Search this site

December 2024 | Art & Culture FOR TURKISH a SERENE PAUSE at ALCOVA MIAMI - SOMETHING LAST - words Alp Tekin Undoubtedly, one of the standout stars of Miami Art Week will be the second Miami edition of Alcova, the forward-thinking contemporary design platform typically showcased during Milan Design Week. Among the highlights of Alcova's new Miami edition is Something Last, a must-see exhibition curated by Los Angeles-based designer Jialun Xiong. This meditative design showcase offers a rare moment of tranquility amid Miami’s vibrant art scene, featuring works by emerging artists and designers Cindy Hsu Zell, Devin Wilde, Jialun Xiong, Mary Ratcliffe Studio, Vy Voi Studio, and Xiaoyan Wei. Focusing on timeless visual expressions, Something Last distills design to its purest elements: form, point, line, light, and shadow. From handcrafted wooden furniture to porcelain lighting, architectural ceramics to metal fixtures, the exhibition unites each designer's discipline through the soothing repetition of these fundamental components. The absence of color eliminates distractions, underscoring the themes of purity and simplicity. Adding to the immersive experience, Something Last is accompanied by curated soundscapes by Silence Please and custom-scented candles by Studio/JIALUN XIONG. EXHIBITION ID STUDIO / JIALUN XIONG – Los Angeles This Los Angeles-based multidisciplinary design studio explores the ideas of duality and creative restraint across spatial, furniture, lighting, and object design. CINDY HSU ZELL – Los Angeles Growing up near the San Gabriel Mountains, Cindy Hsu Zell studied fine arts and animation at the University of Southern California. Her Mythos collection of ceramic wall sculptures, showcased at Alcova Miami, draws on ancient storytelling through the use of fundamental forms and materials. DEVIN WILDE – Brooklyn, NY Born and raised in Brooklyn, New York, artist and ceramicist Devin Wilde’s work reflects an eclectic mix of styles, including Art Deco, Classicism, and Postmodernism. Exploring the relationship between form and shadow, Wilde focuses on the interplay of light to create drama and evoke both ancient and modern sensibilities. MARY RATCLIFFE STUDIO – Toronto, Canada Based in Toronto, Mary Ratcliffe Studio is dedicated to creating contemporary works with meticulous attention to detail, quality, and longevity. VY VOI – NY & Vietnam Vy Voi is a design studio founded by industrial designer and ceramic artist Steffany Trần, with bases in New York and Sài Gòn, Vietnam. The studio focuses on objects, lighting, and furniture design. WEI XIAOYAN STUDIO – Shanghai, China Wei Xiaoyan Studio specializes in spatial design, installations, and artistic furniture. By merging traditional Chinese craftsmanship with contemporary design, the studio reimagines concepts of time and eternity through experimental yet functional art pieces that explore the hidden power of materials and light. * ALCOVA MIAMI LOCATION: Miami River Inn, 118 SW South River Dr, Miami, FL 33130

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

July 20, 2026 | DESIGN & INTERIORS DESIGNING with SUNSET words Karine Monie photos Omar Tajmouati portrait Mehdi Triqui In Casablanca's leafy Anfa Supérieur neighbourhood, Ali Lahlou Design Studio has transformed a 1970s residence into a home where colour shapes the entire experience. Inspired by the shifting tones of a sunset, the interiors move from warm oranges to soft evening blues, creating spaces that feel distinct yet quietly connected. Designed for a young couple — a jewellery designer and an entrepreneur with a shared passion for art — the house balances the elegance of Haussmannian Parisian apartments with a fresh, contemporary sensibility. Bespoke furniture, carefully selected materials and a growing art collection give every room its own character. A HOUSE PAINTED BY LIGHT Built in 1976, the house offered generous proportions, clean lines and abundant natural light — the ideal canvas for Ali Lahlou's vision. "Colour was at the very heart of this project," says the designer. "I imagined the house as a journey through a sunset, where the light shifts slowly and each shade blends into the next." That idea shapes every room. Terracotta gradually softens into muted blues, creating gentle transitions rather than sharp contrasts. Here, colour is treated less as decoration than as an architectural tool, defining atmosphere throughout the house. The entrance immediately sets the tone. A sculptural Calacatta marble table welcomes visitors with the quiet confidence of a boutique hotel lobby, before the interiors unfold towards a series of lounges, fireplaces, a library-inspired living room and a pergola opening onto the garden. PARISIAN ELEGANCE, REIMAGINED The owners wanted the warmth of a Parisian apartment without reproducing one literally. Walnut herringbone floors establish that connection, while a restrained architectural shell allows furniture, artworks and materials to take centre stage. Soft velvets sit alongside enamelled glass, rainbow onyx meets Calacatta marble, and warm walnut contrasts with cooler mineral surfaces. Bespoke furniture by Ateliers Jouffre is complemented by pieces from Glas Italia, Ligne Roset, Roche Bobois, CC-Tapis and Lladró, while artworks by Moroccan artists including Mahi Binebine, Abderrahim Iqbi and Abou Elouakar Mohamed reinforce the home's strong artistic identity. Rather than taking inspiration from a single reference, Ali Lahlou designed the house around a feeling. Parisian elegance meets contemporary Moroccan creativity, while colour becomes the thread that ties everything together. More than a beautifully designed residence, it is a home where every room feels touched by the changing light of sunset.

October 27, 2025 | PRODUCT SOFT STEEL ZUCCHETTI x LC ATELIER photos Monica Armani and Luca Dallabetta, PH: k-448 A Day With LC Atelier, PH: Tobia Faverio In the calm courtyard of LC Atelier, Milan, Zucchetti’s A Day With series opens a new chapter — one that celebrates creative interpretation and material poetry. Here, designer Monica Armani’s Sablier collection takes center stage. Inspired by the silhouette of an hourglass, its soft lines and harmonious proportions give stainless steel an unexpected sense of fluidity. The sandblasted finish, velvety to the touch, reflects LC Atelier’s refined aesthetic — an interplay of light, balance, and quiet precision. In this dialogue, the faucet becomes more than a functional element; it’s a silent sculpture that unites utility and grace. Founded by Lucrezia Calvi, LC Atelier is an interior architecture studio that approaches each project as a personal narrative — crafted through collaboration, material sensitivity, and contextual awareness. “We chose Sablier for its softened, elegant forms,” says Calvi. “It resonates with our idea of space and how aesthetics and function can speak the same language.” The visual story unfolds through simple gestures: a hand brushing against cool metal, water cascading among lilies, a ray of light slipping over steel and glass. Every frame captures continuity, not contrast — where design dissolves into atmosphere. Zucchetti and LC Atelier’s collaboration reveals a shared philosophy: the pursuit of beauty in everyday gestures. Sablier embodies this dialogue — an object that holds the delicacy of time, shaped by Italian craftsmanship and timeless design.

January 13, 2026 | PRODUCT DESIGN UNIQKA at TEN, in BORGONA words YUZU Editorial Istanbul-based design brand Uniqka marks its tenth anniversary with Borgona, presented this week at Maison&Objet in Paris (15–19 January 2026). The presentation brings together the material-led design approach Uniqka has developed over the past decade within a single, carefully composed colour landscape. Co-founder Kerem Ariş explains: “Borgona is a new signature colour for us. We chose a shade of burgundy because it carries time within it. It is not trend-driven; instead, it deepens and matures—much like craftsmanship.” Rather than reading as a retrospective, the presentation offers a quiet and assured view of where Uniqka’s design language stands today. The brand’s most defining collections are revisited in Borgona, allowing form, texture and material intelligence to align through chromatic restraint. The atmosphere looks forward rather than back, reflecting a design approach that has reached clarity through time. Among the works on display are Lara Bohinc’s Betsy Collection—including the console, bench, standing mirror, side table and a new stool introduced for this milestone year—alongside Studiopepe’s Silos Collection, shown through new versions of the long table and side table. They are joined by Defne Koz’s Plato trays, Romy Kühne’s Koni pendant lamp, CARA \ DAVIDE’s sculptural Rotonda boxes, Bilge Nur Saltık’s Bellis jewellery holder and Jacob de Baan’s Zero pendant lamps. Brought together in a single tone, the pieces form a restrained dialogue across scales and disciplines. Borgona sits in a balanced space between emotion and permanence. It recalls the depth of aged wine, the softness of velvet and the quiet strength of earth. “As a shade of red, it represents passion and celebration,” Ariş adds, “but in a more composed and timeless way. Both classic and contemporary—after ten years, this best describes who we are: rooted, confident and still evolving.”

August 8, 2025 | VOL 15 FLOW into L’AND words Onur Basturk photos Courtesy of L’AND After a fast-paced, art-filled weekend in Lisbon (take note: Lisbon Art Weekend is amazing!), I leave the city behind and head toward Alentejo. My destination: L’AND Vineyards. Less than an hour’s drive from Lisbon, the shift in atmosphere is immediate. Everything slows down. The last rays of sunlight paint the lake in front of L’AND in shades of deep orange, creating an incredible view. Even more mesmerizing is the futuristic, prism-like architecture of the retreat, which transforms under the shadows of the trees and the warm hues of the sunset. I later learn that this striking design was inspired by Alentejo’s traditional white-walled courtyards. Designed by Promontório, the building features four distinct cut-outs, creating different spaces—reception, lounge, restaurant terrace, and an industrial courtyard. The inspiration behind the architecture isn’t far away either. The town of Montemor-o-Novo, known for its whitewashed houses, is just four kilometers from L’AND. EVEN IF YOU'RE NOT STAYING, TRY MAPA L’AND Vineyards Relais & Châteaux is more than just a hotel—it’s an experience built around multiple themes. The first, of course, is wine. Surrounded by six hectares of organic vineyards, the estate cultivates Touriga Nacional, Touriga Franca, Alicante Bouschet, and Syrah for red wines, as well as Gouveio for whites. Wine lovers can tour the vineyards, visit the cellar, and join guided tastings or workshops on grape varieties and winemaking. I even participated in one and crafted my own red wine! Another defining theme at L’AND is gastronomy. Whether you’re staying at the hotel or not, there’s one thing you shouldn’t miss: MAPA, the restaurant. Chef David Jesus curates a tasting menu that feels like a carefully researched culinary journey. Every dish tells a story, every plate is a work of art. And despite the number of courses, you leave the table feeling surprisingly light—thanks to the menu’s focus on fresh, locally sourced ingredients. One standout feature of MAPA, aside from its understated ambiance, is the spectacular Tom Dixon pendant lights that cover nearly the entire ceiling. THE MÁRCIO KOGAN TOUCH Design is an integral part of L’AND’s identity. The interiors are the work of renowned Brazilian architect Márcio Kogan, known for projects like the Fasano Hotel in São Paulo and La Península in Mexico. The hotel’s furniture collection includes pieces by celebrated designers like Tom Dixon, Vladimir Kagan, Jorge Zalzuspin, and George Nakashima. The wool rugs in the suites are handmade by Fabricaal in Reguengos de Monsaraz, and an extraordinary, almost spiritual painting by Michael Biberstein graces the hotel’s lobby. A BED WITH A SKY VIEW One of my favorite things about L’AND was my room—with a skylight right above my bed, I fell asleep gazing at the stars. Another moment of deep relaxation? Naturally, at the hotel’s spa. The Vinotherapy Spa offers facials, body treatments, and massages using wine byproducts—grape seeds, skins, pulp, and stems. for more Print VOL XV - 2025 Out of Stock Add to Cart

November 2023 | People FOR EN CONVERSATION about ARCHITECTURE with ECE CEYLAN BABA words Onur Baştürk Yeditepe Üniversitesi Mimarlık Fakültesi Dekanı Prof. Dr. Ece Ceylan Baba ile ilk yüz yüze sohbetimiz bir “hayat ağacı”nın altında gerçekleşmişti. O “hayat ağacı” tanıdık bir yerdeydi. Antalya-Side’deki Paloma Finesse içinde 2020 yılında açılan Yuzu Garden’ın simgesi olan Ficus Australis. İşte o nefis bahçede Ece ile yaz başında bir araya gelmiş ve sürdürülebilir mimari ile yakın gelecekte dünyaya hakim olması beklenen mimari yaklaşımları konuşmuştuk. Elbette her konu “Yuzu Weeekend” kapsamında yaptığımız o günkü konuşmaya sığmamıştı. O yüzden buraya, o konuşmanın devamında yaptığımız uzun röportajı yayınlamak istedim. Çünkü Ece’nin söyleyecekleri hepimizi yakından ilgilendiriyor! Mimarların amacı şaşırtmak mıdır yoksa çözümler sunmak mı? Yoksa ikisi birden mi? Mimarlık insana ait her türlü mekanın üretildiği bir meslek alanı. Ayrıca mimarinin, çağına ait pek çok bilgiyi mekan üzerinden sonraki nesillere aktarmak gibi bir iddiası ve misyonu var. Bu mekanların içinde gündelik hayatta kullandığımız ve kullanmaya devam edeceğimiz mekanlar da, sarsıcı ve bazen spekülatif olması gereken mekanlar da var. Bu durum, binanın türüne, yerine ve vermek istediği mesaja göre değişiklik gösteriyor. Sadece şaşırtmaya odaklanan bir mimari yok… Ancak bu, bazı binaların şaşırtıcı derecede yeni bir söz söylemesine engel değil. BİRİ ÜTOPYA, DİĞERİ DİSTOPYA Mimarların “dünyayı kurtarma, iyileştirme” projelerine nasıl bakıyorsunuz? Mesela BIG’den Bjarke Ingels’in “Masterplanet” projesi ya da Liam Young’ın kurgusal “Planet City” filmi. Mimarlar gerçekten dünyayı iyileştirebilir mi? Dünyayı kurtarma ya da iyileştirme argümanı tek bir meslek alanı için oldukça iddialı. Öte yandan mekanın dönüştürücü gücüne inanırım. İnsan, içinde yaşadığı mekanlardan, mekanlar da insanlardan etkilenir. Birbirine katkı sunan iki canlı organizma gibi beraber şekillenirler. Bu açıdan bakıldığında, mimarinin insan yaşamına olan etkisi oldukça güçlü. Dünyanın kaynakları tükeniyor, yine de evren kendi kendini onarabilecek yeteneğe sahip. Ancak içinde yaşadığımız çağda çok sayıda kriz bulunuyor ve çeşitli meslek insanları tarafından insanlığın sonunun gelmesini ötelemek amacıyla çok sayıda önlem alınıyor. Mimarlık alanında da sürdürülebilir tasarım ilkeleri, enerji verimliliği ve çevre dostu malzemelerin kullanılması gibi çeşitli konular 21. yüzyılda önem kazandı. Masterplanet ve Planet City yaklaşımları bu anlamda farklı argümanlara sahip. Bir tür dualite olarak tanımlayabiliriz. Biri ütopya diğeri distopya olarak iki düşsel çalışma… BIG’nin Masterplanet projesi, iklim krizine karşı dünyayı bütüncül olarak ele alan ve tüm dünya nüfusunun benzer ideal-kentsel mekanlarda yaşadığı öngörülen bir dünya düşü. Dünya için bir masterplan önerisi sunan proje bazı özellikleriyle bir ütopyayı anımsatıyor. Çevre sorunlarına toplam bir çözüm ile yaklaşıyor ve teknolojiyi projenin odağına yerleştiriyor. Günümüzdeki bina ve hatta kent ölçeğindeki önlemlerin yetersizliğine vurgu yaparak gezegen ölçeğinde bir tasarlama eylemi öneriyor. “Planet City” filminde ise Liam Young, sömürgeleştirmenin ve küreselleşmenin ekonomi ile olan güçlü ilişkisini metropoller üzerinden yeniden okuyan, alışılagelmiş düşünceleri ters köşe yapan bir distopyayı konu alıyor. Yaklaşık 10 milyar insanın yaşadığı bir dünyada, alınan ortak bir kararla dünyanın geri kalanının vahşi doğaya teslim edilmesi üzerine kurulan hayali bir şehirdeki yaşananları anlatıyor. Spekülatif bir bilim kurgu özelliği taşıyan film, iklim değişikliğinin çevresel bir sorun olmadığını, aksine siyaset kaynaklı ve ideolojik bir sorun olduğunu öne sürüyor. İ ki çalışma da mimarlar tarafından üretilmiş, hayata geçme iddiası taşımadan tasarlanmış özgün düşünceler. Manipülatif özellikleri ile iklim krizine dikkat çekmek isteyen projeler, çizgi dışı fikirlerle mimarinin kent, kentsel yaşam, çevre ve hatta gezegen ölçeğindeki olası ihtimallerini sorguluyor. Geleceğin evleri şehir şebekesinden tamamen ayrılmış, kendi kendine yetebilen evler mi olacak? Yoksa bu konudaki çabalar fazlasıyla bireysel mi kalacak? Kent, yapılı olan çevresi, yapılı olmayan çevresi ve içinde yaşayan kentlilerin yaşamları ile var olur. Bu durum karmaşık bir örüntüdür ve doğası gereği içinde tekilliği barındırmaz. Kendi kendine yetebilen ev(ler) kavramı da bir süre sonra benzer yaşamları içinde barındıran bir ilişki ağına dönüşmeye mahkum. Bu sebeple gelecekte de kentler, bireysel olmayan, birlikte/bir arada olmayı kutsayan bir yaşamı mümkün kılacak diye düşünüyorum. 3D PRINT İLE YAPILAN BİNALARIN SAYISI ARTACAK Temiz enerji üretimini ve karbon ayak izini azaltan sürdürülebilir inşaat yöntemleri artık en çok konuşulan şeyler. Özellikle de 3D ile yapılan ev projeleri. Mimarlık stüdyoları bu bilince sahip, ama proje talep edenler sizce yeterince bu bilince sahip mi? Sürdürülebilir bir bina inşa etmenin en temel yöntemi bağlamsallığı benimsemek. Yere ait malzeme, yere ilişkin iklim verileri, kültürel bilgiler ve yapma yöntemleri kullanılırsa hem karbon ayak izi en aza indirilebilir, hem de yere ait yapma/etme/inşa etme yöntemlerinin çağdaş yorumları üretilebilir. Günümüzde üç boyutlu yazıcılar ile bazı mimari uygulamalar yapılmakta. Ancak, inşa edilen yapılarda kullanılan hammaddenin çevre dostu olması konusunu önemsiyorum. Doğada yok olamayacak malzemelerin seçimi ileride başka sorunlar üretebilir. İleri dönüşüm ya da geri dönüşüm yöntemleri ile kullanılan hammadde konusunda önemli çalışmalar yapılıyor. Yakın gelecekte, gelişen teknoloji ile üç boyutlu yazıcılar ile inşa edilen yapıların sayısının artabileceğini düşünüyorum. SLA’NIN KOPENHAG’TAKİ YAPISI OLDUKÇA İYİ BİR ÖRNEK Yeşilin ön plana çıkarıldığı, hatta başrolde olduğu mimari tasarımlarla artık daha sık karşılaşıyoruz. Binaların çatı alanlarında organik tarım alanları, mini parklar yaratılması mesela. En çarpıcı örnek, SLA’in projesini yaptığı, Kopenhag’daki enerji santralinin dik eğimli çatısına yapılan peyzaj tasarımı. Tüm bunlar sizce yeterli mi? Yoksa tüm bunlar sadece "greenwashing" yani "yeşil aklama" olayı mı? Mimaride sürdürülebilir tasarım yaklaşımları çok paydaşlı, farklı disiplinler ile ilişkili ve bütüncül olarak ele alınması gereken bir konu. Malzeme seçimi, dönüşebilir/adaptasyon yeteneği olan program ve işlevlerin varlığı, yapının bulunduğu coğrafya ile kurduğu ilişki, enerji verimliliği, doğa dostu inşaat teknolojilerinin kullanılması gibi çok farklı alanı içinde barındırıyor. Şehirden alınan toprak parçasını, devasa bir yapının cephesine ya da çatısına konumlandırılan sınırlı yeşil ile doğaya geri veremeyiz. Ya da sadece “yeşil bina” sertifikası alarak, bunu bir pazarlama argümanı gibi kullanabilmek için sürdürülebilir olmayan bir binaya sonradan eklenen bazı yeşil dokunuşlarla onu sürdürülebilir hale getiremeyiz. Bu konu tasarımın ilk safhasından itibaren başlayan, kullanıcıları ile devam eden, yaşamın içinde döngüsel, canlı ve bütüncül bir sürece sahip olmalı. Bunun dışındaki her durum, bir tür yeşil aklama örneğine dönüşme potansiyeli taşıyor. SLA’nın Kopenhag’daki yapısı -yakın zamanda yerinde de gözlemleme fırsatı buldum- kentteki konumu ve tasarım yaklaşımından ötürü oldukça iyi bir örnek. İşlevinden ötürü kamusallaşması mümkün olmayan bir yapının çatısını kentle bütünleştirip kamusallaştırabilen, bariyerleri güvenli bir şekilde ortadan kaldırabilen, özgün bir fikre sahip. DAHA FAZLA YEŞİL TAHRİBATI KONTROL ALTINA ALINABİLİR Önümüzdeki on yılda bizi yeşilin arttığı şehirler mi bekliyor? Bu konuda iyimser misiniz? Araştırmalar, dünyadaki nüfusun artmaya devam edeceğini ve buna paralel olarak, şehirlerde yaşayan nüfusun kırsal bölgelerde yaşayan nüfusa oranla artış eğiliminde olacağını gösteriyor. Kent yaşamı hâlâ cazip ve cazibesini koruyacak gibi görünüyor. Bu sebeple, önümüzdeki on yılda kentlerde inşa etmeye olan ihtiyacın artacağını söyleyebiliriz. Bir noktaya vurgu yapmak isterim: Şehirlerdeki atıl yapı stokunun yeniden işlevlendirilmesi, gerçekten gerek olmadıkça daha fazla yeşil tahribatının yapılmasını kontrol altına alabilir. Mevcut yapıların verimliliğini artırmak, paylaşımlı mekan kullanımlarını destekleyen politikalar geliştirmek gibi yöntemler benimsenmezse, bu konuda iyimser olduğumu söyleyemem. DÜNYANIN VAHŞİ DOĞAYA TESLİM EDİLMESİ İMKANSIZ Yapmamız gereken gerçekten dünyanın önemli bir kısmını yeniden vahşi doğaya teslim etmek mi? Kurtuluşumuz bu mu? Ne dersiniz? Aslında bu sorunun yanıtını bir önceki soruda yanıtlamış oldum. Dünyanın vahşi doğaya teslim edilmesinin mümkün olduğunu düşünmüyorum. Artan nüfus ve çağın getirdiği yeni mekan ihtiyaçlarına paralel olarak kentlerdeki yapılar artma eğiliminde olmaya devam edecek. Ancak, “yapmak” eylemine odaklı bir politika ile bu durumu daha da vahim çevresel sorunlar üretecek hale getiriyoruz. Yapmadan önce, mevcut olanı yeniden kullanabilmenin ihtimallerini sorgulamanın kurtuluş yollarından biri olduğuna inanıyorum. Bir diğer konu da inşaat teknolojisinin günümüzde ulaştığı seviye ve içinde bulunduğumuz kapital odaklı düzenin getirdiği mega ölçekli projelerin üretilmesine olan iştahın çok canlı olması. 40’LI YAŞLARIM BANA KUSURLU HALİN GÜCÜNÜ ÖĞRETTİ 20’lerinizde, dünyaya, şehirlere ve mesleğinize nasıl bakıyordunuz? Aradan geçen sürede vizyonunuzda neler değişti, neler aynı kaldı? Harika bir soru! Aslında, meslek yaşamımın başında, bir projenin, araştırmanın, binanın ya da metnin kusursuz olması amacı ile çalışırdım. Bunun olabileceğine inanırdım ve doğru planlama ile bu amacın mümkünlüğünü düşlerdim. Yıllar sonra, özellikle de ideal mekan, ideal kent arayışları konusunda derinleşmeye başladıkça, idealize edilmeye çalışılan mekanın gelişime kapalı, totaliter ve durağan olduğu gerçeğiyle yüzleştim. Oysa insan değişen bir canlı, mekanlar da öyle… Aralarında simbiyotik bir ilişki var… Bugün, 40’lı yaşlarım bana kusurlu halin gücünü öğretti. Planlanan, ideal düşün değil; kusurlarıyla var olan gerçeğin ne kadar değerli olduğunu farkettim. Bence dünya da kentler de kusurları ile beraber özgün ve bu sayede birbirinden ayrışıyor ve gelişiyor. Biz insanlar da aynı akışta evrimsel yolculuğumuza devam ediyoruz.

Ağustos 2022 | Seyahat | Yunanistan Hydra’ya dair 12 adet bilgi & tavsiye H ydra’ya gittiğinizde şu 12 madde mutlaka cebinizde bulunsun. 1. Hydronetta: Günbatımı nefis. Denize gir, sonra tekrar ıslak ıslak kokteylini yudumla. 2. Techne: İyi yemek, iyi manzara, şahane kitle. 3. Spilia: Ahşap şezlonglarına kurul, liman manzarasına karşı kitabını oku, sakinleş. 4. Four Seasons: Öğle yemeği için en ideal seçim. Adanın en taze deniz ürünleri orada. 5. İl Casta: Makarnaları için saatlerce beklemeye değer. Özellikle limonlu zencefilli olan için. 6. Xeri Elia Douskos: Küçük bir meydanda, mütevazı bir taverna. 7. Veranda: Romantizm barı. Akşamüstü için enfes. 8. Amalour: Adanın sosyalleşme barı. 9. Cool Mule: Meşhur ev yapımı dondurmacı. 10. Bisti ve Agios Nikolaos plajları: Adanın öteki tarafındaki en güzel plajlar. 11. 1960’larda bir süre burada yaşamış Leonard Cohen’le beraber şöhreti daha çok katlanmış bir ada Hydra. Cohen’in evi adanın yukarısında ve gezilebiliyor. Şimdi geçmişe dönelim. İki eski sevgilinin yollarının kesiştiği 1960’lar Hydra’sına... Norveçli Marianne Ihlen, ailesinin tüm karşı çıkışlarına rağmen yazar sevgilisi Axel’le evlenmiş, çocuğu olmuştur. Bir süre sonra kendini dönemin bohem adası Hydra’da bulur. Kocasının aniden onu terketmesinin ardından suyu, elektriği olmayan bu küçük adada çocuğuyla beraber tek başına kalır. Bir gün, babasının ismini yaşatan çocuğu Axel’e süt almak için bakkala inen Marianne hayatının aşkıyla tanışır: Leonard Cohen’le... Bundan sonrası şahane gelişir: Kalabalık yemekler, şarkılar, şiirler, her gün tazelenen bir aşk... İkilinin efsane aşkları kısa sürede Cohen’e nefis şarkılar da yazdırır: So Long Marianne, Hey, That’s No Way to Say Goodbye, Bird on the Wire... 12. Atina’ya feribotla bir buçuk saat uzaklıktaki Hydra’da motorlu araç yok, fayton da. Her yere yürümek zorundasınız. Ya da küçük teknelere binip gideceğiniz koya denizden varabilirsiniz. 12 important facts about Hydra 1. Hydronetta: The sunset is exquisite. Get into the sea, then sip your wet cocktail again. 2. Techne: Good food, good view, great audience. 3. Spilia: Set up on your wooden sun loungers, read your book against the harbor view, relax. 4. Four Seasons: The ideal choice for lunch. The freshest seafood on the island is there. 5. Il Casta: It's worth waiting hours for their pasta. Especially for the lemon ginger one. 6. Xeri Elia Douskos: A modest tavern in a small square. 7. Patio: Romance bar. Perfect for the evening. 8. Amalour: The island's socializing bar. 9. Cool Mule: The famous homemade ice cream parlor. 10. Bisti and Agios Nikolaos beaches: The most beautiful beaches on the other side of the island. 11. Hydra is an island whose fame has doubled with Leonard Cohen, who lived here for a while in the 1960s. 12. Hydra, an hour and a half away from Athens by ferry, has no motor vehicles, no phaetons. You have to walk everywhere. Or you can get on small boats and reach the bay from the sea.

January 7, 2025 | VOL 17 SILENCE of the ALPS words Onur Baştürk photos Tijs Vervecken At the foot of Mont Blanc, nestled on the slopes of Courmayeur, House Montagna stands as a contemporary refuge shaped by nature’s rhythm. Once a humble mountain chalet, it has been reimagined by the Belgian collective Maison Osaïn into a place where simplicity and serenity define the experience of living. The structure, rebuilt almost entirely from local materials, opens directly to the alpine landscape — where light, texture, and silence become the true architecture. Strategically positioned at the edge of the ski slopes, the house balances rugged authenticity with refined craftsmanship. Inside, aged oak and soft grey concrete create a dialogue between warmth and restraint; each space flows naturally into the next, framing views of the valley and the peaks beyond. Behind this transformation stands Maison Osaïn, founded in 2022 by architect Thomas Maria Verschuren and designer Ann Butaye. A SANCTUARY ON THE MONT BLANC SLOPES — A PLACE TO EXHALE House Montagna is a renovated chalet that feels both authentic and new. How did you balance its mountain heritage with a contemporary language? We wanted to honor the spirit of the region — not replicate the past, but reinterpret it with integrity. The chalet was almost entirely rebuilt using local materials. Its exterior echoes traditional alpine homes: slate stones and timber-framed windows anchor it in its surroundings. For the interiors, we sourced aged oak planks that already carried traces of life. Their imperfections bring depth and authenticity. To balance the warmth of the reclaimed wood, we introduced rough concrete and microcement for the walls and floors — soft grey tones that let the timber breathe. It’s this contrast between old and new, rustic and refined, that gives the house its serene, timeless quality. A sanctuary carved into the Mont Blanc slopes; a place to exhale after a long day on the mountain. The project was conceived as a place to disconnect. How did you translate calm, simplicity, and slowness into spatial design and material choices? The project was conceived as a refuge — a place to disconnect and slow down. Given its modest footprint of 50 square meters per floor over three levels, the design focused on openness and flow. Built-in benches along the perimeter walls double as storage and accommodate functions such as en suite bathrooms. This keeps the central space open — light-filled, transparent, and connected. By avoiding corridors and partitions, a natural continuity emerges: visual connections, shifting perspectives, and a quiet dialogue between spaces. This openness nurtures awareness — of one another, of light, of the surrounding landscape. It’s an architecture of calm and connection. The material palette was deliberately restrained: wood and concrete. The warmth of timber meets the raw honesty of concrete. The natural hue of the wood asserts a gentle presence against the soft grey surfaces. This simplicity invites mental stillness — allowing materials to speak their own language, unadorned and unhurried. CONCRETE CAPTURES THE RAW STRENGTH OF THE PEAKS, WHILE WOOD ECHOES THE SLENDER TREES ALONG THE RIDGES, BRINGING WARMTH AND TACTILITY WITHIN The chalet stands at the edge of the slopes, surrounded by mountains. How did the landscape — its light, textures, and rhythm — influence your architectural and interior decisions? Perched at the edge of the slopes, the chalet lives in close dialogue with its surroundings. We believe architecture should bring nature as near as possible — not as a framed view, but as an experience that seeps into daily life. Concrete reflects the rawness of the peaks, their strength and permanence. Wood mirrors the slender trees tracing the ridgelines, adding warmth and tactility to the interiors. Together, they create a language that feels both grounded and serene — a tactile translation of the landscape itself. When the slopes fall silent at dusk, the mountain turns still. In that calm isolation, the chalet becomes a cocoon for reflection and shared presence. Its quiet simplicity invites closeness — a reminder that stillness is not emptiness, but depth. Maison Osaïn works closely with local artisans, artists, and partners. What does collaboration mean to you, and how do these creative exchanges shape the final atmosphere of your spaces? We see ourselves less as architects imposing a vision and more as curators of space, creating a framework in which others can bring their mastery to life. We deeply believe in the synergy that emerges when different disciplines meet. This openness means the process is never entirely predictable — and that’s what makes it exciting. The key is trust: finding partners who understand your philosophy and can interpret it through their own craft. For instance, we told the local carpenter we wanted to work with wood that already had a life behind it. He took us to his workshop, where he had gathered reclaimed boards, each with its own story. From these, he crafted the cabinetry, beds, and kitchen — pieces that carried warmth and history into the new space. Because the site was perched high on the mountain, sometimes only accessible by cable car or helicopter, the process was unpredictable. We often didn’t know exactly how things would look until they arrived. Yet every surprise was a good one. It’s in these moments — where trust meets craftsmanship — that the true soul of a project emerges. Natural and circular materials are central to your philosophy. How do you define sustainability in practice — beyond material selection — and how did this idea manifest in House Montagna? A sustainable home, to us, is one that remains relevant through time — not because it follows fashion, but because it embodies balance and permanence. Its simplicity gives it longevity. Its restraint gives it strength. In House Montagna, this philosophy guided every decision. The chalet draws from traditional mountain materials but reinterprets them through a contemporary lens. It feels both rooted and renewed — honest and enduring. THE TURNING POINT WAS DEEPLY PERSONAL Maison Osaïn brings together two perspectives — architecture and design, logic and emotion. How do you divide roles when working together on a project? Does the process merge naturally? When a man and a woman design together, both the masculine and the feminine find their way into the space. That duality lies at the heart of Maison Osaïn — structure and softness, reason and intuition, function and feeling. Although it might seem the opposite, Ann is often the more practical one when it comes to planning. She designs from lived experience — thinking about flow, comfort, and how people truly inhabit a space. I tend to start from concept — from atmosphere, proportion, and the emotional resonance of an idea. Ann’s touch defines a home’s warmth and sense of belonging, while I focus on its technical and architectural framework. Material and color decisions are always shared — a dialogue where instinct meets precision. Maison Osaïn was born from a desire to give deeper meaning to the idea of home. What led you to create this platform, and what values guide your work today? The turning point was deeply personal. When Ann fell ill, we were confronted with life’s fragility. Caring for one another became a quiet ritual that reshaped our idea of home — extending beyond emotion to what we surround ourselves with, from nourishing food to honest, tactile materials. This experience shaped our philosophy: natural materials, chosen with intention, create spaces where people can truly thrive. Color, texture, and scent are not decorative but essential — awakening the senses and calming the mind. Our work is guided by a set of values we defined early on: care, stillness, sincerity. Nature as a compass. Beauty as a language. A home that quietly nourishes the soul. If you had to describe the essence of Maison Osaïn in one sentence — not as a brand, but as a way of living — what would it be? As our baseline says: Sincere living. To us, that means living with intention — surrounded only by what feels true and meaningful. It’s about embracing simplicity not as absence, but as depth. Creating spaces that breathe honesty, warmth, and quiet strength. Sincere living is not just a design philosophy — it’s a way of being: gentle, grounded, and deeply human. - The full story is featured in Vol.17 - Print VOL XVII - 2025 Out of Stock Add to Cart

April 2025 | DESIGN & INTERIORS A R T I C O L O a DECADE of DESIGN MASTERY words Laura Cottrell portrait photos Willen Dirk Du Toit + Sharyn Cairns In 2025, Articolo Studios celebrates ten transformative years—a milestone that underscores a journey defined by evolution, innovation, and unyielding artistic vision. This April, the acclaimed Australian design studio returns to Euroluce at Salone del Mobile, unveiling three new collections that capture the essence of a decade spent perfecting the art of refined, performance-driven design. Stepping into the immersive Euroluce installation is like entering a sanctuary away from the bustling trade show. Set within a warm, travertine-clad space, visitors are greeted by curated floor-to-ceiling fixtures, textured cast glass pendants, and hand-crafted leather lounge seats that not only showcase the studio’s pioneering approach to decorative lighting but also its seamless leap into contemporary furniture design. Here, each piece is more than an object—it’s a testament to Articolo’s commitment to blending sophisticated engineering with elevated aesthetics. Articolo’s evolution is eloquently captured in the words of Founder and Creative Director Nicci Kavals: "Celebrating our tenth year gives us a sense of maturity, confidence, and conviction in who we are and where we are headed. The foundations are laid, and we are now at the starting gates, ready to unfold the greater vision for the brand. This milestone is an achievement, but true mastery takes a lifetime. We see this as just the beginning of an enduring brand—one that will outlive its founders." Founded in Melbourne, Articolo Studios—helmed by visionary Nicci Kavals—has consistently pushed the boundaries of design, evolving from her early days as a chef and stylist into the creation of innovative experiential interiors.. Her journey, rich with diverse influences, now culminates in Articolo Studios’ bold new venture into adjustable, technologically infused decorative lighting—a move that speaks to the brand’s relentless drive for excellence. For its Euroluce showcase, Articolo teamed up with long-time partner Studio Goss to create an installation that is as much an architectural monument as it is an exhibition booth. Dominated by monolithic forms, expansive proportions, and meticulously layered materials—ranging from luminous eucalypt accents to deep, rich travertine and walnut finishes—the space invites visitors on a sensory journey through a world where art, design, and performance lighting converge. As the world of Articolo comes to life this April, it reaffirms its position at the cutting edge of design innovation. With each new collection, the studio not only honors its storied past but also sets the stage for the future—one illuminated by creativity, craftsmanship, and an unwavering passion for design.

Print | Abonelik ALL ISSUES PRINT SUBSCRIPTION Mesafeli Satış Sözleşmesi

May 2023 | Design & Interiors | Vol 9 english below KOSTA RİKA’NIN YİN VE YANG’İ yazı Onur Baştür k fotoğraflar BoysPlayNice M imar Dagmar Štěpánová, uluslararası ödüllü mimarlık stüdyosu Formafatal’ın kurucusu. Formafatal’ın hem Prag hem de Dagmar’ın taşındığı Kosta Rika’da ofisi var. Mimari faaliyetlerine ek olarak Dagmar, Kosta Rika ormanlarında ortak yatırımcısı olduğu özel villaların kiralanması işini de yürütüyor. Dagmar’ın ofisi Formafatal’ın tamamladığı villa projelerden biri de Kosta Rika’da, Uvita kasabası yakınlarında yer alan Achioté. Bu proje Kosta Rika’daki ilk “sıkıştırılmış toprak” (rammed earth) uygulaması. Minimalist tasarıma sahip, “Jaspis” ve “Nefrit” adı verilen iki villadan oluşan Achioté, gür ormanın dik bir kenarında kısmen yükseltilmiş. Hemen önünde ise Pasifik Okyanusu’nun sonsuz manzarası var. Dagmar Štěpánová projeyi şöyle anlatıyor: “Her iki villa da kısa süreli kiralamalar için tasarlandı. Amacım, hem sofistike hem son derece minimalist ve basit hem de biyofilik iç mekanlara sahip sürdürülebilir evler tasarlamaktı. Projede gereksiz hiçbir unsur yok. Villaların mimarisi, yemyeşil tropik bitki örtüsünün aksine ince ve keskin hatlara sahip. Bu da bilinçli olarak tasarlandı. Seçilen malzeme ve renkler de çevreyle mükemmel bir şekilde örtüştü” YİN ENERJİSİNİ JASPIS, YANG’İ İSE NEFRIT TEMSİL EDİYOR Štěpánová projenin iç mekanlarındaki renk konseptinin villalar inşa edilmeden önce konumlarında algılanan enerjilere yanıt olduğunu söylüyor. “İlk villa, yani Jaspis, yin enerjisinin bir yansıması. Sadece görsel olarak değil, titreşimleriyle de okyanusa ve gökyüzüne bağlı. Kum tonlarındaki bir renk konseptiyle bu bağlantıyı oluşturmayı hedefledim. Nefrit Villa ise yang enerjisinin yansıması. Nefrit villasında zemin ve ormanla olan bağı hissedebilirsiniz. Burada seçilen renk konsepti bu enerjilere bir yanıt niteliğinde. Bu nedenle beton zemini kırmızı- terracotta renginde... Aslında her iki villa da ilk bakışta çok göze çarpmıyor, mütevazı görünüyor. Ancak villanın içinden geçip terasa doğru birkaç adım atınca okyanus manzarası açılıyor ve kendinizi sonsuzluk havuzu ile yatak odasının cömert alanında buluyorsunuz” PROJEYLE İLGİLİ DETAYLAR Okyanus manzarasına yönelik tüm cepheler çerçevesiz camdan tasarlanmış. Cam cephelerin kayar ve masif kısımlarının profilleri beton tavan döşemesindeki oluklara gömülmüş. Kosta Rika iklimi ve yüksek nemi göz önünde bulundurularak malzemeler olabildiğince dayanıklı seçilmiş. Kilden yapılan “sıkıştırılmış toprak” duvarları üretmek için Brezilya’daki Terra Compact şirketinden deneyimli bir uzman davet edilmiş. Nefrit Villa’daki yeşil döşemeli sandalye Moustache, yemek masası sandalyeleri Axoque, yazı masası Moooi, gri tabure Muuto, okuma aydınlatmaları Ingo Maurer, duvar aydınlatması Micro Pinza ve Artemide. COSTA RICA’S YIN AND YANG words Onur Baştürk photos BoysPlayNice A rchitect Dagmar Štěpánová is the founder of the international award-winning architecture firm Formafatal. Formafatal has offices in Prague and Costa Rica, where Dagmar has relocated. In addition to her architectural practice, Dagmar is also involved in the rental business of private villas in the forests of Costa Rica, in which she is a co- investor. One of the villa projects completed by Dagmar’s office, Formafatal, is Achioté, located near the town of Uvita in Costa Rica. This project is the first “rammed earth” application in Costa Rica. Achioté consists of two villas of minimalist design called “Jaspis” and “Nefrit”, partially elevated on a steep edge of the lush forest. Directly in front of it is the endless view of the Pacific Ocean. Dagmar Štěpánová describes the project as follows: “Both villas are designed for short-term rentals. My goal was to design sustainable houses with sophisticated and extremely minimalist interiors and simple and biophilic ones. There are no unnecessary additional elements in the project. The architecture of the villas has thin and sharp lines in contrast with the lush tropical vegetation. This was intentionally designed that way. The chosen materials and colors also blend perfectly with the surroundings”. JASPIS REPRESENTS YIN ENERGY, AND NEFRIT REPRESENTS YANG Štěpánová says that the color concept in the project’s interiors is a response to the energies perceived at the villas’ location before they are built. “The first villa, Jaspis, reflects the yin energy. It is connected to the sea and the sky, not only visually but also through its vibrations. I wanted to create this connection with a color scheme in sandy tones. The Nefrit Villa is the reflection of the Yang energy. In the Nefrit Villa, you can feel the connection between the ground and the forest. The color concept chosen here is a response to these energies. That is why the concrete floor is red-terracotta color. In fact, at first glance, both villas are inconspicuous and appear modest. In addition, when you walk through the villa and take a few steps towards the terrace, the view of the sea opens up, and you find yourself in the generous space of the infinity pool and the bedroom”. DETAILS ABOUT THE PROJECT All the facades for the sea view are made of frameless glass. The profiles of the sliding and solid parts of the glass facades are recessed into the grooves of the concrete ceiling. Considering the Costa Rican climate and high humidity, the materials were chosen to be as durable as possible. An experienced specialist from Terra Compact in Brazil was contracted to make the walls from “rammed earth” made of clay. Nefrit Villa’s green upholstered armchair is Mustache; dining chairs are Axoque; the desk is Moooi, the gray stool is Muuto; reading lamps are Ingo Maurer, and wall lighting is Micro Pinza and Artemide. for more Print VOL IX - 2023 Out of Stock Add to Cart No product

june 2023 | Mediterranean Design | Vol 10 english below GÜNEY İTALYA’NIN TERRACOTTA RUHU words Onur Baştürk photos A. Muscatello venue Campicello (Strait of Messina) art director Aricò A ntonio Aricò güney İtalya’da doğup büyümüş bir tasarımcı ve kreatif direktör. Seletti ile iş birliği sonucu ortaya çıkan Magna Graecia isimli yeni koleksiyonu da öyle: Güney İtalya’daki antik Yunan kolonilerinin stilistik özelliklerinden ilham alınarak tasarlanmış, tamamen terracotta’dan yapılma bir obje serisi. Hem iç hem de dış mekanda kullanılabilen Magna Graecia; dünyadaki tüm terasları, bahçeleri, verandaları ve aynı zamanda salonları, istila etme hırsına sahip bir Akdenizli. Ama bu hırs tam aksine masum. Çünkü Aricò, Akdeniz’in sıcak ve güneşli atmosferini her yere ulaştırmak istiyor. Güney İtalya’nın neresinde doğdun? Sicilya’nın hemen karşısındaki sahilde, Reggio Calabria kasabasında doğdum. Gianni Versace’nin doğduğu kasaba. Benim gözümde büyüleyici bir yer. Reggio Calabria hakkında en çok sevdiğim şey hâlâ gerçek bir yer oluşu. Ayrıca güçlü zıtlıklar açısından zengin bir yer. Güzelliğinin yanı sıra güneye özgü bir kaosu da var, ki bu benim için insan yaşamının bir metaforu. Akdeniz’de olmak tasarımlarını nasıl etkiliyor? Aslında bu zamanla ilgili bir mesele. Okurken dünyayı dolaşmalı ve çalışmaya başladığın ilk yıllarda seyahat edip hızlı olmalısın. Olgunlaştığını hissettiğinde ise -yaşının 60 olması gerekmiyor- yavaşlamayı öğrenmelisin. Az ama iyi yönde şeyler yapmayı seçmelisin. Sanırım Akdeniz yaklaşımımın sırrı bu! TERRACOTTA SPIRIT OF SOUTHERN ITALY A ntonio Aricò is a designer and creative director born and raised in southern Italy. As his new collection, Magna Graecia, realized in cooperation with Seletti, is a series of objects inspired by the stylistic features of ancient Greek colonies in southern Italy and made entirely of terracotta. Magna Graecia, which can be used both indoors and outdoors, is a Mediterranean with an ambition to invade all the terraces, gardens, patios and at the same time the halls, the entrance part of the houses in the world. However, this ambition is rather innocent. Because Aricò wants to bring the warm and sunny atmosphere of the Mediterranean to everywhere. Where in southern Italy were you born? I was born in the town of Reggio Calabria, located along the beach just across Sicily. The town where Gianni Versace was born. In my eyes, it’s a fascinating place. What I love most about Reggio Calabria is that it’s still an authentic place. It is also a place that is rich in terms of powerful contrasts. In addition to its beauty, it also has a southern chaos, which to me is a metaphor for human life. How does being in the Mediterranean affect your designs? Actually, it’s a matter of time. While studying, you should travel around the world, and you should travel and be fast in the first few years you start working. When you feel growing mature - you don’t have to be 60 - you must learn to slow down. You have to choose to do things in a small but good way. I think that’s the secret of my Mediterranean approach! for more Print VOL X - AEGEAN & MEDITERRANEAN EDITION - 2023 Out of Stock Add to Cart

Ocak 2022 | Art | Türkiye Carlos Aires’in “Sweet Dreams” videosu Yazı | Alp Tekin Z ilberman’ın Piyalepaşa’daki yeni galerisinde bir grup sergisi yer alıyor: Vekâleten. Sergide yer alan tüm sanatçılar eserleri yoluyla kişisel gözlem ve toplumsal birikimlerini aktarma derdinde. Aidiyet hissettikleri ya da merak ettikleri kültürlere olan ilgilerini görsel söylemlere teslim ediyorlar. İşte onlardan biri de, aynı zamanda sergide ilgimizi en çok çeken işlerden biri olan Carlos Aires’in “Sweet Dreams Are Made of This” başlıklı video çalışması. Aires bu videoyla İspanya’daki polis şiddetini alaycı ve muzip bir tavırla eleştiriyor. Tango yapan iki polis üzerinden güç, iktidar ve sermayeyi hedef alıyor Carlos Aires. Videonun devamı niteliğinde olan diğer çalışmasında ise ekonomik olarak güçlü ülkelerin paralarından “Sweet Dreams”in sözlerini yazmış Aires. Burada da hedefi yine sermaye ve güç odakları. Küratörlüğünü Naz Kocadere ve T. Melis Golar’ın üstlendiği sergiye katılan diğer sanatçılar ise şöyle: Omar Barquet, Isaac Chong Wai, Didem Erk, Itamar Gov, Fatoş İrwen, Jaffa Lam Laam, Mahen Perera ve Sandra del Pilar.

July 12, 2025 | PEOPLE the SHAPE of SOUND to COME words Onur Basturk Bang & Olufsen has never been just another electronics brand. For over a century, it’s redefined the boundaries between sound and sculpture, technology and emotion. As the industry moves toward sustainability and more personal experiences, B&O stays ahead by doing what it does best—challenging norms. In this conversation, Head of Design Tiina Karjalainen Kierysch shares her thoughts on legacy, longevity, and why emotion might just be tech’s most powerful feature. Bang & Olufsen’s design language has evolved over the years, yet the core idea of “timeless aesthetics” remains constant. How do you balance this legacy with innovative design decisions? A huge part of our legacy is the mindset behind how we create products rather than the aesthetics themselves. What sets Bang & Olufsen apart from the general consumer-electronics industry is that we have always done things differently. Being unconventional is practically part of our DNA. Our products not only look different, but they also function and interact very differently from many competing products. As a designer, being able to challenge the status quo is liberating and offers a huge opportunity to explore completely new archetypes—rethinking use cases, shapes, interactions, and tactility. We even go so far as to change the meaning of entire product categories from time to time. For example, in the 1990s we transformed CD players from black plastic boxes into beautiful glass displays that could create an entire evening playlist for you. Another example is Beosound Shape, where we re-contextualised a speaker as an art piece on the wall—we often see things differently. Our founders, Peter Bang and Sven Olufsen, had a mission: “a never-failing will to create only the best, continuing to find new ways and improvements.” One hundred years later, we carry this legacy forward by continuing to challenge the status quo and keeping an open mind toward evolving creation, technologies, and manufacturing processes. 2. In new products like the Beoplay H100, elements such as modularity and reparability are emphasised. How early do these sustainability-focused decisions enter your design process? Our teams design in a modular way, and this is built in from the very beginning of the process so that parts can be repaired or exchanged later in their lifetimes. When new technologies emerge, products can also be upgraded through software. The modular-design expectations and targets we set for ourselves are challenging, yet they make the teams highly motivated. When it comes to sustainability, we work with the Cradle to Cradle certification, which provides a framework for assessing circularity and sustainability performance. Another approach to longevity is repurchasing old products, restoring them, and making them compatible with modern technology—we call these our Recreated Classics. We need to work together as an industry and solve the problems we can only solve collectively, using technological advancements to drive positive change and a culture of circularity. We strive to learn and improve constantly in this field while inspiring others to join the movement. I’M FASCINATED BY NEW SENSORY EXPERIENCES—ESPECIALLY THOSE INVOLVING TACTILITY, MOVEMENT, OR SOUND You’re leading the reimagining of iconic B&O products from the past. What is the biggest challenge in these redesign processes—staying true to the original form, integrating new technologies, or adapting to today’s user habits? Reintroducing products from the past gives us an opportunity to highlight, celebrate, and bring back some of our most iconic designs. These designs are icons for a reason, so when considering any updates we approach them very carefully, protecting their design integrity. We look at whether there are elements to improve, how colours and materials can fit into a contemporary context, and how we can connect yesterday’s interfaces to future user experiences seamlessly. You’ve worked across a wide range of sectors—from industrial products to transportation design. How have these cross-disciplinary experiences influenced your approach at Bang & Olufsen? Each sector I’ve worked in has brought specific lessons, especially regarding processes. I’ve learned a great deal from the clarity of product-development structures in transportation design and from the importance of innovation processes within craft in the fashion and luxury industries. Most of my experience has also been in international settings—Europe, the US, and Asia—which has given me invaluable cultural insights. From this mix of influences, I’ve distilled best practices and, most importantly, a mindset that guides everything I do. I’m a designer and design leader who believes in the power of creativity and people. When exploring future ideas and solutions, I aim for a better world—one that needs more collaboration and a more sustainable tomorrow. I find joy in building teams that strive toward that goal through design excellence and care. What does good design mean to you? How would you describe your relationship with sensory elements like sound, form, and tactility? A product must be well-made and well thought-through—a great fit for your life that provides beautiful solutions. As designers, we have an important responsibility to push the boundaries of circularity when developing products. Design is a universal language. Through a product’s design, we visually communicate with potential customers and users, not only through its shapes or colours but also through the way it feels, sounds, and interacts with you. Great designs are often founded on unique ideas; they are memorable and leave a lasting impression. I think a product should move you—delight you, inspire you, or spark your curiosity. Sound, form, and tactility play a huge role in that emotional impact. Products stand out to me when I can recall how they looked or felt. I’m intrigued by how design triggers emotions and by the magic that happens when technology meets art and imagination. New experiences also fascinate me—things I’ve never encountered before that engage the senses with tactility, movement, or sound. I’m drawn to products created in remarkable ways, where you can feel the care for design excellence. When a product makes sense both rationally and emotionally—and gives you an overwhelming feeling of excitement—you feel the true strength, value, and power of design. MAGIC HAPPENS WHEN WE ENTER A JOINT CREATIVE FLOW You’ve said that sustainability is not just about materials but about building long-term emotional connections with users. Can you share an example where this idea shaped a project? Listening to music is an emotional experience. Bringing back memories from the 1990s with a refurbished Beosound 9000c connected to modern speakers and an app adds another emotional layer—memories come alive again in a future format. Aside from the Beosound 9000c, our Recreated Classics programme has introduced the Beogram 4000c record player and, more recently, the Beogram 3000c, revitalising classic Bang & Olufsen listening experiences. We want our products to be investments—objects that can be passed on to the next generation. In a world where consumer-electronics products can become obsolete quickly, we ensure they can be updated over time, with both hardware and software. Our products are designed modularly so that parts can be repaired or exchanged when needed. Together with our customers, we also create personalised products through our Atelier programme, where colours, materials, and finishes can be customised. Emotional connections often become even stronger when you, as the customer, help design the final result. What motivates you most during the design process—silence or sound? What kind of environments fuel your creativity? A huge source of inspiration is the teams I work with. Magic happens when we enter a joint creative flow. Through deep collaboration and by leveraging everyone’s expertise, we can conceptualise and design products we would never have imagined on our own. Being inspired by each other’s creative minds makes me forget time and space and dive into new imaginative worlds. Sound often inspires us in the studio when we create together, while silence is equally important for diving deeply into individual imagination and thought. What advice would you give to young designers—especially those looking to balance technology, craftsmanship, and emotional resonance in their work? Always remember that your individual contribution is unique. Nobody else will approach a design exactly the way you do. Identify your distinctive characteristics as a designer and use your personality to bring unique value to every design conversation. Stay curious and keep an open mindset for learning new things, perspectives, and methods. It will enrich you and your creativity, and you’ll enjoy your journey as a designer. At the same time, you’ll energise those around you. Dare to propose unusual, even crazy ideas—designers always have the power to propose. And remember to have fun!