تصميم المباني المكتبية اليوم by مجلة البناء

‫‪٣٣٢‬‬ ‫اﻟﺴﻨﺔ ‪ / ٣٨‬ﺷﻮال ‪ ١٤٣٩‬ﻫـ‬

‫ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ اﻟﻴﻮم‬

‫‪June 2018 / Volume 38‬‬

‫‪332‬‬

‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫« ‪≥≥≤ œbF « ¨5Łö¦ «Ë WM U¦ « WM‬‬ ‫‪Â ≤∞±∏ uO½u¹ Ø?¼ ±¥≥π ‰«uý‬‬ ‫« ‪d¹d×² « 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 « Ã«dšù‬‬ ‫ ‪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×³ «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 ‫ ‪Æd¹d×² « fOz— s WOÐU² WI «u‬‬

‫‪∫…bŠ«u « W M « dFÝ‬‬ ‫—‪Î U¹‬‬ ‫‪UÎ ¹œuFÝ ô‬‬ ‫«*‪≥∞ W¹œuF « WOÐdF « WJKL‬‬ ‫‪w²¹u —UM¹œ ≤[μ‬‬ ‫« ‪X¹uJ‬‬ ‫‪WOM¹d×Ð dO½U½œ‬‬ ‫‪π‬‬ ‫« ‪s¹d×³‬‬ ‫‪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 …b×²*« U¹ôu‬‬ ‫‪ISSN: 1319 - 206 X‬‬ ‫∞∞ « ‪¡UM³‬‬

‫‪00 Albenaa‬‬

‫ا ﻓﺘﺘﺎﺣﻴﺔ‬ ‫دور اﻟﻤﻌﻤﺎري ﺗﺠﺎه ﻣﺠﺘﻤﻌﻪ ﻟﻴﺲ ﻣﺠﺮد إﺧﺘﻴﺎر ﻃﺮز‬

‫∞‪±‬‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫ا*ﻣﻴﺮ ﺳﻠﻄﺎن ﺑﻦ ﺳﻠﻤﺎن ﻳﺮﻋﻰ ﺗﺪﺷﻴﻦ ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ‬ ‫ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ ‪5‬ﻋﺎدة ﺗﺼﻤﻴﻢ اﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﺒﺮج إﻳﻔﻞ‬ ‫ﺧﻤﺲ ﻣﺤﻄﺎت ﻣﺘﺮو ﺟﺪﻳﺪة ﻓﻲ ﻣﻠﺒﻮرن‬ ‫ﺟﺎدة ‪ - 40‬ﻧﻴﻮﻳﻮرك ‪ ،‬اﻟﺘﺼﻤﻴﻢ ﺑﺄﺷﻌﺔ اﻟﺸﻤﺲ‬ ‫ﻫﺮم ﺗﻴﺮاﻧﺎ‬ ‫ﻣﺠﻤﻊ ﻣﺘﻌﺪد اﻻﺳﺘﺨﺪاﻣﺎت‬

‫≤‪±‬‬ ‫‪±¥‬‬ ‫∂‪±‬‬ ‫∏‪±‬‬ ‫∞≤‬ ‫≤≤‬

‫ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ اﻟﻴﻮم‬ ‫ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ اﻟﻴﻮم‬ ‫ﻣﺒﻨﻰ ﻣﺘﻌﺪد ا‪5‬ﺳﺘﻌﻤﺎﻻت ﻓﻮق ﻃﺮﻳﻖ ﻟﻠﺴﻴﺎرات‬ ‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ ﻟﺒﻨﻚ ﺑﻲ‪.‬ﺑﻲ‪.‬ﻓﻲ‪.‬اﻳﻪ‪.‬‬ ‫ﺗﺤﻮﻳﻞ ﻣﺒﻨﻰ ﻣﻜﺘﺒﻲ إﻟﻰ ﻓﻨﺪق ﻓﺨﻢ‪ ،‬ﻓﻨﺪق ﻣﻮرﻳﻪ‪ ،‬ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬ ‫ﻣﻜﺎﺗﺐ ﺷﻔﺎﻓﺔ وﺣﻠﻮل إﻧﺸﺎﺋﻴﺔ‬

‫‪≤¥‬‬ ‫∂≤‬ ‫∂≥‬ ‫‪¥¥‬‬ ‫≤‪μ‬‬

‫ﻣﺸﺎرﻳﻊ ﻋﺎﻟﻤﻴﺔ ﺣﺪﻳﺜﺔ‬ ‫رﻓﻊ ﻣﺴﺘﻮى ﺟﻮدة اﻟﺤﻴﺎة‪ ،‬ﺗﺤﻮﻳﻞ ﺷﻮارع ﻟﻨﺪن إﻟﻰ ﻣﻤﺮات ﻣﺸﺎة‬ ‫ﻣﻄﺎر ﻛﻠﻤﻴﻢ ‪ ،‬اﻟﻤﻐﺮب‬

‫∞∂‬ ‫∂∑‬

‫ﻣﺸﺎرﻳﻊ ﺳﻌﻮدﻳﺔ ﺣﺪﻳﺜﺔ‬ ‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ اﻟﺠﺪﻳﺪ ﻟﻠﺒﻨﻚ اﻟﺴﻌﻮدي اﻟﺒﺮﻳﻄﺎﻧﻲ‪ ،‬اﻟﺮﻳﺎض‬ ‫ﻣﻦ أﻋﻤﺎل ﻋﻠﻢ اﻟﻤﻌﻤﺎر ﻟ‪T‬ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬

‫∂∏‬ ‫∞‪π‬‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫أﻟﻮاح ﺟﺪارﻳﺔ ﻟﻠﺤﻤﺎﻳﺔ ﻣﻦ اﻟﺤﺮاﺋﻖ ‪Dragonskal‬‬ ‫ﺑﻠﻮك ‪5‬ﻣﺘﺼﺎص ﻣﻮﺟﺎت اﻟﺘﺮددات اﻟﺼﻮﺗﻴﺔ ‪Emiblock‬‬ ‫راﻓﻌﺔ ﺻﻐﻴﺮة ﻟﺘﺮﻛﻴﺐ ا*ﻟﻮاح اﻟﻤﺴﺘﻌﺎرة ‪Edmablac‬‬

‫≤‪π‬‬ ‫≥‪π‬‬ ‫≥‪π‬‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺪﻳﻜﻮر‬ ‫ﻣﺼﺒﺎح إﺿﺎءة ﻳﻌﻤﻞ ﺑﺎﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ‬ ‫وﺣﺪات إﺿﺎءة ﻣﻤﻴﺰة‬ ‫ﻃﺎوﻻت ﻣﺮﻧﺔ‬

‫‪π¥‬‬ ‫‪πμ‬‬ ‫∂‪π‬‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫∏‪π‬‬

‫«‪WOŠU²² ù‬‬

‫دور اﻟﻤﻌﻤﺎري ﺗﺠﺎه ﻣﺠﺘﻤﻌﻪ‬ ‫ﻟﻴﺲ ﻣﺠﺮد إﺧﺘﻴﺎر ﻃﺮز‬ ‫ﻟﻄﺎﻟﻤــــﺎ ﻛﺎن ﻟــــﻜﻞ ﻣﻬﻨــــﺔ دور ﺗﺆدﻳــــﻪ ﺗﺠﺎه ﻣﺠﺘﻤﻌﻬــــﺎ وﻟﻄﺎﻟﻤﺎ‬ ‫ﻛﺎن دور اﻟﻤﻌﻤﺎري ا*ﻛﺜﺮ ﺟﺪﻻ ﻣﻦ ﺑﻴﻨﻬﺎ‪ .‬ﻓﺎﻟﺒﻌﺾ ﻳﺮي أن ﺧﻄﺄ‬ ‫اﻟﻄﺒﻴــــﺐ ﺑﺄﻟﻒ ﺧﻄــــﺄ ﺑﻴﻨﻤﺎ ﺧﻄﺄ اﻟﻤﻌﻤﺎري ﻗﺪ ﻳﻤــــﺮ ﻣﺮور اﻟﻜﺮام‬ ‫وﻻ ﻳﻈﻬــــﺮ إﻻ ﺑﻌــــﺪ إﺳــــﺘﻌﻤﺎل اﻟﻤﺒﻨﻰ أو ﺣﺘﻰ ﺑﻌــــﺪ ذﻟﻚ ﺑﺰﻣﻦ‬ ‫ﻃﻮﻳــــﻞ‪ ،‬ﻛﻤﺎ أن إرﺗﺒــــﺎط ﺣﻴﺎة اﻟﻨﺎس ﺑﻌﻤﻞ اﻟﻤﻌﻤــــﺎري داﺋﻢ *ﻧﻨﺎ‬ ‫ﻧﻌﻴــــﺶ ﻣﻌﻈﻢ أوﻗــــﺎت ﺣﻴﺎﺗﻨﺎ ﺑﻞ ﺟﻠﻬﺎ داﺧــــﻞ ﻓﻀﺎءات اﻟﻤﺪن‬ ‫واﻟﻤﺒﺎﻧــــﻲ اﻟﺘﻲ ﻳﺼﻤﻤﻬﺎ اﻟﻤﻌﻤــــﺎري ﺑﻴﻨﻤﺎ ﺗﺮﺗﺒــــﻂ ﺣﻴﺎة اﻟﻨﺎس‬ ‫ﺑﺎﻟﻄﺒﻴــــﺐ ﻋﻨﺪﻣــــﺎ ﻧﻤــــﺮض ﻓﻘــــﻂ ودوره ﻣﺤﺼﻮر ﻓــــﻲ اﻟﻌﻼج اﻣﺎ‬ ‫اﻟﺸــــﻔﺎء ﻓﻬﻮ ﻟﻴﺲ ﺑﻴﺪه‪ .‬ﻫﻨﺎ ﺗﻜﻤﻦ أﻫﻤﻴﺔ دور اﻟﻤﻌﻤﺎري ﺗﺠﺎه‬ ‫ﻣﺠﺘﻤﻌــــﻪ‪ ،‬ﺑﺤﻴــــﺚ أن إدراك اﻟﻤﻌﻤــــﺎري ﻟﺪوره اﻟــــﺬي ﻳﺆدﻳﻪ ﺑﺄﻣﺎﻧﺔ‬ ‫ﺗﺠﺎه ﻣﺠﺘﻤﻌﻪ ﻫﻮ ﻣﻦ اﻟﻤﺴﻠﻤﺎت اﻟﺘﻲ ﻻ ﺗﺤﺘﻤﻞ أي ﺗﺄوﻳﻞ‪ .‬إﻻ أن‬ ‫ﻣــــﻦ ﻣﻮﻗﻌﻨﺎ ﻓﻲ ﻫﺬه اﻟﻤﺠﻠﺔ ﻛﻤﺮاﻗﺐ ﻟﻠﻌﻤﻞ اﻟﻤﻌﻤﺎري ﺳــــﻮاء‬ ‫ﻋﻠﻰ اﻟﻤﺴــــﺘﻮى اﻟﻤﺤﻠﻲ أو اﻟﻜﻮﻧﻲ ﻧﺮي أن ﻫﻨﺎك ﻓﻲ ﻣﻨﻄﻘﺘﻨﺎ‬ ‫ﺑﻌــــﺾ ﻣــــﻦ أﺑﻨــــﺎء ﻫﺬه اﻟﻤﻬﻨــــﺔ رﺑﻤﺎ ﻗﺪ ﻧﺴــــﻮا أوﻟــــﻢ ﻻ ﻳﻌﻮدوا‬ ‫ﻳﺪرﻛﻮن أﻫﻤﻴﺔ دورﻫﻢ ﻓﻲ ﺣﻴﺎة اﻟﻨﺎس ‪.‬‬ ‫ﻓﺎﻟﺒﻌـــﺾ ﻻﻳﺮي أﻫﻤﻴﺔ دوره ﻓﻲ ﺗﺤﺴـــﻴﻦ ﺣﻴﺎة اﻟﻨﺎس ﺑﻞ ﻳﻬﻤﻪ‬ ‫اﻟﻌﺎﺋـــﺪ اﻟﻤـــﺎدي ﻣﻨﻪ‪ .‬ﻫـــﺬا اﻟﺼﻨـــﻒ ﻳﺘﻌﺎﻣﻞ ﻣـــﻊ ﻋﻤﻼﺋـــﻪ ﺑﺎﻟﻘﺪر‬ ‫اﻟـــﺬي ﻳﺘﺼﻮروﻧﻪ أو ﻳﻔﻬﻤﻮﻧـــﻪ ﻋﻦ ﻣﻬﻨﺔ اﻟﻌﻤﺎرة وأﻧﻬﺎ ﻻ ﺗﺘﻌﺪى‬ ‫ﻛﻮﻧﻬﺎ ﻣﺴـــﺄﻟﺔ إﺧﺘﻴﺎر ﻃﺮاز ﻟﻠﻤﺒﺎﻧﻲ ﺑﻴﻨﻤﺎ ﻳﻬﻤﻞ اﻟﺪور ا*ﺳـــﺎس‬ ‫ﻣـــﻦ ﻋﻤﻠﻪ اﻟﺬي ﻫﻮ ﺗﺤﺴـــﻴﻦ ﺣﻴـــﺎة اﻟﻨﺎس ﻓـــﻲ أﻣﺎﻛﻦ ﻋﻤﻠﻬﻢ‬ ‫أو ﻓﻲ ﻣﺴـــﺎﻛﻨﻬﻢ أو ﻓﻲ أي ﻣﺒﻨﻲ أو ﻓﻀﺎء ﻋﺎم ﻳﺴـــﺘﺨﺪﻣﻮﻧﻪ‬ ‫وﻳﻌﻴﺸﻮن ﻓﻴﻪ‪ ،‬وﻧﺠﺎح ﻫﺬه اﻟﻤﺒﺎﻧﻲ ﻓﻲ ﺗﺤﻘﻴﻖ أﻫﺪاف أﺻﺤﺎﺑﻬﺎ‬ ‫وﻣﻄﻮرﻳﻬﺎ وﻣﺴـــﺘﻌﻤﻠﻴﻬﺎ وا‪a‬ﺳـــﺘﻔﺎدة ﻣﻨﻬﺎ‪ ،‬ﺳـــﻮاء ﻛﺎن ﻫﺬا‬ ‫اﻟﻬـــﺪف إﻗﺘﺼﺎدﻳ‪ b‬أو إﺟﺘﻤﺎﻋﻴ‪ b‬أو ﺑﻴﺌﻴ‪ .b‬ﺣﺘﻲ أﺻﺒﺤﻨﺎ ﻧﺮى ﻣﺒﺎﻧﻲ‬ ‫ﻋﻠـــﻰ اﻟﻄـــﺮاز ا*ﻧﺪﻟﺴـــﻲ وأﺧـــﺮ ى ﻋﻠـــﻰ اﻟﻄـــﺮاز اﻟﻜﻼﺳـــﻴﻜﻲ أو‬ ‫اﻟﺤﺪﻳـــﺚ أو ﺣﺘﻰ اﻟﻔﺮﻋﻮﻧﻲ ‪ ،‬ﺗﺘﺠﺎور ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ ،‬وﺣﺘﻰ أﺻﺒﺤﺖ‬ ‫ﻣﺪﻧﻨﺎ وﻛﺄﻧﻬﺎ ﻣﻮاﻗﻊ ﺗﺼﻮﻳﺮ أﻓﻼم أﻣﺮﻳﻜﻴﺔ أو ﻫﻨﺪﻳﺔ ‪.‬‬ ‫ﻣـــﺎ أرﻳـــﺪ أن أذﻛﺮ ﺑـــﻪ ﻫﺆﻻء واﻟﻤﺠﺘﻤﻊ ﺑﺸـــﻜﻞ ﻋﺎم ﻫـــﻮ أن ﻣﻬﻨﺔ‬ ‫اﻟﻤﻌﻤﺎري وإن ﻛﺎﻧﺖ ﺗﺘﻄﻠﺐ ﺗﺼﻤﻴﻢ ﻣﺒﺎﻧﻲ ذات أﺷﻜﺎل إﻧﺴﻴﺎﺑﻴﺔ‬ ‫و ﺟﻤﻴﻠـــﺔ وﻣﻌﺒـــﺮة إﻻ أﻧﻬـــﺎ ﻣﻬﻨﺔ ﻣﺴـــﺌﻮﻟﺔ ﻗﺒﻞ ﻛﻞ ﺷـــﻲء ﻋﻦ‬ ‫ﺗﺤﺴـــﻴﻦ ﺣﻴﺎة ا‪a‬ﻧﺴـــﺎن وﺗﻄﻮﻳﻊ اﻟﻤﺒﺎﻧﻲ واﻟﻔﻀﺎءات ﻟﻜﻲ ﺗﻜﻮن‬ ‫ﻗﺎدرة ﻋﻠﻰ ﻣﻮاﻛﺒﺔ ﺗﻄﻮر ا*ﻧﺴﺎﻧﻴﺔ وﺗﻠﺒﻴﺔ إﺣﺘﻴﺎﺟﺘﻬﺎ وإﺳﺘﻘﺮارﻫﺎ‬ ‫وﺣﻤﺎﻳﺔ ا‪a‬ﻧﺴـــﺎن ﻣـــﻦ ﻣﺨﺎﻃـــﺮ اﻟﻄﺒﻴﻌـــﺔ واﻟﻤﺤﺎﻓﻈﺔ ﻋﻠـــﻰ أﻣﻨﻪ‬ ‫وﺻﺤﺘـــﻪ وإﺣﺘﺮام ﺧﺼﻮﺻﻴﺎﺗـــﻪ ورﻓﻊ إﻧﺘﺎﺟﻴﺘـــﻪ واﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ‬ ‫ﻣﻜﺎﺳـــﺒﻪ وﺗﻨﻤﻴـــﺔ إﺳـــﺘﺜﻤﺎراﺗﻪ وﺗﺤﻘﻴـــﻖ أﻫﺪاﻓـــﻪ ا‪a‬ﻗﺘﺼﺎدﻳـــﺔ‬ ‫وا‪a‬ﺟﺘﻤﺎﻋﻴـــﺔ واﻟﺒﻴﺌﻴﺔ‪ ،‬وﺗﺤﻘﻴﻖ ا‪a‬ﺗﺎﺣـــﺔ واﻟﻮﺻﻮل ﻟﻜﻞ اﻟﺨﺪﻣﺎت‬ ‫واﻟﻤﺮاﻓﻖ ﻟﻜﻞ اﻟﻔﺌﺎت و ا*ﻋﻤﺎر وإﺟﺮاء ا*ﺑﺤﺎث واﻟﺪراﺳـــﺎت ﺑﺼﻔﺔ‬ ‫ﻣﺴـــﺘﻤﺮة ﻟﺘﻄﻮﻳـــﺮ اﻟﻤﺒﺎﻧﻲ واﻟﻤـــﺪن ‪ .‬ﻓﺄﻳﻦ ﻧﺤﻦ ﻣـــﻦ ﻫﺬا اﻟﺪور‬ ‫اﻟﺬي ﻳﻬﺪف ﺑﺎ‪a‬رﺗﻘﺎء ﺑﺎ‪a‬ﻧﺴﺎن ودور ﻣﻌﻤﺎري اﻟﻄﺮز ‪.‬‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫∞‪¡UM³ « ±‬‬

‫‪10 Albenaa‬‬

‫‪Architects Role Towards their‬‬ ‫‪Society is Not Aiming for Styles‬‬

‫‪Each profession has a role towards the society, but‬‬ ‫‪architects role is among the most disputed. Some would‬‬ ‫‪argue a physician mistake is by a 1000 ones, while the‬‬ ‫‪architect’s mistake could be ignored and cannot be‬‬ ‫‪discerned not until the building is used. People lives‬‬ ‫‪are connect with the architect’s work because we live in‬‬ ‫‪spaces and buildings designed by an architect. Doctors‬‬ ‫‪on the other hand, are only connected with us when‬‬ ‫‪we are ill, besides his role is only to remedy not to‬‬ ‫‪heal as healing is not in his control. This illustrates the‬‬ ‫‪importance of architects towards the society. A role the‬‬ ‫‪architect should embrace and realize to honestly serve‬‬ ‫‪towards the society. But, from our experience in this‬‬ ‫‪magazine, we found that some architects neglected‬‬ ‫‪their role in human lives.‬‬ ‫‪They do not perceive their role in optimizing human‬‬ ‫‪lives, seeking only financial rewards. This group‬‬ ‫‪ignores this essential responsibility and only believe‬‬ ‫‪that their architectural role is to only propose styles to‬‬ ‫‪their clients. By doing so, they neglect how important‬‬ ‫‪their part could be in their clients lives let it be in a‬‬ ‫‪house, work space, or even public space. They also‬‬ ‫‪neglect how to make a successful building that achieve‬‬ ‫‪its goals towards developers and users whether its‬‬ ‫‪economical, social, or environmental goal. As a result,‬‬ ‫‪we hear about Andalusian style, classical or modern‬‬ ‫‪style or even a Pharaonic style. Thus, our cities have‬‬ ‫‪become a movie studio like Bollywood or Hollywood.‬‬ ‫‪We want to remind them and the society in general that‬‬ ‫‪the profession of architect is responsible for optimizing‬‬ ‫‪human life, developing buildings and spaces able to‬‬ ‫‪cope with the human development and needs. The‬‬ ‫‪profession entails finding ways to protect human lives‬‬ ‫‪against natural perils and provide safety. It also entails‬‬ ‫‪finding solution to increasing productivity and achieve‬‬ ‫‪investment growth as well as achieve economical,‬‬ ‫‪social and environmental goals.‬‬ ‫‪Moreover, the profession responsibility is to make‬‬ ‫‪sure that building are accessible to everyone. Most‬‬ ‫‪importantly, the architects role is to continuously‬‬ ‫‪research and study to develop buildings and cities. But‬‬ ‫‪where are we from this role that aims at progressing‬‬ ‫‪people and the role of style architects.‬‬ ‫‪Editor in Chief‬‬

‫√‪l¹—UA*« —U³š‬‬

‫ا ﻣﻴﺮ ﺳﻠﻄﺎن ﺑﻦ ﺳﻠﻤﺎن ﻳﺮﻋﻰ ﺗﺪﺷﻴﻦ ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ‬ ‫ﻗﺎﻣﺖ ﻣﺆﺧﺮ ﺟﺎﺋﺰة ﻋﺒﺪ اﻟﻠﻄﻴﻒ‬ ‫اﻟﻔﻮزان ﻟﻌﻤﺎرة اﻟﻤﺴﺎﺟﺪ ﺑﺘﺪﺷﻴﻦ‬ ‫»ﻣﺸﺮوع ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ«‪،‬‬ ‫وﺗﻢ ذﻟﻚ ﺑﺮﻋﺎﻳﺔ ﺻﺎﺣﺐ اﻟﺴﻤﻮ‬ ‫اﻟﻤﻠﻜﻲ ا‪6‬ﻣﻴﺮ ﺳﻠﻄﺎن ﺑﻦ ﺳﻠﻤﺎن‬ ‫ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ رﺋﻴﺲ اﻟﻬﻴﺌﺔ اﻟﻌﺎﻣﺔ‬ ‫ﻟﻠﺴﻴﺎﺣﺔ واﻟﺘﺮاث اﻟﻮﻃﻨﻲ رﺋﻴﺲ‬ ‫ﻣﺠﻠﺲ أﻣﻨﺎء ﻋﺒﺪاﻟﻠﻄﻴﻒ اﻟﻔﻮزان‬ ‫ﻟﻌﻤﺎرة اﻟﻤﺴﺎﺟﺪ وذﻟﻚ ﻓﻲ ﻣﺴﺠﺪ‬ ‫اﻟﻈﻮﻳﻬﺮة اﻟﺘﺎرﻳﺨﻲ ـ‬ ‫ورﻋﻰ ﺳﻤﻮه ﺗﻮﻗﻴﻊ اﺗﻔﺎﻗﻴﺔ إﻧﺸﺎء‬ ‫ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ ﺑﻴﻦ وزارة اﻟﺸﺆون‬ ‫ا‪K‬ﺳﻼﻣﻴﺔ اﻟﺘﻲ ﻣﺜﻠﻬﺎ ﻓﻲ اﻟﺘﻮﻗﻴﻊ‬ ‫ﻣﻌﺎﻟﻲ اﻟﺪﻛﺘﻮر ﺗﻮﻓﻴﻖ اﻟﺴﺪﻳﺮي‪،‬‬ ‫وﺟﺎﺋﺰة ﻋﺒﺪاﻟﻠﻄﻴﻒ اﻟﻔﻮزان ﻟﻌﻤﺎرة‬ ‫اﻟﻤﺴﺎﺟﺪ اﻟﺘﻲ ﻣﺜﻠﻬﺎ ﻋﺒﺪا‪ N‬اﻟﻔﻮزان‬ ‫رﺋﻴﺲ اﻟﻠﺠﻨﺔ اﻟﺘﻨﻔﻴﺬﻳﺔ ﻟﻠﺠﺎﺋﺰة‪.‬‬ ‫وﺟﺎء ﺗﺪﺷﻴﻦ »ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ«‬ ‫ﺛﻤﺮة ﻟﻠﻔﻜﺮة اﻟﺘﻲ ﻗﺪﻣﻬﺎ ﺳﻤﻮ‬ ‫ا‪6‬ﻣﻴﺮ ﺳﻠﻄﺎن ﺑﻦ ﺳﻠﻤﺎن ﻣﻨﺬ ﻋﺎم‬ ‫‪١٤١٧‬ﻫـ ﺑﺼﻔﺘﻪ رﺋﻴﺴ‪ S‬ﻓﺨﺮﻳ‪ S‬ﻟﻠﺠﻤﻌﻴﺔ‬ ‫اﻟﺴﻌﻮدﻳﺔ ﻟﻌﻠﻮم اﻟﻌﻤﺮان وﻗﺘﻬﺎ‪،‬‬ ‫وﻧﺘﺎﺟ‪ S‬ﻟﻠﺠﻬﻮد اﻟﺘﻲ ﻗﺎم ﺑﻬﺎ‬ ‫ﺑﺎﻟﺸﺮاﻛﺔ واﻟﺘﻌﺎون ﻣﻊ وزارة اﻟﺸﺆون‬ ‫اﻻﺳﻼﻣﻴﺔ ‪K‬ﻳﺠﺎد ﻛﻮد ﺧﺎص ﻟﻠﻤﺴﺎﺟﺪ‬ ‫ﺿﻤﻦ ﻛﻮد اﻟﺒﻨﺎء اﻟﻌﺎم اﻟﺼﺎدر ﺑﺎ‪6‬ﻣﺮ‬ ‫اﻟﺴﺎﻣﻲ اﻟﻜﺮﻳﻢ ﻣﻄﻠﻊ ﻫﺬا اﻟﻌﺎم‪.‬‬ ‫وأﻛﺪ ا‪6‬ﻣﻴﺮ ﺳﻠﻄﺎن ﺑﻦ ﺳﻠﻤﺎن ﻓﻲ‬ ‫ﻛﻠﻤﺘﻪ ﻓﻲ اﻟﻤﻨﺎﺳﺒﺔ ﻋﻠﻰ أﻫﻤﻴﺔ‬ ‫ﺗﺪﺷﻴﻦ ﻣﺸﺮوع ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ‬ ‫اﻟﺬي ﻳﻌﺪ ﻧﻘﻠﺔ ﻣﻬﻤﺔ ﻓﻲ ﻋﻤﺎرة‬ ‫اﻟﻤﺴﺎﺟﺪ‪ ،‬وﺗﺘﻮﻳﺠﺎ ﻟﺠﻬﻮد اﻟﺸﺮاﻛﺔ‬ ‫ﻣﻊ وزارة اﻟﺸﺆون ا‪K‬ﺳﻼﻣﻴﺔ ﻟﺘﻄﻮﻳﺮ‬ ‫ﺗﺼﺎﻣﻴﻢ اﻟﻤﺴﺎﺟﺪ واﻻرﺗﻘﺎء ﺑﺠﻮدﺗﻬﺎ‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ‪.‬‬ ‫وأﺑﺎن ﺳﻤﻮه أن ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ‬ ‫ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻛﻮد اﻟﺒﻨﺎء اﻟﺴﻌﻮدي‪،‬‬ ‫وﺳﻴﻜﻮن اﻣﺘﺪادا ﻣﺘﺨﺼﺼﺎ وﻣﺮﻛﺰا‬ ‫ﻟﻜﻮد اﻟﺒﻨﺎء اﻟﻌﺎم ﻳﺨﺘﺺ ﺑﻌﻤﺎرة‬ ‫اﻟﻤﺴﺎﺟﺪ‪ ،‬وﻳﻌﺪ »ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ«‬ ‫ﻋﻨﺼﺮ رﺋﻴﺴ‪ S‬ﻓﻲ اﻟﺠﻬﻮد اﻟﺘﻲ‬ ‫ﺗﺘﻮﻻﻫﺎ ﻋﺪد ﻣﻦ اﻟﺠﻬﺎت ﺑﺎﻟﺘﻌﺎون‬ ‫ﻣﻊ وزارة اﻟﺸﺆون اﻻﺳﻼﻣﻴﺔ ﻟﺨﺪﻣﺔ‬ ‫ﺑﻴﻮت ا‪ N‬إﻋﻤﺎر وﺗﺮﻣﻴﻤ‪ S‬ﺑﻤﺎ ﻳﺘﻤﺎﺷﻰ‬ ‫ﻣﻊ دورﻫﺎ اﻟﺮﺋﻴﺲ ﻓﻲ اﻟﻤﺠﺘﻤﻊ‬ ‫وﺣﻴﺎة اﻟﻤﺴﻠﻢ‪ .‬وﺳﻴﺮاﻋﻲ ﻛﻮد ﺑﻨﺎء‬ ‫اﻟﻤﺴﺎﺟﺪ اﻟﺠﺎﻧﺐ اﻟﺜﻘﺎﻓﻲ واﻟﻌﻤﺮاﻧﻲ‬

‫≤‪¡UM³ « ±‬‬

‫‪12 Albenaa‬‬

‫ﻟﻜﻞ ﻣﻨﻄﻘﺔ‪ ،‬ووﺿﻊ ﺧﻄﻮط ﻋﺮﻳﻀﺔ‬ ‫ﻟﻌﻤﺎرة اﻟﻤﺴﺎﺟﺪ ﺗﻬﺘﻢ ﺑﺎﻻﺳﺘﺪاﻣﺔ‬ ‫وا‪6‬ﻣﻦ اﻻﺟﺘﻤﺎﻋﻲ وذوي اﻟﻘﺪرات‬ ‫اﻟﻔﺎﺋﻘﺔ‪ ،‬إﺿﺎﻓﺔ إﻟﻰ ﺗﻮﻓﻴﺮه ﻟﻠﻄﺎﻗﺔ‬ ‫ﺣﺴﺐ اﻟﻤﻌﺎﻳﻴﺮ اﻟﻤﻌﺘﻤﺪة ﻣﻦ اﻟﺪوﻟﺔ‬ ‫واﺳﺘﺨﺪاﻣﺎت اﻟﻤﻴﺎه وﺗﺪوﻳﺮﻫﺎ‪،‬‬ ‫وﺗﺮاﺑﻂ اﻟﻨﺴﻴﺞ اﻟﻌﻤﺮاﻧﻲ ﻣﻊ‬ ‫اﻟﻤﺴﺠﺪ‪.‬‬ ‫وﻳﻬﺪف ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ إﻟﻰ زﻳﺎدة‬ ‫اﻟﻌﻤﺮ اﻻﻓﺘﺮاﺿﻲ ﻟﻤﺒﻨﻰ اﻟﻤﺴﺠﺪ‬ ‫»اﻻﺳﺘﺪاﻣﺔ« ﻣﻊ ﺧﻔﺾ ﺗﻜﺎﻟﻴﻒ‬ ‫اﻟﺒﻨﺎء‪ ،‬وإﻟﻰ ﺗﺮﺷﻴﺪ اﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫ﺑﺠﻤﻴﻊ أﻧﻮاﻋﻬﺎ‪ ،‬وﺧﻔﺾ ﺗﻜﺎﻟﻴﻒ‬ ‫اﻟﺘﺸﻐﻴﻞ واﻟﺼﻴﺎﻧﺔ‪ ،‬ﻛﻤﺎ ﻳﻬﺪف‬ ‫اﻟﻜﻮد إﻟﻰ اﻟﻤﻮاﻓﻘﺔ ﻋﻠﻰ اﻟﻤﺘﻄﻠﺒﺎت‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺔ وا‪6‬ﻣﻨﻴﺔ‪ ،‬وﻣﺘﻄﻠﺒﺎت ذوي‬ ‫اﻟﻘﺪرات اﻟﺨﺎﺻﺔ‪ ،‬وإﻟﻰ ﻣﺮاﻋﺎة اﻟﻨﺴﻴﺞ‬ ‫اﻟﻌﻤﺮاﻧﻲ ﻟﻠﺤﻲ أو اﻟﻤﺪﻳﻨﺔ أو اﻟﻘﺮﻳﺔ‬ ‫اﻟﺘﻲ ﻳﻘﺎم ﻓﻴﻬﺎ اﻟﻤﺴﺠﺪ‪.‬‬ ‫ﻛﻤﺎ ﺳﻴﻜﻮن ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ‬

‫أﻳﻀ‪ S‬دﻟﻴ ًﻼ اﺳﺘﺮﺷﺎدﻳ‪ S‬ﻟﻠﻮزارة‬ ‫وﻟﺠﻤﻴﻊ ﻓﺎﻋﻠﻲ اﻟﺨﻴﺮ وﻟﻠﻤﺆﺳﺴﺎت‬ ‫اﻟﺘﻲ ﺗﺒﺬل ﻓﻲ ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ ﻋﻨﺪ‬ ‫رﻏﺒﺘﻬﻢ ﻓﻲ ﺑﻨﺎﺋﻬﺎ‪ ،‬ﻣﺒﻴﻨ‪ S‬أﻧﻪ ﺗﻢ‬ ‫ﻋﻤﻞ ﻋﺪد ﻣﻦ اﻟﺨﻄﻮات ﻟﺘﻨﻔﻴﺬ ﻫﺬا‬ ‫اﻟﻜﻮد وﺟﻌﻠﻪ ﻓﻲ ﻣﺤﻞ اﻟﺘﻨﻔﻴﺬ‪،‬‬ ‫ﺣﻴﺚ ﺗﻢ ﺗﺸﻜﻴﻞ ﻟﺠﻨﺔ ﺗﻨﻔﻴﺬﻳﺔ‬ ‫ﺑﻴﻦ اﻟﻮزارة وﺑﻴﻦ اﻟﺠﺎﺋﺰة ﻟﻠﻘﻴﺎم‬ ‫ﺑﺈﻋﺪاد ا‪6‬ﺳﺲ اﻟﻌﺎﻣﺔ ﻟﻜﻮد اﻟﺒﻨﺎء‬ ‫ﺳﻮاء ﻛﺎﻧﺖ ﻫﺬه ا‪6‬ﺳﺲ ﻣﻌﻤﺎرﻳﺔ‪،‬‬ ‫أو إﻧﺸﺎﺋﻴﺔ‪ ،‬أو ﻣﻴﻜﺎﻧﻴﻜﻴﺔ‪ ،‬وﻛﺬﻟﻚ‬ ‫اﻻﺳﺘﻔﺎدة ﻣﻦ اﻟﻜﻔﺎءات واﻟﺨﺒﺮات‬ ‫اﻟﻮﻃﻨﻴﺔ اﻟﻤﺘﻮﻓﺮة ﻟﺪى ﺟﻤﻴﻊ اﻟﺠﻬﺎت‬ ‫ذات اﻟﻌﻼﻗﺔ ﺑﺄﻋﻤﺎل اﻟﺒﻨﺎء وا‪K‬ﻧﺸﺎء‬ ‫واﻟﺘﻌﻤﻴﺮ‪ ،‬وﻟﺘﻨﻔﻴﺬ ذﻟﻚ ﺷﻜﻠﺖ‬ ‫ﺛﻼث ﻣﺠﻤﻮﻋﺎت ﻣﺠﻤﻮﻋﺔ ﻣﺘﺨﺼﺼﺔ‬ ‫ﺑﺎﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ واﻟﺘﺨﻄﻴﻄﻴﺔ‪،‬‬ ‫وﻣﺠﻤﻮﻋﺔ ﻣﺘﺨﺼﺼﺔ ﺑﺎﻟﻤﻌﺎﻳﻴﺮ‬ ‫اﻟﺘﻘﻨﻴﺔ‪ ،‬وﻣﺠﻤﻮﻋﺔ ﻣﺘﺨﺼﺼﺔ‬ ‫ﺑﺎﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺸﺮﻳﻌﻴﺔ واﻟﺘﻨﻈﻴﻤﻴﺔ‪.‬‬

‫وﺗﻀﻊ اﻟﺠﺎﺋﺰة ﻧﺼﺐ ﻋﻴﻨﻴﻬﺎ ﺿﺮورة‬ ‫اﻻﻫﺘﻤﺎم ﺑﻌﻤﺎرة اﻟﻤﺴﺎﺟﺪ‪ ،‬ووﺿﻌﺖ‬ ‫ﻟﻬﺬا اﻟﻬﺪف ﺟﺎﺋﺰة ﻋﺎﻟﻤﻴﺔ ﺗﺤﻔﺰ‬ ‫اﻟﻤﻬﺘﻤﻴﻦ ﻓﻲ اﻟﻌﺎﻟﻢ ﻋﻠﻰ اﺑﺘﻜﺎر‬ ‫ﺣﻠﻮل ﺟﺪﻳﺪة ﻟﺘﻄﻮﻳﺮ ﻋﻤﺎرة اﻟﻤﺴﺎﺟﺪ‪،‬‬ ‫ﻛﻤﺎ ﻳﺠﺐ ﻣﺎ ﻳﺴﻤﻰ ﺑـ »ﻣﺴﺠﺪ‬ ‫اﻟﻤﺴﺘﻘﺒﻞ« أن ﻳﻜﻮن اﻗﺘﺼﺎدﻳ‪S‬‬ ‫وﺑﺴﻴﻄ‪َ S‬وذَ ا ﺗﻘﻨﻴﺔ ﻋﺎﻟﻴﺔ وﻣﺴﺘﺪﻳﻤﺎ‬ ‫وﻣﺮﺗﺒﻄﺎ ﺑﻤﺴﺘﺨﺪﻣﻴﻪ‪.‬‬ ‫ﻛﻤﺎ ﻳﺴﺎﻫﻢ ﻛﻮد ﺑﻨﺎء اﻟﻤﺴﺎﺟﺪ ﻓﻲ‬ ‫ﺗﻘﻨﻴﻦ اﻟﻌﻤﻞ اﻟﻤﻌﻤﺎري وﻳﺠﻌﻠﻪ ﺿﻤﻦ‬ ‫ا‪K‬ﻃﺎر اﻟﻤﻘﺒﻮل ﻓﻲ ﺗﺸﺠﻴﻊ اﻻﺑﺘﻜﺎر‬ ‫‪6‬ن ﻓﻜﺮﺗﻪ ﻣﺒﻨﻴﺔ ﻋﻠﻰ اﻟﻤﺸﺎرﻛﺔ ﺑﻴﻦ‬ ‫اﻟﻤﺸﺮوع واﻟﻤﺴﺘﻔﻴﺪ وﻳﺪﻓﻊ إﻟﻰ اﻟﺒﺤﺚ‬ ‫اﻟﻌﻠﻤﻲ واﺑﺘﻜﺎر ﻣﻮاﺻﻔﺎت ﺟﺪﻳﺪة ﻓﻲ‬ ‫ﺗﺒﻨﻲ اﻟﺠﻤﺎل اﻟﻤﺮن وﻳﺴﺎﻋﺪ ﻋﻠﻰ ﻋﺪم‬ ‫اﻟﻤﺒﺎﻟﻐﺔ وﻳﺤﺪد اﻟﻜﻔﺎءة اﻟﻮﻇﻴﻔﻴﺔ‬ ‫ﻓﻲ اﻟﻮﺻﻮل إﻟﻰ اﻟﻤﺴﺠﺪ اﻟﻤﺴﺘﺪام‬ ‫اﺟﺘﻤﺎﻋﻴﺎ ووﻇﻴﻔﻴﺎ واﻗﺘﺼﺎدﻳﺎ‪.‬‬ ‫اﻟﻤﺼﺪر‪ :‬واس‬

l¹—UA*« —U³š√

‫ﻣﺴﺎﺑﻘﺔ‬ ‫ﻋﺎﻟﻤﻴﺔ ﻋﺎدة‬ ‫ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﻨﻄﻘﺔ‬ ‫اﻟﻤﺤﻴﻄﺔ ﺑﺒﺮج‬ ‫إﻳﻔﻞ‬ International Eiffel Tower Competition : ‫اﻟﻤﺼﻤﻢ‬ Architect: Gustafson Porter +Bowman ‫ﻓﻲ ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ أﻃﻠﻘﺘﻬﺎ‬ ‫ﻣﺪﻳﻨﺔ ﺑﺎرﻳﺲ ﻋﺎدة ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﺒﺮج إﻳﻔﻞ ﺗﺤﺖ‬ ،«‫ زﻳﺎرة‬،‫ ﻣﻨﻬﺞ‬،‫ﻋﻨﻮان »إﻛﺘﺸﺎف‬

Gustafson Porter ‫ﻓﺎز ﻣﻜﺘﺐ‬ ‫ ﺑﺎﻟﻤﺮﻛﺰ اﻻول ﻣﻦ‬+Bowman

Gustafson Porter + Bowman has been shortlisted as 1 of 4 teams in a major international competition to design and develop a new landscape surrounding the Eiffel Tower. The ‘Site Tour Eiffel’ competition, organised by Ville de Paris under the title ‘Discover, approach, visit’, covers the 54ha area either side of the river Seine, between the Trocadéro and the Military Academy, and along the river embankments between BirHakeim and Alma Bridges. The Eiffel tower itself is located at the centre of this site. As part

of the city’s preparations for the 2024 Olympic games, the project seeks to accentuate the architectural quality of the Eiffel tower, elevate the pedestrian experience at the base of the tower, mediate existing connections across the site and improve the circulation of the surrounding public transport, buses, boats and cars. While 7 million visitors climb the tower every year, as many as 30 million visit the site as a whole and experience the Tower without ever climbing it – from its base; from the concourse;

from the Trocadéro Esplanade or Gardens; or from the Champ de Mars. The competition will thus also allow for a restoration and redevelopment of the existing landscape which forms the Champ de Mars, an urban park used by heavily local residents. Over forty major events take place every year on the Champ de Mars, contributing to its role as an iconic green space in Paris visited by Parisians as well as visitors from all over the world.

. ‫ﺑﻴﻦ ارﺑﻌﺔ ﻣﻜﺎﺗﺐ ﻋﺎﻟﻤﻴﺔ‬ ‫ﻫﻜﺘﺎر‬٥٤ ‫ﺗﻐﻄﻲ اﻟﻤﻨﻄﻘﺔ ﻣﺴﺎﺣﺔ‬ ‫ﻋﻠﻰ ﺟﺎﻧﺒﻲ ﻧﻬﺮ اﻟﺴﻴﻦ ﺑﻴﻦ ﺳﺎﺣﺔ‬ ‫ﻛﺎدﻳﻤﻴﺔ اﻟﻌﺴﻜﺮﻳﺔ‬C‫ﺗﺮوﻛﺎدﻳﺮو وا‬ Bir-Hakeim ‫وﻋﻠﻰ ﻃﻮ ﺟﺴﺮﻳﻦ‬ ‫ وﻳﻘﻊ ﺑﺮج إﻳﻔﻞ ﻓﻲ وﺳﻂ‬،Alma ‫و‬ .‫ﻫﺬه اﻟﻤﻨﻄﻘﺔ‬ ‫وﻳﻌﺪ ﻣﺸﺮوع إﻋﺎدة ﺗﻄﻮﻳﺮ‬ J‫اﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﺒﺮج ﺟﺰء‬ ‫ﻟﻌﺎب‬M‫ﻣﻦ اﺳﺘﻌﺪادات اﻟﻤﺪﻳﻨﺔ ﻟ‬ ‫ وﺗﻬﺪف اﻟﻤﺴﺎﺑﻘﺔ‬.٢٠٢٤ ‫وﻟﻤﺒﻴﺔ‬C‫ا‬ ‫إﺑﺮاز اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻟﻠﺒﺮج‬ ‫وﺗﻌﺰﻳﺰ ﺗﺠﺮﺑﺔ اﻟﻤﺸﺎة ﻓﻲ اﻟﻤﻨﻄﻘﺔ‬ ‫اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﺒﺮج ﺣﻴﺚ ﻳﻜﻮن اﻟﺒﺮج‬ ‫ﻧﻘﻄﺔ وﺻﻞ ﺑﻴﻦ اﻟﻤﻨﺎﻃﻖ اﻟﻤﺤﻴﻄﺔ‬ ‫ﺑﻪ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ﺗﺤﺴﻴﻦ ﺣﺮﻛﺔ‬ ‫ ﺣﺎﻓﻼت‬،‫اﻟﻨﻘﻞ اﻟﻌﺎم ﻣﻦ ﺳﻴﺎرات‬ .‫واﻟﻘﻮارب اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﺒﺮج‬ ‫ ﻣﻼﻳﻴﻦ‬٧ ‫ﺗﺼﻞ أﻋﺪاد زوار اﻟﺒﺮج‬ ٣٠‫زاﺋﺮ ﺳﻨﻮﻳ\ ﻳﺼﻌﺪون إﻟﻰ اﻟﺒﺮج و‬ ‫ﻣﻠﻴﻮن زاﺋﺮ ﻳﺘﺠﻮﻟﻮن ﻓﻘﻂ ﺣﻮﻟﻪ‬ ‫ﺳﻮاء ﻓﻲ ﺳﺎﺣﺔ ﺗﺮوﻛﺎدﻳﺮو أو‬ ‫اﻟﺤﺪاﺋﻖ أو ﻓﻲ ﻣﻨﺘﺰه ﺷﺎن د ﻣﺎرس‬ . Champ de Mars

14 Albenaa

¡UM³ « ±¥

l¹—UA*« —U³š√ : ‫اﻟﻤﺼﻤﻢ‬ Architects: HASSELL, Rogers Stirk Harbour + Partners, and Weston Williamson

‫ﺧﻤﺲ ﻣﺤﻄﺎت ﻣﺘﺮو ﺟﺪﻳﺪة ﻓﻲ ﻣﻠﺒﻮرن‬ Five Metro Stations for Melbourne

Anzac WD×

North Milborne WD× VA Australia’s Minister for Transport has unveiled designs for five new underground metro stations in the city of Melbourne. Scheduled to open in 2025, the new stations will “combine functionality, space and natural light with the latest in public transport infrastructure design.” The new stations, named North Melbourne, Parkville, State Liberty, Town Hall and Anzac, will each draw on an individual surrounding character to inform their architectural style. The schemes will also include public amenities such as parks, bicycle facilities, and community plazas. North Melbourne Station will feature a large masonry arch

Parkville WD× at the entrance, referencing the area’s industrial past while skylights enable natural light to reach the platforms and concourse. Meanwhile, Parkville will see a glass feature roof over a treelined entrance linking the station with a world-class health and educational district. State Liberty and Town Hall stations will feature sweeping arches at platform level, and grand entrances to the city’s Central Business District, revitalizing surrounding streets with cafes and retail outlets. Meanwhile, Anzac Station will house a canopy reaching from below ground to provide natural light and weather protection.

State Liberty WD× ‫ ﺑﺘﺼﻤﻴﻤﻬﺎ‬North Melbrne ‫ﻣﺤﻄﺔ‬ ‫اﻟﻤﻜﻮن ﻣﻦ وﺣﺪات ﺧﺮﺳﺎﻧﻴﺔ ﻋﻠﻰ‬ ‫ﺷﻜﻞ أﻗﻮاس ﻣﺴﺘﻮﺣﺎة ﻣﻦ ﺗﺎرﻳﺦ‬ ‫اﻟﻤﻨﻄﻘﺔ اﻟﺼﻨﺎﻋﻲ ﻛﻤﺎ ﺗﻀﻢ ﻣﻨﺎور‬ ‫ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ إﻟﻰ‬B‫ﺗﺴﻤﺢ ﺑﻨﻔﺎذ ا‬ Parkville ‫ أﻣﺎ ﻣﺤﻄﺔ‬.‫داﺧﻞ اﻟﻤﺤﻄﺔ‬ ‫ﻓﺘﺘﻤﻴﺰ ﺑﺴﻘﻒ زﺟﺎﺟﻲ ﻳﻐﻄﻲ ﺛﻼث‬ ‫ﻣﺴﺎرات ﻟﻠﺪﺧﻮل وﺗﺮﺗﺒﻂ اﻟﻤﺤﻄﺔ‬ ‫ﻣﻊ ﻣﻨﻄﻘﺔ ﺻﺤﻴﺔ وﺗﻌﻠﻴﻤﻴﺔ ذات‬ State ‫ وﺗﺘﻤﻴﺰ ﻣﺤﻄﺘﺎ‬.‫ﻣﺴﺘﻮى ﻋﺎﻟﻲ‬ ‫ ﺑﺄﻧﻬﻤﺎ‬Town Hall ‫ وﻣﺤﻄﺔ‬Liberty ‫ﺗﻀﻤﺎن أﻗﻮاس ﻓﻲ ﻣﺴﺘﻮى اﻟﻤﻨﺼﺔ‬ ‫وﻣﺪﺧﻞ ﻛﺒﻴﺮ ﻟﻠﻤﺪﻳﻨﺔ ﻟﺘﺤﻴﻲ ﻣﻦ‬ ‫ﺟﺪﻳﺪ اﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻪ ﺑﺎﻟﻤﻘﺎﻫﻲ‬ ‫ أﻣﺎ اﻟﻤﺤﻄﺔ ا ﺧﻴﺮ‬.‫واﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ‬ ‫ ﻓﺘﻀﻢ أﺳﻘﻒ ﻣﻘﺒﺒﺔ‬Anzac Station ‫ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬B‫ﺗﺤﺖ ا رض ﺗﻮﻓﺮ ا‬ .‫وﺗﺤﻤﻲ ﻣﻦ ﺗﻘﻠﺒﺎت اﻟﺠﻮ‬

Town Hall WD× ‫ﻛﺸﻔﺖ وزارة اﻟﻨﻘﻞ ا ﺳﺘﺮاﻟﻴﺔ ﻋﻦ‬ ‫ﺗﺼﻤﻴﻢ ﺟﺪﻳﺪ ﻟﺨﻤﺲ ﻣﺤﻄﺎت‬ ‫ﺟﺪﻳﺪة ﻟﻠﻤﺘﺮو ﻓﻲ ﻣﺪﻳﻨﺔ ﻣﻠﺒﻮرن‬ ‫وﻫﻲ ﻣﻦ ﺗﺼﻤﻴﻢ ﻓﺮﻳﻖ ﻣﻜﻮن ﻣﻦ‬ ,HASSELL ‫ﺛﻼث ﻣﻜﺎﺗﺐ‬ Rogers Stirk Harbour + Partners, ‫ ﺗﻌﻤﻞ‬.and Weston Williamson ‫اﻟﻤﺤﻄﺎت اﻟﺠﺪﻳﺪة ﻋﻠﻰ اﻳﺠﺎد ﺣﻠﻮل‬ ‫ﺗﺠﻤﻊ ﺑﻴﻦ ﺗﺤﻘﻴﻖ وﻇﺎﺋﻒ اﻟﻤﺤﻄﺔ‬ ‫ﺿﺎءة‬B‫وﺗﺼﻤﻴﻢ اﻟﻔﻀﺎءات و ﺗﻮﻓﻴﺮ ا‬ ‫اﻟﻄﺒﻴﻌﻴﺔ ﻣﻦ ﺧﻼل أﺣﺪث ﺗﺼﺎﻣﻴﻢ‬ ‫ أﻃﻠﻖ ﻋﻠﻰ‬.‫ﻣﺤﻄﺎت اﻟﻨﻘﻞ اﻟﻌﺎم‬ North Milborne, ‫اﻟﻤﺤﻄﺎت اﺳﻢ‬ Parkville, State Liberty, Town ‫ ﺻﻤﻤﺖ ﻛﻞ ﻣﺤﻄﺔ‬. Hall and Anzac ‫ﺧﺮ وﺗﻀﻢ ﻛﻞ‬I‫ﺑﺸﻜﻞ ﻣﺨﺘﻠﻒ ﻋﻦ ا‬ ،‫واﺣﺪة ﻣﺮاﻓﻖ ﻋﺎﻣﺔ ﻣﺜﻞ اﻟﺤﺪاﺋﻖ‬ ‫ ﺗﺘﻤﻴﺰ‬.‫ﻣﻮاﻗﻒ ﻟﻠﺪراﺟﺎت وﺳﺎﺣﺔ ﻋﺎﻣﺔ‬

16 Albenaa

¡UM³ « ±∂

l¹—UA*« —U³š√

‫ ﻧﻴﻮﻳﻮرك‬- 40 ‫ﺟﺎدة‬

‫اﻟﺘﺼﻤﻴﻢ ﺑﺄﺷﻌﺔ‬ ‫اﻟﺸﻤﺲ‬ 40 Tenth Avenue : ‫اﻟﻤﺼﻤﻢ‬ Architect: Studio Gang

Íuł —uEM Located at the edge of Manhattan between the High Line park and the Hudson River, 40 Tenth Avenue takes its unique form from the geometric relationships between the building’s allowable envelope and the sun’s path, as well as the viewshed between the park and the Hudson. In addition to producing a faceted, gem-like facade, this integrated response allows the building to benefit the important public green space of the High Line—privileging light, fresh air, and river views to the public

park - while also becoming a new iconic silhouette on the New York skyline. The design advances Studio Gang’s “solar carving” strategy for enhancing connectivity in tall buildings. Developed through the Studio’s ongoing tall building research, solar carving involves using incident angles of the sun’s rays to sculpt a building’s form. The glazing system has been geometrically optimized into a pattern of three-dimensional facets that articulate the carved sections of the tower.

‫ ﻓﻲ ﻃﺮف ﻣﺪﻳﻨﺔ‬٤٠ ‫ﻳﻘﻊ ﻣﺸﺮوع اﻟﺠﺎدة‬ ‫ﻣﻨﻬﺎﺗﻦ ﺑﻴﻦ ﻣﻨﺘﺰه ﻫﺎي ﻻﻳﻦ وﻧﻬﺮ‬ ‫ﻫﺪﺳﻮن وﻳﺄﺧﺬ ﺷﻜﻠﻪ اﻟﻔﺮﻳﺪ ﻣﻦ‬ ‫اﻟﻔﻀﺎءات اﻟﺠﻴﻮﻣﺘﺮﻳﺔ اﻟﺸﻜﻞ ﺑﻴﻦ‬ ‫ﺿﺎﻓﺔ‬6‫اﻟﻤﺒﺎﻧﻲ وﻣﺴﺎر اﻟﺸﻤﺲ ﺑﺎ‬ .‫ﻃﻼﻟﺔ ﻋﻠﻰ اﻟﻨﻬﺮ واﻟﺤﺪﻳﻘﺔ‬6‫إﻟﻰ ا‬ ‫ﺗﻤﻴﺰاﻟﻤﺸﺮوع ﺑﻮاﺟﻬﺎﺗﻪ اﻟﻤﻨﺤﻮﺗﺔ‬ ‫ﺳﺘﻔﺎدة ﻣﻦ اﻟﻤﺴﺎﺣﺎت‬6‫اﻟﺘﻲ ﺗﺴﻤﺢ ﺑﺎ‬ ‫ﺿﺎءة‬6‫اﻟﺨﻀﺮاء اﻟﻌﺎﻣﺔ واﻻﺳﺘﻔﺎدة ﻣﻦ ا‬ ‫ﻃﻼﻟﺔ‬6‫اﻟﻄﺒﻴﻌﻴﺔ واﻟﻬﻮاء اﻟﻨﻘﻲ وا‬ ‫ ﻳﻬﺪف‬.‫اﻟﺠﻴﺪة ﻋﻠﻰ اﻟﻨﻬﺮ واﻟﺤﺪﻳﻘﺔ‬ H‫ أﻳﻘﻮﻧﻴ‬H‫اﻟﻤﺸﺮوع ان ﻳﺼﺒﺢ ﻣﻌﻠﻤ‬ ‫ﻓﻲ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮرك وﻳﻘﺪم اﻟﺘﺼﻤﻴﻢ‬ Solar ‫اﺳﺘﺮاﺗﻴﺠﻴﺔ ﻧﺤﺖ اﻟﺸﻤﺲ‬ ‫ ﻟﺘﻌﺰﻳﺰ اﻟﻌﻼﻗﺎت ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ‬Carving ‫اﻟﻌﺎﻟﻴﺔ وﻫﻲ اﺳﺘﺮاﺗﻴﺠﻴﺔ ﻃﻮرﻫﺎ‬ ‫ وﻫﻲ‬Studio Gang ‫اﻟﻤﻜﺘﺐ اﻟﻤﻌﻤﺎري‬ ‫ﺧﺎﺻﺔ ﺑﺄﺑﺤﺎث اﻟﻤﺒﺎﻧﻲ اﻟﻌﺎﻟﻴﺔ ﺣﻴﺚ‬ ‫ﺷﻌﺔ اﻟﺸﻤﺲ‬T ‫ﻳﺘﻢ إﺗﺒﺎع اﻟﺰواﻳﺎ اﻟﺤﺎدة‬ ‫ اﺳﺘﺨﺪم اﻟﺰﺟﺎج‬.‫ﻟﻨﺤﺖ ﺷﻜﻞ اﻟﻤﺒﻨﻰ‬ ‫ﺟﺰاء اﻟﻤﻨﺤﻮﺗﺔ‬T‫ﻟﺘﻐﻄﻴﺔ اﻟﻤﺒﻨﻰ ﻓﻲ ا‬ ‫ﻋﻠﻰ ﺷﻜﻞ أﻧﻤﺎط ﺗﺘﻜﻮن ﻣﻦ ﺛﻼث أوﺟﻪ‬ ‫ ﻳﻌﻤﻞ اﻟﺠﺰء اﻟﻤﻨﺤﻮت‬.‫ﺑﻌﺎد‬T‫ﺛﻼﺛﻴﺔ ا‬ ‫ﻣﻦ اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﺣﺠﺐ أﺷﻌﺔ اﻟﺸﻤﺲ‬ ‫ﺿﺎﻓﺔ إﻟﻰ‬6‫وﻣﻨﻊ اﻛﺘﺴﺎب اﻟﺤﺮارة ﺑﺎ‬ ‫اﻟﺴﻤﺎح ﺑﺈﻧﺸﺎء ﻛﺘﻞ ذات اﺷﻜﺎل‬ ‫ ﻳﻀﻢ اﻟﻤﺒﻨﻰ ﻣﺴﺎﺣﺎت‬.‫دﻳﻨﺎﻣﻴﻜﻴﺔ‬ ‫ﺗﺠﺎرﻳﺔ وﻣﺴﺎﺣﺎت ﺧﺎرﺟﻴﺔ وﺳﻄﺢ ﻣﺰروع‬ .‫وﺷﺮﻓﺎت ﺧﺎرﺟﻴﺔ ﻓﻲ اﻟﻄﺎﺑﻖ اﻟﺜﺎﻧﻲ‬

UN³M& ·bNÐ fLA « WFý« «—U * wM³*« WK² rOLBð ŸU³ðù w×O{uð rÝ— 18 Albenaa

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‫ﻫﺮم ﺗﻴﺮاﻧﺎ‬

: ‫اﻟﻤﺼﻤﻢ‬ Architect: MVRDV ‫ أﻟﺒﺎﻧﻴﺎ‬:‫اﻟﻤﻮﻗﻊ‬ 2‫م‬11٫800 :‫اﻟﻤﺴﺎﺣﺔ‬

Tirana Pyramid

t uŠ U0 vM³*« jÐdð W UHý WOłUł“ UNł«Ë Â«b ²Ý« Situated in the centre of Tirana, the former Enver Hoxha Museum designed in the 1980s by a group of architects including the then president’s daughter Pranvera Hoxha and her husband Klement Kolneci. Throughout the years it has also served as a temporary base for NATO during the War in Kosovo. The pyramid has a unique silhouette and a strong presence in the urban environment. It never left the public attention and was a centre point in numerous protest and a background for demonstrations. Despite the generous use of glass on its façade the building appears to be hermetically sealed and inaccessible. The attempt to transform the interior clogged the atrium and created even more obstacles for one to experience the space. The project aims to give the building back to the public. By opening the ground floor from all sides the structure becomes transparent. By making the façade roof accessible and scalable a new perspective to the city appears and by flooding the interior of the space with green the object becomes one with its surroundings.

‫ﻳﻘﻊ اﻟﻤﺒﻨﻰ ﻓﻲ وﺳﻂ ﻣﺪﻳﻨﺔ ﺗﻴﺮاﻧﺎ‬ ‫م‬١٩٨٠ ‫ وﻳﻌﻮد ﺑﻨﺎؤه ﻟﻌﺎم‬،‫ﻓﻲ أﻟﺒﺎﻧﻴﺎ‬ ‫وﻛﺎن ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬ ‫ وﺧﻼل اﻟﺴﻨﻮات اﻟﻤﺎﺿﻴﺔ‬. ‫اﻟﻤﻌﻤﺎرﻳﻴﻦ‬ ‫اﺳﺘﺨﺪم اﻟﻤﺒﻨﻰ ﻛﻘﺎﻋﺪة ﻟﺤﻠﻒ‬ ‫اﻟﻨﺎﺗﻮ ﺧﻼل ﺣﺮب ﻛﻮﺳﻮﻓﻮ وﺳﺎﺣﺔ‬ =‫ ﻛﻤﺎ ﻛﺎن ﻣﺮﻛﺰ‬،‫ﻟﻠﻤﻨﺎﺳﺒﺎت واﻟﻔﻌﺎﻟﻴﺎت‬ ‫ﺣﺘﺠﺎﺟﺎت‬A‫ﻟﻠﻤﺘﻈﺎﻫﺮﻳﻦ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ا‬ .‫واﻟﻤﻈﺎﻫﺮات اﻟﺘﻲ ﺗﺤﺪث ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬ ‫وﺑﺎﻟﺮﻋﻢ ﻣﻦ ان اﻟﻤﺒﻨﻲ ﺻﻤﻢ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﻫﺮﻣﻲ ﻣﻤﺎ ﻳﻌﻄﻴﻪ ﺷﻜﻼ ﻣﻤﻴﺰا‬ ،‫إﻻ اﻧﻪ ﻟﻢ ﻳﻜﻦ ﻳﻠﻔﺖ إﻧﺘﺒﺎه اﻟﻨﺎس‬ ‫وﺑﺎﻟﺮﻏﻢ ﻣﻦ اﺳﺘﺨﺪام اﻟﺰﺟﺎج ﺑﻜﺜﺮة‬ ‫ﻓﻲ اﻟﻮاﺟﻬﺎت إﻻ أﻧﻪ ﻛﺎن ﻳﻈﻬﺮ وﻛﺄﻧﻪ‬ ‫ﻣﻐﻠﻖ وﻣﻌﺰول ﻋﻦ اﻟﺨﺎرج وﻳﺼﻌﺐ‬ ‫ ﻛﻤﺎ أدت ﻣﺤﺎوﻻت ﻓﻲ‬،‫اﻟﺪﺧﻮل إﻟﻴﻪ‬ ‫ﺗﻌﺪﻳﻞ وﺗﻐﻴﻴﺮ اﺻﻤﻴﻤﻪ اﻟﺪاﺧﻠﻲ ﻓﻲ‬ .‫ﺗﻌﻘﻴﺪ اﺳﺘﺨﺪام اﻟﻤﺴﺎﺣﺎت اﻟﺪاﺧﻠﻴﺔ‬ ‫اﻟﻤﺸﺮوع اﻟﻤﻘﺪم ﻣﻦ ﻣﻜﺘﺐ‬ ‫ ﻳﻬﺪف إﻟﻰ إﻋﺎدة اﻟﻤﺒﻨﻰ‬MVRDV ‫ﻟ[ﺳﺘﺨﺪام ﻣﻦ ﺧﻼل إﻧﺸﺎء ﻣﺮﻛﺰا‬ ‫ ﺣﻴﺚ ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ اﻟﻰ‬،‫ﻟﻠﺘﻘﻨﻴﺔ‬ ‫ﻓﺘﺢ اﻟﺪور ا]رﺿﻲ ﻣﻦ ﺟﻤﻴﻊ اﻟﺠﻬﺎت‬ ‫واﺳﺘﺨﺪام واﺟﻬﺎت زﺟﺎﺟﻴﺔ ﺷﻔﺎﻓﺔ‬ ،‫ﺗﺮﺑﻂ اﻟﻤﺒﻨﻰ ﺑﺎﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻪ‬ ‫ﺿﺎﻓﺔ إﻟﻰ ﺟﻌﻞ ﺑﻌﺾ اﻟﻮاﺟﻬﺎت‬A‫ﺑﺎ‬ ‫اﻟﻤﺎﺋﻠﺔ اﻟﻤﺼﻤﺘﺔ ﻋﻠﻲ ﻫﻴﺌﺔ ﺳﻼﻟﻢ‬ ‫ وإﻧﺸﺎء ﻣﺴﺎﺣﺎت‬،‫ﺗﻘﻮد إﻟﻰ ﻗﻤﺔ اﻟﻬﺮم‬ .‫داﺧﻠﻴﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﻨﺒﺎﺗﺎت‬

WOł—U)« W¾O³ « l W öF « e¹eF² UðU³M UÐ W¾OK WOKš«œ UŠU ¡UA½≈

ÂdN « WL v ≈ œuIð r öÝ v ≈ W²LB*« UNł«u « q¹u% 20 Albenaa

¡UM³ « ≤∞

l¹—UA*« —U³š√

‫ﻣﺠﻤﻊ ﻣﺘﻌﺪد اﻻﺳﺘﺨﺪاﻣﺎت‬ Garitage Park Complex in Bulgaria : ‫اﻟﻤﺼﻤﻢ‬ Architect: Murphy Burnham & Buttrick Architects Murphy ‫ﻛﺸﻒ اﻟﻤﻌﻤﺎري‬ Burnham & Buttrick Architects ‫ ﻋﻦ ﺗﺼﻤﻴﻤﻪ اﻟﻔﺎﺋﺰ ﺿﻤﻦ‬MBB ‫ اﻟﻤﺸﺮوع ﻋﺒﺎرة‬.‫ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ‬ .‫ﻋﻦ ﻣﺠﻤﻊ ﻣﺘﻌﺪد اﻻﺳﺘﺨﺪاﻣﺎت‬ ‫ ﻓﺪان ﻓﻲ‬٤١ ‫ﻳﻘﻊ ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫ وﻳﻘﺪم‬،‫ﻣﻨﻄﻘﺔ ﺻﻮﻓﻴﺎ ﻓﻲ ﺑﻠﻐﺎرﻳﺎ‬ ‫اﻟﻤﺸﺮوع ﻣﺴﺎﺣﺎت ﻣﺘﻌﺪدة =ﻧﺸﺎء‬ ‫ وﻣﺴﺎﻛﻦ وﻣﺴﺎﺣﺎت‬،‫ﻣﺪارس‬ ‫ﻣﻜﺘﺒﻴﺔ وأﺧﺮى ﺗﺠﺎرﻳﺔ ﺑﺎ=ﺿﺎﻓﺔ إﻟﻰ‬ .‫ﻣﺴﺎﺣﺎت ﻟﻠﻤﻨﺎﺳﺒﺎت واﻻﺣﺘﻔﺎﻻت‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ ﺑﺮﺟﻴﻦ‬ ‫ أﻟﻒ ﻗﺪم‬٢٧٠ ‫ﺳﻜﻨﻴﻴﻦ ﺑﻤﺴﺎﺣﺔ‬ ‫ﻳﺘﻤﻴﺰان ﺑﻮاﺟﺘﻬﻤﺎ اﻟﺸﺮﻗﻴﺔ‬ ‫واﻟﻐﺮﺑﻴﺔ اﻟﻔﻌﺎﻟﺔ ﺣﻴﺚ ﺗﻀﻢ ﻧﻈﺎم‬ ‫ﻣﻦ اﻟﺴﻮاﺗﺮ اﻟﻤﻌﺪﻧﻴﺔ ا=ﻧﺰﻻﻗﻴﺔ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ ﺛﻘﻮب ﻟﺘﻮﻓﻴﺮ ا=ﺿﺎءة‬ ‫اﻟﻄﺒﻴﻌﻴﺔ وإﻃﻼﻟﺔ ﺟﻴﺪة ﻋﻠﻰ‬ ‫اﻟﻤﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ اﻟﻤﺤﻴﻄﺔ‬ ‫ ﻛﻤﺎ ﻳﻀﻢ اﻟﻤﺸﺮوع ﺑﺮج‬.‫ﺑﺎﻟﻤﺸﺮوع‬ ‫ ﻗﺪم ﻣﺮﺑﻊ‬٥٨٣ ‫ﺗﺠﺎري ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫ﻳﻘﻊ ﻋﻨﺪ اﻟﻤﺪﺧﻞ اﻟﺮﺋﻴﺲ ﻟﻠﻤﺠﻤﻊ‬ ‫وﻳﻀﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺤﻼت‬ ‫اﻟﺘﺠﺎرﻳﺔ واﻟﻤﻄﺎﻋﻢ ﺑﺎ=ﺿﺎﻓﺔ إﻟﻰ‬ .‫ﻣﺴﺎﺣﺎت ﻟﻼﺣﺘﻔﺎﻻت‬ ‫ﺗﺸﺘﺮك اﻟﻤﺒﺎﻧﻲ ﻣﻌ[ ﻓﻲ اﻟﻄﻮاﺑﻖ‬ ‫اﻟﺴﻔﻠﻴﺔ واﻟﻤﺴﺎﺣﺎت اﻟﺨﺎرﺟﻴﺔ‬ ‫اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﻬﺎ اﻟﻤﺒﺎﻧﻲ ﺣﻴﺚ‬ ‫ﺗﻀﻢ ﻣﺴﻄﺤﺎت ﺧﻀﺮاء وﻧﻮاﻓﻴﺮ‬ ‫ﺑﻬﺪف ﺗﺮﻛﻴﺰ ا^ﻧﺸﻄﺔ ﻓﻲ ﻣﻜﺎن‬ ‫واﺣﺪ وﺗﻌﺰﻳﺰ اﻟﻤﺸﺎرﻛﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ‬ .‫ﺑﻴﻦ اﻟﺴﻜﺎن‬

Murphy Burnham & Buttrick Architects (MBB) has recently revealed its competition-winning design for the final phase of Garitage Park, a 41-acre complex in a growing district of Sofia, Bulgaria. The extensive mixed-use development by Garitage Investment Management, among several other major multinational companies developing nearby, will provide residences, a school, office, commercial, retail and event spaces to a large international

population of residents. The two 270,000-square-foot residential towers showcase east and west (active facades) that incorporate a system of sliding perforated metal screens, providing controlled daylighting to the residences as well as framed views to Bulgaria’s snow-capped Vitosha Mountains. A 538,000-square-foot commercial tower located at the main entrance to the site houses various shops and restaurants with event spaces at the base.

22 Albenaa

¡UM³ « ≤≤

Office Buildings Design Today Arch. Ibrahim Abaalkhail We are witnessing radical changes in office buildings. Some are related to office work and city components. Others concerns trends in architecture design like sustainability standards and communication technology. With the advent of the internet and smart phones, office work became more free from the space. People can perform their work in any place outside the boundaries of the office. Also, we are able to disperse work places in the city instead of gathering it in a business district. On the other hand, sustainability standards assert on the importance of bringing work space closer to residences, reducing commuting, reducing pollution and encouraging walking to reduce energy consumption, making building more open to pedestrians. In other words, improving the quality of lives inside cities. These standards also take into consideration the economical and social aspects. We now see new ways of office work like shared work spaces. We also experience new interior design for offices to improve employees life and performance at work and enhance communication and connectedness with their companies. These new designs aims at increasing work and energy efficiencies to achieve increased productivity and not the opposite. Office buildings designs have developed in terms of architecture as well as construction to achieve flexibility in it as it has been proved that it is difficult to demolish high rise office buildings built in the 20th century because of its obsoleteness for office work and that we are better off rehabilitate it to serve new modern functions. In this issue we feature 4 examples of office buildings some are multi use and others have been office buildings and transformed to other uses. These projects are designed by OMA, Legorretta, Rogers Stirk Harbour + Partners, and Foster + Partners.

WOzUA½≈ ‰uKŠË W UHý VðUJ m½u m½u¼ ¨t¹—u ‚bM Grupa 5 Architekci V²J Foster ´ Partners V²J 25 Albenaa ¡UM³ « ≤μ

‫ﺗﻌﺒﺮ ﻋﻦ اﻟﻬﻮﻳﺔ اﻟﻤﺤﻠﻴﺔ ﻟﻠﺒﻨﻚ واﻟﺘﻮﺟﻪ ﻋﺎﻟﻲ اﻟﺘﻘﻨﻲ‬ ‫ﻧﺸﺎﺋﻲ اﻟﻤﻌﺪﻧﻲ اﻟﺨﺎرﺟﻲ اﻟﺬي ﻳﺨﻠﻲ‬$‫ذي اﻟﻬﻴﻜﻞ ا‬ ‫ﻋﻤﺪة اﻟﺪاﺧﻠﻴﺔ ﻟﻴﻮﻓﺮ ﻣﺮوﻧﺔ‬,‫اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ ﻣﻦ ا‬ ‫ اﻟﺘﺼﻤﻴﻢ ﻳﺤﺎول أن ﻳﻔﺘﺢ‬.‫ﺳﺘﻌﻤﺎﻻت اﻟﺪاﺧﻠﻴﺔ‬:‫ﻋﺎﻟﻴﺔ ﻟ‬ ‫اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﻣﻨﺎخ اﻟﻤﺪﻳﻨﺔ ﻣﻦ ﺧﻼل ﺷﺮﻓﺎت ذات ﺣﺪاﺋﻖ‬ .‫ﺗﺸﻜﻞ ﻣﺴﺎﺣﺎت ﺗﺮوﻳﺤﻴﺔ وﺗﻮاﺻﻠﻴﺔ ﻟﻤﻮﻇﻔﻲ اﻟﺒﻨﻚ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻳﺮﺑﻂ اﻟﻤﺒﻨﻰ اﻟﻤﻜﺘﺒﻲ ﺑﺎﻟﻤﺪﻳﻨﺔ واﻟﻤﻨﻄﻘﺔ‬ ‫ﻣﻦ ﺣﻮﻟﻪ ﻓﻬﻮ ﻳﺴﻤﺢ ﺑﺈﻃﻼﻟﺔ ﺟﻴﺪة ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ ﻣﻦ‬ ‫ﺧﻼل واﺟﻬﺎﺗﻪ اﻟﺰﺟﺎﺟﻴﺔ وﻣﻦ ﺧﻼل اﻟﺸﺮﻓﺎت وﺑﻤﺪاﺧﻞ‬ .‫ﻣﻨﻔﺼﻠﺔ وﻟﻜﻦ واﺿﺤﺔ ﻟﻜﻞ ﻣﻦ اﻟﻤﺮﺗﺎدﻳﻦ واﻟﻤﻮﻇﻔﻴﻦ‬ ‫ ﻓﻬﻮ‬،‫ﻛﻤﺎ ﻳﺮﺑﻂ اﻟﺘﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ ﻣﻊ ﻣﻜﻮﻧﺎت اﻟﻤﻨﻄﻘﺔ‬ ‫ ﻟﻴﺸﻜﻞ ﻣﻊ اﻟﺒﺮج اﻟﻤﻘﺎﺑﻞ ﻟﻪ ﺑﻮاﺑﺔ ﻋﻨﺪ ﺑﺪاﻳﺔ‬N‫ﻳﺮﺗﻔﻊ ﻋﺎﻟﻴ‬ ‫اﻟﺸﺎرع اﻟﺮﺋﻴﺲ اﻟﻤﺎر ﺑﻴﻦ اﻟﻤﺒﻨﻴﻴﻦ ﺗﻔﺘﺢ ﻋﻠﻰ اﻟﺤﺪﻳﻘﺔ‬ ‫ اﻟﻤﺒﻨﻰ اﻟﺜﺎﻟﺚ ﻫﻮ ﻣﺒﻨﻰ‬. ‫اﻟﻌﺎﻣﺔ اﻟﻜﺒﻴﺮة اﻟﻤﻘﺎﺑﻠﺔ ﻟﻠﺸﺎرع‬ ‫ﻣﻜﺘﺒﻲ ﺣﻜﻮﻣﻲ ﺗﻢ ﺗﺤﻮﻳﻠﻪ إﻟﻰ ﻓﻨﺪق ﻓﺨﻢ ﻣﻦ ﺗﺼﻤﻴﻢ‬ ‫ ﻟﻢ ﻳﻮاﺟﻪ اﻟﺘﺼﻤﻴﻢ اﻟﺠﺪﻳﺪ‬Foster + Partners ‫ﻣﻜﺘﺐ‬ ‫ﻟﻠﻤﺒﻨﻰ ﻣﺸﺎﻛﻞ ﻛﺒﻴﺮة ﻟﻴﺘﻤﺎﺷﻰ ﻣﻊ ﻣﺘﻄﻠﺒﺎت ﺧﻔﺾ‬ ،‫ ﺑﺎﻟﺮﻏﻢ ﻣﻦ أﻧﻪ ﺑﻨﻲ ﻓﻲ اﻟﺴﺘﻴﻨﻴﺎت‬، ‫إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫ ﻓﻠﻘﺪ أﺧﺬ‬. ‫ﺣﻤﺎﻳﺔ اﻟﻮاﺟﻬﺎت ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ اﻟﻤﺒﺎﺷﺮ ة‬ ‫ﺻﻠﻲ ﻟﻠﻤﺒﻨﻰ ذﻟﻚ ﻓﻲ اﻟﺤﺴﺒﺎن ﻣﻦ ﺧﻼل‬,‫اﻟﺘﺼﻤﻴﻢ ا‬ ‫ﻧﻮاﻓﺬ ﻣﺎﺋﻠﺔ وﻣﻮﺟﻬﺔ وﻏﺎﺋﺮة ﻓﻲ اﻟﻮاﺟﻬﺎت ﻟﺘﺤﻘﻴﻖ ﺣﻤﺎﻳﺔ‬ ‫ إﻻ أن اﻟﺘﺼﻤﻴﻢ رﻛﺰ ﻋﻠﻰ إﻋﺎدة ﺗﺼﻤﻴﻢ‬. ‫ﻛﺎﻓﻴﺔ ﻟﻠﻤﺒﻨﻲ‬ ‫ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ واﻟﻔﻀﺎءات اﻟﺨﺎرﺟﻴﺔ اﻟﺘﺎﺑﻌﺔ ﻟﻠﻤﺒﻨﻰ ﺑﺤﻴﺚ‬ ‫ﻳﺼﺒﺢ اﻟﻤﺒﻨﻰ أﻛﺜﺮ إﺗﺎﺣﺔ ﻟﻠﻤﺸﺎة ﺧﺎﺻﺔ أن اﻟﻤﻮﻗﻊ ﻣﺤﺎط‬ ‫ اﻟﻤﺒﻨﻰ اﻟﺮاﺑﻊ ﻫﻮ ﻣﺒﻨﻰ‬.‫ﺑﺸﻮارع ذات ﺣﺮﻛﺔ ﻣﺮورﻳﺔ ﻋﺎﻟﻴﺔ‬ `‫ ﻧﻈﺮ‬Grupa 5 Architekci ‫ﻣﻜﺘﺒﻲ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ‬ ‫رض وﻟﺼﻐﺮ ﻣﺴﺎﺣﺘﻬﺎ ﻳﺤﺎول اﻟﺘﺼﻤﻴﻢ أن‬,‫ﻟﺸﻜﻞ ا‬ ‫ﻳﺴﺘﻐﻞ ﻛﺎﻣﻞ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ ﻣﻦ ﺧﻼل ﻣﺎ ﺗﺴﻤﺢ‬ N‫ﺑﻪ أﻧﻈﻤﺔ اﻟﺒﻨﺎء ﻣﻦ إرﺗﻔﺎﻋﺎت وإﻣﺘﺪادات ﺧﺎرﺟﻴﺔ ﻣﻮﻇﻔ‬ ‫ﻧﺸﺎﺋﻲ ﻟﺘﺤﻘﻴﻖ ﻏﺎﻳﺘﻪ ﻛﻤﺎ ﻳﺤﺎول أن‬$‫ﻓﻲ ذﻟﻚ اﻟﺠﺎﻧﺐ ا‬ ً ‫ﻳﻨﺪﻣﺞ ﺷﻜ‬ ‫ﻼ ﻣﻊ اﻟﻌﻤﺎرة اﻟﻤﺤﻴﻄﺔ ﻣﻦ ﺧﻼل إﺗﺒﺎع ﺧﻄﻮط‬ .‫وﺗﻘﺴﻴﻤﺎت واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ‬

Æt¹«Æw ÆwÐÆwÐ pM³ fOzd « dI*« LegoRogers V²J

«—UO K o¹dÞ ‚u ôULF²Ýù« œbF² vM³ OMA V²J

‫ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﻤﻜﺘﺒﻴﺔ اﻟﻴﻮم‬ ‫إﻋﺪاد ‪ :‬اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا‪ Z‬أﺑﺎ اﻟﺨﻴﻞ‬

‫اﻟﻤﻘﺪﻣﺔ ‪:‬‬ ‫اﻟﻤﺸﺎرﻳﻊ ‪:‬‬ ‫ﻣﺒﻨﻰ ﻣﺘﻌﺪد ا‪A‬ﺳﺘﻌﻤﺎﻻت ﻓﻮق‬ ‫ﻃﺮﻳﻖ ﻟﻠﺴﻴﺎرات‬ ‫‪The BLOX‬‬ ‫اﻟﻤﺼﻤﻢ ‪OMA :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻴﻨﺎء ﻛﻮﺑﻨﻬﺎﺟﻦ‬

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‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ ﻟﺒﻨﻚ ﺑﻲ‪.‬ﺑﻲ‪.‬ﻓﻲ‪.‬اﻳﻪ‪.‬‬ ‫‪BBVA Bancomer Tower‬‬ ‫اﻟﻤﺼﻤﻢ ‪LegoRogers :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻧﻴﻮ ﻣﻜﺴﻴﻜﻮ‬

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‫ﺗﺤﻮﻳﻞ ﻣﺒﻨﻰ ﻣﻜﺘﺒﻲ إﻟﻰ ﻓﻨﺪق ﻓﺨﻢ‬ ‫ﻓﻨﺪق ﻣﻮرﻳﻪ‪ ،‬ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬ ‫‪The Murray‬‬ ‫اﻟﻤﺼﻤﻢ ‪Foster + Partners :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻫﻮﻧﻎ ﻛﻮﻧﻎ ‪ -‬اﻟﺼﻴﻦ‬

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‫ﻣﻜﺎﺗﺐ ﺷﻔﺎﻓﺔ وﺣﻠﻮل إﻧﺸﺎﺋﻴﺔ‬ ‫‪The Nest‬‬ ‫اﻟﻤﺼﻤﻢ‪Grupa 5 Architekci :‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬وارﺳﻮ ‪ -‬ﺑﻮﻟﻨﺪا‬

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‫ﺷﻬﺪت اﻟﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ ﻓﻲ اﻟﺤﻘﺒﺔ ا ﺧﻴﺮة ﺗﺤﻮﻻت‬ ‫ﺟﺬرﻳﺔ ﺗﺘﻌﻠﻖ ﺑﻌﻀﻬﺎ ﺑﺄﺳﺎﻟﻴﺐ اﻟﻌﻤﻞ اﻟﻤﻜﺘﺒﻲ وﺑﻌﻼﻗﺔ‬ ‫ﻣﺒﺎﻧﻴﻪ ﺑﻤﻜﻮﻧﺎت اﻟﻤﺪﻳﻨﺔ‪ ،‬ﻛﻤﺎ ﺗﺘﻌﻠﻖ ﺑﺎﻟﻤﺴﺘﺠﺪات ﻋﻠﻰ‬ ‫ﺳﺎﺣﺔ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وﻣﻦ أﻫﻤﻬﺎ ﺗﻄﺒﻴﻖ ﻣﻌﺎﻳﻴﺮ‬ ‫ا‪A‬ﺳﺘﺪاﻣﺔ وﺗﻄﻮر ﺗﻘﻨﻴﺎت اﻟﺘﻮاﺻﻞ‪ .‬ﻓﺒﻌﺪ إﺳﺘﻌﻤﺎل‬ ‫ا‪A‬ﻧﺘﺮﻧﺖ واﻟﻬﻮاﺗﻒ اﻟﺬﻛﻴﺔ ﺑﺪء اﻟﻌﻤﻞ اﻟﻤﻜﺘﺒﻲ ﻳﺘﺤﺮر‬ ‫ﺷﻴﺌ‪ G‬ﻓﺸﻴﺌ‪ G‬ﻣﻦ إرﺗﺒﺎﻃﻪ ﺑﻤﻜﺎن اﻟﻌﻤﻞ ا ﻣﺮ اﻟﺬي‬ ‫أدى إﻟﻰ إﻣﻜﺎﻧﻴﺔ إﻧﺠﺎز ا ﻋﻤﺎل اﻟﻤﻜﺘﺒﻴﺔ ﺧﺎرج ﻣﻘﺮات‬ ‫اﻟﻤﺆﺳﺴﺎت‪ ،‬ﻛﻤﺎ أدى إﻟﻰ إﻣﻜﺎﻧﻴﺔ ﺗﻮزع أﻣﺎﻛﻦ اﻟﻌﻤﻞ‬ ‫ﻋﻠﻰ أﻧﺤﺎء ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻤﺪن ﺑﻌﺪ أن ﻛﺎﻧﺖ ﺗﺠﻤﻊ ﻓﻲ‬ ‫ﻣﺎ ﻳﻌﺮف ﺑﻤﺮاﻛﺰ ا ﻋﻤﺎل‪ .‬ﺟﺎءت ﻣﻌﺎﻳﻴﺮ ا‪A‬ﺳﺘﺪاﻣﺔ ﻟﺘﺆﻛﺪ‬ ‫ﻋﻠﻰ ﺿﺮورة ﺗﻘﺮﻳﺐ أﻣﺎﻛﻦ اﻟﻌﻤﻞ ﻣﻦ اﻟﺴﻜﻦ واﻟﺘﻘﻠﻴﻞ‬ ‫ﻣﻦ ﺣﺮﻛﺔ اﻟﻨﻘﻞ وا‪A‬زدﺣﺎم اﻟﻤﺮوري واﻟﺤﺪ ﻣﻦ ﺗﻠﻮث ﻫﻮاء‬ ‫اﻟﻤﺪن‪ ،‬واﻟﺘﺸﺠﻴﻊ ﻋﻠﻰ اﻟﻤﺸﻲ ﻟﺨﻔﺾ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬

‫‪¡UM³ « ≤¥‬‬

‫‪24 Albenaa‬‬

‫ﻣﻦ ﺟﻬﺔ وﻟ‪i‬ﻫﺘﻤﺎم ﺑﺎﻟﺼﺤﺔ اﻟﻌﺎﻣﺔ ﻟﺴﻜﺎن اﻟﻤﺪن ﻣﻦ‬ ‫ﺟﻬﺔ‪ ،‬وﺟﻌﻞ اﻟﻤﺒﺎﻧﻲ أﻛﺜﺮ إﻧﻔﺘﺎﺣ‪ G‬ﻋﻠﻰ اﻟﻤﺸﺎة أو ﺑﻤﻌﻨﻰ‬ ‫آﺧﺮ ﺗﺤﺴﻴﻦ ﺟﻮدة ﺣﻴﺎة اﻟﻨﺎس ﻓﻲ اﻟﻤﺪن‪.‬‬ ‫ﻛﻤﺎ أدت ﻣﺮاﻋﺎة اﻟﺠﻮاﻧﺐ ا‪A‬ﻗﺘﺼﺎدﻳﺔ وا‪A‬ﺟﺘﻤﺎﻋﻴﺔ ﻣﻦ‬ ‫ا‪A‬ﺳﺘﺪاﻣﺔ إﻟﻰ ﺗﺨﻴﻞ أﺳﺎﻟﻴﺐ ﻋﻤﻞ ﻣﻜﺘﺒﻴﺔ ﺟﺪﻳﺪة ﺗﻬﺪف‬ ‫إﻟﻰ إﻣﻜﺎﻧﻴﺔ إﺳﺘﻌﻤﺎل اﻟﻤﺴﺎﺣﺔ اﻟﻤﻜﺘﺒﻴﺔ اﻟﻮاﺣﺪة‬ ‫ ﻛﺜﺮ ﻣﻦ ﻣﺆﺳﺴﺔ‪ ،‬وإﻟﻰ إﻋﺎدة اﻟﻨﻈﺮ ﻓﻲ اﻟﺘﺼﺎﻣﻴﻢ‬ ‫اﻟﺪاﺧﻠﻴﺔ ﻟﻠﻤﻜﺎﺗﺐ ﻟﺘﺤﺴﻴﻦ ﺣﻴﺎة اﻟﻤﻮﻇﻔﻴﻦ و ﺗﻌﺰﻳﺰ‬ ‫اﻟﺘﻮاﺻﻞ وا‪A‬ﺣﺴﺎس ﺑﺎﻟﺘﺮاﺑﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ وا‪A‬ﻧﺘﻤﺎء إﻟﻰ‬ ‫اﻟﻤﺆﺳﺴﺔ‪ ،‬ورﻓﻊ ﻣﺴﺘﻮى ﻛﻔﺎءة ﻣﻜﺎن اﻟﻌﻤﻞ ﺑﻞ وﻛﻔﺎءة‬ ‫إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ ﻟﺘﺤﻘﻴﻖ زﻳﺎدة ا‪A‬ﻧﺘﺎج ورﻓﻊ ﻧﻮﻋﻴﺔ اﻟﻌﻤﻞ‬ ‫اﻟﻤﻜﺘﺒﻲ ﻓﻼ ﻳﺠﺐ أن ﻳﺴﺒﺐ ﺧﻔﺾ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫ﻓﻲ اﻟﻌﻤﻞ اﻟﻤﻜﺘﺒﻲ إﻟﻰ ﺧﻔﺾ ا‪A‬ﻧﺘﺎج ﻓﻲ اﻟﻌﻤﻞ ﺑﻞ‬ ‫اﻟﻌﻜﺲ‪ .‬وﺑﺸﻜﻞ ﻋﺎم ﺗﻄﻮر ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ‬ ‫ﻣﻌﻤﺎرﻳ‪ G‬وإﻧﺸﺎﺋﻴ‪ G‬ﻟﺘﺤﻘﻴﻖ اﻟﻤﺮوﻧﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ ﺑﺤﻴﺚ‬ ‫ﺗﺘﻘﺒﻞ إﺳﺘﻌﻤﺎﻻت ﺟﺪﻳﺪة ﻣﻜﺘﺒﻴﺔ وﻏﻴﺮ ﻣﻜﺘﺒﻴﺔ ‪ ،‬ﻓﻠﻘﺪ‬ ‫ﺛﺒﺖ أﻧﻪ ﻣﻦ اﻟﺼﻌﺐ ﻫﺪم اﻟﻤﺒﺎﻧﻲ وا ﺑﺮاج اﻟﻤﻜﺘﺒﻴﺔ‬ ‫اﻟﻌﺎﻟﻴﺔ اﻟﺘﻲ ﺗﻢ ﺑﻨﺎﺋﻬﺎ ﻓﻲ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ اﻟﺘﻲ ﻟﻢ‬ ‫ﺗﻌﺪ ﺻﺎﻟﺤﺔ ﻟ‪i‬ﺳﺘﻌﻤﺎل اﻟﻤﻜﺘﺒﻲ‪ ،‬وأﻧﻪ ﻣﻦ ا ﻓﻀﻞ‬ ‫إﻋﺎدة ﺗﺄﻫﻴﻠﻬﺎ ﻟﺨﺪﻣﺔ وﻇﺎﺋﻒ ﺟﺪﻳﺪة ﻣﻌﺎﺻﺮة‪ .‬ﻓﻲ‬ ‫ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض أرﺑﻌﺔ أﻣﺜﻠﺔ ﻟﻤﺒﺎﻧﻲ ﻣﻜﺘﺒﻴﺔ أو‬ ‫ﻛﺎﻧﺖ ﻛﺬﻟﻚ ﻗﺒﻞ ﺗﺤﻮﻳﻞ وﻇﻴﻔﺘﻬﺎ‪ .‬اﻟﻤﺒﻨﻰ ا ول وﻫﻮ‬ ‫ﻣﺸﺮوع ﻟﻤﺮﻛﺰ اﻟﻌﻤﺎرة اﻟﺪﻧﻤﺎرﻛﻲ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ‬ ‫‪ Oma‬ﻫﻮﻣﺸﺮوع ﻣﺘﻌﺪد ا‪A‬ﺳﺘﻌﻤﺎﻻت ﻳﻀﻢ ﺑﺎ‪A‬ﺿﺎﻓﺔ إﻟﻰ‬ ‫ﻣﺮﻛﺰ اﻟﻌﻤﺎرة ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ وأﺧﺮى ﺗﺠﺎرﻳﺔ ﺑﺎ‪A‬ﺿﺎﻓﺔ‬ ‫إﻟﻰ ﻣﺴﺎﺣﺎت ﺳﻜﻨﻴﺔ‪ .‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺗﻨﻮع اﻟﻮﻇﺎﺋﻒ إﻻ أن‬ ‫اﻟﻤﺒﻨﻰ ﺟﺎء ﻣﺘﺠﺎﻧﺴ‪ G‬ﻓﻲ اﻟﺸﻜﻞ ﻣﻦ ﺧﻼل إﺳﺘﻌﻤﺎل‬ ‫ﻛﺘﻞ ﻫﻨﺪﺳﻴﺔ ذات ﺗﺸﺎﺑﻪ ﺷﻜﻠﻲ ﺗﻢ رﺻﻬﺎ ﺑﻴﻦ ﺑﻌﻀﻬﺎ‬ ‫اﻟﺒﻌﺾ ﻟﺘﺤﻘﻴﻖ اﻟﺘﺠﺎﻧﺲ ﺑﻴﻦ وﻇﺎﺋﻔﻬﺎ اﻟﻤﺨﺘﻠﻔﺔ‪.‬‬ ‫ﻫﺬا اﻟﻤﺸﺮوع ﻳﻮﺿﺢ ﻓﻜﺮة ﺗﺤﺮر اﻟﻤﺒﺎﻧﻲ اﻟﻤﻜﺘﺒﻴﺔ ﻣﻦ‬ ‫ﻣﺮاﻛﺰ اﻟﻌﻤﻞ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺠﻤﻌﻬﺎ ﻓﻲ اﻟﻤﺎﺿﻲ ﻟﺘﻜﻮن‬ ‫أﻛﺜﺮ ﻗﺮﺑ‪ G‬ﻣﻦ اﻟﺴﻜﻦ وﻣﻦ اﻟﺨﺪﻣﺎت ا ﺧﺮى وأن ا‪A‬ﺧﺘﻼف‬ ‫ﻓﻲ وﻇﺎﺋﻒ اﻟﻤﺒﻨﻰ ﻻ ﺗﺆﺛﺮ ﺳﻠﺒ‪ G‬ﻋﻠﻰ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‬ ‫ﺑﻞ ﻫﻲ داﻓﻊ إﻟﻰ إﺑﺘﻜﺎر ﻋﻤﺎرة ﺟﺪﻳﺪة ﺗﺤﻘﻖ اﻟﻤﺘﻄﻠﺒﺎت‬ ‫اﻟﻤﻌﺎﺻﺮة‪ .‬اﻟﻤﺒﻨﻰ اﻟﺜﺎﻧﻲ ﻣﺒﻨﻰ ﺑﻨﻚ ﺑﻲ ‪.‬ﺑﻲ‪.‬ﻓﻲ‪ .‬اﻳﻪ‪.‬‬ ‫اﻟﻤﻜﺴﻴﻜﻲ ﻣﻦ ﺗﺼﻤﻴﻢ إﺗﺤﺎد ﻣﻜﺘﺒﻴﻦ ﻋﺎﻟﻤﻴﻴﻦ‬ ‫ﻣﻜﺘﺐ ‪ Legorreta‬اﻟﻤﻜﺴﻴﻜﻲ وﻣﻜﺘﺐ ‪Rogers Stirk‬‬ ‫‪ Harbour + Partners‬اﻟﺒﺮﻳﻄﺎﻧﻲ ﻟﻴﺤﻤﻞ اﻟﺘﺼﻤﻴﻢ‬ ‫اﺳﻤﻴﻬﻤﺎ ﻣﺠﺘﻤﻌﻴﻦ وﻫﻮ ‪ LegoRogers‬وﻳﺘﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ‬ ‫ﺑﺄﻧﻪ ﺟﻤﻊ ﺗﻮﺟﻬﻴﻦ ﻣﻌﻤﺎرﻳﻴﻦ ﻣﺨﺘﻠﻔﻴﻦ‪ ،‬ﺗﻮﺟﻪ ﻣﺤﻠﻲ‬ ‫وﻳﻤﺜﻠﻪ اﻟﻤﻜﺘﺐ اﻟﻤﻜﺴﻴﻜﻲ وﺗﻮﺟﻪ ﻋﺎﻟﻲ اﻟﺘﻘﻨﻴﺔ وﻳﻤﺜﻠﻪ‬ ‫اﻟﻤﻜﺘﺐ اﻟﺒﺮﻳﻄﺎﻧﻲ وﻳﻈﻬﺮ اﻟﺘﻮﺟﻬﻴﻦ ﻓﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫ﺟﻨﺒ‪ G‬إﻟﻰ ﺟﻨﺐ اﻟﺘﻮﺟﻪ اﻟﻤﺤﻠﻲ اﻟﻤﺘﺄﺛﺮ ﺑﻌﻤﺎرة اﻟﻤﻜﺴﻴﻚ‬ ‫ذات ا ﻟﻮان اﻟﺰاﻫﻴﺔ ) اﻟﻮردي وا ﺧﻀﺮ وا ﺻﻔﺮ( واﻟﺘﻲ‬

By Delfino Sisto Legnani and Marco Cappelletti © OMA By Delfino Sisto Legnani and Marco Cappelletti © OMA

tDÝË w d1 Íc « «—UO « o¹dÞË vM³LK ÂUŽ dEM

V¼UA « iOÐô« ÃUłe « «– WO³²J*« UŠU *« UNł«Ë dNEðË …—ULFK w —U/b « e dLK WFÐU² « WOł—U)« UŠU *« wKŽ WKD*« WNł«u « 27 Albenaa

¡UM³ « ≤∑

‫ﻣﺒﻨﻰ ﻣﺘﻌﺪد‬ ‫ا ﺳﺘﻌﻤﺎﻻت ﻓﻮق‬ ‫ﻃﺮﻳﻖ ﻟﻠﺴﻴﺎرات‬ ‫‪The BLOX‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : OMA‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻴﻨﺎء ﻛﻮﺑﻨﻬﺎﺟﻦ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 28000 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2017:‬م‬

‫∂≤ « ‪¡UM³‬‬

‫‪26 Albenaa‬‬

‫‪Photograph by Richard John Seymour, Courtesy of OMA‬‬

‫ﻳﺄوي ﻣﺸﺮوع اﻟﻤﺮﻛﺰ اﻟﺪﻧﻤﺎرﻛﻲ ﻟﻠﻌﻤﺎرة ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ﺻﺎﻻت‬ ‫ﻋﺮض وﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ ﺗﻘﻠﻴﺪﻳﺔ وأﺧﺮى ﺣﺪﻳﺜﺔ )ﻣﺴﺎﺣﺎت‬ ‫ﻣﻜﺘﺒﻴﺔ ﻣﺸﺎع ﺑﻴﻦ اﻟﺸﺮﻛﺎت( ﻛﻤﺎ ﻳﺤﺘﻮي ﻋﻠﻰ ﻣﻘﺎﻫﻲ‬ ‫وﻣﻜﺘﺒﺔ ﻟﺒﻴﻊ اﻟﻜﺘﺐ وﻣﺮﻛﺰ رﻳﺎﺿﻲ وﻣﻄﻌﻢ وﻋﺪد ‪ 22‬ﺷﻘﺔ‬ ‫ﺳﻜﻨﻴﺔ‪ ،‬ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ﻣﻮاﻗﻒ ﺗﺤﺖ أرﺿﻴﺔ أوﺗﻮﻣﺎﺗﻴﻜﻴﺔ‪.‬‬ ‫اﻟﺘﻜﻮﻳﻦ اﻟﻌﺎم ﻟﻤﻜﻮﻧﺎت اﻟﻤﺸﺮوع ﻳﺒﺪو ﻣﻌﻘﺪ‪ E‬ﺑﻌﺾ‬ ‫اﻟﺸﻲء إﻻ أن اﻟﻬﺪف ﻣﻦ وراء ذﻟﻚ ﻫﻮ ﺗﺤﻘﻴﻖ ﻋﻼﻗﺔ‬ ‫وﺛﻴﻘﺔ ﺑﻴﻦ اﻟﻤﺒﻨﻰ وﻣﻮﻗﻌﻪ‪ .‬ﻓﺄرض اﻟﻤﺸﺮوع اﻟﺘﻲ ﻛﺎﻧﺖ‬ ‫ﻟﻤﺼﻨﻊ ﻗﺪﻳﻢ ﻳﻘﻄﻌﻬﺎ اﻟﻴﻮم ﻃﺮﻳﻖ داﺋﺮي ﻟﻠﺴﻴﺎرات ﻓﻲ‬ ‫ﻛﻮﺑﻨﻬﺎﺟﻦ وﻳﻘﺴﻤﻬﺎ إﻟﻰ ﻗﺴﻤﻴﻦ ا‪U‬ﻣﺮ اﻟﺬي دﻓﻊ إﻟﻰ أن‬ ‫ﻳﻜﻮن اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﻣﻮزع ﻋﻠﻰ ﻗﺴﻤﻴﻦ ﺑﺤﻴﺚ ﻳﻌﺘﻠﻲ‬ ‫ﻃﺮﻳﻖ اﻟﺴﻴﺎرات و ﺑﺤﻴﺚ ﺗﺘﻮاﺻﻞ ﻣﻜﻮﻧﺎت اﻟﻤﺒﻨﻰ ﻓﻴﻤﺎ‬ ‫ﺑﻴﻨﻬﺎ ﻣﻦ ﻓﻮق وﻣﻦ ﺗﺤﺖ ﻃﺮﻳﻖ اﻟﺴﻴﺎرات‪ .‬اﻟﻤﺒﻨﻰ ﻳﺮﺑﻂ‬ ‫ﺑﻴﻦ ﺣﻲ اﻟﺒﺮﻟﻤﺎن وﻣﻴﻨﺎء ﻛﻮﺑﻨﻬﺎﺟﻦ اﺷﺮا ﺑﺬﻟﻚ ﻓﻌﺎﻟﻴﺎﺗﻪ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ داﺧﻞ ﻣﻨﻄﻘﺔ اﻟﻤﻴﻨﺎء اﻟﺒﺤﺮﻳﺔ ‪.‬‬ ‫ﺗﻢ ﺿﻢ اﻟﻤﺴﺎﺣﺎت اﻟﺨﺎرﺟﻴﺔ اﻟﻤﻔﺘﻮﺣﺔ إﻟﻰ اﻟﻤﺸﺮوع ﻟﺘﺼﺒﺢ‬ ‫ﻣﺴﺎﺣﺎت ﻓﻀﺎءات ﻋﺎﻣﺔ وﺷﺮﻓﺎت ﺑﻌﻀﻬﺎ ﻣﻔﺘﻮح ﻋﻠﻰ‬ ‫اﻟﻬﻮاء اﻟﻄﻠﻖ وأﺧﺮى ﻣﻐﻄﺎة وﺑﺤﻴﺚ ﻳﻤﻜﻦ ﺗﺤﻮﻳﻠﻬﺎ ﻟﻴ ً‬ ‫ﻼ‬ ‫إﻟﻰ ﺳﺎﺣﺎت ﻋﺮض ﺳﻴﻨﻤﺎﺋﻲ ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ ‪.‬‬ ‫ﻣﻦ اﻟﺨﺎرج ﻳﺘﻜﻮن اﻟﻤﺒﻨﻰ ﻣﻦ ﻛﺘﻞ ﻣﻜﻌﺒﺔ ﻣﺨﺘﻠﻔﺔ‬ ‫ا‪U‬ﺣﺠﺎم رﺻﺖ ﺑﻴﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ ﻓﻲ ﺗﻜﻮﻳﻦ ﺣﺮ ‪ .‬ﺗﺒﺮز‬ ‫ﻛﺘﻞ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ إﻟﻰ اﻟﺨﺎرج ﻓﻲ ﺗﻜﻮﻳﻦ ﻳﺪور‬ ‫ﺣﻮل اﻟﻤﺒﻨﻰ‪ ،‬وﺗﺘﻤﻴﺰ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻟﻠﻤﻜﺎﺗﺐ‬ ‫ﺑﻠﻮن أﺑﻴﺾ أﺷﻬﺐ‪ .‬ﺗﺘﻮزع ﻓﻌﺎﻟﻴﺎت اﻟﺪور ا‪U‬رﺿﻲ ﻋﻠﻰ‬ ‫ﻛﺘﻞ ﻣﺨﺘﻠﻔﺔ ﺗﺘﺪاﺧﻞ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﺗﺘﺨﻠﻠﻬﺎ ﻓﺮاﻏﺎت ﻛﺒﻴﺮة‬ ‫ﻣﻔﺘﻮﺣﺔ ﻋﻠﻰ اﻟﺨﺎرج‪ ،‬ﺗﺸﻜﻞ اﻟﻤﺪاﺧﻞ اﻟﺮﺋﻴﺴﺔ ﻟﻠﻤﺒﻨﻰ‬ ‫وﺗﺮﺑﻂ ﺑﻴﻨﻪ وﺑﻴﻦ ﻓﻀﺎءات اﻟﻤﺪﻳﻨﺔ ‪ .‬ﺑﻴﻨﻤﺎ ﺗﻘﻊ اﻟﺸﻘﻖ‬ ‫اﻟﺴﻜﻨﻴﺔ ﻓﻲ ا‪U‬دوار اﻟﻌﻠﻮﻳﺔ ﻣﺮﺗﺪة إﻟﻰ اﻟﺪاﺧﻞ ﻟﺘﺤﻘﻴﻖ‬ ‫اﻟﺨﺼﻮﺻﻴﺔ و ﺗﺤﻴﻂ ﺑﻬﺎ ﺷﺮﻓﺎت ﻣﺰروﻋﺔ وﻳﻘﻊ ﻓﻲ وﺳﻄﻬﺎ‬ ‫ﺳﻘﻒ زﺟﺎﺟﻲ ﻳﻮﻓﺮ ا ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ ‪U‬دوار اﻟﻤﺒﻨﻰ اﻟﺘﺤﺘﻴﺔ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ‪ .‬ﻛﻤﺎ اﺧﺘﻴﺮت ﻟﻠﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻣﺠﻤﻮﻋﺔ أﻟﻮان‬ ‫ﺗﻨﺘﻤﻲ إﻟﻰ ﻟﻮن اﻟﺒﺤﺮ‪.‬‬

‫« ‪d×³ « wKŽ WKD*« WNł«u‬‬

By Hans Werlemann © OMA

By Delfino Sisto Legnani and Marco Cappelletti © OMA By Hans Werlemann © OMA

w{—_« X% —Ëb « w w —U/b « …—ULF « e d qšb s V½Uł

«—UO « o¹dÞ X% d9 w² « WO{—√ X×² « —«Ëœú W¹œR*« vM³*« qš«b r öÝ 29 Albenaa

¡UM³ « ≤π

WO²×² « —«Ëœú WOFO³Þ …¡U{≈ d uð w² « vM³*« `DÝ ‚u WOłUłe « nIÝ_«

‫ﻳﻘﻊ ﻣﺮﻛﺰ اﻟﻌﻤﺎرة اﻟﺪﻧﻤﺎرﻛﻲ ﻓﻲ وﺳﻂ ﻣﻜﻮﻧﺎت اﻟﻤﺒﻨﻰ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ) اﻟﺴﻜﻦ واﻟﻤﻜﺎﺗﺐ وﻣﻮاﻗﻒ اﻟﺴﻴﺎرات (‬ ‫ﺑﺪء ﻣﻦ اﻟﻤﺴﺘﻮى ﺗﺤﺖ ا‪-‬رﺿﻲ‬ ‫وﺗﺘﻮزع ﻓﻌﺎﻟﻴﺎﺗﻪ رأﺳﻴﺎ ً‬ ‫وﺣﺘﻲ ﻣﺴﺘﻮى اﻟﻤﻘﻬﻰ اﻟﻌﻠﻮي اﻟﺘﺎﺑﻊ ﻟﻠﻤﺮﻛﺰ وإﻃﻼﻟﺘﻪ‬ ‫ﻋﻠﻰ أﻧﺤﺎء اﻟﻤﺪﻳﻨﺔ ‪.‬‬ ‫ﺧﻀﻊ اﻟﺘﺼﻤﻴﻢ إﻟﻰ ﺗﻘﻴﻴﻢ اﻟﻤﻜﺘﺐ ا‪A‬ﺳﺘﺸﺎري‬ ‫ﻟﻠﻤﺸﺮوع ﻣﻜﺘﺐ ‪ Arup‬ﻟﻤﻌﺎﻳﻴﺮ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﺒﻴﺌﺔ‬ ‫واﻟﺠﻮاﻧﺐ ا‪A‬ﺟﺘﻤﺎﻋﻴﺔ وا‪A‬ﻗﺘﺼﺎدﻳﺔ‪ ،‬ﻋﻤﻞ اﻟﺘﻘﻴﻴﻢ ﻓﻲ‬ ‫إﻃﺎر اﻟﺴﻴﺎق اﻟﺜﻘﺎﻓﻲ واﻟﺠﻐﺮاﻓﻲ اﻟﺪﻧﻤﺎرﻛﻲ اﻟﻤﺘﺄﺛﺮ‬ ‫ﺑﻤﻌﺎﻳﻴﺮ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ اﻟﻤﻨﺨﻔﻀﺔ ) ﻣﻘﺎرﻧﺔ ﺑﺎﻟﺪول‬ ‫ا‪-‬ﺧﺮي ( اﻟﺘﻲ ﻃﺒﻘﺘﻬﺎ اﻟﺪﻧﻤﺎرك ﻣﺒﻜﺮ‪ Z‬ﻣﻨﺬ ﻋﺎم ‪ 2009‬م‪.‬‬ ‫ﻟﺘﻄﺒﻴﻖ ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﻛﺎن ﻳﺠﺐ إﻋﺎدة دراﺳﺔ اﻟﻤﺒﻨﻰ‬ ‫ﻣﻦ ﺣﻴﺚ ﺗﺼﻤﻴﻢ ﻛﺘﻠﺔ اﻟﻤﺒﻨﻰ وواﺟﻬﺎﺗﻪ‪ ،‬واﻟﺤﺪ ﻣﻦ‬ ‫إﻧﺒﻌﺎﺛﺎت اﻟﻜﺮﺑﻮن ﻓﻲ ﻣﺮﺣﻠﺔ اﻟﺘﻨﻔﻴﺬ ‪.‬‬ ‫ﻳﺴﺘﺨﺪم اﻟﻤﺒﻨﻰ اﻟﻄﺎﻗﺎت اﻟﻤﺘﺠﺪدة ﻓﻲ اﻟﻤﻮﻗﻊ وﺗﻢ‬ ‫ﻋﺰل اﻟﻤﺒﻨﻰ ﻟﻠﺤﺪ ﻣﻦ ﺿﻮﺿﺎء ﺣﺮﻛﺔ اﻟﻤﺮور وا‪A‬ﻫﺘﺰازات‬ ‫اﻟﻨﺎﺗﺠﺔ ﻋﻦ ﺗﻨﻔﻴﺬ ﻣﺸﺮوﻋﺎت اﻟﻄﺮق واﻟﺠﺴﻮر‪.‬‬ ‫ﺗﻮﻓﺮ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻟﻠﻤﻜﺎﺗﺐ إﺿﺎءة ﻃﺒﻴﻌﻴﺔ‬ ‫ﻟﻠﺘﻘﻠﻴﻞ ﻣﻦ إﺳﺘﺨﺪام ا‪A‬ﻧﺎرة اﻟﺼﻨﺎﻋﻴﺔ أﺛﻨﺎء اﻟﻨﻬﺎر ﻛﻤﺎ‬ ‫ﺗﻮﻓﺮ إﻃﻼﻟﺔ ﺧﺎرﺟﻴﺔ ﺟﻴﺪة‪ ،‬وﻳﺘﻢ اﻟﺘﺤﻜﻢ أوﺗﻮﻣﺎﺗﻴﻜﻴﺎ‬ ‫ﻓﻲ ا‪A‬ﻧﺎرة ﻣﻦ ﺧﻼل اﻟﺘﻨﺴﻴﻖ ﺑﻴﻦ إﻧﺎرة اﻟﻤﺒﻨﻰ وﺗﻈﻠﻴﻞ‬ ‫اﻟﻮاﺟﻬﺎت‪ ،‬ﻫﺬا وﻳﻌﺘﻤﺪ اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﺗﻜﻴﻴﻔﻪ وﺗﺪﻓﺌﺘﻪ‬ ‫ﺑﻮاﺳﻄﺔ إﺳﺘﻐﻼل ﻣﻴﺎه اﻟﺒﺤﺮ ‪.‬‬

‫‪© Image courtesy OMA‬‬

‫∏≤ « ‪¡UM³‬‬

‫‪28 Albenaa‬‬

‫‪By Delfino Sisto Legnani and Marco Cappelletti © OMA‬‬

‫‪UNÐ vM³*« W öŽË l u*« U½uJ qOK×² rLB*« g²JÝ‬‬

‫‪vM³*« qš«b qJAð WOł—Uš Už«d b u¹ UNMOÐ ULO q²J « qš«b²ð‬‬

From the Architect Report: The BLOX project, home of the Danish Architecture Center (DAC), contains exhibition spaces, offices and co-working spaces, a café, a bookstore, a fitness centre, a restaurant, twenty-two apartments and an underground automated public carpark, but it is not the acrobatic mixing of uses that defines this project; its ultimate achievement is in ‘discovering’ its own site.The Old Brewery site, split into two by one of Copenhagen’s main ring roads, didn’t really register as a building site until the design of the new DAC identified it as such. Straddling the road, making public connections both above and below, BLOX connects the parliament district with the harbour front and brings culture to the water’s edge. On reclaimed land, the building site initially housed a cluster of brewery buildings which burnt to the ground in the 1960s. Since then the harbour has become the home of some of Denmark’s most notable architectural icons. The former playground is incorporated into the new building, as a partially covered and terraced public space, which can be transformed in the evening into an open-air cinema acting as a public foyer.The building’s exterior is marked by a stacking of the same geometric forms in different arrangements. The offices are contained in a rectangular ring of glass facades shaded in a white frit. The ground floor functions are located in separate volumes generating openings which form the public entrances and bring the city in to the center of the building. The apartment volumes are fragmented and recessed for privacy, the landscaped terraces encircle the DAC’s central rooflight. The building’s coloured textures subtly echo the sea tones of the harbour, ever-present in the reflected light of the water.The DAC itself forms the core of the BLOX Project, positioned in the centre, surrounded by and embedded within its objects of study: housing, offices and parking. It is organized as a vertical sequence of spaces running through the building, starting below ground and moving upwards to the cafe with its view over all of Copenhagen. . The Arup SPeAR® assessment served as a tool to analyse the project and record progress against a comprehensive, holistic set of criteria spanning environmental, social and economic aspects within the wider cultural and geographical context.Denmark’s advanced low energy requirements for buildings, arising from the 2009 Copenhagen Accord, demand an operational energy usage much lower than other countries. Bringing the building’s design in line with these criteria involved rethinking its mass and façade concepts, involving ways to reduce CO2 emissions and embodied carbon during construction and operations, as well as researching new solutions to offset and neutralise the carbon usage. The building makes use of on-site renewable energy and achieves the Low Energy Class with a primary energy usage of under 40 kWh/m²/yr.User comfort and lifetime flexibility are important elements for the durability of BLOX. The building is acoustically isolated from road noise and vibrations with a highway bridge construction and high insulation facades. The office facades are fully glazed to provide a generous outlook and to reduce lighting energy usage. Minimal low-energy lighting fixtures combined with user task lights are used, and both lighting and facade sun shading are automated through centralised daylight control, with user controls. The building is served by a high specification heat recovery plant which uses Copenhagen’s district heating and cooling system based on seawater cooling and the use of residual heat from electricity generation.

31 Albenaa

¡UM³ « ≥±

5½«eO*« jI

lÐ«d « —Ëb « jI

lIð w² «Ë vM³*« q² qK ²ð w² « WŠu²H*« Už«dH « vKŽ w{dŽ ŸUD W Ozd « vM³LK qš«b UNO

ÊuK « 5L v ≈ vM³*« r I¹ Íc « o¹dD « dNE¹Ë w{—_« —Ëb « jI …—ULFK w —U/b « e d*« UŠU v ≈ dOA¹ Íœ—u «

Y U¦ « —Ëb « jI

«—UO « o¹dÞ ‰uŠ —Ëbð w² « vM³*« qš«œ œuFB «Ë ‰ËeM « W dŠ `{u¹ ŸUDI r −

‰Ëô« —Ëb « jI

‫ﺍﻟﺴﻜﻦ‬ ‫ﺍﳌﻜﺎﺗﺐ‬ ‫ﻣﺮﻛﺰ ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻣﻮﺍﻗﻒ ﺍﻟﺴﻴﺎﺭﺍﺕ‬

o¹dÞË vM³*« U½uJ 5Ð W öF « `{u¹ w{dŽ ŸUD tKš«œ d1 Íc « «—UO «

W Ozd « U½uJ*« v ≈ Ê«u _« dOAðË iF³ « UNCFÐ 5Ð vM³*« U½uJ qš«bð WOHOJ w×O{uð rÝ—

30 Albenaa

¡UM³ « ≥∞

Photograph by Richard John Seymour, Courtesy of OMA

e d*« ÷ËdŽ bŠ√ UBM VO dð ¡UMŁ√ …—ULF « e d* WFÐU² « ÷dF « W UB WHK² UDI 33 Albenaa

¡UM³ « ≥≥

32 Albenaa

¡UM³ « ≥≤

By Hans Werlemann © OMA

By Delfino Sisto Legnani and Marco Cappelletti © OMA

d×³ « vKŽ WKD*« vM³*« WNł«u wKO dEM 35 Albenaa

¡UM³ « ≥μ

34 Albenaa

¡UM³ « ≥¥

WO³²J*« —«Ëœ_« qK ²ð w² « W½uK*« nIÝ_« «– U dA «Ë UNł«u « Ác¼ qO UHð iFÐ …—uB « dNEðË WOŁ«d² « w½U³LK WKKE*« UODG² UÐ wM³*« UNł«Ë dŁQð 37 Albenaa

¡UM³ « ≥∑

‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ ﻟﺒﻨﻚ‬ ‫ﺑﻲ‪.‬ﺑﻲ‪.‬ﻓﻲ‪.‬اﻳﻪ‪.‬‬ ‫‪BBVA Bancomer Tower‬‬ ‫ﻳﻘﻊ اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ اﻟﺠﺪﻳﺪ ﻟﺒﻨﻚ ‪ BBVA Bancomer‬ﻓﻲ‬ ‫ﻣﺪﻳﻨﺔ ﻧﻴﻮ ﻣﻜﺴﻴﻜﻮ ﻋﻠﻰ اﻟﻄﺮﻳﻖ اﻟﺮﺋﻴﺲ ﻟﻠﻤﺪﻳﻨﺔ‬ ‫ﺑﺤﻴﺚ ﻳﺸﻜﻞ ﻣﻊ اﻟﺒﺮج اﻟﻤﻘﺎﺑﻞ ﻟﻪ ﻣﻌﻠﻤ ﻣﻌﻤﺎرﻳ ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﺑﻮاﺑﺔ ﻟﻠﺤﺪﻳﻘﺔ اﻟﻌﺎﻣﺔ اﻟﻜﺒﺮى اﻟﺘﻲ ﺗﻘﻊ ﻓﻲ ﺑﺪاﻳﺔ‬ ‫اﻟﻄﺮﻳﻖ اﻟﺮﺋﻴﺲ‪ ،‬ﻛﻤﺎ ﻳﻄﻞ ﻣﻦ ﺧﻼل ﺷﺮﻓﺎﺗﻪ ذات اﻟﺤﺪاﺋﻖ‬ ‫اﻟﻤﻌﻠﻘﺔ ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ واﻟﺤﺪﻳﻘﺔ اﻟﻌﺎﻣﺔ ‪ .‬ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ‬ ‫إﻟﻰ ﺗﻌﺰﻳﺰ ا>ﻧﺘﻤﺎء واﻟﺘﻮاﺻﻞ ﺑﻴﻦ ﻣﺴﺘﻌﻤﻠﻲ اﻟﺒﻨﻚ‪ .‬ﻳﻘﻊ‬ ‫اﻟﺒﻬﻮ اﻟﺮﺋﻴﺲ ﻓﻲ اﻟﺪور ا‪H‬رﺿﻲ ﺑﺈرﺗﻔﺎع ‪ 3‬أدوار ﻓﻲ رﻛﻦ‬ ‫اﻟﻤﺒﻨﻰ اﻟﺬي ﻳﻘﻊ ﻋﻠﻴﻪ اﻟﻤﺪﺧﻞ ﺣﻴﺚ ﺗﺠﺮي ﻓﻲ اﻟﺒﻬﻮ‬ ‫اﻟﻌﻤﻠﻴﺎت اﻟﻴﻮﻣﻴﺔ اﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ اﻟﺒﻨﻚ واﻟﺘﻲ ﻳﺮﺑﻄﻬﺎ‬ ‫اﻟﺒﻬﻮ ﺑﺎ‪H‬دوار اﻟﻌﻠﻴﺎ اﻟﺘﻲ ﺗﻀﻢ إدارة اﻟﺒﻨﻚ‪ .‬ﺗﻘﻊ ﻓﻲ اﻟﺒﻬﻮ‬ ‫ﻣﺼﺎﻋﺪ زﺟﺎﺟﻴﺔ ﺗﻮاﺟﻪ اﻟﺤﺪﻳﻘﺔ وﺗﺤﻤﻞ اﻟﺰوار اﻟﻤﺸﺎة إﻟﻰ‬ ‫ﺑﻬﻮ ﺳﻤﺎوي ﻋﻠﻮي ﻳﻘﻊ ﻓﻲ اﻟﺪور ‪ . 12‬ﻳﻌﺘﺒﺮ اﻟﺒﻬﻮ اﻟﺴﻤﺎوي‬ ‫ﺑﻤﺜﺎﺑﺔ ﻧﺎﻓﺬة ﺗﻄﻞ ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ وﻋﻠﻰ اﻟﺤﺪﻳﻘﺔ اﻟﻌﺎﻣﺔ‬ ‫وﻳﻤﻜﻦ إﺳﺘﻐﻼل اﻟﺒﻬﻮ اﻟﺴﻤﺎوي ﻛﺼﺎﻟﺔ ﻋﺮض ﻣﺘﺤﻔﻲ‬ ‫وﺗﺮﺗﺒﻂ ﺑﻪ ﻗﺎﻋﺔ ﻟ‪X‬ﺣﺘﻔﺎﻻت وﻣﻄﻌﻢ ﻟﻠﻮﻇﻔﻴﻦ ﺗﻘﻊ أﻣﺎﻣﻪ‬ ‫ﺷﺮﻓﺔ واﺳﻌﺔ ﺗﻄﻞ ﻋﻠﻰ ﻣﺤﻴﻂ اﻟﻤﺒﻨﻲ‪ ،‬ﻓﻲ ﻫﺬا اﻟﺒﻬﻮ ﻳﺘﻢ‬ ‫ﺗﻔﺘﻴﺶ اﻟﺰاﺋﺮﻳﻦ ﻗﺒﻞ اﻟﺪﺧﻮل إﻟﻰ ﻣﻜﺎﺗﺐ ا>دارة ‪ .‬ﻛﻤﺎ ﻳﻮﺟﺪ‬ ‫ﻣﺪﺧﻞ وﺑﻬﻮ ﺧﺎص ﻟﻠﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ وﻛﺒﺎر اﻟﻤﻮﻇﻔﻴﻦ‬ ‫ﺑﺎ>ﺿﺎﻓﺔ إﻟﻰ ﻣﻮاﻗﻒ ﺧﺎﺻﺔ وﻣﻨﻄﻘﺔ إﻧﺰال ﻟﻠﺮﻛﺎب ﻟﻬﻢ‬ ‫ﻟﺘﻌﺰﻳﺰ اﻟﺨﺼﻮﺻﻴﺔ و اﻟﻤﻌﺎﻳﻴﺮ ا‪H‬ﻣﻨﻴﺔ ‪ ،‬وﻣﻦ ﺑﻬﻮ ﻛﺒﺎر‬

‫‪fOzd « o¹dD « W¹«bÐ w lIð w² « W UF « WI¹b×K WÐ«uÐ t qÐUI*« Ãd³ « l vM³*« qJA¹‬‬

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : LegoRogers‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻧﻴﻮ ﻣﻜﺴﻴﻜﻮ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 188.777 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2016 :‬م‬

‫اﻟﺸﺨﺼﻴﺎت ﺗﻨﻄﻠﻖ ﻣﺼﺎﻋﺪ ﺗﺤﻤﻠﻬﻢ إﻟﻰ ا‪H‬دوار اﻟﻌﻠﻴﺎ‬ ‫وﺗﺮﺑﻄﻬﻢ ﻣﺒﺎﺷﺮة ﺑﻤﻜﺎﺗﺒﻬﻢ وﻣﻬﺒﻂ اﻟﻄﺎﺋﺮات اﻟﻤﺘﻮاﺟﺪ‬ ‫ﻋﻠﻰ ﺳﻄﺢ اﻟﻤﺒﻨﻰ‪ .‬ﺻﻤﻢ اﻟﻬﻴﻜﻞ ا>ﻧﺸﺎﺋﻲ ﻟﻠﻤﺒﻨﻰ ﺑﺤﻴﺚ‬ ‫ﻳﻜﻮن ﻇﺎﻫﺮ‪ h‬ﺧﺎرج اﻟﻤﺒﻨﻰ ﻟﺘﻮﻓﻴﺮ أﻗﺼﻰ ﻣﻌﺪﻻت اﻟﻤﺮوﻧﺔ‬ ‫اﻟﻤﺴﺘﻘﺒﻠﻲ ﻟﻠﺘﻮزﻳﻊ اﻟﺪاﺧﻠﻲ >دارات وأﻗﺴﺎم اﻟﺒﻨﻚ ﺑﻴﻨﻤﺎ‬ ‫ﺗﻮﻓﺮ ﻛﻤﺮات ﻣﺤﻮرﻳﺔ ﻣﺎﺋﻠﺔ ﻓﻲ اﻟﻬﻴﻜﻞ اﻟﺤﻤﺎﻳﺔ اﻟﻼزﻣﺔ ﻣﻦ‬ ‫اﻟﺰﻻزل ‪ ،‬وﻟﺘﺴﻤﺢ ﻟﻤﺮﻛﺰ اﻟﺨﺪﻣﺔ واﻟﺤﺮﻛﺔ اﻟﻮﺳﻄﻲ ﺑﺄن‬ ‫ﻳﻤﺘﺪ ﻋﻠﻰ اﻟﻤﺤﻮر اﻟﻘﻄﺮي ﻟﻤﺴﻘﻂ اﻟﻤﺒﻨﻰ اﻟﻤﺮﺑﻊ اﻟﺸﻜﻞ‬ ‫وأن ﻳﻘﺴﻢ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ اﻟﻤﺮﻧﺔ إﻟﻰ ﻗﺴﻤﻴﻦ ﻋﻠﻰ‬ ‫ﺟﺎﻧﺒﻴﻪ ﻛﻤﺎ ﻳﺴﻤﺢ ﺑﺈﻃﻼﻟﺔ واﺳﻌﺔ ﻋﻠﻰ اﻟﺨﺎرج ‪.‬ﻳﺘﻤﻴﺰ‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﺘﻮﻓﻴﺮ ﺣﺪاﺋﻖ ﻣﻌﻠﻘﺔ ﺑﻴﻦ ﻛﻞ ‪ 9‬أدوار ﺗﻮﻓﺮ‬ ‫ﺷﺮﻓﺎت ﺧﺎرﺟﻴﺔ ﻳﻠﺘﻘﻲ ﻓﻴﻬﺎ ﻣﺴﺘﻌﻤﻠﻲ اﻟﻤﺒﻨﻰ ‪ .‬ﺗﺄﺛﺮ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻮاﺟﻬﺎت ﺑﺎﻟﻌﻤﺎرة اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﻠﻤﻜﺴﻴﻚ ﺣﻴﺚ‬ ‫ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت ﺑﺸﺒﻜﺔ ﻣﻌﺪﻧﻴﺔ ﺗﺘﻜﻮن ﻣﻦ وﺣﺪات ﻋﻠﻰ‬ ‫ﺷﻜﻞ اﻟﻤﻌﻴﻦ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﺘﻐﻄﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﻨﺒﺎﺗﻴﺔ‬ ‫ﻟﻠﻤﺒﺎﻧﻲ‪ .‬ﺗﻮﻓﺮ اﻟﺸﺒﻜﺔ اﻟﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ ‪ ،‬ﻛﻤﺎ‬ ‫ﻳﻮﻓﺮ ﻧﺴﻴﺞ ﻣﻌﺘﻢ ﺷﺒﻪ ﺷﻔﺎف ﺗﻢ ﻣﺪه داﺧﻞ وﺣﺪات‬ ‫اﻟﺸﺒﻜﺔ ووﺿﻌﻪ ﺑﻄﺮﻳﻘﻪ زﺧﺮﻓﻴﺔ ﺣﺴﺐ ﺗﻮﺟﻴﻪ اﻟﻤﺒﻨﻰ‬ ‫ﻟﺘﻮﻓﻴﺮ اﻟﻈﻞ ﻟﻠﻮاﺟﻬﺎت‪.‬ﺣﺼﻞ اﻟﻤﺸﺮوع ﻋﻠﻲ ﺷﻬﺎدة‬ ‫‪ LEED‬اﻟﺒﻼﺗﻴﻨﻴﺔ ‪ .‬ﻳﻮﻓﺮ اﻟﻤﺒﻨﻲ ‪78000‬م ‪ 2‬ﻣﻦ اﻟﻤﺴﺎﺣﺎت‬ ‫اﻟﻤﻜﺘﻴﺔ ﺑﻄﺎﻗﺔ إﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 4500‬ﻣﻮﻇﻒ ‪.‬‬

‫‪ŸËdA*« WIDM U½uJ* qOK%‬‬

‫‪© Illustrations by LegoRogers‬‬

‫‪ U dý UNKK ²ð w² « WO³²J*« —«Ëœ_« s UŽuL− v ≈ vM³*« r YOŠ wÝ√— wŽULMł≈ wŠ WÐU¦0 vM³*« d³²F¹‬‬ ‫‪q «u² «Ë ·—UF²K s U √ vM³*« wKLF² * d uð WIKF oz«bŠ «– WOł—Uš‬‬ ‫∂≥ « ‪¡UM³‬‬

‫‪36 Albenaa‬‬

From the Architect Report: Located on the Paseo de la Reforma, the tower marks a gateway to Chapultepec Park with sky gardens overlooking the city and the park. The architecture aims to promote a sense of community and interaction between staff. On the ground floor, the triple-height lobby sits on the corner of Paseo de la Reforma, which links the daily operations of the bank branch with executive-level commercial businesses at higher levels. In the lobby, glass elevators face the park and will transport visitors arriving by foot, as well as the employees up to the sky lobby at level 12. The sky lobby is a window to the city and the park. This area will be used for exhibitions and public events and connects the hall and dining room with terraces overlooking Chapultepec Park. At this level security manages visitor access to the building.The VIPs and executives access the building through a separate lobby on the ground floor, with a dedicated access area for vehicles to guarantee a high level of security and privacy. The executive elevator offers direct access to the top executive floors and discreet access to public floors of the building, including the heliport. The building’s main structure is externally expressed to provide flexibility in planning internal office spaces. The external braced frame provides the seismic structuralsystem to the building allowing the core to be arranged diagonally organising office space on two sides. The result moves away from the traditional centre core, four sided floor layout and responds to the spectacular views towards the city and Chapultepec Park. Sky gardens every nine floors create outdoor space within the tower and provide meeting and break-out areas where people can enjoy spectacular views of the city.The façade design is inspired by the Mexican traditions & architectural heritage. The geometry of the diagonal structure is used to create a lattice frame to protect the façade from direct light and heat from the sun. As a result, the building has been awarded a Platinum LEED energy standard. The tower provides 78,800m2 of prime office space for BBVA Bancomer and can accommodate 4,500 members of staff. vM³LK WOzUA½ù«Ë W¹—ULF*« qO UH² « iF³ WO×O{uð U uÝ— 39 Albenaa

¡UM³ « ≥π

pM³ « uNÐË qšb tO lI¹ Íc « w{—_« —Ëb « jI

w³½U'« Ÿ—UA « vKŽ WKD*« WNł«u «

fOzd « o¹dD « vKŽ WKD*« WNł«u «

U b)« —u× Ë VðUJ*« —«Ëœ« j U bŠ_ Ã–u/ 5L w « VðUJ*« r I¹ Íc « ÍdDI «

«– VðUJ*« —«Ëœ√ j U bŠ_ Ã–u/ WOł—U)« U dA «

ôUH²Šù« WŽU v ≈ ÍœR¹ Íc « ÍËUL « uN³ « tO lI¹ Íc « ±≤ —Ëb « jI qJA « lÐd*« 5Hþu*« rFD Ë qJA « W¹ËUCO³ « «d{U;«Ë

WOÝ√d « W d(«Ë qšb*« uNÐË WO{—√ X×² « n «u*« vKŽ ÂUŽ ŸUD pM³ « —«Ëœ√Ë `D « «dzUD « j³N Ë WHK² *« pM³ « —«Ëœ√Ë bŽUBLK 38 Albenaa

¡UM³ « ≥∏

ÂŠ Lourdes Legorreta ÂŠ Maria Dolores Robles Martinez Gomez

Îźâ&#x2C6;&#x17E; Ă â&#x20AC;&#x201D;ÂŤĂ&#x2039;Ĺ&#x201C;â&#x2C6;&#x161;Ă&#x2039; Ă&#x201A; â&#x2030;¤â&#x2030;ĽÂĽÂ¨Ď&#x20AC; tĹ˝UHĂ°â&#x20AC;&#x201D;â&#x2030;&#x2C6; mKÂłÂš Ă?c ÂŤ pMÂł ÂŤ vMÂł Ă&#x2039; WMÂšb*ÂŤ w Ă&#x192;ÂŤdĂ?_ÂŤ â&#x20AC;&#x201D;ÂŤĂ&#x2039;Ĺ&#x201C;â&#x2C6;&#x161; Ĺ&#x201C;bF WÂ˝â&#x20AC;&#x201D;UI

WĂ?ÂŤâ&#x20AC;&#x201D;Ĺ&#x201C;Ă&#x2039; wMÂł*ÂŤ qĹĄÂŤĹ&#x201C; s Ă&#x2039;bÂłĂ° UL Â UNĹ&#x201A;ÂŤu ÂŤ qOKEÂ˛ UNOKĹ˝ Ĺ&#x201C;Ă&#x2039;bA*ÂŤ ZO M ÂŤĂ&#x2039; fLA ÂŤ Â ÂŤdĂ?U WJÂłĂ˝ UNzUAÂ˝â&#x2030;&#x2C6; qO UHĂ°Ă&#x2039; fLA ÂŤ â&#x20AC;&#x201D;U V Ĺ WNĹ&#x201A;ÂŤĂ&#x2039; q tĹ&#x201A;UÂ˛% Ă?c ÂŤ qOKEÂ˛ ÂŤ â&#x20AC;&#x201D;ÂŤbI 41 Albenaa

ÂĄUMÂł ÂŤ ÂĽÂą

ÂŠ Maria Dolores Robles Martinez Gomez

W UF ÂŤ WIÂšb(ÂŤĂ&#x2039; fOzd ÂŤ oÂšdD ÂŤĂ&#x2039; â&#x20AC;Śâ&#x20AC;&#x201D;Ă&#x2039;Uâ&#x2C6;&#x2019;*ÂŤ wÂ˝UÂł*UĂ? tÂ˛ ĂśĹ˝Ă&#x2039; 5LO ÂŤ vKĹ˝ vMÂł*ÂŤ

Ă&#x17D;ĂśO ULNMOĂ? fOzd ÂŤ oÂšdD ÂŤĂ&#x2039; 5LO ÂŤ vKĹ˝ â&#x20AC;Śâ&#x20AC;&#x201D;Ă&#x2039;Uâ&#x2C6;&#x2019;*ÂŤ Ă&#x192;ÂŤdĂ?_ÂŤĂ&#x2039; â&#x20AC;&#x201D;U O ÂŤ vKĹ˝ vMÂł*ÂŤ

W UF « WI¹b(« WNł s dNE¹ UL vM³*« 40 Albenaa

¡UM³ « ¥∞

43 Albenaa

¡UM³ « ¥≥

ÊuK « ¡«dHB « W¹ËUCO³ « ôUH²Šù« WŽU WK² UNO dNE¹Ë WOHK)« WNł«u «

pM³K w{—_« qšb*« uNÐ

q² qK ²ð w² « WIKF*« oz«b(« «– U dA « …dJ WO³²J*« UŠU *«

5Hþu*« rFD

UNł«uK W UF « …dJH «

WOł—U)« U dA « ÈbŠ≈

vM³*« jI * ÂUF « qJA « …dJ 42 Albenaa

¡UM³ « ¥≤

‫ﺗﺤﻮﻳﻞ ﻣﺒﻨﻰ ﻣﻜﺘﺒﻲ‬ ‫إﻟﻰ ﻓﻨﺪق ﻓﺨﻢ‬ ‫ﻓﻨﺪق ﻣﻮرﻳﻪ‪ ،‬ﻫﻮﻧﻎ ﻛﻮﻧﻎ ‪The Murray -‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Foster +Partners‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻫﻮﻧﻎ ﻛﻮﻧﻎ ‪ -‬اﻟﺼﻴﻦ‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2017 :‬م‬

‫ﻳﻌﺘﺒﺮ ﻓﻨﺪق ‪ Murray‬ﻣﻦ أﺣﺪ أﺣﺪث اﻟﻔﻨﺎدق اﻟﻔﺨﻤﺔ اﻟﺘﻲ‬ ‫اﻓﺘﺘﺤﺖ ﻣﺆﺧﺮ* ﻓﻲ ﻫﻮﻧﺞ ﻛﻮﻧﺞ وﻳﻬﺪف ﺗﺼﻤﻴﻤﻪ إﻟﻰ إﻋﺎدة‬ ‫اﺳﺘﺨﺪام ﻣﺒﻨﻰ ﺣﻜﻮﻣﻲ ﻗﺪﻳﻢ وﺗﻮﻇﻴﻔﻪ ﻟﻴﺼﺒﺢ ﻓﻨﺪﻗ‪،0‬‬ ‫ﻛﻤﺎ ﻳﻬﺪف إﻟﻰ إﻋﺎدة إﺣﻴﺎء اﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﻳﻘﻊ ﻓﻴﻬﺎ ورﺑﻄﻪ‬ ‫ﺑﺎﻟﻤﺴﺎﺣﺎت اﻟﺨﻀﺮاء اﻟﻤﺠﺎورة ﻟﻪ ‪ .‬أﻧﺸﻰء اﻟﻔﻨﺪق ﻓﻲ‬ ‫ﻣﺮﺣﻠﺔ ﻛﺎﻧﺖ اﻟﺴﻴﺎرة ﺗﻄﻐﻰ ﻋﻠﻰ وﺳﺎﺋﻞ اﻟﻨﻘﻞ ا‪D‬ﺧﺮى ا‪D‬ﻣﺮ‬ ‫اﻟﺬي ﺟﻌﻞ اﻟﻤﺒﻨﻰ ﻣﺤﺎط ﻣﻦ ﺟﻤﻴﻊ ﺟﻮاﻧﺒﻪ ﺑﺎﻟﺸﻮارع ﻣﻤﺎ‬ ‫ﻳﺼﻌﺐ ﻋﻠﻰ اﻟﻤﺸﺎة اﻟﻮﺻﻮل إﻟﻴﻪ ‪ ،‬وﻟﺬﻟﻚ ﺗﻢ دراﺳﺔ رﺑﻂ‬ ‫اﻟﻤﺒﻨﻰ ﺑﺎﻟﻤﺪﻳﻨﺔ وﺧﺎﺻﺔ ﻣﻦ ﺧﻼل إﻋﺎدة ﺗﺼﻤﻴﻢ اﻟﻄﻮاﺑﻖ‬ ‫ا‪D‬رﺿﻴﺔ ﻟﺠﻌﻠﻬﺎ أﻛﺜﺮ ﺗﺮﺣﻴﺒ‪ 0‬وإرﺗﺒﺎﻃ‪ 0‬ﻣﻊ اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ‬

‫اﻟﺨﺎرﺟﻴﺔ ‪ ،‬وﻛﺬﻟﻚ ﻣﻦ ﺧﻼل إﻋﺎدة ﺗﺼﻤﻴﻢ اﻟﺴﺎﺣﺔ اﻟﺘﻲ‬ ‫ﺗﻘﻊ ﻓﻲ ﻣﻘﺪﻣﺔ اﻟﻤﺒﻨﻰ وﺗﻀﻤﻴﻨﻬﺎ ﻣﺴﺎﺣﺔ ﻟﻤﻤﺎرﺳﺔ رﻳﺎﺿﺔ‬ ‫ﺗﺎي ﺗﺸﻲ ) ‪ . ( Tai Chi‬ﻳﺤﺘﻮي اﻟﻔﻨﺪق ﻋﻠﻰ ‪ 336‬ﻏﺮﻓﺔ‬ ‫وﻳﻘﻊ ﻋﻠﻰ أرض ذات ﻓﺮوﻗﺎت ﻓﻲ اﻟﻤﻨﺎﺳﻴﺐ ‪ ،‬ﺗﻢ ا‪d‬ﺳﺘﻔﺎدة‬ ‫ﻣﻨﻬﺎ ‪d‬ﻋﺎدة ﺗﺼﻤﻴﻢ اﻟﻤﻮﻗﻊ اﻟﻌﺎم ورﺑﻂ اﻟﻔﻨﺪق ﺑﻤﺤﻴﻄﻪ ‪.‬‬ ‫ﻓﻘﺎﻋﺪﺗﻪ اﻟﺘﻲ ﺗﺤﻤﻠﻬﺎ أﻋﻤﺪة ذات ﻋﻘﻮد ﻧﺼﻒ داﺋﺮﻳﺔ ﺗﺮﺗﻔﻊ‬ ‫ﺣﺘﻰ أرﺑﻌﺔ أدوار ﺗﺘﻜﻮن ﻣﻦ ‪:‬‬ ‫ دور ا‪D‬رﺿﻲ ﻳﻘﻊ ﻓﻲ ﻣﻨﺴﻮب ﺳﺎﺣﺔ اﻟﻔﻨﺪق وﻳﻀﻢ ﻛﻮﻧﺘﺮ‬‫ا‪d‬ﺳﺘﻘﺒﺎل وﻣﻘﻬﻰ وﺧﺪﻣﺎت اﻟﻔﻨﺪق‪.‬‬ ‫‪ -‬وﻫﻨﺎك دور ﺑﻤﺜﺎﺑﺔ ﻣﻴﺰاﻧﻴﻦ أو ﻣﻨﺼﺔ ﺗﺮﺗﺒﻂ ﺑﺎﻟﺪور ا‪D‬رﺿﻲ‬

‫‪© Nigel Young / Foster+Partners‬‬

‫‪—Ëb « w ‚bMH « qšb Ë ‰Ë_« —Ëb « v ≈ bŽUB « «—UO « —b×M WEŠö l W¹dz«œ nB½ ”«u QÐ WON²M*« …bLŽ_« s WK K Ð ‚bMH « …bŽU eOL²ð‬‬ ‫«_—{‪5½«eO*« —Ëœ Ë ‚bMH « WŠUÝ 5Ð jÐd¹ Íc « oKF*« d '«Ë vM³*« qHÝ√ w‬‬ ‫‪¡UM³ « ¥μ‬‬

‫‪45 Albenaa‬‬

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44 Albenaa

¡UM³ « ¥¥

WBM*« 5½«eO*« —Ëœ v ≈ bŽUB « rK «Ë w{—_« —Ëb « vNI

WOł—U)« UNðU dýË WBM*« —Ëœ rŽUD s V½Uł 47 Albenaa

¡UM³ « ¥∑

WOł—U)« ‚bMH « WŠUÝ vKŽ qDð w² « w{—_« —Ëb « WNł«Ë

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From the Architect Report: The Murray is a luxury 336-room hotel located on the southern edge of Central with panoramic views of The Peak and the gardens to the south. This major transformation of the listed building aims to reinvent this unique urban quarter – stitching together the urban fabric by linking the large green spaces flanking the site to the east and west. A former government headquarters tower, the Murray Building was originally designed at a time when the city was planned around the car, and consequently stands on an island site, surrounded by roads making it impermeable for pedestrians. One of the central aims of the project is to reconnect the building with the city at ground level, creating a new street frontage on Garden Road, transparent and welcoming ground floor spaces, and enhancing and extending the landscaped grounds to incorporate a public tai chi area. At the tower’s base is a sequence of four-storey high arches intersected by a podium, and a vehicle ramp, which is a distinctive feature of the original building. A large Old and Valuable tree, which rises up through a void in the parking slab of the podium has been liberated and conserved as the centrepiece of the arrivals sequence for guests. The architecture of the original building is in direct response to the climate of Hong Kong – the windows are recessed and carefully orientated to avoid the harsh tropical sunlight – gaining it an Energy Efficient Building Award in 1994. The design team consulted Ron Phillips, the original architect from the public works department, thus gaining valuable insights into the building’s history. The new design retains the façade while upgrading other aspects of the building and extending the life of the building by introducing a new function appropriate for changing demands of the city – giving it a sustainable legacy for years to come. The tower is characterised by the distinctive pattern of its white façade which is made up of a grid of square windows. In a fusion of interior and exterior, the inset bays provide a modular unit and organising principle for the hotel rooms, allowing for a variety of planning options. The upper level suites are angled to create a generous central living space. Luxurious corner suites benefit from spectacular dualaspect views of the harbour and the peaks and gardens.

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Âu½ W dž 50 Albenaa

¡UM³ « μ∞

‫ﻣﻜﺎﺗﺐ ﺷﻔﺎﻓﺔ‬ ‫وﺣﻠﻮل إﻧﺸﺎﺋﻴﺔ‬ ‫‪The Nest‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Grupa 5 Architekci‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬وارﺳﻮ ‪ -‬ﺑﻮﻟﺘﺪا‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 2100 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬

‫ﻳﺮﺟﻊ ﺗﺨﻄﻴﻂ أرض اﻟﻤﺒﻨﻰ اﻟﻤﺴﺘﻄﻴﻠﺔ اﻟﺸﻜﻞ إﻟﻰ اﻟﻘﺮن‬ ‫اﻟﺜﺎﻣﻦ ﻋﺸﺮ اﻟﻤﻴﻼدي وﺗﻘﻊ ﺑﻴﻦ ﺷﺎرﻋﻴﻦ ﻳﺘﻘﺎﻃﻌﺎن ﺑﺰاوﻳﺔ‬ ‫ﺣﺎدة‪ .‬ﺗﺄﺛﺮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ ﺑﺮﻛﻦ ا‪.‬رض اﻟﻨﺎﺗﺞ ﻋﻦ اﻟﺘﻘﺎﻃﻊ‬ ‫وﺑﺤﻴﺚ ﻳﻈﻬﺮ اﻟﻤﺒﻨﻰ ﺧﻔﻴﻔ; ﻣﻦ ﺧﻼل واﺟﻬﺎﺗﻪ اﻟﺰﺟﺎﺟﻴﺔ‬ ‫اﻟﺸﻔﺎﻓﺔ ‪ .‬ﻟﻘﺪ ﺳﻤﺤﺖ ﺷﺮوط اﻟﺒﻨﺎء ﺑﺰﻳﺎدة ﻣﺴﺎﺣﺔ اﻟﺒﻨﺎء‬ ‫ﻓﻮق ﻫﺬه ا‪.‬رض اﻟﻀﻴﻘﺔ اﻟﺸﻜﻞ ﻣﻦ ﺧﻼل ﺑﺮوز ﻃﻮاﺑﻖ ﻣﺎ‬ ‫ﻓﻮق ا‪.‬رﺿﻲ ﺧﺎرج ﺣﺪود ا‪.‬رض وﻋﻠﻰ ﻃﻮل إﻣﺘﺪاد اﻟﺸﻮارع‬ ‫اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻤﺒﻨﻰ وﺑﺤﻴﺚ ﺗﺘﻤﺎﺷﻰ ﺗﻘﺴﻴﻤﺎت واﺟﻬﺎﺗﻪ‬ ‫اﻟﺰﺟﺎﺟﻴﺔ ﻣﻊ ﺗﻘﺴﻴﻤﺎت واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ اﻟﻤﻘﺎﺑﻠﺔ ﻟﻬﺎ‪.‬‬ ‫ﻋﻠﻰ ﻣﺴﺘﻮى ا‪.‬رض ﺗﻢ ﻋﻤﻞ إرﺗﺪاد ﻓﻲ اﻟﻤﺒﻨﻰ ﻟﺘﺠﻨﺐ‬ ‫ﻣﺴﺎرات اﻟﺸﺒﻜﺎت اﻟﺘﺤﺖ أرﺿﻴﺔ ﻟﻠﺨﺪﻣﺎت ﺑﻴﻨﻤﺎ ﺣﻤﻠﺖ‬ ‫اﻟﻮاﺟﻬﺎت اﻟﺒﺎرزة ﻋﻠﻰ أﻋﻤﺪة وﺗﻢ ا‪Y‬ﺳﺘﻌﺎﻧﺔ ﺑﻜﺎﺑﻼت ﻓﻮﻻذﻳﺔ‬ ‫ﻟﺘﻌﻠﻴﻖ اﻟﺴﻘﻒ ﻓﻮق ا‪Y‬رﺗﺪاد وﻟﻜﻲ ﺗﺘﻮازن ا‪.‬ﺣﻤﺎل اﻟﻨﺎﺗﺠﺔ‬ ‫ﻋﻦ إﻣﺘﺪادات اﻟﻤﺒﻨﻰ إﻟﻲ اﻟﺨﺎرج ‪.‬‬ ‫واﺟﻬﺔ اﻟﺮﻛﻦ اﻟﺮﺋﻴﺲ ﻟﻠﻤﺒﻨﻰ ﻣﺎﺋﻠﺔ ﺣﻴﺚ ﻳﺒﻠﻎ ﻋﻤﻖ‬ ‫إﻣﺘﺪاد اﻟﺮﻛﻦ اﻟﺮﺋﻴﺲ إﻟﻰ اﻟﺨﺎرج ﻋﻨﺪ أﺳﻔﻞ اﻟﻤﺒﻨﻰ ‪ 4،40‬م‬ ‫ﺛﻢ ﺗﻤﻴﻞ واﺟﻬﺔ اﻟﺮﻛﻦ إﻟﻰ اﻟﺨﺎرج ﺣﺘﻰ ﻳﺼﻞ ا‪Y‬ﻣﺘﺪاد ﻓﻲ‬ ‫أﻋﻠﻰ اﻟﻤﺒﻨﻲ إﻟﻰ ‪7،5‬م وﺑﺬﻟﻚ ﻻﻳﺆﺛﺮ إﻣﺘﺪاد اﻟﻤﺒﻨﻰ ﻋﻠﻲ‬ ‫ﺣﺮﻛﺔ اﻟﺴﻴﺮ ‪.‬‬ ‫ﻳﺘﻜﻮن اﻟﻤﺒﻨﻲ ﻣﻦ ﻛﺘﻠﺘﻴﻦ ﻛﺘﻠﺔ ﻣﺼﻤﺘﺔ ﺗﺤﺘﻮي ﻋﻠﻲ‬ ‫اﻟﺤﺮﻛﺔ اﻟﺮأﺳﻴﺔ وﺗﺮﺗﻔﻊ إﻟﻰ ﻣﺎ ﻓﻮق اﻟﻤﺒﻨﻰ ‪ ،‬وﻛﺘﻠﺔ ﺷﻔﺎﻓﺔ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ اﻟﻤﺴﺎﺣﺎت اﻟﻤﻜﺘﺒﻴﺔ ‪.‬‬

‫‪© Mikolaj Lelewski‬‬

‫«*‪ÂUF « l u‬‬ ‫≥‪¡UM³ « μ‬‬

‫‪53 Albenaa‬‬

vM³LK ÂUŽ dEM 52 Albenaa

¡UM³ « μ≤

From the Architect Report: The 18th century urban layout that shaped the parcel of land (built up before the war) on the corner of two streets intersecting at a sharp angle became the background for the designed construction. It was the express wish of the Metropolitan Monument Conservator Office that the envisaged structure on this important, prominent street corner should be as “light” and as much glazed as possible. Local development conditions for this long and narrow plot envisioned a possibility of overhangs at the first floor level over two nearby streets – Piekna and Koszykowa – that would reiterate the bays and balconies of neighbouring tenement houses. Dense municipal utility infrastructure in the area meant that the ground floor outline had to be pushed further back from the street intersection and diagonal pillars as well as steel cables for supporting the cantilever ceilings needed to be installed there – all this in order to shift the load generated by the weight of the 7.5 m overhang at the front. The need to maintain vertical clearance, so as not to hinder traffic at the street intersection, caused the overhang to slant – at its base it measures 4.40m. The form of the building is characterized by an overhang just 2.55 m from the level of the pavement. The resulting structure naturally divides the building into two parts. A monolithic, matt, dark, stone core of the staircase spans the building from the ground floor and reaches high above the rooftop. This particular element is closed and opaque in character, and provides a striking contrast with the second, compositionally different part of the building - a glazed overhang, divided into three segments at the 2nd and 3rd floor level, respectively. It forms a light, translucent element that on the one hand exposes the building’s interior and on the other reflects the surrounding tenement houses and the “Koszyki” Market Hall opposite. The design concept brings out the best both in the neighbouring buildings and original local urban layout.

W Ozd « WNł«u «

s U¦ « —Ëb « jI

w uÞ ŸUD

55 Albenaa

lÝU² « —Ëb « jI

¡UM³ « μμ

WO³½U'« WNł«u «

Y U¦ « —Ëb « jI

lÐ«d « —Ëb « jI

w{—_« —Ëb « jI

w½U¦ « —Ëb « jI

54 Albenaa

¡UM³ « μ¥

WDO;« w½U³*« UNł«Ë ULO IðË tÐUA²ð w² « UNðULO IðË UNł«u « 57 Albenaa

¡UM³ « μ∑

qšb*« »UÐ UNOKŽ lI¹ w² « WNł«u «

WO³½U'« UNł«u « UNOKŽ qDð w² « WDO;« ‚dD « w —Ëd*« W dŠ 56 Albenaa

¡UM³ « μ∂

61 Albenaa

¡UM³ « ∂±

‫رﻓﻊ ﻣﺴﺘﻮي ﺟﻮدة اﻟﺤﻴﺎة‬

‫ﺗﺤﻮﻳﻞ ﺷﻮارع ﻟﻨﺪن إﻟﻰ ﻣﻤﺮات ﻣﺸﺎة‬ ‫‪Boosting The Urban prosperity Engine‬‬

‫‪Walkable London‬‬ ‫ﻣﻘﺘﺮح ﻣﻘﺪم ﻣﻦ ﻣﻜﺘﺐ ‪:‬‬ ‫‪Zaha Hadid Architects‬‬

‫ﺑﻌﺪ ﻣﺮور ﻋﺪة أﻋﻮام ﻧﺠﺤﺖ ﺣﻤﻼت إﻋﻼﻣﻴﺔ‬ ‫ﻟﻠﻤﻄﺎﻟﺒﺔ ﺑﺘﺤﻮﻳﻞ ﺷﺎرع أوﻛﺴﻔﻮرد ﻓﻲ ﻟﻨﺪن‬ ‫اﻟﻲ ﻣﻤﺮ ﻟﻠﻤﺸﺎة ﺧﺎﺻﺔ ﺑﻌﺪ أن ﺗﺒﻨﻰ رﺋﻴﺲ‬ ‫اﻟﺒﻠﺪﻳﺔ اﻟﺠﺪﻳﺪ ﺻﺎدق ﺧﺎن ﻫﺬا اﻟﻤﺒﺪأ ﻓﻲ ﻋﺎم‬ ‫‪2016‬م وﻗﺮرﻣﻨﻊ ﺣﺮﻛﺔ اﻟﺴﻴﺎرات ﻓﻴﻪ ‪ .‬ﻳﻬﺪف‬ ‫ﻫﺬا اﻟﺘﻮﺟﻪ إﻟﻰ ﺗﺸﺠﻴﻊ اﻟﺴﻜﺎن ﻋﻠﻰ اﻟﺤﺮﻛﺔ‬ ‫وﺟﻌﻠﻬﻢ أﻛﺜﺮ ﺣﻴﻮﻳﺔ ﻛﻤﺎ ﻳﻬﺪف اﻟﻲ إﺣﻴﺎء‬ ‫اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ‪ .‬ﻋﻠﻰ أن ﺗﺤﻮﻳﻞ ﺷﺎرع واﺣﺪ‬ ‫ﻓﻲ ﻣﺪﻳﻨﺔ ﻛﺒﻴﺮة ﻣﺜﻞ ﻟﻨﺪن ﻟﻦ ﻳﺤﻞ اﻟﻤﺸﺎﻛﻞ‬ ‫اﻟﺘﻲ ﺗﻮاﺟﻬﻬﺎ اﻟﻤﺪﻳﻨﺔ ﻣﻦ ﺣﻴﺚ ﺗﻠﻮث اﻟﻬﻮاء‬ ‫واﻟﺴﻼﻣﺔ اﻟﻤﺮورﻳﺔ وا‪L‬ﻗﺘﺼﺎد ﻓﻲ اﻟﻄﺎﻗﺔ‬ ‫واﻧﺴﻨﺔ اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ‪.‬‬ ‫إن اﻟﺘﻮﺟﻪ اﻟﺠﺪﻳﺪ ﻓﻲ ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬ ‫اﻟﻴﻮم ﻫﻮ ﺗﻘﻴﻴﺪ ﺣﺮﻛﺔ اﻟﺴﻴﺎرات ﻓﻲ وﺳﻂ‬ ‫اﻟﻤﺪن ﺑﻞ وﻓﻲ ﺿﻮاﺣﻴﻬﺎ ؛ ﻓﻔﻲ ﻣﺪﻳﻨﺔ ﺑﺎرﻳﺲ‬ ‫ ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ‪ -‬إﻧﺨﻔﺾ ﻋﺪد ﺳﺎﺋﻘﻲ‬‫اﻟﺴﻴﺎرات ﻣﻦ ‪ ٪60‬إﻟﻰ ‪ ٪40‬ﻣﻨﺬ ﻋﺎم ‪2001‬م ‪ ،‬ﻛﻤﺎ‬ ‫ﺗﻢ ﻣﻨﻊ ﺣﺮﻛﺔ اﻟﻤﺮور ﻓﻲ ﻋﺪد ﻣﻦ ﺷﻮارع ﻣﺪرﻳﺪ‬ ‫وﻛﺬﻟﻚ ﻓﻲ ﻣﺪﻳﻨﺔ أوﺳﻠﻮ اﻟﺘﻲ أﻋﻠﻨﺖ ﻋﻦ‬ ‫ﺧﻄﺔ ﻟﻤﻨﻊ ﺣﺮﻛﺔ اﻟﺴﻴﺎرات ﻓﻲ ﻣﺮﻛﺰ اﻟﻤﺪﻳﻨﺔ‬ ‫ﺗﺒﺪاء ﺑﺤﻠﻮل ﻋﺎم ‪2019‬م ‪ .‬إﻻ ان ﺗﻘﺮﻳﺮ اﻟﻤﻜﺘﺐ‬ ‫ﻣﻌﺪ اﻟﺪراﺳﺔ ﻳﺮى ان ﺗﺤﻮﻳﻞ ﺑﻌﺾ اﻟﺸﻮارع ﻟﻦ‬ ‫ﻳﻤﺜﻞ ﻓﺎرﻗ‪ b‬ﻛﺒﻴﺮ‪ a‬ﻣﻦ ﺣﻴﺚ ﺣﻞ ﻣﺸﻜﻠﺔ ا‪L‬زدﺣﺎم‬ ‫اﻟﻤﺮوري أو اﻟﺘﻠﻮث أو اﻟﺴﻼﻣﺔ أو اﻟﺼﺤﺔ اﻟﻌﺎﻣﺔ‬ ‫أو ﺣﺘﻰ ﺗﺤﻘﻴﻖ إﺳﺘﻔﺎدة إﻗﺘﺼﺎدﻳﺔ أو إﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﻛﺒﻴﺮة‪.‬‬ ‫ﺗﺸﺠﻴﻊ اﻟﻤﺸﺎة ﻓﻲ ﻟﻨﺪن اﻟﺬي ﻳﻘﺘﺮﺣﻪ ﻣﻜﺘﺐ‬ ‫‪ Zaha Hadid‬ﻫﻮ دراﺳﺔ ﻟﻤﺸﺮوع ﻳﻘﺘﺮح إﻧﺸﺎء‬ ‫ﺷﺒﻜﺔ ﻣﺘﻜﺎﻣﻠﺔ ﻣﻦ ﻣﻤﺮات اﻟﻤﺸﺎة ﻋﺒﺮ اﻟﻤﺪﻳﻨﺔ‬ ‫وﺗﻄﻮﻳﺮ ﺑﻴﺌﺔ ﻣﺸﺎة ﺻﺪﻳﻘﺔ ﻓﻲ وﺳﻂ اﻟﻌﺎﺻﻤﺔ‬

‫ﻟﻨﺪن ‪ .‬ﺗﺴﺘﻌﺮض اﻟﺪراﺳﺔ ﻛﺬﻟﻚ أﻣﺜﻠﺔ ﻟﺸﻮارع‬ ‫رﺋﻴﺴﺔ ﺗﻢ ﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ ﻣﻤﺮات ﻣﺸﺎة ﻓﻲ‬ ‫ﺑﻠﻐﺎرﻳﺎ وأﻟﻤﺎﻧﻴﺎ واﻟﺪﻧﻤﺎرك ﻫﺬه اﻟﺸﻮارع أﺻﺒﺤﺖ‬ ‫ﺑﻌﺪ ﺗﺤﻮﻳﻠﻬﺎ ﺷﻮارع ﺣﻴﻮﻳﺔ ﻣﻜﺘﻈﺔ ﺑﺎﻟﻤﺎرة‬ ‫ﺣﻴﺚ زاد ﻋﺪد اﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ واﻟﻤﻘﺎﻫﻲ ﻓﻴﻬﺎ‬ ‫وأﺻﺒﺢ اﻟﻜﺜﻴﺮ ﻣﻨﻬﺎ ﻳﺸﻜﻞ ﻣﻌﻠﻤ‪ b‬ﺟﺎذﺑﺎ ﻟﺰوار‬ ‫ﻫﺬه اﻟﻤﺪن ﻣﺜﻞ ﺷﺎرع إﺳﺘﻘﻼل ﻓﻲ اﺳﻄﻨﺒﻮل‬ ‫وﻻس رﻣﺒﻼ ﻓﻲ ﺑﺮﺷﻠﻮﻧﺔ وﺳﺘﺮوﺟﺖ ﻓﻲ‬ ‫ﻛﻮﺑﻨﻬﺎﺟﻦ ‪.‬‬ ‫ﺗﺄﺧﺬ ﻣﺴﺎرات وﻣﻤﺮات اﻟﻤﺸﺎة ﻓﻲ اﻟﻤﺪن أﺷﻜﺎﻻً‬ ‫ﻣﺘﻌﺪدة ﻣﺜﻞ اﻟﻤﻤﺮات اﻟﺘﻲ ﺗﻘﻊ ﻋﻠﻰ ﺿﻔﺎف‬ ‫ا‪p‬ﻧﻬﺎر او اﻟﺠﺴﻮر اﻟﻤﻌﻠﻘﺔ اﻟﺘﻲ ﺗﻌﺒﺮ اﻟﻄﺮق‬ ‫اﻟﺴﺮﻳﻌﺔ ﺑﻞ إن ﺑﻌﻀﻬﺎ ﺗﻢ ﺗﻨﺴﻴﻘﻬﺎ ﺑﺎﻟﺤﺪاﺋﻖ‬ ‫واﻟﻌﻨﺎﺻﺮ اﻟﺘﺮﻓﻴﻬﻴﺔ ﻟﺠﺬب اﻟﻤﺸﺎة ‪ .‬ﻛﻤﺎ ان‬ ‫ﻣﻨﻬﺎ ﻣﺎ ﺗﻢ ﻣﻨﻊ ﺣﺮﻛﺔ اﻟﺴﻴﺎرات ﻓﻴﻪ واﻻﺑﻘﺎء‬ ‫ﻋﻠﻲ اﻟﺤﺎﻓﻼت واﻟﺪراﺟﺎت ‪ ،‬وﻣﻨﻬﺎ ﻣﺎ ﻳﺠﻤﻊ ﺑﻴﻦ‬ ‫اﻟﺴﻴﺎرات واﻟﻤﺸﺎة وﻟﻜﻦ ﻣﻊ ﺗﺤﺮﻳﺮ اﻟﺸﻮارع‬ ‫ﻣﻦ ا‪L‬ﺷﺎرات اﻟﻤﺮورﻳﺔ واﻟﺤﻮاﺟﺰ وﺗﻘﻴﻴﺪاﺗﻬﺎ‬ ‫وﺗﺒﺴﻴﻂ اﻧﻈﻤﺔ ﺣﺮﻛﺔ ﻣﺮور اﻟﻤﺸﺎة واﻟﻤﺮﻛﺒﺎت‬ ‫ﻓﻴﻬﺎ ‪ ،‬وﻳﻌﺘﻘﺪ ﻣﻨﺎﺻﺮي ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺤﻠﻮل‬ ‫اﻧﻪ ﻳﺤﺴﻦ ﻣﻦ اﻟﺴﻼﻣﺔ اﻟﻤﺮورﻳﺔ ‪ ،‬ﻓﺎﻟﺘﻘﻠﻴﻞ ﻣﻦ‬ ‫ﺗﻨﻈﻴﻢ اﻟﻤﺮور ﻳﺮﻣﻲ ﺑﻤﺴﺌﻮﻟﻴﺔ اﻟﺴﻼﻣﺔ ﻋﻠﻰ‬ ‫اﻟﻤﺎرة وﺳﺎﺋﻘﻲ اﻟﻤﺮﻛﺒﺎت ﻣﻤﺎ ﻳﺠﻌﻠﻬﻢ أﻛﺜﺮ‬ ‫إﻧﺘﺒﺎﻫﺎ وﻫﺬا ﻳﺆدي إﻟﻰ اﻟﺘﻘﻠﻴﻞ ﻣﻦ اﻟﺤﻮادث‬ ‫‪ .‬ﻗﺎم اﻣﻜﺘﺐ ‪ Zaha Hadid‬ﺑﺈﻋﺪاد ﻋﺪد ﻣﻦ‬ ‫اﻟﺪراﺳﺎت واﻟﺘﺤﺎﻟﻴﻞ ﻟﻠﺘﻌﺮف ﻋﻠﻰ اﻟﻮﺿﻊ‬ ‫اﻟﺮاﻫﻦ ﻟﺤﺮﻛﺔ اﻟﻨﻔﻞ ﻓﻲ ﻟﻨﺪن ﻧﺴﺘﻌﺮض ﻋﺪد‬ ‫ﻣﻨﻬﺎ ﻛﻤﺎ ﻧﺴﺘﻌﺮض اﻟﻤﻘﺘﺮﺣﺎت اﻟﻤﺨﺘﻠﻔﺔ‬ ‫ﻟﺘﺤﻮﻳﻞ اﻟﺤﺮﻛﺔ ﻓﻲ وﺳﻂ ﻟﻨﺪن اﻟﻲ ﺣﺮﻛﺔ‬ ‫ﻣﺸﺎة ‪.‬‬

‫ ‪Êü« u¼ UL f dOÝ œ—uH Ë√ Ê«bO wKŽ_« w‬‬ ‫‪…UA W dŠ w « tO W d(« q¹u% bFÐ tOKŽ ÊuJOÝ U* —uBð qHÝ_« w Ë‬‬

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‫‪60 Albenaa‬‬

From the Architect Report: Campaigns for pedestrianising Oxford Street have been going on for decades. They have become much more vocal in recent years — to such an extent that in 2016 both mayoral candidates spoke in favour of the policy. The incumbent Mayor of London Sadiq Khan has pledged to remove all traffic from Oxford Street. At the same time, pedestrianising just one street in central London, however popular, will hardly solve multiple London’s problems, such as air pollution and road safety. All over the continent, the trend is towards pedestrianising whole districts rather than individual streets. As a result of pedestrian-friendly policy, the number of drivers in Paris has already dropped from 60% to 40% since 2001. Madrid has banned most traffic from certain streets, and soon the car-free zone will expand even further. Oslo announced plans to ban cars from the city centre by 2019. Transforming just a few streets will hardly make a big difference in terms of congestion, pollution, safety, public health, economic benefits and social capital. To make walking part of a daily routine, we might need a full pedestrian network which would contribute to the means of transport across the city. The UK capital has already seen some great examples of pedestrianisation that revitalised the whole districts. “Walkable London” project suggests creating a full-scale network of pedestrian routes across the capital. Developing pedestrian-friendly environment may involve a whole range of transformations — as there is no one-size-fits-all solution, it takes careful consideration to find the best option for each and every street. Based on our experience of working in 44 countries, Zaha Hadid Architects is presenting a radical, yet tangible strategy to make London the number one walking city in the world.

‫اﻟﺸﺒﻜﺔ اﻟﻤﻘﺘﺮﺣﺔ ﻟﻠﻄﺮق واﻟﻤﻨﺎﻃﻖ اﻟﻤﺨﺼﺼﺔ‬ ‫ﻟﻠﻤﺸﺎة ﻓﻲ وﺳﻂ ﻟﻨﺪن‬ #U ÊuKÐ W Ozd « qLF « WIDM œbŠ

WO Ë_« …UA*« «d2 WJ³ý b¹b%

WOŽdH « …UA*« WJ³ý b¹b%

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63 Albenaa

¡UM³ « ∂≥

‫أﻫﻢ ا ﻫﺪاف اﻟﺘﻲ أﺧﺬﺗﻬﺎ اﻟﺪراﺳﺔ ﻓﻲ ا ﻋﺘﺒﺎر‬ q¹u×² wÐU−¹ù« ÍœUB² ù« dOŁQ² « vKŽ …UA «d2 w « ÊbM Ÿ—«uý —UFÝ« vKŽË W¹—U−² « W d(« ö;«Ë «—UIF «

vKŽ …UA v ≈ ÊbM Ÿ—«uý q¹u% dOŁQð …UA*« UNFDI¹ Ê√ sJ1 W U vB √ ‚UH½_« Ëd² WD× »d √ v²Š

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62 Albenaa

¡UM³ « ∂≤

‫اﻟﺴﻜﺎن اﻟﻤﻘﻴﻤﻴﻦ واﻟﺴﻜﺎن اﻟﻌﺎﻣﻠﻴﻦ‬ ‫واﻟﺰاﺋﺮﻳﻦ ﻟﻮﺳﻂ ﻟﻨﺪن‬ ‫ ﻳﻌﻴﺶ ﻓﻲ وﺳﻂ ﻟﻨﺪن ﻓﺌﺘﻴﻦ ﻣﻦ اﻟﺴﻜﺎن ‪ :‬اﻟﻤﻘﻴﻤﻴﻦ‬‫واﻟﺬﻳﻦ ﻳﺰورﻧﻪ او ﻳﺄﺗﻮن ﻟﻠﻌﻤﻞ ﻓﻴﻪ ‪.‬‬ ‫ ﻫﻨﺎك ﺗﻔﺎوت ﻛﺒﻴﺮ ﺑﻴﻦ ﻋﺪد اﻟﺴﻜﺎن اﻟﻤﻘﻴﻤﻴﻦ ﻓﻲ وﺳﻂ‬‫ﻟﻨﺪن اﻟﺘﺠﺎري وﻫﺆﻻء اﻟﺬﻳﻦ ﻳﺰورﻧﻪ او ﻳﻌﻤﻠﻮن ﻓﻴﻪ ﺣﻴﺚ‬ ‫ﻳﺸﻜﻞ ﻫﺆﻻء ‪ ١٣٨٥‬ﻓﺮد ‪ /‬ﻫﻜﺘﺎر ‪ ،‬ﺑﻴﻨﻤﺎ ﻳﺸﻜﻞ اﻟﻤﻘﻴﻤﻴﻦ‬ ‫ﻧﺼﻒ ﻫﺬا اﻟﻌﺪد و ﻗﺪ ﻳﺼﻞ إﻟﻰ ُﻋﺸﺮه ﻫﺬا اﻟﻌﺪد ﻓﻲ‬ ‫اﻟﻤﻨﺎﻃﻖ اﻟﺘﺠﺎرﻳﺔ اﻟﺘﻲ ﻳﺘﻮﺟﻪ إﻟﻴﻬﺎ ﻣﻼﻳﻴﻦ اﻟﺴﻜﺎن‬ ‫ﻟﻠﺘﻮاﺻﻞ وﺗﺒﺎدل اﻟﻤﻨﺎﻓﻊ‬ ‫ ﻓﻲ ﻋﺎم ‪ ٢٠١١‬م ﺑﻠﻎ ﻋﺪد اﻟﺴﻜﺎن اﻟﻤﻘﻴﻤﻴﻦ ‪٢‬ﻣﻠﻴﻮن ﻧﺴﻤﺔ‬‫ﺑﻴﻨﻤﺎ ﻛﺎن ﻳﺄﺗﻲ إﻟﻴﻬﺎ ‪ ١،٥‬ﻣﻠﻴﻮن ﻧﺴﻤﺔ ﻓﻲ ﺳﺎﻋﺎت اﻟﻨﻬﺎر‬ ‫ﻳﻮﻣﻴﺎ‪.‬‬

‫ ×‪W dŠ q¹u% -© Â2007 ®sDÝuÐ WM¹b w fOzd « W d(« —u‬‬ ‫ ‪s WIDM*« d¹d% ·bNÐ w{—√ X% oH½ v ≈ tO «—UO « —Ëd‬‬ ‫«‪…dO³ WI¹bŠ ¡UA½≈Ë WHOHš —Ëd W dŠ wKŽ ¡UIÐù« l Í—Ëd*« ÂUŠœ“ù‬‬

‫اﻟﺘﻨﻮع اﻟﺘﺠﺎري ‪:‬‬ ‫ اﻟﺘﻨﻮع ﻓﻲ ا‪X‬ﻧﺸﻄﺔ اﻟﺘﺠﺎرﻳﺔ ﻣﻬﻢ ﻟﺤﻴﻮﻳﺔ اﻟﻤﻨﺎﻃﻖ‬‫اﻟﺤﻀﺮﻳﺔ ‪.‬‬ ‫ ﻳﺘﻢ دراﺳﺔ اﻟﺘﻨﻮع ﻣﻦ ﺧﻼل ﺣﺴﺎب ﻋﺪد ا‪X‬ﻧﺸﻄﺔ اﻟﺘﺠﺎرﻳﺔ‬‫ذات اﻟﻨﻮع اﻟﻮاﺣﺪ ﻓﻲ اﻟﻤﻨﻄﻘﺔ ﻣﺜﻞ اﻟﺒﻘﺎﻻت أو اﻟﻤﻘﺎﻫﻲ أو‬ ‫اﻟﻤﻄﺎﻋﻢ أو اﻟﻤﻜﺘﺒﺎت أو اﻟﻔﻨﺎدق ‪.‬‬ ‫ ﻳﺠﺐ ان ﺗﻮﻓﺮ ‪ 6‬أﻧﺸﻄﺔ ﻣﺘﻨﻮﻋﺔ ﻋﻠﻰ ا‪X‬ﻗﻞ أو ‪ 10‬ﻣﻘﺎﻫﻲ‬‫ﻟﺘﺤﻘﻴﻖ ﻛﺜﺎﻓﺔ ﻣﻘﺒﻮﻟﺔ ﻟﻠﻨﺸﺎط اﻟﺘﺠﺎري ﻓﻲ اﻟﻤﻨﻄﻘﺔ ﺣﺘﻰ‬ ‫إذا ﻛﺎﻧﺖ ﻟﻴﺴﺖ أﻧﺸﻄﺔ ﻣﺘﻨﻮﻋﺔ‪.‬‬ ‫ ﻛﻞ اﻟﻤﻨﺎﻃﻖ ﺗﺤﺖ اﻟﺪراﺳﺔ ﻓﻲ ﻣﺮﻛﺰ ﻟﻨﺪن وﻋﺪدﻫﺎ ‪4‬‬‫ﻣﻨﺎﻃﻖ أﻇﻬﺮت ﻣﻌﺪل ﻋﺎﻟﻲ ﻣﻦ اﻟﺘﻨﻮع اﻟﺘﺠﺎري‪.‬‬

‫درﺟﺔ اﻟﺴﻌﺎدة واﻟﺮﺿﻰ ﻟﻠﺴﻜﺎن اﻟﻤﻘﻴﻤﻴﻦ‬ ‫ﻓﻲ وﺳﻂ ﻟﻨﺪن ‪:‬‬ ‫ ﻳﻮﺿﺢ إﺳﺘﻘﺼﺎء أﺟﺮي ﻋﻠﻰ ﻣﺴﺘﻌﻤﻠﻲ ﺷﺒﻜﺎت اﻟﺘﻮاﺻﻞ‬‫ا‪m‬ﺟﺘﻤﺎﻋﻲ ﻟﻠﺴﻜﺎن اﻟﻤﻘﻴﻤﻴﻦ داﺧﻞ وﺧﺎرج وﺳﻂ ﻟﻨﺪن أن‬ ‫اﻟﻤﻘﻴﻤﻴﻦ داﺧﻠﻪ أﻗﻞ ﺳﻌﺎدة ‪ ،‬وﻗﺪ ﻳﺮﺟﻊ ذﻟﻚ إﻟﻰ ا‪m‬زدﺣﺎم‬ ‫اﻟﻤﺮوي وﻋﺪم وﺟﻮد ﻓﻀﺎءات ﻣﺠﻬﺰة ﻛﺎﻓﻴﺔ ﻟﻠﻤﺸﺎة ‪.‬‬

‫ ‪tO Í—Ëd*« ÂUŠœ“ù« vKŽ_« w ∫ © Â2003 ® Ê bM w —U−K «dð Ê«bO‬‬ ‫ ‪…UA W dŠ v ≈ tO W d(« q¹u% bFÐ «—UO « ¡UH²š≈ qHÝ_« w‬‬

‫‪¡UM³ « ∂μ‬‬

‫‪65 Albenaa‬‬

UŠU³ dAŽ W¹œU(« WŽU « W¹—U−² « WO½UJ « W U¦J «

w U(« Í—U−² « ŸuM² «

ÊbM jÝË w UO u¹ wŽUL²łù« q «u² « l «u* 5KLF² *« œbŽ

öO dAŽ W¹œU(« WŽU « 5LOILK WO½UJ « W U¦J «

qL²;« w U{ù« Í—U−² « ŸuM² «

w …œUF UÐ ÊËdFA¹ s¹c « wŽUL²łù« q «d² « l «u* 5KLF² *« œbŽ ÊbM jÝË w gOF «

64 Albenaa

¡UM³ « ∂¥

‚UH½_« Ëd² WDÝ«uÐ WKŠd « W¹«bÐ

‚UH½_« Ëd² WDÝ«uÐ WKŠd « W¹UN½

wA*« WDÝ«uÐ WKŠd « W¹«bÐ

67 Albenaa

¡UM³ « ∂∑

—UDI « WDÝ«uÐ WKŠd « W¹«bÐ

—UDI « WDÝ«uÐ WKŠd « W¹UN½

wA*«WDÝ«uÐ WKŠd « W¹UN½

‫‪W ö « Èu² l —Ë …UA*« s t «b ²Ý≈ lO−A² Õd²I Ë ÊbM w dJOÐ Ÿ—Uý‬‬ ‫«*‪ «—UO K `L ¹ ô Íc «d _« Ÿ—UA « …UA*« —u³Ž «d2 œbŽ …œU¹“ ‰öš s W¹—Ëd‬‬ ‫‪UNðUO{—√ WOŽu½ 5 %Ë …UA*« WH —√ lOÝuð - UL UN²ŽdÝ …œU¹eÐ‬‬

‫‪UN öG²Ý≈Ë nOB « qB w …UALK ÊbM Ÿ—«uý iF³ X R hOB ð‬‬ ‫‪ÊbM w XM−¹— Ÿ—Uý ≠ ôUH²Šù«Ë «d¼UE² « W U ù‬‬

‫«‪wA*« vKŽ ÊUJ « lO−A² WH —_«Ë U dD « oO M²Ð ÂUL²¼ù‬‬ ‫∂∂ « ‪¡UM³‬‬

‫‪66 Albenaa‬‬

‫دراﺳﺔ وﺳﺎﺋﻞ اﻟﻨﻘﻞ‪:‬‬ ‫ ﺗﻢ ﺟﻤﻊ ﺑﻴﺎﻧﺎت ﻟﺮﺣﻼت ﻋﺪد ﻣﻦ وﺳﺎﺋﻞ اﻟﻨﻘﻞ وﻫﻲ اﻟﻘﻄﺎر‬‫ اﻟﻤﺘﺮوا(ﻧﻔﺎق ‪ -‬اﻟﻤﺸﺎة ‪ -‬اﻟﺪراﺟﺔ ‪ .‬و ﺗﻢ دراﺳﺔ ﻋﺪد رﻛﺎب‬‫ﻛﻞ وﺳﻴﻠﺔ ‪ ،‬ﻋﻨﺪ اﻟﺒﺪاﻳﺔ أي ﻣﻦ ﺣﻴﺚ ﺑﺪء اﻟﺮﻛﺎب رﺣﻼﺗﻬﻢ‬ ‫وﻋﻨﺪ اﻟﻨﻬﺎﻳﺔ أي ﻣﻦ ﺣﻴﺚ أﻧﻬﻰ اﻟﺮﻛﺎب رﺣﻼﺗﻬﻢ ‪.‬‬ ‫ ﺗﻮﺿﺢ ﺑﺪاﻳﺎت رﺣﻼت وﺳﺎﺋﻞ اﻟﻨﻘﻞ أن اﻟﺴﻜﺎن اﻟﺬﻳﻦ‬‫ﻳﻌﻴﺸﻮن داﺧﻞ اﻟﻤﻨﺎﻃﻖ اﻟﻤﺰدﺣﻤﺔ ﻳﺬﻫﺒﻮن ﻣﺸﻴ? إﻟﻰ‬ ‫ﻋﻤﻠﻬﻢ ‪ ،‬واﻟﺬﻳﻦ ﻫﻢ ﺧﺎرﺟﻬﺎ ﻳﺴﺘﻘﻠﻮن ﻣﺘﺮو ا(ﻧﻔﺎق‬ ‫أو اﻟﻘﻄﺎر ‪ ،‬أﻣﺎ اﻟﺬﻳﻦ ﻫﻢ ﺑﻌﻴﺪون ﻋﻦ ﻫﺬه اﻟﻮﺳﺎﺋﻞ‬ ‫ﻓﻴﺴﺘﺨﺪﻣﻮن اﻟﺤﺎﻓﻼت أو اﻟﺪراﺟﺎت‪.‬‬ ‫ ﺗﻮﺿﺢ دراﺳﺔ وﺳﺎﺋﻞ اﻟﻨﻘﻞ ﻓﻲ ﻧﻬﺎﻳﺔ اﻟﺮﺣﻼت أن اﻟﻐﺎﻟﺒﻴﺔ‬‫اﻟﻌﻈﻤﻰ ﻣﻦ ﻣﺴﺘﺨﺪﻣﻲ وﺳﺎﺋﻞ اﻟﻨﻘﻞ ﻳﺪﺧﻠﻮن ﻣﺮﻛﺰ ﻟﻨﺪن‬ ‫ﺑﻮاﺳﻄﺔ اﻟﻘﻄﺎر أو ﻣﺘﺮوا(ﻧﻔﺎق‪.‬‬

‫دراﺳﺔ ﺗﺄﺛﻴﺮ ﺗﺤﻮﻳﻞ اﻟﺤﺮﻛﺔ إﻟﻰ ﻣﺸﺎة ﻋﻠﻰ‬ ‫اﻟﺤﺎﻟﺔ اﻟﺮاﻫﻨﺔ ﻟﻠﻨﻘﻞ ﻓﻲ ﺷﻮارع ﻟﻨﺪن‪:‬‬ ‫ ﺗﻮﺿﺢ اﻟﺪراﺳﺔ أن اﻟﺤﺎﻟﺔ ﺑﻌﺪ اﻟﺘﻌﺪﻳﻞ ﺗﻈﻬﺮ ﻋﺪم وﺟﻮد‬‫ﺗﺄﺛﻴﺮ ﺳﻠﺒﻲ ﻋﻠﻰ ﺣﺮﻛﺔ اﻟﻤﺮور‪.‬‬ ‫ ﺗﺤﺪد دراﺳﺎت ﺣﺮﻛﺔ اﻟﻤﺸﺎة ﻓﻲ اﻟﻤﻄﺎرات ﺑﺄن اﻟﻤﺸﻲ‬‫ﻟﻤﺴﺎﻓﺔ ‪600‬ﻣﺘﺮ ﻫﻲ ﻣﺴﺎﻓﺔ ﻣﻘﺒﻮﻟﺔ ﻣﻦ ﻣﻌﻈﻢ اﻟﻤﺴﺎﻓﺮﻳﻦ‪.‬‬ ‫وﺑﺎﻟﻤﻘﺎرﻧﺔ ﻓﺈن ﻣﻌﻈﻢ ﻣﺮﻛﺰ ﻟﻨﺪن ﻳﻤﻜﻦ اﻟﻮﺻﻮل إﻟﻴﻪ‬ ‫ﻓﻲ ‪ 7‬دﻗﺎﺋﻖ وﻫﻲ اﻟﻤﺪة اﻟﻼزﻣﺔ ﻟﻘﻄﻊ ‪600‬ﻣﺘﺮا ﻣﺸﻴ@ ﻣﻦ‬ ‫أي ﻣﺤﻄﺔ ﻣﺘﺮو) وإذا ﻃﺎﻟﺖ اﻟﻤﺴﺎﻓﺔ ﻓﻴﻤﻜﻦ أن ﺗﻜﻮن ‪15‬‬ ‫دﻗﻴﻘﺔ( و ﺗﻐﻄﻲ ‪ ٪95‬ﻣﻦ وﺳﻂ ﻟﻨﺪن ‪.‬‬ ‫ اﻟﺴﻜﻚ اﻟﺤﺪﻳﺪﻳﺔ ﻻﺗﻐﻄﻲ ﻣﺴﺎﺣﺔ ﻛﺒﻴﺮة ﻣﺜﻞ اﻟﻤﺘﺮو‬‫ﺗﺤﺖ ا‪Z‬رض‪ ،‬وﻟﻜﻨﻬﺎ ﻟﻬﺎ ﺗﺄﺛﻴﺮ ﻛﺒﻴﺮ ﻋﻠﻰ ﺷﺒﻜﺔ اﻟﻨﻘﻞ‬ ‫اﻟﻌﺎﻣﺔ‪.‬‬

‫‪ÂUE½ d¼UE q ¡UG ù t²O{—√ rÝ— …œUŽ≈Ë sA³¹eł≈ Ÿ—Uý‬‬ ‫«*‪ «—UO « W dŠ bOOIðË …UA*« W dŠ lO−A² —Ëd‬‬

‫‪WÝ«—œ …œUŽ≈Ë tO —Ëd*« ÂUE½ jO ³ðË sA³¹e−¹≈ Ÿ—Uý‬‬ ‫‪…UA*« WH —√ lOÝuðË …UA*« —u³Ž «d2 …œU¹“Ë —Ëd*« «—Uý≈ XO uð‬‬

‫ ‪ «d2 hOB ðË f dOÝ œ—uH Ë√ Ê«bO‬‬ ‫‪ U U *« —UB²šù W¹—u× …UA —u³Ž‬‬

‫‪¡UM³ « ∂π‬‬

‫‪69 Albenaa‬‬

…UALK ÊbM jÝË hOB ² WŠd²I*« WJ³A «

…UA*« W dŠ w « ‰u×² « s w Ëô« WKŠd*« bFÐ ÃU b½ù« Wł—œ

W¦ U¦ «Ë WO½U¦ «Ë w Ëô« WKŠd*« bFÐ ÃU b½ù«

qIMK WM¼«d « W U(« l …UA*« W dŠ ÃU b½≈ Wł—œ

WO½U¦ «Ë w Ëô« WKŠd*« bFÐ ÃU b½ù« Wł—œ

Àö¦ « qŠ«d*« s ¡UN²½ù« bFÐ ÃU b½ù«

68 Albenaa

¡UM³ « ∂∏

‫‪ - ٤‬اﻟﻌﺎﺋﺪ ا ﻗﺘﺼﺎدي‬

‫‪ - ٥‬اﻟﺴﻌﺎدة و ﺟﻮدة اﻟﺤﻴﺎة‬

‫‪ - ٦‬اﻟﺠﺬب‬

‫• ﻧﺘﻴﺠﺔ اﻟﻲ اﻟﺒﻴﻊ ﻋﺒﺮ اﻻﻧﺘﺮﻧﺖ وزﻳﺎدة اﻋﺪاد‬ ‫اﻟﻤﻮﻻت اﻟﺘﺠﺎرﻳﺔ اﻏﻠﻖ ﺣﻮاﻟﻲ ‪١٥‬اﻟﻒ ﻣﺤﻞ ﺗﺠﺎري‬ ‫ﻣﺎﺑﻴﻦ ﻋﺎﻣﻲ ‪ ٢٠٠٠‬و ‪٢٠١٠‬م ﻓﻲ اﻟﺸﻮارع اﻟﻜﺒﺮي ﻓﻲ‬ ‫اﻧﺤﺎء ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة‬

‫• ﺗﻌﺘﺒﺮ ﻟﻨﺪن اﻟﻤﺪﻳﻨﺔ اﻻﻗﻞ ﺳﻌﺎدة ﻓﻲ‬ ‫اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة‬

‫• ‪ ٪ ٣٥‬ﻣﻦ ﺳﻜﺎن ﻟﻨﺪن ﻳﻌﺘﻘﺪون ان ﺗﺎرﻳﺦ‬ ‫اﻟﻤﺪﻳﻨﺔ ﻫﻮ اﻛﺜﺮ ﻣﻤﻴﺰات ا]ﻧﺠﺬاب ﻟﻠﻌﻴﺶ‬ ‫ﻓﻴﻬﺎ‬

‫• ﻓﻲ اﻟﺸﻮارع اﻟﺘﻲ ﺗﻤﻨﻊ ﻓﻴﻬﺎ اﻟﺴﻴﺎرات ﻳﺴﺎﻋﺪ‬ ‫اﻟﻤﺸﺎة ووﺳﺎﺋﻞ اﻟﻨﻘﻞ اﻟﻐﻴﺮ ﻣﻤﻴﻜﻨﺔ ) اﻟﺪرﺟﺎت (‬ ‫ﻋﻠﻲ زﻳﺎدة اﻟﺒﻴﻊ ﻓﻲ ﻣﺤﻼﺗﻬﺎ ﺑﻨﺴﺒﺔ ‪٪٣٠‬‬ ‫• ﻣﺴﺘﺨﺪﻣﻲ اﻟﺴﻴﺎرات ﻳﺬﻫﺒﻮن ﻟﻠﺘﺒﻀﻊ اﻗﻞ ﻋﺪد‬ ‫ﻣﻦ اﻟﻤﺮات إﻻ اﻧﻬﻢ ﻳﻴﺸﺘﺮون ﺑﻀﺎﺋﻊ اﻛﺜﺮ ﻓﻲ ﻛﻞ‬ ‫ﻣﺮة ﺑﻴﻨﻤﺎ اﻟﻤﺸﺎة ﻳﺸﺘﺮون اﻛﺜﺮ ﻧﻈﺮا ﻟﻜﺜﺮة ﻋﺪد‬ ‫ﻣﺮات ذﻫﺎﺑﻬﻢ ﻟﻠﺘﺒﻀﻊ‬ ‫• اﻟﻤﺸﺮوﻋﺎت اﻟﻌﻤﺮاﻧﻴﺔ اﻟﺘﻲ ﺗﺸﺠﻊ ﻋﻠﻲ اﻟﻤﺸﻲ‬ ‫ورﻛﻮب اﻟﺪراﺟﺎت ﻟﻠﺘﺒﻀﻊ ﻳﺮﻓﻊ ﻣﻦ اﻟﻘﻴﻤﺔ اﻟﻌﻘﺎرﻳﺔ‬ ‫ﻟﻠﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ ﻣﻦ ‪ ٧٠‬اﻟﻲ ‪٪٣٠٠‬‬ ‫• ﻫﻨﺎك اﻣﺜﻠﺔ ﻛﺜﻴﺮة ﺗﺆﻛﺪ ﻋﻠﻲ إرﺗﻔﺎع اﻟﻤﺒﻴﻌﺎت‬ ‫ﻓﻲ اﻟﺸﻮارع واﻻﺣﻴﺎء اﻟﺘﻲ ﺗﺸﺠﻊ ﻋﻠﻲ اﻟﻤﺸﻲ‬ ‫وﻣﻨﻬﺎ ﻣﺸﺮوع ﺷﺎرع ﺳﺘﺮوﺟﻴﺖ ﻓﻲ وﺳﻂ‬ ‫ﻛﻮﺑﻨﻬﺎﺟﻦ اﻟﺬي ﻣﻨﻌﺖ ﻓﻴﻪ ﺣﺮﻛﺔ اﻟﻤﺮﻛﺒﺎت ﻓﻲ‬ ‫ﻋﺎم ‪١٩٦٢‬ﻓﻔﻲ ﻏﻀﻮن ﻋﺎم واﺣﺪ إرﺗﻔﻌﺖ ﻣﺒﻴﻌﺎت‬ ‫اﻟﻤﺤﻼت ﻓﻴﻪ ‪ ٪٣٠‬وزاد ﻋﺪد اﻟﻤﺸﺎة ‪٪٣٥‬‬

‫• ﻳﻌﺘﺒﺮ ﻣﺴﺘﺨﺪﻣﻲ اﻟﺪراﺟﺎت اﻻﻛﺜﺮ ﺳﻌﺎدة‬ ‫واﻻﻗﻞ ﻫﻤﻮﻣﺎ‬ ‫• ﺳﻜﺎن اﻻﺣﻴﺎء اﻟﺘﻲ ﺗﺸﺠﻊ ﻋﻠﻲ اﻟﻤﺸﻲ‬ ‫ﻫﻢ اﻻﻛﺜﺮ ﺗﻮاﺻﻼ إﺟﺘﻤﺎﻋﻴﺎ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ‬ ‫ﺑﻨﺴﺒﺔ ‪ ٪٨٠‬اﻋﻠﻲ ﻣﻦ اﻻﺣﻴﺎء اﻻﺧﺮى اﻟﺘﻲ‬ ‫ﻳﺴﻤﺢ ﺑﺎﻟﺘﻨﻘﻞ ﻓﻴﻬﺎ ﺑﺎﻟﺴﻴﺎرات ﺣﻴﺚ‬ ‫ﻳﺸﺠﻊ ذﻟﻚ ﻋﻠﻲ اﻟﺘﻌﺮف ﻋﻠﻲ ﺑﻌﻀﻬﻢ‬ ‫وإﻧﺘﺸﺎر اﻟﺜﻘﺔ ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ‬ ‫• ﺗﺸﻴﺮ ا]ﺣﺼﺎﻳﺌﺎت ان اﻟﺴﻌﺎدة اﻟﺸﺨﺼﻴﺔ‬ ‫ﺗﻨﺨﻔﺾ ﻋﻨﺪ اﻟﻤﺘﻨﻘﻠﻴﻦ ﺑﺎﻟﺴﻴﺎرات‬ ‫• ﺳﻜﺎن اﻻﺣﻴﺎء ذو اﻟﺤﺮﻛﺔ اﻟﻤﺮورﻳﺔ‬ ‫اﻟﻤﻨﺨﻔﻀﺔ ﻳﻜﻮﻧﻮن ﺻﺪﻗﺎت اﻛﺜﺮ ﻣﻦ‬ ‫ﺳﻜﺎن اﻻﺣﻴﺎء ذات ا]زدﺣﺎم اﻟﻤﺮوري‬

‫• إرﺗﻔﻊ ﻋﺪد زوار ﻣﻴﺪان ﺗﺮﻓﻠﺠﺎر ﺑﻨﺴﺒﺔ ‪٪٣٠٠‬‬ ‫ﺑﻌﺪ ﺗﺨﺼﻴﺺ اﻟﺠﺰء اﻟﺸﻤﺎﻟﻲ ﻣﻨﻪ ﻟﻠﻤﺸﺎة‬ ‫• ﻣﻦ اﻟﻤﺘﻮﻗﻊ ان ﻳﺮﺗﻔﻊ ﻋﺪد اﻟﺴﻮاح‬ ‫اﻟﻘﺎدﻣﻴﻦ ﻣﻦ اﻟﺨﺎرج ﻋﺎﻣﺎ ﺑﻌﺪ ﻋﺎم ﺑﻨﺴﺒﺔ‬ ‫‪٪٤٣‬‬ ‫• ﺗﻮﺿﺢ اﻟﺪراﺳﺎت ﻛﻴﻒ ان ﻣﺸﺮوع اﺣﺪي‬ ‫اﻟﺤﺪاﺋﻖ اﻟﻌﺎﻣﺔ ﻓﻲ ﻟﻨﺪن اﻟﺬي ﺑﻠﻎ ا]ﺳﺘﺜﻤﺎر‬ ‫اﻟﻌﺎم ﻓﻴﻪ ‪١١٥‬ﻣﻠﻴﻮن دوﻻر ﻗﺪ اﻧﺘﺞ ﻋﺎﺋﺪا‬ ‫ﻳﻘﺪر ب ‪ ٢‬ﺑﻠﻴﻮن دوﻻر ﻣﻦ ﺧﻼل اﻟﻤﺸﺮوﻋﺎت‬ ‫ا]ﺳﺘﺜﻤﺎرﻳﺔ اﻟﺨﺎﺻﺔ اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﻪ ﺟﺎذﺑﺎ‬ ‫ﺣﻮاﻟﻲ ‪٥‬ﻣﻠﻴﻮن زاﺋﺮ ﺳﻨﻮﻳﺎ وﻣﻮﻓﺮا ‪ ١٢‬اﻟﻒ‬ ‫وﻇﻴﻔﺔ ﺟﺪﻳﺪة ورﻓﻊ اﺳﻌﺎر اﻟﻌﻘﺎرات ﻓﻲ‬ ‫اﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﺤﺪﻳﻘﺔ‬

‫• ﺣﺴﺐ دراﺳﺔ ﻟﺠﺎﻣﻌﺔ ﺳﺘﺎﻧﻔﻮرد ﻓﺈن‬ ‫اﻻﻓﻜﺎر ا]ﺑﺪاﻋﻴﺔ ﺗﺰﻳﺪ ﺑﻨﺴﺒﺔ ‪ ٪٦٠‬ﻋﻨﺪ‬ ‫اﻟﻤﺸﻲ‬

‫• ﺣﺴﺐ إﺣﺼﺎﺋﻴﺎت ﺟﻤﻌﻴﺎت اﻟﺘﺸﺠﻴﻊ ﻋﻠﻲ اﻟﻤﺸﻲ‬ ‫ورﻛﻮب اﻟﺪراﺟﺎت ﻓﺈن اﻟﻤﺸﺮوﻋﺎت اﻟﺘﻲ ﺗﺸﺠﻊ ﻋﻠﻲ‬ ‫اﻟﻤﺸﻲ ﺗﺘﻴﺢ ﻧﺴﺒﺔ ﻣﻦ ﻓﺮص اﻟﻌﻤﻞ ) ﻣﻦ ‪ ١١‬اﻟﻲ ‪١٤‬‬ ‫وﻇﻴﻔﺔ ﻟﻜﻞ ﻣﻠﻴﻮن دوﻻر ﻣﺴﺘﺜﻤﺮ ﻓﻴﻬﺎ (‬ ‫• ﺣﺴﺐ ﻣﻨﻈﻤﺔ ا]ﺳﻜﺎن اﻟﺘﺎﺑﻌﺔ ﻟﻼﻣﻢ اﻟﻤﺘﺤﺪة‬ ‫ﻓﺈﻧﻪ ﻳﺠﺐ ان ﺗﻤﺜﻞ اﻟﺸﻮارع ﻧﺴﺒﺔ ‪ ٣٠‬اﻟﻲ ‪ ٪٣٥‬ﻣﻦ‬ ‫ﻣﺴﺎﺣﺔ اﻟﻤﺪﻳﻨﺔ ]ﻧﺘﻌﺎش اﻟﺤﺮﻛﺔ ا]ﻗﺘﺼﺎدﻳﺔ ﻓﻴﻬﺎ ‪.‬‬ ‫• ﺣﺴﺐ اﻟﺠﻬﺎت اﻟﻤﺴﺆوﻟﺔ ﻋﻦ اﻟﻨﻘﻞ ﻓﻲ ﻟﻨﺪن ﻓﺈن‬ ‫ﻛﻞ ﻛﻠﻢ ﻣﺸﻲ ﻳﻘﻠﻞ ﻣﻦ ﻓﺮص اﻟﺴﻤﻨﺔ ‪ ٪ ٤،٨‬ﻳﻮﻣﻴﺎ‬ ‫• ﺣﺴﺐ اﻟﺠﻬﺎت اﻟﻤﺴﺆوﻟﺔ ﻋﻦ اﻟﻨﻘﻞ ﻓﻲ ﻟﻨﺪن‬ ‫ﻓﺈن اﻟﻤﺸﺎة ﻳﺸﺘﺮون ﺑﻨﺴﺒﺔ ‪ ٪٦٥‬اﻛﺜﺮ ﻣﻦ‬ ‫ﻣﺴﺘﺨﺪﻣﻲ اﻟﺴﻴﺎرات‬ ‫• ﻳﺰﻳﺪ ا]ﺳﺘﺜﻤﺎر ﻓﻲ ﺗﺠﻤﻴﻞ وﺗﻨﻈﻴﻢ ارﺻﻔﺔ‬ ‫اﻟﻤﺸﺎة ﻣﻦ اﻟﻤﺴﺘﻮي اﻟﺼﺤﻲ وﺗﻨﻘﻴﺔ ﻫﻮاء‬ ‫اﻟﻤﺪﻳﻨﺔ ﻣﻦ اﻟﺘﻠﻮث ﻛﻤﺎ ﻳﺮﻓﻊ ﻣﻦ ﻗﻴﻤﺔ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﻲ ﺗﻘﺎم ﻋﻠﻴﻬﺎ‬ ‫• ﻻ ﻳﻤﺎﻧﻊ ﺳﻜﺎن اﻟﻤﺪن ﻣﻦ زﻳﺎدة اﻟﻀﺮاﺋﺐ ﻧﺘﻴﺠﺔ‬ ‫اﻟﺼﺮف ﻋﻠﻲ اﻟﻤﺸﺮوﻋﺎت اﻟﺘﻲ ﺗﺸﺠﻊ ﻋﻠﻲ‬ ‫ﺗﺤﺴﻴﻦ ﺑﻴﺌﺔ اﻟﻤﺸﺎة ﻓﻲ اﻟﻤﺪﻳﻨﺔ‬

‫‪¡UM³ « ∑±‬‬

‫‪71 Albenaa‬‬

тАля╗гя╗Ая║О╪▒ я║гя║оя╗Ыя║Ф ╪зя╗Яя║┤я╗┤я║О╪▒╪з╪к ╪п╪зя║зя╗Ю ╪зя╗Яя╗дя║кя╗│я╗ия║Ф ┘Ия╗гя╗дя╗┤я║░╪з╪к я║Чя║дя╗оя╗│я╗ая╗мя║О ╪ея╗Яя╗░ я║гя║оя╗Ыя║Ф я╗гя║╕я║О╪й тАк:тАмтАм

тАлтАк - ┘бтАмя║гя║оя╗Ыя║Ф ╪зя╗Яя╗ия╗Шя╗Ю ┘И╪з ╪▓╪пя║гя║О┘Е ╪зя╗Яя╗дя║о┘И╪▒┘К тАк:тАмтАм

тАлтАк - ┘втАм╪зя╗Яя║╝я║дя║Ф ╪зя╗Яя╗Мя║Оя╗гя║Ф ┘И╪зя╗Яя║Тя╗┤я║Мя║Ф тАк:тАмтАм

тАлтАк - ┘гтАм╪зя╗╗я╗гя╗ж ┘И ╪зя╗Яя║┤я╗╝я╗гя║Ф тАк:тАмтАм

тАлтАв я║гя╗о╪зя╗Яя╗▓ тАк ┘к ┘з┘атАмя╗гя╗ж я║│я╗Ья║О┘Ж ╪зя╗Яя╗Мя║Оя╗Яя╗в я║│я╗┤я╗Мя╗┤я║╕я╗о┘ЖтАм тАля╗Уя╗▓ ╪зя╗Яя╗дя║к┘Ж я║Ся║дя╗ая╗о┘Д тАк┘в┘а┘г┘атАм┘ЕтАм

тАлтАв я╗│я║Тя╗ая╗О я╗Ля║к╪п я╗гя╗ж я╗│я╗дя╗оя║Чя╗о┘Ж я║│я╗ия╗оя╗│я║О я║Ся║┤я║Тя║РтАм тАл╪зя╗Яя║┤я╗дя╗ия║Ф я║Ыя╗╝я║Ыя║Ф ╪гя║┐я╗Мя║О┘Б я╗гя╗ж я╗│я╗дя╗оя║Чя╗о┘Ж я║Ся║┤я║Тя║РтАм тАля║│я╗о╪б ╪зя╗Яя║Шя╗Ря║мя╗│я║Ф я╗Уя╗▓ ╪зя╗Яя╗Мя║Оя╗Яя╗втАм

тАлтАв я║гя╗о╪зя╗Яя╗▓ я║Ыя╗ая║Ъ я║│я╗Ья║О┘Ж я╗Яя╗ия║к┘Ж я╗╗ я╗│я║╕я╗Мя║о┘И┘ЖтАм тАля║Ся║Оя╗╗я╗гя║О┘Ж я╗Уя╗▓ я╗Яя╗ия║к┘Ж ┘Ия╗│я╗Мя║Шя║Тя║о я╗ля║м╪з ╪зя╗Яя╗дя╗Мя║к┘Д ╪зя╗Ля╗ая╗▓тАм тАля╗гя╗ж ╪зя╗Яя╗Ья║Ья╗┤я║о я╗гя╗ж я╗гя║к┘Ж ╪з┘И╪▒┘Ия║Ся║ОтАм

тАлтАв ╪зя╗Ыя║Ья║о я╗гя╗ж тАк ┘к ┘д┘атАмя╗гя╗ж я║│я╗Ья║О┘Ж я╗Яя╗ия║к┘Ж я╗╗ я╗│я║дя╗Шя╗Шя╗о┘ЖтАм тАл╪зя╗Яя╗дя║к╪й ╪зя╗Яя╗дя╗Дя╗ая╗оя║Ся║Ф я╗Яя╗дя╗дя║О╪▒я║│я║Ф ╪зя╗Яя║дя║оя╗Ыя║Ф ╪зя╗Яя║ая║┤я║кя╗│я║ФтАм тАл╪зя╗Яя║Шя╗▓ я║Чя╗Шя║О╪│ ╪и тАк ┘б┘е┘атАм╪пя╗Чя╗┤я╗Шя║Ф я╗Уя╗▓ ╪зя╗╗я║│я║Тя╗о╪╣ тАк.тАмтАм

тАлтАв я║Чя╗Шя║к╪▒ я║Чя╗Ья╗ая╗Фя║Ф я╗гя║ая╗мя╗о╪п╪з╪к ╪зя╗Яя║к┘Ия╗Яя║Ф я╗Уя╗▓ я╗Яя╗ия║к┘ЖтАм тАля╗Яя║Шя║дя╗Шя╗┤я╗Ц ╪зя╗Яя║┤я╗╝я╗гя║Ф ╪зя╗Яя╗дя║о┘И╪▒я╗│я║Ф ┘И╪ея║╗я╗╝╪н ╪зя╗Яя║┤я╗┤я║О╪▒╪з╪ктАм тАля╗гя╗ж я║Яя║о╪з╪б ╪зя╗Яя║дя╗о╪з╪п╪л тАк┘б┘е╪М┘гтАмя╗гя╗ая╗┤я║О╪▒ я║Яя╗ия╗┤я╗к я║│я╗ия╗оя╗│я║ОтАм

тАлтАв ╪зя╗Яя╗дя║╕я╗▓ тАк ┘в┘атАм╪пя╗Чя╗┤я╗Шя║Ф я╗│я╗оя╗гя╗┤я║О я╗│я╗Шя╗ая╗Ю я╗гя╗ж ╪зтАкYтАмя║╗я║Оя║Ся║ФтАм тАля║Ся║О=я╗гя║о╪з╪╢ ╪зя╗Яя╗Шя╗ая║Тя╗┤я║Ф я║Ся╗ия║┤я║Тя║Ф тАк┘к ┘г┘атАмтАм

тАлтАв тАк ┘к┘в┘етАмя╗гя╗ж я║гя╗о╪з╪п╪л я║╗я║к┘Е ╪зя╗Яя╗дя║╕я║О╪й я╗Уя╗▓ ╪зя╗Яя╗Дя║о┘ВтАм тАля║Чя║дя║к╪л я╗гя║О я║Ся╗┤я╗ж ╪зя╗Яя║┤я║Оя╗Ля║Ф тАк ┘дтАм┘ИтАк ┘зтАмя╗гя║┤я║О╪б╪зтАм

тАлтАв я╗Уя╗▓ я╗Ля║О┘Е тАк ┘в┘а┘б┘зтАмя║Чя╗Мя║к╪к я╗Яя╗ия║к┘Ж ╪зя╗Яя║дя║к ╪зя╗Яя╗дя║Шя╗оя╗Чя╗КтАм тАля║│я╗ия╗оя╗│я║О я╗Яя║Шя╗ая╗о╪л я╗ля╗о╪з╪б ╪зя╗Яя╗дя║кя╗│я╗ия║Ф ┘Ия╗Яя╗дя║к╪й тАк ┘етАм╪гя╗│я║О┘ЕтАм тАля╗гя║Шя╗Мя║кя╗│я║Ф я║Ся║мя╗Яя╗Ъ я║гя║к я║Чя╗ая╗о╪л ╪зя╗Яя╗мя╗о╪з╪б я╗Уя╗▓ я╗гя║кя╗│я╗ия║ФтАм тАля║Ся╗Ья╗┤я╗жтАм

тАлтАв тАк ┘к ┘и┘атАмя╗гя╗ж я║гя╗о╪з╪п╪л я║╗я║к┘Е ╪зя╗Яя╗дя║╕я║О╪й я║Чя║дя║к╪л я╗Ля╗ая╗▓тАм тАл╪зя╗Яя╗Дя║о┘В ╪░╪з╪к ╪зя╗Яя║┤я║оя╗Ля║Ф ╪зя╗Яя╗дя║дя║к╪п╪й ╪итАк┘е┘атАмя╗Ыя╗ая╗втАк/тАмя║│я║Оя╗Ля║ФтАм тАля║Чя╗Шя║оя╗│я║Тя║ОтАм

тАлтАв ╪г┘И╪▒┘Ия║Ся║О я╗ля╗▓ ╪гя╗Ыя║Тя║о я╗гя╗ия╗Дя╗Шя║Ф я╗Ля╗дя║о╪зя╗зя╗┤я║Ф я║гя╗┤я║ЪтАм тАля╗│я╗Мя╗┤я║╢ тАк ┘к ┘и┘атАмя╗гя╗ж я║│я╗Ья║Оя╗зя╗мя║О я╗Уя╗▓ ╪зя╗Яя╗дя║к┘ЖтАм тАлтАв я║Ся╗┤я╗ж я╗Ля║О┘Е тАк ┘б┘й┘з┘етАм┘ИтАк┘б┘й┘й┘етАм┘Е я║Чя╗Ая║Оя╗Ля╗Фя║Ц ╪зя╗Яя╗дя║┤я║Оя╗Уя║ФтАм тАл╪зя╗Яя║Шя╗▓ я╗│я╗Шя╗Дя╗Мя╗мя║О ╪з=┘И╪▒я║Ся╗┤я╗о┘Ж я╗│я╗оя╗гя╗┤< ┘Ия╗гя╗ж ╪зя╗Яя╗дя║Шя╗оя╗Чя╗КтАм тАл╪г┘Ж я║Чя║Шя╗Ая║Оя╗Ля╗Т я╗гя║о╪й ╪гя║зя║о┘Й я║Ся║дя╗ая╗о┘Д я╗Ля║О┘Е тАк┘в┘а┘в┘етАм┘ЕтАм тАлтАв я╗│я╗Шя╗Дя╗К ╪зя╗Яя║┤я╗Ья║О┘Ж я╗гя╗ж тАк ┘в┘атАм╪ея╗Яя╗░ тАк ┘к ┘д┘атАмя╗гя╗ж ╪зя╗Яя║оя║гя╗╝╪ктАм тАл╪зя╗Яя╗┤я╗оя╗гя╗┤я║Ф я║│я╗┤я║отАк GтАмя╗Ля╗ая╗░ ╪з=я╗Чя║к╪з┘Е ╪г┘И я║Ся╗о╪зя║│я╗Дя║ФтАм тАл╪зя╗Яя║к╪▒╪зя║Яя║О╪к тАк.тАмтАм тАлтАв я║Чя╗Мя║Шя║Тя║о я╗Яя╗ия║к┘Ж я║Ыя║Оя╗Яя║Ъ ╪зя╗Яя╗дя║к┘Ж ╪з=я╗Ыя║Ья║о ╪е╪▓╪пя║гя║Оя╗гя║О я╗Уя╗▓тАм тАл╪г┘И╪▒┘Ия║Ся║ОтАм тАлтАв я╗│я╗Шя╗Ая╗▓ я║│я╗Ья║О┘Ж я╗Яя╗ия║к┘Ж ╪гя╗Ыя║Ья║о я╗гя╗ж тАк ┘б┘а┘атАмя║│я║Оя╗Ля║Ф я╗Уя╗▓тАм тАл╪зя╗Яя╗ия╗Шя╗Ю я║│я╗ия╗оя╗│<тАм

тАлтАв я╗Уя╗▓ ╪зя╗Яя║╕я║О╪▒╪╣ ╪зя╗Яя╗о╪зя║гя║к я╗│я║Шя╗Мя║о╪╢ я║│я║Оя║Ля╗Ц ╪зя╗Яя║┤я╗┤я║О╪▒╪йтАм тАля╗Яя╗Ая╗Мя╗Т я╗гя║О я╗│я║Шя╗Мя║о╪╢ я╗Яя╗к ╪зя╗Яя╗дя║╕я║О╪й я╗гя╗ж я║Чя╗ая╗о╪лтАм тАл╪зя╗Яя╗мя╗о╪з╪б ┘Ия║Ыя╗дя║Оя╗зя╗┤я║Ф ╪зя║┐я╗Мя║О┘Б я╗гя║О я╗│я║Шя╗Мя║о╪╢ ╪▒я╗Ыя║О╪итАм тАл╪зя╗Яя║к╪▒╪зя║Яя║О╪ктАм

тАлтАв тАк ┘к┘г┘йтАмя╗гя╗ж я║гя╗о╪з╪п╪л ╪зя╗╗я╗Гя╗Фя║О┘Д я╗ля╗▓ я╗гя╗ж ╪зя╗Яя╗дя║╕я║О╪йтАм тАлтАв я║Чя║оя║Чя╗Фя╗К я║гя╗о╪з╪п╪л я║╗я║к┘Е ╪зя╗Яя╗дя║╕я║О╪й я╗Уя╗▓ ╪зя╗╗я╗│я║О┘Е ╪░╪з╪ктАм тАл╪зя╗Яя╗Дя╗Шя║▓ ╪зя╗Яя║ая╗дя╗┤я╗ЮтАм тАлтАв ╪зя╗Ыя║Ья║о ╪зя╗Яя╗Фя║Мя║О╪к я╗Ля║оя║┐я║Ф я╗Яя╗ая╗дя╗о╪к я║Ся║┤я║Тя║Р я║гя╗о╪з╪п╪лтАм тАл╪зя╗Яя╗дя║о┘И╪▒ я╗гя╗ж я╗ля╗в я╗Уя╗▓ я╗Ля╗дя║о тАк ┘ж┘етАмя║│я╗ия║Ф ╪з┘И ╪зя╗Ля╗ая╗▓тАм

тАлтАв я║Чя║Тя╗ая╗О я║гя║╝я╗┤я╗ая║Ф я║Чя╗Ья╗ая╗Фя║Ф ╪з=я╗Ля║Тя║О╪б ╪зя╗Яя╗дя║Оя╗Яя╗┤я║ФтАм тАл╪зя╗Яя╗дя║Тя║Оя║╖я║о╪й ┘И╪зя╗Яя╗Ря╗┤я║о я╗гя║Тя║Оя║╖я║о╪й я╗Ля╗ая╗░ ╪зя╗Яя║┤я║Оя║Ля╗Шя╗┤я╗жтАм тАля╗зя║Шя╗┤я║ая║Ф ╪зтАкYтАм╪▓╪пя║гя║О┘Е ╪зя╗Яя╗дя║о┘И╪▒┘К тАк ┘ж╪М┘втАмя║Ся╗ая╗┤я╗о┘Ж я║Яя╗ия╗┤я╗ктАм

тАлтАв тАк ┘к ┘в┘зтАмя╗гя╗ж я╗Ыя║Тя║О╪▒ ╪зя╗Яя║┤я╗ж я╗Уя╗▓ ╪з┘И╪▒┘Ия║Ся║ОтАм тАля╗│я║┤я║Шя║ия║кя╗гя╗о┘Ж ╪зя╗Яя╗дя║╕я╗▓ я╗Ыя╗оя║│я╗┤я╗ая║Ф ╪ея╗зя║Шя╗Шя║Оя╗Яя╗мя╗втАм

тАлтАв ╪гя║╗я║Тя║дя║Ц я║гя║оя╗Ыя║Ф я║гя║Оя╗Уя╗╝╪к ╪зя╗Яя╗ия╗Шя╗Ю ╪гя║Ся╗Дя║Д я╗гя╗жтАм тАля║гя║оя╗Ыя║Ф ╪зя╗Яя║к╪▒╪зя║Яя║О╪к ╪з┘И ╪зя╗Яя║ия╗┤я╗о┘Д ╪п╪зя║зя╗Ю ╪зя╗Яя╗дя║кя╗│я╗ия║ФтАм

тАлтАв тАк┘зтАмя╗гя╗ая╗┤я╗о┘Ж я╗│я╗дя╗оя║Чя╗о┘Ж я╗гя║Тя╗Ья║о╪з я╗гя╗ж я║Яя║о╪з╪б я║Чя╗ая╗о╪лтАм тАл╪зя╗Яя╗мя╗о╪з╪б ╪зя╗Яя╗Мя║Оя╗Яя╗в я║│я╗ия╗оя╗│я║ОтАм

тАлтАв ╪зя╗Ыя║Ья║о ╪зя╗Яя╗Фя║Мя║О╪к ╪зя╗Яя╗Мя╗дя║оя╗│я║Ф я║Чя╗Мя║оя║┐я║О я╗Яя╗╝я║┐я║о╪з╪▒тАм тАл╪зя╗Яя║ая║┤я╗дя║Оя╗зя╗┤я║Ф ╪зя╗Яя╗дя║Ж╪пя╗│я║Ф я╗Яя╗ая╗оя╗Уя║О╪й я╗ля╗в я╗гя║О я║Ся╗┤я╗ж тАк┘б┘етАмтАм тАл╪зя╗Яя╗▓ тАк ┘в┘йтАмя╗Ля║О┘ЕтАм

тАлтАв ╪е┘Ж ╪▓я╗│я║О╪п╪й я╗Уя║Шя║в я╗гя║дя╗Дя║О╪к ╪зя╗Яя╗дя║Шя║о┘И я║Чя║дя║Ц ╪зя╗╗╪▒╪╢тАм тАля║│я║Шя╗Ая╗┤я╗Т я╗гя║О я║Ся╗┤я╗ж я╗Ля║к╪п тАк ┘е┘атАм╪зя╗Яя╗Т ╪зя╗Яя╗▓ тАк ┘и┘атАм╪зя╗Яя╗Т я╗гя╗жтАм тАл╪зя╗Яя╗дя║╕я║О╪й ╪зя╗Яя╗▓ я║╖я║О╪▒╪╣ ╪з┘Ия╗Ыя║┤я╗Фя╗о╪▒╪птАм

тАлтАв тАк ┘г┘атАм╪пя╗Чя╗┤я╗Шя║Ф я╗гя║╕я╗┤я║О ┘Ия║Ся╗дя╗Мя║к┘Д я║│я║оя╗Ля║Ф тАк┘етАмя╗Ыя╗ая╗втАк/тАмтАм тАля║│я║Оя╗Ля║Ф я╗│я╗дя╗Ья╗ж ╪з┘Ж я║Чя║дя║о┘В тАк┘б┘а┘атАмя║│я╗Мя║о╪й я║гя║о╪з╪▒я╗│я║ФтАм

тАлтАв я╗│я╗Мя║Шя║Тя║о я║╖я║О╪▒╪╣ ╪з┘Ия╗Ыя║┤я╗Фя╗о╪▒╪п я╗Уя╗▓ я╗Яя╗ия║к┘Ж ╪зя╗Ыя║Ья║отАм тАля║Ыя║Оя╗Яя║Ъ я║╖я║О╪▒╪╣ я║зя╗Дя╗о╪▒╪й я╗Ля╗ая╗▓ ╪зя╗Яя╗дя║╕я║О╪й ╪зя╗Яя╗Мя║Оя║Ся║оя╗│я╗ж я╗Яя╗ктАм

тАлтАв я╗Уя╗▓ ╪зя╗Яя╗дя╗дя╗ая╗Ья║Ф ╪зя╗Яя╗дя║Шя║дя║к╪й я║Чя╗Шя║к╪▒ я║Чя╗Ья╗ая╗Фя║Ф я╗гя╗Мя║Оя╗Яя║ая║ФтАм тАл╪з=я║┐я║о╪з╪▒ ╪зя╗Яя║╝я║дя╗┤я║Ф ╪зя╗Яя╗ия║Оя║Чя║ая║Ф я╗Ля╗ж я╗Ля║к┘Е ╪зя╗Яя║дя║оя╗Ыя║ФтАм тАл╪и тАк ┘б┘д╪М┘втАмя╗гя╗ая╗┤я║О╪▒ я║Яя╗ия╗┤я╗к я║│я╗ия╗оя╗│я║О ╪з┘И я╗гя║О я╗│я╗Мя║О╪п┘ДтАм тАлтАк┘и╪М┘гтАмя╗гя╗ия╗дя╗┤я║░╪зя╗зя╗┤я║Ф ╪зя╗Яя║╝я║дя║Ф я║│я╗ия╗оя╗│я║ОтАм тАлтАв я║гя╗о╪зя╗Яя╗▓ тАк ┘к ┘е┘атАмя╗гя╗ж я║│я╗Ья║О┘Ж ╪зя╗╗╪▒╪╢ я╗│я║Шя╗Мя║оя║┐я╗о┘ЖтАм тАля╗Яя╗дя╗Мя║к┘Д ╪зя╗Ля╗ая╗▓ я╗гя║оя║Чя╗┤я╗ж ┘Ия╗зя║╝я╗Т я╗гя╗ж ╪зя╗Яя║дя║ктАм тАл╪зя╗Яя╗Мя║Оя╗Яя╗дя╗▓ я╗Яя║Шя╗ая╗о╪л ╪зя╗Яя╗мя╗о╪з╪б) ╪зя╗Яя╗дя║дя║к╪п я╗гя╗ж я╗Чя║Тя╗ЮтАм тАля╗гя╗ия╗Ия╗дя║Ф ╪зя╗Яя║╝я║дя║Ф ╪зя╗Яя╗Мя║Оя╗Яя╗дя╗┤я║Ф (тАм тАлтАв тАк ┘к ┘й┘атАмя╗гя╗ж я║Чя╗ая╗о╪л ╪зя╗Яя╗мя╗о╪з╪б я╗Уя╗▓ ╪зя╗Яя╗дя║к┘Ж я╗│я║╝я║к╪▒ я╗Ля╗жтАм тАл┘Ия║│я║Оя║Ля╗Ю ╪зя╗Яя╗ия╗Шя╗ЮтАм тАлтАв ╪зя╗╗я║╖я║ия║О╪╡ ╪зя╗Яя║м┘К я╗│я╗дя║╕я╗о┘Ж тАк ┘и╪М┘жтАм╪пя╗Чя╗┤я╗Шя║Ф я╗│я╗оя╗гя╗┤я║ОтАм тАл╪зя╗Чя╗Ю я║Чя╗Мя║оя║┐я║О я╗ЯтАкrтАмя║┐я║о╪з╪▒ ╪зя╗Яя╗ия╗Фя║┤я╗┤я║ФтАм

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¡UM³ « ∑≤

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect: Group 3 Architectes‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﻤﻐﺮب‬ ‫ﻣﺴﺎﺣﺔ ﺻﺎﻟﺔ اﻟﺴﻔﺮ ‪7000 :‬م‪٢‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2018 :‬م‬

‫ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت ﺑﺎﻟﺰﺟﺎج ﻣﻊ إﺿﺎﻓﺔ ﻏﻄﺎء ﺣﺎﻣﻲ‬ ‫ﻟﺘﻈﻠﻴﻞ اﻟﻮاﺟﻬﺎت ﻣﻜﻮن ﻣﻦ اﻟﻮاح ﻣﻌﺪﻧﻴﺔ‬ ‫ﻣﺜﻘﺒﺔ ‪ ،‬ﻳﻘﻊ اﻟﻐﻄﺎء اﻟﻤﻌﺪﻧﻲ ﻋﻠﻲ ﻣﺴﺎﻓﺔ ﻣﻦ‬ ‫اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻣﻦ ﺧﻼل ﺣﻤﻠﻪ ﻋﻠﻲ ﻛﻮاﺑﻴﻞ‬ ‫ﻣﻌﺪﻧﻴﺔ وﻟﻴﻮﻓﺮ اﻟﻈﻼل ﻟﻠﻤﻤﺮت اﻟﺨﺎرﺟﻴﺔ اﻟﻤﺤﻴﻄﺔ‬ ‫ﺑﺎﻟﻤﺒﻨﻲ ‪ ،‬ﻛﻤﺎ ﻏﻄﻴﺖ ﻓﺘﺤﺎت ا‪D‬ﺿﺎءة ﻓﻲ ﺳﻘﻒ‬ ‫اﻟﻤﺒﻨﻲ ﺑﺎﻟﺨﻴﺎم ‪ ،‬وﻳﻬﺪف ﺑﺬﻟﻚ ﺗﺤﻘﻴﻖ وﻓﻮرات‬ ‫ﻓﻲ أﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ ﻣﻦ ﺧﻼل ﺗﻘﻠﻴﻞ ﺗﻌﺮض‬ ‫اﻟﻤﺒﻨﻲ ‪O‬ﺷﻌﺔ اﻟﺸﻤﺲ اﻟﻤﺒﺎﺷﺮة ‪ .‬ﺻﻤﻤﺖ ا‪O‬ﻟﻮاح‬ ‫اﻟﻤﻌﺪﻧﻴﺔ اﻟﻤﺜﻘﺒﺔ ﺑﻄﺮﻳﻘﺔ ﺗﺴﻤﺢ ﺑﺘﻮزﻳﻊ اﻟﻀﻮء‬ ‫ﺣﺴﺐ ﻣﺘﻄﻠﺒﺎت اﻟﻤﺴﺎﺣﺎت اﻟﺪاﺧﻠﻴﺔ ‪ ،‬ﻛﻤﺎ ﺗﺄﺛﺮ‬ ‫ﺗﺼﻤﻴﻢ ا‪O‬ﻟﻮاح اﻟﻤﻌﺪﻧﻴﺔ ﺑﺎﻟﺜﻘﺎﻓﺔ واﻟﺠﻐﺮاﻓﻴﺔ‬ ‫اﻟﻤﺤﻠﻴﺔ ﺳﻮاء ﻓﻲ إﺧﺘﻴﺎر اﻟﻮاﻧﻬﺎ او ﻓﻲ زﺧﺮﻓﺘﻬﺎ‬ ‫ﺑﻮاﺳﻄﺔ ﺛﻘﻮﺑﻬﺎ ‪.‬‬ ‫«*‪ÂUF « l u‬‬

‫« ‪—UDLK W Ozd « WNł«u‬‬

‫∑∑ « ‪¡UM³‬‬

‫‪77 Albenaa‬‬

‫ﻣﻄﺎر ﻛﻠﻤﻴﻢ ‪ ،‬اﻟﻤﻐﺮب‬ ‫‪Guelmim Airport‬‬

‫ﻳﻘﻊ ﻫﺬا اﻟﻤﻄﺎر اﻟﺠﺪﻳﺪ ﻓﻲ ﻣﻨﻄﻘﺔ ﻋﺴﻜﺮﻳﺔ‬ ‫ﺗﺒﻌﺪ ‪ ٣‬ﻛﻠﻢ ﺷﻤﺎل ﻛﻠﻤﻴﻢ وﻫﻲ ﻣﺪﻳﻨﺔ ﺗﻘﻊ‬ ‫ﺟﻨﻮب اﻟﻤﻐﺮب ‪ .‬ﻧﻈﺮا ﻟﻮﻗﻮع اﻟﻤﺸﺮوع ﻓﻲ ﻣﻨﻄﻘﺔ‬ ‫ﺻﺤﺮاوﻳﺔ ذات ﻣﻨﺎخ ﻗﺎﺳﻲ ﻓﺈن اﻟﺘﺼﻤﻴﻢ ﻳﻬﺪف‬ ‫اﻟﻲ إﻳﺠﺎد ﺣﻞ ﻣﺒﺴﻂ ‪ -‬ﺑﻘﺪر ا;ﻣﻜﺎن ‪ -‬وذو ﻣﺮوﻧﺔ‬ ‫ﻋﺎﻟﻴﺔ وﻳﺴﻤﺢ ﺑﺎﻟﺘﻮﺳﻊ اﻟﻤﺴﺘﻘﺒﻠﻲ وﻳﺤﻘﻖ ﻛﻔﺎءة‬ ‫ﻓﻲ ﻋﺎﻟﻴﺔ ﻓﻲ اﻟﻄﺎﻗﺔ و اﻟﺘﻜﻠﻔﺔ ‪ .‬ﺗﺄﺛﺮ اﻟﺘﺼﻤﻴﻢ‬ ‫ﺑﻔﻀﺎء اﻟﺼﺤﺮاء اﻟﻮاﺳﻊ اﻟﺬي ﻳﻘﻊ ﻓﻴﻪ اﻟﻤﻄﺎر‬ ‫واﻟﺠﺒﺎل اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﻪ ﻣﻦ ﺟﺎﻧﺒﻴﻪ ‪ ،‬و‪L‬ن ﺣﺠﻢ‬ ‫ﻣﺒﻨﻲ اﻟﻤﻄﺎر اﻟﺠﺪﻳﺪ ﺻﻐﻴﺮ وﻟﺘﻌﺰﻳﺰ ﻣﻜﺎﻧﺘﻪ ﻓﻲ‬ ‫وﺳﻂ ﻫﺬا اﻟﻔﻀﺎء اﻟﻮ اﺳﻊ ‪ ،‬ﺻﻤﻢ اﻟﻤﺸﺮوع ﺑﺤﻴﺚ‬ ‫ﻳﻜﻮن ﺑﻤﺜﺎﺑﺔ ﻗﻄﻌﺔ ﻓﻨﻴﺔ وﻋﻼﻣﺔ ﻣﻠﻮﻧﺔ ﻣﻤﻴﺰة‬ ‫وﺑﺤﻴﺚ ﻳﺘﻢ ذﻟﻚ ﺑﺈﺳﻠﻮب ﻣﺒﺴﻂ ؛ ﻓﻜﻠﻤﺎ ﻛﺎن‬ ‫اﻟﺘﺼﻤﻴﻢ ﻣﺒﺴﻄﺎ ﻛﻠﻤﺎ ﻛﺎن اﻛﺜﺮ وﺿﻮﺣ‪ .U‬وﻟﺬﻟﻚ‬ ‫ﺟﺎء اﻟﻤﺒﻨﻲ ﻋﻠﻲ ﻫﻴﺌﺔ ﻣﺴﺘﻄﻴﻞ ﻳﺘﻤﺎﺷﻲ ﻣﻊ‬

‫∂∑ « ‪¡UM³‬‬

‫‪76 Albenaa‬‬

‫ﺧﻂ اﻻﻓﻖ وﻳﺘﻨﺎﻏﻢ ﻣﻊ ﺷﻜﻞ اﻟﺠﺒﺎل اﻟﻤﺤﻴﻄﺔ ‪.‬‬ ‫ﻣﻦ اﻟﺪاﺧﻞ ﻳﺪﻓﻊ اﻟﻤﺒﻨﻲ ﺑﻮاﺟﻬﺎﺗﻪ اﻟﺸﻔﺎﻓﺔ‬ ‫ﺑﺘﻮﺟﻴﻪ ا;ﻃﻼﻟﺔ ﻋﻠﻲ اﻟﺼﺤﺮاء اﻟﻤﺤﻴﻄﺔ ‪ ،‬ﺑﻴﻨﻤﺎ‬ ‫ﻳﻨﻘﺴﻢ اﻟﻤﺒﻨﻲ اﻟﻲ ﺻﺎﻟﺘﻴﻦ ﺻﺎﻟﺔ إﻧﻬﺎء إﺟﺮاءات‬ ‫اﻟﺴﻔﺮ وﺻﺎﻟﺔ ا;ﻧﺘﻈﺎر ﻟﻠﺴﻔﺮ ‪ ،‬ﺗﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ‬ ‫ﻣﻨﻄﻘﺔ اﻟﻤﺮاﻗﺒﺔ ‪ .‬وﻧﻈﺮا ‪L‬ﻫﻤﻴﺔ ﺗﻮﻓﻴﺮ إﻣﻜﺎﻧﻴﺎت‬ ‫ﻟﻠﺘﻮﺳﻊ اﻟﻤﺴﺘﻘﺒﻠﻲ واﻟﻤﺮوﻧﺔ اﻟﺪاﺧﻠﻴﺔ ‪ ،‬وﻫﻲ ﻣﻦ‬ ‫اﻟﻤﻌﺎﻳﻴﺮ اﻟﺮﺋﻴﺴﺔ ﻟ\ﺳﺘﺪاﻣﺔ ﻓﻲ اﻟﻤﻄﺎرات‪ ،‬ﺻﻤﻢ‬ ‫اﻟﻤﺸﺮوع ﻋﻠﻲ ﻫﻴﺌﺔ ﻋﻠﺒﺔ ﻣﺴﺘﻄﻴﻠﺔ ﻣﺤﺎزﻳﺔ‬ ‫ﻟﻤﻬﺒﻂ اﻟﻄﺎﺋﺮات ﺑﻄﻮل ‪٢١‬م ﻣﻜﻮﻧﺔ ﻣﻦ ﺻﺎﻟﺘﻴﻦ‬ ‫ﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﻓﻨﺎء ‪ ،‬وروﻋﻲ ان ﺗﻜﻮن ﺧﺎﻟﻴﺔ ﻣﻦ‬ ‫اﻟﺪاﺧﻞ ﻣﻦ اي ﻋﻨﺎﺻﺮ إﻧﺸﺎﺋﻴﺔ ﻏﻴﺮ ﺿﺮورﻳﺔ ﻟﺘﻮﻓﻴﺮ‬ ‫اﻟﻤﺮوﻧﺔ ﻓﺤﺮﻛﺔ اﻟﻤﺴﺎﻓﺮﻳﻦ داﺧﻞ اﻟﻤﻄﺎرات ﺗﺨﻀﻊ‬ ‫داﺋﻤﺎ اﻟﻲ اﻟﺘﻐﻴﻴﺮ ﺗﺒﻌﺎ ‪L‬ﻧﻈﻤﺔ اﻟﺴﻼﻣﺔ واﻟﺘﻄﻮرات‬ ‫اﻟﺘﻘﻨﻴﺔ ‪ .‬ﻧﻈﺮا ‪L‬ﻫﻤﻴﺔ ﺗﻮﻓﻴﺮ ا;ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬

W³I¦*«Ë W½uK*« WO½bF*« Õ«u _« «– UNł«u « rOLB² WHK² qO UHð 79 Albenaa

¡UM³ « ∑π

78 Albenaa

¡UM³ « ∑∏

From the Architect Report: The new Guelmim Airport is situated in an existing military infrastructure located 3km north of the city of Guelmim in the south of Morocco. Led by the difficulty to realize such a project in this tough surrounding, the idea was to design a building that would be as simple as possible, very flexible, expandable, energy efficient and cost efficient. The horizon: In this beautiful landscape, with a large horizon and this mountains on both side, it was obvious that this small building couldn’t compete facing this huge nature. Therefore, we decided to handle it as if it was a piece of land art and conceived it as a coloured mark in the landscape. The more simple the gesture, the more efficient it would be. A clear horizontal building was the best way emphasize the beauty of the horizon and the shape of the mountains. From the inside, the users had to keep the view to the surrounding landscape. The limit: Thinking about the function of an airport is like drawing a limit between two zones separated by a control zone. Extensibility and flexibility being the prerequisite for a sustainable project, we designed a linear box, parallel to the runways, made of two halls with long span roof (21m), releasing the ground from unnecessary construction elements, and a low filter area in between, situated under an accessible patio garden. The flexibility of use and modularity are essential components of this flow machine that is an airport. Indeed, the movements of the passengers and their controls can change over time, according to national and international safety rules as well as technology development. So the idea of a limit is present everywhere, from the master plan to the cross section of the building.

WFÝ«u « ¡«d×B « ¡UC qš«œ …eO2 W öŽ—UD*« `³B¹ Ê« v ≈ ·bNð w² « W¹—ULF*« …dJH «

w{—ô« —Ëb « jI

5² U w « vM³*« rO Ið `{u¹ w{dŽ ŸUD

W Ozd « WNł«u «

81 Albenaa

¡UM³ « ∏±

ÂUO)« WDÝ«uÐ 5² UB « 5Ð ¡UMH « WODGð

UNł«u « vKŽ qE « s b¹e dO u² WOłUłe « WNł«u « sŽ wł—U)« ¡UDG « bF²³¹

wł—U)« ¡UDGK WIO œ qO UHð

80 Albenaa

¡UM³ « ∏∞

83 Albenaa

¡UM³ « ∏≥

fLA « WFý√ s vM³*« wL%Ë qš«bK WOFO³D « …¡U{ù«d uð w² « »uI¦ « WDÝ«uÐ t² dš“Ë wł—U)« ¡UDG « qO UHð kŠö¹Ë qš«b « s vM³LK WHK² —u 82 Albenaa

¡UM³ « ∏≤

‫ﺑﻤﺒﺎدىء ا)ﺳﺘﺪاﻣﺔ اﻟﺨﺎﺻﺔ ﺑﺎﻟﻤﻨﻄﻘﺔ ﺣﻴﺚ ﺗﺤﻘﻖ‬ ‫اﻟﺤﻮاﺋﻂ اﻟﺴﻤﻴﻜﺔ اﻟﺤﻤﺎﻳﺔ ﻣﻦ اﻟﺤﺮارة اﻟﻤﻜﺘﺴﺒﺔ ﻣﻦ‬ ‫اﻟﺸﻤﺲ ﺑﻴﻨﻤﺎ ﻳﻤﻜﻦ ﻟﻠﻮاﺟﻬﺎت اﻻﻗﻞ ﺗﻌﺮﺿ‪2 3‬ﺷﻌﺔ‬ ‫اﻟﺸﻤﺲ ﻣﻦ ﺗﻐﻄﻴﺘﻬﺎ ﺑﺰﺟﺎج ذو ﻛﻔﺎءة ﻋﺰل ﻋﺎﻟﻴﺔ وﻣﺰود‬ ‫ﺑﻜﺎﺳﺮات ﺷﻤﺲ ﺗﻤﻨﻊ ﺳﻘﻮط اﺷﻌﺔ اﻟﺸﻤﺲ ﻣﺒﺎﺷﺮة‬ ‫ﻋﻠﻰ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ ﻣﻊ اﻟﺴﻤﺎح ﻟ‪G‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﻣﻦ اﻟﻨﻔﺎذ إﻟﻰ داﺧﻞ اﻟﻤﺒﻨﻰ‪ .‬روﻋﻲ ﻓﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫إﺗﺒﺎع ﻣﻌﺎﻳﻴﺮ ﺷﻬﺎدة ‪ LEED‬اﻟﺬﻫﺒﻴﺔ ﻟ‪G‬ﺳﺘﺪاﻣﺔ ﻓﻲ‬ ‫ﻛﺎﻓﺔ ﻣﻜﻮﻧﺎت اﻟﻤﺒﻨﻰ وﺧﺎﺻﺔ ﻓﻲ اﻟﻮاﺟﻬﺎت وا‪2‬ﻧﻈﻤﺔ‬ ‫اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ واﻟﻜﻬﺮﺑﺎﺋﻴﺔ وﺻﺮف اﻟﻤﻴﺎه ‪.‬‬

‫ ‪∫ ŸËdA*« sŽ U uKF‬‬ ‫≠ ‪≤Â±≥[±≤∂ ∫ ÷—ô« WŠU‬‬ ‫≠ ‪n u ±μ∞∞ ∫ WO{—√ X×² «Ë WO×D « «—UO « n «u œbŽ‬‬ ‫≠ ‪Èu² *«Ë WO{—√ X%—«Ëœ« ≥ vKŽ WŽ“u ≤Âμ∂[≥±μ ∫ «—UO « n «u WŠU‬‬ ‫«_—{‪w‬‬ ‫≠ ‪≤Â¥∂[μ¥¥ ∫ W UF « UŠU «Ë «dL*« p – w U0 W¹—U−² « WIDM*«Ë VðUJ*« WŠU‬‬ ‫ ‪VðUJ —Ëœ ≤∞ UNM w{—_« —Ëb « Èu² ‚u —Ëœ ≤μ vKŽ WŽ“u‬‬ ‫≠ ≈—‪—Ëœ ≥∞ vKŽ WL I Â±≥μ ∫ wM³*« ŸUHð‬‬ ‫≠ « ‪nþu ≤∏∞∞ ∫ WOÐUFO²Ýù« W UD‬‬ ‫≠ ‪≤Â±μ∞∞∫ bŠ«u « —Ëb « WŠU jÝu²‬‬ ‫≠ ‪nþu ±μ∞ ∫ —Ëb « w 5Hþu*« œbŽ‬‬ ‫≠ ‪—Ëœ ≤∞ ∫ VðUJ*« —«Ëœ√ œbŽ‬‬ ‫‪∫ WO U² « U b)« vKŽ vM³*« Íu²×¹‬‬ ‫≠ ½‪w{U¹— ÍœU‬‬ ‫≠ ‪ ôUH²Š≈ WŽU‬‬ ‫≠ ‪5Hþu*UÐ ’Uš vNI Ë ÂUŽ vNI‬‬ ‫≠ ‪5HþuLK rFD‬‬ ‫≠ ‪© W½UCŠ ¨ vKB ¨WO{U¹— W U ® 5HþuLK W UŽ U bš‬‬ ‫≠ ‪ŸËdH « U bš‬‬

‫ ‪b¹b'« fOzd « dI*« ŸËdA rOLB² ÂUŽ —uEM‬‬ ‫ ‪w½UD¹d³ « ÍœuF « pM³K‬‬

‫∑∏ « ‪¡UM³‬‬

‫‪87 Albenaa‬‬

‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺲ اﻟﺠﺪﻳﺪ ﻟﻠﺒﻨﻚ‬ ‫اﻟﺴﻌﻮدي اﻟﺒﺮﻳﻄﺎﻧﻲ‪ ،‬اﻟﺮﻳﺎض‬ ‫‪New Saudi British Bank Headquarters‬‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬اﻟﺒﻨﻚ اﻟﺴﻌﻮدي اﻟﺒﺮﻳﻄﺎﻧﻲ ــ ﺳﺎب‬ ‫اﻟﻤﻘﺎول ‪ :‬ﺷﺮﻛﺔ اﻟﺴﻴﻒ ﻣﻬﻨﺪﺳﻮن ﻣﻘﺎوﻟﻮن‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض‬

‫ﻳﻘﻊ ﺑﺮج اﻟﻤﻘﺮ اﻟﺠﺪﻳﺪ ﻟﻠﺒﻨﻚ اﻟﺴﻌﻮدي اﻟﺒﺮﻳﻄﺎﻧﻲ ﻋﻠﻰ‬ ‫ﻣﺤﻮر اﻟﺤﺮﻛﺔ اﻟﺮﺋﻴﺲ ﻟﻤﺪﻳﻨﺔ اﻟﺮﻳﺎض وﻫﻮ ﻃﺮﻳﻖ اﻟﻤﻠﻚ‬ ‫ﻓﻬﺪ ‪ ،‬وﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ ﺗﺤﻘﻴﻖ ﺑﻴﺌﺔ ﻣﺮﺣﺒﺔ‬ ‫وآﻣﻨﺔ ﻟﻜﻞ ﻣﻦ اﻟﻤﻮﻇﻔﻴﻦ واﻟﻌﻤﻼء‪ ،‬ﻛﻤﺎ ﻳﻬﺪف إﻟﻰ‬ ‫ﻣﺮاﻋﺎة اﻧﺴﻴﺎﺑﻴﺔ اﻟﺤﺮﻛﺔ داﺧﻞ أﻗﺴﺎم اﻟﺒﻨﻚ اﻟﻤﺨﺘﻠﻔﺔ‪.‬‬ ‫أﺳﺘﻠﻬﻢ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻟﻠﻤﺸﺮوع ﻣﻦ اﻟﻌﻤﺎرة‬ ‫اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﻠﻤﻨﻄﻘﺔ اﻟﻮﺳﻄﻰ وﻣﻌﺎﻳﻴﺮ اﻟﺒﻨﺎء ﻓﻲ‬ ‫اﻟﻤﻨﺎﻃﻖ اﻟﺼﺤﺮاوﻳﺔ‪ .‬وﻣﻦ أﻫﻢ اﻟﺠﻮاﻧﺐ اﻟﺘﻲ روﻋﻴﺖ‬ ‫ﻓﻲ اﻟﺘﺼﻤﻴﻢ ‪:‬‬ ‫اﻟﻤﻨﺎخ‪:‬‬ ‫روﻋﻲ ﻓﻲ اﻟﺘﺼﻤﻴﻢ إﻳﺠﺎد ﺣﻠﻮل ﻣﻌﻤﺎرﻳﺔ وإﻧﺸﺎﺋﻴﺔ‬ ‫ﺗﺮاﻋﻲ اﻟﻤﻨﺎخ اﻟﺤﺎر ﻟﻤﻨﻄﻘﺔ اﻟﺮﻳﺎض ﻓﺎﻟﻮاﺟﻬﺎت اﻟﺸﺮﻗﻴﺔ‬ ‫واﻟﻐﺮﺑﻴﺔ ﺗﻐﻄﻴﻬﺎ ﺣﻮاﺋﻂ ﺳﻤﻴﻜﺔ ﺗﺤﻤﻲ اﻟﻤﺒﻨﻰ ﻣﻦ‬ ‫ﺣﺮارة أﺷﻌﺔ اﻟﺸﻤﺲ وﺗﻌﻄﻲ ﻟﻠﻮاﺟﻬﺎت ﻃﺎﺑﻌ‪ P‬ﺻﻠﺒ‪P‬‬ ‫وﻳﺬﻛﺮﻧﺎ ﻫﺬا اﻟﺤﻞ اﻟﺤﺪﻳﺚ ﺑﻔﻜﺮة اﻟﺤﻮاﺋﻂ اﻟﺴﻤﻴﻜﺔ‬ ‫ﻟﻠﻤﺴﺎﻛﻦ اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺼﺤﺮاوﻳﺔ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺘﺤﻜﻢ‬ ‫اﻟﺒﻴﺌﻲ داﺧﻠﻬﺎ‪.‬‬ ‫اﻟﺼﻮرة اﻟﺬﻫﻨﻴﺔ ﻟﻠﻤﺒﻨﻰ‪:‬‬ ‫وﻧﻈﺮ‪U V‬ﻋﺘﻤﺎد اﻟﻨﻘﻞ داﺧﻞ اﻟﻤﻨﻄﻘﺔ ﻋﻠﻰ اﻟﺴﻴﺎرات‬ ‫ﻓﻠﻘﺪ ﻛﺎن ﻣﻦ اﻟﻀﺮوري ﺗﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ ﺑﺸﻜﻞ ﻓﺮﻳﺪ‬ ‫وﻣﻌﻠﻤ‪ P‬ﻣﻤﻴﺰآ ﻳﺴﻬﻞ اﻟﺘﻌﺮف ﻋﻠﻴﻪ‪ .‬ﺗﺤﺪد اﻟﺤﻮاﺋﻂ‬ ‫اﻟﺨﺎرﺟﻴﺔ اﻟﺴﻤﻴﻜﺔ اﻟﺘﻲ ﺗﻐﻠﻒ اﻟﻤﺒﻨﻰ اﻟﺸﻜﻞ اﻟﻌﺎم‬ ‫ﻟﻠﺒﺮج اﻟﺬي ﻳﻮﺣﻲ ﺑﺎﻟﺼﻼﺑﺔ واﻟﻘﻮة‪.‬‬ ‫اﻟﻬﻨﺪﺳﺔ اﻟﻄﺒﻴﻌﻴﺔ ‪:‬‬ ‫ﺗﻈﻬﺮ ﺑﻌﺾ ﻛﺘﻞ اﻟﻤﺒﻨﻰ ﺑﻤﻴﻮﻻت ﻣﺴﺘﻠﻬﻤﺔ ﻣﻦ‬ ‫اﻟﻬﻨﺪﺳﺔ اﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻜﺜﺒﺎن اﻟﺮﻣﻠﻴﺔ ﻓﻲ اﻟﺼﺤﺮاء اﻟﺘﻲ‬ ‫ﺗﻤﻴﻞ ﺑﺰاوﻳﺔ ﺗﺒﻠﻎ ‪ ٤٥‬درﺟﺔ‪ ،‬ا`ﻣﺮ اﻟﺬي ﺟﻌﻞ ﻧﻬﺎﻳﺎت‬ ‫اﻟﻤﺒﺎﻧﻲ ﺗﻈﻬﺮ ﺑﺰواﻳﺎ ﺣﺎدة ﻣﺘﺸﺎﺑﻬﺔ ﻳﺠﻌﻠﻬﺎ ﺗﻨﺘﻤﻲ‬

‫∂∏ « ‪¡UM³‬‬

‫‪87 Albenaa‬‬

‫داﺧﻞ اﻟﺘﻜﻮﻳﻦ اﻟﻌﺎم ﻟﻠﺘﺼﻤﻴﻢ إﻟﻰ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ‪.‬‬ ‫ﻣﻦ ﺟﻬﺔ أﺧﺮى ﺗﻢ ﺗﺪوﻳﺮ ﺣﻮاف اﻟﺤﻮاﺋﻂ اﻟﺴﻤﻴﻜﺔ‬ ‫ﺗﻤﺎﻣ‪ P‬ﻣﺜﻞ ﻣﺎ ﺗﺼﺒﺢ اﻟﺼﺨﻮر ذات أﺷﻜﺎل داﺋﺮﻳﺔ ﻧﺘﻴﺠﺔ‬ ‫ﻟﻌﻮاﻣﻞ اﻟﺘﻌﺮﻳﺔ ﻓﻲ اﻟﺼﺤﺮاء ا`ﻣﺮ اﻟﺬي أﻋﻄﻰ ﻟﻠﻤﺒﻨﻰ‬ ‫ﻣﻈﻬﺮ اﻳﺮودﻳﻨﻤﻲ‪.‬‬ ‫اﻟﻬﻨﺪﺳﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ ‪:‬‬ ‫إﺳﺘﻌﺎن اﻟﺘﺼﻤﻴﻢ ﺑﻌﻨﺎﺻﺮ وﻣﻔﺮدات ﻫﻨﺪﺳﻴﺔ ﻋﺮﺑﻴﺔ‬ ‫ﻓﻲ ﺷﻜﻠﻪ اﻟﻌﺎم وﻓﻲ اﻟﻮاﺟﻬﺎت‪ .‬ﻫﺬه اﻟﻌﻨﺎﺻﺮ ﺗﻢ‬ ‫ﺗﺼﻤﻴﻤﻬﺎ ﻣﻦ ﺧﻼل دﻣﺞ ﺗﺼﻤﻴﻢ ﺷﻜﻞ اﻟﺨﻄﻮط‬ ‫اﻟﻤﺘﻌﺎﻣﺪة ﻟﺸﺒﻜﺔ ﺗﺼﻤﻴﻢ اﻟﻬﻴﻜﻞ ا‪U‬ﻧﺸﺎﺋﻰ ﻣﻊ‬ ‫أﺷﻜﺎل اﻟﺨﻄﻮط اﻟﻨﻤﻄﻴﺔ ﻟﻠﻬﻨﺪﺳﺔ اﻟﻌﺮﺑﻴﺔ‪ .‬وﻟﻘﺪ‬ ‫ﺳﺎﻫﻢ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺗﻔﺎﺻﻴﻞ ﺷﺒﻜﺔ اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ‬ ‫ﺗﻮﻓﻴﺮ أﻛﺒﺮ ﻋﺪد ﻣﻦ ﻣﻮاﻗﻒ اﻟﺴﻴﺎرات وﻋﻠﻰ ﻛﻔﺎءة‬ ‫اﻟﺸﻜﻞ اﻟﻌﺎم ﻟﻠﻤﺒﻨﻰ ﻛﻤﺎ ﺳﺎﻋﺪت ﻫﺬه اﻟﺨﻄﻮط‬ ‫اﻟﻬﻨﺪﺳﻴﺔ ﻓﻲ إﺳﺘﻠﻬﺎم ﺗﺼﻤﻴﻢ اﻟﺸﻜﻞ اﻟﻌﺎم‬ ‫ﻟﻠﻤﺒﻨﻰ وواﺟﻬﺎﺗﻪ‪.‬‬ ‫ا`ﻫﺪاف اﻟﻮﻇﻴﻔﻴﺔ وﻛﻔﺎءة اﻟﺘﺼﻤﻴﻢ‪:‬‬ ‫إﻫﺘﻢ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﺑﺘﺤﻘﻴﻖ ا`ﻫﺪاف اﻟﻮﻇﻴﻔﻴﺔ‬ ‫واﻟﻜﻔﺎءة ﻓﻲ اﻟﺘﺼﻤﻴﻢ‪ ،‬وﻫﻲ ﻣﻦ ا‪U‬ﻋﺘﺒﺎرات ا`ﺳﺎﺳﻴﺔ‬ ‫اﻟﺘﻲ ﻳﺠﺐ أﺧﺬﻫﺎ ﻋﻨﺪ ﺗﺨﻄﻴﻂ وﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‪ ،‬وﻟﻘﺪ‬ ‫رﻛﺰ اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ ﻣﻘﺎرﺑﺔ ﺗﺤﻘﻖ اﻟﺸﻜﻞ اﻟﺘﻌﺒﻴﺮي‬ ‫اﻟﻤﻌﻠﻤﻲ ﻟﻠﻤﺒﻨﻰ ﻣﻊ ﺿﻤﺎن ﻛﻔﺎءة ﻛﺎﻓﺔ ﺧﺪﻣﺎﺗﻪ ﻣﺜﻞ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﺴﺘﺪام ﻟﻮاﺟﻬﺎت اﻟﻤﺒﻨﻰ أﺣﺪ أﻫﻢ‬ ‫اﻟﻌﻨﺎﺻﺮ اﻟﻤﻤﻴﺰة ﻟﻠﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻟﻠﻤﺒﻨﻰ‪.‬‬ ‫ﻣﻌﺎﻳﻴﺮ ا‪U‬ﺳﺘﺪاﻣﺔ واﻟﺮاﺣﺔ‪:‬‬ ‫إﻫﺘﻢ اﻟﺘﺼﻤﻴﻢ ﻛﺬﻟﻚ ﺑﻤﺮاﻋﺎة اﻟﻤﻌﺎﻳﻴﺮ ا‪U‬ﺳﺘﺪاﻣﻴﺔ‬ ‫وﺗﺤﻘﻴﻖ أﻗﺼﻰ ﻣﻌﺪﻻت اﻟﺮاﺣﺔ‪ .‬ﻓﺎ`داء اﻟﺒﻴﺌﻲ اﻟﻌﺎﻟﻲ‬ ‫ﻟﻠﻮاﺟﻬﺎت ﺳﻮف ﻳﺴﺘﻐﻞ ﻓﻲ اﻟﺘﺮوﻳﺞ واﻟﺘﻌﺮﻳﻒ‬

Located in Riyadh, The new Saudi British Bank Headquarters design aims at providing a welcoming and safe environment for both staff and clients. The design also influences the flow of users within the facilities, and inspired by the traditional architecture of the central province of Saudi Arabia and by the standards of construction in desert areas. Climate: the E+W solid wall wrap façade serves as a ‘sun/heat shield’ and assists with keeping the harder to shade portions (E-W facades) more solid. Modern interpretation of how KSA desert dwellings thick wall construction uses a similar climate control strategy. Image: in a predominantly automobile transport region and with bank customers approaching the building, it was important to create an iconic identifiable form to the tower. The solid wall wrap façade highlights the tower shape. It highlights a strong signature tower form and is identifiable from far away. Modern interpretation of the traditional desert vernacular architecture. Geometry in Nature: Regional desert sand dunes have a natural inclination is around 45°. The project has adopted this geometry, creating series of angular pieces that link to each other. The project solid wall facade wrap also incorporates rounded corners. In the desert, the rocks become rounded as a result of erosion and this idea has been applied to form this more aerodynamic tower profile. Traditional Arabic Geometries:These are used to inspire the buildings form and façade. These geometric influences were initially established by combining rational orthogonal structural grids with traditional Arabic geometric patterns. This detailed attention to rational planning grids allow for optimum car park layouts and efficient building footprint configurations. These geometric lines superimposed on the building help to inspire their shapes and facades. Efficient and Functional: These are of primary consideration when planning and developing the basic layout and design. The building design is intentionally rational but has a dynamic quality of its own. The design has focused on an “Iconic that works” approach with elevational treatments and profiles providing sustainable facades to help the buildings unique design features. Sustainability and Human Comfort: Integrating building sustainability elements and maximizing human comfort were primary factors to inspire the development of the design. High performance facades will be utilized to promote regional sustainable principles. The solid wall wrap façade on the E+W faces protect the building from undue solar gain. This solid wall facade become a dynamic wrapper for the building. The Tower facades with less direct sun exposure can be clad in high performance glazing solutions with sun shades to restrict sunlight penetration but allow for daylight permeability. LEED Principles: The building design has been carried out with Gold LEED Certification as one of its mainstay components and to that end many of the facade parameters and MEP solutions are designed to fulfil this objective. The building orientation, combined with facade placement strategies, help create a highly performing building and achieves LEED GOLD certification.

ŸËdALK ÂUŽ —uEM

ŸËdA*« sŽ U uKF 89 Albenaa

¡UM³ « ∏π

WHK² WOKš«œ dOþUM 88 Albenaa

¡UM³ « ∏∏

‫ﻣﻦ أﻋﻤﺎل‬ ‫ﻋﻠﻢ اﻟﻤﻌﻤﺎر‬ ‫ﻟ ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬ ‫ﺗﺸﻬﺪ ﻣﺪﻳﻨﺔ اﻟﺮﻳﺎض ﻓﻲ ﻫﺬه اﻟﻔﺘﺮة ﻗﻔﺰة ﻋﻤﺮاﻧﻴﺔ ﻣﻠﺤﻮﻇﺔ‪ ,‬وﻋﺪد‬ ‫اﻟﻤﺸﺎرﻳﻊ اﻟﺘﺠﺎرﻳﺔ ﻓﻲ ﺗﺰاﻳﺪ‪ .‬وﻧﺤﻦ ﻓﻲ ﺷﺮﻛﺔ ﻋﻠﻢ اﻟﻤﻌﻤﺎر ﻟ'ﺳﺘﺸﺎرات‬ ‫اﻟﻬﻨﺪﺳﻴﺔ ﻧﻄﻤﺢ ﻟﺘﻮﻓﻴﺮ ﺧﺪﻣﺎت ﻫﻨﺪﺳﻴﺔ ﻣﺘﻤﻴﺰة وﻋﺎﻟﻴﺔ اﻟﺠﻮدة‪.‬‬ ‫ﻣﻦ ﻣﺒﺎدﺋﻨﺎ ﺻﻴﺎﻏﺔ ﺗﺼﺎﻣﻴﻢ ﻣﺪروﺳﺔ ‪7‬ﺑﺮاز ﺧﻮاص اﻟﻤﺸﺮوع اﻟﻔﺮﻳﺪ ﻣﻦ‬ ‫ﻧﻮﻋﻪ‪ ,‬ﻣﻊ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﺳﺘﺪاﻣﺔ اﻟﻤﺸﺮوع ﻋﻠﻰ اﻟﻤﺪى اﻟﻄﻮﻳﻞ‪ .‬ﻧﻘﺪم‬ ‫ﻟﻜﻢ ﻣﺸﺮوع ﺗﺠﺎري ﻣﻦ ﻣﺸﺎرﻳﻌﻨﺎ اﻟﺬي ﻳﻘﻊ ﻓﻲ ﺷﺮق اﻟﺮﻳﺎض‪.‬‬ ‫ﺗﻜﻤﻦ ﻓﻜﺮة اﻟﻤﺸﺮوع ﻓﻲ ﺗﺼﻤﻴﻢ ﻓﻨﺎء ﺗﻄﻞ ﻋﻠﻴﻪ ﺟﻤﻴﻊ واﺟﻬﺎت‬ ‫اﻟﻤﺒﻨﻰ اﻟﺪاﺧﻠﻴﺔ ﺑﺰاوﻳﺔ ﻣﻨﻔﺮﺟﺔ ﺑﺤﻴﺚ ﺗﻤﻨﺢ اﻟﻤﺎرة رؤﻳﺔ واﺿﺤﺔ‬ ‫ﻟﻠﻤﺒﻨﻰ واﻟﻔﻨﺎء‪ .‬ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ ﺛﻼث أدوار‪ ،‬ﻳﻀﻢ اﻟﺪور ا‪K‬رﺿﻲ‬ ‫اﻟﻤﻄﺎﻋﻢ واﻟﻔﻨﺎء اﻟﺬي ﺻﻤﻢ ﺑﻤﺴﺘﻮى ﻣﻨﺨﻔﺾ ﻋﻦ ا‪K‬رض ﻗﻠﻴ ًﻼ‬ ‫ﻟﺘﺠﺎﻧﺲ أﻃﺮاف اﻟﻤﺒﻨﻰ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‪ .‬ﻛﻤﺎ ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت اﻟﻤﻄﻠﺔ‬ ‫ﻋﻠﻰ اﻟﻔﻨﺎء ﺑﺎﻟﺰﺟﺎج ﻟﺘﻮﻓﻴﺮ أﻛﺒﺮ ﻗﺪر ﻣﻦ ا‪7‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‪ .‬أﻣﺎ اﻟﺪور‬ ‫ا‪K‬ول واﻟﺜﺎﻧﻲ ﻓﻴﻀﻤﺎن ﻣﻜﺎﺗﺐ إدارﻳﺔ ﻣﺘﻜﺎﻣﻠﺔ ﺑﻤﺪاﺧﻞ ﻣﺴﺘﻘﻠﺔ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ ﻣﻤﺮات ذات إﻃﻼﻟﺔ ﻛﺎﻣﻠﺔ ﻋﻠﻰ اﻟﻔﻨﺎء ﻣﻦ ﺧﻼل‬ ‫اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ‪ .‬ﺑﻴﻨﻤﺎ ﺧﺼﺺ ﻛﺎﻣﻞ اﻟﻘﺒﻮ ﻟﻤﻮاﻗﻒ اﻟﺴﻴﺎرات‪.‬‬ ‫ﻫﺬا وﺗﺤﻴﻂ ﺑﺎﻟﻔﻨﺎء ﺗﻨﺴﻴﻘﺎت زراﻋﻴﺔ ﻣﺘﻨﻮﻋﺔ وﻧﻮاﻓﻴﺮ ﻣﺎﺋﻴﺔ‬ ‫وﺟﻠﺴﺎت ﺗﺰﻳﺪ ﻣﻦ ﺟﻤﺎل اﻟﻤﺒﻨﻰ وﺗﻌﻄﻴﻪ ﻟﻤﺴﺔ ﻓﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ‪.‬‬ ‫ﻳﺘﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ ﺑﺎﻟﺒﺴﺎﻃﺔ‪ ،‬ﺣﻴﺚ ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت اﻟﺰﺟﺎﺟﻴﺔ‬ ‫ﺑﺄﺷﺮﻃﺔ ﻃﻮﻟﻴﺔ ﻣﻌﺪﻧﻴﺔ ﻣﺴﺘﻮﺣﺎة ﻣﻦ اﻟﻤﺸﺮﺑﻴﺎت )اﻟﺮواﺷﻴﻦ‬ ‫اﻟﺤﺠﺎزﻳﺔ( وﻟﻜﻦ ﺑﻘﻴﺎﺳﺎت أﻛﺒﺮ ﻣﻦ اﻟﻤﻌﺘﺎد‪ ،‬ﺗﺠﻌﻞ ﻟﻬﺎ ﻣﻈﻬﺮ‬ ‫ﺣﺪﻳﺚ و ﺟﺬاب‪ ,‬وﺗﻢ ﺗﺰوﻳﺪﻫﺎ ﺑﺈﻧﺎرة ﻣﺨﻔﻴﺔ ﺑﺼﺮﻳ‪ i‬ﻟﺘﺰﻳﺪ ﻣﻦ أﺑﻌﺎد‬ ‫اﻟﻤﺒﻨﻰ وﺗﻜﻮن ﻋﺎﻣﻞ اﻟﻈﻞ ﻓﻲ اﻟﻤﺴﺎء‪ .‬أﻣﺎ اﻟﺠﺪران اﻟﻤﺘﺒﻘﻴﺔ ﻓﻬﻲ‬ ‫ﻣﻦ اﻟﺨﺮﺳﺎﻧﺔ اﻟﻈﺎﻫﺮة ”‪ “fair face concrete‬ﺑﻨﻘﺸﺘﻬﺎ اﻟﻄﺒﻴﻌﻴﺔ‬ ‫وﺑﻠﻮن داﻛﻦ ‪7‬ﻋﻄﺎﺋﻬﺎ ﻃﺎﺑﻊ ﺣﺪﻳﺚ ﻣﺒﺘﻜﺮ‪ .‬اﻟﻤﺸﺮوع ﺑﺸﻜﻞ‬ ‫ﻋﺎم ﻳﻘﺪم ﺑﺼﻤﺔ ﻓﺮﻳﺪة ﺑﻄﺮاز ﻣﻌﻤﺎري ﺣﺪﻳﺚ ﻳﻌﺰز اﻟﺼﻠﺔ ﺑﻴﻦ‬ ‫اﻟﻤﺴﺘﺨﺪم واﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻪ وﺑﻴﻦ اﻟﻤﺎﺿﻰ واﻟﺤﺎﺿﺮ ﺑﻌﻨﺎﺻﺮه‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ اﻟﻤﻄﻮره ﻣﻊ ﺗﺤﻘﻴﻖ أﻋﻠﻰ درﺟﺎت اﻟﻔﺨﺎﻣﺔ واﻻﺑﺘﻜﺎر‪.‬‬ ‫ﻣﻦ ﺗﻘﺮﻳﺮ اﻟﻤﺼﻤﻢ‪.‬‬

‫«* ‪w{—_« —ËbK wI _« jI‬‬

‫«* ‪`D « —Ëb wI _« jI‬‬

‫«* ‪‰Ë_« —ËbK wI _« jI‬‬

‫‪¡UM³ « π±‬‬

‫‪91 Albenaa‬‬

WOł—U)« «¡UCH «Ë ŸËdALK WHK² dOþUM

w uÞ ŸUD 90 Albenaa

¡UM³ « π∞

ÂĄUMÂł ÂŤÂĄUMÂł ÂŤ w bÂšb'ÂŤ w bÂšb'ÂŤ

â&#x20AC;Ťďş&#x2018;ďť ďťŽŮ&#x192; ďťŁďş&#x2DC;ďşźďş&#x17D;Řľ ďťŁďťŽďş&#x;ďş&#x17D;ŘŞ Ř§ďť&#x;ďş&#x2DC;ďşŽŘŻŘŻŘ§ŘŞâ&#x20AC;Ź Emiblock â&#x20AC;ŤŘ§ďť&#x;ďşźďťŽďş&#x2014;ďť´ďş&#x201D;â&#x20AC;Ź â&#x20AC;Ťďş&#x2018;ďť ďťŽŮ&#x192; ďş&#x;ďşŞďťłďşŞ ďťŁďťŚ ďť&#x203A;ďş&#x2DC;ďť ďş&#x201D; ďş§ďşŽďşłďş&#x17D;ďť§ďť´ďş&#x201D; ďş&#x2014;ďť&#x2DC;ďťŽŮ&#x2026; ďş&#x2018;ďş&#x2C6;ďťŁďş&#x2DC;ďşźďş&#x17D;Řľ ďťŁďťŽďş&#x;ďş&#x17D;ŘŞâ&#x20AC;Ź â&#x20AC;Ťďť&#x201C;ďť˛ ďť§ďť&#x201E;ďş&#x17D;Ů&#x201A; ďťŁďş&#x17D;ďş&#x2018;ďť´ďťŚâ&#x20AC;ŹVoice frequencies â&#x20AC;ŤŘ§ďť&#x;ďş&#x2DC;ďşŽŘŻŘŻŘ§ŘŞ Ř§ďť&#x;ďşźďťŽďş&#x2014;ďť´ďş&#x201D;â&#x20AC;Ź â&#x20AC;Ť ďťŁďť´ďş ďş&#x17D;ďťŤďşŽďş&#x2014;ďş° Ř§ďť&#x;ďť¤ďť&#x152;ďşŽŮ&#x2C6;Ů ďş&#x2018;ďş&#x201E;ďť§ďťŹďş&#x17D; ďşżďş&#x17D;ŘąŘŠ ďť&#x;'ďť§ďş´ďş&#x17D;Ů&#x2020; Ů&#x2C6;ďťŤďť˛â&#x20AC;Ź3 â&#x20AC;Ť ŘĽďť&#x;ďť°â&#x20AC;Ź0 â&#x20AC;ŤŘ§ďť&#x;ďť¤ďş´ďş&#x2DC;ďş¨ďşŞďťŁďş&#x201D; ďť&#x201C;ďť˛ ŘŁďş&#x;ďťŹďş°ŘŠ Ř§<ďş&#x2014;ďşźďş&#x17D;Ů&#x201E; Ř§ďť&#x;ďťźďşłďť ďť&#x153;ďť´ďş&#x201D; ďť&#x;ďť ďş ďť´ďť&#x17E; Ř§ďť&#x;ďş&#x153;ďş&#x17D;ďť&#x;ďş&#x161;â&#x20AC;Ź â&#x20AC;Ť ďť&#x203A;ďť¤ďş&#x17D; ďťłďş&#x2DC;ďť¤ďť´ďş° Ř§ďť&#x;ďş&#x2019;ďť ďťŽŮ&#x192; ďş&#x2018;ďş¨ďť&#x201D;ďş&#x201D;â&#x20AC;Ź.Wi-Fi â&#x20AC;Ť Ů&#x2C6;â&#x20AC;ŹGSM â&#x20AC;ŤŮ&#x2C6;Ř§ďť&#x;ďşŽŘ§ďş&#x2018;ďť&#x160; Ů&#x2C6;Ř§ďť&#x;ďş¨ďş&#x17D;ďťŁďş˛ Ů&#x2C6;â&#x20AC;Ź .â&#x20AC;ŤŮ&#x2C6;Ř˛ďť§ďťŞ Ů&#x2C6;ďť&#x2014;ďťŽŘŠ ďşżďť?ďť&#x201E;ďťŞ ďť&#x203A;ďť¤ďş&#x17D; ŘŁďť§ďťŞ ďť&#x2039;ďş&#x17D;Ř˛Ů&#x201E; Ů&#x2C6;ďťŁďť&#x2DC;ďş&#x17D;Ů&#x2C6;Ů&#x2026; ďť&#x;ďť ďş¤ďşŽŘ§ďş&#x2039;ďť&#x2013;â&#x20AC;Ź

EMIBLOCK

WOĂ°uB ÂŤ Â ÂŤĹ&#x201C;Ĺ&#x201C;dÂ˛ ÂŤ Â UĹ&#x201A;u â&#x20AC;&#x2122;UBÂ˛ Ă´ â&#x20AC;&#x17E;uKĂ?

The product is an Autoclaved Aerated Concrete (AAC) block material which absorbs radiofrequency waves known to be harmful to human health according to World Health Organization (WHO). The product has been developed to absorb radiofrequency waves in the range of 03- GHz, which is the most common radio frequence range used for wireless communication in the world for GSM, 3G, 4.5G, and Wi-Fi. Besides absorbing radiofrequency waves, EMIBLOCK also ensures the mechanical properties of Autoclaved Aerated Concrete blocks such as: lightweight, compression strength, thermal conductivity and fireproof. Therefore, the product is the world>s first building material absorbing radiofrequency waves efficiently and providing safe, healthy and energy efficent buildings at the same time. www.ahg-gazbeton.com

â&#x20AC;ŤŘąŘ§ďť&#x201C;ďť&#x152;ďş&#x201D; ďşťďť?ďť´ďşŽŘŠ ďť&#x;ďş&#x2DC;ďşŽďť&#x203A;ďť´ďş? Ř§ ďť&#x;ďťŽŘ§Řâ&#x20AC;Ź Edmablac â&#x20AC;ŤŘ§ďť&#x;ďť¤ďş´ďş&#x2DC;ďť&#x152;ďş&#x17D;ŘąŘŠâ&#x20AC;Ź â&#x20AC;Ťďť&#x;ďťŽŘ§Ř Ř§ďť&#x;ďş ďş&#x2019;ďş´ďť´ďş&#x201D; Ů&#x2C6;ďťŤďť˛ Ř°Ř§ŘŞ Ř§ďşłďş&#x2DC;ďş¨ďşŞŘ§Ů&#x2026; ďťłďşŞŮ&#x2C6;Ů&#x160; ďşŁďť´ďş&#x161; ďş&#x2014;ďş&#x2DC;ďť¤ďť´ďş°â&#x20AC;ŹQâ&#x20AC;ŤŘŁŮ&#x2C6;Ů&#x201E; ŘąŘ§ďť&#x201C;ďť&#x152;ďş&#x201D; ďť&#x;â&#x20AC;Ź â&#x20AC;Ťďşłďť&#x2DC;ďť&#x2019; Ř§ďť&#x;ďť¤ďş´ďş&#x2DC;ďť&#x152;ďş&#x17D;ŘąŘŠ ďş&#x2018;ďť&#x201D;ďť&#x20AC;ďť&#x17E;â&#x20AC;ŹTâ&#x20AC;Ťďş&#x2018;ďş´ďťŹďťŽďť&#x;ďş&#x201D; Ř§ďşłďş&#x2DC;ďş¨ďşŞŘ§ďťŁďťŹďş&#x17D; ďť&#x201C;ďť˛ ďş&#x2014;ďşŽďť&#x203A;ďť´ďş? Ř§â&#x20AC;Ź â&#x20AC;Ťďť&#x;ďťŽŘ§Ř Ř§ďť&#x;ďş ďş&#x2019;ďş´ďť´ďş&#x201D;â&#x20AC;ŹTâ&#x20AC;Ť ďş&#x2014;ďť&#x2DC;ďťŽŮ&#x2026; Ř§ďť&#x;ďşŽŘ§ďť&#x201C;ďť&#x152;ďş&#x201D; ďş&#x2018;ďş¤ďť¤ďť&#x17E; Ř§â&#x20AC;Ź.â&#x20AC;Ťďť§ďť&#x2C6;ďş&#x17D;Ů&#x2026; Ř§ďť&#x;ďş¤ďş&#x17D;ďťŁďť&#x17E; Ů&#x2C6;Ř§ďť&#x;ďş&#x2DC;ďşŽŮ&#x2C6;Řłâ&#x20AC;Ź â&#x20AC;Ť ďť&#x203A;ďť¤ďş&#x17D; ďş&#x2014;ďş&#x2DC;ďť¤ďť´ďş° ďş&#x2018;ďş&#x2DC;ďşźďť¤ďť´ďť¤ďťŹďş&#x17D; Ř§ďť&#x;ďť¤ďşŽďťłďş˘â&#x20AC;Ź.â&#x20AC;ŤďťŁďş&#x2DC;ďşŽâ&#x20AC;Ź4ŮŤ50 â&#x20AC;ŤŘŁďť&#x201C;ďť&#x2DC;ďť´] Ů&#x2C6;ďť&#x2039;ďť¤ďťŽŘŻďťł] ďşŁďş&#x2DC;ďť° ŘĽŘąďş&#x2014;ďť&#x201D;ďş&#x17D;Řšâ&#x20AC;Ź â&#x20AC;ŤďťŁďť&#x160; ďťŁďť&#x2DC;ďş&#x2019;ďşž <ďťŁďş&#x17D;ďť&#x;ďş&#x201D; Ř§ďť&#x;ďşŽŮ Ů&#x2C6;ďťłďť¤ďť&#x153;ďťŚ ďş&#x2014;ďş¤ďşŽďťłďť&#x153;ďťŹďş&#x17D; ďťŁďťŚ ďťŁďť&#x153;ďş&#x17D;Ů&#x2020; ^ďş§ďşŽ ďş&#x2018;ďť&#x153;ďť&#x17E;â&#x20AC;Ź .â&#x20AC;ŤďşłďťŹďťŽďť&#x;ďş&#x201D; ďť&#x2039;ďş&#x2019;ďşŽ ďť&#x2039;ďş ďťźŘŞâ&#x20AC;Ź

EDMAPLACÂŽ 450 - New Generation Panel Lifter

Ă&#x201A;ÂŤb Â˛Ă?ĂšÂŤ WKNĂ? WO Âł'ÂŤ Ă&#x2022;ÂŤu Ăş WF ÂŤâ&#x20AC;&#x201D; www.edma.fr

93 Albenaa

ÂĄUMÂł ÂŤ Ď&#x20AC;â&#x2030;Ľ

To lift plasterboard in every positions : horizontal (ceiling installation), angled (sloping ceiling installation) and vertical (wall installation). Ergonomic design with bi-material handle to tilt the top rack up to vertical position. Tool carrier wooden board included. Easy to pass through doorway thanks to its foldable feet. 3 wheels including 2 wheels with brake. Innovative braking system with 2 handles (main brake + safety brake) to lower the panel quickly under control. Automatic operation thanks to power drill assistance. Its rack and pinion system allows to lift plasterboards with less effort than other panel lifters. No noise while lifting on job sites. CE certified.

¡UM³ « w b¹b'«

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫أﻟﻮاح ﺟﺪارﻳﺔ‬ ‫ﻟﻠﺤﻤﺎﻳﺔ ﻣﻦ اﻟﺤﺮاﺋﻖ‬ Dragonskal

WO UŽ WzUH «– W “UŽ Õ«u √

‫ﺣﻠﻮل ﺟﺪﻳﺪة ﻟﻠﺤﻤﺎﻳﺔ ﻣﻦ اﻟﺤﺮاﺋﻖ ﺗﻘﺪﻣﻬﺎ‬ ‫ اﻟﻔﺮﻧﺴﻴﺔ ﻣﻦ ﺧﻼل‬Dragonskal ‫ﺷﺮﻛﺔ‬ ‫ ﺣﻴﺚ ﺗﻮﻓﺮ أﻟﻮاح‬،‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻨﺘﺠﺎت‬ ‫ﻋﺎزﻟﺔ ذات ﻛﻔﺎءة ﻋﺎﻟﻴﺔ ﻓﻲ ﺗﺘﺤﻤﻞ اﻟﺤﺮارة‬ .‫ﻟﻮاح اﻟﺘﻘﻠﻴﺪﻳﺔ‬2‫ﻟﻤﺪة ﺳﺎﻋﺘﻴﻦ ﻣﻘﺎرﻧﺔ ﺑﺎ‬ ‫ﻣﻠﻢ‬1200@2500 ‫ﻟﻮاح ﺑﻤﻘﺎس‬2‫وﺗﺘﻮﻓﺮ ﻫﺬه ا‬ ‫ ﻛﻤﺎ أﻧﻬﺎ ﺗﺘﻨﺎﺳﺐ ﻣﻊ‬، ‫ﺳﺘﺨﺪام‬D‫ﺟﺎﻫﺰة ﻟ‬ ‫ ﻛﻤﺎ‬.‫ﻣﻨﺘﺠﺎت ﺟﻤﺎﻟﻴﺔ ﻛﺎﻟﻄﻼء واﻟﺘﺸﻄﻴﺐ‬ ‫ﻟﻮاح ﻣﻊ ﻣﻮاد أﺧﺮى وﻫﻲ‬2‫ﻳﻤﻜﻦ دﻣﺞ ا‬ .‫ﻣﻨﺎﺳﺒﺔ ﻟﻤﺤﺘﻠﻒ أﻧﻮاع اﻟﻤﺸﺎرﻳﻊ‬

DRAGONSKAL, The Passive Fire Protection Dragonskal is a new composite solution with a 100% Mineral binder, developed and made in France, dedicated to fire protection. Marketed in ready-to-use 2500 x 1200 mm standard panels, Dragonskal® is a real shield to protect materials, sensitive areas and people from fire. With an attractive natural appearance, Dragonskal® panels can also adapt to different aesthetic objectives (colors, finishes, treatments), allowing to bring productivity and performance gains. Dragonskal® is a new solution for all market players for whom fire protection is a priority issue.

5²ŽUÝ v ≈ qBð …b* …—«d(« ÂËUIð

Â«b ²Ýö …e¼Uł W “UŽ Õ«u √

www.dragonskal.com

92 Albenaa

¡UM³ « π≤

—uJ¹b « w b¹b'«

‫وﺣﺪات إﺿﺎءة ﻣﻤﻴﺰة‬ ‫وﺣﺪة إﺿﺎءة ﺧﺎرﺟﻴﺔ ﺗﻌﻤﻞ ﺑﺎﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ‬ ‫وﺗﺘﻤﻴﺰ ﺑﻤﻘﺎوﻣﺘﻬﺎ ﻟﻠﻤﺎء ﻛﻤﺎ أﻧﻬﺎ ﺗﻌﻤﻞ ذاﺗﻴ‬ ‫ ﻛﻤﺎ ﺗﺘﻤﻴﺰ ﻫﺬه اﻟﻮﺣﺪات‬.‫ﻋﻨﺪ دﺧﻮل اﻟﻠﻴﻞ‬ ‫ﺟﻬﺰة اﻟﺬﻛﻴﺔ‬0‫ ﻟﺸﺤﻦ ا‬USB ‫ﺑﺘﻮﻓﺮ ﻣﺪﺧﻞ‬ .‫وﻳﻤﻜﻦ أن ﺗﺸﺤﻦ ﻟﻤﺪة ﺧﻤﺲ ﺳﺎﻋﺎت‬

CLOVER GARDEN Solar rechargeable outdoor light Water resistant Automatic light on according to daylight Can be turned on / off manually Power supply : solar cell or USB port (included) Autonomy : 5 h Charging time : 2h

www.lexon-design.com

95 Albenaa

¡UM³ « πμ

—uJ¹b « w b¹b'«

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺪﻳﻜﻮر‬ ‫ﻣﺼﺒﺎح إﺿﺎءة ﻳﻌﻤﻞ ﺑﺎﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ‬ ‫ﻳﻘﻮم ﻫﺬا اﻟﻤﺼﺒﺎح ﺑﺠﻤﻊ اﻟﻄﺎﻗﺔ ﻣﻦ ﺧﻼل‬ ‫ﺧﻼﻳﺎ ﺿﻮﺋﻴﺔ ﻣﻮﺟﻮدة ﻓﻲ ﻗﺎﻋﺪﺗﻪ ﺣﻴﺚ ﺗﻘﻮم‬ ‫ أﻳﻮن وﻋﻨﺪ ﺣﻠﻮل‬- ‫ﺑﺸﺤﻦ ﺑﻄﺎرﻳﺔ ﻟﻴﺜﻴﻮم‬ .‫ﺿﺎءة‬5‫اﻟﻠﻴﻞ ﻳﺖ ﻗﻠﺐ اﻟﻤﺼﺒﺎح وإﺳﺘﺨﺪاﻣﻪ ﻟ‬

BLOOM SOLAR LAMP During the day the solar cell at the bottom of the lamp charges the li-ion battery and when it gets dark you turn it around and it turns into a lamp with a great light output. If you need a higher definition foto or more information please let us know. It is brand new and first deliveries will be made in april.

www.bloomholland.nl

94 Albenaa

¡UM³ « π¥

—uJ¹b « w b¹b'«

CLASSIQUE CLASSIQ IQUE BLACK Our patented modular table offers two different styles in high position and low position using an ingenious deployment system. Able to change from one state to another in a split second and with simplified handling, it impresses with the design of its structure, noble materials as much as by its ability to respond to our evolving lifestyle. Diameter: 95 cm (34.7%), height: 74 cm / 40 cm (29.1%/15.7%) Color: Black Materials : Poplar top with solid oak table edges. Base in solid oak. Mechanism made in France mounted on high-precision bearings.

‫ﻣﺮﻧﺔ‬ ‫ﻃﺎوﻻت ﻣﺮ‬ ‫ﺗﺘﻮﻓﺮ ﻫﺬه اﻟﻄﺎوﻻت ﺑﺎرﺗﻔﺎﻋﻴﻦ ﻣﺨﺘﻠﻔﻴﻦ ﺣﻴﺚ ﻳﻤﻜﻦ اﺳﺘﺨﺪاﻣﻬﺎ‬ ‫ ﻳﺘﻢ ﺗﻐﻴﻴﺮ ﻃﻮﻟﻬﺎ ﻣﻦ ﺧﻼل‬.‫ﻛﻄﺎوﻻت ﻗﻬﻮة أو ﻃﺎوﻻت ﺟﺎﻧﺒﻴﺔ‬ ‫ اﺳﺘﺨﺪم ﺧﺸﺐ‬.‫ﺳﺘﺨﺪام ﻓﻲ أرﺟﻞ اﻟﻄﺎوﻟﺔ‬7‫ﻣﻔﺼﻼت ﺳﻬﻠﺔ ا‬ .‫اﻟﺒﻠﻮط ﻟﺼﻨﺎﻋﺔ اﻟﻄﺎوﻟﺔ‬

www.boulonblanc.com

96 Albenaa

¡UM³ « π∂

‫ ‪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.‬‬

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