bahçeleri, tapınakları, sokakları ve parklarıyla insan kendini bir filmin içinde gibi hissediyor Kyoto’da. Saatte 320 km hızla gidebilen meşhur Shinkansen, yani hızlı trenle Tokyo’dan 2.5 saatte ulaşılan Kyoto’da deneyimlemeniz gereken en önemli şey bir ‘ryokan’da konaklamak. Ryokan, geleneksel Japon hanı ya da otellerine verilen isim. Katı kural ve prensipleri var. Bir ryokana geldiğinizde ilk iş ayakkabılarınızı kapı önünde çıkarmak. Sadece çorap ya da size verdikleri tokyo ile içerde dolaşabiliyorsunuz! Ryokanlarda sizi geleneksel bir çay seremonisiyle karşılıyorlar. Odaların isimleri de genellikle Japon çiçek ve bitki isimlerini taşıyor. Krizantem süiti, kiraz süiti gibi… Odaların içinde giymeniz için her zaman yukata denilen rahat bir kıyafet bulunuyor. Yemeğe giderken, ryokanın bahçesinde dolaşırken bunu giymeniz bekleniyor. SADECE YER YATAĞI VAR Bütün odaların Japon stilinde döşeli olduğunu hatırlatayım. Yerler tatami denilen, döşeme kaplama gereci olarak kullanılan kalın hasırla kaplı. Odalar fusuma adı verilen kağıt kaplamalı, ince tahtadan yapılma sürme kapılarla ayrılmış. Ryokanlarda futon denilen yer yataklarında yatılıyor. Futonlar genelde oshi-ire denilen dolapların içinde. Akşamları futonları sermek ve sabah kaldırmak oda temizlikçisinin görevi. Kahvaltınız ise sabah odanıza getiriliyor ve tabii ki Japon usulü yiyeceklerden oluşuyor. Ben ryokan deneyimi için Arashimaya bölgesinde, sadece geleneksel bir botla ulaşılan, nehir kıyısındaki Hoshinoya Kyoto ’yu seçtim. Yüzyıllık binaların birinde yer alan Hoshinoya’da neler mi yaptım? Elbette kurala uyup odama ayakkabılarımı çıkararak girdim. Sabahları nefis Japon kahvaltısı yaptım. Zen bahçesinde dinlenip çay merasimine katıldım. Akşamları ise sadece otel misafirlerine hizmet veren, tek tek odalardan oluşan restoranda Kyoto mutfağından minik ama hepsi bir tabloyu andıran yemekleri tattım. Ryokanlarda kalmak istemiyorsanız Aman zincirinin yeni oteli Aman Kyoto, Four Seasons, Westin Miyako ya da Hyatt Regency ’de konaklayabilirsiniz. Bu otellerin içinde de ryokan tarzı döşenmiş odalar bulmak mümkün. BU TAPINAKLARA GİDİLMELİ İkibinden fazla tapınağa sahip şehirde görmeniz gereken en önemli tapınak Altın Pavilyonu ile bilinen Kinka-Ku-Ji. Ayrıca, instagramda sıkça fotoğrafına rastladığımız dört kilometre uzunluğundaki kırmızı tahta kapılardan geçilerek ulaşılan Fushimi Inari Shrine ile her gün rahiplerin ince kumdan elleriyle yaptığı Zen bahçeleriyle bilinen Kodaji Temple da görülmesi gerekenler arasında. GEYŞALARIN BÖLGESİ Kyoto’nun tarihi Gion bölgesi artık sayısı oldukça azalan geyşaların yatılı okullarının da bulunduğu yer. Buradaki sokaklar yerel kıyafetleriyle dolaşan insanlarla dolu olduğu için en çok fotoğraflanan bölge burası Kyoto’da. Aynı zamanda birçok kafe, restoran, ryokan tarzı otel ve başta kimono olmak üzere el yapımı yerel eşya satan dükkân ve butiklere ev sahipliği yapıyor Gion . UNUTMADAN… - Arashiyama bölgesindeki Sagano Bambu Ormanı da Kyoto’da görülmesi gereken, kendinizi çok dingin ve iyi hissedeceğiniz bir yer. - Yemek yemek için çok seçeneğiniz var, ama ben bir çeşit Japon fondüsü olan, et ve sebzeleri önünüzdeki tencereye atarak pişirdiğiniz ‘shabu shabu’yu öneririm. Ama unutmayın, bu özel yemeği servis eden restoranlarda ayakkabılarınızı çıkaracak ve yerde oturacaksınız. Agotsuyu Shabu Shabu bu anlamda en iyi restoranlardan biri. - Nishiki Market ise geleneksel Japon mutfağına özgü her şeyi bulabileceğiniz bir pazar yeri. Taze balıklardan mutfak araç gereçlerine, sezonluk gıdalardan Japon tatlılarına ve tabii sushiye kadar yeme içmeyle ilgili her şey mevcut burada. SEYAHAT | Kategorinin diğer yazıları İzlanda’nın Sırları Rota Karadeniz, hedef ‘doğal izolasyon’ Zamanın durduğu şehir: Harar Kyoto’da bir ‘ryokan’da kaldım Karavan tatiline dair merak ettiğiniz her şey Issızlığın ortasındaki 10 inziva oteli Açıl susam açıl: Marakeş Test sonucunu göstererek uçağa bineceğiz Asya’nın mistik kapalı kutusu: Myanmar Tsipouro içmeden o adadan dönmeyin! Issız kanyonun ortasında: Amangiri Mars'a gitmiş kadar oldum! Buenos Aires’te yapmanız gereken 20 seksi şey

escapefromsofa designed this midcentury modern house in Caddebostan, Istanbul, with eucalyptus veneer, marble from Bianco Carrara and Cassina furniture. January 2024 | Design & Interiors english below Istanbul house in midcentury modern style words Alp Tekin photos İbrahim Özbunar + 645 Studio M ahmut Kefeli, Kerem Erçin ve İrem Başer Oğan’ın liderlik ettiği tasarım stüdyosu escapefromsofa’nın İstanbul, Caddebostan’da tasarladığı son ev projesiyle tanışın. Midcentury modern tarzından ilhamla oluşturulan evin bohem ve dramatik tasarım kurgusunu yaratmak için genel zeminlerde mutenya ağacından üretilen İtalyan bir parke kullanılmış. Bu parkeyle kontrast bir renk yaratan okaliptüs kaplama ise duvarlar ve kapıların ana malzemesi. Mesela mutfakta escapefromsofa tasarımı koyu yeşil renk okaliptüs kaplama var. Mutfaktaki mermer ise Bianco Carrara’dan alınmış. Üst salondaki sofa Cassina’nın Soriano’su, yan sehpalar yine Cassina, orta sehpa ise escapefromsofa tasarımı. Ayaklı siyah aydınlatma ise DCW’nin Mantis serisinden. Buradaki parkeler ise Parkfloor’dan seçilmiş. Duvardaki büyük tablo Çağatay Odabaş’a ait. Konsol üzerindeki sanat eseri ise Sevim Kaya’nın. Üst kattaki merdiven trabzanının malzemesi çok farklı: İran traverteninden yapılmış. Trabzan önündeki ceviz kaplamayla ise bir duvar oluşturulmuş. Alt kattaki kanepe Ceccotti, sandalyeler ise Pierre Jeanneret tasarımı. M eet the latest house project designed by escapefromsofa, the design studio led by Mahmut Kefeli, Kerem Erçin and İrem Başer Oğan, in Caddebostan, Istanbul. To create the bohemian and dramatic design of the house inspired by the midcentury modern style, an Italian parquet made of mutenya wood was used on the all floors. Eucalyptus veneer, which creates a contrasting color with this parquet, is the main material of the walls and doors. For example, the kitchen has a dark green eucalyptus coating designed by escapefromsofa. The marble in the kitchen was purchased from Bianco Carrara. The sofa in the upper living room is Cassina's Soriano, the side tables are also Cassina, and the middle coffee table is escapefromsofa design. The pedestal black lighting is from DCW's Mantis series. The parquet flooring here was chosen from Parkfloor. The big artwork on the wall belongs to Çağatay Odabaş. The artwork on the console is by Sevim Kaya. The material of the staircase banister on the upper floor is very different: it is made of Iranian travertine. A wall was created with the walnut veneer in front of the banister. The sofa downstairs is by Ceccotti, and the chairs are by Pierre Jeanneret.

Cihan Bacak discusses Muscular Theology, an AI art project combining homoeroticism, fashion, modern dance and gym culture in Turkey. January 2024 | Art & Culture TR BELOW CİHAN BACAK Creator of Muscular Theology words Onur Baştürk AI Artworks Cihan Bacak How did ‘Muscular Theology’ emerge? I have been going to the gym for two years. After bringing this routine to my life, everything has changed over time. The lyrics of pop songs, which I listened to obsessively when I was exercising, combined with the moments of men engraved in my head during the hours I spent at the gym. As a result, this AI project was born. It would actually be nice to photograph all those squeaky images that I have framed in my mind, but it is not legally possible! And that's where AI came to help. I built a fantastic-realistic world based on the real world. As a photographer, there are some limits that stopped me during my production in Turkiye. With homoeroticism, which I thought I could not fully highlight in photography projects, I brought together fashion and modern dance and movement, which have been my focus for years, all with the help of artificial intelligence. The images I created at the point I arrived are so cinematographic... Just like women dress for each other, can it be that men try to “make each other like their bodies” in the subtext of muscle building? Absolutely! This is something that can be very uncomfortable for many people. When I first started doing sports, I was going especially at the time of the opening of the gym in the morning. Because the testosterone, the shows, and the race are overwhelming for a beginner. But as you move forward, you somehow join that quiet club. You notice that those who used to look at you like flies are watching you now. Terribly homo-erotic. Everyone is watching each other. Maybe most of them do not know each other's names and jobs, but they know when they enter and leave the gym and how they develop. And there's definitely a positive side to this race. It keeps you alive. The muscular male world has always been an unchanging element of homo-eroticism, with the most iconic example of Tom of Finland. Based on what you produce now, where do you put your work in the universe of homo-eroticism? I believe that artificial intelligence can develop differently in visual art in lands like ours -compared to European countries- and maybe produce works with promise. Because in the scenario I set up, it is so difficult to bring a few men together, bring them closer in a natural way, and put designer clothes into this equation... For this reason, an environment where I can put on my Airpod and get the images in my head without attracting anyone's whim, where I can take a break and put my coffee whenever I want, is a dream you know! In the future, I would not be surprised if the branded artists of countries like ours are more than photos in this field. I spent some time in France, Greece, and Serbia, and all the producers I spoke to were very unfamiliar with artificial intelligence. They could not even begin to understand Muscular Theology. They probably do not need it as much because for them accessing specific things is different from here. But it is a terrific shortcut for me. From where I live, I can work and send to a magazine in Paris. If it weren't for AI; as it is doubtful that I would even get a visa... Muscular Theology’ nasıl ortaya çıktı? İki yıldır spor salonuna gidiyorum. Hayatıma bu rutini kattığımda zamanla her şey başka bir hal aldı. Sporda obsesif bir şekilde dinlediğim pop şarkılarının sözleri, salonda geçirdiğim saatlerde erkeklerin kafama kazınan anlarıyla birleşti ve bu AI projesi doğdu. Aslında zihnimde kadrajladığım tüm o iç gıcıklatıcı görüntüleri fotoğraflamak da güzel olurdu, ama bu legal olarak mümkün değil! O nedenle AI yardımıma yetişti. Gerçek dünyadan yola çıkarak fantastik-gerçekçi bir dünya kurdum. Bir fotoğrafçı olarak üretimlerim sırasında Türkiye’de duvara çarptığım bazı sınırlar var. Fotoğraf projelerinde tam olarak altını çizemediğimi düşündüğüm homoerotizmle, yıllardır odağımda olan moda ve modern dansı, hareketi yapay zekâ ile bir araya getirdim. Tıpkı kadınların birbirleri için giyinmesi gibi, erkeklerin de kas yapmasının alt metninde “birbirlerine vücutlarını beğendirmeye çalışmaları” olabilir mi? Kesinlikle! Birçok insan için çok da rahatsız edici olabilecek bir şey bu. Spora ilk başladığımda özellikle sabah salonun açıldığı saatte gidiyordum. Zira o testosteron, şov ve yarış; yeni başlayan biri için çok ezici. Ama ilerledikçe bir şekilde o sessiz kulübe sen de katılıyorsun. Önceden sana sinek gibi bakanların seni izlediğini fark ediyorsun. Feci homo-erotik. Herkes birbirini izliyor. Belki çoğu birbirinin adını, işini bilmiyor ama kaçta salona girip çıktığına, gelişimine hakim. Kaslı erkek dünyası, en ikonik örneği Tom of Finland başta olmak üzere her daim homo-erotizmin değişmeyen unsuru oldu. Şu an ürettiklerinden yola çıkarak, homo-erotizm evreninde kendi işlerini nasıl bir yere koyuyorsun? Yapay zekânın bizim gibi topraklarda -Avrupa ülkelerine göre- görsel sanatta daha farklı bir şekilde gelişebileceğine ve belki sözü olan işler çıkartabileceğine inanıyorum. Çünkü benim kurduğum senaryoda birkaç adamı bir araya getirip, doğal bir şekilde yakınlaştırıp bir de işin içine tasarımcı kıyafetleri sokmak o kadar zor ki… Bu nedenle kimsenin kaprisini çekmeden airpod’umu takıp kafamdaki imajları elde edebildiğim, istediğim zaman ara verip kahvemi koyabildiğim bir ortam, bildiğin bir rüya! İlerleyen dönemlerde bizim gibi ülkelerin markalaşmış sanatçıları bu alanda belki fotoğraftan daha fazla olursa buna şaşırmam. Fransa’da, Yunanistan’da, Sırbistan’da bir süre geçirdim ve konuştuğum tüm üreten kişiler yapay zekâya çok yabancıydı. Muscular Theology’i kafaları dahi almıyordu. Muhtemelen orada bazı şeylere erişim buradan farklı olduğu için onların buna o kadar ihtiyacı yok. Ama benim için müthiş bir kısa yol. Oturduğum yerden Paris’te bir dergiye iş çalışıp yollayabiliyorum. Dünyanın öbür bir ucundan Muscular Theology tişört koleksiyonu için mail alabiliyorum ya da hiç tanışmadığım Avrupalı bir tasarımcı bana yeni koleksiyonu için AI’la kampanya hazırlama fikriyle gelebiliyor.

Natalia Maslova designs a Limassol apartment in shades of white, with natural materials, sea views, and custom works by Vezzini & Chen. June 2024 | Design & Interiors TURKISH BELOW SHADES of WHITE words Alp Tekin photos Alena Cherepanova T he two most important features of this apartment in Limassol, designed by Natalia Maslova, are the large terrace with stunning sea views and the natural light. In fact, the design of the house has been created accordingly. The colors are natural and calm, such as light sandy tones and the color of sun-baked grass. The backgrounds are mostly white and the textiles are in shades of white, especially linen. The main elements of the design using natural materials are ceramic granite, marble and wooden parquet. The natural wood texture in the furniture gives a sense of comfort, while the travertine is reminiscent of the stones from ancient excavations commonly found on the island. DECORATIVE TRICKS Natalia Maslova points out the following detail about the design of the house: “Our main and favorite approach in interior design is mix & match. Here, we combined items from different eras and art, ensuring a unified, cohesive image of the project. The lifestyle of the owners influenced the appearance of items from around the world in the interior: vintage from London, design icons, contemporary art pieces, and art objects from various countries”. Interesting wall panels in the dining room were custom-made by the British duo Vezzini & Chen, in a composition called Water & Sand, which is very symbolic. A ceramic composition named Shades of White (which became the unofficial name of the entire project) in the bedroom was also custom-made. SOURCES - Living Room: Ghost 114 sofa by Gervasoni, Hashira floor lamp by MENU, Costantina floor lamp by Mogg, Pracinhas Stool by Lia Siqueira, Etel. - Dining Area: CH339 dining table by Carl Hansen, Dining chairs by Carl Hansen, Coniston large round mirror by De La Espada, Arco floor lamp by Flos, Marble countertop for counter table by MENU, Bar chairs by Norr11. BEYAZIN TONLARINDA bir KIBRIS EVİ İ ç tasarımı Natalia Maslova’ya ait olan Limasol’daki bu dairenin en önemli iki özelliği muhteşem deniz manzarasına sahip geniş terası ve doğal ışık alması. Nitekim evin tasarımı da bu doğrultuda oluşturulmuş. Açık kumlu tonlar ve güneşte kavrulmuş çimen rengi gibi doğal ve sakin tonlarda renkler seçilmiş. Arka planlar ise çoğunlukla beyaz bırakılmış ve tekstillerde başta keten olmak üzere beyazın tonları tercih edilmiş. Doğal malzemeler kullanılan tasarımın ana unsurları ise seramik granit, mermer ve ahşap parke. Mobilyalardaki doğal ahşap dokusu ise rahatlık hissi verirken traverten, adada yaygın olarak bulunan antik kazılardan çıkan taşları çağrıştırıyor. KARIŞTIR VE EŞLEŞTİR Natalia Maslova evin tasarımıyla ilgili şu detaya dikkat çekiyor: “İç tasarımda favori yaklaşımımız karıştır ve eşleştir. Burada, farklı dönemlere ve sanat eserlerine ait öğeleri bir araya getirerek projenin bütünlüklü ve uyumlu bir görüntüye sahip olmasını sağladık. Ev sahiplerinin yaşam tarzı, iç mekanda dünyanın dört bir yanından gelen öğelerin görünümünü etkiledi: Londra'dan vintage, tasarım ikonları, çağdaş sanat eserleri ve çeşitli ülkelerden sanat objeleri gibi”. Yemek odasındaki ilginç duvar panelleri İngiliz ikili Vezzini & Chen tarafından Su ve Kum adlı çok sembolik bir kompozisyonda özel olarak yapılmış. Yatak odasındaki seramik kompozisyon Shades of White da özel yapım. DETAYLAR - Salon: Kanepe Ghost 114, Gervasoni. Aydınlatmalar Hashira by MENU, Costantina floor lamp by Mogg. - Yemek alanı: Yemek masası ve sandalyeler CH339 by Carl Hansen, ayna De La Espada, aydınlatmalar Flos, sandalyeler Norr11.

Dun Aluinn is a restored Highland house overlooking the River Tay in Aberfeldy, with a contemporary lodge and immersive local experiences. April 3, 2026 | VOL 17 at DUN ALUINN, TIME SLOWS words Onur Basturk photos Fran Mart & Ruth Maria (Courtesy of Dun Aluinn) Late summer, 2017. John Burke took his wife, Susie Whyte , to see a house perched above Aberfeldy , overlooking the River Tay. “The house had been unoccupied for several years, giving it that slightly eerie feeling of a place long left behind. Yet, it left a strong impression on me,” Susie recalls. “As I moved through the rooms, I took everything in and instantly felt a connection . I think it was the relationship between the house and the landscape that struck me most.” Soon after, they bought the property and began a complete restoration. “We stripped everything back to the bare walls and started again,” says Susie. She goes on to describe its layered history: “The house has lived many lives. Built in 1909 as a family home, it later became a small country hotel in the 1920s, then a boys’ boarding house from the 1980s until the early 2000s. After that, it sat empty for many years.” DUN ALUINN MEANS BEAUTIFUL HILL FORT IN GAELIC What made you feel that something special could be created here? Dun Aluinn already had so much. But most of all, it had good vibes — hard to put your finger on, but they were there. Dun Aluinn means beautiful hill fort in Gaelic. When you strip it back, it was about expressing that spirit through this grand dame in the landscape. I simply took my cues from it. Mostly, it was about revealing what was already there — and for me, that included everything beyond the house too: the landscape, sky, wildlife, weather. So many guests tell us how good they feel when they’re here; it has such positive energy and love. When reimagining and redesigning an Edwardian house, what were the key decisions you made? The key was to understand, appreciate, and reveal what the building already had to offer. Every decision that followed had to work in harmony with that original idea. Throughout the renovation, we peeled back layers of paint to let the house breathe again. We kept all the original ceiling cornicing in the main reception rooms on the ground floor and restored the original wooden floors throughout the house. Which elements did you want to preserve? We kept every original feature we could — essentially everything. That meant a lot of restoration work. Our carpenters, Strathern Joiners, were incredible, as were all the talented local tradespeople who worked on the project. There was a lot of damage from its years as a boys’ boarding house. For example, our joiner Hamish repaired huge holes in the handrail using an old church pew of the same wood and era to match perfectly. You’d never know the difference. Which aspects did you feel needed to change completely? The lighting at Dun Aluinn is all directional and dimmable, allowing the mood to shift as night falls — with soft pockets of light highlighting a detail on the staircase or a painting on the wall. Naturally, the furniture and finishes are modern, reflecting a new chapter in the house’s life — no stag heads or tartan carpets and wallpaper at every turn. CALL OF THE WILD LEAVES A LASTING IMPRESSION — ONE GUEST EVEN CALLED THEIR DAY WITH HAMISH AND LIBBY THE BEST OF THEIR LIVES You’re both an architect and an interior designer. When shaping Dun Aluinn, which mindset guided you more — the structural or the atmospheric one? Both, I’d say. We didn’t do any structural work as we stayed within the existing building. My training is in architecture, so I tend to view all design through that lens. The interiors feel refined yet grounded — natural materials, bespoke furnishings, art, and those breathtaking Highland views. What emotions did you want guests to feel when they stepped inside? If it touches their emotions, that’s a good start! Ultimately, I hope Dun Aluinn conveys a sense of authenticity, calm, beauty, and respect — values that guided every decision throughout the project. As guests enter through the main door into the central hallway, the fire is always lit, offering a warm and welcoming feeling. Dun Aluinn redefines “full service,” offering not just accommodation but a curated experience. How did this philosophy of immersive hospitality take shape? We’re very proud of our Gold Award from Green Tourism UK for our sustainability and environmental practices. Part of that involves how we connect and “share the love” with small local businesses in the Aberfeldy area to deliver authentic Highland experiences for our guests. They meet and get to know some wonderful local characters and truly feel part of the community after a week’s stay. Since opening in 2018, we’ve continued to evolve our approach, and we now feel we’ve found the right balance — high-quality service delivered in a relaxed, genuine way. We have an amazing team: Dana and Nicu, our wonderful Romanian couple who lead housekeeping; Chris, our beloved butler, whom everyone wants to take home; and Sarah, our Guest Experience Manager, who works closely with every group for months before arrival, planning every detail and creating bespoke itineraries. Last but not least, Chef John and his team take a collaborative approach to food and farming — working hand in hand with local growers and artisanal producers across Aberfeldy and Perthshire. The Lodge at Dun Aluinn shares the same design language as the main house yet feels more contemporary and private. What inspired this second, more intimate retreat within the estate? It was originally a 1950s postwar prefabricated caretaker’s bungalow in terrible condition. A break-in, just at the start of Covid, pushed us to renovate, as it was in too poor a state to leave beside the main house. Once again, I took my cues from the original structure — its simplicity and integration with the landscape. Externally, the timber cladding, deck, and porch give it a more vernacular feel. I had less to work with inside, so I drew inspiration from 2001: A Space Odyssey — white kitchen and bathroom fittings with pops of color, frameless doors, and recessed skirtings to connect the renovation to the spirit of its era. “Slow luxury” is a phrase often associated with Dun Aluinn. What does it mean to you personally, and how do you bring that idea to life through both design and experience? For us, Dun Aluinn is about simple things done well. We try to be authentic in every way we can. It’s about connecting with nature — and we hope both the design and experience reflect that. Among all the experiences offered at Dun Aluinn — from The Call of the Wild to wild swimming — which one do you personally enjoy most, and what would you recommend to first-time visitors? Call of the Wild has such a positive impact on our guests — one even said that their day with Hamish and Libby on their land was the best day of their lives! Personally, we love e-biking with friends; you can ride through beautiful scenery, off-road and over the hills, and feel twenty again. Swimming in the River Tay during summer is so life-affirming — we know all the best spots where we can take guests for a picnic by the shore. A NEW CHAPTER FOR DUN ALUINN After such a thoughtful project, what continues to inspire you? Do you see Dun Aluinn as the beginning of a wider design story? We recently purchased 15 acres of land next to Dun Aluinn and have designed a collection of private residences nestled in the landscape — The Dun Aluinn Residences — which will be available to purchase, with access to all Dun Aluinn’s services. Think single-storey, Mies van der Rohe-inspired structures made with local stone, timber cladding, and expansive glass walls framing the Highland views. It’s been a collaboration with the talented team at Brown & Brown Architects. These homes will launch in 2026, and we’re very excited to bring them to life. - The full story is featured in Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

Mart 2022 | Botanik | Vol III PLANT-FILLED HOMES Yapım | Onur Baştürk Fotoğraflar | Jamie Cole MURAT PATAVİ (Republica Ajans Sahibi) “Evde büyük ve geniş yapraklı bitki seviyorum” - Babam bahçe ve bitki aşığıydı. Tohumlar, fideler, çiçekler ve hayvanlara düşkünlüğümde onun doğa sevgisinin payı büyük. Farklı fidanlıklardan fideler arar, gittiği seyahatlerden tohum ve yaprak toplayıp onları üretmeye çalışırdı. Toprağı ve toprakla oyalanmayı çok severdi. Kendi evime geçtiğim ilk gençlik yıllarımdan beri yaşam alanlarımda ben de bitkilere sıkça yer verdim. Yaşadığım mekanları seçerken yeşil her zaman tercih ve önceliğim oldu. Yani deniz manzaralı ev mi yoksa yeşillikler arasında bir ev mi diye sorulsa, tercihim hep yeşilden yana olur. - Evde daha çok büyük ve geniş yapraklı bitki çeşitlerini seviyorum. 60’lar ruhunu yaşatan deve tabanı, kauçuk, kaktüs ve fil kulağı gibi. Onlarla özlediğimiz estetiği, yeşile özgü stili, samimiyet ve sıcaklığı yakalıyorum. - Başka ülkelerden bitki taşıma hikâyem çok var. Mutlaka elimde nemli pamuğa sarılmış bir dalla dönerim! Özellikle de İtalya seyahatlerinden. - Aldığım her bitkiyi Google’lıyorum. İhtiyaçlarını ve bakımını hemen öğrenmeye çalışıyorum. Bakması değil, ama bitler ve böceklerle savaşması zor oluyor genelde. Bir bitki öldüğünde ise bir çıplaklık, boşluk hissi kaplıyor evi. Hatta zamanla özlüyorum. Özellikle olduğu yerle özdeşleşmiş, oraya özel bir duygu katmış bitkiler böyle hissettiriyor. - Baharın gelişi benim için önemli. Ömerli’deki evimde 80 metrekarelik, bahçe gibi bir balkonum var. Orası her yıl daha da yeşillenip güzelleşiyor. - Genelde bana bir duyguyu hissettiren bitkiyi seçiyorum. Bazıları özgürlüğü bazıları romantizmi çağrıştırıyor. Bazen çekingen, bazen arsız ve deli dolu olabiliyorlar… Ama dış mekan bitkisi seçerken iklim şartlarına uygun endemik bitkileri seçmeye gayret ediyorum. GÜLİN ÖZALP (Restoran sahibi, işletmeci) “Ficus’um tam 19 yıldır bizimle. Evlendiğimizde almıştık” - Bitkilere olan sevgi ve ilgim çocuklukta başladı. Beni yakından tanıyanların çok iyi bildiği gibi, doğada olmayı fazlasıyla seven biriyim. Ancak şehirde yaşadığım için her zaman doğanın içinde olamıyorum. Ben de evimde kendi yeşil alanımı yaratmak istedim. O yüzden evimde bolca bitki yetiştiriyorum. İrili ufaklı 30 civarı bitkim var. - Evde yetiştirmekten en zevk aldığım bitki Monstera (Deve Tabanı). Çünkü sürekli yeni yaprakları çıkıyor. Yenilenip şekil değiştiriyor. - ‘Ficus’um ise 19 yıldır bizimle! İlk evlendiğimizde almıştık. Bazen yaprakları dökülüyor, sararıyor ama bizi hiç bırakmıyor. Aldığımızda ince, uzun bir bitkiydi. Şimdi oldukça genişledi. - Bali’den Coconut Palm taşımışlığım var, ama bir yıl sonra beni terk etti maalesef. - Benim için bakması en zor bitki Bonzai. Bana biraz nazlı geliyor. - Bir bitkiyi yaşatamadığım zaman çok üzülüyorum. Çünkü bir canlı olarak ilgi gösterip onunla bağ kuruyorum. Neyse ki zamanla bitkilerin neye ihtiyacı olduğu konusunda daha çok bilgi sahibi oldum. ECEM USLU DEMİR (Dijital İçerik Üretici) “Ficus Lyrata’ya sahip olmak için çok bekledim” - Bitki sevgimin tutkuya dönüşmesi ilk kızıma hamileliğimin son haftalarında, doğum iznine ayrıldığım zaman başladı. Normal doğumu beklediğim için 37. haftadan 43. haftaya kadar hep evdeydim. Evde oturacak biri asla değilim. Bu yüzden kendimi botanik bahçelerine, seralara saldım. Sonra iş yavaş yavaş bitki almaya dönüştü. Daha da ileri giderek her gün bitki almaya başladım. Şu an toplam 83 bitki var evimde. - Ficus Lyrata’ya sahip olmak için çok bekledim. Çünkü aradığım bir formu vardı. Sabırla bekledim ve sonunda tam hayal ettiğim gibi olanı buldum. İşte bu yüzden gördüğümde beni en çok mutlu eden bitkim Ficus Lyrata. - İlk aldığım bitki Monstera’ydı ve aldığımda ufacıktı. Şimdi kocaman oldu. Evin en gösterişli bitkisi haline dönüştü. Benim için yeri ayrı, çünkü en güzel yetiştirdiğim bitki. - Hem acemilik hem de yanlış toprak kullanımı ve uygun ortam sağlayamama gibi nedenlerden dolayı Pilea’yı yetiştirirken çok fazla zorlandım. Neyse ki şimdilerde onun da üstesinden geldiğimi düşünüyorum. - Bir tane Ficus Benjamin çok istiyorum, ama korkuyorum da! Benim gözümde en nazlı bitki. Her tepkisini yaprak dökerek vermesi gerçekten gözümü korkutuyor. Ama yakında alacağım ilk bitki o olacak. MURAT SÜTER (Kreatif Direktör) “En sevdiklerim körpe ve parlak gözüken yeşillikler” - Bitkilerin tutku haline gelmesi 15 yıl önce Nişantaşı’ndan Beykoz’a taşınma kararımla beraber başladı sanırım. Penceremden bakınca gördüğüm şey uçsuz bucaksız bir orman olunca, bu yeşilliği evin içine de sokma isteği kaçınılmaz oldu. - En sevdiğim bitkilerim körpe ve parlak gözüken yeşillikler. Zamia Zamioculcas, Monstera, Asparagus (Kuşkonmaz), Ficus Elastica (Kauçuk), Calathea Orbifolia ve Marantha. Genel olarak tüm kaktüs ve sukulentleri de severim. - Chinese Coin Plant’le (Pilea Peperomioides) ilk olarak Hong Kong’ta tanışmış, küçük bir saksıyla İstanbul’a dönmüştüm! Minik yaprakları olan bitki, dikildiği saksının ebadına göre çeşitli yaprak boyutlarıyla kendini göstermeye devam etti. Hong Kong’tan getirdiğim ise hâla aynı minik boyutuyla yaşamaya devam ediyor. - Yetiştirmekte zorlandığım bir bitki olmadı. Ama ağaçlara gelirsek, evimin önünde 10 yıl önce diktiğim üç adet mimoza ağacı beni en çok zorlayanlar. O kadar çok seviyorum ki, her kar yağdığında iki-üç saatte bir dallarını silkiyorum. Üzerlerinde biriken karı azaltabilmek için. Tamamı için... Print YUZU MAGAZINE - III Out of Stock View Details No product

Kronotrop brings the Istanbul specialty coffee brand to Mortimer Street in London, pairing a calm interior with traceable beans and Anglo-Anatolian bakes. May 26, 2026 | DESIGN & INTERIORS KRONOTROP ARRIVES in FITZROVIA London’s Fitzrovia has no shortage of coffee shops, but few approach the café experience with the same spatial sensitivity as Kronotrop . Originally founded in Istanbul, the specialty coffee brand has opened its first London outpost at 42 Mortimer Street, bringing with it a quieter, more design-conscious approach to coffee culture. Rather than focusing purely on takeaway coffee or fast-paced service, Kronotrop places equal emphasis on atmosphere. Soft tones, warm wood surfaces and shifting daylight create an interior that feels calm without becoming overly minimal. Large street-facing windows connect the café to the rhythm of Fitzrovia while maintaining a slower pace inside. Coffee remains at the centre of the project. Overseen by a certified Q grader, the programme focuses on traceability and long-term relationships with producers. Kronotrop frequently visits farms during harvest seasons, treating coffee less as a commodity and more as an evolving dialogue between cultivation, craftsmanship and flavour. The food offering quietly references the brand’s Istanbul roots through sesame-crusted pastries, pistachio-forward desserts and “Anglo-Anatolian” bakes combining British and Turkish influences. Among them is a handmade walnut baklava with an espresso twist, served with clotted cream. Kronotrop’s “Rare Series” coffees continue this approach, focusing on traceable beans and flavour-led storytelling rather than trend-driven branding. Since opening in September 2025, the London café has marked a considered first step in the brand’s international expansion, with a second location already planned for later this year. At a moment when many cafés increasingly resemble temporary workspaces or lifestyle sets, Kronotrop moves in another direction. The space feels closer to a contemporary urban living room — shaped as much by material, rhythm and atmosphere as by coffee itself.

Spires Apartment in Moscow by Yulia Starikova combines modern lines with classic warmth in a 130 m² interior shaped as one continuous space. March 22, 2026 | DESIGN & INTERIORS the SPIRES APARTMENT words YUZU Editorial photos Liza Gurovskaya A quiet negotiation between modern and classic. In Moscow’s Spires residential complex, this 130 m² apartment by Yulia Starikova, founder of Starikova Architects, starts with a straightforward move: combining two separate units into one. But what’s interesting is not the merge itself — it’s what follows. The plan doesn’t feel assembled. It settles. Circulation is loose, almost unforced, and the apartment reads as a continuous space rather than a sequence of rooms. You move through it without really noticing where one zone ends and another begins. HOLDING THE BALANCE The brief wasn’t entirely clear-cut. The client, used to the comfort of a private house, wanted something more modern — but not at the expense of familiarity. Instead of choosing one direction, the project stays in between. A modern classic, but without the usual weight. Lines are kept clean, details are reduced, but there’s still a sense of softness in how everything comes together. Nothing feels overly styled. Nothing feels stripped back either. It’s less about contrast, more about holding a certain balance and not pushing it too far. A SPACE THAT DOESN’T INSIST There’s no single moment that defines the apartment. It’s quieter than that. What holds it together is consistency — in proportion, in tone, in how materials are used. The space doesn’t try to impress. It just works, gradually. You start to notice how everything aligns, how nothing feels out of place.

Som Interior founders Özge Yıldız Taşkıran and Berat Taşkıran discuss Meet The Icons, Vondom, and Atmosphera in Istanbul. August 2024 | VOL 13 TURKISH BELOW New expansions of Som Interior words Alp Tekin portrait photos Abdullah Abukan - content partnership - H aving opened the first Turkish store of the Spanish outdoor brand, Vondom, at addresistanbul Home Decoration Center, Som Interior founders Özge Yıldız Taşkıran and Berat Taşkıran keep making new expansions. Creating a new brand called Meet The Icons at addresistanbul and soon launching the products of their outdoor brand Atmosphera in Türkiye, Taşkıran couple says, "We closely follow the current design developments around the world", and adds, "Our goal is to always be a few steps ahead in this field in Türkiye". How did the journey of Som Interior begin? We founded it in 2012 in Çukurcuma, Istanbul. We aimed to present the concept of modern furniture, which we constantly think about while designing and implementing projects, as our main business, to everyone by creating a new brand. At the time we created our brand, it simply would not be easy to find furniture of high quality and up-to-date design in Türkiye, except for imported furniture. That is why we have managed to become a brand that is admired and followed in a short time. How would you briefly describe Som Interior's design line? Som Interior's design line is to offer sophisticated and original designs with high quality. We closely follow the current design around the world and strive to be a few steps ahead in this field in our country. We bring the concept of modern luxury to interiors with original furniture in simple lines, but making a difference in details and material choices. What is the content of your new concept, Meet The Icons? Meet the Icons is our new concept featuring iconic pieces of the design world whose lines we find close to our own. Our aim here is to include products that are complementary to ours. Primarily lighting, as well as coffee tables and consoles, and iconic furniture... We tried to offer a new space that gives the sense of touring a design museum. In Meet The Icons, we feature lighting brands including Martinelli Luce, Nemo, Foscarini, Oluce, and Contardi, as well as Zanotta, Glas Italia, and other brands that stand out and are recognized for their designs. WE WERE IMPRESSED by THE UNIQUENESS OF VONDOM DESIGNS You launched Vondom's first store in Türkiye. Why Vondom? We always intended to bring our success in indoor furniture to the outdoors. We received a lot of requests for this. Although we produced our designs, we were not able to offer a holistic outdoor solution. As we crossed paths with Vondom, we were impressed by the uniqueness of its design language and its exceptional outdoor furniture. Working with some of the world's best designers, Vondom has a wide range of products, all elements of which are made in Europe, addressing many different needs, from the pool and beach to the garden, the terrace of a luxury villa, and even large social spaces such as shopping malls and hospitals. It is a brand that combines modern design language with quality materials in all these products. That's why we believed that Vondom would fit very well into our brand culture. Atmosphera will also be included among your brands soon... Yes, Atmosphera is a brand that combines Italian elegance with teak, ceramic and colorful materials. As Som Interior, we wish to offer different alternatives to outdoor products by combining them. In doing so, we care that our customers enjoy the service with the Som Interior difference. So, we are going to keep adding special selections from different brands to our outdoor collection. MUST BE RESISTANT TO SUNLIGHT So, what are the features you pay the most attention to in outdoor products? The most significant feature is, of course, the product's resistance to UV light, sea salt, weather conditions, etc. Also the ease of maintenance. The Vondom products in particular are certified to withstand sunlight, sea salt, fire, and even weather conditions down to -70 degrees Celsius. And this is a big advantage for use and maintenance. Som Interior’ın yeni açılımları - içerik ortaklığı - İ spanyol outdoor markası Vondom’un ilk Türkiye mağazasını addresistanbul Ev Dekorasyon Merkezi’nde açan Som Interior kurucuları Özge Yıldız Taşkıran ve Berat Taşkıran çifti, yeni açılımlar yapmaya devam ediyor. addresistanbul’da Meet The Icons isimli yeni bir marka daha yaratan ve yakın zamanda outdoor markası Atmosphera’nın ürünlerini de Türkiye’de satışa çıkaracak olan Taşkıran çifti, “Dünyadaki güncel tasarım gelişmelerini yakından takip ediyoruz” diyor, “Hedefimiz bu alanda Türkiye’de her zaman birkaç adım önde olmak”. Som Interior’ın hikâyesi nasıl başladı? 2012’de İstanbul, Çukurcuma’da kurduk. Esas işimiz olan proje tasarım ve uygulamayı yaparken üzerinde sürekli düşündüğümüz modern mobilya konseptini yeni bir marka yaratarak herkese sunmak istedik. Markamızı yarattığımız dönemde Türkiye’de ithal mobilya dışında güncel tasarım ve yüksek kalitede mobilya bulmak pek mümkün değildi. Bu nedenle kısa sürede beğenilerek takip edilen bir marka olmayı başardık. Som Interior'ın tasarım çizgisini nasıl özetlersiniz? Som Interior'ın tasarım çizgisi, sofistike ve özgün tasarımları yüksek kalite ile sunmak. Dünyada güncel tasarımı yakından takip ediyoruz ve bu alanda ülkemizde birkaç adım önde olmaya gayret ediyoruz. Yalın çizgide, ancak detaylar ve malzeme seçimlerinde fark yaratan özgün mobilyalarla modern lüks kavramını iç mekanlara taşıyoruz. TASARIM MÜZESİ GEZİYORMUŞ GİBİ BİR HİS… Yeni konseptiniz Meet The Icons’ın içeriği nedir? Meet the Icons, çizgisini kendimize yakın bulduğumuz tasarım dünyasının ikonik parçalarına yer veren yeni konseptimiz. Burada amacımız bizim ürünlerimizle tamamlayıcı nitelikteki ürünlere yer vermek. Başta aydınlatmalar olmak üzere sehpa ve konsollar, ayrıca ikonik mobilyalar… Tasarım müzesi geziyormuş gibi bir his veren, yeni bir alan sunmak istedik. Martinelli Luce, Nemo, Foscarini, Oluce, Contardi gibi aydınlatma markalarıyla beraber Zanotta, Glasitalia gibi tasarımlarıyla ön plana çıkan ve tanınan markalara Meet The Icons’ta yer veriyoruz. VONDOM TASARIMLARININ ÖZGÜNLÜĞÜ BİZİ ETKİLEDİ Vondom'un ilk Türkiye mağazasını açtınız. Neden Vondom? İç mekan mobilyalarındaki başarımızı dış mekana taşımayı uzun zamandır planlıyorduk. Bu konuda çok talep geliyordu. Her ne kadar kendi tasarımlarımızı üretsek de, bütüncül bir dış mekan çözümü sunamıyorduk. Yolumuz Vondom’la kesişince, hem tasarım dilinin özgünlüğü hem de alışılmışın dışındaki dış mekan mobilyaları bizi etkiledi. Vondom, gerçekten de dünyanın en iyi tasarımcılarıyla çalışan, tüm elementleri Avrupa’da üretilen, havuzdan plaja bahçeden lüks bir villanın terasına, hatta AVM ve hastane gibi büyük sosyal alanlara kadar birçok farklı ihtiyaca hitap eden geniş bir ürün yelpazesine sahip. Tüm bu ürünlerde modern tasarım diliyle kaliteli malzemeyi birleştirebilmiş bir marka. Bu nedenle Vondom’un marka kültürümüze çok iyi uyum sağlayacağını düşündük. Yakın zamanda bir de Atmosphera markalarınız arasına eklenecek… Evet, Atmosphera markası İtalyan zarafetini tik, seramik ve renkli malzemelerle birleştiren çok beğendiğimiz bir marka. Som Interior olarak outdoor ürünlerinde farklı alternatifleri birleştirerek sunmak istiyoruz. Bunu yaparken de müşterilerimizin Som Interior farkıyla hizmet almasını önemsiyoruz. Bu nedenle outdoor koleksiyonumuza farklı markalardan özel seçkiler eklemeye devam edeceğiz. GÜNEŞ IŞINLARINA DAYANIKLI OLMALI Peki outdoor ürünlerinde en çok dikkat ettiğiniz özellikler neler? En çok dikkat ettiğimiz özellik elbette ürünün UV ışığı, deniz tuzu, hava şartları gibi koşullara karşı dayanıklı olması. Ayrıca bakımının kolaylığı. Özellikle Vondom ürünlerinin güneş ışınlarına, deniz tuzuna, yangına ve hatta -70 dereceye kadar hava koşullarına dayanıklılık sertifikası bulunuyor. Bu da kullanım ve bakım anlamında büyük avantaj. for more Print VOL XIII - AEGEAN & MEDITERRANEAN EDITION 2024 Out of Stock Add to Cart

Karim+Elias is a Dubai-based studio founded by Karim Tamerji and Elias El Hage, exploring desert sand through rammed-earth design. August 4, 2025 | VOL 15 SAND: the SILENT STORYTELLER words Alp Tekin photos Courtesy of Karim+Elias Have you ever found yourself drifting into the endless expanse of the desert landscape? If so, you might sense a similar feeling in the sand-focused design explorations of Karim+Elias, the Dubai-based studio founded by Karim Tamerji and Elias El Hage. Why is your design focus on desert sand? Is it solely related to the geography you live in, or are there other reasons as well? Our studio’s work is essentially built on two interconnected narratives: adopting a local material with cultural significance—desert sand—and preserving an ancient artisanal technique—rammed earth. Founded in the UAE in 2022, our studio’s vision has been deeply influenced by the geography of the Arab region, particularly its vast desert landscapes. Sand is an ever-present element in this environment, carrying a profound historical, cultural, and symbolic significance. We saw this as an opportunity worth exploring and asked ourselves: "How can we honour the region’s most abundant natural material in a way that bridges cultural and geographical boundaries?" We began by working with Dubai’s landscape, crafting earthen works and spatial experiences inspired by the country’s terrain. Today, our practice is expanding into neighbouring Arab nations such as Saudi Arabia, Qatar, and Jordan, continuing to explore the material’s potential across the region. Did everything start with the success of your installation at Downtown Design 2022? If that hadn’t happened, would sand still be your primary material? Sand has become the defining 'material of meaning' for the studio. Beyond Downtown Design, we have always been committed to celebrating this art form in diverse ways. Can we define the essence of your designs as sculpting with sand? Or how would you describe it? Through creative exploration, we have developed a distinct approach to working with rammed earth, with the goal of preserving and evolving the ancient art of "sculpting with sand." Much like the traditions of marble sculpting or wood carving, we see ourselves as revivalists—honouring a time-honoured craft while reimagining it through a contemporary lens. OUR UPCOMING INSTALLATIONS FOLLOWING ‘THE DESERT RELICS’ (2024) WILL EXPLORE NEW NARRATIVES, INSPIRING FRESH DESIGN INTERPRETATIONS ROOTED IN THE DESERT LANDSACEPE Do you mostly work with spherical forms? Will you explore other shapes in the future? Each project dictates the evolution of our craft. The challenges that arise push our R&D forward, allowing us to explore new ways of expressing form, colour, and function through our material. With both 'IOTA' (2022) and 'From This Earth' (2024), our large-scale public art installations, we explored modular spheres, experimenting with geometry, texture, and structural composition. These projects helped us transform what is traditionally perceived as a heavy material into something that appears light, soft, and contemporary. Looking ahead, our plans include further art installations and architectural interventions across the Arab region, as well as new product designs currently in development. In the art domain, our upcoming installations following ‘The Desert Relics’ (2024) will explore new narratives, inspiring fresh design interpretations rooted in the desert landscape. In architecture, we are pushing the material further with Sand Skins, introducing rammed earth as a refined interior and exterior surface finish, as thin as 7 cm where required. We have experimented with smooth, fluted, and organic textures across various projects, each offering its own distinct artistic expression. Over the next year, we look forward to unveiling installations for both private and commercial spaces. Are your creations purely collectible designs, or do you also create functional pieces like furniture? This year, we launched our first-ever product design line, The Desert Drop series. The collection begins with a grand coffee table, crafted from sand droplets and melted glass—a design inspired by the fluidity of oasis water. The series will expand to include wall sconces and vases, offering more accessible, sculptural pieces for stylists, designers, and homeowners. WE TAKE GREAT PRIDE IN DESERT LANDSCAPES AND THE MEANING THEY BRING TO OUR WORK I’m curious about your technique—how do you work with sand? And what are the challenges of working with it? The process is simple yet precise. We create each piece using a proportioned mix of local earth, clay, and water, compacted into sedimentary layers within custom-made moulds. Whether for an object, a sculpture, or an architectural wall, all materials are locally sourced and naturally pigmented in a diverse range of earthen tones. One of the main challenges is manipulating a heavy material to achieve softer, more organic geometries—creating the illusion of weightlessness and fluidity while maintaining structural integrity. How does the desert make you feel? We take great pride in desert landscapes and the meaning they bring to our work. Their simplicity is a humbling reminder of the region’s heritage and our primal connection to the earth. Spending time in the desert or by the seaside—which would you choose? Both! Especially in a rare and special place like Khor Al Adaid in Qatar, where the desert meets the sea in a breathtaking natural harmony. for more Print VOL XV - 2025 Out of Stock Add to Cart

August 27, 2026 | Art & Culture SIMON FUJIWARA the ARCHITECTURE of EXPERIENCE words Rajesh Punj exhibition photos Andrea Rossetti portrait photos Jörg von Bruchhausen A thought-provoking conversation with Simon Fujiwara on A Whole New World , which recently closed at Mudam Luxembourg, and the questions of identity, reality and experience that continue to shape his practice. “We are, in a sense, our own fictions.” — after Jorge Luis Borges Few artists of his generation have examined the unstable architecture of identity with the wit and conceptual precision of Simon Fujiwara. Across installation, film, sculpture and immersive exhibition environments, the Berlin-based artist has consistently returned to the question of how the self is made: through memory, image, desire, performance and, increasingly, the relentless mechanisms of visibility that define contemporary life. Danish philosopher Søren Kierkegaard once warned that “the greatest hazard of all, losing one’s self, can occur very quietly in the world, as if it were nothing at all.” The observation feels uncannily resonant in relation to Fujiwara’s sense of the real, where the erosion of selfhood is rarely dramatic, but instead staged through systems of projection, circulation and display. His works occupy the fertile space between autobiography and invention, where personal history becomes narrative and narrative assumes the force of truth. In recent years, this inquiry has taken on renewed urgency through projects such as Who the Bær, a seemingly innocent figure that operates as a vessel for projection, ideology, trauma and the circulation of images in a digitally saturated culture. What appears playful is never merely so. Beneath the seduction of the surface lies a more unsettling meditation on the politics of representation, spectatorship and the fictions through which we come to know ourselves. At a moment when identity is increasingly staged, branded and endlessly reproduced, Fujiwara’s work asks whether the self has itself become an exhibition space — a site of perpetual construction and display. A DIFFERENT REALITY RP: You mention a new studio in Mallorca. SF: Yes. It’s an old house with agricultural buildings. It’s not going to be massive, it’s not a huge thing, but it’s also a way to try something else because my work is quite urban in a way. My work is so much about conflict and collage, ideas and worlds that collide and meet and produce new problems. The aesthetic of my work is about that somehow. I’ve always worked in cities, so I’m curious to see what working in a non-urban place is going to be like because, in this village, people don’t even know what’s happening in the Middle East. It’s a completely different reality. RP: That must be an incredible idea — the potential for it to really challenge your work. SF: Let’s see. Because when I think about my work, I realise that I’ve always made it to solve problems for myself, in a way, or to try to engage with problems within my life, or with how to live in this world. All the works are like life rafts in this sea of madness that we’re in. If it’s a question around Anne Frank, or an STD, or a ‘MeToo’ problem, or whatever, I can hold on to that, and it can become a metaphor for all the struggles that I’m experiencing on a daily basis — and I know everybody else is too. Part of that has been using language, because we’re surrounded by so much of it today. There is very little that is unsaid, unmarketed, unbranded, untouched. We’re in this exhausted world where every single thing has already been described. RP: It’s interesting. It’s as if silence has become its own kind of commodity. SF: Absolutely. I like this phrase, “the airless quality of capitalism.” There’s almost no oxygen left in the room, and I’m telling you, in the next ten to twenty years, there will be entrance tickets to cities. There will be ticketing; it’s simply going to happen. There is already something of that in certain parts of historic centres. It feels like the only way to sustain this way of living. So I keep seeing, in the real world, how much it is bending to the logic of theme park worlds. THE LOGIC OF THE THEME PARK RP: Which is extraordinary and unsettling at the same time. SF: Exactly. Architects in the 1980s were already talking about Disneyland as a kind of urban utopia in America, because it was one of the few places where you could simply walk down the street. And what it takes to create that most basic act — walking from a shop to a park to a castle to the next thing — is something we take for granted in Europe. But Europe itself was constructed that way. Kingdoms, gods, kings, land: these are not natural things, they are constructs. In that sense, we already had our own natural Disneys. We’re very snooty now about what theme parks are, but in a way, we live in them, and perhaps always have. RP: So Europe itself becomes a set, a stage. SF: Precisely. And that’s why, when I started studying theme parks, I found them fascinating, because they have such clear parallels with museums. A museum is also a place where you buy a ticket, queue and enter a controlled space for delight, pleasure and sometimes even danger. You are brought into other worlds, but there are rules: you can’t touch paintings, shout or behave however you want. I began asking myself why these sanctuaries are so appealing to us today. We went through that whole 1990s moment of institutional critique, when museums were supposed to be open — no tickets, no boundaries; it was about smell, light and atmosphere. But now we are back to wanting the blockbuster, branded experience. I feel that’s because the world outside has become this kind of chaos, where we know we are being controlled but we’re not told the rules. We know we are in this strange theme park, but we don’t know when we are transgressing, or how much information is being taken from us. It’s very murky. RP: So the museum becomes a place of clarity. SF: Exactly. These places, where the rules are clear, somehow offer comfort. I mean, I’m half Japanese, and people are obsessed with Japan now. Talk about a rule-based society — a place with ancient codes for how to talk, dress, move. In its own way, that too is a kind of theme park. I started asking myself how this could become artistic, how it could become a gesture within art that was interesting. So much of my work is already about entertainment and performativity, so bringing the installations together wasn’t a huge stretch. I simply thought, MUDAM is this extraordinary museum, half shopping mall, half I. M. Pei building, with all the aura of the Louvre architect, so why not use the full logic of a theme park? There are signposts, maps, worlds. Only here, the princess is not a princess, but the beauty queen caught in a 'topless scandal'; the mascot is not Mickey Mouse, but a cartoon bear having an identity crisis. A PLACE TO BELONG RP: They become contemporary myths. SF: Exactly, they map onto one another. And the final thing that really interested me about theme parks is that we are craving shared narratives. Culturally, communally, in this globalised moment, we are all longing for something we can rally around: a story. We can no longer really do that through religion, for obvious reasons. So I’ve also been thinking about what it means to create an experience that is shared rather than fragmented. I don’t expect people to immediately jump on board with syphilis, or whatever I might be speaking about specifically, but the atmosphere of the place can make you feel welcomed. That’s what theme parks do. They let you know where you are; there is always a map that situates you and reassures you that you are in the right place. And I thought, if I can make you feel, at an animal, bodily level, that you belong in this museum and that this is for you, then it creates something like the atmosphere of a church, or a place of gathering. Those are the ingredients, in a way. RP: It’s extraordinary how all of this seems to be shifting at once — the idea of the real, the image, experience itself. SF: Yes, and it’s only about to get weirder. The world is about to become much stranger in terms of how we describe the real and how we experience it. AI is obviously one element of that, but there’s another side as well: people are now openly interested in hallucinogenic drugs, psychedelics, altered states, consciousness. All this language that once felt marginal now seems fully part of contemporary discourse. To me, that’s an acknowledgement that reality is far more complex than we previously understood, and that the technological changes we’re living through are part of that shift. MATERIALS OF TRUTH RP: And beyond questions of reality and identity, I wanted to ask about material — your choice of materials and processes, and how these relate to what you are trying to address. SF: I’ve always tried to use the material that best speaks to what I’m trying to convey, and sometimes the choice is very intrinsic to the idea itself. For example, when I made a version of Anne Frank in wax, working with people from Madame Tussauds, it was because I was interested in that very specific history: the idea that famous people are rendered three-dimensionally in wax because, before photography, it was one of the closest technologies to truth. And when you begin to look into the history of Madame Tussauds, it becomes extraordinary. She was in the palace of Louis XIV, making flowers for Marie Antoinette, so the history of Madame Tussauds is, in a way, part of the history of the modern world itself. During the French Revolution, she was supposed to be killed because she had been in the palace — not exactly the right place to be. But because she had learned from her father how to make realistic wax figures, she saved herself by offering to go to the sites where the aristocracy had been beheaded, take death masks and remake them in wax so that these figures would be remembered. She then took this bag of wax heads to London and opened her apartment on Baker Street with a display of French aristocrats on skewers with blood. That was the first Madame Tussauds. And that is already eighteenth-century England: pleasure gardens, the beginnings of entertainment culture. For me, all of that is fascinating because the history of the modern world can almost be told through wax figures. So when I came to Anne Frank, I knew I needed to make that wax rendering, and I needed it to be made with the people who had worked within Madame Tussauds. In that sense, the collaborators themselves can become part of the material. RP: You have me seeing everything differently.