 "Three ages of Olympic logos")
Everyone loves a new, public logo. It's a polarising icon, and comments are free. So it is with Olympic logos. Deep Design seeks not to praise or bury them, but to discover the meaning interred into their bones.
Olympic logos support a strong, coherent brand, adapting its unchanging core to a dynamic world. They're only one of the brand's elements, but crucial in a media-driven world. The five rings, the flame, torch relays, Olympic villages and the marathon all effectively emote the Greek myth romanticised by Pierre de Coubertin, the comity of nations and the ideal of human potential.
But Olympic logos have another job. A successful Olympics bid is a high stakes win, a sign of alpha-nationhood. Issues of national identity, overt or subliminal, matter. Equally, the fashions, and the design ideologies of the time, leave their print on the logos.
So do other nations. The logos seem to follow their predecessor's example, until one makes a huge change. Much like evolution's Punctuated Equilibrium hypothesis, periods of stability and periods of rapid change alternate. They thus fall neatly into three ages: nationhood, modernism, and the new age.
Through all these, Deep Design, armed with hindsight, reveals the grand theme: the changing place of the Olympics in our lives and the logos as signs of adaptation. (PODIUM FINISH: MILTON GLASER’S APPROVAL RATINGS, 0-100)
Here's the parade; only Summer Games.
THE AGE OF NATIONHOOD, 1924-1960
In an age of unprecedented acceleration in design, art and modernity, Olympic logos are in denial. Sternly bureaucratic and monotone, they impose a (quasi) national insignia upon the Games.
By 1924, Chanel's timelessly modern fashion and cosmetics are on the street; even the iconic Noº 5 perfume. But art's capital city chooses it's 14th century coat of arms, depicting maritime trade in Paris 1924. Vibrant USA gives us Los Angeles 1932, as if a police department had married an Ivy League college shield, whose Latin motto on scrolls reveals a yearning for antiquity. The land of Bauhaus, instead presents the Third Reich in Berlin 1936, its Eagle oppressing the Olympic rings. The London 1948 Games seek to restore calm after WWII, with Westminster's bureaucratic stiff upper lip. Helsinki 1952 shows off new architecture.
But Rome 1960 represents a thawing. It refers to culture for the first time, picturing the legend of Rome (not Italy). Its feral snarl is oddly modern and its 3D treatment a tribute to both classical bas-reliefs and Hollywood styling (watch Ben Hur, 1959). The Roman numerals (what else?) bring a smile. Appropriately, it's on TV for the first time.
The Tokyo 1964 Rising Sun is a national symbol used as a geometric element. Abruptly, it unleashes modernist design, as if a dam had burst. It features geometric abstraction and a minimalist ethic that mutes national symbols and history and subtracts ornament. Also born: the age of corporate identity and design professionalism. (Not coincidentally, this is also the age of Milton Glaser, whose ratings appear below; and the Tokyo logo is his gold medalist)
Mexico 1968, a modern classic, is the first Olympic wordmark. Its design grid is formed around the five rings, but also draws on early Mexican art and op-art, joining part of the 1960s zeitgeist. Munich 1972 eliminates the Olympic rings. The severe abstraction of the sun and spiral form may not, though, live up to its idea of the "Cheerful Games". Montreal 1976 is typical too.
The Cold War superpowers' symbols appear more patriotic than others in this cohort. Moscow 1980's shot at modernism is topped by its red star, and LA 1984 reprises a familiar theme, only moderately modern, with a classic touch. Star wars, surely?
In this sense, Seoul 1988 is an outlier that hands over to the next age, with a vibrant, but modern depiction of a Taoist cosmology, a universe from which creation springs.
Maybe it was the tearing down of the Berlin Wall, the collapse of the Soviet Union, and the fading away of the Cold War that caused this change. But Deep Design, remembering that even causes have causes, is a cautious theoriser and sticks to what's observable.
Flowing free forms, human figures and hand-drawn artwork show a fatigue with modernism's technological side. Equally, a fatigue with ideals and a populist desire to bring the Games down from the heights of Mount Olympus, make them human, not godly; to be celebrated, not looked up to. Everyone's invited.
Barcelona 1992 takes the leap. Its designers say that "...the symbol could not be made with a … geometric or technological vocabulary". Atlanta 1996's centennial flame is playful, not prayerful, and the stars even twinkle. Sydney 2000 reduces the Opera House to a sketch, and rides a boomerang. Athens 2004 reintroduces the wreath in the medal ceremony, but with casual flair.
Beijing 2008 visually puns the character for "culture" with a human figure, and London 2012's aggressive logo pumps out a megawatt heavymetal party. In Rio 2016, the comity of nations is a sophisticated carnival in an in-vogue 3D style. Does Tokyo 2020 start something new? Look up Deep Design in 2032.
Itu Chaudhuri runs Itu Chaudhuri Design, a design and branding firm, in New Delhi; itu@icdindia.com
