June 14, 2026 | TRAVEL FLOW STATE WAS at 3daysofdesign As part of this year’s 3daysofdesign, Delta Air Lines introduced the Symposium courtyard into “Flow State” — a dedicated lounge conceived as a quieter pause within the pace of design week. Created together with Copenhagen-based designer Yasmin Edgecombe, the space offered a calmer setting amid the festival’s constant movement. TO ME, INTENTIONAL TRAVEL MEANT STEPPING OUT OF AUTOPILOT Yasmin, what interested you most about translating Delta into a physical space within 3daysofdesign? What interested me most was the idea of taking a global airline — something inherently connected to movement and transit — and grounding it into a calm, physical sanctuary. Air travel offers a rare mental pause: a moment to disconnect and let the mind drift. I wanted to bring that peaceful, airborne “flow state” into a Copenhagen courtyard, creating a space where busy festival visitors could slow down, breathe and decompress. The project drew from Scandinavian ideas of simplicity and functionality. How did you approach creating a space that supported both quiet moments and more social interaction? Scandinavian design is deeply rooted in purposeful simplicity. To shape the courtyard, I anchored the space around three large red maple trees, alongside inviting lounge and seating areas that naturally defined different zones. For quieter moments, the trees created a soft canopy and a sense of visual separation — a place to pause, reflect or gather your thoughts. Travel often shapes the way creative people think and work. What did the idea of “intentional travel” mean to you personally? To me, intentional travel meant stepping out of autopilot. It was about seeing the time spent in transit as a meaningful part of the journey rather than simply a way of getting from one place to another. It also meant using those hours in the air to disconnect from daily digital noise and reset mentally. When you travel with intention, you arrive with a clearer, more open mindset — one that’s far more receptive to new ideas and inspiration. THAT SHIFT CREATED SPACE FOR GENUINE CONNECTION This year’s 3daysofdesign theme was “Make This Moment Matter.” How did that theme influence the atmosphere and rhythm of the space you designed? Sitting beneath the grounding canopy of the trees within a relaxed lounge setting naturally encouraged people to slow down and take a breath. The atmosphere shifted the focus away from “Where do I need to go next?” towards “Who and what is right in front of me right now?”That change in rhythm created space for genuine human connection — giving conversations and shared moments the time to actually matter.

YUZU magazine I Stories in Architecture, Design, Travel and Culture CURRENT ISSUE VOL-18 BUY NOW HIGHLIGHTS PRAIA DO CANAL ART PARIS 2026 MILAN CITY GUIDE TEKLA JAN ERNST MUMBAI HOUSE DESIGN & INTERIORS INSIDE 3daysofdesign 2026 DESIGN & INTERIORS JULÀ DESIGNING a SPACE to FEEL GOOD in TRAVEL FLOW STATE WAS at 3daysofdesign TRAVEL a TIMELESS LANDMARK in IZMIR DESIGN & INTERIORS COLLAGE of ARCHITECTURAL MEMORIES RA! PEOPLE KAMILA SOLARZ DESIGN & INTERIORS LIVING AROUND a SPIRAL STAIRCASE DESIGN & INTERIORS a SOFTER WORKPLACE DESIGN & INTERIORS DESIGN UNFOLDS ACROSS COPENHAGEN TRAVEL ATMOSPHERE OVER NOSTALGIA DESIGN & INTERIORS a CONTEMPORARY GATHERING SPACE TRAVEL NOBU TORONTO DRAWS from the JAPANESE RYOKAN More Content DESIGN & INTERIORS See More YUZU FILM See More TRAVEL See More WHERE YOU CAN FIND US EUROPE FRANCE: Paris UK: London SPAIN: Barcelona, Madrid, Bilbao. PORTUGAL: Lisbon, Porto. BELGIUM: Antwerp, Brussels, Gent, Zaventem. GERMANY: Berlin. TURKIYE: -Istanbul All Minoa Bookstores (Akaretler, Nişantaşı, Beyoğlu Tepebaşı, Maslak, Bağdat Caddesi, Etiler) Bey Karaköy Petra Gayrettepe -Bodrum Gibi Bodrum US CA / Los Angeles, San Diego, San Jose, Sacramento, Roseville. NY / New York, New Hartford. FL / Miami, Orlando, Jacksonville, Fort Myers, Fort Lauderdale. GA / Atlanta, AZ / Phoenix, WA / Seattle CANADA Toronto, Vancouver, Montreal. O nline Shop and Subscription YUZU SHOP CURRENT ISSUE VOL-18 BUY NOW

June 14, 2026 | DESIGN & INTERIORS INSIDE 3daysof design 2026 words Onur Baştürk Curated exhibitions shaped around different themes, brands and designers unafraid of creating something collectively, new connections forming through communities where conversations extended beyond products, and a festival unfolding across apartments, galleries, showrooms and historic buildings… That, in many ways, was the essence of 3daysofdesign, which took place in Copenhagen from 10–12 June. Relaxed, calm and meaningful. These are the moments and places that stayed with me most over those three days. THE HOUSE OF MAKING AT ASIA HOUSE One of the exhibitions that impressed me most during my 3daysofdesign tour was “The House of Making” at Asia House, the historic building in Nordhavn. Originally built as the headquarters of the East Asiatic Company, founded by Danish sailor and entrepreneur H.N. Andersen in the late 19th century, Asia House now regularly hosts exhibitions. This time, the exhibition felt completely in tune with the character of the building itself. Curated by Gabriel Tan, the exhibition brought together independent brands from different countries, including Origin Made, Ariake, Parachilna, Ladies & Gentlemen Studio and Zimmer + Rohde. Origin Made presented its new collection, Evolution — the brand’s most extensive collection to date. Among the more than 20 new designs were Matteo Fogale’s Mangas Sofa, Ander Lizaso’s bell-shaped Kanpai Pendant Lamp crafted from raw cast aluminium, and the Daiza Pedestals series by Japanese studio Torafu Architects, finished in a dark volcanic ash glaze. The collection also featured reinterpreted versions of three rattan chairs originally designed in the mid-1990s by Japanese designer Yuzuru Yamakawa. Barcelona-based Parachilna was another standout of the exhibition. Among the pieces that caught my attention were Atelier Oï’s illuminated totem and Max Milà Serra’s Serie C lighting collection. MATERIAL MATTERS Another exhibition that stood out was Material Matters, the platform exploring the role materials play in shaping the environments we live in. Presented at Ukraine House, the exhibition focused on material innovation, craft and sustainability. Aifunghi was the presentation I liked most there. At the centre of the brand’s practice is Mycelium-Based Composite (MCB), a sustainable, high-performance material developed from mycelium. Aifunghi had also collaborated with designers including Elisa Uberti — whom we previously interviewed for YUZU — and Vito Boox. THREE BRANDS FROM DESIGN / DIALOGUE At Ark Journal’s exhibition space at Den Frie, we discovered “sog”, the new furniture brand by Japanese studio Mirai Sōsaku-jo. The brand’s name is derived from the Japanese words “so”, meaning raw material or essence, and “sogu”, meaning to carve or shape. Another brand I noted during the exhibition was Ykoon. Founded by Steven Gosseye, the Belgian design label impressed me with its restrained approach centred around solid wood and the sophisticated beauty of its craftsmanship. One of the exhibition’s standout brands was Molteni&C. Following the start of its collaboration with GamFratesi in 2025, the brand presented the Scandinavian duo’s new Midday sideboard — first unveiled during Milan Design Week 2026. Molteni&C also showcased a selection from its Heritage Collection, including the Blevio table by Ignazio Gardella, the Monk chairs by Tobia Scarpa, and two iconic designs by Gio Ponti: the D.754.1 rug and the D.555.1 side table. EVERY FLOOR OF THE CONARY FELT DIFFERENT Spread across different floors and rooms of the same building, The Conary brought together exhibitions with distinct atmospheres. Curated by Openhouse, Echoes of Spaces featured works by Expormim, Saba Italia, JOV, Japan Form and Mike Hausmann. I especially loved the porcelain lighting pieces created by designer Hirotaka Tobimatsu for Japan Form — thin enough to let light pass through from within. Elsewhere in The Conary were five brands from different countries working across different materials: Libeco Home, HEGE, soca, Stylescape and Eldvarm. One of the brands I discovered there was soca (scent of the calm), a Japanese fragrance-focused brand shaped by the changing nature of the country’s four seasons. Rather than mass production, soca works with small workshops and skilled artisans. EMERGING DESIGNERS AT FANZI Copenhagen-based art, design and architecture platform FANZI presented “Welcome. Slow Down.” in Postbyen. Participants included AOIDOI, Damonart, Elisabeth Seidel, Intra-Intra, iril, Jannis Schaefer, Kai Ping Liu, LMW Studio, Madeleine K. Wieser, Marie-Louise Høstbo, MO&A, Normal Objects Factory, NŌRIENT, Noah Corban, Stack, Studio Boyo, Studio Coby, 3periodsart and Xiezideren. One quote from a talk during the exhibition stayed with me in particular: “We often talk about whether it’s possible to bring different designers together. But when we look at our own homes, we realise we already live among curated combinations of different pieces. One of the key ideas behind this project was exactly that — creating a community by bringing designers together.” AN EXHIBITION IN A TRANSFORMING DISTRICT Papirøen is one of Copenhagen’s districts currently undergoing transformation. Its name translates to “Paper Island”, referencing its industrial past of newspaper printing houses and paper storage facilities. Today, it is defined by contemporary housing, design-led living spaces, cultural venues and new dining destinations. It was here that the exhibition “Design Starts on Paper” brought together three brands from different disciplines: Hem, BAUX and Swedish lighting brand BLOND. I especially loved Max Lamb’s Min Chair for Hem. The exhibition space itself felt open and slightly futuristic — and lunch sitting on the Min Chair will probably stay with me for a long time. THE APARTMENT DESIGNED BY DUSTY DECO I find myself comparing the aesthetic world of Dusty Deco to Italian brand Artemest. The exhibition created by Dusty Deco at Strandgade 36 — with the remarkable curation and harmony between vintage furniture, interior objects and artworks — reinforced that sense of kinship. The story behind the brand is equally interesting. Edin and Lina Kjellvertz began by travelling the world and collecting unique pieces from flea markets. Later, they decided to close the vintage chapter of the business and focus instead on creating their own collections of furniture, rugs and interior objects. SHOWROOMS AND BRANDS THAT STOOD OUT - During this year’s 3daysofdesign, Fredericia presented a special programme celebrating Danish furniture craftsmanship at its Copenhagen showroom. At the centre of it was Fredericia: A Chronicle of Danish Design, first shown during Milan Design Week 2026 at Triennale Milano. The exhibition explored Fredericia’s role in shaping Danish design through original works, rare vintage pieces and previously unseen archival material. - Walking into Johanson’s showroom, with its spatial design and colour curation by Tekla Evelina Severin (Teklan), felt like stepping into Alice in Wonderland. Within this colourful environment, I had the chance to closely experience Johanson’s new Split series by Färg & Blanche. In Split, the textile surface extends downward and connects directly with the legs, creating a strong relationship between softness and structure. - Ferm Living’s anniversary exhibition “Form of Life”, celebrating the brand’s 20th year, unfolded throughout its headquarters at Kuglegården. For the first time, the company also opened its in-house design studio to the public. - Iittala’s seven-metre-high installation at Ofelia Plads, created to mark the 90th anniversary of Alvar Aalto’s iconic vase, immediately sparked curiosity from the outside. Inside, it almost felt like a spiritual centre. Inspired by the flowing silhouette of the vase, the structure opened towards the sky through a circular cut-out overhead, while different versions of the vase in various forms and colours were displayed throughout the interior. As Iittala Creative Director Janni Vepsäläinen put it, the Aalto vase is not merely an object, but an idea that continues to shape the way we think about design.

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

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

DESIGN & INTERIORS INSIDE 3daysofdesign 2026 JULÀ DESIGNING a SPACE to FEEL GOOD in COLLAGE of ARCHITECTURAL MEMORIES RA! LIVING AROUND a SPIRAL STAIRCASE a SOFTER WORKPLACE DESIGN UNFOLDS ACROSS COPENHAGEN a CONTEMPORARY GATHERING SPACE CALIFORNIA MODERNISM on CANADA’s WEST COAST CASA 333 KRONOTROP ARRIVES in FITZROVIA KEHAI HOUSE the EMPTY PRESENT DEFINED from WITHIN a HOUSE THAT HOLDS its SHAPE USLU ACROSS TWO MILAN STAGES a NEXT-GENERATION OFFICE, SOCIAL CLUB STYLE L’APPARTAMENTO RETURNS RURAL LUXURY, REDEFINED a DIFFERENT KIND of BOUTIQUE at CALA DI VOLPE a BUNGALOW REWORKED RESTORING a QUIET LEGACY Show More

TRAVEL FLOW STATE WAS at 3daysofdesign a TIMELESS LANDMARK in IZMIR ATMOSPHERE OVER NOSTALGIA NOBU TORONTO DRAWS from the JAPANESE RYOKAN a QUIET, WILD RETREAT ISTANBUL’s NEW COOL SPOT: Hovagimyan at DUN ALUINN, TIME SLOWS CINNAMON CANOPY LE SOLEIA: a STORY SHAPED by the SUN THE VERSE, LOCAL WAY an OPEN HOUSE in the HEART of LISBON TWO LANDSCAPES, ONE VISION VELVET HOUSE SILENCE of the ALPS HOTEL SEVILLA: a BASE in MÉRIDA HUMANO TOUCH CHECK IN, TUNE OUT, LOOK CLOSER ALINE ASMAR D’AMMAN on DREAM of the DESERT RESET in BALI: INSIDE the PANCHAKARMA EXPERIENCE a SLOWER WAY to STAY the VOCMOS SPIRIT: SMALL, PERSONAL, and FULL of SOUL Show More

June 8, 2026 | DESIGN & INTERIORS DESIGN UNFOLDS ACROSS COPENHAGEN words YUZU Editorial 3daysofdesign 2026 returns to Copenhagen from 10–12 June, once again unfolding across the city. Shaped around this year’s theme, “Make This Moment Matter”, the festival is organised across eight different Design Districts spread throughout Copenhagen. As always, the festival avoids concentrating design in a single fairground setting. Instead, it invites visitors to experience Copenhagen in a slower, more conscious way — moving through the city and discovering how design intersects with public space and everyday life. Rather than functioning as a conventional fair, the festival encourages visitors to experience Copenhagen itself. Here are this year’s districts and our selection of exhibitions from each neighbourhood: 1- CHRISTIANSHAVN Material Matters, HAY, Dusty Deco, rombach glas 2- FREDERIKSSTADEN SANCAL, Designmuseum Danmark, USM Modular Furniture, Magnus Olesen, Designs of the Time, Studio Pallavi, ALPI 3- HOLMEN Ferm Living, BOLIA, Louis Poulsen, Marazzi, BLOND, Hem, BAUX, 3XN GXN, The Royal Danish Academy 4- ISLANDS BRYGGE Tomomi Yokoyama Design, Seiko Akashi Design, Rosti, Københavns Møbelsnedkeri 5- KONGENS NYTORV 101 Copenhagen, Aesop X Other Matter, Arthur Rottier, Carl Hansen & Søn, FRAMING, LAYERED, Magis, NORDICMODERN, raawiii, SAVO, Secto Design 6- KULTUR Danish Architecture Center, Local Gallery, Tina Frey Designs, Objects of Desire, Homo Faber Fellowship, FANZI 7- NORDHAVN GUBI, Parachilna, Origin Made, VELUX, ARIAKE, Zimmer + Rohde, Ladies & Gentlemen Studio 8- ROSENGÅRDEN &Tradition, Fritz Hansen, Montana Furniture, Fredericia, Louise Roe, A-N-D, TABLEAU + SECOLO, ASKO, Matias Moellenbach MEETING POINTS: i—Points Introduced last year, the i—Points return as one of the festival’s meeting points. Located across different parts of the city, these spaces offer visitors a place to pause, navigate the programme, connect with others and shape their own route through the festival. TERENZIANI: REAL IMPACT HAPPENS IN THE PRESENT This year’s theme, “Make This Moment Matter”, was visually developed by the emerging design studio and exhibition platform On Display. Speaking about the theme, Signe Byrdal Terenziani, CEO of 3daysofdesign, says: “We are living in a time shaped by chaos, uncertainty and filtered realities. As a result, people are searching for deeper meaning. Make This Moment Matter is a powerful reminder that the only place where we can truly make an impact is the present moment. The past inspires us, the future motivates us — but real impact can only be created in the here and now.” DESIGN SHOULD BE ABOUT INTENTION, NOT SPECTACLE For Terenziani, the theme also functions as a call to action: “Designers are increasingly questioning the role of their own practice: Why are we making this? What purpose does it serve? How does it affect our communities and the planet? When you say Make This Moment Matter, you also acknowledge that the choices we make have long-term consequences. It encourages us to switch off autopilot and act more consciously. That includes the collaborations we build, the ideas we develop together and the stories we choose to tell. At the same time, the theme carries a sense of optimism. It reminds us that design can help us shape a better future together.” Could “Make This Moment Matter” also be read as a response to overproduction and overconsumption? Terenziani’s answer is direct: “Absolutely. It invites us to pause before producing something new and ask whether it genuinely adds value to people, culture and the planet. I believe design should be about intention rather than spectacle. This theme encourages us to focus not on ‘more’, but on what is truly meaningful.”

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.” Out of gallery 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. Out of gallery 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

February 2025 | VOL 14 HOLISTIC STAY words Alp Tekin The sun of the Canary Islands casts dreamy shadows over the palm-lined Arico Valley on the southeastern coast of Tenerife. A warm breeze rustles through the lush lavender, rosemary, and cypress bushes, filling the air with a delightful aroma. There’s hardly a soul in sight—just a cluster of traditional houses surrounding EcoHotel El Agua. Nestled among expansive olive groves, EcoHotel El Agua is a stylish blend of design, integrative medicine, and sustainability. From the epigenetic test you take right when you arrive to the Wim Hof exercises before breakfast, everything is designed with a holistic touch. The hotel’s founder, Anthony Picq, has carefully restored a 200-year-old abandoned stone farmhouse and transformed the dry land into a lush oasis filled with olive, lemon, banana, and palm trees. With a passion for Hippocratic medicine, phytotherapy, and naturopathy, Anthony has also created a fantastic menu of treatments and programs for guests to enjoy during their stay. Anthony, how did you decide to create EcoHotel? What was your goal in building the hotel? More than a goal, creating EcoHotel is a mission for me. It's rooted in the philosophy of preventive medicine inspired by Hippocrates. My goal is to promote sustainability and holistic health in a space that reflects the principles of wabi-sabi, an aesthetic that celebrates beauty in imperfection. This hotel is designed to nurture both the environment and the well-being of our guests, creating a harmonious experience that aligns with these values. In our design process, we prioritized sustainability, ensuring that all materials and techniques are eco-friendly and in harmony with the surrounding environment. We also focused on creating versatile spaces that promote well-being and relaxation, allowing guests to immerse themselves in nature. The design embodies a wabi-sabi aesthetic that celebrates natural imperfection and fosters a sense of peace. Ultimately, our goal was to create a space that not only looks beautiful, but also supports the holistic lifestyle we advocate. You describe EcoHotel as “not just a hotel, but a search for a holistic way of life”. Could you elaborate on that? What is a holistic lifestyle, and what exactly do you promise your guests? When I say, "It's not a hotel, it's a search for a holistic way of life," I mean that EcoHotel transcends traditional hospitality. A holistic lifestyle encompasses a balanced approach to well-being, integrating physical, mental, and emotional health. It recognizes the intricate connections between our environment, our health, and our overall quality of life. At EcoHotel, we promise our guests an immersive experience that fosters this holistic way of living. This includes wellness programs that promote preventative medicine, sustainable practices that honor the planet, and soothing design inspired by Wabi-Sabi, which encourages mindfulness and appreciation of life’s imperfections. Our goal is to create an environment where guests can rejuvenate, reconnect with nature, and cultivate a deeper understanding of what it means to live in harmony. Through workshops, healthy dining options, and nature-inspired activities, we aim to empower our guests to embrace this holistic philosophy long after their stay. The food experience at the hotel is also noteworthy. Guests can choose between vegan, raw vegan, or vegetarian cuisine, all served in a unique cave setting. Can you provide more details about this dining experience? Yes, that's correct! At EcoHotel, we provide a unique food experience that emphasizes a farm-to-table philosophy, utilizing organic, seasonal, and locally sourced products. Our Ecochef, Kalo, is a true culinary artist, crafting what we define as healthy and delicious gastronomy. Guests can choose from vegan, raw vegan, or vegetarian cuisine, all thoughtfully prepared to highlight the flavors and nutritional benefits of the ingredients. Meals are served in a mystical cave setting, surrounded by the lush greenery of the tropical forest and complemented by a serene swimming pool with crystal-clear blue water. This transcendent dining experience is enhanced by a tranquil atmosphere, free from electromagnetic waves—only the gentle breeze and the serene silence of nature accompany you during your meal. Hotels like the EcoHotel, which are ecologically conscious and also serve as retreats, are on the rise. What changes do you foresee in the accommodation industry in the near future? The rise of eco-conscious hotels like EcoHotel reflects a broader shift in the accommodation industry toward retreats that prioritize well-being and a connection to nature. In the near future, I anticipate a growing demand for disruptive offerings that provide healing spaces where guests can truly connect, disconnect from the hustle and bustle of everyday life, and regenerate both body and soul. Travelers are increasingly seeking accommodations that offer beautiful architecture, healthy food options, and opportunities to learn about sustainable and healthy habits. This shift is moving away from the conventional all-inclusive resorts that often dominate the tourism landscape. While all types of tourism can coexist and share the market, there has been an extraordinary need over the past four years for new spaces that allow people to spend days immersed in therapies, enjoying good vibes and surrounded by exquisite gardens and natural beauty. I believe this trend will continue to grow as more travelers prioritize experiences that promote wellness, sustainability and a deeper connection to the environment during their stays. for more Print VOL XIV - 2024 / 25 ₺970,00 Price Add to Cart

November 2023 | Travel | Vol 11 TR below UMBERTO 121 words Alp Tekin photos Meritxell Arjalaguer Montisi (Montalcino) is one of five municipalities in Val d’Orcia, a UNESCO world heritage site. Umberto 121 is located in the center of this village, in a typical Tuscan building. The emergence of Umberto 121 was during the Covid epidemic! The homeowner couple in the leading role of this story were living in Barcelona at the time and decided to buy this place in the summer of 2020. Afterwards everything was very fast. A few months later, the couple left Barcelona with their two daughters and settled in Montisi, a town with a population of 300. MORE FRESCOES EMERGE Dating back to the 14th century, Umberto 121 is undergoing a renovation process, preserving its original architecture and features reflecting different periods, in line with the passion and guidance of its new homeowners. First of all, the house is cleared of unnecessary elements which were added in recent years. Thus, frescoes from 1800 and mosaics from 1930 become more visible. Then, the rooms and common areas are renovated with attention to detail. The original doors, floors, exposed beams and 19th-century frescoes remain untouched. As a matter of fact, the homeowners, who saw that only the walls of two rooms were covered with frescoes when they bought the house, begin to unearth more and more frescoes day by day. And as a result, Umberto 121 is created, each room with a separate identity and story. FOR MAXIMUM 12 PEOPLE IN ITS ENTIRETY Umberto 121, whose rooms include original lamps from different periods as well as furniture purchased from Italian and Spanish antique dealers, can be rented as a whole for a maximum of 12 people. To rent a smaller number of rooms, it is necessary to contact the homeowners. But in any case, the minimum stay is four nights. If you would like to stay at Umberto 121, we recommend you visit the website: www.umberto121.com Montisi (Montalcino), UNESCO dünya mirası alanı olan Val d’Orcia’daki beş belediyeden biri. Umberto 121 işte bu köyün merkezinde, tipik bir Toskana binasında yer alıyor. Umberto 121’in ortaya çıkışı ise Covid salgını dönemi! Hikâyenin başrolündeki ev sahibi çift, o dönem Barselona’da yaşıyor ve 2020 yazında burayı satın almaya karar veriyor. Sonrası çok hızlı. Birkaç ay sonra ev sahibi çift, iki kızlarıyla birlikte Barselona’dan ayrılıp 300 nüfuslu Montisi’ye yerleşiyor. DAHA ÇOK FRESK ORTAYA ÇIKIYOR Tarihi 14. yüzyıla kadar uzanan Umberto 121, yeni ev sahiplerinin tutkusu ve yönlendirmeleri doğrultusunda özgün mimarisi ve farklı dönemleri yansıtan özellikleri korunarak yenilenme sürecine giriyor. Öncelikle son yıllarda eklenmiş gereksiz unsurlardan ev arındırılıyor. Böylece 1800’den kalma freskler, 1930’dan kalma mozaikler daha görünür bir hal alıyor. Daha sonra ise odalar ve ortak alanlar detaylara dikkat edilerek yenileniyor. Orijinal kapılar, zeminler, açık kirişler ve 19. yüzyıldan kalma fresklere asla dokunulmuyor. Nitekim evi satın aldıklarında sadece iki odadaki duvarın freskle kaplı olduğunu gören ev sahipleri, gün geçtikçe daha fazla freski gün yüzüne çıkartmaya başlıyor. Ve sonuçta her odası ayrı bir kimliğe ve hikâyeye sahip Umberto 121 yaratılmış oluyor. TAMAMI MAKSİMUM 12 KİŞİ İÇİN Odalarında farklı dönemlere ait orijinal lambaların yanı sıra İtalyan ve İspanyol antikacılarından alınma mobilyaların yer aldığı Umberto 121’in tamamı, maksimum 12 kişi için kiralanabiliyor. Daha az sayıda oda kiralamak için ev sahipleriyle iletişime geçmek gerekiyor. Ama her durumda minimum konaklama süresi dört gece. Eğer Umberto 121’de konaklamak isterseniz web sitesini ziyaret etmenizi öneririz: www.umberto121.com for more Print VOL XI - 2023 / 24 Out of Stock Add to Cart

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.

January 2023 | Travel | Vol VII english below MASSERIA MOROSETA yazı Onur Baştürk fotoğraflar Salva Lopez O penhouse dergisinin kurucularından Andrew Trotter’nin tasarladığı ilk mimari yapı olan Masseria Moroseta, Puglia kırsalının tam kalbinde, İtalyanlar’ın “Citta Bianca (Beyaz Şehir)” diye tanımladıkları büyüleyici Ostuni’ye sadece üç kilometre uzaklıkta. Masseria Moroseta, bölgede sıkça bulunan ve “masserie” olarak bilinen eski çiftlik evlerinden ilhamla yapılmış modern bir butik otel. Çoğunun yaşı 500’e kadar dayanmış zeytin ağaçlarının olduğu beş hektarlık bir arazinin içinde yer alan otelin yapımında geleneksel teknikler ve yerel malzeme kullanılmış. Sadelik ve basitlik ise tasarımın iki anahtar kelimesi olmuş. AVLUDAKİ UZUN MASALARDA AKŞAM YEMEĞİ Geleneksel çiftlik evlerinde olduğu gibi Masseria Moroseta’da her şey ortadaki avlunun etrafında şekilleniyor. Avluyu bölen ortadaki merdiven ortak alan ve odalara geçişi sağlıyor. Geniş avlu içinde gerçekleşen ve tüm misafirlerin toplu halde uzun masalara oturduğu akşam yemekleri ise Masseria Moroseta’nın olmaz olmazı. Şef Giorgia Eugenia Goggi bu akşam yemekleri için çiftlikte yetişen mevsimsel ürünleri her sabah dikkatli bir şekilde seçiyor ve ortaya her gün değişen geçici bir menü çıkıyor. Yemeklere eşilik eden zeytinyağı da otelin kendi zeytinliğinin üretimi. Şef Goggi, “Soğuk sıkım zeytinyağımız tartışmasız mutfağımızın kahramanı” diyor. EKOLOJİK TASARIM Masseria Moroseta’nın tasarım detayları da özenle düşünülmüş. Sadece görünüm olarak değil, ekolojik olarak da. Mesela tonozlu tavan, taş zemin ve geri dönüştürülmüş yalıtıma sahip 80 cm’lik duvarlar sayesinde otel kışın çok az ısıtmaya ihtiyaç duyuyor. Yazın da klima kullanımı neredeyse minimumda. Çünkü en sıcak günlerde bile içerisi serin oluyor. Ayrıca çapraz havalandırma pencereleri ile tüm alanların ekstra havalandırılmasına gerek kalmıyor. Güneş panelleri tüm otele yeterli elektrik ve ısıyı sağlıyor. Otelin organik çiftliğinde ise hem kendi su kaynakları var hem de yemeklerde kullanılan tüm malzemeler orada yetiştiriliyor. YAKIN MESAFEDEKİ NEFİS KASABALAR Otelden dışarı çıkınca keşfedilecek çok fazla şey var. Mesela arabayla 12 km uzaklıktaki Torre Guaceto. Yapılaşmadan uzak, korunmuş doğal plajlarıyla nefis bir denize sahip olan Torre Guaceto’yu bisiklet kiralayarak gezmek de mümkün. Otele kısa sürüş mesafesinde olan diğer kasabalar da birbirinden nefis: Cisternino, Alberobello, Martina Franca, Lecce ve tıpkı Ostuni gibi göz alıcı bir beyazlığa ve yerleşime sahip Polignano al Mare. MASSERIA MOROSETA writer Onur Baştürk photo Salva Lopez D esigned by Andrew Trotter, co-founder of Openhouse magazine, Masseria Moroseta is right in the heart of the Puglia countryside, just three kilometers from the charming Ostuni, which Italians call "Citta Bianca (White City)". Masseria Moroseta is a modern boutique hotel inspired by the old farmhouses commonly found in the area, known as the “masserie”. Traditional techniques and local materials were used in the construction of the hotel, which is located on a five-hectare land with olive trees, most of which are up to 500 years old. Simplicity and simplicity were the two keywords of the design. DINNER AT LONG TABLES IN THE COURT As in traditional farmhouses, everything in Masseria Moroseta is shaped around the central courtyard. The middle staircase dividing the courtyard provides access to the common areas and rooms. Dinners, which take place in the large courtyard and where all the guests sit at long tables, are a must at Masseria Moroseta. Chef Giorgia Eugenia Goggi carefully selects seasonal farm-grown produce for these dinners each morning, resulting in a temporary menu that changes daily. The olive oil that accompanies the meals is also the production of the hotel's own olive grove. “Our cold-pressed olive oil is the undisputed hero of our cuisine,” says Chef Goggi. ECOLOGICAL DESIGN The design details of Masseria Moroseta have also been carefully considered. Not only visually, but also ecologically. For example, the hotel needs very little heating in winter, thanks to the vaulted ceiling, stone floor and 80cm walls with recycled insulation. In summer, the use of air conditioners is almost at a minimum. It stays cool even on the hottest days. In addition, there is no need for extra ventilation of all areas with cross ventilation windows. EXCELLENT TOWNS NEARBY There is so much to discover once you step out of the hotel. For example, Torre Guaceto, which is 12 km away by car. It is also possible to visit Torre Guaceto, which has a beautiful sea with its protected natural beaches, away from construction, by renting a bicycle. Other towns within a short drive from the hotel are also delightful: Cisternino, Alberobello, Martina Franca, Lecce and Polignano al Mare, which has a striking whiteness and settlement just like Ostuni.

Ağustos 2020 | Seyahat | Yunanistan Bir yaz hayali: Parilio Yazı | Onur Baştürk S ınırlar açılsa hemen ertesi gün soluğu Yunan Adaları’nda alacak birçok insan tanıyorum. Bu ayıplanası bir şey değil. Kendi topraklarını sevmemek anlamına da gelmiyor. Çoğu insan için Yunan Adaları’nın temsil ettiği şey aslında şu: Eski ya da özgün olanın aynen korunmuş olması. Hiç değişmemesi. Gittiğiniz koyun ertesi yaz herhangi bir yapılaşmayla bozulmaması… O tahta sandalye. O romantik ve rahatsız etmeyen dozunda salaşlık… Ne bileyim; tüm bunların hepsi denilebilir işte. Bir yandan yeni şeyler de olmuyor değil Yunan Adaları taraflarında. Orijinal ruha sadık kalarak yaratılan yeni ve özgün şeyler. YUZU olarak onların peşindeyiz zaten. Radarımıza giren otellerden biri de Paros’taki Parilio. Sevgili Serdar Kutucu sayesinde (hatırlayınız; Yaz Sayısı’nda CEO’su olduğu yeni topluluk Slow’u konuşmuştuk kendisiyle) keşfettim Parilio’yu. Bu yaz bizzat gidip göremesem ve sadece fotoğraflarına bakıp iç geçirsem de, önümüzdeki yaz kalmayı en çok istediğim oteller listesinin ilk sıralarında yer alıyor Parilio. 33 SÜİTİ VAR Sizi otelin nefis fotoğraflarıyla baş başa bırakmadan önce biraz bilgi vermek isterim… Design Hotels üyesi Parilio, Naoussa Körfezi'ndeki Kolympithres plajıyla Naoussa balıkçı köyü arasında yer alıyor. Otel, adanın her yerinde bulunan blok beyaz mimari stilini kendi organik, sade lüks markasıyla harmanlamış. Aurora, Halo, Uranus süitleri ve özel havuzuyla Sun Suite; Parilio’yu oluşturan ana parçalar. Unutmadan toplam 33 süit var. Parilio restoranıyla da iddialı. Şef Alexandros Tsiotinis, adanın gastronomik mirasını simgeleyen yemekler sunuyor misafirlere. Otelin en dikkat çekici yeri ise iki etkileyici kayanın yer aldığı havuz ve güneşlenme terası. Özellikle gün batımında manzaranın bu noktadan şahane olduğunu söylüyor Parilio’cular… 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

Nisan 2020 | Seyahat | Amerika Issız kanyonun ortasında: Amangiri Yazı | Özlem Avcıoğlu U tah ve Arizona sınırında, kuş uçmaz kervan geçmez bir bölgede, kanyonların hemen içinde dünyanın en lüks otellerinden biri bulunuyor: Amangiri! Ünlü Aman Otelleri zincirinin sıra dışı üyelerinden biri olan Amangiri, doğa harikası Glen kanyonu ile Colarado nehrine bağlanan Lake Powell kıyılarına yarım saat uzaklıktaki dev arazinin içinde. Adeta kayaların arasına karışmış bu lüks oteldeki deneyimime geçmeden önce oraya varış hikayemi ve görülecek yerleri anlatmam gerekiyor. ÖNCE LAS VEGAS’A UÇUN Yıllardır izlemekten sahneleri hafızamıza kazınmış western filmleriyle ıssız, upuzun yollarda geçen araba sahnelerinin gerçek mekanı olan Amerika’nın güney batısına yolculuk için en iyi başlangıç seçeneği Las Vegas’a uçmak. Çünkü Phoenix ya da Denver’dan aktarmalı uçuşlar rötar yapabiliyor. Hem de vahşi batıda araba kullanma fikri çok çekici! Ben de arkadaşım Esra’yla New York’tan Las Vegas’a uçtum. Bir gece orada kaldıktan sonra ertesi sabah kiraladığımız araba ile Amangiri’ye doğru yola düştük. ÖNCE GRAND CANYON 446 kilometre uzunluğundaki Grand Canyon, Arizona’da bulunmasına rağmen Utah ve Nevada’ya kadar uzanıyor. Las Vegas’tan doğuya doğru yönelirseniz üç saat içinde ana kanyona ve derin yarların bulunduğu ‘National Park’a ulaşıyorsunuz. Bu park kanyonlar bölgesinin en ucunda. Kanyon, Colarado Nehri’nin kanalı milyonlarca yılda yarmasıyla oluşmuş ve bazı bölgelerinde derinlik 1600 metreye kadar ulaşıyor! Bu inanılmaz dev yarlara bakınca dünyanın iki milyar yıllık tarihine de tanıklık etmiş oluyorsunuz. BÜYÜLEYİCİ: ZION NATIONAL PARK Kuzeye doğru ilerledikçe doğa gerçekten vahşi batıya dönüşüyor. Uzun ve ıssız yollarıyla filmlerde gördüğümüz, 1930 ve 1950’li yıllar arasında eminim binlerce gangsterin gizlice gömüldüğü Nevada Çölü çıkıyor karşımıza. Uzun bir yolculuk sonrası Nevada/Utah sınırına varıyoruz. Burada gezilmesi gereken yerlerden biri kesinlikle doğa harikası ‘Zion National Park’. Zion, yüzyıllarca kuvvetli su akıntıları tarafından oyulmuş, rüzgar, yağmur ve buz gibi doğa olaylarıyla yeniden şekillenmiş kanyonlardan ibaret. Geçitleri, tünelleri, dağlarda trekking yapan insanları ve yemyeşil deresiyle büyüleyici bir yer! NAVAJO YERLİLERİNİN ŞİFRELERİ Sırada Grand Canyon’un en kuzey ucunda bulunan, Lake Powell kıyısındaki Antelope Canyon var. Burası Amerika’nın yaşayan en büyük Kızılderili kabilesi ‘Navajo Reservation’ın ana yerleşim bölgesi. Bu noktada izlemeyenler için 1992 yapımı Windtalkers (Rüzgarla Konuşanlar) filmini anımsatayım. Filmde Navajo yerlilerinin gerçek hikayesi anlatılır. Hikaye de şu: İkinci Dünya Savaşı sırasında Japonlar, Amerikalıların geliştirdiği her şifreyi kırıp haberleşmelerini dinlemeyi başarır. Bunun üzerine Amerikan ordusu yüzlerce Navajo yerlisini askere alır ve onların konuştuğu dilden kırılması çok zor yeni bir kod geliştirir. Bu yerliler Pasifik’te haberleşmede görev alır ve anında şifre çözüp Amerikan ordusunun hızını artırmaya yardımcı olurlar. SONUNDA ‘AMANGİRİ’ GÖRÜNDÜ! Varış noktamıza çeşitli badireler atlatarak, sekiz saatlik bir araba yolculuğu sonrası ulaşıyoruz ama Amangiri Oteli o denli doğa içinde kaybolmuş bir yer ki, ufacık tabelasının önünden geçip gidiyoruz tabii ki! Nihayetinde, “Kapınız nerede?” diye oteli arıyoruz ve tekrar geriye dönüp koskoca kanyonların içindeki ufacık zili buluyoruz! Kapı açılıyor. Bu kez bir yolda ilerlemeye başlıyoruz. Ama git git, hala gözüken bir bina yok! Yolun sonunda doğanın içine oyulmuş ve neredeyse onunla bir olmuş ‘resort’un kapısına ulaşıyoruz. BU OTELDE KİMSE YOK MU? Doğal ortama uyması, hatta kaybolması için büyük çaba sarf edilmiş mimarisi ve kaya oluşumlarını içine alan havuzuyla gerçekten dünyanın en güzel resort otellerinden biri Amangiri. Oteldeki her şey açık toprak rengi. Otelin dışı kadar iç bölümlerinde de bu sakinlik, dinginlik tonu devam ediyor. Otel 34 süitten oluşuyor. Hemen her Aman’da olduğu gibi burada da diğer odalarda kalan müşterilerle karşılaşmıyorsunuz. Sanki bütün resort kendi evinizmiş gibi hissediyorsunuz. Genelde kalanlar akşam yemeklerini kanyon manzaralı teraslarında yiyor. Otelin restoranında tek tük insan oluyor. 23.00’DAN SONRA İÇKİ YOK! Bu arada bana çok ilginç gelen bir kuralla karşılaştık. Amangiri’nin de konuşlandığı Utah’ın kanunlarına göre sadece sabah 11.00 ve akşam 23.00 arası içki servisi yapılabiliyor. Amangiri’de restoran harici bar zaten yok. Süitlerdeki mini barlarda da içki bulunmuyor. Yani gece 23.05 gibi bir bardak şarap alayım derseniz, yasak! “Yahu kanyonların ortasındayız, kim görecek bizi?” diye tutturmama rağmen, “Kural kuraldır” demişti otel görevlileri bana. Bu açıdan kendine özgü bir eyalet Utah. Popüler kültürde Salt Lake City ve Sundance Film Festivali ile bilinse de farklı katmanlara sahip. Halkının büyük çoğunluğunu oluşturan tutucu Mormonlar’ın inanış ve kuralları eyaletin bütününü etkilemiş durumda. Hemen hemen hiç bar bulunmayan eyalette, garsonların size “Ne içersiniz?” diye sormaları bile yasak! Ancak kendiniz içki istediğiniz takdirde servis yapılıyor bu eyalette. Eyaletin Arizona’ya yakın olan taraflarında ise Kızılderili inanışları ve yaşamı halen hüküm sürüyor. Bunun yanı sıra Utah, Amerika’nın en az polisiye vakalarının olduğu, en temiz ve yaşam şartlarının yüksek olduğu bir eyalet aynı zamanda.