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                <text>LycÃ©e Mohammed V</text>
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                <text>Sur un terrain bordÃ© par le boulevard Victor Hugo, lâ€™avenue du 2 mars et la rue de Salonique, les premiers bÃ¢timents du lycÃ©e (ex-Lyautey) ont Ã©tÃ© construits par Pierre Bousquet en 1922.&#13;
&#13;
Cette extension concerne la nouvelle entrÃ©e et le pavillon des sciences en faÃ§ade sur lâ€™avenue du 2 mars.&#13;
&#13;
Un auvent constituÃ© de poutres en bÃ©ton armÃ© signale lâ€™entrÃ©e du lycÃ©e, calÃ©e dans le dÃ©crochement entre les deux blocs des classes de sciences, dont les faÃ§ades, orientÃ©es Ã  lâ€™ouest, sont protÃ©gÃ©es par un quadrillage de brise-soleil en bÃ©ton.&#13;
&#13;
Le LycÃ©e Mohammed V a formÃ© une grande partie de l'Ã©lite casablancaise, particuliÃ¨rement politique. En effet, dÃ¨s 1965, il fut un ardent foyer de contestation.</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. 93</text>
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                <text>LEVY, Isaac</text>
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                <text>AZAGURY, Elie</text>
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                <text>Maroc, Casablanca</text>
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                <text>Villas jumelles, dites Les Tourelles</text>
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                <text>MalgrÃ© des modifications telles la suppression des frontons et des frises de pierre sculptÃ©e entourant les deux volumes symÃ©triques et la surÃ©lÃ©vation sur les terrasses reliant les deux maisons, Â«Â lesÂ TourellesÂ Â» restent un des Ã©lÃ©ments qui participent au charme de ce quartier du centre-ville.&#13;
&#13;
Avec talent, Marius Boyer mÃ©lange ici les genresÂ : mÃ©diterranÃ©en pour les tourelles terminÃ©es en miradors, Art-DÃ©co des motifs de pierre sur les facettes des cages dâ€™escalier, nÃ©o marocain pour les rangÃ©es de zellijs et les toits de tuiles vertes.&#13;
&#13;
Ces maisons jumelles ont Ã©tÃ© construites pour deux entrepreneurs associÃ©sÂ : Gouvernet et Lorentz. Actuellement, lâ€™ensemble, transformÃ© en musÃ©e il y a dix ans, est laissÃ© Ã  lâ€™abandon.&#13;
&#13;
Il est un des derniers tÃ©moignages des villas construites par Boyer dans le quartier, aprÃ¨s la disparition de la villa Benazeraf, rue dâ€™Alger, remplacÃ©e par la galerie Actua, et la destruction rÃ©cente, avenue Moulay Hassan Ier, de la villa Houel. &#13;
&#13;
"Les Tourelles" sont inscrites Ã  lâ€™inventaire des monuments historiques.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 35</text>
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                <text>BOYER, Marius</text>
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                <text>Les nouveaux abattoirs municipaux, bÃ¢tis Ã  proximitÃ© de la gare Casa-Voyageurs, au sud de la voie ferrÃ©e, succÃ¨dent Ã  ceux construits en 1908 sur lâ€™actuelle place des Nations Unies. La ville compte alors 100Â 000 habitants, et lâ€™ampleur du projet tÃ©moigne de la vision de son extension future suivant les plans dâ€™urbanisme de Prost et des prÃ©occupations hygiÃ©nistes de lâ€™Ã©poque.&#13;
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Sur cinq hectares, de vÃ©ritables rues et places relient les diffÃ©rents bÃ¢timentsÂ : en pÃ©riphÃ©rie, les locaux administratifs et les logements en Ã®lots isolÃ©s, entourÃ©s de jardins, au centre, dans la grande rue axÃ©e sur lâ€™entrÃ©e principale, les Ã©curies et les bÃ¢timents dâ€™abattage reliÃ©s directement Ã  lâ€™immense halle. A celle-ci, sâ€™adosse la tour des frigorifiques en partie effondrÃ©e suite Ã  un incendie. A cela sâ€™ajoutent les bÃ¢timents nÃ©cessaires au traitement des carcasses, peaux, etc.&#13;
&#13;
Ces constructions illustrent les progrÃ¨s de la maÃ®trise du bÃ©ton armÃ©, technique rÃ©cente en 1922. Des poutres de seize mÃ¨tres de portÃ©e rythment le bÃ¢timent principal de 160 mÃ¨tres de long. A lâ€™extÃ©rieur, des claustras de ciment assurent la ventilation et lâ€™Ã©clairage naturels. &#13;
&#13;
Le style de lâ€™ensemble sâ€™apparente Ã  lâ€™Art-dÃ©co, associÃ© au NÃ©o-mauresque pour les portes monumentales de la grande halle encadrÃ©es de volumes en saillie surmontÃ©s de dÃ´mes et soulignÃ©s de panneaux verticaux ornÃ©s dâ€™Ã©toiles chÃ©rifiennes en carreaux de zellijs traditionnels. &#13;
&#13;
En 2008, il a Ã©tÃ© dÃ©cidÃ© de reconvertir ces bÃ¢timents en espace culturel dont la gestion a Ã©tÃ© confiÃ©e Ã  un collectif dâ€™associations. Dans lâ€™attente dâ€™un projet de rÃ©novation, de nombreuses manifestations sâ€™y dÃ©roulentÂ : musique, arts plastiques, cinÃ©ma, thÃ©Ã¢tre, expositions, rencontres dÃ©montrant, par leur frÃ©quentation, la pertinence et la vigueur du mouvement associatif casablancais.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, pp. 116-117</text>
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&#13;
Les deux bÃ¢timents en retrait, encadrent ainsi symÃ©triquement lâ€™imposant tribunal de Marrast et participent Ã  lâ€™ordonnance de la place telle que voulue par le RÃ©sident gÃ©nÃ©ral Lyautey. &#13;
&#13;
Les deux Ã©difices  Ã  vocation militaire sont ainsi les moins spectaculaires de la place, Ã  lâ€™Ã©chelle dâ€™habitations, comme si lâ€™armÃ©e cherchait Ã  se faire discrÃ¨te derriÃ¨re les Ã©difices publics monumentaux. &#13;
&#13;
Les salons de lâ€™Ã©tage, lambrissÃ©s de zellijs, ouvrent sur une grande terrasse dominant la place. &#13;
&#13;
Un temps ouvert au public par lâ€™intermÃ©diaire dâ€™un restaurant marocain "le Rissani", le Cercle des Officiers a repris une fonction purement militaire. &#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 84</text>
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                <text>1925</text>
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                <text>Construite en mÃªme temps que lâ€™actuel consulat de France, Ã  lâ€™opposÃ© de la place encore partiellement occupÃ©e par les campements militaires, la Poste est lâ€™Å“uvre dâ€™Adrien Laforgue (auteur Ã©galement de la gare de Rabat ville), qui prend pour modÃ¨le, la Grandâ€™Poste dâ€™Alger, construite quelques annÃ©es auparavant.&#13;
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Lâ€™architecte entame ici un travail remarquable sur les dÃ©cors de zellijs, notamment la frise verte et bleue du couronnement, sous lâ€™auvent recouvert de tuiles vertes, ainsi que le magnifique panneau bleu et noir, qui marque les entrÃ©es sous le portique. &#13;
&#13;
Lâ€™organisation spatiale intÃ©rieure a Ã©tÃ© considÃ©rÃ©e Ã  lâ€™Ã©poque comme trÃ¨s innovante. On note les ferronneries qui entourent le hall public sur deux niveaux et la coupole,  aujourdâ€™hui recouverte de panneaux en bois sculptÃ©. &#13;
&#13;
Lâ€™ensemble est prolongÃ© par les bÃ¢timents des colis postaux sur le boulevard de Paris. &#13;
&#13;
La poste inaugure cette collection remarquable dâ€™Ã©difices nÃ©o-marocains formant la place administrative.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 49</text>
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                <text>LAFORGUE, Adrien</text>
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&#13;
Pour exemple, ce bÃ¢timent dâ€™angle Art-dÃ©co de quatre niveaux sur rez-de-chaussÃ©e, Ã  qui lâ€™architecte a rÃ©ussi Ã  confÃ©rer une dimension monumentale, grÃ¢ce notamment, au traitement savant de la travÃ©e principale, au-dessus de lâ€™entrÃ©e.  Elle est surmontÃ©e dâ€™une superstructure encadrÃ©e en terrasse de deux larges auvents en porte-Ã -faux dÃ©ployÃ©s en ailes dâ€™avion - peut-Ãªtre en rapport avec les noms des aviateurs, hÃ©ros de la PremiÃ¨re Guerre mondiale, avaient Ã©tÃ© donnÃ©s aux rues de ce quartier.&#13;
&#13;
Un dÃ©cor de petits carreaux de grÃ¨s bleus et or, au-dessus de la porte dâ€™entrÃ©e, rappelle celui qui orne lâ€™immeuble Glaoui contemporain, rÃ©alisÃ© Ã©galement avec Jean Balois, associÃ© de 1925 Ã  1929, et installÃ© Ã  Rabat.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 82</text>
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&#13;
Au centre dâ€™un Ã®lot triangulaire, lâ€™immeuble de Chassagne est implantÃ© en retrait de lâ€™alignement du boulevard. Le percement central du bÃ¢timent, sur trois Ã©tages, est conÃ§u comme une porte monumentale dans lâ€™axe du bassin ornant le jardin.&#13;
&#13;
Chaque bÃ¢timent comporte 40 appartements, de 2 Ã  5 piÃ¨ces, ouvrant sur de profondes loggias. Pour cet habitat Â«Â bon marchÃ©Â Â», les surfaces sont gÃ©nÃ©reuses, notamment celles des livings dotÃ©s dâ€™une cheminÃ©e, des chambres supÃ©rieures Ã  16m2 et des balcons buanderies.&#13;
&#13;
Sur les faÃ§ades arriÃ¨re sont regroupÃ©s les piÃ¨ces dâ€™eau et deux des 4 escaliers abritÃ©s derriÃ¨re des claustras-moucharabiehs.&#13;
&#13;
Lâ€™ensemble sera complÃ©tÃ© par dâ€™autres immeubles confiÃ©s Ã  Edmond et Jean Gourdain et Marius Boyer qui terminera lâ€™Ã®lot par une station-service. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 30</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>La tour du siÃ¨ge de l'ex-quotidien la Vigie marocaine, couronnÃ©e de tuiles vertes,  confÃ¨re au bÃ¢timent une dimension officielle Ã  rapprocher de lâ€™architecture des Ã©difices administratifs dont le style NÃ©o-marocain est dictÃ© par les autoritÃ©s du Protectorat. &#13;
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Câ€™est dire la place de ce groupe de presse, nÃ© dans les annÃ©es dix au sein de lâ€™ancienne mÃ©dina, qui a Ã©tÃ© la voix du pouvoir colonial puis celle des autoritÃ©s marocaines aprÃ¨s lâ€™IndÃ©pendance, essentiellement avec le quotidien Le Matin.&#13;
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Marius Boyer met, ici, en Å“uvre les Ã©lÃ©ments nÃ©o-mauresques des annÃ©es vingtÂ : panneaux abondamment sculptÃ©s de part et dâ€™autres de baies en plein cintre, surmontÃ©es dâ€™auvents recouverts de tuiles vertes, zelliges et lambris Ã  lâ€™intÃ©rieur.&#13;
&#13;
Sous les arcades du boulevard Mohamed V, les vitrines en aluminium brun et en verre fumÃ© sont des ajouts des annÃ©es quatre-vingt.&#13;
&#13;
De mÃªme style, on note un peu plus loin sur le mÃªme trottoir  la Chambre de Commerce et de lâ€™Industrie, et dans son prolongement symÃ©trique la Poste, Ã  lâ€™angle de la rue de la Chaouia et du boulevard Mohammed V, construites en 1918 par Pierre Bousquet.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 75</text>
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                <text>Le terrain Ã©troit en forme dâ€™arc de cercle donnant sur le rond-point, rue dâ€™Alger et avenue Moulay Hassan Ier, a conduit les architectes Ã  dÃ©velopper une faÃ§ade courbe, orientÃ©e au nord-ouest, ponctuÃ©e sur trois Ã©tages dâ€™une sÃ©rie de sept bow-windows.&#13;
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Le soubassement est soulignÃ© de bandes horizontales de carreaux de faÃ¯ence noirs, crÃ©ant un motif de rayures qui Ã©voquent lâ€™architecture viennoise.&#13;
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Vingt appartements de trois, quatre piÃ¨ces et garÃ§onniÃ¨res occupent quatre Ã©tages, le premier ou entresol Ã©tant rÃ©servÃ© aux bureaux.&#13;
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InstallÃ© Ã  Rabat, Jean Balois travaille, de 1925 Ã  1929, avec Marius Boyer puis avec Paul Perrotte de 1931 Ã  1937.&#13;
&#13;
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;
&#13;
Photo Luc Bouchard, 2007.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 52</text>
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                <text>Maroc, Casablanca</text>
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                <text>Lâ€™ensemble, un des premiers repÃ¨res du centre-ville, comprenait une soixantaine dâ€™appartements, des commerces et un hÃ´tel.&#13;
&#13;
Comme quelques bÃ¢timents des annÃ©es dix, il est construit en maÃ§onnerie porteuse, des poutrelles mÃ©talliques et des voutins en brique constituent les planchers.&#13;
&#13;
Le dÃ©cor nÃ©o-mauresque est encore visible sur la structure dâ€™ordonnance classique, Ã©voquant lâ€™architecture du XIXe siÃ¨cle en Afrique du Nord. &#13;
&#13;
Quinze annÃ©es ont suffi pour faire de ce bÃ¢timent une ruine. Au dÃ©but des annÃ©es quatre-vingt, lâ€™effondrement dâ€™une terrasse a provoquÃ© la mort de deux clients de lâ€™hÃ´tel. AussitÃ´t Ã©vacuÃ©, il a fait lâ€™objet de procÃ©dures judiciaires et de demandes de dÃ©molition. &#13;
&#13;
Lâ€™inscription de sa faÃ§ade Ã  lâ€™inventaire des monuments historiques en 2000 nâ€™a pas pour autant conduit Ã  la rÃ©habilitation obligatoire. De nombreux incidents, volontaires ou pas, ont contribuÃ© Ã  une dÃ©gradation irrÃ©versibleÂ jusquâ€™Ã  lâ€™effondrement en 2009. &#13;
&#13;
Une telle situation est la consÃ©quence de lâ€™absence de lÃ©gislation appropriÃ©e en matiÃ¨re de protection du patrimoine dont lâ€™urgence sâ€™impose aujourdâ€™hui. &#13;
&#13;
Photo Pascal Garret, 1999.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 98</text>
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                <text>BRIDE, Hubert</text>
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                <text>Aldo Manassi, architecte formÃ© en Italie, disparaÃ®t sans laisser de traces Ã  la fin des annÃ©es trente. Actif entre 1920 et 1930, il laisse avec cet immeuble de cinq Ã©tages lâ€™une de ses derniÃ¨res Å“uvres connues. &#13;
&#13;
RÃ©solument dâ€™inspiration Art-dÃ©co centre europÃ©en, voire viennois, le traitement des faÃ§ades donne Ã  lâ€™ensemble un Ã©lan vertical remarquableÂ : jeu de redents monumental et hautes porte-fenÃªtres, fronton dÃ©corÃ© pour la faÃ§ade dâ€™angle, colonnes jumelÃ©es sur trois niveaux et trois travÃ©es pour les faÃ§ades latÃ©rales. &#13;
&#13;
Le dernier Ã©tage est scandÃ© par des groupes de quatre Ã  cinq colonnes massives et de faible hauteur couronnÃ©es de zelliges en camaÃ¯eu brun. Il est intÃ©ressant de constater que les motifs Art-dÃ©co des gardes corps et de lâ€™imposte de la porte dâ€™entrÃ©e en fer forgÃ© ont Ã©tÃ© utilisÃ©s dans plusieurs immeubles de construction rÃ©cente.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 80</text>
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