This station, which is the main access point to the Olympic Stadium and other Olympic installations, emphasizes subtlety. The looming walls in earth tones and roughened, ridged concrete - a characteristic of the period - give an air of calm power that sets in relief the excitement that a spectator passing through the station will feel or has felt. |
Due to the traffic patterns of this station, namely the sudden huge flux of passengers it experiences before and after games and shows at the Olympic Stadium, the station is built with the widest possible passenger access.
The stairways from the entrance buildings and the tunnel from the stadium lead into this broad concourse, providing plenty of space for crowds to circulate, and thence to the equally vast mezzanine. The very long row of turnstiles, along with gates that can be opened and staffed for faster fare payment during events, can be seen between the concourse and the mezzanine over the platforms.
There is even a secondary access directly to the Angrignon platform, near the tunnel to the stadium, which can be opened to allow additional traffic flow.
This station has several artworks, all of which are related to the Olympics. On the wall of the Angrignon platform, the Olympic rings are sculpted in bronze (depicted at the top of this page). Also based on the Olympic rings, another mural is composed of a series of five disks decorated with ceramic shards in the Olympic colours, angled downwards to the platform. This work is difficult to see, however, because it is found in the secondary access mentioned above, which is usually kept locked.
Finally, a decorative grille can be seen over a ventilation shaft over the stairs to the platform, also in the Olympic colours. All three works are by station architect Marcel Raby.
The most important work of art, however, is a relief mural by Jordi Bonet on the wall of the mezzanine. In concrete with an aluminum central panel, the work is entitled Citius, Altius, Fortius, the Latin version of the Olympic motto "faster, higher, stronger." The concrete represents physical endeavour while the aluminum panel's mythic figure represents the spirit.
On the exterior, the curved form of the eastern entrance is integrated into the stadium's esplanade and repeats the curvature of the stadium. The more conventional entrance building on the western side of the street is connected to the concourse by a curvilinear corridor.
Images grille.jpg, rings.jpg, and disks.jpg courtesy STM archives.