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

Mart 2021 | Art | Türkiye REFİK ANADOL Şimdi teleskop rüyalarının peşinde Yazı | Onur Baştürk Fotoğraflar | Emir Sarısaç R efik Anadol’un İstanbul’da bugüne kadar açtığı en kapsamlı sergi “Makine Hatıraları: Uzay”. Aslında kapsam kelimesi bile şu an yazarken bana yetersiz geldi. Çünkü Refik Anadol bu kez gözünü uzaydaki verilere dikmiş durumda. Sergide üç önemli teleskobun; Dünya’nın “selfie”sini çeken ISS’in, galaksiyi fotoğraflayan Hubble’ın ve 11 yıldır Mars’tan görüntü yollayan MRO’nun toplam iki milyona yakın verisinden elde edilmiş algoritmik bir rüya evreniyle baş başa bırakıyor bizi sanatçı. Yani kapsam hayli sonsuz ve terabaytlarla ölçüp biçilecek gibi değil. Derya deniz. Ünlü astrofizikçi Carl Sagan, 1980'lerde geniş kitlelere ulaşmış Cosmos adlı programının bir bölümünde şöyle demiş: “Hayal gücü bizi genellikle hiç var olmamış dünyalara taşır. Ama o olmadan hiçbir yere gidemeyiz”. Anadol’un yeni sergisi de bunun gibi: Hayal gücümüzü alıp öyle yerlere götürüyor ki, Dolapdere’deki Pilevneli Galeri’den çıktıktan sonra ayaklarımızı yere basmamız cidden çok zor. Sergide işlenen iki tema var. Her ikisi de Refik Anadol’un en başından beri tutkuyla izinden gittiği ve çözmek istediği şeyler: Hatıralar ve rüyalar. Özellikle ikinci bölüm olan “Rüyalar”da üç boyutlu veri heykelleriyle mekanla bütünleşmiş 15 dakikalık bir yapay zeka sineması enstalasyonu var. Bu yapay zeka sineması entalasyonu başlı başına iddialı bir önerme… İşin içine girince bırakmak isteyemeyeceğiniz kadar şahane detayı Refik Anadol’un ağzından dinleyin… Görüşmemizin daha kapsamlı ve daha felsefi kısmı ise nisanda yayınlanacak VOL3’te. DAHA HUZURLU BİR VERİ BİLMİYORUM Önceki işlerinizde insanlar ve doğanın bıraktığı verilerden yola çıkıyordunuz. Bu sergide teleskopların görüntüleri, yani hatıraları var. Uzaydan insanlığa ve dünyaya bir bakış sanki… Yanılıyor muyum? Çok doğru, önceki sergide insanların hatıralarına odaklanıyordum. Şimdi insanlığın, hatta evrenin hatıralarına odaklandım. Dolayısıyla küme büyüdü! Teleskop verilerinin herkese açık olduğunu bilmiyordum. Biz de erişebilir miyiz? Evet, sergideki veriler herkese açık. Tabii ki indirmesi zor! Belirli linklere girip belli kodlar yazmak gerekiyor. Mesela Mars’ın görüntü verileri Arizona Üniversitesi kontrolünde. Ama ulaşmak zor değil. Ben Mars’ın verilerine 2018’de ulaşmıştım. Eğer yapacağınız konu ve fikir yeterince yenilikçiyse kimse size ‘Bu veriye ulaşamazsın’ demiyor. Çünkü zaten verinin amacı insanlığa yardım etmek. Temel anlamda en objektif veriler bunlar. Ego yok, kişisel veri yok, mahremiyet problemi kaygısı yok. Doğruyu söylemek gerekirse, daha huzurlu bir veri bilmiyorum! AY’A İNMİŞLER, KESİN BİLGİ! Bu serginin ilham kaynağı NASA’nın yeni binası için yaptığınız veri heykeli aslında. NASA’yla yaptığınız işbirliğinden neler öğrendiniz? Her şey, altı kişilik NASA ekibinin 2018’de stüdyomuza yaptığı ziyaretle başladı. Yaptığım işlere çok iyi çalışmışlardı. Bilinçli ve hassastılar. Net bir şekilde istedikleri şeyi anlattılar. Şunu da belirteyim: NASA’yla çalışmak gerçekten zor. Federal bir kontrat yapıyorsun. Elini kolunu sallayarak yapabileceğin bir iş değil. Parmak izin alınıyor, FBI hep arkanda. Film gibi yani. Bütün testleri geçince de her şeyi önünüze seriyorlar. Hâlâ kontratımız bitmiş değil, devam ediyor. NASA için yaptığınız veri heykeli bitti ama değil mi? Tabii tabii. Aslında Mars’a iniş yapan Perseverance aracıyla beraber yeni binaları da kabaca açıldı. Sadece pandemi dolayısıyla büyük açılış yapmadılar. Yaptığımız işin bir kısmı da Perserverance inişindeki canlı yayında gösterildi. Ama ben paylaşamıyorum hâlâ. Tüm verileri gerçekten size açtılar mı? Uzaylılarla ilgili olanları filan… (Gülüyor) Ay’a inmişler! Benim gördüğüm veriler pek stüdyoya benzemiyordu! İnilmediğine dair komplolar Rusya ya da Çin’in spekülasyonu olabilir. Pilevneli Galeri'yi nasıl dönüştürdünüz sergi için? Şunu söyleyebilirim: İstanbul’daki sergi hepsinin en üst noktaya ulaştığı sergi oldu. Daha önce “Arşiv Rüyası”nı yapmıştık, ama o sergi küçük ölçekliydi. Verisi başkaydı. Bir bakıma 2018’den bu yana bir hayalin evrimleşmesi ve yükselişini yaşıyorum. Ayrıca Türkiye’de ilk kez izleyiciyi çevreleyen yapay zeka enstalasyonu bu ölçekte yapılacak. İşin içinde bir yapay zeka sineması var. Buna sinema demek zorundayım. Çünkü sadece bir enstalasyon diyemeyiz. 21. YÜZYILIN EN İYİ GÖSTERİM BİÇİMİ Projelerin yapılış sürecini her zaman şeffaf bir şekilde paylaşıyorsunuz. Bu serginin yapım süreci nasıl işledi? Veri kaynaklarını söyledim, hepsi açık kaynak. Gizli, kişiye ait veriden bahsetmiyoruz. İkinci süreç yapay zeka araştırması. Son dört yılda kendimi ve ekibimi çok ciddi bir yapay zeka araştırmasına tabi tuttum. Stüdyoda çok hızlı bir donanım gücümüz var. Bu sergideki gösterme biçimi bu donanımın son noktası. Pigmentleşen bir algoritma olduğu için en iyi teknolojiyi kullanmak gerekiyordu. Dolayısıyla hayal gücümüzün sınırlarını zorladık. Gösterim biçimi açısından bizi neler bekliyor? Birinci katta, serginin hafızasına dönüşen verileri ham şekilde gidip görebilecek izleyici. Oturup uzun uzun izlerseniz o makinenin hatıralarını görmüş olacaksınız. İkinci katta, izleyiciyi 18 parlak projeksiyonla çevreleyen bir sinema deneyimi olacak. Son olarak da bu rüyaların pigmentleşmiş yapay zeka veri resimleri ve heykelleri izlenebilecek. 21. yüzyılın belki de en iyi gösterim biçimlerini kullandık diyebilirim. Kapsamlı hali nisanda VOL III'te!

March 2024 | Design & Interiors english below COMING SOON: THE ELEVATION GRAVITY words Alp Tekin G aggenau “The Elevation Gravity” konseptini 16-21 Nisan tarihleri arasında düzenlenecek Milano Tasarım Haftası kapsamında tanıtmaya hazırlanıyor. Ama bu tanıtımdan önce konseptin ön izlenimi için online bir basın toplantısı gerçekleştirildi. Biz de editör, tasarımcı ve mimarlarla birlikte İstanbul’dan bu basın toplantısını izlemek için Nisbetiye 10’da yer alan Cosentino showroom’unda bir araya geldik. BSH Türkiye Pazarlama Direktörü Burak Destici’nin konuşması ile başlayan buluşmada bir süre sonra online basın toplantısına bağlandık ve tüm davetlilerle Milano’nun en özel villalarından Villa Necchi Campiglio’daki paneli dinledik. Moderatörlüğünü Studio Ashby kurucusu ve iç mimarı Sophie Ashby’nin üstlendiği panelde Gaggenau Dünya Başkanı Dr. Peter Goetz, Tasarım Başkanı Sven Baacke, 1zu33 Mimari Studio Kurucu ve CEO’su Hendrik Müller yer alıyordu. Ve tüm konuşmacılar Milano Tasarım Haftası için hazırlanan “The Elevation of Gravity” konseptini, markanın yakın gelecekteki başyapıtlarını ve gelecek planlarını ilk kez paylaştı. G aggenau is preparing to unveil "The Elevation Gravity" concept during Milan Design Week from 16 to 21 April. But before the presentation, an online press conference was held to preview the concept. We came together with editors, designers and architects from Istanbul to watch this press conference at the Cosentino showroom at Nisbetiye 10. The meeting started with a speech by Burak Destici, Marketing Director of BSH Turkey, and after a while we connected to the online press conference and listened to the panel discussion at Villa Necchi Campiglio, one of the most exclusive villas in Milan. Moderated by Studio Ashby founder and interior designer Sophie Ashby, the panel included Gaggenau World President Dr. Peter Goetz, Head of Design Sven Baacke, Founder and CEO of 1zu33 Architectural Studio Hendrik Müller. For the first time, all the speakers shared the concept of "The Elevation of Gravity" for Milan Design Week, the brand's upcoming masterpieces and future plans.

March 2025 | VOL 14 the ARISTOCRATIC FAMILY’S VISION of PARADISE RESCHIO words Laura Cottrell photos Courtesy of Reschio The year is 1984... Count Antonio Bolza and his wife Angelika buy Castello di Reschio, a 2700-acre estate in the wooded hills of Umbria, Italy. There are fifty ruined farmhouses and an old castle in the land. In a short amount of time, the Bolza family with five children begins to build a life in Umbria, which was not well known in those days. Years later, they decide to share this unspoiled region of the Italian countryside with similar like-minded souls who seek peace and seclusion. Benedikt, the son of the aristocratic family who studied architecture in London, also returned and joined the family operation with his vision. Ultimately, Benedict meticulously reconstructs 22 of the 50 houses in 13 years and even wins prizes in the sector. This includes Architectural Digest's title of ‘one of the top 100 architects working in the field of architecture and design’. Thus, the Reschio that everyone knows today, gradually emerges. NOT JUST A HOTEL Count Benedict Bolza is now described as 'one of the rare nobles who built his kingdom with his own hands’. Bolza continues to transform the centuries-old ruins of Castello di Reschio into exquisite residences with a team of 120 people. ‘I think luxury comes from beauty and harmony. At Reschio, we design everything around us, from the staff uniforms to the furniture in the bathroom,' Benedikt said in an interview. Benedikt is in charge of everything at Reschio and still lives on the estate with his family. Today there are different acclaimed areas in Reschio aside from the hotel, including the barn of 40 spectacular Spanish horses that Benedikt's father raised for ’dressage’. One of them is Tabaccaia, a tobacco warehouse from the 1940s, where Benedikt's architecture and design studio is located. Furniture and lighting made by local craftsmen are sold under the brand name B.B. for Reschio. SIP YOUR NEGRONI IN THE PALM COURTYARD Reschio has two interconnected courtyards within the castle where the hotel is located. The first is the Palm Courtyard, now covered in glass, with wrought iron columns and the mysterious atmosphere of an Agatha Christie novel. In fact, when you arrive at the Castello, this is the first place you should visit. Palm Court is a place where you can sip an addictive Reschio Negroni and absorb the magnificence of the castle walls from the inside. The other courtyard in the Castello is surrounded by impressive pine and cypress trees. Concerts are held here because of the excellent acoustics. CHRISTMAS MASS AND COSMIC JOURNEY Reschio is also famous for its events on special days. For example, the Christmas Mass on December 24th, held in the chapel of the Bolza family inside the walls. Or a cosmic journey for those who stay at least three days. The Cosmic Journey has a very full schedule, from stargazing with the astronomer to yoga sessions. And the restaurants... Ristorante Al Castello is famous for its beautiful sunsets. Breakfast is served here. In the evening, traditional Italian specialties are served with ingredients from the land. Adorned with tall fern trees, Ristorante Alle Scuderie attracts attention with its handmade furniture and simple menu prepared with fresh local produce. The Bar Centrale is a stylish spot for pre-dinner cocktails. for more Print VOL XIV - 2024 / 25 ₺970,00 Price Add to Cart

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

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

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

Kasım 2022 | Art & Culture | Amerika for english Zaha Hadid’ten Tasarım Dersleri Ö lümüyle tüm dünyayı (kabul edelim ki kendisi süperstar bir mimardı) şoke eden Zaha Hadid, komple bir yaratıcı zihin olduğunu yeniden kanıtlayan bir retrospektifle bu kez tasarımdaki dehasını gösteriyor. Zaha Hadid Design: Untold isimli bu sergi, mimarın yine kendisinin tasarladığı Broad Art Museum’da 12 Şubat’a dek görülebilecek. Michigan State University içindeki müze, yerçekimine karşı duran tasarımı nedeniyle açıldığı dönem çok konuşulmuştu. Sanki devasa boyutlarda kesilmiş bir pırlantayı arazi ortasına bırakıp kaçmış gibi Zaha Hadid. Hadid’in belki de yaşamı boyunca en çok tutkuyla bağlı olduğu şey tasarımdı, ama çoğumuz onu sadece binalarıyla biliyor. Oysa masalar, kitaplıklar, mücevherler, şişeler, kıyafetler hatta otomobiller tasarladığını biliyor muydunuz? Bu sergideki ürünlere baktığınızda 21. yüzyılın en çok ilham veren insanının dünyasında hiçbir şekilde sınırlara yer olmadığını anlıyorsunuz. O her şeyi kendi perspektifinden görmüş ve yine kendi istediği gibi yapmış. Sıra dışı olmaya çabalamadan sadece öyle gördüğü ve başkasını da yapamadığı için… broadmuseum.msu.edu Design lessons from Zaha Hadid Z aha Hadid, whose death shocked the world (let's face it, she was a superstar architect), shows her design genius in a retrospective that once again proves her multi-faceted creative mind. This exhibition, named Zaha Hadid Design: Untold, can be seen free of charge at the Broad Art Museum of Michigan State University until the 12th of February, 2023. This exhibition, housed within her architecture -and with the dynamic relationship between the two- asks us to think and see things differently at every turn. By bringing our senses alive, the work of Zaha Hadid makes us aware of the world and our surroundings in an elevated, poignant fashion. The design was perhaps the most passionate thing Hadid was passionate about throughout her life, but most of us know her only for her buildings. Did you know that she designed tables, bookshelves, jewelry, bottles, clothes, and even automobiles? She saw everything from her perspective and did it the way she wanted without trying to be extraordinary just because she saw it that way and couldn't make anything else. When you look at the products in this exhibition, you will realize that there is no room for limitations in the world of this remarkable woman, one of the most inspiring names of the 21st century. Çapa 1

June 20, 2025 | TRAVEL TR BELOW SUYAH POOL CLUB Italian Meets Japanese -content partnership- Meet Suyah Pool Club, the standout concept of this summer season at Susona Bodrum, LXR Hotels & Resorts. Located in Torba, Bodrum, Suyah takes its name from the Japanese words for "water" and "home," perfectly capturing the dynamic energy of Bodrum and the sophisticated spirit of Susona. Inspired by Italian and Japanese cultures, Suyah Pool Club is more than just a poolside experience—it's a lifestyle. Its philosophy of Fluid Harmony flows through every detail, from the design to the culinary offerings. Created under the guidance of Executive Chef Kaan Yıldırım, the menu fuses the bold flavors of Italian cuisine with the refined precision of Japanese gastronomy. Guests can expect fresh, shareable plates throughout the day—think nourishing bowls, pasta, and pizzas, as well as local delicacies like Bodrum calamari and mussels. A diverse selection of sushi, uramaki, sashimi, and nigiri rounds out the menu’s vibrant East-meets-West character. For those seeking a heightened level of comfort, Suyah Pool Club offers stylish cabanas by the pool and on the pier, each accommodating up to three guests. In short, Suyah Pool Club redefines the rhythm of summer in Bodrum with an atmosphere that embodies the art of quiet luxury. SUYAH POOL CLUB İTALYAN ve JAPON KARIŞIMI -içerik ortaklığı- Bodrum, Torba’da konumlanan Susona Bodrum LXR Hotels & Resorts’un bu yaz öne çıkacak olan konseptiyle tanışın: Suyah Pool Club. Adını Japonca “su” ve “ev” kelimelerinin birleşiminden alan Suyah Pool Club, Bodrum’un dinamizmini ve Susona’nın sofistike ruhunu yansıtıyor. İtalyan ve Japon kültürlerinden ilham alan Suyah Pool Club, özgün konseptiyle bir havuz deneyiminden çok daha fazlası: Suyah’ın özünde bulunan “Fluid Harmony” anlayışı mekanın tasarımından gastronomisine kadar her detaya yansıyor. Susona Bodrum’un executive şefi Kaan Yıldırım’ın danışmanlığında hazırlanan menü, İtalyan mutfağının zengin aromalarını Japon gastronomisinin rafine tatlarıyla harmanlıyor. Günün her saatinde taze ve paylaşmaya uygun seçenekler sunan menüde sağlıklı bowl çeşitleri, lezzetli makarna ve pizzalar, Bodrum kalamarı ve midyesi gibi yerel tatların yanı sıra sushi, uramaki, sashimi ve nigiri seçeneklerinden oluşan zengin bir Uzakdoğu seçkisi ön plana çıkıyor. Suyah Pool Club şık kabanalarıyla da konforu üst seviyeye taşıyor. Havuz başında ve iskelede yer alan kabanalar üç kişiye kadar kullanım imkânı sunuyor. Kısacası Suyah Pool Club, “sessiz lüks” anlayışıyla tasarlanan özgün atmosferiyle Bodrum’un yaz ritmini yeniden tanımlıyor.

Temmuz 2021 | Volume IV - Y A Z PORTO FIRA Hikâyesi olan saf bir huzur Yazı | Sinem Işık Fotoğraflar | Giorgos Sfakianakis S antorini’deki Kaldera’nın sarp kayalıklarında yer alıyor Porto Fira Suites. Çok eskiden, hemen yakınında bulunan Saint John Theologos kilisesi için hizmet veren bir ev olan Porto Fira, uzun süredir 13 süiti olan bir otel olarak hizmet veriyor. Bir önceki sayfada Parilio işini gördüğünüz Interior Design Laboratorium tarafından yakın zamanda renove edilen Porto Fira’da, Yunan Adaları’nda sıkça karşılaşılan manastır mimarisi kurallarına uyulmuş. Tabii günümüzün bakış açısıyla... Manastır pasajlarına ve formlarına atıfta bulunan kemerler tasarım projesinin hali hazırda en baskın unsuru. IDL yöneticisi Stamos Hondrodimos, amaçlarının özel bir yaşlandırma sürecinden geçmiş ahşap ve metal gibi ağır malzemelerle saf sadeliği birleştirmek olduğunu söylüyor. Devamı için... Print YUZU MAGAZINE - IV Out of Stock View Details

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

Nisan 2020 | Botanik | Türkiye Engin Öztürk’ün evindeki bitkiler Yazı | Onur Baştürk Portre Fotoğrafı | Cem Talu E ski hayatımızda Engin Öztürk’le Chicki Boom ya da La Boucherie’de ara sıra karşılaşıp muhabbet ederdik. Yeni hayatlarımızda ise geçen hafta ortak bir yanımız olduğunu keşfettik: Bitkiler! Instagramda Yuzu’yu keşfedip bitkilerle haşır neşir olduğumu görmüş Engin, “Bilmiyordum, yeni öğrendim” diyerek mesaj attı ve bitkilerle ilgili sohbet etmeye başladık. Ne ektin, şu bitkiyi nereden bulursun, o bitkinin türü nedir muhabbetlerinden sonra dedim ki, “Sohbetin bir kısmını Yuzu’nun dergisine koyabilir miyim?” “Hay hay” dedi Engin. Ama sadece bitkilerinin fotoğrafını gönderdi. “Saç sakal birbirine karıştı, bu şekilde fotoğrafımı isteme benden Onur” diye rica ederek… Gayet anlayışla karşıladım tabii. Bitkilerle olan bağın bu karantina sürecinde mi gelişti? Yoksa daha önce vardı ve çok üstünde mi durmuyordun? Dış mekan bitkilerine ilgim geçen sene başlamıştı. Evin içindeki bitkilere ise bu sene. Evde kalma meselesi konuşulmaya başlanınca da bahçe için planlar yapmaya hazırlanmıştım baharın gelişiyle birlikte. Bitkilere neye göre seçiyorsun eve? Türüne mi yoksa evin dekorasyonuna göre mi? Önceleri sadece dekorasyon için başladı. Bitki almaya ve aldıkça bu durumu sevmeye başlamamla beraber türlerini, ailelerini öğrenmeye, bakılması açısından zorluk derecelerini anlamaya doğru gitti olay. Peki bakabiliyor musun? Pert olan bitkin var mı:) Geçen yıl bahçe için aldığım birkaç tanesi sabırsızlığımdan dolayı pert oldu maalesef! Sanırım soğuğa dayanamadılar, erken davrandım :) Ama artık önce öğrenip sonra bitki alıyorum. Bahçene roka, domates, biber de ekiyorsun. Anladığım kadarıyla organik tarıma da girişiyorsun yavaş yavaş. Ne dersin? Yok yok, hobiden öteye geçmez :) Şimdilik tamamen bu şekilde. Üretecek kadar alanım da zamanım da yok. Ama ilerde neden olmasın? Bu arada bahçede roka, domates dışında sardunya, papatya çeşitleri de var. Üç-dört tane de leylandi diktim. Her şey normale dönünce bahçende oturup kokteyl içecek miyiz? Tabii ki! :) Bana şu tarz kaktüsün var mı diye sormuştun, yoksa kaktüsçü müsün? Özellikle kaktüsçüyüm diyemem, ama iç mekanda sadece yeşilciyim. Renkli yapraklı bitki yok evimde. Evde en sevdiğin bitki hangisi? O değişiyor. İçlerinden bir tanesi biraz zayıflamaya, hafif solmaya başlayınca o zaman o bitkiyi daha çok seviyorum, favorim o bitki oluyor :) Son zamanlarda bahçede bir lavanta öbeğim var. Şimdi sabırsızlıkla onların renklenmesini bekliyorum. Son olarak: Karantina sürecinde hem kendine hem de bitkilere dair yeni ne öğrendin? Karantinadan önce de evcimen biri olduğum için evde durmak bana hapis gibi gelmiyor. Ama bu süreçte şunun tekrar farkına vardım: Doğa bizden çok büyük ve ona hükmetmek yerine parçası olmamız gerektiğini istediği zaman çok güzel anlatıyor. Bitkiler de o büyük parçanın en güzel vitrini. BOTANİK | Kategorinin diğer yazıları Dev yapraklarının hastasıyız: Fil Kulağı Yeni nesil saksı önerileri İlkbahar sonu bahçede yapılacak işler Evde palmiye için 15 maddelik liste Engin Öztürk’ün evindeki bitkiler Evde yetişmesi kolay bitkiler vol.2: Para bitkisi! Fem Güçlütürk’le botanik ‘talk şov’ Evde Yetiştirmesi Kolay Bitkiler Vol.1 Alocasia Polly Bitkisine Nasıl Bakılır Biyofilik misin? Biyofobik mi?

February 2025 | DESIGN & INTERIORS the CANOPY words Alp Tekin photos John D'Angelo Detroit’s Core City is welcoming its latest architectural statement—The Canopy, a residential project designed to blend world-class architecture with lush landscaping. Developed by EC3, Prince Concepts, and Studio Detroit, the team behind the award-winning True North, The Canopy offers a fresh take on urban living with five duplexes set within a thoughtfully designed natural environment. Drawing inspiration from Mies van der Rohe’s Lafayette Park, Albert Kahn’s industrial legacy, and Donald Judd’s raw, minimalist spaces in Marfa, The Canopy introduces striking stucco structures with expansive glazing, maximizing light and views. Inside, the units range from studios to two-bedroom layouts, featuring high-end finishes—oak floors, custom birch millwork, and generous terraces or balconies that seamlessly connect the interiors to the outdoors. Landscape plays a key role in shaping the experience. Prince Concepts transformed the formerly abandoned site by planting 121 trees and creating 10,000 square feet of native gardens, turning the space into a green retreat within the city. Murals by Detroit-based artist Victor Reyes add another layer of depth, with his sweeping blue compositions on the rooftops mirroring the sky above. Located within walking distance of Café Prince, Core City Park, and Puma, The Canopy continues the neighborhood’s evolution into a design-forward hub. With phase two already underway—adding seven more duplexes—the project reinforces a vision of humanistic housing where architecture, landscape, and community intertwine.

May 2025 | DESIGN & INTERIORS A RIVER, A REFLECTION, A RETREAT IDA Design Mates reimagines family living in a sun-drenched Astana apartment where ornamental heritage meets sculptural calm. words Karine Monie photos Damir Otegen interior design IDA Design Mates styling Aisha Adilshiyeva / Moldir Samat / Zhanbota Aitaliyeva Bathed in light and mirrored by water, this elegant riverside apartment in Astana is more than a home—it’s a quiet celebration of harmony, detail, and personal story. Designed by Aisha Adilshiyeva, founder of IDA Design Mates, the project is a poetic response to place: its flowing arches, shimmering surfaces, and rich craftsmanship echo both the movement of the nearby river and the cultural rhythms of Kazakhstan. The journey began before the space even existed. “We started talking nearly a year before the family found the apartment,” recalls Adilshiyeva. “Our conversations began on Instagram—warm, easy, and filled with trust.” When the right home finally appeared, the vision clicked into place: a space for a young family with three energetic sons, designed to be serene, layered, and full of light. WHERE THE RIVER MEETS THE ROOM Located within one of the city’s most coveted complexes, the apartment offers sweeping views of the Ishim River. The proximity to water became both inspiration and guiding principle. “We wanted the river to reflect inside,” says Adilshiyeva, who used mirrored surfaces in the living room and kitchen to echo the light and flow beyond the glass. The effect is atmospheric—a sense of calm that moves through the home like a quiet current. ORNAMENT, REWRITTEN At first glance, the interiors feel restrained and modern—but look closer and a deeper design language unfolds. Custom asymmetrical moldings and stylized floral motifs pay homage to traditional Kazakh ornamentation. “We spent two months just designing the patterns for the ceilings and walls,” notes Adilshiyeva. “They’re unique, geometric, and softly expressive—never strictly classical.” A PALETTE IN BALANCE White walls serve as a clean canvas, allowing pastel tones and bold accents to emerge through carefully curated furniture—such as the sculptural Etcetera lounge chair, the arched mosaic fireplace with red detailing by artist Art Oskolok, and the Wiggle Chair by Frank Gehry near the entrance. “We were working with a large load-bearing column and used it to introduce twin arches,” says Adilshiyeva. “To me, rhythmic arches offer softness and depth—they bring order, without rigidity.” CRAFT & CURVE Throughout the space, craftsmanship takes center stage. Local artisans were commissioned to produce custom shelving, while the fireplace—featuring blue buntings and blooming poppies—required over 100 hours of handcrafting. Natural materials were layered throughout: wood for warmth, marble for refinement, metal and mirror for lightness and dimension. Even lighting became a sculptural element. In the living room, Roche Bobois’s Flou suspension floats like a glowing cloud. Over the dining table, a parabolic chandelier, also by Roche Bobois, creates a dynamic gesture in space—bridging design and geometry. Other pieces by Visual Comfort, Ingo Maurer, and New Works punctuate the apartment with a refined rhythm.

April 2, 2026 | DESIGN & INTERIORS a DIFFERENT KIND of BOUTIQUE at CALA DI VOLPE words YUZU Editorial Set within the iconic Hotel Cala di Volpe, the new David Morris boutique introduces a distinct presence within a seasonal Mediterranean setting. Conceived by Studio Eivind, the space translates the language of a London jeweller into something more attuned to the rhythms of Sardinia—lighter, more intuitive, and less formal. The result is a layered interior where art, craftsmanship and architecture come together: Petra Börner’s figurative works, bespoke furniture and the hotel’s architectural heritage combine to create a space that feels both composed and quietly playful. A LIGHTER LANGUAGE FOR SUMMER The new David Morris boutique at Hotel Cala di Volpe brings together art, craftsmanship and the relaxed glamour of the Mediterranean. What was your starting point when rethinking this space within such a specific setting? An important starting point was recognising how different this setting is from David Morris’ city flagships on Bond Street or Rue Saint-Honoré. Cala di Volpe is a seasonal destination. Clients arrive on holiday—their guards are down, their phones are off, and the rhythm of life is slower. The boutique therefore needed to speak in a different tone. Rather than the formality of a metropolitan flagship, it could be lighter, more intuitive and quietly playful—something that captures a guest’s imagination as much as their eye. Early in the process, I came across Petra Börner’s The Bathers, which immediately resonated. The sense of sun, leisure and spontaneity felt aligned with the spirit of Cala di Volpe. Each figure carries its own personality, and that narrative became a thread running through the space. The project brings together artists and designers such as Petra Börner, Emma Donnersberg and Max McClintock. How do these different voices shape the atmosphere of the space, and what do they allow you to express that a single design language might not? Collaboration allows an interior to move beyond a single perspective. Each contributor introduces a different sensibility—whether narrative, sculptural presence or material experimentation—and together they create a more layered and nuanced environment. In this project, Petra Börner’s work brings a strong narrative dimension, Emma Donnersberg’s pieces introduce a tactile, sculptural quality, and Max McClintock contributes a younger, more experimental design voice. These elements don’t compete; they build a dialogue that gives the space depth and individuality. It also reflects David Morris as a house. There is a longstanding openness to working with different creative voices, so it felt natural for the space to evolve through collaboration. Your studio often speaks about creating layered, narrative-driven interiors. How do you translate that idea into a physical retail space? I tend to think about how a space should feel before considering how it looks. There should be an emotional response—a sense of curiosity, ease or quiet excitement. When someone tells me they felt something upon entering a space, that’s the most meaningful outcome. In retail, this extends to how the space is experienced over time. I often spend time with the sales teams to understand how they interact with clients—the rhythms of those conversations and where the key moments lie. In that sense, the boutique becomes a kind of stage: the team are the performers, and the design provides the setting and tools for that interaction. DESIGNING FOR ATMOSPHERE, NOT DISPLAY Before founding Studio Eivind, you worked with fashion houses such as Alexander McQueen and Louis Vuitton. How has that background shaped the way you approach interiors today? Fashion taught me the importance of narrative and atmosphere. Every element contributes to a larger story—about identity, craftsmanship and emotion—and that way of thinking translates directly into interiors. It also instilled a certain discipline. In fashion, nothing is ever truly final; there is always room for refinement. Perhaps the most lasting lesson was learning to trust instinct—to recognise when something feels right and to follow that through. Looking ahead, how do you see retail spaces evolving—particularly in destinations like Cala di Volpe, where hospitality, culture and design intersect? Retail is becoming less about fixed formats and more about experience. The relationship between brand and client is increasingly direct and personal, and spaces need to respond to that shift. In destinations like Cala di Volpe, this creates an opportunity to move beyond traditional retail and towards something more fluid—spaces that feel closer to hospitality, or even to private environments. It’s less about display, and more about atmosphere, interaction and memory.