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                <text>La CitÃ© des Jeunes est une sociÃ©tÃ© anonyme, financÃ©e par lâ€™Etat, le patronat et le CIL (ComitÃ© Interprofessionnel du Logement). Son objet est la rÃ©alisation de logements pour cÃ©libataires ou jeunes mÃ©nages europÃ©ens des classes populaires.&#13;
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Ce quartier, constituÃ© essentiellement de petites villas destinÃ©es Ã  la classe moyenne, accueille ainsi une forme de mixitÃ© sociale.&#13;
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La citÃ© est composÃ©e de barres orientÃ©es sud et est pour les piÃ¨ces Ã  vivre, distribuÃ©es Ã  lâ€™arriÃ¨re par des coursives et des escaliers de bÃ©ton. Ceux-ci, dÃ©tachÃ©s des bÃ¢timents, crÃ©ent une animation spatiale grÃ¢ce Ã  leurs diffÃ©rentes structures.&#13;
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La disposition des sept barres de logements mÃ©nage en son centre de vastes espaces plantÃ©s inaccessibles aux voitures.&#13;
&#13;
Au rez-de-chaussÃ©e de lâ€™un des immeubles, des locaux sont rÃ©servÃ©s Ã  des services sociaux, complÃ©tÃ©s par un petit terrain de sport.&#13;
&#13;
La citÃ© continue Ã  vivre dans un quartier en pleine mutation oÃ¹ la hausse des prix du foncier conduit souvent Ã  la transformation des villas.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 24</text>
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                <text>MADDALENA, Robert</text>
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                <text>AROUTCHEFF, LÃ©on</text>
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                <text>DestinÃ©e Ã  rÃ©sorber le bidonville de Ben Mâ€™Sick, la citÃ© est mise en chantier au milieu des annÃ©es 40 pour 100Â 000 habitants.&#13;
&#13;
Le plan-masse de Marchisio propose une gÃ©omÃ©trie particuliÃ¨re. Les voies principales sont situÃ©es Ã  45Â° par rapport aux circulations secondaires qui donnent accÃ¨s aux habitations.&#13;
&#13;
Cette implantation en "arÃªtes de poisson" prÃ©serve lâ€™intimitÃ© des logements. Les typologies de ces derniers sont conÃ§ues par diffÃ©rents architectes, dont Paul Busuttil.&#13;
&#13;
Comme aux Habous, on note des dÃ©tails architecturaux empruntÃ©s aux anciennes mÃ©dinas. Cependant, lâ€™offre des logements est beaucoup plus modeste. Lâ€™eau courante et lâ€™Ã©lectricitÃ© nâ€™y seront installÃ©es que tardivement.&#13;
&#13;
Les Ã©quipements sont confiÃ©s Ã  Edmond Brion pour la mosquÃ©e, Pierre Chassagne pour le hammam et Paul Busuttil pour le marchÃ© couvert.&#13;
&#13;
Des travaux rÃ©cents ont malheureusement obturÃ© le plafond du marchÃ©, auparavant constellÃ© d'Ã©toiles de verres de couleur. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 107</text>
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                <text>BaptisÃ© cinÃ©ma-thÃ©Ã¢tre, le Rialto est lâ€™un des premiers cinÃ©mas monuments de la ville.&#13;
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Dâ€™une capacitÃ© dâ€™environ 1300 places, il est dotÃ© dâ€™un balcon de 400 places portÃ© par une poutre de 22 m sans point dâ€™appui. &#13;
&#13;
MalgrÃ© de nombreuses rÃ©novations et modifications, il reste toujours un des exemples de bÃ¢timent de style entiÃ¨rement Art-dÃ©co.&#13;
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Haut lieu de la vie culturelle casablancaise, il a accueilli des vedettes de la chanson franÃ§aise : de Maurice Chevalier Ã  JosÃ©phine Baker.&#13;
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La programmation Ã©tait ambitieuse : les films sortaient en mÃªme temps quâ€™Ã  Paris ou quâ€™aux U.S.A. &#13;
&#13;
Les PremiÃ¨res suscitaient des soirÃ©es Ã  thÃ¨mes mÃ©morables, en fonction du film prÃ©sentÃ©. Le Rialto Ã©tait lâ€™un des lieux significatifs dâ€™une ville profondÃ©ment hÃ©doniste, tournÃ©e vers le sport, le soleil et le cinÃ©ma.&#13;
&#13;
Bien entretenu, le cinÃ©ma reste toujours en fonction.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 78</text>
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                <text>Dans les annÃ©es cinquante, le cinÃ©ma tient toujours une place fondamentale dans les distractions des Casablancais.&#13;
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Aux salles Ã©difiÃ©es dans les annÃ©es trente, sâ€™ajoutent ainsi les grands cinÃ©mas du centre comme le Rif, le Lynx et le LibertÃ©.&#13;
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Le dÃ©cor de lâ€™entrÃ©e et de la salle est spectaculaireÂ : immenses flammes orangÃ©es en stuc Ã©voquant des illustrations de science-fiction, bar aux murs capitonnÃ©s.&#13;
&#13;
Au regard du mobilier et de lâ€™amÃ©nagement intÃ©rieur, on serait tentÃ© dâ€™identifier le travail de Jean RoyÃ¨re, dÃ©corateur cÃ©lÃ¨bre des annÃ©es cinquante dont le sÃ©jour Ã  Casa est attestÃ©, ou encore celui de Matthieu MatÃ©got, dont lâ€™atelier de ferronnerie se trouvait Ã  AÃ¯n SebaÃ¢.&#13;
&#13;
FermÃ© et laissÃ© Ã  lâ€™abandon depuis des annÃ©es, on peut craindre la dÃ©molition de ce grand Ã©difice de bÃ©ton longtemps dÃ©diÃ© au cinÃ©ma bollywoodien.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 42</text>
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                <text>AROUTCHEFF, LÃ©on</text>
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                <text>Dans une ville dont le seul thÃ©Ã¢tre a Ã©tÃ© "provisoire" de 1922 jusquâ€™Ã  sa dÃ©molition en 1984, les salles de cinÃ©ma ponctuent la ville comme autant de lieux culturels.&#13;
&#13;
Le LibertÃ© est lâ€™un des derniers construits dâ€™une longue liste. Il sâ€™insÃ¨re dans un ensemble comprenant une grande surface commerciale et des logements.&#13;
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Ce bÃ¢timent Ã  lâ€™architecture moderne et sage diffÃ¨re ainsi de certaines autres salles construites Ã  la mÃªme Ã©poque, au style organique, presque baroque.&#13;
&#13;
Il est caractÃ©ristique de lâ€™Å“uvre dâ€™Albert Planque, installÃ© Ã  Rabat, ayant exercÃ© au Maroc de 1946 Ã  1970.&#13;
&#13;
Le LibertÃ© a fait lâ€™objet dâ€™une rÃ©novation ces derniÃ¨res annÃ©es grÃ¢ce Ã  un mouvement de renouveau des cinÃ©mas du centre-ville, hÃ©las Ã©phÃ©mÃ¨re. Lâ€™ensemble est Ã  vendre aujourd'hui.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 90</text>
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                <text>PLANQUE, Albert</text>
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                <text>MalgrÃ© son architecture sobre, lisse et blanche, dÃ©pourvue dâ€™effets, le bÃ¢timent laisse deviner derriÃ¨re des faÃ§ades presque aveugles sa richesse intÃ©rieure.&#13;
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Le programme a Ã©tÃ© scindÃ© en deux parties distinctes - le centre de recherche d'une part et lâ€™aquarium ouvert au public d'autre part - Ã  la jonction desquelles sâ€™Ã©lÃ¨ve "la tour de pression" haute de sept Ã©tages, vÃ©ritable signal percÃ© de hublots et dont la faÃ§ade sud-est est entiÃ¨rement vitrÃ©e.&#13;
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Lâ€™entrÃ©e publique Ã©tait animÃ© par le bassin et la grotte des phoques. Le hall dâ€™entrÃ©e et lâ€™escalier monumental qui mÃ¨ne aux salles de lâ€™aquarium, dÃ©corÃ©s de lambris et de fresques de zelliges Ã©voquent le monde sous-marin.&#13;
&#13;
Les circulations dans la pÃ©nombre ne sont Ã©clairÃ©es que par la lumiÃ¨re naturelle zÃ©nithale des aquariums. Lâ€™aquarium a Ã©tÃ© dÃ©saffectÃ© dans les annÃ©es quatre-vingt en raison de la pollution de lâ€™eau de mer pompÃ©e dans la baie.&#13;
&#13;
Il est aujourd'hui question que le bÃ¢timent abrite un musÃ©e de la marine.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 34</text>
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                <text>La wilaya, ex hÃ´tel de ville, est, avec la banque du Maroc, le dernier bÃ¢timent construit place Mohamed V, esquissÃ©e en 1914 par Prost, prÃ©cisÃ©e par Marrast en 1920, objet des recommandations des services de la rÃ©sidence et du gÃ©nÃ©ral Lyautey.&#13;
&#13;
En 1927, Boyer remporte le concours de lâ€™hÃ´tel de ville, achevÃ© en 1937.&#13;
&#13;
Le corps principal du bÃ¢timent signalÃ©, par le campanile de lâ€™horloge, est constituÃ© dâ€™une colonnade, sobre et stricte, abritant lâ€™entrÃ©e, surmontÃ©e dâ€™un large balcon Ã  arcades et de trois ouvertures monumentales encadrÃ©es de pierre.&#13;
&#13;
A lâ€™intÃ©rieur, sur deux niveaux, une galerie entoure trois grands patios plantÃ©s, desservant les services publics. Elle est doublÃ©e, sur les faÃ§ades, par une circulation couverte, qui permet la liaison directe entre les bureaux.&#13;
&#13;
RÃ©pondant aux codes imposÃ©s par la rÃ©sidence, Boyer mÃ©lange les stylesÂ : lâ€™art-dÃ©co, dans le hall et le double escalier dâ€™honneur aux paliers ornÃ©s de deux toiles de Majorelle, le nÃ©o-marocain avec les arcades, les tuiles vertes et les zellijs de la faÃ§ade, des lambris des circulations, de la salle des fÃªtes et des colonnes des patios.&#13;
&#13;
Le rÃ©sultat est un joyau de cette architecture nÃ©o-chÃ©rifienne caractÃ©ristique des bÃ¢timents administratifs du Maroc sous protectorat.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, pp. 58-59</text>
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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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                <text>Maroc, Casablanca, 1928-1936</text>
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            <description>A name given to the resource</description>
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                <text>Wafasalaf, ex-banque de la Compagnie algÃ©rienne</text>
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                <text>banque</text>
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                <text>nÃ©o-mauresque (style)</text>
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                <text>Prost, responsable du service des Plans des villes au Maroc, de 1914 Ã  1922, sâ€™associe avec Marchisio, son successeur jusquâ€™en 1947, pour la construction de cet immeuble comme pour lâ€™hÃ´tel de la Mamounia Ã  Marrakech.&#13;
&#13;
Lâ€™immeuble composÃ© dâ€™un rez-de-chaussÃ©e et de trois niveaux de bureaux, Ã©tait articulÃ© autrefois autour dâ€™un patio - aujourdâ€™hui refermÃ© - surmontÃ© dâ€™une verriÃ¨re, permettant une communication visuelle entre les plateaux.&#13;
&#13;
Sous le signal surÃ©levÃ©, les arcades surdimensionnÃ©es mÃ©nagent un hall extÃ©rieur monumental donnant accÃ¨s au bÃ¢timent sur lâ€™angle.&#13;
&#13;
La sobriÃ©tÃ© du traitement gÃ©nÃ©ral des faÃ§ades, la grande frise de zelliges en camaÃ¯eu bleu dont les motifs abstraits font rÃ©fÃ©rence aux arts traditionnels du tapis, et le couronnement de tuiles vertes permettent de ranger cet immeuble dans le style nÃ©o-marocain mis au point sur les directives de Lyautey.&#13;
&#13;
Les marbres originaux du soubassement et des colonnes du rez de chaussÃ©e ont Ã©tÃ© rÃ©cemment remplacÃ©s par du granit rouge. </text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Alluchon, Jacqueline</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 72</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>PROST, Henri</text>
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                <text>MARCHISIO, Antoine</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>FR</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Maroc, Casablanca</text>
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                <text>1928</text>
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            <description>A name given to the resource</description>
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                <text>Ateliers Vincent Timsit (VÃ©tÃ©)</text>
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                <text>immeuble de bureaux</text>
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                <text>Les ateliers VÃ©tÃ© spÃ©cialisÃ©s dans la miroiterie et la serrurerie ont Ã©tÃ© sollicitÃ©s par Jean-FranÃ§ois ZÃ©vaco pour lâ€™exÃ©cution de la plupart de ses projets.&#13;
&#13;
Il va donc naturellement concevoir le siÃ¨ge de cette entreprise, comprenant ateliers, bureaux et, au dernier, Ã©tage un appartement. &#13;
&#13;
Un pont monumental formÃ© de deux poutres cintrÃ©es soutient le premier et le deuxiÃ¨me Ã©tage, et laisse entrevoir les portes mÃ©talliques des ateliers.&#13;
&#13;
Les ouvertures des bureaux sont rythmÃ©es par des demi sphÃ¨res en plexiglas oranges, serties dans les vitrages tandis que lâ€™appartement au dessus, sur le boulevard, est pratiquement aveugle. Seule une fenÃªtre en forme dâ€™Å“il Ã©tirÃ© permet la vue sur la mer Ã  partir de la cuisine.&#13;
&#13;
Jean-FranÃ§ois ZÃ©vaco a conÃ§u cet ensemble dans tous ses dÃ©tailsÂ : revÃªtements de galets, calepinages des sols, mobilier, serrurerie, boÃ®te Ã  lettres en laiton gravÃ©, jusquâ€™au logo accrochÃ© Ã  la superstructure pour Ãªtre vu de loin. &#13;
&#13;
Dans un excellent Ã©tat d'entretien, l'ensemble semble tout droit sorti d'un magazine de design contemporain branchÃ©.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 118</text>
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                <text>ZEVACO, Jean-FranÃ§ois</text>
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                <text>Maroc, Casablanca</text>
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                <text>1952</text>
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                <text>Immeubles SÃ©miramis et Nid dâ€™abeille</text>
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                <text>Lâ€™Ã©quipe dâ€™ATBAT AFRIQUE expÃ©rimente avec ces trois immeubles un concept de logement collectif pour les Marocains.&#13;
&#13;
Ils sont construits sur la trame de 8m x 8m, dÃ©finie par le service de lâ€™habitat, dirigÃ© par le service de Michel Ecochard pour le logement Ã  rez de chaussÃ©e et patio, et mise en Å“uvre dans les opÃ©rations destinÃ©es Ã  la rÃ©sorption des bidonvilles.&#13;
&#13;
InspirÃ©s par les habitations traditionnelles (kasbahs, ksours, villages fortifiÃ©s) ATBAT-AFRIQUE invente les logements Ã  patio superposÃ©s dâ€™oÃ¹ les noms "Nid dâ€™abeille" et "SÃ©miramis".&#13;
&#13;
Cette expÃ©rience, objet de nombreuses publications, prÃ©sentÃ©e au 9e CIAM (congrÃ¨s international de lâ€™architecture moderne) en 1953 Ã  Aix-en-Provence, devient une rÃ©fÃ©rence pour le mouvement de contestation du Team 10 menÃ© par Alison et Peter Smithson et dont fera partie Georges Candilis. &#13;
&#13;
Lâ€™Ã©tat actuel des bÃ¢timents, dont les patios ont Ã©tÃ© systÃ©matiquement obturÃ©s par les usagers, montre les limites de lâ€™expÃ©rience. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 121</text>
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                <text>Maroc, Casablanca</text>
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                <text>En 1916, Laprade intÃ¨gre lâ€™Ã©quipe de Prost au  service des plans des villes oÃ¹ il est chargÃ© de lâ€™amÃ©nagement des parcs et jardins suivant le  Rapport des rÃ©serves Ã  constituer au dedans et aux abords des villes capitales du Maroc, de Jean Claude Nicolas  Forestier, demandÃ© par Lyautey en 1915, complÃ©tÃ© par une liste dÃ©taillÃ©e des espÃ¨ces vÃ©gÃ©tales  Ã  introduire.&#13;
&#13;
Sur 15ha encore occupÃ©s par les militaires, Laprade dessine un grand parc suivant un axe Ã  la franÃ§aise bordÃ© de phÅ“nix et de rangÃ©es de ficus, traversÃ© en son centre par le boulevard moulay Youssef.&#13;
&#13;
Les travaux sont exÃ©cutÃ©s avec lâ€™aide dâ€™un contingent de  prisonniers allemands.&#13;
&#13;
Des Ã©quipements sportifs sont prÃ©vusÂ : le stade dâ€™athlÃ©tisme, le terrain de pelote basque, complÃ©tÃ©s, dans les annÃ©es 30, du bÃ¢timent dâ€™Ã©ducation physique, deÂ la Boule fÃ©dÃ©rale casablancaise et d'un parc de jeux. &#13;
&#13;
Un emplacement  au nord est rÃ©servÃ© Ã  lâ€˜Ã©glise du sacrÃ© cÅ“ur.&#13;
&#13;
Laprade dessine des fontaines et utilise les pierres de la dite prison portugaise de lâ€™ancienne mÃ©dina pour les arcades surmontÃ©es de pergolas.&#13;
&#13;
Le traitement des allÃ©es de ficus dont les branches rÃ©unies au sommet crÃ©ent des voÃ»tes vÃ©gÃ©tales est inspirÃ© des jardins Maria Luisa Ã  SÃ©ville, de Forestier.&#13;
&#13;
Le long du boulevard Rachidi, le terrain libÃ©rÃ© des casernes Heude, au dÃ©but des annÃ©es 70, a Ã©tÃ© rÃ©cemment rÃ©amÃ©nagÃ© en esplanade accueillant expositions et concerts.&#13;
&#13;
Le parc est vital pour un centre-ville dont le grave dÃ©ficit en espaces verts est accÃ©lÃ©rÃ© par les nombreuses suppressions dâ€™arbres dâ€™alignement et la disparition des villas entourÃ©es de jardins.&#13;
&#13;
Soulignons Ã©galement qu'il reprÃ©sente un des rares espace massivement investi par une population estudiantine mixte qui y trouve, grÃ¢ce Ã  ses nombreux cafÃ©s et bancs, un lieu propice Ã  l'Ã©tude et plus si affinitÃ©s.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, pp. 54-55</text>
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                <text>Construit pour lâ€™exposition franco-marocaine de Casablanca, en 1915, Ã  lâ€™emplacement du marchÃ© central, le pavillon de la ville de Rabat a Ã©tÃ© remontÃ© grÃ¢ce Ã  sa structure mÃ©tallique dans le parc de la Ligue arabe, dessinÃ© par Albert Laprade en 1917. &#13;
&#13;
Reconverti en Palais des confÃ©rences, il accueille des concerts, des sÃ©minaires, des expositions et des projections de films. &#13;
&#13;
Une petite scÃ¨ne en bois et un sol de carreaux de grÃ¨s ont Ã©tÃ© remplacÃ©s il y a quelques annÃ©es par un revÃªtement en marbre peu appropriÃ©. La mezzanine permet dâ€™augmenter lâ€™accueil du public et le dÃ©veloppement des cimaises. &#13;
&#13;
Dans le hall, un escalier de fonte ouvragÃ©e en colimaÃ§on mÃ¨ne Ã  la cabine de projection. &#13;
&#13;
La coupole, Ã  lâ€™origine chaulÃ©e, a fait lâ€™objet de modifications et a Ã©tÃ© recouverte de panneaux de zellijs qui alourdissent de faÃ§on assez maladroite ce petit Ã©difice de style nÃ©o-marocain. </text>
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