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                <text>Consulat de France, ex-hÃ´tel de la Subdivision Militaire.</text>
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                <text>L'hÃ´tel de la Subdivision militaire, abritant actuellement le consulat de France, est le premier bÃ¢timent de la place Mohammed V, encore occupÃ©e par les campements militaires installÃ©s depuis 1907. &#13;
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Le plan imaginÃ© par Prost en 1915, articule les quartiers du port, la future place administrative et les quartiers rÃ©sidentiels amorcÃ©s par le Parc. NÃ©gocier ces terrains avec lâ€™armÃ©e sera le premier grand geste dâ€™urbanisme qui inaugurera une politique de remembrement permettant la dÃ©finition des grands axes de la ville nouvelle. &#13;
&#13;
Laprade fait partie de lâ€™Ã©quipe de Prost. Il implante lâ€™hÃ´tel de la Subdivision Militaire en retrait et dans la parcelle en pan coupÃ©, situÃ©e entre le Palais de Justice et le futur HÃ´tel de Ville. &#13;
&#13;
Le bÃ¢timent reflÃ¨te la passion de Laprade pour lâ€™architecture marocaine. Son allure de pavillon rÃ©sidentiel aux couronnements de tuiles vertes, illustre la volontÃ© des services de la RÃ©sidence de rendre discrets les bÃ¢timents Ã  vocation militaire. &#13;
&#13;
Dans son axe et face Ã  la place, se dresse la statue de Lyautey, Ã  lâ€™origine dans le square de la Wilaya.</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. 57</text>
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                <text>LAPRADE, Albert</text>
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                <text>CitÃ© ouvriÃ¨re Cosuma</text>
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                <text>De toutes les citÃ©s ouvriÃ¨res de Brion (Boujniba Ã  Khouribga, Lafarge et Soceca Ã  Casablanca), la Cosuma est celle dont lâ€™esthÃ©tique et lâ€™organisation se rapprochent le plus de celles du quartier des Habous construit avec Cadet de 1922 Ã  1954. &#13;
&#13;
La citÃ© compte 330 logements en 1934, 450 en 1951, le chantier ayant Ã©tÃ© suspendu en 1939. EntourÃ©e dâ€™une enceinte, les accÃ¨s se font par deux portes opposÃ©es dont lâ€™une, malheureusement endommagÃ©e, est ornÃ©e dâ€™entrelacs sculptÃ©s.&#13;
&#13;
Les logements, en majoritÃ©, dâ€™une grande piÃ¨ce et dâ€™un patio oÃ¹ se trouve les coins cuisine et toilettes, sont accessibles dans les impasses, par des entrÃ©es en chicane, dÃ©calÃ©es les unes par rapport aux autres pour Ã©viter les vis-Ã -vis. &#13;
&#13;
Les rues sont rythmÃ©es par des arcades servant de supports aux pergolas disparues. Lâ€™ensemble est Ã©quipÃ© de boutiques, de 2 fours et hammams, dâ€™un dispensaire et, en 1937, dâ€™une mosquÃ©e inaugurÃ©e par feu le roi Mohammed V. &#13;
&#13;
Cette citÃ© est toujours occupÃ©e par les ex-ouvriers, aujourd'hui retraitÃ©s.</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. 120</text>
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                <text>BRION, Edmond</text>
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                <text>Cet ensemble Ã  fonctions mixtes rÃ©pond au plan Ã©laborÃ© par Michel Ecochard, responsable du service dâ€™urbanisme de 1947 Ã  1952. Lâ€™avenue appelÃ©e "la grande transversale est-ouest", percÃ©e en 1952, doit recevoir des immeubles de grande hauteur, disposÃ©s en peigne laissant passer lâ€™air et le soleil et libÃ©rant le sol pour des espaces piÃ©tonniers plantÃ©s. &#13;
&#13;
Entre lâ€™hÃ´tel El Mansour et la place Zellaka, nâ€™a Ã©tÃ© rÃ©alisÃ©e que la sÃ©quence dont fait partie cette barre de logements Ã©troite et longue, posÃ©e en biais sur une galette dâ€™un Ã©tage sur portique abritant des commerces, avenue des F.A.R, et la gare routiÃ¨re de la C.T.M, rue LÃ©on lâ€™africain. &#13;
&#13;
On y reconnait lâ€™Ã©criture lisse et stricte de Courtois. Sur 7 Ã©tages, des bandeaux continus encadrent des ouvertures Ã  trames Ã©troites et des loggias profondes. Ils sont interrompus aux 2/3 de la faÃ§ade par les claustras verticaux de la cage dâ€™escalier. &#13;
&#13;
Avenue des F.A.R, les portiques abritaient une bibliothÃ¨que et un thÃ©Ã¢tre municipaux aujourdâ€™hui fermÃ©s.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 96</text>
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                <text>COURTOIS, Alexandre</text>
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                <text>Maroc, Casablanca</text>
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                <text>Ecole ThÃ©ophile Gautier</text>
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                <text>Ã©cole</text>
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                <text>Câ€™est la deuxiÃ¨me Ã©cole construite, avec lâ€™Ã©cole Georges Bizet boulevard ghandi, pour la Mission franÃ§aise par Jean-FranÃ§ois ZÃ©vaco. &#13;
&#13;
Elle se caractÃ©risait Ã  son origine par son esthÃ©tique "brutaliste", avec notamment des portiques en bÃ©ton brut qui soutiennent les dalles de couverture des circulations extÃ©rieures. DÃ©tachÃ©es des bÃ¢timents, elles mÃ©nagent des espaces plantÃ©s devant les blocs de classes. &#13;
&#13;
Trois escaliers insÃ©rÃ©s dans les fentes entre bÃ¢timents distribuent les six salles de classe de lâ€™Ã©tage, permettant, en libÃ©rant les faÃ§ades, un Ã©clairage Ã  double orientation. &#13;
&#13;
L'esthÃ©tique brutaliste affirmÃ©e d'origine a Ã©tÃ© quelque peu altÃ©rÃ©e depuis que le bÃ©ton des portiques a Ã©tÃ© passÃ© Ã  la peinture.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 29</text>
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                <text>ZEVACO, Jean-FranÃ§ois</text>
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            <description>A language of the resource</description>
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            <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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              <elementText elementTextId="7038">
                <text>Maroc, Casablanca</text>
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              <elementText elementTextId="7039">
                <text>1960-1963</text>
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        <name>Ecole ThÃ©ophile Gautier</name>
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              <name>Title</name>
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              <name>Description</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Villa Cohen</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>villa</text>
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              <elementText elementTextId="7019">
                <text>hÃ´tel particulier</text>
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              <elementText elementTextId="7020">
                <text>art dÃ©co (style)</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>La villa Cohen construite sur la largeur de la parcelle doit son originalitÃ© au panneau de zellijs du 1er Ã©tage, encadrant lâ€™une des baies. &#13;
&#13;
Au-dessus du porche dâ€™entrÃ©e, les couleurs inhabituelles et le calepinage particulier dessinent un motif gÃ©omÃ©trique caractÃ©ristique de lâ€™art dÃ©co. </text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="7022">
                <text>Alluchon, Jacqueline</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="7023">
                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 38</text>
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          <element elementId="40">
            <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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              <elementText elementTextId="7024">
                <text>2011</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="7025">
                <text>JABIN, Pierre</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="7026">
                <text>FR</text>
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            </elementTextContainer>
          </element>
          <element elementId="38">
            <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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              <elementText elementTextId="7027">
                <text>Maroc, Casablanca</text>
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              <elementText elementTextId="7028">
                <text>1931</text>
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        <name>Villa Cohen</name>
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                <name>Height</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Villa Emmanuel Chaine</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>hÃ´tel particulier</text>
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                <text>villa</text>
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                <text>vitrail</text>
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                <text>claustra</text>
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            <description>An account of the resource</description>
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                <text>La villa dâ€™Emmanuel Chaine, rejoint lâ€™alignement de la rue Curie sur le mitoyen de la Villa Cohen. &#13;
&#13;
Plus imposante puisquâ€™elle se dÃ©veloppe sur trois niveaux, elle se caractÃ©rise par son soubassement dont la hauteur permet dâ€™abriter des services et dâ€™amÃ©nager un passage aux voitures vers le garage situÃ© dans lâ€™arriÃ¨re-cour. &#13;
&#13;
On y retrouve la style Art-dÃ©co dans les vitraux ouvrant les bow-windows du rez-de-chaussÃ©e et la porte dâ€™entrÃ©e, ainsi que dans les claustras soulignant les garde-corps des terrasses et les frises du couronnement. &#13;
&#13;
Cette villa a fait lâ€™objet de plusieurs demandes de dÃ©molition de la part de son propriÃ©taire, jusquâ€™ici refusÃ©es. </text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Alluchon, Jacqueline</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="11463">
                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 38</text>
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          <element elementId="40">
            <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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            <description>An entity responsible for making contributions to the resource</description>
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                <text>CHAINE, Emmanuel</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="11466">
                <text>FR</text>
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          </element>
          <element elementId="38">
            <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>1932</text>
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              <description>A name given to the resource</description>
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                <text>HÃ´tel Excelsior</text>
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            <description>The topic of the resource</description>
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                <text>nÃ©o-mauresque (style)</text>
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                <text>Delaporte est lâ€™auteur des premiers Ã©difices Ã©levÃ©s en dehors de lâ€™ancienne mÃ©dina, lâ€™hÃ´tel Excelsior et les Magasins Paris-Maroc, construits en bÃ©ton armÃ©, le premier avec lâ€™entreprise Coignet, les seconds avec les frÃ¨res Perret et aujourdâ€™hui dÃ©molis. &#13;
&#13;
Ces bÃ¢timents amorcent ainsi le dessin de la place, Ã  la charniÃ¨re de lâ€™ancienne mÃ©dina, du port et de la ville future. &#13;
&#13;
TrÃ¨s vite,  lâ€™hÃ´tel Excelsior va devenir avec sa brasserie le rendez-vous de tous les nouveaux entrepreneurs que dÃ©crit si bien Claude FarrÃ¨re dans son roman "Les Hommes nouveaux".&#13;
&#13;
Le vocabulaire dÃ©coratif de la faÃ§ade rappelle les constructions dâ€™AlgÃ©rie ou de Tunisie, de style nÃ©o-mauresqueÂ :  arcs en plein cintre, tuiles vertes et carreaux de faÃ¯ence (Azulejos). &#13;
&#13;
A lâ€™angle de la rue Brahim Amraoui, le hall dâ€™entrÃ©e est encore dans son Ã©tat dâ€™origine malgrÃ© le vernis bon marchÃ© des comptoirs dâ€™accueil. &#13;
&#13;
Les chambres, dont les sols sont en carreaux de ciment, ont Ã©tÃ© souvent rassemblÃ©es en appartements pour les nouveaux venus qui attendaient parfois plusieurs annÃ©es avant de trouver un logement.  </text>
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            <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>
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              <elementText elementTextId="6999">
                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 67</text>
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&#13;
Celui-ci illustre un style propre Ã  Casablanca dans les annÃ©es 20 et 30, mettant en Å“uvre des rÃ©fÃ©rences aussi bien Art nouveau, Art dÃ©co que NÃ©o-mauresque. Pour Marius Boyer câ€™est le prÃ©texte Ã  un exercice de style sophistiquÃ©. &#13;
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A mi chemin entre les options des villas "Les Tourelles", Ã  dominante Art dÃ©co, et la villa Benazeraf (dÃ©molie dans les annÃ©es 90), de style plus fonctionnaliste, lâ€™architecte mise sur la dentelle dÃ©licate du fer forgÃ© et la subtilitÃ© du plÃ¢tre sculptÃ© traditionnel. &#13;
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La rue dâ€™Alger, du boulevard Moulay Youssef Ã  la place Oued El Makhazine, abrite une collection exceptionnelle de bÃ¢timents construits entre les annÃ©es 20 et 40. </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;
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&#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;
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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>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 61</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;
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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>Dans les annÃ©es 20, la refonte des quartiers du port en quartier des affaires est envisagÃ©e. Eirik Labonne, secrÃ©taire gÃ©nÃ©ral de la rÃ©sidence, encourage architectes et urbanistes Ã  y Ã©difier des immeubles de grande hauteur. &#13;
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Ainsi, Boyer, qui imagine des tours-portiques, rÃ©alise cet ensemble en deux parties de huit et quatre Ã©tages, sÃ©parÃ©es par une rue intÃ©rieure couvrant le garage en sous-sol. &#13;
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Sur lâ€™avenue Hassan SÃ©ghir, trois blocs reliÃ©s jusquâ€™au 7e se dÃ©clinent en gradins, crÃ©ant de larges terrasses devant des studios. Ils sont couronnÃ©s par trois duplexs. &#13;
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A partir de trois escaliers, environ 90 appartements sâ€™organisent autour des paliers circulaires, disposition leur permettant de bÃ©nÃ©ficier de trois orientations et dâ€™Ãªtre isolÃ©s par les parties communes insÃ©rÃ©es entre eux (escaliers de service, ascenseurs, vide-ordures). &#13;
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Elles sont directement ventilÃ©es et Ã©clairÃ©es par des verriÃ¨res Ã  lamelles qui soulignent la verticalitÃ© des trois tours. &#13;
&#13;
Au 8e, les cages dâ€™escaliers communiquent Ã  travers les locaux des buanderies communes ouvrant sur des terrasses dâ€™Ã©tendage.&#13;
&#13;
L'Ã©lÃ©gant ensemble Ã©voque irrÃ©sistiblement certaines rÃ©alisations parisiennes d'Henri Sauvage, Ã  caractÃ¨re constructiviste.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 97</text>
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                <text>Maroc, Casablanca</text>
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                <text>Non loin de lâ€™immeuble Brami, Gaston Jaubert reprend le principe du duplex dans un immeuble, plus exposÃ© sur le boulevard. &#13;
&#13;
EntiÃ¨rement visible derriÃ¨re un vitrage rythmÃ© par ses paliers, lâ€™escalier, placÃ© latÃ©ralement par rapport Ã  la faÃ§ade, dessert une quarantaine dâ€™appartements de 3 piÃ¨ces en duplex. &#13;
&#13;
Le soubassement de lâ€™immeuble abrite des commerces et Ã©pouse la forme du carrefour. Ici encore on note le graphisme subtil de la faÃ§ade creusÃ©e par les loggias Ã  double hauteur, mettant en valeur le jeu de lâ€™ombre et la lumiÃ¨re. &#13;
&#13;
Gaston Jaubert quitte le Maroc en 1960, la majoritÃ© de son Å“uvre est constituÃ©e dâ€™Ã©quipements et de logements sociaux, souvent en association avec Marcel Desmet et ATBAT AFRIQUE comme bureau dâ€™Ã©tudes.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 114</text>
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                <text>JAUBERT, Gaston</text>
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