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Millennium Dome

The Millennium Dome referred to as The Dome, is the original name of a large dome-shaped building used to house the Millennium Experience, a major exhibition celebrating the beginning of the third millennium. It is the ninth largest building in the world by usable volume. Located on the Greenwich Peninsula in South East London, the exhibition was open to the public from 1 January to 31 December 2000; the project and exhibition was political and attracted half the 12 million customers its sponsors forecast, so was deemed a failure by the press. All the original exhibition elements were dismantled. In a 2005 report, the cost of selling the Dome and surrounding land and managing the Dome until the deal was closed was £28.7 million. The value of the 48 acres occupied by the Dome was estimated at £48 million, which could have been realised by demolishing the structure, but it was considered preferable to preserve the Dome; the structure itself still exists, it is now a key exterior feature of The O2.

The Prime Meridian passes the western edge of the Dome and the nearest London Underground station is North Greenwich on the Jubilee line. The dome is one of the largest of its type in the world. Externally, it appears as a large white marquee with twelve 100 m-high yellow support towers, one for each month of the year, or each hour of the clock face, representing the role played by Greenwich Mean Time. In plan view it is 365 m in diameter, it has become one of the United Kingdom's most recognizable landmarks. It can be identified on satellite images of London, its exterior is reminiscent of the Dome of Discovery built for the Festival of Britain in 1951. The architect was Richard Rogers and the contractor was a joint venture company, McAlpine/Laing Joint Venture formed between Sir Robert McAlpine and Laing Management; the building structure was engineered by Buro Happold, the entire roof structure weighs less than the air contained within the building. Although referred to as a dome it is not one as it is not self-supporting, but is, in fact, a giant Big Top, the canopy being supported by a dome-shaped cable network, from twelve king posts.

For this reason, it has been disparagingly referred to as the Millennium Tent. The twelve posts represent the twelve months of the year, another reference to time in its dimensions, alongside its height and diameter; the canopy is made of PTFE-coated glass fibre fabric, a durable and weather-resistant plastic, is 52 m high in the middle – one metre for each week of the year. Its symmetry is interrupted by a hole through which a ventilation shaft from the Blackwall Tunnel rises; the critic Jonathan Meades has scathingly referred to the Millennium Dome as a "Museum of Toxic Waste", apart from the dome itself, the project included the reclamation of the entire Greenwich Peninsula. The land was derelict and contaminated by toxic sludge from East Greenwich Gas Works that operated from 1889 to 1985; the clean-up operation was seen by the Deputy Prime Minister Michael Heseltine as an investment that would add a large area of useful land to the crowded capital. This was billed as part of a larger plan to regenerate a large, sparsely populated area to the east of London and south of the River Thames, an area called the East Thames Corridor but latterly marketed as the "Thames Gateway".

The Dome project was conceived on a somewhat smaller scale, under John Major's Conservative government, as a Festival of Britain or World's Fair-type showcase to celebrate the third millennium. The incoming Labour government elected in 1997 under Tony Blair expanded the size and funding of the project, construction began in June 1997, it significantly increased expectations of what would be delivered. Just before its opening Blair claimed the Dome would be "a triumph of confidence over cynicism, boldness over blandness, excellence over mediocrity". In the words of BBC correspondent Robert Orchard, "the Dome was to be highlighted as a glittering New Labour achievement in the next election manifesto", but criticised in the 2001 Conservative Party manifesto as "banal and rootless", lacking "a sense of Britain’s history or culture". However, before its opening, The Dome was excoriated in Iain Sinclair's diatribe, Sorry Meniscus – Excursions to the Millennium Dome, which forecast the hype, the political posturing and the eventual disillusion.

The post-exhibition plan had been to convert The Dome into a football stadium which would last for 25 years: Charlton Athletic at one point considered a possible move but instead chose to redevelop their own stadium. Fisher Athletic were a local team interested in moving to the Dome, but they were considered to have too small a fan base to make this feasible; the Dome was planned to take over the functions performed by the London Arena, after its closure. This is the function. After a private opening on the evening of 31 December 1999, the Millennium Experience at the Dome was open to the public for the whole of 2000, contained a large number of attractions and exhibits; the interior space was subdivided into 14 zones: Who we are: Body, sponsored by Boots, supported by L'Oréal and Roche Mind, sponsored by BAE Systems and Marconi Faith comprised 5 sections: History of Christianity, Making of Key Life Experiences, How Shall I live?, Night Rain and Faith Festivals Calendar (Eva Jiricna Architects

Michael Kabotie

Michael Kabotie known as Lomawywesa was a Hopi silversmith, painter and poet. He is known for his known for geometric imagery. Michael Kabotie was born September 3, 1942 in Shongopovi, Arizona to Alice Talayaonema, a traditional Hopi basket weaver, the Hopi artist Fred Kabotie, he grew up in the village of Shongopavi and when the high school on the Hopi reservation closed, he moved and graduated from Haskell Indian School in Lawrence, Kansas in 1961. While in his junior year in high school, he was invited to spend the summer at the Southwest Indian Art Project at the University of Arizona, other participants included Fritz Scholder, Helen Hardin, Charles Loloma, Joe Hererra. Kabotie inherited his mothers membership in the Snow Clan and he was initiated into the Hopi Wuwutsim Society in 1967. During this ceremony he was given the Hopi name, which he used to sign his paintings and hallmark his jewelry, his father Fred Kabotie helped develop many of the overlay techniques that have come to typify quality Hopi silverwork, he learned these techniques as a teenager.

He began to paint soon after high school and had a one-man show at the Heard Museum, soon after dropping out of University of Arizona engineering in 1966. Lomawywesa made artwork for close to fifty years. In the early 1970s Lomawywesa founded, with painters Neil David Sr, Milland Lomakema, Delbridge Honanie and Terrance Talaswaima, a group called Artist Hopid, dedicated to new interpretation of traditional Hopi art forms. After that, Lomawywesa painted, made jewelry, wrote poetry and essays, lectured around the country, his paintings and silverwork have an organic graffiti-like quality with dynamic motion and symbolism, with a rich color palette on canvas and an added dimension when rendered in silver. In his paintings, Lomawywesa combined traditional kiva murals, figures from Hopi oral history, motifs present in Pueblo Native basketry and embroidery, contemporary elements of design. Compared to his father, who depicted ceremonies in his traditional work, Lomawywesa sought to illustrate the feeling and spirituality embedded within these ceremonies.

Interested in the Tricksters and Clowns of Hopi history, Lomawywesa thought it important to express their purpose of bringing about harmony through the exposure of human folly and imperfection. In addition to drawing inspiration from his cultural background, Lomawywesa was inspired by music ranging beyond traditional Hopi songs including Gregorian and Celtic chants, as well as music from Beethoven, Jim Morrison, the Doors, music which he claimed " deep within for the inner spirit." Lomawywesa finds cultural connections in Buddhism and Hinduism, relating them to the Hopi initiation process of finding one's inner spirit. Lomawyesa states that "finding the middle way is the essence of all spiritual movements and the essence of my art," motivating his search for harmony, spiritual unity, self discovery in contemporary America. Lomawywesa's work that in conjunction with his group Artist Hopid, has been compared to that of Pablo Picasso, Georges Braque, Fernand Léger, Vasily Kandinsky for its visual similarities to cubism and expressionism.

However, he did not know of these movements until after his work began to gain traction in the art world. Lomawywesa stated that both he and Artist Hopid drew from early Puebloan painters, only that they abstracted the same thematic elements of dance and song, emphasizing the motion within traditional Hopi ceremonies. Lomawywesa lectured across America, in New Zealand and Switzerland, his works are in such museums as the Heard Museum in Phoenix, the Museum of Mankind in London, the Sequoyah Research Center in Little Rock and the Gallery Calumet-Neuzzinger in Germany. Lomawywesa was Signature Artist for the 2010 Heard Museum Indian Fair and Market in Phoenix and a consultant to the Native American Arts Festival on Idyllwild Art's campus in Idyllwild, California for nine years up until his death. Lomawywesa learned the overlay technique from both his father and Wallie Sekayumptewa, but did little silverwork until the late 1970s. Adding in contemporary construction methods, Lomawywesa's technique consisted of layering two pieces of silver on top of one and other, cutting the design into the top layer, oxidizing or blackening the bottom layer to fill the negative spaces and provide relief like depth.

His jewelry designs echoed his paintings, steeped in Hopi culture. He exhibited annually at Indian Market from 1982 to 1999. Though best known as a painter, he considered jewelry his livelihood, stating to CNN correspondent Bill Tucker in 2000, "Jewelry is my job. Art and painting is my journey."Lomawywesa taught Hopi silversmithing for twenty-six years at Idyllwild Arts in California. Utilizing the techniques he practiced in his jewelry work, he designed the front gate for the Heard's Berlin Gallery and the Museum of Northern Arizona. Lomawywesa died on October 23, 2009 from complications of the H1N1 swine flu at Flagstaff Medical Center in Flagstaff, Arizona, he was honored at the Museum of Northern Arizona in Flagstaff, with an exhibit titled "Walking in Harmony: The Life and Work of Lomawywesa Michael Kabotie" showcasing his art and local Hopi community. He was given tribute by Idyllwild on July 11, 2010 with an exhibition that celebrated him as "an artist, philosopher, mythic archaeologist, friend."Lomawywesa has a son named Ed Kabotie, a pottery and ceramics artist and a musician.

List of Native American artists Native American jewelry Visual arts by indigenous peoples of the Americas Michael Kabotie ar

Boffalora sopra Ticino

Boffalora sopra Ticino is a comune in the Metropolitan City of Milan in the Italian region Lombardy, located about 25 kilometres west of Milan. Boffalora sopra Ticino borders the following municipalities: Marcallo con Casone, Bernate Ticino, Trecate, Cerano. Boffalora sopra Ticino was the site of a small battle in the 1859 Second Italian War of Independence, it was one of the first locations in what had been up to Austrian territory to be captured by a French army which crossed the Ticino after the Battle of Montebello. Official website