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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>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. 44</text>
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                <text>SURAQUI, Joseph</text>
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                <text>Maroc, Casablanca</text>
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                <text>La Casablancaise</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>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. 60</text>
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                <text>LIEVRE, Robert</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>Ã©tablissement scolaire</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>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>Maroc, Casablanca</text>
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&#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;
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&#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>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 85</text>
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&#13;
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&#13;
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&#13;
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&#13;
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&#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>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>WOODS, Shadrach</text>
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                <text>BODIANSKI, Vladimir</text>
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                <text>PIOT, Heni</text>
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        <name>Immeubles SÃ©miramis et Nid d'abeille</name>
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                <text>Ateliers Vincent Timsit (VÃ©tÃ©)</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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              <elementText elementTextId="11598">
                <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>1952</text>
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                <text>Wafasalaf, ex-banque de la Compagnie algÃ©rienne</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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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 72</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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&#13;
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;
&#13;
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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&#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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