{"id":12967,"date":"2025-01-30T21:26:51","date_gmt":"2025-01-30T20:26:51","guid":{"rendered":"https:\/\/artinterview.com\/?post_type=critique&#038;p=12967"},"modified":"2025-01-31T20:58:39","modified_gmt":"2025-01-31T19:58:39","slug":"cinetique-art-et-architecture","status":"publish","type":"critique","link":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/","title":{"rendered":"Cin\u00e9tique : art et architecture"},"content":{"rendered":"\n<p class=\"has-text-align-left\"><strong>S\u2019appropriant la force des \u00e9l\u00e9ments, l\u2019art cin\u00e9tique ins\u00e8re le mouvement dans la construction et donne vie \u00e0 des g\u00e9ants d\u00e9bonnaires. Le vent et la lumi\u00e8re les animent. Ils se parent d\u2019\u00e9l\u00e9ments mobiles, de fa\u00e7ades motoris\u00e9es et de panneaux ondulant, r\u00e9inventant le futur d\u2019un monde que l\u2019on donnait autrefois fixe et immuable.<\/strong><\/p>\n\n\n\n<p><strong><strong>LES AL BAHR TOWERS, <\/strong><\/strong><br><strong><strong>PAR AEDAS ET DIAR CONSULT<\/strong><\/strong><\/p>\n\n\n\n<p>Joyau architectural anim\u00e9 d\u2019un mouvement qui implique l\u2019ensemble de la structure externe, les tours Al Bahr d\u2019Abou Dhabi apportent une r\u00e9ponse ing\u00e9nieuse aux d\u00e9fis que pose le contexte climatique des Emirats arabes unis. Inspir\u00e9e par des motifs naturels comme celui de l\u2019ananas ou des troncs de palmiers, la fa\u00e7ade tourne selon la position du&nbsp;soleil, permettant une r\u00e9gulation efficace de la chaleur et de la lumi\u00e8re. Cette \u00e9corce sculpturale aux milles reflets se meut tout au long du jour, s\u2019ouvrant et se fermant en fonction de son exposition au soleil. <\/p>\n\n\n\n\n<script>\n  $( document ).ready(function() {\n  var pathDirections = {\n  view: 'M155.5,50l-50-50l-5,5l45,45l-45,45l5,5L155.5,50z M0,50l50,50l5-5L10,50L55,5l-5-5L0,50z',\n  exit: 'M55,50L5,0L0,5l45,45L0,95l5,5L55,50z M100.5,50l50,50l5-5l-45-45l45-45l-5-5L100.5,50z',\n};\n\nvar svgURI = 'http:\/\/www.w3.org\/2000\/svg';\n\nFlickity.FullscreenButton.prototype.createIcon = function() {\n  var svg = document.createElementNS( svgURI, 'svg');\n  svg.setAttribute( 'class', 'flickity-button-icon' );\n  svg.setAttribute( 'viewBox', '0 0 155.5 100' );\n  \/\/ path & direction\n  var path = document.createElementNS( svgURI, 'path');\n  var direction = pathDirections[ this.name ];\n  path.setAttribute( 'd', direction );\n  \/\/ put it together\n  svg.appendChild( path );\n  this.element.appendChild( svg );\n};\n});\n<\/script>\n\n\n\n<div class=\"mb-3\">\n<div class=\"carousel carousel-main invisible  carnum1900295154\" data-flickity='{\"lazyLoad\": 1, \"adaptiveHeight\": true, \"fullscreen\": true, \"imagesLoaded\": true, \"pageDots\": false,\"wrapAround\": true,\"arrowShape\":{\"x0\":10,\"x1\":60,\"y1\":50,\"x2\":65,\"y2\":45,\"x3\":20} }'>\n  \n    <div class=\"carousel-cell is-hidden\">\n      <div>\n      \t<figure>\n        <img itemprop=\"image\"   data-flickity-lazyload-srcset=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-013-1024x720.jpg 720w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-013-300x211.jpg 360w\"  sizes=\"(min-width: 1024px) 720px, 360px\"  data-flickity-lazyload-src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-013-1024x720.jpg\" alt=\"Les Al Bahr Towers, par Aedas et Diar Consult \" \/>\n\n        <figcaption><p class=\"caption\">Les Al Bahr Towers, par Aedas et Diar Consult <\/p><\/figcaption>        <\/figure>\n      <\/div>\n    <\/div>\n    \n    <div class=\"carousel-cell is-hidden\">\n      <div>\n      \t<figure>\n        <img itemprop=\"image\"   data-flickity-lazyload-srcset=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-004-1024x768.jpg 720w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-004-300x225.jpg 360w\"  sizes=\"(min-width: 1024px) 720px, 360px\"  data-flickity-lazyload-src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-004-1024x768.jpg\" alt=\"Les Al Bahr Towers, par Aedas et Diar Consult \u00a9 Photo Site : Metropolitan Capital Real Estate\" \/>\n\n        <figcaption><p class=\"caption\">Les Al Bahr Towers, par Aedas et Diar Consult \u00a9 Photo Site : Metropolitan Capital Real Estate<\/p><\/figcaption>        <\/figure>\n      <\/div>\n    <\/div>\n    <\/div>\n\n<div class=\"carousel carousel-nav\"\n  data-flickity='{ \"imagesLoaded\": true,\"lazyLoad\": true, \"asNavFor\": \".carnum1900295154\", \"contain\": true, \"pageDots\": false, \"prevNextButtons\": false }'>\n            <div class=\"item-thumbnail\">\n        <figure>\n          <img decoding=\"async\" class=\"carousel-cell\" src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-013-150x150.jpg\" data-flickity-lazyload=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-013-150x150.jpg\" alt=\"Thumbnail of http:\/\/Les%20Al%20Bahr%20Towers,%20par%20Aedas%20et%20Diar%20Consult%20\" \/>\n        <\/figure>\n      <\/div>\n            <div class=\"item-thumbnail\">\n        <figure>\n          <img decoding=\"async\" class=\"carousel-cell\" src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-004-150x150.jpg\" data-flickity-lazyload=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Al-Bahr-Towers-004-150x150.jpg\" alt=\"Thumbnail of \" \/>\n        <\/figure>\n      <\/div>\n        <\/div>\n<\/div>\n<style>\n  .invisible.flickity-enabled {visibility: visible !important}\n  <\/style>\n\n\n<p><br><strong><strong>LE CENTRE DES ARTS ET DE LA CULTURE DU BUND FINANCE CENTER, <\/strong><\/strong><br><strong><strong>DE THOMAS HEATHERWICK ET NORMAN FOSTER.<\/strong><\/strong><br><br>Si l\u2019architecture cin\u00e9tique comporte deux cat\u00e9gories, les b\u00e2timents sugg\u00e9rant l\u2019id\u00e9e du mouvement d\u2019abord, et ceux compos\u00e9s d\u2019\u00e9l\u00e9ments mobiles, le Bund Finance center de Shanghai appartient \u00e0 la seconde cat\u00e9gorie. V\u00e9ritable \u00e9vocation du monde de l\u2019op\u00e9ra chinois, rappelant \u00e0 la fois un lever de rideaux et la forme harmonieuse d\u2019une harpe, les trois couches ext\u00e9rieures de la fa\u00e7ade de tubes couleur bronze tournent en rythme autour du b\u00e2timent, \u00e9grenant les notes d\u2019un ballet qui s\u2019anime dans la ville.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"750\" src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg\" alt=\"\" class=\"wp-image-12968\" srcset=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg 1000w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai-300x225.jpg 300w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai-768x576.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\">Centre des arts et de la culture du Bund Finance Center @source-wikipedia<\/figcaption><\/figure>\n\n\n\n<p><br><strong><strong>L\u2019ONDE DU MIDI D\u2019ELIAS CRESPIN<\/strong><\/strong>,<br><strong>MUS\u00c9E DU LOUVRE<\/strong><\/p>\n\n\n\n<p>Premi\u00e8re \u0153uvre cin\u00e9tique au mus\u00e9e du Louvre, <em>L\u2019onde du midi <\/em>d\u2019Elias Crespin, se d\u00e9ploie au sommet de l\u2019escalier du Midi, \u00e0 l\u2019angle sud-est de la cour Carr\u00e9e. Guid\u00e9e par un ordinateur,&nbsp;cette sculpture p\u00e9renne, compos\u00e9e de 128 tubes m\u00e9talliques,&nbsp;s\u2019anime dans un mouvement ondulatoire&nbsp;au rythme al\u00e9atoire, cr\u00e9ant une&nbsp;chor\u00e9graphie&nbsp;po\u00e9tique et a\u00e9rienne&nbsp;passant de l\u2019ordre au chaos, du simple au complexe\u2026 L\u2019\u0153uvre danse silencieusement&nbsp;dans&nbsp;la lumi\u00e8re changeante du palais, provoquant contemplation et \u00e9merveillement.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"400\" src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Onde-du-midi-banniere-1024x400.jpg\" alt=\"\" class=\"wp-image-12970\" srcset=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Onde-du-midi-banniere-1024x400.jpg 1024w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Onde-du-midi-banniere-300x117.jpg 300w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Onde-du-midi-banniere-768x300.jpg 768w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Onde-du-midi-banniere.jpg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Onde du midi d&#8217;Elias Crespin<\/figcaption><\/figure>\n\n\n\n<p><br><strong><strong>AMBIENT PAINTING, <\/strong><\/strong><br><strong><strong>PAR ROSS MANNING&nbsp;<\/strong>&nbsp;<\/strong><\/p>\n\n\n\n<p>Ross Manning, figure australienne de l\u2019art cin\u00e9tique,&nbsp;fascine&nbsp;par la fa\u00e7on qu\u2019il a d\u2019utiliser la lumi\u00e8re&nbsp;fluctuante&nbsp;dans la composition de ses \u0153uvres. Dans sa s\u00e9rie&nbsp;<em>Ambient painting,&nbsp;<\/em>des filtres en verre dichro\u00efque&nbsp;mont\u00e9s \u00e0 angle droit&nbsp;sur la surface de ses toiles, refl\u00e8tent et projettent la division de la lumi\u00e8re en faisceaux distincts, de diff\u00e9rentes longueurs d&#8217;onde. Sur les murs ext\u00e9rieurs de la galerie Milani, \u00e0 Brisbane, en Australie, l\u2019\u0153uvre sur la fa\u00e7ade et scintillent,&nbsp;tels des cristaux aux reflets changeants ou un diamant savamment taill\u00e9.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/ambient-1024x681.jpg\" alt=\"\" class=\"wp-image-12976\" srcset=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/ambient-1024x681.jpg 1024w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/ambient-300x200.jpg 300w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/ambient-768x511.jpg 768w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/ambient-1536x1021.jpg 1536w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/ambient.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p><br><br><strong>LE SERPENTINE GALLERY SUMMER PAVILION,<br>DE TOYO ITO<\/strong><\/p>\n\n\n\n<p>Laur\u00e9at du prestigieux prix Pritzker en 2013, l\u2019architecte japonais Toyo Ito allie la puret\u00e9 de la forme avec la complexit\u00e9 g\u00e9om\u00e9trique. En collaboration avec Cecil Balmond, il fa\u00e7onne, en 2002, un espace \u00e9ph\u00e9m\u00e8re pour la Serpentine Gallery, dans les jardins de Kensington, \u00e0 Londres. Sa conception \u00e9tant issue de l\u2019algorithme d&#8217;un cube se dilatant en rotation, un maillage complexe de triangles et de trap\u00e8zes se forme. Alternant transparence et opacit\u00e9, il suscite l\u2019illusion d\u2019un mouvement perp\u00e9tuel.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/serpentine-1024x576.jpg\" alt=\"\" class=\"wp-image-12978\" srcset=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/serpentine-1024x576.jpg 1024w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/serpentine-300x169.jpg 300w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/serpentine-768x432.jpg 768w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/serpentine-1536x864.jpg 1536w, https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/serpentine.jpg 1780w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><br><strong>CHAUMET<\/strong><br>Article publi\u00e9 dans \u00ab&nbsp;Rendez-vous&nbsp;\u00bb Chaumet N\u00b08 \u2013 juillet 2024<br><a href=\"https:\/\/www.chaumet.com\/fr\" target=\"_blank\" rel=\"noreferrer noopener\">Acc\u00e9dez au site officiel<\/a><\/h5>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":12968,"template":"","class_list":["post-12967","critique","type-critique","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Cin\u00e9tique : art et architecture - Art Interview<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cin\u00e9tique : art et architecture - Art Interview\" \/>\n<meta property=\"og:description\" content=\"S\u2019appropriant la force des \u00e9l\u00e9ments, l\u2019art cin\u00e9tique ins\u00e8re le mouvement dans la construction et donne vie \u00e0 des g\u00e9ants d\u00e9bonnaires. Le vent et la lumi\u00e8re les animent. Ils se parent d\u2019\u00e9l\u00e9ments mobiles, de fa\u00e7ades motoris\u00e9es et de panneaux ondulant, r\u00e9inventant le futur d\u2019un monde que l\u2019on donnait autrefois fixe et immuable. LES AL BAHR TOWERS, [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/\" \/>\n<meta property=\"og:site_name\" content=\"Art Interview\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/artinterviewmagazine\/\" \/>\n<meta property=\"article:modified_time\" content=\"2025-01-31T19:58:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"750\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/\",\"url\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/\",\"name\":\"Cin\u00e9tique : art et architecture - Art Interview\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/artinterview.com\\\/wp-content\\\/uploads\\\/2025\\\/01\\\/Fundacion_Fosun_en_Shanghai.jpg\",\"datePublished\":\"2025-01-30T20:26:51+00:00\",\"dateModified\":\"2025-01-31T19:58:39+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/#primaryimage\",\"url\":\"https:\\\/\\\/artinterview.com\\\/wp-content\\\/uploads\\\/2025\\\/01\\\/Fundacion_Fosun_en_Shanghai.jpg\",\"contentUrl\":\"https:\\\/\\\/artinterview.com\\\/wp-content\\\/uploads\\\/2025\\\/01\\\/Fundacion_Fosun_en_Shanghai.jpg\",\"width\":1000,\"height\":750,\"caption\":\"Centre des arts et de la culture du Bund Finance Center\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/cinetique-art-et-architecture\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/artinterview.com\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Critique\",\"item\":\"https:\\\/\\\/artinterview.com\\\/en\\\/critique\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Cin\u00e9tique : art et architecture\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/artinterview.com\\\/en\\\/\",\"name\":\"Art Interview\",\"description\":\"Because art is everywhere\",\"publisher\":{\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/artinterview.com\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/#organization\",\"name\":\"Art Interview\",\"url\":\"https:\\\/\\\/artinterview.com\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.artinterview.com\\\/wp-content\\\/uploads\\\/2020\\\/04\\\/5c337d0326d4de5bde65529a.png\",\"contentUrl\":\"https:\\\/\\\/www.artinterview.com\\\/wp-content\\\/uploads\\\/2020\\\/04\\\/5c337d0326d4de5bde65529a.png\",\"width\":3397,\"height\":2374,\"caption\":\"Art Interview\"},\"image\":{\"@id\":\"https:\\\/\\\/artinterview.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/artinterviewmagazine\\\/\",\"https:\\\/\\\/www.instagram.com\\\/art.interview\\\/\",\"https:\\\/\\\/www.youtube.com\\\/channel\\\/UCjnghW7ZyDAts9yGi-Ic19w\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cin\u00e9tique : art et architecture - Art Interview","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/","og_locale":"en_US","og_type":"article","og_title":"Cin\u00e9tique : art et architecture - Art Interview","og_description":"S\u2019appropriant la force des \u00e9l\u00e9ments, l\u2019art cin\u00e9tique ins\u00e8re le mouvement dans la construction et donne vie \u00e0 des g\u00e9ants d\u00e9bonnaires. Le vent et la lumi\u00e8re les animent. Ils se parent d\u2019\u00e9l\u00e9ments mobiles, de fa\u00e7ades motoris\u00e9es et de panneaux ondulant, r\u00e9inventant le futur d\u2019un monde que l\u2019on donnait autrefois fixe et immuable. LES AL BAHR TOWERS, [&hellip;]","og_url":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/","og_site_name":"Art Interview","article_publisher":"https:\/\/www.facebook.com\/artinterviewmagazine\/","article_modified_time":"2025-01-31T19:58:39+00:00","og_image":[{"width":1000,"height":750,"url":"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/","url":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/","name":"Cin\u00e9tique : art et architecture - Art Interview","isPartOf":{"@id":"https:\/\/artinterview.com\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/#primaryimage"},"image":{"@id":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/#primaryimage"},"thumbnailUrl":"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg","datePublished":"2025-01-30T20:26:51+00:00","dateModified":"2025-01-31T19:58:39+00:00","breadcrumb":{"@id":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/#primaryimage","url":"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg","contentUrl":"https:\/\/artinterview.com\/wp-content\/uploads\/2025\/01\/Fundacion_Fosun_en_Shanghai.jpg","width":1000,"height":750,"caption":"Centre des arts et de la culture du Bund Finance Center"},{"@type":"BreadcrumbList","@id":"https:\/\/artinterview.com\/en\/critique\/cinetique-art-et-architecture\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/artinterview.com\/en\/"},{"@type":"ListItem","position":2,"name":"Critique","item":"https:\/\/artinterview.com\/en\/critique\/"},{"@type":"ListItem","position":3,"name":"Cin\u00e9tique : art et architecture"}]},{"@type":"WebSite","@id":"https:\/\/artinterview.com\/en\/#website","url":"https:\/\/artinterview.com\/en\/","name":"Art Interview","description":"Because art is everywhere","publisher":{"@id":"https:\/\/artinterview.com\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/artinterview.com\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/artinterview.com\/en\/#organization","name":"Art Interview","url":"https:\/\/artinterview.com\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/artinterview.com\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.artinterview.com\/wp-content\/uploads\/2020\/04\/5c337d0326d4de5bde65529a.png","contentUrl":"https:\/\/www.artinterview.com\/wp-content\/uploads\/2020\/04\/5c337d0326d4de5bde65529a.png","width":3397,"height":2374,"caption":"Art Interview"},"image":{"@id":"https:\/\/artinterview.com\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/artinterviewmagazine\/","https:\/\/www.instagram.com\/art.interview\/","https:\/\/www.youtube.com\/channel\/UCjnghW7ZyDAts9yGi-Ic19w"]}]}},"_links":{"self":[{"href":"https:\/\/artinterview.com\/en\/wp-json\/wp\/v2\/critique\/12967","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artinterview.com\/en\/wp-json\/wp\/v2\/critique"}],"about":[{"href":"https:\/\/artinterview.com\/en\/wp-json\/wp\/v2\/types\/critique"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artinterview.com\/en\/wp-json\/wp\/v2\/media\/12968"}],"wp:attachment":[{"href":"https:\/\/artinterview.com\/en\/wp-json\/wp\/v2\/media?parent=12967"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}