اللغة المعمارية وتصميم المباني الثقافية

‫‪٣٣٧‬‬ ‫اﻟﺴﻨﺔ ‪ / ٤٠‬رﺑﻴﻊ ا ول ‪١٤٤٠‬ﻫـ‬

‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ وﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻘﺎﻓﻴﺔ‬

‫‪November 2018 / Volume 40‬‬

‫‪337‬‬

‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫« ‪≥≥∑ œbF « ¨ÊuFЗ_« WM‬‬ ‫—‪ ≤∞±∏ d³L u½ Ø?¼ ±¥¥∞ ‰Ë_« lOÐ‬‬ ‫« ‪d¹dײ « fOz—Ë dýUM‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ ”bMN‬‬ ‫«*‪ÂUF « d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž e¹eF « b³Ž ”bMN‬‬ ‫«*‪ÍcOHM² « d¹b‬‬ ‫ ×‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ bL‬‬ ‫ ‪W U)« «—«b ù« …d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ …u u WÝbMN‬‬ ‫«‪wMH « ëdšù‬‬ ‫ ‪WO½«dLF « ÊËRAK ¡UM³ « WK−‬‬ ‫«‪∫l¹“u² «Ë U «d²ýô‬‬ ‫’ ‪±±¥≤± ÷U¹d « μ≤≤ » Æ‬‬ ‫«*‪W¹œuF « WOÐdF « WJKL‬‬ ‫« ‪¥∂μ ? π∑¥π ¨ ¥∂¥ ? ≤μμ∂ ÷U¹d‬‬ ‫ ‪¥∂¥ ? ∂≥¥∏ f U‬‬ ‫‪info@albenaamag.com‬‬ ‫‪ÆÊ«bK³ « q w «bM² *« q sŽ WþuH× dAM « ‚uIŠ‬‬ ‫«‪ ôUI*UÐ …œ—«u « UDD *«Ë —u?B «Ë U uKF*«Ë ¡«—ü‬‬ ‫‪WK−*« ÁcNÐ WHK² *« UŽËd?A*«Ë U?Ý«—b «Ë Àu׳ «Ë‬‬ ‫‪¨UÎ OK Ë√ UÎ Ozeł U¼d?A½ …œUŽ≈ Ë√ ¨UNM ”U³² ôUÐ `L? ¹ ô‬‬ ‫√‪vKŽ ‰uB(« bFÐ ô≈ ¨X½U U?LN WI¹dÞ ÍQÐ U?NM¹e ð Ë‬‬ ‫ ‪Æd¹dײ « fOz— s WOÐU² WI «u‬‬

‫ا ﻓﺘﺘﺎﺣﻴﺔ‬ ‫إﻋﺎدة اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﺘﻌﻠﻴﻢ واﻟﻤﻬﻨﺔ ‪ .‬ﻛﻴﻒ ﺗﺤﺮر ﻣﺠﻠﺔ اﻟﺒﻨﺎء اﻟﻴﻮم‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫أول ﻛﺒﺴﻮﻟﺔ ﻟﻨﻘﻞ اﻟﺮﻛﺎب ﻣﻦ ﺷﺮﻛﺔ ﻫﺎﻳﺒﺮ ﻟﻮب ﺗﻲ ﺗﻲ‬ ‫ﺗﺄﺛﻴﺮ ﺗﻮرﺑﻴﻨﺎت اﻟﺮﻳﺎح ﻋﻠﻰ اﻟﻐﻼف اﻟﺠﻮي‬ ‫ﻃﺮق أﺳﻔﻠﺘﻴﺔ ﻣﻌﺎد ﺗﺪوﻳﺮﻫﺎ ‪٪100‬‬ ‫ﻣﺒﺎﻧﻲ ﺗﻘﻠﺪ اﻟﻄﺒﻴﻌﺔ‬ ‫ﺑﻨﻮك ﻟﻤﻮاد اﻟﺒﻨﺎء‬ ‫ﻣﺠﻤﻊ ﺳﻜﻨﻲ ذاﺗﻲ اﻟﻄﺎﻗﺔ‬ ‫ﻛﺘﻠﺔ ﺳﻘﻄﺖ ﻣﻦ اﻟﺴﻤﺎء‬

‫‪ISSN: 1319 - 206 X‬‬ ‫∞∞ « ‪¡UM³‬‬

‫‪00 Albenaa‬‬

‫≤‪±‬‬ ‫≤‪±‬‬ ‫‪±¥‬‬ ‫∂‪±‬‬ ‫∂‪±‬‬ ‫∏‪±‬‬ ‫∞≤‬

‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ وﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ وﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻣﺮﻛﺰ ﻟﻠﺘﺴﻮق اﻟﺜﻘﺎﻓﻲ‬ ‫ﻗﺎﻋﺔ ﻣﻮﺳﻴﻘﻰ ﻓﻲ روﺳﻴﺎ‬ ‫ﻣﺮﻛﺰ ﻛﺎوﻫﺴﻴﻮﻧﺞ ﻟﻠﻔﻨﻮن ا‪K‬ﺳﺘﻌﺮاﺿﻴﺔ‬ ‫ﻣﺘﺤﻒ ﻓﻨﻮن اﻟﺘﺼﻤﻴﻢ ﻓﻲ أﺳﻜﺘﻠﻨﺪا‬ ‫ﻣﺘﺤﻒ آﻣﻮس رﻛﺲ ﻓﻲ ﻓﻨﻠﻨﺪا‬

‫‪≤¥‬‬ ‫∏≤‬ ‫∏≥‬ ‫∏‪¥‬‬ ‫∏‪μ‬‬ ‫∞∑‬

‫ﻣﺸﺎرﻳﻊ ﺣﺪﻳﺜﺔ‬ ‫واﺣﺔ ﺣﻀﺮﻳﺔ وﺳﻂ اﻟﻤﺪﻳﻨﺔ‬ ‫ﺗﺮﺟﻤﺔ ﻋﺼﺮﻳﺔ ﻟﺜﻘﺎﻓﺔ اﻟﻤﺪﻳﻨﺔ‬

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

‫∞‪±‬‬

‫≤∏‬ ‫‪∏¥‬‬

‫ﻣﺸﺎرﻳﻊ ﺳﻌﻮدﻳﺔ ﺣﺪﻳﺜﺔ‬ ‫ﻣﻦ أﻋﻤﺎل ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ ﻟﻠﻤﻘﺎوﻻت‪ :‬ﻓﻨﺪق ﻛﻤﺒﻨﺴﻜﻲ‬ ‫اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬ ‫ﻣﺸﺮوع إﺳﻜﺎن راﺑﻴﺔ اﻟﺸﺮق ﺑﺎﻟﺮﻳﺎض‬ ‫ﻣﺸﺮوع إﺳﻜﺎن ﺿﺎﺣﻴﺔ اﻟﻤﻠﻚ ﻋﺒﺪ ا_ ـ ﻣﺨﻄﻂ ‪ 15‬ـ ﺟﺎزان‬

‫∏∏‬ ‫≤‪π‬‬ ‫≥‪π‬‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫‪π¥‬‬

‫«‪WOŠU²² ù‬‬

‫إﻋﺎدة اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﺘﻌﻠﻴﻢ واﻟﻤﻬﻨﺔ‬ ‫ﻛﻴﻒ ﺗﺤﺮر ﻣﺠﻠﺔ اﻟﺒﻨﺎء اﻟﻴﻮم‬ ‫رﺑﻤﺎ ﻳﻜﻮن ﻣﻦ اﻟﻀﺮوري أن ﻧﺨﺼﺺ إﺣﺪى إﻓﺘﺘﺎﺣﻴﺘﻨﺎ‬ ‫ﻟﻜﻴﻔﻴــــﺔ ﺗﺤﺮﻳﺮ اﻟﻤﺠﻠﺔ واﻟﺴــــﺒﺐ ﻫﻮ ﻣﺎ ﻳﺼﻞ إﻟﻴﻨﺎ ﻣﻦ‬ ‫ﻣﻘﺘﺮﺣــــﺎت وﻧﻘﺪ ﻣــــﻦ ﻗﺮاﺋﻨﺎ ا‪3‬ﻋــــﺰاء اﻟﺬﻳــــﻦ ﻧﻘﺪر ﻟﻬﻢ‬ ‫ﺗﻔﺎﻋﻠﻬــــﻢ ﻣــــﻊ اﻟﻤﺠﻠــــﺔ وإﻫﺘﻤﺎﻣﻬــــﻢ ﺑﻬــــﺎ ورﻏﺒﺘﻬﻢ‬ ‫اﻟﺼﺎدﻗﺔ ﻓﻲ رﻓﻊ ﻣﺴــــﺘﻮى اﻟﺘﺤﺮﻳﺮ ﻓﻴﻬﺎ ﺑﺤﻴﺚ ﺗﺤﻘﻖ‬ ‫اﻟﻤﺠﻠــــﺔ ﻫﺪﻓﻬﺎ ﻣــــﻦ اﻟﺘﺤﺮﻳﺮ اﻟﺬي ﺳــــﻴﻈﻞ داﺋﻤﺎ ﻫﻮ‬ ‫اﻟﺴــــﻌﻲ وراء رﻓﻊ ﻣﺴــــﺘﻮى اﻟﻌﻤﻞ اﻟﻤﻌﻤﺎري اﻟﻤﺤﻠﻲ‪.‬‬ ‫ﻣﻨــــﺬ ﻧﺸــــﺎءﺗﻬﺎ ﻓــــﻲ ﻋــــﺎم ‪١٩٧٨‬م وﻋﻠــــﻰ ﻣﺮ اﻟﺴــــﻨﻴﻦ‬ ‫ﻛﺎﻧﺖ اﻟﻤﺠﻠﺔ ﺗﺠﺪد ﻣﻦ وﻗﺖ إﻟﻰ آﺧﺮ إﺳــــﺘﺮاﺗﻴﺠﻴﺘﻬﺎ‬ ‫اﻟﺘﺤﺮﻳﺮﻳﺔ ﺑﺤﻴﺚ ﺗﺄﺧﺬ ﻓــــﻲ إﻋﺘﺒﺎرﻫﺎ ا‪3‬وﺿﺎع اﻟﻤﺘﻐﻴﺮة‬ ‫واﻟﻤﺘﻄﻮرة ﻟﻠﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وﺳﻮق اﻟﺒﻨﺎء ‪ .‬ﻣﻨﺬ ‪٤‬‬ ‫ﺳــــﻨﻮات ﺗﻘﺮﻳﺒ‪ U‬ﻗﺮرت اﻟﻤﺠﻠﺔ إﻋــــﺎدة اﻟﻨﻈﺮ ﻓﻲ ﻃﺮﻳﻘﺔ‬ ‫ﺗﺤﺮﻳﺮﻫــــﺎ ﺣﻴــــﺚ ﻇﻬــــﺮت وﺳــــﺎﺋﻞ ﺟﺪﻳــــﺪة وﺳــــﺮﻳﻌﺔ‬ ‫ﻟﻨﺸــــﺮ اﻟﻤﻌﻠﻮﻣﺎت ﻓﻲ ﻣﺠــــﺎل اﻟﺘﺼﻤﻴﻢ واﻟﺒﻨﺎء ‪ ،‬ﻫﺬه‬ ‫اﻟﻮﺳــــﺎﺋﻞ وإن ﻛﺎﻧﺖ أﺳﺮع ﻣﻦ اﻟﻮﺳــــﺎﺋﻞ اﻟﻤﻄﺒﻮﻋﺔ إﻻ‬ ‫أﻧﻬــــﺎ ﺗﺸــــﻮش ﻋﻠﻰ اﻟﻤﺒﺘﺪﺋﻴــــﻦ واﻟﻘــــﺮاء واﻟﻤﻬﺘﻤﻴﻦ‬ ‫ﻛﻮﻧﻬﺎ ﺗﺒﺚ ﻣﻌﻠﻮﻣﺎت ﺳﺮﻳﻌﺔ وأﺧﺒﺎر ﻋﻦ اﻟﻤﺸﺮوﻋﺎت‬ ‫اﻟﺠﺎرﻳــــﺔ ﻟﻜﻨﻬﺎ ﻻ ﺗﺸــــﻜﻞ ﻣﻌﻠﻮﻣــــﺎت ﻋﻠﻤﻴﺔ ﻳﻤﻜﻦ ان‬ ‫ﻳﺴﺘﻔﻴﺪ ﻣﻨﻬﺎ اﻟﻘﺎريء وﻻ اﻟﻤﻬﻨﺔ و ﻻ ﺗﺸﺮح وﻻ ﺗﺤﻠﻞ‬ ‫ﻟﻠﻘﺮاء ﻃﺮق ﺗﺼﻤﻴﻢ اﻟﻤﺸــــﺮوﻋﺎت ‪ .‬ﻓﻜﺎن ﻋﻠﻰ اﻟﻤﺠﻠﺔ‬ ‫أن ﺗﺴــــﺪ ﻫــــﺬا اﻟﻨﻘﺺ اﻟــــﺬي ﻻ ﻳﻤﻜــــﻦ أن ﺗﺤﻘﻘﻪ ﻫﺬه‬ ‫اﻟﻮﺳــــﺎﺋﻞ اﻟﺠﺪﻳﺪة ﻛﻮﻧﻬﺎ ﺗﻘــــﺪم ﻣﻌﻠﻮﻣﺎﺗﻬﺎ ﺑﺎﻟﻤﺠﺎن‬ ‫وﺗﻌﺘﻤﺪ ﻋﻠﻰ إﻧﺘﺸــــﺎرﻫﺎ اﻟﻮاﺳــــﻊ ‪ .‬ا‪3‬ﻣــــﺮ اﻟﺬي ﻻ ﻳﻤﻜﻦ‬ ‫أن ﻳﺠﻌﻞ ﻣﻨﻬﺎ وﺳﺎﺋﻞ ﻋﻠﻤﻴﺔ ﻛﻤﺎ ﻫﻮ اﻟﺤﺎل ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﻟﻠﻜﺘﺐ ‪ ،‬إﻻ أن إﺻﺪار ﻛﺘﺐ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وﺗﻘﻨﻴﺎت‬ ‫اﻟﺒﻨــــﺎء ﻓــــﻲ ﻣﻨﻄﻘﺘﻨﺎ ﻫﻮ أﻣﺮﺻﻌﺐ ﻟﻠﻐﺎﻳﺔ وﻻ ﻳﺸــــﺠﻊ‬ ‫دور اﻟﻨﺸــــﺮ اﻟﻤﺤﻠﻴــــﺔ ﻋﻠــــﻰ ﺗﺒﻨﻴﻪ ﺑﺎﻟﺮﻏﻢ ﻣــــﻦ أﻫﻤﻴﺘﻪ‬ ‫اﻟﻘﺼــــﻮى ﺧﺎﺻــــﺔ وأﻧﻨﺎ ﻣﺤﻠﻴــــ‪ U‬ﻧﺤﺘﺎج ﻟﻴــــﺲ ﻓﻘﻂ إﻟﻰ‬ ‫اﻟﻜﺘــــﺐ اﻟﺘﻲ ﺗﺼﺪر ﻓــــﻲ اﻟﺨﺎرج ﺑﻞ ﻛﺬﻟــــﻚ ﻧﺤﺘﺎج إﻟﻰ‬ ‫ﻣﺆﻟﻔــــﺎت ﺗﺘﻨﺎول اﻟﺠﻮاﻧﺐ اﻟﻤﺤﻠﻴــــﺔ اﻟﻤﻬﻨﻴﺔ واﻟﻌﻠﻤﻴﺔ‬ ‫وﻣــــﺎ أﻛﺜﺮﻫﺎ ‪ .‬وﻟﺬﻟــــﻚ وﺑﺎﻟﺮﻏﻢ ﻣــــﻦ إﻣﻜﺎﻧﻴﺎﺗﻬﺎ اﻟﺘﻲ ﻻ‬ ‫ﻳﻤﻜــــﻦ أن ﺗﺤﻘــــﻖ ﺑــــﻪ ﻛﻞ ﻣﺘﻄﻠﺒﺎت اﻟﻨﺸــــﺮ اﻟﻤﻌﻤﺎري‬ ‫ﻗــــﺮرت اﻟﻤﺠﻠــــﺔ ﺧــــﻮض اﻟﺘﺠﺮﺑــــﺔ ﺑﺘﺤﺮﻳــــﺮ ﻳﺤﻤﻞ ﺑﻌﺾ‬

‫ﻫــــﺬه اﻟﺠﻮاﻧﺐ اﻟﻌﻠﻤﻴﺔ ‪ .‬ﻓﻔــــﻲ ﻛﻞ ﻋﺪد ﺗﻄﺮح اﻟﻤﺠﻠﺔ‬ ‫ﻣﻮﺿــــﻮع واﺣــــﺪ رﺋﻴﺲ ﻳﺘﻢ ﺗﻨﺎوﻟﻪ وﺷــــﺮﺣﻪ ﺑﻮاﺳــــﻄﺔ‬ ‫أﺣﺪث اﻟﻤﺸــــﺮوﻋﺎت اﻟﺘﻲ ﺗﻢ ﺗﺼﻤﻴﻤﻬﺎ ﻣﻦ ﻗﺒﻞ أﻛﺒﺮ‬ ‫اﻟﻤﻜﺎﺗﺐ اﻟﻤﻌﻤﺎرﻳــــﺔ اﻟﻌﺎﻟﻤﻴﺔ ‪ ،‬وﻓﻲ ﻫﺬا اﻟﺼﺪد ﻳﺠﺐ‬ ‫اﻟﺘﻨﻮﻳــــﻪ إﻟــــﻰ أن اﻟﻤﺠﻠﺔ ﻻ ﺗﻠﺠــــﺎء إﻟﻰ ﻧﻘﻞ ﻣــــﻮاد ﻫﺬه‬ ‫اﻟﻤﺸــــﺮوﻋﺎت ﻣــــﻦ اﻟﻤﺠــــﻼت أو اﻟﻤﻮاﻗــــﻊ اﻟﻌﺎﻟﻤﻴــــﺔ ﻛﻤﺎ‬ ‫ﻗــــﺪ ﻳﻌﺘﻘــــﺪه اﻟﺒﻌﺾ ﺧﻄــــﺎء ‪ ،‬ﺑﻞ ﺗﺤﺼــــﻞ ﻋﻠﻴﻬﺎ ﻣﻦ‬ ‫اﻟﻤﻜﺎﺗــــﺐ اﻟﻌﺎﻟﻤﻴــــﺔ ﻣﺒﺎﺷــــﺮة واﻟﻤﻜﺎﺗــــﺐ اﻟﻜﺒﺮى ﻫﻲ‬ ‫اﻟﺘﻲ ﺗﻘﺮر أﻳﻦ ﺗﻨﺸــــﺮ ﻣﺸــــﺮوﻋﺎﺗﻬﺎ ﺑﻌــــﺪ أن ﺗﺘﺄﻛﺪ ﻣﻦ‬ ‫ﻣﺴــــﺘﻮى اﻟﻮﺳــــﻴﻠﺔ اﻟﻌﻠﻤــــﻲ وﺟﺪﻳﺘﻬــــﺎ‪ ،‬وﻫﺬا ﺷــــﻲء‬ ‫ﻧﺸــــﻜﺮ ا‪ k‬ﻋﻠﻴﻪ وﻧﻔﺘﺨﺮ ﺑﻪ ﻓﻤﺠﻠــــﺔ اﻟﺒﻨﺎء ﻻ ﺗﻮاﺟﻪ أي‬ ‫ﺻﻌﻮﺑــــﺔ ﻓﻲ ﻗﺒﻮل ﻫﺬه اﻟﻤﻜﺎﺗــــﺐ اﻟﻌﺎﻟﻤﻴﺔ ﻟﻬﺎ ‪ .‬ﻋﻠﻰ‬ ‫أن ذﻟــــﻚ ﻻ ﻳﺠﺐ أن ﻳﻘﻠﻞ ﻣﻦ ﺻﻌﻮﺑﺔ اﻟﻨﺸــــﺮ ﺑﺎ‪l‬ﻋﺘﻤﺎد‬ ‫ﻋﻠﻰ اﻟﻤﺸــــﺮوﻋﺎت اﻟﻌﺎﻟﻤﻴﺔ ‪3،‬ﻧﻬﺎ ﻻ ﺗﺘﺒﻨﻰ اﻟﺨﺼﺎﺋﺺ‬ ‫اﻟﻤﻌﻤﺎرﻳــــﺔ اﻟﻤﺤﻠﻴــــﺔ وﻻ ﻳﻤﻜﻦ أن ﻧﻄﺎﻟــــﺐ ﻣﻌﻤﺎرﻳﻮﻫﺎ‬ ‫ﺑﺬﻟــــﻚ‪ ،‬إﻻ أﻧﻬــــﺎ ﻣﺸــــﺮوﻋﺎت ذات ﻣﺴــــﺘﻮى ﺗﺼﻤﻴــــﻢ‬ ‫ﻣﻌﻤــــﺎري ﻋﺎﻟــــﻲ ﻳﻤﻜــــﻦ أن ﻧﺴــــﺘﻔﻴﺪ ﻣﻨــــﻪ ﻣﺤﻠﻴــــ‪ U‬ﻣﻦ‬ ‫ﺣﻴﺚ ﻃﺮق اﻟﺘﺼﻤﻴﻢ واﻟﺒﺤﺚ واﻟﺘﺤﻠﻴﻞ اﻟﻤﺜﺎﻟﻴﺔ اﻟﺘﻲ‬ ‫ﻳﻨﺘﻬﺠﻬــــﺎ ﻫــــﺆﻻء ‪ .‬ﻋﻠــــﻰ أﻧﻨﺎ ﻧﻼﺣﻆ ـ وﻫــــﺬا ﻣﺎ ﻳﺤﺪث‬ ‫ﻛﺜﻴﺮ‪ o‬ـ ﻋﺎدة إﻃﻼع ﺑﻌﺾ اﻟﻘﺮاء ﻋﻠﻰ ﺻﻮر اﻟﻤﺸﺮوﻋﺎت‬ ‫واﻟﺘﻌﻠﻴﻘــــﺎت ﻋﻠﻴﻬﺎ ﻓﻘــــﻂ‪ ،‬وإن ﻛﺎﻧﺖ ﻫﺬه ﺗﻌﺘﺒﺮ ﺟﺰء‬ ‫ﻣــــﻦ اﻟﻤﻌﻠﻮﻣــــﺎت ‪ ،‬إﻻ أن ا‪l‬ﺳــــﺘﻔﺎدة ﻣﻦ ﻣﺠﻠــــﺔ اﻟﺒﻨﺎء ﻻ‬ ‫ﺗﺘﺤﻘــــﻖ ﺑــــﺪون ﻗــــﺮاءة ﻟﻠﻤﻘــــﺎﻻت اﻟﻤﻜﺘﻮﺑــــﺔ ‪ .‬ﻓﻲ ﻫﺬا‬ ‫اﻟﻌــــﺪد ﻧﺘﻨﺎول ﺗﺼﻤﻴــــﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻘﺎﻓﻴــــﺔ ﻣﻊ ﻣﺤﺎوﻟﺔ‬ ‫ﻣﻘﺎرﻧﺘﻬــــﺎ ﺑﻨﻈﺮﻳﺎت اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﺎﺻﺮ وﻫﻮ أﺳــــﻠﻮب‬ ‫ﺟﺪﻳﺪ ﺗﻨﺘﻬﺠﻪ اﻟﻤﺠﻠﺔ ﻟﻠﺮﺑﻂ واﻟﺘﻘﺮﻳﺐ ﺑﻴﻦ اﻟﻨﻈﺮﻳﺎت‬ ‫اﻟﻤﻌﻤﺎرﻳــــﺔ وﻣﻤﺎرﺳــــﺔ اﻟﺘﺼﻤﻴﻢ ﻣﻬﻨﻴــــ‪ . U‬ﻓﺎﻟﻜﺜﻴﺮ ﻣﻦ‬ ‫اﻟﻤﻌﻤﺎرﻳﻴــــﻦ وﻟﻴــــﺲ اﻟﻤﺤﻠﻴﻴــــﻦ ﻓﻘﻂ إذا ﻣــــﺎ اﻧﺨﺮﻃﻮا‬ ‫ﻓــــﻲ اﻟﻤﻬﻨﺔ وأﻗﺼــــﺪ ﻣﻬﻨــــﺔ اﻟﺘﺼﻤﻴــــﻢ اﻟﻤﻌﻤﺎري‬ ‫ﻻ ﻳﺤﺎوﻟــــﻮن اﻟﺮﺑــــﻂ ﺑﻴــــﻦ اﻟﻨﻈﺮﻳــــﺎت اﻟﻌﻠﻤﻴــــﺔ اﻟﺘﻲ‬ ‫ﺗﻠﻘﻮﻫــــﺎ ﻓــــﻲ اﻟﺠﺎﻣﻌﺎت وﺑﻴﻦ اﻟﻤﻤﺎرﺳــــﺔ اﻟﻤﻬﻨﻴﺔ ‪،‬‬ ‫إﻧﻬــــﺎ ﻣﺤﺎوﻟﺔ ﻣﻦ اﻟﻤﺠﻠﺔ ‪l‬ﻋﺎدة اﻟﻌﻼﻗﺔ اﻟﺘﻲ ُﻓﻘﺪت‬ ‫ﺑﻴﻦ اﻟﺘﻌﻠﻴﻢ واﻟﻤﻬﻨﺔ ‪.‬‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫∞‪¡UM³ « ±‬‬

‫‪10 Albenaa‬‬

l¹—UA*« —U³š√

‫أول ﻛﺒﺴﻮﻟﺔ ﻟﻨﻘﻞ اﻟﺮﻛﺎب ﻣﻦ ﺷﺮﻛﺔ ﻫﺎﻳﺒﺮﻟﻮوب ﺗﻲ ﺗﻲ‬ HyperloopTT - Wheels Out its First Full-Scale Passenger Pod ‫ﺑﻌﺪ ﻣﺮور ﺧﻤﺲ ﺳﻨﻮات ﻋﻠﻰ ﺗﺄﺳﻴﺲ‬ ‫ ﺣﺮﺻﺖ اﻟﺸﺮﻛﺔ‬Hyperloop TT ‫ﺷﺮﻛﺔ‬ ‫ﻋﻠﻰ إﻇﻬﺎر اﻟﺘﻘﺪم اﻟﺬي ﺣﻘﻘﺘﻪ ﻣﻦ ﺧﻼل‬ ‫اﻟﻜﺸﻒ ﻋﻦ أول ﻛﺒﺴﻮﻟﺔ ﻟﻨﻘﻞ اﻟﺮﻛﺎب‬ .‫ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ اﻟﺬﻛﺮى اﻟﺴﻨﻮﻳﺔ ﻟﻠﺸﺮﻛﺔ‬ ‫ﻣﻦ اﻟﻤﺘﻮﻗﻊ أن ﺗﻜﻮن اﻟﻜﺒﺴﻮﻟﺔ ﻗﺎﺑﻠﺔ‬ ‫ﻟﻼﺳﺘﺨﺪام ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﻟﺘﺠﺎرﻳﺔ ﺧﻼل‬ ‫ و ﻟﻘﺪأﻃﻠﻖ ﻋﻠﻴﻬﺎ اﺳﻢ‬،‫م‬٢٠١٩ ‫ﻋﺎم‬ ‫ اﺳﺘﺨﺪم ﻓﻲ ﺗﺼﻨﻴﻌﻬﺎ‬. Quintero One ‫ وﻫﻲ ﻋﺒﺎرة ﻋﻦ‬Vibranium ‫ﻣﺎدة ﺗﺪﻋﻰ‬ ‫ وﻳﺒﻠﻎ ﻃﻮل‬,‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻣﻮاد ﻣﺮﻛﺒﺔ‬ ‫ أﻣﺎ ﻣﻦ اﻟﺪاﺧﻞ‬،‫ ﻣﺘ ًﺮا‬٣٢ ‫اﻟﻬﻴﻜﻞ اﻟﺨﺎرﺟﻲ‬ ‫ وﻳﺒﻠﻎ‬،‫ ﻣﺘ ًﺮا‬١٥ ‫ﻓﻴﺒﻠﻎ ﻃﻮل اﻟﻤﻘﺼﻮرة‬ .‫ أﻃﻨﺎن‬٥ ‫ﺟﻤﺎﻟﻲ‬P‫وزﻧﻬﺎ ا‬

Exactly five years after its founding, startup HyperloopTT is keen to show off the progress it has made by revealing its very first full-scale passenger pod. The sleek and futuristic capsule was presented at a ceremony in Spain celebrating the company’s anniversary, and will apparently be ready to roll in a commercial sense sometime in 2019. The first passenger pod has been dubbed Quintero One and is made largely from a composite material developed in-house called Vibranium. It measures 32 m long on the outside with an interior cabin length of 15 m, and has a total weight of 5 tons.

‫ﺗﺄﺛﻴﺮ ﺗﻮرﺑﻴﻨﺎت اﻟﺮﻳﺎح ﻋﻠﻰ اﻟﻐﻼف اﻟﺠﻮي‬ Wind Turbines Have an Immediate Impact on the Climate The massive deployment of wind turbines would reduce greenhouse gas emissions by providing low carbon electricity. But it would have an impact on the atmosphere by helping to warm it by redistribution of hot and humid air masses .

American researchers have evaluated this disadvantage.They imagined a 100% wind power generation in the United States. To achieve this it would be necessary to operate 57,600 machines. This would have a significant effect on the climate since the average temperature continent would increase by +0.24 ° C.

‫اﺳﺘﺨﺪﻣﺖ ﺗﻮرﺑﻴﻨﺎت اﻟﺮﻳﺎح ﻟﺘﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ‬ ‫ﻣﻦ ﺧﻼل ﺗﺪوﻳﺮ اﻟﻬﻮاء وﻣﻦ ﻣﻤﻴﺰاﺗﻬﺎ‬ ‫اﻟﺤﺪ ﻣﻦ اﻧﺒﻌﺎﺛﺎت اﻟﻜﺮﺑﻮن واﻟﺤﺪ ﻣﻦ زﻳﺎدة‬ ‫ وﻟﻜﻦ ﺗﺪوﻳﺮﻫﺎ ﻟﻠﻬﻮاء‬،‫اﻻﺣﺘﺒﺎس اﻟﺤﺮاري‬ ‫ﻳﻘﻮم ﺑﺘﺴﺨﻴﻨﻪ ﻋﻨﺪ دوراﻧﻬﺎ وإﻋﺎدة‬ ،‫ﺗﻮزﻳﻌﻪ ﻣﻤﺎ ﻳﺆﺛﺮ ﻋﻠﻰ اﻟﻐﻼف اﻟﺠﻮي‬ ‫ﺣﻴﺚ ﻗﺎم ﺑﺎﺣﺜﻮن ﻣﻦ اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة‬ ‫ ﻗﺎم اﻟﺒﺎﺣﺜﻮن‬.‫ﺑﺈﻛﺘﺸﺎف ﻫﺬا اﻟﻌﻴﺐ‬ ‫ﺑﺪراﺳﺔ ﻓﺮﺿﻴﺔ إذا ﺗﻢ إﻧﺘﺎج اﻟﻄﺎﻗﺔ ﻣﻦ‬ ‫ ﻓﻲ‬٪١٠٠ ‫اﻟﺘﻮرﺑﻴﻨﺎت اﻟﻬﻮاﺋﻴﺔ ﺑﻨﺴﺒﺔ‬ ‫ ﺣﻴﺚ ﺳﻴﺘﻄﻠﺐ ذﻟﻚ‬،‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة‬ ‫ وﺣﺪة وﺳﻴﺆدي‬٥٧٦٠٠ ‫ﺗﺸﻐﻴﻞ ﻣﺎﻳﻘﺎرب‬ ،‫ درﺟﺔ ﻣﺌﻮﻳﺔ‬٠٫٢٤ ‫ذﻟﻚ إﻟﻰ ﺗﺴﺨﻴﻦ اﻟﻬﻮاء‬ ‫ﻣﻤﺎ ﺳﻮف ﻳﺆﺛﺮ ﻋﻠﻰ اﻟﻤﻨﺎخ وﻣﺘﻮﺳﻂ‬ .‫ واﻟﺘﺄﺛﻴﺮ ﻋﻠﻰ اﻟﻐﻼف اﻟﺠﻮي‬،‫درﺟﺔ اﻟﺤﺮارة‬

12 Albenaa

¡UM³ « ±≤

l¹—UA*« —U³š√

٪١٠٠ ‫ﻃﺮق أﺳﻔﻠﺘﻴﺔ ﻣﻌﺎد ﺗﺪورﻳﻬﺎ‬

Eurovia Claims World’s First ‘Fully Recycled Road’

U ½d w l¹dÝ o¹dÞ vKŽ Ád¹Ëœ œUF XKHÝ« oO³Dð ‫ اﻟﺘﺎﺑﻌﺔ‬Eurovia ‫ﻗﺎﻣﺖ ﺷﺮﻛﺔ‬ ‫ ﻟﻠﻨﻘﻞ ﺑﺎﺳﺘﺨﺪام‬Vinci ‫ﻟﺸﺮﻛﺔ‬ ‫ﻃﺮﻳﻘﺔ ﺑﻴﺌﻴﺔ ﻣﺒﺘﻜﺮة ﻟﺘﻌﺒﻴﺪ‬ ،‫اﻟﻄﺮق ﺗﻌﺪ ا(وﻟﻰ ﻣﻦ ﻧﻮﻋﻬﺎ‬ ‫ﺗﻌﺘﻤﺪ ﻫﺬه اﻟﻄﺮق ﻋﻠﻰ اﺳﺘﺨﺪام‬ ،٪١٠٠ ‫ﻣﻮاد ﻣﻌﺎد ﺗﺪوﻳﺮﻫﺎ ﺑﻨﺴﺒﺔ‬ ‫وﺗﻢ ﺗﻄﺒﻴﻖ ﻫﺬه اﻟﻄﺮﻳﻘﺔ ﻋﻠﻰ‬ ‫ ﻋﻤﻠﻴﺔ‬.‫ﻃﺮﻳﻖ ﺳﺮﻳﻊ ﻓﻲ ﻓﺮﻧﺴﺎ‬ ‫إﻋﺎدة اﻟﺘﺪوﻳﺮ ﺗﺘﻢ ﻣﻦ ﺧﻼل ﺗﻜﺴﻴﺮ‬ ‫اﻟﻄﺮﻳﻖ اﻟﻘﺪﻳﻢ وﺟﻤﻌﻪ وإﻋﺎدة‬ ‫ﺗﺼﻨﻴﻌﻪ ﻓﻲ ﻣﺼﺎﻧﻊ ﻣﺆﻗﺘﺔ ﻗﺮب‬ ،‫اﻟﻤﻮﻗﻊ وﺗﺤﻮﻳﻠﻪ إﻟﻰ اﺳﻔﻠﺖ ﺟﺪﻳﺪ‬ . ‫و إﻋﺎدة اﺳﺘﺨﺪاﻣﻪ ﻣﺮة أﺧﺮى‬

Èdš√ …d t «b ²Ý«Ë WKIM² l½UB w tFOMBð …œUŽ«Ë ÁdO Jð ‰öš s XKHÝ_« d¹Ëbð …œUŽ« qŠ«d

Eurovia and sister company Vinci Autoroutes have completed a pilot project that is claimed to be the world’s first ‘fully recycled road’. The road was built as part of a major motorway renovation project on the Vinci Autoroutes network, along a 1km section of the A10 motorway between Pons and Saint-Aubin in south west France.

14 Albenaa

¡UM³ « ±¥

l¹—UA*« —U³š√

‫ﻣﺒﺎﻧﻲ ﺗﻘﻠﺪ اﻟﻄﺒﻴﻌﺔ‬

‫ﺑﻨﻮك ﻟﻤﻮاد‬ ‫اﻟﺒﻨﺎء‬

Biomimetisme

‫ ﻣﺸﺎرك ﻣﻦ ﺳﺒﻌﺔ‬١٥ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫ ﻧﺸﺎء‬k‫ﻣﺪن أورﺑﻴﺔ ﻋﻤﻠﻮا ﻣﻌ‬ ‫ ﺑﺤﻴﺚ‬،‫اﻗﺘﺼﺎد داﺋﺮي ﻟﻤﻮاد اﻟﺒﻨﺎء‬ ‫ ﻟﻤﻮاد اﻟﺒﻨﺎء‬k‫ﻳﺼﺒﺢ اﻟﻤﺒﻨﻰ ﺑﻨﻜ‬ ‫ﺑﻤﻌﻨﻰ أﻧﻪ ﻳﻤﻜﻦ ا ﺳﺘﻔﺎدة‬ ‫ﻣﻦ إﻋﺎدة إﺳﺘﻌﻤﺎل ﻣﻮاد ﺑﻨﺎﺋﻬﺎ‬ ‫ ﻓﻲ اﻟﻮﻗﺖ اﻟﺤﺎﻟﻲ‬.‫ﻋﻨﺪ ﻫﺪﻣﻬﺎ‬ ‫ﻋﻨﺪ اﻟﺤﺎﺟﺔ إﻟﻰ ﻫﺪم ﻣﺒﻨﻰ ﻓﺈن‬ ‫اﻟﻤﻮاد اﻟﻨﺎﺗﺠﺔ ﻋﻦ اﻟﻬﺪم ﻻ ﻳﻤﻜﻦ‬ ‫ ﻛﻤﺎ ﻳﻨﺘﺞ ﻋﻦ‬،‫ا ﺳﺘﻔﺎدة ﻣﻨﻬﺎ‬ ‫اﻟﻬﺪم ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺴﻠﺒﻴﺎت‬ ‫ﻣﺜﻞ ﺗﺪﻣﻴﺮ اﻟﻨﻈﺎم اﻟﺒﻴﺌﻲ وزﻳﺎدة‬ ‫ ﻳﺤﺼﺮ ﻫﺬا‬.‫اﻟﺘﻜﺎﻟﻴﻒ اﻟﺒﻴﺌﻴﺔ‬ ‫اﻟﻨﻈﺎم اﻟﺪاﺋﺮي وﻳﺴﻤﺢ ﺑﺎﻟﺘﻌﺮف‬ ‫ﻋﻠﻰ اﻟﻤﻮاد اﻟﺘﻲ ﻳﻤﻜﻦ إﻋﺎدة‬ ‫إﺳﺘﺨﺪاﻣﻬﺎ ﻓﻲ اﻟﻤﺸﺎرﻳﻊ اﻟﺠﺪﻳﺪة‬ ‫ﻣﻦ ﺧﻼل ﻗﺎﻋﺪة ﺑﻴﺎﻧﺎت ﺗﺠﻤﻊ‬ ‫ﻛﺎﻓﺔ اﻟﻤﻮاد اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ‬ ‫اﻟﻤﺒﺎﻧﻰ واﻟﻤﻮاد اﻟﺘﻲ ﻳﻤﻜﻦ اﻋﺎدة‬ ‫اﺳﺘﺨﺪاﻣﻬﺎ وﺑﺬﻟﻚ ﺗﺼﺒﺢ اﻟﻤﺒﺎﻧﻲ‬ .‫ ﻟﻤﻮاد اﻟﺒﻨﺎء‬k‫ﺑﻨﻮﻛ‬

Material Bank A group of 15 participants from seven European cities worked together to create a circular economy of building materials, where the building becomes a building materials bank. At the moment, when demolishing a building, the materials resulting from the demolition can not be used. Demolitions also result in the destruction of the ecosystem and an increase in environmental costs.

This circular system allows the identification of reusable materials in new projects for the demolition of the building by creating a database that describes all the materials used in the building and clarifies the materials that can be reused and thus becomes a bank for these materials.

Biomim’expo is a trade show and an exhibition dedicated to the development of biomimicry, bringing together public and private actors and stakeholders. Above all, Biomim’expo is an occasion to show and demonstrate the tremendous potential of biomimicry in all fields of activity. Biomim’expo provided an update on current trends and projects, expose and involve experts in all fields, and present and discuss how life can inspire, regenerate, optimize, and recreate a new well-being and better living.

Can the life sciences teach other fields of human knowledge? Yes, there are countless applications, whether they are materials science, chemistry or energy. In the field of construction too, “biomimicry” could improve the environmental performance of projects and thus meet the challenges of sustainable development.

According to British architect Michael Pawlyn, who spoke in Paris on September 6, 2018 as part of Biomim-expo, “biomimicry for cities is divided into three levels: ecological performance, high-performance buildings and system design.

This makes perfect sense for positive cities.

These solutions work in nature, so they must be transposed into human construction”.

Many designers take trees as examples for virtuous constructions. Trees are carbon traps, they manage hygrometry, they stabilize soils, a multiplicity of ecosystem functions.

‫ ﺗﻢ ﺗﻘﺪﻳﻢ‬Biomim’expo ‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت ﻣﻌﺮض‬ ‫ﻣﻘﺘﺮﺣﺎت وﺣﻠﻮل ﻧﺸﺎء ﻣﺒﺎﻧﻲ أﻛﺜﺮ ﻛﻔﺎءة وﻣﺪن‬ ‫أﻛﺜﺮ ﻣﺮوﻧﺔ ذات ﺗﺼﺎﻣﻴﻢ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﻄﺒﻴﻌﺔ ﺗﺤﺖ‬ ‫ اﻟﺘﻲ‬،‫ اﻟﻤﺤﺎﻛﺎة اﻟﺒﻴﻮﻟﻮﺟﻴﺔ‬Biomimetisme ‫ﻣﺴﻤﻰ‬ ‫ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺗﺤﺴﻴﻦ أداء اﻟﻤﺒﺎﻧﻲ وﻣﻮاﺟﻬﺔ ﺗﺤﺪﻳﺎت‬ ‫ﻧﻈﻤﺔ‬5‫اﻟﺘﻨﻤﻴﺔ اﻟﻤﺴﺘﺪاﻣﺔ ﻣﻦ ﺧﻼل ﺗﻘﻠﻴﺪ اﻟﻨﻤﺎذج وا‬ .‫ﻧﺸﻄﺔ ا ﻧﺴﺎﻧﻴﺔ‬5‫وﻋﻨﺎﺻﺮ اﻟﻄﺒﻴﻌﺔ ﻓﻲ ﻛﺎﻓﺔ ا‬ ‫ﺗﺘﺤﻘﻖ اﻟﻤﺤﺎﻛﺎة اﻟﺒﻴﻮﻟﻮﺟﻴﺔ ﻟﻠﻤﺪن ﻣﻦ ﺧﻼل ﺛﻼث‬ ‫داء اﻟﺒﻴﺌﻲ‬5‫ اﻟﻤﺒﺎﻧﻲ ﻋﺎﻟﻴﺔ ا‬،‫ ا ﻣﻜﺎﻧﻴﺎت اﻟﺒﻴﺌﻴﺔ‬: ‫ﻋﻨﺎﺻﺮ‬ ‫ ﺣﻴﺚ ﺗﺴﺎﻋﺪ ﺗﺤﻘﻴﻖ اﻟﻤﺪن إﻳﺠﺎﺑﻴﺔ‬، ‫وﻃﺮق اﻟﺘﺼﻤﻴﻢ‬ ‫ ( أﻧﻬﺎ ﻋﻨﺎﺻﺮ ﻣﺴﺘﻤﺪة ﻣﻦ اﻟﻄﺒﻴﻌﺔ‬Positive Cities ) ‫ ﻛﻤﺎ ﺗﻢ‬. ‫ﻳﺴﻬﻞ ﺗﻘﻠﻴﺪﻫﺎﻋﻠﻰ اﻟﻤﺴﺘﻮى ا ﻧﺴﺎﻧﻲ‬ ‫ﺗﻘﺪﻳﻢ أﻣﺜﻠﺔ وﻧﻤﺎذج ﻟﻤﺒﺎﻧﻲ ﻃﺒﻖ ﻓﻴﻬﺎ ﻧﻈﺎم ﻣﺤﺎﻛﺎة‬ ‫ ﻣﺜﻞ ﻣﺸﺮوع إﻋﺎدة ﺑﻨﺎء ﻣﺪرﺳﺔ ﺟﻮن ﻣﻮﻻن‬، ‫اﻟﻄﺒﻴﻌﺔ‬ ‫ ﻓﻲ ﻓﺮﻧﺴﺎ اﻟﺘﻲ‬Off Architecture ‫ﻟﻠﻤﻜﺘﺐ اﻟﻤﻌﻤﺎري‬ ‫ﺻﻤﻤﺖ ﺑﺸﻜﻞ ﺗﻤﺘﺰج ﻓﻴﻪ ﻣﻊ اﻟﻄﺒﻴﻌﺔ ﻋﻠﻰ ﺷﻜﻞ‬ ‫ ﺑﻌﺪ‬.‫ﺗﻞ أﺧﻀﺮ ﻳﻀﻢ ﺷﺮﻓﺎت ﺻﻤﻤﺖ ﻛﺄﻧﻬﺎ ﺣﻘﻮل أرز‬ ‫إﻋﺎدة اﻟﺘﺼﻤﻴﻢ ﻟﻠﻤﺪرﺳﺔ ﺗﻢ ﻣﻼﺣﻈﺔ اﻧﺨﻔﺎض ﻧﺴﺒﺔ‬ ‫ ﺣﻴﺚ‬،‫ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﺘﺼﻤﻴﻢ اﻟﻘﺪﻳﻢ‬٪٣٠ ‫اﻟﻐﻴﺎب ﺑﻨﺴﺒﺔ‬ ‫أن ﻟﻠﻄﺒﻴﻌﺔ أﺛﺮ إﻳﺠﺎﺑﻲ ﻋﻠﻰ ا ﻧﺴﺎن ﻛﻤﺎ أﻧﻬﺎ ﺗﻌﻤﻞ‬ ‫ ﻋﻨﺪ اﺳﺘﺨﺪاﻣﻬﺎ ﻓﻲ‬٪١٠ ‫ﻋﻠﻰ زﻳﺎدة ا ﻧﺘﺎﺟﻴﺔ ﺑﻨﺴﺒﺔ‬ ‫ وﻋﺎدة ﻣﺎ ﻳﺴﺘﺨﺪم اﻟﻤﻌﻤﺎرﻳﻮن اﻟﺸﺠﺮة‬.‫اﻟﻤﺒﺎﻧﻲ‬ ،‫ﻛﻨﻤﻮذج ﻟﺘﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﺗﺤﺎﻛﻲ اﻟﻄﺒﻴﻌﺔ‬ ‫ﺷﺠﺎر ﻣﺼﺪر ﻣﺘﻌﺪداﻟﻮﻇﺎﺋﻒ ﻓﻬﻲ ﺗﻘﻮم‬5‫ﺣﻴﺚ أن ا‬ ،‫ﻛﺴﺠﻴﻦ‬5‫ﺑﺈﻣﺘﺼﺎص ﺛﺎﻧﻲ أﻛﺴﻴﺪ اﻟﻜﺮﺑﻮن وإﻧﺘﺎج ا‬ ‫ ﻛﻤﺎ ﺗﻘﻮم ﺑﺎﻟﺒﻨﺎء اﻟﻀﻮﺋﻲ ﺑﺈﺳﺘﺨﺪام‬،‫وﺗﺜﺒﻴﺖ اﻟﺘﺮﺑﺔ‬ .‫أﺷﻌﺔ اﻟﺸﻤﺲ وﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ ﻃﺎﻗﺔ‬

16 Albenaa

¡UM³ « ±∂

l¹—UA*« —U³š√

‫ﻣﺠﻤﻊ ﺳﻜﻨﻲ‬ ‫ذاﺗﻲ اﻟﻄﺎﻗﺔ‬ ABC: Autonomous Building for Citizens

W UD « dO uðË ÃU²½ù UOMI² «Ë WLE½_« s b¹bF « ŸËdA*« Âb ² ¹ The ABC concept – standing for Autonomous Building for Citizens – is the result of Research and Development programmes carried out by Bouygues Construction in partnership with Valode & Pistre Architects. It seeks to achieve selfsufficiency in water and energy and to optimise waste management on the scale of a building or a neighbourhood, the aim being to dispense with connections to the traditional networks.

It incorporates the most technically and architecturally innovative solutions, optimises construction processes and introduces a new vision of housing based on “living better together” The first ABC (Autonomous Building for Citizens) concept demostrator will be built as part of the Grenoble Presqu’Ile econeighbourhood in eastern France.

For the first time, the ABC concept aims to improve a building’s performance in three key areas:

energy water and waste.

Self-sufficiency in energy. ABC aims for energy autonomy by combining: • Reduced energy consumption: o Thanks to the use of lowconsumption equipment and effective system management within the building (presence detectors) the electricity consumption of an ABC building will be approximately 20% lower on average than that of a recently built traditional apartment (applying 2012 thermal regulations o Heat consumption will be reduced on average by 30% because the building envelope will be passive and heat will be recovered from wastewater.

• Local energy production: o Using renewable energies with energy sources chosen specifically for each project following a study of available resources. These may include:solar panels, wind turbine, hydro-turbines, biogas. o For supplementary energy

during the winter period, it will be possible to use cogeneration (fuel cell or biomass cogenerat) which produces both electricity and heat.

• Energy storage: massive energy storage facilities will accompany the energy production installations to offset the irregularity of renewable energies. Several systems are envisaged for both short-term storage (such as batteries) and long-term storage (hydrogen for storing electricity or thermo-chemical salts and phase-change materials for storing heat). To improve energy storage, Bouygues Construction will draw on Research and Development programmes conducted worldwide, such as the Eco2Charge programme.

These three solutions should make it possible to achieve self sufficiency in energy, without any need for the residents to modify their patterns of energy usage.

‫ ﻋﻦ أول‬Bouygues ‫ﻛﺸﻔﺖ ﺷﺮﻛﺔ‬ ‫ﻣﺠﻤﻊ ﺳﻜﻨﻲ ﻓﻲ ﻓﺮﻧﺴﺎ ﻣﻜﻮن‬ ABC Autonomous ‫ ﺷﻘﺔ‬٩٠ ‫ﻣﻦ‬ ‫ ﺑﺎﻟﺘﻌﺎون ﻣﻊ‬Building for Citizens .Valode & Pistre Architects ‫ﻣﻜﺘﺐ‬ ‫ﻳﻬﺪف اﻟﻤﺸﺮوع إﻟﻰ ﺗﺤﻘﻴﻖ ﻣﺒﻨﻰ‬ ‫ذو إﻛﺘﻔﺎء ذاﺗﻲ ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻤﺎء‬ .‫واﻟﻄﺎﻗﺔ وﺗﺤﺴﻴﻦ إدارة اﻟﻨﻔﺎﻳﺎت‬ ‫ﻳﻘﺪم اﻟﻤﺸﺮوع رؤﻳﺔ ﺟﺪﻳﺪة ﻟﻠﺴﻜﻦ‬ ‫ﺗﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺘﺤﺮر ﻣﻦ ا@رﺗﺒﺎط‬ ‫ﺑﺸﺒﻜﺎت اﻟﺘﻤﺪﻳﺪات ﻣﻦ ﻛﻬﺮﺑﺎء‬ ‫وﻣﻴﺎه وﻣﺠﺎري ﺗﺤﺖ ﺷﻌﺎر ”اﻟﻌﻴﺶ‬ ‫ ﻳﺴﺘﺨﺪم‬. “‫ ﺑﺸﻜﻞ أﻓﻀﻞ‬G‫ﻣﻌ‬ ‫ﺳﺘﻐﻨﺎء ﻋﻦ‬I‫اﻟﻤﺸﺮوع ﺛﻼﺛﺔ ﺣﻠﻮل ﻟ‬ ‫اﻟﺘﺰوﻳﺪ ﺑﺎﻟﻄﺎﻗﺔ دون ﺗﻐﻴﻴﺮ ﻛﻤﻴﺔ‬ : ‫اﻟﻄﺎﻗﺔ اﻟﻤﺴﺘﻬﻠﻜﺔ ﻣﻦ اﻟﺴﻜﺎن‬ ‫ إﺳﺘﺨﺪام أﻻت ذات إﺳﺘﻬﻼك‬‫ ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ‬،‫ﻣﻨﺨﻔﺾ ﻟﻠﻄﺎﻗﺔ‬ ‫إﺳﺘﺨﺪام أﺟﻬﺰة إﺷﻌﺎر ﻟﻠﺘﺤﻜﻢ‬ ‫ﻓﻲ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ وﺧﻔﻀﻬﺎ‬ .‫ ﻋﻦ اﻟﻤﺒﺎﻧﻲ اﻟﺘﻘﻠﻴﺪﻳﺔ‬٪٢٠ ‫ﺑﻨﺴﺒﺔ‬ ‫ﻛﻤﺎ ﺳﻴﺘﻢ ﺧﻔﺾ إﺳﺘﻬﻼك آﻻت‬ ‫ ﺑﻮاﺳﻄﺔ‬٪٣٠ ‫اﻟﺘﺪﻓﺌﺔ ﺑﻨﺴﺒﺔ‬ ‫ﺗﻐﻄﻴﺔ اﻟﻤﺒﻨﻰ ﺑﻐﻼف ﺳﻠﺒﻲ‬ ‫( وا@ﺳﺘﻔﺎدة ﻣﻦ اﻟﺘﺪﻓﺌﺔ‬Passive) . ‫اﻟﻨﺎﺗﺠﺔ ﻋﻦ ﺣﺮارة اﻟﻤﻴﺎه اﻟﺮﻣﺎدﻳﺔ‬ ‫ اﻟﺤﺼﻮل ﻋﻠﻰ اﻟﻄﺎﻗﺔ ﻣﻦ ﻣﺼﺎدر‬،‫ ﻣﺜﻞ اﻟﺸﻤﺲ‬، ‫ﻣﺘﺠﺪدة ﻣﺘﻌﺪدة‬ ‫اﻟﻤﺎء واﻟﻐﺎز اﻟﺤﻴﻮي‬، ‫اﻟﺮﻳﺎح‬ ‫ ﺳﻮف ﻳﻀﻢ اﻟﻤﺸﺮوع ﻣﺮاﻓﻖ‬‫ﻟﺘﺨﺰﻳﻦ اﻟﻄﺎﻗﺔ ﻟﻠﺘﻌﻮﻳﺾ ﻋﻦ‬ ‫ﻋﺪم إﻧﺘﻈﺎم ﺗﻮﻓﻴﺮﻫﺎ ﺑﻮاﺳﻄﺔ‬ ‫ وﺳﻴﺘﻢ اﻟﺘﺨﺰﻳﻦ‬،‫اﻟﻤﺼﺎدر اﻟﻤﺘﺠﺪدة‬ ،‫ﻋﻠﻰ اﻟﻤﺪى اﻟﻘﺼﻴﺮ ﺑﺎﻟﺒﻄﺎرﻳﺎت‬ ‫و ﻋﻠﻰ اﻟﻤﺪى اﻟﻄﻮﻳﻞ ﺑﺈﺳﺘﺨﺪام‬ ،‫اﻟﻬﻴﺪروﺟﻴﻦ ﻟﺘﺨﺰﻳﻦ اﻟﻜﻬﺮﺑﺎء‬ ‫اﻟﻜﻴﻤﻴﺎﺋﻴﺔ‬/ ‫ﻣﻼح اﻟﺤﺮارﻳﺔ‬i‫وا‬ ‫واﻟﻤﻮاد ذات اﻟﺘﺤﻮل اﻟﻤﺮﺣﻠﻲ‬ (Phase - Change Material ) ‫ ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ‬.‫ﻟﺘﺨﺰﻳﻦ اﻟﺤﺮارة‬ ‫ﺳﻴﺘﻢ اﺳﺘﺨﺪام أﻧﻈﻤﺔ ﻟﻠﺘﻮﻓﻴﺮ‬ ‫ﻓﻲ اﻟﻤﻴﺎه ﻣﻦ ﺧﻼل إﻧﺸﺎء ﺷﺒﻜﺎت‬ ‫ﻣﻄﺎر وﺟﻤﻊ ﻣﻴﺎه اﻟﺼﺮف‬i‫ﻟﺠﻤﻊ ﻣﻴﺎه ا‬ ‫اﻟﺼﺤﻲ وإﻋﺎدة اﺳﺘﺨﺪاﻣﻬﺎ ﻣﻤﺎ ﻳﻘﻠﻞ‬ ‫ ﻟﻠﻔﺮد‬٪٤٠ ‫ﻧﺴﺒﺔ اﻻﺳﺘﻬﻼك ﺑﻨﺴﺒﺔ‬ .G‫ ﻟﺘﺮ ﻳﻮﻣﻴ‬١٢٠ ‫ ﻟﺘﺮ إﻟﻰ‬٧٥ ‫ﺑﻤﺘﻮﺳﻂ‬

18 Albenaa

¡UM³ « ±∏

‫√‪l¹—UA*« —U³š‬‬

‫ﻛﺘﻠﺔ ﺳﻘﻄﺖ ﻣﻦ اﻟﺴﻤﺎء‬

‫‪Boolean Operator Lands in Suzhou‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Designer MARC FORNES / THEVERYMANY‬‬

‫ ‪ÂUŽ dEM‬‬

‫أﻗﻴﻢ اﻟﺠﻨﺎح ﺑﻤﻨﺎﺳﺒﺔ ‪Jinji Lake Biennial‬‬ ‫ﻓﻲ ﺳﺎﺣﺔ ﺳﻮﺗﺸﻮ اﻟﻤﺮﺗﻔﻌﺔ‪،‬وﻳﺘﻤﺰ‬ ‫ﺑﺸﻜﻠﻪ اﻟﻐﻴﺮ ﻣﺄﻟﻮف اﻟﺬي ﻻ ﻳﺘﺸﺎﺑﻪ‬ ‫ﻣﻊ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ ﺑﻪ‪ ،‬وذﻟﻚ ﻟﺠﺬب‬ ‫اﻟﻤﺎرة إﻟﻴﻪ وإﻛﺘﺸﺎﻓﻪ‪ .‬ﻳﻌﺘﻤﺪ اﻟﺠﻨﺎح ﻓﻲ‬ ‫ﺗﺼﻤﻴﻤﺎﺗﻪ اﻟﺪاﺧﻠﻴﺔ ﻋﻠﻰ إﺛﺎرة اﻟﺤﻮاس‪،‬‬ ‫وﻳﺒﺪو اﻟﺠﻨﺎح ﻛﺄﻧﻪ ﻛﺘﻠﺔ ﺧﺮﺟﺖ ﻣﻦ‬ ‫ا‪E‬رض أو ﺳﻘﻄﺖ ﻣﻦ اﻟﺴﻤﺎء‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺘﻜﻮن ﻣﻦ ﻫﻴﻜﻞ ﻣﻦ ا‪E‬ﻟﻮﻣﻨﻴﻮم‬ ‫اﻟﺮﻗﻴﻖ ذو اﻟﻠﻮن ا‪E‬ﺑﻴﺾ ﻋﻠﻰ ﺷﻜﻞ‬ ‫ﻓﻘﺎﻋﺎت ﻣﺘﺸﺎﺑﻜﺔ ﺗﺘﻘﺎﻃﻊ ﻣﻊ ﻃﺮﻳﻖ‬ ‫اﻟﻤﺎرة ﻓﻲ اﻟﺴﺎﺣﺔ‪ ،‬وﻳﻀﻢ اﻟﻬﻴﻜﻞ‬ ‫ﻓﺘﺤﺎت ﺗﺴﻤﺢ ﺑﻤﺮور اﻟﻀﻮء واﻟﻬﻮاء‬ ‫إﻟﻰ داﺧﻞ اﻟﺠﻨﺎح‪ ،‬وﺗﻠﻘﻲ ﻇﻼﻻً ﻏﻴﺮ‬ ‫ﺗﻘﻠﻴﺪﻳﺔ ﻓﻲ اﻟﺴﺎﺣﺔ وﻛﺄﻧﻪ ﻳﺨﻔﻲ‬ ‫ﺷﻴﺌ‪ X‬ﻓﻲ داﺧﻠﻪ‪ .‬ﻳﻘﺪم اﻟﺠﻨﺎح ﺗﺠﺮﺑﺔ‬ ‫ﻣﻠﻬﻤﺔ ﻟﻠﻤﺎرة ﻛﺄﻧﻬﻢ داﺧﻞ وﻋﺎء ﺗﻢ‬ ‫ﺗﺼﻤﻴﻤﻪ ﻛﺎﻟﻤﺘﺎﻫﺔ‪ ،‬وﻗﺪ اﺳﺘُ ﻠﻬﻤﺖ‬ ‫ﻓﻜﺮة اﻟﻤﺸﺮوع ﻣﻦ اﻟﻤﺴﺎرات اﻟﻤﺤﻴﻄﺔ‬ ‫ﺑﺎﻟﻘﻤﺮ‪ ،‬ﻗﺎع اﻟﺒﺤﺎر وﻣﺮﻛﺰ ا‪E‬رض‪ ،‬ﺑﺎ]ﺿﺎﻓﺔ‬ ‫إﻟﻰ إﺳﺘﻠﻬﺎﻣﻪ ﻣﻦ ﻛﺘﺎب اﻟﺮﺣﻼت‬ ‫ا]ﺳﺘﺜﻨﺎﺋﻴﺔ ‪Voyages Extraordinaire‬‬ ‫ﻟﻠﻜﺎﺗﺐ ‪ Jules Verne‬اﻟﺬي ﻋﺮض ﺧﻼﻟﻪ‬ ‫رﺣﻼﺗﻪ اﻻﺳﺘﺜﻨﺎﺋﻴﺔ ﻓﻲ ﻣﺠﺎل اﻟﺴﻔﺮ إﻟﻰ‬ ‫ﻋﻮاﻟﻢ أﺧﺮى‪.‬‬ ‫ ‪×U)« s qJONK WHK² UDI‬‬ ‫∞≤ « ‪¡UM³‬‬

‫‪20 Albenaa‬‬

l¹—UA*« —U³š√

From the Architect Report: For the event of the Jinji Lake Biennial, MARC FORNES / THEVERYMANY installed a large-scale outdoor pavilion on the elevated plaza of the Suzhou Center. Its undulating enclosure interrupts the usual traffic, as an unexpected, emergent environment. It appears to have bubbled up from the ground, or dropped from the sky. The structure, both massive in scale and delicate in white aluminum, lands lightly on an ultra-thin edge.

Boolean Operator —so named for the function that determines relationships between statements, geometries or forms—makes an impression from a distance. Unlike the surrounding texture of the city, this curious structure radiates an otherworldly quality. It casts a strange shadow. It seems to conceal something behind its porous shell.

Like seeing the full moon on a clear night, you can start to identify its surface, its irregular craters, and its possible depths. You are drawn closer into its gravitational pull.

The Extra Ordinary Voyage Entering the structure is a revelatory experience. Something between a vessel that’s carefully engineered to “move” you and a destination in itself, Boolean Operator transcends the surrounding environment, even as it remains embedded in it. Typically, we argue for the contextual; here were interested in a point of departure. Looking to the extraordinary paths around the moon, to the bottom of the sea, and into the center of the earth, we take inspiration from the celebrated author Jules Verne.

Across the 54 volumes that make up his Voyages Extraordinaires, Verne opens portals to other universes, but he also delights in the means of travelling there. The ship that takes Captain Nemo to the bottom of the sea is described as both a tactical vehicle and a lush interior, outfitted with an organ, salon, and a formal dining room. qš«b « s ÕUM−K WHK² UDI 22 Albenaa

¡UM³ « ≤≤

‫ﻋﺪة رﺳﻮﻣﺎت ووﺿﻌﻬﺎ ﻓﻮق ﺑﻌﻀﻬﺎ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﺗﺤﻘﻴﻖ‬ ‫اﻟﻤﺘﻄﻠﺒﺎت وﺗﺮاﺑﻄﻬﺎ ﻣﺜﻞ ﻓﺼﻞ ا‪%‬ﺳﺘﻌﻤﺎﻻت ﻓﻲ ﺷﻔﺎف‬ ‫وﻣﺴﺎر اﻟﺤﺮﻛﺔ ﻓﻲ ﺷﻔﺎف آﺧﺮ ووﺿﻌﻬﻤﺎ ﻓﻮق ﺑﻌﻀﻬﻤﺎ‬ ‫‪%‬ﻇﻬﺎر اﻟﻔﻜﺮة ‪ .‬ﻛﻤﺎ ﺗﻮﺿﺢ اﻟﻤﺠﺴﻤﺎت اﻟﺸﻜﻞ ا‪2‬وﻟﻲ اﻟﺜﻼﺛﻲ‬ ‫ا‪2‬ﺑﻌﺎد ﻟﻠﻔﻜﺮة اﻟﺘﻲ ﺗﻮﺿﺢ ا‪2‬ﺣﺠﺎم ﺑﺎ‪%‬ﺿﺎﻓﺔ إﻟﻰ ا‪2‬ﺑﻌﺎد‬ ‫وﻋﻼﻗﺔ اﻟﻤﻜﻮﻧﺎت ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ‪ .‬أﻣﺎ اﻟﺮﺳﻢ ﺑﺎﻟﻜﻤﺒﻴﻮﺗﺮ ﻓﻬﻮ‬ ‫ﻳﻮﺿﺢ ﻛﻞ ﻣﺎ ﻳﻤﻜﻦ أن ﻳﻮﺿﺤﻪ اﻟﺮﺳﻢ ﻋﻠﻰ اﻟﻮرق اﻟﺸﻔﺎف‬ ‫واﻟﻤﺠﺴﻤﺎت ﺑﺎ‪%‬ﺿﺎﻓﺔ إﻟﻰ ﻛﻞ اﻟﺘﻔﺎﺻﻴﻞ اﻟﺘﻲ ﻳﺼﻌﺐ ﻋﻠﻰ‬ ‫اﻟﻄﺮق ا‪I‬ﺧﺮى إﻳﻀﺎﺣﻬﺎ ‪.‬‬ ‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪:‬‬ ‫ﻓﻲ اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻻ ﺗﻮﺟﺪ أﺣﺮف‬ ‫ﻛﻤﺎ ﻫﻮ اﻟﺤﺎل ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻐﺔ اﻟﻤﺨﺎﻃﺒﺔ ‪ ،‬وﻟﻜﻦ ﺗﻮﺟﺪ‬ ‫ﻣﺼﺎدر ﻳﺴﺘﻘﻲ ﻣﻨﻬﺎ اﻟﻤﻌﻤﺎري ﻣﻜﻮﻧﺎت اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ‪،‬‬ ‫ﻓﺒﺎ‪%‬ﺿﺎﻓﺔ إﻟﻰ ﻣﺮاﺣﻞ اﻟﺘﺼﻤﻴﻢ اﻟﺘﻲ ﺗﻤﺮ ﺑﻬﺎ اﻟﻔﻜﺮة‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ ﻓﺈن اﻟﻤﺼﻤﻢ ﻳﺠﺐ أن ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻋﺪد ‪٢٢‬‬ ‫ﻣﻦ اﻟﻌﻨﺎﺻﺮ أو اﻟﻤﺠﺎﻻت اﻟﺘﻲ ﻳﺴﺘﻘﻲ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻔﻜﺮة‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ وإﺗﺠﺎه اﻟﺘﺼﻤﻴﻢ واﻟﺘﺼﻤﻴﻢ اﻟﻨﻬﺎﺋﻲ وﻫﻲ ﻣﺎ‬ ‫ﻳﻤﻜﻦ أن ﻧﻄﻠﻖ ﻋﻠﻴﻬﺎ اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري‪،‬‬ ‫وﻫﻲ اﻟﺘﻲ ﻗﺎم ﻛﻞ ﻣﻦ) أﻧﺪرﻳﺎ ﺳﻤﻴﺘﺶ ( و )ﻓﺎل وارك (‬ ‫ﺑﺈﻗﺘﺮاﺣﻬﺎ وﺷﺮﺣﻬﺎ ﻓﻲ ﻛﺘﺎﺑﻬﻤﺎ » اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ « ‪ ،‬وﻫﻲ‬ ‫ﻣﻮزﻋﺔ ﻋﻠﻰ ‪ ٦‬أﻗﺴﺎم ﺣﺴﺐ ﻃﺒﻴﻌﺘﻬﺎ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﻟﻲ ‪:‬‬ ‫‪ - ١‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻣﻦ ﺧﻼل اﻟﻤﻌﻄﻴﺎت ‪:‬‬ ‫وﺗﺘﻜﻮن اﻟﻤﻌﻄﻴﺎت ﻣﻦ ‪:‬‬ ‫ اﻟﺒﺮﻧﺎﻣﺞ ‪ :‬وﻳﺠﻤﻊ ﻛﻞ اﻟﻤﻌﻄﻴﺎت ا‪2‬ﺳﺎﺳﻴﺔ ﻟﻠﻤﺸﺮوع ﻣﻦ‬‫أﻫﺪاف ووﻇﺎﺋﻒ وﻣﻜﻮﻧﺎت و اﻟﺘﻨﻈﻴﻤﺎت و اﻟﻌﻼﻗﺎت ﺑﻴﻨﻬﺎ‬ ‫وﻣﺴﺎﺣﺘﻬﺎ وﻣﻘﺎﻳﺴﻬﺎ وا‪%‬ﺳﺘﻌﻤﺎﻻت اﻟﺪاﺧﻠﻴﺔ ﻟﻜﻞ ﻣﻜﻮن‬ ‫واﻟﻤﻴﺰاﻧﻴﺔ اﻟﻤﺮﺻﻮدة ﻟ‪d‬ﻧﺸﺎء واﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ وا‪%‬ﻧﺸﺎﺋﻴﺔ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ‪ -‬ﻋﻠﻰ أن ﺑﺮﻧﺎﻣﺞ اﻟﻤﺸﺮوع أﺻﺒﺢ أﻛﺜﺮ ﺗﻌﻘﻴﺪ‪ f‬ﻋﻤﺎ ﻛﺎن‬ ‫ﻋﻠﻴﻪ ﻓﻲ اﻟﺴﺎﺑﻖ ﺧﺎﺻﺔ ﻣﻨﺬ أن أﺿﻴﻔﺖ إﻟﻴﻪ ﻣﻌﺎﻳﻴﺮ ا‪%‬ﺳﺘﺪاﻣﺔ‬ ‫ﻣﻤﺎ إﺳﺘﺪﻋﻰ ﻇﻬﻮر ﺗﺨﺼﺼﺎت ﺟﺪﻳﺪة ﺗﺘﻮﻟﻰ إﻋﺪاد اﻟﺒﺮﻧﺎﻣﺞ‬ ‫ﺧﺎﺻﺔ ﻓﻲ اﻟﻤﺸﺮوﻋﺎت اﻟﻜﺒﻴﺮة ‪ .‬اﻟﺒﺮﻧﺎﻣﺞ ﻳﻤﻜﻦ أن ﻳﻜﻮن ﻣﺼﺪر‬ ‫إﻟﻬﺎم ﻟﻠﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺘﻲ ﻳﻤﻜﻦ أن ﺗﺄﺗﻲ ﻣﻌﺒﺮة ﻋﻦ ﻃﺒﻴﻌﺔ‬ ‫وﻇﻴﻔﺔ اﻟﻤﺒﻨﻰ أو إﺳﺘﻌﻤﺎﻻﺗﻪ أو إﻧﺸﺎؤه ‪.‬‬ ‫ اﻟﺴﻴﺎق ‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻻ ﺗﺘﺤﻘﻖ ﺑﻤﻌﺰل ﻋﻦ ﻣﺎ‬‫ﻳﺪورﺣﻮﻟﻬﺎ ﻓﻬﻲ داﺋﻤﺎ ﻣﺎ ﺗﻨﺘﺞ داﺧﻞ ﺳﻴﺎق ﻣﺤﺪد ﻳﺘﻜﻮن‬ ‫ﻣﻦ ﺳﻴﺎﻗﺎت ﻣﺘﻌﺪدة إﻗﺘﺼﺎدﻳﺔ وﺗﺎرﻳﺨﻴﺔ وإﺟﺘﻤﺎﻋﻴﺔ وﺛﻘﺎﻓﻴﺔ‬ ‫وﻣﻨﺎﺧﻴﺔ وﻣﻜﺎﻧﻴﺔ وزﻣﻨﻴﺔ وﺗﻘﻨﻴﺔ‪.‬‬ ‫ اﻟﺒﻴﺌﺔ ‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻳﻤﻜﻦ أن ﺗﻜﻮن أداة ﻟﻠﺘﻔﺎﻋﻞ‬‫واﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺒﻴﺌﺔ وﺗﺤﻘﻴﻖ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺒﻴﺌﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ‬ ‫اﻟﺘﻲ ﻳﻘﻊ ﻓﻴﻬﺎ اﻟﻤﺸﺮوع ‪ .‬ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ ﻳﻤﻜﻦ أن ﻳﻬﺪف‬ ‫ﺑﺸﻜﻞ أﺳﺎس ﻋﻠﻰ أن ﺗﺘﻤﺤﻮر اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻋﻠﻰ‬ ‫ﺗﺤﻘﻴﻖ اﻟﺤﻤﺎﻳﺔ ﻣﻦ ا‪2‬ﺟﻮاء اﻟﺤﺎرة أو اﻟﺒﺎردة و وﺗﻮﻇﻴﻒ‬ ‫اﻟﻌﻨﺎﺻﺮ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﺘﻘﻠﻴﻞ ﻣﻦ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ ﻣﻦ ﺣﻤﺎﻳﺎت‬ ‫ﺧﺎرﺟﻴﺔ وﺗﻮﺟﻴﻪ وﺗﻬﻮﻳﺔ ﻃﺒﻴﻌﻴﺔ ﻗﺒﻞ اﻟﻠﺠﻮء إﻟﻰ إﺳﺘﻌﻤﺎل‬ ‫اﻟﻌﻮازل اﻟﺼﻨﺎﻋﻴﺔ ووﺳﺎﺋﻞ اﻟﺘﻜﻴﻴﻒ واﻟﺘﺪﻓﺌﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ‪.‬‬

‫‪ - 2‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻣﻦ ﺧﻼل ﻋﻨﺎﺻﺮ اﻟﺒﻨﺎء ‪:‬‬ ‫وﺗﺘﻜﻮن ﻋﻨﺎﺻﺮ اﻟﺒﻨﺎء ﻣﻦ ‪:‬‬ ‫ ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ ‪ :‬ﻳﻤﻜﻦ أن ﻳﻜﻮن ﺗﺤﻘﻴﻖ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ‬‫ﻗﺎﺋﻢ ﻋﻠﻰ اﻟﺘﺼﻤﻴﻢ ﺑﻮاﺳﻄﺔ ﻧﺤﺖ ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ ﻟﻜﻲ ﺗﺆدي‬ ‫ﻓﻲ اﻟﻨﻬﺎﻳﺔ ﻟﻠﺤﻞ اﻟﺘﺼﻤﻴﻤﻲ ﻟﻠﻤﺸﺮوع‪.‬‬ ‫ اﻟﻬﻴﻜﻞ ا‪%‬ﻧﺸﺎﺋﻲ ‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻳﻤﻜﻦ أن ﺗﺘﺤﻘﻖ‬‫ﺑﻮاﺳﻄﺔ اﻟﻬﻴﻜﻞ ا‪%‬ﻧﺸﺎﺋﻲ ﻟﻠﻤﺸﺮوع ﻓﻴﻤﻜﻦ ﺗﻮﻇﻴﻒ‬ ‫ﻋﻨﺎﺻﺮ ا‪%‬ﻧﺸﺎء ﺑﺤﻴﺚ ﺗﺼﺒﺢ ﻋﻨﺎﺻﺮ ﺗﺼﻤﻴﻢ إﻧﺸﺎﺋﻴﺔ‬ ‫وﺗﻌﺒﻴﺮﻳﺔ ﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ‪.‬‬ ‫ ا‪2‬ﺳﻄﺢ اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺒﻨﻰ ) اﻟﻮاﺟﻬﺎت ( ‪ :‬ﺗﻤﺜﻞ اﻟﻮاﺟﻬﺎت‬‫وا‪2‬ﺳﻄﺢ اﻟﺨﺎرﺟﻴﺔ ﻣﺠﺎﻻً واﺳﻌ‪ p‬ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻔﻜﺮة‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ ﻛﻮﻧﻬﺎ اﻟﻌﻨﺼﺮ اﻟﻤﻌﻤﺎري اﻟﺨﺎرﺟﻲ ا‪2‬ﻛﺜﺮ ﺗﺄﺛﻴﺮ‪f‬‬ ‫وﻇﻬﻮر‪ f‬ﻟﻠﻤﺒﺎﻧﻲ ‪.‬‬ ‫ ﻣﻮاد اﻟﺒﻨﺎء ‪ :‬إن ﻟﻤﻮاد اﻟﺒﻨﺎء اﻟﻄﺒﻴﻌﻴﺔ واﻟﺼﻨﺎﻋﻴﺔ‬‫ﺧﺼﺎﺋﺺ ﻣﻦ ﺗﻜﻮﻳﻦ داﺧﻠﻲ وﻣﻈﻬﺮ ﺧﺎرﺟﻲ ﻳﺠﻌﻠﻬﺎ ﻗﺎدرة‬ ‫ﻋﻠﻰ أن ﺗﺤﻤﻞ رﺳﺎﺋﻞ ﺗﻌﺒﻴﺮﻳﺔ ﻣﺘﻌﺪدة ﺣﺴﺐ ﻧﻮﻋﻴﺔ ﻫﺬه‬ ‫اﻟﺨﺼﺎﺋﺺ ‪ :‬ﻓﺨﻔﺔ اﻟﻮزن ‪ ،‬اﻟﻠﻮن ‪ ،‬اﻟﻤﻠﻤﺲ ‪ ،‬اﻟﺼﻼﺑﺔ ﻛﻠﻬﺎ‬ ‫ﺧﺼﺎﺋﺺ ﻣﻮاد ﺑﻨﺎء ﻳﻤﻜﻦ أن ﻳﺨﺘﺎرﻣﻦ ﺑﻴﻨﻬﺎ اﻟﻤﺼﻤﻢ‬ ‫ﻟﺘﺤﻤﻞ رﺳﺎﺋﻞ ﺗﻌﺒﻴﺮﻳﺔ ﺿﻤﻦ اﻟﺘﺼﻤﻴﻢ ‪.‬‬ ‫‪ - 3‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻣﻦ ﺧﻼل ا ﻋﺘﺒﺎرات اﻟﺘﺼﻤﻴﻤﻴﺔ‬ ‫اﻟﻌﺎﻣﺔ ‪:‬‬ ‫وﺗﺘﻜﻮن ﻫﺬه ا‪%‬ﻋﺘﺒﺎرات ﻣﻦ ‪:‬‬ ‫ اﻟﻔﺮاغ أو اﻟﻔﻀﺎء‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻳﻤﻜﻦ أن ﺗﻜﻮن ﻗﺎﺋﻤﺔ‬‫ﻋﻠﻰ ﺗﺼﻤﻴﻢ اﻟﻔﻀﺎءات ﺑﺤﻴﺚ ﺗﻈﻬﺮ أوﺳﻊ او أﻛﺒﺮ أو ﺣﺘﻰ‬ ‫أﺻﻐﺮ ﻣﻤﺎ ﻫﻲ ﻋﻠﻴﻪ ﻓﻲ اﻟﻮاﻗﻊ ‪ ،‬ﻣﻦ ﺧﻼل اﻟﺨﺪاع اﻟﺒﺼﺮي‬ ‫أو ﺗﻜﺮار ﻋﻨﺎﺻﺮ ﻣﻌﻤﺎرﻳﺔ )ﺻﻔﻮف أﻋﻤﺪة ( أو ﺗﻜﺮار أﺷﻜﺎل‬ ‫ﻫﻨﺪﺳﻴﺔ ) أرﺿﻴﺎت أو ﺣﻮاﺋﻂ ﻣﺰﺧﺮﻓﺔ ( ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﺣﺠﻢ‬ ‫اﻟﻔﻀﺎء أو اﻟﻔﺮاغ ‪.‬‬ ‫ اﻟﻤﻘﻴﺎس ‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻳﻤﻜﻦ أن ﺗﻬﺪف إﻟﻰ اﻟﺘﻌﺒﻴﺮ‬‫ﻋﻦ ﻣﻘﻴﺎس اﻟﻤﺒﻨﻰ وﻟﻜﻦ اﻟﻤﻘﻴﺎس ﻻ ﻳﻤﻜﻦ أن ﻳﺘﺤﻘﻖ دون‬ ‫ﻋﻼﻗﺔ ﺑﺸﻲء آﺧﺮ ﻟﻪ ﻣﻘﻴﺎس ﻣﻌﺮوف ﺳﻠﻔ‪ p‬وﻫﻜﺬا أﺷﻜﺎل‬ ‫وأﺣﺠﺎم اﻟﻤﺒﺎﻧﻲ ﻳﺘﻢ ﺗﺤﺪﻳﺪﻫﺎ ﺑﺈﻳﺠﺎد ﻋﻼﻗﺔ ﺑﻴﻨﻬﺎ وﺑﻴﻦ‬ ‫ﻋﻨﺎﺻﺮ ﻣﻌﻤﺎرﻳﺔ ﻣﻌﺮوﻓﺔ اﻟﻤﻘﻴﺎس ﻣﺜﻞ اﻟﻨﺎﻓﺬة أو اﻟﺒﺎب ‪2‬ن‬ ‫ﻫﺬه اﻟﻌﻨﺎﺻﺮ ﻳﺘﻢ ﺗﺤﺪﻳﺪ ﻣﻘﻴﺎﺳﻬﺎ ﺑﺎ‪%‬ﻋﺘﻤﺎد ﻋﻠﻰ ﻣﻘﻴﺎس‬ ‫ﺟﺴﻢ ا‪%‬ﻧﺴﺎن ‪ ،‬وﺑﺎﻟﺘﺎﻟﻲ ﻳﻤﻜﻦ ﻟﻠﻤﺸﺎﻫﺪ ﻣﻌﺮﻓﺔ ﻗﻴﺎس‬ ‫اﻟﻤﺒﻨﻰ ‪ .‬ﻛﻤﺎ ﻳﻤﻜﻦ ﻟﻠﻤﺼﻤﻢ ﺗﻜﺒﻴﺮ أو ﺗﺼﻐﻴﺮ ﻟﺘﺤﻘﻴﻖ‬ ‫ﺧﺪاع ﺑﺼﺮي ﻳﻬﺪف إﻟﻰ زﻳﺎدة أﻫﻤﻴﺔ اﻟﻤﺒﻨﻰ ﻛﻤﻌﻠﻢ أو‬ ‫ﺗﻘﻠﻴﻠﻬﺎ ﻟﻴﺘﻨﺎﺳﺐ اﻟﻤﺒﻨﻰ ﻣﻊ ﻣﻘﻴﺎس ﻣﺴﺘﻌﻤﻠﻴﻪ ﻛﻤﺎ ﻓﻲ‬ ‫ﻣﺒﺎﻧﻲ روﺿﺎت ا‪2‬ﻃﻔﺎل ﻣﺜ ً‬ ‫ﻼ‪ .‬ﻛﻤﺎ ﻳﻌﺘﻤﺪ ﻣﻘﻴﺎس اﻟﻤﺒﻨﻰ ﻋﻠﻰ‬ ‫ﻋﻼﻗﺘﻪ ﺑﻤﻘﻴﺎس ﻣﺎ ﻳﺠﺎوره ﻣﻦ ﻣﺒﺎﻧﻲ ‪.‬‬ ‫ ا‪%‬ﺿﺎءة ‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻳﻤﻜﻦ أن ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﻣﺎ ﻳﻤﻜﻦ‬‫أن ﺗﺤﻘﻘﻪ ا‪%‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ أو ا‪%‬ﻧﺎرة اﻟﺼﻨﺎﻋﻴﺔ اﻟﺴﺎﻗﻄﺔ‬ ‫ﻋﻠﻰ اﻟﻤﺒﻨﻰ ﻓﻲ اﻟﺨﺎرج أو اﻟﺪاﺧﻞ ﻓﻴﻘﻮم اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ‬ ‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻀﻮء واﻟﻈﻼل ﻛﺄداة ﺗﺼﻤﻴﻢ رﺋﻴﺴﺔ ﻟﻠﺨﻄﻮط‬ ‫واﻟﻤﺴﺎﺣﺎت و ا‪2‬ﺳﻄﺢ واﻟﻔﺮاﻏﺎت ‪.‬‬ ‫‪¡UM³ « ≤μ‬‬

‫‪25 Albenaa‬‬

‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫وﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ‬ ‫‪The Architectural Language and‬‬ ‫‪The Design of Cultural Buildings‬‬ ‫إﻋﺪاد ‪ :‬م ‪ .‬إﺑﺮاﻫﻴﻢ أﺑﺎﻟﺨﻴﻞ‬ ‫ﻟﻘﺪ دأﺑﺖ اﻟﻤﺠﻠﺔ ﻋﻠﻰ ﺗﻘﺪﻳﻢ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﺑﻮاﺳﻄﺔ‬ ‫ﻧﻮع ﻣﻦ أﻧﻮاع إﺳﺘﻌﻤﻼت اﻟﻤﺒﺎﻧﻲ ﻣﺜﻞ اﻟﻤﺘﺎﺣﻒ أو اﻟﺠﺎﻣﻌﺎت أو‬ ‫اﻟﻤﺴﺘﺸﻔﻴﺎت وﺗﺮى اﻟﻤﺠﻠﺔ اﻟﻴﻮم أﻧﻬﺎ ﻳﺠﺐ أن ﺗﻨﺘﻘﻞ ﻣﻦ ﻫﺬا‬ ‫ا‪A‬ﺳﻠﻮب ﻓﻲ اﻟﻄﺮح إﻟﻰ أﺳﺎﻟﻴﺐ ﺟﺪﻳﺪة ‪ .‬ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻧﺤﺎول‬ ‫أن ﻧﻀﻴﻒ إﻟﻰ اﻟﻄﺮح ﻋﻨﺼﺮ ﺟﺪﻳﺪ ﻳﺜﺮي اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ‬ ‫ﻟﻠﻤﺒﺎﻧﻲ وأن ﻧﺰاوج ﺑﻴﻦ ﻧﻈﺮﻳﺎت اﻟﺘﺼﻤﻴﻢ وﻃﺮق اﻟﺘﺼﻤﻴﻢ ‪،‬‬ ‫ﻓﺎﻟﻨﻈﺮﻳﺎت ﻫﻲ ﺧﺎرﻃﺔ اﻟﻄﺮﻳﻖ اﻟﺘﻲ ﺗﻮﺟﻪ اﻟﻤﺼﻤﻢ إﻟﻰ أﻗﺮب‬ ‫وأﺳﻬﻞ و أﺳﺮع اﻟﻄﺮق ﻟﺘﺤﻘﻴﻖ اﻟﺘﺼﻤﻴﻢ اﻟﻨﺎﺟﺢ ﻟﻠﻤﺒﻨﻰ‬ ‫وﺑﺪوﻧﻬﺎ ﻳﻀﻞ اﻟﻤﺼﻤﻢ ﻃﺮﻳﻘﻪ وﺗﺴﻠﺴﻞ أﻓﻜﺎره اﻟﺘﻲ ﺗﻌﺘﻤﺪ‬ ‫ﻋﻠﻰ ﺗﺤﻘﻴﻖ ﻣﺎ ﻳﻌﺮف ﺑﺎﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺒﻨﻰ ‪ ،‬وﻫﻲ ﻧﻘﻄﺔ‬ ‫أو ﻣﺤﻄﺔ اﻧﻄﻼق ﻗﻄﺎر اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺘﻲ ﺗﺘﻜﻮن ﻣﻦ‬ ‫ﻣﺮاﺣﻞ ﻣﺘﻌﺪدة أو ﻣﺤﻄﺎت ‪ .‬ﻟﺘﺤﻘﻴﻖ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻳﺠﺐ‬ ‫أن ﻳﻠﺘﺰم اﻟﻤﺼﻤﻢ ﺑﺎﻟﻘﻮاﻋﺪ واﻟﻨﻈﺮﻳﺎت ا‪A‬ﺳﺎﺳﻴﺔ ﻟﻠﺘﺼﻤﻴﻢ‬ ‫اﻟﻤﻌﻤﺎري ‪ ،‬وﻟﻌﻞ اﻟﺴﺆال ا‪A‬ول اﻟﺬي ﻳﺒﺪء ﺑﻪ اﻟﻤﺼﻤﻢ ﻫﻮ‪:‬‬ ‫ﻛﻴﻒ ﻳﻤﻜﻦ أن ﻳﺤﻤﻞ اﻟﻤﺒﻨﻰ رﺳﺎﻟﺔ ﻣﺎ إﻟﻰ ﻣﺴﺘﻌﻤﻠﻴﻪ‬ ‫أو ﻟﺴﻜﺎن اﻟﻤﺪﻳﻨﺔ‪ ،‬وإن ﻛﺎن ذﻟﻚ ﻣﻤﻜﻨ‪ W‬ﻓﺒﺄي ﻟﻐﺔ ﺳﻮف‬ ‫ﻳﺨﺎﻃﺐ ﺑﻬﺎ اﻟﻤﺼﻤﻢ ﻫﺆﻻء‪ ،‬ﻓﻤﺜ ً‬ ‫ﻼ ﻫﻞ ﻳﻤﻜﻦ أن ﺗﺤﻤﻞ‬ ‫ﻣﻈﻠﺔ ﻣﻮﻗﻒ دراﺟﺎت رﺳﺎﻟﺔ أو ﻣﻌﻨﻰ أو ﻓﻜﺮة ﻣﻌﻤﺎرﻳﺔ ﻛﻤﺎ‬ ‫ﻫﻮ اﻟﺤﺎل ﺑﺎﻟﻨﺴﺒﺔ إﻟﻰ ﻣﺒﻨﻰ ﺟﺎﻣﻊ ﻛﺒﻴﺮ ‪ ،‬وﻟﻌﻞ ﻫﺬا ﻫﻮ دور‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري اﻟﺬي ﻳﺠﺐ أن ﻳﻜﻮن ﻗﺎدر] ﻋﻠﻰ أن ﻳﺤﻤﻞ‬ ‫ﻟﻐﺔ ﻣﻌﻤﺎرﻳﺔ ‪ -‬ﻛﻮن اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻳﻬﺪف إﻟﻰ ﺗﻘﺪﻳﻢ‬ ‫ﻣﺒﻨﻰ ﻓﻨﻲ ﺟﻤﻴﻞ ‪ -‬إﻟﻰ ﺣﺪ أن ﻳﺆﺛﺮ وﺟﻮده وإﺳﺘﻌﻤﺎﻟﻪ ﻋﻠﻰ‬ ‫ﻣﺸﺎﻋﺮﻫﻢ ‪ .‬اﻟﺤﻘﻴﻘﺔ ﻫﻲ أن ﻛﻞ ﻣﺒﻨﻰ ﻳﻤﻜﻦ أن ﻳﺆﺛﺮ ﻋﻠﻰ‬ ‫ﻣﺸﺎﻋﺮﻧﺎ ﺑﻄﺮﻳﻘﺔ أو أﺧﺮى ‪ ،‬وﻟﻜﻦ ﻳﻤﻜﻦ أن ﻳﻜﻮن اﻟﻤﻌﻨﻰ‬ ‫ﻣﺨﺘﻠﻒ ﺣﺴﺐ ﺗﺼﻮر ﻛﻞ ﻓﺮد أو ﻣﺠﺘﻤﻊ ‪ .‬وﻳﻤﻜﻦ ﻫﻨﺎ ﻣﻘﺎرﻧﺔ‬ ‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﺑﻠﻐﺔ اﻟﻤﺨﺎﻃﺒﺔ ‪ ،‬ﻓﻜﻞ ﻣﺠﺘﻤﻊ إﻧﺴﺎﻧﻲ ﻟﻪ ﻟﻐﺔ‬ ‫ﺗﺤﻤﻞ ﻣﺼﻄﻠﺤﺎت ورﻣﻮز ﻛﺎ‪A‬ﻣﺜﻠﺔ اﻟﻌﺎﻣﻴﺔ اﻟﺘﻲ ﺗﺤﻤﻞ ﻣﻌﺎﻧﻲ ﻻ‬ ‫ﻳﻔﻬﻤﻬﺎ إﻻ ﻫﺬا اﻟﻤﺠﺘﻤﻊ ‪ .‬وﻛﺬﻟﻚ ﻫﻲ اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺒﻨﻰ‬ ‫ﻳﺠﺐ أن ﺗﻜﻮن ﻣﺼﻄﻠﺤﺎﺗﻬﺎ ورﻣﻮزﻫﺎ ﺗﺤﻤﻞ ﻣﻌﻨﻰ ﻣﻘﺼﻮد‬ ‫ﻣﻦ اﻟﻤﺼﻤﻢ وﻣﻔﻬﻮم ﻣﻦ اﻟﻤﺠﺘﻤﻊ ‪.‬إﻻ أن ﺗﺤﻘﻴﻖ اﻟﻠﻐﺔ‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ ‪A‬ي ﻣﺸﺮوع أﻣﺮ ﻣﻌﻘﺪ ‪A‬ن إﻧﺘﺎج اﻟﻌﻤﻞ اﻟﻤﻌﻤﺎري ﻳﻤﺮ‬ ‫‪¡UM³ « ≤¥‬‬

‫‪24 Albenaa‬‬

‫ﺑﻤﺮاﺣﻞ ﻋﺪة ﺑﺪء ﻣﻦ اﻟﺘﺼﻤﻴﻢ وﻣﻨﺘﻬﻴﺔ ﺑﺎﻟﺒﻨﺎء وﺣﺘﻰ ﻣﺎ ﺑﻌﺪ‬ ‫اﻟﺒﻨﺎء‪ ،‬ﻛﻤﺎ ﻳﺸﺎرك ﻓﻲ اﻟﺘﺼﻤﻴﻢ ﻋﺪد ﻛﺒﻴﺮ ﻣﻦ اﻟﻤﺘﺨﺼﺼﻴﻦ ‪،‬‬ ‫ﺑﺎ‪d‬ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﻓﺈن اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻳﻤﻜﻦ أن ﺗﺤﻤﻞ ﻣﻌﺎﻧﻲ‬ ‫ﻣﺘﻌﺪدة ) ﺗﺎرﻳﺨﻴﺔ أو ﺗﻘﻨﻴﺔ أو ﺑﻴﺌﻴﺔ أو رﻣﺰﻳﺔ اﻟﺦ …( ﻓﻲ ﻫﺬا‬ ‫اﻟﻌﺪد إﺧﺘﺮﻧﺎ أن ﻧﺠﻤﻊ ﺑﻴﻦ ﻣﻔﻬﻮم اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ وﺗﻄﺒﻴﻘﻬﺎ‬ ‫ﻋﻠﻰ أﺣﺪ إﺳﺘﻌﻤﺎﻻت اﻟﻤﺒﺎﻧﻲ وﻫﻲ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻘﺎﻓﻴﺔ ﻛﻮﻧﻬﺎ‬ ‫ﻣﺒﺎﻧﻲ ﺗﺤﺘﺎج إﻟﻰ ﻟﻐﺔ ﻣﻌﻤﺎرﻳﺔ ﻏﻨﻴﺔ ذات ﻣﻌﺎﻧﻲ ﺗﺆﺛﺮ ﺑﺸﻜﻞ‬ ‫ﻣﺒﺎﺷﺮ ﻋﻠﻰ ﻣﺸﺎﻋﺮ اﻟﻤﺴﺘﻌﻤﻠﻴﻦ ﻛﻮﻧﻬﺎ ﺗﻌﺒﺮ ﻋﻦ أﺣﺪ ﻣﻈﺎﻫﺮ‬ ‫وﻣﺴﺘﻮى رﻗﻲ اﻟﻤﺠﺘﻤﻊ ‪.‬‬ ‫ﻣﺮاﺣﻞ اﻟﺘﺼﻤﻴﻢ اﻟﺮﺋﻴﺴﺔ ‪:‬‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻳﻤﺮ ﺑﺜﻼﺛﺔ ﻣﺮاﺣﻞ ﻳﻤﻜﻦ أن ﺗﺘﺤﻘﻖ‬ ‫ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺒﻨﻰ ؛ اﻟﺒﺤﺚ واﻟﺘﺤﻠﻴﻞ ‪،‬‬ ‫إﻳﺠﺎداﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ‪ ،‬اﻟﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻔﻜﺮة ‪.‬‬ ‫اﻟﺒﺤﺚ واﻟﺘﺤﻠﻴﻞ ‪:‬‬ ‫ً‬ ‫ﻓﻲ ﻫﺬه اﻟﻤﺮﺣﻠﺔ ﻳﻘﻮم اﻟﻤﺼﻤﻢ أوﻻ ﺑﺠﻤﻊ ودراﺳﺔ ﻛﻞ‬ ‫اﻟﻤﻌﻠﻮﻣﺎت اﻟﺨﺎﺻﺔ ﺑﺎﻟﻤﺸﺮوع ﺑﺪء ﻣﻦ ﻣﻌﻄﻴﺎت اﻟﻤﺸﺮوع‬ ‫ﻣﺜﻞ وﻇﻴﻔﺔ اﻟﻤﺒﻨﻰ وﻣﻜﻮﻧﺎﺗﻪ وﺧﺼﺎﺋﺺ اﻟﻤﻮﻗﻊ وﺳﻴﺎﻗﻪ‬ ‫اﻟﺜﻘﺎﻓﻲ وا‪d‬ﺟﺘﻤﺎﻋﻲ وا‪d‬ﻗﺘﺼﺎدي واﻟﺘﻘﻨﻲ ﺛﻢ ﻳﻘﻮم ﺛﺎﻧﻴ‪W‬‬ ‫ﺑﺘﺮﺟﻤﺘﻬﺎ و ﺗﻠﺨﻴﺼﻬﺎ إﻟﻰ أﻫﺪاف وﺣﻠﻮل ﺳﻮف ﺗﺴﺎﻋﺪه‬ ‫ﻋﻠﻰ أﻳﺠﺎد اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ‪ ،‬وﻫﻨﺎ ﻳﻌﺘﻤﺪ اﻟﻤﺼﻤﻢ ﻋﻠﻰ‬ ‫ﺗﺠﺎرﺑﻪ وﻣﻮﻫﺒﺘﻪ وﻗﺪراﺗﻪ ‪d‬ﺧﺘﻴﺎر ا‪A‬ﻫﺪاف اﻟﺼﺤﻴﺤﺔ وﺗﺤﺪﻳﺪ‬ ‫اﻟﻤﺸﻜﻼت اﻟﺘﻲ ﺳﻮف ﺗﻮاﺟﻪ اﻟﺘﺼﻤﻴﻢ وﺣﻠﻮﻟﻬﺎ ‪.‬‬ ‫اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ‪:‬‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ‪A‬ي ﻣﺒﻨﻰ ﻳﻤﺮ ﺑﻤﺮاﺣﻞ ﺗﻄﻮﻳﺮ وﻳﺤﺘﺎج‬ ‫اﻟﻤﻌﻤﺎري إﻟﻰ أن ﻳﺤﺪد ﻣﻔﻬﻮم أو ﻣﻨﻄﻠﻖ ﺗﻨﻄﻠﻖ ﻣﻨﻪ‬ ‫ﻣﺮاﺣﻞ ﺗﻄﻮﻳﺮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ ‪ .‬ﻳﺤﻤﻞ ﻫﺬا اﻟﻤﻔﻬﻮم أﻫﺪاف‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري واﻟﺤﻠﻮل اﻟﺘﻲ ﺣﺪدﻫﺎ اﻟﻤﻌﻤﺎري ﻟﻜﻲ‬ ‫ﺗﻜﻮن ﻫﻲ ﻣﺤﻮر اﻟﺘﺼﻤﻴﻢ ﻛﻤﺎ ﻳﺤﺪد ا‪d‬ﺗﺠﺎه اﻟﺬي ﺳﻴﺆدي‬ ‫إﻟﻰ اﻟﺘﺼﻤﻴﻢ اﻟﻤﺨﺘﺎر‪ .‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻴﺴﺖ ﻧﺺ أو‬ ‫ﺗﻌﻠﻴﻤﺎت إﻧﻤﺎ ﻫﻲ ﺷﻜﻞ رﺳﻢ ) ﺳﻜﺘﺶ ( أو ﻣﺠﺴﻢ أوﻟﻲ‬ ‫رﻣﺰي ﻳﻌﺒﺮ ﻋﻦ ﻫﺬه اﻟﻔﻜﺮة اﻟﺘﻲ ﺳﺘﺤﺪد ﻣﺴﺎر ﻣﺮاﺣﻞ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻓﻴﻤﺎ ﺑﻌﺪ ﺑﺤﻴﺚ ﻳﺒﻘﻰ اﻟﺘﺼﻤﻴﻢ ﻣﺤﺎﻓﻈ‪ W‬ﻋﻠﻴﻬﺎ‬ ‫ﺣﺘﻰ إﻛﺘﻤﺎﻟﻪ ‪ ،‬وﻟﻜﻲ ﻻ ﻳﻜﻮن ذﻟﻚ ﺷﺎﻗ‪ W‬ﻋﻠﻰ اﻟﻤﺼﻤﻢ ﻳﺠﺐ‬ ‫أن ﺗﺤﻤﻞ اﻟﻔﻜﺮة ﺷﻲء ﻣﻦ اﻟﻤﺮوﻧﺔ ﺑﺤﻴﺚ ﺗﺴﺎﻋﺪ ﻋﻠﻰ‬ ‫ﺳﻬﻮﻟﺔ ﺗﻄﻮﻳﺮ رﺳﻮﻣﺎت اﻟﻤﺒﻨﻰ ﻣﻦ ﻣﺴﺎﻗﻂ وﻗﻄﺎﻋﺎت‬ ‫وواﺟﻬﺎت وﻣﻮاﺻﻔﺎت إﻟﺦ …‬ ‫اﻟﺘﻌﺒﻴﺮ ‪:‬‬ ‫ﻛﻴﻒ ﻳﻤﻜﻦ اﻟﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ‪ ،‬ﻣﺎ ﻫﻲ اﻟﻄﺮق‬ ‫وا‪A‬دوات اﻟﺘﻲ ﻳﻌﺒﺮ ﺑﻬﺎ اﻟﻤﻌﻤﺎري ﻋﻦ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ‪.‬‬ ‫ﺗﺘﻨﻮع ﻫﺬه اﻟﻄﺮق وا‪A‬دوات ﺣﺴﺐ ﻃﺮﻳﻘﺔ ﺗﻌﺒﻴﺮ ﻛﻞ ﻣﺼﻤﻢ‬ ‫ﻓﻤﻨﻬﻢ ﻣﺎﻳﺰال ﻳﺴﺘﺨﺪم اﻟﻄﺮق اﻟﺘﻘﻠﻴﺪﻳﺔ ﻣﺜﻞ اﻟﺮﺳﻢ ﻋﻠﻰ‬ ‫اﻟﻮرق اﻟﺸﻔﺎف وﻣﻨﻬﻢ ﻣﻦ ﻳﺴﺘﺨﺪم اﻟﻤﺠﺴﻤﺎت وا‪A‬ن أﺻﺒﺢ‬ ‫اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻤﺼﻤﻤﻴﻦ ﻳﺘﻮﺟﻬﻮن إﻟﻰ إﺳﺘﺨﺪام اﻟﺮﺳﻢ‬ ‫ﺑﺎﻟﻜﻤﺒﻴﻮﺗﺮ ‪ .‬ﻛﻞ ﻃﺮﻳﻘﺔ ﻟﻬﺎ ﻫﺪف ﻓﻘﺪ ﻳﻜﺘﻔﻲ اﻟﻤﺼﻤﻢ‬ ‫ﺑﺎﻟﺘﻌﺒﻴﺮ ﺑﻮﺳﻄﺔ اﻟﺮﺳﻢ ﻋﻠﻰ اﻟﻮرق اﻟﺸﻔﺎف ورﺑﻤﺎ رﺳﻢ‬

‫ اﻟﻤﺸﺮوع ا ول ‪ :‬ﺳﻮف ﻧﻼﺣﻆ ان ﻓﻲ ﻣﺸﺮوع ﻣﺮﻛﺰ‬‫اﻟﺘﺴﻮق اﻟﺜﻘﺎﻓﻲ ﻓﻲ ﻓﻮزو ‪ -‬ﺗﺎﻳﻮان ‪،‬ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ‬ ‫‪ ،PES-Architects‬إﺳﺘﺨﺪم اﻟﻤﺼﻤﻢ ﻋﺪد ﻣﻦ ﻋﻨﺎﺻﺮ اﻟﻠﻐﺔ‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﻟﻲ ‪:‬‬ ‫اﻟﺒﺮﻧﺎﻣﺞ ‪:‬ﺗﺄﺛﺮت اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺮﻛﺰ ﺑﺎﻟﺒﺮﻧﺎﻣﺞ اﻟﻤﺴﺎﺣﻲ‬ ‫اﻟﻜﺒﻴﺮ ﻣﻤﺎ أدى إﻟﻰ ﺗﺠﺰﺋﺔ اﻟﻤﺮﻛﺰ إﻟﻰ ﻋﺪد ﻣﻦ اﻟﻤﺒﺎﻧﻲ ﺑﺪﻻ‬ ‫ﻣﻦ ﻣﺒﻨﻰ واﺣﺪ ﻳﻜﻮن ذو ﺣﺠﻢ ﻃﺎﻏﻲ ﻛﺒﻴﺮ ‪.‬‬ ‫اﻟﺸﺒﻜﺎت ‪ :‬اﻻرﺗﺒﺎط ﺑﺸﺒﻜﺎت اﻟﻨﻘﻞ واﻟﻄﺮق واﻟﻤﻤﺮات اﻟﻤﺎﺋﻴﺔ‬ ‫ﺑﻬﺪف رﺑﻂ اﻟﺴﻜﺎن ﺑﺎﻟﺜﻘﺎﻓﺔ ‪.‬‬ ‫اﻟﺤﻮار ﻣﻊ اﻟﻤﺪﻳﻨﺔ ‪:‬رﺑﻂ اﻟﻤﺒﺎﻧﻲ ﺑﺴﻮق ﺗﺠﺎري ﺑﻬﺪف اﻟﺘﻔﺎﻋﻞ‬ ‫ﻣﻊ اﻟﻤﺪﻳﻨﺔ وإﻳﺠﺎد ﺣﻮار ﺑﻴﻨﻬﺎ‪.‬‬ ‫اﻟﺮﻣﺰﻳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪ :‬إﺳﺘﺨﺪام أﺷﻜﺎل وأﻟﻮان ﻣﺴﺘﻮﺣﺎة ﻣﻦ‬ ‫زﻫﺮة اﻟﻴﺎﺳﻤﻴﻦ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻔﺘﺤﺎت واﻟﻮاﺟﻬﺎت اﻟﻜﺘﻞ‬ ‫اﻟﻤﻜﻮﻧﺔ ﻟﻠﻤﺸﺮوع ‪.‬‬ ‫اﻟﺘﻌﺒﻴﺮ ﺑﻮاﺳﻄﺔ ﺧﺼﺎﺋﺺ ﻣﻮاد اﻟﺒﻨﺎء‪ :‬إﺳﺘﺨﺪام ﻣﺎدة‬ ‫اﻟﺴﻴﺮاﻣﻴﻚ ﻓﻲ ﺑﻨﺎء اﻟﻤﺮﻛﺰ اﻟﺜﻘﺎﻓﻲ ﻛﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻨﺸﺎط‬ ‫ا[ﻗﺘﺼﺎدﻳﺔ وﺗﺎرﻳﺦ اﻟﻤﺪﻳﻨﺔ ‪.‬‬ ‫ اﻟﻤﺸﺮوع اﻟﺜﺎﻧﻲ ‪ :‬ﻓﻲ ﻣﺸﺮوع ﻗﺎﻋﺔ ﻣﻮﺳﻴﻘﻰ ﻓﻲ روﺳﻴﺎ‬‫ﻟﻤﻜﺘﺐ ‪ Zaha Hadid Architects‬إﺳﺘﺨﺪم اﻟﻤﺼﻤﻢ اﻟﻠﻐﺔ‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﻟﻰ ‪:‬‬ ‫اﻟﺮﻣﺰﻳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪ :‬ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻤﻮﺳﻴﻘﻰ إﺳﺘﻠﻬﻤﺖ‬ ‫اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻣﻦ اﻟﺸﻜﻞ اﻟﺬى ﻳﻌﺒﺮ ﺑﻪ ﻋﻦ اﻟﻤﻮﺟﺎت‬ ‫اﻟﺼﻮﺗﻴﺔ ﻟﻠﻤﻮﺳﻴﻘﻰ ﻃﺮق إﻧﺸﺎء اﻟﻤﺒﺎﻧﻲ ‪ :‬ﺗﻢ ﺗﻮﻇﻴﻒ‬ ‫اﻟﻬﻴﻜﻞ ا[ﻧﺸﺎﺋﻲ وﻋﻠﻘﺖ اﻟﻘﺎﻋﺎت اﻟﻤﻮﺳﻴﻘﻴﺔ ﻓﻲ اﻟﻬﻴﻜﻞ‬ ‫ﻣﻦ أﻋﻠﻰ ﻟﺘﺤﻘﻴﻖ ﺑﻬﻮ ﻛﺒﻴﺮ ﻣﻔﺘﻮح ﻋﻠﻰ اﻟﺨﺎرج ﻣﻦ ﺗﺤﺘﻬﺎ ‪.‬‬ ‫ﻗﺪرات اﻟﺘﺼﻤﻴﻢ ﻓﻲ ﺗﺤﻘﻴﻖ اﻟﻤﺮوﻧﺔ ‪ :‬ﻳﺴﻤﺢ اﻟﺒﻬﻮ اﻟﻜﺒﻴﺮ‬ ‫ﺑﻤﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﻟﻤﻤﺎرﺳﺔ ﻧﺸﺎﻃﺎت ﻣﺘﻌﺪدة ‪.‬‬ ‫اﻟﺤﻮار واﻟﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻤﺎرة و اﻟﻤﺒﺎﻧﻲ واﻟﻤﺪﻳﻨﺔ ‪ :‬ﻏﻠﻒ اﻟﻤﺸﺮوع‬ ‫ﺑﻮاﺟﻬﺎت زﺟﺎﺟﻴﺔ ﺗﺴﻤﺢ ﺑﻤﺸﺎﻫﺪة ﻣﺎ ﺑﺪاﺧﻞ اﻟﺒﻬﻮ واﻟﻘﺎﻋﺎت‬ ‫ﺑﻬﺪف اﻟﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻤﺤﻴﻂ وﺟﺬب اﻟﻤﺎرة ﻟﻠﺪﺧﻮل ‪ .‬ﻛﻤﺎ ﺗﺴﺎﻋﺪ‬ ‫اﻟﻮﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻋﻠﻰ ا[ﻧﻔﺘﺎح ﻋﻠﻰ اﻟﺤﺪﻳﻘﺔ اﻟﻤﺠﺎورة ﻟﻠﻘﺎﻋﺔ‪.‬‬ ‫ اﻟﻤﺸﺮوع اﻟﺜﺎﻟﺚ ‪ :‬وﻫﻮ ﻣﺮﻛﺰ ﻟﻠﻔﻨﻮن ا[ﺳﺘﻌﺮاﺿﻴﺔ ﻓﻲ ﺗﺎﻳﻮان‬‫ﻟﻤﻜﺘﺐ ‪ Mecanoo Architecten :‬وﻳﺴﺘﺨﺪم اﻟﻤﺼﻤﻢ ﻋﻨﺎﺻﺮ‬ ‫اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻋﻠﻰ اﻟﻨﺤﻮ اﻟﺘﺎﻟﻲ ‪:‬‬ ‫اﻟﺴﻴﺎق ‪ :‬ﺗﺤﺘﺮم اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺴﻴﺎق ا[ﺟﺘﻤﺎﻋﻴﺔ ﻣﻦ‬ ‫وأﺳﻠﻮب اﻟﺤﻴﺎة اﻟﺘﺮﻓﻴﻬﻴﺔ ﻟﻠﺴﻜﺎن ﻣﻦ ﺧﻼل ﺗﻮﻓﻴﺮ ﻓﻀﺎءات‬ ‫ﻋﺎﻣﺔ واﺳﻌﺔ داﺧﻞ اﻟﻤﺮﻛﺰ ﻟﻤﻤﺎرﺳﺔ أﻧﺸﻄﺘﻬﻢ اﻟﺘﺮﻓﻴﻬﻴﺔ ‪.‬‬ ‫اﻟﺒﻴﺌﺔ ‪ :‬ﺗﺮاﻋﻲ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺒﻴﺌﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ‬ ‫ﻳﻘﻊ ﻓﻴﻬﺎ اﻟﻤﺮﻛﺰ و ﺗﺤﺎول أن ﺗﺴﺘﻔﻴﺪ ﻣﻨﻬﺎ ﻣﻦ ﺧﻼل اﻟﺘﻬﻮﻳﺔ‬ ‫اﻟﻄﺒﻴﻌﻴﺔ ﺣﻴﺚ ﻓﺘﺢ اﻟﻤﺒﻨﻰ ﺗﻤﺎﻣﺎ ﻣﻦ ﻛﻞ اﻟﺠﻬﺎت ﻣﻊ ﺗﻮﺟﻴﻪ‬ ‫واﺟﻬﺘﻪ اﻟﺮﺋﻴﺴﺔ [ﺳﺘﻘﺒﺎل اﻟﺮﻳﺎح اﻟﻘﺎدﻣﺔ ﻣﻦ اﻟﻤﺤﻴﻂ واﻟﺴﻤﺎح‬ ‫ﻟﻠﺴﻜﺎن ﻣﻦ ﻣﻤﺎرﺳﺔ أﻧﺸﻄﺘﻬﻢ ﻓﻲ ﻓﻀﺎءات ﻣﻔﺘﻮﺣﺔ ﻋﻠﻰ‬ ‫اﻟﻬﻮاء اﻟﻄﻠﻖ و ﺗﺤﺖ ﺳﻘﻒ ﻳﺤﻤﻴﻬﻢ ﻣﻦ ا ﻣﻄﺎر ‪.‬‬ ‫اﻟﺮﻣﺰﻳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪ :‬اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻤﺮﻛﺰ ﻟﻠﻔﻨﻮن ا[ﺳﺘﻌﺮاﺿﻴﺔ‬ ‫ﺗﻌﺒﺮ ﻋﻦ وﻇﻴﻔﺘﻪ وﻫﻮﻳﺘﻪ ﻛﻮن اﻟﺴﻜﺎن ﻳﻠﺘﻘﻮن وﻳﻤﺎرﺳﻮن‬

‫اﻟﺮﻗﺼﺎت اﻟﺘﻘﻠﻴﺪﻳﺔ ﻓﻲ ﺣﺪاﺋﻖ ﻣﻦ أﺷﺠﺎر اﻟﺒﺎﻧﻴﺎن اﻟﺘﻰ ﺗﺘﻼﻗﻰ‬ ‫ﻓﺮوﻋﻬﺎ ﻟﺘﺸﻜﻞ ﻋﺮاﺋﺶ ﻃﺒﻴﻌﻴﺔ ﻣﻦ ﺧﻼل اﻟﺘﺼﻤﻴﻢ اﻟﺬي‬ ‫ﻳﺘﻜﻮن ﻣﻦ ﺳﻘﻒ ﻣﻤﻮج ﻳﻨﺨﻔﺾ ﻟﻴﻼﻣﺲ ا رض وﻟﻴﺼﻨﻊ‬ ‫ﻓﻀﺎءت ﺗﺸﺒﻪ ﻓﻀﺎءات ﻏﺎﺑﺎت أﺷﺠﺎر اﻟﺒﺎﻧﻴﺎن اﻟﻤﻨﺘﺸﺮة ﻓﻲ‬ ‫ﻣﻨﻄﻘﺔ اﻟﻤﺸﺮوع ‪.‬‬ ‫ﻃﺮق ا[ﻧﺸﺎء ‪ :‬إﺧﺘﺎر اﻟﻤﺼﻤﻢ ﻃﺮق إﻧﺸﺎء ﻏﻴﺮ ﺗﻘﻠﻴﺪﻳﺔ ﻓﻠﺠﺄ‬ ‫إﻟﻰ ﻃﺮق إﻧﺸﺎء اﻟﺴﻔﻦ اﻟﺘﻲ ﺗﺴﺘﺨﺪم ﻣﻮاد ﻣﺜﻞ ا ﻟﻮﻣﻨﻴﻮم‬ ‫واﻟﺤﺪﻳﺪ ‪ ،‬ﻧﺘﻴﺠﺔ ﻟﻄﺒﻴﻌﺔ اﻟﻤﻨﺎخ وﻟﺸﻜﻞ اﻟﻤﺮﻛﺰ ذو ا ﺳﻄﺢ‬ ‫اﻟﻤﻤﻮﺟﺔ واﻟﻤﺎﺋﻠﺔ ‪.‬‬ ‫ اﻟﻤﺸﺮوع اﻟﺮاﺑﻊ ‪ :‬ﻳﺴﺘﺨﺪم ﻣﻜﺘﺐ ‪ Kengo Kuma‬ﻓﻲ ﻣﺸﺮوع‬‫ﻣﺘﺤﻒ ﻓﻨﻮن اﻟﺘﺼﻤﻴﻢ ﻓﻲ اﺳﻜﻮﺗﻠﻨﺪا اﻟﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻋﻠﻰ‬ ‫اﻟﻨﺤﻮ اﻟﺘﺎﻟﻲ ‪:‬‬ ‫اﻟﺴﻴﺎق ‪ :‬ﺗﺄﺛﺮت اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﺑﺎﻟﺴﻴﺎق‬ ‫اﻟﻄﺒﻴﻌﻲ ﻣﻦ ﺗﻀﺎرﻳﺲ وﺑﺤﺎر ‪.‬‬ ‫اﻟﻜﺘﻠﺔ ‪ :‬ﻟﻜﻲ ﺗﺤﻘﻖ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻄﺒﻴﻌﺔ اﻟﺠﺒﻠﻴﺔ ﻗﺎم‬ ‫اﻟﻤﺼﻤﻢ ﺑﺎﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻜﺘﻠﺔ اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺘﺤﻒ وﻛﺄﻧﻬﺎ ﻗﻄﻌﺔ‬ ‫ﻓﻨﻴﺔ ﻧﺤﺘﺖ ﻣﻦ اﻟﺼﺨﺮ ﻣﻦ ﺧﻼل ﺷﻜﻞ أﺳﻄﺢ اﻟﻮاﺟﻬﺎت اﻟﻤﺎﺋﻠﺔ‪.‬‬ ‫اﻟﺮﻣﺰﻳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪ :‬ﺟﺎء اﻟﺸﻜﻞ ﻟﻴﺤﺎﻛﻲ اﻟﻄﺒﻴﻌﺔ ﻣﻦ ﺣﻮﻟﻪ‬ ‫ﺣﻴﺚ ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت ﺑﻄﺒﻘﺎت ﻣﻦ ا ﻟﻮاح اﻟﺨﺮﺳﺎﻧﻴﺔ اﻟﺘﻲ‬ ‫ﺗﺸﺒﻪ اﻟﻄﺒﻘﺎت اﻟﺼﺨﺮﻳﺔ اﻟﺮﺳﻮﺑﻴﺔ ﻟﻠﺠﺒﺎل ‪.‬‬ ‫اﻟﺤﻮار ﺑﻴﻦ اﻟﻤﺘﺤﻒ واﻟﻄﺒﻴﻌﺔ ‪ :‬ﻳﺤﻘﻖ ﺷﻜﻞ اﻟﻤﺘﺤﻒ وﻣﻮﻗﻌﻪ‬ ‫ﺣﻮار ﺑﻴﻦ اﻟﺒﺤﺮ واﻟﻴﺎﺑﺴﺔ ﻣﻦ ﺧﻼل اﻟﺸﻜﻞ اﻟﺬي إﺳﺘﻠﻬﻢ ﻣﻦ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺠﺒﻠﻴﺔ ﻣﻦ ﺟﻬﺔ وﻣﻦ ﺷﻜﻞ اﻟﺴﻔﻦ اﻟﺮاﺳﻴﺔ ﻋﻠﻰ‬ ‫اﻟﺒﺮ ﻣﻦ ﺟﻬﺔ أﺧﺮى ‪.‬‬ ‫ اﻟﻤﺸﺮوع اﻟﺨﺎﻣﺲ ‪ :‬وﻫﻮ ﻣﺒﻨﻰ ﻣﺘﺤﻔﻲ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ‬‫‪ JKMM Architects‬وﻳﺤﻘﻖ ﻟﻐﺘﻪ اﻟﻤﻌﻤﺎرﻳﺔ ﺑﻮاﺳﻄﺔ اﻟﻌﻨﺎﺻﺮ‬ ‫اﻟﺘﺎﻟﻴﺔ ‪:‬‬ ‫اﻟﺒﺮﻧﺎﻣﺞ ‪ :‬ﻧﻈﺮ‪ o‬ﻟﻠﻤﻌﻄﻴﺎت اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻠﺴﺎﺣﺔ اﻟﺘﻲ ﺧﺼﺼﺖ‬ ‫ﻟﺒﻨﺎء اﻟﻤﺘﺤﻒ ﺟﺎءت اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﻟﺘﺼﻤﻴﻢ اﻟﻤﺘﺤﻒ ﺗﺤﺖ‬ ‫ﻣﺴﺘﻮى ا رض ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺴﺎﺣﺔ واﻟﻤﺒﺎﻧﻲ ﻣﻦ ﺣﻮﻟﻬﺎ ‪.‬‬ ‫اﻟﺤﻮار ﻣﻊ اﻟﻤﺎرة ‪ :‬ﺻﻤﻢ اﻟﻤﺘﺤﻒ ﺗﺤﺖ اﻟﻤﺴﺘﻮى ا رﺿﻲ ا ﻣﺮ اﻟﺬي‬ ‫أدى إﻟﻰ ﺗﺼﻤﻴﻢ ﻓﺘﺤﺎت ا[ﺿﺎءة اﻟﻌﻠﻮﻳﺔ ﻛﻌﻼﻣﺎت وﻛﺄﺷﻜﺎل‬ ‫ﻇﺎﻫﺮة ﻓﻮق اﻟﺴﺎﺣﺔ اﻟﺘﻲ ﺗﻌﻠﻮ اﻟﻤﺘﺤﻒ ﻟﻜﻲ ﺗﻌﺮف ﺑﻪ ‪ .‬ﻛﻤﺎ‬ ‫ﺗﻮﻓﺮ ا ﺷﻜﺎل ﺟﻮ ﻣﻦ اﻟﻤﺮح ﻓﻲ اﻟﺴﺎﺣﺔ ﺟﺎذﺑﺔ ﺑﺬﻟﻚ اﻟﻤﺎرة إﻟﻰ‬ ‫اﻟﺘﻌﺮف ﻋﻠﻰ اﻟﻤﺘﺤﻒ ‪.‬‬ ‫ﻃﺮق ا[ﻧﺸﺎء ‪ :‬ﺻﻤﻢ ﺳﻘﻒ اﻟﻤﺘﺤﻒ اﻟﺬي ﺗﻘﻊ ﻓﻮﻗﻪ اﻟﺴﺎﺣﺔ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﻗﺒﻮ إﻧﺸﺎﺋﻲ ذو ﺗﺤﺪﻳﺐ ﺑﺴﻴﻂ ﻳﺴﻤﺢ ﺑﻌﺒﻮر اﻟﺴﺎﺣﺔ‬ ‫ﺑﺴﻬﻮﻟﺔ وﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ ﻳﺤﺮر ﺻﺎﻻت اﻟﻤﺘﺤﻒ ﻣﻦ ﺗﺤﺘﻪ ﻣﻦ‬ ‫ا ﻋﻤﺪة ا[ﻧﺸﺎﺋﻴﺔ اﻟﺘﻲ ﻗﺪ ﺗﻌﻴﻖ ﻣﺮوﻧﺔ اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ ﻟﻠﻤﺘﺤﻒ‪.‬‬ ‫وأﺧﻴﺮ‪ o‬ﻣﻦ اﻟﻀﺮوي ﺟﺪ‪ o‬أن ﻧﺪرك أن ﻋﻨﺎﺻﺮ اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫اﻟﻤﺬﻛﻮرة ﻓﻲ ﻫﺬا اﻟﻤﻘﺎل وﻃﺮﻳﻘﺔ ﻗﺮاءﺗﻨﺎ ﻟﻠﻤﺸﺎرﻳﻊ ﻫﻲ ﻋﻤﻠﻴﺔ‬ ‫ﻧﻈﺮﻳﺔ ﺑﺤﺘﺔ ﺗﻬﺪف إﻟﻰ ﺗﺮﺗﻴﺐ اﻟﻔﻜﺮ واﻟﺒﺤﺚ أﺛﻨﺎء ﻋﻤﻠﻴﺔ‬ ‫اﻟﺘﺼﻤﻴﻢ ‪ .‬وﻗﺪ ﻳﺘﻮﺻﻞ اﻟﻘﺮاء ا ﻋﺰاء ﻟﻌﻨﺎﺻﺮ ﻟﻐﻮﻳﺔ ﻣﻌﻤﺎرﻳﺔ أﺧﺮى‬ ‫أو ﺟﺪﻳﺪة وﻗﺪ ﻳﺘﻨﺎول اﻟﻤﺼﻤﻤﻴﻦ إﻧﺘﺎج اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ﺑﺘﺮﺗﻴﺐ‬ ‫وﺑﻤﻨﻬﺠﻴﺔ ﻣﺨﺘﻠﻔﺔ ﻋﻦ اﻟﻤﻨﻬﺠﻴﺔ اﻟﺘﻲ إﺗﺒﻌﻨﺎﻫﺎ ﻓﻲ ﻫﺬا اﻟﻤﻘﺎل ‪.‬‬ ‫∑≤ « ‪¡UM³‬‬

‫‪27 Albenaa‬‬

тАл ╪зя╗Яя║дя║оя╗Ыя║Ф тАк :тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя╗Мя║Шя╗дя║к я╗Ля╗ая╗░ я║гя║оя╗Ыя║Шя╗ия║ОтАмтАля╗Уя║Оя╗Яя╗дя║Тя║Оя╗зя╗▓ я║Ыя║Оя║Ся║Шя║Ф я╗╗ я║Чя║Шя║дя║о┘Г ┘Ия╗Яя╗Ья╗ж я║гя║оя╗Ыя║Шя╗ия║О я║зя║О╪▒я║Яя╗мя║О ╪г┘И я╗Ля║Тя║оя╗ля║О я║Чя╗ая╗Мя║РтАм тАл╪п┘И╪▒тАк 3тАмя╗Уя╗▓ я║Чя║Дя║Ыя╗┤я║о я║Чя║╝я╗дя╗┤я╗в я╗ля║м┘З ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓ я╗Ля╗ая╗┤я╗ия║О тАк .тАмя╗Уя║Оя╗Яя╗дя║о┘И╪▒ я║Ся║ая║Оя╗зя║РтАм тАл╪зя╗Яя╗дя║Тя╗ия╗░ ╪г┘И ╪зя╗Яя║кя║зя╗о┘Д ╪ея╗Яя╗┤я╗к ╪г┘И ╪зя╗Яя║ия║о┘И╪м я╗гя╗ия╗к ╪г┘И я╗Ля║Тя╗о╪▒┘З ╪г┘И ╪зя╗Яя║╝я╗Мя╗о╪птАм тАл╪г┘И ╪зя╗Яя╗ия║░┘И┘Д я╗гя╗ия╗к я╗│я╗дя╗Ья╗ж ╪г┘Ж я╗│я╗Мя║Шя╗дя║к я╗Ля╗ая╗┤я╗мя║О ╪зя╗Яя╗дя║╝я╗дя╗в я╗Уя╗┤я║┤я║Шя║ия║к┘ЕтАм тАля╗Ля╗ия║Оя║╗я║о ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж я╗Уя║Шя║дя║О╪к ┘Ия╗Чя╗о╪зя╗Гя╗К я╗Яя║Шя╗оя║Яя╗┤я╗к ╪зя╗Яя║дя║оя╗Ыя║Ф ╪п╪зя║зя╗ая╗к тАк.тАмтАм тАлтАк - 4тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗гя╗ж я║зя╗╝┘Д ╪вя╗Яя╗┤я║О╪к ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в тАк:тАмтАм тАл┘Ия║Чя║Шя╗Ья╗о┘Ж я╗ля║м┘З ╪зтАкEтАмя╗Яя╗┤я║О╪к я╗гя╗ж тАк:тАмтАм тАл ╪зя╗Яя║дя╗о╪з╪▒ ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К тАк :тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя╗Мя║Шя╗дя║к я╗Ля╗ая╗░тАмтАля║Чя║дя╗Шя╗┤я╗Ц я║гя╗о╪з╪▒ я║Ся╗┤я╗ж ╪зя╗Яя╗дя║Тя╗ия╗░ ┘Ия╗гя║┤я║Шя╗Мя╗дя╗ая╗┤я╗к ╪г┘И я╗гя║╕я║Оя╗ля║кя╗│я╗к я╗гя╗ж я║зя╗╝┘ДтАм тАля║Чя╗оя╗Зя╗┤я╗Т ╪зя╗Яя╗Мя╗ия║Оя║╗я║о ┘И╪зя╗Яя║Шя╗Фя║Оя║╗я╗┤я╗Ю ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║Ф ╪г┘И ╪зя╗Яя║Шя╗Фя║Оя╗Ля╗ЮтАм тАля╗гя╗К ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓ ╪зя╗Яя╗дя║ая║О┘И╪▒╪й ╪г┘И я╗гя╗Ья╗оя╗зя║О╪к ╪зя╗Яя╗дя║кя╗│я╗ия║Ф я╗гя╗ж ╪гя╗зя╗мя║О╪▒ ┘И я║гя║к╪зя║Ля╗Ц ╪г┘ИтАм тАля╗гя╗ж я║зя╗╝┘Д ╪▓я║зя║оя╗Уя║Ф ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓ тАк .тАмя║Ся║дя╗┤я║Ъ я╗│я║Ж╪п┘К ╪░я╗Яя╗Ъ ╪ея╗Яя╗░ ╪е╪▒я║│я║О┘Д ╪▒я║│я║Оя║Ля╗ЮтАм тАля╗гя╗Мя╗┤я╗ия║Ф я╗Яя╗ая╗дя║╕я║Оя╗ля║кя╗│я╗ж ┘И╪зя╗Яя╗дя║┤я║Шя╗Мя╗дя╗ая╗┤я╗жтАк.тАмтАм тАл ╪зя╗Яя║оя╗гя║░я╗│я║Ф ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф тАк :тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя╗мя║к┘Б ╪ея╗Яя╗░тАмтАл╪зя╗Яя║Тя║дя║Ъ я╗Ля╗ж ╪гя║╖я╗Ья║О┘Д я║Чя╗Мя║Тя║о я╗Ля╗ж ┘Ия╗Зя╗┤я╗Фя║Ф ╪зя╗Яя╗дя║Тя╗ия╗░ ╪г┘И ╪гя╗ля╗дя╗┤я║Шя╗к ╪г┘ИтАм тАл╪ея╗зя║Шя╗дя║Оя║Ля╗к я╗Ыя║Оя╗Яя╗Ья╗ия║Оя╗│я║Ф ╪г┘И ╪зя╗Яя╗дя║ая║О╪▓ ╪г┘И ╪зя╗Яя║Шя║╕я║Тя╗┤я╗к я╗Уя╗▓ ╪зя╗Яя╗ая╗Ря║Ф тАк.тАмтАм тАл╪зя╗Яя╗дя╗Фя║Оя║Яя║Мя║Ф ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф тАк :тАм╪зя╗Яя╗дя╗Фя║Оя║Яя║Мя║Ф ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗ля╗▓ я╗Уя╗Ья║о╪й я╗гя╗Мя╗дя║О╪▒я╗│я║ФтАм тАля║Чя╗мя║к┘Б ╪ея╗Яя╗░ ╪ея║Ыя║О╪▒╪й я╗Уя╗Ья║о ╪зя╗Яя╗дя║┤я║Шя╗Мя╗дя╗ая╗┤я╗ж я╗Яя╗ая║Шя╗Мя║ая║Р ╪г┘И ╪зя╗Яя║┤я║ия║оя╗│я║Ф тАк ╪МтАмя╗Ыя║Д┘ЖтАм тАля╗│я╗Ья╗о┘Ж я╗гя╗Ия╗мя║о ╪зя╗Яя╗дя║Тя╗ия╗░ я╗╗ я╗│я╗Мя║Тя║о я╗Ля╗ж я╗гя║О ┘Ия╗Зя╗┤я╗Фя║Шя╗к я╗гя║Тя║Оя║╖я║о╪йтАк ╪МтАмя╗Ыя║ия║░╪з┘ЖтАм тАля╗гя╗┤я║О┘З я║Чя╗Ья╗о┘Ж ┘И╪зя║Яя╗мя║Оя║Чя╗к ╪зя╗Яя║ия║О╪▒я║Яя╗┤я║Ф я╗гя║╝я╗дя╗дя║Ф я╗Ля╗ая╗░ я║╖я╗Ья╗Ю я╗Чя║╝я║о я╗гя║Ь ┘ЛтАм тАля╗╝тАк.тАмтАм тАл я╗Чя║к╪▒╪з╪к ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я╗Уя╗▓ ╪зя╗Яя║Шя║дя╗оя╗│я╗Ю ┘И╪зя╗Яя╗дя║о┘Ия╗зя║Ф ┘И╪зя╗Яя║Шя╗Ря╗┤я╗┤я║о тАк:тАмтАмтАля╗Чя║к я╗│я║Шя╗Дя╗ая║Р ╪зя╗Яя╗дя║Тя╗ия╗░ ╪ея╗Яя╗░ ╪г┘Ж я╗│я╗Ья╗о┘Ж ╪░┘И я╗гя║о┘Ия╗зя║Ф я║Чя║┤я╗дя║в я║Ся║Оя╗Яя║Шя╗Ря╗┤я╗┤я║о ╪г┘ИтАм тАл╪зя╗Яя║Шя╗Мя║кя╗│я╗Ю я╗Уя╗▓ я║Чя╗о╪▓я╗│я╗Мя╗к ╪зя╗Яя║к╪зя║зя╗ая╗▓ я╗Яя║Шя║дя╗Шя╗┤я╗Ц я╗гя║Шя╗Дя╗ая║Тя║О╪к ┘И╪ея║│я║Шя╗Мя╗дя║Оя╗╗╪ктАм тАля╗гя║Шя╗ия╗оя╗Ля║Ф ╪з_я╗гя║о ╪зя╗Яя║м┘К я╗│я║┤я║Шя║кя╗Ля╗▓ ╪ея╗Яя╗░ ╪г┘Ж я║Чя╗Ья╗о┘Ж я╗Ля╗ия║Оя║╗я║о┘З я║Чя╗Шя║Тя╗ЮтАм тАля║Ся║Шя║дя║оя╗│я╗Ья╗мя║О я╗гя╗ж я╗гя╗оя╗Чя╗К ╪ея╗Яя╗░ ╪вя║зя║о я╗гя║Ья╗Ю ╪зя╗Яя╗Шя╗о╪зя╗Гя╗К ╪зя╗Яя║к╪зя║зя╗ая╗┤я║ФтАм тАл┘Ия╗Ыя║Оя║│я║о╪з╪к ╪зя╗Яя║╕я╗дя║▓ ╪зя╗Яя║ия║О╪▒я║Яя╗┤я║Ф ╪зя╗Яя║Шя╗▓ я╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя╗Ря╗┤я╗┤я║о я╗гя╗ж я║╖я╗Ья╗ЮтАм тАл╪зя╗Яя╗дя║Тя╗ия╗░ я║Ся╗Дя║оя╗│я╗Шя║Ф я╗гя╗ая╗дя╗оя║│я║Ф тАк.тАмтАм тАлтАк - 5тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗гя╗ж я║зя╗╝┘Д ╪з я╗Яя╗┤я║О╪к ╪зя╗Яя║Шя╗ия╗Ия╗┤я╗дя╗┤я║ФтАм тАля╗Яя╗ая║Шя║╝я╗дя╗┤я╗втАк:тАмтАм тАл┘Ия║Чя║Шя╗Ья╗о┘Ж я╗ля║м┘З ╪зтАкEтАмя╗Яя╗┤я║О╪к я╗гя╗ж тАк:тАмтАм тАл ╪гя╗зя╗Ия╗дя║Ф ╪зя╗Яя║╕я║Тя╗Ья║О╪к ╪зя╗Яя║Шя║дя║Шя╗┤я║Ф ┘И╪зя╗Яя║Шя╗дя║кя╗│я║к╪з╪к тАк :тАмя╗Чя║к я╗│я╗ая║ая║Д ╪зя╗Яя╗дя║╝я╗дя╗втАмтАл╪ея╗Яя╗░ ╪зя╗Яя║Шя╗Фя║Оя╗Ля╗Ю я╗гя╗К я║╖я║Тя╗Ья║О╪к ╪зя╗Яя║Шя╗дя║кя╗│я║к╪з╪к ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║Ф ┘И╪ея╗Зя╗мя║О╪▒я╗ля║ОтАм тАля║Ся║к┘Д я╗гя╗ж ╪ея║зя╗Фя║Оя║Ля╗мя║О я╗Яя╗Ья╗▓ я║Чя╗Мя║Тя║о я╗Ля╗ж ╪п╪▒я║Яя║Ф я║Чя╗Шя╗ия╗┤я║Ф ╪зя╗Яя╗дя║Тя╗ия╗░ ╪г┘ИтАм тАля╗Яя╗Ья╗▓ я╗│я║┤я╗мя╗Ю я║╗я╗┤я║Оя╗зя║Шя╗мя║О ╪г┘И я╗ЯтАкcтАмя╗Чя║Шя║╝я║О╪п я╗Уя╗▓ ╪зя╗Яя║Шя╗Ья║Оя╗Яя╗┤я╗Т тАк ╪МтАм╪г┘И ┘Ия║┐я╗КтАм тАля║Чя║╝я║Оя╗гя╗┤я╗в я║Яя║кя╗│я║к╪й я╗Яя╗мя║О я╗Яя╗Ья╗▓ я║Чя║╝я║Тя║в я╗Ля╗ия║Оя║╗я║о ╪▓я║зя║оя╗Уя╗┤я║Ф ┘Ия╗ля╗Ья║м╪зтАм тАля║Чя║╝я║Тя║в я╗ля║м┘З ╪зя╗Яя║Шя╗дя║кя╗│я║к╪з╪к я╗Ля╗ия║╝я║о я╗гя╗Мя╗дя║О╪▒┘К я╗│я║кя║зя╗Ю ┘Ия╗│я║Жя║Ыя║о я╗Ля╗ая╗░тАм тАл╪зя╗Яя║Шя║╕я╗Ья╗┤я╗Ю ╪зя╗Яя╗ия╗мя║Оя║Ля╗▓ я╗Яя╗ая╗дя║Тя╗ия╗░ тАк .тАмя╗Ыя╗дя║О я╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя║Шя╗Фя║Оя╗Ля╗Ю ╪зя╗Яя╗Фя╗Ья║о╪йтАм тАл╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗Яя╗ая╗дя║Тя║Оя╗зя╗▓ я╗гя╗К я╗гя║дя║О┘И╪▒ ┘Ия╗Гя║о┘В ┘Ия╗гя╗дя║о╪з╪к я╗гя║╕я║О╪й ┘Ия║╖я║Тя╗Ья║О╪ктАм тАл╪зя╗Яя╗ия╗Шя╗Ю я╗Уя╗▓ ╪зя╗Яя╗дя║кя╗│я╗ия║Ф я╗Яя╗Ья╗▓ я║Чя╗Мя║░╪▓ ╪е╪▒я║Чя║Тя║Оя╗Гя╗мя║О я║Ся╗мя║О ╪г┘И я╗Яя╗Ья╗▓ я║Чя║ая║м╪итАм тАл╪зя╗Яя╗дя║О╪▒╪й ╪г┘И я╗гя║┤я║Шя╗Мя╗дя╗ая╗▓ я╗ля║м┘З ╪зя╗Яя║╕я║Тя╗Ья║О╪к ╪ея╗Яя╗┤я╗мя║ОтАк.тАмтАм тАл ╪зя╗Яя║Шя╗ия╗Ия╗┤я╗в я║Ся╗о╪зя║│я╗Дя║Ф я╗Ля╗ия║Оя║╗я║о я╗гя╗Мя╗дя║О╪▒я╗│я║Ф тАк :тАм╪гя║│я╗Дя║в ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓тАмтАл) ╪зя╗Яя╗о╪зя║Яя╗мя║О╪к ( ╪г┘И ╪зя╗Яя║┤я║Оя║гя║О╪к ╪г┘И ╪з_я╗Уя╗ия╗┤я║Ф ╪г┘И я║гя║Шя╗░ ╪зя╗Яя║дя╗о╪зя║Ля╗В я╗│я╗дя╗Ья╗ж ╪г┘ЖтАм тАля║Чя║╕я╗Ья╗Ю я╗Ля╗ия║Оя║╗я║о ╪гя║│я║Оя║│я╗┤я║Ф я╗│я╗Мя║Шя╗дя║к я╗Ля╗ая╗┤я╗мя║О я╗Яя║Шя╗ия╗Ия╗┤я╗в я╗Уя╗Мя║Оя╗Яя╗┤я║О╪к ╪г┘ИтАм тАл┘Ия╗Зя║Оя║Ля╗Т ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж я║гя╗оя╗Яя╗мя║О тАк.тАмтАм тАлтИВтЙд ┬л тАк┬бUM┬│тАмтАм

тАлтАк26 AlbenaaтАмтАм

тАл ┘Ия║│я║Оя║Ля╗Ю ╪зя╗Яя║Шя║╕я╗Ья╗┤я╗Ю ┘И╪зя╗Яя║Шя║ая╗дя╗┤я╗К ┘И╪зя╗Яя║Шя║оя║Чя╗┤я║Р я╗Яя╗ая╗дя╗Ья╗оя╗зя║О╪к ┘И╪зя╗Яя╗Мя╗ия║Оя║╗я║отАмтАл┘И╪зя╗Яя╗Ья║Шя╗Ю ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф тАк :тАмя║Чя╗Мя║Шя║Тя║о я╗ля║м┘З ╪зя╗Яя╗оя║│я║Оя║Ля╗Ю я║┐я║о┘И╪▒я╗│я║Ф я╗Яя╗ая║Шя╗Мя║Тя╗┤я║отАм тАля╗Ля╗ж ┘Ия╗Гя╗┤я╗Фя║Ф ╪зя╗Яя╗дя║Тя╗ия╗░ ╪г┘И ╪▒я╗гя║░ ╪ея╗Яя╗░ я╗гя╗Мя╗ия╗░ ┘Ия╗гя╗ж я╗ля║м┘З ╪зя╗Яя╗оя║│я║Оя║Ля╗ЮтАм тАля║Чя║оя║Чя╗┤я║Р я╗Ыя║Шя╗Ю ╪зя╗Яя╗дя║Тя╗ия╗░ я╗гя╗ж я║зя╗╝┘Д я║Чя╗Ья║о╪з╪▒ я╗Ыя║Шя╗Ю ╪░╪з╪к я║╖я╗Ья╗Ю я╗гя╗оя║гя║ктАм тАл╪г┘И я║Чя║┤я╗ая║┤я╗ая╗мя║О я║гя║┤я║Р ╪гя║гя║ая║Оя╗гя╗мя║О ╪г┘И ╪гя╗ля╗дя╗┤я║Шя╗мя║О ╪г┘И я╗Ля╗╝я╗Чя║Шя╗мя║О ╪г┘ИтАм тАля║Чя║ая╗дя╗┤я╗Мя╗мя║О я╗Уя╗▓ я╗гя║ая╗дя╗оя╗Ля║О╪к я╗гя║Шя╗Мя║к╪п╪й я╗Яя╗ая║Шя╗Мя║Тя╗┤я║о я╗Ля╗ж ╪зя╗Яя╗Фя║о┘Ия╗Чя║О╪ктАм тАля║Ся╗┤я╗ия╗мя║О я╗Уя╗▓ ╪зтАкiтАмя║│я║Шя╗Мя╗дя║О┘Д ╪г┘И ╪зя╗Яя╗дя╗Мя╗ия╗░ тАк.тАмтАм тАл я║╖я║Тя╗Ья║О╪к ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в тАк :тАмя╗ля╗▓ я║╖я║Тя╗Ья║О╪к я╗гя║Шя║ия╗┤я╗ая║Ф я╗Яя╗ая╗дя║┤я║Оя╗Чя╗ВтАмтАл╪г┘И ╪з_я║│я╗Дя║в ┘Ия║Чя╗мя║к┘Б ╪ея╗Яя╗░ ╪зя╗Яя║Шя╗ия╗Ия╗┤я╗в ╪зя╗Яя║кя╗Чя╗┤я╗Ц ┘И╪зя╗Яя╗дя║Шя║┤я║О┘И┘К ╪г┘ИтАм тАл╪зя╗Яя╗ия╗дя╗Дя╗░ я╗Яя╗ая╗Мя╗ия║Оя║╗я║о ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф ╪г┘И ╪зтАкiтАмя╗зя║╕я║Оя║Ля╗┤я║Ф тАк .тАмя╗ля║м┘З ╪зя╗Яя║╕я║Тя╗Ья║О╪ктАм тАля╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя╗Ья╗о┘Ж я╗гя║Шя╗Мя║Оя╗гя║к╪й ╪г┘И я║гя╗ая╗Шя╗┤я║Ф ╪г┘И я║Ыя╗╝я║Ыя╗┤я║Ф ╪з_я║Ся╗Мя║О╪птАк.тАмтАм тАл я╗Ля╗ая╗о┘Е ╪зя╗Яя║оя║│я╗в ╪зя╗Яя╗мя╗ия║кя║│я╗▓ тАк :тАмя╗гя╗К ╪ея║│я║Шя║ия║к╪з┘Е ╪зя╗Яя║оя║│я╗в ╪зя╗Яя╗мя╗ия║кя║│я╗▓тАмтАля║Ся║Оя╗Яя╗Ья╗дя║Тя╗┤я╗оя║Чя║о ╪гя║╗я║Тя║дя║Ц ╪зя╗Яя╗мя╗ия║кя║│я║Ф ╪зя╗Яя╗Фя║о╪зя╗Пя╗┤я║Ф ╪г╪п╪з╪й я║│я╗мя╗ая║Ф я╗Яя║Шя║╝я╗о╪▒тАм тАл╪з_я║╖я╗Ья║О┘Д ┘И╪з_я║гя║ая║О┘Е ┘И╪зя╗Яя╗Ья║Шя╗Ю ╪зя╗Яя╗мя╗ия║кя║│я╗┤я║Ф ┘Ия║Чя╗Шя║Оя╗Гя╗Мя╗мя║О я╗Уя╗┤я╗дя║ОтАм тАля║Ся╗┤я╗ия╗мя║О ╪з_я╗гя║о ╪зя╗Яя║м┘К я║│я║Оя╗Ля║к я╗Ля╗ая╗░ ╪зтАкiтАмя╗Ля║Шя╗дя║О╪п я╗Ля╗ая╗░ я╗гя╗ия║Шя║ая║О╪к я╗ля║м╪зтАм тАл╪зя╗Яя╗Фя║о╪╣ я╗гя╗ж ╪зя╗Яя╗мя╗ия║кя║│я║Ф я╗Яя║Шя║дя╗Шя╗┤я╗Ц ╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я║Ся╗о╪зя║│я╗Дя║Шя╗мя║ОтАм тАля╗гя╗мя╗дя║О я╗Ыя║О┘Ж я║Чя╗Мя╗Шя╗┤я║к ╪зя╗Яя╗дя╗ия║Шя║ЮтАк.тАмтАм тАлтАк - 6тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗гя╗ж я║зя╗╝┘Д ╪зя╗Яя║Шя╗ия╗Шя╗┤я║О╪к ┘И╪з я╗зя╗Ия╗дя║ФтАм тАл╪зтАк$тАмя╗зя║╕я║Оя║Ля╗┤я║ФтАк:тАмтАм тАл┘Ия║Чя║Шя╗Ья╗о┘Ж я╗ля║м┘З ╪зя╗Яя║Шя╗Шя╗ия╗┤я║О╪к ┘И ╪з_я╗зя╗Ия╗дя║Ф я╗гя╗ж тАк:тАмтАм тАл я╗Гя║о┘В ╪ея╗зя║╕я║О╪б ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓ тАк :тАм┘Ия║Чя╗Мя║Шя║Тя║о я║Яя║░╪б я╗гя╗ж ╪зя╗Яя╗дя╗Мя╗Дя╗┤я║О╪к ╪зя╗Яя║Шя╗▓тАмтАля╗│я║Дя║зя║мя║Ся╗мя║О я╗Ля╗ия║к ╪ея╗Ля║к╪з╪п я║Ся║оя╗зя║Оя╗гя║Ю ╪зя╗Яя╗дя║╕я║о┘И╪╣ ┘Ия╗│я║ая║Р ╪г┘Ж я║Чя║Жя║зя║м я╗Уя╗▓тАм тАл╪зя╗Яя║дя║┤я║Тя║О┘Ж я╗Ля╗ия║к я║Чя║дя║кя╗│я║к ╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗Уя║Оя╗Яя║Тя╗ия║О╪б я╗╗ я╗│я║Шя╗в я╗Уя╗▓ я╗Уя║о╪з╪║тАм тАля║Ся╗Ю я╗гя╗ж я║зя╗╝┘Д ╪зя╗Яя║┤я╗┤я║О┘В ╪зя╗Яя╗дя║дя╗ая╗▓ я╗Яя╗ая╗Дя║о┘В ╪зя╗Яя║Тя╗ия║О╪б ┘Ия╗Ля╗ая╗о┘Е ╪зтАкiтАмя╗зя║╕я║О╪бтАк.тАмтАм тАл ╪зя╗Яя║Шя║╝я╗ия╗┤я╗К ╪зя╗Яя╗дя║┤я║Тя╗Ц тАк :тАм╪зя╗Яя╗Фя╗Ья║о╪й ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗│я╗дя╗Ья╗ж ╪г┘Ж я║Чя║Тя║к╪б я╗гя╗жтАмтАля║┐я║о┘И╪▒╪й ╪зтАкiтАмя╗Ля║Шя╗дя║О╪п я╗Ля╗ая╗░ ╪зя╗Яя║Шя║╝я╗ия╗┤я╗К ╪зя╗Яя╗дя║┤я║Тя╗Ц _я║│я║Тя║О╪и я╗гя║Шя╗Мя║к╪п╪йтАм тАля╗Ыя║Оя╗Яя║дя║Оя║Яя║Ф ╪ея╗Яя╗░ я║│я║оя╗Ля║Ф я║Чя║оя╗Ыя╗┤я║Р ╪зя╗Яя║Тя╗ия║О╪б я║Чя╗Фя╗Ья╗┤я╗Ья╗к я╗Уя╗▓ ╪зя╗Яя╗дя╗оя╗Чя╗К ┘Ия╗Уя╗▓тАм тАля╗ля║м┘З ╪зя╗Яя║дя║Оя╗Яя║Ф я║Чя║Шя║оя║Чя║Р я╗Ля╗ая╗░ ╪зя╗Яя╗дя║╝я╗дя╗в ╪ея║зя║Шя╗┤я║О╪▒ ┘Ия║Чя║дя╗Шя╗┤я╗Ц ╪зя╗Яя╗Фя╗Ья║о╪йтАм тАл╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗Уя╗▓ ╪ея╗Гя║О╪▒ ╪зтАкiтАмя╗гя╗Ья║Оя╗зя╗┤я║О╪к ╪зя╗Яя╗дя║Шя║Оя║гя║Ф я╗Яя╗ая║Тя╗ия║О╪б я║Ся╗о╪зя║│я╗Дя║ФтАм тАл╪зя╗Яя║Шя║╝я╗ия╗┤я╗К ╪зя╗Яя╗дя║┤я║Тя╗Ц ┘Ия║Чя╗Ья╗о┘Ж я╗Ля╗ия║Оя║╗я║о┘З ┘Ия╗Гя║оя╗Чя╗к я╗ля╗▓ ╪з_╪п┘И╪з╪к ╪зя╗Яя║Шя╗▓тАм тАля╗│я║┤я║Шя║ия║кя╗гя╗мя║О я╗Яя║Шя║дя╗Шя╗┤я╗Шя╗мя║О тАк.тАмтАм тАля╗гя║Оя╗Чя╗дя╗ия║О я║Ся╗к я║гя║Шя╗░ ╪зтАкEтАм┘Ж я╗ля╗о ╪зя╗Яя║Шя╗Мя║о┘Б я╗Ля╗ая╗░ я╗гя║О я╗│я╗дя╗Ья╗ж ╪г┘Ж я╗зя║┤я╗дя╗┤я╗ктАм тАл╪зя╗Яя╗ая╗Ря║Ф ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗Яя╗ая║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К тАк ╪МтАм┘Ия╗Яя╗Ья╗ж ╪зя╗Яя╗ая╗Ря║Ф я║Чя╗мя║к┘БтАм тАл╪ея╗Яя╗░ ╪зя╗Яя╗Шя║о╪з╪б╪й я╗гя╗дя║О я╗│я║кя╗Уя╗Мя╗ия║О я╗ля╗ия║О ╪ея╗Яя╗░ ╪г┘Ж я╗зя║┤я║Шя╗Фя╗┤я║к я╗гя╗ж я╗ля║м┘ЗтАм тАл╪зя╗Яя╗ая╗Ря║Ф ┘Ия╗зя║┤я║Шя╗Мя╗дя╗ая╗мя║О я╗Ыя║Д╪п╪з╪й я╗│я╗дя╗Ья╗ж ╪г┘Ж я╗зя╗Фя╗мя╗в ╪г┘И я╗зя╗Шя║о╪з╪б ╪г┘И я╗зя║дя╗ая╗ЮтАм тАля║Ся╗о╪зя║│я╗Дя║Шя╗мя║О ╪з_я╗Уя╗Ья║О╪▒ ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф ╪зя╗Яя║Шя╗▓ я╗│я║Шя║Тя╗ия║Оя╗ля║О ╪зя╗Яя║Шя║╝я╗дя╗┤я╗втАм тАл╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К я╗Яя╗ая╗дя║╕я║О╪▒я╗│я╗КтАк .тАм┘Ия╗ля║м╪з я╗гя║О я║│я╗о┘Б я╗зя║дя║О┘И┘Д ╪г┘Ж я╗зя╗Дя║Тя╗Шя╗к я╗ля╗ия║ОтАм тАля╗Ля╗ая╗░ ╪зя╗Яя╗дя║╕я║О╪▒я╗│я╗К ╪зя╗Яя║Шя╗▓ я╗зя║┤я║Шя╗Мя║оя║┐я╗мя║О я╗Уя╗▓ я╗ля║м╪з ╪зя╗Яя╗Мя║к╪п я╗гя╗ж я║зя╗╝┘ДтАм тАл╪зтАкiтАмя║│я║Шя╗Мя║Оя╗зя║Ф я║Ся║Оя╗Яя╗Мя╗ия║Оя║╗я║о ┘И╪зя╗Яя╗дя║ая║Оя╗╗╪к ╪зя╗Яя║Шя╗▓ ╪░я╗Ыя║оя╗зя║Оя╗ля║О я╗Уя╗▓ я╗ля║м╪з ╪зя╗Яя╗дя╗Шя║О┘ДтАк.тАмтАм тАл╪ея║│я║Шя║ия║к╪з┘Е ╪зя╗Яя╗ая╗Ря║Ф ╪зя╗Яя╗дя╗Мя╗дя║О╪▒я╗│я║Ф я╗Уя╗▓ я╗Чя║о╪з╪б╪й ╪зя╗Яя╗дя║╕я║О╪▒я╗│я╗КтАм тАл╪зя╗Яя║Ья╗Шя║Оя╗Уя╗┤я║Ф ╪зя╗Яя║Шя╗▓ я╗│я║┤я║Шя╗Мя║оя║┐я╗мя║О ╪зя╗Яя╗Мя║к╪п тАк.:тАмтАм тАля╗Яя╗Шя║к я╗Чя╗дя╗ия║О я║Ся║Ия║зя║Шя╗┤я║О╪▒ я╗гя║╕я║О╪▒я╗│я╗К ╪░╪з╪к ╪ея║│я║Шя╗Мя╗дя║Оя╗╗╪к я║Ыя╗Шя║Оя╗Уя╗┤я║Ф ┘Ия╗ля║м╪зтАм тАл╪зя╗Яя╗ия╗о╪╣ я╗гя╗ж ╪зя╗Яя╗дя║╕я║О╪▒я╗│я╗К ╪▒я║Ся╗дя║О я╗│я╗Ья╗о┘Ж ╪з_я╗Ыя║Ья║о я║гя║Оя║Яя║Ф ╪ея╗Яя╗░ ╪ея║│я║Шя╗Мя╗дя║О┘ДтАм тАля╗Ля╗ия║Оя║╗я║о я╗Яя╗Ря╗оя╗│я║Ф я╗гя╗Мя╗дя║О╪▒я╗│я║Ф я╗гя║Шя╗Мя║к╪п╪й я╗гя╗ж я║гя╗┤я║Ъ ╪зя╗Яя║Тя║оя╗зя║Оя╗гя║Ю ┘И╪зя╗Яя║┤я╗┤я║О┘ВтАм тАл┘И╪зя╗Яя╗о╪зя║Яя╗мя║О╪к ┘И╪зя╗Яя╗дя╗о╪з╪п ┘И╪зя╗Яя║оя╗гя║░я╗│я║Ф ┘Ия╗Ля╗ая╗о┘Е ╪зя╗Яя╗мя╗ия║кя║│я║Ф ╪зя╗Яя║ж тАк...тАмтАм

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : PES-Architects‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺼﻴﻦ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 153.000 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬

‫‪© PES-Architects - Marc Goodwin/Archmospheres‬‬

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‫ﺑﻬﺪف ﺗﻌﺰﻳﺰ ﺻﻮرة ﻣﺪﻳﻨﺔ ﻓﻮزو اﻟﺼﻴﻨﻴﺔ ﻧﻈﻤﺖ ﺣﻜﻮﻣﺘﻬﺎ‬ ‫ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ دﻋﺖ ﻓﻴﻬﺎ ﻋﺪد ﻣﻦ اﻟﻤﻜﺎﺗﺐ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫ﻟﺘﺼﻤﻴﻢ ﻣﺮﻛﺰ اﻟﻤﺪﻳﻨﺔ اﻟﺜﻘﺎﻓﻲ واﻟﻔﻨﻲ‪ .‬ﻓﺎز ﺑﺎﻟﻤﺴﺎﺑﻘﺔ اﻟﻤﻘﺘﺮح‬ ‫اﻟﻤﻘﺪم ﻣﻦ ﻣﻜﺘﺐ ‪ PES-Architects‬اﻟﺬي ﻳﻬﺪف إﻟﻰ ﺗﻘﺪﻳﻢ‬ ‫ﺗﺠﺮﺑﺔ راﺋﻌﺔ وﻣﻦ ﻧﻮع ﺟﺪﻳﺪ ﻟﺰاوره وﻫﻲ ﻣﺎأﺳﻤﺎه اﻟﻤﺼﻤﻢ‬ ‫»ﻣﺮﻛﺰ اﻟﺘﺴﻮق اﻟﺜﻘﺎﻓﻲ « ‪ ،‬ﻓﺒﺮﻧﺎﻣﺞ اﻟﻤﺮﻛﺰ ﻳﺘﻀﻤﻦ ﻣﺴﺎﺣﺎت‬ ‫ﻟﻠﺘﺴﻮق اﻟﺘﺠﺎري واﻟﺘﺮﻓﻴﻪ اﻟﻌﺎﺋﻠﻲ ‪ ،‬ﺣﻴﺚ ﻳﻌﺘﺒﺮ اﻟﺘﻨﻮع ﻓﻲ‬ ‫ا‪P‬ﻧﺸﻄﺔ أﺣﺪ ﺳﻤﺎت اﻟﻤﺒﺎﻧﻲ اﻟﺤﺪﻳﺜﺔ ﻓﻲ اﻟﺼﻴﻦ‪ .‬ﻳﻘﻊ اﻟﻤﺮﻛﺰ‬ ‫ﻓﻲ ﻣﺪﻳﻨﺔ ﻣﺎوي اﻟﺠﺪﻳﺪة اﻟﺘﺎﺑﻌﺔ ﻟﻤﺪﻳﻨﺔ ﻓﻮزو ﻣﻘﺎﺑﻞ ﻧﻬﺮ‬ ‫ﻣﻨﺠﺎﻳﻨﺞ أﺣﺪ رواﻓﺪ ﻣﻀﻴﻖ ﺗﺎﻳﻮان‪ .‬ﺑﺎ‪U‬ﺿﺎﻓﺔ إﻟﻰ رﺑﻂ اﻟﺴﻜﺎن‬ ‫ﺑﺎﻟﺜﻘﺎﻓﺔ ﻳﻬﺪف اﻟﻤﺸﺮوع إﻟﻰ رﺑﻂ اﻟﻤﺪن واﻟﺘﺠﻤﻌﺎت اﻟﺴﻜﻨﻴﺔ‬ ‫اﻟﻮاﻗﻌﺔ ﻋﻠﻰ ﻃﻮل ﻣﻀﻴﻖ ﺗﺎﻳﻮان ﺑﻴﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ‪،‬‬ ‫وﻛﺬﻟﻚ رﺑﻂ ﻣﺪﻳﻨﺔ ﻣﺎوي اﻟﺤﺪﻳﺜﺔ ﺑﺎﻟﻤﻤﺮات اﻟﻤﺎﺋﻴﺔ وﻧﻬﺮ‬ ‫ﻣﻨﺠﺎﻳﻨﺞ واﻟﺒﻴﺌﺔ اﻟﻄﺒﻴﻌﻴﺔ ﻣﻦ ﺣﻮﻟﻬﺎ ‪ .‬إﺳﺘﻠﻬﻢ اﻟﺘﺼﻤﻴﻢ‬ ‫ﻣﻦ ﺷﻜﻞ ﺑﺘﻼت زﻫﺮة اﻟﻴﺎﺳﻤﻴﻦ اﻟﻤﻨﺘﺸﺮة ﻓﻲ ﻓﻮزو ﺣﻴﺚ‬ ‫ﺗﻐﻠﺐ زﻫﺮة اﻟﻴﺎﺳﻤﻴﻦ ﻋﻠﻰ اﻟﻠﻐﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻤﺮﻛﺰ وأﻟﻮاﻧﻪ ‪.‬‬ ‫وﻛﻤﺎ ﺗﺘﻜﻮن زﻫﺮة اﻟﻴﺎﺳﻤﻴﻦ ﻣﻦ ﻋﺪد ﻣﻦ اﻟﺒﺘﻼت ﻓﺈن أﻫﻢ‬ ‫ﻓﺮاﻏﺎت اﻟﻤﺮﻛﺰ ﺗﺘﻜﻮن ﻣﻦ ﻋﺪد ‪ 5‬ﻛﺘﻞ ﻣﻌﻤﺎرﻳﺔ ﻛﺄﻧﻬﺎ ﺑﺘﻼت‬ ‫ﻟﺰﻫﺮة اﻟﻴﺎﺳﻤﻴﻦ ‪ ،‬ﺗﻀﻢ اﻟﻔﺮاﻏﺎت ‪ :‬دار أوﺑﺮا وﻗﺎﻋﺔ ﻟﻠﻤﻮﺳﻴﻘﻰ‬ ‫وﻣﺴﺮح ﻣﺘﻌﺪد ا‪U‬ﺳﺘﻌﻤﺎﻻت وﻣﻌﺮض وﻣﺮﻛﺰ ﻟﻠﺴﻴﻨﻤﺎ ‪ .‬ﺗﺘﺼﻞ‬ ‫اﻟﻜﺘﻞ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﺑﺮواق ﺛﻘﺎﻓﻲ وﺷﺮﻓﺔ ﻛﺒﻴﺮة ﻓﻮق ﺳﻄﺢ‬ ‫اﻟﺮواق ‪ ،‬وﻳﻤﻜﻦ اﻟﻮﺻﻮل إﻟﻰ اﻟﺸﺮﻓﺔ ﺑﻮاﺳﻄﺔ ﻣﻨﺤﺪرﻳﻦ‬ ‫أﺣﺪﻫﻤﺎ ﻣﻦ ﺣﺪاﺋﻖ اﻟﻴﺎﺳﻤﻴﻦ اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻤﺒﻨﻰ وا‪i‬ﺧﺮ ﻣﻦ‬ ‫ﺳﺎﺣﺔ اﻟﻴﺎﺳﻤﻴﻦ اﻟﻤﺮﻛﺰﻳﺔ ﻟﺘﺤﻘﻴﻖ ﺗﺮاﺑﻂ ﺳﻠﺲ ﺑﻴﻦ اﻟﻤﺮﻛﺰ‬ ‫وواﺟﻬﺔ اﻟﻨﻬﺮ ‪ .‬ﻳﻘﻊ ﻓﻲ اﻟﻤﺴﺘﻮى اﻟﺘﺤﺖ أرﺿﻲ ﻣﺮﻛﺰ ﺗﺴﻮق‬ ‫أﻃﻠﻖ ﻋﻠﻴﻪ » ﻧﻬﺮ اﻟﺘﺴﻮق « ﻳﻤﺘﺪ ﻋﻠﻰ ﺿﻔﺎف ﻧﻬﺮ ﻟﻴﺎﻧﺞ ﻛﻮ‬ ‫اﻟﺬي ﻳﻘﻄﻊ اﻟﻤﺮﻛﺰ وﻳﺮﺑﻂ اﻟﺘﻨﺴﻴﻖ اﻟﺤﺪاﺋﻘﻲ اﻟﺨﺎرﺟﻲ وﻣﺤﻄﺔ‬ ‫اﻟﻤﺘﺮو ﺑﺎﻟﻤﺮﻛﺰ ‪ .‬ﻳﻬﺪف ﺗﻘﺴﻴﻢ اﻟﺒﺮﻧﺎﻣﺞ اﻟﻤﺴﺎﺣﻲ اﻟﻜﺒﻴﺮ‬ ‫ﻟﻠﻤﺮﻛﺰ إﻟﻰ ﻛﺘﻞ ﺻﻐﻴﺮة إﻟﻰ ﺗﺤﻘﻴﻖ ﻗﻴﺎﺳﺎت إﻧﺴﺎﻧﻴﺔ ﻟﺤﺠﻢ‬ ‫اﻟﻤﺮﻛﺰ ﻛﻤﺎ ﻳﺴﻬﻞ ﻋﻠﻰ اﻟﺰوار ﺣﺮﻛﺔ اﻟﻮﺻﻮل إﻟﻰ ﻣﻜﻮﻧﺎﺗﻪ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ اﻟﺪاﺧﻠﻴﺔ واﻟﺨﺎرﺟﻴﺔ ‪ .‬ﻛﻞ ﻛﺘﻠﺔ ﺑﻨﺎﺋﻴﺔ ﺗﺤﺘﻮي ﻋﻠﻰ‬ ‫رواق ﻧﺼﻒ داﺋﺮي ﻳﺘﺒﻊ ﺷﻜﻞ اﻟﻮاﺟﻬﺎت وﻳﻮزع اﻟﺰوار ﻋﻠﻰ‬ ‫ﻓﺮاﻏﺎت ﻛﻞ ﻛﺘﻠﺔ ‪ ،‬وﻳﺮﺗﺒﻂ ﺑﺤﺪاﺋﻖ اﻟﻴﺎﺳﻤﻴﻦ اﻟﺘﻲ ﺗﺘﺨﻠﻞ ﻛﺘﻞ‬ ‫اﻟﻤﺮﻛﺰ و واﻟﻤﺤﻤﻴﺎت اﻟﻄﺒﻴﻌﻴﺔ اﻟﻤﺠﺎورة ‪.‬‬ ‫إﺳﺘﺨﺪم اﻟﺴﻴﺮاﻣﻴﻚ ﻛﻤﺎدة ﺗﻐﻄﻴﺔ رﺋﻴﺴﺔ ﻓﻲ ﻣﺒﺎﻧﻲ اﻟﻤﺮﻛﺰ‬ ‫ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﻃﺮﻳﻖ اﻟﺤﺮﻳﺮ اﻟﺒﺤﺮي اﻟﺘﺠﺎري واﻟﺬي ﻛﺎن ﻳﺼﺪر ﻋﺒﺮه‬ ‫ﻣﻨﺘﺠﺎت اﻟﺴﻴﺮاﻣﻴﻚ اﻟﺼﻴﻨﻲ ﻟﻠﻌﺎﻟﻢ‪ .‬ﻋﻤﻞ اﻟﻤﺼﻤﻢ ﻣﻊ أﺣﺪ‬ ‫ﻓﻨﺎﻧﻴﻮ اﻟﺴﻴﺮاﻣﻴﻚ اﻟﺘﻴﻮاﻧﻴﻮن ﻟﺘﺼﻤﻴﻢ ﺳﻴﺮاﻣﻴﻚ ﻓﻨﻲ ﻳﻤﺘﺺ‬ ‫اﻟﺼﻮت ﻟﺘﻐﻄﻴﺔ ﺣﻮاﺋﻂ ﻗﺎﻋﺘﻴﻦ ﻣﻦ ﻗﺎﻋﺎت اﻟﻤﺮﻛﺰ اﻟﺨﻤﺲ‪،‬‬ ‫وﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت وﻛﺎﺳﺮات اﻟﺸﻤﺲ‪ .‬ﻓﺪاﺧﻞ ﻗﺎﻋﺎﺗﻲ ا‪P‬وﺑﺮا‬ ‫واﻟﻤﻮﺳﻴﻘﻰ إﺳﺘﺨﺪﻣﺖ أﻟﻮاح ﻣﻦ ﺳﻴﺮاﻣﻴﻚ ﻣﻄﺒﻮع وآﺧﺮ‬ ‫ﻣﺤﻔﻮر ﻳﺘﻼﺋﻤﺎن ﻣﻊ ا‪P‬ﺳﻄﺢ اﻟﻤﺎﺋﻠﺔ ﻟﺤﻮاﺋﻂ اﻟﻘﺎﻋﺎت اﻟﺘﻲ ﺗﻬﺪف‬ ‫إﻟﻰ إﻣﺘﺼﺎص ا‪P‬ﺻﻮات ‪ .‬ﻓﻲ اﻟﻮاﺟﻬﺎت إﺳﺘﺨﺪم ﺳﻴﺮاﻣﻴﻚ‬ ‫أﺑﻴﺾ ﻛﻤﺎ إﺳﺘﺨﺪم ﺳﻴﺮاﻣﻴﻚ ﻣﺤﺪب ا‪P‬ﺳﻄﺢ ﻓﻲ ﻛﺎﺳﺮات‬ ‫اﻟﺸﻤﺲ اﻟﺘﻲ ﺗﻐﻄﻲ اﻟﻔﺘﺤﺎت اﻟﻜﺒﻴﺮة ﻓﻲ اﻟﻮاﺟﻬﺎت‪ ،‬ودرس‬ ‫ﺗﺼﻤﻴﻤﻬﺎ ﺑﻌﻨﺎﻳﺔ ﻟﺸﻜﻠﻬﺎ وزواﻳﺎ ﻣﻴﻮﻟﻬﺎ واﻟﻤﺴﺎﻓﺎت ﺑﻴﻨﻬﺎ‬ ‫ﻟﺘﺤﻘﻴﻖ أﻛﺒﺮ ﻗﺪر ﻣﻦ اﻟﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ ‪.‬‬ ‫‪¡UM³ « ≤π‬‬

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‫ﻣﺮﻛﺰ ﻟﻠﺘﺴﻮق اﻟﺜﻘﺎﻓﻲ‬

© PES-Architects - Marc Goodwin/Archmospheres

Fuzhou Strait Culture and Arts Center

© PES-Architects - Zhang Yong

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From the Architect Report: In 2013, the Fuzhou Government hosted an international invited competition for the Strait Culture and Art Centre with the goal of strengthening the cultural image of the city and the Mawei New Town development area. PES-Architects’ winning proposal aims to offer an extraordinary experience for ordinary users by creating a new type of “cultural shopping mall”.

The cultural programmes of the Centre are complemented with commercial and family-oriented entertainment services to create a modern hybrid complex. This format is typical of the new phase of cultural building in China.

Located in Mawei New Town, facing the Minjiang River, the Strait Culture and Arts Centre is about connections.

It connects cities and communities along and over the Taiwan Strait. It connects the Fuzhou Mawei New City Development and its waterways to the Minjiang River and the natural environment. And, finally, it connects people to culture. The design takes inspiration from the petals of a jasmine blossom, the city flower of Fuzhou.

The flower is manifested in the formal language and colour of the architecture. The five jasmine petal venues — opera house, concert hall, multi-functional theatre, art exhibition hall and cinema centre — are linked by a Cultural Concourse and a large roof terrace. The roof terrace is accessible via two ramps from the Jasmine Gardens as well as from the Central Jasmine Plaza, providing a seamless connection from the complex to the riverfront of the Minjiang River.

On the underground level, a “shopping river” is located along the Liangcuo flood river to connect the landscape to the interiors, as well as providing a connection between the metro station and the Centre.

Dividing the large complex into smaller units gives the

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Centre a more human scale and makes it easy for users to navigate both indoors and outdoors. Each building has a core area — a semi-public, curved gallery that follows the curvature of the main façade — that integrates the public interior space with the landscape of the Jasmine Gardens around the building and further with the Mahangzhou island natural reserve in front of the Centre.

Ceramic is used as the project’s main material due to its significance in the historical context of the maritime Silk Road trade connection between China and the rest of the world. PES-Architects worked with Taiwanese ceramic artist Samuel Hsuan-yu Shih to design the artistic ceramic interior for two main auditoriums according to acoustical demands, using the legendary “China White” material and new technology.

All façades are clad with white ceramic tiles and louvres, while both the opera hall and concert hall showcase this cultural material in innovative and creative ways in the acoustic wall surface.

The interior surfaces of the opera hall and concert hall are clad with topographical ceramic panels. Based on extensive studies carried out with the acousticians, two types of acoustic panels were developed: an engraved panel and a mosaic tile panel.

Both panels are adaptable to the topographical surfaces that are required to achieve high quality acoustics, as well as the visual language of the design. The main façade ceramic louvre section is lens-shaped, relating to the form used in the massing of the buildings. This also maximizes the shading capacity of the vast glass façade. The distance and angle of the louvres has also been studied with the help of complex scripting in order to achieve the optimal angle and distance between the louvres.

© Drawings by PES-Architects

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© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Virgile Simon Bertrand

© PES-Architects - Marc Goodwin/Archmospheres

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© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Marc Goodwin/Archmospheres

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© PES-Architects - Virgile Simon Bertrand

© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Zhang Yong

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© PES-Architects - Marc Goodwin/Archmospheres

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© PES-Architects - Marc Goodwin/Archmospheres

© PES-Architects - Marc Goodwin/Archmospheres

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© Render by VA

: ‫اﻟﻤﺼﻤﻢ‬ Architect : .Zaha Hadid Architects ‫ روﺳﻴﺎ‬، ‫ ﻳﻜﺎﺗﺮﻧﺒﺮغ‬: ‫اﻟﻤﻮﻗﻊ‬

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‫ﻟﻘﺪ ﺗﻢ إﺧﺘﻴﺎر ﻣﻜﺘﺐ زﻫﺎ ﺣﺪﻳﺪ ﻣﻦ ﻗﺒﻞ ﻫﻴﺌﺔ‬ ‫ﺗﺤﻜﻴﻢ اﻟﻤﺴﺎﺑﻘﺔ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻌﺎﻟﻤﻴﺔ ﻟﺘﺼﻤﻴﻢ اﻟﻘﺎﻋﺔ‬ ‫اﻟﻤﻮﺳﻴﻘﻴﺔ اﻟﺠﺪﻳﺪة ﻟﻤﺪﻳﻨﺔ ﻳﺎﻛﺎﺗﺮﻧﺒﺮغ ﻓﻲ روﺳﻴﺎ ‪.‬‬ ‫ﺗﻌﺘﺒﺮ ﻳﺎﻛﺎﺗﺮﻧﺮﻧﺒﺮغ ﻋﺎﺻﻤﺔ إﻗﻠﻴﻢ ا‪4‬ورال و ﺛﺎﻟﺚ أﻛﺒﺮ‬ ‫إﻗﺘﺼﺎد ﻓﻲ روﺳﻴﺎ ‪ ،‬وﻓﻲ اﻟﺤﻘﺒﺔ اﻟﻤﺎﺿﻴﺔ إرﺗﻔﻊ ﻋﺪد‬ ‫ﺳﻜﺎﻧﻬﺎ ‪ ١٠‬ﻓﻲ اﻟﻤﺎﺋﺔ ﻟﻴﺒﻠﻎ ا ْﻟ َﻴ ْﻮ َم ‪ ١،٥‬ﻣﻠﻴﻮن ﻧﺴﻤﺔ‬ ‫وﻫﻲ ﻣﺪﻳﻨﺔ ﻣﺴﺘﻤﺮة ﻓﻲ اﻟﺘﻄﻮر اﻟﺤﻴﻮي اﻟﺬي ﻳﺮﺑﻂ‬ ‫ﺑﻴﻦ اﻟﺸﺮق واﻟﻐﺮب ) أوروﺑﺎ وآﺳﻴﺎ ( وﻳﺠﺬب إﻟﻴﻪ‬ ‫ا‪4‬ﻋﻤﺎل واﻟﺼﻨﺎﻋﺎت واﻟﻤﻮاﻫﺐ ﻣﻦ ﺛﻘﺎﻓﺎت ﻣﺨﺘﻠﻔﺔ ‪.‬‬ ‫ﻃﻮرت اﻟﻤﺪﻳﻨﺔ ﺗﻘﺎﻟﻴﺪ ﻣﻮﺳﻴﻘﻴﺔ ﻋﺮﻳﻘﺔ أﺻﺒﺤﺖ ﺗﻌﺮف‬ ‫ﺑﻬﺎ ﻛﻤﺮﻛﺰ ﻟﻠﺜﻘﺎﻓﺔ واﻟﻔﻨﻮن ﻓﻔﺮﻗﺘﻬﺎ اﻟﻤﻮﺳﻴﻘﻴﺔ‬ ‫ﺗﻌﺮف ﻋﺎﻟﻤﻴ[ وﻗﺪﻣﺖ ﻋﺮوﺿﻬﺎ ﻓﻲ أﻛﺜﺮ ﻣﻦ ‪ ٢0‬دوﻟﺔ‬ ‫وﺗﻌﺎوﻧﺖ ﻣﻊ اﻟﻤﻮﺳﻴﻘﻴﻴﻦ اﻟﻤﺸﻬﻮرﻳﻦ ﻓﻲ اﻟﻌﺎﻟﻢ‪،‬‬ ‫وﻟﻘﺪ ﺳﺎﻋﺪ ﻋﻠﻰ ذﻟﻚ إﻫﺘﻤﺎم وﺗﺸﺠﻴﻊ وﺗﺬوق‬ ‫ﺳﻜﺎﻧﻬﺎ ﻟﻠﻤﻮﺳﻴﻘﻰ واﻟﻤﻬﺘﻤﻴﻦ ﻣﻦ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪.‬‬ ‫ﺿﺎﻗﺖ ﻗﺎﻋﺔ اﻟﻤﻮﺳﻴﻘﻴﺔ اﻟﺤﺎﻟﻴﺔ اﻟﺘﻲ ﺷﻴﺪت ﻓﻲ ﻋﺎم‬ ‫‪ ١٩٣٦‬م ﺑﺎ‪4‬ﻋﺪاد اﻟﻤﺘﻨﺎﻣﻴﺔ ﻣﻦ اﻟﻤﺴﺘﻤﻌﻴﻦ وﺑﻌﺪد‬ ‫اﻟﻌﺮوض ﺳﻨﻮﻳ[ ‪ ،‬ا‪4‬ﻣﺮ اﻟﺬي ﺷﺠﻊ ﻋﻠﻰ ﺿﺮورة ﺑﻨﺎء‬ ‫ﻗﺎﻋﺔ ﻣﻮﺳﻴﻘﻴﺔ ﻛﺒﻴﺮة ﺟﺪﻳﺪة‪ ،‬ﻛﺬﻟﻚ إﻳﺠﺎد ﺳﺎﺣﺔ ﻋﺎﻣﺔ‬ ‫ﺟﺪﻳﺪة ﻟﺴﻜﺎن اﻟﻤﺪﻳﻨﺔ‪ .‬اﺳﺘﻠﻬﻤﺖ ﻓﻜﺮة اﻟﺘﺼﻤﻴﻢ‬ ‫ﻣﻦ ﺷﻜﻞ ﻣﻮﺟﺎت ا‪4‬ﺻﻮات اﻟﻤﻮﺳﻴﻘﻴﺔ‪ ،‬وﺑﺈﺳﺘﺨﺪام‬ ‫ﺧﻄﻮط اﻟﻤﻮﺟﺎت اﻟﺼﻮﺗﻴﺔ وﺗﺬﺑﺬﺑﺎﺗﻬﺎ رﺳﻤﺖ ﺧﻄﻮط‬ ‫ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع ﻣﻦ ﻗﺎﻋﺎت ﻣﻮﺳﻴﻘﻴﺔ وﻓﺮاﻏﺎﺗﻬﺎ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ‪ .‬ﺗﺤﺘﻮي اﻟﻘﺎﻋﺔ ﻋﻠﻰ ﻗﺎﻋﺔ ﻣﻮﺳﻴﻘﻴﺔ‬ ‫ﻛﺒﻴﺮة ﺑﺴﻌﺔ ‪ ١٧٠٠‬ﻣﺴﺘﻤﻊ وﻏﺮﻓﺔ ﻣﻮﺳﻴﻘﻴﺔ ﺑﺴﻌﺔ‬ ‫‪ ٤٠٠‬ﻣﺴﺘﻤﻊ ﺗﻢ ﺗﺠﻬﻴﺰﻫﺎ ﺑﺄﺣﺪث أﻧﻈﻤﺔ ا‪4‬ﺳﺘﻤﺎع‬ ‫واﻣﺘﺼﺎص ا‪4‬ﺻﻮات ‪ .‬إﻧﺸﺎﺋﻴ[ ﺗﻢ ﺑﻨﺎء اﻟﻘﺎﻋﺔ واﻟﻐﺮﻓﺔ‬ ‫ﺑﺘﻌﻠﻴﻘﻬﺎ ﻓﻲ اﻟﻬﻴﻜﻞ ا‪r‬ﻧﺸﺎﺋﻲ ﻟﻠﺴﻘﻒ ﻟﺘﺴﻤﺢ‬ ‫ﺑﻤﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﻟﻠﺴﺎﺣﺔ اﻟﻜﺒﻴﺮة ﻣﻦ ﺗﺤﺘﻬﺎ اﻟﺘﻲ ﺗﻀﻢ‬ ‫ﺑﻬﻮ ﻛﺒﻴﺮ وﺳﺎﺣﺔ ﻋﺎﻣﺔ ﻧﺼﻒ ﻣﻐﻠﻘﺔ ﺟﺎذﺑﺔ ﺗﺠﻤﻊ ﺑﻴﻦ‬ ‫ﺳﻜﺎن اﻟﻤﺪﻳﻨﺔ‪ .‬ﻳﻘﻊ اﻟﻤﺸﺮوع ﺑﻴﻦ اﻟﺼﺎﻟﺔ اﻟﻤﻮﺳﻴﻘﻴﺔ‬ ‫اﻟﺤﺎﻟﻴﺔ اﻟﺘﻲ ﺳﻴﺘﻢ إﻋﺎدة ﺗﺄﻫﻴﻠﻬﺎ وﺣﺪﻳﻘﺔ ﻋﺎﻣﺔ ﺣﻴﺚ‬ ‫ﻳﺤﺘﺮم ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع اﻟﺠﺪﻳﺪ اﻟﻌﻤﺎرة اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﻟﻬﻤﺎ ‪ ،‬وﺑﺤﻴﺚ ﻳﺘﻜﺎﻣﻞ ﻣﻌﻬﻤﺎ ﻟﺘﺸﻜﻴﻞ ﻣﺮﻛﺰ ﺟﺬب‬ ‫وﺗﺠﻤﻊ ﺛﻘﺎﻓﻲ ﻛﺒﻴﺮ ﻟﺴﻜﺎن اﻟﻤﺪﻳﻨﺔ ‪ .‬وﻟﻜﻲ ﻳﻌﺰز‬ ‫اﻟﺘﺼﻤﻴﻢ ﻓﻜﺮة إرﺗﺒﺎط اﻟﻤﺸﺮوع ﺑﻤﺤﻴﻄﻪ ﻏﻠﻒ‬ ‫اﻟﻤﺸﺮوع ﺑﻮاﺟﻬﺎت زﺟﺎﺟﻴﺔ ﻛﺒﻴﺮة ﻳﻤﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫ﻣﺸﺎﻫﺪة اﻟﺒﻬﻮ اﻟﻜﺒﻴﺮ وﻣﺎ ﺑﺪاﺧﻠﻪ ﻣﻦ ﻣﻜﻮﻧﺎت‬ ‫و أﻧﺸﻄﺔ ‪ ،‬ﺟﺎذﺑﺎ ﺑﺬﻟﻚ اﻟﺠﻤﻬﻮر ﻟﻠﺪﺧﻮل اﻟﻴﻪ‬ ‫‪r‬ﺳﺘﻜﺸﺎﻓﻪ وﺑﺤﻴﺚ ﺗﻨﺘﻬﻲ رﺣﻠﺔ إﺳﺘﻜﺸﺎف اﻟﻤﺸﺮوع‬ ‫ﻓﻮق اﻟﻤﺴﺘﻮى اﻟﻌﻠﻮي ﻓﻲ ﺷﺮﻓﺔ ﺗﻮﻓﺮ إﻃﻼﻟﺔ راﺋﻌﺔ‬ ‫ﻋﻠﻰ اﻟﻤﻨﻄﻘﺔ ﻣﻦ ﺣﻮﻟﻪ‪.‬‬

‫ ‪W Ozd « WNł«uK s¹—uEM‬‬

‫« ‪UN²% s WŠU K WO UŽ W½Ëd oOIײ vKŽ√ s UŽUI « oOKF²Ð `L ¹ wzUA½ù« ÂUEM‬‬

UŽUI « Èu² * r −

UŽUI « ‚u ÍuKF « Èu² LK r −

From the Architect Report : Zaha Hadid Architects have been selected by the jury of the international design competition to build the new Sverdlovsk Philharmonic Concert Hall in Yekaterinburg, Russia. Considered the capital of the Urals, the city of Yekaterinburg is Russia’s third largest economy. Its population has increased by over 10% in the past decade to 1.5 million and continues to grow as the primary hub and meeting point connecting east and west, Europe and Asia; attracting the many cultures, talents and industries from across Eurasia. Yekaterinburg has built a rich musical tradition and established its reputation as a cultural and artistic centre. The city’s acclaimed Ural Philharmonic Orchestra has performed in more than 20 countries 43 Albenaa

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and collaborates with renowned artists worldwide. The orchestra cultivates aspiring young talent and has as its foundation a dedicated, passionate and growing society of music lovers in Yekaterinburg and around the world. Performing to full houses all year round in the existing Sverdlovsk Philharmonic building that dates from 1936, the orchestra’s new home will provide an inspirational venue to meet the increasing popularity of the orchestra’s programme of concerts - and also create a new public plaza for the people of the city.

Echoing the physical aspects of sound waves, the design of the new Philharmonic Concert Hall is based on the properties of musical sound resonance creating wave vibrations in a continuous smooth surface. The

WOIOÝu*« WŽUI « `DÝ `{u¹ r −

UŽUI « qHÝ√ Èu² * r −

design re-interprets these physical acoustic properties to define spaces for the auditoria that are suspended within the canopy. Providing a 1,600-seat Concert Hall and a 400-seat Chamber Music Hall of the highest acoustic standards, these new auditoria are nestled within the surface deformations of the suspended canopy; liberating the lobbies from obstructions to open this space as a vibrant new gathering place for the local community.This new 21st century addition will inhabit the void between the existing buildings and Weiner Gardens; not competing with these heritage buildings, but complementing the ensemble that will include the preservation and renovation of the current concert hall as an integral element of the new world-class facility

that will be one of the focal points of the city’s cultural life.opening its transparent glass facade to offer views of the renovated gardens that includes an amphitheatre for outdoor performances throughout the summer.The lobby serves not only as an introduction to the world of symphony music, but also as a welcoming public plaza for all members of its local community.Enhancing its connections with the surrounding urban fabric of the city, large glazed facades blur the boundary between interior and exterior; inviting visitors to experience the spaces within that celebrate public gathering, civic forum and creative endeavour. The Philharmonic Concert Hall’s procession of interconnected public spaces continues through the building to its rooftop terrace.

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UNOKŽ UŽUI « W öÞ«Ë WOHK)« WI¹b×K ÂUŽ —uEM 45 Albenaa

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WHK² *« WŽUI « o «d lIð YOŠ WO{—√ X% U¹u² Àö¦ UL − 44 Albenaa

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© Render by VA

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qš«b « s vIOÝu*« WŽU

vIOÝu*« W dG —uEM Ë WŠU K dOþUM ≥ 46 Albenaa

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‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Mecanoo architecten‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻛﺎوﻫﺴﻴﻮﻧﺞ‪ ،.‬ﺗﺎﻳﻮان‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 141،000 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬

‫‪© Iwan Baan‬‬

‫اﻟﻤﺤﻠﻴﻴﻦ ‪ .‬ﻛﻤﺎ ﻳﺠﺐ أن ﻳﺮاﻋﻲ ﺗﺤﻘﻴﻖ اﻟﺘﺮاﺑﻂ ﺑﻴﻦ اﻟﻤﻜﻮﻧﺎت‬ ‫اﻟﻤﺘﻌﺪدة ﻟﻠﻤﺸﺮوع ذات اﻟﻄﺒﻴﻌﺔ اﻟﻤﺨﺘﻠﻔﺔ وﺗﺤﻘﻴﻖ اﻟﻔﻜﺮة‬ ‫ﻋﺒﺮ اﻟﺒﺤﺚ وا<ﻟﻬﺎم‪ .‬ﻣﺒﻨﻰ ﻣﺮﻛﺰ ﻛﺎوﻫﺴﻴﻮﻧﺞ اﻟﻮﻃﻨﻲ‬ ‫ﻟﻠﻔﻨﻮن اﻟﺬي ﻳﺒﻠﻎ ﻃﻮﻟﻪ ‪ ٢٢٥‬م وﻋﺮﺿﻪ ‪١٦٠‬م وﻳﺮﺗﻔﻊ ‪ ٣٨‬م‪،‬‬ ‫أﻃﻠﻖ ﻋﻠﻴﻪ إﺳﻢ »وي وﻳﻮﻧﺞ « ﻧﺴﺒﺔ ﻟﻠﺤﺪﻳﻘﺔ اﻟﺘﻲ ﻳﻘﻊ‬ ‫ﻓﻴﻬﺎ ‪ .‬ﻳﺤﺘﻮي اﻟﻤﺮﻛﺰ ﻋﻠﻰ ‪ ٤‬ﻓﺮاﻏﺎت رﺋﻴﺴﺔ ﻫﻲ ‪ :‬دار أوﺑﺮا‬ ‫ﺑﺴﻌﺔ ‪ ٢٢٣٦‬ﻣﻘﻌﺪ وﻗﺎﻋﺔ ﻣﻮﺳﻴﻘﻰ ﺑﺴﻌﺔ ‪ ١٩٨١‬ﻣﻘﻌﺪ‬ ‫وﻣﺴﺮح ﺑﺴﻌﺔ ‪ ١٢١٠‬ﻣﻘﻌﺪ وﻗﺎﻋﺔ إﻟﻘﺎء ﺑﺴﻌﺔ ‪ ٤٣٤‬ﻣﻘﻌﺪ‪،‬‬ ‫وﻳﻘﻊ ﻓﻮﻗﻬﺎ ﻋﺪد ﻣﻦ اﻟﺨﺪﻣﺎت ﻣﺜﻞ ﻓﺮاﻏﺎت اﻟﺘﺪرﻳﺐ ﻋﻠﻰ‬ ‫اﻟﻌﺮوض واﻟﻤﻄﺎﻋﻢ وا[روﻗﺔ ‪ ،‬ﺟﻤﻌﺖ ﻫﺬه ا[ﻧﺸﻄﺔ ﺗﺤﺖ‬

‫ﺳﻘﻒ واﺣﺪ ذو ﺳﻄﺢ ﻣﻤﻮج‪ .‬ﻳﺘﻤﺘﻊ اﻟﻤﺒﻨﻰ ﺑﻔﺘﺤﺎت ﻛﺒﻴﺮة‬ ‫ﻋﻠﻰ اﻟﺨﺎرج وﻓﻀﺎءات ﻋﺎﻣﺔ داﺧﻠﻴﺔ ﺗﻤﺘﺪ وﺗﺘﺨﻠﻞ ﺑﻴﻦ‬ ‫اﻟﻔﺮاﻏﺎت اﻟﺮﺋﻴﺴﺔ‪ .‬إﺳﺘﻠﻬﻢ اﻟﻤﺼﻤﻢ ﻓﻜﺮة اﻟﺴﻘﻒ اﻟﻤﻤﻮج‬ ‫واﻟﻔﻀﺎءات اﻟﺪاﺧﻠﻴﺔ ﻣﻦ ﻏﺎﺑﺎت أﺷﺠﺎر اﻟﺒﻨﺎﻳﺎن اﻟﻤﻨﺘﺸﺮة‬ ‫ﻓﻲ اﻟﻤﻨﻄﻘﺔ و ﻳﺮﺗﺒﻂ ﻣﺒﻨﻰ اﻟﻤﺮﻛﺰ إرﺗﺒﺎﻃ‪ g‬وﺛﻴﻘ‪ g‬ﺑﺎﻟﺤﺪﻳﻘﺔ‬ ‫اﻟﻌﺎﻣﺔ ‪ ،‬ﻓﺎﻟﻤﺒﻨﻰ ﻣﻔﺘﻮح ﻓﻲ ﻣﺴﺘﻮاه ا[رﺿﻲ ﻣﻦ ﻛﻞ‬ ‫ﺟﻮاﻧﺒﻪ وﻳﻌﺘﺒﺮ ﺑﻤﺜﺎﺑﺔ ﺳﺎﺣﺔ ﻋﺎﻣﺔ ﻛﺒﻴﺮة ﻣﻐﻄﺎة ‪ ،‬ﺑﺤﻴﺚ‬ ‫ﻳﺪﺧﻞ اﻟﻨﺎس إﻟﻴﻪ وﻳﻤﺮون ﻋﺒﺮ أروﻗﺘﻪ ﺑﺪون أن ﺗﻜﻮن ﻫﻨﺎك‬ ‫ﺣﺎﺟﺔ ﻟﺤﻀﻮر ﻓﻌﺎﻟﻴﺎﺗﻪ ‪ .‬وﻳﻨﺨﻔﺾ اﻟﺴﻄﺢ اﻟﻤﻤﻮج ﻟﻠﺴﻘﻒ‬ ‫ﻟﻴﻼﻣﺲ اﻟﻤﺴﺘﻮى ا[رﺿﻲ ﻟﻴﺸﻜﻞ ﻣﻴﻮﻟﻪ ﻣﺪرﺟﺎت ﻣﺴﺮح‬ ‫‪¡UM³ « ¥π‬‬

‫‪49 Albenaa‬‬

‫ﻣﺮﻛﺰ ﻛﺎوﻫﺴﻴﻮﻧﺞ ﻟﻠﻔﻨﻮن ا ﺳﺘﻌﺮاﺿﻴﺔ‬

‫ا ﻋﺘﺒﺎرات اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻠﻤﻜﺎن واﻟﻤﻨﺎخ وﻃﺒﻴﻌﺔ اﻟﻤﻮﻗﻊ واﻟﻤﺴﺎﺣﺎت اﻟﺨﻀﺮاء وا ﺿﺎءة وا ﻟﻮان‬ ‫واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ وﺣﺮف اﻟﺒﻨﺎء وأﺳﻠﻮب ﺣﻴﺎة اﻟﺴﻜﺎن اﻟﻤﺤﻠﻴﻴﻦ‬

‫)‪National Kaohsiung Center for the Arts (Weiwuying‬‬

‫ ‪nI « s ¡eł qJAð w² « Õd *« Uł—b …b¼UA sJ1Ë e dLK ÂUŽ dEM‬‬

‫ﻳﻤﺘﺪ اﻟﻤﺸﺮوع ﻋﻠﻰ ﻣﺴﺎﺣﺔ ‪١٤١،٠٠٠‬م‪ 2‬وﺳﻂ ﺣﺪﻳﻘﺔ ﻋﺎﻣﺔ‬ ‫اﺳﺘﻮاﺋﻴﺔ ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻬﺎ ‪٤٧٠،٠٠٠‬م‪ ٢‬ﺗﺠﺬب اﻟﺴﻜﺎن إﻟﻴﻬﺎ‬ ‫ﻓﻲ ﻣﺴﺎء ﻛﻞ ﻳﻮم ﻟ‪E‬ﻟﺘﻘﺎء ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ وﻣﻤﺎرﺳﺔ اﻟﺮﻗﺼﺎت‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﻤﺤﻠﻴﺔ اﻟﺠﻤﺎﻋﻴﺔ ‪ ،‬ﺣﻴﺚ ﺗﻘﻊ اﻟﺤﺪﻳﻘﺔ ﻓﻲ ﻗﻠﺐ‬ ‫ﻣﺪﻳﻨﺔ ﻛﺎوﻫﺴﻴﻮﻧﺞ ‪ ،‬ﻣﻤﺎ ﺷﺠﻊ ﻋﻠﻰ إﻗﺎﻣﺔ ﻫﺬا اﻟﻤﺮﻛﺰ‬ ‫اﻟﺬي ﻳﻌﺪ أﻛﺒﺮ ﻣﺮﻛﺰ ﻟﻠﻔﻨﻮن ا ﺳﺘﻌﺮاﺿﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ ‪،‬ﻛﻤﺎ‬ ‫إﻧﻪ ﻳﻌﺪ ﻛﺬﻟﻚ إﺳﺘﺜﻤﺎر‪ V‬ﺛﻘﺎﻓﻴ‪ W‬ﻛﺒﻴﺮ‪ V‬ﻟ‪U‬ﺟﻴﺎل اﻟﻘﺎدﻣﺔ‪ .‬ﻳﺒﻠﻎ‬ ‫ﺳﻜﺎن ﻣﺪﻳﻨﺔ ﻛﺎوﻫﺴﻴﻮﻧﺞ اﻟﺘﻲ ﺗﻘﻊ ﺟﻨﻮب ﺗﺎﻳﻮان ‪ ٣‬ﻣﻼﻳﻴﻦ‬ ‫ﻧﺴﻤﺔ‪ ،‬اﻟﻤﺪﻳﻨﺔ اﻟﺘﻲ ﻋﺮﻓﺖ ﻓﻲ اﻟﺴﺎﺑﻖ ﺑﻤﻴﻨﺎﺋﻬﺎ اﻟﻌﺎﻟﻤﻲ‬ ‫ﻫﻲ ا‪c‬ن ﻣﺪﻳﻨﺔ ﺣﺪﻳﺜﺔ ﻣﺘﻌﺪدة ا ﻋﺮاق و ذات ﺛﻘﺎﻓﺔ ﻏﻨﻴﺔ‪.‬‬ ‫∏‪¡UM³ « ¥‬‬

‫‪48 Albenaa‬‬

‫أﻗﻴﻢ اﻟﻤﺮﻛﺰ اﻟﺠﺪﻳﺪ ﻋﻠﻰ أرض ﻛﺎﻧﺖ ﻗﺎﻋﺪة ﻟﻠﺘﺪرﻳﺐ‬ ‫اﻟﻌﺴﻜﺮي وﻳﺮﻣﺰ اﻟﻤﺮﻛﺰ إﻟﻰ اﻟﺘﻄﻮر اﻟﺤﺪﻳﺚ ﻟﻠﻤﺪﻳﻨﺔ‬ ‫وﻳﻬﺪف إﻟﻰ ﺟﺬب وﺗﻮاﺻﻞ اﻟﻤﻮاﻫﺐ اﻟﻤﺤﻠﻴﺔ واﻟﻌﺎﻟﻤﻴﺔ ﻓﻲ‬ ‫اﻟﻔﻨﻮن واﻟﺜﻘﺎﻓﺔ ‪ .‬ﻳﺘﺒﻊ اﻟﺘﺼﻤﻴﻢ ﻣﻨﻬﺠﻴﺔ اﻟﻤﺼﻤﻢ اﻟﺘﻲ‬ ‫ﺗﻌﺘﻤﺪ ﻋﻠﻰ ا ﻫﺘﻤﺎم ﺑﺎﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ واﻟﻔﻀﺎءات‬ ‫اﻟﻌﺎﻣﺔ وإﻳﺠﺎد ﺗﻮازن ﺑﻴﻦ اﻟﻔﺮاﻏﺎت اﻟﺮﺳﻤﻴﺔ واﻟﺤﺮة وﻋﻼﻗﺘﻬﺎ‬ ‫ﻣﻊ اﻟﻔﻀﺎءات ﻣﻦ ﺣﻮﻟﻬﺎ‪ ،‬ﻛﻤﺎ ﻳﺠﺐ أن ﻳﺮاﻋﻲ اﻟﺘﺼﻤﻴﻢ ‪-‬‬ ‫ﻋﺒﺮ ﻣﺮاﺣﻠﻪ اﻟﻤﺨﺘﻠﻔﺔ ‪ -‬ا ﻋﺘﺒﺎرات اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻠﻤﻜﺎن واﻟﻤﻨﺎخ‬ ‫وﻃﺒﻴﻌﺔ اﻟﻤﻮﻗﻊ واﻟﻤﺴﺎﺣﺎت اﻟﺨﻀﺮاء وا ﺿﺎءة وا ﻟﻮان‬ ‫واﻟﻌﺎدات واﻟﺘﻘﺎﻟﻴﺪ وﺣﺮف اﻟﺒﻨﺎء وأﺳﻠﻮب ﺣﻴﺎة اﻟﺴﻜﺎن‬

© Iwan Baan © Iwan Baan

Ì s lHðdð w² « nI « Ułu9Ë t uŠ s oz«b(« oO MðË e dLK ÍuKŽ dEM e d*« s W Ozd « UŽUI « bŠ« UN²% s ÍËQ² »U³ qJý vKŽ dš¬ v ≈ ʬ

W¹uKF « …¡U{ù« Uײ Ë ÷—_« Èu² f öO t{UH ½≈Ë nI « Ułu9 WEŠö sJ1 UL ×U)« vKŽ UNŠU²H½≈Ë e dLK W UF « «¡UCH « 51 Albenaa

¡UM³ « μ±

‫ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ ‪ .‬ﻳﺸﻜﻞ ﻫﺬا اﻟﻤﺴﺮح اﻟﻔﺮاغ اﻟﺮﺋﻴﺲ‬ ‫اﻟﺨﺎﻣﺲ وﻳﺮﺑﻂ اﻟﻤﺮﻛﺰ ﺑﺎﻟﺤﺪﻳﻘﺔ ‪ .‬ﻣﻦ اﻟﻨﻮاﺣﻲ اﻟﺒﻴﺌﻴﺔ ﻓﺈن‬ ‫اﻟﺘﺼﻤﻴﻢ ﻳﺴﺘﺠﻴﺐ ﻟﻠﻤﻨﺎخ ا‪4‬ﺳﺘﻮاﺋﻲ ﻟﻠﻤﻨﻄﻘﺔ ‪ ،‬ﻓﻬﻮ ﻣﻨﺎخ‬ ‫ﺣﺎر ورﻃﺐ ﻣﻤﻄﺮ ﻣﻌﻈﻢ أﻳﺎم اﻟﺴﻨﺔ ﺧﺎﺻﺔ ﻓﻲ اﻟﺼﻴﻒ ‪.‬‬ ‫اﻟﻤﺒﻨﻰ ﻣﻔﺘﻮح ﻣﻦ ﻛﻞ ﺟﻮاﻧﺒﻪ ﻟﻴﺴﻤﺢ ﺑﺘﻬﻮﻳﺔ ﻓﻀﺎءﺗﻪ‬ ‫اﻟﻌﺎﻣﺔ ﻃﺒﻴﻌﻴ‪L‬؛ ﻓﺎﻟﻤﺪﻳﻨﺔ ﺗﻄﻞ ﻋﻠﻰ اﻟﻤﺤﻴﻂ وﻟﺬﻟﻚ ﺗﻢ‬ ‫ﺗﻮﺟﻴﻪ اﻟﻤﺒﻨﻰ ﻧﺤﻮه ‪4‬ﺳﺘﻘﺒﺎل اﻟﺮﻳﺎح اﻟﻘﺎدﻣﺔ ﻣﻨﻪ واﻟﺘﻲ‬ ‫ﺗﻤﺮ ﻗﺒﻞ دﺧﻮﻟﻬﺎ إﻟﻴﻪ ﻋﺒﺮ ﻧﺒﺎﺗﺎت وأﺷﺠﺎر اﻟﺤﺪﻳﻘﺔ اﻟﻤﺤﻴﻄﺔ‬ ‫أﻣﺎ اﻟﻘﺎﻋﺎت ﻓﻘﺪ ﺗﻢ ﺗﻜﻴﻴﻔﻬﺎ آﻟﻴ‪ . L‬وﻧﻈﺮ‪ T‬ﻟﻜﻮن اﻟﻠﻴﻞ‬ ‫ﻳﺄﺗﻲ ﻣﺒﻜﺮ‪ T‬ﻋﻨﺪ اﻟﺴﺎﻋﺔ اﻟﺴﺎدﺳﺔ ﻣﺴﺎء‪ T‬ﻓﺈن اﻟﺴﻜﺎن‬ ‫ﻳﺴﺘﻐﻠﻮن إﻧﺨﻔﺎض اﻟﺤﺮارة ﻟﻴ ًﻼ وﻳﻬﺮﻋﻮن إﻟﻰ ا‪W‬ﻣﺎﻛﻦ‬ ‫اﻟﻌﺎﻣﺔ اﻟﺘﻲ إﻫﺘﻤﺖ اﻟﺴﻠﻄﺎت اﻟﻤﺤﻠﻴﺔ ﺑﺈﻧﺎرﺗﻬﺎ ﻟﻴ ًﻼ‪ ،‬ﻣﻦ‬ ‫ﺷﻮارع وﻣﻄﺎﻋﻢ وﺳﺎﺣﺎت وﺣﺪاﺋﻖ ﻟ`ﺳﺘﻤﺘﺎع ﺑﺎﻟﻌﻴﺶ‬ ‫ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ واﻟﺘﻼﻗﻲ وﻣﻤﺎرﺳﺔ ﻫﻮاﻳﺘﻬﻢ اﻟﻤﺨﺘﻠﻔﺔ‪.‬‬ ‫ﻳﺴﺘﻠﻬﻢ ﻣﺮﻛﺰ اﻟﻔﻨﻮن ا‪4‬ﺳﺘﻌﺮاﺿﻴﺔ ﻓﻜﺮﺗﻪ اﻟﻤﻌﻤﺎرﻳﺔ ﻣﻦ‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﺨﻀﺮاء ﻟﻠﻤﻨﻄﻘﺔ ﻓﻔﻀﺎءاﺗﻪ ﺗﺸﺒﻪ إﻟﻰ ﺣﺪ ﺑﻌﻴﺪ‬ ‫ﻓﻀﺎءات ﻏﺎﺑﺎت أﺷﺠﺎر اﻟﺒﺎﻧﻴﺎن اﻟﻤﻨﺘﺸﺮة ﻓﻲ ﺣﺪاﺋﻖ اﻟﻤﺪﻳﻨﺔ‪.‬‬ ‫ﻳﻮﻓﺮ اﻟﺘﺼﻤﻴﻢ إﺿﺎءة ﻃﺒﻴﻌﻴﺔ ﺟﻴﺪة ﻟﻠﻔﻀﺎءات اﻟﻌﺎﻣﺔ‬ ‫اﻟﺪاﺧﻠﻴﺔ ﻋﺒﺮ ﻓﺘﺤﺎت ﻓﻲ ﺳﻘﻒ اﻟﻤﺮﻛﺰ ‪ ،‬وﻓﻲ اﻟﻠﻴﻞ ﻳﺘﻢ إﻧﺎرة‬ ‫اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ اﻟﺪاﺧﻠﻴﺔ ﺑﺄﻧﻈﻤﺔ إﻧﺎرة وأﻟﻮان ﻣﺘﻌﺪدة‪.‬‬ ‫إﻧﺸﺎﺋﻴ‪ L‬ﺗﻢ إﺳﺘﺨﺪام أﻧﻈﻤﺔ ﻣﺴﺘﻮاﺣﺎة ﻣﻦ أﻧﻈﻤﺔ ﺑﻨﺎء‬ ‫اﻟﺴﻔﻦ اﻟﺘﻲ ﺗﺴﺘﺨﺪم ﻣﻮاد ﻣﺜﻞ ا‪W‬ﻟﻮﻣﻨﻴﻮم أو اﻟﺤﺪﻳﺪ‪ ،‬ﻛﻤﺎ‬ ‫أن ﺗﺼﻤﻴﻢ اﻟﺤﻮاﺋﻂ اﻟﻤﺎﺋﻞ ﻳﺸﺒﻪ اﻟﺨﻄﻮط اﻟﻤﺎﺋﻠﺔ ﻟﺠﺴﻢ‬ ‫اﻟﺴﻔﻴﻨﺔ ‪ .‬ﻓﺼﻨﻊ اﻟﺴﻘﻒ ﻣﻦ ﻫﻴﻜﻞ ﺛﻼﺛﻲ ا‪W‬ﺑﻌﺎد ﻏﻄﻲ‬ ‫آن إﻟﻰ آﺧﺮ ﻓﺘﺤﺎت إﺿﺎءة‬ ‫ﺑﺄﻟﻮاح ﻣﻦ ا‪W‬ﻟﻮﻣﻨﻴﻮم ﺗﺘﺨﻠﻬﺎ ﻣﻦ ٍ‬ ‫ﻋﻠﻮﻳﺔ ﻛﻤﺎ ﺻﻨﻌﺖ اﻟﺤﻮاﺋﻂ اﻟﺪاﺧﻠﻴﺔ ﻣﻦ أﻟﻮاح اﻟﻔﻮﻻذ‪،‬‬ ‫اﺧﺘﻴﺮت ﻫﺬه اﻟﻄﺮق واﻟﻤﻮاد ‪W‬ﻧﻪ ﻻ ﻳﻤﻜﻦ إﺳﺘﺨﺪام ﻣﻮاد‬ ‫أﺧﺮى ﻣﺜﻞ اﻟﺒﻼط أو اﻟﺠﻴﺮ ﻧﺘﻴﺠﺔ إﻟﻰ إرﺗﻔﺎع ﻣﻌﺪل اﻟﺮﻃﻮﺑﺔ‬ ‫داﺧﻞ اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ ﻟﻠﻤﺒﻨﻰ اﻟﻤﻔﺘﻮﺣﺔ ﻋﻠﻰ اﻟﺨﺎرج ‪.‬‬ ‫ﻣﻦ اﻟﺪاﺧﻞ ﺗﻢ ﺗﺜﺒﻴﺖ ا‪4‬ﻧﺎرة اﻟﻌﻠﻮﻳﺔ ﻓﻲ اﻟﺴﻘﻒ داﺧﻞ‬ ‫ﻓﻮاﺻﻞ أﻟﻮاح اﻟﺘﻐﻄﻴﺔ اﻟﺘﻲ ﺗﺴﺘﺨﺪم ﻛﺬﻟﻚ ﻟﺘﻌﻠﻴﻖ ا‪W‬ﻋﻼم‬ ‫واﻟﻠﻮﺣﺎت ‪ .‬ﺑﺸﻜﻞ ﻋﺎم ﻳﻈﻬﺮ اﻟﻤﺒﻨﻰ ﺑﻨﻈﺎﻣﻪ ا‪4‬ﻧﺸﺎﺋﻲ‬ ‫اﻟﺨﺎص ﻋﻠﻰ ﻫﻴﺌﺔ ﺳﻔﻴﻨﺔ ﻛﺒﻴﺮة ﻛﻤﺎ أن ﺗﻤﻮﺟﺎت ﺳﻘﻔﻪ‬ ‫ﺗﻈﻬﺮ ﻋﻠﻰ ﻫﻴﺌﺔ أﻣﻮاج اﻟﺒﺤﺮ ‪.‬‬

‫‪e d*« qš«œ W UF « «¡UCHK W¹—ULF*« …dJH « UNM XLNK²Ý≈ w² « ÊU¹UM³ « —U−ý√ UÐUž‬‬

‫« ‪e dLK W UF « «¡UCH‬‬

‫‪01‬‬

‫‪02‬‬

‫‪03‬‬

‫‪04‬‬

‫‪WHK² *« vM³*« lÞUI `{u¹ qOBHð‬‬ ‫∞‪¡UM³ « μ‬‬

‫‪50 Albenaa‬‬

‫‪© Iwan Baan‬‬

‫‪05‬‬

‫«* ‪wł—U)« Õd‬‬

© Iwan Baan

vIOÝu*« WŽU

w{—_« —Ëb «

‰Ë_« —Ëb «

Õd *«

¡UI ù«WŽU Ë vIOÝu*« WŽU vKŽ w{dŽ ŸUD

wKš«b « Õd *« WŽU vKŽ ŸUD

«dÐË_« 53 Albenaa

¡UM³ « μ≥

WI¹b(« oO MðË e d*« qš«œ W Ozd « Už«dH « ‰UJý√Ë ◊uDš 5Ð f½U−² «Ë e d*«Ë WI¹b(« 5Ð W öF « `{u¹Ë ÂUF « l u*«

ÊU¹UM³ « WŠUÝ Ë√ W UF « e d*« «¡UCHÐd1 ŸUD

«dÐË_« —«œ vKŽ w{dŽ ŸUD

wKš«b « Õd *« 52 Albenaa

¡UM³ « μ≤

W UF « s U _« w WOŽUL'« UB d « WÝ—U2

¡U *« w WM¹b*« Ÿ—«uý

wł—U)« Õd *« ÷ËdŽ © National Kaohsiung Center for the Arts (Weiwuying)

From the Architect Report: The architecture of Weiwuying is inspired by the sinuous canopy created by clusters of banyan trees commonly found in the region. The single sweeping building covers a surface area of 141,000 and is set in the spectacular subtropical park in the heart of Kaohsiung , with a population of around 3 million, located in the south of Taiwan, once a major international harbour, is now a modern, diverse city with a rich cultural offer. The new National Kaohsiung Center for the Arts, occupying a site that was formerly a militarytraining base, symbolises the developing outlook for the city of Kaohsiung and Taiwan –with a mission to connect local and global talent through arts and culture.At 225 metres wide and 160 metres deep, Taiwan’s National Kaohsiung Center for the Arts ‘Weiwuying’ (after the park in which it sits) is an international performing arts building on a grand scale. It houses four state-of-the-art stages – a concert hall,an opera house, a playhouse theatre and a recital hall. Above the auditoria are facilities including rehearsal and event spaces, restaurants and a gallery. All thespaces are sheltered under a single wave of a roof. The building has wide windowsand sweeping foyers. Closely connected to the park, it draws people in, whether they are attending an event or not.The roof flows and undulates and, where it dips and touches the earth, it forms a fifth venue – a generous outdoor amphitheatre, with the park providing its informal stage. Including the outdoor theatre, the venues together seat over 7,000 people.A great covered plaza, open at all sides, winds its way right through the ground floor of the building, around the auditoria.

Because of the heat and humidity, Kaohsiung has a delightful air of informality. All year round, night falls at about 6pm. As darkness comes early and quickly, artificiallight is very important. People enjoy life on the streets, eating outside, gathering inthe evening when it is cooler – playing, picnicking, chatting, and mounting smalloutdoor performances. The plaza works like a banyan tree, gathering and sheltering people while allowingeasy movement in and out.The roof of Weiwuying is made of aluminium, minimally detailed, with organically shaped skylights cut into it at intervals. Meanwhile the walls of the building and the Banyan Plaza, also with openings cut into them, are constructed from steel.Because it is open, with no artificial climate control, the Banyan Plaza is subject to almost 100 percent humidity.

Moreover, an important part of its drama and character is its curves.

We tested various options and found, for example, that neither tiles nor stucco were suitable in such a humid climate.Eventually we had the idea of asking the local shipyards to help us Together with Dutch engineers, Kaohsiung’s shipbuilders came up with the solution – to construct the building, using prefabricated steel plates, like a ship.

Steel is an excellent material for use in earthquake zones, and the plates allow the building to move when there are tremors.Weiwuying really does look and feel like a big ship, but one in which the waves are not outside on the sea but are part of the vessel. It is the size of a large ocean liner,but we were clear that it should have the character of a cargo ship rather than aluxury liner. In fact, on the interior of the building, the joins provide opportunities forfitting lights, and hanging flags and banners.. Because of the position of the Banyan Plaza, and the way we created it,we were able to catch the wind from the ocean.The auditoria provide air conditioning, essential for all modern performing artsspaces. Daylight comes into the building through openings in the roof and walls. But Kaohsiung is a city that dresses up for the evening and as soon as the sundisappears at 6pm, the lights come on, with a wonderful array of colour and pattern.In the Banyan Plaza, we have installed an artificial lighting system that allows manydifferent ways of playing with colour and light.

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© National Kaohsiung Center for the Arts (Weiwuying)

© National Kaohsiung Center for the Arts (Weiwuying)

W¹–ôuH « Õ«u _« VO dð bFÐ e dLK WOKš«b « jz«u(«

e dLK WOKš«b « jz«u×K W¹–ôuH « Õ«u _« VO d² 5ð—u

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¡UM³ « μ∂

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect: Kengo Kuma‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬داﻧﺪي ‪ ،‬أﺳﻜﺘﻠﻨﺪا‬ ‫اﻟﻤﺴﺎﺣﺔ ا ﺟﻤﺎﻟﻴﺔ ‪8500 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2018 :‬م‬

‫‪© Hufton Crow‬‬

‫ﻛﺒﻴﺮ ﺻﻤﻢ ﺑﻤﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﻗﺎﻣﺔ اﻟﺤﻔﻼت أو ورش اﻟﻌﻤﻞ‬ ‫أو ﻣﻌﺎرض ﻓﻨﻴﺔ‪ ،‬ﻳﻀﻢ ﻫﺬا اﻟﻔﺮاغ ﺑﻬﻮ اﻟﻤﺘﺤﻒ وﻣﻘﻬﻰ‬ ‫وﻣﺤﻼت ﺑﻴﻊ اﻟﻬﺪاﻳﺎ وﻏﻄﻴﺖ ﺟﺪران اﻟﻔﺮاغ ﻣﻦ اﻟﺪاﺧﻞ‬ ‫ﺑﺄﻟﻮاح ﻣﻦ اﻟﺨﺸﺐ ﺗﺘﻨﺎﻏﻢ ﻣﻊ ا‪D‬ﻟﻮاح اﻟﺨﺎرﺟﻴﺔ اﻟﺨﺮﺳﺎﻧﻴﺔ‪.‬‬ ‫ﺗﻌﺒﺮ ﻣﻌﺮوﺿﺎت ﺻﺎﻻت اﻟﻤﺘﺤﻒ ﻋﻦ أﻫﻤﻴﺔ اﻟﺘﺼﻤﻴﻢ وﻣﺎ‬ ‫ﺣﻘﻘﺘﻪ أﺳﻜﺘﻠﻨﺪا ﻣﻦ إﻧﺠﺎزات ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل ‪.‬‬ ‫ﺗﻮﺟﺪ ﻓﻲ اﻟﺪور ا‪D‬ول ﺻﺎﻻت اﻟﻌﺮض اﻟﻤﺆﻗﺘﺔ واﻟﺪاﺋﻤﺔ‬ ‫وﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻬﺎ ‪ 1100‬م‪ 2‬وﺗﺆدي اﻟﺼﺎﻻت إﻟﻰ ﺷﺮﻓﺔ ﺗﻮﻓﺮ‬

‫إﻃﻼﻟﺔ ﻋﻠﻰ اﻟﻨﻬﺮ ﺑﻴﻨﻤﺎ ﻳﻮﺟﺪ ﻣﻄﻌﻢ ﻓﻲ اﻟﺪور ا‪D‬ول‬ ‫ﻳﻄﻞ ﻋﻠﻰ ﺑﻬﻮ اﻟﻤﺪﺧﻞ ﻛﻤﺎ ﺗﻮﺟﺪ ﻗﺎﻋﺔ ﻣﺤﺎﺿﺮات‬ ‫وﻓﺮاﻏﺎت ﺗﻌﻠﻴﻤﻴﺔ ﻓﻴﻪ ‪ .‬ﺻﻤﻤﺖ ا‪D‬ﻟﻮاح اﻟﺨﺮﺳﺎﻧﻴﺔ‬ ‫ا‪D‬ﻓﻘﻴﺔ ﻟﻠﻮاﺟﻬﺎت ﺑﻄﺮﻳﻘﺔ ﺛﻼﺛﻴﺔ ا‪D‬ﺑﻌﺎد وذﻟﻚ ‪D‬ن ﺟﻤﻴﻊ‬ ‫اﻟﺤﻮاﺋﻂ اﻟﺨﺎرﺟﻴﺔ ﻣﺎﺋﻠﺔ‪ ،‬ﺣﻴﺚ ﺗﻢ ﺻﺒﻬﺎ ﺑﺪﻗﺔ ﻓﻲ ﻗﻮاﻟﺐ‬ ‫ﺑﺈﺳﺘﺨﺪام ﺧﻠﻴﻂ ﻣﻦ اﻟﺤﺼﻰ وا‪D‬ﺳﻤﻨﺖ واﻟﺨﺮﺳﺎﻧﺔ‬ ‫اﻟﻤﺴﻠﺤﺔ‪ .‬وﺗﻢ ﺗﺜﺒﻴﺖ ﻛﻞ ﻟﻮح ﺑﺮﻛﻴﺰة ﻓﻲ ﻗﻨﻮات اﻟﺠﺪران‬ ‫ﺑﻌﻨﺎﻳﺔ ﻗﺒﻞ اﻟﺒﺪء ﺑﺎﻟﺒﻨﺎء‪.‬‬ ‫‪¡UM³ « μπ‬‬

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‫ﻣﺘﺤﻒ ﻓﻨﻮن اﻟﺘﺼﻤﻴﻢ ﻓﻲ اﺳﻜﺘﻠﻨﺪا‬ ‫ﻋﻤﺎرة ﻧﺤﺘﻴﺔ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﻄﺒﻴﻌﺔ اﻟﺠﻐﺮاﻓﻴﺔ‬

‫‪New V&A Dundee‬‬

‫ ‪×U)« s nײLK ÂUŽ dEM‬‬

‫ﺗﻬﺪف اﻟﻔﻜﺮة ا ﺳﺎﺳﻴﺔ ﻟﻠﺘﺼﻤﻴﻢ إﻟﻰ اﻟﺠﻤﻊ ﺑﻴﻦ اﻟﻌﻤﺎرة‬ ‫واﻟﻄﺒﻴﻌﺔ وﺗﺤﻘﻴﻖ ﻣﺒﻨﻰ ﻳﻜﻮن ﺑﻤﺜﺎﺑﺔ ﻏﺮﻓﺔ ﻣﻌﻴﺸﺔ‬ ‫ﻟﺴﻜﺎن اﻟﻤﺪﻳﻨﺔ ‪.‬‬ ‫ﺗﺄﺛﺮ اﻟﻤﺼﻤﻢ ﺑﺎﻟﻤﺮﺗﻔﻌﺎت اﻟﺼﺨﺮﻳﺔ ﻓﻲ اﻟﺸﻤﺎل اﻟﺸﺮﻗﻲ‬ ‫‪A‬ﺳﻜﺘﻼﻧﺪا ‪ ،‬و ﺑﺤﻴﺚ ﻳﺤﻘﻖ اﻟﺸﻜﻞ اﻟﺬي ﻳﺄﺧﺬه اﻟﻤﺘﺤﻒ‬ ‫ﺣﻮار ﺑﻴﻦ اﻟﺒﺤﺮ واﻟﻴﺎﺑﺴﺔ ‪.‬‬ ‫أﻗﻴﻢ اﻟﻤﺘﺤﻒ ﻋﻠﻰ ﻣﻮﻗﻊ ﻧﺘﺞ ﻣﻦ ردم اﻟﻨﻬﺮ ﺣﻴﺚ أﻗﻴﻢ‬ ‫اﻟﻤﺸﺮوع ﺿﻢ ﻣﺸﺮوع ﺗﻄﻮﻳﺮ ﺟﺪﻳﺪ ﻟﻠﻮاﺟﻬﺔ اﻟﺒﺤﺮﻳﺔ‬ ‫∏‪¡UM³ « μ‬‬

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‫ﻟﻠﻤﻴﻨﺎء ﺑﻠﻐﺖ ﺗﻜﻠﻔﺘﻪ ﺑﻠﻴﻮن ﺟﻨﻴﻪ إﺳﺘﺮﻟﻴﻨﻲ ‪ .‬اﻟﻤﺸﺮوع‬ ‫ﻳﻌﺪ ا ول اﻟﺬي ﻳﺼﻤﻤﻪ اﻟﻤﻌﻤﺎري اﻟﻴﺎﺑﺎﻧﻲ ﻛﻨﺠﻮ ﻛﻮﻣﺎ ﻓﻲ‬ ‫أﺳﻜﺘﻠﻨﺪا‪ .‬ﻳﺘﻜﻮن اﻟﻤﺘﺤﻒ ﻣﻦ ﻛﺘﻠﺘﻴﻦ ﺑﻮاﺟﻬﺎت ﻣﺎﺋﻠﺔ‬ ‫ﺗﻨﻔﺼﻞ ﻋﻦ ﺑﻌﻀﻬﺎ ﻓﻲ اﻟﺪور ا رﺿﻲ وﺗﺠﺘﻤﻊ ﻓﻲ اﻟﺪور‬ ‫ا ول‪ ،‬ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت ﻣﻦ اﻟﺨﺎرج ﺑﻌﺪد ‪ 2500‬ﻟﻮح ﻣﻦ‬ ‫اﻟﺨﺮﺳﺎﻧﺔ اﻟﺨﻔﻴﻔﺔ ﺻﻔﺖ ﺑﻄﺮﻳﻘﺔ أﻓﻘﻴﺔ ‪.‬‬ ‫ﻳﻤﺘﺪ اﻟﻤﺘﺤﻒ ﻓﻮق ﻧﻬﺮ ﺗﺎي ﺑﻴﻨﻤﺎ ﻳﻈﻬﺮ ﻃﺮﻓﻪ اﻟﻤﺪﺑﺐ‬ ‫ﻋﻠﻰ ﺷﻜﻞ ﻣﻘﺪﻣﺔ ﺳﻔﻴﻨﺔ ‪ .‬ﻓﻲ ﻫﺬه اﻟﻤﻘﺪﻣﺔ ﻳﻘﻊ ﻓﺮاغ‬

© Photos by Hufton Crow

t² bI* VÐb*« qJA « dNE¹ UL WOI _« WO½UÝd)« Õ«u _UÐ t²ODGðË WKzU*« tDz«uŠË WOł—U)« tð—ULŽ dNEð ×U)« s nײLK WHK² UDI 61 Albenaa

¡UM³ « ∂±

From the Architect Report: The V&A Dundee, in collaboration with Rapid Visual Media, have released drone footage and imagery ahead of the building’s opening, marking Kengo Kuma’s first UK project.

The footage showcases the new museum jutting out into Dundee’s River Tay, inspired by the cliffs of Scotland.

The museum is formed of 2,500 pre-cast concrete panels hung from complex curving walls, casting shadows which vary depending on weather conditions. As well as being Kuma’s first UK building, the V&A Dundee is also the first dedicated design museum in Scotland.

Having been selected to design the museum in November 2010, Kengo Kuma & Associates set about creating a project which would be a “living room for the city” where everyone would feel welcome.

The scheme’s exterior is defined by a jagged façade and wooden decking. Because none of the exterior walls of the building are straight, each panel was designed in advance in a 3D model, then meticulously cast in molds using a formula of stone aggregate, cement, and reinforcement mesh.

Each panel is paired with a corresponding bracket in the channels of the wall, all of which were carefully mapped out prior to construction beginning.

Inside, a large, welcoming public hall will serve as a lively and flexible public square that can accommodate a variety of uses, such as concerts, art workshops, installations, large-scale exhibitions and art pieces, and more. Large exhibition galleries, a ‘Design In Action’ center, museum shop, cafe, and restaurant are just a few programs that this public space will lead to, attracting international visitors and everyday citizens to this worldclass center of the arts and design.

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© Drawings by KKAA

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© Photos by Hufton Crow

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© Photos by Hufton Crow

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© Photos by Hufton Crow

ULNMOÐ jÐd « w nײ*« —ËœË ¡U*«Ë W ÐUO « 5Ð W öF « YOŠ s rLB*« U¼“«dÐ≈ v ≈ ·bN¹ w² « …dJH « `{uð ×U)« s nײLK WHK² UDI 66 Albenaa

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© Drawings by Arup

nײLK WOzUA½ù« U½uJLK WO×O{uð U uÝ— 69 Albenaa

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‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : JKMM Architects‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻫﻠﺴﻨﻜﻲ ‪ ،‬ﻓﻨﻠﻨﺪا‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 2200:‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2018 :‬م‬

‫‪© Mika Huisman‬‬

‫‪¡UM³ « ∑±‬‬

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‫ﻣﺘﺤﻒ آﻣﻮس رﻛﺲ ﻓﻲ ﻓﻨﻠﻨﺪا‬ ‫ﻋﻤﺎرة ﺗﺤﺎﻓﻆ ﻋﻠﻰ ﺳﺎﺣﺔ ﺗﺎرﻳﺨﻴﺔ‬

‫‪New Amos Anderson Art Museum‬‬

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© Mika Huisman © HANNU RYTKY

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‫‪© Tuomas Uusheimo‬‬

‫ ‪WŠU « X% lI¹ Íc « nײ*« …¡U{≈ UײH WOÞËd *« ‰UJý_« `{uðË WŠU K ÂUŽ dEM‬‬

‫أﻣﻮس رﻛﺲ ﻫﻮ ﻣﺘﺤﻒ ﺟﺪﻳﺪ ﻳﻘﻊ ﻓﻲ وﺳﻂ ﻣﺪﻳﻨﺔ‬ ‫ﻫﻠﺴﻨﻜﻲ‪ .‬ﻳﺠﺎور اﻟﻤﺘﺤﻒ ﻣﺒﺎﻧﻲ ذات ﻗﻴﻤﺔ ﻣﻌﻤﺎرﻳﺔ وﺗﺎرﻳﺨﻴﺔ‪.‬‬ ‫ﺻﻤﻢ اﻟﻤﺘﺤﻒ ﺑﺤﻴﺚ ﻳﻘﻊ ﺗﺤﺖ ﺳﺎﺣﺔ ﻛﺒﻴﺮة ﺗﻘﻊ ﺑﺪورﻫﺎ ﻓﻮق‬ ‫ﻣﺴﺘﻮى ا>رض وﻳﺘﻢ اﻟﺪﺧﻮل إﻟﻴﻪ ﻣﻦ داﺧﻞ ﻣﺠﻤﻊ ﺗﺠﺎري‬ ‫وﺗﺮﻓﻴﻬﻲ ﻳﻀﻢ ﻣﻄﺎﻋﻢ وﻣﺤﻼت ﺗﺠﺎرﻳﺔ ودار ﺳﻴﻨﻤﺎ ‪ .‬ﻳﺄﺗﻲ ﻫﺬا‬ ‫اﻟﺤﻞ ﻧﺘﻴﺠﺔ إﻟﻰ ﺿﺮورة اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﺘﻲ ﺗﻘﻊ ﻓﻮق‬ ‫اﻟﻤﺘﺤﻒ ﻓﻬﻲ ﺟﺰء ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﺒﺎﻧﻲ ذات ﻃﺎﺑﻊ ﻛﻼﺳﻴﻜﻲ‬ ‫ﻣﻦ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ ﺗﻘﻊ ﺣﻮﻟﻬﺎ ‪ .‬ﻋﻤﻞ اﻟﻤﺼﻤﻢ ﻣﻊ إدارة‬ ‫اﻟﺘﺨﻄﻴﻂ اﻟﻤﺤﻠﻴﺔ ‪Q‬ﻳﺠﺎد ﺣﻞ ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺴﺎﺣﺔ ﻛﻔﻀﺎء‬ ‫ﻋﺎم ﺣﻴﻮي وﻫﺎم وإﻗﺎﻣﺔ ﻣﺘﺤﻒ ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ ‪ 6230‬م‪ 2‬ﻳﻤﻜﻦ‬ ‫أن ﻳﺴﺘﻔﻴﺪ ﻣﻨﻪ ﺳﻜﺎن اﻟﻤﺪﻳﻨﺔ وﺟﺎء اﻟﺤﻞ ﺑﺤﻴﺚ ﻳﻘﻊ اﻟﻤﺘﺤﻒ‬ ‫ﺗﺤﺖ اﻟﺴﺎﺣﺔ وﺑﺤﻴﺚ ﺗﻈﻬﺮ أرﺿﻴﺔ اﻟﺴﺎﺣﺔ ﺑﺸﻜﻞ ﻣﺤﺪب ﻫﻮ‬ ‫≤∑ « ‪¡UM³‬‬

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‫ﻋﺒﺎرة ﻋﻦ ﻗﺒﻮ ﻛﺒﻴﺮ ﻳﻤﺜﻞ ﺳﻘﻒ اﻟﻤﺘﺤﻒ ‪ ،‬ﻛﻤﺎ ﺗﻢ ﻋﻤﻞ ﻓﺘﺤﺎت‬ ‫ﻋﻠﻮﻳﺔ ﻟ[ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ اﻟﺴﻘﻒ ﺗﺮﺗﻔﻊ ﻓﻮق اﻟﺴﺎﺣﺔ‬ ‫ﺑﺄﺷﻜﺎل ﻧﺤﺘﻴﺔ ﻣﺨﺮوﻃﻴﺔ وذات ﻗﻮاﻋﺪ داﺋﺮﻳﺔ ‪ .‬ﺗﻀﻴﻒ ﻫﺬه‬ ‫ا>ﺷﻜﺎل ﻃﺎﺑﻌ_ ﻣﺮﺣ_ ﻟﻠﺴﺎﺣﺔ ‪ .‬ﻣﻦ داﺧﻞ اﻟﻤﺘﺤﻒ إﺧﺘﺎر اﻟﻤﺼﻤﻢ‬ ‫ﻣﻮاﻗﻊ ﻫﺬه اﻟﻔﺘﺤﺎت ﺑﻌﻨﺎﻳﺔ ﺑﺤﻴﺚ ﻳﻤﻜﻦ ﻟﻠﺰوار ا‪Q‬ﻃﻼﻟﺔ إﻟﻰ‬ ‫ا>ﻋﻠﻰ ﻋﻠﻰ اﻟﺴﺎﺣﺔ ﻣﻤﺎ ﻳﻌﺰز ﻣﻦ ﺷﻌﻮرﻫﻢ ﺑﺎ‪Q‬رﺗﺒﺎط ﺑﺎﻟﺨﺎرج‬ ‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ وﺟﻮدﻫﻢ ﻋﻠﻰ ‪ 6‬أﻣﺘﺎر ﺗﺤﺖ ﻣﺴﺘﻮى ا>رض ‪ .‬وﻧﺘﻴﺠﺔ‬ ‫ﻟﻠﺸﻜﻞ اﻟﻤﻘﺒﺐ ﻟﺴﻘﻒ اﻟﻤﺘﺤﻒ ﺗﻤﻜﻦ اﻟﻤﺼﻤﻢ ﻣﻦ ﺟﻌﻞ‬ ‫ﻣﺴﺎﺣﺘﻪ اﻟﺘﻲ ﺗﺒﻠﻎ ‪ 2200‬م‪2‬ﺧﺎﻟﻴﺔ ﺗﻤﺎﻣﺎ ﻣﻦ ا>ﻋﻤﺪة ﺑﺤﻴﺚ‬ ‫ﺗﺤﻘﻖ ﻟﺼﺎﻻت اﻟﻌﺮض ﻣﺮوﻧﺔ إﺳﺘﻌﻤﺎل وﺗﻐﻴﻴﺮ ﻓﺎﺋﻘﺔ ‪ .‬ﻛﻤﺎ ﻗﺎم‬ ‫اﻟﻤﺼﻤﻢ ﺑﺈﻋﺎدة ﺗﺄﻫﻴﻞ دار اﻟﺴﻴﻨﻤﺎ وﻣﻜﻮﻧﺎت اﻟﻤﺮﻛﺰ اﻟﺘﺠﺎري‬ ‫اﻟﺬي ﻳﺮﺗﺒﻂ ﺑﻪ اﻟﻤﺘﺤﻒ إرﺗﺒﺎﻃ_ وﺛﻴﻘ_‪.‬‬

© Tuomas Uusheimo

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From the Architect Report: Designed by Finnish practice JKMM, Amos Rex - a major new art museum in Helsinki - is nearing completion. Amos Rex continues the work of Amos Anderson Art Museum (1965-2017) that was established at the bequest of Amos Anderson (1878-1961), a highly regarded Finnish philanthropist, art collector and entrepreneur. Located in the heart of the city, Amos Rex is sited across from the 1920s classicist Parliament building and diagonally opposite the Steven Holl designed Kiasma Museum. The entrance to Amos Rex is through Lasipalatsi (“glass palace”), a distinguished 1930s Functionalist pavilion comprising restaurants, shops, the Bio Rex cinema and an open square behind it. All the new build gallery spaces of Amos Rex, however, are underground. This radical approach to designing a 6,230 square metre building below Lasipalatsi Square was driven by the historically sensitive context of the neighbouring 19th century neo-classical barracks. The listing of the barracks was contingent on the retention of the former military parade ground - now Lasipalatsi Square - as an unbuilt open public space. JKMM worked with the City planners to determine how Lasipalatsi Square would remain as an important civic space within Helsinki while also allowing the public to enjoy Amos Rex’s only visible new built elevation, its roofscape. The solution came in the form of highly sculptural roof lights that also address the challenge of bringing daylight into the subterranean

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exhibition spaces. The roof lights create a new topography, their gently rolling forms playing on the idea of an urban park in keeping with the integrity of the square. Inside the gallery spaces, visitors looking up to the generous steelframed concrete skylights will feel connected to the city through JKMM’s carefully considered views opening out to the street-level above. The architects have felt it especially important for visitors to experience a sense of place, to feel located in a specific part of the city even when they are six metres below ground. From a museum design point of view, the structure of the large domed skylights has enabled JKMM to shape a column-free 2,200 square metre exhibition hall. Curators will find this a flexible space in which to mount exhibitions. The hall’s scale is awe-inspiring with the ceiling domes, and their historical associations, creating their own particular sense of drama. The subtle quality of light in the top-lit exhibition hall is similar to that achieved through clerestory lighting.Inside the Museum, sloping stairs lead up from the exhibition hall to Lasipalatsi’s foyer where visitors enter the building through the 1930s doors of the Bio Rex cinema. This forms a harmonious connection between new and existing buildings. JKMM has restored the 550-seat cinema auditorium together with rest of the listed Lasipalatsi Pavilion. This will be open to the general public as well as to museum visitors and show both art house and mainstream films.

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© Photos by Tuomas Uusheimo

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© Photos by Tuomas Uusheimo

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‫واﺣﺔ ﺣﻀﺮﻳﺔ‬ ‫وﺳﻂ اﻟﻤﺪﻳﻨﺔ‬ The Springs : ‫اﻟﻤﺼﻤﻢ‬ Architect : Henning Larsen ‫ اﻟﺼﻴﻦ‬: ‫اﻟﻤﻮﻗﻊ‬ ‫ م‬2020 : ‫ا ﻧﺘﻬﺎء اﻟﻤﺘﻮﻗﻊ ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

© All Renders by Henning Larsen and SLA

‫ﻳﺤﺎﻛﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع اﻟﺘﻀﺎرﻳﺲ اﻟﺠﺒﻠﻴﺔ ﻓﻲ اﻟﺮﻳﻒ‬ ‫اﻟﺼﻴﻨﻲ وﻣﻦ ﻃﺮﻳﻘﺔ اﻟﺘﺼﻮر و اﻟﺮﺳﻢ اﻟﺼﻴﻨﻲ اﻟﺘﻘﻠﻴﺪي‬ ،‫ ﻟﻠﻤﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ ﻣﻦ ﺟﺒﺎل وأﻧﻬﺎر و ﺷﻼﻻت‬Shan Shui .‫واﻟﺘﻲ ﺗﻨﻌﻜﺲ ﻓﻲ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻼﺛﺔ اﻟﻤﻜﻮﻧﺔ ﻟﻠﻤﺸﺮوع‬ ‫ﻳﻘﻊ اﻟﻤﺸﺮوع ﻓﻲ ﻣﻨﻄﻘﺔ ذات ﻛﺜﺎﻓﺔ ﻋﺎﻟﻴﺔ ﻣﻦ اﻟﻤﺒﺎﻧﻲ‬ ‫ اﺧﺘﻴﺮ ﻣﻮﻗﻊ اﻟﻤﺸﺮوع ﺑﻌﻨﺎﻳﺔ ﺑﺎ=ﺿﺎﻓﺔ إﻟﻰ ﺗﻮﻓﻴﺮ‬. ‫اﻟﺸﺎﻫﻘﺔ‬ ‫ﻣﺴﺎﺣﺎت ﺧﻀﺮاء ﻛﺜﻴﺮة ﻓﻲ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻼﺛﺔ ﻣﻦ ﺧﻼل إﻧﺸﺎء‬ ‫ﺷﺮﻓﺎت ﺧﺎرﺟﻴﺔ ﺑﺸﻜﻞ ﻣﺘﺪرج ﻳﺘﻢ زراﻋﺘﻬﺎ ﺑﺎ=ﺿﺎﻓﺔ إﻟﻰ‬ ‫ وﻳﻬﺪف ذﻟﻚ إﻟﻰ ﺗﺤﺴﻴﻦ‬،‫اﻟﺴﺎﺣﺎت اﻟﺨﺎرﺟﻴﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ‬ ،‫ﺟﻮدة اﻟﻬﻮاء واﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺗﻠﻮﺛﻪ واﻟﺤﺪ ﻣﻦ اﻟﻀﻮﺿﺎء‬ . ‫ﺑﺎ=ﺿﺎﻓﺔ إﻟﻰ ﺗﻮﻓﻴﺮ ا=ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ داﺧﻞ اﻟﻤﺒﺎﻧﻲ‬ ‫أﺣﻴﻄﺖ اﻟﻤﺒﺎﻧﻲ اﻟﺜﻼﺛﺔ ﺑﺴﺎﺣﺔ ﺧﺎرﺟﻴﺔ ﻋﺎﻣﺔ ﺗﻮﻓﺮ ﺣﺪﻳﻘﺔ‬ ‫ﻣﺸﺘﺮﻛﺔ ﺗﺨﺪم ﻣﺴﺘﺨﺪﻣﻲ اﻟﻤﺸﺮوع واﻟﻤﺒﺎﻧﻲ اﻟﻤﺠﺎورة‬ ‫ وﻳﻬﺪف اﻟﻤﺸﺮوع إﻟﻰ ﺗﻮﻓﻴﺮ ﻣﺴﺎﺣﺎت ﻋﻤﻞ‬،P‫واﻟﻤﺎرة أﻳﻀ‬ .‫ﻣﺴﺘﻘﺒﻠﻴﺔ ﻣﺮﻧﺔ وﻣﻨﺎﻃﻖ ﻣﺸﺘﺮﻛﺔ ﻣﺘﻌﺪدة‬

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From the Architect Report:Henning Larsen’s project The Springs evokes the dramatic mountain landscapes found throughout rural China, mirroring the mountain landscape with tall, terraced towers sheltering a green public square. The massing of the buildings creates a sheltered microclimate within this plaza, with building positioning and vegetation working to improve air quality, reduce noise pollution and bring natural light into the space. Designed in collaboration with landscape architects SLA, this central commons encourages natural pedestrian flow from all surrounding areas, inviting the surrounding community into an active shared space characterized by green gardens and public art. Inspired by shan shui, a traditional form of Chinese landscape painting, the terraces and balconies of the stepped buildings host lush gardens saturated with native vegetation. Aimed at creating future-thinking workspaces for creative industries, the three Henning Larsen-designed buildings of the masterplan provide wide provide flexible workspace and comfortable common areas.

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ÂUŽ —uEM

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‫ﺗﺮﺟﻤﺔ ﻋﺼﺮﻳﺔ‬ ‫ﻟﺜﻘﺎﻓﺔ اﻟﻤﺪﻳﻨﺔ‬ ‫‪Lè Architecture‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Aedas‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺗﺎﻳﻮان‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 11449٫8 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2017 :‬م‬

‫ﻳﻘﻊ اﻟﺒﺮج ﻓﻲ ﻣﺪﻳﻨﺔ ﺗﺎﻳﺒﻴﻪ ﻓﻲ ﺗﺎﻳﻮان وﻳﺮﺗﻔﻊ ﺣﺘﻰ ‪ 70‬ﻣﺘﺮ وﻳﻀﻢ‬ ‫‪ 18‬دوراَ ﻣﻦ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ‪ ،‬وﻳﻬﺪف إﻟﻰ إﻋﺎدة ﺗﺼﻮر ﺳﻤﺎء‬ ‫اﻟﻤﺪﻳﻨﺔ‪ .‬ﻳﺘﻤﻴﺰ اﻟﻤﺸﺮوع ﺑﻤﻮﻗﻌﻪ ﻓﻲ ﻣﻨﻄﻘﺔ ﻧﺎﻧﻐﻨﻎ اﻟﺘﻲ ﺗﻀﻢ‬ ‫ﻣﺮﻛﺰ ﻣﺎﻟﻲ وآﺧﺮ ﺗﻘﻨﻲ وﻣﺮﻛﺰ ﻟﻠﻤﻌﺎرض واﻟﻤﺆﺗﻤﺮات‪ .‬وﻳﺘﺮﺟﻢ‬ ‫ﺗﺼﻤﻴﻢ اﻟﺒﺮج ﺛﻘﺎﻓﺔ اﻟﻤﺪﻳﻨﺔ ﺑﺸﻜﻞ ﻣﻌﺎﺻﺮ‪ ،‬ﺣﻴﺚ اﺳﺘﻮﺣﻰ‬ ‫ﺷﻜﻠﻪ اﻟﺒﻴﻀﺎوي ﻣﻦ اﻟﺤﺼﻰ اﻟﻄﺒﻴﻌﻴﺔ اﻟﻤﻤﺘﺪة ﻋﻠﻰ ﻧﻬﺮ ﻛﻴﻠﻮﻧﺞ‬ ‫وﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ إﻧﺸﺎء ﻣﺒﻨﻰ ﺑﺘﺼﻤﻴﻢ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﻳﺠﺬب‬ ‫اﻟﻨﺎس ﺑﺸﻜﻠﻪ اﻟﺠﻤﻴﻞ ﺑﻮاﺟﻬﺎﺗﻪ اﻟﺨﻀﺮاء‪ ،‬ﻛﻤﺎ ﻳﺘﺮﺟﻢ ﻣﺠﻤﻮﻋﺔ‬ ‫ﻣﻦ ا‪R‬ﻓﻜﺎر ﻣﺜﻞ اﻟﺸﻜﻞ اﻟﺪاﺋﺮي وا‪R‬ﻧﺎﻗﺔ واﻟﻘﻮة واﻟﺸﺨﺼﻴﺔ‪ ،‬ﺣﻴﺚ‬ ‫ﻳﺪل ﺷﻜﻞ اﻟﻤﺒﻨﻰ اﻟﺒﻴﻀﺎوي ﻋﻠﻰ أﻧﻪ ﻣﺒﻨﻰ ﺣﺎﺿﻦ ﻟﻠﻤﻌﺮﻓﺔ‬ ‫وﺗﻨﺎﺳﻘﻪ ﻣﻊ اﻟﺴﻴﺎق اﻟﻤﺤﻠﻲ ﻟﻠﻤﻨﻄﻘﺔ‪ .‬ﻳﻮﻓﺮ اﻟﻤﺒﻨﻰ ﻣﺴﺎﺣﺎت‬ ‫ﻣﻜﺘﺒﻴﺔ ﺗﻔﺎﻋﻠﻴﺔ وﺻﺤﻴﺔ ﻣﻦ ﺧﻼل ﺗﻘﺪﻳﻢ ﻏﺮف ﻣﻌﻴﺸﻴﺔ ﺣﻀﺮﻳﺔ‬ ‫ﻋﻠﻰ ﻣﺨﺘﻠﻒ اﻟﻤﺴﺘﻮﻳﺎت ﺗﻀﻢ ﻣﺨﺎزن وﻣﻘﺎﻫﻲ وﻣﻜﺘﺒﺎت وﻫﻲ‬ ‫ﺷﺒﻪ ﻣﻔﺘﻮﺣﺔ ﺗﺮﺑﻂ اﻟﺒﻴﺌﺔ اﻟﺪاﺧﻠﻴﺔ ﻣﻊ اﻟﺨﺎرﺟﻴﺔ‪ .‬وﻳﺘﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ‬ ‫ﺑﺈﺳﺘﺪاﻣﺘﻪ ﻣﻦ ﺧﻼل أﻧﻈﻤﺔ وﺗﻘﻨﻴﺎت ﺣﺪﻳﺜﺔ ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺗﻮﻓﻴﺮ‬ ‫اﻟﻄﺎﻗﺔ‪ ،‬ﻳﻀﻢ اﻟﻤﺒﻨﻰ واﺟﻬﺔ ﺧﻀﺮاء ﺗﻄﻞ ﻋﻠﻰ اﻟﺠﻬﺔ اﻟﻐﺮﺑﻴﺔ‬ ‫وﺗﻮﻓﺮ ﺗﻈﻠﻴ ًﻼ ﻛﺎﻓﻴ‪ b‬ﺗﺤﺪ ﻣﻦ إﻛﺘﺴﺎب اﻟﻤﺒﻨﻰ اﻟﺤﺮارة ‪ ,‬ﻛﻤﺎ‬ ‫اﺳﺘﺨﺪﻣﺖ اﻟﻨﺒﺎﺗﺎت ﻟﺘﻌﻤﻞ ﻛﻤﺮﺷﺤﺎت ﻟﻠﻬﻮاء‪ .‬ﻳﻐﻄﻲ اﻟﻤﺒﻨﻰ ﻣﻦ‬ ‫اﻟﺨﺎرج ﺷﺮاﺋﺢ ﻣﻦ ا‪R‬ﻟﻮﻣﻨﻴﻮم ﺗﻌﻤﻞ ﻋﻠﻰ اﻟﺘﻘﻠﻴﻞ ﻣﻦ ﺣﺪة أﺷﻌﺔ‬ ‫اﻟﺸﻤﺲ ﻓﻲ اﻟﺪاﺧﻞ ‪ .‬ﺣﺎز اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﺷﻬﺎدة ‪ LEED‬اﻟﺬﻫﺒﻴﺔ‪.‬‬ ‫‪From the Architect Report: The building design translates‬‬ ‫‪regional culture into a contemporary form. Drawing‬‬ ‫‪inspiration from the river pebbles along the Keelung River,‬‬ ‫‪it delivers a unique and aesthetically appealing exterior‬‬ ‫‪with a green façade. The design conveys the ideas of‬‬ ‫‪roundness and elegance, strength and character. The egg‬‬‫‪like shape implies it is an incubator of knowledge and a‬‬ ‫‪metaphor of intellectual revival, which integrates well with‬‬ ‫‪the local context and marks an important milestone in the‬‬ ‫‪revitalisation of the fast-emerging Nangang district.‬‬ ‫‪Lè Architecture aims to provide efficient, interactive and‬‬ ‫‪healthy office spaces. The ‘urban living rooms’ offer span‬‬‫‪leveled communal areas including pantries, cafes, libraries‬‬ ‫‪and breakout areas to create a comfortable and inspiring‬‬ ‫‪work environment. These semi-open areas also connect‬‬ ‫‪the indoor / outdoor environment.‬‬

‫‪¡UM³ « ∏¥‬‬

‫‪84 Albenaa‬‬

‫ ‪×U)« s Ãd³K WHK² UDI‬‬

‫«‪!uKO dN½ vKŽ …b²L*« —U−Š_« qJý s Ãd³K ÍËUCO³ « qJA « vŠu²Ý‬‬

‫‪www. saccompany.com.sa‬‬

‫اﻟﻔﻨﺪق اﻟﺘﻲ ﻳﺒﻠﻎ ﻋﺪدﻫﺎ ‪ 315‬ﻏﺮﻓﺔ‪.‬‬ ‫وﻳﻀﻢ اﻟﺪور اﻟﻌﺎﺷﺮ ﺟﻨﺎح ﻣﻠﻜﻲ ﻣﻊ‬ ‫ﻣﺠﺎﻟﺲ إﺳﺘﻘﺒﺎل وﻣﻄﺎﻋﻢ ‪ .‬ﻳﺤﺘﻮي‬ ‫ﻣﺒﻨﻰ اﻟﻔﻨﺪق ﻋﻠﻰ ﻋﺪد ‪ 14‬ﻣﺼﻌﺪ‬ ‫ﻣﻨﻬﺎ ﻣﺼﻌﺪﻳﻦ ﺑﺎﻧﻮراﻣﻴﻴﻦ‪ .‬ﻛﻤﺎ‬ ‫ﻳﺤﺘﻮي اﻟﻔﻨﺪق ﻋﻠﻰ ﻋﺪد ﻣﻦ ا‪:‬دوار‬ ‫اﻟﺘﺤﺖ أرﺿﻴﺔ اﻟﺘﻲ ﺗﻀﻢ ﻋﻠﻰ ﺧﺰاﻧﺎت‬ ‫اﻟﻤﻴﺎه وﻏﺮف اﻟﻜﻬﺮﺑﺎء واﻟﻤﺤﻮﻻت‬ ‫واﻟﺘﺤﻜﻢ وﻏﺮف اﻟﻤﻴﻜﺎﻧﻴﻜﺎ وﻣﻮاﻗﻒ‬ ‫اﻟﺴﻴﺎرات ﺑﺎ‪I‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﻄﺒﺦ‬

‫‪‚bMH « uNÐ‬‬

‫«*‪rFD‬‬

‫ ‪ ôUH²Š« WŽU‬‬

‫‪ UŽUL²ł« W dž‬‬

‫اﻟﺮﺋﻴﺲ وﻣﻐﺴﻠﺔ ﻣﻼﺑﺲ وﻗﺴﻢ‬ ‫ﻣﻌﻴﺸﺔ اﻟﻌﺎﻣﻠﻴﻦ‪ .‬ﺗﺘﻤﻴﺰ ﻋﻤﺎرة‬ ‫اﻟﻔﻨﺪق ﻣﻦ اﻟﺨﺎرج ﺑﺎ‪:‬ﻧﺎﻗﺔ ﺣﻴﺚ‬ ‫ﺻﻤﻤﺖ اﻟﻮاﺟﻬﺎت ﻋﻠﻰ ﺷﻜﻞ‬ ‫اﻟﻤﺸﺮﺑﻴﺎت اﻟﺘﻲ ﺗﻤﻴﺰت ﺑﻬﺎ اﻟﻌﻤﺎرة‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﻠﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة وﻟﻜﻨﻬﺎ‬ ‫ﺗﺤﻮﻟﺖ إﻟﻰ ﻋﻨﺼﺮ ﻣﻌﻤﺎري ﺣﺪﻳﺚ ﻣﻦ‬ ‫ﻋﻨﺎﺻﺮ اﻟﻬﻴﻜﻞ ا‪I‬ﻧﺸﺎﺋﻲ ﻋﻠﻰ ﻫﻴﺌﺔ‬ ‫اﻋﻤﺪة ﺻﻔﺖ ﻋﻠﻰ اﻟﺤﺪود اﻟﺨﺎرﺟﻴﺔ‬ ‫ﻟﻠﻤﻮﻗﻊ ﻟﺘﺤﻤﻞ واﺟﻬﺔ اﻟﻔﻨﺪق‪.‬‬

‫إﺗﺨﺬت ا‪:‬ﻋﻤﺪة ﺷﻜ ً‬ ‫ﻼ ﻣﺨﺮوﻃﻴﺎ‬ ‫ﺑﺈرﺗﻔﺎع اﻟﺪورﻳﻦ ا‪:‬رﺿﻲ واﻟﻤﻴﺰاﻧﻴﻦ‬ ‫ﻟﻠﺘﺤﻮل إﻟﻰ وﺣﺪات ﻧﻤﻄﻴﺔ ﻃﻮﻟﻴﺔ‬ ‫ذات وﺟﻬﺘﻴﻦ ﺗﻐﻄﻲ اﻟﻤﺸﺮﺑﻴﺎت‬ ‫اﻟﺨﺮﺳﺎﻧﻴﺔ وﺟﻪ ﻣﻨﻬﺎ اﻣﺎ اﻟﻮﺟﻪ ا]ﺧﺮ‬ ‫ﻟ`ﻋﻤﺪة ﻓﺘﻐﻄﻴﻪ ﻧﻮاﻓﺬ زﺟﺎﺟﻴﺔ‪.‬‬ ‫ﺻﻨﻌﺖ اﻟﻮاﺟﻬﺎت ﻣﻦ وﺣﺪات ﻣﻦ‬ ‫اﻟﺨﺮﺳﺎﻧﺔ اﻟﻤﺴﺒﻘﺔ اﻟﺼﻨﻊ اﻟﺘﻲ ﻳﺘﻢ‬ ‫ﺗﺮﻛﻴﺒﻬﺎ ﺑﻌﺪ ذﻟﻚ ﻓﻰ اﻟﻤﻮﻗﻊ ‪.‬‬ ‫)اﻟﻤﺼﺪر‪ :‬ﺗﻘﺮﻳﺮ ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ(‬

‫‪¡UM³ « ∏π‬‬

‫‪89 Albenaa‬‬

‫ﻣﻦ أﻋﻤﺎل‬

‫ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ‬

‫ﻓﻨﺪق ﻛﻤﺒﻨﺴﻜﻲ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬

‫‪Kempinski Madinah Hotel‬‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﻣﺆﺳﺴﺔ ﺑﺎذل اﻟﺨﻴﺮ‬ ‫اﻟﻤﻘﺎول اﻟﺮﺋﻴﺲ ‪:‬‬ ‫ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ ﻟﻠﻤﻘﺎوﻻت‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 3195 :‬م‪2‬‬

‫ ‪ÂUŽ —uEM‬‬ ‫∏∏ « ‪¡UM³‬‬

‫‪88 Albenaa‬‬

‫ﻳﺠﻤﻊ ﻓﻨﺪق ﻛﻤﺒﻨﺴﻜﻲ اﻟﺠﺪﻳﺪ‬ ‫ﻓﻲ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة ﺑﻴﻦ آﺻﺎﻟﺔ‬ ‫اﻟﻤﺎﺿﻲ و اﻟﻤﺴﺘﻘﺒﻞ ‪ .‬اﻟﻔﻨﺪق ﻳﻘﻊ‬ ‫ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﻐﺮﺑﻴﺔ ﺑﺎﻟﻘﺮب ﻣﻦ‬ ‫اﻟﺤﺮم ﺑﺤﻴﺚ ﻳﺒﻌﺪ ﻋﻨﻪ ‪ 500‬م ﻓﻘﻂ‪.‬‬ ‫ﺗﺒﻠﻎ اﻟﻤﺴﺎﺣﺔ اﻟﺘﻲ أﻗﻴﻢ ﻋﻠﻴﻬﺎ‬ ‫اﻟﻔﻨﺪق ‪ 3195،5‬م ‪ 2‬وﻳﺘﺄﻟﻒ ﻣﻦ‬ ‫‪ 12‬دور‪ N‬ﺑﺎ‪M‬ﺿﺎﻓﺔ إﻟﻰ دور اﻟﺴﻄﺢ‬ ‫وﻣﻬﺒﻂ ﻟﻠﻄﺎﺋﺮات اﻟﻌﺎﻣﻮدﻳﺔ ‪.‬‬ ‫ﺗﺮﺗﺪ ا‪R‬دوار ا‪R‬رﺿﻲ واﻟﻤﻴﺰاﻧﻴﻦ إﻟﻰ‬

‫اﻟﺪاﺧﻞ ﻟﺘﺸﻜﻞ رواق ﺑﺈرﺗﻔﺎع اﻟﺪورﻳﻦ‬ ‫ﻳﺤﻴﻂ ﺑﺎﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺠﻬﺎت اﻟﻤﻄﻠﺔ‬ ‫ﻋﻠﻰ اﻟﺸﻮارع اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻔﻨﺪق و‬ ‫ﻳﺤﺘﻮي اﻟﺪور ا‪R‬رﺿﻲ ﻋﻠﻰ اﻟﻤﺪاﺧﻞ‬ ‫وﺑﻬﻮ ا‪M‬ﺳﺘﻘﺒﺎل وﺻﺎﻟﻮﻧﺎت ا‪M‬ﻧﺘﻈﺎر‬ ‫ﺑﺎ‪M‬ﺿﺎﻓﺔ إﻟﻰ ﻗﺎﻋﺔ ﻣﺘﻌﺪدة ا‪R‬ﻏﺮاض‪.‬‬ ‫أﻣﺎ اﻟﻤﻴﺰاﻧﻴﻦ ﻓﻴﺤﺘﻮي ﻋﻠﻰ ﻣﻜﺎﺗﺐ‬ ‫وﻣﻄﺎﻋﻢ ‪ .‬وﻳﺤﺘﻮي اﻟﺪور ا‪R‬ول ﻋﻠﻰ‬ ‫ﻣﻄﺎﻋﻢ وﻗﺎﻋﺎت إﺟﺘﻤﺎﻋﺎت ﻓﻴﻤﺎ‬ ‫ﺗﺤﺘﻮي ا‪R‬دوار اﻟﻌﻠﻮﻳﺔ ﻋﻠﻰ ﻏﺮف‬

wJK*« ÕUM−K WAOF*« W dž

ÍcOHM² « ÕUM'«

©w¼® ÕUM' WAOF*« W dž

WOÝUOI « ·dG «

WOÝUOI « ·dG « 90 Albenaa

¡UM³ « π∞

‫ﻣﻦ أﻋﻤﺎل ‪ -‬ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ‬

‫ﻣﺸﺮوع إﺳﻜﺎن ﺿﺎﺣﻴﺔ اﻟﻤﻠﻚ ﻋﺒﺪ ا ـ ﻣﺨﻄﻂ ‪ 15‬ـ ﺟﺎزان‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﺪﻳﻨﺔ ﺟﺎزان‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 4٫245٫464 :‬م‪2‬‬ ‫ﻋﺪد اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ ‪ 4170 :‬ﻓﻴﻼ‬

‫‪www. saccompany.com.sa‬‬

‫ﻣﺸﺮوع ﺿﺎﺣﻴﺔ اﻟﻤﻠﻚ ﻋﺒﺪا – ﻣﺨﻄﻂ ‪15‬‬ ‫ﺑﻤﺪﻳﻨﺔ ﺟﺎزان ﻫﻮ أﺣﺪ ﻣﺸﺎرﻳﻊ وزارة اﻻﺳﻜﺎن‬ ‫ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﺷﺮﻛﺎت اﻟﻘﻄﺎع اﻟﺨﺎص واﻟﺬي ﺗﻘﻮم‬ ‫ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ ﺑﺘﺼﻤﻴﻤﻪ وﺗﻄﻮﻳﺮه وﺗﻨﻔﻴﺬه‪.‬‬ ‫ﻳﻘﻊ ﻣﺸﺮوع ﺿﺎﺣﻴﺔ اﻟﻤﻠﻚ ﻋﺒﺪا ﺑﺄﺣﺪ اﻟﻤﻮاﻗﻊ‬ ‫اﻟﻤﺘﻤﻴﺰة ﺑﻤﺪﻳﻨﺔ ﺟﺎزان ﺟﻨﻮب اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ‪ ،‬وﻳﺒﻌﺪ ﺣﻮاﻟﻲ ‪ 23‬ﻛﻴﻠﻮ ﻣﺘﺮ ﻣﻦ ﻣﻄﺎر‬ ‫اﻟﻤﻠﻚ ﻋﺒﺪاﻟﻌﺰﻳﺰ ﺑﺠﻴﺰان‪ ،‬وﺣﻮاﻟﻲ ‪ 15‬ﻛﻴﻠﻮ ﻣﺘﺮ‬ ‫ﻓﻘﻂ ﻋﻦ ﺟﺎﻣﻌﺔ ﺟﺎزان‪.‬‬ ‫ﻳﻤﺘﺪ اﻟﻤﺸﺮوع ﻋﻠﻰ ﻣﺴﺎﺣﺔ ‪4,245,464‬‬ ‫ﻣﺘﺮ ﻣﺮﺑﻊ‪ ،‬وﺗﻢ إﻋﺪاد اﻟﺘﺼﺎﻣﻴﻢ وﺗﻨﻔﻴﺬ‬ ‫اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ وﺗﻄﻮﻳﺮﻫﺎ ﻟﺘﺴﺘﻮﻋﺐ ﻛﺎﻓﺔ‬ ‫اﻟﺨﺪﻣﺎت ا‪V‬ﺳﺎﺳﻴﺔ ﻟﻠﻤﺸﺮوع‪ .‬وﻳﺸﻤﻞ‬ ‫ﻣﺸﺮوع ﺿﺎﺣﻴﺔ اﻟﻤﻠﻚ ﻋﺒﺪا ﺑﺠﻴﺰان‬ ‫ﺗﻨﻔﻴﺬ ‪ 4170‬ﻓﻴﻼ ﺳﻜﻨﻴﺔ ﻣﺘﻨﻮﻋﺔ اﻟﻨﻤﺎذج‬ ‫واﻟﺘﻘﺴﻴﻤﺎت اﻟﻤﻌﻤﺎرﻳﺔ‪ ،‬ﺻﻤﻤﺖ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﻓﻠﻞ دوﺑﻠﻜﺲ ﻣﺘﻌﺪدة اﻟﻤﺴﺎﺣﺎت‬ ‫وﻣﻜﺘﻤﻠﺔ اﻟﺨﺪﻣﺎت‪ ،‬وﻓﻘﺎ ﻟﻠﻤﻮاﺻﻔﺎت‬ ‫اﻟﻌﺎﻟﻤﻴﺔ واﻟﻤﻮاﺻﻔﺎت اﻟﻤﻌﺘﻤﺪة اﻟﺴﻌﻮدﻳﺔ‬ ‫وﻛﻮد اﻟﺒﻨﺎء اﻟﺴﻌﻮدي‪.‬‬ ‫وﻗﺪ ﺣﺮﺻﺖ اﻟﺸﺮﻛﺔ اﻟﻤﻄﻮرة ﺷﺮﻛﺔ ﺻﺮح‬ ‫اﻟﺘﻘﻨﻴﺔ ﺑﺎﻟﺘﻌﺎون ﻣﻊ وزارة ا\ﺳﻜﺎن واﻟﺸﺮﻛﺔ‬ ‫اﻟﻮﻃﻨﻴﺔ ﻟ]ﺳﻜﺎن ﻋﻠﻰ ﺗﻄﻮﻳﺮ وﺗﻨﻔﻴﺬ‬ ‫اﻟﻤﺸﺮوﻋﻴﻦ ﻟﻴﺸﻤﻞ ﻛﺎﻓﺔ اﻟﺨﺪﻣﺎت واﻟﻤﺮاﻓﻖ‪،‬‬ ‫ﺣﻴﺚ ﻳﺸﺘﻤﻞ اﻟﻤﺨﻄﻂ اﻟﻌﺎم ﻟﻜﻞ ﻣﺸﺮوع‬ ‫ﻋﻠﻰ ﻣﺴﺎﺟﺪ وﻣﺪارس وﻣﺴﺎﺣﺎت ﺧﻀﺮاء‬ ‫وﻃﺮق ﻣﺮﺻﻮﻓﺔ وإﻧﺎرة‪ .‬وﻗﺪ ﺗﻢ ﻣﺮاﻋﺎة ﺗﻮزﻳﻊ‬ ‫اﻟﻤﺴﺎﺣﺎت ﻓﻰ ﻛﺎﻣﻞ اﻟﻤﺨﻄﻂ ﻟﻠﻤﺸﺮوﻋﻴﻦ‬ ‫ﻟﻴﺆﻣﻦ ﻧﻮﻋ‪ f‬ﻣﻦ اﻟﺮاﺣﺔ واﻟﺨﺼﻮﺻﻴﺔ ﻟﻠﺴﻜﺎن‬ ‫ﻣﻊ ﺣﺮﻛﺔ ﺳﻴﺎرات وﻣﺸﺎة ﺳﻠﺴﺔ وﻣﻮاﻗﻒ‬ ‫ﻛﺎﻓﻴﺔ ﻟﻠﺴﻜﺎن‪ .‬وﺗﻢ ﻃﺮح اﻟﻤﺸﺮوﻋﻴﻦ ﺿﻤﻦ‬ ‫ﺑﺮﻧﺎﻣﺞ ﺳﻜﻨﻲ اﻟﻤﻘﺪم ﻣﻦ وزارة اﻻﺳﻜﺎن‬ ‫وﺗﺸﺮف ﻋﻠﻴﻪ اﻟﺸﺮﻛﺔ اﻟﻮﻃﻨﻴﺔ ﻟ]ﺳﻜﺎن‪،‬‬ ‫وﻳﺘﻀﻤﻦ اﻟﺘﻌﺎﻗﺪ ﻣﻊ ﻫﺬه اﻟﺠﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ‬ ‫اﻟﻤﺨﺘﺼﺔ ﺿﻤﺎن ﻣﻮاﺻﻔﺎت وﻣﻮاد اﻟﺒﻨﺎء وا‪V‬ﻋﻤﺎل‬ ‫ا\ﻧﺸﺎﺋﻴﺔ وﻣﺘﺎﺑﻌﺔ ﺟﻮدة اﻟﺘﻨﻔﻴﺬ وﻣﺘﺎﺑﻌﺔ‬ ‫ا\ﻧﺠﺎز واﻟﺘﺴﻠﻴﻢ ﻓﻲ اﻟﻤﺪد اﻟﻤﺘﻌﺎﻗﺪ ﻋﻠﻴﻬﺎ ﻣﻊ‬ ‫اﻟﻤﺴﺘﻔﻴﺪﻳﻦ‪ ،‬ﻛﻤﺎ أن ﺑﺮﻧﺎﻣﺞ ﺳﻜﻨﻲ اﻟﺤﻜﻮﻣﻲ‬ ‫اﻟﺬي ﻳﺘﻢ ﺗﻄﻮﻳﺮ ﻣﺸﺮوع راﺑﻴﺔ اﻟﺸﺮق وﻣﺸﺮوع‬ ‫ﺿﺎﺣﻴﺔ اﻟﻤﻠﻚ ﻋﺒﺪ ا ﻣﻦ ﺧﻼﻟﻪ ﻳﺘﻴﺢ ﻟﻠﻤﻮاﻃﻨﻴﻦ‬ ‫ﺗﻤﻠﻚ اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ ﻗﺒﻞ وأﺛﻨﺎء ﻣﺮﺣﻠﺔ‬ ‫اﻟﺘﻄﻮﻳﺮ ﺑﺘﻤﻮﻳﻞ ﺣﻜﻮﻣﻲ )ﻗﺮض ﺣﺴﻦ(‪.‬‬

‫)اﻟﻤﺼﺪر‪ :‬ﺗﻘﺮﻳﺮ ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ(‬

‫≥‪¡UM³ « π‬‬

‫‪93 Albenaa‬‬

‫ﻣﻦ أﻋﻤﺎل ‪ -‬ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ‬ ‫ﻣﺸﺮوع إﺳﻜﺎن راﺑﻴﺔ اﻟﺸﺮق ﺑﺎﻟﺮﻳﺎض‬

‫اﻟﻤﻮﻗﻊ ‪ :‬ﺷﺮق ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض ﺑﺎﻟﻘﺮب ﻣﻦ ﻃﺮﻳﻖ اﻟﺜﻤﺎﻣﺔ‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 300٫000 :‬م‪2‬‬ ‫ﻋﺪد اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ‪ 1047 :‬ﻓﻴﻼ وﺷﻘﺔ‬ ‫ﻣﺸﺮوع راﺑﻴﺔ اﻟﺸﺮق ﻫﻮ أﺣﺪ ﻣﺸﺎرﻳﻊ‬ ‫وزارة ا‪-‬ﺳﻜﺎن ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﺷﺮﻛﺎت‬ ‫اﻟﻘﻄﺎع اﻟﺨﺎص اﻟﺘﻲ ﺗﻘﻮم ﺷﺮﻛﺔ‬ ‫ﺻﺮح اﻟﺘﻘﻨﻴﺔ ﺑﺘﺼﻤﻴﻤﻪ وﺗﻄﻮﻳﺮه‬ ‫وﺗﻨﻔﻴﺬه‪ .‬ﻳﻘﻊ ﻣﺸﺮوع راﺑﻴﺔ اﻟﺸﺮق‬ ‫اﻟﺴﻜﻨﻲ ﺷﺮق ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض ﺑﺎﻟﻤﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬ﺣﻴﺚ ﻳﺘﻤﻴﺰ‬ ‫ﺑﺎﻟﻤﻮﻗﻊ اﻟﺠﻐﺮاﻓﻲ ﻓﻲ واﺟﻬﺔ اﻟﺮﻳﺎض‬ ‫اﻟﺸﺮﻗﻴﺔ ﺑﺎﻟﻘﺮب ﻣﻦ اﻟﻄﺮق اﻟﺮﺋﻴﺴﻴﺔ‬ ‫ﻣﺜﻞ ﻃﺮﻳﻖ اﻟﺜﻤﺎﻣﺔ واﻣﺘﺪاد اﻟﺪاﺋﺮي‬ ‫اﻟﺸﻤﺎﻟﻲ وﺑﺎﻟﻘﺮب ﻣﻦ ﻣﺨﻄﻄﺎت‬ ‫ﺳﻜﻨﻴﺔ وﻣﺸﺎرﻳﻊ إﺳﻜﺎن وﻃﻨﻴﺔ ﻳﺠﺮي‬ ‫ﺗﻄﻮﻳﺮﻫﺎ ﺣﺎﻟﻴ‪ Q‬ﺑﺎﻟﻘﺮب ﻣﻦ اﻟﻤﻮﻗﻊ‪.‬‬ ‫وﻳﻤﺘﺪ اﻟﻤﺸﺮوع ﻋﻠﻰ ﻣﺴﺎﺣﺔ ‪ 300‬اﻟﻒ‬ ‫ﻣﺘﺮ ﻣﺮﺑﻊ‪ ،‬وﺗﻢ إﻋﺪاد اﻟﺘﺼﺎﻣﻴﻢ وﺗﻨﻔﻴﺬ‬ ‫اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ وﺗﻄﻮﻳﺮ اﻟﻤﺸﺮوع ﻟﺘﻮﻓﻴﺮ‬ ‫ﻛﺎﻓﺔ اﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ ﻟﺘﻮﻓﻴﺮ ﺧﺪﻣﺎت‬ ‫ﻣﺘﻜﺎﻣﻠﺔ ﻟﺴﻜﺎن اﻟﻤﺸﺮوع‪.‬‬ ‫وﻳﺸﻤﻞ اﻟﻤﺸﺮوع ﺗﻨﻔﻴﺬ ﻧﺤﻮ ‪1047‬‬ ‫وﺣﺪة ﺳﻜﻨﻴﺔ ﻣﺘﻨﻮﻋﺔ اﻟﻨﻤﺎذج‬ ‫واﻟﺘﻘﺴﻴﻤﺎت اﻟﻤﻌﻤﺎرﻳﺔ ﺑﻤﺎ ﻳﺨﺪم ﺗﻨﻮع‬ ‫اﺣﺘﻴﺎج اﻟﻌﺎﺋﻠﺔ اﻟﺴﻌﻮدﻳﺔ‪ ،‬وﺗﻨﻘﺴﻢ‬ ‫اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ إﻟﻰ ﻓﻠﻞ دوﺑﻠﻜﺲ‬ ‫وﺷﻘﻖ ﻣﺘﻌﺪدة اﻟﻤﺴﺎﺣﺎت ﺑﺨﺪﻣﺎت‬ ‫ﻣﺘﻜﺎﻣﻠﺔ وﻓﻘﺎ ﻟﻠﻤﻮاﺻﻔﺎت اﻟﻌﺎﻟﻤﻴﺔ‬ ‫واﻟﻤﻮاﺻﻔﺎت اﻟﻤﻌﺘﻤﺪة اﻟﺴﻌﻮدﻳﺔ‬ ‫ووﻓﻘ‪ Q‬ﻟﻜﻮد اﻟﺒﻨﺎء اﻟﺴﻌﻮدي‪.‬‬ ‫)اﻟﻤﺼﺪر‪ :‬ﺗﻘﺮﻳﺮ ﺷﺮﻛﺔ ﺻﺮح اﻟﺘﻘﻨﻴﺔ(‬

‫≤‪¡UM³ « π‬‬

‫‪92 Albenaa‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ ‪¡UM³ « o×K‬‬

‫ﻣﺼﻨﻊ اﻟﺒﺮاك ﻟ ﺑﻮاب ا ﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫اﺧﺘﻴﺎرك ا ﻣﺜﻞ‬

‫ﻋﻠـــﻰ ﻣﺪى أﻛﺜـــﺮ ﻣـــﻦ ‪ ٢٦‬ﻋﺎم ﻧﺠـــﺢ ﻣﺼﻨﻊ‬ ‫اﻟﺒﺮاك ﻟ*ﺑﻮاب ا ﺗﻮﻣﺎﺗﻴﻜﻴﺔ ﻓﻲ ﺑﻨﺎء ﻣﻜﺎﻧﺔ‬ ‫راﺋـــﺪة ﻓـــﻲ ﻋﺎﻟﻢ ﺗﺼﻨﻴـــﻊ أﺑـــﻮاب اﻟﻜﺮاﺟﺎت‬ ‫ا وﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ 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 ا ﻟﻤﺎﻧﻴﺔ واﻟﺸﺮﻛﺔ ا ﻟﻤﺎﻧﻴﺔ‬ ‫اﻟﺘﻜﻨﻮﻟﻮﺟﻴـــﺔ و ا وﺗﻮﻣﺎﺗﻴﻜﻴﺔ ا ﺳـــﺘﺮاﻟﻴﺔ‬ ‫وﻏﻴﺮﻫﺎ ﻣﻜﺘﺴﺒﺔ ﺑﺬﻟﻚ ﺛﻘﺔ ووﻻء ﻋﻤﻼﺋﻬﺎ‪،‬‬ ‫ ﺟـــﻞ ذﻟـــﻚ ﺣﻘﻘـــﺖ ﻧﺠﺎﺣـــﺎت ﺳـــﺎﻫﻤﺖ‬ ‫ﻓـــﻲ ﺗﻨﻮﻳـــﻊ ﻣﻨﺘﺠﺎﺗﻬـــﺎ ﻟﺘﺸـــﻤﻞ ‪:‬ا ﺑـــﻮاب‬ ‫ا وﺗﻮﻣﺎﺗﻴﻜﻴﺔ اﻟﺴـــﺤﺎﺑﺔ ‪ ،‬ا ﺑـــﻮاب اﻟﻤﻨﺰﻟﻴﺔ‬ ‫اﻟﻤﻘﻄﻌﻴﺔ ‪ ،‬أﺑﻮاب اﻟﻘﻄﻌﺔ اﻟﻮاﺣﺪة ‪ ،‬أﺑﻮاب‬ ‫اﻟﺸـــﺮاﺋﺢ اﻟﻤﻌﺪﻧﻴﺔ ‪ ،‬أﺑﻮاب ﺣﻤﺎﻳـــﺔ اﻟﻤﺘﺎﺟﺮ‬ ‫)اﻟﺤﺪﻳـــﺪ و ا ﻟﻤﻨﻴـــﻮم( ‪ ،‬ا ﺑـــﻮاب اﻟﺼﻨﺎﻋﻴﺔ‬ ‫اﻟﺨﻔﻴﻔـــﺔ و ا ﺑـــﻮاب اﻟﺴـــﺤﺎﺑﺔ ﻟﻠﺸـــﺮاﺋﺢ‬ ‫اﻟﻤﻌﺰوﻟـــﺔ ‪ ،‬ا ﺑـــﻮاب اﻟﺼﻨﺎﻋﻴـــﺔ اﻟﻤﻘﻄﻌﻴﺔ‬ ‫اﻟﻤﻌﺰوﻟـــﺔ ‪ ،‬ا ﺑـــﻮاب اﻟﺼﻨﺎﻋﻴـــﺔ اﻟﺴـــﺤﺎﺑﺔ ‪،‬‬ ‫ا ﺑـــﻮاب اﻟﻤﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳﻖ وﺳـــﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ‬ ‫اﻟﺴـــﺤﺎﺑﺔ و ا ﺑـــﻮاب اﻟﻤﻌﺪﻧﻴـــﺔ اﻟﻤﺠﻮﻓـــﺔ‬ ‫اﻟﻤﻌﺰوﻟـــﺔ و اﻟﻤﻘﺎوﻣـــﺔ ﻟﻠﺤﺮﻳـــﻖ ‪ ،‬ا ﻧﻈﻤـــﺔ‬ ‫ا وﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ ﻟﻔﺘـــﺢ اﻟﺒﻮاﺑـــﺎت اﻟﺴـــﺤﺎﺑﺔ‬ ‫ﺑﻮاﺑﺎت اﻟﺪرﻓﺘﻴﻦ ) ﻧﻈﺎم ا ذرع ( ‪ .‬ﻓﺘﻮﺳﻌﺖ‬ ‫ﻓـــﻲ ﻣﺨﺘﻠـــﻒ ﻣﻨﺎﻃـــﻖ اﻟﻤﻤﻠﻜـــﺔ ﻣﻠﺒﻴـــﺔ‬ ‫اﺣﺘﻴﺎﺟـــﺎت ﻣﺨﺘﻠﻒ اﻟﻘﻄﺎﻋـــﺎت اﻟﺤﻜﻮﻣﻴﺔ و‬ ‫أﻫﻢ ﺷﺮﻛﺎت اﻟﻘﻄﺎع اﻟﺨﺎص وﺧﺼﻮﺻ[ ﻓﻲ‬ ‫اﻟﻤﺼﺪات ا رﺿﻴﺔ‬ ‫اﻟﻘﻄـــﺎع ا ﻣﻨﻲ ﻟﺘﺮﻛﻴـــﺐ‬ ‫ّ‬ ‫اﻟﻬﻴﺪروﻟﻴﻜﻴـــﺔ و اﻟﺤﻮاﺟـــﺰ ا وﺗﻮﻣﺎﺗﻴﻜﻴـــﺔ‬ ‫ا رﺿﻴﺔ 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 ‪.‬‬ ‫ا ﺑﻮاب اﻟﺼﻨﺎﻋﻴﺔ اﻟﺴﺤﺎﺑﺔ اﻟﺨﻔﻴﻔﺔ ‪:‬‬ ‫ﻣﺼﻨـــﻊ اﻟﺒـــﺮاك ﻟ*ﺑـــﻮاب اﻟﻜﺮاﺟـــﺎت راع ﻓﻲ‬ ‫ﺗﺼﻤﻴﻤـــﻪ ﻟﻬـــﺬا اﻟﻤﻨﺘﺞ ﺳـــﻬﻮﻟﺔ اﻟﺘﺮﻛﻴﺐ‬ ‫واﻟﺤـــﺪ ا دﻧﻰ ﻣﻦ اﻟﺼﻴﺎﻧﺔ ﻟﻌﻤﺮ أﻃﻮل ﻛﻤﺎ‬ ‫ﺗﻤﺘـــﺎز ﺑﺎﻟﻘـــﻮة و ا ﻣﺎن و ﻳﺘﻮﻓﺮ ﻫـــﺬا اﻟﻄﺮاز‬ ‫ﻣﻦ اﻟﺸﺮاﺋﺢ اﻟﻤﻌﺰوﻟﺔ ﺑﺄﻟﻮان ﻣﺘﻌﺪدة ﻛﻤﺎ‬ ‫ﺗﻌﻤﻞ ﺑﻨﻈﺎم ﻳﺪوي آﻟﻲ ‪.‬‬

‫ﺳﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ اﻟﻤﻌﺪﻧﻴﺔ اﻟﺴﺤﺎﺑﺔ ‪:‬‬ ‫ﺳـــﺘﺎﺋﺮ اﻟﻨﻮاﻓﺬ اﻟﻤﻌﺪﻧﻴﺔ اﺳـــﺘﺜﻤﺎر ﻣﺜﺎﻟﻲ‬ ‫ﻟﻤﺴﺎﻫﻤﺘﻪ ﻓﻲ اﻟﻌﺰل اﻟﺤﺮاري وﻋﺰل ا ﺗﺮﺑﺔ‬ ‫و ا ﻣﻄـــﺎر‪ ،‬ﻛﻤـــﺎ ﺗُﺼﻨّـــﻊ ﺑﺎﺳـــﺘﺨﺪام أﻓﻀﻞ‬ ‫ا ﺟـــﺰاء وﻗﻄـــﻊ اﻟﺘﺼﻨﻴـــﻊ اﻟﻤﺴـــﺘﻮردة ﻣﻦ‬ ‫أورﺑﺎ و ﺗُﺼﻨّﻊ ﺣﺴـــﺐ اﻟﻤﻘﺎﺳـــﺎت اﻟﻤﻄﻠﻮﺑﺔ‬ ‫ﻛﻤﺎ ﻳﻤﻜﻦ ﺗﺸﻐﻴﻠﻬﺎ ﺑﻨﻈﺎم ﻳﺪوي آﻟﻲ‪.‬‬ ‫ا ﺑﻮاب اﻟﺴﺤﺎﺑﺔ اﻟﻤﻘﺎوﻣﺔ ﻟﻠﺤﺮﻳﻖ ‪:‬‬ ‫ﻳﻮﻓـــﺮ ﻣﺼﻨﻊ اﻟﺒﺮاك ﻟ*ﺑـــﻮاب ا وﺗﻮﻣﺎﺗﻴﻜﻴﺔ‬ ‫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 ا ﺑﻮاب 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 ا رﺿﻴﺔ 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.‬‬

‫‪¡UM³ « πμ‬‬

‫‪95 Albenaa‬‬

‫ ‪¡UM³ « o×K‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ ﻋﻮازل اﻟﺨﻠﻴﺞ‬

‫اﻟﺘﻤﻴﺰ واﻟﺠﻮدة ﻟﺘﻮﻓﻴﺮ ﻣﻨﺘﺠﺎت ﺑﻤﻮاﺻﻔﺎت ﻋﺎﻟﻴﺔ‬

‫ﺷﺮﻛﺔ ﻋﻮازل اﻟﺨﻠﻴﺞ ﺷﺮﻛﺔ ﺳﻌﻮدﻳﺔ ﻓﺮﻧﺴﻴﺔ‬ ‫ﻣﺘﺨﺼﺼﺔ ﻓﻲ إﻧﺘﺎج اﻟﻌﻮازل اﻟﻤﺎﺋﻴﺔ ﻣﻦ‬ ‫ﻟﻔﺎت اﻟﺒﻴﺘﻮﻣﻴﻦ اﻟﻤﻌﺪﻟﺔ واﻟﻤﻘﻮاة ﺑﺄﻟﻴﺎف‬ ‫اﻟﺒﻮﻟﻴﺴﺘﺮ‪.‬‬ ‫ﺗﺄﺳﺴﺖ اﻟﺸﺮﻛﺔ ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض ﻋﺎم ‪٢٠٠٢‬‬ ‫و ﻗﺎﻣﺖ ﺑﺘﺮﻛﻴﺐ ﺧﻄﻮط اﻧﺘﺎج اﻟﻤﺎﻧﻴﺔ اﻟﺼﻨﻊ‬ ‫و ﺑﺄﺣﺪث ﻣﺎ ﺗﻮﺻﻠﺖ اﻟﻴﻪ ﺻﻨﺎﻋﺔ ﻟﻔﺎت اﻟﻌﺰل‬ ‫اﻟﻤﺎﺋﻲ ﻣﻦ ﺗﻘﻨﻴﺎت و ﺧﺒﺮات‪ ،‬و ﻫﻲ ﺧﻄﻮط‬ ‫اﻧﺘﺎج ذاﺗﻴﺔ اﻟﺘﺸﻐﻴﻞ ﺑﻨﻈﺎم ﺗﺤﻜﻢ اﻟﻜﺘﺮوﻧﻲ‬ ‫ﻣﺘﻜﺎﻣﻞ و ﻋﺎﻟﻲ اﻟﺘﻘﻨﻴﺔ ﻣﻦ ﺷﺮﻛﺔ ﺳﻴﻤﻨﺰ‪،‬‬ ‫وﺳﻌﺖ اﻟﺸﺮﻛﺔ ﻻﺣﻘﺎ اﺳﺘﺜﻤﺎرﻫﺎ ﻓﻲ ﻋﺎم‬ ‫‪ ٢٠١٧‬و ﺗﻢ ﺗﺮﻛﻴﺐ ﺧﻄﻮط اﻧﺘﺎج ﺟﺪﻳﺪة اﻳﻄﺎﻟﻴﺔ‬ ‫ﺣﺎﻓﻈﺖ ﻓﻴﻪ اﻟﺸﺮﻛﺔ ﻋﻠﻰ اﻋﻠﻰ ﻣﺴﺘﻮﻳﺎت‬ ‫اﻟﺘﻘﻨﻴﺔ اﻟﻤﺘﻮﻓﺮة ﻋﺎﻟﻤﻴﺎ ﻓﻲ ﻫﺬا اﻟﻤﺠﺎل ‪،‬‬ ‫ﻓﻤﻨﺬ اﻟﺒﺪاﻳﺔ ﺣﺮﺻﺖ اﻟﺸﺮﻛﺔ ﻋﻠﻰ اﻋﻠﻰ‬ ‫ﻣﺴﺘﻮﻳﺎت اﻟﺠﻮدة رﻏﺒﺔ ﻓﻲ ﺗﺤﺪﻳﺪ ﻣﻜﺎﻧﺔ و‬ ‫ﺳﻤﻌﺔ ﻟﻤﻨﺘﺠﺎﺗﻬﺎ ﺑﻨﺎء ﻋﻠﻰ اﻟﺠﻮدة و اﻟﺘﻤﻴﺰ ‪.‬‬ ‫و ﺗﺘﻤﻴﺰ ﺷﺮﻛﺔ ﻋﻮازل اﻟﺨﻠﻴﺞ ﻣﻦ ﺑﻴﻦ ﺷﺮﻛﺎت‬ ‫و ﻣﺼﺎﻧﻊ اﻟﻌﻮازل اﻟﻤﺎﺋﻴﺔ ﻓﻲ اﻟﻤﻨﻄﻘﺔ‬ ‫ﺑﻮﺟﻮد ﺷﺮﻳﻚ اﺟﻨﺒﻲ ﺗﻘﻨﻲ ﻣﺘﺨﺼﺺ و‬ ‫ذو ﺗﺎرﻳﺦ ﻋﺮﻳﻖ ﻓﻲ ﻣﺠﺎل ﻟﻔﺎت اﻟﻌﺰل اﻟﻤﺎﺋﻲ‬ ‫ﺑﺨﺒﺮة ﺗﻨﺎﻫﺰ اﻟﺴﺒﻌﻴﻦ ﻋﺎﻣ‪ Y‬ﻫﻮ ﺷﺮﻛﺔ‬ ‫اﻛﺴﺘﺮ ‪ AXTER‬اﻟﻔﺮﻧﺴﻴﺔ اﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﻓﻲ ﺻﻨﺎﻋﺔ ﻟﻔﺎت اﻟﻌﺰل اﻟﻤﺎﺋﻲ ‪ ,‬و ﺑﻮﺟﻮد‬ ‫ﺷﺮﻳﻚ اﺟﻨﺒﻲ اﺳﺘﺜﻤﺎري ذو ﺳﻤﻌﺔ ﻋﺎﻟﻴﺔ‬ ‫و ﺗﺎرﻳﺦ ﻋﺮﻳﻖ ﻓﻲ ﻣﺠﺎل ﺗﺮﻛﻴﺒﺎت اﻟﻌﻮازل‬ ‫اﻟﻤﺎﺋﻴﺔ ﻫﻮ ﺷﺮﻛﺔ ﺳﻤﺎك اﻟﻔﺮﻧﺴﻴﺔ ‪،SMAC‬‬ ‫اﻟﻤﻤﻠﻮﻛﺘﺎن ﻣﻦ ﻗﺒﻞ ﺷﺮﻛﺔ اﻟﺼﻨﺎﻋﺎت و‬

‫‪¡UM³ « π¥‬‬

‫‪94 Albenaa‬‬

‫اﻟﻤﻘﺎوﻻت اﻟﻔﺮﻧﺴﻴﺔ اﻟﺬاﺋﻌﺔ اﻟﺼﻴﺖ ﺑﻮﻳﺞ‬ ‫‪ BOUYGUES‬ﻣﻤﺎ اﺗﺎح ﻟﺸﺮﻛﺔ ﻋﻮازل‬ ‫اﻟﺨﻠﻴﺞ ﺑﺘﻮﻓﻴﻖ ﻣﻦ ا_ ﻧﻘﻞ اﻓﻀﻞ و اﺣﺪث‬ ‫ﻣﺎ ﺗﻮﺻﻠﺖ اﻟﻴﻪ اﻟﺼﻨﺎﻋﺔ ﻣﻦ ﺗﻘﻨﻴﺎت ﺗﺼﻨﻴﻊ و‬ ‫ﺿﺒﻂ ﺟﻮدة ﻟﻔﺎت اﻟﻌﺰل اﻟﻤﺎﺋﻴﺔ ‪ ,‬ﻣﻊ اﺳﺘﻤﺮار‬ ‫اﻟﺤﺼﻮل ﻋﻠﻰ اﻟﺪﻋﻢ اﻟﺘﻘﻨﻲ اﻟﻤﻤﻴﺰ و‬ ‫اﻟﺘﻄﻮﻳﺮ اﻟﻤﺴﺘﻤﺮ ‪.‬‬ ‫اﻟﺸﺮﻛﺔ ﺣﺎﺻﻠﺔ ﻋﻠﻰ ﺷﻬﺎدة اﻟﺠﻮدة‬ ‫اﻻوروﺑﻴﺔ ‪ CE‬و ﺷﻬﺎدة اﻟﺠﻮدة‬

‫اﻟﺴﻌﻮدﻳﺔ ‪ SASO‬ﺑﺎ‪b‬ﺿﺎﻓﺔ اﻟﻰ ﺷﺮﻛﺎﺗﻬﺎ‬ ‫ﻣﻊ ﻣﻨﻈﻤﺎت اﻟﺠﻮدة و اﻟﻤﻘﺎﻳﻴﺲ‬ ‫اﻟﻌﺎﻟﻤﻴﺔ ‪ ASTM‬و اﻳﻀﺎ اﺗﺤﺎد ﻣﺮﻛﺒﻴﻦ اﻟﻌﺰل‬ ‫اﻻﻣﺮﻳﻜﻴﻴﻦ ‪ NRCA‬ﻣﻊ ﺣﺮﺻﻬﺎ ﻋﻠﻰ اﻟﺘﻌﺎون‬ ‫ﻣﻊ ﻣﺨﺘﺒﺮات اﻟﻔﺤﺺ و اﻟﺠﻮدة ﻓﻲ اﻟﻤﻨﻄﻘﺔ‬ ‫ﻣﺜﻞ اﻟﻤﺨﺘﺒﺮات اﻟﺤﻮﻃﻲ ﺳﺘﻨﺠﺮ و ﺳﻴﻜﻮﺗﻚ ‪.‬‬ ‫و ﻗﺪ ﺗﻢ ﺑﺤﻤﺪ ا_ ﺗﺘﻮﻳﺞ ﻫﺬا اﻟﺠﻬﺪ‬ ‫ﺑﻤﺒﻴﻌﺎت ﻣﺤﻠﻴﺔ ﻣﺘﻤﻴﺰة ﻓﻲ ﻗﻄﺎع اﻟﻤﺸﺎرﻳﻊ‬ ‫اﻟﺤﻜﻮﻣﻴﺔ و اﻟﺘﺠﺎرﻳﺔ اﻟﻜﺒﺮى ذات اﻟﻤﺘﻄﻠﺒﺎت‬ ‫ﻋﺎﻟﻴﺔ اﻟﻤﻮاﺻﻔﺎت و ﻓﻲ اﻟﻘﻄﺎﻋﺎت اﻻﺧﺮى‬ ‫وﺻﻮﻻً اﻟﻰ اﻟﻤﺒﺎﻧﻲ اﻟﺨﺎﺻﺔ ذات اﻻﺣﺘﻴﺎﺟﺎت‬ ‫اﻻﻗﺘﺼﺎدﻳﺔ ﻣﻊ اﻟﺤﻔﺎظ داﺋﻤﺎ ﻋﻠﻰ اﻟﺠﻮدة‬ ‫اﻟﻌﺎﻟﻴﺔ ‪ ,‬ﻛﻤﺎ ﺣﺼﺪﻧﺎ ﺛﻤﺎر ﻫﺬا اﻟﺘﻤﻴﺰ ﻓﻲ‬ ‫ﺟﻮدة اﻟﻤﻨﺘﺠﺎت ﺑﺘﺼﺪﻳﺮ ﻣﻨﺘﺠﺎﺗﻨﺎ ﺑﻜﻞ‬ ‫ﺟﺪارة اﻟﻰ اﻛﺜﺮ ﻣﻦ ﺛﻼﺛﻴﻦ دوﻟﺔ ﺣﻮل اﻟﻌﺎﻟﻢ‪،‬‬ ‫ﻣﻨﻬﺎ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻻ اﻟﺤﺼﺮ ﻓﻲ اوروﺑﺎ‬ ‫) ﻓﺮﻧﺴﺎ و ﺑﻠﺠﻴﻜﺎ و اﺳﺒﺎﻧﻴﺎ و اﻟﺒﺮﺗﻐﺎل‬ ‫و ﺑﺮﻳﻄﺎﻧﻴﺎ و اﻳﺮﻟﻨﺪا ( و اﻣﺮﻳﻜﺎ اﻟﺠﻨﻮﺑﻴﺔ‬ ‫)اﻟﺒﺮازﻳﻞ و ﺗﺸﻴﻠﻲ و اﻻرﺟﻨﺘﻴﻦ و اﻟﺒﻴﺮو(‬ ‫و اﺳﻴﺎ ) إﻧﺪوﻧﻴﺴﻴﺎ و اﻟﻔﻠﺒﻴﻦ و ﻓﻴﺘﻨﺎم و‬ ‫ﻣﺎﻟﻴﺰﻳﺎ ( و اﻓﺮﻳﻘﻴﺎ ) اﻟﺴﻨﻐﺎل و ﻣﻮرﻳﺘﺎﻧﻴﺎ‬ ‫و ﺳﺎﺣﻞ اﻟﻌﺎج (ﻫﺬا ﺑﺎ‪b‬ﺿﺎﻓﺔ اﻟﻰ اﻟﺪول‬ ‫اﻟﻌﺮﺑﻴﺔ و دول اﻟﺨﻠﻴﺞ ‪ .‬ﺗﻮﻓﺮ ﺷﺮﻛﺔ ﻋﻮازل‬ ‫اﻟﺨﻠﻴﺞ ﻟﻌﻤﻼﺋﻬﺎ ﺗﺸﻜﻴﻠﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ‬ ‫ﻟﻔﺎت ﻋﺰل اﻟﻤﺒﺎﻧﻲ ﺗﻨﺎﺳﺐ ﻛﺎﻓﺔ اﻻﺣﺘﻴﺎﺟﺎت‬ ‫اﻟﻬﻨﺪﺳﻴﺔ واﻟﺸﺮﻛﺔ ﺗﺮﺣﺐ ﺑﺎﻻﺳﺘﻔﺴﺎرات‬ ‫ﻣﻦ اﻟﻤﻬﻨﺪﺳﻴﻦ و اﻟﻤﻜﺎﺗﺐ اﻻﺳﺘﺸﺎرﻳﺔ و‬ ‫ﺷﺮﻛﺎت اﻟﻤﻘﺎوﻻت و اﻟﻤﺮﻛﺒﻴﻦ و اﻟﻤﻮزﻋﻴﻦ و‬ ‫ﻛﺎﻓﺔ اﻟﻌﻤﻼء اﻟﻜﺮام ﻋﺒﺮ ﻣﻮﻗﻌﻨﺎ‪.‬‬

‫ ‪WO½öŽ≈ …œU ¡UM³ « o×K‬‬

‫ﺷﺮﻛﺔ اﻟﻔﺎرس ﻟﻠﺼﻨﺎﻋﺎت اﻟﺤﺪﻳﺪﻳﺔ واﻟﺴﻘﺎﻻت‬ ‫ﺗﺨﻄﻴﻂ ‪ ..‬ﻃﻤﻮح ‪ ..‬إﻧﺘﻤﺎء ‪ ..‬أﻣﺎﻧﺔ‬

‫«_‪”—UH « ÂUBŽ –U²Ý‬‬ ‫ﺑﺴﻢ ا! اﻟﺮﺣﻤﻦ اﻟﺮﺣﻴﻢ‬ ‫اﻟﻠﻬﻢ ﺻﻞ وﺳﻠﻢ ﻋﻠﻰ ﺳﻴﺪﻧﺎ ﻣﺤﻤﺪ وﻋﻠﻰ‬ ‫آﻟﻪ وﺻﺤﺒﻪ أﺟﻤﻌﻴﻦ‪.‬‬ ‫أﺑــــﺪأ ﺑﺎﻟﺸــــﻜﺮ ! ﻋﻠــــﻰ ﻧﻌﻤﺘــــﻪ اﻟﺘــــﻲ أﻧﻌﻢ‬ ‫ﻋﻠﻴﻨﺎ ﺑﺎ ﻣﻦ واﻻﺳــــﺘﻘﺮار واﻟﻌﺰة واﻟﻤﺠﺪ اﻟﺘﻲ‬ ‫ﺗﺤﻈــــﻰ ﺑﻬــــﺎ اﻟﻤﻤﻠﻜــــﻪ اﻟﻌﺮﺑﻴــــﺔ اﻟﺴــــﻌﻮدﻳﻪ‬ ‫واﺷــــﻜﺮ ا! اﻟﻌﻈﻴــــﻢ ﻋﻠــــﻰ ﻧﻌﻤﺘــــﻪ أن وﻟﻰ‬ ‫ﻋﻠﻴﻨــــﺎ ﻋﺎﺋﻠﺔ ﻛﺮﻳﻤــــﺔ ﺗﺨﺎف ا! ﻓﻴﻨــــﺎ وﻓﻴﻬﺎ ‪،‬‬ ‫ﻓﻤــــﺎ ﺧﻠﻒ ﻣﻠﻚ ﻣﻨﻬــــﻢ أﺧﺎه إﻻ ﻛﺎن ﺧﻴﺮ ﺧﻠﻒ‬ ‫ﻟﺨﻴــــﺮ ﺳــــﻠﻒ‪ ،‬وﻓﻲ ﻋﻬــــﺪ اﻟﻤﻠﻚ ﺳــــﻠﻤﺎن ﺑﻦ‬ ‫ﻋﺒﺪ اﻟﻌﺰﻳــــﺰ ووﻟﻲ ﻋﻬﺪه ا ﻣﻴﻦ ا ﻣﻴﺮ ﻣﺤﻤﺪ‬ ‫ﺑﻦ ﺳﻠﻤﺎن ﺑﻦ ﻋﺒﺪ اﻟﻌﺰﻳﺰ ﺣﻔﻈﻬﻤﺎ ا!‪.‬‬ ‫ﺗﻌﺘﺒــــﺮ ﺷــــﺮﻛﺔ اﻟﻔــــﺎرس اﻟﺪوﻟﻴــــﺔ ﻟﻠﺼﻨﺎﻋﺎت‬ ‫اﻟﺤﺪﻳﺪﻳــــﺔ واﻟﺴــــﻘﺎﻻت ﻣﻦ اﻟﺸــــﺮﻛﺎت اﻟﺮاﺋﺪة‬ ‫ﻓﻲ ﻫــــﺬا اﻟﻤﺠﺎل‪ .‬ﻣﻨﺬ ‪ 12‬ﻋﺎﻣ‪ 7‬ﺑﺪأت اﻟﺸــــﺮﻛﺔ‬ ‫ﻣﺴﻴﺮﺗﻬﺎ ﻣﻦ ﺧﻄﻂ اﻟﺘﻨﻤﻴﺔ ﻓﻲ ﻋﻬﺪ اﻟﻤﻠﻚ‬ ‫ﻋﺒــــﺪ ا! ﺑﻦ ﻋﺒــــﺪ اﻟﻌﺰﻳﺰ ـ ﻳﺮﺣﻤــــﻪ ا! ـ وﻣﻦ‬ ‫ﺛﻢ ﺗﺴــــﺎرﻋﺖ ﺧﻄﻰ اﻟﺘﻨﻤﻴــــﺔ ﻓﻲ ﻋﻬﺪ ﺧﺎدم‬ ‫اﻟﺤﺮﻣﻴﻦ اﻟﺸــــﺮﻳﻔﻴﻦ اﻟﻤﻠﻚ ﺳــــﻠﻤﺎن ﺑﻦ ﻋﺒﺪ‬ ‫اﻟﻌﺰﻳــــﺰ ووﻟﻲ ﻋﻬﺪه ﺻﺎﺣﺐ اﻟﺴــــﻤﻮ اﻟﻤﻠﻜﻲ‬

‫∂‪¡UM³ « π‬‬

‫‪96 Albenaa‬‬

‫ا ﻣﻴــــﺮ ﻣﺤﻤــــﺪ ﺑﻦ ﺳــــﻠﻤﺎن ﺑــــﻦ ﻋﺒــــﺪ اﻟﻌﺰﻳﺰ ـ‬ ‫ﺣﻔﻈﻬﻤﺎ ا!‪ .‬ﺣﻴﺚ ﻳﺘﻢ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺗﻄﻮﻳﺮ‬ ‫اﻟﻮﻃﻦ واﻟﻤﻮاﻃﻦ‪ ،‬وﺗﺮﺻﺪ ذﻟﻚ اﻟﺘﻄﻮﻳﺮ ﻓﻲ‬ ‫إﻋﺎدة ﻫﻴﻜﻠﺔ ﻛﻞ ﻣﻦ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ ﻟﻠﻮﻃﻦ‬ ‫وﻛﺬﻟﻚ ﻓﻲ رﻓﻊ ﻛﻔﺎءة اﻟﻤﻮاﻃﻦ ﺗﻤﺎﺷــــﻴ‪ 7‬ﻣﻊ‬ ‫ﻣــــﺎ ﺗﺴــــﺘﻬﺪﻓﻪ رؤﻳــــﺔ اﻟﻤﻤﻠﻜــــﺔ ‪ 2030‬وﻣﻊ ﻣﺎ‬ ‫ﻳﺸﻬﺪه اﻟﻌﺎﻟﻢ ﻣﻦ ﻧﻤﻮ وﺗﻄﻮر‪ .‬وﻟﻌﻞ إﻧﺸﺎء‬ ‫ﺑﻌﺾ اﻟﻬﻴﺌﺎت اﻟﻔﻨﻴﺔ ﻛﻬﻴﺌﺔ اﻟﻤﻬﻨﺪﺳــــﻴﻦ‬ ‫وﻫﻴﺌــــﺔ اﻟﻤﻮاﺻﻔــــﺎت واﻟﻤﻘﺎﻳﻴــــﺲ واﻟﻜــــﻮد‬ ‫اﻟﺴﻌﻮدي ﺧﻴﺮ دﻟﻴﻞ ﻋﻠﻰ ذﻟﻚ‪.‬‬ ‫ﺛــــﻢ اﺳــــﺘﻄﺮد ﻗﺎﺋــــ ً‬ ‫ﻼ ‪:‬إن ﻓﻲ ﺑﺪاﻳــــﺔ ﻛﻞ ﻋﻤﻞ‬ ‫ﺗﻮﺟــــﺪ اﻟﺼﻌﻮﺑــــﺎت وﺑﺎﻟﺘﺨﻄﻴــــﻂ واﻟﻄﻤــــﻮح‬ ‫واﻻﻧﺘﻤــــﺎء وا ﻣﺎﻧــــﻪ ﺗﺘﺒــــﺪد اﻟﺼﻌﻮﺑــــﺎت وﻗــــﺪ‬ ‫ﺗﻐﻠﺒﺖ ﺷــــﺮﻛﺔ اﻟﻔﺎرس ﻟﻠﺼﻨﺎﻋﺎت اﻟﺤﺪﻳﺪﻳﻪ‬ ‫واﻟﺴــــﻘﺎﻻت ﻋﻠــــﻰ ﻫــــﺬه اﻟﺼﻌﻮﺑــــﺎت ﺑﺮﺳــــﻢ‬ ‫ﺧﻄــــﻂ واﺿﺤﺔ وﻣﺘﻴﻨﺔ ﻣﺒﻨﻴــــﺔ ﻋﻠﻰ اﻟﻤﺒﺎدئ‬ ‫اﻋﻼه‪ .‬وﻛﺎن ذﻟﻚ ﻓﻲ ‪2003‬م اﻟﻰ ‪2008‬م وﻛﺎﻧﺖ‬ ‫ا ﻋﻤــــﺎل ﻣﺤــــﺪودة وﻓــــﻲ ‪2009‬م ﺣﺘــــﻰ ‪ 2012‬م‬ ‫ﺑﺪأﻧﺎ ﺑﺠﻨﻲ أرﺑﺎح ﻫــــﺬه اﻟﻤﺒﺎدئ واﻟﻘﻴﻢ اﻟﺘﻲ‬ ‫ﺟﻌﻠﺖ ﺷــــﺮﻛﺔ اﻟﻔﺎرس ﻟﻠﺼﻨﺎﻋــــﺎت اﻟﺤﺪﻳﺪﻳﻪ‬

‫واﻟﺴــــﻘﺎﻻت ﻣــــﻦ اﻟﺸــــﺮﻛﺎت اﻟﺮاﺋــــﺪة ﺑﺨﺪﻣﺎت‬ ‫اﻟﺸــــﺮﻛﺎت اﻟﻜﺒــــﺮى ﺑﺎﻟﻘﻮاﻟــــﺐ اﻟﺨﺮﺳــــﺎﻧﻴﺔ‬ ‫واﻟﺴﻘﺎﻻت واﻟﺘﺮﻛﻴﺐ واﻟﻔﻚ وا ﺣﻤﺎل ورﺳﻢ‬ ‫اﻟﻤﺨﻄﻄﺎت ﺣﺴــــﺐ اﻟﺪراﺳــــﺎت اﻟﻬﻨﺪﺳــــﻴﺔ ‪،‬‬ ‫ﻛﻤﺎ ﺷﺎرﻛﺖ اﻟﺸﺮﻛﺔ ﻓﻲ ﻣﻌﻈﻢ ا ﻋﻤﺎل ﻓﻲ‬ ‫ﻣﺤﻄﺎت اﻟﻤﺘﺮو وﻣﺤﻄﺎت اﻟﺒﺎﺻﺎت وﻣﺤﻄﺎت‬ ‫ﺻﻴﺎﻧــــﺔ اﻟﻤﺼﺎﻓــــﻲ ﻟﺸــــﺮﻛﺔ آراﻣﻜــــﻮ وﺑﻌﺾ‬ ‫ﻣﺸﺎرﻳﻊ ا‪g‬ﺳﻜﺎن ﻣﻊ ﻋﺪة ﺷﺮﻛﺎت‪.‬‬ ‫وﻧﺘﻤﻨــــﻰ ان ﺗﺮﻗــــﻰ اﻋﻤﺎﻟﻨــــﺎ اﻟﺘﺨﺼﺼﻴــــﺔ‬ ‫اﻟﻬﻨﺪﺳﻴﺔ ﻓﻲ ﻣﺎ ﺟﺎدت ﺑﻪ ﻣﻤﻠﻜﺘﻨﺎ اﻟﺤﺒﻴﺒﺔ‬ ‫ﻣﻦ اﻋﻤﺎل ﺗﺨﺪم اﻟﻤﻮاﻃﻦ ﺑﺤﺪ اﻋﻠﻰ وﺗﺮﻗﻰ‬ ‫إﻟﻰ ﺑﻨﺎء ﺣﻀﺎرة ﺟﺪﻳﺪة ﺗﺮﺗﻘﻲ إﻟﻰ ﻣﺴــــﺘﻮى‬ ‫اﻟﻘــــﺮن اﻟﻮاﺣــــﺪ واﻟﻌﺸــــﺮون‪ .‬ﻟــــﺬا ﺗﺮى ﺷــــﺮﻛﺔ‬ ‫اﻟﻔﺎرس ﻟﻠﺼﻨﺎﻋﺎت اﻟﺤﺪﻳﺪﻳﺔ واﻟﺴﻘﺎﻻت اﻧﻬﺎ‬ ‫ﻻ زاﻟــــﺖ ﻓــــﻲ ﺑﺪاﻳــــﺔ اﻟﻄﺮﻳﻖ وإﻛﻤــــﺎل اﻟﻤﺮﺣﻠﺔ‬ ‫اﻟﺠﺪﻳــــﺪة وﻫــــﻲ ﺑﻨــــﺎء اﻟﻤﺼﻨــــﻊ اﻟﺜﺎﻧــــﻲ ﻟﻬــــﺎ‬ ‫واﻟﺬي ﺳــــﻴﻜﻮن ﻃﻔﺮة ﻧﻮﻋﻴﺔ ﻓــــﻲ اﻟﺘﺼﻨﻴﻊ‬ ‫واﻟﺨﺪﻣﺎت اﻟﻤﻘﺪﻣﺔ ﻟﻠﺸﺮﻛﺔ‪ ،‬ﻛﻤﺎ اﻧﻨﺎ ﻗﺎﺋﻤﻴﻦ‬ ‫ﻋﻠﻰ ﺗﻐﻴﻴﺮ اﻟﺸﺮﻛﺔ ﻣﻦ ﺷﺮﻛﺔ ﻣﺤﺪودة إﻟﻰ‬ ‫ﺷﺮﻛﺔ ﻣﺴﺎﻫﻤﺔ ﻣﻐﻠﻘﺔ‪.‬‬

‫ﺷﺮﻛﺔ رﺿﺎﻳﺎت‬ ‫ﻟﻠﻄﻼء اﻟﻮاﻗﻲ اﻟﻤﺤﺪودة‬ ‫ﺣﺪﻳﺪ اﻟﺘﺴﻠﻴﺢ اﻟﻤﻄﻠﻲ ﺑﺎ ﻳﺒﻮﻛﺴﻲ‬ ‫إﻟﻰ ا\ﺧﻔﺎق اﻟﻜﻠﻲ اﻟﻤﻔﺎﺟﺊ ﻓﻴﻤﺎ ﺑﻌﺪ‬ ‫ﻣﻤﺎ ﻗﺪ ﻳﻨﺘﺞ ﻋﻨﻪ ا\ﻧﻬﻴﺎر‪ .‬وﻓﻲ اﻟﻐﺎﻟﺐ‬ ‫ﻳﻜـــﻮن ﻫﻨﺎﻟـــﻚ وﻗـــﺖ ﻗﺼﻴـــﺮ أو ﻻوﻗﺖ‬ ‫ﻳﺴﻤﺢ ﺑﺎﻟﺘﻔﺎﻋﻞ‪.‬‬ ‫ﻛﻤﺎ أن ﺷﻜﻞ ا\ﻧﺸـــﺎء اﻟﻤﺘﺄﺛﺮ ﺑﺎﻟﺘﺂﻛﻞ‬ ‫ﺑﺸﻊ‪ ،‬وﻏﺎﻟﺒ‪ 1‬ﻣﺎ ﺗﻜﻮن اﻟﺨﺮﺳﺎﻧﺔ وﺣﺪﻳﺪ‬ ‫اﻟﺘﺴﻠﻴﺢ اﻟﻤﺘﺂﻛﻞ ﻏﻴﺮ ﻣﻨﻈﻮر‪ ،‬أي أﻧﻪ ﻻ‬ ‫ﻳﺆﺛﺮ ﻓﻲ ﺑﻨﻴﺔ ا\ﻧﺸﺎء ﻓﻘﻂ وﻟﻜﻨﻪ ﻳﺆﺛﺮ‬ ‫ﻓﻲ ﺷـــﻜﻠﻪ ﺑﺪﻻﻟـــﺔ ﻇﻬـــﻮر اﻟﺘﺼﺪﻋﺎت‬ ‫واﻟﻘﺸﺮة واﻟﺜﺨﺎﻧﺔ‪.‬‬ ‫وﺑﺈﻳﺠـــﺎز ﻧﻘـــﻮل أن اﻟﻤﻤﻴـــﺰات اﻟﺮﺋﻴﺴـــﺔ‬ ‫ﻫﻲ ‪:‬‬ ‫‪ 1‬ـ ﺗﺰﻳﺪ ﻣﻦ ﻋﻤﺮ ا\ﻧﺸـــﺎء اﻟﺨﺮﺳﺎﻧﻲ ﻣﻊ‬ ‫ﺻﻴﺎﻧﺔ ﻣﻨﺨﻔﻀﺔ ‪ /‬اﻟﻬﻨﺪﺳﺔ اﻟﻘﻴﻤﻴﺔ‪.‬‬ ‫‪ 2‬ـ رﻓﻊ ﻣﻌﺪل وﻣﺴﺘﻮى اﻟﺴﻼﻣﺔ‪.‬‬ ‫اﻟﻤﻬﻨﺪس ‪ /‬رﻳﺎض اﻟﺤﻤﻮد ـ اﻟﻤﺪﻳﺮ اﻟﻌﺎم‬

‫ﻗﺎﻣـــﺖ ﺷـــﺮﻛﺔ رﺿﺎﻳﺎت ﻟﻠﻄـــﻼء اﻟﻮاﻗﻲ‬ ‫اﻟﻤﺤـــﺪودة ﺑﺈﻧﺘـــﺎج ﺣﺪﻳـــﺪ اﻟﺘﺴـــﻠﻴﺢ‬ ‫اﻟﻤﻄﻠـــﻲ اﻧﺼﻬﺎرﻳـــ‪ 1‬ﺑﺎ ﻳﺒﻮﻛﺴـــﻲ ﻓﻲ‬ ‫ﻋـــﺎم ‪1992‬م‪ ،‬ﺣﻴـــﺚ ﺗﺤﻈـــﻰ ﻣﻨـــﺬ ﻣﺪة‬ ‫ﻃﻮﻳﻠـــﺔ ﺑﺜﻘﺔ ورﺿـــﺎء ﻋﻤﻼءﻫـــﺎ ﻣﻨﻬﻢ‬ ‫أراﻣﻜﻮ اﻟﺴﻌﻮدﻳﺔ وﺳﺎﺑﻚ واﻟﻤﺆﺳﺴﺔ‬ ‫اﻟﻌﺎﻣﺔ ﻟﺘﺤﻠﻴﺔ اﻟﻤﻴﺎه اﻟﻤﺎﻟﺤﺔ واﻟﺸﺮﻛﺔ‬ ‫اﻟﺴـــﻌﻮدﻳﺔ ﻟﻠﻜﻬﺮﺑـــﺎء واﻟـــﻮزارات‬ ‫اﻟﺤﻜﻮﻣﻴـــﺔ إﻟـــﻰ ﺟﺎﻧﺐ اﻟﻘﻄـــﺎع اﻟﺨﺎص‬ ‫وﻗﻄـــﺎع اﻟﻌﻘـــﺎرات‪ .‬ﻫـــﺬا وﻗـــﺪ ﺑﺮﻫﻨﺖ‬ ‫ا ﺑﺤـــﺎث اﻟﻤﻄﻮﻟـــﺔ وﺧﺒﺮة اﻟﻤﺴـــﺘﺨﺪم‬ ‫ﻣـــﺮة وأﺧـــﺮى ﻋﻠـــﻰ أن ﺣﺪﻳﺪ اﻟﺘﺴـــﻠﻴﺢ‬ ‫اﻟﻤﻄﻠـــﻲ اﻧﺼﻬﺎرﻳ‪ 1‬ﺑﺎ ﻳﺒﻮﻛﺴـــﻲ أﺣﺪ‬ ‫أﻓﻀﻞ اﻟﻄﺮق وأﻛﺜﺮﻫـــﺎ اﻗﺘﺼﺎدﻳﺔ ﻓﻲ‬ ‫ﺣﻤﺎﻳﺔ اﻟﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ اﻟﺨﺮﺳـــﺎﻧﻴﺔ اﻟﺘﻲ‬ ‫ﺗﺆدي إﻟﻰ اﻟﻬﻨﺪﺳﺔ اﻟﻘﻴﻤﻴﺔ‪ .‬ﻋﻠﻴﻪ ﻓﺈن‬ ‫ا\ﺳـــﺘﺮاﺗﻴﺠﻴﺔ ﻫﻲ اﻟﺘﺸـــﺠﻴﻊ واﻟﺒﺤﺚ‬ ‫ﻻﺳـــﺘﺨﺪاﻣﻪ ﻟﺠﻤﻴـــﻊ اﻟﻤﺸـــﺎرﻳﻊ اﻟﺘـــﻲ‬ ‫ذﻛﺮﻧﺎﻫﺎ ﻟﻔﻮاﺋـــﺪه ﻋﻠﻰ اﻟﻤﺪى اﻟﻄﻮﻳﻞ‬ ‫ﻛﻤـــﺎ ﻳﻘـــﻮل اﻟﻤﻬﻨﺪس رﻳـــﺎض اﻟﺤﻤﻮد‬ ‫ﻣﺪﻳﺮ ﻋﺎم اﻟﺸﺮﻛﺔ‪.‬‬ ‫إن ﻇـــﺮوف اﻟﺮﻃﻮﺑﺔ واﻟﺤـــﺮارة واﻟﻤﻠﻮﺣﺔ‬ ‫اﻟﺴـــﺎﺋﺪة ﻓـــﻲ اﻟﻤﻤﻠﻜـــﺔ اﻟﻌﺮﺑﻴـــﺔ‬ ‫اﻟﺴـــﻌﻮدﻳﺔ وﻣﻨﻄﻘـــﺔ اﻟﺨﻠﻴـــﺞ اﻟﻌﺮﺑﻲ‬ ‫ﻋﻤﻮﻣـــ‪ 1‬ﻟﻌﺒﺖ داﺋﻤـــ‪ 1‬دور‪ e‬رﺋﻴﺴـــ‪ 1‬ﻓﻴﻤﺎ‬ ‫ﻳﺘﻌﻠﻖ ﺑﻌﻤﺮ ا\ﻧﺸـــﺎءات اﻟﺨﺮﺳﺎﻧﻴﺔ‪ .‬إن‬ ‫اﻟﻤﺒﺎﻧﻲ اﻟﺘﺠﺎرﻳﺔ أو اﻟﺴﻜﻨﻴﺔ واﻟﺠﺴﻮر‬ ‫واﻟﻘﻨـــﻮات أو أي ﺑﻨﻰ ﺗﺤﺘﻴﺔ ﺧﺮﺳـــﺎﻧﻴﺔ‬ ‫ﺟﻤﻴﻌﻬـــﺎ ﻫـــﺪف ﻟﻠﺘـــﺂﻛﻞ واﻟﺼـــﺪأ وﻻ‬ ‫ﻳﻨﺘﻬـــﻲ ﺑﻬﺎ اﻟﻤﻄـــﺎف ﺑﺘﻜﺎﻟﻴﻒ ﺻﻴﺎﻧﺔ‬ ‫ﻋﺎﻟﻴـــﺔ ﻓﻘﻂ‪ ،‬إﺿﺎﻓﺔ إﻟﻰ اﻟﺨﺴـــﺎﺋﺮ اﻟﺘﻲ‬ ‫ﺗﻨﺘﺞ ﻋﻨﺪﻣﺎ ﺗﻜـــﻮن ﻣﺜﻞ ﻫﺬه اﻟﻤﺮاﻓﻖ‬ ‫ﻏﻴـــﺮ ﻣﺴـــﺘﺨﺪﻣﺔ ﺧـــﻼل ﻓﺘـــﺮة ا\ﺻﻼح‬ ‫واﻟﻤﻌﺎﻟﺠـــﺔ )ﻋﻨﺪﻣﺎ ﻳﻜـــﻮن ذﻟﻚ ﻣﺘﺎﺣ‪(1‬‬ ‫أو اﺳﺘﺒﺪال ﻛﺎﻣﻞ ا\ﻧﺸﺎء‪.‬‬ ‫ﻛﻤـــﺎ أن ﻫﻨﺎﻟـــﻚ ﻋﺎﻣـــﻞ رﺋﻴـــﺲ ﻣﻬـــﻢ‬ ‫ﻳﺘﻌﻠـــﻖ ﺑﺘﻌﺰﻳـــﺰ ﺗـــﺂﻛﻞ وﺻـــﺪأ اﻟﺤﺪﻳﺪ‬ ‫وﻫـــﻮ اﻟﺴـــﻼﻣﺔ ﻣﻤﺎ ﻳﺆدي إﻟـــﻰ إﺿﻌﺎف‬ ‫ﻛﻞ ا\ﻧﺸـــﺎء ﻣـــﻦ اﻟﺪاﺧـــﻞ واﻟـــﺬي ﻗـــﺪ‬ ‫ﻻﻳﻜـــﻮن ﻣﻨﻈـــﻮر‪ e‬ﺳـــﺮﻳﻌ‪ 1‬ﻣﻤـــﺎ ﻳـــﺆدي‬ ‫إﻟﻰ ﻣﺴـــﺘﻮى ﺧﻄﻴﺮ ﻣﻦ اﻟﺴﻼﻣﺔ ﻣﺜﻞ‬ ‫اﻟﺘﺼـــﺪع اﻟﻤﻔﺎﺟـــﺊ اﻟـــﺬي ﻳﻈﻬـــﺮ ﻓﻲ‬ ‫اﻟﺨﺎرج ﻓﻘﻂ ﻋﻨﺪ ﺣﺪوث ﺗﻠﻒ ﻣﻤﺎ ﻳﺆدي‬

‫ﻛﻴﻒ ﻳﺤﻤﻲ ﻃﻼء ا ﻳﺒﻮﻛﺴﻲ‬ ‫ﺣﺪﻳﺪ اﻟﺘﺴﻠﻴﺢ؟‬ ‫اﺳـــﺘﺨﺪام ﻃـــﻼء ﺑـــﻮدرة ا ﻳﺒﻮﻛﺴـــﻲ‬ ‫ﺑﻮاﺳـــﻄﺔ اﻟﺤـــﺮارة ﻋﻠﻰ ﺣﺪﻳﺪ ﺗﺴـــﻠﻴﺢ‬ ‫ﻣﺴـــﺨﻦ ﻛﻬﺮﺑﺎﺋﻴـــ‪ 1‬ﻣﺴـــﺒﻘ‪ ،1‬ﻛﻤـــﺎ أن‬ ‫ﻃﺮﻳﻘـــﺔ اﻟﻤﻌﺎﻟﺠﺔ ﺗﺴـــﺒﺐ ﻓـــﻲ ﺣﺪوث‬ ‫ﺣﻠﻘـــﺎت ﻛﻴﻤﻴﺎﺋﻴـــﺔ ﻣﺘﻘﺎﻃﻌـــﺔ ﺗﻐﻴـــﺮ‬ ‫اﻟﺒـــﻮدرة إﻟﻰ ﻏﺸـــﺎء داﺋﻢ ﻻﻳـــﺬوب ﻣﻤﺎ‬ ‫ﻳـــﺆدي إﻟـــﻰ ﺧﻠـــﻖ ﺣﺎﺟـــﺰ ﺑﻴـــﻦ اﻟﺤﺪﻳﺪ‬ ‫واﻟﺨﺮﺳـــﺎﻧﺔ‪ ،‬ﺣﻴﺚ ﻳﺤﻤﻲ ﺑﺬﻟﻚ اﻟﺤﺪﻳﺪ‬ ‫ﻣﻦ اﻟﻜﺸﻒ اﻟﻤﺒﺎﺷﺮ‪.‬‬ ‫إن اﺳـــﺘﺨﺪام وﺗﻄﺒﻴـــﻖ ﻣﻌﺎﻳﻴﺮ ﺿﺒﻂ‬ ‫اﻟﺠـــﻮدة اﻟﺼﺎرﻣـــﺔ ﻟﺘﺤﻘﻴـــﻖ ا\ﻟﺘﺼـــﺎق‬ ‫وا\ﻟﺘﺤﺎم اﻟﻤﻄﻠﻮب واﻟﺴﻄﺢ اﻟﻤﻄﻠﻲ‬ ‫اﻟﺨﺎﻟـــﻲ ﻣـــﻦ اﻟﺜﻘﻮب وﻗـــﻮة اﻟﺮﺑﻂ ﻫﻲ‬ ‫ﺣﺴﺐ اﻟﻤﻮاﺻﻔﺔ‬ ‫‪ASTM A775 M-9409-SAMAA‬‬ ‫‪ 106‬وﻓﻲ اﻟﺸـــﺮﻛﺔ ﻓـــﺈن ﺧﺪﻣﺔ اﻟﻘﻄﻊ‬ ‫واﻟﺜﻨـــﻲ ﻣﺘﻮﻓـــﺮة وﻓﻘـــ‪ 1‬ﻟﺠـــﺪول ﺛﻨـــﻲ‬ ‫اﻟﻘﻀﺒـــﺎن اﻟﻤﻌﺘﻤﺪة ﻟﻠﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺣﻖ‬ ‫اﻟﺠﻮدة ﻣﻨﺬ إﺳـــﺘﻼم ﺣﺪﻳﺪ اﻟﺘﺴـــﻠﻴﺢ‬ ‫ا ﺳﻮد ﻣﻦ ﺷﺮﻛﺔ ﺣﺪﻳﺪ ‪ /‬ﺳﺎﺑﻚ ﺣﺘﻰ‬ ‫ﻣﺮﺣﻠﺔ اﻟﺼﺐ اﻟﺨﺮﺳﺎﻧﻲ ﻓﻲ اﻟﻤﻮﻗﻊ‪.‬‬

‫ ‪WO½öŽ≈ …œU ¡UM³ « o×K‬‬

‫ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟ ﺛﺎث واﻟﻤﻨﺰل ﻳﻨﺎﻳﺮ ‪٢٠١٨‬‬ ‫‪Maison et Objet Paris January 2018‬‬ ‫ﻳﻌﺪ ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟ ﺛﺎث واﻟﻤﻨﺰل ﻣﻦ‬ ‫أﻓﻀﻞ اﻟﻤﻌﺎرض اﻟﻌﺎﻟﻤﻴﺔ اﻟﺘﻲ ﺗﺠﻤﻊ‬ ‫أﺣﺪث اﻟﻤﻨﺘﺠﺎت واﻟﻤﻔﺮوﺷﺎت وﻗﻄﻊ ا‪#‬ﺛﺎث‬ ‫وﻣﺼﻤﻤﻲ أﺛﺎث ودﻳﻜﻮر ﻣﻦ ﺷﺘﻰ أﻧﺤﺎء‬ ‫اﻟﻌﺎﻟﻢ ﺗﺤﺖ ﺳﻘﻒ واﺣﺪ‪.‬‬ ‫ﻳﻨﻌﻘﺪ اﻟﻤﻌﺮض ﻓﻲ ﻧﺴﺨﺘﻪ ا‪#‬وﻟﻰ ﻟﻌﺎم ‪٢٠١٨‬‬ ‫ﻓﻲ ﺷﻬﺮ ﻳﻨﺎﻳﺮ ﻓﻲ اﻟﻔﺘﺮة ﻣﻨﻦ ‪ ١٩‬ﺣﺘﻰ ‪٢٣‬‬ ‫ﻟﻤﺪة ﺧﻤﺲ أﻳﺎم‪.‬‬ ‫ﻳﻨﻘﺴﻢ اﻟﻤﻌﺮض إﻟﻰ ‪ ٣‬أﻗﺴﺎم رﺋﻴﺴﺔ ‪:‬‬ ‫)‪ (Maison‬و )‪ (Objet‬و )‪ (Influences‬وزﻋﺖ‬ ‫ﻋﻠﻰ ﺧﻤﺲ ﻗﺎﻋﺎت ﻓﻲ ﻣﺮﻛﺰ اﻟﻤﻌﺎرض ﻓﻲ ﺑﺎرﻳﺲ‪.‬‬ ‫ﻳﻌﺪ اﻟﻘﺴﻢ ا‪#‬ول )‪ (Maison‬ﻫﻮ ا‪#‬ﻛﺒﺮ ﺣﻴﺚ‬ ‫ﻳﺸﻐﻞ ‪ ٥‬ﻗﺎﻋﺎت وﻳﻀﻢ اﻟﻤﻔﺮوﺷﺎت وﻗﻄﻊ‬ ‫ا‪#‬ﺛﺎث اﻟﺼﻐﻴﺮ وا‪U‬ﺿﺎءة وا‪#‬ﻗﻤﺸﺔ‪ .‬وﻗﺴﻢ‬ ‫ﻫﺬا اﻟﻘﺴﻢ إﻟﻰ ﺳﺘﺔ ﻣﻮاﺿﻴﻊ ﺻﻨﻔﺖ ﻣﻦ‬ ‫ﺧﻼﻟﻬﺎ اﻟﻤﻌﺮوﺿﺎت‬ ‫)‪Electic, Elegaut , Complements , Co Sg‬‬ ‫‪. (, Frogromces , Actued‬‬ ‫أﻣﺎ اﻟﻘﺴﻢ اﻟﺜﺎﻧﻲ )‪ (Objet‬ﻓﻬﻮ ﻳﺠﻤﻊ ﻗﻄﻊ‬ ‫ا‪#‬ﺛﺎث ﻣﺨﺘﻠﻔﺔ ا‪#‬ﺣﺠﺎم وا‪#‬ﺷﻜﺎل وﻳﻨﻘﺴﻢ‬ ‫إﻟﻰ أرﺑﻌﺔ ﻣﻮاﺿﻴﻊ‬ ‫)‪Craft, Metiers Dart, Home and‬‬ ‫‪. (Fashion Cook and share, Smart Gift‬‬ ‫وﻳﻘﺪم اﻟﻘﺴﻢ ا‪#‬ﺧﻴﺮ )‪ (Influence‬ﻣﺠﻤﻮﻋﺔ‬

‫∏‪¡UM³ « π‬‬

‫‪98 Albenaa‬‬

‫ﻗﻄﻊ ا‪#‬ﺛﺎث اﻟﻤﺒﺘﻜﺮة واﻟﻐﺮﻳﺒﺔ واﻟﺮاﻗﻴﺔ‪.‬‬ ‫وﻳﻘﺴﻢ إﻟﻰ ﺛﻼﺛﺔ ﻣﻮاﺿﻴﻊ ‪:‬‬ ‫)‪Now ! Design a Vivre , Scenes d interieur‬‬ ‫‪. (Gallery, Scenes D interieur Paris‬‬ ‫ﻛﻤﺎ ﻳﻘﺪم اﻟﻤﻌﺮض ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺒﺮاﻣﺞ ﻣﺜﻞ‬ ‫اﻟﻤﺤﺎﺿﺮات اﻟﺘﻲ ﺗﻘﺪم ﺗﺰاﻣﻨﺎ ﻣﻊ اﻟﻤﻌﺮض‬ ‫ﻣﻮاﺿﻴﻊ ﻣﺨﺘﻠﻔﺔ وﺗﻘﺪم آراء وأﻓﻜﺎر ﺟﺪﻳﺪة‬ ‫وﺗﺠﺎرب وﺣﻠﻮل ﺑﺎ‪U‬ﺿﺎﻓﺔ إﻟﻰ ﺗﺤﻠﻴﻞ ا‪U‬ﺗﺠﺎﻫﺎت‬ ‫ﻓﻲ ﻋﺎﻟﻢ اﻟﺪﻳﻜﻮر واﻟﻤﻨﺰل‪.‬‬ ‫وﻓﻲ ﻛﻞ ﻧﺴﺨﺔ ﻣﻦ اﻟﻤﻌﺮض ﻳﺘﻢ اﺧﺘﻴﺎر‬ ‫ﻣﺼﻤﻢ اﻟﺴﻨﺔ ﺣﻴﺚ ﻳﻘﺪم ﻣﻦ ﺧﻼﻟﻬﺎ‬ ‫ﺗﺼﺎﻣﻴﻤﻪ واﺑﺘﻜﺎراﺗﻪ‪.‬‬ ‫ﻛﻤﺎ ﻳﻘﻮم اﻟﻤﻌﺮض ﺑﺎﺧﺘﻴﺎر ﺳﺘﺔ ﻣﻮاﻫﺐ‬ ‫ﺟﺪﻳﺪة ﻣﻦ اﻟﺸﺒﺎب وﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻴﻬﻢ‬ ‫ﻓﻲ اﻟﻤﻌﺮض‪.‬‬ ‫وأﻃﻠﻖ اﻟﻤﻌﺮض ﻓﻲ ﺳﻨﺘﻪ ا‪#‬ﺧﻴﺮة ﻣﻨﺼﺔ‬ ‫اﻟﻜﺘﺮوﻧﻴﺔ ‪ MOM‬واﻟﺘﻲ ﺗﻌﺪ ﺟﺰء‪ d‬ﻣﻬﻤ‪ c‬ﻓﻲ‬ ‫اﻟﻤﻌﺮض ﺣﻴﺚ ﺗﻮﻓﺮ ﻣﻨﺼﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻟﻠﻌﻼﻣﺎت‬ ‫اﻟﺘﺠﺎرﻳﺔ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻤﻌﺮض واﻟﻤﺼﻤﻤﻴﻦ‬ ‫ﺑﻌﺮض ﻣﻨﺘﺠﺎﺗﻬﻢ اﻟﺠﺪﻳﺪة ﻃﻮال اﻟﻌﺎم‬ ‫ﻟﻴﻄﻠﻊ ﻋﻠﻴﻬﺎ اﻟﺠﻤﻴﻊ ﻋﺒﺮ ﻣﻮﻗﻌﻬﺎ‬ ‫ا‪U‬ﻟﻜﺘﺮوﻧﻲ ‪ .‬واﺣﺘﻔﻞ اﻟﻤﻌﺮض ﻓﻲ ﻧﺴﺨﺘﻪ‬ ‫ا‪#‬ﺧﻴﺮة ﻓﻲ ﺷﻬﺮ ﺳﺒﺘﻤﺒﺮ ‪٢٠١٧‬م ﺑﻤﺮور ﺳﻨﺔ‬ ‫ﻋﻠﻰ إﻃﻼق ﻫﺬه اﻟﻤﻨﺼﺔ‪.‬‬