Pli, 25th anniversary
25 years after its commercial launch in 2000, the Pli letter holder is being released in an all-new edition. Designed in 1999 as a reinterpretation of The American Institute of Graphic Arts (AIGA) postal pictogram, the object has been featured in trendsetting retail points such as Colette, the Musée de la Poste Store, Rossana Orlandi, and the MoMA Design Stores in New York and Tokyo. To mark this 25th anniversary, Ozgen Design is replacing original production methods, such as laser cutting and epoxy painting, with 3D printing. This shift in manufacturing has led to an evolution of the envelope’s form, with lines adapted to the specific constraints and possibilities of additive manufacturing.The original 1999 design has thus evolved into a new geometry, shaped by the technical characteristics of three-dimensional printing.Produced in bioplastics by ODC in Grand Paris, this new Pli features a textured finish. It is available in black, red, blue, and yellow—the latter a reference to the iconic color of the French postal service, La Poste. This version marks the object’s transition toward local, technology-driven production, turning a utilitarian accessory into a specialized 3D-printed piece.
Fiadex
Space Identity & Planning : Fiadex, Ingénierie patrimoniale – Nanterre.
The Metamorphosis of an Object
The Evolving Borne: Towards Sustainable Manufacturing
Inspired by a classic piece of urban furniture, designer Koray Ozgen transformed a common urban element into a precisely useful object when transposed into the domestic space. In 1999, he thus initiated the “Borne,” the very first concrete doorstop model. This bold creation marked the beginning of a series of evolutions, each reflecting an innovative design approach and a growing commitment to sustainability.
From Volcanic Stone to Rammed Earth: A Material Evolution
In 2002, the “Borne” underwent its first significant transformation, adopting Anatolian volcanic stone. Hand-turned, this version, named “Ankara,” added an unprecedented artisanal dimension and textural richness.
Facing a growing awareness of the carbon footprint, Koray Ozgen shifted production towards more local materials and supply chains. Thus, in 2007, the “Borne” was crafted from Burgundy stone, giving birth to the “Burgundy” version. This choice not only reduced the environmental impact related to transport but also highlighted the expertise and resources of a French region.
More recently, the “Borne” took another step in its ecological commitment with the reintroduction of production in rammed raw earth. By utilizing excavated earth from the “Grand Paris” construction sites in the Île-de-France region, this version embodies a circular economy approach and low-carbon design. Named “Borne Grand Paris,” it symbolizes the integration of design into an environmentally friendly process, transforming local, low-impact materials into objects that are both functional and aesthetic.
This continuous “mutation” of the “Borne” demonstrates a constant pursuit of innovation, blending aesthetics, functionality, and environmental responsibility.