#due to technical difficulties and also a wedding this weekend

[sparrowwritings]

Day Seven: Happiest

Day Six -- Masterpost -- Day Eight

Eight months after Stand

Gibby could tell that something was going on. What, exactly, he didn’t know. All he knew was that Tel and Jules were doing stuff that they didn’t want him to see. Well. More stuff than usual. It didn’t even involve them putting their faces together as often.

Obviously he had to find out what was happening, but frustratingly he was always found out before he could get any answers. Even whining as loud as he could didn’t give him anything useful. 

He had to resort to drastic measures.

One day, when his parents had both gone out to run an errand, Gibby managed to open up a cabinet enough to slip inside and hide among the pots and pans. He took a brief nap and woke up when he heard the front door open and close. Jules’ voice sounded muffled from his spot. “Gibby! We’re home!” 

His first instinct was to jump out and greet them like usual, but he suppressed it in order to wait. When it was clear that he wasn’t going to show up, it took more concentration to hear Tel’s deep rumble say, “Looks like he’s taking a nap. Probably best to keep him sleeping.”

“But...what if he’s done something he knows is wrong and he’s hiding so that he doesn’t get punished?” Gibby huffed a hot breath of air. Getting accused before the two had even noticed anything annoyed him. Even if he was at fault.

“Then we’ll find out about it later.” Tel’s voice got louder as he entered the kitchen. “We need the time to prepare, anyway.”

The two were making thumping noises on the countertops and kitchen table. That and the smell of different kinds of foods combined made it seem like Jules and Tel had left only to get food. “Yeah, I know...he’s been so insistent on seeing what we’re doing. One of these days I feel like he’s gonna fall out of the air vent or something.” 

Shoot! He should’ve thought of that!

“You’ve been watching too many spy movies. We’d hear his scales scraping the inside of the vent long before we saw him.”

Well so much for that idea. There were more thumps and Gibby held perfectly still as footsteps got too close to his hiding place. He let out a breath when neither of his parents had knelt to retrieve a pot or pan.

“But it’s his birthday coming up. I don’t want him to feel like we’re ignoring him in the days leading up to it.” While her voice was still muffled due to his position, it was further quieted by Jules biting her lip. Gibby didn’t need to see her to realize that’s what she was doing. He had other things to think about, though. He’d seen enough TV to know what a birthday was. He was almost a year old? He hadn’t even realized.

“Jules, Gibby’s a smart dragon.” He felt his chest puff out with pride as Tel said the words. “If he hasn’t figured out a way to find out what we’re doing, he’ll realize that we’re hiding something to surprise him more than anything. We don’t hide anything else, after all.” Now he felt all of his proud hot air leave him. He tried to curl in on himself without making any noise.

Of course, that was when the door to his hiding place just had to open. His bright yellow eyes stared right into his dad’s warm brown ones. They held eye contact for a solid moment. 

“Something wrong, Tel?” Gibby could only just see her from around the man’s much larger form. 

Slowly, without breaking the stare, Tel picked up a large pot and took it out of the cabinet. Then he shut the doors tightly afterwards. “I think I’m gonna have to set out traps again. I thought I saw a huge bug in there.”

Immediately, Jules started screeching about the house and how bug-prone it was. Gibby couldn’t help but snort his laughter while he couldn’t be easily heard. 

It was almost too bad that he couldn’t let his mom know about this moment yet. She might get upset that one of his happiest moments in his lifetime happened just before his first birthday.

[harryandmeghan0-blog]

Meghan Markle and Prince Harry join royals at garden party in first appearance as married couple

New Post has been published on https://harryandmeghan.xyz/meghan-markle-and-prince-harry-join-royals-at-garden-party-in-first-appearance-as-married-couple/

Meghan Markle and Prince Harry join royals at garden party in first appearance as married couple

HER style may have already adopted a more “regal” and polished edge (goodbye bare legs and messy buns) but the “Meghan effect” shows no sign of slowing down with the new Duchess of Sussex’s sartorial choices continuing to crash websites and inspire copycat looks.

Stepping out at her first official event as part of the royal family, Meghan opted for a peach dress by British fashion label Goat, along with a Philip Treacy custom hat and nude heels.

The brand’s website crashed just minutes after her appearance at Prince Charles’ 70th birthday celebrations at Buckingham Palace as fans tried desperately to get their hands on the Flavia Silk-Crepe Pencil Dress.

PHOTOS: Meghan and Harry’s gorgeous moments

READ: James Corden’s royal stuff-up

MORE: Samantha tears into Meghan again

REVEALED: Guests cash in on royal goodie bags

A spokesman for Goat — which is also a favourite label of Catherine, the Duchess of Cambridge — took to Twitter to apologise for the technical difficulties.

“Our website is currently down due to a high volume of traffic,” it read. “We sincerely apologise and hope to rectify this as soon as we can.”

According to Twitter account What Meghan Wore, Goat confirmed that a custom version of the 590-pound ($A1048) dress was created for the duchess.

Meanwhile, since the history-making wedding on Saturday, imitations of Meghan’s wedding and reception dresses have also already become available.

As both dresses were designed especially for the bride by Clare Waight Keller from Givenchy and Stella McCartney, they haven’t been flying off shelves, however replicas of the two dresses can been found online.

New York designer Justin Alexander has a similar style wedding dress in his Fall 2017 collection, while a bargain version can be found at Misguided for just $70.

Those coveting the bride’s reception dress can also find a similar, but much more affordable gown on Boohoo.com, however it is not available in white on the Australian version of the site.

Before she tied the knot to Prince Harry, Meghan’s style was already causing a frenzy among fans.

Struggling Aussie company Oroton received a surge in business after she wore its $295 Avalon crossbody bag to the Commonwealth Youth Forum in April.

The bag sold out in mere hours and did wonders for the luxury fashion accessories brand that had recently fallen into voluntary administration.

“Whatever she wears sells out and she often makes a habit of wearing smaller labels and giving them huge global exposure,” Emily Andrews the royal correspondent for The Sun told News Corp at the time.

Other companies to also benefit from her star power so far include Canadian labels Mackage and Line, Scottish brand Strathberry, designer Jason Wu and Italian label P.A.R.O.S.H.

MEGHAN GETS THE GIGGLES AT FIRST EVENT

Prince Harry and his new wife Meghan have attended Prince Charles’ 70th birthday party as their first official royal event as a married couple.

But the new Duchess of Sussex nearly lost her royal poise after a bee threatened to steal the show as her new husband gave a speech in honour of his father.

More than 6000 charity workers were invited for the party where they were treated to a speech from Harry, musical performances and a customary cup of tea.

The event was held in advance of Prince Charles’ actual birthday, which is in November.

Meghan and Harry had delayed their honeymoon so they could attend the event.

The pair looked like they were enjoying their first week as husband and wife, with Meghan touching Harry’s back as they walked up the stairs of Buckingham Palace.

Hundreds of royal fans had lined the streets surrounding the palace in an attempt to get a glimpse of the newlyweds.

Prince Harry was wearing a traditional morning suit with a yellow waistcoat and blue tie.

He gave a speech where he paid tribute to his father’s charity work and his “selfless drive to affect change”.

“His enthusiasm and energy are truly infectious; it has certainly inspired William and I to get involved in issues we care passionately about and to do whatever we can to make a difference. In fact, many of the issues William and I now work on are subjects we were introduced to by our father growing up,” Harry said.

“So, Pa, while I know that you’ve asked that today not be about you, you must forgive me if I don’t listen to you — much like when I was younger — and instead, I ask everyone here to say a huge thank you to you, for your incredible work over nearly 50 years.”

But Prince Harry was slightly put off as he gave his speech — having to stop to swipe away a bee, reports The Sun.

He left his new wife giggling as he tried to bat the insect away, saying: “Sorry, that bee really got me.”

The Prince also asked the audience to take a minute to remember the one year anniversary of the Manchester terrorist attack.

Harry said his brother William would have been at their father’s party were he not attending a tribute service in Manchester.

Earlier, Meghan and Harry returned to their home at Kensington Palace as they prepared for their new life as working royals.

The pair were seen driving back to their home at Nottingham Cottage, a small house in the grounds of Kensington Palace in London.

They have lived there for more than a year, and it’s where Prince Harry proposed to the American actress over a chicken dinner.

The pair were in casual clothes and wearing sunglasses as Harry drove their Range Rover through the London traffic back to their home — and back to work.

MORE: Meghan’s eccentric bishop responds

MORE: The touching story behind Beckham’s photo

MORE: Royal couple sparkle in official photos

They are also expected to make a high-profile appearance next month on the Buckingham Palace balcony for the annual Trooping the Colour parade on June 9.

The annual event, held in June to commemorate the Queen’s birthday (which is actually in April), the spectacular military parade concludes with the most senior royals appearing on the balcony to greet the crowds outside Buckingham Palace.

MORE: The cute twins who stole the show

THE PARTY: Celebs turn on glamour at evening bash

THE DRESS: All you need to know about Meghan’s wedding dress

MORE: Meghan’s dad lashes out at relatives

Girlfriends and fiancees are not invited, but wives are, so Meghan, the new Duchess of Sussex, will join the Queen, husband Prince Philip, Prince Charles and wife Camilla, Prince William and wife Catherine and their three children, on the balcony this year for the RAF flyover which ends the parade.

There are unconfirmed reports the Queen, who has ultimate say over who is invited on to the balcony, may exclude minor royals such as Prince Andrew’s daughters Princess Eugenie and Princess Beatrice, as she reiterates the primacy of those in more direct line to the throne (Charles, William and George).

However, Prince Harry has been on the balcony in other years and is sure to be there this year with his new bride.

After a 48-hour ceasefire over the wedding weekend, Meghan’s estranged sister began sniping at her again from America, urging her to “do the right thing’’ and fly her father to London to fulfil a lifelong dream, to visit Buckingham Palace.

Samantha Grant also urged her sister, who she has not seen for 10 years, to reunite the family.

Meghan’s father Thomas Markle was photographed yesterday returning to his home in Rosarito, in Mexico, after spending a few days in hospital recovering from a minor heart procedure.

He pulled out of the wedding with less than a week’s notice after being caught collaborating with the paparazzi, and suffering a heart scare.

He had urged Ms Grant and his other children from his first marriage, Thomas Markle Junior, to “just shut up about everything’’ but his words were clearly ignored by Ms Grant.

[juliandmouton30]

"Architecture as intellectual inquiry needs to take more risks"

The second Chicago Architecture Biennial tackles the broad and tempestuous topic of history, but plays it too safe, says Mimi Zeiger in this Opinion column.

I'm not going to define history. No matter how heavily that word weighs on the Chicago Architecture Biennial, which opened last weekend. Neither will artistic directors Sharon Johnston and Mark Lee; although they provocatively titled the second iteration of the event "Make New History", a phrase borrowed from the title of an artist book by Ed Ruscha.

In remarks to the press, they pointed to the many works displayed in the Chicago Cultural Center as explanation. And if these works are to be trusted, then history is not the dark angel haunting philosophers and historians, but rather something lighter: a shiny treasure trove of references – called forth by Google image search – to be appropriated and stylised.

Deadpan Rushca understood the irony of his slogan. With three simple words he poked fun at the impossibility of escaping our past. An edition of Make New History sits on the shelves of Johnston Marklee's office (or so says editor Sarah Hearne – the inaugural biennial's co-curator – in her introduction to the biennial catalog).

Published in 2009 to mark the occasion of the Los Angeles Museum of Contemporary Art's 30th anniversary, the book's 600 deliberately blank pages were meant to evoke hope in the future, perhaps, hope in the newborn Obama administration. Eight years later, the title unwittingly captures an anxiety to reproduce novelty and its imperative eerily echoes #MAGA sloganeering.

It is from those white pages that the curatorial framework emerges, and with it an exhibition that reveals a truth about contemporary practice: the desire to surf the wave of history rather than to challenge it. Organised around themes such as building histories, material histories, and civic histories, the overall show indicates a scope of interest internal to the discipline.

A selection of photographs curated by Jesús Vassallo weaves through and across the Chicago Cultural Center's many facades, rooms, and corridors. Dreamlike images by artist James Welling or hyperrealistic digital prints by Filip Dujardin suggest an only slightly wider interpretation of the built environment, as the lens continually points back at an architectural subject – Mies van der Rohe's IIT campus or a speculative Chicago skyline.

The overall show indicates a scope of interest internal to the discipline

This recursive redundancy is in full bloom not once, but twice in the biennial: within the grand hall on the second floor under the title Horizontal City and again on the fourth floor with the Vertical City. In both cases the exhibitors produced original work in response to a brief.

For Horizontal City the two-dozen designers were asked to remake an image of an architectural interior. For example Bureau Spectacular created a fur-covered interpretation of Adolf Loos' Villa Müller and Welcomeprojects offered a surrealist take, complete with oversized popsicles, of Le Corbusier's De Beistegui Apartment.

Riffing on the skyscraper as a symbol of modernity and an ongoing site of reinterpretation, the Vertical City brief asked 16 teams to design a 16-foot-tall tower in the spirit of the 1922 Chicago Tribune competition – of which Loos' oversized Doric column as tower/tower as column scheme is seared into architectural pedagogy – and the even more looping "Late Entries" postmodern revival in 1980 by the Chicago Seven.

Favourites include Sam Jacob Studio's pastiche of 150 other buildings into single wedding cake-like stack, Productora's hand-coloured model (an ode to the labor of scribbling with a BIC pen), and Tatiana Bilbao's collaborative high rise. Her informal pastiche entitled (Not) Another Tower, is a brief within a brief; it aggregates the work of fifteen studios, each asked to design a piece of her "vertical community".

The curatorial difficulty of both Horizontal City and Vertical City, however, is flatness. By soliciting responses to given briefs, the already referential works become even more circumscribed and self-conscious.

It is near impossible for any one work to pop, to transcend the rules of the exercise, or resist the curatorial constraint. The act of viewing becomes comparative (who solved the problem better, wittier?) and the possibility of resonance between individual pieces is radically eclipsed.

It is near impossible for any one work to pop

Which is why in the skyscraper hall it is an artwork that trumps all the towers. Iñigo Manglano-Ovalle's Beehives with Asteroid and Prototype for Re-entry (2012) – composed of a grid of white standardised Langstroth beehives, an aluminium replica of an asteroid once predicted to collide with Earth and a reproduction of Constantin Brancusi's Bird in Space – presents a collection of hyper-charged objects as a reflection on modernism. The work is strange, and it is precisely the artist's ability to amp up uncanny tension that makes it almost vibrate with, well, history.

Given the profiles of the studios represented in the two galleries, it is tempting to ascribe generational divisions between Horizontal City and Vertical City: Millennial versus Gen X, emerging versus emerged practices. Certainly there seems to be a youthful playfulness among the interiors crowd.

Due to dollhouse-like typology, a menagerie of sundries and scale figures fill the models: lawn chairs, golden lucky cats, cacti, Oldenberg binoculars, Doritos. Yet overall, generational conditions may not be as important as historical or cultural conditions in uniting these two groups.

Many of the practices represented were founded or came of age during the Obama administration. Pre-Brexit, pre-Trump, pre-Syrian refugee crisis, those years presented a relatively safe space for architects in the US and elsewhere to turn inwards and puzzle disciplinary questions.

Broadly, for those hit by the global economic downturn of the late 2000s there's lingering PTSD and precarity. That double dose of insecurity dampens desires for risk taking or moving too far afield from academic props.

Within the greater context of the biennial and the Chicago Cultural Center, this translates to an exhibition that is uniformly technically and aesthetically virtuous (the "make" is on point), but stuck in the shallows. And yes, exceptions exist.

The exhibition is uniformly technically and aesthetically virtuous, but stuck in the shallows

Some of the best pieces are placed in some of the most awkward places in the building. Under the back stair sits An American Temple by The Empire with Illaria Forti, Joseph Swerdlin, and Barbara Modolo. A black monolith, with echoes of the designs of Aldo Rossi, the piece is a replica of the first nuclear pile, which once sat in a racquetball court on the University of Chicago campus.

An accompanying book of archival drawings and photographs makes visible a dark slice of the past that today's dealings with nuclear ambitious North Korea and Iran make clear is still very present.

Similarly, works that edge towards the interdisciplinary are nimble enough to escape curatorial constraints and may point a new way forward. Bridging architectural history, preservation, and environmental science, Jorge Otero-Pailos's The Ethics of Dust exhibits a series of latex casts of the pollution gathered on monuments around the world.

And Constructions and References, Caruso St John's collaboration with artist Thomas Demand and photographer Hélèn Binet, includes the firm's models as well as large prints of details of the Obama White House and the fake stack of folders President Trump used as a press conference prop.

Among other things, these works prove that formal considerations (historic and contemporary) can not only co-exist with political moments (past and present), but also truly benefit from such frictions.

If architecture as intellectual inquiry (biennials, academy, books) and profession (high rises, houses, mini-malls) is to continue to carry meaning it needs to take more risks and find allies in resistance. History – new, now, and otherwise – has never been a safe space.

Mimi Zeiger is a Los Angeles-based journalist and critic. She has covered art, architecture, urbanism and design for a number of publications including The New York Times, Domus, Dwell, Architects' Newspaper, and Architect.

Related story

Second Chicago Architecture Biennial will "look back to look forward" say artistic directors

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[berylkelsey3-blog]

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