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Contribution à la connaissance de l'architecture des années trente a Alger. Monographie hôtel Es-Safir (Ex Aletti)
(Epau, 2018) KHADDAOUI ,Siham; HIMEUR-DJALLAL,Dalila [Rapporteur]
Paul Guion (1881-1972) one of the architects of Algiers in the twentieth century, he is author of several buildings in Algiers, as well as artist of the collection of drawings and paintings of the Kasbah of Algiers. His talents as an artist, his training as a technician and his collaboration with his father-in-law engineer Paul Régnier, quickly allowed him to integrate in the field and become one of the most active architects during the period between the wars (1919-1939). Paul Guion witnessed the political and urban changes that hit the French-speaking North African colony, especially the new urban proposals that swayed between restrictions and pragmatism on one hand and the madness and innovation on the other. The centennial celebration of the colonization (1930) which allowed the architects to celebrate the profession through the construction of buildings representative of the historical context and suitable for the reception of this event, Guion must at this date his most famous work : the National Museum of Fine Arts of Hamma. Architectural and urban manifestations, such as the 1933 and 1936 town planning and architectural exhibitions, played a role in promoting local architects including Paul Guion, and their interactions with the most influential metropolitan figures in the example of Le Corbusier and Perret Brothers. Paul Guion is also one of the architects who sought to find a style specific to the country, an "Algerianist" style that combines elements of several identities at once: Mediterranean, Moorish, Berber, European and modern, resulting in a new architectural expression.
This research follows the professional career of the architect facing the revival of the time through the exhibition of a good part of his works. Between new legislation, dominance of government architects on public commissions, the beginnings of modernism, multiplication of construction actors and aesthetic trends, the architect will adopt a new architectural expression that finds in the site and local aesthetics a means of transposition of the metropolitan technique.
Les quartiers ''nouveaux'' a vocation commerciale en périphérie Algeroise Quelles potentialités de développement?
(Epau, 2013) BELMEDJRAB, Ayoub; ATTARI, Nassereddine [Rapporteur]
L’architecture d’Oscar Niemeyer par la géométrie non euclidienne. Cas d’étude : L’université des frères Mentouri Constantine 1.
(Epau, 2019) BENYEZZAR, Hadjer; CHENNAOUI, Youcef [Rapporteur]
Contribution à la connaissance de la production architecturale à Alger à l’aube du Modernisme. « XAVIER SALVADOR
(Epau, 2018) HARROUCHE,Houda Hakima; DJALLAL HIMEUR, Dalila [Rapporteur]
During the colonial period, Algeria was the cradle of different types of architectures representative of the ideological, identity, economic and social policies of the settlers. From neo-classical 1830 until the advent of the modern movement in 1930. Qualified as a laboratory, the city of Algiers finally opens up a new field of artistic creations endowed with a local character with a modernist expression, translated under the precept of "Mediterranean architecture". This new current comes in reaction against the pastiche exercised on Algerian land for more than a century. It was led by a line of architects known as "Algerianists" founders of a prodigious architecture which is still present and deserves to be recognized and highlighted.
Xavier Salvador is one of those protagonists who draws on local tradition to reinterpret modernity. He is a French architect of Spanish origin born in 1898 in Seville. He joined the School of Fine Arts in Algiers in the early 1910s. . Passionate about architecture, he studied at the School of Fine Arts in Paris, in the Gabriel Héraud studio, where he won several architectural awards. He graduated in 1923 and moved to Algeria where he opened his own agency in 1925 to begin his professional life in the city of Algiers. He joined several professional associations in Algeria in parallel, which enabled him to occupy important state positions.
The architect expressed himself with a diverse and extremely local production, ranging from simple private construction to buildings. His projects expressed in the first place an academic style influenced by the knowledge acquired during his training at the School of Fine Arts. Subsequently, the architect adopts a modern style that incorporates the elements and colors of the local architecture.
This research is the result of a detailed study of the course and the work of the architect, who through the monograph tool offers the first detailed and articulated presentation of the course of the architect. Such a subject will contribute to the restoration of the urban and architectural history of the Modern Movement in Algiers.
L’ornementation dans les halls d’immeubles de rapport Algérois Identification et Inventaire
(Epau, 2018) BELHAMDI ,Soumia; BELOUACHRANI-AMROUCHE,Wahiba [Rapporteur]
The lobby as a reception area, crossing or intermediate in the buildings of the XIXth century, it was mainly a space of representation. Expressing the status of its builders and owners while affirming the status of the latter. It is as a support for this architectural and architectonic richness that the hall interests us in this research. These ornamental elements, by lack of knowledge of their historical and artistic value, disappear every day in Algiers during rehabilitation operations altering their authenticity. Our objective is to identify and inventory the ornamental systems in a corpus of 12 entrance halls that we have chosen in relation to the evolving moments of the center of Algiers and in relation to their original state. This identification will allow, in a second step, to analyze the ornamental degree of each entrance hall and to establish a classification in relation to their ornamental wealth.