︎
The house as self-portrait: John Soane’s words through an artistic gaze
Rochelle Roberts
The Orobie Biennial puts art into the Bergamasque Prealps
Will Jennings
recessed.space: Ground Collective communicate with silent rivers
Venice Biennale 2025: part 3, the
ugly
Venice Biennale 2025: part 2, the b
ad
Venice Biennale 2025: part 1, the good
00267
An interview with Kengo Kuma about his design for Lisbon’s Centro de Arte Moderna Gulbenkian
Will Jennings
A Deeper Recess
,
Leonor Antunes
,
CAM
,
Centre de Arte Moderna Gulbenkian
,
Ceramics
,
Vladimir Djurovic
,
Engawa
,
Garden
,
Gulbenkian
,
Interview
,
Japan
,
Will Jennings
,
Kengo Kuma
,
Landscape
,
Landscape architecture
,
Light
,
Lisbon
,
Leslie Martin
,
Museum
,
Portugal
,
White
00118
Leonor Antunes: a frisson of form from the modernist archive
Lottie Whalen
Leonor Antunes
,
Archive
,
Bamboo
,
Bauhaus
,
Renu Bora
,
Cork
,
Briony Fer
,
Fruitmarket
,
Gossamer
,
Eileen Grey
,
Greta Grossman
,
Trude Guermonprez
,
Leslie Martin
,
Modernism
,
Alastair Morton
,
Marian Pepler
,
Charlotte Perriand
,
Pineapple leather
,
Rope
,
Rush
,
Sculpture
,
Eve Kosofsky Sedgwick
,
Silk
,
Sophie Taeuber-Arp
,
Sadie Speight
,
Texxture
,
Lottie Whalen
,
Women
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