A major new development spanning over 14 acres in west London has officially opened to the public, marking a significant transformation of the historic Olympia exhibition complex. Valued at £1.3 billion, the project integrates the site’s 19th-century heritage with contemporary architecture and a wide range of modern amenities.
The redevelopment sits atop the original 1880s exhibition halls, which have hosted events such as Crufts and the Royal Tournament and continue to host the Ideal Home Show. Among the key new features is the largest permanent theatre constructed in London since 1976, along with a 3,800-capacity music venue named the British Airways ARC. The complex also includes a multistorey office structure with tenants including the Premier League, as well as hotels, restaurants, and a private school. Beneath the site, a logistics centre has been installed to handle the industrial demands of the complex, facilitating the movement of shows and events.
Designed by Thomas Heatherwick Studio and SPPARC, the development reflects a layered approach to urban space akin to the “culture of congestion” concept described by Dutch architect Rem Koolhaas in his 1978 work on Manhattan’s dense, mixed-use environment. Heatherwick is known for his focus on injecting human-scale qualities into urban design, often featuring elaborate and expressive architectural forms. SPPARC, led by Trevor Morriss, similarly incorporates distinctive flourishes in its projects.
Central to the design is the transformation of Olympia Way from a service road dominated by vehicles into a pedestrian-friendly thoroughfare, intended to be animated by a curated schedule of public events. Beyond this, visitors can ascend escalators to an elevated avenue lined with dining and drinking establishments, which leads to a large, barrel-vaulted space capped by an 83-meter-long digital “soffit screen” called the Canvas. This installation displays continuously changing art and interactive content. The route also connects the office foyer, theatre, and music venue, with additional escalators providing a return to street level.
Architecturally, the new structures both complement and contrast with the existing exhibition centre’s eclectic mix of styles, which include iron-and-glass vaulted roofs reminiscent of the Crystal Palace, redbrick and limestone Italianate facades, and an art deco concrete frontage reminiscent of an ocean liner. The new additions feature a combination of pleats, curves, striations, and zigzags designed to resonate with the historic fabric while establishing their own identity.
Though still incomplete in some areas, notably the theatre, the complex has been praised for its scale and ambition. The integration of extensive public spaces elevated above the ground plane, glass vaults, landscaped terraces, and curved towers creates a visually striking environment. However, some observers note inconsistencies in the design, pointing to abrupt transitions in form and spaces that feel cramped or awkward, such as a corner serving as the joint entrance to the theatre and music venue.
Critics have also identified uneven attention to detail throughout the site, with some areas exhibiting meticulous design investment and others, such as the landscaping adjacent to the Victorian halls, appearing less developed. Additionally, certain elements intended to promote a lively and playful atmosphere have been described as somewhat contrived, evoking commercial marketing strategies.
As the development becomes fully operational in the coming months, its multifaceted mix of architecture, culture, and commerce will likely provide a new focal point for west London’s entertainment and business scenes.