Forging the City Image during the French Colonial Period (1883-1962) in the Case of Jijel (Algeria)

The urban configuration of Algerian cities reflects the influence of French colonization (1883-1962). This is characterized by a collection of contrasts and overlays of different forms of architecture and urbanism. In all urban agglomerations in Algeria, the colonial section remains the most prominent and structured. This legacy of colonial architecture and urban planning has ignited a national debate in political and academic circles regarding its classification as heritage. This current study contributes to the debate by adopting a neutral and scientific approach in order to smooth things out and shed light on the role and creation of urban form and its image, specifically through the example of Jijel. The notion of urban image is explored through colonial architectural achievements, urban planning, and artistic endeavours that were emblematic of the city during the colonial period and continue to be so today. This article showcases various works created during the colonial period in Jijel, those that still convey an identity that defines the city. The concern for this identity is substantiated by a research project that seeks to identify the city\u27s image through significant architectural works across different epochs and determine those that accurately convey the city\u27s identity within the country

The topological reading of ambiances in the built environment: the new methodology for the analysis of the luminous ambiance in the museum space.

Daylight is currently at the centre of discourse on architectural space. The definition of architectural space takes essence from Euclidean geometry related to metric dimensions. The present study is an attempt to shed light on topology which is a non-Euclidean geometry. It can support non-metric components of space such as light to define architectural space. A corpus of six European museums has been chosen to study the immaterial or material relationships between form and daylight, since light is an essential element for the success of the exhibition. It also seeks to highlight discontinuity reports, and to confirm their existence through their software visualizations. Therefore, the current study has taken into account an analysis model based on the notions of "route" and "sequence". The contemporary architectural project focused on taking into account human postures, both physical and psychological, within the architectural space. The results obtained show that light can release other spatial features for the museum space that can be highlighted by visualization with sequential analysis

Development of a new analytical model for the study of the urban and architectural sound ambiance: the topological approach.

Research in the field of ambience has clearly evolved in our era; the field of investigation lists all the typologies of space, ranging from the architectural to the urban. There is a lot of research, but the relationships between investigations are minimal. Currently, we have no way to treat or perceive space as a whole, from the macro (urban) to the micro (architectural) environment. In this work, we have taken sound as a parameter of ambience, using a literature review to understand how the existence of sources of sound is studied within urban and architectural spaces. This helps to verify the existence of a correlation between the various methodological palettes that support sound in different types of space. Our objective is to achieve a sound-based analysis model that could support all types of sound environments, whether urban or architectural, in order to create or improve ambience

Evaluation of the thermal comfort in the design of the museum routes: the thermal topology.

Museums are nowadays among the most popular projects for the public, the concept of thermal comfort in museums is often treated after the realization. Even if in the design, the architect shows a particular intention to work with daylight which is considered for these projects as main, the architect often considers certain elements that have an influence on the energy balance of these projects such as: orientation, building materials. The museum route is the key to the success of any museum project, it is the space of the visitor, the space in which he is invaded by sensations. In this study, we will first evaluate the thermal comfort in the museum as a whole (building) and then through its route. The objective is to guide reflection in the design of the museum towards the route in order to reduce energy consumption. In order to carry out our study, some European museums were analysed by means of simulation, according to the thermal comfort of their designs for the most unfavourable conditions, then by a thermal analysis of the museum route according to the segmentation principle using the average radiant temperature. This method allowed us to bring out correspondences between the architectural form and the route. Finally, the segmentation method constitutes the basis of a new methodological approach called 'thermal topology' based on the discontinuities of the temperatures in the route

Analysis and visualization of the new architectural spatiality: light and sound topologies in museums.

This work aims at demonstrating that like geometry or anthropology, topology can offer the architectural space a new form of dimensioning and spatiality, this would amount to a participation of daylight and sound ambiences. We will explore this new spatiality in the architectural space and especially the museum space. The definitions of topology helped us to build a new analysis model based on the notions of 'route' and 'sequence'. To do this, a corpus of thirty international museums was submitted to analysis according to the model. Subsequently support by statistical analysis of the data collected for this corpus. It must be admitted that for the seen ambience, sequential analysis can alone define the luminous topologies and the use of the software will confirm them. However, for unseen ambiences, such as sound, the software is more than necessary to visualize and define sound topologies. This new way of interpreting the space and visualizing it topologically, by taking into account the sensory aspects, can allow us to reach an optimal conceptual model. One can also through these results develop software that can judge the architectural space designed topologically

Spatial-sound topology of the museum's architectural space.

The present work aims to demonstrate that a topological characterization of architectural space would amount to a presence and a participation of sound. In other words, the sound, itself and similarly to the human body, will be able to generate new spatiality that can be characterized 'topologically'. The museum considered as an architectural work intended for the public, is the object of study of this investigation. A corpus of thirty international museums was subjected to analysis in accordance with the model developed and based on the notions of 'route' and 'sequence'. Using statistical analyzes of the data collected for this corpus. It is to be admitted that the sound enhances the museum route thanks to the continuities and discontinuities with the basic form of the building. It is from this relationship that the sound topologies are born

SPATIAL-SOUND TOPOLOGY OF THE MUSEUM'S ARCHITECTURAL SPACE. TOPOLOGIE SPATIO-SONORE DE L’ESPACE ARCHITECTURAL MUSEAL

Le présent travail vise à démontrer qu’une caractérisation topologique de l’espace architectural reviendrait à une présence et à une participation du son. Autrement dit, le son, lui aussi et semblablement au corps humain, pourrait générer de nouvelles spatialités ‘topologiquement’ caractérisables (objectif).. Le musée, œuvre architecturale destinée au public, est l’objet d’étude de cette investigation.  Un corpus de trente musées internationaux (cas d’étude) a été soumis à l’analyse conformément au modèle élaboré et fondé sur les notions de ‘parcours’ et ‘séquence’(méthode choisie).  En ayant recours aux analyses statistiques des données collectées pour ce corpus. Il est à admettre que le son valorise bien le parcours muséal grâce à un rapport sereinement tumultueux de continuités-discontinuités avec la forme basique de l’édifice (Aperçu de réponse). C’est de ce rapport que prennent naissance les topologies sonores

Secretome profiling of Propionibacterium freudenreichii reveals highly variable responses even among the closely related strains

This study compared the secretomes (proteins exported out of the cell) of Propionibacterium freudenreichii of different origin to identify plausible adaptation factors. Phylosecretomics indicated strain-specific variation in secretion of adhesins/invasins (SlpA, InlA), cell-wall hydrolysing (NlpC60 peptidase, transglycosylase), protective (RpfB) and moonlighting (DnaK, GroEL, GaPDH, IDH, ENO, ClpB) enzymes and/or proteins. Detailed secretome comparison suggested that one of the cereal strains (JS14) released a tip fimbrillin (FimB) in to the extracellular milieu, which was in line with the electron microscopy and genomic analyses, indicating the lack of surface-associated fimbrial-like structures, predicting a mutated type-2 fimbrial gene cluster (fimB-fimA-srtC2) and production of anchorless FimB. Instead, the cereal strain produced high amounts of SlpB that tentatively mediated adherent growth on hydrophilic surface and adherence to hydrophobic material. One of the dairy strains (JS22), producing non-covalently bound surface-proteins (LspA, ClpB, AraI) and releasing SlpA and InlA into the culture medium, was found to form clumps under physiological conditions. The JS22 strain lacked SlpB and displayed a non-clumping and biofilm-forming phenotype only under conditions of increased ionic strength (300mM NaCl). However, this strain cultured under the same conditions was not adherent to hydrophobic support, which supports the contributory role of SlpB in mediating hydrophobic interactions. Thus, this study reports significant secretome variation in P.freudenreichii and suggests that strain-specific differences in protein export, modification and protein-protein interactions have been the driving forces behind the adaptation of this bacterial species.Peer reviewe

Vers une topologie ambiantale de l’espace architectural. Référence aux cas des musées

RESUME : Dans les mathématiques, l'espace est métrique lorsque ses propriétés configurationnelle sont inchangées (dimension, proportion, couleur, échelle, et configuration) ; il se dit topologique lorsqu’il s´intéresse aux Transformations Continues qui émanent du rapport Réciproque qu’entretient L’objet avec son contexte Spatio-temporelle. En architecture L´espace est d´abord considéré comme géométrique, il est systématiquement défini par ses variables dimensionnelles. Prenons un simple exemple, On vous demande de définir l´espace ou vous vous situer en ce moment même, vous allez certainement chercher à le quantifier en utilisant un instrument de mesures (main, pieds, décamètre, …), et nous dire, cet espace fait X m³. Mais, si nous faisons abstraction des dimensions métriques, serions-nous en mesure de définir cet espace ? c´est à cette question que nous allons tenter de répondre dans un premier temps, en revenons à l´exemple cité, cette fois ci en se basant exclusivement sur les sources des signaux physiques : lumière, son, …. Qui caractérisent l´espace, et sur votre corps qui les reçoivent et les interprètent en affichant une posture de bien ou de mal être, nous allons vous redemander de définir l´espace par le biais de vos cinq sens, vous allez certainement user de qualificatifs, tels que : Lumineux, bruyant, chaud…. La question qui se pose, est de savoir si sur la base de ce que nous qualifions face à ce que nous apercevrons et nous ressentons, serions-nous en mesure de créer un nouvel outil de mesure relatif à l´espace architectural, a priori théoriquement la réponse est oui. Si nous prenons comme exemple la lumière, entant que l´un des signaux les plus importants, elle ne varie pas de manière métrique dans l´espace, mais plutôt de manière topologique qui se définit en tant que transformations continues, ses transformations sont régies par un certain nombre de variables tels que le nombre, la position et la taille des ouvertures de l’enveloppe spatiale ainsi que son orientation. Il en est de même pour les autres signaux, son, odeur, texture, … Par conséquent, la vraie question qui en découle est celle de trouver les assises scientifiques qui permettraient de rendre effective cette nouvelle manière de percevoir l´espace. A cet effet, les espaces museaux se présentent comme le support d´analyse idéale à même de bien mener la présente recherche. C´est grâce aux simulations numériques que nous avons réussi à rendre lisible le langage topologique tout en mettant en exergue les moindres variations sensorielles inhérentes à chaque type de signal ambiantal. Ma thèse n´est pas la démonstration de ce raisonnement discursif, elle est plutôt la construction des fondements théoriques de cette nouvelle manière de mesurer l´espace, en d´´autre termes nous comptons développer un outil numérique qui permettra de mesurer l´espace en considérant tous ses aspects. Cette nouvelle manière de percevoir l´espace va permettre de cerner d´avantage l´espace dans ses moindres variations constituantes, en ayant toute la latitude de le maitriser sur le plan de l´optimisation énergétique

A la recherche d’une topologie lumineuse de l’espace architectural. Cas des musées

Le présent travail de magistère, traite de l’importance de la lumière naturelle, et ses possibilités formelle dans les espaces architecturaux, conçu avec le souci de l’intégration de la lumière comme dimension de l’espace, ayant pour appuis la topologie lumineuse. Le travail part du postulat entre rapport matériel et immatériel qui peut existées entre lumière et forme, et jusqu'à quel degré la topologie pourra mettre en exergue ce rapport, et quels sont les nouveaux préceptes que ce rapport peut engendrer. Le corpus d’étude qui a fait l’objet de cette recherche répond a des critères de sélection, se composent de trente musées européens, contemporains. L’analyse s’est faite en trois parties, une première séquentielle dont le rôle est de faire ressortir les séquences d’après le parcours muséal. La deuxième est l’analyse du contenu manifeste des discours et récits d’architecte, afin de mettre en évidence la sémantique qui caractérise les séquences. Et la troisième étant de faire correspondre les discontinuités résultantes de la première analyse avec la sémantique et de faire ressortir les topologies lumineuses caractérisant l’environnement lumineux. Dans l’espace architectural un rapport matériel entre forme et lumière existe, résultant de la conception de l’architecte, ou la topologie lumineuse pourra mettre en exergue des rapports immatériels, en donnant à l’espace de nouvelles possibilités de spatialités, et la dimension topologique peut dégager de nouveaux préceptes en architecture, liée aux caractéristiques de la conformation et de la baie