The colours of the memory. An architectural route for sentimental travellers.

Mónica López Soler

The colours of the memory. An architectural route for sentimental travellers.

Mónica López Soler

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Abstract

An architectural route for sentimental travellers through Malaga, Tangier, Asilah, Larache, Tetouan, Chaouen, Al Hoceima, Nador

Figures (418)

we recommend the use of a good car. These parts cai also be done on motorbikes and bicycles. Hiking is also possible. ® This route contains 7 itineraries. Each one will take you around the historic centre of each city and the surrounding areas that are histori- cally related. will take you around the historic centre of each

In the Garden of Eden of the Alboran Sea and the Baetic-Riffian Mountains, the main stars are the villages that have passed through them over the course of history, that constantly cross the wa- ter as if it were an extension of land or of their country. The villages have constructed a history of common links between the two shores. When visiting the cities, the imprint of this shared cul- ture can be seen on both sides of the Gibraltar Strait: the ancient mythical times of Hispania and Mauritania, the medieval Al-Andalus and Magrib al-Asqa and the modernity of the 20th century between Morocco and Spain, with his- tory once again joined together during the Spa- nish Protectorate in Morocco (1912-1956).

me, | have found in Malaga; and the most impor- sea. Everything which is vital and important to

A simulation of Malaga during the Phoenician period. In green you can see the Gibralfaro Mountain.

Etching from the second half of the 19th century.

Taberna La Buena Sombra. Oleo de L. Cabrolie, 1979. (Archive La Trashteria). Guardia, La Campana and Quitapenas.

riety of others that bring us up to present day.

of Malaga were heaviliy promoted and the Propa- ganda Society for the Climate and Improvement of Malaga was created in 1897.

“ saad The story of the historic centre of Malaga begins with the Phoenicians. The Muslim city was built on top of the Roman city that was there previously. Finally, the Christian city extended beyond the limits of its Muslim predecessor. The Andalusian influence on the city is evident in the urban distribution and in the powerful city landmarks. At this time, the city had a political centre located in the Alcazaba (al-Qasba) and a walled city (Medina) which extended from the Alcazaba up to the River Guadalmedina.There were two main suburbs (rabad) that have also been walled-in since the 12th century: Funtanalla in the north and al-Tabbanin on the western side of the river. The Gates in the wall gave way to main roads and paths: Granada Gate (Bab Funtanalla), Buenaventura Gate (Bab al-Jawja), Antequera Gate (Bab al-Malab), Puente Gate (Bab al-Qantara or Bridge Gate), Mar Gate (Bab al-Bahr or Sea Gate), Cuesta Gate (Bab al-Aqaba or Hill Gate). Architecturally speaking, the image of a Bourgeoi-

Watercolour of the Gibralfaro Mountain by Bertuchi, as seen from the roof terrace of his house in Carcer Street. (Bertuchi Family Archive).

of the gate have erased the marks that were lett by the sea waves. You can reach Aduana Square (Customs Square) by taking Pintor Nogales Street. It is an open area where three main streets converge: Alcazabilla to the north, Cister to the west and Cortina del Miralla to the cn itheact of the gate have erased the marks that were left by the sea waves. Martin Rodriguez in 1788, the date on which

with five-lobed arches, similar to those used in the Aljaferia Palace in Zaragoza. These two palaces are currently called the Patio de los Surtidores (Water Fountain Patio). Finally, in the 13th and 14th centu- ries, the Nasrid Sultans from Granada built the so- called Cuartos de Granada (Granada Rooms) also known as Patio de los Naranjos (Orange Tree Patio) and Patio de la Alberca (Pond Patio). They immi- tated the models used in the Alhambra: a pond in the middle with two rooms (riwaq) at either end. However, the current palaces are reconstructions. The Tower that is located in the highest corner of the fortification (southeast) also dates back to the Nasrid period. It is called Torre del Homenaje (Homage Tower) and hides an earlier Zirid tower. The building methods of each period are clearly visible: the Calcarenite blocks (a type of lime- stone) used by the Zirids and the mixture of brick and stone used by the Nasrids. On the way to the Palaces, you will pass through various gates: Las Columnas Gate (Gate of Col- timnc) where Roman

first of the three was built at the beginning of the

The houses were built onto the Alcazaba utilising

View of Alcazabilla Street from the Roman Theatre. Drawing from the travel notebook of Luis Ruiz Padron.

where people used to sit were covered in marble plates. The important people would sit on marble seats that were placed on the colourful floor made out of small pieces of marble, located between the stage and the stands. One of these chairs still remains today and has arms that are sculptured in the shape of dolphins. There is an inscription on the proscenium (front of the stage) that reminds these dignitaries that they invested in the refurbishment of the theatre, something that was carried out at the end of the 1st century during the Flavian Dy- nasty.The site was abandoned at the end of the 2nd century. An industrial district was built on top of the theatre during the late Roman period that was dedicated to the production of Garum You can still see the pits that were used to produce and store this type of fermented fish sauce. The theatre remained forgotten for centuries until it was redis- covered in 1951 after various landslides in the area. Today, it is once again being used as a theatre. @ Next to the theatre you can find the Interpreta-

Artistic and Monumental Malaga include the Moderno Cinema from 1913 and Goya Cinema that was refurbished in 1922 and given an Art Deco appearance. Finally, there was Malaga Cinema which was Rationalist in design. Opposite the cinema a couple of buildings from the same pe- riod help to recreate a historical moment from the middle of the 20th centurv. riod help to recreate a historical moment from the Picasso Museum via a small alleyway. The Muse- um is modern in design, including simplified units

the end of an alleyway. It is here that you will also

This is a must see on our itinerary, as the gran- deur that it shows on the outside is magnified in its interior. This is something that is not only due to its size, but also to the fact that it was built over various centuries. The result of which, is a temple which is Gothic in its shape, height and altar. It is impressive when it is made to the scale

The sheer size of the cruciform pillars, the never ending entablature that runs around the perimeter, the so-called brunelleschianos cubes located between the extremely tall pillars, the second part on which the arches rest and the profuse decoration on the vaulted ceiling in Horror Vacui, gave travellers a lot to talk about.

completes our visit with a Mudéjar coffered

Passing through the garden, you eventually come out on Molina Lario Street and if you con- tinue to head towards the sea, you will come across Obispo Square. This space was once both a Phoenician and Roman Port, where the boats were protected from the easterly wind. It gained its current appearance and size in the 18th cen- tury as it was blocked in by the Cathedral and the Obispo Palace. The sacred Facades of these build- ings provide a contrast to daily life in the square, whilst examples of Domestic architecture can be found on the other side of the square.

Detail of the Cathedral’s facade. (La Trashteria Archive). @ At the foot of the Cathedral you will find the Barroque facade from the 18th century. It is un- finished, something which can be seen from the inexistent frontispiece where the sculptures of Christ, the apostles and other biblical characters should have beeen placed. Its Barroque style is enhanced with medallions that are dedicated to the Incarnation and to the Martyrs Ciriaco and Paula, Patron Saints of the City. In 1776, the north

From the square and walking towards the sea, any route in the easterly direction will lead you to the main street of the city: Marqués de Larios Street, more commonly known as Larios Street. It is the heart of the city, the emblematic street through which Malaga presents itself to the rest of the world. Today, it is where people go for a walk and is the fashion epicentre of the city. It is also used as a catwalk, open air museum and thoroughfare for the Easter Processions. During special events and festivities, including the Carnival Celebrations in February, the City Festival in August and the Film Festival, it becomes the symbollic gateway to the city. It was opened between 1887 and 1891 in a pro- ject that was financed by the company Hijos de M. de Larios, with the idea of connecting the central square to the port area of the city. It was also an opportunity to improve the sanitary infrastructure in the Medieval narrow streets which contained more commonly known as Larios Street. It is the

unless you are a fan of ice skating of course! shops that moved in, was the first French-style Ba-

The Santo Cristo Church, as seen from the square. Oil painting by M. Bertuchi (Bertuchi Family Archive). upon which they built this Church and Novitiate.

cupied by a school and the Ateneo, a cultural space which promotes critical thinking and that hosts a programme of interesting cultural activities and high quality exhibitions. ers Society) installed itself here. The Society was

such as the construction that was built on the land that used to belong to the Goya Cinema. In 1989, a final intervention recuperated this space, an area where you could find some legendary cafés such as Dona Mariquita that is still open today. Various streets from the 16th century run into this open space which has been converted into a beautiful recreational area that is full of cafés, bars and res- taurants. From this square and Calderia Square, you can reach the only shopping centre that can be found in the centre of Malaga, Galerias Goya. It contains businesses that sell products which combine contemporary design with the ingenuity of the people from Malaga.

When you arrive at San Agustin Street, it gives you the impression that you have found a corner of Malaga that is full of legends and romanti- cism. It seems as though history has abandoned the cobblestone streets to climb the walls of the buildings that can be found there. It used to be called Caballeros Street until the Augustinians came here in the 16th century founding a school, convent and church. Arquitectonically speaking, they are the result of projects, constructions and

Conde de Buenavista Palace. Oil painting by M. Bertuchi (Bertuchi Family Archive). the Phoenician wall and Roman mud pits.

Granada Street is one of the most picturesque streets in the city. The Catholic Monarchs en- tered through this street after their conquest in 1487 and due to this, it received the name Real Street (Royal Street). It received its current name from the Gate that connected the walled city with the road to Granada. It follows the route of ariver and leads to Constitucién Square, Merced Square and Victoria Street in the north. During the Nasrid period, it became a street full of noble Palaces. Following the arrival of the Christians, various religious institutions were located here. Along this street you will find varied architecture which takes us from the 17th century to the 20th century. It is the location of the Ibn Gabirol Tour- ism Office which can be found in a Tower from the 17th century that formed part of the old Jew- ish Quarter. © Timetable for the Picasso Museum: From 10 - 20 hrs. Tuesdays to Thursdays, Sundays and Public Holidays. From 10 - 21 hrs. Fridays and Saturdays.

old mosque. It was built in Mudéjar style of which the 16th century and was built on the location of an 16. Santiago Church Square

@ One of the most suggestive buildings of the ar- chitecture from the first half of the 20th century, is the building that stands opposite the church. It has a strong structure, especially due to the versa- tile nature of its perspectives. It is very Expression- ist in its appearance and could form part of the set of a film by Robert Wiene or Fritz Lang. The corner of the building which has an accentuated edge, seems to raise up above the line of the facade. The wave in the design, the broken curves and the straight vertical line are counteracted by the hori- zontal spaces, something very common in Ration- dlist style buildings. The use of a balustrade for the upper parapet is particularly strange, something which makes the building even more unique. zontal spaces, something very common in Ration-

Jerénimo Cuervo Square. Drawing by Luis Ruiz Padrén. @ Cervantes Theatre. It is located in a Square that was named after the Theatre, Jerénimo Cuervo Square. It dates back to 1870 and was built on the land that used to belong to the Merced Convent. The Libertad Theatre used to be located here, previously called Principe Alfonso, and it was destroyed by a fire. The painter Bernado Ferrandiz, with some help from Munoz Degrain, was in charge of the painting and decoration in the Theatre. On the main curtain there is a self-portrait of him as Mephistopheles. On the ceiling, an allegory of the city was also painted. The Theatre opened with the Overture from the Opera William Tell. From the middle of the 20th cen- tury, the theatre was abandoned. A refurbishment in the 80s recuperated its old appearance with the addition of some contemporary elements.

tecture which, in some cases, has pictorial deco- They are surrounded by historic Domestic archi- In Malaga the marvellous golden pottery is made, which is transported to even the remotest of countries. bn Battuta In Malaga the marvellous golden pottery is made, which is transported to even the remotest of countries. lon Battuta

@ The Carmen Thyssen Museum is located in the Villalon Palace (previously Mosquera Palace). It is an ancestral home from the 16th century which has been rennovated, recuperating the Renaissance patio and other elements such as the coffered ceil- ing. The underground level also participates in the Malacitana history. It was here that Roman mud pits were found that date back to the 3rd century AD and which were used for the production of gar- um and salt. They also found a Roman Nymphae- um along with some paintings, and Andalusian Tanneries. The Palace welcomes visitors with the Villalon family coat of arms from the 18th century. The museum’s collection has more than 300 paint- ings, almost all of which are Andalusian from the 19th century and are mainly landscapes from the Costumbrismo movement. The Museum often has temporary exhibitions as well. | A oe a ee

since the Muslim period. During the Christian pe-

Awitness of this spirit is the local law from the 18th century that prohibited bakers and middlemen to sell products next to the church. It still hasn’t lost its trading character which creeps up to the street through the warehouses and businesses with their open window displays selling all types of things from everyday goods to specific products such as the hoods of the penitents. Here you can find a strange mix of shops which range from La Recova, dedicated to local and national pottery, or others such as weavers, basketweavers and nee- dleworkers. You can also find the Gravura Work- shop which has been located on the first floor of a building in this square since 1979. It is run by Paco Aguilar and is a meeting, learning and exhibition space which is dedicated to etching.

that used to be the Royal Corn Exchange during the Muslim period.

@ The area which used to be oocupied by the Sea Gate (Bab al-Bahr) is now an emblematic space for the citizens in which they can enjoy a good break- fast before or after going to the market, grocery store or other food shops. You can also enjoy a quick snack here whilst running your afternoon er- rands. There are places that have been enjoyed by different generations of grandparents, parents and children, such as the Churreria Casa Aranda. It is an area that is full of hustle and bustle and is where the sea breeze enters into the city. Beyond the tops of the palm trees there are a series of buildings that decorate this corner of Malaga and that stand out for their finishings. An example of this can be seen with the building that was financed by the La Cam- pana Wine Cellar in 1957 and is crowned by an iron bell; or the hotel on the corner of Alarcon Lujan Street which was built in 1908 and was designed by Manuel Rivera Vera. It has a circular tower on the corner which is finished off with a dome.

The southern side of the old Dockyards. doubt the star. @ The building that stands out the most was de- signed by Daniel Rubio Sanchez in 1925. It is located where the old Dockyards connected with the south-

corner of a neighbouring block, there is a Rationalist glass window that dates back to 1973 and which de- which he reused the Nasrid entrance, moving it 25

@ The Atarazana Market (Dockyards Market) is one of the most emblematic places of life in Malaga. When you walk through it, you will discover cus- toms, colours, smells and tastes of the Mediterrane- an. It is a sample of the richness of this part of Spain, both in the products sold there as in the character of the people. toms, colours, smells and tastes of the Mediterrane-

View of the Alameda from the Tetouan Bridge in 1880. (Malaga City Archive).

Taillefer Office building n° 6, built in 1955. It was one of the first office buildings to be constructed in the city.

@ In the 60s, various monumental buildings were constructed along its northern side, the Marina its volumetric conception. It was proposed as a tri- Aesthetic movement. It is complete and precise in example of Rationalist architecture of the Machine

Marina Square with buildings by Juan Jduregui (Malaga Pala- cio can be seen in the background). The photo is from the 60s. (La Trashteria Archive).

dates back to 1927 and was designed by Manuel

@ Fernando Guerrero Strachan and Manuel Rivere Vera built the Park Mansion in 1919 with a mixtur of modernist style and Barroque affectation. It i currently the Town Hall. Shortly afterwards, Guer rero Strachan designed the Puerta Oscura Gar dens as a romantic garden that was arranged in « series of terraces. In the gardens, the remains of « luxurious Roman Villa from the 3rd century weré found. It had mosaic decoration which shows the myth of the God Bellerofonte and hunting scene: from North Africa.

Views of the Town hall and the Puerta Oscura Gardens from the Alcazaba. In the 90s and today. @ Some houses still remain standing, the last evi- dence of the old district which dates back to the 19th century. In one of these houses, you can find the Odisea Wine Cellar, whose name reminds us of the difficult period that the owner had to go through for more than a decade to try to impede the demolition of her house. Today, it can be seen as an architectural and historical asset to the city which is well worth a visit both for its architecture as for its wines. You can try different wines from Malaga in a very traditional atmosphere. The staff will also offer you advice and information on the the selection of wines that are available.

The Coracha district, at present and in a postcard from the 70s. (La Odisea Archive).

Reina Victoria Boat in Malaga Port. It began to cover the Mala- ga-Melilla route from 1917. (Laureano Garcia Fuentes Archive).

Board was built in 1932. It was built in a Classical

a shiny mirvor that reflects the only thing that is real: the light. Leaving Malaga,

A tramiine full of sun with gardens anda great race between mermatds and dolphins in the Bafios de/ Carmen. Malaga was the city of spa tourism and a clear favourite for winter tourism. One spa still stands today, it dates back to 1919 and provides us with evidence from this period.

The Architecture on the Interior Road In parallel to the seafront promenade, an interior road will show you the middle-class Malaga which was located in the eastern part of the coast. From Reding Street (next to the Malagueta, starting from the Bullring towards the east) and its con- tinuation Pries, Sancha and Pintor Sorolla, there are a wide range of buildings, villas and small pal- aces that provide us with an example of Residen- tial architecture from the end of the 19th and be- ginning of the 2oth centuries. It is an area that is varied, beautiful and of great architectural value.

by José Gonzdlez Edo; La Tinta Palace (n° 20), built in 1908 and designed by Julio O’Brien, it received its name as it was the headquarters of the Andalusian Railway Offices where a large number of administra- tive personal used to work; the Félix Saenz Houses (n° 37 to 43), built in 1922 and designed by Fernando Guerrero Strachan, a display of imagination which plays with Historicist, Neo-Renaissance and Neo-Mu- déjar elements. You will also find the old Miramar Hotel, currently a court, which was initially called Principe de Asturias. It was designed in 1926 by Guer- rero Strachan. It is a magnificent composition that shows off a first floor that is full of windows looking out to sea (corresponding to the old Ballroom). shows off a first floor that is full of windows looking

Avision of Tangier by Mohamed Raiss El Fenni. Truman Capote.

18th century. Nineteenth-century Tangier grew outside of the city walls. The modern city was born which was heavily influenced by western ideas. However, it lacked a defined urban planning strategy to give a Rationalist structure, making it different from other urban models that were in use in many European cities at the time. The modernity of the new city also reached other aspects of daily life: the first printing house was opened in 1880, the first telephone in the whole of Morocco was installed in 1883 and the lamp posts in the Petit Souk (Little Square) were provided with electricity in 1892.

aging Europeans to start to move to the city. These

Interior of the Continental Hotel, open since 1865. The streets of Tangier in 1908, by M. Bertuchi. (Bertuchi Family Archive).

ibn Ali R’Bati (The first Moroccan painter to aban-

should be highlighted as it attracted important in- ternational figures. These included buildings such as nightclubs, casinos, spas and theatres. The cin- emas also played films from different countries in different languages without any censorship. During the interwar period and especially during the Second World War, the city was full of spies, secret agents, politicians, outlaws, people who were being persecuted and members of the re- sistance. It was a combination of elements that made Tangier a city of intrigue. that spy, not even the flutter of a leaf on a Right: A street in the Medina, 1935. Below: A night in Tangier during the International Period. (Source: Tangier City Council).

Julio Romero de Torres, Mariano Bertuchi, Raoul Dufy, H. Matisse, Kees Van Dongen, O. Kokotshka,

In Tangier, you could do what you couldn’t do anywhere else. The best example of this is that of the Beat Generation, a group of American writers who were trying to escape the McCarthyism and the witch hunt that was occurring in their own country. They saw Tangier as a symbol of free- dom, where drugs and sexuality were high on the agenda, a city of experimentation and lack of inhi- bitions. It was at this time when important literary works were produced such as The Naked Lunch by William S. Burroughs.

for the foreigners. Isaac Chocrén, 19785. tiary, come down from the mountain to collect

The design of the streets meanwhile, is the result of urban planning that was used in medieval cit- ies. Some districts, such as Yenan Kaptan and Dar Barud, still maintain their original appearance, although the foreign influence is clearly evident. In these residential districts, life is quiet and the dead-end alleyways double up as private areas for the residents, who usually have strong fam- ily ties. This is evident in the architecture and the urban area itself, which is constantly adapting to the ever expanding buildings which need to ac- commodate the growing families. Here the build- ings stand directly in front of one another, almost touching, covering the streets which in turn be- come passageways. the south, Dar al-Baroud in the north and east,

Losing yourself in the maze of small streets

Siaghins Street with the church tower. (Source: Tangier City Council). At number 58, between the shops and the ba- zaars, you can find the old Siaghins Funduq or Yebala. It dates back to before the 19th century and is no longer used as an inn but as traditional craft shops. Strangely enough, the first shopping centre in Tangier, Magasins Modernes, used to be located right next to the Fundugq, adding to the mixture of different cultures and customs. All sorts of different imported products were sold here and today it still continues to be used as a was painted by Josep Tapiro in his watercolour Fi-

The Petit Souk. Drawing by Mohamed Raiss El Fenni.

Vistas del Zoco Chico hacia la calle Monkthar Ahardan con el edificio de Correos espanol al fondo, el edificio antiguo arriba en 1907 y remodelado abajo. (Fuente: Ayto. de Tanger). ing the morning, the traffic headed for the Grand Souk would cause the hustle and bustle. This would sometimes include sailors from the boats that had recently arrived at the Port who some- times would stop to quench their thirst bringing with them news or novels from the outside world that was always interesting. Just before midday, various types of shady business would begin such as exchanges, buying, selling and deals where legality was mixed with the apparently legal. In short, it was what could be expected of a free- trade city. However, there was always a sensa- trade city. However, there was always a sensa-

3, Yama aHKebir Mosque to 1684, the period of the Alaouite Sultan Mu- lay Ismail. Its current design is thanks to various

O Adjoining the Museum you will find the BABA Café. This legendary Café which has been visited by many famous people since the 40s such as the Rolling Stones, who would come here to have a coffee or tea and smoke marijuana pipes. It was a popular spot for the hippies in the 70s and has lots of photos on the walls in which you can see the dif- ferent people that have been to the famous café, from Keith Richards to Kofi Annan. The views of the Medina are spectacular from the large window.

View of Barbara Hutton’s house which includes the Sidi Hosni Marabout. In the background you can see the Bay of Tangier.

Map of the Kasbah and Bab al-Assa Fountain. Previous page: Poster by Mariano Bertuchi which shows the Bab al-Assa Gate. This poster confirms the inclusion of Tangier in the Spanish Protectorate area at the time when the city was occupied by Spanish troops during the Second World War (Bertuchi Family Archive).

O The Old Courthouse or small Mechuar for the Caliphs can be found on the southern side of the square, next to Bab al-Assa. It has three semicircu- lar arches which are supported by marble columns with Corinthian capitals. It is currently occupied by the shop of the designer Laure Welfling, which is reminiscent of the cosmopolitan and eccentric character of the International Tangier. Next to the Courthouse there is a small place where you can hear live Andalusian music. It is also common to find Gnawa musicians in the square, descendants from African slaves from countries such as Senegal,

Mechuar Square at the beginning of the century. To the left, the old Courthouse. In the background in the centre, the entrance to the Palace, currently a museum. To the right, the old Treasury. (Source: Tangier City Council). Sudan and Ghana. The singing and the music pro- vide us with a mixture of African, Arabic and Ber- ber cultures. The dances are acrobatic and the main instruments used are the guembri (string instru- ment) and the crakeb (metallic castanets).

blanca who had a Palace here in the 19th century.

built around a fountain (seqaya) which is still in Street where you will see a bread oven (ferran) the south of the Marabout you will find Ghazal

Before you arrive at the other main square in the Kasbah, there is a small area where you can find the art gallery Volubilis that is located in an old Bread Oven. Once again, the earthly powers of the city attract foreigners that are soon trapped by the myth and decide to stay to fulfill their dreams. Medina receives its name from the old Spanish the city attract foreigners that are soon trapped Police Station which, during the International pe-

Archway which grants access to Sidi Ali ibn Daud Square (suppos- edly built in Roman times) and the door of the Dar al-Barud Oven.

Sharif of Ouezzane in Tangier. Oil painting by Mariano Bertuchi. End of the 19th century. (Bertuchi Family Archive). come a place of pilgrimage. The doors of the zaouias are usually their claim to fame. The rest of the build- ing usually goes by unnoticed, although sometimes a minaret is added, almost always at a later date. The zaouias are usually quadrangular in shape built with gorfas, with different rooms, or sometimes with just one room and a Kobba (entrance hall). The story of the Sharif of Ouezzane became a very interesting when he married Emily Keene in 1873, the Governess of the children of the Perdicaris fam- ily. It was a marriage that surprised many people and offended his followers, even more so when he agreed to accept her conditions which included her maintaining her Christian faith and that he would not marry any other women. It is a story that is typi- cal in a place like Tangier. O You can reach the American Legation along Temsamani Street, the place where Alexandre Dumas used to live. The American Legation is the government headquarters that has witnessed all sorts of episodes from the International period including secrets, betrayal and spies. These were the first diplomatic headquarters to be set up by the Americans in a foreign country, as Morocco was the first country to recognise American independence. In 1821, the Sultan Mulay Suliman gave a small Palace to James Monroe. In 1926, it was extended, occupying the old Theatre La Zarzuela, the first Theatre in Tangier which opened in 1897. The palace was converted into a museum and university research centre in 1976. Inside you can be witness to both American and Moroccan history. The library has nearly a thousand books,

cartographic material (it has a map showing the route followed by Leo Africanus), prints, photographs, art collections from the 18th and 20th century, furniture, traditional crafts and models of historical events. It is a valuable collection that is a must see for any visitor. At the end of the street you can find Bab American or American Gate. On the other side of the gate is Portugal Street which goes down to the promenade by the beach. The area which includes Tuahine and Cheik al- Harrak Streets is known as the Street of the Synagogues. This is due to the significant amount of Jewish temples that can be found here. The first to be built here was the Kenesset Haguedola Synagogue or the Great Synagogue, at the end of the 18th century. Others include the Estudio Syna- gogue where they used to teach the Talmud, the Suiri Synagogue, the Rabbi Mordejay Bengui Syna- gogue, the Karracin Synagogue and the Assayag Synagogue. Despite being an area where you can find seven temples and the fact that it was the place of residence for the majority of the Jewish population, the Jewish people in Tangier did not create ghettos (mellah). They mixed with the rest of the population and were split into different so- cial strata just like the rest of the city’s inhabitants. The first Synagogue to be built in Tangier dates back to the English period during the second half of the 17th century. It was the Synagogue for the Flemish people. Q The Lorin FEnindatinn oar the Internatinnal of Jewish temples that can be found here. The

The 19th century changed the urban history of Tangier. The walled city was no longer big enough and building work finally commenced outside of the city walls. One of the first areas to be built included the area around the Grand Souk including Italia Street which runs parallel to the west wall and Pasteur Boulevard. Espafia Avenue was built to connect the city with the sea, and the budding Marshan district was built little by little as an area for the aristocratic villas and bourgeois floor and first floor (area of the Synagogue tra- ditionally reserved for the women) there is an exhibition of photographs and posters from the International period.

rich. Along with their houses, came their eco- nomic, administrative and leisure activities. was a new city, western in design and appear-

Christian, Muslim and Jewish, along with Kings Celebvations, but we chose them from

Their slow walk through Tangier, from café to café, from the souk to the library. J. Goytisolo, 1970.

Areplica of the work of art that was painted by H. Matisse from Room 35 of the Villa de Francia Hotel in 1913. (Pushkin Museum in Moscow. Source: Saint Andrews Church). Photograph taken from the same room in 2013. The coffered ceiling was also brought from Fes (the ceiling in the central nave was replaced in 1996). Some of the decorative detail is reminiscent of the Andalusian style, such as the Nasrid motto from the Alhambra “there is no greater victor than God” which is engraved into the alcove behind the altar. Other engravings speak of cohabitation such as the Lord’s Prayer which is written in Ottoman calligra- phy on the transverse arch. Further decorative ele- ments include the symbol of the eight pointed star, the cross on the door of the sacristy and the curious layout of the altar which looks towards the Mecca whilst bearing the gold Anglican cross. layout of the altar which looks towards the Mecca

Henri Matisse portrayed in the work of art which A box used to trans port merchandise belonging to Edwarc Taylor’s company. These names include: Apperley, a portrait painter

dates back to 1890 and was built to be the offices of

Libertad Street is also home to a number of busi- nesses that started out during the International Tangier period. Although most of them have now been refurbished, they still maintain their original personality. An example of one of these businesses is the Minzah Hotel, whose story begins back in 1930 when it was built on top of the remains of the Palmarium Casino which had previously burnt down in a fire. The order to construct the building which housed the Casino came from the business- man Perdicaris in 1880. Originally it was a private house, the first in the area. The architect who de- signed the Minzah was Diego Jiménez Armstrong. He also designed a number of other buildings in this street such as the Menebhi House, located just op- posite the Minzah. The meticulousness of the Anda- lusian decorative design on the inside of the Minzah more than makes up for the building’s laconic exte- rior. Inside there are various rooms which surround aninternal patio. These rooms have been converted into bars and restaurants and have been decorated inan elegant manner. The Hotel was frequented by various famous people such as Douglas Fairbanks,

Francia Square in 1929. (Source: Tangier City Council). Francia Square was the first area to be devel- oped in the new city, outside of the Grand Souk. It connects the Souk with the main Avenue in the city: Pasteur Boulevard. Streets lead off from the Square in all different directions and traffic has in- tensified over recent years. It received its name from the French Consulate that has been located in the square since 1929. Not very far away, in Bélgica Street, you can find the Art Gallery of the Cervantes Institute.

In the 50s, there was an endless list of artists and bohemians that passed through the Café on a daily basis. It continued to be popular for a further dec- ade, despite losing some of its vices such as alcohol consumption. Its regulars included: Saint-Exupéry, Cecil Beaton, the Bowles, Gregory Corso, Gore Vidal, John Hopkins, David Herbert, Paul Morand, Samuel Beckett, Jean Genet, Francois Sagan, Joe Orton, William Burroughs, Allen Ginsberg, Jack Kerouac, Mohammed Choukri, Emilio Sanz de Soto, E. Haro Tecglén and Tahar ben Jelloun. It still has its original decoration and remains popular with those who love getting together for a chat. be talking about Miguel Hernandez, Lorca,

ternational Tangier and of the modern city.

Charr Raphaél Synagogue, 1919. It used to be Raphaél Bendri- hem’s house which he donated in 1951 to be converted into a Synagogue. It is still open today. ORegional Tourism Office and Abdellah Guennoun Library. The debt house, Dar es Salaf, dates back to 1910 and was the first building to be constructed in

O The Avenue ends in two tall buildings with a curved corner:

Espafia Avenue at the end of the 20s and present day. (Source: Tangier City Council).

There were bars, restaurants, casinos and theatres. Local celebrations were also held here including the carnival parade (until the 30s) and horse races, with horses that had been brought over from Gibraltar and Jerez de la Frontera. The finishing line for the races would often be at Villa Harris. The facades of the buildings provide a loose connection in the ar- chitecture that you will find on the Avenue. Yellow is used on the mouldings and decorations that are very typical of the styles used during the first few decades of the 20th century.

the architect Francisco Ferreras. AlyONSO Alll Spanisn Scnools. O Italia Street starts behind Bab al-Fahs Gate, which is located in Great Souk Square. The Yeblis (mountain women) can now be found in this area with the products that they used to sell in the Great Souk. This gives the street a distinctive feel of an open air market, where you are surrounded by Eu- ropean architecture from the end of the 19th and beginning of the 20th centuries. The large gardens of the old Mendubia and the Muslim and Catholic Cemeteries can also be found in this area. To head back to the Great Souk, you can take Por- tugal Street, which runs parallel to the southern stretch of the Portuguese wall. Along this wal you can find the (Bab) American Gate which joins onto the Beni Idder district. You could also take Salah Idin Ayubi Street, formerly known as Cues: ta de la Playa (Beach hill). At the intersection be- tween both streets, you will find the Irish Tower which dates back to the second half of the 17th century. Shortly after, you will come across the building that was constructed to house the Alfon- so XIII Spanish Schools and that was designed by the architect Francisco Ferreras.

Bab Qasbah and the Ben Amar Fort (borj).

Punic-Phoenician Tombs. In the background you can see Cape Malabata.

View of the Mohamed V Mosque and the bell tower of the Church-Cathedral as seen from Bab Assa in the Medina. Mohamed V Mosque was financed by a Kuwaiti

proposals were put forward for the Project includ-

Our journey finishes in the surrounding areas of Tangier, in the west. It is a path towards the end of the world that takes us through woods and the lon Perdicaris Mansion which dates back to 1872 and looks out over the Atlantic next to the lighthouse that has been located at Cape Espartel since 1864. They are located next to Hercules’ Caves, the Cotta Ruins and a salt and garum factory which was occupied between the 3rd century BC and the 3rd century AD. They are located in the same road. One of the ways in which you can reach these places is by walking along the edge of the Marshan district in the northern part of the Medina and then by following the edge of the sea and continuing along the Monte Viejo path. This path provides us with evidence of the International Period through its architecture which includes lavish mansions such as Villa Josephine. Due to the distance, you will have to go by taxi or by private car. This area of great natural beauty is also recommended for cyclists and for hikers.

Press cuttings from the newspaper Diario de Larache. January, 1947 (above and right). things which are evident even in its architecture.

‘Enl los caminos luminosos y abiertos de este préspero y rico Territorio del Lucus puede admirar el turismo estas bellas estampas Ilenas de tanto tipismo marrogui, mythological, historical and real dimensions. given to all who visit: the colour of the ground,

The bends of the River Lucus as seen from Lixus. In the back ground, the City of Larache. convert Lixus into an important commercial river

The Kasbah Gate from the 15th century (Source: Sergio Barce). At the end of the 16th century, the Sultan Mulay al-Mansur al-Dahabi ordered the construction of two large defensive fortresses, curiously in the

A view of the Small Souk (Above). The Fountain located in the Small Souk, within the walls of the Kasbah, 15th century (below).

Furthermore, they agreed to set free any prison-

Watercolour by Mariano Bertuchi. (Bertuchi Family Archive).

others were semi-circular. This leads us to believe

We continue inside the walls of the Kasbah. Al- though nothing remains of the building itself, an estimation of where the wall once stood is known. Going through the Gate from Majzen Square, we are welcomed by Anwar Square, a small tradi- tional area that is presided by a covered court- yard and the Anwar Mosque. This urban area has always been linked to religion. It used to be the location of the Kasbah Mosque during the 15th and 16th centuries. In the 17th century, a convent and church were built and the square was used as the San Francisco Christian Cemetery. The new Mosque was built in the 18th century, with the main part and minaret being refurbished in the 2oth century. The old minaret was first replaced by an elevated quadrangular minaret and finally with the current octagonal shaped one.

and the addition of the minaret in the 40s. How- ever, it is still beautiful in a special way, both on the inside and outside. 3, Mulay al-Mahdi Square

It was in this square where the Spanish adminis-

@ Bab al-Qasba or Kasbah Gate used to form part of the perimeter wall and is remaining proof of the fortification from the 15th century. The bent entrance was removed during the Spanish Protec- torate, leaving only the Gate now standing. It is made of brick and has a simple design with a hor- seshoe arch and an Alfiz with Sebka decoration. Outside of the Kasbah and next to the Gate, you will find a building that has been refurbished and is now used as a butcher shop.

@ Astunning Neo-Gothic style facade appears out of nowhere in the corner of al-Harti Street. It is now in ruins and covered by vegetation. This was the San José Church, built in 1901 and designed by the monk architect Francisco Sierra. In addition to the main church building and bell tower, there were rooms that were distributed over two floors including galleries, all of which surrounded an in- terior patio. This area was occupied by Franciscan monks, an Order that was present in Morocco from The architecture in this street encompasses a mixture of traditional Muslim architecture and numerous examples of European styles from the 19th century, including some from the 20th century. The San José Church can also be found in this street, along with a Synagogue and a Mosque. Due to this, it is considered as a good example of the tolerance and coexistence that exists in Larache. Furthermore, it was also the Jewish Quarter.

@ In the place where the Genovese Castle once stood, you will find only a small part of a slo- ping fortification next to the wall. There is also a marble plaque from Philip III which refers to the construction of the wall in 1618. On the cast- le itself, we have information that dates back to the beginning of the 16th century, however, little is known about its history. The most likely story is that as in many Mediterranean coastal cities, such as Malaga, Genoese traders set up a colony in the city, financing the construction of a Fun- dug or Tower from which they could warn of any possible dangers arriving by sea. In the original plans, we can see a big lighthouse type tower. This Castle is one of the points of the triangular shaped Medina.

Customs (House and Gate) and the African Post Office, 1928. (Source: Sergio Barce). @ Customs Gate, Bab al-Diwana. This Gate is proof of the commercial importance of the Port in Larache at the end of the 19th century and be- ginning of the 20th century. It was built in 1889 in order to control Port activity. Nearby, you can find the old Dockyards which are still in use today and date back to the 18th century. Both the Dockyards and the Port are located along the old course of the river, the part nearest the Medina. In this area you can find the old Red Cross building with its church, today called the Media Luna Roja.

plans, we can see a big lighthouse type tower.

donde esta hoy instalado el Hospital Civil. Probablemen- te fué la primera edificacion que se construy6 en Larache. Comenz6 a edificarse esta fortaleza, que defendia la en- trada a la rada y al estuario del Lucus, en 1591, por Mu- ley Nager, hermano del Rey de Fez. Bué reconstruido después de la batalla de Alcazarquivir y ampliado considerablemente por los espafioles en el siglo XVII. Las almenas y punta superior de las torres Se reconstruyeron después de la ocupacién de Larache, por las tropas espafiolas, en 1911,

It is impossible to get lost wandering through the streets in the Medina. The slope down will lead you to the promenade next to the riverbank. If you head up to the Medina, you will most likely end up in the Small Souk or in Qubaybat Street. It is very normal to come across a variety of streets that can be covered, wide or very narrow. This is due to the houses that have been built on top of one another, some connecting together above the street forming a passageway. This is a prime example of how private use of space is maxim- ised to its full potential in detriment to the provi- sion of public space. Between the al-Haira and Qbibat districts, next A Minechahkin Chennt wri; pan Grd tha Janina nf

the area. Here, the historic past and the reli-

Famous poster of Larache by M- Bertuchi which shows the Gate that connects Qubaybat Street with the Small Souk. It belongs to a series of post- ers that he designed for the National Tourism Board and the Official Tourism Committee of Tetouan during the II Spanish Republic. During the Franco regime things changed once again, the Committee disappeared but the initials were kept on the post- ers. The Spanish government continued to change whilst Bertuchi carried on painting posters for the Spanish Protectorate. (Bertuchi Family Archive).

@ Behind the gallery that looks onto the Medine (towards the north) and by taking the side streets, you will find two diwanes that run parallel to eack other (a word taken from the east meaning spaces that were used as offices or for other responsibili ties of the Sultan). They are covered allures, the longest in the Medina and are called Diwan Fawq and Diwan Sufli. They originally housed the resi dencies for civil servants. They were built on the stonework of the Spanish barracks from the 17th century. They include houses which have great architectural value. century. They include houses which have great

Poster of the Small Souk by M. Bertuchi as seen from the Bab al-Jemis Gate. (Bertuchi Family Archive).

a Madrasa. Currently it is not being used. @ The fundugs are inns (corn Exchange or tavern) for traders who travel to the souks, and are pre- pared to store both the goods and the animals that they bring with them. In many cases, the com- mercial transactions and the exchange of goods were carried out within the funduq itself. The con- struction of the Zalyu Fundug, in the square of the same name, greatly benefited the Small Souk. It has the typical elements expected in a fundua; gal- leries, including bedrooms spread over two floors which open up onto a central patio. The front of the building goes by pretty much unnoticed, with a semicircular arch with sober archivolts and an eave under which you will find various small win- dows. At the end of the 19th century it was used as a Madrasa. Currently it is not being used.

Map of the Western area of the territory under the Spanish Protectorate. Anew city was built, the Ensanche, which was well designed including beautiful ex- amples of European architecture. Whilst the Ensanche was being built, new services and infrastructure were given to the old part of the city: a sewage system, electricity, pavements and infrastructure were given to the old part of

and water. The General Command Headquarters and the Offices of the General Staff were set up in the Old Baja Palace, located in Majzen Square. Some buildings were demolished in order to recuperate the space that was the old Parade Ground. The hospital was located in the Fort of Small Domes and the artillery depot was located in Stork’s Castle. In the Medina, work was carried out in Mulay al-Mahdi Square with the creation of the Lala Menara School Group, the Spanish-Israelite School and the Spanish-Arabic School. The latter of the three was located in an old baroque Palace from the 18th century that was built by the Span- ish. It had previously been the Spanish Consulate, a building which is currently occupied by the Mu- lay Abdesalam Mechich School Group. outside of the Medina and alstriduted along the old communication routes. Today, they have been absorbed into the urban area of the city. The plans of the Ensanche were designed by mili- tary and highway engineers in 1913. For this new part of the city, they chose the land that bordered the southern part of the Medina, taking into ac- count that, to the north was the river and to the west was the ocean. They maintained the roads that previously existed, with them later becom- ing the Avenues in this new part of the city. These avenues branched out from a central point which connected the traditional part of the city with the Ensanche: an elliptical square which fitted in well with the wall from the 17th century and which was centered on the Medina Gate. From this square,

Editions of the exercise book Arabe Dialectal: the original is from 1947 and was advertised in the press and was edited by Editora Marroqui. It was re-edited in 2013 by Cremades, a bookshop and printers which on some occasions still edits in typographic printing. (Source: Cremades printers).

Advertisement for the Ideal Cinema. Diario de Larache, 1947.

Medina Gate and building with a porch. @ The Medina Gate is the central focus point of the Square and of the building with the porch that surrounds it. It was designed by José Larrucea at the end of the 20s. The size of the gate makes it the main attraction in the square, something which represents the connection between the Medina and the Ensanche. He made it look like the old gates in the Medina by using open brick work and decorating it in the Mudéjar style.

An aerial view of the Square. (Source: Sergio Barce). centre of the square with yellow and blue mosa-

from the 17th century. It was designed by the

Attic of the Espafia Hotel with the emblem HE. Legendary establishment which has been located in this building since its construction in the 20s.

and the relief which is covered in mocdrabe, bor- ders and big flowers. All of these elements merge together perfectly.

The Spanish Consulate today and in the 30s. (Source: Sergio Barce).

who was in charge of guiding the boats with an

View from Zerkthuni Street and the first plans for the market (Source: Sergio Barce). despite being in need of urgent refurbishment.

rid style in perfect harmony with its surroundings. where we can appreciate the use of the Neo-Nas-

@ The Slaughterhouse is a very original space. In addition to the beautiful surrounding landscape, the building is simple and boasts a perfect and attractive Modernist style. Given its functional character, the decoration is minimal yet very effective, both in the design of the letters as in that of its ceramic tiles. It dates back to 1917 and is one of the first public buildings from the Spanish Protectorate in Larache. @ The Spanish Cemetery dates back to the first years of the Spanish Protectorate. It is a beautiful place, located on a cliff by the sea. The French poet, novelist and playwright Jean Genet is buried here. He lived in Larache from 1974 in a house not so far from where he now lies. Saint Genet, as Sartre used to call him, was friends with Picasso, Cocteau and of the French bohemian movement. He was a cursed writer who had a conflictive life which is reflected in his work, evidence of a rebellion against society at that time. He asked to be buried in Larache.

@ Lalla Menana al-Mesbahia Cemetery, she was the Patron Saint of the city and daughter of Sidi Jilali ibn Abdellah al-Mesbahi. Various miracles have been attributed to this Saint and she is loved for her work with t he Mujahideen, defenders of faith, as were her father and brother. Each year on the fourth day after the Mawlid (birthday of the Prophet) a pilgrimage is carried out to her tomb which leaves from the house of the Sharif al-Mes- bahi. On the fifth night, songs are sung in front of her tomb and the Hadra, a mystical ritual, is car- ried out. Her Mausoleum is simple and stands out from between the headstones. It is a nice place to go for a walk.

Example of a chalet with a garden. @ The 20s saw the introduction of the Garden City concept. The area south of Reina Victoria Avenue was completed with chalets with gardens, de- signed in their majority by A. Galmes and J. Lar- rucea with styles that move between Neo-Arabic and other modern influences from Europe.

You still remain here, you are still here Trina Mercader

should go to the Tetouan Archeological Museum. tury, a date that coincides with the construction a Mosque that possibly built by the Almohads. The city managed to drag itself through to the 12th century, always as a small settlement in con- stant decline, until it eventually disappeared. In 1945, the German traveller Barth, found the site. The company of a guide is recommended dur- ing your trip. In order to complete your visit, you should go to the Tetouan Archeological Museum.

It was occupied in 1471 by the Portuguese and conquered in 1589 by the Saadien King al-Mansu. It then fell into the hands of the Spanish until they were expelled by the Alaouite Sultan Mulay Ismail.

The Muslims took the city, controlling it for 225 years, at the end of which the English (Normans) besieged it, leaving icin ruins for 30 years. Ihe Lords and Pontif(s rebuil tand improved the city, making it stronger and of better quality than before. This brought with it wealth for the settlers, along with an abundance of famous people from the world of literature and war. toponym of the nearby Roman city of Zilis. It

Moussem is held, a plastic arts festival that was founded in 1978 and linked to the beginning of the rehabilitation of the Medina which in a state of disrepair was at that time. The original propos- al, still around today, was to convert the historic walls into big canvasses which would fill the street with colour. This would be in some way in remembrance of the success of the paintings by Mariano Bertuchi, who managed to represent the soul of Morocco through colour, something that was mentioned in the opening speech of the festival. The fact that the word Moussem was chosen, was not a random decision. They wanted to connect the local tradition with the modern nature of the event. The word is of Ara- bic origin and means season or seasonal, and is used to designate the season and the religious or agricultural festivals. In your walk through the Medina, you can enjoy the beautiful canvasses on the walls, the work- Throughout the history of Asilah, one character particularly stands out; Mulay Ahmad al-Raisuni, Governor of the city from 1905 and owner of the Region of Lucus. He was often thought of as a Saint, as a bandit or as a warrior, always giving people a lot to talk about. When the Spanish ar- rived in 1911, he peacefully gave them Larache, Asilah and Ksar el Kebir. In 1925 he was captured by Abdelkrim, who was then the leader of the Riffian resistance and head of the Rif Republic. He died that same year in captivity. During the Snanish Protectorate. the citv

Al-Qamra Tower, Bab Bhar Gate and walls, view from the beach. church, and the imposing Qamra Tower.

Bab al-Kasbah Gate in the | background, view from inside the Medina. the Spanish Protectorate in order to facilitate

Another interesting place that is located in the western corner of the Medina is the Kirikiya Tower Viewpoint, a place that is often used by locals to meet with friends, spend free time and enjoy evenings looking out over the Atlantic. It is also the location of the Sidi Ahmad al-Mansur Mausoleum and the ceramic tombs of his war-

Al-Homar Gate and Tower. Poster designed by M. Bertuchi which shows the _ Sidi Ahmed — al-Mansur Cemetery by the sea. The viewpoint can be seen in the back- ground. (Bertuchi Family Archive).

Mausoleum and the ceramic tombs of his war-

Asilah Church and Magali Cinema, in the Ensanche. Above, a stamp from the collection designed by M. Bertuchi (Bertuchi Family Archive). by the Monk architect Francisco Serra in 1927.

Bertuchi, to who it owes the safeguarding and When the Muslims took the city, they gave it to a one-eyed Countess who came to the city every week to collect taxes: due this fact, the city was called Tetteeuin, which in African (Tamazight) means eye, as she only had one of them. the course of time, including the artist Mariano love. It has had this effect on many people over

The Medina in Tetouan, al-Fuqui Souk. In the background, the minaret of the Sidi al-Hach Ali Baraca Zaouia. Watercolour by M. Bertuchi. (Bertuchi Family Archive). [he river port, located at the mouth of the River the Portuguese who regularly attacked the coast.

The founder of Tetouan Abu al-Hassan Ali al- Mandari al-Andalusi al-Garnati was from the Al- bencerrage family. He was born in Granada and was amember of Boabdil’s Court. He arrived with a group of nobles who were running from the im- minent fall of the Nasrid Dynasty. They promptly created a city giving it an appearance similar to that of his birthplace, Granada and of the Palace in which they lived, the Alhambra. Such is the Medina in Tetouan, an Andalusian Medina with a Nasrid Kasbah and Moorish districts such as al-Ayun and Tranqat. The inherited customs are reflected in the architecture with its courtyard was amember of Boabdil’s Court. He arrived with

sort of architectural paradox, we are transported The Medina, Andalusian and Islamic in its concep- tion, is a crowded space where the importance of private property and land is prioritised over that of public property. The evolution and creation of the public spaces depends on the relocation of the private land. It starts with the house, and then comes the block and then the labyrinth that is the rest of the Medina. Public spaces crop up between the different constructions which are then used as the focus of public life, the Souks It is architecture without an architect, functional and organic in con- ception and with an unexpected design.

A door with Andalusian ironwork and zelligh (al-zulayj or tile). ering the buildings with profuse ornamentation and new decorative motifs.

All of this is contained within the walls of the Medina. Standing in front of these walls, you may ask yourself: What is on the other side? What mysteries is it hiding? What treasures is it protect- ing? Who do they belong to? It is then when the invisible city calls us and begins to tell us its his- tory through its architecture, urban planning and decoration which, without a doubt, is al- ways full of colour. Tetouan is the whiteness of the limestone, the silver and black of the ironwork and the green and brown of the wood. Tetouan is the colour of the Andalusian zelligh and of the Ottoman decoration. Tetouan is also the colours of the Souk, the Jebala hat, the silk and slippers, the woodwork and of Bertuchi’s paintings.

The Squndo water is a drinking water supply system which comes from the underwater springs that can be found between Bab al-Maqabar and Bab Nauder. This sys- tem was set up in Tetouan during its founding years and was steadily extended in accordance to the growth of the city. The etymology of the word squndo is unknown. It doesn’t seem to come from the Arabic language. It could be a derivative of the surname Segundo, a family that were in charge of the system for many years. It could also come from the word Escondidas (hidden), as the system was hidden below the ground or from the word Segunda (second) due to the fact that after the installation of the new system in the 2oth century, the old system was no longer used (e.g. second-rate). (Bab Okla Fountain. Oil painting by M. Bertuchi. Bertuchi Family Archive). was steadily extended in accordance to the growth of the

mosque in the city, although it was rebuilt in the

From Feddan Square, we head into the Medina through the Bab Riwah or Gate of the Winds, located in the southeastern corner of the square. Our journey starts on Hayy Ahmed Torres Street or Tarrafin, a name that refers to the shoemak- er’s trade union. The Shoemakers used to line this street and were in their vast majority of Jew- ish origin. It is a very busy thoroughfare because it connects the new city (Ensanche) with the Medina, hence its commercial character. Turning left, you will find Kasdarin Street, the old boiler works, which opens up into an area called Suq al- Hut al-Qadi which used to be an old Souk which sold fish. or Tarrafin, a name that refers to the shoemak- er’s trade union. The Shoemakers used to line

Near the area surrounding the Kasbah you can find a beautiful and quiet space known as Bugan- villa Square or Usaa Square, a place for which Mariano Bertuchi had a soft spot. He painted

View of the Sidi al-Mandari Kasbah from Garsa Kebira. Oil painting by M. Bertuchi (Bertuchi Family Archive). Zayat Funduq and the Luqash Mosque

In this oil painting, Mariano Bertuchi reflects the in- tense daily activity in Usad Square. As well as being used as a passageway to reach other parts of the city, Bertuchi shows in the painting that the cafe in the square managed to retain some of the passersby (to the right). On the left, the first Casino in Tetouan is portrayed, a casino understood as a place where peo- ple would meet to have coffee or tea. It was also the place used to resolve neighbourly disputes. It was in this Casino that the idea to build an orphanage came about in 1931, which was located in the police station on the opposite side of the square. The Casino is still open. (Bertuchi Family Archive). ly, the wide streets and these small urban spaces Bertuchi shows in the painting that the cafe in the portrayed, a casino understood as a place where peo-

Oil painting by M. Bertuchi (Bertuchi Family Archive). @ Lugash is the surname of the family that founded the Mosque, governors of the city during the 18th century, originally from Andalusia. It dates back to the middle of the 18th century and was designed as a religious space, Madrasa and residence for stu- dents. The patio in the madrasa is interesting as it has the shape of a cruciform. In the mosque, the minaret is reminiscent of the aesthetical style of the Moorish minarets, far from the Ottoman influence that was al- ready present during this century. Currently, it is not in use. You can access the mosque from Muqaddam Street (M’Kadem) which is behind Garsa Kebira.

Animal skins that have been hung out to dry in the Tanneries. @ Next to the Muslim Cemetery, towards the east, you will find the Jewish Cemetery. It is particularly interesting due to its personified tombs which, together with those that can be found in the Cem- etery in Chaouen, are the only ones in this area of the Mediterranean. You can access the cemetery from the city’s other northern gate, Bab Jiaf, a name which refers to the Jewish, as it was only opened for funerals. @ Next to the Bab Magabar Gate, you can find the tanneries which have been here since the 16th century. Here the tanners or leather workers (dabaguin) and dyers (sabbaguin) worked on an elaborate process which is done outdoors in cir- cular pits made out of brick, and other square pits dug directly into the ground. All of the pits are con- nected by a system of channels which carry water from the Squndo. The raw material used is mainly

Muslim Cemetery next to Bab Maqabar. In the centre, the Sidi al-Mandari Mausoleum.

Al-Rabta Mosque, next to the Seven Riots Alleyway, the narrowest in the Medina.

@ Sidi Saida Zaouia. It is one of the most beautiful Zaouias in the city. Bertuchi painted it on numer- ous occasions and he even restored it. The Zaouia is not blocked by any other buildings and can be seen in its full splendor, including the Qubbas and the attractive varnished tiles on the minaret. of the Patron Saint of the city in the 13th century.

Bab Okla. Oil painting by M. Bertuchi (Bertuchi Family Archive). Museum. However, the street itself is also a sam-

Tiles on the minaret of the Sidi Saida Zaouia. the eastern part of the Medina with the new city.

One of the most attractive, vibrant and colourful walks that you can go on in the city is along the following streets: Bab al-Okla - Masdaa - Saqiya Fawquiya. This is a route that will take you from east to west in the southern part of the Medi- na, connecting the Bab Okla Gate with Tarrafin Street. Anything can happen in these streets that are full of food stalls selling meats, fish, fruit, vegetables, bread, dairy products, spices and legumes. All of these products are sold in bulk, pieces, crates, stacks or other types of contain- ers and measurements. You will also find Zaouias and Mosques on this route, along with the en- trance to the main street of the Suwaiga District (Suika) or Street Market. Fawquiya. This is a route that will take you from east to west in the southern part of the Medi-

The street that heads from north to south in the Mellah. It is full of businesses that deal with the preparation of silk garments. The streets in this area are very strange as they form a maze like pattern. This was intentional

Nacional Hotel, a place where many artistic events were held. In 1953, an event was held as a tribute to the Nobel Prize winner for Literature at the time, Vicente Aleixandre. It was attended by dif- ferent writers and poets.

Market. A building was constructed in 1916 close to Espana Square which would be the location for the Market and a square with a garden called Alfonso XIII. At the beginning of the 40s, the architect Casto Fernandez Shaw demolished the building, removed the gardens and built a new block. (Collection of Postcards edited by Cremades).

Mohamed Torres Street. (Collection of Postcards edited by Cremades, 40s). It took approximately 40 years to build this new and beautiful city, a beauty which is even more evident as the years go by. It is an example of the Spanish period in Morocco which has been faccciliced in time like a ctage cet or a nNhotoesranh.

Neo-Arabic style. The new arrivals could see a re- semblance between the culture and shapes that they found in the Medina, with the Andalusian art from the peninsular. They understood that these models could be applied in the new build- ings, thus respecting the aesthetic of the Medi- na. The architectural heritage in Tetouan was a source of inspiration, as was Caliphal Andalusian, Almohad and Nasrid architecture. At the begin- ning of the 30s, these styles were used less and less, although they can still be found in the archi- tecture from the Spanish Protectorate period. As far as the European tendencies were con-

In contrast to cement rendering, plaster, sgraffito, exposed bricks and tiling that was used during the first few decades of the 2oth century, the local law from 1930 ordered more sim- plicity in the exterior walls of the buildings and for them to be painted white. Building designed by Carlos Ovilo in 1927, Yusef Ibn Tachfine Street. 50s became the expression of modernity.

The Machouar, Fedan Square, Palacio Square, Espana Square and currently, Hassan II Square. This urban space has had many different names as

because it has always been an extension of the Medina, and functionally, because it was adjoined to the city walls and represented the beginning of the Ensanche’s new road network, leading onto the main Avenue. In order to improve the connec- tion between the two parts of the city, a stretch of the city wall between Bab Tut and Bab Remuz was demolished. As a consequence, districts such as al-Ayun, Trangat, Mellah and Tarrafin Street were directly connected to the Square.

In the dense atmosphere of dark cafés the men watch the morning pass by vith a sense of boredom and sweet indifferenc

Feddan Square. Celebration of the Feast of the Sacrifice (Aid al-Kebir). Parade of the Guards in front of the Caliph, pro- tected with a sunshade, opposite the Sidi ibn Aissa Zaouia. Oil painting by M. Bertuchi (Bertuchi Family Archive).

@ Union y El Fénix Building. This building wa: designed in 1945 by the architect F. Canovas de! Castillo and is located in the same block as the gar. den designed by Bertuchi and Lescura. It is bot a sober and eclectic building. Its appearance anc architectural features, such as the arcade which runs along the ground floor, are in line with the Of ficialist architecture from Francoist Spain. Withir its monumental character, we can highlight the central tower, an element which has been clearly influenced by the architect C. Ferndndez Shaw, and that contains the sculptured emblem of the insurance company La Unidn y EI Fénix Espafo. (Union and the Spanish Phoenix). The embler was sculpted by Saint-Marceau and dates back to 1911. It is a very common feature in Spanish cities and is always perched on top of a building. @ Building from 1916 by Carlos Ovilo. The glazed balcony stands out on this building which includes a wealth of modernist touches. Its circular shape da sober and eclectic building. Its appearance and

This square can be found between Fedan Square and Mohamed V Avenue. It is yet another exam- ple of a public space that connects two worlds. Whilst it does have more of a taste of the En- sanche, we can still find a narrow covered street that takes us into the hearts of the Tranqat dis- trict and to the Muley Abdelkader Zaouia. The minaret of the Zaouia and the tiles that decorate it, were a result of the work carried out by Ber- tuchi and his school. Furthermore, this square gives us a journey in time through the Archeo- logical Museum, an essential visit for history lov- ers with treasures from all of the ancient cities in northern Morocco, covering prehistoric times up until the 16th century. The 20th century provides us with exemplary architecture with the Union y EI Fénix building and the beginning stretch of minaret of the Zaouia and the tiles that decorate

Monamed V Avenue, where the arcnitect Car- los Carlos Ovilo designed two circular building facades. A) Pe Of ee

back in time. Wandering down this street is like

The Heart of the Ensanche 3, Mohamed V Avenue

@ Apartment building known as the Pasaje Benar- roch (Benarroch Passage), as can be seen from the writing on the entrance. It serves as a ground floor premise and was designed by José Gutiérrez Les- cura in the 20s. In addition to the Modernist deco- rative elements, such as the windows and metal work, the appearance of the building is refreshed with new Art Deco style touches. These include the decorative design on the upper part of the building and the use of compartmentalised arches on the tops of the doors and windows on the second floor.

Apartment building, corner of the Baeza Passage. M. Bertuchi House.

as can be seen from its current appearance.

It is commonly known as Primo Square due to its original name Primo de Rivera Square and was built in 1932. It was designed as a rounda- bout where six roads join together. However, it is much more than just a space dedicated to traffic management. In addition to housing, various public buildings were also constructed here. These included the Post Office, Church and Maristas School. The latter is the oldest building in the square, dating back to 1919 and designed by Carlos Ovilo. Although they differ in style, they each have a monumental character thus giving this square a big architectural personality. @ Two architectural opposing languages mark the entrance to Mohamed V Avenue from the square. On the left-hand side of the Avenue is the build- ing which houses the Post Office and the Spanish Consulate, with its concave facade that has been adapted to the shape of the Square. It dates back to 1949 and was designed by the architect Juan Ar- rate Celaya and again makes use of an arcade. It is designed in the style of a Neo-Herrerian Court, in keeping with the Officialist architecture of the Fran- coist Regime in Spain. This is evident in the use of stone with bossage, providing a stark contrast to the white walls. It combines these features with two Neo-Barroque facades.

Apartment building by the developer Salomon Benadal.

of tiles. The interior of the church is distributed find some surprises, such as the first Post and

The building at the corner of Mohamed V with Sidi al-Mandri. @ Building on the corner of Mohamed V with Sidi al-Mandri, by Carlos Ovilo Castelo, 1928. It is eclec- tic and “arabized”, very academic in the resolution of the facades. The middle section and the corners are made to stand out by cornices that open up like a fan, highlighting the importance of the building. He plays with colour, designing the keystone of the arches in exposed brick and geometric tiles. How- ever, the most interesting decorative features of the building are the corbels and the frieze, which run along the top of the cornice and are decorated with Nasrid lobed arch relief and mocdrabe. @ Building on the corner of Mohamed V with Sidi al-Mandri, by Carlos Ovilo Castelo, 1928. It is eclec-

@ In Aljazaer Street, both the Medina and En- sanche connect and live together in harmony. The wall encloses the life of the Medina, but it can’t do anything to stop it from spilling through the Bab Tut Gate. Although it isn’t the original Gate, which was moved in order to let the trolleybus pass through, it is a smaller version that used to be lo- cated next to the original. It was known as the Mul- berry Gate or Strawberry Gate. During the Spanish occupation in 1860, it was known as Cid Gate. It used to open up onto the road to Tangier, welcom- ing the visitors along with the fountain that stands next to it. It connects the al-Ayun and Tranqat dis- tricts of the Medina. Opposite the Gate, you can find the Medical Dispensary, a Neo-Arabic building that dates back to 1919, designed by José Gutiérrez Lescura. It is one of the places where you can enjoy the union between the Ensanche and the Medina, and where the differences are obvious. Fn,

Avenida Cinema in Al-Adala Square. Buildings in the western stretch of Mohamed V Avenue- Neo-Arabic and Art Deco style (above). Officialist Neo-Hererrian style (below).

@ One of the most renowned theatres in Tetouar during the Spanish Protectorate period was the Espanol Theatre. It was built in 1923 by the archi tect José Gutierrez Lescura. The Neo-Arabic style facade was designed by Mariano Bertuchi using lobed mixtilinear and horseshoe arches. The cur: rent appearance of the building is due to the reha bilitation that was carried out in the 40s by De la Quadra Salcedo. He completely changed the origi. nal design, succeeding in making the building fit ir with the styles at that time.

large horseshoe arches on the ground floor, provid-

ish architecture from the end of the 19th century.

@ Just in front of the train station you can find the Mulay Rachid Garden, also known as Lov- ers Gardens or Cagigas Gardens, the surname of the Inspector in Tetouan. He was responsible for promoting the development of the garden and the construction of Espafia Square. He also made various other interventions to improve the city during his stay here between 1929 and 1931. Again, it was the architect José Gutierrez Lescura and it was the architect José Gutierrez Lescura and

Watercolour by M. Bertuchi with the Sidi Abdelkader Tibbin Marabout. (Bertuchi Family Archive).

The only way to enter the Fort is through a win- An important construction from this time is Fort

An old Map showing the city next to the River Martil. (Source: F. Félix Jiménenz Zurita).

has architecture that dates back to the 20s, cov-

zaouias are plentiful, as well as being the Mu- ence: a mix of elements that make it a place that

Chaouen is mysterious for many reasons, one of these being its isolation during centuries where Christians were banned from entering. Its inhabitants arrived here, escaping the per- secution of the Castilian kings after the end of Al-Andalus. If a Christian entered the city, the punishment was death. Such was the destiny of the American missionary William Summer, who was poisoned to death, or that of the journalist Walter Harris who dressed up as a native Riffian, managing to stay for one night. Only the French- men Charles Focauld was able to write various accounts about the city in 1883, pretending to be Jewish and accompanied by the Rabbi Mor- dechai Aby Serour. These accounts were later detailed in his book Reconnaissance au Maroc (ajourney to Morocco).

ee OO” Why the city was built here, is due to strategic reasons. The area is so hidden away that it could be used as a base to launch offensives against the Portuguese who used to attack the cities on the coast of the Maghreb. The history of the city begins in 1471 with this Mujahidin. However, following the death of Abu Yumaa, it was his cousin, Ali ibn Rachid, who re-launched the city changing its location to besides the Ras al-Ma natural spring. He started by building a Kasbah and a walled settlement where the Andalusian families who came with him could live. The area today is called the Suiga district. Uta al-Hammam Square. View of the Kasbah and the Mosque. Watercolour by M. Bertuchi in 1920. (Bertuchi Family Archive). families who came with him could live. The area

Walking through the Medina, the mountain is always present. It makes you want to shout out loud and wait for the eco in the infinite silence that surrounds the valley. A silence that is bro- ken only by the murmuring of the Chauni people and the visitors passing through, a murmur that scarcely leaves the walls of the city. It is calm and jovial and passes slowly by, like time in this city. In Chaouen, time seems to be at a standstill. Every part of the city appears to be the same as it once was many years ago.

Due to its size and the fact that it is home to the Kasbah and the Great Mosque, the most emblematic buildings in Chefchaouen, its relevance as a symbolic space cannot be challenged. Since it was built, it has served as a meeting point. For centuries the Souk (Arabic market) was held here, attracting people from neighboring villages and cities. The Souk disappeared and life continued its course. The square was used for sporadic celebrations and various small business and coffee shops appeared. Perhaps, this is the only place in the Medina where time has not stood still. it was built, it has served as a meeting point. For later on, stands out due to its appearance. It is very

@ Gran Mezquita or Yamaa al-Kabir was built in the 16th century, although various changes over time and the addition of the Madrasah (mosque school) have erased its original identity, leaving it with an entrance porch from the 20th century. The octagonal minaret gives the mosque a distinctive appearance. It dates back to the end of the 17th century and invites you to spend time observing its elaborate decoration.

Starting from Uta al-Hammam Square, you reach this district from the gardens that are located behind the Kasbah (Sidi ben Lahcen Street). It is also accessible from the Qadiriya Zaouia, down the lively Qadi al-Alami street, whose commercial character can be seen on many of the main streets in the district, reminiscent of its past as an alcaiceria (old street market). Its name means small market, referring to the stretch of the street that is protected by gates and that used to be open during trading hours. This was where the valuable merchandise could be found. Today, the small shops can be found on both sides of the street eclipsing the building walls. Typical merchandise sold here included djellabas made from wool and in general linen fabrics and cotton. These were traditional crafts that were predominant in this district, hence the fact that many textile mills were located here. Next to the main streets, be careful not to get lost in a multi- tude of dead end alleys (adarves). The only warning is from the benches that are fixed onto the front of the buildings.

Djellabas and hoods are typical parts of Chauni fashion. Those that are made out of wool in natural colours are the most characteristic. In the Suiga district, some of the most Medina’s most beautiful zaouias can be found. These include Sayyida al-Hurra, located next to the Kasbah gardens, Mulay Ali Shaqur, which is hid- den in an alleyway or Sidi al-Hayy al-Sharif, lo- cated next to the alcaiceria and which is also a Mosque. In the narrowness of the streets, the minaret of the ibn Yelum Mosque cannot be seen. However, the spirit of the 15th century is not lost as very nearby you will find the (Bab) al-Himmar Gate from the same period. Its gets its name from the colloquial word for donkey, as it was the place where merchants would arrive from other cities with their goods being carried on carts pulled by donkeys.

In southern part of the district we find what used to be the Mellah or Jewish quarter. The Se- phardic Jews moved here around 1760, forced to leave their homes located outside of the city walls due to attacks from neighbouring tribes.

al-Mawgaf. The translation of the name means |

@ The Interior of the building that was construct- ed to house the Chaouen Carpet School, an or- ganisation that was run by the School of Arts and Crafts in Tetouan, of which Mariano Bertuchi was once Director. It was built in 1943 in an area full of vegetable gardens. It was built in typical Andalu- sian style with a patio and balconies on two levels. The School was opened in 1928 and was originally located in an area within the Kasbah. In 1934 it was moved to the Fundug in Uta al-Hammam Square. Similar to the school located in Tetouan, its main purpose was to preserve the local Crafts. However, in the school in Chaouen, there was a fo- cus on fabrics, especially carpets, dejellabas and aprons. Currently it is being used as a cultural cen- tre and library.

A house outside the city walls in the Bab Sug district from the Spanish Protectorate period. The view from outside the city walls at the beginning of the Spanish Protectorate. The Espla- nade where the Souk was held on Mondays (Sug al-Ithnin). debate that is often held by the people who live

cus on fabrics, especially carpets, dejellabas and

Detail of the roof of the Sabat which can be found in the entrance to the Al-Andalus Mosque. Carved woodwork with typical Andalusian tracery. y. Rif Al-Andalus District

The Lakael Mosque (left) and the al-Onsar Mosque (right). Today it is a quiet residential district, something which is only disturbed by the noise coming from Hassan Awal Street. Hassan Awal Street ignores the slopes of this area, continuing its cross-cut- ting course towards Bab El-Onsar. It is charac- terised by its blue walls with splashes of typical Chauni colours. Here you can find some beauti- ful Mosques such as the Laqael Mosque, located on the border of the Rif al-Andalus district, and the Al-Onsar Mosque, located at the end of the street. Halfway down Hassan Awal, you will find Zaitun Square, an urban space which is full of history and mysticism. The Square has an olive tree that has been a witness to the evolution of the city over the last century, a sole survivor of the old cultivation plots that used to exist inside the city walls. An oven and a tannery occupy this area. There is always something happening here. It is an area that encourages you to relax and is often frequented by children playing games.

@ The Qenitra Square (Qunaytara, the small bridge) is one of those places that you always come across, but never know exactly where it is. It was built here due to the water canal that ran through the area. A fountain was built and the area around the fountain was preserved, creat- ing the square. It is an area that receives a lot of visitors. In the past it was more of a meeting place thanks to the fountain, craft workshops, bakali- tos and small businesses that attracted and enter- tained the local population.

A walk along the side of the river is extremely rec- ommended. The river itself is a vital part of the city, not only providing water to the canals, which in turn supply the fountains and houses, but also as a source for watering the gardens and orchards, for washing, for the oil and flour mills and finally as a place to swim and keep cool in the summer. ©

Sebanin Square with the Sebanin Mosque in the background.

ty of the new millennium. The Sidi Ahmad al-Wafi

This modern city was small in size. The first city plans were developed by the military engineer Miguel Garcia Herran in 1928. It was the architect Manuel Latorre Pastor who developed a second proposal which he based on the original plans, and on the military buildings that already existed around what would be the future main square, such as the Mehala de Gomara or the Military Intervention Office. It was this second proposal, developed in the 30s, that defined the current

The Spanish camp, shortly after their arrival in 1920. | is located to the west of Mohamed V Square and is nov the location of the Provincial Hospital. In those days the square was a training area. A Church opposite Es pana Square, at the end of the 30s (Domingo Out6n Archive). planning, architecture and functionality. A new

Mausoleum and Mosque of the founder of Chaouen. the southern perimeter of the Medina. @ Mausoleum and Mosque of Mulay Ali ibn Rashid, founder of the city state of Chaouen and Governor between 1471 and 1511. He was named Saint for being a defender of faith and for being a descendant of Mulay Abd al-Salam ibn Mashish, head of western Islam. He was born in a Rif farm- house close to the future Chaouen. He travelled to Al-Andalus to learn the art of war and combat in order to fight against the Christians who were at- tacking the Nasrid Kingdom. Upon returning to his homeland, he continued the fight against the Chris- tians that attacked the Moroccan coast.

Urban Planning Office, from 1944. It was the General Inspec- tor’s house and follows the model of a Garden City house.

Advert for the La Valenciana Transport Company. It cove- red routes throughout the entire area under the Spanish Protectorate. church and just in front of Hassan II Avenue.

@ The most striking building in the Square was home to the Officials Club and the extreme right wing Spanish party, La Falange. It was built in the 30s and stands out for its Neo-Arabic style. It has many eastern details, providing a stark contrast to the other buildings that can be found in Square, which are of a more functional nature.

The Mehala de Gomara building. This building lacks the sloping tiled roof and has a flat roof with a parapet instead.

Without any stylistic pretentions and with a re-

power station and the Wad Law River Gorge. approximately 5 km along the Chaouen road.

Remains of the Portuguese Tower on the beach in Targa.

buildings such as the Sidi Husayn Marabout or the unique Tagassa minaret, which can be con-

To this outline of beauty we can add the charac- ter of its inhabitants, warm like the climate and welcoming like the bay. Al Hoceima is fusion and cohabitation, it is Riffan and Spanish, it is both a seaside and a mountain city. Life here changes from the quiet and tranquility during the winter months, to a valued tourist destination in the summer. It is a city of satisfaction and wellbeing.

spoken including Spanish, Tamazight (Tarifit in its Riffian dialect), Maghrebi Arabic (Darija in dialect) and French. The city continues to grow and impro- ve services for tourists. The historic city centre main- tains its main streets and squares, constantly impro- ving with the addition of new public spaces. Despite the serious earthquake in 2004, examples of historic architecture are still conserved. This transports us back to the years when the city was founded, a me- mory that must be protected. The Port of Al Hoceima with Cala del Quemado in the background (above). Rif Square, 1952 (below). (Source: Al Hoceima Regional Council).

Cala del Quemado is a bay that represents the origins of the city. Following the arrival of civilians, mainly from Malaga and Almeria, the place was transformed into an area that was fit to live in: Cala Bonita, the Port, Rif Square, the districts and the buildings necessary to create the new city. Obvi- ously, we cannot miss out those buildings that were used for leisure activities such as the Great Florido Cinema, the Spanish Theatre-Cinema, the Andalusian Theatre and also the bullring. Since the independen- ce of Morocco in 1956, many languages have been

The unmistakable footprint of Blanco Izaga can be seen in the architecture in Al Hoceima. He was assigned here as a military Inspector for al- most two decades from 1927 to 1942. It was here that he developed his military and political ca- reer and also his talent as an ethnographer, ar- chitect and artist. He was an inspector in various areas of the region such as the territories that belonged to the Beni Seddat, Beni Aammart, Beni Urriaguel or Bocoya cabilas (or tribes). This provided him with a wealth of knowledge which he expressed in his ethnographic, anthropo- logic, social, cultural, artistic, linguistic studies (amongst others), never missing out any of the information that he had gathered. Rif territory, political division during the Spanish Protectorate. On the left, the Gomara territory, today called the province of Chaouen, where he started his career in Al-Jehba (Puerto Capaz).

This triangular shaped square was the first urban space to be built in the city and dates back to the 1920s. This square seems to attract people like a magnet and, over time, it has been used for vari- ous different activities including the Military pa- rades that used to wake the city up every morn- ing, religious and local celebrations and cultural events. Various hotels, bus offices, restaurants, cafes and banks have chosen this place to set up their offices. Trina Mercader, 1951. “A Villa Sanjurjo: ciudad con vocacion marinera”’.

From tne Morro Viejo (Dha Na Tzamourth, Old Muslim in English) viewpoint, you can see the bay and city of Al Hoceima. It is from here where you can appreciate how the architecture cre- ated by the sea magnifies and makes this city unique. It is a privileged spot from where you can fully understand the surrounding area. The panoramic view is like a history book, where every small bay, every bit of land that sticks out into the sea and every rock come together to create a novel: from its historic past and the city of Nakur, located opposite the Al Hoceima Rock, to the Sebadilla beach, location for the landings in 1925 and which hides behind the Morro Nuevo ravine. At its feet, you can find the Port and the city, which open up to the sea in Cala del Quemado, the urban origins of the city. Anytime is good to go for a walk along this route, however, we recommend the evening when the fishing nets are being put out, as it is at this time when it really comes to life: people walking, talking and deep in thought. You really get a feel for the unmistakable seaside charac- ter of the place.

Espana Square, 1953. In the background you can see the San José Church, the Catholic Mission and the Spanish School Group. (Source: OMAU).

Decorative detail on the balcony on the facade and the insi- de of the old Inspection Office.

is varied and where the main theme is undoubt- edly the sea. is varied and where the main theme is undoubt- edly the sea. You can still find architecture from the Spanish period such as the Custom House, located out- side the Port area, and the Fisherman’s House, which maintains its welcoming curved corner with arches. despite having been refurbished.

6. Tarik lon Ziyad Avenue: Blanco Izagas Architecture with arches, despite having been refurbished.

Decorative detail of the front of the Mosque. One of the sources that Blanco Izaga used to create the Riffian style were Pre-Columbian cultures. @ Masyid al-Atiq Mosque, meaning the old Mosque, was the first to be built in Al Hoceima at the end of the 1930s. From the original design by Blanco Izaga, only the main part with its jagged battlements, the facade and the staggered win- dows remain. The minaret was replaced in the 80s, the original used to be in the opposite corner of the building. Far from the current style, Blanco developed a sloped space where the aesthetic elements “Berberised” the most representative symbol of Islamic culture. It is similar to his other Mosque designs such as those found in Axdir, Imzuren and Sneda. This minaret is the aesthetic summary of what, according to Blanco, the Riffian world could represent. summary of what, according to Blanco, the Riffian

Original minaret from the Masyid al-Atiq Mosque (Above) (Source: Al Hoceima Regional Council). The Mosque and its cu- rrent minaret (Below).

Rationalist approach from the end of the 20s. The design is simple but very dynamic. It is rectan- gular with a powerful curved wall that overlooks the sea, closed in by windows which emulate the prow of a boat. Finally, there is an exterior railing which marks the end of the roof. The cantilevered part of the jagged cornice makes up for the lack of decoration. The surrounding area adds to the sense of movement that the building gives off. It crowns the hill of a pine forest where you can also find other elements such as terraces, pathways and balustrades, along with a set of decorative ir- rigation canals.

and balustrades, along with a set of decorative ir- The architecture of the sea in the Sebadilla bay. End of the journey.

In the background, the Vélez de la Gomara Rock. This story of the beginning of this city takes us back to the start of the 8th century. However, before this, it is thought that a Roman settle- ment was located here. It is possible that the location of Parienta, which appears in the Anto- nine Itinerary, may coincide with that of Badis.

In the background, the Vélez de la Gomara Rock.

Example of a type of house in Beni Bufrah. chitectural style, and is exactly the appearance

Mosque that was designed by E. Blanco Izaga. Sneda

lection of postcards and a book by Henri Terrase were enough for him to get to know this territo- ry and for him to forge his own idea on the styles used there, styles which he would later combine with others.

The’Kasbah in Sneda, drawing by M. Bertuchi, Africa Magazine, 1926. handing himself over to the French Army.

The Rock of Al Hoceima opposite the Sfiha beach.

Remains of the Inspection Office in Axdir. The remains of the Inspection Office in Axdir tell us that it was a building that was construct- ed in harmony with its surroundings. It is with- out a doubt a unique construction which can be related to the archaism of the Greek Doric Order, due to the constraint and the monu- mental conception of the structural elements. Although it doesn’t have columns, the pillars and their quadrangular capitals remind us of a mixture of ancient styles mixed with Art Deco, whilst the colour pallet transports us to the island of Crete.

tions with the southern coast of Al-Andalus. It was a Salihi Port from the Emirate of Nakur, and was built at the end of the 8th century. After the destruction of Nakur by the Almoravid Com- mander Yusuf ben Tachfin in 1081, al-Mazamma became an important Almohad city.

The Architect Inspector unraveled his conceived and elaborate imagination and incorporated it into every detail. The recuperation of the primitive architec- tural styles is translated into simplicity, spontaneity, basic and pure geometry, the apparent chaos of asymmetry in the combination of spaces, the typological diversity of the openings; and, as unques- tionable features of his work, the sloping walls which give the sensation that he wanted to reach the sky, the flat roof with an overhanging cornice, the pyramid-base shaped spaces and the primitive and tribal geometric decoration. tural styles is translated into simplicity,

Nador has always been a city with a lot of tem- porary settlers, mainly due to strategic reasons. We do not know when the stable settlements started. However, we have to wait until the 16th century to have the first documentation on the area which informs us about the ovens and, later on, the Yamad al-Bayda Mosque (Mayor Blanca Mosque, as it is better known). In the surround- ing area of the Mosque, various Rifhan hamlets were established and spread out around the lake. It was one of these hamlets, Ait Nador that would give the city its name. Next to one of these hamlets, the first urban set- tlement was developed by the Spanish, the ori- half of the 20th century. It is the last stronghold which has grown excessively during the second

The Spanish Administration referred to this Shari- fian area of Morocco as the Eastern Region, and later on as Quert. Nador became capital of the region in 1934, under the name Villa Nador.

The city of Nador and its small grid, continues to be a place that is very habitable. The Official’s Room in the Headquarters of the Regulares. It can be found leaving Nador, outside of the grid.

Rationalist building, first half of the 30s. Char- acteristic elements such as the horizontal alignment of the building facade or the rup- ture of the interior spaces.

cially after the 40s with the Officialist style. The facade of the sail ing club in the shape of the keel of a boat, an example of the Machine Aesthetic movement in Nador.

© Sailing Club. It is without a doubt the most emblematic building in the city, both for its appearance, as for being the centre of social activity in Nador. Its design follows the Machi- ne Aesthetic movement and the aerodynamic models of the Art Deco style which treat buil- dings as if they were plastic objects. Although the building itself is simple in terms of space and size, the impression it gives is very effecti- ve, posing like a boat anchored in the sea. If you look at it from the front, it even appears to be moving. It was designed at the beginning of the 40s by M. Latorre as a place of refuge for the

Mohamed Avenue comes to an end on its western side at Liberacién Square, the location of the old Headquarters of the Quert Regional Inspection. © Old Headquarters of the Quert Regional Ins- pection. It was designed by M. Latorre Pastor at the beginning of the 40s and formed part of the urban design of the grid. The central part of the building is flanked by two modeles which stretch out as lateral wings. The building and its hori- zontal design represent a beautiful end to the Mohammed Avenue. From the original design, only the central part of the building and the facade remain, although altered by the addition of a new balcony. The original design has been changed in order to improve the city’s mobility, in an attempt to connect the historic city centre with the modern city from the 21st century that grows behind it. Without wanting to distance itself from the Art

An apartment building opposite the church, built in a Rationalist design. © Board of Social Services. It was built at the be- ginning of the 40s and has a beautiful design. The most interesting feature is the central part of the building which was constructed in the style of a tower-viewpoint which stands out from the facade, creating a counteracting effect to the horizontal sides of the building. This effect is even greater due to the wooden gallery balcony which is reminiscent of colonial American architecture. The tower is the highlight of the building and it is here where you can find the decorative detail. It stands out due to its concave chamfers which are broken by a balcony which is decorated with mouldings that accentuate its vertical form.

al-Qaysariyya Street, Alcaiceria Street, with the front of the As: salam Hotel to the left. out for its curved corners which take us back to the aerodynamic Art Deco era of the 30s. Once again, the building is understood as a plastic visual object that gives us the impression of movement. This is mainly due to the upper pentice which is set back, the exaggerated cornice and the balcony which breaks up the different spaces. It is in line with many of the Rationalist ideas of the late 20s. Even the colours used were very common in Tradition- alist architecture. Furthermore, due to the lack of extra decoration on the front of the building, it has flat walls.

circular window on the side of the building that backs on to the pedestrian street. que. It stands out as much for the height of its

Views towards the mountains of the Uixdn mines, taken from Gurugu. Barracks of the Resulares of Se- ganean and the Sidi Yusuf Marabout

Not very far from the Barracks and along a dirt track that starts at the Tarka Arrabal or sub- urb, you can find a Marabout that is shared and adored by two religions. This is the Sidi Yusuf Ma- rabout for the Muslims and the Rabbi Sadia Edaty Marabout for the Jewish. According to tradition, this Sephardic Saint from Seville fled the city in 1239 after a massacre of the Jews. He set off by boat and headed towards the east together with seven other men. Unfortunately, bad weather made their boat sink. However, they were lucky enough to reach these shores alive.

Plaque at the entrance of Fort Ntra. Sra. del Carmen, in Uixdn.

The timetable of the train that ran between Melilla and the mining settlements. The minerals were transported by aerial trolleys and by train. There is still some evidence that this infrastructure existed which helps us to piece to- gether this historical puzzle. You can also find the remains of other things such as loading bays, the tracks on which the minerals used to be transport- ed, entrances to the mines and sulphuration fur- naces which were fuelled by anthracite that was brought here from the Yerada mines near Uxda, located in French Protectorate territory. All of these elements can be found along the different dirt tracks which lead us to the mines and the Min- eral deposits such Saint Daniel and Saint Tomas.

Remains of the infrastructure used by the trains. eral deposits such Saint Daniel and Saint Tomas.

Three more forts were built between 1908 and

Key takeaways

The city isn't only a physical space.
At the same time, it was considered as an independent city from the Medina, with a small neighbourhood of houses that was built in the 12th century.
His first saw the city from the sea.
To this day it still remains a small city.
This modern city was small in size.

Ingrid Calvo Ivanovic, Claudia Mastrantoni

Proceedings of the International Colour Association (AIC) Conference 2021, 2021

This paper presents Mnemosphere, an interdisciplinary research project that investigates how the memory of places can be designed and communicated through experiential spaces capable of stimulating emotions. The research reflects on memory enhancement for the design of temporary exhibition spaces within the atmospheric dimension. It is approached with a particular focus on the topics of colour and emotions as one of the leading research axes. Through a visual research methodology, the project proposes the creation of ‘emotional landscapes’ related to the atmosphere and memory of places: rationed thematic atlases made up of images collected through a massive Open Call. The result is the translation of formal characteristics of the images (figurative, geometric, organic, abstract, among others) towards purely chromatic information by identifying the most recurrent hues of every atlas while paying particular attention to brightness and saturation, as these two colour properties are also fundamental for semantic purposes. The ultimate aim of the research is to define the morphological elements that represent the collective and individual memory in a system that could allow the further codification of parameters and guidelines for design practice.

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The Memory Places and Color: The Methods and Practices of Color Use in Ethnographic Research

Hasan Işıklı

Jednak Książki. Gdańskie Czasopismo Humanistyczne

Nowadays art festivals engage more to organize their events in unusual places. Either for the sake of city branding or a pure cultural memory action, a performance might be set in a forgotten memory place. The place which is distinguished sharply by a comfortable concert hall becomes one of the actors of the event and the participant questions a past that s/he hasn’t been strongly connected. Thus, the individual is not only aroused by the performance itself and the information in the booklets but also physical environment has an affect. This article aims to tackle the contribution of color as an instrument of data collection in qualitative research. By using color tablets inspired by the colorist Kobayashi the colors are tested firstly as a visual to learn how they make sense in Izmir during International Izmir Festival. Secondly, they are questioned how the participants embed colors’ senses to the memory places where they attended to the concerts. The research process indicates tha...

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The Touristic Art of Memory

jorge blasco gallardo

tourismes

the analysis of souvenirs and travel objects has filled many a page of postcolonial studies. In the majority of cases the focus has been the impact that the presence of the “invader” has had on the means of production of those “invaded”, to illustrate how artisan subsistence has given way to a technological or mass-production line approach. When this was not the case, the analysis has focused on the way communities and groups have been obliged to represent themselves through their objects and how that fictionalisation of identity has in some cases led to its demise, in others, to its affirmation and in many others, to a direct invention of the group identity

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Michel Pastoureau, The Colors of memories

Hans Rindisbacher

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Memory, Materiality and Tourism

Sharon Macdonald

Major Concepts in Tourism Research, 2008

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On the Colours of Memory and the Memory of Colours

Ingrid Calvo Ivanovic

Mnemosphere: Designing a Neologism between Memories, Emotions and Atmospheres, 2024

This chapter delves into the interplay between colour and memory from a dual perspective. The first perspective explores how colour is a potent conduit for human memory, fostering object recognition, heightening attention, and triggering emotional responses – all pivotal processes for enhancing memory performance. Also, it reflects on the portrayal of memory and flashbacks in the collective imagination, particularly in cinema, where black-and-white depictions have been the norm. However, research indicates that memory recognition is notably more accurate for coloured stimuli than their black-and-white counterparts. The second perspective probes into the fleeting and subjective nature of colour memory. It uncovers humans’ challenges when precisely matching or recalling specific colours, even mere seconds after perceiving them. This exploration elucidates how certain colours are more indelible in memory than others and how properties like hue, lightness, and saturation may impact this phenomenon. Also, the concept of “memory colour” – the quintessential colour associated with canonical objects like the yellow of a banana or the green of grass – is presented along with its complexities and advantages. Lastly, some concepts discussed are illustrated using the chromatic visual atlases derived from Mnemosphere’s Open Call for Images.

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Ressentir à travers l’écran: sites mémoriaux, intensités affectives et matérialités numériques

Matthew Graves

2020

International audienceThis paper argues for an approach to memory sites that attends to the potential for particular affective intensities to be brought into being by and through digital screens. In doing so, we draw together recent work on heritage sites and affect with the notion of 'digital materialities', which focuses on the role of digital technologies as part of our ongoing and emergent everyday lives. We explore the utility of such a framework through a 'sensory digital ethnography' in a national memory site in France, the Camp des Milles, a state memorial and museum where individual memory intersects with local history in an atmospheric built environment. As we will show, it is characterised by particular sensory affordances and personal and historical narratives presented in part through digital screens-which together prompt complex and contingent ways of imagining and feeling the past for visitors. http://mc.manuscriptcentral.com/culturalgeog cultural geog...

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Memory in absentia: Contrasting constructions of the Hôtel Aletti in Pied-Noir and Algerian remembering

Christopher Leffler

ASMCF Conference, 2020

The Hôtel Aletti (now Es-Safir) represents a key site in the memorial landscape of Algiers. Completed in 1927, the hotel’s architecture tells a story of Algeria that celebrates colonial rather than local history; built into a pre-existing cityscape, however, and undergoing re-use and reconstruction after decolonisation, the memory narratives associated with the site are contested, complex and ever-changing. This is particularly significant to Pieds-Noirs and Algerians no longer residing in the city, for whom the hotel represents both an unstable anchor for nostalgic recollection, and a focal point for creative engagements with the past. In this paper, I will explore approaches to the site of the Hôtel Aletti by two non-resident cultural producers. I will firstly examine a community blog by the Pied-Noir organisation ES’MMA. This celebrates the hotel as an object of nostalgia, yet seeks to reinstate a homogeneous vision of the former colonial site that is incoherent with its contemporary reality, and thus proves problematic. I will then study the video installation Saphir by Algerian artist Zineb Sedira. Born and raised in France, Sedira is drawn to the hotel for similar reasons to ES’MMA’s members; nevertheless, her work explicitly foregrounds the disparate memories associated with it, engaging the site and its memory as a work in progress rather than a closed book. The chosen case studies demonstrate the role of site in remembering the absent home, as well as the role such recollections play in the construction of site and its memory narratives.

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Shades of the Eighties: The Colour of Memory

Joseph Brooker

2004

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In praise of colour in the representation of the four Imperial Cities of Morocco

Emanuela Chiavoni

EGA Revista de Expresión Gráfica Arquitectónica, 2019

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