The definition of the term Heritage varies between countries, societies, and even from a culture to another. But we all recognize a common definition that regroups us in the same view and this latter spread wide depending on each person perspective. It is a legacy passed from a generation to another. Something that defines our past, and sculptured by our ancestors, more of the very indication or the proof of existence of an ancient civilization. It grants us the ability to investigate our former glimpses and footprints in order to recover our past. Which leads us to the track where we can master our present and build our future. Each culture differs from another by this specific parameter. It is the representative witness of our identity, something that mustn't be lost because it is part of us. As we quote Martin Luther king "We are not makers of history, we are made by history"
Heritage doesn't have to be in a physical shape such as monuments or an exceptional naturel landscapes. It can be material or Immaterial. Such as traditions, way of life. perception towards a place, or even the very memory that resides under the ceiling of a group of individuals. As we shed light on the architectural and urban heritage that Algeria abounded with. We can approve that our country was the field of reigns of numerous dynasties and civilizations that brought their foreign cultures and expertise. From the romans empire that the ruins of Timgad and Djemila speak for themselves to the beautiful White Mistress "The Casbah Of Algiers" sings for her founder The Ziride Dynasty and sustained even more by the ottoman empire. Without forgetting the Ksar of Tafilelt that is recognized throughout the world as a lesson of Architecture by the Mzab. to French colonial Army and its distinguished formidable monuments decorating the sea-facade overlooking the port of Algiers. Some of these monuments are classified internationally by the UNESCO, and some stand at the limit of being classified nationally as our elite experts are putting their efforts to take them to the next level. The challenge that is facing these monuments is their sustainability that works in the favor for the tourism in Algeria, otherwise we're at the mercy of a decaying heritage with one enemy lurking within: TIME. As a great debate is still put on hold between two extremists with different points of view about the problematic on how to preserve these monuments. The first side are the so called: conservators seek to preserve the exact shape and complex system that defines every particular heritage because it represents a proof of existence of an ancient civilization, and their specific technics exist in every part of the structure, making them even more unique. And any attempt to add-on with objects or elements that are external or foreign to the recognized system is pointed as a discrimination to the whole combination, more of as an acne in a human face that takes the attention from the different spots. Also, an attempt to change in the identity or rather yet, a modification of the entire history in a monument, because a monument can be a demonstration not only to one dynasty but multiple ones and each component relates to a certain period of time. And speaking architecturally. Each construction has its own logic of assembly and each fraction is well placed to combine an al-together in order to give birth to its harmony and homogeneity. More of a consistency of each part in the whole system. Not only between the elements in the same construction, but also the relation between the monument with its environment, here speaking about the spatial and temporal context and the logic of implantation. Here lies a bigger scale that sees the bigger picture and could reach to the relation between the different numerous monuments. And their view about the sustainability of the heritage lies in the operation of restoration, which can be operated through a deep study and analysis of the construction across the different period of time and extract the necessary amount of information that relates on the exact technics that is built. And use it once more in order to have a continuous preservation. More of the past is a past and must be held to. A scenography must be displayed for the people to learn about their history. On the other hand, we explore the progressist perspective that looks with a prospective vision, more of a window on the future, without neglecting the past and the use of history as an extra parameter in their analysis. They seek to rehabilitate and restore these monuments in a way to preserve their durability but also, recognize its value even more especially when the tourism challenge is at hand with a modern touch. Here we speak about the creative rehabilitation. A process operated by implanting architectural grafts to the old building and manufactured in a contemporary style that obeys to the new technology since it has provided us with a deep use of materials that could allow the same level of harmony that is displayed in those monuments. This vision doesn't disturb the past but rather yet, it works the past with the present in order to conceive for the future. Other than being so limited with what the past has offered us, they pave the way to work the creativity of each individual in order to expand the potential lies between the walls of the old buildings and work up extensions and grafts that adds on to their historical value or perhaps, can relate to the same scenography of past events. Despite the creative add on to the rehabilitation process, it differs from the regular restoration as it works on the level of comfort that characterizes each building, which consists of replacing some of the old structures with a renewed one that could play the same role, having more consistency with the old components. Giving result to a product that combines both new and old elements in one construction. In Conclusion, the debate continues to take place as both sides doesn't seem to come on a mutual agreement that could work for the greater role for our magnificent architectural and urban heritage. Although, the creative rehabilitation seems to be the new and the outgoing trend in all of Europe, giving advantage to promote their touristic domain through the exploitation of their heritage with the new technologies, rendering them more efficient and triggers the curiosity of voyagers all around the world and grabbing their attention to them. So, the real question lies in: what future holds for our crying monuments? Mikael HANAFI Partenariat Réd-DIG-"Liberté"(#RDL)/NOMAD (EPAU)
