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                <text>Le bÃ¢timent sâ€™inscrit dans le prolongement de lâ€™axe de la nouvelle BibliothÃ¨que nationale (ci-dessus) et fait partie du mÃªme plan directeur. La faÃ§ade de lâ€™hÃ´tel, qui donne sur la baie, se distingue par un langage postmoderne avec ses loggias Ã  double hauteur et son atrium. Lâ€™entrÃ©e principale lui confÃ¨re un caractÃ¨re monumental, avec un porche dont lâ€™arcature puise dans le vocabulaire local.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/171</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.30</text>
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                <text>HÃ´tel Sofitel </text>
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                <text>MERHOUM, Larbi</text>
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                <text>AlgÃ©rie</text>
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                <text>Avec son Ã©criture contemporaine, le bÃ¢timent Ã©difiÃ© en 2003 par lâ€™architecte Larbi Merhoum sâ€™inscrit dans un ensemble architectural marquÃ© par une esthÃ©tique nÃ©o-mauresque. Ce rÃ©cent bÃ¢timent, dÃ©diÃ© Ã  la recherche, entretient un lien visuel avec le Jardin dâ€™essai et la ville et, en arriÃ¨re-plan, avec la mer et la Casbah. Le projet dÃ©veloppe la notion de parcours ; il rÃ©investit la terrasse comme espace majeur et sâ€™ancre dans la topographie du site.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/172</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.31</text>
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                <text>NÃ©o-mauresque (style)</text>
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                <text>Institut Pasteur </text>
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                <text>AlgÃ©rie</text>
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                <text>Cette bibliothÃ¨que de quartier, conÃ§ue en 2004 par lâ€™architecte Larbi Merhoum, sâ€™inscrit dans la lignÃ©e des Ã©difices qui ont investi la ligne de crÃªte depuis les annÃ©es 1950. Ce bÃ¢timent, qui surplombe lâ€™ancien quartier de la Robertseau, sâ€™offre une double Ã©chelle : lâ€™une domestique, en rapport avec le quartier pavillonnaire dans lequel il sâ€™insÃ¨re, et lâ€™autre comme un repÃ¨re urbain, puisquâ€™il sâ€™adresse de maniÃ¨re Ã©vidente Ã  la ville. Son programme culturel a Ã©tÃ© lâ€™occasion pour lâ€™auteur de transcrire sur la faÃ§ade lâ€™esthÃ©tique de lâ€™Å“uvre picturale de Mondrian.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/173</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/archive/files/c09bf85bd12a90c10d7a91f4effddf9b.jpg</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.31</text>
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                <text>bibliothÃ¨que</text>
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                <text>BibliothÃ¨que dâ€™AÃ¯n Zeboudja</text>
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                <text>FAIDI, Halim</text>
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                <text>AlgÃ©rie</text>
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                <text>Le bÃ¢timent est le premier siÃ¨ge de ministÃ¨re Ã  avoir Ã©tÃ© conÃ§u par un architecte algÃ©rien depuis lâ€™IndÃ©pendance, un jeune praticien dÃ©nommÃ© Halim Faidi, Ã©galement auteur du MAMA. La rÃ©alisation de ce ministÃ¨re a Ã©tÃ© lâ€™occasion dâ€™affirmer le lien entre tradition et modernitÃ©. Lâ€™architecture est mise en scÃ¨ne autour de deux patios centraux, points de gravitÃ© distribuant et structurant lâ€™espace. Les traitements paysagers deviennent matiÃ¨re, au mÃªme titre que les murs qui les contiennent, et invitent, comme dans la tradition, Ã  venir dÃ©couvrir lâ€™intÃ©rieur.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/174</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.31</text>
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                <text>bÃ¢timent administratif</text>
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                <text>Nouveau siÃ¨ge du MinistÃ¨re des Affaires EtrangÃ¨res</text>
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                <text>LOUNI, Karim </text>
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                <text>AlgÃ©rie</text>
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                <text>Lâ€™architecte Karim Louni est lâ€™auteur de lâ€™unique construction algÃ©rienne post-IndÃ©pendance Ã©levÃ©e sur les quais dâ€™Alger, rue d'Angkor. Cette masse blanche jouxte lâ€™ancien lazaret en sâ€™adaptant Ã  son gabarit et en empruntant lâ€™esthÃ©tique des paquebots ancrÃ©s au port. La rÃ©alisation du bÃ¢timent fut un dÃ©fi car il requit de gagner le terrain sur la mer. Le bÃ¢timent, qui sâ€™inscrit dans une volontÃ© de reconquÃªte de ces lieux historiques, imprime une esthÃ©tique contemporaine Ã  lâ€™Ã©clectisme architectural du vieux port : â€œlâ€™amirautÃ©â€.</text>
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                <text>Carte du patrimoine architectural XIXe-XXe siÃ¨cles d'Alger. Mutual Heritage, 2010. p.31</text>
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                <text>OULESBIR, Nabila</text>
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                <text>2004</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>En AlgÃ©rie, la notion de patrimoine accompagne un mouvement d'appropriation et d'identification oÃ¹ la sÃ©lection des objets et leur conservation jouent un rÃ´le essentiel. Lâ€™auteur nous convie Ã  suivre ce mouvement, depuis le premier sentiment Ã  l'origine d'une conscience patrimoniale jusquâ€™Ã  cette â€œAlgÃ©rie latineâ€ qu'exalte le moment du Centenaire. &#13;
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                <text>978-2-7351-1006-3&#13;
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                <text>Ã‰dition de la Maison des Sciences de lâ€™Homme&#13;
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                <text>Les usages du patrimoine. Monuments, musÃ©es et politique coloniale en AlgÃ©rie (1830-1930)</text>
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                <text>Maroc, Casablanca</text>
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                <text>Pierre, Jean-Luc</text>
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                <text>Ouvrage publiÃ© par Jean-Luc Pierre en 2004 sur les relations entre la France et le Maroc Ã  travers l'histoire du Consulat de France Ã  Casablanca.&#13;
Cet ouvrage est partiellement consultable sur Google Books :&#13;
http://books.google.fr/books?id=UojVkyplkR0C</text>
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                <text>CroisÃ©e des Chemins</text>
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                <text>Casablanca et la France, mÃ©moires croisÃ©es XIXe-XXe siÃ¨cles</text>
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                <text>AlgÃ©rie</text>
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                <text>Alger</text>
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                <text>JORDI, Jean-Jacques</text>
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                <text>PLANCHE, Jean-Louis</text>
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            <name>Date</name>
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                <text>1955</text>
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                <text>PrÃ©sentation de l'Ã©diteur :&#13;
&#13;
"Les articles de cet ouvrage composent un portrait d'Alger sous le Second Empire et la 3e RÃ©publique. EmblÃ©matique d'une colonisation, chargÃ©e d'assurer la reprÃ©sentation franÃ§aise hors mÃ©tropole, cette ville est le bastion avancÃ© de la France en Afrique. Les auteurs s'intÃ©ressent Ã  l'urbanisme expliquant comment les fonctionnaires successifs ont toujours cherchÃ© Ã  faire de cette citÃ© une grande ville franÃ§aise, une capitale culturelle, sans parvenir vraiment Ã  domestiquer son Ã©clectisme. Les nombreux plans de Le Corbusier pour la ville et leurs Ã©checs sont aussi Ã©tudiÃ©s. La vie intellectuelle s'Ã©panouit et s'enrichit des Ã©changes des cultures. Des aristocrates viennent en villÃ©giature l'hiver mais les diffÃ©rentes populations ne se mÃ©langent que trÃ¨s peu. L'antisÃ©mitisme des EuropÃ©ens d'AlgÃ©rie enflamme le pays Ã  la fin du 19e siÃ¨cle. Les Arabes restent dans la Casbah qui est tout entiÃ¨re enchÃ¢ssÃ©e dans la ville moderne, les colons ne sont pas inquiets et ne se rendent mÃªme pas compte de la paupÃ©risation et de l'accroissement de la population arabe, qui, petit Ã  petit, s'entasse dans des bidonvilles. La rÃ©volte gronde. A l'horizon, la deuxiÃ¨me guerre mondiale apaise momentanÃ©ment ces vellÃ©itÃ©s d'Ã©mancipation. Ce livre Ã©claire les nombreuses facettes de cette ville ambiguÃ« sous bien des aspects. "</text>
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/92</text>
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                <text>Alger 1860-1939. Le modÃ¨le ambigu du triomphe colonial</text>
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                <text>Quattrocci, Luca</text>
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                <text>Agence de mise en valeur du Patrimoine et de Promotion Culturelle</text>
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                <text>1998</text>
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Dans un Tunis bicÃ©phale, "arabe" du cÃ´tÃ© de la mÃ©dina, "europÃ©en" du cÃ´tÃ© du quartier de la Marine, la modernitÃ© fait irruption avec la naissance du XXe siÃ¨cle sous la forme dâ€™un style architectural Ã©clos Ã  Bruxelles en 1893 et quâ€™on appelle Art Nouveau. Durant cinq annÃ©es, ce style va fleurir sur les faÃ§ades et Ã  lâ€™intÃ©rieur dâ€™immeubles qui viennent doter la ville europÃ©enne dâ€™un souffle de vie qui contraste singuliÃ¨rement avec la banalitÃ© dâ€™une architecture fonctionnelle, certes, mais guÃ¨re esthÃ©tique.&#13;
Album commentÃ© de ces immeubles qui Ã©gaillent la ville moderne.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/tunis/items/show/218</text>
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                <text>Lâ€™Art Nouveau Ã  Tunis, 1900-1905</text>
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                <text>REVAULT, Jacques</text>
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                <text>1984</text>
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                <text>Ã‰ditions Recherche sur les Civilisations</text>
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                <text>Le Fondouk des FranÃ§ais et les consuls de France Ã  Tunis 1660-1860</text>
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