{"id":28072,"date":"2018-01-14T18:07:52","date_gmt":"2018-01-14T15:07:52","guid":{"rendered":"http:\/\/politeknik.org.tr\/\/?p=28072"},"modified":"2019-01-28T20:40:13","modified_gmt":"2019-01-28T17:40:13","slug":"ulus-anafartalar-carsisi-bize-sesleniyor-bana-belleginize-kente-birlikte-sahip-cikalim-ayse-gulkizi-ozgur-ceren-can-ozlem-mengiliboru-tanju-gunduzalp-gazete-duvar","status":"publish","type":"post","link":"https:\/\/eonmeet.com\/pol\/ulus-anafartalar-carsisi-bize-sesleniyor-bana-belleginize-kente-birlikte-sahip-cikalim-ayse-gulkizi-ozgur-ceren-can-ozlem-mengiliboru-tanju-gunduzalp-gazete-duvar\/","title":{"rendered":"Ulus, Anafartalar \u00c7ar\u015f\u0131s\u0131 bize sesleniyor: ‘Bana, belle\u011finize ve kente birlikte sahip \u00e7\u0131kal\u0131m’ – Ay\u015fe G\u00fclk\u0131z\u0131\/\u00d6zg\u00fcr Ceren Can\/\u00d6zlem Mengilib\u00f6r\u00fc\/Tanju G\u00fcnd\u00fczalp – (Gazete Duvar)"},"content":{"rendered":"

Ankara B\u00fcy\u00fck\u015fehir Belediyesi \u201cTarihi Kent Merkezi\u201d projesi ad\u0131 alt\u0131nda, Ulus\u2019ta tarihi yeniden ortaya \u00e7\u0131karmay\u0131 hedefleyen bir proje haz\u0131rl\u0131\u011f\u0131nda. Proje kapsam\u0131nda SGK\u2019ya ait Ulus ve Anafartalar \u0130\u015f Merkezi ile Ulus Hali gibi tarihsel de\u011feri olan mimari yap\u0131lar\u0131 trampa usul\u00fc ile al\u0131p y\u0131karak, yerlerine tarihi dokuya uygun olaca\u011f\u0131n\u0131 iddia etti\u011fi bir meydan planlamakta.\"\"<\/a>\u00c7ar\u015f\u0131 ilk y\u00fcr\u00fcyen merdiveni ve al\u0131\u015fveri\u015f yap\u0131lan koridorlarda sanat eserleri bar\u0131nd\u0131ran bir tasar\u0131m olmas\u0131 itibariyle, bir\u00e7ok ilke sahip, bir modernizm denemesi.<\/em><\/p>\n

Toplumsal olarak birlikte ya\u015fad\u0131\u011f\u0131m\u0131z, payla\u015ft\u0131\u011f\u0131m\u0131z mekanlar hayat\u0131m\u0131z\u0131 ne kadar doldursa da \u00fczerinde \u00e7ok da fazla d\u00fc\u015f\u00fcnmeyiz, g\u00fcndelik hayat\u0131m\u0131z\u0131n ko\u015fturmacas\u0131nda. Evden i\u015fe giderken ge\u00e7i\u015f yolumuzdur, otob\u00fcs dura\u011f\u0131m\u0131zd\u0131r, bazen biraz kuruyemi\u015f almak i\u00e7in, gazetelere g\u00f6z atmak i\u00e7in k\u0131saca duraklad\u0131\u011f\u0131m\u0131z, s\u0131kl\u0131kla da i\u015fimizi halledip ge\u00e7ip gitti\u011fimiz. Bazen art\u0131k ge\u00e7meyiz bile yan\u0131ndan\/i\u00e7inden, h\u00e2l\u00e2 ayn\u0131 \u015fehirde bile olsak, \u00e7ocukluk an\u0131lar\u0131m\u0131zda bir nefestir art\u0131k sadece, elimizi aya\u011f\u0131m\u0131z\u0131 \u00e7ekmi\u015fizdir \u00e7oktan.\"\"<\/a>\u00c7iziler: Onur Kutluo\u011flu & Umut \u015eumnu<\/em><\/p>\n

\u201cBelki de as\u0131l istenmeyen bu insanlar, sadece an\u0131lar veya mekanlar de\u011fil. Onlar\u0131 istenmeyen olmaya iten, istenmeyen d\u00fcnya d\u00fczeni de olabilir, kim bilir\u2026\u201d (Mahluk, Deniz Atl\u0131)<\/p><\/blockquote>\n

Oysa b\u00fct\u00fcn bu ge\u00e7ip gitme ve gitmemeler, bizim kendimizle, ge\u00e7mi\u015fimizle, birbirimizle kurdu\u011fumuz ba\u011fd\u0131r, hissetmesek de. Ya\u015fam\u0131 deneyimledi\u011fimiz ger\u00e7ek anlar, toplumsal olmaya dair ad\u0131mlar\u0131m\u0131zd\u0131r. Mekan, bizi topluma ba\u011flayan ve burada bizi \u00fcretendir. \u201cGe\u00e7mi\u015fin masal\u0131n\u0131, gelece\u011fin hayalini\u201d buradan yazar\u0131z. \u00c7ocuklu\u011fumuzun mutlulu\u011funu hep sokakta arar\u0131z, t\u0131pk\u0131 \u00f6n\u00fcm\u00fczdeki bahar\u0131n ilk \u0131\u015f\u0131klar\u0131n\u0131 da sokakta arayaca\u011f\u0131m\u0131z gibi.<\/p>\n

\"\"<\/a>Anafartalar \u00c7ar\u015f\u0131s\u0131\u2019n\u0131n yang\u0131n merdivenleri<\/em><\/p>\n

\u201c\u0130nsan\u0131n insana ve inkar etti\u011fi kendi yitik do\u011fas\u0131na kar\u015f\u0131 s\u00fcrd\u00fcrd\u00fc\u011f\u00fc k\u0131y\u0131m, \u00f6tekinin bast\u0131r\u0131lmas\u0131n\u0131n inceltilmi\u015f bir ac\u0131 \u00e7ektirme ayinine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc g\u00fcndelik hayat\u0131n s\u0131radan k\u0131y\u0131m\u0131\u2026\u201d (\u00c7\u00f6lde Vals, Besen \u0130dil B\u00f6rt\u00fccene)<\/p><\/blockquote>\n

Ulus Meydan\u0131 da, t\u00fcm kocaman binalar\u0131 ve kalabal\u0131\u011f\u0131yla, hepimizin \u00e7ocukluk sevgisi ve ilk gen\u00e7lik isyan\u0131d\u0131r asl\u0131nda. Eskinin haval\u0131s\u0131, \u015fimdinin demodesidir. Rengarenk akide \u015fekeri i\u00e7in yalvar\u0131\u015f\u0131m\u0131zd\u0131r. \u00c7eyiz d\u00fckkan\u0131ndan \u00e7ekirdek aileye isyan edip ka\u00e7\u0131\u015f\u0131m\u0131zd\u0131r. Hi\u00e7 oturtmayan, hep haz\u0131rolda tutan kamusall\u0131\u011f\u0131m\u0131zd\u0131r, ama gitmesek de g\u00f6rmesek de bizim k\u00f6y\u00fcm\u00fczd\u00fcr. (Ay\u015fe G\u00fclk\u0131z\u0131)<\/strong>\"\"<\/a>Anafartalar \u00c7ar\u015f\u0131s\u0131 Ankara\u2019n\u0131n ilk al\u0131\u015fveri\u015f yap\u0131s\u0131<\/em><\/p>\n

Yer: Ankara, B\u00f6lge: Ulus, Cadde: Hisar\u00f6n\u00fc, Yap\u0131: Anafartalar \u00c7ar\u015f\u0131s\u0131, 1967\u2019de a\u00e7\u0131lan bir yar\u0131\u015fma \u00fczerine, Ferzan Baydar, Affan K\u0131r\u0131ml\u0131, Tayfur \u015eahbaz\u2019\u0131n kazand\u0131\u011f\u0131 proje ile elde edilen yap\u0131 b\u00fct\u00fcn\u00fc, Ankara\u2019n\u0131n ilk geli\u015fim b\u00f6lgesinde ve ilk al\u0131\u015fveri\u015f yap\u0131s\u0131. Kurulan yeni y\u00f6netim bi\u00e7iminin, yeni yap\u0131 elde edi\u015flerinde, yeni bir a\u015fama; K\u00fcbik tarz\u0131, cephe niteli\u011fi, ilk y\u00fcr\u00fcyen merdiveni, i\u00e7inde al\u0131\u015fveri\u015f yap\u0131lan koridorlar ve o koridorlarda sanat eserleri bar\u0131nd\u0131ran bir tasar\u0131m olmas\u0131 itibariyle, bir\u00e7ok ilke sahip, bir modernizm denemesi. Ama ne zaman, 1970\u2019lerde\u2026<\/p>\n

\u201cTopluma, devlete, ideolojilere, sisteme hatta bize g\u00f6re kimdir makb\u00fbl \u015fah\u0131s?\u201d (Makb\u00fbl m\u00fcs\u00fcn?, Fahri Aks\u0131rt)<\/p><\/blockquote>\n

Ve o g\u00fcnden bu g\u00fcne, eve gidi\u015f geli\u015f ve ya\u015fama merkezi Ulus olanlar\u0131n bir\u00e7ok ihtiyac\u0131n\u0131 kar\u015f\u0131lam\u0131\u015f, bir\u00e7ok ya\u015fanm\u0131\u015fl\u0131\u011f\u0131n\u0131 duvarlar\u0131na i\u015flemi\u015f yap\u0131s\u0131: Anafartalar \u00c7ar\u015f\u0131s\u0131. Tam 50 y\u0131ll\u0131k bir bellek, ya\u015fanm\u0131\u015fl\u0131k, k\u00fclt\u00fcr, anlam.\"\"<\/a>\u00c7ar\u015f\u0131 50 y\u0131ll\u0131k bir belle\u011fe sahip<\/em><\/p>\n

Kent deyince; i\u015fte bu 50 y\u0131l\u0131n biriktirmelerinin ve g\u00f6rmelerinin toplam\u0131n\u0131n bizim akl\u0131m\u0131zla etkile\u015fimi de\u011fil midir; olan, ya\u015fanan, \u00f6\u011frenme\/k\u00fclt\u00fcrel bellek yolculu\u011fumuzun k\u00f6\u015fe ta\u015f\u0131? Fakat; b\u00fcy\u00fcme, mutenala\u015fma ve \u2018yenicilik\u2019teki doz a\u015f\u0131m\u0131 hastal\u0131\u011f\u0131m\u0131z, neo-liberal diye adland\u0131r\u0131lan g\u00fcn\u00fcm\u00fcz birey\/sermaye politik akl\u0131, i\u015fte 2018\u2019de, bize \u2018y\u0131k-yenile-d\u00f6n\u00fc\u015ft\u00fcr-unut ve hi\u00e7 biriktirme\u2019yi getiriyor. N\u00fcfus ve g\u00f6\u00e7 art\u0131nca, \u015fehir de b\u00fcy\u00fcyor, karma\u015f\u0131kla\u015f\u0131yor ve \u00e7irkinle\u015fiyor, ya\u015fad\u0131\u011f\u0131m\u0131z yer(ler)in t\u00fcm bellek olanaklar\u0131 da sisteme kurban ediliyor. Bu de\u011fi\u015fimde nefes alabildi\u011fimiz alanlar da; kendi tarihimizde ya\u015fad\u0131\u011f\u0131m\u0131z yerler, i\u00e7inden ge\u00e7ti\u011fimiz alanlar, kentin tarihi, belle\u011fi, o sokaklar, o yap\u0131lar, o parklar oluyor. Ve bu bizimle birlikte, kentin b\u00fcy\u00fcmesi ve ya\u015f almas\u0131n\u0131n t\u00fcm belle\u011fi oluyor. Kitaplara, filmlere, gelece\u011fe de\u011fen hikayeleri \u00fcretiyor. (Tanju G\u00fcnd\u00fczalp)<\/strong><\/p>\n

\u201cHangimiz \u201c\u00d6teki\u201d? Hangimiz \u201c\u0130stenmeyen\u201d? \u00c7ok \u00e7ok uzak bir \u00fclkede, bir bilinmeyende mi yoksa yan\u0131 ba\u015f\u0131m\u0131zda, i\u00e7imizde mi? Kim belirliyor \u201c\u00d6teki\u201dni? Ben mi sen mi hepimiz mi?\u201d (\u00d6teki (kim)..!, Ay\u015fe G\u00fclk\u0131z\u0131, Tanju G\u00fcnd\u00fczalp)<\/p><\/blockquote>\n

\"\"<\/a>\u00c7ar\u015f\u0131da kamusal seramik sanat eserleri yer al\u0131yor.<\/em><\/p>\n

Ankara\u2019n\u0131n ilk (tarihi) merkezi Ulus\u2019ta bulunan, k\u00fclt\u00fcrel bellek ve kentlilik bilincine dair yans\u0131malar\u0131 olan \u00f6zg\u00fcn bir ya\u015fam alan\u0131: Anafartalar \u00c7ar\u015f\u0131s\u0131. \u00c7ar\u015f\u0131 i\u00e7indeki kamusal seramik sanat eserleri ise birer kent esteti\u011fi unsuru. Toplumsal ve kolektif bir \u00fcretim olan kent belle\u011fine ve kentin k\u00fclt\u00fcrel miras\u0131na katk\u0131da bulunmakta.<\/p>\n

\u201d \u2018y\u0131k\u0131m esteti\u011fi \/ an aesthetics of demolition\u2019\u0131 anlamaya \u00e7al\u0131\u015f\u0131yorum. Y\u0131k\u0131mdan de\u011filse de yaratt\u0131\u011f\u0131 h\u00fcz\u00fcnden estetik bir deneyim dev\u015firdi\u011fimizi seziyorum \u00e7\u00fcnk\u00fc. Bir t\u00fcr lanet gibi bizi esir eden tutkulu bir y\u0131k\u0131m tasavvuru var; \u00f6l\u00fcme, k\u0131yamete, yok olu\u015fa yazg\u0131l\u0131 varl\u0131\u011f\u0131m\u0131za bir \u2018kar\u015f\u0131umut\u2019.\u201d (Mel\u00fbn Fayans, \u00d6zg\u00fcr Ceren Can)<\/p><\/blockquote>\n

\"\"<\/a>\u00c7ar\u015f\u0131da 1963 tarihli seramik duvar panolar\u0131 ve duvar resimleri bulunuyor.<\/em><\/p>\n

Anafartalar \u00c7ar\u015f\u0131s\u0131 i\u00e7inde, 1963 tarihli seramik duvar panolar\u0131 ve duvar resimleri bulunmakta. Bu panolar\u0131 yapm\u0131\u015f olan sanat\u00e7\u0131lar, T\u00fcrkiye\u2019de \u00e7a\u011fda\u015f seramik sanat\u0131n\u0131n \u00f6nde gelen isimlerinden F\u00fcreya Koral, Seniye Fenmen, Cevdet Altu\u011f ve Attila Galatal\u0131\u2019d\u0131r. Akrilik duvar resimleri ise T\u00fcrkiye\u2019de \u00e7a\u011fda\u015f resim sanat\u0131n\u0131n \u00f6nde gelen sanat\u00e7\u0131lar\u0131ndan Nuri \u0130yem ve Arif Kaptan, sgraffitto duvar resmi ise Adnan Turani taraf\u0131ndan yap\u0131lm\u0131\u015ft\u0131r. Eserlerin \u00e7oklu\u011fu, yo\u011funlu\u011fu ve b\u00fcy\u00fckl\u00fckleri d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, rahatl\u0131kla \u2018Anafartalar \u00c7ar\u015f\u0131s\u0131 ya\u015fayan bir m\u00fczedir\u2019 diyebiliriz.\"\"<\/a>T\u00fcrkiye\u2019nin \u00f6nemli \u00e7a\u011fda\u015f sanat\u00e7\u0131lar\u0131n\u0131n eserleri burada yer al\u0131yor.<\/em><\/p>\n

\u201c\u2026y\u00fcz\u00fcn\u00fc Ankara\u2019n\u0131n kent haf\u0131zas\u0131na ve tarihi kentin kendisine \u00e7evirerek, dilini ve anlat\u0131s\u0131n\u0131 Anafartalar \u00c7ar\u015f\u0131s\u0131 esnaf\u0131ndan dev\u015firerek ve ancak \u00e7ar\u015f\u0131daki seramik panolar\u0131 var eden sanat\u00e7\u0131lar\u0131n ortak \u00fcretim haf\u0131zas\u0131 sayesinde ayakta durabilmek\u2026\u201d (Ser Ver S\u0131r Verme, Emek Can Ecevit, Galip K\u00fcrkc\u00fc)<\/p><\/blockquote>\n

Anafartalar \u00c7ar\u015f\u0131s\u0131 kamusal sanat eserleri T\u00fcrkiye\u2019de 1960\u2019l\u0131 y\u0131llar\u0131n \u00e7a\u011fda\u015f sanat\u0131n\u0131n geli\u015fim s\u00fcrecinin \u00f6nemli par\u00e7alar\u0131d\u0131r ve \u00e7a\u011fda\u015f sanat\u0131n geli\u015fim ara\u015ft\u0131rmalar\u0131nda temel kaynak niteli\u011fi ta\u015f\u0131maktad\u0131rlar. Cumhuriyet D\u00f6nemi\u2019yle ba\u015flayan modernle\u015fme paradigmalar\u0131, bunlar\u0131n \u00e7a\u011fda\u015f (kamusal) sanat ve modern mimarl\u0131k birlikteli\u011fi etkilerini yans\u0131tmas\u0131 bak\u0131m\u0131ndan da durum ayn\u0131d\u0131r. G\u00fcn\u00fcm\u00fczde kamusal sanat ad\u0131 alt\u0131nda kente yerle\u015ftirilen \u00e7irkin nesnelerle k\u0131yasland\u0131\u011f\u0131nda \u00e7ar\u015f\u0131daki eserler kendileriyle etkile\u015fime giren kentliyi, evrensel d\u00fczeyde insanl\u0131k de\u011ferleriyle ili\u015fkilendirme olana\u011f\u0131 ta\u015f\u0131makta ve bu ili\u015fkilenme kentin kullan\u0131m de\u011ferini de olduk\u00e7a zenginle\u015ftirmekte.\"\"<\/a>Anafartalar \u00c7ar\u015f\u0131s\u0131 ve Ulus \u0130\u015fhan\u0131 Y\u00f6netimi, esnaf ad\u0131na projeye kar\u015f\u0131 olduklar\u0131n\u0131 ifade etti<\/em><\/p>\n

\u201c\u2026k\u0131rm\u0131z\u0131 kadife bir kalptir bu, frapan ve \u00e7i\u00e7ek kokuludur, kalbinden \u00e7\u0131k\u0131p binaya tutunmak, onla bir b\u00fct\u00fcn olmak ister bu kalp, y\u0131k\u0131lmas\u0131na az kalm\u0131\u015ft\u0131r \u00e7\u00fcnk\u00fc binan\u0131n\u2026\u201d (Kadife Kalp, Co\u015fan Karadeniz)<\/p><\/blockquote>\n

Ankara B\u00fcy\u00fck\u015fehir Belediyesi \u201cTarihi Kent Merkezi\u201d projesi ad\u0131 alt\u0131nda, Ulus\u2019ta tarihi yeniden ortaya \u00e7\u0131karmay\u0131 hedefleyen bir proje haz\u0131rl\u0131\u011f\u0131nda. Proje kapsam\u0131nda SGK\u2019ya ait Ulus ve Anafartalar \u0130\u015f Merkezi ile Ulus Hali gibi tarihsel de\u011feri olan mimari yap\u0131lar\u0131 trampa usul\u00fc ile al\u0131p y\u0131karak, yerlerine tarihi dokuya uygun olaca\u011f\u0131n\u0131 iddia etti\u011fi bir meydan planlamakta. Fakat kamu otoritelerinin s\u00f6ylemlerinin aksine, projenin g\u00fcndemde oldu\u011fu d\u00f6rt y\u0131ld\u0131r Ulus esnaf\u0131 ve kent sivil inisiyatifleri bu projeye kar\u015f\u0131 \u00e7\u0131kmakta. Anafartalar \u00c7ar\u015f\u0131s\u0131 ve Ulus \u0130\u015fhan\u0131 Y\u00f6netimi, esnaf ad\u0131na pek \u00e7ok giri\u015fimde bulunarak projeye kar\u015f\u0131 olduklar\u0131n\u0131 \u00e7e\u015fitli platformlarda ifade etmi\u015flerdir. Bu s\u00fcre\u00e7te \u00e7ar\u015f\u0131da bulunan kamusal sanat eserlerinin tescilli olmad\u0131\u011f\u0131 anla\u015f\u0131lm\u0131\u015ft\u0131r. Esnaf 500\u2019e yak\u0131n dilek\u00e7e ile Ankara 1 Numaral\u0131 K\u00fclt\u00fcr Varl\u0131klar\u0131n\u0131 Koruma B\u00f6lge Kurulu M\u00fcd\u00fcrl\u00fc\u011f\u00fc\u2019ne \u00e7ar\u015f\u0131da bulunan kamusal sanat eserlerinin tescillenmesi ve korunmas\u0131 i\u00e7in ba\u015fvurmu\u015ftur. \u00dcniversiteler ve sivil toplum \u00f6rg\u00fctleri konu hakk\u0131nda bilgilendirilmi\u015ftir. AsiKe\u00e7i Ankara Sanat \u0130nisiyatifi \u00e7ar\u015f\u0131da \u201cPersonaNonGrata\u201d temal\u0131 bir dizi sanat etkinli\u011fini esnaf\u0131n katk\u0131lar\u0131yla ger\u00e7ekle\u015ftirmi\u015f; kentlilerin \u00e7ar\u015f\u0131ya dair fark\u0131ndal\u0131\u011f\u0131n\u0131n artmas\u0131na destek olmu\u015ftur.<\/p>\n

\u201d \u2018Ke\u015fke \u015fu olsa bu olsa\u2019 de\u011fil de \u2018Ke\u015fke bu olmasa, \u015fu olmasa\u2019 demekteydim epeydir. Dilediklerim \u00e7ekti, s\u0131cak suya giren y\u00fcn misali. Olan olmu\u015ftu, art\u0131k onlar\u0131n olmamas\u0131n\u0131 dilemekteydim.\u201d (Dilemediklerimiz A\u011fac\u0131, H\u00fclya Demirdirek)<\/p><\/blockquote>\n

Anafartalar \u00c7ar\u015f\u0131s\u0131 i\u00e7indeki sanat eserlerinin mek\u00e2nsal ba\u011flamlar\u0131ndan kopar\u0131lmaks\u0131z\u0131n \u201cyerinde\u201d ve \u201c\u00e7evresiyle birlikte\u201d korunmas\u0131 gerekmektedir. Esnaf\u0131n 500\u2019e yak\u0131n dilek\u00e7esine cevaben ve K\u00fclt\u00fcr Bakanl\u0131\u011f\u0131\u2019n\u0131n ilgili kurumlar\u0131n\u0131n lehte raporlar\u0131na ra\u011fmen, Ankara 2 Numaral\u0131 K\u00fclt\u00fcr Varl\u0131klar\u0131n\u0131 Koruma B\u00f6lge Kurulu M\u00fcd\u00fcrl\u00fc\u011f\u00fc\u2019nce tescillenmemi\u015ftir. F\u00fcreya Koral, Seniye Fenmen, Cevdet Altu\u011f, Attila Galatal\u0131, Nuri \u0130yem, Arif Kaptan ve Adnan Turani\u2019nin eserleri tehdit alt\u0131ndad\u0131r. Sanat\u00e7\u0131lar\u0131n varislerinin manevi haklar\u0131 ve t\u00fcm Ankaral\u0131lar\u0131n eserler \u00fczerindeki kentli haklar\u0131 hi\u00e7e say\u0131lmaktad\u0131r. (\u00d6zg\u00fcr Ceren Can)<\/strong><\/p>\n

\u201cSon y\u0131llarda mega bir laboratuvar\u0131n i\u00e7inde hapsolmu\u015f durumday\u0131z. (\u2026) Hislerimizi ve hayatlar\u0131m\u0131z\u0131 payla\u015ft\u0131\u011f\u0131m\u0131z mekanlar\u0131n yok olu\u015funun tela\u015f\u0131 i\u00e7inde s\u0131k\u0131\u015f\u0131p kald\u0131k.\u201d (S\u00fcblimelma, Umut Kambak)<\/p><\/blockquote>\n

\"\"<\/a>\u00c7ar\u015f\u0131 adeta ya\u015fayan bir m\u00fcze gibi.<\/em><\/p>\n

Yersizle\u015fiyoruz.<\/p>\n

Biz kentin misafirleri ve kullan\u0131c\u0131s\u0131 m\u0131y\u0131z, sorumluluklar\u0131na ortak sahibi miyiz..! San\u0131r\u0131m kendimizle ilk y\u00fczle\u015fmemiz gereken durum bu. Aidiyeti ancak sorumluluk da alarak sahiplenebiliriz. Kentin ve bizim tarihimizde, geli\u015fen beynimizde t\u00fcm katmanlar\u0131 olu\u015fturan; yap\u0131lar, sokaklar, sinemalar, tiyatrolar, parklar, meydanlar, tarihin izi kale, ilk al\u0131\u015fveri\u015f yap\u0131lan mekan\/yap\u0131, al\u0131\u015fveri\u015f yaparken g\u00f6r\u00fclen seramik panolar\u2026 asl\u0131nda bizimdir, bizim tarihimizdir. Bize ve kente ait olan, yerinde durmaya ve ya\u015famaya devam etmelidir, ayn\u0131 duygularla ve 50 y\u0131l boyunca oldu\u011fu gibi.<\/p>\n

Ve son\u2026<\/p>\n

Durduk\u00e7a ve bu y\u0131kmalara itiraz etmedik\u00e7e, su\u00e7a orta\u011f\u0131z, belediye bu hatay\u0131 i\u015flemeden kendi ilk al\u0131\u015fveri\u015f yapt\u0131\u011f\u0131m\u0131z yap\u0131ya sahip \u00e7\u0131kal\u0131m hep birlikte, yoksa bu kadar esnaf ve hep gitti\u011fimiz bir yer daha yok oluyor\/olacak. Kentte anlatacak, ya\u015fayacak hi\u00e7bir \u015feyimiz kalmayacak, sahip \u00e7\u0131kmay\u0131p, ses \u00e7\u0131karmad\u0131\u011f\u0131m\u0131z s\u00fcrece. (Tanju G\u00fcnd\u00fczalp)<\/strong><\/p>\n

\u201cDemir parmakl\u0131klarla \u00e7evrili bile olsak, yok edilen tarihin tam orta yerinde de dursak; iyiye g\u00fczele olan inanc\u0131m\u0131z bizi var edecek.\u201d (Umut, Orhun Bora \u00c7etin)<\/p><\/blockquote>\n

T\u0131rnak i\u00e7i al\u0131nt\u0131lar, Anafartalar \u00c7ar\u015f\u0131s\u0131, PersonaNonGrata etkinli\u011finden \u00d6zlem Mengilib\u00f6r\u00fc taraf\u0131ndan al\u0131nt\u0131lanm\u0131\u015ft\u0131r. <\/p>\n

Detayl\u0131 bilgi i\u00e7in: asikeci.com,<\/p>\n

Foto\u011fraflar: Can Mengilib\u00f6r\u00fc, Yunus \u00d6zkazan\u00e7<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Ankara B\u00fcy\u00fck\u015fehir Belediyesi \u201cTarihi Kent Merkezi\u201d projesi ad\u0131 alt\u0131nda, Ulus\u2019ta tarihi yeniden…\n","protected":false},"author":2,"featured_media":40571,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[4689],"tags":[3909,3911,3912,3910,3913,2287],"class_list":{"0":"post-28072","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-secki","8":"tag-anafartalar-carsisi","9":"tag-ayse-gulkizi","10":"tag-ozgur-ceren-can","11":"tag-ozlem-mengiliboru","12":"tag-tanju-gunduzalp","13":"tag-ulus"},"acf":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/28072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/comments?post=28072"}],"version-history":[{"count":0,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/28072\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media\/40571"}],"wp:attachment":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media?parent=28072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/categories?post=28072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/tags?post=28072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}