Art Déco in Casablanca, Morocco

Art Deco in Casablanca

In the 1930s, comfort and modernity take place in architecture, sweeping away the neo-Moorish style with its ornamental profusion.The architects of that time, who want to apply the modern theories learned at the Ecole des Beaux-Arts in Paris, began to modernize buildings - that kept gaining in height - by adding balconies and oriel windows, in order to get more spacious. Luxury buildings took into account the comfort of the bourgeoisie of Casablanca and were all equipped with lifts, garbage incinerators and garages, while the apartments all had bathrooms. The city center’s buildings, which are real works of art, were named after their sponsor, thus taking on the appearance of monuments. 

Architects indulged all their ingenuity in the villas where they experimented the latest discoveries in the field of housing and comfort. Deeply impressed by the profusion of buildings; international critics will agree to describe Casablanca as the capital of modern architecture at that time.

Amongst the prestigious buildings of this period are noticeable the Building Levy Bendayon, built in
1928 by Marius Boyer, a French architect who produced a lot for the city, this building is considered the precursor of the modern movement of the 1930s. The Moretti-Milone Building, inaugurated in 1934, is located at United Nations Plaza of Casablanca, has 11 storey and was built by Pierre Jabin. The luxury of the building lies less in its facade marked by large vertical and horizontal lines of its bay windows, than in the quality of its equipment and the number of lifts.

So Casablanca will be during the first half of the 20th century a gorgeous architectural laboratory where the vanguards will unite to Moroccan and oriental patterns. This is the page of history, illustrated by this unique heritage, is nowadays in danger and people and organisations have to defend it against the real estate speculation, degradation and demographic pressure.From the first years of the French protectorate, the city will become a vast construction site where all styles and modern art movements, particularly Art Déco will be able to express themselves. That was the intention of the Marshal Lyautey who wish to make the city a special case between tradition and modernity.

To do this, he created the Department of Architecture and Plans of the City,  first administration of its kind in the history of French urban planning.

Showcase of a certain opulence, each in its own way expresses what Europe then did best in avant-garde. Art Deco emerged as the major style. The clean lines, rigorous symmetry, right angles and unadorned finesse converge on buildings with floral patterns inspired by Art Nouveau, the rigor and the massive austerity of Constructivism, or the Bauhaus school.

The Art Deco buildings are not all of equal architectural value but they are so numerous that they form a homogeneous and impressive urban ensemble. They show how much Casablanca was future-oriented and built over a few decades only. From one street to another, some Portuguese azulejos and Moroccan zelliges bring a little quaint to the picture, such as for the Excelsior Hotel.

If Casablanca was the setting for many films, it is also a city where the cinema is still a favorited leisure. Although they are often decrepit, the facades of the old cinemas are full of charm. It’s the case of the Rialto cinema.

Another witness of the history of Casablanca are the abattoirs, located in the district of Hay Mohammedi, the former industrial district from the early 20th century. It still is today considered one of the low-class popular neighborhoods of the city. Imposing reinforced concrete buildings of typical Art Deco style stretch over six hectares. It was literally a city within a city where every day thousands of workers were employed.

Closed in 2002, the site of the old abattoirs has been converted into a cultural space, initiative of Casamémoire, a collective of actors, artists, academics, sociologists and architects, in collaboration with the Mayor of Casablanca, which owns the premises.

The transformation of this industrial wasteland into a cultural venue was the best way to prevent the destruction of this architectural treasure.