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                <text>DARBEDA, Gabriel </text>
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                <text>Sâ€™il est Ã©levÃ© entre 1917 et 1920 Ã  un moment oÃ¹ le nÃ©o-mauresque perd du terrain, le palais des AssemblÃ©es, construit par Gabriel DarbÃ©da, affiche une faÃ§ade nÃ©o-renaissance et une esthÃ©tique sâ€™inscrivant parfaitement dans celle du boulevard du Front de mer. AprÃ¨s la chambre des DÃ©putÃ©s (1962), il accueille dÃ©sormais la chambre des SÃ©nateurs.</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.14</text>
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                <text>Conseil de la Nation</text>
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                <text>DARBEDA, Gabriel </text>
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                <text>Lâ€™ancien musÃ©e des AntiquitÃ©s est Ã©difiÃ© en 1897 pour remplacer le premier musÃ©e qui avait Ã©tÃ© Ã©tabli dans la Casbah dans les annÃ©es 1830. Ã€ lâ€™occasion de la cÃ©lÃ©bration du centenaire de la colonisation, en 1930, lâ€™architecte Gabriel DarbÃ©da (1869-1949) rÃ©nove le musÃ©e et Ã©lÃ¨ve la faÃ§ade sur le parc de la LibertÃ©, en reprenant les formes de la porte monumentale de la mosquÃ©e Sidi Boumedine de Tlemcen. En 2004, le musÃ©e des Arts islamiques est amÃ©nagÃ© dans un ancien bÃ¢timent administratif annexe.</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.13</text>
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                <text>MusÃ©e des AntiquitÃ©s classiques et musulmanes</text>
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                <text>PETIT, Henri </text>
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                <text>En 1914, Henri Petit intÃ¨gre Ã  nouveau un minaret dans un Ã©difice nÃ©o-mauresque qui, cette fois, a une vocation commerciale : le magasin des Galeries de France, devenu Galeries algÃ©riennes puis, en 2007, musÃ©e dâ€™Art moderne dâ€™Alger. Lâ€™Ã©difice sâ€™organise autour dâ€™un plan spÃ©cifique aux modÃ¨les des grands magasins europÃ©ens mais son dÃ©cor reste dâ€™inspiration locale. Hormis quelques minces transformations pour lâ€™amÃ©nagement du MAMA (blanchiment des murs, dÃ©placement de lâ€™escalier principal), lâ€™Ã©difice offre une image proche de celle qui Ã©tait la sienne lors de son inauguration.</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.13</text>
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                <text>MusÃ©e dâ€™Art Moderne dâ€™Alger</text>
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                <text>VOINOT, Jules </text>
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                <text>Au dÃ©but du siÃ¨cle, sous lâ€™impulsion du gouverneur Jonnart, de nombreux Ã©difices officiels sont conÃ§us dans un esprit nÃ©o-mauresque, dans le but de donner Ã  la ville une image plus en conformitÃ© avec sa culture locale. Jules Voinot construit entre 1908 et 1913 la PrÃ©fecture dâ€™Alger dans laquelle il conÃ§oit une riche dÃ©coration faite de panneaux de plÃ¢tre sculptÃ©s, de carreaux de cÃ©ramique polychromes et de colonnades de marbre.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/117</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.13</text>
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                <text>Wilaya dâ€™Alger</text>
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                <text>VOINOT, Jules </text>
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                <text>TOUDOIRE, Marius </text>
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                <text>AlgÃ©rie</text>
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                <text>Certainement le monument le plus emblÃ©matique de la â€œpÃ©riode Jonnartâ€, la Grande Poste est construite par Jules Voinot et Marius Toudoire entre 1907 et 1910. Câ€™est lâ€™un des premiers Ã©difices publics Ã©difiÃ©s sur le boulevard LaferriÃ¨re, dont lâ€™amÃ©nagement culmine dans les annÃ©es 1920-1930. Le hall dâ€™entrÃ©e est traitÃ© selon un programme dÃ©coratif particuliÃ¨rement riche, inspirÃ© de la tradition locale ; il est coiffÃ© dâ€™une coupole sâ€™inspirant des traditionnels panneaux de plÃ¢tre sculptÃ©s, mais rÃ©interprÃ©tÃ©s dans une vision orientaliste moderne.</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.13</text>
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                <text>Å’uvre dâ€™Henri Petit, lâ€™Ã©glise anglicane de la Sainte-TrinitÃ© est construite en 1909 en remplacement de la premiÃ¨re Ã©glise anglicane dâ€™Alger, Ã©difiÃ©e en 1870 dans le centre-ville. Cette nouvelle Ã©glise sâ€™inscrit dans la lignÃ©e des constructions nÃ©o-mauresques que Petit conÃ§oit dans lâ€™esprit des recommandations du gouverneur Jonnart (le siÃ¨ge du RND ou le MAMA). La construction de ce bÃ¢timent est liÃ©e Ã  lâ€™importante communautÃ© anglaise qui sâ€™est implantÃ©e Ã  Alger quelques annÃ©es aprÃ¨s la colonisation franÃ§aise. Elle est composÃ©e, dâ€™une part, de travailleurs essentiellement dâ€™origine maltaise et, dâ€™autre part, de familles aisÃ©es passant rÃ©guliÃ¨rement lâ€™hiver Ã  Alger, Ã  partir des annÃ©es 1870, dans leurs riches demeures.</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.12</text>
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                <text>Ã©glise</text>
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                <text>Ã©difice religieux</text>
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              <description>An account of the resource</description>
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            <description>An account of the resource</description>
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                <text>Pour le siÃ¨ge de La DÃ©pÃªche algÃ©rienne quâ€™il Ã©difie en 1906, Henri Petit nâ€™hÃ©site pas Ã  dÃ©tourner des motifs de lâ€™architecture religieuse musulmane pour les plaquer sur des Ã©difices civils, leur faisant ainsi perdre tout leur sens. Comme bien dâ€™autres architectes auteurs de bÃ¢timents nÃ©o-mauresques au Maghreb, Petit intÃ¨gre un minaret Ã  la faÃ§ade du bÃ¢timent. Si les praticiens dâ€™alors nâ€™hÃ©sitent pas Ã  puiser aux sources de la culture locale, ils le font de faÃ§on parfois totalement dÃ©contextualisÃ©e en expurgeant les modÃ¨les de leur signification originelle.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/114</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.12</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>bÃ¢timent public</text>
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                <text>NÃ©o-mauresque (style)</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>SiÃ¨ge du Rassemblement National DÃ©mocratique</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text/>
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            <name>Contributor</name>
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                <text>PETIT, Henri </text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>AlgÃ©rie</text>
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                <text>Alger</text>
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                <text>1905</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="2196">
                <text>Mutual Heritage</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2197">
                <text>Henri Petit, qui fut lâ€™un des architectes les plus prolifiques de cette pÃ©riode nÃ©o-mauresque, construit en 1905 lâ€™un des premiers Ã©difices se rattachant Ã  ce courant : la mÃ©dersa dâ€™Alger. OrganisÃ©e sur un plan centrÃ©, la mÃ©dersa est couverte de plusieurs coupoles rappelant la mosquÃ©e de la PÃªcherie (XVIIe siÃ¨cle) de la place des Martyrs. Lâ€™annÃ©e de son inauguration, une exposition dâ€™art musulman y est organisÃ©e ce qui, selon lâ€™historienne Nabila Oulebsir â€œdonne Ã  voir Ã  un large public les caractÃ©ristiques de cet art dans un bÃ¢timent qui sâ€™en inspireâ€.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="2198">
                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/113</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/archive/files/5febf1086356491fa0a15850e030e0da.jpg</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.12</text>
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            <description>The topic of the resource</description>
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                <text>NÃ©o-mauresque (style)</text>
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                <text>Ã©tablissement scolaire</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Office National dâ€™Enseignement et de Formation Ã  distance</text>
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            </elementTextContainer>
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  <item itemId="189" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Edifices-Alger</text>
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              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
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                  <text/>
                </elementText>
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            <name>Contributor</name>
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                <text>VIDAL, Jacques</text>
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                <text>POUILLON, Fernand </text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>AlgÃ©rie</text>
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                <text>Alger</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Mutual Heritage</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Demeure turque Ã  lâ€™origine, ce bÃ¢timent devient une rÃ©sidence pour les hiverneurs en 1889. Le phÃ©nomÃ¨ne touristique a jouÃ© un rÃ´le important dans la diffusion du courant nÃ©o-mauresque Ã  Alger : la famille des architectes Guiauchain qui lâ€™a acquis le transforme, au lendemain de la PremiÃ¨re Guerre mondiale, y introduisant des panneaux de plÃ¢tre sculptÃ© et des carreaux de cÃ©ramique dâ€™inspiration locale. Lâ€™hÃ´tel est agrandi par Jacques Vidal en 1959, puis par Fernand Pouillon en 1980.</text>
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            <name>Identifier</name>
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              <elementText elementTextId="2187">
                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/112</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.11</text>
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                <text>hÃ´tel</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>HÃ´tel El-DjezaÃ¯r</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Edifices-Alger</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text/>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>AlgÃ©rie</text>
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                <text>Alger</text>
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            <name>Creator</name>
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            <description>An account of the resource</description>
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                <text>Lâ€™ancien hÃ´tel Excelsior est un tÃ©moignage particuliÃ¨rement intÃ©ressant de lâ€™Art nouveau algÃ©rien. NÃ© au tournant du siÃ¨cle dans lâ€™ensemble de lâ€™Europe, lâ€™Art nouveau se dÃ©veloppe Ã©galement largement au Maghreb. Lâ€™ancien hÃ´tel Excelsior prÃ©sente des points communs avec certains bÃ¢timents Art nouveau de Tunis : portraits de femmes en stuc sur les faÃ§ades, abondance de motifs floraux et de formes baroques, autant dâ€™Ã©lÃ©ments dÃ©coratifs attestant du partage de modÃ¨les artistiques entre lâ€™AlgÃ©rie et la Tunisie.</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/111</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.10</text>
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                <text>hÃ´tel</text>
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                <text>Ancien HÃ´tel Excelsior</text>
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