When Zaha Hadid's design for the Tokyo 2020 Olympic Stadium was cancelled in 2015 — after years of planning, vast expenditure, and a controversy that reached into Japan's parliament — the decision felt, to many observers, like the defeat of international ambition by local resistance. Hadid's design, with its sweeping curved roof and aggressive formal language, had struck Japanese critics as too large, too expensive, and too foreign. It would have destroyed the scale of the surrounding Shinjuku Gyoen and Meiji Shrine gardens. It would have cost, according to revised estimates, more than twice the original budget. It had to go.

The replacement competition, conducted with unusual speed, was won by Kengo Kuma with a design that addressed, point by point, every objection that had been raised against its predecessor. Where Hadid's stadium was tall and prominent, Kuma's is low and horizontal. Where hers reached upward, his spreads outward. Where hers was clad in white steel that gleamed in the sun, his uses timber — Japanese cedar and larch — in a way that evokes traditional architecture while meeting contemporary performance standards.

The stadium seats 68,000 spectators and is organized around a structural system that distributes its weight through sixty steel and timber columns arranged in a colonnade around the perimeter. The roof is a layered horizontal plane that projects far enough to shade the stands while allowing natural ventilation to circulate through the structure. Planted with greenery on its outer edge, the roof dissolves into the canopy of the surrounding park, so that from a distance — from the paths of the Shinjuku Gyoen, say, or from the elevated expressway — the stadium appears to emerge from the landscape rather than to dominate it.

This is a difficult architectural achievement to appreciate without visiting the building, because its most important qualities are experiential rather than formal. A photograph of the stadium shows a competent, restrained structure. Standing inside it, moving through its concourse, entering the bowl and encountering the scale of the playing field, one understands something different: that Kuma has created a building that holds 68,000 people and yet manages to feel connected to a human scale. The timber columns are at arm's reach. The planted terraces at the perimeter soften the hard geometry of the stands. The natural light is managed with unusual subtlety — the building is neither fully open nor fully enclosed, but something in between.

The exterior colonnade is perhaps the element that has generated the most discussion among architectural critics. Its repeated rhythm of vertical elements, its relationship to the base plane, its way of mediating between the building's interior and the surrounding park — these qualities have led several commentators to invoke the forms of Shinto shrine architecture. Kuma himself has spoken of this connection, though carefully, as an underlying principle rather than a formal quotation. The shrine is not copied; it is understood, and something of its spatial logic is abstracted into the structure of a modern sports facility.

The stadium was used for the Tokyo 2020 Olympics and Paralympics, held in 2021 due to the pandemic delay. It continues in use as Japan's national stadium. It will be remembered, I think, not as a masterpiece — it is too modest in its ambitions for that category — but as an intelligent, responsible piece of urban architecture that resolved a genuinely difficult situation with grace. In a period when the architectural production surrounding major sporting events has been marked by extravagance, controversy, and the rapid obsolescence of structures built for a single occasion, that is no small thing.

Note: The 1964 Tokyo Olympics were hosted in the gymnasium designed by Kenzo Tange — a work of a different order of ambition and formal invention. The comparison is unfair to Kuma but inevitable. The 1964 gymnasium remains one of the great works of twentieth-century architecture. Kuma's stadium belongs to a different moment, with different imperatives, and should be judged on its own terms.

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