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Ugo Gattoni’s Paris Olympics Posters Debut at the Musée D’Orsay
For more than 2,000 hours over the past six months, Parisian illustrator Ugo Gattoni has pored over two posters commissioned to promote the Olympic and Paralympic Games taking place in Paris this summer. Gattoni’s colorful vistas are often sought out by the likes of Hérmes, Audemars Piguet, Diptyque, and Ruinart, who have all recently collaborated with the artist. For the upcoming Summer Olympics, he used his cartoon-like style to render a pastel vision of the City of Light with playfulness and joy: a pink Eiffel Tower stands tall in the middle of the composition, while nearby lapping waves reference the surfing competition that will take place thousands of miles away (Paris is, famously, landlocked).
Gattoni’s commissions, which were unveiled earlier this past week at the Musée d’Orsay, represent a more approachable way to promote the Games, in what Paris 2024 president Tony Estanguet describes as “posters that go beyond a mere logo.” But abstraction in the name of originality and festivity seems to be a tough concept for scandalized French conservatives, who have decried the posters for “le wokisme” to grasp. —Jenna Adrian-Diaz
50 West 66th Street by Snøhetta. Image courtesy of Recent Spaces …
Snøhetta wraps up construction on a geometric residential skyscraper near Central Park.
Snøhetta has finished construction on a geometric residential skyscraper on the edge of Central Park in New York. Developed by Extell Development Company, the 50 West 66th Street tower rises 775 feet and draws inspiration from the park’s geological formations. Renderings reveal a sleek facade with a limestone-clad base and vertical windows, complemented by a public space and terrace integrated into the tower’s structure. The building, slated for completion in 2026, will offer 127 residential units and amenities including a pool and green space.
Guy Wildenstein, the influential art dealer, has been found guilty in France of substantial tax fraud and money laundering after years of legal battles that unveiled the secrecy surrounding his family’s dynasty. The 78-year-old patriarch received a four-year prison sentence, with half to be served under house arrest, alongside a one million euro ($1.098 million) fine. Accused of concealing assets, including a vast art collection, through trusts and shell companies, Wildenstein and seven others were found guilty, with prosecutors alleging an attempt to evade substantial inheritance taxes. Despite claims of ignorance, the court deemed the family responsible for a complex and extensive fraud, damaging trust in the French tax system.
A baseball stadium designed by Bjarke Ingels Group in Las Vegas. Image courtesy of Negativ…
Bjarke Ingels Group unveils visuals for a giant armadillo-shaped ballpark in Las Vegas.
Bjarke Ingels Group, in collaboration with engineering firm HNTB, has unveiled visuals for a baseball stadium in Las Vegas for the Athletics (The As) Major League Baseball team. Situated on the Las Vegas Strip, the covered ballpark features a massive metal dome with a glass wall touted as the “largest cable-net glass wall in the world.” Inspired by baseball pendants and the armadillo’s shape, the scheme prioritizes shading from the desert sun while framing views of the Strip. With seating for 33,000 spectators, the stadium integrates passive shading and natural light, responding to the city’s climate and creating another distinctive landmark in the city.
Columbia University officials recently announced that Michael Sorkin’s papers, architectural records, and drawings will permanently reside in the Drawings & Archives department at Avery Hall. This announcement, made almost four years after Sorkin’s passing, marks a significant moment for the architect, educator, and critic’s legacy. The university plans to honor Sorkin’s contributions, donated by his wife, Joan Copjec, with a celebratory program, recognizing his enduring impact on the field and his commitment to challenging biases within architecture.
The UK’s Advertising Standards Authority reversed its decision to ban a Calvin Klein ad featuring FKA twigs following public outcry. After reconsideration, the ASA concluded that the ad did not sexually objectify the singer but portrayed her as confident and in control. Originally criticized for presenting FKA twigs as a sexual object, the poster showcased her with a denim shirt revealing part of her body, prompting complaints of inappropriate sexualization. While the ban on the specific image remains, the ASA defended its revised decision, prompted by both public opinion and concerns over the initial ruling’s rationale. Calvin Klein defended the ad, emphasizing the empowerment and collaboration of the women involved.
