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November 2017 / Volume 37

Parametric Architecture ‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ‬

‫ ﻫـ‬١٤٣٩ ‫ ﺻﻔﺮ‬/ ٣٧ ‫اﻟﺴﻨﺔ‬

٣٢٥


‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫اﻓﺘﺘﺎﺣﻴﺔ‬ ‫« ‪≥≤μ œbF« ¨5Łö¦«Ë WFÐU « WM‬‬ ‫‪ ≤∞±∑ d³Lu½ Ø?¼ ±¥≥π dH‬‬ ‫«‪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 ‫‪WU)« «—«bù« …d¹b‬‬ ‫«*‪qO)« UÐ√ tK« b³Ž rO¼«dÐ≈ …uu WÝbMN‬‬ ‫«‪wMH« ëdšù‬‬ ‫‪WO½«dLF« ÊËRAK ¡UM³« WK−‬‬ ‫«‪∫l¹“u²«Ë  U«d²ýô‬‬ ‫’ ‪±±¥≤± ÷U¹d« μ≤≤ » Æ‬‬ ‫«*‪W¹œuF « WOÐdF« WJKL‬‬ ‫«‪¥∂μ ? π∑¥π ¨ ¥∂¥ ? ≤μμ∂   ÷U¹d‬‬ ‫‪¥∂¥ ? ∂≥¥∏ fU‬‬ ‫‪info@albenaamag.com‬‬ ‫‪ÆÊ«bK³« q w  «bM² *« q sŽ WþuH×dAM« ‚uIŠ‬‬ ‫«‪ ôUI*UÐ …œ—«u«  UDD*«Ë —u?B«Ë  UuKF*«Ë ¡«—ü‬‬ ‫‪WK−*« ÁcNÐ WHK²*«  UŽËd?A*«Ë  U?Ý«—b«Ë Àu׳«Ë‬‬ ‫‪¨UÎ OK Ë√ UÎ Ozeł U¼d?A½ …œUŽ≈ Ë√ ¨UNM ”U³²ôUÐ `L? ¹ ô‬‬ ‫√‪vKŽ ‰uB(« bFÐ ô≈ ¨X½U U?LN WI¹dÞ ÍQÐ U?NM¹eð Ë‬‬ ‫‪Æd¹dײ« fOz— s WOÐU² WI«u‬‬

‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ ‪ ..‬ﻋﻤﺎرة زﻫﺎ ﺣﺪﻳﺪ وﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫ﻣﻜﺘﺒﺔ ﺗﻴﺎﻧﺠﻴﻦ ﺑﻨﻬﺎي‬ ‫إﻓﺘﺘﺎح ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‬ ‫ﻣﺮﻛﺰ ﺟﻨﻴﻒ اﻟﻄﺒﻲ‬ ‫ﻣﻄﻌﻢ ﺗﺤﺖ اﻟﻤﺎء‬ ‫ﻣﺴﻜﻦ ﺻﻐﻴﺮ‬

‫‪ISSN: 1319 - 206 X‬‬ ‫∞∞ «‪¡UM³‬‬

‫‪00 Albenaa‬‬

‫∂‪±‬‬ ‫∏‪±‬‬ ‫∞≤‬ ‫≤≤‬ ‫‪≤¥‬‬

‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ‬ ‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ ‪ -‬ﻋﻤﺎرة زﻫﺎ ﺣﺪﻳﺪ وﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ﺣﻮار ﻣﻊ ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ﺳﺎﺣﺔ ﺛﻘﺎﻓﻴﺔ‬ ‫أﺣﺪث ﻣﻄﺎرات ﺑﻜﻴﻦ‬ ‫ﻣﺮﻛﺰ اﻟﻤﻠﻚ ﻋﺒﺪا‪ C‬ﻟﻠﺪراﺳﺎت وا‪B‬ﺑﺤﺎث اﻟﺒﺘﺮوﻟﻴﺔ‬ ‫اﻟﺒﻨﻚ اﻟﻤﺮﻛﺰي ﻓﻲ اﻟﻌﺮاق‬ ‫ﺟﺎﻻﻛﺴﻲ ﺳﻮﻫﻮ‬ ‫ﻣﺠﻤﻊ ﻣﺘﻌﺪد اﻻﺳﺘﻌﻤﺎﻻت‬ ‫ﻓﻨﺪق ‪ ٥‬ﻧﺠﻮم‬

‫∞≥‬ ‫‪≤¥‬‬ ‫∞‪¥‬‬ ‫∏‪¥‬‬ ‫‪μ¥‬‬ ‫∞∂‬ ‫‪∂¥‬‬ ‫∞∑‬ ‫∂∑‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫أﻧﻈﻤﺔ ﺑﻨﺎء ﺟﺪﻳﺪة‬ ‫ﻣﻔﺼﻼت اﻟﻜﺘﺮوﻧﻴﺔ ﻟ‪L‬ﺑﻮاب‬

‫‪∫…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« «—Uù« WËœ‬‬ ‫—‪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 ‫‪wMOd²Ý« tOMł‬‬ ‫∂‬ ‫«‪«d²K$‬‬ ‫«‪—ôËœ ∏ Èdš_« ‰Ëb« lOLłË …bײ*«  U¹ôu‬‬

‫‪±¥‬‬

‫ﺣﻠﻮل ﺟﺪﻳﺪة ﻟﻠﺠﺴﻮر اﻟﺤﺮارﻳﺔ‬ ‫إﻃﺎرات ﻧﻮاﻓﺬ ﻣﺨﻔﻴﺔ‬ ‫ﻧﻮاﻓﺬ ﻋﺎزﻟﺔ ﻟﻠﺤﺮارة واﻟﺼﻮت‬ ‫واﺟﻬﺎت زﺟﺎﺟﻴﺔ ﻣﻨﺘﺠﺔ ﻟﻠﻄﺎﻗﺔ‬

‫≤∏‬ ‫≤∏‬ ‫‪∏¥‬‬ ‫‪∏¥‬‬ ‫∂∏‬ ‫∂∏‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺪﻳﻜﻮر‬ ‫ﻣﻜﺎﺗﺐ ﺑﺘﺼﺎﻣﻴﻢ ﻋﺼﺮﻳﺔ‬ ‫ﻣﻔﺮوﺷﺎت ﺧﺎرﺟﻴﺔ ﻋﺼﺮﻳﺔ‬ ‫أرﻓﻒ ‪R 60‬‬

‫∏∏‬ ‫∞‪π‬‬ ‫≤‪π‬‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫‪π¥‬‬


WOŠU²²ڍ

Parametric Architecture: The Architecture of Zaha Hadid &Patrik Schumacher

Last October, Patrik Schumacher, the first assistant to the late international architect Zaha Hadid, gave a lecture during the Saudi Design Week event at the King Abdullah for Petroleum Studies & Research Centre, which is designed by Zaha Hadid Architects. We were offered by the organisers to conduct an interview with Patrik Schumacher which we definitely welcomed as it is very difficult to have such an interview with such renown international architects, not only for Albenaa but also for all international magazines. The interview focused on the experience of Zaha Hadid Architects in Saudi Arabia more than the design philosophy of the office, because we knew beforehand that the lecture, Mr Schumacher will give, will be on their philosophy. The idea of featuring the work of Zaha Hadid Architects was not scheduled in our plans. But after doing the interview, which we needed to publish as soon as possible as it is the norm with such interviews, and attending the lecture, it became apparent to us that to have a complete work we must feature projects by Zaha Hadid, who Albenaa always have been publishing and following in its pages. Thus, we have this issue that coincide with the Big 5 Dubai. We hope that featuring the philosophy of Patrick Schumacher is a successful one as he is the first heir to the design philosophy of Zaha Hadid and who participated in creating it, and specially he is now leading the work of this international architectural firm that amazed everyone around the world with its unique and innovative architecture, that is least to say about it. Editor in Chief

: ‍اďť&#x;ďťŒďť¤ďşŽŘąŘŠ اďť&#x;ďş’ďşŽŘąŘ§ďťŁďş˜ďşŽďťłďş”â€Ź ‍ﺎع؊ زﺎ ﺣﺪﺪ‏ â€ŤŮˆďş‘ďşŽďş—ďşŽďťłďťš ﺡﺎﺧﺎ‏ ? dĹĄUu?Ă˝ pšdĂ°UĂ? Ă?—U?LF*ÂŤ ÂĄU?Ĺ‚ â‰¤âˆžÂąâˆ‘ dĂ?u²ÂŹ dN?Ă˝ w? w XOuĂ° w?²ÂŤ bšbĹ UÂźâ€œ W?O*UFÂŤ W?š—ULFLK ‰Ë_ÂŤ bĹ˝U? *ÂŤ Ă?Ĺ“uF ÂŤ ŸuÂł?Ă?_ÂŤ WÂł?Ă?UM0 ‌d{UĂ— ÂĄUIĂš ? Ă‚â‰¤âˆžÂąâˆ‚ Ă‚UĹ˝ ed uŸË ¨ bšbĹ  UÂźâ€œ V²J tLL Ă?cÂŤ v?MÂł*ÂŤ w rOLB²K ÂĄUN²½Ú - Ă?cÂŤ W?OĂ‹d²³ÂŤ  U?Ă?—bÂŤĂ‹ Ă€uĂ—ÂłK tKÂŤ b³Ž pK*ÂŤ ÂĄÂŤdĹ‚â‰ˆ ‌dÂźUE²ÂŤ Ă c?Âź vKĹ˝ 5LzUIÂŤ UMOKĹ˝ ád?ŽË Æ Ă cOHMĂ° s? s t½u ¨bOQ²UĂ? pcĂ? UM³Š— bĂ‹ dĹĄUuĂ˝ pšdĂ°UĂ? l WKĂ?UI jI fO 5O*UFÂŤ 5š—ULF*ÂŤ ÂĄĂ´RÂź l  ÜĂ?UI ÂĄÂŤdĹ‚â‰ˆ VFBÂŤ ÆWO*UFÂŤ Â Ăśâˆ’*ÂŤ WU vKĹ˝ qĂ? ÂĄUM³ WK− vKĹ˝ WOĂ?dFÂŤ WJKL*ÂŤ w bšbĹ  UÂźâ€œ V²J W?Ă?d& vKĹ˝ WKĂ?UI*ÂŤ  e— ¨WOLOLB²ÂŤ V?²J*ÂŤ WH? K vKĹ˝ eOd²ÂŤ s d?ÂŚ√ WšœuF? ÂŤ UNOIKš ¡u?Ă? w²ÂŤ ‌d?{U;ÂŤ ĂŠâˆš ĂŽ UIÂł?  rKF½ UM U?MÂ˝âˆš Y?OĹ  ádF²?Ă?ÂŤ Ÿu{u sJš r Æ WH? KHÂŤ Ă cÂź Ă•d?A ĂŠuJ²?Ă? —u(ÂŤ ÂĄÂŤdĹ‚â‰ˆ lĂ‹ ¨ UMĂ°bMĹ‚âˆš w WĹ Ă‹dD V²J*ÂŤ ÂŤcÂź lš—U?A  —uĂ—K WÂł MUĂ? ‌œUFÂŤ wÂź UL ĂŽ UFšdĂ? Ă dA½ V−š ĂŠU Ă?cÂŤ ĂŽĂśUJ² ĂŠuJš s —u(ÂŤ ĂŠâˆš ĂŽ UĂ—{ÂŤĂ‹ dNĂž tĂ°d{UĂ— ÂĄUI≈ bFĂ?Ă‹ WK− X dĹ  Ă?c?ÂŤ V²J*ÂŤ ÂŤc?Âź  UŽËd?A ádF²?Ă?UĂ? Ă´â‰ˆ vKĹ˝ UN²FĂ?U²Ă‹ tĂ°UŽËd?A s? iFĂ? ádF²?Ă?≈ vKĹ˝ ÂĄUM³ à —b ≈ VÂŤuš Ă?c?ÂŤ Ĺ“bFÂŤ ÂŤcÂź ÂĄU?Ĺ‚ pcĂ‹ Æ WK−*ÂŤ  U?Ă—H ÆwĂ?Ĺ“ w BIG 5 ádF dĹĄUuĂ˝ pšdĂ°UĂ? WH? K ádĹ˝ w UMIĂ‹ b ĂŠuJ½ ĂŠâˆš qQ½ „—U?Ă˝ Ă?cÂŤĂ‹ WOLOLB²ÂŤ bšbĹ  UÂźâ€œ WH? KH ‰Ë_ÂŤ Yš—uÂŤ ÂŤcÂź ‰ULĹ˝âˆš Ĺ“u?Iš `Âł √ Ă?c?ÂŤ uŸË W? UĹĄ ¨ U?N²ŽUM w? ‌eOL² ‌b?šd ‌—U?LFĂ? rUFÂŤ n?%√ Ă?cÂŤ w?*UFÂŤ V?²J*ÂŤ UÂźâ€œ ‌—ULĹ˝ t?Ă? nB½ ĂŠâˆš sJ1 U? q√ uÂź ÂŤc?ŸË ¨ W?OŽbĂ?â‰ˆĂ‹ ÆdĹĄUuĂ˝ pšdĂ°UĂ?Ă‹ bšbĹ  dšdײÂŤ fOz—

14 Albenaa

¥UM³ ¹¼


l¹—UA*« —U³š√

‫ﻣﻜﺘﺒﺔ ﺗﻴﺎﻧﺠﻴﻦ ﺑﻨﻬﺎي‬ Tianjin Binhai Public Library : ‫اﻟﻤﺼﻤﻢ‬ Architect : MVRDV

WOzd« vM³*« WNł«Ë

jÝu« w W¹ËdJ« WŽUI« dNEðË uN³«

Uł—b qJý vKŽ V²J« n—√

V²J« n—√Ë Uł—b*«  ôULF²Ýô w×O{uð rÝ—

rOLB²« «uD) w×O{uð rÝ—

MVRDV in collaboration with local architects TUPDI has completed the Tianjin Binhai Library, a 33,700m2 cultural centre featuring a luminous spherical auditorium around which floor-to-ceiling bookcases cascade. The undulating bookshelf is the building’s main spatial device, and is used both to frame the space and to create stairs, seating, the layered ceiling and even louvres on the façade.

The building’s mass extrudes upwards from the site and is ‘punctured’ by a spherical auditorium in the centre. Bookshelves are arrayed on either side of the sphere and act as everything from stairs to seating, even continuing along the ceiling to create an illuminated topography. These contours also continue along the two full glass facades that connect the library to the park outside and the public

corridor inside, serving as louvres to protect the interior against excessive sunlight whilst also creating a bright and evenly lit interior. The five level building also contains extensive educational facilities, arrayed along the edges of the interior and accessible through the main atrium space. Public program is supported by subterranean service spaces, book storage, and a large archive. From

‫اﻓﺘﺘﺤﺖ ﻣﺆﺧﺮ ﻣﻜﺘﺒﺔ ﺗﻴﺎﻧﺠﻴﻦ‬ ‫ ﻣﻦ ﺗﺼﻤﻴﻢ‬،‫ﺑﻨﻬﺎي ﻓﻲ اﻟﺼﻴﻦ‬ . MVRDV ‫اﻟﻤﻜﺘﺐ اﻟﻌﺎﻟﻤﻲ‬ 33٫700 ‫ﺗﻘﻊ اﻟﻤﻜﺘﺒﺔ ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺜﻘﺎﻓﻴﺔ ﻓﻲ‬2‫م‬ ‫ ﺗﻀﻢ اﻟﻤﻜﺘﺒﺔ‬.‫ﻣﺪﻳﻨﺔ ﺗﻴﺎﻧﺠﻴﻦ‬ ‫ﻗﺎﻋﺔ ﻛﺮوﻳﺔ ﻣﻀﻴﺌﺔ ﺗﻠﺘﻒ ﺣﻮﻟﻬﺎ‬ ‫أرﻓﻒ اﻟﻜﺘﺐ ﻣﻦ ا=رض ﺣﺘﻰ‬ ‫ ﺻﻤﻤﺖ أرﻓﻒ اﻟﻜﺘﺐ‬. ‫اﻟﺴﻘﻒ‬ ‫ﻋﻠﻰ ﺷﻜﻞ ﻣﺪرﺟﺎت ﻣﺘﻤﻮﺟﺔ‬ ‫ﻳﻤﻜﻦ اﻟﺘﻨﻘﻞ ﻣﻦ ﺧﻼﻟﻬﺎ ﻣﻦ‬ ‫ﻃﺎﺑﻖ إﻟﻰ آﺧﺮ أو اﻟﺠﻠﻮس ﻋﻠﻴﻬﺎ‬ ‫ ﻛﻤﺎ ﻳﻀﻢ اﻟﻤﺸﺮوع‬.‫ﻟﻠﻘﺮاءة‬ ‫واﺟﻬﺎت زﺟﺎﺟﻴﺔ ﺗﺮﺑﻂ اﻟﻤﺸﺮوع‬ ‫ﻣﻦ اﻟﺪاﺧﻞ ﺑﺎﻟﻤﻨﺎﻃﻖ اﻟﻤﺤﻴﻄﺔ‬ ‫ ﻳﻀﻢ اﻟﻤﺸﺮوع ﻣﺮاﻓﻖ‬.‫ﺑﻪ‬ ‫ﺗﻌﻠﻴﻤﻴﺔ وﺿﻌﺖ ﻋﻠﻰ أﻃﺮاف‬ ‫اﻟﻤﺒﻨﻰ وﺗﺮﺗﺒﻂ ﺑﺎﻟﺮدﻫﺔ اﻟﺮﺋﻴﺴﺔ‬ ‫ﺿﺎﻓﺔ إﻟﻰ أرﺷﻴﻒ وﻣﺨﺎزن‬X‫ﺑﺎ‬ ‫ ﻳﻘﻊ ﻓﻲ اﻟﻄﺎﺑﻖ ا=رﺿﻲ‬.‫ﻟﻠﻜﺘﺐ‬ ‫أرﻓﻒ ﻟﻜﺘﺐ ا=ﻃﻔﺎل وﻛﺒﺎر اﻟﺴﻦ‬ ‫ﺿﺎﻓﺔ‬X‫ ﺑﺎ‬،‫ﻳﺴﻬﻞ اﻟﻮﺻﻮل إﻟﻴﻬﺎ‬ .‫إﻟﻰ اﻟﻤﺴﺮح داﺧﻞ اﻟﻘﺎﻋﺔ اﻟﻜﺮوﻳﺔ‬ ‫ﻓﻲ اﻟﻄﺎﺑﻖ ا=ول واﻟﺜﺎﻧﻲ ﺗﻮﺟﺪ‬ ‫ﻏﺮف ﻟﻠﻘﺮاءة وﺻﺎﻻت ﻋﺎﻣﺔ وﻏﺮف‬ ‫اﺟﺘﻤﺎﻋﺎت وﻣﻜﺎﺗﺐ ﺗﻘﻊ ﺟﻤﻴﻌﻬﺎ‬ . ‫ﺧﻠﻒ ﻣﺪرﺟﺎت اﻟﻜﺘﺐ‬

the ground floor visitors can easily access reading areas for children and the elderly, the auditorium, the main entrance, terraced access to the floors above and connection to the cultural complex. The first and second floors consist primarily of reading rooms, books and lounge areas whilst the upper floors also include meeting rooms, offices, computer and audio rooms and two roof top patios. 16 Albenaa

¡UM³« ±∂


‫√‪l¹—UA*« —U³š‬‬

‫‪ÕU²²ù« qHŠ s UDI‬‬

‫إﻓﺘﺘﺎح ﻣﺘﺤﻒ‬ ‫اﻟﻠﻮﻓﺮ أﺑﻮﻇﺒﻲ‬ ‫أﻓﺘﺘﺢ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ‬ ‫آل ﻣﻜﺘﻮم ﺣﺎﻛﻢ دﺑﻲ‬ ‫و ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫وﻟﻲ ﻋﻬﺪ أﺑﻮﻇﺒﻲ‬ ‫ﻣﺆﺧﺮ‪ .‬ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ ﻓﻲ‬ ‫أﺑﻮﻇﺒﻲ وﺣﻀﺮ اﻻﻓﺘﺘﺎح‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻠﻮك‬ ‫وا<ﻣﺮاء واﻟﺮؤﺳﺎء‪ .‬ﻳﺬﻛﺮ‬ ‫أن اﻟﻤﺸﺮوع ﻣﻦ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﻌﻤﺎري اﻟﻔﺮﻧﺴﻲ‬ ‫‪. Jean Nouvel‬‬

‫‪ZOK)« WNł s tO≈ ‰uu«Ë nײ*« s V½Uł‬‬

‫‪W³I« ¡UA½≈ qOUHð‬‬

‫∏‪¡UM³« ±‬‬

‫‪18 Albenaa‬‬

‫‪¡UA½ù« ¡UMŁ√ nײ*« U½uJ‬‬


l¹—UA*« —U³š√

‫ﻣﺮﻛﺰ ﺟﻨﻴﻒ اﻟﻄﺒﻲ‬ New Geneva Operational Center

‫أﻓﺘﺘﺢ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﺸﻴﺦ ﻣﺤﻤﺪ ﺑﻦ راﺷﺪ‬ ‫آل ﻣﻜﺘﻮم ﺣﺎﻛﻢ دﺑﻲ‬ ‫و ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﺸﻴﺦ‬ ‫ﻣﺤﻤﺪ ﺑﻦ زاﻳﺪ آل ﻧﻬﻴﺎن‬ ‫وﻟﻲ ﻋﻬﺪ أﺑﻮﻇﺒﻲ ﻣﺴﺎء‬

: ‫اﻟﻤﺼﻤﻢ‬ Architect : Steven Holl + Russli Architekten

ÂUŽ —uEM

WOKš«b« Už«dH« Steven Holl Architects in collaboration with Rüssli Architekten has won the international design competition for the new Geneva Operational Center for Médecins Sans Frontières (MSF) or Doctors Without Borders. The Geneva Operational Center will provide work and social spaces for more than 250 MSF staff. Steven Holl Architects’ winning design utilizes colored photovoltaic glass that

express the program’s flexibility while also providing shading and a large portion of the building’s energy. Titled Colors of Humanity, the design has a cubic geometry that reveals its open-ended flexibility, which can be added onto in the future. In addition, all programs lend themselves to multi-cultural dimensions. The interior of the new Operational Center

Steven Holl ‫ﻓﺎز اﻟﻤﻌﻤﺎري‬ ‫ﺑﺎﻟﺘﻌﺎون ﻣﻊ اﻟﻤﻜﺘﺐ‬ Russli Architekten ‫اﻟﻤﻌﻤﺎري‬ ‫ﻓﻲ ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ ﻟﺘﺼﻤﻴﻢ‬ ‫ﻣﺮﻛﺰ ﻃﺒﻲ ﺟﺪﻳﺪ ﺗﺎﺑﻊ ﻟﻤﻨﻈﻤﺔ‬ ‫أﻃﺒﺎء ﺑﺪون ﺣﺪود‬ Doctors Without Borders ‫ ﻳﻮﻓﺮ اﻟﻤﺸﺮوع‬.‫ﻓﻲ ﻣﺪﻳﻨﺔ ﺟﻨﻴﻒ‬ ‫ﻣﺴﺎﺣﺎت داﺧﻠﻴﺔ ﻋﺎﻣﺔ وأﺧﺮى‬ ‫ وﻳﺘﻤﻴﺰ اﻟﻤﺸﺮوع‬.‫ﻟﻠﻌﻤﻞ‬ ‫ﺑﻮاﺟﻬﺎﺗﻪ اﻟﺰﺟﺎﺟﻴﺔ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﻣﻜﻌﺒﺎت ﻣﻠﻮﻧﺔ ﻟﻠﺘﻌﺒﻴﺮ‬ ‫ﻋﻦ وﻇﺎﺋﻒ اﻟﻤﺸﺮوع ﺣﻴﺚ‬ ‫ﻟﻮان اﻟﻤﺘﻔﺎوﺗﺔ‬F‫اﺳﺘﺨﺪﻣﺖ ا‬ ‫ وﺗﺘﻤﻴﺰ‬، ‫اﻟﻨﻔﺎذﻳﺔ ﻟﺘﻮﻓﻴﺮ اﻟﻈﻞ‬ ‫اﻟﻮاﺟﻬﺎت ﺑﺄﻧﻬﺎ ﺗﺤﺘﻮي ﻋﻠﻰ‬ ‫ﻧﺘﺎج اﻟﻄﺎﻗﺔ‬P ‫أﻟﻮاح ﺿﻮﺋﻴﺔ‬ ‫ﻛﻤﺎ ﻳﻀﻢ اﻟﻤﺸﺮوع‬. ٪ 72 ‫ﺑﻨﺴﺒﺔ‬ ‫ﺧﻼﻳﺎ ﺷﻤﺴﻴﺔ ﻓﻲ اﻟﺴﻄﺢ‬ ‫ﺿﺎﻓﺔ‬P‫ ﺑﺎ‬،‫ﻟﺘﻌﺰﻳﺰ إﻧﺘﺎج اﻟﻄﺎﻗﺔ‬ ‫ ﺻﻤﻢ اﻟﻤﺸﺮوع ﻣﻦ‬.‫إﻟﻰ ﺣﺪﻳﻘﺔ‬ ‫اﻟﺪاﺧﻞ ﻟﺘﻌﺰﻳﺰ اﻟﺘﻔﺎﻋﻞ ﺑﻴﻦ‬ ‫اﻟﻤﻤﺮات وأﻣﺎﻛﻦ اﻟﺠﻠﻮس اﻟﻌﺎﻣﺔ‬ ‫وإﻧﺸﺎء ﺑﻴﺌﺔ ﻋﻤﻠﻴﺔ وإﺟﺘﻤﺎﻋﻴﺔ‬ ‫ وﻳﻀﻢ اﻟﻤﺸﺮوع وﺣﺪات‬.‫ﻣﺮﻧﺔ‬ ‫ وﻏﺮف اﺟﺘﻤﺎﻋﺎت‬،‫ﻣﻜﺘﺒﻴﺔ‬ ‫وﻓﺼﻮل دراﺳﻴﺔ وﻣﺴﺎﺣﺎت ﻋﺎﻣﺔ‬ .‫ ﻋﺎﻣﻞ‬250 ‫ﻛﺜﺮ ﻣﻦ‬F ‫ﺗﻜﻔﻲ‬

has criss-crossing passages, encouraging open dialogue and interaction between all who work in the building. The passages are lined with casual seating alcoves and other small-scale social gathering spaces. The collaborative and social areas have embracing curves. These centers serve as a friendly catalyst for interaction, acting like social condensers within the building.

20 Albenaa

¡UM³« ≤∞


l¹—UA*« —U³š√

‫ﻣﻄﻌﻢ ﺗﺤﺖ اﻟﻤﺎء‬ First Underwater Restaurant in Europe : ‫اﻟﻤﺼﻤﻢ‬ Architect: Snohetta

rFD*« qšb

W¹d׳« ÀU×Ðú ed vM³*« rCOÝ

At the southernmost point of the Norwegian coastline by the village of Båly, Snøhetta has designed Europe’s very first underwater restaurant. With its immediate proximity with the forces of nature, the restaurant, which will also function as a research center for marine life, is a tribute to the Norwegian coast and to Lindesnes – to the wild fauna of the sea and to the rocky coastline of Norway’s southern tip. Under’s namesake holds a double meaning: In Norwegian, “under” can just as well be translated into “wonder.” Half-sunken into the sea, the building’s

‫ﻛﺸﻒ اﻟﻤﻜﺘﺐ اﻟﻤﻌﻤﺎري‬ ‫ ﻋﻦ ﺗﺼﻤﻴﻤﻪ‬Snohetta ‫ﻟﻤﺸﺮوع ﻣﻄﻌﻢ ﺗﺤﺖ‬ ‫« واﻟﺬي ﻳﻌﺪ‬Under» ‫اﻟﻤﺎء‬ ‫ﺑﺤﺎث‬$‫أول ﻣﻄﻌﻢ وﻣﺮﻛﺰ ﻟ‬ ‫اﻟﺒﺤﺮﻳﺔ ﻓﻲ أوروﺑﺎ ﺗﺤﺖ‬ ‫ ﻳﻘﻊ اﻟﻤﺸﺮوع ﻓﻲ‬.‫اﻟﻤﺎء‬ ‫ وﻳﺘﻤﻴﺰ ﺑﺈﻃﻼﻟﺔ‬.‫اﻟﻨﺮوﻳﺞ‬ ‫ﻣﻤﻴﺰة ﻋﻠﻰ ﻗﺎع اﻟﺒﺤﺮ‬ ‫ﻣﻦ ﺧﻼل واﺟﻬﺔ زﺟﺎﺟﻴﺔ‬ .‫ﻛﺒﻴﺮة ذات ﻣﺘﺎﻧﺔ ﻋﺎﻟﻴﺔ‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ ﻛﺘﻠﺔ‬ ‫ﺧﺮﺳﺎﻧﻴﺔ ﺳﻤﻴﻜﺔ ﻏﻤﺮ‬ ‫ﻧﺼﻔﻬﺎ ﺗﺤﺖ اﻟﻤﺎء ﺣﺘﻰ‬ ‫ ﻳﻀﻢ اﻟﺠﺰء اﻟﺬي ﻳﻘﻊ‬.‫م‬5 ‫ﻓﻮق اﻟﻤﺎء ﻋﻠﻰ اﻟﻤﺪﺧﻞ‬ ‫ﺳﻔﻞ‬K‫ﻳﻘﻮد اﻟﺰوار إﻟﻰ ا‬ ‫ﺣﻴﺚ ﻳﻮﺟﺪ ﻣﻄﻌﻢ ﻳﺴﻊ‬ . ‫ ﺷﺨﺺ‬100

monolithic form breaks the water surface to lie against the craggy shoreline. More than an aquarium, the structure will become a part of its marine environment, coming to rest directly on the sea bed five meters below the water’s surface. With meter-thick concrete walls, the structure is built to withstand pressure and shock from the rugged sea conditions. Like a sunken periscope, the restaurant’s massive acrylic windows offer a view of the seabed as it changes throughout the seasons and varying weather conditions. d׳« ŸU vKŽ WO«—u½U³« WöÞùUÐ l²L²K rFD*« qš«œ WL²F …¡U{≈ 22 Albenaa

¡UM³« ≤≤


‫ﻳﺼﻤﻤﻬﺎ اﻟﻤﻜﺘﺐ‪ ،‬وﻋﻤﻞ اﻟﻤﻜﺘﺐ ﻋﻠﻰ ﺗﺼﻤﻴﻢ ﻗﻄﻊ اﺛﺎث‬ ‫واﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ وا&ﻧﺎرة واﻟﻤﻠﺒﻮﺳﺎت واﻟﻤﺮﻛﺒﺎت ‪ .‬ﻛﻤﺎ ﻗﺎم‬ ‫اﻟﻤﻜﺘﺐ ﺑﺘﻄﺒﻴﻖ ﻓﻠﺴﻔﺘﻪ اﻟﺘﺼﻤﻴﻤﻴﺔ ﻋﻠﻰ ﻣﺸﺎرﻳﻊ ﺗﺨﻄﻴﻂ‬ ‫اﻟﻤﺪن وﺗﺤﻮل ﻋﺪد ﻣﻮﻇﻔﻲ اﻟﻤﻜﺘﺐ ﻣﻦ ‪ 4‬إﻟﻰ ‪ 400‬ﻣﻮﻇﻒ‪.‬‬ ‫وﻓﻲ ﻛﺘﺎﺑﻪ ﺣﻮل اﻟﻌﻤﺎرة ‪The Autopoesis of Architecture‬‬ ‫ﻳﺤﺎول ﺷﻮﻣﺎﺧﺮ ﺷﺮح ﻧﻈﺮﻳﺘﻪ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺒﺎراﻣﺘﺮﻳﺔ واﻟﺬي‬ ‫اﺳﺘﻐﺮق ﻛﺘﺎﺑﺘﻪ ‪ 15‬ﻋﺎﻣ‪ J‬وﻳﺘﻜﻮن ﻣﻦ أﻟﻒ وﻣﺎﺋﺘﻲ ﺻﻔﺤﺔ‪.‬‬ ‫وﻳﺮى ﺷﻮﻣﺎﺧﺮ أن اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ اﺳﺘﻄﺎﻋﺖ دﻣﺞ‬ ‫ﻛﻞ اﻟﻌﻨﺎﺻﺮ اﻟﻤﻌﻤﺎرﻳﺔ وﺣﻮﻟﺘﻬﺎ إﻟﻰ ﻋﻨﺎﺻﺮ أو ﻣﺤﺪدات‬ ‫ﻟﻮﻏﺎرﺗﻴﻤﻴﺔ ﺳﻬﻠﺔ اﻟﺘﺤﻮﻳﻞ واﻟﺘﺸﻜﻴﻞ اﻣﺮ اﻟﺬي ﻳﺴﺎﻋﺪ‬ ‫ﻋﻠﻰ ﺗﻘﻮﻳﺔ اﻟﻌﻼﻗﺎت ﺑﻴﻦ ﻣﻜﻮﻧﺎت وأﺷﻜﺎل اﻟﻤﺸﺮوع‬ ‫وﻋﻼﻗﺔ اﻟﻤﺒﻨﻰ ﺑﻤﺤﻴﻄﻪ واﻟﺘﺤﻮل ﻋﻦ اﻟﻨﻤﺎذج اﻟﻬﻨﺪﺳﻴﺔ‬ ‫اﻟﻜﻼﺳﻴﻜﻴﺔ )اﻟﻤﻜﻌﺐ‪ ،‬اﻻﺳﻄﻮاﻧﺔ‪ ،‬اﻟﻬﺮم‪ ،‬اﻟﻜﺮة( اﻟﺘﻲ‬ ‫أﻋﺘﻤﺪ ﻋﻠﻴﻬﺎ اﻟﺘﺸﻜﻴﻞ اﻟﻤﻌﻤﺎري اﻟﻜﻼﺳﻴﻜﻲ واﻟﺤﺪﻳﺚ ‪.‬‬ ‫ﻫﺬه اﺷﻜﺎل ‪ ،‬ﻛﻤﺎ ﻳﺮى ﺷﻮﻣﺎﺧﺮ ‪ ،‬إذا ﺟﻤﻌﺖ ﺑﻴﻦ ﺑﻌﻀﻬﺎ‬ ‫اﻟﺒﻌﺾ ﻟﺘﻜﻮﻳﻦ اﻟﺘﺸﻜﻴﻞ اﻟﻨﻬﺎﺋﻲ اﻟﻤﻌﻤﺎري ﻟﻠﻤﺒﺎﻧﻲ‬ ‫ﻻ ﺗﺤﻘﻖ ﻋﻼﻗﺎت ﺗﺸﻜﻴﻠﻴﺔ ﻗﻮﻳﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ‪ ،‬ﺑﻞ ﺗﺨﻠﻖ‬ ‫ﻏﻮﻏﺎﺋﻴﺔ ﻣﻌﻤﺎرﻳﺔ وﻋﻤﺮاﻧﻴﺔ ﺣﻴﺚ أﻧﻬﺎ ﺗﺘﺠﻤﻊ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‬ ‫ﺑﺪون ﻟﻐﺔ ﺗﻮﺣﺪﻫﺎ ‪.‬‬ ‫وﻓﻲ اﻟﻤﻘﺎﺑﻞ ﻫﻨﺎك أﺷﻜﺎل أﻛﺜﺮ ﺗﻘﺎرﺑ‪ J‬ﺑﻴﻦ ﺑﻌﻀﻬﺎ ﺗﻮﻟﺪ‬ ‫ﺗﺠﻤﻌﺎت ﻣﺘﻨﺎﻏﻤﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﻫﻲ اﺷﻜﺎل اﻟﺘﻲ ﺗﺤﻘﻘﻬﺎ‬ ‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ‪ .‬ﻛﻤﺎ ان اﻟﺨﻄﻮط اﻟﺘﻲ ﺗﺮﺳﻢ ﺑﻬﺎ اﺷﻜﺎل‬ ‫اﻟﻬﻨﺪﺳﻴﺔ اﻟﻜﻼﺳﻴﻜﻴﺔ ﻫﻲ ﺧﻄﻮط ﻏﻴﺮﻣﺮﻧﺔ ﻓﺈن اﻟﺨﻄﻮط‬ ‫اﻟﺘﺼﻤﻴﻤﻴﺔ ﻓﻲ ﻣﺠﺎل اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ ﻫﻲ ﺧﻄﻮط ﻣﺮﻧﺔ‬ ‫ﺳﻬﻠﺔ وﺳﻠﺴﺔ وﻳﻤﻜﻨﻬﺎ أن ﺗﺸﻜﻞ ﻛﺘﻞ ﻟﻴﻨﺔ و ﻣﺨﺘﻠﻔﺔ‬ ‫وﻟﻜﻦ داﺋﻤ‪ J‬ﻣﺎ ﻳﻮﺟﺪ ﺗﺮاﺑﻂ ﻗﻮي ﺑﻴﻨﻬﺎ‪ .‬اﻟﺨﻄﻮط ﻫﻨﺎ‬ ‫ﺗﺤﺪد ﻣﺴﻄﺤﺎت ﻳﻤﻜﻦ ﻃﻴﻬﺎ وﺗﺤﻮﻳﺮﻫﺎ وإﻳﺠﺎد ﺗﻨﻮع ﻓﻲ‬ ‫ﺗﺸﻜﻴﻠﻬﺎ ﺑﺤﻴﺚ ﻳﻤﻜﻦ أن ﺗﺸﻜﻞ ﻗﻄﻊ أﺛﺎث أو ﻣﺒﺎﻧﻲ‪.‬‬ ‫ﻛﻤﺎ ﺗﺸﻜﻞ اﻟﻤﺴﻄﺤﺎت ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻛﺘﻞ ﻳﻤﻜﻦ ﻛﺬﻟﻚ‬ ‫ﺗﺠﻤﻴﻌﻬﺎ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ودﻣﺠﻬﺎ ﻓﻲ ﻛﺘﻠﺔ واﺣﺪة ﻣﻦ ﺧﻼل‬ ‫ﺧﻄﻮﻃﻬﺎ اﻟﺴﺎﺋﻠﺔ ‪.‬‬

‫‪©Â1973® aO½uO œU²Ý« ® uðË« Í«dH ÂUO)« …—ULŽ‬‬

‫وﻛﺬﻟﻚ ﻋﻠﻰ ﺻﻌﻴﺪ ﺗﺨﻄﻴﻂ اﻟﻤﺪﻳﻨﺔ وﺗﺤﺪﻳﺪ ﻛﺜﺎﻓﺎﺗﻬﺎ‬ ‫وأﺣﺠﺎﻣﻬﺎ وﺗﺸﻜﻴﻞ أﺣﻴﺎﺋﻬﺎ وﺧﻄﻮط ﺷﺒﻜﺎت ﻃﺮﻗﻬﺎ‬ ‫ﺗﻜﻮن ﻫﻨﺎك ﺳﻴﻮﻟﺔ وﺳﻼﺳﺔ ﻓﻲ ﺗﺸﻜﻴﻞ اﻟﻤﺪﻳﻨﺔ وﺗﺤﻘﻴﻖ‬ ‫ﺗﻨﻮع ﻓﻲ أﺷﻜﺎﻟﻬﺎ دون اﻟﻤﺴﺎس ﺑﺘﺮاﺑﻄﻬﺎ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪.‬‬ ‫إن ﻛﻞ اﺑﺤﺎث واﻟﻤﺸﺎرﻳﻊ اﻟﺘﻲ ﻳﺘﻢ ﺗﺼﻤﻴﻤﻬﺎ داﺧﻞ اﻟﻤﺪارس‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ واﻟﺘﻲ ﺗﻨﺘﻬﺞ اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ ﻳﺒﺪو ﻓﻴﻬﺎ اﻟﺘﺮاﺑﻂ‬ ‫ﺑﻴﻦ ﻣﻜﻮﻧﺎﺗﻬﺎ ﺑﺤﻴﺚ ﺗﺘﺸﺎﺑﻪ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺗﻨﻮع‬ ‫وﻇﺎﺋﻔﻬﺎ وأﺣﺠﺎﻣﻬﺎ ﻛﻮﻧﻬﺎ ﻣﺼﻤﻤﺔ ﻣﻦ ﻗﺒﻞ ﻣﻌﻤﺎرﻳﻴﻦ‬ ‫ﻣﺨﺘﻠﻔﻴﻦ إﻻ أﻧﻬﺎ ﺗﺘﺒﻊ ﻣﺒﺎدئ واﺣﺪة‪.‬‬ ‫ﺗﻌﺘﻤﺪ اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ ﻋﻠﻰ ﻣﺒﺎدئ ﺑﻌﻀﻬﺎ ﻳﻤﻜﻦ أن ﻧﻄﻠﻖ‬ ‫ﻋﻠﻴﻪ ﻣﺒﺎدئ ﺳﻠﺒﻴﺔ أي ﻳﺠﺐ ﺗﺠﻨﺒﻬﺎ وﻣﺒﺎدئ إﻳﺠﺎﺑﻴﺔ ﻳﺠﺐ إﺗﺒﺎﻋﻬﺎ ‪.‬‬ ‫وﺗﺘﻠﺨﺺ اﻟﻤﺒﺎدئ اﻟﺴﻠﺒﻴﺔ ﻓﻲ ‪ :‬رﻓﺾ اﻟﻤﺒﺎدئ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﻣﺜﻞ ﺗﺼﻤﻴﻢ اﺷﻜﺎل اﻟﻜﻼﺳﻴﻜﻴﺔ ذات اﻟﺒﻨﻰ اﻟﻐﻴﺮ ﻣﺮﻧﺔ‬ ‫وﻣﺜﻞ اﻟﺘﻜﺮار أو اﻟﺘﻨﺎﻇﺮ ﻓﻲ اﻟﺸﻜﺎل و ﻣﺜﻞ ﺟﻤﻊ أﺷﻜﺎل‬ ‫ﻣﺘﻨﺎﻓﺮة ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﻟﺬﻟﻚ ﺗﺪﻋﻮ اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ إﻟﻰ‬ ‫ا&ﺳﺘﻠﻬﺎم ﻣﻦ اﺷﻜﺎل اﻟﻌﻀﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ ‪ ،‬أﺣﺪ اﻟﺮواد‬ ‫ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل ﻫﻮ اﻟﻤﻬﻨﺪس ا&ﻧﺸﺎﺋﻲ واﻟﻤﻌﻤﺎري ﻓﺮاي‬ ‫اوﺗﻮ اﻟﺬي اﺳﺘﻌﻤﻞ ﻋﻤﺎرة اﻟﺨﻴﺎم ﻓﻲ ﻣﺸﺎرﻳﻌﻪ ﻣﻦ ﺧﻼل‬ ‫اﺳﺘﺨﺪام أﺷﻜﺎل ﺗﺜﺒﺖ إﻧﺸﺎﺋﻴ‪ J‬ﺑﻄﺮﻳﻘﺔ ﻃﺒﻴﻌﻴﺔ ﻛﻤﺎ ﻫﻮ اﻟﺤﺎل‬ ‫ﻓﻲ اﺷﻜﺎل اﻟﻄﺒﻴﻌﻴﺔ ‪ .‬ﻓﺮاي اوﺗﻮ ﻟﻢ ﻳﺴﺘﺨﺪم اﻟﻜﻤﺒﻴﻮﺗﺮ‬ ‫وإﻧﻤﺎ ﻛﺎن ﻳﻘﻮم ﺑﻌﻤﻞ ﺗﺠﺎرب ﻋﻠﻰ ﻧﻤﺎذج ﻣﺼﻐﺮة ﻟﻠﺨﻴﺎم‪.‬‬ ‫أﻣﺎ اﻟﻴﻮم وﻣﻦ ﺧﻼل اﺳﺘﻌﻤﺎل اﻟﺒﺮاﻣﺞ اﻟﻠﻮﻏﺮﺗﻴﻤﻴﺔ اﻟﺮﻗﻤﻴﺔ‬ ‫ﻳﻤﻜﻦ إﻳﺠﺎد اﺷﻜﺎل اﻟﺘﻲ ﺗﺸﺒﻪ اﺷﻜﺎل اﻟﻌﻀﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ‬ ‫وﺟﻌﻠﻬﺎ ﺗﺜﺒﺖ إﻧﺸﺎﺋﻴ‪ J‬ﻣﻦ ﺧﻼل اﻟﺤﺴﺎﺑﺎت ا&ﻧﺸﺎﺋﻴﺔ اﻟﺮﻗﻤﻴﺔ ‪.‬‬ ‫ﻓﻲ اﺑﺤﺎث اﻟﺘﻲ أﺟﺮاﻫﺎ ﺷﻮﻣﺎﺧﺮ ﻓﻲ ﻣﺪرﺳﺔ ﺟﻤﻌﻴﺔ اﻟﻌﻤﺎرة‬ ‫اﻟﺒﺮﻳﻄﺎﻧﻴﺔ ﻛﺎن ﻳﻘﻮم ﺑﻨﻘﻞ اﺷﻜﺎل اﻟﻌﻀﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ ﺛﻢ ﻳﺘﻢ‬ ‫ﺗﺤﻮﻳﺮﻫﺎ وﺗﺸﻜﻴﻠﻬﺎ ﻣﻦ ﺟﺪﻳﺪ ﻣﻦ ﺧﻼل اﻟﺘﺼﻤﻴﻢ اﻟﺒﺎراﻣﺘﺮي ‪.‬‬ ‫اﻟﻤﺒﺎدئ ا&ﻳﺠﺎﺑﻴﺔ ‪:‬‬ ‫ﻳﺠﺐ أن ﺗﻜﻮن اﻟﻜﺘﻞ ﻟﻴﻨﺔ ذات ﺳﻴﻮﻟﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﺸﻜﻴﻞ‬ ‫ﺑﺴﻬﻮﻟﺔ ﻛﻤﺎ ﻳﺠﺐ أن ﺗﻜﻮن ذات ذﻛﺎء ﺗﺸﻜﻴﻠﻲ أي أﻧﻬﺎ‬ ‫ﺗﺘﺒﻊ ﻣﺤﺪدات ذﻛﻴﺔ ﻣﺜﻞ ﺧﺼﺎﺋﺺ اﻟﻤﻮاد اﻟﺘﻲ ﺳﻮف‬

‫‪©b¹bŠ U¼“ V²J® Êb*«Ë ¡UOŠ_« jODð vKŽ Íd²«—U³« rOLB²« ΔœU³ oO³Dð‬‬ ‫‪¡UM³« ≥±‬‬

‫‪31 Albenaa‬‬


‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ‬ ‫ﻋﻤﺎرة زﻫﺎ ﺣﺪﻳﺪ وﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫إﻋﺪاد ‪ :‬اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا‪ t‬أﺑﺎ اﻟﺨﻴﻞ‬

‫ﻓﻲ ﻋﺎم ‪1988‬م اﻛﺘﺸﻒ ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ اﻟﻄﺎﻟﺐ واﻟﻤﻌﻤﺎري‬ ‫اﻟﻤﺒﺘﺪئ ﻓﻠﺴﻔﺔ زﻫﺎ ﺣﺪﻳﺪ اﻟﻔﻨﻮﻧﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺘﻲ‬ ‫ﺗﺪﻋﻮ إﻟﻰ اﻟﺘﺨﻠﻲ ﻋﻦ اﻟﺨﻄﻮط اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫اﻟﻤﺴﺘﻘﻴﻤﺔ واﻟﺰواﻳﺎ اﻟﻘﺎﺋﻤﺔ اﻟﺘﻲ ﻳﺴﺘﺨﺪﻣﻬﺎ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬ ‫ﻓﻲ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ‪ ،‬وﺗﺒﻨﻲ ﻓﻠﺴﻔﺔ ﺟﺪﻳﺪة ﺗﻘﻮم أوﻻً‬ ‫ﻋﻠﻰ اﻟﺘﺮﺟﻤﺔ اﻟﻤﺒﺎﺷﺮة ﻟﻠﺨﻄﻮط اﻟﻤﻨﺤﻨﻴﺔ اﻟﺘﻲ ﺗﺮﺳﻢ ﺑﻬﺎ‬ ‫ا‪C‬ﺳﻜﺘﺸﺎت اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺴﺮﻳﻌﺔ وﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ رﺳﻮﻣﺎت‬ ‫ﻣﻌﻤﺎرﻳﺔ ﺗﻘﺮأ ﻋﻠﻰ أﺳﺎس أﻧﻬﺎ ﻫﻲ اﻟﺨﻄﻮط اﻟﺘﺼﻤﻴﻤﻴﺔ‬ ‫اﻟﺘﻲ ﺳﻴﺘﺒﻌﻬﺎ ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوﻋﺎت ﺑﺪﻻً ﻣﻦ ﺗﺮﺟﻤﺔ‬ ‫ﺧﻄﻮط اﻻﺳﻜﺘﺸﺎت اﻟﺴﺮﻳﻌﺔ إﻟﻰ ﺧﻄﻮط ﻣﺴﺘﻘﻴﻤﺔ‬ ‫وأﻗﻮاس ﺻﺤﻴﺤﺔ اوﻻ ﺛﻢ ﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ رﺳﻮﻣﺎت ﻣﻌﻤﺎرﻳﺔ‪.‬‬ ‫ا‪L‬ﻣﺮ اﻟﺜﺎﻧﻲ ﻫﻮ ان اﻟﻤﺴﺎﺣﺎت اﻟﺘﻲ ﺗﻨﺒﻊ ﺑﻴﻦ اﻟﺨﻄﻮط‬ ‫اﻟﻤﻨﺤﻨﻴﺔ ﻳﻤﻜﻦ اﻋﺘﺒﺎرﻫﺎ اﻟﻔﺮاﻏﺎت اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺘﻲ ﺗﺤﺘﻮي‬ ‫ﻋﻠﻰ ﻣﻜﻮﻧﺎت اﻟﻤﺒﺎﻧﻲ وﻫﻲ ﻓﺮاﻏﺎت ﺳﺎﺋﻠﺔ ﻻﺗﻔﺮض ﺣﻮاﺟﺰ‬ ‫أو ﻗﻮاﻃﻊ ﺟﺪارﻳﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻟﻔﺼﻞ اﻟﻤﻜﻮﻧﺎت ﻋﻦ ﺑﻌﻀﻬﺎ‪،‬‬ ‫وﻟﻜﻦ ﺗﺄﺗﻲ اﻟﻤﻜﻮﻧﺎت ﻟﺘﺘﻤﻮﺿﻊ داﺧﻞ ﻫﺬه اﻟﻔﺮاﻏﺎت اﻟﺘﻲ‬ ‫ﺗﺤﺘﻮﻳﻬﺎ اﻟﺨﻄﻮط ﺑﻄﺮﻳﻘﺔ ﺗﺤﺪد ﻣﺪى ﻋﻼﻗﺔ أو ارﺗﺒﺎط ﻛﻞ‬ ‫ﻣﻜﻮن ﺑﺒﺎﻗﻲ اﻟﻤﻜﻮﻧﺎت ﺑﻄﺮﻳﻘﺔ ﺳﻠﺴﺔ وﻟﻴﻨﺔ‪ ،‬وإذا ﻧﻈﺮت‬ ‫ﻟﻬﺬه ا‪L‬ﺷﻜﺎل ﻣﻦ أي ﺟﻬﺔ ﺳﺘﺠﺪ أﻧﻬﺎ ﻣﺘﻨﺎﻏﻤﺔ ﻣﻊ ﺑﻌﻀﻬﺎ‬ ‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺛﺮاء وإﺧﺘﻼف أﺷﻜﺎﻟﻬﺎ ‪ .‬ا‪L‬ﻣﺮ اﻟﺜﺎﻟﺚ ﻫﻮ ان زﻫﺎ‬ ‫ﺣﺪﻳﺪ اﺳﺘﻄﺎﻋﺖ إدﺧﺎل ا‪L‬ﺷﻜﺎل اﻟﻤﺎﺋﻠﺔ واﻟﻤﻨﺤﺪرة ﻓﻲ‬ ‫ﻣﻌﺠﻢ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري‪.‬‬ ‫ﻟﻜﻦ ﻣﺎ ﻫﻲ ﻫﺬه اﻟﻌﻤﺎرة اﻟﺠﺪﻳﺪة و ﻣﺎذا ﻳﻄﻠﻖ ﻋﻠﻴﻬﺎ ؟‬

‫≈‪WOM UŠuK Ëb³ð b¹bŠ U¼“ V²J* rOLB²«  UA²JÝ‬‬ ‫∞≥ «‪¡UM³‬‬

‫‪30 Albenaa‬‬

‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ ﻳﻄﻠﻖ ﻋﻠﻴﻬﺎ ‪Parametric Architecture‬‬ ‫أو ﻋﻤﺎرة اﻟﻤﺤﺪدات اﻟﻠﻮﻏﺎرﺗﻴﻤﻴﺔ ) اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ( وﻛﺎن‬ ‫ﺷﻮﻣﺎﺧﺮ أول ﻣﻦ أﻃﻠﻖ اﺳﻢ ‪ Parametricism‬ﻋﻠﻰ ﻫﺬا‬ ‫اﻟﺘﻮﺟﻪ اﻟﻤﻌﻤﺎري ﻓﻲ ﻋﺎم ‪2008‬م ﻗﺒﻞ أن ﻳﺼﺒﺢ ﺗﻮﺟﻬ‪ e‬ﻋﺎﻟﻤﻴ‪e‬‬ ‫وﻳﻨﺘﺸﺮ ﻓﻲ أﻧﺤﺎء ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻌﺎﻟﻢ‪.‬‬ ‫ﻓﻲ اﻟﺒﺪاﻳﺔ ﻛﺎن اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻓﻲ ﻣﻜﺘﺐ زﻫﺎ ﺣﺪﻳﺪ‬ ‫ﻳﺒﺪأ ﻋﻠﻰ ﻫﻴﺌﺔ اﺳﻜﺘﺸﺎت ﻣﻌﻤﺎرﻳﺔ ﻛﺎﻧﺖ ﺗﺒﺪو ﻛﻠﻮﺣﺎت‬ ‫ﻓﻨﻴﺔ ﺛﻢ ﻳﺘﻢ ﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ رﺳﻮﻣﺎت ﻣﻌﻤﺎرﻳﺔ ﺑﺪون‬ ‫اﺳﺘﺨﺪام اﻟﻜﻤﺒﻴﻮﺗﺮ ﺣﻴﺚ ﻛﺎﻧﺖ ﺧﻄﻮط اﻟﺘﺼﻤﻴﻢ ﻣﺎﺗﺰال‬ ‫ﻣﺴﺘﻘﻴﻤﺔ وﻟﻜﻦ ﺑﺰاوﻳﺔ ﻏﻴﺮ ﻗﺎﺋﻤﺔ وﻛﺘﻞ ﻣﻌﻤﺎرﻳﺔ ﻣﺎﺋﻠﺔ و‬ ‫رﺑﻤﺎ ذات أﺳﻄﺢ ﻣﻨﺤﺪرة ‪ .‬ﺛﻢ ﺑﺪأت اﻟﺨﻄﻮط اﻟﺘﺼﻤﻴﻤﻴﺔ‬ ‫ﻓﻲ وﺳﻂ اﻟﺘﺴﻌﻴﻨﻴﺎت ﺗﻠﻴﻦ وﺗﺄﺧﺬ إﻧﺤﻨﺎءات ﺳﻠﺴﻠﺔ ‪،‬‬ ‫ﺧﺎﺻﺔ ﻣﻊ اﻟﺘﻌﻤﻖ ﻓﻲ اﺳﺘﻌﻤﺎل اﻟﻜﻤﺒﻴﻮﺗﺮ ﻓﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫وﺗﻄﺒﻴﻖ اﻟﻤﺤﺪدات اﻟﻠﻮﻏﺮﻳﺘﻤﻴﺔ ﻋﻠﻴﻪ‪ ،‬ﻋﻠﻰ أن ا‪L‬ﻣﺮ‬ ‫اﺳﺘﻐﺮق ﻣﺎ ﻳﻘﺎرب اﻟﻌﺸﺮ ﺳﻨﻮات ﻣﻦ اﻟﻤﺸﺎرﻛﺎت اﻟﺨﺎﺳﺮة‬ ‫ﻓﻲ اﻟﻤﺴﺎﺑﻘﺎت اﻟﻤﻌﻤﺎرﻳﺔ وﻓﻲ ﻣﺤﺎوﻟﺔ إﻗﻨﺎع ا‪o‬ﺧﺮﻳﻦ ﺑﻬﺬا‬ ‫اﻟﺘﻮﺟﻪ اﻟﺠﺪﻳﺪ ‪ .‬ﺛﻢ ﺑﺪأ اﻟﻤﻜﺘﺐ ﻳﻔﻮز ﺑﺎﻟﻤﺴﺎﺑﻘﺎت واﺣﺪة‬ ‫ﺗﻠﻮ ا‪L‬ﺧﺮى ﻣﻊ ﻧﻬﺎﻳﺔ اﻟﺘﺴﻌﻴﻨﻴﺎت‪ ،‬ﺣﺘﻰ ﻓﺎز ﺑﺄﺣﺪ أﻫﻢ‬ ‫ﻣﺸﺎرﻳﻌﻪ وﻫﻮ ﻣﺘﺤﻒ ﻣﺎﻛﺴﻲ )‪ (MAXI‬ﻟﻠﻔﻦ اﻟﻤﻌﺎﺻﺮ ﻓﻲ‬ ‫روﻣﺎ‪ ,‬ﺛﻢ ﻓﺎز اﻟﻤﻜﺘﺐ ﺑﻤﺸﺮوع ﺷﺮﻛﺔ ﻓﻮﻟﻜﺲ ﻓﺎﺟﻦ ‪ ،‬وﺑﺪأت‬ ‫اﻟﺨﻄﻮط اﻟﺘﺼﻤﻴﻤﻴﺔ ﺗﺼﺒﺢ أﻛﺜﺮ ﺳﻼﺳﺔ وأﻧﺎﻗﺔ ﺳﻮاء ﻣﻦ‬ ‫اﻟﺨﺎرج أو اﻟﺪاﺧﻞ ‪ ،‬وﺑﺪأت اﻟﻤﺸﺎرﻳﻊ ﺗﻜﻮن أﻛﺒﺮ ﻓﺄﻛﺒﺮ‪ ،‬ﻣﺜﻞ‬ ‫ﻣﺸﺮوع أوﺑﺮا اﻟﺼﻴﻦ ‪ ,‬وﺑﺪأت ﺗﺘﻨﻮع وﻇﺎﺋﻒ اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ‬

‫√‪UNðöOJAðË W¹d²«—U³« …—ULF« UNM rNK²ð WOFO³Þ U uK * W¹uCŽ ÂUł‬‬


Parametric Architecture The Architecture of Zaha Hadid & Patrik Schumacher Arch. Ibrahim Abaalkhail

In 1988 Patrik Schumacher discovered the philosophy of Zaha Hadid that is based on art design and that called for moving away from straight architectural lines and right angles used by architects. This new philosophy is based on the idea of translating fluid lines in sketches into architectural drawings that will be followed in projects instead of transferring it to straight lines; also it is based on considering the spaces within these lines as fluid without any partitions that divide the components, which are correlated with other components in fluid way; and it also incorporates slope shapes into architecture. This new architecture is known as Parametric Architecture or what Schumacher called in 2008 as Parametricism before it widely spread internationally. However, it took this new trend almost 10 years and so many lost competitions to convince people of it. But by the late 90’s Zaha Hadid won the MAXI Museum in Rome then the WV project and so the design lines became more fluid and elegant and the projects became bigger and bigger and applied it on projects from furniture to urban planning. In his book, The Autopoesis of Architecture, Schumacher explains his theory of Parametricism and suggests that its architecture merges all elements and transforms it into flexible shapes and by doing so it creates stronger relations among shapes and components and moves away from basic geometric patterns (cubes, pyramids, etc..). Schumacher sees these geometric shapes creating chaos and incoherency and that there are more fluid shapes. He also stresses that classical geometric lines are not fluid while in parametric architecture it is flexible and fluid and can create fluid volumes with the same thing being said at an urban planning level. Parametric Architecture is founded on two sets of fundamentals. The first are negative fundamentals which calls for moving away from traditional principals like designing non flexible classical shapes that are also repetitive and instead infers from organic shapes. A pioneer of this was Frei Otto, who used membrane architecture in his work and left it to stabilise by normal forces. Schumacher in his research infers from organic shapes and moulds it using parametric design. The positive type of fundamentals calls for fluid volumes that are able to be formed easily and that are intelligent by following intelligent parameters like material characteristics and construction rules so to insure that any chosen solution will comply with these parameters. In addition, shapes should be unique but also preserve the unity and coherency of its components. Schumacher believes that we need to achieve aesthetic standards as it expresses the contemporary lifestyle of society who prefer differentiation rather than repetitive. This differentiation is also needed in urban planning projects to develop more solutions as much as possible and at the same time it insures that it satisfy the different preferences of residents. Correlation must also be insured between buildings and cities as they are designed through sequential systems (primary system then secondary and so on) . Both sets of fundamentals must be used by the architect in reviewing his design and make sure that it achieves these correlations.

‫ أﺣﺪ اﻟﺘﻔﺎﺻﻴﻞ ﻓﻲ‬.‫واﻟﺘﻲ ﺗﺤﺎﻓﻆ ﻋﻠﻰ ﻛﻮﻧﻬﺎ ﺧﻼﻳﺎ ﺳﺪاﺳﻴﺔ‬ ‫ﻫﺬا اﻟﻤﺸﺮوع ﻫﻲ اﻟﻄﺮﻳﻘﺔ اﻟﺘﻲ ﺻﻤﻤﺖ ﺑﻬﺎ ﻓﺘﺤﺎت ا!ﻓﻨﻴﺔ‬ ‫اﻟﺪاﺧﻠﻴﺔ واﻟﺘﻲ ﺻﻤﻤﺖ ﻟﺘﻮﺟﻴﻪ اﻟﻬﻮاء إﻟﻰ داﺧﻞ ا!ﻓﻨﻴﺔ‬ ‫ﻟﺘﺤﺴﻴﻦ ﻣﻨﺎﺧﻬﺎ اﻟﺪاﺧﻠﻲ وﻟﺘﺸﻜﻞ ﻣﻨﺎﻃﻖ وﺳﻄﻴﺔ‬ ‫ اﻟﻤﺸﺮوع اﻟﺮاﺑﻊ‬. ‫ﻣﻦ ﺣﻴﺚ اﻟﻤﻨﺎخ ﺑﻴﻦ اﻟﺪاﺧﻞ واﻟﺨﺎرج‬ ‫ﻫﻮ ﻣﺸﺮوع اﻟﺒﻨﻚ اﻟﻤﺮﻛﺰي ﻓﻲ ﺑﻐﺪاد واﻟﻤﺸﺮوع ﻳﺘﻤﻴﺰ‬ ‫ﺑﺘﺼﻤﻴﻢ واﺟﻬﺎت ذات ﺧﻄﻮط ﺳﺎﺋﻠﺔ ورأﺳﻴﺔ ﺗﻢ رﺳﻤﻬﺎ‬ ‫ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬L‫ ﻟﻠﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ وﺗﻮﻓﻴﺮ ا‬O‫ﺗﺒﻌ‬ ‫ اﻟﻤﺸﺮوع اﻟﺨﺎﻣﺲ ﻫﻮ ﻣﺸﺮوع ﺗﻄﻮﻳﺮ ﻋﻘﺎري‬. ‫ﻓﻲ اﻟﻤﺒﻨﻰ‬ ‫ﺻﻤﻢ ﺑﺨﻄﻮط ﻣﻨﺤﻨﻴﺔ وﻣﺴﺎﺣﺎت ﺣﺮة داﺧﻠﻴﺔ وأﺷﻜﺎل‬ ‫ اﻟﻤﺸﺮوع ﻳﺘﻤﺘﻊ ﻣﻦ اﻟﺪاﺧﻞ ﺑﺴﻴﻮﻟﺔ ﻓﺮاﻏﻴﺔ وﺗﺮاﺑﻂ‬. ‫ﻛﺮوﻳﺔ‬ ‫ ﻟﻠﻤﺘﺠﻮل داﺧﻠﻪ اﻟﺘﻌﺮف ﻋﻠﻰ ﻫﻨﺪﺳﺔ‬O‫ﻓﺮاﻏﻲ ﻳﺴﻤﺢ داﺋﻤ‬ ‫ اﻟﺘﺸﻜﻴﻞ اﻟﻌﺎم اﻟﺨﺎرﺟﻲ ﻟﻠﻤﺸﺮوع‬.‫اﻟﻤﺸﺮوع وﻣﻜﻮﻧﺎﺗﻪ‬ ‫ﻳﺘﺒﻊ ﺗﺸﻜﻴﻞ ﺑﺮاﻣﺘﺮي ﻣﺴﺘﻮﺣﻰ ﻣﻦ ا!ﺷﻜﺎل اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ اﻟﻤﺸﺮوع‬. ‫اﻟﺸﺒﻪ ﻛﺮوﻳﺔ واﻟﻌﻼﻗﺎت اﻟﻔﺮاﻏﻴﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‬ ، ‫اﻟﺴﺎدس ﻓﻬﻮ ﻛﺬﻟﻚ ﻣﺸﺮوع ﺗﻄﻮﻳﺮ ﻋﻘﺎري ﻣﻜﺘﺒﻲ‬ ‫ﻫﻨﺎ ﺗﺘﺒﻊ وﺗﻮﺟﻪ ﺧﻄﻮط اﻟﺘﺼﻤﻴﻢ ﺣﺮﻛﺔ اﻟﻤﺸﺎة وﺣﺮﻛﺔ‬ ‫اﻟﻮﺻﻮل إﻟﻰ اﻟﻤﺒﺎﻧﻲ ﻣﻊ ﺗﻨﺎﻏﻢ ﻛﺘﻞ اﻟﻤﺒﻨﻰ ﻣﻊ ﺗﺼﻤﻴﻢ‬ ‫ ﺑﻴﻨﻤﺎ ﻗﺴﻢ اﻟﻤﺸﺮوع إﻟﻰ ﺛﻼث أﺑﺮاج ذات ﺗﺸﻜﻴﻞ‬، ‫اﻟﺤﺪاﺋﻖ‬ ‫ أﺑﺮاج ﺗﻘﻠﻴﻞ‬3 ‫ﺣﺮ ﻋﻠﻰ ﻫﻴﺌﺔ أﻗﻮاس وﻳﻬﺪف ﺗﻘﺴﻴﻤﻬﺎ إﻟﻰ‬ ‫ اﻟﻤﺸﺮوع‬.‫ﺿﺨﺎﻣﺔ اﻟﻤﺸﺮوع ﻓﻲ ﺣﺎﻟﺔ ﺗﺼﻤﻴﻤﻪ ﻛﺒﺮج واﺣﺪ‬ ‫ اﻟﻤﺸﺮوع ﻳﺘﻤﻴﺰ ﺑﺸﺒﻜﺔ‬،‫ا!ﺧﻴﺮ ﻫﻮ ﻣﺸﺮوع ﻟﻔﻨﺪق أﺳﻴﻮي‬ ‫أﻋﺼﺎب إﻧﺸﺎﺋﻴﺔ ذات ﺗﺸﻜﻴﻞ ﺣﺮ ﺗﻐﻠﻒ اﻟﺸﻜﻞ ا اﻟﻤﺘﻮازي‬ ‫ا!ﺿﻼع ﻟﻠﻔﻨﺪق واﻟﺬي ﺗﻢ ﻋﻤﻞ ﻓﺘﺤﺎت ﻛﺒﻴﺮة ﻣﻨﺤﻨﻴﺔ ﻓﻲ‬ ‫ ﻳﺘﻤﻴﺰ‬، ‫وﺳﻄﻪ ﺗﺴﻤﺢ ﺑﺈﺿﺎءة ﻓﻨﺎءه اﻟﺪاﺧﻠﻲ اﻟﻤﻐﻄﻰ‬ ‫اﻟﻤﺸﺮوع ﺑﻮاﺟﻬﺎﺗﻪ وﺑﺘﻐﻄﻴﺘﺎﺗﻪ اﻟﺪاﺧﻠﻴﺔ ﺣﻴﺚ ﻳﺒﺪو اﻟﺘﺮاﺑﻂ‬ ‫ﺑﻴﻦ اﻟﺪاﺧﻞ واﻟﺨﺎرج ﻣﻦ ﺧﻼل ﺗﺼﻤﻴﻬﻤﺎ اﻟﻤﺘﺸﺎﺑﻪ وﻟﻜﻦ‬ ‫ ﻣﻦ أﻫﻢ ﺗﻔﺎﺻﻴﻞ ﻫﺬا اﻟﻤﺸﺮوع‬. ‫ﺑﺪون ﺗﻜﺮار ﻓﻲ ﺗﻔﺎﺻﻴﻠﻪ‬ ‫ﻧﺸﺎﺋﻲ‬L‫ﻧﺸﺎﺋﻴﺔ ﺑﻴﻦ أﻋﺼﺎب اﻟﻬﻴﻜﻞ ا‬L‫ﺗﻠﻚ اﻟﺘﻔﺎﺻﻴﻞ ا‬ ‫اﻟﺨﺎرﺟﻴﺔ وﻣﺴﻄﺤﺎت اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ اﻟﺘﻲ ﻣﻦ ﺧﻠﻔﻪ‬ .‫ﻧﺸﺎﺋﻲ‬L‫واﻟﺘﻲ ﻫﻲ ﻛﺬﻟﻚ ﺗﺘﺒﻊ إﻧﺤﻨﺎءات أﻋﺼﺎب اﻟﻬﻴﻜﻞ ا‬

…—U½ù« ◊UI½Ë nI« qOJAð 5Ð WœU³² UöŽ 33 Albenaa

¡UM³« ≥≥


‫ﺗﺴﺘﺨﺪم ﻓﻲ اﻟﺘﺸﻜﻴﻞ واﻟﻘﻴﺎﺳﺎت واﻟﻘﻮاﻋﺪ ا ﻧﺸﺎﺋﻴﺔ اﻟﺘﻲ‬ ‫ﻳﺠﺐ إﺣﺘﺮاﻣﻬﺎ ﺑﺤﻴﺚ ﺗﻀﻤﻦ ان أي ﺣﻞ ﺳﻨﺨﺘﺎره ﺳﻴﺤﺎﻓﻆ‬ ‫ﻋﻠﻰ ﻫﺬه اﻟﺨﺼﺎﺋﺺ واﻟﻘﻴﺎﺳﺎت واﻟﻘﻮاﻋﺪ ‪ ،‬وﻳﻤﻜﻦ إﺿﺎﻓﺔ‬ ‫ﻣﺤﺪدات أﺧﺮى ﻣﺜﻞ ﻃﺮق اﻟﺘﺼﻨﻴﻊ واﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺤﺪدات‬ ‫ا‪C‬ﺧﺮى ‪ .‬ﻛﻤﺎ ﻳﺠﺐ أن ﻳﻜﻮن ﻫﻨﺎك ﺗﻤﻴﺰ ﺑﻴﻦ ا‪C‬ﺷﻜﺎل ﻟﻜﻨﻪ‬ ‫ﻳﺤﺎﻓﻆ ﻋﻠﻰ ﺗﻤﺎﺳﻚ اﻟﺘﻜﻮﻳﻨﺎت ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻫﺬا اﻟﺘﻤﻴﺰ ﻳﻤﻜﻦ‬ ‫ﻛﺬﻟﻚ أن ﻳﻜﻮن ذﻛﻴ‪ L‬أي أﻧﻪ ﻗﺎﺑﻞ ﻟﻠﺘﻄﻮﻳﻊ ﻟﺘﺤﻘﻴﻖ ﻣﺤﺪدات‬ ‫ﻣﻌﻴﻨﺔ ﻳﺠﺐ إﺗﺒﺎﻋﻬﺎ ﻣﺜﻞ ﺗﺸﻜﻴﻞ ﻛﺘﻠﺔ اﻟﻤﺸﺮوع ﻟﻜﻲ ﺗﺘﺠﻨﺐ‬ ‫اﻟﻔﺘﺤﺎت أﺷﻌﺔ اﻟﺸﻤﺲ وﻋﻼﻗﺔ ذﻟﻚ ﺑﻬﻨﺪﺳﺔ ﻛﺎﺳﺮات اﻟﺸﻤﺲ‬ ‫واﻟﻔﺘﺤﺎت ‪ ،‬وﻫﺬا ﻳﺆدي إﻟﻰ ﺗﻤﻴﺰ اﻟﻜﺘﻞ واﻟﻤﺴﻄﺤﺎت واﻟﺨﻄﻮط‪.‬‬ ‫وﻳﺮى ﺷﻮﻣﺎﺧﺮ ﻛﺬﻟﻚ إﻧﻨﺎ ﻧﺤﺘﺎج إﻟﻰ اﻟﺘﻤﻴﺰ ﻣﻦ ﺣﻴﺚ اﻟﻤﻌﺎﻳﻴﺮ‬ ‫اﻟﺘﻌﺒﻴﺮﻳﺔ واﻟﺠﻤﺎﻟﻴﺔ و‪C‬ن ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﺗﻌﺒﺮ ﻛﺬﻟﻚ ﻋﻦ‬ ‫أﺳﻠﻮب ﺣﻴﺎة اﻟﻤﺠﺘﻤﻊ اﻟﺤﺎﻟﻲ اﻟﺬي ﻳﻔﻀﻞ أﻓﺮاده اﻟﺘﻤﻴﺰ‬ ‫وﻟﻴﺲ اﻟﺘﻜﺮار‪ .‬ﻫﺬا اﻟﺘﻤﻴﺰ ﺗﺤﺘﺎﺟﻪ ﻛﺬﻟﻚ ﻣﺸﺎرﻳﻊ ﺗﺨﻄﻴﻂ‬ ‫اﻟﻤﺪن ﻟﻌﺮض أﻛﺒﺮ ﻗﺪر ﻣﻦ اﻟﺤﻠﻮل اﻟﺘﺨﻄﻴﻄﻴﺔ‪ .‬اﻟﺘﻤﻴﺰ‬ ‫ﻳﻤﻜﻦ أن ﻳﻜﻮن ذﻛﻴ‪ L‬أي ﺑﻬﺪف ﻣﻌﻴﻦ أو أن ﻳﻜﻮن ﺑﺪون‬ ‫ﻫﺪف إﻻ ﻣﻦ اﺟﻞ اﻟﺘﻤﻴﺰ ﻓﻘﻂ ﺑﺤﻴﺚ ﻳﺘﻨﺎﺳﺐ ﻣﻊ اﻟﺮﻏﺒﺎت‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻟﺴﻜﺎن اﻟﻤﺪﻳﻨﺔ ‪ .‬ﻛﻤﺎ ﻳﺠﺐ أن ﻳﻜﻮن ﻫﻨﺎك ﻋﻼﻗﺎت‬ ‫ﻣﺘﺒﺎدﻟﺔ ﺑﻴﻦ ﻋﻨﺎﺻﺮ اﻟﺘﻜﻮﻳﻦ ‪ ،‬ﻓﺎﻟﻤﺪن واﻟﻤﺒﺎﻧﻲ ﺗﺼﻤﻢ ﻣﻦ‬ ‫ﺧﻼل أﻧﻈﻤﺔ ﺗﺴﻠﺴﻠﻴﺔ ﻫﻨﺎك ﻧﻈﺎم أوﻟﻲ ﺛﻢ ﻳﺘﺒﻌﻪ ﻧﻈﺎم‬ ‫ﺛﺎﻧﻮي ﻣﺜﻞ ﻧﻈﺎم ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ ﺛﻢ ﻧﻈﺎم ﺗﺼﻤﻴﻢ اﻟﻔﺘﺤﺎت‬ ‫وﻛﻠﻬﺎ ﻳﺠﺐ أن ﺗﺒﻨﻰ ﺑﻤﺮاﻋﺎة ﻋﻼﻗﺎت ﻣﺘﺒﺎدﻟﺔ ﺑﻴﻨﻬﺎ‪ .‬ﻓﺈذا‬ ‫أﺟﺮى ﺗﻌﺪﻳﻞ ﻋﻠﻰ ﺗﺼﻤﻴﻢ ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ ﻓﺈن ذﻟﻚ ﻳﺮﺗﺪ ﻋﻠﻰ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻔﺘﺤﺎت وﻫﻜﺬا‪ .‬ﻛﻞ اﻟﻤﺒﺎدئ ﺳﻮاء اﻟﺴﻠﺒﻴﺔ ﻣﻨﻬﺎ أو‬ ‫ا ﻳﺠﺎﺑﻴﺔ ﻳﺠﺐ أن ﻳﺴﺘﺨﺪﻣﻬﺎ اﻟﻤﻌﻤﺎري ﻓﻲ ﻣﺮاﺟﻌﺔ ﺗﺼﻤﻴﻤﻪ‬ ‫واﻟﺘﺄﻛﺪ ﻣﻦ أﻧﻬﺎ ﺗﺤﻘﻖ ﻫﺬه اﻟﻌﻼﻗﺎت اﻟﻤﺘﺒﺎدﻟﺔ‪.‬‬ ‫ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض ﻋﺪد ﻣﻦ ﻣﺸﺎرﻳﻊ ﻣﻜﺘﺐ زﻫﺎ‬ ‫ﺣﺪﻳﺪ اﻟﺬي ﻳﺮأﺳﻪ اﻟﻴﻮم اﻟﻤﻌﻤﺎري اﻟﺪﻛﺘﻮر ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‪،‬‬ ‫ﻫﺬه اﻟﻤﺸﺎرﻳﻊ إﺳﺘﺮﺷﺪ ﺑﻬﺎ اﻟﻤﻌﻤﺎري ﺷﻮﻣﺎﺧﺮ ﻓﻲ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ ﻣﺤﺎﺿﺮاﺗﻪ وﺧﺎﺻﺔ ﻓﻲ ﻣﺤﺎﺿﺮﺗﻪ ﻓﻲ اﻟﺮﻳﺎض ﻓﻲ اﻛﺘﻮﺑﺮ‬ ‫اﻟﻤﺎﺿﻲ ‪ ،‬ﻟﻴﺸﺮح ﺑﻬﺎ ﻧﻈﺮﻳﺘﻪ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ ﻣﺒﺎدئ‬

‫اﻟﻌﻤﺎرة اﻟﺒﺎراﻣﺘﺮﻳﺔ ‪ ،‬ﺗﻠﻚ اﻟﻌﻤﺎرة اﻟﺮﻗﻤﻴﺔ اﻟﺘﻲ ﺗﺘﺒﻊ ﻣﺤﺪدات‬ ‫ﻟﻮﻏﺎرﺗﻴﻤﻴﺔ ﻓﻲ ﺗﺸﻜﻴﻠﻬﺎ ‪ .‬ﻓﻤﺸﺮوع اﻟﺴﺎﺣﺔ ااﻟﺜﻘﺎﻓﻴﺔ ﻓﻲ‬ ‫أﺣﺪ أﺣﻴﺎء ﻣﺪﻳﻨﺔ ﺳﻴﺌﻮل اﻟﻜﻮرﻳﺔ ﻳﺘﻤﻴﺰ ﺑﺘﺼﻤﻴﻢ ﻣﺘﻤﺎﺳﻚ‬ ‫ﻳﺠﻤﻊ ﺑﻴﻦ ﺗﻨﺴﻴﻖ اﻟﻤﻮﻗﻊ وﻣﺒﺎﻧﻲ اﻟﻤﺸﺮوع ﻓﻲ ﺗﺸﻜﻴﻼت‬ ‫ﻣﺘﻨﺎﻏﻤﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻣﺮﺗﺒﻄﺔ ﻓﻲ ﻓﻀﺎءاﺗﻬﺎ ﻣﻦ ﺧﻼل ﻋﻼﻗﺎت‬ ‫ﺳﺎﺋﻠﺔ ﻟﻴﻨﺔ ﺑﻴﻦ ﻣﻜﻮﻧﺎﺗﻬﺎ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺗﻨﻮع ﺷﻜﻞ ﻛﻞ‬ ‫ﻣﻜﻮن ﻳﻌﺘﻤﺪ اﻟﺘﻌﺒﻴﺮ ﻋﻠﻰ ﺧﻄﻮط اﺳﺘﻠﻬﻤﺖ ﻣﻦ ﻃﺒﻴﻌﺔ‬ ‫اﻟﺒﻴﺌﺔ اﻟﺠﻐﺮاﻓﻴﺔ ﻟﻜﻮرﻳﺎ واﺳﺘﺨﺪام ﻣﻔﺮدات وأﻟﻮان ﺗﻨﺒﻊ‬ ‫ﻣﻦ اﻟﺘﺮاث اﻟﻜﻮري اﻟﻤﻌﻤﺎري وﺗﻨﺴﻴﻖ اﻟﻤﻮاﻗﻊ ‪ ،‬ﻛﻤﺎ ﻏﻄﻴﺖ‬ ‫اﻟﻤﺒﺎﻧﻲ ﺑﻐﻼف ذو ﺗﺸﻜﻴﻼت ﻣﻨﺤﻨﻴﺔ ﺣﺮة ﺻﻨﻊ ﻣﻦ وﺣﺪات‬ ‫ﺗﻐﻄﻴﺔ ﻣﻌﺪﻧﻴﺔ ﺑﻌﻀﻬﺎ ﻣﺼﻤﺖ وﺑﻌﻀﻬﺎ ذو ﺛﻘﻮب ﺗﻮﻓﺮ‬ ‫ا ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ داﺧﻞ اﻟﻤﺸﺮوع وﺗﻘﻊ ﺧﻠﻔﻬﺎ اﻟﻨﻮاﻓﺬ‬ ‫اﻟﺰﺟﺎﺟﻴﺔ ‪ ،‬وﺣﺪات اﻟﺘﻐﻄﻴﺔ ﻟﻴﺴﺖ وﺣﺪات ﻣﺘﻜﺮرة وﻟﻜﻨﻬﺎ‬ ‫ﺗﺘﺒﻊ ﺷﺒﻜﺔ ﻣﻜﻮﻧﺔ ﻣﻦ ﺧﻄﻮط اﻟﻔﻮاﺻﻞ ﺑﻴﻦ اﻟﻮﺣﺪات‬ ‫وﺗﺘﺒﻊ اﻟﺸﻜﻞ اﻟﻤﻨﺤﻨﻲ اﻟﺤﺮ ﻟﻠﻐﻼف ‪ .‬اﻟﺸﺒﻜﺔ ﺗﻤﺜﻞ ﻋﻨﺼﺮ‬ ‫اﻟﺘﺮاﺑﻂ ﺑﻴﻦ اﻟﻮﺣﺪات ذات اﻟﻤﺴﺎﺣﺎت اﻟﻤﺘﻨﻮﻋﺔ ﺣﺴﺐ‬ ‫ﻣﻮﻗﻌﻬﺎ ﻓﻲ اﻟﺸﺒﻜﺔ ‪ .‬اﻟﻤﺸﺮوع اﻟﺜﺎﻧﻲ ﻫﻮ اﻟﻤﻄﺎر اﻟﺠﺪﻳﺪ‬ ‫ﻟﺒﻜﻴﻦ ﻓﻲ اﻟﺼﻴﻦ‪ ،‬ﻳﺘﻤﺘﻊ ﻫﺬا اﻟﻤﺸﺮوع ﺑﻐﻄﺎء ذو ﺗﺸﻜﻴﻞ‬ ‫ﺳﺎﺋﻞ ﻫﻴﻜﻠﻪ ا ﻧﺸﺎﺋﻲ ﻳﺠﻤﻊ ﻓﻲ ﺷﻜﻞ واﺣﺪ اﻟﺴﻘﻒ‬ ‫وﻧﻘﺎط إرﺗﻜﺎزه ‪ ،‬وﻟﻮﻻ اﺳﺘﺨﺪام اﻟﺘﺼﻤﻴﻢ اﻟﺒﺎراﻣﺘﺮي ﻟﻜﺎن ﻣﻦ‬ ‫اﻟﺼﻌﺐ رﺳﻢ وﺣﺴﺎب ا‪C‬ﻋﺼﺎب اﻟﻤﻌﺪﻧﻴﺔ اﻟﻤﻜﻮﻧﺔ ﻟﻠﻬﻴﻜﻞ‪،‬‬ ‫ﻛﻮﻧﻬﺎ ذات اﺑﻌﺎد ﻏﻴﺮ ﻣﺘﻜﺮارة ‪ .‬اﻟﻤﺸﺮوع اﻟﺜﺎﻟﺚ ﻫﻮ ﻣﺸﺮوع‬ ‫ﻣﺮﻛﺰ اﻟﻤﻠﻚ ﻋﺒﺪ ا‪ n‬ﻟﻠﺒﺤﻮث واﻟﺪراﺳﺎت اﻟﺒﺘﺮوﻟﻴﺔ اﻟﺬي‬ ‫أﻓﺘﺘﺢ ﻣﺆﺧﺮ‪ o‬ﻓﻲ اﻟﻌﺎﺻﻤﺔ اﻟﺮﻳﺎض‪ .‬اﻟﺘﺼﻤﻴﻢ ﻫﻨﺎ ﻳﺘﺒﻊ‬ ‫ﺗﺸﻜﻴﻞ ﻋﻀﻮي ﻣﻜﻮن ﻣﻦ ﺧﻼﻳﺎ ذات أﺷﻜﺎل ﻫﻨﺪﺳﻴﺔ‬ ‫ﺳﺪاﺳﻴﺔ ‪ ،‬اﻟﺨﻼﻳﺎ ذات وﺣﺪات ﻏﻴﺮ ﻣﺘﻜﺮرة إﻧﻤﺎ ﺗﺘﺤﺪ‬ ‫ﻣﺴﺎﺣﺎﺗﻬﺎ وأﺣﺠﺎﻣﻬﺎ وأﺑﻌﺎدﻫﺎ ﻣﻦ ﺣﻴﺚ اﻟﻤﻜﻮﻧﺎت اﻟﺘﻲ‬ ‫ﺗﺘﻀﻤﻨﻬﺎ ﻛﻞ ﺧﻠﻴﺔ وﻣﻮﻗﻌﻬﺎ ﻣﻦ اﻟﺘﻜﻮﻳﻦ وﻳﻄﻠﻖ ﻋﻠﻴﻪ‬ ‫اﻟﻤﺼﻤﻢ اﻟﻤﺠﻤﻊ أي اﻟﻤﺠﻤﻊ اﻟﻤﻜﻮن ﻣﻦ اﻟﺨﻼﻳﺎ اﻟﺴﺪاﺳﻴﺔ‪.‬‬ ‫ﻫﻨﺎ ﻻﻳﻮﺟﺪ ﺗﻜﺮار ﻓﻲ ا‪C‬ﺷﻜﺎل وﻟﻜﻦ ﻫﻨﺎك ﺗﺮاﺑﻂ ﻗﻮي‬ ‫ﺑﻴﻨﻬﻤﺎ وﻋﻼﻗﺎت ﻣﺘﺒﺎدﻟﺔ ﺗﺤﺪد ﻓﻲ إﻃﺎرﻫﺎ أﺷﻜﺎل اﻟﺨﻼﻳﺎ‬

‫‪WDЫd²Ë WLžUM² W¹Ëd t³ý UM¹uJð‬‬

‫‪W¹d²«—U³« …—ULFK WOL²¹—UžuK« «œb;« WDÝ«uÐ rLB ÍuCŽ qOJAð‬‬

‫≤≥ «‪¡UM³‬‬

‫‪32 Albenaa‬‬


،‫ ﻫﺬا ﻛﺎن ﻣﻔﻬﻮم اﻟﺘﺼﻤﻴﻢ ﻓﻲ وﻗﺖ اﻟﻤﺴﺎﺑﻘﺔ‬: ‫اﻟﺒﻨﺎء‬ ‫وﻟﻜﻦ ﻫﻞ ﺗﻐﻴﺮ ﻫﺬا اﻟﻤﻔﻬﻮم ﺑﻌﺪ ﻓﻮزﻛﻢ ﺑﺎﻟﻤﺴﺎﺑﻘﺔ؟‬ ‫ ﻓﻜﺮة اﻟﻤﺸﺮوع ﻛﺎﻧﺖ ﻗﻮﻳﺔ وﺑﺎﻟﺘﺎﻟﻲ ﻟﻢ‬: ‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ ﺑﺎﻟﻄﺒﻊ‬، ‫ ﺑﻞ اﺳﺘﻤﺮ اﻟﻌﻤﻞ ﻋﻠﻰ ﻧﻔﺲ ﻣﻔﻬﻮم اﻟﺘﺼﻤﻴﻢ‬،‫ﺗﺘﻐﻴﺮ‬ ‫ﻛﺎﻧﺖ ﺗﺼﻠﻨﺎ ردود وﺗﻔﺎﺻﻴﻞ ﻋﻦ اﻟﺘﺼﻤﻴﻢ وﺑﻌﺾ اﻟﺘﺤﻔﻈﺎت‬ . ‫واﻟﻤﺸﺎﻛﻞ اﻟﺘﻘﻨﻴﺔ وﻟﻜﻦ ﺑﻘﻰ اﻟﻤﻔﻬﻮم ﻛﻤﺎ ﻫﻮ ﻋﻠﻴﻪ‬

‫ وﻟﻜﻦ ﻓﻴﻤﺎ ﻳﺨﺺ ﻣﺒﻨﻰ‬،‫ﻗﺒﻞ ذﻟﻚ وﻛﺎن ﻣﺮﻛﺰ ﺛﻘﺎﻓﻲ‬ ‫ أردﻧﺎ أن ﻧﺤﻘﻖ ﻓﻴﻪ ﺑﻴﺌﺔ ﻣﺠﻤﻊ ﻣﺒﺎﻧﻲ ﺑﻤﻌﻨﻰ‬، (KAPSARC) ‫أن ﻳﻈﻬﺮ ﺗﺼﻤﻴﻢ ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع ﻣﺘﺮاﺑﻂ وﻟﻜﻦ ﻓﻲ ﻧﻔﺲ‬ ً‫ وﻋﻤﻠﻨﺎ ﻋﻠﻰ أن ﻳﻜﻮن اﻟﻤﺒﻨﻰ ﻣﻤﺘﺪ أﻓﻘﻴ> ﺑﺪﻻ‬،‫اﻟﻮﻗﺖ ﻣﺘﻨﻮع‬ ‫ وﺗﻢ دﻣﺞ ﻓﻜﺮة وﺟﻮد اﻟﻔﻨﺎء‬، ‫ﻣﻦ ﺗﺼﻤﻴﻢ ﺑﺮج أو ﺑﻨﺎء ﻣﺮﺗﻔﻊ‬ ‫ ﻫﻨﺪﺳﻴ> ﺗﻢ اﺳﺘﺨﺪام اﻟﺸﻜﻞ‬. ‫اﻟﺪاﺧﻠﻲ ﻛﻤﻔﺮد ﻣﺤﻠﻲ‬ ‫ن‬L ‫اﻟﺴﺪاﺳﻲ ﻟﺘﺸﻜﻴﻞ ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع ﻋﻠﻰ ﻫﻴﺌﺔ ﺧﻼﻳﺎ و‬ ‫ ﺣﻴﺚ ﺗﺮﺗﺒﻂ‬، ‫ﻫﺬا اﻟﺸﻜﻞ ﻳﻮﻓﺮ ﺣﺮﻳﺔ أﻛﺜﺮ وﺗﻮﺟﻴﻬﺎت أﻛﺜﺮ‬ ‫ﻛﻞ ﺧﻠﻴﺔ ﺑﺴﺘﺔ ﺧﻼﻳﺎ ﻣﺠﺎورة ﻟﻬﺎ ﺑﺪﻻً ﻣﻦ أرﺑﻊ ﻟﺘﺤﻘﻴﻖ‬ ‫ ﻣﺎ ﻳﻤﻴﺰ ﻫﺬه اﻟﺨﻼﻳﺎ ﻫﻲ أﻧﻬﺎ ﻏﻴﺮ‬.‫أﻗﺼﻰ ﺗﺮاﺑﻂ ﺑﻴﻨﻬﻤﺎ‬ ‫ﺧﺮ ﻣﺘﺴﻊ‬U‫ ﻓﺒﻌﻀﻬﺎ ﺿﻴﻖ واﻟﺒﻌﺾ ا‬،‫ﻣﺘﺴﺎوﻳﺔ ﻓﻲ اﻟﺤﺠﻢ‬ ‫ﺧﺘﻼف ﻓﻲ اﻟﺤﺠﻢ ﻳﺤﻘﻖ‬Z‫ﺧﺮ وﻫﺬا ا‬U‫وﺑﻌﻀﻬﺎ أﻃﻮل ﻣﻦ ا‬ ‫ ﺗﻜﻮن اﻟﺨﻼﻳﺎ ﻓﻲ ﺗﺮاﺑﻄﻬﺎ ﻧﺴﻴﺞ ﻋﺎم ﻳﺮﺑﻂ ﻣﻜﻮﻧﺎت‬.‫اﻟﺘﻨﻮع‬ ‫اﻟﻤﺸﺮوع ﺑﻴﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ﻣﻦ ﺧﻼل إﺳﺘﺨﺪام ﻣﻈﻼت‬ ‫ﻣﺎﻛﻦ اﻟﻌﺎﻣﺔ ﺑﺸﻜﻞ‬L‫ﻣﻦ اﻟﻘﻤﺎش ﻛﻐﻄﺎء ﻟﻠﺴﺎﺣﺎت وا‬ ‫ﺳﺪاﺳﻲ ﻳﺤﻘﻖ ﻛﺬﻟﻚ اﻻﺳﺘﻤﺮارﻳﺔ ﻟﻠﺸﻜﻞ اﻟﻬﻨﺪﺳﻲ‬ ‫ و ﻟﺘﻮﺣﻴﺪ اﻟﻤﺸﺮوع ﻫﻨﺪﺳﻴ> ﻓﻴﻤﺎ‬،‫اﻟﺴﺪاﺳﻲ ﻟﺨﻼﻳﺎ اﻟﻤﺒﻨﻰ‬ ‫ وﺑﺸﻜﻞ ﻋﺎم ﻓﺈن‬.‫ﺑﻴﻦ ﻣﻜﻮﻧﺎﺗﻪ ﻣﻦ ﻣﺒﺎﻧﻲ وﻓﻀﺎءات ﺧﺎرﺟﻴﺔ‬ ‫اﻟﻔﻜﺮة ﻫﻲ إﻳﺠﺎد ﺷﻌﻮر ﺑﺄن اﻟﻤﺒﻨﻰ ﻋﺒﺎرة ﻋﻦ ﻣﺠﻤﻊ ﻛﻤﺎ‬ ‫ﺗﻬﺪف اﻟﻔﻜﺮة إﻟﻰ ﺗﺤﻘﻴﻖ ﻣﺠﺎل ﻓﻀﺎﺋﻲ ﻣﺘﻨﻮع اﻟﺘﺸﻜﻴﻞ‬ . ‫ﺑﺪﻻً ﻣﻦ أن ﻳﻜﻮن ﻣﺠﺎﻻً ﻣﺘﻜﺮر اﻟﺘﺸﻜﻴﻞ‬

What is the difference between the architecture of international firms like Zaha Hadid and what is called the international style of the 60’s and 70’s. With social differences between the west and Saudi Arabia, how does your design philosophy get compatible with the way we think over here or with the society here considering that buildings are for people and for the society. And to what extent the local needs, identity of people are not just respected but also considered? We are very sensitive to local cultures and local climate. That is very evident in this building. Not only that but also local typology. For instance, the idea of a more secluded domain and the idea of court yards which are operating here in this building. In addition, the understanding of the separation of gender like in universities, and in separating outer domain and use walls and gates while having an interior space that is different from the exterior, so we are sensitive to this and we can work with it.

Over here, we noticed very nice buildings and early on we gave a review for some architectural students, and we noticed that when it comes to professional interaction discourse, presentations, commentary, critique, and reviews there is no difference in it from anywhere in the world. And I think professional culture are global culture. And going back to this building, since it is an international research centre with international researchers from all around the world the same thing can be said here. So at this point we are living in a world of cultures when it comes to work spaces and it is more universal. But we are attuned to the Middle East because of Zaha Hadid. We have worked here and we are doing projects in other parts of the region. For instance, in Morocco, we are doing the Opera house in Rabat, and we are doing projects in Dubai and Iraq. In regards to local climate, we look at hot climate and how to do something different, not using glass buildings and mirrored glass but rather using solid surfaces and shading similar to what is here

35 Albenaa

¡UM³« ≥μ


‫ﺣﻮار ﻣﻊ ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ Interview with Patrik Schumacher ‫ أﺑﺎ اﻟﺨﻴﻞ‬,‫ اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا‬: ‫أﺟﺮى اﻟﻤﻘﺎﺑﻠﺔ‬ ‫ذﻟﻚ ﻋﻠﻰ ﻫﺬا اﻟﻤﺮﻛﺰ ذو اﻟﺼﺒﻐﺔ اﻟﻌﺎﻟﻤﻴﺔ اﻟﺬي ﻳﻀﻢ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺒﺎﺣﺜﻴﻦ اﻟﻌﺎﻟﻤﻴﻴﻦ واﻟﺬي ﺻﻤﻢ ﻟﻴﻜﻮن ﻣﻜﺎن‬ ‫ و أﻣﺎﻛﻦ اﻟﻌﻤﻞ ﻓﻲ ﻛﺎﻓﺔ أﻧﺤﺎء اﻟﻌﺎﻟﻢ أﺻﺒﺤﺖ‬،‫ﻟﻠﻌﻤﻞ‬ ‫ ﻧﺤﻦ ﻓﻲ زﻫﺎ ﺣﺪﻳﺪ ﻣﺘﻔﻬﻤﻴﻦ‬. ‫ﺗﺆدي وﻇﺎﺋﻒ ﻣﺘﺸﺎﺑﻬﺔ‬ ‫وﺳﻂ و ﻧﻌﻤﻞ ﻫﻨﺎ ﻛﻤﺎ ﻧﻌﻤﻞ ﻓﻲ أﻧﺤﺎء‬D‫ﻟﺒﻴﺌﺔ اﻟﺸﺮق ا‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻌﺎﻟﻢ وﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻧﻘﻮم ﻓﻲ اﻟﻤﻐﺮب‬ ‫ وﻫﻨﺎك ﻣﺸﺎرﻳﻊ ﻟﻨﺎ ﻓﻲ‬،‫وﺑﺮا ﻓﻲ اﻟﺮﺑﺎط‬D‫ﺑﺘﺼﻤﻴﻢ ﻣﺒﻨﻰ ا‬ ‫ ﻓﻨﺤﻦ ﺗﻌﺎﻃﻴﻨﺎ‬، ‫ وﻓﻴﻤﺎ ﻳﺨﺺ اﻟﻤﻨﺎخ اﻟﻤﺤﻠﻲ‬.‫دﺑﻲ واﻟﻌﺮاق‬ ‫( وﻗﺪﻣﻨﺎ ﺗﺼﻤﻴﻢ‬KAPSARC) ‫ﻣﻊ اﻟﻤﻨﺎخ اﻟﺤﺎر ﻓﻲ ﻣﺒﻨﻰ‬ ‫ﻣﺨﺘﻠﻒ ﻋﻦ اﻟﻤﺒﺎﻧﻲ ذات اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻣﻦ ﺧﻼل‬ .‫اﺳﺘﺨﺪام واﺟﻬﺎت ﻣﺼﻤﺘﺔ واﺳﺘﺨﺪام وﺳﺎﺋﻞ اﻟﺘﻈﻠﻴﻞ‬ ‫و ﻓﻲ اﻟﻌﺮاق ﻗﻤﻨﺎ ﺑﺘﺼﻤﻴﻢ ﺑﺮج ﺗﺘﻤﻴﺰ ﻋﻤﺎرﺗﻪ ﺑﺈﺳﺘﺨﺪام‬ ‫ﻣﺜﻠﺔ ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﺗﻌﺎﻣﻠﻨﺎ ﻣﻊ اﻟﻤﻨﺎخ‬D‫ وﻫﻮ أﺣﺪ ا‬،‫اﻟﺘﻈﻠﻴﻞ‬ ‫اﻟﻤﺤﻠﻲ ﺣﻴﺚ أﻧﻪ ﻣﻦ اﻟﻤﻬﻢ اﻟﺘﻜﻴﻒ وﺗﻄﻮﻳﻊ اﻟﻤﺸﺎرﻳﻊ ﻣﻊ‬ .‫اﻟﺜﻘﺎﻓﺔ اﻟﻤﺤﻠﻴﺔ وﻛﻨﺎ داﺋﻤ? ﻧﻜﺴﺐ رﺿﺎ ﻋﻤﻼﺋﻨﺎ ﻋﻠﻰ ذﻟﻚ‬ ‫ ﻣﺎﻫﻮ اﻟﻤﻨﻬﺞ اﻟﺬي إﺗﺒﻌﺘﻤﻮه ﻓﻲ ﺗﺼﻤﻴﻢ‬: ‫اﻟﺒﻨﺎء‬ ‫ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث اﻟﺒﺘﺮوﻟﻴﺔ‬E‫ﻣﺮﻛﺰ اﻟﻤﻠﻚ ﻋﺒﺪا‬ ‫( ؟ وﻫﻞ ﻛﺎن ﻫﺬا اﻟﻤﺸﺮوع أول ﻣﺒﻨﻰ‬KAPSARC) ‫ﺗﺼﻤﻤﻮه ﻓﻲ اﻟﻤﻤﻠﻜﺔ ؟‬ ‫ ﻓﻲ اﻟﻮاﻗﻊ ﻗﻤﻨﺎ ﺑﺘﺼﻤﻴﻢ ﻣﺒﻨﻰ ﻓﻲ ﺟﺪة‬: ‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ in this building. In Iraq, for example, we did it in a tower and it is very strong directed with the shading element. So thats how we adapt to local climate and we are also winning happy clients and it is necessarily to adapt to local cultures as well. In regards to King Abdullah Petroleum Centre, what was your approach, and was it the first building you designed here in Saudi Arabia? Actually, I did something before in Jeddah, a cultural centre. But for this project, we wanted to do a campus feeling, so we did something which more horizontally expansive rather than doing a tower or building up hight. Then the idea of a court yard typology came up. We looked at the geometry and we decided on the hexagonal snap because we felt there is more freedom and more directions. Each cell have six neighbours rather than only four, so you get more interactions. And what is unusual about these cells is that they are not evenly sized, they become narrow, wider

‫ ﻣﺎﻫﻮ اﻟﻔﺮق ﺑﻴﻦ ﻣﻨﻬﺞ اﻟﻤﻜﺎﺗﺐ اﻟﻌﺎﻟﻤﻴﺔ ﻣﺜﻞ‬: ‫اﻟﺒﻨﺎء‬ ‫زﻫﺎ ﺣﺪﻳﺪ وﻣﻔﻬﻮم اﻟﻌﻤﺎرة اﻟﻌﺎﻟﻤﻴﺔ اﻟﺬي ﺳﺎد ﻓﻲ‬ ‫اﻟﺴﺘﻴﻨﻴﺎت واﻟﺴﺒﻌﻴﻨﻴﺎت ؟وﻣﻊ وﺟﻮد اﺧﺘﻼﻓﺎت ﻓﻲ‬ ‫اﻟﺒﻴﺌﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ ﺑﻴﻦ اﻟﻐﺮب واﻟﻤﻤﻠﻜﺔ ﻛﻴﻒ ﺗﻜﻴﻔﻮن‬ ‫ﻓﻠﺴﻔﺔ اﻟﺘﺼﻤﻴﻢ ﻟﺪﻳﻜﻢ ﻣﻊ ﺑﻴﺌﺘﻨﺎ اﻻﺟﺘﻤﺎﻋﻴﺔ وإﻟﻰ أي‬ ‫ﻋﺘﺒﺎر؟‬A‫ﺣﺪ ﻳﺘﻢ أﺧﺬ اﻟﻬﻮﻳﺔ اﻟﻤﺤﻠﻴﺔ ﻓﻲ ا‬ ‫ ﻧﺤﻦ ﺣﺮﻳﺼﻮن ﻋﻠﻰ أن ﻧﺄﺧﺬ ﻓﻲ‬: ‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ وﻫﺬا واﺿﺢ ﻓﻲ‬،‫ا(ﻋﺘﺒﺎر اﻟﺜﻘﺎﻓﺎت اﻟﻤﺤﻠﻴﺔ واﻟﻤﻨﺎخ اﻟﻤﺤﻠﻲ‬ ‫ ﻟﻠﺪراﺳﺎت واﻟﺒﺤﻮث اﻟﺒﺘﺮوﻟﻴﺔ‬,‫ﻣﺒﻨﻰ ﻣﺮﻛﺰ اﻟﻤﻠﻚ ﻋﺒﺪ ا‬ ‫ ﻟﻴﺲ ﻓﻘﻂ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺜﻘﺎﻓﺔ واﻟﻤﻨﺎخ‬. (KAPSARC) ‫ ﻣﺜﻞ ﻓﻜﺮة وﺟﻮد‬،‫اﻟﻤﺤﻠﻲ ﺑﻞ أﻳﻀ? ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺮﻣﻮز اﻟﻤﺤﻠﻴﺔ‬ ‫ ﺑﺎ(ﺿﺎﻓﺔ إﻟﻰ‬. (KAPSARC) ‫ﻓﻨﻴﺔ اﻟﺪاﺧﻠﻴﺔ ﻓﻲ ﻣﺸﺮوع‬D‫ا‬ ‫ﻓﻬﻤﻨﺎ ﻟﻤﺒﺪأ اﻟﺨﺼﻮﺻﻴﺔ ﻣﺜﻞ اﻟﺠﺎﻣﻌﺎت اﻟﻤﺨﺼﺼﺔ ﻟﻠﻨﺴﺎء‬ ‫ﺳﻮار ﻟﺘﺤﻘﻴﻖ اﻟﺨﺼﻮﺻﻴﺔ ووﺟﻮد‬D‫واﺳﺘﺨﺪام اﻟﺤﻮاﺋﻂ وا‬ ‫ ﻛﻞ ﻫﺬا ﻳﺪل‬. ‫ﻓﻀﺎء داﺧﻠﻲ ﻣﻨﻌﺰل ﻋﻦ اﻟﻔﻀﺎء اﻟﺨﺎرﺟﻲ‬ .‫ﻋﻠﻰ ﻗﺪرﺗﻨﺎ ﻋﻠﻰ ﻓﻬﻢ ﻫﺬه اﻟﻌﻮاﻣﻞ واﻟﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ‬ ‫ﻣﻦ ﺧﻼل زﻳﺎرﺗﻲ ﻫﺬه ﻻﺣﻈﺖ وﺟﻮد ﻣﺒﺎﻧﻲ ﺟﻤﻴﻠﺔ ﻓﻲ‬ ‫ ﻛﻤﺎ ﻟﻤﺴﺖ أﻧﻪ ﻻﻳﻮﺟﺪ ﻓﺮق ﻋﻦ أي ﻣﻜﺎن آﺧﺮ‬، ‫اﻟﺮﻳﺎض‬ ‫ﻓﻲ اﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻴﺚ اﻟﺘﻔﺎﻋﻞ واﻟﺤﻮار واﻟﻨﻘﺪ اﻟﻤﻬﻨﻲ‬ ‫ ﻓﺎﻟﻤﻬﻨﺔ‬. ‫وذﻟﻚ ﻋﻨﺪﻣﺎ أﻟﺘﻘﻴﺖ ﺑﻄﻠﺒﺔ اﻟﻜﻠﻴﺎت اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫ وﻳﻨﻄﺒﻖ‬، ‫اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻴﻮم أﺻﺒﺤﺖ ذات ﺛﻘﺎﻓﺔ ﻛﻮﻧﻴﺔ‬ and longer, so they change their scale to achieve verity. And having an over all texture of field for several buildings and then connect them with canopy that function as fabric for plazas and public spaces and shade it so that the hexagonal cell continues as canopies outside to achieve unity of geometry between the solid buildings and the outdoor canopies. So I would say it was an idea of campus feeling and an idea of what we call it a field condition where the field is varied rather than repetitive. This was your concept at the time of the competition but have you changed the idea after you you won the competition? It was quiet robust, We didn’t change the concept and we continued the same. Off course we got a lot of feedback, a lot of details, concerns, technical issues but the concept was there. We are having the research centre as the main spine, the conference centre and the library, and prayer 34 Albenaa

¡UM³« ≥¥


‫اﻟﺘﺼﻤﻴﻢ اﻟﺴﻌﻮدي ﻓﻴﻪ وﻛﺬﻟﻚ اﺧﺘﻴﺎر ﻫﺬا اﻟﻤﺒﻨﻰ ﻟﺘﻨﻈﻴﻢ‬ ‫ﻣﺜﻞ ﻫﺬه اﻟﻔﻌﺎﻟﻴﺎت‪ ،‬ﻛﻤﺎ إﻧﻨﻲ ﺗﺤﺪﺛﺖ أﺛﻨﺎء زﻳﺎرﺗﻲ ﻣﻊ إﺣﺪى‬ ‫اﻟﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ واﻟﺘﻲ أﺑﺪت ﻋﺰﻣﻬﺎ ﻋﻠﻰ ﺗﻨﻈﻴﻢ ﻓﻌﺎﻟﻴﺎت‬ ‫ﻓﻲ ﻫﺬا اﻟﻤﺒﻨﻰ‪ .‬ﺻﺤﻴﺢ أن اﻟﻤﺒﻨﻰ ﻳﺤﺘﻮي ﻋﻠﻰ ﻣﻜﺎﺗﺐ‬ ‫وﻟﻜﻦ ﻣﻦ اﻟﺠﻴﺪ وﺟﻮد ﻣﺮﻛﺰ ﻟﻠﺘﻈﺎﻫﺮات وﻧﻔﺲ اﻟﺸﻲء‬ ‫ﻳﻤﻜﻦ ﻗﻮﻟﻪ ﻋﻦ اﻟﻤﻜﺘﺒﺔ اﻟﺘﻲ ﺳﻴﺘﻢ إﻓﺘﺘﺎﺣﻬﺎ ﻟﻠﺠﻤﻬﻮر‪.‬‬ ‫اﻟﺒﻨﺎء‪ :‬ﻣﺎ ﻫﻮ اﻧﻄﺒﺎﻋﻚ ﻋﻦ اﻟﻌﻤﺎرة ﻓﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ؟ ﺑﺮأﻳﻚ ﻣﺎ اﻟﺬي ﻧﺤﺘﺎﺟﻪ وﻣﺎ ﻫﻮ ﻣﻔﻘﻮد؟‬ ‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ ‪ :‬ا‪K‬ﻣﺮ ا‪K‬ول ﻫﻮ ﺗﺨﻄﻴﻂ اﻟﻤﺪﻳﻨﺔ ﻫﻨﺎ ﻟﺪﻳﻜﻢ‬ ‫ﻳﺘﻢ اﻻﻋﺘﻤﺎد ﻋﻠﻰ اﻟﺴﻴﺎرة ﻓﻲ اﻟﺘﻨﻘﻞ‪ ،‬وﺑﺎﻟﺘﺎﻟﻲ ﻳﻮﺟﺪ إزدﺣﺎم‬ ‫ﻣﺮوري وﻟﻜﻦ ﺑﺈﻧﺘﻬﺎء ﻣﺸﺎرﻳﻊ اﻟﻨﻘﻞ اﻟﻌﺎم ﻟﺪﻳﻜﻢ اﻟﺘﻲ ﻫﻲ ا‪Q‬ن‬ ‫ﺗﺤﺖ اﻟﺘﻨﻔﻴﺬ ﺳﺘﻜﻮن ﻫﻨﺎك ﻧﻘﻠﺔ ﻧﻮﻋﻴﺔ ﻓﻲ اﻟﻨﻘﻞ ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬ ‫ﺣﻴﺚ ﺳﻴﻜﻮن اﻟﻨﻘﻞ اﻟﻌﺎم ﻗﺮﻳﺐ ﻟﻠﻤﺴﺎﻛﻦ ﻋﻤﺎ ﻫﻮ ﻋﻠﻴﻪ ا‪Q‬ن‬ ‫ﻣﻦ ﺧﻼل ﻗﺮب ﻣﺤﻄﺎت اﻟﻨﻘﻞ اﻟﻌﺎم )اﻟﺤﺎﻓﻼت واﻟﻤﺘﺮو( ﻣﻨﻬﺎ‬ ‫وﺳﻴﺘﻤﻜﻦ اﻟﺴﻜﺎن ﻣﻦ اﻟﻤﺸﻲ وﻟﻦ ﺗﻮﺟﺪ ﻫﻨﺎك ﻓﺎﺋﺪة ﻛﺒﻴﺮة‬ ‫ﻣﻦ اﺳﺘﺨﺪام اﻟﺴﻴﺎرة ﻓﻲ اﻟﺘﻨﻘﻞ اﻟﻴﻮﻣﻲ إﻟﻰ اﻟﻤﺤﻄﺎت وﺳﻮف‬ ‫ﺳﻴﻜﻮن ﻟﺬﻟﻚ ﺗﺄﺛﻴﺮ ﺣﻀﺮي ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ ﻋﻨﺪﻣﺎ ﺗﻜﻮن اﻟﻤﺴﺎﻛﻦ‬ ‫ﻗﺮﻳﺒﺔ ﻣﻦ اﻟﻤﺤﻄﺎت وﻋﻨﺪﻣﺎ ﻳﺴﺘﻄﻴﻊ اﻟﺴﻜﺎن اﻟﺘﻨﻘﻞ ﻣﺸﺎة‬ ‫ﻓﻲ ﻣﻤﺮات ﻣﻈﻠﻠﺔ ﺗﺠﻌﻞ ﺣﺮﻛﺔ اﻟﻨﻘﻞ ﺣﺮﻛﺔ ﻣﺆﻧﺴﻨﺔ وﻫﺬا‬ ‫ﺳﻴﺸﺠﻊ اﻟﻌﺎﻣﻠﻴﻦ ﻓﻲ ﻣﺮاﻛﺰ اﻟﻤﺪن ﻋﻠﻰ اﺳﺘﺨﺪام اﻟﻨﻘﻞ اﻟﻌﺎم‬ ‫ﺑﺪﻻً ﻣﻦ اﻟﺴﻴﺎرة ﻓﻲ رﺣﻼت اﻟﻌﻤﻞ اﻟﻴﻮﻣﻴﺔ‪.‬‬ ‫وﺳﻴﺸﻜﻞ ذﻟﻚ ﻗﻴﻤﺔ ﻣﻀﺎﻓﺔ إﻟﻰ اﻟﺤﻴﺎة ﻓﻲ اﻟﻤﺪن ‪.‬‬ ‫ﺗﺘﻤﻴﺰ اﻟﺜﻘﺎﻓﺔ اﻟﻤﺤﻠﻴﺔ ﻟﺪﻳﻜﻢ وﺗﺨﺘﻠﻒ ﻋﻦ اﻟﺜﻘﺎﻓﺎت ا‪K‬ﺧﺮى‪،‬‬ ‫ﻓﻬﻨﺎك اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺒﺎﻧﻲ وﻗﺪ أﺣﻴﻂ ﻣﻮﻗﻌﻬﺎ ﺑﺎ‪K‬ﺳﻮار‬

‫‪To get the LEED platinum rating, we had to source most‬‬ ‫‪of the materials from within a certain minimum radius.‬‬ ‫‪Therefore, we were not restricted to Saudi Arabia market.‬‬ ‫‪For instance, the concrete pillars were sourced from Abu‬‬ ‫‪Dhabi.The canopy fabric were local which was good very‬‬ ‫‪good, the steel work was amazing as well. We didn’t have‬‬ ‫‪major construction problems; but because it is a complex‬‬ ‫‪project, we had some snags. However, because we have‬‬ ‫‪a very good digital model, we were able to solve all the‬‬ ‫‪geometry issues.‬‬ ‫‪Now that the project is complete, what is your‬‬ ‫?‪impression about it‬‬ ‫‪I am amazed, and I think it is loved and successful. Off‬‬ ‫‪course, it is great to have the design week organised here‬‬ ‫‪and that they chose this building to host the event. I also‬‬ ‫‪spoke with one of the princesses and she said she liked the‬‬ ‫‪building and that she intend to host a lot of events in it.‬‬ ‫‪Off course, there is the offices but it is nice to have the‬‬ ‫‪conference centre to use it for public events and the same thing‬‬ ‫‪goes for the library which can be opened for public as well.‬‬

‫وﻫﺬا ﻧﻤﻂ ﻣﺤﻠﻲ إﻻ أﻧﻪ ﻳﺠﻌﻞ ﻣﺴﺎﺣﺎت اﻟﻤﺸﺎرﻳﻊ ﻛﺒﻴﺮة‬ ‫وﺗﺘﺒﺎﻋﺪ اﻟﻤﺴﺎﻓﺎت ﻟﻠﻮﺻﻮل إﻟﻰ ﺟﻬﺔ ﻣﻌﻴﻨﺔ ﻣﻤﺎ ﻻﻳﺸﺠﻊ‬ ‫ﻋﻠﻰ اﻟﻤﺸﻲ ‪ .‬وﻟﺬﻟﻚ ﻓﺈن ﻣﺸﺎرﻳﻊ اﻟﻨﻘﻞ اﻟﻌﺎم ﺳﺘﺴﺎﻋﺪ‬ ‫ﻋﻠﻰ ﺣﻞ ﻫﺬه اﻟﻤﺸﻜﻠﺔ ﺧﺎﺻﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺮﺣﻼت اﻟﻌﻤﻞ‬ ‫اﻟﻴﻮﻣﻴﺔ‪ .‬ا‪K‬ﻣﺮ اﻟﺬي ﺳﻴﺮﻓﻊ ﻣﻦ ﻣﺴﺘﻮى ﻣﻌﻴﺸﺔ اﻟﺴﻜﺎن‪.‬‬ ‫ﻓﻲ ﻟﻨﺪن ﻧﺤﻦ ﻧﻌﻤﻞ ﻋﻠﻰ ﺷﺊ ﻣﻤﺎﺛﻞ ﺣﻴﺚ أن ﻟﻨﺪن‬ ‫أﺻﺒﺤﺖ ﺗﻌﺎﻧﻲ ﻣﻦ ا‪c‬زدﺣﺎم اﻟﻤﺮوري وﺑﺎﻟﺘﺎﻟﻲ ﻧﺤﻦ ﻧﻌﻤﻞ‬ ‫ﻋﻠﻰ ﺗﺸﺠﻴﻊ اﻟﺴﻜﺎن ﻋﻠﻰ اﻟﻤﺸﻲ ‪ .‬اﻻﻣﺮ ا‪Q‬ﺧﺮ اﻟﺬي ارﻳﺪ‬ ‫اﻟﺘﺤﺪث ﻋﻨﻪ ﻫﻮ ان ﺑﻌﺾ اﻟﻤﺒﺎﻧﻲ اﻟﻤﻮﺟﻮدة ﺗﺴﺘﺨﺪم‬ ‫ﻣﻮاد ﺻﺎﻣﻄﺔ ﻣﺜﻞ اﻟﺤﺠﺮ‪ ،‬وﻗﺪ رأﻳﺖ اﺣﺪ اﻟﻤﺒﺎﻧﻲ اﻟﺠﻤﻴﻠﺔ‬ ‫اﻟﺘﻲ ﺗﺴﺘﺨﺪم ﻣﻔﺮدات ﻣﻌﻤﺎرﻳﺔ ﺗﺮاﺛﻴﺔ ﺗﻘﻠﻴﺪﻳﺔ ﻣﺜﻞ أﺑﺮاج‬ ‫اﻟﺘﻬﻮﻳﺔ وﻛﺬﻟﻚ ﻣﺒﺎﻧﻲ ﺟﺎﻣﻌﺔ ا‪K‬ﻣﻴﺮة ﻧﻮرة‪.‬‬ ‫وﻟﻜﻦ ﺑﺎﻟﻄﺒﻊ ﻳﺤﺘﺎج ﺗﺨﻄﻴﻂ اﻟﻤﺪﻳﻨﺔ اﻟﻰ ﻋﻤﻞ ﻣﺮﻛﺰ‬ ‫ﻟﻮﺳﻂ اﻟﻤﺪﻳﻨﺔ ﺑﺎﺑﺮاج واﻟﻮاﺿﺢ ﻫﻨﺎ وﺟﻮد ﻋﺪة ﻣﺮاﻛﺰ‪،‬‬ ‫وﺑﺎﻟﺘﺎﻟﻲ ﻳﺠﺐ اﻟﺤﺬر ﻣﻦ وﺟﻬﺔ اﻟﻨﻈﺮ اﻟﺘﺨﻄﻴﻄﻴﺔ إﻟﻰ‬ ‫ﺗﻔﺎدي اﻟﺘﻔﻜﻚ اﻟﻌﻤﺮاﻧﻲ واﻟﻌﻤﻞ ﻋﻠﻰ إﻳﺠﺎد ﻣﺮﻛﺰ ﻣﺘﺮاﺑﻂ‬ ‫ﺑﺤﻴﺚ ﻳﻤﻜﻦ اﻟﻮﺻﻮل إﻟﻴﻪ ﺑﺎﺳﺘﺨﺪام اﻟﻨﻘﻞ اﻟﻌﺎم واﻟﻤﺸﻲ‬ ‫ﺑﻴﻦ ا‪K‬ﺑﺮاج ﻟﻠﺤﺼﻮل ﻋﻠﻰ ﻣﻨﻄﻘﺔ أﻋﻤﺎل ﻧﻮﻋﺎ ﻣﺎ‪.‬‬ ‫ﻛﺬﻟﻚ ﻫﻨﺎك اﻟﺤﺎﺟﺔ ﻟﺘﻨﺎﻏﻢ ﻣﻌﻤﺎري‪ .‬وأﻧﺎ داﺋﻤ‪ h‬اﻧﺘﻘﺪ‬ ‫وﺟﻮد ﻛﺘﻞ ﻣﻦ اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﻻ ﺗﺮﺗﺒﻂ ﺑﺒﻌﻀﻬﺎ وﺑﺎﻟﺘﺎﻟﻲ‬ ‫ﺗﺼﻨﻊ ﺣﺎﻟﺔ ﻏﻮﻏﺎء ﻋﻤﺮاﻧﻲ ﺗﻔﺘﻘﺮ إﻟﻰ اﻟﺘﻨﺎﻏﻢ‪ .‬ﻫﺬه ﻟﻴﺴﺖ‬ ‫ﻣﺸﻜﻠﺔ ﻣﺤﺼﻮرة ﻫﻨﺎ ﻓﻘﻂ ﺑﻞ ﻳﻤﻜﻦ ان ﺗﺠﺪﻫﺎ ﻓﻲ أﻣﺎﻛﻦ‬ ‫أﺧﺮى ﻓﻲ اﻟﻌﺎﻟﻢ‪ ،‬ﺣﻴﺚ ﻻ ﻳﻮﺟﺪ ﺗﻨﺎﻏﻢ ﻓﻲ اﻟﻤﺮاﻛﺰ اﻟﻌﻤﺮاﻧﻴﺔ‪.‬‬ ‫ﺗﺤﺪﺛﻨﺎ ﻋﻦ اﻻﺳﻠﻮب اﻟﻌﺎﻟﻤﻲ ﻓﻲ اﻟﺨﻤﺴﻴﻨﻴﺎت واﻟﺴﺘﻴﻨﻴﺎت‬ ‫واﻟﺴﺒﻌﻴﻨﻴﺎت ﻓﻲ ذﻟﻚ اﻟﻮﻗﺖ ﻛﺎن ﻫﻨﺎك ﺗﻨﺎﻏﻢ ﻋﺎﻟﻤﻲ ﻓﻲ‬

‫‪place are the components gathering around this central‬‬ ‫‪space and you can flow in from different sides to meet in‬‬ ‫‪the central space. And this haven’t change.‬‬ ‫‪We also had from the beginning, because it is an energy‬‬ ‫‪research centre, a strong driver for environmental consideration‬‬ ‫‪and we achieved the Platinum rate and this is because we‬‬ ‫‪had the idea of having a lot of solidity and courtyards. These‬‬ ‫‪courtyards with glass but it is oriented north and it included‬‬ ‫‪an overhang shading that also has double function as it not‬‬ ‫‪only give shade but also function as wind capture because‬‬ ‫‪we staggered the building in hight so that the wind can flow‬‬ ‫‪over and into the courtyard. So you can actually step in the‬‬ ‫‪courtyard and have pleasant wind even during the summer,‬‬ ‫‪maybe not August but at least in other months. And this was‬‬ ‫‪based on the driver for environmental considerations. We also‬‬ ‫‪have solar panels on top of the these wind shades.‬‬ ‫‪What were the challenges during the construction‬‬ ‫‪process, and were their any difficulties faced in procuring‬‬ ‫‪materials? Were there any issues with the technological‬‬ ‫?‪capabilities and the know-how of the contractors‬‬

‫∑≥ «‪¡UM³‬‬

‫‪37 Albenaa‬‬


‫ وﻫﺬا ﻳﻮﻓﺮ‬،‫ﺧﺎﺻﺔ وأﻧﻪ ﺗﻢ ﺑﻨﺎء اﻟﻤﺸﺮوع ﻋﻠﻰ أرض ﻣﺮﺗﻔﻌﺔ‬ ‫ﻣﺮ اﻟﺬي ﻳﻌﻤﻞ ﻋﻠﻰ‬C‫ ا‬. ‫ﻓﻨﻴﺔ‬C‫ﺣﺮﻛﺔ رﻳﺎح أﻗﻮى ﺗﺪﺧﻞ إﻟﻰ ا‬ ‫ﻓﻨﻴﺔ ﻓﻲ ﺟﻤﻴﻊ أﺷﻬﺮ اﻟﺼﻴﻒ ﻣﺎ‬C‫ﺗﻠﻄﻴﻒ اﻟﺠﻮ ﻓﻲ ﻫﺬه ا‬ ‫ ﻫﺬا اﻟﺤﻞ ﺗﻢ اﻟﻮﺻﻮل إﻟﻴﻪ ﺑﻨﺎء` ﻋﻠﻰ‬.‫ﻋﺪا ﺷﻬﺮ أﻏﺴﻄﺲ‬ ‫ ﻛﻤﺎ‬. ‫ﻋﺘﺒﺎرات اﻟﺒﻴﺌﻴﺔ ﻓﻲ اﻟﺤﺴﺒﺎن‬H‫ﺧﺬ ا‬C ‫اﻟﺪاﻓﻊ ﻟﺪﻳﻨﺎ‬ ‫ اﺳﺘﺨﺪﻣﻨﺎ ﻫﺬه اﻟﻤﻈﻼت ﻟﺘﺮﻛﻴﺐ أﻟﻮاح اﻟﻄﺎﻗﺔ‬7‫أﻧﻨﺎ أﻳﻀ‬ . ‫اﻟﺸﻤﺴﻴﺔ ﻋﻠﻴﻬﺎ ﻟﻠﺘﻮﻓﻴﺮ ﻓﻲ اﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫ ﻣﺎ ﻫﻲ اﻟﻌﻘﺒﺎت اﻟﺘﻲ واﺟﻬﺘﻤﻮﻫﺎ ﻓﻲ أﻋﻤﺎل‬:‫اﻟﺒﻨﺎء‬ ‫ وﻫﻞ واﺟﻬﺘﻢ ﺻﻌﻮﺑﺎت ﻓﻲ اﻟﺤﺼﻮل ﻋﻠﻰ‬،‫اﻻﻧﺸﺎء‬ ‫اﻟﻤﻮاد اﻟﻼزﻣﺔ؟ وﻫﻞ واﺟﻬﺘﻢ ﻋﻮاﺋﻖ ﻣﻦ ﺣﻴﺚ ﺧﺒﺮة او‬ ‫اﻣﻜﺎﻧﻴﺎت اﻟﻤﻘﺎوﻟﻴﻦ اﻟﻤﺤﻠﻴﻴﻦ؟‬ ‫ اﻟﺒﻼﺗﻴﻨﻲ‬LEED ‫ ﻟﻠﺤﺼﻮل ﻋﻠﻰ ﺗﺼﻨﻴﻒ‬: ‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ﻳﻤﻜﻦ ﺗﻮﻓﻴﺮ اﻟﻤﻮاد ﻣﻦ أﻣﺎﻛﻦ ﺗﻘﻊ ﻓﻲ ﻣﺤﻴﻂ ﻣﺤﺪد ﺣﻮل ﻣﻮﻗﻊ‬ ‫ ﻓﻌﻠﻰ‬،‫ وﻟﺬﻟﻚ ﻟﻢ ﻧﻜﻦ ﻣﺤﺪدﻳﻦ ﺑﺎﻟﺴﻮق اﻟﻤﺤﻠﻲ‬،‫اﻟﻤﺸﺮوع‬ ،‫ﻋﻤﺪة اﻟﺨﺮﺳﺎﻧﻴﺔ ﺗﻢ ﺗﻮرﻳﺪﻫﺎ ﻣﻦ أﺑﻮ ﻇﺒﻲ‬C‫ ا‬،‫ﺳﺒﻴﻞ اﻟﻤﺜﺎل‬ ‫أﻣﺎ ﻧﺴﻴﺞ اﻟﻤﻈﻼت ﻓﻜﺎن ﻣﻦ اﻟﺴﻮق اﻟﻤﺤﻠﻲ وﻛﺎن ﻣﻦ ﻧﻮﻋﻴﺔ‬ ‫ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﻘﺎوﻟﻴﻦ‬،‫ﻋﻤﺎل اﻟﺤﺪﻳﺪﻳﺔ ﻛﺎﻧﺖ راﺋﻌﺔ ﻛﺬﻟﻚ‬C‫ ا‬.‫ﺟﻴﺪة‬ ‫ﻧﺸﺎء وﻟﻜﻦ اﻟﻌﻮاﺋﻖ ﻛﺎﻧﺖ‬H‫اﻟﻤﺤﻠﻴﻴﻦ ﻟﻢ ﻧﻮاﺟﻪ ﻋﻘﺒﺎت ﻛﺒﺮى ﻓﻲ ا‬ ‫ إﻻ أﻧﻪ ﺑﺴﺒﺐ ﺗﻮﻓﺮ ﺑﺮاﻣﺞ‬،‫ﻃﺒﻴﻌﻴﺔ ﺑﺴﺒﺐ ﺗﻌﻘﻴﺪات اﻟﻤﺸﺮوع‬ .‫ﻣﻮر اﻟﻬﻨﺪﺳﻴﺔ‬C‫ﻛﻤﺒﻴﻮﺗﺮ ﻋﺎﻟﻴﺔ اﻟﻘﺪرة اﺳﺘﻄﻌﻨﺎ أن ﻧﺤﻞ ﻛﻞ ا‬

‫اﻟﻔﻜﺮة ﻛﺎﻧﺖ أن ﻳﻜﻮن ﻣﺮﻛﺰ اﻟﺒﺤﻮث اﻟﻤﺤﻮر اﻟﺮﺋﻴﺲ‬ ،‫ اﻟﻤﻜﺘﺒﺔ و اﻟﻤﺼﻠﻰ‬،‫ﻟﻠﻤﺸﺮوع وﻳﺤﻴﻂ ﺑﻪ ﻣﺮﻛﺰ اﻟﻤﺆﺗﻤﺮات‬ ‫وﻳﻤﻜﻦ اﻟﻮﺻﻮل إﻟﻰ اﻟﻤﺮﻛﺰ اﻟﺮﺋﻴﺲ ﻣﻦ أي ﻣﻦ ﻫﺬه‬ ‫ وﺑﺴﺒﺐ ﻛﻮن‬.‫ ﻟﻢ ﺗﺘﻐﻴﺮ‬7‫ ﻫﺬه اﻟﻔﻜﺮة أﻳﻀ‬،‫اﻟﻤﻜﻮﻧﺎت‬ ‫ﺑﺤﺎث اﻟﻄﺎﻗﺔ ﻛﺎن ﻟﺪﻳﻨﺎ داﻓﻊ ﻟ<ﺧﺬ ﻓﻲ‬C ‫اﻟﻤﺒﻨﻰ ﻣﺮﻛﺰ‬ ‫ وﻗﺪ ﺣﺼﻠﻨﺎ ﻋﻠﻰ ﺗﺼﻨﻴﻒ‬، ‫ﻋﺘﺒﺎرات اﻟﺒﻴﺌﻴﺔ‬H‫اﻟﺤﺴﺒﺎن ﺑﺎ‬ ‫ﻓﻨﻴﺔ‬C‫ وﻫﺬا ﺑﺴﺒﺐ ﺗﺤﻘﻴﻘﻨﺎ ﻟﻔﻜﺮة ا‬،‫( اﻟﺒﻼﺗﻴﻨﻲ‬LEED) ‫ ﺗﻢ‬. ‫اﻟﺪاﺧﻠﻴﺔ وﺗﺤﻘﻴﻖ ﺗﺮاﺑﻂ ﻗﻮي ﺑﻴﻦ ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع‬ ‫ﻓﻨﻴﺔ ﺑﺈﺗﺠﺎه اﻟﺸﻤﺎل و ﺗﻐﻄﻴﺘﻬﺎ ﺑﺘﻈﻠﻴﻼت ﻛﺎن‬C‫ﺗﻮﺟﻴﻪ ا‬ ‫ ﺣﻴﺚ أن ﻫﺬه اﻟﺘﻈﻠﻴﻼت ﻻﺗﻘﻮم ﻓﻘﻂ‬،‫ﻟﻬﺎ أﻛﺜﺮ ﻣﻦ وﻇﻴﻔﺔ‬ ،‫ﻓﻨﻴﺔ‬C‫ ﺗﻘﻮم ﺑﺠﺬب اﻟﺮﻳﺎح إﻟﻰ داﺧﻞ ا‬7‫ﺑﺘﻮﻓﻴﺮ اﻟﻈﻞ ﺑﻞ أﻳﻀ‬

‫ ﻣﺎﻫﻮ اﻧﻄﺒﺎﻋﻚ ﻋﻨﻪ؟‬،‫ ا=ن واﻟﻤﺸﺮوع ﻗﺪ أﻛﺘﻤﻞ‬:‫اﻟﺒﻨﺎء‬ ‫ وأﻋﺘﻘﺪ أن اﻟﻤﺸﺮوع ﻧﺠﺢ وﻧﺎل‬،‫ أﻧﺎ ﻣﺬﻫﻮل‬: ‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ ﺑﺎﻟﻄﺒﻊ ﻛﺎن ﻣﻦ اﻟﺠﻴﺪ أن ﻳﺘﻢ ﺗﻨﻈﻴﻢ اﺳﺒﻮع‬،‫ﺧﺮﻳﻦ‬k‫إﻋﺠﺎب ا‬

What is your impression of architecture in Saudi Arabia? What you think is needed and what is missing, what is Ok for you? One thing is the urbanism, it is very car based. So you get a problem of traffic. But if you bring in the public transportation, which you do, then you also have transformation opportunity of having people living close to underground stations. Then they will be able to walk, cause there is no point of using a car to commute and drive to stations. So that will have an urban impact of having residential construction close by and to have shaded walkways to bring you elegantly to the stations. This will ease mobility of workers to the downtown using trains, and this is an improvement. It is very different culture, so you have a lot of the development being large sites and walled. This create distance between destination, and that’s a challenge for everything being walkable. But for the main daily routines of commuting from residential places to work places, I think it is very important to have public transport. Therefore, pedestrians will have a possibility of a certain lifestyle. In London, we are working on this too as London is getting swamped by its own traffic.

So we also want to encourage people to use bicycles. The other point I would like to make is that some of the buildings here use solid materials, like stones. I saw a nice building that uses traditional features like the wind tower and more campus like feeling like the PNU. But off course you need a kind of downtown cluster with towers. It seems you have several clusters, Therefore, you have to be careful urbanistically it does not become too fragmented and have a consolidated downtown in which you can come in with a train and walk between towers to get a kind of central business district hub. Also you need coherency in architecture. I have always criticised that you have conglomeration of buildings which have no relation to each other then you get something which looks very chaotic that lacks harmony. That is not your problem alone, and it can be perceived elsewhere. There is a lack of harmony when it comes to clusters and that what the lecture will be about. You talked about the international style of the 50’s, 60’s & 70’s at that period, you had more of a global coherence in architectural style and at that time you get more coherent urban districts. Whereas in contemporary

36 Albenaa

¡UM³« ≥∂


‫ ﻛﻤﺎل ﻓﻌﻠﻬﺎ اﻟﻴﺎﺑﺎﻧﻴﻮن ﻣﻦ‬،‫اﻟﺼﻴﻨﻴﻴﻦ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‬ ‫ وﺣﺘﻰ ﻓﻲ اﻟﺪول اﻟﺼﻐﻴﺮة ا<وروﺑﻴﺔ اﻣﺜﺎل ﺑﺠﺎرك اﻧﺠﻴﻠﺰ‬.‫ﻗﺒﻞ‬ ‫ ﻓﻲ‬.‫)ﻣﻜﺘﺐ ﺑﻴﺞ( ﻣﻦ اﻟﺪاﻧﻤﺎرك ورﻳﻢ ﻛﻮﻟﻬﺎس ﻣﻦ ﻫﻮﻟﻨﺪا‬ ‫ﺑﻌﺾ اﻻﺣﻴﺎن ﻗﺪ ﻳﺤﺪث أن ﻳﺒﺮز ﻫﻨﺎك اﺣﺪ اﻟﺮﻳﺎدﻳﻴﻦ اﻟﺬي‬ ‫ وﻗﺪ ﻳﺘﺤﻘﻖ ﻫﺬا ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ‬،‫ﻳﻤﻜﻦ أن ﻳﻘﻮد ﻫﺬا اﻻﻧﺘﻘﺎل‬ ‫ ﻓﻲ اﻟﻌﻤﺎرة ﻳﻤﻜﻦ ان ﺗﻜﻮن ﻣﺸﻬﻮر_ ﺑﺎﻳﺠﺎد ﺣﻠﻮل‬.‫اﻟﻘﺮﻳﺐ‬ .‫اﺑﺪاﻋﻴﺔ اﻟﺘﻲ ﻟﻴﺲ ﻣﻦ اﻟﻀﺮوري ان ﺗﻜﻮن ﻟﻤﺸﺮوﻋﺎت ﺿﺨﻤﺔ‬ ‫ﻓﻤﺜﻼ ﻧﺤﻦ ﻓﻲ زﻫﺎ ﺣﺪﻳﺪ ﻣﻌﻤﺎرﻳﻴﻮن اﺻﺒﺤﻨﺎ ﻣﺸﻬﻮرﻳﻦ ﻣﻦ‬ ‫ وﻟﻜﻦ ﻟﻴﺤﺪث ﻫﺬا ﻣﻦ اﻟﻀﺮوري ان ﻳﻜﻮن‬، ‫اﻟﻤﺸﺎرﻳﻊ اﻟﺼﻐﻴﺮة‬ ‫ وﻫﺬا ﻳﻤﻜﻦ أن‬.‫ﻫﻨﺎك إﺧﻼص ﻓﻲ اﻟﺒﺤﺚ وأﺻﺎﻟﺔ ﻓﻲ اﻟﻌﻤﻞ‬ . ‫ﻳﺤﺪث ﻓﻲ أي ﻣﻜﺎن ﻓﻲ اﻟﻌﺎﻟﻢ‬

‫ ﻣﺎ ﻫﻮ‬،‫ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻌﻤﻼﺋﻚ اﻟﺬﻳﻦ ﺗﻌﺎﻣﻠﺖ ﻣﻌﻬﻢ ﻫﻨﺎ‬:‫اﻟﺒﻨﺎء‬ ‫ ﻫﻞ ﻛﺎﻧﺖ ﻟﺪﻳﻬﻢ ﻣﺘﻄﻠﺒﺎت ﻛﺜﻴﺮة وﻫﻞ‬،‫اﻧﻄﺒﺎﻋﻚ ﻋﻨﻬﻢ‬ ‫اﻋﻄﻮك ﺣﺮﻳﺔ ﻓﻲ اﻟﻌﻤﻞ؟‬ ‫ ﻛﺎﻧﺖ ﻟﺪﻳﻬﻢ ﻣﺘﻄﻠﺒﺎت ﻛﺜﻴﺮة ﻻﻧﻨﺎ ﻛﻨﺎ‬:‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ﻧﻌﻤﻞ ﺿﻤﻦ ﺟﺪول ﻣﺤﺪد وﻟﻜﻦ ﻛﺎﻧﺖ ﻟﺪﻳﻬﻢ اﻟﺤﺮﻓﻴﺔ ﻓﻲ‬ ‫ ﺗﻢ اﻧﺸﺎء‬،‫ ﻓﻲ اﻟﻮاﻗﻊ‬.‫اﻟﺘﻌﺎﻣﻞ وﻟﺪﻳﻨﺎ ﻣﻌﻬﻢ ﻋﻼﻗﺔ ﻃﻴﺒﺔ‬ ‫ﻣﻜﺘﺐ ﻟﻬﻢ ﻣﻌﻨﺎ ﻓﻲ ﻟﻨﺪن وادارة ﻓﺮﻳﻖ واﺣﺪ ﻣﻦ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬ ‫ وﻫﺬا ﻛﺎن اﻣﺮ ﺟﻴﺪ ﺣﻴﺚ اﺳﺘﻮﻋﺒﻮا أن اﻟﻌﻤﺎرة‬.‫واﻟﻤﻬﻨﺪﺳﻴﻦ‬ ‫ﻫﻲ ﻋﻤﻞ اﺑﺪاﻋﻲ وﺗﺤﺘﺎج إﻟﻰ ﺟﻮدة ﻓﻲ اﻟﺘﻨﻔﻴﺬ وأن ا<ﻣﺮ‬ ‫ﻳﺤﺘﺎج إﻟﻰ اﻟﺘﺼﻤﻴﻢ اﻟﺪﻗﻴﻖ ﻛﻤﺎ ﻛﺎن ﻟﺪﻳﻬﻢ داﻓﻊ ﻟﻠﺘﻌﻠﻢ‬ .‫وﻓﻲ اﻻﺟﻤﺎﻟﻲ ﻛﺎﻧﺖ ﺗﺠﺮﺑﺔ ﺟﻴﺪة‬ ‫ ﻋﻠﻰ اﻟﻤﻜﺎﺗﺐ‬4‫ اﻟﻤﻜﺎﺗﺐ اﻟﻌﺎﻟﻤﻴﺔ ﺗﺘﻔﻮق ﻛﺜﻴﺮ‬:‫اﻟﺒﻨﺎء‬ ‫ ﻓﻲ رأﻳﻚ ﻛﻴﻒ ﻳﻤﻜﻦ‬،‫اﻟﻤﺤﻠﻴﺔ ﻓﻲ ﺧﺒﺮاﺗﻬﺎ واﻣﻜﺎﻧﻴﺎﺗﻬﺎ‬ ‫ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ اﻟﻤﺤﻠﻠﻴﻦ اﻟﻤﻨﺎﻓﺴﺔ؟‬

‫ وﻟﻜﻦ ﻳﺠﺐ ﻋﻠﻰ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬،‫ ﻫﺬا أﻣﺮ ﺻﻌﺐ‬:‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫ وﻋﻠﻰ‬.‫اﻟﻤﺤﻠﻴﻴﻦ ﺗﻌﻠﻢ ﻛﻴﻔﻴﺔ اﻟﻌﻤﻞ ﻋﻠﻰ ﻣﺴﺘﻮى ﻋﺎﻟﻤﻲ‬ ‫ﻧﻔﺘﺎح‬H‫ﺿﺎﻓﺔ إﻟﻰ اﻟﺘﻌﻠﻴﻢ اﻟﻤﺤﻠﻲ ا‬H‫اﻟﻤﻌﻤﺎرﻳﻴﻦ اﻟﺸﺒﺎب ﺑﺎ‬ ‫ﻋﻠﻰ اﻟﺘﻌﻠﻴﻢ اﻟﻤﻌﻤﺎري ﻓﻲ اﻟﺨﺎرج ﺑﺤﻴﺚ ﻳﺠﺐ ان ﻳﺘﻌﻠﻤﻮا‬ ‫ وﻋﻨﺪﻫﺎ‬،‫ﻓﻦ اﻟﻤﻬﻨﺔ واﻻﻓﻜﺎر واﻟﻤﻔﺎﻫﻴﻢ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻌﺎﻟﻤﻴﺔ‬ .L‫ﻳﻤﻜﻨﻬﻢ اﻟﺘﻨﺎﻓﺲ ﻋﺎﻟﻤﻴ‬ ‫ وﻟﺪﻳﻜﻢ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﺒﺪﻋﻴﻦ‬،‫اﻟﺮﻳﺎض ﻣﺮﻛﺰ ﺣﻀﺮي راﺋﻊ‬ ‫ وﻣﻦ‬L‫اﻟﻨﺎﺷﺌﻴﻦ واﻟﺬﻳﻦ ﻳﻤﻜﻦ ان ﻳﺼﻨﻌﻮ اﺳﻤﺎﺋﻬﻢ ﻣﺤﻠﻴ‬ ‫ وﻫﺬا ﻣﺎ ﻳﺤﺼﻞ اﻻن ﻣﻊ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬.‫ﺛﻢ ﻳﺘﻨﻘﻠﻮ اﻟﻰ اﻟﻌﺎﻟﻤﻴﺔ‬

conditions, you have a pluralism of styles which I think is a temporary condition and we should overcome it. I am working on developing what I call parametericism, that is a contemporary style which is bit more organic and can do more adaptive, complex, and varied architecture compared to the international style of the 60’s, and still should be able to create a sense of unity within the urban district. Is it like Hausmann Paris? Well the historical cities are clear. Most historical urban districts have a certain formal unity and coherency because they had a more restricted pallet of materials, symmetry, proportions, motif, details. All historical built cities are beautiful in this way. In the modernist period you can still have something like Brasilia, Miami, where there is coherency. Later in 80’s & 90’s they became more divers which reflect adversity of contemporary pluralism. I think it created a change for the beauty of the city. What can you advise local architects on doing? Well what could be great asset if local architects study and take on environmental issues not only because of

39 Albenaa

¡UM³« ≥π

comfort and energy savings, but also if you have a rigorous engagement with environmental parameters; for instance, with respect to shading, thermal mass, features like that to attempt to make cool and ventilated exterior spaces that could give unity to all the buildings so you can see in which climate a building it belongs to. You can see a tropical building, a northern building; this comes through the colours as well. If everybody can do this, you will get a regional flavour, and you can still do this and have all the amenities you’d like. You can still have large buildings, tall buildings, contemporary buildings but that all share the way of adapting to the climate which gives that unity across their differences. So that what I recommend. For the local authorities also, they have a role to play. I think they should not be too restrictive, because the city needs to grow and discover what it needs. It is difficult for a planner to know but I think investments in public infrastructure and public squares that would be the role of the authorities and also curating the architecture. This is not an easy thing to balance because you need to allow some architectural freedom. Also, I think there is more


: ‫ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‬،‫ﻟﺪﻳﻬﻢ ﺗﻔﺎﻋﻞ ﻗﻮي ﻣﻊ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺒﻴﺌﻴﺔ‬ ‫ ﺣﻮاﺋﻂ ﺳﻤﻴﻜﺔ وﻋﻨﺎﺻﺮ ﻛﻬﺬه ﻣﺜﻞ ﻣﺤﺎوﻟﺔ اﻳﺠﺎد‬،‫اﻟﺘﻈﻠﻴﻞ‬ ‫ﻓﻀﺎء ﺧﺎرﺟﻲ ﻣﺒﺮد وﺑﻪ ﺗﻬﻮﻳﺔ وﻟﺘﺤﻘﻴﻖ اﻟﻮﺣﺪة ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ‬ ،‫ﺑﺤﻴﺚ ﻧﺘﻌﺮف ﻣﻦ ﺧﻼل ﻋﻤﺎرﺗﻪ ﻋﻠﻰ اﻟﻤﻨﺎخ اﻟﺬي ﻳﻨﺘﻤﻲ إﻟﻴﻪ‬ ‫ﻓﻬﻨﺎك ﻣﺒﺎﻧﻲ ﺗﻨﺘﻤﻲ ﻟﻠﻤﻨﺎخ اﻻﺳﺘﻮاﺋﻲ وﻫﻨﺎك ﻣﺒﺎﻧﻲ ﺗﻨﺘﻤﻲ‬ ‫ إذا اﺳﺘﻄﺎع اﻟﺠﻤﻴﻊ ﺗﺤﻘﻴﻖ ﻫﺬا‬.‫ﻟﻠﻤﻨﺎﻃﻖ اﻟﺸﻤﺎﻟﻴﺔ اﻟﺒﺎردة‬ ‫ وﻳﻤﻜﻨﻜﻢ ﻋﻤﻞ‬.‫ﺳﻨﺼﻞ إﻟﻰ ﺻﻔﺔ ﻣﻤﻴﺰة ﺗﺮﻣﺰ ﻟﻠﻤﻨﻄﻘﺔ‬ ‫ذﻟﻚ وﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ ﺗﻮﻓﺮون اﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ واﻟﻤﻴﺎه ﻓﻲ‬ ‫ ﻛﻤﺎ ﻳﻤﻜﻨﻜﻢ ﺑﻨﺎء ﻣﺒﺎﻧﻲ ﺿﺨﻤﺔ وﻣﻌﺎﺻﺮة وﻟﻜﻦ‬،‫اﻟﻤﺒﺎﻧﻲ‬ ‫ﻳﺠﺐ أن ﺗﻜﻮن ﻣﺘﻨﺎﺳﻘﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﺗﺸﺘﺮك ﻓﻲ اﻟﺘﻜﻴﻒ‬ ‫ ﻛﻤﺎ ﻋﻠﻰ اﻟﺠﻬﺎت‬.‫ وﻫﺬا ﻳﺼﻨﻊ وﺣﺪة ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ‬،‫ﻣﻊ اﻟﻤﻨﺎخ‬ ‫اﻟﻤﺴﺆﻟﺔ أن ﺗﺨﻔﻒ ﻣﻦ اﺷﺘﺮاﻃﺎﺗﻬﺎ ﻻن اﻟﻤﺪﻳﻨﺔ ﺗﺤﺘﺎج ﻟﺘﻨﻤﻮ‬ ‫ اﻳﻀﺎ ﻣﻦ اﻟﺼﻌﺐ ﻋﻠﻰ اﻟﻤﺨﻄﻄﻴﻦ‬،‫وﺗﺴﺘﻜﺸﻒ ﻣﺎ ﺗﺤﺘﺎﺟﻪ‬ ‫ ﻟﻜﻦ ﻛﻤﺎ أﻧﻪ ﻣﻦ اﻟﻤﻬﻢ اﻻﺳﺘﺜﻤﺎر‬.‫ﻣﻌﺮﻓﺔ ﻣﺎ ﺳﺘﺤﺘﺎﺟﻪ اﻟﻤﺪن‬ ‫ وﻫﺬا أﺣﺪ أدوار اﻟﺠﻬﺎت‬،‫ﻓﻲ اﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ و اﻟﺴﺎﺣﺎت اﻟﻌﺎﻣﺔ‬ ‫ ﻫﺬا اﻻﻣﺮ ﻻ ﻳﻤﻜﻦ ﺗﺤﻘﻴﻘﻪ ﺑﺴﻬﻮﻟﺔ وﻟﻜﻦ ﻫﻨﺎك‬.‫اﻟﻤﺤﻠﻴﺔ‬ .‫ﺿﺮورة ﻻﻋﻄﺎء ﺑﻌﺾ اﻟﺤﺮﻳﺔ ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ‬ ‫ ﻫﻨﺎك دور ﻟﻠﻬﻴﺌﺎت اﻟﻬﻨﺪﺳﻴﺔ واﻟﻤﺠﻼت اﻟﻤﺘﺨﺼﺼﺔ‬c‫اﻳﻀ‬ ‫ﻓﻲ اﻟﺘﺮوﻳﺞ واﻟﻨﻘﺪ وﺻﻨﻊ ﻣﺠﺎل ﻟﻠﺘﺤﺎور واﻟﻨﻘﺎش اﻟﺬي ﻳﻄﻮر‬ ‫ وﻫﺬا ﻳﺴﺎﻋﺪ ﻋﻠﻰ اﻟﺘﻌﺎون‬،‫ﻗﻴﻢ ﻣﻌﻴﻨﺔ ﻳﺘﺸﺎرك ﻓﻴﻬﺎ اﻟﺠﻤﻴﻊ‬ ‫ وﻋﻨﺪ ﺗﻨﻈﻴﻢ ﻣﺴﺎﺑﻘﺎت ﻣﻌﻤﺎرﻳﺔ ﺑﻤﺸﺎرﻛﺔ‬،‫ﺑﻴﻦ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬ ‫ﻣﻌﻤﺎرﻳﻴﻦ ﻋﺎﻟﻤﻴﻴﻦ ﻳﺠﺐ ان ﻳﻜﻮن اﻟﻤﻌﻤﺎرﻳﻴﻦ اﻟﻤﺤﻠﻴﻴﻦ ﻓﻲ‬ ‫اﻟﻠﺠﺎن اﻟﺘﺤﻜﻴﻤﻴﺔ ﻟﻠﻤﺴﺎﺑﻘﺎت ﻟﻀﻤﺎن ﺗﺤﻘﻴﻖ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬ .‫اﻟﻌﺎﻟﻤﻴﻴﻦ ﻟﻠﻤﺘﻄﻠﺒﺎت اﻟﻤﺤﻠﻴﺔ‬

tasks for the chamber of architectures and architectural magazines to promote and criticise as well as creating a culture of discourse that develop set of values which you share and obviously this help the local architects to come together. And when international architects come in, you should have competitions with the Saudi architects among the jury. In this way you insure that architects who come here are well adapted to the requirements. With Regards to clients you were dealing with here, what is your thoughts on them, Were they too demanding or gave you too much freedom? No they were actually demanding because we had a very tight schedule and they’ve been very professional and we had good relation with them. Actually, they came to London and co-located with us and manage one team in one big space, architects & engineers. So that was very good for such a complex project. They had to learn that architecture is different from oil platforms. And that there is a creative element and an element of quality and execution, which requires careful design. So they had a learning curve but at the end it was quiet good.

‫ﻧﻤﻂ اﻟﻌﻤﺎرة وﻛﺎﻧﺖ اﻟﻨﺘﻴﺠﺔ ﻓﻲ ذﻟﻚ اﻟﻮﻗﺖ وﺟﻮد ﺗﻨﺎﻏﻢ ﻓﻲ‬ ‫ وﻟﻜﻦ ﻳﺨﺘﻠﻒ اﻻﻣﺮ اﻻن ﻓﻲ اﻟﻌﻤﺎرة اﻟﻤﻌﺎﺻﺮة‬.‫اﻟﻤﺮاﻛﺰ اﻟﻌﻤﺮاﻧﻴﺔ‬ ‫ﺣﻴﺚ ﻳﻮﺟﺪ ﻋﺪة اﻧﻤﺎط ﻟﻠﻌﻤﺎرة واﻋﺘﻘﺪ ان ﻫﺬه اﻟﺤﺎﻟﺔ ﻫﻴﺌﺔ ﻣﺆﻗﺘﺔ‬ ‫ ا@ن ان اﻋﻤﻞ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻣﻔﻬﻮم اﻟﺒﺎراﻣﻴﺘﺮﻳﺴﻴﺰم‬.‫وﻳﺠﺐ ﺗﺠﺎوزﻫﺎ‬ ‫وﻫﻮ ﻧﻤﻂ ﻣﻌﺎﺻﺮ وﻳﻤﻜﻦ اﻟﻘﻮل اﻧﻪ ﻣﻔﻬﻮم اﺳﺎﺳﻲ ﺣﻴﺚ ﻳﻤﻜﻦ‬ ‫ﻣﻦ ﺧﻼﻟﻪ ﺗﻄﻮﻳﻊ اﻟﻌﻤﺎرة وﺗﻌﻘﻴﺪاﺗﻬﺎ وﺗﻨﻮﻳﻌﻬﺎ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻌﻤﺎرة‬ ‫ وﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ ﻳﻤﻜﻦ ان ﻳﺤﻘﻖ ذﻟﻚ‬،‫اﻟﻌﺎﻟﻤﻴﺔ ﻓﻲ اﻟﺴﺘﻴﻨﻴﺎت‬ .‫ﻧﻮﻋﺎ ﻣﻦ اﻟﺘﻮﺣﻴﺪ ﻓﻲ اﻟﻤﺮاﻛﺰ اﻟﻌﻤﺮاﻧﻴﺔ‬ ‫ ﻣﺜﻞ ﻧﻤﻂ ﻋﻤﺎرة ﻣﺪﻳﻨﺔ ﺑﺎرﻳﺲ اﻟﺘﺎرﻳﺨﻴﺔ؟‬:‫اﻟﺒﻨﺎء‬ ‫ وﻣﻌﻈﻢ اﻟﻤﻨﺎﻃﻖ‬،‫ اﻟﻤﺪن اﻟﺘﺎرﻳﺨﻴﺔ واﺿﺤﺔ‬:‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫اﻟﻌﻤﺮاﻧﻴﺔ ﻟﺪﻳﻬﺎ وﺣﺪة إﻋﺘﺒﺎرﻳﺔ وﺗﻨﺎﻏﻢ ﻟﻮﺟﻮد ﻣﺤﺪدات ﻓﻲ‬ ‫ ﻛﻞ اﻟﻤﺪن‬.‫ واﻟﻌﻨﺎﺻﺮ واﻟﺘﻔﺎﺻﻴﻞ‬،‫ اﻻﺣﺠﺎم‬،‫اﻟﺘﻨﺎﺳﻖ‬، ‫اﻟﻤﻮاد‬ ،‫اﻟﺘﺎرﻳﺨﻴﺔ اﻟﺘﻲ ﺑﻨﻴﺖ ﻋﻠﻰ ﻫﺬه اﻻﻋﺘﺒﺎرات ﻛﺎﻧﺖ ﻣﺪن ﺟﻤﻴﻠﺔ‬ ‫وﻟﻜﻦ ﻓﻲ ﺑﺪاﻳﺔ ﻓﺘﺮة اﻟﺤﺪاﺛﺔ ﻛﺎن ﻳﻤﻜﻨﻚ أن ﺗﺠﺪ ﻓﻲ ﻣﺪن ﻣﺜﻞ‬ ‫ إﻻ أﻧﻪ ﻓﻲ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت‬.‫ﺑﺮازﻳﻠﻴﺎ وﻣﻴﺎﻣﻲ ﺣﻴﺚ ﻳﻮﺟﺪ ﻫﻨﺎك ﺗﻨﺎﻏﻢ‬ ‫واﻟﺘﺴﻌﻴﻨﻴﺎت ﺣﺼﻞ ﻫﻨﺎك ﺗﺸﺘﺖ ﻧﻮﻋﻲ ﻋﻜﺲ ﺑﺪوره اﻟﺘﻌﺪدﻳﺔ‬ .‫ وﻫﺬا أﺛﺮ ﻋﻠﻰ ﺟﻤﺎل اﻟﻤﺪن‬.‫ﻓﻲ اﻟﻌﻤﺎرة اﻟﻤﻌﺎﺻﺮة‬ ‫ ﻣﺎ ﻫﻲ اﻟﻨﺼﻴﺤﺔ اﻟﺘﻲ ﻳﻤﻜﻦ ان ﺗﻘﺪﻣﻬﺎ‬:‫اﻟﺒﻨﺎء‬ ‫ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ اﻟﻤﺤﻠﻠﻴﻦ؟‬ ‫ ﻣﺎ ﻳﻤﻜﻦ ان ﻳﻜﻮن اﺿﺎﻓﺔ ﻛﺒﻴﺮة ﻫﻮ ان ﻳﻘﻮم‬:‫ﺑﺎﺗﺮﻳﻚ ﺷﻮﻣﺎﺧﺮ‬ ‫اﻟﻤﻌﻤﺎرﻳﻮن ﺑﺎﻟﺪراﺳﺔ واﻟﺘﻌﻤﻖ ﺑﺎﻻﻣﻮر اﻟﺒﻴﺌﻴﺔ ﻟﻴﺲ ﻓﻘﻂ‬ ‫ﻟﺘﺤﻘﻴﻖ اﻟﺮاﺣﺔ او ﻟﺘﺮﺷﻴﺪ اﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ وﻟﻜﻦ ﻟﻴﻜﻮن‬

International offices surpasses local architects in their experience and work capabilities. In your view, how can local architects compete? It is difficult, I don’t know but you have to learn how to operate globally. What I see here is that a lot of young generation of architects go to universities. If you you study abroad and come back with learnings of those tricks and acquire those ideas and working methodologies, then you can compete globally. Riyadh is a great metropolis, you have a lot of talent here who can first build their reputation locally then export it. And that is what you find happening with Chinese architects, for example. Also, the Japanese have done it for quiet a while. Even in small countries, like Denmark, with the likes of Bjark Ingles. Holland is a small country but have REM Koolhaas. Sometimes one figure can spawn the others, and maybe if there is a future hare who can spawn other local architects to compete globally. In architecture, you can be very famous with creative solutions that don’t have to be big. We at Zaha Hadid Architects got famous for smaller projects and the same happened with a lot of architects. But this has to do initially with originality and with sincerity of your research which could happen anywhere.

38 Albenaa

¡UM³« ≥∏


‫ﺳﺎﺣﺔ ﺛﻘﺎﻓﻴﺔ‬ ‫‪Dongdaemun Design Plaza‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Zaha Hadid Architects‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2014 :‬م‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﻴﻮل ‪ ،‬ﻛﻮرﻳﺎ‬

‫اﻟﻤﺴﺎﺣﺔ ‪ :‬ﺣﺪﻳﻘﺔ اﻟﻤﻴﺪان ‪ ٣٠ :‬اﻟﻒ م‪٢‬‬ ‫اﻟﻤﺒﺎﻧﻲ ‪ ٨٦٥٧٤ :‬م‪٢‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ ٤٣٠ :‬ﻣﻠﻴﻮن دوﻻر ﺗﻘﺮﻳﺒﺎ‬

‫‪© Photography by Virgile Simon Bertrand‬‬

‫ﺻﻤﻢ اﻟﻤﺸﺮوع ﻛﻤﺮﻛﺰ ﺛﻘﺎﻓﻲ ﺟﺎذب ‪+‬ﺣﺪ أﻛﺜﺮ أﺣﻴﺎء‬ ‫اﻟﻤﺪﻳﻨﺔ إزدﺣﺎﻣ@ وﻋﺮاﻗﺔ ﺗﺎرﻳﺨﻴﺔ ‪ .‬اﻟﻤﺮﻛﺰ اﻟﺜﻘﺎﻓﻲ اﻟﺠﺪﻳﺪ‬ ‫ﻣﻔﺘﻮح ﻟﻜﻞ ا‪+‬ﻋﻤﺎر واﻟﻔﺌﺎت ‪ ،‬وﻫﻮ ﻣﻜﺎن ﻳﺮاد ﻟﻪ أن ﻳﻜﻮن‬ ‫ﻣﺤﺮﻛ@ ﻟﻠﺘﻮاﺻﻞ وﺗﺒﺎدل ا‪O‬راء وا‪+‬ﻓﻜﺎر ‪ ،‬ﻛﻤﺎ ﻳﻘﺪم وﻳﻌﺮف‬ ‫ﻣﻦ ﺧﻼل اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎت ووﺳﺎﺋﻞ ا‪S‬ﻋﻼم اﻟﺤﺪﻳﺜﺔ ﻋﻠﻰ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻌﺎرض واﻟﻤﻨﺎﺳﺒﺎت اﻟﺘﻲ ﺗﻐﺬي وﺗﺰﻳﺪ ﻣﻦ‬ ‫اﻟﺤﻴﻮﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ‪ .‬ﺟﻤﻊ اﻟﻤﺼﻤﻢ ﺑﻴﻦ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﻤﻌﻤﺎري وﺗﻨﺴﻴﻖ اﻟﻤﻮاﻗﻊ واﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺘﺮاث‬ ‫اﻟﺘﺎرﻳﺨﻲ ‪S‬ﺧﺮاج ﻫﺬا اﻟﻤﺸﺮوع إﻟﻰ ﺣﻴﺰ اﻟﻮﺟﻮد ‪ ،‬ﻓﺎﻟﻤﺒﺎﻧﻲ‬ ‫ﺗﻘﻊ داﺧﻞ ﺳﺎﺣﺔ ﻋﺎﻣﺔ ﻳﻘﻄﻌﻬﺎ ﺳﻮر اﻟﻤﺪﻳﻨﺔ اﻟﺘﺎرﻳﺨﻴﺔ‪،‬‬ ‫ﻛﻤﺎ ﺗﺤﺘﻮي ﻋﻠﻰ ﺣﻔﺮﻳﺎت أﺛﺮﻳﺔ ‪ .‬ﻳﺘﻤﻴﺰ اﻟﻤﺸﺮوع ﺑﻌﺪد ﻣﻦ‬ ‫اﻟﻔﻀﺎءات ذات ا‪S‬ﺳﺘﻌﻤﺎﻻت اﻟﺜﻘﺎﻓﻴﺔ ﻣﻦ ﻣﻌﺎرض ﻟﻠﻔﻨﻮن‬ ‫وﻗﺎﻋﺔ ﻣﺤﺎﺿﺮات و ﻣﺘﺤﻒ وﻣﻌﺮض ﻟﻔﻨﻮن اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ‬ ‫ﻫﻴﺌﺔ ﻣﻤﺮات وﻣﻌﺎﻣﻞ ﻓﻨﻴﺔ وﺑﻬﻮ أﻛﺎدﻳﻤﻲ وﻣﺮﻛﺰ إﻋﻼﻣﻲ‬ ‫وﻏﺮف ﻟﻠﻨﺪوات وﻣﺠﺎﻟﺲ ﻟﻠﻤﺼﻤﻤﻴﻦ وﺳﻮق ﻟﻠﺘﺼﻤﻴﻢ‪،‬‬ ‫ﺗﻔﺘﺢ ﺟﻤﻴﻌﻬﺎ أﺑﻮاﺑﻬﺎ أرﺑﻌﺔ وﻋﺸﺮﻳﻦ ﺳﺎﻋﺔ ﻳﻮﻣﻴ@‪ ،‬أﻣﺎ‬ ‫ﺑﺎﻗﻲ اﻟﺴﺎﺣﺔ ﻓﺘﻘﻊ ﻓﻴﻪ ﺣﺪﻳﻘﺔ ﻋﺎﻣﺔ‪ .‬ﻳﺘﺴﻢ اﻟﻤﺸﺮوع‬ ‫ﺑﺴﻴﻮﻟﺔ ﺗﺼﻤﻴﻤﻴﺔ ﺗﺸﺠﻊ ﻋﻠﻰ اﻟﺘﻔﺎﻋﻞ ﺑﻴﻦ اﻟﺴﺎﺣﺔ‬ ‫وﺳﻜﺎن اﻟﻤﺪﻳﻨﺔ‪ .‬ﻳﻌﺘﺒﺮ اﻟﻤﺸﺮوع ﺑﻤﺜﺎﺑﺔ واﺣﺔ ﺧﻀﺮاء ﻓﻲ‬ ‫وﺳﻂ ﻧﺴﻴﺞ ﻋﻤﺮاﻧﻲ ﻛﺜﻴﻒ ‪ ،‬ﺗﺘﻼﺷﻰ ﻓﻴﻪ اﻟﺤﺪود ﺑﻴﻦ‬ ‫ﻋﻤﺎرة اﻟﻤﺒﺎﻧﻲ وﺣﺪﻳﻘﺔ اﻟﺴﺎﺣﺔ ‪ ،‬وﺗﻨﺪﻣﺞ ﺑﻴﻦ ﺑﻌﻀﻬﻤﺎ‬ ‫اﻟﺒﻌﺾ ‪ ،‬ا‪+‬ﻣﺮ اﻟﺬي ﻳﺠﻌﻞ اﻟﻤﺸﺮوع ﻋﺎﻣﻞ ﺗﻮاﺻﻞ ﺑﻴﻦ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﺤﺪﻳﺜﺔ واﻟﻄﺒﻴﻌﺔ اﻟﺨﻀﺮاء واﻟﺘﺮاث اﻟﺘﺎرﻳﺨﻲ ‪ .‬وﻗﺪ‬ ‫ﺗﺤﻘﻖ ذﻟﻚ ﻧﺘﻴﺠﺔ ﺗﻀﺎﻓﺮ ﻛﻞ ﻣﻦ ﻣﻤﻴﺰات اﻟﻤﻮﻗﻊ واﻟﺜﻘﺎﻓﺔ‬ ‫اﻟﻤﺤﻠﻴﺔ وﺗﺤﻘﻴﻖ ﻣﺘﻄﻠﺒﺎت اﻟﺒﺮﻧﺎﻣﺞ اﻟﻤﻌﻤﺎري وإﺳﺘﺨﺪام‬ ‫أﺣﺪث ﻃﺮق اﻟﺘﺼﻤﻴﻢ وا‪S‬ﻧﺸﺎء اﻟﺘﻲ ﺳﺎﻫﻤﺖ ﺟﻤﻴﻌﻬﺎ ﻓﻲ‬ ‫رﻓﻊ ﻛﻔﺎءة اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وﺗﻨﺴﻴﻖ اﻟﻤﻮﻗﻊ واﻟﺪﻣﺞ‬ ‫ﺑﻴﻨﻬﻤﺎ ﻓﻲ ﺗﺸﻜﻴﻞ ﻓﻀﺎءات اﻟﻤﺸﺮوع ‪ .‬ﻳﺤﻘﻖ اﻟﺘﺼﻤﻴﻢ‬ ‫وﻇﻴﻔﺔ إﺳﺘﺮﺷﺎدﻳﺔ ﻣﻦ ﺧﻼل ﺳﻴﻮﻟﺔ اﻟﺘﺸﻜﻴﻞ اﻟﻬﻨﺪﺳﻲ‬ ‫ﻟﺨﻄﻮﻃﻪ اﻟﺘﻲ ﺗﻮاﻛﺐ ﻣﺴﺎرات اﻟﺤﺮﻛﺔ و ﺗﻌﻤﻞ ﻋﻠﻰ ﺗﻮﺟﻴﻪ‬ ‫اﻟﺰوار داﺧﻞ اﻟﻤﺒﺎﻧﻲ‪ ،‬ﻓﺎﻟﻤﺸﺮوع ﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻓﺮاغ واﺣﺪ‬ ‫ﻣﺴﺘﻤﺮ ﻳﺘﺴﻊ وﻳﻀﻴﻖ وﻳﺘﺸﻜﻞ ﺣﺴﺐ ﻧﻮع وإﺣﺘﻴﺎﺟﺎت‬

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‫‪41 Albenaa‬‬


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‫ﻛﻞ إﺳﺘﻌﻤﺎل ﻟﻴﺤﻘﻖ اﻟﻤﺸﺮوع ﺑﺬﻟﻚ ﻓﻀﺎء ﻋﻤﺮاﻧﻴ ﻣﻦ‬ ‫ﻧﻮع ﺟﺪﻳﺪ ‪ .‬وﺑﻴﻨﻤﺎ ﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ اﻟﻤﺒﺎﻧﻲ ‪٨٦٥٧٤‬م‪ ٢‬وﺗﻀﻢ‬ ‫ﻣﻜﺘﺒﺔ ﻋﺎﻣﺔ وﻣﺘﺤﻒ ﻟﻔﻨﻮن اﻟﺘﺼﻤﻴﻢ وﻣﺮاﻓﻖ ﺗﻌﻠﻴﻤﻴﺔ‬ ‫ﻓﻘﺪ ﺗﻢ اﺳﺘﺨﺪام ﻣﺴﺎﺣﺔ اﻟﺴﺎﺣﺔ اﻟﺒﺎﻟﻐﺔ ‪ ٣٠‬اﻟﻒ م‪٢‬‬ ‫ﻟﺘﺼﻤﻴﻢ ﺣﺪﻳﻘﺔ ﻋﻠﻰ اﻟﻄﺮاز اﻟﻜﻮري اﻟﺘﻘﻠﻴﺪي اﻟﺘﻲ‬ ‫اﺳﺘﻮﺣﻲ ﺗﺸﻜﻴﻠﻬﺎ ﻣﻦ اﻟﻠﻮﺣﺎت اﻟﻔﻨﻴﺔ ﻟﻠﺤﺪاﺋﻖ اﻟﺘﺎرﻳﺨﻴﺔ‪.‬‬ ‫اﺳﺘﺨﺪم ﻓﻲ اﻟﺘﺼﻤﻴﻢ ورﺳﻢ اﻟﻤﺨﻄﻄﺎت و‪J‬ول ﻣﺮة ﻓﻲ‬ ‫ﻛﻮرﻳﺎ ﺑﺮاﻣﺞ اﻟﺘﺼﻤﻴﻢ اﻟﺮﻗﻤﻴﺔ اﻟﺒﺮاﻣﺘﺮﻳﺔ ﻟﺘﺼﻤﻴﻢ وﺗﺤﺪﻳﺪ‬ ‫ا‪J‬ﺷﻜﺎل ) ‪ ( PARAMETRIC Design‬ورﺳﻢ اﻟﻤﺠﺴﻤﺎت‬ ‫اﻟﺜﻼﺛﻴﺔ ا‪J‬ﺑﻌﺎد اﻟﺘﻲ ﺗﺤﺘﻮي ﻋﻠﻰ ﻛﺎﻓﺔ ﻣﻌﻠﻮﻣﺎت وﺗﻔﺎﺻﻴﻞ‬ ‫اﻟﻤﺸﺮوع ) ‪ ( BIM‬ﻟﻠﺘﻨﺴﻴﻖ ﺑﻴﻦ أﻋﻤﺎل اﻟﺘﺼﻤﻴﻢ وا‪V‬ﻧﺸﺎء‬ ‫واﻟﺘﻲ ﺗﺴﻬﻞ ﻛﺬﻟﻚ ﻋﻠﻰ اﻟﻤﻬﻨﺪﺳﻴﻦ إﺟﺮاء ﻛﺎﻓﺔ‬ ‫اﻟﺘﻐﻴﺮات و اﻟﺘﻌﺪﻳﻼت اﻟﻬﻨﺪﺳﻴﺔ اﻟﺘﻲ ﺗﺤﻘﻖ ﻣﺘﻄﻠﺒﺎت‬ ‫اﻟﺠﻬﺔ ﺻﺎﺣﺒﺔ اﻟﻤﺸﺮوع ﺑﻜﻔﺎءة ودﻗﺔ ﻋﺎﻟﻴﺔ‪ .‬ﻓﻔﻲ ﻛﻞ‬ ‫ﺧﻄﻮات اﻟﺘﺼﻤﻴﻢ ﺗﻢ ﺗﺤﻘﻴﻖ ﻣﺘﻄﻠﺒﺎت ﻛﻞ ﺟﺰءﻣﻦ أﺟﺰاء‬ ‫اﻟﻤﺸﺮوع ﻋﻠﻰ أﻧﻬﺎ ﻣﺘﻄﻠﺒﺎت ذات ﻋﻼﻗﺎت ﻓﺮاﻏﻴﺔ ﻣﺘﺸﺎﺑﻜﺔ‬ ‫ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﺗﻌﻤﻞ ﻋﻠﻰ ﺗﺤﻘﻴﻖ اﻟﺘﺸﺎﺑﻚ اﻻﺟﺘﻤﺎﻋﻲ‬ ‫واﻟﺴﻠﻮﻛﻲ داﺧﻞ وﺣﻮل ﻣﺤﻴﻂ اﻟﻤﺸﺮوع ‪ .‬ﺑﺤﻴﺚ ﺗﻜﻮن‬ ‫ﻫﺬه اﻟﻌﻼﻗﺎت ﻫﻲ اﻟﺘﻲ ﺗﺸﻜﻞ ا‪V‬ﻃﺎر اﻟﺘﺼﻤﻴﻤﻲ اﻟﺬي‬ ‫ﻳﺤﺪد ﻛﻴﻒ ﻳﻤﻜﻦ أن ﺗﺘﻔﺎﻋﻞ ﻛﺎﻓﺔ ﻣﺘﻄﻠﺒﺎت اﻟﻤﺸﺮوع ﻣﺜﻞ‬ ‫اﻟﺘﻜﻮﻳﻦ اﻟﺘﻨﻈﻴﻤﻲ ﻟﻠﻔﺮاﻏﺎت وﺑﺮﻧﺎﻣﺞ اﻟﻤﺘﻄﻠﺒﺎت اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫و إﺣﺘﻴﺎﺟﺎت اﻟﺘﺨﺼﺼﺎت اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﻬﻨﺪﺳﻴﺔ اﻟﻤﺨﺘﻠﻔﺔ‬ ‫اﻟﺪاﺧﻠﺔ ﻓﻲ اﻟﺘﺼﻤﻴﻢ ‪.‬وﻣﻊ إﺳﺘﺨﺪام اﻟﺒﺮاﻣﺞ اﻟﺒﺮاﻣﺘﺮﻳﺔ‬ ‫اﻟﺜﻼﺛﻴﺔ ا‪J‬ﺑﻌﺎد واﻟﺘﺼﻤﻴﻢ اﻟﺮﻗﻤﻲ ﺗﻤﻜﻦ اﻟﻤﺼﻤﻢ ﻣﻦ ﻋﻤﻞ‬ ‫اﻟﺘﺠﺎرب اﻟﻤﺴﺘﻤﺮة ﻋﻠﻰ ﻣﻘﺘﺮﺣﺎت اﻟﺘﺼﻤﻴﻢ وﺗﻌﺪﻳﻠﻪ ﺗﺒﻌ‬ ‫ﻟﻬﺎ ودﻣﺞ ﻣﺘﻄﻠﺒﺎت اﻟﺘﺼﺎﻣﻴﻢ اﻟﻬﻨﺪﺳﻴﺔ واﻟﺘﻨﻔﻴﺬﻳﺔ‬ ‫اﻟﻤﺘﺨﺼﺼﺔ ا‪J‬ﺧﺮى واﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ا‪J‬ﻓﻜﺎر اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫ا‪J‬ﺻﻠﻴﺔ ﻃﻮال ﻣﺮاﺣﻞ اﻟﺘﺼﻤﻴﻢ واﻟﺘﻨﻔﻴﺬ وإﺧﺘﺼﺎر ﻣﺪدﻫﺎ‪،‬‬ ‫ﻣﻊ اﻟﺴﻤﺎح ﻟﻠﻤﺼﻤﻤﻴﻦ واﻟﻤﻬﻨﺪﺳﻴﻦ ﺑﺎﻟﺘﺤﻜﻢ اﻟﺘﺎم ﻋﻠﻰ‬ ‫أﻋﻤﺎل اﻟﺘﺼﻤﻴﻢ وﺗﻔﺎﺻﻴﻞ وﺗﻜﻠﻔﺔ وﺗﻨﻔﻴﺬ اﻟﻤﺸﺮوع‪ .‬ﻣﻦ‬ ‫اﻫﻢ ﻣﻤﻴﺰات اﻟﻤﺸﺮوع اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺒﺮاﻣﺘﺮﻳﺔ ﻫﻲ ﺗﺼﻤﻴﻢ‬ ‫ﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت اﻟﺨﺎرﺟﻴﺔ اﻟﺘﻲ ﺗﺘﻜﻮن ﻣﻦ ﻧﻈﺎم وﺣﺪات‬ ‫ﺗﻐﻄﻴﺔ ﻣﻜﻮن ﻣﻦ ‪٤٥‬اﻟﻒ وﺣﺪة ذات ﻗﻴﺎﺳﺎت ﻣﺘﻨﻮﻋﺔ‬ ‫ﺻﻨﻌﺖ ﺑﺰواﻳﺔ ﻣﻴﻞ ﻣﺨﺘﻠﻔﺔ وﺑﻄﺮق ﻣﺘﻄﻮرة ﻟﻠﺘﺸﻜﻴﻞ‬ ‫اﻟﻤﻌﺪﻧﻲ اﻟﻜﻤﻲ ﻟﻠﻮﺣﺪات‪ .‬ﻟﻘﺪ ﺳﻤﺢ اﻟﺘﺼﻤﻴﻢ اﻟﺒﺮاﻣﺘﺮي‬ ‫ﻟﻨﻈﺎم ﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت ﺑﺄن ﻳﺘﻢ ﺗﺸﻜﻴﻠﻪ وﻫﻨﺪﺳﺘﻪ‬ ‫وإﺟﺮاء اﻟﺘﻌﺪﻳﻼت اﻟﻤﺨﺘﻠﻔﺔ ﻋﻠﻴﻪ ﺗﺤﺖ رﻗﺎﺑﺔ ﻋﺎﻟﻴﺔ ﻟﻠﺘﻜﻠﻔﺔ‬ ‫واﻟﻨﻮﻋﻴﺔ ﻋﻠﻰ ﻣﺪى ﻣﺮاﺣﻞ ﺗﻨﻔﻴﺬه ﻣﻊ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ‬ ‫ﺗﺼﻤﻴﻤﻪ اﻟﻤﻌﻤﺎري ا‪J‬ﺻﻠﻲ دون أي ﺗﻐﻴﻴﺮ ‪.‬‬ ‫ﺟﺎءت اﻟﻮﺣﺪات اﻟﻤﻌﺪﻧﻴﺔ ﻣﺜﻘﺒﺔ ﺑﻨﻈﺎم ﺗﻨﻘﻴﻂ‬ ‫)‪ (pixilation and perforation patterns‬ﻳﻌﻄﻲ ﻣﻈﻬﺮ‬ ‫ﺿﻮﺋﻲ دﻳﻨﺎﻣﻴﻜﻲ ﻣﺘﻨﻮع ﻟﻠﻮاﺟﻬﺎت ﺣﺴﺐ ﺳﺎﻋﺎت اﻟﻨﻬﺎر‬ ‫وﻓﺼﻮل اﻟﺴﻨﺔ‪ ،‬ﻓﺘﺎرة ﻳﻈﻬﺮ اﻟﻤﺒﻨﻰ ﺑﺸﻜﻞ ﻓﺮﻳﺪ ﻳﺘﻤﻴﺰ‬ ‫ﻋﻦ ﻣﺎ ﺣﻮﻟﻪ‪ ،‬وﺗﺎرة ﻳﺘﻤﺎﺷﻰ ﻣﻊ ﻣﺤﻴﻄﻪ ‪ .‬وﻓﻲ اﻟﻠﻴﻞ ﺗﺎرة‬ ‫ﻳﻌﻜﺲ إﻧﺎرة ﻣﺤﻴﻄﻪ‪ ،‬وﺗﺎرة ﺗﻌﻤﻞ ا‪V‬ﻧﺎرة اﻟﺬاﺗﻴﺔ ﻟﻠﻤﺒﻨﻰ‬ ‫ﻋﻠﻰ ﺗﺤﺪﻳﺪ ﺷﻜﻠﻪ اﻟﺨﺎرﺟﻲ واﻟﻄﺎﺑﻊ اﻟﻤﻌﻤﺎري اﻟﻤﻤﻴﺰ ﻟﻪ ‪.‬‬

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From the Architect Report: The DDP has been designed as a cultural hub at the centre of one of the busiest and most historic districts of the city. It is a place for people of all ages; a catalyst for the instigation and exchange of ideas and a place for new technologies and media to be explored - presenting an ever-changing menu of exhibitions and events that feeds the cultural vitality of the city. The DDP is an architectural landscape that revolves around the ancient city wall and newly discovered cultural artefacts which form the central element of the composition linking the park and plaza together. The fluid design encourages the greatest degree of interaction between the park and the people of Seoul. The new DDP park is a place for leisure, relaxation and refuge - a green oasis within the busy urban surroundings of Dongdaemun. The design integrates the park and plaza seamlessly as one, blurring the boundary between architecture and nature in a continuous, fluid landscape that connects the city, park and architecture together. Voids and inflections in the park’s surface give visitors glimpses into the innovative world of design below, making the DDP an important link between the city’s contemporary culture, emerging nature and history. The DDP design is the very specific result of how the context, local culture, programmatic requirements and innovative engineering come together - allowing the architecture, city and landscape to seamlessly combine in both form and spatial experience. The park is accessible to everyone, with folds and inflections in its surface that welcome and direct visitors through different levels of the interior. The design blurs the boundaries between architecture and urban landscape, solid and void, interior and exterior. It is an architectural landscape

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where concepts of spatial flow are made real – creating a whole new kind of civic space for the city. The 86,574 square meter DDP comprises a design museum, library and educational facilities, whilst the 30,000 square meter park reinterprets the celebrated spatial concepts of traditional Korean garden design: layering, horizontality, blurring relationship between the interior and the exterior – with no single feature dominating the perspective. This approach is further informed by historic local painting traditions that depicting grand visions of the ever-changing aspects of nature. We congratulate the client’s vision. The DDP design and construction sets many new high standards. DDP is the first public project in Korea to implement advanced 3-dimensional digital construction services that ensure the highest quality and cost controls. These include 3-dimensional Building Information Modelling (BIM) for construction management and engineering coordination, enabling the design process to adapt with the evolving client brief and integrate engineering requirements. These innovations have empowered the team building DDP to control the construction with much greater precision than conventional processes and improve efficiencies. These construction technologies make DDP one of Korea’s most innovative and technological advanced constructions and my gratitude to the city of Seoul is very deep. DDP engages the community in a collective dialogue where many contributions and innovations feed into each other, allowing talents and ideas to flourish. In combination with the city’s exciting public cultural programs, DDP is an important investment in the education and inspiration of future generations; further developing Korea as a center of innovation.


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© Photography by Virgile Simon Bertrand

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Š Photography by Virgile Simon Bertrand

Š Photography by Virgile Simon Bertrand


‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Zaha Hadid Architects‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ :‬ﺟﺎري اﻟﺘﻨﻔﻴﺬ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺑﻴﺠﻴﻦ ‪ ،‬اﻟﺼﻴﻦ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 313000 :‬م‪2‬‬ ‫اﻟﺴﻌﺔ ‪ ٧٢ :‬ﻣﻠﻴﻮن ﻣﺴﺎﻓﺮ ‪ /‬اﻟﺴﻨﺔ‬

‫‪Render by Methanoia © Zaha Hadid Architects‬‬ ‫‪Render by Methanoia © Zaha Hadid Architects‬‬

‫ا‪6‬رﺿﻲ ﻟﻴﺤﻤﻞ اﻟﺴﻘﻒ إﻧﺸﺎﺋﻴ& وﻟﻴﻮﻓﺮ ا‪$‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ ‪،‬‬ ‫ﺑﺤﻴﺚ ﻳﺠﻤﻊ اﻟﻤﻄﺎر ﺗﺤﺖ ﺳﻘﻒ واﺣﺪ أﻛﺒﺮ ﻋﺪد ﻣﻦ ﺑﻮاﺑﺎت‬ ‫اﻟﺴﻔﺮ وﻳﺨﺪم ﺟﻤﻴﻊ اﻟﻤﺴﺎﻓﺮﻳﻦ ﻓﻲ ﺻﺎﻟﺔ ﺳﻔﺮ ﻣﺮﻛﺰﻳﺔ‬ ‫واﺣﺪة ‪ ،‬ﺑﺪﻻً ﻣﻦ اﻟﻨﻤﻮذج اﻟﺴﺎﺋﺪ اﻟﺬي ﺗﺘﻮزع ﻓﻴﻪ ﺧﺪﻣﺎت‬ ‫اﻟﺴﻔﺮ ﻋﻠﻰ ﻋﺪد ﻣﻦ اﻟﺼﺎﻻت اﻟﺼﻐﻴﺮة اﻟﺘﻲ ﺗﺮﺗﺒﻂ ﻓﻴﻤﺎ‬ ‫ﺑﻴﻨﻬﺎ ﺑﻮﺳﺎﺋﻞ ﻧﻘﻞ ﺟﻤﺎﻋﻲ أو ﺣﺎﻓﻼت ‪ .‬ا‪6‬ﻣﺮ اﻟﺬي ﻳﻘﻠﻞ ﻣﻦ‬ ‫اﻟﺒﺼﻤﺔ اﻟﻜﺮﺑﻮﻧﻴﺔ ﻟﻠﻤﻄﺎر ﺧﻼل ﻣﺮﺣﻠﺔ اﻟﺒﻨﺎء وﻋﻠﻰ ﻣﺪى‬ ‫ﻣﺮاﺣﻞ ﺗﺸﻐﻴﻞ اﻟﻤﻄﺎر ‪ .‬ﻳﻀﻢ اﻟﻤﻄﺎر ﻣﺮﻛﺰ ﻧﻘﻞ ﻋﺎم ﻳﺼﻞ‬ ‫اﻟﻤﻄﺎر ﺑﻤﺮﻛﺰ ﺑﻜﻴﻦ ﻣﺒﺎﺷﺮة واﻟﻤﺪن اﻟﻘﺮﻳﺒﺔ ﻋﺒﺮ ﺧﻄﻮط‬ ‫اﻟﺴﻜﻚ اﻟﺤﺪﻳﺪﻳﺔ‪.‬‬ ‫«‪—UD*« v≈ qšb*«Ë WOzd« WNł«u‬‬ ‫‪¡UM³« ¥π‬‬

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‫أﺣﺪث ﻣﻄﺎرات ﺑﻜﻴﻦ‬ ‫‪Beijing New Airport Terminal Building‬‬

‫‪ÂUF« luLK —uEM‬‬

‫ﺳﻮف ﻳﻘﺪم وﻳﻀﻴﻒ ﻫﺬا اﻟﻤﻄﺎر اﻟﺠﺪﻳﺪ ﻟﺒﻜﻴﻦ ﺧﺪﻣﺎت‬ ‫ﻟﻌﺪد ‪ ٧٢‬ﻣﻠﻴﻮن ﻣﺴﺎﻓﺮ ﺳﻨﻮﻳﺎ ﻣﻮزﻋﻴﻦ ﻋﻠﻰ ﻋﺪد ‪ ٦٣٠‬اﻟﻒ‬ ‫رﺣﻠﺔ و ‪ ٤‬ﻣﺪارج ﻟﻠﻄﺎﺋﺮات ﻛﻤﺎ ﻳﺴﻤﺢ ﺑﺘﻮﺳﻌﺎت ﻟﺨﺪﻣﺔ‬ ‫‪ ١٠٠‬ﻣﻠﻴﻮن ﻣﺴﺎﻓﺮ و‪ ٤‬ﻣﻠﻴﻮن ﻃﻦ ﻣﻦ اﻟﺸﺤﻦ اﻟﺠﻮي ﺳﻨﻮﻳﺎ‪.‬‬ ‫ﺻﻤﻢ اﻟﻤﺸﺮوع اﻟﺬي ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ ‪ ٣١٣‬اﻟﻒ م‪ ٢‬ﻟﻴﻘﺪم‬ ‫أﻗﺼﻰ ﻣﻌﺎﻳﻴﺮ ا‪G‬ﺳﺘﻌﻤﺎل ﺳﻬﻮﻟﺔ وﻓﻌﺎﻟﻴﺔ وﻗﺎﺑﻠﻴﺔ ﻟﻠﺘﻮﺳﻊ‬ ‫اﻟﻤﺴﺘﻘﺒﻠﻲ وﻟﺘﺄﺧﺬ اﻟﻤﺒﺎﻧﻲ ﺗﺸﻜﻴ ً‬ ‫ﻼ ﻫﻨﺪﺳﻴ‪ K‬ﻋﻠﻰ ﻫﻴﺌﺔ‬ ‫‪ ٦‬أذرع ) أﺟﻨﺤﺔ ﺳﻔﺮ ( ﺗﻨﻄﻠﻖ ﻣﻦ ﻣﺮﻛﺰ وﺳﻄﻲ ) ﺻﺎﻟﺔ‬ ‫اﻟﺴﻔﺮ( ﺑﻄﺮﻳﻘﺔ إﺷﻌﺎﻋﻴﺔ ﺗﻘﻠﻞ ﻣﻦ ﺣﺮﻛﺔ اﻟﻤﺴﺎﻓﺮﻳﻦ‬ ‫وﺗﺴﺎﻋﺪ ﻋﻠﻰ ﻣﺮوﻧﺔ ﻋﻤﻠﻴﺎت اﻟﺴﻔﺮ اﻟﻤﺨﺘﻠﻔﺔ ‪.‬‬

‫∏‪¡UM³« ¥‬‬

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‫ﻓﺎﻟﻤﺸﺮوع ذو ﺗﺼﻤﻴﻢ ﻣﻜﺘﻨﺰ )‪ (Compact Design‬ﻳﻬﺪف‬ ‫ﻟﺘﻘﻠﻴﻞ ﻣﺴﺎﻓﺎت اﻟﻤﺸﻲ ﺑﻴﻦ ﻛﺎوﻧﺘﺮات اﻟﺴﻔﺮ وﺑﻮاﺑﺎت‬ ‫اﻟﺼﻌﻮد ﻟﻠﻄﺎﺋﺮات وﻛﺬﻟﻚ ﺑﻴﻦ ﺑﻮاﺑﺎت اﻟﻄﺎﺋﺮات ﻓﻴﻤﺎ‬ ‫ﺑﻴﻨﻬﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﺴﺎﻓﺮﻳﻦ اﻟﻤﻮاﺻﻠﻴﻦ ﻟﻠﺴﻔﺮ‪ .‬ﺗﺘﺮﻛﺰ‬ ‫ﻓﻲ ﺻﺎﻟﺔ اﻟﺴﻔﺮ اﻟﻤﺮﻛﺰﻳﺔ ﻛﻞ ﺧﺪﻣﺎت اﻟﻤﺴﺎﻓﺮﻳﻦ وﺗﺘﻔﺮع‬ ‫ﻣﻨﻬﺎ اﻻﺟﻨﺤﺔ اﻟﻤﺆدﻳﺔ إﻟﻰ ﺑﻮاﺑﺎت اﻟﺼﻌﻮد إﻟﻰ اﻟﻄﺎﺋﺮات‬ ‫ﻣﺴﺘﻠﻬﻤﺔ ﺑﺬﻟﻚ ﻣﺒﺎديء اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري اﻟﺼﻴﻨﻲ‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ واﻟﺬي ﻳﺤﺒﺬ ﺗﻮزﻳﻊ اﻟﻔﻌﺎﻟﻴﺎت ﺣﻮل ﻓﻨﺎء وﺳﻄﻲ‪.‬‬ ‫ﺻﻤﻢ ﺳﻘﻒ اﻟﻤﻄﺎر ﺑﺸﻜﻞ ﻣﻄﻮي ﻣﻘﺒﺐ او ﻗﻄﻌﻲ‬ ‫ﻣﻜﺎﻓﻲء )‪ (PARABOLIC FOLDS‬ﻳﻼﻣﺲ اﻟﻤﺴﺘﻮى‬


Render by Methanoia © Zaha Hadid Architects

From the Architect Report: With the city’s existing airport at capacity, Beijing’s new international airport will serve the world’s fastest growing aviation sector. Initially accommodating 72 million passengers per year (630,000 flights each year on 4 runways), the new airport is designed for further expansion to accommodate 100 million passengers and 4 million tonnes of cargo annually. The 313,000m2 new terminal building has been designed to be extremely user-focussed, efficient and adaptable for future growth; its 6-pier radial design gives exceptional convenience for passengers and flexibility in operations.The terminal’s compact design minimises distances between check-in and gate, as well as minimises distances between gates for transferring passengers. Every aircraft pier radiates directly from the terminal’s main central court where all passenger services and amenities are located, enabling passengers to simply walk the short distances to everywhere they need to go. Evolving from principles within traditional Chinese architecture that organise interconnected spaces around a central courtyard, the terminal’s design guides all passengers seamlessly through the relevant departure, arrival or transfer zones towards the grand courtyard at its centre – a multi-layered meeting space at the very heart of the terminal. Flowing parabolic folds within the terminal’s vaulted roof reach to the ground to support the structure and bring natural light within, directing all passengers towards the central courtyard. Housing many aircraft gates in one terminal with a single passenger handling centre – rather than many smaller terminals and continuous inter-terminal shuttle trains – significantly reduces the carbon footprint of the airport throughout its construction and operational lifetime; helping to achieve the airport’s very high targets of environmental management and sustainability. Designed to adapt to operate in many different configurations dependant on varying aircraft and passenger traffic throughout each day, the new airport will include an integrated transport centre offering direct links to Beijing city centre, local rail services and the national high-speed rail network, making the airport an important hub within Beijing’s growing transport network and a catalyst for economic development in Tianjin and Hebei Province. Following the 2011 international competition, in October 2014 the Beijing New Airport Headquarters (BNAH) created a Joint Design Team bringing together ADP Ingeniérie (ADPI) and Zaha Hadid Architects’ group members Buro Happold, Mott Macdonald and EC Harris to collaborate on the optimised concept design for the new Beijing international airport terminal building. The project is led by the Local Design Institute under the leadership of BNAH.

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‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Zaha Hadid Architects‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2017 :‬م‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺮﻳﺎض ‪ .‬اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 70000 :‬م‪2‬‬

‫‪© Photography by Hufton + Crow‬‬

‫ﺗﻄﻮع ﺗﺸﻜﻴﻞ اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ ﻟﻤﻜﻮﻧﺎت اﻟﻤﺸﺮوع‬ ‫وﺗﻮزﻳﻌﻬﺎ ﻓﻲ ا‪,‬ﻣﺎﻛﻦ اﻟﻤﻨﺎﺳﺒﺔ ﻟﻮﻇﻴﻔﺘﻬﺎ ‪ .‬ﻳﺘﻤﺘﻊ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺸﺮوع ﺑﻜﺘﻞ ﺷﺒﻪ ﻣﺼﻤﺘﺔ ﻣﻦ اﻟﺨﺎرج ﺗﺎؤي ﺑﺪاﺧﻠﻬﺎ أﻓﻨﻴﺔ‬ ‫ﻣﻈﻠﻠﺔ ذات أﺷﻜﺎل ﻫﻨﺪﺳﻴﺔ ﻓﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ ﺻﻤﻤﺖ‬ ‫ﺑﺤﻴﺚ ﺗﻮﻓﺮ ا‪I‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ داﺧﻞ اﻟﻤﺒﻨﻰ وﺗﺴﻤﺢ‬ ‫ﺑﺘﺤﺮﻳﻚ اﻟﻬﻮاء إﻟﻰ داﺧﻞ ا‪,‬ﻓﻨﻴﺔ ‪I‬ﻳﺠﺎد وﺳﻴﻠﺔ ﻃﺒﻴﻌﻴﺔ‬ ‫ﻟﻠﺘﻬﻮﻳﺔ و ﻟﺘﺸﻜﻞ ا‪,‬ﻓﻨﻴﺔ ﺑﻴﺌﺔ ذات ﺗﻬﻮﻳﺔ وﺳﻄﻴﺔ ﺑﻴﻦ‬ ‫اﻟﻤﻨﺎخ اﻟﺨﺎرﺟﻲ اﻟﺤﺎر وﻣﻨﺎخ اﻟﻤﺒﻨﻰ اﻟﺪاﺧﻠﻲ اﻟﺒﺎرد اﻟﻤﻜﻴﻒ ‪.‬‬ ‫‪ŸËdALK r−‬‬ ‫‪¡UM³« μμ‬‬

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‫ﻣﺮﻛﺰ اﻟﻤﻠﻚ ﻋﺒﺪا ﻟﻠﺪراﺳﺎت‬ ‫واﺑﺤﺎث اﻟﺒﺘﺮوﻟﻴﺔ ‪ ،‬اﻟﺮﻳﺎض‬ ‫‪King Abdullah Petroleum Studies & Research Centre‬‬

‫‪WOKš«b« WOMö W¹uKF« UײH« Ëb³ð UL UNMOÐ ULO UNF{u9Ë WOÝ«b« ‰UJýô« …dJ `{u¹ ŸËdALK ÂUŽ —uEM‬‬

‫ﻳﺘﺒﻨﻰ ﺗﺼﻤﻴﻢ اﻟﻤﺮﻛﺰ اﻟﺘﻮﺟﻬﺎت اﻟﺘﻘﻨﻴﺔ واﻟﺒﻴﺌﻴﺔ‬ ‫اﻟﻤﻌﺎﺻﺮة ﻓﻲ ﻣﺤﺎوﻟﺔ &ﻳﺠﺎد ﻣﻨﺸﺄ ﻗﺎﺑﻞ ﻟﻠﺘﻄﻮر‬ ‫اﻟﻤﺴﺘﻤﺮ واﻟﺘﻮﺳﻊ اﻟﻤﺴﺘﻘﺒﻠﻲ وﻫﻮﻣﻜﻮن ﻣﻦ ﺧﻼﻳﺎ أو‬ ‫ﺑﻠﻮرات ﺳﺪاﺳﻴﺔ اﻟﺸﻜﻞ ﻣﺴﺘﻮﺣﺎة ﻣﻦ ﺷﻜﻞ اﻟﻄﺒﻴﻌﺔ‬ ‫اﻟﺼﺤﺮاوﻳﺔ ﺑﺤﻴﺚ ﻳﺒﺪو ﻣﻦ اﻟﺨﺎرج ﻛﻜﺘﻞ ﺣﺠﺮﻳﺔ ﺿﺨﻤﺔ‬ ‫ﺗﻘﻲ ﻣﺎ ﻓﻲ داﺧﻠﻬﺎ ﺑﻴﻨﻤﺎ ﺗﺤﺘﻮي ﻣﻦ اﻟﺪاﺧﻞ ﻋﻠﻰ أﻓﻨﻴﺔ‬ ‫ذات ﻧﻔﺎذﻳﺔ ﻟﻠﻬﻮاء اﻟﺨﺎرﺟﻲ ‪.‬‬ ‫ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ اﻟﺘﻌﺮﻳﻒ ﺑﺄﻫﺪاف اﻟﻤﺸﺮوع اﻟﺘﻘﻨﻴﺔ‬

‫‪¡UM³« μ¥‬‬

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‫واﻟﺒﻴﺌﻴﺔ وﻳﺘﻌﺪاﻫﺎ &ﻳﺠﺎد ﻣﻨﺸﺄ ذو ﻃﺒﻴﻌﺔ ﻋﻀﻮﻳﺔ ﺣﻴﺔ‪.‬‬ ‫اﻟﻤﺸﺮوع ﻣﺼﻤﻢ ﺑﻨﻈﺮة ﻧﺤﻮ اﻟﻤﺴﺘﻘﺒﻞ ﻣﻦ ﺣﻴﺚ اﻟﺘﻄﻮر‬ ‫اﻟﻤﺴﺘﻤﺮ وﻣﻦ ﺧﻼل ﻟﻐﺘﻪ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺘﻲ ﺗﻬﺪف إﻟﻰ‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﺗﺮاﺑﻄﻪ اﻟﺒﺼﺮي ‪.‬‬ ‫اﻟﺨﻼﻳﺎ اﻟﺴﺪاﺳﻴﺔ اﻟﺘﻲ ﻳﺘﻜﻮن ﻣﻨﻬﺎ اﻟﻤﺸﺮوع ﻟﻴﺴﺖ‬ ‫ﻣﻮﺣﺪة او ﻣﺘﻜﺮرة اﻟﺸﻜﻞ ﺑﻞ ﺻﻤﻢ ﺷﻜﻠﻬﺎ ﺣﺴﺐ‬ ‫ﺗﻤﻮﺿﻌﻬﺎ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻟ‪Q‬ﺳﺘﺠﺎﺑﺔ ﻟﻤﺘﻄﻠﺒﺎت اﻟﺒﻴﺌﺔ‬ ‫واﻟﺘﻮزﻳﻊ اﻟﺪاﺧﻠﻲ ﻣﻦ ﺧﻼل اﺳﺘﺮاﺗﻴﺠﻴﺔ ﺗﺸﻜﻴﻞ ﻓﻀﺎﺋﻴﺔ‬


© Photography by Hufton + Crow

vM³*« qš«œ WOFO³Þ …¡U{≈ du² …dOG Uײ UNKK²ðË W²LB t³ý  UNł«u« From the Architect Report: Our architectural vision for a center focused on technical and environmental concerns endeavors to create an organic form – a structure capable of continual expansion and transformation – rising as a cellular structure of crystalline forms from the desert landscape – a strong protective outer shell concealing soft, porous sheltered courtyards within. Our architectural vision and design for the King Abdullah Petroleum Studies and Research Center (KAPSARC) acknowledges its technical and environmental objectives, but simultaneously endeavors to move beyond functional limitations to create a living, organic structure. The center is inherently forward-looking; its architecture also looks to the future, embracing a formal language capable of continual expansions or transformation with no compromise in visual integrity. The center emerges from the desert landscape as a cellular structure of crystalline forms, shifting and evolving in response to environmental conditions and functional requirements. Consistent organizational, spatial strategies drive an adaptive approach, with each component, each individual building, fitted to the purpose it serves. Protective from without, porous within, the structure’s strong, hard shell conceals a softer environment – sheltered courtyards, bringing natural daylight into all spaces; buffer zones creating smooth transitions from a hot, glaring exterior to a cool, filtered interior.

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© Photography by Hufton + Crow

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© Photography by Hufton + Crow

© Photography by Hufton + Crow

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© Photography by Hufton + Crow

vM³*« qš«b bŠ«


: ‫اﻟﻤﺼﻤﻢ‬ Architect : Zaha Hadid Architects ‫ ﺑﻐﺪاد ـ اﻟﻌﺮاق‬: ‫اﻟﻤﻮﻗﻊ‬

2‫ م‬90.000 : ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ‬ ‫م‬170 : ‫ا!رﺗﻔﺎع‬

From the Architect Report: Rising from the sloping banks of the Tigris River in Baghdad, the design for the new headquarters of the Central Bank of Iraq (CBI) conveys the core values at the heart of the institution: solidity, stability and sustainability. These values are mirrored by the historic importance of the river on which the CBI stands. The Tigris has been the city’s key trade route and vital water source for millennia. At a height of 170 metres and a gross internal area of 90,000 square metres, the composition of the design is tailored to the very specific constraints of the site. Narrow at its base, the tower widens in the middle to optimise the layout and increase efficiencies, and then tapers inwards towards the top. The CBI’s grand atrium brings natural light to the heart of the building, opening it to the river. The powerful structural exoskeleton frames the façade which is itself composed of an alternating pattern of open and closed elements that visually and conceptually mimic the light reflecting from waves in the river below, reinforcing the dynamism of the design and serving the practical purpose of providing a variety of areas of light and shade within. Solid and purposeful at its base, the exoskeleton gradually opens and reduces as the tower rises skywards, bringing greater lightness and views across the capitol. The exoskeleton peels away in vertical layers towards the river, further reinforcing this key contextual relationship with the Tigris. These layers extend the length of the tower and continue into the podium to connect the building’s separate elements and define the security features of the CBI. The bank’s podium weaves hard and soft landscaping together and anchors the building within its context; gradually adjusting its scale through of a series of landscaped terraces and gardens to directly engage with surrounding neighbourhood and manage access to the bank.

WNł«uK wł—U)« qJON« qOUHð 61 Albenaa

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‫اﻟﺒﻨﻚ اﻟﻤﺮﻛﺰي‬ ‫ﻓﻲ اﻟﻌﺮاق‬ Central Bank of Iraq ‫ﻳﺮﺗﻔﻊ اﻟﺒﻨﻚ اﻟﻤﺮﻛﺰي ﻓﻲ اﻟﻌﺮاق ﻋﻠﻰ ﺿﻔﺎف ﻧﻬﺮ دﺟﻠﺔ ﻓﻲ‬ ‫ وﻳﺘﺮﺟﻢ ﺗﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ اﻟﻘﻴﻢ ا"ﺳﺎﺳﻴﺔ‬،‫اﻟﻌﺎﺻﻤﺔ ﺑﻐﺪاد‬ ‫ واﻟﺘﻲ ﺗﻌﻜﺲ‬، ‫ﻟﻠﺒﻨﻚ وﻫﻲ اﻟﻘﻮة واﻻاﺳﺘﻘﺮار واﻻﺳﺘﺪاﻣﺔ‬ ‫ا"ﻫﻤﻴﺔ اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻨﻬﺮ دﺟﻠﺔ ﺣﻴﺚ ﻛﺎن اﻟﻄﺮﻳﻖ اﻟﺘﺠﺎري‬ ‫ ﻳﻘﺪم‬.‫اﻟﺮﺋﻴﺲ ﻟﻠﻤﺪﻳﻨﺔ وﻣﺼﺪر اﻟﻤﻴﺎه اﻟﻌﺬﺑﺔ @ﻻف اﻟﺴﻨﻴﻦ‬ ‫ ﻣﻦ ﻣﻈﺎﻫﺮ اﻟﻘﻴﻢ اﻟﻤﻌﺎﺻﺮة اﻟﻐﻨﻴﺔ‬E‫اﻟﺘﺼﻤﻴﻢ ﻣﻈﻬﺮ‬ . ‫ﺑﺎﻟﺘﻘﺎﻟﻴﺪ واﻟﻌﻼﻗﺎت اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ أﻟﻒ ﻣﺘﺮ‬90 ‫ ﻣﺘﺮ ﺑﻤﺴﺎﺣﺔ داﺧﻠﻴﺔ‬170 ‫ﻳﺒﻠﻎ ﻃﻮل اﻟﻤﺒﻨﻰ‬ ‫ ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ‬. ‫ وﺗﻤﻴﺰ ﺑﺘﺼﻤﻴﻢ دﻳﻨﺎﻣﻴﻜﻲ‬،‫ﻣﺮﺑﻊ‬ ‫ وﺗﻤﻴﺰ اﻟﺒﺮج ﺑﻘﺎﻋﺪة ﺻﻐﻴﺮة ﺗﺘﺴﻊ ﻓﻲ وﺳﻄﻪ‬،‫ﺑﺮج وﻗﺎﻋﺪة‬ .‫ وﺗﻌﻮد ﺗﻀﻴﻖ ﺣﺘﻰ أﻋﻠﻰ اﻟﺒﺮج‬، ‫ﻟﺘﺤﺴﻴﻦ أداء اﻟﺘﺼﻤﻴﻢ‬ ‫أﻣﺎ اﻟﻘﺎﻋﺪة ﻓﻘﺪ ﺻﻤﻤﺖ أﻓﻘﻴ[ ﺑﺈﺗﺠﺎه اﻟﻨﻬﺮ وﺗﺤﺘﻮي ﻋﻠﻰ‬ ‫اﻟﺒﻬﻮ اﻟﺬي ﻳﻮﻓﺮ ا_ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ اﻟﺪاﺧﻞ ﻣﻊ إﻃﻼﻟﺔ‬ . ‫اﻟﻤﺪﺧﻞ ﻋﻠﻰ اﻟﻨﻬﺮ‬ ‫ﺗﻤﻴﺰ اﻟﻤﺸﺮوع ﺑﻮاﺟﻬﺎﺗﻪ اﻟﺘﻲ ﻏﻄﺖ ﺑﻬﻴﻜﻞ ﺧﺎرﺟﻲ‬ ‫ﻳﺸﻜﻞ أﻧﻤﺎط ﻣﺘﻨﺎوﺑﺔ ﻣﻦ ﻋﻨﺎﺻﺮ ﻣﻔﺘﻮﺣﺔ وﻣﻐﻠﻘﺔ ﺗﺤﺎﻛﻲ‬ ‫ ﻛﻤﺎ أﻧﻬﺎ‬، ‫إﻧﻌﻜﺎﺳﺎت اﻟﻀﻮء وﺗﻌﺰز اﻟﺘﺼﻤﻴﻢ اﻟﺪﻳﻨﺎﻣﻴﻜﻲ‬ ‫ﺗﺨﺪم اﻟﻬﺪف ﻣﻦ ﺗﻘﺪﻳﻢ ﻣﻨﺎﻃﻖ ﻣﺘﻌﺪدة ﻣﻦ ا_ﺿﺎءة‬ .‫واﻟﻈﻞ داﺧﻞ اﻟﺒﺮج‬ ‫وﻳﻐﻄﻲ اﻟﻬﻴﻜﻞ ﻗﺎﻋﺪة اﻟﺒﺮج ﺑﺎﻟﻜﺎﻣﻞ وﻳﺒﺪأ ﺑﺎ_ﻧﻔﺘﺎح ﻛﻠﻤﺎ‬ ‫ارﺗﻔﻌﻨﺎ إﻟﻰ ا"ﻋﻠﻰ ﺣﻴﺚ ﺗﺒﺘﻌﺪ أﺟﺰاء اﻟﻬﻴﻜﻞ ﻋﻦ ﺑﻌﻀﻬﺎ‬ ‫ ﻛﻤﺎ ﻏﻄﻴﺖ اﻟﻘﺎﻋﺪة ﺑﻨﻔﺲ‬.‫ﻋﻤﻮدﻳ[ وﺗﻤﺘﺪ ﺑﻄﻮل اﻟﺒﺮج‬ . ‫أﻟﻮاح اﻟﻬﻴﻜﻞ ﻟﻴﺒﺪو اﻟﻤﺸﺮوع ﻛﻜﺘﻠﺔ واﺣﺪة‬


—«Ëe« qšb

5Hþu*« qšb

ÂUŽ —uEM 50 Albenaa

¡UM³« μ∞


dNM« vKŽ WKD*« WNł«u« 53 Albenaa

¡UM³« μ≥


jD

Íuł —uEM

uN³«

ÂUŽ —uEM

5½«eO*« —Ëœ 62 Albenaa

¡UM³« ∂≤


‫ﺟﺎﻻﻛﺴﻲ ﺳﻮﻫﻮ‬ ‫‪Galaxy SOHO‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Zaha Hadid Architects‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2012 :‬م‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺑﻴﺠﻴﻦ ‪ ،‬اﻟﺼﻴﻦ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 332.857 :‬م‪2‬‬

‫‪© Photography by Hufton + Crow‬‬

‫ﻣﺸﺮوع »ﺟﺎﻻﻛﺴﻲ ﺳﻮﻫﻮ« ﻓﻲ وﺳﻂ ﻣﺪﻳﻨﺔ ﺑﻜﻴﻦ ﻟﺴﻮﻫﻮ اﻟﺼﻴﻦ‬ ‫اﻟﺬي ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ ‪ 332.857‬ﻣﺘﺮ ﻣﺮﺑﻊ ﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻣﺠﻤﻊ ﻳﺤﺘﻮي ﻋﻠﻰ‬ ‫ﻣﻜﺎﺗﺐ ﻣﺤﻼت ﺗﺠﺎرﻳﺔ وﻣﺮاﻓﻖ ﺗﺮﻓﻴﻬﻴﺔ‪ ،‬وﻳﻌﺪ ﺟﺰء; ﻻ ﻳﺘﺠﺰأ ﻣﻦ اﻟﻤﺪﻳﻨﺔ‬ ‫وﻫﻮ ﻣﺴﺘﻮﺣﻰ ﻣﻦ اﻟﻨﻄﺎق اﻟﻮاﺳﻊ ﻟﻤﺪﻳﻨﺔ ﺑﻜﻴﻦ‪ .‬ﻋﻤﺎرة اﻟﻤﺠﻤﻊ ﻋﺒﺎرة‬ ‫ﻋﻦ ﺗﻜﻮﻳﻦ ﻣﻦ أرﺑﻊ ﻣﺒﺎﻧﻲ ﺗﺮﺗﺒﻂ ﻣﻊ ﺑﻌﻀﻬﺎ ﺑﺠﺴﻮر إﻧﺴﻴﺎﺑﻴﺔ‪ ،‬وﺗﺘﺄﻗﻠﻢ‬ ‫ﻣﻊ ﺑﻌﻀﻬﺎ ﻣﻦ ﺟﻤﻴﻊ اﻟﺠﻬﺎت ﻟﺘﻜﻮن ﻋﻤﺎرة ﺑﺎﻧﻮراﻣﻴﺔ ﺑﺪون أرﻛﺎن أو زواﻳﺎ‬ ‫أو ﺗﺤﻮﻻت ﻣﻔﺎﺟﺌﺔ ﺗﻜﺴﺮ ﺳﻴﻮﻟﺔ ﺗﻜﻮﻳﻨﻬﺎ اﻟﺮﺳﻤﻲ‪.‬‬ ‫ا‪R‬ﻓﻨﻴﺔ اﻟﺪاﺧﻠﻴﺔ اﻟﻜﺒﻴﺮة ﻓﻲ اﻟﻤﺠﻤﻊ ﺗﻌﻜﺲ اﻟﻌﻤﺎرة اﻟﺼﻴﻨﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﺣﻴﺚ ﺗﺼﻨﻊ ا‪R‬ﻓﻨﻴﺔ اﻟﻌﺎﻟﻢ اﻟﺪاﺧﻠﻲ ﻣﻦ اﻟﺴﺎﺣﺎت اﻟﻤﻔﺘﻮﺣﺔ اﻟﻤﺘﺼﻠﺔ‪.‬‬ ‫ﻳﺘﻜﻮن اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻓﺮاﻏﺎت ﺗﺸﻜﻞ ﻋﺎﻟﻢ ﻣﻦ‬ ‫اﻟﺘﺂﻟﻒ اﻟﻤﺴﺘﻤﺮ وﺣﺮﻛﺔ إﻧﺴﻴﺎﺑﻴﺔ ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ‪ .‬وﻳﺤﺘﻮي اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ‬ ‫ﻣﺴﺘﻮﻳﺎت ﻣﺨﺘﻠﻔﺔ وﻣﺘﺤﺮﻛﺔ وﻳﻮﻟﺪ ذﻟﻚ ﺷﻌﻮر ﻋﻤﻴﻖ ﺑﺎﻻﻧﺪﻣﺎج واﻻﺣﺘﻮاء‪.‬‬ ‫ﻋﻨﺪ دﺧﻮل اﻟﻤﺴﺘﺨﺪﻣﻴﻦ ﻓﻲ ﻋﻤﻖ اﻟﻤﺒﻨﻰ ﻳﻜﺘﺸﻔﻮن اﻟﻤﺴﺎﺣﺎت‬ ‫اﻟﺤﻤﻴﻤﺔ واﻟﺘﻲ ﺗﺘﺒﻊ ﻧﻔﺲ اﻟﻨﻬﺞ ﻣﻦ اﻻﻧﺤﻨﺎءات اﻟﻤﺴﺘﻤﺮة واﻟﻜﺘﻞ‬ ‫اﻟﻤﺘﻤﺎﺳﻜﺔ‪ .‬اﻟﻤﺴﺘﻮﻳﺎت اﻟﺜﻼث اﻟﺴﻔﻠﻰ ﻣﻦ ﻣﺠﻤﻊ ﺟﺎﻟﻜﺴﻲ ﺳﻮﻫﻮ‬ ‫ﻳﺤﺘﻮي ﻋﻠﻰ اﻟﻤﺮاﻓﻖ اﻟﻌﺎﻣﺔ اﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ واﻟﺘﺮﻓﻴﻬﻴﺔ‪ .‬أﻣﺎ اﻟﻤﺴﺘﻮﻳﺎت‬ ‫ا‪R‬ﻋﻠﻰ ﻓﺘﻮﻓﺮ ﻣﺴﺎﺣﺎت ﻟﻠﻌﻤﻞ ﻟﻠﻤﺠﻤﻮﻋﺎت واﻟﺸﺮﻛﺎت اﻟﻤﺒﺪﻋﺔ‪ ،‬أﻣﺎ‬ ‫اﻟﻤﺴﺘﻮى اﻟﻌﻠﻮي ﻣﻦ اﻟﻤﺒﻨﻰ ﻓﺨﺼﺺ ﻟﻠﻤﻄﺎﻋﻢ واﻟﻤﻘﺎﻫﻲ اﻟﺘﻲ‬ ‫ﺗﻘﺪم ﻣﻨﺎﻇﺮ ﺧﻼﺑﺔ ﻻﺣﺪ أﻓﻀﻞ اﻟﻄﺮق ﻓﻲ اﻟﻤﺪﻳﻨﺔ‪ .‬ﺗﻢ رﺑﻂ اﻟﻮﻇﺎﺋﻒ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﺑﺒﻌﺾ ﻣﻦ ﺧﻼل اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ اﻟﺬي ﺗﻤﻴﺰ ﺑﺎﻟﺤﻤﻴﻤﻴﺔ‬ ‫اﻟﺘﻲ ﻫﻲ داﺋﻤﺎ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﻤﺪﻳﻨﺔ‪ ،‬وﺗﺴﺎﻋﺪ ﻓﻲ ذﻟﻚ ﻋﻠﻰ وﺿﻊ ﻣﺠﻤﻊ‬ ‫ﺟﺎﻟﻜﺴﻲ ﺳﻮﻫﻮ ﻛﺄﺣﺪ اﻟﻤﻌﺎﻟﻢ اﻟﺤﻀﺮﻳﺔ اﻟﻜﺒﺮى ﻟﺒﻜﻴﻦ‪ .‬اﻟﺼﻮرة اﻟﺘﻲ‬ ‫ﻳﻘﺪﻣﻬﺎ اﻟﻤﺸﺮوع‪ ،‬ﻛﻤﺎ ﻫﻲ اﻟﻐﺎﻟﺐ ﻓﻲ ﻣﺸﺎرﻳﻊ زﻫﺎ ﺣﺪﻳﺪ‪،‬‬ ‫ﺗﺘﻤﻴﺰ ﺑﺨﻄﻮﻃﻬﺎ اﻟﺴﺎﺋﻠﺔ اﻟﺘﻲ ﺗﺤﻮل اﻟﻔﺮاغ إﻟﻰ ﻣﺠﺎل ﻣﺮن ﻣﺘﻌﺪد‬ ‫اﻟﺼﻮر وﻫﻮ ﻣﺎ ﻳﺠﻌﻞ اﻟﻤﺸﺮوع ﻣﺘﻤﻴﺰ وﻣﺨﺘﻠﻒ‪ .‬ﺣﺎز اﻟﻤﺸﺮوع ﻋﻠﻰ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ ﻣﺜﻞ اﻟﺠﺎﺋﺰة اﻟﻔﻀﻴﺔ ﻣﻦ ﺟﻤﻌﻴﺔ اﻟﻌﻤﺎرة اﻟﺼﻴﻨﻴﺔ‬ ‫وﺟﺎﺋﺰة ‪ RIBA‬اﻟﻌﺎﻟﻤﻴﺔ ‪.‬‬

‫‪ÂUŽ —uEM‬‬ ‫‪¡UM³« ∂μ‬‬

‫‪65 Albenaa‬‬


öO vM³LK ÂUŽ —uEM

ÂUF« lu*«

œUFÐô« wŁöŁ r− 64 Albenaa

¡UM³« ∂¥


From the Architect Report: The Galaxy SOHO project in central Beijing for SOHO China is a 330 000m2 office, retail and entertainment complex that is an integral part of the living city, inspired by the grand scale of Beijing. Its architecture is a composition of four continuous, flowing volumes that are set apart, fused or linked by stretched bridges. These volumes adapt to each other in all directions, generating a panoramic architecture without corners or abrupt transitions that break the fluidity of its formal composition. The great interior courts of the project are a reflection of traditional Chinese architecture where courtyards create an internal world of continuous open spaces. Here, the architecture is no longer composed of rigid blocks, but instead comprised of volumes which coalesce to create a world of continuous mutual adaptation and fluid movement between each building. Shifting plateaus within the design impact upon each other to generate a deep sense of immersion and envelopment. As users enter deeper into the building, they discover intimate spaces that follow the same coherent formal logic of continuous curvelinearity. The lower three levels of Galaxy SOHO house public facilities for retail and entertainment. The levels immediately above provide work spaces for clusters of innovative businesses. The top of the building is dedicated to bars, restaurants and cafés that offer views along one of the greatest avenues of the city. These different functions are interconnected through intimate interiors that are always linked with the city, helping to establish Galaxy SOHO as a major urban landmark for Beijing. Galaxy Soho won the ‘Best Public Space Award’ from the China Design Association as well as a Silver Award from the Architectural Society of China. Receiving an RIBA International Award, Galaxy SOHO was also nominated for the prestigious RIBA Lubetkin Prize. The RIBA Jury citation: “Galaxy SOHO’s design is distinctly urban rather than suburban, civic as much as it is commercial. Its generous, interconnected public spaces flow into each other and have made Galaxy SOHO one of the city’s popular landmarks. By breaking the building’s mass into four flowing asymmetric domes of varying height, the design allows light into the deep-plan floor-plates. Each structure encloses a glazed atrium around which the internal circulation is arranged. Flowing bands of white aluminium and glass give the development an almost geological solidity and presence.” Galaxy SOHO was the first of five successful collaborations between ZHA and SOHO China, totalling 1.5 million m2 (16 million square feet) of award-winning office and retail space. With all units in Galaxy SOHO sold before completion, Forbes Magazine detailed: “SOHO China Shares Rise On Profits of Completed ZHA Project: The company said its profit bulged by 172% from a year earlier to $1.7 billion in part on the completion of a high-profile project designed by Zaha Hadid Architects.”

wKO —uEM

WOdA« WNł«u«

ŸUD

ŸUD 67 Albenaa

¡UM³« ∂∑


ÂUŽ —uEM

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lÝU²« —Ëb« jI

sU¦« —Ëb« jI 66 Albenaa

¡UM³« ∂∂


© Photography by Hufton + Crow

WHK²*« —«Ëœö œuFB«Ë …UA*« WdŠË ÆÕu²H*« wKš«b« ¡UCHK UDI 69 Albenaa

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68 Albenaa

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© Photography by Hufton + Crow

© Photography by Hufton + Crow


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тАля╗гя║ая╗дя╗К я╗гя║Шя╗Мя║к╪птАм тАл╪зя║│я║Шя╗Мя╗дя║Оя╗╗╪ктАм тАлтАкWangjing SOHOтАмтАм тАл╪зя╗Яя╗дя║╝я╗дя╗в тАк:тАмтАм тАлтАкArchitect : Zaha Hadid ArchitectsтАмтАм тАл╪зя╗зя║Шя╗мя║О╪б я╗гя╗ж ╪зя╗Яя║Шя╗ия╗Фя╗┤я║м тАк 2014 :тАм┘ЕтАм тАл╪зя╗Яя╗дя╗оя╗Чя╗К тАк :тАмя║Ся╗┤я║ая╗┤я╗ж тАк ╪МтАм╪зя╗Яя║╝я╗┤я╗жтАм

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From the Architect Report: Wangjing SOHO is located in northeast Beijing between Fourth and Fifth Ring Roads. Served by Wangjing subway stations ، the site is near the Airport Expressway approximately halfway between Beijing’s Capital Airport and the centre of the city. Access to each of these key transport links has contributed to the fluid composition of Wangjing SOHO. Developed in the mid1990’s as a large residential area approximately 12 kilometres from the city center, Wangjing has also become a key hub for Beijing’s IT and telecommunications, home to Chinese and International technology companies including Microsoft, China Telecom, Alcatel- Lucent, Sony and Panasonic, as well as global manufacturers such as Siemens, Daimler and Caterpillar. Many of Beijing’s IT companies are also located in Wangjing with these multi-national firms, which has in turn made Wangjing one of the most popular locations for the capital’s innovative tech start-ups such as Momo. Subsequently, there is an increasing demand for a variety of flexible office spaces in Wangjing: from units with the smallest floor area to suit new firms with a single employee - yet also offering the possibility for expansion; to offices with a large open-plan arrangements to house the Beijing headquarters of a global IT corporations. With the ongoing development of increased housing and transport links to the rest of the city, and many respected educational and cultural institutions such as Beijing Number 80 High School, the China Central Academy of Fine Arts and 798 Arts District, Wangjing has developed into a diverse community in the creative and IT sectors. The opportunities offered by the IT and telecommunications industries have established Wangjing as an important employment, residential, transport, educational and cultural hub in the north-east of Beijing; integral to the multi-modal urban plan for the capital that does not impact existing social and infrastructure networks in the centre of the city.Located in Wangjing’s centre, Wangjing Soho is a mixed-usedevelopment consisting of three towers 118, 127, 200 meters in height designed as three interweaving ‘mountains’ with a new 60,000m2 public park. The design responds to the flows of the city and allows natural daylight into each building from all directions. The juxtaposition of the tower’s fluid forms continuously changes when viewed from different directions; appearing as individual buildings in some views, or as a connected ensemble in others. The orientation and composition of the towers has been defined to direct visitors and staff to the various transport links that surround the site .Dividing the total 560,000 m2 built area required by the client into three smaller buildings has reduced the scale of the project, in comparison to a single building placed on the 115,393 m2 fan-shaped site. Large public spaces open 24 hours a day include a park to the south and landscapedgardens to the north, east and west with activity zones and water features that have already become popular areas for the local community. The large entrance lobbies for each tower face outwards towards the city and extend through each building to the central shopping street and plaza in between the towers that in turn flows into public gardens and courtyards. The total above-ground floor area of Wangjing SOHO is 392,265 m2, with four levels below ground totalling 129,000 m2 that includes secure parking for 8256 bicycles and showers for cyclists .The thin floor plates provide flexible, openplan office space and the tapering section of each tower provides the extensive natural

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‫ﺑﺎﻟﻤﻘﺎرﻧﺔ ﺑﻤﺒﻨﻰ واﺣﺪ ﻛﺎن ﻳﻤﻜﻦ أن ﻳﺘﻢ ﺑﻨﺎءه ﻋﻠﻰ‬ ‫اﻟﻤﺴﺎﺣﺔ اﻟﻤﺨﺼﺼﺔ ﻟﻠﺒﻨﺎء واﻟﺘﻲ ﺑﻠﻐﺖ ‪ ١١٥٣٩٣‬م‪.٢‬‬ ‫ﻗﺴﻤﺖ اﻟﻤﺴﺎﺣﺎت اﻟﻌﺎﻣﺔ اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺸﺮوع ﻋﻠﻰ ﺣﺪاﺋﻖ‬ ‫ﻓﻲ ﻛﻞ ﻣﻦ اﻟﺠﻬﺎت ا;رﺑﻌﺔ ﻟﻠﻤﻮﻗﻊ وزودت ﺑﻤﻨﺎﻃﻖ‬ ‫;ﻧﺸﻄﺔ ﻣﺘﻨﻮﻋﺔ وﻣﺴﺎﺣﺎت ﻣﺎﺋﻴﺔ ﺑﺤﻴﺚ أﺻﺒﺤﺖ ﻣﻨﺎﻃﻖ‬ ‫ﺗﺮﻓﻴﻪ ﻣﻔﺘﻮﺣﺔ وﻣﺮﻏﻮﺑﺔ ﻟﺴﻜﺎن اﻟﺤﻲ ‪ ٢٤‬ﺳﺎﻋﺔ ﻳﻮﻣﻴ‪، E‬‬ ‫ﻛﻤﺎ ﺗﻢ ﺗﻮﺟﻴﻪ اﻟﻤﺪاﺧﻞ اﻟﻮاﺳﻌﺔ ﻟ‪M‬ﺑﺮاج ﻟﻜﻲ ﺗﻄﻞ ﻋﻠﻰ‬ ‫ﺟﻬﺔ اﻟﻤﺪﻳﻨﺔ واﻟﺸﻮارع اﻟﺘﺠﺎرﻳﺔ واﻟﺴﺎﺣﺎت اﻟﺘﻲ ﺗﺘﺨﻠﻞ‬ ‫ا;ﺑﺮاج واﻟﺘﻲ ﺗﺘﺸﻜﻞ ﻋﻠﻰ ﻫﻴﺌﺔ أﻓﻨﻴﺔ او ﺣﺪاﺋﻖ ﻋﺎﻣﺔ‪.‬‬ ‫ﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ ا;ﺑﺮاج ﻣﺎ ﻓﻮق ﻣﺴﺘﻮى ا;رض ‪ ٣٩٢٢٦٦‬م‪٢‬‬ ‫ﺑﺎ‪Z‬ﺿﺎﻓﺔ إﻟﻰ ﻣﺴﺎﺣﺔ ‪ ١٢٩‬أﻟﻒ م‪ ٢‬ﺗﺤﺖ اﻻرض ﻣﻮزﻋﺔ ﻋﻠﻰ ‪٤‬‬ ‫ﻣﺴﺘﻮﻳﺎت ﺗﻀﻢ ﻣﻮاﻗﻒ ﻟﻠﺴﻴﺎرات وأﺧﺮى ﻟﻠﺪراﺟﺎت‪ .‬ﺗﺴﻤﺢ‬ ‫اﻟﺴﻤﺎﻛﺔ اﻟﻘﻠﻴﻠﺔ ;ﺳﻘﻒ ا;دوار واﻟﺒﻨﻴﺔ اﻟﻤﺘﺪرﺟﺔ ﻟ‪M‬دوار‬

‫إﺿﺎءة ﻃﺒﻴﻌﻴﺔ وﻓﻴﺮة ﻓﻲ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ واﻟﺘﺠﺎرﻳﺔ‬ ‫واﻟﻤﺪاﺧﻞ ‪ ،‬ﻣﻊ إﻣﻜﺎﻧﻴﺔ ﻓﺘﺢ ﻧﻮاﻓﺬ اﻟﻮاﺟﻬﺎت ﻳﺪوﻳ‪ E‬ﻟﻐﺮض‬ ‫اﻟﺘﻬﻮﻳﺔ ‪ .‬ﻛﻤﺎ ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﺑﻜﺎﺳﺮات ﺷﻤﺲ‬ ‫أﻓﻘﻴﺔ ﻣﻦ ا;ﻟﻮﻣﻨﻴﻮم ا;ﺑﻴﺾ ﺗﺴﻤﺢ ﺑﺈﺳﺘﻌﻤﺎﻟﻬﺎ ﻣﻦ ﻗﺒﻞ‬ ‫ﻋﻤﺎل اﻟﺼﻴﺎﻧﺔ ‪ .‬روﻋﻲ ﻓﻲ اﻟﺘﺼﻤﻴﻢ إﺳﺘﺨﺪام زﺟﺎج ﻋﺎزل‬ ‫)‪ ( U=1.7W/m2oC and SC= 0.4‬ﺑﻴﻨﻤﺎ ﺗﻘﻠﻞ ﻣﻮاﺻﻔﺎت ﻋﺰل‬ ‫اﻟﻐﻼف اﻟﺨﺎرﺟﻲ )‪ (U=0.55 W/m2oC‬ﻣﻦ إﺣﺘﻴﺎﺟﺎت اﻟﺘﺒﺮﻳﺪ‬ ‫واﻟﺘﺪﻓﺌﺔ‪،‬ﻛﻤﺎ روﻋﻲ ﺗﻮﻓﻴﺮ ﻧﺴﺒﺔ ‪ ٪ ٤٢‬ﻣﻦ اﻟﻤﻴﺎه ﻣﻦ ﺧﻼل‬ ‫ﺗﺼﻤﻴﻢ أﻧﻈﻤﺘﻬﺎ وﺷﺒﻜﺎﺗﻬﺎ وﻧﺴﺒﺔ ‪ ١٢،٨‬ﻣﻦ ﺗﻜﻠﻔﺔ اﻟﻄﺎﻗﺔ‬ ‫واﺧﺘﻴﺎر ﻣﻮاد ﺻﺪﻳﻘﺔ ﻟﻠﺒﻴﺌﺔ ﻓﻲ اﻟﺘﻜﺴﻴﺔ اﻟﺪاﺧﻠﻴﺔ ﻟﻠﺘﻘﻠﻴﻞ‬ ‫ﻣﻦ ﺗﻠﻮث اﻟﻬﻮاء اﻟﺪاﺧﻠﻲ ورﻓﻊ ﻧﺴﺒﺔ ﺗﺰوﻳﺪ اﻟﻤﺒﻨﻰ ﺑﺎﻟﻬﻮاء‬ ‫اﻟﻨﻘﻲ وﺗﺰوﻳﺪ ﻣﺠﺎري اﻟﺘﻐﺬﻳﺔ ﺑﺎﻟﻬﻮاء ﺑﻔﻼﺗﺮ ذات ﻓﺎﻋﻠﻴﺔ‬ ‫ﻋﺎﻟﻴﺔ ﺗﺤﺪ ﻣﻦ ﺗﻠﻮث اﻟﻬﻮاء ‪.‬‬

‫≤∑ «‪¡UM³‬‬

‫‪72 Albenaa‬‬


© Photography by Jerry Yin

© Photography by Virgile Simon Bertrand © Photography by Jerry Yin

fOzd« qšb*« «d2Ë uNÐ w jz«u×K ÂUF« uNM«Ë vM³*« v≈ ‰ušb« W³«d WLE½ô  UDI 75 Albenaa

¡UM³« ∑μ


ŸËdALK ÂUF« rOLB²« ◊uDš l wKš«b« rOLB²« ◊uDš wýU9dL²¹

Office Lobby Retail Lobby Retail Retail Pavillion Sunken Court Outdoor Amphitheater Water Feature Gardens

1 2 3 4 5 6 7 8

ŸËdA*« qš«œ WHK²*« ôULF²Ýô« `{u¹ ÂUŽ jI 74 Albenaa

¡UM³« ∑¥


© Zaha Hadid Architects

ŸËdALK ÂUŽ —uEM

51 Albenaa

¡UM³« μ±


‫ﻓﻨﺪق ‪ ٥‬ﻧﺠﻮم ‪ ،‬ﻣﺎﻛﺎو‬ ‫‪Morpheus at City of Dreams‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Zaha Hadid Architects‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ :‬ﺟﺎري اﻟﺘﻨﻔﻴﺬ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻛﻮﺗﺎي ‪ ،‬ﻣﻜﺎو‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 160.000 :‬م‪2‬‬ ‫ﻋﺪد اﻟﻐﺮف ‪٧٨٠:‬‬ ‫ﻋﺪد اﻻدوار ‪٤٠ :‬‬

‫ﻳﺤﺘﻮي ﻫﺬا اﻟﻔﻨﺪق ﻋﻠﻰ ‪ ٧٨٠‬ﻏﺮﻓﺔ ﻣﻮزﻋﺔ ﻋﻠﻰ ﻏﺮف ﻓﺮدﻳﺔ‬ ‫وأﺟﻨﺤﺔ وﻓﻠﻞ ﻋﻠﻮﻳﺔ‪ ،‬ﻛﻤﺎ ﻳﺤﺘﻮي ﻋﻠﻰ ﻗﺎﻋﺎت إﺟﺘﻤﺎﻋﺎت‬ ‫وإﺣﺘﻔﺎﻻت و ﺑﻬﻮ ﻋﻠﻰ ﻫﻴﺌﺔ ﻓﻨﺎء وﻣﻄﺎﻋﻢ وﻧﺎدي ﺻﺤﻲ‬ ‫وﻣﺴﺒﺢ ﻣﻔﺘﻮح ﺑﺎ>ﺿﺎﻓﺔ إﻟﻰ ﻣﺴﺎﺣﺎت ﺧﻠﻔﻴﺔ ﺗﺎؤي ﻣﻼﺣﻖ‬ ‫اﻟﻔﻨﺪق‪ .‬وﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ ﺟﻤﻊ ﻛﺎﻓﺔ اﻟﻔﻌﺎﻟﻴﺎت ﻓﻲ‬ ‫إﻃﺎر ﻏﻼف واﺣﺪ ‪.‬‬ ‫ﻳﺤﺘﻮي ﺗﺼﻤﻴﻢ اﻟﻔﺮاﻏﺎت اﻟﻌﺎﻣﺔ ﻟﻠﻔﻨﺪق ﻋﻠﻰ ﺗﺸﻜﻴﻼت‬ ‫ﻣﻌﻤﺎرﻳﺔ ﻣﺒﻬﺮة وﻏﺮف ﻓﻨﺪﻗﻴﺔ رﺣﺒﺔ وإﺑﺘﻜﺎرات ﻫﻨﺪﺳﻴﺔ‬ ‫وﻣﻌﻤﺎرﻳﺔ ﺗﻬﺪف إﻟﻰ اﻳﺠﺎد ﺗﺮاﺑﻂ ﺷﻜﻠﻲ ﻗﻮي ‪ .‬وﺑﻴﻨﻤﺎ‬

‫ﺗﺮﺗﻔﻊ ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ ذات اﻟﻘﺎﻋﺪة اﻟﻤﺴﺘﻄﻴﻠﺔ اﻟﺸﻜﻞ إﻟﻰ‬ ‫ا‪P‬ﻋﻠﻰ ﻋﻠﻰ ﺷﻜﻞ ﻛﺘﻠﺔ واﺣﺪة ﺿﺨﻤﺔ ﺗﺘﺨﻠﻬﺎ ﻓﺠﻮات‬ ‫ﻛﺒﻴﺮة ﻓﻲ وﺳﻄﻬﺎ وﺗﻐﻠﻔﻬﺎ ﺷﺒﻜﺔ أﻋﺼﺎب ﻫﻨﺪﺳﻴﺔ‬ ‫وﺗﻠﺘﻒ ﺣﻮﻟﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻻ ﺗﺠﻌﻠﻨﺎ ﻧﻤﻴﺰ ﺑﻴﻦ ا‪P‬ﺳﻘﻒ‬ ‫واﻟﻮاﺟﻬﺎت ﻟﺘﺘﺤﻤﻞ اﻟﻜﺘﻠﺔ ﻟﺸﻜﻞ ﻧﺤﺘﻲ ﻳﻈﻬﺮ ﻓﻲ‬ ‫ﺗﻔﺎﺻﻴﻞ اﻟﻤﺒﻨﻰ اﻟﺨﺎرﺟﻴﺔ واﻟﺪاﺧﻠﻴﺔ‪ .‬ﻳﻘﻮي وﻳﻀﻴﻒ ﺗﺼﻤﻴﻢ‬ ‫ﻫﻴﻜﻞ اﻻﻋﺼﺎب اﻟﻤﻐﻠﻒ ﻟﻠﻜﺘﻠﺔ ﻣﻈﻬﺮ‪ X‬دﻳﻨﺎﻣﻴﻜﻴ‪ Y‬ﻣﻌﺒﺮ‪،X‬‬ ‫ﻛﻤﺎ ﻳﺮﻓﻊ ﻣﻦ درﺟﺔ إﻛﺘﻨﺎزﻳﺔ اﻟﻤﺒﻨﻰ ) اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﺤﺠﻢ‬ ‫وﻣﺴﺎﺣﺔ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ( ‪.‬‬ ‫‪Component Diagram‬‬

‫‪WHK²*« ŸËdA*« dUMŽ‬‬

‫∂∑ «‪¡UM³‬‬

‫‪76 Albenaa‬‬


© Zaha Hadid Architects

79 Albenaa

¡UM³« ∑π

© Zaha Hadid Architects

From the Architect Report: Melco Crown Entertainment, a developer and owner of casino gaming and entertainment resort facilities in Asia, has unveiled the project details and design of the fifth hotel tower at City of Dreams, the company’s flagship property in Cotai, Macau. With 40 floors and a gross floor area of 150,000 square meters, the tower houses approximately 780 guestrooms, suites and sky villas. The hotel also includes a variety of meeting and event facilities, lobby atrium, restaurants, spa, and sky pool. Including extensive back of house areas and supporting ancillary facilities, the tower’s design resolves the many complex programs for the hotel within a single cohesive envelope. The design combines dramatic public spaces and generous guest rooms with innovative engineering and formal cohesion. The rectangular outline of the site is extruded as a monolithic block with a series of voids which carve through the its centre of the tower, merging traditional architectural elements of roof, wall and ceiling to create a sculptural form that defines many of the hotel’s internal public spaces. The tower’s exposed exoskeleton reinforces the dynamism of the design. Expressive and powerful, this external structure optimizes the interior layouts and envelops the building, further defining its formal composition and establishing relationships with the new Cotai strip. Development of the new hotel at City of Dreams commenced in 2013. The project is expected to commence operation is 2018.

© Zaha Hadid Architects

ŸËdALK wKš«b« qOJA²«

vM³LK WHKG*« »UBŽô« WJ³ý qOUHð


© Zaha Hadid Architects © Zaha Hadid Architects

w{—_« —Ëb« jI

dýUF« —Ëb« jI

ÊËdAF«Ë ÍœU(« —Ëb« jI

ŸUD

ÊuŁö¦«Ë sU¦« —Ëb« jI

78 Albenaa

¡UM³« ∑∏


—«Ëœ_« UÞö³Ð UN²öŽË  UNł«uK WOzUA½≈ qOUHð

vM³LK WHKG*« »UBŽô« WJ³ý qOUHð `{uð cOHM²« X% ŸËdALK WHK² UDI

wł—U)« włUłe« ¡UDGUÐ »UBŽ_« WöF WOzUA½≈ qOUHð 80 Albenaa

¡UM³« ∏∞


¡UM³« w b¹b'«

‫أﻧﻈﻤﺔ ﺑﻨﺎء ﺟﺪﻳﺪة‬ ،‫ ﻓﻮﻻذ‬،‫ ﺧﺸﺐ‬،‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻣﻮاد اﻟﺒﻨﺎء اﻟﻤﻨﻮﻋﺔ )ﺧﺮﺳﺎﻧﺔ‬ ‫ ﺣﻴﺚ‬،‫ﻧﺸﺎء أﻧﻈﻤﺔ ﻣﺨﺘﻠﻔﺔ ﻟﻤﻮاد اﻟﺒﻨﺎء‬$ ‫ﻃﻴﻦ( ﺗﻢ ﺗﻄﻮﻳﺮﻫﺎ‬ ‫ واﺳﺘﺨﺪام اﻟﻔﻮﻻذ‬،‫ﺗﻢ اﺳﺘﺨﺪام اﻟﻄﻮب ﻣﻊ اﻟﻔﻮﻻذ ﻟﻠﺠﺪران‬ ‫ اﻟﺨﺮﺳﺎﻧﺔ واﻟﻔﻮﻻذ‬، ‫رﺿﻴﺎت اﻟﺠﺎﻓﺔ‬6‫واﻟﺨﺸﺐ واﻟﺨﺮﺳﺎﻧﺔ ﻟ‬ ‫ﻧﻈﻤﺔ‬7‫ وﻫﺬه ا‬.‫ اﻟﺨﺸﺐ واﻟﻔﻮﻻذ ﻟﻠﻮاﺟﻬﺎت‬،‫رﺿﻴﺎت اﻟﺠﺎﻫﺰة‬6‫اﻟ‬ ‫ ﺗﺪﻋﻢ ﻫﺬه اﻟﺤﻠﻮل‬،‫ﻣﻨﺎﺳﺒﺔ ﻟﻠﻤﺒﺎﻧﻲ اﻟﺴﻜﻨﻴﺔ واﻟﻤﻜﺘﺒﻴﺔ‬ ‫ ﻛﻤﺎ ﺗﻬﺪف إﻟﻰ ﺗﺤﺴﻴﻦ ﻧﻈﺎم‬، ‫اﺳﺘﺨﺪاﻣﺎت اﻟﻤﻮاد اﻟﻤﻨﺎﺳﺒﺔ ﻟﻬﺎ‬ ‫ﻧﻈﻤﺔ‬7‫ ﺗﺘﻤﻴﺰ ﻫﺬه ا‬.‫اﻟﺒﻨﺎء ﺑﺎﻟﻜﺎﻣﻞ وﺿﻤﺎن أداء ﻋﻤﻞ ﻟﻜﻞ ﻣﺎدة‬ ‫واﻟﺤﻠﻮل ﺑﺴﻬﻮﻟﺔ ﺗﻔﻜﻴﻚ اﻟﻤﻮاد ﻋﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ وإﻋﺎدة‬ .‫اﺳﺘﺨﺪاﻣﻬﺎ ﻓﻲ ﺣﺎﻟﺔ ﻫﺪم اﻟﻤﺒﺎﻧﻲ‬

Demodular DEMODULOR is a set of innovative multi-material construction solutions (concrete, wood, steel, terracotta) that includes the deconstruction (or refurbishing) of future buildings and constructive solutions for the prevention of waste production through a systematic demolition approach, it facilitates: separation of systems and components onsite, separation of materials for optimized elimination or recycling, reuse of materials and components. www.mecd.fr

‫ﻣﻔﺼﻼت اﻟﻜﺘﺮوﻧﻴﺔ ﻟﺑﻮاب‬ ‫ ﺗﺘﻤﻴﺰ‬N‫ﺑﻮاب أوﺗﻮﻣﺎﺗﻴﻜﻴ‬7‫ ﻟﻔﺘﺢ ا‬Turbandu inductio ‫ﻣﻔﺼﻼت‬ ‫ﺑﻮاب‬7‫ﻧﻮاع ﻣﺨﺘﻠﻔﺔ ﻣﻦ إﻃﺎرات ا‬7 ‫ وﻫﻲ ﻣﻨﺎﺳﺒﺔ‬،‫ﺑﺴﻬﻮﻟﺔ اﺳﺘﺨﺪاﻣﻬﺎ‬ ‫ ﻫﺬه اﻟﻤﻔﺼﻼت ﺑﺄداﺋﻬﺎ اﻟﻌﺎﻟﻲ‬N‫ وﺗﺘﻤﻴﺰ أﻳﻀ‬، ‫ﻟﻮﻣﻨﻴﻮم أو اﻟﺨﺸﺐ‬7‫ﻣﺜﻞ ا‬ .‫ﻣﻦ ﻓﻲ اﻟﻤﺒﻨﻰ‬7‫ ﺑﻨﻈﺎم ا‬N‫ﻣﻦ ﺣﻴﺚ ﻳﻤﻜﻦ أن ﺗﺘﺼﻞ ﻻﺳﻠﻜﻴ‬7‫ﻣﻦ ا‬ .‫ﺗﺘﻜﻮن اﻟﻤﻔﺼﻼت ﻣﻦ ﺛﻼﺛﺔ أﺟﺰاء ﺳﻬﻠﺔ اﻟﺘﺮﻛﻴﺐ‬

HAHN TÜRBAND INDUCTIO The Hahn Türband 4 Inductio® is an energy and signal conducting element for electronically secured steel and aluminium frame doors, distinguished by the roll look a three-piece screw-on hinge. A new path for wireless and bidirectional transmission of signals, which is certified in accordance with the European standard EN 50131(For Germany: VdS Class C) and is intended for connecting a central alarm system with consumers at the door without a cable transition. The Inductio® makes it easier for door manufacturers and installers of safety installations to route cables along doors and connect access control systems and alarm systems. There are currently no other product that wirelessly conduct energy and signals and which may be used in security restricted areas in accordance with the aforementioned standards. Inductio® is suited for all doors installed in public accessible rooms with high requirements on electronic security (banks, jewellery stores, regulatory authorities, companies). www.dr-hahn.eu

82 Albenaa

¡UM³« ∏≤


¡UM³« w b¹b'«

‫ﺣﻠﻮل ﺟﺪﻳﺪة ﻟﻠﺠﺴﻮر اﻟﺤﺮارﻳﺔ‬ ‫ ﻣﻨﺘﺠﺎت ﺷﺮﻛﺔ‬،‫ﺣﻠﻮل ﺟﺪﻳﺪة وﻓﻌﺎﻟﺔ ﻟﻠﺠﺴﻮر اﻟﺤﺮارﻳﺔ‬ ‫ ﺗﻘﺪم اﻟﺤﻞ ا&ﻣﺜﻞ ﻓﻲ اﻟﻌﺰل اﻟﺤﺮاري وﻳﻤﻜﻦ‬Misapor ‫ﺗﻄﺒﻴﻘﻬﺎ ﺑﻄﺮق ﻣﺨﺘﻠﻔﺔ وأﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ‬ ‫ اﻟﻤﺴﺎﺣﺎت‬،‫ اﻟﺸﺎرع‬،‫ ﻧﻬﻮ ا&رﺿﻴﺎت اﻟﻐﻴﺮ ﻣﺴﺘﻮﻳﺔ‬،‫)اﻟﺴﻄﺢ‬ ‫ ﺑﺎ<ﺿﺎﻓﺔ إﻟﻰ‬Misapor ‫ وﺗﺘﻤﻴﺰ ﻣﻨﺘﺠﺎت‬. (‫ اﻟﺸﺮﻓﺎت‬،‫اﻟﺨﻀﺮاء‬ .‫ ﻛﻤﺎ ﺗﺘﻤﻴﺰ ﺑﺴﻬﻮﻟﺔ ﺗﻄﺒﻴﻘﻬﺎ‬،‫ﻋﺰﻟﻬﺎ ﺑﺨﻔﺔ وزﻧﻬﺎ وﻣﺘﺎﻧﺘﻬﺎ‬ ‫ وﻫﻲ‬Celluar Glass ‫ ﻣﻦ ﻣﺎدة‬Misapor ‫ﺗﺘﻜﻮن ﻣﻨﺘﺠﺎت‬ ‫ ﺗﺘﻤﻴﺰ ﺑﺨﻔﺔ وزﻧﻬﺎ‬٪ 100 ‫ﻋﺒﺎرة ﻋﻦ أﺣﺠﺎر ﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺰﺟﺎج‬ .‫وﺳﻬﻮﻟﺔ اﺳﺘﺨﺪاﻣﻬﺎ‬

MISAPOR GREENLIGHT MISAPOR Greenlight 1063/ is a lightweight cellular glass aggregate backfill made from 98% recycled glass bottle and 2% mineral activator. MISAPOR Greenlight 1063/ is an inert, rot-proof, durable, and easy-toinstall granulate. MISAPOR is used for any lightweight fill on structures with carrossable or vegetated areas. www.mecd.fr

‫إﻃﺎرات ﻧﻮاﻓﺬ‬ ‫ﻣﺨﻔﻴﺔ‬ ‫ ﻟﻠﻨﻮاﻓﺬ ا<ﻧﺰﻻﻗﻴﺔ ﺗﺘﻤﻴﺰ ﺑﺈﻃﺎرات ﻣﺨﻔﻴﺔ وﺑﺄداﺋﻬﺎ‬Otima ‫ﻧﻈﺎم‬ ‫ ﺑﺎ<ﺿﺎﻓﺔ إﻟﻰ أﻧﻬﺎ ﺗﻮﻓﺮ ﻣﺴﺎﺣﺔ‬، ‫اﻟﻌﺎﻟﻲ ﻓﻲ اﻟﻌﺰل اﻟﺤﺮاري‬ .‫ﻟﻮاح اﻟﺰﺟﺎﺟﻴﺔ وﻫﻲ ﺗﺘﻮﻓﺮ ﺑﺄﻟﻮاح زﺟﺎﺟﻴﺔ ﻣﺰدوﺟﺔ‬U‫ﻛﺒﻴﺮة ﻟ‬ ‫وﻳﻀﻢ ﻫﺬا اﻟﻨﻈﺎم ﻗﻨﻮات ﻟﺘﺼﺮﻳﻒ اﻟﻤﻴﺎه ﻗﺎدرة ﻋﻠﻰ اﻟﺘﺨﻠﺺ‬ .‫ﻣﻦ أﻛﺒﺮ ﻛﻤﻴﺔ ﻣﻤﻜﻨﺔ ﻣﻦ ﻣﻴﺎه ا&ﻣﻄﺎر‬

OTIIMA 38 FUSION SYSTEM Imagine a sliding window with no visible frame profiles - it is what OTIIMA 38 FUSION SYSTEM offers you - a system completely built-in on the finish materials, as if the window were merged with the building, becoming only one. Beyond that, the fusion system incorporates a drainage profile channel, able to drain a large amount of rainwater, even in extreme rainfall situations. The fusion system achieved exceptional result in watertightness test, with an outstanding e1650 class (seven classes above the class 9a), according en 12208 + iso en 1027. www.otimaframeworks.com

84 Albenaa

¡UM³« ∏¥


¡UM³« w b¹b'«

‫ﻧﻮاﻓﺬ ﻋﺎزﻟﺔ ﻟﻠﺤﺮارة‬ ‫واﻟﺼﻮت‬ ‫ﻧﻮاﻓﺬ ذات ﺗﺼﻤﻴﻢ ﺟﺪﻳﺪ ﻣﻦ ﺷﺮﻛﺔ‬ ‫ اﻟﻌﺎﻟﻤﻴﺔ ﻟﻀﻤﺎن أﻗﺼﻰ ﻗﺪر‬Technal ‫ ﺗﺤﺘﻮي ﻫﺬه‬.‫ﻣﻦ اﻟﻌﺰل اﻟﺤﺮاري واﻟﺼﻮﺗﻲ‬ ‫اﻟﻨﻮاﻓﺬ ﻋﻠﻰ أﻟﻮاح زﺟﺎﺟﻴﺔ ﻣﺰدوﺟﺔ وإﻃﺎر‬ .‫ﻣﻌﺪﻧﻲ‬

Thermal Windows Soleal Optimized, a concentrate of performances and characteristics never encountered on a window with a standard 65 mm module. It guarantees high thermal, acoustic and sealing performance at an optimized price. This window has better performance than a 75 mm module while offering a concealed sash design at a 65 mm-module window price. With a carbon footprint as low as possible, matching the RBR 2020, It is an ideal window for the installation in renovation. It is also designed to offer ease of manufacture and adjustments for the installer. www.technal.com

‫واﺟﻬﺎت زﺟﺎﺟﻴﺔ ﻣﻨﺘﺠﺔ ﻟﻠﻄﺎﻗﺔ‬ ً ‫ ﺣ‬Wysips Cameleon ‫ﺗﻘﺪم واﺟﻬﺎت‬ ‫ ﻟﻠﻮاﺟﻬﺎت‬4‫ﻼ ﺟﺪﻳﺪ‬ ‫ ﺣﻴﺚ أﻧﻬﺎ ﺗﺤﺘﻮي ﻋﻠﻰ‬، ‫اﻟﺰﺟﺎﺟﻴﺔ ﻓﻲ ﺗﻌﺰﻳﺰ إﻧﺘﺎج اﻟﻄﺎﻗﺔ‬ ‫ وﺗﻘﺪم أﻳﻀ> ﻣﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﻓﻲ‬،‫ﺧﻼﻳﺎ ﻛﻬﺮوﺿﻮﺋﻴﺔ ﻏﻴﺮ ﻣﺮﺋﻴﺔ‬ ،‫ ﺗﺘﻮﻓﺮ ﻫﺬه اﻟﻮاﺟﻬﺎت ﺑﻌﺪة أﻧﻤﺎط وأﻟﻮان ﻣﺨﺘﻠﻔﺔ‬،‫اﻟﺘﺼﻤﻴﻢ‬ .‫ ﻛﻠﻎ‬28 ‫ ﻣﻠﻢ وﺗﺰن‬1582 x 659 ‫ ﻣﻠﻢ وﺑﻤﻘﺎس‬10٫5 ‫وﺑﺴﻤﻚ‬ ‫ وﻫﻲ ﻋﺒﺎرة ﻋﻦ‬CIGAS ‫وﻗﺪ ﺗﻢ اﺳﺘﺨﺪام ﺧﻼﻳﺎ ﺷﻤﺴﻴﺔ‬ ‫ اﻟﻐﺎﻟﻴﻮم‬، ‫ﻟﻮﻣﻨﻴﻮم‬W‫ وا‬،‫ﻣﺎدة رﻗﻴﻘﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻨﺤﺎس‬ . ‫ ﻣﻊ ﻃﺒﻘﺔ ﻣﻦ اﺳﻴﻨﺎت إﻳﺜﻠﻴﻦ ـ ﻓﺎﻳﻨﻴﻞ‬،‫واﻟﺴﻴﻠﻨﻴﻨﺪ‬

WYSIPS CAMELEON Wysips® Cameleon is an aesthetic photovoltaic façade cladding solution to activate the facade. It offers to architects a high design freedom; it is a revolution in solar architecture. This Cameleon facade module comes in various patterns and colors, so there is no need to choose between function and architectural design. With Wysips® Cameleon, architects and façade makers can address new solar surfaces in addition to the usual roof surface. www.sunpartnertechnologies.com

86 Albenaa

¡UM³« ∏∂


—uJ¹b« w b¹b'«

‫ﻣﻜﺎﺗﺐ ﺑﺘﺼﺎﻣﻴﻢ ﻋﺼﺮﻳﺔ‬ ‫ ﻟﻋﻤﺎل اﻟﻤﻌﺪﻧﻴﺔ ﻣﺠﻤﻮﻋﺔ‬Cobermaster ‫ﻳﻘﺪم ﻣﺼﻨﻊ‬ ‫ ﺗﺘﻜﻮن ﻣﻦ‬، ‫ﻣﻦ اﻟﻤﻜﺎﺗﺐ اﻟﻤﻤﻴﺰة ذات اﻟﺘﺼﻤﻴﻢ اﻟﻌﺼﺮي‬ .‫ﺳﻄﺢ زﺟﺎﺟﻲ وﻗﺎﻋﺪة ﻣﻦ اﻟﻤﻌﺪن ﺑﺘﺼﺎﻣﻴﻢ ﺛﻼﺛﻴﺔ ا(ﺑﻌﺎد‬

Office Desk The corporate culture of a company is translated in the workplaces of its executives. The company offer a range of desk for the most passionate and committed ones. It has a three-dimensional grating metallic structure designed to make sure it stands out through time, not only in durability, but also in the design areas, once today’s fashion is tomorrow is outdated. It can be supplied with top in black lacquered glass, or translucent in any color. www.cobermaster.com

88 Albenaa

¡UM³« ∏∏


—uJ¹b« w b¹b'«

‫ﻣﻔﺮوﺷﺎت ﺧﺎرﺟﻴﺔ ﻋﺼﺮﻳﺔ‬ ‫ ﻟﻠﻤﻔﺮوﺷﺎت اﻟﺨﺎرﺟﻴﺔ‬Sifas ‫ ﻣﻦ ﺷﺮﻛﺔ‬KALIF ‫ﻣﺠﻤﻮﻋﺔ‬ ‫ اﺳﺘﺨﺪﻣﺖ ﻫﺬه اﻟﻤﺠﻤﻮﻋﺔ‬. ‫اﻟﺘﻲ ﺗﺘﻤﻴﺰ ﺑﺄﻧﺎﻗﺘﻬﺎ وراﺣﺘﻬﺎ‬ ‫ﺿﺎﻓﺔ إﻟﻰ‬,‫ﻫﻴﻜﻞ ﻣﻌﺪﻧﻲ ﻣﻐﻄﻰ ﺑﻨﺴﻴﺞ اﻟﺒﻮﻟﻴﺴﺘﺮ ﺑﺎ‬ Sunbrella ‫وﺳﺎﺋﺪ ﻣﻠﻮﻧﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ أﻗﻤﺸﺔ ﻣﻦ ﺷﺮﻛﺔ‬ ‫ وﺗﺘﻜﻮن ﻫﺬه اﻟﻤﺠﻤﻮﻋﺔ‬.‫اﻟﺮاﺋﺪة ﻓﻲ ﺻﻨﺎﻋﺔ ا<ﻗﻤﺸﺔ‬ ‫ﻣﻦ أرﻳﻜﺔ ﻣﻜﻮﻧﺔ ﻣﻦ ﻋﺪة أﺟﺰاء ﻳﻤﻜﻦ ﺗﺮﺗﻴﺒﻬﺎ ﺣﺴﺐ‬ ‫رﻏﺒﺔ اﻟﻤﺴﺘﺨﺪم وﻛﺮﺳﻲ ذو ذراﻋﻴﻦ وﻣﻘﺎﻋﺪ ﺻﻐﻴﺮة‬ .‫( وﻛﺮاﺳﻲ ﻛﺒﻴﺮة‬Ottomans)

Elegant weaves create a new look KALIFE offers a wide range of possibilities for creating an individualised living room, with two settees, an armchair, and an ottoman, along with a remarkable loveseat. KALIFE exudes originality and elegance in woven polyester; the comfortable, inviting cushions are available in fresh, colourful Sunbrella® fabrics. www.sifas.com www.s w.sifas.com

122 Albenaa

¡UM³« ±≤≤


—uJ¹b« w b¹b'«

R 60 ‫أرﻓﻒ‬ ‫ ﻟﺼﻨﺎﻋﺔ‬KANN ‫ ﻣﻦ ﺷﺮﻛﺔ‬R 60 ‫أرﻓﻒ‬ ، ‫اﻟﻤﻔﺮوﺷﺎت ﺗﺘﻤﻴﺰ ﺑﺘﺼﻤﻴﻤﻬﺎ اﻟﻌﺼﺮي‬ ‫وﺗﺘﻜﻮن ﻣﻦ أﻟﻮاح ﺧﺸﺒﻴﺔ ﺑﻴﻀﺎء ﻋﺎﻣﻮدﻳﺔ‬ ‫ﺗﺮﺑﻂ ﺑﻴﻨﻬﺎ أﻟﻮاح ﺻﻐﻴﺮة ﻣﻦ اﻟﺨﺸﺐ ﺑﻠﻮﻧﻪ‬ . ‫رﻓﻒ‬5‫اﻟﻄﺒﻴﻌﻲ ﻣﺸﻜﻠﺔ ﺑﺬﻟﻚ ا‬

R60 Bookcase Slender white verticals frame an organic constellation of shelves sanded from wooden offcuts. Natural colours, style with no loss of space. To enhance the effect, try placing several side by side. 60% recycled wood. wwwkanndesigncom

92 Albenaa

¡UM³« π≤


‫‪WO½öŽ≈ …œU‬‬

‫‪¡UM³« o×K‬‬

‫ﻣﺼﻨﻊ ﺷﺮﻛﺔ اﻟﺤﺪﻳﺪ اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي ـ اﻟﺪﻣﺎم‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﻣﺘﻄﻮرة ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﺼﻠﺐ ا‪+‬ﻧﺸﺎﺋﻲ ﺑﺠﻮدة ﻋﺎﻟﻴﺔ‬

‫‪Saudi National Steel‬‬ ‫‪Factory, Dammam‬‬

‫ﻳﺴـــﺘﺨﺪم اﻟﺼﻠـــﺐ ﻛﻤـــﺎدة أﺳﺎﺳـــﻴﺔ ﻓـــﻲ‬ ‫ا‪+‬ﻧﺸـــﺎءات وﻣﻄﻠﻮﺑﺔ ﺧﻼل ﻣﺮﺣﻠﺔ ﻧﻤﻮ اﻟﺒﻨﻰ‬ ‫اﻟﺘﺤﺘﻴـــﺔ ‪2‬ي اﻗﺘﺼـــﺎد وﻃﻨـــﻲ‪ ،‬وﻣـــﻊ ﺳـــﻌﻲ‬ ‫اﻟﻤﻤﻠﻜـــﺔ اﻟﻌﺮﺑﻴـــﺔ اﻟﺴـــﻌﻮدﻳﺔ ﻧﺤـــﻮ ﺗﻌﺰﻳـــﺰ‬ ‫ﻗﺎﻋـــﺪة اﻟﺘﺼﻨﻴﻊ ﺑﻬﺎ‪ ،‬ﻓﺴـــﺘﺤﺘﺎج إﻟﻰ اﻟﻜﺜﻴﺮ‬ ‫ﻣﻦ اﻟﺼﻠﺐ‪ .‬وﻣﻦ ﻫﺬا اﻟﻤﻨﻄﻠﻖ ﺗﻢ ﺗﺄﺳﻴﺲ‬ ‫ﻣﺼﻨﻊ ﺷﺮﻛﺔ اﻟﺤﺪﻳﺪ اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي ﻓﻲ‬ ‫اﻟﺪﻣﺎم ﻟﺘﺰوﻳﺪ اﻟﺒﻼد ﺑﺎﻟﺨﺪﻣﺔ اﻟﻤﻄﻠﻮﺑﺔ‪.‬‬ ‫ﻳﻠﺘـــﺰم ﻣﺼﻨـــﻊ ﺷـــﺮﻛﺔ اﻟﺤﺪﻳـــﺪ اﻟﻮﻃﻨـــﻲ‬ ‫اﻟﺴـــﻌﻮدي ﺑﺘﻘﺪﻳـــﻢ ﻣﻨﺘﺠـــﺎت اﻟﺼﻠـــﺐ‬ ‫ا‪+‬ﻧﺸـــﺎﺋﻴﺔ ذات اﻟﺠـــﻮدة اﻟﻌﺎﻟﻴـــﺔ ﻟﻠﺴـــﻮق‬ ‫اﻟﻤﺘﻨﺎﻣﻲ ﻓﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴـــﻌﻮدﻳﺔ‪،‬‬ ‫ﻛﻤـــﺎ أن ﺑﻪ ﻓﺮﻳﻖ ﻣﺘﺨﺼﺺ ﻣـــﻦ اﻟﻤﺤﺘﺮﻓﻴﻦ‬ ‫ذوي اﻟﺨﺒﺮة وﻣﻌـــﺪات ﻋﺎﻟﻴﺔ اﻟﺠﻮدة ﻟﺘﺤﻘﻴﻖ‬ ‫أﻫﺪاﻓﻪ اﻟﻤﺮﺟﻮة‪ ،‬وﻗﺪ ﺑﺪأ إﻧﺘﺎج ﻣﺼﻨﻊ ﺷﺮﻛﺔ‬ ‫اﻟﺤﺪﻳﺪ اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي ﻓﻲ إﺑﺮﻳﻞ ‪.2017‬‬ ‫ﻳﻨﺘـــﺞ اﻟﻤﺼﻨﻊ ﻛﺘـــﻞ اﻟﺼﻠﺐ ﻋﺎﻟﻴـــﺔ اﻟﺠﻮدة‬ ‫ﻓﻲ ورﺷـــﺔ ﺻﻬﺮ اﻟﺼﻠـــﺐ اﻟﺤﺪﻳﺜﺔ ﺑﺎﻟﻤﺼﻨﻊ‬ ‫ﺑﺎﺳـــﺘﺨﺪام ﻣﻌﺎدن ﺧﺮدة ﻣﺘﺎﺣـــﺔ ﻣﺤﻠﻴ‪ ،S‬ﺛﻢ‬ ‫ﻳﺘـــﻢ ﻟﻒ ﻋﺮوق اﻟﺼﻠﺐ ﻓﻲ آﻟﺔ درﻓﻠﺔ اﻟﺼﻠﺐ‬ ‫ﺣﺴـــﺐ ا‪2‬ﻗﺴـــﺎم وا‪2‬ﺣﺠـــﺎم اﻟﺘـــﻲ ﻳﺮﻳﺪﻫـــﺎ‬ ‫اﻟﻌﻤﻴـــﻞ‪ ،‬ﺣﻴﺚ ﻳﺘـــﻢ اﺳـــﺘﺨﺪام ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬

‫اﻟﻤﻌﺎﻟﺠـــﺔ اﻟﺤﺮارﻳـــﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴـــﺔ ﻟﻀﻤـــﺎن‬ ‫اﻟﺼﻼﺑﺔ ﻣﻊ اﻟﻘﻮة ﻓـــﻲ ﻣﻨﺘﺠﺎت اﻟﻤﺼﻨﻊ ﻣﻦ‬ ‫اﻟﺼﻠـــﺐ ﺣﺘﻰ ﻳﺘـــﻢ ﺗﻮﻓﻴـــﺮ اﻟﻤﻨﺘﺠـــﺎت اﻟﺘﻲ‬ ‫ﺗﻄﺎﺑﻖ اﻟﻤﻮاﺻﻔﺎت اﻟﻘﻴﺎﺳﻴﺔ اﻟﺪوﻟﻴﺔ‪.‬‬ ‫ﺗﺘﺮﻛـــﺰ ﻣﺠﻤﻮﻋـــﺔ ﻣﻨﺘﺠـــﺎت ﺷـــﺮﻛﺔ اﻟﺤﺪﻳـــﺪ‬ ‫اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي ﻓﻲ ﻣﺎ ﻳﻠﻲ‪:‬‬ ‫• ﻗﻨـــﻮات اﻟﺼﻠـــﺐ – ‪ 50×100‬ﻣﻠﻢ و ‪40×75‬‬ ‫ﻣﻠﻢ‪ ،‬ﻣﺘﻮﺳﻂ‪.‬‬ ‫• زواﻳﺎ اﻟﺼﻠﺐ – ‪ 65×65‬ﻣﻠﻢ و ‪ 60×60‬ﻣﻠﻢ‪،‬‬ ‫ﻣﺘﻮﺳﻂ‪.‬‬ ‫• ﻗﻀﺒﺎن اﻟﺼﻠﺐ اﻟﻤﺴﻠﺢ – اﻟﺤﺠﻢ‪ :‬ﻣﻦ ‪8‬‬ ‫إﻟﻰ ‪ 32‬ﻣﻠﻢ‪ ،‬اﻟﺪرﺟﺔ ‪.60‬‬ ‫اﻟﺸـــﺮﻛﺔ ﻣﻌﺘﻤـــﺪة وﻓﻘـــ‪ S‬ﻟﻤﻮاﺻﻔـــﺔ اﻟﺠﻮدة‬ ‫اﻟﺪوﻟﻴﺔ ا‪2‬ﻳﺰو ‪9001:2015‬‬ ‫ﺗﻨﺘﺞ ﺷﺮﻛﺔ اﻟﺤﺪﻳﺪ اﻟﻮﻃﻨﻲ اﻟﺴﻌﻮدي ‪150.000‬‬ ‫ﻃﻦ ﻣـــﻦ ﻗﻀﺒـــﺎن اﻟﺼﻠـــﺐ ﺳـــﻨﻮﻳ‪ ،S‬ﻛﻤـــﺎ ﺗﺘﻤﻴﺰ‬ ‫اﻟﺸﺮﻛﺔ ﺑﺎﻻﺳـــﺘﺠﺎﺑﺔ اﻟﻌﺎﻟﻴﺔ واﻟﻮﻓﺎء ﺑﺎﻟﺘﺰاﻣﺎﺗﻬﺎ‬ ‫ﻓﻲ اﻟﻮﻗﺖ اﻟﻤﻄﻠﻮب‪ .‬ﻧﺤﻦ ﻧﺆﻣﻦ ﺑﺄﻧﻨﺎ ﺳـــﻨﻜﻮن‬ ‫ﺷﺮﻳﻜ‪ S‬ﺟﺪﻳﺮ‪ a‬ﺑﺎﻟﺜﻘﺔ ﻟﻌﻤﻼﺋﻨﺎ وﻧﺘﻄﻠﻊ إﻟﻰ اﻟﻮﻓﺎء‬ ‫ﺑﺎﻻﻟﺘﺰاﻣﺎت ﻣـــﻦ أﺻﺤﺎب اﻟﻤﺼﻠﺤﺔ‪ ،‬ﻛﻤﺎ ﻧﺘﻮﻗﻊ أن‬ ‫ﺗﺸـــﻬﺪ ﻋﻼﻗﺎﺗﻨﺎ ﻧﻤﻮ‪ a‬ﻗﻮﻳ‪ S‬ﻓﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ ﻓﻲ ا‪2‬ﻳﺎم اﻟﻘﺎدﻣﺔ‪.‬‬

‫‪Steel is a basic construction material‬‬ ‫‪which is required during Infra‬‬‫‪structure growth phase of any National‬‬ ‫‪economy. As Saudi Arabia ramps up its‬‬ ‫‪manufacturing base, it will need a lot‬‬ ‫‪of steel. It is with this understanding‬‬ ‫‪that Saudi National Steel Factory was‬‬ ‫‪established in Dammam to provide‬‬ ‫‪yeoman service to the country.‬‬ ‫)‪Saudi National Steel Factory (SNS‬‬ ‫‪is committed to provide quality‬‬ ‫‪construction steel products for the‬‬ ‫‪growing market of Saudi Arabia. It‬‬ ‫‪has a dedicated experienced team of‬‬ ‫‪professionals and quality equipment to‬‬ ‫‪meet its stated objectives. SNS started‬‬ ‫‪production in April 2017.‬‬ ‫‪SNS makes high quality steel billets at‬‬ ‫‪its modern Steel Melting Shop using‬‬ ‫‪locally available scrap metal. It then‬‬ ‫‪rolls the billets in its Rolling Mill into‬‬ ‫‪customer desired sections & sizes. It‬‬ ‫‪uses the thermo-mechanical treatment‬‬ ‫‪technology to ensure toughness‬‬ ‫‪with strength in its steel products‬‬ ‫‪to provide products specified to‬‬ ‫‪International standards.‬‬ ‫‪SNS has a product range focused on:‬‬ ‫& ‪i) Steel Channels -100x50 mm‬‬ ‫‪75x40 mm, medium.‬‬ ‫‪ii) Steel Angles -65x65 mm & 60x60‬‬ ‫‪mm, medium.‬‬ ‫‪iii) Reinforced Steel Bars - 8 mm to 32‬‬ ‫‪mm size, Grade 60.‬‬ ‫‪The company is certified for the‬‬ ‫‪International Quality Standard of ISO‬‬ ‫‪9001:2015.‬‬ ‫‪SNS is capable of producing 150,000‬‬ ‫‪tons of steel bars per annum. SNS is a‬‬ ‫‪highly responsive company and delivers‬‬ ‫‪to its time commitments. We believe‬‬ ‫‪in being a trusted partner for our‬‬ ‫‪customers and look forward to repeat‬‬ ‫‪commitments from both stakeholders.‬‬ ‫‪We envision a strong growth in our‬‬ ‫‪relationships in Saudi Arabia in the‬‬ ‫‪days ahead.‬‬

‫‪¡UM³« πμ‬‬

‫‪95 Albenaa‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ اﻟﻔﻨﺎر ﻟﻠﻜﻬﺮﺑﺎء‬

‫اﻟﻘﺎﻃﻊ اﻟﻜﻬﺮﺑﺎﺋﻲ ذو اﻟﺤﻤﺎﻳﺔ ﻣﻦ اﻟﺘﻜﻬﺮب واﻟﺘﻴﺎرات اﻟﺰاﺋﺪة‬

‫«*‪w(«uB« œuL× ”bMN‬‬ ‫‪¡UÐdNJK —UMH« Wdý‬‬

‫أن اﻟﻘﺎﻃﻊ اﻟﻜﻬﺮﺑﺎﺋﻲ ﻫﻮ أداة‬ ‫ﻣﻦ اﻟﻤﻌﻠﻮم ّ‬ ‫ذات آﻟﻴﺔ ﺗﻤﻜﻨﻬﺎ ﻣﻦ اﻟﻘﻴﺎم ﺑﻔﺼﻞ اﻟﺘﻴﺎر‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻲ ﻓﻲ ﻇــــﺮوف اﻟﻌﻤﻞ اﻟﻄﺒﻴﻌﻴﺔ‬ ‫وﻏﻴﺮ اﻟﻄﺒﻴﻌﻴــــﺔ ) أي ﻋﻨﺪ ﺣﺪوث ا‪6‬ﻋﻄﺎل‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴــــﺔ ( ‪ .‬وﻳﻌﺘﺒﺮ اﻟﻘﺎﻃﻊ اﻟﻜﻬﺮﺑﺎﺋﻲ‬ ‫أﺣــــﺪ أﻫــــﻢ ﻣﻜﻮﻧــــﺎت ﻧﻈــــﺎم اﻟﺘﻤﺪﻳــــﺪات‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴــــﺔ ﻛﻮﻧــــﻪ اﻟﻤﺴــــﺆول اﻟﻤﺒﺎﺷــــﺮ‬ ‫ﻋــــﻦ ﺗﻮﻓﻴﺮ اﻟﺤﻤﺎﻳﺔ ﻟﺠﻤﻴــــﻊ ﻋﻨﺎﺻﺮ اﻟﺪارات‬ ‫ـــﺈن أي ﺧﻠﻞ ﻓﻲ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴــــﺔ ‪ ,‬وﺑﺎﻟﺘﺎﻟــــﻲ ﻓـ ّ‬ ‫وﻇﻴﻔﺔ اﻟﻘﺎﻃﻊ وﻋﺪم اﺳــــﺘﺠﺎﺑﺘﻪ ﺑﺴﺮﻋﺔ‬ ‫ﻓﺎﺋﻘﺔ ﺳــــﻴﺆﺛﺮ ﺑﺸــــﻜﻞ ﻛﺒﻴﺮ ﻋﻠﻰ ﺳﻼﻣﺔ‬ ‫ا‪6‬ﻓﺮاد و اﻟﻤﻤﺘﻠﻜﺎت ﻓﻲ اﻟﻤﻨﺸﺂت ‪.‬‬

‫و ﻳﺘﻤﻴﺰ اﻟﻘﺎﻃﻊ اﻟﻜﻬﺮﺑﺎﺋﻲ ذو اﻟﺤﻤﺎﻳﺔ ﻣﻦ‬ ‫اﻟﺘﻜﻬــــﺮب واﻟﺘﻴﺎرات اﻟﺰاﺋــــﺪة و اﻟﻤﻌﺮوف ﺑـ‬ ‫‪ RCBO‬ﻋﻦ ﻏﻴﺮه ﻣﻦ اﻟﻘﻮاﻃﻊ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ‬ ‫اﻟﻌﺎدﻳﺔ ﺑﺄﻧﻪ ﻳﻮﻓﺮ ﺟﻤﻴﻊ اﻟﺤﻤﺎﻳﺎت اﻟﻤﺮﻏﻮﺑﺔ‬ ‫واﻟﻤﻄﻠﻮﺑــــﺔ ﻟﻠﻨﻈــــﺎم اﻟﻜﻬﺮﺑﺎﺋﻲ ﺑﺸــــﻜﻞ‬ ‫ﻋــــﺎم و ﻟﺤﻤﺎﻳــــﺔ اﻻﻧﺴــــﺎن ﺑﺸــــﻜﻞ ﺧــــﺎص ‪،‬‬ ‫وﺗﺘﻤﺜﻞ ﻫﺬه اﻟﺤﻤﺎﻳﺎت ﺑﻤﺎ ﻳﻠﻲ ‪:‬‬

‫‪¡UM³« π¥‬‬

‫‪94 Albenaa‬‬

‫‪ .١‬اﻟﺤﻤﺎﻳﺔ ﻣﻦ ﺗﻴﺎرات اﻟﺘﺤﻤﻴﻞ اﻟﺰاﺋﺪ‬ ‫‪overload‬‬ ‫ﻳﻘﺼـــﺪ ﺑﺘﻴـــﺎرات اﻟﺘﺤﻤﻴـــﻞ اﻟﺰاﺋـــﺪ ارﺗﻔﺎع‬ ‫ﻗﻴﻤـــﺔ اﻟﺘﻴـــﺎر اﻟﻜﻬﺮﺑﺎﺋـــﻲ اﻟﻤـــﺎر ﺑﺎﻟـــﺪارة‬ ‫ﻧﺘﻴﺠﺔ ﺗﺸـــﻐﻴﻞ ﻋﺪد ﻛﺒﻴﺮ ﻣـــﻦ ا‪6‬ﺟﻬﺰة‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ ﻋﻠﻰ ﻧﻔﺲ اﻟﻘﺎﻃﻊ‪ ،‬وﻓﻲ ﻫﺬه‬ ‫اﻟﺤﺎﻟﺔ ﺳـــﺘﻜﻮن ﻗﻴﻤﺔ اﻟﺘﻴﺎر اﻟﻤﺴﺘﻬﻠﻚ‬ ‫أﻋﻠـــﻰ ﻣﻦ ﻗﻴﻤﺔ اﻟﺘﻴﺎر اﻻﺳـــﻤﻲ ﻟﻠﻘﺎﻃﻊ ‪،‬‬ ‫وﻓﻲ ﻫﺬه اﻟﺤﺎﻟﺔ ﺳـــﻮف ﻳﻔﺼـــﻞ اﻟﻘﺎﻃﻊ‬ ‫اﺗﻮﻣﺎﺗﻴﻜﻴـــﺎ ﺿﻤـــﻦ ﻓﺘﺮة زﻣﻨﻴـــﺔ ﻣﺤﺪدة‬ ‫ﺗﺘﻨﺎﺳـــﺐ ﻋﻜﺴـــﻴﺎ ﻣﻊ ﻣﻘﺪار اﻟﺰﻳﺎدة ﻓﻲ‬ ‫اﻟﺘﻴﺎر ‪.‬‬

‫‪ .٣‬اﻟﺤﻤﺎﻳﺔ ﻣﻦ ﺗﻴﺎر اﻟﺘﺴﺮﻳﺐ اﻻرﺿﻲ‬ ‫‪Earth Leakage‬‬ ‫ﺗﻴــــﺎر اﻟﺘﺴــــﺮﻳﺐ ﻫــــﻮ اﻟﺘﻴــــﺎر اﻟﻜﻬﺮﺑﺎﺋــــﻲ‬ ‫اﻟﻤﻌﺪات‬ ‫اﻟــــﺬي ﻳﺘﺴــــﺮب ﻣــــﻦ ا‪6‬ﺳــــﻼك أو‬ ‫ّ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴــــﺔ إﻟـــﻰ ا‪6‬رض ‪ ،‬وﻳﺤــــﺪث ذﻟــــﻚ‬ ‫ﺑﺴــــﺒﺐ ﺗﺸــــﻘﻘﺎت ﻏﻴــــﺮ ﻣﺮﺋﻴــــﺔ أو ﺣــــﺪوث‬ ‫ﺗﻠﻒ ﻟﻠﻤــــﻮاد اﻟﻌﺎزﻟــــﺔ ﻟ‪p‬ﺳــــﻼك و اﻟﻜﺎﺑﻼت‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ وﺑﺎﻟﺘﺎﻟﻲ ﺗﺼﺒﺢ اﻟﻔﺮﺻﺔ ﻣﺘﺎﺣﺔ‬ ‫ﻟﺘﺴــــﺮب اﻟﺘﻴﺎر اﻟﻰ اﻻرض ‪ ،‬وﻫﺬا ﻳﺆدي إﻟﻰ‬ ‫ﻣﺸــــﺎﻛﻞ ﻛﺒﻴﺮة ﻣﻨﻬﺎ ارﺗﻔﺎع درﺟﺔ اﻟﺤﺮارة‬ ‫ﻟﻨﻘﺎط اﻟﺘﺴــــﺮﻳﺐ أو ﺗﻮﻟﻴﺪ ﺷﺮر ﻛﻬﺮﺑﺎﺋﻲ‬ ‫ﻳﺆدي إﻟﻰ ﺣﺪوث ﺣﺮاﺋﻖ و ﻏﻴﺮﻫﺎ‬ ‫‪ .٤‬اﻟﺤﻤﺎﻳــﺔ ﻣﻦ اﻟﺼﻌــﻖ اﻟﻜﻬﺮﺑﺎﺋﻲ‬ ‫‪Electric Shock‬‬

‫‪ .٢‬اﻟﺤﻤﺎﻳــﺔ ﻣــﻦ اﻟﺘﻤــﺎس اﻟﻜﻬﺮﺑﺎﺋﻲ‬ ‫‪Short Circuit‬‬ ‫إن ﻣﺼﻄﻠـــﺢ اﻟﺘﻤـــﺎس اﻟﻜﻬﺮﺑﺎﺋـــﻲ ﻳﻌﻨـــﻲ‬ ‫ّ‬ ‫ﺣـــﺪوث اﺗﺼـــﺎل ﻣﺒﺎﺷـــﺮ ﺑﻴـــﻦ ا‪6‬ﺳـــﻼك‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ ﻣﺨﺘﻠﻔـــﺔ اﻟﺠﻬﺪ )اﻟﻔـــﺎز واﻟﻔﺎز‪،‬‬ ‫أواﻟﻔـــﺎز واﻟﺤﻴـــﺎدي‪ ،‬أواﻟﻔﺎزات اﻟﺜﻼﺛﺔ ﺳـــﻮﻳﺔً (‬ ‫أو ﺑﻴـــﻦ اﻻﺳـــﻼك اﻟﻤﻜﻬﺮﺑـــﺔ واﻟﻬﻴـــﺎﻛﻞ‬ ‫اﻟﻤﻌﺪﻧﻴـــﺔ ﻟـــﻶﻻت ‪ ,‬ﻛﻤـــﺎ ﻳﻌﺘﺒـــﺮ اﻟﺘﻤـــﺎس‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻲ ﻣﻦ أﺧﻄـــﺮ اﻻﻋﻄﺎل اﻟﻜﻬﺮﺑﺎﺋﻴﺔ‬ ‫اﻟﺘـــﻲ ﺗﻔﺘـــﻚ ﺑﺎﻟﻨﻈـــﺎم اﻟﻜﻬﺮﺑﺎﺋـــﻲ ﻓـــﻲ‬ ‫اﻟﻤﻨﺸـــﺂت و اﻟﺸـــﺒﻜﺎت اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺮﺗﻔﻊ اﻟﺘﻴﺎر اﻟﻜﻬﺮﺑﺎﺋﻲ إﻟﻰ ﻗﻴﻢ ﻋﺎﻟﻴﺔ ﺟﺪا‬ ‫ﺗﻔـــﻮق ﻗﺪرة ا‪6‬ﺳـــﻼك و اﻟﻜﺎﺑـــﻼت و ا‪6‬ﺟﻬﺰة‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ ا‪6‬ﺧﺮى ﻋﻠﻰ ﺗﺤﻤﻞ ﺗﻠﻚ اﻟﺘﻴﺎرات‬ ‫اﻟﻬﺎﺋﻠﺔ ﻣﻤﺎ ﻳﺆدي ﻻ ﻣﺤﺎﻟﺔ إﻟﻰ اﻧﺼﻬﺎر ﺗﻠﻚ‬ ‫اﻟﻤﻜﻮﻧـــﺎت و ﺣﺪوث ﺣﺮاﺋﻖ ﻛﻬﺮﺑﺎﺋﻴﺔ ﻫﺎﺋﻠﺔ‬ ‫ﻓﺈن ﻋﺪم ﻓﺼﻞ‬ ‫ﺧﻼل ﺛﻮان ﻣﻌﺪودات ‪ ،‬ﻟﺬا ّ‬ ‫ﺗﻴـــﺎر اﻟﺘﻤـــﺎس اﻟﻜﻬﺮﺑﺎﺋـــﻲ أو اﻟﺘﺄﺧﻴـــﺮ ﻓﻴـــﻪ‬ ‫ﺳﻴﺆدي إﻟﻰ ﻛﻮارث ﻻ ﻳﺤﻤﺪ ﻋﻘﺒﺎﻫﺎ ‪ .‬وﻳﺸﺎر‬ ‫أن ﻫـــﺬا اﻟﻘﺎﻃﻊ ﻳﺴـــﺘﻄﻴﻊ ﻓﺼﻞ ﺗﻴﺎر‬ ‫إﻟـــﻰ ّ‬ ‫اﻟﺘﻤﺎس اﻟﻜﻬﺮﺑﺎﺋـــﻲ اﺗﻮﻣﺎﺗﻴﻜﻴﺎ وﻓﻲ زﻣﻦ‬ ‫أﻗﻞ ﻣﻦ ‪ ٠٫١‬ﺛﺎﻧﻴﺔ ‪.‬‬

‫إن ﺣﻤﺎﻳـــﺔ اﻻﻧﺴـــﺎن ﻣـــﻦ ﺧﻄـــﺮ اﻟﺼﻌـــﻖ‬ ‫ّ‬ ‫اﻟﻜﻬﺮﺑﺎﺋـــﻲ ﻫﻲ اوﻟﻰ اوﻟﻮﻳﺎت اﻟﺸـــﺮﻛﺎت‬ ‫اﻟﻤﺼﻨّﻌـــﺔ ﻟﻠﻤﻨﺘﺠـــﺎت اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ ‪،‬‬ ‫وﺧﺼﻮﺻـــﺎ ﻟﻤـــﺎ ﻟﻠﺼﻌـــﻖ اﻟﻜﻬﺮﺑﺎﺋﻲ ﻣﻦ‬ ‫ﻣﺨﺎﻃﺮ ﺻﺤﻴﺔ ﻣﺨﻴﻔﺔ ﻗﺪ ﺗﺼﻞ إﻟﻰ اﻟﻮﻓﺎة‪،‬‬ ‫أن ﻫﺬا اﻟﻘﺎﻃﻊ ﺗﺤﺪﻳﺪا‬ ‫وﻣﻦ اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ّ‬ ‫ﻟﻴـــﺲ ﻛﺎﻟﻘﻮاﻃـــﻊ اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ اﻟﻌﺎدﻳـــﺔ‬ ‫اﻟﻤﻮﺟـــﻮدة ﻓـــﻲ أﻏﻠـــﺐ ﻣﻨﺎزﻟﻨـــﺎ واﻟﺘﻲ ﻟﻦ‬ ‫ﺗﻔﺼﻞ ﻋﻨـــﺪ ﺣﺪوث اﻟﺼﻌـــﻖ اﻟﻜﻬﺮﺑﺎﺋﻲ‬ ‫ﻟﻼﺷـــﺨﺎص ‪ ،‬ﺑـــﻞ ﻳﺴـــﺘﻄﻴﻊ ﻫـــﺬا اﻟﻘﺎﻃﻊ‬ ‫أن ﻳﻔﺼـــﻞ ﻟﺤﻈﻴـــﺎ ﻋﻨـــﺪ ﺣـــﺪوث ﺻﻌـــﻖ‬ ‫ﻛﻬﺮﺑﺎﺋﻲ ﻟ‪p‬ﺷـــﺨﺎص و ﺑﺎﻟﺘﺎﻟﻲ ﻳﻮﻓﺮ ﻟﻬﻢ‬ ‫اﻟﺤﻤﺎﻳﺔ اﻟﻼزﻣﺔ ‪.‬‬ ‫‪Mahmoud.alsawalhi@alfanar.com‬‬ ‫‪alfanar Electric‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫رواد ﻓﻲ ﺻﻨﺎﻋﺔ ا ﻗﻔﺎل اﻟﺬﻛﻴﺔ وﺟﻤﻴﻊ إﻛﺴﺴﻮارات ا ﺑﻮاب اﻟﺨﺸﺒﻴﺔ‬ ‫ﺷﺮﻛﺔ أﻛﺎدا ﻟﻠﺘﺠﺎرة‬ ‫ﺗﻌﻤﻞ ﺷـــﺮﻛﺔ أﻛﺎدا ﻓﻲ ﺻﻨﺎﻋـــﺔ اﻗﻔﺎل اﻟﺬﻛﻴﺔ‬ ‫ﻣﻨـــﺬ ﻋـــﺎم ‪١٩٩٨‬م ‪ ،‬وﻫـــﻲ ﺗﻘـــﺪم ﻣﻨﺘﺠﺎﺗﻬـــﺎ‬ ‫وﺣﻠﻮﻟﻬﺎ ﻟﻘﻄﺎﻋﺎت اﻟﻔﻨﺎدق واﻟﺸﻘﻖ واﻟﻤﻜﺎﺗﺐ‬ ‫واﻟﻤﺮاﻓﻖ اﻟﺘﺮﻓﻴﻬﻴﺔ ﻋﻠﻰ اﻟﻤﺴﺘﻮﻳﻴﻦ اﻟﻤﺤﻠﻲ‬ ‫واﻟﺪوﻟﻲ‪.‬‬ ‫ﻳﻘـــﻊ ﻣﻘﺮ اﻟﺸـــﺮﻛﺔ اﻟﺮﺋﻴﺲ ﻓﻲ ﺗﻮﻧـــﺞ ﺟﺎﻧﺞ ﻓﻲ‬ ‫ﻣﺪﻳﻨـــﺔ وﻳﻨـــﺰو ﻋﻠـــﻰ ﻣﺴـــﺎﺣﺔ ‪ ١٠٫٠٠٠‬ﻣﺘـــﺮ ﻣﺮﺑـــﻊ ‪،‬‬ ‫وﺗﺴـــﻌﻰ اﻟﺸـــﺮﻛﺔ ‪G‬ﻧﺘـــﺎج أﻓﻀﻞ اﻗﻔـــﺎل اﻟﺘﻲ‬ ‫ﻳﻤﻜـــﻦ اﻻﻋﺘﻤـــﺎد ﻋﻠﻴﻬـــﺎ ﺣﻴـــﺚ ﻃـــﻮرت ﺧﻄﻮط‬ ‫إﻧﺘـــﺎج ﻣﺘﻜﺎﻣﻠـــﺔ وﺑﻬﺎ ﻣﺮﻛـــﺰ ﻟﻠﺒﺤـــﺚ واﻟﺘﻄﻮﻳﺮ‬ ‫واﻟﺘﺠﻤﻴﻊ واﻟﺨﺪﻣﺎت اﻟﻠﻮﺟﺴﺘﻴﺔ‪ .‬وﻟﺪى اﻟﺸﺮﻛﺔ‬ ‫‪ ٣٠٠‬ﻣﻮﻇﻒ ﻋﻠﻰ ﻗـــﺪر ﻋﺎﻟﻲ ﻣﻦ اﻟﻤﻬﺎرة واﻟﺪراﻳﺔ‬ ‫واﻟﺘﻘﻨﻴـــﺔ ﻣﻤـــﺎ ﻳﺴـــﺎﻋﺪﻫﻢ ﻋﻠﻰ ﺗﻘﺪﻳـــﻢ ﺟﻤﻴﻊ‬ ‫اﻟﺨﺪﻣـــﺎت ﻣﻦ ﺗﺴـــﻮق وﻣﺮﻛـــﺰ ﻟﺨﺪﻣـــﺎت ﻣﺎ ﺑﻌﺪ‬ ‫اﻟﺒﻴﻊ ﻟﺘﺤﻘﻴﻖ اﻟﺮﺿﺎ اﻟﺘﺎم ﻟﺪى اﻟﻌﻤﻼء‪.‬‬ ‫وﺗﺤﻈـــﻰ أﻛﺎدا ﺑﺎﻟﺴـــﻤﻌﺔ اﻟﺠﻴـــﺪة ﻓﻲ اﻟﺴـــﻮق‬ ‫اﻟﻌﺎﻟﻤـــﻲ ﺣﻴﺚ وﻗـــﺮت اﻟﺸـــﺮﻛﺔ ﻣﻨﺘﺠﺎﺗﻬﺎ ﻛﺜﺮ‬ ‫ﻣﻦ ‪ ١٠٫٠٠٠‬ﻓﻨﺪق وأﺑﻨﻴﺔ ﺗﺠﺎرﻳﺔ ﺑﺎﻟﻮﻗﺖ اﻟﻤﻨﺎﺳـــﺐ‬ ‫وﻣﻨﺘﺠﺎﺗﻬـــﺎ ﻳﻤﻜـــﻦ اﻻﻋﺘﻤـــﺎد ﻋﻠﻴﻬـــﺎ ‪ ،‬وﺗﺘﻮﻓـــﺮ‬ ‫ﻣﻨﺘﺠـــﺎت أﻛﺎدا ﻓﻲ أﻛﺜﺮ ﻣـــﻦ ‪ ٥٠‬دوﻟﺔ ﻓﻲ أﻣﺮﻳﻜﺎ‬ ‫اﻟﺸـــﻤﺎﻟﻴﺔ ‪ ،‬أوروﺑـــﺎ ‪ ،‬ﺟﻨـــﻮب أﺳـــﻴﺎ‪ ،‬واﻟﺸـــﺮق‬ ‫اوﺳﻂ‪.‬‬

‫‪Since 1998 AKADA have been in smart‬‬ ‫‪lock industry for nearly 16 years and now‬‬ ‫‪we offer both products and solutions to‬‬ ‫‪hotels, apartment, offices, facilities and‬‬ ‫‪leisure, facilities at domestic and oversea‬‬ ‫‪market.‬‬ ‫‪We settled at LongGang. WenZhou with‬‬ ‫‪10000M production base. We wish to‬‬ ‫‪produce the most reliable lock to clients,‬‬ ‫‪and with this wish, we have developed‬‬ ‫‪a complete and mature production line,‬‬ ‫‪including the R&D, molding, punching,‬‬ ‫‪dieing, assembling testing and logistics.‬‬ ‫‪Allied with 300 intelligent employees,‬‬ ‫‪and our department of R&D, production,‬‬ ‫‪marketing and after - sale center, we can‬‬ ‫‪secure customer and overall satisfaction‬‬ ‫‪purchase experience.‬‬ ‫‪AKADA have maintained the strong‬‬ ‫‪position and served more than 10,000‬‬ ‫‪hotel clients. With the right time, reliable‬‬ ‫‪producing ability, diversified range of‬‬ ‫‪products, AKADA products had been sold‬‬ ‫‪to more than 50 countries and regions, in‬‬ ‫‪North America,Europe, southeast Asia,‬‬ ‫‪the Middle East and other places, with a‬‬ ‫‪large number of overseas users.‬‬

‫∂‪¡UM³« π‬‬

‫‪96 Albenaa‬‬


‫‪WO½öŽ≈ …œU‬‬

‫‪¡UM³« o×K‬‬

‫ﺗﺮﺷﻴﺪ اﺳﺘﻬﻼك ﻓﻲ اﻟﻄﺎﻗﺔ‬ ‫اﻟﻤﻬﻨﺪس ﻓﺮﻳﺪ ﻋﺒﺪ اﻟﺴﺘﺎر اﻟﻤﻴﻤﻨﻲ‬

‫إن أﻫﻤﻴﺔ ﺗﺮﺷﻴﺪ اﻟﻄﺎﻗﺔ ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ أﺻﺒﺤﺖ ﻫﺎﺟﺴ ﻟﻜﻞ اﻟﻤﻬﺘﻤﻴﻦ‬ ‫ﻣﺴــﺌﻮﻟﻴﻦ وﻣﻮاﻃﻨﻴﻦ ﺣﺘﻰ اﻧﻄﻠــﻖ اﻟﺒﺮﻧﺎﻣﺞ اﻟﻮﻃﻨﻲ ‪-‬دارة وﺗﺮﺷــﻴﺪ اﻟﻄﺎﻗﺔ )ﺑﺮﻧﺎﻣﺞ‬ ‫ﻛﻔﺎءة اﻟﻄﺎﻗﺔ( وﻛﻮد اﻟﺒﻨﺎء اﻟﺴﻌﻮدي وﻧﻈﺎم ا‪-‬ﻟﺰام ﺑﺎﻟﻌﺰل اﻟﺤﺮاري ﻟﻠﻤﺒﺎﻧﻲ‪ ،‬ودورﻫﻤﺎ‬ ‫ﻓــﻲ ﺗﺨﻔﻴﺾ اﺳــﺘﻬﻼك اﻟﻜﻬﺮﺑﺎء ﺑﺮﻋﺎﻳــﺔ ﻣﻠﻜﻴﺔ ﻛﺮﻳﻤــﺔ ﻟﻠﺤﺪ ﻣﻦ اﺳــﺘﻨﺰاف اﻟﻄﺎﻗﺔ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ واﻟﺘﻲ ﻳﺴــﺘﻬﻠﻚ اﻟﺘﻜﻴﻴﻒ ﻣﻨﻬﺎ ﺳــﺘﻮن ﺑﺎﻟﻤﺎﺋﺔ ‪ .‬ﻛﻤﺎ أن ﺗﻄﺒﻴﻖ وﺗﻨﻔﻴﺬ‬ ‫اﻟﻌــﺰل اﻟﺤﺮاري ﻋﻠﻰ ﺟﻤﻴﻊ اﻟﻤﺒﺎﻧﻲ ﻓﻲ اﻟﻤﻤﻠﻜﺔ أﺻﺒﺢ إﻟﺰاﻣﻴ ﻓﻲ ﺿﻮء اﻟﻘﺮار اﻟﺴــﺎﻣﻲ‬ ‫رﻗﻢ ‪ 6927‬م ب‪ ،‬وﺗﺎرﻳﺦ ‪ ،22/9/1431‬اﻟﻘﺎﺿﻲ ﺑﺎﻟﻤﻮاﻓﻘﺔ ﻋﻠﻰ ﺗﻄﺒﻴﻖ اﻟﻌﺰل اﻟﺤﺮاري ﺑﺸﻜﻞ‬ ‫إﻟﺰاﻣﻲ ﻋﻠﻰ ﺟﻤﻴﻊ اﻟﻤﺒﺎﻧﻲ اﻟﺠﺪﻳﺪة‪ ،‬ﺳــﻮاء اﻟﺴــﻜﻨﻴﺔ أو اﻟﺘﺠﺎرﻳﺔ‪ ،‬أو أﻳﺔ ﻣﻨﺸﺂت أﺧﺮى‬ ‫أﺳﻮة ﺑﺎﻟﻤﻨﺸﺂت اﻟﺤﻜﻮﻣﻴﺔ ﻓﻲ اﻟﻤﺪن اﻟﺮﺋﻴﺴﻴﺔ ﺑﻤﻨﺎﻃﻖ اﻟﻤﻤﻠﻜﺔ‪.‬‬ ‫اﻟﻤﻬﻨﺪس ‪ /‬ﻓﺮﻳﺪ ﻋﺒﺪ اﻟﺴﺘﺎر اﻟﻤﻴﻤﻨﻲ‬

‫ﻟﻘـــﺪ ﺳـــﻌﺪﻧﺎ ﺑﺈﺻـــﺪار اﻟﻘﻮاﻧﻴـــﻦ اﻟﺘـــﻲ‬ ‫ﺗﻬـــﺪف إﻟﻰ ﺗﺮﺷـــﻴﺪ اﻟﻄﺎﻗـــﺔ ﺑﺎﻟﻤﻤﻠﻜﺔ‬ ‫ﻣﻤـــﺎ ﺳـــﻴﻜﻮن ﻟـــﻪ ﺑﺎﻟـــﻎ ا‪$‬ﺛـــﺮ ﻓـــﻲ‬ ‫ﺗﺨﻔﻴـــﺾ ا‪$‬ﺣﻤﺎل اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ و ﺗﻮﻓﻴﺮ‬ ‫اﻟﺒﺘـــﺮول اﻟﻤﺴـــﺘﺨﺪم ﻟﺘﻮﻟﻴـــﺪ اﻟﻄﺎﻗـــﺔ‬ ‫وﺑﺎﻟﺘﺎﻟﻲ ﺗﺨﻔﻴﺾ ا‪$‬ﻋﺒـــﺎء اﻟﻤﺎﻟﻴﺔ ﻋﻠﻰ‬ ‫اﻟﻤﻮاﻃﻨﻴﻦ واﻟﺪوﻟـــﺔ و ذﻟﻚ ﺑﺘﺨﻔﻴﺾ‬ ‫اﻟﻄﺎﻗـــﺔ اﻟﻤﺴـــﺘﺨﺪﻣﺔ ﻓـــﻲ اﻟﻤﺒﺎﻧـــﻲ‬ ‫اﻟﺴـــﻜﻨﻴﺔ ﺑﺎﺳـــﺘﺨﺪام اﻟﻌـــﺎزل اﻟﺤﺮاري‬ ‫ﻓﻲ اﻟﺠﺪران اﻟﺨﺎرﺟﻴﺔ وأﺳـــﻘﻒ اﻟﻤﺒﺎﻧﻲ‬ ‫و اﻟﺘﻲ ﺗﻢ وﺿﻊ ﻗﻴﻢ ﻟﻠﻤﻘﺎوﻣﺔ اﻟﺤﺮارﻳﺔ‬ ‫ﺑﻜـــﻮد اﻟﺒﻨﺎء اﻟﺴـــﻌﻮدي‪ .‬و ﻫﺬه اﻟﻘﻴﻢ‬ ‫ﻛﻔﻴﻠـــﺔ ﺑﺘﺨﻔﻴـــﺾ ﻣـــﺎ ﻧﺴـــﺒﺘﻪ أﻛﺜـــﺮ‬ ‫ﻣـــﻦ ‪ ٪٥٠‬ﻣﻦ ﻓﺎﺗـــﻮرة اﻟﻜﻬﺮﺑـــﺎء اﻟﺤﺎﻟﻴﺔ‬ ‫وﻟﻜﻦ ﻋﻨـــﺪ ﺗﻨﻔﻴﺬ اﻟﺘﻌﻠﻴﻤـــﺎت اﻟﺨﺎﺻﺔ‬ ‫ﺑﻬـــﺬه اﻟﻤﻮاﺻﻔـــﺎت ﻛﺎن ﻟﻨـــﺎ اﻟﻌﺪﻳـــﺪ‬ ‫ﻣـــﻦ اﻟﻤﻼﺣﻈـــﺎت اﻟﺘـــﻲ ﺗﻬـــﺪد ﺑﻌـــﺪم‬ ‫ﺗﺤﻘﻴـــﻖ أﻫﺪاف اﻟﻤﺸـــﺮوع اﻟﺮاﺋـــﺪ اﻟﺬي‬ ‫ﻳﻘـــﻮده ﺻﺎﺣﺐ اﻟﺴـــﻤﻮ اﻟﻤﻠﻜـــﻲ ا‪$‬ﻣﻴﺮ‬ ‫ﻋﺒﺪاﻟﻌﺰﻳـــﺰ ﺑﻦ ﺳـــﻠﻤﺎن ﺑـــﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ‬ ‫وﻫﺬه اﻟﻤﻼﺣﻈﺎت ﻛﺎﻟﺘﺎﻟﻲ‪ :‬ــ‬ ‫• اﺳـــﺘﺨﺪام اﻟﻄﻮب ا‪$‬ﺳـــﻤﻨﺘﻲ اﻟﻤﺤﺸﻮ‬ ‫ﺑﺎﻟﺒﻮﻟﻴﺴﺘﺮﻳﻦ ‪.‬‬ ‫• اﺳﺘﺨﺪام اﻟﻄﻮب اﻟﺒﺮﻛﺎﻧﻲ ‪.‬‬ ‫• اﺳـــﺘﺨﺪام ﻃﻮب اﻟﺴﻴﺒﻮرﻛﺲ وﺑﻨﺎؤه‪.‬‬ ‫ﺑﺨﻠﻄـــﺔ اﺳـــﻤﻨﺘﻴﺔ ﻳﺴـــﺒﺐ اﻟﺠﺴـــﻮر‬ ‫اﻟﺤﺮاري‪.‬‬

‫• اﺳـــﺘﺨﺪام اﻟـــﻮاح اﻟﺒﻮﻟﻴﺴـــﺘﺮﻳﻦ ﻟﻠﻌﺰل‬ ‫اﻟﺤﺮاري‬ ‫و ﻓـــﻲ اﻟﺜﻼﺛﺔ ﺑﻨﻮد ا‪$‬وﻟﻰ ﻳﻮﺟﺪ ﻛﺜﻴﺮ ﻣﻦ‬ ‫اﻟﻜﺒـــﺎري اﻟﺤﺮارﻳـــﺔ واﻟﺘـــﻲ ﺗـــﺆدي ﻟﻔﻘﺪان‬ ‫ﻗﻴﻤـــﺔ اﻟﻤﻘﺎوﻣﺔ اﻟﺤﺮارﻳﺔ ﻟﻠﺠﺪران وﺗﺼﺒﺢ‬ ‫ﻋﺪﻳﻤﺔ اﻟﺠﺪوى واﻟﻔﺎﺋﺪة‪.‬‬ ‫اﻣـــﺎ ﻓـــﻲ اﻟﺒﻨﺪ اﻟﺮاﺑـــﻊ ﻓﺈن اﻟﺒﻮﻟﻴﺴـــﺘﺮﻳﻦ‬ ‫و اﻟﻤـــﻮاد اﻟﺒﻴﺘﺮوﻛﻴﻤﻴﺎﺋﻴـــﺔ ﺑﺼﻔـــﺔ ﻋﺎﻣﺔ‬ ‫ﻣـــﻮاد ﻗﺎﺑﻠـــﺔ ﻟﻼﺷـــﺘﻌﺎل و ﻫـــﺬا ﻳﺘﻨﺎﻓـــﻰ‬ ‫ﻣـــﻊ ﻣﻮاﺻﻔـــﺎت اﻟﺒﻨـــﺎء ﻓـــﻲ ﺟﻤﻴـــﻊ دول‬ ‫اﻟﻌﺎﻟـــﻢ وﺑﺨﺎﺻـــﺔ اﻟﺨﻠﻴﺠﻴﺔ ﻓﻘـــﺪ ﻣﻨﻌﺖ‬ ‫اﺳـــﺘﺨﺪاﻣﻪ دوﻟﺔ ﻗﻄﺮ ﻣﻨﺬ ﻋﺪة ﺳـــﻨﻮات‬ ‫وﺻـــﺪرت ﻣﻮاﺻﻔـــﺎت اﻟﺒﻨـــﺎء ﺑﺎ‪b‬ﻣـــﺎرات‬ ‫اﻟﻌﺮﺑﻴـــﺔ اﻟﻤﺘﺤـــﺪة ﺗﻤﻨﻊ اﺳـــﺘﺨﺪام ﻣﺜﻞ‬ ‫ﻫـــﺬه اﻟﻤﻮاد اﻟﺘﻲ ﺗﺴـــﺒﺒﺖ ﻓـــﻲ اﻟﻌﺪﻳﺪ‬ ‫ﻣـــﻦ اﻟﺤﺮاﺋﻖ ﺑﺎﻟﻤﺒﺎﻧﻲ ﻧﺎﻃﺤﺎت اﻟﺴـــﺤﺐ‪.‬‬ ‫و ﻟﻘـــﺪ ﺣﺮﺻـــﺖ إدارة اﻟﺪﻓـــﺎع اﻟﻤﺪﻧـــﻲ‬ ‫ﺑﺎﻟﻤﻤﻠﻜـــﺔ ﺑﺈﺻﺪار ﻗﺮار ﺑﺎﻟﻤﻮاد اﻟﺘﻲ ﻳﻤﻨﻊ‬ ‫اﺳـــﺘﺨﺪاﻣﻬﺎ ﻓﻲ إﻧﺸـــﺎء اﻟﻤﺴﺘﺸـــﻔﻴﺎت‬ ‫وﻫﻲ اﻟﻤﻮاد اﻟﻘﺎﺑﻠﺔ ﻟﻼﺣﺘﺮاق ﺳـــﻮاء ﻛﺎن‬ ‫داﺧﻠﻴـــﺎ أو ﺧﺎرﺟﻴـــﺎ أو ﻇﺎﻫـــﺮ أو ﻏﻴﺮ ذﻟﻚ‪.‬‬ ‫اﻣﺎ اﻟﺒﻮﻟﻴﺴـــﺘﺮﻳﻦ اﻟﻤﻤﺪد و اﻟﺬي ﻻﺣﻈﻨﺎ‬ ‫اﺳـــﺘﺨﺪاﻣﻪ ﻓـــﻲ اﻟﻜﺜﻴـــﺮ ﻣـــﻦ اﻟﻤﺒﺎﻧـــﻲ‬ ‫ﻓﺒﺎ‪b‬ﺿﺎﻓـــﺔ ﻟﻘﺎﺑﻠﻴﺘـــﻪ ﻟﻼﺷـــﺘﻌﺎل ﻓﺈﻧـــﻪ‬ ‫ﻳﺘﻘﻠـــﺺ ﺑﻌـــﺪ ﻓﺘﺮة ﻗﺼﻴـــﺮة ﻣـــﻦ اﻟﺰﻣﻦ‬ ‫وﻳﺼﺒﺢ ﺑﻼ ﻓﺎﺋﺪة ﺑﺎﻟﻌﺰل اﻟﺤﺮاري‪.‬‬ ‫ﻣﻤﺎ ﺳـــﺒﻖ و ﺣﺮﺻﺎ ﻋﻠﻰ ﺗﻄﺒﻴﻖ اﻟﻘﺮارات‬

‫ا‪b‬ﻟﺰاﻣﻴـــﺔ و اﻻﺳـــﺘﻔﺎدة اﻟﻘﺼـــﻮى ﻣـــﻦ‬ ‫اﻟﻤﺠﻬـــﻮد اﻟﻤﺒـــﺬول ﻓـــﻲ ﻫـــﺬا اﻟﺠﺎﻧـــﺐ‬ ‫ﻛﺎن ﻟﺰاﻣـــﺎ ﻋﻠﻴﻨﺎ ان ﻧﻀـــﻊ ﻣﻼﺣﻈﺎﺗﻨﺎ ﺑﻴﻦ‬ ‫اﻳﺪﻳﻜﻢ ﻟﻠﺼﺎﻟﺢ اﻟﻌﺎم ﻟﺘﺘﺨﺬوا ا‪b‬ﺟﺮاءات‬ ‫اﻟﻜﻔﻴﻠـــﺔ ﺑﻨﺠﺎح ﻣﺸـــﺮوع ﻛﻔـــﺎءة ‪ ،‬وﺗﺒﻠﻎ‬ ‫اﻟﻤﻜﺎﺗـــﺐ اﻟﻬﻨﺪﺳـــﻴﺔ وأﻣﺎﻧـــﺎت وﺑﻠﺪﻳﺎت‬ ‫اﻟﻤـــﺪن ﺑﺎﻟﺘﻌﻠﻴﻤـــﺎت واﻟﻤـــﻮاد اﻟﺼﺤﻴﺤـــﺔ‬ ‫ا‪l‬ﻣﻨﺔ ﻟﻠﻌﺰل اﻟﺤﺮاري ‪.‬‬ ‫وﻳﺸـــﻜﻞ اﺳـــﺘﻬﻼك اﻟﺘﻜﻴﻴـــﻒ ﻓﻲ ﺗﻠﻚ‬ ‫اﻟﻤﺒﺎﻧـــﻲ ‪ ،٪ ٧٠‬وﻣـــﻦ ﻫﻨـــﺎ ﺗﺄﺗـــﻲ أﻫﻤﻴـــﺔ‬ ‫ﺗﻄﺒﻴـــﻖ اﺷـــﺘﺮاﻃﺎت اﻟﻌﺰل اﻟﺤـــﺮاري ﻋﻠﻰ‬ ‫ﺟﻤﻴـــﻊ اﻟﻤﺒﺎﻧـــﻲ واﻟﺬي ﻳﻮﻓـــﺮ ‪ ٪ ٤٠-٣٠‬ﻣﻦ‬ ‫أﺣﻤـــﺎل اﻟﺘﻜﻴﻴﻒ‪ ،‬ﻣﻊ أﻫﻤﻴـــﺔ ﻣﻼﺣﻈﺔ أن‬ ‫ﺗﻜﻠﻴﻒ اﻟﻌﺰل اﻟﺠـــﺮاري ﻻ ﺗﻤﺜﻞ ﻓﻲ أﻋﻠﻰ‬ ‫ا‪$‬ﺣـــﻮال أﻛﺜﺮ ﻣﻦ ‪ ٪ ٥‬ﻣﻦ ﺗﻜﺎﻟﻴﻒ إﻧﺸـــﺎء‬ ‫اﻟﻤﺒﻨـــﻰ‪ ،‬وﻳﻤﻜﻦ أن ﺗﺴـــﺘﺮد ﺧﻼل ﻣﺪة ﻻ‬ ‫ﺗﺘﺠﺎوز ﺧﻤﺲ ﺳﻨﻮات ﻧﺘﻴﺠﺔ ﻟﻠﺘﻮﻓﻴﺮ ﻓﻲ‬ ‫ﻓﺎﺗﻮرة اﻟﻜﻬﺮﺑﺎء‪.‬‬ ‫وﺗﺠﺪر ا‪b‬ﺷﺎرة إﻟﻰ أن اﻟﺠﻬﻮد اﻟﺤﺎﻟﻴﺔ اﻟﺘﻲ‬ ‫ﻳﻨﻔﺬﻫﺎ اﻟﻤﺮﻛﺰ اﻟﺴﻌﻮدي ﻟﻜﻔﺎءة اﻟﻄﺎﻗﺔ‬ ‫ﻟﺮﻓﻊ ﻛﻔﺎءة اﺳـــﺘﺨﺪام اﻟﻄﺎﻗﺔ ﻓﻲ ﺟﺎﻧﺐ‬ ‫اﻟﻄﻠـــﺐ‪ ،‬وﺗﺤﺪﻳـــﺚ وإﻳﺠـــﺎد اﻟﺘﺸـــﺮﻳﻌﺎت‬ ‫اﻟﺨﺎﺻـــﺔ ﺑﺤﺴـــﻦ اﺳـــﺘﺨﺪاﻣﻬﺎ‪ ،‬واﻟﻌﻤـــﻞ‬ ‫ﻋﻠﻰ ﺗﻄﺒﻴﻘﻬﺎ‪ ،‬واﻟﺘﺤﻘﻖ ﻣﻦ اﻻﻟﺘﺰام ﺑﻬﺎ‪،‬‬ ‫إﺿﺎﻓﺔ إﻟﻰ اﻟﺠﻬﻮد اﻟﺘﻲ ﺗﻨﻔﺬﻫﺎ اﻟﺸﺮﻛﺔ‬ ‫ﻓﻲ ﺟﺎﻧﺐ ا‪b‬ﻣﺪاد‪ ،‬ﺳﺘﺴـــﻬﻢ ﻓﻲ ﺗﺤﻘﻴﻖ‬ ‫ﻧﺘﺎﺋﺞ ﺟﻴﺪة ﺧﻼل ا‪$‬ﻋﻮام اﻟـ‪١٠‬اﻟﻤﻘﺒﻠﺔ‪.‬‬

‫‪¡UM³« ππ‬‬

‫‪99 Albenaa‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ رﺑﺤﻲ اﻟﺤﺠﺔ ﻟﻠﻌﻘﺎر واﻻﺳﺘﺜﻤﺎر‬ ‫ﻏﺎﻳﺘﻨﺎ ﺗﻌﺰﻳﺰ اﻗﺘﺼﺎد اﻟﻔﻠﺴﻄﻴﻨﻲ‬

‫ﻻﺷـــﻚ أن ﻟـــﻜﻞ ﺷـــﺮﻛﺔ رﺳـــﺎﻟﺔ ﺗﺆدﻳﻬـــﺎ‬ ‫وأﻫﺪاف ﺗﺴﻌﻰ ﻟﺘﺤﻘﻴﻘﻬﺎ ‪ ،‬وﻟﻘﺪ رﻓﻌﺖ‬ ‫ﺷـــﺮﻛﺔ رﺑﺤـــﻲ اﻟﺤﺠـــﺔ ﻣﻨـــﺬ أن ﺗﺄﺳﺴـــﺖ‬ ‫ﺷـــﻌﺎر‪ :‬ﺗﺨﺎﻃﺐ ﺑـــﻪ ﻛﻞ اﻟﻔﻠﺴـــﻄﻴﻨﻴﻴﻦ‬ ‫ﺑﻮﺟـــﻪ ﻋﺎم واﻟﻤﻐﺘﺮﺑﻴـــﻦ ﻋﻦ أرض اﻟﻮﻃﻦ‬ ‫ﺑﺸﻜﻞ ﺧﺎص‪ ،‬أﻻ وﻫﻮ )اﻟﺒﻴﺖ ﺑﻴﺘﻚ(‪.‬‬ ‫إذ ﻳﻠﺨـــﺺ ﻫﺬا اﻟﺸـــﻌﺎر رﺳـــﺎﻟﺔ اﻟﺸـــﺮﻛﺔ‬ ‫اﻟﻤﺘﻤﺜﻠﺔ ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻤﺴـــﺎﻛﻦ اﻟﻌﺼﺮﻳﺔ‬ ‫اﻟﺤﺪﻳﺜـــﺔ واﻟﻤﺸـــﺎرﻳﻊ اﻟﺘﺠﺎرﻳـــﺔ اﻟﻤﺘﻤﻴﺰة‬ ‫ﺑﻤﻮاﺻﻔـــﺎت ﻋﺎﻟﻴـــﺔ وأﺳـــﻌﺎر ﻣﻨﺎﺳـــﺒﺔ‬ ‫وﻣﻨﺎﻓﺴﺔ‪ ،‬وذﻟﻚ ﺣﺮﺻ‪ Q‬ﻣﻦ اﻟﺸﺮﻛﺔ ﻋﻠﻰ‬ ‫اﺳﻬﺎم ﻣﻦ ﺧﻼل أﻫﺪاﻓﻬﺎ اﻻﺳﺘﺮاﺗﻴﺠﻴﺔ‬ ‫ﻓـــﻲ ﺑﻨـــﺎء ﻫﻴـــﻜﻞ اﺳـــﺘﺜﻤﺎري ﻗـــﻮي ﻓﻲ‬ ‫ﻓﻠﺴـــﻄﻴﻦ ﻳﻌﻤـــﻞ ﻋﻠﻰ ﺗﻌﺰﻳـــﺰ اﻗﺘﺼﺎد‬ ‫اﻟﻔﻠﺴﻄﻴﻨﻲ‪.‬‬ ‫وﻣﻤﺎ ﺗﻘﺪم ﻧﺸـــﺄت ﻓﻜﺮة ﺗﺄﺳﻴﺲ ﺷﺮﻛﺔ‬ ‫رﺑﺤـــﻲ اﻟﺤﺠـــﺔ اﻟﺘﻲ ﺗﺘﻘﺪم ﻣﻨﺬ ﻧﺸـــﺄﺗﻬﺎ‬ ‫ﻧﺤـــﻮ ﺗﺤﻘﻴـــﻖ أﻫﺪاﻓﻬـــﺎ واﺣﺪ‪ :‬ﺗﻠـــﻮ ا‪Y‬ﺧﺮ‬ ‫ﺑﻔﻀـــﻞ ﻣـــﻦ ا^ ﺛـــﻢ ﺑﺎﻟﺴـــﻌﻰ اﻟـــﺪءوب‬ ‫ﻟﻔﺮﻳـــﻖ اﻟﻌﺎﻣﻠﻴﻦ ﺑﺎﻟﺸـــﺮﻛﺔ‪ ،‬وﻗـــﺪ ارﺗﻘﺖ‬ ‫ﺑﺤﻤـــﺪ ا^ ﻓـــﻲ ﺳـــﻠﻢ اﻟﻨﺠﺎﺣـــﺎت ﺣﺘـــﻰ‬ ‫أﺿﺤـــﺖ ﻣﻦ ﻛﺒﺮﻳـــﺎت اﻟﺸـــﺮﻛﺎت اﻟﻌﻘﺎرﻳﺔ‬ ‫اﻟﻌﺎﻣﻠﺔ ﻓﻲ ﻓﻠﺴﻄﻴﻦ‪.‬‬ ‫وﻟﻌـــﻞ ﻣـــﻦ أﻫﻢ ا‪a‬ﺳـــﺎب اﻟﺘﻲ أﺳـــﻬﻤﺖ‬ ‫ﻓﻲ اﻟﻨﻤﻮ اﻟﻤﻀﻄﺮد ﻟﻠﺸـــﺮﻛﺔ ﻫﻮ ﺗﻌﺪد‬ ‫∏‪¡UM³« π‬‬

‫‪98 Albenaa‬‬

‫وﺗﻨﻮع اﻟﻤﺸﺎرﻳﻊ )ﺳﻜﻨﻲ ـ ﺗﺠﺎري وﻏﻴﺮﻫﺎ(‬ ‫ﻓﻀ ًَ‬ ‫ﻼ ﻋـــﻦ اﻟﺘﺼﺎﻣﻴﻢ اﻟﺪاﺧﻠﻴﺔ واﻟﺨﺎرﺟﻴﺔ‬ ‫اﻟﻤﻤﻴـــﺰة ﺳـــﻮاء ﻋﺼﺮﻳـــﺔ أو ﻛﻼﺳـــﻴﻜﻴﺔ ‪،‬‬ ‫ﺑﺎﺿﺎﻓﺔ إﻟﻰ ﺟﻮدة اﻟﺨﺎﻣﺎت اﻟﻤﺴﺘﺨﺪﻣﺔ‬ ‫ﻓﻲ اﻟﺘﺸـــﻴﻴﺪ واﻟﺘﺸﻄﻴﺐ ‪ ،‬ودون إﻏﻔﺎل‬ ‫ﻋﺎﻣﻠﻲ اﻟﻤﺼﺪاﻗﻴﺔ واﻟﺘﺰام ﻣﻤﺎ ﻋﺰز اﻟﺜﻘﺔ‬ ‫ﺑﻴﻦ اﻟﺸﺮﻛﺔ واﻟﻤﺘﻌﺎﻣﻠﻴﻦ ﻣﻌﻬﺎ‪.‬‬ ‫وﺣﺮﺻـــ‪ Q‬ﻣـــﻦ اﻟﺸـــﺮﻛﺔ ﻋﻠـــﻰ ﻣﻮاﻛﺒـــﺔ‬ ‫أﺣـــﺪث ﻣﻮاﺻﻔـــﺎت اﻟﺒﻨـــﺎء واﻟﺘﺸـــﻄﻴﺐ ‪،‬‬ ‫ﻓﻘـــﺪ وﻗﻌﺖ اﺗﻔﺎﻗﻴـــﺎت ﺗﻌﺎون ﻣـــﻊ ﻛﺒﺮى‬ ‫اﻟﺸـــﺮﻛﺎت اﻟﺘﺮﻛﻴﺔ وا‪a‬ﺳﺒﺎﻧﻴﺔ واﻳﻄﺎﻟﻴﺔ‬ ‫وﻏﻴﺮﻫـــﺎ ﻟﺘﻮﻓﻴـــﺮ أﺟـــﻮد ﻣـــﻮاد اﻟﺒﻨـــﺎء‬ ‫واﻟﺘﺸﻄﻴﺐ وأﻛﺜﺮﻫﺎ ﺗﻄﻮر‪.:‬‬ ‫وﺗﺴـــﻬﻴ ً‬ ‫ﻼ ﻋﻠﻰ اﻟﻤﻮاﻃﻦ اﻟﻔﻠﺴـــﻄﻴﻨﻲ‬ ‫وﺗﻤﻜﻴﻨـــﻪ ﻣـــﻦ اﻣﺘﻼك ﺷـــﻘﺔ ﺳـــﻜﻨﻴﺔ أو‬ ‫ﻣﺤـــﻞ ﺗﺠـــﺎري أو ﻣﻜﺘﺒـــﻲ‪ ،‬ﻓﻘـــﺪ اﻧﺘﻬﺠﺖ‬ ‫اﻟﺸـــﺮﻛﺔ ﺳﻴﺎﺳـــﺔ اﻟﺒﻴـــﻊ ﺑﺎﻟﺘﻘﺴـــﻴﻂ‬ ‫اﻟﻤﺒﺎﺷﺮ اﻟﻤﻴﺴﺮ ﺑﺪون ﻓﻮاﺋﺪ‪ ،‬أو ﺑﻮﺳﺎﻃﺔ‬ ‫اﻟﺒﻨﻮك واﻟﻤﺆﺳﺴـــﺎت اﻟﻤﺎﻟﻴﺔ ‪ ،‬ﻛﻤﺎ ﺗﻘﺪم‬ ‫اﻟﺸﺮﻛﺔ ﻋﺮوﺿ‪ Q‬ﻣﻤﻴﺰة وﻣﻴﺴﺮة ﻟﻠﺸﺒﺎب‬ ‫اﻟﻤﻘﺒﻠﻴـــﻦ ﻋﻠـــﻰ اﻟـــﺰواج ﺗﺄﻛﻴـــﺪا ﻟﻠـــﺪور‬ ‫اﻻﺟﺘﻤﺎﻋـــﻲ اﻟﺬي ﺗﻠﻌﺒﻪ اﻟﺸـــﺮﻛﺔ اﻟﺘﻲ ﻻ‬ ‫ﺗﺄﻟﻮ ﺟﻬـــﺪ‪ :‬ﻓﻲ اﻟﻤﺴـــﺎﻫﻤﺔ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻤﺸـــﺎرﻳﻊ اﻏﺎﺛﻴﺔ واﻟﺼﺤﻴﺔ واﻟﺘﻌﻠﻴﻤﻴﺔ‬ ‫ﺧﺪﻣـــﺔ ﻟﻠﻤﺠﺘﻤـــﻊ اﻟﻔﻠﺴـــﻄﻴﻨﻲ وإﻳﻤﺎﻧـــ‪Q‬‬

‫ﻣﻨﻬـــﺎ ﺑﻀـــﺮورة اﻟﻤﺸـــﺎرﻛﺔ اﻟﻤﺠﺘﻤﻌﻴـــﺔ‬ ‫واﻧﺴﺎﻧﻴﺔ‪.‬‬ ‫وﻣـــﻦ اﻟﺠﺪﻳـــﺮ ﺑﺎﻟﺬﻛـــﺮ أن اﻟﺸـــﺮﻛﺔ ﺣﺎﻟﻴ‪Q‬‬ ‫ﺗﻌﻤـــﻞ ﻋﻠـــﻰ ﺑﻨـــﺎء ﻣﺮﻛـــﺰ ﻓﻠﺴـــﻄﻴﻦ‬ ‫اﻟﺘﺠـــﺎري ﺑﻤﺴـــﺎﺣﺘﻪ اﻟﻜﺒﻴـــﺮة وﺗﺼﻤﻴﻤﻪ‬ ‫اﻟﻜﻼﺳﻴﻜﻲ اﻟﺮاﺋﻊ‪ ،‬واﻟﺬي ﺗﻄﻤﺢ اﻟﺸﺮﻛﺔ‬ ‫ﻣﻦ ﺧﻼﻟﻪ إﻟﻰ ﺗﺮك ﺑﺼﻤﺔ ﻣﻌﻤﺎرﻳﺔ ﻣﻤﻴﺰة‬ ‫ﻓﻲ ﻣﺪﻳﻨـــﺔ رام ا^ ـ ﻓﻠﺴـــﻄﻴﻦ‪ ،‬ﻟﻴﻀﺎف‬ ‫إﻟﻰ ﺳﻠﺴـــﻠﺔ ﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺔ ﻓﻲ ﻛﺎﻣﻞ‬ ‫ا‪a‬رض اﻟﻔﻠﺴﻄﻴﻨﻴﺔ‪.‬‬ ‫إن ﻃﻤﻮح ﺷﺮﻛﺔ رﺑﺤﻲ اﻟﺤﺠﺔ ﻻ ﺣﺪود ﻟﻪ ‪،‬‬ ‫ﻓﺒﻌﺪ أن رﺳﺨﺖ أﻗﺪاﻣﻬﺎ ﻓﻲ ﺳﻮق اﻟﻌﻘﺎر‬ ‫اﻟﻔﻠﺴـــﻄﻴﻨﻲ ‪ ،‬ﺑﺎﺗﺖ ﺗﺨﻄﻂ ﻟﺘﻜﻮن رﻗﻤ‪Q‬‬ ‫ﺻﻌﺒ‪ Q‬ﺿﻤﻦ اﻟﻤﻨﻈﻮﻣﺔ اﻟﻌﻘﺎرﻳﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ﻟﺘﻨﻄﻠﻖ ﻣﻦ أرض ﻓﻠﺴـــﻄﻴﻦ ﻧﺤﻮ اﻟﺪول‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺸﻘﻴﻘﺔ‪.‬‬


‫‪WO½öŽ≈ …œU ¡UM³« o×K‬‬

‫‪QA Therm‬‬ ‫أﻧﺎﺑﻴﺐ ووﺻﻼت ﺣﺮارﻳﺔ‬

‫ﻗﺎﻣـــﺖ ﺷـــﺮﻛﺔ ‪ QA‬ﺑﺘﺰوﻳـــﺪ ﻣﺠـــﺎل‬ ‫اﻟﻜﻬﺮوﻣﻴﻜﺎﻧﻴﻜـــﻲ ﻛﺜـــﺮ ﻣـــﻦ ﺛﻼﺛـــﺔ‬ ‫ﻋﻘـــﻮد‪ ،‬ﻣﺤﺎﻃﻴـــﻦ ﺑﻨﺨﺒـــﺔ ﻣـــﻦ ﺧﺒﺮاء‬ ‫اﻟﺒﻼﺳـــﺘﻴﻚ ﺑﺨﺒـــﺮات ﻣﻨـــﺬ ‪١٩٨٩‬م‪،‬‬ ‫ﻣﺴـــﺘﺜﻤﺮﻳﻦ ﻓـــﻲ أﻋﻠـــﻰ اﻟﺘﻘﻨﻴـــﺎت‬ ‫ﻣﺴـــﺘﻮردﻳﻦ ﺟﻮد اﻟﻤـــﻮاد ﻣﻦ أﻓﻀﻞ‬ ‫اﻟﻤﺼﻨﻌﻴـــﻦ ﺣﻮل اﻟﻌﺎﻟـــﻢ‪ ،‬ﻣﺼﻤﻤﻴﻦ‬ ‫ﻋﻠﻰ أن ﻧﻮﺻﻞ ﻟﻌﻤﻼﺋﻨﺎ اﻟﻜﺮام أﻓﻀﻞ‬ ‫اﻟﻤﻨﺘﺠﺎت اﻟﻌﺎﻟﻤﻴﺔ‪.‬‬ ‫وﻣﻦ ﻫﻨـــﺎ ﺑـــﺪأت ‪ QA Therm‬ﻟﻴﻜﻮن‬ ‫أﺣـــﺪث إﺳـــﺘﺜﻤﺎراﺗﻨﺎ وﻓﻲ ﺑﺎﻟﻨـــﺎ ﺟﻤﻴﻊ‬ ‫اﻟﺨﺒﺮات اﻟﻤﻜﺘﺴﺒﺔ‪.‬‬ ‫ﻟـــﺪى ‪ QA Therm‬ﻣﻨﺘﺠـــﺎت ﻣﺘﻨﻮﻋـــﺔ‬ ‫ﻣـــﻦ أﻧﺎﺑﻴﺐ ووﺻﻼت اﻟﺒﻮﻟـــﻲ ﺑﺮوﺑﻠﻴﻦ‬ ‫ﺑﺈﺳـــﺘﺨﺪام ﻣـــﻮاد اﻟﺨـــﺎم ﻧﻘﻴـــﺔ ﻓﺎﺋﻘﺔ‬ ‫اﻟﺠـــﻮدة ﻣـــﻦ أﻓﻀـــﻞ اﻟﻤﻮردﻳـــﻦ ﻓـــﻲ‬ ‫اﻟﻌﺎﻟـــﻢ ﻣﺜـــﻞ ﺑﻮرﻳﺎﻟـــﺲ وﺳـــﺎﺑﻚ‪،‬‬ ‫ﻣﺴـــﺘﺨﺪﻣﻴﻦ ﻛﺎﻓﺔ ﻣﻜﺎﺋﻦ إﻧﺘﺎج ذات‬ ‫ﺟﻮدة ﻋﺎﻟﻴﺔ وﺗﻘﻨﻴـــﺎت ﺟﻮدة ﻟﻠﻮﺻﻮل‬ ‫ﻟﻠﻤﻨﺘﺞ اﻟﺬي ﻧﻔﺘﺨﺮ ﺑﻪ‪.‬‬ ‫اﻟﻤﻴﺰات‬ ‫ـ ﺻﻨﺎﻋﺔ ﺳﻌﻮدﻳﺔ ﺑﻤﻮاﺻﻔﺎت أﻟﻤﺎﻧﻴﺔ‪.‬‬ ‫ـ ﺗﺘﺤﻤﻞ درﺟﺔ ﺣﺮارة ﻋﺎﻟﻴﺔ ‪.‬‬ ‫ـ ﺗﺘﺤﻤﻞ اﻟﻀﻐﻂ اﻟﻌﺎﻟﻲ ‪.‬‬ ‫ـ ﺳﻬﻮﻟﺔ اﻟﺘﺮﻛﻴﺐ‪.‬‬ ‫ـ ﻻﺗﺤﺘﺎج إﻟﻰ ﺻﻴﺎﻧﺔ‪.‬‬ ‫ـ ﺿﺪ اﻟﺼﺪأ واﻟﺘﻜﻠﺲ واﻟﺘﺮﺳﺒﺎت‪.‬‬ ‫ـ ﻻﺗﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻤﻴﺎه‬ ‫ـ ﺗﺘﺤﻤﻞ اﻣـــﻼح واﺣﻤﺎض واﻟﻘﻠﻮﻳﺎت‬ ‫واﻟﻤﻮاد اﻟﻜﻴﻤﻴﺎﺋﻴﺔ‪.‬‬ ‫ـ ﻧـــﻮع واﺣـــﺪ ﻟﺨﻄـــﻮط اﻟﻤﻴـــﺎه اﻟﺒـــﺎردة‬ ‫واﻟﺤﺎرة‪.‬‬

‫ـ ﺗﻤﺪﻳــــﺪات اﻟﻤﻴــــﺎه اﻟﺴــــﺎﺧﻨﺔ ﻟﻠﻤﻨــــﺎزل‬ ‫واﻟﻤﺴﺘﺸــــﻔﻴﺎت واﻟﻔﻨــــﺎدق واﺑــــﺮاج‬ ‫واﻟﻤﺼﺎﻧﻊ‪.‬‬ ‫ـ ﺗﻤﺪﻳــــﺪات اﻟﻤﻴــــﺎه ‪c‬ﺳــــﺘﺨﺪاﻣﺎت‬ ‫اﻟﺘﺪﻓﺌﺔ‪.‬‬ ‫ـ ﺗﻤﺪﻳﺪات اﻟﻤﻴﺎه ‪c‬ﺳﺘﺨﺪاﻣﺎت اﻟﺘﺒﺮﻳﺪ‪.‬‬ ‫ـ ﺗﻤﺪﻳــــﺪات ﻧﻘــــﻞ اﻟﺰﻳــــﻮت واﻟﻤــــﻮاد‬ ‫اﻟﻜﻴﻤﻴﺎﺋﻴﺔ اﻟﻤﺼﻨﻔﺔ ﻓﻲ اﻟﻜﺘﺎﻟﻮج‪.‬‬

‫أﻣﺎﻛﻦ اﻻﺳﺘﺨﺪام‬ ‫ـ ﺗﻤﺪﻳـــﺪات اﻟﻤﻴـــﺎه اﻟﺒـــﺎردة ﻟﻠﻤﻨـــﺎزل‬ ‫واﻟﻤﺴﺘﺸـــﻔﻴﺎت واﻟﻔﻨـــﺎدق واﺑـــﺮاج‬ ‫واﻟﻤﺼﺎﻧﻊ‪.‬‬

‫اﻟﺠﻮدة‬ ‫ﻧﻘــــﺪم أﻧﺎﺑﻴــــﺐ اﻟﺒﻮﻟــــﻲ ﺑﺮوﺑﻠﻴــــﻦ‬ ‫واﻟﻮﺻﻼت ﺑﺄﻓﻀﻞ ﺟــــﻮدة داﺋﻤ‪ ، e‬وﻳﺘﻢ‬ ‫ﺗﻌﺰﻳــــﺰ ﻣﻨﺘﺠﺎﺗﻨﺎ وﺧﺪﻣﺎﺗﻨــــﺎ ﺑﺎزدﻳﺎد ﻣﻦ‬

‫∞∞‪¡UM³« ±‬‬

‫‪100 Albenaa‬‬

‫ﺧــــﻼل اﻟﺘﻘﻴﺪ اﻟﺼــــﺎرم ﺑﻨﻈﺎﻣﻨﺎ اﻟﻔﻌﺎل‬ ‫ﻟﻀﻤﺎن اﻟﺠﻮدة ﺑﺎﺳــــﺘﺨﺪام اﻟﻤﺨﺘﺒﺮات‬ ‫اﻟﻌﺎﻟﻤﻴــــﺔ اﻟﺤﺪﻳﺜــــﺔ ‪ .‬وﻧﺤــــﻦ ﻧﺘﺄﻛﺪ ﻣﻦ‬ ‫ﺗﻠﺒﻴــــﺔ ﻣﺘﻄﻠﺒــــﺎت اﻟﺠــــﻮدة ﻟﺘﻘﺪﻳــــﻢ‬ ‫اﻟﻤﻼءﻣــــﺔ واﻟﻔﻌﺎﻟﻴــــﺔ واﻟﻜﻔــــﺎءة ﻓــــﻲ‬ ‫ﻣﻨﺘﺠﺎﺗﻨﺎ‪.‬‬ ‫اﻟﻀﻤﺎن‬ ‫ﻧﺤﻦ ﻧﻘﺪم ﺿﻤﺎﻧ‪ e‬ﻣﺪﺗﻪ ‪ ١٥‬ﻋﺎﻣ‪ e‬ﻟﺠﻤﻴﻊ‬ ‫ﻣﻨﺘﺠﺎت ﺷــــﺒﻜﺔ اﻧﺎﺑﻴﺐ ﻋﻠﻰ اﻟﻌﻴﻮب‬ ‫اﻟﻤﺼﻨﻌﻴــــﺔ ﺗﺒــــﺪأ ﻣــــﻦ ﺗﺎرﻳــــﺦ اﻟﺸــــﺮاء‪.‬‬ ‫ﻳﺮﺟﻰ ا‪c‬ﺗﺼﺎل ﻋﺒــــﺮ اﻟﺒﺮﻳﺪ ا‪c‬ﻟﻜﺘﺮوﻧﻲ‬ ‫ﻟﻤﺰﻳﺪ ﻣﻦ اﻟﺘﻔﺎﺻﻴﻞ‪.‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫اﻟﻤﺼﻨﻊ اﻟﺴﻌﻮدي ﻟﻠﺜﺮﻳﺎت‬ ‫اﻟﺠﻮدة و اﻟﺨﺪﻣﺔ ﻣﺎ ﺑﻌﺪ اﻟﺒﻴﻊ‬

‫ﻣﻨﺬ ﻧﺸﺄة اﻟﻤﺼﻨﻊ وﺿﻌﺖ ادارة ﻧﺼﺐ أﻋﻴﻨﻬﺎ ﻫﺪﻓ‬ ‫ﻛﺒﻴﺮ‪ 4‬وﻫﻮ اﺳـــﺘﺤﻮاذ ﻋﻠـــﻰ ﺛﻘﺔ اﻟﻌﻤـــﻼء وﺗﺄﻛﻴﺪﻫﺎ‪،‬‬ ‫ﻓﻮﺿﻌـــﺖ ﻟﺘﺤﻘﻴﻖ ﻫﺬا اﻟﻬـــﺪف اﺳـــﺘﺮاﺗﻴﺠﻴﺔ ﺗﻌﺘﻤﺪ‬ ‫ﻋﻠـــﻰ رﻛﻴﺰﺗﻴـــﻦ أﺳﺎﺳـــﻴﺘﻴﻦ ﻫﻤـــﺎ )اﻟﺠـــﻮدة اﻟﻌﺎﻟﻴـــﺔ‬ ‫ﻟﻠﻤﻨﺘﺠﺎت ـ ﺧﺪﻣﺔ ﻣﺎ ﺑﻌﺪ اﻟﺒﻴﻊ(‪.‬‬ ‫ﺟﻮدة اﻧﺘﺎج ‪:‬‬ ‫ﻓﻴﻤـــﺎ ﻳﺨﺺ ﻫﺬا اﻟﺠﺎﻧﺐ ﻓﺈﻧﻪ ﻳﺘﻢ اﺧﺘﻴﺎر اﻟﻤﻮاد اﻟﻼزﻣﺔ‬ ‫ﻟ‪I‬ﻧﺘﺎج وﻓـــﻖ أﻋﻠﻰ اﻟﻤﻮاﺻﻔﺎت اﻟﻌﺎﻟﻴـــﺔ‪ ،‬إذ ﻳﺘﻢ اﺧﺘﻴﺎر‬ ‫اﻟﻤﻮردﻳﻦ ﺑﻌﻨﺎﻳﺔ ﻓﺎﺋﻘـــﺔ وﻳﺆﻛﺬ ذﻟﻚ اﻟﺘﻌﺎون ﻣﻊ أﻛﺒﺮ‬ ‫اﻟﺸـــﺮﻛﺎت اﻟﻌﺎﻟﻤﻴﺔ ﻣﺜﻞ ﺷـــﺮﻛﺔ ﺑﺮﺷـــﻮزا اﻟﺘﺸـــﻴﻜﻴﺔ‬ ‫ﻟﺼﻨﺎﻋﺔ اﻟﻜﺮﻳﺴـــﺘﺎل واﻟﺰﺟﺎج اﻟﻔﺎﺧـــﺮ وﺗﺼﻨﻒ ﻛﻮاﺣﺪ‬ ‫ﻣـــﻦ أﻓﻀﻞ اﻟﺸـــﺮﻛﺎت ﻋﺎﻟﻤﻴ ﻓـــﻲ ﻫﺬا اﻟﻤﺠـــﺎل ﺣﻴﺚ‬ ‫ﺣﺼﻠـــﺖ ﻋﻠـــﻰ ﺟﺎﺋـــﺰة ﻣﻨﻈﻤـــﺔ اﻟﻜﺮﻳﺴـــﺘﺎل اﻟﻌﺎﻟﻤﻴﺔ‪،‬‬ ‫وﻳﻌﺘﺒـــﺮ اﻟﻤﺼﻨـــﻊ اﻟﺴـــﻌﻮدي ﻟﻠﺜﺮﻳـــﺎت ﻫـــﻮ اﻟﻮﻛﻴـــﻞ‬ ‫ﻟﺸﺮﻛﺔ ﺑﺮﺷﻮزا ﺑﺎﻟﻤﻤﻠﻜﺔ‪.‬‬ ‫وﻳﺄﺗـــﻲ ﻫـــﺬا اﻟﺘﻌـــﺎون ﻻﺣﻘـــ ﻟﻠﺘﻌـــﺎون اﻟﺴـــﺎﺑﻖ ﺑﻴـــﻦ‬ ‫اﻟﻤﺼﻨﻊ وﺷـــﺮﻛﺔ ﺳﻮراﻓﺴـــﻜﻲ اﻟﻨﻤﺴـــﺎوﻳﺔ اﻟﻌﺎﻟﻤﻴﺔ‬ ‫ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﻜﺮﻳﺴـــﺘﺎل وأﻳﻀ ﺷﺮﻛﺔ آردﺗﻲ اﻳﻄﺎﻟﻴﺔ‬ ‫اﻟﻤﺘﺨﺼﺼـــﺔ ﻓـــﻲ ﺻﻨﺎﻋـــﺔ اﻟﻬﻮﻟـــﺪرات اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ‬ ‫ﺑﺎﻟﻤﻮاﺻﻔﺎت اﻟﻌﺎﻟﻤﻴﺔ ‪.‬‬

‫≤∞‪¡UM³« ±‬‬

‫‪102 Albenaa‬‬

‫ﺧﺪﻣﺔ ﻣﺎ ﺑﻌﺪ اﻟﺒﻴﻊ ‪:‬‬ ‫ﻻ ﺗﻘـــﻞ ﺧﺪﻣﺔ ﻣﺎ ﺑﻌﺪ اﻟﺒﻴـــﻊ أﻫﻤﻴﺔ ﻋﻦ ﺟﻮدة اﻧﺘﺎج‪،‬‬ ‫ﻟﺬﻟـــﻚ ﺣﺮﺻـــﺖ إدارة اﻟﻤﺼﻨـــﻊ ﻋﻠـــﻰ اﻻﻫﺘﻤـــﺎم ﺑﻬـــﺎ‬ ‫واﻟﺘﺄﻛﻴﺪ ﻋﻠﻴﻬﺎ ﻛﺮﻛﻴﺰة أﺳﺎﺳـــﻴﺔ ﻟﻠﺤﻔﺎظ ﻋﻠﻰ ﺛﻘﺔ‬ ‫اﻟﻌﻤﻼء‪.‬‬ ‫وﻟﻌـــﻞ ﻣـــﻦ أّﻫـــﻢ ﻣﻈﺎﻫـــﺮ ﺧﺪﻣﺔ ﻣـــﺎ ﺑﻌـــﺪ اﻟﺒﻴﻊ ﻫﻮ‬ ‫ﻣﻨﺢ ﺿﻤﺎن ﻋﻠﻰ اﻟﻤﻨﺘﺠﺎت ﻳﺼﻞ إﻟﻰ ﻋﺸـــﺮ ﺳـــﻨﻮات‬ ‫ﻟﻠﺜﺮﻳـــﺎت ذات اﻟﻄـــﻼء اﻟﺬﻫﺒـــﻲ‪ ،‬وﺧﻤـــﺲ ﺳـــﻨﻮات‬ ‫ﻟﻠﺜﺮﻳﺎت ذات اﻟﻄﻼء اﻟﻔﻀﻲ )اﻟﻜﺮوم( واﻟﺒﺮوﻧﺰي‪.‬‬ ‫ﻛﻤﺎ ﺗﻨﺘﺸـــﺮ ﻓﺮق اﻟﺼﻴﺎﻧﺔ ﻓﻲ ﺟﻤﻴـــﻊ أﻧﺤﺎء اﻟﻤﻤﻠﻜﺔ‬ ‫ﻟﺘﻜـــﻮن ﻓﻲ ﻣﺘﻨﺎول ﻛﺎﻓـــﺔ ﻋﻤﻼﺋﻨﺎ ﻟﺘﻘﺪﻳـــﻢ اﻟﺨﺪﻣﺔ‬ ‫ﻓﻮر اﻟﻄﻠﺐ‪.‬‬ ‫ﻛﻤﺎ ﻻﺗﻐﻔﻞ ادارة واﺟﺒﻬﺎ اﻟﻤﺠﺘﻤﻌﻲ ﻓﺤﺮﺻﺖ ﻋﻠﻰ‬ ‫ﺗﻘﺪﻳـــﻢ ﺧﺪﻣـــﺔ اﻟﺼﻴﺎﻧـــﺔ اﻟﻤﺠﺎﻧﻴﺔ ﻟﻠﻤﺴـــﺎﺟﺪ ﺧﺪﻣﺔ‬ ‫ﻟﺒﻴﻮت ا‪ f‬وﻟﻠﻤﺼﻠﻴﻦ‪.‬‬ ‫إن إدارة اﻟﻤﺼﻨـــﻊ ﻻ ﺗـــﺄل ﺟﻬـــﺪ‪ 4‬ﻓـــﻲ ﺳـــﺒﻴﻞ إرﺿـــﺎء‬ ‫اﻟﻌﻤـــﻼء اﻟﺬﻳﻦ ﻫـــﻢ رأس اﻟﻤﺎل اﻟﺤﻘﻴﻘـــﻲ ﻟﻠﻤﺼﻨﻊ‬ ‫وﻫﻢ ﺷـــﺮﻛﺎء ﻣﺴﻴﺮة ﺣﺎﻓﻠﺔ ﻣﻦ اﻟﻨﺠﺎح ﻋﻠﻰ ﻣﺪار ﻣﺎ‬ ‫ﻳﻘﺮب ﻣﻦ ‪ ٣٥‬ﻋﺎﻣ‪.‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﻣﺼﻨﻊ ﻣﻌﺪات اﻟﻘﻤﺔ‬ ‫ﺣﻠﻮل ﻣﺒﺘﻜﺮة ﻟﻠﺼﻨﺎﻋﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫ا‪L‬ﺳﺘﺎذ ‪ /‬ﻋﺒﺪ اﻟﺮﺣﻤﻦ ﺣﺴﻴﻦ اﻟﺸﺮﻳﻒ ـ اﻟﻤﺪﻳﺮ اﻟﻌﺎم‬

‫إذا ﻛﻨـــﺖ ﺗﺠﺪ ﻓﻲ ﻣﺘﻨـــﺎول ﻳﺪك ﻣﻨﺘﺞ وﻃﻨﻲ‬ ‫ﻳﻨﺎﻓـــﺲ آﺧـــﺮ أورﺑـــﻲ ذو ﺻﻴﺖ ﻋﺎﻟﻤﻲ ﺑﺴـــﻌﺮ‬ ‫أﻗـــﻞ ﻳﺼﻞ إﻟـــﻰ اﻟﻨﺼﻒ ﺗﻘﺮﻳﺒ( ‪ ،‬ﻓﻠﺴـــﺖ ﻓﻲ‬ ‫ﺣﺎﺟـــﺔ أن ﺗﺪﻓﻊ ﻣﺎﻟﻚ ﻓﻲ اﻟﻮﻗﺖ اﻟﺬي ﻳﻤﻜﻨﻚ‬ ‫ﺗﻮﻓﻴـــﺮه ‪ ،‬ﻣـــﻦ ﻫﺬه اﻟﻘﺎﻋـــﺪة اﻟﺬﻛﻴـــﺔ إﻧﻄﻠﻖ‬ ‫ﻣﺼﻨـــﻊ ﻣﻌﺪات اﻟﻘﻤﺔ ﻧﺤﻮ ﻋﻤﻼءه ‪ ،‬إذن دﻋﻮﻧﺎ‬ ‫ﻧﺒﻴﻦ أي ﻧﻮع ﻣﻦ اﻟﻤﻨﺘﺠﺎت ﻳﻘﺪﻣﻬﺎ اﻟﻤﺼﻨﻊ ؟‬ ‫ﻛﺎن رأﻳﻨﺎ ﻣﻦ ا‪L‬ول واﺿﺤ( ‪ ،‬أﻧﻪ ﻋﻠﻰ رأس اﻟﻤﺎل‬ ‫اﻟﻮﻃﻨﻲ أن ﻳﺴـــﻌﻰ ‪ ،‬ﻓﻲ ﺑـــﻼد ﻣﺜﻞ اﻟﻤﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴـــﺔ اﻟﺴـــﻌﻮدﻳﺔ ﻓـــﻲ ﺣﺮﻛـــﺔ ﻣﻌﻤﺎرﻳـــﺔ‬ ‫ﻣﺴـــﺘﻤﺮة ‪ ،‬ﻧﻘـــﻮل أﻧﻪ ﻣﻦ اﻟﻮاﺟﺐ أن ﻳﺴـــﻌﻰ‬ ‫ﻧﺤﻮ ا‪P‬ﺳـــﻬﺎم ﺑﻔﻌﺎﻟﻴـــﺔ ﻓﻲ ا‪P‬ﻋﻤـــﺎر وا‪P‬زدﻫﺎر‬ ‫‪،‬وﻟﺬﻟـــﻚ ﺟﺎءت ﻓﻜﺮة اﻟﻌﻤﻞ ﻓﻲ ﻣﺠﺎل ﺻﻨﺎﻋﺔ‬ ‫ﻣﻜﺎﺋﻦ إﻧﺘﺎج اﻟﺒﻠﻮك و اﻟﻨﺸـــﺎﻃﺎت اﻟﻤﺴﺎﻋﺪة‬ ‫ﻟﻬﺎ‪،‬وﺑﺎﻟﻔﻌﻞ‪،‬ﻟﻨﺎ أﻛﺜﺮ ﻣﻦ ﺧﻤﺴـــﺔ ﻋﺸـــﺮ ﻋﺎﻣ(‬ ‫ﻣﻦ اﻟﺨﺒـــﺮة اﻟﻮﻃﻨﻴﺔ ﻓﻲ ﺻﻨﺎﻋﺔ ﻣﻜﺎﺋﻦ إﻧﺘﺎج‬ ‫اﻟﺒﻠـــﻮك ﺑﺘﻘﻨﻴـــﺎت ﻣﺘﻘﺪﻣﺔ‪،‬واﻟﺘـــﻲ إﺧﺘﺮﻧﺎ ﻟﻬﺎ‬ ‫ا‪P‬ﺳـــﻢ اﻟﺘﺠـــﺎري اﻟﻘﻤﺔ ‪ ، ٩١٣‬وﻟـــﻢ ﻳﻜﻦ ﻣﺤﺾ‬ ‫ﺻﺪﻓـــﺔ ﻫـــﺬا ا‪P‬ﺳـــﻢ ‪ ،‬ﺑـــﻞ ﻗﺼﺪﻧـــﺎ أن ﻳﻜـــﻮن‬ ‫ﻣﻠﺘﺼﻘ( ﺑﻤﻨﺘﺠﻨﺎ ﻟﻴﻜﻮن ﺗﺤﺖ أﻋﻴﻦ ﻣﻮﻇﻔﻴﻨﺎ‬ ‫داﺋﻤ( ﺑﻄﺮﻳﻘﺔ ﺗﺮﻣﺰ ‪L‬ﻫﺪاﻓﻨﺎ ﻛﻤﺼﻨﻊ ﺣﺪﻳﺚ ‪،‬‬ ‫ﻣﺘﺨﺬﻳﻦ ﻣﻦ ﺷـــﻌﺎر اﻟﻤﺼﻨﻊ ) ﺣﻠﻮل ﻣﺒﺘﻜﺮة‬ ‫ﻟﻠﺼﻨﺎﻋﺔ ( ﻃﺮﻳﻘ( ﺷﺎﻗ( وﻟﻜﻨﻪ ﻣﻤﺘﻌ( ﻟﻠﻘﻤﺔ ‪.‬‬ ‫ﺑﻌﺪﻫـــﺎ إﺗﺠﻬﻨﺎ إﻟـــﻰ ﻋﻘﺪ ﺷـــﺮاﻛﺎت ذﻛﻴﺔ ﻣﻊ‬ ‫ﺷـــﺮﻛﺎت إﻗﻠﻴﻤﻴﺔ ﺗﺨـــﺪم ﺗﺨﺼﺼﻨﺎ ﻓﻲ ا‪P‬ﻃﺎر‬ ‫اﻟﻌـــﺎم ‪ ،‬ﺣﻴـــﺚ ﺗﻌﺘﺒـــﺮ ﺛﻤـــﺎر ﻫـــﺬه اﻟﺸـــﺮاﻛﺎت‬ ‫ﻧﺸـــﺎﻃﺎت ﻣﺴـــﺎﻋﺪة ﻟﻤﺼﺎﻧـــﻊ اﻟﺒﻠـــﻮك اﻟﺘـــﻲ‬ ‫ﻧﻌﻤـــﻞ ﻛﻤﻮردﻳـــﻦ أﺳﺎﺳـــﻴﻴﻦ ﻟﻬـــﺎ ‪ ،‬ﻓﻜﺎﻧـــﺖ‬ ‫وﻛﺎﻟـــﺔ ﺷـــﺮﻛﺔ ﺗﺎﻣﺴـــﺎن ‪ TAMSAN‬اﻟﺘﺮﻛﻴﺔ‬ ‫ﻟﻀﻮاﻏﻂ اﻟﻬﻮاء ‪ ،‬ﻣﻦ أﻛﺒﺮ ﻣﺼﻨﻌﻲ ﺿﻮاﻏﻂ‬ ‫اﻟﻬﻮاء ﻓﻲ اﻟﻤﻨﻄﻘﺔ ‪ ،‬ﺛﻢ ﺟﺎءت وﻛﺎﻟﺔ ﺷـــﺮﻛﺔ‬ ‫ﻛﻮﻧﻔﻴﻨـــﺞ ‪ QUNFENG‬اﻟﺼﻴﻨﻴـــﺔ ﻟﻠﻤﻌﺪات‬ ‫اﻟﺜﻘﻴﻠﺔ ‪ ،‬وﻫﻲ ﺷـــﺮﻛﺔ إﻗﻠﻴﻤﻴـــﺔ ﺿﺨﻤﺔ ﺗﻨﺘﺞ‬

‫‪¡UM³« ±∞¥‬‬

‫‪104 Albenaa‬‬

‫ﺑﺼﻮرة رﺋﻴﺴـــﻴﺔ ‪stationary block making‬‬ ‫‪ machine‬ﻣﻜﺎﺋـــﻦ إﻧﺘـــﺎج اﻟﺒﻠـــﻮك اﻟﺜﺎﺑﺘـــﺔ ‪،‬‬ ‫وﻣﺤﻄـــﺎت ﺧﻠـــﻂ اﻟﺨﺮﺳـــﺎﻧﺔ ‪ ،‬وﻏﻴﺮﻫـــﺎ ‪ ،‬وﻫﻨﺎ‬ ‫ﻳﺠﺪر ﺑﻨﺎ أن ﻧﺸـــﻴﺮ إﻟﻰ أﻣـــﺮ ﺑﺎﻟﻎ ا‪L‬ﻫﻤﻴﺔ وﻫﻮ‬ ‫أن رؤﻳﺘﻨـــﺎ ﻛﺎﻧﺖ واﺿﺤﺔ ﻓﻲ ﻫﺬه اﻟﺸـــﺮاﻛﺎت‬ ‫وﻫﻲ أﻧﻪ ﻳﺘﻮﺟﺐ ﻋﻠﻴﻨﺎ أﻻ ﻧﻀﻴﻒ ﻟﻤﺴﻴﺮﺗﻨﺎ إﻻ‬ ‫إﺳﻤ( ﻳﻜﻦ إﺿﺎﻓﺔ ﻟﺒﻨﻴﺎﻧﻨﺎ ‪.‬‬ ‫ﺣــــﺎن اﻟﻮﻗــــﺖ ﻟﻨﺘﺤــــﺪث ﻋــــﻦ إﺗﺠــــﺎه آﺧــــﺮ ﻓﻲ‬ ‫اﻟﻄﺮﻳــــﻖ وﻫﻮ إﺗﺠــــﺎه ﻛﻴﻒ ّ‬ ‫ﻳﻔﻜــــﺮ ﻋﻤﻼؤﻧﺎ ؟‬ ‫إﺟﺎﺑــــﺔ ﻫﺬا اﻟﺴــــﺆال ﻳﺘﻮﻗــــﻒ ﻋﻠﻴﻬﺎ ﻣﺼﻴﺮ‬ ‫ﻛﻞ ﻋﻤﻞ ﻳﺴــــﺘﻬﺪف ﺷــــﺮﻳﺤﺔ ﻣــــﻦ اﻟﻨﺎس ‪،‬‬ ‫ﻓﺎﻟﻨــــﺎس داﺋﻤ( ﻓــــﻲ ﺣﺎﻟﺔ ﺗﻐﻴــــﺮ إﺗﺠﺎﻫﺎﺗﻬﻢ‬ ‫وﻣﺘﻄﻠﺒﺎﺗﻬﻢ ‪ ،‬إﻧﻬﺎ ﻋﻤﻠﻴﺔ ﺷــــﺎﺋﻜﺔ ﺗﻜ ّﻠﻒ‬ ‫اﻟﻜﺜﻴﺮ ﻣــــﻦ اﻟﺠﻬﺪ واﻟﻮﻗــــﺖ أن ﺗﺪﻳﺮ ﻋﻤﻠﻴﺔ‬ ‫ﺗﻐﻴﻴــــﺮ إﺗﺠﺎﻫــــﺎت ﻋﻤــــﻞ ﺑﻨــــﺎء‪ q‬ﻋﻠــــﻰ رؤﻳﺎك‬ ‫ﻛﺮﺟﻞ أﻋﻤﺎل ﺟﻨﺒ( إﻟﻰ ﺟﻨﺐ ﻣﻊ رؤﻳﺎ ﻋﻤﻼءك‬ ‫‪ ،‬وﻧﺤﻦ ﻋﻠﻰ أﺗﻢ ا‪P‬ﺳﺘﻌﺪاد ﻟﺬﻟﻚ وﻧﺒﺬل ﻟﻪ‬ ‫اﻟﻮﻋﻮد اﻟﻤﺘﺒﻮﻋﺔ ﺑﺎﻟﻌﻤﻞ ‪.‬‬ ‫ﺗﺒﻘﻰ ﺷﻴﺌ( أﺧﻴﺮ‪ q‬ﻳﺴﺮﻧﺎ أن ﻧﺸﻴﺮ إﻟﻴﻪ ﺑﻔﺨﺮ‬ ‫‪،‬وﻫــــﻮ أن ﻣﺼﻨــــﻊ ﻣﻌــــﺪات اﻟﻘﻤــــﺔ واﺣﺪ ﻣﻦ‬

‫أﻫــــﻢ اﻟﻤﺼﺎﻧﻊ اﻟﺘــــﻲ ﺗﻌﻤﻞ ﻓــــﻲ اﻟﺼﻨﺎﻋﺎت‬ ‫اﻟﺘﺤﻮﻳﻠﻴــــﺔ و اﻟﻤﻌــــﺪات اﻟﺜﻘﻴﻠــــﺔ داﺧــــﻞ‬ ‫اﻟﻤﻤﻠﻜــــﺔ اﻟﻌﺮﺑﻴــــﺔ اﻟﺴــــﻌﻮدﻳﺔ ‪ ،‬وﻫــــﺬا أﻣﺮ‬ ‫ﻳﺠﻌﻠﻨــــﺎ ﻧﻀﻊ أﻳﺪﻳﻨﺎ ﻋﻠــــﻰ ﻗﻠﻮﺑﻨﺎ ﻣﻦ ﻋﻈﻢ‬ ‫ﻧﻘﺪم ‪L‬ﺟﻞ‬ ‫اﻟﻤﺴــــﺆوﻟﻴﺔ ﻟﻜﻨﻨﺎ ﻻ ﻧﺘﻮاﻧﻰ أن ّ‬ ‫ذﻟﻚ اﻟﻮﻗﺖ واﻟﻤﺎل واﻟﺠﻬﺪ ﻟﻴﺴــــﺘﻤﺮ ﻓﺨﺮﻧﺎ‬ ‫ﺑﺼﻨﺎﻋﺘﻨﺎ اﻟﻮﻃﻨﻴﺔ ‪.‬‬


‫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 ﻟ‪A‬ﻧـــﺎرة‬ ‫اﻟﺪاﺧﻠﻴـــﺔ وﺗﻜﻨﻮﻟﻮﺟﻴـــﺎ اﻟﻠﻴـــﺪ‬ ‫اﻟﺤﺪﻳﺜـــﺔ )‪ (LED‬وﻏﻴﺮﻫـــﺎ ‪.‬وﺣﺮﺻ‪D‬‬ ‫ﻣـــﻦ إدارة ﺷـــﺮﻛﺔ اﻟﻤﻨـــﺎرة ﻋﻠـــﻰ‬ ‫ﺗﻘﺪﻳـــﻢ أﻋﻠـــﻰ ﻣﺴـــﺘﻮﻳﺎت اﻟﺠﻮدة‬ ‫ﻟـــﺬا وﻗـــﻊ ا?ﺧﺘﻴـــﺎر ﻋﻠـــﻰ ﺷـــﺮﻛﺔ‬ ‫ﺗﻴﺮاﺳـــﺎﻛﻲ اﻟﻴﺎﺑﺎﻧﻴـــﺔ ﻟﻠﻘﻮاﻃـــﻊ‬ ‫وذﻟـــﻚ ﺣﺮﺻـــ‪ D‬ﻣـــﻦ 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

‫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 ‫ا`وروﺑﻲ ) ﻛﻮزﻣﻮ(‪.‬‬ ‫ـ ﻟﻮﺣﺎت اﻟﻨﻈﺎم ا`وروﺑﻲ )ﻛﻼﺳﻴﻚ(‬ ‫اﻟﻤﻘﺎس ا`ﻣﺮﻳﻜﻲ ‪.‬‬ ‫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« ±‬‬

‫‪107 Albenaa‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﻣﺆﺳﺴﺔ اﻟﺤﺴﻴﻨﻲ اﻟﺘﺠﺎرﻳﺔ‬ ‫ﻣﺘﺨﺼﺼﻮن ﻓﻲ ﻣﻨﺘﺠﺎت اﻟﻔﺎﻳﺒﺮ ﺟﻼس واﻟﺒﻮﻟﻲ إﻳﺜﻴﻠﻴﻦ‬

‫ﺧﺰاﻧﺎت إﺳﻄﻮاﻧﻴﺔ ﻓﻮق وﺗﺤﺖ ا رض ) ﺣﺴﺐ اﻟﻄﻠﺐ(‬

‫ﻣﻊ ﻣﻄﻠﻊ اﻟﻌﺎم ‪١٩٧٥‬م وﻓﻲ ﻣﺪﻳﻨﺔ اﻟﺨﺒﺮ ﺗﺄﺳﺴﺖ‬ ‫ﻣﺆﺳﺴـــﺔ اﻟﺤﺴـــﻴﻨﻲ اﻟﺘﺠﺎرﻳـــﺔ ﻛﺄول ﻣﺆﺳﺴـــﺔ‬ ‫ﻣﺘﺨﺼﺼـــﺔ ﻓـــﻲ ﺗﻮرﻳﺪ وﺗﺴـــﻮﻳﻖ اﻟﺨﺰاﻧـــﺎت‪ ،‬واﻟﺘﻲ‬ ‫ﺣﺮﺻـــﺖ اﻟﻤﺆﺳﺴـــﺔ أن ﺗﻜـــﻮن ﻣﻮاﻓﻘـــﺔ ﻟﻠﺠـــﻮدة‬ ‫وﻛﺬﻟـــﻚ ﺗﻮﻓﺮ ﺣﻠـــﻮل إﺑﺘﻜﺎرﻳـــﺔ وﻋﻤﻠﻴـــﺔ ﻟﻠﻌﻤﻼء ‪،‬‬ ‫وﺑﻔﻀـــﻞ ا‪ N‬ﺗﺤﻘـــﻖ ﻟﻠﻤﺆﺳﺴـــﺔ اﻟﻨﺠﺎح اﻻﻧﺘﺸـــﺎر‪،‬‬ ‫ا ﻣـــﺮ اﻟﺬي دﻋﻰ ﺑﺈدارﺗﻬﺎ ﺑﺈﺗﺨﺎذ اﻟﻘﺮار ﺑﺎ‪R‬ﻧﺘﻘﺎل إﻟﻰ‬ ‫ﻣﺮﺣﻠـــﺔ اﻟﺘﺼﻨﻴﻊ اﻟﻤﺤﻠـــﻲ داﺧـــﻞ اﻟﻤﻤﻠﻜﺔ ﻟﺘﺤﻘﻖ‬ ‫ﺑﻬـــﺬا وﻟﻠﻤـــﺮة اﻟﺜﺎﻧﻴـــﺔ اﻟﺮﻳـــﺎدة ﻓـــﻲ ﻫـــﺬا اﻟﻤﺠـــﺎل‬ ‫ﻣﺪﻋﻮﻣـــﺔ ﺑﺄﺣـــﺪث اﻟﺘﻘﻨﻴـــﺎت واﻟﺨﺒـــﺮات اﻟﺒﺸـــﺮﻳﺔ‬ ‫اﻟﻤﺘﻤﻴـــﺰة ﺛـــﻢ ﻛﺎن ﻧﺠﺎ ح اﻟﻤﺆﺳﺴـــﺔ ﻓﻲ اﻟﺤﺼﻮل‬ ‫ﻋﻠـــﻰ ﺷـــﻬﺎدة ا ﻳـــﺰو ‪ ٩٠٠١‬ﻟﻤﺼﻨـــﻊ اﻟﻔﺎﻳﺒـــﺮ ﺟـــﻼس‬ ‫ﺗﺄﻛﻴـــﺪا ﻋﻠﻰ اﻟﺘﻔـــﻮق واﻟﺮﻳـــﺎدة وﻣﺤﺼﻠـــﺔ ﻟ]ﻟﺘﺰام‬ ‫ﺑﺘﻄﺒﻴﻖ ﻣﻌﺎﻳﻴﺮ اﻟﺠﻮدة اﻟﻌﺎﻟﻤﻴﺔ‪.‬‬ ‫وﺗﺘﻄﻠـــﻊ اﻟﻤﺆﺳﺴـــﺔ ﻟﻠﻐـــﺪ ﺑﺎﻟﻤﺰﻳـــﺪ ﻣـــﻦ اﻟﺘﺤﺪي‬ ‫واﻟﻌﺰم ﻋﻠﻰ ﺗﺤﻘﻴﻖ اﻟﻤﺰﻳﺪ ﻣﻦ اﻟﻨﺠﺎﺣﺎت واﻟﺘﻮﺳﻊ‬ ‫ﺑﻤـــﺎ ﻳﻀﻤـــﻦ ﻟﻬـــﺎ اﺳـــﺘﻤﺮارﻳﺔ اﻟﺮﻳـــﺎدة وﻧﻴـــﻞ رﺿـــﺎ‬ ‫اﻟﻌﻤﻴﻞ‪.‬‬ ‫إﻧﺠﺎزاﺗﻨﺎ‬ ‫ﻟﻌـــﻞ ﻣﺎ ﺣﻘﻘﺘﻪ ﻣﺆﺳﺴـــﺔ اﻟﺤﺴـــﻴﻨﻲ اﻟﺘﺠﺎرﻳﺔ ﻣﻦ‬ ‫ﻧﺠﺎﺣﺎت ﻣﻨﺬ ﺗﺄﺳﻴﺴـــﻬﺎ ﻫﻮ ﻣـــﺎ ﻳﺠﻌﻠﻨﺎ ﻧﻔﺘﺨﺮ ﺑﻤﺎ‬ ‫ﻗﺪﻣﻨـــﺎه ﻟﻌﻤﻼءﻧـــﺎ‪ ،‬ﻛﻤﺎ أﻧﻨـــﺎ ﻧﻌﺘﺒﺮ ﻫـــﺬه ا‪R‬ﻧﺠﺎزات‬ ‫ﻣﺴـــﺌﻮﻟﻴﺔ ﻋﻠـــﻰ ﻋﺎﺗﻘﻨـــﺎ ﻛﻮﻧﻨـــﺎ ﻧﺴـــﻌﻰ ﻟﺘﻘﺪﻳﻢ‬ ‫اﻟﻤﺰﻳﺪ وا ﻓﻀﻞ داﺋﻤ‪.f‬‬ ‫ﺳﻴﺎﺳﺘﻨﺎ‬ ‫ﺗﺘﺒﻨﻰ اﻟﻤﺆﺳﺴـــﺔ ﻓﻠﺴـــﻔﺔ ﻣﺤﺪدة أرﺳـــﺖ ﻋﻠﻴﻬﺎ‬ ‫اﻟﺘﺰاﻣﺎﺗﻬﺎ ﺗﺠـــﺎه ﻋﻤﻼءﻫﺎ وﻣﻮﻇﻔﻴﻬـــﺎ واﻟﻤﺠﺘﻤﻊ إﻳﻤﺎﻧﺎ‬ ‫ﻣﻨﻬـــﺎ ﺑﺄﻫﻤﻴﺔ ﻣﺎ ﺗﻘﻮم ﺑﻪ ﻣﻦ دور ﺧﺪﻣﻲ وﺣﻴﻮي ﻳﺮﺟﻊ‬ ‫ﺑﺎﻟﻨﻔﻊ ﻋﻠﻴﻬﺎ وﻋﻠﻰ اﻟﻤﺘﻌﺎﻣﻠﻴﻦ ﻣﻌﻬﺎ‪.‬‬ ‫اﻟﺘﺰاﻣﺎﺗﻨﺎ‬ ‫نﻟﺘﺰم ﺑﺘﻘﺪﻳﻢ أﻋﻠﻰ درﺟﺎت اﻟﺠﻮدة ﻓﻲ ﻣﻨﺘﺠﺎﺗﻨﺎ‬ ‫وﺧﺪﻣﺎﺗﻨﺎ ﺑﺎﻟﺸﻜﻞ اﻟﺬي ﻳﻔﻮق ﺗﻮﻗﻌﺎت ﻋﻤﻼءﻧﺎ‪.‬‬ ‫ﻧﻠﺘﺰم ﺑﺘﻨﻔﻴﺬ ﺗﻌﻬﺪاﺗﻨﺎ وأﻗﻮاﻟﻨﺎ ﺑﺼﺪق وأﻣﺎﻧﺔ‪.‬‬ ‫ﻧﻠﺘـــﺰم ﺑﻤﺮاﻋـــﺎة اﻟﺴـــﻼﻣﺔ واﻟﻤﻌﺎﻳﻴـــﺮ اﻟﺼﺤﻴـــﺔ‬ ‫واﻟﺒﻴﺌﻴﺔ‪.‬‬

‫∂∞‪¡UM³« ±‬‬

‫‪106 Albenaa‬‬

‫‪ ١٩٧٥‬ﺗﻢ ﺗﺄﺳﻴﺲ ﻣﺆﺳﺴﺔ اﻟﺤﺴﻴﻨﻲ اﻟﺘﺠﺎرﻳﺔ ﻓﻲ‬ ‫اﻟﺨﺒﺮ ‪ ،‬اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪.‬‬ ‫‪ ١٩٧٧‬ﺗـــﻢ ﻃـــﺮح ﺧﺰاﻧﺎت اﻟﻜﺒـــﺲ ا‪j‬ﻟﻲ ﻣـــﻦ اﻟﻔﺎﻳﺒﺮ‬ ‫ﺟﻼس ول ﻣﺮة ﻓﻲ أﺳﻮاق اﻟﻤﻤﻠﻜﺔ‪.‬‬ ‫‪ ١٩٨٠‬ﺑﺪأت ﺗﺼﻨﻴﻊ ﻣﻨﺘﺠﺎت اﻟﻔﺎﻳﺒﺮ ﺟﻼس وأﺻﺒﺤﺖ‬ ‫ﻣﻦ اﻟﺮواد ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﻔﺎﻳﺒﺮ ﺟﻼس‪.‬‬ ‫‪ ١٩٩٣‬ﺗـــﻢ ﻃﺮح ﺧﺰاﻧـــﺎت اﻟﺒﻮﻟـــﻲ إﻳﺜﻴﻠﻴـــﻦ اﻟﺼﺤﻴﺔ‬ ‫اﻟﻤﺼﻨﻌﺔ ﺑﻮاﺳﻄﺔ ﺑﻮﻟﻴﻜﻮن اﻟﺨﻠﻴﺞ ا‪R‬ﻣﺎراﺗﻴﺔ ول‬ ‫ﻣﺮة ﻓﻲ أﺳﻮاق اﻟﻤﻤﻠﻜﺔ‪.‬‬ ‫‪ ١٩٩٨‬ﺗﻢ إﻧﺸـــﺎء ﻣﺼﻨﻊ ﺑﻮﻟﻴﻜﻮن اﻟﺴﻌﻮدﻳﺔ ‪R‬ﻧﺘﺎج‬ ‫ﺧﺰاﻧﺎت وﻣﻨﺘﺠﺎت اﻟﺒﻮﻟﻲ إﻳﺜﻴﻠﻴﻦ ﺑﻤﺸﺎرﻛﺔ ﻣﺼﻨﻊ‬ ‫ﺑﻮﻟﻴﻜﻮن اﻟﺨﻠﻴﺞ ا‪R‬ﻣﺎرات‪.‬‬ ‫ﺗـــﻢ ﻃﺮح ﺧﺰاﻧـــﺎت اﻟﺒﻮﻟﻲ إﻳﺜﻴﻠﻴﻦ )ﻋﺎﻟﻴـــﺔ اﻟﻜﺜﺎﻓﺔ(‬ ‫اﻟﻤﺨﺼﺼﺔ ﻟﻠﺪﻓﻦ اﻟﻤﺒﺎﺷﺮ ﺗﺤﺖ ا رض واﻟﻤﺼﻨﻌﺔ‬ ‫ﺑﻮاﺳـــﻄﺔ اﻣﻴﺎﻧﺘﻴـــﺖ ﻋﻤـــﺎن ول ﻣـــﺮة ﻓﻲ أﺳـــﻮاق‬ ‫اﻟﻤﻤﻜﺔ‪.‬‬ ‫‪ ١٩٩٩‬ﺗـــﻢ ﻃـــﺮح أول ﺧـــﺰان ﺑﻮﻟﻲ إﻳﺜﻠﻴـــﻦ ‪ ٤‬ﻃﺒﻘﺎت‬ ‫ ول ﻣﺮة ﻓﻲ أﺳﻮاق اﻟﻤﻤﻠﻜﺔ‪.‬‬ ‫‪ ٢٠٠٦‬ﺗـــﻢ ﻃﺮح ﺧﺰاﻧﺎت ﺑﻮﻟﻴﻜﻮن ﻓﺎﻳﺒﺮ ﻓﻮم اﻟﻤﻌﺰوﻟﺔ‬ ‫واﻟﻤﺼﻨﻌﺔ ﺑﻮاﺳﻄﺔ ﻣﺼﻨﻌﻲ ﺑﻮﻟﻴﻜﻮن اﻟﺴﻌﻮدﻳﺔ‬ ‫وﻣﺼﻨﻊ ﻋﺒﺪ ا‪ N‬ﻣﺸـــﺎري اﻟﺤﺴﻴﻨﻲ ﻟﻠﻔﺎﻳﺒﺮ ﺟﻼس‬ ‫ ول ﻣﺮة ﻓﻲ أﺳﻮاق اﻟﻤﻤﻠﻜﺔ‪.‬‬ ‫‪ ٢٠٠٩‬اﻟﺤﺼﻮل ﻋﻠﻰ ﺷـــﻬﺎدة ا ﻳﺰو ‪ ٢٠٠٨ : ٩٠٠١‬ﻟﻤﺼﻨﻊ‬ ‫اﻟﻔﺎﻳﺒﺮ ﺟﻼس‪.‬‬ ‫ﺧﺰاﻧــﺎت ﺑﻮﻟﻴﻜــﻮن اﻟﺴــﻌﻮدﻳﺔ اﻟﻤﻌﺰوﻟــﺔ‬ ‫)‪٤‬ﻃﺒﻘﺎت(‬ ‫ﺑﻮﻟﻴﻜـــﻮن اﻟﺴـــﻌﻮدﻳﺔ ﻣـــﻦ إﻧﺘﺎج ﻣﺼﻨﻊ اﻟﺸـــﺮﻛﺔ‬ ‫اﻟﺴـــﻌﻮدﻳﺔ ﻟﺼﻨﺎﻋـــﺔ ﺧﺰاﻧـــﺎت وﺣﺎوﻳـــﺎت اﻟﺒﻮﻟـــﻲ‬ ‫إﻳﺜﻴﻠﻴـــﻦ اﻟﻤﺤـــﺪودة ﺑﺎﻟﺨﺒـــﺮ وﺗﻌﺘﺒـــﺮ ﻣـــﻦ أﺟـــﻮد‬ ‫اﻟﺨﺰاﻧـــﺎت اﻟﻤﺼﻨﻌـــﺔ ﻓـــﻲ اﻟﻤﻤﻠﻜـــﺔ وذﻟـــﻚ ﻟﻜـــﻮن‬ ‫اﻟﺸﺮﻛﺔ اﻟﻤﺎﻟﻜﺔ ﻣﻊ اﻟﺸﺮﻳﻚ اﻟﺴﻌﻮدي ﻫﻲ ﺷﺮﻛﺔ‬ ‫ﺑﻮﻟﻴﻜـــﻮن اﻟﺨﻠﻴﺞ ﻓﻲ أﺑﻮﻇﺒـــﻲ ذات اﻟﺨﺒﺮة اﻟﺮاﺋﺪة‬ ‫ﻓـــﻲ ﺻﻨﺎﻋﺔ اﻟﺒﻮﻟﻲ إﻳﺜﻴﻠﻴﻦ وﻣﺸـــﺎرﻛﺔ ﻣﺆﺳﺴـــﺔ‬ ‫اﻟﺤﺴـــﻴﻨﻲ اﻟﺘﺠﺎرﻳﺔ ذات ﺧﺒﺮة ﻣﻨﺬ ﻋﺎم ‪١٣٩٥‬ﻫـ ﻓﻲ‬ ‫ﺻﻨﺎﻋﺔ وﺗﺴﻮﻳﻖ ﺧﺰاﻧﺎت اﻟﻤﻴﺎه‪،‬‬

‫وﻣﻦ ﻣﻤﻴﺰات ﺑﻮﻟﻴﻜﻮن اﻟﺴﻌﻮدﻳﺔ‪:‬‬ ‫ـ ﻳﺘﻢ ﺗﺼﻨﻴﻊ ﺧﺰاﻧﺎت ﺑﻮﻟﻴﻜﻮن اﻟﺴـــﻌﻮدﻳﺔ ﺑﻄﺮﻳﻘﺔ‬ ‫اﻟﻘﻮﻟﺒـــﺔ )‪ (ROTOMOLDING‬ﻛﻘﻄﻌـــﺔ واﺣـــﺪة‬ ‫ﺑﺪون وﺟـــﻮد أي ﻓﻮاﺻﻞ ﻓﻴﻬﺎ ﻟﺬﻟـــﻚ ﻻﻳﻮﺟﺪ ﻣﻨﻬﺎ‬ ‫ﺗﺴﺮب أو ﺗﻬﺮﻳﺐ وﻻﺗﺤﺘﺎج إﻟﻰ ﺻﻴﺎﻧﺔ‪.‬‬ ‫ـ ﻧﺘﻴﺠﺔ ﻟﻠﻄﺒﻴﻌﺔ اﻟﻤﺘﻮاﻓﻘﺔ ﻟﻤﺎدة اﻟﺒﻮﻟﻲ إﻳﺜﻴﻠﻴﻦ‬ ‫اﻟﺘـــﻲ ﺗﺼﻨﻊ ﻣﻨﻬـــﺎ ﺧﺰاﻧـــﺎت ﺑﻮﻟﻴﻜﻮن اﻟﺴـــﻌﻮدﻳﺔ‬ ‫ﻓﺈﻧﻬﺎ ﻻﺗﺴﻤﺢ ﺑﺎﻟﻨﻀﺢ أو اﻟﺘﺴﺮب‪.‬‬ ‫ـ اﻟﻄﺤﺎﻟـــﺐ واﻟﻔﻄﺮﻳﺎت ﺗﻌﺘﻤﺪ ﻓـــﻲ ﺗﻮاﺟﺪﻫﺎ ﻋﻠﻰ‬ ‫اﻟﻮﺳـــﻂ اﻟﻐﺬاﺋـــﻲ واﻟﺴـــﻄﺢ اﻟﺨﺸـــﻦ واﻟﻀـــﻮء‬ ‫وﺑﻮﻟﻴﻜﻮن اﻟﺴـــﻌﻮدﻳﺔ وﺑﻮﻟﻴﻜﻮن اﻟﺨﻠﻴﺞ ﻫﻢ أول‬ ‫ﻣﻦ وﺿﻌﻮا ﻫﺬه ا ﻣﻮر ﺑﻌﻴﻦ ا‪R‬ﻋﺘﺒﺎر ﻋﻨﺪ اﻟﺘﺼﻤﻴﻢ‬ ‫واﻟﺘﺼﻨﻴـــﻊ ﻓﻬﻲ ﻣﻜﻮﻧﺔ ﻣـــﻦ أرﺑﻌﺔ ﻃﺒﻘﺎت‪ :‬ﻃﺒﻘﺔ‬ ‫ﺑﻴﻀـــﺎء ﻧﺎﻋﻤﺔ اﻟﻤﻠﻤﺲ ﻣﻦ اﻟﺨﺎرج وﻃﺒﻘﺔ ﺳـــﻮداء‬ ‫ﻓﻲ اﻟﻮﺳـــﻂ ﻟﻤﻨﻊ دﺧﻮل أو اﺧﺘﺮاق اﻟﻀﻮء ﺑﺎ‪R‬ﺿﺎﻓﺔ‬ ‫إﻟـــﻰ ﻃﺒﻘﺔ ﺛﺎﻟﺜﺔ ﻋﺎزﻟﺔ ﻟﻠﺤﺮارة وﻃﺒﻘﺔ راﺑﻌﺔ ﺑﻴﻀﺎء‬ ‫ﻧﺎﻋﻤﺔ ﻣﻼﻣﺴﺔ ﻟﻠﻤﺎء‪.‬‬ ‫ـ ﻳﺘـــﻢ ﺗﺼﻨﻴـــﻊ ﺧﺰاﻧـــﺎت ﺑﻮﻟﻴﻜـــﻮن اﻟﺴـــﻌﻮدﻳﺔ‬ ‫وﺗﺸـــﻜﻴﻠﻬﺎ ﺑﻌـــﺪ ﻣﻌﺎﻟﺠـــﺔ ﻣﻮادﻫـــﺎ اﻟﺨـــﺎم ﺣﺮارﻳ‪f‬‬ ‫ﻟﺬﻟـــﻚ ﻓﻬﻲ ﺗﺘﻤﺘﻊ ﺑﺎﻟﻘـــﻮة واﻟﻤﺘﺎﻧﺔ ﻛﻤﺎ أﻧﻬﺎ ﺗﻜﺎد‬ ‫ﺗﻜﻮن ﻏﻴﺮ ﻗﺎﺑﻠﺔ ﻟﻠﻜﺴﺮ ﻧﺘﻴﺠﺔ اﻟﺴﻘﻮط واﻻرﺗﻄﺎم‬ ‫ﻣـــﻦ ﻋﻠﻮ ﻳﻘـــﺎرب أرﺑﻌﺔ أﻣﺘﺎر ﺗﻘﺮﻳﺒـــ‪ f‬ﻓﻲ ﺣﺠﻢ اﻟﻮزن‬ ‫اﻟﻔﺎرغ‪.‬‬ ‫ـ ﺧﺰاﻧﺎت ﺑﻮﻟﻴﻜﻮن اﻟﺴـــﻌﻮدﻳﺔ ذات ﺳﻄﺢ وﻣﻠﻤﺲ‬ ‫ﻧﺎﻋـــﻢ وذات ﺑﻴـــﺎض ﻧﺎﺻـــﻊ ﻣـــﻦ اﻟﺪاﺧـــﻞ واﻟﺨـــﺎرج‬ ‫ﻧﺘﻴﺠﺔ ﻟﻨﻘـــﺎوة اﻟﻤﻮاد وﺟﻮدة اﻟﺘﺼﻨﻴـــﻊ وﺑﺎﻟﺘﺎﻟﻲ ﻻ‬ ‫ﺗﺤﺘـــﺎج إﻟﻰ ﻋﻤﻠﻴﺎت ﺗﻨﻈﻴﻒ وﻳﺴـــﻬﻞ اﻟﺘﺤﻘﻖ ﻣﻦ‬ ‫ﺧﺼﺎﺋﺼﻬﺎ اﻟﺘﻲ ﺗﻤﻴﺰﻫﺎ ﻋﻦ ﻏﻴﺮﻫﺎ‪.‬‬ ‫ـ ذات ﻏﻄـــﺎء ﻣﺤﻜـــﻢ ﻳﻮﻓـــﺮ اﻟﺤﻤﺎﻳـــﺔ اﻟﻘﺼـــﻮى ﻣﻦ‬ ‫اﻟﺸﻮاﺋﺐ وا ﺗﺮﺑﺔ‪.‬‬ ‫ـ ﺟﻤﻴـــﻊ ﻣﻨﺘﺠـــﺎت ﺑﻮﻟﻴﻜـــﻮن اﻟﺴـــﻌﻮدﻳﺔ ﺗﺨﻀـــﻊ‬ ‫ﻟﻠﻔﺤﺺ اﻟﺸـــﺎﻣﻞ ﻣﻦ ﻗﺒﻞ ﻗﺴـــﻢ ﻣﺮاﻗﺒـــﺔ اﻟﺠﻮدة‬ ‫ﻗﺒـــﻞ وأﺛﻨـــﺎء وﺑﻌـــﺪ ﻋﻤﻠﻴـــﺔ اﻟﺘﺼﻨﻴـــﻊ ﻟﻠﺘﺄﻛﺪ ﻣﻦ‬ ‫ﻣﻄﺎﺑﻘﺘﻬﺎ ﻟﻠﻤﻮاﺻﻔﺎت ﻗﺒﻞ اﻟﺴﻤﺎح ﺑﺈﻋﺘﻤﺎدﻫﺎ‪.‬‬ ‫ـ ﺻﺤﻴـــﺔ وﻣﻌﺘﻤـــﺪة ﻣـــﻦ ﻫﻴﺌـــﺔ ا ﻏﺬﻳـــﺔ وا دوﻳـــﺔ‬ ‫ا ﻣﺮﻳﻜﻴﺔ )‪ (FDA‬وا‪R‬ﺗﺤﺎد ا وروﺑﻲ )‪. (EU‬‬


‫‪WO½öŽ≈ …œU‬‬

‫‪¡UM³« o×K‬‬

‫ﻣﺼﻨﻊ اﻟﺒﺮاك ﻟﺑﻮاب ا وﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫أﺑﻮاب أوﺗﻮﻣﺎﺗﻴﻜﻴﺔ ﺑﻤﻌﺎﻳﻴﺮ ﻋﺎﻟﻤﻴﺔ‬

‫ﻋﻠـــﻰ ﻣﺪى أﻛﺜﺮ ﻣـــﻦ ‪ ٢٥‬ﻋﺎﻣﺎ ﻧﺠـــﺢ ﻣﺼﻨﻊ اﻟﺒﺮاك‬ ‫ﻟ‪.‬ﺑﻮاب ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴﺔ ﻓـــﻲ ﺑﻨﺎء ﻣﻜﺎﻧﺔ راﺋﺪة ﻓﻲ‬ ‫ﻋﺎﻟـــﻢ ﺗﺼﻨﻴـــﻊ أﺑـــﻮاب اﻟﻜﺮاﺟـــﺎت ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ‬ ‫ﺑﺄﻧﻮاﻋﻬـــﺎ اﻟﻤﺨﺘﻠﻔـــﺔ و ﺑﻔﻀـــﻞ ﻣﺎﺗﺘﻤﻴـــﺰ ﺑـــﻪ ﻣﻦ‬ ‫ﺗﻘﺪﻳـــﻢ ﻣﻨﺘﺠـــﺎت ﻣﺼﻨﻌﻪ ﺑﺠـــﻮدة ﻋﺎﻟﻴـــﻪ وﻋﻠﻰ‬ ‫ﻣﻌﺎﻳﻴـــﺮ ﻋﺎﻟﻤﻴﺔ و ﻟﺘﻌﺎوﻧﻬﺎ ﻣﻊ أﻓﻀﻞ اﻟﺸـــﺮﻛﺎت‬ ‫اﻟﻌﺎﻟﻤﻴـــﺔ ﻓـــﻲ ﻫـــﺬا اﻟﻤﺠـــﺎل ﻣﺜـــﻞ ﺷـــﺮﻛﺔ ﻛﻴﻢ‬ ‫ا‪C‬ﻳﻄﺎﻟﻴﺔ وﺷـــﺮﻛﺔ ﺟﺮﻳﻔﻜـــﻮ ا‪-‬ﻟﻤﺎﻧﻴﺔ واﻟﺸـــﺮﻛﺔ‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺔ ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴﺔ ا‪-‬ﺳـــﺘﺮاﻟﻴﺔ وﻏﻴﺮﻫﺎ‬ ‫ﻣﻜﺘﺴـــﺒﺔ ﺑﺬﻟﻚ ﺛﻘـــﺔ ووﻻء ﻋﻤﻼﺋﻬﺎ و ‪-‬ﺟﻞ ذﻟﻚ‬ ‫ﺣﻘﻘـــﺖ ﻧﺠﺎﺣﺎت ﺳـــﺎﻫﻤﺖ ﻓﻲ ﺗﻨﻮﻳـــﻊ ﻣﻨﺘﺠﺎﺗﻬﺎ‬ ‫ﻟﺘﺸـــﻤﻞ ا‪-‬ﺑﻮاب ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴﺔ اﻟﺴﺤﺎﺑﺔ‪ ،‬ا‪-‬ﺑﻮاب‬ ‫اﻟﻤﻨﺰﻟﻴـــﺔ اﻟﻤﻘﻄﻌﻴـــﺔ‪ ،‬أﺑـــﻮاب اﻟﻘﻄﻌـــﺔ اﻟﻮاﺣﺪة‪،‬‬ ‫أﺑﻮاب اﻟﺸـــﺮاﺋﺢ اﻟﻤﻌﺪﻧﻴﺔ‪ ،‬أﺑـــﻮاب ﺣﻤﺎﻳﺔ اﻟﻤﺘﺎﺟﺮ‬ ‫)اﻟﺤﺪﻳـــﺪ وا‪-‬ﻟﻤﻨﻴـــﻮم( ‪ ،‬ا‪-‬ﺑـــﻮاب اﻟﺼﻨﺎﻋﻴـــﺔ‬ ‫اﻟﺨﻔﻴﻔﻪ و ا‪-‬ﺑﻮاب اﻟﺴـــﺤﺎﺑﺔ ﻟﻠﺸـــﺮاﺋﺢ اﻟﻤﻌﺰوﻟﺔ‪،‬‬ ‫ا‪-‬ﺑﻮاب اﻟﺼﻨﺎﻋﻴـــﺔ اﻟﻤﻘﻄﻌﻴـــﺔ اﻟﻤﻌﺰوﻟﺔ‪ ،‬ا‪-‬ﺑﻮاب‬ ‫اﻟﺼﻨﺎﻋﻴـــﺔ اﻟﺴـــﺤﺎﺑﺔ‪ ،‬ا‪-‬ﺑـــﻮاب اﻟﻤﻘﺎوﻣـــﺔ ﻟﻠﺤﺮﻳﻖ‬ ‫و ﺳـــﺘﺎﺋﺮ اﻟﻨﻮاﻓـــﺬ اﻟﺴـــﺤﺎﺑﺔ و ا‪-‬ﺑـــﻮاب اﻟﻤﻌﺪﻧﻴﺔ‬ ‫اﻟﻤﺠﻮﻓـــﺔ اﻟﻤﻌﺰوﻟـــﺔ اﻟﻤﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳـــﻖ‪ ،‬ا‪-‬ﻧﻈﻤﺔ‬ ‫ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ ﻟﻔﺘﺢ اﻟﺒﻮاﺑﺎت اﻟﺴـــﺤﺎﺑﺔ و ﺑﻮاﺑﺎت‬ ‫اﻟﺪرﻓﺘﻴﻦ )ﻧﻈﺎم ا‪-‬ذرﻋﻪ ( ﻓﺘﻮﺳﻌﺖ ﻓﻲ ﻣﺨﺘﻠﻒ‬ ‫ﻣﻨﺎﻃـــﻖ اﻟﻤﻤﻠﻜـــﺔ ﻣﻠﺒﻴـــﻪ إﺣﺘﻴﺎﺟـــﺎت ﻣﺨﺘﻠـــﻒ‬ ‫اﻟﻘﻄﺎﻋـــﺎت ﻓـــﻲ اﻟﻤﻤﻠﻜـــﺔ اﻟﻌﺮﺑﻴـــﺔ اﻟﺴـــﻌﻮدﻳﺔ‬ ‫وﻧﻈـــﺮا ﻟﻠﺨﺒـــﺮه اﻟﻄﻮﻳﻠﻪ ﺣﺼﻠﺖ ﻋﻠـــﻰ ﺛﻘﻪ أﻛﺒﺮ‬ ‫ﻓﻲ ﻣﺨﺘﻠﻒ اﻟﻘﻄﺎﻋﺎت اﻟﺤﻜﻮﻣﻴﺔ وأﻫﻢ ﺷـــﺮﻛﺎت‬ ‫اﻟﻘﻄـــﺎع اﻟﺨـــﺎص وﺧﺼﻮﺻـــﺎ ﻓﻲ اﻟﻘﻄـــﺎع ا‪-‬ﻣﻨﻲ‬ ‫ﻟﺘﺮﻛﻴـــﺐ اﻟﻤﺼـــﺪات ا‪-‬رﺿﻴـــﻪ اﻟﻬﻴﺪروﻟﻴﻜﻴـــﺔ‬ ‫واﻟﺤﻮاﺟـــﺰ ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴﺔ ا‪-‬رﺿﻴـــﺔ اﻟﻘﺎﺑﻠﺔ ﻟﻠﻄﻲ‬ ‫وﺣﻮاﺟﺰ اﻟﻄﺮق و اﻧﻬﺎ ﻋﻠﻰ إﺳﺘﻌﺪاد ﺗﺎم ﻟﺘﻘﺪﻳﻢ‬ ‫اﻟﻤﺸـــﻮرة اﻟﻔﻨﻴﺔ ﻛﻤﺎ ﻳﺘﻮاﻓـــﺮ ﻟﺪﻳﻬﺎ ﻃﺎﻗﻢ ﻓﻨﻲ‬ ‫ﻋﻠﻰ أﻋﻠﻰ ﻣﺴﺘﻮى ﻣﻦ اﻟﺘﺪرﻳﺐ و اﻟﻤﻬﺎرة وذﻟﻚ‬ ‫ﺣﺮﺻﺎ ﻣﻦ اﻟﺸﺮﻛﺔ ﻋﻠﻰ ﺗﻘﺪﻳﻢ ﺧﺪﻣﺎﺗﻬﺎ ﻟﻠﻌﻤﻼء‬ ‫ﺑﺸﻜﻞ ﻣﺘﻜﺎﻣﻞ ﺑﻤﺎ ﻳﻠﺒﻲ اﺣﺘﻴﺎﺟﺎﺗﻬﻢ‪.‬‬

‫ا ﺑﻮاب اﻟﺼﻨﺎﻋﻴﺔ اﻟﺴﺤﺎﺑﺔ اﻟﺨﻔﻴﻔﺔ‬ ‫ﻣﺼﻨﻊ اﻟﺒﺮاك ‪-‬ﺑﻮاب اﻟﻜﺮاﺟﺎت راع ﻓﻲ ﺗﺼﻤﻴﻤﻪ‬ ‫ﻟﻬﺬا اﻟﻤﻨﺘﺞ ﺳــــﻬﻮﻟﺔ اﻟﺘﺮﻛﻴــــﺐ و اﻟﺤﺪ ا‪-‬دﻧﻰ‬ ‫ﻣــــﻦ اﻟﺼﻴﺎﻧــــﻪ ﻟﻌﻤــــﺮ أﻃﻮل ﻛﻤــــﺎ ﺗﺘﻤــــﺎز ﺑﺎﻟﻘﻮه‬ ‫و ا‪-‬ﻣــــﺎن وﻳﺘﻮﻓــــﺮ ﻫــــﺬا اﻟﻄــــﺮاز ﻣــــﻦ اﻟﺸــــﺮاﺋﺢ‬ ‫اﻟﻤﻌﺰوﻟﺔ وﺑﺄﻟﻮان ﻣﺘﻌــــﺪدة ﻛﻤﺎ ﺗﻌﻤﻞ ﺑﻨﻈﺎم‬ ‫ﻳﺪوي وآﻟﻲ‪.‬‬ ‫ﺳﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ اﻟﻤﻌﺪﻧﻴﺔ اﻟﺴﺤﺎﺑﺔ‬ ‫ﺳـــﺘﺎﺋﺮ اﻟﻨﻮاﻓـــﺬ اﻟﻤﻌﺪﻧﻴﺔ إﺳـــﺘﺜﻤﺎر ﻣﺜﺎﻟﻲ‬ ‫ﻟﻤﺴﺎﻫﻤﺘﻪ ﻓﻲ اﻟﻌﺰل اﻟﺤﺮاري و ﻋﺰل ا‪-‬ﺗﺮﺑﻪ‬ ‫و ا‪-‬ﻣﻄـــﺎر ﻛﻤـــﺎ ﺗﺼﻨـــﻊ ﺑﺎﺳـــﺘﺨﺪام أﻓﻀـــﻞ‬ ‫ا‪-‬ﺟـــﺰاء وﻗﻄـــﻊ اﻟﺘﺼﻨﻴـــﻊ اﻟﻤﺴـــﺘﻮردة ﻣﻦ‬ ‫اوروﺑﺎ و ﺗﺼﻨﻊ ﺣﺴـــﺐ اﻟﻤﻘﺎﺳﺎت اﻟﻤﻄﻠﻮﺑﺔ‬ ‫ﻛﻤﺎ ﻳﻤﻜﻦ ﺗﺸﻐﻠﻴﻬﺎ ﺑﻨﻈﺎم ﻳﺪوي و آﻟﻲ ‪.‬‬ ‫ا ﺑﻮاب اﻟﺴﺤﺎﺑﺔ اﻟﻤﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳﻖ‬ ‫ﻳﻮﻓﺮ ﻣﺼﻨـــﻊ اﻟﺒﺮاك ﻟ‪.‬ﺑـــﻮاب ا‪-‬وﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫أﺑـــﻮاب ﺗﺘﻮاﻓـــﻖ ﻣﻊ أﻛﺜﺮ ﻗﻴﺎﺳـــﺎت اﻟﺴـــﻼﻣﺔ‬ ‫اﻟﻤﻘﺎوﻣـــﺔ ﻟﻠﺤﺮﻳـــﻖ ﺻﻤﻤـــﺖ ﻟﻠﻐﻠـــﻖ‬ ‫أوﺗﻮﻣﺎﺗﻴﻜﻴﺎ ﻋﻨﺪ إﻧﻄﻼق ﺻﺎﻓﺮة ا‪C‬ﻧﺬار أو ﻓﻲ‬ ‫ﺣﺎﻟﺔ اﻟﺤﺮﻳﻖ ﻣﺘﻮاﻓﻘﺔ ﻣﻊ ﻣﺘﻄﻠﺒﺎت ‪،NFPA‬‬ ‫ﻋﻨﺪ اﻟﺤﺮﻳﻖ ﻳﻘﻮم اﻟﻨﻈﺎم ﺑﺎﻟﺴـــﻴﻄﺮه ﻋﻠﻰ‬ ‫إﻏـــﻼق اﻟﺒـــﺎب ﻣـــﻦ أﺟـــﻞ ﺣﻤﺎﻳﺔ أﻓﻀـــﻞ‪ ،‬ﻛﻤﺎ‬ ‫ﺗﺘﻮﻓـــﺮ ا‪-‬ﺑﻮاب اﻟﻤﻌﺪﻧﻴﺔ اﻟﻤﻌﺰوﻟﺔ اﻟﻤﻘﺎوﻣﺔ‬ ‫ﻟﻠﺤﺮﻳﻖ ﺑﻤﻮاد ﻋﺰل ﻣﺜﻞ اﻟﺒﻮﻟﻴﺮﻳﺜﻴﻦ و ﻫﻨﻲ‬ ‫ﻛﻤﺐ و اﻟﻔﻮﻻذ اﻟﻤﻘﺴـــﻰ ﻣـــﻊ اﻟﻔﺎﻳﺒﺮﺟﻼس‬ ‫أو اﻟﺼﻮف اﻟﺼﺨﺮي‪ ,‬ﻳﺘﻮﻓﺮ ﻣﻨﻬﺎ ﺗﺼﺎﻣﻴﻢ و‬ ‫أﻟﻮان ﻣﺘﻌﺪدة ا‪C‬ﺳﺘﺨﺪاﻣﺎت ‪.‬‬ ‫اﻟﻤﺼﺪات ا رﺿﻴﺔ اﻟﻬﻴﺪروﻟﻴﻜﻴﺔ‬ ‫اﻟﺠﻬــــﺎز اﻟﻬﻴﺪروﻟﻴﻜــــﻲ ﻳﻮﻓــــﺮ ﺣﻤﺎﻳــــﺔ ﻋﺎﻟﻴــــﻪ‬ ‫ﻟ‪.‬ﻣﺎﻛﻦ اﻟﺤﺴﺎﺳﺔ واﻟﺘﻲ ﺗﺘﻄﻠﺐ أﻧﻈﻤﺔ اﻣﻨﻴﺔ‬ ‫ﻋﺎﻟﻴﺔ اﻟﻜﻔﺎءة ﻛﻤﺎ ﻳﻌﻤﻞ ﺑﻨﻈﺎم ﻫﻴﺪروﻟﻴﻜﻲ‬ ‫ﻛﻬﺮﺑﺎﺋﻲ و ﻳﺪوي ﻋﻨﺪ إﻧﻘﻄﺎع اﻟﺘﻴﺎر اﻟﻜﻬﺮﺑﺎﺋﻲ‬ ‫و ﻳﺘﻮﻓﺮ ﺑﺄﺣﺠﺎم ﻣﺨﺘﻠﻔﻪ ﺣﺴﺐ ﻃﻠﺐ اﻟﻌﻤﻴﻞ‬ ‫ﻣﻊ أﻟﻮان وأﻧﻮار ﺗﺤﺬﻳﺮﻳﻪ‪.‬‬

‫‪¡UM³« ±∞π‬‬

‫‪109 Albenaa‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﻣﺼﺎﻧﻊ ﺑﺮاك ﻟﻠﺰﺟﺎج‬ ‫رواد ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﺰﺟﺎج‬

‫ﺗﻢ إﻧﺸـــﺎء ﻣﺼﻨـــﻊ ﺑﺮاك ﻟﻠﺰﺟـــﺎج ﻋـــﺎم ‪ ٢٠٠٥‬ﻟﻤﻮاﻛﺒﺔ‬ ‫اﻟﻨﻬﻀﻪ اﻟﻌﻤﺮاﻧﻴﺔ ﻓﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫وﻧﺘـــﺎج ﻟﺠﺪارﺗﻪ وﺗﻤﻴـــﺰه وﺗﻌـــﺪد اﻣﻜﺎﻧﻴﺎﺗﻪ ﺑﺈﻣﺘﻼﻛﻪ‬ ‫أﺣـــﺪث اﻻﻻت و اﻟﻤﻌـــﺪات ﻓـــﻲ ﻋﺎﻟﻢ ﺻﻨﺎﻋـــﺔ اﻟﺰﺟﺎج‪،‬‬ ‫ﺗﻮﺳـــﻊ ﻣﺼﻨـــﻊ اﻟﺰﺟـــﺎج ﻓـــﻲ ﻣﻨﺎﻃـــﻖ إﺳـــﺘﺮاﺗﻴﺠﻴﺔ‬ ‫ﻣﺨﺘﻠﻔـــﺔ ﻣﺜـــﻞ ا‪A‬ﺣﺴـــﺎء واﻟﺮﻳـــﺎض و اﻟﻘﺼﻴـــﻢ‬ ‫وﺧﻤﻴـــﺲ ﻣﺸـــﻴﻂ و ﺟﺪة )ﺗﺤـــﺖ اﻻﻧﺸـــﺎء( ﻟﺘﺘﺠﺎوز‬ ‫اﻟﻄﺎﻗـــﺔ ا‪S‬ﻧﺘﺎﺟﻴﺔ ﻓـــﻲ اﻟﻤﺼﻨﻊ ‪ ١٤٤‬اﻟﻒ ﻣﺘﺮ ﺳـــﻨﻮﻳ‪O‬‬ ‫وﻛﺸـــﺮﻛﺔ راﺋﺪة ﻓﻲ ﻣﻌﺎﻟﺠﺔ اﻟﺰﺟـــﺎج ﻳﻨﺘﺞ اﻟﻤﺼﻨﻊ‪:‬‬ ‫ا‪A‬ﺑﻮاب اﻟﺰﺟﺎﺟﻴـــﺔ ا‪A‬وﺗﻮﻣﺎﺗﻴﻜﻴﺔ‪ ،‬اﻟﺰﺟﺎج اﻟﻤﻘﺴـــﻰ‪،‬‬ ‫اﻟﺰﺟﺎج اﻟﻤﺰﺧﺮف ﺑﺮش اﻟﺮﻣﻞ‪ ،‬اﻟﺰﺟﺎج اﻟﻤﺰدوج‪ ،‬اﻟﺰﺟﺎج‬ ‫اﻟﻤﻨﺤﻨـــﻲ‪ ،‬اﻟﺰﺟـــﺎج اﻟﺬﻛـــﻲ‪ ،‬زﺟـــﺎج ا‪A‬ﻣـــﺎن‪ ،‬اﻟﻄﺎﺑﻮق‬ ‫اﻟﺰﺟﺎﺟـــﻲ واﻟﺰﺟـــﺎج اﻟﻤﺴـــﻄﺢ ﻛﻤـــﺎ ﻳﻮﻓـــﺮ اﻟﻤﺼﻨـــﻊ‬ ‫اﻟﺘﻨـــﻮع ﻓﻲ ا‪A‬ﺣﺠﺎم وا‪A‬ﺷـــﻜﺎل ﺣﺴـــﺐ اﻟﻤﻮاﺻﻔﺎت‬ ‫اﻟﻤﻄﻠﻮﺑـــﺔ ﺗﻠﺒﻴـــﺔ ﻟﺤﺎﺟـــﺔ اﻟﺴـــﻮق اﻟﻤﺘﻨﺎﻣـــﻲ ﻣـــﻦ‬ ‫إﻧﺸـــﺎءات و ﺻﻨﺎﻋﺎت‪ ،‬ﻟـــﺪى اﻟﻤﺼﻨﻊ ﻣﺠﻤﻮﻋﺔ ﻛﺒﻴﺮة‬ ‫ﻣـــﻦ اﻟﻤﻬﻨﺪﺳـــﻴﻦ واﻟﻔﻨﻴﻴـــﻦ اﻟﻤﺘﺨﺼﺼﻴـــﻦ ذوي‬ ‫اﻟﺨﺒـــﺮات اﻟﻤﺘﻤﻴـــﺰه‪ ،‬وﺣﺮﺻـــﺎ ﻋﻠﻰ ﺗﻘﺪﻳـــﻢ ﻣﻨﺘﺠﺎت‬ ‫ذات ﺟﻮدة ﻋﺎﻟﻴﻪ‪ ،‬ﻓﺎﻟﻤﺼﻨﻊ ﻳﺴـــﺘﻤﺮ ﻓﻲ ا‪S‬ﺳـــﺘﺜﻤﺎر‬ ‫ﻓﻲ أﺣـــﺪث ا‪i‬ﻻت‪ ،‬وﻳﻤﺘﺎز ﻣﺼﻨﻊ ﺑﺮاك ﻟﻠﺰﺟﺎج ﺑﻮﺟﻮد‬ ‫ﻧﻈـــﺎم ﻣﻌﺎﻳﻨـــﺔ ﺷـــﺎﻣﻞ ﻳﻌﻤـــﻞ ﻋﻠـــﻰ اﻟﺘﺤﻜـــﻢ ﻓﻲ‬ ‫اﻟﺠﻮدة ﻣﻦ ﺑﺪاﻳﺔ ﻣﻌﺎﻟﺠﺔ اﻟﺰﺟﺎج وﺣﺘﻰ آﺧﺮ ﺧﻄﻮات‬ ‫ا‪S‬ﻧﺘﺎج وﻳﺆﻣﻦ ﻧﻈﺎم اﻟﻤﻌﺎﻳﻨﺔ اﻟﻘﺪرة ﻋﻠﻰ ﺗﺼﻨﻴﻊ أي‬ ‫ﺷﻜﻞ ﻣﻦ ا‪A‬ﺷﻜﺎل اﻟﺘﻲ ﻳﻤﻜﻦ أن ﺗﻨﻔﺬ ﻋﻠﻰ اﻟﺰﺟﺎج‬ ‫ﻣﻊ اﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ اﻟﺪﻗﺔ ﻓﻲ اﻟﻌﻤﻞ وﺳﺮﻋﺔ اﻟﺘﺴﻠﻴﻢ‬ ‫وﻧﻈﺮا ‪S‬ﻫﺘﻤﺎم اﻟﻤﺼﻨﻊ ﺑـــﺄن ﻣﻨﺘﺠﺎﺗﻪ ﺗﺘﻤﺘﻊ ﺑﺄﻋﻠﻰ‬ ‫ﻣﻌﺎﻳﻴـــﺮ اﻟﺘﺸـــﻄﻴﺐ وا‪S‬ﻟﺘـــﺰام ﺑﺘﺴـــﻠﻴﻢ اﻟﻤﻨﺘﺠﺎت‬ ‫اﻟﻌﺎﻟﻴﺔ اﻟﺠﻮدة ﻓﻲ اﻟﻮﻗﺖ اﻟﻤﺤﺪد ﻟﻠﻌﻤﻼء‪.‬‬ ‫اﻟﺒﻮاﺑﺎت اﻟﺰﺟﺎﺟﻴﺔ اﻻوﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫ﻳﺘﻮﻓﺮ ﻟﺪى ﻣﺼﻨﻊ ﺑﺮاك ﻟﻠﺰﺟﺎج ﻣﺨﺘﻠﻒ أﻧﻮاع ا‪A‬ﺑﻮاب‬ ‫اﻟﺰﺟﺎﺟﻴﺔ واﻟﺘﻲ ﺗﺴـــﺘﺨﺪم ﻓﻲ ﻣﺨﺘﻠـــﻒ اﻟﻘﻄﺎﻋﺎت‬ ‫اﻟﺤﻜﻮﻣﻴـــﺔ واﻟﺒﻨـــﻮك واﻟﻤﺴﺘﺸـــﻔﻴﺎت واﻟﻤﺼﺎﻧـــﻊ‬ ‫واﻟﻤﺪاﺧـــﻞ اﻟﺘﺠﺎرﻳـــﺔ و اﻟﺒﻨﺎﻳـــﺎت ﺑﺄﺷـــﻜﺎل و أﺣﺠـــﺎم‬ ‫ﻣﺨﺘﻠﻔـــﺔ وﺑﺄﻧﻈﻤـــﺔ ﻣﺼﻤﻤـــﺔ ﺧﺼﻴﺼﺎ ﻛﻞ ﺣﺴـــﺐ‬ ‫إﺳـــﺘﺨﺪاﻣﺎﺗﻪ ﻣﻊ اﻟﻤﺴـــﺎﻫﻤﺔ ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ ﻣﻊ‬ ‫ﻣﺮاﻋـــﺎة ﺿﻐـــﻂ ا‪S‬ﺳـــﺘﺨﺪام وﻗـــﺪرة ﻋﻠـــﻰ ﻣﻮاﺟﻬﺔ‬ ‫ﻣﺨﺘﻠﻒ ا‪A‬ﺣﻮال اﻟﺠﻮﻳﺔ ‪.‬‬ ‫اﻟﺰﺟﺎج اﻟﻤﻨﺤﻨﻲ‬ ‫ﻳﺘﺒﻊ اﻟﻤﺼﻨﻊ ﺗﻘﻨﻴﺔ ﺧﺎﺻﺔ ﻓﻲ ﺛﻨﻲ اﻟﺰﺟﺎج ﺗﺴـــﺎﻫﻢ‬ ‫ﻓﻲ اﻟﺘﻘﻠﻴﻞ ﻣﻦ إﻣﻜﺎﻧﻴﺔ ا‪S‬ﺻﺎﺑﺔ ﻋﻨﺪ ﻛﺴـــﺮ اﻟﺰﺟﺎج‬ ‫وﻫﺬا اﻟﻨﻮع ﻳﻠﺒﻲ ﻣﺨﺘﻠﻒ اﻟﻤﺘﻄﻠﺒﺎت ا‪S‬ﻧﺸﺎﺋﻴﺔ ‪.‬‬

‫∏∞‪¡UM³« ±‬‬

‫‪108 Albenaa‬‬

‫اﻟﺰﺟﺎج اﻟﻤﺰدوج‬ ‫اﻟﺘﻘﻨﻴﺔ اﻟﻤﺴـــﺘﺨﺪﻣﺔ ﻓﻲ اﻟﺰﺟﺎج اﻟﻤﺰدوج ﺗﺘﻴﺢ‬ ‫ﺧﺎﺻﻴـــﺔ اﻟﻌـــﺰل اﻟﺤـــﺮاري ﻓﻀـــﻼ ﻋﻦ اﻟﻤﺴـــﺎﻫﻤﺔ‬ ‫ﻓـــﻲ زﻳـــﺎدة اﻟﺴـــﻼﻣﺔ و ا‪A‬ﻣﺎن ﻛﻤﺎ ﻳﺘﻤﻴـــﺰ ﺑﺎﻟﻌﺰل‬ ‫اﻟﺼﻮﺗﻲ وﻳﺴـــﺎﻫﻢ ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ و ﺑﺎﻟﺘﺎﻟﻲ‬ ‫ﺗﺨﻔﻴـــﺾ اﻟﺘﻜﺎﻟﻴﻒ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ وﻫـــﻮ أﺣﺪ أﻫﻢ‬ ‫أﻗﺴﺎم ﻣﺼﻨﻊ اﻟﺰﺟﺎج و ﻳﻀﻢ ﺗﺠﻬﻴﺰات ﻣﻦ أﻫﻢ‬ ‫اﻟﺸﺮﻛﺎت اﻟﻌﺎﻟﻤﻴﺔ ﻛﻤﺎ ان ﺟﻤﻴﻊ ﻋﻤﻠﻴﺎت ا‪S‬ﻧﺘﺎج‬ ‫ﺗﺘـــﻢ ﺑﺸـــﻜﻞ آﻟـــﻲ‪ ،‬و ﻳﻤﺘـــﺎز اﻟﺰﺟﺎج ﺑﺄﻧـــﻪ ﻣﺤﻜﻢ‬ ‫ا‪S‬ﻏﻼق ذا أﺑﻌﺎد ﻣﺘﻄﺎﺑﻘﺔ و زواﻳﺎ ﻗﺎﺋﻤﺔ‪.‬‬ ‫زﺟﺎج اﻣﺎن‬ ‫زﺟـــﺎج ا‪A‬ﻣـــﺎن ﻫﻮ أﺣﺪ أﻧـــﻮاع اﻟﺰﺟﺎج اﻟﻤﺴـــﺘﺨﺪم‬ ‫ﻣـــﻦ اﺟـــﻞ اﻟﻤﺰﻳـــﺪ ﻣﻦ ا‪A‬ﻣـــﺎن و ذﻟﻚ ﻋـــﻦ ﻃﺮﻳﻖ‬ ‫اﻟﺼـــﺎق ﻃﺒﻘﺘﻴﻦ ﻣﻦ اﻟﺰﺟﺎج ﺑﻮاﺳـــﻄﺔ ﻓﻠﻢ ﻣﻦ‬ ‫اﻟﺒﻼﺳـــﺘﻴﻚ وﺑﻤﻌﺎﻟﺠﺔ ﺧﺎﺻﺔ ــ ﺑﺤﻴﺚ ﻳﺘﻤﺎﺳـــﻚ‬ ‫ﻫـــﺬا اﻟﺰﺟﺎج ﻓﻲ ﺣﺎﻟﺔ اﻟﻜﺴـــﺮ و ﻋﺪم اﻧﺸـــﻄﺎره‬ ‫ﻟﻘﻄـــﻊ زﺟﺎﺟﻴﺔ ﻣﺘﻨﺎﺛﺮة ﻛﻤﺎ ﻫـــﻮ اﻟﺤﺎل ﻓﻲ زﺟﺎج‬ ‫اﻟﺴـــﻴﺎرات و ﻋﺪم اﻟﺘﺴـــﺒﺐ ﻓﻲ ﺟـــﺮوح ﻟ‪w‬ﺧﺮﻳﻦ‬ ‫ـ ﺑﺤﻴـــﺚ ﻳﻜـــﻮن ا‪S‬ﻧﻜﺴـــﺎر ﻟﻠﺰﺟـــﺎج ﻛﺎﻟﻨﺴـــﻴﺞ‬ ‫اﻟﻌﻨﻜﺒﻮﺗﻲ ‪ .‬وﻫﺬا اﻟﻨـــﻮع ﻣﻦ اﻟﺰﺟﺎج ﻟﻪ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ ا‪S‬ﺳﺘﺨﺪاﻣﺎت ﺗﺸﻤﻞ ‪ :‬ــ‬ ‫ا‪A‬ﻣﺎﻛﻦ اﻟﺘﻲ ﻗﺪ ﻳﻜﻮن اﻟﺰﺟﺎج ﻣﻌﺮض ﻟﻠﺴﻘﻮط‬ ‫و ﻛﺬﻟﻚ اﻟﻤﺒﺎﻧﻲ ذات ا‪S‬رﺗﻔﺎﻋﺎت اﻟﻌﺎﻟﻴﺔ اﻟﻤﺮﻛﺒﺔ‬ ‫ﺑﺎﻟﺰﺟـــﺎج وﻛﺬﻟـــﻚ زﺟـــﺎج اﻟﺴـــﻴﺎرات و اﻟﻤﻨﺎﻃـــﻖ‬ ‫اﻟﻤﻌﺮﺿـــﺔ ﻟﻠﻌﻮاﺻـــﻒ اﻟﺮﻋﺪﻳـــﺔ و ا‪A‬ﻋﺎﺻﻴﺮ‪ ،‬ﻛﻤﺎ‬ ‫ﻳﺴـــﺘﺨﺪم ﻓﻲ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ و اﻟﺒﻠﻜﻮﻧﺎت‬ ‫واﻟﻨﻮاﻓـــﺬ‪ .‬وﻳﻤﺘﻠـــﻚ ﻣﺼﻨـــﻊ ﺑـــﺮاك ﻟﻠﺰﺟـــﺎج ﺧﻂ‬ ‫اوﺗﻮﻣﺎﺗﻴﻜـــﻲ ﺧﺎص »ﻟﺰﺟﺎج ا‪A‬ﻣـــﺎن« ﻣﺰود ﺑﻐﺮﻓﺔ‬ ‫ﺿﻐﻂ ﻋﺎﻟﻲ‪.‬‬ ‫اﻟﺰﺟﺎج اﻟﺬﻛﻲ‬ ‫ﻫـــﺬا اﻟﻨﻮع ﻣﻦ اﻟﺰﺟﺎج ﻳﺘـــﻢ ﺗﺼﻨﻴﻌﻪ ﻋﻦ ﻃﺮﻳﻖ‬ ‫إﻟﺼﺎق ﻓﻠﻢ ﺧﺎص ﻋﻠﻰ ﺳـــﻄﺢ اﻟﺰﺟـــﺎج وإﻳﺼﺎﻟﻪ‬ ‫ﺑﺘﻴﺎر ﻛﻬﺮﺑﺎﺋﻲ و ﻳﺘﻢ ﺗﺤﺪﻳﺪ اﻟﺸـــﻔﺎﻓﻴﺔ ﻟﻠﺰﺟﺎج‬ ‫ﻋﻦ ﻃﺮﻳﻖ ﻣﺮور ﺗﻴﺎر ﻛﻬﺮﺑﺎﺋﻲ ﺑﺤﻴﺚ ﻳﺘﻴﺢ اﻟﺮؤﻳﺔ‬ ‫ﻋﺒﺮ اﻟﺰﺟﺎج وﻳﺴـــﻤﺢ ﺑﺪﺧـــﻮل ا‪S‬ﺿﺎءة‪ ،‬وﻓﻲ ﺣﺎﻟﺔ‬ ‫إﻳﻘـــﺎف ﻣـــﺮور اﻟﺘﻴـــﺎر اﻟﻜﻬﺮﺑﺎﺋـــﻲ ﻳﺼﺒـــﺢ اﻟﺰﺟـــﺎج‬ ‫ﻋﺎﺗـــﻢ ﻏﻴـــﺮ ﻣﺮﺋﻲ و ﻳﺴـــﺎﻋﺪ اﻟﺰﺟـــﺎج اﻟﺬﻛﻲ ﻓﻲ‬ ‫ﻋﻤﻠﻴـــﺔ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗـــﺔ اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ و اﻟﺘﻜﻴﻴﻒ‪،‬‬ ‫و ﻳﺴـــﺘﺨﺪم ﻓـــﻲ اﻟﻤﻜﺎﺗـــﺐ ‪S‬ﻋﻄـــﺎء ﻧـــﻮع ﻣـــﻦ‬ ‫اﻟﺨﺼﻮﺻﻴـــﺔ وﻛﺬﻟـــﻚ ﻓـــﻲ ﺻـــﺎﻻت اﻟﻄﻌـــﺎم و‬ ‫اﻟﻘﻮاﻃﻊ اﻟﺰﺟﺎﺟﻴﺔ ‪.‬‬


WO½öŽ≈ …œU

¡UM³« o×K

٢٠١٧ ‫ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟﺛﺎث واﻟﻤﻨﺰل ﺳﺒﺘﻤﺒﺮ‬ ‫ ﻛﻤﺎ‬.‫ﻣﻘﺎﻋﺪ اﻟﺠﻠﻮس‬ ‫اﺣﺘﻔﻠﺖ اﻟﻤﻨﺼﺔ اﻟﺮﻗﻤﻴﺔ‬ ‫ ﺑﻤﺮور‬MOM ‫ﻟﻠﻤﻌﺮض‬ ‫ ﺗﻌﺪ‬، ‫ﻋﺎم ﻋﻠﻰ ﺗﺪﺷﻴﻨﻬﺎ‬ H‫ ﻣﻬﻤ‬U‫ﻫﺬه اﻟﻤﻨﺼﺔ ﺟﺰء‬ ‫ﻣﻦ اﻟﻤﻌﺮض ﺣﻴﺚ ﺗﻮﻓﺮ‬ ‫ﻣﻨﺼﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻟﻠﻌﻼﻣﺎت‬ ‫اﻟﺘﺠﺎرﻳﺔ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ‬ ‫اﻟﻤﻌﺮض واﻟﻤﺼﻤﻤﻴﻦ‬ ‫ﺑﻌﺮض ﻣﻨﺘﺠﺎﺗﻬﻢ اﻟﺠﺪﻳﺪة‬ ‫ﻃﻮال اﻟﻌﺎم ﻟﻴﻄﻠﻊ ﻋﻠﻴﻬﺎ‬ ‫ﺟﻤﻴﻊ زوار اﻟﻤﻌﺮض ﻋﺒﺮ‬ ‫ ﻛﻤﺎ‬.‫ﻣﻮﻗﻌﻬﺎ ا[ﻟﻜﺘﺮوﻧﻲ‬ ‫ﻗﺪم اﻟﻤﻌﺮض ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ اﻟﻤﻨﺘﺠﺎت اﻟﺠﺪﻳﺪة ﻓﻲ‬ ‫ ﺗﺤﺖ ﻋﻨﻮان‬٦ ‫ و‬٣ ‫اﻟﻘﺎﻋﺔ‬ . (What’s New)

‫ﺗﻤﻴﺰ ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟﺛﺎث‬ ‫واﻟﻤﻨﺰل ﻓﻲ ﻧﺴﺨﺘﻪ‬ ‫اﻟﺜﺎﻧﻴﺔ ﻣﻦ ﻫﺬا اﻟﻌﺎم‬ ‫ ﺑﺰﻳﺎدة ﻋﺪد زواره‬٢٠١٧ ‫ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻌﺎم اﻟﻤﺎﺿﻲ‬ ‫ ﻣﻦ ﻣﺨﺘﻠﻒ‬٪ ٢١ ‫ﺑﻨﺴﺒﺔ‬ ‫ وأﺑﺮز ﻣﺎ ﻣﻴﺰ‬. ‫أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬ ‫اﻟﻤﻌﺮض ﻓﻲ ﻫﺬه اﻟﻨﺴﺨﺔ‬ ‫ اﻟﺘﻲ ﺷﻤﻠﺖ‬٧ ‫اﻟﻘﺎﻋﺔ‬ ‫ﻋﻠﻰ ﺗﺼﺎﻣﻴﻢ واﺑﺘﻜﺎرات‬ ‫ﺗﻌﻠﻘﺖ ﺑﻤﻮﺿﻮع اﻟﻤﻌﺮض‬ (Comfort) ‫اﻟﺮﺋﻴﺲ‬ ‫واﻟﺬي ﺳﻴﺴﺘﻤﺮ ﻓﻲ‬ ‫ ﻗﺪم‬H‫ﻋﻮام اﻟﻘﺎدﻣﺔ أﻳﻀ‬J‫ا‬ ‫ﻣﻦ ﺧﻼﻟﻪ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫اﻟﻤﺼﻤﻤﻴﻦ واﻟﻤﺒﺘﻜﺮﻳﻦ‬ ‫ﺗﻄﻮرات اﻟﺮاﺣﺔ ﻓﻲ ﺗﺼﻤﻴﻢ‬

Maison et Objet Paris September 2017 The September 2017 edition of MAISON & OBJET has registered a significant upsurge in the number of visitors, with a 21% increase on September 2016. MAISON & OBJET has developed a multi-channel ecosystem that works as a constant source of business, interactions, conversations and new contacts. The fair uses social network platforms to share live content everyday with its community – a curated selection of the best of MAISON & OBJET’s news. As a testament to this digital experience, online platform MOM (MAISON & OBJET AND MORE) – launched just one year ago – had its very own stand at the fair,

used to display a selection of new products that generated the highest number of hits from users on the website, thus underscoring the importance of keeping the conversation going between exhibitors and visitors in between events. MAISON&OBJET has chosen the theme “Comfort” as major trend for the coming years to provide visitors with an introduction to the fair in the form of an exhibition inspired by the theme on how seating comfort has evolved, in hall 7. In hall 3 MAISON & OBJET has featured ‘WHAT’S NEW?’ exhibitions at the entrance of Halls 3 and 6, two events dedicated to showcasing exhibitors’ new products.

110 Albenaa

¡UM³« ±±∞


Issue 325: العمارة البارامترية  
Issue 325: العمارة البارامترية  
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