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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
00263
The book & exhibitions of Hélène Binet’s photographs of Jewish country houses
Hélène Binet
,
Book
,
Juliet Carey
,
Country house
,
Abigail Green
,
Baron Hermann de Stern
,
House
,
Jewish
,
Jewish Country Houses
,
Liebermann Villa
,
Neil MacGregor
,
Photography
,
Profile Editions
,
Mies van der Rohe
,
Strawberry Hill House
,
University of Oxford
,
Villa La Montesca
,
Villa Tugendhat
,
Waddesdon Manor
,
Frances Waldegrave
,
Horace Walpole
00072
Ghosts in the machine for living in: exhibiting horror in architecture
Will Jennings
Robert Alexander
,
Birmingham
,
The Black Cat
,
Brutalism
,
Italo Calvino
,
Candyman
,
Castle of Otranto
,
Shezad Dawood
,
Demolition
,
Diagram
,
Ghost
,
Horror
,
Ikon
,
Invisible Cities
,
Boris Karloff
,
Béla Lugosi
,
Le Corbusier
,
Masterplan
,
Modern
,
Modernism
,
Richard Neutra
,
NT
,
Postcolonialism
,
Redevelopment
,
Ho Tzu Nyen
,
Amba Sayal-Bennett
,
Seher Shah
,
Vladimir Shukhov
,
Shukhov Tower
,
Monika Sosnowska
,
Strawberry Hill House
,
Unité d'Habitation
,
Uncanny
,
Urban planning
,
Horace Walpole
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