[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-151097-en":3,"doc-seo-151097-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},151097,13056703020460,"Valentina","https://ap-avatar.wpscdn.com/avatar/be000253dac470eee5d?_k=1778207105932848923",8,"Research & Report","The Quarterly Journal of Design #30 Autumn 2021 - Essays and Discussions on Design","Quarterly Journal of Design #30 (Autumn 2021) gathers essays and discussions on design, framed by Disegno’s 10-year anniversary cover created by Jasper Morrison. The featured piece centers on a visit to Paris’s Bourse de Commerce and its transformation, tracing the building’s history from Medici-era intentions through later architectural changes to its modern role. It reflects on architecture’s restraint, design constraints, and the Bouroullecs’ redesigned public spaces.","The Quarterly Journal of Design \\#30 Autumn 2021  \nDisegno’s 10-year anniversary cover is designed by Jasper Morrison.  \nUK £15  \nA collection of essays and discussions around design for autumn 2021.  \nDisegno  \nDiscrete Contact  \nWords Felix Chabluk Smith  \nI 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.  \nImage courtesy o Eva Presenhuber.f Stefan Altenburger/Galerie   \n34 Disegno  \nThen, deep into this spring’s second nationwide lockdown, my taxi was alone on the road, gliding up the Rue de Louvre post-curfew. The pavements were empty and the restaurants and bars had been dark for months. But then the car slowed and, to my right, a deserted De Chirico piazza opened up, almost computer-generated in its perfection, with shadowy  \n“Very often, constraints generate beautiful things . Immediately after it was installed, we had a sense of a place, of enclosing and protecting people .”  \n—Ronan Bouroullec  \narcades and cobblestones framing an enormous pediment, twin pairs of Corinthian columns anda balcony worthy of a we-won-the-war wave.  \nStretching back from this was a drum-like building, all sober pilasters, huge, dark-framed windows and delicate, goose-necked lamps. The stonework andiron were so immaculate that I had a split-second impression of time travel, as if the belle époque masons hadjust downed tools that morning. The light diffusing from the windows and doors was a strange cool-warm, bleached-bone grey; clean and reassuring in a very dark time. The building seemed on standby mode, sitting calmly, waiting, ready when we were.  \nIn the 1570s, architect Jean Bullant began work on a Parisian house for Catherine de’ Medici, not too far from the banks of the Seine. A lover of astrology, she had asked Bullant to add a tower from which the stars could be observed and the future could be predicted;  \nshe died before the decade was out. The property then passed through various aristocratic hands until the house was dismantled and the materials sold off to pay the debts of the last not-so-careful private owner, Victor Amadeus I, Prince of Carignano. The tower was saved, however, and purchased by the City of Paris, which commissioned Nicolas Le Camus de Mézières to build a grain exchange on the site in 1763.  \nA giant ring of a building with the Medici Tower at its outer rim, it originally had an open-air inner court that was later roofed in wood, because no one likes wet wheat. The iron and glass dome was added in the 1810s. The building was subsequently assigned to the Commodities Exchange in the mid-1880s and extensively remodelled at this time by Henri Blondel. Befitting its new status as a hub not only for buying and selling cereals but also sugar, alcohol, oil and rubber, vast murals were commissioned to celebrate the supremacy of France at the centre of global trade, wrapping around the inside of the building just below roof level.  \nIn 2016, after falling into disuse, the building was offered by Paris’s mayor Anne Hidalgo to François Pinault, the billionaire founder of the luxury fashion group Kering, and latterly a passionate collector of contemporary art having founded the Collection Pinault in 1999. He had initially attempted a museum for his collection in 2004 on the Île Seguin, in the suburbs west of Paris, designe","cbCaiqyP7mUmhSMb","https://ap.wps.com/l/cbCaiqyP7mUmhSMb","pdf",3353583,1,7,"English","en",105,"# Disegno - Quarterly Journal of Design\n## The Bourse de Commerce visit during lockdown\n## Historical evolution of the building\n## Pinault’s private museum and redesign context\n## Bouroullecs’ ring benches and public space","[{\"question\":\"What is the focus of Quarterly Journal of Design #30 Autumn 2021?\",\"answer\":\"It compiles essays and discussions around design, using the season’s themes and featured architectural narratives to explore how design shapes spaces and experiences.\"},{\"question\":\"How is the Bourse de Commerce presented in the document?\",\"answer\":\"It is described through a personal visit and an architectural walkthrough, linking the site’s past and transformations to its present museum context.\"},{\"question\":\"What design idea is quoted regarding constraints and architectural creation?\",\"answer\":\"The text highlights the view that constraints can generate beautiful things, emphasizing how installation and spatial enclosure can protect and define a place.\"}]","The Quarterly Journal of Design #30 Autumn 2021 - 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