This article was originally published on Domus 960 / July/August 2012
In a letter dated 2 April 1906, Baron Pierre de
Coubertin questioned "to what extent and in what
way art and literature could be included in the
celebration of the modern Olympiads". Elaborating
on his intentions, he added, "In the high times of
Olympia, the fine arts were combined harmoniously
with the Olympic Games to create their glory. This is
to become reality once again."
Baron de Coubertin had single-handedly revived
the Olympic Games just years earlier, when the
inaugural Olympic Congress was declared open
and the first modern Games were officially, and
unanimously, approved in June 1894.
To fully reawaken the spirit of the Olympics as they
had been held centuries ago — a celebration of body
and mind — Baron de Coubertin envisioned a global
event that gave equal value to athletics and arts,
such as painting, literature and even architecture.
He called on the International Olympic Committee
(IOC) to examine several critical pedagogical themes.
After having successfully discussed the integration
of education and science at two previous meetings,
Coubertin turned his attention to the arts. The official
subject of the 1906 Congress, hosted at the Comédie-
Française in Paris, was the "Incorporation of the Fine
Arts in the Olympic Games and in Everyday Life".
The Architecture Olympics
Between 1912 and 1948, the Olympic Games incorporated not only athletics but also art competitions, giving equal importance to works of architecture, painting, music, sculpture and literature.
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- Julia van den Hout
- 23 July 2012
- New York
To realise Coubertin's vision of promoting a unity of
sports and art, going forward the Olympic Games
would consist not only of athletic events, but also
organise art competitions, offering prizes in five
categories: architecture, sculpture, painting, music
and literature. Accepting only works that had never
previously been published, exhibited or performed,
an international jury picked gold, silver and bronze
medal winners for art that showed a direct and
thoughtful connection with sports.
As such, the IOC's first architectural competition brief,
announced in 1910, requested proposals for a model
of a modern Olympia. The results of the competition
were supervised by the College of Architecture in
Paris, which after a review in May 1912 awarded the
first ever Olympic gold medal in architecture to Swiss
architects Eugène-Édouard Monod and Alphonse
Laverrière for their plan of a modern stadium.
Exhibited alongside the other art submissions at
a museum in the host city for the duration of the
Games, the winning architectural proposals ranged
from athletic schools to parks, and even to ski-jumps.
While the overall format of the competitions
remained largely unchanged as they travelled
from city to city, the process evolved during the
1928 Games in Amsterdam, where the architecture
competition was divided into two subcategories:
architectural design and town planning. Moreover,
whereas in the previous three Games medals had
been given only for proposals, 1928 marked the
first, and only, time that a medal was awarded for
a realised building, with a gold medal going to Jan
Wils's Olympic Stadium in Amsterdam, the structure
in which many of the sports events were hosted.
Baron de Coubertin envisioned a global event that gave equal value to athletics and arts
Unfortunately, this was also the first year in which
artists were permitted to sell their submissions — a
decision that ultimately conflicted with the
required amateurism of the competitors, something
which had been of central importance in Baron de
Coubertin's vision for the modern Games. As a result,
the last medal-awarding architecture competition
was held at the 1948 London Games.
Today, as we see yet another Olympic complex
rapidly taking shape in London, it is clear that
architecture is nevertheless still a central component
of the events. Not only do cities continue to compete
for the opportunity to host the Olympics, but the
architecture of the Olympics itself has evolved
beyond the amateur competition of merely showing
models and plans.
At a time when the competitive edge has become
increasingly dominant in architecture as a whole,
constituting a key factor in the process of winning
new projects for many practitioners, it comes as no
surprise to find architects vying for the chance to
build one of the Olympic structures. As a carefully
curated selection of some of the most ambitious
contemporary works, the Games have become an
architectural showcase for the international public.
Perhaps it is thanks to Baron de Coubertin's
passionate efforts to celebrate the body as well as the
mind that the Olympics continue to evoke a highly
competitive race between some of the world's bestknown
architects, even when there are no longer any
medals up for grabs. Julia van den Hout, Architecture writer and curator