Articoli di riviste sul tema "Cafea robusta"

Penelitian ini bertujuan untuk mengetahui pengaruh pemberian gula semut aren terhadap uji organoleptik kopi robusta. Penelitian ini dilaksanakan di Laboraturium Ilmu-ilmu Pertanian Mujahidin Tolitoli Kelurahan Tuweley Kabupaten Tolitoli, Pada bulan Februari Sampai Maret 2021. Penelitian ini menggunakan Rancangan Acak Lengkap (RAL) yang terdiri dari 6 Perlakuan yaitu e0: tanpa pemberian gula semut aren, e1: pemberian gula semut aren 10 g, e2: pemberian gula semut aren 15 g, e3: pemberian gula semut aren 20 g, e4: pemberiangulasemutaren 25 g, e5: pemberian gula semut aren 30 g. setiap perlakuan diulang sebanyak 3 kali dan diuji menggunakan uji organoleptik dengan 32 panelis. Data diolah menggunakan taraf 5%. Hasil penelitian menunjukkan bahwa pemberian gula semut aren pada kopi robusta berpengaruh sangat nyata terhadap warna, aroma, rasa dan keseluruhan. semakin banyak pemberian gula semut aren pada kopi robusta maka nilai organoleptik dari panelis semakin tinggi. Perlakuan terbaik pemberian gula semut aren pada kopi robusta dengan pemberian gula semut aren sebanyak 30 g, dengan nilai kesukaan panelis secara keseluruhan sebesar 4.91 (sangat suka).

Radikal bebas adalah molekul yang dapat menyebabkan berbagai kerusakan molekular pada tubuh, sehingga dapat menimbulkan berbagai macam penyakit. Oleh karena itu banyak dialkukan penelitian mengenai radikal bebas dan antioksidan. Biji kopi robusta (Caffea canephora) diduga memiliki aktivitas antioksdian yang kuat sehingga mampu meredam aktivitas radikal bebas pada tubuh. Tujuan penelitian ini adalah untuk mengetahui aktivitas antioksidan dari infusa kopi robusta dengan metode DPPH (1.1-dipheny1-2-picrylhydrazyl). Cara infusa dengan pelarut etanol digunakan untuk membuat infusa. Konsetrasi yang digunakan pada uji aktivitas antioksidan infusa kopi robusta dimulai dari 200 ppm, 400 ppm, 600 ppm, 800 ppm. Infusa kopi robusta dicampurkan dengan DPPH. Vitamin C dipilih sebagai kontrol positif. Spektrofotometer digunakan untuk pengukur absorbansi dengan panjang gelombang 510-520 nm. Hasil penelitian ini menunjukan perubahan warna secara kualitatif pada infusa biji kopi robusta dan vitamin C. Nilai IC50 infusa biji kopi robusta senilai 2, 4, 6, 8, dan10 ppm dan termasuk aktivitas antioksidan sedang berdasarkan klasifikasi Blois.

Café Albirru berlokasi di Jl. HOS Cokroaminoto No. 47, Kecamatan Glagah, Kabupaten Banyuwangi, Café Albirru ini menjual berbagai macam jenis makanan dan minuman dengan harga terjangkau. Minuman kopi yang disediakan di cafe allbirru diproses dengan menggunakan mesin roasting kopi yang dilengkapi dengan pengatur suhu dan waktu. Selama ini di café albiru belum ada standar kualitas dalam proses penyangraian kopi supaya dapat menghasilkan biji kopi yang layak untuk dijadikan biji kopi. Hal ini menyebabkan kualitas bubuk kopi yang dihasilkan beragam dan menyebabkan biji kopi robusta kurang diminati oleh konsumen.Tujuan dari penelitian ini ialah Mengetahui kontribusi putaran mesin,waktu dan kecepatan putaran mesin dalam kualitas color roasting kopi robusta menggunakan metode taguchi.Hasil dari penelitian ini yakni Dari hasil pengujian mesin roasting pada café albirru menggunakan kopi robusta ijen banyuwangi dengan dilakukan 4 kali experiment, dengan pengolahan data aplikasi minitab 2018 diketahui hasil yang optimal untuk color roasting kopi medium to dark terdapat kecepatan putaran mesin 40 rpm, waktunya 9 menit dan kapasitas roasting 1 kg kopi robusta dan perhitungan Analisis varians (ANOVA) telah diperoleh faktor dengan kontribusi yang paling berpengaruh terhadap proses roasting kopi yaitu waktu (B) dengan nilai 53,30%, kemudian kecepatan putaran mesin (A) dengan nilai 21,59%, sedangkan kapasitas roasting (C) terdapat nilai 11,01% yang mana dengan kapasitas roasting tidak terlalu berpengaruh terhadap proses roasting kopi robusta banyuwangi. Dengan demikian untuk menghasilkan bubuk kopi yang terbaik diproses selama 21,15 menit dengan kecepatan putaran mesin 23,00 rpm.

Permanent Magnet Synchronous Motor(PMSM) control system with strong nonlinearity makes it difficult to accurately identify motor parameters such as stator winding, dq axis inductance, and rotor flux linkage. Aiming at the premature convergence of traditional Back Propagation Neural Network(BPNN) in PMSM motor parameter identification, a new method of PMSM motor parameter identification is proposed. It uses Chaotic Artificial Fish Swarm Algorithm(CAFSA) to optimize the initial weights and thresholds of BPNN, and then strengthens training by BPNN algorithm. Thus, the global optimal network parameters are obtained by using the global optimization of CAFSA and the local search ability of BPNN. The simulation results and experimental data show that the initial value sensitivity of the network model optimized by CAFS-BPNN Algorithm is weak, the parameter setting is robust, and the system stability is good under complex conditions. Compared with other intelligent algorithms, such as RSL and PSO, CAFS-BPNNA has high identification accuracy and fast convergence speed for PMSM motor parameters.

Los policultivos en general han recibido una atención creciente por las aparentes bondades en el aprovechamiento de espacio y servicios ambientales que ofrecen. No obstante, se sabe que no todas las combinaciones de cultivos pueden resultar económica y ambientalmente competitivas, por lo que el objetivo del presente trabajo fue evaluar en 2008, la viabilidad económica y ambiental de cuatro cultivos de importancia económica y las posibles combinaciones entre ellos existentes en el municipio de Huehuetán, Chiapas, México. Se tomaron indicadores económicos, físicos, químicos, y biológicos que se evaluaron utilizando un análisis estadístico multivariado de componentes principales y la prueba t-student. Se encontró que los policultivos café robusta-cacao y hule-cacao obtuvieron un LER de 1.33 y 1.13 respectivamente y una relación B/C de 2.59 y 1.89, por lo que fueron los más viables económicamente. El policultivo hule-café árabe presentó características de interferencia interespecífica. El hule en monocultivo al igual que el policultivo hule-cacao fueron los más viables económicamente y ambientalmente, debido a que destacaron significativamente en cada indicador y a las posibilidades de corrección de factores limitantes como pH y cantidad de luz que tienen los productores.

La región centro del estado de Veracruz se considera una de las más importantes productoras de café bajo sombra y la innovación en la cafeticultura estatal ha aportado numerosas mejoras en beneficio de los productores y de los consumidores. La diversificación con árboles maderables es una de ellas. Con el fin de documentar la existencia y las formas de utilización de la madera y los aportes económicos de especies arbóreas introducidas en fincas de café de sombra en el centro del estado de Veracruz, se realizaron entrevistas semiestructuradas en Huatusco y Coatepec, y se identificó a las principales especies maderables. Se reconocieron especies introducidas y nativas o de la región; de las primeras, destacan el cedro rosado de la India (Acrocarpus fraxinifolius), grevilia (Grevillia robusta), tulipán de la India (Spathodea campanulata), bracatinga (Mimosa scabrella), piocho (Azadirachta indica), duela (Schizolobium parahyba) y la primavera (Tabebuia chrysantha). De las del segundo tipo, ixpepelt (Trema micrantha), texmol (Quercus robur), cacaotillo (Virola guatemalensis), cedro rojo (Cedrela odorata), mango (Mangifera indica), vainillo (Inga vera), roble (Quercus laurina) y pambacillo (Alchornea latifolia). Los productores prefieren la madera de cedro rojo y de encino, conocido localmente como tezmol, pero para leña, encino, cedro rosado, pambacillo o vainillo, y este último para sombra de cafetales.

Abstrak: Persaingan bisnis yang ketat mengharuskan setiap perusahaan menerapkan strategi dalam pemasaran produk yang tepat dalam rangka mencapai keunggulan kompetitif. Dalam upaya meningkatkan minat beli konsumen salah satu strategi yang tepat adalah penerapan strategi branding terhadap produk. Branding merupakan proses pembentukan merek atau citra yang dilakukan perusahaan terhadap masyarakat. Tujuan pengabdian ini adalah untuk mengetahui tingkat keberhasilan strategi branding dalam meningkatkan minat beli. Strategi ini dirasa tepat karena sesuai dengan apa yang dibutuhkan oleh UMKM Robusta Wediawu yaitu kebutuhan identitas dan informasi terhadap produk. Metode yang dilakukan peneliti terhadap UMKM ini yaitu dimulai dengan identifikasi dan sosialisasi, Analisis Kebutuhan UKM, Branding Produk, Kerjasama dengan Cafe, Pemantauan Progres UMKM, dan Penyusunan Laporan. Hasilnya terdapat pembuatan logo produk serta label informasi dalam kemasan produk dan terjalinnya kerjasama dengan 3 cafe yaitu menara coffee, ngesis coffee dan ngesis coffee 2 untuk pengenalan produk dengan tujuan meningkatkan minat beli. Abstract: Tight business competition requires every company to implement the right product marketing strategy in order to achieve competitive advantage. In an effort to increase consumer buying interest, one of the right strategies is the application of a branding strategy to the product. Branding is the process of forming a brand or image that is carried out by the company to the community. The purpose of this service is to determine the level of success of the branding strategy in increasing buying interest. This strategy is deemed appropriate because it is in accordance with what is needed by MSME Robusta Wediawu, namely the need for identity and information on the product. The method used by the researcher on MSMEs is starting with identification and socialization, SME Needs Analysis, Product Branding, Cooperation with Cafes, Monitoring MSME Progress, and Reporting. The result is the creation of product logos and information labels on product packaging and the establishment of cooperation with 3 cafes, namely Menara Coffee, Ngesis Coffee and Ngesis Coffee 2 for product introductions with the aim of increasing buying interest.

Tenom town is synonymous with coffee products for which it became one of Sabah's most popular agritourism destinations. However, the specialty of the Tenom coffee product that has attracted a lot of visitors is unknown. Therefore, research on the production characteristics and variation of these products based on coffee agritourism is relevant and worth investigating, in order to understand the specialties of the products and the types of products they offer. Specifically, this study aimed to identify the production characteristics and variation of coffee agritourism products in the Tenom district of Sabah. This study applied qualitative methods by interviewing factory supervisor in the Fatt Choi coffee industry. The theory of the definition of agritourism is applied to determine the definition of agritourism of Tenom coffee based on the attractions offered. The findings show that coffee production is based on the warm climate in the Tenom area. The Robusta and Arabica coffee varieties are coffee that suits the region. The coffee industry also produces a variety of coffee flavors. In addition to producing beverage products, Tenom coffee agro-tourism has created other attractions such as cafes, coffee farms, cabins, and cottages. In conclusion, Tenom coffee agritourism has the potential to grow to promote it as a competitive agritourism destination that can increase income while also benefiting the local community.

The biodiversity park in the Cirata Reservoir MTR area is a part of Mount Cantayan, is located in Purwakarta Regency. The elevation of area is 140 to 280 meters above sea level with total area 11.2 hectares. The research aims to identify plant species and their diversity and provide recommendations for species enrichment in biodiversity parks. The data collection method used purposive sampling. Vegetation analysis is carried out using Nested Sampling. Vegetation data analysis includes the Important Value Index (IVI) and species diversity index (H’). The research results found 23 families consisting of 59 species including seedlings, saplings, poles and trees. Diversity index of Shanon-Wiener (H’) in for seedlings, saplings, poles and trees was 2.72; 3.34; 3.40 and 4.04. This diversity index is included in the high category. In the plant growth phase at seedling level, the highest IVI was for the kidahu (Dracontomelon dao) species at 82.95%. At the highest IVI sapling level, robusta coffee (Caffea canaephora) was 58.6%. At the pole level, the highest IVI was for mahogany (Swietenia mahogany) 300%, and at tree level, the highest IVI was obtained for mahogany (Swietenia mahogany) 174.7%. The recommendation species for enrichment planting in biodiversity park are 26 species. The species combination of Pingku (Dysoxylum densiflorum) (Blume) Miq., Tangkele (Kleinhovia hospita), Kosambi (Scleichera oleosa), Loa (Ficus variegata) and Nangsi (Villebrunea rubescens) has the potential to become the dominating plant species in the future.

Coffeeshop Boy's is one of the cafes that has survived the Large-Scale Social Restrictions (LSSR) and Enforcement of Restrictions on Community Activities (ERCA) policies during the pandemic. The power of investors and the quality of coffee are the reasons the Coffeeshop Boy's stay afloat. Coffee is a refreshing ingredient that comes from annual plantations. In Indonesia, farmers cultivate Robusta coffee and Arabica coffee, the difference between these two types of coffee can certainly be known from the taste. This research uses the descriptive qualitative method. Coffeeshop Boy's was originally a bottled coffee company that later turned into a home cafe. The LSSR and ERCA policies make this business must implement the right marketing strategy with the SWOT analysis method to find out the appropriate marketing strategy for this business in maintaining its business in the midst of a pandemic. The results of the SWOT analysis have shown that the total score of the IFAS matrix for strength items is 3.956 while for weakness items are 1.678. The results of the SWOT analysis have shown that the total score of the EFAS matrix for opportunity items is 3.241 while for threats items are 3.359. Based on the coordinates of the IFAS and EFAS matrices, Coffeeshop boy's is in quadrant 2 (ST Strategy) with a product diversification strategy. This has shown that Coffeeshop boy's can face the various threats that exist by taking advantage of the strengths they have. The ST strategy that needs to be implemented is to create new product innovations, provide special offers for new consumers, consumers who are having birthdays, or booking meetings, extend operational time, and create events to strengthen Coffeeshop Boy's branding.

The coffee shop business in Indonesia is currently developing rapidly, especially in big cities such as Bandung, Jakarta, Surabaya, Medan, Bali, Palembang, and several other big cities, of course it is a big opportunity for entrepreneurs to open a business in this field, by various concepts or ideas that aim to attract customers from various circles, several cafes have even appeared in small towns in each region. South Sumatra is one of the 8 provinces producing the best coffee beans in Indonesia, with the dominant type of coffee being Robusta coffee. By seeing this opportunity, in the city of Palembang many coffee shops or what are usually called cafés are starting to appear, not only as a place to just drink a cup of coffee, but also as a place to relax, gather with friends, family, and even become a place to relax. to do a business, one of which is Kopiloka 3.0 Palembang. The function of a menu is to make it easier for visitors to choose what they want to order. A good menu can be seen from the level of sales and contribution in providing profits to the restaurant. Menu engineering is used to find out how much profit and actual food costs are, based on the basic cost and selling price of a product. In this menu evaluation, there are three indicators that will be discussed, namely popularity index, contribution margin, and menu classification. The method used in this research is a quantitative method with a descriptive approach, with data collection techniques in the form of observation, interviews, documentation studies and literature studies. The research results stated that the Popularity Index for the coffee menu was 88.64% for the HIGH category menu items and 11.34% for the LOW category menu items. The coffee menu items consist of 18 menus, for the HIGH category there are 14 menus and for the LOW category there are 4 menus; The contribution margin of the 18 coffee menu items served is that there are 9 menu items that fall into the HIGH category with a percentage of 58.17%. Meanwhile, 9 other menus fall into the LOW category with a percentage of 41.81%; Menu classification in the coffee menu, namely, there are 8 menu items included in the STAR category with a percentage of 55.24%, 6 menu items included in the PLOWHORSE category with a percentage of 33.4%, 3 menu items included in the DOG with a percentage of 8.41%, and 1 menu item which is included in the PUZZLE category with a percentage of 2.93%.

Iklim merupakan salah satu komponen yang dapat mempengaruhikehidupan di bumi baik manusia, hewan maupun tumbuhan. Keadaaniklim sangat berkaitan dengan keadaan fenimena El-nino dan La- nina.Tanaman Kopi robusta merupakan salah satu jenis tanama yangbanyak di budidayakan sebagai tanaman perkebunan, budidayatanaman kopi sangat tergantung dengan keadaan iklim disuatu daerah.Penelitian ini bertujuan (1) Untuk mengetahui distribusi keadaan iklimmikro di Kecamatan Pupuan (2) Untuk mengetahui distribusiproduktivitas Kopi Robusta di Kecamatan Pupuan. (3) Untukmenganalisis perbedaan Keadaan iklim mikro dan Produktivitas Kopirobusta berdasarkan ketinggian tempat di Kecamatan Pupuan. Lokasipenelitian ini dilakukan Kecamatan Pupuan Kabupaten Tabanan.Penelitian ini merupakan penelitian deskriftif dengan metodepengumpulan data menggunakan observasi dan pencatatan dokumen.Analisis data yang di gunakan adalah deskriptif kuantitatif dengan menggunakan t-tes untuk mencariperbedaan.

Introduction Despite the emphasis on the theoretical definitions of the concept of “creativity“ and its impact on cities, it is still uncertain, difficult to measure and limited. Creativity and its impacts are difficult to generalise because of the multiplicity of approaches and a lack of comparative analysis. The concept of creativity and its reflection on cities represents a paradigm that brings together academics from different fields, including cultural economists, those working on economic development and innovation, sociologists, economic geographers, and urban planners. The creative economy has been associated with the knowledge economy and innovation since its onset in the 2000s and extends to the creative industries (Caves), the creative class (Florida), and creative cities (Landry; Florida et al.). Given that the term "creative" is still primarily associated with the arts and sciences, Landry points out that two major issues shape our understanding of creativity: first, the power of thoughts and ideas in shaping our mindset, and second, the significance of culture as a creative resource (Landry). Creativity is generally accepted as a critical urban phenomenon, and is viewed as one of the determining factors in the development and growth of cities. For a city to be defined as ‘creative’, it would be characterised by many aspects of ‘cultural cities’ (Scott) and ‘cities of knowledge’ (Yigitcanlar et al.). Creative industries, which provide the foundation for the production of culture and creative products, require a unique environment supported by the public sector to flourish, and they thrive on proximity and strong networks that enable information sharing and exchange. Although accepted as a crucial element of contemporary cities, the use of ‘creativity’ in city development may not be a straightforward task. Globalisation plays an important role in spotlighting creative cities as drivers of global change and innovation. The emphasis on creativity as part of the global city culture incentivises cities to focus on these activities as valuable assets. This view has been reinforced by global initiatives such as the designation of the European Capital of Culture (ECoC). City administrators view innovation and creativity as critical drivers for a more sustainable and inclusive means of urban development. This article lays out how drivers of creative output, design events, and creative industries contribute to local initiatives in the global city of Istanbul: a city that accommodates some of the most long-standing and established craft spaces as well as newly developing creative and design industries. This article provides a critical perspective on cultural frameworks from the perspective of local stakeholders and networks in Istanbul's Tomtom neighbourhood, the most invested district in terms of the city's cultural future, where creative industries are the main focus. Using the Creative Cities Network as a Creative City Identity The creative city concept is used by urban sociologists, geographers, urban planners, and economists to focus on developing a segment of society that is intertwined with the cultural and creative sphere. It represents a crucial and strategic industry for renewing the local economy and sustaining urban growth. Moreover, it has become a robust development paradigm adopted by many urban governments (d’Ovidio). The creative city, according to Costa, is a notion defined by three key elements. The first is the concept of creativity as a toolset for urban development; the second is the concept of the creative city as a collection of creative activities and businesses; the third promotes the concept of the creative city as a human resource capable of attracting creative competencies (Costa et al.). Successful creative cities have some common points, such as visionary individuals, creative organisations, physical and social assets, and a political culture that shares a clear purpose. Leadership was found in the public, private, and non-profit sectors, and it manifested itself in bold public efforts, frequently risky investments, and a web of interrelated undertakings, whether for profit or the common good (Landry). International recognition provides a building ground for attracting attention to local initiatives. UNESCO created the Creative Cities Network (UCCN) in 2004. It was conceived from the very beginning as an interactive process to bridge the possible isolation of cities and their inhabitants as a tool for multi-stakeholder collaboration. In other words, it was a relevant response, analysed in a comprehensive overview of the literature on the problem of urban branding. However, it gradually became clear that a kind of network structure alone was insufficient to combat fragmentation (Rosi). The network's purpose is to foster international cooperation among the selected cities in order to promote "joint development partnerships in line with UNESCO's worldwide priorities of "culture and development" and "sustainable development". A city's participation in the network allows it to communicate with other designated foreign metropoles and to carry out joint projects (Stocker). The 2007 global financial crisis and the ensuing recession led to movements that responded to the commodification of urban public space through applied, community-based activities and independent cultural production. This has resulted in new paths for reorienting the creative city strategy around the concept of "making" (Grodach). Scholars have linked creative placemaking to a long history of arts-based economic growth dating back to the late nineteenth-century City Beautiful movement. However, the reification of "creative placemaking" as a discursive practice guided and enforced by government agencies, funders, and other institutions elevates it above previous forms of arts-based economic development or cultural planning (Zitcer). It seeks to go beyond purely economic motivations and pursue multidimensional outcomes ranging from the economic to bringing "diverse people together to celebrate, inspire and be inspired" (Grodach). Place-selling, or communicating certain features of a place through logos, slogans, advertising campaigns, or public relations exercises, is one of the most prevalent actions carried out under the broad umbrella of place-making and marketing. Physical interventions and communication tactics that pick specific components of local 'identity', 'history', and 'culture' can be used to produce this "forging of associations" between places, their attributes, and specific target audiences (Colomb). This new outlook reflects Landry's emphasis on creative collaboration, but the impetus is on cross-agency partnerships and new funding sources for design and art that foster ‘creative’ cities. Placing Istanbul on the Cultural Map If the world was only one country, Istanbul would be its capital. — Napoleon Bonaparte Istanbul is one of the world's largest metropoles, with approximately 15 million inhabitants. It has served as a crossroads for civilisations, cultures, and international trade throughout its history, leaving behind a multi-layered cultural legacy that inspires new design concepts and is a rich source for traditional arts and crafts. The robust creative economy in Istanbul employs 140,000 people and generates 74.5 percent of Turkey's turnover. As a design hub, Istanbul hosts over 20 globally famous design events each year, including the Istanbul Design Biennial, Design Week Turkey, and Fashion Week Istanbul. In 2016 there were 41 conference centres and 225 art galleries in the city. In the same year, Istanbul's cultural institutions hosted 4,315 events, including international film, music, and theatre festivals, as well as art and design biennials. Events such as Contemporary Istanbul have been important in establishing a network of non-governmental organisations that have also been instrumental in the 2010 designation as the European Capital of Culture (ECoC) and membership in the UNESCO Creative Cities Network (UCCN). It has also served three times as United Cities and Local Governments (UCLG) leader. For previous ECoC cities, national or local governments had nominated their cities for the ECoC program, but in Istanbul non-governmental organisations spearheaded and managed the nomination process (Öner). This has lead to a slow and stunted start for the programs which were greatly diminished due to the difficulties in securing the required funding. ​​After becoming an ECoC in 2010, Istanbul joined the UNESCO Creative Cities Network in 2017, joining 246 cities worldwide. UNESCO defines Istanbul as “a geography where craft and craftsmanship have emerged in many different ways in the historical and cultural codes of creative production and everyday life” (UCCN About Us). Because of its cultural heritage, Istanbul can be considered an inspiration for the design sector and promotes its productive capacity. Due to Istanbul’s geographically unique position, there are significant opportunities, experiences, and potentials to reveal new scenarios to promoting a productive future by enhancing innovative approaches for contemporary design. Participating in the UCCN undoubtedly has significant benefits for Istanbul. First of all, it has the opportunity to share its knowledge experience with other cities in the network, and it can have the opportunity to promote its work through networking events organised regularly within Design Cities. In Istanbul, which is the locomotive of the Turkish economy, the vision of the 2014-2023 Regional Plan, prepared by the Istanbul Development Agency, identifies the city as "a city of innovation and culture with its creative and free people; unique Istanbul". Moreover, one of the three essential components of this vision is "a high added value, innovative and creative economy with a voice in the global economy" (ISTKA). This component reveals the importance of innovation and creativity-oriented growth in Istanbul for the gains created in the economic field to bring social development and realise holistic development. Although these frameworks have provided a strong ‘creative’ identity to the city, the lack of specific programs and funding opportunities for ‘creative industries’ that fall under these headings have not allowed these initiatives to be felt at the local scale. Fig. 1: Location of Beyoğlu district. In this article we chose Beyoğlu (fig. 1) as the local case study, due to the existence of cultural/creative industries since the nineteenth century. When we look at previous periods, there were times when Beyoğlu fell out of favour, and different segments gave up coming to Beyoğlu for various reasons. However, Beyoğlu has always recovered and regained its identity as a historical, touristic, and cultural centre (Türkün). Beyoğlu has been the scene of social and spatial changes. Especially a rapid renewal process has been in process since the 1980s. As a result most of the buildings were restored, leading to wide-scale gentrification, and many new buildings were built throughout Istiklal Street, its main avenue. The roads on both sides of the pedestrian street are filled with cafes, art galleries, bookstores, and antique shops, making Beyoğlu a 'Turkish SoHo' (Gül). A Critical Perspective from Tomtom Neighbourhood Tomtom is one of the 45 neighbourhoods of the Beyoğlu district with a historic identity and cultural richness (fig. 2). It has hosted many diplomatic institutions and historical buildings such as the Venetian Palace, the French Palace, the Italian, Russian, Dutch, and French embassies, ​​and continues to house many consulates and foreign schools (Akın). Because it is located in the centre of Galata, Çukurcuma, and Karaköy, since the beginning of the 2000s the Tomtom neighbourhood has become very attractive due to low rental prices in the transformation process in Beyoğlu. With the low-cost renovation practices, the creative class, which has a weak economic accumulation, and has a high artistic quality, has started to open their galleries in this district. In addition to this, cafés, boutique hotels, and entertainment venues opened in succession, and this class transformation attracted the attention of capital owners. The district had to face not only the danger of gentrification caused by this class migration but also the results of the Galataport project, a real estate capital initiative (Kütükoğlu). Fig. 2: Map of the Tomtom neighbourhood and its surroundings. A case study was conducted between September 2018 and August 2021 using secondary data, observation, and in-depth interviews to provide a critical perspective on cultural frameworks from the perspective of local stakeholders and networks in this neighbourhood. In the case study, in-depth interviews were conducted with 30 design studios and art galleries that have moved to Tomtom in the last decade. These interviews were held in three separate periods: the first was in September 2018, following the start of the Tomtom Designhood Project; the second in August 2019; and the last in June 2021. The Missing Ingredients As mentioned above, some criteria are required to be a booming creative city. As a result of the fieldwork carried out in the Tomtom neighbourhood, Istanbul's trajectory in becoming a creative city has been discussed under three headings: ownership and patronage, financial support, and resilience. The creative cluster in the Tomtom neighbourhood started as a neighbourhood revitalisation effort by a real estate investment firm to create a cultural hub in Istanbul, with the creation and promotion of an annual design event since 2017: Tomtom Designhood, inspired by similar events across Europe. However, this business approach did not suit the cultural businesses moving into the neighbourhood. Relying on the market alone and expecting up-and-coming cultural businesses to ‘invest’ in promoting their neighbourhood has not been a sustainable growth model for Tomtom. Interviews with firms in the area have demonstrated that social networks have been a more reliable means for attracting and maintaining design firms in the area. These networks appear to create a sense of belonging and identity, with a high level of personal investment, trust, and support as the foundation of relationships. The slow-paced relocation of businesses within close social networks has been more promising in establishing the cultural hub. The results show that the creative cluster grew slowly due to the lack of support by local authorities and the limited resources for the businesses relocating into the area. In recent years, multidisciplinary design events have been taking place in this new creative neighbourhood. Tomtom Designhood generally organises these events, some of them with the cooperation of the annual design event Contemporary Istanbul, and invites everyone to explore this creative neighbourhood with pop-up events, food and drink, and art and design exhibitions. In addition to design activities that recur periodically, there are also one-time events such as 'Back to Home', 'Tomtom Designwalks', and 'Portugal Is in Istanbul'. The main goal of these events is accessible art. Moreover, they aim to bring together art galleries, institutions, collectors, art students, and people of all ages who want to learn and know art better, especially young people and art professionals. These design events, which were put forward with the idea of "accessible art for everyone", have lacked patronage and backing from donors or government funding and thus had to be self-sustaining. Furthermore, the Tomtom events have been shifted to ‘money-making’ initiatives which further degraded their acceptance in the local neighbourhood. The design events and festivals in the neighbourhood are not directly connected with the creative community around the UCCN. The case study explores the effects of the large-scale design events on local dynamics and has also touched upon the effects of the Covid-19 pandemic, and reveals that the most critical factor in the creative industries' resilience in times of crisis has been support by public policies and advocates. The Covid-19 pandemic, which can be described as a global crisis, has affected the creative sectors at Tomtom and tested the resilience of the design firms in the area. Due to the lockdown measures, restrictions on international mobilities, and social distancing measures implemented in this process, some creative sectors could not continue their operations. There were no specific funding support systems for design professionals. Stating that the most significant potential of this area has been foreign tourists, the designers commented that their work has come to a standstill due to the complete stoppage of the tourist flow during the pandemic. On the other hand, it has been determined that some designers explored new business forms by developing new skills, not affected by the pandemic or relatively less affected. In addition, designers who sell products that appeal to higher-income groups also stated that they have not been economically affected by this process. ‘The City of Design’ title was expected to bring some visible changes to Istanbul, especially in an emerging creative neighbourhood like Tomtom, and even in the entire Beyoğlu district. However, unfortunately, it is not possible to see the effects of these even in a crucial creative neighbourhood like Tomtom. A positive step was taken at the last point of the whole place branding process, and Tomtom was included in the "Beyoğlu Culture Road" project carried out by the Ministry of Culture and Tourism in June 2022 (fig. 3). In this project, which is defined as "the branding project that transfers the cultural heritage of a city to future generations", many paid and free design events were held for two weeks in crucial creative and touristic areas such as Galataport, Atatürk Cultural Center, and French Street, with the participation of many national and international designers and artists. Many people had the opportunity to get to know Tomtom as a design neighbourhood, thanks to various concerts, workshops, festivals, design product exhibitions, and food and beverage areas held during this event for two weeks. Fig. 3: Posters for the Tomtom Designhood event in 2018 (left) and 2022 (right). (Source: Tomtom Designhood.) From Istanbul's perspective, the reciprocal relationship between creativity and Istanbul results in more creative industries, strengthening Istanbul's position in the global network. This study proves that a successful cultural policy needs to include financial support and local government cooperation for a more sustainable strategy. From an urban policy perspective, social networks seem a crucial player for a better and more sustainable support system that provides answers to the needs of the creative industries. It is hoped that the results of this study will provide new perspectives on understanding the importance of the collaboration of private, public, and civil society actors in order to strengthen cultural industries in creative cities and promote the diversity of cultural expressions. In Tomtom, as Colomb argued and authors focussed on place-making and branding have argued, specific local culture, history, identity, and aesthetics are picked, sanitised, commodified, and promoted to be consumed by target groups such as tourists or high-income locals as part of the place-making process. 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