Some

Work2015

onThoughts

In this respect, the theory of “open work” addresses to “an unknown future”, that will be erected by probable participants, who are not deliberately chosen from the beginning. The theory suggests that these participants will be the ones to complete the meaning of the composition priority proposed by the author.

This is a modern call for participation, that can be applied in politics as well as in a creative composition, be it on music, literature, or even design & architecture. At this stage, rather than designing a product, designing the process of how a product can evolve through active participation becomes the issue. Of course there are degrees of participation that can be allowed, in order to keep the original composition intact in its early principles.

Umberto Eco defines his theory of “open work” / “opera aperta” in his own words;

“We see it as the end product of an author’s effort to arrange a sequence of communicative effects in such a way that each individual addressee can refashion the original composition devised by the author. The addressee is bound to enter into and interplay of stimulus and response which depends on her/his unique capacity for sensitive reception of the piece.”

However today we see the growing levels of participation to the process of creation, in many disciplines. Not only as a collaboration of different disciplines to reach a better result, but a co-creative process, where equally empowered creators sit around a table to find a better solution to a problem at hand. Or even better, to define new problems to solve, which people suffer from but cannot describe or demand a solution to.

This evolution in the process of co-creation emerges as the result of a series of social changes. As a total paradox, this collaborative spirit grows hand in hand with the deepening dynamic of individualization which dissolved the barriers of the class culture, where people are ever more divorced from the constraints of gender and its feudal attributes. It is important to see that Beck’s thesis of understanding the modern society is a critical view, which addresses to the evolved structure of creative practices today. To put it in his own words;

“We are witnessing not the end but the beginning of modernity - that is, of modernity beyond its classical industrial design. Just as modernization dissolved the structure of feudal society in the nineteenth century and produced the industrial society, modernization today is dissolving industrial society and another modernity is coming into being.”

Work is political, and so is the workplace, therefore, a design discourse gains meaning through the active participation of its multiple addressee’s. The definition and degree of the attendance has a tremendous impact on the quality of the final design and the richness of its propositions.

In this respect, the design of the final product becomes less critical than the process that defines it. The participation to a spectrum of results from an initial design idea has its parallels to the modern idea of democracy with enriched participation.

We can say it is of paramount importance, while defining a structure of thinking, to link the “idea” to the evolution of society at that time being. To quote Ulrich Beck;

“In the nineteenth century privileges of rank and religious world views were being demystified; today the same is happening to the understanding of science and technology in the classical industrial society, as well as to the modes of existence in work, leisure, the family and sexuality.”

The demystification also passes on to the idea of a main creator as a centrally deciding power, such as the master creator, for music, art, architecture, literature etc. An ideology that reigned power till the end of 20th century.

The creative processes in all different disciplines can shed light to a new fact that the privately occupied area by the designer as the final decision maker is more and more open to a communal participation. The success of the resulting design highly depends on the openness of the process, as well as the correct management of the discourse, in order not to end up in a total cacophony.

To orchestrate the “unknown” bears definitely more difficulties, but has further opportunities than a more predictable approach. Koleksiyon has the urge to take this path and declared this intention in the theme “A journey to Unknown” presented a few years ago.

Inviting the architect and the user as an active participantKoray MalhanDesign DirectorBoard Member of Design Foundation

Why compose works that have to be re-created every time they are performed? Because definitive, once and for all developments seem no longer appropriate to musical thought as it is today, which is increasingly concerned with the investigation of a relative world, a ‘permanent discovering’ rather like the state of ‘permanent revolution’. Pierre Boulez, Third Piano Sonata / Orientations

Umberto Eco, The Open Work, translated by Anna Cancogni from the original “Opera aperta”, 1962, (Copyright 1989 by the President and Fellows of Harvard College) Ulrich Beck, Risk Society/ towards a new modernity , translated by Mark Ritter from the original “Risikogesellschaft;Auf dem Wegin eine andere Moderne”,1986 ( Sage Publications 1992 English translation) Pierre Boulez, Orientations, translated by Martin Cooper from the original “Points de repere” 1981 (Butler&Tanner Ltd, Frome and London)

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The intention in this design approach is to provide the decision maker, an “open structure” to build up uniquely, for each new customer and project. The architect or the planner can play around with the elements of the system to create their own reference points or scale, and endeavour as many dimensions as possible using an endless variety of options in composing a “unique” habitat around the “shelf axis”. This way a unique layout is composed for each project and place, which would not be replicated in other projects due to its gained meaning for the performances of each specific project.

BorgesDesign by Studio Kairos, 2014

The shelf-axisThe central axis is designed and

planned uniquely for each project to create alternative work spots, that are

freely scattered around the central core.

The capThis small Hat / Hood is designed

for personal use, to concentrate on a project for temporary use.

This unit can freely be placed at any point of the shelf-axis, and can

easily be moved around.

V-shaped coloumnsThese are vertical channels to provide cable access and also to support the

long stretched shelf-axis all the way through.

4

The main element is the “shelf axis” that replaces the desk, which acts as the central core for all worktop connections and cable traffic. The desktops come in a wide range of sizes for different situations. Additionally a basic, “one person module” is designed for temporary use. This single unit can be used either by someone in the office who needs an alternative work spot for concentrating on a specific project, or someone who is not settled in the office, but is there for a day’s work.

İn Borges; the “shelf axis” replaces the desk as a serving highway which can welcome different types of work settings. This axis can also house necessary top shelves, cable doors, overhead cabinets, task lamps, dividers and small harbour like hoods, called the “Cap”.

Borges

Borges is designed to question the “standard workstation typology”, as frequently planned for most of the offices today. An ordinary layout with standard workstations is quite predictable and very much depends on the repetetive planning of desks and cabinets. Borges on the contrary, is trying to start with setting up a narrow axis, and then to spray working spots in different scales freely which are somehow connected. The “openness” in this case is based on the theoretical and mental collaboration of the planner, be it the architect, interior designer or the customer.

Cap

Cap is designed as a personal work spot, to provide a silent harbour in the midst of a large open plan office layout. As the communal areas are growing in number and scale in the contemporary work zones, privacy is becoming a more critical issue for anyone who wishes to concentrate on a piece of work that needs attention and focus.

Rather than defining the work modes for the departments, or teams or even a single person, the attempt is to define each single task, and then visualise the alternating needs of each and single working person in an office. This way, instead of planning departments, the focus is on planning places for activities, than allowing the traffic in the workplace for people to move around related task related places and zones.

This approach is much closer to the approach of an “urban planner” to a city and its specific places that gain their value with activities in time.

Vertical cable accessThese access point provide all power & data service through the central shelf-axis.

The lightA specially designed light fixture is

placed for easy manipulation to direct the light source. The fixture covered in

fabric, keeps up with the tactile qualities of the hood.

Ventilation gapThe back panel has an opening

on top for air ventilation.

A soft boxA private box provides the user an

acoustic privacy with its friendly and soft tactile qualities.

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OblivionDesign by Koray Malhan, 2014

These voids we propose are designed with their planner or architect after an evaluation of their work culture. The voids are planned like a deliberate excavation to unload the work layout from repetitive desking, thus add to the quality of the overall work habitat.

The voids created with Oblivion, presents points of landmarks in the Office floor plan, maybe like monuments in a city. More important than the size and meaning of the monument, the performances that take place, acquire a meaning in time that is kept and protected in the memories of the people who have once inhabited that place. Thus Oblivion is designed to create such places in a work habitat in oversized voids, inviting everyone and belonging to no one in specific.

In order to create an emotionally charged workplace, the proposed idea by Oblivion, is to erect large voids in the office plan, to create areas of non-work. Through this creation of “Voids” in the work plan, the aims is to un-crowd the office floor and create private as well as communal areas that are for performances other than work, but can be also alternative working or gathering zones.

Any city becomes richer with her uncommuted areas such as, the parks, forests, rivers, lakes or the sea; these are all areas that cannot be built upon to commute, and by definition left empty to create wide perspectives to view longer distances. These empty voids add great value to the existing buildings and even surrounding regions around them.

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Each unit is constructed in several steps decided together with the architect and the customer. The first step is the floor diameter, the second decision the height and the top diameter, thus a void is constructed in volume. Then the decision for the inner construction and functions are made. This concerns the planning of the shelves, desks, cabinets, seats etc., depending on the desired performance that this void is dedicated to.

Oblivion is conceived in a similar principle where the user / planner becomes part of the design process, by choosing the footprint dimensions, the height, the inner composition and surfaces, thus creating the specific form for each performance for the related project.

The next decision involves the electrical and electronic equipment, where the vertical and horizontal wiring can easily be conducted accordingly through the aluminium extruded beams. Following this, lighting solutions can be planned as led strips in the vertical beams where necessary. Finally the outer surface cover is installed; the colour can be selected in a presented fabric chart or again be developed uniquely with the customer if needed.

Planning the shelvesSurrounding shelves are supported by the conical structure, connected to vertical aluminium profiles.

Planning the desktopsDesktops can be planned where needed, again supported by the

inner structure without need for any legs, therefore providing a very rich

legspace.

LEARNINGVOIDS

LeV

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MEETINGVOIDS

MeV

Planning rooms to meetMeeting tables can be planned, again

supported by the inner structure therefore providing a very rich legspace for all attendees around the meeting table.

Digital screens can be hung on the vertical structure for presentations, video

conferences etc...

RETREATVOIDS

RtV

Planning the seatsRound seating units can be planned, supported by the inner structure without need for any legs. The seats are designed with armrests that also act as service surfaces for drinks, as well provide cable access and power for personal use.

“The transition of the space from measurable dimensions and rationality into the immeasurable dimension; feeling, hearing, to create an existance, a presence. This is not definable.”

Louis I. Kahn

The circular geometry also suggests an endlessness, in which there is no beginning or an end; Time, pace and movement in and around the place becomes part of the performance & experience. The critical intention is to create Voids instead of building boxes.

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Smart systems to control the light insideVertical aluminium beams serve to lay in the light fixtures mostly planned in LED and can be remote controlled by smart phones and tablets. These voids come with service units to help with snacks & drinks etc...

Napping areas Special voids for a daily nap, can be

constructed with beds and service units such as a minibar, sound systems

& earphones, revitalising scents, eye patches etc...

These voids can be planned proposing areas for a variety of performances for the creative mind; that are designated not by selection of furniture, but by creation of places for learning, discussing, working, meeting, for the creative community.

Geometric shapes in great scale serve to emphasize certain features and imply the body which is always in movement. As well the angled structure of the volumetric rooms provide vertical surfaces to be hung easily, thus one can erect compositions with shelves, desks or even seating units without any legs. The vertical surfaces support the horizontal ones where they all lean on each other in a silent balance.

“Engagement with abstract structural works can enable the mind to percieve freshly: the creation or viewing of these works requires an active process of distilling perception and experience to their essences, implicitly allowing one to reconsider the nature of perceptual experience itself from the ground up as it were. To experience in this way with the formation of new structures is thus seen as a creative act, in part because it suspends the constraints of both personal and historical conditioning, thereby enabling one to acquire a new perspective.”

*David Bohm, On Creativity

RELAXINGVOIDS

ReV

NAPPINGVOIDS

SIV

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The main element is the single box as the building block. The architect or space planner can develop with the customer their desired compositions as the system is designed to accommodate regular and ordered compositions as well as “chaotic stacking” to realize abstract installations.

The way the compositions are used, brings a unique character to the product for each set up, where life begins in the voids among the volumes, books, magazines, flowers, lamps, ceramic or glassware, etc…

Tube is designed as a fresh solution for storing documents and objects in the new work habitat. Replacing the rhythmically replicated typical file cabinet with doors, the design brings a new approach in the layout options and use of alternative volumes and spaces created while composing its elements.

The compositions presented with the abstract stacking of the tubes provide a rich variety of utilities. While the cabinets serve as storage units, the empty spaces created between the tubes present exciting alternative areas of use, either to store or to display.

TubeDesign by Studio Kairos, 2014

The dark side of the boxThe sides of the boxes always come in darker colours, to elude the volumetric

feeling and create the impression of stacking tubes.

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Each single box is designed resembling a tube due to its constructive elements, as the surrounding surface panels are extruded out of the two sides. The handle is concealed in a cut-through opening detail; this cut line is either above or below the cabinet depending on the direction of the door opening.

Invisible handlesThe handles are designed as an opening between two adjacent panel surfaces as a slit running all the way through.

Open areas created to displayThe boxes are for storing all necessary documents and stationary etc. The open areas created by random stacking of the boxes are alternative spaces both for display and storage.

According to their positioned height and function, the cabinet modules have door options for; opening up, folding down or pull out drawers. With its refined outlines and detailing, the box has more of a sculptural effect than that of furniture with doors or handles.

Composed in the principles of “open work” no project would look alike, even using the same elements.

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Surfaces vertical and horizontal, all in different angles and directions, a chaotic order that has its own aesthetic language, this is Vis, a very light cabinet which is not constructed as a volume, but rather as planes horizontal and vertical. The “openness” in this work is devised through the constructional detailing.

VisDesign by Studio Kairos, 1998 (Relaunced by Koleksiyon in 2014)

A presence through chaotic columns

Thanks to the construction in the vertical axis, each single column piece is

oriented in a different direction. Concerning the final visual impact, every single composition is unpredictable and

open to interpretation.

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In this respect, Vis can be used as storage, display and moreover as a partitioning element between neighbouring zones that accommodate different performances. The richness carries on with the selection of colours for the vertical beams, which can create another level of dynamism, after the disorderly placed vertical panels all in different colours or in unison, in a mono chromatic tone of grey, anthracite or beige-white.

All the shelves are connected to each other through a chord that runs in the vertical beams. These beams are elliptical in shape therefore suggesting a strong feeling of direction in placing. During the installation the direction of each column section is free to the decision of the maker at that point. One can enjoy a series of interrelations inside the context of the structural system, where the beams all end up pointing at different directions, thus creating the unique dynamism for each and single cabinet.

The back panelThe panel on the back supports the system in terms of stability, as well as providing a partial wall impact to create a visual barrier and can add a sensory effect by the selection of vibrant colours.

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Halia is a new chair typology which is very refined in its form, resembling a flower in its simplest shape. The idea is to create a tranquil work environment with soft looking chair forms, as they are the most repeated objects in the work place.

HaliaDesign by Studio Kairos, 2014

Four starbase & feetThe four arm starbase comes with gliders with a small levelling possibility.

Soft armrestsThe armrests are designed as part of

the whole body in order not to compromise from the visual simplicity

and unity of the form.

The mechanismThe mechanism is also in a soft &

sculpted form, providing a tilt action that can be locked in three positions with

angled increments. The mechanism also has the height adjustement possibility.

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headrest and soft arm pads comes with five star base, gas lift and tilt mechanism

Visitor chair comes with sled base Visitor chair with four legs

comes in steel and chrome finish Visitor chair with four legs

comes in wood Armchair comes with medium

back Armchair with high back comes

with curved headrest Ottoman

Halia family comes in many sizes for different occasions in the work habitat;

Low armchair with higher depth and width comes with sled base, wooden legs and disc base

Operator’s chair with low back comes with five star base, gas lift and tilt mechanism

Operator’s chair with medium high back comes with five star base, gas lift and tilt mechanism

Manager’s chair with high back comes with five star base, gas lift and tilt mechanism

Director’s chair with high back,

that is connected to a mechanism which provides a tilt action that can be locked in three positions with angled increments. These mechanisms also have height adjustment possibility.

Specially designed wheels for the star base with the hollow centre add a light design image to the overall chair. Versions of the wheels for hard floor and soft floor are optional.

Halia works very much on the opposite direction of mechanical looking chairs which are the reflection of a machine spirit. This chair family designed in natural forms radiates tranquillity.

To maintain the crispness of the soft forms, all the chairs are produced in injected polyurethane foam. In order to add to the simplicity of the design, the body is a single piece

Chrome leg frames There are alternative solutions for

different areas and use, from four to five starbases, sledge bases, conical feet,

four legs with castors or feet etc. Each leg solution is adaptable to the shell

system with different height and depth.

BackshellThe chair platform offers a variety of seating options for guests, as well as for meeting and waiting areas, again with different height options on the backshell.

WheelsSpecial designed wheels for the

starbases can be specified for hard floor or soft floor options.

Higher back supportFor managers there is an upgraded

model with extra soft armrest and headrest options as well as a higher

back support.

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Fabric swatches

Memory 156

Memory 116

Coda 2 422

Coda 2 222

Steelcut Trio 2 124

Steelcut Trio 2 383

Remix 2 143

Coda 2 182

Coda 2 232 Coda 2 242

Remix 2 373

Basel 183

Remix 2 173

Coda 2 962

Memory 176

Remix 2 163

Steelcut Trio 2 153

Memory 196

STEELCUT TRIO 2

Designer: Dijkmeijer & RidolfoType: UpholsteryPattern: SolidComposition: 90% New wool worsted, 10% NylonWeight: 770 g/lin.m

Width: 140 cmDurability: 100.000 MartindalePilling: 3-4Lightfastness: 5Sustainability: Complies with EU ecolabel “The Flower”

MEMORY

Designer: Patricia UrquiolaType: UpholsteryPattern: OrganicComposition: 100% Trevira CSWeight: 700 g/lin.mWidth: 150 cm

Durability: 35.000 MartindalePilling: 4Lightfastness: 8Sustainability: Reduced environmental impactRepeat length: 144 cm

BASEL

Designer: Herzog & de MeuronType: UpholsteryPattern: SolidComposition: 90% New wool worsted, 10% NylonWeight: 510 g/lin.m

Coda 2 442

Remix 2 842Memory 976

Remix 2 543

Memory 476

Remix 2 643 Steelcut Trio 2 945

Memory 436

Remix 2 912

Steelcut Trio 2 353

Memory 656Coda 2 610

Steelcut Trio 2 533

Steelcut Trio 2 453 Remix 2 412

Coda 2 762Steelcut Trio 2 953

Remix 2 973

Width: 140 cmDurability: 50.000 MartindalePilling: 4Lightfastness: 6Sustainability: Natural fibres, Sustainable resource

CODA 2

Designer: Norway SaysType: UpholsteryPattern: GeometricComposition: 90% New wool, 10% NylonWeight: 860 g/lin.m

Width: 140 cmDurability: 100.000 MartindalePilling: 4Lightfastness: 5-6Sustainability: Natural fibres, Sustainable resource

REMIX 2

Designer: Giulio RidolfoType: UpholsteryPattern: SolidComposition: 90% New wool worsted, 10% NylonWeight: 415 g/lin.m

Width: 138 cmDurability: 100.000 MartindalePilling: 3-4Lightfastness: 5-6Sustainability: Complies with EU ecolabel “The Flower”

OblivionMain structure

The frame is composed of aluminium extruded beams 34 mm x 59 mm x 70 mm and in a thickness that varies from 2 mm to 4 mm. These profiles are the vertical posts erected to the main structure and carry all hanging elements. The SD 44/52 strength steel profile is 20 mm x 70 mm and in 2 mm thickness; this profile is bent in the radius of the composition. The steel beams are connected with aluminium profiles, via the injection aluminium elements, that also secure the frame system.

The outer skin is bent in layered MDF surfaces 10 mm thick, covered with fabric both on the inner and outer surfaces. As extra acoustic layers or fire retardant fabric surfaces are all available according to the requirements of each specific project, the fabric selection requires a special category.

Desks, shelves, counters, seating units

All interior vertical surfaces for desks, counters and the base for seating units are in 25 mm, all shelves 14 mm, MDF with a laminated finish or MDF with a special acrylic surface that is 4 mm thick on both sides. The panels have a chamfered edge detail all around. The horizontal surfaces are hung directly to the vertical beams, with steel brackets. The geometric shape of the structure enables the hanging of all shelves and desks without legs. All connections are fixed with metal inserts and screws.

CapBody structure

The body is composed of a 12 mm plywood structure that is covered with felt fabric both on the inner and outer surfaces. The two plywood based shells are connected with a steel insert through the adjacent edges. The back panel comes in lacquer, laminate or veneered surfaces as well as covered with the same fabric.

Accessories

A flexible lamp is presented as an option, which is covered with the same fabric and comes with a LED light.

Legs & structure

The frame and the leg system are composed of the same structural elements as the Borges work platform. Aluminium legs are fixed with an angle option. The feet are designed to provide a levelling of 25 mm. They are produced in polyamide 55 and come in a dark grey colour.

Vertical cable transfer

The vertical transfer of cables from the grommet to the system is provided by a translucent spine. Plug access is provided by a flap cover that presents power and data outlets, with a twist-open mechanism.

Structure

The structural beams under the whole system are designed in aluminium extruded profiles of 40 mm x 40 mm in a thickness varying from 2 to 3.2 mm. The idea is to present modularity in construction; this is critical as the system is presented as an open design for participation of planners and architects. For this reason the construction is composed with modularly connected parts and pieces that can easily be constructed and dismantled, rather than a welded steel carcase.

Sustainability

All the parts of the system are demountable at the end of the product life and therefore easily recycled. 95% of the structural system is produced in aluminium. Aluminium is the only metal that can be recycled 100%. All plastic elements and connectors are produced in polyamide 55, a highly recycleable material.

All desktops are presented with 25 mm MDF with laminate, veneer surface; these panels are designed with a chamfer detail on all edges to provide a light visual effect, thanks to this edge detail the desktops are without edge bending, this eliminates use of ABS material and glue.

BorgesLegs

The sculptural leg of the desk system is injected in aluminium. The leg is connected to the desk’s structural frame with a special apparatus in aluminium injection. The connection allows the user to position the leg in increments of angles in 22.5 degrees. This feature provides flexibility to use the legs either in straight position to allow maximum leg space and easy use of pedestals, or to use the legs in an angular position of 45 degrees directed to the corners, or 22.5 degrees with a milder angle position. The leg comes in epoxy finishes presented in the colour portfolio. As an option the outer facing surface can be polished, while the inner curves stay in the epoxy finishes.

Levelling

The feet are designed to provide a levelling of 25 mm. They are produced in Polyamide 55 and come in a dark grey colour.

Vertical cable transfer

The vertical cable transfer column is designed in a trapezoid geometry to have a lighter effect and prevent a voluminous feeling under the desk system. The column is produced in 1 mm sheet steel surfaces assembled on a tubular steel structure, 40 mm x 40 mm in 2 mm thickness. The steel carcase is painted in epoxy finishes presented in the colour portfolio. The “plug access” is provided by a flap cover that presents power and data outlets, with a twist-open mechanism.

Technical Specifications

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HaliaMain structure

All the chairs are produced in injected polyurethane foam with SD 44 strength steel carcase as inserts, for connecting relevant seating mechanisms.

Seating mechanism

The mechanism provides a tilt action with height adjustment possibility. The mechanism can be locked in three positions with angled increments.

Wheels;

Wheels have a load bearing capacity of 35 kg each, with an overall 175 kg load bearing capacity for the chair. Versions for hard floor and soft floor are optional. Special design with the hollow centre adds a light design image to the overall chair.

TubeMain structure

All the panel surfaces of the cabinets are in 18 mm, and the side panels are in 25 mm MDF with lacquer and veneer finishes presented in the portfolio. The front, back, bottom and top panels are presented in lighter colours, while the side panels are in a darker tone.

Doors & mechanismsThere are three different options for the door openings, depending on the height that each cabinet is positioned. On the ground level; the door opens as a drawer with a metal carcase inside. On the first level, the door has a flap opening mechanism; this level can be optionally used as a drawer again, depending on the needs of storage. The second level also comes as a door with a flap opening mechanism; this door can be used as a desktop when opened. The final and third level is proposed with a hinge opening door, where the door opens in an upward direction with gas spring arms on both sides.

Handle & locking mechanism

The handle is concealed within the chamfered edges of the two adjacent surfaces on the front. There are no protruding handles, all handles are flush with the surface. Locking mechanism is an option, as these cabinet compositions are mainly positioned for common area use.

Levelling

The bottom cabinet has levelling feet that allows a levelling for the shelf system from 25 mm feet with 20 mm adjustability.

Vertical cable transfer

The cables are received from the grommet in or around the system and initially carried horizontally around the outer circular beam on the ground level to reach the vertical beams. The vertical aluminium profiles have 3 alternative channels in different surfaces for cable transfer. All cable transfer for plug access around the desks, counters, seats, etc. and the LED lighting at the top level is via the vertical beams.

Plug access points

On all types of desks, meeting tables, counters, and the seating configuration the “plug access” is provided by a flap cover that presents power and data outlets, with a twist open mechanism. On the desks the access point is at the end of the desktop to allow maximum user space on desk. On the meeting tables the access point is placed in a central area for all participants to reach easily. On the seating units, the access point is centrally located between every user, under the service armrest and tray. The access for plugs are positioned in the front face of the armrest for the sake of practicality while charging personal phones, tablets etc.

VisMain structure

Vertical columns are the main structure of the system, there is a central tension cord with the M8 long screw that connects all the shelves and columns in a unit. The elliptical shaped aluminium profiles are 30 mm x 150 mm in a thickness varying from 2 to 4 mm. The connection of each profile to the shelves is provided with polyamide plastic inserts.

Shelves & back panel

All shelves are in 14 mm MDF with a laminated surface or a special acrylic of 4 mm covered on both sides. The back panel is 14 mm MDF with lacquer colours presented in the portfolio. The connection of the shelves with the back panel is realised with metal inserts.

Levelling

The bottom shelf comes with levelling feet in 25 mm height that allows a 10 mm levelling for the shelf system.

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Technical Details

OblivionWorking and living habitat

OBLIVION Ø420 H_360

Ø : 4200 mmH : 3600 mm

OBLIVION Ø420 H_240

Ø : 4200 mmH : 2400 mm

OBLIVION Ø420 H_240

Ø : 4200 mmH : 2400 mm

OBLIVION Ø340 H_150

Ø : 3400 mmH : 2400 mm

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OBLIVION Ø300 H_120

Ø : 3000 mmH : 1200 mm

OBLIVION Ø340 H_150

Ø : 3400 mmH : 1500 mm

OBLIVION Ø340 H_240

Ø : 3400 mmH : 2400 mm

OBLIVION Ø340 H_120

Ø : 3400 mmH : 1200 mm

OBLIVION Ø290 H_150

Ø : 2900 mmH : 1500 mm

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HALIA S0 AK MİS KKAHALIA S0 AK MİS 4YA/P/KK/BM

HALIA S0 KSYK 5YA/T/YK/BM

L : 725 mmD : 634 mmBH: 736 mmSH: 526 mm

L : 725 mmD : 629 mmBH: 744 mmSH: 526 mm

L : 745 mmD : 741 mmBH: 1065 mmSH: 707 mm

HALIA S0 AK MİS KKA

L : 725 mmD : 629 mmBH: 746 mmSH: 526 mm

HALIA S0 KSYK YÖN 5YA/T/YK/ 5TM/

L : 745 mmD : 741 mmBH: 1072 mmSH: 708 mm

HALIA S0 KSYK MİS AHA

L : 620 mmD : 672 mmBH: 970 mmSH: 607 mm

HALIA S0 YK OPR 5YA/T/YK/3TM

L : 745 mmD : 709 mmBH: 729 mmSH: 849 mm

L : 745 mmD : 709 mmBH: 738 mmSH: 823 mm

L : 745 mmD : 709 mmBH: 698 mmSH: 818 mm

HALIA S0 YK OPR 5YA/T/YK/5TM HALIA S0 YK OPR 5YA/T/YK/BM

HALIA S0 YK MİS KKA

L : 632 mmD : 608 mmH : 776 mm

HALIA S0 YK MİS KBA

L : 617 mmD : 599 mmH : 779 mm

HALIA S0 YSYK YÖN 5YA/T/YK/3TM

L : 745 mmD : 767 mmBH: 1127 mmSH: 1247 mm

Technical DetailsHaliaOffice Chair Family

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HALIA S0 YSYK YÖN 5YA/T/YK/BM

L : 745 mmD : 712 mmBH: 1094 mmSH: 1214 mm

L : 729 mmD : 767 mmBH: 1125 mmSH: 550 mm

HALIA HIGH BACK ARMCHAIR

HALIA LOW BACK ARMCHAIR

L : 600 mmD : 600 mmH : 400 mm

OTTOMAN POUF

L : 729 mmD : 767 mmBH: 773 mmSH: 550 mm

HALIA S0 KSYK YÖN 5YA/T/YK/3TM/

L : 745 mmD : 741 mmBH: 1098 mmSH: 732 mm

HALIA S0 YK MİS 4YA/P/KK/BM/

L : 615 mmD : 612 mmBH: 761 mmSH: 650 mm

HALIA S0 YK MİS AHA

L : 621 mmD : 608 mmH : 772 mm

HALIA S0 YSYK YÖN 5YA/T/YK/5TM

L : 745 mmD : 741 mmBH: 1143 mmSH: 1228 mm

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CAP SINGLE DESK UNIT

TUBE CABINET/WITH DRAWER

L : 1000 mmD : 650-888 mmH : 1572 mm

TUBE CABINETS/SUPPORT LEG

TUBE CABINET/WITH FOLDING DOOR TUBE CABINET/WITH DOOR OPENING UP

L : 1200 mmD : 400 mmH : 400 mm

L : 1200 mmD : 400 mmH : 400 mm

L : 1200 mmD : 400 mmH : 400 mm

L : 280 mmD : 40 mmH : 420 mm

CAP SINGLE DESK UNIT

TUBE CABINET/WITH DRAWER

L : 1000 mmD : 650-888 mmH : 1572 mm

TUBE CABINETS/SUPPORT LEG

TUBE CABINET/WITH FOLDING DOOR TUBE CABINET/WITH DOOR OPENING UP

L : 1200 mmD : 400 mmH : 400 mm

L : 1200 mmD : 400 mmH : 400 mm

L : 1200 mmD : 400 mmH : 400 mm

L : 280 mmD : 40 mmH : 420 mm

Technical Details

CapWorking cabinet

TubeStacked boxes

24

VIS 240H6

L : 2400 mmD : 400 mmH : 2178 mm

VIS 240H5

L : 2400 mmD : 400 mmH : 1824 mm

VIS 240H4

L : 2400 mmD : 400 mmH : 1470 mm

VIS 240H3

L : 2400 mmD : 400 mmH : 1116 mm

VIS 180H6

L : 1800 mmD : 400 mmH : 2178 mm

VIS 180H5

L : 1800 mmD : 400 mmH : 1824 mm

VIS 180H4

L : 1800 mmD : 400 mmH : 1470 mm

VIS 180H3

L : 1800 mmD : 400 mmH : 1116 mm

VisOpen storage

25

L : 2400 mmD : 830 mmH : 740 mm

SPLIT DESK/LEFT

L : 2000 mmD : 800 mmH : 740 mm

L : 1800 mmD : 900 mmH : 740 mm

DESK WITH MEETING EXTENSION

L : 2000 mmD : 1200 mmH : 740 mm

DOUBLE WORKSTATION

L : 2000 mmD : 1600 mmH : 740 mm

OVER HEAD CABINET

L : 800 mmD : 400 mmH : 400 mm

SHELF AXIS/RIGHT SHELF AXIS/LEFT SHELF AXIS/MIDDLE

SPLIT DESK/RIGHT OVAL DESK

L : 2400 mmD : 830 mmH : 740 mm

L : 2400 mmD : 830 mmH : 740 mm

L : 2000 mmD : 800 mmH : 740 mm

Technical DetailsBorgesWorking terminal

26

MEETING TABLE Ø1200

Ø : 1200 mmH : 750 mm

Ø : 900 mmH : 380 mm

FRAME COFFEE TABLE Ø900

Ø : 500 mmH : 456 mm

RAY COFFEE TABLE Ø500

Ø : 450 mmH : 550 mm

FRAME COFFEE TABLE Ø450

27

CAP/SINGLE WORK

L : 724 mmD : 808 mmH : 700 mm

SCREEN PAD

L : 700 mmD : 540 mmH : 16 mm

SHELF AXIS PANEL

L : 2380 mmD : 91 mmH : 3820 mm

MINI SCREEN

L : 1400 mmD : 54 mmH : 434 mm

ANGLED SIDE SCREEN

L : 565 mmD : 40 mmH : 369 mm

PROPELLER SCREEN

L : 900 mmD : 200 mmH : 458 mm

FILE HOLDER

L : 320 mmD : 300 mmH : 300 mm

PAPER TRAY

L : 320 mmD : 252 mmH : 60 mm

Technical Details

BorgesWorking terminal

28

Notes

29

Global NetworkTURKEYCumhuriyet Mahallesi Hacı Osman Bayırı Cad. No: 25 Sarıyer 34457 IstanbulTel: +90 212 363 63 63Fax: +90 212 223 48 25info@koleksiyon.com.tr

ENGLANDKoleksiyon Furniture LimitedBrewhouse Yard 9 LondonEC1V 4JR United KingdomTel: +44 (0)20 3405 1885info@koleksiyon.co.uk

EGYPTKoleksiyon EgyptThe 47th Building, 90th Street North 5th Settlement, New Cairo, EgyptTel: +20 2266 87 01Fax: +20 226 68 702info@koleksiyonegypt.com

GERMANYNetwork2DesignRöntgenstrasse 104, 64291Darmstadt, GermanyTel: +49 6151 9189512info@network2design.de

AUSTRALIAEnvoy FurnitureSuite 30391 Murphy Street Richmond 3121 Melbourne, AustraliaTel: +613 9029 3161dan@envoyfurniture.com.au

NETHERLANDS Loading-DDesign CollectionsG. van Nijenrodestraat 151 3621 GJ Breukelen, The Netherlands Tel: +31 63195 1872info@loading-ddesign.comthijs@loading-ddesign.com

LIBYA Avcı Interior Fourth Ring RoadVenezia Street, Benghazi, LibyaTel: +218 92 396 4653cihad@avciorman.com.tr

IRANMammut Construction7th Street, Khaled Estamboli Ave, No:7 P.O. Box 1513737511 Tehran, Iran Tel: +98 21 88 109 109info@mammutgroup.com

CYPRUSDivani Mobilya2 Irmak Sokak Gönyeli Çemberi, Gönyeli, Nicosia, CyprusTel: +90 392 224 04 50 - 51Fax: +90 392 225 65 79fetanetcan@gmail.com

SPAINArtis Arquitectura Interior S.a. Poligon Industrial El Cami dels Frares, parc.83, 25190 Lleida, SpainTel: +34973257800Fax: +34973257801artis@artis.es

AZERBAIJANWorkplace InteriorsBaku Residence Building25 Samed Vurgun Street Baku, AzerbaijanTel: +99 412 493 62 22ilham.behbudov@workplace.az

QATARAl Mana GalleriaSalwa Road Ramada Signals Nissan ShowroomP.O. Box 91 Doha, QatarTel: +974 4 428 3636cihan.koseoglu@almanagalleria.com.qa

KAZAKHSTANV-time Object Office Ltd.Office 111, b/c ‘Prime’ Furmanova 100 ‘g’ 050000, AlmatyTel: +7 727 312 11 22 / 23v-time@yandex.ru

BOSTON Diseno, Inc.460 Harrison AvenueBoston, MA 02118, USATel: +1 617 423 20 08info@koleksiyon.us

COLOMBIASchaller GroupCra 11 No: 93A-20 Bogota, ColombiaTel: +571 743 560mariam@schallertech.com

NEW YORKKoleksiyon New York228 East 58th Street New York, USATel: +1 702 525 24 44info@koleksiyon.us

PERUZiyazAvenue Mariscal La Mar 835, Lima, PeruTel: +51 714 9914webziyaz@ziyaz.com

DALLAS211 North Ervay, Suite 100Dallas, Texas 75201, USATel: +1 702 525 24 44info@koleksiyon.us

SAUDI ARABIATechnolight P.O. Box 12679 Jeddah 21483Saudi ArabiaTel: +966 2 669 3241 Fax: +966 2 668 3069hazemalazem@technolight-ksa.com

RUSSIA Grafit Interiors119021, Timura Frunze St. Bldg: 3, No:20 Moscow, RussiaTel: +7 499 922 42 12akochemazov@grafitinteriors.ru

JORDANTriology Furniture CompanyIritiria str. Um Uthienah Vista P.O. Box 630 - 11118 Amman, JordanTel: +962 6 5563778Fax: +962 6 5563779salah@trilogyfurniture.com

BAHRAINBuilders Depot SPC Block No 704 Road 411 Building 405 Flat 0 Salimabad Kingdom of BahrainTel: +97 176 80460info@buildersdepot.biz

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