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While recipients are not technically counted as members of the Order, these medals are nevertheless affiliated with it. The New Year Honours were appointments by many of the Commonwealth Realms of King George VI to reward and highlight good works by citizens of those countries, and to celebrate the passing of and the beginning of Recommendations for appointments to the Order of the British Empire were made on the nomination of the United Kingdom, the self-governing Dominions of the Empire later Commonwealth and the Viceroy of India.

From Wikipedia, the free encyclopedia. Archived from the original PDF on 15 October Retrieved 16 June The London Gazette. The London Gazette Supplement. Namespaces Article Talk. Views Read Edit View history.

Ban learned about Aalto from books, which made his stature difficult to comprehend. The wood was too expensive, so instead Ban created undulating partition walls of paper tubes. Paper had been a kind of recurring motif throughout his development: He had applied to the Tokyo University of Arts in high school, where he was not accepted, by making paper structural models and drawings.

At SCI-Arc, paper became a touchstone material because it was cheap and easy to source. At the gallery, paper tubes were used to prop up display cases, and Ban suspected he could get more use out of them. In , he created a Curtain Wall House in Tokyo, which is quite literally wrapped in an enormous curtain hung from its roof.

Meanwhile, his Wall-less House is a box on a sloping site in Nagano that dispenses with most of the mullions and walls, using sliding panels to separate the rooms, creating an extreme version of the open floor-plan. His move to create shelter architecture came out of seeing the temporary structures offered to Rwandan refugees in Zaire now the Democratic Republic of Congo in At the time, the United Nations High Commissioner for Refugees was handing out plastic tarps and aluminum poles to hold them up, but many people were instead selling the aluminum and harvesting nearby wood to frame their tents, contributing to massive deforestation.

Ban wrote to the U. Ban was hired as a consultant and the concept was later implemented at a camp in northern Rwanda. The first time Ban used paper tubes for a disaster relief project was in Kobe, Japan, in , where a series of small houses — about square feet each — were constructed for victims of an earthquake that killed more than 6, people.

These shelters remained in Kobe for about a year, after which they were dismantled and recycled. But a church and community center in the city, also designed by Ban and built out of recycled paper, stood for 10 years, a testament to the durability of his work. These structures are off-the-cuff, constructed quickly by staff members of the Voluntary Architects Network , a nongovernmental organization founded by Ban in , along with the help of local students and volunteers. Initially, he was able to pay for them through donations and his own earnings; some of his relief projects now receive public funding.

But he often uses his expensive commissions to test out ideas for his aid work, toying with cheap materials in structures for the rich so he can use them later to help those who have lost everything. In this way, his career presents an argument that paper and other cheap, sustainable, recyclable materials are no less durable than the more conventional tools of the architect, and are in fact as appropriate in the facade of a museum or weekend home as they are in a shelter for the displaced.

It is in one sense a political gesture, a democratic leveling of class and finance and other subtexts that haunt every architect — but of course, these materials have also become a brand. As we spoke in his office, we were sitting on chairs with seats and backing made of paper tubes. Ban is not given to displays of pity or indignation; he usually explains his humanitarian efforts by citing his horror at waste rather than some charitable impulse.

It is an austere, utilitarian front for the architect to present, considering that, at the moment, he is trying to expand his humanitarian efforts beyond temporary structures and has just begun working with the southeast Indian state of Andhra Pradesh to develop housing for its new capital, Amaravati — multistory units for which paper tubes would not likely be appropriate he has instead been considering fiberglass foam-core panels.

But disasters will continue to preoccupy him. He spoke of doing larger urban-scale planning, preparing cities for disaster relief.

More earthquakes, certainly in Japan, are likely, to say nothing of climate-change induced nightmares. In addition to the architects, partly inspired by Ban, discovering, or rediscovering, their sense of social responsibility, we are regularly reminded, whether through the demolition of yet another Brutalist social-housing project or Scott Brown Carpentry Shop 4th through a new exhibition on the architecture of the former Yugoslavia, that it was not too long ago that entire societies, and their architects and planners, committed themselves to climbing out of the most devastating wars, and to providing for their laboring, needy and vulnerable populations.

In one section of the Mount Fuji World Heritage Center, a sign reminds tourists that the mountain is a still-active volcano. This was, I realized later on, a threat — but it was also a promise. He shook his head slightly and shrugged a bit, as if to admit, wordlessly, to his good fortune, and to concede, again without saying anything, that when one is permitted proximity to such obscene beauty and physical evidence of humanity, it is barbaric to turn away. Two months later, Notre-Dame was aflame.

Within a few hours, Bernard Arnault , the chairman and C. Over the following weeks, the question of how, exactly, the year-old church should be rebuilt became something of a national preoccupation in France, with politicians, activists, art historians, urban planners and philanthropists all weighing in.

He is familiar with the challenges of simultaneously preserving and updating a cherished symbol of French opulence and craftsmanship. His speech, which is articulate and convincingly cerebral, tends to be dense with analogies. At 48, the designer compares his professional course to what has become the common Hollywood career trajectory of Marvel tapping young, independent filmmakers with little studio experience to direct the biggest movies ever made in the history of cinema.

But then the indie movie became known — it went to Sundance, I got distribution, and then I went to do a big blockbuster. It was a blank slate, albeit one with an illustrious history. His work at Balenciaga did nothing less than change how a woman occupied the space around her; they were clothes made for the street, not the runway. By the time he left, he had a staff of over , 60 of whom were in the design studio. The clothes are still wearable.

If you try to fight against it, you are dead. The seats were upholstered in velvet; the walls were mirrored; the radishes were buttered and provided automatically.

We spoke for well over an hour, and he interjected only to provide advice on the menu. There is a crab salad that is quite good that could be taken as a main. The mushroom salad is the specialty of the starters. There is carpaccio of Saint-Jacques, but they put truffle on it. The two began a casual but detailed conversation about handbags. The story — the resourcefulness of a founding artisan becoming, first unwittingly and then enthusiastically, a businessman — appealed to him.

How can I make it miniature but not cheap? I had an idea that was creative. He recognized this. I wanted that kind of vision. I wanted someone that I would work with on a story like that. The rate at which artisanal clothes are designed and manufactured is astonishing. It is not unheard-of for a small team led by a single person to dream up and physically manifest dozens of outfits and present them in a logistically nightmarish event that requires the approval of local government — all within a matter of weeks.

It looked not like a production meeting but rather the set of a movie within a movie. With the contentious openings of the Pompidou in and the Forum des Halles shopping mall in , the area had become a revolutionary scene in a city obsessed with the past. Like the body, the brain needs a gymnasium. But we will never be judged by reproduction. Like the most exciting journalism, which is typically wrestled from the dullest of sources court transcripts, financial records, deeds stored in dusty archives , the most extravagant fashion shows are born from the least glamorous labor replacing electrical sockets, hoarding zip ties, repositioning speaker systems.

Today, he looked like the protagonist of an Antonioni film. A handful of people gathered around him, huddling far closer to their boss than any American might be inclined to. Bonne question! In three days, the Pompidou replica would be installed at the Louvre. A day after that, he would present his fall collection: a decadent parade of leather skullcaps, exaggerated ruffles and bibs; a minidress in pink- and blue-marbled rooster prints; a clown shirt tucked into Katharine Hepburn -style caviar wool trousers; a lace ensemble embroidered with silvery sequins; jodhpurs cut from buttery scarlet lambskin; and an asymmetrical faux-fur cape in Lichtenstein green.

It was a captivating scene, with confrontational clothes. The terminal — all bright lights and biomorphic lines, once the picture of American neo-Futurism — had, in reality, been abandoned for 20 years.

Canopies of live plants had been trucked in to convey a sense of lush apocalypse; faint recordings of birdcalls played out through hidden speakers. In the audience was a group of students invited from a local fashion college, some ostentatiously underdressed young people and several representatives from that anonymous class of very wealthy people who exist, usually invisibly to the rest of us, in major cities and ski resorts around the world.

Many of them spend a lot of money at Louis Vuitton stores, and they were invited as a kind of thanks. There was a split-personality cape — the top half of a white-and-red leather motocross jacket tapering into a rhinestone- and bead-encrusted bed-skirt ruffle — worn over a silken sky-blue blazer, a patent-leather and Pepto-pink cashmere toggle-style coat, ultrahigh-waisted silk gabardine schoolboy trousers with kneepad-esque panels, Mennonite bibs and Victorian ruffles, belted striped safari dresses, combat boots with tongues discreetly printed with the house monogram and Siouxsie Sioux-style makeup.

They stomped past curved benches cleverly arranged so everyone in attendance had a front-row seat: a demonstration of democracy in a not-so egalitarian place. A lavish fashion show is perhaps the purest and most antiquated expression of luxury. Even if you are a person who cannot bear witness to one without mentally calculating how many lives could be saved with the amount of money it costs to put on, the sheer excellence is overwhelming, and it is impossible not to be impressed.

He had not not worked — not for one day — for months, and was looking forward to returning to Paris and enjoying a staycation, a portmanteau that charms him but which he can never quite remember. But his impact on fashion — both on the runway and off — runs beneath it, deeper, like an undercurrent.

Imploring people is easier than coercing them. Soon these will be moved to a different location, which he recently secured. Set design by Andrea Stanley at Streeters. Casting by Nicola Kast at Webber Represents. Production: One Thirty-Eight Productions. Digital tech: Matthew Cylinder. Photo assistant: Isaac Rosenthal.

Hair assistant: Cassandra Normil. Makeup assistants: Jamal Scott and Hiroto Yamaguchi. Set assistants: Phoebe Shakespeare and David Gimbert. The shop is not busy — it is May, close to dinner time — and the customer, a movie star dressed simply in a white blouse and jeans, gently draws the woman out: She hears about her beloved horse back home now in horse heaven , her philosophy on eating doughnuts all or nothing, and she has chosen nothing , how she moved to the city to make it in a band.

Eventually, a man in a baseball cap walks in with a young boy, presumably his son, stops in his tracks and watches, a small smile on his face as he takes in this New York moment: an aspiring star chatting with an already established one, clearly unaware the young woman later confirms that her charmed and charming customer is an Oscar winner, a queer icon and the wife of an actor who embodies traditional masculinity.

The actress smiles, demurs, wishes her the best of luck and exits. As soon as she does, the man turns to the boy. But something about her level of success also allows her a distinct relationship to her art and to her audience: For all her beauty and success, Weisz is still better known for her talent and taste than for an all-consuming and occluding kind of celebrity; it is an endearing pitch of fame, the kind that inspires more admiration than awe.

One quickly sees how she cuts against the expectations of a period piece: She is irresistible as Lady Sarah, an adviser to the 18th-century Queen Anne of England, winning enough that it seems only fitting that her queen wants to reward her with the gift of a palace.

By the time her character has been onscreen for 90 Scott Brown Carpentry Shop Zero seconds, the viewer already grasps that Sarah herself is a performer with a wide range, and that she believes wholeheartedly that the kingdom rests on her ability to play her parts convincingly.

They got more interesting, the parts less so. A month or so after she stopped by the doughnut shop, Weisz was back in London, where she grew up, and where she was spending the summer. Framed by a Skype screen, she appeared naturally cinematic, nibbling on the last remnants of a cantaloupe wedge, her laptop in front of her, her hair loose as she sat at a desk in her home office.

She was wearing tinted aviators that gave her the look of someone who was about to take a road trip to the beach with some girlfriends, or maybe one bad boyfriend; they signified the opposite of what they actually were, reading glasses. Weisz gave off the air of a woman fully in command of her life, even her body: Who was going to tell Weisz she could not, as she did a year ago, at the age of 48, give birth to a child? She also has a teenage son, from a previous relationship with the director Darren Aronofsky.

Female control exists, in her world, in a way that was not possible for much of her career. It is one of the first Marvel films directed by a woman — Cate Shortland, a respected Australian independent-film director for whom this job is a massive jump, at least in terms of budget.

Her Viennese mother, a teacher who later in life became a psychotherapist, was intrigued by the opportunity, but her father, an engineer and inventor originally from Hungary, had concerns about Rachel entering the film industry. There was a lot of flamboyance.

No stiff upper lip. In her early teen years, she was not particularly riveted by class work or her teachers, which she made evident, and was eventually asked to leave the private school she attended.

She clearly looks back at those teenage years with great affection. She had smiled, thinking about it. You want to see yourself. Weisz might have seized the chance to work in a Marvel project under any circumstances; a role in one now creates, for an actor, a kind of currency that can help finance other films, films that fall into the struggling category of everything-but-action.

Watching that, as a woman, you know immediately when a character is subject or object — she was always subject. I had never seen anything like it. For that reason, I never forgot it. And she was funny and confident. It was a curious confidence. There is a long history of English male actors emerging from venerated theater institutions at Cambridge or the University of Oxford, forming helpful professional contacts along the way: Ian McKellen, John Cleese and Hugh Laurie all took that path, collaborating for years to come with people they first met just out of their adolescence.

Weisz, too — working with Garnett, Sasha Hails now a successful screenwriter and David Farr who went on to become the associate director of the Royal Shakespeare Company — established a new theater group called Talking Tongues, one with distinct physicality and characters that had a heightened, even clownish quality, sometimes in a style known as bouffon. Talking Tongues created innovative work, such as one piece in which Weisz and Hails formed a metaphorical love triangle with their only prop, a ladder.

The women fell in, then out, of love, with some brutality: In one scene, Weisz swung the ladder round and round, faster and faster, with Hails, on her knees, ducking the massive object whirling around her head.

Weisz likes to think that the group, which won a prestigious student theater award at the Edinburgh Festival Fringe, would still exist had Hails not moved on. The role of a young woman who looks like an English rose but is, in fact, a fierce rebel was the part for which Weisz won her Oscar for best supporting actress in Her acting — in that film, in many of her films — shows enough restraint that the emotions that surface inspire all the more ache.

One sees the psychological nuance, perhaps, of someone raised by a therapist, the commitment to the layers of complexity and conflict.

Weisz, who herself was in analysis for many years, seems to have done whatever work is necessary to allow for great acting by intuition. Actors want to have control. Colman had assumed that Weisz would merely gesture toward her for the purposes of rehearsal; there they were, in jeans, just trying to get the feel of the roles. Instead, Weisz unexpectedly made the grab, just as the script dictated. We were all laughing. But right there, my fear went away. She was brave enough for both of us.

Colman had just popped by unexpectedly for lunch. Weisz and Craig were for once filming in the same place. And she was enjoying working on the Marvel set, where she had been struck by the passion of the producers overseeing the project. Gay Twitter seized on that last line with joy.

At the same time, she had not intended, at Comic-Con, to make any statement about herself or her character; there was no subtext or big reveal. Weisz alternates between reveling in the newness of truly female-driven films and seeming frustrated by their ongoing status as anomalies. But I could be wrong. Weisz was likewise hesitant to make any grand claims about how working with Shortland, so far, differed from working with any male directors in her past.

As someone interested in capturing complexity, Weisz seems to be trying to avoid the way that certain lines of pop cultural conversation can flatten out the richness of experience, regardless of whether it belongs to a man or a woman. She has spent plenty of her life, like most successful actresses, pouting for the camera or being saved by a man or playing the rebel who inevitably ends up dead, punished for her strength, strength that is all but conflated with her sexuality.

In every one of those roles, she has added depth and richness while still operating within the constraints of a male-driven industry. But the idea all along, since she was in college, seems to be to escape familiar talking points of any kind, to defy tidy boxes that place her neatly in some category.

It is tiny and black and of a ladder — a fond memento of her early work, but also a reminder, maybe, that the goal is not climbing up, but out. Set design by Piers Hanmer. Production: Prodn. Digital tech: Nicholas Ong. Makeup assistant: Kuma. Set assistants: Erick Benevides and Ryan Maleady. Outside, stretching across the windows along Milwaukee Avenue, is a foot-long mosaic made of 7, circular name tags with a mix of red and white backgrounds, each of them personalized by local schoolchildren and community members.

Best known for his Soundsuits — many of which are ornate, full-body costumes designed to rattle and resonate with the movement of the wearer — his work, which combines sculpture, fashion and performance, connects the anxieties and divisions of our time to the intimacies of the body. Exhibited in galleries or worn by dancers, the suits — fanciful assemblages that include bright pelts of dyed hair, twigs, sequins, repurposed sweaters, crocheted doilies, gramophones or even stuffed sock-monkey dolls, their eerie grins covering an entire supersize garment — are compulsively, unsettlingly decorative.

Some are amusingly creature-like; others are lovely in an almost ecclesiastical way, bedecked with shimmering headpieces embellished with beads and porcelain birds and other discarded tchotchkes he picks up at flea markets. Even at the level of medium, Cave operates against entrenched hierarchies, elevating glittery consumer detritus and traditional handicrafts like beadwork or sewing to enchanting heights.

In invigorating performances that often involve collaborations with local musicians and choreographers, the Soundsuits can seem almost shaman-esque, a contemporary spin on kukeri , ancient European folkloric creatures said to chase away evil spirits. They recall as well something out of Maurice Sendak , ungainly wild things cutting loose on the dance floor in a gleeful, liberating rumpus.

There is something ritual-like and purifying about all the whirling hair and percussive music; the process of dressing the dancers in their pound suits resembles preparing samurai for battle. After each performance, the suits made of synthetic hair require tender grooming, like pets. Much beloved and much imitated as I write this, an Xfinity ad is airing in which a colorful, furry-suited creature is buoyantly leaping about , they can be found in permanent museum collections across America.

Using costume to unsettle and dispel assumptions about identity is part of a long tradition of drag, from Elizabethan drama to Stonewall and beyond; at the same time, the suits are the perfect expression of W. I felt like that could have been me.

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