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                <text>CHASSAGNE, Pierre</text>
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                <text>Maroc, Casablanca</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>La citÃ©-jardin du quartier Bourgogne est construite Ã  partir de 1946, par lâ€™office chÃ©rifien de lâ€™habitat pour des fonctionnaires.&#13;
&#13;
Au centre dâ€™un Ã®lot triangulaire, lâ€™immeuble de Chassagne est implantÃ© en retrait de lâ€™alignement du boulevard. Le percement central du bÃ¢timent, sur trois Ã©tages, est conÃ§u comme une porte monumentale dans lâ€™axe du bassin ornant le jardin.&#13;
&#13;
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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                <text>logement</text>
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                <text>Immeubles pour lâ€™O.C.H.</text>
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                <text>BOYER, Marius</text>
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                <text>BALOIS, Jean</text>
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                <text>Maroc, Casablanca</text>
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                <text>Depuis son arrivÃ©e Ã  Casablanca en 1919, Marius Boyer compte Ã  son actif de nombreuses rÃ©alisations importantes. La diversitÃ© de ses registres stylistiques a pour trait commun sa maÃ®trise et sa force crÃ©atrice.&#13;
&#13;
Pour exemple, ce bÃ¢timent dâ€™angle Art-dÃ©co de quatre niveaux sur rez-de-chaussÃ©e, Ã  qui lâ€™architecte a rÃ©ussi Ã  confÃ©rer une dimension monumentale, grÃ¢ce notamment, au traitement savant de la travÃ©e principale, au-dessus de lâ€™entrÃ©e.  Elle est surmontÃ©e dâ€™une superstructure encadrÃ©e en terrasse de deux larges auvents en porte-Ã -faux dÃ©ployÃ©s en ailes dâ€™avion - peut-Ãªtre en rapport avec les noms des aviateurs, hÃ©ros de la PremiÃ¨re Guerre mondiale, avaient Ã©tÃ© donnÃ©s aux rues de ce quartier.&#13;
&#13;
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>http://mutual-heritage.crevilles-dev.org/casablanca/items/show/88</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>immeuble</text>
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                <text>art dÃ©co (style)</text>
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                <text>Immeuble sociÃ©tÃ© mutuelle hypothÃ©caire sud-amÃ©ricaine</text>
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                <text>LAFORGUE, Adrien</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;
&#13;
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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                <text>Maroc, Casablanca</text>
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                <text>Pour le cercle des officiers, Marius Boyer reproduit le dessin de la faÃ§ade de lâ€™HÃ´tel de la subdivision militaire, actuel consulat de France (Laprade 1916). &#13;
&#13;
Les deux bÃ¢timents en retrait, encadrent ainsi symÃ©triquement lâ€™imposant tribunal de Marrast et participent Ã  lâ€™ordonnance de la place telle que voulue par le RÃ©sident gÃ©nÃ©ral Lyautey. &#13;
&#13;
Les deux Ã©difices  Ã  vocation militaire sont ainsi les moins spectaculaires de la place, Ã  lâ€™Ã©chelle dâ€™habitations, comme si lâ€™armÃ©e cherchait Ã  se faire discrÃ¨te derriÃ¨re les Ã©difices publics monumentaux. &#13;
&#13;
Les salons de lâ€™Ã©tage, lambrissÃ©s de zellijs, ouvrent sur une grande terrasse dominant la place. &#13;
&#13;
Un temps ouvert au public par lâ€™intermÃ©diaire dâ€™un restaurant marocain "le Rissani", le Cercle des Officiers a repris une fonction purement militaire. &#13;
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 84</text>
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                <text>GRESLIN, Albert</text>
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                <text>Les nouveaux abattoirs municipaux, bÃ¢tis Ã  proximitÃ© de la gare Casa-Voyageurs, au sud de la voie ferrÃ©e, succÃ¨dent Ã  ceux construits en 1908 sur lâ€™actuelle place des Nations Unies. La ville compte alors 100Â 000 habitants, et lâ€™ampleur du projet tÃ©moigne de la vision de son extension future suivant les plans dâ€™urbanisme de Prost et des prÃ©occupations hygiÃ©nistes de lâ€™Ã©poque.&#13;
&#13;
Sur cinq hectares, de vÃ©ritables rues et places relient les diffÃ©rents bÃ¢timentsÂ : en pÃ©riphÃ©rie, les locaux administratifs et les logements en Ã®lots isolÃ©s, entourÃ©s de jardins, au centre, dans la grande rue axÃ©e sur lâ€™entrÃ©e principale, les Ã©curies et les bÃ¢timents dâ€™abattage reliÃ©s directement Ã  lâ€™immense halle. A celle-ci, sâ€™adosse la tour des frigorifiques en partie effondrÃ©e suite Ã  un incendie. A cela sâ€™ajoutent les bÃ¢timents nÃ©cessaires au traitement des carcasses, peaux, etc.&#13;
&#13;
Ces constructions illustrent les progrÃ¨s de la maÃ®trise du bÃ©ton armÃ©, technique rÃ©cente en 1922. Des poutres de seize mÃ¨tres de portÃ©e rythment le bÃ¢timent principal de 160 mÃ¨tres de long. A lâ€™extÃ©rieur, des claustras de ciment assurent la ventilation et lâ€™Ã©clairage naturels. &#13;
&#13;
Le style de lâ€™ensemble sâ€™apparente Ã  lâ€™Art-dÃ©co, associÃ© au NÃ©o-mauresque pour les portes monumentales de la grande halle encadrÃ©es de volumes en saillie surmontÃ©s de dÃ´mes et soulignÃ©s de panneaux verticaux ornÃ©s dâ€™Ã©toiles chÃ©rifiennes en carreaux de zellijs traditionnels. &#13;
&#13;
En 2008, il a Ã©tÃ© dÃ©cidÃ© de reconvertir ces bÃ¢timents en espace culturel dont la gestion a Ã©tÃ© confiÃ©e Ã  un collectif dâ€™associations. Dans lâ€™attente dâ€™un projet de rÃ©novation, de nombreuses manifestations sâ€™y dÃ©roulentÂ : musique, arts plastiques, cinÃ©ma, thÃ©Ã¢tre, expositions, rencontres dÃ©montrant, par leur frÃ©quentation, la pertinence et la vigueur du mouvement associatif casablancais.</text>
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                <text>http://mutual-heritage.crevilles-dev.org/casablanca/items/show/91</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, pp. 116-117</text>
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            <description>The topic of the resource</description>
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                <text>abattoir</text>
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                <text>halle</text>
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                <text>art dÃ©co (style)</text>
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                <text>nÃ©o-mauresque (style)</text>
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                <text>Ã©curies</text>
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                <text>Ã©quipement frigorifique</text>
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            <description>A name given to the resource</description>
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                <text>Anciens abattoirs</text>
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              <description>An account of the resource</description>
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                <text>BOYER, Marius</text>
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                <text>Maroc, Casablanca</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>2011</text>
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            <description>An account of the resource</description>
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                <text>MalgrÃ© des modifications telles la suppression des frontons et des frises de pierre sculptÃ©e entourant les deux volumes symÃ©triques et la surÃ©lÃ©vation sur les terrasses reliant les deux maisons, Â«Â lesÂ TourellesÂ Â» restent un des Ã©lÃ©ments qui participent au charme de ce quartier du centre-ville.&#13;
&#13;
Avec talent, Marius Boyer mÃ©lange ici les genresÂ : mÃ©diterranÃ©en pour les tourelles terminÃ©es en miradors, Art-DÃ©co des motifs de pierre sur les facettes des cages dâ€™escalier, nÃ©o marocain pour les rangÃ©es de zellijs et les toits de tuiles vertes.&#13;
&#13;
Ces maisons jumelles ont Ã©tÃ© construites pour deux entrepreneurs associÃ©sÂ : Gouvernet et Lorentz. Actuellement, lâ€™ensemble, transformÃ© en musÃ©e il y a dix ans, est laissÃ© Ã  lâ€™abandon.&#13;
&#13;
Il est un des derniers tÃ©moignages des villas construites par Boyer dans le quartier, aprÃ¨s la disparition de la villa Benazeraf, rue dâ€™Alger, remplacÃ©e par la galerie Actua, et la destruction rÃ©cente, avenue Moulay Hassan Ier, de la villa Houel. &#13;
&#13;
"Les Tourelles" sont inscrites Ã  lâ€™inventaire des monuments historiques.</text>
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              <elementText elementTextId="1066">
                <text>http://mutual-heritage.crevilles-dev.org/casablanca/items/show/92</text>
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                <text>http://mutual-heritage.crevilles-dev.org/casablanca/archive/files/221f4de83be27583f8017008a69b8ee5.jpg</text>
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            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="1068">
                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 35</text>
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            </elementTextContainer>
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            <description>The topic of the resource</description>
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              <elementText elementTextId="1069">
                <text>villa</text>
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                <text>tourelle</text>
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              <elementText elementTextId="1071">
                <text>art dÃ©co (style)</text>
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              <elementText elementTextId="1072">
                <text>nÃ©o-mauresque (style)</text>
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            <description>A name given to the resource</description>
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                <text>Villas jumelles, dites Les Tourelles</text>
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              <description>An account of the resource</description>
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              <elementText elementTextId="1074">
                <text>LEVY, Isaac</text>
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                <text>AZAGURY, Elie</text>
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                <text>Maroc, Casablanca</text>
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                <text>1954</text>
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            <name>Date</name>
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                <text>2011</text>
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            <description>An account of the resource</description>
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                <text>Sur un terrain bordÃ© par le boulevard Victor Hugo, lâ€™avenue du 2 mars et la rue de Salonique, les premiers bÃ¢timents du lycÃ©e (ex-Lyautey) ont Ã©tÃ© construits par Pierre Bousquet en 1922.&#13;
&#13;
Cette extension concerne la nouvelle entrÃ©e et le pavillon des sciences en faÃ§ade sur lâ€™avenue du 2 mars.&#13;
&#13;
Un auvent constituÃ© de poutres en bÃ©ton armÃ© signale lâ€™entrÃ©e du lycÃ©e, calÃ©e dans le dÃ©crochement entre les deux blocs des classes de sciences, dont les faÃ§ades, orientÃ©es Ã  lâ€™ouest, sont protÃ©gÃ©es par un quadrillage de brise-soleil en bÃ©ton.&#13;
&#13;
Le LycÃ©e Mohammed V a formÃ© une grande partie de l'Ã©lite casablancaise, particuliÃ¨rement politique. En effet, dÃ¨s 1965, il fut un ardent foyer de contestation.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 93</text>
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                <text>LycÃ©e Mohammed V</text>
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                <text>BOUSQUET, Pierre</text>
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                <text>2011</text>
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            <description>An account of the resource</description>
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                <text>En 1914, il est dÃ©cidÃ© de dÃ©placer le marchÃ© municipal situÃ© alors sur lâ€™ancienne place de France (Place des Nations Unies). Le nouvel emplacement est celui quâ€™a occupÃ© pendant deux mois lâ€™Exposition Franco-marocaine de 1915 voulue par le MarÃ©chal Lyautey afin de faire la promotion du potentiel Ã©conomique du pays.&#13;
&#13;
Le bÃ¢timent bas et dÃ©pouillÃ© reprend le style traditionnel des marchÃ©s du sud marocain. Sur un quadrilatÃ¨re au front continu, il est ponctuÃ© de boutiques sous les arcades le long du boulevard Mohammed V.&#13;
&#13;
A lâ€™intÃ©rieur, le corps central couvert est surmontÃ© dâ€™une ample rotonde qui abrite les marchands de poissons. La rue intÃ©rieure qui le ceinture est bordÃ©e de boutiques. FraÃ®cheur et ventilation sont assurÃ©es par des fontaines en zellijs traditionnels et dâ€™Ã©troites ouvertures fermÃ©es de moucharabieh de ciment.&#13;
&#13;
Huit accÃ¨s permettent de le traverser en tous sens. Lâ€™entrÃ©e principale a Ã©tÃ© soulignÃ©e rÃ©cemment par des encadrements sculptÃ©s et des panneaux de zellijs verts et jaunes.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 77</text>
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                <text>ZEVACO, Jean-FranÃ§ois</text>
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                <text>Au moment oÃ¹ Jean-FranÃ§ois ZÃ©vaco construit cette mosquÃ©e, Casablanca est encore dÃ©ficitaire en Ã©difices religieux musulmans, puisquâ€™elle ne compte de mosquÃ©es dâ€™importance dans la nouvelle ville que celles de Cadet et Brion aux  Habous et celle de la citÃ© dâ€™AÃ¯n Chock dâ€™Edmond Brion.&#13;
&#13;
Depuis une trentaine dâ€™annÃ©es, ce manque a Ã©tÃ© comblÃ© dans presque tous les quartiers pÃ©riphÃ©riques ainsi que par lâ€™Ã©dification de la Grande MosquÃ©e.&#13;
&#13;
Lâ€™originalitÃ© de la mosquÃ©e conÃ§ue par ZÃ©vaco rÃ©side dans le fait que lâ€™architecte nâ€™a fait appel Ã  aucun Ã©lÃ©ment dÃ©coratif traditionnel de lâ€™architecture arabo-andalouse. Le minaret est entiÃ¨rement en bÃ©ton brut de dÃ©coffrage, les toitures  voÃ»tÃ©es â€“interprÃ©tation de celles fameuses de la Karaouiyine- ne sont pas recouvertes de tuiles vernissÃ©es, les ouvertures sont soulignÃ©es par des claustras en briques.&#13;
&#13;
Câ€™est probablement une des seules mosquÃ©es dans le pays dâ€™esthÃ©tique exclusivement Â«brutalisteÂ». NÃ©anmoins, des transformations ont fait leur apparition, ces derniÃ¨res annÃ©es, sur lâ€™une des entrÃ©es introduisant  zellijs et tuiles vertes. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 106</text>
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&#13;
Sâ€™inscrivant dans le style des bÃ¢timents officiels, dÃ©fini par les services dâ€™urbanisme du protectorat dirigÃ©s par Henri Prost de 1914 Ã  1922, lâ€™architecte utilise un vocabulaire NÃ©o-marocain avec par exemple, les tuiles vertes vernissÃ©es du couronnement et lâ€™emploi de la pierre.&#13;
&#13;
Georges-Jean Grel a dÃ©butÃ© sa carriÃ¨re Ã  El Jadida Ã  la fin des annÃ©es dix et sâ€™associera Ã  partir de 1935 Ã  Georges Renaudin.</text>
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