In July 2021, Pablo Bras read the note of intent from the General Curator of the Milan Triennial Exhibition of Decorative Arts and Modern Architecture 2022, Ersilia Vaudo. He then submitted his application for the French section of this 23rd edition. 

In response to the theme set by Ersilia Vaudo, Unknown Unknowns. An introduction to the mysteries, Pablo Bras noted that in the current period of great uncertainty, it seems increasingly difficult to know which path to take. It is precisely this uncertainty that the content of Situations wishes to reveal. 

One way of making this uncertainty visible was to decide to show the objects as 'strategies'. They are not presented as products that are supposed to 'solve' problems identified within a situation, as design traditionally does, but as a set of ways of doing things, of giving form. 

The desire to show the relationships between objects quickly necessitated the implementation of solutions to see them come to life. This is how Pablo Bras soon joined forces with Juliette Gelli and Romain Guillet, whose experience in the field of theatre could only add a lively touch to the project. The three of them designed the exhibition space. 

The objects presented in the space were selected according to various criteria: firstly, their usefulness within the exhibition, secondly, the economy of material or gesture they represent, and thirdly, their origin from French companies, whether individual (independent designers) or collective (companies). 

This selection is based on two strong desires. On the one hand, to exhibit in the same space anonymous industrial pieces and so-called "auteur" pieces, in order to reconcile two types of design that are rarely seen together. On the other hand, it is an attempt to put natural elements and industrial objects on the same level. 

The journey through the space is divided into three main sections. The introduction was conceived as a conceptual invitation to consider the idea of "situations". Then comes the space itself. At first glance, its layout appears rather dry, with objects simply arranged on a setting of bricks. In reality, they are organised specifically for different purposes. Finally, a third part goes behind the scenes of the exhibition's production. It documents the construction of the scenography but also of some of the pieces that were made on site. 

The entire exhibition is produced from its procurement to its dismantling in a reflective and economical manner. Some pieces and interventions are made in situ, according to plans and instructions provided by the artists. The ensemble thus becomes a moment of convergence where the objects and their display media are brought together for a time, awaiting their future lives. 

Energy expenditure is recorded in a carbon footprint. This also closes the exhibition collection.
The bricks were pressed by hand, on site, in Milan. They will be reinvested in the space where they were produced when the exhibition ends. This space is a Milanese cultural centre: Viafarini. It has been calculated that, thanks to the lemon tree that will be present in the exhibition, and if it grows properly, the exhibition will one day achieve carbon neutrality. The team plans to plant this lemon tree in the courtyard of the Institut français in Milan at the end of the exhibition.