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Architecture at the Service of Sport

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Architecture at the Service of Sport Sport and Technology internally and there is no cladding. In this way, stadium in Vancouver/Canada). The Soldier Field the development of the objectification of grand­ Stadium, Chicago, also showing this style, is how­ stand structures was deliberately advanced. At ever a military sports centre commenced after that time, stadium construction in the USA the first World War. usually followed the style forms of eclecticism. American architects did not begin to react to With the building of the Coliseum, the archi­ the modern movements in Europe until the 30's. ? tects J. and D. B. Parkinson made a contribution This is explained by the uncontested prestige of to the development of modern stadium architec­ the "Ecole des Beaux Arts" in Paris, where many m ture in the USA. It may be assumed, however, American architects had graduated, and also by that the architects had already turned to Euro­ the curriculums of American schools. pean prototypes, for example to the construc­ In this connection, the stylistic consideration tive-functional conception of the Olympic Sta­ of the Los Angeles Coliseum is extremely inter­ dium in Paris/Colombes (1924, Architect : Louis esting, because historicizing style elements, Faure-Dujarric). Among the earlier ventures of which frequently are to be found in comparable "objectification" of high grandstand structures, projects, were not used here. Although the Coli­ the conceptual drawings for an Olympic Stadium seum was still built as a typical American "bowl" ARCHITECTURE AT THE SERVICE which had been prepared by the French architect in 1921, its main portal structures were con­ A. G. Perret (1874-1954) should also be counted. structed simply as concrete cast blocks, without OF SPORT The load-bearing structure is here fully visible historicizing facade decoration, in contrast to the and consists of concrete-cased steel sections. To otherwise usual entry structures in large stadiums. (Part II) what extent in this case an influence actually was present cannot be established in the context of THE OLYMPIC STADIA the present article. Stylistically, a flowering of eclecticism was IN LOS ANGELES AND BERLIN evident in the USA between 1900 and 1930 (with offshoots at times until 1945) ; this is also termed by THOMAS SCHMIDT "traditional architecture". The representatives of eclecticism (e.g. the American architects Cass In Holland, as almost everywhere else in the Western world, architecture Gilbert, 1859 to 1934 ; Ralph Adams Cram, 1863 to 1942 ; James Gamble Rogers, 1867 to 1947) go in the 20,s was marked by buildings of historicism. This style was not back to prototypes from the period of historicism regarded as significant in Holland. At the beginning of the 20th Century, in the 19th Century, for example the office blocks however, movements became evident, which attempted to free it from of the American architect Henry Hobson Richardson (1836 to 1886), in the neo-roma- historicism and thus create a renewal of architecture. nesque style, or the neo-gothic work of the Scot­ tish architect George Frederick (1827 to 1907). which usually exhibit style elements from the Ital­ pecial mention should be made in this regard i.e. the functionality of the internal layout, which The latter style was frequently used in church ian High Renaissance (e.g. the stadium in Vanc­ S of the buildings and writings of H.P. Berlage now could be seen from the outside. Wils' works architecture and educational and training estab­ ouver, Canada). The architectural principle shows (1856 to 1934), who overcame eclecticism and its — The N.FT church in Nieuw Lekkerland (1916), lishments. influences from the romanesque. The portals historical system of forms and strove to bring out a farmhouse in Winschoten (1916) and an apart­ have the typical round arches and an arcade. In the form of a building as an expression of its con­ ment building in Alkmar (1917) do indeed still BORROWINGS FROM OLDER STYLES 1929, an extension to the grandstand designed struction (Amsterdam Stock Exchange, 1897 to have a historical style, but the projecting roofs, Other models were style elements from the time along constructive-functional lines in exposed 1903). the long horizontal bands of stone and the of the new Italian renaissance and Georgian concrete, with a long gallery beneath with no Wils worked for two years with Berlage, who grouping of the window frames indicate the influ­ architecture, which were used mainly in the window glazing, was added, in contrast to the was an admirer of the American architect Frank ence of Wright. buildings of the American architects Charles forms of eclecticism common at that time. Lloyd Wright (1869 to 1959). The confrontation Follen McKim (1847 to 1907), W. R. Mead and After 1932, the year of the Olympics in Los with Wright's work and to a lesser extent cooper­ THE ECLECTIC SCHOOL IN THE UNITED STATES Stanford White (1853 to 1906). The last-named Angeles, a move away from historical eclecticism ation with the artists' movement. De Stijl The Coliseum in Los Angeles (1932) deserves types of style left their stamp on the American occurred. A turn towards the international style (founded 1917), were of outstanding importance particular attention. In 1921 it had been con­ university buildings of that period and large sta­ was demonstrated by an exhibition of con­ for the conception of the Amsterdam Olympic structed still as a typical "bowl". The grandstand dium construction, which was often associated temporary European architecture, which was Stadium. Wils was particularly impressed by extensions of 1929 are in reinforced concrete. with the university complexes (e.g. the Harvard opened on 10th February 1932 in the Museum of Wright's internal and external forms of spaces, The construction is visible both externally and Stadium at Cambridge near Boston, Mass, the Modern Art in New York. 467 Source : Bibliothèque du CIO / IOC Library Sport and Technology The architect Werner March (1894 to 1976), accordance with the wide-ranging architectural in his original designs for the conversion of the planning of Hitler, the work of Albert Speer old German Stadium (Architect : Otto March) for became a symbol of official state architecture. In the Olympic Games in 1936, continued the the mass parade ground of the Zeppelinfeld in development of objectification of grandstand Nürnberg for about 240,000 people and the structures. His conversion designs show a pure uncompleted Congress Hall with 400,000 places, reinforced concrete structure with glazed spaces Speer gave visible expression to the ambitions of between, similar to the Vienna Stadium of 1929 the manipulated mass society. by Otto Ernst Schweizer, who was the first archi­ Werner March, himself a practicing sports­ tect to provide glazing as a weather protection man (swimmer and boxer) established his name for ambulatories, and thus at the same time satis­ as one of the leaders of the younger architects of fied the objectives of modern stadium construc­ Germany by the planning and building of the tion. German Sports Forum (1926 to 1928) and asso­ ciated buildings. His name is especially linked THE INFLUENCE OF ALBERT SPEER with the building of the Berlin Olympic Stadium The modern, neoclassical concept of the Berlin of 1936 which, with its associated structures may Olympic Stadium (1936 Olympics), the covering be regarded as his chef d'œuvre. The team of the structural frame with natural stone and the leader at that time was the architect Prof. Dr.-lng powerful cornices, go back to the inspiration of Lehmbruch. Following the widespread tendency Albert Speer. They exhibit the usual style ele­ of that period to emotionalism, the Stadium was ments of neoclassicism, which as early as 1910 named "Reich Sports Ground". It was not until were to be found predominantly in public build­ after the second World War that it was given its ings in Germany. present name of "Berlin Olympic Stadium". The Berlin Olympic Stadium of 1936’ is a typical example of a structure which was com­ A FAMILY OF ARCHITECTS pulsorily adapted in its style to the ideal concepts March was occupied for ten years with this struc­ of the architecture of the Third Reich. Official ture, from 1926 to 1936. In his early youth he State and Party buildings largely show a neoclas­ had become familiar with the predecessor, the sical style. Characteristics of this architecture are "German Stadium", which had been built by his the consistent mass of the building in a strict father Otto March at the site of the Grünewald geometrical form, high rectangular windows, Race Track (also by Otto March) before the first "Führer" balconies, and undecorated wall sur­ World War. faces in regionally available natural stones (mainly In 1925, Werner March, jointly with his shell limestone), which usually encased the load- brother Walter March, won a competition for the bearing reinforced concrete or steel structure. German Sports Forum. This was to be located The prestige buildings of the Third Reich thus alongside the race track. Up until 1928, gymna­ became an expression of an architecture that siums, an open-air swimming bath and a home made great use of manual craftmanship. The for female sports students were constructed ; the effect of permanence, indestructability and latter was named the Anna-Heim, after the fore­ strength were intended to be the expression of a name of the wife of the Mayor of Berlin at that political order. Simplicity and the omission of any time. Boss. ornamentation were regarded as patriotic. In 1928, the already mentioned proposals for enlarging the German Stadium were begun. IDEOLOGICAL ASCENDANCY Nobody was thinking yet of a future National The ideology of Hitler in the construction of State Socialist state. The National Socialists had only and Party buildings consisted in using large sports twelve elected representatives in the Reichstag at grounds and stadiums and correspondingly huge that time.
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