The Quarterly Journal of Design #30 Autumn 2021
UK £15
Disegno’s 10-year anniversary cover is designed by Jasper Morrison.
Contents 3 Introduction Happy Birthday 6
Contents
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Contributors
10 Masthead The people behind Disegno 13
At the Kitchen Table: 10 Years of Disegno A journey back through the Quarterly Journal of Design
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Discrete Contact A trip to Tadao Ando and the Bouroullecs’ Bourse de Commerce
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Embedded Design The troubled history of the contraceptive coil
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114 The Ground of Palestine Counterpoints Archaeology as a tool A unified German history for erasure in Palestine through design?
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e-Waste Agbogbloshie Ghana’s efforts to curb electronic waste
66 Fewer Pictures of the Cigar-Smoking Architects appraise the legacy of Sigurd Lewerentz 78 Bend it Like Morrison Jasper Morrison’s singlepiece plywood cantilever 84 The Biggest Machine on Earth Can web design help the internet become sustainable? 104 The Seduction of the Bureaucrat Art, drugs and development in Vancouver
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Seven Excerpts About Seven Mirrors Front’s exploration of an ever-changing form
137 A Profound Immersion Dorte Mandrup’s Greenlandic centre for climate collapse
Rimadesio
Velaria sliding panels, Eos shelves.
rimadesio.com
Design Giuseppe Bavuso
London Flagship Store 83-85 Wigmore Street W1U1DL London london@rimadesio.co.uk +44 020 74862193
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1 ‘Island Odyssey’ by Julian Worrall and Iwan Baan (image), Disegno #1. 2 ‘Italy: The New Domestic Landscape’ by Pete Collard (image: Gae Aulenti), Disegno #2. 3 ‘Design Erotica’ by Will Wiles and Olof Svenblad (image), Disegno #3. 4 ‘Parrish Art Museum’ by Johanna Agerman Ross and Janette Beckman (image), Disegno #4. 5 ‘Learning from Kumbh Mela’ by Rahul Mehrotra and Giles Price (image), Disegno #5. 6 ‘The Construction of a Collection and a Collection of Constructions’ by Hannah Gregory
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and Nathalie Du Pasquier (image), Disegno #6.
Disegno
Discrete Contact Words Felix Chabluk Smith
I first saw the Bourse de Commerce, really saw it, in April of this year, but by that point I had been living in Paris for more than six. I’d visited the Louvre of course, a minute or so stroll towards the river, and the Musée des Arts Decoratifs just down the street. I had seen shows at the Centre Pompidou, a few minutes to the east, and I had been, grudgingly, to the vast mall at Les Halles right next door many times when a trip to Muji was unavoidable. I’d even met friends after work at Iovine’s pizzeria one bitingly cold winter’s evening, almost directly opposite the Bourse’s grand entrance, but still, I’d never seen it. It was just one more pile of haughtily beautiful pale Parisian stonework that my eyes slid over and my brain failed to register.
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Image courtesy of Stefan Altenburger/Galerie Eva Presenhuber.
e-Waste Agbogbloshie Words Shawn Adams Photographs Muntaka Chasant
With the tech industry growing rapidly, consumers are now presented with endless amounts of physical electronic upgrades. From the latest smartphone to the newest 4k digital screen, this fast-paced market centres around the need to throw out old devices for new ones. While some organisations allow you to trade in dated items, the amount they offer is often laughable and, honestly, quite offensive. As a result, electronics typically have a short lifespan and quickly become outdated. Once they are no longer the latest edition, they are thrown out, no longer of value. This way of thinking is one of the reasons why there are several electronic-waste settlements scattered across the globe.
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