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                <text>Cet immeuble de 16 Ã©tages prÃ©sente un spectaculaire jeu de balcons filants, traitÃ©s en rubans ondoyants qui semblent flotter sans interruption devant la faÃ§ade en retrait, sans pour autant cacher la structure des poutres en porte-Ã -faux qui les soutiennent. Les allÃ¨ges, minces, sont surmontÃ©es de garde-corps grillagÃ©s. &#13;
&#13;
Lâ€™appellation "Villas Paquet"  fait rÃ©fÃ©rences aux nombreuses dÃ©pendances et services dont disposent les appartements qui apparentent ces derniers Ã  des maisons individuelles. &#13;
&#13;
Avec lâ€™immeuble Marignan de 12 Ã©tages, plus massif, surmontÃ© dâ€™une galette percÃ©e dâ€™oculi, situÃ© en face, celui-ci introduit une rupture dâ€™Ã©chelle sur le boulevard Mohamed V. &#13;
&#13;
L'Ã©criture "paquebot", semblable Ã  celle de lâ€™immeuble libertÃ©, rappelle Ã©galement celle de lâ€™ensemble Fraternelle du nord, de lâ€™autre cotÃ© du rond point.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 100</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>Lâ€™Ã©quipe dâ€™ATBAT AFRIQUE expÃ©rimente avec ces trois immeubles un concept de logement collectif pour les Marocains.&#13;
&#13;
Ils sont construits sur la trame de 8m x 8m, dÃ©finie par le service de lâ€™habitat, dirigÃ© par le service de Michel Ecochard pour le logement Ã  rez de chaussÃ©e et patio, et mise en Å“uvre dans les opÃ©rations destinÃ©es Ã  la rÃ©sorption des bidonvilles.&#13;
&#13;
InspirÃ©s par les habitations traditionnelles (kasbahs, ksours, villages fortifiÃ©s) ATBAT-AFRIQUE invente les logements Ã  patio superposÃ©s dâ€™oÃ¹ les noms "Nid dâ€™abeille" et "SÃ©miramis".&#13;
&#13;
Cette expÃ©rience, objet de nombreuses publications, prÃ©sentÃ©e au 9e CIAM (congrÃ¨s international de lâ€™architecture moderne) en 1953 Ã  Aix-en-Provence, devient une rÃ©fÃ©rence pour le mouvement de contestation du Team 10 menÃ© par Alison et Peter Smithson et dont fera partie Georges Candilis. &#13;
&#13;
Lâ€™Ã©tat actuel des bÃ¢timents, dont les patios ont Ã©tÃ© systÃ©matiquement obturÃ©s par les usagers, montre les limites de lâ€™expÃ©rience. </text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 121</text>
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&#13;
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                <text>Cette importante mosquÃ©e a Ã©tÃ© construite au XIXe siÃ¨cle, face au port. Seule une de ses portes date de la fin du XVIIIe siÃ¨cle. Ses toits Ã  deux pentes, rÃ©cemment recouverts de tuiles vertes font rÃ©fÃ©rence aux nefs de la Qaraouiyine Ã  FÃ¨s. &#13;
&#13;
Plus modestes, la mosquÃ©e JamaÃ¢ Souk, au minaret ornÃ© de zellijs verts, situÃ©e au sud, proche de la nouvelle Tour de l'Horloge, et la mosquÃ©e JamaÃ¢ Chleuh, accessible par la rue de SalÃ©, Ã  partir de Bab Marrakech, datent de la mÃªme Ã©poque.</text>
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                <text>Guide architectural de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, p. 16</text>
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              <text>Etudiant aux Beaux-Arts de Paris Ã  partir de 1939, Gaston Jaubert est Ã©lÃ¨ve d'Arretche et de Perret. La majoritÃ© de son oeuvre est constituÃ©e d'Ã©quipements et de logements sociaux, souvent en association avec Mercel Desmet et Atbat-Afrique. Il quitte le Maroc en 1960.</text>
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&lt;p&gt;&lt;br /&gt;Production et montage ABC Art Blog Collector (Mai 2010)&lt;/p&gt;</text>
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&#13;
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                <text>La fabrique publique de l'espace public confrontÃ©e aux intÃ©rÃªts privÃ©s. Lyautey, Prost et les 'bÃ¢tisseurs de Casablanca' au dÃ©but du Protectorat franÃ§ais</text>
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http://halshs.archives-ouvertes.fr/halshs-00126945/en/&#13;
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RÃ©sumÃ© :&#13;
Cette contribution porte sur un aspect des actions entreprises Ã  Casablanca en matiÃ¨re d'urbanisme sous les ordres du RÃ©sident GÃ©nÃ©ral Lyautey et de l'architecte Prost, prenant pour exemple le percement du boulevard de la Gare (aujourd'hui avenue Mohammed V). Celui-ci nous permet de montrer que la rÃ©forme urbaine dÃ©ployÃ©e par le Protectorat au service d'une "mise en ordre" de la ville de Casablanca se fait Ã©galement au bÃ©nÃ©fice d'intÃ©rÃªts privÃ©s pour lesquels Lyautey n'avait pourtant que bien peu d'affinitÃ©s, mais, surtout, en s'inspirant directement de leurs propres "techniques" spÃ©culatives pour mieux les "manÅ“uvrer". L'analyse de cette dialectique public/privÃ© trÃ¨s nÃ©gociÃ©e permet d'aborder directement par ses acteurs la question de la mise en place de nouveaux espaces publics en ville, ici plus particuliÃ¨rement en terme de tracÃ© urbain et de crÃ©ation de voirie, Ã  la fois dans la continuitÃ© et en rupture avec l'espace urbain prÃ©existant.</text>
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                <text>La fabrique publique de l'espace public confrontÃ©e aux intÃ©rÃªts privÃ©s. Lyautey, Prost et les 'bÃ¢tisseurs de Casablanca' au dÃ©but du Protectorat franÃ§ais</text>
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                <text>HAL-SHS :: [halshs-00126945, version 1] La fabrique publique de l'espace public confrontÃ©e aux intÃ©rÃªts privÃ©s. Lyautey, Prost et les "bÃ¢tisseurs de Casablanca" au dÃ©but du Protectorat franÃ§ais</text>
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                <text>Construit pour lâ€™exposition franco-marocaine de Casablanca, en 1915, Ã  lâ€™emplacement du marchÃ© central, le pavillon de la ville de Rabat a Ã©tÃ© remontÃ© grÃ¢ce Ã  sa structure mÃ©tallique dans le parc de la Ligue arabe, dessinÃ© par Albert Laprade en 1917. &#13;
&#13;
Reconverti en Palais des confÃ©rences, il accueille des concerts, des sÃ©minaires, des expositions et des projections de films. &#13;
&#13;
Une petite scÃ¨ne en bois et un sol de carreaux de grÃ¨s ont Ã©tÃ© remplacÃ©s il y a quelques annÃ©es par un revÃªtement en marbre peu appropriÃ©. La mezzanine permet dâ€™augmenter lâ€™accueil du public et le dÃ©veloppement des cimaises. &#13;
&#13;
Dans le hall, un escalier de fonte ouvragÃ©e en colimaÃ§on mÃ¨ne Ã  la cabine de projection. &#13;
&#13;
La coupole, Ã  lâ€™origine chaulÃ©e, a fait lâ€™objet de modifications et a Ã©tÃ© recouverte de panneaux de zellijs qui alourdissent de faÃ§on assez maladroite ce petit Ã©difice de style nÃ©o-marocain. </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. 37</text>
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            <name>Date</name>
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            <name>Contributor</name>
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                <text>GOSSET, Pierre</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>FR</text>
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          <element elementId="38">
            <name>Coverage</name>
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                <text>Maroc, Casablanca</text>
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        <name>La Koubba</name>
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