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                <text>Lâ€™Ã©difice constitue lâ€™Ã©lÃ©ment majeur de la place quâ€™il limite Ã  lâ€™Est comme un fond de scÃ¨ne.&#13;
&#13;
Il est accessible par un escalier imposant et une porte monumentale, abritÃ©e par un porche de pierre sculptÃ©e, couronnÃ© dâ€™une frise exceptionnelle de zellijs verts et bleus, qui Ã©voque lâ€™architecture islamique des mosquÃ©es et medersas dâ€™Iran ou dâ€™OuzbÃ©kistan. &#13;
&#13;
De part et dâ€™autre, une large galerie ouverte, aux plafonds de cÃ¨dre peint, longe les patios richement plantÃ©s et fait office de salle des pas perdus. &#13;
&#13;
Dans lâ€™axe de lâ€™entrÃ©e, la grande salle dâ€™audience se prÃ©sente entiÃ¨rement lambrissÃ©e - murs et voÃ»tes -, ce qui lui confÃ¨re une atmosphÃ¨re particuliÃ¨re. &#13;
&#13;
Bien que le Palais de Justice soit le seul bÃ¢timent quâ€™ait construit Marrast au Maroc, en dehors du travail menÃ© au sein de lâ€™Ã©quipe Prost, il exprime de faÃ§on magistrale ce quâ€™on appelle le style nÃ©o-marocain, qui met en valeur le travail des artisans.</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. 85</text>
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                <text>MARRAST, Joseph</text>
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                <text>Maroc, Casablanca</text>
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                <text>LycÃ©e de jeunes filles</text>
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                <text>lycÃ©e</text>
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                <text>La majoritÃ© des grands groupes scolaires de Casablanca sont construits dans les annÃ©es 50 pour faire face Ã  la croissance de la population. &#13;
&#13;
Face Ã  lâ€™Ã©glise Notre dames de lourdes, de lâ€™autre cotÃ© du boulevard, ce lycÃ©e se prÃ©sente sous la forme dâ€™une longue barre de quatre niveaux, protÃ©gÃ©e de la circulation par la cour plantÃ©e de jacarandas. &#13;
&#13;
On identifie sans difficultÃ© lâ€™Ã©criture de Courtois dans la simplicitÃ© des volumes et la sobriÃ©tÃ© des ouvertures protÃ©gÃ©es de lames verticales serrÃ©es sur la faÃ§ade sud. &#13;
&#13;
Le rez-de-chaussÃ©e est entiÃ¨rement libÃ©rÃ© pour accueillir le prÃ©au. &#13;
&#13;
Les accÃ¨s sont constituÃ©s par six escaliers Ã  lâ€™air libre jusquâ€™au 1er Ã©tage. Ils se prolongent Ã  lâ€™intÃ©rieur pour ne distribuer que deux classes Ã  la fois. Elles bÃ©nÃ©ficient ainsi dâ€™une double orientation. &#13;
&#13;
Au quatriÃ¨me Ã©tage une fente horizontale continue indique les logements de fonction en retrait. &#13;
&#13;
Le bÃ¢timent semble dÃ©saffectÃ© et pourrait faire lâ€™objet dâ€™un projet de dÃ©molition.</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. 94</text>
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                <text>COURTOIS, Alexandre</text>
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                <text>bÃ¢timent sportif</text>
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                <text>Casablanca, ville nouvelle et citÃ© des affaires, est aussi pour ses habitants le thÃ©Ã¢tre de nouveaux modes de vie oÃ¹ le sport et la vie au grand air sont encouragÃ©s par des Ã©quipements ambitieux. &#13;
&#13;
La piscine municipale, construite dans les annÃ©es 30, creusÃ©e dans les rochers, se voulait la plus grande du monde. Le parc Lyautey, actuellement de la Ligue arabe, dessinÃ© par Albert Laprade, abrite des emplacements dÃ©diÃ©s au sport et devait, au-delÃ  du boulevard Circulaire (actuel boulevard Zerktouni), sâ€™achever sur un grand stade. &#13;
&#13;
Le pavillon de lâ€™Education physique, appelÃ© aussi "La Casablancaise", domine le petit stade dâ€™entraÃ®nement. &#13;
&#13;
Son volume imposant et sÃ©vÃ¨re et ses ouvertures hautes et Ã©troites Ã©voquent lâ€™architecture italienne de lâ€™Ã©poque, autrement dit lâ€™esthÃ©tique mussolinienne, en plus lÃ©gÃ¨re... </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 60</text>
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                <text>LIEVRE, Robert</text>
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                <text>Maroc, Casablanca</text>
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                <text>A lâ€™angle du boulevard de Paris et de la rue A. Sahraoui, lâ€™immeuble Tabet ferme une sÃ©quence entamÃ©e au carrefour de lâ€™avenue Moulay Hassan I, offrant une sÃ©rie dâ€™immeubles Art DÃ©co signÃ©s Jabin, Cadet et Brion ou Aldo Manassi. &#13;
&#13;
Celui-ci, plus modeste, ne compte que quatre niveaux, dont un appartement en terrasse. &#13;
&#13;
Il dÃ©veloppe en revanche une profusion de dÃ©tails ornementaux, en particulier le dÃ©cor sculptÃ© des motifs floraux art-dÃ©co, en sous-faces des balcons et des auvents. Un peu comme si les maÃ§ons italiens avaient voulu offrir au passant, levant la tÃªte, un catalogue de leur savoir-faire. &#13;
&#13;
Cet immeuble est Ã  voir avec son mitoyen, Ã©galement signÃ© des frÃ¨res Suraqui (Immeuble Suraqui). </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 44</text>
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                <text>Maroc, Casablanca</text>
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                <text>loggia</text>
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                <text>Contrairement Ã  lâ€™immeuble mitoyen parfaitement art-dÃ©co signÃ© ces mÃªmes frÃ¨res Suraqui (voir Immeuble Tabet), celui-ci affiche sa diffÃ©rence, dans un style fonctionnaliste, proche de lâ€™architecture de lâ€™Europe de l'Est.&#13;
&#13;
Une telle juxtaposition dÃ©montre sans ambiguÃ¯tÃ© la capacitÃ©  des architectes de lâ€™Ã©poque, oeuvrant dans Casablanca, de passer dâ€™un style Ã  lâ€™autre et de les expÃ©rimenter tous en fonction de la demande. &#13;
&#13;
En lâ€™occurrence ce bÃ¢timent est la propriÃ©tÃ© des deux architectes. Ils y dÃ©veloppent leurs goÃ»t personnels.&#13;
&#13;
Les bow-windows dÃ©multiplient lâ€™accÃ¨s Ã  la lumiÃ¨re et encadrent, au centre du bÃ¢timent, de profondes loggias.&#13;
&#13;
Les halls dâ€™entrÃ©e illustrent le soin apportÃ© aux dÃ©tails de lâ€™amÃ©nagement intÃ©rieur, en particulier les ferronneries art-dÃ©co de lâ€™escalier. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 45</text>
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                <text>En 1935, Jabin (voir Moretti-Milone) et Hinnen introduisent sur lâ€™ex place de France, une Ã©criture qui va participer du visage moderne de la ville, sans rÃ©fÃ©rences aux styles NÃ©o-classique, NÃ©o-mauresque ou Art-dÃ©co des constructions du centre. &#13;
&#13;
Ici, de longs bandeaux blancs, entourant les baies carrÃ©es et les meneaux ocre, cernent le bÃ¢timent sur trois faces. &#13;
&#13;
60 appartements sont desservis, Ã  partir de 4 halls dâ€™entrÃ©e, par des escaliers reliÃ©s entre eux par des coursives. &#13;
&#13;
PÃ©nÃ©trer dans lâ€™un dâ€™entre eux, situÃ© sous les arcades donnant sur la place, Ã  cÃ´tÃ© du "CafÃ© de France", permet dâ€™admirer une cage dâ€™escalier circulaire au graphisme d'une simplicitÃ© Ã©tonnante. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 70</text>
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                <text>Cet immeuble de 16 Ã©tages prÃ©sente un spectaculaire jeu de balcons filants, traitÃ©s en rubans ondoyants qui semblent flotter sans interruption devant la faÃ§ade en retrait, sans pour autant cacher la structure des poutres en porte-Ã -faux qui les soutiennent. Les allÃ¨ges, minces, sont surmontÃ©es de garde-corps grillagÃ©s. &#13;
&#13;
Lâ€™appellation "Villas Paquet"  fait rÃ©fÃ©rences aux nombreuses dÃ©pendances et services dont disposent les appartements qui apparentent ces derniers Ã  des maisons individuelles. &#13;
&#13;
Avec lâ€™immeuble Marignan de 12 Ã©tages, plus massif, surmontÃ© dâ€™une galette percÃ©e dâ€™oculi, situÃ© en face, celui-ci introduit une rupture dâ€™Ã©chelle sur le boulevard Mohamed V. &#13;
&#13;
L'Ã©criture "paquebot", semblable Ã  celle de lâ€™immeuble libertÃ©, rappelle Ã©galement celle de lâ€™ensemble Fraternelle du nord, de lâ€™autre cotÃ© du rond point.</text>
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                <text>Cet immeuble a Ã©tÃ© longtemps seul Ã  dominer la place du haut de ses onze Ã©tages. Il prÃ©figurait en effet les immeubles de grande hauteur, prÃ©vus dÃ¨s les annÃ©es trente, Ã  lâ€™entrÃ©e du quartier dit "des Affaires" mais dont lâ€™un des grands axes, lâ€™actuelle avenue des F.A.R, ne sâ€™est ouvert quâ€™en 1952. Câ€™est Ã  cette date et dans un environnement dÃ©gagÃ©, que lâ€™immeuble prendra toute sa valeur.&#13;
&#13;
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&#13;
Les bandes horizontales qui marquent les balcons sâ€™Ã©tirent au fur et Ã  mesure que lâ€™on sâ€™Ã©lÃ¨ve dans les Ã©tages pour devenir une galerie continue au niveau du couronnement. &#13;
&#13;
Le hall dâ€™accÃ¨s de lâ€™avenue HouphouÃ«t-Boigny, conjugue marbres et miroirs pour crÃ©er une atmosphÃ¨re trÃ¨s cinÃ©matographique. &#13;
&#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 66</text>
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                <text>Pierre Bousquet, prÃ©sent Ã  Casablanca dÃ¨s 1914, y exerce jusquâ€™en 1952. Il est lâ€™auteur de nombreux Ã©quipements dâ€™importance comme le LycÃ©e Lyautey, lâ€™HÃ´pital civil, lâ€™Institut Pasteur, sobres et fonctionnalistes. Sur le boulevard Mohammed V, le MarchÃ© central, la Poste et la Bourse obÃ©issent au courant nÃ©o-marocain. &#13;
&#13;
Lâ€™immeuble Martinet est, quant Ã  lui,  reprÃ©sentatif du style Art-nouveauÂ : courbes et contre-courbes soulignent les changements de registre dâ€™une longue faÃ§ade qui se retourne en pan coupÃ© dominant la petite place entre le marchÃ© central et lâ€™immeuble Bessonneau. &#13;
&#13;
Les quatre Ã©tages sur arcades dâ€™origine ont Ã©tÃ© surÃ©levÃ©s dans les annÃ©es 30. Des "mouqarnas", Ã©lÃ©ments de lâ€™architecture islamique, formÃ©s de stalactites, terminent les arÃªtes verticales des volumes en saillie qui sâ€™arrondissent au niveau du premier  pour recevoir la dentelle des fers forgÃ©s.&#13;
&#13;
Cette rÃ©alisation est lâ€™un des nombreux exemples de lâ€™excellence de la mise en Å“uvre, en particulier des savoir-faire des maÃ§ons â€“souvent des italiens- et des ferronniers. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 76</text>
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&#13;
Pour cet immeuble de 6 niveaux sur rez-de-chaussÃ©e, il mÃ©lange styles nÃ©o-classique et art nouveau. Lâ€™angle en rotonde est le point de dÃ©part dâ€™une sÃ©rie dâ€™ondulations qui se propage sur lâ€™ensemble de la faÃ§ade principale le long dâ€™une impasse. &#13;
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Le sixiÃ¨me Ã©tage,  en galerie, souligne le dÃ©cor spectaculaire de lâ€™Ã©tage infÃ©rieur pavÃ© de zellijs polychromes Ã  dominante turquoise, Ã©voquant lâ€™architecture de Gaudi. &#13;
&#13;
Le dÃ´me qui surmonte lâ€™angle du bÃ¢timent, recouvert de zellijs, dialogue avec ceux de lâ€™immeuble Levy-Charbon construit en 1929 Ã  proximitÃ©. &#13;
&#13;
Le hall dâ€™entrÃ©e principal, situÃ© dans lâ€™impasse, mÃ©rite la visite, pour son dÃ©cor. </text>
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                <text>FR</text>
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                <text>Maroc, Casablanca</text>
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                <text>On reconnaÃ®t lâ€™Ã©criture stricte et serrÃ©e de Pierre Jabin dans cet immeuble de six Ã©tages, ceinturÃ© de bandeaux blancs encadrant les baies rÃ©guliÃ¨res sÃ©parÃ©es par de meneaux striÃ©s, interrompus, sur 5 niveaux, par quatre volumes en saillie verticaux recouverts de marbre gris. &#13;
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Au rez-de-chaussÃ©e occupÃ© par des boutiques et des cafÃ©s, Dominique Basciano, rÃ©amÃ©nage, dans les annÃ©es 70, le cinÃ©ma Lux, aujourdâ€™hui fermÃ©. &#13;
&#13;
Les sols et les murs des halls dâ€™entrÃ©e Ã  deux niveaux sont recouverts de patchwork de marbre (la famille Liscia est propriÃ©taire dâ€™une marbrerie). &#13;
&#13;
La terrasse du 7e, occupÃ©e par un appartement-jardin, est bordÃ©e dâ€™une pergola de bÃ©ton percÃ© qui souligne la silhouette de lâ€™immeuble arrondi sur lâ€™angle de lâ€™avenue lalla yacout et de la rue ibn Batouta.</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. 87</text>
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                <text>JABIN, Pierre</text>
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                <text>Maroc, Casablanca</text>
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                <text>immeuble Levy-Bendayan</text>
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                <text>Fin des annÃ©es 20, Boyer inaugure ici un registre radicalement nouveau parmi la production des ses contemporains. &#13;
&#13;
En supprimant le front continu sur lâ€™alignement et la cour intÃ©rieure, il propose des faÃ§ades aux accents "Bauhaus" creusÃ©es au dessus de lâ€™auvent du rez-de-chaussÃ©e, crÃ©ant ainsi quatre cours ouvertes sur les voies. &#13;
&#13;
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;
&#13;
Lâ€™unique accÃ¨s se fait rue Ferhat Hachad Ã  travers des emmarchements monumentaux lambrissÃ©s de marbre. &#13;
&#13;
Encadrant une des cours ouvertes, deux tours, reliÃ©es au 5e et 6e Ã©tage par un pont Ã  lâ€™exÃ©cution impeccable, dominent le carrefour rue Ferhat Hachad, avenue lalla Yacout. &#13;
&#13;
Cet ensemble maitrisÃ© est certainement un des plus spectaculaires du centre ville.</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. 86</text>
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                <text>BOYER, Marius</text>
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