What’s Happening: Six French artists and two Americans created a collection of posters to celebrate next year’s Olympic and Paralympic Games. Following their recent debut in Paris along the Seine, the posters will tour other French cities starting in September.

The Download: A time-honored tradition since Stockholm 1912, Olympic posters have served as a sort of time capsule of their era’s social, political, and artistic traditions. Before the advent of radio and TV, they played a pivotal role in disseminating key information about the Games to the public. The International Olympic Committee and Paris’ Organizing Committee recently debuted posters celebrating next year’s Olympic and Paralympic Games. They arrive as part of the Cultural Olympiad program, which has accompanied each Games since 1992. A jury of officials from the two committees, the French Ministry of Culture, and fellow artists selected the eight participating French and American artists.

They were tasked with creating one poster each for the Olympic and Paralympic games, with one caveat: be approachable to people outside the insular worlds of art and sports. Fanny Michaëlis’s joyful illustrated posters feel like a spiritual successor to the Memphis Group’s blocky shapes, high-contrast colors, and squiggles, while photographer Stéphanie Lacombe captures athletes in disarming moments of vulnerability: thinking, resting, and visualizing the victories they’ve spent their lives chasing. Additional posters by photographer duo Elsa and Johanna and cartoonist Pierre Seinturier drum up enthusiasm for how the Games bring people together. An intrinsic relationship between art and sport—or “muscles and mind,” in the words of Paris 2024 President Pierre de Coubertin—underscores the collection.

The plurality of perspectives, mediums, styles, and artist backgrounds perhaps signals an attempt to democratize art, promote shared values, and eschew political or nationalist themes—even though politics and the Olympics seem increasingly difficult to untangle. “French art doesn’t exist,” says Dominique Hervieu, the head of culture for Paris 2024, who previously led the Lyon Dance Biennial and spoke with Fast Company about the Culture Olympiad. “French art is diversity. Diversity of aesthetics, style, point of view.”

In Their Own Words: Of course, with institutions as grand as the Musée d’Orsay, the Centre Pompidou, Château de Versailles, and the Paris Opera Ballet all slated to participate in the Cultural Olympiad, France’s cultural legacy is being celebrated to the fullest. “Giving great visibility to cultural actors, seizing the momentum of the Games to bring sport and culture closer together, making Paris 2024 the project of an entire country: this is the ambition we share with our entire ecosystem, and which comes to life with the Cultural Olympiad,” says Tony Estanguet, President of the Paris 2024 Games.

Surface Says: If the IOC is still seeking jurors for Los Angeles, they know where to find us.

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Experimental Hotel Group and Dorothée Meilichzon are taking their dalliance to the next level. The debut of Regina marks the third collaboration between the brand and the French interior designer (Ibiza’s Montesol, Hotel Il Palazzo in Venice) in the past four years. Perched on a clifftop overlooking the Bay of Biscay in Biarritz, the property is a marriage of maritime and Art Deco elegance. Meilichzon embraced the Belle Epoque–era hotel’s striking features such as the soaring atrium, bay windows, and a glass roof.

Her touch is evident in the sumptuous furnishings and décor, from dark red and green sofas in the atrium to totemic wicker sculptures and ocean liner–shaped bar top, all paying homage to Regina’s nautical heritage. Each of the 72 guest rooms are adorned with glossy geometric headboards, marine-striped upholstery, and rope-wrapped mirrors. At the restaurant, Frenchie, chef Grégory Marchand turns out Basque-inspired cuisine with local ingredients such as Banka trout, Gascon black pork, and line-caught fish from Saint-Jean de Luz.

Leonidas Trampoukis and Eleni Petaloti, the work-and-life partners behind Objects of Common Interest, are masters of translating complex thoughts and emotions into simple forms. They’re also bona fide history buffs, having recently published a volume about the midcentury spell that Greece cast over Japanese sculptor Isamu Noguchi. It’s fitting that the Greek duo’s latest project—a monumental lighting installation that snakes through an abandoned 1930s piazza outside Casa della Libertà in Bergamo, one of the co-hosting cities of this year’s Italian Capital of Culture—deftly combines the two principles.

It’s not every day that rockstars duet with architecture firms, but that’s exactly what happened when Red Hot Chili Peppers bassist Flea partnered with NBBJ and ESI Design to develop a new playground in Los Angeles. Known as the Silverlake Conservatory Playground, the project is the rock bassist’s latest endeavor to expand access to music education and community support. The playground will feature musical instruments like drums and xylophones built into play structures, fostering hands-on music exploration among children. Flea’s nonprofit, the Silverlake Conservatory of Music, will oversee the playground’s programming and ensure it becomes both a safe space and vital hub for musical education.

It’s a thrilling, if sometimes puzzling, day when a new product is attributed to a late designer. But thanks to Charles and Ray Eames’ technical drawings and archival photography from the Library of Congress, Herman Miller has expanded its lineup of solid wood stools designed by the duo. Initially created for the lobby of the Time & Life Building, the Eames Turned Stool became a favorite of the Eameses, who used it throughout their own home. It’s easy to see why: a concave top and base, along with the integrity of its construction, make it usable as either a seat or side table. A single geometric carved wood column adds visual intrigue while a new ash colorway offers a striking black hue in addition to its customary walnut. $995

When: Until Nov. 17

Where: Rockefeller Center, New York

What: A second-generation Chinese-Canadian artist whose practice casts light on overlooked or forgotten stories, Dominique Fung creates alternative spaces of belonging through her work. On the Rink Level of Rockefeller Center, she imagined an all-encompassing 125-foot-long epic in which traditionally painted scrolls unfold to tell a story across abstracted landscapes and artifacts from the Shang and Tang dynasties. They join three sculptural installations and recent paintings, commissioned by the Art Production Fund, that narrate tales of voyaging through uncharted territories.

The Robern brand was born on September 8, 1968, and has since become a uniquely American tradition. To answer customers’ increasingly upscale tastes, Rosa and Bernie Meyers reinvented the standard medicine cabinets and vanities of the day—from cold, steel, utilitarian—into sophisticated and coveted décor.

Surface Says: There’s long been a dearth of aesthetically inclined vanities and medicine cabinets, but Robern’s are fit to complement thoughtfully furnished interiors elsewhere in the home. With options for dwellings from pieds-à-terre to rural farmhouses, there’s something for everyone in the fabricator’s curated lineup.

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