معايير تصميم المباني في القرن الواحد والعشرين

‫‪٣٣٤‬‬ ‫اﻟﺴﻨﺔ ‪ / ٣٨‬ذو اﻟﺤﺠﺔ ‪١٤٣٩‬ﻫـ‬

‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬

‫‪August 2018 / Volume 38‬‬

‫‪334‬‬

‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫« ‪≥≥¥ œbF « ¨5Łö¦ «Ë WM U¦ « WM‬‬

‫ا ﻓﺘﺘﺎﺣﻴﺔ‬

‫–‪Â ≤∞±∏ fD ž√ Ø?¼ ±¥≥π W−(« Ë‬‬ ‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ ﺣﺪﻳﺜﺔ ﻟﻠﻤﺒﺎﻧﻲ ﺗﺘﻄﻠﺐ ﺳﻮق ﺑﻨﺎء ﺟﺪﻳﺪ‬

‫« ‪d¹dײ « fOz—Ë dýUM‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ ”bMN‬‬ ‫«*‪ÂUF « d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž e¹eF « b³Ž ”bMN‬‬ ‫«*‪ÍcOHM² « d¹b‬‬ ‫ ×‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ bL‬‬ ‫ ‪W U)« «—«b ù« …d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ …u u WÝbMN‬‬ ‫«‪wMH « ëdšù‬‬ ‫ ‪WO½«dLF « ÊËRAK ¡UM³ « WK−‬‬ ‫«‪∫l¹“u² «Ë U «d²ýô‬‬ ‫’ ‪±±¥≤± ÷U¹d « μ≤≤ » Æ‬‬ ‫«*‪W¹œuF « WOÐdF « WJKL‬‬ ‫« ‪¥∂μ ? π∑¥π ¨ ¥∂¥ ? ≤μμ∂ ÷U¹d‬‬ ‫ ‪¥∂¥ ? ∂≥¥∏ f U‬‬ ‫‪info@albenaamag.com‬‬ ‫‪ÆÊ«bK³ « q w «bM² *« q sŽ WþuH× dAM « ‚uIŠ‬‬ ‫«‪ ôUI*UÐ …œ—«u « UDD *«Ë —u?B «Ë U uKF*«Ë ¡«—ü‬‬ ‫‪WK−*« ÁcNÐ WHK² *« UŽËd?A*«Ë U?Ý«—b «Ë Àu׳ «Ë‬‬ ‫‪¨UÎ OK Ë√ UÎ Ozeł U¼d?A½ …œUŽ≈ Ë√ ¨UNM ”U³² ôUÐ `L? ¹ ô‬‬ ‫√‪vKŽ ‰uB(« bFÐ ô≈ ¨X½U U?LN WI¹dÞ ÍQÐ U?NM¹e ð Ë‬‬ ‫ ‪Æd¹dײ « fOz— s WOÐU² WI «u‬‬

‫∞‪±‬‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫ﻛﺎرﺛﺔ ﻫﻨﺪﺳﻴﺔ ‪ ،‬إﻧﻬﻴﺎر ﺟﺴﺮ ﻣﻮراﻧﺪي‬

‫≤‪±‬‬

‫ﺟﺴﺮ ﻣﺸﺎة ﺳﻜﻨﻲ ﻓﻮق اﻟﻄﺮﻳﻖ‬

‫‪±¥‬‬

‫ﻛﺘﻞ ﻧﺤﺘﻴﺔ ﻣﻀﻴﺌﺔ‬

‫∂‪±‬‬

‫ﺧﻮارزﻣﻴﺔ ﻟﺘﻄﻮﻳﺮ اﻟﻨﻤﻮ اﻟﺮأﺳﻲ ﻟﻠﻤﺪن‬

‫∏‪±‬‬

‫وﺣﺪات ﺳﻜﻨﻴﺔ ﻣﺘﺤﺮﻛﺔ‬

‫∞≤‬

‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬ ‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬

‫≤≤‬

‫اﻟﻔﺎﺋﺰ ا?ول ــ ﻋﻤﻮد ﻓﻘﺮي أﺧﻀﺮ ﻟﻤﺪﻳﻨﺔ داﺧﻞ اﻟﻤﺪﻳﻨﺔ‬

‫∂≤‬

‫ﻣﺒﻨﻰ ذو ﺗﺼﻤﻴﻢ ﻋﻀﻮي ــ ﻗﺮﻳﺔ ﺟﺒﻠﻴﺔ وﺟﺬع ﺷﺠﺮة وﻛﺘﻠﺔ ﺳﺤﺎﺑﻴﺔ‬

‫∂≥‬

‫ﺑﺮﺟﻴﻦ ﻣﺘﺪاﺧﻠﻴﻦ ــ ﻓﻀﺎءات ﻋﺎﻣﺔ رأﺳﻴﺔ‬

‫‪¥¥‬‬

‫ﻋﻤﺎرة دراﻣﻴﺔ ــ رﻣﺰ ﻟﺤﻴﻮﻳﺔ وإﺑﺪاع اﻟﻤﺪﻳﻨﺔ‬

‫≤‪μ‬‬

‫واﺟﻬﺎت ﻣﺘﻌﺪدة اﻟﺰﺧﺎرف ــ ﻧﻤﻮذج ﻣﺴﺘﻘﺒﻠﻲ ﻟﻌﻤﺎرة ﻧﺎﻃﺤﺎت اﻟﺴﺤﺎب‬

‫∏‪μ‬‬

‫ﻣﻔﻬﻮم ‪ 24/7‬ــ ﺗﺼﻤﻴﻢ ﻧﺤﺘﻲ ﻟﻤﺪﻳﻨﺔ رأﺳﻴﺔ‬

‫‪∂¥‬‬

‫ﻣﺸﺎرﻳﻊ ﻋﺎﻟﻤﻴﺔ ﺣﺪﻳﺜﺔ‬ ‫‪∫…bŠ«u « W M « dFÝ‬‬ ‫—‪Î U¹‬‬ ‫‪UÎ ¹œuFÝ ô‬‬ ‫«*‪≥∞ W¹œuF « WOÐdF « WJKL‬‬ ‫‪w²¹u —UM¹œ ≤[μ‬‬ ‫« ‪X¹uJ‬‬ ‫‪WOM¹d×Ð dO½U½œ‬‬ ‫‪π‬‬ ‫« ‪s¹d׳‬‬ ‫‪UÎ Oð«—U ≈ UÎ L¼—œ‬‬ ‫‪≥∞ WOÐdF « «—U ù« W Ëœ‬‬ ‫—‪Î U¹‬‬ ‫‪ÎU¹dD ô‬‬ ‫∞≥‬ ‫ ‪dD‬‬ ‫—‪Î U¹‬‬ ‫‪UÎ O½ULŽÔ ô‬‬ ‫‪π‬‬ ‫‪ÊULŽÔ‬‬ ‫‪UÎ ¹dB UÎ NOMł‬‬ ‫∞∂‬ ‫ ‪dB‬‬ ‫‪—ôËœ‬‬ ‫∏‬ ‫ ‪ÊUM³‬‬ ‫‪w½œ—√ —UM¹œ‬‬ ‫≤‬ ‫«_—‪Êœ‬‬ ‫‪Ë—u¹‬‬ ‫∂‬ ‫√*‪UO½U‬‬ ‫‪Ë—u¹‬‬ ‫∂‬ ‫ ‪U ½d‬‬ ‫‪wMO d²Ý« tOMł‬‬ ‫∂‬ ‫«‪«d²K$‬‬ ‫« ‪—ôËœ ∏ Èdš_« ‰Ëb « lOLłË …bײ*« U¹ôu‬‬ ‫‪ISSN: 1319 - 206 X‬‬ ‫∞∞ « ‪¡UM³‬‬

‫‪00 Albenaa‬‬

‫ﻣﺮﻛﺰ ﻧﺎﻧﺸﺎن‪ ،‬ﺑﺮج ﻣﺘﻌﺪد اﻟﻮﻇﺎﺋﻒ‬ ‫ﻣﺮﻛﺰ اﻟﺘﺼﺎﻣﻴﻢ اﻟﻤﺒﺘﻜﺮة‪ ،‬ﺟﺎﻣﻌﺔ دﺑﻠﻦ‬ ‫ﻛﺎﺳﺮات ﺷﻤﺲ ﺗﺘﺤﺮك آﻟﻴ‪ X‬ﺑﺪون ﻛﻬﺮﺑﺎء‬

‫≤∑‬ ‫‪∑¥‬‬ ‫∂∑‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫∏∑‬

WOŠU²² ù«

New Design Criteria Requires New Construction Market

In this issue we try to infer a group of new design criteria culminated through a radical transformation in view of buildings and cities roles in addressing economical and social evolvement of residents who are attracted towards cities with their population increasing each year along with huge universally environmental transformations. These criteria are almost the same in all countries, therefore cities’ development and building leaders must not ignore these criteria in our region, specially architects and manufacturers. We emphasize on both because architects are responsible for finding new design solutions; and manufacturers are responsible for finding construction solutions.

If we reckon that designers are able to apply these criteria once required to do so, we are not guaranteed that manufacturers are able to swiftly fulfill these criteria. We say this because we are aware of the important role manufacturers have in developing the construction market.

These new criteria surfaced in the latest decades and international architectural firms dealt with it in our region. But in our experience these firms relied on international firms to fulfill its requirements, and we know that importing building systems and materials is costly and difficult for local projects to include in its budget and thus they rely on local suppliers. Today we hope that local manufacturers have transformed to fulfill these new criteria specially in light of economical transformation happening in the region. We emphasize that these criteria have become essential for large projects and local ones as well. Thus there is a huge investment potential in the construction market to fulfill the new building criteria based on the new role of buildings in future decades. These new criteria requires revisiting the design, for example of the outer cover of buildings, but we have not seen till this date any new local construction proposal be it a system or new materials.

Editor in Chief

‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ ﺣﺪﻳﺜﺔ ﻟﻠﻤﺒﺎﻧﻲ‬ ‫ﺗﺘﻄﻠﺐ ﺳﻮق ﺑﻨﺎء ﺟﺪﻳﺪ‬ ‫ﻓـــﻲ ﻫﺬا اﻟﻌﺪد ﻧﺤﺎول إﺳـــﺘﺨﻼص ﻣﺠﻤﻮﻋـــﺔ ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ‬ ‫اﻟﺘﺼﻤﻴﻤﻴـــﺔ اﻟﺠﺪﻳـــﺪة اﻟﺘـــﻲ ﻧﺘﺠﺖ ﻋﻦ ﺗﺤـــﻮل ﺟﺬري ﻓﻲ‬ ‫اﻟﻨﻈـــﺮة إﻟـــﻰ دور اﻟﻤﺒﺎﻧـــﻲ واﻟﻤـــﺪن ﻓـــﻲ ﻣﻮاﻛﺒـــﺔ اﻟﺘﻄﻮر‬ ‫ﺟﺘﻤﺎﻋﻲ ﻟﻠﺴـــﻜﺎن اﻟﺬﻳـــﻦ ﺗﺠﺬﺑﻬﻢ اﻟﻤﺪن‬6‫ﻗﺘﺼﺎدي وا‬6‫ا‬ ‫وﻳﺘﺰاﻳـــﺪ ﻋﺪدﻫﻢ ﻋﺎم ﺑﻌﺪ ﻋﺎم ﻓﻲ ﺳـــﻴﺎق ﺗﺤﻮﻻت ﻛﻮﻧﻴﺔ‬ ‫ ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﺗﻜﺎد ﺗﻜـــﻮن واﺣﺪة ﻓﻲ ﻛﻞ‬. ‫ﺑﻴﺌﻴـــﺔ ﻛﺒﻴـــﺮة‬ ‫ وﻟﺬﻟـــﻚ ﻻﻳﺠـــﺐ أن ﻳﻐﻔﻠﻬﺎ اﻟﻘﺎﺋﻤﻴـــﻦ ﻋﻠﻰ ﺑﻨﺎء‬، ‫اﻟﺒﻠـــﺪان‬ ‫اﻟﻤﺪن ﻓﻲ ﻣﻨﻄﻘﺘﻨﺎ ﻣﻦ ﻣﺼﻤﻤﻴﻦ وﻣﻦ ﻣﺼﻨﻌﻴﻦ وﻧﺤﻦ‬ ‫وﻟﻰ ﻣﺴـــﺌﻮﻟﺔ ﻋﻦ‬K‫ن اﻟﻔﺌﺔ ا‬K ‫ﻧﺆﻛﺪ ﻋﻠﻰ ﻫﺎﺗﻴﻦ اﻟﻔﺌﺘﻴﻦ‬ ‫إﻳﺠﺎد اﻟﺤﻠﻮل اﻟﺘﺼﻤﻴﻤﻴﺔ أﻣﺎ اﻟﻔﺌﺔ اﻟﺜﺎﻧﻴﺔ ﻓﻬﻲ ﻣﺴـــﺌﻮﻟﺔ‬ ‫ وإذا ﺳـــﻠﻤﻨﺎ ﺑـــﺄن اﻟﻤﺼﻤﻤﻴﻦ‬. ‫ﻋـــﻦ إﻳﺠﺎد اﻟﺤﻠﻮل اﻟﺒﻨﺎﺋﻴﺔ‬ ‫ﻗـــﺎدرون ﻋﻠـــﻰ ﺗﻄﺒﻴﻖ ﻫـــﺬه اﻟﻤﻌﺎﻳﻴﺮ ﻣﺘـــﻰ ﻃﻠﺐ ﻣﻨﻬﻢ‬ ‫ ﻓﺈﻧﻨﺎ ﻏﻴﺮ‬،( ‫ ﻻ ﻳﻔﺎﺟﺌﻮﻧـــﺎ ﺑﻐﻴﺮ ذﻟـــﻚ‬U‫ذﻟـــﻚ ) وﺑﻤﺸـــﻴﺌﺔ ا‬ ‫ﻣﺘﺄﻛﺪﻳـــﻦ ﻣﻦ أن اﻟﻤﺼﻨﻌﻴﻴﻦ ﻗﺎدرون ﻋﻠﻰ ﺳـــﺮﻋﺔ ﺗﻠﺒﻴﺔ‬ ‫ﻫﻤﻴﺔ دور ﻫﺆﻻء‬K ‫ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﻧﻘﻮل ذﻟﻚ وﻧﺤﻦ ﻣﺪرﻛﻮن‬ ‫ ﻓﺎﻟﻤﻌﺎﻳﻴﺮ اﻟﺠﺪﻳﺪة ﻇﻬﺮت ﻓﻲ اﻟﺤﻘﺒﺔ‬. ‫ﻓـــﻲ ﺗﻄﻮﻳﺮ اﻟﺒﻨﺎء‬ ‫ﺧﻴـــﺮة ﻋﻠﻰ ﻣﺴـــﺘﻮى اﻟﻌﺎﻟـــﻢ وﻛﺎﻧﺖ اﻟﻤﻜﺎﺗـــﺐ اﻟﻌﺎﻟﻤﻴﺔ‬K‫ا‬ ‫ﺗﺘﻌﺎﻣـــﻞ ﺑﻬﺎ ﻓﻲ ﻣﻨﻄﻘﺘﻨﺎ وﻟﻜﻦ ﻣـــﻦ ﺧﺒﺮﺗﻨﺎ ﻛﺎﻧﺖ ﻫﺬه‬ ‫ وﻣـــﻦ‬. ‫اﻟﻤﻜﺎﺗـــﺐ ﺗﻠﺠـــﺄ إﻟـــﻰ ﺷـــﺮﻛﺎت ﺧﺎرﺟﻴـــﺔ ﻟﺘﻠﺒﻴﺘﻬـــﺎ‬ ‫ﻧﻈﻤﺔ واﻟﻤﻮاد ﻣﻦ اﻟﺨﺎرج ﻳﻜﻠﻒ‬K‫اﻟﻤﺴـــﻠﻢ ﺑﻪ أن إﺳﺘﻴﺮاد ا‬ ‫اﻟﻜﺜﻴـــﺮ وﻣـــﻦ اﻟﺼﻌﺐ أن ﺗﻘﺪر ﻋﻠﻴﻬﺎ ﻣﻴﺰاﻧﻴﺎت اﻟﻤﺸـــﺎرﻳﻊ‬ ‫ذات اﻟﻄﺎﺑـــﻊ اﻟﻤﺤﻠـــﻰ اﻟﺘـــﻲ ﺗﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺴـــﻮق اﻟﻤﺤﻠﻲ‬ ‫ اﻟﻴﻮم وﻧﺤﻦ ﻧﺄﻣﻞ أن ﻳﻜﻮن اﻟﻤﺼﻨﻌﻴﻦ اﻟﻤﺤﻠﻴﻴﻦ ﻗﺪ‬.`‫ﻛﻠﻴ‬ ‫ﺗﺤﻮﻟـــﻮا إﻟﻰ ﺗﻠﺒﻴﺔ ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ اﻟﺠﺪﻳﺪة ﺧﺎﺻﺔ وﻓﻲ إﻃﺎر‬ ‫ ﻧﺆﻛﺪ ﻋﻠﻰ‬، ‫ﻗﺘﺼﺎدﻳـــﺔ اﻟﺘﻲ ﺗﻤﺮ ﺑﻬﺎ اﻟﻤﻨﻄﻘﺔ‬6‫اﻟﺘﺤﻮﻻت ا‬ ‫أن ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ أﺻﺒﺤﺖ ﺿﺮورﻳﺔ ﻟﻜﻞ اﻟﻤﺸـــﺎرﻳﻊ اﻟﻜﺒﻴﺮة‬ ‫ وﻣﻦ ﻫﻨﺎ ﻧﺮى اﻟﻴﻮم أن ﻓﻲ ﻗﻄﺎع‬. ‫واﻟﻤﺤﻠﻴﺔ ﻋﻠﻰ ﺣﺪ ﺳﻮاء‬ ‫ﺳـــﺘﺜﻤﺎر ﻓﻴﻪ ﻟﺘﻠﺒﻴﺔ إﺣﺘﻴﺎﺟﺎت اﻟﺒﻨﺎء‬d‫اﻟﺒﻨﺎء ﻓﺮص ﻛﺜﻴﺮة ﻟ‬ ‫اﻟﺠﺪﻳـــﺪة اﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ اﻟﺪور اﻟﺠﺪﻳﺪ اﻟﻤﺮﺗﻘﺐ ﻟﻠﻤﺒﺎﻧﻲ ﻓﻲ‬ ً ‫ ﻓﺎﻟﻤﻌﺎﻳﻴﺮ اﻟﺠﺪﻳﺪة ﺗﺘﻄﻠـــﺐ ﻣﺜ‬. ‫اﻟﺤﻘﺒـــﺔ اﻟﻘﺎدﻣـــﺔ‬ ‫ﻼ إﻋﺎدة‬ ‫اﻟﻨﻈﺮ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ﻟﻠﻤﺒﺎﻧﻲ إﻻ أﻧﻨﺎ ﻟﻢ ﻧﺮى‬ ‫ﺣﺘﻰ اﻟﻴﻮم أي ﻣﻘﺘﺮح ﺑﻨﺎﺋﻲ ﺟﺪﻳﺪ ﻣﺤﻠﻲ ﻓﻰ ﻫﺬا اﻟﺼﺪد‬ . ‫ﺳﻮاء ﻛﺎن ﻋﻠﻰ ﻫﻴﺌﺔ ﻧﻈﺎم أو ﻣﻮاد ﺟﺪﻳﺪة‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

10 Albenaa

¡UM³ « ±∞

‫√‪l¹—UA*« —U³š‬‬

‫ﻛﺎرﺛﺔ ﻫﻨﺪﺳﻴﺔ‬

‫إﻧﻬﻴﺎر ﺟﺴﺮ ﻣﻮراﻧﺪي‬ ‫‪Re-Construction of Genoa Bridge in Italy‬‬

‫ ‪tM ¡eł —UON½≈ bFÐ d '« qJý `{uð W¹uł WDI‬‬

‫«'‪d '« s —UN½≈ Íc « ¡e‬‬ ‫ﻓﻲ ﻫﺬا اﻟﺼﻴﻒ ﺳﻘﻂ ﺟﺴﺮ‬ ‫ﺟﻨﻮة ﻓﻲ إﻳﻄﺎﻟﻴﺎ وراح ﺿﺤﻴﺘﻪ‬ ‫‪ ٤٣‬ﺷﺨﺺ ﻋﻨﺪﻣﺎ ﻫﻮت ﺑﻬﻢ‬ ‫ﺳﻴﺎراﺗﻬﻢ ‪٤٥‬م ودﻓﻨﺖ ﺗﺤﺖ‬ ‫ا‪4‬ﻧﻘﺎض ﺳﻴﺎرات وﺷﺎﺣﻨﺎت‬ ‫ﻛﺜﻴﺮة ﻳﺮﺑﻂ اﻟﺠﺴﺮ ﺑﻴﻦ إﻳﻄﺎﻟﻴﺎ‬ ‫وﻓﺮﻧﺴﺎ وﺗﻌﺘﻤﺪ ﻋﻠﻴﻪ ﺣﺮﻛﺔ‬ ‫اﻟﺸﺎﺣﻨﺎت ﺑﻴﻨﻬﻤﺎ ﻣﺎذا ﻧﻌﺮف‬ ‫ﻋﻦ ﻫﺬه اﻟﻜﺎرﺛﺔ اﻟﻤﺮوﻋﺔ اﻟﺘﻲ‬ ‫ﻫﺰت ا‪4‬وﺳﺎط اﻟﻬﻨﺪﺳﻴﺔ ﻓﻰ‬ ‫أوروﺑﺎ وﺣﻮل اﻟﻌﺎﻟﻢ‪ .‬ﻳﻌﺪ ﺟﺴﺮ‬ ‫ﻣﻮراﻧﺪي ﺟﺰء‪ L‬ﻣﻦ ﻃﺮﻳﻖ ﺳﺮﻳﻊ‬ ‫ﻓﻲ ﻣﺪﻳﻨﺔ ﺟﻨﻮى ا‪P‬ﻳﻄﺎﻟﻴﺔ‪،‬‬ ‫وﻗﺪ أﻧﺸﻲء ﻋﺎم ‪١٩٦٧‬م وﻫﻮ‬ ‫ﻣﻦ ﺗﺼﻤﻴﻢ اﻟﻤﻬﻨﺪس اﻟﻤﺪﻧﻲ‬ ‫رﻳﻜﺎردو ﻣﻮراﻧﺪي اﻟﺬي اﺷﺘﻬﺮ‬ ‫ﺑﺘﺼﻤﻴﻢ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﺴﻮر‬ ‫ﻓﻲ ﻓﻨﺰوﻳﻼ‪ .‬اﺳﺘﺨﺪﻣﺖ‬ ‫اﻟﺨﺮﺳﺎﻧﺔ اﻟﻤﺴﻠﺤﺔ وﻣﺴﺒﻘﺔ‬ ‫اﻟﺠﻬﺪ ﻳﺒﻠﻎ ﻃﻮل اﻟﺠﺴﺮ ‪١.٢‬‬ ‫ﻛﻴﻠﻮﻣﺘﺮ وﻗﺪ ﺧﻀﻊ ‪4‬ﻋﻤﺎل ﺗﺮﻣﻴﻤﻴﺔ‬

‫ﻋﺎم ‪١٩٩٠‬م وﻋﺎم ‪٢٠١٦‬م‪ ،‬وﻓﻲ ﻫﺬ‬ ‫اﻟﻌﺎم إﻧﻬﺎر اﻟﺠﺴﺮ وﺳﻘﻂ ﺟﺰء‬

‫≤‪¡UM³ « ±‬‬

‫‪12 Albenaa‬‬

‫ﻣﻨﻪ ﺑﻄﻮل ‪ ٢٠٠‬ﻣﺘﺮ أودى ﺑﺤﻴﺎة‬ ‫اﻟﻜﺜﻴﺮ‪ ،‬ﺣﻴﺚ ﻟﻢ ﻳﺘﺤﻤﻞ اﻟﺠﺴﺮ‬ ‫اﻟﻀﻐﻂ اﻟﻜﺒﻴﺮ ﻋﻠﻴﻪ ﻓﻲ ﺳﺎﻋﺎت‬ ‫اﻟﺬروة ﻇﻬﺮ‪ L‬وﺳﻘﻂ ﻓﻮق ﺳﻜﺔ‬ ‫ﺣﺪﻳﺪ وﻣﻨﻄﻘﺔ ﺻﻨﺎﻋﻴﺔ‪ .‬وأرﺟﺢ‬ ‫ﺑﻌﺾ اﻟﺨﺒﺮاء ﺳﺒﺐ ا‪P‬ﻧﻬﻴﺎر‬ ‫ﺑﻮﺟﻮد ﻋﻴﺐ إﻧﺸﺎﺋﻲ ﻓﻲ ﺑﻨﻴﺘﻪ‬ ‫اﻟﺨﺮﺳﺎﻧﻴﺔ وﻫﻼك أﺳﺎﺳﺎﺗﻪ‬ ‫وﻇﻬﻮر اﻟﺼﺪأ ﻋﻠﻰ ﻫﻴﻜﻠﻪ‬ ‫اﻟﻤﻌﺪﻧﻲ ﻣﻊ ﻣﺮور اﻟﺰﻣﻦ دون‬ ‫ﺻﻴﺎﻧﺔ دورﻳﺔ ﻋﻠﻴﻪ‪ ،‬ﻛﺎن ﻳﻤﺮ‬ ‫ﻓﻮق اﻟﺠﺴﺮ ﻗﺒﻞ ﺳﻘﻄﻪ ‪٢٥‬‬ ‫ﻣﻠﻴﻮن ﺳﻴﺎرة وﻗﺪ أﺻﺪرت ﺗﻘﺎرﻳﺮ‬ ‫ﻋﺪﻳﺪ ﻣﻦ ﺷﺮﻛﺎت اﻟﻨﻘﻞ ﺗﺒﻴﻦ‬ ‫وﺟﻮد ﺧﻠﻞ ﻓﻲ ﻫﺬا اﻟﺠﺴﺮ‪،‬‬ ‫وﻓﻲ ﻋﺎم ‪ ٢٠١٦‬ﻗﺎل اﻟﻤﻬﻨﺪس‬ ‫ا‪P‬ﻧﺸﺎﺋﻲ أﻧﻄﻮﻧﻴﻮ ﺑﺮﻧﺘﺸﻴﺶ‬ ‫أن اﺣﺘﻤﺎﻟﻴﺔ وﻗﻮع اﻟﺠﺴﺮ‬ ‫ﻛﺒﻴﺮة وﻳﺠﺐ ﺗﻐﻴﻴﺮ أو ﺗﺮﻣﻴﻤﻪ‬ ‫ﺑﺸﻜﻞ ﺟﻴﺪ ﺣﻴﺚ أﻛﺪ ﺑﻮﺟﻮد‬ ‫ﺧﻠﻞ إﻧﺸﺎﺋﻲ ﻓﻴﻪ‪ ،‬ﻛﻤﺎ ﺗﻠﻌﺐ‬ ‫اﻟﻌﻮاﻣﻞ اﻟﻄﺒﻴﻌﻴﺔ ﻣﻦ زﻻزل‬ ‫ورﻳﺎح دور‪ L‬ﻓﻲ ﺿﻌﻒ اﻟﺠﺴﺮ‪.‬‬

‫‪WOŽUM WIDM Ë b¹bŠ WJÝ ‚u d '« lI¹‬‬ ‫‪The bridge was completed in‬‬ ‫‪1967 with restructuring work‬‬ ‫‪being undertaken in 2016.‬‬ ‫‪Major repairs were also‬‬ ‫‪carried out in the 1990s.‬‬ ‫‪Work to shore up the bridge’s‬‬ ‫‪foundation was being carried‬‬ ‫‪out at the time of the collapse,‬‬ ‫‪during which time it was being‬‬ ‫‪constantly monitored.‬‬ ‫‪A section of the bridge mea‬‬‫‪suring about 200m fell during a‬‬ ‫‪violent cloudburst.‬‬

‫‪The Morandi bridge carries a‬‬ ‫‪major road, the A10 toll mo‬‬‫‪torway, which serves the Italian‬‬ ‫‪Riviera and links‬‬ ‫‪northern Italy to France.‬‬ ‫‪It was designed by Riccardo‬‬ ‫‪Morandi who also designed the‬‬ ‫‪much larger Lake Maracaibo‬‬ ‫‪bridge in Venezuela.‬‬ ‫‪The 1.2km (0.8 mile) long‬‬ ‫‪bridge spans the Polcevera wa‬‬‫‪terway, railway lines and various‬‬ ‫‪industrial buildings.‬‬

l¹—UA*« —U³š√

‫ﺟﺴﺮ ﻣﺸﺎة‬ ‫ﺳﻜﻨﻲ ﻓﻮق‬ ‫اﻟﻄﺮﻳﻖ‬

Affortable Homes Built Above Sydney Streets : ‫اﻟﻤﺼﻤﻢ‬ Architect: NIKA

ŸËdALK WHK² dOþUM Architecture and engineering firm NIKA proposes building rows of single-storey houses, as well as a linear public park, above the existing streets of the Australian city.

The series of bridges would be raised 4.2 metres above the roads to allow enough room for traffic to pass underneath.

The modular kit of parts proposed could be used to create a variety of configurations, so structures could be tailored to different localities.

The idea is to reduce the cost of housing by finding unused space that would be cheap to develop, rather than reducing the cost of the fabrication process. The proposal was

developed with the aim of minimising disruption to the existing built environment.

It imagines a series of smaller bridges rather than one long one, allowing gaps that allow natural light to permeate the spaces underneath the bridges.

The structures would be angled to cross roads diagonally, allowing them to accommodate up to eight homes each.

The structures would be angled to cross roads diagonally, with gaps that allow natural light to permeate the spaces underneath. Linear public parks, similar to the High Line in New York, would also feature on some of the bridges in a bid to make Sydney greener.

‫ﺿﻤﻦ ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ ﻗﺪﻣﺖ ﺷﺮﻛﺔ‬ ‫ اﻟﻬﻨﺪﺳﻴﺔ اﻗﺘﺮاﺣﻬﺎ اﻟﻔﺎﺋﺰ‬NIKA ‫ﻟﺴﻠﺴﻠﺔ ﻣﻦ اﻟﻤﺴﺎﻛﻦ إﻗﺘﺼﺎدﻳﺔ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﺟﺴﻮر ﺗﻤﺮ ﻓﻮق ﺷﻮارع ﻣﺪﻳﻨﺔ‬ ‫ ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ ﻣﺠﻤﻮﻋﺔ‬.‫ﺳﺪﻧﻲ‬ ‫ ﻳﻀﻢ‬،‫ﻣﻦ اﻟﺠﺴﻮر ﻣﻮزﻋﺔ ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬ ‫ﻛﻞ ﺟﺴﺮ ﺛﻤﺎﻧﻴﺔ واﺣﺪات ﺳﻜﻨﻴﺔ‬ ‫ وﺗﺘﻜﻮن ﻛﻞ‬،‫ﺗﻐﻄﻴﻬﺎ أﺳﻄﺢ ﺧﻀﺮاء‬ ‫ وﺗﺮﺗﻔﻊ‬،‫وﺣﺪة ﺳﻜﻨﻴﺔ ﻣﻦ ﻃﺎﺑﻖ واﺣﺪ‬ ‫ ﻣﺘﺮ ﻓﻮق اﻟﻄﺮق ﻟﻠﺴﻤﺎح‬٤.٢ ‫اﻟﺠﺴﻮر‬ ‫ ﻳﻬﺪف‬.‫ﺑﻤﺮور اﻟﺴﻴﺎرات ﻣﻦ ﺗﺤﺘﻬﺎ‬ ‫ﻗﺘﺮاح إﻟﻰ اﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺗﻜﻠﻔﺔ إﻧﺸﺎء‬I‫ا‬ ‫اﻟﻤﺴﺎﻛﻦ ﻣﻦ ﺧﻼل إﺳﺘﻐﻼل اﻟﻔﻀﺎءات‬ ‫اﻟﻐﻴﺮ ﻣﺴﺘﺨﺪﻣﺔ داﺧﻞ اﻟﻤﺪن واﻟﺘﻲ‬ ‫ﻳﻤﻜﻦ أن ﺗﻜﻮن ذات ﺗﻜﻠﻔﺔ ﻗﻠﻴﻠﺔ‬ ‫ﻟﺘﻄﻮﻳﺮﻫﺎ ﺑﺪﻻً ﻣﻦ اﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺗﻜﻠﻔﺔ‬ ‫ﻗﺘﺮاح إﻟﻰ‬I‫ ﻛﻤﺎ ﻳﻬﺪف ا‬.‫ﻧﺸﺎء‬I‫ا‬ ‫إﻧﺸﺎء ﻣﺴﺎﻛﻦ ﻣﺮﻧﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﻌﺪﻳﻞ‬ ‫ﻟﺘﻜﻮن أﻛﺜﺮ إﺳﺘﺪاﻣﺔ ﺗﻨﺎﺳﺐ ﻓﺌﺔ‬ ‫اﻟﺸﺒﺎب ﻟﻠﻌﻴﺶ واﻟﺘﺮﻓﻴﻪ واﻟﻌﻤﻞ ﻓﻲ‬ ‫ اﻟﻔﻜﺮة ﻟﻴﺴﺖ ﺟﺪﻳﺪة إﻟﻰ‬.‫اﻟﻤﺪﻳﻨﺔ‬ ‫ﻫﺬا اﻟﺤﺪ وﺳﺒﻖ أن ﻋﺮﺿﺖ ﻓﻰ اﻟﻤﺠﻠﺔ‬ ‫ﻛﻤﻘﺘﺮﺣﺎت ﻟﺤﻞ ﻣﺸﺎﻛﻞ اﻟﺴﻜﻦ ﻓﻰ‬ . ‫ﻣﺪﻳﻨﺔ ﺑﺎرﻳﺲ‬

ŸËdA*« qO UHðË U½uJ 14 Albenaa

¡UM³ « ±¥

l¹—UA*« —U³š√

‫ﻛﺘﻞ ﻧﺤﺘﻴﺔ ﻣﻀﻴﺌﺔ‬

Habitat Filter

: ‫اﻟﻤﺼﻤﻢ‬ Architect: Matt Drysdale + Matt Myers + Tim Dow

ÎöO …¡UC w¼Ë WOMH « lDI « tO dNEð ÂUŽ dEM

UNMOÐ ULO UðU³ « uLMÐ `L ð WOMH « lDI « 5Ð UŠU dO uð vKŽ ŸËdA*« …dJ bL²Fð

Designed for Transurban and situated in the Melbournes Art precinct on an inaccessible freeway off-ramp island, this major sculptural installation provides an integrated approach of artwork paired with habitat. Solar panels power provide some electricity for lighting, bird boxes provide shelter for wildlife, Steel mesh has been incorporated into the forms so that the vegetation can “take over” and the site has been heavily planted and not accessible to the general public. Our aim on the project was that the trees and planted landscape will eventually grow up and around the sculptures so that they become part of the landscape as opposed to being the key feature.

Sort of relics in the bush. Habitat Filter features a series of ‘pods’, the largest over 25m high, with a range of sustainability elements including specially designed nesting boxes for birds and bats, solar panels to offset nighttime lighting energy needs and the use of recycled materials in construction.

‫اﻟﻤﺸﺮوع ﻫﻮ ﻋﺎدة ﺗﻄﻮﻳﺮ‬ ‫أﺣﺪ دوارات اﻟﻄﺮق ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫ وﻳﺘﻜﻮن اﻟﻤﺸﺮوع‬،‫ﻣﻠﺒﻮرن‬ ‫ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻘﻄﻊ اﻟﻔﻨﻴﺔ‬ ‫اﻟﻤﻀﻴﺌﺔ اﻟﺘﻲ ﺻﻤﻤﺖ ﻋﻠﻰ‬ ‫أﺷﻜﺎل ﻧﺤﺘﻴﺔ ﻣﺨﺘﻠﻔﺔ ﺗﻀﻢ‬ ‫أﻧﻈﻤﺔ وﺗﻘﻨﻴﺎت ﻣﺜﻞ أﻟﻮاح‬ ‫ﺿﻮﺋﻴﺔ ﺗﻮﻓﺮ اﻟﻄﺎﻗﺔ اﻟﻼزﻣﺔ‬ ً ‫ ﺿﺎءة ﻫﺬه اﻟﻤﻨﺤﻮﺗﺎت ﻟﻴ‬ ،‫ﻼ‬ ‫ﻛﻤﺎ ﺗﻀﻢ أﻧﻈﻤﺔ ﻟﺠﻤﻊ ﻣﻴﺎه‬ ‫ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ‬، ‫ﻣﻄﺎر وﺗﺨﺰﻳﻨﻬﺎ‬H‫ا‬ ‫أﻧﻬﺎ ﺗﻮﻓﺮ ﺻﻨﺎدﻳﻖ ﻳﻤﻜﻦ أن‬ ‫ﺗﺴﺘﺨﺪﻣﻬﺎ اﻟﻄﻴﻮر ﻛﺄﻋﺸﺎش‬ ‫ ﺻﻨﻌﺖ اﻟﻜﺘﻞ ﻣﻦ ﻣﻮاد‬.‫ﻟﻬﺎ‬ ‫ﻣﻌﺎدة اﻟﺘﺪوﻳﺮ ﺗﺘﻜﻮن ﻣﻦ‬ ‫أﻟﻮاح ﻣﻌﺪﻧﻴﺔ ﻛﻬﻴﺎﻛﻞ ﻟﻜﻞ‬ ‫ﻛﺘﻠﺔ وﻏﻄﻴﺖ ﺑﺸﺒﻜﺔ ﻣﻌﺪﻧﻴﺔ‬ ،‫ﺗﺴﻤﺢ ﺑﺰراﻋﺔ اﻟﻨﺒﺎﺗﺎت ﻓﻮﻓﻬﺎ‬ ‫ﻛﻤﺎ ﻏﻄﻴﺖ ﺑﻌﺾ أﺟﺰاﺋﻬﺎ‬ ‫ﺑﺄﻟﻮاح ﻣﻌﺪﻧﻴﺔ ذات أﻟﻮان‬ ‫ ﻳﺸﺠﻊ اﻟﻤﺸﺮوع ﻋﻠﻰ‬.‫ﻣﺨﺘﻠﻔﺔ‬ ‫ﺷﺠﺎر ﺣﻮل‬H‫ﻧﻤﻮ اﻟﻨﺒﺎﺗﺎت وا‬ ‫ﻫﺬه اﻟﻜﺘﻞ وﺑﺤﻴﺚ ﺗﺸﻜﻞ ﺟﺰء‬ .‫ﻣﻤﻴﺰ ﻓﻴﻬﺎ‬

‘UAŽ√Ë …¡U{ù« w W b ² *« W UD « ÃU²½ù WOzu{ Õ«u √ vKŽ WOMH « lDI « Íu²% —UD _« ÁUO lL' WLE½√Ë —uODK 16 Albenaa

¡UM³ « ±∂

l¹—UA*« —U³š√

‫ﺧﻮارزﻣﻴﺔ ﻟﺘﻄﻮﻳﺮ اﻟﻨﻤﻮ اﻟﺮأﺳﻲ ﻟﻠﻤﺪن‬ Algorithm Developed to Predict the Vertical Growth of Cities

Researchers from Universidade da Coruña in Spain have drawn from nature to write an algorithm that is capable of anticipating the growth pattern of cities.

The algorithm uses historical and economic data from an urban area to predict what its future skyline will look like. It estimates both the number of high-rise buildings that will be constructed and where they are likely to be located.

City growth mirrors patterns of evolution: The researchers on the project took inspiration by natural biological systems. They hypothesised that algorithms based on evolution could be adapted to urban environments too.

Algorithm is similar to those used in artificial intelligence

Pazos describes evolutionary computation as crossing the basic rules of genetics and Darwin’s natural selection logic.

It is used in the fields of artificial intelligence & machine learning.

Area in Tokyo used as test case: Pazos and his team used the Japanese ward of Minato in Tokyo as a test case for their algorithm, picking it because of its already high vertical growth.

They modelled what the skyline would look like in 2016 and 2017, and compared the results to ongoing high-rise developments in the area to see how close they were to reality. Paxos described the algorithm’s predictions as “very accurate”.

Next, the team will evaluate the algorithm’s success at predicting the city’s vertical growth in 2018 and 2019.

‫ﺳﺎﺳﻴﺔ ﻟﻌﻠﻢ اﻟﻮراﺛﺔ‬T‫اﻟﻘﻮاﻋﺪ ا‬ ‫ﺧﺘﻴﺎر اﻟﻄﺒﻴﻌﻲ ﻟﻠﻌﺎﻟﻢ‬U‫وﻧﻈﺮﻳﺔ ا‬ ‫ واﻟﺘﻲ ﻳﺘﻢ اﺳﺘﺨﺪاﻣﻬﺎ ﻓﻲ‬،‫داروﻳﻦ‬ ‫ﻣﺠﺎﻻت اﻟﺬﻛﺎء اﻟﺼﻨﺎﻋﻲ واﻟﺘﻌﻠﻴﻢ‬ ‫ ﻳﺘﻢ ﺟﻤﻊ اﻟﻌﺪﻳﺪ‬.‫ﻟﻜﺘﺮوﻧﻲ‬U‫ا‬ ‫ﻣﻦ اﻟﺤﻠﻮل ﻣﻦ اﻟﺤﺴﺎﺑﺎت وﻳﺘﻢ‬ ‫ واﺧﺘﻴﺎر اﻟﻨﻈﺎم ذو‬X‫ﺟﻤﻌﻬﺎ ﻋﺸﻮاﺋﻴ‬ ‫ وﻳﺘﻢ ﺗﻜﺮار اﻟﻌﻤﻠﻴﺔ‬،‫أﻓﻀﻞ ﻧﺘﻴﺠﺔ‬ ‫اﻟﺤﺴﺎﺑﻴﺔ ﻣﺮات ﻋﺪة ﻟﻠﺤﺼﻮل ﻋﻠﻰ‬ ‫ وﻗﺪ ﻗﺎم اﻟﺒﺎﺣﺜﻮن‬.‫أﻓﻀﻞ ﻧﺘﻴﺠﺔ‬ ‫ﻋﻠﻰ إﺟﺮاء ﺗﺠﺮﺑﺔ ﻟﻤﻨﻄﻘﺔ ﻣﻴﻨﺎﺗﻮ‬ ‫ﻓﻲ ﻃﻮﻛﻴﻮ ﺣﻴﺚ أﻧﻬﺎ ﻣﻨﻄﻘﺔ ﻧﻤﺖ‬ ‫ ﺣﻴﺚ ﻗﺎﻣﻮ ﺑﺘﺼﻮر‬,‫ﺑﺸﻜﻞ ﻋﺎﻣﻮدي‬ ٢٠١٧ ‫ و‬٢٠١٦ ‫أﻓﻖ اﻟﻤﻨﻄﻘﺔ ﻟﻌﺎم‬ ‫وﻣﻘﺎرﻧﺔ اﻟﻨﺘﻴﺠﻴﺔ ﻣﻊ ﺗﻄﻮﻳﺮ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺸﺎﻫﻘﺔ اﻻرﺗﻔﺎع ﻟﻤﻌﺮﻓﺔ ﻣﺪى‬ ‫ ﺑﻌﺪ ذﻟﻚ ﻳﻘﻮم‬،‫ﻗﺮﺑﻬﻢ ﻣﻦ اﻟﻮاﻗﻊ‬ ‫اﻟﻔﺮﻳﻖ ﺑﺘﻘﻴﻴﻢ ﻧﺠﺎح اﻟﺨﻮارزﻣﻴﺔ ﻓﻲ‬ ‫ﺗﻮﻗﻬﺎ ﺑﺎﻟﻨﻤﻮ اﻟﺮأﺳﻲ ﻟﻠﻤﺪﻳﻨﺔ ﻓﻲ‬ .‫م‬٢٠١٩ ‫م و‬٢٠١٨ ‫ﻋﺎم‬

‫ﻛﺸﻒ ﺑﺎﺣﺜﻮن ﻓﻲ ﺟﺎﻣﻌﺔ ﻻﻛﻮروﻧﻴﺎ‬ ‫ﻓﻲ أﺳﺒﺎﻧﻴﺎ ﻋﻦ ﺧﻮارزﻣﻴﺎت ﺗﺴﺎﻋﺪ‬ ‫ ﺣﻴﺚ‬،‫ﻋﻠﻰ ﺗﻘﻮع ﻧﻤﻂ ﻧﻤﻮ اﻟﻤﺪن‬ ‫ﺗﺴﺘﺨﺪم اﻟﺨﻮارزﻣﻴﺔ ﺑﻴﺎﻧﺎت ﺗﺎرﻳﺨﻴﺔ‬ ‫واﻗﺘﺼﺎدﻳﺔ ﻣﻦ اﻟﻤﻨﺎﻃﻖ اﻟﺤﻀﺮﻳﺔ‬ ‫ﺗﺴﺎﻋﺪﻫﺎ ﻓﻲ ﺗﻮﻗﻊ ﻣﺎﺳﺘﺒﺪوا‬ ‫ وﻫﻲ ﺧﻮارزﻣﻴﺔ‬،‫ﻋﻠﻴﻪ ﻫﺬه اﻟﻤﻨﺎﻃﻖ‬ ‫ﻣﺸﺎﺑﻬﺔ ﻟﺘﻠﻚ اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ‬ ‫ ﺗﻘﻮم اﻟﺨﻮارزﻣﻴﺔ‬.‫اﻟﺬﻛﺎء اﻟﺼﻨﺎﻋﻲ‬ ‫ﺑﺘﻘﺪﻳﺮ ﻋﺪد اﻟﻤﺒﺎﻧﻲ اﻟﺸﺎﻫﻘﺔ اﻟﺘﻲ‬ ‫ اﺳﺘﻠﻬﻢ‬.‫ﺳﻴﺘﻢ ﺑﻨﺎؤﻫﺎ وﻣﻮاﻗﻌﻬﺎ‬ ‫اﻟﺒﺎﺣﺜﻮن ﻫﺬه اﻟﻔﻜﺮة ﻣﻦ ﺑﻴﻮﻟﻮﺟﻴﺔ‬ ‫ ﻛﻤﺎ أﻧﻬﻢ اﻓﺘﺮﺿﻮا أن‬،‫اﻟﻄﺒﻴﻌﺔ‬ ‫ﻫﺬه اﻟﺨﻮارزﻣﻴﺎت ﺗﻌﺘﻤﺪ ﻋﻠﻰ‬ ‫ﺗﻄﻮر ﻳﻤﻜﻦ أن ﻳﺘﻼﺋﻢ ﻣﻊ اﻟﺒﻴﺌﺎت‬ ‫ وﻛﺸﻔﺖ اﻻﺳﺘﻨﺘﺎﺟﺎت‬.‫اﻟﺤﻀﺮﻳﺔ‬ ‫اﻟﻨﻬﺎﺋﻴﺔ ﻟﺤﺴﺎب اﻟﺘﻄﻮر أﻧﻬﺎ‬ ‫ﻗﺎدرة ﻋﻠﻰ إﻳﺠﺎد ﻧﻤﻮ أﻧﻤﺎط ﻏﻴﺮ‬ ‫ﻣﻮﺟﻮدة ﻓﻲ أﻧﻈﻤﺔ ﺣﻀﺮﻳﺔ‬ ‫ وﺗﻌﺒﺮ ﻫﺬه اﻟﺤﺴﺎﺑﺎت ﻋﻦ‬.‫ﻣﻌﻘﺪة‬

18 Albenaa

¡UM³ « ±∏

l¹—UA*« —U³š√

‫وﺣﺪات ﺳﻜﻨﻴﺔ ﻣﺘﺤﺮﻛﺔ‬

Modular Living Spaces with Full Autonomous Mobility : ‫اﻟﻤﺼﻤﻢ‬ Architect: Florian Marquet Florian Marquet ‫ﻗﺪم اﻟﻤﻌﻤﺎري‬ The Org ‫اﻗﺘﺮاﺣ ﻟﻮﺣﺪات ﻣﺘﻨﻘﻠﺔ‬ ‫ﻳﻤﻜﻦ اﺳﺘﺨﺪاﻣﻬﺎ ﻛﻐﺮف ﻣﻌﻴﺸﺔ‬ ‫ ﺗﻬﺪف‬,‫أو ﻣﻄﺒﺦ أو ﻣﻜﺎن ﻟﻠﻌﻤﻞ‬ ‫ﻋﺎدة ﺗﺼﻮر اﻟﺴﻜﻦ وﺗﻮﻓﻴﺮ ﻧﻤﺎذج‬4 ‫ﺟﻴﺎل‬7‫ﺗﻨﺎﺳﺐ اﻟﺤﻴﺎة اﻟﻌﺼﺮﻳﺔ ﻟ‬ ‫ ﺗﺘﻤﻴﺰ ﻫﺬه اﻟﻮﺣﺪات‬.‫اﻟﺸﺎﺑﺔ‬ ‫ﺑﺄﻧﻬﺎ ذاﺗﻴﺔ اﻟﻘﻴﺎدة ﺣﻴﺚ ﻳﻤﻜﻦ‬ ‫ﻟﻠﺸﺨﺺ اﻟﺘﻨﻘﻞ ﺑﻬﺎ ﻣﻦ ﻣﻜﺎن‬ .‫ﺧﺮ ﻣﻦ ﺧﻼل ﺗﺤﺪﻳﺪ اﻟﻤﻮﻗﻊ‬F ‫ﺗﺼﻤﻢ ﻫﺬه اﻟﻮﺣﺪات ﺑﻌﺪة‬ ‫أﺣﺠﺎم ﺗﺘﻨﺎﺳﺐ ﻣﻊ اﻟﻌﺪﻳﺪ ﻣﻦ‬ U «b ²Ýù« …œbF² WKIM² «bŠË

‫اﻻﺳﺘﺨﺪاﻣﺎت وﻳﺘﻢ ﺗﺠﻬﻴﺰﻫﺎ‬ ‫ وﺗﻀﻢ‬،‫ﺑﻜﺎﻓﺔ اﻟﺘﺠﻬﻴﺰات اﻟﻼزﻣﺔ‬ ‫ﻛﻞ وﺣﺪة أﻧﻈﻤﺔ وﺗﻘﻨﻴﺎت ﻣﺘﻄﻮرة‬

U «b ²Ýù« …œbF² WKIM² «bŠË

.‫ﻧﺘﺎج اﻟﻄﺎﻗﺔ اﻟﻼزﻣﺔ ﻟﺘﺸﻐﻴﻠﻬﺎ‬4

WKIM²*« «bŠuK WHK² rO UBðË ÂU−Š√ Florian Marquet, an architect based in Shanghai, recently released a proposal to rethink urban life through autonomous mobile living spaces.

Dubbed ‘The Org’, his project aims to reconsider the housing market’s status quo and provide a more balanced model for urban living across ages.

The modular system would respond to user needs with a range of programs, from green

farming and kitchen units to flexible work areas and sleeping quarters. Made for easy fabrication, the units could be ordered instantly via an app.

Taking advantage of standardization, the org aims to be easily assembled & customized.

Occupants would order the system after personalizing units to their individual needs.

The community living spaces would be equipped with full autonomous mobility and

personalized for flexibility and comfort. Moving freely, the modular units would give urban residents “the opportunity to live dynamically in a city.” Each individual pod would serve as a sharing system connecting occupants to the urban fabric.

Marquet’s vision is designed to replace homes for future generations, thus allowing new concepts on residential life to emerge.

dšü ÊUJ s qIM²K Î UOð«– «bŠu « qLFð 20 Albenaa

¡UM³ « ≤∞

‫اﻟﻄﻠﺐ ﻋﻠﻰ اﻟﺒﻨﺎء ﻟﺘﺤﺪﻳﺚ ﺷﺒﺎﻛﺎﺗﻬﺎ اﻟﺘﺤﺘﻴﺔ وﻋﻠﻰ اﻟﻄﻠﺐ‬ ‫ﻋﻠﻰ اﻟﺴﻜﻦ داﺧﻞ اﻟﻤﺪن ‪ .‬ﻛﻤﺎ أﻧﻪ ﻧﺘﻴﺠﺔ إﻟﻰ اﻟﺘﻄﻮر اﻟﺘﻘﻨﻲ‬ ‫وﺗﺄﺛﻴﺮه ﻋﻠﻰ ﺻﻨﺎﻋﺔ وﻃﺮق ﺗﻘﺪﻳﻢ اﻟﺨﺪﻣﺎت واﻟﻤﻨﺘﺠﺎت ‪ ،‬ﺗﺸﻬﺪ‬ ‫اﻟﻤﺪﻳﻨﺔ ﻧﻤﻮ; ﻟﻌﺪد اﻟﺸﺮﻛﺎت اﻟﺠﺪﻳﺪة اﻟﺘﻲ ﺗﺴﻌﻰ ﻟﺘﻘﺪﻳﻢ‬ ‫ﺧﺪﻣﺎت ﺗﻮاﻛﺐ ﺗﻐﻴﺮ أﺳﻠﻮب ﺣﻴﺎة اﻟﻨﺎس وإﺳﺘﻬﻼﻛﻬﻢ وإﺑﺘﻜﺎر‬ ‫أﺳﺎﻟﻴﺐ ﻋﻤﻞ ﺟﺪﻳﺪة‪ .‬ﻫﺬا وﺳﻮف ﻳﺘﺄﺛﺮ ﻗﻄﺎع اﻟﺒﻨﺎء ﺑﺪوره ﻣﻦ‬ ‫ﻫﺬه اﻟﺘﺤﻮﻻت واﻟﺘﻲ ﺳﺘﺆﺛﺮ ﺑﺪورﻫﺎ ﻋﻠﻰ ﺗﺨﻄﻴﻂ اﻟﻤﺪﻳﻨﺔ‬ ‫وﻋﻤﺎرة ﻣﺒﺎﻧﻴﻬﺎ‪ .‬وﻣﻊ ﻣﺎﻳﺸﻬﺪه اﻟﻤﻨﺎخ اﻟﻴﻮم ﻣﻦ ﺗﺤﻮﻻت ‪ ،‬ﻻ أﺣﺪ‬ ‫ﻳﺴﺘﻄﻴﻊ اﻟﺘﻨﺒﻮء ﺑﻤﺎ ﻳﻤﻜﻦ أن ﻳﺤﺪث ﻣﻦ ﺗﺤﻮﻻت ﺑﻴﺌﻴﺔ ﻓﻲ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ‪ ،‬ا‪T‬ﻣﺮ اﻟﺬي ﻳﺠﺐ ﻣﻌﻪ اﻟﺒﺤﺚ ﻋﻦ ﺣﻠﻮل ﺑﻴﺌﻴﺔ ﺟﺪﻳﺪة‬ ‫ﻟﻠﻤﺒﺎﻧﻲ واﻟﻤﺪن ﻟﻤﻮاﺟﻬﺔ ﻫﺬه اﻟﺘﺤﻮﻻت ‪ .‬وﺗﺨﻠﺺ اﻟﻮﺛﺎﺋﻖ‬ ‫إﻟﻰ أن اﻟﺘﺤﺪﻳﺎت اﻟﺤﺎﻟﻴﺔ ﺗﺰﻳﺪ ﻣﻦ ﺣﺎﻟﺔ ﻋﺪم وﺿﻮح اﻟﺮؤﻳﺎ ﺣﻮل‬ ‫ﻣﺴﺘﻘﺒﻞ اﻟﻤﺪن ﺑﺸﻜﻞ ﻋﺎم وأﻧﻪ ﻣﻦ ﺧﻼل اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري‬ ‫ﻳﻤﻜﻦ إﺳﺘﻜﺸﺎف ﻣﺴﺘﻘﺒﻞ ﻋﻤﺮان اﻟﻤﺪن اﻟﺬي ﻟﺪﻳﻪ اﻟﻘﺪرة‬ ‫ﻋﻠﻰ ﺗﺠﺴﻴﺪ وإﺳﺘﻌﺮاض اﻟﺤﻠﻮل اﻟﻔﻀﺎﺋﻴﺔ اﻟﻤﺤﺘﻤﻠﺔ ﻳﻤﻜﻦ‬ ‫إﺳﺘﻜﺸﺎف ﻣﺴﺘﻘﺒﻞ ﻋﻤﺮان اﻟﻤﺪن‪ .‬وﻟﺘﺤﻘﻴﻖ ذﻟﻚ ﻗﺎم ﻣﻄﻮر‬ ‫اﻟﻤﺸﺮوع ﺑﺎ‪b‬ﺳﺘﻌﺎﻧﺔ ﺑﻌﺪد ﻣﻦ اﻟﻤﻜﺎﺗﺐ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻌﺎﻟﻤﻴﺔ‬ ‫ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻣﻜﺎﺗﺐ أﺳﺘﺮاﻟﻴﺔ ﻣﺤﻠﻴﺔ ﻟﺘﺼﻤﻴﻢ ﻣﺸﺮوع ﺑﺮج‬ ‫رﺋﻴﺲ ﻣﺘﻌﺪد اﻟﻮﻇﺎﺋﻒ ﻓﻲ وﺳﻂ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن‪ ،‬ﺻﺎﺣﺐ‬ ‫ذﻟﻚ ﺗﻨﻈﻴﻢ ﻧﺪوة ﺣﻮل ﻣﺴﺘﻘﺒﻞ اﻟﻤﺪن دﻋﻴﺖ إﻟﻴﻬﺎ ﻫﺬه‬ ‫اﻟﻤﻜﺎﺗﺐ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ آراﺋﻬﺎ ﺣﻮل اﻟﻤﺸﺮوع‪ ،‬ﻛﻤﺎ ﻗﺎم اﻟﻤﻄﻮر‬ ‫ﺑﺘﺸﻴﻴﺪ ﻣﺒﻨﻰ ﺻﻐﻴﺮ ﻓﻲ ﻣﻮﻗﻊ اﻟﻤﺸﺮوع ﺗﻢ ﻓﻴﻪ ﺗﺤﻜﻴﻢ‬ ‫اﻟﻤﺴﺎﺑﻘﺔ ‪ .‬اﻟﻤﻜﺎﺗﺐ اﻟﺘﻲ ﺗﻢ دﻋﻮﺗﻬﺎ ﻫﻰ ‪OMA ،MVRDV :‬‬ ‫‪COOP HIMMELB(L)AU , UNSTUDIO, BIG , MAD‬‬ ‫ﻓﺎز ﺑﺎﻟﻤﺴﺎﺑﻘﺔ ﻣﻜﺘﺐ ‪ .UNSTUDIO‬وﻟﻘﺪ ﻗﺎﻣﺖ اﻟﻤﺠﻠﺔ‬ ‫ﺑﺈﺳﺘﻌﺮاض ا‪T‬ﻓﻜﺎر واﻟﺘﺼﺎﻣﻴﻢ اﻟﻤﻘﺪﻣﺔ ﻟﻬﺬه اﻟﻤﻜﺎﺗﺐ ﺑﺤﻴﺚ‬ ‫أﻣﻜﻦ إﺳﺘﺨﻼص أﻫﻢ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺠﺪﻳﺪة اﻟﺘﻲ ﺗﻢ‬ ‫ا‪T‬ﺧﺬ ﺑﻬﺎ ﻓﻲ اﻟﻤﻘﺘﺮﺣﺎت اﻟﻤﻘﺪﻣﺔ ﻣﻦ ﻗﺒﻞ اﻟﻤﻜﺎﺗﺐ اﻟﻤﺸﺎرﻛﺔ‪،‬‬ ‫وﻛﻠﻬﺎ ﻣﻌﺎﻳﻴﺮ ﻧﺎﺑﻌﺔ ﻣﻦ اﻟﺘﻮﺟﻬﺎت اﻟﺠﺪﻳﺪة ﻟ‪p‬ﺳﺘﺪاﻣﺔ ‪.‬‬

‫ﻣﻌﺎﻳﻴﺮ ﺟﺪﻳﺪة ﻟﺘﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ ‪:‬‬

‫«*‪UNStudio & COX Architecture ∫WM¹b qš«œ WM¹b* dCš√ ÍdI œuLŽ ezUH « ŸËdA‬‬

‫ ‪MAD & Elenberg Fraser ∫ V²J ¨ÍuCŽ rOLBð Ë– vM³‬‬

‫ﻟﻘﺪ دﻓﻌﺖ اﻟﻤﺸﺎﻛﻞ اﻟﺘﻲ ﻃﺎﻟﺒﺖ اﻟﻤﺴﺎﺑﻘﺔ ﺑﺤﻠﻬﺎ إﻟﻰ إﻋﺎدة‬ ‫اﻟﻨﻈﺮ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺘﺠﺎرﻳﺔ واﻟﺴﻜﻨﻴﺔ واﻟﻔﻀﺎءات‬ ‫اﻟﻌﺎﻣﺔ وﻟﻜﻲ ﻳﺤﻘﻖ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺘﺎﻟﻴﺔ ‪:‬‬ ‫أو ًﻻ ‪ -‬إﻋﺎدة رﺑﻂ ﺳﻜﺎن اﻟﻤﺪن ﺑﺎﻟﻄﺒﻴﻌﺔ ‪:‬‬ ‫ﻣﺤﺎﻛﺎة اﻟﻄﺒﻴﻌﺔ داﺧﻞ اﻟﻌﻤﺮان اﻟﺼﻨﺎﻋﻲ اﻟﻜﺜﻴﻒ ﻟﻠﻤﺪن‬ ‫إﺳﺘﺨﺪام اﻟﺸﺮﻓﺎت ذات اﻟﺤﺪاﺋﻖ اﻟﻤﻌﻠﻘﺔ ﻟﺠﻠﺐ اﻟﻄﺒﻴﻌﺔ إﻟﻰ‬ ‫أدوار اﻟﻤﺒﺎﻧﻲ اﻟﻌﺎﻟﻴﺔ‪.‬‬ ‫ﺛﺎﻧﻴ‪ - /‬إﻧﻔﺘﺎح اﻟﻤﺒﺎﻧﻲ ﻋﻠﻰ ﻣﺤﻴﻄﻬﺎ ﺑﺸﻜﻞ ﺧﺎص وﻋﻠﻰ‬ ‫اﻟﻤﺪﻳﻨﺔ ﺑﺸﻜﻞ ﻋﺎم ‪:‬‬ ‫ﺗﺤﻘﻴﻖ إﻧﻔﺘﺎح اﻟﺪور ا‪T‬رﺿﻲ ودﻣﺠﻪ ﻣﻊ اﻟﻔﻀﺎء اﻟﻌﺎم اﻟﻤﺤﻴﻂ‬ ‫ﺑﻪ وإﻳﺠﺎد وﺳﺎﺋﻞ ﺟﺬب ﻟﻠﻤﺮﺗﺎدﻳﻦ‪.‬‬ ‫ﺛﺎﻟﺜ‪ - /‬اﻟﺤﺪ ﻣﻦ إﻧﻌﺰال ﺳﻜﺎن اﻟﻤﺒﺎﻧﻲ اﻟﻌﺎﻟﻴﺔ ﻋﻦ‬ ‫ﺑﻌﻀﻬﻢ اﻟﺒﻌﺾ وﻋﻦ اﻟﻤﺪﻳﻨﺔ ‪:‬‬ ‫ إﺳﺘﻤﺮارﻳﺔ إﻣﺘﺪاد اﻟﻔﻀﺎء اﻟﻌﺎم رأﺳﻴ‪ r‬ﻋﻠﻰ ﻣﺒﺎﻧﻲ اﻟﻤﺪﻳﻨﺔ‬‫‪BIG & Fender Katsalidis Architecture ∫V²J ¨WOÝ√— W UŽ «¡UC ¨5Kš«b² 5łdÐ‬‬ ‫≥≤ « ‪¡UM³‬‬

‫‪23 Albenaa‬‬

‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺒﺎﻧﻲ ﻓﻲ اﻟﻘﺮن‬ ‫اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬ ‫إﻋﺪاد ‪ :‬اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا أﺑﺎ اﻟﺨﻴﻞ‬

‫اﻟﻤﻘﺪﻣﺔ ‪:‬‬ ‫اﻟﻤﺸﺎرﻳﻊ ‪:‬‬ ‫اﻟﻔﺎﺋﺰ ا_ول‬ ‫ﻋﻤﻮد ﻓﻘﺮي أﺧﻀﺮ ﻟﻤﺪﻳﻨﺔ داﺧﻞ ﻣﺪﻳﻨﺔ‬ ‫‪Green Spine - A City within a City‬‬ ‫اﻟﻤﺼﻤﻢ ‪UNStudio & COX Architecture :‬‬

‫‪22‬‬ ‫‪26‬‬

‫ﻣﺒﻨﻰ ذو ﺗﺼﻤﻴﻢ ﻋﻀﻮي‬ ‫ﻗﺮﻳﺔ ﺟﺒﻠﻴﺔ وﺟﺬع ﺷﺠﺮة وﻛﺘﻠﺔ ﺳﺤﺎﺑﻴﺔ‬ ‫‪New Landmark Building‬‬ ‫‪for Melbourne‬‬ ‫اﻟﻤﺼﻤﻢ ‪MAD & Elenberg Fraser :‬‬

‫‪36‬‬

‫ﺑﺮﺟﻴﻦ ﻣﺘﺪاﺧﻠﻴﻦ‬ ‫ﻓﻀﺎءات ﻋﺎﻣﺔ رأﺳﻴﺔ‬ ‫‪The Lanescraper‬‬ ‫اﻟﻤﺼﻤﻢ ‪BIG & Fender Katsalidis Architecture :‬‬

‫‪44‬‬

‫ﻋﻤﺎرة دراﻣﻴﺔ‬ ‫رﻣﺰ ﻟﺤﻴﻮﻳﺔ وإﺑﺪاع اﻟﻤﺪﻳﻨﺔ‬ ‫‪Beulah Propeller City‬‬ ‫اﻟﻤﺼﻤﻢ‪COOP HIMMELB(L)AU & Architectus :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻠﺒﻮرن ــ أﺳﺘﺮاﻟﻴﺎ‬

‫‪52‬‬

‫واﺟﻬﺎت ﻣﺘﻌﺪدة اﻟﺰﺧﺎرف‬ ‫ﻧﻤﻮذج ﻣﺴﺘﻘﺒﻠﻲ ﻟﻌﻤﺎرة ﻧﺎﻃﺤﺎت اﻟﺴﺤﺎب‬ ‫‪Stack for Melbourne’s‬‬ ‫‪Next Generation High-Rise‬‬ ‫اﻟﻤﺼﻤﻢ‪MVRDV & Woods Bagot :‬‬

‫‪58‬‬

‫ﻣﻔﻬﻮم ‪24/7‬‬ ‫ﺗﺼﻤﻴﻢ ﻧﺤﺘﻲ ﻟﻤﺪﻳﻨﺔ رأﺳﻴﺔ‬ ‫‪Sculptured Design for a Verticale City‬‬ ‫‪Next Generation High-Rise‬‬ ‫اﻟﻤﺼﻤﻢ‪OMA & Conrad Garret :‬‬

‫‪64‬‬

‫≤≤ « ‪¡UM³‬‬

‫‪22 Albenaa‬‬

‫ﻓﻰ اﻟﺴﺎﺑﻖ ﻛﺎن اﻟﻤﻄﻮرون اﻟﻌﻘﺎرﻳﻮن ﻳﻬﺘﻤﻮن ﺑﺎﻟﻤﺼﻠﺤﺔ‬ ‫اﻟﺨﺎﺻﺔ أو اﻟﻌﺎﺋﺪ اﻟﻤﺒﺎﺷﺮ ﻣﻦ ﻣﺸﺮوﻋﺎﺗﻬﻢ ﺳﻮاء ﻛﺎن ذﻟﻚ‬ ‫اﻟﻌﺎﺋﺪ ﻣﺎدي أو ﻣﻌﻨﻮي‪ .‬اﻟﻴﻮم ﻳﺠﺐ ﻋﻠﻰ اﻟﻤﻄﻮرﻳﻦ ا‪5‬ﻫﺘﻤﺎم‬ ‫ﻛﺬﻟﻚ ﺑﺎﻟﻤﺼﻠﺤﺔ اﻟﻌﺎﻣﺔ أو اﻟﻌﺎﺋﺪ ﻋﻠﻰ ﺳﻜﺎن اﻟﻤﺪﻳﻨﺔ‬ ‫أو اﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﻳﻘﺎم ﻓﻴﻬﺎ اﻟﻤﺸﺮوع واﻟﺘﻲ ﺑﻄﺮﻳﻘﺔ ﻏﻴﺮ‬ ‫ﻣﺒﺎﺷﺮة ﺳﺘﻌﻮد ﺑﻌﺪ ذﻟﻚ ﺑﺎﻟﻨﻔﻊ ﻛﺬﻟﻚ ﻋﻠﻰ اﻟﻤﻄﻮرﻳﻦ ؛ ﻓﻤﺎ‬ ‫ﻳﻌﻮد ﺑﺎﻟﻨﻔﻊ ﻋﻠﻰ ﺳﻜﺎن اﻟﻤﺪن ﺳﻴﻌﻮد ﻛﺬﻟﻚ ﺑﺎﻟﻨﻔﻊ ﻋﻠﻰ‬ ‫ﻣﺴﺘﻌﻤﻠﻲ أي ﻣﺸﺮوع وﺳﻴﺮﻓﻊ ﻣﻦ ﻗﻴﻤﺘﻪ‪ .‬ﺟﺎء ذﻟﻚ اﻟﺘﺤﻮل‬ ‫ﻧﺘﻴﺠﺔ ﻟﺘﺒﻨﻲ اﻟﺪول ﺳﻴﺎﺳﺎت وﻣﻌﺎﻳﻴﺮ ا‪5‬ﺳﺘﺪاﻣﺔ ﻓﻲ ﻣﺨﺘﻠﻒ‬ ‫ﻗﻄﺎﻋﺎت اﻟﺤﻴﺎة‪ .‬ﻓﻲ ﻗﻄﺎع اﻟﺒﻨﺎء ﻛﺎن ﻳﺠﺐ إﻋﺎدة اﻟﻨﻈﺮ ﻣﻦ‬ ‫ﺟﺪﻳﺪ ﻓﻲ ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‪ ،‬ﺗﺰاﻣﻦ ذﻟﻚ ﻣﻊ ﺑﺪاﻳﺔ اﻟﻘﺮن‬ ‫اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ اﻟﻤﻴﻼدي ﺑﺤﻴﺚ ﻳﻤﻜﻦ اﻟﻘﻮل أن ﻣﻌﺎﻳﻴﺮ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺠﺪﻳﺪة ﻫﻲ ﻣﻌﺎﻳﻴﺮ اﻟﻘﺮن اﻟﺠﺪﻳﺪ‪ .‬ﻫﺬا ﻣﺎ‬ ‫ﻳﺤﺎول ﻫﺬا اﻟﻤﻘﺎل إﺛﺎرﺗﻪ ﻛﻮن ﻫﺬا اﻟﺠﺎﻧﺐ ﻣﺎزال ﻏﻴﺮ ﻣﻄﺒﻖ‬ ‫ﺑﺎﻟﻜﺎﻣﻞ ﻓﻰ ﺑﻌﺾ ﺗﺼﺎﻣﻴﻤﻨﺎ اﻟﻤﺤﻠﻴﺔ ‪.‬‬ ‫ﻟﻘﺪ ﻓﺮﺿﺖ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺠﺪﻳﺪة ﻋﻠﻰ اﻟﻤﺼﻤﻤﻴﻦ إﻋﺘﺒﺎرات‬ ‫ﺗﺼﻤﻴﻤﻴﺔ ﺟﺪﻳﺪة ﻣﻨﻬﺎ ﻣﺎ ﻫﻮ ﺧﺎص ﺑﻌﻼﻗﺔ اﻟﻤﺸﺮوﻋﺎت‬ ‫وﺗﺄﺛﻴﺮﻫﺎ ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ و ﺗﺄﺛﻴﺮ اﻟﻤﺪﻳﻨﺔ ﻋﻠﻴﻬﺎ‪ ،‬وﻣﻨﻬﺎ ﻣﺎ ﻫﻮ‬ ‫ﺧﺎص ﺑﻌﻼﻗﺔ اﻟﻤﺒﻨﻰ ووﻇﺎﺋﻔﻪ وﺗﺄﺛﻴﺮ اﻟﻤﺒﻨﻰ ﻋﻠﻴﻬﺎ وﺗﺄﺛﻴﺮ‬ ‫اﻟﻮﻇﺎﺋﻒ ﻋﻠﻴﻪ ‪.‬‬ ‫وﺑﻤﻨﺎﺳﺒﺔ إﺳﺘﻌﺮاض ﻫﺬا اﻟﻌﺪد ‪5‬ﺣﺪى اﻟﻤﺴﺎﺑﻘﺎت اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫اﻟﻌﺎﻟﻤﻴﺔ ﻟﺘﺼﻤﻴﻢ ﺑﺮج ﻣﺘﻌﺪد اﻟﻮﻇﺎﺋﻒ ) ﺗﺠﺎري ‪ ،‬ﻓﻨﺪﻗﻲ ‪،‬‬ ‫ﺳﻜﻨﻲ ( ﻓﻰ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن ‪ -‬أﺳﺘﺮاﻟﻴﺎ و_ن ﻫﺬه اﻟﻤﺴﺎﺑﻘﺔ‬ ‫ﺗﻀﻢ ﻛﺒﺮاﻳﺎت ﻣﻜﺎﺗﺐ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﻌﺎﻟﻢ‬ ‫و_ﻧﻬﺎ ﻣﺴﺎﺑﻘﺔ ﺗﺪﻋﻮ إﻟﻰ إﺳﺘﻜﺸﺎف ﻣﺴﺘﻘﺒﻞ ﻣﺒﺎﻧﻲ ا_ﺑﺮاج‬ ‫ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ ﻛﻮن اﻟﺠﻬﺔ ﺻﺎﺣﺒﺔ اﻟﻤﺸﺮوع ﻫﻲ‬ ‫ﻣﻄﻮر ﻋﻘﺎري ﻛﺒﻴﺮ ﻓﻲ أﺳﺘﺮاﻟﻴﺎ ‪ ،‬رأﻳﻨﺎ أﻧﻬﺎ ﻓﺮﺻﺔ ﻟﻠﺘﻌﺮف ﻋﻠﻰ‬ ‫ﻛﻴﻒ ﺳﺘﻜﻮن ﻋﻠﻴﻪ ﻣﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻢ ﻓﻰ ﻫﺬا اﻟﻘﺮن وإن ﻫﺬه‬ ‫اﻟﻤﺴﺎﺑﻘﺔ ﺗﺴﺘﻬﺪف ﻣﺒﺎﻧﻲ ا_ﺑﺮاج وﺧﺎﺻﺔ ﺗﻠﻚ اﻟﺘﻲ ﺗﻘﻊ ﻓﻲ‬ ‫ﻣﺮاﻛﺰ اﻟﻤﺪن إﻻ أﻧﻪ ﻣﺸﺮوع ﻣﺘﻌﺪد اﻟﻮﻇﺎﺋﻒ وا‪5‬ﺳﺘﻌﻤﺎﻻت ا_ﻣﺮ‬ ‫اﻟﺬي ﻳﺠﻌﻠﻪ ﻳﺤﺘﻮي ﻋﻠﻰ أﻛﺒﺮ ﻋﺪد ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺠﺪﻳﺪة ﺑﺎ‪5‬ﺿﺎﻓﺔ‬ ‫إﻟﻰ إﺳﺘﺸﺮاﻓﻪ ﻟﺘﻮﺟﻬﺎت اﻟﻌﻤﺎرة اﻟﻤﺴﺘﻘﺒﻠﻴﺔ داﺧﻞ اﻟﻤﺪن ‪.‬‬ ‫ﺗﺤﺎول وﺛﺎﺋﻖ اﻟﻤﺴﺎﺑﻘﺔ أن ﺗﻀﻊ ﺗﺼﻮر‪ f‬ﻋﺎﻣ‪ e‬ﻟﻠﻤﺸﺎﻛﻞ اﻟﺘﻲ‬ ‫ﺗﻮاﺟﻬﻬﺎ ﻣﺸﺎرﻳﻊ اﻟﺘﻄﻮﻳﺮ اﻟﻌﻘﺎري؛ ﻓﻨﺘﻴﺠﺔ ﻟﺰﻳﺎدة ﻋﺪد اﻟﺴﻜﺎن‬ ‫وﺗﻐﻴﺮ أﺳﻠﻮب ﺣﻴﺎة اﻟﻨﺎس ﻳﺠﺐ ﻋﻠﻰ ﻣﺸﺮوﻋﺎت اﻟﺘﻄﻮﻳﺮ‬ ‫اﻟﻌﻘﺎري وﺗﺼﺎﻣﻴﻤﻬﺎ ‪ -‬ﺑﺎ‪5‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﺘﻄﻠﺒﺎت اﻟﺤﺎﻟﻴﺔ ‪ -‬أن‬ ‫ﺗﻮاﻛﺐ ﻣﺘﻄﻠﺒﺎت ا_ﺟﻴﺎل اﻟﻤﺴﺘﻘﺒﻠﻴﺔ ‪ .‬ﻛﻤﺎ ﻳﻼﺣﻆ اﻟﻴﻮم أن‬ ‫ﻫﻨﺎك ﻣﺪن ﺑﺎ‪5‬ﺿﺎﻓﺔ إﻟﻰ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن ﺗﺒﺬل ﺟﻬﻮد‪ f‬ﻟﺘﺤﺴﻴﻦ‬ ‫ﻣﺴﺘﻘﺒﻠﻬﺎ ﻣﻦ ﺧﻼل إﺳﺘﺨﺪام ﺷﺒﻜﺎت اﻟﺘﺤﻜﻢ ا‪5‬ﻟﻜﺘﺮوﻧﻲ‬ ‫وﺗﻄﺒﻴﻖ اﻟﺤﻠﻮل اﻟﺬﻛﻴﺔ ) اﻟﻤﺪن اﻟﺬﻛﻴﺔ(‪ .‬ﻣﻦ ﺟﻬﺔ أﺧﺮى ﻓﺈن‬ ‫ﻧﺴﺒﺔ اﻟﺰﻳﺎدة اﻟﺴﻜﺎﻧﻴﺔ ﻓﻲ ﻣﻠﺒﻮرن اﻟﻴﻮم ‪ ٪١٢‬و ﻫﻲ ﺗﻌﺰى‬ ‫إﻟﻰ زﻳﺎدة اﻟﻄﻠﺐ ﻋﻠﻰ اﻟﺘﻮﻇﻴﻒ ‪ ،‬وﻧﺘﻴﺠﺔ إﻟﻰ إﻧﺨﻔﺎض أﻋﻤﺎر‬ ‫اﻟﻌﺎﻣﻠﻴﻦ وزﻳﺎدة أﻋﺪاد اﻟﻤﻬﺎﺟﺮﻳﻦ اﻟﺸﺒﺎب اﻟﺬﻳﻦ ﻳﻔﻀﻠﻮن‬ ‫اﻟﻌﻴﺶ واﻟﻌﻤﻞ ﻓﻲ اﻟﻤﺪﻳﻨﺔ ‪ ،‬ﻓﺈﻧﻪ ﻣﻦ اﻟﻤﺘﻮﻗﻊ أن ﻳﺰﻳﺪ‬

Design Criteria for 21st Century Arch. Ibrahim Abaalkhail

Previously real estate developers were interested in achieving return on investment and private interests in their projects whether it is financial or moral. Today, however, these developers are required to achieve a return on investment and public interest to residents of cities in which their projects are built. These returns indirectly will benefit the developers as what benefit the citizens will benefit the users of the project and will increase its value in return. This transformation is a culmination of adopted policies by states as well as sustainability standards in all aspects of life. In the onset of the 21 century, the construction sector deemed imperative to review building designs standards and bring on new standards for the new century. This is what this article is going to argue about as this element is not fully applied in our local designs.

The new standards stipulated new design considerations that designers should follow. Some are specific for projects and its effects on cities and vise versa, others relates to the building and its functions as well as the building effects on these functions.

We feature here an international architectural competition to design a multi use tower (commercial, hospitality, residential) in the city of Melbourne, Australia. This competition saw the participation of biggest architectural firms in the world stage and called for exploring the future of high rise buildings in the 21 century and the owner of the tower is one of the biggest real estate developing firms in Australia. We found that this is an opportunity to explore the new standards of high rise building designs in the 21 century, specially those buildings in city centers. Because the project is a multi use tower it incorporated a spectrum of new standards and futuristic architectural concepts inside cities.

The competition aims at determining the problems faced by real estate development projects. Increased population and changing lifestyles necessitate addressing future generations’ requirements by real estate development projects and its design. It is apparent that many cities including Melbourne are putting efforts to improve its future through applying innovative solutions (smart cities). In addition, the increase in city population is caused by increase in demand for jobs and the decrease in workers age as well as the exodus to cities by younger generation who prefer to live in cities.

This indicates that we will experience a rising demand for building new infrastructure and housing in cities. And because of technological advancement and its effects on products and services, cities are witnessing a growth in new businesses that aims at providing services changing peoples lifestyle and their consumption.

These transformations will affect the construction sector and urban planning. And with what is going on with

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climate change, no one can predict what will happen to the environment in the future. All of this demand new environmental solutions for buildings and cities. In addition, the competition assert that current challenges increase the ambiguity of the future of cities but through design we can explore the future of urbanism and provide possible solutions.

To achieve all of this, the developer of the project approached several international architectural firms in collaboration with Australian firms to design this multi use tower in Melbourne city center. For This occasion a seminar was also organized in which the architectural firms elaborated on their participation in the competition. Albenaa magazine reviewed and analyzed the proposals to infer the new design standards considered by the proposals. These standards can be summarized as follow: 1. Reconnecting city residents with nature through mimic of nature inside the condensed industrial urbanism of cities and the use of balconies with gardens in higher levels.

2. Building openness towards its surrounding and the city by achieving openness in lower levels and merging it with public space around it.

3. Reducing residents isolation from each other by achieving continuous public space vertically and the use of public areas for residents interactions, connecting internal spaces with external ones and achieving the spacious view of internal spaces to the outside.

4. Considering owner’s requirements and building regulations and local architecture as well as the climate consideration with in depth analysis and research in project program to comprise long term requirements (50years).

5. Ability for change and future redevelopment by achieving flexibility in master planning and floor plans and structure design as well as separating the services outside the activities zones.

6. Increase density in each building to achieve vibrant environment.

7. Applying sustainability standards and incorporate it in the design by utilizing natural ventilation systems (passive cooling) and lighting and reducing carbon emissions and energy consumption.

8. Achieving human standards for buildings and huge blocks inside the city by achieving porosity through reducing the block sizes and increasing passages in between, by enabling natural light and ventilation, by enabling view from and to the building.

9. Utilizing technology in solving city problems such as automatic elevator for car parking and high speed elevator to achieve connectivity between floors in high rise buildings.

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‫‪24 Albenaa‬‬

‫ إﺳﺘﺨﺪام ﻣﺴﺎﺣﺎت ﻋﺎﻣﺔ ﻟﺘﻼﻗﻲ اﻟﺴﻜﺎن وﻣﻤﺎرﺳﺔ أﻧﺸﻄﺔ ﻣﺸﺘﺮﻛﺔ‬‫ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ داﺧﻞ اﻟﻤﺒﺎﻧﻲ‪.‬‬ ‫ رﺑﻂ اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ ﺑﺎﻟﻔﻀﺎء اﻟﺨﺎرﺟﻲ‪.‬‬‫ ﺗﺤﻘﻴﻖ أوﺳﻊ إﻃﻼﻟﺔ ﻟﻠﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ ﻋﻠﻰ اﻟﺨﺎرج‪.‬‬‫راﺑﻌ ‪ -‬ﻣﺮاﻋﺎة ﻣﺘﻄﻠﺒﺎت اﻟﻤﺎﻟﻚ وأﻧﻈﻤﺔ اﻟﺒﻨﺎء وﻋﻤﺎرة ﻣﻨﻄﻘﺔ‬ ‫اﻟﻤﺸﺮوع واﻟﻤﻨﺎخ وا)ﻃﻼﻟﺔ ﻣﻦ وﻋﻠﻰ اﻟﻤﺸﺮوع وﺷﻜﻞ اﻟﻤﻮﻗﻊ‪:‬‬ ‫ﺗﻌﻤﻴﻖ وﺗﻮﺳﻴﻊ دراﺳﺎت ﺑﺮﻧﺎﻣﺞ اﻟﻤﺸﺮوع ﻟﻴﺸﻤﻞ ﻛﺎﻓﺔ ﻣﺘﻄﻠﺒﺎت‬ ‫اﻟﻤﺸﺮوع ﻋﻠﻰ اﻟﻤﺪى اﻟﻄﻮﻳﻞ ) ‪ ٥٠‬ﻋﺎم (‪.‬‬ ‫ﺧﺎﻣﺴ ‪ -‬إﺳﺘﻴﻌﺎب اﻟﻤﺒﺎﻧﻲ ﻟﻠﺘﻐﻴﻴﺮ و اﻟﺘﻄﻮﻳﺮ اﻟﻤﺴﺘﻘﺒﻠﻲ‪:‬‬ ‫ ﺗﺤﻘﻴﻖ اﻟﻤﺮوﻧﺔ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻤﻮﻗﻊ اﻟﻌﺎم وﻣﺴﺎﻗﻂ اﻟﻤﺒﺎﻧﻲ‪.‬‬‫ ﺗﺼﻤﻴﻢ اﻟﻬﻴﻜﻞ ا‪G‬ﻧﺸﺎﺋﻲ ﻋﻠﻰ اﻟﻤﺤﻴﻂ اﻟﺨﺎرﺟﻲ ﻟﻤﺴﺎﻗﻂ اﻟﻤﺒﻨﻰ‪.‬‬‫ إﺧﻼء اﻟﻤﺴﺎﺣﺎت اﻟﺪاﺧﻠﻴﺔ ﻣﻦ اﻟﺨﺪﻣﺎت ووﺿﻌﻬﺎ ﺧﺎرج ﻣﺴﺎﺣﺎت‬‫ا‪J‬ﻧﺸﻄﺔ ‪.‬‬ ‫ﺳﺎدﺳ ‪-‬رﻓﻊ اﻟﻜﺜﺎﻓﺔ اﻟﺴﻜﻨﻴﺔ ﻓﻲ اﻟﻤﺒﻨﻰ اﻟﻮاﺣﺪ ﻟﺘﺤﻘﻴﻖ‬ ‫اﻟﺤﻴﻮﻳﺔ ﻟ‪A‬ﻧﺸﻄﺔ ا)ﻗﺘﺼﺎدﻳﺔ اﻟﻤﺨﺘﻠﻔﺔ واﻟﺤﺪ ﻣﻦ إﻣﺘﺪاد اﻟﻤﺪن‪:‬‬ ‫ زﻳﺎدة إرﺗﻔﺎﻋﺎت اﻟﻤﺒﺎﻧﻲ ‪.‬‬‫ ﺗﻨﻮﻳﻊ ا‪J‬ﻧﺸﻄﺔ ‪.‬‬‫ﺳﺎﺑﻌ ‪ -‬ﺗﻄﺒﻴﻖ ﻣﺒﺎدىء ا)ﺳﺘﺪاﻣﺔ ﺑﻄﺮﻳﻘﺔ ﻏﻴﺮ ﻣﻨﻌﺰﻟﺔ ﻋﻦ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ‪:‬‬ ‫ ﺗﻄﺒﻴﻖ ﻣﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ ﻣﻦ ﺧﻼل إﺳﺘﺨﺪام وﺳﺎﺋﻞ اﻟﺘﻬﻮﻳﺔ‬‫وا‪G‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ واﻟﺘﻬﻮﻳﺔ ) أﻧﻈﻤﺔ ﺳﻠﺒﻴﺔ( ﻟﺨﻔﺾ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫وﺧﻔﺾ إﻧﺒﻌﺎﺛﺎت اﻟﻜﺮﺑﻮن‪ ،‬ﺑﺤﻴﺚ ﻳﺴﺘﻮﻋﺒﻬﺎ اﻟﻤﺼﻤﻢ داﺧﻞ ﻓﻜﺮة‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري اﻟﺮﺋﻴﺴﺔ‪.‬‬ ‫ ﻛﻤﺎ ﺗﻌﺘﺒﺮ اﻟﻮاﺟﻬﺎت ﻋﻨﺼﺮ ﺗﺼﻤﻴﻤﻲ وﻟﻜﻨﻬﺎ ﻛﻐﻼف ﺧﺎرﺟﻲ ﺗﺤﻤﻲ‬‫اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﻌﻮاﻣﻞ اﻟﻄﺒﻴﻌﻴﺔ اﻟﺨﺎرﺟﻴﺔ ا‪J‬ﻣﺮ اﻟﺬي ﻳﺠﺐ أن ﻳﺄﺧﺬ ﻓﻲ‬ ‫ا‪G‬ﻋﺘﺒﺎر ﻋﻨﺪ ﺗﺼﻤﻴﻤﻬﺎ ‪.‬‬ ‫ﺛﺎﻣﻨ ‪-‬ﺗﺤﻘﻴﻖ اﻟﻤﻘﻴﺎس ا)ﻧﺴﺎﻧﻲ ﻟﻠﻤﺒﺎﻧﻲ وﺗﺠﻨﺐ اﻟﻜﺘﻞ‬ ‫اﻟﻀﺨﻤﺔ داﺧﻞ ﻣﺮاﻛﺰ اﻟﻤﺪن ‪:‬‬ ‫ ﻧﻔﺎذﻳﺔ ﺣﺮﻛﺔ اﻟﻤﺸﺎة وﺗﻌﻨﻲ ﺗﺼﻐﻴﺮ ﺣﺠﻢ اﻟﺒﻠﻮﻛﺎت وزﻳﺎدة ﻋﺪد‬‫اﻟﻄﺮق و اﻟﻤﻤﺮات داﺧﻞ اﻟﺤﻲ اﻟﻮاﺣﺪ‪.‬‬ ‫ ﻧﻔﺎذﻳﺔ ا‪G‬ﺿﺎءة واﻟﺘﻬﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ إﻟﻰ داﺧﻞ اﻟﻤﺒﺎﻧﻲ ﻣﻦ ﺧﻼل‬‫ﺗﺼﻐﻴﺮ ﺣﺠﻢ ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ ﺑﺎﻟﻤﻘﺎرﻧﺔ ﺑﻤﺴﺎﺣﺔ اﻟﻮاﺟﻬﺎت‪.‬‬ ‫ﻧﻔﺎذﻳﺔ اﻟﺮؤﻳﺔ ﻣﻦ وﻋﻠﻰ اﻟﻤﺒﻨﻰ‪.‬‬‫ﺗﺎﺳﻌ ‪ -‬إﺳﺘﺨﺪام اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ ﻓﻲ ﺣﻞ ﻣﺸﺎﻛﻞ اﻟﻤﺪن‪:‬‬ ‫ ﻣﺜﻞ إﺳﺘﺨﺪام ﻣﺼﺎﻋﺪ أﺗﻮﻣﺎﺗﻴﻜﻴﺔ داﺧﻞ ﻣﻮاﻗﻒ اﻟﺴﻴﺎرات ﻟﺰﻳﺎدة‬‫ﻃﺎﻗﺘﻬﺎ داﺧﻞ ﻣﺮاﻛﺰ اﻟﻤﺪن اﻟﺘﻲ ﺗﺸﺢ ﻓﻴﻬﺎ اﻟﻤﻮاﻗﻒ ‪.‬‬ ‫ وﻣﺜﻞ إﺳﺘﺨﺪام اﻟﻤﺼﺎﻋﺪ اﻟﻔﺎﺋﻘﺔ اﻟﺴﺮﻋﺔ ﻟﺘﺤﻘﻴﻖ إرﺗﺒﺎط أﻗﻮى ﺑﻴﻦ أدوار‬‫اﻟﻤﺒﺎﻧﻲ اﻟﻌﺎﻟﻴﺎ‪.‬‬ ‫وأﺧﻴﺮ‪ e‬ﻓﺈﻧﻨﺎ ﻧﻌﺘﻘﺪ أن اﻟﻤﻘﺘﺮﺣﺎت اﻟﻤﻘﺪﻣﺔ ﻣﻦ اﻟﻤﻜﺎﺗﺐ اﻟﻤﺸﺎرﻛﺔ ﺗﺤﻤﻞ‬ ‫اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‪ ،‬وﻟﻘﺪ ﻗﻤﻨﺎ ﺑﺈﺳﺘﻨﺒﺎط‬ ‫ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﻣﻦ ﺧﻼل ﻗﺮأﺗﻨﺎ ﻟﻠﻤﻘﺘﺮﺣﺎت اﻟﻤﻘﺪﻣﺔ ‪ ،‬وﻧﺪﻋﻮ اﻟﻘﺮاء إﻟﻰ‬ ‫ا‪G‬ﻃﻼع ﺑﺪورﻫﻢ ﺑﺈﺳﺘﻌﺮاض اﻟﻤﻌﺎﻳﻴﺮ ﻣﻦ ﺧﻼل ﻣﻘﺘﺮﺣﺎت اﻟﻤﺸﺎرﻛﻴﻦ ﻓﻲ‬ ‫اﻟﺼﻔﺤﺎت اﻟﺘﺎﻟﻴﺔ ‪ ،‬ﻛﻤﺎ ﻧﺪﻋﻮﻫﻢ ﻛﺬﻟﻚ إﻟﻰ ﻣﺤﺎوﻟﺔ إﺳﺘﻨﺒﺎط ﻣﻌﺎﻳﻴﺮ أﺧﺮى‬ ‫ﻳﻤﻜﻦ أن ﻧﻜﻮن ﻗﺪ ﻏﻔﻠﻨﺎ ﻋﻨﻬﺎ ‪.‬‬

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тАл╪зя╗Яя╗Фя║Оя║Ля║░ ╪з ┘И┘ДтАм

тАля╗Ля╗дя╗о╪п я╗Уя╗Шя║о┘К ╪гя║зя╗Ая║отАм тАля╗Яя╗дя║кя╗│я╗ия║Ф ╪п╪зя║зя╗Ю я╗гя║кя╗│я╗ия║ФтАм тАлтАкGreen Spine - A City within a CityтАмтАм тАл╪зя╗Яя╗дя║╝я╗дя╗в тАк:тАмтАм тАлтАкArchitect : UNStudio & COX ArchitectureтАмтАм тАл╪зя╗Яя╗дя╗оя╗Чя╗К тАк :тАмя╗гя╗ая║Тя╗о╪▒┘Ж ┘А┘А ╪гя║│я║Шя║о╪зя╗Яя╗┤я║ОтАм

тАля╗гя║┤я║Оя║гя║Ф ╪з я║Яя╗дя║Оя╗Яя╗┤я║Ф тАк 253┘л485 :тАм┘ЕтАк2тАмтАм тАля╗зя╗Ия║отАк ,тАмя╗Яя╗дя╗оя╗Чя╗К ╪зя╗Яя╗дя║╕я║о┘И╪╣ ╪з&я║│я║Шя║о╪зя║Чя╗┤я║ая╗▓ ╪п╪зя║зя╗Ю я╗гя║оя╗Ыя║░ ╪з я╗Ля╗дя║О┘Д ╪зя╗Яя║оя║Ля╗┤я║▓ я╗Яя╗ая╗дя║кя╗│я╗ия║ФтАк ╪МтАм┘И╪▒╪д┘Й ┘И╪гя╗ля║к╪з┘БтАм тАл╪зя╗Яя╗дя║Оя╗Яя╗Ъ ╪зя╗Яя╗Дя╗дя╗оя║гя║Ф я╗Ыя║О┘Ж я╗╗я║Ся║к ╪г┘Ж я╗│я║дя╗Шя╗Ц ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я╗зя╗оя╗Ля╗┤я║Ф я╗гя╗Мя╗дя║О╪▒я╗│я║Ф я╗Ля║Оя╗Яя╗┤я║Ф ┘Ия╗ля╗оя╗│я║Ф ┘И╪зя║┐я║дя║ФтАм тАля║Чя║ая╗дя╗К я║Ся╗┤я╗ж ╪зя╗Яя╗дя║╕я║о┘И╪╣ ┘Ия╗гя║дя╗┤я╗Дя╗к ╪зя╗Яя╗Шя║оя╗│я║Р ┘И╪зя╗Яя╗дя║кя╗│я╗ия║Ф я╗Ыя╗Ья╗Ю тАк ╪МтАмя╗Ыя╗дя║О я╗│я║ая║Р ╪г┘Ж я╗│я║дя╗Шя╗Ц ╪зя╗Яя║Шя║╝я╗дя╗┤я╗втАм тАл╪зя╗Яя║Шя║о╪зя║Ся╗В я║Ся╗┤я╗ия╗мя║О тАк .тАм┘Ия╗Яя╗Шя║к я║Чя║Тя╗┤я╗ж я║Ся╗Мя║к ╪зя╗Яя║Тя║дя║Ъ ╪г┘Ж я╗Уя╗Ья║о╪й ╪зя╗Яя╗Мя╗дя╗Ю ╪зя╗Яя║ая╗дя║Оя╗Ля╗▓ ┘И╪зя╗Яя╗дя║╕я║О╪▒я╗Ыя║Ф я╗Уя╗▓тАм тАл╪зя╗Яя╗дя╗ая╗Ья╗┤я║Ф ┘И╪з&я╗зя╗Фя║Шя║О╪н я╗Ля╗ая╗░ я║│я╗Ья║О┘Ж ╪зя╗Яя╗дя║кя╗│я╗ия║Ф ╪зтАкHтАмя║зя║оя╗│я╗ж ┘И╪зя╗Яя╗дя║ая║Шя╗дя╗К я║Чя╗Мя║Шя║Тя║о ╪гя╗ля╗в ╪з&я╗Ля║Шя║Тя║О╪▒╪з╪к ╪зя╗Яя║Шя╗▓тАм тАля╗│я║ая║Р ╪г┘Ж я╗│я║Дя║зя║м я║Ся╗мя║О ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ┘Ия╗ля╗▓ ╪зя╗Яя║Шя╗▓ я╗│я╗дя╗Ья╗ж я║Ся╗мя║О ╪ея╗Ля║О╪п╪й ╪ея║гя╗┤я║О╪б я╗гя║оя╗Ыя║░ ╪з я╗Ля╗дя║О┘Д ╪зя╗Яя║м┘КтАм тАля║Чя║┤я║Тя║Р ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя║Шя╗Шя╗ая╗┤я║к┘К я║Ся║о╪зя║Яя╗к ╪зя╗Яя║░я║Яя║Оя║Яя╗┤я║Ф ╪зя╗Яя║┤я║Оя║Ся╗Шя║Ф я╗Уя╗▓ ╪ея╗зя╗Мя║░╪з┘Д ╪зя╗Яя║┤я╗Ья║О┘Ж я╗Ля╗ж я║Ся╗Мя╗Ая╗мя╗втАм тАл┘Ия║┐я╗Мя╗Т я║гя╗┤я╗оя╗│я║Ф ╪з я╗зя║╕я╗Дя║Ф ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║Ф я╗Уя╗┤я╗к тАк .тАм┘И╪░я╗Яя╗Ъ я║│я╗Мя╗░ ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪ея╗Яя╗░ я║Чя║дя╗Шя╗┤я╗Ц я╗зя╗Фя║О╪░я╗│я║ФтАм тАля╗Ля║Оя╗Яя╗┤я║Ф я╗Ля╗ая╗░ я╗гя║┤я║Шя╗о┘Й ╪зя╗Яя║╕я╗о╪з╪▒╪╣ ┘Ия╗Уя╗▓ я╗зя╗Фя║▓ ╪зя╗Яя╗оя╗Чя║Ц я║Чя║дя╗Шя╗┤я╗Ц я║Чя╗о╪зя║╗я╗Ю я║Ся╗┤я╗ия╗мя║О ┘Ия║Ся╗┤я╗ж ╪з ╪п┘И╪з╪▒тАм тАл╪зя╗Яя╗Мя╗ая╗┤я║О я╗Уя╗▓ ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗гя╗ж я║зя╗╝┘Д я╗гя║к ╪зя╗Яя╗Фя╗Ая║О╪б ╪зя╗Яя╗Мя║О┘Е ╪▒╪гя║│я╗┤тАк YтАмя╗Ля╗ая╗░ я╗гя║к┘Й ╪е╪▒я║Чя╗Фя║О╪╣ ╪зя╗Яя╗дя║Тя╗ия╗░ тАк .тАм┘Ия╗Яя╗Шя║ктАм тАля║Чя╗в я║Чя║оя║Яя╗дя║Ф я╗ля║м┘З ╪з я╗Уя╗Ья║О╪▒ я╗гя╗ж я║зя╗╝┘Д я║Чя║╝я╗дя╗┤я╗в я╗гя║дя╗о╪▒ ╪▒╪гя║│я╗▓ ╪гя║зя╗Ая║отАк ╪МтАм╪гя╗Гя╗ая╗Ц я╗Ля╗ая╗┤я╗к ╪зя╗Яя╗дя║╝я╗дя╗втАм тАл╪ея║│я╗в ╪зя╗Яя╗Мя╗дя╗о╪п ╪зя╗Яя╗Фя╗Шя║о┘К ╪з я║зя╗Ая║о тАк ╪МтАмя╗│я╗дя║Шя║к я╗Яя╗┤я║оя║Ся╗В ╪зя╗Яя║╕я╗о╪з╪▒╪╣ ╪зя╗Яя╗дя║дя╗┤я╗Дя║Ф я║Ся║Д╪▒╪╢ ╪зя╗Яя╗дя╗оя╗Чя╗К я║Ся║Д╪п┘И╪з╪▒тАм тАл╪зя╗Яя╗дя║Тя╗ия╗░ ╪▒╪гя║│я╗┤тАк ╪М YтАм┘Ия║Ся║дя╗┤я║Ъ я╗│я╗Мя║Шя║Тя║о ╪зя╗Яя╗дя║дя╗о╪▒ ╪зя╗Яя╗Мя╗ия║╝я║о ╪зя╗Яя║оя║Ля╗┤я║▓ ╪зя╗Яя╗дя╗ия╗Ия╗в я╗Яя╗дя╗Ья╗оя╗зя║О╪к ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗жтАм тАля║гя╗┤я║Ъ я║Ся║оя╗зя║Оя╗гя║ая╗к ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К ┘И ╪ея╗Ля║Шя║Тя║О╪▒╪зя║Чя╗к ╪зя╗Яя║Шя║╝я╗дя╗┤я╗дя╗┤я║Ф ╪зя╗Яя║Ья╗Шя║Оя╗Уя╗┤я║Ф ┘И╪зя╗Яя║дя║к╪зя║Ля╗Шя╗┤я║Ф ┘И╪з&я║│я║Шя║к╪зя╗гя╗┤я║ФтАк.тАмтАм тАл┘Ия╗гя╗ж я║зя╗╝┘Д ╪п╪▒╪зя║│я║Ф я╗Ля║к╪п я╗гя╗ж ╪зя╗Яя╗дя╗Шя║Шя║оя║гя║О╪к я╗Яя║Шя║дя║кя╗│я║к ╪зя╗Яя║Шя╗Ья╗оя╗│я╗ж ╪зя╗Яя╗Мя║О┘Е я╗Яя╗ая╗дя║╕я║о┘И╪╣ тАк ╪МтАмя║Чя║Тя╗┤я╗ж ╪г┘ЖтАм тАля║Чя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗Ля╗ая╗░ я╗ля╗┤я║Мя║Ф я║Ся║о╪м ┘И╪зя║гя║к я║│я╗┤я╗Мя╗┤я╗Ц я║Чя║о╪зя║Ся╗В ╪зя╗Яя╗дя╗ия╗Дя╗Шя║Ф ┘Ия╗зя╗Фя║О╪░я╗│я║Шя╗мя║О тАк ╪МтАм┘Ия╗Яя║мя╗Яя╗ЪтАм

тАлтАк┬й All Images & Drawings by UNStudioтАмтАм

тАл тАкdC┼б_┬л v├ЭтИЪd ┬л тАФu;┬л ├ЛтИЪ ├НdIH ┬л ┼УuLF ┬л ├КU├Ч{u┬╣ ├К┬лтАФuEMтАмтАм тАлтИВтЙд ┬л тАк┬бUM┬│тАмтАм

тАлтАк26 AlbenaaтАмтАм

‫‪WONO d² « WDA½_«Ë W¹—U−² « ö;« vKŽ Íu²% v² « vM³*« …bŽU —«Ëœ√ v ≈ Ÿ—«uA « Èu² s UD ³ «Ë r ö « ‰öš s …bŽUB « WOÝ√d « W d(« ÍœRð‬‬

‫ﻣﻦ ﻣﺴﺎﺣﺎت ﻣﻔﺘﻮﺣﺔ ﻟﻤﻤﺎرﺳﺔ أﻧﺸﻄﺔ ﻣﺸﺘﺮﻛﺔ ﻣﺨﺘﻠﻔﺔ‬ ‫وﺗﻨﺘﻬﻲ ﻓﻮق اﻟﺒﺮج ا‪$‬ﻋﻠﻰ اﻟﻤﺨﺼﺺ ﻟﻠﺴﻜﻦ ﺑﺤﺪاﺋﻖ‬ ‫ﻋﻠﻤﻴﺔ ﺗﺸﻜﻞ ﻋﻼﻣﺔ ﻣﻤﻴﺰة ﻓﻲ ﺳﻤﺎء اﻟﻤﺪﻳﻨﺔ‪ .‬ﻳﺤﺘﻮي‬ ‫اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﻧﻮﻋﻴﻦ ﻣﻦ اﻟﻮاﺟﻬﺎت‪ :‬واﺟﻬﺎت اﻟﻤﺤﻮر‬ ‫اﻟﺨﻀﺮاء واﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ‪ ،‬ﺗﻠﻌﺐ اﻟﻮاﺟﻬﺎت دور‪8‬‬ ‫ﺑﺪء ﻣﻦ ﻛﺘﻠﺔ‬ ‫أﺳﺎﺳﻴ‪ B‬ﻓﻲ ﺗﺤﻘﻴﻖ ﻣﻌﺎﻳﻴﺮ ا@ﺳﺘﺪاﻣﺔ ً‬ ‫اﻟﻤﺒﻨﻰ ﻣﻦ ﺧﻼل ﺗﻮﺟﻴﻪ اﻟﻤﺤﻮر ا‪$‬ﺧﻀﺮ ﻧﺤﻮ اﻟﺸﻤﺎل‬ ‫واﻟﻐﺮب ﻓﻲ ا‪$‬دوار اﻟﻌﻠﻴﺎ ﻟﻠﺒﺮﺟﻴﻦ ﻟﻴﻈﻠﻞ ﻧﻔﺴﻪ ﺑﻨﻔﺴﻪ ‪،‬‬ ‫وﺗﺨﺘﻠﻒ إﺟﺮاءات ﺗﺤﻘﻴﻖ اﻟﺘﻈﻠﻴﻞ ﺣﺴﺐ إرﺗﻔﻌﺎت اﻟﺒﺮﺟﻴﻦ‬ ‫ﻣﻦ ﺣﻴﺚ ﻋﻤﻖ اﻟﺘﻈﻠﻴﻞ ‪ ،‬ﻛﺜﺎﻓﺔ ﻛﺎﺳﺮات اﻟﺸﻤﺲ وأﻧﻮاع‬

‫اﻟﻨﺒﺎﺗﺎت ﺑﻬﺪف ﺗﻮﻓﻴﺮ ﻋﺰﻻً ﺟﻴﺪ‪ 8‬ﻟﻠﻤﺒﻨﻰ ﻓﻲ واﺟﻬﺎت‬ ‫اﻟﻤﺤﻮر ا‪$‬ﺧﻀﺮ وﺗﻨﻘﻴﺔ اﻟﻬﻮاء واﻟﺤﺪ ﻣﻦ اﻟﻀﻮﺿﺎء وزﻳﺎدة‬ ‫اﻟﺮﻗﻌﺔ اﻟﺨﻀﺮاء‪ .‬ﻛﻤﺎ ﺗﻢ ﺗﻄﺒﻴﻖ أﺳﺎﻟﻴﺐ ﻣﻤﺎﺛﻠﺔ ﻓﻲ‬ ‫اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻣﻦ ﺣﻴﺚ ﺗﺤﻘﻴﻖ ﺗﻮازن ﻣﺴﺎﺣﻲ ﺑﻴﻦ‬ ‫اﻟﺘﻐﻄﻴﺔ ﺑﺎﻟﺰﺟﺎج أو اﻟﺤﻮاﺋﻂ‪ ،‬ﻋﻤﻞ ﺷﺮﻓﺎت وﻧﻮاﻓﺬ ﺑﺎرزة‪،‬‬ ‫أﺳﻠﺤﺔ ﺑﺎرزة ﻟﻜﺴﺮ اﺷﻌﺔ اﻟﺸﻤﺲ‪ .‬ﻳﺮاﻋﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫ا@ﺳﺘﺪاﻣﺔ ﻟﻴﺲ ﺑﻄﺮﻳﻘﺔ ﻣﻨﻌﺰﻟﺔ ﺑﻞ ﻳﺪﻣﺠﻬﺎ ﻓﻰ اﻟﺘﺼﻤﻴﻢ‬ ‫ﻣﻦ ﺧﻼل ﻣﻔﺎﻫﻴﻢ ﻣﺜﻞ ﺗﺤﻘﻴﻖ ﺑﻴﺌﺔ ﺣﻀﺮﻳﺔ ﺻﺤﻴﺔ ‪،‬‬ ‫ﺧﻔﺾ إﻧﺒﻌﺎﺛﺎت اﻟﻜﺮﺑﻮن ‪ ،‬ﺗﺤﻘﻴﻖ ﻣﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﺗﺴﻤﺢ‬ ‫@ﺳﺘﻴﻌﺎب اﻟﺘﻄﻮﻳﺮ اﻟﻤﺴﺘﻘﺒﻠﻲ ‪.‬‬

‫‪¡UM³ « ≤π‬‬

‫‪29 Albenaa‬‬

‫‪oz«bŠË W d²A WDA½√ WÝ—ULLK UŠU vKŽ Íu²×¹ wÝ√— —u× ÃdÐ q vKŽ lHðd¹ U¼bFÐ W UŽ WI¹bŠ vKŽ …bŽUI « `DÝ Íu²×¹‬‬

‫ﺗﻢ إﻋﺘﻤﺎد ﺗﻜﻮﻳﻦ ذو ﺑﺮﺟﻴﻦ ﻣﻊ ﺗﺤﻘﻴﻖ اﻟﺤﺪ ا ﻋﻠﻰ ﻣﻦ‬ ‫اﻟﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﺑﻬﺪف اﻟﺤﺼﻮل ﻋﻠﻰ إﻃﻼﻻت ﻣﺘﻌﺪدة‬ ‫وﻣﺘﻨﻮﻋﺔ ا‪5‬ﺗﺠﻬﺎت‪ ،‬وزﻳﺎدة ﻧﻔﺎذﻳﺔ اﻟﻨﺴﻴﺞ اﻟﻌﻤﺮاﻧﻲ‬ ‫وا‪5‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ ﻟﻤﺒﺎﻧﻲ اﻟﻤﺪﻳﻨﺔ‪ .‬ﻣﻦ ﺟﻬﺔ أﺧﺮى ﻳﺤﻘﻖ‬ ‫اﻟﻤﺤﻮر اﻟﺮأﺳﻲ اﻟﺘﺮاﺑﻂ واﻟﺘﻮاﺻﻞ ﺑﻴﻦ اﻟﻤﺸﺮوع وﻣﻨﻄﻘﺘﻪ‬ ‫واﻟﻤﺪﻳﻨﺔ؛ ﺣﻴﺚ ﻳﺮﺗﺒﻂ اﻟﻤﺤﻮر اﻟﺮأﺳﻲ ﻣﺒﺎﺷﺮة ﺑﻤﺴﺘﻮى‬ ‫اﻟﺸﻮارع ﻟﻴﻤﻜﻦ ﻟﻠﻤﺎرة اﻟﺰاﺋﺮﻳﻦ ﻣﻦ اﻟﺼﻌﻮد ﻣﺒﺎﺷﺮة إﻟﻰ‬ ‫ا دوار اﻟﻌﻠﻴﺎ‪ .‬وﻣﻦ ﻋﻠﻰ ﻣﺴﺘﻮى ﺳﻄﺢ ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ‬ ‫ﻳﺼﻌﺪ اﻟﺰوار إﻟﻰ اﻟﺒﺮﺟﻴﻦ ﻣﻦ ﺧﻼل اﻟﻤﺤﻮر اﻟﺬي ﻳﻨﻘﺴﻢ‬ ‫إﻟﻰ ﻃﺮﻓﻴﻦ ﻳﺴﺘﻤﺮان ﻓﻲ ا‪5‬ﻣﺘﺪاد ﻋﻠﻰ ﻛﻞ ﺑﺮج ﻓﻰ ﺣﺮﻛﺔ‬

‫∏≤ « ‪¡UM³‬‬

‫‪28 Albenaa‬‬

‫داﺋﺮﻳﺔ إﻟﺘﻔﺎﻓﻴﺔ ﺣﻠﺰوﻧﻴﺔ وﻣﻮﺟﻬﺎن ﻧﻔﺴﻬﻤﺎ ﻟﻴﻄﻼن ﻋﻠﻰ‬ ‫ﻣﻨﻄﻘﺔ ﻣﺮﻛﺰ ا ﻋﻤﺎل ﻓﻲ اﻟﺒﺮج ا ﻋﻠﻰ وﻋﻠﻰ اﻟﺤﺪﻳﻘﺔ‬ ‫اﻟﻌﻠﻤﻴﺔ ﻓﻰ اﻟﺒﺮج ا ﺻﻐﺮ‪ ،‬ﻟﻴﻨﺸﺎء ﻣﻦ ﻫﺬااﻟﺘﻜﻮﻳﻦ ﺣﻮار‬ ‫ﺑﻴﻦ اﻟﺒﺮﺟﻴﻦ واﻟﻤﺪﻳﻨﺔ ‪ .‬ﺗﺆدي اﻟﺤﺮﻛﺔ اﻟﺮﺋﺴﻴﺔ اﻟﺼﺎﻋﺪة‬ ‫ﻣﻦ ﺧﻼل ﺳﻼﻟﻢ وﺑﺴﻄﺎت إﻟﻰ أدوار ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ اﻟﺘﻲ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ اﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ وا ﻧﺸﻄﺔ اﻟﺘﺮﻓﻴﻬﻴﺔ ﻋﺒﺮ‬ ‫ﻣﺴﺘﻮﻳﺎت ﻣﺨﺘﻠﻔﺔ ﺣﺘﻰ اﻟﻮﺻﻮل ﺳﻄﺢ اﻟﻘﺎﻋﺪة اﻟﺬي‬ ‫ﻳﺤﺘﻮي ﻋﻠﻰ ﺣﺪﻳﻘﺔ ﻋﺎﻣﺔ وﻣﻘﺎﻫﻲ وﻣﻄﺎﻋﻢ وأﻧﺸﻄﺔ‬ ‫ﺛﻘﺎﻓﻴﺔ‪ ،‬وﺑﻴﻨﻤﺎ ﻳﺮﺗﻔﻊ ﺑﻌﺪ ذﻟﻚ ﻣﺤﻮر أﺧﻀﺮ ﻋﻠﻰ واﺟﻬﺔ‬ ‫ﻛﻞ ﺑﺮج ﻳﺤﺘﻮي ﻛﻞ ﻣﺤﻮر ﻓﻴﻬﺎ ﻋﻠﻰ ﻣﺴﺘﻮﻳﺎت ﻣﻜﻮﻧﺔ‬

WDO;« Ÿ—«uA « Èu² s Ëb³¹ UL ŸËdA*«

31 Albenaa

¡UM³ « ≥±

v{—_« —ËbK vI _« jI *«

© …bŽUI « `DÝ ® lÐU « —ËbK vI _« jI *«

© —U O « vKŽ ® ‚bM vKŽ Íu²×¹ dG _« Ãd³ «Ë © 5LO « vKŽ ® WOMJÝ «bŠË vKŽ Íu²×¹ vKŽ_« Ãd³ « ∫ ëdÐú UOKF « —«Ëœ_« j U bŠ√ 30 Albenaa

¡UM³ « ≥∞

From the Architect Report: The location along with the ambitious vision of the competition brief calls for high architectural quality and a sense of identity for both the immediate surroundings and the city as a whole. Therefore, the main notions that stood out are the concept of togetherness, joint ownership and open access for local residents and the wider community. The regeneration of the Southbank Boulevard and City Road directly informed the design concept. The aim of the project is to provide porousness at street level, while connecting the upper floors with the streetscape by expanding the public realm. This idea translates into the Green Spine, a single yet multifaceted architectural element that is designed to generate public movement and offer multiple benefits throughout the design. The Green Spine extends the Southbank Boulevard upwards and acts as the key organisational element of the building with respect to programme, culture, landscape and sustainability. Through the exploration of a series of massing forms we determined that a singular tower would form too much of an impediment on the Southbank precinct. Therefore, we evolved the design into two towers with a maximised separation between them. This open silhouette allows for diverse views and increases the permeability of the city fabric by introducing light between the towers. The second massing parameter relates to the connection of immediate and wider context scales. This connection is made by the Green Spine .At ground level, this spine directly engages with Southbank Boulevard by bringing people up and into the building.

From the top of the podium, the Green Spine weaves up the two towers and twists around the high-rise components, orienting itself towards the CBD on the taller tower and the Botanical Gardens on the lower tower. This gesture engages the building in a ‘dialogue’ with the wider City. The connection from ground level unfolds through stairs and platforms, leading the visitors up along the retail and entertainment programme and finally merging into the public garden at the top of the podium. Specific destinations punctuate the ascending route throughout the podium. The garden offers a public platform above street level. Large open balconies offer F&B opportunities and various niches can be used to host cultural installations and events. From the garden, the Green Spine twists upward into a series of outdoor green spaces along the facades of the two towers. On the higher levels the Spine offers unique break-out spaces and collaboration zones for different programme typologies. It culminates at the top of the residential tower in the ‘Future Gardens’ and creates a striking presence in Melbourne’s skyline. Our proposal brings together two distinct facade types: the Green Spine Facade and the Glass Facade .The facade plays a key role in implementing sustainability measures, starting from the massing , It implements high-performance passive design through the orientation of the self-shading Green Spine toward northerly and westerly directions on the upper exposed faces of the towers.

The parameters varying throughout the building’s height are: depth/overshadowing, screen density and planting types. These inform the Spine facade to assure thermal comfort, air quality and noise absorption and promote biophilia. Complementary to this the Glass Facade embraces the Green Spine and incorporates a series of equally important measures, such as the balance of window-to-wall ratios, recessed balconies/windows and external shading fins to limit heat loss and control solar gain. The design encompasses sustainability, not in isolation, but via a wide range of related key topics. These topics span from the production of healthy urban environments, to the achievement of an ultra-low carbon building system, as well as guaranteeing a resilient and future-ready development.

33 Albenaa

¡UM³ « ≥≥

W¹–UH½Ë 5łd³ « …dJH w×O{uð rÝ— WM¹b*«Ë w½U³*« qš«œ WOFO³D « …¡U{ù«

Î UOÝ√— ÂUF « ¡UCH « œ«b² ≈ ËdCš_« —u;« …dJH w×O{uð rÝ—

wÝ√d « dCš_« —u×LK wIz«b(« rOLB² « d UMŽ `{u¹ —uEM

ŸËdALK WOKš«b « U½uJ*« `{u¹ Í—uEM ŸUD 54 32 Albenaa

¡UM³ « μ¥ ≥≤

WO³²J*« UŠU *« s V½Uł

qš«b « s WOMJ « «bŠu «

fLA « WFý√ s WOłUłe « UNł«u « W¹ULŠ «¡«dł≈ `{u¹ —uEM

V Š UNł«uK WO¾O³ « W¹UL(« X9 w UŽ ¨ jÝu² ¨ iH M ∫ ëdÐú UŽUHð—≈ ≥

fLA « WFý√ s dCš_« —u;« UNł«Ë W¹ULŠ «¡«dł≈ `{u¹ —uEM

∫ WOLOLBð d UMŽ ≥ ‰ULF²ÝSÐ UNł«uK WO¾O³ « W¹UL(« X9 UðU³½ ¨ fLAK …dÝU W×KÝ√ ¨ U dý 34 Albenaa

¡UM³ « ≥¥

Ê—u³K WM¹b jÝË WIDM w½U³ 5Ð Ëb³¹ UL vM³*« 37 Albenaa

¡UM³ « ≥∑

‫ﻣﺒﻨﻰ ذو ﺗﺼﻤﻴﻢ ﻋﻀﻮي‬

‫ﻗﺮﻳﺔ ﺟﺒﻠﻴﺔ وﺟﺬع ﺷﺠﺮة‬ ‫وﻛﺘﻠﺔ ﺳﺤﺎﺑﻴﺔ‬

‫‪New Landmark Building‬‬ ‫‪for Melbourne‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : MAD & Elenberg Fraser‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻠﺒﻮرن ـ أﺳﺘﺮاﻟﻴﺎ‬ ‫اﻟﻤﺴﺎﺣﺔ ا ﺟﻤﺎﻟﻴﺔ ‪ 225٫238 :‬م‪2‬‬

‫ﻓﻰ اﻟﺒﺪاﻳﺔ ﻳﺠﺐ ا&ﺷﺎرة إﻟﻰ أن ﻣﻜﺘﺐ ‪ MAD‬اﻟﺼﻴﻨﻲ ﻫﻮ‬ ‫اﻟﻤﻜﺘﺐ ا‪4‬ﺳﻴﻮي اﻟﻮﺣﻴﺪ اﻟﺬي ﺗﻢ دﻋﻮﺗﻪ ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻲ‬ ‫اﻟﻤﺴﺎﺑﻘﺔ ﺑﺠﺎﻧﺐ ﻛﺒﺮﻳﺎت دور اﻟﺘﺼﻤﻴﻢ اﻟﻌﺎﻟﻤﻴﺔ ا‪4‬وروﺑﻴﺔ‪.‬‬ ‫ﺗﺒﻠﻎ اﻟﻤﺴﺎﺣﺔ اﻟﻤﺒﻨﻴﺔ ﻟﻠﻤﺸﺮوع اﻟﻤﺘﻌﺪد ا&ﺳﺘﺨﺪاﻣﺎت ﻣﺎ‬ ‫ﻳﺰﻳﺪ ﻋﻦ ‪٢٢٠،٠٠٠‬م‪. 2‬‬ ‫ﺗﻬﺪف اﻟﻤﺴﺎﺑﻘﺔ إﻟﻰ إﻋﺎدة اﻟﺘﻔﻜﻴﺮ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﺠﺎرﻳﺔ واﻟﺴﻜﻨﻴﺔ واﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ ﻣﻦ ﺣﻮﻟﻬﺎ داﺧﻞ‬ ‫أﺣﺪ أﻫﻢ أﺣﻴﺎء اﻟﻤﺪﻳﻨﺔ اﻟﻤﺮﻛﺰﻳﺔ وﻳﻘﻊ ﻗﺮﻳﺒ‪ M‬ﻣﻦ اﻟﻮاﺟﻬﺔ‬ ‫اﻟﺒﺤﺮﻳﺔ ﻟﻠﻤﺪﻳﻨﺔ‪.‬‬ ‫ﻳﺤﺎول اﻟﺘﺼﻤﻴﻢ ﺗﻘﺪﻳﻢ ﻋﻤﺎرة ﺗﻤﻴﺰ اﻟﻤﺒﻨﻰ ﻋﻦ ا‪4‬ﺑﺮاج‬ ‫اﻟﻌﺎﻟﻴﺔ اﻟﻤﺤﻴﻄﺔ اﻟﺘﻲ ﺗﺒﺪو ﻛﻌﻠﺐ زﺟﺎﺟﻴﺔ ﻓﻰ ﺳﻤﺎء‬ ‫اﻟﻤﺪﻳﻨﺔ واﻟﺘﻲ أﻗﻴﻤﺖ ﻓﻮق أراﺿﻲ ذات ﺗﺎرﻳﺦ ﻋﻤﺮاﻧﻲ‬ ‫ﻋﺮﻳﻖ وﻃﺒﻴﻌﻴﺔ ﺧﻀﺮاء ﻋﺮﻓﺖ ﺑﻬﺎ اﻟﻤﺪﻳﻨﺔ ﻓﻲ اﻟﻤﺎﺿﻲ‪.‬‬ ‫ﻳﻘﺪم اﻟﺘﺼﻤﻴﻢ ﺣ ً‬ ‫ﻼ ﻋﻀﻮﻳ‪ M‬ﻣﻦ ﺧﻼل أﺷﻜﺎل ﻣﺴﺘﻮﺣﺎة‬ ‫ﻣﻦ اﻟﻄﺒﻴﻌﺔ ) ﺟﺒﺎل ‪ ،‬أﺷﺠﺎر ‪ ،‬ﺳﺤﺐ ( دﻣﺠﺖ ﻓﻰ اﻟﻨﺴﻴﺞ‬ ‫اﻟﻌﻤﺮاﻧﻲ ﻟﻮﺳﻂ اﻟﻤﺪﻳﻨﺔ ذي اﻟﻜﺜﺎﻓﺔ اﻟﺒﻨﺎﺋﻴﺔ اﻟﻌﺎﻟﻴﺔ‪.‬‬ ‫ﻳﺸﻜﻞ اﻟﻤﺒﻨﻰ ﻣﻌﻠﻤ‪ M‬ﻣﻤﻴﺰ‪ c‬ﻓﻲ ﺳﻤﺎء اﻟﻤﺪﻳﻨﺔ وﻳﻌﻴﺪ رﺑﻂ‬ ‫اﻟﺴﻜﺎن ﺑﺎﻟﻄﺒﻴﻌﺔ اﻟﺘﻲ ﻓﻘﺪوﻫﺎ ﻓﻰ ﻫﺬا اﻟﻮﺳﻂ ‪.‬‬

‫ ‪tðU bšË ‚bMH « uNÐ rCðË WOÐU× « WK²J « «– vM³*« WL‬‬ ‫∂≥ « ‪¡UM³‬‬

‫‪36 Albenaa‬‬

UN UA² ù UNO ≈ œuFBK …—U*« uŽbð w² « …b¹dH « UNð—ULŽË © vM³*« …bŽU ® WOK³'« W¹dIK dOþUM 39 Albenaa

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‫ﻳﻘﻊ أﺣﺪ أرﻛﺎن اﻟﻤﻮﻗﻊ ﻋﻠﻰ ﺗﻘﺎﻃﻊ ﻣﺤﻮرﻳﻦ رﺋﻴﺴﻴﻴﻦ‬ ‫ﻟﻠﺤﺮﻛﺔ ﻓﻲ ﻣﻨﻄﻘﺔ ﻣﺮﻛﺰﻳﺔ ﻣﺰدﺣﻤﺔ و ذات ﻛﺜﺎﻓﺔ ﺑﻨﺎﺋﻴﺔ‬ ‫ﻋﺎﻟﻴﺔ وﺗﺤﻴﻂ ﺑﻪ ﻋﺪد ﻣﻦ ا‪/‬ﺑﺮاج اﻟﺘﻲ ﺗﺘﺠﺎور ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ‪.‬‬ ‫ﺟﻤﻌﺖ ﻛﺎﻓﺔ اﻟﻤﻜﻮﻧﺎت ﻓﻲ ﺑﺮج واﺣﺪ ﻟﺘﻔﺎدي ﺣﺠﺐ‬ ‫اﻟﻤﺒﻨﻰ إﻃﻼﻟﺔ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺠﺎورة ﻋﻠﻰ ﻣﺤﻴﻄﻬﺎ وﺑﺎ;ﺿﺎﻓﺔ‬ ‫ﺗﻮﺳﻴﻊ إﻃﻼﻟﺔ وﺣﺪات اﻟﻤﺒﻨﻰ اﻟﺴﻜﻨﻴﺔ واﻟﻔﻨﺪﻗﻴﺔ‬ ‫اﻟﻌﻠﻮﻳﺔ‪ .‬ﻳﺘﻜﻮن اﻟﻤﺒﻨﻰ ﻣﻦ ﻗﺎﻋﺪة ﻣﺘﻌﺪدة ا‪/‬دوار ﺗﻀﻢ‬ ‫ﻣﺮﻛﺰ‪ D‬ﺗﺠﺎرﻳ‪ C‬ﻛﺒﻴﺮ‪ D‬ﻳﺮﺗﻔﻊ ﻓﻮﻗﻬﺎ ﺑﺮج اﻟﻤﺒﻨﻰ ﻳﻀﻢ ﻓﻨﺪﻗ‪C‬‬ ‫ووﺣﺪات ﺳﻜﻨﻴﺔ‪ .‬ﻳﻬﺪف ﺗﺼﻤﻴﻢ ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ ذات‬ ‫اﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ ﺗﺸﺠﻴﻊ وﺟﺬب اﻟﻤﺎرة ﻟﻠﺪﺧﻮل إﻟﻴﻬﺎ‬ ‫ﻣﻦ ﺧﻼل ﻋﻤﺎرة ذات ﻣﻘﻴﺎس إﻧﺴﺎﻧﻲ ﻳﺨﺘﻠﻒ ﺗﺼﻤﻴﻤﻬﺎ‬ ‫ﺗﻤﺎﻣ‪ C‬ﻋﻦ ا‪/‬ﺷﻜﺎل اﻟﻤﺘﻌﺎرف ﻋﻠﻴﻬﺎ ﻟﻠﻤﺮاﻛﺰ اﻟﺘﺠﺎرﻳﺔ ﺣﻴﺚ‬ ‫ﺻﻤﻤﺖ اﻟﻘﺎﻋﺪة ﻋﻠﻰ ﻫﻴﺌﺔ ﻗﺮﻳﺔ ﺑﻨﻴﺖ ﻓﻮق ﺟﺒﻞ ﺗﺠﺬب‬ ‫اﻟﻤﺎرة إﻟﻰ اﻟﺼﻌﻮد إﻟﻴﻬﺎ ;ﺳﺘﻜﺸﺎﻓﻬﺎ‪ ،‬وﺗﻢ رص اﻟﻤﺤﻼت‬ ‫ﻓﻮق ﺑﻌﻀﻬﺎ وﻛﺄﻧﻬﺎ ﻣﺴﺎﻛﻦ ﻗﺮﻳﺔ ﺟﺒﻠﻴﺔ ﺗﺘﺨﻠﻠﻬﺎ‬ ‫اﻟﻤﺰروﻋﺎت وا‪/‬ﺷﺠﺎر ﻟﺘﻌﻄﻲ اﻟﺰاﺋﺮ ا;ﺣﺴﺎس ﺑﺄﻧﻪ ﻓﻲ‬ ‫وﺳﻂ اﻟﻄﺒﻴﻌﺔ‪.‬‬ ‫ﺻﻤﻢ اﻟﺒﺮج ﻓﻮق اﻟﻘﺎﻋﺪة ﻋﻠﻰ ﺷﻜﻞ ﺳﺎق ﺷﺠﺮة‬ ‫ﻏﻄﻴﺖ ﺑﻮاﺟﻬﺎت زﺟﺎﺟﻴﺔ ﻳﺤﻤﻠﻬﺎ ﻫﻴﻜﻞ ﺧﺸﺒﻲ وﺗﺒﺪو‬ ‫ﻛﺄﻧﻬﺎ ﺟﺬور ﻧﺒﺎﺗﻴﺔ ﻣﺘﺴﻠﻘﺔ ﺗﺰﻳﺪ ﻣﻦ ﻣﻈﺎﻫﺮ اﻟﻄﺒﻴﻌﺔ‬ ‫اﻟﻌﻀﻮﻳﺔ ﻓﻲ اﻟﻤﺒﻨﻰ‪.‬‬ ‫ﺗﺘﺨﻠﻞ اﻟﻮاﺟﻬﺎت ﺣﺪاﺋﻖ ﻣﻌﻠﻘﺔ وزﻋﺖ ﻋﻠﻰ ﻃﻮل إرﺗﻔﺎع‬ ‫اﻟﻤﺒﻨﻰ ﺗﺰﻳﺪ ﻣﻦ رﻗﻌﺔ اﻟﻤﺴﺎﺣﺎت اﻟﺨﻀﺮاء رأﺳﻴﺎ ﻓﻲ‬ ‫اﻟﻤﺪﻳﻨﺔ‪.‬‬ ‫ﺗﻮج اﻟﺒﺮج ﺑﻜﺘﻠﺔ ﺑﻨﺎﺋﻴﺔ ﻣﻌﻠﻘﺔ ﺗﺸﺒﻪ ﻛﺘﻠﺔ ﺳﺤﺎﺑﻴﺔ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ اﻟﺨﺪﻣﺎت اﻟﻌﺎﻣﺔ ﻟﻠﻔﻨﺪق ) ﺑﻬﻮ‪ ،‬ﻣﻄﻌﻢ‬ ‫وﻣﻘﻬﻰ ‪ ،‬ﺷﺮﻓﺔ ﺧﺎرﺟﻴﺔ ﺗﻮﻓﺮ إﻃﻼﻟﺔ ﻛﺎﻣﻠﺔ )‪ ٣٦٠‬درﺟﺔ(‬ ‫ﻋﻠﻰ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن ‪.‬‬ ‫ﻏﻄﻴﺖ واﺟﻬﺎت اﻟﻜﺘﻠﺔ اﻟﺴﺤﺎﺑﻴﺔ ﺑﻤﺎدة ‪ ETFE‬ذات‬ ‫اﻟﻮزن اﻟﺨﻔﻴﻒ واﻟﺸﻔﺎﻓﻴﺔ اﻟﻤﺘﺪرﺟﺔ ‪ ،‬ﻓﻜﻠﻤﺎ إﻣﺘﺪت‬ ‫اﻟﻜﺘﻠﺔ إﻟﻰ اﻟﺨﺎرج ﻛﻠﻤﺎ زادت ﺷﻔﺎﻓﻴﺔ اﻟﻤﺎدة ﻟﺘﻌﻄﻲ‬ ‫ا;ﺣﺴﺎس ﺑﺎﻟﺠﺎﻧﺐ اﻟﻀﺒﺎﺑﻲ ﻟﻠﺴﺤﺎب وﺑﺨﻔﺘﻪ ‪.‬‬ ‫إﻫﺘﻢ اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﺸﺎرع ﺑﺘﺸﺠﻴﻊ اﻟﻤﺎرة‬ ‫ﻋﻠﻰ اﻟﺘﻤﻬﻞ واﻟﺘﺠﻤﻊ ﻣﻦ ﺧﻼل ﺗﻨﺴﻴﻖ ﺣﺪاﺋﻘﻲ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﻣﺮﺗﻔﻌﺎت ﺧﻀﺮاء ﺗﺆدي ﺻﻌﻮد‪ D‬ﺑﺎﻟﺰوار إﻟﻰ‬ ‫اﻟﻘﺮﻳﺔ اﻟﺠﺒﻠﻴﺔ وﺗﺼﻞ ﺑﻴﻦ اﻟﻤﺴﺘﻮى ا‪/‬رﺿﻲ وأدوار‬ ‫ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ ‪.‬‬

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From the Architect Report: MAD reveals its proposal for the “Southbank by Beulah” tower competition. Defying the typical glass, box-like buildings of Melbourne that appear detached from the city’s historic parks and natural local terrain, MAD’s organic design introduces a silhouette of natural forms – mountain, tree, cloud – into the dense city center, offering a distinct and iconic scheme for the skyline, that reconnects citizens with nature.

Selected as the only firm from Asia by Beulah International, MAD is competing alongside BIG, Coop Himmelb(l) au, MVRDV, OMA, and UNStudio to conceive a mixeduse program of more than 220,000sqm for the heart of Melbourne – a piece of urban infrastructure that re-thinks the commercial, residential, retail, and public spaces of the city – along the city’s prestigious waterfront precinct.

Located at the corner of City Road and Southbank Boulevard, the site is positioned in a dense part of Melbourne’s downtown core, surrounded by a number of other existing towers facing one another. Carefully studying the tower’s site and composition, we propose a one-tower strategy to avoid over-crowding, provide the surrounding high-rises with open sightlines, and maximize views from the residential and hotel programs on the upper floors.

At podium level, we break down the typical massing of a retail/mall space, and introduce a human-scale, ‘mountain village’ that invites passersby to explore.

Urban spaces are stacked vertically, and landscaped with lush green walls and trees to give visitors and residents alike, the feeling that they are in nature, rather than in the middle of the city. The tower rises up out of the village like a tree. Clad in transparent glass, it boasts an innovative wood façade structure (Glulam) that appears to be roots twisting upwards, reinforcing the tower’s organic shape; with sky gardens interspersed throughout that vertically extend the urban green.

The pinnacle of the design is ‘the cloud’ – a cantilevered structure that houses the public amenities for the hotel (lobby, restaurant, bar, and observation deck), and offers 360° views of Melbourne. Composed of an ETFE membrane façade, it is lightweight and features varying degrees of transparency. Towards the edges, ‘the cloud’ becomes translucent, emulating a real cloud so that it gives the sensation of air and lightness, becoming a blur as it blends into the sky.

At street level, our tower maintains a cohesive design language with the Southbank Boulevard transformation.

We replace the existing harsh, unfriendly experience, with an inviting plaza landscape that integrates urban activation spaces, and revitalizes the street level in a way that encourages people to gather and linger. Conceived as a series of small, green foothills that lead pedestrians up to the ‘mountain village’, our scheme links the groundplane to the building.

We bring nature into the urban context, by remodeling the typical high-rises found in our cities. Materializing as a ‘mountain in the city’, our design establishes open connections between the interior and exterior spaces in the form of large terraces, gardens, and public art zones The results of the “Southbank by Beulah” tower competition will be revealed on August 8th, 2018.

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тАл╪зя╗Яя╗дя║┤я║Оя║гя║Ф ╪з я║Яя╗дя║Оя╗Яя╗┤я║Ф тАк 238,000 :тАм┘ЕтАк2тАмтАм тАля╗│я╗Шя╗К ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗Уя╗▓ я╗гя╗ия╗Дя╗Шя║Ф я╗Ыя║Оя╗зя║Ц я╗Уя╗▓ ╪зя╗Яя╗дя║Оя║┐я╗▓ я╗гя╗ия╗Дя╗Шя║ФтАм тАля║╗я╗ия║Оя╗Ля╗┤я║Ф я║Чя╗в я║Чя╗Дя╗оя╗│я║оя╗ля║О я╗Ля╗ая╗░ я╗гя║к┘Й тАк ┘в┘атАмя╗Ля║Оя╗г я║Ся║Тя╗ия║О╪б ╪гя║Ся║о╪з╪м я╗Ля║Оя╗Яя╗┤я║ФтАм тАля╗Уя╗┤я╗мя║ОтАк ╪МтАм┘Ия╗│я║о┘Й ╪зя╗Яя╗дя║╝я╗дя╗в я║Чя╗Фя║Шя╗Шя║к ╪ея╗Яя╗░ ╪зя╗Яя╗дя╗Мя║Оя╗│я╗┤я║о ╪зя╗Яя║ая╗дя║Оя╗Яя╗┤я║Ф ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║ФтАм тАл┘И╪зя╗Яя╗дя╗Шя║Оя╗│я╗┤я║▓ ╪зтАк8тАмя╗зя║┤я║Оя╗зя╗┤я║Ф я║зя║Оя║╗я║Ф я╗Ля╗ая╗░ ╪зя╗Яя╗дя║┤я║Шя╗о┘Й ╪зтАк5тАм╪▒я║┐я╗▓ я║Ся║Оя╗Яя║оя╗Пя╗втАм тАля╗гя╗ж я╗Ыя╗оя╗зя╗мя║О я║Яя║░╪б я╗гя╗ж я╗гя║оя╗Ыя║░ ╪гя╗Ля╗дя║О┘Д ╪зя╗Яя╗дя║кя╗│я╗ия║Ф тАк.тАмтАм тАля╗│я╗Шя╗К ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗Ля╗ая╗░ я║Чя╗Шя║Оя╗Гя╗К я╗гя║дя║О┘И╪▒ я║гя║оя╗Ыя║Ф я╗ля║Оя╗гя║Ф ┘Ия╗│я║┤я╗дя║в я╗гя╗оя╗Чя╗Мя╗ктАм тАля║Ся║ОтАк8тАмя╗Гя╗╝я╗Яя║Ф я╗Ля╗ая╗░ ╪зя╗Яя╗дя╗ия╗Дя╗Шя║Ф ╪зя╗Яя║Тя║дя║оя╗│я║Ф ┘Ия╗Ля╗ая╗░ я╗гя╗ия╗Дя╗Шя║Ф ╪зя╗Яя╗Фя╗ия╗о┘ЖтАм тАл╪зя╗Яя╗Шя║оя╗│я║Тя║Шя║О┘Ж я╗гя╗ия╗ктАк ╪МтАм┘Ия║Чя║┤я╗дя║в я╗ля║м┘З ╪зя╗Яя║ия║╝я║Оя║Ля║║ я║Ся║Ия╗гя╗Ья║Оя╗зя╗┤я║Ф я║зя╗о╪╢тАм тАля║Чя║ая║О╪▒╪и я╗Ля╗дя║о╪зя╗зя╗┤я║Ф я╗Пя╗ия╗┤я║Ф я╗гя║Шя╗Мя║к╪п╪й я╗Яя╗ая╗Фя╗Ая║О╪б ╪зя╗Яя╗Мя╗дя║о╪зя╗зя╗▓ тАк .тАмя╗│я╗оя║гя╗▓тАм тАля║╖я╗Ья╗Ю ╪зтАк5тАм╪▒╪╢ ╪зя╗Яя╗дя║┤я║Шя╗Дя╗┤я╗Ю я║Ся╗Фя║╝я╗Ю ╪зя╗Яя╗дя║╕я║о┘И╪╣ ╪ея╗Яя╗░ я╗гя║Тя╗ия╗┤я╗┤я╗жтАм тАля║Ся╗мя║к┘Б я║Чя║дя╗Шя╗┤я╗Ц я╗Ыя╗Фя║О╪б╪й я╗Ля║Оя╗Яя╗┤я║Ф я╗Уя╗░ я║Чя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя║┤я║Оя╗Чя╗В ┘И╪зя╗Яя║дя║оя╗Ыя║ФтАм тАля║зя║Оя║╗я║Ф я╗Уя╗▓ ╪зтАк5тАм╪п┘И╪з╪▒ ╪зя╗Яя╗Мя╗ая╗┤я║О тАк .тАмя╗Ыя╗дя║О ╪г┘Ж я╗Уя║╝я╗Ю ╪зя╗Яя╗дя║Тя╗ия╗░ ╪ея╗Яя╗░ я╗гя║Тя╗ия╗┤я╗┤я╗жтАм тАля╗Яя╗к я╗Уя╗о╪зя║Ля║к ╪гя║зя║о┘Й я╗гя╗ж я║гя╗┤я║Ъ я║Чя╗Шя╗ая╗┤я╗Ю я║┐я║ия║Оя╗гя║Ф я╗Ыя║Шя╗ая║Ф ╪зя╗Яя╗дя║╕я║о┘И╪╣ ╪е╪░╪зтАм тАля╗Ыя║О┘Ж я╗Ля╗ая╗░ я╗ля╗┤я║Мя║Ф я╗гя║Тя╗ия╗░ ┘И╪зя║гя║к я║Ся║ОтАк8тАмя║┐я║Оя╗Уя║Ф ╪ея╗Яя╗░ ╪зя╗Яя║Шя║Дя║Ыя╗┤я║о ╪зя╗Яя║┤я╗ая║Тя╗▓тАм тАля╗Яя╗Шя║Оя╗Ля║кя║Чя╗к ╪зя╗Яя╗Ья║Тя╗┤я║о╪й я╗Ля╗ая╗░ ╪зя╗Яя╗дя╗Шя╗┤я║О╪│ ╪зтАк8тАмя╗зя║┤я║Оя╗зя╗▓ ╪зя╗Яя║м┘К я╗│я╗Мя║Шя║Тя║о я╗гя╗жтАм тАл╪гя╗ля║к╪з┘Б ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя╗Дя╗ая╗о╪и я║Чя║дя╗Шя╗┤я╗Шя╗мя║О тАк .тАмя╗зя║Шя╗┤я║ая║Ф ╪ея╗Яя╗░ ╪зя╗Яя╗Фя║╝я╗ЮтАм тАл╪гя║╗я║Тя║в ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗│я║Шя╗Ья╗о┘Ж я╗гя╗ж я╗гя║Тя╗ия╗┤я╗┤я╗ж я╗Ля╗ая╗░ я╗ля╗┤я║Мя║Ф я║Ся║оя║Яя╗┤я╗жтАм тАл╪гя║гя║кя╗ля╗дя║О ╪гя╗Ыя║Тя║о я╗гя╗ж ╪з`я║зя║о ┘Ия║Чя║Шя╗оя╗Уя║о я║гя╗оя╗Яя╗мя╗дя║О я╗Уя╗Ая║О╪б╪з╪к я║зя║О╪▒я║Яя╗┤я║ФтАм тАл╪▒я║гя║Тя║ФтАк ╪МтАмя║Ся╗┤я╗ия╗дя║О я╗Чя║┤я╗в я╗Ыя╗Ю я║Ся║о╪м ╪ея╗Яя╗░ я╗Ыя║Шя╗Ю я╗гя╗Ья╗Мя║Тя║Ф ╪▒я║╗я║Ц я╗Уя╗о┘ВтАм тАля║Ся╗Мя╗Ая╗мя║О ┘И╪▓я║гя║░я║гя║Ц я╗Ля╗ж я╗гя║дя╗о╪▒я╗ля║О ╪зя╗Яя║о╪гя║│я╗▓ ╪зя╗Яя╗дя║╕я║Шя║о┘Г я║Ся╗мя║к┘БтАм тАля║Чя╗Фя║Шя╗┤я║Ц я╗Ыя║Шя╗ая║Ф я╗Ыя╗Ю я║Ся║о╪м ╪ея╗Яя╗░ я╗Ыя║Шя╗Ю я║╗я╗Ря╗┤я║о╪йтАк ╪МтАмя╗Ыя╗дя║О я║Чя║Шя╗ия║Оя╗Чя║║тАм тАл╪гя║гя║ая║Оя╗гя╗мя║О я╗Ыя╗ая╗дя║О ╪е╪▒я║Чя╗Фя╗Мя╗ия║О я╗Яя║Шя╗Мя╗Дя╗▓ я║╖я╗Ья╗Ю я╗гя║Шя║к╪▒╪м я╗ЯтАкfтАмя║Ся║о╪з╪м я╗│я║дя╗Шя╗ЦтАм тАля╗гя╗Шя╗┤я║О╪│ ╪ея╗зя║┤я║Оя╗зя╗▓ я╗Яя╗ая╗дя║╕я║о┘И╪╣ ┘Ия╗│я╗Шя╗ая╗Ю я╗гя╗ж я║Чя║Дя║Ыя╗┤я║о я╗Зя╗╝┘Д ╪зя╗Яя╗дя║Тя╗ия╗░тАм тАля╗Ля╗ая╗░ ╪зя╗Яя╗дя╗ия╗Дя╗Шя║Ф ╪зя╗Яя╗дя║дя╗┤я╗Дя║Ф ┘Ия║Чя║дя╗Шя╗┤я╗Ц я║зя║╝я╗оя║╗я╗┤я║Ф я╗Яя╗ая╗оя║гя║к╪з╪ктАм тАл╪зя╗Яя║┤я╗Ья╗ия╗┤я║ФтАк ╪МтАмя║Ся║дя╗┤я║Ъ я║Чя║оя║Чя╗Ья║░ ╪зя╗Яя╗Ья║Шя╗Ю я║Ся╗Мя║к ╪▓я║гя║░я║гя║Шя╗мя║О я╗Ля╗ая╗░ я╗Ыя║Шя╗Ю ╪зя╗Яя║Тя║о╪мтАм тАл╪з`я║зя║о я╗Яя║Шя╗Шя╗оя╗│я║Ф ╪зя╗Яя╗мя╗┤я╗Ья╗Ю ╪зтАк8тАмя╗зя║╕я║Оя║Ля╗▓ я╗гя╗К ╪зя╗Яя╗дя║дя║Оя╗Уя╗Ия║Ф я╗Ля╗ая╗░ ┘Ия║Яя╗о╪птАм тАля╗Уя╗Ая║О╪б╪з╪к я║Ся╗┤я╗ия╗┤я║Ф я╗Яя╗┤я╗Ия╗мя║о ╪зя╗Яя╗Фя║Оя║╗я╗Ю ╪зя╗Яя║о╪гя║│я╗▓ я║Ся╗┤я╗ия╗мя║О я╗Ля╗ая╗░ я║╖я╗Ья╗ЮтАм тАля╗гя║░я╗╗┘В я╗гя╗╝я║Ся║▓ тАк .тАмя║Чя╗Ая╗в ╪зя╗Яя╗Фя╗Ая║О╪б╪з╪к ╪зя╗Яя║Тя╗┤я╗ия╗┤я║Ф я║зя║кя╗гя║О╪к ┘И╪гя╗зя║╕я╗Дя║ФтАм тАля╗гя║Шя╗ия╗оя╗Ля║Ф я║Чя║оя║Чя║Тя╗В я╗Уя╗┤я╗дя║О я║Ся╗┤я╗ия╗мя║О я║Ся║дя║оя╗Ыя║Ф ╪▒╪гя║│я╗┤я║Ф я╗гя║Шя║╝я╗ая║Ф тАк .тАм╪зя╗Яя╗дя║╕я║о┘И╪╣тАм тАля╗│я║┤я║ия║о ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К я╗Яя║Шя║дя╗Шя╗┤я╗Ц я║╖я║Тя╗Ья║Ф я║Чя╗о╪зя║╗я╗Ю ╪ея║Яя║Шя╗дя║Оя╗Ля╗▓тАм тАл┘И╪ея╗Гя║О╪▒ я╗Уя╗Ая║Оя║Ля╗▓ ╪п╪зя║зя╗ая╗▓ ┘Ия║зя║О╪▒я║Яя╗▓ я╗Яя║Шя║ая║оя║Ся║Ф я║гя╗┤я║Оя║Чя╗┤я║Ф я║гя║кя╗│я║Ья║ФтАм тАл┘Ия╗гя║┤я║Шя╗Шя║Тя╗ая╗┤я║Ф я╗Яя║┤я╗Ья║О┘Ж ╪зя╗Яя╗дя║кя╗│я╗ия║Ф тАк.тАмтАм

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From the Architect Report: South of the Yarra River, the eponymous Southbank neighborhood is a study in contrasts – a former industrial area that has been extensively redeveloped over the last couple of decades has predominantly high-rise buildings that often lack the charm and human-scale experiences at ground level, so commonly associated with Melbourne’s Central Business District. Within Southbank, our site sits at the junction of City Road and Southbank Boulevard, perhaps one of the most important intersections in the neighborhood with direct visual and physical access to both the Yarra waterfront to the north and the Arts Precinct to the east.

Beulah International presents us with a unique opportunity to unlock the potential of the broader neighborhood by anchoring a rich and multi-textured public realm experience not just along the populated City Road and length of Southbank Boulevard, but in places where there is a distinct lack.The high aspect ratio of the site boundary strongly suggests the use of two cores, allowing for more efficient layouts and optimized walking and egress distances at upper levels. Having two cores also presents the opportunity to split what would otherwise be a traditional monolithic podium into two blocks – one larger and one smaller – with generous space around, between and fronting the Southbank Boulevard Square.The stacked blocks between the cores extend upwards and interlock to provide connectivity and structural rigidity, appearing as a zipper of diverse programmatic functions that step back respectfully from Southbank Boulevard and Power Street.

In doing so, the tower taper inwards and negotiates the space between the surrounding buildings, minimizing vis-àvis at the top and overshadowing of the public realm below.

In the in-between spaces of the core, we suggest a series of laneways from top to bottom, each with a unique identity and experience rooted in its specific place and program, as well as a continuous three-dimensional promenade of interconnected and multi-tiered public and social spaces for exploration and discovery. We propose architecture as social infrastructure, a framework for the life and experiences that happen within and without. An evolution of the skyscraper beyond the proverbial ‘village-in-the-sky’ to a tower uniquely Melburnian: the LANESCRAPER.

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© COOP HIMMELB(L)AU/ K18

‫ﻋﻤﺎرة دراﻣﻴﺔ‬

‫رﻣﺰ ﻟﺤﻴﻮﻳﺔ وإﺑﺪاع‬ ‫اﻟﻤﺪﻳﻨﺔ‬ ‫‪Beulah Propeller City‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : COOP HIMMELB(L)AU & Architectus‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻠﺒﻮرن ــ أﺳﺘﺮاﻟﻴﺎ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 248٫410 :‬م‪2‬‬ ‫ﻳﻘﻊ اﻟﻤﺸﺮوع ﻓﻰ ﻗﻠﺐ ﻣﺮﻛﺰ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن اﻟﻔﻨﻲ واﻟﺘﺮﻓﻴﻬﻲ‬ ‫وﻳﺘﺴﻢ اﻟﻤﺒﻨﻰ ﺑﻌﻤﺎرة ﺗﺸﻜﻴﻠﻴﺔ ﻓﺮﻳﺪة ﺗﺠﻌﻞ ﻣﻨﻪ ﻣﻌﻠﻤ! ﻣﻌﻤﺎرﻳ!‬ ‫ﻳﻌﻴﺪ ﺻﻴﺎﻏﺔ اﻟﺒﻴﺌﺔ اﻟﺴﻜﻨﻴﺔ واﻟﻤﻜﺘﺒﻴﺔ واﻟﺘﺠﺎرﻳﺔ واﻟﻔﻀﺎء اﻟﻌﺎم‬ ‫ﻟﻠﻤﺪﻳﻨﺔ‪ .‬وﻳﺮى اﻟﻤﺼﻤﻢ أن اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﺑﻌﻤﺎرﺗﻪ اﻟﺪراﻣﻴﺔ‬ ‫ﺳﻴﻌﻜﺲ اﻟﺤﻴﻮﻳﺔ وا‪8‬ﺑﺪاع اﻟﻠﺬان ﺗﻌﺮﻓﺎن ﺑﻬﻤﺎ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن‬ ‫ﺑﺤﻴﺚ ﻳﺼﺒﺢ ﻗﺒﻠﺔ ﻟﻠﺴﻜﺎن اﻟﻤﺤﻠﻴﻴﻦ وزوار اﻟﻤﺪﻳﻨﺔ ﻣﻦ أﻧﺤﺎء‬ ‫اﺳﺘﺮاﻟﻴﺎ وﻣﻦ اﻟﺨﺎرج ‪ .‬ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ إﻧﺸﺎء ﻣﺪﻳﻨﺔ رأﺳﻴﺔ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ وﻇﺎﺋﻒ ﻣﺘﺸﺎﺑﻜﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻣﻮزﻋﺔ داﺧﻞ ﻓﻀﺎءات‬ ‫ﻋﺎﻣﺔ رأﺳﻴﺔ ‪ ،‬ﺑﺤﻴﺚ ﻳﺤﻘﻖ اﻟﺸﻜﻞ اﻟﻨﺎﺗﺞ ﻋﻦ اﻟﺘﻜﻮﻳﻦ اﻟﺬي ﻳﺠﻤﻊ‬ ‫ﺑﻴﻦ وﻇﻴﻔﺔ اﻟﻤﺒﻨﻰ وﻧﻈﺎﻣﻪ ا‪8‬ﻧﺸﺎﺋﻲ وﻣﻮاد ﺑﻨﺎﺋﻪ )‪ (Gestalt‬ﻣﻌﻠﻤ!‬ ‫ﻻ ﻳﻨﺴﻰ أو ﻳﺨﻄﺌﻪ ﺳﻜﺎن وزوار اﻟﻤﺪﻳﻨﺔ ‪ .‬ﻟﻘﺪ ﺗﻤﺖ ﻣﻘﺎرﺑﺔ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺒﻨﻰ ﻛﺎﻟﻔﻨﺎن اﻟﺬي ﻳﻘﻮم ﺑﻨﺤﺖ ﻗﻄﻌﺘﻪ اﻟﻔﻨﻴﺔ ﻣﻊ ﺗﺤﻘﻴﻖ اﻟﻜﻔﺎءة‬ ‫ﻓﻲ اﻟﻤﺴﺎﺣﺎت و ﻣﺮاﻋﺎة ﻣﺘﻄﻠﺒﺎت اﻟﻤﺎﻟﻚ وأﻧﻈﻤﺔ اﻟﺒﻨﺎء واﻟﻄﺎﺑﻊ‬ ‫اﻟﻤﻌﻤﺎري واﻟﻤﻨﺎخ وا‪8‬ﻃﻼﻟﺔ ﻣﻦ وﻋﻠﻰ اﻟﻤﻮﻗﻊ‪ .‬اﻟﺘﺼﻤﻴﻢ ﻗﺴﻢ‬ ‫اﻟﻤﺒﻨﻰ إﻟﻰ ﻋﺪد ﻣﻦ اﻟﻜﺘﻞ اﻟﺒﻨﺎﺋﻴﺔ ﺑﺤﻴﺚ ﺗﻨﺎﺳﺐ ﻣﺘﻄﻠﺒﺎت ﻛﻞ‬ ‫وﻇﻴﻔﺔ ﻣﻦ وﻇﺎﺋﻒ اﻟﻤﺒﻨﻰ وﻫﻲ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﻟﻰ ‪ :‬اﻟﻘﺎﻋﺪة ذات‬ ‫اﻟﻮﻇﺎﺋﻒ اﻟﺘﺠﺎرﻳﺔ وا‪8‬ﺟﺘﻤﺎﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‪ ،‬واﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ‪،‬‬ ‫واﻟﻔﻨﺪق‪ ،‬واﻟﺸﻘﻖ اﻟﺴﻜﻨﻴﺔ ‪ .‬ﻛﻤﺎ أوﺟﺪ اﻟﺘﺼﻤﻴﻢ ﺑﻴﻦ ﻫﺬه اﻟﻜﺘﻞ‬ ‫ﻓﻀﺎءات ﺣﺮة ﻟﻮﻇﺎﺋﻒ ﺗﺸﺠﻊ ﻋﻠﻰ اﻟﺘﻮاﺻﻞ واﻟﻤﺸﺎرﻛﺔ ﺑﻴﻦ ﻣﺨﺘﻠﻒ‬ ‫ﻣﺴﺘﺨﺪﻣﻲ اﻟﻤﺒﻨﻲ ‪ ،‬ﻛﻤﺎ أﻧﻬﺎ ﺗﺤﻘﻖ ﻗﺮاءة ﻣﻌﻤﺎرﻳﺔ واﺿﺤﺔ ﻟﻬﻮﻳﺔ‬ ‫ﻛﻞ ﻛﺘﻠﺔ ‪ .‬ﺗﺤﺘﻮي ﻫﺬه اﻟﻔﻀﺎءات اﻟﺤﺮة ﻋﻠﻰ أﻓﻨﻴﺔ ‪ ،‬وﺷﺮﻓﺎت ‪،‬‬ ‫وﺣﺪاﺋﻖ ﻣﻌﻠﻘﺔ ‪ ،‬وﻣﺮاﻓﻖ إﺟﺘﻤﺎﻋﻴﺔ ‪ ،‬وﻓﻀﺎءات ﻋﺎﻣﺔ إﺳﺘﺮﺧﺎﺋﻴﺔ‬ ‫وﺗﺮﻓﻴﻬﻴﺔ ‪ ،‬ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺗﻮﺟﻴﻪ ﺳﻜﺎن وﻣﺴﺘﻌﻤﻠﻲ اﻟﻤﺒﻨﻰ وﺗﺤﻘﻴﻖ‬ ‫اﻟﺘﺮاﺑﻂ ﺑﻴﻨﻬﻢ‪ ،‬ﺑﻬﺪف ﺗﺠﻨﺐ اﻟﻌﺰﻟﺔ اﻟﺘﻲ ﻋﺎدة ﻣﺎ ﺗﺤﺪث ﺑﻴﻦ ﺳﻜﺎن‬ ‫اﻟﻤﺒﺎﻧﻲ اﻟﺴﻜﻨﻴﺔ ﻣﺘﻌﺪدة اﻟﻄﻮاﺑﻖ اﻟﺘﻲ ﺗﻔﺘﻘﺮ إﻟﻰ ﻓﻀﺎءات ﺗﻼﻗﻲ‬ ‫ﺟﻤﺎﻋﻴﺔ‪ .‬وﺿﻊ اﻟﻬﻴﻜﻞ ا‪8‬ﻧﺸﺎﺋﻲ ﻟﻠﻤﺒﻨﻰ ﻋﻠﻰ اﻟﻤﺤﻴﻂ اﻟﺨﺎرﺟﻲ‬ ‫ﺑﺤﻴﺚ ﻳﻜﻮن ﻇﺎﻫﺮ‪ f‬وﺑﺤﻴﺚ ﻳﺸﻜﻞ ﻋﻨﺼﺮ‪ f‬ﻣﻌﻤﺎرﻳ! ﺟﻤﺎﻟﻴ!‪ ،‬وﻟﻴﺤﻘﻖ‬ ‫ﻣﺴﺎﺣﺎت داﺧﻠﻴﺔ ﺧﺎﻟﻴﺔ ﻣﻦ ا‪g‬ﻋﻤﺪة ﺑﺤﻴﺚ ﻳﻮﻓﺮ ﻟﻠﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ‬ ‫ﻣﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﻟ‪h‬ﺳﺘﻌﻤﻼت اﻟﺤﺎﻟﻴﺔ واﻟﻤﺴﺘﻘﺒﻠﻴﺔ ‪ .‬ﻳﺤﻘﻖ اﻟﺘﺼﻤﻴﻢ‬ ‫واﻟﺘﺸﻜﻴﻞ اﻟﻌﺎم ﻟﻠﻜﺘﻞ وﺗﻢ وﺿﻌﻬﺎ ﻓﻲ اﻟﺘﻜﻮﻳﻦ وﻋﻼﻗﺎﺗﻬﺎ‬ ‫اﻟﻔﺮاﻏﻴﺔ ﺑﻴﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ﺧﺼﻮﺻﻴﺔ وﻫﻮﻳﺔ ﺑﺼﺮﻳﺔ ﻟﻜﻞ وﻇﻴﻔﺔ‬ ‫ﻣﻦ وﻇﺎﺋﻒ اﻟﻤﺒﻨﻰ ‪.‬‬ ‫ ‪WDO;« Ÿ—«uA « s vM³LK ÂUŽ —uEM‬‬ ‫≤‪¡UM³ « μ‬‬

‫‪52 Albenaa‬‬

© COOP HIMMELB(L)AU/ K18

vM³*« tDÝu²¹ WM¹b*« jÝu ÂUŽ —uEM From the Architect Report : Located in the heart of Melbourne’s primary arts and entertainment precinct, BEULAH PROPELLER CITY will be a recognisable architectural landmark that redefines the residential, commercial, retail and public open-space environments of Melbourne.

This new building, with its dramatic silhouette, will reflect the vitality and creativity of the city, becoming a destination for local, national and international visitors.

Our vision for BEULAH PROPELLER CITY is the creation of a vertical city composed of multiple functions intertwined in a fluid gesture of vertically linked public spaces.

The “Gestalt” of the structural, material and functional components of the design will create a memorable and unmistakable icon in the city-scape.

We approached the design of the building form as an artist would a sculpture. The maximum possible building envelope was the starting block; the client’s brief, planning regulations, the existing urban form, climate and views to and from site were considerations which prompted the specific carves and manipulations to reveal the dynamic urban figure within.

The building design creates different districts to suit the principal functions. The interfaces between these areas promote and facilitate connections and sharing. This

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creates readability and the possibility of identification.

Within the interstices of the main building elements free spaces are created: atria, terraces, community facilities and amenity spaces such as recreational and public areas for leisure, pleasure and circulation.

These free spaces provide orientation for the people who use and live in the building and enable personal interaction such that communities are formed. This approach circumvents the isolation that frequently occurs with disconnected levels.

The result of this approach is a unified composition of identifiable building elements comprising low, mid and high-rise volumes created by dividing the program of the building into its four main functional parts; public podium, office, hotel and apartment tower.

Through the design of the external primary structure, the internal construction elements are optimized and reduced thereby enabling maximum flexibility for current uses as well as eventual adaptability in the future. This structure for future adaptability is a primary expression of the architectural design.

Formal decomposition articulating the various programmatic elements defines the new high-rise typology and ultimately serves to make each functional element feel more intimate.

© COOP HIMMELB(L)AU

vM³*« ôULF²Ý≈ `{u¹ ÂUŽ ŸUD

© COOP HIMMELB(L)AU © COOP HIMMELB(L)AU/ K18

© BOLLINGER & GROHMANN

vM³*« w WIKF*« oz«b(« ÈbŠ≈ `{u¹ r −

wzUA½ù« qJON « U½uJ `{u¹ r − ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆs 57 Albenaa

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vM³*« …bŽU qJAð w² « WOzUM³ « q²J « `{u¹ —uEM

© COOP HIMMELB(L)AU/ K18

vM³*« WNł«u —uEM 56 Albenaa

¡UM³ « μ∂

© All Images by MVRDV, Stab Studio

WDO;« ëdÐ_«Ë vM³LK ÂUŽ —uE 59 Albenaa

¡UM³ « μπ

‫واﺟﻬﺎت ﻣﺘﻌﺪدة اﻟﺰﺧﺎرف‬

‫ﻧﻤﻮذج ﻣﺴﺘﻘﺒﻠﻲ ﻟﻌﻤﺎرة‬ ‫ﻧﺎﻃﺤﺎت اﻟﺴﺤﺎب‬ ‫‪Stack for Melbourne’s‬‬ ‫‪Next Generation High-Rise‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : MVRDV & Woods Bagot‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻠﺒﻮرن ــ أﺳﺘﺮاﻟﻴﺎ‬

‫ﻣﺴﺎﺣﺔ اﻟﻤﺒﺎﻧﻲ ‪ 265٫000 :‬م‪2‬‬ ‫ﻳﻘﺘﺮح ﻫﺬا اﻟﺘﺼﻤﻴﻢ أﻧﻤﻮذﺟ ﺟﺪﻳﺪ ﻟ ﺑﺮاج اﻟﻌﺎﻟﻴﺔ )ﻧﺎﻃﺤﺎت اﻟﺴﺤﺎب (‬ ‫ﻟﻤﻌﻠﻤ ﻣﻌﻤﺎرﻳ ﻣﺘﻌﺪد ا‪2‬ﺳﺘﻌﻤﺎﻻت‪ .‬ﻓﺒﺪﻻً ﻣﻦ اﻟﻤﺒﻨﻰ اﻟﻤﻜﻮن ﻣﻦ ﻋﻨﺼﺮﻳﻦ‬ ‫ﻗﺎﻋﺪة وﻳﺮﺗﻔﻊ ﻓﻮﻗﻬﺎ ﺑﺮج‪ ،‬ﻗﺴﻢ اﻟﻤﺒﻨﻰ رأﺳﻴ إﻟﻰ أﺣﻴﺎء رﺻﺖ ﻓﻮق ﺑﻌﻀﻬﺎ‬ ‫ﺗﺮﺗﺒﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻣﻦ ا‪I‬ﺳﻔﻞ إﻟﻰ ا‪I‬ﻋﻠﻰ ﻣﻦ ﺧﻼل ﺳﻼﻟﻢ ﻣﺘﺤﺮﻛﺔ وﻣﺼﺎﻋﺪ‪،‬‬ ‫ﺑﺤﻴﺚ ﻳﺼﺒﺢ اﻟﻤﺒﻨﻰ ﻣﺪﻳﻨﺔ رأﺳﻴﺔ ذات ﺗﻨﻮع ﻓﺮاﻏﻰ ‪ :‬ﺗﻨﻮع وﻇﻴﻔﻰ ‪ ،‬ﺣﺪاﺋﻖ‪،‬‬ ‫إﺳﺘﺪاﻣﺔ‪ ،‬ﻓﻀﺎءات ﺧﺎرﺟﻴﺔ ‪ .‬ﺑﺤﻴﺚ ﻳﺆدي ذﻟﻚ إﻟﻰ رﻓﻊ اﻟﻜﺜﺎﻓﺔ اﻟﺴﻜﻨﻴﺔ‬ ‫وﺣﻴﻮﻳﺘﻬﺎ ‪ -‬ﺑﺪﻻً ﻣﻦ ا‪I‬ﺑﺮاج ذات ا‪2‬ﺳﺘﻌﻤﺎل ا‪I‬ﺣﺎدي ﻳﻀﻌﻒ ﻣﻦ ﺣﻴﻮﻳﺔ‬ ‫اﻟﻤﺒﺎﻧﻲ‪ .‬ﻳﺠﻤﻊ اﻟﺘﺼﻤﻴﻢ ﺑﻴﻦ اﻟﻜﺜﺎﻓﺔ اﻟﺴﻜﻨﻴﺔ واﻟﻨﻮﻋﻴﺔ اﻟﻌﺎﻟﻴﺔ ﻟﻠﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﻲ ﺗﺴﻌﻰ إﻟﻴﻬﺎ اﻟﻤﺪن اﻟﻜﺒﺮى اﻟﻌﺎﻟﻤﻴﺔ ) اﻟﻤﺪن اﻟﻜﻮﻧﻴﺔ ( ﺑﻴﻨﻤﺎ ﻳﻈﻬﺮ‬ ‫اﻟﺒﺮج اﻟﺬي ﻳﺒﻠﻎ إرﺗﻔﺎﻋﻪ ‪٣٥٩‬م‪ ٢‬ﻣﻦ اﻟﺨﺎرج ﺑﻤﻈﻬﺮ زﺧﺮﻓﻲ أﻧﻴﻖ وﺟﺬاب‪.‬‬

‫ ‪vM³*« …bŽUI —uEM‬‬

‫∏‪¡UM³ « μ‬‬

‫‪58 Albenaa‬‬

From the Architect Report: MVRDV and Woods Bagot have proposed a “new kind of skyscraper” for a landmark mixed-use site in Melbourne’s Southbank.

The Stack is one of six invited entries in an architectural competition organised by the site’s owners Beulah International, a Melbourne-based developer known for its commitment to excellence in local design.

Eschewing Southbank’s typical model of podium and tower – a typology that has always promised but seldom delivered – the Stack is a confident prism with a public interface on all sides. According to Winy Maas, one of MVRDV’s founders, the Stack is a new kind of skyscraper.

“Stacked neighbourhoods are connected from the bottom to the top and vice versa by lifts, stairs and escalators – these interconnections create a true vertical city. It’s diverse, mixed, green, sustainable, human and open. The Stack is a manifesto showing that urban density is great and can contribute to our planet’s survival,” Maas said. “The single mono typology towers that have plagued Southbank in recent years don’t offer the richness that Melbourne is known for. We’ve endeavoured to unlock that, infusing public offering as an extension of the city, to dramatically enhance and future-proof high rise living,” said Maas. Woods Bagot principal Will Hosikian described the competition as a shakeup for development in cities under increasing demand for higher density and good living. “What makes our proposal different is how we’ve created a Melbourne-centric vertical urbanity.

All of Melbourne’s great qualities and amenities are integrated through a sequence of interconnected public spaces, from the ground level all the way to its 359metre peak,” said Hosikian. In their proposal, MVRDV and Woods Bagot assert that as well as all the noble ambitions, the “next” skyscraper should be beautiful, if not wonderful. Maas calls the Stack “mind-blowing and elegant”.

From the edge of the Yarra River, Southbank Boulevard will be transformed into an urban promenade. A wide pedestrian area with greenery, cafes and terraces becomes the welcoming heart of the district. The new building, the Stack, is located right at the starting point of this urban promenade. Footpaths are wide so that people can walk, wait and sit on the terraces. “It becomes a nice street,” adds Maas. From the street all the way to the seventy-sixth floor, the site will be developed as a lifestyle precinct, with apartments, offices, a hotel, entertainment centre, technological display centres, retail, cultural precinct and public green spaces. Woods Bagot’s design leader Ivan Turcinov described the strength of the MVRDV and Woods Bagot partnership as the main factor in the innovation and design quality of the Stack.

“In another magnificent example of international collaboration, our studios have worked together with a spirit of generosity and mutual respect,” Turcinov said. w uÞ ŸUD

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w{dŽ ŸUD

vM³*« WNł«Ë rOLBð `{u¹ r −

60 Albenaa

¡UM³ « ∂∞

vM³*« U½uJ* w×O{uð rÝ—

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¡UM³ « ∂≥

WDO;« Ÿ—«uA UÐ vM³*« W öF —uEM 54 62 Albenaa

¡UM³ « μ¥ ∂≤

‫ﻣﻔﻬﻮم ‪24/7‬‬

‫ﺗﺼﻤﻴﻢ ﻧﺤﺘﻲ ﻟﻤﺪﻳﻨﺔ رأﺳﻴﺔ‬ ‫‪Sculptured Design for a Verticale City‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : OMA & Conrad Garret‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻠﺒﻮرن ــ أﺳﺘﺮاﻟﻴﺎ‬

‫اﻟﻤﺴﺎﺣﺔ ا ﺟﻤﺎﻟﻴﺔ ‪ 255٫000 :‬م‪2‬‬

‫ﺧﻄﻂ وﺳﻂ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن ﻋﻠﻰ ﻧﻈﺎم ﻃﺮق ﺷﺒﻜﻲ‬ ‫‪ ٠،٥x ١‬ﻣﻴﻞ ) ‪ ٠،٨٠ x ١،٦١‬ﻛﻠﻢ ( وﻳﻌﺮف ﺑﺈﺳﻢ ‪Hoddle‬‬ ‫‪ ،Grid‬وﻫﻮ ﻧﻈﺎم ﻳﺸﺒﻪ ﻧﻈﺎم ﺷﺒﻜﺔ اﻟﻄﺮق ﻓﻲ أﻣﺮﻳﻜﺎ إﻻ‬ ‫أن ﻣﺴﺎﺣﺔ اﻟﺒﻠﻮﻛﺎت ﺻﻐﻴﺮة‪ ،‬ﻛﻤﺎ ﻓﻰ ﻣﺪن أوروﺑﺎ ﻣﻤﺎ ﻳﺠﻌﻞ‬ ‫ﻧﻈﺎم ﺗﺨﻄﻴﻂ ﻣﻠﺒﻮرن ﻧﺎﺟﺤ‪ .B‬إﻻ أن ﻣﻠﺒﻮرن ﻣﺪﻳﻨﺔ ﺗﻌﺘﺒﺮ‬ ‫ﻣﺪﻳﻨﺔ ذات ﺗﻨﺎﻗﻀﺎت ﻓﻬﻲ ﺗﻌﺘﻤﺪ ﻛﻠﻴ‪ B‬ﻋﻠﻰ اﻟﺴﻴﺎرات ‪،‬‬ ‫ﻓﻌﺪد اﻟﺴﻜﺎن ﻗﻠﻴﻞ داﺧﻞ اﻟﻤﺪﻳﻨﺔ وﻳﻌﻴﺶ أﻛﺜﺮﻫﻢ ﻓﻲ‬ ‫اﻟﻀﻮاﺣﻲ اﻟﻤﻤﺘﺪة ﺧﺎرج اﻟﻤﺪﻳﻨﺔ‪ ،‬وﻟﺬﻟﻚ ﺗﻌﺘﺒﺮ ﻣﻠﺒﻮرن ﻣﻦ‬ ‫أﻛﺜﺮ ﻣﺪن اﻟﻌﺎﻟﻢ ﺗﻤﺪد‪ .Q‬وﻟﻜﻲ ﺗﻜﻮن ﻣﻠﺒﻮرن ﻗﺎدرة ﻓﻲ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ ﻋﻠﻰ اﻟﺘﻨﺎﻓﺲ ﻣﻊ اﻟﻤﺪن اﻟﻜﻮﻧﻴﺔ اﻟﻜﺒﺮى ﻳﺠﺐ‬ ‫اﻟﺒﺤﺚ ﻟﻬﺎ ﻋﻦ ﺣﻠﻮل ﻋﻤﺮاﻧﻴﺔ ﺣﻀﺮﻳﺔ ﻣﺒﺘﻜﺮة وﻣﺴﺘﺪاﻣﺔ‬ ‫ﺑﺎﻟﻘﺪر اﻟﻜﺎﻓﻲ وﻓﺘﺢ ﻣﺠﺎل أوﺳﻊ ﻟﻠﺘﻮاﺻﻞ ا‪Y‬ﻧﺴﺎﻧﻲ‬ ‫واﻟﺤﺮﻛﺔ داﺧﻞ اﻟﻤﺪﻳﻨﺔ‪ .‬ﻛﻤﺎ ﻳﺠﺐ ﺗﺤﻘﻴﻖ ﻣﺒﺪء اﻟﺤﺮﻛﺔ‬ ‫ا‪Y‬ﻗﺘﺼﺎدﻳﺔ اﻟﻨﺸﻄﺔ اﻟﻘﺎﺋﻢ ﻋﻠﻰ ﻣﻔﻬﻮم إﺳﺘﻤﺮا ر‬

‫ﻓﺘﺢ اﻟﻤﺤﻼت ‪ ٢4‬ﺳﺎﻋﺔ ﻓﻲ اﻟﻴﻮم و ‪ ٧‬أﻳﺎم ﻓﻲ اﻻﺳﺒﻮع اﻟﺬي‬ ‫ﻳﺘﻄﻠﻊ إﻟﻴﻪ اﻟﻤﺠﺘﻤﻊ ا‪m‬ﺳﺘﺮاﻟﻲ اﻟﻤﺘﻨﻮع اﻟﺠﻨﺴﻴﺎت وا‪m‬ﻋﺮاق‬ ‫و اﻟﺬي ﻳﺘﻄﻠﺐ اﻟﺘﻄﻮﻳﺮ واﻟﻤﺮوﻧﺔ اﻟﺪاﺋﻤﺔ ‪ .‬ﺗﺼﻤﻴﻢ ﻫﺬا‬ ‫اﻟﻤﺸﺮوع ﻟﻦ ﻳﺴﺘﻄﻴﻊ وﺣﺪه أن ﻳﺤﻘﻖ ﻛﻞ ﻫﺬه اﻟﻤﺘﻄﻠﺒﺎت‬ ‫ﺑﻞ ﻳﻤﻜﻦ أن ﻳﻮﺟﺪ ﺣﻠﻮل ﺗﺼﻤﻴﻤﻴﺔ ﻣﺒﺘﻜﺮة ﺗﻤﻬﺪ اﻟﻄﺮﻳﻖ‬ ‫ﻟﺤﻠﻮل ﻣﺴﺘﻘﺒﻠﻴﺔ ﻣﺘﻜﺎﻣﻠﺔ ﺗﺮﻓﻊ ﻣﻦ ﺗﻨﺎﻓﺴﻴﺔ ﻣﺪﻳﻨﺔ‬ ‫ﻣﻠﺒﻮرن ﺑﻴﻦ ﻣﺪن اﻟﻌﺎﻟﻢ ‪ .‬إﻻ أﻧﻪ ﻧﻈﺮ‪ Q‬ﻟﻠﺤﺠﻢ اﻟﻜﺒﻴﺮ‬ ‫ﻟﻬﺬا اﻟﻤﺸﺮوع وﻋﻤﺮاﻧﻪ اﻟﺮأﺳﻲ وﺗﻨﻮع أﻧﺸﻄﺘﻪ اﻟﺘﺠﺎرﻳﺔ‬ ‫واﻟﺜﻘﺎﻓﻴﺔ واﻟﺘﻌﻠﻴﻤﻴﺔ ﻓﺈن ﺗﺼﻤﻴﻤﻪ ﻳﻤﻜﻦ أن ﻳﻘﺪم ﺗﺠﺎرب‬ ‫ﺗﻠﺒﻲ ﻣﻔﻬﻮم ‪ ٢٤/٧‬ﻓﻲ وﺳﻂ اﻟﻤﺪﻳﻨﺔ اﻟﻤﺰدﺣﻢ‪ ،‬ﺑﻤﺎ ﻓﻲ‬ ‫ذﻟﻚ اﻟﺠﻮاﻧﺐ اﻟﺘﻘﻨﻴﺔ وا‪Y‬ﺳﺘﺪاﻣﻴﺔ ا‪Y‬ﻗﺘﺼﺎدﻳﺔ وا‪Y‬ﺟﺘﻤﺎﻋﻴﺔ‬ ‫واﻟﻄﺮق اﻟﺤﺪﻳﺜﺔ ﻟﻠﻨﻘﻞ‪ .‬ﻳﺒﺪو اﻟﻤﺒﻨﻰ ﻛﻜﺘﻠﺔ واﺣﺪة ﻣﻦ‬ ‫اﻟﺨﺎرج إﻻ أﻧﻪ ﻳﻨﻘﺴﻢ إﻟﻰ ﻗﺎﻋﺪة ﺗﺘﻨﺎﻗﺺ ﻣﺴﺎﺣﺘﻬﺎ ﺑﺘﺪرج‬ ‫ﺣﺘﻰ إرﺗﻔﺎع ‪١٠٠‬م ﻟﻴﺮﺗﻔﻊ ﻓﻮﻗﻬﺎ ﺑﺮج ﻣﺴﺘﻄﻴﻞ اﻟﻤﻘﻄﻊ ﺗﻢ‬

‫‪© OMA‬‬

‫‪© OMA‬‬

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By MR.P - © OMA

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From the Architect Report: The main questions for Melbourne to compete towards the future: is the urban model innovative and sustainable enough? Is the city prepared for a new, more individual society in which mobility and human contact is changing rapidly? Is the city ready for the 24/7 economy and activity demanded by its mixed population, demanding constant flexibility and change? Is Melbourne ready for the demands of the 21st century city? It is certain that one project cannot answer those questions, but it can help lead the way to new models and can experiment with many important topics as 24/7 commercial and cultural programming; living in the heart of the city; technical, social and economic sustainability and new mobility. .The Base of the building is a 24/7 mixed-use vertical city , there are highways of movement through the large express escalators, shortcuts by elevators, and laneways to wander on through the normal escalators, stairs, and voids. The planning of the Base builds on the principle of large scale public invitation and open arcades after which a vertical wonderland of discovery awaits. The Base starts as the site and tapers back to a slab 100m above the city.

In this tapered volume, the different program elements, clearly readable behind the façade, are distributed strategically to create large vertical movement.. Although elevated above the ground to fit within the Base concept of providing a permeable and public street level, the BMW Experience Centre boasts an iconic feature – a cylindrical glass car lift – piercing through the ground and connecting the 1400m2 basement storage and the mezzanine experience space clad in a distinguished blue dichroic glass façade.The concept of moving cars vertically is consistent with the idea of exhibiting a robotic parking facility on the other end of the Base in the mechanical carpark block. Both are a commentary on the need for an avantgarde approach to the presence of cars in a dense urban environment and on implementing technology to meet this sustainable goal. Our space planning concept for BMW is namely this – the future of the car in the city cannot be related to a low density sprawling lot taking up from the active pedestrian public realm. Rather, it lays in technologies geared towards sharing, compact storage, and optimized user experience.The Office portion comprises of a variety of plates that range between 1800m2 and 2200m2 . The Office core footprint is larger than the core footprints of the hotel and residential components. Positioning the Office block right above the Base ensures optimal efficiency for the upper part of the tower due to a significant number of lift banks no longer necessary for the vertical transport capacities in the Residential and Hotel components.Another strategic reason for positioning the Office just above the Base is that this frees up valuable height for functions that are more dependent on 24 hours views and daylight requirements. The Hotel Segment sits just above the office block and is the first upper tower programmatic segment twisting around the core. It consists of 6 typical residence levels and 7 typical suite plates. The plates are simple, efficient and spacious. Two amenity levels at the top and bottom of the hotel block offer a variety of wellness, food and beverage, and recreational facilities, and the lower one also houses the check-in. Hotel guests can arrive at the drop off at ground level, be quickly escorted to the hotel lift bank in the central core in order to get to the calm and spacious atmosphere of the lower amenities/sky lobby for checking in. The check in area is deliberately placed in the midst of wellness amenities, so that upon arrival guests can be immersed in a soothing, relaxed environment.The residential part of the tower is deliberately situated at the top to capitalize on views and daylight. All layouts are compliant with the Melbourne Design Guide, and the straightforward shape of the building allows for generous yet efficient space planning.

While the architecture of the tower above the Base is quite rational, it is not rigid. The gentle twist at the top of the residential component not only provides the tower with an iconic and elegant silhouette, but also increases views East-West, bringing extra quality to the residences with views towards the Port Philip Bay and the Botanic Gardens.

67 Albenaa

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‫∂∂ « ‪¡UM³‬‬

‫‪66 Albenaa‬‬

‫‪© OMA‬‬

‫ﻧﺤﺘﻪ ﻟﺘﺤﻘﻴﻖ ﻓﻮاﺻﻞ ﻣﺮﺋﻴﺔ ﻣﻦ اﻟﺨﺎرج ﺑﻴﻦ إﺳﺘﻌﻤﻼت‬ ‫اﻟﻤﺒﻨﻰ اﻟﺮﺋﻴﺴﺔ‪ .‬ﻳﻮﻓﺮ ﺗﺼﻤﻴﻢ ﻗﺎﻋﺪة اﻟﻤﺸﺮوع ﻓﺮاغ‬ ‫رأﺳﻲ ﻣﺘﻌﺪد ا‪:‬ﺳﺘﻌﻤﺎﻻت ﺑﻤﻔﻬﻮم ‪ ٢٤/٧‬ﻳﻀﻢ ﻋﺪة‬ ‫أﻧﺸﻄﺔ ﺛﻘﺎﻓﻴﺔ وﺗﺠﺎرﻳﺔ وﺗﻌﻠﻴﻤﻴﺔ وإﺟﺘﻤﺎﻋﻴﺔ‪ ،‬وزﻋﺖ‬ ‫داﺧﻞ ﺗﻜﻮﻳﻦ ﻋﺎم ﻣﻦ اﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ وﺑﻴﻊ اﻟﻤﺄﻛﻮﻻت‪،‬‬ ‫ﻛﻤﺎ ﻳﺸﻜﻞ ﻓﺮاغ اﻟﻘﺎﻋﺪة ﻣﺪﻳﻨﺔ رأﺳﻴﺔ ﻓﻨﻈﺎم اﻟﺤﺮﻛﺔ‬ ‫داﺧﻠﻪ ﻳﺸﺒﻪ ﻧﻈﺎم ﺣﺮﻛﺔ اﻟﻤﺪﻳﻨﺔ ‪ :‬ﻓﺎﻟﻄﺮق اﻟﺴﺮﻳﻌﺔ‬ ‫ﺗﻤﺜﻠﻬﺎ اﻟﺴﻼﻟﻢ اﻟﻤﺘﺤﺮﻛﺔ و اﻟﻤﺼﺎﻋﺪ اﻟﺴﺮﻳﻌﺔ‬ ‫اﻟﺘﻲ ﺗﺮﺑﻂ ﺑﻴﻦ اﻟﻤﺴﺘﻮﻳﺎت اﻟﺮﺋﻴﺴﺔ ﺑﻴﻨﻤﺎ اﻟﻤﻤﺮات‬ ‫اﻟﻤﺆدﻳﺔ إﻟﻰ اﻟﺴﻼﻟﻢ واﻟﻤﺼﺎﻋﺪ اﻟﺘﻲ ﺗﺮﺑﻂ ﻓﻴﻤﺎ ﺑﻴﻦ‬ ‫ا‪R‬دوار ﺗﻤﺜﻞ اﻟﻄﺮق اﻟﻤﺤﻠﻴﺔ ‪ .‬ﻳﺤﻘﻖ ﺗﺼﻤﻴﻢ اﻟﻘﺎﻋﺪة‬ ‫ﻣﺒﺪأ ا‪:‬ﻧﻔﺘﺎح اﻟﺘﺎم ﻋﻠﻰ ﻣﺤﻴﻄﻪ ﺑﻬﺪف ا‪:‬ﻧﺪﻣﺎج‬ ‫ﻣﻌﻪ ﻣﻦ ﺧﻼل أروﻗﺔ ﻣﻔﺘﻮﺣﺔ ﻋﻠﻰ اﻟﺨﺎرج ﺗﺆدي إﻟﻰ‬ ‫ﻣﺎ ﻳﺸﺒﻪ ﻣﺪﻳﻨﺔ ﻋﺠﺎﺋﺐ رأﺳﻴﺔ ﺗﻨﺘﻈﺮ ﻣﻦ اﻟﻤﺮﺗﺎدﻳﻦ‬ ‫إﻛﺘﺸﺎﻓﻬﺎ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﻮﻓﺮ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﺷﻔﺎﻓﻴﺔ‬ ‫ﺗﺴﻤﺢ ﺑﺎﻟﺘﻌﺮف ﻋﻠﻰ ا‪R‬ﻧﺸﻄﺔ اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ اﻟﺨﺎرج‪،‬‬ ‫اﻟﺘﻲ وﺿﻌﺖ ﺑﺪورﻫﺎ ﻓﻲ ﻣﻮاﻗﻊ إﺳﺘﺮاﺗﻴﺠﻴﺔ ﻟﺠﺬب‬ ‫اﻟﻤﺮﺗﺎدﻳﻦ إﻟﻰ ﻣﺨﺘﻠﻒ ﻣﺴﺘﻮﻳﺎت اﻟﻘﺎﻋﺪة‪ .‬ﺗﻀﻢ‬ ‫اﻟﻘﺎﻋﺪة ﻣﺮﻛﺰ ﻟﻌﺮض اﻟﻨﻤﺎذج اﻟﺘﺠﺮﻳﺒﻴﺔ ﻟﺸﺮﻛﺔ‬ ‫ﺑﻲ ‪ .‬إم ‪ .‬دﺑﻠﻴﻮ ‪ .‬ﻟﻠﺴﻴﺎرات ‪ ،‬ﻳﻘﻊ ﻓﻲ دور ﻣﻌﻠﻖ‬ ‫داﺧﻞ ﻓﺮاغ اﻟﻘﺎﻋﺪة وﻳﺮﺗﻜﺰ ﻋﻠﻰ إﺳﻄﻮاﻧﺔ رأﺳﻴﺔ ﻣﻦ‬ ‫زﺟﺎج أزرق ﺗﻀﻢ ﻣﺼﻌﺪ ﻟﻠﺴﻴﺎرات ﻳﺮﺑﻂ ﺑﻴﻦ اﻟﻤﺮﻛﺰ‬ ‫اﻟﻤﻌﻠﻖ وﻣﺨﺰن ﺗﺤﺖ أرﺿﻲ ﻟﻨﻤﺎذج ﻟﺴﻴﺎرات‪ ،‬ﺑﺤﻴﺚ‬ ‫ﺗﺠﺬب ﺣﺮﻛﺔ اﻟﺴﻴﺎرات داﺧﻞ اﻟﻤﺼﻌﺪ ﺻﻌﻮد‪ e‬وﻧﺰوﻻً‬ ‫اﻟﻤﺮﺗﺎدﻳﻦ‪ .‬ﻛﻤﺎ ﻳﻮﺟﻪ ﻣﺼﻌﺪ اﻟﺴﻴﺎرات ا‪:‬ﻧﺘﺒﺎه إﻟﻰ‬ ‫إﺳﺘﺨﺪام ﻣﺼﺎﻋﺪ اﻟﺴﻴﺎرات ﻓﻲ ﻣﻮاﻗﻒ اﻟﻤﺒﻨﻰ‬ ‫اﻟﺘﻲ ﺗﻮﻓﺮ ﻓﻲ اﻟﻤﺴﺎﺣﺎت اﻟﺘﻲ ﺗﺸﻐﻠﻬﺎ اﻟﻤﻨﺤﺪرات‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ‪ ،‬ﻫﻨﺎ ﺗﻮﻇﻒ اﻟﺘﻘﻨﻴﺔ ﻟﺤﻞ ﻣﺸﺎﻛﻞ اﻟﺴﻴﺎرات‬ ‫داﺧﻞ ﻣﺮاﻛﺰ اﻟﻤﺪن اﻟﻤﺰدﺣﻤﺔ ﻓﻤﺴﺘﻘﺒﻞ إﺳﺘﺨﺪام‬ ‫اﻟﺴﻴﺎرات داﺧﻞ اﻟﻤﺪن ﻟﻦ ﻳﻜﻮن ﻣﻦ ﺧﻼل ﺣﻞ ﻣﺸﻜﻠﺔ‬ ‫ﺗﻤﺪد اﻟﻤﺪن اﻟﺘﻲ أﺿﺮت ﺑﺤﺮﻛﺔ اﻟﻤﺸﺎة ﺑﻞ ﻫﻮ‬ ‫ﻣﺮﺗﺒﻂ ﺑﻤﺪى إﺳﺘﻄﺎﻋﺘﻨﺎ إﺳﺘﺨﺪام اﻟﺘﻘﻨﻴﺔ ﻟﺘﺸﺠﻴﻊ‬ ‫اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ وإﻛﺘﻨﺎز ﻣﺴﺎﺣﺎت‬ ‫اﻟﺘﺨﺰﻳﻦ ) ﺑﻤﺎ ﻓﻲ ذﻟﻚ ﻣﻮاﻗﻒ اﻟﺴﻴﺎرات(‪ .‬ﺗﻘﻊ ﻓﻮق‬ ‫اﻟﻘﺎﻋﺪة ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ ﺗﺘﺮواح ﻣﺴﺎﺣﺎت أدوارﻫﺎ‬ ‫ﺑﻴﻦ ‪ ١٨٠٠‬إﻟﻰ ‪ ٢٢٠٠‬م‪ ٢‬وﺿﻌﺖ ﺧﺪﻣﺎﺗﻬﺎ ﺧﺎرﺟﻬﺎ ﻓﻲ‬ ‫اﻟﺠﺎﻧﺐ اﻟﺸﻤﺎﻟﻲ ﻣﻦ اﻟﻤﺒﻨﻰ ﻟﺘﺤﻘﻴﻖ اﻟﻤﺮوﻧﺔ اﻟﻌﺎﻟﻴﺔ‬ ‫ﻟﻠﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ ﺑﺎ‪:‬ﺿﺎﻓﺔ إﻟﻰ ﺗﺤﻘﻴﻖ إﻃﻼﻟﺔ‬ ‫ﻗﺼﻮى ﻟﻬﺎ ﺑﻴﻨﻤﺎ ﺗﻘﻊ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﺣﺪاﺋﻖ ﻣﻌﻠﻘﺔ ﺗﻮﻓﺮ‬ ‫ﻟﻬﺎ ﺧﺼﻮﺻﻴﺔ ﺗﻔﺼﻞ ﺑﻴﻨﻬﺎ وﺑﻴﻦ ا‪R‬ﺑﺮاج اﻟﻤﺠﺎورة ‪.‬‬ ‫ﺗﺰﻳﺪ ﻣﺴﺎﺣﺎت ﺧﺪﻣﺎت اﻟﻤﻜﺎﺗﺐ ﻋﻦ ﻣﺴﺎﺣﺎت ﺧﺪﻣﺎت‬ ‫اﻟﻔﻨﺎدق واﻟﺸﻘﻖ اﻟﺴﻜﻨﻴﺔ ﻧﺘﻴﺠﺔ ﻟﺤﺎﺟﺘﻬﺎ ﻟﻌﺪد ﻛﺒﻴﺮ‬ ‫ﻣﻦ اﻟﻤﺼﺎﻋﺪ وﻟﺬﻟﻚ ﺗﻢ وﺿﻌﻬﺎ ﻓﻮق اﻟﻘﺎﻋﺪة ﻣﺒﺎﺷﺮة‬ ‫وﺑﺤﻴﺚ ﻳﻤﻜﻦ ا‪:‬ﻗﺘﺼﺎد ﻓﻲ ﻋﺪد اﻟﻤﺼﺎﻋﺪ ﺑﻌﺪ ذﻟﻚ‬ ‫ﻟﺘﺘﻨﺎﺳﺐ ﻣﻊ إﺳﺘﺨﺪام اﻟﻔﻨﺪق ﺛﻢ اﻟﺸﻘﻖ اﻟﺴﻜﻨﻴﺔ‪.‬‬

‫—‪WOKJ « UN²ŠU Ë WHK² *« öLF²Ýù« `{u¹ vM³LK v×O{uð rÝ‬‬

By MR.P - © OMA

WK² qOJAðË rO Ið dNE¹ wM³LK WO³½U'« WNł«uK —uEM sJ « rŁ ‚bMH « rŁ VðUJ*« rŁ …bŽUI « ∫ v ≈ ×U)« s vM³*«

69 Albenaa

¡UM³ « ∂π

By Frans Parthesius - © OMA

By Frans Parthesius - © OMA

qš«b « s tð¡U{≈Ë …bŽUI « r −

© OMA

By Frans Parthesius - © OMA

© w{—_« Èu² *« ® Ÿ—«uA « Èu² 0Ë tDO×0 t² öŽË vM³*«

w{—_« —Ëb « v ×U)« vKŽ vM³*« ÕU²H½≈ …dJH w×O{uð rÝ—

ÁuN½ Õd²I Ë vM³*« r − 68 Albenaa

¡UM³ « ∂∏

WOM ‘uI½ «– WO½bF q UONÐ tðUNł«Ë XODžË Í—U−² « o×K*«

WO½bF Õ«u QÐ …UDG*« tðUNł«uÐ w UI¦ « o×K*« vM³ 73 Albenaa

¡UM³ « ∑≥

—«ËeK WЖU'« WOłUłe « t²Nł«uÐ w UI¦ « o×K*« qšb

‫ﻣﺮﻛﺰ ﻧﺎﻧﺸﺎن‬

‫ﺑﺮج ﻣﺘﻌﺪداﻟﻮﻇﺎﺋﻒ‬

Taipei Nanshan Plaza : ‫اﻟﻤﺼﻤﻢ‬ Architect : Mitsubishi Jisho Sekkei ‫ ﺗﺎﻳﻮان‬- ‫ ﺗﺎﻳﺒﻴﻪ‬: ‫اﻟﻤﻮﻗﻊ‬

È—U−² « U ² « o×K*« o K*«

Ãd³ « «

v UI¦ « UI¦ « oo×K*« K*«

v{—_« —Ëb « jI Ë ŸËdA*« vKŽ w uÞ ŸUD

t³½U−Ð Í—U−² « o×K*« WEŠö sJ1Ë w³²J*« Ãd³ «

‫ﻳﻘﻊ اﻟﻤﺸﺮوع اﻟﻤﺘﻌﺪد اﻟﻮﻇﺎﺋﻒ ﻓﻲ ﻣﻨﻄﻘﺔ ﺳﻴﺎﺣﻴﺔ ﻓﻰ ﻣﺪﻳﻨﺔ‬ ١٠٠ ‫ ﻋﻠﻰ ﻗﻄﻌﺔ أرض ﻣﺴﺘﻄﻴﻠﺔ ورﻓﻴﻌﺔ ﺑﻌﺮض‬،‫ ﺗﺎﻳﻮان‬- ‫ﺗﺎﻳﺒﻴﻪ‬ ‫ ﻣﺘﺮ ﻣﻦ اﻟﺸﺮق إﻟﻰ‬٢٧٠ ‫ﻣﺘﺮ ﻣﻦ اﻟﺸﻤﺎل إﻟﻰ اﻟﺠﻨﻮب و ﺑﻄﻮل‬ ‫ وﺗﻢ ا>ﺧﺬ ﻓﻲ ا;ﻋﺘﺒﺎر ﺣﺮﻛﺔ ﺗﺪﻓﻖ اﻟﻨﺎس واﻟﻄﺎﻗﺔ اﻟﺘﻰ‬،‫اﻟﻐﺮب‬ ‫ وﻟﺠﺬب‬.‫ﺗﺒﺪء ﻣﻦ ﻣﻨﻄﻘﺔ اﻟﺘﺴﻮق ﺣﺘﻰ ﺗﻨﺘﻬﻲ ﻓﻲ اﻟﺸﻤﺎل‬ ‫اﻟﺰوار إﻟﻰ اﻟﻤﻮﻗﻊ واﺑﺘﻜﺎر أﺟﻮاء ﺟﻤﻴﻠﺔ ﺗﻢ اﻗﺘﺮاح إﻧﺸﺎء ﻣﻌﻠﻢ‬ ‫ﺟﺪﻳﺪ ﻓﻲ اﻟﻤﺪﻳﻨﺔ ﻋﺒﺎرة ﻋﻦ ﺑﺮج ذو ﻗﺎﻋﺪة ﺗﺘﻤﻴﺰ ﺑﻤﻘﻴﺎس‬ ‫ ﻣﺘﺮ إﺿﺎﻓﺔ ﺟﺪﻳﺪة‬٢٧٢ ‫ ﻳﻌﺘﺒﺮ اﻟﺒﺮج اﻟﺬى ﻳﺮﺗﻔﻊ‬.‫إﻧﺴﺎﻧﻰ ﺗﺮﺣﻴﺒﻲ‬ ‫ وﻳﻀﻢ ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ وﻣﻄﺎﻋﻢ ﺗﺘﻤﻴﺰ ﺑﺈﻃﻼﻟﺘﻬﺎ ﻋﻠﻰ‬،‫ﻟﻠﻤﺪﻳﻨﺔ‬ ‫ ﻛﻤﺎ ﻳﻀﻢ اﻟﻤﺸﺮوع ﻣﻠﺤﻖ ﺗﺠﺎري وﻣﻠﺤﻖ ﺛﻘﺎﻓﻲ و ﻗﺎﻋﺔ‬. ‫اﻟﻤﺪﻳﻨﺔ‬ ‫ ﻳﺘﻜﻮن اﻟﻤﻠﺤﻖ‬.‫ﻣﺘﻌﺪدة ا;ﺳﺘﺨﺪاﻣﺎت ﺗﺮﺗﺒﻂ ﺑﺎﻟﺒﺮج ﻣﻦ ﺟﻬﺘﻴﻦ‬ ‫اﻟﺘﺠﺎري ﻣﻦ ﺛﻼث ﻣﻜﻌﺒﺎت رﺻﺖ ﻓﻮق ﺑﻌﻀﻬﺎ ﺑﺎﻟﺘﻨﺎوب ﻛﺄﻧﻬﺎ‬ ‫ ﻏﻄﺖ ﺟﻤﻴﻊ واﺟﻬﺎت اﻟﻤﻠﺤﻖ اﻟﺘﺠﺎري‬.‫أﻳﺪي وﺿﻌﺖ ﻓﻮق ﺑﻌﻀﻬﺎ‬ ‫ﺑﻐﻼف ﻣﻌﺪﻧﻲ ذو زﺧﺎرف ﻳﺤﺘﻮي ﻋﻠﻰ ﻧﻘﻮش ﻓﻨﻴﺔ ﻣﺴﺘﻮﺣﺎة‬ ‫ أﻣﺎ اﻟﻤﻠﺤﻖ اﻟﺜﻘﺎﻓﻲ ﻓﺼﻤﻢ ﻋﻠﻰ‬.‫ﻣﻦ ﺷﻜﻞ زﻫﻮر اﻟﺨﻮخ اﻟﻴﺎﺑﺎﻧﻲ‬ ‫ﺷﻜﻞ ﺻﺪﻓﺔ ﻣﻨﺤﻮﺗﺔ ﻣﺠﻮﻓﺔ ﻣﻦ اﻟﺪاﺧﻞ ﺗﺪﻋﻮ اﻟﻨﺎس إﻟﻴﻬﺎ‬ ‫ ﻓﻲ اﻟﻤﺴﺎء ﺗﻀﻴﺊ ﻗﻤﺔ اﻟﺒﺮج وﺗﻤﺘﺰج ا>ﺳﻄﺢ‬.‫;ﺳﺘﻜﺸﺎﻓﻬﺎ‬ ‫اﻟﻤﺰروﻋﺔ ﻓﻲ اﻟﻤﻠﺤﻖ اﻟﺘﺠﺎري ﺑﺤﺪﻳﻘﺔ ﻣﺠﺎورة ﻣﻤﺎﻳﺰﻳﺪ ﻣﻦ ﺟﺬب‬ .‫اﻟﻨﺎس ﻟﺰﻳﺎرة اﻟﻤﺸﺮوع‬ The Xinyi district of Taipei, where the building site is located, is a cosmopolitan tourism area that symbolizes the city as a whole. The first time our team visited the site—a long, thin, piece of land measuring 100 meters north-to-south and 270 meters east-to-west—we noticed the way the flow of people and energy from the shopping district to the north ended there. In order to attract visitors to the site and create a lively atmosphere, we proposed a new landmark tower to draw people from a distance, paired with a human-scale podium to welcome them in. The idea was for the 272-meter tower to form a set with Taipei 101, creating a new skyline for the city while harmonizing with the existing neighborhood. The tower is occupied primarily by offices, with restaurants featuring dramatic views on the top three floors. A low-rise “Retail Annex” and the “Cultural Entrance Annex,” a multi-purpose cultural hall, adjoin the tower on either side, linking horizontally to the bustle of the surrounding neighborhood. The “Retail Annex” is comprised of three large cubes offset in alternating layers, like hands placed on top of one another. The entire façade is covered with an artistic, three-dimensional cast-stainlesssteel motif of plum blossoms, the national flower of Taiwan.

The “Cultural Entrance Annex” has a trussed shell whose sculptural form seems to invite people in with outstretched hands. In the evenings, Taiwan’s first rooftop bar glitters at the peak of the tower, while the plantings on the retail tower terraces blend in with the adjacent park, further enhancing the attractiveness of the building from afar.

72 Albenaa

¡UM³ « ∑≤

ŸËdALK WHK² dOþUM 75 Albenaa

¡UM³ « ∑μ

‫ﻣﺮﻛﺰ اﻟﺘﺼﺎﻣﻴﻢ اﻟﻤﺒﺘﻜﺮة‬

‫ﺟﺎﻣﻌﺔ دﺑﻠﻦ‬ Centre for Creative Design, University College Dublin : ‫اﻟﻤﺼﻤﻢ‬ Architect : Steven Holl Architects ‫ إﻳﺮﻟﻨﺪا‬: ‫اﻟﻤﻮﻗﻊ‬

uN³ «

‰ULŽ_« ÷dF UŠU

WOÝ«—œ WŽU

‫ﺗﻌﺘﻤﺪ ﻓﻜﺮة ﻣﺮﻛﺰ اﻟﺘﺼﺎﻣﻴﻢ اﻟﻤﺒﺘﻜﺮة ﻓﻲ ﺟﺎﻣﻌﺔ دﺑﻠﻦ‬ ‫ وأن اﻟﻌﻤﺎرة ﻻﺗﻨﺸﺄ ﻣﻦ أﻓﻜﺎر‬،‫ﻋﻠﻰ ﻋﻨﺼﺮ اﻟﻤﻜﺎن واﻟﻤﺴﺎﺣﺔ‬ ،‫ وﻟﻜﻦ ﺗﻨﺸﺄ ﻣﻦ اﻟﻤﻮﻗﻊ اﻟﻤﻤﻴﺰ وﺛﻘﺎﻓﺘﻪ‬،‫و ﻣﻔﺮدات ﺧﺎرﺟﻴﺔ‬ ‫ﻣﻊ ﺗﻮﻓﻴﺮ ﻣﺴﺎﺣﺎت ذات ﺗﺼﺎﻣﻴﻢ ﺗﺮاﻋﻰ ﻣﺮاﺣﻞ ﻣﺘﻘﺪﻣﺔ ﻣﻦ‬ ‫ اﻋﺘﻤﺪ ﺗﺼﻤﻴﻢ اﻟﻤﺮﻛﺰ ﻋﻠﻰ ﺧﻤﺴﺔ‬.‫ﺟﻴﺎل اﻟﻘﺎدﻣﺔ‬7‫ﺗﻌﻠﻴﻢ ا‬ ‫ وﻫﻲ اﻟﻤﻜﺎن وﻫﻨﺪﺳﺘﻪ وﻓﻜﺮﺗﻪ‬،‫ﻣﻔﺎﻫﻴﻢ ﻓﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫ اﻟﻤﺒﻨﻰ‬، ‫ اﻟﻔﺮاغ ﻛﺘﺠﺮﺑﺔ وﻟﻴﺲ ﻛﻤﻨﺘﺞ ﻣﺎدى‬، ‫اﻟﺘﺼﻤﻴﻤﻴﺔ‬ ‫ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬B‫ ا‬، ‫وﻇﻬﻮره ﻣﻦ ﺑﻌﻴﺪ ﻛﻌﻼﻣﺔ ﻣﻤﻴﺰة‬ ‫ ﻣﻨﺎﻃﻖ‬I‫ واﺧﻴﺮ‬،‫وﺗﻮﻓﻴﺮﻫﺎ ﺑﻜﻤﻴﺎت ﺳﺨﻴﺔ داﺧﻞ اﻟﻤﺮﻛﺰ‬ ‫ﺟﺘﻤﺎﻋﻲ اﻟﺘﻲ ﺗﻮﻓﺮ ﻣﺴﺎﺣﺎت ﻣﺮﻧﺔ وﻣﻔﺘﻮﺣﺔ‬B‫اﻟﺘﻮاﺻﻞ ا‬ ‫ﻟﻠﺠﻤﻴﻊ ﻛﻨﻮع ﻣﻦ أﻧﻮاع اﻟﺘﻌﺎون وﺗﻌﻤﻞ ﻛﺎﻟﻘﻠﺐ واﻟﺠﺴﺪ‬ ‫ﻳﻌﺘﺒﺮ ﻛﻞ ﻣﻦ اﻟﻤﺨﻄﻂ اﻟﻌﺎم وﻣﺮﻛﺰ اﻟﺘﺼﺎﻣﻴﻢ‬. ‫ﻟﻠﻤﺒﻨﻰ‬ ‫ﺑﺘﻜﺎرات‬R‫ﻗﻔﺬة ﻧﺤﻮ اﻟﻤﺴﺘﻘﺒﻞ ﻟﻠﺠﺎﻣﻌﺔ ﻛﻤﻨﺘﺪى ﻣﻔﺘﻮح ﻟ‬ . ‫اﻟﺘﻌﻠﻴﻤﻴﺔ ﻳﻌﺞ ﺑﺎﻟﺤﻴﻮﻳﺔ‬

Our design for the Entrance Precinct Masterplan and Creative Centre for Design focus on Place and Space, the notion that Architecture arises not out of a vocabulary imported from elsewhere, but from this special Place and culture, projected toward the future with original, inspiring Spaces for the highest level of education for generations to come. The Center for Creative Design and adjacent entry plaza with reflecting pool mark the New Campus Arrival experience. We studied the histories and are particularly inspired by the geometries of Giant’s Causeway and the work of James Joyce, where 60 million year-old natural geometry is a “stream of consciousness” projected in a kind of Teleological suspension to make the composition of the CCD building as an open, inviting experience for creative activity. The CCD has 5 main ideas: Place, its geometry and conceptual strategy; Space for experience instead of an object; Gateway presence on the horizon, from R 138 and up close; Natural Light and generous proportion to all interior spaces; and a Circuit of Social Connection linking all the different people working in the building in a free and open way to give a kind of creative collaboration as the heart and soul of the building. The Masterplan and CCD design projects UCD into the future as an open, dynamic Forum for innovative education.

74 Albenaa

¡UM³ « ∑¥

…b¹b'« fLA « «dÝUJ Öu/

WÐuÞd « qFHÐ fLA « «dÝU `² W dŠWOHO `{uð UDI ≥

—UNM « UŽUÝ V Š qE « œ«b² ≈ —uD²ð 77 Albenaa

¡UM³ « ∑∑

‫ﻛﺎﺳﺮات ﺷﻤﺲ‬ ‫ﺗﺘﺤﺮك آﻟﻴ‬ ‫ﺑﺪون ﻛﻬﺮﺑﺎء‬ Cone-Inspired Sunshades Open & Close without Electricity

…b¹b'« «dÝUJK »—U&

‫ ﻓﻲ‬ETH ‫ﻃﻮر اﻟﻤﻌﻬﺪ اﻟﻔﻴﺪراﻟﻲ اﻟﺴﻮﻳﺴﺮي ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫زﻳﻮرخ ﻛﺎﺳﺮات ﺷﻤﺲ ﺟﺪﻳﺪة ﺗﻌﻤﻞ ﻋﻠﻰ اﻟﻔﺘﺢ وا ﻏﻼق آﻟﻴ‬ .‫ ﻳﻌﺪ ﻫﺬا اﻟﻨﻈﺎم اﺑﺘﻜﺎر‬،‫دون اﻟﺤﺎﺟﺔ إﻟﻰ أﻧﻈﻤﺔ ﻛﻬﺮﺑﺎﺋﻴﺔ‬ ‫ ﺣﻴﺚ ﺗﺤﺘﺎج ﻣﻌﻈﻢ ﻛﺎﺳﺮات اﻟﺸﻤﺲ إﻟﻰ ﻣﺤﺮﻛﺎت‬.‫ﺟﺪﻳﺪ‬ ‫ اﻟﺘﻰ‬،‫ اﺳﺘﻮﺣﻰ اﻟﻨﻈﺎم ﻓﻜﺮﺗﻪ ﻣﻦ ﻧﺒﺘﺔ اﻟﺼﻨﻮﺑﺮ‬.‫ﻟﺘﺸﻐﻴﻠﻬﺎ‬ ‫ ﺗﻢ ﻋﻤﻞ ﻧﻤﻮذج‬،‫ﺗﺘﻔﺘﺢ وﺗﻨﻐﻠﻖ ﺣﺮاﺷﻴﻔﻬﺎ ﺑﻔﻌﻞ اﻟﺮﻃﻮﺑﺔ‬ ‫ﻟﻬﺬا اﻟﻨﻈﺎم اﻟﺬي ﻳﻌﻤﻞ ﻋﻠﻰ اﻟﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ‬ ‫ ﻳﺘﻜﻮن اﻟﻨﻈﺎم ﻣﻦ أﻟﻮاح‬.‫ﻟﻴﻮﻓﺮ أﻗﺼﻰ ﻗﺪر ﻣﻦ اﻟﻈﻞ ﻓﻲ اﻟﻨﻬﺎر‬ ‫ﺧﺸﺒﻴﺔ ﻣﻜﻮﻧﺔ ﻣﻦ ﻃﺒﻘﺘﻴﻦ اﺳﺘﺨﺪم ﻓﻴﻬﺎ ﻧﻮﻋﻴﻦ ﻣﺨﺘﻠﻔﻴﻦ‬ ‫ﻟﻮاح اﻟﺨﺸﺒﻴﺔ‬P‫ ﺗﻢ ﻗﻄﻊ ﻫﺬه ا‬.‫ﻣﻦ اﻟﺨﺸﺐ اﻟﺘﻨﻮب واﻟﺰان‬ ‫وﺗﺜﺒﻴﺘﻬﺎ ﻣﻌ ﺑﺤﻴﺚ ﺗﻌﻤﻞ ﻃﺒﻘﺔ ﻣﻦ ﺧﺸﺐ اﻟﺘﻨﻮب ﻓﻲ اﺗﺠﺎه‬ ‫واﺣﺪ وﺗﻨﻄﺒﻖ ﻋﻠﻴﻬﺎ أﻟﻮاح ﺧﺸﺐ اﻟﺰان ﻋﻠﻴﻬﺎ ﻋﻤﻮد ًﻳﺎ ﻣﻦ ﺧﻼل‬ ‫ﻟﻮاح اﻟﺨﺸﺒﻴﺔ ﻟﻌﺎﻣﻞ اﻟﺮﻃﻮﺑﺔ ﻓﻲ اﻟﺠﻮ ﻓﺘﻨﺤﻨﻲ‬P‫اﺳﺘﺠﺎﺑﺔ ا‬ .‫ﻟﻮاح ﺑﺎﻟﻘﺪر اﻟﻜﺎﻓﻰ ﻟﺘﻮﻓﺮ ﺑﺬﻟﻚ اﻟﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ‬P‫ا‬

UNHOý«dŠ `²Hð U bMŽË oKGð ÂbŽ dÐuMB « W²³½ Retractable sunshades have long been used to adjust the amount of sunlight an area gets during the day, but these are usually driven by motors. Taking inspiration from the humble pine cone, engineers at ETH Zurich have now developed a shading system that can open and close automatically – no electricity required.

In order to release seeds at the most opportune time, pine cones open their scales in warm and dry weather, and remain closed and sealed up when it’s cold and wet.

The natural mechanism behind this is clever – the scales are made up of two connected layers with fibers running perpendicular to each other that lets them contract as the air around them dries, which pulls the cone open.

The ETH Zurich team, led by Chiara Vailati, built on the concept to create a prototype sunshading system that would move to provide maximum shade at midday and tuck away in the early morning, evening and night. To do so, the system consists of planks made with two layers of different wood – spruce and beech. These wood samples have been cut and joined so the grain of the spruce layer runs in one direction and that of the beech wood runs perpendicular to it. That mimics the pine cone structure, allowing it to bend in response to humidity. Æ…dÝUJ « ÖuLM ŸUD 76 Albenaa

¡UM³ « ∑∂

‫ ‪WO½öŽ≈ …œU ¡UM³ « o×K‬‬

‫ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟ ﺛﺎث واﻟﻤﻨﺰل ﺳﺒﺘﻤﺒﺮ ‪٢٠١٨‬‬ ‫‪Maison et Objet Paris September 2018‬‬ ‫ﻳﻌﺪ ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟ ﺛﺎث واﻟﻤﻨﺰل ﻣﻦ‬ ‫أﻓﻀﻞ اﻟﻤﻌﺎرض اﻟﻌﺎﻟﻤﻴﺔ اﻟﺘﻲ ﺗﺠﻤﻊ‬ ‫أﺣﺪث اﻟﻤﻨﺘﺠﺎت واﻟﻤﻔﺮوﺷﺎت وﻗﻄﻊ ا‪#‬ﺛﺎث‬ ‫وﻣﺼﻤﻤﻲ أﺛﺎث ودﻳﻜﻮر ﻣﻦ ﺷﺘﻰ أﻧﺤﺎء‬ ‫اﻟﻌﺎﻟﻢ ﺗﺤﺖ ﺳﻘﻒ واﺣﺪ‪.‬‬ ‫ﻳﻨﻌﻘﺪ اﻟﻤﻌﺮض ﻓﻲ ﻧﺴﺨﺘﻪ اﻟﺜﺎﻧﻴﺔ ﻟﻌﺎم ‪٢٠١٨‬‬ ‫ﻓﻲ ﺷﻬﺮ ﺳﺒﺘﻤﺒﺮ ﻓﻲ اﻟﻔﺘﺮة ﻣﻦ ‪ ٧‬ﺣﺘﻰ ‪١١‬‬ ‫ﻟﻤﺪة ﺧﻤﺲ أﻳﺎم‪.‬‬ ‫ﻓﻲ ﻫﺬه اﻟﻨﺴﺨﺔ ﻣﻦ اﻟﻤﻌﺮض ﻗﺎﻣﺖ‬ ‫إﺻﻼﺣﺎت ﺷﺎﻣﻠﺔ ﻟﻬﻴﻜﻞ اﻟﻤﻌﺮض واﻟﺘﻲ‬ ‫ﺗﻌﻜﺲ رﻏﺒﺔ اﻟﻤﻨﻈﻤﻴﻦ ﻓﻲ اﻟﻌﻮدة إﻟﻰ‬ ‫اﻟﻔﻜﺮة ا‪#‬ﺳﺎﺳﻴﺔ ﻟﻠﻤﻌﺮض اﻟﺘﻲ ﺗﻌﺘﻤﺪ ﻋﻠﻰ‬ ‫ﺟﻌﻞ اﻟﻤﻌﺮض أﻛﺜﺮ ﺳﻬﻮﻟﺔ ﻓﻲ اﻟﺘﻨﻘﻞ ﺑﻴﻦ‬ ‫أﺟﺰاءه ﺑﺎ‪S‬ﺿﺎﻓﺔ إﻟﻰ ﺗﻘﺴﻴﻢ اﻟﻤﻌﺮض إﻟﻰ‬ ‫أﻗﺴﺎم واﺿﺤﺔ ﺣﺴﺐ ﺗﺼﻨﻴﻒ اﻟﻤﻨﺘﺠﺎت‬ ‫واﻟﺴﻌﺮ ﻟﺘﻮﻓﻴﺮ اﻟﻮﻗﺖ‪.‬‬ ‫ﺗﺘﻨﻮع وﺗﺘﻐﻴﺮ اﺗﺠﺎﻫﺎت اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ‬ ‫وﻳﻜﻤﻦ اﻟﺘﺤﺪي ﻓﻲ إﺑﺘﻜﺎر ﺗﺼﺎﻣﻴﻢ ﺟﺪﻳﺪة‬ ‫وإﻟﻬﺎﻣﺎت ﺟﺪﻳﺪة وﻗﺪ ﻗﺎم اﻟﻤﻌﺮض ﺑﺈﺟﺮاء‬ ‫ﺗﻐﻴﺮات ﻓﻲ أﻗﺴﺎﻣﻪ ﺣﻴﺚ ﻳﻨﻘﺴﻢ اﻟﻤﻌﺮض‬ ‫إﻟﻰ ﻗﺴﻤﻴﻦ اﻟﻤﻨﺰل ‪ Maison‬وا‪#‬ﺛﺎث ‪Objet‬‬ ‫وﻳﻀﻢ ﻗﺴﻢ اﻟﻤﻨﺰل ‪ Maison‬ﻋﻠﻰ أرﺑﻊ‬ ‫أﻗﺴﺎم ﺗﺤﺘﻮي ﻋﻞ ﻣﺎﻳﺘﻢ ﻋﺮﺿﻪ ﻓﻴﻬﺎ‪ :‬ﻓﺮﻳﺪة‬ ‫وإﻧﺘﻘﺎﺋﻴﺔ‪ ،‬اﻟﻴﻮم‪ ،‬ﻟ ﺑﺪ‪ ،‬ﺣﺮﻓﻴﺔ‪ .‬أﻣﺎ ﻗﺴﻢ ا‪#‬ﺛﺎث‬ ‫‪ Objet‬ﻓﻴﻘﺴﻢ إﻟﻰ ﺳﺒﻌﺔ أﻗﺴﺎم‪ :‬اﻟﻤﺸﺎرﻛﺔ‬ ‫واﻟﻤﻄﺒﺦ‪ ،‬اﻟﻬﺪﻳﺔ اﻟﺬﻛﻴﺔ‪ ،‬إﻛﺴﺴﻮارات‪،‬‬ ‫اﻟﻌﺎﺋﻠﺔ وا‪#‬ﻃﻔﺎل‪.‬‬

‫∏∑ « ‪¡UM³‬‬

‫‪78 Albenaa‬‬