The Casbah of Algiers: Urban Acupuncture within a Labyrinthine Citadel by Khedidja Benniche

‫القاصبة اجلزائر‬

The Casbah of Algiers: The Casbah of Algiers: Urban Acupuncture within a Labyrinthine Citadel

Urban Acupuncture within a Labyrinthine Citadel Khedidja Benniche Thesis report Spring 2018 Aarhus School of Architecture Denmark

SPECIAL THANKS TO: Mr Zekkagh Abdelwahab Madame Sadki Mr Hammoum Familie Hadj Mohammed Mr Youcef Ghellab My family and friends The people of the Casbah

KHEDIDJA BENNICHE: 4004608 THESIS REPORT Studio: Urban Design | Landscape Architecture Tutor: Jens Christian Pasgaard Thesis Semester Spring 2018 Aarhus School of Architecture Denmark

CONTENTS INTRODUCTION -6THESIS OUTLINE UNFOLDING THE PROJECT

-8-

THE GAZE

WHAT IS THE GAZE? ALGIERS | THE CASBAH TIMELINE OF THE GAZE

- 10 -

ALGIERS

THE BAY OF ALGIERS A MASTERPLAN FOR THE CAPITAL

- 16 -

THE CASBAH DEVELOPING A TOOLBOX THE CASBAH TODAY SERIAL VISION SITE SELECTION: TRACES AND PATTERNS PRINCIPLES/ APPLICATION

- 22 -

THE FOUR VOIDS

SELECTED SITES VOID 1: RUE BAB EL OUED VOID 2: RUE SIDI RAMDANE VOID 3: NFISSA RAMDANE VOID 4: RABAH RIAH CONSEQUENCE MAPPING

- 34 -

AN OASIS FOR THE CASBAH

REVITALISATION OF PUBLIC SPACE TRACES INFORMED DESIGN A POCKET OASIS MOMENTS

- 56 -

REFLECTION - 66 BIBLIOGRAPHY - 68 -

INTRODUCTION

‘We venture into the cool shade of the Casbah’s alleyways, the air is still, there are little signs of life other than the movements of my fellow companions, our guide explains its Friday, Jumuaa, the holy day. The morning is spent in preparation for the Friday prayer, hence the calm. Though it has been lifeless for quite some time now he goes on to explain, what with all the troubles from the war, its not the same as it was. I am aware of what he is referring to; this is my second visit to the Casbah. The towns name is synonymous with the word danger, once known as the home of the revolution and independence soon became the home of terror. Despite it being over a decade since the end of the feud, the reputation stands fast. As we travel on, heading down the stepped paths, towards the sea, we pass a number of ruins; buildings left as they are from the many years of war, and neglect. New voids have opened up, disrupting the density pattern of the labyrinth like citadel. The result is a feeling of unease; most remain as anti-spaces, collecting rubbish, perfect outlines of plans scar the urban carpet, a reminder that homes once stood here.’ Personal Account from a visit in 2012. Is this state of dereliction to be the consequence of the Casbah? Listed as a World Heritage Site in 1992, the United Nations Educational, Scientific and Cultural Organisation (UNESCO) has described the Casbah of Algiers as a “Unique kind of medina …There are the remains of the citadel, old mosques and Ottoman-style palaces as well as the remains of a traditional urban structure associated with a deep-rooted sense of community.” (See Fig 1, 2) There are several criteria that must be fulfilled in order to achieve the UNESCO listed status such as the status of integrity and authenticity of the site. However, UNESCO also states the threats the Casbah is currently facing which have contributed towards the existence of these voids mentioned in the personal account. These include natural; such as earthquakes and floods, as well as man-made, such as ‘uncontrolled built interventions’ which have lead to further collapses. It should be noted at this point the great potentials that have arisen as a result of the threats which have caused the deterioration. The voids or ‘les place vide’ (empty spaces) as they are locally known, are spread across the entire quarter and differ greatly in size. Some stand in isolation, a small open pocket within the dense Casbah. Whilst others are part of a sequence of voids, suddenly revealing panoramic views down to the bay (see Fig 3). The appearance of these voids can be explained as a consequence of the ‘gaze’ towards Algiers, and the Casbah respectively. The term ‘gaze’ in this context refers to ‘The Tourist Gaze’, a commentary on the phenomena of tourism and how the development of the ‘gaze’ has developed over time by the sociologist John Urry. The gaze towards this historic neighbourhood of Algiers is still associated with danger and neglect, resulting in a negative gaze. It has become the ‘backstage’ of the city. The project unfolds across three scales of mappings and analysis, investigating the relationship between the city of Algiers, the Casbah, and the Voids. This report will explain the process undergone for the thesis project. This includes a combination of theoretical discussions, contextual analysis, mappings and process sketching (drawing and modelling). The aim of this thesis project is to examine what are the relevant and necessary strategies to take with the voids and in turn how is developing a strategy for the voids challenging the current gaze towards the Casbah, and Algiers respectively?

Fig 1: View of a typical house of the Casbah, featuring a courtyard, and its social function.

Fig 2: View of the roof terraces of the casbah, and the community gatherings that take place.

Fig 3: Unhindered, panoramic views down to the sea after a sequence of voids were created.

THESIS OUTLINE

I conducted a study trip in January 2018 and the situation has improved vastly since the scenes described by the personal account from an earlier visit. This ‘threatened’ state has lessened somewhat, and there are signs of restoration and safe-guarding works currently underway to prevent any more buildings from collapsing. The study trip presented opportunities to speak to several professionals involved in the current restoration of the Casbah including Mr Zekkagh Abdelwahab who is project managing the restoration for the Ministry of Culture; The Urban conservation plan, or Plan de Sauvegarde et de Mise en Valeur (PSMV) in French. It is stated that approximately only two thirds of the original Casbah remains today (UNESCO assessment). Due to its historic significance, there are numerous restrictions apply to the listed buildings that stand today. However the aim of this thesis is not to develop a restorative strategy but a transformative one, which applies to the voids specifically. This leads to several points of departure: - Facing challenges to balance development with protection (The cultural heritage which is listed under the integrity and authenticity criteria of UNESCO) -Dealing with urban transformation processes in a very compact and historic urban fabric with a demanding terrain -Strategic planning: developing a system for working across numerous sites with varying conditions. In order to work with these voids, one first needs to understand the context of these sites, what is the relation between them, if at all? And how do they fit into the greater discourse with the Casbah as a neighbourhood within Algiers. In their current state, the majority of these voids are non spaces, currently in limbo until the undergoing restoration plan can progress onto the next phase; ‘Aménagement’ (planning). This phase will eventually determine the future of the ‘place vides’. Firstly, the situation of the voids can be explained as a consequence of the gaze towards Algiers and the Casbah in turn. By gaining an understanding of the historical events which lead to the creation of the voids, a sympathetic and cohesive approach can be applied to what is the Casbah today. Secondly, I will work across several scales for the duration of this thesis; investigating the relationship between Algiers and the Casbah, and between the Voids and the Casbah. The focal point will be on developing a strategy for the voids themselves, resulting in plot scale interventions. The strategy will be informed through multi scale mapping and site analysis. I will incorporate relevant theories to develop a methodology towards working on the voids; -Urban Acupuncture; Urban acupuncture is a socio-environmental theory that combines contemporary urban design with traditional Chinese acupuncture, using smallscale interventions to transform the larger urban context. (Parsons, Adam 2010). -Townscape: The architect and urban designer Gordon Cullen developed Townscapes to create a system of visual coherence and organisation to explain how we view and understand our built environment. (Cullen, Gordon 1971) -Sub-urbanism: The critic and editor Sébastian Marot’s manifesto ‘Sub-urbanism and the art of memory’ promotes a new form of urbanism another way to form the territories in which the majority of people live. Marot’s intention is to shift the focus from the programme in urbanism and architecture and focus it on the site instead. (Marot, Sebastian 2003)

UNFOLDING THE PROJECT THREE SCALES:

ALGIERS

THE BAY OF ALGIERS (1:50 000)

The Scale of Algiers will be used to explain the historical development of the city, and how it has become more commonly known as the â&#x20AC;&#x2DC;Bay of Algiersâ&#x20AC;&#x2122;. The masterplan of Algiers is an undergoing visionary project to transform the city into a key destination point along the Mediterranean coast. The masterplan will be used to extract relevant strategies. that can challenge the gaze towards this metropolis. They will also be instrumental in guiding the decisions for the other scales in this process.

THE CASBAH

CASBAH PATTERNS PRINCIPLES

SELECTED SITES (VOIDS) 1:1000

The scale of the Casbah will be used to explain how it exists today as a result of its past. The theoretical discussion will be introduced to extract the key themes relevant to the DNA of the Casbah. This will be used to develop a toolbox which will contribute to selecting sites for further development. Mappings and Analysis of the Casbah will define the key characteristics and principles of the selected voids. The process of designing an intervention for each void will be explained according to these principles.

SINGLE VOID

SINGLE VOID 1:200

This scale will be used as an example of further development with one of the voids from the selected sites. It will indicate the direction of focus as to how the voids may be worked with on a closer scale. Delving slightly deeper into the application of the extracted themes of the theoretical discussion, and guiding principles.

*Scales relate to the size used during the project process.

The aim of this process is to determine how a strategy can be formed that can be applied to the voids. This contributes to the greater discussion of challenging the gaze towards the Casbah, and Algiers in turn. The following chapter will address an understanding of the Gaze which will be explained through a historical mapping before unfolding the three scales of the project.

THE GAZE WHAT IS THE GAZE? ALGIERS | THE CASBAH TIMELINE OF THE GAZE

Fig 4: The gaze of Algiers today.. The first google search suggestion indicates the city is unsafe to visit. Google Search conducted March 2018 This chapter will explain the relevance of the gaze towards this thesis. The theory in relation to the â&#x20AC;&#x2DC;Tourist gazeâ&#x20AC;&#x2122; by John Urry is used to frame the discussion on the Casbah and Algiers. A timeline of historical events and the consequential gaze will be used to suggest why a google search today indicates that the city of Algiers is considers unsafe.

WHAT IS THE GAZE? THE TOURIST GAZE

‘The Tourist Gaze’ is a commentary on the phenomena of tourism and how the development of the ‘gaze’ has developed over time by the sociologist John Urry. The text portrays this through a series of case studies which address the various factors that have played a role in shaping the evolution of the tourist industry, thus, the experience and ‘gaze’ of the tourist. However it should be noted that defining the (tourist) gaze is so subjective, Urry himself accepts that there is ‘no single tourist gaze as such’. Urry defines certain characteristics as a means to analyse against all the variants of the gaze, one of which being: ‘places which are chosen to be gazed upon because there is an anticipation, especially through daydreaming and fantasy of intense pleasures, either a different scale or involving different senses from those customarily encountered’. Urry goes on to state ‘Such anticipation is constructed and sustained through variety of non-tourist practices, such as film, TV, literature, magazines, records and videos, which construct and reinforce, that gaze.’ (Urry, 1995) As soon as Algiers was taken under colonial occupation by the French Empire in 1830, the Casbah has been subject to being one of these ‘chosen’ places. As for the lens of the occupier, the Casbah was part of a foreign, exotic land, one that held contrastingly different customs and traditions. A world away from the everyday of western society, yet only as far as the opposing shore of the Mediterranean. The anticipation that influenced the construction of the gaze upon Algiers, and the Casbah, is fabricated by the countless artists and poets who ventured the steep inclines of the Casbah, their works contributed to a sense of mystery and oriental exoticism was ignited. The Casbah soon began to set the scene of holiday thrillers and romance cinema, as well as capturing the attention of more notable individuals such as the architect CorbusierI. During the colonial period (1830- 1962) the French were influencing the gaze upon Algiers using their urban development, constructing several key building along the edge of the bay including the more notable ‘Grand Post’ in a neo-moorish style which was an ‘exotic revival of the orient’. There are also other causes for this anticipated gaze from a colonial standpoint, such as the segregation between the new ‘European’ city and the Casbah, which housed the indigenous population. By physically segregating the viewers from the subject of the gaze, the sense of anticipation was further inflamed. The lack of accessibility and interaction towards the indigenous population was cause to further fuel the Orientalist, exotic gaze of the ’other’, and the Casbah itself when visitors were met with its traditional typology of narrow winding paths lined with great expanses of white walls punctured with only very tiny windows. This left much to the viewer to be imagined, or fantasised. Though it is worth noting that the discussion on colonialism will acknowledge the impact of the French occupation, the focus of the project shall not dwell on colonial and post colonial theories. I

Corbusier published a book of poetry about Algiers; ‘We are in Africa. This sun, this space created by azure and water… The casbah of Algiers . . . has given the name Algiers-the-White to this glittering apparition that welcomes at dawn the boats arriving to the port. Inscribed in the site, it is irrefutable. It is in consonance with nature.’

Fig 5: Segregation in Algiers, film still taken from La Bataille d’Alger (The Battle of Algiers), Gillo Pontecorvo 1966 Urry explores a range of arguments based on the tourists gaze, one relevant discussion is the relation between authenticity and the tourists gaze which applies to the themes in this thesis. ‘A particular issue is that of authenticity. It is argued especially by MacCannell that what tourists seek is the ‘authentic’ (Urry, 1995). MacCannell also includes the discourse of his work on ‘frontstage’ and ‘backstage’ (first developed by Goffman 1959) with his discussion on authenticity. The tourists desire to participate with the backstage is due to the want to expose the ‘reality’ of the places that are being visited, thus creating a more authentic experience. The traditional remains of the Casbah have inadvertently become the ‘Backstage’ of Algiers. Through the segregation and ‘ghettoisation’ of the historic neighbourhood by the French in creating a perimeter of ‘European’ blocks, it represents precisely the ‘authentic’ qualities of the Casbah which have awarded its UNESCO status. (Fig 5) Urrys discussion on the gaze incorporates several categories, one relevant example, is the ‘constructed gaze’, which varies according to different social groups and cultures. The revelation of this constructed gaze is the means of understanding how normal, everyday society functions through the departure of everyday life. This is further highlighted in one of Urry’s baselines on the construction of the gaze through signs, ‘and. This is in accordance with Cullers argument that ‘the tourist is interested in everything as a sign of itself’ (Culler, 1981) an example used is the association of Paris and romance. Unlike Paris the gaze of Algiers and the Casbah has continuously shifted its associations throughout its history. The gaze today is currently associated with danger as discovered by a recent google search. (Fig 4)

ALGIERS | THE CASBAH GAZE = VOIDS

The situation of the voids in the Casbah today can be explained through the story of the gaze itself. First was the motive behind the colonials intervention to manipulate the physical gaze upon Algiers, removing the majority of the traditional buildings at the base to be replaced with large scale colonial blocks. Thus giving the impression to those approaching the city via the sea that they were arriving within a French city: French Algeria. (See Fig 6) Since then the destruction of the Casbah commenced by disrupting the logic of the traditional interdependent system, the remaining buildings were put at risk. Followed by a series of wars; war of independence (1954 -1962) and civil war (1991 - 2002) as well as natural disasters only caused further devastation with an estimated two thirds of the original Casbah left standing. This contributed to the darker gaze upon the Casbah, and Algiers in general, thus a different mysterious tone ensued. Tourists traversed from Morocco, to Tunisia, Libya and on to Egypt along the coast of North Africa. Algiers (and Algeria); a dark enigma, had disappeared from the favoured travel route and became subject of a dangerous ‘inaccessible’ gaze II. Examples from the shift in gaze; A romantic view of the city from the sea (Fig 7) to the gaze of orientalism (Fig 8) and onto war and resistance (Fig 9).

Fig 6: French cuts through the old medina, so that the gaze upon the Casbah is framed by the French colonial

Fig 7: A view looking up at the Casbah rising from the Sea: In the harbour of Algiers, Anders Zorn 1887

Fig 8: Eugène Delacroix, Women of Algiers in their Apartment, 1834, Oil painting on canvas.

II Moroccan Tourist arrivals

Algerian Tourist arrivals

Number of tourist arrivals in Morocco greater exceed the number in neighbouring Algeria. This is due to the constant ‘states of emergency’ and lasting perceptions from historical events. Though there is an estimated rise in numbers projected figures also in time keeping with the masterplan of Algiers. The Minister of tourism in Algeria announced his plan to substantially increase the number of tourists. 4.4 million international tourists are expected in Algeria by 2027, in contrast to the current 2.4 million.

Fig 9: Conflict in the Casbah, film still taken from La Bataille d’Alger (The Battle of Algiers), Gillo Pontecorvo 1966

TIMELINE OF THE GAZE

CITY GROWTH CASBAH/ALGER CENTRE

HISTORICAL EVENTS

THE CONSTRUCTED GAZE

1500

OTTOMAN EMPIRE

TRADITIONAL

WAR TRIGGER

MILITARY

IMPACT CASBAH

1830

1870

The period during the Ottoman Empire represents the Traditional Casbah. A diplomatic incident was the trigger towards the French conquest of Algiers.

1890

FRENCH COLONIAL EMPIRE

Traditional walled citadel.

ORIENTALIST/ TOURISM

1900

Algeria became an annex of France, it was represented as a desirable destination, hosting grand events such as the ‘Tour D’Algerie’. 1930

CENTENARY: UNREST/ CELEBRATION

Intentional Voids from the French infrastructure.

SEGREGATED/ DISCORD

A century into the colonial occupation, and the stresses of colonialism begin to show, the segregation between the colonialists and the native population create discord.

This is a selective timeline of events that highlight key events throughout the history of Algiers, that had a direct impact upon the urban Fabric of the Casbah. It also showcases the constructed gaze as a result of these historical events through iconic imagery of each period; photographs, posters, film stills. 14

Contrasting typologies, as a physical divide.

CITY GROWTH CASBAH/ALGER CENTRE

HISTORICAL EVENTS

THE CONSTRUCTED GAZE

1950

RESISTANCE

SYMBOLISM

The War of Independence (1954 -62) was triggered by a battle that primarily took place in the Casbah. This revolutionised the process for independence for many activists around the world, including Che Guevara and Nelson Mandela. 1965

INDEPENDENCE PERIOD

CIVIL WAR

Accidental voids as a consequence from the war.

LA BELLE EPOQUE

The Belle Epoque was a period celebrating the Independence of Algeria. This golden era of hope resulted in a renovation of Algerias’ identity, this included acts such as a new flag, a national airline and the re-introduction of Arabic as the national language. 1990

IMPACT CASBAH

Memorialisation of voids in celebration of independence.

BLACK DECADE: STATE OF EMERGENCY

Ongoing political struggles after the Independence resulted in another war, this time internal. Named the ‘Black Decade’ the civil war shut Algeria away from the external world, an ongoing state of emergency ensued. Traces of this cautiousness remain today.

Further voids occur creating large sequences

ALGIERS THE BAY OF ALGIERS THE MASTERPLAN OF ALGIERS

Fig 10: Painting of the Bay of Algiers This chapter will explain the historical development of the city of Algiers and its position along the Bay. The current vision for Algiers which is manifested in a Masterplan for 2030 will be examined to understand what is the new gaze that the municipality aims to achieve?

ALGIERS

THE BAY OF ALGIERS

HISTORIC

What originated as solely the Casbah, Algiers as a city bears many signs from its struggle to stand the test of time. From one occupier to another, and natural disasters to contend with, this crucial landing point on the southern Mediterranean coast has been much contested. Its rich history is apparent through the ‘patchwork’ urbanism that one finds today, from the Moorish and Ottoman influences to the Colonial and Post Colonial (Algerian) interventions. Located in the bay of greater Algiers (Fig 4), the discussion surrounding this ancient citadel has been at the heart of deliberating all future developments of the greater city. The ‘patchwork’ urbanism is apparent when surveying Algiers from above (Fig 11), This can be seen as a physical manifestation of the diversity of this city, a built souvenir of each of the civilisations that had once occupied the land. The first settlement dates as far back as the 6th century BC, named Ikosium, as a Phoenician outpost, it was later captured (in chronological order) by the Romans, Moors, Vandals, Medieval Arabs, Ottomans, and finally the French, until the independence in 62. Approximately 2000 years of history have been discovered below Les Place des Martys (See Fig 12) during construction works for the Metro of Algiers. The new metro station at the base of the Casbah: Les Place des Martyrs (Martyrs Square) which is anticipated to open to the public in February 2018. The archaeological discoveries which testify to Carthaginian and Roman remains will also be made available to the public as a Museum in the later future.

CASBAH

BAY OF ALGIERS

Fig 13: Ottoman map of the North Coast of African Coast by Piri Reis (Ottoman Admiral/Cartographer circa 1467 1554) The map highlights the Bay of Algiers as one of the most crucial ports and landing spots for naval vessels.

Fig 14: 1541

Fig 15: 1626

Fig 16: 1764

Fig 17: 1831

Fig 18: 1870

Fig 19: 1930

Fig 11: Patchwork urbanism showing the juncture between the Casbah neighbourhood to the north and the French quarters to the the south.

Fig 12: Map showing the numerous Roman and Punique graves discovered whilst developing the metro.

Historical maps (Figs 14- 19) of the Bay of Algiers which interestingly change perspective over the years. 1764 marks the ‘turning point’ which was during the bombardment of the French empire upon the Ottoman, up until that point Algiers was perceived from the sea, a more naval perspective (and gaze). After that it was ‘rationalised’ and orientated to face north, indicating a more ‘civilised’ western gaze, Algiers was now colonised (From 1831). 18

ALGIERS

CITY GROWTH

1510

1954

1630

1960

1840

1972

The connection of the Islands to the Mainland was created during the Ottoman rule in 1630 and the citadel walls were completed. The first physical interventions by the French colonialists (Occupation from 1830) were visible from 1840, such as roads and squares.

1990

1870

2007

1900

2012

The development of Colonial Algiers focuses upon the Cape of Caxine and follows the development of the port along the coast. The urban growth is focused along the western side of the bay. Strengthening the view of the city upon arrival by the sea.

The post independence period (from the mid 1960s onwards) introduces new legislation such as one in 1974 which allow for each commune to develop any privately owned land, creating new of hubs/suburbs along the bay of Algiers. The urban development was slowed down during the late 80s early 90s during the civil war. There was a great boom post war, in the early 2000s of private development as well as social housing to combat the housing crisis where dwellings have been in shortage since the Colonial period.

A STRATEGIC PLAN FOR THE CAPITAL IN 2030 ALGIERS: IN SEARCH OF A LOST IDENTITY ...

... This architecture quarterly wants to support, in its own way, this long process of restructuring the capital. Its director of publication, Mr. Akli Amrouche, has seen fit to dedicate a special issue to reveal the few components of this strategic plan by 2030. The best spokesperson and promoter of this gigantic multi-sector project can be that the wali, Mr. Mohamed-Kebir Addou, who reserves a vision full of ambitions for the capital. The magazine has, for this, opened its columns to this manager on 10 pages. The game is worth the candle especially since the wali answered in detail and with more information to all the questions that the journalist asked him. In this interview, he posted his ambition to

The Masterplan of Algiers describes a transformation strategy to ‘raise it to the rank of a great Mediterranean metropolis’. This highlights quite an outward looking, international vision, addressing the greater scale of the gaze upon the city. One that was lost during its historical evolution. The vision for the city is to once again mark it as a key destination point along the Mediterranean coastline. The setting of the capital located on a Bay with Mountains in the distance has captured the attention of many a planner including Le Corbusier, who spent over a decade proposing a plan for Algiers. III

make Algiers an iconic city that transforms while retaining authenticity. Algiers should become, according to him, this “garden-city which controls its spreading and restores its ecological equilibrium.” Algiers should also be the city of mobilities,

Another key discussion is one of Identity, the ability to transform whilst still maintaining its ‘authenticity’. This has been a constant negotiation for the capital, particularly as a post colonial state. It is apparent in the colonial interventions of the Casbah during the French occupation ‘to represent, to inhabit, and to possess’ a territory (Edward Said, 1990). As mentioned earlier in the discussion on the gaze, the strategic cuts and demolitions were ordered by the French so that when viewed upon approach, Algiers appeared to be a French colony, for it was ‘French Algeria’ thus disguising the original identity of the Casbah (Algiers at the time) and its traditional heritage (as demonstrated Fig 6- Page 11).

proximities and an example of good governance. The plan thus organises the transformation and the main objective of the city is to promote the

inhabitants’ well-being and quality of life, and once again the whiteness of their habit must shine forth again so that they can regain their urban identity. It is thanks to this white colour

that Algiers confirms its history it is also the political and economic pole of the whole country. Hence the need to “strengthen its industrial and tertiary base,” reads in one of the articles. This is imperative by a revision of the Master Plan of Planning and Urban Development (PDAU) aims to beautify Algiers more and give it a new urban quality. This is

the beautification of streets, reconstruction of public spaces, development of new centres, revitalisation of deprived areas and promote quality architecture. Its whiteness must radiate again ...

Since the independence of Algeria, triggered by the Algerian War of Independence (1954 -1962) the city embarked upon an ongoing process to find the balance between its occupied past and independent future. One example that has impacted upon the urban environment is way-finding. In the late 60s an ‘Arabisation’ process began in order for Algeria to connect with its pre colonial past, French was demoted to the second language in all national departments, including road names. Today, the majority of the streets of Algiers (that existed under French occupation) They have been renamed after martyrs, and key political and cultural figures who were allied in their fight for independence, and are labelled in both Arabic and French.

III

PLAN OBUS LE CORBUSIER

Le Corbusier’s projects for Algiers (spanning from 1931 to 1942) has the Casbah at the heart of the proposal Its historic significance as the “place of European and Muslim life during centuries of picturesque struggles” had to be protected. Though at the same time its charms will only enhance the “gigantic” touristic potential of Algiers. Fig 20, 21: View of Plan Obus follows the bay of Algiers.

The other challenge in which the initiators of this major project, approved, must be specified by the President of the Republic, is to make Algiers a safe city. How? By providing the capital with all the necessary capabilities so that it can defend itself against disasters of various kinds that have disrupted it for many decades. It is, therefore, taken into account the different risks, natural or technological, generated by industrial activities. The challenge and not least that awaits the leaders of the capital is the restoration of its green ecosystems. The strong urban growth of Algiers has not been without consequences for these ecosystem. Agricultural land and urban woodlands have unfortunately been destroyed and eliminated. A corrective is in this sense indispensable. “Algiers must protect its natural and ecological heritage and must offer its people and visitors recreational areas and rest in contact with nature,” says one on page 48. We must start, say the designers of this plan, to enhance and develop the network of public gardens and green spaces, and all “imposed” landfills on exploitable agricultural land and / or green spaces should also be eradicated. The most edifying example is none other than Oued Smar. This dump located at the entrance of Algiers offered an image of the most heartbreaking and disappointing of the capital to visitors. Its closure and rehabilitation in urban park is a saving decision. The project also provides for the realisation of a long walk over 50 km between Cape Caxine and Matifou, called “Walk the Bay of Algiers.” It is also planned to new centres around structuring facilities. We interviewed the Ben Aknoun medical campus, the law school in Saïd Hamdine, the Douéra stadium, the Grand Mosque of Algiers , the Lettres à Bouzaréah campus ... In addition, the magazine interviewed the first magistrate of the municipality of Algiers Mr. Tayeb Zitouni who confessed that he and his associates were fully involved in the development of this strategic plan. “Our contribution was essentially inspired by the citizen’s will, previously ignored in decision-making,” he notes. The project aims

to transform the capital, says the mayor of Algiers - centre, and to raise it the rank of a great Mediterranean metropolis.

”

^ The vision for the current masterplan of Algiers, described by the Wali Addou (Governor of the Algiers province). Highlighted in bold are the elements that are instrumental to developing a strategy towards this thesis.

â&#x20AC;&#x2DC;WALK THE BAY OF ALGIERSâ&#x20AC;&#x2122;

A SERIES OF AVENUES AND OPEN SPACES OFFERING VISTAS TO THE SEA

New infrastructure plans, including an extended metro/tram and train network offering better connections across the bay including direct links from the expanding airport and the Casbah.

RENATURATION OF OUED EL HARRACH

HOURAI BOUMEDIENNE AIRPORT EXPANSION

ALGIERS SCALE 100 000

The gaze towards the Casbah and Algiers has been repeatedly constructed in order to cater to the appetite of the colonial powers and settlers that once occupied Algeria. Since then Algeria has been undergoing the tumultuous journey of a nation reconnecting with its identity after having been subject to outside rule. The masterplan of Algiers is working with the reconciliation between the transformation and evolution of the city whilst respecting the legacy of its past. This balance is also important to maintain

when zooming into the scale of the Casbah. There are three key strategies I will take as a point of departure: The Access between the City and the Sea, (The Casbah originally had a sufficient system of stepped terraces following the terrain, allowing each dwelling a vista to the sea from the rooftops) the Revitalisation (as a transformation strategy), and the (Re)Construction of Public Spaces (The focus will be only public programmes).

THE CASBAH DEVELOPING A TOOLBOX - ACUPUNCTURE - TOWNSCAPES - SUBURBANISM -

THE CASBAH TODAY SERIAL VISION URBAN PATTERNS SITE SELECTION PRINCIPLES/ APPLICATION

Fig 22: Aerial view of the Casbah taken from the sea. This Chapter will examine what the current situation is in the Casbah through distinguishing patterns and characteristics. As the mediating scale of the three within this thesis, the Casbah will reconcile the visions for a new constructed gaze from the masterplan with a set of principles and guidelines that can be applied to the individual voids within the Casbah. This mediation role will be assisted with a theoretical backing.

DEVELOPING A TOOLBOX THEORETICAL BACKGROUND

SITE SELECTION: URBAN ACUPUNCTURE (The Bay of Algiers, and the Casbah)

CASBAH EXPERIENCE: TOWNSCAPES- SERIAL VISION (The Casbah)

The definition of the term Acupuncture: Acupuncture, (ak-ū-pungkt′ūr, n.) An operation for relieving pain by puncturing the flesh with needles. (Chamber’s Twentieth Century Dictionary 2018 ) By associating the term ‘Urban’ with ‘Acupuncture’ we can reread the definition as: An operation for relieving (HEALING/ACTIVATING) pain (VOIDS) by puncturing the flesh (URBAN FABRIC) with needles (INTERVENTIONS).

The architect and urban designer Gordon Cullen developed Townscapes to create a system of visual coherence and organisation to explain how we view and understand our built environment. The discussion concerning optics is relevant to the discussion of the Gaze towards the Casbah due to the nature of its typology as a labyrinthine citadel.

Urban acupuncture is a socio-environmental theory that combines contemporary urban design with traditional Chinese acupuncture, using small-scale interventions to transform the larger urban context. (Parsons, Adam 2010) The larger urban context in this case is the Casbah, and the transformations are to take place within the voids. The character of the interventions are described to be ‘socially catalytic’ (Ariane Lourie Harrison 2013). In 2010 the Architectural Design released an issue centred upon the term Post-Traumatic Urbanism. Coined by Adrian Lahoud, just as placing the words ‘Urban’ and ‘Acupuncture’ together form new definitions. The term post-traumatic refers to ‘the evidence of the aftermath- the remains of an event that are missing. The spaces around this blind spot record the impression of the event like a scar’ (Adrian Lahoud, 2010). The ability to recover from a traumatic situation may be defined as resilient, however, to recover is never a simple return to the way things were before. The resilient nature of a system has to form new and creative passages to reach a state of stability. Lahoud stresses the importance of continuity in the recovery process, resilience ‘leaps over interruption, it carries with it the continuity of a historical charge that lends its adaptive strength’ (Adrian Lahoud, 2010) We now come to place the term ‘Urbanism’, synonymous with the words development and growth, alongside ‘post-traumatic’, in order to understand these demands. Lahoud states the new demands on urbanism will need to be focused on optimism, adaptation and the resilient nature of future designs. The key here is not return to a previous state, thus the strategy is a transformation one, and not a restorative one. The use of explorative mapping supported by the study of relevant themes will inform the transformative strategical decisions and narratives. This process will determine the programme and interventions of urban acupuncture. The goal is to ‘revitalise’ these spaces, currently they detract from the neighbourhood in their derelict, and in some cases unsafe state. The potential here is great, suddenly these accidental public spaces have appeared within a very compact dense environment, the juxtaposition indicates the opportunity for innovative and resilient programmes to develop.

Cullen coins the term ‘Serial Vision’ in which the scenery of our urban context is revealed through a ‘series of jerks and revelations’. The aim of the urban/architectural designer is to impact upon the emotions of the viewer through manipulating the town. The serial vision can be divided into two elements; the existing view and the emerging view. The human observer reacts to a contrast, an example is moving from the street to the courtyard. The change from the monotony of one experience (the street) to a new shift in surroundings (the courtyard) highlights this emotionengaging contrast more deeply. It is from this juxtaposition between views that the town comes alive. There is also the discussion on ‘Place’ in the Concise Townscape which is relevant to this thesis. Place refers to the reactions of the body from its positioning in the environment. Cullen states it is the habit of the human to continuously and instinctively relate to its surroundings, these primarily stem from the key impacts of exposure and enclosure. This inadvertently becomes a design factor for the built environment, one that can be exploited through its manipulation. (Cullen 1971). Experiences of ‘Place’ that are applicable to walking the streets of the Casbah: -Incident: ‘Tower, belfry, silhouette...To entrap the eye’ -Narrow: ‘Crowding together of buildings forms a pressure... a direct contrast to the square or promenade.’ -Punctuation: ‘Function and pattern change from place to place... acknowledged by some physical signal... so that a pause is created.’ -Anticipation: Here is known, beyond is unknown/ Arousing ones ‘curiosity as to what scene will meet our eyes upon reaching the end of the street’ -Mystery: ‘the mystery of a city where anything could happen or exist’ A sense of ‘mystery’ already exists within the Casbah’s ‘narrow’ winding labyrinthine streets. The experience of the user is driven by the ‘anticipation’ of what is around the next bend. The sum of these senses can be described as a typical ‘moment’ within the Casbah’s streets. The ‘incidents’ of the Casbah such as minarets and domes dominate the skyline as ‘landmarks’ indicating the public nature of their programme. The voids that have arisen create ‘punctuations’, unexpected pauses which are in discord with the narrow, ‘mysterious’ lanes synonymous with the Casbah. The juxtaposition of these voids within the compact traditional fabric of the Casbah is what enlivens the experience. The challenge here is to harness the opportunity of having these accidental pockets of public space (punctuations) without disregarding the qualities (mystery etc) which create an authentic Casbah experience. 24

CASE STUDIES Open public space/ play area

Market Hall

REVITALISATION OF VOIDS: SUB-URBANISM (Plot scale Interventions) The critic and editor Sébastian Marot’s manifesto ‘Sub-urbanism and the art of memory’ promotes a new form of urbanism, another way to form the territories in which the majority of people live; the suburbs. The sub-heading ‘The art of memory’ refers to Marot’s intention to shift the focus from the programme in urbanism and architecture and focus it on the site instead. This method of approach is relevant to this thesis as learning from the Casbah as a site is the dominant informant in this process towards designing an intervention.

Fig 23: Aerial view of the Gothic Quarter Barcelona.

The Gothic quarter of Barcelona underwent numerous ‘injections’ of culture to revive a once undesirable neighbourhood within the city. Programmes include market halls, play areas, and museums. By creating punctuations of open and public spaces, it has revived the neighbourhood for locals and visitors alike.

SERIAL VISION, GORDON CULLEN (TOWNSCAPE) The sketches from Cullens demonstration of serial vision show how the slightest deviation in the alignment of the plan, such as projections or setbacks create a ‘disproportionally powerful effect in the third dimension’.

Inverting hierarchy: Marot describes the term ‘Suburbanism’ as an alternative approach between the two main factors of rationale in any project; the site and the programme. He claims it is traditional for the programme to dominate in the routine of urban design, whereas the ‘suburban condition calls for an inversion for this hierarchy’. In other words the Site becomes the focus, and main emphasis for a project. The site is the ‘matrix of design’ and the programme is to be used as a tool to ‘explore, read, reveal, invent and ultimately represent the site’. This thinking is mainly developed in the field of landscape architecture. Thus garden design or landscape architecture can be applied as an alternative model for memory focused urbanism. Marot outlines four principles that can be applied as a code of conduct: - An active regard for the memory of the site - A vision of site and design as processes rather than products - An in-depth rather than merely planar reading of open spaces - A conception of site and design as fields of relations rather than as arrangements of objects Together they form ‘a travel kit to aid navigation through the tangle of a projects beginnings’. (Marot 2003)

Fig 24: Gordon Cullens sketches from Townscapes. ST ALPHAGE GARDEN, LONDON (SUBURBANISM)

Ruin of a wall that once stood used to frame the garden

The voids in the Casbah evidently represent a memory of what was once there, simply through its absence. The contrast of these empty pockets amongst the density of the Casbah stand out all the more with the remnants of buildings that once stood. The principles outlined by Marot are instrumental in developing a set of tools in which to develop a methodology of working within the voids. Due to its rich heritage and many layers of history there are numerous traces that lie within each void. Using the ‘traces’ of the site will be the hierarchy of working within the selected voids. > The theories discussed will influence the design interventions within the Voids. As Marot stated; The principle of visioning the site and design as a process is important to reiterate. Working with voids will be a process that also reflects the other scales within this thesis; the vision of the masterplan, the experience of walking within the Casbah and the memory of the voids will all be incorporated into a process.

GOTHIC QUARTER, BARCELONA (URBAN ACUPUNCTURE)

Traces of the old ﬂoor that belonged to the building before Fig 25: View of St Alphage garden in London.

There are numerous secret pockets of romantic ruin gardens in the city of London, which celebrate and revitalise the traces of buildings that were destroyed during the war. They offer a unique spatial quality, offsetting it from the everyday experience of the hustle and bustle within the city. In the case of St Alphage, the remains on the site have informed the composition of the programme.

THE CASBAH TODAY UPPER | LOWER CASBAH

From its founding as a walled citadel, much of the Casbah’s’ identity has been enshrouded in a cloak of mystery. The renowned view of the Casbah, arguably best appreciated from the rooftops, is constructed from a cascade of whitewash villas flooding down towards the sea. Nestled on the western cape of the bay of Algiers, the Casbah is considered the heart of the Algerian capital. THE UPPER CASBAH Synonymous with the name, are the winding labyrinthine passageways housing residents, mosques, hammams, ateliers and many more, which continually pique the curiosity of all who enter. The dominant building typology of the Casbah is the villa with a ‘wast el dar’; (middle of the house) a courtyard which is shared by its inhabitants for all the communal and social activities. Thus the daily lives of its inhabitants are shielded from unwanted eyes, through these very private, internally orientated structures. The rooftops are used primarily for the women and children, with social house visits carried out through the numerous ‘secret’ passageways, whilst the menfolk dominate the public pathways.

Rue Amar Ali | Arbadji LA HAUT: THE UPPER CASBAH

Ancient wall remnant

The Lower Casbah

Sidi Ramdane Mosque Void

Traditional Housing Djmaa Lihoud

Typical section through the Casbah, highlighting the contrast between upper and lower Casbah. Rue Amar Ali | Arbadji is the primary road which divides it. The voids have now become synonymous with the Casbahs’ identity. 26

Colonial Housing

Rue Amar Ali | Arbadji

The Upper Casbah

THE LOWER CASBAH “France took from the old town everything that was convenient for her, everything that touched the waterfront or dominated the gates, everything that was more or less level and that could be easily cleared, and readily accessible. She took the Djenina, that she razed, and the ancient palace of the pachas, that she converted into the house of her governors . . . . She created a little Rue de Rivoli with Bab Azzoun and Bab el-Oued streets, and peopled it with counterfeiting Parisians. She made a choice between mosques, leaving some to the Qu’ran, giving others to the Evangelists.” Fromentin, Une Année dans le Sahel 1850 The lower Casbah as Painter Fromentin (1820-76) described is a miniature Paris, Haussmannian buildings dominate the waterfront with grand squares and tree lined boulevards. Creating the sensation of a Parisian deja vu... Only with palm trees. The traditional fabric of the lower Casbah was no more; the bourgeois theatre house, grand market halls and arcade lined streets now served as an accurate representative for this annex of France.

Rue De La Lyre

LA BAS: THE LOWER CASBAH

Marche Void

Place des Matyrs

Chambre de Commerce

Mediterranean Sea

CASBAH TOWNSCAPE SERIAL VISION OF THE CASBAH STUDY TRIP MAPPINGS DAY 1

1 2 3

DAY 2

DAY 3

DAY 4

DAY 5 2

3 4 1

DAY 6

1 2

URBAN PATTERNS CASBAH TRACES

THE ‘ORIGINAL’ CASBAH PRE-COLONIAL TRACES

UNDERGROUND AQUEDUCTS COASTLINE TODAY ORIGINAL COASTLINE OTTOMAN URBAN FABRIC CITADEL WALL MODERN URBAN FABRIC FRENCH INTERVENTION

CONSEQUENCE ON TRADITIONAL FABRIC

Colonial buildings

Reduced number of traditional buildings remaining

French colonial cuts through old medina

Contrast of traditional and colonial roads

Introduction of traffic through and around the Casbah

Concentration of flow and activity

Colonial planned open/ public spaces; squares and parks

Accidental open/public spaces as a result of historic events.

Figs 26, 27: The old citadel wall. HISTORIC TRACES > 1830 | < 2018 The original fabric of the Casbah was a compact walled fortress (Figs 26,27) with a self sufficient irrigation system linking all the buildings to an underground network of aqueducts which flowed out to the sea.

TERRAIN Diagram showing inspite of appearances, the ‘chaos’ of traditional the Casbah is in fact a logical system where all the buildings are orientated to follow the natural terrain.

LOCATING SITES

CASBAH PUBLIC ELEMENTS SCALE 1: 20 000 PUBLIC PROGRAMMES Public elements within the urban Fabric of the Casbah are primarily located in the lower Casbah, and along the perimeter. These follow the ‘French cuts’ created grand boulevards lined with arcades and larger scale plots introduced during the colonial occupation. Thus altering the original typology of numerous small scale public functions. This results in creating a ‘backstage’ Casbah, the upper casbah where only the voids punctuate the fabric, creating opportunities for more public and accessible use.

VOIDS RELIGIOUS EDUCATION MARKETS CULTURAL PUBLIC SPACE

VOID 1

VOID 2

VOID 3

VOID 4

SELECTED SITES The selected voids are chosen due to several reasons; firstly, the placement, running primarily through the upper Casbah, the voids present opportunities into the ‘backstage’ of the Casbah. Secondly, the dimensions, as these sites are made up of a series of voids creating large open sequences throughout the Casbah. The resulting scale fits with the footprints of other plots with public functions. Thirdly, the placement of each void imply that different conditions will be faced with each, such as the contrast between Void 1 and 2 threshold locations. Void 1 is located at the base of the Casbah, where the scale of the surroundings are more monumental, Void 2 is also a threshold location, but into the upper Casbah, where the footprint of a traditional dwelling is much smaller. The contrasts among them will only serve the challenge to test whether or not a strategy maybe applied that outlines similar principles, yet still manages to preserve the unique condition of each void.

PRINCIPLES

LOGIC OF THE CASBAH

LABYRINTH QUALITY The voids will not be connected through the programme interventions. They will primarily work within their own individual contexts as part of a greater network.

STEPPED TERRACES The proposed interventions will fit within the existing parameters of the Casbah, such as maintaining the terraced levels, and not disrupting the existing inhabitants views to the sea. This will also respect the privacy to their rooftops.

PROGRAMME

MASTERPLAN STRATEGY The revitalisation, restoration and safeguarding of the Casbah, is an instrumental strategy within the wider masterplan across the Bay of Algiers. The relationship between the city and the sea, and general improvements to accessing public and green spaces are also key.

LOCAL INITIATIVE Celebrating the resilience of the local community by developing programmes from the appropriation of the voids by local residents, these are primarily leisure functions such as gardens or play areas.

URBAN ACUPUNCTURE

APPLICATION/ METHODOLOGY

EXTRACTIONS

FROM THEORETICAL BACKGROUND

LANDMARKS

MOMENTS

TRACES

TOWNSCAPES (GORDON CULLEN)

SUBURBANISM (SEBASTIEN MAROT)

Landmarks and Moments are derived from Cullens theory on Townscapes. The moment will be inspired through the ‘mystery’ and ‘anticipation’ of what is around the next bend. The ‘incidents’ of the Casbah such as Minarets and domes dominate the skyline as ‘Landmarks’ indicating the public nature of their programme. These will influence the interventions within the ‘punctuations’ of the voids, the unexpected pauses which are in discord with the narrow, ‘mysterious’ lanes synonymous with the Casbah. The juxtaposition of these voids within the compact traditional fabric of the Casbah is where the challenge of the interventions lie.

The voids in the Casbah evidently represent a memory of what was once there, simply through its absence. The principles outlined by Marot are instrumental in the process to develop a methodology of utilising the traces of the site as the main design tool. Using the ‘traces’ of the site will be the hierarchy of working within the selected voids. For example footprints of walls and original floor surfaces, buried aqueducts and water channels, even lost programmes even such as gardens and hammams. All of these historic traces will take the hierarchy to inform the compositioning and placements of the programmes.

APPLICATION TO VOID The principles, programme conditions and methodology from the theories will now be administered to each of the four voids. It will be a process of learning and application in order to test whether or not a system may be developed that can further apply across all the voids.

THE FOUR VOIDS (LES PLACE HVIDES) SELECTED SITES VOID 1: RUE BAB EL OUED VOID 2: RUE SIDI RAMDANE VOID 3: NFISSA RAMDANE VOID 4: RABAH RIAH CONSEQUENCE MAPPING

Fig 28: Aerial view of the Casbah showing the Voids punctuating the dense urban fabric. This chapter will demonstrate the design intervention process undertaken with each of the voids using the following methodologies; - Site and contextual analysis to inform the programme - Traces to inform the composition of the programme - Moment visions to inform the impact upon the Casbah experience These methodologies influence each other as a cyclical process, using photos, models, sketching and tracings as apparatus. This result is a consequential mapping upon the Urban Fabric of the Casbah; How does working with an individual site impact upon its wider surroundings? Can an intervention within a void influence upon the gaze towards the Casbah and Algiers in turn?

SELECTED SITES SITUATION

VOID 1: RUE BAB EL OUED

VOID 2: RUE SIDI RAMDANE

VOID 3: RUE NFISSA RAMDANE VOID 4: RUE RABAH RIAH

VOID 1

LOCATION: Located along a primary spine through the lower Casbah. This void is running behind a temporary covered market, and several schools which are facing Place Des Martyrs. One of the more notable squares in Algiers. It is the threshold to the original Casbah from the Colonial face of the square. TRACES/ POI: Located above a series of underground aqueducts and potential Roman/Punique remains. Surrounded by several public institutions including museums, schools and mosques. LOCAL INITIATIVE: Temporary market, Cleaning of the Site, Planting. POTENTIAL: Working with the location as the gateway to the Historical Casbah and the public programmes.

VOID 2

LOCATION: Located across a series of Secondary routes and along side a Primary spine. The void cuts through a large part of the upper Casbah, forming a connection between the perimeter roads. TRACES/ POI: Located above an underground aqueduct (Ottoman/ Roman). There is one of the first mosques of the Casbah, as well as a still active fountain. LOCAL INITIATIVE: Due to the panoramic view of the sea and the Bay of Algiers, one local has set up a Cafe. POTENTIAL: Working with the local initiative, as well as the POI the potential of this void will work with enhancing the experience of the view to the Bay, and the rest spot.

VOID 3

LOCATION: Located on secondary route through the heart of the upper Casbah. Nestled between more busy routes, a series of dead ends lie off the route. TRACES/ POI: Located in between four mosques and a Quaranic school, it is primarily used as a passageway to the mosques, with frequent footfall during the call to prayer. LOCAL INITIATIVE: No sign apart of from clearing of rubble. POTENTIAL: Working with the Point of Interest as it is located near several religious programmes, using the void as a correlating programme.

VOID 4

LOCATION: Located on primary Spine through the upper Casbah. Adjacent to a French colonial large scale interventions. A threshold between two eras of residential typologies. TRACES/ POI: Close to the Palace of the Dey, has always Maintained a residential use. LOCAL INITIATIVE: Due to the highly residential surroundings, the area has become popular for families and children to come and play. POTENTIAL: Working with the local initiative, as it is the most dominating of the characteristics.

RUE BAB EL OUED: CONTEXT

VIEW POINTS FOR PANORAMA 1

4 3

6 5

2 Location of Void

Sketch model and sketches showing parameters of site as a point of departure: Highlighted elements include existing Landmarks- minaret, urban qualities such as arcades, and existing site boundaries.

RUE BAB EL OUED:

ANALYSIS TRACES: MARKET SECONDARY ROUTES

EXISTING PATH RUNNING THROUGH SITE

Primary/Secondary routes PLACE DES MATYRS

PRIMARY SPINE: CONNECTS THE PLACE DES MATYRS TO THE ROAD DIVIDING THE UPPER AND LOWER CASBAH

RUE ARBADJI ABDERRAHMANE

Footprints of buildings that once stood before.

Contours/ Terrain of Void Lycee: Older age School

CEM: Older age School

Open vista, towards void, extremely steep terrain

Museum

Temporary Market Mosque Ali Betchine

Club scouts, Young schools

Anticipation, strong traces

Museum Museum

Gateway/ Threshold, Existing Landmark.

Nursery

NETWORK: The temporal market dominates the void, there are also cultural and educational institutions surrounding the void suggesting an open platform that can mediate between them.

POTENTIALS: As a threshold site facing the ‘Place de Matyrs’ and new metro station, the moment of entering the void offers the first experiences of what lies further in the Casbah.

Buried Aqueduct running through site, the uncovering of a water source brings the symbolism of revitalisation, a renewed lease of life in the void. The temporal market at the base of the site is the dominant programme to stem from.

PROGRAMME:

BAB EL OUED MARCHE (MARKET)

1: Existing minaret visible from the highest point, acts as a landmark, an indication to a public space

2: Expanding upon local initiative of a Garden amongst the ruins

3: Rehabilitation of temporal market facing the grand square of place des matyrs 4: Spatial suggestion to face the Ali Betchine Mosque, framing the entrance of the void as a gateway to the Casbah 5: Grand Lycee (school) framing the site, the scale is more monumental, compared to the Upper Casbah 6: Extreme terrain suggests a natural amphitheatre

SITE AS HIERARCHY:

Site informed composition and design of programme.

Undercover water channel traces, informing the composition of the market hall, and â&#x20AC;&#x2DC;placetteâ&#x20AC;&#x2122;

Vertical traces: Walls with old window openings create a natural frame to the site

TRACES INFORMED DESIGN:

SERIAL VISIONS:

CASBAH EXPERIENCE

MODEL COMPOSITION: 1. Enclosed square facing the Ali Betchine Mosque

2. Market Hall

3. Ruin Garden 4. Traces of old walls

5. Public Amphitheatre 6. Public Stage

7. Re-surfaced water channel

3 4

RUE SIDI RAMDANE: CONTEXT

VIEW POINTS FOR PANORAMA

3 2

Location of Void

Sketch model and sketches showing parameters of site as a point of departure. Elements such as the minaret at the top of the site, and the ‘cascading’ sequence of the voids are interesting qualities to work from.

RUE SIDI RAMDANE: ANALYSIS TRACES

PERIMETER ROAD: RUE M.AZOUZI

PRIMARY SPINE: RUNS THROUGH THE UPPER CASBAH CONNECTING PERIMETER ROADS PERIMETER ROAD: RUE ARBADJI ABDERRAHMANE

Primary/Secondary routes

Footprints of buildings that once stood before. SECONDARY ROUTES INTERSECT THROUGH VOID SEQUENCE CREATING A SERIES OF 5 PLATEAUS Contours/ Terrain of Void

Mosque Sidi Ramdane

Artisanal craftsmen ateliers

Landmark with fountain, Open vista of Bay, overview of site

Extreme slope in terrain across plateaus

Nursery Tea room Single void planted with palms

Anticipation opportunity from on of the secondary routes

Link to one of the main arterial routes through the Casbah

Artisanal craft workshop NETWORK: There are numerous craftsmen ateliers who can benefit from having a platform to display their wares.

POTENTIALS: The sequence of this void over 5 plateaus offers the most potential with highest point offering an open vista towards the sea and across the Bay.

Different traces at each plateau indicate the opportunity to influence the composition and functionality of the programme across each. For instance the highest plateau of the site provides the best views of the Bay, so a local initiative placed a tea room. 43

PROGRAMME: OASIS

1: View of Bay to be maintained, by following the height parameters of the stepped plateaus

2: Ruins of collapsed buildings to influence the design of the Oasis

3: Local initiative of a Tea Room will be enhanced to frame this resting point with a view

4: Stepped plateaus will be interconnected with water cascading throughout 5: Intimate gardens will run throughout the Oasis following the traces of the buildings that once stood there

4 5

SITE AS HIERARCHY:

/\ Sketch proposal to create a flow of water from the fountain at the base of the minaret (landmark) across the plateaus of the void. < Gaining an understanding of each plateau to inform the composition and theme development of the programme.

TRACES INFORMED DESIGN:

SERIAL VISIONS:

CASBAH EXPERIENCE

MODEL COMPOSITION: 1. Minaret- Existing Landmark 2. Tea Room 3. Waterfall into a courtyard ruin 4. Stepped Plazas

4 2

5. Plaza for Craftsmen 6. Room like gardens following traces of buildings 7. ‘Palm tease’ A narrow path leading from the Main Road

RUE NFISSA RAMDANE: HAMAM

VIEW POINTS FOR PANORAMA 4 2 1

Location of Void

4 Sketch model and sketches showing parameters of site as a point of departure. The labyrinthine roads intersecting the void will create multiple opportunities for designing anticipation moments.

RUE SIDI RAMDANE: ANALYSIS TRACES

THE INTERCONNECTING ROAD JOINS A PRIMARY SPINE WHICH LEADS TO THE MAIN ARTERY ROAD THROUGH THE CASBAH

RUE ARBADJI ABDERRAHMANE

SECONDARY ROUTE AS AN INTERCONNECTION

Primary/Secondary routes

Footprints of buildings that once stood before.

DEAD ENDS

Contours/ Terrain of Void

Mosque Sidi Benali

Mosque Sidi Abdellah Junction at the centre of the void

Mosque Fares ‘Lihoud’

Potential connections to other pathways

Mosque Mohammed Cherif NETWORK: The only public buildings in the surroundings of this void is a number of Mosques. The programme will be one that facilitates the religious aspects of life in the Casbah.

POTENTIALS: The compact nature of this void has potential to maintain the labyrinthine nature of its context, the intersecting roads can create moments of mystery by redensifying.

Dominant traces related to the site include abandoned Hamamms (Baths) and two underground water channels framing the void. Working with resurfacing these traces is an option. 47

PROGRAMME: HAMMAM

1: Network of Landmarks surrounding the site, the roofscape of this section of the casbah is dotted with Minarets

1* *

2: Segregated section for women at a separate entrance 3: Indoor/ outdoor baths using the footprint of buildings that stood before, e.g. trace of a courtyard = outdoor bath 4: Wash rooms where the residents can perform their abolutions before going to pray. This also fits with the Friday prayer tradition of bathing before visiting the mosque.

2 4 3

SITE AS HIERARCHY:

/\ Gaining an understanding of each section of the void to inform the composition and experiential aspects of the programme.

/\ Sketch proposal to suggest the flow of water from one channel to another, following the existing terraces of the buildings. /\ Moments/ruins to preserve.

TRACES INFORMED DESIGN:

SERIAL VISIONS:

CASBAH EXPERIENCE

MODEL COMPOSITION: 1. Outdoor Bath 2. Women’s section

9 7

4 2

5. Mens section

3 1

3. Landmark- Domed bath hall to indicate public nature 4. ‘Edges of Anticipation’

6. New connection path 7. Resurfacing of water channels 8. Abolution 9. Water going underground framed by a ruin

RUE RABAH RIAH: CONTEXT

VIEW POINTS FOR PANORAMA

1 3 2

Location of Void

Sketch model and sketches showing the dominant linearity of the primary spine, and the stepping down of plateaus following this. 6

RUE RABAH RIAH: ANALYSIS TRACES

RUE ARBADJI ABDERRAHMANE

SECONDARY ROUTE AS AN INTERCONNECTION

Primary/Secondary routes

Footprints of buildings that once stood before.

PERIMETER

Contours/ Terrain of Void Ali La Pointe Museum Mosque Essafir

Memorial Voids

Nursery

Key moment to gain an overview of the site

Junction at base of spine potential Landmark

Schools C.E.M. Threshold moment from colonial perimeter blocks to traditional dwellings NETWORK: The dominant network are the schools and nursery which frame he void. The memorial voids are a key focal point.

POTENTIALS: There are two main directions of interest with this void along the main spine, and as a threshold from the colonial perimeter.

The threshold between the colonial perimeter and the traditional dwellings is an interesting to frame, and accentuate. The Local interventions at this void are also very dominant in their act to make a play friendly space. 51

PROGRAMME:

YOUTH CENTRE/ PLAY COURTS

1: View over plateaus stepping down in a series of courts 2: Threshold from the colonial perimeter blocks

3: Youth Centre and club house for the local youth groups 4: Courts among ruins: following the typology along the spine of keeping the traces to frame the new play spaces

SITE AS HIERARCHY:

/\ Exploring the shift in scale from the Colonial perimeter to frame the threshold moment.

/\ Understanding of the site and the plateaus formed from the buildings that once stood before to inform the composition.

TRACES INFORMED DESIGN:

SERIAL VISIONS:

CASBAH EXPERIENCE

MODEL COMPOSITION:

4 5 2

8 7

1. Threshold moment entering the site 2. Youth centre 3. Plaza overlooking the play courts 4. Series of Courts 5. Viewing platform amongst a ruin

6. Mixed play area 7. New connection path 8. Landmark viewing spot

CONSEQUENCE MAPPING: THE PUBLIC FABRIC OF THE CASBAH VOID 1: RUE BAB EL OUED

This mapping places the four programmes voids back into the urban fabric of the Casbah. The public nature of the programmes places the interventions on the same hierarchy as the existing public programmes within the Casbah. Suddenly the traditional ‘Backstage’ of the upper Casbah is penetrated with accessible points. The map demonstrates how they are their own entities, following the labyrinthine nature of the Casbah, yet connected to a wider network of open and public platforms.

PEOPLES THEATRE

MARKET

RUIN GARDEN MUSEUM KHEDOAJ

VOID 2: RUE SIDI RAMDANE OASIS

MOSQUE KETCHOUA CITADEL WALL REMNANT

VOID 3: RUE NFISSA RAMDANE HAMMAM

MARKET MOSQUE ‘LIHOUD’

MUSEUM ALI LA POINTE CITADEL PALACE DU BEY

PLAY COURTS

VOID 4: RUE RABAH RIAH YOUTH CENTRE MARKET 54

BOULEVARD WITH VISTAS TO SEA

THEATRE

DAR EL HAMRA

PLACE DES MATYRS

METRO D’ALGER

‘GRAND’ MOSQUE

‘NEW’ MOSQUE

DAR AZZIZA

MARKET

THE CASBAH

THEATRE SQUARE

STAIRS TO TRAIN STATION

PUBLIC NOLLI PLAN

AN OASIS FOR THE CASBAH REVITALISATION OF PUBLIC SPACE TRACES INFORMED DESIGN: - FOLLOWING THE PLATEAUS - ELEMENTS -

A POCKET OASIS MOMENTS

- TRACES - EXPERIENCE -

Collage suggestion of an oasis in the Casbah (Void 3) This section will demonstrate how an intervention within the void can be developed to a closer scale. The theory of Marotâ&#x20AC;&#x2122;s Suburbanism is relevant in resurfacing the traces of the site in order to inform the programming. Can a balance be achieved between the aims of the top down approach of the masterplan and the local and cultural traces of the site?

REVITALISATION OF PUBLIC SPACE OASIS = ‘THE DJENINA’

“France took from the old town everything that was convenient for her, everything that touched the waterfront or dominated the gates, everything that was more or less level and that could be easily cleared, and readily accessible. She took the Djenina, that she razed, and the ancient palace of the pachas, that she converted into the house of her governors . . . ” Fromentin, Une Année dans le Sahel A ‘Djenina’ is a colloquial Algerian term for a garden. Its understanding has shifted from the once walled lush gardens of the palaces and homes scattered throughout the Casbah (Figs: 29, 30), to the grandiose French gardens from the colonial period (Fig 31). These are the current typologies of gardens that currently exist in the city of Algiers. However as described in the quote by the artist and writer Fromentin, the gardens of the Casbah have long been lost since the colonial interventions took place.

Fig 29: One of the ‘lost’ Djenina’s from the pre-colonial era

The method of designing an Oasis for the Casbah is from using the site itself as the hierarchy in the process. Influenced by Marot’s writings for ‘Subrbanism’ this Oasis is formed through uncovering traces and following footprints of what was once standing there. The programme itself forges a direct link with the visions of the masterplan of Algiers from the previously stated points of departure: (Re)Construction of Public Spaces: This is achieved by keeping the void as an open space, and placing a permanent public function within it. The oasis refers to the lost ‘Dejenina’s’ of the Casbah, only this time it is fully accessible to all who wish to visit. This applies to locals and tourists. It creates a platform and gathering space for all the local craftsmen to display their wares, offering a glimpse into the ‘backstage’ activity of the Casbah.

Fig 30: A Djenina in the courtyard of a traditional dwelling

Access between the City and the Sea: The materialisation of the void has opened up a great vista down to the sea, and across the Bay. This will be accentuated and maintained through the intervention, by following the height restrictions of each plateau in order to keep the line of sight clear. Revitalisation: This is metaphorically represented through the use of water channels through the site forming a sequence across the plateaus and the lush greenery to be added throughout.

Fig 31: The strong axis and symmetry typical of French Landscape design.

TRACES INFORMED DESIGN FOLLOWING THE PLATEAUS

PLAN 1:1000 1. Grand staircase with the vista down to the Bay 2. Tea house on the highest plateau with a view of Bay 3. Line of palms framing the view and plaza 4. Moment of anticipation from glimpse of the aqueduct 5. New paths amongst the ruins framing a waterfall 6. Pool as a junction of the water channel traces

P. 5

8. Stepped Mini plazas lined by palms

10.

7. Line of Palms following tiled ruins

9. Small placettes for artisanal craftsmens displays

12.

P. 3 P. 1

4. P. 2

10. Furniture highlighting traces from building footprint

11. P. 4

11. Initmate ‘Garden Rooms’ within the Oasis 12. Moment of anticipation: ‘Palm tease’

SECTION 1:1000 The void is made up of a sequence of five plateaus (P) that cascade down through the Upper Casbah. These have been maintained by placing the programme within the boundaries of the intersecting original paths of the Casbah. The intervention follows the height parameters of the site, with the Minaret standing at the top as a landmark.

P. 1 P. 3 P. 4

P. 5

P. 2

TRACES INFORMED DESIGN ELEMENTS

This exploded axo highlights the seperate elements which inform the programme composition of the Oasis. Using the site as the ‘hierarchy’ has informed the key spaces, allowing for the circulation and ‘revitalisation’ elements such as water and planting to follow the sequence of plateaus.

Water route

Ruins and walls

Circulation

Green Plateaus

A POCKET OASIS

A PUNCTUATION IN THE CASBAH

The Oasis is designed as a pocket within the Casbah. The definition of the void is emphasised by the density of the context, creating a ‘green shadow’ within this part of the Casbah.

MOMENTS TRACES

T1: An intimate ‘room’ in the Oasis framed by a wall remainder.

T2: Old floor tiles used to frame the planted palm trees.

T3: A plaza to emphasise the Teahouse with a view.

T4: An aqueduct running through a ruin with water falling into an old courtyard.

MOMENTS

EXPERIENCE

A Teahouse with a view.

A landmark at the top of the Oasis.

REFLECTION

‘The suns rays beat down relentlessly on this hot summer day. We start casting our eyes for a spot to pause and rest, but this market street shows no sign of ending… until… Suddenly! Up ahead there appears to be a series of palm trees disappearing down an alleyway between the large Colonial Blocks. As we near we begin to hear the sound of running water… For a moment it seems almost imagined…The slight trickling sound is almost lost amongst the din of the market bustle. We decide to investigate this curiously lush strip of palms, slowly following up a slight ramp only to discover an Oasis, in the heart of the Casbah! The palm fronds cast us in its cool shade as our eyes dance over the endless green… From the banana trees to the prickly pears, the lush foliage creeps up a sequence of staircases which disappear from site amongst the thick Casbah Walls… We begin to ascend, against the cascade of water flowing into pools, there is a small plaza where a local craftsmen is selling his wares. He greets us; ‘Salaam’, we nod and smile, responding as best we can. Our attention momentarily distracted from the lush surroundings by his intricate brasswork. He begins to explain the story of the Casbah… ‘This oasis wasn’t always here… once upon a time there were the homes of people, but many collapsed from the wars… Hamdulillah’ He thanks God, and recommends a visit to the tea room at the top of the Oasis, which offers panoramic views down to the Bay. ‘Just follow the minaret’. We begin to climb, our sense of anticipation increasing with every step.’ Imagined account of an experience within the Casbah. The point of departure for this thesis project was to harness the potentials of the voids within the Casbah as a means to challenge the current negative gaze towards it and the city of Algiers respectively. The imagined account above sets the scenes of what entering the Casbah in a future scenario could be like with the design proposals in place. Thus we come full circle from the personal account of a trip experienced in 2012. Could the gaze previously focused on neglect and decay shift towards an experience filled with positive intrigue, a gaze once synonymous with the Casbah before its turbulent past? The aim of the strategy developed throughout this thesis is to serve both the locals and visitors of the Casbah. The future vision of Algiers proved to be an instrumental tool that could apply to all three scales of the thesis project. By developing a strategy based on a theoretical background: Urban Acupuncture, Townscapes and Sub-urbanism, this has allowed for more flexibility within the process of application. However it is also worth noting that the theories reflect the importance and hierarchy of the context and site in their discussions. The strategy aims to celebrate and reflect the particular conditions of each site. The main challenge faced during the process was working across the three scales with the following aims of: - Maintaining the ‘authentic’ experience of the Casbah - Revealing the traces and potentials of the selected voids - Contributing to the revitalisation of Algiers as part of the masterplan I believe the chosen theories have helped to form a strategy that addresses these aims. It is worth reiterating the discussion on the tourist gaze as Mcanells arguments on authenticity are relevant here. The tourists desire to participate with the ‘backstage’ is to expose the ‘reality’ of the places that are being visited, thus creating a more authentic experience. Due to historical events such as the French colonial interventions, the upper Casbah became the ‘backstage’ of the city. According to Mcanells theory it automatically is perceived to be a representative of what is ‘authentic’ to Algiers. Technically the traditional part of the Casbah (the upper Casbah) holds the only remains of the original citadel that once stood. This is accurate when understanding the definition of authentic; ‘Of undisputed origin and not a copy; genuine’ (OxfordDictionaries 2018). Thus the placement of interventions across the upper Casbah are providing the best opportunity to experience the ‘authentic’ part of the neighbourhood. Ultimately the impact of public interventions within the voids can only help to ‘frame’ a new gaze towards the Casbah, and Algiers in turn. From then it is up to its visitors including locals and tourists alike to actually ‘construct’ one. The process undertaken throughout this thesis can only help facilitate this construction of a new gaze; through its association with new experiences ‘tourism involves the collection of signs.’ (Urry, 1995). By providing the platforms to experience these ‘authentic’ moments within the Casbah, the association of Algiers may shift towards positive and share-worthy encounters, thus resulting in a change of the gaze.

BIBLIOGRAPHY

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