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                <text>AUDINEAU, RenÃ©</text>
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                <text>CinÃ©ma Les Champs-ElysÃ©es</text>
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                <text>PLANQUE, Albert</text>
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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>BASCIANO, Dominique</text>
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                <text>Maroc, Casablanca</text>
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                <text>Alluchon, Jacqueline</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>cinÃ©ma</text>
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                <text>CinÃ©ma Lynx</text>
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                <text>AROUTCHEFF, LÃ©on</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>BaptisÃ© cinÃ©ma-thÃ©Ã¢tre, le Rialto est lâ€™un des premiers cinÃ©mas monuments de la ville.&#13;
&#13;
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;
&#13;
MalgrÃ© de nombreuses rÃ©novations et modifications, il reste toujours un des exemples de bÃ¢timent de style entiÃ¨rement Art-dÃ©co.&#13;
&#13;
Haut lieu de la vie culturelle casablancaise, il a accueilli des vedettes de la chanson franÃ§aise : de Maurice Chevalier Ã  JosÃ©phine Baker.&#13;
&#13;
La programmation Ã©tait ambitieuse : les films sortaient en mÃªme temps quâ€™Ã  Paris ou quâ€™aux U.S.A. &#13;
&#13;
Les PremiÃ¨res suscitaient des soirÃ©es Ã  thÃ¨mes mÃ©morables, en fonction du film prÃ©sentÃ©. Le Rialto Ã©tait lâ€™un des lieux significatifs dâ€™une ville profondÃ©ment hÃ©doniste, tournÃ©e vers le sport, le soleil et le cinÃ©ma.&#13;
&#13;
Bien entretenu, le cinÃ©ma reste toujours en fonction.</text>
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                <text>Le cinÃ©ma Tamgout, anciennement Le Plazza, est lâ€™Å“uvre des architectes Albert Seiller et Marcel LathuilliÃ¨re. Construit pour accueillir 1000 spectateurs, il est de taille beaucoup plus modeste que la salle Atlas, situÃ©e en contrebas. RÃ©alisÃ© en 1939 pour le compte de la sociÃ©tÃ© Isly ThÃ©Ã¢tre, il adopte le langage Art dÃ©co, trÃ¨s prisÃ© Ã  lâ€™Ã©poque. La puretÃ© des lignes modernes se confond avec le jeu des pleins et des vides formÃ©s par les ouvertures carrÃ©es, disposÃ©es au-dessus du vaste perron de lâ€™entrÃ©e principale.</text>
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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>DestinÃ©e Ã  rÃ©sorber le bidonville de Ben Mâ€™Sick, la citÃ© est mise en chantier au milieu des annÃ©es 40 pour 100Â 000 habitants.&#13;
&#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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                <text>DÃ¨s 1916, Henri Prost et son Ã©quipe envisage la crÃ©ation d'une "Nouvelle ville indigÃ¨ne", destinÃ©e Ã  rÃ©sorber les habitations insalubres oÃ¹ s'entassent les immigrants venus de l'intÃ©rieur du pays. Elle sera implantÃ©e entre la route de MÃ©diouna (aujourd'hui avenue Mohammed-VI), axe principal reliant le sud du Maroc Ã  Casablanca, et la voie ferrÃ©e Rabat-Marrakech. Sur la partie proche du centre-ville, le palais du Sultan sera Ã©difiÃ© en 1917 par les frÃ¨res Louis-Paul et FÃ©lix-Joseph Pertuzzio, son jardin andalou sera dessinÃ© par Jean-Claude Nicolas Forestier.&#13;
&#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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                <text>http://mutual-heritage.crevilles-dev.org/casablanca/items/show/175</text>
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            <name>Source</name>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, pp. 110-111</text>
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                <text>CitÃ© des Habous</text>
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                <text>MADDALENA, Robert</text>
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                <text>AROUTCHEFF, LÃ©on</text>
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                <text>Maroc, Casablanca</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>La CitÃ© des Jeunes est une sociÃ©tÃ© anonyme, financÃ©e par lâ€™Etat, le patronat et le CIL (ComitÃ© Interprofessionnel du Logement). Son objet est la rÃ©alisation de logements pour cÃ©libataires ou jeunes mÃ©nages europÃ©ens des classes populaires.&#13;
&#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>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 24</text>
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