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                <text>Groupe scolaire Idrissi, ex Racine</text>
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                <text>La vague de construction scolaire de lâ€™aprÃ¨s-guerre offre lâ€™occasion pour une jeune gÃ©nÃ©ration dâ€™architectes dâ€™explorer des solutions innovantes issues de rÃ©flexions sur lâ€™Ã©ducationÂ : circulations protÃ©gÃ©es, cours gÃ©nÃ©reuses, Ã©clairage mixte. Ici les portiques de distribution sont surbaissÃ©s et au dessus lâ€™Ã©clairage est filtrÃ© Ã  travers un claustra de tubes de ciment. &#13;
&#13;
Lâ€™autre faÃ§ade des classes est constituÃ©e de lames verticales posÃ©es de biais, si bien que sa perception varie selon le point de vueÂ : transparente pour le maÃ®tre dâ€™Ã©cole, aveugle pour les Ã©lÃ¨ves. Il sâ€™en dÃ©gage une atmosphÃ¨re propice Ã  lâ€™Ã©tude, faite dâ€™un dosage subtil entre ombre et lumiÃ¨re. &#13;
&#13;
Le programme comprendÂ : une Ã©cole de garÃ§ons, de filles, une maternelle et un immeuble de douze appartements oÃ¹ on retrouve le mÃªme vocabulaire architectonique, en particulier celui des claustras des circulations situÃ©es au nord. &#13;
&#13;
La structure spectaculaire en bÃ©ton dÃ©gage un prÃ©au abritÃ©, au rez-de-chaussÃ©e, sur lâ€™autre faÃ§ade. Faute de crÃ©dits, lâ€™Ã©cole ne bÃ©nÃ©ficie pas dâ€™un entretien suffisant.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 27</text>
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                <text>ZEVACO, Jean-FranÃ§ois</text>
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                <text>Maroc, Casablanca</text>
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                <text>CitÃ© Hay Hassani-Derb-jdid</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>Sur la nouvelle avenue menant au port (percÃ©e en 1922) face Ã  lâ€™ancienne mÃ©dina, lâ€™HÃ´tel Plazza comporte trois niveaux de chambres et suites, le premier Ã©tage Ã©tant rÃ©servÃ© aux services, salons et salle Ã  manger. &#13;
&#13;
Il a depuis subi de multiples transformations qui ont modifiÃ© son fonctionnement. Il y avait notamment un centre dâ€™artisanat, dont les boutiques entouraient un patio qui donnait accÃ¨s Ã  une grande salle des fÃªtes. &#13;
&#13;
Lâ€™entrÃ©e actuelle date des annÃ©es soixante. Les chambres nâ€™ont guÃ¨re Ã©tÃ© modifiÃ©es et mÃ©riteraient une sÃ©rieuse remise en Ã©tat. De leurs porte-fenÃªtres, la vue sur la mÃ©dina et la mer est exceptionnelle. &#13;
&#13;
Interrompant les balcons filants des deux derniers niveaux, un volume vertical surmontÃ© dâ€™un mirador sert de signal. Sur toute la hauteur, il est percÃ© dâ€™une fente vitrÃ©e continue qui Ã©claire lâ€™escalier de marbre et lâ€™ascenseur restÃ©s dans leur Ã©tat originel. &#13;
&#13;
Des rumeurs font craindre une prochaine 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. 65</text>
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                <text>BOYER, Marius</text>
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                <text>Dans cette rue rÃ©sidentielle, proche du Parc, ont Ã©tÃ© Ã©difiÃ©s, dÃ¨s les annÃ©es 20 de petits hÃ´tels particuliers dont la plupart sont de Delaporte.&#13;
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Dâ€™un Ã©difice a lâ€™autre, il fait montre dâ€™une grande variÃ©tÃ© dâ€™expression. Deux dâ€™entre eux sont nÃ©o-mauresquesÂ : carreaux de faÃ¯ence, zellijs excisÃ©s, auvents recouverts de tuiles vertes, fer forgÃ© traditionnel.&#13;
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Les programmes de ces maisons pittoresques sont modestesÂ : salon, salle Ã  manger, deux petites chambres, salle de bains et cuisine minuscules, un jardin ou une cour Ã  lâ€™arriÃ¨re aÃ©rÃ©s par le jardin de lâ€™Agence urbaine.&#13;
&#13;
Il utilise le style Art-dÃ©co pour la maison mitoyenne et le bÃ¢timent quâ€™il construit en face pour lui-mÃªme, complÃ©tÃ© par trois studios destinÃ©s Ã  ses employÃ©s.&#13;
&#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 50</text>
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                <text>Aldo Manassi, architecte formÃ© en Italie, disparaÃ®t sans laisser de traces Ã  la fin des annÃ©es trente. Actif entre 1920 et 1930, il laisse avec cet immeuble de cinq Ã©tages lâ€™une de ses derniÃ¨res Å“uvres connues. &#13;
&#13;
RÃ©solument dâ€™inspiration Art-dÃ©co centre europÃ©en, voire viennois, le traitement des faÃ§ades donne Ã  lâ€™ensemble un Ã©lan vertical remarquableÂ : jeu de redents monumental et hautes porte-fenÃªtres, fronton dÃ©corÃ© pour la faÃ§ade dâ€™angle, colonnes jumelÃ©es sur trois niveaux et trois travÃ©es pour les faÃ§ades latÃ©rales. &#13;
&#13;
Le dernier Ã©tage est scandÃ© par des groupes de quatre Ã  cinq colonnes massives et de faible hauteur couronnÃ©es de zelliges en camaÃ¯eu brun. Il est intÃ©ressant de constater que les motifs Art-dÃ©co des gardes corps et de lâ€™imposte de la porte dâ€™entrÃ©e en fer forgÃ© ont Ã©tÃ© utilisÃ©s dans plusieurs immeubles de construction rÃ©cente.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 80</text>
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                <text>MANASSI, Aldo</text>
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&#13;
Comme quelques bÃ¢timents des annÃ©es dix, il est construit en maÃ§onnerie porteuse, des poutrelles mÃ©talliques et des voutins en brique constituent les planchers.&#13;
&#13;
Le dÃ©cor nÃ©o-mauresque est encore visible sur la structure dâ€™ordonnance classique, Ã©voquant lâ€™architecture du XIXe siÃ¨cle en Afrique du Nord. &#13;
&#13;
Quinze annÃ©es ont suffi pour faire de ce bÃ¢timent une ruine. Au dÃ©but des annÃ©es quatre-vingt, lâ€™effondrement dâ€™une terrasse a provoquÃ© la mort de deux clients de lâ€™hÃ´tel. AussitÃ´t Ã©vacuÃ©, il a fait lâ€™objet de procÃ©dures judiciaires et de demandes de dÃ©molition. &#13;
&#13;
Lâ€™inscription de sa faÃ§ade Ã  lâ€™inventaire des monuments historiques en 2000 nâ€™a pas pour autant conduit Ã  la rÃ©habilitation obligatoire. De nombreux incidents, volontaires ou pas, ont contribuÃ© Ã  une dÃ©gradation irrÃ©versibleÂ jusquâ€™Ã  lâ€™effondrement en 2009. &#13;
&#13;
Une telle situation est la consÃ©quence de lâ€™absence de lÃ©gislation appropriÃ©e en matiÃ¨re de protection du patrimoine dont lâ€™urgence sâ€™impose aujourdâ€™hui. &#13;
&#13;
Photo Pascal Garret, 1999.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 98</text>
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Le soubassement est soulignÃ© de bandes horizontales de carreaux de faÃ¯ence noirs, crÃ©ant un motif de rayures qui Ã©voquent lâ€™architecture viennoise.&#13;
&#13;
Les deux halls dâ€™entrÃ©e, surbaissÃ©s, sont ornÃ©s dâ€™un dÃ©cor subtil de zelliges en camaÃ¯eu rose et beige.&#13;
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Vingt appartements de trois, quatre piÃ¨ces et garÃ§onniÃ¨res occupent quatre Ã©tages, le premier ou entresol Ã©tant rÃ©servÃ© aux bureaux.&#13;
&#13;
InstallÃ© Ã  Rabat, Jean Balois travaille, de 1925 Ã  1929, avec Marius Boyer puis avec Paul Perrotte de 1931 Ã  1937.&#13;
&#13;
De lâ€™autre cÃ´tÃ© de la place subsistent, dans le quartier Lusitania, de beaux immeubles des annÃ©es vingt et trente, une synagogue et quelques rares hÃ´tels particuliers.&#13;
&#13;
Photo Luc Bouchard, 2007.</text>
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&#13;
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Marius Boyer met, ici, en Å“uvre les Ã©lÃ©ments nÃ©o-mauresques des annÃ©es vingtÂ : panneaux abondamment sculptÃ©s de part et dâ€™autres de baies en plein cintre, surmontÃ©es dâ€™auvents recouverts de tuiles vertes, zelliges et lambris Ã  lâ€™intÃ©rieur.&#13;
&#13;
Sous les arcades du boulevard Mohamed V, les vitrines en aluminium brun et en verre fumÃ© sont des ajouts des annÃ©es quatre-vingt.&#13;
&#13;
De mÃªme style, on note un peu plus loin sur le mÃªme trottoir  la Chambre de Commerce et de lâ€™Industrie, et dans son prolongement symÃ©trique la Poste, Ã  lâ€™angle de la rue de la Chaouia et du boulevard Mohammed V, construites en 1918 par Pierre Bousquet.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 75</text>
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                <text>Ignacio Sansone est arrivÃ© en 1920 de Tunisie oÃ¹ il avait dÃ©butÃ© sa carriÃ¨re en 1912. MaÃ§on, devenu architecte, il sâ€™associe jusquâ€™en 1939 avec son gendre Paul Busuttil lui aussi natif de Tunis.&#13;
&#13;
Avec trois faÃ§ades, cet ensemble se compose dâ€™un rez-de-chaussÃ©e commercial et de cinq niveaux de logements. Le premier et le quatriÃ¨me Ã©tage sont ceinturÃ©s de balcons Ã  balustres aux lignes ondulÃ©es dâ€™inspiration Art-nouveau. Le style Art-dÃ©co sâ€™exprime dans la frise sculptÃ©e du dernier Ã©tage et dans les cannelures verticales des deux rotondes dâ€™angle surmontÃ©es de coupoles recouvertes de carreaux bruns et couronnÃ©s de lanternons de verre bleu.&#13;
&#13;
Dominant la petite place plantÃ©e de palmiers, lâ€™immeuble LÃ©vy et Charbon participe Ã  la richesse patrimoniale de ce quartier dÃ©jÃ  menacÃ©. En effet, aprÃ¨s la destruction des entrepÃ´ts Hamelle, avenue Hassan Seghir, des rumeurs de dÃ©molition pÃ¨sent sur lâ€™Ã®lot proche, bordÃ© par les rues dâ€™Anjou, Nâ€™Chakra Rahal et la rue Mohamed Smiha oÃ¹ se trouvent notamment les anciens locaux des imprimeries rÃ©unies datant de 1920 et 1930.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 99</text>
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Chaque bÃ¢timent comporte 40 appartements, de 2 Ã  5 piÃ¨ces, ouvrant sur de profondes loggias. Pour cet habitat Â«Â bon marchÃ©Â Â», les surfaces sont gÃ©nÃ©reuses, notamment celles des livings dotÃ©s dâ€™une cheminÃ©e, des chambres supÃ©rieures Ã  16m2 et des balcons buanderies.&#13;
&#13;
Sur les faÃ§ades arriÃ¨re sont regroupÃ©s les piÃ¨ces dâ€™eau et deux des 4 escaliers abritÃ©s derriÃ¨re des claustras-moucharabiehs.&#13;
&#13;
Lâ€™ensemble sera complÃ©tÃ© par dâ€™autres immeubles confiÃ©s Ã  Edmond et Jean Gourdain et Marius Boyer qui terminera lâ€™Ã®lot par une station-service. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 30</text>
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Un dÃ©cor de petits carreaux de grÃ¨s bleus et or, au-dessus de la porte dâ€™entrÃ©e, rappelle celui qui orne lâ€™immeuble Glaoui contemporain, rÃ©alisÃ© Ã©galement avec Jean Balois, associÃ© de 1925 Ã  1929, et installÃ© Ã  Rabat.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 82</text>
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                <text>Construite en mÃªme temps que lâ€™actuel consulat de France, Ã  lâ€™opposÃ© de la place encore partiellement occupÃ©e par les campements militaires, la Poste est lâ€™Å“uvre dâ€™Adrien Laforgue (auteur Ã©galement de la gare de Rabat ville), qui prend pour modÃ¨le, la Grandâ€™Poste dâ€™Alger, construite quelques annÃ©es auparavant.&#13;
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Lâ€™architecte entame ici un travail remarquable sur les dÃ©cors de zellijs, notamment la frise verte et bleue du couronnement, sous lâ€™auvent recouvert de tuiles vertes, ainsi que le magnifique panneau bleu et noir, qui marque les entrÃ©es sous le portique. &#13;
&#13;
Lâ€™organisation spatiale intÃ©rieure a Ã©tÃ© considÃ©rÃ©e Ã  lâ€™Ã©poque comme trÃ¨s innovante. On note les ferronneries qui entourent le hall public sur deux niveaux et la coupole,  aujourdâ€™hui recouverte de panneaux en bois sculptÃ©. &#13;
&#13;
Lâ€™ensemble est prolongÃ© par les bÃ¢timents des colis postaux sur le boulevard de Paris. &#13;
&#13;
La poste inaugure cette collection remarquable dâ€™Ã©difices nÃ©o-marocains formant la place administrative.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 49</text>
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