-
-
Drake Maye /Dragon Renewal
--
Syrus of Pavia (Italian: San Siro di Pavia), also spelled Sirus, is traditionally said to have been the first bishop of Pavia during the 1st century.
The design celebrates the sun as a symbol of life, energy, and renewal, while paying homage to Leonardo da Vinci, the famed Renaissance maestro, and, probably, the first iconic Italian designer. In Milan, he created some of his most ingenious inventions and artworks. His kinetic knots—geometric interlacings that weave together nature and human ingenuity—inspired the concept behind the cauldrons, alongside the playful simplicity of a plastic ball toy that opens and closes, as Marco Balich notes.
-
Dragon/Draco Super Bowl/Big dipper
Minnesota is another pole star "dragon rebirth' in the mix with ICE "Metro Surge"
-
Horus/Osiris
Another element is the World Cup in USA/MEXICO/CANADA
Draco super bowl
Red and black are the colours which have represented the club throughout its entire history. They were chosen by its founder Herbert Kilpin to represent the players' fiery ardor (red) and the opponents' fear to challenge the team (black). Rossoneri, the team's widely used nickname, literally means "the red & blacks" in Italian, in reference to the colours of the stripes on its jersey.[73]
Another nickname derived from the club's colours is the Devil. An image of a red devil was used as Milan's logo at one point with a Golden Star for Sport Excellence located next to it.
Made from aeronautical aluminium, the kinetic structures will expand and contract to evoke the "natural cycle of the sun".
The design recalls the genius of Leonardo da Vinci and his famous Knots, geometric interlacing symbolizing the harmony between nature and human ingenuity. A tribute to Leonardo and his historic connection with Milano, a city that stands as a symbol of creativity and innovation.
Made of aeronautical aluminum, among the strongest and lightest materials, the Cauldrons are dynamic structures that generate an opening and closing movement, bearing witness to the continuity of time and the natural alternation between day and night. Designed to expand and contract, they reveal and safeguard, like a casket, the preciousness of the Olympic Flame
A gate that roughly corresponds to modern Porta Sempione was already part of Roman walls of Milan. It was called Porta Giovia ("Jupiter's Gate") and was located at the end of modern Via San Giovanni sul Muro. At the time, the gate was meant to control an important road leading to what is now Castelseprio. Very little remains of the original Roman structure; some Roman tombstones that used to be placed by the outer side of the walls have been employed in the construction of later buildings such as the Basilica of Saint Simplician (located in Corso Garibaldi).
The gate is located at the center of a wide round square known as Piazza Sempione ("Simplon Square"). It is adjacent to Simplon Park, the main city park of Milan, which was designed with the explicit intent of providing panoramic views encompassing both the Arch and the nearby Sforza Castle.
The gate is a neoclassical triumphal arch, 25 m high and 24 m wide, decorated with a number of bas-reliefs, statues, and corinthian columns.[2] Bas-reliefs and statues are made of a variety of materials, including marble, bronze, wood, and stucco. Many of such decorations, especially bas-reliefs, are dedicated to major events in the history of Italy and Europe, such as the Battle of Leipzig, the foundation of the Kingdom of Lombardy–Venetia, the Congress of Vienna. Other decorations have classical mythology subjects such as Mars, Ceres, Minerva, Apollo, and Victoria-Nike. There are also a group of statues that are allegories of major rivers in North Italy such as the Po, the Adige and the Ticino. Notable artists that have collaborated to the decoration of the gate include Pompeo Marchesi, Luigi Acquisti, Grazioso Rusca, Luigi Buzzi Leone, Giovanni Battista Comolli, Luigi Marchesi, Nicola Pirovano, Francesco Peverelli, Benedetto Cacciatori, Giovanni Antonio Labus, Claudio Monti, Gaetano Monti, Camillo Pacetti, Antonio Pasquali, Giovambattista Perabò, Angelo Pizzi, Grazioso Rusca, Girolamo Rusca, and Francesco Somaini.