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                  <text>Quelques rÃ©fÃ©rences bibliographiques sur l'histoire, l'urbanisme, l'architecture et le patrimoine de Casablanca...</text>
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                <text>Albert Laprade: architecte, jardinier, urbaniste, dessinateur, serviteur du patrimoine</text>
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                <text>PrÃ©sentation par l'Ã©diteur :&#13;
&#13;
L'Å“uvre d'Albert Laprade (1883-1978), bien que considÃ©rable, est surtout connue du public par la publication de ses carnets de croquis et par le majestueux palais de la Porte DorÃ©e, ancien musÃ©e des Colonies construit pour l'Exposition coloniale de 1931 Ã  Paris.&#13;
&#13;
Ce livre retrace son parcours atypique, qui le conduit Ã  travailler d'abord comme collaborateur d'Henri Prost dans un Maroc dominÃ© par la figure de Lyautey, puis pour la clientÃ¨le fortunÃ©e et souvent extravagante du premier quart du XXe siÃ¨cle en France, avant d'acquÃ©rir une vraie notoriÃ©tÃ© en tant que crÃ©ateur de jardins modernes Ã  l'Exposition des arts dÃ©coratifs de Paris en 1925.&#13;
&#13;
Viendront ensuite les grands projets industriels et monumentaux de la maturitÃ© : usines, barrages, centrales Ã©lectriques, siÃ¨ge de journal, ambassade, pavillons d'exposition...&#13;
&#13;
Son attention au gÃ©nie du lieu, son souci de rationalitÃ©, sa pensÃ©e socialement orientÃ©e, une stricte Ã©ducation classique (il est un compagnon d'Ã©tude de Jean Giraudoux au lycÃ©e de ChÃ¢teauroux) dispensent Laprade de recourir Ã  la provocation esthÃ©tique pour s'imposer.&#13;
&#13;
Chez lui pas de grands gestes, mais des architectures qui parlent, qui sous-tendent tantÃ´t une culture, une civilisation Ã  l'exemple de ses rÃ©alisations marocaines - la nouvelle ville indigÃ¨ne de Casablanca (1916), la rÃ©sidence gÃ©nÃ©rale de Rabat (1918) -, tantÃ´t un usage, Ã  l'instar du garage CitroÃ«n de la rue Marbeuf (1929), traitÃ© comme un thÃ©Ã¢tre d'automobiles ouvert sur la rue, ou encore une volontÃ© d'intÃ©gration Ã  la nature, et c'est alors le puissant barrage de GÃ©nissiat (1939).&#13;
&#13;
AprÃ¨s la Seconde Guerre mondiale, Laprade prend acte du changement qualitatif qui s'opÃ¨re dans le monde de la construction ; il illustre et dÃ©fend Ã  travers des milliers de dessins le patrimoine non monumental, celui des rues et des espaces publics, celui qui confÃ¨re du caractÃ¨re Ã  un village, Ã  une ville.&#13;
&#13;
Il laisse de nombreux Ã©crits en faveur de l'Ã©thique professionnelle, du rapprochement des architectes et des ingÃ©nieurs, de la prise en compte des aspirations du public...&#13;
&#13;
Ce rÃ©cit thÃ©matique, qui fait dÃ©couvrir les Ã©pisodes d'une vie de travail foisonnante et Ã©clectique, croise, pour le plaisir du connaisseur comme du simple curieux, l'histoire de l'architecture, de l'urbanisme et des jardins au XXe siÃ¨cle.</text>
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                <text>Norma, Paris</text>
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                <text>PrÃ©sentation par l'Ã©diteur :&#13;
&#13;
Cet ouvrage est dÃ©diÃ© aux architectes franÃ§ais Edmond Brion et Auguste Cadet, qui ont cosignÃ©, entre 1919 et 1934, des rÃ©alisations considÃ©rables, en particulier Ã  Casablanca, en faisant preuve d'un grand respect pour la culture locale.&#13;
&#13;
Architecte de Sa MajestÃ© Mohammed V et du MinistÃ¨re des Habous, Cadet a Ã©tÃ© l'auteur d'Å“uvres majeures Ã  Rabat et Casablanca, ainsi que de la rÃ©novation de la BibliothÃ¨que Nationale de la Qaraouiyine de FÃ¨s.&#13;
&#13;
Brion, architecte de la Banque d'Ã‰tat du Maroc de Casablanca, s'est aussi illustrÃ© dans sa rÃ©flexion et sa conception de l'habitat ouvrier au travers de citÃ©s telles que COSUMAR, Lafarge, SOCICA, Ã  Casablanca.&#13;
&#13;
Loin d'Ãªtre de simples exÃ©cutants, ces deux grands architectes formÃ©s Ã  l'Ã©cole des Beaux Arts ont fait preuve d'une grande ouverture et d'une interprÃ©tation gÃ©nÃ©reuse dans leur confrontation Ã  une culture et Ã  une tradition totalement nouvelles.</text>
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                <text>Meffre, Ghislaine</text>
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                <text>Il s'agit d'une premiÃ¨re et importante synthÃ¨se des travaux menÃ©s par des architectes, urbanistes et ingÃ©nieurs dans la France coloniale d'Outre-Mer. Ce travail a Ã©tÃ© menÃ© Ã  la demande de l'Institut FranÃ§ais d'Architecture et par la Mission des Travaux Historiques de la Caisse des DÃ©pÃ´ts et Consignations.&#13;
&#13;
Sont prÃ©sentÃ©s des projets menÃ©s Ã  Abidjan, Agadir, Alep, Alger, Bangui, Beyrouth, Brazzaville, Cansado, Casablanca, Conakry, Dakar, Damas, Hanoi, Libreville, Niamey, OrlÃ©ansville, Ouagadougou, Riyadh, Tananarive, Tunis et YaoundÃ©.</text>
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Test seconde description</text>
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On a longtemps abordÃ© la construction des villes durant les premiÃ¨res dÃ©cennies du Protectorat FranÃ§ais au Maroc sous l'angle des grandes rÃ©alisations d'un urbanisme d'Ã‰tat et de ses acteurs. Cette perspective a notamment mis en avant les projets des dÃ©cideurs, au premier chef ceux du rÃ©sident gÃ©nÃ©ral Lyautey et des quelques hommes qu'il avait choisis pour rÃ©aliser ses plans, laissant dans l'ombre d'autres processus parfois plus subtils. Il en est ainsi des modalitÃ©s d'application de dispositifs juridiques ou rÃ©glementaires accompagnant la mise en Å“uvre de ces mÃªmes plans. Ã‰clairer ces phÃ©nomÃ¨nes demande d'autres mÃ©thodes d'analyse qui mettent en jeu d'autres Ã©chelles d'observation et privilÃ©gient l'Ã©tude de pratiques liÃ©es Ã  des configurations urbaines Ã  la fois locales et particuliÃ¨res. Par le biais d'une approche qui s'apparente par certains aspects Ã  la micro-histoire, On se propose ici de '(...) faire apparaÃ®tre, derriÃ¨re la tendance gÃ©nÃ©rale la plus visible, les stratÃ©gies sociales dÃ©veloppÃ©es par les diffÃ©rents acteurs en fonction de leur position et de leurs ressources effectives' par le biais de l'exemple de la percÃ©e du boulevard de la Gare Ã  Casablanca. On y suivra au plus prÃ¨s les multiples nÃ©gociations entre les acteurs concernÃ©s, espÃ©rant montrer que les grands projets urbains n'ont pas nÃ©cessairement Ã©tÃ© rÃ©alisÃ©s selon le modÃ¨le canonique d'un urbanisme colonial omnipotent, Â« fondateur de villes Â» ex-nihilo. L'Ã©tude de leur mise en Å“uvre fait apparaÃ®tre un processus de Â« construction des villes Â» engageant une chaÃ®ne de nÃ©gociations et de mÃ©diations entre de nombreux acteurs au niveau local, les projets de l'Etat Â« protecteur Â» devant prendre en compte les intÃ©rÃªts des colons tout en mÃ©nageant les Ã©lites locales et leur capacitÃ© Ã  contrÃ´ler la population locale.</text>
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Nos souvenirs cinÃ©matographiques jettent un voile pudique sur la rÃ©alitÃ© contemporaine de Casablanca. Car la capitale Ã©conomique du Maroc ne va pas bien. InÃ©galitÃ©s, corruption, violence, misÃ¨re : l'avenir est lourd d'hypothÃ¨ques.&#13;
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