Koleksiyon Some Thoughts On Work 2015 by Koleksiyon

Some

Thoughts on Work 2015

Inviting the architect and the user as an active participant Koray Malhan Design Director Board Member of Design Foundation

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.

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

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.”

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.”

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.

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)

Borges Design by Studio Kairos, 2014

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. The cap This 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.

The shelf-axis The central axis is designed and planned uniquely for each project to create alternative work spots, that are freely scattered around the central core.

V-shaped coloumns These are vertical channels to provide cable access and also to support the long stretched shelf-axis all the way through.

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.

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.

A soft box A private box provides the user an acoustic privacy with its friendly and soft tactile qualities.

Ventilation gap The back panel has an opening on top for air ventilation.

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”.

Vertical cable access These access point provide all power & data service through the central shelf-axis. The light A 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.

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.

Oblivion Design by Koray Malhan, 2014

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.

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.

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 â&#x20AC;&#x153;Voidsâ&#x20AC;? 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.

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.

LEARNING VOIDS LeV

Planning the desktops Desktops can be planned where needed, again supported by the inner structure without need for any legs, therefore providing a very rich legspace.

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

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.

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.

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.

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. â&#x20AC;&#x153;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.â&#x20AC;? Louis I. Kahn MEETING VOIDS MeV

RETREAT VOIDS RtV

Planning rooms to meet Meeting 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...

Planning the seats Round 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.

NAPPING VOIDS SIV

RELAXING VOIDS ReV

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...

Smart systems to control the light inside Vertical 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...

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.

â&#x20AC;&#x153;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.â&#x20AC;? *David Bohm, On Creativity

Tube Design by Studio Kairos, 2014

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.

The dark side of the box The sides of the boxes always come in darker colours, to elude the volumetric feeling and create the impression of stacking tubes.

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, etcâ&#x20AC;Ś

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 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 â&#x20AC;&#x153;chaotic stackingâ&#x20AC;? to realize abstract installations.

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.

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 â&#x20AC;&#x153;open workâ&#x20AC;? no project would look alike, even using the same elements.

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

Open areas created to display The 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.

Vis Design by Studio Kairos, 1998 (Relaunced by Koleksiyon in 2014)

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 â&#x20AC;&#x153;opennessâ&#x20AC;? in this work is devised through the constructional detailing.

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.

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.

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.

The back panel The 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.

Halia Design by Studio Kairos, 2014

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. Soft armrests The armrests are designed as part of the whole body in order not to compromise from the visual simplicity and unity of the form.

The mechanism The 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.

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

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.

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.

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

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.

Higher back support For managers there is an upgraded model with extra soft armrest and headrest options as well as a higher back support.

Backshell The 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.

Wheels Special designed wheels for the starbases can be specified for hard floor or soft floor options.

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

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.

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,

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

Fabric swatches

Memory 156

Basel 183

Memory 176

Memory 196

Steelcut Trio 2 383

Remix 2 173

Remix 2 163

Coda 2 962

Steelcut Trio 2 153

Memory 116

Steelcut Trio 2 124

Remix 2 143

Coda 2 422

Coda 2 232

Coda 2 242

Coda 2 222

Coda 2 182

STEELCUT TRIO 2 Designer: Dijkmeijer & Ridolfo Type: Upholstery Pattern: Solid Composition: 90% New wool worsted, 10% Nylon Weight: 770 g/lin.m

Remix 2 373

MEMORY Width: 140 cm Durability: 100.000 Martindale Pilling: 3-4 Lightfastness: 5 Sustainability: Complies with EU ecolabel “The Flower”

Designer: Patricia Urquiola Type: Upholstery Pattern: Organic Composition: 100% Trevira CS Weight: 700 g/lin.m Width: 150 cm

BASEL Durability: 35.000 Martindale Pilling: 4 Lightfastness: 8 Sustainability: Reduced environmental impact Repeat length: 144 cm

Designer: Herzog & de Meuron Type: Upholstery Pattern: Solid Composition: 90% New wool worsted, 10% Nylon Weight: 510 g/lin.m

Steelcut Trio 2 453

Memory 436

Remix 2 412

Remix 2 912

Steelcut Trio 2 953

Coda 2 762

Memory 976

Steelcut Trio 2 353

Remix 2 842

Remix 2 973

Coda 2 610

Memory 656

Memory 476

Remix 2 643

Steelcut Trio 2 533

Remix 2 543

Coda 2 442

CODA 2 Width: 140 cm Durability: 50.000 Martindale Pilling: 4 Lightfastness: 6 Sustainability: Natural fibres, Sustainable resource

Designer: Norway Says Type: Upholstery Pattern: Geometric Composition: 90% New wool, 10% Nylon Weight: 860 g/lin.m

Steelcut Trio 2 945

REMIX 2 Width: 140 cm Durability: 100.000 Martindale Pilling: 4 Lightfastness: 5-6 Sustainability: Natural fibres, Sustainable resource

Designer: Giulio Ridolfo Type: Upholstery Pattern: Solid Composition: 90% New wool worsted, 10% Nylon Weight: 415 g/lin.m

Width: 138 cm Durability: 100.000 Martindale Pilling: 3-4 Lightfastness: 5-6 Sustainability: Complies with EU ecolabel â&#x20AC;&#x153;The Flowerâ&#x20AC;?

Technical Specifications Borges

Oblivion

Legs

Main structure

The sculptural leg of the desk system is injected in aluminium. The leg is connected to the deskâ&#x20AC;&#x2122;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 â&#x20AC;&#x153;plug accessâ&#x20AC;? is provided by a flap cover that presents power and data outlets, with a twist-open mechanism.

Cap Body structure

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.

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.

Sustainability

Legs & structure

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.

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.

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.

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.

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.

Tube Main 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.

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.

Doors & mechanisms There 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.

Shelves & back panel

Handle & locking mechanism

Seating mechanism

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.

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.

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

Levelling

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

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 â&#x20AC;&#x153;plug accessâ&#x20AC;? 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.

Vis Main structure

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

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.

Technical Details Oblivion

Working and living habitat

OBLIVION Ø420 H_360

OBLIVION Ø420 H_240

Ø : 4200 mm H : 3600 mm

Ø : 4200 mm H : 2400 mm

OBLIVION Ø420 H_240

OBLIVION Ø340 H_150

Ø : 4200 mm H : 2400 mm

Ø : 3400 mm H : 2400 mm

OBLIVION Ø340 H_150

OBLIVION Ø340 H_120

Ø : 3400 mm H : 1500 mm

Ø : 3400 mm H : 1200 mm

OBLIVION Ø340 H_240

OBLIVION Ø290 H_150

Ø : 3400 mm H : 2400 mm

Ø : 2900 mm H : 1500 mm

OBLIVION Ø300 H_120 Ø : 3000 mm H : 1200 mm

Technical Details Halia

Office Chair Family

HALIA S0 AK MİS 4YA/P/KK/BM

HALIA S0 AK MİS KKA

L : D : BH: SH:

725 mm 634 mm 736 mm 526 mm

725 mm 629 mm 746 mm 526 mm

725 mm 629 mm 744 mm 526 mm

HALIA S0 KSYK YÖN 5YA/T/YK/ 5TM/

HALIA S0 KSYK 5YA/T/YK/BM

HALIA S0 KSYK MİS AHA

L : D : BH: SH:

745 mm 741 mm 1072 mm 708 mm

745 mm 741 mm 1065 mm 707 mm

620 mm 672 mm 970 mm 607 mm

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

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

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

L : D : BH: SH:

745 mm 709 mm 729 mm 849 mm

745 mm 709 mm 738 mm 823 mm

745 mm 709 mm 698 mm 818 mm

HALIA S0 YK MİS KBA

HALIA S0 YK MİS KKA

HALIA S0 YSYK YÖN 5YA/T/YK/3TM

L : 617 mm D : 599 mm H : 779 mm

L : 632 mm D : 608 mm H : 776 mm

L : D : BH: SH:

745 mm 767 mm 1127 mm 1247 mm

HALIA S0 KSYK YÖN 5YA/T/YK/3TM/

HALIA S0 YSYK YÖN 5YA/T/YK/BM

HALIA LOW BACK ARMCHAIR

L : D : BH: SH:

745 mm 741 mm 1098 mm 732 mm

745 mm 712 mm 1094 mm 1214 mm

729 mm 767 mm 773 mm 550 mm

HALIA S0 YK MİS 4YA/P/KK/BM/

HALIA S0 YSYK YÖN 5YA/T/YK/5TM

HALIA HIGH BACK ARMCHAIR

L : D : BH: SH:

615 mm 612 mm 761 mm 650 mm

745 mm 741 mm 1143 mm 1228 mm

HALIA S0 YK MİS AHA

OTTOMAN POUF

L : 621 mm D : 608 mm H : 772 mm

L : 600 mm D : 600 mm H : 400 mm

729 mm 767 mm 1125 mm 550 mm

Technical Details Cap

Working cabinet

CAP SINGLE DESK UNIT L : 1000 mm D : 650-888 mm H : 1572 mm

Tube

Stacked boxes

TUBE CABINET/WITH DRAWER

TUBE CABINET/WITH FOLDING DOOR

TUBE CABINET/WITH DOOR OPENING UP

L : 1200 mm D : 400 mm H : 400 mm

TUBE CABINET/WITH DRAWER

TUBE CABINET/WITH FOLDING DOOR

TUBE CABINET/WITH DOOR OPENING UP

L : 1200 mm D : 400 mm H : 400 mm

TUBE CABINETS/SUPPORT LEG L : 280 mm D : 40 mm H : 420 mm

Vis

Open storage

VIS 240H6

VIS 240H5

VIS 240H4

L : 2400 mm D : 400 mm H : 2178 mm

L : 2400 mm D : 400 mm H : 1824 mm

L : 2400 mm D : 400 mm H : 1470 mm

VIS 240H3

VIS 180H6

VIS 180H5

L : 2400 mm D : 400 mm H : 1116 mm

L : 1800 mm D : 400 mm H : 2178 mm

L : 1800 mm D : 400 mm H : 1824 mm

VIS 180H4

VIS 180H3

L : 1800 mm D : 400 mm H : 1470 mm

L : 1800 mm D : 400 mm H : 1116 mm

Technical Details Borges Working terminal

SHELF AXIS/RIGHT

SHELF AXIS/LEFT

SHELF AXIS/MIDDLE

L : 2400 mm D : 830 mm H : 740 mm

SPLIT DESK/LEFT

SPLIT DESK/RIGHT

OVAL DESK

L : 2000 mm D : 800 mm H : 740 mm

L : 1800 mm D : 900 mm H : 740 mm

DESK WITH MEETING EXTENSION

DOUBLE WORKSTATION

OVER HEAD CABINET

L : 2000 mm D : 1200 mm H : 740 mm

L : 2000 mm D : 1600 mm H : 740 mm

L : 800 mm D : 400 mm H : 400 mm

MEETING TABLE Ø1200

FRAME COFFEE TABLE Ø900

FRAME COFFEE TABLE Ø450

Ø : 1200 mm H : 750 mm

Ø : 900 mm H : 380 mm

Ø : 450 mm H : 550 mm

RAY COFFEE TABLE Ø500 Ø : 500 mm H : 456 mm

Technical Details Borges Working terminal

CAP/SINGLE WORK

SCREEN PAD

SHELF AXIS PANEL

L : 724 mm D : 808 mm H : 700 mm

L : 700 mm D : 540 mm H : 16 mm

L : 2380 mm D : 91 mm H : 3820 mm

MINI SCREEN

ANGLED SIDE SCREEN

PROPELLER SCREEN

L : 1400 mm D : 54 mm H : 434 mm

L : 565 mm D : 40 mm H : 369 mm

L : 900 mm D : 200 mm H : 458 mm

FILE HOLDER

PAPER TRAY

L : 320 mm D : 300 mm H : 300 mm

L : 320 mm D : 252 mm H : 60 mm

Notes

Global Network TURKEY

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

ENGLAND

IRAN

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

CYPRUS

Koleksiyon Furniture Limited Brewhouse Yard 9 London EC1V 4JR United Kingdom Tel: +44 (0)20 3405 1885 info@koleksiyon.co.uk

Divani Mobilya 2 Irmak Sokak Gönyeli Çemberi, Gönyeli, Nicosia, Cyprus Tel: +90 392 224 04 50 - 51 Fax: +90 392 225 65 79 fetanetcan@gmail.com

EGYPT

SPAIN

Koleksiyon Egypt The 47th Building, 90th Street North 5th Settlement, New Cairo, Egypt Tel: +20 2266 87 01 Fax: +20 226 68 702 info@koleksiyonegypt.com

GERMANY

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

AZERBAIJAN

Network2Design Röntgenstrasse 104, 64291 Darmstadt, Germany Tel: +49 6151 9189512 info@network2design.de

Workplace Interiors Baku Residence Building 25 Samed Vurgun Street Baku, Azerbaijan Tel: +99 412 493 62 22 ilham.behbudov@workplace.az

AUSTRALIA

QATAR

Envoy Furniture Suite 30391 Murphy Street Richmond 3121 Melbourne, Australia Tel: +613 9029 3161 dan@envoyfurniture.com.au

NETHERLANDS

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

LIBYA

Avcı Interior Fourth Ring Road Venezia Street, Benghazi, Libya Tel: +218 92 396 4653 cihad@avciorman.com.tr

www.koleksiyoninternational.com

Al Mana Galleria Salwa Road Ramada Signals Nissan Showroom P.O. Box 91 Doha, Qatar Tel: +974 4 428 3636 cihan.koseoglu@almanagalleria.com.qa

KAZAKHSTAN

COLOMBIA

Schaller Group Cra 11 No: 93A-20 Bogota, Colombia Tel: +571 743 560 mariam@schallertech.com

NEW YORK

Koleksiyon New York 228 East 58th Street New York, USA Tel: +1 702 525 24 44 info@koleksiyon.us

PERU

Ziyaz Avenue Mariscal La Mar 835, Lima, Peru Tel: +51 714 9914 webziyaz@ziyaz.com

DALLAS

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

SAUDI ARABIA

Technolight P.O. Box 12679 Jeddah 21483 Saudi Arabia Tel: +966 2 669 3241 Fax: +966 2 668 3069 hazemalazem@technolight-ksa.com

RUSSIA

Grafit Interiors 119021, Timura Frunze St. Bldg: 3, No:20 Moscow, Russia Tel: +7 499 922 42 12 akochemazov@grafitinteriors.ru

JORDAN

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

Triology Furniture Company Iritiria str. Um Uthienah Vista P.O. Box 630 - 11118 Amman, Jordan Tel: +962 6 5563778 Fax: +962 6 5563779 salah@trilogyfurniture.com

BOSTON

BAHRAIN

Diseno, Inc. 460 Harrison Avenue Boston, MA 02118, USA Tel: +1 617 423 20 08 info@koleksiyon.us

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