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078 TOKYO


day designs were due for submission, reminding him to submit his proposal. He dashed off the design in five or six minutes, and then with his staff, put together the presentation in the space of around two hours. It became part of the ‘national memory’ of 1964, even for generations who did not experience the Games. Like all the best logos, it is simple and extremely effective. Te new pictograms designed by Masaaki Hiromura have been inspired by the 1964 designs, but the identity was not. Mired in controversy, the new logo by Kenjiro Sano was withdrawn in 2015 after allegations of plagiarism from Olivier Debie in Belgium, whose Téâtre de Liège from 2011 was seen to be almost identical. Te new design by Asao Tokolo features a harmonised chequered emblem, with a traditional Edo-period pattern from the 17–18th century known as ichimatsu moyo, associated with Kabuki theatre. Ten there was the controversy over design of the main stadium. Costs for Zaha Hadid’s original began at ¥130bn (£878.7m), but rose to ¥252bn (£1.7bn) in 2015. A ‘look on my works and tremble’ sort of thing, the scheme design helped seal Tokyo’s bid to win the Games. Yet two of the lighter soubriquets applied to it were ‘looking like an intergalactic bike helmet’, and ‘a child’s potty’. It was declared a national joke. During its various haphazard lifetimes, it resurfaced as a design- and-build project before its third iteration was pulled by Hadid. Coupled with her signature ‘more is more’ approach so at odds with Japanese culture and design, never mind the cost overruns, it should not have come as a surprise that the establishment took against it. She may have won the Pritzker Prize in 2004 but it cut no ice here.


Te new design team worked to a revised budget of ¥155bn (£1bn). Kengo Kuma, one of the opponents of Hadid’s concept, was tasked with redesigning the Olympic stadium, arguing that new developments need not bulldoze the past. Surprise, surprise, it was the supposed ‘Japanese-ness’ of the new design that won the day. It beat a design submitted by Toyo Ito in


the final run-off. Everyone was happy. Located next door to Tange’s 1964 stadium, the new timber-heavy building comes with a latticed larch and steel canopy, and heavy planting is featured around the circulation spaces at all levels. Ironically, it is very much in line with the principles that dictated Hadid’s design for the Forest Green Rovers stadium in Gloucestershire that won planning approval in 2019, a building that will be constructed entirely of wood, powered by sustainable energy sources and incorporating an all- weather pitch. So it goes.


Te Olympic torch has been designed by Tokujin Yoshioka to resemble a Sakura cherry blossom, the country’s traditional flower. Te medals have been made from old electronic devices donated and recycled by the public.


Tere are 5,000 medals produced for an Olympics, in this case from 6.21 million old mobile phones handed in to collection centres. Te medals were designed by Junichi Kawanishi, selected from 400 submissions to an open competition. As per tradition, the medals show the Greek goddess of victory Nike standing in front of the Panathenaic Stadium, Athens. Te medal ribbons are made from chemically recycled polyester fibres. Blending modern and traditional, the wooden medal cases have been handmade from Japanese Ash. Tey were designed by Shinya Yoshida. As ever, the Olympic extravaganza requires a wide array of buildings and spaces in which to operate. Tere are some new builds and plenty of new designs to be seen, but, refreshingly for once, full use has been made of


‘There are some new builds and plenty of new designs to be seen, but, refreshingly for once, full use has been made of the... venues constructed in 1964’


Top Miyagi Stadium will be one of several venues used for football across the whole of Japan


Right and below Tokyo Aquatics Centre, inside and out, home to swimming and diving


ALL IMAGES: COURTESY OF TOKYO 2020


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