︎
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
00112
An earthen church vessel: Gabriel Chaile & Laura Ojeda Bär
Will Jennings
Adobe
,
Juliet Barada
,
Tomás Bargao Henriques
,
Manuel Barros Brito
,
Joaquin Biglione
,
Gabriel Chaile
,
Church
,
Clay
,
Craft
,
Earth
,
Will Jennings
,
Lisbon
,
London
,
Material
,
Mesh
,
Mud
,
Laura Ojeda Bär
,
Post-colonial
,
Scaffolding
,
Studio Voltaire
,
Jorge Tomasi
,
Venice Biennale
,
Carlo Zambon
TRAVEL
ABOUT
NEWSLETTER
INDEX
︎
