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[Demanding]

Продолжение:
In Munich, too, there had been plans, to begin with, to include the plastic and graphic arts in the ensemble of sports buildings but only scanty results were obtained because the architects did not want any works of art within the scope of the Olympic Park. They held that the architectural and landscape-encompassing design of the sports centre itself should be considered a large-scale work of plastic art. That is why no sculptures or mural paintings were included. Only in front of the rifle-range and in the Olympic Village a few abstract sculptures could be found.
An important reason for this scarce assignment of works of the plastic and graphic arts to sports facilities, however, may be found in the opinion held in many countries that the unity of arts - especially a synthesis of architecture and the plastic and graphic art - is no longer possible. In accordance with this late middle-class art view, means of creative arts were used in the Olympic Village for the shaping of information and media carriers. As a result of an artistic contest, the Viennese artist Hans Hollein formed a so-called media-line having a total length of five kilometers. These coloured pipes for conducting hot air, cold air, for infra-red radiators, fluorescent elements, plug-in points for electricity and sound, and for the fastening of suspension elements are not striking as artistic features-unless they are specially pointed out to the spectator-and, in the opinion of a large number of expert, impair the otherwise remarkable quality of the Olympic Village, particularly from the town-planning angle.
As Monreal has not stated so far whether it will pay particular attention to this aspect of correlation between architecture and the plastic and graphic arts, the subject has again come up for discussion in Moscow. First drafts of the Olympic buildings show generously designed mural paintings where man, too, will be the subject of artistic representation. We may therefore be confident that future Olympic Games will continue to inspire the arts for the decoration and designing of the buildings and to promote the synthesis between architecture and the plastic and graphic arts. It is obvious that much more should be said on this topic than the Games themselves have displayed up to now. This also became obvious from the Olympic Photographic Exhibitions staged in Tokyo and Mexico City in cooperation with the International Union of Architects. In the former city, 21 countries displayed 187 representations of the most remarkable sports buildings in the foyer of the indoor Swimming Area designed by the architect K. Tange which has meanwhile become famed. The second exhibition staged in the Polytechnical College of Mexico-Zacatenco showed project and buildings for sports and recreation and photographs of cultural buildings, displaying a total of 600 works. The majority of subject were architectonically, aesthetically and functionally well matured buildings, which observed both the laws of architectonic perfection and the requirements of their function. Architecture has also given an Olympic setting for other arts. The fact that an Olympic swimming hall was evidenced in 1956 in Australia where is such a hall, close by the covered diving basin, Bethoven`s Fifth Symphony was performed by the united Symphony and Broadcasting Orchestral of Sydney and Victoria. Another wonderful experience were the "Olympic Chimes" composed by Mayuzumi which made the opening ceremony in the Tokyo Olympic Stadium a unique event. The sounds of old Japanese temple bells were combined in an unrivalled manner with electronically produced sounds in order to give "the Games of Tokyo which are held in the electronic age an adequate present".