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RYTHM :

2024, the Olympic year, is an opportunity to re-examine the relationship that architecture has with the body, performance, discipline, but above all the movement and structure that derives from it. Sport has long been closely associated with the arts and the arts. The theorization of this relationship dates back to antiquity and was perpetuated by Pierre de Coubertin, during the renovation of the Olympic Games, who wanted to extend the thought of the Greek philosophers according to which body and mind are inseparable. Thus, until the mid-20th century, artists could claim the title of Olympic Champion in five categories: Architecture, Literature, Music, Painting and Sculpture.
In various forms, the movement has travelled through the pictorial arts over time; from cave paintings of the Chauvet cave, through the Baroque, Futurist, Impressionist and Action Painting currents to the kinetic art of the artist Daniel Spoerri giving the illusion that everything moves while nothing moves.
Closer to us, Bernard Tschumi affirms “that there is no architecture without movement in space”, an affirmation that he has largely and previously experienced through the “notations” in which he highlights, by means of diagrams and other photograms, the complex relationship between: space, time, movement and event. However, for Tschumi, the movement is that of the protagonists moving in a space. The deepening of this notion of kinematics will certainly allow us to apprehend the movement in architecture, which is by nature static.
The chronophotography of Etienne-Jules Marey and then of Eadweard Muybridge, by accurately visualizing the decomposition and variation of athletes’ movements, made it possible to understand how they work. This technique unites discontinuities in flow, between scientific accuracy and poetic and aesthetic reverie, giving the illusion of movement.
Thus composed of a succession of sequences of varying lengths that follow each other at a particular cadence, each movement, thanks to its singular variations, has its own and unique rhythm. For musician John Cage; "Rhythm is a fundamental matter; it is the structure of time. " More generally, rhythm, is perhaps that cadence which certainly animates movement, structures time, but also composes space.
In this case, the AVF will make it possible to explore the ability of these new vibrant architectures, with their own compositions and rhythms, to come into resonance with the space and envelope of the courtyards that host them, each of which has a particular arrangement. It will also be an opportunity to experience the ways in which the way one moves around establishes a dialogue with the visitor and constitutes a “vector” of architecture, as a dynamic giving the opportunity to create an event.

Malek DAHBI, Architect, Lecturer









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