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                <text>Immeuble du Comptoir des Mines</text>
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                <text>art dÃ©co (style)</text>
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                <text>Le "Groupe Comptoir des Mines et Grands Travaux du Maroc", spÃ©cialisÃ© dans la fabrication dâ€™explosifs, confie Ã  Marius Boyer la construction de son siÃ¨ge en 1923, comme on peut le lire sur les panneaux de pierre de SalÃ© sculptÃ©s qui ornent les faÃ§ades. &#13;
&#13;
Lâ€™ordonnance sÃ©vÃ¨re et monumentale de cet immeuble dâ€™angle est accentuÃ©e par la galerie Ã  arcades du quatriÃ¨me et dernier Ã©tage, surmontÃ©e auparavant de pergolas en bÃ©ton armÃ©. &#13;
&#13;
Les arabesques des frises et macarons de pierre plaquÃ©s sur les faÃ§ades Ã©voquent le dÃ©cor des constructions viennoises du dÃ©but du siÃ¨cle, entre Art-nouveau et Art-dÃ©co. &#13;
&#13;
De la place dâ€™Aknoul au boulevard LallaYacout, la rue Tahar Sebti prÃ©sente une suite de bÃ¢timents, du nÃ©o-classique au mouvement moderne en passant par lâ€™Art-nouveau et lâ€™Art-dÃ©co, construits entre 1920 et 1930. &#13;
&#13;
On y retrouve la diversitÃ© des Å“uvres de Boyer avec la faÃ§ade arriÃ¨re de la B.C.M., de style Bauhaus, et lâ€™immeuble, angle rue ChaouÃ¯a, boulevard LallaYacout, dâ€™Ã©criture Art-nouveauÂ : coupoles aplaties, volumes courbes et grilles de fer forgÃ© reprÃ©sentant des paons.</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 83</text>
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                <text>BOYER, Marius</text>
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                <text>Maroc, Casablanca</text>
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        <name>Immeuble du Comptoir des Mines</name>
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                <text>Immeuble du Grand Bon MarchÃ©</text>
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                <text>Le corps central du bÃ¢timent, situÃ© au-dessus des passages Sumica et du Grand-Socco, s'Ã©lance fort Ã©lÃ©gamment, sur trois travÃ©es, chacune surmontÃ©e d'une couverture Ã  pans coupÃ©s, formant des frontons dÃ©corÃ©s de mosaÃ¯que de grÃ¨s aux teintes mÃ©talliques bleues et vertes particuliÃ¨rement raffinÃ©es. MosaÃ¯que qu'on retrouve sous les sous-faces des galettes surplombant les balcons. &#13;
&#13;
De part et d'autre, les volumes, en retrait, sont couronnÃ©es par trois niveaux de gradins. Les passages, qui se rejoignent au centre de l'Ã®lot, sont naturellement Ã©clairÃ©s par une verriÃ¨re soutenue par des fers plats. &#13;
&#13;
A droite, l'immeuble Trianon, rÃ©alisÃ© en 1935 par Marcel Desmet, au style cubiste manifeste. A gauche, Ã‰dmond Brion, signe, en 1947, le CrÃ©dit du Maroc dans un style sobre. &#13;
&#13;
La porte monumentale de la banque est de Raymond Subes, cÃ©lÃ¨bre ferronnier d'art parisien.</text>
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                <text>Alluchon, Jacqueline</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 74</text>
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                <text>CADET, Auguste</text>
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                <text>DESMET, Marcel</text>
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                <text>Maroc, Casablanca</text>
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                <text>1929-1932</text>
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                <text>Immeuble el Glaoui</text>
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                <text>Cet immeuble dont le commanditaire n'est autre que le cÃ©lÃ¨bre Glaoui, Pacha de Marrakech, est l'un des plus spectaculaires du boulevard Mohammed-V.&#13;
&#13;
ConÃ§u dans un art-dÃ©co casablancais particuliÃ¨rement achevÃ©, ce R + 4 donne une impression de monumentalitÃ© due Ã  un traitement de faÃ§ade des plus savants : les deuxiÃ¨me et troisiÃ¨me Ã©tages sont rÃ©unis par une colonnade en marbre soutenant la galerie du quatriÃ¨me, elle-mÃªme protÃ©gÃ©e par un moucharabieh de ciment.&#13;
&#13;
Les deux entrÃ©es de l'immeuble, rue El-Amrani-Brahim, ainsi que celles du passage reliant le boulevard Mohammed-V Ã  la rue Allal-Ben-Abdallah, sont soulignÃ©es par un traitement vertical particulier sur trois travÃ©es, couronnÃ©es par quatre duplexs recouverts de carreaux de zellijs rouges et verts, bÃ©nÃ©ficiant chacun de terrasse-jardins.&#13;
&#13;
Le passage commerÃ§ant traversant l'Ã®lot est ponctuÃ© de trois rotondes vitrÃ©es dispensant un Ã©clairage zÃ©nithal.&#13;
&#13;
Pour la petite histoire, Antoine de Saint-ExupÃ©ry, alors pilote de l'AÃ©ropostale, a sÃ©journÃ©, avec sa femme Consuelo, dans cet immeuble.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 69</text>
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                <text>BOYER, Marius</text>
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                <text>BALOIS, Jean</text>
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                <text>Maroc, Casablanca</text>
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De lâ€™autre cÃ´tÃ© de la place subsistent, dans le quartier Lusitania, de beaux immeubles des annÃ©es vingt et trente, une synagogue et quelques rares hÃ´tels particuliers.&#13;
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Photo Luc Bouchard, 2007.</text>
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&#13;
Il occupe un Ã®lot imposant et domine, de sa faÃ§ade principale incurvÃ©e, le rond point dans lâ€™axe du boulevard moulay youssef. &#13;
&#13;
Le dÃ©cor des quatre faÃ§ades conjugue les Ã©lÃ©ments Art DÃ©co et lâ€™art traditionnel des zellijs qui encadrent les fenÃªtres, et recouvrent les deux coupoles dâ€™angle. Face au parc, une Ã©lÃ©gante galerie Ã  arcades souligne le dernier Ã©tage. &#13;
&#13;
Le luxe discret de cet ensemble rÃ©side aussi dans le confort innovant des servicesÂ : terrasses, buanderies, escaliers de service, boxes de parking dans les cours. &#13;
&#13;
Dans le hall de cet immeuble bien entretenu, on peut apprÃ©cier la richesse du dÃ©cor interieurÂ : les fers forgÃ©s de lâ€™escalier, sols en granito, marbres et zellijs. &#13;
&#13;
Albert Greslin a Ã©tÃ© le collaborateur de Georges Ernest Desmaret pour les Abattoirs en 1922. Il est aussi lâ€™auteur de lâ€™Institution Charles de Foucauld en 1935 avec Georges Gillet, ingÃ©nieur-entrepreneur. </text>
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                <text>Lâ€™immeuble de rapport construit par la Nationale bÃ©nÃ©ficie dâ€™un emplacement exceptionnel, face Ã  la place Mohammed V et au parc de la Ligue Arabe. &#13;
&#13;
Les trente appartements sont dotÃ©s des Ã©quipements de confort moderne et de surfaces gÃ©nÃ©reuses, augmentÃ©es de loggias profondes, encadrÃ©es de colonnes de pierre brune (un bon nombre ont Ã©tÃ© depuis vitrÃ©es). &#13;
&#13;
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&#13;
Lâ€™envergure du bÃ¢timent sâ€™associe Ã  lâ€™Ã©chelle monumentale de la place Mohammed V, Ã  lâ€™entrÃ©e de lâ€™avenue Hassan II. Lâ€™angle arrondi surmontÃ© dâ€™une rotonde face Ã  la Wilaya, renforce le dynamisme dâ€™une architecture de style "paquebot".</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 56</text>
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                <text>PONSARD, Pierre</text>
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                <text>Ignacio Sansone est arrivÃ© en 1920 de Tunisie oÃ¹ il avait dÃ©butÃ© sa carriÃ¨re en 1912. MaÃ§on, devenu architecte, il sâ€™associe jusquâ€™en 1939 avec son gendre Paul Busuttil lui aussi natif de Tunis.&#13;
&#13;
Avec trois faÃ§ades, cet ensemble se compose dâ€™un rez-de-chaussÃ©e commercial et de cinq niveaux de logements. Le premier et le quatriÃ¨me Ã©tage sont ceinturÃ©s de balcons Ã  balustres aux lignes ondulÃ©es dâ€™inspiration Art-nouveau. Le style Art-dÃ©co sâ€™exprime dans la frise sculptÃ©e du dernier Ã©tage et dans les cannelures verticales des deux rotondes dâ€™angle surmontÃ©es de coupoles recouvertes de carreaux bruns et couronnÃ©s de lanternons de verre bleu.&#13;
&#13;
Dominant la petite place plantÃ©e de palmiers, lâ€™immeuble LÃ©vy et Charbon participe Ã  la richesse patrimoniale de ce quartier dÃ©jÃ  menacÃ©. En effet, aprÃ¨s la destruction des entrepÃ´ts Hamelle, avenue Hassan Seghir, des rumeurs de dÃ©molition pÃ¨sent sur lâ€™Ã®lot proche, bordÃ© par les rues dâ€™Anjou, Nâ€™Chakra Rahal et la rue Mohamed Smiha oÃ¹ se trouvent notamment les anciens locaux des imprimeries rÃ©unies datant de 1920 et 1930.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 99</text>
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                <text>Au dÃ©but du XXe siÃ¨cle, on a construit nombre dâ€™ateliers dâ€™artistes notamment Ã  Paris, caractÃ©risÃ©s par leurs volumes Ã  double hauteur Ã©clairÃ©s par de grandes verriÃ¨res dont la mezzanine Ã©tait souvent utilisÃ©e comme chambre. Peu Ã  peu, ces ateliers sont devenus des logements recherchÃ©s par une clientÃ¨le aisÃ©e. &#13;
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&#13;
Les huit Ã©tages sur rez-de-chaussÃ©e abritent vingt-quatre studios en duplex, les neuviÃ¨me et dixiÃ¨me Ã©tages traitÃ©s diffÃ©remment sont rÃ©servÃ©s Ã  des appartements de huit piÃ¨ces. &#13;
&#13;
Les ouvertures des loggias et mezzanines superposÃ©es, regroupÃ©es par deux et par quatre, expriment la rÃ©alitÃ© des quatre doubles niveaux utilisÃ©s. &#13;
&#13;
Deux des trois escaliers de service sont Ã©clairÃ©s par un vitrage continu vertical qui souligne les faÃ§ades latÃ©rales. &#13;
&#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 62</text>
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Par redents successifs jusquâ€™au cÅ“ur de lâ€™Ã®lot, elles permettent dâ€™Ã©clairer toutes les piÃ¨ces des 45 appartements distribuÃ©s par un escalier circulaire. Celui-ci bÃ©nÃ©ficie de la lumiÃ¨re naturelle Ã  travers les escaliers de service dont les faÃ§ades, en fond de cours, sont constituÃ©es, sur 7 Ã©tages, de panneaux mÃ©talliques aÃ©rÃ©s par des lamelles horizontales. &#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 86</text>
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                  <text>Cette collection propose l'ensemble des images des bÃ¢timents de la ville de Casablanca. Une ou plusieurs images sont ainsi associÃ©es Ã  chaque bÃ¢timent prÃ©sentÃ© dans la collection "Ã‰difices".</text>
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                <text>Photo prise depuis la rue Al Bassatine</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>License Creative Commons - PaternitÃ© - Pas d'Utilisation Commerciale - Partage Ã  l'Identique 2.0 France (CC BY-NC-SA 2.0)</text>
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            <name>Coverage</name>
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