︎
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
00153
An architectural migration: Augustas Serapinas’ greenhouse
Will Jennings
Art Deco
,
Borscht
,
Conservation
,
Emalin
,
Frame
,
Gentrification
,
Greenhouse
,
Growing
,
Handmade
,
Herbs
,
Heritage
,
Will Jennings
,
Kaunas
,
Lichtenfels Sculpture
,
Lithuania
,
Maintenance
,
Gordon Matta-Clark
,
Metal
,
Migration
,
Nostalgia
,
Politics
,
Recipe
,
Relocation
,
Repair
,
River Kamp
,
Saltibarščiai
,
Augustas Serapinas
,
Soviet
,
Stew
,
Structure
,
Timber
,
Timber frame
,
Užupis
,
Vegetables
,
Vernacular
,
Vilnius
,
Wood
001111
Hollaway Studios’ musical buildings for Benenden School
Acoustics
,
Benenden School
,
Buro Happold
,
Centenary Buildings
,
Choir
,
Classical
,
F51 Skate Park
,
Matthew Harrison
,
Guy Hollaway
,
Hollaway Studio
,
Landscape
,
London Philharmonic Orchestra
,
Music
,
Performance
,
Orchestra
,
School
,
Timber
00057
Theaster Gates’ Black Chapel: the sacred in motion
Marwa El Mubark
David Adjaye
,
Adjaye Associates
,
Blackness
,
Chicago
,
Church
,
Darkness
,
Marwa El Mubark
,
Theaster Gates
,
Hyde Park
,
Inhabitation
,
Kiln
,
Philip Larkin
,
London
,
Loss
,
Movement
,
Oculus
,
Ritual
,
Sacred
,
Serpentine Gallery
,
Serpentine Pavilion
,
Shadow
,
Temple
,
Timber
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