Issue 319 big cover 2

319

May 2017 / Volume 37

Libraries Architecture ‫ﻋﻤﺎرة اﻟﻤﻜﺘﺒﺎت‬

‫ﻫـ‬١٤٣٨ ‫ ﺷﻌﺒﺎن‬/ ٣٧ ‫اﻟﺴﻨﺔ‬

٣١٩

‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫« ‪≥±π œbF « ¨5Łö¦ «Ë WFÐU « WM‬‬ ‫‪ ≤∞±∑ u¹U Ø?¼ ±¥≥∏ ÊU³Fý‬‬ ‫« ‪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

‫‪∫…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

‫ا ﻓﺘﺘﺎﺣﻴﺔ‬ ‫اﻟﺪور اﻟﺠﺪﻳﺪ ﻟﻠﻤﻜﺘﺒﺎت اﻟﻮﻃﻨﻴﺔ ﻓﻲ ﻣﻨﻄﻘﺘﻨﺎ‬

‫‪±¥‬‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫ﻣﺸﺎرﻳﻊ ﻣﺤﻠﻴﺔ و ﻋﺎﻟﻤﻴﺔ ﺣﺪﻳﺜﺔ‬

‫∂‪±‬‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫ﺟﺪران ﺧﺮﺳﺎﻧﻴﺔ ﻣﺴﺒﻘﺔ اﻟﺼﻨﻊ‬ ‫ﺗﻜﺴﻴﺎت ﻟ*رﺿﻴﺎت‬ ‫ﻧﻈﺎم أﻗﻔﺎل ﻟ*ﺑﻮاب‬ ‫ﺳﻴﻠﻴﻜﻮن ﻣﺎﻧﻊ ﻟﻠﺘﺴﺮب‬ ‫ﻋﺎزل ﺻﻮﺗﻲ ﺑﻘﻴﺎﺳﺎت ﻛﺒﻴﺮة‬

‫∞≥‬ ‫≤≥‬ ‫‪≥¥‬‬ ‫∂≥‬ ‫∂≥‬

‫ﻣﺸﺮوﻋﺎت ﺳﻌﻮدﻳﺔ‬ ‫ﺣﺮاج ﺑﻦ ﻗﺎﺳﻢ ‪ -‬ﻣﻜﺘﺐ ﻋﺒﺪا‪A‬ﻟﻪ اﻟﻤﻬﻨﺎ‬

‫ﻋﻤﺎرة اﻟﻤﻜﺘﺒﺎت‪ ...‬ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬ ‫اﻟﻤﻜﺘﺒﺎت ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬ ‫ﻣﻜﺘﺒﺔ ﻟﻠﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬ ‫ﻣﻜﺘﺒﺔ ﺗﺴﺘﺠﻴﺐ ﻟﻠﻤﻨﺎخ‬ ‫ﻣﻌﻠﻢ ﻣﻌﻤﺎري وﺛﻘﺎﻓﻲ‬ ‫ﻣﻜﺘﺒﺔ وﻣﻌﻠﻢ ﻣﻌﻤﺎري‬ ‫ﻣﻜﺘﺒﺔ وﻣﺮﻛﺰ ﺗﻌﻠﻴﻤﻲ‬ ‫ﻣﻜﺘﺒﺔ ﻋﺎﻣﺔ‬ ‫ﻣﻜﺘﺒﺔ ﺳﺒﺘﺔ اﻟﻌﺎﻣﺔ‬ ‫ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ اﻟﻌﻠﻮم ا‪A‬ﻧﺴﺎﻧﻴﺔ وﻋﻠﻢ ا‪A‬ﺟﺘﻤﺎع‬ ‫ﻣﻜﺘﺒﺔ اﻟﺠﺎﻣﻌﺔ اﻟﺤﺮة‬ ‫ﻣﺠﻤﻊ ا‪E‬رﺷﻴﻒ اﻟﻮﻃﻨﻲ ـ ﻓﺮﻧﺴﺎ‬

‫∏≥‬ ‫)ﻗﺴﻢ ﺧﺎص ﺑﺎﻟﻤﺸﺘﺮﻛﻴﻦ(‬

‫‪¥¥‬‬ ‫‪≤Â‬‬ ‫‪∏Â‬‬ ‫‪±≤Â‬‬ ‫‪±∏Â‬‬ ‫‪≤¥Â‬‬ ‫‪≤∏Â‬‬ ‫‪≥≤Â‬‬ ‫‪≥≤Â‬‬ ‫‪¥∞Â‬‬ ‫‪¥¥Â‬‬

‫ﻣﺸﺎرﻳﻊ ﺣﺪﻳﺜﺔ‬ ‫اﻟﻤﺴﻜﻦ اﻟﻤﻤﻮج‬ ‫ﻣﺴﻜﻦ ﻳﻮﻓﺮ اﻟﺨﺼﻮﺻﻴﺔ‬ ‫ﺑﺮج أوﺳﻴﺘﺎﻧﻲ‬

‫∏‪π‬‬ ‫∞∞‪±‬‬ ‫≤∞‪±‬‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫‪±∞¥‬‬

WOŠU²² ù«

A New Role for Our National Libraries

Libraries perform and instrumental role in spreading knowledge in the society specially public libraries. These libraries are open for all groups of the society and not only exclusive to students and researchers. While visiting public libraries abroad I was amused by the magnitude of the number of libraries’ visitors from every group of the society. And although it is thought that the number of visitors is shrinking as a result of the digital technologies that ensued and which provides a huge source for knowledge and research, a role that used to be played by libraries, and that libraries will disappear, the reality is different and non of these arguments have taken place.

In fact public libraries have flourished and the number of visitors is increasing because of the strategies adopted by these libraries to attract more visitors from embracing digital technologies to adding more activities. Thus transforming the library into an urban centre that offers recreational, social, and cultural even marketing services.

I was fascinated by what I saw and what these libraries offer from the huge information it brings through several media digital or paper. You feel the atmosphere of respect in these societies toward science and knowledge and culture, and I wished we have such buildings but I was pessimistic at first because without the crowd eagerness toward libraries these libraries would have failed. Therefore, to have libraries we must entice the society towards it.

But then optimism was instilled in me again. These same libraries, however, have faced such predicament by the end of the 20th century as its visitors plummeted and as the general belief at that time that libraries will vanish.

To face this, libraries accommodated stores, cafes, and other activities suitable for all ages and attracted many people through digital technologies. It incorporated all means available for research under one roof. in addition, it permitted al those who didn’t have access to the digital technologies to use it for free.

Today I find myself optimistic to have more libraries in our region. Libraries that are able to entice and attract the society to it. Not the ones that have formal type and the still dealt with in our region.

Editor ’N Chief

‫اﻟﺪور اﻟﺠﺪﻳﺪ ﻟﻠﻤﻜﺘﺒﺎت‬ ‫اﻟﻮﻃﻨﻴﺔ ﻓﻲ ﻣﻨﻄﻘﺘﻨﺎ‬ Í—u× —Ëœ l?L²−*« w W dF*« d?AM W³²J*« t¹œRð Íc? « —Ëb « U¾ qJ W?Šu²H ÊuJð w?² « pKð Í√ ¨ W? UF « U?³²J*« W? UšË U³²J —“ bI Æ U?F U'« W³KÞË 5¦ŠU³K j?I fO Ë l?L²−*« U¾ q s UNOKŽ b¹bA « ‰U³ ù« «c¼ wMA¼œ√ bI Ë Ã—U)« w W UŽ ÂU−Šù« v ≈ t?łu² « s bI²F¹ U2 r?žd UЮ —ULŽ_« q Ë l?L²−*« `L? ð w² « WOL d « UOMI² « —U?A²½≈ v ≈ W−O²½ U³²J*« w½U³ sŽ U uKF*« sŽ Y׳ « sJ1Ë ¨WOL d « U³²J*« ¡UA½≈Ë W dF*« dAMÐ p – sJ Æ©oÐU? « w U?³²J*« tÐ œdHMð X?½U Íc « —Ëb? « u?¼Ë wM³² W−O²½ UNOKŽ ‰U?³ ù« œ«“Ë U³²J*« d¼œ“« b?IK ¨ Àb×¹ r?

UOMI² « ‰U?šœ≈ d³Ž ¨UNO ≈ ”UM « »c?' …b¹bł VO U?Ý√ U³²J*« v ≈ …b¹bł WD?A½√ ‰Ušœ≈ Èdš√ WNł s? Ë WNł s UNO ≈ W?OL d « WONO dð U bš ÂbI¹ w½b e d v ≈ W³²J*« X u% v²Š ¨ U³²J*« ‰U³ ≈ s X¹√— U?0 X³−Ž√ bI ÆWOI¹u? ðË qÐ WO UIŁË WOŽUL²ł«Ë w² «Ë U uKF*« r? Ë Ò W dF*« Ÿ«u½√ s? U³²J*« Ác¼ Ád uð U?0 Ë ULOÝôË ¨WO —u «Ë UNM WOL d « qzUÝu « W UJÐ U¼d?AMðË UN½e ð pKF& w² «Ë U³²J*« Ác¼ qš«œ ”UM « UNO gOF¹ w² « ¡«uł_« Ác¼ XOM9 ÆW UI¦ «Ë W dF*«Ë rKFK UFL²−*« Ác¼ «d²Š≈ Èb0 dF?Að d _« sJ¹ r W¹«b³ « w? sJ Ë w½U³*« s ŸuM « «c¼ U?M¹b Êu?J¹ Ê√ t H½ lL²−*« s t²¹√— Íc « b¹bA « ‰U³ ù« «c¼ ôuK ¨ w Î UF−?A √b³¹ Ê√ V−¹ t½√ u¼ w W³? M UÐ ÊU d _U ¨ U³²J*« Ác¼ X×$ U* dOGð U ÊUŽd?Ý sJ Ë ÆÎUO½UŁ U³²J*« ÂUIð rŁ ÎôË√ ‰U³ ùUÐ lL²−*« w U³²J*« Ê√ XLKŽ U bMŽ ¨ dO³ ‰ƒUHð tK× q×O ƒU?A² « «c¼ ÍœöO*« s¹d?AF « ÊdI « W¹UN½ w XNł«Ë b W bI²*« ‰Ëb? « Ác¼ U³²J*« dNþ v²Š X u « p? – w U¼—«Ë“ œbŽ w dO³ l?ł«dð WO UIŁË W?ONO dð WD?A½√Ë w¼UI Ë W?¹—U& ö× ÍËQ?ð w?² « ”UM « s dO¦J « WOL d « UOMI² « ‰öš s XÐcłË ¨—ULŽ_« W UJ sŽ Y׳K WŠU²*« qzU?Ýu « q XFLł YOŠ ¨UNO½U³ sŽ s?¹bOF³ « qJ X×L?Ý UL ¨bŠ«Ë nI?Ý X% U?NFC² W? dF*«Ë W? uKF*« ¨ WOL d « UOMI² « «b ²?Ý« vKŽ …—bI*« rN¹b sJ¹ r s¹c « ¡ôR¼ ÆÎU½U− rN UN² bI Î UM²IDM w? U³²J*« —U?A²½≈ WO½UJ SÐ ö?zUH² w? H½ bł√ Âu?O « pKð bFð r UN½√ YOŠ UNO ≈ lL²−*« »cłË lO−?A² « vKŽ UNð—bI Ë w{U*« w tOKŽ X?½U Íc « wL?Ýd « wLKF « lÐUD « «– U?³²J*« ÆUM²IDM w U³²J*« iFÐ tÐ q UF²ð X «“U Íc «Ë d¹dײ « fOz—

14 Albenaa

¡UM³ « ±¥

l¹—UA*« —U³š√

Deputy Crown Prince Mohammed bin Salman bin Abdulaziz Al Saud, the Chairman of the Board of Directors of the Public Investment Fund, has announced the launch the Kingdoms largest cultural, sports and entertainment city in Al Qidiya, southwest of Riyadh. The city is the first of its kind in the world with an area of 334 square kilometers, including a major safari area.

The city will become a prominent cultural landmark and an important center for meeting the future generation`s recreational, cultural and social needs in the Kingdom.

This pioneering and most ambitious project in the Kingdom comes within the framework of plans to support the 2030 vision of the Kingdom of Saudi Arabia by creating investments within the Kingdom that serve the country and the citizens. It also contributes to diversifying Saudi economy and creates more jobs opportunities for young people.

‫أﻋﻠﻦ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﻤﻠﻜﻲ‬ ‫ا ﻣﻴﺮ ﻣﺤﻤﺪ ﺑﻦ ﺳﻠﻤﺎن ﺑﻦ‬ ‫ﻋﺒﺪ اﻟﻌﺰﻳﺰ آل ﺳﻌﻮد وﻟﻲ وﻟﻲ‬ ‫اﻟﻌﻬﺪ رﺋﻴﺲ ﻣﺠﻠﺲ إدارة ﺻﻨﺪوق‬ ‫اﻻﺳﺘﺜﻤﺎرات اﻟﻌﺎﻣﺔ ﻋﻦ ﻣﺸﺮوع‬ ‫أﻛﺒﺮﻣﺪﻳﻨﺔ ﺛﻘﺎﻓﻴﺔ ورﻳﺎﺿﻴﺔ وﺗﺮﻓﻴﻬﻴﺔ‬ ،‫ﻣﻦ ﻧﻮﻋﻬﺎ ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﻌﺎﻟﻢ‬ ‫ﺑﻤﻨﻄﻘﺔ )اﻟﻘﺪﻳﺔ( ﺟﻨﻮب ﻏﺮب‬ ‫ ﺣﻴﺚ ﺗ ٌّﻌﺪ ا وﻟﻰ‬،‫اﻟﻌﺎﺻﻤﺔ اﻟﺮﻳﺎض‬ ‫ﻣﻦ ﻧﻮﻋﻬﺎ ﻓﻲ اﻟﻌﺎﻟﻢ ﺑﻤﺴﺎﺣﺔ‬ ‫ ﺑﻤﺎ ﻓﻲ‬، ‫ ﻛﻴﻠﻮﻣﺘﺮا ﻣﺮﺑﻌﺎ‬٣٣٤ ‫ﺗﺒﻠﻎ‬ ‫ ﺣﻴﺚ‬.‫ذﻟﻚ ﻣﻨﻄﻘﺔ ﺳﻔﺎري ﻛﺒﺮى‬ W‫ وﻣﺮﻛﺰ‬W‫ ﺑﺎرز‬Y‫ ﺣﻀﺎرﻳ‬Y‫ﺳﺘﻌﺪ ﻣﻌﻠﻤ‬ ‫ ﻟﺘﻠﺒﻴﺔ رﻏﺒﺎت واﺣﺘﻴﺎﺟﺎت ﺟﻴﻞ‬Y‫ﻣﻬﻤ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ اﻟﺘﺮﻓﻴﻬﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬ ‫ وﻳﺄﺗﻲ‬،‫واﻻﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ اﻟﻤﻤﻠﻜﺔ‬ ‫ﻫﺬا اﻟﻤﺸﺮوع اﻟﺮاﺋﺪ وا ﻛﺜﺮ‬ ‫ ﻓﻲ اﻟﻤﻤﻠﻜﺔ ﺿﻤﻦ اﻟﺨﻄﻂ‬Y‫ﻃﻤﻮﺣ‬ ‫اﻟﻬﺎدﻓﺔ إﻟﻰ دﻋﻢ ) رؤﻳﺔ اﻟﻤﻤﻠﻜﺔ‬ ‫( ﺑﺎﺑﺘﻜﺎر‬٢٠٣٠ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﺳﺘﺜﻤﺎرات ﻧﻮﻋﻴﺔ وﻣﺘﻤ ّﻴﺰة داﺧﻞ‬ ‫اﻟﻤﻤﻠﻜﺔ ﺗﺼﺐ ﻓﻲ ﺧﺪﻣﺔ اﻟﻮﻃﻦ‬ ‫ وﺗﺴﻬﻢ ﻓﻲ ﺗﻨﻮﻳﻊ‬،‫واﻟﻤﻮاﻃﻦ‬ ‫ ودﻓﻊ‬،‫ﻣﺼﺎدر اﻟﺪﺧﻞ اﻟﻮﻃﻨﻲ‬ ‫ وإﻳﺠﺎد‬،‫ﻣﺴﻴﺮة اﻻﻗﺘﺼﺎد اﻟﺴﻌﻮدي‬ .‫اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻔﺮص اﻟﻮﻇﻴﻔﻴﺔ ﻟﻠﺸﺒﺎب‬

Eastern Region Governor, Laid the Foundation Stone for the Project of Batterjee Medical City in Dammam His Royal Highness Prince Saud bin Nayef bin Abdulaziz, the Eastern Region Governor, laid the foundation stone for the project of Batterjee Medical city in Dammam. the project will be built on an area of 90 thousand square meters, and will be executed in four phases at a total cost estimated at four billion riyals the first phase will include

a hospital with a capacity of 150 beds equipped with the latest medical equipment. the second phase will include the Batterjee Medical College of Science and Technology, The third phase may iclude specialized hospitals depending on market`s needs while the fourth phase will include residencial & commercial area.

‫وﻟﻲ وﻟﻲ اﻟﻌﻬﺪ ﻳﻌﻠﻦ ﻋﻦ أﻛﺒﺮ‬ ‫ﻣﺪﻳﻨﺔ ﺗﺮﻓﻴﻬﻴﺔ ﻋﻠﻰ ﻣﺴﺘﻮى‬ ‫اﻟﻌﺎﻟﻢ ﻓﻲ اﻟﻤﻤﻠﻜﺔ‬ Deputy Crown Prince Announces Launch of Largest Recreational City in Kingdom ‫أﻣﻴﺮ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ ﻳﻀﻊ ﺣﺠﺮ‬ ‫ا ﺳﺎس ﻟﻤﺪﻳﻨﺔ اﻟﺒﺘﺮﺟﻲ‬ ‫اﻟﻄﺒﻴﺔ ﺑﺎﻟﺪﻣﺎم‬

.‫ﻋﻠﻲ ﻣﺴﺘﻮى اﻟﻤﻤﻠﻜﺔ‬ ٩٠ ‫ﺳﻴﻘﺎم اﻟﻤﺸﺮوع ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫اﻟﻒ ﻣﺘﺮ ﻣﺮﺑﻊ وﺳﻴﺘﻢ ﺗﻨﻔﻴﺬه ﻋﻠﻰ‬ ‫أرﺑﻊ ﻣﺮاﺣﻞ ﺑﺘﻜﻠﻔﺔ اﺟﻤﺎﻟﻴﺔ ﺗﻘﺪر‬ ‫ اﻟﻤﺮﺣﻠﺔ ا وﻟﻰ‬.‫ﺑﺄرﺑﻊ ﻣﻠﻴﺎر رﻳﺎل‬ ‫ﺳﻴﺘﻢ إﻧﺸﺎء ﻣﺴﺘﺸﻔﻰ ﺑﺴﻌﺔ‬ ‫ ﺳﺮﻳﺮ ﻣﺰودا ﺑﺄﺣﺪث ا ﺟﻬﺰة‬١٥٠ ‫ وﻓﻲ اﻟﻤﺮﺣﻠﺔ‬،‫واﻟﻤﻌﺪات اﻟﻄﺒﻴﺔ‬ ‫اﻟﺜﺎﻧﻴﺔ ﺳﻴﺘﻢ أﻧﺸﺎء ﻛﻠﻴﺔ اﻟﺒﺘﺮﺟﻲ‬ ،‫ﻟﻠﻌﻠﻮم اﻟﻄﺒﻴﺔ واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫وﻓﻲ اﻟﻤﺮﺣﻠﺔ اﻟﺜﺎﻟﺜﺔ ﺳﻴﺘﻢ أﻧﺸﺎء‬ ‫ﻣﺴﺘﺸﻔﻴﺎت ﻣﺘﺨﺼﺼﺔ ﺣﺴﺐ ﻣﺎ‬ ‫ اﻣﺎ اﻟﻤﺮﺣﻠﺔ‬،‫ﺗﻤﻠﻴﻪ ﺣﺎﺟﺔ اﻟﺴﻮق‬ ‫اﻟﺮاﺑﻌﺔ ﺳﻴﺘﻢ إﻧﺸﺎء ﻣﺠﻤﻊ اﺑﺮاج‬ ‫ﺳﻜﻨﻴﻪ وادارﻳﻪ وﻣﺮﻛﺰ ﺗﺠﺎري‬ .‫وﻓﻨﺎدق ﺑﻤﻮاﺻﻔﺎت ﻋﺎﻟﻤﻴﺔ‬

‫رﻋﻰ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﻤﻠﻜﻲ ا ﻣﻴﺮ‬ ‫ﺳﻌﻮد ﺑﻦ ﻧﺎﻳﻒ ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ‬ ‫أﻣﻴﺮ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ وﺿﻊ ﺣﺠﺮ‬ ‫ا ﺳﺎس ﻟﻤﺸﺮوع ﻣﺪﻳﻨﺔ اﻟﺒﺘﺮﺟﻲ‬ ‫اﻟﻄﺒﻴﺔ ﺑﻤﺪﻳﻨﺔ اﻟﺪﻣﺎم واﻟﺬي ﻳﻌﺪ‬ ‫ﻣﻦ اﻛﺒﺮ اﻟﻤﺸﺎرﻳﻊ اﻟﻄﺒﻴﺔ اﻟﺨﺎﺻﺔ‬

16 Albenaa

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l¹—UA*« —U³š√

‫ﻣﺠﻤﻮﻋﺔ ﻛﻴﺎن ﺗﻜﺸﻒ ﻋﻦ ﻣﺸﺮوع‬ «‫ﺟﺪﻳﺪ ﺑﺠﺪة ﻓﻲ »ﻣﻴﺒﻴﻢ‬ ‫ اﻟﺮاﺋﺪة ﻓﻲ ﻣﺠﺎل اﻟﺘﻄﻮﻳﺮ‬،‫ﻛﺸﻔﺖ ﻣﺠﻤﻮﻋﺔ ﻛﻴﺎن اﻟﺴﻌﻮدﻳﺔ‬ ‫ ﻋﻦ ﻣﺸﺮوﻋﻬﺎ اﻟﺠﺪﻳﺪ واﻟﻀﺨﻢ‬،‫وﺳﻂ‬P‫اﻟﻌﻘﺎري ﻓﻲ اﻟﺸﺮق ا‬ ‫اﻟﻤﻘﺎم ﺿﻤﻦ واﺟﻬﺔ أﺑﺤﺮ اﻟﻤﺎﺋﻴﺔ ﻓﻲ ﺟﺪة ﻓﻲ ﻣﻌﺮض‬ ‫ وﻣﻦ‬.‫ﻟﻠﺘﻄﻮﻳﺮ اﻟﻌﻘﺎري ﻓﻲ ﻣﺪﻳﻨﺔ ﻛﺎن اﻟﻔﺮﻧﺴﻴﺔ‬MIPIM ،‫ اﻟﻒ ﻣﺘﺮ ﻣﺮﺑﻊ‬١٤٠ ‫اﻟﻤﺨﻄﻂ أن ﻳﻜﻮن ﺣﺠﻢ اﻟﻤﺸﺮوع اﻟﺠﺪﻳﺪ‬ ‫ وﻳﻀﻢ اﻟﻤﺸﺮوع‬.‫ ﻣﻠﻴﺎر رﻳﺎل ﺳﻌﻮدي‬١٫٢ ‫ﺑﺘﻜﻠﻔﺔ ﻣﻘﺪارﻫﺎ‬ ‫ أﺣﺪﻫﻤﺎ ﻋﺒﺎرة ﻋﻦ ﻓﻨﺪق ذو ﻋﻼﻣﺔ ﺗﺠﺎرﻳﺔ‬،‫اﻟﻀﺨﻢ ﺑﺮﺟﻴﻦ‬ .‫ وا_ﺧﺮ ﻋﺒﺎرة ﻋﻦ ﺷﻘﻖ ﺳﻜﻨﻴﺔ ﻓﺎﺧﺮة‬،‫ﻓﺎﺧﺮة ﺧﻤﺴﺔ ﻧﺠﻮم‬ ‫وﻗﺪﻣﺖ ﻣﺠﻤﻮﻋﺔ ﻛﻴﺎن ﺧﻼل اﻟﻤﻌﺮض ﻣﻌﻠﻮﻣﺎت ﺣﻮل‬ Nikken ‫ وﺗﻢ اﺧﺘﻴﺎر ﺷﺮﻛﺔ ﻧﻴﻜﻦ ﺳﻴﻜﻲ‬،‫ﺗﻔﺎﺻﻴﻞ اﻟﻤﺸﺮوع‬ .‫ ﻟﺘﺼﻤﻴﻢ اﻟﻤﺸﺮوع‬Sekkei

Cayan Group Announces New Mega Project in Jeddah at MIPIM

‫أﻃﻮل ﺑﺮج ﻓﻲ ﻧﻴﻮﻳﻮرك‬ : ‫اﻟﻤﺼﻤﻢ‬ Architect : Zaha Hadid

‫ ﻋﻦ ﻣﺸﺮوع ﺟﺪﻳﺪ ﻣﺘﻌﺪد‬Zaha Hadid ‫ﻛﺸﻒ اﻟﻤﻜﺘﺐ اﻟﻬﻨﺪﺳﻲ ﻟـ‬ ‫ وﻳﻌﺘﻘﺪ ﺑﺄﻧﻪ ﺳﻴﻜﻮن أﻃﻞ ﺑﺮج ﻓﻲ‬، ‫اﻻﺳﺘﺨﺪاﻣﺎت ﻓﻲ ﻧﻴﻮﻳﻮرك‬ ‫ ﺳﻴﺮﺗﻔﻊ اﻟﺒﺮج ﻓﻮق ﻣﺒﻨﻰ ﻗﺎﺋﻢ‬.‫ ﻗﺪم‬١٤٠٠ ‫اﻟﻤﺪﻳﻨﺔ ﺑﻄﻮل ﻳﺼﻞ ﺣﺘﻰ‬ ‫ ﺣﻴﺚ ﺳﻴﺘﻢ ﺗﺠﺮﻳﺪ اﻟﻤﺒﻨﻰ وﺻﻮﻻً إﻟﻰ‬،‫ﺑﺪﻻً ﻣﻦ إﻋﺎدة اﻟﺒﻨﺎء ﻣﻦ ﺟﺪﻳﺪ‬ ‫ ﻃﺎﺑﻖ إﺿﺎﻓﻲ‬٤٠ ‫ﺿﺎﻓﻴﺔ اﻟﻼزﻣﺔ ﻟﺘﺤﻤﻞ‬O‫ﺳﺎﺳﺎت وإﺿﺎﻓﺔ اﻟﻬﻴﺎﻛﻞ ا‬P‫ا‬ .‫ وﻣﺴﺎﺣﺎت ﺗﺠﺎرﻳﺔ‬R‫وﺳﻴﻀﻢ اﻟﺒﺮج وﺣﺪات ﺳﻜﻨﻴﺔ وﻓﻨﺪﻗ‬

Cayan Group, the leading Saudi property developer in the Middle East, announced plans for a new mega project at the Obhur waterfront in Jeddah. Attending the world’s leading property market, MIPIM in Cannes, France, Cayan Group outlined some details of the planned project, and signed the architectural contract with Nikken Sekkei, the leading architectural firm.

Cayan’s new project will sprawl across a built-up area of 140,000 sqm at a cost of SAR 1.2billion and will consist of two towers: one a 5-star hotel and the other branded residences offering high-end living.

Supertall Skyscraper in New York A supertall skyscraper, designed by Zaha Hadid Architects has been proposed for Midtown Manhattan. The glass addition would bring the tower to 1,400 feet (427 metres) tall – putting in the supertall category of skyscrapers between 980 and 2,000 feet (300 and 600 metres) – creating a mixed-use property accommodating retail, residential and hotel spaces.

18 Albenaa

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‫ إﻟﻰ ﻓﻨﺪق‬TWA ‫ﺗﻄﻮﻳﺮ ﺻﺎﻟﺔ‬ ‫ ـ ﻧﻴﻮﻳﻮرك‬JFK ‫ﻓﻲ ﻣﻄﺎر‬

‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻣﺼﺎﺑﻴﺢ ا ﺿﺎءة‬ Richard Meier ‫ﻟﻠﻤﻬﻨﺪس‬ Richard Meier ‫ﻗﺪم اﻟﻤﻬﻨﺪس اﻟﻤﻌﻤﺎري اﻟﻌﺎﻟﻤﻲ‬ ‫&ول ﻣﺮة ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺼﺎﺑﻴﺢ اﻟﺒﻴﻀﺎء ذات ﺗﺼﻤﻴﻢ‬ Ana ‫ ﺣﻴﺚ ﺗﻌﺎون ﻣﻊ اﻟﻤﺼﻤﻤﺔ‬،‫ﻣﺴﺘﻮﺣﻰ ﻣﻦ ﻋﻤﺎرﺗﻪ‬ .‫ﻧﺘﺎج ﻫﺬه اﻟﻤﺠﻤﻮﻋﺔ‬6 ‫ وﻫﻲ ﻣﺼﻤﻤﺔ ﻟﻠﻤﻨﺘﺞ‬Meier ‫ ﻗﻄﻌﺔ ﻣﻦ أﻧﻮاع ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬١٢ ‫ﺗﺘﻜﻮن اﻟﻤﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫ واﻟﺨﺎﺻﺔ ﻟﻠﻄﺎوﻻت‬،‫ اﻟﻤﻌﻠﻘﺔ ﻓﻲ اﻟﺴﻘﻒ‬،‫ﺿﺎءة ) ا&رﺿﻴﺔ‬6‫ا‬ ‫اﻟﻤﻌﻠﻘﺔ ﻓﻲ اﻟﺠﺪار( ﺗﺘﻤﻴﺰ ﺑﺄﺷﻜﺎل ﻫﻨﺪﺳﻴﺔ ﺑﺴﻴﻄﺔ‬ Richard ‫وﻣﺘﻜﺮرة وﻣﺴﺘﻮﺣﺎة ﻣﻦ أﺟﺰاء ﻣﻦ ﻣﺸﺎرﻳﻊ‬ ‫م وﺗﺮﺟﻤﺘﻬﺎ‬١٩٨٤ ‫ اﻟﻔﺎﺋﺰة ﻓﻲ ﺟﺎﺋﺰة ﺑﺮﻳﺘﺰﻛﺮ ﻋﺎم‬Meier .‫إﻟﻰ ﻗﻄﻊ ﻧﺤﺘﻴﺔ ﺗﺘﻨﺎﺳﺐ ﻣﻊ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ‬

Richard Meier Launches Minimal Lighting Collection American architect Richard Meier has debuted a range of simple white lamps, in keeping with the signature style of his buildings.

The architect collaborated with his daughter Ana Meier, as well as lighting veteran Hervé Descottes, to create the Richard Meier Light collection.

The 12-piece range features sconces, pendants, table and floor lamps – some in simple geometric shapes and others that take cues from portions of the 1984 Pritzker Prize-winner`s projects.

‫ﻗﺎﻣﺖ ﺷﺮﻛﺔ ﻣﻄﻮرة ﻓﻲ اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا&ﻣﺮﻳﻜﻴﺔ‬ ‫ واﻟﺨﺎﺻﺔ ﺑﺘﺸﻐﻴﻞ اﻟﻔﻨﺎدق ﺑﺘﻄﻮﻳﺮ‬MCR Development ‫ ﻓﻲ ﻣﻄﺎر ﻧﻴﻮﻳﻮرك »ﺟﻮن ﻛﻴﻨﺪي« وﺗﺤﻮﻳﻠﻪ إﻟﻰ‬TWA ‫ﺻﺎﻟﺔ‬ .‫م‬٢٠٠١ ‫ وﻛﺎﻧﺖ ﻫﺬه اﻟﺼﺎﻟﺔ ﻗﺪ أﻏﻠﻘﺖ ﻣﻨﺬ ﻋﺎم‬، ‫ﻓﻨﺪق‬ ‫ﻳﻬﺪف اﻟﻤﺸﺮوع إﻟﻰ إﺣﻴﺎء اﻟﻤﺒﻨﻰ ﻣﻦ ﺟﺪﻳﺪ واﻟﻤﺤﺎﻓﻈﺔ‬ ‫ ﻋﺎم‬Eero Saarineen ‫ﻋﻠﻰ ﻋﻤﺎرﺗﻪ اﻟﻤﻤﻴﺰة ﻓﻬﻮ ﻣﻦ ﺗﺼﻤﻴﻢ‬ ‫ وﻛﺎن ﻳﻌﺪ أول ﻣﻄﺎر ذو ﻋﻤﺎرة ﺗﻌﺒﺮ ﻋﻦ اﻟﻄﻴﺮان‬،(‫م‬١٩٦٢) ‫ﺣﻴﺚ ﻳﻈﻬﺮ اﻟﺸﻜﻞ اﻟﻌﺎم ﻟﻠﻤﺒﻨﻰ ﻋﻠﻰ ﻫﻴﺌﺔ أﺟﻨﺤﺔ ﻃﺎﺋﺮ‬ ،‫ ﻣﻄﺎﻋﻢ‬٨ ‫ ﻏﺮﻓﺔ و‬٥٠٥ ‫ ﺳﻴﺘﻢ إﻧﺸﺎء ﻣﺎ ﻳﻘﺎرب‬.‫ﻳﻈﻠﻞ اﻟﻤﺒﻨﻰ‬ ‫ أﻟﻒ ﻗﺪم ﻣﺮﺑﻊ ﺣﻴﺚ‬٢٠٠ ‫ﺿﺎﻓﺔ إﻟﻰ ﺑﻬﻮ ﻛﺒﻴﺮ ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬6‫ﺑﺎ‬ .‫ﻳﻌﺘﻘﺪ أﻧﻬﺎ ﺳﺘﻜﻮن أﻛﺒﺮ ردﻫﺔ ﻓﻨﺪق ﻓﻲ اﻟﻌﺎﻟﻢ‬

MCR to Transform TWA Flight Center into a Hotel Hospitality investor and developer MCR Development is behind some of today’s most innovative hotel projects.

At John F. Kennedy International Airport in New York, The firm is developing a hotel that will transform the TWA Flight Center, a long-closed facility considered a masterpiece of 20th-century architecture. Tyler Morse, the firm’s CEO, recently announced the outlook for hospitality real estate, MCR’s eclectic business strategy and its signature projects: “The hotel is going to have 505 guestrooms, about 50,000 sq. ft. of event space, eight restaurant and six bars. It’s going to have a lot of great amenities in the building. There is going to be a very large lobby, roughly 200,000 sq. ft., so I think it will be the largest hotel lobby in the world.”

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Eco Technology Hub in England

‫ اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة‬- ‫اﻟﻤﺮﻛﺰ اﻟﺒﻴﺌﻲ اﻟﺘﻘﻨﻲ‬ : ‫اﻟﻤﺼﻤﻢ‬ Architect : Zaha Hadid

British green energy company Ecotricity has revealed plans for a new Zaha Hadid Architects-designed green technology hub in Stroud, England. The project, known as the “Gateway to Stroud,” will consist of several greenhouse-like buildings and a wooden footbridge that will connect the campus to a future all-wood stadium for the Forest Green Rovers football club, also designed by ZHA and revealed last year. Planned as a center for local sports and sport`s science, the ECO park will provide state-of-the-art office space for environmentallyfocused companies as well as public access to a wide range of health and leisure activities. Sustainability will be at the forefront of all design decisions – the football stadium itself will be constructed entirely from wood, and will be powered by renewable energy sources. A future element of the plan will be an expansive nature reserve that will allow the landscape to thrive in its natural state.

Ecotricity ‫ﻛﺸﻔﺖ اﻟﺸﺮﻛﺔ اﻟﺒﺮﻳﻄﺎﻧﻴﺔ ﻟﻠﻄﺎﻗﺔ اﻟﺨﻀﺮاء‬ ‫ﻋﻦ ﺗﺼﻤﻴﻢ ﻟﻤﺮﻛﺰ اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﺨﻀﺮاء ﻓﻲ ﻣﺪﻳﻨﺔ ﺳﺘﺮاود‬ ‫ﻓﻲ إﻧﺠﻠﺘﺮا ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ زﻫﺎ ﺣﺪﻳﺪ ﻟﻠﻌﻤﺎرة وﻳﻌﺮف‬ ‫ ﻳﺘﻀﻤﻦ اﻟﻤﺸﺮوع ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺒﻴﻮت‬. ‫ﺑﺎﺳﻢ ﺑﻮاﺑﺔ ﺳﺘﺮاود‬ ‫اﻟﺨﻀﺮاء ﻛﻤﺒﺎﻧﻲ وﺟﺴﺮ ﻣﺸﺎة ﻣﻦ اﻟﺨﺸﺐ ﻳﺮﺑﻂ اﻟﻤﺮﻛﺰ‬ ‫ اﻟﻤﺼﻨﻮع ﻣﻦ اﻟﺨﺸﺐ وﻫﻮ‬Forest Green Rovers ‫ﺑﺎﺳﺘﺎد‬ 9‫ ﺻﻤﻢ اﻟﻤﺸﺮوع ﻟﻴﻜﻮن ﻣﺮﻛﺰ‬. ‫ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ زﻫﺎ ﺣﺪﻳﺪ‬ ً ‫ﻣﺘﻜﺎﻣ‬ ‫ﻼ ﻟﻠﺮﻳﺎﺿﺔ ﻛﻤﺎ ﺳﻴﻀﻢ ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ ﻟﻠﺸﺮﻛﺎت‬ ‫ﻧﻈﻤﺔ اﻟﺒﻴﺌﻴﺔ ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬C‫اﻟﺘﻲ ﺗﻬﺘﻢ ﺑﺎ‬ .‫اﻟﻤﺮاﻓﻖ اﻟﺼﺤﻴﺔ واﻟﺘﺮﻓﻴﻬﻴﺔ اﻟﻌﺎﻣﺔ‬ ‫ اﻟﺘﻲ ﻳﻘﻊ ﻓﻴﻬﺎ اﻟﻤﺸﺮوع ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬Eco ‫ﺗﻀﻢ ﺣﺪﻳﻘﺔ‬ ‫اﻟﻤﺒﺎﻧﻲ اﻟﻤﻐﻠﻔﺔ ﺑﺎﻟﺰﺟﺎج واﻟﺨﺸﺐ ﻟﻠﺤﻔﺎظ ﻋﻠﻰ ﻟﻐﺔ اﻟﻌﻤﺎرة‬ ‫اﻟﻤﺴﺘﻮﺣﺎة ﻣﻦ ا@ﺳﺘﺎد وﺳﺘﻜﻮن ا@ﺳﺘﺪاﻣﺔ ﻓﻲ ﻃﻠﻴﻌﺔ‬ ‫اﻟﺘﺼﺎﻣﻴﻢ ﻟﻠﻤﺸﺮوع ﻓﺎ@ﺳﺘﺎد اﺳﺘﺨﺪم ﻓﻲ ﺑﻨﺎءه اﻟﺨﺸﺐ‬ .‫وﺳﻴﺘﻢ ﺗﺸﻐﻴﻠﻪ ﺑﻤﺼﺎدر اﻟﻄﺎﻗﺔ اﻟﻤﺘﺠﺪدة‬

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‫ﺗﻄﻮﻳﺮ ﻣﻜﺘﺒﺔ وﻻﻳﺔ ﻓﻜﺘﻮرﻳﺎ ـ اﺳﺘﺮاﻟﻴﺎ‬ : ‫اﻟﻤﺼﻤﻢ‬ Architect : Schmidt Hammer Lassen Schmidt ‫أﺧﺘﺎرت ﻣﻜﺘﺒﺔ وﻻﻳﺔ ﻓﻜﺘﻮرﻳﺎ ﻓﻲ ﻣﻠﺒﻮرن اﻟﻤﻬﻨﺪس اﻟﻤﻌﻤﺎري‬ ‫ ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻣﻌﻤﺎرﻳﻴﻦ ﻣﺤﻠﻴﻴﻦ ﻟﺘﻄﻮﻳﺮ اﻟﻤﺘﻜﺒﺔ‬Hammer Lassen .‫م ﻓﻲ أﺳﺘﺮاﻟﻴﺎ‬٢٠٢٠ ‫ﻟﺘﻠﺒﻴﺔ ﺟﻤﻴﻊ ﻣﺘﻄﻠﺒﺎت اﻻﺣﺘﻴﺎﺟﺎت اﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﻟﺮؤﻳﺔ‬ ‫ ﻣﻦ ﻣﺴﺎﺣﺔ‬٪٤٠ ‫ﻳﺘﻀﻤﻦ اﻟﺘﻄﻮﻳﺮ اﺳﺘﺨﺪام ﻣﺴﺎﺣﺎت ﻋﺎﻣﺔ أﻛﺜﺮ ﻣﻦ‬ ‫ وﻓﺘﺢ اﻟﻤﻜﺘﺒﺔ وإﻧﺸﺎء اﺗﺼﺎل ﻣﻊ اﻟﻌﺎﻣﺔ ﻟﺘﺘﻨﺎﺳﺐ ﻣﻊ‬، ‫اﻟﻤﺒﻨﻰ اﻟﻜﻠﻴﺔ‬ ‫ ﻣﻠﻴﻮن ﻣﺴﺘﺨﺪم‬٤ ‫اﻻﺣﺘﻴﺎﺟﺎت اﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﻣﻊ أﻛﺜﺮ ﻣﻦ ﻣﻠﻴﻮن زاﺋﺮ و‬ ‫ ﻓﺎﻟﻤﻜﺘﺒﺔ ﺗﻠﺒﻲ ﻛﺎﻓﺔ اﻻﺣﺘﻴﺎﺟﺎت اﻟﻌﻠﻤﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ‬،‫ﻟﻤﻮﻗﻊ اﻟﻤﻜﺘﺒﺔ‬ ‫ ورﻛﺰ اﻟﺘﺼﻤﻴﻢ‬،‫ﻣﻦ ﺧﻼل ﻣﺠﻤﻮﻋﺔ واﺳﻌﺔ ﻣﻦ اﻟﻤﺮاﺟﻊ واﻟﻜﺘﺐ وﻏﻴﺮﻫﺎ‬ ‫ﻋﻠﻰ اﻧﺸﺎء ﻣﺴﺎﺣﺎت ﻣﻔﺘﻮﺣﺔ وأﻣﺎﻛﻦ ﺳﻬﻞ اﻟﻮﺻﻮل إﻟﻴﻬﺎ ﻣﻦ ﻗﺒﻞ‬ ‫ ﻳﻬﺪف اﻟﻤﻜﺘﺐ اﻟﻤﺼﻤﻢ إﻟﻰ إﻧﺸﺎء ﻣﺴﺎﺣﺎت ﺗﻌﺰز ﻋﻤﻠﻴﺔ اﻟﺘﻌﻠﻴﻢ‬.‫اﻟﺰوار‬ N‫ وﺗﻮﺳﻴﻊ اﻟﻤﻜﺘﺒﺔ وﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ ﻣﻜﺎن ﻋﺎم وﻣﺮﻛﺰ‬،‫واﻻﻛﺘﺸﺎف واﻻﺑﺘﻜﺎر‬ ‫ ﻳﺠﺬب اﻟﻨﺎس إﻟﻴﻪ ﻟﻠﻤﺸﺎرﻛﺔ واﻟﺘﻌﻠﻢ واﻻﺧﺘﻼط‬S‫ اﺟﺘﻤﺎﻋﻴ‬S‫ﺣﻀﺎرﻳ‬ ‫ ﻳﺴﺘﻔﻴﺪ اﻟﺘﺼﻤﻴﻢ ﻣﻦ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻐﻠﻘﺔ ﻓﻲ اﻟﻤﺒﻨﻰ ﻣﻦ‬.‫اﻻﺟﺘﻤﺎﻋﻲ‬ ‫ﺧﺮى‬V‫ﺧﻼل إﻋﺎدة ﺗﺼﻤﻴﻤﻬﺎ وﻓﺘﺤﻬﺎ ﻟﻠﻌﺎﻣﺔ ورﺑﻄﻬﺎ ﻣﻊ اﻟﻤﺴﺎﺣﺎت ا‬ .‫ﻟﻴﺴﻬﻞ اﻟﺘﻨﻘﻞ ﻓﻲ ﻛﺎﻓﺔ أﻧﺤﺎء اﻟﻤﺒﻨﻰ‬

Renovation of Melbourne`s State Library of Victoria The State Library of Victoria in Melbourne has selected Schmidt Hammer Lassen Architects with local partners to lead in the design of redevelopment plan, Vision 2020. The scheme will return 40% more space to public use, aiming to “unlock possibilities, create connections and act as a framework” for the future evolution of Australia’s oldest and busiest library.

With over 1.9 million visitors and 4 million online users each year, the State Library of Victoria caters to the educational needs of people from a wide range of ages and cultural backgrounds. the design focuses on creating an open, highly-accessible space for people to engage and interact. The designer aim to create spaces that foster learning, exploration and innovation, expanding the Library`s reach and relevance and transforming this popular landmark into a true urban hub - a place where people in Melbourne naturally gravitate to in order to engage, learn, socialize and be inspired.

Taking advantage of the existing spaces of the library, the design both “unlocks” formerly inaccessible spaces to optimize their architectural potential.

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3 Top Architects Design 3 Library Developments in Chicago The City of Chicago and the Chicago Housing Authority have announced the selection of Skidmore, Owings & Merrill (SOM), Perkins + Will and John Ronan Architects to lead in the design of three new “co-located” affordable housing and library developments in the Chicago neighborhoods of Little Italy, West Ridge, and Irving Park. The three Chicago-based teams were chosen for their innovative ideas that will ensure that each community will have a design that best reflects its needs. All three firms bring with them a wealth of experience in building community-based projects and Chicago-based roots.Each of the new library facilities will include childhood active learning spaces, areas of one-on-one tutoring, and access to technology and creative resources.

SOM will design the Roosevelt Branch as part of the CHA’s ongoing redevelopment of the Roosevelt Square community. The Northtown Branch at Western and Pratt avenues in West Ridge will be designed by Perkins + Will, whose other Chicago projects include High School and University as well as more than a dozen libraries, sThe third project, the Independence Branch Irving Park, will be lead be John Ronan Architects.

‫ﺛﻼث ﻣﻌﻤﺎرﻳﻴﻦ ﻋﺎﻟﻤﻴﻴﻦ ﺻﻤﻤﻮا ﺛﻼث‬ ‫ﻣﻜﺘﺒﺎت ﻓﻲ ﺷﻴﻜﺎﻏﻮ‬ ‫ ﻣﻦ أﻓﻀﻞ‬٣ ‫اﺧﺘﺎرت ﻣﺪﻳﻨﺔ ﺷﻴﻜﺎﻏﻮ ﻣﺘﻤﺜﻠﺔ ﻓﻲ ﻫﻴﺌﺔ ﺷﻴﻜﺎﻏﻮ ﻟ ﺳﻜﺎن‬ : ‫اﻟﻤﻌﻤﺎرﻳﻴﻦ اﻟﻌﺎﻟﻤﻴﻴﻦ وﻫﻢ‬ Skidmore,owings &Merrill , John Ronan Architects , Perkins ‫ ﻟﺘﺼﻤﻴﻢ ﺛﻼث أﻓﺮع ﺟﺪﻳﺪة ﺗﺎﺑﻌﺔ ﻟﻤﻜﺘﺒﺔ ﺷﻴﻜﺎﻏﻮ اﻟﻌﺎﻣﺔ داﺧﻞ‬+ will ‫ ﺣﻴﺚ ﺗﻢ اﺧﺘﻴﺎرﻫﻢ‬، ‫ا;ﺣﻴﺎء اﻟﺴﻜﻨﻴﺔ ﻓﻲ أﺣﻴﺎء ﻣﺨﺘﻠﻔﺔ ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬ ‫;ﻓﻜﺎرﻫﻢ اﻟﻤﺒﺘﻜﺮة واﻟﺘﻲ ﺗﻀﻤﻦ أن ﻛﻞ ﺗﺼﻤﻴﻢ ﺳﻴﻮﻓﺮ ﻟﺠﻤﻴﻊ‬ ‫ وﺳﺘﻜﻮن ﻓﻜﺮة إﻧﺸﺎء ﻣﻜﺘﺒﺎت داﺧﻞ أﺣﻴﺎء‬. ‫اﻟﻤﺘﻄﻠﺒﺎت ﻋﻠﻰ أﻓﻀﻞ وﺟﻪ‬ ‫ وﻗﺪ ﺗﻢ‬، ‫ﺳﻜﻨﻴﺔ ا;وﻟﻰ ﻣﻦ ﻧﻮﻋﻬﺎ ﻟﻼﺳﺘﻔﺎدة وﺗﺠﻤﻴﻞ ا;ﺣﻴﺎء اﻟﺴﻜﻨﻴﺔ‬ ،‫ﺗﻘﻴﻴﻢ اﻟﻤﺸﺎرﻳﻊ ﻋﻠﻰ أﺳﺎس ﻣﻌﺎﻳﻴﺮ اﻟﺠﻮدة وﺳﻴﺎق اﻟﻌﻤﺎرة ﻟﻜﻞ ﻣﻮﻗﻊ‬ ،‫ﺿﺎﻓﺔ إﻟﻰ ﺗﻄﺒﻴﻖ ﻣﻌﺎﻳﻴﺮ اﻻﺳﺘﺪاﻣﺔ ﻓﻲ اﺳﺘﺨﺪام اﻟﻤﻮاد واﻟﺘﺨﻄﻴﻂ‬Q‫ﺑﺎ‬ ‫ وﺳﺘﻀﻢ ﻛ ًﻼ ﻣﻦ اﻟﻤﻜﺘﺒﺎت‬.‫ﺑﺘﻜﺎرات‬Q‫واﻟﻤﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ وﺗﺼﻤﻴﻢ ا‬ ‫ ﺗﻀﻢ‬T‫ﻃﻔﺎل وأﺧﺮى ﻟﻠﺘﻘﺪﻳﻢ دروس ﺧﺼﻮﺻﻴﺔ وأﻳﻀ‬Y‫اﻟﺜﻼﺛﺔ ﻣﺴﺎﺣﺎت ﻟ‬ .‫ﻣﺴﺎﺣﺎت ﻟﻠﺘﻘﻨﻴﺔ واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫ ﻳﻬﺪف إﻟﻰ‬Roosevelt ‫( ﺗﺼﻤﻴﻤﺎ ﻟﺤﻲ‬SOM) ‫ﻗﺪم اﻟﻤﻜﺘﺐ اﻟﻤﻌﻤﺎري‬ ‫ﺗﻮﻓﻴﺮ ﻣﺴﺎﺣﺎت اﺟﺘﻤﺎﻋﻴﺔ ﺟﺪﻳﺪة ﻟﻠﺤﻲ وﺗﻌﺪ ﺟﺰء` ﻣﻦ ﺗﻄﻮﻳﺮ ﻣﻨﻄﻘﺔ‬ ‫ﺿﺎﻓﺔ إﻟﻰ إﻧﺸﺎء ﻣﺴﺎﺣﺔ ﺗﺠﻤﻊ ﺑﻴﻦ اﻟﺴﻜﻦ‬Q‫ ﺑﺎ‬، Roosevelt Square ‫ وﻳﺘﻀﻤﻦ اﻟﻤﺒﻨﻰ ﻃﺎﺑﻖ واﺣﺪ ﻟﻤﻜﺘﺒﺔ ﻋﺎﻣﺔ وأرﺑﻌﺔ‬.‫واﻟﻤﻜﺘﺒﺔ ﻓﻲ ﺷﻴﻜﺎﻏﻮ‬ .‫ﺿﺎﻓﺔ إﻟﻰ ﻣﺴﺎﺣﺔ ﺗﺠﺎرﻳﺔ ﻣﻄﻠﺔ ﻋﻠﻰ اﻟﺸﺎرع‬Q‫ﻃﻮاﺑﻖ ﺳﻜﻨﻴﺔ ﺑﺎ‬ West ‫ ﻓﻲ ﻣﻨﻄﻘﺔ‬Perkins + will ‫ﺗﻘﻊ اﻟﻤﻜﺘﺒﺔاﻟﻤﺼﻤﻤﺔ ﻣﻦ ﻣﻜﺘﺐ‬ ‫ وﺗﻀﻢ اﻟﻤﻨﻄﻘﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺸﺎرﻳﻊ ﻣﺜﻞ‬، ‫ ﺷﻤﺎل ﺷﻴﻜﺎﻏﻮ‬Ridge .‫ﺟﺎﻣﻌﺔ وﻣﺪرﺳﺔ وﻣﻜﺘﺒﺎت أﺧﺮى‬ John Ronan Architects ‫أﻣﺎ اﻟﻤﻜﺘﺒﺔ اﻟﺘﻲ ﺻﻤﻤﻬﺎ اﻟﻤﻜﺘﺐ اﻟﻬﻨﺪﺳﻲ‬ Irving Park ‫ﺳﺘﻘﻼل ﻛﻤﺎ اﻃﻠﻖ ﻋﻠﻴﻬﺎ وﻫﻲ ﺗﻘﻊ ﻓﻲ‬Q‫ﺳﻤﻴﺖ ﺑﻔﺮع ا‬

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¡UM³ « ≤∂

‫√‪l¹—UA*« —U³š‬‬

‫ﺑﻠﻮوم ﻫﺎﻳﺘﺲ‬ ‫ﻣﺸﺮوع ﻣﺘﻌﺪد اﻻﺳﺘﺨﺪاﻣﺎت ﻓﻲ دﺑﻲ‬ ‫ﺑﻠﻮوم ﻫﺎﻳﺘﺲ ﻫﻮ ﻣﺸﺮوع ﺣﺪﻳﺚ ﻣﺘﻌﺪد ا ﺳﺘﺨﺪاﻣﺎت ﻳﻘﻊ ﻓﻲ‬ ‫ﻗﺮﻳﺔ ﺟﻤﻴﺮا ﺳﻴﺮﻛﻞ ﻓﻲ دﺑﻲ ‪.‬ﻳﻀﻢ ﻣﺒﻨﻰ ﺷﺎﻫﻘﺎ أﻧﻴﻘﺎ ﻳﺘﺄﻟﻒ ﻣﻦ‬ ‫ﺑﺮﺟﻴﻦ ﻳﺮﺗﺒﻄﺎن ﺑﺒﻌﻀﻬﻤﺎ اﻟﺒﻌﺾ ﻣﻦ اﻟﺪاﺧﻞ ﺑﻤﻨﺼﺔ ﻣﻜﻮﻧﺔ‬ ‫ﻣﻦ أرﺑﻊ ﻃﻮاﺑﻖ ﻣﻤﺎ ﻳﻤﻨﺢ اﻟﻤﺒﻨﻰ ﻣﻨﻈﺮا ﻣﺘﻨﺎﻏﻤﺎ وﻣﺘﻮازﻧﺎ‪,‬‬ ‫وﻳﻀﻤﺎن ‪ ٦٨٦‬وﺣﺪة ﺳﻜﻨﻴﺔ ﺗﺘﺮاوح ﺑﻴﻦ اﺳﺘﻮدﻳﻮﻫﺎت‪ ،‬وﺷﻘﻖ‬ ‫ﺑﻐﺮﻓﺔ‪ ،‬ﻏﺮﻓﺘﻴﻦ‪ ،‬وﺛﻼث ﻏﺮف ﻧﻮم‪ .‬أﻣﺎ ﻣﻦ اﻟﺨﺎرج‪ ،‬ﻓﻴﺘﺼﻼن ﺑﻄﺮﻳﻘﺔ‬ ‫ﻓﻨﻴﺔ ﻣﻌﻤﺎرﻳﺔ ﻣﺒﺘﻜﺮة‪ ،‬ﺗﺠﻤﻊ ﺑﻴﻦ اﻟﺒﺮﺟﻴﻦ ﺑﺄﺳﻠﻮب أﻧﻴﻖ راﺋﻊ‪.‬‬ ‫ﻛﻤﺎ ﻳﺘﻤﻴﺰ ﺑﺘﺼﻤﻴﻤﻪ اﻟﻌﺼﺮي ذو اﻟﺨﻄﻮط اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺒﺎرزة ﻣﻊ‬ ‫ﻧﻤﻮذج ﻣﻤﻮج ﻋﻠﻰ اﻟﻮاﺟﻬﺔ ا‪X‬ﻣﺎﻣﻴﺔ‪ ،‬ﻣﻤﺎ ﻳﻀﻔﻲ ﺷﻌﻮر‪ V‬ﺑﺎﻟﺤﺮﻛﺔ‬ ‫واﻟﺘﻨﺎﻏﻢ ‪ ,‬وﻳﺠﻤﻊ ﺑﻴﻦ اﻟﻤﻨﺎﻃﻖ اﻟﺴﻜﻨﻴﺔ واﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ‪،‬‬ ‫وﻣﺘﻄﻠﺒﺎت اﻟﺤﻴﺎة اﻟﻌﺼﺮﻳﺔ‪ .‬ﺻﻤﻢ اﻟﻤﺸﺮوع ﺑﻜﻔﺎءة وﺣﺮﻓﻴﺔ‬ ‫ﻋﺎﻟﻴﺔ‪ ،‬ﺑﺤﻴﺚ ﻳﻮﻓﺮ اﻟﻤﺴﺎﺣﺔ ا‪X‬ﻣﺜﻞ ﻟﻠﺴﻜﺎن واﻟﺘﻲ ﺗﺴﻤﺢ ﻟﻬﻢ‬ ‫ﺑﺎ ﺳﺘﻤﺘﺎع ﺑﻨﻤﻂ اﻟﺤﻴﺎة اﻟﺬي ﻳﺨﺘﺎروﻧﻪ‪ .‬وﻣﻦ اﻟﻤﻘﺮر أن ﻳﺘﻢ إﻧﺸﺎء‬ ‫”ﺑﻠﻮوم ﻫﺎﻳﺘﺲ“ وﻓﻘ‪X a‬رﻗﻰ ﻧﻤﺎذج اﻟﻌﻤﺎرة اﻟﺤﺪﻳﺜﺔ واﻟﻤﻌﺎﺻﺮة‬ ‫ﻣﻊ ﺗﺼﻤﻴﻢ ذﻛﻲ ﻳﺰﻳﺪ ﻣﻦ ﻣﺴﺎﺣﺔ اﻟﻤﻌﻴﺸﺔ‪ ،‬وﻗﺪ ﺻﻤﻤﺖ‬ ‫اﻟﺸﻘﻖ اﻟﺴﻜﻨﻴﺔ ﺑﻜﻔﺎءة ﻣﻊ ﺗﺸﻄﻴﺒﺎت ﻋﺎﻟﻴﺔ اﻟﺠﻮدة‪ ،‬وﺳﻴﻮﻓﺮ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺮاﻓﻖ اﻟﺘﻲ ﺗﺸﻤﻞ ﺣﻤﺎﻣﻲ ﺳﺒﺎﺣﺔ وﻣﻀﻤﺎر‪V‬‬ ‫ﻟﻠﺠﺮي‪ ،‬وﺻﺎﻟﺔ أﻟﻌﺎب رﻳﺎﺿﻴﺔ‪ ،‬وﻗﺎﻋﺔ ﻣﺘﻌﺪدة ا‪X‬ﻏﺮاض‪ .‬اﻟﻤﺸﺮوع‬ ‫ﺗﺎﺑﻊ ﻟﺸﺮﻛﺔ ﺑﻠﻮوم اﻟﻌﻘﺎرﻳﺔ‪ ،‬وﻫﻲ إﺣﺪى ﺷﺮﻛﺎت ”ﺑﻠﻮوم اﻟﻘﺎﺑﻀﺔ“‬ ‫واﻟﻤﺘﺨﺼﺼﺔ ﻓﻲ ﺗﻄﻮﻳﺮ اﻟﻤﺠﺘﻤﻌﺎت اﻟﻤﺘﻜﺎﻣﻠﺔ واﻟﻤﺴﺘﺪاﻣﺔ‪.‬‬

‫‪Bloom Heights‬‬ ‫‪Mix-use Urban Development in Dubai‬‬ ‫‪Bloom Heights is an elegant high rise building consisting of two‬‬ ‫‪towers linked internally by a four level podium which lends‬‬ ‫‪the building balance and harmony. Externally, a continuous‬‬ ‫‪element connects the two towers, giving unity to the complex.‬‬ ‫‪The two tower building is of contemporary design with strong‬‬ ‫‪architectural lines and a wave pattern on its façade, yielding a‬‬ ‫‪sense of movement and rhythm. Bloom Heights is a modern‬‬ ‫‪mix-use urban development that encompasses residential and‬‬ ‫‪retail elements. The project offers a total of 686 residential‬‬ ‫‪spacious units ranging from studios, one, two and three‬‬ ‫‪bedroom apartments. Bloom Heights will feature modern‬‬ ‫‪and contemporary architecture with an intelligent design that‬‬ ‫‪maximizes the value of living space. In addition to its efficiently‬‬ ‫‪designed apartments with high quality finishes, the project will‬‬ ‫‪offer a host of amenities including 2 swimming pools, a running‬‬ ‫‪track, a gym, a multipurpose hall and convenience retail.‬‬

‫∏≤ « ‪¡UM³‬‬

‫‪28 Albenaa‬‬

¡UM³ « w b¹b'«

‫ﺟﺪران ﺧﺮﺳﺎﻧﻴﺔ‬ ‫ﻣﺴﺒﻘﺔ اﻟﺼﻨﻊ‬

‰“UŽ ÊËbÐ w½UÝd)« —«b'«

‰“UF « l w½UÝd)« —«b'«

‫ﺟﺪران ﺧﺎرﺟﻴﺔ ﻣﻦ اﻟﺨﺮﺳﺎﻧﺔ ﻣﺴﺒﻘﺔ‬ ‫اﻟﺼﻨﻊ ﺗﺘﻮﻓﺮ ﻣﻦ ﻟﻮﺣﻴﻦ ﺧﺮﺳﺎﻧﻴﻴﻦ‬ ،‫ ﺑﺸﺒﻜﺔ ﻣﻦ اﻟﺤﺪﻳﺪ‬$‫ﻳﺮﺗﺒﻄﺎن ﻣﻌ‬ . ‫ﺗﺸﻜﻞ ﺑﺬﻟﻚ ﻓﺠﻮة ﺑﻴﻦ اﻟﻠﻮﺣﻴﻦ‬ ‫وﺗﺘﻤﻴﺰ ﻫﺬه اﻟﺠﺪران ﺑﺄﻧﻬﺎ ﻳﻤﻜﻦ أن‬ ‫ ﺑﻘﻮة‬$‫ﺗﺼﻤﻢ ﺑﺄﺷﻜﺎل ﻣﺨﺘﻠﻔﺔ وأﻳﻀ‬ ‫ﺗﺤﻤﻠﻬﺎ وﻣﺘﺎﻧﺘﻬﺎ اﻟﻌﺎﻟﻴﺔ وﺳﺮﻋﺔ‬ ‫ ﻛﻤﺎ ﺗﻘﻮم ﻫﺬه اﻟﺠﺪران ﻋﻠﻰ‬.‫ﺗﺜﺒﻴﺘﻬﺎ‬ ‫ ﺣﻴﺚ ﻳﻤﻜﻦ إﺿﺎﻓﺔ‬$‫ﻋﺰل اﻟﻤﺒﻨﻰ ﺣﺮارﻳ‬ ‫ﻟﻮاح‬D‫ﻃﺒﻘﺔ اﻟﻌﺎزل وﺗﺜﺒﻴﺘﻪ ﺑﻴﻦ ا‬ ‫ ﻛﻤﺎ ﻳﻤﻜﻦ اﺧﺘﻴﺎر ﺳﻤﺎﻛﺎت‬.‫اﻟﺨﺮﺳﺎﻧﻴﺔ‬ ‫ وﻳﻌﺪ ﻫﺬا اﻟﻨﻮع ﻣﻦ‬،‫ﻣﺨﺘﻠﻔﺔ ﻟﻠﻌﺎزل‬ ‫اﻟﺠﺪران ذو ﻛﻔﺎءة ﻋﺎﻟﻴﺔ ﻓﻲ اﻟﻌﺰل‬ .‫اﻟﺤﺮاري ﻟﻠﻤﺒﺎﻧﻲ‬

Precast Wall

‰“UŽ ÊËbÐ —«b−K wKOBHð ŸUD

‰‰“UF « “UF « l —«b−K wKBHð K ŸUD

w½U³*« bŠ√ w WO½UÝd)« Ê«—b'« «b ²Ý«

Precast double wall or Twin walls are two thin sheets of concrete wall panel held together by a lattice. The gap between these two leaves is filled with concrete after these units are installed on site.They can be used as a standard structural wall panel or as a retaining wall.

This solution, very easy to install, offers aesthetic, affordability, durability, strength and speed of installation on site, Precast thermal double walls are an innovative and effective solution to your building shell requirements.

The nature and thickness of the insulation can be modified according to customer needs.

This product has an excellent thermal inertia and can integrate strong insulation thicknesses. www.fehr-group.com

30 Albenaa

¡UM³ « ≥∞

¡UM³ « w b¹b'«

‫ﺗﻜﺴﻴﺎت ﻟ رﺿﻴﺎت‬ ‫ﺛﻼث أﻧﻮاع ﻣﺨﺘﻠﻔﺔ ﻣﻦ ا رﺿﻴﺎت ﺗﻘﺪﻣﻬﺎ‬ : Sika ‫ﺷﺮﻛﺔ‬ Sika Deco floor, Sika Deco flake ‫ وﺗﺘﻤﻴﺰ ﻫﺬه‬. , Sika Deco Quartz ‫اﻟﻤﻨﺘﺠﺎت اﻟﺜﻼﺛﺔ ﺑﺈﻧﺸﺎء أرﺿﻴﺎت ﺟﻤﻴﻠﺔ‬ ‫ذات ﺟﻮدة ﻋﺎﻟﻴﺔ ﻓﻬﻲ ﻣﻜﻮﻧﺔ ﻣﻦ راﺗﻨﺠﺎت‬ ‫اﻻﻳﺒﻮﻛﺴﻴﻴﻚ اﻟﺘﻲ ﺗﺠﻤﻊ ﺑﻴﻦ اﻟﺮاﺣﺔ‬ ‫وأداءﻫﺎ اﻟﻮﻇﻴﻔﻲ واﻟﺠﻤﺎﻟﻲ اﻟﻌﺎﻟﻲ وﻫﻲ‬ C.O.V ‫ ﻻﺗﺤﺘﻮي ﻋﻠﻰ ﻧﺴﺒﺔ ﻋﺎﻟﻴﺔ ﻣﻦ‬C‫أﻳﻀ‬ ‫اﻟﻤﺴﺒﺐ ﻟﻼﺣﺘﺒﺎس اﻟﺤﺮاري وﻣﻘﺎوﻣﺔ‬ ‫ وﺗﺘﻮﻓﺮ ﻫﺬه‬، ‫ﺷﻌﺔ ﻓﻮق اﻟﺒﻨﻔﺴﺠﻴﺔ‬I‫ﻟ‬ ‫اﻟﺘﻜﺴﻴﺎت ﺑﺄﻟﻮان ﻣﺨﺘﻠﻔﺔ واﻣﻜﺎﻧﻴﺔ‬ ‫ﻋﻤﻞ ﺗﺸﻄﻴﺒﺎت ﻣﺘﻌﺪدة ﺣﺴﺐ رﻏﺒﺔ‬ ً ‫ ﻓﻤﺜ‬،‫اﻟﻤﺘﺴﺨﺪم‬ ‫ﻼ ﻳﻤﻜﻦ أن ﺗﻜﻮن ﻧﺎﻋﻤﺔ‬ .‫ﻧﺰﻻق‬Q‫أو ﺷﺒﻪ ﻧﺎﻋﻤﺔ أو رﻣﻠﻴﺔ أو ﻏﻴﺮ ﻗﺎﺑﻠﺔ ﻟ‬ ‫وﻗﺪ ﺣﺎزت ﻫﺬه اﻟﻤﻨﺘﺠﺎت ﻋﻠﻰ ﺷﻬﺎدة‬ ‫ ﻣﻦ ﻣﺮﻛﺰ ﺗﻘﻨﻴﺔ وﻋﻠﻮم اﻟﻤﺒﺎﻧﻲ‬+A ‫ﺑﺘﻘﺪﻳﺮ‬ ‫ وﺗﺘﻨﺎﺳﺐ ﻫﺬه ا رﺿﻴﺎت‬.‫ﻓﻲ ﻓﺮﻧﺴﺎ‬ ،‫ اﻟﻤﺪارس‬، ‫ﻓﻲ اﻟﻤﺒﺎﻧﻲ اﻟﻌﺎﻣﺔ واﻟﺘﺠﺎرﻳﺔ‬ ‫اﻟﻤﻄﺎرات وا ﻣﺎﻛﻦ اﻟﺘﻲ ﺗﺤﺘﺎج أن ﺗﻜﻮن‬ ‫ذات ﻧﺴﺒﺔ ﻋﺎﻟﻴﺔ ﻣﻦ اﻟﻨﻈﺎﻓﺔ ﻣﺜﻞ ﻣﺼﺎﻧﻊ‬ ‫ا دوﻳﺔ ﺑﺎ[ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﺼﺎﻧﻊ وأﻣﺎﻛﻦ‬ .‫اﻟﺘﺨﺰﻳﻦ‬ WHK² s U √ w UO{—_« oO³D² —u

Sika Floor Sika decorative flooring makes it possible to create highly aesthetic floors thanks to an almost unlimited choice of finishes.

These epoxy resin coatings combine comfort, functionality and aesthetics.

Sika floor produce three type of floor Sika Deco Floor , Sika Deco Flake, Sika Deco Quartz which are available in many finishes and colors available (color chart available on request). The 3 product have many advantages as resistance to U.V. Low C.O.V., high mechanical resistance and easy maintenance. It can be used in many buildings type as school, commercial, airports… www.fra.sika.com

UO{—ú WŁö¦ « Ÿ«u½_«

32 Albenaa

¡UM³ « ≥≤

¡UM³ « w b¹b'«

‫ﻧﻈﺎم أﻗﻔﺎل ﻟ ﺑﻮاب‬ ‫ﻻﻳﻤﻜﻦ ﻟ ﺑﻮاب اﻟﺨﺎرﺟﻴﺔ أن ﺗﻌﻄﻴﻚ‬ Autolock ‫ ﻓﻤﻨﺘﺞ‬، ‫ﻣﺎن ﺑﻤﻔﺮدﻫﺎ‬$‫ا‬ ‫ ﻳﻮﻓﺮ ﺣﻤﺎﻳﺔ ﺟﻴﺪة ﻟ ﺑﻮاب‬AVP ‫ ﻓﻬﻮ ﻧﻈﺎم أﻗﻔﺎل ﻟ ﺑﻮاب‬،‫اﻟﺨﺎرﺟﻴﺔ‬ ‫ ﻣﻦ ﺧﻼل‬0‫ﻳﺘﻤﻴﺰ ﺑﺘﺸﻐﻴﻠﻪ ﺗﻠﻘﺎﺋﻴ‬ ‫ﺑﻮاب‬$‫اﻟﻤﻘﺒﺾ وﻳﺘﻨﺎﺳﺐ ﻣﻊ ا‬ ،‫ﻟﻮﻣﻨﻴﻮم‬$‫اﻟﺨﺸﺒﻴﺔ واﻟﺒﻼﺳﺘﻴﻜﻴﺔ وا‬ ‫وﻳﺘﻜﻮن اﻟﻘﻔﻞ ﻣﻦ ﻣﺰﻻﺟﻴﻦ ﻣﻦ‬ ‫ي‬$ ‫اﻟﺴﺘﻴﻞ ﻳﺘﻤﻴﺰان ﺑﻤﻘﺎوﻣﺘﻬﻤﺎ‬ .‫ﻣﺤﺎوﻻت ﻓﺘﺢ ﻏﻴﺮ ﻣﺸﺮوﻋﺔ‬

Locking system AutoLock AVP A solid exterior door won’t make a house secure on its own. autoLock AVP not only gives you the certainty of having a secure door, you can already tell upon activating it that we’re serious about this locking system when it comes to power and genuine strength. The handle-operated automatic locking system autoLock AVP offers powerful and dynamic locking – mechanical as well as spring-driven – without forgoing the familiar handle unlocking. It also features our innovative failsafe device. This prevents you from accidentally locking of the locking points – thus sparing your door frame from ugly scratches.

Aouto Lock AVP ‰UH √

Aoutolock AVP qH

‚öžù« bMŽ qHI « qJý

»U³ UÐ i³I s qHI UÐ rJײ «

tײ bMŽ qHI « qJý

qJý `{u¹ ŸUD »U³ « qš«œ qHI «

www.winkhaus.com

34 Albenaa

¡UM³ « ≥¥

¡UM³ « w b¹b'«

‫ﺳﻴﻠﻴﻜﻮن ﻣﺎﻧﻊ ﻟﻠﺘﺴﺮب‬ ‫ ﻫﻮ ﺳﻴﻠﻴﻜﻮن ﻣﺎﻧﻊ ﻟﻠﺘﺴﺮب ﺟﺎﻫﺰ‬Aco 820 ‫ ﻳﺴﺎﻋﺪ ﻋﻠﻰ اﻟﺤﻔﺎظ‬، adhis ‫ﻟﻼﺳﺘﺨﺪام ﻣﻦ ﺷﺮﻛﺔ‬ ‫ﻋﻠﻰ درﺟﺎت اﻟﺤﺮارة داﺧﻞ اﻟﻐﺮﻓﺔ اﻟﺘﻲ ﺗﺴﺒﺒﻬﺎ‬ ‫ ﻳﺘﻤﻴﺰ ﺑﺴﺮﻋﺔ ﺗﻤﺎﺳﻜﻪ ﻣﻊ اﺧﺘﻼف أﻧﻮاع‬.‫رﻃﻮﺑﺔ اﻟﺠﻮ‬ .‫ا ﺳﻄﺢ ﻣﺜﻞ اﻟﺨﺸﺐ واﻟﺰﺟﺎج وا ﻟﻮﻣﻨﻴﻮم وﻏﻴﺮﻫﺎ‬

Aco 820 Neutral Silicone Sealant Aco 820 is a ready-to-use neutral silicone sealant that cures at room temperature by the action of air humidity. It adheres without primer to almost all the materials encountered in the building, such as glass, aluminum, reinforced concrete, ABS, hard polystyrene, brass, bronze, steel, stainless steel, Galvanized steel, tile, treated wood, pvc, etc. www.ashis.fr

‫ﻋﺎزل ﺻﻮﺗﻲ ﺑﻘﻴﺎﺳﺎت ﻛﺒﻴﺮة‬ ‫ﻏﺸﺎء ﻣﻦ ا ﻟﻴﺎف اﻟﺰﺟﺎﺟﻴﺔ اﻟﻌﺎزﻟﺔ ﻟﻠﺼﻮت ﻳﺘﻢ‬ ‫ﻓﺮدﻫﺎ ﺗﺤﺖ ا رﺿﻴﺎت ﺳﻮاء ﻛﺎﻧﺖ ﻣﻦ اﻟﺮﺧﺎم‬ ‫ ﻳﺘﻤﻴﺰ ﺑﻘﻴﺎﺳﺎﺗﻪ‬.‫أو اﻟﺴﻴﺮاﻣﻴﻚ أو اﻟﺨﺸﺐ‬ ،‫اﻟﻜﺒﻴﺮة ﺣﻴﺚ ﻳﻤﻜﻦ ﺗﻐﻄﻴﺔ ﻣﺴﺎﺣﺎت ﻛﺒﻴﺮة‬ .‫وﻳﻤﻜﻦ ﺗﻄﺒﻴﻘﻪ ﻋﻠﻰ اﻟﺠﺪران أو ا رﺿﻴﺎت‬

Acoustic isolation Siplast`s new underfloor acoustic underlay «Assour 22 comfort» pushes the technical limits of the materials used. It achieves excellent results in terms of acoustic and mechanical performances, in single and double layer.

Consisting of a sheet of fiberglass of heavy weight surfaced by a bituminous binder and a plastic film, Assour 22 Comfort has a small thickness, 3 mm. It is therefore the most efficient, lightest and easiest to implement on the market thanks to its weight and flexibility. www.siplast.fr

36 Albenaa

¡UM³ « ≥∂

rzUI « ëd(UÐ W Ozd « WŠU «

S39 Albenaa ¡UM³ « ≥π W Ozd « WŠU « l rzUI « ëd(« UD Ð

‫ﺣﺮاج ﺑﻦ ﻗﺎﺳﻢ‬

‫ﺗﺼﻤﻴﻢ ‪ :‬ﻋﺒﺪ ا‪Z‬ﻟﻪ اﻟﻤﻬﻨﺎ‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﺷﺮﻛﺔ اﻟﺮﻳﺎض اﻟﻘﺎﺑﻀﺔ‬

‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺮﻳﺎض ـ ﺣﻲ اﻟﻤﻨﺼﻮرﻳﺔ‬

‫اﻟﻤﺴﺎﺣﺔ اﻟﻜﻠﻴﺔ ‪ 500.000 :‬م‪2‬‬

‫ﻣﺴﺎﺣﺔ اﻟﻤﺮﺣﻠﺔ ا وﻟﻰ ‪ 300.000 :‬م‪2‬‬

‫ﻣﺸـــﺮوع ﺣﺮاج ﺑﻦ ﻗﺎﺳـــﻢ ﻫﻮ ﺟﺰء ﻣﻦ إﻋـــﺎدة ﺗﻄﻮﻳﺮ اﻟﻤﺮاﻛﺰ‬ ‫اﻟﺨﺪﻣﻴـــﺔ ﺑﺼﻮرة ﺗﺘﻨﺎﺳـــﺐ ﻣﻊ ﺣﺠـــﻢ اﻟﻤﺪﻳﻨـــﺔ »اﻟﺮﻳﺎض« وﻣﺎ‬ ‫وﺻﻠﺖ إﻟﻴﻪ ﻣﻦ ﺗﻄﻮر‪ .‬واﻟﻔﻜﺮة ﻛﺎﻧﺖ ﺑﺄن ﻳﻨﻘﻞ ﺳﻮق ﺗﺎرﻳﺨﻲ‬ ‫ﻳﺮﺟـــﻊ ﺗﺎرﻳﺨﻪ إﻟﻰ ‪ 65‬ﻋﺎم وﻳﻌﺘﺒﺮ رﻣﺰ ﻣﻦ رﻣﻮز ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض‬ ‫و ﻣﻌﺎﻟﻤﻬﺎ واﻟﺘﻲ ﻳﺘﻤﺤﻮر ﻧﺸﺎﻃﻬﺎ ﻋﻠﻰ ﺑﻴﻊ اﻟﺴﻠﻊ اﻟﺠﺪﻳﺪة‬ ‫واﻟﻤﺴـــﺘﻌﻤﻠﺔ ﺑﺠﻤﻴﻊ أﻧﻮاﻋﻬﺎ إﻟﻰ ﻣﻨﻄﻘﺔ أﻛﺒﺮ ﻣﻦ ﻣﺎ ﻛﺎﻧﺖ‬ ‫ﻋﻠﻴﻪ إﺿﺎﻓﺔ إﻟﻰ ﺣﻞ ﺟﻤﻴﻊ اﻟﻤﺸـــﻜﻼت ﻓﻲ اﻟﺴـــﻮق اﻟﻘﺪﻳﻤﺔ‬ ‫ﻣﻦ ﺣﺮﻛﺔ وﻋـــﺪم اﻟﺘﻨﻈﻴﻢ ﻓﻲ اﻟﺘﺤﻤﻴﻞ و اﻟﺘﻨﺰﻳﻞ وﺗﻜﺪس‬ ‫اﻟﺒﻀﺎﺋﻊ وﺗﻘﺎﻃﻊ ﺣﺮﻛﺔ اﻟﻤﺸﺎة ﻣﻊ ﺣﺮﻛﺔ اﻟﺴﻴﺎرات‪.‬‬ ‫وﺗـــﻢ ﺗﻄﺒﻴـــﻖ اﻻﺷـــﺘﺮاﻃﺎت اﻟﺘﻨﻈﻴﻤﻴـــﺔ وا‪O‬ﻣﻨﻴـــﺔ وﻣﺮاﻋـــﺎة‬ ‫ﻋﻮاﻣـــﻞ اﻟﺴـــﻼﻣﺔ وﻣﻘﻮﻣﺎﺗﻬـــﺎ ﺑﺤﻴﺚ ﻳﺘﻮﻗـــﻊ أن ﻳﺼﻞ ﻋﺪد‬ ‫زوار اﻟﻤﺸـــﺮوع إﻟﻰ ﻣﻠﻴﻮن زاﺋﺮ ﺷﻬﺮﻳ‪ ، U‬وﻛﺎﻧﺖ أﻫﻢ ﺗﺤﺪﻳﺎت‬ ‫اﻟﺘﺼﻤﻴـــﻢ ﻓـــﻲ ﺣـــﻞ وﻣﻌﺎﻟﺠﺔ ﺟﻤﻴﻊ اﻟﻤﺸـــﻜﻼت اﻟﺴـــﺎﺑﻘﺔ‬

‫√‪rzUI « ëd(« «d2 bŠ‬‬ ‫∏≥ « ‪¡UM³‬‬

‫‪38 Albenaa‬‬

‫ﻣـــﻊ ﻋﺪم ﻓﻘـــﺪان اﻟﺼﺒﻐـــﺔ اﻟﺘﺎرﻳﺨﻴـــﺔ واﻟﺮوح اﻟﺘـــﻲ ﺗﻤﻠﻜﺖ‬ ‫ﻣﺜﻞ ﻫﺬا اﻟﻤﺸﺮوع وﺑﺴـــﺎﻃﺘﻪ ﻣﻀﺎﻓ‪ U‬إﻟﻴﻬﺎ ﻣﺘﻌﺔ اﻟﺘﺴﻮق‬ ‫ﻟﺘﻨﻮع اﻟﺒﻀﺎﻋﺔ وﻧﺪرة اﻟﺒﻌﺾ ﻣﻨﻬﺎ‪ .‬وﻗﺪ اﺳـــﺘﻠﻬﻤﺖ ﻓﻜﺮة‬ ‫اﻟﺘﺼﻤﻴـــﻢ ﻣﻦ اﻟﺨﻴﻤﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺼﺤﺮاوﻳﺔ ﺑﺎ‪Z‬ﺿﺎﻓﺔ إﻟﻰ رﻣﻮز‬ ‫ﻣﺒﺎﻧﻲ ﻧﺠﺪ اﻟﻌﺮﻳﻘﺔ‪.‬‬ ‫ﻋﻨﺎﺻﺮ اﻟﻤﺸﺮوع ‪:‬‬ ‫ـ ﺳـــﺎﺣﺔ اﻟﺤﺮاج اﻟﺮﺋﻴﺴـــﺔ ﻟﻠﺒﻴﻊ ﻣﻦ ﺧﻼل اﻟﺴـــﻴﺎرات اﻟﻤﺤﻤﻠﺔ‬ ‫ﺑﺎﻟﺒﻀﺎﺋﻊ اﻟﻤﺴﺘﻌﻤﻠﺔ ﺗﺴﺘﻮﻋﺐ ‪ 252‬ﻣﻮﻗﻒ‪.‬‬ ‫ـ ‪ 112‬ﻣﻮﻗﻒ ﻟ‪c‬ﻧﺘﻈﺎر‪.‬‬ ‫ـ ﻣﺒﺎﺳﻂ ﻋﺪدﻫﺎ ‪ 448‬ﻣﺒﺴﻂ ﻣﻈﻠﻠﺔ ﺑﺎﻟﺨﻴﺎم‪.‬‬ ‫ـ ﻣﺴﺠﺪان‪.‬‬ ‫ـ ‪ 800‬ﻣﺤﻞ ﺗﺠﺎري‪.‬‬ ‫ـ ﻋﺪد ‪ 2600‬ﻣﻮﻗﻒ ﻟﻠﺴﻴﺎرات‪.‬‬

‫« ‪rzUI « ëd(« l …b¹b'« WFÝu²‬‬

b¹b'«Ë w U(« ëd(« 5Ð jЫd « dL*«

dzUŠ o¹dÞ vKŽ ëd(« WFÝu² fOzd « qšb*« WЫuÐ

‫اﻟﺨﻴﻤﺔ اﻟﻌﺮﺑﻴﺔ وأﺳﻮاق ﻧﺠﺪ اﻟﻘﺪﻳﻤﺔ‬ ‫اﺳـــﺘﻠﻬﻤﺖ ﻓﻠﺴـــﻔﺔ ﺗﺼﻤﻴﻢ اﻟﻤﺸـــﺮوع اﻟﺴـــﻮق اﻟﻨﺠﺪي وا‪$‬روﻗﺔ اﻟﻨﺠﺪﻳﺔ اﻟﻘﺪﻳﻤﺔ وﻣـــﺎ ﻳﺮﺗﺒﻂ ﺑﻪ ﻣﻦ ﻗﻴﻢ ﺗﺮاﺛﻴﺔ وذﻟـــﻚ ﻣﻦ ﺧﻼل ﺗﺤﻠﻴﻞ‬ ‫ﻣﻌﻤﺎري وﻋﻤﺮاﻧﻲ ‪$‬ﺑﺮز ﻣﻜﻮﻧﺎﺗﻪ وﻣﻔﺮداﺗﻪ اﻟﻮﻇﻴﻔﻴﺔ واﻟﺘﺸﻜﻴﻠﻴﺔ واﻟﺮﻣﺰﻳﺔ واﻟﺘﻲ ﺗﻤﺜﻠﺖ ﻓﻲ ا‪$‬روﻗﺔ اﻟﻤﻈﻠﻠﺔ واﻟﺨﻴﺎم واﻟﺴﺎﺣﺔ اﻟﻤﺮﻛﺰﻳﺔ‬ ‫ﻟﻠﺴﻮق واﻟﺘﻲ ﺗﺤﺘﻮي ﻋﻠﻰ اﻟﻤﻈﻠﺔ اﻟﺮﺋﻴﺴﺔ وﺑﻬﺎ ﺗﻘﺎم اﻟﻔﻌﺎﻟﻴﺎت اﻟﻬﺎﻣﺔ واﻟﻤﺰادات وا‪$‬ﻧﺸﻄﺔ ا‪$‬ﺧﺮى وأﻳﻀ‪ B‬ﻣﺤﻮر ﻣﺮﻛﺰي ﻳﻤﺜﻞ اﻟﻌﺼﺐ‬ ‫اﻟﺘﺠﺎري اﻟﺮﺋﻴﺲ ﺑﺎﻟﻤﺸﺮوع واﻟﺬي ﺗﻢ ﺻﻴﺎﻏﺘﻪ ﻣﻌﻤﺎرﻳ‪ B‬ﻟﻴﻜﻮن ﺑﻤﺜﺎﺑﺔ واﺣﺔ ﺗﻈﻠﻠﻬﺎ ﺻﻔﻮف اﻟﻨﺨﻴﻞ‪ ،‬وﻣﺘﺤﻒ ﻣﻔﺘﻮح ﻳﻌﺮض اﻟﻄﺮز اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫اﻟﺘﺮاﺛﻴﺔ اﻟﺘﻲ ﺑﺄرﺟﺎء اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ﻣﺜﻞ اﻟﻌﻤﺎرة اﻟﻨﺠﺪﻳﺔ واﻟﺤﺠﺎزﻳﺔ وﻋﻤﺎرة اﻟﺠﻨﻮب وﻋﻤﺎرة اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ‪.‬‬

‫√‪WFÝu² UÐ WOKš«b « UŠU « bŠ‬‬

‫«_ ‪ŸËdA*UÐ fOzd « dL*UÐ WOŁ«d² « „UA‬‬

‫∞‪¡UM³ « ¥‬‬

‫‪40 Albenaa‬‬

‫اﻟﺒﺤﺚ ﻋﻦ اﻟﻤﻌﻠﻮﻣﺎت واﻟﻜﺘﺐ وﻓﺘﺢ اﻟﻤﺠﺎل واﺳﻌ أﻣﺎم‬ ‫اﻟﺸﻌﻮب ﺑﻤﺨﺘﻠﻒ ﻃﺒﻘﺎﺗﻬﻢ ﻟﻠﻮﺻﻮل إﻟﻰ ﻛﻢ ﻻﻣﺘﻨﺎﻫﻲ‬ ‫ﻣﻦ اﻟﻤﻌﻠﻮﻣﺎت‪ ،‬ﺑﺎ‪6‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻘﺪرات اﻟﻬﺎﺋﻠﺔ ﻟﺘﺨﺰﻳﻦ‬ ‫ﻫﺬه اﻟﻤﻌﻠﻮﻣﺎت وﻋﺮﺿﻬﺎ ﺑﻄﺮق ﻣﺨﺘﻠﻔﺔ واﻧﺘﺸﺎر ﻣﻮاﻗﻊ‬ ‫ﺑﻴﻊ اﻟﻜﺘﺐ ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﻌﺎﻟﻢ‪ .‬وﻟﻘﺪ أدى ذﻟﻚ إﻟﻰ‬ ‫إﻗﻔﺎل اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺤﻼت ﺑﻴﻊ اﻟﻜﺘﺐ‪ ،‬و ﻇﻬﻮر دور ﺟﺪﻳﺪ‬ ‫ﻟﻠﻤﻜﺘﺒﺎت وﻇﻬﻮر اﺣﺘﻴﺎﺟﺎت ﺟﺪﻳﺪة ﻟﻤﺮﺗﺎدﻳﻬﺎ وأﺛﺮ ذﻟﻚ‬ ‫ﻋﻠﻰ اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ ﻟﻬﺎ ‪ ،‬ﻓﺎﻟﺒﺤﺚ ﻓﻲ ﻣﺤﺘﻮﻳﺎت‬ ‫اﻟﻤﻜﺘﺒﺎت ﻟﻢ ﻳﻌﺪ ﻋﺒﺮ ﻧﻈﺎم اﻟﻜﺮوت اﻟﻤﻄﺒﻮﻋﺔ ﺑﻞ‬ ‫أﺻﺒﺢ ﻋﺒﺮ اﺳﺘﺨﺪام ا‪T‬رﺷﻴﻔﺎت اﻟﺮﻗﻤﻴﺔ‪ .‬ﻛﻤﺎ رﻓﻌﺖ ﺛﻮرة‬ ‫اﻟﻤﻌﻠﻮﻣﺎت ﺳﻘﻒ ﻣﺘﻄﻠﺒﺎت اﻟﻘﺮاء ﻓﻲ اﻟﻤﻜﺘﺒﺎت‪ ،‬وﺑﺎﻟﺮﻏﻢ‬ ‫ﻣﻦ ﻛﻞ اﻟﺘﻮﻗﻌﺎت ﺣﻮل إﻧﺘﻬﺎء ﻋﺼﺮ اﻟﻤﻜﺘﺒﺎت ﻧﺘﻴﺠﺔ‬ ‫‪6‬ﻧﺘﺸﺎر ﺑﻴﻊ اﻟﻜﺘﺐ ﻋﺒﺮ اﻻﻧﺘﺮﻧﺖ وآﻟﻴﺎت اﻟﺒﺤﺚ ﻋﻦ اﻟﻤﻌﺮﻓﺔ‬ ‫رﻗﻤﻴ ‪ ،‬إﻻ أن اﻟﻤﻜﺘﺒﺎت اﺳﺘﻄﺎﻋﺖ أن ﺗﺘﻜﻴﻒ ﻣﻊ اﻟﺘﻄﻮرات‬ ‫اﻟﺠﺪﻳﺪة ﻓﻲ ﻋﺎﻟﻢ اﻟﻤﻌﻠﻮﻣﺎت ﻣﻦ ﺧﻼل ﻣﺤﺎوﻟﺔ ﺗﻔﻬﻢ‬ ‫اﺣﺘﻴﺎﺟﺎت ﻣﺠﺘﻤﻌﺎﺗﻬﺎ ﺑﺤﻴﺚ ﺗﺴﺎﻫﻢ اﻟﻤﻜﺘﺒﺎت ﻓﻲ ﺣﻠﻬﺎ ‪.‬‬ ‫ا‪Z‬ن وﺑﺈﺳﺘﻌﻤﺎل ﻣﻮاﻗﻊ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ ﻳﻤﻜﻦ‬ ‫ﻟﻠﻤﻜﺘﺒﺎت أن ﺗﺘﻮاﺻﻞ ﻣﻊ اﻟﻌﺪﻳﺪ ﻣﻦ أﻓﺮاد اﻟﻤﺠﺘﻤﻊ اﻟﺬﻳﻦ‬ ‫ﻟﻢ ﻳﺰوروا ﻗﻂ ﻫﺬه اﻟﻤﻜﺘﺒﺎت‪ ،‬وﺗﻘﺪم ﻟﻬﻢ اﻟﻜﺜﻴﺮ ﻣﻦ‬ ‫اﻟﺨﺪﻣﺎت واﻟﻤﻌﻠﻮﻣﺎت وﺗﺠﺬﺑﻬﻢ إﻟﻴﻬﺎ ‪ .‬وﻓﻲ داﺧﻞ اﻟﻜﺜﻴﺮ‬ ‫ﻣﻦ اﻟﻤﻜﺘﺒﺎت اﻟﻴﻮم ﻳﺘﻌﺎﻳﺶ اﻟﻨﻈﺎم اﻟﻘﺪﻳﻢ اﻟﻮرﻗﻲ‬ ‫واﻟﺠﺪﻳﺪ اﻟﺮﻗﻤﻲ ‪ ،‬وﻳﻤﻜﻦ ﻋﻠﻰ ﺿﻮء ﻫﺬه اﻟﺤﻘﻴﻘﺔ ﺗﺼﻨﻴﻒ‬ ‫اﻟﻤﻜﺘﺒﺎت إﻟﻰ ‪:‬‬ ‫«*‪ÂUN−M dÐ w W UF « W³²J‬‬

‫اﻟﻤﻜﺘﺒﺎت اﻟﻌﺎﻣﺔ ‪:‬‬ ‫ﺗﺨﺪم اﻟﻤﻜﺘﺒﺎت اﻟﻌﺎﻣﺔ ﻛﺎﻓﺔ ﻓﺌﺎت اﻟﺸﻌﺐ وﻫﻲ ذات‬ ‫ﺗﻨﻮع ﻛﺒﻴﺮ ﻓﻲ اﻟﻤﺤﺘﻮﻳﺎت‪ ،‬ا‪T‬ﻣﺮ اﻟﺬي ﺳﺎﻋﺪ ﻋﻠﻰ ﺗﺤﻘﻴﻘﻪ‬ ‫اﺳﺘﻌﻤﺎل اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ ﺣﻴﺚ ﺗﻮﻓﺮ اﻟﻤﻜﺘﺒﺎت اﻟﻌﺎﻣﺔ‬ ‫اﻣﻜﺎﻧﻴﺔ اﺳﺘﻌﻤﺎل اﻻﻧﺘﺮﻧﺖ ﻟﻜﻞ اﻟﻔﺌﺎت ﻣﺠﺎﻧ ‪ ،‬واﻟﺘﻌﺮف‬ ‫ﻋﻠﻰ ﻣﺤﺘﻮﻳﺎﺗﻬﺎ وﻣﺤﺘﻮﻳﺎت ا‪T‬رﺷﻴﻔﺎت ا‪T‬ﺧﺮى ﻣﻦ ﺧﺎرج‬ ‫ﻧﻄﺎق اﻟﻤﻜﺘﺒﺔ‪ ،‬ﻓﻬﻨﺎك ﻓﺌﺎت ﻓﻲ اﻟﻤﺠﺘﻤﻊ ﻻ ﺗﻤﻠﻚ اﻟﻤﻘﺪرة‬ ‫ﻋﻠﻰ اﺳﺘﻌﻤﺎل اﻻﻧﺘﺮﻧﺖ ﺑﺼﻔﺔ ﺷﺨﺼﻴﺔ‪ .‬ﻓﺎﻟﻤﻜﺘﺒﺔ ﻣﺎزاﻟﺖ‬ ‫ﻫﻲ اﻟﺠﻬﺔ ا‪T‬وﻟﻰ ﻟﻠﻄﻠﺒﺔ واﻟﻌﺎﻣﻠﻴﻦ ﺑﻜﺎﻓﺔ ﻓﺌﺎﺗﻬﻢ اﻟﺼﻐﺎر‬ ‫واﻟﻜﺒﺎر ﻟﻠﺤﺼﻮل ﻋﻠﻰ اﻟﻤﻌﻠﻮﻣﺎت وﻟﻠﺘﻌﻠﻢ ‪ .‬أدى ﻫﺬا‬ ‫اﻟﺘﻮﺳﻊ ﻓﻲ اﻟﻔﺌﺎت اﻟﻤﺴﺘﻔﻴﺪة إﻟﻰ ﺗﻄﻮﻳﺮ ﻣﺒﺎﻧﻲ ﺟﺪﻳﺪة‬ ‫ﻟﻠﻤﻜﺘﺒﺎت ﻟﺘﺨﺪم ﻛﻞ ﻫﺬه اﻟﻔﺌﺎت‪.‬‬ ‫وﻟﻜﻲ ﺗﻜﻮن اﻟﻤﻜﺘﺒﺎت ﻗﺎدرة ﻋﻠﻰ ﺟﺬب اﻟﻨﺎس إﻟﻴﻬﺎ ﺗﻢ‬ ‫ﺗﻜﻠﻴﻒ ﻣﻜﺎﺗﺐ ﻣﻌﻤﺎرﻳﺔ ﻋﺎﻟﻤﻴﺔ ﻣﻌﺮوﻓﺔ ﻟﻜﻲ ﺗﺮﻓﻊ ﻣﻦ‬ ‫ﻗﻴﻤﺔ اﻟﻤﻜﺘﺒﺎت ﻣﻌﻤﺎرﻳ وﺗﺪﻓﻊ إﻟﻰ ﺟﺬب اﻟﻤﻬﺘﻤﻴﻦ وﻟﻜﻲ‬ ‫ﺗﻘﺪم ﺣﻠﻮﻻً وأﻓﻜﺎر‪ i‬ﺟﺪﻳﺪة ﺗﻌﺰز دور اﻟﻤﻜﺘﺒﺔ ﻓﻲ اﻟﻤﺠﺘﻤﻊ ‪،‬‬ ‫وأﺻﺒﺢ اﻟﺘﻮﺟﻪ ﻫﻮ اﻟﺘﺨﻠﺺ ﻣﻦ اﻟﻨﻤﻮذج اﻟﺘﻘﻠﻴﺪي ﻟﻠﻤﻜﺘﺒﺔ‬ ‫اﻟﻌﺎﻣﺔ ذات ا‪T‬ﺟﻮاء اﻟﺼﺎرﻣﺔ اﻟﺘﻲ ﺗﻨﺤﺼﺮ أﻧﺸﻄﺘﻬﺎ ﻓﻲ‬ ‫اﻟﺠﺎﻧﺐ اﻟﻌﻠﻤﻲ ﻓﻘﻂ واﻗﺘﺮح ﺗﺼﻤﻴﻢ ﻣﻜﺘﺒﺎت ﻋﺎﻣﺔ ﺟﺪﻳﺪة‬ ‫ﺗﻜﻮن أﻗﺮب ﻟﻠﻔﻀﺎءات اﻟﻌﺎﻣﺔ اﻟﻤﻔﺘﻮﺣﺔ ﻟﻜﺎﻓﺔ ﻓﺌﺎت‬ ‫اﻟﻤﺠﺘﻤﻊ‪ ،‬وﺗﻀﻢ أﻧﺸﻄﺔ ﻛﺎﻟﺘﺴﻮق واﻟﺘﺮﻓﻴﻪ واﻻﺳﺘﺮﺧﺎء‬ ‫ﺑﺤﻴﺚ أﺻﺒﺢ ﻳﻄﻠﻖ ﻋﻠﻰ ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت اﻟﺠﺪﻳﺪة إﺳﻢ‬ ‫ﻏﺮﻓﺔ ﻣﻌﻴﺸﺔ اﻟﻤﺪﻳﻨﺔ ﻧﺘﻴﺠﺔ ﻟﻤﺎ ﻳﻤﻜﻦ أن ﺗﻘﺪﻣﻪ ﻟﺴﻜﺎن‬ ‫ ‪UO³ u u ? UO½U³Ý√ W³²J‬‬

‫ﻋﻤﺎرة اﻟﻤﻜﺘﺒﺎت‬ ‫ﻓﻲ اﻟﻘﺮن اﻟﻮاﺣﺪ واﻟﻌﺸﺮﻳﻦ‬ ‫إﻋﺪاد ‪ :‬اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا‪ l‬أﺑﺎ اﻟﺨﻴﻞ‬

‫ﻣﻘﺪﻣﺔ‬ ‫ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت ﻟﻬﺎ ﺗﺎرﻳﺦ ﻳﻌﻮد إﻟﻰ آﻻف اﻟﺴﻨﻴﻦ وﻳﻤﻜﻦ‬ ‫اﻟﻘﻮل أن ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت اﺳﺘﻤﺮت ﻋﻠﻰ ﻫﻴﺌﺘﻬﺎ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﺣﺘﻰ ﻧﻬﺎﻳﺔ اﻟﺘﺴﻌﻴﻨﻴﺎت اﻟﻤﻴﻼدﻳﺔ ﻣﻦ اﻟﻘﺮن اﻟﻤﻴﻼدي‬ ‫اﻟﻤﺎﺿﻲ ﻋﻨﺪﻣﺎ ﺑﺪأ ﻋﻬﺪ اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ واﻟﺬي زﻋﺰع‬ ‫ﻣﻜﺎﻧﺔ اﻟﻤﻜﺘﺒﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ وأدى إﻟﻰ ﺗﻐﻴﺮات ﺟﺬرﻳﺔ ﻓﻲ‬ ‫ﺗﺼﻤﻴﻢ ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت‪ .‬اﻟﻤﻮاد اﻟﺮﻗﻤﻴﺔ ﻟﻢ ﺗﺤﻞ ﻣﺤﻞ‬ ‫اﻟﻤﻄﺒﻮﻋﺎت ﺑﻞ أﺿﺎﻓﺖ ﻋﻀﻮ? ﺟﺪﻳﺪ? ﻳﺰﻳﺪ ﻣﻦ اﻣﻜﺎﻧﻴﺎت‬ ‫اﻟﻤﻜﺘﺒﺎت ﻓﻲ ﺗﻘﺪﻳﻢ اﻟﻤﻌﺮﻓﺔ ﺑﻄﺮﻳﻘﺔ ﻣﻮﺳﻌﺔ‪.‬‬

‫اﻟﻤﻜﺘﺒﺔ واﻟﻤﺠﺘﻤﻊ‬ ‫ﺗﺘﺄﺛﺮ اﻟﻤﻜﺘﺒﺔ ﺑﻤﺤﺘﻮﻳﺎﺗﻬﺎ ﻣﻦ اﻟﻤﻌﻠﻮﻣﺎت وﺑﻄﺒﻴﻌﺔ‬ ‫اﻟﻤﺠﺘﻤﻊ ﻧﻔﺴﻪ اﻟﺬي ﺗﺨﺪﻣﻪ وﺗﻄﻮرﻫﻤﺎ‪ ،‬ﻓﻤﺤﺘﻮﻳﺎت‬ ‫اﻟﻤﻜﺘﺒﺎت داﺋﻤﺔ اﻟﺘﻄﻮر وﻗﺮاءﻫﺎ ﻛﺬﻟﻚ‪ ،‬ﻧﺘﻴﺠﺔ ﻟﺘﻄﻮر‬ ‫اﻟﻌﻠﻮم واﻟﺘﻘﻨﻴﺎت ﻣﻦ ﺟﻬﺔ واﻟﺜﻘﺎﻓﺔ وأﺳﻠﻮب ﺣﻴﺎة اﻟﻨﺎس‬ ‫ﻣﻦ ﺟﻬﺔ أﺧﺮى‪.‬‬ ‫ﻓﻲ اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ اﻟﻤﻜﺘﺒﺎت ﺗﺠﻤﻊ وﺗﺤﻮي اﻟﻤﺨﻄﻮﻃﺎت‬ ‫وﻛﺎﻧﺖ ﺗﺸﻴﺪ ﻟﺼﺎﻟﺢ اﻟﻤﻠﻮك واﻟﺰﻋﻤﺎء ﻟﺘﺤﻮي ﻣﻘﺘﻨﻴﺎﺗﻬﻢ‬ ‫اﻟﺨﺎﺻﺔ ﻣﻦ اﻟﻜﺘﺐ واﻟﻤﺨﻄﻮﻃﺎت‪ ،‬ﺛﻢ أﺻﺒﺤﺖ راﻓﺪ?‬ ‫ﻟﻠﺠﺎﻣﻌﺎت ودور اﻟﻌﺒﺎدة‪ ،‬وﻛﺎﻧﺖ ﺗﻤﻮل ﻣﻦ ﻗﺒﻞ ا[ﺛﺮﻳﺎء‬ ‫واﻧﺤﺼﺮ ﻣﺮﺗﺎدﻳﻬﺎ ﻋﻠﻰ اﻟﻤﺴﺘﻨﻴﺮﻳﻦ وﻋﻠﻴﺔ اﻟﻘﻮم ‪.‬‬ ‫ﻓﻲ ﺣﻮاﻟﻲ ﻋﺎم ‪1439‬م ﺑﺪأت اﻟﻤﻜﺘﺒﺎت واﻟﻤﺨﻄﻮﻃﺎت‬ ‫ ‪WOMÞu « qðUOÝ W³²J‬‬

‫ﺗﺘﻄﻮر ﻣﻊ اﺑﺘﻜﺎر اﻟﻄﺒﺎﻋﺔ واﻧﺘﺸﺮت اﻟﻜﺘﺐ وزاد أﻋﺪاد‬ ‫اﻟﻤﺴﺘﻌﻤﻠﻴﻦ ﻟﻬﺎ ﻓﻲ اﻟﻤﺠﺘﻤﻌﺎت‪ .‬ﻓﻲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ‬ ‫ﻋﺸﺮ زاد اﻻﻫﺘﻤﺎم ﺑﺎﻟﻘﺮاءة وﺗﻮﺳﻌﺖ ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت‬ ‫وﻣﺤﺘﻮﻳﺎﺗﻬﺎ واﻧﻔﺘﺤﺖ اﻟﻤﻜﺘﺒﺎت ﻋﻠﻰ ﻛﻞ ﻓﺌﺎت اﻟﻤﺠﺘﻤﻊ ‪.‬‬ ‫وﻫﻜﺬا ﻧﺸﺄت اﻟﻤﻜﺘﺒﺎت وﺗﻮﻟﺖ اﻟﺤﻜﻮﻣﺎت ﻓﻲ اﻟﺪول‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻣﺴﺌﻮﻟﻴﺔ إﻧﺸﺎﺋﻬﺎ وإدارﺗﻬﺎ‪ .‬ﻓﻲ ﺑﺪاﻳﺔ اﻟﻘﺮن‬ ‫اﻟﻌﺸﺮﻳﻦ ﺷﻴﺪت ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت ﻣﻦ ﺧﻼل ﺗﺼﺎﻣﻴﻢ‬ ‫ﻣﻌﻤﺎرﻳﺔ ﺗﻮﺣﻲ ﺑﻤﻜﺎﻧﺔ اﻟﻌﻠﻢ ﻓﻲ اﻟﻤﺠﺘﻤﻊ‪ ،‬و ﺑﺪت ﻛﺼﺮوح‬ ‫ﻣﻌﻤﺎرﻳﺔ ﺗﺴﺘﻮﺣﻰ ﺗﺼﺎﻣﻴﻤﻬﺎ ﻣﻦ ا[ﻣﺜﻠﺔ اﻟﻜﻼﺳﻴﻜﻴﺔ‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ و اﻟﺘﺎرﻳﺨﻴﺔ ﻓﻲ اﻟﺪول اﻟﻤﺨﺘﻠﻔﺔ ‪ ،‬ﺛﻢ ﺑﺪأت‬ ‫ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت ﺗﺘﺤﺮر ﻣﻦ ا[ﺷﻜﺎل اﻟﺘﺎرﻳﺨﻴﺔ ﺑﻔﻌﻞ ﺗﻄﻮر‬ ‫اﻟﺸﻌﻮب واﻟﻌﻤﺎرة اﻟﺤﺪﻳﺜﺔ‪ ،‬ﻓﺎﻟﻨﻈﺮة ﻟﺪور اﻟﻤﻜﺘﺒﺔ ﻟﻢ ﺗﻌﺪ‬ ‫ﺗﻨﺤﺼﺮ ﻓﻲ اﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ واﻟﻤﺨﻄﻮﻃﺎت‪ ،‬ﺑﻞ أﺻﺒﺤﺖ‬ ‫اﻟﻤﻜﺘﺒﺎت ﺗﻀﻢ اﻟﻤﻄﺒﻮﻋﺎت ﺑﻜﺎﻓﺔ أﻧﻮاﻋﻬﺎ ﻣﺜﻞ اﻟﺼﺤﻒ‬ ‫واﻟﻤﺠﻼت واﻟﺪورﻳﺎت ﺑﺸﻜﻞ ﻋﺎم‪ ،‬وﻛﺬﻟﻚ ﻛﺘﺐ ا[ﻃﻔﺎل‬ ‫واﻟﻤﻜﺘﺒﺎت اﻟﺴﻤﻌﻴﺔ واﻟﺒﺼﺮﻳﺔ واﻟﺨﺪﻣﺎت اﻟﻤﺮاﻓﻘﺔ ﻣﺜﻞ‬ ‫اﻟﻤﻄﺎﻋﻢ‪ ،‬وﺗﻄﻮرت ﻗﺎﻋﺎت اﻟﻘﺮاءة وأﺿﻴﻔﺖ ﻟﻬﺎ ﻏﺮف اﺟﺘﻤﺎﻋﺎت‬ ‫وﻃﺮق ﺑﺤﺚ ﺟﺪﻳﺪة ﺑﺤﻴﺚ أﺻﺒﺢ ﻳﻨﻈﺮ إﻟﻰ اﻟﻤﻜﺘﺒﺔ ﻛﻤﺮاﻛﺰ‬ ‫ﺣﺪﻳﺜﺔ ﻟﻠﺘﻌﻠﻴﻢ ﺗﻮﻓﺮ ﻓﻀﺎءات ﻣﺮﺣﺒﺔ وﻣﺮﻳﺤﺔ ﻟﻠﻘﺮاءة‪ ،‬ﺑﻌﻴﺪ?‬ ‫ﻋﻦ اﻟﺘﺼﺎﻣﻴﻢ اﻟﻜﻼﺳﻴﻜﻴﺔ اﻟﺮﺳﻤﻴﺔ ﻟﻠﻤﻜﺘﺒﺎت ا[وﻟﻰ ‪.‬‬ ‫أﺛﺮ اﺑﺘﻜﺎر اﻟﻄﺒﺎﻋﺔ ﻋﻠﻰ اﻟﻤﻜﺘﺒﺎت ودام ذﻟﻚ ﻟﺨﻤﺴﺔ ﻗﺮون‬ ‫ﻣﺎﺿﻴﺔ‪ ،‬وﻣﻊ اﺳﺘﻌﻤﺎل اﻻﻧﺘﺮﻧﺖ ﻓﻲ أواﺳﻂ اﻟﺘﺴﻌﻴﻨﻴﺎت‬ ‫اﻟﻤﻴﻼدﻳﺔ ﺑﺪأ ﻋﺼﺮ ﺟﺪﻳﺪ ﻇﻬﺮ ﺗﺄﺛﻴﺮه واﺿﺤ‪ i‬ﻋﻠﻰ ﻃﺮق‬ ‫ ‪WOMÞu « …—u UGMÝ W³²J‬‬

‫زﻣﻨﻲ ﻳﻘﺪر ﺑﺨﻤﺴﺔ ﺳﻨﻮات ‪ .‬وﺗﻌﺘﺒﺮ اﻟﻤﻜﺘﺒﺎت اﻟﻴﻮم أﻛﺜﺮ‬ ‫اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﺗﺤﻘﻖ اﻻﺳﺘﺪاﻣﺔ ﻣﻦ ﺧﻼل ﻛﻞ اﻟﻤﺠﻬﻮدات‬ ‫اﻟﺘﻲ ﺗﻢ ﺑﺬﻟﻬﺎ ﻟﻜﻲ ﺗﺘﻜﻴﻒ اﻟﻤﻜﺘﺒﺔ ﻣﻊ اﻻﺣﺘﻴﺎﺟﺎت‬ ‫اﻟﺠﺪﻳﺪة وﺗﻜﻮن ﻗﺎدرة ﻋﻠﻰ ﻣﻮاﻛﺒﺔ اﻟﺘﻄﻮﻳﺮات اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬ ‫ﻟﻠﻤﺠﺘﻤﻊ وﻟﻠﺒﻴﺌﺔ اﻟﺘﻲ ﺗﻘﻊ ﻓﻴﻬﺎ‪.‬‬ ‫وﻣﻦ اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أن اﺳﺘﺨﺪام اﻟﺘﺠﻬﻴﺰات اﻟﺮﻗﻤﻴﺔ ﻳﻤﺜﻞ‬ ‫أﺣﺪ أﻫﻢ ﻣﻜﻮﻧﺎت اﻟﻤﻜﺘﺒﺎت ذات اﻟﺘﺄﺛﻴﺮ ﻋﻠﻰ اﺳﺘﻬﻼك‬ ‫اﻟﻄﺎﻗﺔ وﻋﻠﻰ اﻟﺒﻴﺌﺔ اﻟﺪاﺧﻠﻴﺔ‪.‬‬

‫اﺣﺘﻴﺎﺟﺎت اﻟﻤﻜﺘﺒﺔ اﻟﺤﺪﻳﺜﺔ‬ ‫ﺗﺨﺘﻠﻒ ﻫﺬه اﻻﺣﺘﻴﺎﺟﺎت ﺣﺴﺐ ﻧﻮع اﻟﻤﻜﺘﺒﺔ وﺣﺠﻤﻬﺎ‬ ‫واﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﺗﺨﺪﻣﻬﺎ ﻓﻔﻲ ﺣﺎﻟﺔ اﻟﻤﻜﺘﺒﺎت اﻟﻌﺎﻣﺔ‬ ‫ﻓﺈن ﺧﺪﻣﺎﺗﻬﺎ ﻳﻤﻜﻦ أن ﺗﻜﻮن ﻟﺤﻲ واﺣﺪ ﻣﻦ اﻟﻤﺪﻳﻨﺔ أو‬ ‫ﻣﻨﻄﻘﺔ أو أن ﺗﻜﻮن ﻣﻜﺘﺒﺔ وﻃﻨﻴﺔ ﺗﻘﺪم ﺧﺪﻣﺎﺗﻬﺎ ﻋﻠﻰ‬ ‫اﻟﻤﺴﺘﻮى اﻟﻮﻃﻨﻲ‪ ،‬وﻣﻊ اﺳﺘﻌﻤﺎل اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ‬ ‫ﻳﻤﻜﻦ أن ﻧﺘﻜﻠﻢ ﻋﻦ ﻧﻮع آﺧﺮ ﻣﻦ اﻟﻤﻜﺘﺒﺎت وﻫﻮ اﻟﻤﻜﺘﺒﺎت‬ ‫اﻟﻌﺎﻟﻤﻴﺔ‪ .‬ﻛﻞ ذﻟﻚ ﻳﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺴﻴﺎﺳﺔ اﻟﺘﻲ ﺳﺘﺘﺒﻌﻬﺎ‬ ‫اﻟﺪوﻟﺔ ‪R‬ﻧﺸﺎء اﻟﻤﻜﺘﺒﺎت وا‪O‬ﻫﺪاف اﻟﺘﻲ ﻳﺠﺐ أن ﺗﺤﻘﻘﻬﺎ ‪.‬‬ ‫ﻓﺈذا ﻛﺎﻧﺖ اﻟﻤﻜﺘﺒﺔ ﺗﺨﺪم ﺣﻲ أو ﻣﻨﻄﻘﺔ ﻣﻌﻴﻨﺔ ﻓﺈﻧﻪ ﻳﺠﺐ‬ ‫ﺗﺤﺪﻳﺪ اﻟﻤﺠﺘﻤﻊ أو ﻣﺠﻤﻮﻋﺔ اﻟﺴﻜﺎن اﻟﺬﻳﻦ ﻳﺴﺘﺨﺪﻣﻮن‬ ‫اﻟﻤﻜﺘﺒﺔ ﻣﻦ ﺣﻴﺚ ا‪O‬ﻧﺸﻄﺔ اﻟﺘﺠﺎرﻳﺔ ﻓﻴﻬﺎ‪ ،‬وﺗﺤﺪﻳﺪ ﻣﺪى‬ ‫ﺗﻮﻓﺮ ا‪O‬ﻧﺸﻄﺔ اﻟﻤﻜﺘﺒﻴﺔ ا‪O‬ﺧﺮى داﺧﻞ اﻟﻤﻨﻄﻘﺔ وأوﻗﺎت‬ ‫اﺳﺘﻌﻤﺎل اﻟﻤﻜﺘﺒﺔ اﻟﻤﺮﻏﻮﺑﺔ ﻣﻦ ﻗﺒﻞ اﻟﺴﻜﺎن‪ ،‬واﻟﺨﺪﻣﺎت‬ ‫اﻟﺘﻲ ﻳﺠﺐ أن ﺗﻘﺪﻣﻬﺎ ﻣﺜﻞ ﻧﻮﻋﻴﺔ اﻟﻤﺤﺘﻮﻳﺎت اﻟﻌﻠﻤﻴﺔ‬ ‫وا‪O‬ﻧﺸﻄﺔ اﻟﻤﺼﺎﺣﺒﺔ وﻣﺪى ﻗﺪرة اﻟﻤﻜﺘﺒﺔ ﻋﻠﻰ ﺟﺬب‬ ‫اﻟﺒﺎﺣﺜﻴﻦ واﻟﻤﺴﺘﺨﺪﻣﻴﻦ ﻟﻠﻤﻜﺘﺒﺔ ﻣﻦ ﺧﺎرج اﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ‬ ‫ﺗﺨﺪﻣﻬﺎ اﻟﻤﻜﺘﺒﺔ‪.‬‬ ‫اﻟﻤﻜﺘﺒﺔ ﻻﻳﺠﺐ أن ﺗﻜﻮن ﻣﺒﻨﻰ ﻣﻨﻘﻄﻊ ﻋﻤﺎ ﺣﻮﻟﻪ ‪O‬ن‬ ‫ﻣﻜﻮﻧﺎت اﻟﻤﺪﻳﻨﺔ ﻳﺠﺐ أن ﺗﺘﻮاﺻﻞ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﻻﻳﺠﺐ أن‬ ‫ﺗﻜﻮن ﻣﻔﺼﻮﻟﺔ ﻋﻦ ﻣﺎ ﻳﺤﻴﻄﻬﺎ‪.‬‬ ‫إن اﻟﻬﺪف اﻟﺮﺋﻴﺲ ﻟﻠﻤﻜﺘﺒﺔ ﻫﻮ ﻧﺸﺮ اﻟﻘﺮاءة واﻟﻤﻌﺮﻓﺔ ﺑﻴﻦ‬ ‫«*‪W²³Ý w W UF « W³²J‬‬

‫اﻟﻨﺎس وﻫﺬا ﻳﺘﻄﻠﺐ أن ﻳﺨﺪم اﻟﻤﺒﻨﻰ ﻣﺘﻄﻠﺒﺎت رﺋﻴﺴﺔ‬ ‫ﻫﻲ‪ :‬اﻟﺘﻮﺟﻴﻪ واﻻﺳﺘﻌﻤﺎل و ﺗﻮﻓﻴﺮ اﻟﻤﺤﺘﻮﻳﺎت وآﻟﻴﺎﺗﻬﺎ‬ ‫و ﺗﻨﻈﻴﻢ ا‪O‬ﻧﺸﻄﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﺘﺴﻮﻳﻘﻴﺔ‬ ‫واﻟﺘﺮﻓﻴﻬﻴﺔ ﺑﻤﺎ ذﻟﻚ ﺗﻨﻈﻴﻢ اﻟﺘﻈﺎﻫﺮات اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻋﻠﻰ‬ ‫أﻧﻪ ﻳﺠﺐ أن ﻳﺒﻘﻰ ﻋﻨﺼﺮ ﻣﺤﺘﻮﻳﺎت اﻟﻤﻜﺘﺒﺔ ﻣﻦ ﻣﻌﻠﻮﻣﺎت‬ ‫وﻛﺘﺐ وآﻟﻴﺎﺗﻬﺎ ﻫﻮ اﻟﻌﻨﺼﺮ اﻟﺮﺋﻴﺲ ﻓﻲ ﻣﺒﻨﻰ اﻟﻤﻜﺘﺒﺔ‪.‬‬ ‫اﻟﻤﻜﺘﺒﺔ ﻗﺒﻞ ﻛﻞ ﺷﺊ ﻫﻲ ﻣﺸﺮوع ﺛﻘﺎﻓﻲ ﻓﺎﻟﻬﺪف اﻟﺮﺋﻴﺲ‬ ‫ﻣﻦ اﻟﻤﻜﺘﺒﺔ ﻫﻮ ﻧﺸﺮ اﻟﻘﺮاءة واﻟﻤﻌﺮﻓﺔ ﺑﻴﻦ اﻟﻨﺎس وﻟﺬﻟﻚ‬ ‫ﻳﺠﺐ أن ﺗﻮﻓﺮ ﻣﺒﺎﻧﻴﻬﺎ ‪ 3‬ﻋﻨﺎﺻﺮ رﺋﻴﺴﺔ ‪:‬‬ ‫ـ اﺳﺘﻘﺒﺎل اﻟﻤﺮﺗﺎدﻳﻦ وﺗﻮﺟﻴﻬﻬﻢ‪.‬‬ ‫ـ ﻣﺤﺘﻮﻳﺎت اﻟﻤﻜﺘﺒﺔ ﻣﻦ ﻣﻌﻠﻮﻣﺎت وﻛﺘﺐ وآﻟﻴﺎﺗﻬﺎ‪.‬‬ ‫ـ ا‪O‬ﻧﺸﻄﺔ اﻟﻤﻜﻤﻠﺔ ﻟ‪e‬ﻫﺪاف اﻟﺜﻘﺎﻓﻴﺔ واﻟﺠﺎذﺑﺔ ﻟﻠﻨﺎس ﻣﻦ‬ ‫أﻧﺸﻄﺔ ﺛﻘﺎﻓﻴﺔ واﺟﺘﻤﺎﻋﻴﺔ وﺗﺮﻓﻴﻬﻴﺔ وﺗﺠﺎرﻳﺔ ﺑﺎ‪R‬ﺿﺎﻓﺔ إﻟﻰ‬ ‫ﺗﻨﻈﻴﻢ ﺗﻮﻓﻴﺮ اﻟﺘﻈﺎﻫﺮات اﻟﺜﻘﺎﻓﻴﺔ اﻟﻜﺒﻴﺮة‪.‬‬ ‫ﻛﻞ ﻋﻨﺼﺮ ﻣﻦ ﻫﺬه اﻟﻌﻨﺎﺻﺮ ُﻳﺘﺮﺟﻢ ﻋﻠﻰ اﻟﻮاﻗﻊ ﻓﻲ ﻣﺒﻨﻰ‬ ‫ا‪R‬ﺳﺘﻘﺒﺎل واﻟﺘﻮﺟﻴﻪ و ﻳﺤﺘﺎج إﻟﻰ ﺗﺤﺪﻳﺪ ﻣﺪاﺧﻞ ﻟﻠﺠﻤﻬﻮر‬ ‫وﻳﻔﻀﻞ أن ﻳﻜﻮن ﻣﺪﺧ ً‬ ‫ﻼ واﺣﺪ‪ ،h‬ﻛﻤﺎ ﻳﺘﻄﻠﺐ وﺟﻮد ﺑﻬﻮ‬ ‫ﺗﻘﻊ ﻓﻴﻪ ﺧﺪﻣﺔ اﻻﺳﺘﻌﻼم واﻟﺘﻮﺟﻴﻪ ‪ ،‬وﻳﺆدي اﻟﺒﻬﻮ إﻟﻰ‬ ‫ﺻﺎﻻت اﻟﻘﺮاءة وﺧﺰاﻧﺎت اﻟﻜﺘﺐ ‪ ،‬ﻛﻤﺎ ﻳﺆدي إﻟﻰ ﻣﺴﺎﺣﺎت‬ ‫ا‪O‬ﻧﺸﻄﺔ اﻟﻤﺨﺘﻠﻔﺔ ﻣﺜﻞ ﻗﺎﻋﺔ اﻟﻤﺤﺎﺿﺮات واﻻﺣﺘﻔﺎﻻت وﻏﺮف‬ ‫اﻻﺟﺘﻤﺎﻋﺎت وﻣﻤﺎرﺳﺔ ا‪O‬ﻧﺸﻄﺔ اﻟﺴﻤﻌﻴﺔ اﻟﺒﺼﺮﻳﺔ واﻟﺘﺪرﻳﺐ‬ ‫ﻋﻠﻰ اﺳﺘﺨﺪام آﻟﻴﺎت اﻟﺒﺤﺚ اﻟﻤﺨﺘﻠﻔﺔ وﻏﺮف ﻟ‪e‬ﻧﺸﻄﺔ‬ ‫اﻟﻤﺘﻨﻮﻋﺔ اﻟﺘﺮﻓﻴﻬﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ وﻟ‪e‬ﻃﻔﺎل‪ ،‬ﻛﻤﺎ ﻳﺠﺐ أن ﺗﻀﻢ‬ ‫ا‪O‬ﻧﺸﻄﺔ ﻣﻘﻬﻰ وﻣﺤﻼت ﻟﺒﻴﻊ اﻟﻜﺘﺐ وﻳﻤﻜﻦ إﺿﺎﻓﺔ ﻣﺤﻼت‬ ‫ﻟﻠﺘﺴﻮق اذا أﺳﺘﺪﻋﻰ ا‪O‬ﻣﺮ ‪ .‬وﻳﻨﻈﺮ اﻟﻜﺜﻴﺮون إﻟﻰ اﻟﻤﻜﺘﺒﺔ‬ ‫ﻋﻠﻰ أﻧﻬﺎ ﻫﻲ اﻟﻤﺮﻛﺰ اﻟﺜﻘﺎﻓﻲ ﻟﻠﺤﻲ أو ﻟﻠﻤﺪﻳﻨﺔ‪.‬‬

‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻟﻠﻤﻜﺘﺒﺎت‬ ‫ﻧﺴﺘﻌﺮض ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻜﺘﺒﺎت ﻣﻦ‬ ‫ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎﻟﻢ وﻳﻤﻜﻦ اﻟﻘﻮل أن ﻣﻜﺘﺒﺔ ﺳﻴﺎﺗﻞ‬ ‫)‪2004‬م( اﻟﺘﻲ ﺻﻤﻤﻬﺎ اﻟﻤﻌﻤﺎري رﻳﻢ ﻛﻮﻻس )‪(OMA‬‬ ‫ ‪5B « ? WO½U ½ù« ÂuKF « WOK W³²J‬‬

‫اﻟﻤﺪن‪ .‬ﻟﻘﺪ ﺗﻌﺪت اﻟﻤﻜﺘﺒﺎت اﻟﻴﻮم وﻇﺎﺋﻔﻬﺎ ا ﺳﺎﺳﻴﺔ‬ ‫ﻓﺄﺻﺒﺤﺖ ﺗﺸﻜﻞ رﻣﻮز‪ #‬ﻟﻠﻤﻌﺮﻓﺔ واﻟﻌﺪل اﻻﺟﺘﻤﺎﻋﻲ ﻓﻲ‬ ‫اﻟﻤﺠﺘﻤﻌﺎت اﻟﻌﺎﻣﺔ اﻟﺘﻲ ﺗﺒﻨﻰ ﻓﻴﻬﺎ ‪.‬‬ ‫اﻟﻤﻜﺘﺒﺎت ا ﻛﺎدﻳﻤﻴﺔ ‪:‬‬ ‫ﻫﺬه اﻟﻤﻜﺘﺒﺎت ﺗﻨﺸﺊ داﺧﻞ اﻟﻤﺪن اﻟﺠﺎﻣﻌﻴﺔ أو ﺗﻜﻮن‬ ‫ﻣﻠﺤﻘﺔ ﺑﺎﻟﻤﺒﺎﻧﻲ اﻟﺘﻌﻠﻴﻤﻴﺔ ﺣﻴﺚ ﺗﻠﻌﺐ اﻟﺘﻘﻨﻴﺔ اﻟﺮﻗﻤﻴﺔ‬ ‫ﻓﻴﻬﺎ دور‪ #‬أﺳﺎﺳﻴ? ﻓﻲ اﻟﺒﺤﺚ اﻟﻌﻠﻤﻲ وﻋﺎدة ﻣﺎ ﺗﻜﻮن‬ ‫ﻣﺘﺨﺼﺼﺔ ﻓﻲ ﻋﻠﻢ ﻣﻌﻴﻦ وﺑﺎﻟﺘﺎﻟﻲ ﻓﺈن ﻣﺮﺗﺎدﻳﻬﺎ ﻣﻦ‬ ‫اﻟﺒﺎﺣﺜﻴﻦ واﻟﻄﻠﺒﺔ‪.‬‬ ‫اﻟﻤﻜﺘﺒﺎت اﻟﺮﻗﻤﻴﺔ ‪:‬‬ ‫ﻳﻤﻜﻦ اﻟﻮﺻﻮل ﻟﻬﺬه اﻟﻤﻜﺘﺒﺎت ﻋﻦ ﻃﺮﻳﻖ ﺷﺒﻜﺔ اﻻﻧﺘﺮﻧﺖ‪.‬‬ ‫وﺗﻌﺘﻤﺪ ﻣﺤﺘﻮﻳﺎﺗﻬﺎ ﻋﻠﻰ أرﺷﻴﻔﺎت ووﺛﺎﺋﻖ وﻛﺘﺐ رﻗﻤﻴﺔ‬ ‫إﻻ أﻧﻬﺎ ﻣﻜﺘﺒﺎت ﻻﺗﺤﺘﺎج إﻟﻰ ﺑﻨﺎء ﻣﺒﺎﻧﻲ ﻟﻬﺎ وﻟﻜﻨﻬﺎ ﻟﻢ‬ ‫ﺗﺴﺘﻄﻴﻊ أن ﺗﻘﻠﻞ ﻣﻦ دور اﻟﻤﻜﺘﺒﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ ‪.‬‬ ‫وﺑﻴﻦ ﻫﺬه اﻟﻤﻜﺘﺒﺎت اﻟﺜﻼث ﺗﻌﺘﺒﺮ اﻟﻤﻜﺘﺒﺔ اﻟﻌﺎﻣﺔ أﻛﺜﺮ‬ ‫أﻧﻮاع اﻟﻤﻜﺘﺒﺎت اﻟﺘﻲ ﻳﺮﻛﺰ ﻋﻠﻴﻬﺎ اﻟﻴﻮم ﻓﻲ ﺗﺜﻘﻴﻒ ﻛﺎﻓﺔ‬ ‫اﻟﻤﻮاﻃﻨﻴﻦ واﻟﺘﻲ ﻳﻌﻤﻞ اﻟﻘﺎﺋﻤﻴﻦ ﻋﻠﻴﻬﺎ ﻋﻠﻰ اﻟﺘﻌﺮﻳﻒ ﺑﻬﺎ‬ ‫وﺗﻄﻮﻳﺮﻫﺎ وإﺿﺎﻓﺔ ﺧﺪﻣﺎت ﻟﻬﺎ وﺟﻌﻞ ﻣﺒﺎﻧﻴﻬﺎ ﺗﻠﻌﺐ دور‪#‬‬ ‫أﺳﺎﺳﻴ? واﺟﺘﻤﺎﻋﻴ? داﺧﻞ اﻟﻤﺠﺘﻤﻊ أﻛﺜﺮ ﻣﻦ ﻛﻮﻧﻬﺎ ﻣﻜﺘﺒﺔ‬ ‫ﻋﻠﻤﻴﺔ ﻓﻘﻂ‪.‬‬

‫اﻟﻤﺤﺘﻮى اﻟﺮﻗﻤﻲ وأﺳﻠﻮب اﻟﻌﻤﻞ‬ ‫ﻓﻲ اﻟﻤﻜﺘﺒﺎت‬

‫ﻟﻘﺪ أﺛﺮ اﻟﺘﻄﻮر اﻟﺴﺮﻳﻊ ﻟﻠﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ ﻋﻠﻰ ﻣﺤﺘﻮﻳﺎت‬ ‫اﻟﻤﻜﺘﺒﺎت ﺣﻴﺚ ﻟﻢ ﺗﻌﺪ اﻟﻤﺤﺘﻮﻳﺎت ﻋﻠﻰ ﺷﻜﻞ ﻛﺘﺐ أو‬ ‫ﻣﺨﻄﻮﻃﺎت ﺑﻞ أﺻﺒﺤﺖ ﻛﺬﻟﻚ ﻣﺤﺘﻮﻳﺎت رﻗﻤﻴﺔ ا ﻣﺮ اﻟﺬي‬ ‫أدى إﻟﻰ اﻟﻠﺠﻮء ﻻﺳﺘﺨﺪام أدوات وأﻧﻈﻤﺔ ﻣﻌﻠﻮﻣﺎت ﺗﻮﻓﺮ‬ ‫ﻟﻤﺴﺘﺨﺪﻣﻲ اﻟﻤﻜﺘﺒﺎت وﺳﺎﺋﻞ ﺟﺪﻳﺪة ﻟﻠﺘﻌﻠﻢ واﻟﺤﺼﻮل‬ ‫ﻋﻠﻰ ﻣﻌﻠﻮﻣﺎت ﺟﺪﻳﺪة ﻣﺘﻨﻮﻋﺔ‪.‬‬ ‫وﻧﺘﻴﺠﺔ ﻻﺳﺘﺨﺪام اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ أﺛﺮت اﻟﻨﻮاﺣﻲ ا]دارﻳﺔ‬ ‫وﻃﺒﻴﻌﺔ اﻟﻌﻤﻞ اﻟﺠﺪﻳﺪة ﻋﻠﻰ اﻟﻤﻜﺘﺒﺔ ا ﻣﺮ اﻟﺬي أدى إﻟﻰ‬ ‫ ‪U LM « ? œUB² ù« WOK W³²J‬‬

‫إﻋﺎدة اﻟﻨﻈﺮ ﺟﺬرﻳ? ﻓﻲ اﻟﺘﻮزﻳﻊ وا ﻧﺸﻄﺔ داﺧﻞ اﻟﻤﻜﺘﺒﺎت‪.‬‬ ‫ﻫﺬه اﻟﺘﻘﻨﻴﺎت ﻟﻢ ﺗﺆﺛﺮ ﻓﻘﻂ ﻋﻠﻰ اﻟﺒﻴﺌﺔ اﻟﺪاﺧﻠﻴﺔ ﻟﻠﻤﻜﺘﺒﺎت‬ ‫ﺑﻞ أﺛﺮت ﻛﺬﻟﻚ ﻋﻠﻰ اﻟﻤﺠﺘﻤﻊ ﻟﻴﺲ ﻓﻘﻂ ﻣﺘﻮاﺻﻞ‬ ‫)اﺳﺘﺨﺪام اﻻﻧﺘﺮﻧﺖ( ﺑﻞ أﺻﺒﺢ ﻛﺜﻴﺮ اﻟﺘﻨﻘﻞ واﻟﺤﺮﻛﺔ )ﺗﻄﻮر‬ ‫وﺳﺎﺋﻞ اﻟﻨﻘﻞ( ا ﻣﺮ اﻟﺬي ﻳﺠﺐ أن ﺗﺘﻜﻴﻒ ﻣﻌﻪ اﻟﻤﻜﺘﺒﺎت‬ ‫اﻟﻴﻮم ﻟﻜﻲ ﺗﻜﻮن ﻗﺎدرة ﻋﻠﻰ اﺳﺘﻴﻌﺎب اﻟﻤﺘﻐﻴﺮات ﺧﺎﺻﺔ‬ ‫وأن ﻃﺒﻴﻌﺔ اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ ﻫﻲ اﻟﺘﻐﻴﻴﺮ واﻟﺘﻄﻮﻳﺮ‬ ‫اﻟﻤﺴﺘﻤﺮ‪ ،‬ﻣﻤﺎ ﻳﺆﺛﺮ ﻋﻠﻰ ﺗﻨﻈﻴﻢ اﻟﻔﺮاﻏﺎت واﻟﺤﺮﻛﺔ داﺧﻠﻬﺎ‪.‬‬ ‫اﺳﺘﺨﺪام اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ ﻳﺘﻄﻠﺐ اﺳﺘﺨﺪام ﺷﺒﻜﺔ‬ ‫ﻛﺎﺑﻼت ﺗﺸﻐﻞ ﺣﻴﺰ ﻛﺒﻴﺮ ‪ ،‬ﻛﻤﺎ أن ﻋﺪد اﻟﺸﺎﺷﺎت واﻟﻄﺎﺑﻌﺎت‬ ‫وأﺟﻬﺰة اﻟﻌﺮض اﻟﺒﺼﺮﻳﺔ وﻣﺎ ﻳﺘﺒﻊ ﻣﻦ إدارة اﻟﻨﻈﻢ اﻟﺮﻗﻤﻴﺔ‬ ‫واﻟﻮاي ﻓﺎي و ‪ RFID‬وﻫﻲ ﺗﻘﻨﻴﺔ ﺗﻌﻤﻞ ﺑﻤﻮﺟﺎت اﻟﺮادﻳﻮ‬ ‫و ﺗﺤﻤﻲ ﻣﺤﺘﻮى اﻟﻤﻜﺘﺒﺎت ﻣﻦ اﻟﺴﺮﻗﺔ وﺗﺴﻬﻴﻞ ﺣﺮﻛﺔ‬ ‫اﻟﻜﺘﺐ واﻗﺘﺮاﺿﻬﺎ ‪ ..‬إﻟﺦ‪ .‬إﻻ أﻧﻬﺎ ﺗﻘﻨﻴﺔ ﻋﺎﻟﻴﺔ اﻟﺘﻜﻠﻔﺔ‪.‬‬ ‫وإذا ﻛﺎﻧﺖ اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺗﺴﻬﻴﻞ اﻟﺒﺤﺚ‬ ‫اﻟﻌﻠﻤﻲ ﻓﺈﻧﻬﺎ ﻛﺬﻟﻚ ﺗﻮﻓﺮ ﺧﺪﻣﺎت ﺛﻘﺎﻓﻴﺔ وﺗﺮﻓﻴﻬﻴﺔ ا ﻣﺮ‬ ‫اﻟﺬي ﻳﻐﻴﺮ ﻣﻦ وﻇﻴﻔﺔ اﻟﻤﻜﺘﺒﺔ وﻳﻀﻴﻒ ﻟﻬﺎ اﻟﺠﻮاﻧﺐ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ واﻟﺘﺮﻓﻴﻬﻴﺔ ﻳﺪﻓﻊ إﻟﻰ ﺟﺬب اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻤﺮﺗﺎدﻳﻦ‬ ‫وذﻟﻚ ﻳﻀﻴﻒ إﻟﻰ اﻟﺒﺮﻧﺎﻣﺞ اﻟﻮﻇﻴﻔﻲ ﻟﻠﻤﻜﺘﺒﺔ ﻣﺴﺎﺣﺎت‬ ‫ﺟﺪﻳﺪة ﻣﺜﻞ ﻏﺮف اﻟﻌﺮض اﻟﺴﻤﻌﻲ اﻟﺒﺼﺮي واﻻﺟﺘﻤﺎﻋﺎت‬ ‫]ﺟﺮاء اﻟﺤﻮارات ﺑﻴﻦ اﻟﻤﺮﺗﺎدﻳﻦ واﻟﻮرش ﻟ‪o‬ﻧﺸﻄﺔ اﻟﻤﺨﺘﻠﻔﺔ‪،‬‬ ‫ﻛﻤﺎ ﺗﻘﻮم اﻟﻤﻜﺘﺒﺎت ﺑﺘﺪرﻳﺐ اﻟﻨﺎس ]ﺳﺘﻌﻤﺎل اﻟﺘﻘﻨﻴﺎت‬ ‫اﻟﺮﻗﻤﻴﺔ اﻟﺠﺪﻳﺪة ﻛﻞ ذﻟﻚ ﻳﺠﻌﻞ اﻟﻤﻜﺘﺒﺔ ﻣﻜﺎن ﻟﻠﺘﻮاﺻﻞ‬ ‫وﺗﺒﺎدل اﻟﻤﻌﻠﻮﻣﺎت وﻣﻤﺎرﺳﺔ أﻧﺸﻄﺔ ﺟﺪﻳﺪة ‪.‬‬ ‫إن اﺳﺘﺨﺪام اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ وأﻧﻈﻤﺔ إدارة وﺗﺨﺰﻳﻦ اﻟﻜﺘﺐ‬ ‫آﻟﻴﺎ ﻳﻮﻓﺮ ﻛﺜﻴﺮ‪ #‬ﻓﻲ ﻣﺴﺎﺣﺎت اﻟﺘﺨﺰﻳﻦ ﻓﻲ اﻟﻤﻜﺘﺒﺎت وﻳﺴﻤﺢ‬ ‫ﺑﺈدﺧﺎل أﻧﺸﻄﺔ ﺟﺪﻳﺪة ﻟﺘﺸﻐﻞ ﻣﺴﺎﺣﺎت إﺿﺎﻓﻴﺔ داﺧﻞ‬ ‫اﻟﻤﻜﺘﺒﺔ وﻳﻌﻴﺪ دراﺳﺔ اﻟﺘﻮزﻳﻊ اﻟﺪاﺧﻠﻲ ﻟﻠﻤﻜﺘﺒﺎت وﻛﺬﻟﻚ‬ ‫ا ﺛﺎث اﻟﺪاﺧﻠﻲ ﻟﻠﻤﻜﺘﺒﺎت‪ ،‬اﻟﺬي ﻳﺠﺐ أن ﻳﺘﺒﻊ وﻳﺴﻬﻞ‬ ‫ﻣﻦ اﺳﺘﻌﻤﺎل اﻟﻤﻜﺘﺒﺎت اﻟﻴﻮم ﺑﻤﺎ ﻓﻲ ذﻟﻚ اﻟﻤﻌﺎﻗﻴﻦ أو‬ ‫ا ﻃﻔﺎل‪ .‬ﻫﺬه اﻻﺣﺘﻴﺎﺟﺎت ﻳﺠﺐ ﺗﺤﺪﻳﺪﻫﺎ ﻓﻲ ﺣﺪود إﻃﺎر‬ ‫ ‪U ½d ? Tocqueville W³²J‬‬

Libraries Architecture in the 21st Century Arch. Ibrahim Abaalkhail Libraries buildings go back to thousands of years.

These buildings had continued in its traditional form until the end of the twentieth century. With new digital technologies that ensued at that time, traditional libraries lost its position as these technologies dramatically changed how libraries buildings are designed and thus new technologies have been incorporated and added to what libraries offer from knowledge and information.

In its beginnings, libraries were built to compile the possessions of kings and leaders from books to artefacts.

Later the library started to be a source of information for universities and religious institutions. These buildings were financed by the rich and were exclusive for the intellectuals. Not until the invention of printing in 1436 did the libraries become of interest to society. And during the19th century, the interest in libraries boomed and its content have opened to all society’s groups.

Libraries designs where influenced by history and tradition to show the prestige and importance of learning in the society during the 20th century. By the end of the century however, the design have changed and became more free from the tradition and history elements and shapes due to the societies evolvement and modern architecture effects.

Libraries Architecture: Libraries architecture today emphasises on the new roles of libraries and finds ways to attract and people to it as well as new solutions that enhance this role. Thus we find global architects are tasked with the designs of libraries to achieve this.

In this issue, we feature several libraries from around the world. The Seattle Central Library designed by OMA is considered the first library that changed from the traditional library designs. The architect himself declared at that time that “we can save the entire content of library in a single chip and the content of all chips can be compiled in one library”. Indeed, the Seattle Central Library have introduced the new ways to save information through digital technologies and its design follows modern architecture that expresses the new developments.

We also feature Singapore s New National Library designed by T.R.Hamzah & Yeang International. The design is famous for its adoption to equatorial weather.

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The Facade of the library is covered by shades and it includes courts that allows for natural light and ventilation into the interior of the building.

In addition, we feature the Library of Birmingham designed by Mecanoo. The design aims at emphasising the identity go the city through the metal works that expresses the metal industry the city of Birmingham is known for in the past. It also invigorates the city centre and the square it looks at.

The other project we showcase is the Spain Library Park by Giancarlo Mazzanti. This library is an example of how libraries can offer extracurricular activities to poverty districts through accommodating a community centre and aid centre to meet the municipality requirements in fulfilling social urban development orientation. The architecture succeeded in making the library a monument as well as a tourist destination which transformed the entire district.

Moreover, we feature Zaha Hadid Architects’ Vienna Library and Learning Centre. The design here is distinguished with linear with two blocks that intersects but not connected as there is a glass partition separating both blocks.

We also feature another project for OMA , the Alexis de Tocqueville Library. This library epitomises the latest in library designs from its intros spaces and its furniture.

The project is simple with 3 floors each of which is divided into four sections. The project looks into the sea with a design that allows for natural light.

Furthermore, we bring you the Public Library of Ceuta designed by Angela Gracia de Paredes and Ignacio Pedrosa. The project is one of a kind as it utilises being in a historical location that helps in attracting visitors.

And from China we feature Mario Botta’s Humanities and Social Sciences Library which is designed with architectural lines and a block that resembles a cone with another that resembles Parallelogram .

Foster and Partners project for Free University is also featured in this issue. It is unique for its oval shape cover that allows for natural light and also for its interior architecture that reduces the formal college libraries designs.

Finally we feature Massimilliano and Doriana Fuksas design for the New National Archives of France. This project is very unique in its architecture and beautiful compositions although it is a project for archiving.

‫ﺗﻌﺘﺒﺮ أﺣﺪ أواﺋﻞ ا ﻣﺜﻠﺔ اﻟﺘﻲ ﻏﻴﺮت ﻣﻦ ﺗﺼﻤﻴﻢ اﻟﻤﻜﺘﺒﺔ‬ ‫اﻟﺘﻘﻠﻴﺪي‪ ،‬وﻟﻘﺪ ﺻﺮح ﻣﺼﻤﻤﻬﺎ ﻋﻨﺪ إﻧﺸﺎﺋﻬﺎ أﻧﻪ اﻟﻴﻮم‬ ‫ﻳﻤﻜﻦ ﺣﻔﻆ ﻣﺤﺘﻮﻳﺎت اﻟﻤﻜﺘﺒﺔ ﻓﻲ رﻗﺎﻗﺔ اﻟﻜﺘﺮوﻧﻴﺔ واﺣﺪة‬ ‫وإن ﻣﺤﺘﻮﻳﺎت اﻟﻤﻜﺘﺒﺎت اﻟﺮﻗﻤﻴﺔ ﻣﺠﺘﻤﻌﺔ ﻳﻤﻜﻦ ﺣﻔﻈﻬﺎ‬ ‫ﻓﻲ ﻣﻜﺘﺒﺔ واﺣﺪة‪ .‬ﻓﻲ ﻣﻜﺘﺒﺔ ﺳﻴﺎﺗﻞ ﺗﻢ ﺣﻔﻆ اﻟﻤﻌﻠﻮﻣﺎت‬ ‫ﺑﻄﺮق ﺗﻘﻠﻴﺪﻳﺔ وأﺧﺮى ﺣﺪﻳﺜﺔ وﺗﻢ وﺿﻊ ﺗﺼﻤﻴﻢ اﻟﻤﻜﺘﺒﺔ‬ ‫ﺑﻌﻤﺎرة ﺣﺪﻳﺜﺔ ﺗﻌﺒﺮ ﻋﻦ اﻟﺘﻄﻮرات اﻟﺠﺪﻳﺪة‪.‬‬ ‫ﻛﻤﺎ ﻧﺴﺘﻌﺮض ﻣﻜﺘﺒﺔ ﺳﻨﻐﺎﻓﻮرة اﻟﻌﺎﻣﺔ اﻟﺠﺪﻳﺪة ﻣﻦ‬ ‫ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ ‪ ، T.R.Hamzah & Yeang‬واﻟﺬي اﺷﺘﻬﺮ‬ ‫ﺗﺼﻤﻴﻤﻪ ﺑﺎ‪K‬ﺳﺘﺠﺎﺑﺔ إﻟﻰ اﻟﻤﻨﺎخ اﻻﺳﺘﻮاﺋﻲ اﻟﺬي ﺗﻘﻊ ﻓﻴﻪ ﺳﻨﻐﺎﻓﻮرة‪،‬‬ ‫ﻓﻮاﺟﻬﺎت اﻟﻤﻜﺘﺒﺔ ﺗﻐﻄﻴﻬﺎ ﺷﺒﻜﺔ ﻣﻦ ﻛﺎﺳﺮات اﻟﺸﻤﺲ ‪ ،‬ﻛﻤﺎ‬ ‫ﻳﺤﺘﻮي اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﻋﺪد ﻣﻦ ا ﻓﻨﻴﺔ اﻟﺘﻲ ﺗﻮﻓﺮ ا‪K‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬ ‫داﺧﻞ اﻟﻤﺒﻨﻰ وﺗﺴﻤﺢ ﺑﺎﻟﺘﻬﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺒﻨﻰ‪.‬‬ ‫ﻳﺴﺘﻌﺮض اﻟﻌﺪد ﻛﺬﻟﻚ ﻣﺸﺮوع ﻣﻜﺘﺒﺔ ﺑﺮﻣﻨﺠﻬﺎم ﻣﻦ‬ ‫ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ ‪ Meccano‬وﻫﻮ ﺗﺼﻤﻴﻢ ﻳﻬﺪف إﻟﻰ ﺗﺄﻛﻴﺪ‬ ‫ﻫﻮﻳﺔ اﻟﻤﺪﻳﻨﺔ ﻣﻦ ﺧﻼل واﺟﻬﺎت ذات ﻣﺸﻐﻮﻻت ﻣﻌﺪﻧﻴﺔ‬ ‫ﺗﻌﺒﺮ ﻋﻦ اﻟﺤﺮف واﻟﺼﻨﺎﻋﺎت اﻟﻤﻌﺪﻧﻴﺔ اﻟﺘﻲ اﺷﺘﻬﺮت ﺑﻬﺎ‬ ‫اﻟﻤﺪﻳﻨﺔ ﻓﻲ اﻟﻤﺎﺿﻲ‪ ،‬ﻛﻤﺎ ﻳﻌﻴﺪ اﻟﻤﺒﻨﻰ اﻟﺤﻴﻮﻳﺔ ﻟﻮﺳﻂ‬ ‫اﻟﻤﺪﻳﻨﺔ واﻟﻤﻴﺪان اﻟﺬي ﺗﻄﻞ ﻋﻠﻴﻪ‪.‬‬ ‫وﻳﻌﺪ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺒﺔ أﺳﺒﺎﻧﻴﺎ ﻓﻲ ﻛﻮﻟﻮﻣﺒﻴﺎ ﻟﻤﻜﺘﺐ‬ ‫‪ Giancarlo Mazzanti‬أﺣﺪ ا ﻣﺜﻠﺔ ﻟﻜﻴﻔﻴﺔ اﺳﺘﻴﻌﺎب‬ ‫اﻟﻤﻜﺘﺒﺔ ﻟﺴﻜﺎن اﻟﺤﻲ اﻟﻔﻘﻴﺮ اﻟﻌﺸﻮاﺋﻲ ﺣﻴﺚ ﺗﻀﻢ اﻟﻤﻜﺘﺒﺔ‬ ‫ﻣﺮﻛﺰ اﺟﺘﻤﺎﻋﻲ ﻟﻠﺤﻲ وﻣﺮﻛﺰ ﻋﻨﺎﻳﺔ اﻗﺘﺮﺣﺖ ﻟﺘﻠﺒﻴﺔ رﻏﺒﺔ ﺑﻠﺪﻳﺔ‬ ‫اﻟﻤﺪﻳﻨﺔ ﻓﻲ ﺗﺒﻨﻲ ﻧﻈﺮة اﺟﺘﻤﺎﻋﻴﺔ ﻋﻨﺪ اﻟﺘﻄﻮﻳﺮ اﻟﻌﻤﺮاﻧﻲ‬ ‫ﻟﻠﻤﺪﻳﻨﺔ ‪ .‬وﻟﻘﺪ ﻧﺠﺤﺖ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺸﺮوع ﻓﻲ ﺟﻌﻠﻬﺎ‬ ‫ﻣﻌﻠﻤ_ ﻣﻌﻤﺎرﻳ_ وﻣﺰار` ﺳﻴﺎﺣﻴ_ ﻓﻲ اﻟﻤﺪﻳﻨﺔ ﺷﺠﻊ ﻋﻠﻰ ﺗﺸﻐﻴﻞ‬ ‫ﺧﻂ ﻧﻘﻞ ﺟﻤﺎﻋﻲ ﺑﻴﻦ اﻟﺤﻲ اﻟﺬي ﺗﻘﻊ ﻓﻴﻪ وﺑﻴﻦ اﻟﻤﺪﻳﻨﺔ‪،‬‬ ‫ا ﻣﺮ اﻟﺬي ﻟﻢ ﻳﻜﻦ ﻣﻤﻜﻨ_ ﻣﻦ ﻗﺒﻞ ﺣﻴﺚ ﻛﺎن اﻟﺤﻲ ﻳﻌﺪ ﻣﻦ‬ ‫أﻛﺜﺮ أﻣﺎﻛﻦ اﻟﻤﺪﻳﻨﺔ ﺗﻔﺸﻴ_ ﻟﺘﺠﺎرة اﻟﻤﺨﺪرات وﻣﺎ ﻳﺘﺒﻌﻪ ﻣﻦ‬ ‫ﺗﻬﺪﻳﺪات ﻣﻦ اﻟﻤﺪﻳﻨﺔ‪.‬‬ ‫وﻳﻘﺪم ﻣﻜﺘﺐ ‪ Zaha Hadid Architects‬ﻣﺸﺮوع ﻣﻜﺘﺒﺔ‬ ‫ ‪5 dÐ ? …d(« WF U'« W³²J‬‬

‫داﺧﻞ ﻛﻠﻴﺔ ا‪K‬ﻗﺘﺼﺎد ﻓﻲ اﻟﻨﻤﺴﺎ وﻫﻮ ﺗﺼﻤﻴﻢ ﻳﺘﻤﻴﺰ ﺑﻌﻤﺎرة‬ ‫ذات ﺧﻄﻮط ﻣﺴﺘﻘﻴﻤﺔ ﻋﻠﻰ ﻫﻴﺌﺔ ﻛﺘﻠﺘﻴﻦ ﺗﺘﺪاﺧﻞ وﻟﻜﻦ‬ ‫ﻻﺗﺘﺼﻞ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﺷﺮﻳﻂ زﺟﺎﺟﻲ‪.‬‬ ‫وﻳﻤﺜﻞ ﻣﺸﺮوع ﻣﻜﺘﺒﺔ ‪ Tocqueville‬ﻣﻦ ﺗﺼﻤﻴﻢ ‪OMA‬‬ ‫أﺣﺪث ﻣﺎ ﺗﻮﺻﻠﺖ إﻟﻴﻪ اﻟﻤﻜﺘﺒﺎت ﻣﻦ ﺗﺼﻤﻴﻢ ﻓﺮاﻏﺎت داﺧﻠﻴﺔ‬ ‫وﺗﺄﺛﻴﺚ وﺗﺠﻬﻴﺰ ‪ ،‬وﺑﺎﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ ﻓﺎﻟﻤﺸﺮوع ﻣﺒﺴﻂ ﺟﺪ`‬ ‫ﻣﻌﻤﺎرﻳ_ وﻳﺘﻜﻮن ﻣﻦ ‪ 3‬أدوار ﻓﻮق ﻣﺴﺘﻮى ا رض ﻛﻞ دور ﻣﻘﺴﻢ‬ ‫إﻟﻰ أرﺑﻌﺔ أﺟﻨﺤﺔ ﺗﻢ ﺗﻮزﻳﻊ اﻟﻔﻌﺎﻟﻴﺎت ﻋﻠﻴﻬﺎ ‪ ،‬وﻳﻮﻓﺮ اﻟﻤﺸﺮوع‬ ‫إﺿﺎءة ﻃﺒﻴﻌﻴﺔ ﺟﻴﺪة وإﻃﻼﻟﺔ ﻋﻠﻰ اﻟﺒﺤﺮ اﻟﺬي ﻳﻘﻊ ﻋﻠﻴﻪ اﻟﻤﺒﻨﻰ‪.‬‬ ‫أﻣﺎ ﻣﺸﺮوع اﻟﻤﻜﺘﺒﺔ اﻟﻌﺎﻣﺔ ﻟﻤﺪﻳﻨﺔ ﺳﺒﺘﻪ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ‬ ‫‪ Ángela García de Paredes. Ignacio Pedrosa‬ﻓﻬﻮ ﻣﺸﺮوع‬ ‫ﻣﻜﺘﺒﺔ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ إذ أﻧﻪ ﻳﺴﺘﻐﻞ وﺟﻮد ﻣﻮﻗﻊ أﺛﺮي ﻟﻴﺒﻨﻲ‬ ‫ﺣﻮﻟﻪ ﻓﺮاﻏﺎت اﻟﻤﻜﺘﺒﺔ ا ﻣﺮ اﻟﺬي ﻳﺴﺎﻋﺪ ﻋﻠﻰ ﺟﺬب اﻟﺰاﺋﺮﻳﻦ‬ ‫إﻟﻰ اﻟﻤﻜﺘﺒﺔ ﺧﺎﺻﺔ وأن ﻣﺠﺎورة اﻟﻤﻜﺘﺒﺔ ﻟﻠﻤﻮﻗﻊ ا ﺛﺮي ﻻ‬ ‫ﻳﺆﺛﺮ ﻋﻠﻰ ﻗﻴﻤﺔ ﻫﺬا اﻟﻤﻮﻗﻊ ﺑﻞ ﻳﺰﻳﺪه إﻗﺒﺎﻻً ﻣﻦ اﻟﺴﻴﺎح‪.‬‬ ‫وﻣﻦ اﻟﺼﻴﻦ ﻳﻘﺪم اﻟﻤﻌﻤﺎري اﻟﻤﻌﺮوف ‪ Mario Botta‬ﻣﺸﺮوع‬ ‫ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ اﻟﻌﻠﻮم ا‪K‬ﻧﺴﺎﻧﻴﺔ وﻋﻠﻢ اﻻﺟﺘﻤﺎع وﻫﻮ ﻣﺸﺮوع‬ ‫ﻳﺘﺒﻊ ﺗﻮﺟﻪ اﻟﻤﻌﻤﺎري ﻓﻲ ﺗﺼﻤﻴﻢ ﻋﻤﺎرة ﻣﺴﺘﻮﺣﺎة ﻣﻦ‬ ‫ا ﺷﻜﺎل اﻟﻬﻨﺪﺳﻴﺔ واﻟﺨﻄﻮط اﻟﺼﺮﻳﺤﺔ ‪ ،‬اﻟﻤﺸﺮوع ﻣﻜﻮن ﻣﻦ‬ ‫ﻛﺘﻠﺔ ﻋﻠﻰ ﻫﻴﺌﺔ ﻣﺨﺮوط ﻣﻘﻠﻮب وﻛﺘﻠﺔ ﻋﻠﻰ ﻫﻴﺌﺔ ﻣﺘﻮازي‬ ‫أﺿﻼع ‪ ،‬ﻓﺘﺤﺎت اﻟﻤﺸﺮوع ﻓﻲ اﻟﻜﺘﻠﺘﻴﻦ ﻏﺎﺋﺮة ﻟﺘﺘﺠﻨﺐ أﺷﻌﺔ‬ ‫اﻟﺸﻤﺲ اﻟﻤﺒﺎﺷﺮة وﺻﻤﻤﺖ ﺑﺘﻜﺮار إﻳﻘﺎﻋﻲ ﻳﻌﻄﻲ ﻟﻠﻤﻜﺘﺒﺔ‬ ‫ﻫﻴﺒﺘﻬﺎ اﻟﻌﻠﻤﻴﺔ ﻛﻮﻧﻬﺎ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﻴﺔ‪ .‬وﻳﻘﺪم ﻣﻜﺘﺐ‬ ‫‪ Foster + Partners‬ﻣﺸﺮوع ﻣﻜﺘﺒﺔ اﻟﺠﺎﻣﻌﺔ اﻟﺤﺮة ‪ ،‬وﻳﺘﻤﻴﺰ‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﻐﻼف ﻛﺮوي ﻧﺼﻒ ﺷﻔﺎف ﻳﺴﻤﺢ ﺑﺘﻤﺮﻳﺮ ا‪K‬ﺿﺎءة‬ ‫اﻟﻄﺒﻴﻌﻴﺔ وﺑﻌﻤﺎرة داﺧﻠﻴﺔ ﺣﺮة ﺗﻘﻠﻞ ﻣﻦ ﺣﺪة اﻟﺘﺼﺎﻣﻴﻢ‬ ‫اﻟﺮﺳﻤﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﻠﻤﻜﺘﺒﺎت اﻟﺠﺎﻣﻌﻴﺔ‪.‬‬ ‫وﻳﻘﺪم ﻣﻜﺘﺐ ‪Massimilliano and Doriana Fuksas‬‬ ‫ﻣﺸﺮوع ا رﺷﻴﻒ اﻟﻮﻃﻨﻲ اﻟﻔﺮﻧﺴﻲ وﻫﻮ ﻣﺸﺮوع ﻳﺘﻤﻴﺰ‬ ‫ﺑﻌﻤﺎرة وﺗﻜﻮﻳﻨﺎت ﺟﻤﻴﻠﺔ ‪ ،‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻮن اﻟﻤﺸﺮوع ﻋﺒﺎرة‬ ‫ﻋﻦ أﻣﺎﻛﻦ ﻟﺤﻔﻆ وﺗﺨﺰﻳﻦ وﺛﺎﺋﻖ ‪.‬‬ ‫«_—‪w ½dH « wMÞu « nOý‬‬

‫ﻣﻜﺘﺒﺔ ﻟﻠﻘﺮن اﻟﻮاﺣﺪواﻟﻌﺸﺮﻳﻦ‬ ‫‪Seattle Central Library USA‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : OMA / LMN - A Joint Venture‬‬ ‫ا!ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2004‬‬

‫اﻟﻤﺴﺎﺣﺔ ‪:‬‬ ‫‪Site Area : 38300 m2‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪:‬‬ ‫‪Cost : 111.9 million Dollar‬‬ ‫اﻟﺴﻌﺔ ‪:‬‬ ‫‪Capacity : 1,450,000 book‬‬

‫‪© Images courtesy OMA‬‬

‫ﻓﻲ اﻟﻮﻗﺖ اﻟﺬي ﺑﺪأت ﻓﻴﻪ اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ ﺗﺆﺛﺮ ﻋﻠﻰ اﻟﻤﻜﺘﺒﺎت ﻣﻦ ﺟﻬﺔ‪،‬‬ ‫وﺗﻘﻠﺺ أﻋﺪاد ﻣﺮﺗﺎدﻳﻬﺎ ﻣﻦ ﺟﻬﺔ أﺧﺮى‪ ،‬ﺟﺎء ﻣﺸﺮوع ﻣﻜﺘﺒﺔ ﺳﻴﺎﺗﻞ اﻟﺠﺪﻳﺪة‬ ‫اﻟﺘﻲ ﺻﻤﻤﺖ ﻋﻠﻰ ﻫﻴﺌﺔ ﻓﻀﺎء ﻋﺎم ﻟﻨﺸﺮ اﻟﻤﻌﺮﻓﺔ ﺑﻜﻞ اﻟﻮﺳﺎﺋﻞ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫واﻟﺤﺪﻳﺜﺔ‪ .‬ﻳﺤﺎول اﻟﺘﺼﻤﻴﻢ إﻋﺎدة ﺻﻴﺎﻏﺔ اﻟﻤﻜﺘﺒﺔ وﻣﺤﺘﻮﻳﺎﺗﻬﺎ ﺑﺤﻴﺚ ﻻ‬ ‫ﺗﻘﺘﺼﺮ ﻣﺤﺘﻮﻳﺎﺗﻬﺎ ﻋﻠﻰ اﻟﻜﺘﺐ ﺑﻞ ﺗﺼﺒﺢ ﺟﺎﻣﻌﺔ ﻟﻠﻤﻌﻠﻮﻣﺎت اﻟﺘﻲ ﻳﻤﻜﻦ‬ ‫ا‪J‬ﻃﻼع ﻋﻠﻴﻬﺎ ﻋﺒﺮ اﻟﻮﺳﺎﺋﻞ اﻟﻤﺨﺘﻠﻔﺔ ‪ .‬ﻓﻔﻲ ﻫﺬا اﻟﻌﺼﺮ اﻟﺬي ﻳﻤﻜﻦ ﻓﻴﻪ‬ ‫اﻟﻮﺻﻮل إﻟﻰ اﻟﻤﻌﻠﻮﻣﺎت ﻣﻦ أي ﻣﻜﺎن دون اﻟﺤﺎﺟﺔ إﻟﻰ اﻟﺬﻫﺎب إﻟﻰ اﻟﻤﻜﺘﺒﺎت‬ ‫ﻓﺈن ﻫﺬه اﻟﻤﻜﺘﺒﺔ ﺑﺠﻤﻌﻬﺎ ﻟﻠﻤﻌﻠﻮﻣﺎت ﺗﺤﺖ ﺳﻘﻒ واﺣﺪ وﺑﻜﻞ اﻟﻮﺳﺎﺋﻞ‬ ‫اﻟﻤﺘﺎﺣﺔ اﻟﺮﻗﻤﻴﺔ واﻟﻤﺎدﻳﺔ ﺗﻘﺪم ﺧﺪﻣﺔ ﺷﺎﻣﻠﺔ ﺗﻌﻴﺪ ﻟﻠﻤﻜﺘﺒﺔ ﺣﻴﻮﻳﺘﻬﺎ اﻟﺘﻲ‬ ‫ﻓﻘﺪﺗﻬﺎ ﻧﺘﻴﺠﺔ اﺳﺘﺨﺪام اﻟﺘﻘﻨﻴﺎت اﻟﺮﻗﻤﻴﺔ‪.‬‬ ‫ﻟﻘﺪ ﺗﺮﻛﺰت اﻟﻤﻬﻤﺔ ا‪T‬وﻟﻰ ﻟﻠﻤﺼﻤﻢ ﻋﻠﻰ ﺗﺤﺪﻳﺪ وﺣﺼﺮ اﻟﻮﺳﺎﺋﻞ واﻟﺒﺮاﻣﺞ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ واﻟﺘﺤﻜﻢ ﻓﻲ إدارﺗﻬﺎ واﻟﺘﻨﺴﻴﻖ ﺑﻴﻨﻬﺎ‪ .‬ﻟﻘﺪ ﺗﻢ ﺗﺤﺪﻳﺪ ﺧﻤﺲ‬ ‫ﻋﻨﺎﺻﺮ رﺋﻴﺴﺔ )ﻣﻮاﻗﻒ اﻟﺴﻴﺎرات‪ ،‬ﻣﻮﻇﻔﻲ اﻟﻤﻜﺘﺒﺔ‪ ،‬اﻻﺟﺘﻤﺎﻋﺎت‪ ،‬اﻟﻨﻈﺎم‬ ‫اﻟﺤﻠﺰوﻧﻲ ﻟﻠﻜﺘﺐ‪ ،‬ا‪J‬دارة اﻟﻌﻠﻴﺎ(‪ .‬ﺗﻢ ﺗﻮزﻳﻌﻬﺎ ﻋﻠﻰ ‪ 5‬ﻣﻨﺼﺎت ﻣﺘﺪاﺧﻠﺔ ﻓﻴﻤﺎ‬ ‫ﺑﻴﻨﻬﺎ‪ ،‬ﺑﻴﻨﻤﺎ وﺿﻌﺖ ‪ 4‬ﻋﻨﺎﺻﺮ ﻓﺮﻋﻴﺔ ﻫﻲ ﻓﺮاﻏﺖ ا‪T‬ﻃﻔﺎل‪ ،‬اﻻﺳﺘﺮاﺣﺎت‪ ،‬ﻗﺎﻋﺎت‬ ‫اﻟﻤﻄﺎﻟﻌﺔ‪ ،‬ﻏﺮف اﻻﺟﺘﻤﺎﻋﺎت ﻓﻲ اﻟﻔﺮاﻏﺎت ﺑﻴﻦ اﻟﻌﻨﺎﺻﺮ اﻟﺮﺋﻴﺴﺔ‪ ،‬ﻛﻞ ﻋﻨﺼﺮ‬ ‫ﺗﻢ ﺗﺼﻤﻴﻤﻪ وﺗﺠﻬﻴﺰه ﻟﺘﺄدﻳﺔ اﻟﻐﺮض ﻣﻨﻪ ﻣﻊ ﺗﺤﺪﻳﺪ اﻟﻤﺴﺎﺣﺔ اﻟﺘﻲ ﻳﺤﺘﺎﺟﻬﺎ‬ ‫ﻛﻞ ﻋﻨﺼﺮ وﺗﻮﻓﻴﺮ اﻟﻤﺮوﻧﺔ ﻓﻴﻬﺎ ودراﺳﺔ اﻟﺤﺮﻛﺔ ﻓﻴﻬﺎ واﻟﻨﻈﺎم ا‪J‬ﻧﺸﺎﺋﻲ‬ ‫ﻟﻬﺎ‪ .‬ﻏﺮف اﻻﺟﺘﻤﺎﻋﺎت ﺗﻘﻊ ﻓﻲ ﻣﺮﻛﺰ اﻟﺪور اﻟﺜﺎﻟﺚ وﻫﻲ ﻣﺨﺼﺼﺔ ﻟﻤﻨﺎﻗﺸﺔ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻮاﺿﻴﻊ ﻣﻊ اﻟﻤﺘﺨﺼﺼﻴﻦ ﻓﻲ ﻛﺎﻓﺔ اﻟﻌﻠﻮم ﻛﻤﺎ ﻳﻘﻮم ﻣﻮﻇﻔﻲ‬ ‫اﻟﻤﻜﺘﺒﺔ ﺑﺘﻮﺟﻴﻪ اﻟﻤﺮﺗﺎدﻳﻦ‪ .‬ﺻﻤﻢ ﻓﻲ ﻫﺬه اﻟﻤﻜﺘﺒﺔ ﻧﻈﺎم ﺟﺪﻳﺪ وﻓﺮﻳﺪ ﻣﻦ‬ ‫ﻧﻮﻋﻪ ﻟﻠﺘﻌﺮف ﻋﻠﻰ اﻟﻜﺘﺐ إذ أﻧﻪ ﻋﺎدة ﻣﺎﺗﻜﻮن ﺧﺰاﻧﺎت اﻟﻜﺘﺐ ﺑﺠﺎﻧﺐ ﻗﺎﻋﺎت‬ ‫اﻟﻤﻄﺎﻟﻌﺔ اﻟﺘﻲ ﺗﺘﻮزع ﻋﻠﻰ أدوار اﻟﻤﻜﺘﺒﺔ ﺣﺴﺐ ﺗﺨﺼﺼﺎﺗﻬﺎ ‪ .‬أﻣﺎ ﻓﻲ ﻫﺬه‬ ‫اﻟﻤﻜﺘﺒﺔ ﻓﻠﻘﺪ ﻧﻈﻤﺖ اﻟﻜﺘﺐ ﺑﻄﺮﻳﻘﺔ ﺗﺴﻤﺢ ﺑﺎﻟﻤﺮور ﻋﻠﻰ ﻣﺤﺘﻮﻳﺎت اﻟﻤﻜﺘﺒﺔ‬ ‫ﻛﻠﻬﺎ وﺑﻜﺎﻓﺔ ﺗﺨﺼﺼﺎﺗﻬﺎ ﻋﺒﺮ ﻣﺴﺎر رﺻﺖ ﺣﻮﻟﻪ ﺧﺰاﻧﺎت اﻟﻜﺘﺐ وﻳﻄﻮف ﻫﺬا‬ ‫اﻟﻤﺴﺎر ﻓﻲ ﺣﺮﻛﺔ ﺣﻠﺰوﻧﻴﺔ ﻋﻠﻰ ﻋﺪد ﻣﻦ ا‪T‬دوار ﻣﻦ ﺧﻼل ﻣﻨﺤﺪرات ﺗﺼﻞ‬ ‫ﺑﻴﻦ ا‪T‬دوار‪ .‬ﺻﻤﻢ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ﻟﻠﻤﻜﺘﺒﺔ ﻣﻦ واﺟﻬﺎت زﺟﺎﺟﻴﺔ ﺗﻮﻓﺮ إﺿﺎءة‬ ‫ﻃﺒﻴﻌﻴﺔ ﺟﻴﺪة ﻟﻠﺪاﺧﻞ ﺗﺤﻤﻠﻬﺎ ﺷﺒﻜﺔ ﻧﻈﺎم ﻣﻌﺪﻧﻲ ﻣﻦ وﺣﺪات ﻋﻠﻰ ﺷﻜﻞ‬ ‫اﻟﻤﻌﻴﻦ ﺗﺮﺗﻜﺰ ﻋﻠﻰ اﻟﻨﻈﺎم ا‪J‬ﻧﺸﺎﺋﻲ ﻟﻠﻤﺒﻨﻰ‪.‬‬ ‫اﻟﺸﻜﻞ اﻟﻌﺎم ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺗﻐﻠﻴﻒ اﻟﻤﺒﻨﻰ ﺣﺴﺐ ﻣﺴﺎﺣﺔ ﻛﻞ دور وﺑﺈﺧﺘﻼف‬ ‫ﻫﺬه اﻟﻤﺴﺎﺣﺎت ﺟﺎء اﻟﺸﻜﻞ اﻟﻨﻬﺎﺋﻲ اﻟﺤﺮ اﻟﺜﻼﺛﻲ ا‪T‬ﺑﻌﺎد ﻟﻴﺠﻌﻞ ﻣﻦ‬ ‫اﻟﻤﻜﺘﺒﺔ ﻣﻌﻠﻤ‪ l‬ﻣﻌﻤﺎرﻳ‪ l‬ﻓﺮﻳﺪ‪ k‬ﻣﻦ ﻧﻮﻋﻪ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﻪ واﻟﺘﻲ‬ ‫ﺗﺘﻤﻴﺰ ﺑﺄﺑﺮاج رأﺳﻴﺔ ذات أﺷﻜﺎل ﻣﺒﺴﻄﺔ‪.‬‬

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WOKOK « …—U½ù« U¼dNEð UL ¡UA½ù« ÂUE½Ë UNł«u « ◊uDšË W³²J*« At a moment when libraries are perceived to be under threat from a shrinking public realm on one side and digitization on the other, the Seattle Central Library creates a civic space for the circulation of knowledge in all media, and an innovative organizing system for an ever-growing physical collection – the Books Spiral.

The library’s various programmes are intuitively arranged across five platforms and four flowing “in between” planes, which together dictate the building’s distinctive faceted shape, which offers the city an inspiring building that is robust in both its elegance and its logic OMA’s ambition is to redefine the library as an institution no longer exclusively dedicated to the book, but rather as an information store where all potent forms of media – new and old – are presented equally and legibly. In an age in which information can be accessed anywhere, it is the simultaneity of media and (more importantly) the curatorship of its contents that will make the library vital.

Our first operation was to “comb” and consolidate the library’s apparently ungovernable proliferation of programmes and

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media. We identified five “stable” programmatic clusters (parking, staff, meeting, Book Spiral, HQ) and arranged them on overlapping platforms, and four “unstable” clusters (kids, living room, Mixing Chamber, reading room) to occupy interstitial zones. Each area is architecturally defined and equipped for dedicated performance, with varying size, flexibility, circulation, palette, and structure.

The Mixing Chamber, centrally located on the third floor, is an area of maximum librarian-patron interaction – a trading floor for information orchestrated to fulfill an essential (though often neglected) need for expert interdisciplinary help.

Librarians guide readers up into the Books Spiral, a continuous ramp of shelving forming a co-existence between categories that approaches the organic: each evolves relative to the others, occupying more or less space on the Spiral, but never forcing the ruptures within sections that bedevil traditional library plans. Upon the opening of the Seattle Central Library, the Spiral’s 6,233 bookcases housed 780,000 books, and can accommodate growth up to 1,450,000 books in the future, without adding more bookcases.

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‫ﻣﻜﺘﺒﺔ ﺗﺴﺘﺠﻴﺐ ﻟﻠﻤﻨﺎخ‬ ‫‪The New National Library‬‬ ‫‪Singapore‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : T. R. Hamzah & Yeang International‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2005‬‬

‫رﻛﺰت ﻣﺘﻄﻠﺒﺎت اﻟﻤﺸﺮوع ﻋﻠﻰ أن ﺗﺘﺤﻠﻰ اﻟﻤﻜﺘﺒﺔ ﺑﺎ ﻧﻔﺘﺎح‬ ‫واﻟﺮﺣﺎﺑﺔ وإﻳﺠﺎد ﺑﻴﺌﺔ ﺗﻌﻠﻴﻤﻴﺔ ﻟﻤﻮاﻃﻨﻲ ﺳﻨﻐﺎﻓﻮرة ﺑﺤﻴﺚ‬ ‫ﺗﺼﺒﺢ اﻟﻤﻜﺘﺒﺔ ﻣﺮﻛﺰ‪ :‬ﻣﺪﻧﻴ‪ 9‬وﻣﺆﺳﺴﺔ ذات ﺷﺨﺼﻴﺔ ﻓﺮﻳﺪة‬ ‫ﺗﻌﻜﺲ اﻟﺘﻌﺪد اﻟﺜﻘﺎﻓﻲ واﻟﺘﺮاﺛﻲ ﻟﻠﺴﻨﻐﺎﻓﻮرﻳﻴﻦ‪ .‬ﺟﺎء‬ ‫اﻟﺘﺼﻤﻴﻢ ﻟﻴﺤﻘﻖ ﻫﺬه اﻟﻤﺘﻄﻠﺒﺎت واﻟﺘﻄﻠﻌﺎت وﻳﻮﻓﺮ ﻛﻞ‬ ‫اﻟﻮﺳﺎﺋﻞ اﻟﺤﺪﻳﺜﺔ ﻟﻠﻤﻜﺘﺒﺎت وﻟﺘﺼﺒﺢ اﻟﻤﻜﺘﺒﺔ رﻣﺰ‪ :‬وﻧﻤﻮذﺟ‪9‬‬ ‫ﺛﻘﺎﻓﻴ‪ 9‬ﻳﺤﺘﺬى ﺑﻪ ﻓﻲ ﻫﺬه اﻟﺒﻘﻌﺔ ﻣﻦ اﻟﻌﺎﻟﻢ‪.‬‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ ﻛﺘﻠﺘﻴﻦ ﺗﺮﺗﻔﻌﺎن ‪ 16‬دور‪ :‬ﻣﻊ وﺟﻮد ‪3‬‬ ‫أدوار ﺗﺤﺖ أرﺿﻴﺔ ﻟﻠﻤﻮاﻗﻒ‪ .‬ﻳﻔﺼﻞ ﺑﻴﻦ اﻟﻜﺘﻠﺘﻴﻦ ﻓﻀﺎء‬ ‫ﺧﺎرﺟﻲ وﺗﺮﺗﺒﻂ اﻟﻜﺘﻠﺘﻴﻦ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻤﺎ ﺑﺠﺴﻮر ﻓﻲ ا‪V‬دوار‬ ‫اﻟﻌﻠﻴﺎ ﺗﻌﺒﺮ اﻟﻔﻀﺎء ﺑﻴﻦ اﻟﻜﺘﻠﺘﻴﻦ‪.‬‬ ‫اﻟﻜﺘﻠﺔ اﻟﻜﺒﻴﺮة اﻟﺨﻠﻔﻴﺔ ﺗﺤﺘﻮي ﻋﻠﻰ ﻣﺤﺘﻮﻳﺎت اﻟﻤﻜﺘﺒﺔ و‬ ‫ﺗﺮﺗﻔﻊ ﻓﻮق ﺟﺰء ﻣﻦ اﻟﻔﻀﺎء اﻟﻤﻔﺘﻮح اﻟﺬي ﻳﺸﻜﻞ ﺳﺎﺣﺔ ﻋﺎﻣﺔ‬ ‫ذات ﺗﻬﻮﻳﺔ ﻃﺒﻴﻌﻴﺔ وﺗﺤﺘﻮي ﻋﻠﻰ أﻧﺸﻄﺔ ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ‬ ‫وﻣﻘﻬﻰ وﻣﺤﻞ ﺑﻴﻊ ﻟﻠﻜﺘﺐ وﻣﺤﻼت ﺗﺠﺎرﻳﺔ وﺑﻴﻨﻤﺎ ﺗﺘﺠﺎور‬ ‫اﻟﻜﺘﻠﺘﻴﻦ ﺑﺄﺳﻠﻮب ﻏﻴﺮ ﻣﺘﻨﺎﻇﺮ ﻓﺈن اﻟﻜﺘﻠﺔ اﻟﺪاﺋﺮﻳﺔ اﻟﺼﻐﻴﺮة‬ ‫ا‪V‬ﻣﺎﻣﻴﺔ ﺗﺤﺘﻮي ﻋﻠﻰ ا‪V‬ﻧﺸﻄﺔ اﻟﻌﺎﻣﺔ ذات اﻟﻀﻮﺿﺎء ﻣﺜﻞ‬ ‫اﻟﻤﻌﺮض وﻗﺎﻋﺔ اﻟﻤﺤﺎﺿﺮات واﻟﻮﺳﺎﺋﻂ اﻟﻤﺘﻌﺪدة‪.‬‬ ‫ﻳﻨﺘﺞ ﻋﻦ ﺗﻘﺴﻴﻢ ﻣﺘﻄﻠﺒﺎت اﻟﻤﺒﻨﻰ إﻟﻰ ﻧﺼﻔﻴﻦ ﻓﺮاﻏﺎت‬ ‫ذات ﻃﺒﻴﻌﺔ ﻣﺨﺘﻠﻔﺔ ﺑﻌﻀﻬﺎ داﺧﻠﻴﺔ وأﺧﺮى ﺧﺎرﺟﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﺗﺼﺒﺢ اﻟﻤﻜﺘﺒﺔ ﻓﻀﺎء ﻟﻜﻞ اﻟﺴﻨﻐﺎﻓﻮرﻳﻴﻦ وﺗﺠﺬﺑﻬﻢ إﻟﻰ‬

‫اﻟﻤﺴﺎﺣﺔ اﻟﻤﺒﻨﻴﺔ ‪:‬‬ ‫‪Site Area : 70686 m2‬‬

‫ﻣﻤﺎرﺳﺔ ا‪V‬ﻧﺸﻄﺔ اﻟﻌﺎﻣﺔ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ﺧﺪﻣﺎت اﻟﻤﻜﺘﺒﺔ‪.‬‬ ‫ﺗﺘﻜﻮن اﻟﻮاﺟﻬﺎت ﻣﻦ ﺷﺒﻜﺔ ﻣﻦ ﺷﺮاﺋﺢ ﻣﻌﺪﻧﻴﺔ ﻛﺎﺳﺮة‬ ‫ﻟﻠﺸﻤﺲ )ﺑﻌﻤﻖ ‪ 6‬أﻣﺘﺎر ﻓﻲ ﺑﻌﺾ ا‪V‬ﺣﻴﺎن( ﺗﺆﻛﺪ اﻟﻬﻮﻳﺔ‬ ‫اﻟﻤﻨﺎﺧﻴﺔ اﻻﺳﺘﻮاﺋﻴﺔ ﻟﻤﺒﺎﻧﻲ اﻟﻤﻨﻄﻘﺔ وﺗﺒﺮز اﻟﻮﻋﻲ اﻟﻤﻌﻤﺎري‬ ‫ﺑﺎ ﺳﺘﺠﺎﺑﺔ ﻟﻠﻤﺘﻄﻠﺒﺎت اﻟﻤﻨﺎﺧﻴﺔ ﻟﻠﻤﻨﺎخ ﻓﻲ اﻟﺘﺼﻤﻴﻢ‪.‬‬ ‫ﻳﺼﻞ اﻟﻔﻀﺎء اﻟﻮﺳﻄﻲ ﺑﻴﻦ اﻟﻜﺘﻠﺘﻴﻦ ﻃﺮﻳﻘﻴﻦ رﺋﻴﺴﻴﻴﻦ‬ ‫ﻓﻲ اﻟﻤﺪﻳﻨﺔ وﻓﻲ وﺳﻂ اﻟﺘﻜﻮﻳﻦ ﺗﻘﻊ اﻟﺴﺎﺣﺔ اﻟﻌﺎﻣﺔ اﻟﺘﻲ‬ ‫ﺗﻤﺜﻞ ﻣﺮﻛﺰ اﻟﻤﺸﺮوع واﻟﺬي ﻳﺆدي إﻟﻰ ﻛﺎﻓﺔ ﻣﻜﻮﻧﺎﺗﻪ‪.‬‬ ‫ﻛﻤﺎ ﻳﺤﺘﻮي اﻟﻤﺸﺮوع ﻋﻠﻰ أﻓﻨﻴﺔ ﺧﺎرﺟﻴﺔ ﺧﻀﺮاء ﺑﻤﺴﺎﺣﺔ‬ ‫‪6300‬م‪ 2‬ﻣﻮزﻋﺔ ﻋﻠﻰ أدوار اﻟﻤﺒﻨﻰ‪.‬‬ ‫ﻳﺴﺘﺨﺪم اﻟﻤﺒﻨﻰ وﺳﺎﺋﻞ ﺑﻴﺌﻴﺔ ﺧﻀﺮاء ﻣﺘﻌﺪدة ﺗﻬﺪف‬ ‫إﻟﻰ ﺗﻮﻓﻴﺮ إﺿﺎءة ﻃﺒﻴﻌﻴﺔ ﺟﻴﺪة وﺗﻮﺟﻴﻪ ﺟﻴﺪ ﻟﻠﻤﺒﻨﻰ‬ ‫وﺣﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ ﻣﻦ ﺧﻼل واﺟﻬﺎت ﻣﺼﻤﻤﺔ‬ ‫ﻟﻜﻲ ﺗﻮﻓﺮ ﻫﺬه اﻟﺤﻤﺎﻳﺔ ﻛﻤﺎ ﺗﻢ اﺳﺘﺨﺪام أﻟﻮان ﻋﺎﻛﺴﺔ‬ ‫ﻓﺎﺗﺤﺔ ﻓﻲ اﻟﻮاﺟﻬﺎت وﺗﻨﺴﻴﻖ اﻟﻤﻮﻗﻊ ﺑﺮﻗﻌﺔ ﺧﻀﺮاء‬ ‫ﻛﺒﻴﺮة‪ .‬ﺳﻴﺘﻢ ﺗﻜﻴﻴﻒ اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ ﻟﻠﻤﻜﺘﺒﺔ آﻟﻴ‪9‬‬ ‫وﺗﻮﻓﻴﺮ إﻧﺎرة ﺻﻨﺎﻋﻴﺔ ﻟﻬﺎ وﻫﻮ ﻣﺎﻳﻔﻀﻠﻪ اﻟﺴﻨﻐﺎﻓﻮرﻳﻴﻦ‬ ‫ﻣﻊ إﺳﺘﺨﺪام اﻟﺘﻬﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ا‪s‬ﻟﻴﺔ ﻓﻲ‬ ‫ﻛﻞ ﻣﻦ اﻟﺴﺎﺣﺎت اﻟﻌﺎﻣﺔ ﻣﺜﻞ اﻟﺒﻬﻮ وا‪V‬ﻓﻨﻴﺔ‪ .‬روﻋﻲ ﻓﻲ‬ ‫اﺧﺘﻴﺎر اﻟﻤﻮاد أن ﺗﻜﻮن ﻣﻮاد ﺧﻀﺮاء وﻣﺪورة ﻣﺜﻞ اﻟﺴﺠﺎد‬ ‫وﺗﻐﻄﻴﺎت اﻟﺤﻮاﺋﻂ اﻟﺪاﺧﻠﻴﺔ واﺳﺘﺨﺪام ا‪V‬ﺧﺸﺎب اﻟﻤﺤﻠﻴﺔ‪.‬‬

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From the Architect : The NLB building builtform consists essentially of two blocks that are separated by a day-lit semi-enclosed internal “street” and which are connected by bridges at the upper levels over the “street” below.

The larger block contains the library collections and sits over an open-to-the-sky naturally-ventilated civic plaza, with opportunities for ‘outdoor’ events and cafés (and another for multi-media, programming, etc).

Building Configuration The blocks are a juxtaposition of formality and asymmetry - The curved, smaller block contains the noisier, public activities (exhibition, auditorium, multi-media) that will sit alongside a larger, rectilinear block that houses the library collections.The division of the brief into two halves generates spatial differentiation of what’s inside outside and on the other side. It presents the library culture as being more fun, that the building can become an urban motivator for civic activities, that a library becoming a “place for the people”.

Sun-shading The elevations of the building design is an assemblage of distinctive sunshading blades (6 m deep at some locations) that boldly define the tropical aesthetics for the building besides providing solar shading and anti-glare performance that in totality gives the image of a contemporary climaticresponsive [in this instance tropical] built form.

Public Plaza The internal street at the ground plane serves as a link between two prominent streets (ie. Victoria Street and North Bridge Road). At the heart of the scheme is the Public Events Plaza which is a communal space that becomes the main focal point of the site and subsequently leading visitors into the main foyer and library proper. This public space is further animated with Café’s, a library shop and possible retail areas. The axis of the street also exemplifies the St. Joseph church across the street by means of framing the view towards the church from the street.

Garden Skycourts Over 6,300 m2 is designated a ‘green space’ through out the library that creates urban “Skycourts” providing a positive psychological effect on building users and improving general working environments.

Green Materials & Specifications Our design approach also involves the holistic consideration of the careful selection of green materials used in the designed system and the endeavor by design to reduce the impact of this on (and its integration with) the natural environment, over the life-cycle of the designed system.

The use of recycled and reused materials generally ( such as carpet, wall fabrics and sustainable-forested local timber) contribute to an environmentally low impact design.

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тАлтАк┬й All Photos by Christian RichtersтАмтАм

тАля║Яя║О╪б я╗ля║м╪з ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗Уя╗▓ ╪ея╗Гя║О╪▒ я╗гя║┤я║Оя║Ся╗Шя║Ф я╗Ля║О╪п╪й я║Ся╗ия║О╪б я╗гя╗Ья║Шя║Тя║Ф я║Яя║кя╗│я║к╪йтАм тАля╗Яя╗дя║кя╗│я╗ия║Ф я║Ся║оя╗гя╗ия║ая╗мя║О┘ЕтАк .тАмя║Чя╗Шя╗К ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф я╗Ля╗ая╗░ ╪зя╗Яя╗дя╗┤я║к╪з┘Ж ╪зя╗Яя║оя║Ля╗┤я║▓ я╗Яя╗ая╗дя║кя╗│я╗ия║ФтАм тАля║Ся╗┤я╗ж я╗гя║Тя╗ия╗┤я╗┤я╗ж ╪гя║гя║кя╗ля╗дя║О я╗гя║Тя╗ия╗░ я╗Яя╗ая║Тя╗ая║кя╗│я║Ф ╪гя╗Ля╗┤я║к я║Чя║Дя╗ля╗┤я╗ая╗к я╗Ыя╗дя╗Ья║Оя║Чя║Р ┘И╪зтАк0тАмя║зя║отАм тАля╗ля╗о я║╗я║Оя╗Яя║Ф ╪зя╗╗я║гя║Шя╗Фя║Оя╗╗╪к ┘И╪зя╗Яя╗Мя║о┘И╪╢ ╪зя╗Яя╗дя║┤я║оя║гя╗┤я║Ф я║Чя║оя║Чя║Тя╗В я║Ся╗мя║О ╪зя╗Яя╗дя╗Ья║Шя║Тя║ФтАк.тАмтАм тАля╗│я║дя╗Шя╗Ц ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪ея╗│я║ая║О╪п я╗гя╗Мя╗ая╗в я╗гя╗Мя╗дя║О╪▒┘К ┘И я╗ля╗оя╗│я║Ф я║Яя║кя╗│я║к╪й я╗Яя╗ая╗дя╗┤я║к╪з┘ЖтАм тАл┘Ия╗│я╗ия╗Ия╗в ╪зя╗Яя╗Мя╗╝я╗Чя║Ф я║Ся╗┤я╗ж я║гя║оя╗Ыя║Ф ╪зя╗Яя╗дя║╕я║О╪й ┘И╪зя╗Яя╗ия╗Шя╗Ю ┘Ия╗│я╗оя╗Уя║о ╪гя╗зя║╕я╗Дя║ФтАм тАля║Ыя╗Шя║Оя╗Уя╗┤я║Ф ┘Ия║Чя║оя╗Уя╗┤я╗мя╗┤я║Ф я║Яя║кя╗│я║к╪йтАк .тАм╪зя╗Яя║Шя║╕я╗Ья╗┤я╗Ю ╪зя╗Яя║ия║О╪▒я║Яя╗▓ я╗Яя╗ая╗дя║╕я║о┘И╪╣ я╗гя╗Ья╗о┘ЖтАм тАля╗гя╗ж я╗Ыя║Шя╗Ю я╗гя║Шя╗о╪з╪▓я╗│я║Ф ╪зтАкOтАмя║┐я╗╝╪╣ я║Чя║О╪▒╪й я║Чя╗дя║Шя║к ╪ея╗Яя╗░ ╪зя╗Яя║ия║О╪▒╪м ┘Ия║Чя║О╪▒╪й я║Чя║оя║Чя║к ╪ея╗Яя╗░тАм тАл╪зя╗Яя║к╪зя║зя╗ЮтАк .тАмя║Чя║Шя╗Ья╗о┘Ж ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф я╗гя╗ж я╗Ля║к╪й ╪г╪п┘И╪з╪▒ тАк :тАм╪п┘И╪▒ я║Чя║дя║Ц ╪г╪▒я║┐я╗▓ я╗│я╗дя║Шя║ктАм тАл╪ея╗Яя╗░ я║зя║О╪▒╪м я║гя║к┘И╪п ╪зя╗Яя╗дя║Тя╗ия╗░ ┘И я╗Яя╗к я╗Уя╗ия║О╪б ╪п╪зя║Ля║о┘К я╗│я╗Шя╗К я╗Уя╗▓ ╪зя╗Яя╗дя╗┤я║к╪з┘ЖтАк ╪МтАм┘Ия╗│я╗оя╗Уя║отАм тАля╗Яя╗к ╪з я║┐я║О╪б╪й ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗┤я║Ф ┘Ия╗│я║дя║Шя╗о┘К ╪зя╗Яя║к┘И╪▒ я╗Ля╗ая╗░ я╗гя╗Ья║Шя║Тя║Ф я╗ЯтАкVтАмя╗Гя╗Фя║О┘Д ┘И╪гя║зя║о┘ЙтАм тАля╗Яя╗ая╗дя╗о╪з╪п╪зя╗Яя╗дя╗оя║│я╗┤я╗Шя╗┤я║ФтАк .тАмя╗│я╗Шя╗К я╗гя║кя║зя╗Ю ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф я╗Ля╗ая╗░ ╪зя╗Яя╗дя╗┤я║к╪з┘Ж я╗Уя╗▓ ╪зя╗Яя║к┘И╪▒тАм тАл╪зтАкOтАм╪▒я║┐я╗▓ ╪зя╗Яя║м┘К я╗│я║оя║Чя║Тя╗В ┘Ия╗│я║Шя╗о╪зя║╗я╗Ю я╗гя╗К ╪зя╗Яя║к┘И╪▒ ╪зтАкOтАм╪▒я║┐я╗▓ я╗Яя║╝я║Оя╗Яя║Ф ╪зя╗╗я║гя║Шя╗Фя║Оя╗╗╪ктАм тАл┘И╪зя╗Яя╗Мя║о┘И╪╢ ╪зя╗Яя╗дя║┤я║оя║гя╗┤я║Ф ┘Ия╗│я╗Ая╗в я║зя║кя╗гя║О╪к я╗гя║ия║Шя╗ая╗Фя║Ф тАк :тАмя║╗я║Оя╗╗╪к ╪зя╗╗я║│я║Шя╗Шя║Тя║О┘ДтАм тАл┘Ия║зя║кя╗гя║О╪к ╪гя║зя║о┘Й я╗гя║Шя╗ия╗оя╗Ля║ФтАк ╪МтАмя║Чя╗ия╗Дя╗ая╗Ц ╪зя╗Яя║дя║оя╗Ыя║Ф ╪зя╗Яя║о╪гя║│я╗┤я║Ф я╗гя╗ж я╗гя║кя║зя╗Ю ╪зя╗Яя╗дя╗Ья║Шя║Тя║ФтАм тАля╗Ля║Тя║о я║│я╗╝я╗Яя╗в ┘Ия║│я╗┤я╗о╪▒ я╗гя║Шя║дя║оя╗Ыя║Ф ╪ея╗Яя╗░ ╪зя╗Яя║к┘И╪▒ я║Чя║дя║Ц ╪зтАкOтАм╪▒я║┐я╗▓ ┘И╪ея╗Яя╗░ ╪зтАкOтАм╪п┘И╪з╪▒тАм тАл╪зя╗Яя╗Мя╗ая╗┤я║О я╗Ля║Тя║о я╗Уя║Шя║дя║О╪к ╪п╪зя║Ля║оя╗│я║Ф я║Чя╗оя╗Уя║о ╪ея║┐я║О╪б╪й я╗Гя║Тя╗┤я╗Мя╗┤я║Ф я╗ЯтАкVтАм╪п┘И╪з╪▒ ┘Ия║Чя║дя╗Шя╗ЦтАм тАл╪зя╗Яя║Шя╗оя║Яя╗┤я╗к ╪зя╗Яя╗дя╗ия║Оя║│я║Р я╗Яя╗ая║дя║оя╗Ыя║ФтАк .тАмя╗│я╗дя║Шя║к ╪зя╗Яя║к┘И╪▒ ╪зтАкOтАм┘И┘Д ┘И╪зя╗Яя║Ья║Оя╗зя╗▓ я║зя║О╪▒╪м я║гя║к┘И╪птАм тАл╪зя╗Яя╗дя║Тя╗ия╗░ я╗Яя╗┤я║╕я╗Ья╗╝┘Ж я╗гя╗Ия╗ая║Ф я║зя║О╪▒я║Яя╗┤я║Ф я╗Уя╗о┘В я╗гя║кя║зя╗Ю ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф ┘Ия╗│я╗оя╗Уя║о╪з┘ЖтАм тАля╗Уя╗оя╗Чя╗мя╗дя║О я║╖я║оя╗Уя║Ф я║зя║О╪▒я║Яя╗┤я║Ф я║зя╗Ая║о╪з╪б я╗│я╗дя╗Ья╗ж ╪з я╗Гя╗╝я╗Яя║Ф я╗гя╗ия╗мя║О я╗Ля╗ая╗░ ╪зя╗Яя╗дя╗┤я║к╪з┘ЖтАк╪МтАмтАм тАл┘Ия╗│я║дя║Шя╗о┘К ╪зя╗Яя║к┘И╪▒ ╪зтАкOтАм┘И┘Д я╗Ля╗ая╗░ ╪гя╗зя║╕я╗Дя║Ф я╗гя║Шя╗ия╗оя╗Ля║Ф я╗гя║Ья╗Ю я╗Чя║Оя╗Ля║Ф ╪п╪▒╪зя║│я║Ф ┘Ия╗Уя║╝я╗о┘ДтАм тАля║Чя║к╪▒я╗│я║Р ┘Ия╗Пя║о┘Б ╪зя║Яя║Шя╗дя║Оя╗Ля║О╪к ┘Ия╗гя║оя╗Ыя║░ я║Чя╗Мя╗ая╗┤я╗втАк ╪МтАмя║Ся╗┤я╗ия╗дя║О я╗│я║дя║Шя╗о┘К ╪зя╗Яя║к┘И╪▒ ╪зя╗Яя║Ья║Оя╗зя╗▓тАм тАля╗Ля╗ая╗░ я╗Чя║Оя╗Ля║Ф ╪зя╗Яя╗дя╗Дя║Оя╗Яя╗Мя║Ф ┘Ия║зя║░╪зя╗зя║О╪к я╗Яя╗ая╗Ья║Шя║РтАк ╪МтАм╪зя╗Яя║к┘И╪▒ ╪зя╗Яя║Ья║Оя╗Яя║Ъ я╗│я║оя║Чя║к ╪ея╗Яя╗░ ╪зя╗Яя║к╪зя║зя╗ЮтАм тАля╗Яя╗┤я╗Фя║┤я║в ╪зя╗Яя╗дя║ая║О┘Д я╗Яя╗ая║╕я║оя╗Уя║Ф ╪зя╗Яя╗дя╗Дя╗ая║Ф я╗Ля╗ая╗░ ╪зя╗Яя╗дя╗┤я║к╪з┘ЖтАк ╪МтАм┘Ия╗Яя║мя╗Яя╗Ъ я╗Уя║И┘Ж я╗гя║┤я╗Шя╗Дя╗ктАм тАл╪гя╗Чя╗Ю я╗гя║┤я║Оя║гя║Ф я╗гя╗ж ╪зя╗Яя║к┘И╪▒я╗│я╗ж ╪зтАкOтАм┘И┘Д ┘И╪зя╗Яя║Ья║Оя╗зя╗▓ ┘Ия╗│я║Шя╗Ья╗о┘Ж я╗ля║м╪з ╪зя╗Яя║к┘И╪▒ я╗гя╗жтАм тАл╪зя╗Яя║╕я║оя╗Уя║Ф ╪зя╗Яя╗дя╗Ья║╕я╗оя╗Уя║Ф ┘Ия╗Ыя║Оя╗Уя║Шя╗┤я║оя╗│я║О ┘Ия╗Чя║Оя╗Ля║Ф ╪зя╗Яя╗дя╗Дя║Оя╗Яя╗Мя║Ф ┘И╪зя╗Яя╗дя║оя╗Ыя║░ ╪зя╗Яя║┤я╗дя╗Мя╗▓тАм тАл╪зя╗Яя║Тя║╝я║о┘К я╗Яя╗ая╗дя║Жя║│я║┤я║Ф ╪зя╗Яя║Тя║оя╗│я╗Дя║Оя╗зя╗┤я║Ф я╗ЯтАкVтАмя╗Уя╗╝┘Е ╪зя╗Яя║┤я╗┤я╗ия╗дя║Оя║Ля╗┤я║Ф тАк ╪МтАм┘Ия╗│я╗Шя╗К я╗Уя╗оя╗Чя╗ктАм тАл╪зя╗Яя║к┘И╪▒ ╪зя╗Яя║о╪зя║Ся╗К я║Ся╗ия╗Фя║▓ ╪зя╗Яя╗дя║┤я║Оя║гя║Ф ┘Ия╗│я║дя║Шя╗о┘К я╗Ля╗ая╗░ ╪гя╗зя║╕я╗Дя║Ф ╪г╪▒я║╖я╗┤я╗Фя╗┤я║Ф ┘Ия║Ся║дя║Ья╗┤я║ФтАм тАля╗гя║ия║Шя╗ая╗Фя║Ф ┘Ия╗Пя║о┘Б я╗Ыя║Шя║Оя╗Яя╗о╪м ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф ┘Ия╗Пя║оя╗Уя║Ф я║Чя╗Шя╗ия╗┤я║О╪к ╪▒я╗Чя╗дя╗┤я║Ф ┘Ия║Чя║╝я╗оя╗│я║отАм тАля║Ся║О я║┐я║Оя╗Уя║Ф ╪ея╗Яя╗░ я║зя║кя╗гя║Оя║Чя╗мя║О ╪зя╗Яя╗дя╗ая║дя╗Шя║Ф тАк ╪МтАмя╗│я║дя║Шя╗о┘К ╪зя╗Яя║к┘И╪▒ ╪зя╗Яя║ия║Оя╗гя║▓ ┘И╪зя╗Яя║┤я║О╪п╪│тАм тАля╗Ля╗ая╗░ я╗гя║ия║О╪▓┘Ж ╪зя╗Яя╗Ья║Шя║Р я║Ыя╗в я╗│я║оя║Чя║к ╪зя╗Яя║к┘И╪▒ ╪зя╗Яя║┤я║Оя║Ся╗К я╗Яя╗┤я╗оя╗Уя║о я║╖я║оя╗Уя║Ф ╪гя║зя║о┘Й я║Чя╗Дя╗ЮтАм тАля╗Ля╗ая╗░ ╪зя╗Яя║ая╗мя║Ф ╪зя╗Яя║ия╗ая╗Фя╗┤я║Ф ┘Ия╗│я║дя║Шя╗о┘К я╗ля║м╪з ╪зя╗Яя║к┘И╪▒ я╗Ля╗ая╗░ ╪зя╗Яя║к┘И╪▒ ╪зя╗Яя╗дя╗Ья║Оя║Чя║Р ╪з ╪п╪з╪▒я╗│я║ФтАм тАл┘Ия╗гя╗Ья║Оя║Чя║Р ╪гя╗Ля╗Ая║О╪б я╗гя║ая╗ая║▓ ╪з ╪п╪з╪▒╪й ┘Ия║зя║кя╗гя║Оя║Чя╗мя║ОтАк ╪МтАмя╗Уя╗┤я╗дя║О я║зя║╝я║║ ╪зя╗Яя║к┘И╪▒ ╪зя╗Яя║Ья║Оя╗гя╗жтАм тАля╗Яя╗╢я╗╗╪ктАк ╪МтАм┘Ия╗│я╗Шя╗К я╗Уя╗▓ ╪зя╗Яя║к┘И╪▒ ╪зя╗Яя╗Мя╗ая╗о┘К )╪зя╗Яя║┤я╗Дя║в( я╗Уя║о╪з╪║ ╪зя║│я╗Дя╗о╪зя╗зя╗▓ ╪зя╗Яя║╕я╗Ья╗ЮтАм тАля╗│я╗дя║Ья╗Ю я╗Пя║оя╗Уя║Ф я║Чя║мя╗Ыя║О╪▒я╗│я║Ф я╗Яя╗ая║╕я║Оя╗Ля║о ╪зя╗Яя╗дя╗Мя║о┘И┘Б я║╖я╗Ья║┤я║Тя╗┤я║о я║Чя╗в ╪ея╗зя║╕я║Оя║Ля╗мя║О я╗Уя╗▓тАм тАля╗Ля║О┘Е тАк1882тАм┘Е ┘Ия╗Ыя║Оя╗зя║Ц я║Чя╗Шя╗К ╪п╪зя║зя╗Ю ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф ╪зя╗Яя╗Шя║кя╗│я╗дя║Ф ╪зя╗Яя║Шя╗▓ я║Чя╗в я╗ля║кя╗гя╗мя║ОтАк.тАмтАм тАля╗│я║Шя╗дя║Шя╗К я╗гя║Тя╗ия╗░ ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф я║Ся║╕я╗Фя║Оя╗Уя╗┤я║Ф я╗Ля║Оя╗Яя╗┤я║Ф я║Чя╗оя╗Уя║оя╗ля║О ┘И╪зя║Яя╗мя║Оя║Чя╗к ╪зя╗Яя║░я║Яя║Оя║Яя╗┤я║ФтАм

тАля╗Уя╗▓ я╗Ыя║Оя╗Уя║Ф ╪зтАкOтАм╪п┘И╪з╪▒ я╗гя║О я╗Ля║к╪з ╪зя╗Яя║к┘И╪▒я╗│я╗ж ╪зя╗Яя║ия║Оя╗гя║▓ ┘И╪зя╗Яя║┤я║О╪п╪│ ╪зя╗Яя╗ая║м╪з┘Ж я╗│я║Д┘Ия╗│я║О┘ЖтАм тАл╪г╪▒я║╖я╗┤я╗Т ╪зя╗Яя╗Ья║Шя║РтАк .тАм┘Ия║Чя╗Ря╗Дя╗▓ ╪зя╗Яя╗о╪зя║Яя╗мя║О╪к ╪▓я║зя║О╪▒┘Б я╗гя╗Мя║кя╗зя╗┤я║Ф ╪п╪зя║Ля║оя╗│я║Ф ╪░я╗ля║Тя╗┤я║Ф ╪г┘ИтАм тАля╗Уя╗Ая╗┤я║Ф ╪зя╗Яя╗ая╗о┘Ж я║Чя╗Мя║Тя║о я╗Ля╗ж ╪зя╗Яя║дя║о┘Б ╪зя╗Яя║Шя║о╪зя║Ыя╗┤я║Ф ┘И╪зя╗Яя║╝я╗ия║Оя╗Ля║О╪к ╪зя╗Яя╗дя╗Мя║кя╗зя╗┤я║Ф ╪зя╗Яя║Шя╗▓тАм тАл╪зя║╖я║Шя╗мя║о╪к я║Ся╗мя║О я╗гя║кя╗│я╗ия║Ф я║Ся║оя╗гя╗ия║ая╗мя║О┘Е тАк .тАмя╗│я║дя╗Шя╗Ц я╗гя║Тя╗ия╗░ я╗гя╗Ья║Шя║Тя║Ф я║Ся║оя╗гя╗ия║ая╗мя║О┘ЕтАм тАл╪зя╗Яя║ая║кя╗│я║к я╗гя║┤я║Шя╗о┘Й я╗Ля║Оя╗Яя╗▓ я╗гя╗ж я╗гя║Шя╗Дя╗ая║Тя║О╪к ┘Ия║╖я║о┘И╪╖ я╗гя╗о╪зя║╗я╗Фя║О╪к тАкBREEAMтАмтАм тАл╪з я╗зя║ая╗ая╗┤я║░я╗│я║Ф я╗Яя╗ая╗дя║Тя║Оя╗зя╗▓ ╪зя╗Яя╗дя║┤я║Шя║к╪зя╗гя║Ф ┘Ия╗│я║┤я║Шя║ия║к┘Е ╪зя╗Яя╗дя╗┤я║О┘З ╪зя╗Яя║оя╗гя║О╪пя╗│я║Ф ┘И╪зя╗Яя╗Дя║Оя╗Чя║ФтАм тАл╪зя╗Яя║дя║о╪з╪▒я╗│я║Ф ╪зя╗Яя║ая╗оя╗Уя╗┤я║Ф тАк .тАм┘И╪е╪░╪з я╗Ыя║Оя╗зя║Ц ┘И╪зя║Яя╗мя║О╪к ╪зя╗Яя╗дя║Тя╗ия╗░ ╪▓я║Яя║Оя║Яя╗┤я║Ф ╪ея╗╗ ╪гя╗зя╗к я╗│я╗оя╗Уя║отАм тАля╗Ыя╗Фя║О╪б╪й я║гя║о╪з╪▒я╗│я║Ф я╗гя╗ж я║зя╗╝┘Д ╪зя╗Яя║┤я╗Мя║Ф ╪зя╗Яя║дя║о╪з╪▒я╗│я║Ф я╗Яя╗Ья║Шя╗ая║Ф ╪зя╗Яя╗дя║Тя╗ия╗░ тАк ╪МтАмя╗Ыя╗дя║О я║Чя║дя╗дя╗▓тАм тАл╪зя╗Яя║░я║зя║О╪▒┘Б ╪зя╗Яя╗дя╗Мя║кя╗зя╗┤я║Ф ╪зя╗Яя║ия║О╪▒я║Яя╗┤я║Ф ┘И╪зя╗Яя╗дя╗о╪з╪п ╪зя╗Яя╗Мя║Оя╗Ыя║┤я║Ф ╪зя╗Яя╗о╪зя║Яя╗мя║Ф я╗гя╗ж ╪гя║╖я╗Мя║ФтАм тАл╪зя╗Яя║╕я╗дя║▓ я║Ся╗┤я╗ия╗дя║О я║Чя║┤я╗дя║в я║Ся║кя║зя╗о┘Д ╪з я║┐я║О╪б╪й ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗┤я║Ф ╪ея╗Яя╗░ ╪зя╗Яя╗дя║Тя╗ия╗░тАк .тАмя╗│я║дя║Шя╗о┘КтАм тАл╪зя╗Яя╗дя║Тя╗ия╗░ я╗Ля╗ая╗░ ┘Ия║│я║Оя║Ля╗Ю я╗Яя╗ая║Шя╗Ья╗┤я╗┤я╗Т ┘И╪зя╗Яя║Шя╗мя╗оя╗│я║Ф ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗┤я║Ф я╗гя╗ж я║зя╗╝┘Д я╗Уя║Шя║дя║О╪ктАм тАля║╗я╗Ря╗┤я║о╪й я╗Уя╗▓ ╪зя╗Яя╗о╪зя║Яя╗мя║О╪ктАк .тАм┘Ия║Чя║░я╗│я║к ╪зя╗Яя║╕я║оя╗Уя║О╪к ╪зя╗Яя╗дя║┤я║Оя║гя║О╪к ╪зя╗Яя║ия╗Ая║о╪з╪б тАк.тАмтАм

From the Architect : Centenary Square, the largest public square in the heart of Birmingham, currently lacks cohesion or a clear identity or atmosphere. Mecanoo’s design transforms the square into one with three distinct realms: monumental, cultural and entertainment. These palazzos form an urban narrative of important periods in the history of the city; The Repertory Theatre (REP), a 1960s concrete building, the Library of Birmingham, designed in 2009 and Baskerville House, a listed sandstone building designed in 1936. The busiest pedestrian route in the city, what Mecanoo calls the red line, leads pedestrians into Centenary Square. The cantilever of the library is not only a large canopy that provides shelter at the common entrance of the Library of Birmingham and the REP, but additionally forms a grand city balcony with views of the events and happenings on the square.

The Library of Birmingham is a transparent glass building. Its delicate filigree skin is inspired by the artisan tradition of this once industrial city. Travelators and escalators dynamically placed in the heart of the library forms connections between the eight circular spaces within the building. These rotundas play an important role not only in the routing through the library but also provide natural light and ventilation. The rooftop rotunda houses the Shakespeare Memorial Room, designed in 1882. This Victorian reading room is lined with wood from the first Birmingham Central Library. Its prominent position as a rooftop aerie makes this delicate room visible from the square. The REP with its unique and beautiful auditorium will be renovated. New workshops, staff accommodations and a shared theatre and foyer space will be created for both the REP and the library.

The Library of Birmingham is a BREEAM excellent rated building and incorporates grey water systems and ground source heat pumps. Although the Library is a transparent building, it maintains energy efficiency through the buffering capacity of the building mass and the atria. Sun shading and reflective materials within the facades block the harsh rays of the sun during the height of afternoon while allowing natural daylight into the interiors. The ground floor benefits from the mass of the soil which provides buffering and insulation.

The circular patio cut out of the square creates a protected outdoor space and invites daylight deep into the building. The building will incorporate a mixed mode and natural ventilation strategy. The façade will respond to external conditions and openings will allow fresh air intake and outflow. The addition of soft landscaped roof spaces will further enhance the immediate surrounding conditions.

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‫ﻣﻜﺘﺒﺔ وﻣﻌﻠﻢ ﻣﻌﻤﺎري‬ ‫‪España Library‬‬ ‫‪Medellin, Columbia‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Giancarlo Mazzanti‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : March 2006‬‬

‫اﻟﻤﺴﺎﺣﺎت اﻟﻌﺎﻣﺔ ‪:‬‬ ‫‪Total Built Area : 14265 m2‬‬ ‫اﻟﻤﺴﺎﺣﺔ اﻟﻤﺒﻨﻴﺔ ‪:‬‬ ‫‪Site Area : 3727 m2‬‬

‫‪© Carlos Tobon‬‬

‫ﺑﺪﻻً ﻣﻦ اﻟﺒﺤﺚ ﻋﻦ ﺣﻞ ﻣﻌﻤﺎري ﺗﻘﻠﻴﺪي رﻛﺰ اﻟﺒﺤﺚ ﻋﻠﻰ وﺿﻊ‬ ‫اﻟﻘﻮاﻋﺪ اﻟﺘﻨﻈﻴﻤﻴﺔ اﻟﺘﻲ ﺗﺘﻔﻖ ﻣﻊ اﻟﺒﻴﺌﺔ واﻟﻄﺒﻴﻌﺔ ‪#‬ﻳﺠﺎد‬ ‫ﺣﻠﻮل ﺗﺘﻮاﺋﻢ ﻣﻊ ﺗﻘﻮﻳﺔ اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﻄﺒﻴﻌﺔ واﻟﻌﻤﺮان‪.‬‬ ‫ﻳﻘﻊ اﻟﻤﺸﺮوع ﻓﻮق أﺣﺪ ﻗﻤﻢ اﻟﻤﺮﺗﻔﻌﺎت اﻟﺘﻲ ﺗﻄﻞ ﻋﻠﻰ‬ ‫ﺗﺠﻤﻊ ﻋﻤﺮاﻧﻲ ﻋﺮف ﺑﺎﻟﻌﻨﻒ ﻓﻲ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت اﻟﻤﺎﺿﻴﺔ ﻧﺘﻴﺠﺔ‬ ‫ﻟﺘﻔﺸﻲ ﺗﺠﺎرة اﻟﻤﺨﺪرات ﻓﻲ اﻟﻤﺪﻳﻨﺔ‪ ،‬ﻣﻤﺎ أدى إﻟﻰ إﻧﻔﺼﺎل‬ ‫ﻫﺬا اﻟﺤﻲ اﺟﺘﻤﺎﻋﻴ‪ J‬ﻋﻦ ﺑﺎﻗﻲ اﻟﻤﺪﻳﻨﺔ ‪ .‬ﻣﺆﺧﺮ‪ G‬أﻃﻠﻖ ﻋﻤﺪة‬ ‫ﻣﺪﻳﻨﺔ ﻣﺪﻳﻠﻴﻦ ﻣﺸﺮوﻋ‪ J‬اﺟﺘﻤﺎﻋﻴ‪ J‬ﻋﻤﺮاﻧﻴ‪# J‬ﻋﺎدة ﺗﻮاﺻﻞ‬ ‫اﻟﻤﺪﻳﻨﺔ ﻣﻊ ﻫﺬا اﻟﺤﻲ ﻣﻦ ﺧﻼل ﺗﻮﻓﻴﺮ اﻟﻔﺮص اﻻﻗﺘﺼﺎدﻳﺔ‬ ‫واﻻﺟﺘﻤﺎﻋﻴﺔ اﻟﻌﺎدﻟﺔ اﻟﺘﻲ ﺗﺘﻮﻓﺮ ﻓﻲ ا‪P‬ﺣﻴﺎء ا‪P‬ﺧﺮى ﻣﻦ‬ ‫اﻟﻤﺪﻳﻨﺔ ﺑﻬﺪف رﻓﻊ ﻣﺴﺘﻮى ﺣﻴﺎة ﺳﻜﺎن ﻫﺬا اﻟﺤﻲ‪.‬‬ ‫ﻓﺄﻃﻠﻘﺖ اﻟﺒﻠﺪﻳﺔ ﻣﺴﺎﺑﻘﺔ ﻣﻌﻤﺎرﻳﺔ ﻟﺒﻨﺎء ﻣﺒﻨﻰ ﻣﺘﻌﺪد‬ ‫ا‪P‬ﻏﺮاض ﻳﻀﻢ ﻣﻜﺘﺒﺔ وﻣﺮﻛﺰ‪ G‬ﻟﺮﻋﺎﻳﺔ ا‪P‬ﻃﻔﺎل وﻓﺼﻮل‬ ‫ﻟﻠﺘﺪرﻳﺐ وﻣﻌﺮض وﻗﺎﻋﺔ ﻣﺤﺎﺿﺮات وﻣﻜﺎﺗﺐ إدارﻳﺔ‪ .‬ﻗﺴﻤﺖ‬ ‫اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻓﻌﺎﻟﻴﺎت اﻟﺒﺮﻧﺎﻣﺞ اﻟﻤﻌﻤﺎري إﻟﻰ ‪ 3‬أﻗﺴﺎم‪:‬‬ ‫ﻗﺴﻢ اﻟﻤﻜﺘﺒﺔ‪ ،‬ﻗﺴﻢ ﻓﺼﻮل وﻣﻜﺎﺗﺐ ﻟﻠﺘﺪرﻳﺐ‪ ،‬وﻗﺴﻢ‬ ‫اﻟﺰوار ﻣﺮﻛﺰ اﻟﺮﻋﺎﻳﺔ وﻫﺬا اﻟﻘﺴﻢ ﺧﺼﺺ ﻟﻪ ﻣﺴﺎﺣﺎت ﻓﻲ‬ ‫ﻣﺴﺘﻮى ﺗﺤﺖ اﻟﻘﺴﻤﻴﻦ ا‪c‬ﺧﺮﻳﻦ ﻟﻴﺴﻤﺢ ﺗﺼﻤﻴﻤﻪ ﺑﻤﺮوﻧﺔ‬ ‫وﺣﺮﻳﺔ ﻓﻲ اﻻﺳﺘﻌﻤﺎل ‪ ،‬ﺗﺸﺠﻊ اﻟﺠﻤﻬﻮر ﻋﻠﻰ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ‬ ‫ا‪P‬ﻧﺸﻄﺔ اﻟﻤﺨﺘﻠﻔﺔ اﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ اﻟﻤﺸﺮوع‪.‬‬ ‫اﺗﺒﻊ اﻟﻤﻌﻤﺎري أﺳﻠﻮب ﺗﺤﻠﻴﻞ ﻣﻨﻄﻘﻲ ﻟﻠﻮﺻﻮل إﻟﻰ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري اﻟﻤﻨﺎﺳﺐ ﻟﻬﺬا اﻟﻤﺸﺮوع‪ ،‬ﻓﺎﻟﻤﺪﻳﻨﺔ ﺗﻘﻊ‬ ‫ﻓﻲ ﻣﻨﻄﻘﺔ ﺟﺒﻠﻴﺔ ﻏﻴﺮ ﻣﺒﺴﻄﺔ ذات ﺗﻀﺎرﻳﺲ ﻣﺘﻨﺎﻓﺮة‬ ‫وﻣﺮﺗﻔﻌﺎت ﻳﺘﺨﻠﻠﻬﺎ أودﻳﺔ‪ ،‬ﻫﺬه اﻟﻄﺒﻴﻌﺔ اﻟﺠﻐﺮاﻓﻴﺔ أﻋﻄﺖ‬ ‫ﻫﻮﻳﺔ ﻋﻤﺮاﻧﻴﺔ ﻓﺮﻳﺪة ﻟﻠﻤﺪﻳﻨﺔ أدرﻛﻬﺎ وﺗﺒﻨﺎﻫﺎ اﻟﺴﻜﺎن‪،‬‬ ‫ﻳﺮﺗﺒﻂ اﻟﺤﻞ اﻟﻤﻌﻤﺎري ﺑﻬﺬه اﻟﻬﻮﻳﺔ ﻓﻬﻮ ﺣﻞ أﻗﺮب ﻟﺘﺼﻤﻴﻢ‬ ‫ﺗﻨﺴﻴﻖ اﻟﻤﻮاﻗﻊ‪ ،‬ﺣﻴﺚ أﺛﺮت ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻋﻠﻰ ﻋﻤﺎرة‬ ‫اﻟﻤﺸﺮوع ﻟﻴﻨﺪﻣﺞ ﻣﻊ اﻟﻔﻀﺎء اﻟﻄﺒﻴﻌﻲ ﻟﻠﻤﻨﻄﻘﺔ اﻟﺘﻲ ﻳﻘﻊ‬ ‫ﻓﻴﻬﺎ ﺑﺈﺗﺒﺎع اﻟﺘﻀﺎرﻳﺲ اﻟﻤﺘﻌﺮﺟﺔ ﻟﻠﺠﺒﺎل ﻟﺘﻮزﻳﻊ ﻋﻨﺎﺻﺮ‬ ‫اﻟﺒﺮﻧﺎﻣﺞ اﻟﻤﻌﻤﺎري واﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ذﻟﻚ ﻓﻲ اﻟﺸﻜﻞ اﻟﻨﻬﺎﺋﻲ‬ ‫ﻟﻠﻤﺸﺮوع ﺑﺤﻴﺚ ﻳﺒﺪو اﻟﻤﺸﺮوع ﻛﻜﺘﻞ ﺻﺨﺮﻳﺔ ﻛﺒﻴﺮة‬ ‫ﻧﺎﺑﻌﺔ ﻣﻦ اﻟﻄﺒﻴﻌﺔ اﻟﺠﺒﻠﻴﺔ‪.‬‬ ‫«*‪ÂUF « l u‬‬

‫‪¡UM³ « ±πÂ‬‬

‫‪S19 Albenaa‬‬

© Diana Moreno

WDO;« WIDM*« vKŽ W öÞù«Ë W³²J*«

© Sergio Gomez

© Sergio Gomez

WOK³'« —u B « s …UŠu² *« tð—ULŽË w(« vKŽ qD¹ ŸËdA*«

ÎöO Ëb³¹ UL ŸËdA*« S18 Albenaa

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From the Architect: Rather than an architectural object, we pretend to develop a landscape related to geography and urban topography inserted there in; we search for organizational rules to develop projects that favor a ´´new natural contract´´. We fold, map, and tear; operations that build architecture-landscape at the same time, reformulating relations between depth and figure, an approximation in the search of alternative ideas capable of favoring that ´´new natural contract´´ tuned with a landscape and a natural order The project is located in one of the hillsides most affected by the violence in the eighties because of drug trafficking in the city of Medellin and is part of the social inclusion agenda of the Mayor to provide equal opportunities in social and economic development to the population.

The competition program called for a multi-building (library, training rooms, exhibition hall, auditorium and administration) in a single volume, the proposal seek to divide the program into three groups: the library, classrooms and offices training, and the audience composed of a lower platform, allowing us greater flexibility and autonomy in their use, making the community more participative.

The city is located in the northern Andes, in one of the most broken topography in Colombia, its main characteristic

is given by its mountains and the geography that defines the identity and image of the city, is what the citizens take as an element of identification. The proposal is related to the image and identify of the city, through architecturallandscape, part of its landscape inspires the building to be interpreted as a new topography.

The project is organized under two structures: the first, by buildings and landscape (rocks) and the second by a platform that integrates them and transforms it into a deck-plaza that functions as an outlook towards the valley.

The building works as meeting gathering place for the community, allowing the area to stand out as an icon.

The sector consists of small brick houses caused by self construction and waste of green areas, resulting from the inability to build on steeps slopes, this organization produces a uniform texture of the city with no visible hierarchy. This is why the proposed building seeks to stand out as a buildinglandscape icon, constructing the site and maintaining the tension, the geography as an element of hierarchy and the architecture as a texture.The project is visible from much of the city as a symbol of the new Medellin, making people able to identify their community and build a greater sense of belonging. Today it is one of the tourist attractions of the city.

S21 Albenaa

¡UM³ « ≤±Â

‫ ‪‰Ë_« —Ëb « jI‬‬

‫ ‪Y U¦ « —Ëb « jI‬‬

‫ﻫﺬه اﻟﻄﺒﻴﻌﺔ اﻟﺠﺒﻠﻴﺔ وﺗﻀﺎرﻳﺴﻬﺎ وإﻧﺤﺪاراﺗﻬﺎ اﻟﻐﻴﺮ‬ ‫ﻣﻨﺘﻈﻤﺔ ﺗﺠﻌﻞ ﻣﻦ اﻟﺼﻌﻮﺑﺔ ﺑﻤﻜﺎن إﻳﺠﺎد ﻣﺴﺎﺣﺎت‬ ‫ﻣﻨﺒﺴﻄﺔ ‪4‬ﻟﺘﻘﺎء اﻟﺴﻜﺎن ‪ ،‬ﻛﻤﺎ أن اﻟﺴﻜﺎن ﻗﺪ ﻟﺠﺄوا إﻟﻰ‬ ‫ﺑﻨﺎء ﻣﺴﺎﻛﻦ ﻋﻠﻰ اﻟﻤﻨﺤﺪرات ﺑﻄﺮﻳﻘﺔ ﻋﺸﻮاﺋﻴﺔ ﻣﻦ اﻟﻄﻮب‬ ‫اﻟﻤﺼﻨﻊ واﻟﻤﻮاد اﻟﻄﺒﻴﻌﻴﺔ اﻟﻤﺘﻮﻓﺮة اﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ أﻧﺘﺠﺖ‬ ‫ﺗﻜﻮﻳﻦ ﻋﻤﺮاﻧﻲ ﻧﻤﻄﻲ وﻣﺘﻜﺮر‪ .‬وﻟﺬﻟﻚ ﺻﻤﻢ اﻟﻤﺸﺮوع‬ ‫ﺑﻄﺮﻳﻘﺘﻴﻦ‪ :‬ا‪E‬وﻟﻰ ﻫﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ وﺗﻨﺴﻴﻖ اﻟﻤﻮﻗﻊ‬ ‫ﺑﺤﻴﺚ ﺗﺘﺒﻊ اﻟﻄﺒﻴﻌﺔ اﻟﺠﺒﻠﻴﺔ‪ ،‬واﻟﻄﺮﻳﻘﺔ اﻟﺜﺎﻧﻴﺔ ﻫﻲ إﻳﺠﺎد‬ ‫ﻣﻨﺼﺔ ﻛﺒﻴﺮة ﺗﺠﻤﻊ وﺗﺪﻣﺞ اﻟﻤﺒﺎﻧﻲ ﻓﻴﻬﺎ ﻳﻤﻜﻦ اﺳﺘﺨﺪاﻣﻬﺎ‬ ‫ﻛﺴﺎﺣﺔ ﻟ‪O‬ﻟﺘﻘﺎء ﺑﻴﻦ اﻟﺴﻜﺎن وا‪4‬ﻃﻼﻟﺔ ﻋﻠﻰ اﻟﻮادي‬ ‫واﻟﻤﺪﻳﻨﺔ‪ ،‬وﺑﺤﻴﺚ ﺗﺤﻮل اﻟﻤﺸﺮوع إﻟﻰ ﻣﻌﻠﻤ‪ P‬ﻣﻌﻤﺎرﻳ‪P‬‬ ‫واﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ إﻟﻰ ﻣﻌﻠﻤ‪ P‬ﻋﻤﺮاﻧﻴ‪ ،P‬ﺣﺘﻰ أﺻﺒﺤﺖ‬ ‫اﻟﻤﻨﻄﻘﺔ واﻟﻤﺒﻨﻰ ﻣﺰار‪ R‬ﺳﻴﺎﺣﻴ‪ P‬وﻣﻜﺎﻧ‪4 P‬ﻟﺘﻘﺎء اﻟﺴﻜﺎن‬ ‫وا‪4‬ﻃﻼﻟﺔﻋﻠﻰ اﻟﻤﺸﻬﺪ اﻟﺠﻐﺮاﻓﻲ‪ ،‬ﻣﻤﺎ ﻳﻌﺰز ﻟﺪى اﻟﺴﻜﺎن‬ ‫ﻫﻮﻳﺔ وإرﺗﺒﺎط اﻟﻤﻜﺎن ﺑﻬﻢ‪.‬‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ ﻧﻈﺎﻣﻴﻦ إﻧﺸﺎﺋﻴﻴﻦ ‪ :‬ا‪E‬ول ﻫﻮ ﺷﺒﻜﺔ‬ ‫ﻣﻌﺪﻧﻴﺔ ﺗﻘﻮم ﺑﺤﻤﻞ وﺗﺴﻠﻴﺢ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ‪ ،‬واﻟﺜﺎﻧﻲ‬

‫‪¡UM³ « ≤∞Â‬‬

‫‪S20 Albenaa‬‬

‫ﻫﻮ ﻫﻴﻜﻞ إﻧﺸﺎﺋﻲ ﺧﺮﺳﺎﻧﻲ ﻳﺤﻤﻞ أﺳﻘﻒ ا‪E‬دوار اﻟﻤﺨﺘﻠﻔﺔ‬ ‫وﻣﻨﻔﺼﻞ ﻋﻦ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ﻟﻴﺴﻤﺢ ﺑﻮﻟﻮج اﻟﻀﻮء‬ ‫اﻟﻄﺒﻴﻌﻲ ﻣﻦ أﻋﻠﻰ اﻟﻤﺒﻨﻰ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﺤﻤﻞ اﻟﻤﻨﺼﺔ اﻟﻜﺒﻴﺮة‬ ‫ﻧﻈﺎم إﻧﺸﺎﺋﻲ ﻣﻜﻮن ﻣﻦ أﻋﻤﺪة ﺣﺪﻳﺪﻳﺔ وﺑﻼﻃﺎت ﺧﺮﺳﺎﻧﻴﺔ‪.‬‬ ‫ﺗﺘﻜﻮن ﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت ﻣﻦ أﻟﻮاح ﺣﺠﺮﻳﺔ ذات ﻟﻮن أﺳﻮد‬ ‫وزﺟﺎج داﻛﻦ وأﻧﻮع ﻣﺘﻌﺪدة ﻣﻦ اﻟﺘﻐﻄﻴﺎت اﻟﺨﺸﺒﻴﺔ‬ ‫واﻟﺘﺒﻠﻴﻄﺎت اﻟﺤﺠﺮﻳﺔ‪.‬‬ ‫ﻳﺘﺒﻊ اﻟﻤﺸﺮوع ﻧﻈﺎم ﺗﻬﻮﻳﺔ ‪ Thermo Syphon‬ﻳﻌﻤﻞ ﻋﻠﻰ‬ ‫إﻳﺠﺎد ﺣﺮﻛﺔ ﻫﻮاء رأﺳﻴﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺗﺤﻘﻴﻖ ﺿﻐﻂ ﻫﻮاﺋﻲ‬ ‫ﺳﻠﺒﻲ ﻳﻌﻤﻞ ﻋﻠﻰ ﺳﺤﺐ اﻟﻬﻮاء اﻟﺴﺎﺧﻦ إﻟﻰ أﻋﻠﻰ ﺧﺎرج‬ ‫اﻟﻤﺒﻨﻰ ﻟﻴﺘﺨﻠﺺ ﻣﻦ اﻟﻬﻮاء اﻟﺤﺎر وﻟﻴﺴﺘﺨﺪم اﻟﻄﺎﻗﺔ‬ ‫اﻟﺸﻤﺴﻴﺔ ﺑﺄﻗﺼﻰ ﻗﺪر ﻣﻤﻜﻦ‪.‬‬ ‫وﺿﻊ اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ ﻟﻠﻤﺒﻨﻰ اﻟﺬي ﻳﺘﻤﻴﺰ ﺑﻌﻤﺎرﺗﻪ‬ ‫اﻟﺤﺪﻳﺜﺔ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻌﻤﺎرة اﻟﻌﺸﻮاﺋﻴﺔ اﻟﻤﺤﻴﻄﺔ ﺑﺤﻴﺚ ﻳﺮﺗﻘﻲ‬ ‫ﺑﺎﻟﺴﻜﺎن وﻳﻮﻓﺮ ﻟﻬﻢ ﺑﻴﺌﺔ ﻋﻤﺮاﻧﻴﺔ ﺗﺤﺘﺮم ﺗﻄﻠﻌﺎﺗﻬﻢ‬ ‫وﺗﻌﻮﺿﻬﻢ ﻋﻦ اﻟﺒﻴﺌﺔ اﻟﻌﺸﻮاﺋﻴﺔ اﻟﺘﻲ ﻳﻌﻴﺸﻴﻮن ﻓﻴﻬﺎ‪،‬‬ ‫وﺗﻮﻓﺮ ﻟﻬﻢ أﺟﻮاء ﻣﺮﺣﺒﺔ ‪.‬‬

© Sergio Gomez

© Sergio Gomez

‰u u « WIDM Ë qšb*« UNOKŽ qD¹ w² « WOHK)« WNł«u «

ŸËdA*« q² UN u lIð w² « WBM*« S23 Albenaa

¡UM³ « ≤≥Â

qLŽ ‘—ËË V¹—bð ‰uB ÊUJ « ‰U³I²Ý« WONO dð WDA½√ …—«œ≈ ÷dF —U³J « tOłuð —U³JK W³²J*« U¹u²× »U³AK tOłuð »U³AK W³²J*« U¹u²× —UGBK tOłuð —UGBK W³²J*« U¹u²×

W bš qšb © Sergio Gomez

«d{U× WŽU

÷dŽ …bŠË w UIŁ wŽUL²ł« uNÐ W³²J WBM*« «d{U× WŽU

‰ušb « WŠUÝ œuÝ√ d−×Ð …UDG UNł«Ë

© Diana Moreno

WBM*« s V½Uł

© Sergio Gomez

o¹dD «

qš«b « s Ëb³ð UL …¡U{ù« Uײ S22 Albenaa

¡UM³ «≤≤Â

…dOG WM «œ Èdš√Ë …dO³ W%U WK² ∫ 5²K² v ≈ qOJA² « r IM¹ włUł“ j¹dý ULNMOÐ qBH¹

Íœ«u « Ë√ uN³ «

S25 Albenaa

¡UM³ « ≤μÂ

WF UD*« ôUB WM «b « WK²J « “ËdÐ

‫ﻣﻜﺘﺒﺔ وﻣﺮﻛﺰ ﺗﻌﻠﻴﻤﻲ‬ ‫ﻛﻠﻴﺔ ا ﻗﺘﺼﺎد ـ ﻓﻴﻴﻨﺎ‬

‫‪Library & Learning Centre‬‬ ‫‪Vienna, Austria‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Zaha Hadid Architects‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2013‬‬ ‫اﻟﻤﺴﺎﺣﺔ ‪:‬‬ ‫‪Site Area : 42000 m2‬‬

‫‪¡UM³ « ≤¥Â‬‬

‫‪S24 Albenaa‬‬

‫ ‪…dO³J « WOłUłe « UNðUNł«ËË lЫd « —Ëb « w WF UD*« W U‬‬

‫‪© All Photos by Roland Halbe‬‬

‫ﺗﻌﺪ ﻫﺬه اﻟﺠﺎﻣﻌﺔ ﻣﻦ أﻛﺒﺮﺟﺎﻣﻌﺎت أوروﺑﺎ ﻟﻠﻌﻠﻮم ا ﻧﺴﺎﻧﻴﺔ‬ ‫واﻻﻗﺘﺼﺎدﻳﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ ‪ ،‬ﺗﻘﻊ اﻟﻤﻜﺘﺒﺔ و اﻟﻤﺮﻛﺰ اﻟﺘﻌﻠﻴﻤﻲ ﻓﻲ‬ ‫وﺳﻂ اﻟﺠﺎﻣﻌﺔ وﻳﺒﺪو اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺨﺎرج ﺑﺸﻜﻞ ﺳﺪاﺳﻲ ا‪2‬ﺿﻼع‬ ‫وذو واﺟﻬﺎت ﻣﺎﺋﻠﺔ‪ .‬ﻣﻦ اﻟﺨﺎرج ﻳﻨﻘﺴﻢ اﻟﻤﺒﻨﻰ إﻟﻰ ﻛﺘﻠﺘﻴﻦ‬ ‫ﻣﺨﺘﻠﻔﺘﻴﻦ ﻓﻲ اﻟﺤﺠﻢ واﻟﺸﻜﻞ واﻟﻠﻮن‪ .‬اﻟﻜﺘﻠﺔ ا‪2‬وﻟﻰ ﻫﻲ ا‪2‬ﻛﺒﺮ‬ ‫وﻫﻲ ذات ﻟﻮن ﻓﺎﺗﺢ وﺗﺸﻜﻞ ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ‪ ،‬أﻣﺎ اﻟﻜﺘﻠﺔ اﻟﺜﺎﻧﻴﺔ‬ ‫وﻫﻲ ا‪2‬ﺻﻐﺮ ﻓﻠﻮﻧﻬﺎ داﻛﻦ وﺗﻘﻊ ﻓﻮق اﻟﻜﺘﻠﺔ اﻟﻔﺎﺗﺤﺔ اﻟﻠﻮن وﺗﺒﺮز‬ ‫ﻋﻨﻬﺎ‪ .‬ﺗﺪاﺧﻞ اﻟﻜﺘﻠﺘﻴﻦ ﻓﻲ اﻟﺪورﻳﻦ اﻟﻌﻠﻮﻳﻴﻦ وﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ‬ ‫ﺷﺮﻳﻂ زﺟﺎﺟﻲ ﺑﺤﻴﺚ ﻻﺗﻠﺘﻘﻲ اﻟﻜﺘﻠﺘﻴﻦ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻤﺎ ﻻ أﻓﻘﻴ‪ L‬وﻻ‬ ‫رأﺳﻴ‪ .L‬ﺗﺤﺘﻮي اﻟﻜﺘﻠﺔ اﻟﺪاﻛﻨﺔ اﻟﻠﻮن ﻋﻠﻰ اﻟﻘﺴﻢ ا‪2‬ﻛﺒﺮ ﻣﻦ ﺻﺎﻻت‬ ‫اﻟﻤﻄﺎﻟﻌﺔ )وﻏﺮف ﻋﻤﻞ ﻟﻠﻄﻠﺒﺔ وﻣﺮﻛﺰ اﻟﺘﻌﻠﻴﻢ وﺗﻘﻊ ﻓﻲ اﻟﺪورﻳﻦ‬ ‫اﻟﻌﻠﻮﻳﻴﻦ اﻟﺮاﺑﻊ واﻟﺨﺎﻣﺲ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﺤﺘﻮي اﻟﻜﺘﻠﺔ اﻟﻔﺎﺗﺤﺔ اﻟﻠﻮن‬ ‫ﻋﻠﻰ ﻗﺴﻢ ﻣﻦ ﺻﺎﻻت اﻟﻤﻄﺎﻟﻌﺔ وﻣﺮﻛﺰ اﻟﺘﻌﻠﻴﻢ وﺑﺎﻗﻲ ﻣﻜﻮﻧﺎت‬ ‫اﻟﻤﺸﺮوع وأﻫﻤﻬﺎ ‪ :‬اﻟﻤﺪﺧﻞ وﻳﻔﺘﺢ ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﻤﺮﻛﺰﻳﺔ‬ ‫ﻟﻠﺠﺎﻣﻌﺔ وﻳﺤﺘﻮي ﻋﻠﻰ ﺑﻬﻮ ﺗﻨﻄﻠﻖ ﻣﻨﻪ ﻣﻨﺤﺪرات إﻟﻰ أﺳﻔﻞ‬ ‫وإﻟﻰ أﻋﻠﻰ اﻟﻤﺒﻨﻰ‪ ،‬ﻛﻤﺎ ﺗﻘﻊ ﻓﻴﻪ ﻗﺎﻋﺎت اﻟﻤﺤﺎﺿﺮات وﻣﺤﻞ‬ ‫ﻟﺒﻴﻊ اﻟﻜﺘﺐ وﻛﺎﻓﺘﻴﺮﻳﺎ‪ ،‬ﻳﺆدي اﻟﻤﻨﺤﺪر اﻟﺼﺎﻋﺪ إﻟﻰ اﻟﻤﺪﺧﻞ‬ ‫اﻟﺮﺋﻴﺲ ﻟﻠﻤﻜﺘﺒﺔ وﻣﺮﻛﺰ اﻟﺘﻌﻠﻴﻢ ﻓﻲ ﻣﺴﺘﻮى ﻣﻴﺰاﻧﻴﻦ اﻟﺪور‬ ‫ا‪2‬رﺿﻲ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ﺧﺪﻣﺎت ﺧﺎﺻﺔ ﺑﺎﻟﻤﻜﺘﺒﺔ ﻣﺜﻞ إﻋﺎدة اﻟﻜﺘﺐ‪،‬‬ ‫وﻣﻘﻬﻰ‪ ،‬وﻏﺮﻓﺔ اﻟﺘﺼﻮﻳﺮ‪ ،‬وﺧﺪﻣﺎت إدارﻳﺔ‪ .‬وﻳﺆدي ﻣﻨﺤﺪر إﻟﻰ‬ ‫أﺳﻔﻞ ﻟﻴﺼﻞ اﻟﺒﻬﻮ ﺑﺎﻟﺪور ﺗﺤﺖ ا‪2‬رﺿﻲ اﻟﺬي ﻳﺤﺘﻮي ﻋﻠﻰ‬ ‫ﻣﺨﺎزن اﻟﻤﻜﺘﺒﺔ وﻏﺮف ا^ﻻت‪ .‬ﻳﺮﺗﻔﻊ ﻓﻮق ﻫﺬا اﻟﺘﻜﻮﻳﻦ اﻟﺪور ا‪2‬ول‬ ‫واﻟﺜﺎﻧﻲ واﻟﺜﺎﻟﺚ اﻟﺘﻲ ﺗﺄوي ﺧﺪﻣﺎت ﻣﺨﺘﻠﻔﺔ ﻣﺜﻞ ﻧﺎدي ﻟﻠﻄﻠﺒﺔ‬ ‫وﻣﻌﺎﻣﻞ ﻟﻐﺔ وﺧﺪﻣﺎت دراﺳﻴﺔ وﻓﺼﻮل دراﺳﻴﺔ وﻗﺎﻋﺎت ﻋﺮض‬ ‫ﺳﻤﻌﻲ ﺑﺼﺮي وﻗﺴﻢ ﻣﻦ اﻟﻤﻜﺘﺒﺔ وﻣﺮﻛﺰ اﻟﺘﻌﻠﻴﻢ وﻣﻘﻬﻰ‪.‬‬ ‫وﺑﻴﻨﻤﺎ ﻳﻔﺼﻞ ﻫﺬه ا‪2‬دوار اﻟﺒﻬﻮ واﻣﺘﺪاداﺗﻪ ﻟﺘﺸﻜﻞ وادﻳ‪L‬‬ ‫ﻳﺨﺘﺮق ﻣﻜﻮﻧﺎت اﻟﻤﺒﻨﻰ وﻳﻘﺴﻤﻬﺎ إﻟﻰ أﺟﺰاء ﺗﺮﺗﺒﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‬ ‫ﺑﺠﺴﻮر ‪ ،‬أﻣﺎ اﻟﺪورﻳﻦ اﻟﺮاﺑﻊ واﻟﺨﺎﻣﺲ ﻓﻴﺤﺘﻮﻳﺎن ﻋﻠﻰ اﻟﻘﺴﻢ‬ ‫اﻟﻜﺒﻴﺮ ﻣﻦ ﺻﺎﻻت اﻟﻤﻄﺎﻟﻌﺔ وﻣﺮﻛﺰ اﻟﺘﻌﻠﻴﻢ ﻟﺸﻜﻞ اﻟﻜﺘﻠﺔ‬ ‫اﻟﺪاﻛﻨﺔ اﻟﻈﺎﻫﺮة ﻓﻲ اﻟﺨﺎرج أﻣﺎ ﺑﺎﻗﻲ اﻟﻤﻜﻮﻧﺎت ﻓﺘﻘﻊ ﻋﻠﻰ‬ ‫ﺟﺎﻧﺒﻴﻬﺎ وﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﻓﺮاغ اﻟﺒﻬﻮ اﻟﻤﻐﻄﻲ ﺑﺎﻟﺰﺟﺎج وﺗﻤﺘﺪ‬ ‫اﻟﻜﺘﻠﺔ اﻟﺪاﻛﻨﺔ إﻟﻰ ﺧﺎرج ﺣﺪود اﻟﻤﺒﻨﻰ وﺑﻮاﺟﻬﺔ زﺟﺎﺟﻴﺔ ﻛﺒﻴﺮة‬ ‫وﺗﻮﻓﺮ ﻟﺼﺎﻻت اﻟﻤﻄﺎﻟﻌﺔ إﻃﻼﻟﺔ واﺳﻌﺔ ﻋﻠﻰ اﻟﺨﺎرج‪.‬‬

w½U¦ « —Ëb « jI

From the Architect : The new Library and Learning Centre rises as a polygonal block. The interior of the LLC is informed by the external landscape of the masterplan which maps out the different levels. The straight lines of the building’s exterior separate as they move inward, becoming curvilinear and fluid to generate a free-formed interior canyon that serves as the principal public plaza of the centre, as well as generating corridors and bridges ensuring smooth transitions between different levels. The aim of the functional plan is to clearly define the different areas of the building. The plan is translated into a three dimensional object which outlines the space around the central atrium, the corridors and the canyons. The main block of the building houses the Service Area, the Learning Centre and the Economics Library, with Student Services and Library Management located in the smaller block. While the interior edges of the site join together in a flowing freeform, the exterior edges of the building are cut sharply and their alignment contrasts with the site edges specified on the master plan and with the position of the adjacent buildings.

From the main entrance of the LLC, visitors can walk directly to the central auditorium which also functions as a large atrium flooded by natural light. A system of ramps leads from the auditorium to the library entrance and the central services on the first floor. The security and locker areas are located on the mezzanine below. Visitors can access the library and the student management offices via ramps and stairways spiralling upwards from the ground floor. The different areas on the upper levels are connected via platforms, bridges, terraces and galleries. The external appearance of the LLC is characterized by two elements of contrasting colours separated by a glass joint: shell and shadow. These different colours facilitate the orientation and understanding of the two primary areas of the building from the exterior.

S27 Albenaa

¡UM³ « ≤∑Â

© ARUP

lЫd « —Ëb « jI

UNł«u « w qO UHð

w{dŽ ŸUD

5½«eO*« —Ëœ jI

w{—_« —Ëb « jI

WO³½U'« WNł«u «

w uÞ ŸUD

S26 Albenaa

¡UM³ « ≤∂Â

‫ﻣﻜﺘﺒﺔ ﻋﺎﻣﺔ‬

‫‪Bibliothèque Alexis de Tocqueville‬‬ ‫‪Caen, France‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : OMA‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2016‬‬

‫«*‪ÎöO WOłUłe « UNðUNł«ËË UN²×Mł√Ë W³²J‬‬

‫اﻟﻤﺴﺎﺣﺔ ‪:‬‬ ‫‪Site area : 12000 m2‬‬

‫‪© Delfino Sisto Legnani & Marco Cappelletti, Courtesy of OMA‬‬

‫ﺗﺨﺪم ﻫﺬه اﻟﻤﻜﺘﺒﺔ ﻣﻨﻄﻘﺔ ﻋﻤﺮاﻧﻴﺔ ﻓﻲ ﻏﺮب ﻓﺮﻧﺴﺎ ‪ ،‬وﺗﺤﺘﻮي‬ ‫ﺑﺎ‪/‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻜﺘﺐ ﻋﻠﻰ ﻣﻜﺘﺒﺔ ﻟﻠﻮﺳﺎﺋﻞ اﻟﺴﻤﻌﻴﺔ واﻟﺒﺼﺮﻳﺔ‪،‬‬ ‫وﺗﻘﻊ ﻓﻲ ﻣﻮﻗﻊ ﻣﺘﻤﻴﺰ ﻓﻲ أﺣﺪ أﻃﺮاف ﺷﺒﻪ ﺟﺰﻳﺮة ﺑﻴﻦ ﻣﺪﻳﻨﺔ ﻛﺎﻳﻦ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ وﺑﺤﺮ اﻟﻤﺎﻧﺶ ا‪/‬ﻧﺠﻠﻴﺰي‪ .‬وﺗﺸﻜﻞ اﻟﻤﻜﺘﺒﺔ ﺑﻤﻮﻗﻌﻬﺎ ﻫﺬا‬ ‫ﻣﺮﻛﺰ‪ G‬ﻣﺪﻧﻴ‪ H‬ﺟﺪﻳﺪ‪ G‬ﻟﻠﺴﻜﺎن‪ ،‬ﺗﺮﺑﻂ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻟﻠﻤﻜﺘﺒﺔ‬ ‫ﺑﺎﻟﺤﺪﻳﻘﺔ اﻟﻤﺠﺎورة وﺣﺮﻛﺔ اﻟﻤﺸﺎة وﺳﺎﺣﺎت اﻟﻜﻮرﻧﻴﺶ اﻟﺒﺤﺮي‬ ‫ﺑﺼﺮﻳ‪ .H‬اﻟﻤﻜﺘﺒﺔ ﻟﻬﺎ ﻣﺪﺧﻠﻴﻦ ﻣﺘﻘﺎﺑﻠﻴﻦ ﻳﻮﻓﺮان ارﺗﺒﺎﻃﺎ وﺣﺮﻛﺔ‬ ‫ﺳﻠﺴﺔ ﺑﻴﻦ اﻟﻤﻜﺘﺒﺔ واﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﻮﺟﺪ ﻣﻘﺼﻮرة ﻓﻲ‬ ‫اﻟﺪور اﻟﻌﻠﻮي ﺗﻮﻓﺮ إﻃﻼﻻت ﺟﻤﻴﻠﺔ ﻋﻠﻰ اﻟﻤﻨﻄﻘﺔ ﻣﻦ ﻛﺎﻓﺔ اﻻﺗﺠﺎﻫﺎت‪.‬‬ ‫ﺗﺘﻜﻮن اﻟﻤﻜﺘﺒﺔ ﻣﻦ ﺗﻘﺎﻃﻊ ﻣﺒﻨﻴﻴﻦ ﻣﺴﺘﻄﻴﻠﻴﻦ ﻳﻨﺘﺞ ﻋﻨﻪ أرﺑﻌﺔ‬ ‫أﺟﻨﺤﺔ ﺗﻤﺜﻞ ﻣﻌﻠﻤ‪ H‬ﻣﻌﻤﺎرﻳ‪ H‬ﺣﻴﺚ ﻳﻤﻜﻦ ﻣﺸﺎﻫﺪﺗﻬﺎ ﻣﻦ ﻋﺪة‬ ‫ﺟﻬﺎت‪ ،‬ﻓﺎﻟﻤﻨﺒﻰ ﻳﻄﻞ ﻣﻦ ﺟﻬﺔ ﻋﻠﻰ اﻟﻤﻮاﻗﻊ ا‪R‬ﺛﺮﻳﺔ ﻓﻲ اﻟﺸﻤﺎل‬ ‫واﻟﻐﺮب وﻣﺤﻄﺔ اﻟﻘﻄﺎر ﻓﻲ اﻟﺠﻨﻮب وﻣﻨﻄﻘﺔ ﻋﻤﺮاﻧﻴﺔ ﺟﺪﻳﺪة ﻓﻲ‬ ‫اﻟﺸﺮق‪ .‬ﻛﻤﺎ ﻳﻮﻓﺮ اﻟﻤﺴﻘﻂ اﻟﻤﺘﻘﺎﻃﻊ ﺗﻜﻮﻳﻦ ﻳﺘﻼﺋﻢ ﻣﻊ اﺣﺘﻴﺎﺟﺎت‬ ‫و ﺗﻮزﻳﻊ ﻓﻌﺎﻟﻴﺎت اﻟﻤﻜﺘﺒﺔ ‪ ،‬ﻛﻞ ﺟﻨﺎح ﻳﺤﺘﻮي ﻋﻠﻰ ﺗﺨﺼﺺ ﻋﻠﻤﻲ‬ ‫واﺣﺪ ـ اﻟﻌﻠﻮم ا‪/‬ﻧﺴﺎﻧﻴﺔ ـ اﻟﻌﻠﻮم واﻟﺘﻘﻨﻴﺔ ـ ا‪R‬دب ـ واﻟﻔﻨﻮن‪ .‬وﺗﻠﺘﻘﻲ‬ ‫ا‪R‬ﺟﻨﺤﺔ ا‪R‬رﺑﻌﺔ ﻓﻲ ﻗﺎﻋﺔ ﻣﻄﺎﻟﻌﺔ وﺳﻄﻴﺔ ﻓﻲ اﻟﺪور ا‪R‬ول ﺗﺨﺪم‬ ‫ﻣﺮﺗﺎدي اﻟﻤﻜﺘﺒﺔ ﻣﻦ ﻛﺎﻓﺔ اﻟﺘﺨﺼﺼﺎت وﺗﺒﺪو ﻣﻦ اﻟﺨﺎرج ﻛﻔﺮاغ‬ ‫وﺳﻄﻲ ﺣﺮ ﻣﻔﺘﻮح ﻳﺘﻮﺳﻂ اﻟﻔﻌﺎﻟﻴﺎت اﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﻤﻜﺘﺒﺔ اﻟﺘﻲ‬ ‫ﺗﻘﻊ ﻓﻮﻗﻪ أو ﺗﺤﺘﻪ ﻳﺤﻘﻖ ﺗﺒﺎﻳﻦ ﺑﻴﻦ ﻣﺎ ﻫﻮ ﻣﻔﺘﻮح وﻣﺎﻫﻮ ﻣﻐﻠﻖ‪.‬‬ ‫اﻟﻤﺸﺮوع ﻛﻤﺮﻛﺰ ﻣﺪﻧﻲ ﻳﻠﺘﻘﻲ اﻟﺴﻜﺎن ﻓﻴﻪ وﻳﺘﺒﺎدﻟﻮن اﻟﻤﻌﺮﻓﺔ‬ ‫واﻟﻤﻌﻠﻮﻣﺎت وﻟﺬﻟﻚ ﺧﺼﺺ ﻣﻜﺎن ﻣﺮﻛﺰي ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻤﻜﺘﺒﺔ‬ ‫ﻓﻌﻨﺪ اﻟﺪﺧﻮل اﻟﻤﻜﺘﺒﺔ ﻓﻲ اﻟﺪور ا‪R‬رﺿﻲ ﻳﺘﻜﻮن ﻣﻦ ﻓﺮاغ واﺳﻊ‬ ‫ﻣﻔﺘﻮح ﻳﺤﺘﻮي ﻋﻠﻰ ﻣﺤﻞ ﻟﺒﻴﻊ اﻟﺼﺤﻒ وﻳﻤﻜﻦ اﻟﺘﻮﺟﻪ ﻣﻨﻪ إﻟﻰ‬ ‫ﻗﺎﻋﺔ اﻟﻤﺤﺎﺿﺮات )‪ 150‬ﻣﻘﻌﺪ( وﺻﺎﻟﺔ ﻋﺮص وﻣﻄﻌﻢ ﻣﻊ ﺷﺮﻓﺔ ﺧﺎرﺟﻴﺔ‬ ‫ﺗﻄﻞ ﻋﻠﻰ اﻟﺒﺤﺮ‪ .‬ﻳﺤﺘﻮي اﻟﺪور ا‪R‬رﺿﻲ ﻋﻠﻰ ﻋﺪد ﻣﻦ ﻓﺮاﻏﺎت ﻟﻠﻌﻤﻞ‬ ‫واﻟﻤﻄﺎﻟﻌﺔ وأرﺷﻴﻒ ﻳﺤﺘﻮي ﻋﻠﻰ ‪ 120‬أﻟﻒ وﺛﻴﻘﺔ ﻣﻨﻬﺎ ﻣﺎﻫﻮ ورﻗﻲ‬ ‫وﻣﻨﻬﺎ ﻣﺎﻫﻮ ﻣﺨﺰن ﻓﻲ ﻛﺘﺐ رﻗﻤﻴﺔ ﻳﻤﻜﻦ ا‪/‬ﻃﻼع ﻋﻠﻴﻬﺎ ﻓﻲ ﺷﺎﺷﺎت‬ ‫ﺗﻢ دﻣﺠﻬﺎ ﻓﻲ أرﻓﻒ اﻟﻜﺘﺐ وﺗﻌﺘﺒﺮ ﻫﺬه اﻟﻮﺳﻴﻠﺔ إﺣﺪى اﻟﻮﺳﺎﺋﻞ‬ ‫اﻟﺠﺪﻳﺪة اﻟﻤﺴﺘﻌﻤﻠﺔ ﻓﻲ ﻫﺬه اﻟﻤﻜﺘﺒﺔ ﻟﺘﺴﻬﻞ ﻋﻤﻠﻴﺔ ا‪/‬ﻃﻼع ﻋﻠﻰ‬ ‫اﻟﻮﺛﺎﺋﻖ‪ .‬ﻳﺤﺘﻮي اﻟﺪور اﻟﻌﻠﻮي ﻋﻠﻰ ﻓﺮاﻏﺎت ﻟ‪j‬ﻃﻔﺎل واﻟﻤﻜﺎﺗﺐ ا‪/‬دارﻳﺔ‬ ‫واﻟﻠﻮﺟﺴﺘﻴﺔ‪ .‬أﻣﺎ ا‪R‬رﺷﻴﻒ واﻟﻤﺠﻤﻮﻋﺎت اﻟﺘﺎرﻳﺨﻴﺔ اﻟﺨﺎﺻﺔ اﻟﺘﻲ ﺗﺤﺘﺎج‬ ‫إﻟﻰ ﺗﺤﻜﻢ ﺑﻴﺌﻲ وأﻣﻦ ﻓﻘﺪ ﺧﺼﺺ ﻟﻬﺎ دور ﺗﺤﺖ أرﺿﻲ ﺗﺤﻴﻂ ﺑﻪ‬ ‫ﺣﻮاﺋﻂ ﺧﺮﺳﺎﻧﻴﺔ ﺧﺎﺻﺔ ﺗﺤﻤﻴﻪ ﻣﻦ ﻣﻴﺎه اﻟﺒﺤﺮ ﺑﻮاﺳﻄﺔ أﻏﺸﻴﺔ ﻋﺰل‬ ‫ﻣﺎﺋﻲ ﺣﺪﻳﺜﺔ ﺗﺜﺒﺖ ﻣﻦ اﻟﺪاﺧﻞ ﻋﻠﻰ اﻟﺤﻮاﺋﻂ اﻟﺨﺮﺳﺎﻧﻴﺔ‪.‬‬

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From the Architect : Bibliothèque Alexis de Tocqueville is a public library for the metropolitan region Caen la Mer in Normandy, France. The 12,000 m2 multimedia library is located at the tip of the peninsula that extends out from the city of Caen to the English Channel. Its key position – between the city’s historic core and an area of Caen that is being developed – supports the city’s ambition for the library to become a new civic center. The library’s glass facade visually connects the adjacent park, pedestrian pathway and waterfront plaza to the interior and together with two large ground floor entrances at both sides of the building, enables a fluid interaction of the library with its surroundings. On the upper floors, the urban belvedere provides unobstructed views in all four directions.

The building’s cross-shaped design responds to the urban context, with each of the four protruding planes of the cross pointing to a landmark point in Caen: to the historical sites of the Abbaye-aux-Dames in the north and the Abbaye-auxHommes in the west, to the central train station in the south, and to the area of new construction in the east. At the same time, the geometry of two intersecting axes is informed by the library’s programmatic logic. The four planes, each housing a pedagogic discipline -- human sciences, science and technology, literature, and the arts -- meet in a large reading room on the first floor, to encourage maximum flow between the departments. This main library space is carved out of the center of the solid cross, defining the building’s design as an opposition between mass and void.

As a civic center where people meet and share knowledge and information, public space is at the core of the library’s design. At the entrance level on the ground floor, there is a large open space with a press kiosk and access points to an auditorium with 150 seats, an exhibition space and a restaurant with an outdoor terrace on the waterfront.

The first floor contains a large variety of work and reading spaces and 120,000 documents, with physical and digital books placed side-by-side in the bookshelves. The digital extension of the physical collections, integrated within the bookshelves, is one of the new multimedia features of the library. The top floor of the library is occupied by a space for children, as well as offices and logistics. The archive and special historical collections are stored in safe and dry conditions in the concrete basement, protected from the surrounding water by an innovative waterproof membrane applied on the inner side of the concrete walls.

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тАля╗гя╗Ья║Шя║Тя║Ф я║│я║Тя║Шя╗к ╪зя╗Яя╗Мя║Оя╗гя║ФтАм тАлтАкCeuta, SpainтАмтАм

тАлтАкPublic LibraryтАмтАм

тАл╪зя╗Яя╗дя║╝я╗дя╗в тАк:тАмтАм тАлтАкArchitect : ├Бngela Garc├нa de Paredes. Ignacio PedrosaтАмтАм тАл╪з я╗зя║Шя╗мя║О╪б я╗гя╗ж ╪зя╗Яя║Шя╗ия╗Фя╗┤я║м тАк:тАмтАм тАлтАкCompletion : April 2013тАмтАм

тАл╪зя╗Яя╗дя║┤я║Оя║гя║Ф тАк:тАмтАм тАлтАкSite Area : 6739 m2тАмтАм тАл╪зя╗Яя║Шя╗Ья╗ая╗Фя║Ф тАк:тАмтАм тАлтАкCost : 8.875.831 euroтАмтАм

тАля║Чя╗Шя╗К я╗гя║кя╗│я╗ия║Ф я║│я║Тя║Шя╗к я║Ся╗┤я╗ж ╪зя╗Яя║Тя║дя║о ╪з я║Ся╗┤я║╛ ╪зя╗Яя╗дя║Шя╗оя║│я╗В ┘И╪зя╗Яя╗дя║дя╗┤я╗ВтАм тАл╪з я╗Гя╗ая║┤я╗▓ я╗Уя╗▓ ╪гя╗Чя║╝я╗░ я║╖я╗дя║О┘Д ╪гя╗Уя║оя╗│я╗Шя╗┤я║О ┘И╪гя╗Чя║╝я╗░ я║Яя╗ия╗о╪и я║╖я║Тя╗ктАм тАл╪зя╗Яя║ая║░я╗│я║о╪й ╪зя╗╗я╗│я║Тя╗┤я║оя╗│я║О ┘Ия║Ся╗Фя╗Ая╗Ю я╗ля║м╪з ╪зя╗Яя╗дя╗оя╗Чя╗К я╗│я║Шя╗в ╪зя╗Яя║Шя╗Мя║Оя╗│я║╢ я║Ся╗┤я╗жтАм тАля║Ыя╗Шя║Оя╗Уя║О╪к я╗гя║ия║Шя╗ая╗Фя║Ф я╗Уя╗▓ я╗ля║м┘З ╪зя╗Яя╗дя║кя╗│я╗ия║ФтАк.тАмтАм тАля║Яя║О╪б я╗ля║м╪з ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗зя║Шя╗┤я║ая║Ф я╗Яя╗ая╗дя║┤я║Оя║Ся╗Шя║Ф ╪зя╗Яя╗дя╗Фя║Шя╗оя║гя║Ф ╪зя╗Яя║Шя╗▓ я╗зя╗Ия╗дя║Шя╗мя║ОтАм тАл┘И╪▓╪з╪▒╪й ╪зя╗Яя║Ья╗Шя║Оя╗Уя╗┤я║Ф ╪з я║│я║Тя║Оя╗зя╗┤я║ФтАк .тАм╪гя╗Чя╗┤я╗в ╪зя╗Яя╗дя║╕я║о┘И╪╣ я╗Уя╗о┘В я╗гя╗оя╗Чя╗К ╪гя║Ыя║о┘КтАм тАля╗│я║оя║Яя╗К ╪ея╗Яя╗░ я╗Ля╗мя║к ╪зя╗Яя╗дя║оя╗│я╗ия╗┤я╗о┘Ж ╪зя╗Яя║мя╗│я╗ж я║гя╗Ья╗дя╗о╪з ╪зя╗Яя╗дя╗ия╗Дя╗Шя║Ф я║Ся╗┤я╗ж ╪зя╗Яя╗Шя║о┘ЖтАм тАл╪зя╗Яя║Ья║Оя╗Яя║Ъ я╗Ля║╕я║о ╪ея╗Яя╗░ ╪зя╗Яя║ия║Оя╗гя║▓ я╗Ля║╕я║о ╪зя╗Яя╗дя╗┤я╗╝╪п┘К тАк ╪МтАмя║Ся║дя╗┤я║Ъ я╗│я╗Шя╗К ╪зя╗Яя╗дя╗оя╗Чя╗КтАм тАл╪з я║Ыя║о┘К я╗Уя╗▓ ┘Ия║│я╗В ╪зя╗Яя╗дя║Тя╗ия╗░ я╗│я║оя║Яя╗К ╪░я╗Яя╗Ъ ╪ея╗Яя╗░ я╗Ля║к┘Е ┘Ия║Яя╗о╪п я╗гя║┤я║Оя║гя║О╪ктАм тАля╗Ыя║Оя╗Уя╗┤я║Ф я╗Уя╗▓ я╗гя║кя╗│я╗ия║Ф я║│я║Тя║Шя╗к ╪зя╗Яя╗Ая╗┤я╗Шя║Ф ┘И ┘Ж ╪зя╗Яя╗Шя╗┤я╗дя║Ф ╪з я║Ыя║оя╗│я║Ф я╗Яя╗ая╗дя╗оя╗Чя╗КтАм тАля╗╗я║Чя║Шя╗Мя║О╪▒╪╢ я╗гя╗К ╪гя╗зя║╕я╗Дя║Ф ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф ╪зя╗Яя╗Мя║Оя╗гя║ФтАк.тАмтАм тАл╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗Яя╗ая╗дя╗Ья║Шя║Тя║Ф я║Чя╗Мя║Тя║о я╗Ля╗ж я╗ля║м┘З ╪зя╗Яя║Ья╗Шя║Оя╗Уя║О╪к ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║ФтАм тАл┘Ия╗Ля╗ж ╪зя╗Яя║Шя║о╪з╪л ┘Ия╗Ля╗ж я╗гя║ия║Шя╗ая╗Т ╪зя╗Яя╗дя║о╪зя║гя╗Ю ╪зя╗Яя║Шя║О╪▒я╗│я║ия╗┤я║Ф ┘Ия╗гя║о╪зя║гя╗Ю я║Чя╗Дя╗о╪▒тАм тАля╗зя║┤я╗┤я║ая╗мя║О ╪зя╗Яя╗Мя╗дя║о╪зя╗зя╗▓тАк .тАмя║Чя║Дя║Ыя║о ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К я║Ся║Оя╗╗я╗зя║дя║к╪з╪▒тАм тАл╪зя╗Яя║╕я║кя╗│я║к я╗Яя║Шя╗Ая║О╪▒я╗│я║▓ ╪зя╗Яя╗дя╗оя╗Чя╗К ┘Ия║Ся║Оя╗Яя╗дя╗оя╗Чя╗К ╪з я║Ыя║о┘К ╪зя╗Яя║м┘К я╗│я║оя║Яя╗К ╪ея╗Яя╗░тАм тАля╗Ля╗мя║к ╪зя╗Яя╗дя║оя╗│я╗ия╗┤я╗ж ┘Ия║Ся║Оя╗Яя║оя╗Чя╗Мя║Ф ╪зя╗Яя╗дя║┤я║Оя║гя╗┤я║Ф ╪зя╗Яя╗Ая╗┤я╗Шя║Ф я╗Яя╗дя║кя╗│я╗ия║Ф я║│я║Тя║Шя╗к тАк.тАмтАм тАля║╗я╗дя╗дя║Ц ╪зя╗Яя╗дя╗Ья║Шя║Тя║Ф я╗Ыя╗Фя║о╪з╪║ я╗гя╗Ья║Шя╗ия║░ ╪з я║гя║ая║О┘Е я║Чя║дя║Оя╗Уя╗Ж я╗Ля╗ая╗░тАм тАл╪зя╗Яя╗дя╗оя╗Чя╗К ╪з я║Ыя║о┘К я╗Ыя╗Фя╗Ая║О╪б я╗Ля║О┘Е я╗гя║оя╗Ыя║░┘К я╗│я║┤я╗дя║в я║Ся║Ия╗│я║ая║О╪п я╗Ля╗╝я╗Чя║О╪ктАм

тАля║Ся║╝я║оя╗│я║Ф я║Ся╗┤я╗ж я╗Уя║о╪зя╗Пя║О╪к ╪зя╗╗я║│я║Шя╗Шя║Тя║О┘Д ┘И╪зя╗Яя╗дя╗оя╗Чя╗К ╪з я║Ыя║о┘К ┘Ия╗Чя║Оя╗Ля║О╪ктАм тАл╪зя╗Яя╗дя╗Дя║Оя╗Яя╗Мя║Ф ╪зя╗Яя║Шя╗▓ ╪▒я║Чя║Тя║Ц я╗Ля╗ая╗░ я╗ля╗┤я║Мя║Ф я║╖я║оя╗Уя║О╪к я║Чя╗ая║Шя╗Т я║гя╗о┘ДтАм тАл╪зя╗Яя╗дя╗оя╗Чя╗К ╪з я║Ыя║о┘К я╗гя╗ж я╗Ля║к╪й я║Яя╗мя║О╪ктАк ╪МтАм┘Ия║Чя║оя║Чя╗Фя╗К тАк 3тАм╪г╪п┘И╪з╪▒ тАк .тАм╪гя╗зя║╕я║КтАм тАл╪зя╗Яя║┤я╗Шя╗Т ╪зя╗Яя║м┘К я╗│я╗Ря╗Дя╗▓ я╗Уя╗ия║О╪б ╪зя╗Яя╗дя╗оя╗Чя╗К ╪з я║Ыя║о┘К я╗гя╗ж ╪зя╗Яя║ия║оя║│я║Оя╗зя║ФтАм тАля║Чя║оя╗Уя╗Мя╗к тАк 7тАм╪гя╗Ля╗дя║к╪й я║зя║оя║│я║Оя╗зя╗┤я║Ф я╗Ыя║Тя╗┤я║о╪й ╪░╪з╪к я╗Чя╗Дя║О╪╣ я╗гя║Ья╗ая║Ъ ╪гя╗гя║О я║Ся║Оя╗Чя╗▓тАм тАл╪гя║│я╗Шя╗Т ╪з ╪п┘И╪з╪▒ ╪зя╗Яя║┤я║Шя║Ф ╪зя╗Яя╗Мя╗ая╗┤я║О я╗Уя╗мя╗▓ я╗гя║оя╗Уя╗оя╗Ля║Ф я╗Ля╗ая╗░ я╗Ыя╗дя║о╪з╪ктАм тАля║гя║кя╗│я║кя╗│я║Ф я║зя╗Фя╗┤я╗Фя║Ф ┘Ия║Чя║дя║Шя╗о┘К я╗Ля╗ая╗░ я╗гя║ия║О╪▓┘Ж ╪зя╗Яя╗Ья║Шя║Р ┘И╪з ╪▒я║╖я╗┤я╗ТтАм тАл┘И╪зя╗Яя╗дя╗Ья║Оя║Чя║Р ╪зтАкjтАм╪п╪з╪▒я╗│я║ФтАк .тАмя╗Пя╗ая╗Т ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж ╪зя╗Яя║ия║О╪▒╪м я║Ся╗Ря╗╝┘Б я╗гя╗ж ╪гя╗Яя╗о╪з╪нтАм тАл╪гя╗Уя╗Шя╗┤я║Ф я╗гя╗ж ╪з я╗Яя╗оя╗гя╗ия╗┤я╗о┘Е ╪зя╗Яя╗дя║Ья╗Шя║Р я╗│я║дя╗дя╗▓ ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж ┘Ия╗ля║ЮтАм тАл╪зя╗Яя║╕я╗дя║▓ ┘Ия╗│я║┤я╗дя║в я║Ся║Ия║┐я║О╪б╪й я╗Гя║Тя╗┤я╗Мя╗┤я║Ф я╗Яя╗ая╗дя║Тя╗ия╗░ я╗гя╗ж ╪зя╗Яя║к╪зя║зя╗ЮтАм тАля║Ся║дя╗┤я║Ъ я╗│я║Тя║к┘И ╪зя╗Яя╗Ря╗╝┘Б я║╖я║Тя╗к я╗гя║╝я╗дя║Ц я║Ся╗┤я╗ия╗дя║О я╗│я╗оя║Яя║к я║зя╗ая╗Т я╗Пя╗╝┘БтАм тАл╪з я╗Яя╗оя╗гя╗ия╗┤я╗о┘Е ┘И╪зя║Яя╗мя║О╪к ╪▓я║Яя║Оя║Яя╗┤я║Ф ╪░╪з╪к я╗Уя║Шя║дя║О╪к я╗Ыя║Тя╗┤я║о╪й я║Чя╗Шя╗К ╪з я╗Яя╗о╪з╪нтАм тАл╪зя╗Яя╗дя╗Мя║кя╗зя╗┤я║Ф я╗Уя╗▓ я╗гя║┤я║Шя╗о┘Й я║зя║О╪▒я║Яя╗▓ ┘И╪зя╗Яя║░я║Яя║Оя║Яя╗┤я║Ф я╗Уя╗▓ я╗гя║┤я║Шя╗о┘ЙтАм тАл╪п╪зя║зя╗ая╗▓ ┘И я╗│я╗оя║Яя║к я╗Уя║о╪з╪║ я║Ся╗┤я╗ия╗мя╗дя║О я╗│я║┤я╗дя║в я║Ся╗дя║о╪зя╗Чя║Тя║Ф ┘Ия║╗я╗┤я║Оя╗зя║ФтАм тАл╪зя╗Яя╗о╪зя║Яя╗мя║О╪к тАк╪МтАмя║Ся╗┤я╗ия╗дя║О ╪гя╗зя║╕я║Мя║Ц я╗Чя║Оя╗Ля║к╪й ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж ╪зя╗Яя║ия║оя║│я║Оя╗зя║ФтАм тАл┘Ия╗Ыя║мя╗Яя╗Ъ я║Чя╗в ╪зя║│я║Шя║ия║к╪з┘Е ╪зя╗Яя║ия║оя║│я║Оя╗зя║Ф я╗Уя╗▓ ╪гя║Яя║░╪з╪б я╗гя╗ж ╪зя╗Яя╗о╪зя║Яя╗мя║О╪ктАм тАля╗Яя╗┤я║Шя╗в я╗Ля╗дя╗Ю я╗Уя║Шя║дя║О╪к я╗Ыя║Тя╗┤я║о╪й я║Чя╗оя╗Уя║о ╪ея╗Гя╗╝я╗╗╪к я╗гя║ия║Шя║О╪▒╪й я╗Ля╗ая╗░ ╪зя╗Яя║Тя║дя║отАм тАл┘И╪зя╗Яя╗дя║дя╗┤я╗В ┘И╪гя╗Уя║оя╗│я╗Шя╗┤я║О ┘И╪г┘И╪▒┘Ия║Ся║ОтАк.тАмтАм

тАлтАк┬й Fernando AldaтАмтАм

тАл тАк├Нd┼Б_┬л l u*┬л ┬бUM nI├Э l d├░ w┬▓ ┬л qJA ┬л W┬жK┬ж*┬л WO┬╜U├Эd)┬л тАжbL┼╜_┬л├Л WF UD*┬л ┬а├┤U ┬аU d├╜ t├Р jO%├Л ├Нd┼Б_┬л l uLK WHK┬▓ ┬аUDIтАмтАм тАлтАк┬бUM┬│ ┬л тЙетЙд├ВтАмтАм

тАлтАкS32 AlbenaaтАмтАм

© Paredes Pedrosa

From the Architect : The Ceuta Library is conditioned by the steep topography of the plot and by the Arab Marinid archaeological excavation of the XIV century that determine all interior spaces. Also the compactness of Ceuta located on the north coast of Africa between the Mediterranean Sea and the Atlantic Ocean, condition the proposal.

The orthogonal geometry of this ancient settlement is turned from that of the actual urban grid. This fact establishes a triangular geometry for the structure over the archaeological site and the urban value of the Arab city is included in the geometry of new building.

The Library is conceived as a compact volume that preserves the archaeological area as the core of the public spaces, creating a sense of openness and transparency between reading spaces and visitors to the Marinid centre. The library is organized in terraces that embrace the remains of the past. The lecture rooms are placed in several levels overlooking the void where groups of hanging triangular lamps with peaks in both geometries are set over the archaeological site.

Seven triangular concrete pillars support the building with a program organized vertically. The third floor with the general book display is placed over the concrete structure that covers the archaeological site. A light steel structure in six levels stacks the program being the highest one the book depot, archives and offices.

The compact folded volume is wrapped up in an aluminiumperforated skin that reduces glare and solar gain and maximises the use of natural daylight reducing long-term energy costs.

The mesh mitigates the sometimes-harsh qualities of daylight thus minimising the use of artificial light to avoid contrast and helping to illuminate the depth of the space.

The final façade includes different glass-metal layers, energy efficient: an interior glass one and an outer metal one, as a veil, that interplay with the changing light conditions protecting the inside from the sun and heat.

Slight variations in the make up of the panels, for different orientations, provide the library with a differentiated yet uniform skin, emphasizing the faceted shape of the building.

Between them a gallery permits easy maintenance of glass openings and simple installations.

A concrete plied basement runs along the steep streets and several concrete structural voids are cut up in the double façade of the Library as viewpoints towards the city with open views towards both seas, Europe and Africa.

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© Paredes Pedrosa

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‫ﻣﻜﺘﺒﺔ ﻛﻠﻴﺔ اﻟﻌﻠﻮم‬ ‫ا ﻧﺴﺎﻧﻴﺔ وﻋﻠﻢ ا ﺟﺘﻤﺎع‬ ‫‪Humanities & Social Science Library‬‬ ‫‪Beijing, China‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Mario Botta‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2011‬‬

‫اﻟﻤﺴﺎﺣﺔ ‪:‬‬ ‫‪Site Area : 20.000 m2‬‬ ‫اﻟﺴﻌﺔ ‪:‬‬ ‫‪Capacity : 1.5 million book‬‬

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‫« ‪ Uł«—b « n «u Ë qšbLK ÍœR*« rK‬‬

‫‪© Photos by Enrico Cano‬‬

‫ﺗﺸﺘﻬﺮ ﻫﺬه اﻟﺠﺎﻣﻌﺔ ﻓﻲ اﻟﺼﻴﻦ ﺑﺎ ﺑﺤﺎث اﻟﻌﻠﻤﻴﺔ واﻟﻬﻨﺪﺳﻴﺔ‪.‬‬ ‫وﻓﻲ إﻃﺎر ﺗﻮﺳﻴﻊ اﻟﻘﺎﻋﺪة اﻟﻌﻠﻤﻴﺔ ﺗﻘﺮر إﻧﺸﺎء ‪ 14‬ﻛﻠﻴﺔ ﺟﺪﻳﺪة‬ ‫ﻣﻦ ﺑﻴﻨﻬﺎ ﻛﻠﻴﺔ اﻟﻌﻠﻮم ا‪6‬ﻧﺴﺎﻧﻴﺔ وﻋﻠﻢ اﻻﺟﺘﻤﺎع‪ .‬ﺗﺘﻤﻴﺰ‬ ‫ﻫﺬه اﻟﻤﻜﺘﺒﺔ ﺑﻌﻤﺎرة ذات أﺷﻜﺎل ﻫﻨﺪﺳﻴﺔ ﺻﺮﻳﺤﺔ رﺳﻤﻴﺔ‪.‬‬ ‫اﻟﻤﻜﺘﺒﺎت ﻛﻤﺎ ﻳﻘﻮل اﻟﻤﺼﻤﻢ ﻫﻲ ﻓﻀﺎءات ﺗﺤﻔﻆ وﺗﺤﻤﻲ‬ ‫ﻣﻌﺮﻓﺔ وذاﻛﺮة اﻟﻤﺠﺘﻤﻊ ‪ .‬إﻧﻬﺎ ﺧﺰاﻧﺎت أﻓﻜﺎر وﺗﻄﻠﻌﺎت ا ﺟﻴﺎل‬ ‫اﻟﺘﻲ ﺳﺒﻘﺘﻨﺎ‪ .‬ﻓﻔﺮاﻏﺎﺗﻬﺎ اﻟﺪاﺧﻠﻴﺔ اﻟﺘﻲ ﺗﺨﺪم وﻇﻴﻔﺘﻬﺎ ﻣﻦ‬ ‫اﻟﻤﻄﺎﻟﻌﺔ واﻟﺘﻮﺛﻴﻖ ﺗﻌﺒﺮ ﻋﻦ ﺣﻀﻮر ورﺳﺎﻟﺔ ﻣﻘﺪﺳﺔ ﻣﻮﺟﻬﺔ‬ ‫ﻣﻦ اﻟﺘﺮاث ا‪6‬ﻧﺴﺎﻧﻲ ﻟ‪O‬ﺟﻴﺎل اﻟﻘﺎدﻣﺔ‪ ،‬ا ﻣﺮ اﻟﺬي ﻳﺠﻌﻞ‬ ‫ﻣﻦ ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺎت ﻣﻨﺎرات ﻟﺘﺎرﻳﺦ اﻟﻤﺠﺘﻤﻌﺎت‪ ،‬وﻟﺬﻟﻚ ﻳﺠﺐ‬ ‫ﻋﻠﻰ ﻋﻤﺎرﺗﻬﺎ أن ﺗﻤﺜﻞ رﻣﻮز وﺻﺮوح وﻣﻌﺎﻟﻢ ﻣﻌﻤﺎرﻳﺔ ﺗﺘﻤﻴﺰ‬ ‫ﺑﻄﺒﻴﻌﺔ ﺗﻨﻔﺮد ﺑﻬﺎ‪ .‬ﻳﻤﺜﻞ ﺗﺼﻤﻴﻢ ﻣﺒﻨﻰ اﻟﻤﻜﺘﺒﺔ ﻋﻤﺎرة ﻣﺎرﻳﻮ‬ ‫ﺑﻮﺗﺎ اﻟﺼﺮﻳﺤﺔ اﻟﺘﻲ ﺗﺘﻌﺎﻣﻞ ﺑﺄﺷﻜﺎل ﻫﻨﺪﺳﻴﺔ ﺻﺮﻳﺤﺔ )ﻣﺘﻮازي‬ ‫ﻣﺴﺘﻄﻴﻼت ‪ ،‬ﻣﺨﺮوط ‪ ،‬اﺳﻄﻮاﻧﺔ ‪ ،‬ﻣﻜﻌﺐ ‪ ...‬إﻟﺦ(‪.‬‬ ‫ﺗﻘﻊ اﻟﻤﻜﺘﺒﺔ ﻓﻲ اﻟﺠﺎﻧﺐ اﻟﺸﺮﻗﻲ ﻣﻦ اﻟﻄﺮﻳﻖ اﻟﺮﺋﻴﺲ ﻟﻠﺠﺎﻣﻌﺔ‬ ‫ﺣﻴﺚ ﺳﺘﺘﺠﺎور ﻣﻊ ﻣﺒﺎﻧﻲ ﺟﺪﻳﺪة ﺳﻮف ﻳﺘﻢ ﺗﻨﻔﻴﺬﻫﺎ وﻣﻨﻄﻘﺔ‬ ‫ﺧﻀﺮاء‪ .‬ﻳﻘﻊ ﻣﺪﺧﻠﻲ اﻟﻤﻜﺘﺒﺔ ﻓﻲ ﺷﻤﺎل اﻟﻤﺒﻨﻰ ﺣﻴﺚ ﺗﻮﺟﺪ‬ ‫ﻣﻮاﻗﻒ ﻟﻠﺪراﺟﺎت وﻫﻲ اﻟﻮﺳﻴﻠﺔ اﻟﻮﺣﻴﺪة اﻟﻤﺴﻤﻮح ﺑﺎﻟﺘﻨﻘﻞ‬ ‫ﺑﻬﺎ داﺧﻞ اﻟﺠﺎﻣﻌﺔ‪ .‬ﺗﺘﺄﻟﻒ ﻣﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﺔ ﻣﻦ ﻣﺒﻨﻰ ذو ﺷﻜﻞ‬ ‫ﻣﺨﺮوﻃﻲ ﻣﻘﻠﻮب ذو ﻓﺘﺤﺎت ﻣﺘﻜﺮرة ﻏﺎﺋﺮة ﻓﻲ اﻟﻮاﺟﻬﺎت ﺑﺤﻴﺚ‬ ‫ﺗﺤﺠﺐ أﺷﻌﺔ اﻟﺸﻤﺲ اﻟﻤﺒﺎﺷﺮة‪ ،‬ﻳﻘﻊ ﻓﻲ وﺳﻂ ﻫﺬا اﻟﻤﺒﻨﻰ‬ ‫ﺑﻬﻮ داﺋﺮي ﻛﺒﻴﺮ ﻣﻐﻄﻰ ﺑﺴﻘﻒ زﺟﺎﺟﻲ ﻣﻘﺴﻢ ﺑﻜﻤﺮات‬ ‫ﺑﻄﺮﻳﻘﺔ اﺷﻌﺎﻋﻴﺔ وﻳﺮﺗﻔﻊ ‪ 4‬أدوار ﻣﺨﺼﺼﺔ ﻟﻠﻤﻄﺎﻟﻌﺔ ﺗﻐﻄﻲ‬ ‫واﺟﻬﺎﺗﻬﺎ اﻟﺪاﺧﻠﻴﺔ ﻣﺸﺮﺑﻴﺔ ﻣﻦ ﻗﻮاﺋﻢ ﺧﺸﺒﻴﺔ ‪ .‬ﻳﺘﻘﺎﻃﻊ ﻫﺬا‬ ‫اﻟﻤﺒﻨﻰ اﻟﻤﺨﺮوﻃﻲ ﻣﻊ ﻣﺒﻨﻰ ﻣﺴﺘﻄﻴﻞ ﻗﺴﻤﺖ واﺟﻬﺎﺗﻪ‬ ‫ﺑﻔﺘﺤﺎت ﻛﺒﻴﺮة ذات ﺗﻜﺮار إﻳﻘﺎﻋﻲ ‪ .‬ﻳﻀﻢ ﻫﺬا اﻟﻤﺒﻨﻰ أرﺑﻌﺔ‬ ‫أدوار ﻟﻠﻔﺮاﻏﺎت اﻟﻤﺴﺎﻧﺪة ﻣﺜﻞ ﻏﺮف دراﺳﻴﺔ وﻣﺮﻛﺰ أﺑﺤﺎث وزﻋﺖ‬ ‫ﺑﺎﻟﺘﺮﺗﻴﺐ ﻋﻠﻰ ﻃﻮل اﻟﻤﺴﻘﻂ اﻟﻤﺴﺘﻄﻴﻞ ﻟﻬﺬا اﻟﻤﺒﻨﻰ‪ .‬زودت‬ ‫ﻣﻨﻄﻘﺔ اﻟﺘﻘﺎﻃﻊ ﺑﻴﻦ اﻟﻤﺒﻨﻴﻴﻦ ﻓﻲ ﻛﻞ دور ﺑﻮﺣﺪة إرﺷﺎد‬ ‫وإﺳﺘﻌﻼم ‪ ،‬ﻛﻞ وﺣﺪة ﻳﺪﻳﺮﻫﺎ أﻣﻴﻦ ﻣﻜﺘﺒﺔ‪ .‬ﺟﺎء إﻧﺸﺎء اﻟﻤﺒﻨﻰ‬ ‫ﺑﻄﺮﻳﻘﺔ ﺗﻘﻠﻴﺪﻳﺔ وﻫﻮ ﻣﻜﻮن ﻣﻦ ﻫﻴﻜﻞ ﺧﺮﺳﺎﻧﻲ وﺣﻮاﺋﻂ‬ ‫ﺳﻤﻴﻜﺔ ﻣﻦ اﻟﺒﻠﻮك وﻋﺎزل ﺣﺮاري ﺑﻴﻨﻤﺎ ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت ﺑﺎﻟﺤﺠﺮ‬ ‫ﻣﻤﺎ ﻳﻮﻓﺮ ﻟﻠﻤﺒﻨﻰ ﻋﺰﻻً ﺣﺮارﻳ‪ j‬ﺟﻴﺪ‪ i‬ﻋﻠﻰ ﻣﺪار اﻟﺴﻨﺔ‪.‬‬

Ídz«b « vM³*« vKŽ ŸUD

qOD² *« vM³*« vKŽ ŸUD

© Fu Xing

© Fu Xing

From the Architect : Libraries are the spaces in which our knowledge and memory are kept alive and safeguarded.

They are the cases containing the thinking and the hopes of the past generations. Thus the spaces for the reading and the preservation fill up with presences and sacred messages we recognize as an heritage of mankind. Libraries permit us to voice a larger history that goes beyond our human time limits. For this reason they take on symbolic aspects. They become emerging or monumental presences reaffirming their exceptional nature and their collective meanings over the surrounding domestic background. The new Humanities and Social Sciences Library stands on the east side of the campus main road, in a block in which it is envisaged the construction of other buildings and whose southeast corner is characterized by a green area. The two main entrances are on the north side where there is also the parking for the several bicycles (the main means of transport within the campus). The library is composed of a rectilinear volume marked by a balanced sequence of large windows used to form the rhythmical composition of the façade. It is treated as a single, fullheight body in which to insert the large circle of an overturned conical volume with recessed openings. The library features an inner central space, the core of the library, covered by a large skylight, forming a perspective toward the sky and a full-height courtyard faced by the three levels of the reading rooms, that are sheltered by a screen composed of wooden slats. The insulated masonry and the stone cover guarantee a good energy performance throughout the year, adapting to the hot summers and the cold winters of Beijing, while all interior spaces feature linear and tempered materials to enhance a warm and essential atmosphere for a place devoted to knowledge and memory.

Ídz«b « vM³*« ¡UMH włUłe « nI « qO UHð S39 Albenaa

¡UM³ « ≥πÂ

w½U¦ « —Ëb « jI

‰Ë_« —Ëb « jI

© Enrico Cano

Y U¦ « —Ëb « jI

w{—_« —Ëb « jI

wDÝu « ¡UMH « Wײ Ë WF UD*« ôU S38 Albenaa

¡UM³ « ≥∏Â

© Reinhard Gorner

© Reinhard Gorner

WO dše « U uÝd «Ë œU− K WOM √ ∂ WŠU q²%Ë w½U³*« jÝË w W³²J*« Ëb³ð

UNHKš V²J « U½«eš Ëb³ðË WOM×M*« ·«u(« «– U¼—«Ëœ√Ë WF UD*« UŠU s V½Uł S41 Albenaa

¡UM³ « ¥±Â

‫ﻣﻜﺘﺒﺔ اﻟﺠﺎﻣﻌﺔ اﻟﺤﺮة‬ ‫‪Berlin, Germany‬‬

‫‪Free University‬‬

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Foster + Partners‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2005‬‬

‫اﻟﻤﺴﺎﺣﺔ ‪:‬‬ ‫‪Site Area : 6290 m2‬‬ ‫اﻟﺴﻌﺔ ‪:‬‬ ‫‪Capacity : 700000 book‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪:‬‬ ‫‪Cost : $ 18.5 million‬‬

‫‪© Reinhard Gorner‬‬

‫‪¡UM³ « ¥∞Â‬‬

‫‪S40 Albenaa‬‬

‫‪© Nigel Young - Foster + Partners‬‬

‫ﻣﻨﺬ ﻋﺎم ‪1945‬م أﺛﺮ ﺗﺄﺳﻴﺲ اﻟﺠﺎﻣﻌﺔ اﻟﺤﺮة ﻋﻠﻰ اﻟﺘﻌﻠﻴﻢ ﻓﻲ‬ ‫ﺑﺮﻟﻴﻦ وﻣﻨﺬ ذﻟﻚ اﻟﺘﺎرﻳﺦ أﺻﺒﺤﺖ اﻟﺠﺎﻣﻌﺔ ﺗﺤﺘﻞ دور" ﻣﺮﻛﺰﻳ ‬ ‫ﻓﻲ اﻟﺤﻴﺎة اﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ‪ .‬ﻳﺒﻠﻎ ﻋﺪد ﻃﻼب ﻫﺬه اﻟﺠﺎﻣﻌﺔ‬ ‫اﻟﻴﻮم أﻛﺜﺮ ﻣﻦ ‪ 39000‬ﻃﺎﻟﺐ‪ ،‬ﻓﻬﻲ أﺣﺪ أﻛﺒﺮ ﺛﻼﺛﺔ ﺟﺎﻣﻌﺎت ﻓﻲ‬ ‫ﻣﺪﻳﻨﺔ ﺑﺮﻟﻴﻦ‪ .‬ﻳﻬﺪف اﻟﻤﺸﺮوع إﻟﻰ إﻋﺎدة ﺗﻄﻮﻳﺮ وﺗﺄﻫﻴﻞ ﻣﺒﺎﻧﻲ‬ ‫اﻟﺠﺎﻣﻌﺔ ذات اﻟﻄﺎﺑﻊ اﻟﻤﻌﻤﺎري اﻟﺤﺪﻳﺚ ﺑﺎ‪O‬ﺿﺎﻓﺔ إﻟﻰ إﻧﺸﺎء‬ ‫ﻣﻜﺘﺒﺔ ﻟﻜﻠﻴﺔ اﻟﻌﻠﻮم اﻟﻠﻐﻮﻳﺔ‪ .‬ﺗﻘﺴﻴﻤﺎت ﺧﻄﻮط اﻟﻤﻮﻗﻊ‬ ‫اﻟﻌﺎم ﻟﻠﺠﺎﻣﻌﺔ ﺗﺸﺒﻪ اﻟﺮﺳﻮﻣﺎت اﻟﺰﺧﺮﻓﻴﺔ ﻟﻠﺴﺠﺎد وأﻋﺘﺒﺮ‬ ‫ﻋﻨﺪ ﺗﺼﻤﻴﻤﻪ ﻧﻤﻮذﺟ ﺗﺨﻄﻴﻄﻴ ﻧﺎﺟﺤ ﻟﺘﺼﻤﻴﻢ اﻟﺠﺎﻣﻌﺎت‬ ‫وﻗﺪ ﺗﻢ ﺗﺼﻤﻴﻤﻪ ﻣﻦ اﻟﺜﻼﺛﻲ اﻟﻤﻌﻤﺎري ‪ :‬ﻛﺎﻧﻠﺪﻳﺲ‪ ،‬ﺟﻮﺳﻴﻚ‪،‬‬ ‫ودز‪ .‬وﻛﺎن ﻣﻜﺘﺒ ﻣﺸﻬﻮر" ﻓﻲ ﻓﺘﺮة اﻟﺴﺒﻌﻴﻨﻴﺎت اﻟﻤﻴﻼدﻳﺔ‪.‬‬ ‫ﺗﻢ ا‪O‬ﻧﺘﻬﺎء ﻣﻦ ﺗﻨﻔﻴﺬ اﻟﻤﺮﺣﻠﺔ ا`وﻟﻰ ﻣﻨﻪ ﻓﻲ ﻋﺎم ‪1973‬م‪،‬‬ ‫ﺑﻴﻨﻤﺎ ﺻﻤﻤﺖ اﻟﻮاﺟﻬﺎت ﻣﻦ ﻗﺒﻞ اﻟﻤﻬﻨﺪس اﻟﻤﺪﻧﻲ اﻟﻔﺮﻧﺴﻲ‬ ‫اﻟﻤﻌﺮوف ﺟﺎن ﺑﺮوﻓﻴﻪ ﺑﺈﺗﺒﺎع ﻗﻴﺎﺳﺎت اﻟﻮﺣﺪة اﻟﺬﻫﺒﻴﺔ‬ ‫ﻟﻠﻤﻌﻤﺎري ﻟﻮﻛﻮرﺑﻮزﻳﻪ ‪ .‬أﻧﺸﺌﺖ اﻟﻮاﺟﻬﺎت ﻣﻦ ﺣﺪﻳﺪ ﻛﻮرﺗﻴﻦ‬ ‫)ﻏﻴﺮ ﻗﺎﺑﻞ ﻟﻠﺼﺪأ( اﻟﺬي ﻳﺒﺪو ﻟﻮﻧﻪ ﻛﻠﻮن اﻟﺼﺪأ ‪ ،‬إﻻ أﻧﻪ ﻧﻈﺮ"‬ ‫ﻟﺮﺷﺎﻗﺔ اﻟﻘﻄﺎﻋﺎت اﻟﻤﻌﺪﻧﻴﺔ ﻓﻲ اﻟﻮاﺟﻬﺎت ﺗﺪﻫﻮرت ﺣﺎﻟﺘﻬﺎ‬ ‫ﻣﻤﺎ اﺳﺘﺪﻋﻰ اﺳﺘﺒﺪاﻟﻬﺎ ﺑﻘﻄﺎﻋﺎت ﻣﻌﺪﻧﻴﺔ ﺑﺮوﻧﺰﻳﺔ أﺧﺬت ﻣﻊ‬ ‫اﻟﻮﻗﺖ ﻧﻔﺲ اﻟﻠﻮن واﻟﻤﻠﺲ اﻟﻤﻌﺪﻧﻲ اﻟﻘﺪﻳﻢ‪.‬‬ ‫ﺗﺤﺘﻞ اﻟﻤﻜﺘﺒﺔ ﻣﻮﻗﻌ ﺗﻢ ﺗﺸﻜﻴﻠﻪ ﻟﻴﻐﻄﻲ ﻣﺴﺎﺣﺔ ‪ 6‬أﻓﻨﻴﺔ‬ ‫داﺧﻠﻴﺔ ﻣﻦ أﻓﻨﻴﺔ اﻟﻤﻮﻗﻊ اﻟﻌﺎم ﻟﻠﺠﺎﻣﻌﺔ‪ .‬ﺗﻘﻊ أدوار اﻟﻤﻜﺘﺒﺔ‬ ‫ا`رﺑﻌﺔ داﺧﻞ ﻓﺮاغ ﻳﻐﻄﻴﻪ ﻏﻼف ﺑﻴﻀﺎوي اﻟﺸﻜﻞ ﺗﻮﺟﺪ ﺑﻪ‬ ‫ﻓﺘﺤﺎت ﺗﺴﻤﺢ ﺑﺎﻟﺘﻬﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ‪ .‬إﻧﺸﺎء اﻟﻐﻼف ﻣﻦ ﻫﻴﻜﻞ‬ ‫ﻣﻦ ا`ﻟﻮﻣﻨﻴﻮم وﺗﻐﻄﻴﺎت زﺟﺎﺟﻴﺔ و ﻫﻴﻜﻞ ﻣﻜﻮن ﻣﻦ ﻗﻮاﺋﻢ‬ ‫ﺣﺪﻳﺪﻳﺔ إﺳﻄﻮاﻧﻴﺔ اﻟﻤﻘﻄﻊ ﻓﻲ ﺗﺸﻜﻴﻞ ذو ﺧﻄﻮط إﺷﻌﺎﻋﻴﺔ‪،‬‬ ‫ﺑﻴﻨﻤﺎ ﻳﺴﻤﺢ ﻏﺸﺎء واﻗﻲ ﻟﻠﺰﺟﺎج ﻣﻦ ﻣﺮور اﻟﻀﻮء اﻟﻄﺒﻴﻌﻲ‬ ‫وﻳﻘﻠﻞ ﻣﻦ وﻫﺞ أﺷﻌﺔ اﻟﺸﻤﺲ‪ .‬ﻳﻮﻓﺮ اﻟﻔﺮاغ اﻟﺪاﺧﻠﻲ أﺟﻮاء ﻣﻦ‬ ‫اﻻﺳﺘﺮﺧﺎء ﺗﺪﻋﻮ إﻟﻰ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻲ اﻟﻘﺮاءة وا‪O‬ﻃﻼع‪ ،‬ﺑﻴﻨﻤﺎ ﻫﻨﺎك‬ ‫ﻣﺠﻤﻮﻋﺔ ﻓﺘﺤﺎت زﺟﺎﺟﻴﺔ ﺑﺪون اﻟﻐﺸﺎء اﻟﻮاﻗﻲ ﺗﻤﺮر اﻟﻀﻮء‬ ‫اﻟﻤﺒﺎﺷﺮ إﻟﻰ داﺧﻞ اﻟﻤﺒﻨﻰ‪ .‬ﺗﻮﺟﺪ ﺧﺰاﻧﺎت اﻟﻜﺘﺐ ﻓﻲ وﺳﻂ ﻛﻞ‬ ‫دور ووزﻋﺖ ﻃﺎوﻻت اﻟﻤﻄﺎﻟﻌﺔ ﻋﻠﻰ اﻟﻤﺤﻴﻂ اﻟﺨﺎرﺟﻲ‪ .‬اﺗﺨﺬت‬ ‫ا`دوار ﺣﺪود داﺋﺮﻳﺔ ﻣﻠﺘﻮﻳﺔ ﺗﻮﻓﺮ ﻣﺴﺎﺣﺎت ﻋﻤﻞ رﺣﺒﺔ وإﺿﺎءة‬ ‫ﻃﺒﻴﻌﻴﺔ ﺳﺨﻴﺔ ‪ .‬ﻟﻘﺪ أﻃﻠﻖ ﻋﻠﻰ ﻫﺬه اﻟﻤﻜﺘﺒﺔ )ﻋﻘﻞ ﺑﺮﻟﻴﻦ(‬ ‫ﻧﺘﻴﺠﺔ إﻟﻰ ﺷﻜﻠﻬﺎ اﻟﺒﻴﻀﺎوي اﻟﺬي ﻳﺬﻛﺮ ﺑﻌﻘﻞ ا‪O‬ﻧﺴﺎن‪.‬‬

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© Nigel Young - Foster + Partners

From the Architect : The foundation of the Free University in 1945 marked the rebirth of liberal education in Berlin after the war; since then it has occupied a central role in the intellectual life of the city. Today, with more than 39,000 students, it is the largest of Berlin’s three universities. This redevelopment scheme includes the restoration of its Modernist buildings and the creation of a new library for the Faculty of Philology.

The University’s mat-like campus was designed by Candilis Josic Woods Schiedhelm and was hailed as a milestone in university design when the first phase was completed in 1973. The facade was designed by Jean Prouvé, following Le Corbusier’s ‘Modulor’ proportional system. It was fabricated from Corten steel, which has self-protecting corrosive characteristics. The rusty appearance of these buildings led to the nickname of ‘die Rostlaube’ − the ‘rustbucket’. However, in the slender sections used by Prouvé the steel was prone to decay, which by the late 1990s had become extensive. As part of a comprehensive process of renewal the old cladding has been replaced with a new system detailed in bronze, which as it patinates over time emulates the colour tones of the original. The new library occupies a site created by uniting six of the university’s courtyards. Its four floors are contained within a naturally ventilated, bubble-like enclosure, which is clad in aluminium and glazed panels and supported on a tubular steel frame with a radial geometry. A translucent inner membrane filters daylight and creates an atmosphere of concentration, while occasional transparent openings allow glimpses of sunlight.

The bookstacks are located at the centre of each floor, with reading desks arranged around the perimeter. The serpentine profile of the floors creates a pattern in which each floor swells or recedes with respect to the one above or below it, generating a sequence of generous, light-filled spaces in which to work. Interestingly, the library’s cranial form has earned it a nickname of its own – ‘The Berlin Brain’.

© All Drawings - Foster + Partners

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‫ﻣﺠﻤﻊ ا رﺷﻴﻒ‬ ‫اﻟﻮﻃﻨﻲ ـ ﻓﺮﻧﺴﺎ‬ ‫‪New National Archives of France‬‬ ‫‪Paris, France‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Massimilliano‬‬ ‫‪and Doriana Fuksas‬‬

‫‪© Kamal Khalfi‬‬

‫«* ‪WOÝbMN « q²J « …—ULŽ fJFð WOzU*« U×D‬‬

‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪:‬‬ ‫‪Completion : 2013‬‬ ‫اﻟﻤﺴﺎﺣﺔ ‪:‬‬ ‫‪Site Area : 1081360 m2‬‬

‫ﻳﻬﺪف ﻣﺠﻤﻊ ا رﺷﻴﻒ اﻟﻮﻃﻨﻲ اﻟﻔﺮﻧﺴﻲ إﻟﻰ رﻓﻊ ﻣﺴﺘﻮى اﻟﻤﻮﻗﻊ‬ ‫اﻟﺠﻐﺮاﻓﻲ واﻟﻤﻌﻤﺎري ﻟﻠﻤﻨﻄﻘﺔ اﻟﺘﻲ ﻳﻘﻊ ﻓﻴﻬﺎ‪ .‬ﻓﻠﻘﺪ اﺳﺘﻠﻬﻢ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺸﺮوع ﻣﻦ ﺧﺼﺎﺋﺺ اﻟﻤﺤﻴﻂ اﻟﺬي ﻳﻘﻊ ﻓﻴﻪ ‪ ،‬ﻓﺎﻟﻤﺪﻳﻨﺔ ﻫﻲ ﻣﻜﻮن‬ ‫ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﻔﻮﺿﻰ واﻟﻨﻈﺎم ‪ .‬ﻫﺎﺗﻴﻦ اﻟﺨﺎﺻﻴﺘﻴﻦ اﺳﺘﻮﺣﻰ ﺗﺼﻤﻴﻢ‬ ‫ﻣﺠﻤﻊ ا رﺷﻴﻒ اﻟﻮﻃﻨﻲ ‪ .‬ﻓﻤﻨﺬ اﻟﺒﺪاﻳﺔ ﻗﺎم اﻟﻤﺼﻤﻢ ﺑﺈﺟﺮاء ﺑﺤﺚ ﻋﻦ‬ ‫اﻟﻤﻮﻗﻊ وﺧﺼﺎﺋﺼﻪ ﻣﻦ ﺣﻴﺚ اﻟﺴﻴﺎق اﻟﺠﻐﺮاﻓﻲ واﻟﺜﻘﺎﻓﻲ واﻻﺟﺘﻤﺎﻋﻲ‬ ‫ﻟﻴﺤﺪد اﻟﻬﻮﻳﺔ اﻟﻔﺮﻳﺪة ﻟﻠﻤﻮﻗﻊ وﻟﻴﺼﻤﻢ اﻟﻔﺮاﻏﺎت ﺣﺴﺐ اﺣﺘﻴﺎﺟﺎت‬ ‫اﻟﻤﺴﺘﻌﻤﻠﻴﻦ اﻟﺬﻳﻦ ﺳﻴﺴﺘﺨﺪﻣﻮن اﻟﻤﺒﻨﻰ‪ .‬ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ‬ ‫ﺟﺰﺋﻴﻦ ﺷﺒﻪ ﻣﻨﻔﺼﻠﻴﻦ ﻋﻦ ﺑﻌﻀﻬﻤﺎ ﻳﺮﺗﺒﻄﺎن ﺑﺠﺴﻮر ﻣﻌﻠﻘﺔ ﺑﻴﻨﻬﻤﺎ‪.‬‬ ‫اﻟﺠﺰء ا ول ﻳﺘﻜﻮن ﻣﻦ ‪ 6‬ﻛﺘﻞ ﻣﺘﻮازﻳﺔ ا ﺿﻼع ذات أﺣﺠﺎم ﻣﺨﺘﻠﻔﺔ‬ ‫ﻣﺮﻛﺒﺔ ﻓﻮق ﺑﻌﻀﻬﺎ ﺑﺄﺳﻠﻮب ﻳﻈﻬﺮﻫﺎ ﻛﺄﻧﻬﺎ ﻛﺘﻞ ﻃﺎﺋﺮة ﺗﺘﺪاﺧﻞ ﺑﻴﻦ‬ ‫ﺑﻌﻀﻬﺎ وﻳﻤﺘﺪ ﺑﻌﻀﻬﺎ ﺧﺎرج اﻟﺘﻜﻮﻳﻦ ﺑﻜﻮاﺑﻴﻞ ﻣﻌﻠﻘﺔ‪ .‬إﻧﺸﺎﺋﻴ] اﻟﻜﺘﻞ‬ ‫ﻣﻜﻮﻧﺔ ﻣﻦ ﻫﻴﻜﻞ ﺑﻠﻮن أﺑﻴﺾ ﻣﻌﺪﻧﻲ وواﺟﻬﺎت ذات أﻋﻤﺪة ﻣﻌﺪﻧﻴﺔ‬ ‫رﺻﺖ ﻫﻨﺪﺳﻴ] ﺑﺸﻜﻞ ﻣﻌﻴﻨﺎت ﻣﺘﻜﺮرة ‪ ،‬اﻟﻜﺘﻞ ﻳﻐﻄﻴﻬﺎ اﻟﺰﺟﺎج‬ ‫وﻫﻲ ذات ﺷﻔﺎﻓﻴﺔ ﻋﺎﻟﻴﺔ وﺗﺄوى أﻧﺸﻄﺔ ﻣﺨﺘﻠﻔﺔ ﻣﺜﻞ اﻟﻤﺪﺧﻞ وﺑﻬﻮ‬ ‫اﻟﺮﺋﻴﺲ واﻟﻤﻜﺎﺗﺐ وﻏﺮف اﺟﺘﻤﺎﻋﺎت وﻋﺮض وﺗﺤﻴﻂ ﺑﻬﺎ ﻣﻦ ﻋﺪة ﺟﻬﺎت‬ ‫ﻣﺴﻄﺤﺎت ﻣﺎﺋﻴﺔ ﺗﻌﻜﺲ ا ﺷﻜﺎل اﻟﻬﻨﺪﺳﻴﺔ اﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﻜﺘﻞ‪ .‬أﻣﺎ‬ ‫اﻟﺠﺰء اﻟﺜﺎﻧﻲ ﻓﻴﺤﺘﻮي ﻋﻠﻰ وﺛﺎﺋﻖ ا رﺷﻴﻒ اﻟﻮﻃﻨﻲ اﻟﻔﺮﻧﺴﻲ وﺻﺎﻻت‬ ‫اﻟﻤﻄﺎﻟﻌﺔ وﻳﺮﺗﻔﻊ ﻋﺸﺮة أدوار وﻳﺸﻜﻞ ﻛﺘﻠﺔ ذات ﺣﻀﻮر ﻓﺮاﻏﻲ ﺻﻤﻢ‬ ‫ﺑﺤﻴﺚ ﻳﻜﻮن ﻣﻜﺎن ﻟﻠﺒﺤﺚ ‪ ،‬ﻏﻠﻔﺖ واﺟﻬﺎﺗﻪ ﺑﻮﺣﺪات ﻣﻦ ا ﻟﻮﻣﻨﻴﻮم‬ ‫ﻣﻘﺴﻤﺔ ﺑﺸﺒﻜﺔ ﺧﻄﻮط ﻋﻠﻰ ﺷﻜﻞ ﻣﻌﻴﻨﺎت‪ ،‬وﻫﻨﺎك ﻣﺠﻤﻮﻋﺎت ﻣﻦ‬ ‫اﻟﻮﺣﺪات ﺗﻢ ﻓﺘﺤﻬﺎ ﻋﻠﻲ ﺷﻜﻞ ﻧﻮاﻓﺬ وﺿﻌﺖ ﻓﻲ أﻣﺎﻛﻦ ﻣﺘﺒﺎﻋﺪة‬ ‫وﻫﻲ ﺗﻬﺪف إﻟﻰ ﺗﻮﻓﻴﺮ إﺿﺎءة ﻃﺒﻴﻌﻴﺔ داﺧﻞ اﻟﻤﺒﻨﻰ ﻟ‪g‬ﻣﺎﻛﻦ اﻟﺘﻲ‬ ‫ﻓﺘﺤﺖ اﻟﻨﻮاﻓﺬ ﻓﻴﻬﺎ‪ .‬وﻫﻜﺬا ﻳﺒﺪو ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع ﻛﺘﻜﻮﻳﻦ ﻣﻌﻤﺎري‬ ‫راﻗﻲ ﺗﻨﻌﻜﺲ ﺻﻮرﺗﻪ ﻋﻠﻰ ﺳﻄﺢ ﺣﻮض ﻣﺎﺋﻲ ﻛﺒﻴﺮ ﻳﺤﻔﻪ ﻣﻦ ﺗﺤﺘﻪ‪،‬‬ ‫ﺑﻴﻨﻤﺎ ﻳﺘﺨﻠﻞ اﻟﻤﺴﺎﺣﺎت اﻟﻤﺎﺋﻴﺔ ﻣﻤﺮات ﻣﺸﺎة وﺟﺴﻮر ﺗﺼﻞ ﺟﺰﺋﻲ‬ ‫اﻟﻤﺸﺮوع ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﺗﺰﻳﻨﻬﺎ ‪ ،‬وﺗﺰﻳﻦ اﻟﻔﻀﺎء ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻣﻨﺤﻮﺗﺎت‬ ‫ﻓﻨﻴﺔ وﺗﺘﺨﻠﻠﻪ ﺗﺸﻜﻴﻼت اﻟﻀﻮء اﻟﻄﺒﻴﻌﻲ و اﻟﻈﻼل اﻟﻨﺎﺗﺠﺔ ﻋﻦ اﻟﻜﺘﻞ‬ ‫اﻟﻤﻌﻠﻘﺔ ‪ ،‬وﺗﺤﺖ ﻫﺬه اﻟﻜﺘﻞ ﺑﺎﻟﺘﺤﺪﻳﺪ ﻳﻘﻊ اﻟﺒﻬﻮ اﻟﺮﺋﻴﺲ اﻟﺬي ﻳﺆدي‬ ‫إﻟﻴﻪ ﻣﺪﺧﻞ اﻟﻤﺸﺮوع واﻟﺬي ﻳﻤﻜﻦ اﻟﻮﺻﻮل ﻣﻨﻪ إﻟﻰ ا ﺟﺰاء اﻟﻌﺎﻣﺔ‬ ‫ﻣﺜﻞ ﻏﺮف اﻟﻤﻄﺎﻟﻌﺔ )‪ 160‬ﻣﻘﻌﺪ( وﻏﺮف اﻟﻌﺮض وﻗﺎﻋﺔ اﻟﻤﺤﺎﺿﺮات )‪300‬‬ ‫ﻣﻘﻌﺪ(‪ ،‬وﺗﺘﻤﺘﻊ اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ ﺑﺎﻟﺮﺣﺎﺑﺔ وا‪p‬ﺗﺴﺎع واﻟﺬي ﻳﻌﺒﺮ ﻋﻦ‬ ‫أﻫﻤﻴﺔ وﺗﻤﻴﺰ ﻫﺬا اﻟﻤﺸﺮوع‪ ،‬ﻫﺬا وﻳﺤﺘﻮي اﻟﻤﺸﺮوع ﻋﻠﻲ ‪ 207‬ﻣﻮﻗﻒ‬ ‫ﺳﻴﺎرة ﻣﻮزﻋﺔ ﻓﻮق وﺗﺤﺖ ﻣﺴﺘﻮى ا رض ‪.‬‬

‫‪¡UM³ « ¥μÂ‬‬

‫‪S45 Albenaa‬‬

© Roland Halbe

© Kamal Khalfi

b¹dH « UNKOJAðË WIKF*« q²J « Ëb³ðË W Ozd « WNł«u «

vM³*« wzeł `{u¹ ŸËdALK ÂUŽ —uEM S44 Albenaa

¡UM³ « ¥¥Â

© Kamal Khalfi

WOłUłe « UײH «Ë UNÞuDšË W UF « WO½bF*« WODG² «

© Roland Halbe

ŸËdA*« wzeł 5Ð ¡UCH «

© Roland Halbe

From the Architect : The project of the New National Archives of France draws its inspiration from the surrounding reality, from the city seen as coexistence of chaos and order. The concept is born and takes place from this duality which is reflected in the organization of the complex.

The initial choice was to investigate the site and its characteristics in both territorial and socio-cultural contexts to reveal an unique identity. The work has therefore been thought following a cardinal principle of architecture to create spaces according to the needs of the communities that populate them.

The design of the New National Archives of France has followed the intent of enhancing the geographical and architectural landscape of the area Pierrefitte sur-Seine Saint Denis, where the building inserts itself. The project is composed of two main “bodies”: one that extends horizontally, “suspended, lightweight, transparent”; the other with a tension in height, “anchored to the ground, imposing, reflective”.

The first, stretching out towards the city, consists of cantilevered volumes called “satellites” that accommodate the offices, the conference room and the exhibition room.

The facades, mostly glazed, give lightness and transparency to the volumes of different proportions, that follow each other and overlap in “suspension” on the surfaces of the water. The building that accommodates the Archives is an imposing monolith thought as a place dedicated to memory and research. It houses the archival documents and the reading room. The facades of the monolith are coated with aluminium “skin” that runs throughout the volume, except for some glazed insertions that allow the amount of natural light in the reading room and the entry route.

The basins insert themselves between the building of the Archives, the “satellite” volumes and at the foot of the satellite volumes. Walkways above them create a connection both between the cantilevered volumes and the two “bodies”. The water veil becomes a vehicle of change for the architecture, designing voids and new spaces, thanks to the reflections and the play of natural light created by the cuts of the suspended volumes and the “skin” of the monolith. The facades of both “bodies” follow a lozenge geometry that is repeated both in the aluminium cladding of the building of the Archives and in the glass facades of the “satellite” volumes.

Artwork for several artist occupy different places in the building. The art installation is tightly anchored to the ground, as well as the volume of the monolith, like roots sinking into the depths of memory.

A double-height hall welcomes the visitor. The “suspended” effect of the “satellite” volumes is highlighted by the art intervention. The entrance leads to areas dedicated to the public: the reading room, the exhibition room and the conference room.

The interiors are characterized by large spaces that give an overview that makes immediately perceive the importance and the uniqueness of the place.

WOM Uðu×M Ë WOzU U×D vM³*« wzeł 5Ð ¡UCH « qK ²¹ S47 Albenaa

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‫ ﻓﻲ ﻣﺪﻳﻨﺔ ﻟﻮس‬The Wave ‫ﻳﻘﻊ ﻣﺸﺮوع اﻟﻤﺴﻜﻦ‬ .‫ ﻣﻮزﻋﺔ ﻋﻠﻰ ﻃﺎﺑﻘﻴﻦ‬2‫م‬529 ‫أﻧﺠﻠﻮس ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫ﻳﺘﻤﻴﺰ اﻟﻤﺴﻜﻦ ﺑﻐﻼﻓﻪ اﻟﺨﺎرﺟﻲ اﻟﻤﺴﺘﻮﺣﻰ ﻣﻦ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ وﺣﻴﺚ أن أﻧﻤﺎط اﻟﻄﺒﻴﻌﺔ ﻻ ﺗﺘﻜﺮر ﺑﻞ‬ ‫ﺗﺘﻐﻴﺮ ﻓﺎﻟﻐﻼف ﻳﺘﻜﻮن ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻛﺒﻴﺮة ﻣﻦ أﻟﻮاح‬ ‫ﻟﻮﻣﻨﻴﻮم ﺑﺄﺷﻜﺎل ﻣﺨﺘﻠﻔﺔ ﻏﻴﺮ ﻣﺘﻜﺮرة ﻳﻨﺘﺞ ﻋﻨﻬﺎ‬E‫ا‬ ‫ ﻛﻤﺎ أن ﺷﻜﻞ اﻟﻐﻼف‬،‫ﻏﻼف ﻣﻤﻮج ﺑﻈﻼل ﻣﺘﻐﻴﺮة‬ ‫ اﺳﺘﺨﺪﻣﺖ آﻟﺔ‬،‫ﻳﺘﻐﻴﺮ ﻓﻲ ﻛﻞ واﺟﻬﺔ ﻣﻦ اﻟﻤﺴﻜﻦ‬ ‫ﻟﻮاح وﻣﻦ ﺛﻢ ﻳﺘﻢ ﺗﺜﺒﻴﺘﻬﺎ ﻋﻠﻰ اﻟﺠﺪار‬E‫رﻗﻤﻴﺔ ﻟﻘﻄﻊ ا‬ ‫اﻟﺨﺎرﺟﻲ ﻣﻦ ﺧﻼل ﻫﻴﻜﻞ ﻣﻌﺪﻧﻲ ﻣﻊ ﺗﺮك ﻓﺠﻮة‬ ‫ﻟﻮاح واﻟﺠﺪار ﺣﻴﺚ ﺗﺴﻤﺢ ﺑﻤﺮور اﻟﻬﻮاء ﻟﻤﻨﻊ‬E‫ﺑﻴﻦ ا‬ ‫ﻟﻤﻮﻧﻴﻮم أﻣﺎ ﻣﻦ اﻟﺪاﺧﻞ‬E‫اﻛﺘﺴﺎب اﻟﺤﺮارة ﻣﻦ أﻟﻮاح ا‬ ‫ ﺣﻤﺎﻣﺎت‬4 ‫ﻳﺘﻜﻮن اﻟﻤﺴﻜﻦ ﻣﻦ ﺧﻤﺲ ﻏﺮف ﻧﻮم و‬ ‫رﺿﻲ‬E‫ وﻳﺤﺘﻮي اﻟﺪور ا‬،‫ وﻣﻄﺒﺦ‬،‫وﺻﺎﻟﺔ ﺧﺎرﺟﻴﺔ‬ ‫ﻋﻠﻰ أﺑﻮاب زﺟﺎﺟﻴﺔ إﻧﺰﻻﻗﻴﺔ ﺗﻄﻞ ﻋﻠﻰ اﻟﺤﺪﻳﻘﺔ‬ ‫ ﻛﻤﺎ ﺗﻢ‬.‫واﻟﻤﺴﺒﺢ ﻓﻲ اﻟﺠﻬﺔ اﻟﺨﻠﻔﻴﺔ ﻟﻠﻤﺴﻜﻦ‬ ‫رﺿﻴﺎت واﻟﺠﺪران اﻟﺪاﺧﻠﻴﺔ ﺑﺎﺳﺘﺨﺪام‬E‫ﺗﺼﻤﻴﻢ ا‬ ‫ﺑﺮاﻣﺞ ﺣﺎﺳﻮﺑﻴﺔ ﺑﺘﺼﺎﻣﻴﻢ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﻄﺒﻴﻌﺔ‬ ‫رﺿﻴﺎت واﻟﺠﺪران‬E‫ورﺳﻮﻣﺎت ﻏﻴﺮ ﻣﺘﻜﺮرة وﺗﻤﻴﺰت ا‬ .‫ﺑﺄﻧﻬﺎ ﻣﻀﺎدة ﻟﻠﺠﺮاﺛﻴﻢ واﻟﻤﺎء وﻏﻴﺮ ﻗﺎﺑﻠﺔ ﻟﻠﺘﻠﻒ‬

From Architect: A lyrical organic structure inspired by the patterns of nature, the Wave House in Venice Beach is a residence as a work of art. There is no repetition in nature.

Patterns vary and change. The design brief was to create a work of art for living; a home as inspiring as the natural world around us, with a program exquisitely crafted to facilitate the life of a modern family. This universe is made of waves and particles. Lines between roof and walls are blurred; first and second stories connect organically. Shadows and light change with time of day and year. The house and its forms collaborate with nature, with light. The lines draw the eye, and the eye follows, the lines direct our vision and our experience. White aluminum blends with cloud and sky.

The aluminum skin was digitally rolled and unrolled, then cut by a CNC machine and finally attached to a complex metal substructure made of straight lines, leaving a space between the white aluminum panels. The Wave House program connects all of its spaces into a holistic integrated plan, creating a seamless flow between ground floor and upper level bedrooms and interior and exterior, with broad sliding glass doors opening from the central kitchen, dining, and living space onto courtyards and outdoor rooms.

The Wall and Flooring Systems are also custom designed and carved by computer, based on organic, non-repeating patterns drawn from nature

99 Albenaa

¡UM³ « ππ

: ‫اﻟﻤﺼﻤﻢ‬ Architect : Mario Romano ‫ﻡ‬2016 : ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

vM³LK WOKO …—u

‫اﻟﻤ َﻤﻮج‬ ُ ‫اﻟﻤﺴﻜﻦ‬ The Wave House

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98 Albenaa

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101 Albenaa

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â€ŤďťŁďş´ďťœďťŚ ﺎ اďť&#x;ﺨﺟﺝﺔ‏ Casa Kwantes : ‍اďť&#x;ﺟ‏ Architect : MVRDV ‍‏2016 : ‍ا ďť§ďş˜ďťŹďşŽŘĄ  اďť&#x;ďş˜ďť¨ďť”ďť´ďşŹâ€Ź

Casa Kwantes bases itself around the clients’ desire for seclusion and privacy, whilst having a maximum of daylight and open living spaces. From the road, the bare brick wall offers only a partial glimpse into the property and family life through an opening of the white brickwork façade - a subtle indented entrance leading into an initially dark and enclosed entrance hall. In contrast, the reverse of the property completely opens up to the south with curved windows following the entire winding façade wrapped around a central olive tree. The 480m2 private home has a distinct nightdaytime separation. On entering through a curved indent in an otherwise flat and mysterious façade with Celosia brickwork detail, visitors are led into the entrance hall. Stepping into the property, it suddenly opens into the well-lit living spaces of its curved and fluid interior. This continuous wall also serves as an entrance to the garage and staircase. The living room and library take up the rest of the space, wrapped around a curvaceous and carved out courtyard that frames the focal point of the house, the tree. The living room’s backbone is a long fitted closet of wood hiding all domestic functions including the basement, entrance, guest toilet, kitchen cabinets and pantry. There is a small basement for extra storage, and in addition, a sun trap patio at the bottom of the garden which provides an extra paved barbeque space. In order to maintain a responsible environmental footprint, the house has discreetly installed a ground source heat pump, heat exchange system and a roof with solar panels.The solar panels compensate for energy lost from the house’s glazing producing enough energy for it to run entirely on electricity.

Casa Kwantes has the potential to become entirely self-sufficient.

‍  ďťŁďş´ďťœďťŚâ€ŹMVRDV ‍ﺸ اďť&#x;ďť¤ďťœďş˜ďş? اďť&#x;ﺪﺳ‏ ‍ ďťłďş˜ďť¤ďť´ďş° ﺑاďş&#x;ﺔ ďťŁďşźďť¤ďş˜ďş” ďş—ďş¤ďş˜ďťŽŮŠâ€ŹŘŒâ€Ťďş&#x;ﺪﺪ  ďť&#x;ﺪا‏ â€Ťďť‹ďť ďť° ﺪد ďť—ďť ďť´ďťž  اďť&#x;اﺏ ďş—ďť„ďťž ďť‹ďť ďť° اďť&#x;ﺎ ŮˆŘ°ďť&#x;‏ ‍ďť&#x;ďş˜ďş¤ďť˜ďť´ďť– اďť&#x;ﺨﺟﺝﺔ ďş—ďť˜ďşŽďş‘ďť ďťŹďşŽ ŮˆŘ§ďş&#x;ﺔ زďş&#x;ﺎďş&#x;ďť´ďş” ﺒﺎ؊‏ â€ŤďťŁďş˜ďť¤ďťŽďş&#x;ďş” ďş—ďť„ďťž ďť‹ďť ďť° اďť&#x;ďş¤ďşŞďťłďť˜ďş” اďť&#x;ďş¨ďť ďť”ďť´ďş” ďť&#x;ďť ďť¤ďş´ďťœďťŚâ€Ź â€ŤŮˆŘ§ďť&#x;ďş˜ďť˛ ﺗﺎ  ﺎﺋ  ا;ﺿﺎإ؊ اďť&#x;ďť„ďş’ďť´ďťŒďť´ďş” داﺧ‏ ‍ ﺎ ﺎ ﺏا اďť&#x;ďş¸ďťœďťž اďť&#x;؏ ﺗﺎاﺑ ďş‘ďť´ďťŚâ€ŹŘŒâ€ŤŘ§ďť&#x;ďť¤ďş´ďťœďťŚâ€Ź ‍ ďťłďť˜ďťŠ اďť&#x;ďť¤ďş´ďťœďťŚ ďť‹ďť ďť°â€Ź.‍أďş&#x;ﺰاإ اďť&#x;ďť¤ďş´ďťœďťŚ ďş‘ďş¸ďťœďťž ďş&#x;‏ ‍ زﺔ ďť‹ďť ďť° ďťƒďşŽďş‘ďť˜ďť´ďťŚ ŮˆďťƒďşŽďş‘ďť– ﺗﺤﺖ‏2‍ م‏480 ‍ﺴﺎﺣﺔ‏ .‍ع؜ ﺝ ďť&#x;ďť´ďş˜ďť¨ďşŽďşłďş?  Ř§ďşŁďş˜ďť´ďşŽďş&#x;ﺎت ďťŁďťźŮƒ اďť&#x;ďť¤ďş´ďťœďťŚâ€ŹP‍ا‏ ‍ ďť?ďşŽďť“ďş”â€ŹŘŒâ€ŤŘąďşżďť˛   ďť&#x;ďť ďş´ďť´ďşŽŘąŘ§ŘŞâ€ŹPâ€Ťďťłďş˜ďťœďťŽŮ† اďť&#x;ﺎﺑ ا‏ ‍ ﺗ ďť?ﺎﺔ‏.‍ ďťŁďťœďş˜ďş’ďş” ŮˆďťŁďť„ďş’ďşŚâ€ŹŘŒâ€Ť ďť?ﺎﺔ ďťƒďťŒďşŽŮ…â€ŹŘŒâ€ŤďťŁďťŒďť´ďş¸ďş”â€Ź ‍اďť&#x;ďť¤ďťŒďť´ďş¸ďş” ŮˆďşŁďşŞŘŠ ﺧﺸﺒﺔ ďť‹ďť ďť° ďťƒďťŽŮ„ اďť&#x;ďş ďşŞŘ§Řą ďş—ďş¤ďş˜ďťŽŮŠâ€Ź â€Ťďť‹ďť ďť° ﺧﺰاﺋ ﺑﺎ;ﺿﺎﺔ ŘĽďť&#x;ďť° ﺎ ﺆدي ŘĽďť&#x;ďť° اďť&#x;ﺎﺑ ﺗﺤﺖ‏ â€ŤŮˆŮ„ ďť“ďť´ďş¤ďş˜ďťŽŮŠ ďť‹ďť ďť°â€ŹP‍ أﺎ اďť&#x;ﺎﺑ ا‏.‍ع؜ ŮˆďşŁďť¤ďşŽŮ… ďť&#x;ďť ďť€ďť´ďťŽŮ â€ŹP‍ا‏ ‍ Ůˆďť&#x;ďť ďş¤ďť”ďşŽŘ¸â€Ź.‍ďť?ďşŽďť“ďş˜ďť´ďťŚ م ďť&#x;ďťœďťž ﺎ ﺣﺎم ŘŻŘ§ďş§ďť ďť˛â€Ź â€Ťďť‹ďť ďť° اďť&#x;ďş’ďť´ďşŒďş” ďťłďş¤ďş˜ďťŽŮŠ اďť&#x;ďť¤ďş´ďťœďťŚ ďť‹ďť ďť° ﺨﺎت ﺣﺎاعﺔ‏ ‍ع؜ ďş—ďť˜ďťŽŮ… ďş‘ďť¨ďťˆďşŽŮ… ﺗﺒﺎدل اďť&#x;ﺤﺎاع؊ Ůˆďşłďť„ďş˘ ‏P‍ﺗﺤﺖ ا‏ ‍ďť&#x;اح اďť&#x;ﺸﺴﺔ ďş—ďťŒďť¤ďťž ďş‘ďş˜ďťŒďťŽďťłďşž اďť&#x;ﺟﺎﺔ اďť&#x;ﺪع؊‏P‍ا‏ . ‍ اďť&#x;ďť¤ďş´ďťœďťŚâ€Ź

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ÂĄUMÂł ÂŤ Âąâˆžâˆž

‫ﺑﺮج أوﺳﻴﺘﺎﻧﻲ‬ Occitanie Tower : ‫اﻟﻤﺼﻤﻢ‬ Architect : Studio Libeskind ‫ ﻣﺪﻳﻨﺔ ﺗﻮﻟﻮز ـ ﻓﺮﻧﺴﺎ‬: ‫اﻟﻤﻮﻗﻊ‬ ‫ م‬2022 : ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

‫ ﻓﻮق ﺳﻄﺢ ا رض ﻓﻲ‬150 ‫ﻳﺮﺗﻔﻊ ﺑﺮج أوﺳﻴﺘﺎﻧﻲ‬ .‫ وﻳﻌﺪ أول ﺑﺮج ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬،‫ﻣﺪﻳﻨﺔ ﺗﻮﻟﻮز اﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﻳﻠﺘﻒ ﺣﻮل اﻟﻤﺒﻨﻰ ﺷﺮﻳﻂ ﻧﺒﺎﺗﻲ ﻣﻦ ا ﺳﻔﻞ‬ ‫ وﻳﻨﺪﻣﺞ ﻣﻊ اﻟﻮاﺟﻬﺔ‬،40 ‫إﻟﻰ ا ﻋﻠﻰ ﺣﺘﻰ اﻟﻄﺎﺑﻖ‬ ‫ واﻟﺘﻲ ﺗﻨﻌﻜﺲ ﻋﻠﻰ اﻟﻮاﺟﻬﺔ ﻣﻊ‬، ‫اﻟﺰﺟﺎﺟﻴﺔ ﻟﻠﻤﺒﻨﻰ‬ ‫ﺗﻐﻴﺮ اﻟﻤﻮاﺳﻢ ﻓﺘﺘﻐﻴﺮ أﻟﻮان اﻟﻨﺒﺎﺗﺎت ﺣﻴﺚ ﺗﻀﻔﻲ‬ .‫ﻟﻠﻤﺒﻨﻰ ﺻﻔﺔ ﻓﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ‬ ‫ ﻓﻨﺪق‬، ‫ ﻣﻦ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ‬2‫ م‬11 ‫ﻳﻀﻢ اﻟﻤﺒﻨﻰ‬ ‫ﺿﺎﻓﺔ إﻟﻰ ﻣﻄﻌﻢ ذو‬I‫ ﺑﺎ‬، ‫ ﺷﻘﺔ ﺳﻜﻨﻴﺔ‬120 ‫وأﻛﺜﺮ ﻣﻦ‬ ‫ ﻳﻬﺪف اﻟﻤﺸﺮوع‬.‫إﻃﻼﻟﺔ ﺑﺎﻧﻮراﻣﻴﺔ وﻣﺴﺎﺣﺎت ﺗﺠﺎرﻳﺔ‬ .‫ ﻟﻤﺪﻳﻨﺔ ﺗﻮﻟﻮز‬S‫ إﻗﺘﺼﺎدﻳ‬W‫ ﻣﻤﻴﺰ‬S‫إﻟﻰ إﻧﺸﺎء ﻣﻌﻠﻤ‬

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From Architect: The sculpted Occitanie Tower will rise 150 meters above the Canal du Midi in the heart of the business sector of Toulouse. Set to be the first skyscraper in the city, the tower’s curvaceous form is interrupted by a spiral of greenery that rises from street level up to the 40th floor.

The tower includes 11,000 sq. m of office space, a Hilton hotel, up to 120 apartments, a restaurant with panoramic views, commercial space for shops. With its suspended gardens that change color during the seasons, the slight silvertine of the glazing of the façade will reflect the pink tones of Toulouse and the brightness of this material will change perception of the space, according to the variation of light. The tower becomes a unique object in a vast urban space – the tower will not only become a destination, but also a defining public space. The Occitanie Tower will create both an iconic landmark for the city as well as create a strategic economic generator for the district.

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‫ﺷﺮﻛﺔ اﻟﺮﻣﻮز اﻟﻤﺸﺘﺮﻛﺔ ﻟﻠﻄﺎﻗﺔ‬

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‫ﺷـــﺎرﻛﺖ ﺷـــﺮﻛﺔ اﻟﺮﻣﻮز اﻟﻤﺸـــﺘﺮﻛﺔ ﻟﻠﻄﺎﻗﺔ ﻓﻲ ﻓﻌﺎﻟﻴﺎت اﻟﻤﺆﺗﻤﺮ اﻟﺴﻌﻮدي‬ ‫ﻟﻼﺳـــﺘﺜﻤﺎر ﻓﻲ اﻟﻄﺎﻗﺔ اﻟﻤﺘﺠـــﺪدة‪ ،‬اﻟﺬي ﻋﻘﺪ ﺑﺎﻟﻌﺎﺻﻤﺔ اﻟﺴـــﻌﻮدﻳﺔ اﻟﺮﻳﺎض‬ ‫ﻣﺆﺧـــﺮا‪ ،‬وﺷـــﻬﺪ و‪5‬ول ﻣﺮة ﺣﻀﻮر ﻗﻮي ﻣﻦ ﻗﺒﻞ اﻟﻤﺴـــﺘﺜﻤﺮﻳﻦ و اﻟﺸـــﺮﻛﺎت‬ ‫اﻟﻌﺎﻟﻤﻴـــﺔ‪ .‬و ﺗﻘـــﺪم ﻣﻌﺎﻟـــﻲ وزﻳﺮ اﻟﻄﺎﻗﺔ اﻟﺴـــﻌﻮدي اﻟﻤﻬﻨـــﺪس ﺧﺎﻟﺪ اﻟﻔﺎﻟﺢ‬ ‫ﺑﻄﺮح رؤﻳﺔ اﻟﻤﻤﻠﻜﺔ اﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﻟﻠﻄﺎﻗﺔ اﻟﻤﺘﺠﺪدة و ﺗﻨﻮﻳﻊ ﻣﺼﺎدر اﻟﻄﺎﻗﺔ‪،‬‬ ‫ﺑﺸﺮح و ﺗﻔﺼﻴﻞ ﻣﺪﻗﻖ ﻻﺳﺘﺜﻤﺎرات ﺗﺘﻌﺪى ﻗﻴﻤﺘﻬﺎ ‪ ٥٠‬ﻣﻠﻴﺎر رﻳﺎل ﻓﻲ ﺷﺘﻰ‬ ‫ﻣﺠﺎﻻت اﻟﻄﺎﻗﺔ اﻟﻤﺘﺠﺪدة‪ ،‬و ﺧﺼﻮﺻﺎ اﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ و ﻃﺎﻗﺔ اﻟﺮﻳﺎح‪ .‬و ﺗﻢ‬ ‫ﻃﺮح ﻣﻨﺎﻗﺼﺎت ﻓﻲ ﻃﺎﻗﺔ اﻟﺮﻳﺎح و اﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ ﻣﺆﺧﺮا‪.‬‬ ‫وﺣﻮل ﻫﺬه اﻟﻤﺸﺎرﻛﺔ ﻗﺎل اﻟﺴﻴﺪ ﺣﺴﻦ أﺑﺎاﻟﺨﻴﻞ ﻣﺆﺳﺲ ﻣﺸﺎرك ﻓﻲ ﺷﺮﻛﺔ‬ ‫اﻟﺮﻣﻮز اﻟﻤﺸﺘﺮﻛﺔ ﻟﻠﻄﺎﻗﺔ‪ :‬ﻟﻘﺪ ﻻﻣﺴﻨﺎ و‪5‬ول ﻣﺮة ﺗﺤﺮك ﺟﺎد ﻓﻲ ﻣﺠﺎل اﻟﻄﺎﻗﺔ‬ ‫اﻟﻤﺘﺠﺪدة و ﺗﻔﺎﻋﻞ اﻳﺠﺎﺑﻲ ﻣﻦ ﺟﻤﻴﻊ اﻟﺠﻬﺎت اﻟﻤﻌﻨﻴﺔ و اﻟﺸﺮﻛﺎت اﻟﺴﻌﻮدﻳﺔ‬ ‫و اﻻﺟﻨﺒﻴـــﺔ ﺗﺠـــﺎه رؤﻳـــﺔ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴـــﻌﻮدﻳﺔ ﻟﻠﻄﺎﻗـــﺔ اﻟﻤﺘﺠﺪدة ‪.٢٠٣٠‬‬ ‫وﺳـــﻨﺮى ﺗﻔﺎﻋﻞ أﻛﺒﺮ وﻣﺴـــﺘﻘﺒﻞ ﻣﺸـــﺮق ﺑﺈذن ا‪ V‬ﻓﻲ ﻣﺠﺎﻻت ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ‬ ‫ﻟﻠﻤﺴﺘﻬﻠﻜﻴﻦ ﻣﻦ اﻟﻘﻄﺎع اﻟﺨﺎص ﺑﺎﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ‪ ،‬و ذﻟﻚ‬ ‫_رﺗﻔﺎع ﺗﻌﺮﻓﺔ اﻟﻜﻬﺮﺑﺎء اﻟﺘﻲ أﻋﻠﻨﺖ ﻋﻨﻬﺎ اﻟﻤﻤﻠﻜﺔ ﻣﻨﺬ ﻓﺘﺮة‪ .‬وأﻛﺪ أن ﺗﻜﻠﻔﺔ‬ ‫اﻟﻄﺎﻗﺔ اﻟﺨﻀﺮاء أو اﻟﻄﺎﻗﺔ اﻟﻨﻈﻴﻔﺔ ﻗﺪ اﻧﺨﻔﻀﺖ ‪ ٪٧٠‬ﺧﻼل اﻟﻌﺸـــﺮ اﻟﺴﻨﻮات‬ ‫اﻟﻤﺎﺿﻴـــﺔ‪ ،‬ﻣﻤﺎ أدى إﻟـــﻰ اﻟﺤﺎﺟﺔ ﻟﻬﺬه اﻟﻄﺎﻗﺔ‪ ،‬اﻟﻤﺘﻮﻓﺮة ﺑﻴـــﻦ أﻳﺪﻳﻨﺎ‪ .‬ﻛﻤﺎ أﻛﺪ‬ ‫اﻟﺴﻴﺪ ﺧﺎﻟﺪ ﺷﺮﺑﺘﻠﻲ ﻣﺆﺳﺲ ﻣﺸﺎرك ﻓﻲ ﺷﺮﻛﺔ اﻟﺮﻣﻮز اﻟﻤﺸﺘﺮﻛﺔ ﻟﻠﻄﺎﻗﺔ ‪:‬‬ ‫أن اﻟﺸﺮﻛﺔ وﻗﻌﺖ اﻟﻌﺪﻳﺪ ﻣﻦ ا_ﺗﻔﺎﻗﻴﺎت ﻣﻊ ﻋﺪة ﺷﺮﻛﺎت ﺳﻌﻮدﻳﺔ و ﻣﺼﺮﻳﺔ‪،‬‬ ‫ﻣﻨﻬﺎ »‪ Global Projects «Tattweer‬و ‪،Desert Technologies, SunInfitine Energy‬‬ ‫ﻣﻤﺎ ﺳﻴﺴـــﺎﻫﻢ ﻓﻲ دﻋﻢ و ﺗﻨﻔﻴﺬ أواﺋﻞ ﻣﺸـــﺎرﻳﻊ اﻟﻄﺎﻗـــﺔ اﻟﻤﺘﺠﺪدة ﻟﻠﻘﻄﺎع‬ ‫اﻟﺨـــﺎص ﻣـــﻦ ﻣﻨﺎزل و ﻣﺴـــﺎﺟﺪ و ﻣﺪارس و ﻣﺼﺎﻧـــﻊ وﻣﺤﻼت ﺗﺠﺎرﻳـــﺔ‪ ،‬وأﺿﺎف‬ ‫اﻟﺴـــﻴﺪ ﺣﺴـــﻦ أﺑﺎاﻟﺨﻴـــﻞ‪ :‬أن ﻗﻄﺎع اﻟﻄﺎﻗـــﺔ اﻟﻤﺘﺠـــﺪدة ﻗﻄﺎع ﺟﺪﻳـــﺪ وواﻋﺪ‬ ‫ﻟﺘﻮﻃﻴﻦ ﻫﺬا اﻟﻘﻄﺎع ﻣﻦ ﻣﻬﻨﺪﺳـــﻴﻦ وﻓﻨﻴﻴﻦ ﺳـــﻌﻮدﻳﻴﻦ‪ .‬وأﺿﺎف أﻳﻀﺎ‪ :‬أن‬ ‫ﻫﺬا اﻟﺴﻮق ﻣﻐﺮي ﻟﻠﻤﺴﺘﺜﻤﺮﻳﻦ ا‪5‬ﺟﺎﻧﺐ ﺣﻴﺚ إن اﻟﻌﺎﺋﺪ ﻋﻠﻰ ﺳﻮق ﻣﺸﺎرﻳﻊ‬ ‫اﻟﻄﺎﻗﺔ اﻟﺨﻀﺮاء ﻳﻀﺎﻫﻲ ﻋﻮاﺋﺪ ا‪5‬ﺳﻮاق اﻻﺧﺮى‪.‬‬

‫اﻟﺤﺮص اﻟﺪاﺋﻢ ﻋﻠﻰ ﺗﻘﺪﻳﻢ اﻟﺠﻮدة‬ ‫ﻣﻦ ﺷﺮﻛﺔ اﻟﻤﻨﺎرة اﻟﻜﻬﺮﺑﺎﺋﻴﺔ ﻟﻠﺘﺠﺎرة‬ ‫ﻳﻌﺘﺒـــﺮ ﻣﺼﻨـــﻊ اﻟﻤﻨـــﺎرة ﻟﻠﻮﺣـــﺎت‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ ﻣﻦ اﻟﻤﺼﺎﻧـــﻊ اﻟﺮاﺋﺪة‬ ‫ﺑﺎﻟﻤﻤﻠﻜـــﺔ اﻟﻌﺮﺑﻴـــﺔ اﻟﺴـــﻌﻮدﻳﺔ ـ‬ ‫ﺑﺎﻟﻤﻨﻄﻘﺔ اﻟﺼﻨﺎﻋﻴﺔ اﻟﺜﺎﻧﻴﺔ ـ وﻫﻮ‬ ‫ﻣـــﻦ اﻟﺸـــﺮﻛﺎت اﻟﺘﺎﺑﻌـــﺔ ﻟﻤﺠﻤﻮﻋﺔ‬ ‫اﻟﻤﻨﺎرة اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ ﻟﻠﺘﺠﺎرة واﻟﺘﻲ‬ ‫ﺗﺄﺳﺴـــﺖ ﻋـــﺎم ‪١٩٨٧‬م اﻟﺘﻲ ﻟﺪﻳﻬﺎ‬ ‫ﺗﻮﻛﻴﻼت ﻣﻦ ﺷـــﺮﻛﺎت ﻋﺎﻟﻤﻴﺔ ﻣﺜﻞ‬ ‫)ﻣﻔﺎﺗﻴـــﺢ وأﻓﻴـــﺎش ﺑﺎﻧﺎﺳـــﻮﻧﻴﻚ ـ‬ ‫ﻓﺮﻳﻤﻮن ا_ﻳﻄﺎﻟﻴﺔ ـ أﻋﻤﺪة ﻓﻮﻣﺠﺎﻟﻲ‬ ‫ا_ﻳﻄﺎﻟﻴـــﺔ وﺷـــﺮﻛﺔ أوﺑـــﻞ ﻟ‪q‬ﻧـــﺎرة‬ ‫اﻟﺪاﺧﻠﻴـــﺔ وﺗﻜﻨﻮﻟﻮﺟﻴـــﺎ اﻟﻠﻴـــﺪ‬ ‫اﻟﺤﺪﻳﺜـــﺔ )‪ (LED‬وﻏﻴﺮﻫـــﺎ ‪.‬وﺣﺮﺻ‪r‬‬ ‫ﻣـــﻦ إدارة ﺷـــﺮﻛﺔ اﻟﻤﻨـــﺎرة ﻋﻠـــﻰ‬ ‫ﺗﻘﺪﻳـــﻢ أﻋﻠـــﻰ ﻣﺴـــﺘﻮﻳﺎت اﻟﺠﻮدة‬ ‫ﻟـــﺬا وﻗـــﻊ ا_ﺧﺘﻴـــﺎر ﻋﻠـــﻰ ﺷـــﺮﻛﺔ‬ ‫ﺗﻴﺮاﺳـــﺎﻛﻲ اﻟﻴﺎﺑﺎﻧﻴـــﺔ ﻟﻠﻘﻮاﻃـــﻊ‬ ‫وذﻟـــﻚ ﺣﺮﺻـــ‪ r‬ﻣـــﻦ ﺷـــﺮﻛﺔ اﻟﻤﻨﺎرة‬ ‫_رﺿـــﺎء ﻋﻤﻼﺋﻬـــﺎ ﻣﻦ ﺧـــﻼل اﻟﺘﻤﻴﺰ‬ ‫وﺗﻘﺪﻳﻢ أﻓﻀﻞ ﻣﺴﺘﻮﻳﺎت اﻟﺠﻮدة‬ ‫واﻟﺨﺪﻣـــﺎت ﻛﻞ ذﻟـــﻚ ﺑﺄﺳـــﻌﺎر‬ ‫ﻣﻨﺎﻓﺴـــﺔ وﻣﺮﺿﻴﺔ ﺣﻴﺚ ﻳﻌﺪ إﺳﻢ‬ ‫ﺗﻴﺮاﺳـــﺎﻛﻲ ﻣﻦ اﻟﻌﻼﻣـــﺎت اﻟﺘﺠﺎرﻳﺔ‬ ‫واﺳﻌﺔ ا_ﻧﺘﺸـــﺎر ﻓﻲ ﻛﻼ ﻣﻦ أﺳﻴﺎ‬ ‫وأوروﺑﺎ وأﻓﺮﻳﻘﻴﺎ وأﻣﺮﻳﻜﺎ اﻟﺠﻨﻮﺑﻴﺔ‬

‫‪¡UM³ « ±∞¥‬‬

‫‪104 Albenaa‬‬

‫ﺣﻴـــﺚ ﺗﺄﺳﺴـــﺖ ﻋـــﺎم ‪١٩٢٣‬م أﻛﺜﺮ‬ ‫ﻣﻦ ‪ ٩٠‬ﻋﺎم ﺧﺒﺮة ﻓﻲ ﻣﺠﺎل ﺗﺼﻨﻴﻊ‬ ‫اﻟﻘﻮاﻃﻊ اﻟﺮﺋﻴﺴﻴﺔ واﻟﻔﺮﻋﻴﺔ وﻫﻲ‬ ‫راﺋﺪة ﻓﻲ ﻣﺠﺎل اﻟﺼﻨﺎﻋﺎت اﻟﻮﻗﺎﺋﻴﺔ‬ ‫وﻟﺪﻳﻬـــﺎ ﻣﺼﺎﻧﻊ ﺑـ )اﻟﻴﺎﺑﺎن ـ ﻣﺎﻟﻴﺰﻳﺎ ـ‬ ‫أﻧﺪوﻧﻴﺴﻴﺎ ـ اﻟﺼﻴﻦ‪ ..‬وﻏﻴﺮﻫﺎ( ‪.‬‬ ‫ﻟﻮﺣﺎت ﺑﺎﻧﺎﺳﻮﻧﻴﻚ‬ ‫اﻟﺤـــﺮص اﻟﺪاﺋﻢ ﻋﻠﻰ ﺗﻘﺪﻳﻢ أﻓﻀﻞ‬ ‫اﻟﻤﻨﺘﺠـــﺎت ﻧﻘـــﺪم ﻟﻜـــﻢ ﻣﻨﺘﺠﻨـــﺎ‬ ‫اﻟﺠﺪﻳﺪ ﻣـــﻦ ﻣﺼﻨﻊ اﻟﻤﻨﺎرة ﻟﻠﻮﺣﺎت‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ )ﻟﻮﺣﺎت ﺑﺎﻧﺎﺳـــﻮﻧﻴﻚ(‬ ‫ﻣﻊ ﻗﻮاﻃﻊ ﻣﻦ ﺷـــﺮﻛﺔ ﺑﺎﻧﺎﺳﻮﻧﻴﻚ‬ ‫اﻟﻴﺎﺑﺎﻧﻴـــﺔ ﺣﻴـــﺚ اﻟﺘﺼﻤﻴـــﻢ اﻟﻔﺮﻳﺪ‬ ‫واﻟﺸﻜﻞ اﻟﻌﺼﺮي‪.‬‬ ‫ﻣﻨﺘﺠﺎت ﻣﺼﻨﻊ اﻟﻤﻨﺎرة ﻟﻠﻮﺣﺎت اﻟﻜﻬﺮﺑﺎﺋﻴﺔ‬ ‫ـ ﻟﻮﺣـــﺎت ﻧﻈـــﺎم اﻟﻘﺎﻃﻊ اﻟﺤﺴـــﺎس‬ ‫ا‪5‬وروﺑﻲ ) ﻛﻮزﻣﻮ(‪.‬‬ ‫ـ ﻟﻮﺣﺎت اﻟﻨﻈﺎم ا‪5‬وروﺑﻲ )ﻛﻼﺳﻴﻚ(‬ ‫اﻟﻤﻘﺎس ا‪5‬ﻣﺮﻳﻜﻲ ‪.‬‬ ‫ـ ﺻﻨﺪوق اﻟﺨﺪﻣـــﺔ ﻣﺘﻌﺪد اﻟﻤﺨﺎرج‬ ‫ﻣﺘﻮﻓﺮ ﺑﺎﻟﻘﺎﻃﻊ وﺑﺪون اﻟﻘﺎﻃﻊ‪.‬‬ ‫ـ ﻋﻠﺒﺔ ﻣﻊ اﻟﻘﺎﻃﻊ )داﺧﻠﻲ ـ ﺧﺎرﺟﻲ(‬ ‫ـ ﻟﻮﺣﺎت اﻟﺘﻮزﻳﻊ اﻟﺮﺋﻴﺴـــﻴﺔ ) ﻟﻮﺣﺎت‬ ‫ﺗﺼﻨﻴﻊ(‪.‬‬ ‫ـ ﻟﻮﺣﺎت إﻧﺎرة أﻋﻤﺪة اﻟﺸﻮارع‪.‬‬

‫ﻟﻮﺣﺎت ﻛﻮزﻣﻮ‬

‫ﻟﻮﺣﺎت ﺑﺎﻧﺎﺳﻮﻧﻴﻚ‬

‫ﻟﻮﺣﺎت ﻛﻼﺳﻴﻚ‬

‫ﻋﻠﺒﺔ ﺑﺎﻟﻘﺎﻃﻊ )ﺣﺴﺎس(‬

‫ﻗﻮاﻃﻊ ﻣﻦ ﺷﺮﻛﺔ ﺗﻴﺮاﺳﺎﻛﻲ اﻟﻴﺎﺑﺎﻧﻴﺔ‬

‫ﻋﻠﺒﺔ ﺑﺎﻟﻘﺎﻃﻊ )اﻳﺰوﻟﻴﺘﻮر(‬

‫ﺻﻨـــﺪوق ﺧﺪﻣـــﺔ ﻣﺘﻌـــﺪد اﻟﻤﺨـــﺎرج ﻣـــﻊ‬ ‫وﺑﺪون اﻟﻘﺎﻃﻊ ‪٦٥ IP‬‬

‫ﻟﻮﺣﺎت ﺗﻮزﻳﻊ رﺋﻴﺴﻴﺔ‬ ‫ﻟﻮﺣﺔ إﻧﺎرة أﻋﻤﺪة اﻟﺸﻮارع‬

‫ ‪¡UM³ « o×K‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ اﻟﻤﺴﺒﻮﻛﺎت اﻟﻌﺮﺑﻴﺔ‬

‫ﻣﺘﺨﺼﺼﻮن ﻓﻲ ﺟﻤﻴﻊ اﻟﺪﻳﻜﻮرات اﻟﻤﻌﺪﻧﻴﺔ‬

‫‪lMB*« d¹b ≠ »U¹œ bL× ÊËbKš ÆÂ‬‬

‫ﻓﻲ زﻳـــﺎرة ﺧﺎﺻﺔ ﻟﻤﺠﻠﺔ اﻟﺒﻨﺎء ﻟﺸـــﺮﻛﺔ اﻟﻤﺴـــﺒﻮﻛﺎت‬ ‫اﻟﻌﺮﺑﻴـــﺔ أﺟﺮﻳﻨـــﺎ اﻟﻠﻘـــﺎء اﻟﺘﺎﻟـــﻲ ﻣـــﻊ ﻣﺪﻳـــﺮ اﻟﻤﺼﻨـــﻊ‬ ‫اﻟﻤﻬﻨﺪس ﺧﻠﺪون ﻣﺤﻤﺪ دﻳﺎب ‪...‬‬ ‫• و ﻓـــﻲ ﺳـــﺆاﻟﻪ ﻋـــﻦ ﻣﺠـــﺎل ﻋﻤـــﻞ اﻟﺸـــﺮﻛﺔ أﺟﺎﺑﻨـــﺎ‬ ‫اﻟﻤﻬﻨﺪس ﺧﻠﺪون دﻳﺎب ‪:‬‬ ‫ان ﺷـــﺮﻛﺔ اﻟﻤﺴـــﺒﻮﻛﺎت اﻟﻌﺮﺑﻴـــﺔ ﻫﻲ ﺷـــﺮﻛﺔ ﺗﻌﻨﻰ‬ ‫ﺑـــﻜﻞ ﻣﺠـــﺎﻻت اﻟﺪﻳﻜـــﻮرات اﻟﻤﻌﺪﻧﻴـــﺔ ﻣـــﻦ أﺑـــﻮاب و‬ ‫ﻧﻮاﻓـــﺬ و دراﺑﺰﻳﻨﺎت و اﻛﺴـــﺎءات ﻟﻠﻮاﺟﻬﺎت و ا?ﻋﻤﺪة‬ ‫و أﻫﻠﺔ اﻟﻤﺴﺎﺟﺪ و اﻟﻘﻄﻊ اﻟﺪﻳﻜﻮرﻳﺔ و اﻃﺎرات اﻟﻤﺮاﻳﺎ‬ ‫اﻟﻤﺸﻐﻮﻟﺔ ‪.‬‬ ‫• و ﻓﻲ ﺳـــﺆاﻟﻪ ﻋﻦ أﻧـــﻮاع اﻟﺨﺎﻣﺎت اﻟﻤﺴـــﺘﺨﺪﻣﺔ ﻓﻲ‬ ‫ﻋﻤﻠﻬﻢ أﺟﺎب اﻟﻤﻬﻨﺪس ﺧﻠﺪون ‪:‬‬ ‫ان اﻟﺸـــﺮﻛﺔ ﺗﺴـــﺘﺨﺪم ﻛﺎﻓـــﺔ اﻧـــﻮاع اﻟﻤﻌـــﺎدن ﻓـــﻲ‬ ‫اﻋﻤﺎﻟﻬﺎ ﻣﻦ اﺳﺘﺎﻟﺲ اﺳـــﺘﻴﻞ و اﻟﺤﺪﻳﺪ و اﻟﻨﺤﺎس و‬ ‫اﻻﻟﻤﻨﻴﻮم و اﻟﻜﻼدﻧﺞ ﻛﻤﺎ ﺗﺴـــﺘﺨﺪم اﻟﺸﺮﻛﺔ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻤﻮاد اﻟﺘﻜﻤﻴﻠﻴﺔ ﻣﻦ اﻟﺒﻼﻛﺴـــﻲ و اﻟﻠﻜﺴـــﺎن و‬ ‫اﻟﺰﺟﺎج اﻟﻤﻘﺴـــﻰ و اﻟﺨﺸـــﺐ و اﻟﻤﺮاﻳـــﺎ و أﻓﻀﻞ أﻧﻮاع‬ ‫اﻟﻄﻼء ‪ ،‬ﻛﻞ ذﻟـــﻚ ﺑﺤﺮﻓﻴﺔ و ﻣﻬﻨﻴﺔ ﻋﺎﻟﻴﺔ ﺑﺤﻴﺚ ﺗﺘﻢ‬

‫∂∞‪¡UM³ « ±‬‬

‫‪106 Albenaa‬‬

‫ﺗﻮأﻣﺔ ﻫﺬه اﻟﻤﻮاد ﻣﻊ ﺑﻌﻀﻬﺎ ﺑﺸﻜﻞ ﻓﻨﻲ اﺣﺘﺮاﻓﻲ‬ ‫ﻟﺘﻌﻄﻲ ﻣﻨﺘﺞ ﻏﺎﻳﺔ ﻓﻲ اﻻﺗﻘﺎن و اﻟﻔﻦ ‪.‬‬ ‫• و ﻓـــﻲ ﺳـــﺆال آﺧﺮ ﻋـــﻦ اﻟﺼﻌﻮﺑﺎت اﻟﺘـــﻲ ﺗﻮاﺟﻬﻬﺎ‬ ‫اﻟﺸـــﺮﻛﺔ ﻟﻨﺎﺣﻴﺔ اﻟﺘﻨﺎﻓﺲ ﻣﻊ اﻟﺸـــﺮﻛﺎت اﻟﺘﻲ ﺗﻌﻤﻞ‬ ‫ﻓﻲ ﻧﻔﺲ اﻟﻤﺠـــﺎل ﻓﻘﺪ أﻛﺪ اﻟﻤﻬﻨﺪس ﺧﻠﺪون ﻋﻠﻰ‬ ‫ﻣﺎ ﻳﻠﻲ ‪:‬‬ ‫ان ﺷـــﺮﻛﺔ اﻟﻤﺴـــﺒﻮﻛﺎت اﻟﻌﺮﺑﻴﺔ ﻗﺪ أﺛﺒﺘﺖ ﻧﻔﺴﻬﺎ‬ ‫ﻓـــﻲ اﻟﺴـــﻮق اﻟﺴـــﻌﻮدﻳﺔ ﺑﻘـــﻮة و ﺑﺄﻧـــﻪ ﻻ ﻳﻮﺟﺪ أي‬ ‫ﺻﻌﻮﺑـــﺎت ﺗﻨﺎﻓﺴـــﻴﺔ أو ﻣﻌﻮﻗـــﺎت أﻣـــﺎم اﻟﺸـــﺮﻛﺔ‪،‬‬ ‫ﻓﺒﺤﻤـــﺪ ا^ اﺳـــﺘﻄﺎﻋﺖ اﻟﺸـــﺮﻛﺔ ﻋﺒـــﺮ ﻓﺮﻳـــﻖ‬ ‫ﻣﺘﻜﺎﻣـــﻞ ﻣـــﻦ اﻟﻤﺼﻤﻤﻴـــﻦ و اﻟﻔﻨﻴﻴـــﻦ اﻟﻤﻬـــﺮة و‬ ‫ﺑﺎدارة ﻃﻤﻮﺣﺔ ﺟﺪا أن ﺗﺮﺳـــﺦ ﻧﻔﺴـــﻬﺎ ﻓﻲ اﻟﺴﻮق‬ ‫اﻟﺴـــﻌﻮدي ﻣﻌﺘﻤـــﺪة ﻋﻠـــﻰ ا^ أوﻻ و آﺧـــﺮا و ذﻟـــﻚ‬ ‫ﻋﺒـــﺮ ﺟـــﻮدة ﻣﻨﺘﺠﺎﺗﻬـــﺎ ذات اﻟﻤﻮاﺻﻔـــﺎت ا?ورﺑﻴﺔ و‬ ‫اﺳـــﻌﺎرﻫﺎ اﻟﺘﻨﺎﻓﺴـــﻴﺔ اﻟﺘـــﻲ ﺗﻘﺪم ﻟﻠﻌﻤﻴـــﻞ ﻣﻨﺘﺞ‬ ‫أورﺑـــﻲ اﻟﻤﻮاﺻﻔﺎت ﺑﺴـــﻌﺮ ﻣﺬﻫـــﻞ و ﻣﻌﻘﻮل ﺟﺪا ‪،‬‬ ‫ﻛﻤﺎ أﻛﺪ اﻟﻤﻬﻨﺪس ﺧﻠﺪون ﻋﻠﻰ أن ﺿﻤﺎن ﺷـــﺮﻛﺔ‬ ‫اﻟﻤﺴـــﺒﻮﻛﺎت اﻟﻌﺮﺑﻴﺔ اﻟﺬﻫﺒﻲ ﻋﻠﻰ ﻛﻞ ﻣﻨﺘﺠﺎﺗﻬﺎ‬

‫ﻛﺎن ﻫﻮ ﻋﺎﻣﻞ أﻣﺎن ?ي ﻋﻤﻴﻞ ﻳﻨﻮي اﻟﺘﻌﺎﻗﺪ ﻣﻌﻨﺎ ‪.‬‬ ‫• و ﻓﻲ ﺳـــﺆاﻟﻪ ﻋﻦ اﻟﻤﺸﺎرﻳﻊ اﻟﺘﻲ ﺗﻢ ﺗﻨﻔﻴﺬﻫﺎ وﺿﺢ‬ ‫اﻟﻤﻬﻨﺪس ﺧﻠﺪون ﻣﺤﻤﺪ دﻳﺎب ﻗﺎﺋﻼ ‪:‬‬ ‫ﻟﻘﺪ ﻧﻔﺬﻧﺎ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺸﺎرﻳﻊ ﻣﻊ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻮزارات‬ ‫اﻟﺤﻜﻮﻣﻴـــﺔ ﻣﻨﻬﺎ ﻋﻠﻰ ﺳـــﺒﻴﻞ اﻟﻤﺜـــﺎل ﻻ اﻟﺤﺼﺮ وزارة‬ ‫اﻟﺪﻓﺎع و و وزارة اﻟﺤﺮس اﻟﻮﻃﻨﻲ و اﻟﺼﺤﺔ و اﻟﺘﻌﻠﻴﻢ‬ ‫و اﻟﻜﺜﻴـــﺮ ﻣﻦ اﻟﻬﻴﺌﺎت اﻟﺤﻜﻮﻣﻴـــﺔ و اﻟﻘﺼﻮر و اﻟﻔﻠﻞ‬ ‫ا?ﻫﻠﻴﺔ ‪ ،‬ﻛﻤﺎ أﻛﺪ ﺑﺄن اﻟﺴـــﻴﺮة اﻟﺬاﺗﻴﺔ ﻟﻠﺸﺮﻛﺔ ذاﺧﺮة‬ ‫ﺑﺎﻟﻤﺸﺎرﻳﻊ اﻟﻜﺒﻴﺮة و ﺣﺎﻓﻠﺔ ﺑﺎ‪e‬ﻧﺠﺎزات اﻟﻤﺸﺮﻓﺔ ‪.‬‬ ‫• و ﻓـــﻲ ﻧﻬﺎﻳﺔ ﻟﻘﺎءﻧﺎ ﺳـــﺄﻟﻨﺎ اﻟﻤﻬﻨـــﺪس ﺧﻠﺪون ﻋﻦ‬ ‫ﺟﺪﻳـــﺪ ﺷـــﺮﻛﺔ اﻟﻤﺴـــﺒﻮﻛﺎت اﻟﻌﺮﺑﻴـــﺔ ﻓـــﻲ اﻟﻤﺮﺣﻠـــﺔ‬ ‫اﻟﻘﺎدﻣﺔ ﻓﺄﺟﺎب ‪:‬‬ ‫أﻧـــﻪ و ﻗﺒﻞ ﻧﻬﺎﻳﺔ ﻫـــﺬا اﻟﻌﺎم ﺑﺎذن ا^ ﺗﻌﺎﻟﻰ ﺳـــﻮف‬ ‫ﻧﻄـــﺮح ﻣﻨﺘﺠﺎت و ﺗﻘﻨﻴﺎت ﺟﺪﻳﺪة ﻓـــﻲ ﻋﺎﻟﻢ ا?ﺑﻮاب و‬ ‫اﻟﺪراﺑﺰﻳﻨﺎت ‪ ،‬ﺑﺤﻴﺚ ﺳﺘﻜﻮن اﺑﺘﻜﺎرات ﺗﻄﺮح ?ول ﻣﺮة‬ ‫ﻓﻲ اﻟﻤﻨﻄﻘﺔ ‪.‬‬ ‫و ﻓـــﻲ ﻧﻬﺎﻳـــﺔ ﻟﻘﺎءﻧـــﺎ ودﻋﻨﺎ ﺑﻤﺜﻞ ﻣﺎ اﺳـــﺘﻘﺒﻠﻨﺎ ﺑﻜﻞ‬ ‫ﺣﻔﺎوة و ﺗﻜﺮﻳﻢ‬

‫أرﻛـﻴـﺘﻜﺲ‬

‫‪ARCHITECKS‬‬

‫ﺗﺄﺳﺴـــﺖ ﺷـــﺮﻛﺔ أرﻛﻴﺘﻜﺲ ﺳـــﻨﺔ‬ ‫‪١٩٨٧‬م‪ ،‬ﻟﺘﺼﺒـــﺢ ﺧـــﻼل ﻫـــﺬه اﻟﻔﺘـــﺮة‬ ‫ﻣﻦ أﻛﺒﺮ ﺷـــﺮﻛﺎت ﺗﺼﻨﻴﻊ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺨﺎرﺟﻴﺔ ﻋﺎﻟﻤﻴﺎ وﻟﻴﺼﺒﺢ ﻟﻬﺎ اﻟﺤﺼﺔ‬ ‫اﻻﻛﺒـــﺮ ﻓـــﻲ اﻟﺴـــﻮق اﻟﻜﻮرﻳـــﺔ‪ ،‬وذﻟﻚ‬ ‫ﺑﻔﻀـــﻞ اﻟﻌﻤـــﻞ اﻟﺠـــﺎد واﻟﺘﻄﻮﻳـــﺮ‬ ‫اﻟﻤﺴـــﺘﻤﺮ واﻟﺠﻬـــﺪ اﻟﻤﺘﻮاﺻـــﻞ‬ ‫ﻟﻤﻨﺴـــﻮﺑﻲ اﻟﺸـــﺮﻛﺔ ﺳـــﻮاء ﻋﻠـــﻰ‬ ‫اﻟﻤﺴﺘﻮى ا‪J‬داري أو اﻟﻔﻨﻲ‪.‬‬ ‫وﺗﻘﻮم اﻟﺸـــﺮﻛﺔ ﺑﺘﺼﻨﻴﻊ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺨﺎرﺟﻴـــﺔ )ﻛﻼدﻳﻨـــﺞ( ﻣـــﻦ ﻣـــﻮاد‬ ‫ﺳﺘﺎﻧﻠﺲ ﻣﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳﻖ ﻣﺼﻨﻮﻋﺔ‬ ‫ﻣـــﻦ اﻻﻟﻮﻣﻨﻴـــﻮم واﻟﺘﻴﺘﺎﻧﻴـــﻮم‪،‬‬ ‫ﻣـــﻊ اﻻﺧـــﺬ ﺑﺎ‪J‬ﻋﺘﺒـــﺎر ان ﺷـــﺮﻛﺘﺎن‬ ‫ﻓﻘـــﻂ ﺗﻘﻮﻣـــﺎن ﺑﺘﺼﻨﻴـــﻊ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺨﺎرﺟﻴـــﺔ ﻣﻦ ﻣـــﺎدة اﻟﺘﻴﺘﺎﻧﻴﻮم ﺗﻌﺪ‬ ‫ﺷـــﺮﻛﺔ أرﻛﻴﺘﻜﺲ اﻟﻜﻮرﻳﺔ اﺣﺪﻫﻤﺎ‪،‬‬ ‫ﺑﺎﻻﺿﺎﻓﺔ اﻟﻰ ان اﻟﺸﺮﻛﺔ ﺗﻘﺪم اﻳﻀﺎ‬ ‫ﺧﺪﻣـــﺔ اﻟﺘﺼﻤﻴﻢ ﺑﺄﺷـــﻜﺎل ﻣﺨﺘﻠﻔﺔ‬ ‫وﺗﺮﻛﻴﺒﻬـــﺎ ﺑﻤﺎ ﻳﺘﻨﺎﺳـــﺐ ﻣـــﻊ ﺟﻤﻴﻊ‬ ‫ﻋﻤﻼﺋﻬﺎ ﺣﻮل اﻟﻌﺎﻟﻢ‬

‫‪The company manufacture:‬‬ ‫‪ARCHITECKS ® FR, an Aluminum‬‬ ‫‪Composite Materials with non‬‬‫‪combustible core developed by‬‬ ‫‪Hongseong, ARCHITECKS ® STS‬‬ ‫‪a Stainless Steel Skined‬‬ ‫‪Composite Materials cored with‬‬ ‫‪PE or FR materials, ARCHITECKS‬‬ ‫‪® Anodizing an Anodized‬‬ ‫‪surface Composite Materials,‬‬ ‫‪ARCHITECKS ® Zink, a Zink‬‬ ‫‪surface Composite Materials,‬‬ ‫® ‪HIVETECKS‬‬ ‫‪a Aluminum Honeycomb Panel,‬‬ ‫‪EMBOTECKS ® an Aluminum‬‬ ‫‪Corrugated Core Panel and‬‬ ‫‪ARCHITECKS ® TITAN‬‬ ‫‪a Titanium Composite Panel.‬‬

‫∏∞‪¡UM³ « ±‬‬

‫‪108 Albenaa‬‬

‫? ‪PRICE‬‬

‫‪YES,‬‬

‫!‪MUCH DOWN‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ ‪¡UM³ « o×K‬‬

‫ﺷﺮﻛﺔ ﻣﻨﺘﺠﺎت ا ﻟﻤﻨﻴﻮم اﻟﻤﺤﺪودة ـ أﻟﻮﺑﻜﻮ‬ ‫اﻟﺮواد ﻓﻲ ﺗﺼﻨﻴﻊ ﻗﻄﺎﻋﺎت وﺳﺤﺐ ا‪c‬ﻟﻤﻨﻴﻮم‬ ‫ﺷـــﺮﻛﺔ ﻣﻨﺘﺠـــﺎت اﻻﻟﻤﻨﻴـــﻮم )اﻟﻮﺑﻜـــﻮ( ﻫﻲ‬ ‫اﻛﺒﺮ ﺷـــﺮﻛﺔ ﺳـــﺤﺐ ﻟﻼﻟﻤﻨﻴﻮم ﻓﻲ اﻟﺸﺮق‬ ‫اﻻوﺳـــﻂ وﺷـــﻤﺎل اﻓﺮﻳﻘﻴـــﺎ وﺗﻌﺪ ﻣـــﻦ اﻛﺒﺮ‬ ‫ﻋﺸـــﺮ ﺷـــﺮﻛﺎت ﻋﻠـــﻰ ﻣﺴـــﺘﻮى اﻟﻌﺎﻟـــﻢ‪.‬‬ ‫ﺗﺄﺳﺴـــﺖ اﻟﺸـــﺮﻛﺔ ﻋـــﺎم ‪١٩٧٥‬م وﺗﻤﺘﻠـــﻚ‬ ‫اﻟﺸـــﺮﻛﺔ ﻣﺼﻨﻌﻴﻦ ﻟﺴـــﺤﺐ اﻻﻟﻤﻨﻴﻮم ﻓﻲ‬ ‫ﻣﺪﻳﻨﺘﻲ اﻟﺪﻣـــﺎم وﺟﺪة وﻣﻜﺎﺗﺐ ﻟﻠﻤﺒﻴﻌﺎت‬ ‫ﻓﻲ ﻛﻞ ﻣﻦ اﻟﺮﻳﺎض واﻟﻘﺎﻫﺮة ودﺑﻲ‪.‬‬ ‫ﺗﻨﺘــــﺞ اﻟﻮﺑﻜــــﻮ ﻗﻄﺎﻋــــﺎت أﻟﻤﻨﻴﻮم ﺑﺄﺷــــﻜﺎل‬ ‫وﻣﻘﺎﺳــــﺎت ﻣﺨﺘﻠﻔــــﺔ ﻃﺒﻘــــﺎ ﻟﻠﻤﻮاﺻﻔــــﺎت‬ ‫اﻟﻌﺎﻟﻤﻴــــﺔ وﻗﺮﻳﺒــــﺎ ﺳــــﺘﻨﺘﺞ اﻟﺸــــﺮﻛﺔ اﻟــــﻮاح‬ ‫اﻻﻟﻤﻨﻴــــﻮم )اﻟﻜﻼدﻧــــﺞ( وﺗﻤﺘﻠــــﻚ اﻟﺸــــﺮﻛﺔ‬ ‫اﻟﻜﺜﻴﺮ ﻣــــﻦ اﻻﻧﻈﻤــــﺔ اﻟﻤﻌﻤﺎرﻳــــﺔ ﻟﻮاﺟﻬﺎت‬ ‫اﻻﺑﺮاج واﻻﺑﻮاب واﻟﻨﻮاﻓﺬ وﻗﻄﺎﻋﺎت ﻟﻠﻤﻄﺎﺑﺦ‬ ‫وﻗﻄﺎﻋﺎت ﻟﻠﻤﻨﺘﺠﺎت اﻟﺼﻨﺎﻋﻴﻪ ﻣﺜﻞ اﻻﻧﺎﺑﻴﺐ‬ ‫واﻻﺛﺎث واﻟﺴﻼﻟﻢ واﻟﺴﻘﺎﻻت وﻏﻴﺮﻫﺎ‪.‬‬

‫وﻗﺎﻣﺖ اﻟﺸﺮﻛﺔ ﺑﺘﻮرﻳﺪ ﻗﻄﺎﻋﺎت اﻻﻟﻤﻨﻴﻮم‬ ‫ﻟﻠﻜﺜﻴــــﺮ ﻣﻦ اﻟﻤﺸــــﺎرﻳﻊ اﻟﻤﺤﻠﻴــــﺔ ﻟﻜﻞ ﻣﻦ‬ ‫ﺷﺮﻛﺔ اراﻣﻜﻮا وﺳــــﺎﺑﻚ واﻟﺤﺮس اﻟﻮﻃﻨﻲ‬ ‫واﻟﻬﻴﺌــــﺔ اﻟﻤﻠﻜﻴــــﺔ ووزارة اﻟﺪاﺧﻠﻴــــﺔ ﻋﻠﻰ‬ ‫ﻣﺴــــﺘﻮى اﻟﻤﻤﻠﻜــــﺔ وﻟﻤﺸــــﺎرﻳﻊ اﻟﺠﺎﻣﻌﺎت‬ ‫واﻟﻤﻄــــﺎرات واﻟــــﻮزارات واﻟﻤﺴﺘﺸــــﻔﻴﺎت‬ ‫واﻳﻀــــﺎ ﻟﻠﻜﺜﻴــــﺮ ﻣــــﻦ اﻟﻤﺸــــﺎرﻳﻊ اﻟﺨﺎﺻــــﺔ‬ ‫ﻣﺜــــﻞ ﺑﺮج ﺟﺒــــﻞ اﻟﻜﻌﺒــــﺔ ﻓﻲ ﻣﻜــــﺔ وﺟﺰء‬ ‫ﻣــــﻦ ﻣﺸــــﺮوع اﻟﺸــــﺎﻣﻴﺔ وﻏﻴﺮﻫــــﺎ اﻟﻜﺜﻴــــﺮ‪.‬‬ ‫وﻟﻤﺸــــﺎرﻳﻊ ﺧﺎرج اﻟﻤﻤﻠﻜــــﺔ ﻣﺜﻞ ﺑﺮج ﻣﺎرﻳﻨﺎ‬ ‫ﺑﻴــــﺮوت ‪ -‬ﺑــــﺮج اﻟﻌــــﺮب وﻣــــﻮل ا_ﻣــــﺎرات‬ ‫وﻣﺤﻄــــﺎت اﻟﻤﺘــــﺮو وﺟﺰﻳﺮة اﻟﻨﺨﻠــــﺔ‪ -‬دﺑﻲ‬ ‫‪ ,‬ﺑــــﺮج ا_ﺗﺼــــﺎﻻت –اﻟﻜﻮﻳﺖ و ﺑــــﺮج اﻟﻌﺮﻳﻦ‬ ‫ اﻟﺪوﺣــــﺔ وﻏﻴﺮﻫــــﺎ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺸــــﺎرﻳﻊ‬‫واﺧﺮﻣﺸــــﺮوع ﺑــــﺮج اﻟﻤﻤﻠﻜــــﺔ ﻓــــﻰ ﺟــــﺪه‬ ‫وﻫﻮاﻃﻮل ﺑﺮج ﻓﻲ اﻟﻌﺎﻟﻢ‬

‫‪¡UM³ « ±±±‬‬

‫‪111 Albenaa‬‬

‫ ‪¡UM³ « o×K‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ﻣﺼﻨﻊ اﻟﻤﺴﺘﻘﺒﻞ ﻟﻠﺴﻴﺮاﻣﻴﻚ واﻟﺒﻮرﺳﻼن‬ ‫اﻟﺪﻗﺔ واﻟﺠﻤﺎل واﻟﻤﺘﺎﻧﺔ ﻟﻠﺒﻮرﺳﻠﻴﻦ ذو اﻟﻤﻈﻬﺮ اﻟﺨﺸﺒﻲ‬

‫أﺻﺒﺢ ﺑﻼط اﻟﺒﻮرﺳـــﻠﻴﻦ ذو اﻟﺸـــﻜﻞ اﻟﺨﺸـــﺒﻲ واﺣﺪ ‬ ‫ﻣـــﻦ أﻫـــﻢ ا‪1‬ﺗﺠﺎﻫـــﺎت ﻓﻲ ﺻﻨﺎﻋـــﺔ ا‪,‬رﺿﻴﺎت وﺳـــﺎﻫﻢ‬ ‫ﻓـــﻲ ذﻟﻚ اﻟﺘﻘﺪم اﻟﻬﺎﺋﻞ ﻓﻲ ﻋﻤﻠﻴﺎت اﻟﺘﺼﻨﻴﻊ‪ ،‬وﻳﺘﻢ‬ ‫اﺳـــﺘﺨﺪام اﻟﺒﻮرﺳـــﻠﻴﻦ ذو اﻟﻤﻈﻬـــﺮ اﻟﺨﺸـــﺒﻲ ﻓـــﻲ‬ ‫اﻟﻤﺸـــﺎرﻳﻊ اﻟﻜﺒﻴﺮة واﻟﺼﻐﻴﺮة‪ .‬ﺣﻴـــﺚ ﻟﻢ ﻳﻌﺪ ﻳﻘﺘﺼﺮ‬ ‫ﻋﻠﻰ ا‪,‬ﺣﺠﺎم اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬ﺑﻞ ﻳﻤﻜﻦ ا‪A‬ن أن ﻳﺼﻨﻊ ﻓﻴﻤﺎ‬ ‫ﻳﺴﻤﻰ ﺑﺎ‪,‬ﻟﻮاح‪ ،‬أو اﻟﺒﻼﻃﺎت اﻟﻤﺴﺘﻄﻴﻠﺔ اﻟﺸﻜﻞ‪.‬‬ ‫ﻣﺎ ﻫﻲ اﻟﺒﻼﻃﺎت اﻟﺨﺸﺒﻴﺔ ؟‬ ‫ﻫﻲ ﺑﻜﻞ ﺑﺴـــﺎﻃﺔ ﺑﻼط اﻟﺒﻮرﺳﻠﻴﻦ ﺑﻤﻈﻬﺮ اﻟﺨﺸﺐ‪.‬‬ ‫وﻟﺪﻗـــﺔ ﺻﻨﺎﻋﺘـــﻪ ﻓﻬﻮ ﻳﺒﺪو ﻃﺒﻴﻌﻴـــ‪ ، I‬ﺑﺤﻴﺚ ﻳﺼﻌﺐ‬ ‫إدراك أﻧـــﻪ ﻟﻴـــﺲ ﻃﺒﻴﻌﻴـــ‪ I‬ﺑﺎﻟﻌﻴـــﻦ اﻟﻤﺠـــﺮدة‪ ،‬ﺣﻴـــﺚ‬ ‫أﺗﺎﺣـــﺖ اﻟﺘﻜﻨﻮﻟﻮﺟﻴـــﺎ اﻟﺼﻨﺎﻋﻴﺔ اﻟﺤﺪﻳﺜـــﺔ درﺟﺔ ﻋﺎﻟﻴﺔ‬ ‫ﻣـــﻦ ا‪1‬ﺗﻘـــﺎن واﻻﻫﺘﻤـــﺎم ﺑﺎﻟﺘﻔﺎﺻﻴـــﻞ وﻫﺬا ﻟـــﻢ ﻳﻜﻦ‬ ‫ﻣﺘﺎﺣ‪ I‬ﻓﻲ اﻟﺴﺎﺑﻖ‪ ،‬ﻓﺄﺻﺒﺤﺖ ﻟﺪﻗﺔ ﺗﻔﺎﺻﻴﻠﻬﺎ ﺗﺤﺎﻛﻲ‬ ‫أرﺿﻴﺎت اﻟﺨﺸﺐ اﻟﻄﺒﻴﻌﻲ‪.‬‬ ‫ا داء واﻟﻤﺘﺎﻧﺔ‬ ‫ﻣـــﻊ ا‪1‬ﻫﺘﻤـــﺎم ﺑﺎﻟﺘﻔﺎﺻﻴـــﻞ ﻫﻨـــﺎك ﺗﺮﻛﻴـــﺰ أﻳﻀـــ‪ I‬ﻋﻠﻰ‬ ‫ا‪,‬داء واﻟﻤﺘﺎﻧﺔ ﻣﻤـــﺎ ﻳﺠﻌﻠﻬﺎ ﻣﺜﺎﻟﻴﺔ ‪,‬ﻳﺔ ﻏﺮﻓﺔ وﻓﻲ أي‬ ‫ﻣﺸﺮوع ﺳﻜﻨﻲ أو ﺗﺠﺎري ﻋﻠﻰ ﻋﻜﺲ اﻟﺨﺸﺐ‪.‬‬ ‫وﻳﺼﻠـــﺢ اﻟﺒﻮرﺳـــﻼن اﻟﺨﺸـــﺒﻲ ﻓﻲ اﻟﻤﻨﺎﻃـــﻖ اﻟﺮﻃﺒﺔ‬ ‫ً‬ ‫ﻓﻀـــﻼ ﻋـــﻦ ﺗﻤﻴﺰه ﺑﺴـــﻬﻮﻟﺔ‬ ‫ﻛﺎﻟﺤﻤﺎﻣـــﺎت واﻟﻤﻄﺎﺑـــﺦ‪،‬‬ ‫اﻟﺘﻨﻈﻴـــﻒ واﻟﺼﻴﺎﻧﺔ‪ ،‬ﻣﻤﺎ ﻳﺠﻌﻠﻪ ﻳـــﺪوم ﻃﻮﻳ ًﻼ ﻣﻘﺎرﻧﺔ‬ ‫ﺑﺎﻟﺨﺸﺐ اﻟﻄﺒﻴﻌﻲ ‪.‬‬

‫∞‪¡UM³ « ±±‬‬

‫‪110 Albenaa‬‬