Amandine Alessandra has some very inspiring typographic experiments documented on her website.
"Amandine Alessandra is a photographer and graphic designer based in London.
After a Masters in Fine Arts & Aesthetics from the Université de Provence in 2003, she moved to the UK where she runs her own photographic practice since 2007 and graduated with a Masters in Graphic Design from the London College of Communication in 2009. She now works as a freelance graphic designer."
Eric Ku goes for a literal interpretation:
"Instead of giving new definition, I redefined the concept of a chair by using alphabet. One is able to construct a chair by assembling the redesigned alphabets."
I'm not sure how comfortable it would be, but I like the concept.
"Michael Bom has designed the abstract typographic Typo chair. Made from recycled billboards of Finnish Birch multiplex. Impressive, well formed and comfortable. Typo chair is a real eye catcher for a dining room or restaurant. Because each billboard is different each chair has it's unique typographic design."
Alexie Sommer has created a chair made from 250 sheets of cardboard.
"The a-chair was realised at the Royal College of Art. Initially inspired by a ply-wood furniture exhibition at the Design Museum, which lead to researching Frank Gehry’s cardboard furniture, typographic forms and sustainable materials." (photo of Alan Fletcher reading his book, The Art of Looking Sideways)
Heather Rasmussen is an artist based in Los Angeles. From viewing the selection of work on her website, it appears that much of her work explores shipping containers as graphic devices, social commentary and landscape elements.
"The series DestructConstruct is based on found photographs of shipping container accidents downloaded from the Internet. Each found image is used as a model for a sculpture that is constructed for the production of the photograph. The sculpture then exists as a photographic work, which directly relates to the original photograph, including the name, place, and date the accident happened. I abstract the scenes of the catastrophes, removing the original context and placing the damaged containers, rendered simply out of colored paper, onto a seamless background. This process transforms the containers into pristine patterns of color and shape, thereby confusing scale and altering the perception of the shipping container as an object. The paper is now seen as fragile, crushed or torn due to an unknown circumstance."
This post is for Glen who is currently reading this book.