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                  <text>Quelques rÃ©fÃ©rences bibliographiques sur l'histoire, l'urbanisme, l'architecture et le patrimoine de Casablanca...</text>
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                <text>Histoires d'architectures en MÃ©diterranÃ©e, XIXe-XXe siÃ¨cles : Ecrire l'histoire d'un hÃ©ritage bÃ¢ti</text>
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                <text>Les formes architecturales et urbaines de la pÃ©riode 1850 Ã  1950 reprÃ©sentent actuellement une part essentielle du paysage bÃ¢ti des villes. Une situation qui est le rÃ©sultat, sur la rive nord de la MÃ©diterranÃ©e, des processus dâ€™urbanisation qui ont accompagnÃ© la rÃ©volution industrielle et, rive sud, de la domination coloniale ou des politiques nationales dâ€™occidentalisation. Or ces ensembles font lâ€™objet ou commencent seulement de campagnes dâ€™investigation, de recensements en vue de lâ€™inscription dâ€™un certain nombre dâ€™Ã©difices ou de lieux au titre du patrimoine.&#13;
&#13;
Afin dâ€™instruire ces procÃ©dures, neuf des quinze associÃ©s du programme Euromed HÃ©ritage II, financÃ© par la Commission europÃ©enne, ont joint leurs efforts pour dresser un Ã©tat de la question en AlgÃ©rie, Ã‰gypte, Espagne, France, GrÃ¨ce, Italie, Maroc, Tunisie, Turquie. Chaque pays sâ€™est employÃ© Ã  rÃ©pertorier les donnÃ©es relatives au patrimoine rÃ©cent et Ã  les qualifier.&#13;
&#13;
Lâ€™objectif a Ã©tÃ© de rÃ©pertorier les sources, de constituer un inventaire bibliographique afin de mettre en Ã©vidence les thÃ©matiques successivement privilÃ©giÃ©es et, selon les Ã©poques, les objets dÃ©libÃ©rÃ©ment occultÃ©s ou faisant problÃ¨mes. Un tel recensement permet de comparer les dÃ©marches employÃ©es tant par les historiens que par les praticiens, leurs Ã©volutions et ruptures dans le temps. Ainsi est constituÃ© un recueil dâ€™information sur la maniÃ¨re de faire lâ€™histoire de lâ€™architecture et de la ville. La confrontation des neuf bilans nationaux Ã©claire tant les spÃ©cificitÃ©s que les traits communs de ce foyer de culture quâ€™est le bassin mÃ©diterranÃ©en.</text>
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                <text>Editions de La Villette</text>
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              <text>Jean-Jacques Honegger est un ingÃ©nieur mÃ©canicien suisse qui crÃ©Ã© avec son frÃ¨re Pierre en 1949 la sociÃ©tÃ© de systÃ¨mes de construction prÃ©fabriquÃ© "Honegger-Afrique SA".&#13;
&#13;
A Casablanca, il construit, entre autres, l'immeuble Cosyra.</text>
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              <text>- Franz Graf, Philippe Grandvoinnet et Yvan Delemontey, "Honegger frÃ¨res, Architectes et constructeurs (1930-1969). De la production au patrimoine", InFolio, 2010, 264 pages&#13;
- Casablanca : mythes et figures d'une aventure urbaine, Jean-Louis Cohen, Monique Eleb, Paris, Hazan, 1998, p. 465</text>
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                <text>- Cohen, Jean-Louis et Eleb, Monique, Casablanca, mythes et figures d'une aventure urbaine, Hazan, Paris, 1998, p. 465</text>
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                <text>Dans les annÃ©es 20, la refonte des quartiers du port en quartier des affaires est envisagÃ©e. Eirik Labonne, secrÃ©taire gÃ©nÃ©ral de la rÃ©sidence, encourage architectes et urbanistes Ã  y Ã©difier des immeubles de grande hauteur. &#13;
&#13;
Ainsi, Boyer, qui imagine des tours-portiques, rÃ©alise cet ensemble en deux parties de huit et quatre Ã©tages, sÃ©parÃ©es par une rue intÃ©rieure couvrant le garage en sous-sol. &#13;
&#13;
Sur lâ€™avenue Hassan SÃ©ghir, trois blocs reliÃ©s jusquâ€™au 7e se dÃ©clinent en gradins, crÃ©ant de larges terrasses devant des studios. Ils sont couronnÃ©s par trois duplexs. &#13;
&#13;
A partir de trois escaliers, environ 90 appartements sâ€™organisent autour des paliers circulaires, disposition leur permettant de bÃ©nÃ©ficier de trois orientations et dâ€™Ãªtre isolÃ©s par les parties communes insÃ©rÃ©es entre eux (escaliers de service, ascenseurs, vide-ordures). &#13;
&#13;
Elles sont directement ventilÃ©es et Ã©clairÃ©es par des verriÃ¨res Ã  lamelles qui soulignent la verticalitÃ© des trois tours. &#13;
&#13;
Au 8e, les cages dâ€™escaliers communiquent Ã  travers les locaux des buanderies communes ouvrant sur des terrasses dâ€™Ã©tendage.&#13;
&#13;
L'Ã©lÃ©gant ensemble Ã©voque irrÃ©sistiblement certaines rÃ©alisations parisiennes d'Henri Sauvage, Ã  caractÃ¨re constructiviste.</text>
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                <text>Alluchon, Jacqueline</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 97</text>
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                <text>BOYER, Marius</text>
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                <text>Non loin de lâ€™immeuble Brami, Gaston Jaubert reprend le principe du duplex dans un immeuble, plus exposÃ© sur le boulevard. &#13;
&#13;
EntiÃ¨rement visible derriÃ¨re un vitrage rythmÃ© par ses paliers, lâ€™escalier, placÃ© latÃ©ralement par rapport Ã  la faÃ§ade, dessert une quarantaine dâ€™appartements de 3 piÃ¨ces en duplex. &#13;
&#13;
Le soubassement de lâ€™immeuble abrite des commerces et Ã©pouse la forme du carrefour. Ici encore on note le graphisme subtil de la faÃ§ade creusÃ©e par les loggias Ã  double hauteur, mettant en valeur le jeu de lâ€™ombre et la lumiÃ¨re. &#13;
&#13;
Gaston Jaubert quitte le Maroc en 1960, la majoritÃ© de son Å“uvre est constituÃ©e dâ€™Ã©quipements et de logements sociaux, souvent en association avec Marcel Desmet et ATBAT AFRIQUE comme bureau dâ€™Ã©tudes.</text>
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                <text>Câ€™est lâ€™un des derniers projets de lâ€™association Cadet et Brion. &#13;
&#13;
Fernand Baille, le promoteur, appartient Ã  la vague dâ€™entrepreneurs et dâ€™architectes venus dâ€™AlgÃ©rie et de Tunisie attirÃ©s par lâ€™irrÃ©sistible essor de la ville. &#13;
&#13;
Sur une parcelle dâ€™angle de 600 mÂ², le bÃ¢timent comprend deux niveaux dÃ©diÃ©s aux commerces, soulignÃ©s par une fine galette et six Ã©tages de logements ainsi quâ€™un septiÃ¨me niveau partiel sur lâ€™angle. &#13;
&#13;
Trois travÃ©es de bow-windows scandent la faÃ§ade sur la place, crÃ©ant un arrondi accentuÃ© par le dessin des balcons et de lâ€™auvent Ã  pans coupÃ©s du dernier Ã©tage. &#13;
&#13;
Le dÃ©cor Art-dÃ©co est rÃ©servÃ© aux septiÃ¨me et sixiÃ¨me Ã©tages. Le revÃªtement de carreaux de grÃ¨s bleu et vert crÃ©e un relief accrochant la lumiÃ¨re et donne lâ€™illusion de zelliges traditionnels. &#13;
&#13;
Lâ€™immeuble sâ€™inscrit dans le paysage de la ville caractÃ©risÃ© par les carrefours et places dominÃ©s par des faÃ§ades dâ€™angle spectaculaires.</text>
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&#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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&#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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&#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;
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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;
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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>Courtois, avec cet immeuble de 15 Ã©tages, met en Å“uvre un des principes quâ€™il Ã©tudie dans le projet dâ€™amÃ©nagement et dâ€™extension  de la ville, dont il est chargÃ© en 1943. En effet, il est attachÃ© Ã  la modernisation des voies et des places quâ€™il envisage structurÃ©es par des immeubles de grande hauteur. &#13;
&#13;
En construisant la BMCI, il rejoint lâ€™Ã©chelle de lâ€™immeuble Moretti-Milone longtemps seule verticale sur lâ€™ex-place de France auprÃ¨s des magasins Paris-Maroc, du cinÃ©ma Vox (1935), dÃ©molis fin des annÃ©es 70, et de lâ€™hÃ´tel Excelsior. &#13;
&#13;
DÃ¨s ce premier projet, Courtois utilise un style sobre et sans concessions que lâ€™on retrouve dans toutes ses Å“uvres. &#13;
&#13;
RÃ©cemment,  quelques travaux ont modifiÃ© sa silhouetteÂ : adjonction dâ€™une cage mÃ©tallique occultant le dessin en gradins des cinq derniers niveaux, et remplacement de la pierre blonde couvrant les trois premiers Ã©tages par un marbre vert foncÃ©. &#13;
&#13;
Ier grand prix de Rome en 1933, Courtois exerce au Maroc jusquâ€™Ã  la fin des annÃ©es 50. Il est lâ€™auteur de la gare de Casa-port (1950) rasÃ©e en 2008.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 68</text>
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                <text>COURTOIS, Alexandre</text>
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                <text>Maroc, Casablanca</text>
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                <text>Immeuble de la Fraternelle du Nord</text>
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                <text>Desmet, dont c'est pratiquement le premier projet Ã  Casa, construit un ensemble compact de huit immeubles pour la compagnie d'assurances La Fraternelle du Nord, sur une parcelle triangulaire de 4000 m2.&#13;
&#13;
Huit escaliers et ascenseurs desservent, sur six Ã©tages, 156 appartements allant du studio aux cinq piÃ¨ces. Les halls d'entrÃ©e ornÃ©s de panneaux de miroirs, les circulations verticales, les paliers, de dimensions gÃ©nÃ©reuses, sont traitÃ©s avec une grande sobriÃ©tÃ©, sans aucune ornementation.&#13;
&#13;
Dans la cour triangulaire, une galerie marchande permet la circulation entre les trois voies bordant l'Ã®lot. Des loggias se creusent en faÃ§ade, derriÃ¨re les bandeaux lisses qui enveloppent l'ensemble. &#13;
&#13;
DotÃ©s de cheminÃ©es et de volumes spacieux, ces logements Ã  "moyen loyer", bÃ©nÃ©ficient d'un confort alors semblable Ã  celui des immeubles de "luxe" contemporains.&#13;
&#13;
Parmi les Ã©difices art-dÃ©co et nÃ©o-classique dominant le boulevard Mohammed-V, Desmet introduit, avec harmonie, dÃ¨s le dÃ©but des annÃ©es 30, ce style rÃ©solument moderne, fonctionnaliste.</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>DESMET, Marcel</text>
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                <text>Maroc, Casablanca</text>
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