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                  <text>Cette collection propose l'ensemble des images des bÃ¢timents de la ville de Casablanca. Une ou plusieurs images sont ainsi associÃ©es Ã  chaque bÃ¢timent prÃ©sentÃ© dans la collection "Ã‰difices".</text>
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                <text>Immeuble LibertÃ©, dit le Dix-septiÃ¨me - FaÃ§ade principale</text>
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                <text>tour</text>
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                <text>paquebot (style)</text>
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                <text>Photo prise depuis la place Lemaigre-Dubreuil</text>
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                <text>Garret, Pascal</text>
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                <text>2007-05-09</text>
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                <text>MORANDI, LÃ©onard</text>
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                <text>License Creative Commons - PaternitÃ© - Pas d'Utilisation Commerciale 2.0 France (CC BY-NC 2.0)</text>
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                <text>Maroc, Casablanca, 1949-1950</text>
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        <name>Immeuble LibertÃ©</name>
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                <text>immeuble Liscia</text>
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                <text>On reconnaÃ®t lâ€™Ã©criture stricte et serrÃ©e de Pierre Jabin dans cet immeuble de six Ã©tages, ceinturÃ© de bandeaux blancs encadrant les baies rÃ©guliÃ¨res sÃ©parÃ©es par de meneaux striÃ©s, interrompus, sur 5 niveaux, par quatre volumes en saillie verticaux recouverts de marbre gris. &#13;
&#13;
Au rez-de-chaussÃ©e occupÃ© par des boutiques et des cafÃ©s, Dominique Basciano, rÃ©amÃ©nage, dans les annÃ©es 70, le cinÃ©ma Lux, aujourdâ€™hui fermÃ©. &#13;
&#13;
Les sols et les murs des halls dâ€™entrÃ©e Ã  deux niveaux sont recouverts de patchwork de marbre (la famille Liscia est propriÃ©taire dâ€™une marbrerie). &#13;
&#13;
La terrasse du 7e, occupÃ©e par un appartement-jardin, est bordÃ©e dâ€™une pergola de bÃ©ton percÃ© qui souligne la silhouette de lâ€™immeuble arrondi sur lâ€™angle de lâ€™avenue lalla yacout et de la rue ibn Batouta.</text>
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                <text>Alluchon, Jacqueline</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 87</text>
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                <text>JABIN, Pierre</text>
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            <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>immeuble</text>
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                <text>art nouveau (style)</text>
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                <text>nÃ©oclassique (style)</text>
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                <text>Delaporte, arrivÃ© en 1913 Ã  Casablanca, signe avec les frÃ¨res Perret les magasins Paris-Maroc devenus les Galeries marocaines, dÃ©molis dans les annÃ©es 1970. Il est aussi lâ€™auteur deÂ lâ€™hÃ´tel Excelsior et des petites villas de la rue du Parc, majoritairement de style nÃ©o-mauresque. &#13;
&#13;
Pour cet immeuble de 6 niveaux sur rez-de-chaussÃ©e, il mÃ©lange styles nÃ©o-classique et art nouveau. Lâ€™angle en rotonde est le point de dÃ©part dâ€™une sÃ©rie dâ€™ondulations qui se propage sur lâ€™ensemble de la faÃ§ade principale le long dâ€™une impasse. &#13;
&#13;
Le sixiÃ¨me Ã©tage,  en galerie, souligne le dÃ©cor spectaculaire de lâ€™Ã©tage infÃ©rieur pavÃ© de zellijs polychromes Ã  dominante turquoise, Ã©voquant lâ€™architecture de Gaudi. &#13;
&#13;
Le dÃ´me qui surmonte lâ€™angle du bÃ¢timent, recouvert de zellijs, dialogue avec ceux de lâ€™immeuble Levy-Charbon construit en 1929 Ã  proximitÃ©. &#13;
&#13;
Le hall dâ€™entrÃ©e principal, situÃ© dans lâ€™impasse, mÃ©rite la visite, pour son dÃ©cor. </text>
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                <text>Alluchon, Jacqueline</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 101</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>DELAPORTE, Hippolyte Joseph</text>
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            <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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                <text>1932</text>
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                <text>La tour du siÃ¨ge de l'ex-quotidien la Vigie marocaine, couronnÃ©e de tuiles vertes,  confÃ¨re au bÃ¢timent une dimension officielle Ã  rapprocher de lâ€™architecture des Ã©difices administratifs dont le style NÃ©o-marocain est dictÃ© par les autoritÃ©s du Protectorat. &#13;
&#13;
Câ€™est dire la place de ce groupe de presse, nÃ© dans les annÃ©es dix au sein de lâ€™ancienne mÃ©dina, qui a Ã©tÃ© la voix du pouvoir colonial puis celle des autoritÃ©s marocaines aprÃ¨s lâ€™IndÃ©pendance, essentiellement avec le quotidien Le Matin.&#13;
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Marius Boyer met, ici, en Å“uvre les Ã©lÃ©ments nÃ©o-mauresques des annÃ©es vingtÂ : panneaux abondamment sculptÃ©s de part et dâ€™autres de baies en plein cintre, surmontÃ©es dâ€™auvents recouverts de tuiles vertes, zelliges et lambris Ã  lâ€™intÃ©rieur.&#13;
&#13;
Sous les arcades du boulevard Mohamed V, les vitrines en aluminium brun et en verre fumÃ© sont des ajouts des annÃ©es quatre-vingt.&#13;
&#13;
De mÃªme style, on note un peu plus loin sur le mÃªme trottoir  la Chambre de Commerce et de lâ€™Industrie, et dans son prolongement symÃ©trique la Poste, Ã  lâ€™angle de la rue de la Chaouia et du boulevard Mohammed V, construites en 1918 par Pierre Bousquet.</text>
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                <text>Pierre Bousquet, prÃ©sent Ã  Casablanca dÃ¨s 1914, y exerce jusquâ€™en 1952. Il est lâ€™auteur de nombreux Ã©quipements dâ€™importance comme le LycÃ©e Lyautey, lâ€™HÃ´pital civil, lâ€™Institut Pasteur, sobres et fonctionnalistes. Sur le boulevard Mohammed V, le MarchÃ© central, la Poste et la Bourse obÃ©issent au courant nÃ©o-marocain. &#13;
&#13;
Lâ€™immeuble Martinet est, quant Ã  lui,  reprÃ©sentatif du style Art-nouveauÂ : courbes et contre-courbes soulignent les changements de registre dâ€™une longue faÃ§ade qui se retourne en pan coupÃ© dominant la petite place entre le marchÃ© central et lâ€™immeuble Bessonneau. &#13;
&#13;
Les quatre Ã©tages sur arcades dâ€™origine ont Ã©tÃ© surÃ©levÃ©s dans les annÃ©es 30. Des "mouqarnas", Ã©lÃ©ments de lâ€™architecture islamique, formÃ©s de stalactites, terminent les arÃªtes verticales des volumes en saillie qui sâ€™arrondissent au niveau du premier  pour recevoir la dentelle des fers forgÃ©s.&#13;
&#13;
Cette rÃ©alisation est lâ€™un des nombreux exemples de lâ€™excellence de la mise en Å“uvre, en particulier des savoir-faire des maÃ§ons â€“souvent des italiens- et des ferronniers. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 76</text>
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                <text>Cet immeuble a Ã©tÃ© longtemps seul Ã  dominer la place du haut de ses onze Ã©tages. Il prÃ©figurait en effet les immeubles de grande hauteur, prÃ©vus dÃ¨s les annÃ©es trente, Ã  lâ€™entrÃ©e du quartier dit "des Affaires" mais dont lâ€™un des grands axes, lâ€™actuelle avenue des F.A.R, ne sâ€™est ouvert quâ€™en 1952. Câ€™est Ã  cette date et dans un environnement dÃ©gagÃ©, que lâ€™immeuble prendra toute sa valeur.&#13;
&#13;
Au-dessus du rez-de-chaussÃ©e abritant des commerces et les trois halls dâ€™accÃ¨s, trois registres se dÃ©veloppent sur la hauteur de la faÃ§ade correspondant Ã  des typologies diffÃ©rentes dâ€™appartements. &#13;
&#13;
Les bandes horizontales qui marquent les balcons sâ€™Ã©tirent au fur et Ã  mesure que lâ€™on sâ€™Ã©lÃ¨ve dans les Ã©tages pour devenir une galerie continue au niveau du couronnement. &#13;
&#13;
Le hall dâ€™accÃ¨s de lâ€™avenue HouphouÃ«t-Boigny, conjugue marbres et miroirs pour crÃ©er une atmosphÃ¨re trÃ¨s cinÃ©matographique. &#13;
&#13;
Moretti et Milone, cousins associÃ©s, font partie des entrepreneurs dâ€™origine italienne qui vont former des gÃ©nÃ©rations de maalems Ã  qui lâ€™on doit lâ€™exÃ©cution exemplaire des Ã©difices casablancais. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 66</text>
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                <text>Lâ€™immeuble, siÃ¨ge de la sociÃ©tÃ© Shell, reprÃ©sente, dÃ¨s sa construction en 1934, un repÃ¨re dans Casablanca. Dâ€™une Ã©criture rigoureuse, le bÃ¢timent sâ€™incurve lÃ©gÃ¨rement en son centre en Ã©pousant la courbe de la place. &#13;
&#13;
Au-dessus de la colonnade du rez-de-chaussÃ©e, il est striÃ© de bandes horizontales lisses interrompues jusquâ€™au quatriÃ¨me Ã©tage par les deux verticales des baies regroupÃ©es soulignant ses angles arrondis. Le bandeau continu du cinquiÃ¨me Ã©tage, lÃ©gÃ¨rement en retrait, est ornÃ© dâ€™un cadran en son centre et de part et dâ€™autre du logo en forme de coquillage de la Shell. &#13;
&#13;
Le dÃ©cor sombre et discret des cache-rideaux en pavÃ©s de verre piquÃ©s de cabochons de laiton dorÃ© et des meneaux de pierre, met en valeur la puretÃ© dominante des bandes enveloppant lâ€™ensemble. &#13;
&#13;
Lâ€™immeuble a Ã©tÃ© vendu il y a quelques annÃ©es.Â Des travaux dâ€™amÃ©nagement entamÃ©s par son nouveau propriÃ©taire pour le transformer en hÃ´tel sont actuellement suspendus.</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>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 82</text>
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&#13;
Ici, de longs bandeaux blancs, entourant les baies carrÃ©es et les meneaux ocre, cernent le bÃ¢timent sur trois faces. &#13;
&#13;
60 appartements sont desservis, Ã  partir de 4 halls dâ€™entrÃ©e, par des escaliers reliÃ©s entre eux par des coursives. &#13;
&#13;
PÃ©nÃ©trer dans lâ€™un dâ€™entre eux, situÃ© sous les arcades donnant sur la place, Ã  cÃ´tÃ© du "CafÃ© de France", permet dâ€™admirer une cage dâ€™escalier circulaire au graphisme d'une simplicitÃ© Ã©tonnante. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 70</text>
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&#13;
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En lâ€™occurrence ce bÃ¢timent est la propriÃ©tÃ© des deux architectes. Ils y dÃ©veloppent leurs goÃ»t personnels.&#13;
&#13;
Les bow-windows dÃ©multiplient lâ€™accÃ¨s Ã  la lumiÃ¨re et encadrent, au centre du bÃ¢timent, de profondes loggias.&#13;
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                <text>Maroc, Casablanca</text>
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        <name>Immeuble Suraqui</name>
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                <text>A lâ€™angle du boulevard de Paris et de la rue A. Sahraoui, lâ€™immeuble Tabet ferme une sÃ©quence entamÃ©e au carrefour de lâ€™avenue Moulay Hassan I, offrant une sÃ©rie dâ€™immeubles Art DÃ©co signÃ©s Jabin, Cadet et Brion ou Aldo Manassi. &#13;
&#13;
Celui-ci, plus modeste, ne compte que quatre niveaux, dont un appartement en terrasse. &#13;
&#13;
Il dÃ©veloppe en revanche une profusion de dÃ©tails ornementaux, en particulier le dÃ©cor sculptÃ© des motifs floraux art-dÃ©co, en sous-faces des balcons et des auvents. Un peu comme si les maÃ§ons italiens avaient voulu offrir au passant, levant la tÃªte, un catalogue de leur savoir-faire. &#13;
&#13;
Cet immeuble est Ã  voir avec son mitoyen, Ã©galement signÃ© des frÃ¨res Suraqui (Immeuble Suraqui). </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 44</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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