The centerpiece of the
Homebush development, and the best example of this problem,
is the massive Stadium Australia, a partially roofed,
multipurpose arena that seats 110,000 people. Designed by
Bligh Lobb Sports Architecture, the building looks awesomely
large from
within and is constructed with both current and future
digital‑broadcast technol‑ogy in
mind. Dozens of speakers throughout the stands provide such
concert‑quality sound that the Bee Gees used the
stadiums sound system for a recent performance. Replay
screens will someday be inserted into the back of every
seat, and an entire television production suite will be
installed inside the building. The stadium will also have
its north and south seating wings removed after the games to
bring it down to 80,000 seats. Excitement over this feat of
building technology was dampened at athletic trials held
here in February, when many runners complained that
significant winds inside the stadium wreaked havoc on their
performances. Whether or not sports fans care about the ordi‑nariness
of the white steel, this design flaw, if not corrected, will
draw atttention at the games.
The Olympic Park Railway Station (Hassell Architects) repeats the theme
with a grand curved canopy of arched steel frames flung over
a sunken railway line and its platforms. Like a crawling
caterpillar it moves across its site, pushed forward by the
momentum of each successive truss. The effect is dramatic
and, as the architects have pointed out, recalls the grand
railway arcades of European stations. But the drama is
checked by the banality of the material and style chosen to
create its key feature.
Of
the more than 20 major projects, the only building that
appears to have escaped the homogenizing influence of the
scaffold is the witty and elegant Dunc Gray Velodrome by
Ryder SJPH Architects. A curved dome roof that recalls the
most aerodynamic racing helmet youve ever seen floats above
the cycling arena. It is held in place by the dreaded steel
frame but completely overwhelms it with a shimmering
architectural vision that mirrors the cyclists magic :
suspension maintained at speed . It is a fine and memorable
structure meant to be understood both as a sculptural form
and as a useful building.
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The Homebush Complex is an impressive achievement perhaps because of the
global-village aspect of its immediately accessible
architecture. The international television audience and the
thousands of overseas visitors to Sydney should feel both at
home in and impressed by its scale and friendliness. But
there is little in these designs that should shock the
spectator as either tough or challenging. This is a pity,
because while few cultures produce sporting arenas of such
quality and innovation for both athletes and audiences, the
opportunity to innovate aesthetically has been missed.
In
a strange inversion of televisions notions of reality, it is
only after the arc lights have been switched off and the
athletes have gone home that this river‑bound site
will become something like a real built environment. Then
the stadiums will be partially dismantled and brought back
to a more human scale; some venues will be transformed into
trade exhibition halls and commercial spaces; and the
Olympic Village will become the new Sydney suburb of
Newington. It is at that time that the already familiar
structures of the Olympic Games will become a built
environment for living, not just for broadcasting. Virginia Trioli
page 2 of 2 I
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