Posted by: bluesyemre | May 20, 2019

Chicago finds a way to improve Public Housing: #Libraries


Images of the Independence Library and Apartments by John Ronan Architects in Chicago.CreditCreditJohn Ronan Architects

Other cities have combined books and subsidized housing, but the outgoing mayor, Rahm Emanuel, has embraced the concept with three striking new projects.

CHICAGO — Cabrini-Green, the Robert Taylor Homes: demolished years ago, Chicago’s most notorious projects continue to haunt the city, conjuring up the troubled legacy of postwar public housing in America.

By the 1970s, Washington wanted out of the public housing business, politicians blaming the system’s ills on poor residents and tower-in-the-park-style architecture, channeling tax breaks toward white flight and suburban sprawl. Now the nation’s richest cities invent all sorts of new ways not to solve the affordable housing crisis.

Is any city doing public housing right these days?

I recently visited three sites that the Chicago Housing Authority has just or nearly completed. These small, community-enhancing, public-private ventures, built swiftly and well, are the opposite of Cabrini-Green and Robert Taylor. With a few dozen apartments each, they’re costlier per unit than the typical public housing developments, and they’re not going to make a big dent in a city with a dwindling population but a growing gap between the number of affordable apartments and the demand for them.

That said, they’re instructive. As Cabrini-Green and other isolated, troubled old mega-sites proved, bigger isn’t necessarily better. These are integrated works of bespoke architecture, their exceptional design central to their social and civic agenda.

And they share another distinctive feature, too: each project includes a new branch library (“co-location” is the term of art). The libraries are devised as outward-facing hubs for the surrounding neighborhoods, already attracting a mix of toddlers, retirees, after-school teens, job-seekers, not to mention the traditional readers, nappers and borrowers of DVDs.

Co-location is of course not a new idea. Other cities today link subsidized housing developments with libraries, New York included, but Chicago’s outgoing mayor, Rahm Emanuel, has made a point of touting the concept, and seeing it through in ways other mayors haven’t.

He leaves office next week with his reputation still tainted by the uproar several years ago following the release of the video of the police shooting of Laquan McDonald. The city’s downtown glistens but poorer residents south and west of downtown struggle with shuttered schools and unending gang violence.

These three new housing projects, on the city’s north and west sides, are clearly part of what Mr. Emanuel hopes will be his ultimate legacy. The projects mix public housing units with heavily-subsidized apartments and, in one case, market-rate ones.


The Taylor Street Apartments and Little Italy Branch Library by Brian Lee, from the Chicago office of Skidmore, Owings & Merrill.CreditTom Harris/SOM


The children’s area of the Little Italy Branch Library has open spaces and flexible furniture.CreditTom Harris/SOM

Mr. Emanuel talked often as mayor about the value of public space and good design. People don’t only need affordable apartments, as he has said. Healthy neighborhoods are not simply collections of houses. They also require things like decent transit, parks, stores, playgrounds and libraries.

Mr. Emanuel extended the city’s subway system, network of bike lanes and popular Riverwalk. He completed the elevated, long-discussed 606, Chicago’s version of New York’s High Line; brought marquee stores like Whole Foods and Mariano’s to grocery-starved neighborhoods like Englewood, and parks like La Villita, replacing a former Superfund site, to communities like Little Village.

He also commissioned leading local architects to design a string of small, civic gems, including two boathouses by Studio Gang and a new branch library in Chinatown by Brian Lee, from the Chicago office of Skidmore, Owings & Merrill, which I have stopped into on a couple of occasions. It’s a neighborhood linchpin and landmark.

Mr. Emanuel’s predecessor, Richard M. Daley, who tore down what remained of Cabrini and began to replace old, debased developments with New Urbanist-style mixed-income ones, gave Chicago Millennium Park and loads of planted flowers. He built cookie-cutter library branches, police and fire stations. I toured the Edgewater library one morning, a two-story, brick-and-concrete box, about as inviting from the outside as a motor vehicle bureau office and ostensibly indistinguishable from one.

The cookie-cutter model was conceived to lower building costs and insure a kind of architectural equivalence across diverse neighborhoods. Library officials tell me the one-size-fits-all design invariably needed some tweaking, from site to site, so it didn’t turn out to be especially economical. And the common denominator obviously did nothing to beautify Chicago or celebrate communities with distinct personalities and desires.

Mr. Emanuel adopted a different model. Capitalizing on the city’s architectural heritage, he touted striking new civic architecture as an advertisement for the city and a source of community pride. Distinguished civic buildings in underserved neighborhoods constituted their own brand of equity. Good architecture costs more but it pays a dividend over time.

The three new housing projects partner the Chicago Housing Authority with the Chicago Public Library system and two private developers, Evergreen Real Estate Group and Related Companies. Working with Eugene E. Jones, Jr., who runs the Housing Authority, Mr. Emanuel persuaded federal officials that public libraries could be co-located with public housing projects without putting federal housing subsidies at risk.

That freed up streams of money for the co-location idea, which was partly strategic: the library helped sway community groups resistant to public housing in their neighborhoods.


The Northtown Affordable Apartments and Public Library, near Warren Park. is a four-story snaking structure, shaped like a twisty garden hose.CreditJames Steinkamp


The interior of the library at Northtown.CreditJames Steinkamp

But co-location was also just plain good urban planning. In cities across the country, branch libraries, which futurologists not long ago predicted would be made obsolete by technology, have instead morphed into indispensable and bustling neighborhood centers and cultural incubators, offering music lessons, employment advice, citizenship training, entrepreneurship classes and English-as-a-second-language instruction. They are places with computers and free broadband access. (One in three Chicagoans lacks ready access to high-speed internet.)

For longtime neighborhood residents and tenants of the new housing projects, the branches at the same time provide common ground in a city siloed by race and class.

A city-run architecture competition in 2016 attracted submissions from 32 local firms. The winners were John Ronan, the architect who did the beautiful Poetry Foundation headquarters in downtown Chicago; Mr. Lee from Skidmore; and Ralph Johnson, who also designed the O’Hare international terminal, from the local office of Perkins + Will.

The libraries share real estate with the apartments but maintain separate entrances. The apartment blocks are designed to command views from a distance; the glassed-in libraries, to command the street.

Mr. Johnson’s project, the $34 million Northtown Affordable Apartments and Public Library, near Warren Park, is a four-story snaking structure, shaped like a twisty garden hose, trimmed in fluorescent green, backing onto a historic bungalow district, along a stretch of avenue that features a Jiffy Lube and Mobil station. It’s meant to be, and is, a beacon and an eye-catcher.

The building’s upper floors include 44 one-bedroom apartments for seniors. They perch atop a bright, glazed, double-height, 16,000 square foot library, which curves around an interior, teardrop-shaped garden, the library’s roof doubling as a terrace for the housing tenants. The apartments I saw looked great, with floor-to-ceiling windows. A community garden in the back helps negotiate the tricky transition between the bungalows and the busy avenue.


The Independence Library is a soaring, two-level affair, with towering concrete columns, a music studio and makers’ workshop tucked into a corner.CreditEvergreen Real Estate Group/John Ronan Architects

Mr. Ronan’s Independence Library and Apartments, in Chicago’s Irving Park neighborhood, a $33.4 million project, tells a similar story. Evergreen is again the developer. The apartments, one- and two-bedrooms, as at Northtown, are all subsidized for 44 seniors and the library occupies the ground floor. The six-story apartment block is a vivid, snowy white tower with rounded corners, clad in corrugated metal, punctuated by multicolored balconies.

The library juts toward the street. It’s a soaring, two-level affair, with a music studio and makers’ workshop tucked into a corner, towering concrete columns, bleacher seats and a mezzanine facing a big, teak-lined roof deck that is accessible from the apartments. The place is welcoming and richly detailed. Light pours in from three directions. Patterned wallpapers, among other touches of color, soften a vocabulary of exposed and striated concrete, with the corrugated metal on the outside serving as radiant paneling for distributing heat inside.

Mr. Lee’s project, the Taylor Street Apartments and Little Italy Branch Library, encountered the fiercest community resistance. The blowback ended up reducing the size of the apartment tower and stepping its mass back from the street.

The $41 million project includes 73 apartments, seven of them market-rate. Related is the developer. At seven stories, clad in Aztec-brick and chestnut-colored panels, the building at once stands out from but also echoes aspects of the neighborhood. There are two floors with glassed-in, single-loaded corridors, the sort of perk you mostly find in high-end residential developments. A double-height library, with a curtain wall and bright orange acoustic baffles, anchors the street.

When I stopped by, moms clustered with toddlers in a bright corner of the library. The place was quiet, dignified and cheerful. Upstairs, views onto empty lots suggested more development coming. The area is gentrifying.

Like the other two, the project seemed both bulwark and boon. This may not be the only way to solve America’s affordable housing problem, but it’s a start.

Posted by: bluesyemre | May 20, 2019

Postmodern #Pazarlama (Editör: Doç. Dr. Gürdal Ülger)


Doç. Dr. Gürdal Ülger, elinizdeki editörlü kitap çalışmasında ekonomiden edebiyata,  sanata kadar her alanda etkilerinin hissedildiği postmodernizm’in, pazarlamaya yansımalarını bölüm yazarlarıyla birlikte inceliyor.

Postmodern anlayış, kimilerine göre modernizmin devamıdır, kimilerine göre ise bir başkaldırıdır.  Kimileri için ise postmodernizm, kapitalizmin kendi içinde yaşadığı bir değişimdir. Çoklu okumaya olanak tanıyan, belki de zemin hazırlayan postmodern yaklaşım tüketime odaklanan yönüyle de, bu söyleme destek verir.

Talebin arzı belirlediği ekonomik düzenin, arzın talebi belirlediği düzene doğru evrilişi, pazarlamaya dikkat çekerken, postmodern kültür içerisinde yaşayan yeni tüketiciyi anlamayı ve anlamlandırmayı da gerektiriyor.

Postmodern tüketici, sınırları keskin olmayan kimliği, karşıtları bir arada taşıyabilen özelliği ve sunulan yeni yaşam tarzlarını deneyimleme arzusuyla pazarlamacılar açısından yelpazesi oldukça geniş bir tüketici profili anlamına gelirken, aynı zamanda kırılgan, kolaylıkla vazgeçebilen tüketiciye de dikkat çekiyor. Postmodern tüketici kendisini merkezde görmek istiyor, ama onun çözümü de zor değil! Çünkü; postmodernizmin önemli bir bileşeni olarak hipergerçeklik, yeni anlamlandırmalara ve sanal mutluluklara yabancı değil!

Postmodern Pazarlama başlıklı çalışma,  postmodernite penceresinden pazarlamayı inceliyor.

Elinizdeki kitapta postmodernizmin kavramsal çerçevesinin yanı sıra postmodern yaklaşım, pazarlama, tüketim, tüketici yapısı ve teknolojiyle etkileşimi boyutları ile çeşitli makaleler bağlamında ele alınıyor, örnekler analiz ediliyor.  Postmodernizmin tartışmalı yapısına ayna tutuluyor!

Sevgili meslektaşım, öğrencim Doç Dr. Gürdal Ülger’in ikinci kitabına da önsöz yazıyor olmak,  benim için bir mutluluk nedeni… Sevgili Gürdal’ı bu çalışması için de kutluyor, kendisine ve yazarlara teşekkür ediyorum.

Prof. Dr. Filiz Balta Peltekoğlu


Önsöz – Prof.Dr. Filiz Balta Peltekoğlu

Kavramsal Çerçevede Modernizmden Postmodernizme Bakış – Doç. Dr. Gürdal Ülger

Postmodernizm ve Halkla İlişkiler – Dr. Emel Tozlu Öztay

Masal, Masal İçinde: “Influencer Marketing”e  Eleştirel Bir Bakış – Dr. Meltem Çiçek

İçerik Üreten Postmodern Tüketici: Tüketicinin Ürettiği Reklamlar – Dr. Ezgi Eyüboğlu

Postmodern Tüketim Pratiklerinde Influencer Pazarlama Girişimleri – Dr.Dilge Kodak

Reklam Grafiğinde Postmodern İzler – Dr. Ayşe Nil Aksoy Kireçci

Küresel Markaların Yerel Yansımaları – Dr.Emel Demir Askeroğlu

Pazarlamanın Lokomotifi: Postmodernizm – Derya Nil Budak

Nostaljinin İdeolojisi – Cansu Kösem

Bir Postmodern Pazarlama Örneği: Evimizin Her Şeyi “IKEA”- Nur Gözde Tayfur

Postmodern Pazarda Yeni Bir Trend: Microtransaction – Ekin Beran Eğüz

Posted by: bluesyemre | May 20, 2019

#Kıbrıs Haber Ajansı


Kıbrıs Haber Ajansı, resmen 16 Şubat 1976’da, Kıbrıs’ın kendi ulusal haber ajansına sahip olmasının gerekli olduğu düşüncesinden yola çıkan dönemin Kıbrıs Radyo Yayın Kurumu (KRYK) Genel Müdürü Andreas Hristofidis’in girişimi ve uğraşları sonucu kuruldu.

KHA’nın resmen 1976 yılında faaliyete geçmesiyle, Hristofidis RIK (CyBC) Haber Bölümü çalışanlarından Andreas Hacıpapas’ı KHA Yazı İşleri Sorumlusu olarak atadı. Andreas Hacıpapas Enformasyon Dairesinin Ajansa sağladığı teknik ve iletişim kolaylıkları sayesinde Reuters ve Non-Aligned News Agencies Pool adlı ajanslara günlük İngilizce haber bültenleri göndermeye başladı.

1984 yılında faaliyet alanını genişleten KHA personel kadrosundaki elemanların sayısını artırarak İngilizce haberlerin yanı sıra diğer dillerde de abonelerine haber iletmeye başladı.

1989 yılında Temsilciler Meclisi Kıbrıs Haber Ajansı’nın habercilik alanında tamamen bağımsız bir kamu kuruluşu olarak faaliyetlerini sürdürmesine olanak sağlayan ilgili yasa tasarısını onayladı.

Bu yasa uyarınca, KHA kitlesel iletişim dalında üne sahip kişilerin oluşturduğu yedi üyelik bir Yönetim Kurulu tarafından yönetilmektedir. Kıbrıs Gazeteciler Cemiyeti, Gazete ve Dergi Yayımcıları Birliği, RIK ve Kıbrıs Enformasyon Dairesi (PIO) Yönetim Kurulunda temsil edilmektedir.

Kıbrıs Haber Ajansı, kamu basın hizmet veren kurum olarak, Kıbrıs ve yurtdışında Kıbrıs’ta bir dizi konular üzerine kamuyu bilgilendiriyor. Yasaya göre, KHA, bağımsız ve otonom, hazırladığı haberlerde etkilemeler kabul etmeyen ve herhangi siyasi, ekonomi veya başka bir grubun çıkarlarına hizmet etmeyen bir kurumdur.

Ajans, görev çerçevesinde, Rumca ve İngilizce haberler abonelik sözleşmesi üzerine, Türkçe ve Arapça haberler ise Ajans’ın websitesinde açık erişimde bulunmaktadır. KHA, kendi fotoğraf hizmetlerini ve aynı zamanda, Kıbrıs, Yunanistan ve dünyadan fotoğraflar sunuyor.

Kıbrıs Cumhuriyeti’nin dünyadaki diplomatik misyonlar için bir bilgi kaynağı olan KHA, söz konusu haberler hükümet yetkilileri, parlamenterler ve diğer yetkililerden değerlendirilmektedir.

Ajans, her gün dört çeşitli bülten yayınlamaktadır: 24 saat haber özeti, Kıbrıs basını ve Kıbrıs Türk basın özetleri ve yurtdışında yaşayan Kıbrıslılar için bülten.  Söz konusu bültenler diyasporada ikamet eden Kıbrıslılar ve diyasporada faaliyet gösteren medyalardan da değerlenmektedir.

Posted by: bluesyemre | May 20, 2019

Dostluğu Hatırlamak (#Belgesel #TRT)

Dostluğu Hatırlamak

Türkler ve Ermenilerin kardeşliğini anlatan “Dostluğu Hatırlamak” adlı belgesel 2011 Sedat Simavi Ödülü’ne layık görüldü.

Tarihi dostluğa gölge düşürmek isteyenlere en anlamlı cevabı yine o ülkelerin halkları veriyor.

Türkler ve Ermeniler yıllarca birarada kardeşçe yaşadılar ve halen yaşıyorlar..

İşte bu bu dostluk TRT’nin “Dostluğu Hatırlamak” adlı belgeseline de konu oldu..

“Dostluğu Hatırlamak” adlı Belgesel 2011 Sedat Simavi ödülüne layık görüldü.

Yapımcı Sevinç Yeşiltaş, “Türkiye’de ve dünyada pek çok tartışmaya, siyasi krizlere neden olan Türk- Ermeni halkları arasındaki ilişkiyi, siyasetten uzak tutarak gerçek insanların hayatına dokunarak onların dostluklarını anlatmaya çalıştım” diye konuştu.

Yapımcı Sevinç Yeşiltaş’ın TRT Haber Kanalı’nda yayınlanan Türk – Ermeni halkları arasındaki dostluğun anlatıldığı belgeselin ödülünü Türkiye Gazeteciler Cemiyeti Başkanvekili Turgay Olcayto verdi.

Belgeselin yayınlandığı TRT Haber kanalına özellikle teşekkür eden Yeşiltaş, ödülünü Buenos-Aires’te yaşayan Nazaret Amca için aldığını belirtti.

Belgeselde, Arjantin’in Buenos-Aires ile Fransa’nın Valance şehrinde yaşayan Diaspora Ermenileri üzerinden halkların dostlukları ve benzerlikleri anlatılıyor.

Dostluğu Hatırlamak

Sevinç Yeşiltaş’ın yönetmenliğini yaptığı TRT Haber kanalında yayınlanan Dostluğu Hatırlamak belgeseli Türkiye Gazeteciler Cemiyeti 2011 Sedat Simavi   Ödülleri’nde  televizyon dalında övgüye değer  bulundu.  Belgeselde Arjantin Buenos-Aires ve Fransa Valance’ta yaşayan Sivas, Kayseri, Malatya gibi Anadolu’nun çeşitli illerinden giden Diaspora Ermenileri üzerinden Türk ve Ermeni Halklarının dostlukları ve benzerlikleri anlatılıyor.

“Dostluğu Hatırlamak” için,  özlemle ve buruk bir neşeyle dile gelen, sadece onların hikâyesi değil, aynı zamanda Anadolu’nun hikâyesi.

Belgeselin kameramanlığını Levent Ahi, kurgusunu Cantekin Cantez, müziklerini ise Ulaş Özdemir yaptı.

Stephanie Riggs

VR and AR are much-discussed in the publishing industry – but few publishers have found a way to translate the new tech in a way that works for books. Stephanie Riggs, one of the pioneers of virtual reality, thinks she knows why. 

An internationally recognised director, producer, creator and speaker whose immersive experiences with Disney, Google, Facebook, Refinery29, Carnegie Mellon, Yale, and NYU have lead the evolution of the VR field, Riggs has just released The End of Storytelling: The Future of Narrative in the Storyplex. The book outlines the history of storytelling and illustrates why familiar storytelling techniques used in books, film, and theatre do not translate very well to new mediums, such as VR and AR, and often leave audiences a little disappointed. Instead, she suggests that we need to stop looking at storytelling in this square box of a book, a stage, a screen and, instead, change the way we think of narrative using these immersive technologies.

We asked her to talk more about the impact of her ideas for the future of books.

Why doesn’t traditional storytelling (such as we find in mainstream books) fit well into VR and AR?

Three fundamental traits of immersive technology undermine the traditional process of telling stories. The first is the absence of a frame. Books are framed by their pages. Theatres by the proscenium. Televisions and computers by the screen. The frame separates pre-scripted content from our naturally interactive reality. And it is ubiquitous. When we work in immersive experiences, the frame disappears, disrupting our expectations of where to look for content. That’s why when people over the age of about twelve experience VR for the first time, they stare straight forward in the headset rather than looking around the world.

The immersive quality of being within the content rather than separated from it, creates the second reason why traditional storytelling doesn’t work in VR and AR: the sensation of presence. A 1998 study by German researchers Regenbrecht, Schubert, & Friedman brilliantly described the differences between how our brains process increasingly sensorial mediums: “When we read an article about a narrow suspension bridge, we would rarely experience any sensations because of the mentioned height, but we have a clear mental model of the described space. When we see the bridge in an action movie and we look down to the bottom of the valley together with the endangered protagonist, it is likely that we feel fear because of the height. However, when users have to walk over that bridge in a virtual environment, many of them will experience physiological symptoms and sensations of fear, because they have a sense of actually being there.”

Finally, authorship itself evolves. Interactive technology supports scripting more akin to gaming than novels. These worlds are able to deliver content that responds to the actions of guests rather than a singular plot line. As people adapt to the first two traits of immersive technology, the absence of frame and the sensation of presence, it will be generative scripting that ultimately demands that writers reconceptualise how a narrative is constructed and evolves the future of our stories.

What does a story need if it is to work well with immersive technologies?

I have seen many traditional screenwriters, authors, and playwrights try to write scripts for immersive experiences using the same techniques that worked for them in their native formats. It rarely creates an experience that is easy for guest in VR or AR to follow or interact with. There are awkward transitions between plot points and interactivity, and guests don’t know where to look because they’re not accustomed to being surrounded by their story. This is one of the reasons that I wrote The End of Storytelling: to share the lessons I’ve learned through decades of working with narratives in immersive environments that can help traditional storytellers “think immersively.” For a story to work well in immersive technology, we don’t start by writing a script. We start with a concept of what we want the guest to experience and then design the flow of interactions based on the psychological experience of the guest.

What do you see as the main challenges facing book authors and publishers who want to exploit these new media?

The technology itself presents a formidable challenge. We lack industry standards in software, hardware, methodology, and even the language we use to describe working in interactive mediums. However, the most significant challenge comes from ourselves. When traditional creators work with immersive technology, they tend to fall back on the well-established paradigm of “storytelling” rather than doing the hard work to understand how and why this medium is different than classical (pre-immersive) mediums.

What do you think are the main opportunities for the book trade in terms of exploiting VR and AR?

Today’s immersive technology readily lends itself to augmenting existing publications. AR isn’t widely and consistently used, so it’s a great time to explore how what’s on the page can come to life and experiment with out-of-the-box ideas.  In the long-term, if we are able to reconceptualise what a narrative is and evolve it beyond just storytelling, the possibilities are endless.

Do you think it’s important for the book industry to harness these technologies or should it stick to the (very different) more traditional reading experience?

The craft of writing powerful characters, moving narratives, and mesmerizing sequences has, for the most part, eluded creators of immersive experiences. Often times, they are so focused on what the technology can do that the story suffers. I believe that there is tremendous opportunity right now for collaboration between the book industry and the immersive industries.

What other emerging technologies do you think have the potential to disrupt the book industry in the next few years?

Going back to your first question, machine learning and artificial intelligence have the potential to profoundly disrupt how authors construct narratives and how guests experience stories regardless of whether the interface to the story is a page, a headset, or a mobile device. I’ve been collaborating with several colleagues on this challenge, and the future that lies ahead of us is incredible!

Posted by: bluesyemre | May 18, 2019

19 Mayıs 100. Yıl Marşı – Kol Kola Sonsuza Kadar !

Bizler, iletişimci, müzisyen, tasarımcı ve iş insanlarından oluşan Samsunlu gençler olarak, bu şehre, 100. Yıl ve sonrasında da coşkuyla söylenecek bir marş hediye etmek istedik ve gönüllülük esasında bir araya geldik. Konusunda uzman arkadaşlarla aylar süren bir çalışma sonunda bu çalışmayı çıkardık. Emeği geçen ve destekleyen herkese çok teşekkür ediyoruz!

100. Yıl Marşı Künyesi

Söz : Ömürden Sezgin

Beste/Seslendiren : Can Mutlu

Aranje : Burak Ertetik

Nefesliler : DC Brass section

Tuşlu çalgılar: Deniz Gömeç

Akustik gitar/ Bas gitar: Taşkın Avcı

Elektro Gitar : Emrah Küçükcanbaz

Davul / Perküsyon: Burak Ertetik

Stüdyo : Drum Clinic

Video/Edit/Kurgu : Adem Bekdemir

Görsel katkı sağlayanlar : Burak Doğan, Alperen Petek, İbrahim Tutkaç, Mustafa Pıçakçı, Murat Sandıkçı, Adem Bekdemir

Medya desteği : 112Dijital Halkla ilişkiler desteği : Sevda Yüzbaşıoğlu

Destekleyenler ve güç verenler: Can Atalay, Ersoy Kaya, Önder Fatih Şenol, Varlık Sezgin , Buğra Çolak, ,Güliz Fiş, Fakir Hüseyin Erdoğan, Hande Abalı, Oğuzhan Akçay,Yusuf Kahvecioğlu, Eren Özata, Alper Aydemir, Umut Çalışır, Raşit Özdoğlar, Barış Büyüktanır.

Servet-i Fünûn

Posted by: bluesyemre | May 17, 2019



Beautiful Destinations is a source of daily travel and lifestyle inspiration for millions of people around the world. We share stories highlighting the incredible people, the extraordinary places and spectacular experiences all around the globe. We hope to inspire, educate and motivate our community through our storytelling!

Posted by: bluesyemre | May 17, 2019

Milli İstihbarat Teşkilatı Sanal Müze Koleksiyonu



MİT Sanal Müze Koleksiyonu 90.yıl seçkisinde; operasyonel faaliyetlerde kullanılan malzemeler, görüntüleme ve haberleşme cihazları, dinleme ve telsiz sistemleri, kurumsal malzemeler ile Teşkilat’ın kuruluşundan sonraki sürece ait, bir kısmı Osmanlı Türkçesi’yle yazılmış, dokümanlar yer almaktadır.

Teşkilat’ın köklü geçmişine işaret eden Sanal Müze Koleksiyonu’nda, sergilenen nesnelerle istihbaratın stratejik öneminin daha iyi anlaşılması amaçlanmış ve seçkide yer alan 90 nesneyle ilgili hikayeler, söz konusu istihbari faaliyetin ‘‘gizlilik derecesi’’nin müsaade ettiği ölçüde sunulabilmiştir.

Bu bağlamda katalogda yer alan 90 nesnelik seçki, istihbari faaliyetin ortaya çıkarken ne gibi alanlardan ve malzemelerden yararlandığını göstermekte, aynı zamanda istihbaratın çok yönlü, sistemli bir çalışma olduğuna dikkat çekmektedir. Seçki, operasyonel bir faaliyeti adım adım göstermeyi amaçladığı kadar istihbaratın geleceğimiz açısından önemini gözler önüne seren bir arşiv çalışması özelliği de taşımaktadır.

Posted by: bluesyemre | May 17, 2019

What happens to dead #library books

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In my current project (images of Roman emperors in Renaissance and later art) I am using a different variety of books from those that I am used to. And this means, in particular, that they are spread across different libraries in Cambridge and/or, in the case of art books, that they are available only in the ‘non borrowable’ section of the University Library. This has meant that I have tended to look more carefully at the books that might be available to buy. The savings in time might well be worth the exenditure in cash. And I have had quite good luck in finding some pretty arcane things quite reasonably. I tend, I confess, to use AbeBooks, owned by Amazon.

Over the last couple of weeks I found 4 books I really needed on the website: a reprint of the festival book of The Entertainment of Charles II — 1662; an importantant study of an historic house and collection in Nürnberg, Der Hirsvogelsaal in Nürnberg; a collection of essays edited by A. MacGregor on The Late King’s Goods (on the sale of Charles I’s collections); and another reprint of a festival book, commemorating the Ceremonial Entry of Ernst Archduke of Austria into Antwerp, June 14, 1594.

Although it was actually made clear on the website, it was only when these turned up that I realised they were all ex-library books.

Now, I realise that libraries do have to weed books. And the two festival books might be thought surplus to requirements, given the excellent British Library website that ‘publishes’ many of these festival books, including this particular pair (though I still couldnt help wondering what Birkbeck College Library and Toronto Central Library had actually got for their surplus books, as I bought each one for not mch more than £20). I guessed that I could forgive whatever Essex County Library it was that let The Late King’s Goods go (it might be a bit of a niche market and my explorations suggest thst it is widely held in UK research libraries). But the same could not be said for Der Hirsvogelsaal in Nürnberg, which I bought for £12.70 plus p and p.

This had been let go by the library of “Historic England” for a song presumably (else I wouldn’t have bought it so cheap). And, so far as I could see, it is a book that otherwise in the UK is only in the library of the Courtauld Institute (it may lurk elsewhere, but that’s what my quick researches sugest). If so there is something to worry about.. did noone at Historic England realise what a rare book they were flogging for so little? did they not offer it to a major research library (or was it turned down)?

Whatever, it does suggest to me that, while deaccessioning may sometimes be necessary, it might be done with a little more care for the holdngs of the country as a whole, with valuable books not just being made (as I suspect, but dont of course know) part of a job lot to a second hand book shop (excellent as the shop might be).

I guess I have it in my hands now, and probably when I have done with it I should give it to the Cambridge University Library.

Posted by: bluesyemre | May 17, 2019

#Cappadocia #Turkey (#JohnnyFPV x #BeautifulDestinations)

Johnny FPV takes you on a rollercoaster ride through Cappadocia, Turkey – home to the iconic hot air balloons, ancient cave towns and fairy chimneys.

Johnny Schaer | FPV Drone Pilot |

The Beautiful Destinations Team Tom Jauncey | Creator, Producer, and Director | Jake Irish | Editor and Visual Effects|

The Music “6 Days” | Mahmut Orhan & Colonel Bagshot Instagram: Ultra Music:…



Libraries are evolving, leaning outside of our walls, connecting with our communities in new and powerful ways. Defining our “why” requires understanding how to shift our focus from books to people. Our purpose is to support people and their quality of life. While there may be many definitions, community engagement isn’t just about awareness, marketing, and sending staff out into the community. Community is at the center of everything. At Anythink, the public library system for Adams County, Colorado, it is at the heart of everything we do.

Like many libraries, our recent strategic planning research included a purposeful listening tour. We found that our community sees the library as its center, its connector. They asked for the library to become even more focused on creating community. As a result, we have adopted the concept of library as town square.

For me, this brings to mind an Italian piazza—a place where everyone gathers on their own terms. Sometimes people simply want to sit quietly watching the comings and goings. Sometimes they want to be with a friend or family members, learning together or listening to music or a book talk. Sometimes they want to engage in a conversation with a stranger or learn from an expert or share their expertise.

As we continue to develop this concept of town square, below are a few examples of how it is working for our team.

Hire happy people

At Anythink, we employ a hospitality model. We define hospitality as knowing someone is on your side. We hire our team carefully with an eye toward people who are happy, generous, and kind. To be successful in libraries today, you must love people, and be open to developing relationships and being a member of a team. You must be curious and someone who is always learning. An intuitive awareness of how people are feeling translates to a sense of empathy. Of course, you must also love ideas, but you must love people more. Our work is about connecting people with ideas—and staff are our catalysts and connectors.

Ask the right questions

It isn’t about the library. It is about the citizens and their community. When we worked on our strategic plan, we asked people to design their dream neighborhood. It inevitably looked like a Disney main street, complete with a central space for gathering, a coffee shop, a park, cafes and wine bars, a library, a bank, a school, a town hall, a garden. People seek the center, the gathering spaces where they can connect. They want their children to have opportunity, to be successful, have a good education and career. Seniors want continuing education and culture.

Asking the right questions leads us to a deeper understanding of the hopes, dreams, and aspirations of the community. We asked what they loved about our community and what is missing. We asked how the library could support the success of their family and their community. The results of these rich conversations are distilled into the 2018–2022 Anythink Strategic Plan. Our vision is to contribute to our community being healthy, happy, safe, and smart.

Be the place where connections happen

Our community asked for the library to be the connector. Anythink is trusted to provide opportunities for people to gather, to have honest communication on tough topics. Anythink is trusted because we listen and design programs that reflect the community’s needs. For example, a digital photography project has turned into a local digital photography club that has hosted exhibits at the library. The participant becomes the expert.

Recently, we hosted Priya Parker, author of The Art of Gathering. Parker focuses on gatherings that make it safe for people to be authentic and vulnerable. Attendees felt safe enough to discuss personal information with strangers, and we all began to bond as people who cared for each other.

Another program launched last year is Breaking Bread, which connects people and cultures through food. The evening was quite simple: bread/bakers/hosts from five different cultures. Each presenter talked about the bread of their culture, how it developed, what it meant to their families, the importance of sharing bread, etc. Maria Mayo, our adult guide, described it as “cultural speed-dating.” Participants shared their own stories and memories, connecting with strangers around something as simple as a meal.

Reading and books are the historical cornerstones of libraries. Through reading, people become literate about our world and develop a sense of empathy and connection with people who have different life experiences. Community engagement is a visceral extension of this literacy. Creating connections and empathy, creating that space where people are safe to connect with ideas and their neighbors, is at the heart of the library’s mission.


UpSendrom You Tube kanalımıza destek için 28 sanatçı, alfabe harflerini objelerle seslendirerek down sendromlu çocuklara ön eğitim girişimimize destek verdiler ! Her birine sonsuz teşekkürlerimizle !


Posted by: bluesyemre | May 17, 2019

#İngiltere yolcusu kalmasın -#ZiyahanAlbeniz


New York Times “Varlıklı ve yetenekli Türkler kitleler halinde ülkeyi terkediyor” başlıklı bir haber yaptığında tüylerimiz diken diken olmuştu. Allah’dan Cumhurbaşkanlığı insan kaynakları ofisi hızır gibi yetişti de yüreklerimize su serpti.[1]

Cumhurbaşkanlığı İnsan Kaynakları Ofisi’ne göre veriler hatalıydı. New York Times’ın iddia ettiği gibi ülkeden göç edenlerin sayısı çeyrek milyon değil; bu rakamın yarısı idi.

(TÜİK’in sayfasındaki ara başlık “Türkiye’den yurt dışına 253 bin 640 kişi göç etti” olarak aynı şekilde durmaktadır. Veri kısmında da bu iddia tekrarlanmaktadır. [2])

Peki bu göç neden? Gençlerin çoğu karamsar. Özellikle de son günlerde vuku bulan politik tartışmalar gençleri gelecek ile ilgili daha fazla kaygılandırıyor. Gençler de ne yapsın, en son çıkan ışıkları söndürsün, diyerek bir bir ülkeyi terkediyorlar.

Son katıldığım teknik konferanslardan birinde ayaküstü sohbet ettiğim neredeyse herkesin aklında aynı soru vardı: Yurtdışına nasıl çıkabilirim?

Gençler yurtdışı şirketlerindeki iş ilanlarını takip ediyor, insan kaynakları fuarlarına katılıyor, istihdam ofisleri ile iletişim kuruyorlar. Bu işin de simsarları tabii ki türedi.

İster misiniz bu köşede, mübarek Ramazan ayında size bir güzellik yapayım? Buyrunuz öyle ise…

Yurtdışına, özellikle de İngiltere’ye gitmek isteyenler için çok cazip bir fırsat var. Fakat süre biraz kısıtlı, can kulağı ile dinleyin derim…

Üç taraflı denizle, dört tarafı düşmanla çevrili ülkemiz 1958 yılında kurulan Avrupa Ekonomik Topluluğu’na üye olmak için 1959 yılında başvuruda bulundu. Türkiye AET’na üye değildi, olması için “birkaç fırın ekmek yemesi” lazımdı ama bir işbirliği anlaşması da fena olmazdı. Hem Türkiye’nin ekonomik potansiyeli gelişir; hem de topluluk ülkeleri fırsattan istifade ederek Türkiye’de bir dizi “atılım” yaparlardı. Onlar ortak olurdu, biz de pazar.

Hasılı bir iyi niyet nişanesi olarak Avrupa Topluluğu İşbirliği Antlaşması (ECAA) imzalandı. Bu yazıyı yazmadan önce görüşlerine müracaat ettiğim İngilitere’de eğitim danışmanlığı sahasında hizmet veren Study A Course’un sahibi Ahmet Ferruh Öncü bu antlaşmayı Kasr-ı Şirin antlaşmasından sonra en büyük diplomatik zafer olarak görüyor. Benim favorim hâlâ Lozan’da sağır taklidi yapan İsmet İnönü olsa da Ahmet Bey’in bu nükteli görüşünü de paylaşmak istedim.

Bu antlaşma kapsamında Türkiye Cumhuriyeti vatandaşları Avrupa ülkelerinde iş kurabilecek, bu kapsamda da oturma ve işyeri açma için izin alabileceklerdi.

1973 yılında İngiltere Avrupa Birliği’ne girince o da antlaşmaya taraf oldu.

Ankara Antlaşması’nın ilginç bir yanı var. Teknik olarak Avrupa ülkelerinin tümünde uygulanabilecek bir antlaşma iken, en çok İngiltere özelinde dikkat çekti, en iyi İngiltere’de uygulandı.

Kraliçe kusura bakmasın, ama İngiltere de az değil. Birlik üyesi olmadığı için Türkiye vatandaşlarının bu haklarını kullanması taa 2008 yılına kadar ötelendi. Sonrasında İngiltere’deki bir hukuk bürosu Gürbüz Sanatçı isimli Türk vatandaşının İngilitere’de oturum ve iş kurma hakkı için hukuk mücadelesini kazandı ve örnek bir karar alınmasını sağladılar. İnsanın İngiltere’de kraliçe, pardon, mahkemeler var diyesi geliyor.

Vize duvarları yıkılmıştı.

Gayrı “Ayakkabı boyacılığı yapan bir Türk vatandaşı da İngiltere’de iş kurup, çalışma ve oturma izni alabilir. Yeter ki işini iyi yapsın, iyi bir iş planı olsun. Ankara antlaşmasını iyi bilen avukatların hazırladığı bir başvuru dosyası oluştursun.”

Çok sevinmeyin, bizim çok yaşa dediğimiz üç günden fazla yaşamıyor netekim. İngiltere Avrupa Birliği’nden çıkmak için Brexit’e “Yes” deyince Ankara antlaşması da bağlayıcılığını yitirecek. 31 Mart’da Brexit gerçekleşseydi ben bu yazıyı yazmayacaktım, muhtemelen bitiş tarihi 22 Ekim gözüküyor o tarihe kadar elinizi çabuk tutun, derim.

Bir Türk vatandaşı antlaşma kapsamında İngilitere’ye gidip iş kurabilir. Oturma izni alabilir. Hem de bu iş illa öyle başkalarını istihdam edeceğiniz bir iş olmak zorunda da değil. Restorant işletmeciliği, serbest gazetecilik, yazılım geliştiricilik gibi işler yapabilir; sadece çalışanı siz olduğunuz bir şirket kurabilirsiniz.

Başvurmadan önce şirketi kurmanız gerekmiyor. Sadece bu işi hayata geçireceğiniz bir iş planı ve işi hayata geçirirken gerekecek sermayeyi göstermeniz kafi.

Başvurunuz kabul edilirse siz ve şayet varsa size bağlı aile üyeleri 12 ay süre ile oturum hakkı kazanıyorlar. 1 ay içerisinde İngiltere’ye gidip siz ve aile üyeleriniz için oturum kartlarınızı alıyorsunuz. Çok heyecan verici değil mi? Oturum kartlarını alan başvuru sahibi dışındaki aile üyeleri dilerlerse İngiltere dışına çıkabilir. Fakat sizin 180 günlük üst limit dışında, bu süreyi İngiltere’de geçirmeniz gerekiyor.

Önemli bir nokta, bu 12 aylık süre içerisinde siz başka bir işte çalışamazsınız. Fakat aile üyeleriniz, örneğin başvuru sahibi olmayan eşiniz, İngiltere’de bir işte çalışabilir.

1 yıl bittikten sonra da 3 yıllık bir uzatma daha almak için yeni bir başvuru yapabiliyorsunuz.

Bu uzatma başvurusunda ise vaad ettiğiniz işi ne düzeyde hayata geçirebildiğinize, özetle İngiltere devleti sizin kendilerine yük olup olmadığınıza bakıyor; bir de tabii vergi olarak ifade bulan bir katma değer yaratıp yaratmadığınıza. Haziran 2018’de güncellenen göçmen yasası ile birlikte İngilizce dil yeterliliğiniz ve vatandaş olarak uyumunuza da bakılıyor olacak.

12 aylık süre ve sonrasındaki uzatmalarda İngiltere’de sağlık hizmetlerinden ücretsiz yararlanabiliyorsunuz; varsa çocuklarınız onlar da devlet okulundaki ücretsiz eğitimden istifade edebiliyorlar.

3 yıllık ek bir oturma hakkı aldıktan sonra, bu süreyi 5’e tamamlayarak süresiz oturum izni alabilir; 6. yıla tamamladığınızda da İngiltere vatandaşlığı için başvuru yapabilirsiniz.

Ankara Antlaşması kapsamındaki başvuruları sitesinden olduğu gibi İngiltere konsolosluğu üzerinden üstelik ücretsiz olarak yapabilirsiniz. Şayet bir danışmanlık şirketi üzerinden başvuru yapmak isterseniz, ücretler 1500-2000 sterlin arasında değişiyor. Danışmanlık firmaları tüm evrak işlerini sizin adınıza düzenlemeyi ve takibatını yapmayı taahhüt ediyorlar.

Açıkçası bu Türkiye vatandaşları için muazzam bir imkân. İnsanların oturma izni için mülkiyet edinme gibi yollara başvurdukları bir dönemde, kendi yetenekleriniz ile bu hakka Avrupa’nın en güzide ülkelerinden birinde sahip olabiliyorsunuz.

Youtube’da Ankara antlaşması konusunda hazırlanan pek çok video mevcut. Ben yazı esnasında, görüşlerine de müracaat ettiğim, Ahmet Ferruh Öncü ile bu işi bilabedel sosyal yardımlaşma motivasyonu ile yapan Alihan Duran’ın hazırladıkları bir videodan istifade ettim.[3]

Evet sayın okurlar, bu yazı bir yatırım tavsiyesidir.


Posted by: bluesyemre | May 17, 2019

Let’s talk about race at the #Library


Libraries play a vital role in our society. As institutions of learning, the library collects, preserves, and shares knowledge. Libraries are also spaces of power and privilege that, throughout history, have hurt and oppressed Black lives. The Tougaloo Nine protested the segregation in Jackson, Mississippi and chose the whites-only public library for a read-in in 1961; Pearl Townsend resigned herself to suffering such indignities quietly and waited 73 years to get a library card. The library’s painful legacy continues to affect our communities to this day.

In 2016, I was working as a branch manager of a public library. It was the summer of Alton Sterling and Philando Castille. Before the 2016 election, white people believed in a color-blind post- racial society. But as police brutality played out on social media feeds and TV news, white Americans could no longer ignore the elephant in the room. I saw families…

Posted by: bluesyemre | May 17, 2019

Istanbul Urban Database (IUDB)


Istanbul Urban Database (IUDB) is an interactive sustainable web mapping application for research and the public. IUDB blends a wide range of historical data, and is the most comprehensive online archive of Istanbul’s urban history. The project aims to preserve collective memory, and architectural and urban heritage of Istanbul in an open-access multimedia platform. By implementing ‘interactive deep mapping’ approach, the project presents a set of tools for users to develop historical narratives, uncover hidden cultural and social histories and eventually become part of this digital platform by contributing to it in many forms. Integrating architecture and urbanism into digital and spatial humanities, IUDB explores how emerging spatial and visual tools advance the field of history and urban research.

IUDB is an arts and cultural project, created by Nil Tuzcu.

This project was made possible with the support by architectural and urban historians Professor Sibel Bozdogan and Gul Nese Dogusan Alexander and technology consultant Cagri Hakan Zaman.

(Each map has a different zoom level range. If map is not displayed, this means the zoom level is not available)

1821 City Map:

Courtesy of The Harvard Map Collection
Source: Society for the Diffusion of Useful Knowledge (Great Britain)
Publisher: Harvard Map Collection, Harvard College Library
Online Linkage:

1853 City Map:

Courtesy of The Harvard Map Collection
Source: Society for the Diffusion of Useful Knowledge (Great Britain)
Publisher: Harvard Map Collection, Harvard College Library
Online Linkage:

1882 City Map:

Courtesy of The Harvard Map Collection
Publisher: Lorentz and Keil (Firm)
Source: Harvard Map Collection, Harvard College Library
Online Linkage:

1900 Regional Map:

Courtesy of The Harvard Map Collection
Publisher: Volckmann & Wette.
Source: Harvard Map Collection, Harvard College Library
Online Linkage:

1922 City Map:

Courtesy of The Harvard Map Collection
Title: Plan d’ensemble de la ville de Constantinople.
Publisher: Societe anonyme ottomane d’etudes et d’enterprises urbaines
Source: Harvard Map Collection, Harvard College Library
Online Linkage:

1913-14 City Map:

Title: 1913-1914 German Blues Map
Publisher: İstanbul: İstanbul Büyükşehir Belediyesi Kütüphane ve Müzeler Müdürlüğü, 2006
Source: Alman mavileri, 1: 1913-1914 I. Dünya Savaşı öncesi İstanbul haritaları / İstanbul Büyükşehir Belediyesi Kütüphane ve Müzeler Müdürlüğü ; yay.haz. İrfan Dağdelen; proj.sor. Ramazan Minder

1946, 1966, 1970, 1982 Aerial Photos:

Publisher: Istanbul Metropolitan Municipality

Pervititch Maps:

Georerenced by Nil Tuzcu
Source: Jacques Pervititch sigorta haritalarında İstanbul = Istanbul in the insurance maps of Jacques Pervititch. İstanbul: Axa Oyak. 2000


1949 Photos:

Source: Lütfi Kırdar, Cumhuriyet Devrinde Istanbul. İstanbul Milli Eğitim Basımevi. 1949



Georeferened by Nil Tuzcu
Source: Various resources


Georeferened by Nil Tuzcu
Source: Various resources

Spaces of Beyoglu:

Drawn by Nil Tuzcu (MIT / Harvard University)
Source: Giovanni Scognamillo, Bir Levantenin Beyoğlu Anıları. Metis Yayınları. 1991.


1960 Squatter Settlements:

Drawn by Nil Tuzcu (MIT / Harvard University)
Source: Kemal H. Karpat, The gecekondu: rural migration and urbanization in Turkey. Cambridge University Press. 1976.


Georeferenced by Nil Tuzcu
Source: Cité de l’architecture et du patrimoine, Archives d’architecture du XXe siècle
Publisher: İmparatorluk başkentinden İstanbul cumhuriyet’in modern kentine : Henri Prost’un İstanbul planlaması, (1936- 1951) = From the imperial capital to the republican modern city : Henri Post’s planning of Istanbul, (1936- 1951). Editors: F. Cânâ Bilsel, Pierre Pinon.


Georeferenced by Nil Tuzcu
Publisher: Archivio Luigi Piccinato


Drawn by Nil Tuzcu
Source: Various resources

Posted by: bluesyemre | May 17, 2019

Worldwide broadband speed league 2018

turkey 2018

ranking 2018

Based on over 163 million speed tests in 200 countries

The data was collected for the second year in a row across the 12 months up to 29 May this year by M-Lab, a partnership between New America’s Open Technology Institute, Google Open Source Research, Princeton University’s PlanetLab and other supporting partners, and compiled by Cable.

Worldwide broadband speed league 2018

Posted by: bluesyemre | May 17, 2019

TUDİTA (Türkiye Dijital #Tekstil Arşivi)

logo (4)


Tekstil ve moda nesnelerinin arşiv ve koleksiyonları, kültürlere ilişkin tarihin ve giysi evriminin tanımlanması, etnografik anlamda koleksiyonların oluşturulması açısından son derece önemlidir.  Bu nesnelerin üretilme biçimleri, kullanılan malzeme ve üretim bilgileri, anlamları toplumların estetik ve tarihsel gelişimine ışık tutar. Bu bağlamda, tekstil nesnelerinin fiziksel açıdan, Türk materyal ve tasarım kültürünün önemli bir parçası niteliğinde koruma altında tutmak, araştırmacılara, öğrencilere ve ilgili kurumlara bilgi paylaşımı çerçevesinde sunabilmek arşivcilik ve müzecilik çalışmaları açısından büyük önem taşır. Türkiye Dijital Tekstil Desen Arşivi (TUDİTA) projesi de tekstil tarihi açısından oldukça zengin bir geçmişe sahip olan ülkemizde üretilmiş yerel ve tarihi desenlerle kültürel miras farkındalığı sağlayacak biçimde tasarlanmıştır. Koruma altına alarak Türkiye tekstil tarihine ilişkin kültürel mirasın gelecek kuşaklara aktarılması, projenin en temel amaçlarından birisidir.

İzmir Kalkınma Ajansı (İZKA) desteğiyle İzmir Ekonomi Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi, Moda ve Tekstil Tasarımı Bölümü’nün yürütmüş olduğu “Dijital Tekstil Desen Arşivi ve Sanal Müze Oluşturulması” başlıklı projenin (TR31/14/BTD01/0044 no’lu proje) amacı, Sümerbank’ın geride bıraktığı desen arşivinin bir bölümünü dijital platforma aktarmak ile başlamıştır. Bu arşiv 2006 yılında Sümerbank’a ait İzmir Halkapınar Basma Müessesesi’nden eğitim malzemesi olarak kullanılmak üzere kurtarılan 1956-2001 yılları arasında üretilmiş Sümerbank desenlerinden oluşmaktadır.

Proje, 26. Aralık.2014 ve 26. Aralık.2015 tarihleri arasında tamamlanmıştır. Aslında ilk aşaması 2006 yılında Sümerbank’ın İzmir Halkapınar Basma Sanayii Tesisleri’nde bulunan ve tahrip olmaya yüz tutmuş pek çok tekstil malzemesinin İzmir İl Özel İdare Müdürlüğü’nün izniyle eğitim malzemesi olarak kullanılmak üzere İzmir Ekonomi Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi Moda ve Tekstil Tasarımı Bölümü’ne bağışlanması ile düzenlenen arşivleme çalışmaları başlamıştır. Bu fikirden yola çıkılarak hazırlanan projeİzmir Kalkınma Ajansı tarafından desteklenmiştir. Proje ekibinde Prof. Dr. Ender Yazgan Bulgun, Prof. Elvan Özkavruk Adanır ve Yard. Doç. F.Dilek Himam Er yürütücüler; Yıldız Berrak Sarı proje koordinatörü, Kardelen Aysel, Nur Ceren Kurt ve Zülal Sevinçler ise proje danışmanları ve teknik ekip olarak yer almıştır.

1930’lu yılların Türkiye’sinin kalkınma döneminde kurulan Sümerbank, yaklaşık yetmiş yıllık bir süreçte Türk ekonomi ve tekstil tarihinin sembol isimlerinden biri olmuştur. Ekonomik kısıtlamalara bağlı olarak sınırlı malzeme ve renk kullanımlarına rağmen Sümerbank kumaşları, özgün desenleri ile ulusal bir tekstil desen üslubu ve moda yaratmıştır. Bir maddi kültür olarak da Sümerbank Türkiye’nin modernizasyon projesinde ekonomik, kültürel ve sosyal açıdan önemli bir rol oynamış, 1930’lı yıllardan itibaren kentsel ve kırsal alanlarda sınıfsal bir bütünleşme sağlamış, yerel üretimi teşvik etmiş, özellikle çoğu kırsal alanda bulunan halkı da eğitmek amacıyla ülke ekonomisini geliştirmeyi amaçlamış bir kurum olmuştur.  1987 yılından itibaren başlayan özelleştirme sürecinden sonra ülkenin neredeyse her ilinde açılmış olan fabrikalar kapatılmış, işletmelerin bir kısmı özel sektöre, belediyelere ve üniversitelere devredilmiş, fabrikalarda yer alan kumaş ve makine parkı gibi malzemelerin birçoğu da tahrip olmuştur. Kurum içinde son otuz yılda hızlı bir şekilde başlayan ekonomik ve sosyal değişim sonucunda, 2000’li yıllardan itibaren tamamen üretimlerini durduran Sümerbank, geriye önemli bir tekstil arşivi bırakmıştır.

İzmir Kalkınma Ajansı ve  İzmir Ekonomi Üniversitesi Güzel Sanatlar ve Tasarım Fakültesi Moda ve Tekstil Tasarımı Bölümü desteğiyle yürütülen Dijital Tekstil Desen Arşivi ve Sanal Müze Oluşturulması başlıklı projenin (TR31/14/BTD01/0044 no’lu proje) amacı da, desenleri Sümerbank tarafından üretilen 1956-2001 yılları arasındaki baskılı kumaşları koruma altına alarak paylaşmak ve bu kültürel mirasın gelecek kuşaklara aktarılması için hazırlanmıştır. Bu kapsamda yaklaşık 7000 desen seçilmiş ve sanal bir müze ve dijital arşiv oluşturulmuştur.  Bu yapı mevcut desen arşivine sektörden yapılacak olan katkı ve alan çalışmalarıyla elde edilecek verilerle genişleyecektir.

Projenin temel hedefi, Sümerbank’a ait İzmir Halkapınar Basma Müessesesi’nde bulunan desen albümlerinin arşivlenmesi, korunması ve incelenmesidir. Var olan kumaş arşivi sınıflandırılarak 7000 desen dijitalize edilmiştir. Bununla birlikte desenler malzeme, dokuma örgüleri, kompozisyon, renk varyasyonu, kullanım amacı ve üretim yıllarına göre  sınıflandırılmıştır. Bu süre içinde literatür taraması, sözlü tarih görüşmeleri ve alana yönelik araştırmalar da titiz bir biçimde yürütülmüştür.

Posted by: bluesyemre | May 16, 2019

Andrea Kowch (Symbolist painter) @andreakowch


Andrea Kowch has been described as “a powerful voice emerging, demonstrating a highly sensitive consciousness that informs a culturally-laced symbolism.” Born in Detroit, Michigan in 1986, she attended the College for Creative Studies through a Walter B. Ford II Scholarship, and graduated Summa Cum Laude with a BFA in 2009, double majoring in Illustration and Art Education. Her paintings and works on paper are rich in mood, allegory, and precision of medium, reflecting a wealth of influences from Northern Renaissance and American art to the rural landscapes and vernacular architecture of her native Michigan.

The stories and inspiration behind her paintings “stem from life’s emotions and experiences, resulting in narrative, allegorical imagery that illustrates the parallels between human experience and the mysteries of the natural world. The lonely, desolate American landscape encompassing the paintings’ subjects serves as an exploration of nature’s sacredness and a reflection of the human soul, symbolizing all things powerful, fragile, and eternal. Real yet dreamlike scenarios transform personal ideas into universal metaphors for the human condition, all retaining a sense of vagueness to encourage dialogue between art and viewer.”

The recipient of many honors early on in her young career, commencing in 2003, at age 17, with seven regional Gold Key awards and two national Gold Medal awards from the prestigious Scholastic Art and Writing Awards, her acceptance into these juried national exhibitions earned her representation at the Corcoran Gallery of Art, Washington, D.C. in 2003 and at the Diane von Furstenberg Gallery in New York in 2004. By 2005, she was granted a National ARTS in the Visual Arts Award from the National Foundation for Advancement in the Arts (now the National Young Arts Foundation), an honor that ranks recipients in the top 2% of American talent. The winning entries were exhibited at the Margulies Collection at the Warehouse, Miami. In 2008, Kowch received the Best of Show Purchase Award from the Northbrook Library’s annual juried international exhibition, and in the same year received an Illustration Faculty Award from the College for Creative Studies.

Kowch has since gone on to receive numerous other Best of Show awards in various juried exhibitions of regional, national, and international caliber, and has exhibited in several solo and group exhibitions at museums and galleries, including New York’s RJD Gallery, the Muskegon Museum of Art, where her solo retrospective Dream Fields debuted in 2013, the Museum of Contemporary Art (MOCA) Jacksonville, the Grand Rapids Art Museum, ArtPrize, Art Basel Miami, the Los Angeles Art Show, ArtHamptons, and SCOPE NYC, who, in 2012, named Kowch one of the top 100 emerging artists in the world. She has also been featured in and graced the front covers of several national and international publications, including SpectrumDirect ArtAmerican Art CollectorCMYKRevueWomankind (AU), .Cent Magazine (UK), Hestitika (ITA), Hi-Fructose, and Southwest Art’s annual competition whose winners take center stage in their Emerging Artist Spotlight issue. Kowch’s work can be found in public collections, among them the Muskegon Museum of Art, Grand Rapids Art Museum, Northbrook Library, Northbrook, Illinois, and the Brooklyn Art Library, Brooklyn, New York; and in many significant private collections worldwide.

Kowch resides and works in Michigan where she paints full-time, and serves as an adjunct professor at the College for Creative Studies. She is represented exclusively by RJD Gallery in New York.


Posted by: bluesyemre | May 16, 2019

Server Demirtaş (#Sculptures in movement)


Posted by: bluesyemre | May 16, 2019

#Adobe Software Alternatives by Michael Sexton


Adobe Software Alternatives

Quick Links for all the software mentioned here:

Freeware and/or Open Source:
GIMP | Krita | Photopea | MyPaint | Paint.NET | Sketchbook | Fire Alpaca | Medibang Paint
Inkscape | Vectr
Viva Designer | Scribus
Blender | Open Toonz | Pencil 2D
RawTherapee | Darktable
Blue Griffon | Brackets | Aptana Studio
Davinci Resolve 15 | Hitfilm Express | KdenLive | Shotcut
Tracktion 7 | Audacity

Affordable and/or No Subscription Necessary:
Affinity Photo | Clip Studio | Corel Photo-Paint | Paint Tool Sai | Paintstorm Studio
Affinity Designer | Corel DrawBoxySVG | Mischief
Affinity Publisher | PDFelement
Cacani | TVPaint Animation | Moho Pro | ToonBoom Harmony
Capture One
Davinci Resolve 16 | Hitfilm Pro | Vegas Pro

Did a post on Adobe alternatives that blew up on Twitter somehow xD. Decided to do an updated version since I found a bunch of really nice alternatives and remembered some I left out.

I completely forgot about Blender’s new 2D/3D hybrid animation features, which have been used to produce amazing animations like the animated short “Hero”, using just the tools available there. I’ve used Blender’s grease pencil myself for animation and it’s only getting better with time (the upcoming version 2.8 is looking fantastic). A very unique and promising alternative to Flash/Animate.

Brackets is a great alternative to Dreamweaver, especially for web developers. It’s got a real-time preview that destroys Dreamweaver’s because it uses your installation  of Chrome or a separate browser and not something reliant on the software to be up-to-date with web standards. I’ll be using Brackets for any redesign I need to do on the site.

Kdenlive and Shotcut are fantastic alternatives to Photoshop’s video editors. I left these out of the previous graphic because I didn’t think I had enough room, haha. But seriously, if you need to cut some video together, whether it’s OBS stream recordings or a time-lapse drawing, I highly recommend these two open-source programs. I personally use Shotcut for all my video editing!


The Librarian, painting by Giuseppe Arcimboldo

1. A huge number of people under 20 can’t read face clocks, having grown up with only digital one.

2. Many people don’t know how to spell “library.” It’s in our email address. This causes problems

3. A disturbing number of young people don’t actually know how book-lending at the library works. They assume it costs money! Teach your children about libraries!

4. Crime and thriller are basically the same thing in many cases. In fact, we have doubles of books because of that.

5. People use hidden codes like asterisks to mark which books they’ve read. Please don’t do that! The system will let you know if you’ve already borrowed something! Just ask.

6. If an automatic door breaks, people will walk into it instead of reading the sign at face height.

7. Libraries are a godsend for blind and deaf people and not just for audiobooks. They can come for help with filling out forms and getting directions.

8. Some elderly people go through books at a TERRIFYING rate. They are to be feared and respected.

9. Some people are so afraid of computers that they will come to you with a query and then become upset if you offer to look it up on the computer instead of in a book.

10. Some people have never, ever used a telephone. Especially older women. Their husband did it for them.

11. The DWP fuck over everyone but especially the most vulnerable and I haven’t met a single library worker who hasn’t helped struggling library users with food or phone calls or even a cup of tea when it’s cold and they can’t afford heating.

12. The Jobcentre regularly lie to people and like to tell them they can get services at libraries that simply do not exist. We will try our very best to help you get what you should have been given at the Jobcentre.

13. Most banks assume that everyone has an email now. In fact, some people have trouble proving that they exist at all without one.

14. Library folk are good folk. We do this because we are passionate about it. We have to be.

15. Libraries aren’t quiet anymore. They’re community hubs now. They may have quiet study areas but most libraries are bustling with activity. Between kids’ classes, singing and memory groups for those with Dementia, craft sessions and noisy office equipment, don’t expect silence

16. Libraries remain the only place where you can spend hours in a publicly-accessible building without being expected to spend money. Parents come to entertain their children for free on wet days. People in poverty come for a warm place to sit. Libraries are a haven.

17. Some people will go their entire lives only reading 2-3 authors but still have enough material to read a book every month. (See also: Danielle Steel, James Patterson, Clive Cussler, etc.)

18. A library lives and dies by the staff on the counter. You can have the best funding, all of the books and tech in the world but you’ll only get footfall if your staff go above and beyond. Sometimes even that doesn’t work, though and it’s frustrating.

19. We’re funded based on footfall. I’ve seen staff cry because we lost a youth group to a private hall that has fancier facilities like a cafe. We need all the footfall we can get.

20. Staff are hitting their heads against walls volunteering to create events, classes and groups only to have them shot down because local councils don’t understand social media or want to charge for it. I can’t overemphasise just how much unpaid work staff do.

21. Most of the facilities are only working because staff pay out of pocket to get things working. My manager bought a new laminator when we couldn’t afford one. She buys in colouring materials for kids. We sometimes bring in our own stationery. We even but lightbulbs in.

22. Authors don’t like to visit little libraries because they don’t get paid. Bookstores often pay.

23. The “sexy librarian” trope has actually done a LOT of harm and has caused countless incidences of sexual assault by men who can’t tell the difference between porn and reality.

24. Old ladies keep libraries in business. Old ladies who read are the best. Old ladies who can tell you exactly which page features the most gruesome murder scene are the very best.

25. Library staff ALWAYS want to know what you thought of the book. We want to know what to recommend to others!

26. I’m not supposed to have favourite library users but I do: I love library couples, who bicker over each others’ reading tastes or share books and then argue about the themes.

27. The single best moment, for me, is when a library user graduates from Young Adult to Adult and suddenly the entire library is open to them! They can read anything! No more tiny teen section! All of the classics! Sci fi! Horror!

28. And finally, because I’ve spammed you long enough and because my typos are mounting up, remember this: Library staff can overcome many challenges but Book Gods help you if you deprive us of caffeine. You don’t want to see what happens then.


Responding to a host of economic and cultural transformations in academic and research libraries today, Springer Nature undertook a study in 2018 into the current role of the library and librarians within their institutions. The aim was to better understand the needs and obstacles that librarians face, and how scholarly publishers and libraries can work together. We asked librarians in a variety of positions around the world about how their library operates today and the future of scholarly communications, and received 770 responses from nearly 60 countries, which we followed up with 20 one-to-one interviews. Based upon this original survey and interview data, the findings in this study reflect diverse perspectives from academic and research libraries world wide.

Today’s Library & the future of Scholarly Communications


Illustration: Owen Gatley/The Guardian

Michael Morpurgo, Quentin Blake, Julia Donaldson and more reveal the books that inspired them and how to keep children interested in a world of digital distractions…

It began in front of a log fire after a convivial dinner with friends and neighbours, Ted and Carol Hughes. I was grumbling about the lack of attention and credit generally given in the adult world to children’s books. Hughes, poet laureate at the time, said something like: “A fine children’s book is as important and worthwhile as any kind of literature, and maybe more so. Read and love a great story or poem when you’re young and the chances are that you’ll become a reader for life, and maybe a writer or an artist. Something should be done.”

“You’re the poet laureate,” I ventured, “maybe we should have a children’s laureate?”

It was a throwaway line. Then he said: “Why not? Let’s do it.” So the laureate story began, and took shape.

Quentin Blake was crowned our first children’s laureate on 10 May 1999. He set the standard, and in his two years brought the art of illustration of children’s books to the public eye in a way never done before. The first chapter was a stunning beginning and each of the nine since has taken the children’s laureate story in a different direction, always exciting, surprising, and enlightening. Each of the laureates has given fresh inspiration to so many thousands of readers, raising ever greater awareness of the importance of children’s literature in our culture and in our society. And like all the best stories, no one knows where the next chapter might lead us, and like the best books, we never want them to end. Michael Morpurgo

Quentin Blake (Children’s laureate from 1999 – 2001)

I remember the book that almost stopped me reading was Oliver Twist, which I was given to read when I was too young. Fortunately I came back to Dickens later, when I thought it was absolutely amazing. I have since read all the books, some of them twice. A simpler story is a book that I illustrated, by my friend John Yeoman, called FeatherbrainsIt tells the story of two chickens who escape from a battery farm and are introduced to the wide world through the wisdom of a friendly jackdaw.

Anne Fine (2001 – 2003)

Like almost everyone else my age, I was turned into a reader by Enid Blyton. I also adored Anthony Buckeridge’s books about Jennings and his prep school. But Richmal Crompton’s William was my favourite character. I had almost all of the 39 books, and he became my imaginary brother and the perfect companion: lippy, irrepressible, and inventive to an almost pathological degree.

Children have never been famed for taking sensible advice, but are superb at following a poor example. So if a parent spends most of their own time peering at screens, they can scarcely expect anything different from their offspring. Add to this the fact that all studies show that children who are read to every night do better in school – even in maths. Maybe you can’t dump your phone, but at least give them that one half-hour in the day totally uninterrupted. And start young.

The Frog and Toad books by Arnold Lobel have turned so many into passionate readers. Young children adore these wry, intelligent and gentle stories. Frog is patient and modest. Toad is not. But together they face the problems all children recognise: ice creams that melt too fast, lost buttons, failure of will power, and all the myriad misunderstandings, anxieties and triumphs of small busy lives. No adult I know ever tires of reading these books aloud. (I’ve seen grown men reduced to tears of laughter by some of Frog and Toad’s confusions.) Bedtime reading fosters security, intimacy and understanding. The library makes it cheap, and it’s already easy. What’s not to like?

Michael Morpurgo (2003 – 2005)

It’s not always possible for parents to make time for reading so it needs to start with school. I know it’s something I’ve talked about before but just half an hour at the end of the school day, every day, as story time, so that listening to stories becomes a habit, books become a habit and a moment of quiet to share a story that the teacher loves.

Reading is not a medicine. There isn’t one book that works for every child because every child is different. Treasure Island was the first real book that I read for myself – it was a huge inspiration. I identified with Jim Hawkins completely, and lived this book as I read it. Robert Louis Stevenson became a hero of mine, and Treasure Island was the beginning of a long voyage into stories.

For very young children I’d choose Judith Kerr’s The Tiger Who Came to Teaand for older readers, The Man Who Planted Trees by Jean Giono. It’s a book for children from 8 to 80. I love the humanity of this story and how one man’s efforts can change the future for so many. It’s a real message of hope.

Jacqueline Wilson (2005 – 2007)

When I was a little girl my mum was always telling me to get my head out of my book and do something useful. Teachers at school hoiked me out of cosy reading corners and told me to run about in the playground. Consequently reading became ever more desirable! It’s tempting therefore to suggest that we tell children nowadays to stop reading at once – but I’m not sure this would really work.

Reading aloud to small children is a way to get them to associate a book with fun and pleasure and attention. Most toddlers love to cuddle up on a lap and point at the pictures and join in with a well-loved text. When children can read for themselves, it’s still a delight to read an exciting long challenging book they wouldn’t want to tackle alone.

Where the Wild Things Are by Maurice Sendak is a starter book that will please every small child and have them joining in their own wild rumpus. Hopefully reading will continue to be a never-ending magical adventure.

Michael Rosen (2007 – 2009)

I fell in love with Emil and the Detectives by Erich Kästner. Emil’s mother sends him to Berlin with some money for his aunt and grandmother, but the money is stolen by a stranger on the train … for its inventiveness, wit and tension it became my favourite book as a child, and one that I went on to teach as an adult.

One key barrier is the overprescriptive and narrow testing regime in primary schools. It inhibits teachers from reading with children in a relaxed open-ended way. The test questions are too narrow, too yes-no. The way forward is for schools to try to spend as much time implementing a wide ranging, fully inclusive reading for pleasure programme. It must involve the whole school community including parents, grandparents and carers – a cultural in-school and out-of-school policy.

Browsing and choosing are vital and necessary starters – it teaches us about how reading can be part of our lives and how it can matter. As a starter, I would recommend The Gruffalo by Julia Donaldson. It’s about the triumph of wit and cunning over adversity and danger. It’s funny and it’s got real tension and it gets better and better on each rereading, and there is so much to look at with Axel Scheffler’s pictures, as well as the perfect rhythm and rhyme that Julia has written.

Anthony Browne (2009 – 2011)

When I was a child, comic books were a big influence and I remember one in particular – a comic strip in book form – called Fudge in Toffee Town. It was child‑friendly surrealism: Toffee Town was made out of sweets and the rivers were lemonade. I thought it was wonderful, particularly coming out of wartime rationing.

Talking and listening and laughing with children are some of the most important ways to spend time together, and a book can be as engaging as a toy or a screen if they are part of a shared experience. Most picture books can produce fascinating conversations between adult and child if approached in an interesting and interested way. Look together at the pictures and talk about the expressions on characters’ faces, their body language or position on the page in relation to others. It can be a bit like “people watching” in real life – what sort of a place do they live in? Are they happy or sad? Are there any clues in the picture? These are merely my suggestions as a writer, illustrator and parent but, of course, there are no rules.

Julia Donaldson (2011 – 2013)

I was given The Book of a Thousand Poems when I was five years old. It was a big, fat book and I loved reading, learning and reciting the poems together with my father. It also inspired me to begin making up some of my own.

Once children have learned to read, bedtime stories can sometimes become a thing of the past. I think this is a shame. With library closures and so little review space given to children’s books it can be hard for them to find books they might enjoy and to acquire the habit of reading for themselves. Reading aloud to children of any age can be hugely enjoyable for all concerned, so I think a serial story at bedtime is a good idea. (And if you leave it on a cliffhanger, maybe there will be a torch under the bedclothes.)

We used to record ourselves reading our children’s favourites, so they could listen to them in the car. If this seems a tall order, there are lots of great audio editions out there. My recommendation is Millions by Frank Cottrell-Boyce. It’s about two brothers who discover a bag full of money that they have to spend in just a couple of days.

Julia Donaldson (2011 – 2013)

I was given The Book of a Thousand Poems when I was five years old. It was a big, fat book and I loved reading, learning and reciting the poems together with my father. It also inspired me to begin making up some of my own.

Once children have learned to read, bedtime stories can sometimes become a thing of the past. I think this is a shame. With library closures and so little review space given to children’s books it can be hard for them to find books they might enjoy and to acquire the habit of reading for themselves. Reading aloud to children of any age can be hugely enjoyable for all concerned, so I think a serial story at bedtime is a good idea. (And if you leave it on a cliffhanger, maybe there will be a torch under the bedclothes.)

We used to record ourselves reading our children’s favourites, so they could listen to them in the car. If this seems a tall order, there are lots of great audio editions out there. My recommendation is Millions by Frank Cottrell-Boyce. It’s about two brothers who discover a bag full of money that they have to spend in just a couple of days.

Malorie Blackman (2013 – 2015)

From a very early age, I instinctively felt the value of stories. The Silver Chair by CS Lewis is about the power of believing in yourself no matter what, even when others are ridiculing you. This was a message I desperately needed to hear at the time – and it’s one that has stayed with me to this day.

If we want children to learn, to grow by understanding and having empathy for others, to thrive, then we must encourage them to read for pleasure. Let your children see you reading. Read to them. Let them read to you. Don’t criticise what they are reading or how long it may take them. As a child, if I read a wonderful paragraph or page in a book, I’d read it over and over again, savouring the words, the meaning. Part of the beauty of reading for pleasure is the way that the story moves at the pace of the reader. Don’t laugh at or ridicule children’s reading choices. Encourage them to read more of what they like as well as suggesting other books just waiting to be read and loved.

My recommendation to inspire older children to pick up a book would be for Vendetta by Alan Moore, illustrated by David Lloyd. Reading for pleasure opens so many doors in a world that seems to increasingly seek to close them. Books and love are made for sharing.

Chris Riddell (2015 – 2017)

The greatest barrier to children’s literacy is the lack of a librarian in a school. They are there to guide, to advise, to recommend – they are the gatekeepers to new worlds and initiate an introduction to new friends on the page. During my time as laureate I was determined to highlight their work and was lucky enough to witness first-hand the positive effect a librarian has on the pupils in the classroom. Their knowledge is absolutely fundamental to reading for pleasure.

With funding cuts and budget pressures, there is a risk of librarians becoming an endangered species and that would be a tragedy for our children. It is essential that the government recognise the skills that librarians give to the community they serve, not just in schools but in public libraries as well – giving everyone, from every background, access to books. My school librarian recommended JD Salinger’s The Catcher in the Rye to me when I was a teenager – without it I’m not sure I’d be where I am today.

Lauren Child (2017 – 2019)

The pressure on schools to achieve certain things means there isn’t much time for reading or even just to unwind. There isn’t time in the day to just sit and talk about books and stories. Children need to get into the habit of hearing stories and of having books around them. They need to be confident in spaces where books are a familiar thing and to have opportunities to engage with books and look at illustrations. That could be through libraries or having books in the classroom, or authors and illustrators coming into schools regularly.

When we were young, my parents always took us to galleries and I know that made us comfortable with the language of looking at pictures. People often talk about the one book they discovered as a child that made them a reader. For me, the biggest influence was Pippi Longstocking. She was a character that I loved and has stayed with me ever since.


Aars Library, a small local library in Vesthimmerland Municipality in Denmark, worked intensively with the Model Programme’s principles and tools in 2015 to develop an interior design concept on a small budget and based on flexibility and anti-institutionalisation. With just 644 m2 (6,932ft2) spread across one large room, a limited budget and a principle about keeping the library open throughout the entire process, there was plenty of work to be done when refurbishment commenced.

Facts to know:

Location: Aars, Denmark

Opened: December 2015 after refurbishment

Designer: Anne Halskov

M2: 644 (6,932ft2)

Annual visits: 91,699 (2015)

Opening hours: Open library 7-22 every day of the week. Staff present: Monday-Thursday 10-17 and Friday 13-17.



The project was funded by the Agency for Culture and Palaces’ development pool for public libraries and educational learning centres. Further information about the project is available in the project evaluation or on request at the library. The project leader was Mette Nissen and you can access a small presentation she made for the library project here. Since the transformation project has taken place the number of visitors at Aars Library has increased to date approx. +10% and they have seen new users visiting the library. They have also noticed that the library is being used in more ways than before. Both the staff and users are happy with the transformation.

Changes on a small budget

The ‘Hack your library’ project was launched based on a wish to create a library space for people and with space for the many new functions that the library has worked with for several years – inspired by the four-space model. The project also aimed to become an inspiration to other libraries by showing that the Model Programme’s ideas are not dependent on big grants or the construction of new libraries – they can be implemented on a limited budget in existing buildings.


In collaboration with a local production school, Vesthimmerland Municipality’s libraries have demonstrated how the Model Programme’s tools can be used to transform a small local library on a small budget. The result is a new expression, satisfied users and a flexible library with many new possibilities.

Local Anchoring 

The project focuses particularly on establishing local anchoring through collaboration with the local Kongshøjgaard Production School, with Vesthimmerland Municipality’s Centre for Competence and Clarification, and the inclusion of the library’s users.

Kongshøjgaard Production School helps students get closer to job opportunities and education, and the main idea with the collaboration was to create a teaching case for the metal and textile programmes, giving the students the chance to work with a type of task that they might encounter after graduation.

Similarly, collaboration was established with the Danish Centre for Competence and Clarification about the affiliation of unemployed young people. In addition to Kongshøjgaard Production School, designer Anne Halskov was involved in the project from the very beginning. Anne Halskov was in charge of the visual expression and design, while Kongshøjgaard Production School handled the practical execution and construction.

In addition to these collaborative efforts, the local anchoring of the project was created through a targeted dialogue with the users who were continually involved via interviews, generation of new ideas, inputs for improvements and voting.


At the beginning of the project period, a library construction site was set up, where news was continually published to create openness and involve the users in the entire refurbishment process.

The user’s needs

The first step in the transformation of the library space was to get a clear idea of the users’ needs as a basis for selecting improvement potentials. The user surveys showed a number of conflict points, which primarily came down to insufficient space for activities and the user groups’ inappropriate positioning in relation to each other.

The surveys also showed that the users’ movement patterns were concentrated in a triangular route, and that the library had several unutilised areas. It was evident that it was necessary to rethink the space in order to optimise the use of the relatively few square metres.

Taking the Model Programme’s zones as the starting point, the library was successfully divided according to functions, thus minimising the conflict points. At the same time, it was necessary to prioritise the use of the available space. As a consequence, all materials were arranged in a compact setup in order to release square metres, accommodating the wish for new activities and more seating and study places. The space is now designed to favour the users’ needs over the collection.


The users were asked to write down their thoughts about the library’s old interior design. Each user was asked to write a red note and stick it in the place in the library that he/she liked the least. Green notes were to be attached to the user’s favourite place. Finally, the notes were gathered and provided inspiration for the new design. Here is an example of a note about the user’s experience of the newspaper reading area. The user enjoys sitting by the day’s paper, but is often bothered by either loud children by the arcade machines or loud grownups skyping on the computers nearby. The newspaper reading area should therefore be placed somewhere a bit quieter.

A new library experience

The refurbishment has had an impact on the number of visitors from day one. Declining visitor numbers have been replaced by a five per cent increase. Furthermore, users spend more time at the library, and new user groups have been added.

The users’ evaluation of the new interior design singles out the aesthetic expression in particular. The users feel that the library seems larger, that it has become brighter, that the style is homely, and that it is now more clearly laid out. Three interior elements are given special mention:

1) the space for children and families with children has improved,

2) the young people are pleased to have their own space, and

3) the division of the library into zones has created a very clear layout.

The new interior design made room for a greater variety of activities and target groups, which is in line with the Model Programme and the four-space model. Above all, this is evident in the flexible utilisation of the Square, where the activity level has gone up and space has been created for event types that could not be held at the library before.


The gamer space is the young people’s special area where they sit side-by-side playing computer games and PlayStation in the shadow of the skyline on the end wall. The sense of community and fun has been given pride of place here.


The library’s own designer has drawn many illustrations, and the recognisable style is repeated everywhere, its personality and humour adding signature value to the expression. The illustrations were made on the workshop’s vinyl cutter. The illustrations are flexible and can be removed from the walls and replaced with other drawings or writing.


The new interior design has given the library more personality, identity and humour, and it has become a place where anything can happen. The project has created such positive results at Aars Library that the concept will now be rolled out to the municipality’s three other libraries. The original text of this case is written in Danish by Mette Nissen. The original text was by Agency for Culture and Palaces. If you would like further information on the specifics of the Aars library transformation you can email Mette Nissen here.

We will be back next week with another interesting article from the library world!

Want more insights from libraries across the world?

Posted by: bluesyemre | May 15, 2019

Evaluating #OpenAccess in a Consortial Context

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Editor’s Note: Today’s post is by Gwen Evans. Gwen has been the Executive Director of OhioLINK, the Ohio Library and Information Network, since October of 2012. She was previously Associate Professor and Coordinator of Library Information and Emerging Technology at Bowling Green State University. Evans has 18 years of experience working in libraries, including the John Crerar Science Library at the University of Chicago, Mt. Holyoke College Library, and Washtenaw Community College in Ann Arbor. She received her MS in Library and Information Science from the University of Illinois Urbana Champaign, and has a Masters in Cultural Anthropology from the University of Chicago, during which time she did two years of ethnographic research on the island of Flores, Indonesia.

As several recent announcements and initiatives have shown, Open Access (OA) negotiations between libraries and publishers are complex, in a constant state of flux, and provide little predictability — and OA models and negotiations within library consortia contain complexities all their own. One of the key questions library consortia have to ask themselves is, Are you a Publish or a Read library consortium, or somewhere in between? As Lisa Hinchliffe’s recent primer on transformative agreements notes, the implications of Publish and Read versus Read and Publish are different for different consortia.

The Read or Publish Composition Continuum

Library consortia can be characterized as “Read” consortia (not much publishing activity from institutionally affiliated researchers), “Publish” consortia (substantial publishing from institutional researchers) or somewhere on a continuum — and where a consortium or institution falls on the Read/Publish continuum will influence the kinds of deals that publishers are willing to offer them. As a practical matter, few institutions fall at the extremes of the spectrum. Institutions with high research and publishing activity also consume, or read, scholarly publications at the highest rate; and even at primarily “teaching” institutions, some members of the faculty are occasionally or actively publishing.

The main revenue to any publisher from a “Read” consortium (or institution) will always derive from subscriptions – any Article Processing Charges (APCs) will only provide minimal revenue in this scenario. Germany’s Projekt Deal and the California Digital Library (CDL) are “Publish” consortia – their institutional researchers publish at a rate far greater than some other nations or consortia. Such institutions have a different investment in what kind of transformative deal they seek, and are offered, than a mostly “Read” consortium. Many library consortia are a blend – there may be a few “Publish” institutions balanced by a long tail of mostly “Read” institutions – and that composition within the consortium may be very different per publisher.

In addition, staff and workflows for identifying and paying for APCs will influence the sustainability of any transformative model involving publishing at the consortial level. Adding or customizing an OA workflow based on APCs for a mostly “Read” consortium may not be cost effective for any particular publisher. OA workflows for a “Publish” consortium might require a substantial investment in staff at the consortial level and the development of workflow tools and infrastructure across multiple institutions, or a coordinated effort by volunteers from member institutions.

What Open Access Means for Library Consortia

Different models are being tested and proposed in Europe, in the United States and in other parts of the world. Consortial deals, in particular, vary widely depending on the institutional composition of the consortium, the heterogeneity or homogeneity of research activity, direct access to grants or other funds to pay for making an article OA, and the aggregate publishing activity with any particular publisher. These factors can be relevant at the individual institutional level as well, but get multiplied when consortia are involved. Just as there are different implications of various OA models for society publishers, disciplinary authors, and global regions, the same holds true for library consortia.

As library consortia in different contexts evaluate their own content deals and subscriptions in the face of OA opportunity, knowing where your organization fits in will be a crucial factor in negotiations.

Sui Generis Scenario

Library consortia that fall somewhere in between “Read” and “Publish” may be faced with differential investment and commitment from “Publish” institutions versus “Read” institutions as well as having to create different models and workflows for different publishers.

From the point of view of a library consortium, when assessing the agreements finalized by other consortia, and working through what works for yours, it is important to anticipate sameness as a rarity. It’s highly unlikely that OA deals struck with one kind of consortium will be available or workable for another type. (There is some evidence that this is true on the institutional level, too.) Efforts to develop OA models that work for library consortia will take time, as many of our sister consortia have already recognized. While patience, research, and the sharing of information will all be crucial at a consortial level, the ability to identify your position on the Read or Publish Continuum will hold significant weight during negotiations with publishers.

The Example of OhioLINK

OhioLINK has 188 member libraries from 89 higher education institutions plus the State Library of Ohio: 16 public universities, 51 independent university and college libraries, 23 two-year college libraries, 16 regional campus libraries, 8 law school libraries, and 5 medical school libraries. Membership includes three R1 institutions, five ARL libraries, and the Cleveland Clinic. Given the makeup of the institutional membership, sometimes OhioLINK can serve as a microcosm of the U.S. higher educational library market as a whole. (For an OhioLINK-specific analysis of institutional type and library alignment within the context of the University Futures, Library Futures OCLC Research/Ithaka S+R research report, see Constance Malpas’ presentation “University Futures, Library Futures: institutional and library directions in OhioLINK.”)

These are OhioLINK publishing and usage figures for one major STEM publisher in 2018. OhioLINK institutions published approximately 1,000 articles in the 900+ titles for which OhioLINK had a subscription. “Publish” activity from OhioLINK researchers accounted for about 0.4% of the total articles for which members had subscription access. “Read” activity was 1,900,000+ full text downloads. One institution accounted for 34% of all published articles in these titles; another group of three institutions accounted for a further 36% for a total of 70% output from the top four publishing institutions; 22 institutions made up the rest of the publishing activity out of a consortium of 90 institutions. The top four publishing institutions published between 10% and 12% of their articles in any kind of OA form (not by consortial agreement or subsidy, but acting individually either at the institutional or author level.) In total, OhioLINK-affiliated authors paid APCs for approximately 100 OA articles: 80% fully OA journals, 20% OA in hybrid journals.


Authoring Activity across 90 OhioLINK institutions in journals with a major STEM Publisher, 2018

With respect to this publisher, OhioLINK is clearly mostly a “Read” consortium in terms of scholarly production despite a few institutions with heavier publishing activity. With respect to the major STEM publishers, there is no reason to expect that this pattern would not repeat with the same OhioLINK institutions in more or less the same groups. For smaller, more specialty publishers, the institutions might move positions if there was a strong program or professional school like engineering at a particular campus, but we would expect more or less the same distribution given the nature of the OhioLINK membership.


We would expect any Read and Publish deals from publishers to conform to our particular publishing profile, rather than to a California Digital Library profile or a Projekt Deal profile. For some consortia, such as those composed of mostly private colleges, there is even less publishing activity. There is no standard deal that will fit all consortia; some consortia may not be offered certain OA deals at all, or the OA deals on offer will not be financially viable without significant outside sources of funding. Our collective question is: Given that much of the revenue coming from our members is, and always will be, from “Read” = subscription funding, what are the implications for the future financial burden of “Publish” consortia as more institutions become free riders? How will “Read” institutions/consortia participate in OA funding initiatives?


Hakan Yücel – Bisikletli Kütüphaneci Sabancı Vakfı’nın toplumsal gelişmeye katkıda bulunanların öykülerini anlattığı “Fark Yaratanlar” programının 10. sezonunun 15. Fark Yaratan’ı, bisikletinin arkasına monte ettiği römorkuyla Bitlis’in köy okullarını gezen ve hediye ettiği kitaplarla çocuklara yeni dünyalar aralayan Hakan Yücel (Bisikletli Kütüphaneci) oldu. 1950’li yıllarda Ürgüp yöresinde Halk Kütüphanesi hizmetinin köylere at, eşek ve katır sırtında götürülmesini sağlayan Mustafa Güzelgöz, namıdiğer “Eşekli Kütüphaneci”den esinlenerek yollara düşen Hakan Yücel; Bitlis’te kütüphaneci olarak görevine devam ediyor. Yücel, izin günlerinde ve tatillerinde, kurumundan bağımsız, gönüllü olarak bisikletinin arkasına monte ettiği römorkuyla Bitlis’in köy okullarına pedal çevirerek, gittiği köylerde çocuklara kitap hediye ediyor. Gönüllülerin hediye ettiği kitaplarla, mesleki becerilerini birleştiren Bisikletli Kütüphaneci; öğrencilerin yaş gruplarına ve ilgi alanlarına göre sınıflandırdığı kitapları öğrenci sayısını dikkate alarak okullara ulaştırıyor. Gittiği köylerde, çocukları yeni bir meslekle tanıştıran, kitap okuma sevgisi ve bilinci aşılayan Bisikletli Kütüphaneci bugüne kadar 46 ayrı köy okuluna 1.779 km yolu bisikletiyle pedal çevirerek gitti. Toplamda 8 bine yakın kitap hediye eden Yücel, yola çıkarken okulun son zili çalmadan köylere yetişebilmeyi hedefliyor. Hakan Yücel, çocukların hayallerine umut olmak amacıyla bisikletiyle yollara koyuldu. Yüzlerce km yolu bisikletiyle aştı. Onlarca farklı köyde yüzlerce çocuğa ulaştı. Köy okullarındaki çocuklara okuma alışkanlığı kazandırdı. Hem kütüphanecilik mesleğinin bilinirliğini ve saygınlığını arttırdı hem de çocukların hayatında kitaplar aracılığıyla açtığı yeni dünyalar sayesinde ömür boyu unutulmayacak kocaman bir fark yarattı. Tarih: 10.05.2019 (Sezon 10 – Bölüm 15)

Hakan Yücel – The Cycling Librarian The 15th Changemaker of the 10th season of the Sabancı Foundation Turkey’s Changemakers program is Hakan Yücel (The Cycling Librarian), who visits the village schools of Bitlis with a trailer he mounted on the back of his bike and opens the door to new worlds for children with the books he gifts. Mustafa Güzelgöz, also known as “The Librarian with a Donkey”, ensured that the Public Library service was brought to villages on the backs of horses, donkeys and mules in the Ürgüp region in the 1950s. Hakan Yücel took to the roads after getting inspired by Güzelgöz while continuing his duty as a librarian in Bitlis. On his off days and holidays, independent of his institution, Yücel voluntarily pedals to the village schools of Bitlis with a trailer he mounted on the back of his bike and gifts books to children in the villages he visits. The Cycling Librarian, combining the books gifted by volunteers and his professional skills, delivers the books to schools, classifying them according to the age groups and interests of the students, and taking into account the number of students. The Cycling Librarian Hakan Yücel, who in the villages he visits, introduces children to a new profession and instills in them a love and awareness of reading, has gone to 46 different village schools, traversing 1,779 km of road pedaling his bicycle. Yücel, who has gifted close to 8 thousand books in total, aims to reach the villages before the last bell of school. Hakan Yücel set off with his bike to be a hope for children’s dreams. He crossed hundreds of km of road with his bike. He reached hundreds of children in dozens of different villages. He caused children in village schools to gain the habit of reading. He did not only increase the recognition and dignity of the librarian profession, but also made a huge difference that will not be forgotten for a lifetime by opening new worlds in the children’s lives through books. Date: 10.05.2019 (Season 10 – Episode 15) Hakan Yücel




The European University Association (EUA) has released its Second Big Deals Survey Report. This updated mapping of major scholarly publishing contracts in Europe comes at a time when the sector is undergoing substantial changes.

The survey, conducted in 2017-2018, gathers data from 31 consortia covering an unprecedented 167 contracts with five major publishers: Elsevier, Springer Nature, Taylor & Francis, Wiley and American Chemical Society. Readers will discover that the total costs reported by the participating consortia exceed one billion euros for periodicals, databases, e-books and other resources – mainly to the benefit of large, commercial scholarly publishers.

“This amount is fully paid by public funds and the bulk of these costs fall on Europe’s universities,” explained Professor Jean-Pierre Finance, Chair of the EUA High Level Group on Big Deals. “There is a clear intention to improve cost control and to reduce costs, but this objective clashes with average annual cost increases.”

This report provides an overview of Big Deal negotiations across Europe, focusing on topics such as the organisation of negotiations, provisions on Open Access and transparency of contracts and costs. It also offers information on consortia and focuses specifically on periodical Big Deal contracts with the five large publishers selected for this survey. Finally, the report addresses the costs of Big Deal contracts, offering conclusions and policy recommendations on the negotiation of Big Deal contracts.

“Our goal is to create more transparency, raise awareness of the need for more sustainable market conditions and continue to support members in their negotiations with major scholarly publishers,” explained Lidia Borrell-Damian, EUA Director for Research and Innovation. “There is growing awareness about these issues, as well as the lack of competition and the strengthening of the Open Access movement.”

The EUA Big Deals Survey contributes to increasing the transparency of contract costs and conditions, to identifying the main challenges in the scholarly publication system and to supporting a variety of institutions in becoming more knowledgeable and actively engaged in negotiations with scientific publishers.

The report complements the 2017-2018 EUA Open Access Survey Results, assembled in parallel and focusing on the institutional dimension of Open Access to scholarly publications at universities.

2019 Big Deals Survey Report

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