exhibition: Istanbul Otherwise
Domus Academy, Milan, 23 March – 12 April 2010
Bauhaus Universitat Weimar, Germany, 16 April – 6 May 2010
Yildiz Technical University, Istanbul, 18 May – 31 May 2010

Homage to working children
Koray Ozgen created this “monument-object”, for a commission in the context of Istanbul, 2010 European Capital of Culture. Seven contemporary Turkish designers were invited to create objects on the theme “Istanbul Otherwise”.

Without a name / Koray Ozgen
When set out to think with an Istanbul Otherwise” approach, the shoe shine box can lead the designer to different concepts. Literally, this object suggests those large shiny boxes that tourists coming to Istanbul are accustomed to see in the lobbies of grand hotels. Yet, as a matter of fact, as we roam the sidewalks or squares of Istanbul, we often come across children who shine shoes using small boxes and brushes made suitably for their small hands. In such context, the designer may express him-/herself through an object, by detaching that object from its contemporary cultural marketing typology with an intervention that establishes a link between the past and the present. One way to cherish in our minds these shoe shine boxes that are identified with children working as shoe shiners deprived of their homes, schools, and non-existent toys during significant periods of their lives, may be to turn them into “monument-objects”. Objects which represent the possibility of a life equal to the respect they deserve as human beings and an “Istanbul otherwise” where they would not have to shine shoes. Objects we can even install in places in Istanbul that have witnessed this “sadness”.

www.istanbulotherwise

exhibition/event design: Istanbul Contrast – Dice Kayek
Hall des Maréchaux, Musée des Arts Décoratifs, Paris. 30 March 2010
Turkish Cultural Season in France / IKSV

Koray Ozgen designed the visual identity and scenography of the “Istanbul Contrast” exhibition which took place within in the framework of the Turkish Cultural Season in France.
www.en.istanbul2010.org

Located at “Hall des Maréchaux” of the Musée des Arts Décoratifs, the scenography of the exhibition had a prior engagement to respect the historical and prestigious nature of the setting. The scenography made a basic use of paper and light to put on stage the collection of the fashion designers Dice Kayek inspired by the multiple facets of the city of Istanbul. The major elements of the scenography were lighted walls enlighting Istanbul themed photographs by S. Kösemen, podiums upon which dressmaker forms and digital information panels were installed, lighted columns carrying the exhibition information and special lighting effects. Rose flavoured lokoums were served to guests and fresh tulip decorations installed to reinforce the multi-sensorial effect along with background tunes from Burhan Öcal.

exhibition: Ornementa, Paris Istanbul
1 December 2009 – 30 January 2010
Les Ateliers de Paris invites designers to think on the theme “Ornament”.
A group exhibition within the context of the Turkish Cultural Season in France.

“Seraphim”: Room divider and glassware by Koray Ozgen

“The poetry of lightness consists of creating a floating space allowing every kind of communication and flow between cultures. Just as clouds and smoke have become scientific models, so too design finds its real and fictional medium in ornamentation. It is an insert combining Istanbul on Seine in the finery and shadow of a redefined concept of ideal beauty shared by East and West, Europe and Asia.”
Christine Buci-Glucksmann (exhibition catalog)

Istanbul, Traversée

Exhibition identity and signage design by Ozgen Design Studio for Lille3000.
Palais des Beaux Arts de Lille, 14 March – 12 July 2009
Exhibition curated by Caroline Naphegyi

The Palais des Beaux-Arts of Lille is a historical monument composed of several buildings with diverse architectural styles and housing permanent works. A visual intervention within the framework of a temporary exhibition had to remain discrete so as not to stand in the light of the existant works and not to merge with the the Museum’s original signage. It was a necessity to create an efficient signage through an immediate identification, orientation and information system which would give directions as well as information. The exhibition logotype is composed of two typographical elements : “Istanbul” and “Traversée”. A work on the Century Gothic Bold typeface has been done to
give a distinctive typographical aspect to the name “Istanbul”, associated to the word “Traversée” making directly reference to the silhouette of Istanbul. As a whole, the accent and the comma become a symbol : the intersection which makes up a compact graphic image. The creation of the exhibition walk through signage is inspired from the compass which is the essential instrument for space

The Toolives kitchen & table top utensils collection is made out of wood collected from seasonal pruning of olive trees from the Aegean shores of Anatolia, one of the oldest regions of olive tree cultivation in the world. The wood was normally used as firewood by local people for heating in winter time. Intended to be burnt, the precious wood comes back to life as unique and durable kitchen tools.

*odun ince isler is a new brand created by an olive oil producing company in a village on the Aegean shores of Anatolia with the aim of bringing together olive wood and design ideas.

Homage to working children
Koray Ozgen created this “monument-object”, for a commission in the context of Istanbul, 2010 European Capital of Culture. Seven contemporary Turkish designers were invited to create objects on the theme “Istanbul Otherwise”.

Without a name / Koray Ozgen
When set out to think with an Istanbul Otherwise” approach, the shoe shine box can lead the designer to different concepts. Literally, this object suggests those large shiny boxes that tourists coming to Istanbul are accustomed to see in the lobbies of grand hotels. Yet, as a matter of fact, as we roam the sidewalks or squares of Istanbul, we often come across children who shine shoes using small boxes and brushes made suitably for their small hands. In such context, the designer may express him-/herself through an object, by detaching that object from its contemporary cultural marketing typology with an intervention that establishes a link between the past and the present. One way to cherish in our minds these shoe shine boxes that are identified with children working as shoe shiners deprived of their homes, schools, and non-existent toys during significant periods of their lives, may be to turn them into “monument-objects”. Objects which represent the possibility of a life equal to the respect they deserve as human beings and an “Istanbul otherwise” where they would not have to shine shoes. Objects we can even install in places in Istanbul that have witnessed this “sadness”.

www.istanbulotherwise

Homage to working children
Koray Ozgen created this “monument-object”, for a commission in the context of Istanbul, 2010 European Capital of Culture. Seven contemporary Turkish designers were invited to create objects on the theme “Istanbul Otherwise”.

Without a name / Koray Ozgen
When set out to think with an Istanbul Otherwise” approach, the shoe shine box can lead the designer to different concepts. Literally, this object suggests those large shiny boxes that tourists coming to Istanbul are accustomed to see in the lobbies of grand hotels. Yet, as a matter of fact, as we roam the sidewalks or squares of Istanbul, we often come across children who shine shoes using small boxes and brushes made suitably for their small hands. In such context, the designer may express him-/herself through an object, by detaching that object from its contemporary cultural marketing typology with an intervention that establishes a link between the past and the present. One way to cherish in our minds these shoe shine boxes that are identified with children working as shoe shiners deprived of their homes, schools, and non-existent toys during significant periods of their lives, may be to turn them into “monument-objects”. Objects which represent the possibility of a life equal to the respect they deserve as human beings and an “Istanbul otherwise” where they would not have to shine shoes. Objects we can even install in places in Istanbul that have witnessed this “sadness”.

www.istanbulotherwise

Homage to working children
Koray Ozgen created this “monument-object”, for a commission in the context of Istanbul, 2010 European Capital of Culture. Seven contemporary Turkish designers were invited to create objects on the theme “Istanbul Otherwise”.

Without a name / Koray Ozgen
When set out to think with an Istanbul Otherwise” approach, the shoe shine box can lead the designer to different concepts. Literally, this object suggests those large shiny boxes that tourists coming to Istanbul are accustomed to see in the lobbies of grand hotels. Yet, as a matter of fact, as we roam the sidewalks or squares of Istanbul, we often come across children who shine shoes using small boxes and brushes made suitably for their small hands. In such context, the designer may express him-/herself through an object, by detaching that object from its contemporary cultural marketing typology with an intervention that establishes a link between the past and the present. One way to cherish in our minds these shoe shine boxes that are identified with children working as shoe shiners deprived of their homes, schools, and non-existent toys during significant periods of their lives, may be to turn them into “monument-objects”. Objects which represent the possibility of a life equal to the respect they deserve as human beings and an “Istanbul otherwise” where they would not have to shine shoes. Objects we can even install in places in Istanbul that have witnessed this “sadness”.

Koray Ozgen designed the visual identity and scenography of the “Istanbul Contrast” exhibition which took place within in the framework of the Turkish Cultural Season in France.
www.en.istanbul2010.org

Located at “Hall des Maréchaux” of the Musée des Arts Décoratifs, the scenography of the exhibition had a prior engagement to respect the historical and prestigious nature of the setting. The scenography made a basic use of paper and light to put on stage the collection of the fashion designers Dice Kayek inspired by the multiple facets of the city of Istanbul. The major elements of the scenography were lighted walls enlighting Istanbul themed photographs by S. Kösemen, podiums upon which dressmaker forms and digital information panels were installed, lighted columns carrying the exhibition information and special lighting effects. Rose flavoured lokoums were served to guests and fresh tulip decorations installed to reinforce the multi-sensorial effect along with background tunes from Burhan Öcal.

Koray Ozgen designed the visual identity and scenography of the “Istanbul Contrast” exhibition which took place within in the framework of the Turkish Cultural Season in France.
www.en.istanbul2010.org

Located at “Hall des Maréchaux” of the Musée des Arts Décoratifs, the scenography of the exhibition had a prior engagement to respect the historical and prestigious nature of the setting. The scenography made a basic use of paper and light to put on stage the collection of the fashion designers Dice Kayek inspired by the multiple facets of the city of Istanbul. The major elements of the scenography were lighted walls enlighting Istanbul themed photographs by S. Kösemen, podiums upon which dressmaker forms and digital information panels were installed, lighted columns carrying the exhibition information and special lighting effects. Rose flavoured lokoums were served to guests and fresh tulip decorations installed to reinforce the multi-sensorial effect along with background tunes from Burhan Öcal.

Homage to working children
Koray Ozgen created this “monument-object”, for a commission in the context of Istanbul, 2010 European Capital of Culture. Seven contemporary Turkish designers were invited to create objects on the theme “Istanbul Otherwise”.

Without a name / Koray Ozgen
When set out to think with an Istanbul Otherwise” approach, the shoe shine box can lead the designer to different concepts. Literally, this object suggests those large shiny boxes that tourists coming to Istanbul are accustomed to see in the lobbies of grand hotels. Yet, as a matter of fact, as we roam the sidewalks or squares of Istanbul, we often come across children who shine shoes using small boxes and brushes made suitably for their small hands. In such context, the designer may express him-/herself through an object, by detaching that object from its contemporary cultural marketing typology with an intervention that establishes a link between the past and the present. One way to cherish in our minds these shoe shine boxes that are identified with children working as shoe shiners deprived of their homes, schools, and non-existent toys during significant periods of their lives, may be to turn them into “monument-objects”. Objects which represent the possibility of a life equal to the respect they deserve as human beings and an “Istanbul otherwise” where they would not have to shine shoes. Objects we can even install in places in Istanbul that have witnessed this “sadness”.

www.istanbulotherwise

Homage to working children
Koray Ozgen created this “monument-object”, for a commission in the context of Istanbul, 2010 European Capital of Culture. Seven contemporary Turkish designers were invited to create objects on the theme “Istanbul Otherwise”.

Without a name / Koray Ozgen
When set out to think with an Istanbul Otherwise” approach, the shoe shine box can lead the designer to different concepts. Literally, this object suggests those large shiny boxes that tourists coming to Istanbul are accustomed to see in the lobbies of grand hotels. Yet, as a matter of fact, as we roam the sidewalks or squares of Istanbul, we often come across children who shine shoes using small boxes and brushes made suitably for their small hands. In such context, the designer may express him-/herself through an object, by detaching that object from its contemporary cultural marketing typology with an intervention that establishes a link between the past and the present. One way to cherish in our minds these shoe shine boxes that are identified with children working as shoe shiners deprived of their homes, schools, and non-existent toys during significant periods of their lives, may be to turn them into “monument-objects”. Objects which represent the possibility of a life equal to the respect they deserve as human beings and an “Istanbul otherwise” where they would not have to shine shoes. Objects we can even install in places in Istanbul that have witnessed this “sadness”.

www.istanbulotherwise

The Kasa Gallery celebrates its 10 years of existence and has been exhibiting many Turkish and international artists.
Koray Ozgen has exhibited his design collection in Kasa Gallery of Sabanci University in Turkey, in 2002.

Ays tumblers

Ambiente Trends2010

Ays tumblers designed by Koray Ozgen have been selected for the Ambiente Trends 2010 exhibition in Frankfurt.

“Seraphim”
Room divider and glassware by Koray Ozgen
Paravent et verrerie par Koray Ozgen

“Seraphim”
Room divider and glassware by Koray Ozgen
Paravent et verrerie par Koray Ozgen

Cité des Sciences et l’Industrie, Paris.

23 October 2009 – 21 February 2010

RAKI set exhibited at “L’objet du design”
An exhibition curated by Sismo for the inauguration of the Cité du Design in Saint Etienne.
October 1, 2009 – August 22, 2010
Ensemble de RAKI est à l’exposition “L’objet du design”
Une exposition conçu par Sismo à l’occasion de l’inauguration de la Cité du Design à Saint Etienne.
1er octobre 2009 – 22 août 2010

Document/magazine holder
Epoxy laquered steel.

Range-documents/porte-revues
Acier laqué epoxy.

Vintage & Young and Konik have received a label from the Observeur du Design 2010
Vintage & Young et Konik ont été labellisés par l’Observeur du Design 2010

In 2009, Denizli by Pasabahçe (Sisecam Group) has launched Vintage & Young carafes, the RAKI set and the Konik tealight holder designed by Koray Ozgen.
En 2009, Denizli by Pasabahçe (Sisecam Group) a lancé les carafes Vintage & Young, le photophore Konik et l’ensemble de RAKI créés par Koray Ozgen.

Wine carafes
The traditional form of the Bordeaux et Bourgogne/Loire type wine bottles was the inspiration for the curves of the “Young & Vintage” carafes. Their formal evolution allows their decantation and the revelation of the nature of their content. Mouth blown glass.
Carafes à vin
La forme traditionnelle des bouteilles de vin de type Bordeaux et Bourgogne/Loire est le point de départ des courbes des carafes “Young & Vintage”. Leur évolution formelle permet la décantation et la révélation de la nature de leurs contenus. Verre soufflé à la bouche.

Vintage

Young

Ad Vitam (Magnifying) mirror. Solid oak.
“My son and Dad”, a group exhibition during Istanbul Design Weekend 2009.
18 June – 6 July 2009, Lush Hotel, Istanbul.

Blue Topaz
Brand identity

Following the corporate design of Topaz Restaurant at Gümüssuyu in 2007, Ozgen Design Studio designed the corporate image of Blue Topaz which was opened in the hotspot multi-venue club “Reina” at the Bosphorus waterfront, in May 2009.

“Istanbul, traversée” exhibition, Palais des Beaux Arts de Lille
14 March – 12 Juillet 2009

Lille3000 – EuropeXXL
“Istanbul, traversée” exhibition, Palais des Beaux Arts de Lille
14 March – 12 July 2009

Exhibition curated by Caroline Naphegyi
Featuring: Ali Kazma, Aksel Zeydan, Pinar Yolaçan, Ceren Oykut, Deniz Gül, Inci Eviner, Erinç Seymen, Hussein Chalayan, Sarkis, Corey Mc Corkle, Hüseyin Bahri Alptekin, Bashir Borlakov, Sener Ozmen & Erkan Ozgen, Hale Tenger, Serkan Özkaya, Burak Delier, Servet Kocyigit, Erik Göngrich, Aydan Murtezaoglu, Erik Goengrich, Köken Ergun, Katja Eydel, Camilla Rocha, Ara Güler…

Wine carafes: “Young” and “Vintage”

RAKI* – Carafe, twin glasses and ice bucket for Denizli by Pasabahçe.
These twin glasses and the carafe accompany us for the art of drinking RAKI. “Tek” (simple) et “Duble” (Double) of RAKI, a small or a big bottle, the traditional volumes are symbolized through the deformation of the archetypal form of the RAKI bottle.
*Traditional Turkish local spirit