Cite this article
Bemmoussa, W. C., Mazouz, F., Kari, N. (2024) ‘Resistance and stylistic reverence: A typological study of colonial facades in Tlemcen (Algeria)’, Architecture Papers of the Faculty of Architecture and Design STU, 29(3), pp. 25-38. https://www.doi.org/10.2478/alfa-2024-0015
SUMMARY
An architectural style is obviously the architects’ ultimate means of symbolising socio-cultural ideas and attitudes. It affects all aspects of construction, but manifests itself principally through the facade, which is the locus of architectural composition. This dimension has taken on a special meaning in the context of Algeria, where the arrival of the French colonisers led to the introduction of new architectural styles. Medieval towns were radically transformed, becoming a place of cultural confrontation between the shores of the Mediterranean. It has to be said that this theoretical adoption of an exogenous metropolitan style and its application in a different socio-cultural context was only made possible by French military domination. However, the importation and imposition of the style was not always obvious, as Algerian resistance was as much stylistic and socio-cultural as it was military. If we look at Algerian towns from the colonial era, we can see that their stylistic intensity varied. To illustrate this point, we have taken the case of the historic city of Tlemcen (Northwest Algeria), where the French occupiers met with stylistic resistance complicating the achievement of their colonial project. This raises the question: What forms of stylistic resistance are manifested in the colonial architecture of Tlemcen? If colonial architecture in Tlemcen displays stylistic elements that diverge from the norms imposed by the colonisers, this could indicate local stylistic resistance to the military engineers and colonists. By examining the specific characteristics of colonial architecture in Tlemcen, we could identify signs of stylistic resistance, testifying to a desire to maintain a local cultural identity despite the colonial influence. To arrive at an answer to our problem, the method adopted in our study is based on typological analysis of colonial facades. This methodological tool was chosen so as to bring out the architectural styles of the facades from the colonial period and their architectural interpretation to identify any form of stylistic integration or resistance by the community of the historic city of Tlemcen. The typological analysis and documentary research served us well and enabled us to confirm that the architectural styles of the colonial period were mainly inspired by those of the West, but also by local styles. The typological analysis of colonial facades has served as a means of providing in-depth understanding of architectural facades and as the most appropriate means of classifying artistic phenomena, facilitating the classification of facade categories. This methodological approach adopted in our research work has essentially brought out three (3) stylistic typologies which are the most dominant in the facades of French colonial dwellings between 1842 and 1962 and which are: European revivalist typology (A), local revivalist typology (B), and modernist typology (C). The French neoclassical style was the architectural style initially adopted in Tlemcen. This style is characterised by its turning towards the past, using it in a new approach (European revivalist typology A). From the twentieth century onwards, Moorish Revival emerged as an important style in new construction. This style re-appropriates local art and forms and reuses various elements in new ways (local revivalist typology B). It is crucial to understand that the urbanistic resistance of the indigenous population of Tlemcen against the decisions of the French Military Engineers was a significant form of the endeavour to preserve their cultural identity, heritage and rights in the context of colonial domination and exploitation. The typology of architectural styles has also enabled us to detect a certain form of stylistic reverence. This is the direct result of stylistic resistance, which forced the colonisers to reconsider their principles and give in to the power of the indigenous population. However, from 1930 onwards, these styles were gradually abandoned in favour of the modernist project, which emphasised Algeria’s Mediterranean character. The modernist typology (C) represents neutrality, which refers to the approach of avoiding pronounced aesthetic or stylistic expressions, favouring instead a more universal and timeless appearance. There are a variety of reasons for this approach, including the desire to create buildings that integrate harmoniously into a variety of contexts without visually or culturally dominating their surroundings. Stylistic neutrality seeks to minimise decorative elements or specific cultural references, allowing buildings to remain relevant over time and adapt to a variety of uses. In 2011, 50 years after the country’s independence, the international event “Tlemcen Capital of Islamic Culture” restored continuity and dialogue with the city’s Moorish architectural style, thus even renewing the Moorish Revival. Today, all new buildings in Tlemcen are inspired by Moorish architecture.