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Tone Wheeler In early 2000, as the Sydney Olympics buildings were being completed, Anne Susskind, a journalist at Fairfax with a particular interest in architecture and the environment, wrote a stinging critique, Going for Bronze, in the SMH Good Weekend Magazine . As the title suggests, it lamented the lack of vision and creativity in the architecture. Twelve years later, Metropolis magazine used the same headline for an article on the London Olympics’ buildings. Both articles found their cities’ respective Olympics design to be mundane, ordinary and dull: third rate. Why the disappointment? Because the Olympics offers a rare chance to build the exceptional, the monumental and experimental: the pinnacle of architectural design. And this possibility was made evident firstly in Pier Luigi Nervi’s structures for the 1960 Rome Olympics and confirmed particularly in Kenzo Tange’s two buildings in Tokyo 1964.

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