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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;
&#13;
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>Dominique Basciano peut Ãªtre considÃ©rÃ© comme un spÃ©cialiste des cinÃ©mas de Casablanca, on lui doit le "Rif", avenue des F.A.R et le "Lux", avenue lalla yakout entre autres. &#13;
&#13;
Le Lynx est lâ€™une de ses premiÃ¨res rÃ©alisations. Le projet associe une salle de cinÃ©ma, un hall dâ€™exposition pour automobiles et un garage, enfin un petit immeuble dâ€™habitation. &#13;
&#13;
A partir du hall dâ€™entrÃ©e monumental Ã  double hauteur, protÃ©gÃ© de la rue par un mur de verre, on accÃ¨de Ã  la salle de cinÃ©ma de 1200 places et Ã  son balcon par un escalier sinueux. &#13;
&#13;
Le jeu des dÃ©cors muraux et des faux plafonds en forme de vagues donne lâ€™illusion de volumes libres alors que lâ€™enveloppe gÃ©nÃ©rale est entiÃ¨rement orthogonale. &#13;
&#13;
Un soin particulier a Ã©tÃ© apportÃ© au confort des spectateurs, en particulier la pente Ã©tudiÃ©e pour une visibilitÃ© optimale de la scÃ¨ne qui peut accueillir des spectacles. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 91</text>
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                <text>BASCIANO, Dominique</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;
&#13;
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;
&#13;
De son cÃ´tÃ©, LÃ©on Aroutcheff construit le LutÃ©tia, le Verdun et Lâ€™OpÃ©ra. Ce dernier compte 1300 places, deux bars, lâ€™un en mezzanine ouvrant sur le hall dâ€™entrÃ©e, lâ€™autre accessible en passant sous la scÃ¨ne.&#13;
&#13;
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>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;
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&#13;
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&#13;
SituÃ©e sur un ancien camp militaire, la CitÃ© Bournazel devait Ãªtre la plus grande opÃ©ration dâ€™habitat Ã©conomique, en hauteur, rÃ©alisÃ©e au Maroc. Lâ€™ambition des promoteurs Ã©tait de crÃ©er une Ville nouvelle composÃ©e dâ€™ensembles dâ€™habitation accessibles aux diffÃ©rentes classes sociales.&#13;
Bien quâ€™elle ait Ã©tÃ© construite selon le principe de production dâ€™Ã©lÃ©ments prÃ©fabriquÃ©s, un soin particulier a Ã©tÃ© apportÃ© aux espaces de vie. Les habitants avaient accÃ¨s Ã  deux centres commerciaux et artisanaux, Ã  des services administratifs et Ã  des Ã©quipements de jeux, sportifs et scolaires.&#13;
Cette citÃ© a Ã©tÃ© rÃ©servÃ©e dans un premier temps aux fonctionnaires franÃ§ais, aux rÃ©fugiÃ©s europÃ©ens de la seconde guerre mondiale et Ã  des AmÃ©ricains de la base dâ€™aviation de Nouaceur. Et Ã  partir des annÃ©es soixante, la population marocaine sâ€™y est installÃ© plus massivement.&#13;
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&#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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&#13;
Au sud, Albert Laprade esquisse le premier plan-masse du quartier, accompagnÃ© de croquis, plans et dÃ©tails dÃ©finissant la typologie des habitations et Ã©quipements, directement inspirÃ©es de l'architecture marocaine traditionnelle. Albert Laprade, appelÃ© Ã  Rabat pour construire la RÃ©sidence, Auguste Cadet et Edmond Brion seront seuls maÃ®tres d'oeuvre du projet de 1918 Ã  1955.&#13;
&#13;
TrÃ¨s vite, cette nouvelle mÃ©dina sera occupÃ©e par une population de petits commerÃ§ants, de fonctionnaires et de notables d'origine fassie, retrouvant dans sa configuration un mode de vie adaptÃ© Ã  leurs traditions. Les rues principales et les places sont bordÃ©es d'arcades abritant des commerces. Dans les ruelles qui les entourent, plus calmes, se trouvent les habitations. Ã‰tudiÃ©es une Ã  une, leur morphologie et leur assemblage dÃ©montrent le talent et la connaissance profonde de l'architecture marocaine de leurs auteurs, entourÃ©s des artisans et entrepreneurs marocains au savoir-faire confirmÃ©. Le soin apportÃ© aux Ã©quipements est tout aussi remarquable : kissariat, toilettes publiques revÃªtues de zellijs, bassin de marbre et toit de cÃ¨dre sculptÃ©, fontaines, portes de pierre travaillÃ©e, hammam.&#13;
&#13;
Deux trÃ¨s belles mosquÃ©es dominent le quartier de leurs minarets de style almohade : la mosquÃ©e Moulay Youssef inaugurÃ©e en 1923 et la mosquÃ©e Sidi Mohamed en 1936. Au dÃ©but des annÃ©es 50, l'ensemble est achevÃ© avec la rue impÃ©riale bordÃ©e d'un cÃ´tÃ© de portiques abritant les librairies, de l'autre par l'imposant tribunal du Pacha, ou Mahkma.&#13;
&#13;
La rÃ©ussite de cette expÃ©rience d'urbanisme, unique en son genre, est largement confirmÃ©e aujourd'hui par l'animation permanente qui y rÃ¨gne et la frÃ©quentation touristique. Certains, mÃªme casablancais, croient y voir une authentique ville ancienne.</text>
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&#13;
Ce quartier, constituÃ© essentiellement de petites villas destinÃ©es Ã  la classe moyenne, accueille ainsi une forme de mixitÃ© sociale.&#13;
&#13;
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;
&#13;
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>Dans les annÃ©es cinquante, cette zone face Ã  la mer, allant du boulevard Moulay Youssef au phare dâ€™El Hank, considÃ©rÃ©e comme insalubre, sera affectÃ©e Ã  l'habitat israÃ©lite. Il sâ€™agit de reloger les habitants de lâ€™ancien Mellah qui doit Ãªtre dÃ©moli.&#13;
&#13;
En 1950, un premier immeuble dâ€™une centaine de logements est construit par Louis ZÃ©ligson, encore aujourdâ€™hui isolÃ© face Ã  la citÃ© des Moghaznis. En 1951, un ensemble plus important est rÃ©alisÃ© par lâ€™Ã©quipe Rousseau, ZÃ©ligson, Lucaud, Morandi et Aroutcheff, boulevard Moulay Youssef, devant la MosquÃ©e Hassan II.&#13;
&#13;
Enfin, entre 1955 et 1960, trente-sept barres, soit 3000 logements de 2, 3 et 4 piÃ¨ces, vont constituer le cÅ“ur de la citÃ© dâ€™El Hank, conÃ§ues par J.H. Laure, chef du Bureau des bÃ¢timents administratifs Ã  Rabat.&#13;
&#13;
Elles tournent le dos Ã  la mer et seules les piÃ¨ces dâ€™eau et les coursives dâ€™accÃ¨s sont exposÃ©es aux vents. Le confort est rÃ©duit au minimumÂ : les accÃ¨s se font directement dans ce qui est appelÃ© "entrÃ©e, repas, cuisine" et les salles dâ€™eau ne possÃ¨dent quâ€™un w-c et un lavabo.&#13;
&#13;
La population israÃ©lite nâ€™a, en rÃ©alitÃ©, pas occupÃ© ces logements, lui prÃ©fÃ©rant le quartier Lusitania.</text>
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                <text>Elie Azagury est chargÃ© du plan dâ€™amÃ©nagement dâ€™un quartier destinÃ© Ã  25Â 000 habitants sur un terrain oÃ¹ Ã©taient dÃ©jÃ  regroupÃ©s depuis les annÃ©es quarante plusieurs bidonvilles.&#13;
Il sâ€™agit dâ€™une des premiÃ¨res grandes opÃ©rations de logements depuis lâ€™IndÃ©pendance.&#13;
&#13;
Lâ€™architecte sâ€™attache Ã  diversifier lâ€™offre, en proposant des logements individuels Ã  patio sur un ou deux niveaux regroupÃ©s selon plusieurs typologies, des immeubles collectifs de R+1 Ã  R+4, avec des appartements de deux piÃ¨ces, pour les plus modestes.&#13;
&#13;
Lâ€™assemblage des cellules et la rÃ©partition des immeubles dÃ©finissent une grande diversitÃ© dâ€™espaces publics, de voies hiÃ©rarchisÃ©es. &#13;
&#13;
MalgrÃ© les surÃ©lÃ©vations, les modifications et la privatisation des espaces transformÃ©s en jardinets, le quartier conserve une forte identitÃ©. &#13;
&#13;
Dâ€™autres architectes participent Ã  cette opÃ©ration dâ€™envergure, notamment pour la construction des Ã©quipements tels que Zevaco, Gourdain, Levy, J. Suraqui.&#13;
&#13;
Le nouveau quartier, Ã©difiÃ© sur la trame 8x8, Ã©tablie par Ecochard, est Ã  comparer dans son Ã©volution rÃ©ussie aux citÃ©s dâ€™Hay Mohammedi (CarriÃ¨res Centrales), Sidi Othman, etc.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 22</text>
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                <text>Au dÃ©but du XXÃ¨me siÃ¨cle, les projets de villes nouvelles attirent de nombreuses entreprises de gros Å“uvres europÃ©ennes qui viennent sâ€™installer Ã  Casablanca.&#13;
&#13;
La CitÃ© Lafarge est la premiÃ¨re citÃ© ouvriÃ¨re que lâ€™architecte Edmond Brion conÃ§oit sans son associÃ©, Auguste Cadet. Elle est constituÃ©e dâ€™un dÃ©dale de ruelles et de maisons. Son enceinte rectangulaire est dotÃ©e dâ€™une porte monumentale surmontÃ©e dâ€™un toit Ã  4 pans recouvert de tuiles vertes. &#13;
&#13;
Depuis les annÃ©es 2000, cette porte a connu quelques modifications et rajouts. Les destructions Ã  lâ€™intÃ©rieur sont importantes. Contrairement aux citÃ©s de la SOCICA ou de la COSUMA, il ne sâ€™agit pas seulement de surÃ©lÃ©vations mais de rÃ©elles transformations  qui modifient en profondeur la structure dâ€™origine&#13;
&#13;
 Encore aujourdâ€™hui, la population Ã©prouve un profond attachement et une certaine fiertÃ© Ã  lâ€™Ã©gard de cette citÃ©.</text>
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