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.

March 2025 | DESIGN & INTERIORS GENERATIONAL FUSION words Karine Monie photos Tina Kulic (interior design) + James Han (portraits) interior design Atelier Fen In the heart of Vancouver, British Columbia, a bespoke home has emerged as a striking example of design that bridges generations. Atelier Fēn, led by visionary designer Sha Wang, has crafted a residence that deftly marries the sleek, black-and-white minimalism favored by its Gen Z inhabitants with the refined luxury and upscale materials adored by their parents. The result is a space that is as functionally refined as it is artistically expressive—a true celebration of thoughtful design and craftsmanship. BALANCING DIVERSE One of the project’s most impressive challenges was harmonizing the distinct preferences of two very different generations. The homeowners, in their 50s, desired a warm, luxurious feel enriched with marble and high-gloss finishes. In contrast, their children, in their 20s, leaned toward a contemporary, minimalist aesthetic defined by a bold black-and-white motif. The floor plan underwent 13 revisions, reflecting a dynamic process of negotiation and refinement. “Each [member] had unique needs and styles, but in the end, we found a design solution that made everything come together, ensuring each family member felt a sense of belonging in their own space,” Wang reveals. Her human-centered approach transforms each project into a canvas that captures the evolving essence of its inhabitants—a journey that is as personal as it is creative. SERENITY IN DESIGN The design ethos of this home is centered on creating a sanctuary that encourages relaxation while maintaining a sophisticated aesthetic. With sleek lines, sculptural furniture, and a deliberate avoidance of excessive ornamentation, every room invites both comfort and contemplation. “The design encourages relaxation while maintaining sophistication,” explains Sha Wang, whose approach emphasizes clean, unobtrusive beauty that serves both form and function. A RICH PALETTE OF NATURAL SELECTIONS A sumptuous color palette forms the backbone of the interior, blending hues of beige, white, gold, camel, black, and blue-gray. Wang’s commitment to natural materials is evident throughout—wood, stone, linen, and wool bring warmth, texture, and authenticity into every room. On the main floor, Shinnoki Manhattan Oak offers timeless appeal, while the basement contrasts with black-stained natural oak veneer, creating an engaging interplay of light and shadow. DECO HIGHLIGHTS The family room exudes architectural symmetry and visual intrigue. Apparatus Studio Lantern pendants elegantly frame the fireplace, while custom millwork blends storage with artistic flair. A B&B Italia Serie Up armchair adds a playful, sculptural accent against the warmth of Shinnoki Marathon Oak panels, and a carefully chosen rug from The Rug Company, sourced via Avenue Road Vancouver, ties the space together with refined cohesion. In the kitchen, comfort meets elegance at a striking island that doubles as a dining area. Custom-shaped with concealed bench seating and supported by geometric brass accents, the island is clad in bold Panda White marble—a nod to Asian watercolor aesthetics that injects quiet drama into the heart of the home.

April 2025 | DESIGN & INTERIORS A SINGLE MAN HOUSE words Laura Cottrell photos Carbonelli & Seganti Drawing inspiration from Tom Ford’s A Single Man, this Rome residence bursts with creative energy and daring sophistication. Nestled on one of the city's most charming streets, the home transforms a classic artist’s atelier into a vibrant modern haven, celebrating high ceilings and captivating urban heritage—all masterfully envisioned by MarguttArchitetture founder Enzo di Claudio. Step inside and be greeted by a dramatic living area boasting nearly six-meter-high ceilings. A striking, natural-iron staircase not only bridges the two floors but also highlights an impressive full-wall bookshelf. This modular marvel, crafted around the golden ratio, pays a stylish nod to Japanese design icon Shiro Kuramata, infusing the space with an unmistakable avant-garde flair. The renovation kicked off with robust structural restoration that revealed the home’s original wooden ceilings and reopened a majestic arched window. This architectural gem frames a secret bohemian garden facing the Pincio, creating a dynamic interplay between bustling street energy and serene natural beauty. Upstairs, the private area dazzles with a crystal-clear bathroom, complete with a luxurious Turkish bath, serving as a chic backdrop for an expansive, transparent wardrobe. A visual thread connects this sophisticated space to a lower-floor retreat known as “Campanile.” With its dramatic proportions—a compact footprint soaring to a 6-meter height—this intimate room is designed for moments of deep reflection, melodic tunes, and immersive reading. Innovative lighting solutions add the final touch of modernity. Strategically placed spotlights, fixed to robust steel beams, work in harmony with the stunning Candela di Vals suspension lamps by Viabizzuno, casting a captivating glow that transforms every corner of the home. A Single Man House is not just a residence—it’s an exhilarating experience of art, design, and passion, boldly redefining what home can be in the heart of Rome.

April 2025 | DESIGN & INTERIORS LUCAS ZITO TAKES OVER MILAN words Onur Baştürk During Milan Design Week, your designs will be showcased across eight different venues throughout the city, almost as if you're set to take over with your creations. How did this extensive exhibition and organizational process come together, and which exhibitions should we be sure to see in sequence? I enjoy sharing my work within different contexts. Fortunately, there are even more possibilities than last year! During this year’s Milan Design Week, my work will be exhibited at eight distinct presentations: - GOOD SELECTION In addition to my Pan and Patch collections, previews of the works of 60 other designers will be featured. (Via Santa Cecilia 12B, Varedo) - NO SELECTION A special exhibition, highlighting the creative process of 41 of the 61 GOOD SELECTION designers. (BIM, Viale Piero e Alberto Pirelli 10) - MASTERLY / The Dutch in Milano Presentation of a 6m-high light installation from the Ivy collection. (Palazzo dei Giureconsulti, Piazza dei Mercanti 2) - LABÒ / Cultural Project Presentation with Modern Metier of the Buoy Café collection. (Fondazione Rodolfo Ferrari, Via Biella 6) - ForA / La Fabbrica del Vapore Presentation of select pieces from my new Patch collection. (Via Giulio Cesare Procaccini 4) - COMUNE Presentation with Polish design collective Dérive. (Superspatial, Via Nicola Antonio Porpora 126) - GALLERIA ROSSANA ORLANDI / RoCollectible Presentation of a special edition of the Buoy Offcut range, from the coffee-colored Dolls collection. (Via Matteo Bandello 14-16) - ATLAS CONCORDE STUDIO MILANO Presentation of the Buoy floor lamps and Offcuts in the center of Brera. (Via San Marco 12) AN EXHIBITION FOR US, BY US Among these exhibitions, the GOOD SELECTION—launched with Marika Caputo—stands out. What inspired the idea of curating an exhibition that brings together over 60 designers? GOOD SELECTION is a group exhibition, initiated and orchestrated by me and Marika Caputo, stands out for its collaborative ambition and international scope. It brings together over 60 international designers in a spirit of collaboration and networking. Conceived as a laboratory for encounters and exchanges, the exhibition brings together talents from all over Europe and beyond, offering an insight into contemporary creation in all its forms. After the first successful edition during Paris Design Week, GOOD SELECTION moves to a former furniture factory in Varedo with a 300 m2 space during Milan Design Week. In an increasingly dominated sector by complex commercial mechanisms, GOOD SELECTION is an accessible and non-profit alternative that frees artists from intermediaries and the high economic impositions characterizing the traditional design market. The elimination of any type of filter creates a more transparent and accessible sales system, giving full autonomy back to the designers. The exhibition of works does not imply giving up one’s economic autonomy; on the contrary, the sale guarantees a full profit for the artist, without any commission. “An exhibition for us, by us” is the motto that encapsulates the spirit of the project: an exhibition conceived and realized by designers, for designers. This is precisely why the project carries an intrinsic and indissoluble bond between artists in its DNA, rooted in the mutual awareness of being understood and valued. Although the excellence of design is showcased, the silent struggles of each artist are never forgotten: the twists and turns of the paths that lead designers to be recognized as such are often the common denominator. In fact, every artist shares an experience that translates into an authentic connection, fostering the creation of a dynamic and self-sustaining community where collaboration and mutual support are fundamental pillars. Similarly, for the works, what is sought is the complementarity and completeness of the pieces: the goal is to incorporate a wide variety of techniques, cultures, and disciplines, hoping that these can serve as inspiration for others and a stimulus for growth. In this new scenario, the artist is no longer just a creator but also a promoter and guardian of their own value, capable of establishing an authentic relationship with the public that enriches them in every way. The exhibition unfolds through different setups, where objects from various artists interact with each other, creating micro-scenarios that are either opposite or complementary. Each pairing becomes an act of enhancement, a moment in which the object itself emerges, revealing new potential. In this space, the exhibition transforms into a true promenade through different works and personalities: a path that guides the spectator, allowing them to immerse themselves in a plurality of universes, each with its own evocative power and perceptual capacity. Each scenario will be designed so that the relationship between the observer and the object is direct, encouraging true immersion. The fluid exploration of the space and objects in their entirety will enable the audience to feel more involved. The intent, in fact, is not to elevate the object to the status of a work of art by isolating it, but rather to bring it closer to the audience, so that it can be experienced personally and, most importantly, connected to each individual’s daily life. I ORIENTED MYSELF MORE TOWARD THE GENERAL DESIRE TO CREATE VALUE Since the beginning, your design approach has focused on merging aesthetics and functionality through ecological sustainability. Your 3D-printed designs have become your signature, and with the Buoy collection, you've captured widespread admiration. Have you integrated any new techniques or technologies into your eco-sustainability approach, or in other words, what additional measures have you taken to enhance this approach? I oriented myself more toward the general desire to create value, whether that value is expressed in physical forms or remains something to carry and embody. For this reason, alongside my constant experimentation with materials and forms, in September 2024 during the Paris Design Week, GOOD SELECTION was born, marking the beginning of a new direction, that of curating. The project embodies a value that transcends materiality, formed through cohesion, dialogue, and the creation of connections. It is not merely a showcase for design, but a bearer of a collective vision that unites artists with the intention of enhancing the power of collaboration and community. What are the key elements you consider most important in eco-sustainable design? Next to durability and recycled material especially beauty and quality so the owner/ user will respect, cherish and take good care of it which increases the life-span and reduces the ecological footprint. I ENJOY FOCUSING ON LIGHTING, TRANSLUCENCY AND THE INTERPLAY WITH SCALE Why choose lighting design? Do you plan to venture into other design fields as well? I enjoy focusing on lighting, translucency and the interplay with scale. My particular interest is to make light palpable and dense through the use of transparent materials refracting and diffracting the light.

March 2025 | DESIGN & INTERIORS BROOKLYN SANCTUARY: a MODERN ECLECTIC HAVEN words Karine Monie photos Brian W. Ferry interior design Lucy Harris Studio styling Katja Greeff In a row of new brownstones in Brooklyn, one home truly stands out. With bespoke landscaping in both front and back gardens and ample outdoor spaces—including a spacious terrace—the residence serves as a sanctuary for a young couple and their new baby. Enlisting the expertise of Lucy Harris Studio, the owners transformed their townhouse into a retreat that blends functionality with artistic flair. AN IMPOSSIBLE BOUQUET OF DESIGN Lucy Harris’s creative approach was inspired by the idea of an “impossible bouquet,” where colors, materials, and inspirations that might not normally coexist come together in harmonious contrast. The project marries peaceful, eclectic spaces ideal for entertaining with intimate areas for quality time. Vintage pieces and creations from small-scale makers lend the home its distinctive character, while playful geometric patterns and natural materials maintain a sophisticated yet relaxed atmosphere. CRAFTING A FAMILY-READY RETREAT “The client wanted a beautiful and practical space that the family could grow into,” says Lucy Harris. "With their first child arriving during the project, the design needed to be alluring yet entirely baby-ready. The couple’s time in the southwestern U.S. and their love of travel inspired elements that evoke a relaxed, nature-infused feel without being overly literal" SEAMLESS INTEGRATION OF INTERIOR AND EXTERIOR Lucy Harris spent 1.5 years meticulously designing spaces with soft edges that encourage open gathering. Interior and exterior elements were developed simultaneously, resulting in a fluid, cohesive environment. Bold features like the custom living room millwork, expansive rug, and striking foyer tile arrived as the final touches that truly brought the design together. The dining area features a custom built-in banquette upholstered in lush moss Brecon fabric by Tibor, while sculptural objects and uniquely meaningful art adorn shelves and walls throughout the home. Upon completion, the home radiated life—a vibrant blend of modern eclecticism and family warmth. Lucy Harris’s vision has culminated in a home that perfectly balances the bold with the serene, creating a modern sanctuary that is as stylish as it is welcoming.

April 2025 | DESIGN & INTERIORS STRATA: UNIFYING TEXTURE and VISION Four Belgian designers converge for an exclusive exhibition titled STRATA during Salone del Mobile. The works of Tim Vranken, Middernacht & Alexander, and Linde Freya Tangelder—the founder of design studio Destroyers/Builders—will be showcased from 7th to 13th April in an area within the Fondazione Prada district. Although their material selections vary, these Belgian designers, for whom texture is the key element in their work, will present their unique approaches within a unified narrative thanks to the STRATA exhibition. STRATA will reveal not only through material and form, but also through a consistent scenography that unveils the spaces between the works, the emerging contrasts and proximities, and the dynamic interaction between individual expression and collective presence. If you wish to visit STRATA, mark your calendar and note the address: Via Rutilia 10/9, Milan. DESIGNER NOTES - Tim Vranken: Focused on handcrafted furniture, Vranken emphasizes the use of pure materials and natural processes. He has a deep appreciation for the raw beauty of wood, embracing its natural flaws rather than concealing them. - Sofie Middernacht & Maarten Alexander: This duo delves into the psychological aspects of everyday life, exploring the intriguing interplay between privacy and exposure. Their work often features materials that, if left untreated, oxidize or decay—capturing a fleeting yet captivating essence. - Linde Freya Tangelder: As the founder of Destroyers/Builders, Tangelder is dedicated to achieving sensory congruence and cultural resonance in design, continually pushing the boundaries of tactile and visual innovation.

April 2025 | DESIGN & INTERIORS ELEGANT COUNTRYSIDE SANCTUARY words Elena Grabar photos Mikhail Loskutov architect & interior design Ariana Ahmad stylist Natalia Onufreichuk Set in the tranquil countryside of the Moscow region, this residence is more than a retreat—it is a family’s story, told through architecture and design. Created by architect and interior designer Ariana Ahmad, the house balances sophistication with warmth, offering spaces that flow effortlessly between quiet solitude and lively gatherings. Here, design is not just about aesthetics but about crafting an environment that evolves with its inhabitants. A THOUGHTFUL COLLABORATION This project is the result of a long-term partnership between the owners and their trusted design team. Their shared vision has shaped a home where architectural elegance meets everyday comfort. The residence also serves as a showcase for the family’s expanding contemporary art collection, seamlessly integrating art into daily life. A HOME DESIGNED TO EVOLVE This generously proportioned 2,100 m² residence features a layout that adapts to the shifting rhythms of family life. The entrance opens into interconnected spaces where natural light highlights carefully curated materials. The main living areas unfold in a seamless flow, while a private suite ensures comfort for the homeowner’s mother. A dedicated spa area with a pool, hammam, and massage room adds an element of resort-like relaxation. Upstairs, the private quarters provide a peaceful retreat, while the attic serves as a space for creativity and leisure. Below ground, a wine cellar and thoughtfully designed storage solutions ensure effortless organization. UNDERSTATED LUXURY IN EVERY DETAIL Soft, earthy tones create a home that feels both elegant and inviting. Bespoke hand-painted wallpapers add depth and texture, while custom plaster panels by Tollis Studio in Paris introduce an artistic focal point in the spa, elevator, and master bedroom. Rich oak paneling and a built-in library enhance the sense of craftsmanship and warmth. A CURATED SELECTION OF DESIGN ICONS Throughout the home, carefully selected furnishings elevate the atmosphere. A custom Christophe Delcourt table makes a statement at the entrance, complemented by a gold-accented Lasvit chandelier. In the master dressing room, a striking white onyx bench by Charles Kalpakian blends function with artistry. The children’s rooms feature refined pieces by Pierre Yovanovitch, while the playroom is enriched with whimsical designs by Hubert Le Gall. In the living room, Zhu Hong’s "Drops" installation interacts with shifting light, adding an element of movement beneath a striking Agostino Bonalumi artwork. A HOME THAT BREATHES ART Art is deeply woven into this residence, with works by Agostino Bonalumi, Yuri Kuper, Igor Chelkovski, Simone Pheulpin, Zhu Hong, Wang Keping, Masao Yamamoto, and Daniela Busarello creating a dialogue between past and present, form and emotion. Here, architecture and design do not merely frame life—they enrich it.

March 2025 | DESIGN & INTERIORS REVIVING HISTORY in WEST VANCOUVER words Karine Monie photos Ema Peter Photography interior design Falken Reynolds In West Vancouver, British Columbia, a 1975 home has been transformed into a living work of art by Falken Reynolds . Co-founders Chad Falkenberg and Kelly Reynolds, “The owner loved the soul of the house and was so clear about the life she envisioned living in,” recall Falkenberg and Reynolds. “While we were really intentional about the space planning and functional details, they fade into the background because of the eclectic layering of materials and forms. The house feels vintage and has a sense of history – onyx, bronzed glass, vintage lighting, the soft curves of the furniture.” A COLOR PALETTE IN HARMONY WITH ART The design journey began with a warm, sensuous foundation. “We wanted warm and sensuous colors as a foundational palette so the artworks could shine and the furnishings could be an extension of the art – both in their eclectic forms and also in their bold colors,” explain the design duo. The curated hues not only highlight the owner’s impressive art collection but also set a refined stage for the carefully chosen furnishings. TEXTURED LAYERS AND THOUGHTFUL MATERIALS Every surface tells a story in this meticulously renovated home. Light natural hardwood flows throughout the interiors, unifying spaces and grounding the design in its West Coast context. In the kitchen, Corian solid surface millwork was skillfully curved to soften the door fronts facing the water, diffusing light with an almost poetic elegance. Reclaimed brick-like tiled bases and backsplashes evoke a nod to another era, while vintage glass and crystal lighting add layers of glamour and playful charm. RE-IMAGINING A CHARACTER-FILLED FIREPLACE One of the most striking transformations is the reinstallation of a character-filled fireplace. Originally clad in unique onyx, the old fireplace was set to block the view until the homeowner decided on a daring change. Collaborating with master stonemason Robb Webb, the team salvaged the honey and amber hued onyx—an homage to the home’s storied past—and reinstalled it in a new curved design. RENOVATION WITH A CONTEMPORARY TOUCH Breathing new life into the historic structure, the renovation preserved the home’s inherent character while embracing modern functionality. By stripping the house back to its structure and reopening the spaces, Falken Reynolds maintained the large windows and skylights that frame the breathtaking views. KEY ARCHITECTURAL TRANSFORMATIONS Additional design highlights include a curated selection of 1970’s-inspired furnishings—such as the sculptural Tactile sofa by Baxter—that infuse the space with glamour and casual sophistication. From its layered materials to its artful reinstallation of historical elements, this West Vancouver home stands as a testament to Falken Reynolds’ ability to marry heritage with innovation. The result is a refined yet approachable space—an intimate, sensual retreat that not only celebrates its storied past but also offers a warm embrace for modern living.

March 2025 | DESIGN & INTERIORS SALONE 2025 BUILDINGS WORLDS FIT for the FUTURE words Onur Baştürk The 63rd Salone del Mobile.Milano, set to kick off on April 8, is launching a new challenge: building worlds fit for the future! The fair’s key themes are industrial production, sustainable innovation, and emotional intelligence… Last year, the fair wrapped up with record-breaking numbers—over 370,000 professionals from 146 countries. Despite global uncertainties, this year’s Salone will once again open its doors with completely sold-out exhibition spaces. In Salone 2025’s cultural program, three site-specific installations will be showcased—two at the fair and one within the city. Pierre-Yves Rochon’s installation “Villa Héritage” will be presented in Pavilion 13-15, Paolo Sorrentino’s “La dolce attesa” in Pavilion 22-24, and finally, Robert Wilson’s work titled “Mother” will open at Museo Pietà Rondanini - Castello Sforzesco. A master in the creative use of light, Robert Wilson will also craft his own vision for Michelangelo’s work titled “The Mother” — an artwork considered one of Milan’s most iconic pieces alongside Leonardo’s Last Supper. Project curator Franco Laera explains, “For Wilson, light is not merely an adornment to what we see; it is what truly enables us to see.” Robert Wilson is also curating the official opening night at La Scala and will be one of the special guests at the inaugural Euroluce International Lighting Forum—a global gathering designed to discuss the major issues in lighting design. The forum, scheduled for April 10-11, will bring together experts from various fields including lighting designers, creatives, architects, scientists, and lighting professionals. SORRENTINO’S WAITING ROOM The installation “La dolce attesa” by Oscar-winning Paolo Sorrentino is poised to be one of the most captivating projects. This installation creates an invisible bridge between the present and the future. As Sorrentino himself puts it, “Waiting is one of the greatest misfortunes in life. To wait is to suffer. So perhaps we should rethink the way we wait. In doing so, waiting might become less painful. A sweet wait, on the other hand, is a journey—a striking and mesmerizing journey. Our waiting room aspires to be something else.” Salone del Mobile President Maria Porro adds, “Opening the doors of Salone del Mobile to Paolo Sorrentino is a deeply moving experience. With ‘La dolce attesa,’ he invites us all to experience something profoundly affecting. This installation is not just a space; it is a narrative composed of images, sounds, and breaths, reminding us that waiting is a universal emotion.” ITA’S SUPPORT The Italian Trade Agency (ITA) is once again playing a pivotal role at Salone del Mobile.Milano by helping to develop new exhibition formats in two key markets—the United States and China. ITA is bringing a large number of highly qualified foreign professionals from 35 different countries to Milan.

March 2025 | DESIGN & INTERIORS MEET the FOUNDERS of ALCOVA VALENTINA CIUFFI & JOSEPH GRIMA words Onur Baştürk portrait photo Piergiorgio Sorgetti Alcova, launched by Valentina Ciuffi and Joseph Grima during Milan Design Week in 2018, will return this year for its ninth edition from April 7–13, 2025. In addition to Villa Borsani and Villa Bagatti Valsecchi in Varedo, Alcova introduces two new venues this year: the former SNIA Factory and the Pasino Glasshouses. In our EXCLUSIVE INTERVIEW with Valentina and Joseph, we discussed Alcova’s DNA, its criteria, and the platform’s future vision. ALCOVA HAS MULTIPLE LAYERS IN ITS DNA In your previous interviews, you mentioned that Alcova is conceptually nomadic—indeed, its venues used to change every year. However, this year—as with last year—Villa Borsani and Villa Bagatti Valsecchi are once again serving as Alcova exhibition spaces. Yes, in addition to Borsani and Valsecchi, there are two new venues, yet it still appears that Alcova is shifting towards a more fixed setup. What are your thoughts on this? We believe the premise of this question is incorrect. Alcova is a nomadic platform but does not change location every year. Since the beginning—starting with the former panettone factory—we have moved every two years. We spent two years there (2018-19), then two years at the former military hospital, and only in the case of the former slaughterhouse did we stay for just one year due to the start of a construction project. For Villa Bagatti and Villa Borsani, we are staying for two years, as per Alcova’s usual practice. Additionally, as you correctly noted, we are introducing two new locations: the Pasino Glasshouses where orchids were originally cultivated, and the large modernist factory of Snia. These locations are very close to those you visited last year, Villa Bagatti and Villa Borsani. But nothing has changed in Alcova’s format—our standard approach has always been to change locations every two years, not every year. What is in Alcova’s DNA? What motivates you? Alcova has multiple layers in its DNA. One of them is certainly being an independent fair that takes place in unconventional spaces—sites never before open to the city—which we interweave with contemporary design narratives. This approach allows objects, exhibitions, and installations to engage in a meaningful dialogue with architecture, creating a unique and compelling context. We have followed this path since the very beginning. But perhaps the most crucial aspect of Alcova’s DNA is its role as a platform for showcasing design research. While we have grown significantly in recent years, we have never stopped highlighting independent designers and experimental practices, alongside startups, galleries, museums, schools, and various institutions that come to present their work. WE BELIEVE ALCOVA HAS GROWN ORGANICALLY Since its debut in 2018, how do you think Alcova has evolved? Have there been any changes along the way? We believe Alcova has grown organically. As we mentioned, the core formula has not changed—we remain focused on showcasing design research and independent designers. This year, we are working across a vast area, spanning four locations, but that doesn’t necessarily mean Alcova will always operate on this scale. Next year, for instance, it could take place in a more compact space. In Miami, where we debuted in 2023, we work with more limited spaces. What matters to us is the quality and profile of the exhibitors, along with the strength of the architecture and the location. This kind of evolution is natural for a project that has gained a solid reputation over the years, becoming more widely recognized and, as a result, increasingly capable of attracting interest. From exhibiting the work of 20 designers in 2018, you now have many more participants and a similarly larger audience. Does this growth intimidate you? No, as we mentioned in response to the previous question, we are not intimidated by something that is entirely natural, normal, and healthy. A project that began more than seven years ago has to grow—otherwise, it would stagnate. The key is to continue evolving in a way that makes sense, gaining greater visibility and reaching a broader audience. What matters most, and what we are focusing on, is enhancing the experience for those who visit Alcova. This is not always easy during Salone del Mobile, given the sheer number of visitors and the fact that some of our spaces are quite small. WE SEEK INNOVATION IN MATERIALS, DESIGN, AND PRODUCTION How did you discover the two new venues added this year—the former SNIA Factory and The Pasino Glasshouses? As far as I know, both of you often enjoy wandering around Milan and uncovering the city's abandoned, forgotten spots, right? As you said, it is part of our practice to investigate the urban fabric of Milan and its surroundings in search of architecturally significant sites—places with an iconic value that are ready to be reactivated but would otherwise be difficult for the public to access. We approached Varedo in the same way. Even though one of the sites, Villa Borsani, is perfectly preserved and visitable by appointment, our approach remains consistent. As for the Pasino’s Glasshouses and the former Snia factory, the decision was quite straightforward since they are located on the same road as Villa Bagatti and Villa Borsani. Naturally, after activating these two locations last year, we walked this route many times, and these two architectural gems did not escape our notice. In fact, we had already discovered them last year, but due to timing constraints, we weren’t able to open them to the public. This year, however, these two major additions will make the trip to Varedo even more worthwhile. Although the exhibition spaces at Alcova are rented, the criteria for selecting designers is always discussed. What criteria do you use to evaluate the proposals you receive from designers? Yes, although Alcova’s spaces are rented, there are clear selection criteria that guide us in choosing from the large number of applications we receive. Innovation, experimentation, and research are at the core of our interests. We look for innovation in materials, in design language, and in production methods—these are all key themes for us. Design that explores social issues is equally important in shaping the ideal mix for an exhibition like ours. Another crucial factor in our selection process is the ability of exhibitors to engage with the spaces they are assigned. When applicants express a preference for a specific location, we always request a project proposal that demonstrates an understanding of the site and an ability to create an experience for visitors. We strongly believe that objects can communicate more effectively when they are presented in a compelling, well-executed display that interacts meaningfully with the surrounding architecture. ALCOVA WILL ALWAYS STAY TRUE TO ITS ESSENCE How do you envision Alcova’s future? Do you have any plans, or is the evolution of this platform unfolding naturally? We hope that Alcova will always stay true to its essence. We also hope this journey will take us to new places around the world. As you know, we took our first step in this direction with Miami, and there may be more locations in the future. That said, Milan and Salone del Mobile’s week remain not only our place of origin but also our most significant appointment. We look forward to returning and continuously raising the bar at this pivotal event for the international design scene. At the same time, we will soon be exploring new exhibition formats within Milan’s design landscape.

August 2024 | Urban ENGLISH BELOW Şehirden ACI-TATLI notlar words Onur Baştürk Yıl 1999… Teşvikiye’deki bir apartmanın üçüncü katında açılan Buz, kulaktan kulağa yayılarak kısa sürede kendi müdavimini yaratır. Kapısında tabela bile olmayan, 20 kişlilik bir masanın etrafına herkesi oturtan, ilk kez 17.00 ile 22.00 arasında parti yapan Buz Bar’ın kendisi kadar ekibi de popüler olur: Lal Dedeoğlu, Ender Sanal ve Hakan Özkul… İşte o popüler figürlerden birinin, Hakan Özkul’un, salı gecesi Frankie’de 50’inci yaş kutlama partisi vardı. Haliyle 2000’lerin başı ve ortalarında gece hayatında sıkça gezmişlerin bir resmi geçidi gibiydi parti. Dolayısıyla iştahlı bir özlem giderme ve etrafta zevksiz/gustosuz ergen görmemenin verdiği apaçık bir haz vardı. Çünkü evet, İstanbul gece hayatı ekonomik nedenleri de içine katarsak, belki de en bedbaht zamanlarını yaşıyor. * * * Birkaç tane “çok yakında” haberi vereyim… İlki, Alaçatı’daki Alavya’nın yaratıcıları Rana-Erol Tabancı çiftinin Karaköy’de açacağı Hovagimyan Oteli. Enis Karavil’in tasarlayacağı otelin yıl sonuna doğru açılması bekleniyor. Otelin yöneticisi de Stay Alaçatı’dan tanıdık bir isim, Aslı Büyüka. Etiler’de, Arkestra’nın sokağında iddialı bir restoran/kulüp açılıyor. Güney Fransa & İtalya tadındaki iç tasarımını Rezzan Benardete’nin üstlendiği yeni mekanın ortakları Lucca’dan tanıdığımız Emrah Gencer ve Hüseyin Kılıç. Kasımda açılacak mekanın üst katında bir de kulübü olacak. Tek kullanımlık QR kodla giriş yapılacak kulübün ilhamı ise ‘Alice in Wonderland’. İstinye Park’ta ise İtalya'nın en eski restoranlarından biri olan Cova açılıyor. 1817 yılında Napolyon askeri Antonio Cova tarafından kurulan Cova pastacılık sanatıyla meşhur. Özellikle Noel zamanı yaptıkları ikonik pasta Panettone’yle… Gümüşsuyu’nun hip mekanı Setup ise artık sadece akşamları açık olacak ve hemen yanına bir tapas bar açacak. * * * Şu anda şehrin en popüler etkinliklerden biri stand-up’lar… Her restoranda yakında bir stand-up gösterisi izlemeye başlayabiliriz. Çünkü malum, bir şey popüler oldu mu herkes benzerini yapmaya başlıyor. Geçtiğimiz günlerde bir mekanda üç yeni stand-up’çının gösterisini izledim. Her stand-up’çıya 20’şer dakika ayrılmıştı. Tıpkı “Marvelous Mrs. Maisel” dizisindeki gibi. Ama bizim stand-up’çılara da dizideki gibi birer menajer Susie Myerson gerekiyor işte. Mevcut iktidar konusunda mizah yapamadıklarını “esprili bir dille” sahnede not düşen bizim stand-up’çıların, iktidarın sürekli hedef gösterdiği bir LGBTİ+ bireyi hakkındaki hayli ezici, yer yer zalim olabilen esprilerini görseydi Susie; eminim meşhur şapkasını yere atıp şahane bir etik dersi verirdi bu çocuklara. Keza içime Susie kaçmış olacak ki, o gece sahnedeki stand-up’çıya dayanamayıp serzenişte bulundum sus pus seyirciler arasından, “Bu söylediğiniz pek olmadı” diye. Mrs. Maisel izlemediği belli olan stand-up’çı (Bayan Maisel’e sahnede neler söylendiğini görse intihar ederdi herhalde!) sözlerime alındı ve sahneyi terketti. Ardından tekrar çıktı, olay tatlıya bağlandı, ama gösterinin Susie’si konumundaki kişi sonradan bana gelip “Gösteriyi sabote ettiniz” diyerek çemkirerek, “Daha da gelmeyin” demeyi ihmal etmedi. Eve geldiğimde Mrs. Maisel’ın ilk bölümlerini açmam ve dizideki gerçek stand-up’çıların dünyasına dalmam kaçınılmazdı tabii… SWEET and SOUR notes from the CITY The year is 1999... Buz opens on the third floor of an apartment building in Teşvikiye and quickly creates its own regulars by word of mouth. Buz Bar, which didn't even have a sign on the door, seated everyone around a table for 20 people and held parties between 5 p.m. and 10 p.m. for the first time, became as popular as its team: Lal Dedeoğlu, Ender Sanal and Hakan Özkul. One of these popular figures, Hakan Özkul, had his 50th birthday party at Frankie's on tuesday night. Naturally, the party was like an official parade of those who frequented the nightlife in the early and mid-2000s. So there was an appetite for nostalgia and the obvious pleasure of not seeing any tasteless/goureless teenagers around. Because yes, Istanbul's nightlife is perhaps experiencing its most unhappy times, if we include economic reasons. * * * Let me share with you some ‘coming soon’ news... The first is the Hovagimyan Hotel to be opened in Karaköy by Rana-Erol Tabancı couple, the creators of Alavya in Alacati. The hotel will be designed by Enis Karavil and is expected to open by the end of the year. The hotel will be managed by Aslı Buyuka, a familiar name from Stay Alaçatı. An ambitious restaurant/club is opening in Etiler. Rezzan Benardete is responsible for the interior design of the new place, which has a southern French and Italian flavor, and the partners of the new place are Emrah Gencer and Hüseyin Kılıç, whom we know from Lucca. The venue, which will open in November, will also have a club upstairs. The inspiration for the club, which will be accessible via a one-time-use QR code, is Alice in Wonderland. Cova, one of the oldest restaurants in Italy, will open in İstinye Park. Founded in 1817 by Napoleon's soldier Antonio Cova, Cova is famous for its pastry art. Especially with Panettone, the iconic cake they make at Christmas time... * * * One of the most popular events in town right now is stand-up... I recently saw three new stand-ups perform at a restaurant. Each comedian got 20 minutes. Just like the Marvelous Mrs. Maisel show. But our comedians need a manager, Susie Myerson, like on the show. I am sure Susie would have given them a great ethics lesson when she saw these comedians, who honestly say that they cannot make humor about the current government, making jokes about an LGBTI+ person who is constantly being targeted by the government, which can be quite cruel. Like Susie, I also told the comedian on stage that night, ‘That was not a nice thing to say’ The comedian, who obviously had not seen Mrs. Maisel (he would have committed suicide if he had seen what was said to Mrs. Maisel on stage!), took offense at my words and left the stage. Then the manager of the show (Susie, in a way) came up to me and got angry and said, ‘You sabotaged the show,’ not forgetting to tell me, ‘Don't come back’. When I got home, it was inevitable that I would turn on the first episodes of Mrs. Maisel and dive into the world of the real comedians on the show...

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December 2024 | Travel TURKISH BELOW ANTWERP’s HIDDEN HAVEN a u g u s t words Onur Baştürk When I hopped into a taxi at Antwerp’s central train station heading to August, the driver started chatting without me even asking: “Your hotel is right where all the different neighborhoods meet. On one side, there’s the Orthodox Jewish quarter, right across is the Arab neighborhood, and just nearby, you’ve got the Turkish community”. Once I stepped out of August and went for a walk, I saw he was spot on—the hotel really is nestled right in the middle of all these vibrant neighborhoods, in an area also known as the Green Quarter. In fact, August’s founder and owner, Mouche Van Hool, had envisioned this kind of interaction from the very beginning. Reflecting on the hotel’s fifth anniversary, she says: “Bringing locals and hotel guests together is something I always love when I travel. With August, that’s exactly what I wanted to create—a space for encounters, but also a place that feels like a warm embrace.” And she’s absolutely right about that “embrace.” The moment I walked into the hotel lobby, I thought, “This place feels like a sanctuary, an oasis.” Especially when I spotted the bar to the right of the reception! It’s located in what used to be the chapel of the old monastery, and its combination of grandeur and understated simplicity is nothing short of breathtaking. Right next to it, the restaurant stretches along a long, narrow corridor beneath a sleek black steel and glass roof. I didn’t get the chance to fully experience the restaurant, curated by head chef Gerd Govaerts, but I did sit at that stunning bar, sipping on a margarita while trying the Beef Bun and North Sea Crab Salad. Both were absolutely delicious—fresh, flavorful, and satisfying. A MODERN MEDITATIVE HAVEN August opened its doors in 2019, and its design is the work of Vincent Van Duysen, the legendary architect known for his mastery of “silent luxury.” With August, he’s created what he describes as “a modern meditative haven”—a place where the spirit of historic Belgian architecture meets a sleek, modern sensibility. It’s also a love letter to craftsmanship; everything, from the cabinets to the light fixtures, is custom-made. As for the rooms... I stayed in room 10 on the second floor. The first thing I noticed was the beautiful wooden ceiling panels—perfectly preserved and full of character. They give the room a warm, chalet-like feel. Sleeping under that ceiling at night was an experience in itself—simple, cozy, and utterly peaceful. ANTWERP’in SAKLI CENNETİ a u g u s t Antwerp merkez tren istasyonundan taksiye binip August’a doğru yola çıktığımda, taksi şoförü kendiliğinden bana bilgi vermeye başlıyor, “Oteliniz tam da farklı mahallelerin ortasında. Bir tarafta Ortodoks Yahudiler’in mahallesi var, onların karşısında Araplar’ın mahallesi, çok yakınında ise Türkler’in mahallesi”. Sonradan August’tan çıkıp yürüyüş yapınca anlıyorum, otelin konumu gerçekten de tüm bu canlı mahallelerin ortasında -ki buraya aynı zamanda ‘Green Quarter’ da deniliyor. Nitekim August’un kurucusu ve sahibi Mouche Van Hool da en baştan beri bu etkileşimi arzulamış. August’un beşinci yıl kutlamasına dair verdiği görüşte şöyle diyor: “Lokaller ve otel misafirleri arasındaki etkileşim seyahat ettiğimde beni cezbeden bir şey. August ile bunu amaçladım. August karşılaşmalar için alan sunan, ama aynı zamanda kucaklama hissi veren bir yer”. Mouche Van Hool’un bahsettiği kucaklama hissi de doğru. Otel lobisinden içeri girer girmez, “Burası bir sığınak, vaha gibi” diye düşündüm. Özellikle de resepsiyonun sağındaki barı görünce! Çünkü bar, eski bir manastır olan otel binasının şapel kısmında. Dolayısıyla barın ihtişamı ama aynı zamanda müthiş sadeliği tek kelimeyle büyüleyici! Barın hemen yan tarafında ise siyah çelik cam çatı altındaki uzun ince koridor boyunca uzanan restoran yer alıyor. Baş şef Gerd Govaerts'in küratörlüğünü yaptığı restoranı deneyimlemek için vaktim olmadı, ama görkemli barda hem margarita içtim hem de Beef Bun ve Kuzey Denizi Yengeç Salatası’nın tadına baktım. Her ikisi de nefisti, taze ve doyurucu. MODERN BİR MEDİTASYON CENNETİ 2019’da açılan August’un mimari tasarımı mimarlık dünyasında “sessiz lüks" diye tanımlanan tarzın önemli temsilcilerinden efsanevi Vincent Van Duysen’a ait. Tarihi Belçika mimarisinin ruhunu modernizmle harmanlayan Vincent Van Duysen, August için “Modern bir meditasyon cenneti gibi” diyor. Bu cennet aynı zamanda zanaatkârlığa da saygı duruşunda bulunmuş. Çünkü otelin dolaplarından lambalarına kadar her şey özel yapım. Odalara gelince… Ben 2’inci kattaki 10 numaralı odada kaldım. Ve odanın tavanındaki eski ahşap panellerin korunmuş olması dikkatimi ilk çeken özelliklerden biri oldu. Öyle ki, bu ahşap tavan -ki çoğu zaman bir chalet hissi de veriyor- odanın en karakteristik yanı. Geceleri onun altında uyumak iyi bir deneyimdi.

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

August 2023 | YUZU BODRUM | Coffee Table Book TR below ARDA ÖNEN words & photos Onur Baştürk How did your Bodrum adventure start? I spent my childhood in Kerpe, located on the coast of the Black Sea. Because of my mother and father, I've always had a close relationship with the sea. I owned a small sailboat, canoe, and surf gear. In fact, we were surfing in big waves without even knowing it! Afterward, the whole family moved from Kerpe to Bodrum. During the summer months, I started to shuttle back and forth between Bodrum Marina and Yalikavak. There is a very renowned bar in Yalikavak called Teras Bar. There is a very renowned bar in Yalikavak called Teras Bar. Back then it was a British surfers' hangout place. It genuinely felt like overseas. I developed a brotherly relationship with Barış, the manager. I started out as a barboy. I was very happy. That's when I discovered that I take great satisfaction in assisting people to have a good time. And this line of work became my life. You opened Sail Loft in 2000. How did the process develop? Was it challenging or effortless? While working at Yalıkavak Terrace Bar, during the day I was coming to Gündoğan Bay, where the British surf sailing business is located, and started surfing and hanging out with surfers. In a short time, with an offer, I decided to do this work in a place where Sail Loft is located now. I was 21 years old. Of course, it was very hard, but it was fun! We were throwing parties by playing cassettes with a home stereo. As you can understand, we were wrapping tapes with a pen! Back then, the front of Sail Loft was sand all the way down to the sea and it was awesome. We were a real surf bar. I SAID THIS WOULD WORK OUT AND IT DID! In a short period of time, Sail Loft turned into a school of surfing during the day and an iconic bar, where people from all over Bodrum have fun, at night. What do you tie this success to? We are as we always have been. We have made friendships that last for years. We introduced each of our friends to our new friends. We played good music. We made good food. And we definitely avoided the braggartism. Everyone who came was very comfortable. Since 2000, we have been the gathering point for free-spirited people who enjoy life with their skin covered in salt and feet covered in sand! The spread of Instagram, of course, boosted its popularity. In fact, for a while, the popularity became much so we switched our account to a private account. For the last seven years, we have been managing it as a private account. It can be said that we grew up together with Sail Loft. When you take a look today, at what point do you see both yourself and Sail Loft? We undoubtedly grew together. I've jumped through a lot of hoops, and I've experienced a hard time. But I always kept on going. I said this will work out. I believe it did. Sail Loft today, has become a brand that has its own line and path, is experienced, puts emphasis on quality, and maintains its sports spirit. Now, I have become a somebody who enjoys living with the brand and works to make my year better than the last one. I am able to say that I am competing with myself. Bodrum maceran nasıl başladı? Çocukluğum Karadeniz kıyısındaki Kerpe’de geçti. Anne ve babadan dolayı denizle hep haşır neşirdim. Küçük bir yelkenlim, kanom ve sörf malzemem vardı. Hatta büyük dalgaların içinde hiç bilmeden dalga sörfü bile yapıyorduk! Daha sonra tüm aile Kerpe’den Bodrum’a taşındık. Yaz aylarında Bodrum Marina ve Yalıkavak arası mekik dokumaya başladım. Yalıkavak’ta Teras Bar diye çok meşhur bir bar var. O zamanlar İngiliz sörfçülerin takıldığı bir mekandı. Gerçekten yurtdışı gibiydi. İşletmecisi Barış ile abi-kardeş olduk. Barboy olarak işe başladım. Çok mutluydum. İnsanların güzel vakit geçirmelerini sağlamaktan büyük keyif aldığımı o zaman farkettim. Ve bu iş hayatım oldu. Sail Loft’u 2000 yılında açtın. Süreç nasıl gelişti? Yalıkavak Teras Bar’da çalışırken gündüzleri İngiliz sörf yelken firmasının bulunduğu Gündoğan koyuna gelip sörf yapmaya ve sörfçülerle takılmaya başladım. Kısa süre içerisinde bir teklifle şu an Sail Loft’un olduğu yerde bu işi yapmaya karar verdim. 21 yaşındaydım. Tabii ki çok zordu, ama eğlenceliydi! Ev tipi müzik seti ile kaset çalarak partiler yapıyorduk. Kalemle kaset sarıyorduk yani! O zamanlar Sail Loft’un önü denize kadar kumdu ve müthişti. Tam bir sörf barıydık. OLACAK BU İŞ DEDİM VE OLDU! Kısa sürede Sail Loft gündüz sörf okulu, gece ise Bodrum’un dört bir yanından gelenlerin eğlendiği ikonik bir bara dönüştü. Neye bağlıyorsun bu başarıyı? Hep olduğumuz gibi olduk. Uzun yıllar süren dostluklar edindik. Her arkadaşımızı yeni gelen arkadaşlarımızla tanıştırdık. Güzel müzik çaldık. Güzel yemek yaptık. Ve kesinlikle kasıntılıktan uzak durduk. Gelen herkes çok rahattı. 2000 yılından bugüne tuzlu tenleri ve kumlu ayaklarıyla hayatın tadını çıkaran özgür ruhlu insanların buluşma noktası olduk! Instagram’ın yaygınlaşması elbette popülerliği artırdı. Hatta bir ara popülerlik fazla geldi ve hesabımızı özel hesaba çevirdik. Son yedi yıldır özel hesap olarak yönetiyoruz. Sail Loft’la beraber büyüdün denilebilir. Bugün baktığında hem kendini hem de Sail Loft’u nasıl bir noktada görüyorsun? Kesinlikle beraber büyüdük. Çok büyük badireler atlattım, çok zorlandım. Ama hep sebat ettim. Olacak bu iş dedim. Oldu diye düşünüyorum. Sail Loft bugün, kendine ait bir çizgisi ve yolu olan, deneyimli, kaliteye önem veren, sporculuğunu koruyan bir marka oldu. Artık marka ile yaşamaktan büyük keyif alan ve her yılımı bir öncekinden daha iyi kurgulamak için çalışan biri oldum. Yarışım kendimle diyebilirim.