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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;
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>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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                <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>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 102</text>
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                <text>ConÃ§u dans un style art-dÃ©co basique par l'Italien Manassi, le bÃ¢timent des Ã©tablissements Fiat occupe une emprise importante dans ce quartier de Mers-Sultan. &#13;
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L'accÃ¨s, implantÃ© sur le pan coupÃ© Ã  l'angle des rues Mostafa-EI-MÃ¢ani et Habacha, est signalÃ© par deux motifs verticaux prÃ©sentant le logo de la marque.&#13;
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 89</text>
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                <text>MANASSI, Aldo</text>
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De part et d'autre, les volumes, en retrait, sont couronnÃ©es par trois niveaux de gradins. Les passages, qui se rejoignent au centre de l'Ã®lot, sont naturellement Ã©clairÃ©s par une verriÃ¨re soutenue par des fers plats. &#13;
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A droite, l'immeuble Trianon, rÃ©alisÃ© en 1935 par Marcel Desmet, au style cubiste manifeste. A gauche, Ã‰dmond Brion, signe, en 1947, le CrÃ©dit du Maroc dans un style sobre. &#13;
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La porte monumentale de la banque est de Raymond Subes, cÃ©lÃ¨bre ferronnier d'art parisien.</text>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 74</text>
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                <text>De mÃªme que le grand Ã®lot lui faisant face - celui traversÃ© par le passage commerÃ§ant reliant la rue Tata au boulevard de Paris - cet ensemble a Ã©tÃ© commandÃ© par Haj Omar Tazi, Pacha de Casablanca.&#13;
&#13;
CaractÃ©risÃ© par trois faÃ§ades - creusÃ©es au dernier Ã©tage de balcons soutenus par des colonnes au dÃ©cor de zellijs - et rythmÃ©e de frontons Ã  redents, le bÃ¢timent est conÃ§u dans un style art-dÃ©co ayant conservÃ© des Ã©lÃ©ments d'art-nouveau, tels ces ouvertures en plein cintre, ces allÃ¨ges et ces auvents aux lignes courbes, de mÃªme que les panneaux de zellijs aux motifs figuratifs.&#13;
&#13;
L'immeuble fait partie de la vÃ©ritable "collection" que constituent les bÃ¢timents convergents vers la place circulaire du 16 novembre. &#13;
&#13;
Il est l'Å“uvre d'Aldo Manassi, un des architectes italiens prÃ©sents Ã  Casablanca les plus prolixes. Son activitÃ© est attestÃ©e dÃ¨s 1921, on perd sa trace Ã  la veille de la Seconde guerre. Ses projets se rÃ©fÃ¨rent dans un premier temps au style nÃ©o-classique et Ã  l'ornementation baroque, avant d'Ã©voluer vers l'art-dÃ©co dans les annÃ©es 30.</text>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 73</text>
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                <text>MANASSI, Aldo</text>
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                <text>Maroc, Casablanca</text>
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                <text>Immeuble Bendahan</text>
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                <text>verriÃ¨re</text>
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                <text>steam line (style)</text>
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                <text>paquebot (style)</text>
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            <description>An account of the resource</description>
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                <text>AprÃ¨s 1935, date de sa sÃ©paration d'avec Cadet, Brion s'Ã©loigne des styles nÃ©o-marocain et art-dÃ©co caractÃ©risant leurs rÃ©alisations communes. Il s'affirme dans une Ã©criture moderne, lumineuse et dÃ©pouillÃ©e, dont l'immeuble Bendahan est une illustration exemplaire.&#13;
&#13;
Ã‰difiÃ© sur une parcelle trapÃ©zoÃ¯dale, le bÃ¢timent offre, sur un rez-de-chaussÃ©e rÃ©servÃ© aux commerces, quatre niveaux de logements, dont trois comportant des appartements de trois Ã  quatre piÃ¨ces.&#13;
&#13;
La faÃ§ade la plus petite donnant sur la place du 16-novembre, est augmentÃ©e d'un cinquiÃ¨me Ã©tage partiel et d'un sixiÃ¨me en retrait couronnÃ© d'une fine galette aux angles arrondis.&#13;
&#13;
Le seul accÃ¨s aux Ã©tages s'effectue sur la faÃ§ade incurvÃ©e de la rue Bendahan qui sÃ©pare l'immeuble-Ã®lot de l'autre partie du projet. Le hall d'entrÃ©e, surmontÃ© d'une verriÃ¨re, conduit Ã  quatre escaliers implantÃ©s dans les angles.&#13;
&#13;
L'allure profilÃ©e et les angles arrondis de l'ensemble lui insufflent un rÃ©el mouvement, ce qui fait dire Ã  Monique Eleb qu'il s'apparente au style Steam Line qualifiant le souci aÃ©rodynamique des productions industrielles, transports et bÃ¢timents des annÃ©es 30, aux Ã‰tats-Unis. On peut, plus simplement, le ranger dans le style "paquebot".</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Alluchon, Jacqueline</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="5939">
                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 71</text>
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          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2011</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>BRION, Edmond</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>FR</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Maroc, Casablanca</text>
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                <text>1935</text>
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        <name>Immeuble Bendahan</name>
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                <text>passage couvert</text>
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                <text>art dÃ©co (style)</text>
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                <text>colonnade</text>
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                <text>galerie</text>
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                <text>Cet immeuble dont le commanditaire n'est autre que le cÃ©lÃ¨bre Glaoui, Pacha de Marrakech, est l'un des plus spectaculaires du boulevard Mohammed-V.&#13;
&#13;
ConÃ§u dans un art-dÃ©co casablancais particuliÃ¨rement achevÃ©, ce R + 4 donne une impression de monumentalitÃ© due Ã  un traitement de faÃ§ade des plus savants : les deuxiÃ¨me et troisiÃ¨me Ã©tages sont rÃ©unis par une colonnade en marbre soutenant la galerie du quatriÃ¨me, elle-mÃªme protÃ©gÃ©e par un moucharabieh de ciment.&#13;
&#13;
Les deux entrÃ©es de l'immeuble, rue El-Amrani-Brahim, ainsi que celles du passage reliant le boulevard Mohammed-V Ã  la rue Allal-Ben-Abdallah, sont soulignÃ©es par un traitement vertical particulier sur trois travÃ©es, couronnÃ©es par quatre duplexs recouverts de carreaux de zellijs rouges et verts, bÃ©nÃ©ficiant chacun de terrasse-jardins.&#13;
&#13;
Le passage commerÃ§ant traversant l'Ã®lot est ponctuÃ© de trois rotondes vitrÃ©es dispensant un Ã©clairage zÃ©nithal.&#13;
&#13;
Pour la petite histoire, Antoine de Saint-ExupÃ©ry, alors pilote de l'AÃ©ropostale, a sÃ©journÃ©, avec sa femme Consuelo, dans cet immeuble.</text>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 69</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>BOYER, Marius</text>
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                <text>BALOIS, Jean</text>
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                <text>FR</text>
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                <text>Maroc, Casablanca</text>
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                <text>1922-1927</text>
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                <text>CitÃ© MarÃ©chal AmÃ©ziane</text>
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                <text>Construite par l'Office chÃ©rifien des logements militaires, cette citÃ© originellement connue sous les noms de MarÃ©chal Foch puis de MarÃ©chal Lyautey, est aujourd'hui la co-propriÃ©tÃ© de diffÃ©rents ministÃ¨res.&#13;
&#13;
Ces cinq bÃ¢timents abritent plus de 200 logements, de deux Ã  cinq piÃ¨ces, caractÃ©risÃ©s par des surfaces gÃ©nÃ©reuses et un certain confort. Deux barres R + 10, en forme de T, et deux barres R + 6, forment trois cours-jardins. Celle ouvrant sur la rue Tarablous, est fermÃ©e par une sÃ©rie de boutiques en R + 1.&#13;
&#13;
Au nord et Ã  l'est, sont concentrÃ©es les piÃ¨ces humides (salles de bains, cuisines, buanderies), derriÃ¨re une faÃ§ade en claustras continus, qui donne son caractÃ¨re original Ã  cet ensemble et s'anime, la nuit, Ã  la lumiÃ¨re Ã©lectrique.&#13;
&#13;
Maurice Galamand Ã©tait installÃ© Ã  Oujda oÃ¹ il construisit entre autres, de 1937 Ã  1950, l'HÃ´tel de ville, le LycÃ©e de jeunes filles et l'HÃ´pital.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 63</text>
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                <text>GALAMAND, Maurice</text>
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                <text>Maroc, Casablanca</text>
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                <text>1949-1953</text>
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        <name>CitÃ© MarÃ©chal AmÃ©ziane</name>
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        <src>https://www.mutualheritage-casablanca.univ-tours.fr/files/original/b3a3f268507c5484b9f9d2cf66d00c6c.jpg</src>
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                <text>Cette place (ex-Amiral Philibert) fut crÃ©Ã©e, au dÃ©but des annÃ©es vingt, en dÃ©molissant les entrepÃ´ts qui l'encombraient, dÃ©gageant ainsi la faÃ§ade de l'HÃ´tel Central, construit Ã  la fin du XIXe siÃ¨cle.&#13;
&#13;
Ce bÃ¢timent, rÃ©novÃ©, Ã©voque les constructions modestes des petites villes mÃ©diterranÃ©ennes europÃ©ennes de la mÃªme Ã©poque. Porte-fenÃªtres, balcons et terrasses offrent Ã  ses clients une vue imprenable sur la mer et le port.&#13;
&#13;
A l'angle de la rue de la Douane, se trouve le petit immeuble oÃ¹ Ã©taient installÃ©s les services douaniers. De l'autre cÃ´tÃ© de la place, une auberge de jeunesse a Ã©tÃ© amÃ©nagÃ©e dans les annÃ©es soixante.&#13;
&#13;
SÃ©parÃ©e de la Porte de la Marine par la voie ouverte Ã  la circulation, sur le rempart, une ancienne maison rÃ©cemment convertie en MusÃ©e de la Douane, abrite depuis septembre 2010, le siÃ¨ge du comitÃ© de pilotage du projet de rÃ©habilitation de l'ancienne mÃ©dina.</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 19</text>
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            <name>Date</name>
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                <text>Maroc, Casablanca</text>
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                <text>XIXe siÃ¨cle</text>
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                <text>Ancien consulat d'Allemagne</text>
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                <text>Cette demeure construite par le Makhzen a Ã©tÃ© cÃ©dÃ©e en 1902 Ã  l'Allemagne pour y installer son nouveau consulat. Par le traitÃ© franco-allemand de 1919, le bÃ¢timent redevient propriÃ©tÃ© du Makhzen et est administrÃ© alors par le Pacha Tazi.&#13;
&#13;
Le deuxiÃ¨me Ã©tage, probablement surÃ©levÃ© dans les annÃ©es trente, est ornÃ© d'un panneau sculptÃ© mÃ©langeant art-dÃ©co et arabesques nÃ©o-mauresques.&#13;
&#13;
Ã€ l'intÃ©rieur, le dÃ©cor de plÃ¢tres ciselÃ©s, d'azulejos et de bois travaillÃ©, apparente cette construction aux maisons bourgeoises citadines marocaines du XIXe siÃ¨cle.&#13;
&#13;
Le bÃ¢timent abrite aujourd'hui une Ã©cole primaire. Au dÃ©but du XXe siÃ¨cle, les quinze consulats de la mÃ©dina tÃ©moignent de la diversitÃ© de l'immigration europÃ©enne.</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 18</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Maroc, Casablanca</text>
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