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                <text>Jean-FranÃ§ois ZÃ©vaco, avec Domenico Basciano et Paolo Messina, rÃ©alise ici une Å“uvre remarquable par la libertÃ© et le lyrisme des formes imaginÃ©es.&#13;
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Deux bÃ¢timents aux fonctions distinctes sont reliÃ©s par une passerelle couverte, de 20 m de portÃ©e, semblant flotter au-dessus du sol. &#13;
&#13;
Du cÃ´tÃ© des hangars et des pistes, une rampe douce mÃ¨ne aux bureaux de lâ€™administration. Huit tubes traversant une boule dâ€™acier constitue la tour de contrÃ´le, traitÃ©e comme une sculpture. &#13;
&#13;
A lâ€™extrÃ©mitÃ© de la passerelle, un escalier mÃ©tallique conduit au club-house de lâ€™aÃ©ro-club, qui comprend un bar et un restaurant dont la terrasse ondulÃ©e, posÃ©e sur des pilotis tronconiques inversÃ©s, permet dâ€™assister aux Ã©volutions des avions de tourisme. &#13;
&#13;
Lâ€™entrÃ©e est Ã©clairÃ©e par une suite de lames verticales de bÃ©ton entrecoupÃ©s de verre dÃ©poli, accompagnant la courbe du mur. &#13;
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DerriÃ¨re la cheminÃ©e, un salon en demi-cercle Ã©tait meublÃ© de banquettes suspendues, en mÃ©tal perforÃ©, dues au ferronnier dâ€™art MatÃ©got.&#13;
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On parle de la rÃ©habilitation de cet endroit Ã  l'architecture ludique et poÃ©tique, actuellement dÃ©laissÃ©.</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. 122</text>
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                <text>DÃ©tail des lames verticales de bÃ©ton entrecoupÃ©es de verre dÃ©poli pour Ã©clairer l'entrÃ©e du club-house en accompagnant la courbe du mur.</text>
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&#13;
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                <text>Vue de la terrasse et du club-house depuis la piste. A gauche et au second plan, la rour de contrÃ´le perchÃ©e sur huit tubes qui traversent une boule d'acier, traitÃ©e comme une sculpture. La partie supÃ©rieure de la tour est aujourd'hui dÃ©truite.&#13;
&#13;
CrÃ©dit photo : Photo Jean-Louis Cohen, 1998, extraite Ã  titre de citation de l'ouvrage de Jean-Louis Cohen et Monique Eleb, "Casablanca, mythes et figures d'une aventure urbaine", Hazan, Paris, 1998, p. 429.</text>
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&#13;
L'Å“uvre d'Albert Laprade (1883-1978), bien que considÃ©rable, est surtout connue du public par la publication de ses carnets de croquis et par le majestueux palais de la Porte DorÃ©e, ancien musÃ©e des Colonies construit pour l'Exposition coloniale de 1931 Ã  Paris.&#13;
&#13;
Ce livre retrace son parcours atypique, qui le conduit Ã  travailler d'abord comme collaborateur d'Henri Prost dans un Maroc dominÃ© par la figure de Lyautey, puis pour la clientÃ¨le fortunÃ©e et souvent extravagante du premier quart du XXe siÃ¨cle en France, avant d'acquÃ©rir une vraie notoriÃ©tÃ© en tant que crÃ©ateur de jardins modernes Ã  l'Exposition des arts dÃ©coratifs de Paris en 1925.&#13;
&#13;
Viendront ensuite les grands projets industriels et monumentaux de la maturitÃ© : usines, barrages, centrales Ã©lectriques, siÃ¨ge de journal, ambassade, pavillons d'exposition...&#13;
&#13;
Son attention au gÃ©nie du lieu, son souci de rationalitÃ©, sa pensÃ©e socialement orientÃ©e, une stricte Ã©ducation classique (il est un compagnon d'Ã©tude de Jean Giraudoux au lycÃ©e de ChÃ¢teauroux) dispensent Laprade de recourir Ã  la provocation esthÃ©tique pour s'imposer.&#13;
&#13;
Chez lui pas de grands gestes, mais des architectures qui parlent, qui sous-tendent tantÃ´t une culture, une civilisation Ã  l'exemple de ses rÃ©alisations marocaines - la nouvelle ville indigÃ¨ne de Casablanca (1916), la rÃ©sidence gÃ©nÃ©rale de Rabat (1918) -, tantÃ´t un usage, Ã  l'instar du garage CitroÃ«n de la rue Marbeuf (1929), traitÃ© comme un thÃ©Ã¢tre d'automobiles ouvert sur la rue, ou encore une volontÃ© d'intÃ©gration Ã  la nature, et c'est alors le puissant barrage de GÃ©nissiat (1939).&#13;
&#13;
AprÃ¨s la Seconde Guerre mondiale, Laprade prend acte du changement qualitatif qui s'opÃ¨re dans le monde de la construction ; il illustre et dÃ©fend Ã  travers des milliers de dessins le patrimoine non monumental, celui des rues et des espaces publics, celui qui confÃ¨re du caractÃ¨re Ã  un village, Ã  une ville.&#13;
&#13;
Il laisse de nombreux Ã©crits en faveur de l'Ã©thique professionnelle, du rapprochement des architectes et des ingÃ©nieurs, de la prise en compte des aspirations du public...&#13;
&#13;
Ce rÃ©cit thÃ©matique, qui fait dÃ©couvrir les Ã©pisodes d'une vie de travail foisonnante et Ã©clectique, croise, pour le plaisir du connaisseur comme du simple curieux, l'histoire de l'architecture, de l'urbanisme et des jardins au XXe siÃ¨cle.</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>OrientÃ© sur la diagonale de la place, Ã  lâ€™entrÃ©e du boulevard de Paris, il jouit dâ€™un emplacement particuliÃ¨rement privilÃ©giÃ© pour un bÃ¢timent Ã  vocation commerciale. &#13;
&#13;
En ce sens, la place occupÃ©e par lâ€™automobile est bien le symbole dâ€™une ville nouvelle qui opte rÃ©solument pour la modernitÃ©. &#13;
&#13;
Sous les arcades de lâ€™avenue Hassan II, le grand hall dâ€™exposition polygonal Ã©tait surmontÃ© dâ€™une coupole de pavÃ©s de verre. &#13;
&#13;
A lâ€™origine, le bÃ¢timent â€“ partie bureaux, partie garages â€“ occupait une surface de 14 000 m2. Les plateaux de parking Ã  la structure en bÃ©ton , de plus de 16 m de portÃ©e, sont lâ€™Å“uvre de Georges Gillet, alors reprÃ©sentant de lâ€™entreprise Coignet, spÃ©cialiste de la construction en bÃ©ton armÃ©. &#13;
&#13;
Charles RavazÃ© Ã©tait lâ€™architecte de CitroÃ«n qui avait confiÃ©, deux ans auparavant, lâ€™Ã©dification de son garage, aujourdâ€™hui dÃ©moli, Ã  Albert Laprade, rue Marbeuf Ã  Paris.  &#13;
&#13;
La surÃ©lÃ©vation des annÃ©es 40 de trois niveaux homothÃ©tiques par Balois et Hinnen a provoquÃ© lâ€™indignation dâ€™Edmond Brion, auteur de la banque du Maroc, situÃ©e Ã  cÃ´tÃ©.</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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