SangBleu Kingdom was selected for the main title of this poster as it appropriates aesthetically the best from the past and present, which is a key characteristic of the subject itself – the plastic chair. Signo was a stylistic pairing choice to go with Sang Bleu. As for the Arabic Thuraya typeface, it was selected to pop out and contrast strongly with the Latin script as the key photographic exhibition took place in Lebanon.
Anonima Plastica narrates an anonymous design, in particular an object which doesn’t define any specific temporal or physical context. Disconnected from its surroundings, this object works as a time-space-machine: it shows us how shared – public or private – space can be generated anywhere anytime by means of a simple element, becoming meanwhile a witness of all the design scattered around the world.
The illustrative work, poster, publication, photographic documentation and installation displayed as part of Fuori Salone are based on a research carried out across Lebanon by thelovetriangle collective, sitting on this time-space-machine to look back at the transformation the country went through for the past 30 years. Where do objects we use come from? What happens when we do not use them? What will remain of mankind after mankind?
Developed as part of the thelovetriangle collective design interventions in collaboration with Wassim Melki, Francesca Gotti, Giovanni Emilio Galanello.