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‫‪٣٣٥‬‬ ‫اﻟﺴﻨﺔ ‪ / ٣٨‬ﻣﺤﺮم ‪١٤٤٠‬ﻫـ‬

‫اﻟﺘﻮﺟﻬﺎت اﻟﺤﺪﻳﺜﺔ ﻓﻲ ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ‬

‫‪September 2018 / Volume 38‬‬

‫‪335‬‬


‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫اﻓﺘﺘﺎﺣﻴﺔ‬ ‫ﺷﻜﻮى ﻣﻌﻤﺎرﻳﺔ ﻏﻴﺮ ﻣﺒﺮرة »ﺗﺪﺧﻞ ﻣﻼك اﻟﻤﺸﺎرﻳﻊ ﻓﻲ اﻟﺘﺼﻤﻴﻢ«‬

‫≤‪±‬‬

‫« ‪≥≥μ œbF« ¨5Łö¦«Ë WMU¦« WM‬‬ ‫×‪ ≤∞±∏ d³L²³Ý Ø?¼ ±¥¥∞ Âd‬‬ ‫«‪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

‫‪∫…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

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫ﻣﺘﺤﻒ اﻟﺒﺮازﻳﻞ ﻳﺤﺘﺮق‬

‫‪±¥‬‬

‫ﺧﻤﺴﺔ ﺳﻴﻨﺎرﻳﻮﻫﺎت ﻟﻤﻌﺮﻓﺔ أﺳﺒﺎب إﻧﻬﻴﺎر ﺟﺴﺮ ﻣﻮرﻧﺪي ا'ﻳﻄﺎﻟﻲ‬

‫∂‪±‬‬

‫ﻣﺼﻤﻢ ﻣﻄﺎر ﺑﺎﻧﻜﻮك ﻳﻨﻔﻲ ﺳﺮﻗﺘﻪ ﻟﻠﺘﺼﻤﻴﻢ ﻣﻦ اﻟﻤﻌﻤﺎري اﻟﺸﻬﻴﺮ ﻛﻨﺠﻮ ﻛﻮﻣﺎ‬

‫∏‪±‬‬

‫‪ 3‬ﻗﻄﻊ أﺛﺎث ﻣﺒﺘﻜﺮة ﺗﻔﻮز ﻓﻲ ﻣﺴﺎﺑﻘﺔ ﺗﺼﻤﻴﻢ دوﻟﻴﺔ‬

‫∞≤‬

‫ﻛﻮخ اﻟﺸﺎﻃﺊ‬

‫‪≤¥‬‬

‫ﻣﻬﺮﺟﺎن ﻟﻨﺪن ‪ 2018‬ﻟﻠﺘﺼﻤﻴﻢ‬

‫∂≤‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫ﺳﻠﻢ ﻟﻤﻮاﻗﻊ اﻟﺒﻨﺎء ‪Escalib Mils‬‬

‫∏≤‬

‫ﻗﻮاﻟﺐ ﻟﺼﺐ اﻟﺨﺮﺳﺎﻧﺔ ‪PERI DUO Formwork System‬‬

‫‪≤π‬‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺪﻳﻜﻮر‬ ‫اﻟﻤﺪار وﺣﺪات إﺿﺎءة‬

‫∞≥‬

‫ﻣﺼﺎﺑﻴﺢ إﺿﺎءة ﺑﻨﻘﻮش ﺷﺮﻗﻴﺔ‬

‫‪≥±‬‬

‫اﻟﺘﻮﺟﻬﺎت اﻟﺤﺪﻳﺜﺔ ﻓﻲ ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﻮﺟﻬﺎت اﻟﺤﺪﻳﺜﺔ ﻓﻲ ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ‬

‫‪≥¥‬‬

‫ﺑﺮج ﻳﻌﺒﺮ ﻋﻦ اﻟﺤﺮﻳﺔ‬

‫∂≥‬

‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ ﻟﺸﺮﻛﺔ ﺷﻨﺰن ﻟﻠﻄﺎﻗﺔ‬

‫‪¥¥‬‬

‫ﺗﻄﻮﻳﺮ ﻟﺤﻲ أﺧﻀﺮ ﻣﺘﻌﺪد ا'ﺳﺘﻌﻤﺎﻻت‬

‫≤‪μ‬‬

‫ﻛﺘﻞ ﻣﻜﺘﺒﻴﺔ ﺑﺈﻧﺤﺮاﻓﺎت ﺗﺸﻜﻴﻠﻴﺔ‬

‫∏‪μ‬‬

‫ﻣﺮﻛﺰ ﻟ‪S‬ﺑﺤﺎث واﻟﺘﻄﻮﻳﺮ‬

‫‪∂¥‬‬

‫ﺗﺠﺮﻳﺪ ﻳﺪﻣﺞ اﻟﺪاﺧﻞ ﺑﺎﻟﺨﺎرج‬

‫∞∑‬

‫ﻣﺸﺎرﻳﻊ ﺣﺪﻳﺜﺔ‬ ‫ﻣﺴﺠﺪ اﻟﺪاﻧﺔ ﻣﺸﻜﺎة ﺗﻀﻲءاﻟﻔﻀﺎء اﻟﻌﺎم‬ ‫أﺳﻘﻒ زﺟﺎﺟﻴﺔ‬ ‫ﻣﻦ أﻋﻤﺎل ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫‪ISSN: 1319 - 206 X‬‬ ‫∞∞ «‪¡UM³‬‬

‫‪00 Albenaa‬‬

‫∂∑‬ ‫∞∏‬ ‫≤∏‬

‫∏∏‬


‫«‪WOŠU²²ù‬‬

‫ﺷﻜﻮى ﻣﻌﻤﺎرﻳﺔ ﻏﻴﺮ ﻣﺒﺮرة‬ ‫» ﺗﺪﺧﻞ ﻣﻼك اﻟﻤﺸﺎرﻳﻊ ﻓﻲ اﻟﺘﺼﺎﻣﻴﻢ «‬ ‫ﻫﻨﺎك ﺷــــﻜﻮى ﻣﻌﻤﺎرﻳﺔ داﺋﻤﺎ ﻣﺎ ﻳﻜﺮرﻫﺎ ﺑﻌﺾ اﻟﻤﻌﻤﺎرﻳﻴﻦ ﻟﺘﺒﺮﻳﺮ‬ ‫ﻋﺪم إﻟﺘﺰام ﺑﻌﺾ أﻋﻤﺎﻟﻬﻢ ﺑﺎﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺼﺤﻴﺤﺔ ‪ ،‬وﻫﻲ‬ ‫أن ﻣﻼك اﻟﻤﺸــــﺎرﻳﻊ ﻳﺮﻓﻀﻮن اﻟﺤﻠﻮل ا‪/‬ﺑﺪاﻋﻴــــﺔ و ﻳﺘﺪﺧﻠﻮن ﻓﻲ ﻋﻤﻞ‬ ‫اﻟﻤﻌﻤــــﺎري وﻓﻲ ﻛﻞ ﺻﻐﻴﺮة وﻛﺒﻴﺮة‪ .‬وﻧﺘﻴﺠﺔ ﻟﺘﻜﺮار ﻫﺬه اﻟﺸــــﻜﻮى‬ ‫وﺟﺪت ﻧﻔﺴــــﻰ ﻣﺪﻓﻮﻋــــ‪ A‬إﻟﻰ اﻟﺒﺤﺚ ﻋﻦ ﻣﺎﻫﻴﺔ ﻫﺬه اﻟﺸــــﻜﻮى اﻟﺘﻲ‬ ‫ ﻛﻤــــﺎ ﻳﺒــــﺪو ‪ -‬ﺗﻌﻴﻖ اﻟﻌﻤﻞ اﻟﻤﻌﻤــــﺎرى اﻟﺼﺤﻴﺢ ‪ .‬وﻟﻜﻦ ﺳــــﺮﻋﺎن ﻣﺎ‬‫ﺗﺒﻴــــﻦ ﻟــــﻲ أﻧﻬﺎ ﺷــــﻜﻮى ﻻ ﻳﻤﻜــــﻦ ا‪/‬ﻋﺘﻤﺎد ﻋﻠﻴﻬــــﺎ ﻓﻲ ﺗﺒﺮﻳــــﺮ إﺧﻔﺎق‬ ‫ﺑﻌــــﺾ أﻋﻤﺎل ﻫﺆﻻء اﻟﻤﻌﻤﺎرﻳﻴﻦ ﺣﺘــــﻰ وإن ﻛﺎﻧﺖ ﺗﺪﺧﻼت اﻟﻤﻼك أﻣﺮ‬ ‫ﺣﺎﺻــــﻞ ﻓﻌ ًﻼ ‪ .‬أﻗــــﻮل ذﻟﻚ وأﻧﺎ أﻋﺮف ﺳــــﻠﻔ‪ A‬أن ﻛﺜﻴﺮ ﻣــــﻦ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬ ‫ﺳﻴﻌﺘﺮﺿﻮن ﻋﻠﻲ إﻻ اﻧﻨﻲ وﺟﺪت أﻧﻪ ﻻ ﺑﺪ ﻣﻦ إﺛﺎرﺗﻬﺎ ‪W‬ن دور اﻟﻤﺠﻠﺔ‬ ‫وﻫﻮ اﻟﺴــــﻌﻲ ﻓﻲ رﻓﻊ ﻣﺴــــﺘﻮى اﻟﻤﻬﻨﺔ ‪ .‬وﻟﺘﻔﺴﻴﺮ ﻣﺎ أﻗﻮﻟﻪ ﻳﺠﺐ أن‬ ‫اﺗﻄﺮق ‪W‬رﺑﻌﺔ ﺟﻮاﻧﺐ ﻣﻬﻨﻴﺔ ﻫﺎﻣﺔ ‪:‬‬ ‫‪ - ١‬ﺗﺤﻘﻴﻖ رﻏﺒﺎت اﻟﻤﺎﻟﻚ ‪ :‬ﺑﺎدئ ذي ﺑﺪء ﻓﺈن ا‪W‬ﺻﻞ ﻓﻲ دور اﻟﻤﻌﻤﺎري‬ ‫ﻫﻮ اﻟﺴــــﻌﻲ ﻟﺘﺤﻘﻴﻖ رﻏﺒﺎت ﻣﺎﻟﻚ اﻟﻤﺸــــﺮوع ‪ ،‬وأوﻛﺪ ﻫﻨﺎ ﻋﻠﻰ ﻋﺒﺎرة‬ ‫» رﻏﺒــــﺎت اﻟﻤﺎﻟــــﻚ « ‪ .‬وﺑﺎﻟﺘﺎﻟﻲ ﻳﺠــــﺐ أﻻ ﻳﺘﻌﺪى إﺑــــﺪاع اﻟﻤﻌﻤﺎري ﺣﺪود‬ ‫رﻏﺒــــﺎت اﻟﻤﺎﻟﻚ وﻻ ﻳﺤﻴــــﺪ ﻋﻨﻬﺎ ـ ﻣﻊ ا‪/‬ﻟﺘﺰام ﻃﺒﻌــــ‪ A‬ﺑﺄﻧﻈﻤﺔ اﻟﺒﻨﺎء ‪W‬ن‬ ‫اﻟﻤﻌﻤــــﺎري ﻣﺆﺗﻤﻦ ﻋﻠﻴﻬــــﺎ ـ ﻓﺄي ﺣﻞ ﺗﺼﻤﻴﻤﻲ ﻳﺼــــﺪر ﻋﻦ اﻟﻤﻌﻤﺎري‬ ‫ﺳــــﻴﻠﻘﻰ اﻟﻘﺒﻮل ﻟﻜﻮﻧﻪ أﺻ ًﻼ ﻳﺤﻘﻖ رﻏﺒــــﺎت اﻟﻤﺎﻟﻚ ‪ .‬وﻟﺬﻟﻚ ﻓﺄﻧﻰ أرى‬ ‫ان ﺗﺪﺧﻞ اﻟﻤﺎﻟﻚ ﻓﻰ ﺗﺼﻤﻴﻢ ﻣﺸﺮوﻋﻪ أﻣﺮ ﻣﻘﺒﻮل ‪.‬‬ ‫‪ - 2‬ﻣﻘــــﺪرة اﻟﻤﻌﻤــــﺎري ﻋﻠﻰ ا‪/‬ﻗﻨﺎع ‪ :‬وﻫﻮ اﻟﺪور ا‪h‬ﺧﺮ اﻟﻤﺴــــﺌﻮل ﻋﻨﻪ‬ ‫اﻟﻤﻌﻤــــﺎري وﻫــــﻮ ﻻ ﻳﻘــــﻞ أﻫﻤﻴــــﺔ ﻋﻦ ﻣﻘﺪرﺗــــﻪ اﻟﺘﺼﻤﻴﻤﻴــــﺔ ‪ ،‬وﻳﺠﺐ‬ ‫ﻋﻠــــﻰ اﻟﻤﻌﻤﺎري اﻟﺘﺤﻠﻲ ﺑﻜﺎﻓﺔ وﺳــــﺎﺋﻞ ا‪/‬ﻗﻨﺎع وﻣﻨﻬﺎ ﺷــــﺮح اﻟﻔﻜﺮة‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺸﺮوع ﺑﺈﺳﺘﺨﺪام ا‪/‬ﺳﻜﺘﺸﺎت واﻟﺼﻮر اﻟﺘﻲ ﺗﺼﺎﺣﺐ‬ ‫اﻟﺘﻘﺮﻳــــﺮ اﻟﻤﻌﻤــــﺎري ﻟﻠﻤﺸــــﺮوع وﻣــــﻦ اﻟﻤﻌﻤﺎرﻳﻴــــﻦ اﻟﻌﺎﻟﻤﻴﻴﻦ اﻟﺬﻳﻦ‬ ‫ﺑﺮﻋــــﻮا ﻓــــﻰ ذﻟﻚ أذﻛﺮ رﻳﻢ ﻛــــﻮﻻس ﻣﻜﺘــــﺐ ) ‪ ( OMA‬وﺑﺠﺎرك اﻧﺠﻞ‬ ‫ﻣﻜﺘــــﺐ ) ‪ ( BIG‬وﻏﻴﺮﻫــــﻢ ﻛﺜﻴﺮون ‪ .‬ﺣﺘﻰ أﻧﻪ ﻗــــﺪ ﻳﻀﻄﺮ اﻟﻤﻌﻤﺎري‬ ‫إﻟﻰ ﺑﻌﺾ اﻟﺤﻴﻞ اﻟﺘﻲ ﺗﺴــــﺎﻋﺪه ﻋﻠﻰ ا‪/‬ﻗﻨــــﺎع‪ .‬وأذﻛﺮ ﻣﻮﻗﻔ‪ A‬ﻃﺮﻳﻔ‪A‬‬ ‫‪W‬ﺣﺪ ﻛﺒﺎر اﻟﻤﻌﻤﺎرﻳﻴﻦ ا‪/‬ﺳــــﻼﻣﻴﻴﻦ إﻧﻪ اﻟﻤﻌﻤﺎري اﻟﻌﺜﻤﺎﻧﻲ اﻟﺸﻬﻴﺮ‬ ‫ﺳــــﻨﺎن‪ .‬إﺷــــﺘﻬﺮ ﺳــــﻨﺎن ﺑﺒﻨﺎﺋﻪ ﻟﻠﻤﺴــــﺎﺟﺪ اﻟﻌﺜﻤﺎﻧﻴــــﺔ اﻟﻜﺒﻴﺮة اﻟﺘﻲ‬ ‫ﺟﺎءت ﺑﺎﻟﻨﻤــــﻮذج اﻟﻤﻌﻤﺎري اﻟﺬي أﺻﺒﺢ ﻳﻤﺜﻞ اﻟﻄﺎﺑﻊ ا‪W‬ﻛﺜﺮ ﺷــــﻴﻮﻋ‪A‬‬ ‫ﻟﻌﻤــــﺎرة اﻟﻤﺴــــﺎﺟﺪ ﻓﻰ اﻟﻌﺎﻟــــﻢ ‪ » .‬ﻓﻲ أﺣــــﺪ ا‪W‬ﻳﺎم ﺣﻀﺮ اﻟﺴــــﻠﻄﺎن‬ ‫اﻟﻌﺜﻤﺎﻧــــﻲ ﻟﻤﻮﻗﻊ ﺑﻨﺎء أﺣﺪ ﻣﺴــــﺎﺟﺪ ﺳــــﻨﺎن‪ ،‬وﻛﺎن ﻳﻘــــﻒ ﻗﺮﻳﺒ‪ A‬ﻣﻦ‬ ‫ﻣﺌﺬﻧﺔ اﻟﻤﺴﺠﺪ اﻟﻌﺎﻟﻴﺔ‪ ،‬ﻧﻈﺮ اﻟﺴﻠﻄﺎن إﻟﻰ اﻟﻤﺌﺬﻧﺔ ﻓﺒﺪت ﻟﻪ ﻣﺎﺋﻠﺔ‬ ‫ﻓﺸﻜﻰ ﻟﺴﻨﺎن ذﻟﻚ )وﻫﺬا أﻣﺮ ﻃﺒﻴﻌﻲ ‪W‬ﻧﻪ إذا وﻗﻒ أﺣﺪ ﻗﺮﻳﺒ‪ A‬ﻣﻦ‬ ‫أي ﺑﻨﺎء ﻣﺮﺗﻔﻊ ﻓﺴــــﻴﺮاه ﻣﺎﺋ ً‬ ‫ﻼ (‪ ،‬ﻓﻤﺎ ﻛﺎن ﻣﻦ ﺳــــﻨﺎن إﻻ أن أﻣﺮ اﻟﻌﻤﺎل‬ ‫ﺑﺮﺑــــﻂ اﻟﺤﺒﺎل ﺣﻮل اﻟﻤﺌﺬﻧﺔ وﺷــــﺪﻫﺎ ﻟﺘﻌﺪﻳﻞ ﻣﻴﻮﻟﻬــــﺎ‪ ،‬وﻛﻠﻤﺎ ﻛﺎن‬ ‫اﻟﻌﻤﺎل ﻳﺸــــﺪون اﻟﺤﺒﺎل ﻛﺎن ﺳﻨﺎن ﻳﺴﺄل اﻟﺴﻠﻄﺎن ﻫﻞ إﺳﺘﻘﺎﻣﺖ‬ ‫اﻟﻤﺌﺬﻧﺔ ﻓﻴﻘﻮل ﻟﻪ اﻟﺴﻠﻄﺎن ﻟﻴﺲ ﺑﻌﺪ‪ ،‬وإﺳﺘﻤﺮ اﻟﺤﺎل ﻫﻜﺬا ﺣﺘﻰ‬ ‫أﻗﻨــــﻊ اﻟﺴــــﻠﻄﺎن ﺑــــﺄن اﻟﻤﺌﺬﻧﺔ ﻗﺪ إﺳــــﺘﻘﺎﻣﺖ وﻳﺒﺪو أن اﻟﺴــــﻠﻄﺎن‬ ‫إﺿﻄﺮ أﺧﻴﺮ‪ t‬ﻟ‪s‬ﻗﺘﻨﺎع ﺧﻮﻓ‪ A‬ﻣﻦ أن ﻳﻠﻮﻣﻪ اﺣﺪ ﻋﻠﻰ ﺿﻌﻒ ﻧﻈﺮه« ‪.‬‬

‫‪ - 3‬ﻃــــﺮح ا‪W‬ﻓــــﻜﺎر واﻟﺘﻮﺟﻬــــﺎت اﻟﻤﻌﻤﺎرﻳــــﺔ اﻟﺠﺪﻳــــﺪة ‪ :‬ﻣﻤﺎ ﻻﺷــــﻚ‬ ‫ﻓﻴــــﻪ ﻓﺈﻧــــﻪ ﺑــــﺪون اﻟﻤﻘــــﺪرة ﻋﻠــــﻰ ا‪/‬ﻗﻨــــﺎع ﻻ ﻳﻤﻜــــﻦ ﺗﺤﻘﻴــــﻖ ا‪W‬ﻓﻜﺎر‬ ‫اﻟﻤﻌﻤﺎرﻳــــﺔ اﻟﺠﺪﻳﺪة اﻟﻤﺒﺪﻋﺔ ‪ .‬وﻟﻜﻨﻰ أرى اﻧﻪ ﻻ ﻳﻤﻜﻦ ﻃﺮح ا‪W‬ﻓﻜﺎر‬ ‫واﻟﺘﻮﺟﻬــــﺎت اﻟﺠﺪﻳــــﺪة اﻟﺘــــﻰ ﻟــــﻢ ﺗﻄﺮح ﻣﻦ ﻗﺒــــﻞ واﻟﺘﻰ ﻟــــﻢ ﻳﻄﻠﻊ‬ ‫ﻋﻠﻴﻬــــﺎ ﻣــــﻼك اﻟﻤﺸــــﺎرﻳﻊ ﻣﻦ ﻗﺒﻞ ‪ ،‬ﻓــــﻲ ﺗﺼﻤﻴﻢ ﻣﺸــــﺎرﻳﻊ ﻫﺆﻻء إﻻ‬ ‫ﺑﻌــــﺪ ان ﻳﻜــــﻮن ﻗﺪ ﺑــــﺬل اﻟﻤﻌﻤﺎرى ﺟﻬﺪ‪ t‬ﻓﻰ اﻟﺘﻌﺮﻳــــﻒ ﺑﻬﺎ ‪ .‬وﻣﻦ‬ ‫اﻟﻤﻔﻀــــﻞ ان ﻳﻘﻮم اﻟﻤﻌﻤﺎرﻳﻴﻦ ﺑﻄﺮح ا‪W‬ﻓــــﻜﺎر اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺠﺪﻳﺪة‬ ‫إﻣــــﺎ ﻓــــﻰ إﻃﺎر اﻟﻤﺴــــﺎﺑﻘﺎت اﻟﻤﻌﻤــــﺎرىة او ﻓــــﻰ اﻟﻨــــﺪوات واﻟﻤﻌﺎرض‬ ‫اواﻟﻤﺠــــﻼت اﻟﻤﻌﻤﺎرﻳــــﺔ اوﻻ ﻟﻠﺘﻌﺮﻳــــﻒ ﺑﻬــــﺎ ‪ .‬و أذﻛــــﺮ ﻫﻨــــﺎ اﻟﻤﻌﻤــــﺎرى‬ ‫اﻟﺸــــﻬﻴﺮ ﻟﻮﻛﻮرﺑﻮزﻳﻪ اﻟﺬى ﻛﺎن ﻳﺆﻟﻒ اﻟﻜﺘﺐ وﻳﺸــــﺎرك ﻓﻰ اﻟﻨﺪوات‬ ‫و اﻟﻤﻌﺎرض وﻳﻨﺸﺮ اﻟﻤﻘﺎﻻت ﻟﻠﺘﻌﺮﻳﻒ ﺑﺄﻓﻜﺎره اﻟﺠﺪﻳﺪة ‪ .‬وﻓﻰ ﻛﻞ‬ ‫ا‪W‬ﺣﻮال ﻫﻨﺎك ﺿﺮورة ﻟﺘﻔﻬﻢ اﻟﻤﻌﻤﺎري ﻟﻤﺴﺘﻮى اﻟﺜﻘﺎﻓﺔ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫ﻟﻠﻤﺠﺘﻤﻊ وأن ﻳﺴــــﺘﺨﺪام اﻟﻠﻐﺔ اﻟﻤﻨﺎﺳﺒﺔ ‪/‬ﻗﻨﺎع ﻣﻼك اﻟﻤﺸﺎرﻳﻊ‪ ،‬ﺑﻞ‬ ‫وﻳﺠﺐ ﻋﻠﻴﻪ ان ﻳﺤﺮص ﻋﻠﻰ ﺗﻌﻠﻢ وﺳﺎﺋﻞ ا‪/‬ﻗﻨﺎع ‪.‬‬ ‫‪ - 4‬ﺿﺮورة ﺗﻮﻓﺮاﻟﻤﻮﻫﺒﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﺪى اﻟﻤﻌﻤﺎري ‪ :‬ﻓﻤﻘﺪرة ا‪/‬ﻗﻨﺎع وإن‬ ‫ﻛﺎﻧﺖ دور أﺻﻴﻞ ﻣﻦ أدوار اﻟﻤﻌﻤﺎري إﻻ اﻧﻬﺎ ﻟﻴﺴﺖ ﻛﺎﻓﻴﺔ وﺣﺪﻫﺎ ‪W‬ﻧﻬﺎ‬ ‫ﺗﺤﺘﺎج إﻟﻰ ﺟﻬﺪ ووﻗﺖ ﻛﺒﻴﺮ‪ ،‬وﻫﻰ ﻟﻴﺴﺖ ﺷﺮط ﻣﻨﺼﻮص ﻋﻠﻴﻬﺎ ﻓﻰ‬ ‫ﻋﻘـــﻮد اﻟﺘﺼﻤﻴـــﻢ ‪ ،‬وﻟﻜﻨﻬﺎ أﻣﺎﻧـــﺔ ﺗﺤﺘﺎج إﻟﻰ ﻣﺤﺮك داﻓـــﻊ ‪ ،‬ﻫﺬا اﻟﺪاﻓﻊ‬ ‫ﻫـــﻮ اﻟﻤﻮﻫﺒﺔ اﻟﻔﻨﻴـــﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪ ،‬ﻋﻠـــﻰ أن اﻟﻤﻮﻫﺒـــﺔ ﻻ ﻳﻤﻜﻦ ﺗﻌﻠﻤﻬﺎ‬ ‫ﻓﻬـــﻰ ﻫﺒﺔ ﻣـــﻦ اﻟﺨﺎﻟﻖ إم ان ﺗﻜـــﻮن ﻟﺪى اﻟﻤﻌﻤـــﺎرى اوﻻ ﺗﻜﻮن‪ .‬وﻟﺬﻟﻚ‬ ‫أﻧﺼﺢ ﻫﺆﻻء اﻟﺬﻳـــﻦ ﻳﻔﺘﻘﺪون ﻟﻠﻤﻮﻫﺒﺔ اﻟﻔﻨﻴـــﺔ اﻟﻤﻌﻤﺎرﻳﺔ ا‪/‬ﺑﺘﻌﺎد ﻋﻦ‬ ‫اﻟﻤﺠـــﺎل اﻟﻤﻌﻤـــﺎرى ‪ ،‬ﻓﺎﻟﻤﻮﻫﺒﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﺗﻌﻨﻲ ﺣـــﺐ ﺻﺎﺣﺒﻬﺎ ﻟﻠﻌﻤﻞ‬ ‫اﻟﻤﻌﻤﺎرى واﻟﺘﺤﻠﻰ ﺑﻤﺼﺪاﻗﻴﺔ ﻣﻬﻨﻴﺔ ‪ ،‬وﻻ ﻳﺤﺴﺐ ﻛﻢ ﻛﻠﻔﻪ ذﻟﻚ ﻣﻦ‬ ‫ﺟﻬـــﺪ ووﻗﺖ ﻟﻴﺤﻘـــﻖ أﻓﻀﻞ ﻣﺎ ﻳﻤﻜـــﻦ أن ﻳﺤﻘﻘﻪ ﻣﻦ إﺑـــﺪاع ‪ ،‬وﻳﺮﺿﻲ‬ ‫ﻋﻤﻼﺋـــﻪ ﺑﺎﻟﺮﻏـــﻢ ﻣﻦ أﻧﻪ ‪ -‬ﻓـــﻲ ﺑﻌﺾ ا‪W‬ﺣﻴﺎن ‪ -‬ﻗـــﺪ ﻻ ﻳﺤﻘﻖ اﻟﻤﻌﻤﺎري‬ ‫ﻣﻜﺴـــﺒﻪ اﻟﻤﺎدي اﻟﻤﺄﻣﻮل ﺧﺎﺻﺔ ﺑﻌﺪ ان ﻳﻜﻮن ﻗﺪ ﻗﺒﻞ وإﻟﺘﺰم ﺑﺎﻟﻌﻤﻞ‪.‬‬ ‫أذﻛـــﺮ ﻫﻨـــﺎ ﻣﺎ أﺧﺒﺮﻧﻲ ﺑﻪ أﺣﺪ اﻟﻤﺴـــﺌﻮﻟﻴﻦ اﻟﻜﺒﺎر ﻓﻲ ﻣﺆﺳﺴـــﺔ اﻟﻤﻠﻚ‬ ‫ﻓﻴﺼﻞ اﻟﺨﻴﺮﻳﺔ اﻟﺘﻰ ﻗﺎم اﻟﻤﻌﻤﺎري اﻟﺴﻴﺮ ﻧﻮرﻣﺎن ﻓﻮﺳﺘﺮ ‪ ،‬ﺻﺎﺣﺐ أﺣﺪ‬ ‫أﻫﻢ وأﻋـــﺮق اﻟﻤﻜﺎﺗﺐ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻌﺎﻟﻤﻴﺔ ﻋﻠـــﻰ ا‪/‬ﻃﻼق ‪ ،‬ﺑﺘﺼﻤﻴﻢ ﺑﺮج‬ ‫اﻟﻔﻴﺼﻠﻴﺔ اﻟﺘﺎﺑﻊ ﻟﻬﺎ ﻓﻰ ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض‪ .‬ﻛﺎن ﻧﻮرﻣﺎن ﻓﻮﺳـــﺘﺮ ﻳﺄﺗﻲ إﻟﻰ‬ ‫اﻟﻤﺆﺳﺴـــﺔ ﺑﺄﻗﻼﻣﻪ وﺑﺎﻟﻮرق اﻟﺸﻔﺎف وﻛﺎن ﻳﻌﺮض ﺗﺼﺎﻣﻴﻤﻪ ﻋﻠﻰ ﻛﺒﺎر‬ ‫ﺷـــﺨﺼﻴﺎت اﻟﻤﺆﺳﺴﺔ ﺑﻨﻔﺴـــﻪ‪ ،‬وﻛﻠﻤﺎ ﻃﻠﺐ أﺣﺪ ﻣﻨﻬﻢ إﺟﺮاء ﺗﻌﺪﻳﻞ‬ ‫ﻓﻲ اﻟﺘﺼﻤﻴﻢ ﻛﺎن ﻧﻮرﻣﺎن ﻓﻮﺳﺘﺮ ﻳﺄﺧﺬ ﻗﻠﻤﻪ و ﻳﻀﻊ اﻟﻮرق اﻟﺸﻔﺎف ﻋﻠﻰ‬ ‫ﻣﻜﺎن اﻟﺘﻌﺪﻳﻞ وﻳﺮﺳﻤﻪ ﻣﻦ ﺟﺪﻳﺪ ‪ ،‬وﻻ ﻳﺘﺮك اﻟﻤﻜﺎن إﻻ وﻗﺪ رﺳﻢ ﺑﻴﺪه‬ ‫ﻛﻞ اﻟﺘﻌﺪﻳـــﻼت وﺗﺄﻛـــﺪ ﻣﻦ ﻗﺒﻮل أﻋﻀﺎء اﻟﻤﺆﺳﺴـــﺔ ﻟﻬـــﺎ‪ ،‬ﻣﺎ دﻓﻌﻪ إﻟﻰ‬ ‫ﻛﻞ ﻫﺬا اﻟﺠﻬﺪ إﻻ ﻣﻮﻫﺒﺘﻪ‪ ،‬وﻟﻢ ﻳﻤﻨﻊ إﺣﺘﺮاﻣﻪ ﻟﺮﻏﺒﺎت اﻟﻤﺆﺳﺴﺔ ا‪/‬ﺑﺪاع‬ ‫اﻟﺬي ﺣﻘﻘﻪ ﻓﻲ ﺗﺼﻤﻴﻢ ﻣﺮﻛﺰ اﻟﻔﻴﺼﻠﻴﺔ ‪ ،‬أﺣﺪ ﻣﻌﺎﻟﻢ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫اﻟﻬﺎﻣﺔ‪ .‬ﻫﺆﻻء اﻟﻜﺒﺎر ﻣﻦ اﻟﻤﻌﻤﺎرﻳﻴﻦ ﺑﺬﻟﻮا ﻛﻞ ﻣﺎ ﻓﻰ وﺳـــﻌﻬﻢ ‪/‬رﺿﺎء‬ ‫ﻣﻼك اﻟﻤﺸﺎرﻳﻊ وﻟﻢ ﻳﺪﺧﺮوا وﺳﻴﻠﺔ إﻗﻨﺎع إﻻ وﻟﺠﺄوا إﻟﻴﻬﺎ ‪ .‬إﻧﻬﻢ ﻛﺒﺎر ﻓﻲ‬ ‫اﻟﻤﻌﻤﺎر ‪W‬ﻧﻬﻢ ﻟﻢ ﻳﺸﺘﻜﻮا ﻣﻦ ﺗﺪاﺧﻼت ﻣﻼك اﻟﻤﺸﺎرﻳﻊ ‪.‬‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

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‫ﻣﺘﺤﻒ اﻟﺒﺮازﻳﻞ ﻳﺤﺘﺮق‬ Massive Fire Destroys Brazil’s 200 - Year - Old National Museum and Its Collection ‫ﻓﻰ ﺑﺪاﻳﺔ ﺷﻬﺮ ﺳﺒﺘﻤﺒﺮ ﺷﺐ‬ ‫ﺣﺮﻳﻖ ﻛﺒﻴﺮ ﻓﻰ اﻟﻤﺘﺤﻒ اﻟﻮﻃﻨﻲ‬ ‫اﻟﺒﺮازﻳﻠﻲ واﺣﺪ ﻣﻦ اﻫﻢ ﻣﺘﺎﺣﻒ‬ ‫ ﻛﺎن اﻟﻤﺘﺤﻒ‬. ‫اﻣﺮﻳﻜﺎ اﻟﺠﻨﻮﺑﻴﺔ‬ ‫ اﻟﻒ‬٢٠ ‫ﻳﺤﺘﻮي ﻋﻠﻰ ﻣﺎﻳﻘﺎرب‬ ‫ﻗﻄﻌﺔ أﺛﺮﻳﺔ ﺗﻤﺜﻞ ﺗﺎرﻳﺦ أﻣﺮﻳﻜﺎ‬ ‫ ﻣﺎزال ﺳﺒﺐ‬. ‫ﺗﻢ إﺣﺘﺮاق ﻣﻌﻈﻤﻬﺎ‬ ‫ ﻋﻠﻰ إﺛﺮ ذﻟﻚ‬.‫اﻟﺤﺮﻳﻖ ﻏﻴﺮ ﻣﻌﺮوف‬ ‫أﻋﺮب اﻟﺒﺮازﻳﻠﻴﻮن ﻋﻦ ﺗﺄﺛﺮﻫﻢ‬ ‫اﻟﻌﻤﻴﻖ ﺑﻬﺬا اﻟﺤﺎدث وﺗﻌﺎﻃﻒ‬ ‫اﻟﻜﺜﻴﺮون ﻣﻦ ﻛﺎﻓﺔ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬ ‫ﻣﻌﻬﻢ ﺧﺎﺻﺔ ﺑﻌﺪ ان ﺗﺒﻴﻦ‬ ‫ﻃﻔﺎء ﻓﻲ اﻟﻤﺘﺤﻒ‬J‫ان اﻧﺎﺑﻴﺐ ا‬ ، ‫ﻃﻔﺎء‬J‫ﻛﺎﻧﺖ ﻓﺎرﻏﺔ ﻣﻦ ﻣﻮاد ا‬ ‫ﻃﻔﺎﺋﻴﻮن إﻟﻰ‬J‫ﻣﺮ اﻟﺬي دﻓﻊ ا‬O‫ا‬ ‫إﺳﺘﻌﻤﺎل ﻣﻴﺎه اﻟﺒﺤﻴﺮة اﻟﻘﺮﻳﺒﺔ‬ ‫ﺧﻤﺎد اﻟﺤﺮﻳﻖ إﻻ أن ذﻟﻚ ﻟﻢ ﻳﻨﻘﺬ‬J . ‫ﺣﺘﺮاق ﺑﺎﻟﻜﺎﻣﻞ‬J‫اﻟﻤﺘﺤﻒ ﻣﻦ ا‬

Brazil’s National Museum, one of Latin America’s most important museums, was completely destroyed by a fire that started at 7:30 pm on Sunday evening. It housed over 20 million items related to the history of the Americas, many if not all of which were lost. A report in the Rio Times indicates that the museum had operated normally on Sunday and closed its doors at 5:00 pm, two and a half hours before the blaze began. The cause of the fire remains undetermined. Brazilians and non-Brazilians alike took to the Twitter to express their grief and outrage. There were reports that fire hydrants were empty, causing firefighters to pump water from a nearby lake to quell the blaze. Many used it as an opportunity to slam the government, others to lament the choice of destination of funds to projects within the country.

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‫ﺧﻤﺴﺔ ﺳﻴﻨﺎرﻳﻮﻫﺎت‬

‫ﻟﻤﻌﺮﻓﺔ اﺳﺒﺎب إﻧﻬﻴﺎر ﺟﺴﺮ‬ ‫ﻣﻮرﻧﺪي اﻳﻄﺎﻟﻲ‬ Open Source program Developed 5 Probable Scenarios for The Morandi Bridge Collapse

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artist based in Berlin, and Oliver Walter a german architect based in Helsinki, who also collaborated for many years with Virtual Validation Cooperation Company, which is an expert in offering services in the field of collapsing structure. The two partners developed a simulation program called Bullet Constraints Builder or BCB. Realized in the frame of a European research program INACHUS, the BCB was developed as free simulation 3D Blender to improve the position for intervention in case of catastrophic events. It was put into action by the end of 2017 using an open source platform called Github. The findings of the simulation was applied on the collapse of Morandi Bridge that took place back in August 14 in Genoa, Italy. The catastrophic event that took the lives of 40 people, was simulated in 5 probable scenarios using the BCB program. Each probability deduce the cause of the collapse based on the wreckage formation. The simulation has been shown in a video that caused a stir on social media and have hit over 1 million views. The video can be accessed through this link:

‫ﺗﻨﺎوﻟﺖ اﻟﻘﻨﻮات اﻋﻼﻣﻴﺔ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻣﺆﺧﺮ ﻓﻴﺪﻳﻮ ﻳﻌﺮض‬ ‫ﺧﻤﺲ ﺳﻴﻨﺎرﻳﻮﻫﺎت ﻣﺨﺘﻠﻔﺔ‬ ‫ﺳﺒﺎب اﻧﺸﺎﺋﻴﺔ اﻟﺘﻲ ﻳﻤﻜﻦ أن‬0‫ﻟ‬ ‫ﺗﻜﻮن ﻗﺪ أدت إﻟﻰ إﻧﻬﻴﺎر ﺟﺴﺮ‬ ‫ﻣﻮرﻧﺪي اﻟﺸﻬﻴﺮ ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫ وإذا ﻛﺎﻧﺖ ﺟﻤﻴﻊ‬. ‫ﺟﻨﻮة اﻳﻄﺎﻟﻴﺔ‬ ‫اﻟﺠﻬﺎت ذات اﻟﻌﻼﻗﺔ ﻗﺪ إﺗﻔﻘﺖ‬ ‫ﻋﻠﻰ أن اﻟﺠﺴﺮ ﻛﺎن ﻳﻌﺎﻧﻲ‬ ‫ﻣﻦ إﻫﻤﺎل ﺷﺪﻳﺪ ﻓﻲ ﺻﻴﺎﻧﺘﻪ‬ ‫إﻻ أن ﻃﺮﻳﻘﺔ اﻧﻬﻴﺎر ﻣﺎزاﻟﺖ‬ ‫ﻏﻴﺮ ﻣﻌﺮوﻓﺔ وﻣﺎﻫﻲ اﻟﻌﻨﺎﺻﺮ‬ . ‫اﻧﺸﺎﺋﻴﺔ اﻟﺘﻲ ﺑﺪأ ﻣﻨﻬﺎ اﻧﻬﻴﺎر‬ ‫ﻗﺎم ﻣﻜﺘﺐ ﻛﻮﺳﺘﺎك ﺳﺘﻮدﻳﻮ‬ ‫ﻧﺘﺎج اﻋﻼﻣﻲ ﺑﺈﻋﺪاد اﻟﻔﻴﺪﻳﻮ ﻣﻦ‬M‫ﻟ‬ ‫ﻗﺒﻞ ﻛﺎي اوﺳﺘﺎك ﺻﺎﺣﺐ اﻟﻤﻜﺘﺐ‬ ‫اﻋﻼﻣﻲ اﻟﺬي ﻳﻘﻊ ﻓﻲ ﻣﺪﻳﻨﺔ ﺑﺮﻟﻴﻦ‬ ‫ﺑﺎﻟﺘﻌﺎون ﻣﻊ اﻟﻤﻌﻤﺎري اوﻟﻴﻔﺮ وﻟﺘﺮ‬ ‫وﻫﻮ ﻣﻌﻤﺎري اﻟﻤﺎﻧﻲ ﻳﻌﻤﻞ ﻓﻲ‬ ‫ﻣﺪﻳﻨﺔ ﻫﻠﺴﻨﻜﻲ اﻟﻔﻨﻠﻨﺪﻳﺔ ﻓﻲ‬ ‫ﻣﺆﺳﺴﺔ ﻣﺘﺨﺼﺼﺔ ﻓﻰ اﻟﺘﺤﻘﻖ‬ ‫ﻣﻦ ﺣﺎﻻت إﻧﻬﻴﺎر اﻻﺑﻨﻴﺔ ﻣﻦ ﺧﻼل‬ ‫وﺿﻊ ﺳﻴﻨﺎرﻳﻮﻫﺎت إﻓﺘﺮاﺿﻴﺔ‬ ‫ﺑﻌﺎد ﺗﻮﺿﺢ أﺳﺒﺎب‬V‫ﺛﻼﺛﻴﺔ ا‬ ‫ ﺣﻴﺚ ﻗﺎﻣﺎ ﺑﺘﻄﻮﻳﺮ ﺑﺮاﻣﺞ‬،‫اﻟﺴﻘﻮط‬ ‫ﻣﺤﺎﻛﺎة ﻣﺘﺨﺼﺼﺔ ﻓﻲ ﻣﺴﺎﻋﺪة‬ ‫اﻟﻔﻨﻴﻴﻦ ﻓﻰ اﻟﺘﻌﺮف ﻋﻠﻰ اﺳﺒﺎب‬ ‫ ﻓﻤﻦ ﺧﻼل‬.‫إﻧﻬﻴﺎر اﻟﻤﻨﺸﺄت‬ ‫اﻟﺮﺳﻮﻣﺎت وﺗﻄﺒﻴﻖ اﻟﻘﻴﺎﺳﺎت‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﺠﺴﺮ ﺗﻢ إﻧﺘﺎج ﺧﻤﺲ‬ ‫ ﻛﻞ ﺳﻴﻨﺎرﻳﻮ‬،‫ﺳﻴﻨﺎرﻳﻮﻫﺎت ﻣﺤﺘﻤﻠﺔ‬ ‫ﻳﻘﺘﺮح ﺷﻜﻞ ﻧﻬﺎﺋﻲ ﻟﻠﺘﻤﻮﺿﻊ‬ ‫اﻟﻨﻬﺎﺋﻲ ﻟﻠﻌﻨﺎﺻﺮ اﻟﻤﻬﺪﻣﺔ ﻟﻠﺠﺴﺮ‬ ‫ﺑﻌﺪ إﻧﻬﻴﺎره وﻫﻲ اﻟﺘﻲ ﻳﻤﻜﻦ ان‬ .‫ﺗﺤﺪد ﻛﻴﻒ وﻣﻦ أﻳﻦ ﺑﺪء اﻧﻬﻴﺎر‬ ‫ﻣﻦ اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ ان ﺟﺴﺮ ﺟﻨﻮة‬ ‫ أﻏﺴﻄﺲ اﻟﻤﺎﺿﻲ‬١٤ ‫إﻧﻬﺎر ﻓﻲ‬ ‫وﻗﺎﻣﺖ اﻟﻤﺠﻠﺔ ﺑﺎﻟﺘﻨﻮﻳﻪ ﻋﻨﻪ ﻓﻲ‬ ‫ راح ﺿﺤﻴﺘﻪ‬٣٣٤ ‫ﻋﺪدﻫﺎ رﻗﻢ‬ ‫ ﺷﺨﺺ وﺗﻢ إﺟﻼء ﺳﻜﺎن‬٤٣ ‫اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﻛﺎن ﻳﻤﺮ ﻣﻦ ﻓﻮﻗﻬﺎ‬ ‫ ﺗﻮﺿﺢ اﻟﺼﻮر ﻫﻨﺎ أﺣﺪ‬. ‫اﻟﺠﺴﺮ‬ . ‫اﻟﺴﻴﻨﺎرﻳﻮﻫﺎت ﻧﻬﻴﺎر اﻟﺠﺴﺮ‬ : ‫ﻟﻤﺰﻳﺪ ﻣﻦ اﻟﺘﻔﺎﺻﻴﻞ ﻋﻠﻰ اﻟﺮاﺑﻂ‬

www.youtube.com/watch?v=Y6suQ0FIoIQ

12 Albenaa

∂ ¡UM³« ±≤

16 Albenaa

¡UM³« ±∂


l¹—UA*« —U³š√

‫ﻣﺼﻤﻢ ﻣﻄﺎر ﺑﺎﻧﻜﻮك ﻳﻨﻔﻲ ﺳﺮﻗﺘﻪ ﻟﻠﺘﺼﻤﻴﻢ‬ ‫ﻣﻦ اﻟﻤﻌﻤﺎري اﻟﺸﻬﻴﺮ ﻛﻨﺠﻮ ﻛﻮﻣﺎ‬ Architect Denies Plagiarising Kengo Kuma for Bangkok Airport Terminal Design

Duangrit Bunnag has defended his competition-winning design for a new airport terminal in Bangkok, which detractors claim copies Kengo Kuma’s work. The Thai architect’s studio, DBALP, won the competition to design a new terminal for Suvarnabhumi airport, with plans for a canopy of stepped timber arches that some online commenters have likened to Kuma’s Yusuhara Wooden Bridge Museum in Japan. The comparisons led Bunnag to defend the design. “I didn’t copy anyone else’s work,” he was reported as saying by the Bangkok Post. “Those who follow my work will know that I created a similar image in my previous designs, such as for a hotel in Sri Lanka.” His inspiration, he said, was the lush landscape of Thailand.

Covered by the soaring timber canopy encased in a glass facade, the design for Suvarnabhumi’s terminal two features an indoor tropical rainforest complete with waterfalls. In Singapore the Moshe Safdiedesigned Jewel Changi Airport is due to open next year, featuring a giant dome with a waterfall pouring through the centre to the indoor forest below. DBALP Consortium’s design has a steel structure that will support timber beams, which will form a grid pattern and filter light like a rainforest canopy. The competition to design Suvarnabhumi’s terminal two was already controversial, after original winners SA Group had its contract revoked by Airports of Thailand (AOT) for failing to supply a document quoting the

cost of the project. DBALP Consortium, along with Nikken Sekkei, EMS Consultants, MHPM, MSE and ARJ Consortium, had originally been named the runner up for the competition to design the 35 billion baht (£822 million) airport. SA Group is believed to be contesting the decision, claiming they did not receive the essential document from the AOT in the first place, and highlighting that its proposal was under the stipulated budget. Bunnag told local paper The Standard he was “sorry” for his competitor’s loss, but insisted that there had been “100 per cent no corruption” in the sealed bidding process. Suvarnabhumi airport’s terminal two, which will have capacity for 30 million passengers a year, is due to open in 2021.

‫داﻓﻊ اﻟﻤﻌﻤﺎري دواﻧﺠﺮت ﺑﻮﻧﺎج‬ ‫ﻋﻦ ﺗﺼﻤﻴﻤﻪ اﻟﺬي ﻓﺎز ﺑﻤﺴﺎﺑﻘﺔ‬ ‫ﺗﺼﻤﻴﻢ ﺻﺎﻟﺔ اﻟﺮﻛﺎب اﻟﺠﺪﻳﺪة ﻓﻲ‬ ‫ واﻟﺬي‬،‫ﻣﻄﺎر ﺳﻮﻓﺎرﻧﺒﻮﻣﻲ ﺑﺎﻧﻜﻮك‬ ‫ﻗﺎم ﺑﻌﺾ اﻟﻤﻨﺘﻘﺪﻳﻦ ﺑﺈﺗﻬﺎﻣﻪ‬ ‫ﺑﻨﻘﻞ اﻟﺘﺼﻤﻴﻢ ﻣﻦ اﺣﺪ ﻣﺸﺎرﻳﻊ‬ ‫ اﻟﻤﻜﺘﺐ اﻟﻤﻌﻤﺎري‬.‫ﻛﻨﺠﻮ ﻛﻮﻣﺎ‬ ‫اﻟﺘﺎﻳﻠﻨﺪي واﻟﺬي ﻓﺎز ﺑﺎﻟﻤﺴﺎﺑﻘﺔ ﻗﺎم‬ ‫ﺑﺘﺼﻤﻴﻢ ﻣﻈﻼت ﺧﺸﺒﻴﺔ ﻣﺘﺪرﺟﺔ‬ ‫ﻗﻮاس إﻋﺘﺒﺮﻫﺎ اﻟﻨﻘﺎد أﻧﻬﺎ ﺗﺸﺒﻪ‬D‫ا‬ ‫ﻣﺸﺮوع ﻣﺘﺤﻒ اﻟﺠﺴﺮ اﻟﺨﺸﺒﻲ ﻓﻲ‬ ‫ﻳﻮﺳﻮﻫﺎرا ﺑﺎﻟﻴﺎﺑﺎن واﻟﺬي ﺻﻤﻤﻪ‬ .‫ﻛﻨﺠﻮ ﻛﻮﻣﺎ‬ ‫ﻣﻤﺎدﻓﻊ اﻟﻤﻌﻤﺎري ﺑﻮﻧﺎج اﻟﻰ اﻟﺘﺼﺮﻳﺢ‬ ‫ﺧﺮﻳﻦ‬D ‫ﻋﻼم ﺑﺄﻧﻪ ﻟﻢ ﻳﻨﻘﻞ أﻳﺔ أﻋﻤﺎل‬N‫ﻟ‬ ‫ﺣﻴﺚ ﻗﺎل “ ﺟﻤﻴﻊ ﻣﻦ ﻳﺘﺎﺑﻊ أﻋﻤﺎﻟﻲ‬ ‫ﻳﻌﻠﻢ ﺑﺄﻧﻨﻲ ﻗﻤﺖ ﺑﺘﺼﻤﻴﻢ ﻣﺸﺎﺑﻪ‬ ‫ﻓﻲ أﺣﺪ أﻋﻤﺎﻟﻲ اﻟﺴﺎﺑﻘﺔ ﻣﺜﻞ ﻣﺸﺮوع‬ ‫ وأﺷﺎر اﻟﻰ ان‬، ”‫ﻓﻨﺪق ﻓﻲ ﺳﻴﺮﻳﻼﻧﻜﺎ‬ ‫ﺗﺼﺎﻣﻴﻤﻪ ﻣﺴﺘﻠﻬﻤﺔ ﻣﻦ اﻟﺘﻀﺎرﻳﺲ‬ . ‫اﻟﺨﺼﺒﺔ ﻓﻲ ﺗﺎﻳﻼﻧﺪ‬ ‫ﺗﻢ ﺗﺼﻤﻴﻢ ﺻﺎﻟﺔ اﻟﻤﻄﺎر ﻟﺘﺤﺘﻮي‬ ‫ﻋﻠﻰ ﻏﺎﺑﺔ إﺳﺘﻮاﺋﻴﺔ ﻣﻊ ﺷﻼﻻت ﻣﻴﺎه‬ Z‫ﻣﻐﻄﺎة ﺑﻐﻼف زﺟﺎﺟﻲ ﻳﻐﻄﻲ اﻳﻀ‬ ‫اﻟﻤﻈﻼت ذات اﻻﻗﻮاس اﻟﺨﺸﺒﻴﺔ‬ ‫ ﻳﺴﺘﺨﺪم اﻟﺘﺼﻤﻴﻢ‬.‫اﻟﻤﺘﺪرﺟﺔ‬ ‫ﻋﻤﺪة‬D‫ﻫﻴﻜﻞ ﺣﺪﻳﺪي ﻟﺪﻋﻢ ا‬ ‫اﻟﺨﺸﺒﻴﺔ اﻟﺘﻲ ﺗﺸﻜﻞ ﻧﺴﻴﺞ‬ .‫ﺷﺒﻜﻲ ﻧﺎﻓﺬ ﻟﻠﻀﻮء‬ ‫اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أن اﻟﻤﺴﺎﺑﻘﺔ ﻛﺎﻧﺖ‬ ‫ ﺣﻴﺚ ﺗﻢ ﻓﺴﺦ ﻋﻘﺪ‬،‫ﻣﺜﻴﺮة ﻟﻠﺠﺪل‬ ‫ ﻣﻜﺘﺐ‬،‫ﺻﻠﻲ ﺑﺎﻟﻤﺴﺎﺑﻘﺔ‬D‫اﻟﻔﺎﺋﺰ ا‬ ‫ ﻣﻦ ﻗﺒﻞ ﻣﻄﺎر‬، ‫ﻣﺠﻤﻮﻋﺔ اس اي‬ ‫ﺗﺎﻳﻼﻧﺪ ﻟﻔﺸﻞ اﻟﻤﻜﺘﺐ ﺑﺘﻘﺪﻳﻢ‬ ‫اﻟﻤﺴﺘﻨﺪات اﻟﺘﻲ ﺗﻮﺿﺢ ﺗﻜﺎﻟﻴﻒ‬ ‫ ﻣﻦ ﺟﺎﻧﺒﻪ ﺗﻘﺪم ﻣﻜﺘﺐ‬.‫اﻟﻤﺸﺮوع‬ ‫اس اي ﺑﺎﻋﺘﺮاﺿﻪ ﻋﻠﻰ ﻫﺬا اﻟﻘﺮار‬ ‫ ذﻟﻚ ﺑﻌﺪم اﺳﺘﻼﻣﻪ اﻻوراق‬e‫ﻣﺒﺮر‬ ‫اﻻﺳﺎﺳﻴﺔ ﻣﻦ ﻗﺒﻞ ﻣﻄﺎر ﺑﺎﻧﻜﻮك‬ ‫ ان ﻣﻴﺰاﻧﻴﺔ ﻣﻘﺘﺮﺣﻪ ﺿﻤﻦ‬Z‫ﻣﻮﺿﺤ‬ .‫اﻟﻤﺒﻠﻎ اﻟﻤﺮﺻﻮد ﻟﻠﻤﺸﺮوع‬ ‫وﻓﻲ ﻧﻔﺲ اﻟﺴﻴﺎق اوﺿﺢ ﻣﻜﺘﺐ‬ ‫ﺑﻮﻧﺎج ﻋﺪم وﺟﻮد اي ﻓﺴﺎد ﻓﻲ ﻋﻤﻠﻴﺔ‬ ‫اﻟﺘﻘﺪﻳﻢ ﻟﻠﻤﺴﺎﺑﻘﺔ وان اﻟﻤﻜﺘﺐ‬ .‫ﻳﻘﺪم اﺳﻔﻪ ﻋﻠﻰ ﺧﺴﺎرة اﻟﻤﻨﺎﻓﺲ‬ ‫وﺗﺼﻞ اﻟﻄﺎﻗﺔ اﻻﺳﺘﻴﻌﺎﺑﻴﺔ‬ ‫ﻟﺼﺎﻟﺔ اﻟﺮﻛﺎب اﻟﺠﺪﻳﺪة ﻟﻤﻄﺎر‬ ‫ ﻣﻠﻴﻮن‬٣٠ ‫ﺳﻮﻓﺎرﻧﺒﻮﻣﻲ اﻟﻰ‬ ‫ﻣﺴﺎﻓﺮ ﺑﺎﻟﺴﻨﺔ وﻳﺘﻮﻗﻊ اﻓﺘﺘﺎح‬ .٢٠٢١ ‫اﻟﻤﻄﺎر ﻓﻲ ﻋﺎم‬

18 Albenaa

¡UM³« ±∏


l¹—UA*« —U³š√

3 Clever Pieces of Furniture Rewarded in an International Future Design Award

‫ﻓﺎزت ﺛﻼث ﻗﻄﻊ أﺛﺎث ﻣﻤﻴﺰة وﻣﺒﺘﻜﺮة ﻓﻲ ﻣﺴﺎﺑﻘﺔ اﻟﺘﺼﻤﻴﻢ‬ ‫ ﺗﻘﻮم اﻟﻤﺴﺎﺑﻘﺔ‬.‫ اﻟﺘﻲ ﺗﻤﻴﺰت ﺑﺘﺼﻤﻴﻤﻬﺎ اﻟﻤﺒﺘﻜﺮ واﻟﺬﻛﻲ‬،‫اﻟﺪوﻟﻴﺔ‬ ‫ﺑﺪﻋﻮة ﻃﻼب اﻟﺘﺼﻤﻴﻢ ﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ ﻟﺘﻘﺪﻳﻢ ﻣﻘﺘﺮﺣﺎﺗﻬﻢ‬ .‫ﺛﺎث وﺻﻨﺎﻋﺘﻪ‬8‫واﺑﺘﻜﺎراﺗﻬﻢ ﻓﻲ ﻣﺠﺎل ﺗﺼﻤﻴﻢ ا‬

© Jia Min Luo / Kang Tian / Yi Fei Zhong

The International Design Award competition rewarded three innovative and clever pieces of furniture that could find their place in our interiors in the near future. What will the furniture of the future look like? This is the answer to which the International Design Award competition tries to answer.

‫ﻗﻄﻊ أﺛﺎث ﻣﺒﺘﻜﺮة ﺗﻔﻮز‬٣ ‫ﻓﻲ ﻣﺴﺎﺑﻘﺔ ﺗﺼﻤﻴﻢ دوﻟﻴﺔ‬

Cabi Making it to the top was a smart furniture idea for children`s bedrooms that inspires children to play and clear up or which, later on, clears itself up so to speak with the aid of drones.

Cabi ‫ﻛﺎﺑﻲ‬

‫أﺛﺎث ﺗﻌﻤﻞ ﺑﻄﺎﺋﺮات اﻟﺪرون‬ ‫ﻃﻔﺎل ﻋﻠﻰ ﺗﺮﺗﻴﺐ اﻟﻌﺎﺑﻬﻢ‬8‫ﻛﺎﺑﻲ ﻫﻲ ﻗﻄﻌﺔ أﺛﺎث ذﻛﻴﺔ ﺗﺴﺎﻋﺪ ا‬ ‫ﻟﻌﺎب ﻫﻮ ﻟﻌﺒﺔ ﻓﻰ ﺣﺪ‬8‫ﺑﻤﺴﺎﻋﺪة ﻃﺎﺋﺮة ﻣﺴﻴﺮة ﺑﺤﻴﺚ ﻳﻌﺘﺒﺮ ﺗﺮﺗﻴﺐ ا‬ ‫ﺛﺎث ﻣﻦ أرﻓﻒ ﺗﺜﺒﺖ ﻋﻠﻰ اﻟﺠﺪران وﺗﺴﺘﺨﺪم‬8‫ ﺗﺘﻜﻮن ﻗﻄﻌﺔ ا‬، ‫ذاﺗﻬﺎ‬ . ‫ﻟﻌﺎب ﻓﻲ أﻣﺎﻛﻨﻬﺎ‬8‫اﻟﻄﺎﺋﺮات اﻟﻤﺴﻴﺮة اﻟﺪرون اﻟﺘﻲ ﺗﻘﻮم ﺑﻮﺿﻊ ا‬

© l³²¹ ®

20 Albenaa

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l¹—UA*« —U³š√

‫اﻟﺨﺰاﺋﻦ اﻟﻤﺘﺤﺮﻛﺔ‬

‫ﻛﺘﻞ ﺗﺘﺤﺮك ﻟﺘﻌﺪﻳﻞ‬ ‫اﺛﺎث‬ ‫ﺣﺎزت ﻫﺬه اﻟﻘﻄﻌﺔ اﻟﻨﻤﻮذﺟﻴﺔ ﻋﻠﻰ‬ ‫ وﻫﻲ ﻋﺒﺎرة ﻋﻦ‬،‫اﻟﻤﻴﺪاﻟﻴﺔ اﻟﻔﻀﻴﺔ‬ ‫ﺧﺰاﻧﺔ ﺗﻀﻢ وﺣﺪات ﻣﺘﺤﺮﻛﺔ ﻟﺘﻌﺪﻳﻞ‬ ‫ﺷﻜﻠﻬﺎ ﺑﻜﻞ ﺳﻬﻮﻟﺔ ﺣﺴﺐ رﻏﺒﺔ‬ ‫ﻋﻄﺎء ﻓﻜﺮة‬/ ‫ ﺗﻬﺪف‬،‫اﻟﻤﺴﺘﺨﺪم‬ .K‫اﻟﺘﺨﺰﻳﻦ ﻣﻔﻬﻮﻣ ﺟﺪﻳﺪ‬

Moving Cabinets

© Fangyuan Chen

Small cabinet elements, which can be moved, flexibly adjust to suit any chosen use, providing the storage space that happens to be needed.

PF ‫ﻛﺮﺳﻲ‬

‫أﺛﺎث ﻣﺘﻌﺪدة‬ ‫اﻟﻮﻇﺎﺋﻒ‬ ‫ﻳﻌﺪ ﻫﺬا اﻟﻜﺮﺳﻲ ﻣﺜﺎ ٍﻻ راﺋﻌ‬ ‫ ﻳﺴﺘﺨﺪم‬،‫ﻟﺘﺼﻤﻴﻢ ﺑﺴﻴﻂ وﻓﻌﺎل‬ ‫ﻫﺬا اﻟﻜﺮﺳﻲ ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻻﺳﺘﺨﺪاﻣﺎت ﺣﻴﺚ ﻳﻤﻜﻦ أن ﻳﻜﻮن‬ .‫ﺛﻨﻴﻦ ﻣﻌ‬/‫ﻛﺮﺳﻲ أو ﻃﺎوﻟﺔ أو ا‬

© Daniel Dierrmeier

Chair PF This piece of furniture is a veritable allrounder − it can be used as a chair or bench, high desk or table. Equally as simple as it is impressive.

22 Albenaa

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‫ﻛﻮخ اﻟﺸﺎﻃﺊ‬ The Spy Glass Beach Hut : ‫اﻟﻤﺼﻤﻢ‬ Architect: Jak Studio

‫ﻳﻘﻊ اﻟﻤﺸﺮوع ﻋﻠﻰ ﺷﻮاﻃﺊ‬ ،‫ﻣﺪﻳﻨﺔ إﻳﺴﺘﺒﻮرن ﻓﻲ إﻧﺠﻠﺘﺮا‬ ‫وﻗﺪ ﺣﺎز ﻋﻠﻰ ﺟﺎﺋﺰة ﻋﺎﻟﻤﻴﺔ‬ ‫ﻟﻠﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﺗﻬﺪف إﻟﻰ‬ ‫إﻧﺸﺎء ﻛﻮخ أﻳﻘﻮﻧﻲ ﻟﺸﺎﻃﺊ‬ ‫ اﺳﺘﻮﺣﻰ ﺗﺼﻤﻴﻢ‬.‫اﻟﻤﺪﻳﻨﺔ‬ ‫اﻟﻜﻮخ ﻣﻦ ﺷﻜﻞ اﻟﺪرﺑﻴﻞ‬ ‫ وﺗﺘﻤﺜﻞ اﻟﻔﻜﺮة‬،( ‫) اﻟﻤﻨﻈﺎر‬ ‫ﻓﻲ إﻧﺸﺎء ﻫﻴﻜﻞ ﻳﺤﺘﻮي ﻋﻠﻰ‬ ‫ﻛﻮاخ اﻟﺘﻘﻠﻴﺪﻳﺔ‬D‫ﺟﻤﻴﻊ أﻓﻜﺎر ا‬ ‫ ﺗﻢ إﻧﺸﺎء‬.‫وﻟﻜﻦ ﺑﺸﻜﻞ ﺟﺪﻳﺪ‬ ‫اﻟﻜﻮخ ﻋﻠﻰ ﻗﺎﻋﺪة داﺋﺮﻳﺔ ﻗﺎﺑﻠﺔ‬ ‫ درﺟﺔ ﺗﺴﻤﺢ ﺑﺪوران‬١٨٠ ‫ﻟﻠﺪوران‬ ‫ وﻳﻤﻜﻦ ﺗﺪوﻳﺮ‬،‫اﻟﻜﻮخ ﻛﺎﻟﻤﻨﻈﺎر‬ ‫اﻟﻘﺎﻋﺪة ﻣﻦ ﺧﻼل أﺟﻬﺰة ﺗﺤﻜﻢ‬ ‫ﻋﻦ ﺑﻌﺪ وإﺧﺘﻴﺎر إﻃﻼﻻت اﻟﻜﻮخ‬ ‫ ﻳﻀﻢ‬.‫ﺣﺴﺐ رﻏﺒﺔ اﻟﻤﺴﺘﺨﺪم‬ ‫اﻟﻜﻮخ ﺑﺎب ﺧﺸﺒﻲ وﺳﺮﻳﺮ وﺿﻊ‬ ‫ وﻳﺤﺘﻮي اﻟﺒﺎب ﻋﻠﻰ‬،‫ﻓﻮق اﻟﺒﺎب‬ .‫ﻧﺎﻓﺬﺗﻴﻦ ودش ﻓﻲ اﻟﺨﺎرج‬ ‫إﺳﺘﺨﺪﻣﺖ ﻓﻲ ﻫﺬا اﻟﻜﻮخ‬ ‫ﻛﻮاخ اﻟﺘﻘﻠﻴﺪﻳﺔ‬D‫ﻗﻴﺎﺳﺎت ا‬ ،‫ ﻣﺘﺮ‬٣ ‫ﻣﺘﺮ وﻃﻮل‬٢ ‫ﺑﻌﺮض‬ .‫ ﻣﺘﺮ‬٣ ‫وإرﺗﻔﺎع‬ t WKOK« …¡U{ù« UNO dNEð ŒuJK WHK² UDI JaK Studio completes its latest project the ‘Spy Glass’ beach hut in Eastbourne. The award-winning architectural and design practice is amongst five winners of an international architectural design competition to create iconic bespoke beach huts to rejuvenate the coast in Devonshire Ward. The idea for the ‘Spy Glass’ was to build a structure that has all the nostalgia of an original beach hut with a new physical form that would pay homage to the classic beach

hut – an iconic symbol of the British seaside. The Spy Glass is built on a recessed turntable allowing the transparent ‘picture window’ of the hut to be turned like traditional slot binoculars – this can be rotated in a 180-degree direction, via remote control, to face the sun, seascape or the bright lights of Eastbourne Pier, ‘reacting’ to daily life around it. At the promenade end of the hut, there is a timber clad entrance door with an overhang formed by the cantilevered daybed inside.

This cantilever has 2 port hole windows and an external shower head. The adaptability of the Spy Glass allows the hut can be used as a private beach hut. JaK Studio set about designing the beach hut using a combination of robust nautical materials. The hut sits on a heavy-duty vehicle turntable which enables it to rotate from east to west. The Spy Glass measurements are based on a traditional beach hut, with typical dimensions of 2 meters wide x 3 meters long x 3 meters high.

ŒuJK WOzUA½≈ qOUHð 24 Albenaa

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Multiply ‫ﺟﻨﺎح‬ ‫ ﻓﻲ‬Multiply ‫ ﺟﻨﺎح‬Waugh Thistleton ‫ﻗﺪم اﻟﻤﻬﻨﺪس اﻟﻤﻌﻤﺎري‬ ‫ وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻣﻜﻌﺒﺎت ﺧﺸﺒﻴﺔ وﺿﻌﺖ‬، V&A ‫ﻓﻨﺎء ﺧﺎرﺟﻲ ﻟﻤﺘﺤﻒ‬ ‫ﻓﻮق ﺑﻌﻀﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻋﺸﻮاﺋﻴﺔ ﺗﺮﺗﺒﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﺑﺴﻼﻟﻢ وﺗﻀﻢ‬ ‫ ﺣﻴﺚ ﻳﺴﺘﻄﻴﻊ اﻟﺰوار ﺧﻮض ﺗﺠﺮﺑﺔ‬، ‫ﻓﺘﺤﺎت ﻟﻠﺪﺧﻮل و اﻟﺨﺮوج ﻣﻨﻬﺎ‬ ‫ ﻳﻬﺪف اﻟﺠﻨﺎح إﻟﻰ اﻟﺘﻌﺒﻴﺮ ﻋﻦ أﻛﺒﺮ ﺗﺤﺪﻳﺎت اﻟﻌﺼﺮ‬. ‫اﻟﻤﺘﺎﻫﺔ ﻓﻲ اﻟﺠﻨﺎح‬ ‫وﻫﻲ اﻟﺤﺎﺟﺔ إﻟﻰ ﺳﻜﻦ وﺗﺤﺪي ﻣﻮاﺟﻬﺔ ﺗﻐﻴﺮات اﻟﻤﻨﺎخ ﻣﻦ ﺧﻼل ﻋﺮض‬ .‫ﺳﺘﺪاﻣﺔ ﻓﻲ اﻟﺘﺼﻤﻴﻢ و إﻣﻜﺎﻧﻴﺔ إﺧﺘﻴﺎر اﻟﻤﻮاد‬L‫ﻧﺪﻣﺎج وا‬L‫ﻧﻈﺎم ﻣﻦ ا‬ .‫ﻋﺎدة اﻟﺘﺪوﻳﺮ‬L ‫ﺗﻢ إﺳﺘﺨﺪم ﺑﻨﺎءاﻟﺠﻨﺎح ﻣﻦ اﻟﺨﺸﺐ اﻟﻘﺎﺑﻞ‬

Waugh Thistleton Architects: MultiPly Waugh Thistleton Architects and Arup have collaborated with the American Hardwood Export Council to create MultiPly, an interactive modular maze-like installation in The Sackler Courtyard at the V&A. The pavilion confronts two of the age’s biggest challenges – the need for housing and the urgency to fight climate change – and presents the fusion of modular systems and sustainable construction materials as a possible solution.

Dazzel - ‫اﻟﻤﺘﺄﻟﻖ‬ ‫رﺿﻴﺎت‬P‫ﺑﺘﻜﺎر ﺗﻢ ﺗﻐﻄﻴﺔ اﻟﺠﺪران وا‬L‫ ﻓﻲ اﺳﺘﻮدﻳﻮ ا‬V&A ‫داﺧﻞ ﻣﺘﺤﻒ‬ ‫ ﺣﻴﺚ اﺳﺘﻮﺣﻴﺖ اﻟﻔﻜﺮة ﻣﻦ ﻃﺮق‬، ‫ﺑﺄﻟﻮاح ﺻﻤﻤﺖ ﻛﻨﻮع ﻣﻦ اﻟﺘﻤﻮﻳﻪ‬ ‫ وﻛﺘﺒﺖ ﻋﻠﻰ‬.‫وﻟﻰ‬P‫اﻟﺘﻤﻮﻳﻪ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺴﺘﺨﺪم ﻓﻲ اﻟﺤﺮب اﻟﻌﺎﻟﻤﻴﺔ ا‬ .‫وﻟﻰ‬P‫ﻟﻮاح أﺑﻴﺎت ﻣﻦ ﻗﺼﻴﺪة أﻟﻔﺖ أﺛﻨﺎء اﻟﺤﺮب اﻟﻌﺎﻟﻤﻴﺔ ا‬P‫ﻫﺬه ا‬

Pentagram X 14 -18 NOW: Dazzle London Design Festival is collaborating with 14 -18 NOW, the UK’s arts programme for the First World War centenary - on a commissioned project inspired by the First World War concept of Dazzle.The Creative Studio at the V&A is being “dazzled” throughout the nine days of London Design Festival by design studio Pentagram in a commissioned project inspired by a type of experimental camouflage used during the First World War.

Fountain for London - ‫ﻧﺎﻓﻮرة ﻟﻨﺪن‬ ‫ﻧﻤﻮذج ﺟﺪﻳﺪ وﻣﺒﺘﻜﺮ ﻟﻨﺎﻓﻮرة ﺗﺴﺘﺨﺪم ﻟﺸﺮب اﻟﻤﻴﺎه وﺗﻘﻊ ﻓﻲ‬ ‫ إﺳﺘﻮﺣﻴﺖ ﻣﻦ ﻛﺜﺮة اﻟﻨﻮاﻓﻴﺮ ﻓﻲ‬V&A ‫اﻟﺴﺎﺣﺎت اﻟﺨﺎرﺟﻴﺔ ﻟﻤﺘﺤﻒ‬ ‫ وﺗﻌﺘﺒﺮ اﻟﻨﻮاﻓﻴﺮ ﻓﻲ ﻟﻨﺪن إﺿﺎﻓﺔ‬، ١٩ ‫ﻣﺪﻳﻨﺔ ﻟﻨﺪن ﻓﻲ ﻣﻨﺘﺼﻒ اﻟﻘﺮن ال‬ .‫ﻣﻜﺎن اﻟﻌﺎﻣﺔ واﻟﺘﻲ ﻳﻤﻜﻦ اﺳﺘﺨﺪام ﻣﻴﺎﻫﻬﺎ ﻟﻠﺸﺮب‬P‫ﺟﻤﻴﻠﺔ ﻓﻲ ا‬

Michael Anastassiades: A Fountain for London The London Fountain Company presents a prototype for a new drinking water fountain designed by Michael Anastassiades to be located in the Brompton Design District and at the V&A. The legacy project aims to revive the drinking fountain culture that has largely disappeared from the city’s public spaces.

27 Albenaa

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London Design Festival 2018 London Design Festival returns for the 16th year in 2018, celebrating 10 years at the V&A as the official Festival hub. London will be transformed with an inspiring programme of landmark projects, installations and events from 15-23 September 2018. London Design Festival’s vision is to celebrate and promote London as the design capital of the world

‫ ﻟﻠﺘﺼﻤﻴﻢ‬٢٠١٨ ‫ﻣﻬﺮﺟﺎن ﻟﻨﺪن‬ ‫اﺣﺘﻔﻞ ﻣﻬﺮﺟﺎن اﻟﺘﺼﻤﻴﻢ ﻓﻲ ﻟﻨﺪن ﻫﺬا اﻟﻌﺎم ﺑﻤﺮور ﻋﺸﺮ ﺳﻨﻮات ﻋﻠﻰ‬ ‫ ﻳﺠﻤﻊ اﻟﻤﻬﺮﺟﺎن‬،‫ ﻟﻴﻜﻮن ﻣﻘﺮ* ﻟﻪ‬V&A ‫ وﻗﺪ ﺗﻢ اﺧﺘﻴﺎر ﻣﺘﺤﻒ‬،‫اﻧﻌﻘﺎده‬ ‫ ﻳﻬﺪف‬.‫ﻣﺼﻤﻤﻴﻦ ﻣﻦ ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎﻟﻢ وﻳﻌﺮض أﻋﻤﺎﻟﻬﻢ وإﺑﺘﻜﺎراﺗﻬﻢ‬ ‫ﻣﻬﺮﺟﺎن ﻫﺬا اﻟﻌﺎم ﻳﻬﺪف أن ﺗﻜﻮن ﻣﺪﻳﻨﺔ ﻟﻨﺪن ﻣﻨﺼﺔ ﻟﻠﺘﺼﻤﻴﻢ ﻣﻦ ﺧﻼل‬ ‫ وﻧﺘﻨﺎول ﻫﻨﺎ‬.‫ﻋﺮض اﻟﺘﺼﺎﻣﻴﻢ داﺧﻞ اﻟﻤﺘﺤﻒ وﻓﻲ أﻣﺎﻛﻦ ﻣﺘﻔﺮﻗﺔ ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬ - : ‫ﺑﻌﺾ ﻣﻦ ﻣﺸﺎرﻳﻊ اﻟﻤﻬﺮﺟﺎن واﻟﺘﻰ ﻋﺮﺿﺖ ﻓﻲ أﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ ﻓﻲ ﻟﻨﺪن‬

: ‫ﻛﺮاﺳﻲ اﻟﺤﺮوف اﺑﺠﺪﻳﺔ‬ ‫ ﻛﺮﺳﻲ ﻣﻌﺪﻧﻲ‬٢٦ ‫ ﻣﺠﻮﻋﺔ ﻣﻦ‬Kellen berger-White ‫ﻗﺪم اﺳﺘﻮدﻳﻮ‬ ‫ﻧﺠﻠﻴﺰﻳﺔ ﻓﻲ ﺳﺎﺣﺔ‬I‫ﺣﺮف ا‬J‫ذات أﻟﻮان ﻣﺨﺘﻠﻔﺔ ﺻﻤﻤﺖ ﻋﻠﻰ ﺷﻜﻞ ا‬ ‫ ﺣﻴﺚ ﻳﻤﻜﻦ ﻟﻠﺰوار إﻛﺘﺸﺎف اﻟﻤﻌﺮوﺿﺎت واﻟﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ‬،‫ﻓﻨﺴﺒﺮي أﻓﻨﻴﻮ‬ .‫ﻓﻲ ﺗﺸﻜﻴﻞ ﻛﻠﻤﺎت ﺑﺈﺳﺘﺨﺪام اﻟﻜﺮاﺳﻲ‬

Kellenberger - White: Alphabet Known for their playful approach to typefaces, Kellenberger–White has designed a new series of alphabet chairs as a Landmark Project at Broadgate, supported by Festival Headline Partner British Land. Visitors are encouraged to explore, interact, move, and make words with the letters, which consist of 26 bespoke colourful alphabet chairs popping up in Finsbury Avenue Square. Each chair is in a different colour, chosen from a specialist paint manufacturer used for industrial metalwork – from International Orange (used for San Francisco’s Golden Gate Bridge) to Cornflower Blue (the colour of Middlesbrough’s Transporter Bridge).

26 Albenaa

¡UM³« ≤∂


¡UM³« w b¹b'« ¡UM³« w b¹b'«

‫ﻗﻮاﻟﺐ ﻟﺼﺐ‬ ‫اﻟﺨﺮﺳﺎﻧﺔ‬ PERI DUO Formwork System ‫ﻧﻈﺎم ﻗﻮاﻟﺐ ﻟﺼﺐ اﻟﺨﺮﺳﺎﻧﺔ ﻟﻌﻤﻞ‬ ‫اﻟﺠﺪران أو اﺳﺎﺳﺎت أو اﻋﻤﺪة أو‬ ‫ ﻳﺘﻤﻴﺰ اﻟﻨﻈﺎم‬.‫اﻟﺒﻼﻃﺎت واﻟﻌﻮارض‬ ‫ﺑﺨﻔﺔ وزﻧﻪ وﻗﻮﺗﻪ وﻳﻌﺘﺒﺮ ﻧﻈﺎم‬ .‫ﻣﺒﺘﻜﺮ وﻣﻄﻮر‬ ‫ﻛﻤﺎ ﻳﺘﻤﻴﺰ ﺑﺴﻬﻮﻟﺔ اﺳﺘﺨﺪاﻣﻪ ﻓﻲ‬ ‫ﻣﻮﻗﻊ اﻟﺒﻨﺎء ﻣﻤﺎ ﻳﻘﻠﻞ اﻟﺤﺎﺟﺔ إﻟﻰ‬ ‫ ﺑﺎ>ﺿﺎﻓﺔ‬، ‫راﻓﻌﺎت وﻧﻘﻞ إﻟﻰ اﻟﻤﻮﻗﻊ‬ ‫ وﺗﺘﻤﻴﺰ‬.‫إﻟﻰ اﻟﺘﻘﻠﻴﻞ ﻣﻦ اﻟﺘﻜﺎﻟﻴﻒ‬ ‫ﻫﺬه اﻟﻘﻮاﻟﺐ ﺑﺴﻬﻮﻟﺔ ﺗﺮﻛﻴﺒﻬﺎ دون‬ ،‫اﻟﺤﺎﺟﺔ إﻟﻰ أدوات أو ﻣﻬﺎرات ﺧﺎﺻﺔ‬ ‫ﻛﻤﺎ أﻧﻬﺎ ﺻﻨﻌﺖ ﻣﻦ ﻣﻮاد ﻗﺎﺑﻠﺔ‬ ‫ وﻫﻲ‬٪100 ‫>ﻋﺎدة اﻟﺘﺪوﻳﺮ ﺑﻨﺴﺒﺔ‬ ‫ ﺳﻢ‬60 ‫ﺗﺘﻜﻮن ﻣﻦ أﻟﻮاح ﺑﻄﻮل ﻣﻦ‬ ‫ ﻣﻘﺎﺳﺎت ﻣﺨﺘﻠﻔﺔ‬6‫ ﺳﻢ و‬135 ‫إﻟﻰ‬ ‫ ﺳﻢ‬90 ‫ ﺳﻢ إﻟﻰ‬15 ‫ﻟﻠﻌﺮض ﻣﺎﺑﻴﻦ‬ .‫وﻳﺮﺑﻂ اﻟﻮاح ﺑﺒﻌﻀﻬﺎ ﻣﺸﺎﺑﻚ‬ The lightweight formwork for walls, columns and slabs. DUO is the innovative system formwork featuring a very low weight and extremely simple handling. It is not only the material used that is innovative, but rather the entire concept. It allows for efficient forming of walls, columns and slabs using a minimum number of different system components. In addition to the panels including the formlining, most DUO accessories are made of innovative technopolymers. This newly developed material is extremely light and at the same time has a high load-bearing capacity. Apart from the material, the developers focussed on ensuring that the formwork system was easy to handle. Almost all operations with DUO can be carried out without tools, the working steps are easy to understand. Even less experienced users of system formwork are able to work with DUO quickly and efficiently. The fact that the majority of system components is used for walls, columns and slabs increases the performance additionally. www.duo.peri.com

29 Albenaa

¡UM³« ≤π

W½UÝd)« VB V«u ÂUE½

•±∞∞ d¹Ëb²« …œUŽù WKÐU œ«u «b²Ý«

Ê“u« nOHš ÂUE½

VOd²« qNÝ

ÂUEM« ¡«eł√ jÐd «b²Ýù« WKNÝ pÐUA


¡UM³« w b¹b'«

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫ﺳﻠﻢ ﻟﻤﻮاﻗﻊ اﻟﺒﻨﺎء‬ Escalib Mils

¡UM³« l«u* Escalib Miles rKÝ

‫ ﻫﻮ ﺳﻠﻢ ﺣﻠﺰوﻧﻲ‬Escalib Mils ‫ﻳﺘﻜﻮن ﻣﻦ ﻛﺘﻠﺔ وﻣﺨﺮج ﻣﻊ ﺟﻬﺔ‬ ‫ وﻳﺤﺘﻮي ﻋﻠﻰ ﻋﺘﺒﺎت ﻣﺜﻠﺜﺔ‬، ‫واﺣﺪة‬ ‫ ﻳﺘﻜﻮن اﻟﺴﻠﻢ‬. ‫ﺗﻌﻤﻞ ﻛﺤﺎﻣﻞ‬ ‫ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻮﺣﺪات اﻟﺘﻲ‬ ‫ﺗﺘﻤﻴﺰ ﺑﺴﻬﻮﻟﺔ ﺗﺮﻛﻴﺒﻬﺎ ﻣﻦ ﺧﻼل‬ ‫رض وﺗﺮﻛﻴﺐ‬7‫ﺗﺜﺒﻴﺖ اﻟﻘﺎﻋﺪة ﻋﻠﻲ ا‬ ‫ وﻳﻤﻜﻦ‬،‫ﺟﺰاء ﻋﻠﻰ اﻟﺘﻮاﻟﻲ‬7‫ﺑﺎﻗﻲ ا‬ ‫ ﻛﻤﺎ‬.‫ ﻣﺘﺮ‬20 ‫أن ﻳﺼﻞ إرﺗﻔﺎﻋﻪ إﻟﻰ‬ ‫ﻳﺘﻤﻴﺰ ﺑﺄﻧﻪ آﻣﻦ ﻓﻲ ﻣﻮاﻗﻊ اﻟﻌﻤﻞ‬ .‫ﻣﺎﻛﻦ اﻟﻀﻴﻘﺔ‬7‫وﻳﺘﻨﺎﺳﺐ ﻣﻊ ا‬ The Escalib Mills is a single-piece spiral staircase with side exit. The triangular step then acts as a bearing. All that is required is to orient the Escalib Mills so that one of the steps is at the same level as the area being serviced. Its small footprint and stackable modules (up to 20 metres) make installation easy – even on cramped sites. Advantages: - Easy and secure access (all levels are accessible without need for adaptation).- Quick to install and move.- Small footprint.- Only 3 different parts involved.- Can be fixed to the crane.- Robust and galvanised.

rK« U½uJ qOUHð

www.mils.fr

VÝUM*« l{u« oOI% …bŽUIK

rK« —u× VOdð

UUŽbUÐ qJON« XO³¦ð WKzU*« WO{«d²Žù«

W¹uKF« …bŠu« VOdð 28 Albenaa

¡UM³« ≤∏


—uJ¹b« w b¹b'«

‫ﻣﺼﺎﺑﻴﺢ إﺿﺎءة ﺑﻨﻘﻮش ﺷﺮﻗﻴﺔ‬ ‫ﻣﺼﺎﺑﻴﺢ إﺿﺎءة ﺑﺘﺼﺎﻣﻴﻢ ﻋﺼﺮﻳﺔ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﺘﺮاث‬ ‫ ﻣﻦ اﻟﻨﺤﺎس وﺗﻀﻢ ﻧﻘﻮش ﺷﺮﻗﻴﺔ‬%‫اﻟﻤﻐﺮﺑﻲ ﻣﺼﻨﻮﻋﺔ ﻳﺪوﻳ‬ ‫ ﺗﺘﻮﻓﺮ ﺑﻌﺪة أﺣﺠﺎم وأﺷﻜﺎل‬.‫ﺟﻤﻴﻠﺔ ﺗﻌﻜﺲ ﻇﻼل راﺋﻌﺔ‬ .‫وﻧﻘﻮش ﻣﺘﻌﺪدة‬

Moroccan Brass Lamp Lighting Moroccan Style Lighting Lamp in a tear drop shape. This Moroccan style lamp is handcrafted in Egypt by expert artisans. The Lamp body is made of brass with its silver plated detailing. It>s a beautiful traditional Moroccan Brass Lamp Lighting exclusively designed to enhance the quality of your home décor. Our unique Moroccan style lamp lighting will reflect amazing shade Lighting and easily improve any room atmosphere. www.ekenoz.com

WHK² rOUBðË ‘uIMÐ `OÐUB

31 Albenaa

¡UM³« ≥±


—uJ¹b« w b¹b'«

‫»اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺪﻳﻜﻮر‬ ‫اﻟﻤﺪار وﺣﺪات إﺿﺎءة‬ ‫وﺣﺪات إﺿﺎءة ﺗﻤﺜﻞ اﻟﺸﻤﺲ ﺑﻴﻨﻤﺎ اﻟﺤﺎﻣﻞ‬ ‫ ﻟﺬﻟﻚ‬. ‫ﻳﻤﺜﻞ ﻣﺴﺎر ﻣﺪارات اﻟﻜﻮاﻛﺐ ﺣﻮﻟﻬﺎ‬ ‫ وﻫﻲ وﺣﺪات ﻣﻌﻠﻘﺔ‬،‫اﻃﻠﻖ ﻋﻠﻴﻬﺎ اﺳﻢ اﻟﻤﺪار‬ ‫ اﻟﻜﺮة اﻟﺰﺟﺎﺟﻴﺔ ﺗﻤﺜﻞ اﻟﺸﻤﺲ‬.‫أو ﻟﻠﻄﺎوﻟﺔ‬ ‫ ﻳﻠﺘﻒ ﺣﻮﻟﻪ‬LED ‫وﺗﺤﺘﻮي ﻋﻠﻰ ﻣﺼﺒﺎح إﺿﺎءة‬ ‫إﻃﺎر ﻣﻌﺪﻧﻲ ﻳﻤﺜﻞ اﻟﻤﺪارات ﺣﻮل اﻟﺸﻤﺲ‬ ‫وﻳﻌﻤﻞ ﻋﻠﻰ ﺣﻤﺎﻳﺔ اﻟﻜﺮة اﻟﺰﺟﺎﺟﻴﺔ وﻛﺄﻧﻬﺎ‬ ‫ ﻳﺴﺘﺨﺪم ﻧﻈﺎم اﻟﺘﺤﻜﻢ اﻟﺮﻗﻤﻲ‬.‫داﺧﻞ ﻗﻔﺺ‬ ‫ ﻟﺘﺼﻤﻴﻢ ﻣﻨﺤﻨﻴﺎت اﻟﻐﻼف‬CNC ‫ﺣﺎﺳﻮب‬ ‫ﺑﻴﺾ‬M‫ وﻳﺘﻮﻓﺮ اﻟﻤﺼﺒﺎح ﺑﺎﻟﻠﻮﻧﻴﻦ ا‬.‫اﻟﻤﻌﺪﻧﻲ‬ .‫ﺳﻮد‬M‫وا‬

Orbit Light

ôËUDK —«b*« ÕU³B

oKF*« —«b*« ÕU³B

The Orbit pendant and table light were initially inspired by the planetary orbits around the sun. The sun in this case is a LED illuminated glass globe , encased by the metal frame work which serves to contain as well as protect the glass and light source while aesthetically giving context for the glass globe by emphasising its shape, as if the metal cage is gravitationally hanging off the globe while once again referencing the orbital trajectories around the sun. Made from CNC (Computer numerical control) bent steel wire, the fixture is available in a number of different finishes from black and white textured powder coat and decorative metal plating such as gold and Chrome.

www.lukaspeet.com

30 Albenaa

¡UM³« ≥∞


‫ اﻟﺤﻤﺎﻳﺔ ﻣﻦ اﻟﺴﻠﺒﻴﺎت اﻟﺒﻴﺌﻴﺔ اﻟﻤﺤﻴﻄﺔ ‪ :‬وﻳﺘﻀﻤﻦ ذﻟﻚ‬‫اﻟﻌﺰل اﻟﺤﺮاري واﻟﺼﻮﺗﻲ واﻟﺮﻳﺎح واﻻﻣﻄﺎر واﻟﺘﻠﻮﺛﺎت اﻟﻤﺨﺘﻠﻔﺔ‬ ‫ اﻟﺮﺑﻂ او اﻟﻌﺰل ﺑﻴﻦ اﻟﺪاﺧﻞ واﻟﺨﺎرج ‪ :‬وﺗﺘﻀﻤﻦ ﺗﻮﻓﻴﺮ‬‫ا‪4‬ﺿﺎءة واﻟﺘﻬﻮﻳﺔ اﻟﻄﺒﻴﻌﻴﺔ وا‪4‬ﻃﻼﻟﺔ ﻋﻠﻰ اﻟﺨﺎرج واﻟﻌﻴﺶ‬ ‫ﻓﻲ اﻟﺒﻴﺌﺔ اﻟﻄﺒﻴﻌﻴﺔ واﻟﺘﻮاﺻﻞ ﺑﻴﻦ اﻟﺴﻜﺎن ﻛﻤﺎ ﻳﻤﻜﻦ ان‬ ‫ﺗﻮﻓﺮ اﻟﺨﺼﻮﺻﻴﺔ اﻟﺒﺼﺮﻳﺔ واﻟﺼﻮﺗﻴﺔ ﻋﻨﺪ اﻟﺤﺎﺟﺔ ‪.‬‬ ‫ اﻟﺘﻌﺒﻴﺮ ﻋﻦ وﻇﻴﻔﺔ اﻟﻤﺒﻨﻰ ‪ :‬ﻓﻲ اﻟﺘﺎرﻳﺦ اﻟﻘﺪﻳﻢ ﻛﺎﻧﺖ‬‫واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ ﺗﺘﺸﺎﺑﻪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ إﺧﺘﻼف وﻇﺎﺋﻔﻬﺎ ‪ ،‬إﻧﺘﺒﻪ‬ ‫اﻟﻤﺼﻤﻤﻴﻦ ﻟﻬﺬه اﻟﻤﺸﻜﻠﺔ وﺑﺪأت اﻟﻮاﺟﻬﺎت ﺗﻌﺒﺮ ﻋﻦ‬ ‫وﻇﻴﻔﺔ او وﻇﺎﺋﻒ اﻟﻤﺒﻨﻰ وﺗﻄﻮر ﻫﺬا اﻟﺘﻮﺟﻪ ﺑﺤﻴﺚ اﺻﺒﺢ‬ ‫اﻟﻴﻮم ﻣﻄﻠﺒ‪ U‬أﺳﺎﺳﻴ‪ U‬ﻓﻲ اﻟﺘﺼﻤﻴﻢ ‪.‬‬ ‫ ﺗﺤﻘﻴﻖ ﻋﺎﻣﻞ اﻟﺠﺬب‪ :‬ﻫﻨﺎك ﻣﺒﺎﻧﻲ ﺗﺤﺘﺎج إﻟﻰ ان ﺗﻜﻮن‬‫ﺑﻤﻈﻬﺮ او ﺑﺘﺸﻜﻴﻼت ﺗﺠﺬب اﻟﺠﻤﻬﻮر إﻟﻴﻬﺎ ﻣﺜﻞ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﺠﺎرﻳﺔ او اﻟﺘﺮﻓﻴﻬﻴﺔ او اﻟﺜﻘﺎﻓﻴﺔ ﻣﺜﻞ ان ﺗﻜﻮن اﻟﻮاﺟﻬﺎت‬ ‫ﺷﻔﺎﻓﺔ ﺗﻤﺎﻣ‪ U‬ﻟﺘﺴﻤﺢ ﺑﺎﻟﺘﻌﺮف ﻋﻠﻰ ﻣﺎ ﺑﺪاﺧﻠﻬﺎ ﻣﻦ ﻣﺤﻼت‬ ‫ﺗﺠﺎرﻳﺔ او ﺗﺮﻓﻴﻬﻴﺔ او ﻳﻤﻜﻦ ان ﺗﻜﻮن واﺟﻬﺎت ﻟﻤﻜﺘﺒﺎت‬ ‫ﻋﺎﻣﺔ او ﻣﺘﺎﺣﻒ ﺗﻬﺪف اﻟﻰ ﺟﺬب اﻟﻤﺎرة ورﻓﻊ اﻟﻤﺴﺘﻮى‬ ‫اﻟﻤﻌﺮﻓﻰ واﻟﺜﻘﺎﻓﻲ ﻟﻠﺴﻜﺎن ‪.‬‬ ‫ ﺗﻤﻴﺰ اﻟﻤﺒﻨﻰ ‪ :‬ﻫﻨﺎك ﻣﺒﺎﻧﻲ ذات وﻇﺎﺋﻒ ﺳﺎﻣﻴﺔ او ﻫﺎﻣﺔ‬‫ﻣﺜﻞ اﻟﻤﺒﺎﻧﻲ اﻟﺪﻳﻨﻴﺔ او ذات اﻟﻮﻇﺎﺋﻒ اﻟﻮﻃﻨﻴﺔ او ان ﺗﻜﻮن‬ ‫ﺑﺤﺎﺟﺔ إﻟﻰ ان ﺗﻤﻴﺰ ﻧﻔﺴﻬﺎ ﻓﻰ اﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﺗﻘﻊ ﻓﻴﻬﺎ او‬ ‫ان ﺗﺘﻤﻴﺰ ﻋﻦ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ ‪.‬‬ ‫اﻟﻤﺸﺮوﻋﺎت اﻟﺘﻲ ﻳﺴﺘﻌﺮﺿﻬﺎ اﻟﻌﺪد ‪:‬‬ ‫ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض ﻋﺪد ﻣﻦ اﻟﻤﺸﺎرﻳﻊ اﻟﻤﻜﺘﺒﻴﺔ‬ ‫اﻟﺤﺪﻳﺜﺔ ﻟﻤﻜﺎﺗﺐ ﻣﻌﻤﺎرﻳﺔ ﻋﺎﻟﻤﻴﺔ وإذا ﻛﻨﺎ ﻗﺪ ﺗﻨﺎوﻟﻨﺎﻫﺎ ﻣﻦ‬ ‫ﺣﻴﺚ ا‪f‬ﻓﻜﺎر اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﻤﺨﺘﻠﻔﺔ اﻟﺘﻲ ﺗﺘﻀﻤﻨﻬﺎ إﻻ أﻧﻨﺎ‬ ‫ﻓﻲ ﻫﺬه اﻟﻤﻘﺪﻣﺔ ﻧﺮﻳﺪ ان ﻧﺮﻛﺰ ﻋﻠﻰ ﺗﺼﻤﻴﻢ واﺟﻬﺎﺗﻬﺎ ‪،‬‬ ‫وﻫﺬا ﻟﻦ ﻳﻠﻐﻲ إﺳﺘﻌﺮاﺿﻨﺎ ﻟ‪g‬ﻓﻜﺎر اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺸﺎرﻳﻊ ‪f‬ن‬ ‫اﻟﻮاﺟﻬﺎت ﻫﻲ اول واﻛﺜﺮ اﻟﻌﻨﺎﺻﺮ اﻟﻤﻌﻤﺎرﻳﺔ ﺗﻌﺒﻴﺮ‪ i‬ﻋﻨﻬﺎ ‪.‬‬ ‫اﻟﻤﺸﺮوع ا‪f‬ول ﻫﻮ ﺑﺮج ﻣﻜﺘﺒﻲ ﻓﻲ ﻣﺪﻳﻨﺔ ﻣﺎرﺳﻴﻠﻴﺎ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ ﻣﻦ ﺗﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﺟﺎن ﻧﻮﻓﻞ ‪ .‬اﻟﺘﺼﻤﻴﻢ‬ ‫ﻳﺮﻛﺰ ﻋﻠﻰ اﻟﺠﻮاﻧﺐ اﻟﻔﻨﻴﺔ اﻟﺠﻤﺎﻟﻴﺔ اوﻻ ﺑﻬﺪف ﺗﻤﻴﻴﺰ اﻟﺒﺮج‬ ‫ﻋﻦ ا‪f‬ﺑﺮاج اﻟﺘﻲ ﺑﺪأت ﺗﻈﻬﺮ ﻓﻰ ﺳﻤﺎء اﻟﻤﺪﻳﻨﺔ وﻳﺴﺘﻠﻬﻢ‬ ‫ﺗﺼﻤﻴﻢ واﺟﻬﺎﺗﻪ ﻣﻦ اﻟﺮﻣﻮز اﻟﻮﻃﻨﻴﺔ اﻟﻔﺮﻧﺴﻴﺔ ﻓﺄﻃﻠﻖ‬ ‫ﻋﻠﻰ اﻟﺒﺮج إﺳﻢ اﻟﻤﺎرﺳﻴﻴﺰ وﻫﻮ اﻟﻨﺸﻴﺪ اﻟﻮﻃﻨﻰ اﻟﻔﺮﻧﺴﻲ‬ ‫اﻟﺤﺎﻟﻲ وﻛﺎﻧﺖ ﻣﺎرﺳﻴﻠﻴﺎ اول ﻣﺪﻳﻨﺔ ﺗﻐﻨﺖ ﺑﻪ أﺑﺎن اﻟﺜﻮرة‬ ‫اﻟﻔﺮﻧﺴﻴﺔ ﻓﻲ اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﺸﺮ اﻟﻤﻴﻼدي ‪ .‬ﻛﻤﺎ إﺳﺘﺨﺪم‬ ‫اﻟﻤﺼﻤﻢ أﻟﻮان اﻟﻌﻠﻢ اﻟﻔﺮﻧﺴﻲ ) ا‪f‬ﺣﻤﺮ وا‪f‬ﺑﻴﺾ وا‪f‬زرق (‬ ‫ﺑﻄﺮﻳﻘﺔ ﻣﺪرﺟﺔ ﻓﻲ واﺟﻬﺎت اﻟﺒﺮج ‪.‬‬ ‫اﻟﻤﺸﺮوع اﻟﺜﺎﻧﻰ ﻫﻮ ﻣﺸﺮوع ﻣﻘﺮ ﺷﺮﻛﺔ اﻟﻄﺎﻗﺔ اﻟﻜﻮرﻳﺔ‬ ‫ﻟﻤﻜﺘﺐ )‪ (BIG‬ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع ﻳﺘﺒﻨﻰ ﺣ ًﻼ ﻓﻨﻴ‪ U‬ﺟﻤﺎﻟﻴ‪U‬‬ ‫ﻛﺬﻟﻚ ‪ .‬ﻓﻤﻦ ﺧﻼل ﻋﻤﻠﻴﺔ ﻧﺤﺘﻴﺔ ﻟﻮاﺟﻬﺎت ﺑﺮﺟﻴﻦ ﻣﺘﺠﺎورﻳﻦ‬ ‫ﻳﻤﻜﻦ اﻟﻨﻈﺮ اﻟﻴﻬﻤﺎ ﻋﻠﻰ أﻧﻬﻤﺎ ﻓﻲ ا‪f‬ﺻﻞ ﻛﺎﻧﺎ ﻋﺒﺎرة ﻋﻦ‬

‫ﻛﺘﻞ ﻟﻤﺴﺘﻄﻴﻼت ﻣﺘﻮازﻳﺔ ا‪f‬ﺿﻼع ذات ﺧﻄﻮط إﻧﺴﻴﺎﺑﻴﺔ‬ ‫رأﺳﻴﺔ وﺑﻌﻤﻠﻴﺔ ﺗﺸﻜﻴﻞ ﻧﺤﺘﻲ ﺗﻢ ﻋﻤﻞ ﻧﺘﻮؤات وﺷﻄﻔﺎت‬ ‫ﻣﻨﺤﻨﻴﺔ ﻓﻲ اﻟﻜﺘﻞ ﺗﺘﺒﻌﻬﺎ اﻟﺨﻄﻮط اﻟﺮأﺳﻴﺔ ﻟﺘﺤﻘﻖ‬ ‫اﻟﻤﻈﻬﺮ ا‪4‬ﻧﺴﻴﺎﺑﻲ اﻟﺴﺎﺋﻞ ﻟﻠﻮاﺟﻬﺎت ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﻌﻤﻞ‬ ‫اﻟﺸﻄﻔﺎت واﻟﻨﺘﻮؤات ﻋﻠﻰ ﻋﻤﻞ ﻓﺘﺤﺎت واﺳﻌﺔ ﺗﺴﻤﺢ‬ ‫ﺑﺘﻮﻓﻴﺮ إﻃﻼﻟﺔ ﺧﺎرﺟﻴﺔ وإﺿﺎءة وﺗﻬﻮﻳﺔ ﻃﺒﻴﻌﻴﺔ ﻟﻠﻤﺴﺎﺣﺎت‬ ‫اﻟﺘﻲ ﺗﺨﺪﻣﻬﺎ‪.‬‬ ‫اﻟﻤﺸﺮوع اﻟﺜﺎﻟﺚ ﻫﻮ ﻣﺸﺮوع ﻣﺘﻌﺪد ا‪4‬ﺳﺘﻌﻤﺎﻻت ﻟﻤﻜﺘﺐ‬ ‫)‪ . (Foster & Partner‬ﻳﺘﻜﻮن ﻣﻦ ﺑﺮﺟﻴﻦ وﻓﻀﺎءات ﻋﺎﻣﺔ‬ ‫ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﺪور ا‪f‬رﺿﻲ ‪ .‬ﺑﺸﻜﻞ ﻋﺎم ﺗﺘﻤﻴﺰ ﻋﻤﺎرة ﻫﺬا‬ ‫اﻟﻤﻜﺘﺐ ﺑﺎﻟﺤﻠﻮل اﻟﺘﻘﻨﻴﺔ واﻟﺘﻲ ﺗﻈﻬﺮ ﺑﻬﺎ اﻟﻮاﺟﻬﺎت ‪،‬‬ ‫ﻓﺘﺼﻤﻴﻤﻬﺎ ﻫﻨﺎ ﻟﻴﺲ ﻓﻨﻴ‪ U‬ﺟﻤﺎﻟﻴ‪ U‬ﺑﻞ ﻳﺘﺒﻊ اﻟﺤﻞ اﻟﺘﻘﻨﻲ‬ ‫اﻟﺬي ﻳﻬﺘﻢ ﺑﺘﺤﻘﻴﻖ اﻟﻨﻮاﺣﻲ اﻟﺒﻴﺌﻴﺔ ‪ .‬وﻟﺬﻟﻚ ﺗﺒﺪو‬ ‫اﻟﻮاﺟﻬﺎت اﻟﻤﺰدوﺟﺔ ﻓﻲ اﻟﻮاﺟﻬﺎت اﻟﺘﻲ ﺗﺘﻌﺮض ‪f‬ﺷﻌﺔ‬ ‫اﻟﺸﻤﺲ ﺑﻴﻨﻤﺎ اﻟﻮاﺟﻬﺎت ا‪f‬ﺧﺮى ﺗﺮﻛﺖ زﺟﺎﺟﻴﺔ ﻧﺼﻒ ﺷﻔﺎﻓﺔ‪.‬‬ ‫اﻟﻤﺸﺮوع اﻟﺮاﺑﻊ ﻫﻮ ﺑﺮج ﻣﻜﺘﺒﻲ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ‬ ‫)‪ . (Arquitectonica‬اﻟﻤﺸﺮوع ﻋﺒﺎرة ﻋﻦ ﻛﺘﻞ ﻋﻠﻰ ﻫﻴﺌﺔ‬ ‫ﺷﺮاﺋﺢ ﻣﺘﻼﺻﻘﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﻟﻜﻨﻬﺎ ﻟﻴﺴﺖ ﻛﺘﻞ ﻣﺴﺘﻘﻴﻤﺔ‬ ‫ﺑﻞ ﺗﻨﺤﺮف ﻋﻦ اﻟﻘﺎﺋﻤﺔ ﻛﻤﺎ ﺗﻢ ﺗﺼﻐﻴﺮ ﻣﺴﺎﺣﺘﻬﺎ ﻓﻲ‬ ‫وﺳﻄﻬﺎ‪ .‬اﻟﻬﻴﺌﺔ اﻟﻌﺎﻣﺔ ﻟﻠﺒﺮج ﺗﺒﺪو دﻳﻨﺎﻣﻴﻜﻴﺔ وﺗﻤﻴﺰ اﻟﺒﺮج‬ ‫ﻋﻦ ا‪f‬ﺑﺮاج اﻟﻤﺠﺎورة ‪ .‬واﺟﻬﺎت اﻟﻤﺸﺮوع زﺟﺎﺟﻴﺔ ﻧﺼﻒ ﺷﻔﺎﻓﺔ‬ ‫ﺑﺤﻴﺚ ﺗﻈﻬﺮ ﻛﺘﻞ اﻟﺒﺮج اﻟﻤﺘﻼﺻﻘﺔ ﺷﺒﻪ ﻣﺼﻤﺘﺔ ‪.‬‬ ‫اﻟﻤﺸﺮوع اﻟﺨﺎﻣﺲ ﻫﻮ ﻣﺒﻨﻰ ﻟ‪g‬ﺑﺤﺎث واﻟﺘﻄﻮﻳﺮ ﻟﻤﺠﻤﻮﻋﺔ‬ ‫ﺗﻨﺘﺞ ﻣﻨﺴﻮﺟﺎت ﻣﻦ اﻟﻨﺎﻳﻠﻮن وﻣﻨﺘﺠﺎت أﺧﺮى ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬ ‫ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ )‪ .(Morphosis‬ﺗﻌﺒﺮ اﻟﻮاﺟﻬﺔ اﻟﺮﺋﻴﺴﻴﺔ‬ ‫ﻓﻲ اﻟﻤﺸﺮوع ﻋﻦ وﻇﻴﻔﺔ اﻟﻤﺠﻤﻮﻋﺔ ﺣﻴﺚ اﻧﻬﺎ واﺟﻬﺔ‬ ‫ﻣﺰدوﺟﺔ وﺗﺘﻜﻮن ﻣﻦ واﺟﻬﺔ زﺟﺎﺟﻴﺔ ﺗﺤﻤﻴﻬﺎ واﺟﻬﺔ ﻣﻜﻮﻧﺔ‬ ‫ﻣﻦ وﺣﺪات ﺗﻢ ﺗﺼﻨﻴﻌﻬﺎ ﻓﻲ اﻟﻤﺠﻤﻮﻋﺔ ﺑﺤﻴﺚ ﺗﺴﻤﺢ‬ ‫اﻟﻮاﺟﻬﺔ ﺑﻌﺮض ﻣﻨﺘﺠﺎت اﻟﻤﺠﻤﻮﻋﺔ ﻋﻠﻴﻬﺎ وﻟﺘﻈﻬﺮ ﻣﺪى‬ ‫ﺻﻼﺑﺔ وﺗﺤﻤﻞ ﻫﺬه اﻟﻤﻨﺘﺠﺎت ﻟﻠﻌﻮاﻣﻞ اﻟﺨﺎرﺟﻴﺔ اﻟﻤﺨﺘﻠﻔﺔ‪.‬‬ ‫اﻟﻤﺸﺮوع اﻟﺴﺎدس ﻫﻮ ﻣﺒﻨﻰ ﻳﻌﺮض ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ‬ ‫ﻟ‪x‬ﻳﺠﺎر ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ ﻟﻤﻌﻤﺎري ﺑﺪء ﻳﺬﻳﻊ ﺻﻴﺘﻪ ﻓﻲ‬ ‫ا‪f‬وﺳﺎط اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻌﺎﻟﻤﻴﺔ وﻫﻮ اﻟﻤﻌﻤﺎري ﻛﺮﻳﺴﺘﻴﺎن‬ ‫ﻛﻴﺮﻳﺰ‪ .‬وﺗﺘﻤﻴﺰ ﻋﻤﺎرﺗﻪ ﺑﺎﻟﺘﺼﻤﻴﻢ اﻟﺘﺠﺮﻳﺪي ﻟﻠﻤﺒﺎﻧﻲ إﻟﻰ‬ ‫اﺑﻌﺪ اﻟﺤﺪود‪ .‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻫﻨﺎ ﺗﺤﺎول ان ﺗﺮﺑﻂ اﻟﺨﺎرج‬ ‫ﺑﺎﻟﺪاﺧﻞ ﻣﻦ ﺧﻼل ﺗﺠﺮﻳﺪ اﻟﺤﻮاﺋﻂ اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺒﻨﻰ اﻟﺘﻲ‬ ‫وﺿﻌﺖ ﺧﻠﻒ ا‪f‬ﻋﻤﺪة ﻟﺘﺼﺒﺢ ﺑﻤﻈﻬﺮ واﺣﺪ ﻣﻦ اﻟﺪاﺧﻞ‬ ‫واﻟﺨﺎرج‪ ،‬ﻛﻤﺎ ﺗﻈﻬﺮ ﺷﺒﻜﺎت ا‪f‬ﻋﻤﺪة ﻓﻲ اﻟﺨﺎرج واﻟﺪاﺧﻞ‬ ‫ﻓﻲ آن واﺣﺪ ﺗﻌﺒﻴﺮ‪ i‬ﻋﻦ إﺳﺘﻤﺮارﻳﺔ اﻟﺸﺒﻜﺔ ﺧﺎرج ﺣﺪود إﻃﺎر‬ ‫اﻟﻤﺒﻨﻰ ‪ ،‬ﻛﻞ ذﻟﻚ ﻳﺘﻢ ﻓﻘﻂ ﻣﻦ ﺧﻼل ﺗﻮﻇﻴﻒ ﻧﻈﺎم إﻧﺸﺎﺋﻲ‬ ‫ﻣﺒﺴﻂ )ﺷﺒﻜﺔ اﻋﻤﺪة ﻧﻤﻄﻴﺔ‪ ،‬ﺣﻮاﺋﻂ ﺣﺮة ﺗﺮﻛﺖ ﻛﻠﻬﺎ‬ ‫ﻋﺎرﻳﺔ ﺑﺪون اى ﺗﻐﻄﻴﺎت ﺧﺎرﺟﻴﺔ( ‪ .‬ﻳﺘﻢ اﻟﺘﻨﻮع اﻟﺸﻜﻠﻲ ﻣﻦ‬ ‫ﺧﻼل ﺗﻐﻴﻴﺮ اﻟﺨﻠﻄﺎت اﻟﺨﺮﺳﺎﻧﻴﺔ واﻟﻨﻈﺎم اﻟﺒﻨﺎﺋﻲ ا‪4‬ﻧﺸﺎﺋﻲ‬ ‫ﻟﻠﻬﻴﻜﻞ ﺑﺤﻴﺚ ﻳﺤﻘﻖ ﺣﻞ إﻧﺸﺎﺋﻲ وإﻗﺘﺼﺎدي ﻟﻠﻤﺒﻨﻰ ‪.‬‬

‫‪¡UM³« ≥μ‬‬

‫‪35 Albenaa‬‬


‫اﻟﺘﻮﺟﻬﺎت‬ ‫اﻟﺤﺪﻳﺜﺔ ﻓﻲ‬ ‫ﺗﺼﻤﻴﻢ واﺟﻬﺎت‬ ‫اﻟﻤﺒﺎﻧﻲ‬ ‫إﻋﺪاد ‪ :‬اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا أﺑﺎ اﻟﺨﻴﻞ‬

‫اﻟﻤﻘﺪﻣﺔ ‪:‬‬ ‫اﻟﻤﺸﺎرﻳﻊ ‪:‬‬ ‫ﺑﺮج ﻳﻌﺒﺮ ﻋﻦ اﻟﺤﺮﻳﺔ‬ ‫‪La Marseillaise‬‬ ‫اﻟﻤﺼﻤﻢ ‪Ateliers Jean Nouvel :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﺎرﺳﻴﻠﻴﺎ‪ ،‬ﻓﺮﻧﺴﺎ‬

‫‪34‬‬ ‫‪36‬‬

‫واﺟﻬﺎت ﻧﺤﺘﻴﺔ ﻣﺴﺘﺪاﻣﺔ‬ ‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ ﻟﺸﺮﻛﺔ ﺷﻨﺰن ﻟﻠﻄﺎﻗﺔ‬ ‫‪Shenzhen Energy Headquarter‬‬ ‫اﻟﻤﺼﻤﻢ ‪BIG :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺷﻨﺰن‪ ،‬اﻟﺼﻴﻦ‬

‫‪44‬‬

‫ﺗﻄﻮﻳﺮ ﻟﺤﻲ أﺧﻀﺮ ﻣﺘﻌﺪد ا‪L‬ﺳﺘﻌﻤﻼت‬ ‫‪South Beach‬‬ ‫اﻟﻤﺼﻤﻢ ‪Foster + Partners :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﻨﻐﺎﻓﻮرا‬

‫‪52‬‬

‫ﻛﺘﻞ ﻣﻜﺘﺒﻴﺔ ﺑﺈﻧﺤﺮاﻓﺎت ﺗﺸﻜﻴﻠﻴﺔ‬ ‫‪Landmark East Office Development‬‬ ‫اﻟﻤﺼﻤﻢ‪Arquitectonica :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻫﻮﻧﺞ ﻛﻮﻧﺞ ‪ ،‬اﻟﺼﻴﻦ‬

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‫ﻣﺮﻛﺰ ﻟ‪y‬ﺑﺤﺎث واﻟﺘﻄﻮﻳﺮ‬ ‫‪Kolon One‬‬ ‫اﻟﻤﺼﻤﻢ‪Morphosis :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﺠﻮك‪ ،‬ﻛﻮرﻳﺎ اﻟﺠﻨﻮﺑﻴﺔ‬

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‫ﺗﺠﺮﻳﺪ ﻳﺪﻣﺞ اﻟﺪاﺧﻞ ﺑﺎﻟﺨﺎرج‬ ‫‪Office Building Lyon‬‬ ‫‪Confluence Îlot A3‬‬ ‫اﻟﻤﺼﻤﻢ‪Christian Kerez :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻟﻴﻮن‪ ،‬ﻓﺮﻧﺴﺎ‬

‫‪70‬‬

‫‪¡UM³« ≥¥‬‬

‫‪34 Albenaa‬‬

‫ﺷﻜﻠﺖ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻰ ﻋﻠﻰ ﻣﺮ اﻟﺰﻣﻦ ﻣﺠﺎﻻً واﺳﻌ‬ ‫ﻟﻠﺘﻄﻮﻳﺮ واﻟﺒﺤﺚ ﻓﺘﺎرة ﻳﺘﺒﻨﻰ اﻟﻤﻌﻤﺎرﻳﻮن زﺧﺮﻓﺘﻬﺎ وﺗﺎرة‬ ‫ﻳﻘﻮﻣﻮن ﺑﺘﺠﺮﻳﺪﻫﺎ ﺗﻤﺎﻣﺎ‪.‬‬ ‫ﻓﻲ اﻟﻌﺼﻮر اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻘﺪﻳﻤﺔ ﻛﺎن ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ ﻳﺮﻛﺰ‬ ‫ﻋﻠﻰ اﻟﻮاﺟﻬﺎت وﻳﻬﺘﻢ ﺑﺰﺧﺮﻓﺘﻬﺎ ﺛﻢ ﺗﻐﻴﺮ اﻻﻣﺮ ﻓﺘﻢ اﻟﺘﺮﻛﻴﺰ‬ ‫ﻋﻠﻰ اﻟﻤﺴﺎﻗﻂ أوﻻً ﺧﺎﺻﺔ ﺑﻌﺪ إﺳﺘﺤﺪاث اﻟﺘﻌﻠﻴﻢ اﻟﻤﻌﻤﺎرى‪.‬‬ ‫وﻣﻊ اﻟﺘﻮﺟﻬﺎت اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺤﺪﻳﺜﺔ أي ﻣﻨﺬ ﺑﺪاﻳﺔ اﻟﻘﺮن‬ ‫اﻟﻌﺸﺮﻳﻦ ﺟﺮدت اﻟﻮاﺟﻬﺎت ﺗﻤﺎﻣ ﻣﻦ اﻟﺰﺧﺎرف ﺣﻴﺚ ﺳﺎد‬ ‫ا‪L‬ﻋﺘﻘﺎد اﻟﻤﻌﻤﺎرى ﺑﺎﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺣﻞ ﻣﺸﺎﻛﻞ ﺗﺼﻤﻴﻢ‬ ‫ﻣﺨﺘﻠﻔﺔ إﻋﺘﺒﺮت أﻫﻢ ﻣﻦ زﺧﺮﻓﺔ اﻟﻮاﺟﻬﺎت ‪ .‬وﺗﺮﻛﺰ ا‪L‬ﻫﺘﻤﺎم‬ ‫ﻋﻠﻰ ﺗﺤﺮﻳﺮ اﻟﻮاﺟﻬﺎت ﺑﺈﻟﻐﺎء دورﻫﺎ ا‪L‬ﻧﺸﺎﺋﻲ واﻟﺒﻴﺌﻲ؛‬ ‫ﻓﺎﻧﻔﺼﻠﺖ اﻟﻮاﺟﻬﺎت ﻋﻦ اﻟﻨﻈﺎم ا‪L‬ﻧﺸﺎﺋﻰ وﺗﻢ إﺑﺘﻜﺎر‬ ‫واﺟﻬﺎت ﺣﺪﻳﺜﺔ ﻫﻰ اﻟﻮاﺟﻬﺎت اﻟﺴﺘﺎﺋﺮﻳﺔ )‪(Curtain Wall‬‬ ‫وﺗﻢ ا‪L‬ﻋﺘﻤﺎد ﻋﻠﻰ اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ ﻣﻦ وﺳﺎﺋﻞ ﺗﻜﻴﻴﻒ‬ ‫وﺗﺪﻓﺌﺔ ‪ .‬وﺗﺤﻮل اﻟﺘﻘﻴﻴﻢ اﻟﺠﻤﺎﻟﻲ ﻟﻠﻮاﺟﻬﺎت اﻟﺬي ﻛﺎن‬ ‫ﻳﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺰﺧﺮﻓﺔ اﻟﻔﻨﻴﺔ إﻟﻰ ا‪L‬ﻋﺘﻤﺎد ﻋﻠﻰ اﻟﺤﻠﻮل‬ ‫ا‪L‬ﻗﺘﺼﺎدﻳﺔ واﻟﺘﻘﻨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ واﻟﺒﻴﺌﻴﺔ ﻟﺘﺼﻤﻴﻢ اﻟﻮاﺟﻬﺎت ‪،‬‬ ‫ﺑﺤﻴﺚ اﺻﺒﺢ ﻳﻨﻈﺮ إﻟﻰ اﻟﺤﻮاﺋﻂ اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺒﺎﻧﻰ ﻟﻴﺲ ﻋﻠﻰ‬ ‫أﻧﻬﺎ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ وإﻧﻤﺎ ﻋﻠﻰ أﻧﻬﺎ اﻟﻐﻼف اﻟﺨﺎرﺟﻰ ﻟﻬﺎ ‪.‬‬ ‫ﻓﻲ اﻟﺴﺒﻌﻴﻨﻴﺎت اﻟﻤﻴﻼدﻳﺔ أدرك اﻟﻌﺎﻟﻢ أﻧﻪ ﻳﻮاﺟﻪ ﻣﺸﺎﻛﻞ‬ ‫إﻗﺘﺼﺎدﻳﺔ وﺑﻴﺌﻴﺔ ﻛﺒﻴﺮة ﺗﻜﻤﻦ ﻓﻲ إرﺗﻔﺎع اﺳﻌﺎر اﻟﻄﺎﻗﺔ‬ ‫وﺿﺮورة اﻟﺒﺤﺚ ﻋﻦ ﺣﻠﻮل ﻓﻌﺎﻟﺔ ﻟﺘﻮﻓﻴﺮ إﺳﺘﻬﻼﻛﻬﺎ ﻓﻲ‬ ‫اﻟﻤﺒﺎﻧﻲ وﺿﺮورة اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺒﻴﺌﺔ ‪ ،‬ا‪a‬ﻣﺮ اﻟﺬي أدى إﻋﺎدة‬ ‫اﻟﻨﻈﺮ ﻓﻲ اﻟﻤﺒﺎﻧﻲ ﺑﺸﻜﻞ ﻋﺎم وﻓﻲ اﻟﻮاﺟﻬﺎت ﺑﺸﻜﻞ ﺧﺎص‬ ‫ﻛﻮﻧﻬﺎ ﺗﻤﺜﻞ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ﻟﻠﻤﺒﺎﻧﻲ ‪ ،‬ﻓﻈﻬﺮت اﻟﻮاﺟﻬﺎت‬ ‫اﻟﻤﺰدوﺟﺔ ﻣﺜﻞ ﺗﻠﻚ اﻟﺘﻲ ﺗﺘﻜﻮن ﻣﻦ واﺟﻬﺔ زﺟﺎﺟﻴﺔ وأﺧﺮى‬ ‫ﺗﺤﻤﻲ ا‪a‬وﻟﻰ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ ﻛﻤﺎ ﻇﻬﺮت اﻟﻮاﺟﻬﺎت‬ ‫اﻟﻤﺰروﻋﺔ ﺑﺪاﻓﻊ زﻳﺎدة اﻟﺮﻗﻌﺔ اﻟﻤﺴﺎﺣﻴﺔ اﻟﺨﻀﺮاء ﻓﻲ اﻟﻤﺪن‬ ‫ﺑﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ دورﻫﺎ اﻟﻌﺎزل ﻟﻠﺤﺮارة وﺗﺤﺴﻴﻦ وﺳﺎﺋﻞ اﻟﻌﺰل‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ‪.‬‬ ‫اﻟﻴﻮم ﺗﻤﺮ اﻟﻮاﺟﻬﺎت ﺑﻤﺮﺣﻠﺔ ﺟﺪﻳﺪة ﺗﺘﻌﺎﻳﺶ ﻓﻴﻬﺎ ﻛﻞ‬ ‫اﻟﺤﻠﻮل اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﻤﺘﺎﺣﺔ ﺟﻨﺒ اﻟﻰ ﺟﻨﺐ اﻟﺰﺧﺮﻓﻴﺔ او‬ ‫اﻟﻮﻇﻴﻔﻴﺔ او اﻟﺒﻴﺌﻴﺔ اﻟﺘﻲ ﻳﺘﺒﻨﻬﺎ اﻟﻤﻌﻤﺎرﻳﻴﻦ ﻛﻞ ﺣﺴﺐ‬ ‫ﻣﻮﻗﻔﻪ ﻣﻦ اﻟﻌﻤﺎرة وﻳﺮﺟﻊ ذﻟﻚ اﻟﻰ اﻟﺜﻮرة اﻟﺘﻘﻨﻴﺔ اﻟﺘﻲ‬ ‫ﺳﻤﺤﺖ ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ ﺗﺤﻘﻴﻖ ﻛﻞ ا‪a‬ﻓﻜﺎر اﻟﺘﺼﻤﻴﻤﻴﺔ ﺳﻮاء‬ ‫ﻋﻠﻰ ﻣﺴﺘﻮى أﻧﻈﻤﺔ او ﻣﻮاد اﻟﺒﻨﺎء‪ .‬ﻓﻬﻨﺎك اﻟﻮاﺟﻬﺎت‬ ‫اﻟﻤﺘﺤﺮﻛﺔ اﻟﺘﻰ ﻳﻤﻜﻦ ﺗﺤﺮﻳﻚ ﻋﻨﺎﺻﺮﻫﺎ ﺣﺴﺐ إﺗﺠﻬﺎت‬ ‫اﻟﺸﻤﺲ وﻫﻨﺎك اﻟﻤﻮاد اﻟﺘﻲ ﻳﻤﻜﻦ أن ﺗﻐﻴﺮ ﻣﻦ ﻃﺒﻴﻌﺘﻬﺎ‬ ‫ﺑﻬﺪف ﺗﺤﺴﻴﻦ ﻋﺰل اﻟﻤﺒﺎﻧﻲ ﺑﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ إﺳﺘﺨﺪام ﺗﻘﻨﻴﺎت‬ ‫ﻣﺜﻞ إﺿﺎءة اﻟﻮاﺟﻬﺎت ﺑﻨﻈﺎم ) ‪ ( LED‬واﻟﻤﻮاد اﻟﺨﻔﻴﻔﺔ‬ ‫اﻟﺸﻔﺎﻓﺔ واﻟﻌﺎزﻟﺔ ﻓﻰ آن واﺣﺪ ) ‪ ( ETFE‬واﻟﻘﺎﺋﻤﺔ ﺗﺰداد ﻳﻮﻣﺎ‬ ‫ﺑﻌﺪ ﻳﻮم ‪ .‬اﻻﻣﺮ اﻟﺬي دﻓﻊ اﻟﻰ إﻣﻜﺎﻧﻴﺔ ﺗﺤﻘﻴﻖ اﻟﻮاﺟﻬﺎت‬ ‫ﻟﻌﺪد ﻛﺒﻴﺮ ﻣﻦ اﻟﻮﻇﺎﺋﻒ ﻓﻲ آن واﺣﺪ وﻫﻮ ﻓﻰ ﺣﺪ ذاﺗﻪ‬ ‫ﺗﻮﺟﻪ إﻗﺘﺼﺎدي ﻧﺎﺟﺢ ﻣﺜﻞ ‪-:‬‬


тАля║Ся║о╪м я╗│я╗Мя║Тя║о я╗Ля╗ж ╪зя╗Яя║дя║оя╗│я║ФтАм тАлтАкLa MarseillaiseтАмтАм тАл╪зя╗Яя╗дя║╝я╗дя╗в тАк:тАмтАм тАлтАкArchitect : Ateliers Jean NouvelтАмтАм тАл╪зя╗Яя╗дя╗оя╗Чя╗К тАк :тАмя╗гя║О╪▒я║│я╗┤я╗ая╗┤я║О тАк ╪МтАмя╗Уя║оя╗зя║┤я║ОтАм

тАл╪зя╗Яя╗дя║┤я║Оя║гя║Ф ╪зя╗╗я║Яя╗дя║Оя╗Яя╗┤я║Ф тАк 46╪М767 :тАм┘ЕтАк2тАмтАм тАл╪зя╗зя║Шя╗мя║О╪б я╗гя╗ж ╪зя╗Яя║Шя╗ия╗Фя╗┤я║м тАк 2018 :тАм┘ЕтАм тАл╪е╪▒я║Чя╗Фя║О╪╣ ╪зя╗Яя╗дя║Тя╗ия╗░ тАк 135 :тАм┘ЕтАм

тАля╗Яя╗дя║╕я║Оя╗ля║к╪й я╗Ля╗дя╗ая╗┤я║Ф ╪зя╗Яя║Тя╗ия║О╪б ╪зя╗Яя║Шя╗оя║Яя╗к ╪ея╗Яя╗░ ╪зя╗Яя║о╪зя║Ся╗ВтАк:тАмтАм тАлтАкwww.youtube.com/watch?v=Voic6pEqPQsтАмтАм

тАля╗гя║оя╗Ыя║░ я╗Ля╗ая╗░ ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я╗гя╗ж ╪зя╗Яя╗ия╗о╪зя║гя╗▓ ╪зя╗Яя║ая╗дя║Оя╗Яя╗┤я║Ф я╗│я╗Шя╗о┘Д ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘КтАм тАля║Яя║О┘Ж я╗зя╗оя╗Уя╗Ю я╗гя║╝я╗дя╗в я╗ля║м╪з ╪зя╗Яя║Тя║о╪м ╪зя╗Яя╗дя╗Ья║Шя║Тя╗▓ ╪зя╗Яя║ая║кя╗│я║к ╪░┘И ╪зя╗Яя╗дя║┤я║Оя║гя║О╪ктАм тАл╪зя╗Яя╗дя╗Ья║Шя║Тя╗┤я║Ф ╪зя╗Яя╗дя║оя╗зя║Ф тАк ┬╗ :тАмя╗│я║╕я║ая╗К ╪гя║╗я║дя║О╪и ╪зя╗Яя╗Шя║о╪з╪▒ я╗Ля╗ая╗░ я║Ся╗ия║О╪б ╪зтАк0тАмя║Ся║о╪з╪м ╪░╪з╪ктАм тАл╪зя╗Яя╗Ья║Ья║Оя╗Уя║Ф ╪зя╗Яя║┤я╗Ья╗ия╗┤я║Ф ╪зя╗Яя╗Мя║Оя╗Яя╗┤я║Ф я╗Уя╗▓ я╗гя║о╪зя╗Ыя║░ ╪зя╗Яя╗дя║к┘Ж я╗Яя╗ая║дя║кя╗гя╗ж я║Чя╗оя║│я╗К ╪зя╗Яя╗дя║к┘ЖтАм тАл┘И ╪зя╗Яя║Шя╗Шя╗ая╗┤я╗Ю я╗гя╗ж ╪з>я╗Ля║Шя╗дя║О╪п я╗Ля╗ая╗░ ╪зя╗Яя║┤я╗┤я║О╪▒╪з╪к тАк ╪МтАмя╗Ыя╗дя║О ╪г┘Ж ╪зтАк0тАмя║Ся║о╪з╪м я╗│я╗дя╗Ья╗ж ╪г┘ЖтАм тАля╗╗ я║Чя║╕я╗Ья╗Ю я╗Ля║Р╪б я╗Ля╗ая╗░ я║╖я║Тя╗Ья║О╪к ╪зя╗Яя╗дя║о╪зя╗Уя╗Ц ╪зя╗Яя║Шя║дя║Шя╗┤я║Ф ┘И╪зя╗Яя╗ия╗Шя╗Ю ╪зя╗Яя╗Мя║О┘ЕтАк.тАмтАм тАля╗гя╗дя║О я╗│я║ая╗Мя╗ая╗мя║О я╗гя║Тя║Оя╗зя╗▓ я╗гя║┤я║Шя║к╪зя╗гя║Ф я║Ся╗Ья╗Ю я╗гя║О я║Чя╗Мя╗ия╗┤я╗к ╪зя╗Яя╗Ья╗ая╗дя║Ф тАк .тАмя╗Уя╗▓тАм тАл╪зя╗Яя║дя╗Шя║Тя║Ф ╪зтАк0тАмя║зя╗┤я║о╪й я╗Зя╗мя║о я╗Уя╗▓ я║│я╗дя║О╪б я╗гя║кя╗│я╗ия║Ф я╗гя║О╪▒я║│я╗┤я╗ая╗┤я║О тАк 4тАм╪гя║Ся║о╪з╪мтАк ╪МтАм╪г┘Ия╗Яя╗мя║ОтАм тАля║Ся║о╪м я╗Яя╗дя╗Ья║Шя║Р ╪▓я╗ля║О я║гя║кя╗│я║к ┘Ия║Чя║Тя╗Мя╗к тАк 3тАм╪гя║Ся║о╪з╪м я╗гя╗ия╗мя╗в ╪ея║Ыя╗ия║О┘Ж я╗гя║ия║╝я║╝я║О┘ЖтАм тАля╗Яя╗ая║┤я╗Ья╗жтАк ╪МтАм╪гя╗гя║О ╪зя╗Яя║Ья║Оя╗Яя║Ъ я╗Уя╗мя╗о я╗ля║м╪з ╪зя╗Яя║Тя║о╪м ╪зя╗Яя║ая║кя╗│я║ктАк .тАмя║Чя║Шя║╕я║Оя║Ся╗к я╗Ыя║Ья╗┤я║о я╗Ля╗дя║О╪▒╪йтАм тАл╪зтАк0тАмя║Ся║о╪з╪м я║гя╗о┘Д ╪зя╗Яя╗Мя║Оя╗Яя╗в ╪ея╗╗ ╪г┘Ж я╗Ля╗дя║О╪▒╪зя║Чя╗мя║О я╗Яя╗в я║Чя╗ия║ая║в тАк -тАмя╗Уя╗▓ я║Ся╗Мя║╛ ╪зтАк0тАмя║гя╗┤я║О┘ЖтАм тАл я╗гя╗ж я║Чя╗дя╗┤я╗┤я║░ ╪зя╗Яя╗дя║к┘Ж я╗Ля╗ж я║Ся╗Мя╗Ая╗мя║О ╪зя╗Яя║Тя╗Мя║╛ тАк ╪МтАм╪ея╗зя╗мя║О я╗гя║Тя║Оя╗зя╗░ ╪░╪з╪к я║гя║ая╗втАмтАля╗гя║Жя║Ыя║о ┘Ия╗Яя╗Ья╗ия╗мя║О я║Чя║ия╗Фя╗Ц я╗Уя╗▓ я║Чя║дя║кя╗│я║к я╗ля╗оя╗│я║Ф ╪зя╗Яя╗дя║кя╗│я╗ия║Ф ┬л тАк.тАмтАм тАл┘Ия╗зя║Шя╗┤я║ая║Ф я╗Яя╗мя║м╪з ╪зя╗Яя║Шя╗Мя║оя╗│я╗Т ┘Ия╗ля║м┘З ╪з>я╗Ля║Шя║Тя║О╪▒╪з╪к ╪зя╗Яя╗ия╗Шя║кя╗│я║Ф я╗│я╗Шя╗о┘Д я╗зя╗оя╗Уя╗ЮтАк:тАмтАм тАл┬╗ я╗Ыя║О┘Ж я╗Ля╗ая╗▓ я║Чя╗Шя║кя╗│я╗в я║г ┘Ля╗╝ я╗│я╗дя╗┤я║░ ╪зя╗Яя║Тя║о╪м я╗Ля╗ж ╪зтАк0тАмя║Ся║о╪з╪м ╪зтАк0тАмя║зя║о┘Й я╗Уя╗▓ я║│я╗дя║О╪бтАм тАл╪зя╗Яя╗дя║кя╗│я╗ия║Ф ╪Ы я║г ┘Ля╗╝ я╗гя║┤я║Шя╗ая╗мя╗д_ я╗гя╗ж ╪зя╗Яя╗дя║Оя║┐я╗▓ ╪зя╗Яя╗оя╗Гя╗ия╗▓ я╗Яя╗ая╗дя║кя╗│я╗ия║Ф тАк ╪МтАмя║г ┘Ля╗╝ я╗гя║Шя║Дя║Ыя║отАм тАля╗Ыя║мя╗Яя╗Ъ я║Ся║ая╗Ря║о╪зя╗Уя╗┤я║О ╪зя╗Яя╗дя╗Ья║О┘Ж ╪Ы ╪зя╗Яя║оя╗│я║О╪н ╪зя╗Яя║Тя║дя║оя╗│я║Ф ╪зя╗Яя║╕я║кя╗│я║к╪й ┘И ╪зя╗Яя║╕я╗дя║▓тАм тАл╪зя╗Яя║┤я║Оя╗Гя╗Мя║Ф тАк .тАмя╗│я║оя║│я╗в ╪зя╗Яя║Тя║о╪м я╗Зя╗╝я╗╗┘Л я║зя╗Фя╗┤я╗Фя║Ф я╗Уя╗▓ я║│я╗дя║О╪б ╪зя╗Яя╗дя║кя╗│я╗ия║Ф я╗гя╗жтАм тАля║зя╗╝┘Д я╗ля╗ия║кя║│я║Ф я║гя║┤я║Оя║Ся╗┤я║Ф я╗гя╗Мя╗Шя║к╪й тАк ╪МтАмя╗Яя╗┤я╗дя║░╪м ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся╗┤я╗ж ╪зя╗Яя╗ия╗Шя╗┤я║кя╗│я╗ж ╪ЫтАм тАл╪зя╗Яя╗дя║Тя║┤я╗В ┘И╪зя╗Яя╗дя╗Мя╗Шя║ктАк ╪МтАмя║Ся║дя╗┤я║Ъ я╗│я╗Ия╗мя║о ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя║ия║О╪▒я║Яя╗▓ ┘Ия╗Ыя║Дя╗зя╗к я╗Яя╗оя║гя║ФтАм тАля╗Уя╗ия╗┤я║Ф я╗Пя╗┤я║о я╗гя╗Ья║Шя╗дя╗ая║Ф я╗Яя╗Фя╗ия║О┘Ж я╗╗я╗│я║Тя║Оя╗Яя╗▓ я╗гя║О ╪е╪░╪з я╗Ыя║Оя╗зя║Ц я╗Яя╗оя║гя║Шя╗к я╗Чя║к ╪ея╗Ыя║Шя╗дя╗ая║ЦтАм тАл╪г┘Е я╗╗ тАк ╪МтАмя║Ся╗┤я╗ия╗дя║О я║Чя║Шя║о┘Г ╪зя╗Яя╗дя║┤я║Оя║гя║О╪к ╪зя╗Яя║Тя╗┤я╗Ая║О╪б ┘И ╪зя╗Яя║ия╗Дя╗о╪╖ ╪зя╗Яя╗Ия║Оя╗ля║о╪йтАм тАля╗Яя╗ия║┤я╗┤я║ая╗мя║О я╗гя║ая║Оя╗╗┘Л я╗Яя║ия╗┤я║О┘Д ╪зя╗Яя╗дя║╕я║Оя╗ля║к я╗Яя╗┤я╗Ья╗дя╗ая╗мя║О┬лтАк .тАм┘Ия╗│я╗Шя╗о┘Д я╗зя╗оя╗Уя╗Ю тАк:тАмтАм тАл┬╗я╗Яя╗Шя║к ╪гя╗Гя╗ая╗Шя║Ц я╗Ля╗ая╗░ ╪зя╗Яя╗дя║╕я║о┘И╪╣ ╪ея║│я╗в ╪зя╗Яя╗дя║оя║│я╗┤я╗ая╗┤я║Ф )╪зя╗Яя╗ия║╕я╗┤я║к ╪зя╗Яя╗оя╗Гя╗ия╗▓тАм тАл╪зя╗Яя╗Фя║оя╗зя║┤я╗▓ ╪зя╗Яя║м┘К я║Чя║Дя╗Яя╗Т я╗Уя╗▓ я╗гя║О╪▒я║│я╗┤я╗ая╗┤я║О( я║Чя╗Мя║Тя╗┤я║о я╗Ля╗ж ╪зя╗Яя║дя║оя╗│я║Ф ╪зя╗Яя║Шя╗▓ я╗│я║Шя╗дя║Шя╗КтАм тАля║Ся╗мя║О ╪зя╗Яя║Тя║о╪м я╗Уя╗▓ ╪пя║зя╗о┘Д ╪зя╗Яя╗Ая╗о╪б ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗▓ ┘И ╪зя╗Яя║дя║оя╗Ыя║Ф ╪зтАк0тАмя╗Уя╗Шя╗┤я║Ф ┘И ╪зя╗Яя║о╪гя║│я╗┤я║ФтАм тАл┘И╪з>╪▒я║Чя╗Фя║О╪╣ )╪з>╪▒я║Чя╗Шя║О╪б( я╗зя║дя╗о ╪зя╗Яя║┤я╗дя║О╪бтАк ╪МтАмя╗Ыя╗дя║О я║Чя╗Ья╗дя╗ж я╗гя║Шя╗Мя║Ф ╪зя╗Яя╗Мя╗┤я║╢ я╗Уя╗▓тАм тАл╪зтАк0тАмя║Ся║о╪з╪м я╗Уя╗▓ ╪зя╗Яя║дя║оя╗│я║Ф ╪зя╗Яя║Шя╗▓ я║Чя╗оя╗Уя║оя╗ля║О я╗Яя║┤я╗Ья║Оя╗зя╗мя║О я╗гя╗ж я║гя╗┤я║Ъ ╪ея╗Гя╗╝я╗Яя║Шя╗мя║ОтАм тАл╪зя╗Яя╗Мя╗ая╗оя╗│я║Ф ╪зя╗Яя╗Мя║оя╗│я╗Ая║Ф ┘И╪зя╗Яя║╕я╗Мя╗о╪▒ я║Ся║О>╪▒я║Чя║Тя║О╪╖ я║Ся║Оя╗Яя╗Ря╗╝┘Б ╪зя╗Яя║ая╗о┘К┬лтАк.тАмтАм тАл╪ея║│я║Шя║ия║к┘Е я╗зя╗оя╗Уя╗Ю ╪зтАк0тАмя╗Яя╗о╪з┘Ж я╗Уя╗▓ ╪зя╗Яя╗о╪зя║Яя╗мя║О╪к ╪зя╗Яя╗дя╗Ья╗оя╗зя║Ф я╗гя╗ж я║╖я║Тя╗Ья║ФтАм тАля╗гя║Шя╗Мя║Оя╗гя║к╪й я╗гя╗ж я╗Ыя║Оя║│я║о╪з╪к ╪зя╗Яя║╕я╗дя║▓ я╗Яя╗┤я║оя╗гя║░ ╪ея╗Яя╗░ я╗ля╗оя╗│я║Ф ╪зя╗Яя╗дя╗Ья║О┘ЖтАк .тАмя╗Уя║ОтАк0тАмя╗Яя╗о╪з┘ЖтАм тАля║Чя║Шя║Дя╗Яя╗Т я╗гя╗ж ╪зтАк0тАмя║Ся╗┤я║╛ ┘И╪зтАк0тАм╪▓╪▒┘В ┘И╪зтАк0тАмя║гя╗дя║о ┘Ия╗ля╗▓ ╪гя╗Яя╗о╪з┘Ж ╪зя╗Яя╗Мя╗ая╗в ╪зя╗Яя╗Фя║оя╗зя║┤я╗▓тАм тАля║Чя╗Мя║Тя╗┤я║о я╗Ля╗ж ╪зя╗Яя╗мя╗оя╗│я║Ф ╪зя╗Яя╗оя╗Гя╗ия╗┤я║Ф ┘И╪п┘И╪▒ ╪зя╗Яя╗дя║кя╗│я╗ия║Ф ╪гя║Ся║О┘Ж ╪зя╗Яя║Ья╗о╪▒╪й ╪зя╗Яя╗Фя║оя╗зя║┤я╗┤я║ФтАм тАл╪зя╗Яя╗дя║╕я╗мя╗о╪▒╪йтАк ╪МтАмя╗Ыя╗дя║О я╗│я╗дя║Ья╗Ю ╪зя╗Яя╗ая╗о┘Ж ╪зтАк0тАм╪▓╪▒┘В я║│я╗дя║О╪б ╪зя╗Яя╗дя║кя╗│я╗ия║Ф я║Ся╗┤я╗ия╗дя║О я╗│я╗дя║Ья╗ЮтАм тАл╪зя╗Яя╗ая╗о┘Ж ╪зтАк0тАмя║Ся╗┤я║╛ ╪зя╗Яя╗Ря╗┤я╗о┘Е ┘И╪зтАк0тАмя╗Уя╗Ц ╪зя╗Яя║Тя╗Мя╗┤я║ктАк ╪МтАм╪гя╗гя║О ╪зтАк0тАмя║гя╗дя║о я╗Уя╗┤я╗дя║Ья╗Ю ╪гя╗Яя╗о╪з┘ЖтАм тАля╗Чя║оя╗гя╗┤я║к ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓ ╪зя╗Яя╗дя║дя╗┤я╗Дя║Ф тАк.тАмтАм

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© Michele Clavel

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From the Architect Report: It is so they don’t spread out too much, and can cut down on daily transportation, that big cities incorporate high-rise buildings – towers – close to their centre. They use existing transport and service infrastructures and that way we discover quite naturally that they are sustainable and urban in all senses of those two terms. This finding explains the birth, by the sea in the bosom of Mediterranean Europe, of a tall family made up of different towers. The eldest has been visible on the skyline for some years already, Zaha Hadid having conceived it for CMA CGM. Following in the footsteps of this first beacon, three other lofty figures have now emerged. Junior and the baby of the family, drafted by Jean-Baptiste Piétri and Yves Lion, offer ʺfull-dazzling-views-overlooking-the-seaʺ apartments. The third, big sister, has her own ambition, which is to see that the locals get down to work in the Phoenician sky. My role, it seems, is to endow her with a beautiful gene pool! Towers, all the world over, look too alike. Often they appear interchangeable and could be anywhere. Too rarely do they add character to their cities. They are tall but anonymous. Sleek parallelepipeds, they reflect a great deal behind their all-too-shiny curtain walls. Informed by this awareness and these critical considerations, I propose a tower that’s a one-off. Her ambition is clearly to be part of the dense Mediterranean sea air. She flaunts her desire to play with the sun, draw shadows in the sky… Only, flimsy shadows, simple geometries that sow the seeds of complex mathematical games… And yes, always this coupling of simplicity and complexity… I picture this tower. I talk about her. I call her ʺThe Marseillaiseʺ. But don’t worry, she isn’t belligerent… She may be concrete, but the concrete is dis-armoured – light concrete, fiber concrete – light as an unfinished architectural drawing… The kind you can see on a computer screen that use only strokes, lines… This is the work of a fairly happy-go-lucky architect who just can’t decide how to finish the thing! Ah yes, the beauty of the sketch, of the painting that opts to leave a bit of canvas showing… An absence that turns into yet another province of the imagination… She would like to be a hymn to light, my Marseillaise: a step, a stairway, a ladder leading to overhead bridges to, or in, the sky. The pleasures of towers are linked to those of the belvedere and also to the feeling of being part of the atmosphere… Of being both within and without… Within in the mists, in the rain or in the slightly murky dark… Without when the glass disappears and all that remains is a mathematical field punctuated by dashes of shadow and light, with sunbreakers becoming indistinguishable from the ceiling, the same colors passing from the inside to the outside all the better to blur and erase the transparent physical boundary of the glass. Lights and colors interact and if ʺThe Marseillaiseʺ is only too happy to be red-white-and-blue, she will swap France blue for sky blue, royal white for the impure white of the horizon or the odd cloud, blood red for the ochre reds and brick reds of the surrounding roofs and walls. Seen from the outside, she hopes to stamp her lines on the Marseilles sky, mix up transparencies and reflections, occupy this piece of the sky criss-crossed with a few pale shadows and pearly lights, with trees and characters that we’re never sure really exist since they’re up there in heaven.

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© Michele Clavel

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© Chao Zhang

tÐ WDO;«Ë WIDM*«Ë ŸËdALK ÂUŽ dEM 45 Albenaa

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‫واﺟﻬﺎت ﻧﺤﺘﻴﺔ ﻣﺴﺘﺪاﻣﺔ‬

‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ‬ ‫ﻟﺸﺮﻛﺔ ﺷﻨﺰن‬ ‫ﻟﻠﻄﺎﻗﺔ‬

‫‪Shenzhen Energy Headquarter‬‬

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : BIG‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺷﻨﺰن‪ ،‬اﻟﺼﻴﻦ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪96،000 :‬م‪2‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬ ‫ارﺗﻔﺎع ‪:‬اﻟﺒﺮج اﻟﺸﻤﺎﻟﻰ ‪ 220‬م‬ ‫اﻟﺒﺮج اﻟﺠﻨﻮﺑﻰ ‪120‬م‬

‫ﻫﺬا اﻟﻤﺸﺮوع اﻟﺘﻄﻮﻳﺮي اﻟﻤﻜﺘﺒﻲ اﻟﺬي ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ‬ ‫‪96000‬م‪ 2‬ﻫﻮ اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ ﻟﺸﺮﻛﺔ اﻟﻄﺎﻗﺔ اﻟﺤﻜﻮﻣﻴﺔ‬ ‫ﻟﻤﺪﻳﻨﺔ ﺷﻨﺰن اﻟﺼﻴﻨﻴﺔ ‪ .‬ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ إﻧﺪﻣﺎج‬ ‫اﻟﻤﺒﻨﻰ ﻣﻊ اﻟﺴﻴﺎق اﻟﺜﻘﺎﻓﻲ واﻟﺴﻴﺎﺳﻲ وﻣﺠﺎل ا‪8‬ﻋﻤﺎل‬ ‫ﻓﻲ ﻣﺮﻛﺰ اﻟﻤﺪﻳﻨﺔ ‪ ،‬ﺑﺤﻴﺚ ﻳﻤﺜﻞ ﻣﻌﻠﻤ@ إﺟﺘﻤﺎﻋﻴ@ إﺳﺘﺪاﻣﻴ@‬ ‫ﺷﺎﺧﺼ@ ﻋﻠﻰ ﻣﺤﺎور اﻟﺤﺮﻛﺔ اﻟﺮﺋﻴﺴﺔ ﻟﻠﻤﺪﻳﻨﺔ ‪ .‬ﻳﺮاﻋﻲ ﺣﺠﻢ‬ ‫وإرﺗﻔﺎع اﻟﻤﺒﻨﻰ أﻧﻈﻤﺔ اﻟﻤﺨﻄﻂ اﻟﻌﺎم ﻟﻠﻤﻨﻄﻘﺔ اﻟﻤﺮﻛﺰﻳﺔ‬ ‫ﻟﻠﻤﺪﻳﻨﺔ ‪ ،‬وﻳﺘﻜﻮن اﻟﺘﻄﻮﻳﺮ ﻣﻦ ﺑﺮﺟﻴﻦ ﻳﺮﺗﻔﻌﺎن ﻋﻠﻰ‬ ‫اﻟﺘﻮاﻟﻲ ‪٢٢٠‬م ﻟﻠﺒﺮج اﻟﺸﻤﺎﻟﻲ و‪120‬م ﻟﻠﺒﺮج اﻟﺠﻨﻮﺑﻲ ﻋﻠﻰ‬ ‫ﻗﺎﻋﺪة ﺑﻨﺎﺋﻴﺔ ﺗﺮﺑﻂ ﺑﻴﻨﻬﻤﺎ ﻣﻦ ا‪8‬ﺳﻔﻞ وﺗﺮﺗﻔﻊ ‪34‬م وﺗﺤﺘﻮي‬ ‫ﻋﻠﻰ أﺑﻬﻴﺔ ا‪W‬ﺳﺘﻘﺒﺎل اﻟﺮﺋﻴﺴﺔ وﻣﺮﻛﺰ ﻣﺆﺗﻤﺮات وﻛﺎﻓﻴﺘﺮﻳﺎ‬ ‫وﻣﺴﺎﺣﺎت ﻋﺮض ‪ ،‬ﻳﺸﻜﻞ اﻟﺒﺮﺟﻴﻦ وا‪8‬ﺑﺮاج اﻟﻤﺠﺎورة ﺧﻂ‬ ‫ﺳﻤﺎء ﻣﻤﻮج ﻓﻲ ﻣﺪﻳﻨﺔ ﺷﻨﺰن ‪ .‬ﺻﻤﻢ ﻏﻼف اﻟﺒﺮﺟﻴﻦ ﻋﻠﻰ‬ ‫ﺷﻜﻞ واﺟﻬﺎت ﻣﻤﻮﺟﺔ ﺗﻬﺪف إﻟﻰ اﻟﺘﻤﻴﺰ ﻋﻦ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺰﺟﺎﺟﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﻠﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ اﻟﻤﺠﺎورة ‪.‬‬ ‫وﻣﻦ ﺧﻼل إﺣﺪاث إﻧﺒﻌﺎﺟﺎت ﻓﻲ ﻏﺸﺎء اﻟﻮاﺟﻬﺎت اﻟﺨﺎرﺟﻴﺔ‪،‬‬ ‫ﺗﻨﻘﺴﻢ اﻟﻮاﺟﻬﺎت إﻟﻰ ﻣﺴﺎﺣﺎت ﺷﺮﻳﻄﻴﺔ ﻣﻔﺘﻮﺣﺔ وأﺧﺮى‬ ‫ﻣﺼﻤﺘﺔ وﺑﺤﻴﺚ ﻳﺘﺮواح ﻣﻈﻬﺮ اﻟﻮاﺟﻬﺎت ﺑﻴﻦ اﻟﺸﻔﺎﻓﺔ ﺗﺎرة‬ ‫واﻟﻤﺼﻤﺘﺔ ﺗﺎرة أﺧﺮى ﺣﺴﺐ إﺗﺠﺎه اﻟﺰاوﻳﺔ اﻟﺘﻲ ﻳﻨﻈﺮ ﻣﻨﻬﺎ‪.‬‬ ‫اﻟﺸﺮاﺋﻂ اﻟﻤﺼﻤﺘﺔ ﻣﺎ ﻫﻲ إﻻ ﻛﺎﺳﺮات ﺷﻤﺲ ) أﺳﻠﺤﺔ (‬ ‫ﺗﻮﻓﺮ ﻋﺰﻻً ﺟﻴﺪآً وﺗﺤﻤﻲ اﻟﻤﺒﺎﻧﻲ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ ﺑﻴﻨﻤﺎ‬ ‫ﺗﺴﻤﺢ ﺑﺈﻃﻼﻟﺔ ﺟﻴﺪة ﻋﻠﻰ اﻟﺨﺎرج ‪.‬‬ ‫ﺗﻤﻮج اﻟﻮاﺟﻬﺎت ﺻﻤﻢ ﻟﻜﻲ ﻳﺮاﻋﻰ ﺣﺮﻛﺔ ﻣﺴﺎر اﻟﺸﻤﺲ‬ ‫ﻓﻬﻲ ﺗﺰﻳﺪ ﻣﻦ ﻣﺴﺎﺣﺎت اﻟﻮاﺟﻬﺎت اﻟﻤﻮﺟﻬﺔ ﺷﻤﺎﻻً اﻟﺘﻲ‬ ‫ﺗﻮﻓﺮ إﺿﺎءة ﻃﺒﻴﻌﻴﺔ وإﻃﻼﻟﺔ ﻋﻠﻰ اﻟﺨﺎرج ﺑﻴﻨﻤﺎ ﺗﺘﺠﻨﺐ‬ ‫اﻟﺘﻌﺮض ﻟﻤﺴﺎر أﺷﻌﺔ اﻟﺸﻤﺲ ‪.‬‬

‫‪¡UM³« ¥¥‬‬

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© Diagrams by BIG - Bjarke Ingels Group

ŸËdA*« v WHK²*« WOLOLB²« —UJú WO×O{uð UuÝ— From the Architect Report: The 96,000m2 office development for the state-owned Shenzhen Energy Company is designed to look and feel at home in the cultural, political and business center of Shenzhen, while standing out as a new social and sustainable landmark at the main axis of the city.The volume and height of the new headquarters for Shenzhen Energy Company was predetermined by the urban masterplan for the central area. The development consists of two towers rising 220m to the north and 120m to the south, linked together at the feet by a 34m podium housing the main lobbies, a conference center, cafeteria and exhibition space. Together with the neighboring towers, the development forms a continuous curved skyline marking the center of Shenzhen.BIG developed an undulating building envelope which creates a rippled skin around both towers and breaks away from the traditional glass curtain wall. By folding parts of the envelope that would reduce solar loads and glare, a façade with closed and open parts oscillate between transparency to one side and opacity to the other.The closed parts provide high-insulation while blocking direct sunlight and providing views out. As a result, the towers appear as a classical shape with an organic pattern from a distance and as an elegant pleated structure from close-up.The sinuous direction of the façade corresponds to the solar orientation: it maximizes northfacing opening for natural light and views, while minimizing exposure on the sunny sides. This sustainable facade system reduces the

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overall energy consumption of the building without any moving parts or complicated technology.From the street level, a series of walls are pulled open for visitors to enter the commercial spaces from the north and south end of the buildings, while professionals enter from the front plaza into the daylight-filled lobby.Once inside, the linearity of the building façade continues horizontally: the pixel landscape of the stone planter boxes is in the same dimensions and arranged in the same pattern as the ripples of the building envelope.The offices for Shenzhen Energy Company are placed on the highest floors for employees to enjoy views to the city, while the remaining floors are rentable office space. Within the protruded areas of the building, the façade is stretched out—two smooth deformations create large spaces for extra good views on each floor, meeting rooms, executive clubs and staff facilities.The folded wall provides a free view through clear glass in one direction and creates a condition with plenty of diffused daylight by reflecting the direct sun between the interior panels. Even when the sun comes directly from the east or west, the main part of the solar rays are reflected off of the glass due to the flat angle of the windows. As the sun sets, the changing transparency and the curved lines of the façade create an almost wood-like texture or a scene of vertical terraced hills. The slits that open between the curtain wall to reveal special spaces such as boardrooms, executive offices and beakout areas, lend the building a distinct character from different parts of the city.


тАлтАк┬й Chao ZhangтАмтАм

тАля╗│я╗мя║к┘Б я╗ля║м╪з ╪зя╗Яя╗ия╗Ия║О┘Е ╪зя╗Яя╗дя║┤я║Шя║к╪з┘Е ) ╪зя╗Яя║┤я╗ая║Тя╗▓ ( я╗Яя╗ая╗о╪зя║Яя╗мя║О╪к ╪ея╗Яя╗░тАм тАл╪зя╗Яя║Шя╗оя╗Уя╗┤я║о я╗Уя╗▓ ╪ея║│я║Шя╗мя╗╝┘Г ╪зя╗Яя╗Дя║Оя╗Чя║Ф ┘Ия╗│я╗Шя╗ая╗Ю я╗гя╗ж ╪ея║│я║Шя║ия║к╪з┘Е ╪зя╗зя╗Ия╗дя║ФтАм тАл╪зя╗Яя║╝я╗ия║Оя╗Ля╗┤я║Ф ╪зя╗Яя╗дя╗Мя╗Шя║к╪й я╗Ыя╗ая╗Фя║Ф тАк.тАмтАм тАля║Чя╗в я╗Ля╗ая╗░ я╗гя║┤я║Шя╗о┘Й ╪зя╗Яя║╕я║О╪▒╪╣ я║│я║дя║Р ╪гя║Яя║░╪з╪б я╗гя╗ж ╪зя╗Яя╗о╪зя║Яя╗мя║О╪ктАм тАл╪зя╗Яя╗дя╗дя╗оя║Яя║Ф я╗Яя║Шя║┤я╗дя║в я║Ся╗Мя╗дя╗Ю я╗Уя║Шя║дя║О╪к я╗Яя║░┘И╪з╪▒ ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж ╪зя╗Яя║╕я╗дя║О┘ДтАк╪МтАмтАм тАля║Ся╗┤я╗ия╗дя║О я╗│я║кя║зя╗Ю ╪зя╗Яя╗дя╗оя╗Зя╗Фя╗┤я╗ж я╗гя╗ж ╪зя╗Яя║┤я║Оя║гя║Ф ╪зя╗гя║Оя╗гя╗┤я║Ф ╪ея╗Яя╗░ я║Ся╗мя╗отАм тАл╪зтАкHтАмя║│я║Шя╗Шя║Тя║О┘Д ╪░┘К ╪зтАкHтАмя║┐я║О╪б╪й ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗┤я║Ф ╪зя╗Яя║ая╗┤я║к╪й тАк .тАм╪гя╗гя║О я╗Уя╗▓ ╪зя╗Яя║к╪зя║зя╗ЮтАм тАля╗Уя║И┘Ж ╪зя╗Яя╗о╪зя║Яя╗мя║О╪к я║Чя╗дя║Шя║к ╪гя╗Уя╗Шя╗┤я║О ┘Ия║Чя║Шя║ия╗ая╗ая╗мя║О ╪гя║гя╗о╪з╪╢ ╪зя╗Яя║░я╗ля╗о╪▒ ╪зя╗Яя║Шя╗▓тАм тАля║╗я╗дя╗дя║Ц я║Ся║дя╗┤я║Ъ я║Чя╗╝я║Ля╗в я╗Чя╗┤я║Оя║│я║О╪к ╪зя╗Яя╗дя║┤я║Оя║гя║О╪к ╪зя╗Яя║╕я║оя╗│я╗Дя╗┤я║Ф я╗гя╗КтАм тАл╪зя╗Яя╗о╪зя║Яя╗мя║О╪к ╪зя╗Яя╗дя╗дя╗оя║Яя║Ф тАк.тАмтАм тАля║Чя║дя║Шя╗Ю я╗гя╗Ья║Оя║Чя║Р я║╖я║оя╗Ыя║Ф ╪зя╗Яя╗Дя║Оя╗Чя║Ф ╪з╪п┘И╪з╪▒ ╪зя╗Яя╗Мя╗ая╗┤я║О я╗гя╗ж ╪зя║Ся║о╪з╪м ┘Ия║Чя╗оя╗Уя║отАм тАля╗Яя╗ая╗дя╗оя╗Зя╗Фя╗┤я╗ж я║Ся║мя╗Яя╗Ъ ╪ея╗Гя╗╝я╗Яя║Ф я║зя║О╪▒я║Яя╗┤я║Ф я║Яя╗┤я║к╪й тАк ╪МтАмя║Ся╗┤я╗ия╗дя║О ╪з╪п┘И╪з╪▒ ╪зя║зя║о┘ЙтАм тАля╗гя║ия║╝я║╝я║Ф я╗Я[я║│я║Шя║Мя║ая║О╪▒ тАк .тАм╪▒┘Ия╗Ля╗▓ я╗Уя╗▓ я║Чя╗о╪▓я╗│я╗К ╪зтАкHтАмя╗зя║Тя╗Мя║Оя║Яя║О╪к ╪зя╗Яя║ия║О╪▒я║Яя╗┤я║ФтАм тАля╗Яя╗ая╗о╪зя║Яя╗мя║О╪к я╗Ля╗ая╗░ я╗Гя╗о┘Д ╪зя╗Яя╗о╪зя║Яя╗мя║О╪к я║Ся║дя╗┤я║Ъ я║Чя║┤я╗дя║в я║Ся║Ия╗Гя╗╝я╗╗╪ктАм тАля║Яя╗┤я║к╪й я╗Ля╗ая╗░ ╪зя╗Яя║ия║О╪▒╪м я╗Яя╗дя╗Ья║Оя║Чя║Р ╪зтАкHтАм╪п╪з╪▒╪й ╪зя╗Яя╗Мя╗ая╗┤я║О ╪г┘И я║╗я║Оя╗╗╪к ╪зтАкHтАмя║Яя║Шя╗дя║Оя╗Ля║О╪ктАм тАл┘И я╗зя╗о╪з╪п┘К я╗Ыя║Тя║О╪▒ ╪зя╗Яя╗оя╗Зя╗Фя╗┤я╗ж ┘И╪зя╗Яя║ия║кя╗гя║О╪к ╪зя╗Яя║оя║Ля╗┤я║┤я║Ф я╗Яя╗ая╗дя╗оя╗Зя╗Фя╗┤я╗ж тАк.тАмтАм

тАлтАк┬й Chao ZhangтАмтАм

тАлтАк┬аUN┼В┬лuK ├ГuL*┬л rOLB┬▓K WтИТO┬▓┬╜ WHK┬▓ ┬аUN┼В s t U┬╜dE┬╜ ┬лтАУтЙИ ┬аUN┼В┬лuK v┼ВтАФU)┬л qJA┬л ┬╖├╢┬▓┼бтЙИ 5┬│├░ ┼╕├ЛdALK ├КU┬▓DIтАмтАм тАлтИВтАк┬бUM┬│┬л ┬етАмтАм

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1 Office Entrance 2 Public Lobby Entrance 3 Public Lobby 4 Reception

‰Ë_« —ËbK wI_« jI*«

1 Kitchen 2 Rooftop Terrace 3 Cafeteria 4 Lounge

lÝU²« —ËbK wI_« jI*«

1 Lounge 2 Reception 3 Conference Room 4 Executive Office

≥μ —ËbK wI_« jI*«

© laurianghinitoiu

© Drawings by BIG - Bjarke Ingels Group

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© Chao Zhang © Chao Zhang

© Chao Zhang © Chao Zhang

qš«b« s UNł«u« qJýË WOFO³D« …¡U{ù«Ë  UײH« tOłuðË WłuL*«  UNł«u« …dJ `{uð  UDI WŽuL− 48 Albenaa

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© laurianghinitoiu

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© Chao Zhang

© Chao Zhang


‫ﺗﻄﻮﻳﺮ ﻟﺤﻲ أﺧﻀﺮ‬ ‫ﻣﺘﻌﺪد اﺳﺘﻌﻤﻼت‬ ‫‪South Beach‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Foster + Partners‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﻨﻐﺎﻓﻮرة‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 146،800. :‬م‪2‬‬

‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2016 :‬م‬ ‫ارﺗﻔﺎع‪ 217.5 :‬م‬

‫‪w{—_« Èu²*« v dCš_« —u;« s V½Uł‬‬

‫‪WM¹b*« vKŽ WOKOK« WFz«d« UNðôöÞ≈Ë Ã«dÐ_« w WIKF*« oz«b(« «–  UdA« s V½Uł‬‬

‫‪© All Photos by Nigel Young - Foster + Partners‬‬

‫ﻳﻐﻄﻲ ﻫﺬا اﻟﻤﺸﺮوع اﻟﺘﻄﻮﻳﺮي ﺑﻠﻮك ﻛﺎﻣﻞ ﺑﻴﻦ اﻟﻤﺎرﻳﻨﺎ‬ ‫واﻟﻤﺮﻛﺰ اﻟﺤﻀﺮي وﺳﻂ ﻣﺪﻳﻨﺔ ﺳﻨﻐﺎﻓﻮرة‪ .‬ﻳﺠﻤﻊ اﻟﺘﻄﻮﻳﺮ‬ ‫ﺑﻴﻦ ﻣﺒﺎﻧﻲ ﺟﺪﻳﺪة وأﺧﺮى ﺗﺎرﻳﺨﻴﺔ ﺳﻴﺘﻢ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ‬ ‫وﺗﺮﻣﻴﻤﻬﺎ‪ .‬ﻳﺘﻤﻴﺰ اﻟﻤﺸﺮوع ﺑﺘﻌﺪد ا;ﺳﺘﻌﻤﺎﻻت وﻛﻔﺎءة‬ ‫ﻃﺎﻗﺘﺔ ‪ ،‬وﻳﻌﺘﺒﺮ ﺣﻲ ﻣﺘﻜﺎﻣﻞ ﻳﺠﻤﻊ ﺑﻴﻦ أﻣﺎﻛﻦ ﻟﻠﺤﻴﺎة‬ ‫وأﺧﺮى ﻟﻠﻌﻤﻞ ﻛﻤﺎ ﻳﺘﻀﻤﻦ ﻣﺤﻼت ﺗﺠﺎرﻳﺔ وﻣﻘﺎﻫﻲ وﻣﻄﺎﻋﻢ‬ ‫وﻓﻨﺪق وﻓﻀﺎءات ﻋﺎﻣﺔ ﻣﻔﺘﻮﺣﺔ ‪ .‬ﺗﺘﻜﻮن ﻋﻨﺎﺻﺮ اﻟﻤﺸﺮوع‬ ‫اﻟﺮﺋﻴﺴﺔ ﻣﻦ ‪:‬‬ ‫ ﻋﻠﻰ اﻟﻤﺴﺘﻮى ا‪L‬رﺿﻲ ﻣﺤﻮر ﻣﺸﺎة رﺋﻴﺲ أﺧﻀﺮ ﻳﻌﺒﺮ‬‫اﻟﻤﻮﻗﻊ وﺗﻐﻄﻴﻪ ﻋﺮاﺋﺶ ﻣﻤﻮﺟﺔ اﻟﺸﻜﻞ ﻟﺘﺤﻤﻴﻪ ﻣﻦ ﺣﺪة‬ ‫اﻟﻤﻨﺎخ ا;ﺳﺘﻮاﺋﻲ ﻟﻠﻤﺪﻳﻨﺔ‪.‬‬ ‫ ﺑﺮﺟﻴﻦ ﻳﻘﻌﺎن ﻓﻰ ﺷﻤﺎل وﺟﻨﻮب ﻣﻮﻗﻊ اﻟﻤﺸﺮوع وﻳﺘﺼﻼن‬‫ﺑﻴﻦ ﺑﻌﻀﻬﻤﺎ ﺑﻮاﺳﻄﺔ اﻟﻤﺤﻮر ا‪L‬ﺧﻀﺮ ‪ ،‬ﻳﺤﺘﻮي اﻟﺒﺮج‬ ‫اﻟﺠﻨﻮﺑﻲ ﻋﻠﻰ ﻓﻨﺪق وﺷﻘﻖ ﺳﻜﻨﻴﺔ ﺑﻴﻨﻤﺎ اﻟﺒﺮج اﻟﺸﻤﺎﻟﻲ‬ ‫ﻳﺤﺘﻮي ﻋﻠﻰ ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ ‪ .‬ﺗﻤﻴﻞ ﻗﻠﻴ ً‬ ‫ﻼ ﻛﺘﻠﺘﻲ اﻟﺒﺮﺟﻴﻦ‬ ‫ﻟﺘﺤﺎﻛﻲ ﺷﻜﻞ اﻟﻌﺮاﺋﺶ اﻟﻤﻤﻮﺟﺔ اﻟﺘﻲ ﺗﻐﻄﻲ اﻟﻤﺤﻮر‬ ‫ا‪L‬ﺧﻀﺮ وﻟﻜﻲ ﺗﺴﺘﻔﻴﺪ ﻣﻦ اﻟﺮﻳﺎح وﺗﻮﺟﻴﻬﻬﺎ ﻟﺘﺒﺮﻳﺪ‬ ‫ﻓﺮاﻏﺎت اﻟﻤﺴﺘﻮى ا‪L‬رﺿﻲ ﻟﻠﻤﺒﺎﻧﻲ ‪.‬‬ ‫ ﺗﺘﺨﻠﻞ ا‪L‬ﺑﺮاج ﻋﻠﻰ ﻃﻮل إرﺗﻔﺎﻋﻬﺎ ﺣﺪاﺋﻖ ﻣﻌﻠﻘﺔ ﺗﺘﻨﺎﺳﺐ‬‫ﻣﻊ ﺑﻴﺌﺔ ﻣﺪﻳﻨﺔ ﺳﻨﻐﺎﻓﻮرة اﻟﺨﻀﺮاء وﻫﻰ ذات إﻃﻼﻻت راﺋﻌﺔ‬ ‫ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ‪.‬‬

‫ روﻋﻲ ﻓﻰ ﺗﺼﻤﻴﻢ اﻟﻤﺴﺘﻮﻳﺎت اﻟﺘﺤﺘﻴﺔ ﻟﻠﻤﺸﺮوع إﺣﺘﺮام‬‫اﻟﻄﺎﺑﻊ اﻟﻤﻌﻤﺎري ﻟﻠﻤﺒﺎﻧﻰ اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻤﺠﺎورة ذات اﻟﻤﻘﻴﺎس‬ ‫ا;ﻧﺴﺎﻧﻲ ‪ ،‬ﻛﻤﺎ ﺗﻢ ا;ﻋﺘﻨﺎء ﺑﺘﺮﻣﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻮاﻗﻌﺔ‬ ‫ﺿﻤﻦ اﻟﻤﺸﺮوع ‪.‬‬ ‫ اﻟﻌﺮاﺋﺶ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ ﺷﺮاﺋﺢ ﻣﻦ اﻟﺤﺪﻳﺪ و ا‪L‬ﻟﻮﻣﻨﻴﻮم‬‫واﻟﺘﻲ ﺗﺮﺗﻜﺰ ﻋﻠﻰ أﻋﻤﺪة رﺷﻴﻘﺔ وﺗﻐﻄﻲ اﻟﻤﺤﻮر ﺻﻤﻤﺖ‬ ‫ﺑﺤﻴﺚ ﻳﺮاﻋﻲ ﺷﻜﻠﻬﺎ ﻋﻼﻗﺔ اﻟﻤﺸﺮوع ﺑﺎﻟﺸﻮارع واﻟﻔﻀﺎءات‬ ‫اﻟﻌﺎﻣﺔ اﻟﻤﺤﻴﻄﺔ ‪ .‬ﻛﻤﺎ ﺗﻮﻓﺮ ﻫﺬه اﻟﻌﺮاﺋﺶ اﻟﻈﻼل واﻟﺘﻬﻮﻳﺔ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ ﻋﺒﺮ ﺷﺮاﺋﺤﻬﺎ اﻟﺘﻲ ﺻﻤﻤﺖ ﺑﺤﻴﺚ ﻳﻤﻜﻦ ﻓﺘﺤﻬﺎ أو‬ ‫إﻏﻼﻗﻬﺎ ‪ ،‬ﻛﻤﺎ ﺗﺮﺗﻔﻊ اﻟﻌﺮاﺋﺶ ﻋﻨﺪ ﻣﺪاﺧﻠﻬﺎ ﻟﺘﻌﻤﻞ ﻛﻤﺼﺎﺋﺪ‬ ‫ﻟﻠﻬﻮاء ‪ ،‬ﺑﻬﺪف ﺗﻠﻄﻴﻒ ا‪L‬ﺟﻮاء داﺧﻞ ﻓﻀﺎءات اﻟﻤﺤﻮر ا‪L‬ﺧﻀﺮ‪.‬‬ ‫ ﺗﻐﻄﻰ اﻟﻌﺮاﺋﺶ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺒﺎﻧﻲ اﻟﺼﻐﻴﺮة‬‫واﻟﻔﻀﺎءات اﻟﻤﺮﻧﺔ ﻟﺘﺨﺪم ﻣﺨﺘﻠﻒ ا‪L‬ﻧﺸﻄﺔ اﻟﺘﻲ ﻳﺤﺘﻮﻳﻬﺎ‬ ‫اﻟﻤﺤﻮر ا‪L‬ﺧﻀﺮ‪.‬‬ ‫ روﻋﻲ ﻓﻰ ﺗﺼﻤﻴﻢ اﻟﻔﻀﺎءات اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺸﺮوع ﺗﺰوﻳﺪﻫﺎ‬‫ﺑﺄﻧﻈﻤﺔ ﻟﺘﺠﻤﻴﻊ وﺗﺨﺰﻳﻦ ﻣﻴﺎه ا‪L‬ﻣﻄﺎر وإﻋﺎدة إﺳﺘﻌﻤﺎﻟﻬﺎ‬ ‫ﻓﻰ ري اﻟﺰراﻋﺎت ‪ ،‬وﻟﻜﻲ ﺗﺤﻘﻖ ﻟﻠﻤﺒﻨﻰ أﻋﻠﻰ اﻟﺘﻘﺪﻳﺮات‬ ‫ا;ﺳﺘﺪاﻣﻴﺔ ﺧﺎﺻﺔ اﻟﺒﻼﺗﻴﻨﻴﺔ ﻣﻨﻬﺎ‪.‬‬ ‫ ﻛﻤﺎ روﻋﻰ ﻓﻰ اﻟﺘﺼﻤﻴﻢ أن ﺗﺮﺗﺒﻂ اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ‬‫اﻟﺨﻀﺮاء ﺟﻴﺪ‪ p‬ﺑﻤﻮاﻗﻒ اﻟﺴﻴﺎرات وأﻣﺎﻛﻦ إﻧﺰال اﻟﺮﻛﺎب‬ ‫وﻣﺤﻄﺎت اﻟﻨﻘﻞ اﻟﻌﺎم اﻟﻤﺠﺎورة ‪.‬‬

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From the Architect Report:The South Beach development covers an entire city block between the Marina and Civic District in the heart of downtown Singapore. Combining new construction with the restoration of existing buildings, the mixed-use, energy efficient new urban quarter brings together places to live and work with shops, cafes, restaurants, a hotel and public spaces. A wide landscaped pedestrian avenue – a green spine – weaves through the site and is protected by a large canopy, which shelters the light-filled public spaces beneath from the extremes of the tropical climate. Two interconnected pairs of towers stand towards the north and south of the site, connected by the green spine – the south towers are divided between a hotel and apartments, while the north towers contain offices. Their facades extend into a gentle arc, which continues the language of the undulating canopy below – they are angled to capture prevailing winds and direct air flow to cool the ground level spaces. Reinterpreting the Singaporean ideal of the ‘city in a garden’ in a high-rise form, the towers are intersected by densely planted sky gardens with impressive views of the city and Central Business District. At a lower level, the treatment of the perimeter buildings is sensitive to the scale of the nineteenth century Raffles Hotel on the opposite side of the street – the four adjacent former military buildings along Beach Road have been carefully restored and are interspersed with mature trees, which have been conserved on the site. The canopy’s ribbons of steel and aluminium louvres flex above the primary circulation routes and public spaces, and dip near the edges to meet the Beach Road buildings. The ribbons are supported by slender pillars and rise up the exposed east and west elevations of the towers to form a series of vertical louvres, which are carefully angled to encourage natural ventilation. The entrance to the canopy rises up to form an arc, which acts as a wind scoop, drawing the prevailing breezes through the space and promoting natural ventilation. Beneath the canopy are a series of smaller buildings and flexible spaces for functions and events. Combining rainwater harvesting with a range of environmental strategies, the development aims to achieve the Green Mark ‘Platinum’ Rating. Creating a highly permeable pedestrian public realm, vehicle access to underground parking and drop off points are placed around the edges of the site, and public transport is integrated via a direct ‘green’ link to Esplanade MRT station.

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© All Drawings by Foster + Partners

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‫ﻛﺘﻞ ﻣﻜﺘﺒﻴﺔ‬ ‫ﺑﺈﻧﺤﺮاﻓﺎت ﺗﺸﻜﻴﻠﻴﺔ‬

‫‪Landmark East Office Development‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Arquitectonica‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻫﻮﻧﺞ ﻛﻮﻧﺞ ‪ ،‬اﻟﺼﻴﻦ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 110،000 :‬م‪2‬‬ ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2008 :‬م‬ ‫ارﺗﻔﺎع ‪187:‬م‬

‫ﻳﻘﻊ ﻫﺬا اﻟﻤﺸﺮوع اﻟﻤﻜﺘﺒﻲ ‪ ،‬اﻟﺬي ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ ‪ 110،000‬م‪ 2‬وﻳﺘﻜﻮن ﻣﻦ ﺑﺮﺟﻴﻦ ‪ ،‬ﻓﻲ‬ ‫ﻣﻨﻄﻘﺔ ﻛﻮﻳﻦ ﺗﻮﻧﺞ ﻓﻲ ﻣﺪﻳﻨﺔ ﻫﻮﻧﺞ ﻛﻮﻧﺞ ‪ .‬ﺗﺨﺘﻠﻒ ﻣﺴﺎﺣﺎت ا'دوار ﻓﻲ اﻟﺒﺮﺟﻴﻦ‬ ‫ﻧﺘﻴﺠﺔ ﻟﺸﻜﻞ ﻛﺘﻠﺘﻪ اﻟﺒﻨﺎﺋﻴﺔ ‪ ،‬وﻫﻲ ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ ﻟ‪9‬ﺳﺘﺌﺠﺎر ‪ ،‬وﺗﺘﻤﺘﻊ ﺑﻤﺮوﻧﺔ‬ ‫ﻋﺎﻟﻴﺔ ‪ .‬ﻳﺤﺘﻮي اﻟﺒﺮج رﻗﻢ ‪ 1‬ﻋﻠﻰ ‪ 43‬دور وﻳﺒﻠﻎ ﻣﺘﻮﺳﻂ ﻣﺴﺎﺣﺎت ا'دوار ‪ 1250‬م‪2‬‬ ‫وﺑﻤﺴﺎﺣﺔ إﺟﻤﺎﻟﻴﺔ ﺗﺒﻠﻎ ‪ 45،000‬م‪ . 2‬أﻣﺎ اﻟﺒﺮج ‪ 2‬ﻓﻴﺘﻜﻮن ﻣﻦ ‪ 40‬دور ﻣﻊ وﺟﻮد ﻧﻮﻋﻴﻦ ﻣﻦ‬ ‫اﻟﻤﺴﺎﺣﺎت ﺣﺴﺐ إرﺗﻔﺎع اﻟﺒﺮج ؛ ﻣﺘﻮﺳﻂ ﻣﺴﺎﺣﺔ ا'دوار اﻟﺴﻔﻠﻴﺔ ‪ 2300‬م‪ 2‬ﻓﻴﻪ وا'دوار‬ ‫اﻟﻤﺘﻮﺳﻄﺔ واﻟﻌﻠﻴﺎ ‪ 1600‬م‪ ، 2‬وﺑﻤﺴﺎﺣﺔ إﺟﻤﺎﻟﻴﺔ ‪ 65،000‬م‪ . 2‬اﻟﻜﺘﻠﺔ اﻟﺒﻨﺎﺋﻴﺔ ﻟﻠﺒﺮﺟﻴﻦ‬ ‫ﻋﺒﺎرة ﻋﻦ ﻣﺘﻮازي ﻣﺴﺘﻄﻴﻼت ﺗﻢ ﺗﻘﻄﻴﻌﻪ إﻟﻰ ﻛﺘﻞ ﺑﻨﺎﺋﻴﺔ ﻣﺘﻼﺻﻘﺔ ﻣﻊ ﻋﻤﻞ إﻧﺤﺮاﻓﺎت‬ ‫وﻣﻴﻮﻻت ﻓﻲ اﻟﻜﺘﻞ ﺗﻌﻄﻲ ﻟﻤﺠﻤﻞ اﻟﺘﻜﻮﻳﻦ ﺷﻜ ً‬ ‫ﻼ دﻳﻨﺎﻣﻴﻜﻴ‪ Q‬ﻳﻮﺣﻲ ﺑﺎﻟﺤﺮﻛﺔ ‪ .‬ﻋﻠﻰ‬ ‫ﻣﺴﺘﻮى اﻟﻤﺴﺎﻗﻂ ا'ﻓﻘﻴﺔ ﺟﻤﻌﺖ اﻟﺨﺪﻣﺎت ﻓﻲ اﻟﺠﻬﺔ اﻟﺨﻠﻔﻴﺔ ﻟﺘﻮﻓﺮ ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ‬ ‫ﻣﺮﻧﺔ ذات إﻃﻼﻟﺔ راﺋﻌﺔ ﻋﻠﻰ اﻟﻤﺮﻓﺎء اﻟﺒﺤﺮي ﻟﻠﻤﺪﻳﻨﺔ‪ .‬ﻓﻲ ا'دوار اﻟﻌﻠﻴﺎ ﺗﻮﻓﺮ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺠﻨﻮﺑﻴﺔ إﻃﻼﻟﺔ راﺋﻌﺔ ‪ .‬ﺗﺘﻜﻮن اﻟﻮاﺟﻬﺎت ﻣﻦ ﺣﻮاﺋﻂ ﺳﺘﺎﺋﺮﻳﺔ ﻣﻜﻮﻧﺔ ﻣﻦ وﺣﺪات‬ ‫ﻣﺘﻜﺮرة ﻧﻤﻄﻴﺔ زﺟﺎﺟﻴﺔ ﺗﺤﻤﻠﻬﺎ إﻃﺎرات ﻣﻦ ا'ﻟﻮﻣﻨﻴﻮم ﻣﻊ إﺳﺘﺨﺪام أﺣﺪث ﺗﻜﻨﻮﻟﺠﻴﺎت‬ ‫اﻟﺤﻮاﺋﻂ اﻟﺴﺘﺎﺋﺮﻳﺔ وزﺟﺎج ﻣﻦ ﻃﺒﻘﺘﻴﻦ ﻣﻄﻠﻰ ﺑﻄﻼء ﻋﺎﻛﺲ 'ﺷﻌﺔ اﻟﺸﻤﺲ ﻳﺴﻤﺢ‬ ‫ﺑﺄﻋﻠﻰ ﻧﻔﺎذﻳﺔ ﻟﻠﻀﻮء ﻣﻊ ﺗﻮﻓﻴﺮ درﺟﺔ ﻋﺎﻟﻴﺔ ﻣﻦ اﻟﻌﺰل ‪ .‬ﺗﻢ ﺣﺼﺮ ﻣﻮاﻗﻒ اﻟﺴﻴﺎرات ﺗﺤﺖ‬ ‫أﺣﺪ ا'ﺑﺮاج ﻟﺘﻮﻓﻴﺮ أﻛﺒﺮ ﻣﺴﺎﺣﺔ ﻟﻠﺴﺎﺣﺎت واﻟﺤﺪاﺋﻖ ﻓﻲ اﻟﻤﺴﺘﻮى ا'رﺿﻲ ‪ ،‬ا'ﻣﺮ اﻟﺬي‬ ‫ﻳﻤﻴﺰ ﻫﺬا اﻟﻤﺸﺮوع ﻋﻦ اﻟﻤﺸﺮوﻋﺎت اﻟﻤﺠﺎورة ﻧﺘﻴﺠﺔ ﻟﺸﺢ اﻟﻤﺴﺎﺣﺎت اﻟﺨﻀﺮاء ﻓﻲ‬ ‫ﻣﺤﻴﻂ اﻟﻤﺸﺮوع وﻣﻮاﻗﻊ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺠﺎورة ‪ .‬زود ﻛﻞ ﺑﺮج ﺑﺜﻼث ﻣﻨﺎﻃﻖ ﻟﻠﻤﺼﺎﻋﺪ ﻛﻤﺎ‬ ‫ﻳﺘﻀﻤﻦ ﻣﺼﺎﻋﺪ ﻓﺎﺋﻘﺔ اﻟﺴﺮﻋﺔ ﻟﺮﻓﻊ اﻟﻄﺎﻗﺔ ا‪f‬ﺳﺘﻴﻌﺎﺑﻴﺔ ﻟﻠﺤﺮﻛﺔ اﻟﺮأﺳﻴﺔ ‪ ،‬ﺑﺎ‪f‬ﺿﺎﻓﺔ إﻟﻰ‬ ‫ﺗﻮﻓﻴﺮ ﻣﺼﺎﻋﺪ ﻟﻠﻤﻮاﻗﻒ اﻟﺴﻴﺎرات ﺗﺆدي إﻟﻰ اﻟﺒﻬﻮ اﻟﺮﺋﻴﺲ ﻟ‪g‬ﺳﺘﻘﺒﺎل اﻟﺬي ﺗﻨﻄﻠﻖ ﻣﻨﻪ‬ ‫اﻟﻤﺼﺎﻋﺪ إﻟﻰ ا'دوار اﻟﻤﺨﺘﻠﻔﺔ ‪.‬‬

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wzUM³« tDO× v tKJý eO9Ë bFÐ sŽ Ëb³¹ UL ŸËdA*« From the Architect Report: The Landmark East Offices is a 1,184,040 SF /110,000 SM twin-tower development located in the Kwun Tong area of Hong Kong. The towers floor plates vary in size between the towers, providing maximum flexibility for leasing. Tower 1 comprises 43 office levels. The average floor plate size is 13,455 SF / 1,250 SM providing a total floor area of 484,376 SF / 45,000 SM. Tower 2 comprises 40 office levels. There are two principal floor plate sizes, 24,757 SF / 2,300 SM in the low zone and 17,222 SF / 1,600 SM in the mid and high zones, providing a total floor area of 699,654 SF / 65,000 SM. Derived from the long narrow site, the rectilinear slab towers are formed into a dynamic composition of slim, interlocking planes, slanted at varying angles to create a sense of movement and play. The cores and floor zones are arranged to maximize harbor views. The broad south elevations combined with the intersecting volumes provide valuable office space and corner units maximizing harbor exposure at the upper levels. The building facade consists of fully unitized aluminum framed curtain wall system. The floor to ceiling glazing utilizes the latest glazing technology. Clear double glazed units incorporating performance solar coatings allow maximum light transmission whilst reducing thermal transmission through the façade. The car parking and loading has been restricted to the basement and a podium structure at the base of tower 2. This allows the remainder of the site to be opened up to form a landscape plaza at grade, a unique feature for office developments in the area. The vertical transportation has been carefully analyzed in order to maximize lifting capacity whilst maintaining floor plate efficiencies. Each tower is divided into 3 lift zones and high-speed lifts are provided. Two car park lifts are provided in each tower providing direct access to the main lift lobbies from the car park levels.

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тАл╪зя╗Яя╗дя║┤я║Оя║гя║Ф ╪зя╗╗я║Яя╗дя║Оя╗Яя╗┤я║Ф тАк 76╪М180 :тАм┘ЕтАк2тАмтАм тАл╪зя╗зя║Шя╗мя║О╪б я╗гя╗ж ╪зя╗Яя║Шя╗ия╗Фя╗┤я║м тАк 2018 :тАм┘ЕтАм

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From the Architect Report: Morphosis marked the recent opening of the new 820,000-square-foot research and development (R&D) facility for The Kolon Group, the leading textile manufacturing company in South Korea. The design features flexible laboratory facilities, administrative offices, and active social spaces that encourage greater interaction and exchange across the company departments, with a visually striking façade that demonstrates Kolon’s commitment to innovation, technology, and sustainability. Led by CEO and Chairman Lee Woong-Yeul, Kolon (which takes its name from its original product, KOrean nyLON) is a diverse corporation that covers R&D, primary material manufacturing, and product construction. The company produces textiles, chemicals, and sustainable technologies as well as original athletic and ready-to-wear clothing lines across its 38 divisions. Kolon’s allencompassing scope allowed the company to draw from its own resources to construct the new facility, christened the Kolon One & Only Tower, and assume a unique position as both client and contractor. Fifteen percent, or approximately 123,000 square feet, is devoted to active social spaces, supporting Chairman Lee’s vision of creating collaborative and interdisciplinary spaces that prioritize employees’ well-being. Fifty-five percent of the building is laboratory space, with the remainder designed for offices. Kolon is one of the first firms to move its R&D operations to Magok, a new hub for technology and light industry, setting the standard for performance and design in the district. Seoul Metropolitan Government is leading an initiative to transform the district into an “industrial ecosystem” where a range of technology and information companies can relocate their operations centers. The five-acre project site sits adjacent to Magok’s central park—a prominent location for what will be the district’s first major completed building. The building folds towards the park, providing passive shading to the lower floors. Bridging the three extending laboratory wings, this folding volume contains conference rooms and social spaces while the street-level floor will be occupied by flagship retail and exhibition galleries to familiarize the public with the Kolon brand. A transparent ground plane provides a connection between the landscape and the interior space, capturing light and movement in an expansive pedestrian atrium. At 40 meters tall and 100 meters long, the atrium serves as the building’s social center, and its translucent liner system—comprised of over 400 massive eight-meter panels that showcase Kolon’s own fabrics—showcases the heart of the atrium space: The Grand Stair. Inspired by the Spanish Steps in Rome, the Grand Stair serves practical functions but also acts a vertical courtyard for informal, casual gatherings as well as endof-year marquee ceremonies. The distinctive brise-soleil system on the main, west-facing façade of the building was created through a complex process early in the design development phase of the project, resulting in a unique sunshade that is both performative and symbolic. The design of the façade features an interconnected array of sunshades that form the monolithic, outer skin, analogous to a woven fabric—a reference to Kolon’s research in textiles, as well as a symbol of collaboration between the company’s many departments. The units of the sunshade are parametrically shaped to balance shading and views and are made from fiber reinforced polymer (FRP) using one of Kolon’s own high-tech fabrics, Aramid, to dramatically increase the material’s tensile strength. One of the most notable features of the design is the lack of a visible support structures, allowing the sunshade to seemingly float outside the glazed wall and providing clear views from the interior spaces.

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‫ﺗﺠﺮﻳﺪ ﻳﺪﻣﺞ‬ ‫اﻟﺪاﺧﻞ ﺑﺎﻟﺨﺎرج‬ Office Building Lyon Confluence Îlot A3 : ‫اﻟﻤﺼﻤﻢ‬ Architect : Christian Kerez ‫ ﻓﺮﻧﺴﺎ‬،‫ ﻟﻴﻮن‬: ‫اﻟﻤﻮﻗﻊ‬

2‫م‬6600 : ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ‬ ‫م‬2018 : ‫اﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

‫اﻟﻤﺸﺮوع ﻫﻮﻣﺒﻨﻰ ﻣﻜﺘﺒﻲ ذو ﻣﺴﺎﺣﺎت ﻣﺮﻧﺔ ﻣﻔﺘﻮﺣﺔ ﻣﺘﻌﺪدة‬ ‫ وﻳﺘﻤﻴﺰ ﺑﻨﻈﺎم إﻧﺸﺎﺋﻲ ﻣﻜﻮن ﻣﻦ ﺷﺒﻜﺔ أﻋﻤﺪة‬. ‫ﺳﺘﻌﻤﺎﻻت‬/‫ا‬ . ‫ﻓﻘﻴﺔ‬2‫وﺑﻼﻃﺎت ﺧﺮﺳﺎﻧﻴﺔ ﺗﺴﻤﺢ ﺑﻤﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﻟﻠﻤﺴﺎﻗﻂ ا‬ ً ‫ﻳﻘﺪم اﻟﺘﺼﻤﻴﻢ ﺣ‬ ‫ﻼ ﻣﻌﻤﺎرﻳ? ﻏﺎﻳﺔ ﻓﻲ اﻟﺘﺠﺮﻳﺪ ﻓﻴﻜﺘﻔﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫ﻧﺸﺎﺋﻲ ﻟﻴﻤﺜﻞ اﻟﺸﻜﻞ اﻟﻤﻌﻤﺎري اﻟﻨﻬﺎﺋﻲ ﻟﻠﻤﺸﺮوع‬/‫ﺑﺎﻟﻨﻈﺎم ا‬ ‫ﻣﻊ إﺑﻘﺎﺋﻪ ﻋﺎرﻳ? ﺑﺪون أي ﺗﻐﻄﻴﺔ أو ﻣﻌﺎﻟﺠﺔ ﺳﻮاء ﻣﻦ اﻟﺪاﺧﻞ أو‬ ‫ ﻟﻴﺴﻤﺢ ﻟﻠﺘﺠﺮﻳﺪ اﻟﺸﻜﻠﻲ ﻟﻠﻤﺒﻨﻰ أن ﻳﻤﺘﺰج اﻟﺪاﺧﻞ‬. ‫ﻣﻦ اﻟﺨﺎرج‬ ‫ﻧﺪﻣﺎج ﻣﻊ ﻣﺤﻴﻄﻪ‬/‫ﻣﺮ اﻟﺬى ﻳﺴﺎﻋﺪ اﻟﻤﺒﻨﻰ ﻋﻠﻰ ا‬2‫ ا‬،‫ﺑﺎﻟﺨﺎرج‬ ‫اﻟﺬي ﻳﺘﻜﻮن ﻣﻦ ﻣﻨﻄﻘﺔ ﺻﻨﺎﻋﻴﺔ وﻳﻤﺜﻞ ﺟﺰءﻣﻦ اﻟﻨﺴﻴﺞ‬ ‫ﻧﺸﺎﺋﻲ ﻳﺒﺪو ﺑﻮزن ﺛﻘﻴﻞ‬/‫ اﻟﻬﻴﻜﻞ ا‬. ‫اﻟﺤﻀﺮي اﻟﻜﺜﻴﻒ ﻟﻠﻤﺪﻳﻨﺔ‬ ‫ﺳﻠﻮب‬2‫ﻋﻨﺪ ﻗﺎﻋﺪﺗﻪ وﻳﺨﻒ ﻛﻠﻤﺎ إرﺗﻔﻊ اﻟﻤﺒﻨﻰ ﺑﺤﻴﺚ ﻳﻤﺜﻞ ا‬ ‫اﻟﺘﺼﻤﻴﻤﻲ اﻟﺘﻘﻠﻴﺪي ﻟﻠﺒﻨﺎﻳﺎت اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ ﻓﻰ ﻣﺪﻳﻨﺔ‬ :‫ أﺟﺰاء‬3 ‫ﻟﻴﻮن واﻟﺬى ﻛﺎن ﻋﺎدة ﻣﺎﻳﻈﻬﺮ ﻣﻘﺴﻤ? ﻣﻦ اﻟﺨﺎرج ﻋﻠﻰ‬ ،‫دوار اﻟﻤﺘﻜﺮرة‬2‫ اﻟﺠﺰء اﻟﻮﺳﻄﻲ أو ا‬، ‫اﻟﺠﺰء اﻟﺴﻔﻠﻲ أو اﻟﻘﺎﻋﺪة‬ ‫وﻟﻰ ﻣﻦ‬2‫داور اﻟﺜﻼث ا‬2‫ أﻧﺸﺌﺖ أﻋﻤﺪة ا‬. ‫اﻟﺠﺰء اﻟﻌﻠﻮي أو اﻟﺘﺎج‬ ‫ أﻣﺎ‬،‫ واﻟﺪورﻳﻦ اﻟﻮﺳﻄﻴﻴﻦ ﻣﻦ ﺧﺮﺳﺎﻧﺔ ﻣﻬﺰوزة‬، ‫ﺧﺮﺳﺎﻧﺔ ﻣﻄﺒﻮﻋﺔ‬ ‫ﺧﻴﺮة ﻓﻬﻰ ﻣﻦ ﺧﺮﺳﺎﻧﺔ ﻣﺴﺒﻘﺔ اﻟﺼﻨﻊ ﻣﺨﻠﻮﻃﺔ‬2‫دوار اﻟﺜﻼث ا‬2‫ا‬ .‫ﻟﻴﺎف‬2‫ﻣﻊ ا‬ From the Architect Report: The office building is a generic space. It is characterized by a grid of columns and slabs to ensure total flexibility. This structure is stripped bare and becomes the architecture of the building. The interior and exterior form a continuous whole. It ensures the urban integration of the building in the particular context of the block, both a reconverted industrial site and part of a dense network of streets and boulevards. The construction, heavy towards the ground and lighter towards the sky, reinterprets the classical tripartite composition – base, shaft and capital – of the 19th-century buildings along the Cours Charlemagne or Place Bellecour. The first three levels of the building have columns made of stamped concrete, those of the middle two levels are vibrated like that of the slabs and spandrels and the columns of the last three floors are prefabricated with centrifuged fibre concrete. 70 Albenaa

¡UM³« ∑∞


WODGð Í√ ÊËbÐ Î UU9 Î U¹—UŽ wzUA½ù« qJON« dNE¹ YO×Ð UNłuK qUJ« b¹d−²« qOUHð 73 Albenaa

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”œU« —Ëb«

YU¦« —Ëb«

wł—U)«Ë wKš«b« dNE*« 5Ð qU oÐUD²ð

w{—_« —Ëb«

w{dŽ ŸUD

WOzd« WNł«u«

72 Albenaa

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ÂUŽ dEM

ÊUJ*UÐ WD³ðd*« «—U³²Žù«Ë q«uF« s œbŽ ‰öš s b−*« rOLBð  «uDš 77 Albenaa

¡UM³« ∑∑


‫ﻣﺴﺠﺪ اﻟﺪاﻧﺔ‬

‫ﻣﺸﻜﺎة ﺗﻀﻲءاﻟﻔﻀﺎء اﻟﻌﺎم‬

Al Dana Mosque : ‫اﻟﻤﺼﻤﻢ‬ Architect : SCOPE Architecture ‫ أﺑﻮﻇﺒﻲ‬: ‫اﻟﻤﻮﻗﻊ‬

2‫ م‬2200 : ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ‬ ‫ﺗﻘﻊ ﻗﻄﻌﺔ ارض اﻟﻤﺨﺼﺼﺔ ﻟﻤﺸﺮوع ﻣﺴﺠﺪ اﻟﺪاﻧﺔ ﻋﻠﻰ‬ ‫ﻛﻮرﻧﻴﺶ ﺳﺎﺣﻠﻲ ﻓﻲ ﻣﺪﻳﻨﺔ أﺑﻮﻇﺒﻲ و ﺑﻴﺌﺔ ﻓﺮﻳﺪة ﻣﻦ‬ ‫ اﺳﺘﻮﺣﻰ اﻟﻤﺸﺮوع ﺗﺼﻤﻴﻤﻪ ﻣﻦ‬. ‫ﻧﺸﺎء اﻟﺠﺎﻣﻊ‬4 ‫ﻧﻮﻋﻬﺎ‬ ‫ﻣﻮﻗﻌﻪ و ﺗﻼﺋﻤﻪ ﻣﻊ اﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻪ ﻣﻊ ﺗﻘﺪﻳﻢ ﺗﻔﺴﻴﺮ‬ ‫ ﻳﺤﻘﻖ اﻟﺤﻞ اﻟﺘﺼﻤﻴﻤﻲ‬. ‫ﺳﻼﻣﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ‬4‫ﺟﺪﻳﺪ ﻟﻠﻌﻤﺎرة ا‬ ‫ﻣﻘﺎرﺑﺔ ﻫﻨﺪﺳﻴﺔ وﻣﻘﻴﺎس وﻟﻐﺔ ﻣﻌﻤﺎرﻳﺔ ﻣﻦ ﺧﻼل ﻗﺮاءة‬ ‫ ﺑﺤﻴﺚ ﻳﻈﻬﺮ اﻟﻤﻨﺘﺞ‬. ‫ﻓﻜﺎر وﻃﻤﻮﺣﺎت ورؤى اﻟﺪوﻟﺔ‬ ‫اﻟﻨﻬﺎﺋﻲ ﺑﺄﺷﻜﺎل ﻣﺘﻌﺪدة ﺗﻌﺒﺮ ﻋﻦ ﻋﺪد ﻣﻦ اﻟﻌﻮاﻣﻞ‬ ‫ ذو‬O‫ﻋﺘﺒﺎرات اﻟﺘﻲ ﺗﺘﻔﺎﻋﻞ ﻣﻊ ﺑﻌﻀﻬﺎ ﻟﺘﻘﺪم ﻣﺴﺠﺪ‬4‫وا‬ ‫ﺗﺼﻤﻴﻢ ﻣﺘﻘﺪم ﻋﻠﻰ ﻋﺼﺮه وﻟﻜﻦ ﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ ذو‬ ‫ ﺣﻴﺚ ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ‬. ‫إرﺗﺒﺎط وﺛﻴﻖ ﺑﺎﻟﺜﻘﺎﻓﺔ واﻟﻤﻜﺎن‬ ‫ أﺣﺪﻫﻤﺎ ﻳﺤﺘﻮي‬،‫ﺟﺰﺋﻴﻦ ﺻﻤﻤﺎ ﻋﻠﻰ ﺷﻜﻞ اﻟﻜﺜﺒﺎن اﻟﺮﻣﻠﻴﺔ‬ ‫ﻋﻠﻰ اﻟﻤﺄذﻧﺔ واﺧﺮ ﻳﻀﻢ ﻗﺒﺔ ﺳﻤﺎﻳﺔ ذات ﺷﻜﻞ ﻣﺎﺋﻞ ﺗﻠﻌﺐ‬ ‫ أﺳﺎﺳﻴ_ ﻓﻲ إﻇﻬﺎر اﻟﻤﺴﺠﺪ ﻛﻤﺸﻜﺎة ﻣﻀﻴﺌﺔ ﻓﻲ‬O‫دور‬ ‫ أﻣﺎ ﻓﻲ اﻟﻨﻬﺎر ﻓﻬﻨﺎك ﺳﻤﺎوة )وﻫﻲ ﻓﺘﺤﺔ ﻓﻲ ﺳﻘﻒ‬،‫اﻟﻠﻴﻞ‬ ‫اﻟﻘﺒﺔ ( ﺗﺴﻤﺢ ﺑﺈﺿﺎءة ﻓﺮاغ اﻟﻤﺴﺠﺪ وﺗﺸﻜﻞ ﻋﻼﻗﺔ روﺣﻴﺔ‬ ‫ ﺻﻤﻢ ﺻﺤﻦ اﻟﻤﺴﺠﺪ ﻛﺴﺎﺣﺔ ﻋﻠﻰ‬.‫ﺑﻴﻦ ارض واﻟﺴﻤﺎء‬ ‫ﺗﺤﻮل اﻟﻤﻮﻗﻊ إﻟﻰ ﻓﻀﺎء ﻋﺎم ﻳﺮﺑﻂ ﺑﻴﻦ ﻣﻜﻮﻧﺎت اﻟﻤﻨﻄﻘﺔ‬ .‫ ﻣﻦ ﺳﻴﺎﻗﻪ اﻟﻌﻤﺮاﻧﻰ‬O‫وﺗﺴﻤﺢ ﻟﻠﻤﺴﺠﺪ ﺑﺄن ﻳﻜﻮن ﺟﺰء‬

W¹Ë«d×B« ÊU³¦J« qJý s …UŠu²*« b−*« rOLBð …dJ

From the Architect Report: A public seaside promenade facing the marina provides a unique setting for this Jame’e Mosque. Inspired by its context and sitting in harmony with its surroundings, the formal language of this mosque derives from a reinterpretation of traditional Islamic architecture, suggesting a new reading while maintaining the essence of them. The design approach investigates geometry, scale, and architectural language, and looks at them from a new perspective that reflects the intellect, aspiration, and vision of this nation. The end product is multi-faceted in nature, by corresponding to numerous factors and considerations, all of which interact to create a mosque that is avant-garde and yet deeply rooted in its culture and context. The traditional sahan has been reimagined as a plaza, transforming the site into an urban connector and public space, allowing for the mosque to become part of its context. The leaning dome, inspired by the shifting sand dunes of the desert, plays a pivotal role in defining the mosque as an urban lantern at night. During the day, the high oculus brings daylight into the space, forming a spiritual connection with the earthy interior and the heavenly skies.

76 Albenaa

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wI√ jI

ŸUD 79 Albenaa

¡UM³« ∑π


b−LK WOKš«œ dOþUM 78 Albenaa

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„—U/b« w½U³ bŠ√ w WOłUłe« nIÝ_« ÂUE½ cOHMð

Velux ÂUEMÐ U¼cOHMð sJ1 WHK² rOUBð WO½ULŁ 81 Albenaa

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‫أﺳﻘﻒ زﺟﺎﺟﻴﺔ‬ VELUX Modular Skylight System

WOzu{ Õ«u√ rCð «bŠu ÂUE½

¡UM³« t«u w WuNÝ qJÐ UN³Odð r²¹

vM³*« qš«œ v≈ ¡U*« »d ð ÂbFÐ nIÝ_« sLCð

qš«b« s vM³*« …—«dŠ Wł—œ U³Ł w bŽU ¹ U2 …—«d(« fJŽ vKŽ ÃUłe« qLFÝ

‫وﺣﺪات ﻣﺴﺒﻘﺔ اﻟﺼﻨﻊ ﺳﻘﻒ زﺟﺎﺟﻴﺔ ﺗﻮﻓﺮ إﺿﺎءة وﺗﻬﻮﻳﺔ‬ ‫ ﺗﺘﻤﻴﺰ ﺑﺄداﺋﻬﺎ اﻟﻌﺎﻟﻲ وﺗﺼﻤﻴﻤﻬﺎ‬،‫ﻃﺒﻴﻌﻴﺔ داﺧﻞ اﻟﻤﺒﺎﻧﻲ‬ .‫ ﺗﺼﺎﻣﻴﻢ ﻣﺨﺘﻠﻔﺔ ﺣﺴﺐ اﻟﻄﻠﺐ‬8 ‫ وﺗﺴﻤﺢ ﺑﺈﻧﺸﺎء‬،‫اﻟﻔﺮﻳﺪ‬ ‫ﺗﺘﻮﻓﺮ ﻫﺬه اﺳﻘﻒ اﻟﺰﺟﺎﺟﻴﺔ ﺑﻘﻴﺎﺳﺎت ﻛﺒﻴﺮة ﺗﻨﺎﺳﺐ ﻛﺎﻓﺔ‬ ‫ اﺳﺘﺨﺪم ﻓﻴﻬﺎ زﺟﺎج ﻣﺰدوج ﻋﺎﻛﺲ ﻟﻠﺤﺮارة‬،‫أﻧﻮاع اﻟﻤﺒﺎﻧﻲ‬ ،‫ﺿﺎءة‬G‫وإﻃﺎرات ﻣﻌﺪﻧﻴﺔ رﻗﻴﻘﺔ ﻟﺘﻮﻓﻴﺮ أﻛﺒﺮ ﻗﺪر ﻣﻦ ا‬ ‫ ﻳﻤﻜﻦ‬.‫ﺿﺎﻓﺔ إﻟﻰ ﺿﻤﺎن ﻋﺪم ﺗﺴﺮب أي ﺷﻲ ﻣﻦ ﺧﻼﻟﻬﺎ‬G‫ﺑﺎ‬ ‫ أو ﺗﻀﻢ ﺳﻮاﺗﺮ‬،‫أن ﺗﺘﻮﻓﺮ ﻣﻦ وﺣﺪات ﺗﻀﻢ أﻟﻮاح ﺿﻮﺋﻴﺔ‬ ‫ﻏﻼق‬G‫ ﻛﻤﺎ ﻳﻤﻜﻦ اﺧﺘﻴﺎرﻫﺎ ﺛﺎﺑﺘﺔ أو ﻗﺎﺑﻠﺔ ﻟﻠﻔﺘﺢ وا‬،‫داﺧﻠﻴﺔ‬ ‫ وﻳﺘﻢ اﺳﺘﺨﺪام أﻧﻈﻤﺔ اﻟﺘﺤﻜﻢ ﻋﻦ ﺑﻌﺪ ﻟﻠﺘﺤﻜﻢ‬،‫ﻟﻠﺘﻬﻮﻳﺔ‬ ‫ وﺗﺘﻤﻴﺰ‬.‫ ﻟﻐﻠﻖ اﺳﻘﻒ ﻓﻲ ﺣﺎل ﻧﺰول اﻟﻤﻄﺮ‬Z‫ﺑﻬﺎ ﻳﻌﻤﻞ آﻟﻴ‬ .‫ﻫﺬه اﻟﻮﺣﺪات ﺑﺴﻬﻮﻟﺔ ﺗﺮﻛﻴﺒﻬﺎ ﻓﻲ اﻟﻤﻮﻗﻊ‬ The modular skylight system allows you to create eight different configurations for a variety of room and building types, ranging from narrow corridors and small courts to large studios and areas intended for circulation. Each solution is delivered with a prefabricated flashing that ensures perfect system fit and a 100% watertight solution. The simplicity of the modular skylights design and the fully integrated actuator make it impossible to distinguish between fixed and venting modules. The visual uniformity means that even a simple sketch is likely to create a lifelike image of the final product. Venting modules are fitted with a fully integrated chain actuator that allows the room to be ventilated automatically. The actuator is connected to an intelligent control system that closes the module automatically in case of rain or strong winds. There are no visual difference between fixed and vented modules.

bFÐ sŽ rJײ« ÂUE½

nI « ¡«eł_ qO UHð 80 Albenaa

¡UM³« ∏∞


ÂUF« lu*«

Íuł —uEM

ŸËdALK ÂUŽ —uEM

wOzd« Ÿ—UA« vKŽ WKD*« WNł«u« 83 Albenaa

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‫ﻣﻦ أﻋﻤﺎل‬

‫ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫‪Sustainable Architecture‬‬

‫ﺟﺪة ﺑﻮﻟﻴﻔﺎرد‬ ‫اﻟﻤﺼﻤﻢ ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺟﺪة‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﺷﺮﻛﺔ وﺛﺮة ﻟﻠﺘﻄﻮﻳﺮ اﻟﻌﻘﺎري‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 85٫000 :‬م‪2‬‬ ‫ﻟﻴﺲ ﻣﻦ اﻟﺴﻬﻞ اﻟﺪﻣﺞ ﺑﻴﻦ ﻋﺪة اﺳﺘﺨﺪﻣﺎت وأﻧﺸﻄﺔ‬ ‫ﻣﺨﺘﻠﻔﺔ ﻓﻲ ﻣﻮﻗﻊ واﺣﺪ ﺑﺤﻴﺚ ﺗﻜﻮن ﻣﺘﺠﺎﻧﺴﻪ وﻓﻌﺎﻟﺔ‬ ‫واﻗﺘﺼﺎدﻳﺔ وﻣﺴﺘﺪاﻣﺔ ﻓﻲ آن واﺣﺪ‪.‬‬ ‫ﺟﺪة ﺑﻮﻟﻴﻔﺎرد ﺣﻘﻖ ﻫﺬه اﻟﻤﻌﺎدﻟﺔ ﻛﺘﺼﻤﻴﻢ ﻣﺘﻜﺎﻣﻞ‬ ‫ﺣﺪﻳﺚ ﺣﻴﺚ ﺣﻘﻖ ا>ﻧﺴﻴﺒﺎﻳﺔ اﻟﻤﻄﻠﻮﺑﺔ ﻟﻜﻞ إﺳﺘﺨﺪام‬ ‫ﻋﻠﻰ ﺣﺪة ‪ .‬ﻛﻤﺎ ﺿﻤﻦ اﻟﺘﻮاﻓﻖ ﺑﻴﻦ ا>ﺳﺘﺨﺪاﻣﺎت اﻟﺜﻼث‬

‫≤∏ «‪¡UM³‬‬

‫‪82 Albenaa‬‬

‫اﻟﻔﻨﺪﻗﻴﺔ واﻟﻤﻜﺘﺒﻴﺔ واﻟﺘﺠﺎرﻳﺔ‪ .‬اﻟﻤﺸﺮوع ﻣﻦ اﻟﻤﺸﺎرﻳﻊ‬ ‫اﻟﺮاﺋﺪة ﻓﻲ ﺗﻮﻓﻴﺮ ﺑﻴﺌﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻟ‪R‬ﺳﺘﺨﺪاﻣﺎت اﻟﻤﺨﺘﻠﻔﺔ‪،‬‬ ‫ﻛﻤﺎ ﻳﻨﺪﻣﺞ ﻣﻊ ﺑﻴﺌﺔ ﺟﺪة ﺑﺸﻜﻞ إﺳﺘﺜﻨﺎﺋﻲ وﻓﺮﻳﺪ‪.‬‬ ‫اﻟﻤﺸﺮوع ﺿﻤﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻣﺸﺎرﻳﻌﻨﺎ اﻟﺘﻲ ﻧﺴﺘﻬﺪف‬ ‫ﺑﻬﺎ إﻋﺘﻤﺎد وﺗﺤﻘﻴﻖ ﻣﻌﺎﻳﻴﺮ ا‪X‬ﺑﻨﻴﺔ اﻟﺨﻀﺮاء ﻓﻲ اﻟﻤﻤﻠﻜﺔ‪،‬‬ ‫ﻛﻤﺎ ﻳﻌﺘﻤﺪ ﺑﺸﻜﻞ أﺳﺎﺳﻲ ﻋﻠﻰ إﺳﺘﺨﺪام اﻟﻄﺎﻗﺎت‬ ‫اﻟﻤﺴﺘﺪاﻣﺔ واﻟﻤﺘﻔﺎﻋﻠﺔ ﻣﻊ ﺑﻴﺌﺘﻬﺎ اﻟﻤﺤﻠﻴﺔ وذﻟﻚ‬ ‫ﻟﻠﻤﺴﺎﻫﻤﺔ ﻓﻲ اﻟﻮﺻﻮل اﻟﻰ ﺑﻴﺌﺔ ﻧﻈﻴﻔﺔ ﺗﻤﺎﺷﻴ\ ﻣﻊ رؤﻳﺔ‬ ‫اﻟﻤﻤﻠﻜﺔ ‪ .2030‬ﻳﺘﻀﻤﻦ دورﻧﺎ ﻓﻲ اﻟﻤﺸﺮوع اﻟﻤﺸﺎرﻛﺔ‬ ‫ﻓﻲ ﺑﻠﻮرة اﻟﻔﻜﺮة ﻣﻦ اﻟﻤﺒﻨﻰ ودراﺳﺎت اﻟﺠﺪوى‬ ‫وﺟﻤﻴﻊ اﻟﺘﺼﺎﻣﻴﻢ اﻟﻬﻨﺪﺳﻴﺔ‪.‬‬ ‫اﻟﻤﺼﺪر ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬


‫ﻣﻮل اﻟﺨﺮﻳﻒ‬ ‫ﺗﺼﻤﻴﻢ وإدارة اﻟﻤﺸﺮوع‪:‬‬ ‫ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺟﻴﺰان‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﺷﺮﻛﺔ أﺑﻨﺎء اﻟﺨﺮﻳﻒ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 43٫000 :‬م‪2‬‬

‫«*‪‰uLK fOzd« qšb‬‬

‫‪‰uLK ‰ušb« UЫuÐ bŠ√ WHK²  UDI‬‬

‫«*‪w{—_« —ËbK wI_« jI‬‬

‫اﻻﺳﺘﺜﻤﺎر ﻓﻲ اﻟﻤﻮﻻت اﻟﺘﺠﺎرﻳﺔ‬ ‫ﻫﺪف ﻳﺘﺤﻘﻖ ﺑﻔﺎﻋﻠﻴﺔ إذا ﺗﻢ دراﺳﺔ‬ ‫اﻟﻤﺸﺮوع ﺑﺈﺳﺘﻔﺎﺿﺔ ﻟﺘﺤﻘﻴﻖ‬ ‫أﻋﻠﻰ ﻣﻌﺪل أداء وأﻗﻞ ﺗﻜﻠﻔﺔ ﻣﻊ‬ ‫ﺗﻄﺒﻴﻖ اﻟﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﺔ اﻟﺤﺪﻳﺜﺔ‬ ‫اﻟﺘﻲ ﺗﻌﻄﻲ أﻛﺒﺮ ﻣﺴﺎﺣﺔ وأﻓﻀﻞ‬ ‫إﻧﺴﻴﺎﺑﻴﺔ‪ .‬ﺗﻢ أﺧﺘﻴﺎر ﻋﻨﺎﺻﺮ اﻟﻤﺸﺮوع‬ ‫ﺑﻌﻨﺎﻳﺔ ﻓﺎﺋﻘﺔ ﺑﺤﻴﺚ ﺿﻤﻨﺖ ﻟﻠﻌﻤﻴﻞ‬ ‫أﻗﻞ ﺗﻜﻠﻔﺔ وأﺳﺮع ﻣﺪة ﺗﻨﻔﻴﺬ‪.‬‬ ‫ﻣﻮل اﻟﺨﺮﻳﻒ ﻓﻲ ﺟﻴﺰان ﻫﻮ أﺣﺪ‬ ‫اﻟﻤﺸﺎرﻳﻊ اﻟﺘﻲ ﻗﻤﻨﺎ ﺑﺈدارﺗﻬﺎ ﺑﺎﻟﻜﺎﻣﻞ‬ ‫ﺑﺪأ ﻣﻦ ﻣﺮﺣﻠﺔ دراﺳﺔ اﻟﺠﺪوى ﺣﺘﻰ‬ ‫ﺗﺴﻠﻴﻤﻪ ﻧﻬﺎﺋﻴ‪ V‬ﻟﻠﻌﻤﻴﻞ‪ ،‬ﻣﺮور‪T‬‬ ‫ﺑﻤﺮاﺣﻞ اﻟﺘﺼﻤﻴﻢ اﻟﻬﻨﺪﺳﻲ واﻟﻄﺮح‬ ‫وﺟﻠﺐ اﻟﻌﺮوض‪ ،‬ﺛﻢ اﻟﻬﻨﺪﺳﺔ‬ ‫اﻟﻘﻴﻤﻴﺔ وإدارة اﻟﺘﻨﻔﻴﺬ واﻟﺘﺸﻐﻴﻞ‬ ‫ﻓﻲ اﻟﻨﻬﺎﻳﺔ‪ .‬ﻛﻤﺎ ﺗﻜﻤﻦ أﻫﻤﻴﺔ‬ ‫اﻟﻤﺸﺮوع ﻓﻲ ﻣﻮﻗﻌﻪ‪ ،‬ﺣﻴﺚ ﻳﻘﻊ‬ ‫ﻓﻲ أﻫﻢ وأﻛﺒﺮ ﻣﻨﻄﻘﺔ ﺗﺠﻤﻊ ﻣﺮاﻛﺰ‬ ‫ﺗﺠﺎرﻳﺔ ﺑﺠﻴﺰان ‪ ،‬وﻫﻮ ﻣﺎ ﺟﻌﻞ ﻣﻦ‬ ‫ﻣﻮﻗﻌﻪ ﺗﺤﺪﻳ‪ V‬آﺧﺮ ﻓﻲ اﻟﻤﻨﺎﻓﺴﺔ ﻣﻊ‬ ‫اﻟﻤﺮاﻛﺰ اﻟﺘﺠﺎرﻳﺔ اﻟﻘﺎﺋﻤﺔ ﻫﻨﺎك‪.‬‬ ‫اﻟﻤﺼﺪر ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬

‫‪ÁcOHMð s ¡UN²½ù« bFÐ ‰uLK WDI‬‬ ‫‪¡UM³« ∏μ‬‬

‫‪85 Albenaa‬‬


‫ﻣﻀﻤﺎر اﻟﺴﺒﺎق _ ﺟﻮ ﻛﺎرت‬ ‫اﻟﺘﺼﻤﻴﻢ واﺷﺮاف اﻟﻬﻨﺪﺳﻲ ﻋﻠﻰ‬ ‫اﻟﺘﻨﻔﻴﺬ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺮﻳﺎض‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 27٫588 :‬م‪2‬‬ ‫ﻣﻀﻤﺎر اﻟﺴﺒﺎق _ ﺟﻮ ﻛﺎرت ﻳﻤﺜﻞ أﺣﺪ‬ ‫اﻟﻨﺠﺎﺣﺎت اﻟﺘﻲ ﺣﻘﻘﻨﺎﻫﺎ ﺧﻼل اﻟﻔﺘﺮة‬ ‫ا‪4‬ﺧﻴﺮة‪ ،‬ﻛﺎن اﻟﺘﺤﺪي ﻓﻲ ﺗﺼﻤﻴﻢ‬ ‫وﺗﻨﻔﻴﺬ ﻫﺬا اﻟﻤﺸﺮوع ﺣﻴﺚ ﺗﻄﻠﺐ‬ ‫ﺗﻨﻔﻴﺬ اﻟﻤﻀﻤﺎر وﻣﻠﺤﻘﺎﺗﻪ وﻓﻴﻼ‬ ‫اﻟﻀﻴﺎﻓﺔ وﻣﺒﻨﻰ ﻓﻌﺎﻟﻴﺎت ﻣﻊ اﻟﺤﻔﺎظ‬ ‫ﻋﻠﻰ ﺑﻴﺌﺔ اﻟﻤﻜﺎن دون اﻟﻤﺴﺎس ﺑﺄي‬ ‫ﻣﻦ ﻋﻨﺎﺻﺮ اﻟﺒﻴﺌﺔ واﻟﻤﻜﺎن اﻟﻘﺎﺋﻤﺔ‪.‬‬ ‫ﺗﻢ ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع ﺑﺤﻴﺚ أﺧﺬ ﻓﻲ‬ ‫ا‪M‬ﻋﺘﺒﺎر ﺗﺄﻛﻴﺪ اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﺒﻴﺌﺔ‬ ‫اﻟﺨﻀﺮاء اﻟﻘﺎﺋﻤﺔ ﻟﻠﻤﻜﺎن وﺑﺬل ﻛﻞ‬ ‫ﺟﻬﺪ ﻟﻠﺤﻔﺎظ ﻋﻠﻴﻬﺎ وﺣﻤﺎﻳﺘﻬﺎ ﻋﻠﻰ‬ ‫ﻃﻮل اﻟﻤﻀﻤﺎر اﻟﺬي ﻳﺼﻞ ﻃﻮﻟﻪ إﻟﻰ‬ ‫‪ 900‬ﻣﺘﺮﻣﺘﻌﺮج ﻣﺼﻤﻢ وﻣﻨﻔﺬ ﺣﺴﺐ‬ ‫أﻓﻀﻞ اﻟﻤﻌﺎﻳﻴﺮ اﻟﻔﻨﻴﺔ واﻟﻬﻨﺪﺳﻴﺔ‪.‬‬ ‫ﺗﻢ ا‪M‬ﻧﺘﻬﺎء ﻣﻦ ﺟﻤﻴﻊ ﻣﺮاﺣﻞ‬ ‫اﻟﻤﺸﺮوع وﺟﺎري ا‪4‬ن ﺗﺠﻬﻴﺰه‬ ‫ﻟﻼﻓﺘﺘﺎح‪ .‬ﻳﺘﺨﻠﻞ اﻟﻤﻀﻤﺎر ﻧﺎﻓﻮرة‬ ‫ﺑﺎرﺗﻔﺎع ﻳﺰﻳﺪ ﻋﻠﻰ اﻟﺜﻤﺎن أﻣﺘﺎر وﺑﻄﻮل‬ ‫ﻳﺰﻳﺪ ﻋﻦ ‪ 200‬ﻣﺘﺮ ﺗﻢ ﺗﺼﻤﻴﻤﻬﺎ ﺑﻤﻮاد‬ ‫ﻣﺨﺘﺎرة ﻣﻦ ﺑﻴﺌﺔ اﻟﻤﻜﺎن ﻛﺎﻟﺤﺠﺮ‬ ‫واﻟﺠﺮاﻧﻴﺖ‪.‬‬ ‫اﻟﻤﺼﺪر ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬

‫‪—ULCLK W¹uł …—u‬‬

‫‪…—uUMK WOKO …—u‬‬

‫«*‪w{—_« —ËbK wI_« jI‬‬ ‫‪¡UM³« ∏¥‬‬

‫‪84 Albenaa‬‬

‫‪ UOUFH« vM³* WOKO …—u‬‬

‫‪‚U³« —ULC* —uEM‬‬


‫ﻓﻴﻼ ﺧﺎﺻﺔ‬ ‫اﻟﺘﺼﻤﻴﻢ واﺷﺮاف ﻋﻠﻰ اﻟﺘﻨﻔﻴﺬ‪:‬‬ ‫ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺮﻳﺎض‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 1٫050 :‬م‪2‬‬ ‫ﺗﻤﺜﻞ ﻫﺬه اﻟﻔﻴﻼ أﺣﺪ أﻫﻢ ﺧﺪﻣﺎﺗﻨﺎ‬ ‫اﻟﺘﻲ ﻧﺤﺮص ﻋﻠﻰ ﺗﻘﺪﻳﻤﻬﺎ ﻟﻌﻤﻼﺋﻨﺎ‬ ‫اﻟﻤﻤﻴﺰﻳﻦ‪ .‬ﻟﻠﻮﻫﻠﺔ ا(وﻟﻰ ﻗﺪ ﻳﺘﺨﻴﻞ‬ ‫اﻟﺒﻌﺾ أﻧﻬﺎ ﻓﻴﻼ ﻋﺎدﻳﺔ‪ ،‬ﻟﻜﻦ‬ ‫اﻟﺤﻘﻴﻘﺔ أﻧﻬﺎ ﻓﻴﻼ ﻣﺼﻤﻤﻪ ﺑﻔﻨﻴﺎت‬ ‫اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‪ ،‬واﻟﺘﻲ ﻣﻦ‬ ‫ﺷﺄﻧﻬﺎ اﺳﺘﺨﺪام ﻋﻨﺎﺻﺮ اﻻﺳﺘﺪاﻣﺔ‬ ‫ﻓﻲ اﻟﺘﺼﻤﻴﻢ واﻟﺘﻨﻔﻴﺬ ﻣﻊ ﺗﻘﻠﻴﻞ‬ ‫ا‪D‬ﻋﺘﻤﺎد ﻋﻠﻰ اﻟﻤﻮاد اﻟﻤﻠﻮﺛﺔ ﻟﻠﺒﻴﺌﺔ‪.‬‬ ‫ﺗﺼﻤﻴﻢ اﻟﻔﻴﻼ أﺧﺬ ﻓﻲ ا‪D‬ﻋﺘﺒﺎر‬ ‫ا‪D‬ﻋﺘﻤﺎد ﻋﻠﻰ اﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ ﻓﻲ‬ ‫ﻣﻮﺿﻊ اﻟﻔﻴﻼ وﺣﺠﻢ اﻟﻨﻮاﻓﺬ واﺗﺠﺎه‬ ‫اﻟﺮﻳﺎح‪ ،‬ﻛﻤﺎ ﺗﻢ اﺳﺘﺨﺪام اﻟﻤﻮاد‬ ‫اﻟﺼﺪﻳﻘﺔ ﻟﻠﺒﻴﺌﺔ واﻟﻤﻮاد اﻟﻌﻀﻮﻳﺔ‬ ‫ﺑﺸﻜﻞ أﻛﺒﺮ ﻣﻦ ﻣﺜﻴﻼﺗﻬﺎ‪.‬‬ ‫اﻟﻔﻴﻼ ﻣﻨﻔﺬة ﻣﻨﺬ ﻋﺎم ‪ 2013‬وﺣﺘﻰ‬ ‫ا‪Q‬ن ﺗﻔﻲ ﺑﻘﻴﻢ ﺗﺮﺷﻴﺪ اﻟﻄﺎﻗﺔ‬ ‫وا‪D‬ﻋﺘﻤﺎد ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻋﻠﻰ ﻓﻨﻴﺎت‬ ‫اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‪.‬‬ ‫رؤﻳﺔ ‪ 2030‬ﺗﺪﻋﻢ وﺗﻀﻤﻦ اﻟﺘﻮﺟﻪ‬ ‫اﻟﻨﻈﻴﻒ ﻟﻠﻄﺎﻗﺔ وﺗﺤﺚ ﻋﻠﻰ ﺗﻌﻈﻴﻢ‬ ‫اﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﻄﺎﻗﺔ اﻟﻤﺘﺠﺪدة‬ ‫واﻟﻤﺴﺘﺪاﻣﺔ وﻫﻮ ﻣﺎ ﻧﻬﺪف إﻟﻴﻪ ﻓﻲ‬ ‫ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ وﻫﻮ ﺟﺰء‬ ‫أﺻﻴﻞ ﻓﻲ رؤﻳﺘﻨﺎ‪.‬‬ ‫اﻟﻤﺼﺪر ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫‪öOHK WHK² UDI‬‬

‫«*‪w{—_« —ËbK wI_« jI‬‬

‫‪öOHK Íuł —uEM‬‬

‫«*‪‰Ë_« —ËbK wI_« jI‬‬ ‫∑∏ «‪¡UM³‬‬

‫‪87 Albenaa‬‬


‫ﻓﻨﺪق رادﻳﺴﻮن ﺑﻠﻮ‬ ‫إدارة اﻟﻤﺸﺮوع واﺷﺮاف‬ ‫اﻟﻬﻨﺪﺳﻲ ﻋﻠﻰ اﻟﺘﻨﻔﻴﺬ‪:‬‬ ‫ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺮﻳﺎض‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﻏﺮﻓﺔ اﻟﺮﻳﺎض‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 11٫939 :‬م‪2‬‬ ‫اﻟﻤﺸﺮوع ﻳﺄﺗﻲ ﻣﻦ ا ﻫﻤﻴﺔ اﻟﻌﺎﻟﻴﺔ‬ ‫اﻟﺘﻲ ﺗﻮﻟﻴﻬﺎ ﻏﺮﻓﺔ اﻟﺮﻳﺎض ﻻﺳﺘﺜﻤﺎرﺗﻬﺎ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻓﻲ ﻣﺠﺎل اﻟﻀﻴﺎﻓﺔ وذﻟﻚ‬ ‫ﺗﻤﺎﺷﻴ‪ 1‬ﻣﻊ رؤﻳﺔ اﻟﻤﻤﻠﻜﺔ ‪ ،2030‬ﺑﺰﻳﺎدة‬ ‫اﻻﺳﺘﺜﻤﺎر ﻓﻲ ﻣﺠﺎل اﻟﻀﻴﺎﻓﺔ ﻟﺘﻮﻓﻴﺮ‬ ‫ﺑﻴﺌﺔ ﻣﺴﺎﻋﺪة وﻣﺤﻔﺰة ﻟﻼﺳﺘﺜﻤﺎر واﻟﻨﻤﻮ‬ ‫اﻻﻗﺘﺼﺎدي‪ ،‬واﺳﺘﻀﺎﻓﺔ اﻟﻤﻌﺎرض اﻟﻜﺒﺮى‬ ‫اﻟﺬي ﺗﺘﻄﻠﻊ ﻟﻪ اﻟﺮؤﻳﺔ اﻟﻮﻃﻨﻴﺔ‪ .‬وﻧﺤﻦ‬ ‫ﻓﻲ ﻣﻜﺘﺒﻨﺎ ﻣﺘﺨﺼﺼﻮن ﻓﻲ ﻣﺠﺎﻻت‬ ‫اﻟﺪﻋﻢ اﻟﻬﻨﺪﺳﻲ واﻟﻔﻨﻲ وإدارة اﻟﻤﺸﺎرﻳﻊ‬ ‫ﺑﺎ‪M‬ﺿﺎﻓﺔ إﻟﻰ ا‪M‬ﺷﺮاف ﻋﻠﻰ اﻟﺘﻨﻔﻴﺬ وﻟﺪﻳﻨﺎ‬ ‫ﺗﺠﺎرب ﻧﺎﺟﺤﺔ وﻣﺘﻌﺪدة ﻓﻲ ﻣﺜﻞ ﻫﺬه‬ ‫اﻟﻤﺠﺎﻻت واﻟﺘﺤﺪﻳﺎت‪ .‬ﺣﺎﻟﻴ‪ 1‬اﻟﻤﺸﺮوع ﻓﻲ‬ ‫ﻣﺮﺣﻠﺔ اﻟﺘﺸﻄﻴﺒﺎت ا وﻟﻴﻪ ﻣﻦ ﺧﻼل‬ ‫اﻟﺒﺪء ﻓﻲ اﻟﺘﺮﻛﻴﺒﺎت ا‪M‬ﻟﻜﺘﺮوﻣﻴﻜﺎﻧﻴﻜﻴﺔ‬ ‫وﺗﺠﻬﻴﺰ أﻋﻤﺎل اﻟﺪﻳﻜﻮر اﻟﺪاﺧﻠﻲ وأﻋﻤﺎل‬ ‫اﻟﻮاﺟﻬﺎت‪ .‬وﻳﻌﺪ ﻣﻮﻗﻊ اﻟﻤﺸﺮوع ذو‬ ‫أﻫﻤﻴﺔ ﻛﺒﻴﺮة‪ ،‬ﻟﻮﺟﻮده ﻓﻲ ﻣﺮﻛﺰ اﻟﺮﻳﺎض‬ ‫ﻟﻠﻤﻌﺎرض ﻣﻤﺎ ﺳﻴﻌﻄﻲ ﻣﻴﺰه اﻟﺘﻨﻘﻞ‬ ‫ﻟﻠﻮﻓﻮد واﻟﺰاﺋﺮﻳﻦ ﺧﻼل ﻓﺘﺮات اﻟﻤﻌﺎرض‬ ‫واﻟﻤﺆﺗﻤﺮات‪ .‬ﻳﺘﻀﻤﻦ دورﻧﺎ ﻓﻲ اﻟﻤﺸﺮوع‬ ‫ﺑﺎﻟﺘﺨﻄﻴﻂ واﻟﻤﺘﺎﺑﻌﺔ واﻻﺷﺮاف ﻋﻠﻰ‬ ‫ﺟﻤﻴﻊ ا ﻋﻤﺎل‪ ،‬ﻛﻤﺎ ﻳﺘﻀﻤﻦ اﻟﺘﻨﺴﻴﻖ ﻣﻊ‬ ‫ﻏﺮﻓﺔ اﻟﺮﻳﺎض ﻟﺘﻨﻔﻴﺬ رﻏﺒﺎﺗﻬﻢ ﺑﺎﺳﺘﺨﺪام‬ ‫أﺣﺪث ا ﻧﻈﻤﺔ واﻟﻤﻮاد وﺑﺨﺎﺻﺔ اﻟﻮﻃﻨﻴﺔ‬ ‫ﻣﻨﻬﺎ ﻟﺪﻋﻢ اﻟﻤﻨﺘﺞ اﻟﻮﻃﻨﻲ وﻫﻲ إﺣﺪى‬ ‫أﻫﺪاف ﻏﺮﻓﺔ اﻟﺮﻳﺎض‪.‬‬ ‫اﻟﻤﺼﺪر ‪ :‬ﻣﻜﺘﺐ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﺪاﻣﺔ‬

‫«*‪w{—_« —ËbK wI_« jI‬‬ ‫∂∏ «‪¡UM³‬‬

‫‪86 Albenaa‬‬

‫‪ŸËdALK ÂUŽ —uEM‬‬

‫ ‪WFO³D« vKŽ lu*« s …—u‬‬

‫‪WHK² UŽUD‬‬


‫ﻣﺆﺳﺴﺔ ﻫﻼل ﻣﺤﻤﺪ اﻟﻌﺼﻴﻤﻲ ‪ ...‬رواد ﻓﻲ أﻋﻤﺎل‬ ‫اﻟﻤﻈﻼت واﻟﺘﻐﻄﻴﺔ اﻟﺴﻤﺎوﻳﺔ وأﻋﻤﺎل ا‪$‬ﻧﺎرة اﻟﻄﺒﻴﻌﻴﺔ‬ ‫وﺳﻜﺎي ﻻﻳﺖ واﻟﻤﺒﺎﻧﻲ اﻟﺤﺪﻳﺪﻳﺔ‬

‫ا;ﺳﺘﺎذ ‪ /‬ﻫﻼل ﻣﺤﻤﺪ اﻟﻌﺼﻴﻤﻲ ـ اﻟﻤﺪﻳﺮ اﻟﻌﺎم‬

‫اﻟﻤﻬﻨﺪس ‪ /‬ﻋﺒﺪ اﻟﺒﺎﻗﻲ ﻋﺰ ـ ﻣﺪﻳﺮ اﻟﻤﺸﺎرﻳﻊ‬

‫ﺑـــﺪأت ﻣﺆﺳﺴـــﺔ ﻫـــﻼل ﻣﺤﻤـــﺪ‬ ‫اﻟﻌﺼﻴﻤـــﻲ ﺑﺤـــﻲ اﻟﻤﻠـــﺰ ﺑﻤﺪﻳﻨـــﺔ‬ ‫اﻟﺮﻳـــﺎض أﻋﻤﺎﻟﻬـــﺎ ﻓﻲ ﻋـــﺎم ‪١٩٩٢‬م‬ ‫ﻓـــﻲ ﻣﺠـــﺎل اﻟﻤﻈـــﻼت واﻟﺘﻐﻄﻴـــﺔ‬ ‫اﻟﺴﻤﺎوﻳﺔ وأﻋﻤﺎل ا‪0‬ﻧﺎرة اﻟﻄﺒﻴﻌﻴﺔ‬ ‫اﺳـــﻜﺎى ﻻﻳﺖ واﻟﻤﺒﺎﻧـــﻲ اﻟﺤﺪﻳﺪﻳﺔ‬ ‫ﺣﻴـــﺚ ﻳﺘـــﻢ اﺳـــﺘﺨﺪام ﻗﻄﺎﻋـــﺎت‬ ‫ﺧﺎﺻـــﺔ ﻣـــﻦ اﻟﺤﺪﻳـــﺪ وا;ﻟﻤﻨﻴـــﻮم‬ ‫واﻟﺮﺑـــﺮ وﻣﻦ اﻟﺰﺟﺎج اﻟﺪﺑـــﻞ ـ واﻟﺰﺟﺎج‬ ‫اﻟﻤﻌﺸـــﻖ ـ واﻟﻠﻴﻜﺴﺎن واﻟﺜﻴﺮﻣﻮﻛﻠﻴﺮ ـ‬ ‫اﻟﺴﻨﺪوﺗﺶ ﺑﻨﻞ ‪.‬‬ ‫وﻗﺪ أوﺿﺢ اﻟﻤﻬﻨﺪس ﻋﺒﺪ اﻟﺒﺎﻗﻲ‬ ‫اﻟﺴﻌﻴﺪ ﻋﺰ ﻣﺪﻳﺮ اﻟﻤﺸﺎرﻳﻊ ﺑﺒﻌﺾ‬ ‫ا;ﻋﻤﺎل اﻟﺘﻲ ﺗﻢ ﺗﻨﻔﻴﺬﻫﺎ ﻣﻦ ﻗﺒﻞ‬ ‫اﻟﻤﺆﺳﺴﺔ ‪:‬‬ ‫‪ ١‬ـ ﺗﻴﺮا ﻣﻮل ) اﻟﻄﺎﺋﻒ (‬ ‫‪ ٢‬ـ ﺻﺎﻻت اﻟﻤﻘﺼﻮرة ﻟﻼﺣﺘﻔﺎﻻت‪.‬‬ ‫‪ ٣‬ـ ﻣﺠﻤﻊ أﺳﻮاق ا;ﻧﺪﻟﺲ ‪.‬‬ ‫‪ ٤‬ـ ﻣﺠﻤﻊ إﻟﻜﺘﺮون اﻟﺘﺠﺎري ‪.‬‬ ‫‪ ٥‬ـ اﻟﻤﺪارس اﻟﺴﻌﻮدﻳﺔ ‪.‬‬ ‫‪ ٦‬ـ ﻣﺠﻤﻊ اﻟﻤﻨﺎر ﺑﻼزا ‪.‬‬ ‫‪ ٧‬ـ ﻣﺠﻤـــﻊ أﺳـــﻮاق اﻟﻌﺜﻴـــﻢ ﻣﻮل ﺑﺤﻲ‬ ‫اﻟﺮﺑﻮة ﺑﻤﺪﻳﻨﺔ اﻟﺮﻳﺎض‪.‬‬ ‫‪ ٨‬ـ ﻣﺠﻤﻊ اﻟﻌﺜﻴﻢ ﺑﻤﺪﻳﻨﺔ ﺑﺮﻳﺪه‪.‬‬ ‫‪ ٩‬ـ ﻣﺠﻤـــﻊ اﻟﻘﺮﻋـــﺎوي ﻃﺮﻳـــﻖ اﻟﻌﺮوﺑـــﺔ‬ ‫ﺑﻤﺪﻳﻨﺔ اﻟﺮﻳﺎض‪.‬‬ ‫‪ ١٠‬ـ ﻋﻤﻞ ﺗﻐﻄﻴﺔ ﻟﻤﺠﻤﻊ ﻛﻠﻴﺎت اﻟﺒﻨﺎت‬ ‫ﺑﻤﺨﺮج ‪.٩‬‬ ‫‪ ١١‬ـ أﺳﻮاق ﺑﺎﺣﺴﻴﻦ ﺑﺎﻟﺒﻄﺤﺎء‪.‬‬ ‫‪ ١٢‬ـ ﺗﻮﺳـــﻌﺔ ﺑﺄﺳـــﻮاق ﺻﺤﺎرى ﺑﺎﻟﺮﻳﺎض‬ ‫ﻃﺮﻳﻖ ا;ﻣﻴﺮ ﻋﺒﺪا‪.d‬‬ ‫‪ ١٣‬ـ اﻟﻜﻠﻴﺔ اﻟﺠﻮﻳﺔ ﺑﺎﻟﺮﻳﺎض‪.‬‬ ‫‪ ١٤‬ـ ﻣﺸـــﺮوع ﻣﺒﺎﻧـــﻲ اﻟﻤﺪﻳﺮﻳـــﺔ اﻟﻌﺎﻣﺔ‬ ‫ﻟﻠﺪﻓﺎع اﻟﻤﺪﻧﻲ ﺑﺎﻟﺮﻳﺎض اﻟﻄﺮﻳﻖ‪.‬‬ ‫‪ ١٥‬ـ ﻣﺠﻤﻊ اﻟﺤﺒﻴﺐ ﻟﻼﺗﺼﺎﻻت‪.‬‬ ‫‪ ١٦‬ـ ﻣﺠﻤﻊ اﻟﺒﺪﻳﻌﺔ ﻣﻮل ﺑﺎﻟﺒﺪﻳﻌﺔ ‪.‬‬ ‫‪ ١٧‬ـ ﻣﺠﻤﻊ اﻟﺸﻔﺎ ﻣﻮل ﺑﺎﻟﺸﻔﺎ‪.‬‬ ‫‪ ١٨‬ـ ﻣﺠﻤﻊ ﻓﻴﻨﺴﻴﺎ ﻣﻮل ﺑﺎﻟﺨﺒﺮ ‪.‬‬ ‫‪ ١٩‬ـ ﻣﺠﻤﻊ ﻣﺎرﻳﻨﺎ ﻣﻮل ﺑﺎﻟﺪﻣﺎم‪.‬‬ ‫‪ ٢٠‬ـ ﻣﺪﻳﻨﺔ اﻟﺘﻤﻮر ﺑﻤﺪﻳﻨﺔ ﺑﺮﻳﺪه‪.‬‬ ‫‪ ٢١‬ـ ﻣﺠﻤﻊ ﺻﺤﺎرى ﻣﻮل اﻟﺮس ﺑﺎﻟﻘﺼﻴﻢ ‪.‬‬ ‫‪ ٢٢‬ـ ﻣﻌﻬـــﺪ اﻟﺪرﻋﻴـــﺔ )ﺟﺎﻣﻌـــﺔ اﻟﻤﻠـــﻚ‬ ‫ﺳﻌﻮد( ﺑﻤﺪﻳﻨﺔ اﻟﺮﻳﺎض‪.‬‬ ‫‪ ٢٣‬ـ ﻣﺪﻳﻨـــﺔ اﻟﻤﻠـــﻚ ﻋﺒﺪ ا‪0 d‬ﺳـــﻜﺎن‬ ‫اﻟﻨﺎزﺣﻴﻦ ﺑﻤﺪﻳﻨﺔ ﻳﺠﻴﺰان ‪.‬‬

‫‪ ٢٤‬ـ ﻣﺠﻤـــﻊ إدارة اﻟﺘﻌﻠﻴـــﻢ )ﺑﺴـــﺮاة‬ ‫ﻋﺒﻴﺪة( ﺑﻤﺪﻳﻨﺔ ﺧﻤﻴﺲ ﻣﺸﻴﻂ ‪.‬‬ ‫‪ ٢٥‬ـ اﻟﻘﺎﻋﺪة اﻟﺠﻮﻳﺔ ﺑﻤﺪﻳﻨﺔ اﻟﺨﺮج‪.‬‬ ‫‪ ٢٦‬ـ ﺗﻮﺳﻌﺔ ﻣﺠﻠﺲ اﻟﺘﻌﺎون اﻟﺨﻠﻴﺠﻲ‬ ‫ﺑﻤﺪﻳﻨﺔ اﻟﺮﻳﺎض ‪.‬‬ ‫‪ ٢٧‬ـ ﻣﺠﻤﻌـــﺎت ﻣﺮاﻛﺰ اﻟﺴـــﻜﺮ ﺑﻤﺪﻳﻨﺔ‬ ‫)اﻻﺣﺴـــﺎء‪ ،‬ﺑﺮﻳـــﺪه ‪،‬ﺣﺎﺋـــﻞ ‪ ،‬اﻟﻄﺎﺋـــﻒ‪،‬‬ ‫ﺗﺒﻮك ( ‪.‬‬ ‫‪ ٢٨‬ـ ﻣﺠﻤﻌﺎت اﻟﺨﺒﺮ ﻣﻮل ﺑﻤﺪﻳﻨﺔ اﻟﺨﺒﺮ ‪.‬‬ ‫‪ ٢٩‬ـ ﻣﺴﺘﺸﻔﻰ ﻣﻨﻰ ﺑﻤﻜﺔ اﻟﻤﻜﺮﻣﺔ‪.‬‬ ‫‪ ٣٠‬ـ ﻣﺴﺘﺸﻔﻰ اﻟﺪﻣﺎم ) اﻟﻮﻻدة(‪.‬‬ ‫‪ ٣١‬ـ ﻣﺴﺘﺸـــﻔﻰ اﻟﺼﺤـــﺔ اﻟﻨﻔﺴـــﻴﺔ‬ ‫ﺑﺒﺮﻳﺪة ) اﻟﻮﻻدة(‪.‬‬ ‫‪ ٣٢‬ـ ﻣﺪارس اﻟﺸﺮاع ﺑﻤﺪﻳﻨﺔ اﻟﺮﻳﺎض‪.‬‬ ‫‪ ٣٣‬ـ ﻣﺠﻤـــﻊ ﻏﺴـــﻴﻞ اﻟﻜﻠـــﻰ ﺑﻤﺪﻳﻨـــﺔ‬ ‫راﻧﻴﺔ واﻟﺨﺮﻣﺔ‪.‬‬ ‫‪ ٣٤‬ـ ﻣﺒﻨـــﻰ وزارة اﻟﻌﻤﻞ ﺑﻄﺮﻳﻖ اﻟﻤﻠﻚ‬ ‫ﻋﺒﺪاﻟﻌﺰﻳﺰ‪.‬‬ ‫‪ ٣٥‬ـ ﻣﺒﻨﻰ اﻟﻀﻴﺎﻓﺔ اﻟﻘﺎﻋﺪة اﻟﻌﺴﻜﺮﻳﺔ‬ ‫ﺑﻤﺪﻳﻨﺔ راﻧﻴﺔ ‪.‬‬ ‫‪ ٣٦‬ـ ﻣﺸـــﺮوع ﻣﺠﻤـــﻊ اﻟﺤﺴـــﻮن ﻣـــﻮل‬ ‫ﺑﻤﺪﻳﻨﺔ ﺣﺎﺋﻞ ‪.‬‬ ‫‪ ٣٧‬ـ ﻣﺒﻨـــﻰ اﻟﻤﻌﻬﺪ اﻟﻤﻬﻨﻲ ﺑﻤﺪﻳﻨﺔ‬ ‫رﺟﺎل اﻟﻤﻊ‪.‬‬ ‫‪ ٣٨‬ـ ﻣﺒﻨـــﻰ ﺗﺎﺑـــﻊ ﻟـــﻮزارة اﻟﺪاﺧﻠﻴـــﺔ‬ ‫ﺑﻤﺪﻳﻨﺔ اﻟﻮﺟﻪ‪.‬‬ ‫‪ ٣٩‬ـ ﻣﺴﺘﺸـــﻔﻰ اﻟﺤﻤـــﺎدى اﻟﺮﻳـــﺎض‬ ‫اﻟﺴﻮﻳﺪي ‪.‬‬ ‫‪ ٤٠‬ـ ﻣﺸـــﺮوع اﻟﺤﺮس اﻟﻮﻃﻨﻰ ﺑﺨﺸـــﻢ‬ ‫اﻟﻌﺎن‪.‬‬ ‫‪ ٤١‬ـ ﻣﺮﻛﺰ اﻟﺘﻨﻤﻴﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ ﺑﺤﺎﺋﻞ‪.‬‬ ‫ﻣﺸﺮوع ﻣﻮل ﻗﻠﺐ اﻟﻄﺎﺋﻒ‪.‬‬ ‫ﻣﺠﻤﻊ ﺑﻠﺪا ﻟﻤﻮاد اﻟﺒﻨﺎء‪.‬‬ ‫ﻣﺪارس اﻟﻔﺮﺳﺎن اﻟﻌﺎﻟﻤﻴﺔ )ﺑﻨﺎت(‪.‬‬ ‫ﻣﺪارس ﻏﺮاس ا;ﺧﻼق ‪.‬‬ ‫ﻣﺸـــﺮوع ﻣﺒﻨـــﻰ اﻟﺮﺳـــﺎﺋﻞ ا‪0‬دارﻳـــﺔ‬ ‫)اﻟﺠﻤﺎرك اﻟﺴﻌﻮدﻳﺔ ـ اﻟﺮﻳﺎض(‪.‬‬ ‫ﻣﺸﺮوع ﻣﻮل اﻟﺒﻄﺤﺎ‪.‬‬ ‫ﺳﺎﺣﺎت ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﺳﻌﻮد )اﻟﺪرﻋﻴﺔ‬ ‫ـ اﻟﺨﺮج(‪.‬‬ ‫ﻣﺪارس اﻟﻔﺮﺳﺎن اﻟﻌﺎﻟﻤﻴﺔ ﺑﺠﺪة‪.‬‬ ‫ﻣﺪارس ﻧﻬﺞ اﻟﺮواد ﺑﺸﺮورة‪.‬‬ ‫ﻫﺮم ﻣﺴﺘﺸـــﻔﻰ اﻟﻤﻠﻚ ﻋﺒـــﺪ اﻟﻌﺰﻳﺰ‬ ‫اﻟﺠﺎﻣﻌﻲ‪.‬‬ ‫أﻫﺮاﻣﺎت اﻟﺤﺮس اﻟﻮﻃﻨﻲ ﺑﺎ;ﺣﺴﺎء ‪.‬‬


‫‪WO½öŽ≈ …œU ¡UM³« o×K‬‬

‫ﻣﺆﺗﻤﺮ وﻣﻌﺮض اﻟﻤﻘﺎوﻻت اﻟﺪوﻟﻲ‬

‫ﻛﺠﺰء ﻣﻦ رؤﻳﺔ ‪ ،٢٠٣٠‬ﺗﻤﺮ اﻟﻤﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ﺑﺘﻐﻴﺮات ﻛﺒﻴﺮة‪.‬‬ ‫وإﺣﺪى ﺟﻮاﻧﺐ ﻫﺬا اﻟﺘﻐﻴﻴﺮ ﻫﻮ‬ ‫ﺗﺤﻘﻴﻖ ﻗﻄﺎع ﻣﻘﺎوﻻت ﻣﺴﺘﺪام‬ ‫ﻟﻠﻤﻤﻠﻜﺔ‪ .‬وﺑﻤﺎ أن ﻗﻄﺎع اﻟﺘﺸﻴﻴﺪ‬ ‫ﻫﻮ ﺛﺎﻧﻲ أﻛﺒﺮ ﻗﻄﺎع ﻏﻴﺮ ﻧﻔﻄﻲ ﻓﻲ‬ ‫اﻟﻤﻤﻠﻜﺔ‪ ،‬ﻓﻘﺪ أدى إﻟﻰ إﻧﺸﺎء اﻟﻬﻴﺌﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ ﻟﻠﻤﻘﺎوﻟﻴﻦ )‪ (SCA‬واﻟﺘﻲ‬ ‫ﺗﻢ ﺗﻌﻴﻴﻨﻬﺎ ﻣﻦ ﻗﺒﻞ ﻣﺠﻠﺲ اﻟﻮزراء‪.‬‬ ‫ﺗﻬﺪف اﻟﻬﻴﺌﺔ إﻟﻰ ﺗﻨﻈﻴﻢ وﺗﻄﻮﻳﺮ‬ ‫ﻗﻄﺎع اﻟﻤﻘﺎوﻻت وﺗﻤﻜﻴﻨﻪ ﻣﻦ ﺑﻨﺎء‬ ‫اﻟﻘﺪرات اﻟﻤﺘﺨﺼﺼﺔ ﻟﺮﻓﻊ اﻟﻤﻌﺎﻳﻴﺮ‬ ‫واﻟﻨﻮﻋﻴﺎت اﻟﺘﻲ ﻳﻨﺘﺠﻬﺎ اﻟﻘﻄﺎع‬ ‫وإﻧﺸﺎء ﺑﻴﺌﺔ ﻋﻤﻞ آﻣﻨﺔ وﻣﺄﻣﻮﻧﺔ‪.‬‬ ‫ﻟﺬﻟﻚ اﻃﻠﻘﺖ اﻟﻬﻴﺌﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫ﻟﻠﻤﻘﺎوﻟﻴﻦ ﻣﺆﺗﻤﺮ وﻣﻌﺮض اﻟﻤﻘﺎوﻻت‬ ‫اﻟﺪوﻟﻲ )‪ .(ICCE‬واﻟﺬي أﻗﻴﻢ ﺗﺤﺖ‬ ‫ﺷﻌﺎر ”ﺑﻨﺎء اﻟﻤﺴﺘﻘﺒﻞ ﺑﺜﻘﺔ “ ﻓﻲ‬ ‫اﻟﻔﺘﺮة ﻣﻦ ‪ ١٧-١٦‬ﺳﺒﺘﻤﺒﺮ ‪ ٢٠١٨‬ﻓﻲ‬ ‫ﻣﺮﻛﺰ اﻟﺮﻳﺎض اﻟﺪوﻟﻲ ﻟﻠﻤﺆﺗﻤﺮات‬ ‫واﻟﻤﻌﺎرض‪ .‬ﻳﻌﺪ اﻟﻤﻌﺮض ا‪a‬ول‬ ‫ﻣﻦ ﻧﻮﻋﻪ وأﺿﺨﻢ ﺗﻈﺎﻫﺮة ﻟﻘﻄﺎع‬ ‫اﻟﻤﻘﺎوﻻت وﺗﺴﻌﻰ اﻟﻬﻴﺌﺔ ﻣﻦ‬ ‫ﺧﻼﻟﻪ إﻟﻰ ﺗﺤﻘﻴﻖ ﻋﺪة أﻫﺪاف ﺗﺼﺐ‬ ‫ﻓﻲ ﻣﺠﻤﻠﻬﺎ إﻟﻰ ﺗﻄﻮﻳﺮ ﻗﻄﺎع‬ ‫اﻟﻤﻘﺎوﻻت ﺑﺸﻜﻞ ﻋﺎم‪ ،‬ﺣﻴﺚ ﻳﻬﺪف‬ ‫اﻟﻤﻌﺮض إﻟﻰ ﺗﻮﻓﻴﺮ ﻓﺮص ﺗﺠﺎرﻳﺔ‬ ‫واﻟﻌﻤﻞ ﻛﻤﻨﺒﺮ ﻟﻠﺤﻞ وﺗﺤﺪي اﻟﻘﻀﺎﻳﺎ‬ ‫ﻓﻲ ﻗﻄﺎع اﻟﻤﻘﺎوﻻت وﺗﺸﺠﻴﻊ‬ ‫ا‪j‬ﺑﺪاع وﺗﻌﺰﻳﺰ اﻟﺘﻮاﺻﻞ واﻟﺘﺜﻘﻴﻒ‬ ‫واﻟﻤﺴﺎﻋﺪة ﻟﻴﺲ ﻓﻘﻂ ‪a‬ﻋﻀﺎء‬ ‫اﻟﻬﻴﺌﺔ وﻟﻜﻦ ﻟﻠﻘﻄﺎع ﻛﻜﻞ‪.‬‬ ‫اﺣﺘﻮى اﻟﻤﺆﺗﻤﺮ ﻋﻠﻰ ﻓﻌﺎﻟﻴﺎت وورش‬ ‫ﻋﻤﻞ ﻣﺘﻌﺪدة ﺑﺎ‪j‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﻌﺮض‬ ‫ﻟﻤﻨﺎﻗﺸﺔ واﻗﻊ وﺗﺤﺪﻳﺎت اﻟﻘﻄﺎع‬ ‫وأﻓﻀﻞ اﻟﺴﺒﻞ ﻟﺘﻄﻮﻳﺮه‪ ،‬وﻗﺪ ﺗﻢ‬ ‫دﻋﻮة ﺟﻤﻴﻊ اﻟﻤﻘﺎوﻟﻴﻦ ﻟﻠﻤﺆﺗﻤﺮ‪.‬‬ ‫ﻛﻤﺎ ﻳﻬﺪف إﻟﻰ ﻓﺘﺢ آﻓﺎﻗ‪ n‬ﻣﻦ اﻟﺘﻌﺎون‬ ‫ﻟﻠﻤﻘﺎوﻟﻴﻦ واﻟﻤﻮردﻳﻦ وﻣﻘﺪﻣﻲ‬ ‫اﻟﺨﺪﻣﺎت ﻣﻤﺎ ﺳﻮف ﻳﺼﻨﻊ ﺑﻴﺌﺔ ﻋﻤﻞ‬ ‫ﻣﺜﺎﻟﻴﺔ ﻟﻨﻤﻮ اﻟﻔﺮص وﻋﺮض اﻟﻤﻨﺘﺠﺎت‬ ‫واﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ‪.‬‬

‫∏∏ «‪¡UM³‬‬

‫‪88 Albenaa‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ رﺿﺎﻳﺎت ﻟﻠﻄﻼء اﻟﻮاﻗﻲ اﻟﻤﺤﺪودة‬ ‫ﺣﺪﻳﺪ اﻟﺘﺴﻠﻴﺢ اﻟﻤﻄﻠﻲ ﺑﺎﻳﺒﻮﻛﺴﻲ‬

‫اﻟﻤﻬﻨﺪس ‪ /‬رﻳﺎض اﻟﺤﻤﻮد ـ اﻟﻤﺪﻳﺮ اﻟﻌﺎم‬

‫ﻗﺎﻣﺖ ﺷـــﺮﻛﺔ رﺿﺎﻳﺎت ﻟﻠﻄﻼء اﻟﻮاﻗﻲ اﻟﻤﺤﺪودة‬ ‫ﺑﺈﻧﺘـــﺎج ﺣﺪﻳـــﺪ اﻟﺘﺴـــﻠﻴﺢ اﻟﻤﻄﻠـــﻲ اﻧﺼﻬﺎرﻳـــ‪,‬‬ ‫ﺑﺎﻳﺒﻮﻛﺴﻲ ﻓﻲ ﻋﺎم ‪1992‬م‪ ،‬ﺣﻴﺚ ﺗﺤﻈﻰ ﻣﻨﺬ‬ ‫ﻣﺪة ﻃﻮﻳﻠﺔ ﺑﺜﻘﺔ ورﺿﺎء ﻋﻤﻼءﻫﺎ ﻣﻨﻬﻢ أراﻣﻜﻮ‬ ‫اﻟﺴﻌﻮدﻳﺔ وﺳﺎﺑﻚ واﻟﻤﺆﺳﺴـــﺔ اﻟﻌﺎﻣﺔ ﻟﺘﺤﻠﻴﺔ‬ ‫اﻟﻤﻴﺎه اﻟﻤﺎﻟﺤﺔ واﻟﺸـــﺮﻛﺔ اﻟﺴـــﻌﻮدﻳﺔ ﻟﻠﻜﻬﺮﺑﺎء‬ ‫واﻟـــﻮزارات اﻟﺤﻜﻮﻣﻴﺔ إﻟﻰ ﺟﺎﻧـــﺐ اﻟﻘﻄﺎع اﻟﺨﺎص‬ ‫وﻗﻄـــﺎع اﻟﻌﻘـــﺎرات‪ .‬ﻫـــﺬا وﻗـــﺪ ﺑﺮﻫﻨـــﺖ اﺑﺤـــﺎث‬ ‫اﻟﻤﻄﻮﻟﺔ وﺧﺒﺮة اﻟﻤﺴﺘﺨﺪم ﻣﺮة وأﺧﺮى ﻋﻠﻰ أن‬ ‫ﺣﺪﻳﺪ اﻟﺘﺴﻠﻴﺢ اﻟﻤﻄﻠﻲ اﻧﺼﻬﺎرﻳ‪ ,‬ﺑﺎﻳﺒﻮﻛﺴﻲ‬ ‫أﺣـــﺪ أﻓﻀـــﻞ اﻟﻄـــﺮق وأﻛﺜﺮﻫـــﺎ اﻗﺘﺼﺎدﻳـــﺔ ﻓـــﻲ‬ ‫ﺣﻤﺎﻳﺔ اﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ اﻟﺨﺮﺳﺎﻧﻴﺔ اﻟﺘﻲ ﺗﺆدي إﻟﻰ‬ ‫اﻟﻬﻨﺪﺳـــﺔ اﻟﻘﻴﻤﻴﺔ‪ .‬ﻋﻠﻴﻪ ﻓﺈن ا‪Z‬ﺳﺘﺮاﺗﻴﺠﻴﺔ ﻫﻲ‬ ‫اﻟﺘﺸـــﺠﻴﻊ واﻟﺒﺤﺚ ﻻﺳﺘﺨﺪاﻣﻪ ﻟﺠﻤﻴﻊ اﻟﻤﺸﺎرﻳﻊ‬ ‫اﻟﺘـــﻲ ذﻛﺮﻧﺎﻫـــﺎ ﻟﻔﻮاﺋـــﺪه ﻋﻠـــﻰ اﻟﻤـــﺪى اﻟﻄﻮﻳﻞ‬ ‫ﻛﻤﺎ ﻳﻘـــﻮل اﻟﻤﻬﻨﺪس رﻳﺎض اﻟﺤﻤـــﻮد ﻣﺪﻳﺮ ﻋﺎم‬ ‫اﻟﺸﺮﻛﺔ‪.‬‬ ‫إن ﻇـــﺮوف اﻟﺮﻃﻮﺑﺔ واﻟﺤﺮارة واﻟﻤﻠﻮﺣﺔ اﻟﺴـــﺎﺋﺪة‬ ‫ﻓـــﻲ اﻟﻤﻤﻠﻜـــﺔ اﻟﻌﺮﺑﻴـــﺔ اﻟﺴـــﻌﻮدﻳﺔ وﻣﻨﻄﻘـــﺔ‬ ‫اﻟﺨﻠﻴـــﺞ اﻟﻌﺮﺑﻲ ﻋﻤﻮﻣ‪ ,‬ﻟﻌﺒﺖ داﺋﻤ‪ ,‬دور‪ d‬رﺋﻴﺴـــ‪,‬‬ ‫ﻓﻴﻤـــﺎ ﻳﺘﻌﻠـــﻖ ﺑﻌﻤـــﺮ ا‪Z‬ﻧﺸـــﺎءات اﻟﺨﺮﺳـــﺎﻧﻴﺔ‪.‬‬ ‫إن اﻟﻤﺒﺎﻧـــﻲ اﻟﺘﺠﺎرﻳـــﺔ أو اﻟﺴـــﻜﻨﻴﺔ واﻟﺠﺴـــﻮر‬ ‫واﻟﻘﻨـــﻮات أو أي ﺑﻨﻰ ﺗﺤﺘﻴﺔ ﺧﺮﺳـــﺎﻧﻴﺔ ﺟﻤﻴﻌﻬﺎ‬ ‫ﻫﺪف ﻟﻠﺘـــﺂﻛﻞ واﻟﺼﺪأ وﻻ ﻳﻨﺘﻬـــﻲ ﺑﻬﺎ اﻟﻤﻄﺎف‬ ‫ﺑﺘﻜﺎﻟﻴﻒ ﺻﻴﺎﻧﺔ ﻋﺎﻟﻴﺔ ﻓﻘﻂ‪ ،‬إﺿﺎﻓﺔ إﻟﻰ اﻟﺨﺴﺎﺋﺮ‬ ‫اﻟﺘـــﻲ ﺗﻨﺘﺞ ﻋﻨﺪﻣﺎ ﺗﻜﻮن ﻣﺜﻞ ﻫﺬه اﻟﻤﺮاﻓﻖ ﻏﻴﺮ‬ ‫ﻣﺴﺘﺨﺪﻣﺔ ﺧﻼل ﻓﺘﺮة ا‪Z‬ﺻﻼح واﻟﻤﻌﺎﻟﺠﺔ )ﻋﻨﺪﻣﺎ‬ ‫ﻳﻜﻮن ذﻟﻚ ﻣﺘﺎﺣ‪ (,‬أو اﺳﺘﺒﺪال ﻛﺎﻣﻞ ا‪Z‬ﻧﺸﺎء‪.‬‬ ‫ﻛﻤﺎ أن ﻫﻨﺎﻟﻚ ﻋﺎﻣﻞ رﺋﻴﺲ ﻣﻬﻢ ﻳﺘﻌﻠﻖ ﺑﺘﻌﺰﻳﺰ‬ ‫ﺗـــﺂﻛﻞ وﺻـــﺪأ اﻟﺤﺪﻳﺪ وﻫﻮ اﻟﺴـــﻼﻣﺔ ﻣﻤـــﺎ ﻳﺆدي‬ ‫إﻟﻰ إﺿﻌﺎف ﻛﻞ ا‪Z‬ﻧﺸـــﺎء ﻣـــﻦ اﻟﺪاﺧﻞ واﻟﺬي ﻗﺪ‬ ‫ﻻﻳﻜﻮن ﻣﻨﻈﻮر‪ d‬ﺳـــﺮﻳﻌ‪ ,‬ﻣﻤﺎ ﻳﺆدي إﻟﻰ ﻣﺴﺘﻮى‬ ‫ﺧﻄﻴﺮ ﻣﻦ اﻟﺴﻼﻣﺔ ﻣﺜﻞ اﻟﺘﺼﺪع اﻟﻤﻔﺎﺟﺊ اﻟﺬي‬ ‫ﻳﻈﻬـــﺮ ﻓـــﻲ اﻟﺨﺎرج ﻓﻘـــﻂ ﻋﻨﺪ ﺣـــﺪوث ﺗﻠﻒ ﻣﻤﺎ‬ ‫ﻳـــﺆدي إﻟﻰ ا‪Z‬ﺧﻔـــﺎق اﻟﻜﻠﻲ اﻟﻤﻔﺎﺟـــﺊ ﻓﻴﻤﺎ ﺑﻌﺪ‬ ‫ﻣﻤـــﺎ ﻗﺪ ﻳﻨﺘﺞ ﻋﻨـــﻪ ا‪Z‬ﻧﻬﻴﺎر‪ .‬وﻓـــﻲ اﻟﻐﺎﻟﺐ ﻳﻜﻮن‬

‫∞‪¡UM³« π‬‬

‫‪90 Albenaa‬‬

‫ﻫﻨﺎﻟﻚ وﻗﺖ ﻗﺼﻴﺮ أو ﻻوﻗﺖ ﻳﺴﻤﺢ ﺑﺎﻟﺘﻔﺎﻋﻞ‪.‬‬ ‫ﻛﻤـــﺎ أن ﺷـــﻜﻞ ا‪Z‬ﻧﺸـــﺎء اﻟﻤﺘﺄﺛﺮ ﺑﺎﻟﺘﺂﻛﻞ ﺑﺸـــﻊ‪،‬‬ ‫وﻏﺎﻟﺒـــ‪ ,‬ﻣـــﺎ ﺗﻜـــﻮن اﻟﺨﺮﺳـــﺎﻧﺔ وﺣﺪﻳﺪ اﻟﺘﺴـــﻠﻴﺢ‬ ‫اﻟﻤﺘـــﺂﻛﻞ ﻏﻴـــﺮ ﻣﻨﻈـــﻮر‪ ،‬أي أﻧـــﻪ ﻻ ﻳﺆﺛﺮ ﻓـــﻲ ﺑﻨﻴﺔ‬ ‫ا‪Z‬ﻧﺸـــﺎء ﻓﻘـــﻂ وﻟﻜﻨـــﻪ ﻳﺆﺛﺮ ﻓـــﻲ ﺷـــﻜﻠﻪ ﺑﺪﻻﻟﺔ‬ ‫ﻇﻬﻮر اﻟﺘﺼﺪﻋﺎت واﻟﻘﺸﺮة واﻟﺜﺨﺎﻧﺔ‪.‬‬ ‫وﺑﺈﻳﺠﺎز ﻧﻘﻮل أن اﻟﻤﻤﻴﺰات اﻟﺮﺋﻴﺴﺔ ﻫﻲ ‪:‬‬ ‫‪ 1‬ـ ﺗﺰﻳـــﺪ ﻣـــﻦ ﻋﻤﺮ ا‪Z‬ﻧﺸـــﺎء اﻟﺨﺮﺳـــﺎﻧﻲ ﻣﻊ ﺻﻴﺎﻧﺔ‬ ‫ﻣﻨﺨﻔﻀﺔ ‪ /‬اﻟﻬﻨﺪﺳﺔ اﻟﻘﻴﻤﻴﺔ‪.‬‬ ‫‪ 2‬ـ رﻓﻊ ﻣﻌﺪل وﻣﺴﺘﻮى اﻟﺴﻼﻣﺔ‪.‬‬ ‫ﻛﻴﻒ ﻳﺤﻤﻲ ﻃﻼء اﻳﺒﻮﻛﺴﻲ‬ ‫ﺣﺪﻳﺪ اﻟﺘﺴﻠﻴﺢ؟‬ ‫اﺳـــﺘﺨﺪام ﻃـــﻼء ﺑﻮدرة اﻳﺒﻮﻛﺴـــﻲ ﺑﻮاﺳـــﻄﺔ‬ ‫اﻟﺤـــﺮارة ﻋﻠﻰ ﺣﺪﻳﺪ ﺗﺴـــﻠﻴﺢ ﻣﺴـــﺨﻦ ﻛﻬﺮﺑﺎﺋﻴ‪,‬‬

‫ﻣﺴـــﺒﻘ‪ ،,‬ﻛﻤـــﺎ أن ﻃﺮﻳﻘـــﺔ اﻟﻤﻌﺎﻟﺠﺔ ﺗﺴـــﺒﺐ ﻓﻲ‬ ‫ﺣﺪوث ﺣﻠﻘﺎت ﻛﻴﻤﻴﺎﺋﻴﺔ ﻣﺘﻘﺎﻃﻌﺔ ﺗﻐﻴﺮ اﻟﺒﻮدرة‬ ‫إﻟـــﻰ ﻏﺸـــﺎء داﺋـــﻢ ﻻﻳﺬوب ﻣﻤـــﺎ ﻳﺆدي إﻟـــﻰ ﺧﻠﻖ‬ ‫ﺣﺎﺟﺰ ﺑﻴﻦ اﻟﺤﺪﻳﺪ واﻟﺨﺮﺳﺎﻧﺔ‪ ،‬ﺣﻴﺚ ﻳﺤﻤﻲ ﺑﺬﻟﻚ‬ ‫اﻟﺤﺪﻳﺪ ﻣﻦ اﻟﻜﺸﻒ اﻟﻤﺒﺎﺷﺮ‪.‬‬ ‫إن اﺳـــﺘﺨﺪام وﺗﻄﺒﻴـــﻖ ﻣﻌﺎﻳﻴـــﺮ ﺿﺒـــﻂ اﻟﺠﻮدة‬ ‫اﻟﺼﺎرﻣﺔ ﻟﺘﺤﻘﻴﻖ ا‪Z‬ﻟﺘﺼـــﺎق وا‪Z‬ﻟﺘﺤﺎم اﻟﻤﻄﻠﻮب‬ ‫واﻟﺴـــﻄﺢ اﻟﻤﻄﻠـــﻲ اﻟﺨﺎﻟـــﻲ ﻣﻦ اﻟﺜﻘـــﻮب وﻗﻮة‬ ‫اﻟﺮﺑﻂ ﻫﻲ ﺣﺴﺐ اﻟﻤﻮاﺻﻔﺔ‬ ‫‪ ASTM A775 M-9409-SAMAA 106‬وﻓـــﻲ اﻟﺸـــﺮﻛﺔ‬ ‫ﻓﺈن ﺧﺪﻣﺔ اﻟﻘﻄـــﻊ واﻟﺜﻨﻲ ﻣﺘﻮﻓﺮة وﻓﻘ‪ ,‬ﻟﺠﺪول‬ ‫ﺛﻨـــﻲ اﻟﻘﻀﺒـــﺎن اﻟﻤﻌﺘﻤـــﺪة ﻟﻠﺘﺄﻛﻴـــﺪ ﻋﻠـــﻰ ﺣﻖ‬ ‫اﻟﺠـــﻮدة ﻣﻨﺬ إﺳـــﺘﻼم ﺣﺪﻳﺪ اﻟﺘﺴـــﻠﻴﺢ اﺳـــﻮد‬ ‫ﻣﻦ ﺷـــﺮﻛﺔ ﺣﺪﻳﺪ ‪ /‬ﺳـــﺎﺑﻚ ﺣﺘـــﻰ ﻣﺮﺣﻠﺔ اﻟﺼﺐ‬ ‫اﻟﺨﺮﺳﺎﻧﻲ ﻓﻲ اﻟﻤﻮﻗﻊ‪.‬‬


‫‪WO½öŽ≈ …œU‬‬

‫‪¡UM³« o×K‬‬

‫ﻣﺼﻨﻊ ﺑﺮاك ﻟﻠﺰﺟﺎج‬ ‫رواد ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﺰﺟﺎج‬

‫ﺗﻢ إﻧﺸـــﺎء ﻣﺼﻨﻊ ﺑﺮاك ﻟﻠﺰﺟﺎج ﻋﺎم ‪ ٢٠٠٥‬ﻟﻤﻮاﻛﺒﺔ‬ ‫اﻟﻨﻬﻀـــﺔ اﻟﻌﻤﺮاﻧﻴـــﺔ ﻓـــﻲ اﻟﻤﻤﻠﻜـــﺔ اﻟﻌﺮﺑﻴـــﺔ‬ ‫اﻟﺴـــﻌﻮدﻳﺔ وﻧﺘـــﺎج ﻟﺠﺪارﺗـــﻪ وﺗﻤﻴـــﺰه وﺗﻌـــﺪد‬ ‫اﻣﻜﺎﻧﻴﺎﺗـــﻪ ﺑﺎﻣﺘﻼﻛﻪ أﺣـــﺪث ا‪6‬ﻻت و اﻟﻤﻌﺪات ﻓﻲ‬ ‫ﻋﺎﻟـــﻢ ﺻﻨﺎﻋﺔ اﻟﺰﺟﺎج ‪ ،‬ﺗﻮﺳـــﻊ ﻣﺼﻨـــﻊ اﻟﺰﺟﺎج ﻓﻲ‬ ‫ﻣﻨﺎﻃـــﻖ اﺳـــﺘﺮاﺗﻴﺠﻴﺔ ﻣﺨﺘﻠﻔـــﺔ ﻣﺜﻞ ا=ﺣﺴـــﺎء و‬ ‫اﻟﺮﻳـــﺎض و اﻟﻘﺼﻴـــﻢ و ﺧﻤﻴﺲ ﻣﺸـــﻴﻂ )وﻣﺆﺧﺮاَ‬ ‫ﻓـــﻲ ﺟﺪة ( ﻟﺘﺘﺠﺎوز اﻟﻄﺎﻗﺔ ا‪L‬ﻧﺘﺎﺟﻴﺔ ﻓﻲ اﻟﻤﺼﻨﻊ‬ ‫)‪ ١٥٠‬أﻟﻒ ﻣﺘﺮ ﺳﻨﻮﻳ‪ (S‬و ﻛﺸﺮﻛﺔ راﺋﺪة ﻓﻲ ﻣﻌﺎﻟﺠﺔ‬ ‫اﻟﺰﺟﺎج ﻳﻨﺘﺞ اﻟﻤﺼﻨﻊ ‪:‬‬ ‫ا=ﺑﻮاب اﻟﺰﺟﺎﺟﻴﺔ ا=وﺗﻮﻣﺎﺗﻴﻜﻴﺔ ‪ ،‬اﻟﺰﺟﺎج اﻟﻤﻘﺴﻰ‬ ‫‪،‬اﻟﺰﺟـــﺎج اﻟﻤﺰﺧﺮف ﺑﺮش اﻟﺮﻣـــﻞ ‪ ،‬اﻟﺰﺟﺎج اﻟﻤﺰدوج ‪،‬‬ ‫اﻟﺰﺟـــﺎج اﻟﻤﻨﺤﻨـــﻲ ‪ ،‬اﻟﺰﺟﺎج اﻟﺬﻛـــﻲ ‪ ،‬زﺟﺎج ا=ﻣﺎن ‪،‬‬ ‫اﻟﻄﺎﺑـــﻮق اﻟﺰﺟﺎﺟـــﻲ ‪ ،‬و اﻟﺰﺟـــﺎج اﻟﻤﺴـــﻄﺢ ‪ .‬ﻛﻤـــﺎ‬ ‫ﻳﻮﻓـــﺮ اﻟﻤﺼﻨـــﻊ اﻟﺘﻨـــﻮع ﻓـــﻲ ا=ﺣﺠﺎم و ا=ﺷـــﻜﺎل‬ ‫ﺣﺴـــﺐ اﻟﻤﻮاﺻﻔـــﺎت اﻟﻤﻄﻠﻮﺑـــﺔ ﺗﻠﺒﻴـــﺔ ﻟﺤﺎﺟـــﺔ‬ ‫اﻟﺴﻮق اﻟﻤﺘﻨﺎﻣﻲ ﻣﻦ إﻧﺸـــﺎءات وﺻﻨﺎﻋﺎت ‪ ،‬ﻟﺪى‬ ‫اﻟﻤﺼﻨـــﻊ ﻣﺠﻤﻮﻋـــﺔ ﻛﺒﻴـــﺮة ﻣﻦ اﻟﻤﻬﻨﺪﺳـــﻴﻦ و‬ ‫اﻟﻔﻨﻴﻴـــﻦ اﻟﻤﺘﺨﺼﺼﻴﻦ ذوي اﻟﺨﺒﺮة اﻟﻤﺘﻤﻴﺰة ‪ .‬و‬ ‫ﺣﺮﺻـــ‪ S‬ﻋﻠﻰ ﺗﻘﺪﻳﻢ اﻟﻤﻨﺘﺠـــﺎت ذات ﺟﻮدة ﻋﺎﻟﻴﺔ ‪،‬‬ ‫ﻓﺎﻟﻤﺼﻨﻊ ﻳﺴﺘﻤﺮ ﻓﻲ اﻻﺳﺘﺜﻤﺎر ﻓﻲ أﺣﺪث ا‪6‬ﻻت ‪،‬‬ ‫و ﻳﻤﺘﺎز ﻣﺼﻨﻊ ﺑﺮاك ﻟﻠﺰﺟﺎج ﺑﻮﺟﻮد ﻧﻈﺎم ﻣﻌﺎﻳﻨﺔ‬ ‫ﺷـــﺎﻣﻞ ﻳﻌﻤـــﻞ ﻋﻠـــﻰ اﻟﺘﺤﻜﻢ ﻓـــﻲ اﻟﺠـــﻮدة ﻣﻦ‬ ‫ﺑﺪاﻳﺔ ﻣﻌﺎﻟﺠـــﺔ اﻟﺰﺟﺎج و ﺣﺘﻰ آﺧﺮ ﺧﻄﻮات ا‪L‬ﻧﺘﺎج‬ ‫وﻳﺆﻣـــﻦ ﻧﻈـــﺎم اﻟﻤﻌﺎﻳﻨﺔ اﻟﻘﺪرة ﻋﻠـــﻰ ﺗﺼﻨﻴﻊ أي‬ ‫ﺷـــﻜﻞ ﻣﻦ ا=ﺷـــﻜﺎل اﻟﺘﻲ ﻳﻤﻜـــﻦ أن ﺗﻨﻔﺬ ﻋﻠﻰ‬ ‫اﻟﺰﺟﺎج ﻣﻊ ﺣﺮﺻﻨﺎ ﻋﻠﻰ اﻟﺪﻗﺔ ﻓﻲ اﻟﻌﻤﻞ وﺳﺮﻋﺔ‬ ‫اﻟﺘﺴـــﻠﻴﻢ و ﻧﻈﺮ‪ n‬ﻻﻫﺘﻤﺎم اﻟﻤﺼﻨﻊ ﺑﺄن ﻣﻨﺘﺠﺎﺗﻪ‬ ‫ﺗﺘﻤﺘـــﻊ ﺑﺄﻋﻠـــﻰ ﻣﻌﺎﻳﻴـــﺮ اﻟﺘﺸـــﻄﻴﺐ و اﻻﻟﺘـــﺰام‬ ‫ﺑﺘﺴـــﻠﻴﻢ اﻟﻤﻨﺘﺠـــﺎت اﻟﻌﺎﻟﻴﺔ اﻟﺠـــﻮدة ﻓﻲ اﻟﻮﻗﺖ‬ ‫اﻟﻤﺤﺪد ﻟﻠﻌﻤﻼء‪.‬‬ ‫اﻟﺒﻮاﺑﺎت اﻟﺰﺟﺎﺟﻴﺔ ا=ﺗﻮﻣﺎﺗﻴﻜﻴﺔ ‪:‬‬ ‫ﻳﺘﻮﻓـــﺮ ﻟﺪى ﻣﺼﻨـــﻊ ﺑـــﺮاك ﻟﻠﺰﺟﺎج ﻣﺨﺘﻠـــﻒ أﻧﻮاع‬ ‫ا=ﺑـــﻮاب اﻟﺰﺟﺎﺟﻴﺔ و اﻟﺘﻲ ﺗﺴـــﺘﺨﺪم ﻓﻲ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻘﻄﺎﻋﺎت اﻟﺤﻜﻮﻣﻴﺔ و اﻟﺒﻨﻮك و اﻟﻤﺴﺘﺸـــﻔﻴﺎت‬ ‫و اﻟﻤﺼﺎﻧـــﻊ و اﻟﻤﺪاﺧـــﻞ اﻟﺘﺠﺎرﻳـــﺔ و اﻟﺒﻨﺎﻳـــﺎت‬ ‫ﺑﺄﺷـــﻜﺎل و أﺣﺠـــﺎم ﻣﺨﺘﻠﻔـــﺔ وﺑﺄﻧﻈﻤـــﺔ ﻣﺼﻤﻤﺔ‬ ‫ﺧﺼﻴﺼ‪ S‬ﻛﻞ ﺣﺴﺐ اﺳﺘﺨﺪاﻣﺎﺗﻪ ﻣﻊ اﻟﻤﺴﺎﻫﻤﺔ‬ ‫ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ ﻣﻊ ﻣﺮاﻋﺎة ﺿﻐﻂ اﻻﺳﺘﺨﺪام و‬ ‫اﻟﻘﺪرة ﻋﻠﻰ ﻣﻮاﺟﻬﺔ ﻣﺨﺘﻠﻒ ا=ﺣﻮال اﻟﺠﻮﻳﺔ ‪.‬‬ ‫اﻟﺰﺟﺎج اﻟﻤﻨﺤﻨﻲ ‪:‬‬ ‫ﻳﺘﺒـــﻊ اﻟﻤﺼﻨـــﻊ ﺗﻘﻨﻴـــﺔ ﺧﺎﺻـــﺔ ﻓـــﻲ ﺛﻨـــﻲ اﻟﺰﺟﺎج‬ ‫ﺗﺴـــﺎﻫﻢ ﻓـــﻲ اﻟﺘﻘﻠﻴـــﻞ ﻣـــﻦ إﻣﻜﺎﻧﻴـــﺔ ا‪L‬ﺻﺎﺑـــﺔ‬ ‫ﻋﻨـــﺪ ﻛﺴـــﺮ اﻟﺰﺟﺎج ‪ ،‬وﻫـــﺬا اﻟﻨﻮع ﻳﻠﺒـــﻲ ﻣﺨﺘﻠﻒ‬ ‫اﻟﻤﺘﻄﻠﺒﺎت ا‪L‬ﻧﺸﺎﺋﻴﺔ ‪.‬‬ ‫اﻟﺰﺟﺎج اﻟﻤﺰدوج ‪:‬‬ ‫اﻟﺘﻘﻨﻴﺔ اﻟﻤﺴـــﺘﺨﺪﻣﺔ ﻓﻲ اﻟﺰﺟـــﺎج اﻟﻤﺰدوج ﺗﺘﻴﺢ‬ ‫ً‬ ‫ﻓﻀـــﻼ ﻋﻦ اﻟﻤﺴـــﺎﻫﻤﺔ‬ ‫ﺧﺎﺻﻴـــﺔ اﻟﻌـــﺰل اﻟﺤـــﺮاري‬ ‫ﻓـــﻲ زﻳﺎدة اﻟﺴـــﻼﻣﺔ و ا=ﻣـــﺎن ﻛﻤﺎ ﻳﺘﻤﻴـــﺰ ﺑﺎﻟﻌﺰل‬ ‫اﻟﺼﻮﺗﻲ وﻳﺴـــﺎﻫﻢ ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ و ﺑﺎﻟﺘﺎﻟﻲ‬ ‫ﺗﺨﻔﻴـــﺾ اﻟﺘﻜﺎﻟﻴـــﻒ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ وﻫـــﻮ أﺣﺪ أﻫﻢ‬ ‫أﻗﺴﺎم ﻣﺼﻨﻊ اﻟﺰﺟﺎج و ﻳﻀﻢ ﺗﺠﻬﻴﺰات ﻣﻦ أﻫﻢ‬ ‫اﻟﺸـــﺮﻛﺎت اﻟﻌﺎﻟﻤﻴﺔ ﻛﻤﺎ أن ﺟﻤﻴﻊ ﻋﻤﻠﻴﺎت ا‪L‬ﻧﺘﺎج‬

‫ﺗﺘﻢ ﺑﺸـــﻜﻞ آﻟﻲ ‪ ،‬وﻳﻤﺘﺎز ﻫﺬا اﻟﺰﺟﺎج ﺑﺄﻧﻪ ﻣﺤﻜﻢ‬ ‫ا‪L‬ﻏﻼق ذا أﺑﻌﺎد ﻣﺘﻄﺎﺑﻘﺔ و زواﻳﺎ ﻗﺎﺋﻤﺔ ‪.‬‬ ‫زﺟﺎج ا=ﻣﺎن ‪:‬‬ ‫زﺟـــﺎج ا=ﻣﺎن ﻫـــﻮ أﺣﺪ أﻧـــﻮاع اﻟﺰﺟﺎج اﻟﻤﺴـــﺘﺨﺪم‬ ‫ﻣـــﻦ أﺟـــﻞ اﻟﻤﺰﻳﺪ ﻣـــﻦ ا=ﻣـــﺎن و ذﻟﻚ ﻋـــﻦ ﻃﺮﻳﻖ‬ ‫اﻟﺼـــﺎق ﻃﺒﻘﺘﻴﻦ ﻣـــﻦ اﻟﺰﺟﺎج ﺑﻮاﺳـــﻄﺔ ﻓﻠﻢ ﻣﻦ‬ ‫اﻟﺒﻼﺳـــﺘﻴﻚ و ﺑﻤﻌﺎﻟﺠﺔ ﺧﺎﺻﺔ – ﺑﺤﻴﺚ ﻳﺘﻤﺎﺳـــﻚ‬ ‫ﻫـــﺬا اﻟﺰﺟﺎج ﻓـــﻲ ﺣﺎﻟﺔ اﻟﻜﺴـــﺮ وﻋﺪم اﻧﻜﺴـــﺎره‬ ‫ﻟﻘﻄﻊ زﺟﺎﺟﻴـــﺔ ﻣﺘﻨﺎﺛﺮة ﻛﻤﺎ ﻫـــﻮ اﻟﺤﺎل ﻓﻲ زﺟﺎج‬ ‫اﻟﺴـــﻴﺎرات و ﻋـــﺪم اﻟﺘﺴـــﺒﺐ ﻓﻲ ﺟـــﺮوح ﻟﻶﺧﺮﻳﻦ‬ ‫– ﺑﺤﻴـــﺚ ﻳﻜـــﻮن اﻻﻧﻜﺴـــﺎر ﻟﻠﺰﺟـــﺎج ﻛﺎﻟﻨﺴـــﻴﺞ‬ ‫اﻟﻌﻨﻜﺒﻮﺗـــﻲ ‪ .‬وﻫﺬا اﻟﻨﻮع ﻣـــﻦ اﻟﺰﺟﺎج ﻟﻪ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻻﺳﺘﺨﺪاﻣﺎت ﺗﺸﻤﻞ ‪:‬‬ ‫ا=ﻣﺎﻛﻦ اﻟﺘﻲ ﻗﺪ ﻳﻜﻮن اﻟﺰﺟﺎج ﻣﻌﺮض ﻟﻠﺴﻘﻮط‬ ‫وﻛﺬﻟﻚ اﻟﻤﺒﺎﻧـــﻲ ذات اﻻرﺗﻔﺎﻋﺎت اﻟﻌﺎﻟﻴﺔ اﻟﻤﺮﻛﺒﺔ‬ ‫ﺑﺎﻟﺰﺟـــﺎج و ﻛﺬﻟـــﻚ زﺟـــﺎج اﻟﺴـــﻴﺎرات و اﻟﻤﻨﺎﻃـــﻖ‬ ‫اﻟﻤﻌﺮﺿـــﺔ ﻟﻠﻌﻮاﺻـــﻒ اﻟﺮﻋﺪﻳـــﺔ و ا=ﻋﺎﺻﻴﺮ ‪ ،‬ﻛﻤﺎ‬ ‫ﻳﺴـــﺘﺨﺪم ﻓﻲ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴـــﺔ واﻟﺒﻠﻜﻮﻧﺎت‬ ‫و اﻟﻨﻮاﻓـــﺬ ‪ .‬وﻳﻤﺘﻠـــﻚ ﻣﺼﻨـــﻊ ﺑـــﺮاك ﻟﻠﺰﺟـــﺎج ﺧﻂ‬ ‫اوﺗﻮﻣﺎﺗﻴﻜﻲ ﺧـــﺎص »ﻟﺰﺟﺎج ا=ﻣـــﺎن« ﻣﺰود ﺑﻐﺮﻓﺔ‬ ‫ﺿﻐﻂ ﻋﺎﻟﻲ ‪.‬‬ ‫اﻟﺰﺟﺎج اﻟﺬﻛﻲ ‪:‬‬ ‫ﻫـــﺬا اﻟﻨﻮع ﻣـــﻦ اﻟﺰﺟﺎج ﻳﺘـــﻢ ﺗﺼﻨﻴﻌﻪ ﻋﻦ ﻃﺮﻳﻖ‬ ‫إﻟﺼﺎق ﻓﻠﻢ ﺧﺎص ﻋﻠﻰ ﺳـــﻄﺢ اﻟﺰﺟـــﺎج و إﻳﺼﺎﻟﻪ‬ ‫ﺑﺘﻴﺎر ﻛﻬﺮﺑﺎﺋـــﻲ وﻳﺘﻢ ﺗﺤﺪﻳﺪ اﻟﺸـــﻔﺎﻓﻴﺔ ﻟﻠﺰﺟﺎج‬ ‫ﻋﻦ ﻃﺮﻳﻖ ﻣﺮور ﺗﻴﺎر ﻛﻬﺮﺑﺎﺋﻲ ﺑﺤﻴﺚ ﻳﺘﻴﺢ اﻟﺮؤﻳﺔ‬ ‫ﻋﺒﺮ اﻟﺰﺟﺎج وﻳﺴـــﻤﺢ ﺑﺪﺧـــﻮل ا‪L‬ﺿﺎءة ‪ ،‬وﻓﻲ ﺣﺎﻟﺔ‬ ‫إﻳﻘـــﺎف ﻣﺮور اﻟﺘﻴﺎر اﻟﻜﻬﺮﺑﺎﺋﻲ ﻳﺼﺒﺢ اﻟﺰﺟﺎج ﻋﺎﺗﻢ‬ ‫ﻏﻴـــﺮ ﻣﺮﺋﻲ و ﻳﺴـــﺎﻋﺪ اﻟﺰﺟﺎج اﻟﺬﻛـــﻲ ﻓﻲ ﻋﻤﻠﻴﺔ‬ ‫ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ ﻟﻠﺘﻜﻴﻴﻒ ‪ ،‬وﻳﺴﺘﺨﺪم‬ ‫ﻓـــﻲ اﻟﻤﻜﺎﺗـــﺐ ‪L‬ﻋﻄـــﺎء ﻧـــﻮع ﻣـــﻦ اﻟﺨﺼﻮﺻﻴﺔ و‬ ‫ﻛﺬﻟﻚ ﻓﻲ ﺻﺎﻻت اﻟﻄﻌﺎم ﻛﺎﻟﻘﻮاﻃﻊ اﻟﺰﺟﺎﺟﻴﺔ‪.‬‬

‫≥‪¡UM³« π‬‬

‫‪93 Albenaa‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﻣﺼﻨﻊ اﻟﺒﺮاك ﻟ ﺑﻮاب ا ﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫اﺧﺘﻴﺎرك اﻣﺜﻞ‬

‫ﻋﻠـــﻰ ﻣﺪى أﻛﺜـــﺮ ﻣـــﻦ ‪ ٢٦‬ﻋﺎم ﻧﺠـــﺢ ﻣﺼﻨﻊ‬ ‫اﻟﺒﺮاك ﻟ*ﺑﻮاب اﺗﻮﻣﺎﺗﻴﻜﻴﺔ ﻓﻲ ﺑﻨﺎء ﻣﻜﺎﻧﺔ‬ ‫راﺋـــﺪة ﻓـــﻲ ﻋﺎﻟﻢ ﺗﺼﻨﻴـــﻊ أﺑـــﻮاب اﻟﻜﺮاﺟﺎت‬ ‫اوﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ ﺑﺄﻧﻮاﻋﻬـــﺎ اﻟﻤﺨﺘﻠﻔـــﺔ ‪،‬‬ ‫وﺑﻔﻀـــﻞ ﻣـــﺎ ﺗﺘﻤﻴﺰ ﺑﻪ ﻣﻦ ﺗﻘﺪﻳـــﻢ ﻣﻨﺘﺠﺎت‬ ‫ﻣﺼﻨﻌﺔ ﺑﺠﻮدة ﻋﺎﻟﻴﺔ وﻋﻠﻰ ﻣﻌﺎﻳﻴﺮ ﻋﺎﻟﻤﻴﺔ‬ ‫وﻟﺘﻌﺎوﻧﻬـــﺎ ﻣـــﻊ أﻓﻀﻞ اﻟﺸـــﺮﻛﺎت اﻟﻌﺎﻟﻤﻴﺔ‬ ‫ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل ﻣﺜﻞ ‪ :‬ﺷﺮﻛﺔ ﻛﻴﻢ ا‪B‬ﻳﻄﺎﻟﻴﺔ‬ ‫وﺷﺮﻛﺔ ﺟﺮﻳﻔﻜﻮ اﻟﻤﺎﻧﻴﺔ واﻟﺸﺮﻛﺔ اﻟﻤﺎﻧﻴﺔ‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴـــﺔ و اوﺗﻮﻣﺎﺗﻴﻜﻴﺔ اﺳـــﺘﺮاﻟﻴﺔ‬ ‫وﻏﻴﺮﻫﺎ ﻣﻜﺘﺴﺒﺔ ﺑﺬﻟﻚ ﺛﻘﺔ ووﻻء ﻋﻤﻼﺋﻬﺎ‪،‬‬ ‫ﺟـــﻞ ذﻟـــﻚ ﺣﻘﻘـــﺖ ﻧﺠﺎﺣـــﺎت ﺳـــﺎﻫﻤﺖ‬ ‫ﻓـــﻲ ﺗﻨﻮﻳـــﻊ ﻣﻨﺘﺠﺎﺗﻬـــﺎ ﻟﺘﺸـــﻤﻞ ‪:‬اﺑـــﻮاب‬ ‫اوﺗﻮﻣﺎﺗﻴﻜﻴﺔ اﻟﺴـــﺤﺎﺑﺔ ‪ ،‬اﺑـــﻮاب اﻟﻤﻨﺰﻟﻴﺔ‬ ‫اﻟﻤﻘﻄﻌﻴﺔ ‪ ،‬أﺑﻮاب اﻟﻘﻄﻌﺔ اﻟﻮاﺣﺪة ‪ ،‬أﺑﻮاب‬ ‫اﻟﺸـــﺮاﺋﺢ اﻟﻤﻌﺪﻧﻴﺔ ‪ ،‬أﺑﻮاب ﺣﻤﺎﻳـــﺔ اﻟﻤﺘﺎﺟﺮ‬ ‫)اﻟﺤﺪﻳـــﺪ و اﻟﻤﻨﻴـــﻮم( ‪ ،‬اﺑـــﻮاب اﻟﺼﻨﺎﻋﻴﺔ‬ ‫اﻟﺨﻔﻴﻔـــﺔ و اﺑـــﻮاب اﻟﺴـــﺤﺎﺑﺔ ﻟﻠﺸـــﺮاﺋﺢ‬ ‫اﻟﻤﻌﺰوﻟـــﺔ ‪ ،‬اﺑـــﻮاب اﻟﺼﻨﺎﻋﻴـــﺔ اﻟﻤﻘﻄﻌﻴﺔ‬ ‫اﻟﻤﻌﺰوﻟـــﺔ ‪ ،‬اﺑـــﻮاب اﻟﺼﻨﺎﻋﻴـــﺔ اﻟﺴـــﺤﺎﺑﺔ ‪،‬‬ ‫اﺑـــﻮاب اﻟﻤﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳﻖ وﺳـــﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ‬ ‫اﻟﺴـــﺤﺎﺑﺔ و اﺑـــﻮاب اﻟﻤﻌﺪﻧﻴـــﺔ اﻟﻤﺠﻮﻓـــﺔ‬ ‫اﻟﻤﻌﺰوﻟـــﺔ و اﻟﻤﻘﺎوﻣـــﺔ ﻟﻠﺤﺮﻳـــﻖ ‪ ،‬اﻧﻈﻤـــﺔ‬ ‫اوﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ ﻟﻔﺘـــﺢ اﻟﺒﻮاﺑـــﺎت اﻟﺴـــﺤﺎﺑﺔ‬ ‫ﺑﻮاﺑﺎت اﻟﺪرﻓﺘﻴﻦ ) ﻧﻈﺎم اذرع ( ‪ .‬ﻓﺘﻮﺳﻌﺖ‬ ‫ﻓـــﻲ ﻣﺨﺘﻠـــﻒ ﻣﻨﺎﻃـــﻖ اﻟﻤﻤﻠﻜـــﺔ ﻣﻠﺒﻴـــﺔ‬ ‫اﺣﺘﻴﺎﺟـــﺎت ﻣﺨﺘﻠﻒ اﻟﻘﻄﺎﻋـــﺎت اﻟﺤﻜﻮﻣﻴﺔ و‬ ‫أﻫﻢ ﺷﺮﻛﺎت اﻟﻘﻄﺎع اﻟﺨﺎص وﺧﺼﻮﺻ[ ﻓﻲ‬ ‫اﻟﻤﺼﺪات ارﺿﻴﺔ‬ ‫اﻟﻘﻄـــﺎع اﻣﻨﻲ ﻟﺘﺮﻛﻴـــﺐ‬ ‫ّ‬ ‫اﻟﻬﻴﺪروﻟﻴﻜﻴـــﺔ و اﻟﺤﻮاﺟـــﺰ اوﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ‬ ‫ارﺿﻴﺔ اﻟﻘﺎﺑﻠﺔ ﻟﻠﻄـــﻲ و ﺣﻮاﺟﺰ اﻟﻄﺮﻳﻖ ‪ .‬و‬ ‫اﻧﻬﺎ ﻋﻠﻰ اﺳـــﺘﻌﺪاد ﺗﺎم ﻟﺘﻘﺪﻳﻢ اﻟﻤﺸـــﻮرة‬ ‫اﻟﻔﻨﻴـــﺔ‪ ،‬ﻛﻤﺎ ﻳﺘﻮاﻓﺮ ﻟﺪﻳﻬﺎ ﻃﺎﻗﻢ ﻓﻨﻲ ﻋﻠﻰ‬ ‫أﻋﻠﻰ ﻣﺴﺘﻮى ﻣﻦ اﻟﺘﺪرﻳﺐ و اﻟﻤﻬﺎرة وذﻟﻚ‬ ‫ﺣﺮﺻ[ ﻣﻦ اﻟﺸـــﺮﻛﺔ ﻋﻠﻰ ﺗﻘﺪﻳـــﻢ ﺧﺪﻣﺎﺗﻬﺎ‬ ‫ﻟﻠﻌﻤـــﻼء ﺑﺸـــﻜﻞ ﻣﺘﻜﺎﻣـــﻞ ﺑﻤـــﺎ ﻳﻠﺒـــﻲ‬ ‫اﺣﺘﻴﺎﺟﺎﺗﻬﻢ ‪.‬‬ ‫اﺑﻮاب اﻟﺼﻨﺎﻋﻴﺔ اﻟﺴﺤﺎﺑﺔ اﻟﺨﻔﻴﻔﺔ ‪:‬‬ ‫ﻣﺼﻨـــﻊ اﻟﺒـــﺮاك ﻟ*ﺑـــﻮاب اﻟﻜﺮاﺟـــﺎت راع ﻓﻲ‬ ‫ﺗﺼﻤﻴﻤـــﻪ ﻟﻬـــﺬا اﻟﻤﻨﺘﺞ ﺳـــﻬﻮﻟﺔ اﻟﺘﺮﻛﻴﺐ‬ ‫واﻟﺤـــﺪ ادﻧﻰ ﻣﻦ اﻟﺼﻴﺎﻧﺔ ﻟﻌﻤﺮ أﻃﻮل ﻛﻤﺎ‬ ‫ﺗﻤﺘـــﺎز ﺑﺎﻟﻘـــﻮة و اﻣﺎن و ﻳﺘﻮﻓﺮ ﻫـــﺬا اﻟﻄﺮاز‬ ‫ﻣﻦ اﻟﺸﺮاﺋﺢ اﻟﻤﻌﺰوﻟﺔ ﺑﺄﻟﻮان ﻣﺘﻌﺪدة ﻛﻤﺎ‬ ‫ﺗﻌﻤﻞ ﺑﻨﻈﺎم ﻳﺪوي آﻟﻲ ‪.‬‬

‫≤‪¡UM³« π‬‬

‫‪92 Albenaa‬‬

‫ﺳﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ اﻟﻤﻌﺪﻧﻴﺔ اﻟﺴﺤﺎﺑﺔ ‪:‬‬ ‫ﺳـــﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ اﻟﻤﻌﺪﻧﻴﺔ اﺳـــﺘﺜﻤﺎر ﻣﺜﺎﻟﻲ‬ ‫ﻟﻤﺴﺎﻫﻤﺘﻪ ﻓﻲ اﻟﻌﺰل اﻟﺤﺮاري وﻋﺰل اﺗﺮﺑﺔ‬ ‫و اﻣﻄـــﺎر‪ ،‬ﻛﻤـــﺎ ﺗُﺼﻨّـــﻊ ﺑﺎﺳـــﺘﺨﺪام أﻓﻀﻞ‬ ‫اﺟـــﺰاء وﻗﻄـــﻊ اﻟﺘﺼﻨﻴـــﻊ اﻟﻤﺴـــﺘﻮردة ﻣﻦ‬ ‫أورﺑﺎ و ﺗُﺼﻨّﻊ ﺣﺴـــﺐ اﻟﻤﻘﺎﺳـــﺎت اﻟﻤﻄﻠﻮﺑﺔ‬ ‫ﻛﻤﺎ ﻳﻤﻜﻦ ﺗﺸﻐﻴﻠﻬﺎ ﺑﻨﻈﺎم ﻳﺪوي آﻟﻲ‪.‬‬ ‫اﺑﻮاب اﻟﺴﺤﺎﺑﺔ اﻟﻤﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳﻖ ‪:‬‬ ‫ﻳﻮﻓـــﺮ ﻣﺼﻨﻊ اﻟﺒﺮاك ﻟ*ﺑـــﻮاب اوﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫أﺑـــﻮاب ﺗﺘﻮاﻓﻖ ﻣﻊ أﻛﺜﺮ ﻗﻴﺎﺳـــﺎت اﻟﺴـــﻼﻣﺔ‬ ‫اﻟﻤﻘﺎوﻣـــﺔ ﻟﻠﺤﺮﻳـــﻖ‪ ،‬ﺻﻤﻤـــﺖ ﻟﻠﻐﻠـــﻖ‬ ‫اوﺗﻮﻣﺎﺗﻴﻜﻴ[ ﻋﻨﺪ اﻧﻄﻼق ﺻﺎﻓﺮة ا‪B‬ﻧﺬار أو ﻓﻲ‬ ‫ﺣﺎﻟﺔ اﻟﺤﺮﻳﻖ ﻣﺘﻮاﻓﻘﺔ ﻣﻊ ﻣﺘﻄﻠﺒﺎت ‪.NEPA‬‬ ‫ﻋﻨﺪ اﻟﺤﺮﻳﻖ ﻳﻘﻮم اﻟﻨﻈﺎم ﺑﺎﻟﺴـــﻴﻄﺮة ﻋﻠﻰ‬ ‫اﻏـــﻼق اﻟﺒـــﺎب ﻣﻦ أﺟـــﻞ ﺣﻤﺎﻳﺔ أﻓﻀـــﻞ‪ .‬ﻛﻤﺎ‬ ‫ﺗﺘﻮاﻓﺮ اﺑﻮاب اﻟﻤﻌﺪﻧﻴﺔ اﻟﻤﻌﺰوﻟﺔ اﻟﻤﻘﺎوﻣﺔ‬ ‫ﻟﻠﺤﺮﻳﻖ ﺑﻤﻮاد ﻋﺰل ﻣﺜﻞ اﻟﺒﻮﻟﻴﺜﺮﻳﻦ وﻫﻨﻲ‬ ‫ﻛﻤﺐ و اﻟﻔﻮﻻذ اﻟﻤﻘﺴـــﻰ ﻣﻊ اﻟﻔﺎﻳﺒﺮ ﺟﻼس‬ ‫او اﻟﺼﻮف اﻟﺼﺨـــﺮي ‪ ،‬ﻳﺘﻮﻓﺮ ﻣﻨﻬﺎ ﺗﺼﺎﻣﻴﻢ‬ ‫و أﻟﻮان ﻣﺘﻌﺪدة اﻻﺳﺘﺨﺪاﻣﺎت ‪.‬‬ ‫اﻟﻤﺼﺪات ارﺿﻴﺔ اﻟﻬﻴﺪروﻟﻴﻜﻴﺔ ‪:‬‬ ‫اﻟﺠﻬـــﺎز اﻟﻬﻴﺪروﻟﻴﻜـــﻲ ﻳﻮﻓﺮ ﺣﻤﺎﻳـــﺔ ﻋﺎﻟﻴﺔ‬ ‫ﻟ*ﻣﺎﻛﻦ اﻟﺤﺴﺎﺳـــﺔ و اﻟﺘـــﻲ ﺗﺘﻄﻠﺐ أﻧﻈﻤﺔ‬ ‫أﻣﻨﻴـــﺔ ﻋﺎﻟﻴـــﺔ اﻟﻜﻔـــﺎءة ﻛﻤﺎ ﻳﻌﻤـــﻞ ﺑﻨﻈﺎم‬ ‫ﻫﻴﺪروﻟﻴﻜـــﻲ ﻳـــﺪوي ﻋﻨـــﺪ اﻧﻘﻄـــﺎع اﻟﺘﻴـــﺎر‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻲ وﻳﺘﻮﻓﺮ ﺑﺄﺣﺠﺎم ﻣﺨﺘﻠﻔﺔ ﺣﺴﺐ‬ ‫ﻃﻠﺐ اﻟﻌﻤﻴﻞ ﻣﻊ أﻟﻮان و أﻧﻮار ﺗﺤﺬﻳﺮﻳﺔ‪.‬‬


What is Perlite? Product Origin: Perlite is a naturally occurring volcanic rock that contains 2 to 5 percent of combined water within the rock structure. When subjected to heat, the raw perlite will expand up to 20 times. The expansion is due to the change in state of the combined water found within the rock structure. Physical and Chemical Properties The physical and chemical properties of the lightweight expanded perlite gives, Insulite®, Cryolite® and Looslite® a unique qualities for building construction and industrial insulation. Insulite for Thermal Insulation Description: Insulite® is lightweight, white to grayish white in color, fire resistant and non-combustible. Specification: - Conforming to (ASTM C-332, group 1). - Thermal conductivity of 0.04 to 0.06 W / m-o K. - Granule size of 0.15 to 4.75mm. - Density of 100 to 120 kg/ m3. Uses of Insulite: Insulite® is commonly used in construction and industry as a thermal insulation lightweight insulating concrete, sloped to drain roof insulation, lightweight insulated blocks, sound insulation, underfloor insulation, cultured stone production, paints filler (rough finish), ground pipe insulation. Materials for thermal insulation: Insulite - Lightweight Insulating Aggregate, Packed in: 100 ltr.bag (0.10m3), 85 ltr. bag (0.085 m3), 1000 ltr.bag (1.00m3) in case of using insulite bags which are not mentioned in the mix designs, ask for the right proportion from the dealer or applicator. Cement - Portland Cement, BS 12, 1978 and/ or ASTM C150, type I, II, III Air Entraining Agent, (A.E.A.) - ASTM C-260 or as recommended by Saudi Perlite Ind., it is used to improve workability, control of water content and insulation value. It reduces density, increase yield, contribute to insulating factor and the resistance to water absorption. Excess A.E.A. reduces strength. The correct quantity and even distribution of A.E.A. is essential.

95 Albenaa

¡UM³« πμ

Recommendations: Mix A - it is used where intermediate thermal and strength properties are required or nail holding are more important than insulating value. E.g.: Floor fills certain lightweight structural roof designs. Floor fill shall have a topping of sand and pea gravel concrete or other suitable wearing surface. Mix B & C - offers an ideal balance of low dead load weight, adequate compressive and indentation strengths with good insulating value. It is used for lightweight roof constructions. Insulite concrete is placed over galvanized metal forms, paperbacked wire mesh, metal lath, form boards or other suitable forming materials. Used as permanent sloped to screed insulation over insitu and pre-cast concrete roof decks complying the requirements of bonded roofing materials. Mix D - is used for insulation and lightness are paramount considerations, where Insulite concrete service does not require compressive strength. E.g.: Roof slab screed for insulation, floor fills, sloped to drain screed insulation. Test and approvals: Insulite roof deck insulation systems have been tested and approved by Underwriters Laboratories, Factory Mutual and Code Authorities. The system is rated as non-combustible by Factory Mutual which is a superior rating to their Class 1. U.L. Design P920 successfully achieved the first 2-hour rating for any system of this kind under full scale fire conditions. Systems over galvanized steel form units meet the criteria for U.L. Class 90 Wind Uplift Resistance as well as F.M. I-60 and I-90. Insulite for Lightweight Concrete Description Insulite is lightweight, white to grayish white in color, fire resistant and non-combustible. Specification - Conforming to ( ASTM C-332, group 1). - Thermal conductivity of 0.04 to 0.06 W/m-oK. - Granule size of 0.15 to 4.75 mm. - Density of 100 to 120 kg / m3. Uses of Insulite - used as base for a wide variety of flooring materials (e.g.: resilient tile, ceramic tile, linoleum, terrazzo, hardwood or carpeting) - used to elevate floors - used as lightweight filler on floors Advantages - Reduces impact sound transmission between floors. - It is one of the effective ways to reduce dead loads for multi-storey building. (e.g.: not only the floors but includes structural members when it is taken into consideration during design.)

- Perlite/sand concrete has a density od 9601600kg/m3 compared to normal concretes’2240 - 2400 kg/m3. - It produces monolithic screed. - It is as permanent as the slab. Materials for lightweight concrete Insulite: Lightweight Insulating aggregate Cement: Portland cement, BS 12, 1978 and/or ASTM C150, type I, II, III Air Entraining Agent, (A.E.A.): ASTM C-260 or as recommended by Saudi Perlite Ind., it is used to improve workability, control of water content of water content and insulation value. It reduces density, increase yield, contribute to insulating factor and the resistance to water absorption. Excess A.E.A. reduces strength. The correct quantity and even distribution of A.E.A. is essential. Sand: to ASTM C-33 part 4 or equivalent. Water: clean water free from deleterious substances. Recommendations: 1. Air entraining agent admixtures are used in insulite/sand concrete mixtures to improve workability, reduce segregation and entrain air. Air entraining admixtures must be carefully controlled to accomplish the desired results without reducing the strength of the concrete. 2. Insulite/sand concrete can be placed by s conventional method including pumping. when supplied by transit mix trucks a slight loss of yield will be expected when the lightweight concrete is pumped into place. When poured, insulite/sand concrete should be screeded and floated to the desired level. 3. Proper curing of insulites/sand concrete will minimize shrinkage cracks and will assure adequate strength is developed. Curing by water for at least three days is required and it should be protected from any disturbance for at least three days. 4. Contraction and isolation joints should be installed in accordance with established practice for heavyweight concrete. Isolation joints are required around all columns, footings and slab peripheries.


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﺻﻨﺎﻋﺎت اﻟﺒﻴﺮﻻﻳﺖ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﺮواد ﻓﻲ أﻧﻮاع اﻟﻌﺎزل‬ ‫‪ ٥‬ـ أﻗـــﺮي ﻻﻳﺖ ﻣﺘﻌـــﺎدل ﻓﻲ درﺟـــﺔ اﻟﺤﻤﻮﺿﺔ ‪ pH‬ﻣﺎ‬ ‫ﺑﻴـــﻦ ‪ ٦٫٥‬ـ ‪ ٧٫٥‬وﻟﺬﻟـــﻚ ﻳﺆﻣﻦ ﺑﻴﺌﺔ ﻣﺘﻮازﻳـــﺔ اﻟﺘﻔﺎﻋﻞ‬ ‫ﻟﻠﻨﺒﺎت‪.‬‬ ‫‪ ٦‬ـ ﻳﻌﻤـــﻞ ﻛﻤـــﺎدة ﻋﺎزﻟـــﺔ وﺑﺎﻟﺘﺎﻟـــﻲ ﻳﺨﻔـــﺾ درﺟـــﺔ‬ ‫اﻟﺤﺮارة اﻟﻌﺎﻟﻴﺔ اﻟﻤﻀﺮة ﺑﺎﻟﻨﺒﺎت وﻛﺬﻟﻚ ﻳﺤﻤﻲ ﺟﺬور‬ ‫اﻟﻨﺒﺎﺗﺎت ﻣﻦ ا‪%‬ﻧﺨﻔﺎض اﻟﺸﺪﻳﺪ ﻓﻲ درﺟﺔ اﻟﺤﺮارة‪.‬‬ ‫‪ ٧‬ـ اﻻﻗـــﺮي ﻻﻳـــﺖ ﻧﻈﻴـــﻒ وﻻﻳﻨﺘﺞ ﻋﻨـــﻪ رواﺋﺢ ﻛﺮﻳﻬﺔ‬ ‫وﺧﻔﻴـــﻒ اﻟـــﻮزن وﺳـــﻬﻞ اﻻﺳـــﺘﻌﻤﺎل ﻣﻤـــﺎ ﻳﺠﻌـــﻞ‬ ‫ﻋﻤﻠﻴـــﺔ ﻣﻌﺎﻣﻠﺔ اﻟﺘﺮﺑﺔ واﻟﺤﺮاﺛﺔ ﺳـــﻬﻠﺔ واﻗﺘﺼﺎدﻳﺔ‬ ‫ﻋﻰ اﻟﻤﺰارع‪.‬‬ ‫ﻟﻮس ﻻﻳﺖ‪:‬‬ ‫اﻟﻌﺎزل اﻟﺤﺮاري اﻟﻔﻌﺎل‬ ‫) ﻟﻠﺠﺪران ـ ﻟﻠﻴﺎﺳﺔ (‬ ‫ﻫﻮ ا‪%‬ﺳـــﻢ اﻟﺘﺠـــﺎري ﻟﻠﺒﻴﺮﻻﻳﺖ اﻟﻤﻤـــﺪد اﻟﺬي ﺗﻘﻮم‬ ‫ﺑﺘﺼﻨﻴﻌـــﻪ ﺻﻨﺎﻋـــﺎت اﻟﺒﻴﺮﻻﻳـــﺖ اﻟﺴـــﻌﻮدﻳﺔ‪ ،‬وﻫـــﻮ‬ ‫ﻣـــﺎدة ﻃﺒﻴﻌﻴـــﺔ ﻻﺗﺘﻐﻴـــﺮ ﺑﺄي ﺷـــﻜﻞ ﻣﻦ ا‪3‬ﺷـــﻜﺎل‬ ‫وﺗﺪوم ﻟ<ﺑﺪ‪.‬‬

‫اﻧﺴﻮﻻﻳﺖ‪:‬‬ ‫اﻟﻌﺎزل اﻟﺤﺮاري اﻣﺜﻞ‬ ‫) ﻟﺳﻄﺢ ـ ارﺿﻴﺎت (‬ ‫ﻫﻮ ا‪%‬ﺳـــﻢ اﻟﺘﺠـــﺎري ﻟﻠﺒﻴﺮﻻﻳﺖ اﻟﻤﻤـــﺪد اﻟﺬي ﺗﻘﻮم‬ ‫ﺑﺘﺼﻨﻴﻌـــﻪ ﺻﻨﺎﻋـــﺎت اﻟﺒﻴﺮﻻﻳـــﺖ اﻟﺴـــﻌﻮدﻳﺔ‪ ،‬وﻫـــﻮ‬ ‫ﻣـــﺎدة ﻃﺒﻴﻌﻴـــﺔ ﻻﺗﺘﻐﻴـــﺮ ﺑﺄي ﺷـــﻜﻞ ﻣﻦ ا‪3‬ﺷـــﻜﺎل‬ ‫وﺗﺪوم ﻟ<ﺑﺪ‪.‬‬ ‫ﻃﺮﻳﻘﺔ ﺗﻨﻔﻴﺬ‬ ‫ﺧﺮﺳﺎﻧﺔ اﻧﺴﻮﻻﻳﺖ‪:‬‬ ‫‪ ١‬ـ ﻳﺠﻬـــﺰ اﻟﻌﺎﻣـــﻞ ودﻋـــﺎت ﻣﻦ اﻻﻧﺴـــﻮﻻﻳﺖ ﺣﺴـــﺐ‬ ‫اﻟﻤﻨﺎﺳـــﻴﺐ اﻟﻤﻄﻠﻮﺑـــﺔ ﺑﺤﻴﺚ ﻻﺗﻘـــﻞ اﻟﻤﻴﻮل ﻓﻌﻠﻴ‪B‬‬ ‫ﻋﻦ ‪ ٪٠٫٥‬وﺗﻜﻮن أﻗﻞ ﺳﻤﺎﻛﺔ ﻋﻨﺪ ﻓﺘﺤﺎت اﻟﺘﺼﺮﻳﻒ‬ ‫‪ ٥‬ﺳﻢ‪.‬‬ ‫‪ ٢‬ـ ﺗﺮﻃـــﺐ ﺣﺒﻴﺒـــﺎت اﻻﻧﺴـــﻮﻻﻳﺖ ﺛـــﻢ ﻳﻀـــﺎف إﻟﻴﻬﺎ‬ ‫ا‪3‬ﺳـــﻤﻨﺖ وﺗﺨﻠـــﻂ ﺟﻴﺪ وﻳﻀـــﺎف إﻟﻴﻬـــﺎ اﻟﻤﺎء ﺣﺘﻰ‬ ‫اﻟﺤﺼﻮل ﻋﻠﻰ ﺧﻠﻄﺔ ﻣﺘﺠﺎﻧﺴﺔ‪.‬‬ ‫‪ ٣‬ـ ﺗﻔـــﺮش اﻟﺨﻠﻄﺔ ﺑﻴﻦ اﻟﻮدﻋﺎت اﻟﺘﻲ أﻋﺪت ﺑﺎﻟﺒﻨﺪ‬ ‫)‪ (١‬ﺑﺎﺳﺘﻌﻤﺎل اﻟﻤﺴﻄﺮﻳﻦ واﻟﻘﺪة‪.‬‬ ‫‪ ٤‬ـ ﻳﻔﻀﻞ ﻋﻤﻞ ﺗﺮوﻳﺒﺔ اﺳـــﻤﻨﺘﻴﺔ ﻓﻮق اﻻﻧﺴﻮﻻﻳﺖ‬ ‫ﺑﺴﻤﺎﻛﺔ ‪٢‬ﻣﻢ وذﻟﻚ ﺑﻌﺪ ﻣﺮور ﻳﻮﻣﻴﻦ أو ﺛﻼﺛﺔ‪.‬‬ ‫‪ ٥‬ـ ﻳﺮاﻋـــﻰ رش ﺧﺮﺳـــﺎﻧﺔ اﻻﻧﺴـــﻮﻻﻳﺖ ﻟﻤـــﺪة ﺛﻼﺛـــﺔ أﻳـــﺎم‬ ‫ﻣﺘﺘﺎﻟﻴﺔ‪.‬‬ ‫‪ ٦‬ـ ﻻﻳﺠﻮز ﻣﺒﺎﺷـــﺮة أﻋﻤﺎل اﻟﻌﺰل اﻟﻤﺎﺋﻲ ﻗﺒﻞ اﻟﺘﺄﻛﺪ‬ ‫ﻣﻦ ﺟﻔﺎف اﻻﻧﺴﻮﻻﻳﺖ‪.‬‬ ‫أﻗﺮي ﻻﻳﺖ‪:‬‬ ‫اﻟﺒﻴﺮﻻﻳــﺖ اﻟﺰراﻋــﻲ اﻟﺴــﻌﻮدي ﻣﺤﺴــﻦ اﻟﺘﺮﺑﺔ‬ ‫اﻣﺜﻞ‬ ‫اﻟﺒﻴﺮﻻﻳـــﺖ ﻋﺒـــﺎرة ﻋـــﻦ ﺣﺒﻴﺒـــﺎت ﺻﻐﻴـــﺮة ﺑﻴﻀـــﺎء‬ ‫ﻗﻄﺮﻫـــﺎ ﻣﻦ )‪ ١٫٥‬ﻣﻞ ـ ‪ ٤٫٧٥‬ﻣﻠـــﻢ( ﺧﻔﻴﻔﺔ ﻧﺎﺗﺠﺔ ﻋﻦ‬ ‫ﺗﺴﺨﻴﻦ ﺻﺨﻮر ﺑﺮﻛﺎﻧﻴﺔ ﺳﻴﻠﻴﻜﻮﻧﻴﺔ‪ ،‬وﻧﺘﻴﺠﺔ ﻟﻬﺬا‬ ‫اﻟﺘﺴـــﺨﻴﻦ ﺣﻮاﻟـــﻲ )‪١٠٠٠‬م( أﻟـــﻒ درﺟﺔ ﻣﺌﻮﻳـــﺔ ﻳﺰداد‬ ‫ﺣﺠـــﻢ اﻟﺤﺒﻴﺒﺎت ﺑﻨﺴـــﺒﺔ ﻋﺸـــﺮﻳﻦ ﺿﻌـــﻒ ﺣﺠﻤﻬﺎ‬ ‫اﻟﻄﺒﻴﻌـــﻲ‪ ،‬وﻳﻨﺘـــﺞ ﻋـــﻦ ﻫـــﺬا اﻟﺘﺴـــﺨﻴﻦ ﺗﺠﺎوﻳﻒ‬ ‫ﻫﻮاﺋﻴـــﺔ ﺻﻐﻴﺮة ﺗﺤﺘﻔـــﻆ ﺑﺎﻟﻤﺎء واﻟﺴـــﻤﺎد ﻟﺘﺠﻌﻠﻪ‬ ‫ﻓﻲ ﻣﺘﻨﺎول ﺟﺬور اﻟﻨﺒﺎت ﺣﻴﻦ اﻟﺤﺎﺟﺔ‪.‬‬

‫‪¡UM³« π¥‬‬

‫‪94 Albenaa‬‬

‫ﻳﻌﺘﺒـــﺮ ا‪3‬ﻗـــﺮي ﻻﻳﺖ ﻣـــﻦ أﻓﻀـــﻞ ﻣﺤﺴـــﻨﺎت اﻟﺘﺮﺑﺔ‬ ‫اﻟﺰراﻋﻴـــﺔ ﻟﻠﺤﺪاﺋـــﻖ واﻟﻤـــﺰارع واﻟﺒﻴـــﻮت اﻟﻤﺤﻤﻴـــﺔ‬ ‫واﻟﺰراﻋـــﺔ اﻟﺪاﺧﻠﻴـــﺔ ﺑﺎﻟﻤﻨـــﺎزل‪ .‬وﻫـــﻮ ﻳﺴـــﺎﻋﺪ ﻋﻠﻰ‬ ‫اﻧﺘﻌـــﺎش ﻋﻤﻠﻴـــﺔ ﻧﻤـــﻮ اﻟﻨﺒﺎت وﺗﺴـــﺮﻳﻌﻬﺎ وﻳﺤﻔﻆ‬ ‫اﻟﺘﺮﺑـــﺔ ﻟﻴﻨﺔ ورﻃﺒﺔ‪ ،‬ﺟﻴﺪة اﻟﺘﻬﻮﻳـــﺔ ﺻﺎﻟﺤﺔ ﻟﻠﺰراﻋﺔ‬ ‫ﻟﻌﺪة ﺳﻨﻮات‪.‬‬ ‫ﻓﻮاﺋﺪ اﻗﺮي ﻻﻳﺖ ‪:‬‬ ‫‪ ١‬ـ ﻳﺤﺴـــﻦ ﺗﻬﻮﻳﺔ اﻟﺘﺮﺑﺔ وﺻﺮﻓﻬـــﺎ وﺑﺎﻟﺘﺎﻟﻲ ﺗﻬﻮﻳﺔ‬ ‫ﺟﺬور اﻟﻨﺒﺎﺗﺎت‪.‬‬ ‫‪ ٢‬ـ ﻟـــﻪ ﻗﺪرة ﻋﻠـــﻰ اﻻﺣﺘﻔﺎظ ﺑﺎﻟﻤﺎء واﻟﺴـــﻤﺎد ﻟﻔﺘﺮة‬ ‫ﻃﻮﻳﻠـــﺔ وﻳﺒﺎﻋـــﺪ ﺑﻴـــﻦ ﻓﺘـــﺮات اﻟـــﺮي وﻳﻘﻠـــﻞ ﻣـــﻦ‬ ‫اﺳﺘﻬﻼك اﻟﻤﺎء واﻟﺴﻤﺎد‪.‬‬ ‫‪ ٣‬ـ ا‪3‬ﻗـــﺮي ﻻﻳﺖ ﻣﻌﻘﻢ وﺧﺎﻟﻲ ﻣﻦ ﺑﺬور اﻟﺤﺸـــﺎﺋﺶ‬ ‫وا‪3‬ﻣﺮاض واﻟﺤﺸﺮات‪.‬‬ ‫‪ ٤‬ـ ﻣﺎدة ﻏﻴﺮ ﻋﻀﻮﻳﺔ وﺑﺎﻟﺘﺎﻟﻲ ﻏﻴﺮ ﻗﺎﺑﻞ ﻟﻠﺘﻐﻴﻴﺮ وﻻ ﻳﺘﺤﻠﻞ‪.‬‬

‫اﺳﺘﺨﺪاﻣﺎت اﻟﻠﻮس ﻻﻳﺖ‪:‬‬ ‫‪ ١‬ـ اﻟﻔﺮاﻏـــﺎت ﺑﻴـــﻦ اﻟﺠﺪران اﻟﺨﺎرﺟﻴـــﺔ واﻟﺪاﺧﻠﻴﺔ ﻓﻲ‬ ‫اﻟﺠﺪران اﻟﻤﺰدوﺟﺔ‪.‬‬ ‫‪ ٢‬ـ ﻓﺮاﻏﺎت اﻟﻄﻮﺑﺔ اﻟﻤﻜﻮﻧﺔ ﻟﻠﺠﺪران اﻟﺨﺎرﺟﻴﺔ‪.‬‬ ‫ﻃﺮﻳﻘﺔ اﺳﺘﺨﺪام اﻟﻠﻮس ﻻﻳﺖ‪:‬‬ ‫‪ ١‬ـ ﺗﻐﻠـــﻖ ﺟﻤﻴﻊ ﺟﻮاﻧﺐ ﻓﺘﺤﺎت ا‪3‬ﺑﻮاب واﻟﺸـــﺒﺎﺑﻴﻚ‬ ‫واﻟﺘﻜﻴﻴﻒ وﻏﻴﺮﻫﺎ ﻟﻤﻨﻊ ﺗﺴﺮب اﻟﻠﻮس ﻻﻳﺖ‪.‬‬ ‫‪ ٢‬ـ ﻳﻌﺒﺄ اﻟﻠﻮس ﻻﻳﺖ ﻣﺒﺎﺷﺮة ﻣﻦ اﻟﻜﻴﺲ ﻓﻲ اﻟﻔﺮاغ‬ ‫ﺑﻴـــﻦ اﻟﺠـــﺪران ﻣـــﻊ اﻟﺘﺄﻛﺪ ﻣـــﻦ أن ﺟﻤﻴـــﻊ اﻟﻔﺮاﻏﺎت‬ ‫اﻟﺪاﺧﻠﻴﺔ ﻗﺪ اﻣﺘ<ت‪.‬‬ ‫‪ ٣‬ـ ﻳﻤﻜـــﻦ إﺿﺎﻓـــﺔ اﻟﺠﺒﺲ إﻟﻰ اﻟﻠـــﻮس ﻻﻳﺖ ﻟﺠﻌﻞ‬ ‫أﻛﺜـــﺮ ﺗﻤﺎﺳـــﻚ ﺑﻨﺴـــﺒﺔ )‪ (١‬ﻛﻴـــﺲ ﺟﺒﺲ ﻟـــﻜﻞ )‪(١٠‬‬ ‫أﻛﻴﺎس ﻟﻮس ﻻﻳﺖ ﻣـــﻊ وﺿﻊ ﻛﻤﻴﺔ ﻗﻠﻴﻠﺔ ﻣﻦ اﻟﻤﺎء‬ ‫ﻳﻨﺪى ﺑﻬﺎ اﻟﺨﻠﻴﻂ‪.‬‬ ‫‪ ٤‬ـ ﻓـــﻲ ﺣﺎﻟﺔ ﺑﻨﺎء اﻟﺠـــﺪار اﻟﺨﺎرﺟﻲ ﻣﻦ ﻃﺒﻘﺔ واﺣﺪة‬ ‫ﻣـــﻦ اﻟﺒﻠﻚ اﻟﻤﻔﺮغ ﻳﻤﻜﻦ ﻋﺰل اﻟﺠﺪار وذﻟﻚ ﺑﺘﻌﺒﺌﺔ‬ ‫اﻟﻔﺮاﻏﺎت اﻟﻤﻮﺟﻮدة ﺑﺎﻟﻠﻮس ﻻﻳﺖ‪.‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫اﻟﻤﺼﻨﻊ اﻟﺴﻌﻮدي ﻟﻠﺜﺮﻳﺎت‬ ‫ﺛﻼﺛﻮن ﻋﺎﻣ* ﻧﺰداد ﺗﺄﻟﻘ* و ﺷﺒﺎﺑ*‬

‫ﻣﻦ إﺳﻢ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ اﺳﺘﻠﻬﻤﻨﺎ‬ ‫إﺳﻤﻨﺎ‪ ،‬ﻓﻜﺎن اﻟﻤﺼﻨﻊ اﻟﺴﻌﻮدي ﻟﻠﺜﺮﻳﺎت ‪ ،‬وﻋﺒﺮ‬ ‫ﺛﻼﺛـــﻮن ﻋﺎﻣ* ﻣﻦ اﻟﻌﻄﺎء اﺳـــﺘﻄﻌﻨﺎ ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫أن ﻧﺒﻨﻲ إﺳـــﻤ* ﻳﻠﻤﻊ ﻣﺜﻞ اﻟﺬﻫـــﺐ و ﻳﺒﺮق ﻣﺜﻞ‬ ‫اﻟﻤﺎس ﻛﻤﺎ ﺛﺮﻳﺎﺗﻨﺎ ﺗﻤﺎﻣ* ‪.‬‬ ‫ﺛﻼﺛﻮن ﻋﺎﻣ* ﻛﻨﺎ ﻧﺒﻨﻲ ﻋﻠﻰ أﺳﺎﺳﺎت راﺳﺨﺔ ﻣﻨﻬﺎ‪:‬‬ ‫أن ﻟﻠﻌﻤﻴـــﻞ ﺣـــﻖ اﻟﺘﻤﺘـــﻊ و ﻣﺸـــﺎﻫﺪة وإﺧﺘﻴـــﺎر‬ ‫اﻟﻤﻨﺘـــﺞ ﻋﻠـــﻰ اﻟﻮاﻗـــﻊ ﻓﺄﻧﺸـــﺄﻧﺎ ﻣﻌﺎرﺿﻨـــﺎ اﻟﺘﻲ‬ ‫ﺗﻮزﻋﺖ ﻋﻠﻰ أﻏﻠﺐ ﻣﻨﺎﻃﻖ اﻟﻤﻤﻠﻜﺔ ‪ .‬ﻛﻤﺎ أﻧﻪ ﻣﻦ‬ ‫ﺣـــﻖ اﻟﻌﻤﻴﻞ أن ﻳﺘﻤﺘﻊ ﺑﻀﻤﺎن ﺣﻘﻴﻘﻲ ﺷـــﺎﻣﻞ‬ ‫ﻓﺄوﺟﺪﻧﺎ ﻟﻪ اﻟﻀﻤـــﺎن اﻟﺬﻫﺒﻲ اﻟﻤﺠﺎﻧﻲ اﻟﻄﻮﻳﻞ‬ ‫ا‪O‬ﻣﺪ ﻋﻠﻰ ﻛﻞ ﺛﺮﻳﺎﺗﻨﺎ و ﻣﻨﺘﺠﺎﺗﻨﺎ‪ ،‬وأﻋﻄﻴﻨﺎ ﻫﺬا‬ ‫اﻟﻀﻤـــﺎن أﻫﻤﻴﺔ ﻗﺼﻮى ﻟﺪﻳﻨـــﺎ‪ ،‬ﻓﺒﻮﺟﻮد ﻣﺼﻨﻊ‬ ‫ﺣﻘﻴﻘـــﻲ ﻣﺘﻜﺎﻣﻞ ﻋﻠـــﻰ أرض اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﻫﻮ ﻣﻦ ﻳﺼﻨﻊ اﻟﻤﻨﺘﺞ ﻣﻦ ا‪O‬ﻟﻒ إﻟﻰ‬

‫∂‪¡UM³« π‬‬

‫‪96 Albenaa‬‬

‫اﻟﻴﺎء‪ ،‬ﻛﺎن اﻟﻀﻤﺎن اﻟﺬﻫﺒﻲ ﻟﻠﻤﺼﻨﻊ اﻟﺴﻌﻮدي‬ ‫ﻟﻠﺜﺮﻳﺎت ﻋﻨﺼﺮ ا‪O‬ﻣﺎن ﻟﻠﻤﺴﺘﻬﻠﻚ‪.‬‬ ‫ﻛﻤــــﺎ ﻳﺘﺒــــﻊ ﻟﻠﻤﺼﻨﻊ ﻣﺼﻨــــﻊ اﻟﻤﺴــــﺒﻮﻛﺎت اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﻤﺘﺨﺼــــﺺ ﺑﺼﻨﺎﻋــــﺔ اﻟﺪراﺑﺰﻳﻨــــﺎت وا‪O‬ﺑــــﻮاب‬ ‫واﻟﺪﻳﻜــــﻮرات اﻟﻤﻌﺪﻧﻴــــﺔ ﻟﺘﻘﺪﻳــــﻢ ﻋﻤــــﻞ ﻣﺘﻜﺎﻣــــﻞ‬ ‫ﻟﻌﻤﻼﺋﻨﺎ اﻟﻜﺮام ﺑﺘﺼﺎﻣﻴﻢ ﻣﻮﺣﺪة وﺑﺤﻮدة ﻋﺎﻟﻴﺔ‪.‬‬


‫‪¡UM³« o×K‬‬

‫‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ ﻋﺎﻟﻢ اﻟﻤﻈﻼت‬

‫إﺣﺪى ﺷﺮﻛﺎت ﻣﺠﻤﻮﻋﺔ اﻟﺘﺠﻮﻳﺪ‬

‫«_‪ÂUF« d¹b*« ? wH¹dF« `U sÐ bL× –U²Ý‬‬

‫ﺗﺄﺳﺴـــﺖ ﺷـــﺮﻛﺔ اﻟﺘﺠﻮﻳـــﺪ‬ ‫ﻟﻠﺘﺠﺎرة واﻟﻤﻘـــﺎوﻻت ﻋﺎم ‪٢٠٠٢‬م‬ ‫ﻋﻠـــﻰ ﻳـــﺪ ا)ﺳـــﺘﺎذ ﻣﺤﻤـــﺪ ﺑـــﻦ‬ ‫ﺻﺎﻟﺢ اﻟﻌﺮﻳﻔﻲ‪ ،‬ﺣﻴﺚ ﺗﺨﺼﺼﺖ‬ ‫اﻟﺸـــﺮﻛﺔ ﻓـــﻲ ﺗﺠـــﺎرة ﻣﻨﺘﺠـــﺎت‬ ‫اﻟﻬﻴـــﺎﻛﻞ اﻟﻤﻌﺪﻧﻴـــﺔ ﺑﺎ‪9‬ﺿﺎﻓﺔ‬ ‫إﻟﻰ ﻧﺸﺎط اﻟﻤﻘﺎوﻻت‪.‬‬ ‫وﻣﻨﺬ أن ﺑﺪأت اﻟﺸﺮﻛﺔ ﻧﺸﺎﻃﻬﺎ‬ ‫ﺳﻌﻰ ا)ﺳﺘﺎذ ﻣﺤﻤﺪ اﻟﻌﺮﻳﻔﻲ‬ ‫إﻟـــﻰ ﺗﻮﺳـــﻴﻊ ا)ﻋﻤـــﺎل ﻟﺘﻀـــﻢ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ ا)ﻧﺸﻄﺔ اﻟﻤﺘﻜﺎﻣﻠﺔ‪،‬‬ ‫ﻓﺄﺻﺒﺤـــﺖ ﺗﻀـــﻢ إﻟـــﻰ ﺟﺎﻧـــﺐ‬ ‫ﻣﻨﺘﺠـــﺎت اﻟﻬﻴـــﺎﻛﻞ اﻟﻤﻌﺪﻧﻴـــﺔ‬ ‫ﻋـــﺪد‪ M‬ﻣـــﻦ اﻟﻤﻨﺘﺠـــﺎت ا)ﺧـــﺮى‬ ‫ﻣﺜـــﻞ اﻟﺘﻮﺻﻴـــﻼت واﻟﺼﻤﺎﻣﺎت ـ‬ ‫اﻟﻤﻮاد اﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﻤﺸـــﺮوﻋﺎت‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴـــﺔ واﻟﻤﻴﻜﺎﻧﻴﻜﻴـــﺔ ـ‬ ‫إﻧﺘﺎج وﺗﻨﻔﻴﺬ ا)ﺳﻮار اﻟﻤﻌﺪﻧﻴﺔ‬ ‫وا)ﺳـــﻴﺠﺔ ا)ﻣﻨﻴـــﺔ ـ ﻣﻈـــﻼت‬ ‫اﻟﺸﺪ ا‪9‬ﻧﺸﺎﺋﻲ ‪.‬‬ ‫وﺗﺴـــﻬﻴ ً‬ ‫ﻼ ﻟﻠﻌﻤـــﻞ ﻓﻘـــﺪ ﺗـــﻢ‬

‫∏‪¡UM³« π‬‬

‫‪98 Albenaa‬‬

‫إﻧﺸﺎء ﻗﺴﻢ ﺧﺎص ﻟﻜﻞ ﻧﺸﺎط‬ ‫ﻳﻘﻮم ﻋﻠﻰ إدارﺗـــﻪ ﺧﺒﺮات ﻓﻨﻴﺔ‬ ‫وإدارﻳـــﺔ ﻋﻠـــﻰ أﻋﻠـــﻰ ﻣﺴـــﺘﻮى‬ ‫ﻳﻀﻤـــﻦ ﺗﻘﺪﻳـــﻢ اﻟﺨﺪﻣـــﺔ إﻟـــﻰ‬ ‫ﺟﻤﻴﻊ ﻋﻤﻼء اﻟﻤﺠﻤﻮﻋﺔ ﺑﺸﻜﻞ‬ ‫ﻣﺜﺎﻟﻲ‪.‬‬ ‫وﺗﺘﻤﺜﻞ ﻫﺬه ا)ﻗﺴﺎم ﻓﻲ ‪:‬‬ ‫‪ ١‬ـ ﻗﺴـــﻢ ﻣﺒﻴﻌـــﺎت اﻟﻬﻴـــﺎﻛﻞ‬ ‫اﻟﻤﻌﺪﻧﻴﺔ‪.‬‬ ‫‪ ٢‬ـ ﻗﺴﻢ ﻣﺒﻴﻌﺎت اﻻﻛﺴﺴﻮارات‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ واﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ‪.‬‬ ‫‪ ٣‬ـ ﻗﺴﻢ ﺗﺠﺎرة اﻟﻤﻌﺪات اﻟﺜﻘﻴﻠﺔ‬ ‫واﻟﺸﺎﺣﻨﺎت واﻟﺴﻴﺎرات ‪.‬‬ ‫‪ ٤‬ـ ﻗﺴـــﻢ ﻣﺒﻴﻌـــﺎت اﻟﻤﻌـــﺪات‬ ‫واﻻﻛﺴﺴـــﻮارات واﻟﺤﻠـــﻮل‬ ‫اﻟﻬﻮاﺋﻴﺔ‪.‬‬ ‫‪ ٥‬ـ ﻗﺴﻢ ﺗﺮﻛﻴﺐ أﺳﻮار اﻟﺤﻤﺎﻳﺔ‬ ‫اﻟﻤﻌﺪﻧﻴﺔ وا)ﺳﻴﺠﺔ ا)ﻣﻨﻴﺔ ‪.‬‬ ‫‪ ٦‬ـ ﺷـــﺮﻛﺔ ﻋﺎﻟـــﻢ اﻟﻤﻈـــﻼت‬ ‫ﻟﺘﺼﻨﻴــــﻊ ﻣﻨﺘﺠــــﺎت اﻟﺸــــﺪ‬ ‫ا‪9‬ﻧﺸﺎﺋﻲ واﻟﻤﻈﻼت‪.‬‬ ‫‪ ٧‬ـ ﻣﺼﻨﻊ أوز ﻟﺘﺼﻨﻴﻊ ﻣﻨﺘﺠﺎت‬ ‫ا)ﺳـــﻮار اﻟﻤﻌﺪﻧﻴـــﺔ وأﺳـــﻴﺠﺔ‬ ‫اﻟﺤﻤﺎﻳﺔ ا)ﻣﻨﻴﺔ‪.‬‬


التوجهات الحديثة في تصميم واجهات المباني  
التوجهات الحديثة في تصميم واجهات المباني  
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