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                <text>Depuis les annÃ©es vingt, et plus particuliÃ¨rement dans les annÃ©es cinquante et soixante, le Maroc a servi de lieu dâ€™expÃ©rimentation pour les architectes et les urbanistes du monde entier. Ainsi, la CitÃ© Bournazel, parmi d â€˜autres, incarne ces rÃ©flexions internationales sur le logement social et la notion de Grand Ensemble.&#13;
&#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;
La CitÃ© Bournazel demeure un quartier vivant qui continue Ã  se dÃ©velopper dans un tissu urbain devenu dense et continu.</text>
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                <text>Pour rÃ©aliser ce projet, la municipalitÃ© de Casablanca se rend propriÃ©taire dâ€™un terrain de 10 hectares situÃ©s entre les abattoirs, lâ€™usine Piolet et ChaussonÂ ; et susceptible dâ€™accueillir 1Â 600 logements ouvriers. La deuxiÃ¨me guerre mondiale ayant  provoquÃ© une pÃ©nurie des matÃ©riaux de construction, et afin de pallier au manque de fer, lâ€™architecte rÃ©alise une maison type avec des matÃ©riaux locaux.&#13;
&#13;
Souhaitant crÃ©er un cadre de vie agrÃ©able, Edmond Brion prÃ©voit des arcades et des Ã©lÃ©ments dÃ©coratifs marocains. Ces derniers jugÃ©s trop onÃ©reux disparaissent du projet. &#13;
&#13;
Câ€™est donc une conception simplifiÃ©e par rapport au projet initial qui prend forme. La majoritÃ© des 368 logements comportent une seule piÃ¨ce. Seuls, les logements rÃ©servÃ©s aux agents de maÃ®trise possÃ©daient deux piÃ¨ces. &#13;
&#13;
Bien que la citÃ© nâ€™ait jamais Ã©tÃ© aboutie par rapport au programme initial, câ€™est aujourdâ€™hui un petit quartier cohÃ©rent avec son propre fonctionnement. Depuis peu, des habitants ont fait lâ€™acquisition de leur logement.&#13;
Cette citÃ© est Ã©galement connue sous le nom de Socica.</text>
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                <text>Pendant plus de quatre annÃ©es, les services de lâ€™architecture et de lâ€™urbanisme en Tunisie dirigÃ©s par Bernard Zehrfuss, quoique portÃ©s par les grands courants dâ€™idÃ©es du Mouvement Moderne, vont sâ€™adapter Ã  la culture et aux traditions tunisiennes et Ã©laborer une architecture situÃ©e entre le rationalisme et la tradition. Jacques Marmey, architecte franÃ§ais installÃ© en Tunisie sera lâ€™un des animateurs majeurs de cette pÃ©riode.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/tunis/items/show/219</text>
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                <text>Mardaga</text>
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                <text>Institut FranÃ§ais d'Architecture</text>
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                <text>Quattrocci, Luca</text>
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                <text>Agence de mise en valeur du Patrimoine et de Promotion Culturelle</text>
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                <text>PrÃ©sentation par l'Ã©diteur :&#13;
&#13;
Dans un Tunis bicÃ©phale, "arabe" du cÃ´tÃ© de la mÃ©dina, "europÃ©en" du cÃ´tÃ© du quartier de la Marine, la modernitÃ© fait irruption avec la naissance du XXe siÃ¨cle sous la forme dâ€™un style architectural Ã©clos Ã  Bruxelles en 1893 et quâ€™on appelle Art Nouveau. Durant cinq annÃ©es, ce style va fleurir sur les faÃ§ades et Ã  lâ€™intÃ©rieur dâ€™immeubles qui viennent doter la ville europÃ©enne dâ€™un souffle de vie qui contraste singuliÃ¨rement avec la banalitÃ© dâ€™une architecture fonctionnelle, certes, mais guÃ¨re esthÃ©tique.&#13;
Album commentÃ© de ces immeubles qui Ã©gaillent la ville moderne.</text>
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                <text>Lâ€™Art Nouveau Ã  Tunis, 1900-1905</text>
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                <text>Bacha, Myriam</text>
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                <text>2011</text>
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            <description>An account of the resource</description>
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                <text>Durant lâ€™Ã©poque coloniale, en AlgÃ©rie, en Libye, au Maroc et en Tunisie, se cÃ´toient les types dâ€™architectures dites "orientalistes", "arabisantes", "nÃ©o-mauresques", "mÃ©diterranÃ©ennes". De mÃªme, des crÃ©ations postcoloniales intÃ¨grent les Ã©lÃ©ments de lâ€™architecture traditionnelle et du patrimoine vernaculaire maghrÃ©bin. Ce livre explore ces crÃ©ations inventÃ©es Ã  partir de modÃ¨les patrimoniaux et traditionnels locaux. Il offre une meilleure comprÃ©hension de la physionomie des villes maghrÃ©bines.&#13;
&#13;
Les auteurs, des chercheurs issus des diffÃ©rentes disciplines des sciences humaines et sociales, reviennent sur le sens que donnent Ã  ces architectures les diffÃ©rents acteurs des sociÃ©tÃ©s du Maghreb, aux XIXe et XXe siÃ¨cles. Ces architectures sont reprÃ©sentatives des politiques idÃ©ologiques, identitaires, Ã©conomiques, sociales et touristiques de leur Ã©poque.&#13;
Cet ouvrage offre ainsi un large panorama des diffÃ©rentes inventions architecturales nÃ©es de lâ€™observation du patrimoine et des traditions constructives du Maghreb, aux XIXe et XXe siÃ¨cles.</text>
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                <text>Presses Universitaires FranÃ§ois Rabelais</text>
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                <text>Architectures au Maghreb (XIXe-XXe siÃ¨cles). RÃ©invention du patrimoine</text>
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                <text>Maroc, Casablanca</text>
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                <text>Pierre, Jean-Luc</text>
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                <text>Ouvrage publiÃ© par Jean-Luc Pierre en 2004 sur les relations entre la France et le Maroc Ã  travers l'histoire du Consulat de France Ã  Casablanca.&#13;
Cet ouvrage est partiellement consultable sur Google Books :&#13;
http://books.google.fr/books?id=UojVkyplkR0C</text>
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                <text>http://mutual-heritage.crevilles-dev.org/casablanca/items/show/263</text>
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                <text>CroisÃ©e des Chemins</text>
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                <text>Casablanca et la France, mÃ©moires croisÃ©es XIXe-XXe siÃ¨cles</text>
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                <text>AlgÃ©rie</text>
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                <text>OULESBIR, Nabila</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>En AlgÃ©rie, la notion de patrimoine accompagne un mouvement d'appropriation et d'identification oÃ¹ la sÃ©lection des objets et leur conservation jouent un rÃ´le essentiel. Lâ€™auteur nous convie Ã  suivre ce mouvement, depuis le premier sentiment Ã  l'origine d'une conscience patrimoniale jusquâ€™Ã  cette â€œAlgÃ©rie latineâ€ qu'exalte le moment du Centenaire. &#13;
La question du patrimoine en AlgÃ©rie a toujours Ã©tÃ© un facteur d'Ã©changes et de tensions avec la France</text>
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                <text>978-2-7351-1006-3&#13;
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                <text>http://mutual-heritage.crevilles-dev.org/alger/items/show/94</text>
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                <text>Ã‰dition de la Maison des Sciences de lâ€™Homme&#13;
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                <text>Les usages du patrimoine. Monuments, musÃ©es et politique coloniale en AlgÃ©rie (1830-1930)</text>
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