The word Örnsköldsvik literally translates as ‘Eagle shield’s bay’. The logo for the Örnsköldsvik winter Olympic Games for the Disabled, therefore, consisted off an eagle carrying a shield over water flanked below on either side by an alpine and a cross country skier – the two sports contained within the Games.
The logo for the Games consisted of the Geilo city emblem at the time of a stylised snowflake held between the antlers of two reindeer facing each other and the three wheelchair wheel logo of the International Stoke Mandeville Games Federation (ISMGF) combined with a flaming torch. The inclusion of the ISMGF logo hints at the power of ISMGF, or possibly Dr Guttmann who was President of ISMGF and ISOD, given that it was ISOD who founded the winter Games.
The logo for Innsbruck was a combination of three parts. The centre of the logo shows a stylised depiction of the Goldenes Dachl (Golden Roof) – one of Innsbruck’s most famous landmarks. Above this was the Olympic rings, which the IOC had agreed to the use of based upon certain conditions. Below the Golden Dachl was five broken rings aimed at depicting the disability of the participants taking part. It also contained the words ‘Under the patronage of the International Olympic Committee’ beneath the Olympic rings.
The logo used in 1988 was exactly the same as used in 1984. It was a combination of three parts. The centre of the logo shows a stylised depiction of the Goldenes Dachl (Golden Roof) – one of Innsbruck’s most famous landmarks. Above this was the Olympic rings, which the IOC had agreed to the use of based upon certain conditions (see chapter 10). Below the Golden Dachl was five broken rings aimed at depicting the disability of the participants taking part. It also contained the words ‘Under the patronage of the International Olympic Committee’ beneath the Olympic rings.
A bird with broken wings, soaring high across the peak of a mountain was the image, designed by Jean-Michel Folon, used to reflect the sporting abilities of the athletes at the Tignes-Albertville 1992 Paralympic Winter Games.
The main illustration, depicting the sun people, aimed to evoke feelings of power, vitality, strength and energy, all of which are characteristics of disabled athletes. This was the last time the five tae-guks was used in connection with the Paralympic Games or the International Paralympic Committee.
The logo design selected for the Nagano 1998 Winter Paralympics was designed by Sadahiko Kojima following the announcement of a national competition. It represents a simplified form of the Chinese character ‘naga’ for Nagano. It also symbolises a rabbit jumping and playing in snow or on ice with the swift movements that are characteristic of rabbits. This figure was combined with the Games details and the former IPC logo of three tae-guks.
Salt Lake, 2002
The logo for the Salt Lake Paralympics can be split into three distinct parts making up the whole. The sphere at the top represents both the global unity of the Paralympic Movement and also the head of the Paralympic athlete, which the overall logo appears to depict. The two broad fluid lines represent the athlete in motion with the three tae-guks, the former IPC logo, beneath the athlete.
The three graphic shapes at the top of the logo aim to symbolise the human figure and their soaring motion aims to convey energy, joy and the desire to reach ever higher. The IPC logo at the bottom represents both the Paralympic movement and as well as its motto of Mind, Body and Spirit. Finally the logo colours of blue, green and red, being the colours of the IPC logo were reinterpreted to depict the distinguishing colour of Italian sport, as well as the colour of snow and ice (blue), nature and the Italian landscape (green) and passion, which expresses vitality, enthusiasm and willpower (red).
The Vancouver 2010 Paralympic Winter Games Emblem represents the spirit of the Host Region, the Paralympic athlete’s journey and the harmony that exists between the athlete, their sport and the environment. The emblem captures the image of Vancouver and Whistler’s lush coastal forests, dramatic mountains and majestic sky — a natural theatre that will inspire Paralympians as they reach the pinnacle of sport and human achievement in 2010.
The emblem also reflects the athletes’ mountainous inner strength and personal transformation as they push themselves to new heights in the pursuit of excellence. A dynamic human form is created by the valley, mountains and sun of the West Coast. This design honours the harmonious relationship by suggesting that the athlete and mountain are one.