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Available for everyone, funded by readers. The designer of one of the zones now recalls an attitude that was “so condescending”. tags still on . Free postage. Liza Fior, of muf architecture and art, whose proposal for an ice rink was binned early in the proceedings, argues that what would have been really impressive would have been to define British greatness in a different way. He left a trail of eloquent barbs as he went. It makes no financial sense to close early during the year of operation. 27 June 2000. All rights reserved. © 2021 Guardian News & Media Limited or its affiliated companies. La revente du Dôme reste, toutefois, soumise à certains aléas de calendrier. Falconer, though, argues that it “focused the resources of the state” on this difficult location. This was because the dome was to be the ultimate symbol of the triumph of New Labour. More generally, it is striking on how much those involved now agree – that the main problems were political interference, the lack of creative direction or clear statement of purpose, the unrealistic target for visitor numbers, the relentless timescale and deadline, the compromises that came with large amounts of corporate sponsorship. For a government famed for its supposed mastery of spin, it was about as bad a s it could get. Size: Mug: 8cm diameter x 9cm height. I’m sure of that.” He says the dome shows how “events venues can be great drivers for residential and commercial development”. The long queues to get into the star exhibits made front-page news. This would show, as Jenkins puts it, “that New Labour was friendly to capitalism, that business was part of one big national family”. It would be, if it hadn’t been before, a political project, with potentially fatal consequences for true creativity. The Millennium Commission would run the project until a new organisation, the New Millennium Experience Company, was set up. Withers, according to Mike Davies, gave a deadline of 25 March 1996 for the Commission to make up its mind. Wimps.”. Most say that the dome itself, the structure of masts and its fabric covering, is what Falconer calls an “inspirational building”. The stage design responds to its unique context, tiered to the public surrounding the event space with spectacular lighting that emphasizes the scale and volume of public space. More than 6 million people visited the attraction during 2000. The structure that still stands was thus a clever way of buying time, a monument to the indecision of the Commission. But “in that drive,” as Ben Evans puts it, “anything that got in the way was swept aside”. Built entirely within the structure of the former Millennium Dome, the spectacular O2 Arena on the Greenwich peninsula, has 23,000 seats and can accommodate a variety of sports and entertainment. Its design was led by Richard Rogers, the english architect best placed globally at the time and responsible for such iconic works as the Centro Comercial Las Arenas de Barcelona, or Cultural Centre George Pompidou in Paris. Jenkins wrote an eloquent letter on its behalf, inviting Blair to imagine the joy of his young son Euan attending the event. It crystallised the doubts that floated around the New Labour project: this spectacular container of not very much made an easy emblem of the government’s preference for style over content, its attachment to vacuous statements of modernity, its use of messaging and focus groups to deliver meaningless platitudes, its tokenistic approach to regeneration. It was an appealing detail that his grandfather, Herbert Morrison, had played the same role for the 1951 Festival of Britain, which for Jenkins and others was the main model for the proposed millennium event. A “Litmus Group” of the great and the good was set up, to give feedback on ideas. “I’m still haunted by the experience 20 years later, it was awful,” says Ben Evans, a member of Blair’s 1997 election campaign team who then worked on the dome’s content. The Commission didn’t make up its mind. He also wants to stress that, although the project’s £789m cost sounds large, the huge area of the dome meant that the “per metre spend was woefully inadequate”. 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, and contained a large number of attractions and exhibits. The Richard Rogers Partnership, already responsible for masterplanning the hoped-for redevelopment of the peninsular, was also asked to advise. In its construction were used for the base concrete, steel towers painted yellow, cloth glass fiber matrix of PTFE ( Teflon ) for cover and rubber feet anchor it to the ground. “Is this the arse or the elbow?” went a Private Eye speech bubble, coming from a visitor trying to enter an opening in the arm of a giant figure that was in a “zone” based on the human body. 0 bids. A local gang planned to ram-raid the De Beers diamond exhibition which was being held in the riverside Dome at the time. After this point he would be unable to produce the show, which was conceived as a series of pavilions in the open air, on time. Most, though, want to say that the show that was eventually put on wasn’t all bad. I didn’t know what to expect. The Millennium Dome Show The Millennium Dome at night, September 2000. It was buried in a Thames-side bog with a plastic bag over its face. The project did not yield “economically ” than expected after the large investment, the Millennium Dome was closed in late 2000, until in 2005 was projected to a new destination site. 2000 à 1:01. Advance publicity had been both negative and positive. The inspiration for the design was a big sky, a cosmos in which all events take place, the radial lines and circles high and tensile roof structure recalls the celestial grid astronomical maps through the ages. An aerial view of the Millennium Dome, Greenwich, London, 2000. en In 2000, one of Kapoor's works, Parabolic Waters, consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London. or Best Offer . They paid particular attention to the faith zone, where the architect Eva Jiřičná wanted to create a spiritual space specific to no particular creed. The Dome, with a maximum height of 50 metres (164 feet), is suspended from a series of twelve 100-metre (328-foot) steel masts, held in place by more than 70 kilometres (43.5 miles) of high-strength steel cable that, in turn, support the Teflon-coated glass-fibre roof. We discussed its designer, Paul Smith, and the shop he had just opened in Notting Hill. On a date.”. Like other works of New Labour, it was a modification of something inherited from the previous Conservative government. “Does your name mean,” asked one intellectual contributor, “that you change from blue to pink depending on which party is in power?”. Page had the task of reconciling the unreconcilable, with results that were broadcast in The Dome: Trouble at the Big Top, a BBC Two documentary series produced at the time by Robert Thirkell and Adam Wishart. Each of these towers represents the hours of a clock and every month of the year. “You could blow it up,” said columnist Boris Johnson later in the year, “… there must be some form of public humiliation. The Millennium Experience that it contained then is dimly remembered, like a TV soap opera that didn’t catch on. The end result, in one of many moments reminiscent of Spinal Tap’s micro-Stonehenge, included a curving plasterboard wall indented with crosses, each one carrying a TV screen in its centre. Small wonder, then, that most of those involved now describe the contents as “ultimately unsatisfactory”, as Evans puts it. £10.00. The cover is suspended and supported by high-strength cables ranging from the outer end of the steel masts 12, which pass through the Teflon fabric, until the fabric of fiberglass. This was to be a rival, or more, to the grands projets that had appeared in Paris over the previous decade. It was eclipsed, as Blairite catastrophes go, by the invasion of Iraq three years later. Last modified on Wed 23 Sep 2020 10.26 EDT. I was admitted to the office of Peter Mandelson, minister without portfolio, at this time in 1998 the second most powerful man in government, sometimes called the Prince of Darkness. My own aversion to the dome, at the time, came from its undermining of the hopes raised by the Blair government about both urban renewal and design. Its original design was intended to accommodate major exhibitions, but to the failure to call for public level was reused for music concerts and events, both artistic and sports. Mug: Dome 2000 "Dome • 2000" printed on both handle & inside. The shortlist of locations consisted of Birmingham, Derby, Stratford and the Greenwich Peninsular, the latter the site of a former gasworks, its soil burdened with arsenic and mercury and unexploded bombs. 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