The site encompasses a range of structures, including the grand Temple of Zeus, which housed one of the Seven Wonders of the ancient world: a massive statue of Zeus created by the sculptor Phidias. Also prominent is the Temple of Hera, an earlier structure dedicated to the queen of the gods, which remains an important symbol in the modern Olympic Games for the lighting of the Olympic flame.

Olympia’s athletic facilities are among its most significant features. The ancient stadium, capable of seating 45,000 spectators, hosted the Olympic Games, which were held every four years and brought together athletes from across the Greek world. The site also contains training areas such as the gymnasium and the palestra, where athletes honed their skills in preparation for the Games. These structures highlight the site's role not only as a religious sanctuary but also as a central hub for athletic and social activity.

In addition to its monumental architecture, Olympia has yielded an impressive array of artifacts, including sculptures and inscriptions that provide insight into ancient Greek art, religion, and the organization of the Games. Excavations have uncovered valuable evidence of the broader cultural and political significance of Olympia, reflecting its role as a unifying force among the often-warring Greek city-states. The site’s enduring influence is evident today, as it continues to inspire the modern Olympic movement.

circa 600-500 BCE

Bouleuterion
The Bouleuterion, literally the Council House, of ancient Olympia is situated inside the sacred enclosure of the Altis, south of the temple of Zeus. Conceived as the meeting place for the Olympic Council, its construction started in the sixth entury BCE and completed in the fourth century BCE. Though, some minor additions and changes were made during the Roman period as well but the structure largely remained unchanged.

The Bouleuterion complex comprised of four major structures, one central square structure, flanked by two apsidal buildings and a later portico. The statue and the altar of Zeus was situated in the central square building between the two apsidal halls. This is where the judges and athletes took the sacred oath before the beginning of the games. An Ionian portico was added on the eastern side of the complex in the fifth century BCE.

circa 580 BCE

Temple of Hera (Heraion)
The temple of Hera at Olympia, also known as the Heraion, is one of the earliest monumental Doric temples in the Greek world, constructed circa 600 BCE within the sacred precinct of the Altis. Initially built of wood and later gradually replaced with stone, the Heraion represents a critical transitional phase in Greek temple architecture. Measuring approximately 50 meters in length and featuring a peripteral colonnade of 6 by 16 columns, the structure served as the primary cult site of Hera at Olympia, though it also housed cult images of both Hera and Zeus. Excavations have revealed that the temple underwent numerous repairs and modifications over time, reflecting its long ritual use and architectural evolution. The interior originally featured a tripartite cella with a pronaos and opisthodomos, and its stylobate and column drums indicate variation in size and material due to replacement campaigns, particularly after seismic damage. The temple remained a central component of Olympia's religious life into the Roman period and is key to understanding the early development of Doric architecture in the western Peloponnese.

circa 430 BCE

Workshop of Phidias
Oblong rectangular building, where the renowned Athenian sculptor Pheidias fashioned the colossal gold and ivory made (chryselephantine) statue of Zeus, one of the seven wonders of the ancient world. Many objects used for the making of the cult statue of the god were found in the workshop (i.e. terra cotta moulds, tools etc.). In the fifth century CE the building was converted into an early Christian church (basilica).

The workshop where Pheidias meticulously crafted the chryselephantine statue of Zeus, renowned as one of the Seven Wonders of the ancient world, stood immediately to the west of the Temple of Zeus. This rectangular workshop, constructed using shell-limestone, shared the same dimensions as the cella of the Temple of Zeus. This allowed the artist to assess the statue's appearance within its intended setting more accurately. The workshop's walls were adorned with gold, ivory, and glass panels, enveloping a wooden framework. It is likely that the statue was transported in separate pieces and then assembled inside the Temple of Zeus. Within the temple, Zeus was depicted in a seated position upon a golden throne embellished with scenes from mythology. The statue's face and exposed body parts were crafted from ivory, while the robe, made of gold, featured intricate glass flowers and semi-precious stones as adornments.

circa 350 BCE

South Stoa
The South Stoa at Olympia served as the sole southern boundary of the sanctuary’s sacred precinct, the Altis. Built in the late fourth century BCE, likely circa 365 BCE, it formed a long colonnaded porch—approximately 80 metres in length—with a central six-column ante‑portico running some 7 metres deep and 14 metres wide. Architecturally, the structure featured a Doric outer colonnade facing south and an inner colonnade in the Corinthian order against its northern wall, which abutted the sanctuary interior. This dual‑aisled design created an elevated platform, thought to function as a proedriae—official seating from which Elean magistrates and priests could oversee processions along the Sacred Way, especially the entrance procession to the hippodrome.

Strategically placed just south of the Bouleuterion and east of the Leonidaion, the South Stoa controlled the principal southern entrance into the sanctuary complex from Elis, framing both ceremonial and everyday access. Excavations by the German Archaeological Institute beginning in the late nineteenth century confirmed its foundational layout and architectural phases. The remaining back wall and column drums attest to its original layout and function as a monumental reception and ceremonial threshold into the Altis. Despite later alterations and erosion, the South Stoa remains a key architectural marker of sanctuary planning in Classical Olympia, revealing how space was orchestrated to regulate movement, visibility, and ritual hierarchy.

circa 350 BCE

Echo Portico
The Echo Portico was a monumental colonnade located in the ancient sanctuary of Olympia in Greece. It was a long colonnade with a series of columns that were used to create a covered walkway. It was located near the center of the sanctuary and was used by visitors and athletes as a place to socialize and relax. The name "Echo Portico" comes from the acoustics of the space, which were such that sounds would echo back and forth between the columns. This made it a popular spot for reciting poetry and oratory, as well as for musical performances.

The Echo Portico was also an important architectural landmark in the sanctuary. The columns and architectural elements were decorated with elaborate carvings and sculptures, including scenes from Greek mythology and depictions of athletic events. The colonnade was likely built in the mid second century CE, and was one of the most impressive structures in the sanctuary.

Despite its size and grandeur, very little of the Echo Portico has survived to the present day, and much of what is known about it comes from ancient texts and descriptions by travelers and historians. Nevertheless, the Echo Portico remains an important example of ancient Greek architecture and design, and is a testament to the grandeur of the ancient Olympic sanctuary at Olympia.

According to traditional accounts the sounds here repeated seven times. It consisted of an outer Doric order colonnade. It was also known as the "painted-portico", because of its interior fresco decorations. In front of the portico, the monument of Ptolemy II Philadelphus and Arsinoe (circa 284-264 BCE) were erected.

circa 337 BCE

Philippeion
The construction of the Philippeion began by Philip II after his victory in the battle of Chaironeia in 338 BCE. The monument was dedicated to Zeus. After Philip's death it was completed by his son, Alexander the Great.

It is the only circular building in the Altis and it is encircled by a colonnade. The outer columns of Ionis order with bases in the Attic Ionic style supported an Ionic entablature of shell-limestone, while in the interior, attached to the wall stood nine Corinthian semi-columns and in the middle, opposite the entrance a seci-circular pedestal. The top of the roof, which was laid with clay-tiles ended in a bronze poppy, which held the beams together.

Philippeion was a heroon built in order to glorify the Macedonian dynasty, of which five chryselephantine statues were setup in the interior,crafter by the famous sculpture of antiquity, Leochares.

The partial restoration work of Philippeion, finished in 2005 CE, was executed by the German Archaeological Institute. The restoration project included some architectural elements, which were brought back to Greece from the Pergamon Museum in Berlin. The undertaking was realized by the generous sponsoring of the Foundation A.G. Leventis.

circa 330 BCE

Leonidaion
The Leonidaion (Λεωνίδαιον), dating back to the end of the fourth centure BCE around 330 BCE, is a large rectangular building (measuring approx. 75x81 meters). It was built to accommodate the officials. It was named after the architect, who also financed the construction, Leonides from Naxos. The rooms are arranged between an interior peristyle court of Doric order and an outer Ionic colonnade consisting of 138 decorated columns. During the Roman period the central court was converted in to an open air swimming pool.

During the Roman Empire period, sometime during the late third century CE, the still utilised Leonidaion was destroyed in an earthquake and its wreckage used in the construction of a wall built to protect the site from the Herules in the Late Antiquity.

circa 50-250 CE

South-West Building of Leonidaion Baths
The large building complex dates back to the Roman Imperial period. It consisted of a central court with colonnade (peristyle) and an open air swimming pool, three large halls and smaller auxiliary chambers. The niches of the monumental facade were adorned with statues statues. It was a meeting place for the athletes, who were training in the big halls of the structure.

circa 150 CE

Nymphaeum
The Nymphaeum in Olympia was a monumental fountain complex located in the ancient sanctuary of Olympia in Greece. The Nymphaeum was likely built in the second century CE, and was one of the most impressive structures in the sanctuary. The construction of the nymphaeum and the connecting short aqueduct was financed by Herodes Atticus and his wife Regilla to the sanctuary.

The Nymphaeum consisted of several monumental fountains and water features, including a large central pool surrounded by columns and decorative sculptures. The water was supplied to the Nymphaeum through an aqueduct from a nearby spring, and was used for various purposes, including providing drinking water for the athletes and visitors to the sanctuary. The niches of the semi-circular, two-story building, were adorned with statues of Herodes Atticus, emperor Antoninus Pius, Hadrian, Marcus Aurelius and members of their families.

The Nymphaeum was also a popular gathering place, and visitors would have gathered here to socialize and enjoy the cooling sprays of water during the hot summer months. Despite its size and grandeur, very little of the Nymphaeum has survived to the present day, and much of what is known about it comes from ancient texts and descriptions by travelers and historians. Nevertheless, the Nymphaeum remains an important and impressive example of ancient Greek water engineering and architectural design.

circa 250-550 CE

Leonidaion Baths
The small and relatively well preserved bath complex, part of an extensive and devastated building complex, was a guest room. Mosaics and a perfect wall heating system are still preserved. In the fifth and sixth century CE the building was converted in to a wine factory. A kiln (furnace) was used for glass manufacturing.

circa 50 CE

Villa of Nero
The Villa of emperor Nero, located in the south-east of ancient Olympia, is one of the several ancient Roman villas constructed during the 1st century CE for the Roman emperor Nero. The Villa of Nero in Olympia, is an elaborately built villa with a peristyle court, several chambers, gardens and a luxurious bath; the so-called "octagon". The mosaics and the arched roofs of the baths are still well-preserved. In the first century CE, the building had replaced the Sanctuary of Hestia as well as other buildings of Classical period (circa fifth to fourth centuries BCE). During the third century CE, the south-east building underwent alterations. The edifice was recognized as temporary residence for the emperor Nero, who had lived at the Sanctuary during his participation to the Olympic Games of 67 CE. Archaeological excavations reveal the presence of a lead water pipe bearing the inscription "ner. aug.", an abbreviation of the name Nero Augustus.

circa

Southern Baths
The Southern Baths (also known as the South‑West Thermae) stand on the southern outer edge of the Altis, situated between the Bouleuterion to the west and the Leonidaion to the east. These baths date to the third century BCE—a Hellenistic foundation later remodeled in Roman Imperial times (1st–2nd century CE).

The original Hellenistic structure was modest but functional: it included a peristyle courtyard, bathing rooms, and possibly a hypocaust heating system added in later phases. Mosaic floors and sophisticated baths were inserted in late Hellenistic or early Imperial updates. By about 100 CE, this Greek bath complex had been largely replaced by the larger Roman-period Kladeos Baths, with more elaborate architectural and decorative elements (marble revetment, hot and cold pools, atrium) built atop and adjacent to the older complex.

Excavations have exposed a compact building of roughly 30 x 40 metres, featuring several bathtubs, changing rooms, and evidence of hypocaust heating. Remnants of mosaic flooring and wall plaster attest to the increasing luxury of the later phases. The building was likely converted or repurposed by the 5th–6th centuries CE, possibly into a wine‑press or production area, following broader abandonment of bathing infrastructure across the sanctuary.