He then moved to Paris where his maternal uncle Ernest Cléret, an architect and professor at the Gobelins Manufactory, encouraged him to study for admission to the École nationale supérieure des Beaux-Arts.

[1] Between 1910 and 1914 Laprade worked in the studio of René Sergent, an uncle by marriage, who designed townhouses and chateaux lavishly decorated in the Louis XV style.

[3] Laprade first made many drawings of local architectural motifs in an effort to understand the interaction of stylistic elements with social functions.

His goal was to develop an elegant urban architecture based on modern technology that would be appropriate to the stylistic tastes and way of life of the Moroccan people.

[5] His new quarter, in neo-Moorish style using modern materials, technology and sanitary principles, included pedestrian walkways, courtyard houses, markets, communal ovens, mosques, schools and public baths.

[3] Auguste Cadet and Edmond Brion undertook the madina construction project in Casablanca, which started in 1919 and continued for many years.

[11] His Art Deco parterres were laid out in geometrical patterns, with monochromatic masses of plants and alternating beds of flowers in pastel colors.

The painting also includes an anonymous black woman wearing only a skirt, resembling Josephine Baker, who represents the indigenous colonial people.

The interior held a labyrinth of small rooms with different exhibits, leading to a long narrow garden with souqs on each side where visitors could buy Moroccan handicrafts at the stalls.

[13] He defined reforms to education in the 1930s and 1940s in which he emphasized the critical importance of teaching drawing skills in secondary schools, since this was an essential tool for both artists and craftsmen.

[22] Laprade and Bazin designed the Peace Monument in the Place du Trocadero for the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne.

He said it was, the true reflection of the state of mind of 1937 ... For the last five years, each nation living in autocracy, distances itself from the universal, the European, and has begun to cultivate its own backyard, each province receiving equal attention.

He spent the years of World War II (1939-1945) organizing his notes and drawings from his travels, from which his famous albums would be drawn.

In 1959 he attended the first international congress on restoration of historic towns and was surprised to find that exemplary work was being done by socialist states.

[1] Laprade's work reflected many of the changes in 20th-century architecture during his long career, but he always remained true to the principles of aesthetics, balance and proportion.

[2] He and other architects of his time struggled with the challenge of building modern structures in Paris without destroying the harmony of the city's architecture.

"[6] Laprade believed in variety and complexity of the urban environment rather than uniformity, and was opposed to vandalism in the name of development of old quarters.