Harran has been the gateway of civilisations for more than 5.000 years in Mesopotamia. Greek, Roman, Assyrian and Babel societies left traces, ruins, patterns, know-how and knowledge through different ages.

This is the story of atlas design collection; translating Mesopotamian knowledge, know-how, culture and aesthetic to todays world with a product and textile line.


 The Methodology

The standing point of atlas collection is based on taking unique and real references from the sophisticated culture, aesthetic and knowledge of Mesopotamia through ages. We designed a tailored methodology concerning the cultural legacy of Harran and how to translate it into todays world with a democratic and collective sense.

First, we designed the organizational structure and selected the right designers for the project. Harran Governership, with the leadership of Ömer Faruk Çelik, governor of Harran, is managing the project and ILO (International Labor Organization) is supporting the project financially, providing the materials and developing the ateliers in Harran.

Felt, wood, weaving, ceramic workshops were already developed with the support of ILO and İŞKUR (a governmental institute providing necessary support for developing labor especially in disadvantaged regions) when we arrived there. The current model needs to be sustainable with an added value, extending the cultural richness of the region to the global world in the form of a design collection.

After the site visits with the designer team and the commission, we went through a research process and defined the design values, design criteria and production criteria. Following this, the process was evolved with design and production follow ups, meetings, juries and the final presentation.

The most important point of the methodology was to create a know-how to translate the historical references to a contemporary language with taking todays constantly changing consumer habits into account.


The Values

The design values of atlas are translating the intangible into the tangible.

Different layers of civilizations around Harran and Mesopotamia. Architectural, geometrical, textural and cultural references differentiating each period of time, astronomy and daily life rituals were chosen as our main values. 


The Social Aspect

The social responsibility aspect of this project was built on the model supporting the local and refugee women living in the land of Urfa to generate their economic independence by being at the core of the production process in the workshops built in Harran and Urfa. These women will make their living with being involved in the sales revenues. In order to make this sustainable, one of the main criteria in developing this project was that the whole collection should be able to produced in these particular workshops and address the current consumer habits.



Tote Bag

Inspired by the astronomy works that the people of Harran carried out

and their close ties with the land up to date, the tote bag creates a link between the earth and the sky. While reflecting the cotton fields, the earth, by the material choice; with its detachable wooden hanging and hand embroidered packet, the bag refers to the Moon. 



Other Creators:

Bilgen Coşkun & Dilek Öztürk

Aslı Smith

Barış Gün

Begüm Cana Özgür

DAY Studio

Öykü Özgencil

Şule Koç


Social Impact through Art by INCOMPLIT


The truest forms of art are known to challenge the human being and ultimately lead to transformations which could be one the most powerful experiences one can go through ; this constitutes a powerful force that aims for the progress of humanity as a whole.

That’s the reason why we firmly believe in the connecting power of art aside its therapeutic state. As INCOMPLIT, between January and March 2018, we have organized a 12-week workshop program with Syrian and Turkish kids nurtured by ASAM, an international NGO. These workshops, facilitated by various artists, have encouraged children to complete an incomplete fairy tale via various methods, be it character development, dance choreography or a multi-vocal chorus. The fairy tale pertained with three mermaids' struggle with trash.

Acknowledging how artists’ contributions and collaborations could be effective and inspiring to their community’s social and economic progress, we have organised an event where various artists from different fields shared their works and ideas. The common point of these artists were their belief and vision which reinforce them to produce proactive, therapeutic and interrogator works.


Elmas Deniz:

1981, is based in Istanbul.

Her practice is conceptually driven and includes installation, sculpture, video, drawing and writings. Recurring topics in her work are nature, globalization, urbanism and economy. Elmas Deniz is initiator of several artist-run projects, and she is co-editor of the art journal Sanat Dunyamız. Her recent solo shows in Istanbul A Year Without a Summer(2018), Seeing the Black Panther(2014) was presented at Pilot Gallery and Elmas —where the focus was on poverty— at Macka Art Gallery(2012) With Pilvi Takala, her solo exhibition On Volatility was at Galeria Nouva in Bucharest Romania.(2007)Her group exhibitions include: 14th Istanbul Biennale,Saltwater:A Theory of Thought Forms; Every Inclusion is an Exclusion of Other Possibilities, SALT, Istanbul (2015); The Moving Museum Istanbul; We are here because you were/are t(here), Das Weisse Haus, Vienna; Stay With Me, AP, Berlin DE(2014); Unrest of Form, Secession, Academy of Fine Arts, Vienna, AT(2013). There is No Audience, Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain(2009); B-Fact: Black Sea / Baltic Sea / Barensts Sea, Bilgi atelier, Istanbul (2003) among many others.She was awarded IASPIS Artist Grand (2014) ; Berlin Goethe Institute Cultural Grand(2007), and has been a resident at Pistoletto Foundation IT (2011); Sextant e Plus La Friche Belle de Mai, Marseilles, FR (2009); DIVA Copenhagen, DK (2008) and Vassl, Karachi, PK (2006), AIWA Lebanon(2005). Elmas Deniz graduaded from Dokuz Eylul University, Department of Painting (2003) and Izmir Anatolian High School of Fine Arts(1998)


Tuğçe Tuna:

Relating with existence through body, movement and dance since her early childhood, she started dancing in 1983 at the Ankara State Opera and Ballet, Children’s Ballet School. She graduated from MSFAU State Conservatory in 1996 as Conservatory salutatorian and Performing Arts Department valedictorian with honors. Tuna participates in national and international festivals, events and academic institutions with her interdisciplinary dance and performance pieces and her contemporary dance and movement techniques expertise and teaching, and has been working as a dancer and performance artist, choreographer, director, art director and movement and dance therapist since 1993. She started her academic teaching career in 1996 at the MSFAU Contemporary Dance Department and has continued to teach and perform internationally [ik2] since 2000 in Salzburg (SEAD 2002-2014), Vienna, Cologne, Berlin, Essen, Stuttgart, Stralsund, Paris, Angers, Lublin, Prague, Slovenia, Israel and Greece.


Pınar Akyüz:

In 1996, she started ballet at Özlem Güzel Ballet and Music School. Between 2009 and 2010 academic year, she won Contemporary Dance Master Art Department at Mimar Sinan Fine Arts University. Today, she is getting master’s degree about Contemporary Dance Master Art Department at Mimar Sinan Fine Arts University. At the festivals and workshops where she participated both in Turkey and abroad from the beginning of her education to the present; there were some opportunities to work with such names as Aydin Teker, Tuğçe Tuna, Aslı Bostanci, Esra Yurttut, Şafak Ersözlü, Korhan Başaran, Mary-Clare Mckenna, Joe Alegado, Laura Aris, Rasmus Death, David Zambrano and Frey Faust. She worked on various techniques in dance and performance fields with these names.


Onur Gürçay:

He graduated from Kadir Has University Acting Department. He played traditional improvised theatre in Tekirdağ and Bodrum villages.  Before theatre play, he worked on a creative drama with children in the villages. In 2015, he performed drama work at the Children's Festival for 1 week in Bayındır, Izmir. In 2016, he made a body percussion and drama workshop with children and young refugees in Lesbos Island, Pikpa camp. In 2017, he made theatre workshops with young people from different places in Prinkipos. 


Kübra Balcan:

She studied at Istanbul University Musical Department. After, she graduated from Kadir Has University Acting Department. During the summer months, she played traditional improvised theatre in a total of around 40 villages at Bodrum and Tekirdağ. Before theatre play, he worked on a creative drama with children in the villages. In 2015, she performed drama work with children who are from a village for 1 week in Bayındır, Izmir. In 2016, she made a body percussion and drama workshop with children and young refugees in Lesbos Island, Pikpa camp. In 2017, she made theatre workshops with young people from different places in Prinkipos. 


Osman Nuri İyem:

He is a filmmaker/photographer from Istanbul. He is working on a feature-length docudrama for the last 3 years.


Suzin Akalan:

Singer and song writer






For NoLab Made in Türkiye exhibition, we decided to explore the skating culture which is spreading fast all around the world but has no foundation in Turkey, and the stories of children who can survive on the street only with a sense of belonging to this culture. 

Unfortunately as with everything subculture, in Turkey, we undermine the skating culture. Our concern and dream were to pay some respect to this culture.

The importance those skater kids attach to skateboarding was far greater than we could imagine before meeting and dreaming with them.

But, this time we haven't read them a story, we built the story with them.