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All his life Coubertin was fascinated by the unity of all artistic efforts especially in the classical epoch of ancient Greece, with the interaction between all forms of art, architectonic creations being a basis for a whole ensemble of artistic manifestations. Equally fascinated by the resulting educational influence he introducer the Olympic Games of modern times to re-establish, in a new way, the lost relation between sports and art and draw the architects` attention to the Olympic tasks they have to fulfill. Architecture should give scope to the other arts to represent themselves within the overall Olympic picture in a worthy manner. This should apply to the suggested contests between the various arts in the same measure as to the festive staging of the Games, and he envisaged them as taking place with parades, large choirs and orchestras included in the ceremonies. This also should apply to the overall visual impression of a "Modern Olympia" pledged to pursue physical, mental, moral and aesthetic unity in upbringing and education.
Hence, it is necessary to ask how far it has been possible to translate such concepts and ideas, in general and in particular, into reality in an exemplary manner during the Games held up to now. Although the athletic part of the Games has always been prevalent, the various Olympic Cities have made efforts, more or less intense and successful, to engage the arts, or at least aesthetic and artistic elements, to adorn this "festival of youth, beauty and strength".
In the first development stage of the Games, this was only achieved by Stockholm because such concept only gradually came to be accepted. The climax reached so far was, beyond all doubt, Mexico City where the 19 athletic events were quite consciously accompanied by 19 highly varied artistic performances. Nevertheless, beginnings of the endeavour to bring into play all the arts, especially the plastic and graphic arts, along with the Olympic architecture, which was to provide the framework for other works of art to convey their message to the spectators, can be traced in almost all of the Olympic Cities in the second and, above all, the third development stage of the Games.
This does not apply, first and foremost, to contests and the artistic performances which have taken their place since 1952, because it is obvious that, unfortunately, apart from a few exceptions, they were not integrated into the Games to such an extent as to appear as an indispensable part of them. This applies rather to such performances or achievements which were so immediately embedded in the Games that they appeared as an unmistakable part of the whole and that the Games concerned would be unthinkable without them. What has been the situation in this respect so far? Sports buildings and sports facilities are excellent objects for achieving a synthesis of architecture and the plastic and graphic arts. The spaciousness of these buildings and the fact that the grounds are so designed that they fit in with the landscape plainly call for a union of expedience with beauty otherwise only found in pleasure-grounds. Here, the grounds formed a spatial unity with the cultural buildings which, richly adorned with pictures, frescoes, and statues, were in the field of vision of both athletes and visitors. The chief incentives for the large number of sculptures were Olympic champions, it being allowed to erect statues of them up to life size in the Altis.
Today, for understandable reasons, this possibility no longer exists. According to an IOC rule, only the names if the winners shall be engraved in the walls of the stadiums where the Games tooke place. Nevertheless, statues were erected in two cases: In 1896, the statue of the patron of the Athens Games, Georgius Averoff, was erected in front of the Stadium at Athens.
He can be called an Olympian because it was due to his generous donation that the first Games of our times could be staged. And the forecourt of the Helsinki Stadium is adorned with the bronze statue of Nurmi by W.Aaltonen, the most successful Finnish athlete and repeated Olympic champion, effectively rounding off the whole sports complex.
The Games of Mexico City, however, displayed other novel possibilities for a synthesis of architecture and the plastic and graphic arts: first and foremost, the polychromatic exterior decoration, a revolutionary development in monumental mural painting.
Here the three great artists among the Mexican "muralists" - D.Rivera, C.Orozco, and D.A.Siqueiros - have done spade-work together with other artists in the field of mural painting; this is evidenced especially by the works of art in the buildings of the Mexico City University which represent a progressive art intimately connected with the art of buildings and one which has greatly influenced the public. The main sports facility, the Olympic Stadium in the University City, completed in 1953, exhibits an external decoration by Diego Rivera, visible from a large distance; the message communicated to the public by this work of art dealing with the subject of sports is exemplary. Commenting on his exterior decoration at that Olympic Stadium, the artist says:
"The reliefs covering the front wall of the Stadium building represent the history of sports in Mexico from the pre-Hispanic era to the present day. The section reproduced represents the union of the Indian and European races with the result of the birth of a new Indian Mexico..."
Rivera denotes his creations at the Olympic Stadium as the most important work of his life which is concerned with the subject of sport, culture and peace. It is a combination of sculpture and monumental mural painting which he called "escultopintura" (sculptural painting). Unfortunately, only the part over the east entrance to the Stadium was completed. A sketch shows how the entire external wall of this Stadium was intended to be decorated; a grand plain which was not executed owing to the artist`s death and perhaps also because of the costs.
Another possibility of adorning sports buildings with works of art is show by two large sculptures in an abstract manner in Mexico City. The sculptor M. Calder designed the 24-metre high steel sculpture "Red Sun" which was erected in front of the Aztec Stadium. Its size corresponds to the dimensions of the Stadium and thus appears as an integrated part of the whole. The architect and sculptor Mathias Goeritz erected seven coloured columns 15 meters in height as a counterpoint to the semi-spherical copper-covered dome of the Sports Palace which became known under the name of "Great Bear". The question arises whether or not in sports facilities where man returns to quite vital manifestations of life man should also be the focal point of artistic activities and be materialized in these very manifestations.
Another idea should be welcomed, too, which took shape for the first time also in Mexico City: the "Road of Friendship and Art". Before the Games, 18 artists from 16 countries of all the five Continents came to Mexico City to direct the erection of their large sculptures for which foundations were prepared at a spacing of 1,5 kilometers along a 12 kilometers long expressway, a by-pass highway newly constructed on the occasion of the of the Games along the southern part of the Anillo Periferico.
In a cooperation of artists, designers, architects and engineers, the sculptures in concrete, up to 18 meters in height, were erected according to models prepared by the artists to carry out a great experiment of town-planning in concert with art: the integration of art in town-planning as a task of fundamental importance for the revival of art in the consciousness of man in our time.
According to the Mexicans, this would only be possible if the works of art came out of their one-sided alliance with museums and galleries to find their sites in the streets and places, thus as a result of a conscious overall planning, approaching man in a new manner.