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              <text>Jean-FranÃ§ois Zevaco est nÃ© Ã  Casablanca en 1916 et y est dÃ©cÃ©dÃ© en 2003.&#13;
&#13;
Admis Ã  l'Ã‰cole des beaux-arts de Paris en 1937, Ã  l'atelier PontrÃ©moli-Leconte, il obtient son diplÃ´me d'architecte DPLG en 1945 et passe la guerre Ã  Marseille, ou il frÃ©quente l'atelier Beaudouin.&#13;
&#13;
Il s'installe Ã  Casablanca Ã  partir de 1947 et y produit une architecture rÃ©solument moderne, mais enrichie d'influences de la tradition arabe.&#13;
&#13;
Zevaco rÃ©alise Ã  Casablanca plusieurs villas, dont celle pour le lotisseur Sami Suissa, l'immeuble pour la SCI du Centre, l'aÃ©rogare de Tit-Mellil et le groupe scolaire Georges-Bizet, etc.</text>
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              <text>Ragon, Michel et Tastemain, Henri, "Zevaco", Le Cercle d'art contemporain, 1999&#13;
- Casablanca : mythes et figures d'une aventure urbaine, Jean-Louis Cohen, Monique Eleb, Paris, Hazan, 1998, p. 469&#13;
- Notice Archiwebture du fonds Zevaco : http://archiwebture.citechaillot.fr/awt/fonds.html?base=fa&amp;id=FRAPN02_ZEVJE_fonds-771</text>
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                <text>Cohen, Jean-Louis et Eleb, Monique, Casablanca, mythes et figures d'une aventure urbaine, Hazan, Paris, 1998, p. 469</text>
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                <text>Notice Jean-FranÃ§ois ZÃ©vaco de WikipÃ©dia :&#13;
http://fr.wikipedia.org/wiki/Jean-Fran%C3%A7ois_Zevaco</text>
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                <text>Fiche descriptive du Fonds ZÃ©vaco, CitÃ© de l'architecture et du patrimoine. Archives d'architecture du XXe siÃ¨cle :&#13;
http://archiwebture.citechaillot.fr/awt/fonds.html?base=fa&amp;id=FRAPN02_ZEVJE_fonds-771</text>
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                <text>Notice de Christelle Lecoeur sur Jean-FranÃ§ois ZÃ©vaco, Collection Art et Architecture du Frac Centre :&#13;
http://www.frac-centre.fr/public/collecti/artistes/zevaco/noti01fr.htm</text>
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              <text>Shadrach Woods est nÃ© en 1923. AprÃ¨s de brÃ¨ves Ã©tudes d'ingÃ©nieur Ã  l'universitÃ© de New York interrompues par la guerre et une formation de philosophie au Trinity College de Dublin, Shadrach Woods intÃ¨gre l'agence de Le Corbusier en 1948. Il y rencontre l'architecte d'origine grecque Georges Candilis. Les deux hommes sont chargÃ©s, au sein de l'ATBAT (Atelier des BÃ¢tisseurs) fondÃ© par Le Corbusier et l'ingÃ©nieur Vladimir Bodiansky du chantier de l'unitÃ© d'habitation alors en construction Ã  Marseille.&#13;
&#13;
Avec la crÃ©ation de ATBAT-Afrique au Maroc, Shadrach Woods et Georges Candilis accompagnÃ©s de Vladimir Bodiansky s'emploient Ã  Ã©tudier des formes d'habitat alternatives pour la population autochtone, forts commentÃ©es lors du cÃ©lÃ¨bre CIAM d'Aix-en-Provence.&#13;
&#13;
&#13;
Source : Shadrach Woods, http://fr.wikipedia.org/w/index.php?title=Shadrach_Woods&amp;oldid=56221120 (Page consultÃ©e le juin 27, 2011).</text>
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              <text>Woods S, Joedicke J. Candilis-Josic-Woodsâ€¯: building for people. New York: F. A. Praeger; 1968.</text>
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                <text>Page Shadrach Woods de WikipÃ©dia :&#13;
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                <text>Ces galeries, entourant sur deux niveau trois patios plantÃ©s, desservent les services publics de la Wilaya</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>License Creative Commons - PaternitÃ© - Pas d'Utilisation Commerciale - Partage Ã  l'Identique 2.0 France (CC BY-NC-SA 2.0)</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <text>Wilaya, ex-hÃ´tel de ville - Vue de l'un des trois patios intÃ©rieurs</text>
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                <text>hÃ´tel de ville</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Vue du patio central plantÃ© de la Wilaya et des galeries le sÃ©parant d'un des deux autres patios. Au premier plan, un bassin dÃ©corÃ© de zellijs.</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>CasamÃ©moire</text>
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            <name>Date</name>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>BOYER, Marius</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="10720">
                <text>License Creative Commons - PaternitÃ© - Pas d'Utilisation Commerciale - Partage Ã  l'Identique 2.0 France (CC BY-NC-SA 2.0)</text>
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          <element elementId="38">
            <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, 1928-1936</text>
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        <name>Wilaya</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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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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      <elementSet elementSetId="1">
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            <description>A name given to the resource</description>
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            <description>The topic of the resource</description>
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                <text>hÃ´tel de ville</text>
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                <text>art nouveau (style)</text>
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                <text>campanile</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Vue aÃ©rienne des "Services municipaux" (ajourd'hui Wilaya) de Casablanca. Au premier plan, Ã  gauche, le Tribunal et au second plan, l'Immeuble la Nationale.&#13;
&#13;
CrÃ©dit photo : Photo Marcelin Flandrin, dÃ©but des annÃ©es, extraite Ã  titre de citation de l'ouvrage de Marcelin Flandrin, "Casablanca de 1889 Ã  nos jours", Editions photographiques Mars, Casablanca, 1928.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <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>Fin des annÃ©es vingt</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
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                <text>BOYER, Marius</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="11848">
                <text>Â© Tous droits rÃ©servÃ©s</text>
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          <element elementId="38">
            <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, 1928-1936</text>
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        <name>Wilaya</name>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="15970">
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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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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            <description>A name given to the resource</description>
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                <text>Wilaya, ex-hÃ´tel de ville - DÃ©tail des zellijs des colonnes et des ouvertures</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>hÃ´tel de ville</text>
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                <text>galerie</text>
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                <text>nÃ©o-mauresque (style)</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Colonnes et entourages de fenÃªtres en zellijs.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>CasamÃ©moire</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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            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="10689">
                <text>BOYER, Marius</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="10690">
                <text>License Creative Commons - PaternitÃ© - Pas d'Utilisation Commerciale - Partage Ã  l'Identique 2.0 France (CC BY-NC-SA 2.0)</text>
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          </element>
          <element elementId="38">
            <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, 1928-1936</text>
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        <name>Wilaya</name>
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                <name>Bit Depth</name>
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                  <elementText elementTextId="10730">
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              <description>A name given to the resource</description>
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            <element elementId="41">
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              <description>An account of the resource</description>
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                <elementText elementTextId="15971">
                  <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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&#13;
Le corps principal du bÃ¢timent signalÃ©, par le campanile de lâ€™horloge, est constituÃ© dâ€™une colonnade, sobre et stricte, abritant lâ€™entrÃ©e, surmontÃ©e dâ€™un large balcon Ã  arcades et de trois ouvertures monumentales encadrÃ©es de pierre.&#13;
&#13;
A lâ€™intÃ©rieur, sur deux niveaux, une galerie entoure trois grands patios plantÃ©s, desservant les services publics. Elle est doublÃ©e, sur les faÃ§ades, par une circulation couverte, qui permet la liaison directe entre les bureaux.&#13;
&#13;
RÃ©pondant aux codes imposÃ©s par la rÃ©sidence, Boyer mÃ©lange les stylesÂ : lâ€™art-dÃ©co, dans le hall et le double escalier dâ€™honneur aux paliers ornÃ©s de deux toiles de Majorelle, le nÃ©o-marocain avec les arcades, les tuiles vertes et les zellijs de la faÃ§ade, des lambris des circulations, de la salle des fÃªtes et des colonnes des patios.&#13;
&#13;
Le rÃ©sultat est un joyau de cette architecture nÃ©o-chÃ©rifienne caractÃ©ristique des bÃ¢timents administratifs du Maroc sous protectorat.</text>
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                <text>Guide des architectures du XXe siÃ¨cle de Casablanca, avril 2011, CasamÃ©moire et Mutual Heritage, pp. 58-59</text>
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                <text>Prost, responsable du service des Plans des villes au Maroc, de 1914 Ã  1922, sâ€™associe avec Marchisio, son successeur jusquâ€™en 1947, pour la construction de cet immeuble comme pour lâ€™hÃ´tel de la Mamounia Ã  Marrakech.&#13;
&#13;
Lâ€™immeuble composÃ© dâ€™un rez-de-chaussÃ©e et de trois niveaux de bureaux, Ã©tait articulÃ© autrefois autour dâ€™un patio - aujourdâ€™hui refermÃ© - surmontÃ© dâ€™une verriÃ¨re, permettant une communication visuelle entre les plateaux.&#13;
&#13;
Sous le signal surÃ©levÃ©, les arcades surdimensionnÃ©es mÃ©nagent un hall extÃ©rieur monumental donnant accÃ¨s au bÃ¢timent sur lâ€™angle.&#13;
&#13;
La sobriÃ©tÃ© du traitement gÃ©nÃ©ral des faÃ§ades, la grande frise de zelliges en camaÃ¯eu bleu dont les motifs abstraits font rÃ©fÃ©rence aux arts traditionnels du tapis, et le couronnement de tuiles vertes permettent de ranger cet immeuble dans le style nÃ©o-marocain mis au point sur les directives de Lyautey.&#13;
&#13;
Les marbres originaux du soubassement et des colonnes du rez de chaussÃ©e ont Ã©tÃ© rÃ©cemment remplacÃ©s par du granit rouge. </text>
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                <text>Ouvrage collectif, Villes coloniales aux XIXe-XXe siÃ¨cles - d'un sujet d'action Ã  un objet d'histoire, montre que les amÃ©nagements urbains dans l'espace des empires coloniaux ont modelÃ© les territoires outre-mer ainsi que ceux des Ã‰tats mÃ©tropolitains. Des Ã©tudes qui composent ce livre, il ressort que les caractÃ¨res souvent innovants des rÃ©alisations dans les pays sous tutelle, colonies, protectorats, mandats ou concessions, ont Ã©galement participÃ© aux transformations des savoirs, des instruments et des formes de l'urbanisme en France, en Italie ou en Grande-Bretagne. Critique des sources archivistiques, approche bibliomÃ©trique, rÃ©flexion sur la notion de modÃ¨le ou encore microanalyse du parcellaire sont autant d'approches et de mÃ©thodes mobilisÃ©es dans cet ouvrage pour analyser diffÃ©rents projets urbains au prisme de leurs stratÃ©gies, de leurs techniques et de leurs conditions de mise en oeuvre. Ces essais esquissent ainsi des rÃ©seaux professionnels qui ont construit leurs identitÃ©s socioculturelles et techniques dans un jeu complexe de transmissions d'expÃ©riences configurÃ©es par l'espace colonial. Enfin, une bibliographie d'un millier d'entrÃ©es, sÃ©lectionnÃ©es Ã  partir de publications en langues anglaise et franÃ§aise, couvre la pÃ©riode ouverte par les dÃ©colonisations jusqu'Ã  aujourd'hui pour apporter un outil indispensable Ã  l'Ã©tude des villes dans les espaces coloniaux.</text>
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                <text>Vacher, HÃ©lÃ¨ne</text>
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                <text>Maisonneuve et Larose</text>
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                <text>Villas jumelles, dites Les Tourelles</text>
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                <text>MalgrÃ© des modifications telles la suppression des frontons et des frises de pierre sculptÃ©e entourant les deux volumes symÃ©triques et la surÃ©lÃ©vation sur les terrasses reliant les deux maisons, Â«Â lesÂ TourellesÂ Â» restent un des Ã©lÃ©ments qui participent au charme de ce quartier du centre-ville.&#13;
&#13;
Avec talent, Marius Boyer mÃ©lange ici les genresÂ : mÃ©diterranÃ©en pour les tourelles terminÃ©es en miradors, Art-DÃ©co des motifs de pierre sur les facettes des cages dâ€™escalier, nÃ©o marocain pour les rangÃ©es de zellijs et les toits de tuiles vertes.&#13;
&#13;
Ces maisons jumelles ont Ã©tÃ© construites pour deux entrepreneurs associÃ©sÂ : Gouvernet et Lorentz. Actuellement, lâ€™ensemble, transformÃ© en musÃ©e il y a dix ans, est laissÃ© Ã  lâ€™abandon.&#13;
&#13;
Il est un des derniers tÃ©moignages des villas construites par Boyer dans le quartier, aprÃ¨s la disparition de la villa Benazeraf, rue dâ€™Alger, remplacÃ©e par la galerie Actua, et la destruction rÃ©cente, avenue Moulay Hassan Ier, de la villa Houel. &#13;
&#13;
"Les Tourelles" sont inscrites Ã  lâ€™inventaire des monuments historiques.</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. 35</text>
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                <text>BOYER, Marius</text>
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                <text>Maroc, Casablanca</text>
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