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[post_title] => Submit to Designlines [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => submit [to_ping] => [pinged] => [post_modified] => 2017-03-23 13:18:23 [post_modified_gmt] => 2017-03-23 17:18:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://dl.newbox.ca/?page_id=274 [menu_order] => 0 [post_type] => page [post_mime_type] => [comment_count] => 0 [filter] => raw ) [4] => WP_Post Object ( [ID] => 30332 [post_author] => 19 [post_date] => 2018-03-13 16:57:18 [post_date_gmt] => 2018-03-13 20:57:18 [post_content] => “Could we bring this aesthetic into high-density Toronto?” asked Adam Ochshorn, co-principal of Curated Properties – wondering aloud if he could incorporate elements of the modern country vernacular he enjoyed in Muskoka into Cabin, a tiered condo he developed for West Queen West. And so Mason Studio, known for modernizing the concept of national identity without the corniness, was tapped for interior design. Their solution to the 7.5-square-metre bathroom was a linear plan, corralling wet functions (shower and tub) in one area, and the vanity, partitioned from the toilet, in another. The vanity features a natural granite countertop which, like the matte-lacquer cabinets, rests on unadorned oak trusses; its single, offset vessel allows the space to be used by two people at once. Craft-based touches, such as the leather pulls on the drawers, wooden dowels-turned-towel-racks and spun metal pendants overhead, are counterbalanced by modern accents, such as the freestanding tub and hex-mosaic floor tiling. “We’re referencing notions of what a cabin is,” says Mason Studio’s Ashley Rumsey, “but then updating the interpretation by streamlining the details.” Read Mason Studio Composes a Cabin-Style Condo Model Suite to see where this loo lives. [post_title] => Step into A Dreamy Canuck Loo [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => canadiana-bathroom [to_ping] => [pinged] => http://designlinesmagazine.com/cabin-condo/ [post_modified] => 2018-03-14 10:18:33 [post_modified_gmt] => 2018-03-14 14:18:33 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=30332 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [5] => WP_Post Object ( [ID] => 32093 [post_author] => 19 [post_date] => 2018-03-13 14:54:13 [post_date_gmt] => 2018-03-13 18:54:13 [post_content] => For an early collection, Iris van Herpen sculpted a rippling dress with the metal ribs from 700 children’s umbrellas. Chemical Crows (2008) is far from innocent. Encasing the body like otherworldly armour, it will be at home among other battle-worn artifacts at the ROM as part of the exhibition Iris van Herpen: Transforming Fashion, coming to Toronto this June. Her nature inspired Spring-Summer 2018 collection, shown here, premiered in yet another museum in January. This time, the setting was the Galerie de Minéralogie et de Géologie in Paris -- a destination for anyone looking to see “Martian meteorites, giant crystals and fantastic rocks and minerals” while surrounded by Corinthian arches. She couldn't have picked a better venue. Inspired by aerial landscape photography (Edward Burtynsky's celebrated environmental shots come to mind), the "Game of Nature" collection makes organic forms appear simultaneously familiar and alien. “I zoomed out,” she says, “to look at the earth’s skin, trying to find the forces behind forms.” And so, as the models move down the runway, her 21 silhouettes alternately sashay and quiver like unidentified flora and fauna. But achieving innovative material techniques to mimic natural shapes is at the heart of her practice. Foliage, developed in concert with the Delft University of Technology, sees leaf-like patterns, some as thin as 0.8mm, 3D-printed directly onto exceptionally soft tulle fabric (shown above). Although complex in process, the resulting look is organic, almost as if the model has grown a supple second skin. Many of van Herpen's patterns appear to float above the surface of the skin, as on water. For example, the Data Dust dress, shown above, features parametric patterns that are computationally distorted, foam-lifted and then heat bonded onto invisible silk tulle. Sound technical? It is. One of her earliest successes was convincing a team of 3D printing specialists that they could fabricate a fully transparent dress. After much back-and-forth, van Herpen got her wish: a model that looked like she was wearing a splash of water. The Dutch couturier’s high concepts have led her to collaborate with architects, scientists and artists from around the globe. She’s visited the Large Hadron Collider, a particle accelerator at CERN, for inspiration, and this spring, her longtime partner, Canadian architect Philip Beesley, will launch a concurrent installation at the ROM, acknowledging their work together. Both minds seem preoccupied with fusing the artificial and the organic: challenging themselves to create objects and environments that move, emote and breathe just like the bodies for which they were painstakingly made.
[post_title] => Iris van Herpen's Architectural Couture Coming to TO [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => iris-van-herpen [to_ping] => [pinged] => http://designlinesmagazine.com/events/witness-edward-burtynsky/ [post_modified] => 2018-03-14 10:16:36 [post_modified_gmt] => 2018-03-14 14:16:36 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=32093 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [6] => WP_Post Object ( [ID] => 30814 [post_author] => 19 [post_date] => 2018-03-10 17:03:25 [post_date_gmt] => 2018-03-10 22:03:25 [post_content] =>

For a self-confessed homebody, Ness Lee sure gets around. By far her most recognizable motif – now a familiar inhabitant across the city – is a voluptuous, long-haired figure, often rendered in ink, that has drawn comparisons to Japanese folk art, sumo wrestlers and even the artist herself.

Blink, though, and you might miss one of its star turns, despite the strength of the illustrator's work. Take, for example, a pillar in Underpass Park painted with myriad black and white studies of a face. For Lee, they depict the ache of being alone in a crowd with one's "many selves." Meanwhile, in the West End, you can find one of Lee’s nude figures embracing a geometric songbird by street artist BirdO, seeming to float in an alleyway at Queen and Shaw streets. And, for a seasonal menu card championing breakfast, commissioned by the Drake Hotel, Lee’s muse is conjured again as a spear-wielding warrior riding a tiger.

Ness Lee

Lee, who studied illustration at OCAD University, traces her unique aesthetic to Japanese erotica. “I find shunga hilarious,” she says, pointing to an X-rated plate in a coffee table book at her home studio. “Their body parts are enormous – like tree stumps. But I find the line work and flow beautiful; it has so much energy.”

And so, when Lee works, she likes to draw continuous, smooth lines that augment the roundness of her character’s bodies. Her public murals, prints, ceramics and enamel pins seem to swell with undulating human forms, while her canvases, gratifying in their number and size, seem to barely contain them.

As she releases more fleshy figures into the art world, ponderous with emotion, Lee finds new ways to express her introspective side. An illustration of a person kneeling in front of a tote bag printed with their own face, for instance, grapples with the irony of a visual diarist reproducing herself for the public. But Lee, shown with her legs squirming under the table, refuses to give it all away just yet.   

Don't miss Ness Lee's solo show, 'How to Hold Yourself', on at Project Gallery from March 1 to 31. Read up on other art events in the city here [post_title] => How Ness Lee Became Toronto's Go-to Diarist [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ness-lee [to_ping] => [pinged] => [post_modified] => 2018-03-14 10:17:00 [post_modified_gmt] => 2018-03-14 14:17:00 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=30814 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [7] => WP_Post Object ( [ID] => 30928 [post_author] => 13 [post_date] => 2018-03-06 13:38:55 [post_date_gmt] => 2018-03-06 18:38:55 [post_content] =>

Step into the offices of multidisciplinary architecture firm Partisans, and the world as you know it changes. In their world, a dated parking garage becomes a landmark waterside hotel. The long-dormant Hearn power plant is reborn as the stomping grounds of Luminato. And a traditional Canadian A-frame is reinterpreted as a hyper-modern cottage never before seen on the shores of the Muskokas. “A lot of firms build their brand based on a consistency of aesthetic,” says Nicola Spunt, Partisans’ director of culture and content. “We strive to surprise at every turn.”

Partisans Architecture Firm Toronto IDS

Case in point: their 2017 transformation of a booth at the Interior Design Show into a miniature factory, where they fabricated their etched acrylic Gweilo lights on the spot. Spanish mega-brand Parachilna was at the show, and eagerly snatched up the manufacturing rights. The spectral lights are now available across the world.

Partisans Architecture Firm Toronto

At last fall’s EDIT design festival, Partisans took on the subject of condo development. Their WTF Tower and exhibition displayed letters from local architects to the mayor, raising eyebrows and garnering applause. No wonder the firm – launched in 2012 by Waterloo architecture grads Alex Josephson and Pooya Baktash, joined by architect Jonathan Friedman in 2013 – takes the name it does: partisans are those who rally under a cause, but can also include covert groups allied to unseat an occupying power. “Architecture is more than building buildings; it’s an increasingly political act,” says Josephson. “[The EDIT project was] meant to engage the people that hold the power,” says Spunt.

Partisans Architecture Firm Toronto Bar Raval

As they’ve touched just about every tier of Toronto design – from the undulating wood fit-out of Bar Raval (they will add Chubby’s and Quetzal to the list by year’s end) to the regeneration of Union Station and interim reactivation of Ontario Place – the firm has taken on some pretty serious new builds. This year, they’ll break ground on an event and restaurant space in Gusto 501, a 900-square-metre Gusto 54 project at King and Parliament. They’ve also co-produced Toronto’s official bid for Amazon’s second North American headquarters with Toronto Global and Deloitte, earned an American Architecture Prize for a speculative ferry terminal in Seoul, and are working on residential projects across Ontario that Josephson says will challenge assumptions about Canadian architecture.

Partisans Architecture Firm Toronto

As for maintaining an edge in a city stocked with architecture firms, he attributes their success to rigorous research programs that they eventually take to actual commissions. “There are projects here that don’t have clients. That’s the most important thing that differentiates us as a studio.” And for those of us looking warily at the future of Toronto’s skyline, we’re glad someone’s asking tough questions.

[post_title] => Architecture Firm Partisans Asks, "WTF?" [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => architecture-firm-partisans-asks-wtf [to_ping] => [pinged] => [post_modified] => 2018-03-07 17:16:38 [post_modified_gmt] => 2018-03-07 22:16:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=30928 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [8] => WP_Post Object ( [ID] => 30920 [post_author] => 13 [post_date] => 2018-03-05 09:54:05 [post_date_gmt] => 2018-03-05 14:54:05 [post_content] =>

As lighting designers, Christian Lo and David Ryan of Anony were up to their elbows in bedazzled chandeliers and custom lighting systems – some with steep price tags – when reality hit them hard. “The objects were out of touch with what we prefer aesthetically, and what we could afford ourselves,” says Lo, realizing that she still had a bare lightbulb hanging from a junction box in her own apartment kitchen.

Instead, the OCAD University and Humber College grads wanted local manufacturing, high-end LED technology and slow, thoughtful design. Add an interest in modular components and a push for affordability, and the two had found their shared vision. Armed with the mentorship (and office space) of Eurolite president Charles Lyall, Lo and Ryan formed Anony in 2015. They spent more than a year developing their five-piece collection, chasing down every fabricator and manufacturer in the city. Debuting at the top of 2017, the studio quickly earned international buzz, named Studio North’s Best Collection at the year’s Interior Design Show.

[caption id="attachment_30931" align="alignnone" width="1300"] Ohm, $395.[/caption]

Defined by a streamlined aesthetic, the pieces shine in their adaptiveness. The Horizon wall sconce can push light in any direction with a 360-degree rotating plate. When flat, it creates a perfectly distributed, unbroken ring of light, but as Ryan explains, “A simple gesture changes the whole experience of the room.”

For the suspended hanging light Form, they ditched a wire, opting instead for a plug-in headphone jack. This feature enables the light to be rotated up and down, and allows it to connect to others in a grid pattern. Meanwhile, Form’s dynamic sibling Dawn invites conversation with sculptural elements inspired by the sunrise: shades of grey Plexiglas drooping Dalí-style over the horizontal light source.

[caption id="attachment_30932" align="alignnone" width="1300"] Plumb, $765.[/caption]

Not that the pair has departed entirely from custom work. On the contrary, they’ve earned a reputation for being technical miracle workers, often integrating their own lighting technologies into designs. They’ve twice paired up with interiors firm Studio Munge to create unique and thought-provoking lighting installations, at Rebel Nightclub and Bisha Hotel’s rooftop restaurant, Kost.

Still, it’s their original designs that remain the focus, with a modular chandelier system out just in time for IDS 2018. Like Dawn, it’s full of visual cues encouraging interpretation – a yo-yo, a pulley system, even a constellation. “We like to ask: Why isn’t this possible? Why doesn’t this exist?” The studio is a hub for that curiosity – bringing the seemingly impossible to life.

[post_title] => Amid Chandeliers, Anony TKOs Modern Lights [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => anony-modern-lights [to_ping] => [pinged] => [post_modified] => 2018-03-07 17:16:17 [post_modified_gmt] => 2018-03-07 22:16:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=30920 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [9] => WP_Post Object ( [ID] => 31975 [post_author] => 13 [post_date] => 2018-02-26 14:13:44 [post_date_gmt] => 2018-02-26 19:13:44 [post_content] => They were among the foremost design disruptors of their day, a group of young Italians whose idealism and rejection of aesthetic norms manifested themselves through an embrace of bold colours, synthetic materials and playful yet subversive symbolism. In the mid-1960s to mid-1970s, the Italian Radical Design movement sweeping Italy served as an explosive (yet considerably more positive) response to the political and social malaise that was also inspiring bombings and terrorism, both there and elsewhere in the West. Groundbreaking at the time, the ideas it generated continue to influence artists and designers, as a new exhibition in Canada’s largest city suggests. More than a decade in the making, SuperDesign: Italian Radical Design 1965-1975 opens on March 1 at the Italian Institute of Culture in Toronto. Curated by Maria Cristina Didero, a design expert and freelance journalist based in Milan, the exhibition features both iconic design objects and rare ephemera produced during the period. Among the design masterpieces on display are the vibrant Pratone “lawn” chair designed by Pietro Derossi, Giorgio Ceretti and Riccardo Rosso in 1966 (composed of giant blades of synthetic grass, it was released by Gufram in 1971); Lapo Binazzi’s oversized Formaggio cheese-wedge sofa (created for UFO in 1969); and Studio 65’s witty Capitello side chair (shaped like an Ionic capital) from 1972. Made of polyurethane (a new material at the time) and intentionally bizarre, the furnishings were intended to send shockwaves through bourgeois households of the era, inflaming and amusing in equal measure. The exhibition, produced by the IIC in collaboration with the Consulate General of Italy, the Design ExchangeMuse Factory of Projects and R & Company, also includes rare photographs of the cinematic interior spaces – private homes, restaurants and nightclubs among them – created by the Radicals. Besides Ceretti, Derossi, Rosso and Binazzi, members of the movement also included Emilio Ambasz, Dario Bartolini, Gaetano Pesce, Gianni Pettena and Franco Raggi. Raggi, an architect, editor and teacher who organized the first exhibition of Radical Design in Berlin in 1973, will be on hand in Toronto, where he’ll speak with Didero and curator/filmmaker Francesca Molteni on the influences of the movement on contemporary design.
  Just before that panel, a 67-minute film by Didero and Molteni, called SuperDesign, will also be shown. Focusing on 19 leaders of the movement, it retraces its history and heritage through the subjects’ words and stories. See the trailer above. Both the film and the panel take place at the Design Exchange on Wednesday February 28, starting at 6:00 p.m. Design Exchange is located at 234 Bay Street in Toronto. SuperDesign runs at the Italian Institute of Culture (496 Huron Street) until May 2. Enjoyed Radical Italian Design? Then read up on other design events happening in the city here [post_title] => The Italian Designers Who Made Plastic Rad [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => italian-radical-design [to_ping] => [pinged] => [post_modified] => 2018-03-02 15:59:53 [post_modified_gmt] => 2018-03-02 20:59:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=31975 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [10] => WP_Post Object ( [ID] => 30603 [post_author] => 19 [post_date] => 2018-02-26 11:58:30 [post_date_gmt] => 2018-02-26 16:58:30 [post_content] => A survey of Yayoi Kusama’s immersive and notoriously ’grammable infinity rooms makes its only Canadian stop in Toronto. Six kaleidoscopic installations summon viewers into mirrored rooms filled with polka dots, red-spotted tubers and electric pumpkins. Our sense of autonomy falters in the dense, endlessly reflected forests planted by Kusama’s imagination. [caption id="attachment_30609" align="alignnone" width="850"]Yayoi Kusama Yayoi Kusama pictured in 1965.[/caption] Similarly, in the participatory installation called The Obliteration Room (2002), visitors are invited to cover an all-white room with rainbow-coloured stickers, gradually engulfing the space, and themselves, in colour. After 88 years, Kusama and her delirious environments have connected with a new generation of art lovers and, for better or worse, their smartphones. [post_title] => Yayoi Kusama: Infinity Mirrors [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => yayoi-kusama-infinity-mirrors [to_ping] => [pinged] => [post_modified] => 2018-03-01 16:59:29 [post_modified_gmt] => 2018-03-01 21:59:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?post_type=events&p=30603 [menu_order] => 0 [post_type] => events [post_mime_type] => [comment_count] => 0 [filter] => raw ) [11] => WP_Post Object ( [ID] => 31839 [post_author] => 19 [post_date] => 2018-02-25 13:14:29 [post_date_gmt] => 2018-02-25 18:14:29 [post_content] => The new Yoko Ono Gardiner Museum show, The Riverbed, runs from Feb 22 - June 3. We're all familiar with the sound of breaking glass. It’s a noise often heard at the end of hearty, wine-drenched meals, when sweeping up a zillion invisible shards feels like purgatory. Beneath our grumblings about having an extra chore to do, though, is something bigger: a split-second, clumsy encounter with one of life's many irrevocable events. [caption id="attachment_31851" align="alignnone" width="1300"] Yoko Ono, "Mend Piece", 1966/2003, Utopia Station, Venice Bienale, 2003, Photo by Karla Merrifield ©Yoko Ono[/caption] As peace activist and artist, Yoko Ono finds solace from such moments in collective action. And so, The Riverbed, comprised of three participatory projectsis both an installation and call-to-action. In Ono's world, a smashed cup is an invitation for the community to meditate, and mend what’s broken. [caption id="attachment_31846" align="alignnone" width="1300"]Yoko Ono Gardiner Museum The Riverbed Mend Piece Yoko Ono, Mend Piece (Galerie Lelong, New York 2015/2016), 1966 / 2015, Ceramic, glue, tape, scissors, and twine, Dimensions variable; Installation view: THE RIVERBED, Galerie Lelong, New York, December 11, 2015 - January 30, 2016 © Yoko Ono, Courtesy Galerie Lelong & Co., New York[/caption] First exhibited in swinging 1966, Mend Piece asks visitors to piece together fragments of broken cups and saucers with humble materials: Elmer's glue, string and transparent tape. The resulting wabi-sabi formations are displayed on shelves in an all-white room. “As you mend the cup,” says Ono, “mending that is needed elsewhere in the Universe gets done as well.” [caption id="attachment_31842" align="alignnone" width="1300"]Yoko Ono Gardiner Museum The Riverbed Mend Piece Line Piece, 2015, Materials variable, Dimensions variable; Installation view: THE RIVERBED, Galerie Lelong, New York, December 11, 2015 - January 30, 2016 © Yoko Ono, Courtesy Galerie Lelong & Co., New York[/caption] Another soothing installation in the triptych, Line Piece, takes a similarly cosmic viewpoint. Here, a typed note affixed to the corner of a low table instructs visitors to extend a line drawn in a notebook to the “farthest place in our planet.” In the same room, visitors hang pieces of string in the gallery space using hammers and nails, creating a messy web that underlines the theme of unity. Floor cushions, strewn throughout the gallery, encourage rest and contemplation. Yoko Ono’s hands-on art installations mirror the “tactility and humanness of clay and ceramics,” notes chief curator Meredith Chilton. Stone Piece, in particular, allows participants to hold smooth river stones inscribed with words such as “dream” and “remember.” Clasping the stones, our "fear and anger" exist our bodies. [caption id="attachment_31844" align="alignnone" width="1300"]Yoko Ono Gardiner Museum The Riverbed Mend Piece Yoko Ono, Stone Piece (Galerie Lelong, New York 2015/2016), 2015, River rocks, Dimensions variable; Installation view: THE RIVERBED, Galerie Lelong, New York, December 11, 2015 - January 30, 2016 © Yoko Ono, Courtesy Galerie Lelong & Co., New York[/caption] As Ono's conceptual river washes over us, we learn to be a little more Zen. Read about more events, exhibitions and happenings around the city here. [post_title] => Yoko Ono Finds Zen in Broken Teacups [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => yoko-ono-gardiner [to_ping] => [pinged] => [post_modified] => 2018-02-27 12:12:37 [post_modified_gmt] => 2018-02-27 17:12:37 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=31839 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) ) [post_count] => 12 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 18328 [post_author] => 14 [post_date] => 2015-12-02 15:49:52 [post_date_gmt] => 2015-12-02 20:49:52 [post_content] => Best wishes for the holidays, from all of us at Designlines. We’re taking a short break, but will be back on January 4. Meanwhile, here’s some year-end reading: Brookfield Place, 181 Bay St. How Downtown Decorates for the Holidays DL-1215-BestofYear-Alannas 2015 in Review: Our Most Popular Stories DL-1215-BestofYear-Molteni3 2015 in Review: Toronto's Best New Design Stores DL-1015-DiningRooms-3 Design Ideas from 12 Fresh, Real-Life Dining Rooms  [post_title] => Happy Holidays from Designlines [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => happy-holidays-from-designlines [to_ping] => [pinged] => http://designlinesmagazine.com/2015-in-review-our-most-read-stories/ http://designlinesmagazine.com/toronto-office-towers-christmas-decorations/ http://designlinesmagazine.com/photo-gallery-dining-rooms/ [post_modified] => 2016-01-04 11:02:36 [post_modified_gmt] => 2016-01-04 16:02:36 [post_content_filtered] => [post_parent] => 0 [guid] => http://designlinesmagazine.com/?p=18328 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 861 [max_num_pages] => 72 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => [is_search] => 1 [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_404] => [is_embed] => [is_paged] => [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_posts_page] => [is_post_type_archive] => [query_vars_hash:WP_Query:private] => 9c476237b580a66744e0ec605d104b90 [query_vars_changed:WP_Query:private] => 1 [thumbnails_cached] => [stopwords:WP_Query:private] => Array ( [0] => about [1] => an [2] => are [3] => as [4] => at [5] => be [6] => by [7] => com [8] => for [9] => from [10] => how [11] => in [12] => is [13] => it [14] => of [15] => on [16] => or [17] => that [18] => the [19] => this [20] => to [21] => was [22] => what [23] => when [24] => where [25] => who [26] => will [27] => with [28] => www ) [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) ) -->