︎
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
00212
An invitation into the sublime: the imaginary architectures of Al Held & Minoru Nomata
Will Jennings
9/11
,
AI
,
Archigram
,
Étienne-Louis Boullée
,
Colour
,
Constantin Brâncuși
,
Pieter Bruegel
,
Charles Burton
,
Climate
,
Crisis
,
Decay
,
Destruction
,
Peter Eisenman
,
Emptiness
,
Brian Eno
,
MC Escher
,
Exploration
,
Fukushima
,
Geometry
,
Zaha Hadid
,
Al Held
,
Hyperspace
,
Will Jennings
,
Landscape
,
Erich Mendelsohn
,
Oscar Niemeyer
,
Minoru Nomata
,
Painting
,
Joseph Paxton
,
IM Pei
,
Post apocalyptic
,
Reality
,
Bridget Riley
,
Richard Serra
,
Sinister
,
Robert Smithson
,
Sublime
,
Superstudio
,
Tokyo
,
Tokyo Tower
,
Tower
,
Twin Towers
,
Victor Vasarely
,
Robert Venturi
,
White Cube
00151
Humanise, by Thomas Heatherwick: a polemic against brainwashed architects
Karrie Jacobs
Architects
,
Architecture
,
Boringness
,
Richard Brautigan
,
Cities
,
Le Corbusier
,
Craft
,
Craftsmen
,
Antoni Gaudí
,
Robert Gifford
,
Ernő Goldfinger
,
Abby Hoffman
,
Humanise
,
Freidrich Hundertwasser
,
Thomas Heatherwick
,
Heatherwick Studios
,
Jane Jacobs
,
Karrie Jacobs
,
Makers
,
New York City
,
Penguin Books
,
Psychology
,
Robert Venturi
,
The Vessel
,
Watermelons
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