Eylül 2022 | Bodrum Coffee Table Book | EV / HOUSE BARBAROS RESERVE Yarı şeffaf ahşap kabuk içine saklı Yazı | Alp Tekin Fotoğraflar | Mehmet Mutaf, Kadir Aşnaz, Orhun Ülgen Y alıçiftlik’teki Kempinski Hotel Barbaros Bay yanında yer alan Barbaros Reserve, mevcut imar yasasına göre bölgede yapılaşma izni kalan az sayıdaki alanlardan biri. Barbaros Reserve’deki yapılar doğal topoğrafyaya müdahale edilmeden ve doğal doku bozulmadan bulundukları kotlara yerleştirilmiş. Üç katlı ve 16 ayrı yapı birimi olacak şekilde tasarlanan Barbaros Reserve rezidansları birbirlerinin manzarasını ve hava akışını kesmeyecek şekilde konumlandırılmış. 19:4 Architects kurucularından Arif Suyabatmaz ve Hakan Demirel’in mimari tasarımını üstlendiği Barbaros Reserve’deki her blok 400 metrekare taban alanına sahip ve her bir bloktaki konut sayısı ve mekansal düzenleme birbirinden farklı. Bloklar, bir bütün oluşturan farklı tipteki hacimlerin birbirine kilitlendiği yaklaşımla tasarlanmış. Bu sayede tüm kullanıcıların güneş, manzara, doğal hava akımı gibi olanaklardan eşit şekilde yararlanması hedeflenmiş. Bu 16 ayrı blok yarı şeffaf ahşap bir kabuğun içinde saklı. Bu kabuğun şeffaflığı mekanın fonksiyonuna göre değişiklik gösteriyor. Hem mahremiyeti sağlıyor hem de içerde yumuşak ve cazip gölgeler oluşturuyor. Kabukların bir diğer fonksiyonu ise kütlelerin topoğrafya ve doğal habitat içinde uyumlu bir şekilde erimesini sağlamak. BARBAROS RESERVE Hidden in a semi-transparent wooden shell Writer | Alp Tekin Photography | Mehmet Mutaf, Kadir Aşnaz, Orhun Ülgen B arbaros Reserve, located next to Kempinski Hotel Barbaros Bay in Yalıçiftlik, is one of the few areas that has a construction permit in the region according to the current construction zoning law. The buildings in Barbaros Reserve are placed on the elevations where they are located without interfering with the natural topography and without disturbing the natural texture. Barbaros Reserve residences, designed as three floors and 16 separate building units, are positioned in such a way that they do not interrupt each other’s view and airflow. Each block in Barbaros Reserve, whose architectural design was undertaken by Arif Suyabatmaz and Hakan Demirel, co-founders of 19:4 Architects, has a floor area of 400 square meters, and the number of residences and spatial arrangement in each block are different from each other. The blocks are designed with the idea of several types of volumes interlocking to form one whole. In this way, it is aimed that all users benefit equally from the natural amenities such as sun, landscape, and airflow. These 16 individual blocks are hidden inside a translucent wooden shell. The transparency of this shell varies according to the function of the space. It offers privacy and casts delicately beautiful shadows inside. Another function of the shells is to ensure that the masses melt harmoniously within the topography and natural habitat. Tamamı için... For more... Print BODRUM - COFFEE TABLE BOOK Out of Stock View Details

May 2024 | Art & Culture HANS OP DE BEECK “Life is never one-dimensional” words Onur Baştürk photos Studio Hans Op de Beeck BVBA I read that daily life is your biggest source of inspiration. But everyday life is a vast universe. Which details of everyday life interest you the most? Genuinely small, seemingly unremarkable actions or moments: My daughter falling asleep on my lap, the baker on the corner carefully placing his colorful cakes in the window, a gardener calmly sweeping leaves from the road, an old woman patiently helping a child on the playground... These seemingly insignificant moments are the true essence of life for me. They subtly reflect the big picture of the human condition. But it can also be everyday objects or places that inspire me: a half-eaten birthday cake from the day before or an abandoned amusement park. I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. THIS PETRIFIED IMAGE MAKES ONE THINK OF POMPEII: A LIFE FROZEN IN TIME I also like the subtle notions of situations that can turn into something else, the idea that something has happened or is about to happen somewhere, and the layers of drama or conflict of spaces. The gray color, which you like to use in many of your sculptures, installations, and even other works, makes the figures appear frozen or petrified in time. Is there another reason for the gray? What do you do to get this gray? The most prominent part of my work is what I do with monochromic gray. That’s why they are more known than the works I do in a different tone. I have also made sculptures with a combination of two or three colors. Also, most of my scripts for video, theater and opera are full-color. But at some point in my practice, I discovered my own shade of gray that makes sculptural objects, interiors, or landscapes seem fossilized, made of stone, pigmented plaster. This petrified image makes one think of Pompeii: A life frozen in time. I discovered, nearly by accident, that the gray coating I invented - a technique of layering many thin layers of coating over the sculpture - reflects light very precisely, almost velvet-like. I think it gives a special flavor to what is depicted. A soft skin that abstracts the figurative forms into a kind of parallel, silent world. The absence of colors allows you to focus on the light. My work is never about simulating reality as it is, about literal mimesis or imitation; it is about abstracting the world to evoke a mood, to interpret, and to touch the essence beneath the skin of reality. I want to evoke a mood, a visual, sensory form of fiction that the viewer can identify with and experience before understanding it. My monochromatic works in velvet gray, black and white, or light blue and soft green are quiet, concentrated variants of what we know. That is why I don’t work with ready-made products. My sculptures and installations, hundreds of square meters in size, are made by hand because of the power of interpretation. How is your engagement with gray outside of artworks? Do you wear gray, for instance? Haha, no. I have no particular preference for gray when it comes to clothes or my own living space. Awake and sleep, movement and stillness, life and death... I think a series of dichotomies like this is the main theme of your work. Do you intend to say to the audience, “This is what life is like”? I have always avoided making big words about life or even trying to explain how life works in a pedantic way. I have no wisdom to offer, but I try to reflect on life with the viewer and share the same questions and wonders. Life is a tragicomic phenomenon. I think it is essential to show both the ridiculous and the serious, joy and the pain. Life is never one-dimensional. As you mentioned, I love the moments when we let go of control, ourselves, and our identity and surrender to the unknown, intoxication, sleep, or the subconscious. There are so many unknowns, darknesses, and mysteries that lie outside the linguistic comprehension of the world, logic, and intellectual legitimacy. Art is one of the instruments that touch these concepts. “The Horseman”, “’The Boatman” and “Hélène”… In the future, would there be a new hero figure like these? In these works, I tried to offer the viewer the beginnings of all kinds of possible stories that he or she could project onto these figures. Who are they, where do they come from, where are they in their lives, what is happening in their lives, and where are they going? “The Horseman” and “The Boatman” are lonely travelers, heading for the rest of their lives with their modest belongings. They are a kind of nameless anti-heroes. The little monkey on the horseman’s shoulder has a look in his eyes that says, “Where have we come again?” The horseman himself looks over his shoulder with a similar look. This is almost the opposite of the heroic military ruler or king depicted on a prancing horse. Because such depictions can be found in abundance throughout the history of sculpture. The female boxer Hélène is an extremely fragile young girl. Not a muscular athlete. She is an introverted girl who we can assume took up boxing mostly to defend herself against the evil world she encountered on the road. We find her sitting submissively in a quiet, isolated spot in a moment of peaceful introspection. I understand that you see them as some kind of enigmatic heroes. Because each one is depicted in a unique but unremarkable way. Alongside my already planned big, architectural, immersive installations, I am also envisioning sculptures of some fictional characters, such as a mysterious blind woman with an owl on her arm, two children dressed in oversized adult clothes, a woman in her 50s caressing a fox on a chaise lounge. PROJECTS THAT REQUIRE TEN LARGE TRUCKS TO MOVE What are the challenges of creating a large-scale work? How long does it take for large-scale work, and how does it feel to have that patience? Last year, I made a 1900 square meter installation for the Lyon Biennale. For my solo exhibition at the Amos Rex Museum in Helsinki, I created a 2,000-square-meter immersive experience. These are projects that usually require ten large trucks for transportation. There is a lot of organization and logistics involved. Fortunately, I have a small team and a great manager who takes care of all these practical needs for me. It takes months to create such large installations with my team. We usually work on several exhibitions and installations in parallel. Because I do about 30 exhibitions a year. I paint big watercolor pieces at night. During the day, we work on new sculptures in my studio. Sometimes there are periods when I sleep very little. We face new challenges with every major new installation. Like when we made my life-size carousel. It was to be shown outdoors for the first time and had to withstand the wind and the weather. It took a lot of research to understand how it should be built. I also made a cinematographic film with computer-generated photo-realistic sets (CGI) and recordings made in “green key” studios with which I had no experience. This kind of technical and difficult organizational work gets the adrenaline flowing, which is also motivating. I WORK WITH COMBINED TECHNIQUES I am also curious about the stages in the creation process of your works. If it’s not a secret, can you tell me a little bit about it? I work with combined techniques for human figures. The model comes to the studio to pose, and together, we look for an expressive but comfortable and natural pose. We then do extensive photo documentation of the pose and face. We usually create a pattern on the model’s arms, hands, lower legs, and feet. We shape the head with non-drying, long-lasting clay, and the body usually with PU foam or similar lightweight, easily workable material. Then we plaster it properly, sand it and make a large mold. We can cast the sculpture monolithically from a single material, usually polyester, and for outdoor use, sometimes bronze. The final touch is the monochrome coating that my team and I developed together. EVEN THE MOST ORDINARY OBJECT CAN BECOME A GREAT ART The following sentence is from an interview: "It is always very simple to conceive an idea. The hardest part is to bring it to life." Have you ever had an idea that you had a hard time realizing? I indeed believe that the main idea of an artwork can be very simple and come to life when it is in perfect balance with the content of an artwork. Even completely ordinary objects, such as bottles on a table, become great art when painted with the proper poetic sensitivity and artistic precision. Seemingly meaningless objects then become real, fundamental content. I made a lot of sculptures and watercolors or wrote texts that I failed to execute and had to throw away. You have to make mistakes to learn. You have to keep evaluating with self-criticism while not compromising your standards. Because sooner or later you will regret it! Can a work of art not be without a subject? Or how important is the subject for you? Is it more important to start with a feeling? Indeed, I once made a bold statement that art doesn't have to have a subject (laughs). What I meant was that when the artist knows how to find the delicate balance between form and content, even the most ordinary object can become great art. I am not against art that depicts big, grandiose historical subjects or art that assumes an activist responsibility toward current issues. However, Vermeer's painting of a woman pouring milk in a quiet room or Morandi's small collection of thin bottles on a table also deeply expresses the world, melancholy, and the human condition. In my work, whether it is film, theater, watercolor, or a monumental installation, I primarily try to evoke a compelling mood that immediately stimulates sensory experience. From there, I can add multi-layered elements or include them between the lines of the image. First of all, I seek images that transcend the boundaries of time and space, images that are universal. In addition, I have absolutely no qualms about covertly integrating current affairs. This allows my work to be anachronistic and eclectic, addressing all times. BEING AN ARTIST IS ABOUT CONSTANTLY REINVENTING YOURSELF Lastly, what stage of your life are you in right now? How do you feel when you look back at the works you created in the past? Do you say: "I did it," or "I still have a long way to go"? I am the father of four wonderful children, and being able to build a strong bond of love and trust with them is my most crucial achievement in life. I have held more than five hundred exhibitions in the field of art. I traveled the world. I wrote and directed plays and movies, I wrote their scripts. I directed and staged operas. The life I have lived so far already feels so complete. So, if my life ends here and now, I feel that I have already lived it to the fullest. But I will never feel "complete" as it is said. Because life continues to be a never-ending mental and emotional journey. Being an artist is actually about reinventing yourself over and over again. I look with satisfaction at some of my work that I know I will be proud of and happy with until my last day. But of course, I also have works that I think are not strong enough artistically today. I continue to self-criticize and look for ways to improve myself. This is not just about myself as an artist, but also as a human being, a father, a friend. I wish to continue to work on myself and keep learning. for more No product

March 2024 | Urban english below İDİL TABANCA’DAN VEGAN OTEL: OLSO words Onur Baştürk İ dil Tabanca’yla en son Eskişehir’deki OMM’da bir araya gelmiş ve bir röportaj yapmıştık. O röportajda şöyle bir soru sormuşum: “Hayat seçimlerden ibaret klişesine inanır mısın? Gerçekten biz mi seçiyoruz?” O zaman şöyle yanıt vermişti İdil: “Seçimlerimiz büyük rol oynuyor, evet. Ama hayatın sana sağ gösterip sol vurduğu, hiçbir seçim hakkın olmadan kendini ummadığın yer ve durumlarda bulduğun da oluyor! Hani bir laf vardır, bir insanın hayatına ‘evet’lerinden çok ‘hayır’ları yön verir diye. Ben buna çok inanıyorum”. Ve şimdi yıllar sonra İdil’le yeni projesi OLSO için mesajlaşırken bu yanıtı düşündüm. Heyecanla bahsettiği OLSO yüzde yüz kendi seçimi. Ama bir yandan hayatın akışı da onu bu projeye yönlendirmiş olabilir mi? Doğrusu, işin içinden çıkamıyorum. Bu yaz sonuna doğru ‘soft opening’le kapılarını açacak olan Muğla, Köyceğiz’deki OLSO, bir vegan otel projesi. “Sıfır ilaçla, kendi sebzelerimizi yetiştireceğiz, ama gastronomik olarak da iddialı olacağız” diyor İdil. OLSO’nun tek özelliği tamamen vegan bir otel oluşu değil. “Burası meraklı ve bilinçli gezginlere hitap eden çok yönlü bir topluluk alanı da olacak” diyor İdil: “Gastronomi, sanat ve doğanın dönüştürücü gücünü kucaklayabileceğiniz, gevşeyip gençleşeceğiniz rahat bir ortamda yaratıcı atölyeler, sanatçı rezidansları, permakültür girişimleri ve çok çeşitli yerel etkinlikler yer alacak”. Uzun süredir duyduğum en farklı proje OLSO. Merakla bekliyorum. İlk misafirlerinden biri olacağım. STAY ALAÇATI’DA TİYATRODAN SONRA BALE SÜRPRİZİ Stay Otelleri’nin sahibi Muzaffer Yıldırım’ın kızı Maya Yıldırım da tıpkı İdil Tabanca gibi kendi seçimlerinin peşinden giden bir yeni nesil. Maya, hafta sonu Alaçatı’daki The Stay Warehouse’da peş peşe gerçekleşen tiyatro gösterimleri sırasında davetlilerle tek tek ilgileniyordu. Maya’nın bir sonraki hayali, The Stay Alaçatı’nın bir bale gösterisine ev sahipliği yapması. Bunun için görüşmelere başlamış bile. The Stay Alaçatı’nın bir bale gösterisi için büyük bir alanı mevcut. Sonucun şahane olacağına eminim. IDIL TABANCA’S VEGAN HOTEL: OLSO T he last time we interviewed Idil Tabanca was at the OMM in Eskisehir, where she is still the chairperson. In that interview, I asked the following question: "Do you believe in the cliché that life is about choices? Do we really choose?" İdil responded as follows: "Our choices play a big role, yes. But there are times when you find yourself in unexpected places and situations where you have no choice! There is a saying that a person's life is shaped more by their 'no's' than their 'yes's'. I believe that very strongly” And now, years later, I thought about this answer while exchanging texts with Idil for her new project OLSO. OLSO, which she talks about so enthusiastically, is one hundred percent her own choice. But on the other hand, could the flow of life have led her to this project? Honestly, I can't figure it out. OLSO in Koycegiz, Mugla, which will open with a 'soft opening' towards the end of this summer, is a vegan hotel project. "We will grow our own vegetables without using pesticides, but we will be assertive gastronomically," says İdil. OLSO is not just a completely vegan hotel. "It will also be a multi-faceted community space for curious and conscious travellers," says Idil: "There will be creative workshops, artist residencies, permaculture initiatives and a wide range of local events in a relaxed environment where you can enjoy gastronomy, art and the transformative power of nature, relax and rejuvenate”. OLSO is the most different project I have heard of for a long time. I am looking forward to it. I will be one of the first guests. BALLET SURPRISE AFTER THEATRE AT STAY ALACATI Maya Yıldırım, the daughter of Muzaffer Yıldırım, the owner of Stay Hotels, is a new generation who, like İdil Tabanca, follows her own decisions. Maya took care of the guests one by one during the successive theatre performances at The Stay Warehouse in Alacati over the weekend. Maya's next dream is for The Stay Alacati to host a ballet performance. She has already started negotiations. The Stay Alacati has a big space for a ballet show. I am sure the result will be fantastic.

December 2024 | Art & Culture FOR TURKISH RALPH PUCCI’s MIAMI MOMENT: a SHOWCASE of BOLD DESIGN words Matteo Pazzagli A Quick Reminder for Those Who Might Have Missed It During the Art Basel Miami Rush: RALPH PUCCI, during Art Basel Miami Beach, unveiled Primal Mysteries—its first in-house collection in nearly a decade. If you missed the buzz, the exhibition continues at the brand’s striking new 10,000-square-foot gallery in Wynwood, which opened in December 2023. The gallery features fresh creations by the studio’s Manhattan-based sculptors, alongside vibrant contributions from collaborators Marjorie Salvaterra and Patrick Naggar. A JOURNEY TO THE ROOTS OF CREATIVITY Primal Mysteries is more than a furniture collection—it’s a homage to the timeless essence of art. Drawing inspiration from modernist masters like Giacometti and Brancusi while paying tribute to ancient cultural expressions, the pieces exude a raw, handcrafted energy. The focus? Sculptural lighting and tables that are grounded yet refined. Each piece is crafted by hand at RALPH PUCCI’s Manhattan studio. Standouts like the Giant Mask and Primal Chandelier offer a refreshing antidote to today’s overly digital world with their tactile, earthy vibe. MARJORIE SALVATERRA California-based photographer Marjorie Salvaterra, known for her ability to explore the multifaceted roles demanded of women through black-and-white imagery, surprises with Sheila in Technicolor. This surreal series drenched in bold, commanding hues delves into the complexities and contradictions of modern womanhood. PATRICK NAGGAR A longtime RALPH PUCCI collaborator, Patrick Naggar once again demonstrates why he’s a design icon. Known for blending historical and cultural references with modern aesthetics, Naggar’s contributions include fresh tones for his Amalfi and Positano chairs, alongside elegant new designs like the Floral Chandelier and Twisted Stem Wall Sconces.

March 2024 | Urban english below YENİ URLA: Enginar eken yok, ikiz villa inşa eden çok words Onur Baştürk Ö nceki gün arkadaşlarla İstanbul’dan yola çıktık ve yaklaşık dört saat sonra Urla’daki Vino Locale’in bahçesindeydik. Vino Locale’ın kurucuları Ozan ve Seray Kumbasar çifti Urla’da ilk restoran açanlardan. Öyle ki, onların restoran açtığı 2017’de ne Od Urla ne de Teruar henüz yoktu, açılmamıştı. Bu nedenle Kumbasar çifti araziyi satın alıp restoran projeleri için çalışmaya başladığında herkes şaşırmış ve şöyle diyenler olmuş: “Birkaç kişi gelirse şükredin!” Ama işte bildiğin yolda ilerlemenin ve kendine inanmanın gücü başka türlü bir şey! Kumbasar çiftinin restoranı 1 Michelin yıldızının yanı sıra sürdürülebilir mutfağıyla Michelin yeşil yıldızını kazandı. Ayrıca Seray Kumbasar, Michelin Türkiye’nin ilk Sommelier ödülünün de sahibi oldu. “GASTRONOMİ BİLE İNŞAATA HİZMET EDİYOR” Șef Ozan Kumbasar’ın hazırladığı yemekleri beklerken Seray Kumbasar’la sohbet ediyoruz. “Michelin aldıktan sonra instagramda bizi en çok kim paylaştı biliyor musunuz?” diye söze başlıyor Seray. “Kimler?” diye soruyorum, şöyle yanıt veriyor: “Buradaki emlakçılar, müteahhitler ve yeni site projesi yapacak olanlar! Michelin yıldızlı köyün olduğu yerde arsa ve ev projesi diye post koydular. Biz Türkiye’de ne kadar katma değerli bir şey üretirsek üretelim, bunun sonu inşaata bağlanıyor! Ben bu paylaşımları görüp güldüm, ama sonra da ağlanacak halimize gülüyoruz dedim. Gastronomiyi konuşurken bile inşaata hizmet ediyoruz, bu çok acı”. Acı olan bir başka şeye daha değiniyor Seray. O da, yemekleri için gerekli olan mevsimsel malzemeleri aldıkları yerel üreticiler. “Buraya 2017’de geldik. O zamanlar tarımla aktif bir şekilde uğraşan insan sayısı oldukça fazlaydı. Ama bu bölge (Kuşçular) imara açılınca herkes arsasını çok ciddi rakamlara satmaya başladı. Böylece insanlar enginar ekmeyi bıraktı. Enginar yerine arsalarına ikiz villalar yapılmaya başlandı. Biz çiftçinin yaşamasını istediğimiz için onlarla yıllık anlaşma yapıyoruz. İlk geldiğimizde 25 tane üreticiyle anlaşma yapmıştık. Şu an geriye sadece 3 üretici kaldı. Ne kadar büyük bir tarım arazisini kaybettiğimizi oradan anlayabilirsiniz!” Seray’ın bu konuda söyleyecekleri hayli fazla. Mesela İtalya örneğini veriyor: “İtalya’da tarım arazileri miras yoluyla bölünmüyor. Bu nedenle bir inşaat şirketi 30 dönümlük araziyi rant getirecek bir yer olarak görmüyor. Böylece arsalar bölünmeden varolmaya devam ediyor, insanlar bir yandan tarım yapmaya zorlanmış oluyor”. HESAP 9500 LİRA Gelelim Vino Locale’in menüsüne. Biz dört kişi sadece başlangıçlardan sipariş verdik. Ana yemeğe yerimiz kalmadı! Yediğimiz başlangıçlar arasında favorilerimi söylüyorum: - Pırasalı, yanık yoğurtlu, kuzulu mantı. - Mantar & Yumurta & Bottarga. - Fındıklı, karnabaharlı ördek tandır. - Rezeneli, Divle obruk peynirli kale salatası. - Yer elmalı ve enginarlı kalamar. Dört şişe beyaz şarap ve tüm yemekler dahil toplam 9500 lira ödedik. NEW URLA: No one growing artichokes, many building duplexes W e set off from Istanbul with some friends the other day, and about four hours later we found ourselves in the garden of Vino Locale in Urla. Ozan and Seray Kumbasar, the founders of Vino Locale, were among the first to open a restaurant in Urla. So much so that in 2017, when they opened their restaurant, neither Od Urla nor Teruar existed. So when the Kumbasar couple bought the land and started working on their restaurant project, everyone was surprised and some people said: "Be thankful if only a few people come!" But the power of continuing on the path you know and believing in yourself is something else! The Kumbasars' restaurant has been awarded 1 Michelin star and a green Michelin star for its sustainable cuisine. Seray Kumbasar also received the first Michelin Sommelier Award in Turkey. "THE END OF EVERYTHING IS LINKED TO CONSTRUCTION" While waiting for chef Ozan Kumbasar's meal, we chat with Seray Kumbasar. "Do you know who shared us the most on Instagram after we got the Michelin?" Seray begins. "Who?" I ask, and she replies: "Real estate agents, builders and those who are going to build a new housing project here! Where there is a Michelin-starred village, they put up an advertisement for a land and house project. No matter how much added value we produce in Turkey, it ends up in construction! I laughed when I saw these posts, but then I thought: We are laughing at our crying situation. Even when we talk about gastronomy, we are serving construction, which is very sad”. Seray touches on another sad subject. That is the local producers from whom they buy the seasonal ingredients for their food. “We came here in 2017, and at that time there were a lot of people who were actively involved in agriculture. But when this area (Kuscular) was zoned, everyone started selling their land at very serious prices. So people stopped growing artichokes. Instead of artichokes, they started to build semi-detached houses on their land. Because we want the farmers to live, we make annual agreements with them. When we first came, we had agreements with 25 growers. Now there are only 3. You can see how much agricultural land we have lost!” Seray has a lot to say on the subject. She cites the example of Italy: "In Italy, agricultural land is not divided by inheritance. Therefore, a construction company does not see 30 hectares of land as a place to generate rent. So the land continues to exist without being divided, and people are forced to farm on the one hand”. Let's talk about the menu at Vino Locale. Four of us ordered only the starters, we didn't order the main course because we were full! Here are my favourites of the starters we had: - Turkish Mantı with leek, burnt yoghurt and lamb. - Mushroom & egg & bottarga. - Tandoori duck with hazelnuts and cauliflower. - Kale salad with fennel and Divle obruk cheese. - Calamari with topinambur and Jerusalem artichoke. We paid a total of 9500 liras, including four bottles of white wine and all the meals.

July 2024 | Urban ENGLISH BELOW BODRUM’daki ERGEN EKONOMİSİ words Onur Baştürk B üyük resimle tanışın: Bodrum’un yeme-içme ekonomisini yönetenler Rus oligarklar, Yunan Adası’na gitmeyip Bodrum’da kalan üç-beş Beyaz Türk değil, 15 ile 18 yaş arasındaki Türk ergenler. Bir işletmeci arkadaşımız gayet tatlı bir şekilde bu durumu itiraf etti: “Bazen ergenleri içeri almayıp geri çeviriyorum, ama içim de acıyor. Gitti milyonlar diye!” İşletmeci arkadaşa hak veriyorum, çünkü mekanlara gittiğimizde hiçbirimiz ergenler kadar hızlı ve kolay para harcamıyoruz. 40’larındaki bir arkadaşımın deyişiyle, “Biz üç-dört tane içip bırakıyoruz, onlar peş peşe şişe açıyor. Parayı kendileri kazanmadığı için değerini de bilmiyorlar”. Bodrum’daki bazı üst segment popüler mekanlar ergenlere set çekmiş durumda. Yaş kuralı koyan, “Artık ergenleri almıyoruz” diye ilan edip ertesi gün gönüllü bir şekilde ergen istilasına uğrayan var. Evet, bu da bir tür istila. Çünkü ergenler kapıdan kovsanız bacadan giriyor. Diyor ki bir işletmeci arkadaşım, “Ünlü bir ailenin ergen kızı annesi adına rezervasyon yaptırıp öyle içeri girdi. Bir baktım, locada ne annesi var ne de onun yaşında insan. Tüm ergenler locaya doluşmuştu. Üstelik telefonda kendini annesi olarak tanıtıp rezervasyonu yaptırmış, sonradan bunu da itiraf etti!” Düşünüyor ve empati yapmaya çalışıyorum. 15 yaşındayken ebeveynlerim bana kredi kartlarını verip “İstediğini yap” dese, böyle çılgın gibi harcar mıydım diye… İşte jenerasyon farkı burada ortaya çıkıyor galiba. Asla harcayamazdım, çünkü bizim jenerasyonlarda (35’ler, 40’lıklar, 50’ler size diyorum) “aileye bağımlı olmama” hissi hakimdi. “Kendi paramla yaparım, özgürüm ben” mottosu yaygındı. Gördüğüm kadarıyla şimdi o yok. Hayat hızlandı. Ergenler sosyal medyada gördükleri her şeyi anında yaşamak istiyor. Elektronik sigaraları ellerinde (evet, onlar arasındaki en büyük trend bu) bir locaya doluşup “yetişkincilik” oynuyorlar. Yetişkinler de onları görünce mekandan kaçıyor. Böyle garip bir kısırdöngü… BODRUM’S ECONOMY is run by TEENAGERS M eet the big picture: It's not Russian oligarchs or three or four white Turks who stay in Bodrum instead of going to the Greek islands, but Turkish teenagers between the ages of 15 and 18 who run Bodrum's food and beverage economy. Our friend, the restaurant owner, admitted this very sweetly: "Sometimes I turn away teenagers, but it hurts me. Millions gone!" I agree with him, because when we go out, none of us spend money as quickly and easily as teenagers. In the words of a friend of mine in his 40s, "We have three or four drinks and stop, they open bottle after bottle. They don't make the money, so they don't appreciate it. Some of Bodrum's popular upscale venues have put up a barrier against teenagers. There are some that set an age rule, announce "We don't accept teenagers anymore" and then invade voluntarily the next day. Yes, it is a kind of invasion. Because if you throw them out the door, they come in through the chimney. A friend of mine who owns a restaurant says, "The teenage daughter of a famous family made a reservation for her mother and came in. When I looked around, there was no one in the table, neither her mother nor anyone of her age. All the teenagers were crowded into the table. Moreover, she introduced herself as her mother on the phone and made the reservation, which she later confessed! I think and try to empathize. If my parents had given me their credit cards when I was 15 years old and said, "Do whatever you want," I would have spent like crazy... This is where the generation gap comes into play. I could never spend because in our generations (35s, 40s, 50s, I'm talking to you) the feeling of "not depending on the family" was dominant. The motto was "I can do it with my own money, I am free". As far as I can see, that is no longer the case. Life has accelerated. Teenagers want to experience everything they see on social media immediately. With their electronic cigarettes in hand (yes, this is the biggest trend among them), they crowd into a booth and play the game of "being like an adult" with pimples popping out on their faces. The adults look at them and run away. Such a strange vicious circle...

August 2024 | Urban ENGLISH BELOW Türk ‘Dolce Vita’sına özlemle… words Onur Baştürk F ederico Fellini'nin 60'ların hareketli Roma'sına övgü niteliğindeki La Dolce Vita filmi; sadece cazibe, tutku ve ışıltının damgasını vurduğu İtalyan ruhunun bir tasviri değil, aynı zamanda Akdeniz 'iyi yaşamı'nın modern bir alegorisi olarak bilinir. Fransız yayıncı Assouline, hem o yılların ruhunu yeniden yakalamak hem de Anita Ekberg'in Trevi çeşmesindeki ikonik anından bu yana geçen altmış yılı kutlamak için nefis bir kitap yayınladı. 320 sayfalık “Dolce Vita” isimli kitap, İtalyan yaşam tarzının güzelliğini, tarzını ve zevkini kapsayan fotoğraf ve yazılarla dolu. İtalyan yazar, öğretim görevlisi, küratör ve gazeteci Cesare Cunaccia tarafından derlenen Dolce Vita, Cunaccia'nın lirik giriş yazısı ve özel bir görsel kürasyonuyla okuyucuları İtalya'da bir yolculuğa çıkarıyor ve Dolce Vita mottosunun kökenlerini keşfetme fırsatı sunuyor. Kitabın sayfaları Maria Callas, Sophia Loren ve Marcello Mastroianni gibi unutulmaz karakterlerle dolu. Ferdinando Scianna ve Bruno Barbey gibi fotoğrafçılar, Emilia-Romagna'dan Roma'ya, Napoli'den Sicilya'ya kadar İtalyan ruhunu belgeleyen fotoğraflarında Dolce Vita’nın özünü mükemmel bir şekilde yakalamış. İşte hem bu kitabın çıkışını kutlamak hem de “Dolce Vita” ruhunu bir kez daha hissedebilmek için Bodrum’daki Villa Maça Kızı’nda Garanti BBVA'nın Türkiye'deki öncelikli temsilcisi olduğu American Express'in bir etkinliği yapıldı. Assouline Türkiye iş birliğiyle gerçekleşen American Express Dolce Vita partisine gelmeden önce eski Türkiye’nin Türk Dolce Vita zamanlarına özlemlerimi sunmamak kaçınılmazdı. 60’ların sonu, en çok da 70’lere denk gelen, hatta belki 80’leri de gayet içine katabileceğimiz Türk Dolce Vita’sı; dönemin tüm siyasi çalkantılarına rağmen samimi, eğlenceli ve masummuş. Ruhunu hepten kaybetmiş ve insanların birbirine tahammülünün artık sıfırlandığı yeni Türkiye’den geçmişe bakınca en azından görünen bu… Nasıl olmasın ki? Misal: Eventin yapılacağı Villa Maça Kızı’na giderken Mandarin’in yeni villa inşaatının içinden geçmek zorunda kaldım. Sonra karşıya baktım, orası da Bulgari Otel inşaatı. Türk Dolce Vita’sının simgesi Bodrum artık zengin Arap, Rus, Kazak ve Azeri müşterinin zevkine göre şekillenen bir yer. Kimliği yok. Özü kalmadı… Yine de umutluyum, Fellini’nin dediği gibi, “Son yoktur. Başlangıç yoktur. Sadece yaşamın sonsuz tutkusu vardır”. Ve o tutku her zaman bir yerlerden mutlaka çıkar geri gelir! Longing for the Turkish 'Dolce Vita'... F ederico Fellini's La Dolce Vita, his ode to the vibrant Rome of the '60s, is known not only as a depiction of the Italian psyche marked by glamour, passion, and glitz, but also as a modern allegory of the Mediterranean "good life”. French publisher Assouline has published an exquisite book celebrating six decades since Anita Ekberg's iconic moment at the Trevi Fountain. The 320-page "Dolce Vita" is filled with photographs and essays that capture the beauty, style and taste of the Italian way of life. Compiled by Italian author, lecturer, curator, and journalist Cesare Cunaccia, Dolce Vita takes readers on a journey through Italy and explores the origins of the Dolce Vita motto through Cunaccia's lyrical introduction and special visual curation. The pages are filled with unforgettable characters such as Maria Callas, Sophia Loren, and Marcello Mastroianni. Photographers such as Ferdinando Scianna and Bruno Barbey have perfectly captured the essence of Dolce Vita, documenting the Italian soul from Emilia-Romagna to Rome, from Naples to Sicily. To celebrate the release of the book and to relive the spirit of Dolce Vita, an event was held at Villa Maça Kızı in Bodrum. Before coming to the American Express Dolce Vita Party organized in collaboration with Assouline Turkey, it was inevitable not to long for the Turkish Dolce Vita times of old Turkey. The Turkish Dolce Vita of the late 60's, most of the 70's and maybe even the 80's was sincere, fun and innocent despite all the political turmoil of the time. This is what we see when we look back from the new Turkey, a country that has lost its soul and where people no longer tolerate each other... How could it not be? For example: On my way to Villa Maça Kızı, where the event was to take place, I had to pass the construction site of the new Mandarin villas. Then I looked over and there was the construction of the Bulgari Hotel. Bodrum, the symbol of the Turkish dolce vita, is now a place shaped according to the tastes of rich Arab, Russian, Kazakh and Azeri clients. It has no identity. It has no essence anymore... Still, I am hopeful, as Fellini said, "There is no end. There is no beginning. There is only the eternal passion of life”. And yes, this passion always comes from somewhere!

April 2023 | Botany | Vol 9 ANATOMY of a BOTANIST Words + Photos Onur Baştürk Enverina Rina Qorraj is the manager and partner of Kandilli Botany in Kandilli, one of the historic districts on the Bosphorus side of Istanbul. Her acquaintance with the plant world began when her family started a nursery. Rina, who started to go to the nursery after high school, could closely observe the plants as she took care of them. “I walked around with a watering hose in one hand and a plant book in the other. My curiosity grew more and more; I learned the life stages of the plants and their Latin names”, she explains. Influenced by this childhood experience, Rina began studying at ITU’s Faculty of Landscape Architecture and graduated at the top of her class. During her studies, she began working in the family business, Kandilli Botany. In this way, she found the opportunity to combine theory and practice. After graduation, she both continued her occupation professionally and changed her view of landscape architecture. So much so that because of her landscape architecture work in the mansion gardens, she also did her master’s thesis on this subject. I GO AND SELECT ALL THE PLANTS MYSELF So what is it like to run a botanical business? Rina answers, “A botanical company is in a race against time. Our service involves living materials, and their needs vary depending on the season. These needs must be met in the right way and promptly”. Kandilli Botany sells native and imported plants. “Our first choice for plant supply is domestic production”, she says. “There are places in Turkey that produce well in certain regions, but the plant diversity is low and unfortunately the production capacity is limited. It is also difficult to find older plants from domestic production. This is because few production facilities go back many years, making this a tradition. Therefore, we import plants from abroad that we cannot find in Turkey. We supply outdoor plants from Italy and indoor plants from the Netherlands. Since the Italian plants grow and complete their root work in similar climatic conditions, there are no problems in adaptation when they come to us". SOME PLANTS MAY HAVE DIFFERENT NEEDS Rina says to consider the following when choosing plants for indoor use, “If your house is bright, choose Ficus Lyrata, Bucida, and Philodendron varieties; if it is semi-bright, you can go for Heteropanax and Dicksonia varieties. If you want to bring the feel of an outdoor garden indoors, you can consider strelitzia or palm species. Houseplants are normal plants that require less water, depending on the species. I do not think you will have a hard time when they are taken care of with love. Only the needs of some plants may be different. For example, the watering technique of the Dicksonia tree is different from other plants. Its whole body needs to be moistened. It is not easy to do this indoors”. THOSE WHO WANT THE SMELL OF THEIR GRANDMOTHER’S GARDEN... Rina lists the main points for a good garden landscape as follows: “Depending on the scale, tree outdoors is a must. The tree becomes determinant outdoors and creates its own space. You can spend pleasant hours in its shade and observe a tree. The type of plant we choose should also appeal to our senses. Especially our sense of smell. Based on my experience with my clients, I can say the following: people who want to create a new garden usually want the scent of their grandmother’s garden, choosing from their childhood memories. It might be the linden blossom or the peony blooming in the spring. The trees that have impressed me the most lately are Quercus (oak) species, Gingko Biloba (temple tree), Tilia (linden), Parrotio Persica (iron tree), and Platanus (plane tree). HOW THE SOIL OF THE PLANT SHOULD BE The choice of soil for the plant is also an important point. Take note of Rina’s opinions in this regard: “The soil for indoor and outdoor use is different. Especially indoors, peat rich in fiber should be used. In addition to soil, the pot size in which the plant is placed is also important. The soil loses fertility if the plant is in the same pot for a long time. For this reason, the soil must be renewed regularly. Outdoors, the mobility of the soil may cause it to fall over. In this case, additions must be made. In addition, organic and natural fertilizers can be used depending on the season and the plant’s needs”. TR BELOW BİR BOTANİKÇİNİN ANATOMİSİ Enverina Rina Qorraj, İstanbul’un Boğaz tarafındaki tarihi semtlerinden Kandilli’de yer alan Kandilli Botanik’in yöneticisi ve ortağı. Bitki dünyasıyla tanışması ailesinin fidanlık kurmasıyla başlıyor. Okul çıkışı fidanlığa gitmeye başlayan Rina, bitkilerin bakımını yaparken onları yakından gözlemleme fırsatı buluyor. O günleri, “Bir elimde sulama hortumu, diğer elimde ise bitki kitabıyla geziyordum. Merakım gittikçe artıyor, Latince isimleriyle birlikte bitkinin yaşam evrelerini öğreniyordum” diye anlatıyor. Çocukluğundaki bu deneyimin etkisiyle İTÜ Peyzaj Mimarlığı Bölümü’nü okumaya başlıyor Rina ve bölüm birincisi olarak okulu bitiriyor. Üniversite yıllarında ise aile şirketi Kandilli Botanik’te çalışmaya başlıyor. Böylece teoriyle pratiği birleştirme şansı buluyor. Mezun olduktan sonra hem profesyonel olarak mesleğini sürdürüyor hem de peyzaj mimarisine bakış açısı farklılaşıyor. Öyle ki, yalı bahçelerinde yaptığı peyzaj çalışmaları nedeniyle yüksek lisans tezini de bu konu üzerine gerçekleştiriyor. Rina için bu sürecin ilginç bir yanı daha var. Tez çalışmasının konusu olan Komili ve Moniem Yalıları’nın peyzaj tasarımı ve uygulamasını bizzat yapmış olması. “Benim için inanılmaz bir öz eleştiriydi” diyor Rina, “Teorimi, pratikte hayata geçirmiştim”. TÜM BİTKİLERİ BİZZAT GİDİP SEÇİYORUM Peki bir botanik işletmesini yönetmek nasıl bir şey? Şöyle yanıtlıyor Rina: “Bir botanik işletmesi zamanla yarış halindedir. Sunduğumuz hizmet canlı materyaller içeriyor ve mevsime göre ihtiyaçları farklılaşıyor. Bu ihtiyaçlara doğru şekilde ve zamanında müdahale edilmesi gerekiyor ”. Kandilli Botanik’te yerli ve ithal bitkiler satılıyor. “İlk tercihimiz yerli üretim” diyor Rina. “Türkiye’de belli bölgelerde iyi şekilde üretim yapan yerler var, ama bitki çeşitliliği az ve üretim kapasitesi kısıtlı. Bir de yerli üretimde yaşça büyük bitki bulmak zor. Nedeni ise uzun yıllara dayanan ve bunu bir geleneğe dönüştüren üretim yerinin az olması. Bu nedenle Türkiye’de bulamadığımız bitkileri yurtdışından ithal ediyoruz. Dış mekan bitkilerini İtalya, iç mekan bitkilerini ise Hollanda’dan tedarik ediyoruz. İtalyan bitkilerinin benzer iklim koşullarında yetiştirilmiş ve kök çalışmasını tamamlamış olmasından dolayı işletmemize geldikten sonra adaptasyonlarında bir sorun yaşanmıyor”. BAZI BİTKİLERİN FARKLI İHTİYAÇLARI OLABİLİYOR İç mekan için bitki seçerken şunlara dikkat edilmesi gerektiğini söylüyor Rina: “Eviniz aydınlık ise Ficus Lyrata, Bucida ve Philadendron çeşitlerini tercih edin, yarı aydınlık ise Heteropanax, Dicksonia çeşitlerine yönelebilirsiniz. Dış mekandaki bahçe duygusunu içeriye taşımak isterseniz Strelitzai ya da palmiye türleri düşünülebilir. İç mekan bitkileri düzenli ve türüne göre az su isteyen bitkiler oluyor. Severek bakıldığında zorlanacağınızı düşünmüyorum. Sadece bazı bitkilerin ihtiyaçları faklı olabiliyor. Mesela Dicksonia ağacının sulama tekniği diğer bitkilerden farklı. Tüm gövdesinin ıslatılması gerekiyor. Bunu iç mekanda yapmak kolay değil”. BABAANNESİNİN BAHÇESİNDEKİ KOKUYU İSTEYENLER... İyi bir bahçe peyzajı için olmazsa olmazlarını şöyle sıralıyor Rina: “Ölçeğe bağlı olarak dış mekanda ağaç, olmazsa olmazım. Ağaç, dış mekanda tanımlayıcı oluyor ve kendi mekanını yaratıyor. Bir ağacı seyretmek kadar, gölgesinde de keyifli saatler geçirmek mümkün. Seçeceğimiz bitki türleri duyularımıza da hitap etmeli. Özellikle koku duyumuz. Müşterilerimle yaşadığım deneyimlerden yola çıkarak şunu söyleyebilirim: Yeni bahçe sahibi olacak kişiler genellikle babaannesinin bahçesindeki kokuyu çocukluk anılarından seçerek arzuluyor. Bu koku ıhlamur ağacı çiçeği ya da ilkbaharda çiçek açan şakayığın kokusu olabilir. Son zamanlarda beni en çok etkileyen ağaçlar ise şunlar: Quercus (Meşe) türleri, Gingko Biloba (Mabet Ağacı), Tilia (Ihlamur), Parrotio Persica (Demir Ağacı), Platanus (Çınar). TOPRAK NASIL OLMALI Bitkinin toprak seçimi de önemli bir konu. Bu konuda Rina’nın görüşlerini mutlaka not edin: “İç mekanla dış mekanda kullanılan toprak farklı. Özellikle iç mekanda lif yoğunluklu torf kullanılmalı. Toprak ile birlikte bitkinin bulunduğu saksı ölçüsü de önemli. Bitki uzun süre aynı saksıda tutulduğunda toprak verimliliğini kaybeder. Bu nedenle periyodik sürelerle toprağın tazelenmesi gerekiyor. Dış mekanda ise toprak hareketliliğinden çökmeler olabilir. İlave yapılması gerekir. Ayrıca mevsime ve bitkinin ihtiyaçlarına göre organik ve doğal gübreler kullanılabilir”. for more Print VOL - IX SPRING 2023 Out of Stock Add to Cart

Matt Damon’ın oynadığı Marslı (The Martian) filmi sonrası daha da popüler hale gelen bir çöl Wadi Rum.  ​ Kum vadisi anlamına gelen Wadi Rum, Ürdün’ün güneyinde, Akabe’ye 40 kilometre uzaklıkta bir doğa harikası. Wadi Rum’un şöhretinin nedeni Mars yüzeyini andıran kızıl kumları, kayalıkları elbette. Buranın Marslı filminde neden set olarak kullanıldığını oraya gidince daha iyi anlıyorsunuz.    Gerçekten de vadinin iç taraflarına doğru ilerledikçe Mars yüzeyinde geziniyormuş gibi hissediyor insan. Çok acayip bir duygu!  Artık ya filmin yoğun etkisi ya da Mars’a karşı son dönemde gelişen popüler ilginin engellenemez hali. O kızıl kumların üzerinde gezinirken başka türlü bir havaya giriyorsun.    Bu Mars efektinin bir sonucu olsa gerek, Wadi Rum’da konaklamak isteyenler için yapılan kamp alanlarına balon kabinler (nam-ı diğer “bubble dome”) kondurulmuş. Bu balon kabinlerin alamet-i farikası tabii ki yattığın yerden gökyüzünü görebilmen. Doğayla bütünmüşsün gibi hissettirmesi. Yani alabildiğine şeffaf oluşu… Bir de tabii kendiliğinden uzay istasyonu efekti vermesi!   Son yıllarda çok moda olan bu balon kabinler dünyanın dört bir tarafında var aslında. İspanya’dan Avustralya’ya, İzlanda’dan Kanada ve Meksika’ya kadar...Sırf bunlarda kalmak için aylar öncesinden rezervasyon yaptıran var. Bir tür yeni deneyim çılgınlığı bu yani. ​ Peki o balonun içinde konaklamak nasıl bir şey?  ‘Aicha’ (@aichaluxury) adlı kamptaki balonda sadece bir gece kaldım ama şunları söyleyebilirim: Sanki çölün ortasında yatıyormuşum gibiydim.  Bir ara kuvvetli bir rüzgar çıktı. O garip uğultuyu iliklerime kadar hissettim!Sonra şakır şakır yağmur yağdı. O an dedim ki, galiba bu balonu sel alıp götürecek! Korkmadım desem yalan olur! Sabaha karşı ise yıldızlar göründü, ki o kısım nefisti işte… ​ Aicha dışında bir de Suncity Camp (@suncity_camp) var. O da biraz daha konforlu bir kamp. Ama her ikisinin de mantısı aynı: Konforlu bir balon kabin ya da çadırda gelenlere kızıl çöl deneyimini yaşatmak! ​ Benim kaldığım Aicha’da:    - Sabah saat 05.30 sularında kalkıp gün doğumunu izlemeye götürdü kampın çalışanı bedeviler. Arabalarla bir bir kızıl tepeye gittik. Sabah sabah bir tepeye tırmandık. Ama gün doğmaya başlayınca manzara olağanüstüydü!    - Sabah ve gece çok serin olduğu için dev bir kürk kaban veriyorlar. Onunla dolaşmak bile fantastikti!    - Gelelim eğlenceye! Çölün ortasında bedevilerin müziği eşliğinde çılgınca dansedeceğimi söyleseler inanmazdım, ama oldu! Hayatımda en çok eğlendiğim gecelerden biriydi. Bir süre sonra çöl soğuğuna aldırmadık, bedevilerin çaldığı canlı müzik eşliğinde deliler gibi dansedip göbek attık!  ​ Unutmadan:    - Wadi Rum’a gitmek için Amman ya da Akabe’ye uçabilirsiniz. Akabe daha yakın. Amman’dan Wade Rum arabayla iki ila üç saat sürüyor.    - Petra’yı görmeden dönmek olmaz. Wadi Rum’a çok yakın Petra. Günübirlik gidip dönülebilir.  January 2024 | TRAVEL TR below BEACH CLUB on TOP of the MOUNTAIN words Joel Nunez-Smith photos Gray Malin Could there be a beach club on top of the mountain? Of course it can! It could very well be! There is no sand at Aspenx Beach Club designed by Gray Malin, but there is more. Magnificent views of the Highland Bowl and Elk Range, the wonderful contrast of bright red&white stripes on white snow and a vintage atmosphere inspired by beach clubs in Miami. Aspenx opens its new season as of the end of this month. This mountain beach club, which has a ticketed entrance fee, is open on Fridays and Saturdays. Dağda beach club olur mu? Gayet olabilir! Gray Malin’in tasarladığı Aspenx Beach Club’ta kum yok ama fazlası var. Highland Bowl ve Elk Range'in muhteşem manzarası, kırmızı parlak çizgilerin beyaz kar üzerindeki şahane kontrastı ve Miami'deki beach club’lardan ilhamla yaratılan vintage atmosfer. Aspenx, ocak sonu itibariyle yeni sezonunu açıyor. Giriş ücreti biletli olan, dj performanslarıyla eğlencenin doruğa çıktığı bu dağ beach club’ı cuma ve cumartesi günleri açık. Bazen pazar günleri de…

Çapa 1 ABOUT US PRINT WEB SITE SOCIAL MEDIA AUDIENCE ADVERTISING & PARTNERSHIP OPPORTUNITIES YUZU COMMUNITY TEAM ABOUT US Founded in 2020 by Onur Baştürk, Yuzu Magazine is a global trendsetting publication at the intersection of travel, design, architecture, natural lifestyle and art. Based in Istanbul, Yuzu offers a global exploration through interviews with architects, designers and artists, as well as highlighting unique travel destinations and design hotels. PRINT Yuzu, a hardcover coffee-table book-style magazine published in print 3 times a year, has quickly become an indispensable publication for collectors. (Annual average of 250,000 physical accesses ) WEB SITE With an average of 200 thousand unique visitors per month, yuzumagazine.com features design architecture projects, travel destinations, and exclusive design hotels each week, in addition to the content in the print version. (Annual average of 1 million digital accesses ) SOCIAL MEDIA Our social media account has 32 thousand followers with an average monthly reach of 65 thousand. With our Architect's Diary video series featuring the new generation of architects, our video collaborations with brands, and our independent videos, we provide our community with both visually powerful and informative content. AUDIENCE Yuzu Magazine is a global community of diverse creators, distributed by UK-based Magazine Heaven Direct in all major metropolitan areas around the world, including the United States, Canada and the United Kingdom. With a keen interest in design, architecture, modern art and a passion for exploring new travel destinations and designer hotels, the Yuzu community ranges from young adults to middle-aged individuals and is gender-balanced. ADVERTISING & PARTNERSHIP OPPORTUNITIES CONTENT PARTNERSHIP: Engage our readers with thoughtful articles and interactive activations. SOCIAL MEDIA ENGAGEMENT: Reinforce your message with our curated social media posts. BRANDED VIDEO CONTENT: Connect with your audience through compelling video stories. EVENT PARTNERSHIPS: Designed specifically for your brand, our events bring your message face-to-face with your audience. YUZU x Hotel de Louvre YUZU x Vondom YUZU x Andrea Lupi YUZU x Villa Lena YUZU x Enne Miami YUZU COMMUNITY YUZU COMMUNITY DINNER VOL 1 Partner: JUMBO Nisan 2023, Avlu Bebek YUZU GREEN DAY Partner: KomşuKöy, Miboso, EkBiçYeİç, DemGreen, Lucca, Homemade Aromaterapi, Kandilli Peyzaj, Entropia, Panerai Mayıs 2022, KomşuKöy NEW SWAHA - NEW YEAR DINNER Partner: ISOKYO Aralık 2021, Raffles İstanbul YUZU VOL5 PRIVATE DINNER Partner: KİLİMANJARO Ekim 2021, BomontiAda GREEN MORNINGS Partner: GROHE Nisan 2021, Avlu Bebek O SÖĞÜT AĞACININ ALTINDA ‘YEŞİLMİŞİK’ MUHABBETİ Partner: +1 Nisan 2021, KomşuKöy TEAM EDITOR IN CHIEF Onur Baştürk onur@yuzumagazine.com CREATIVE DIRECTOR Ozan Uzun DESIGN Department of Visual Culture SENIOR EDITOR (sorumlu) Rengin Atik ADVERTISING PARTNERSHIPS Seray Kanberoğlu, Hande Vatandost PROJECT ASSISTANT Sinan Budak CONTRIBUTING WRITERS & VIDEOGRAPHERS Kristina Avdeeva, Soraia Martins, Abdullah Abukan, Bilal İmren, Laura Cottrell, Alp Tekin. PUBLISHER www.weareyuzu.co Yuzu Medya Yayıncılık İnşirah Sokağı, No:25/1, Bebek, 34342 Beşiktaş, İstanbul PRINT Published three times a year ISSN 2757-525X INTERNATIONAL DISTRIBUTION MHD - www.magazineheavendirect.com INSTAGRAM @yuzu.mag FOR PARTNERSHIPS AND BUSINESS OPPORTUNITIES info@yuzumagazine.com FOR ONLINE SALE & SUBSCRIPTION www.yuzumagazine.com/shop for more yuzumagazine.com Çapa 2 Çapa 3 Çapa 4 Çapa 5 Çapa 6 Çapa 7 Çapa 8

January 2023 | Design & Interiors TR below Urban Farming Office words Alp Tekin photo Hiroyuki Oki Vietnamese studio Vo Trong Nghia Architects has covered its head office Urban Farming Office in Ho Chi Minh City with a vertical farm of fruit trees and plants. Located in the Thu Duc district of the city, Urban Farming Office was designed to be the epitome of low-energy architecture by Vo Trong Nghia Architects. For the implementation, the architecture office says: “Lack of green in cities; It causes various problems such as air pollution, flood and heat island effect. New generations are losing ties with nature. In this project, the core of the office building was constructed using a bare concrete structure. This allowed the possibility to flexibly rearrange as plants grew or changed.” The plant wall, which completely covers the glazed south side of the building, prevents overheating by filtering sunlight and air. Thus creating a shady microclimate for the interiors of the office. Vietnamlı stüdyo Vo Trong Nghia Architects, Ho Chi Minh City'deki kendi merkez ofisi Urban Farming Office'i sebze meyve ağaçları ve bitkilerden oluşan dikey bir çiftlikle kapladı. Şehrin Thu Duc semtinde yer alan Urban Farming Office, Vo Trong Nghia Architects'in düşük enerjili mimarisinin simgesi olacak şekilde tasarlandı. Uygulama için mimarlık ofisi şöyle diyor: “Şehirlerdeki yeşil eksikliği; hava kirliliği, sel ve ısı adası etkisi gibi çeşitli sorunlara neden oluyor. Yeni nesillerin doğayla bağları kopuyor. Bu projede ofis binasının çekirdeği çıplak bir beton yapı kullanılarak inşa edildi. Bu sayede bitkiler büyüdükçe ya da değiştirildikçe esnek bir şekilde yeniden düzenleme olanağı sağlandı”. Binanın camlı güney tarafını tamamen kaplayan bitki duvarı, güneş ışığı ve havayı filtreleyerek aşırı ısınmayı önlüyor. Böylece ofisin iç mekanları için gölgeli bir mikro iklim yaratıyor.

April 2025 | Art & Culture CURTAINS UP: ART BRUSSELS 2025 Following Art Cologne, which began in 1967, Art Brussels stands as the second oldest contemporary art fair in the world. Now, it returns for its 41st edition from April 24 to 27, 2025! Reaffirming its position as one of Europe’s leading contemporary art platforms, Art Brussels will host 165 galleries from 35 countries this year. Divided into five curated sections—Prime, Solo, '68 Forward, Discovery, and Invited—the 2025 edition will showcase works by over 800 artists. Expanding its scope this year, the fair focuses on all forms of contemporary art. Let’s take a quick look at the highlights… A CLOSER LOOK AT ART BRUSSELS 2025 - Sponsored by Delen Private Bank and Bank Van Breda, Art Brussels 2025 draws a diverse international lineup: 26% of the participating galleries are from Belgium, 17% from France, 13% from outside Europe, 8% from Germany, and another 8% from Mediterranean countries. TWO NOTABLE NEW INITIATIVES FOR 2025 - Art Brussels 2025 introduces two important new initiatives. The first is The Screen, a curated video art programme selected by Eliel Jones (Curator of Performance and Time-based Media at KANAL-Centre Pompidou) and filmmaker Alex Reynolds. Each selected video will be shown in a dedicated one-hour screening slot at the Tribune, ensuring maximum visibility for fair visitors. With two daily screenings from Friday to Sunday, The Screen aims to enrich the visitor experience by offering a focused space for video art. “While there is no unifying theme, all the selected works play with the forms of documentary and experimental essay,” say Jones and Reynolds. - The second initiative is Monumental Artworks, a section curated by Carine Fol (City of Brussels), a public art expert, showcasing large-scale installations. Featured artists include Willem Boel, Rui Chafes, Karl Karner, Jonathan Meese, Jean-Bernard Métais, Hilde Overbergh, Joost Pauwaert, Thomas Schönauer, and Antoine Waterkeyn. STRIKING INSTALLATIONS - Visitors are welcomed by site-specific projects, including an installation by Céline Condorelli—represented by Galeria Vera Cortês—which reimagines the fair’s entrance. Exploring the intersections of art, architecture, design, and civic engagement, Condorelli draws a connection between the moment of “arrival” and stepping onto a stage, using theatrical curtains to emphasize this performative threshold. - Another installation is Carton plein, an archive project by Juan d’Oultremont, which begins with the question: what remains after an exhibition ends? A memory, an echo, sometimes just an invitation. D’Oultremont has been collecting these fragments for years. His archive of over 10,000 carefully preserved exhibition invitations forms a map of Belgian contemporary art. Despite their temporary nature, these invitations offer insights into graphic trends, curatorial daring, and the evolution of past and present artists. DUFOUR’S MONUMENTAL INSTALLATION - The Fédération Wallonie-Bruxelles presents a monumental installation by young artist Maëlle Dufour. Since the beginning of her career, Dufour has focused on the destructive impact of humans on natural resources and living systems. For the fair, she has created hundreds of ceramic Oyas—porous clay vessels traditionally buried near plants to deliver water slowly to the roots. Their form and material recall plastic jerrycans. With this work, Dufour draws attention to the disappearance of water. - Maison Ruinart will showcase new works by guest artist Lélia Demoisy, created as part of the Dialogues with Nature programme. - The 75th anniversary of the Belgian Art Prize—which removed its age limit in 2017—is celebrated with a special exhibition titled Back to the Future in the Stibbe Lounge. The Discovery Acquisition Prize, supported by Moleskine, continues to focus on supporting museum collections. PERFORMANCES - Where the Body Begins Curated by Luk Lambrecht, this performance invites audiences to experience art beyond the visual—engaging on a deeper, more visceral level. When: Friday, April 25; Saturday, April 26; Sunday, April 27 — daily from 14:00 to 17:00 Where: Art Brussels, Hall 5 entrance - Breaking Free by Lieven De Boeck The Circus – Embracing Fluidity in Art and Identity This interactive performance allows visitors to assume any role—artist, curator, or critic—simply by donning the corresponding costume. By blurring the lines between creator and observer, it dissolves the divide between insider and outsider. When: Thursday, April 24 at 13:00, 15:00, and 17:00

April 2024 | Urban english below New York’tan bir MOMO geçti words Onur Baştürk M omo’nun sahibi Burak Beşer, altı ay önce yaptığımız bir röportajda şöyle demişti: “Belki bir gün New York’ta, Bianca Jagger’ın beyaz atıyla içeri girdiği gibi bir kulübümüz olur”. Burak’ın bahsettiği Bianca Jagger ve beyaz at olayı 1977’de, meşhur Studio 54’te yaşanmıştı. Elbette o dönemden çok uzağız. Şu an başka zevklere sahip bir gece hayatı eğlencesi var. En başta beyaz at yok, sürekli baktığımız telefon ekranları var… Ama sonuçta Burak, efsanevi Studio 54’ün kurucularından Ian Schrager’in markası olan, New York’taki Public Otel’in rooftop’ında geçtiğimiz cuma yapılan “Momo Weekend” partisiyle şehre bir iz bıraktı ve yurtdışında mekan açma planlarının/hayallerinin fitilini ateşlemiş oldu. Evet, gerçekten ateşli bir geceydi. Bir ara rooftop’da adım atacak yer yoktu. Gabriel Liberty ve Tankut Karakurt’un dönüşümlü çaldığı gecenin tek Türkçe müzik atakları ise Kenan Doğulu ve Tarkan’dı. Sabah olup da Public Otel’in kafesine indiğimde ise bir başka Türkçe sürprizle karşılaştım: Altın Gün grubunun güncel yorumuyla “Maçka Yolları” türküsü çalıyordu fonda. Bilerek değil, bana kalırsa tamamen tesadüf. Ama demek ki yabancı kulaklar Kenan Doğulu’dan ziyade bu havaları daha çok dinleme arzusunda… Sanayici bir aileden gelen, dedesi Türkiye’deki ilk damperi ve çöp kamyonunu üreten kişi olan, kendi deyimiyle “Hiç bilmediği bir sektöre balıklama atlayıp süreç içerisinde suyun üzerinde kalmayı öğrenen” Burak Beşer’in yurtdışı atakları New York’la sınırlı kalmayacak gibi. Bu yılın sonunda, Art Basel dönemine gelen bir Miami çıkarması da planlıyor Burak. Doğruya doğru, onun yolculuğunu Alaçatı köy içinde açılan çok ortaklı ilk Momo’dan bu yana (yıl 2016) takip eden biri olarak markasına olan tutkusuna hayranım. Çünkü kolay bir şey değil, sürekli yeni kalmaya çalışmak. Özellikle eğlence sektörüne sonradan giren biri olarak… Bu noktada, daha önce yaptığımız röportajdan kalma, Burak’ın şu sözlerini yinelemek isterim: “Bu sektör dev bir roller coaster’ın içinde olmak gibi! Anlık iniş ve çıkışlar, pandemide olduğu gibi bazen fark etmeden baş aşağı dönmeler, bazen de sağa-sola yatmalar olabiliyor. Ama sonuçta hep ileri gidiyor olmak bu sektörü dayanılır kılıyor. Eğer bundan keyif alıyorsanız alıyorsunuzdur! Almıyorsanız bu sektör kesinlikle size göre değil!” UMUT EVİRGEN DESTEĞİ Bu arada Public Otel’deki partiye gelenlerden biri de Umut Evirgen’di. La Boom ve Gizli Kalsın’ın yaratıcısı her ne kadar son dönemde yönetmen kimliğiyle ön planda olsa da, halen İstanbul gece hayatı için önemli bir isim. Aynı tarihlerde eşi Alina Boz’la NY’da olan Evirgen’in hiç ego yapmadan partiye gelmesi takdir edilesiydi. Çünkü malum, Türkler -özellikle aynı sektörde olanlar- genelde birbirlerini desteklemez. Desteklemeyi bırak, birbirlerinin arkasından olumsuz konuşmayı yeğler. Nihayetinde, sekizinci yılına giren ve Burak Beşer’in deyişiyle, “Çocukluk dönemini geçip olgunlaşan ve artık farklı ülkelerden teklifler almaya başlayan” Momo, yolculuğuna son sürat devam edecek, orası kesin. Çünkü Burak’ın hayalleri ve hırsı kadar arkasındaki ekip de sağlam, hayli kalabalık ve ona inanıyor. MOMO's New York party B urak Beser, the owner of Momo, said in an interview we did six months ago: "Maybe one day we will have a club in New York like the one where Bianca Jagger rode in on her white horse”. Bianca Jagger and the white horse incident Burak was talking about happened in 1977 at the famous Studio 54. Of course we are far away from that time. Now we have a nightlife with different tastes. First of all, there is no white horse, there are phone screens that we look at all the time... But in the end, Burak left his mark on the city with the "Momo Weekend" party held last Friday on the rooftop of the Public Hotel in New York, the brand of Ian Schrager, one of the founders of the legendary Studio 54, and started his plans to open a venue abroad. Yes, it was a very hot night. At one point it was impossible to get on the roof. Gabriel Liberty and Tankut Karakurt took turns playing, and the only Turkish music acts of the night were Kenan Dogulu and Tarkan. In the morning, when I went down to the café of the Public Hotel, I found another Turkish surprise: The folk song "Macka Yollari” was playing in the background, with an updated interpretation by the band Altın Gun. Not on purpose, I think it was just a coincidence. Burak Beser, who comes from a family of industrialists, whose grandfather produced the first garbage truck in Turkey, and who, in his own words, "jumped into an industry he knew nothing about and learned to keep his head above water," will not be limited to New York. At the end of the year, Burak is planning a trip to Miami, just in time for Art Basel. To be honest, as someone who has been following his journey since the first Momo (2016), a multi-partner store opened in the village of Alacati, I admire his passion for his brand. Because it is not an easy thing to try to stay new all the time. Especially as a newcomer in the entertainment industry... At this point, I would like to repeat Burak's words from our previous interview: "This industry is like a giant roller coaster! There can be momentary ups and downs, sometimes turning upside down without realizing it, sometimes leaning left and right like the pandemic. But in the end, always moving forward is what makes this industry tolerable. If you like it, you like it! If not, this industry is definitely not for you!” UMUT EVIRGEN'S SUPPORT By the way, Umut Evirgen was one of the guests at the party at the Public Hotel. Although the creator of La Boom and Gizli Kalsin has recently been in the forefront as a director, he is still an important name in Istanbul nightlife. Evirgen, who was in New York at the same time with his wife Alina Boz, came to the party without any ego. As you know, Turks, especially those in the same business, generally do not support each other. Let alone support each other, they prefer to talk negatively behind each other's backs. In the end, Momo, which is now in its eighth year and, in Burak Beser's words, "Momo has matured beyond its childhood and is now receiving offers from different countries," will continue its journey at full speed, that's for sure. Because Burak's dreams and ambitions are as strong as the team behind him and they believe in him.

April 2025 | Art & Culture a MEDITERRANEAN JOURNEY by FRAN ANIORTE At Galerie SCENE OUVERTE (Paris), immerse yourself in the magical realism of Fran Aniorte, a Spanish artist and designer whose creative journey traverses the vibrant landscapes of Barcelona and Istanbul. Running from March 28 to May 17, 2025, this exhibition unveils a universe where art, design, and craft seamlessly converge. Fran Aniorte’s work defies conventional boundaries. His diverse creations—ranging from art objects and immersive installations to innovative homeware designs—invite viewers into a realm where the extraordinary resides within the everyday. In his own words, "The real luxury is the experiences we live: the human contact, the connection with nature, the rediscovery of silence and all that is becoming rare like craftsmanship and authenticity." This ethos permeates every piece, echoing a profound appreciation for genuine, lived moments. Inspired by the enchantment of a Mediterranean summer night, the collection evokes a poetic atmosphere, transforming nature into an enchanted realm. Each artwork radiates a timeless aura of mystery, beckoning audiences to embark on a sensory journey—a journey where light, shadow, and emotion coalesce into an experience that is both elegant and joyful. As Aniorte describes, “This collection invites a sensory journey inspired by a poetic vision of The Mediterranean. Timeless, elegant and joyful, a dreamlike universe to uplift the soul.” Here, light and mystery serve as metaphors for the extraordinary hidden within the folds of our everyday lives, crafting an ode to both the seen and unseen, the crafted and the natural. * Galerie SCENE OUVERTE, 13 rue Bonaparte, Paris

April 2025 | Art & Culture a DYNAMIC REAWAKENING of FRENCH AVANT-GARDE words Alp Tekin photos Antoine Lippens From 14 March to 2 November 2025, the Fondation CAB in Saint-Paul-de-Vence is the stage for an electrifying exhibition that revives the spirit of the Supports/Surfaces movement alongside cutting-edge contemporary art. Curated by Hugo Vitrani—the visionary behind the Palais de Tokyo—this show spotlights a seminal chapter in French art history, breathing new life into works that shattered traditional boundaries. Supports/Surfaces, one of the founding forces of French contemporary art, transformed the landscape of both painting and sculpture. Between 1970 and 1971, a vibrant group of artists—predominantly hailing from the south of France—joined forces to stage four groundbreaking collective exhibitions. Icons such as André-Pierre Arnal, Vincent Bioulès, Louis Cane, Marc Devade, Daniel Dezeuze, Noël Dolla, Toni Grand, Bernard Pagès, Jean-Pierre Pincemin, Patrick Saytour, André Valensi, and Claude Viallat challenged conventions by declaring themselves painters, even as their work unsettled audiences accustomed to the familiar rigidity of stretched canvases. In Partenaires Particuliers, the exhibition acts as a fertile field—seeding the past with a dozen historic pieces that encapsulate the raw, unfiltered energy of this avant-garde movement. These works, ranging from brushless paintings to canvases folded, burnt, or reassembled, serve as a manifesto for La peinture en question, the initial declaration of a group that continually evolved, critiqued, and ultimately transcended its own boundaries. In 1969, Louis Cane, Daniel Dezeuze, Patrick Saytour, and Claude Viallat boldly asserted: “The object of painting is painting itself, and the paintings exhibited relate only to themselves. They do not appeal to an ‘elsewhere’... They offer no escape, because the surface, through the ruptures of form that are operated upon it, prohibits the viewer’s mental projections or dreamlike ramblings.” Adding to this rich historical tapestry, the exhibition also features an eclectic mix of works by both past and present artists from London, Mexico City, New York, Los Angeles, Toronto, Martinique, and Paris. With contributions from names like Ernest Breleur, Pierre Buraglio, Edith Dekyndt, Ladji Diaby, Miho Dohi, Torkwase Dyson, Fred Everlsey, Melinda Fourn, Kapwani Kiwanga, Renée Levi, Myriam Mihindou, Brandon Ndife, Jack O’Brien, Robert Overby, Bernard Pages, Jean-Pierre Pincement, and Hall Haus, Partenaires Particuliers promises a vibrant dialogue between eras and geographies.