By Design

How should designers respond to disaster?

By Alice Rawsthorn

How technology has shaped our expectations of desirable design

By Alice Rawsthorn
Jacques Tati, Mon Oncle (My Uncle), 1958. Courtesy: Les Films de Mon Oncle, Paris

How technological developments are changing our relationship to control 

By Alice Rawsthorn
Matthew Barney, CREMASTER 3, 2002, production still. Courtesy the artist and Gladstone Gallery, New York and Brussels; photograph: Chris Winget

Customized design in a time of fluid identities

By Alice Rawsthorn
Pattern by Jeremy Deller & Fraser Muggeridge Studio, designed in response to the work of  William Morris for the exhibition ‘Love is Enough: William Morris & Andy Warhol’, 2014–15, curated by Jeremy Deller at Modern Art Oxford. Courtesy Modern Art Oxford.

The re-invigorated relationship between design and craft

By Alice Rawsthorn

The pros and cons of new digital interface design

By Alice Rawsthorn
Martino Gamper, ‘In a State of Repair’ at la Rinascente, Milan, 2014; courtesy: Martino Gamper studio; photograph: Mark Beck Peccoz

The shifting influence of Milan’s Salone del Mobile

By Alice Rawsthorn
Charlotte Perriand, Nuage cabinet, 2012, first developed 1952–56. Courtesy: Cassina

Is the design world still a boys’ club?

By Alice Rawsthorn
Dietrich Lubs designed Braun BNC002 travel alarm clock, 2010, first issued in 1987. Courtesy: Braun

New technology and endangered objects

By Alice Rawsthorn
Martino Gamper, Chair no. 5, from the series ‘Martino with Carlo Mollino’, 2008. Courtesy: Martino Gamper studio; photograph: © Angus Mill

The difference between disciplines

By Alice Rawsthorn
Willem Sandberg’s poster for the exhibition ‘Bart Van Der Leck’, 1949, at the Stedelijk Museum, Amsterdam. Courtesy: Stedelijk Museum, Amsterdam

An agent of change, from prehistory to today