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                <text>Courtois, avec cet immeuble de 15 Ã©tages, met en Å“uvre un des principes quâ€™il Ã©tudie dans le projet dâ€™amÃ©nagement et dâ€™extension  de la ville, dont il est chargÃ© en 1943. En effet, il est attachÃ© Ã  la modernisation des voies et des places quâ€™il envisage structurÃ©es par des immeubles de grande hauteur. &#13;
&#13;
En construisant la BMCI, il rejoint lâ€™Ã©chelle de lâ€™immeuble Moretti-Milone longtemps seule verticale sur lâ€™ex-place de France auprÃ¨s des magasins Paris-Maroc, du cinÃ©ma Vox (1935), dÃ©molis fin des annÃ©es 70, et de lâ€™hÃ´tel Excelsior. &#13;
&#13;
DÃ¨s ce premier projet, Courtois utilise un style sobre et sans concessions que lâ€™on retrouve dans toutes ses Å“uvres. &#13;
&#13;
RÃ©cemment,  quelques travaux ont modifiÃ© sa silhouetteÂ : adjonction dâ€™une cage mÃ©tallique occultant le dessin en gradins des cinq derniers niveaux, et remplacement de la pierre blonde couvrant les trois premiers Ã©tages par un marbre vert foncÃ©. &#13;
&#13;
Ier grand prix de Rome en 1933, Courtois exerce au Maroc jusquâ€™Ã  la fin des annÃ©es 50. Il est lâ€™auteur de la gare de Casa-port (1950) rasÃ©e en 2008.</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. 68</text>
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                <text>COURTOIS, Alexandre</text>
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                <text>Dans les annÃ©es 30 Ã  Casablanca, le nombre de cÃ©libataires, parmi les immigrants, est si important quâ€™il induit une rÃ©flexion sur le logement de petite surface. Cette demande spÃ©cifique est renouvelÃ©e aprÃ¨s la deuxiÃ¨me guerre mondiale et le nouveau "boom" Ã©conomique des annÃ©es 50. &#13;
&#13;
Ainsi cet immeuble qui propose des petits appartements en duplex, distribuÃ©s par une coursive un Ã©tage sur deux. Le sÃ©jour Ã  double hauteur sâ€™ouvre sur une loggia protÃ©gÃ©e au sud-est. &#13;
&#13;
Un escalier suspendu et transparent mÃ¨ne aux deux chambres Ã  lâ€™Ã©tage. Lâ€™amÃ©nagement intÃ©rieur reflÃ¨te lâ€™esthÃ©tique des annÃ©es 50Â : sols en opus incertum, sÃ©parations mitoyennes percÃ©es de hublots, etc. &#13;
&#13;
Le jeu des garde-corps filant sur la faÃ§ade bombÃ©e souligne lâ€™organisation sur deux niveaux. &#13;
&#13;
Le dernier Ã©tage est rÃ©servÃ© Ã  lâ€™appartement du propriÃ©taire. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 113</text>
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                <text>JAUBERT, Gaston</text>
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                <text>Maroc, Casablanca</text>
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                <text>art dÃ©co (style)</text>
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                <text>Voici lâ€™un des nombreux immeubles construits Ã  lâ€™angle de deux rues dont la faÃ§ade principale Ã©pouse le pan coupÃ© lui permettant ici de bÃ©nÃ©ficier dâ€™une orientation sud-ouest. &#13;
&#13;
Le rez-de-chaussÃ©e est occupÃ© par des commerces, au-dessus desquels une fine galette sert de sÃ©paration visuelle avec les six niveaux dâ€™habitation. &#13;
&#13;
Dâ€™un style Art DÃ©co Ã©purÃ©, lâ€™ensemble est soulignÃ© par le couronnement du 5Ã¨me Ã©tage, rythmÃ© dâ€™auvents minces. &#13;
&#13;
Le hall dâ€™entrÃ©e Ã  partir de la rue Abderhamane Sahraoui mÃ©rite une visiteÂ : on peut en effet y voir une illustration dâ€™un "art global", autrement dit un amÃ©nagement intÃ©rieur associant bronzes et fer forgÃ© de la porte, lambris de marbre, miroirs, sol en granito poli, technique apportÃ©e par le savoir-faire des maÃ§ons italiens venus en nombre dans les annÃ©es 1910. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 46</text>
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                <text>GREL, Georges-Jean</text>
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                <text>Maroc, Casablanca</text>
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                <text>Immeuble Hassan et De Lasalle</text>
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            <description>The topic of the resource</description>
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                <text>immeuble</text>
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                <text>art nouveau (style)</text>
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                <text>art dÃ©co (style)</text>
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                <text>ImplantÃ© sur un Ã®lot bordÃ© de trois rues, lâ€™immeuble comporte un rez-de-chaussÃ©e, trois niveaux de logements, surmontÃ© dâ€™un quatriÃ¨me ponctuant les deux angles (rue abdou sofiane/Square GentilÂ ; Square Gentil/Avenue Moulay Hassan I) . &#13;
&#13;
Les quatre motifs dÃ©coratifs dÃ©veloppÃ©s figurent parmi les plus spectaculaires du rÃ©pertoire casablancais. Ils introduisent la couleur inattendue, orangÃ©e, des zellijs traditionnels utilisÃ©s ici Ã  la place des cÃ©ramiques et grÃ©s que lâ€™on trouve, en Europe sur les faÃ§ades Art-nouveau et Art-dÃ©co. Le motif reprÃ©sentÃ© est une fontaine stylisÃ©e, rÃ©current Ã  lâ€™Ã©poque.</text>
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                <text>Alluchon, Jacqueline</text>
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            <name>Source</name>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 43</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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                <text>2011</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>SURAQUI, Joseph</text>
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                <text>SURAQUI, Elias</text>
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            <name>Language</name>
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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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                <text>Maroc, Casablanca</text>
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              <elementText elementTextId="6892">
                <text>1928</text>
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              <description>A name given to the resource</description>
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              <name>Description</name>
              <description>An account of the resource</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>immeuble Levy-Bendayan</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>redent</text>
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            <description>An account of the resource</description>
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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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            <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="11800">
                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 86</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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                <text>2011</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>BOYER, Marius</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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            </elementTextContainer>
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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>1929</text>
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              <description>A name given to the resource</description>
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            <description>A name given to the resource</description>
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                <text>immeuble Liscia</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="11737">
                <text>cinÃ©ma</text>
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                <text>meneau</text>
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                <text>pergola</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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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;
&#13;
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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            <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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          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="11743">
                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 87</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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                <text>2011</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>JABIN, Pierre</text>
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            <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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            <description>A name given to the resource</description>
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                <text>Immeuble Maret</text>
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            <description>The topic of the resource</description>
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                <text>art nouveau (style)</text>
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                <text>nÃ©oclassique (style)</text>
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            <description>An account of the resource</description>
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                <text>Delaporte, arrivÃ© en 1913 Ã  Casablanca, signe avec les frÃ¨res Perret les magasins Paris-Maroc devenus les Galeries marocaines, dÃ©molis dans les annÃ©es 1970. Il est aussi lâ€™auteur deÂ lâ€™hÃ´tel Excelsior et des petites villas de la rue du Parc, majoritairement de style nÃ©o-mauresque. &#13;
&#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;
&#13;
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>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 101</text>
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                <text>DELAPORTE, Hippolyte Joseph</text>
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                <text>Maroc, Casablanca</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;
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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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                <text>BOUSQUET, Pierre</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;
Au-dessus du rez-de-chaussÃ©e abritant des commerces et les trois halls dâ€™accÃ¨s, trois registres se dÃ©veloppent sur la hauteur de la faÃ§ade correspondant Ã  des typologies diffÃ©rentes dâ€™appartements. &#13;
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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;
Moretti et Milone, cousins associÃ©s, font partie des entrepreneurs dâ€™origine italienne qui vont former des gÃ©nÃ©rations de maalems Ã  qui lâ€™on doit lâ€™exÃ©cution exemplaire des Ã©difices casablancais. </text>
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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>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;
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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;
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&#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 100</text>
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Ici, de longs bandeaux blancs, entourant les baies carrÃ©es et les meneaux ocre, cernent le bÃ¢timent sur trois faces. &#13;
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60 appartements sont desservis, Ã  partir de 4 halls dâ€™entrÃ©e, par des escaliers reliÃ©s entre eux par des coursives. &#13;
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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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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;
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En lâ€™occurrence ce bÃ¢timent est la propriÃ©tÃ© des deux architectes. Ils y dÃ©veloppent leurs goÃ»t personnels.&#13;
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Les bow-windows dÃ©multiplient lâ€™accÃ¨s Ã  la lumiÃ¨re et encadrent, au centre du bÃ¢timent, de profondes loggias.&#13;
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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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