عمارة كأس العالم لكرة القدم 2018م

‫‪٣٣٣‬‬ ‫اﻟﺴﻨﺔ ‪ / ٣٨‬ذو اﻟﻘﻌﺪة ‪١٤٣٩‬ﻫـ‬

‫ﻋﻤﺎرة ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم ‪ ٢٠١٨‬م‬

‫‪July 2018 / Volume 38‬‬

‫‪333‬‬

‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫« ‪≥≥≥ œbF « ¨5Łö¦ «Ë WM U¦ « WM‬‬ ‫–‪ ≤∞±∏ uO u¹ Ø?¼ ±¥≥π …bFI « Ë‬‬ ‫« ‪d¹dײ « fOz—Ë dýUM‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ ”bMN‬‬ ‫«*‪ÂUF « d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž e¹eF « b³Ž ”bMN‬‬ ‫«*‪ÍcOHM² « d¹b‬‬ ‫ ×‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ bL‬‬ ‫ ‪W U)« «—«b ù« …d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ …u u WÝbMN‬‬

‫ا ﻓﺘﺘﺎﺣﻴﺔ‬ ‫ﻣﺎ ﻫﻮ اﻟﻤﺄﻣﻮل ﻣﻦ أول وزارة ﻟﻠﺜﻘﺎﻓﺔ ﻓﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫ﻛﻠﻴﺔ إدارة ا‪$‬ﻋﻤﺎل اﻟﺠﺪﻳﺪة ﻓﻲ ﺟﺪة‬ ‫أﻛﺒﺮ ﻣﺰرﻋﺔ رأﺳﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ‬ ‫ﺑﺮج ﺳﻜﻨﻲ‬ ‫ﺑﻼزا ﻛﻮﻟﻮن‬

‫ﻣﺴﺎﻛﻦ ﺑﺈﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ اﻟﻄﺒﺎﻋﺔ اﻟﺜﻼﺛﻴﺔ ا‪$‬ﺑﻌﺎد‬ ‫ﺑﺮج ﺳﻜﻨﻲ ﻣﺴﺘﺪام‬ ‫ﻣﺮﻛﺰ ﻓﺎﻧﻚ ا‪$‬وﻟﻤﺒﻲ اﻟﻤﺘﻌﺪد ا‪7‬ﺳﺘﺨﺪاﻣﺎت‬

‫«‪wMH « ëdšù‬‬ ‫ ‪WO½«dLF « ÊËRAK ¡UM³ « WK−‬‬ ‫«‪∫l¹“u² «Ë U «d²ýô‬‬ ‫’ ‪±±¥≤± ÷U¹d « μ≤≤ » Æ‬‬ ‫«*‪W¹œuF « WOÐdF « WJKL‬‬ ‫« ‪¥∂μ ? π∑¥π ¨ ¥∂¥ ? ≤μμ∂ ÷U¹d‬‬ ‫ ‪¥∂¥ ? ∂≥¥∏ f U‬‬ ‫‪info@albenaamag.com‬‬ ‫‪ÆÊ«bK³ « q w «bM² *« q sŽ WþuH× dAM « ‚uIŠ‬‬ ‫«‪ ôUI*UÐ …œ—«u « UDD *«Ë —u?B «Ë U uKF*«Ë ¡«—ü‬‬ ‫‪WK−*« ÁcNÐ WHK² *« UŽËd?A*«Ë U?Ý«—b «Ë Àu׳ «Ë‬‬ ‫‪¨UÎ OK Ë√ UÎ Ozeł U¼d?A½ …œUŽ≈ Ë√ ¨UNM ”U³² ôUÐ `L? ¹ ô‬‬ ‫√‪vKŽ ‰uB(« bFÐ ô≈ ¨X½U U?LN WI¹dÞ ÍQÐ U?NM¹e ð Ë‬‬ ‫ ‪Æd¹dײ « fOz— s WOÐU² WI «u‬‬

‫‪∫…bŠ«u « W M « dFÝ‬‬ ‫—‪Î U¹‬‬ ‫‪UÎ ¹œuFÝ ô‬‬ ‫«*‪≥∞ W¹œuF « WOÐdF « WJKL‬‬ ‫‪w²¹u —UM¹œ ≤[μ‬‬ ‫« ‪X¹uJ‬‬ ‫‪WOM¹d×Ð dO½U½œ‬‬ ‫‪π‬‬ ‫« ‪s¹d׳‬‬ ‫‪UÎ Oð«—U ≈ UÎ L¼—œ‬‬ ‫‪≥∞ WOÐdF « «—U ù« W Ëœ‬‬ ‫—‪Î U¹‬‬ ‫‪ÎU¹dD ô‬‬ ‫∞≥‬ ‫ ‪dD‬‬ ‫—‪Î U¹‬‬ ‫‪UÎ O½ULŽÔ ô‬‬ ‫‪π‬‬ ‫‪ÊULŽÔ‬‬ ‫‪UÎ ¹dB UÎ NOMł‬‬ ‫∞∂‬ ‫ ‪dB‬‬ ‫‪—ôËœ‬‬ ‫∏‬ ‫ ‪ÊUM³‬‬ ‫‪w½œ—√ —UM¹œ‬‬ ‫≤‬ ‫«_—‪Êœ‬‬ ‫‪Ë—u¹‬‬ ‫∂‬ ‫√*‪UO½U‬‬ ‫‪Ë—u¹‬‬ ‫∂‬ ‫ ‪U ½d‬‬ ‫‪wMO d²Ý« tOMł‬‬ ‫∂‬ ‫«‪«d²K$‬‬ ‫« ‪—ôËœ ∏ Èdš_« ‰Ëb « lOLłË …bײ*« U¹ôu‬‬ ‫‪ISSN: 1319 - 206 X‬‬ ‫∞∞ « ‪¡UM³‬‬

‫‪00 Albenaa‬‬

‫∞‪±‬‬

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

‫ﻋﻤﺎرة ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم ‪ ٢٠١٨‬م‬ ‫ﻋﻤﺎرة ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم ‪ 2018‬م‬ ‫إﻋﺎدة ﺗﺄﻫﻴﻞ إﺳﺘﺎد ﻟﻮزﻧﻴﻜﻲ‬ ‫ﻓﻮﻟﻐﻮﻏﺮاد ارﻳﻨﺎ‬ ‫إﺳﺘﺎد ﺳﺎن ﺑﻴﺘﺮﺳﺒﺮج‬ ‫روﺳﺘﻮف أرﻳﻨﺎ‬ ‫إﺳﺘﺎد ﻧﻴﺰﻫﻨﻲ ﻧﻮﻓﻐﻮرود‬ ‫ﺳﻤﺎرة أرﻳﻨﺎ‬ ‫إﺳﺘﺎد ﻛﺎﻟﻴﻨﻴﻨﻐﺮاد‬ ‫ﻣﻮردوﻓﻴﺎ أرﻳﻨﺎ‬ ‫إﻛﺎﺗﺮﻳﻨﺒﺮغ أرﻳﻨﺎ‬ ‫إﺳﺘﺎد ﻓﻴﺸﺖ‬ ‫ﻛﺎزان أرﻳﻨﺎ‬ ‫إﺳﺘﺎد ﺳﺒﺎرﺗﻚ‬

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

‫ﻣﺸﺎرﻳﻊ ﻋﺎﻟﻤﻴﺔ ﺣﺪﻳﺜﺔ‬ ‫ﻣﺮﻛﺰ أﻏﺎﺧﺎن‪ ،‬ﻟﻨﺪن‬ ‫ﻣﻘﺮ ﻣﻜﺘﺒﻲ رﺋﻴﺴﻲ‬ ‫ﻣﺘﺤﻒ اﻟﻔﻦ اﻟﺤﺪﻳﺚ‬

‫‪∑¥‬‬ ‫∂∑‬ ‫∏∑‬

‫«‪WOŠU²² ù‬‬

‫ﻣﺎ ﻫﻮ اﻟﻤﺄﻣﻮل ﻣﻦ أول وزارة ﻟﻠﺜﻘﺎﻓﺔ‬ ‫ﻓﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫رﺑﻤﺎ ﻳﻜﻮن أﻫﻢ دور ﺗﺆدﻳﻪ أول وزارة ﺛﻘﺎﻓﺔ ﻓﻲ اﻟﻤﻤﻠﻜﺔ ﻫﻮ إدﺧﺎل‬ ‫اﻟﺜﻘﺎﻓـــﺔ ﻓـــﻲ ﻛﺎﻓﺔ ﻣﻨﺎﺣﻲ ﺣﻴـــﺎة اﻟﻤﺠﺘﻤـــﻊ‪ ،‬ﻓﺎﻟﻬﺪف ﻣـــﻦ اﻟﺜﻘﺎﻓﺔ‬ ‫ﻫﻮ رﻓﻊ ﻣﺴـــﺘﻮى ﻓﻜﺮ ا‪5‬ﻧﺴـــﺎن واﻟﺘﺪﺧﻞ ﻓﻲ ﻛﺎﻓﺔ أﻧﺸﻄﺘﻪ ﻟﺮﻓﻊ‬ ‫ﻣﺴـــﺘﻮى أداﺋﻬﺎ وﺗﺤﺴـــﻴﻦ ﺣﻴﺎﺗﻪ‪ ،‬إﻻ أﻧﻬﺎ ﺗﺘﺪﺧﻞ ﺑﻨﺴﺐ ﻣﺘﻔﺎوﺗﺔ‬ ‫ﻣﻦ ﻧﺸـــﺎط إﻟﻰ آﺧﺮ ‪ .‬أﺣﺪ ﻣﺠﺎﻻت أﻧﺸـــﻄﺔ ا‪5‬ﻧﺴـــﺎن اﻟﺘـــﻲ ﻟﻠﺜﻘﺎﻓﺔ‬ ‫ﺣﻀﻮر أﺳﺎﺳﻲ ﻓﻴﻬﺎ ﻫﻲ اﻟﻔﻨﻮن ﺑﻜﻞ أﻧﻮاﻋﻬﺎ؛ اﻟﻔﻨﻮن اﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫وﻓﻨـــﻮن اﻟﺰﺧﺮﻓـــﺔ واﻟﺘﺼﻮﻳـــﺮ واﻟﻔﻨـــﻮن اﻟﺘﺼﻤﻴﻤﻴـــﺔ وﻣﻨﻬـــﺎ اﻟﻔﻦ‬ ‫اﻟﻤﻌﻤﺎري واﻟﺪﻳﻜﻮر واﻟﺘﺼﻤﻴﻢ اﻟﺼﻨﺎﻋﻲ وا‪K‬زﻳﺎء وﻏﻴﺮﻫﺎ ‪ .‬ﻣﻌﻈﻢ‬ ‫ﻫـــﺬه ا‪K‬ﻧﺸـــﻄﺔ اﻟﻔﻨﻴﺔ اﻟﺘـــﻲ ﻻ ﻳﻤﻜـــﻦ ﺣﺼﺮﻫﺎ ﻫﻨﺎ ﺗﻘـــﻮم ﻋﻠﻴﻬﺎ‬ ‫ﻣﻬـــﻦ ﻣﺨﺘﻠﻔﺔ ﺗﺤﺘﺎج إﻟـــﻰ ﺗﻌﻠﻴﻢ ﻋﺎﻟﻲ ‪K‬ﺻﻮﻟﻬـــﺎ وﺗﻮﺟﻴﻪ ﻳﻌﺘﻤﺪ‬ ‫ﻋﻠـــﻰ ﺛﻘﺎﻓﺔ اﻟﻤﺠﺘﻤﻊ ﺑﺤﻴـــﺚ ﺗﺘﻔﺎﻋﻞ اﻟﻤﻬﻦ اﻟﻔﻨﻴـــﺔ اﻟﻤﺨﺘﻠﻔﺔ ﻣﻊ‬ ‫ﻣﺠﺘﻤﻌﺎﺗﻬﺎ ‪ .‬وﻋﺎدة ﻣﺎ ﺗﻨﺸـــﻰء اﻟﺪول ﻛﻠﻴـــﺎت وﻣﻌﺎﻫﺪ وﻣﺪارس‬ ‫ﺣﺴـــﺐ ﻣـــﺎ ﺗﺤﺘﺎﺟﻪ ﻃﺒﻴﻌـــﺔ ﻛﻞ ﻣﻬﻨـــﺔ ﻟﺴـــﺪ ﺣﺎﺟﺎﺗﻬـــﺎ اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﻤﻬﻨﻴـــﺔ ﻓﻔﻲ ﻛﺜﻴـــﺮ ﻣﻦ اﻟﺪول ﻫﻨـــﺎك ﻛﻠﻴﺎت ﻟﻠﻔﻨـــﻮن اﻟﺠﻤﻴﻠﺔ‬ ‫ﺗﺪرس ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻬﻦ اﻟﻔﻨﻴﺔ ﻓﻲ ﻓﺮﻧﺴﺎ ﻣﺜﻼ أﻧﺸﺌﺖ ﻣﺪرﺳﺔ‬ ‫وﻃﻨﻴـــﺔ ﻟﻠﻔﻨـــﻮن اﻟﺠﻤﻴﻠﺔ ﻣﻨﺬ اﻛﺜـــﺮ ﻣﻦ ‪٣٥٠‬ﻋﺎم ﺗـــﺪرس ﻣﺎ ﻳﻌﺮف‬ ‫ﺑﺎﻟﻔﻨـــﻮن ا‪K‬رﺑﻌﺔ‪ :‬اﻟﻌﻤـــﺎرة واﻟﻔﻨﻮن اﻟﺘﺸـــﻜﻴﻠﻴﺔ واﻟﻨﺤﺖ واﻟﺰﺧﺮﻓﺔ‬ ‫وﻟﻌﻠﻤـــﻲ ﻓﺄﻧﻪ أﺻﺒﺢ ﻳﻮﺟﺪ ﻣﺎ ﻳﻤﺎﺛﻠﻬﺎ ﻓـــﻲ دول أﺧﺮى وﻓﻲ اﻟﺪول‬ ‫اﻟﻌﺮﺑﻴـــﺔ ﻓـــﻲ ﻣﺼـــﺮ وﻓـــﻲ ﻟﺒﻨـــﺎن ‪ ،‬ﻛﻤـــﺎ أﻧﺸـــﺌﺖ ﻛﻠﻴـــﺔ ﺑﺎوﻫﻮس‬ ‫‪ Bauhaus‬ﻓـــﻲ أﻟﻤﺎﻧﻴـــﺎ ﻋـــﺎم ‪١٩١٩‬م وﻛﺎﻧﺖ ﺗﻬﺪف إﻟـــﻰ إدﺧﺎل اﻟﻔﻦ‬ ‫اﻟﺤﺪﻳﺚ ﺑﻜﺎﻓﺔ ﻓﻨﻮﻧﻪ ﻓﻲ ﺗﺼﻤﻴﻢ وﺗﺼﻨﻴﻊ اﻟﻤﻨﺘﺠﺎت ﺑﻤﺎ ﻓﻲ ذﻟﻚ‬ ‫اﻟﺒﻨـــﺎء ‪ ،‬ﻟﻌﺒـــﺖ ﻫﺬه اﻟﺪور اﻟﺘﻌﻠﻴﻤﻴﺔ دور‪ g‬ﻫﺎﻣ‪ f‬ﻓﻲ ﺗﺤﺴـــﻴﻦ ﺣﻴﺎة‬ ‫اﻟﻨـــﺎس وأﺛﺮت ﻋﻠـــﻰ اﻟﺘﻌﻠﻴﻢ ﻓﻲ ﻛﺎﻓﺔ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪ ،‬ﻓﺈﻧﺸـــﺎء ﻣﺜﻞ‬ ‫ﻫﺬه اﻟﺪور اﻟﺘﻌﻠﻴﻤﻴﺔ ﻟﻢ ﻳﻜﻦ ﻟﻨﺸﺮ اﻟﻮﻋﻲ اﻟﺜﻘﺎﻓﻲ ﻓﻲ اﻟﻤﺠﺘﻤﻊ‬ ‫ﻓﺤﺴـــﺐ وﻟﻜﻦ ا‪5‬ﺳـــﺘﻔﺎدة ﻣﻨﻬﺎ ﻓﻲ رﻓﻊ ﻣﺴـــﺘﻮاه اﻟﺤﻀﺎري‪ .‬ﻛﺎن‬ ‫ﻣﺪرﺳـــﻮا ﻫﺬه اﻟﻤﺪارس ﻓﻨﺎﻧﻴﻦ ﺗﺸﻜﻴﻠﻴﻦ وﻣﻌﻤﺎرﻳﻴﻦ وﻣﺜﻘﻔﻴﻦ‬ ‫إﺟﺘﻤﻌﻮا ﻓﻴﻤـــﺎ ﺑﻴﻨﻬﻢ ﻟﺘﻌﻠﻴﻢ اﻟﻔﻦ أوﻻً ﺛﻢ اﻟﺘﺨﺼﺼﺎت اﻟﻤﻨﺒﺜﻘﺔ‬ ‫ﻋﻨﻪ ﻣﻦ ﻋﻤﺎرة وزﺧﺮﻓﺔ وﻓﻨﻮن ﺗﺸﻜﻴﻠﺔ اﻟﺦ…‬ ‫ﻧﺤـــﻦ ﻧﻔﺘﻘﺪ ﻫﺬا اﻟﻨﻮع اﻟﻀـــﺮوري ﻣﻦ اﻟﺘﻌﻠﻴﻢ ﻣﺤﻠﻴ‪ f‬وﻣﻊ إﻧﺸـــﺎء‬ ‫وزارة اﻟﺜﻘﺎﻓـــﺔ اﻟﺘﻲ ﻣﻦ اﻟﺒﺪﻳﻬﻲ أﻧﻬﺎ ﺳـــﻮف ﺗﺘﺒﻨﻰ اﻟﻔﻨﻮن ﻛﺄﺣﺪ‬ ‫اﻟﻤﺠﺎﻻت اﻟﻬﺎﻣﺔ ﻟﻠﺜﻘﺎﻓﺔ ﻓﺈﻧﻨﺎ ﻧﺄﻣﻞ أن ﻳﺘﻢ إﻧﺸﺎء دور ﺗﻌﻠﻴﻢ ﺗﺠﻤﻊ‬ ‫ﺑﻴـــﻦ اﻟﻔﻨـــﻮن وﺗﻮﺟﻬﻬﺎ إﻟﻰ ﺗﺤﺴـــﻴﻦ ورﻓﻊ ﺟﻮدة ﺣﻴـــﺎة اﻟﻤﺠﺘﻤﻊ‬ ‫ﻋﻠﻰ أن ﺗﺸـــﺮف وزارة اﻟﺜﻘﺎﻓﺔ ﻋﻠﻴﻬـــﺎ ﻓﺘﻌﻠﻴﻢ اﻟﻔﻨﻮن ﻳﻌﺘﻤﺪ ﻋﻠﻰ‬ ‫اﻟﻤﻮﻫﺒـــﺔ ا‪5‬ﻧﺴـــﺎﻧﻴﺔ اﻛﺜـــﺮ ﻣﻦ أي ﺷـــﻲء آﺧﺮ وﻳﺤﺘﺎج إﻟـــﻰ ﻣﻨﺎﺧﺎت‬ ‫ﺗﻌﻠﻴﻤﻴﺔ ﻣﺨﺘﻠﻔﺔ ﺗﻤﺎﻣ‪ f‬ﻋﻦ اﻟﺘﻌﻠﻴﻢ اﻟﺠﺎﻣﻌﻲ ﻓﺎﻟﺘﻌﻠﻴﻢ اﻟﺠﺎﻣﻌﻲ‬ ‫ً‬ ‫ﻣﺜـــﻼ ﻋﻠﻰ ﻓﻜـــﺮة اﻟﻤﺠﻤﻮع اﻟـــﺬي ﻳﺆﻫﻞ اﻟﻄﺎﻟـــﺐ ﻟﻠﻘﺒﻮل‬ ‫ﻳﻌﺘﻤـــﺪ‬ ‫وﻫـــﻲ ﻃﺮﻳﻘـــﺔ ﻻ ﻳﻤﻜﻦ أن ﺗﻘﻴﻢ اﻟﻤﻮﻫﺒﺔ اﻟﻔﻨﻴـــﺔ ﺑﻬﺎ ﺑﺄي ﺣﺎل ﻣﻦ‬ ‫ا‪K‬ﺣـــﻮال‪ .‬ﻛﻤﺎ أن ﺗﻌﻠﻴﻢ ﻫﺬه اﻟﻔﻨﻮن ﻳﻬﺪف إﻟﻰ ﺗﺨﺮﻳﺞ ﻓﻨﺎﻧﻴﻦ ﻓﻲ‬ ‫ﻣﻬـــﻦ ﻣﺨﺘﻠﻔـــﺔ وﻣﻦ اﻟﻀﺮوري إرﺗﺒـــﺎط اﻟﺠﺎﻧـــﺐ اﻟﺘﻌﻠﻴﻤﻲ ﺑﺎﻟﺠﺎﻧﺐ‬ ‫اﻟﻤﻬﻨـــﻲ إرﺗﺒﺎﻃﺎ وﺛﻴﻘﺎ ﻳﻤﻜﻦ اﻟﻄﻠﺒﺔ ﻗﺒﻞ ﺗﺨﺮﺟﻬﻢ ﻣﻦ اﻟﺘﻌﻠﻴﻢ‬ ‫واﻟﺘﺪرﻳـــﺐ واﻟﻤﻤﺎرﺳـــﺔ اﻟﻔﻌﻠﻴﺔ وﻫﻮ رﺑﻤﺎ أﻣـــﺮ ﻳﺼﻌﺐ ﺗﺤﻘﻴﻘﻪ ﻓﻲ‬ ‫إﻃﺎر اﻟﺘﻌﻠﻴـــﻢ ا‪K‬ﻛﺎدﻳﻤﻲ اﻟﺠﺎﻣﻌﻲ اﻟﻌﺎﻟـــﻲ وﺧﺎﺻﺔ ﻛﺬﻟﻚ إذا ﻛﺎن‬ ‫ﻳﺤـــﺪ ﻣﻦ ﻣﻤﺎرﺳـــﺔ اﻟﻤﺪرﺳـــﻴﻦ ﻟﻠﻤﻬﻨﺔ ‪ .‬ﻧﺤﻦ ﺑﺤﺎﺟـــﺔ إﻟﻰ اﻟﺜﻘﺎﻓﺔ‬ ‫واﻟﻔﻨﻮن ﻓﻲ ﺟﻤﻴﻊ ﻧﻮاﺣـــﻲ ﺣﻴﺎﺗﻨﺎ وﻓﻲ ﻣﺪﻧﻨﺎ وﻓﻀﺎءاﺗﻬﺎ اﻟﻌﺎﻣﺔ‬ ‫وﻣﺒﺎﻧﻴﻬﺎ اﻟﺘﻲ ﻧﻌﻴﺶ ﻓﻴﻬﺎ ‪.‬‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫∞‪¡UM³ « ±‬‬

‫‪10 Albenaa‬‬

‫‪What to Expect from the New‬‬ ‫‪Ministry of Culture in KSA‬‬ ‫‪Culture is the aggregation of science, art and literature‬‬ ‫‪in a society, and distinguishes the society’s civilization‬‬ ‫‪from other societies.Since the main purpose of‬‬ ‫‪culture is to raise the level of human thinking and be‬‬ ‫‪involved in all the society’s activities, the new Ministry‬‬ ‫‪of Culture’s first step to implement is to incorporate‬‬ ‫‪culture in all aspects of human activities to raise the‬‬ ‫‪level of the society . One of the human activities‬‬ ‫‪that is involved heavily within culture is art in all its‬‬ ‫‪aspects including design art like architecture, interior‬‬ ‫‪design, and industrial design and fashion. All of these‬‬ ‫‪activities are professions that require education to‬‬ ‫‪learn its fundamentals and depends on the society’s‬‬ ‫‪culture that will be served by it so that it can interact‬‬ ‫‪with it. Some countries opt to establish colleges and‬‬ ‫‪institutions for each profession and many countries‬‬ ‫‪there are colleges for Fine Arts to offer artistic‬‬ ‫‪education. In France, for example, a national school‬‬ ‫‪for Fine Arts was established since 350 years that‬‬ ‫‪offered education in all four arts: architecture, painting,‬‬ ‫‪sculpture, decoration. To my knowledge many other‬‬ ‫‪countries followed suit including some Arab countries‬‬ ‫‪like Egypt and Lebanon. In Germany, Bauhaus was‬‬ ‫‪established in 1919 with the aim to incorporate modern‬‬ ‫‪art in the design and production of products. These‬‬ ‫‪education houses played an important role in improving‬‬ ‫‪the lives of the people and had an effect on education‬‬ ‫‪as it was not only established for spreading culture but‬‬ ‫‪also in raising the level of the civilization. The tutors‬‬ ‫‪were artists, architects, and intellectuals who gathered‬‬ ‫‪to teach art at first and all professions of art.We lack‬‬ ‫‪such education. With the establishment of the Ministry‬‬ ‫‪of Culture we hope that education houses for art will be‬‬ ‫‪established to improve the quality of life for the society.‬‬ ‫‪The Ministry of Culture should oversee these education‬‬ ‫‪houses because art education relies on human talent‬‬ ‫‪more than any thing else, and requires different‬‬ ‫‪educational environment than the one in universities,‬‬ ‫‪which depends on the idea of grading and that is not‬‬ ‫‪the way to assess artistic talent. in addition, teaching‬‬ ‫‪art aims and producing artists in many professions,‬‬ ‫‪and it is imperative to incorporate educational aspects‬‬ ‫‪with the profession to enable students to learn,‬‬ ‫‪training, and practices. And this is difficult to achieve‬‬ ‫‪in academic learning specially higher education that‬‬ ‫‪stifles architecture teachers sometimes from practicing‬‬ ‫‪their architecture profession.‬‬ ‫‪Editor in Chief‬‬

l¹—UA*« —U³š√ Benoy, renderings and images of their latest project, the Global Business School in Jeddah. The new business school, which will have students from the Kingdom as well as internationally. The design philosophy of GBS is in line with Saudi Arabia’s Vision 2030 to develop a progressive, knowledge-based economy.

The design for GBS is driven

by Shababco’s innovative approach of a business school that embodies the country’s rapidly-evolving image and is the manifestation of the increasingly progressive attitude that KSA is embracing and promoting.

Spread over an area of 31,336 sqm in total, the Global Business School will provide the core academic, executive education, administrative and faculty facilities over six levels. The larger south wing, will house a gym, sports area, auditorium, knowledge centre and student dining halls, supporting the core academic and executive accommodation.

The north wing, with the smaller footprint and its own distinctive form, will house the innovation centre, faculty offices and teaching accommodation.

‫ﻛﻠﻴﺔ إدارة ا ﻋﻤﺎل اﻟﺠﺪﻳﺪة ﻓﻲ ﺟﺪة‬ Global Business School (GBS)

: ‫اﻟﻤﺼﻤﻢ‬ Architect: Benoy

ŸËdALK ÂUŽ —uEM ‫ﻛﺒﺮ‬R‫ اﻟﺠﻨﺎح اﻟﺠﻨﻮﺑﻲ وﻫﻮ ا‬،‫ﺧﺮ‬l‫ا‬ ‫ﻳﻀﻢ ﻗﺎﻋﺔ رﻳﺎﺿﻴﺔ وﻗﺎﻋﺔ اﺣﺘﻔﺎﻻت‬ ‫وﻣﺮﻛﺰ ﺗﻌﻠﻴﻤﻲ وﻗﺎﻋﺎت ﻟﺘﻨﺎول‬ ‫اﻟﻄﻌﺎم ﺗﺪﻋﻢ اﻟﺠﺎﻧﺐ اﻟﺘﻌﻠﻴﻤﻲ‬ ‫ أﻣﺎ اﻟﺠﻨﺎح اﻟﺸﻤﺎﻟﻲ‬،‫واﻟﺘﻨﻔﻴﺬي‬ ‫ﺻﻐﺮ ﻳﺤﺘﻮي ﻋﻠﻰ اﻟﻤﺮﻛﺰ ا ﺑﺪاﻋﻲ‬R‫ا‬ ‫وﻣﻜﺎﺗﺐ وﺳﻜﻦ أﻋﻀﺎء ﻫﻴﺌﺔ‬ .‫اﻟﺘﺪرﻳﺲ‬

‫ واﻟﺘﻲ ﺗﺠﺴﺪ ﺻﻮرة اﻟﺒﻠﺪ‬،‫اﻟﺸﺒﺎب‬ ‫ﺑﺘﻄﻮرﻫﺎ اﻟﺴﺮﻳﻊ وﺗﻌﺒﺮ ﻋﻦ اﻟﻨﻬﺞ‬ ‫اﻟﺠﺪﻳﺪ اﻟﺘﻲ ﺗﺘﺒﻨﺎه اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬ ‫ ﺗﻘﻊ اﻟﻤﺪرﺳﺔ‬.‫اﻟﺴﻌﻮدﻳﺔ وﺗﺸﺠﻌﻪ‬ ‫ وﺗﻀﻢ‬،‫ ﻣﺘﺮ ﻣﺮﺑﻊ‬٣١،٣٣٦ ‫ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫ﻣﺒﺎﻧﻲ ﺗﻌﻠﻴﻤﻴﺔ وإدارﻳﺔ ﻣﻜﻮﻧﺔ ﻣﻦ‬ ‫ وﻫﻲ ﻣﻜﻮﻧﺔ ﻣﻦ ﺟﻨﺎﺣﻴﻦ‬،‫ﺳﺘﺔ أدوار‬ ‫ﺟﻨﻮﺑﻲ وﺷﻤﺎﻟﻲ أﺣﺪﻫﻤﺎ أﻛﺒﺮ ﻣﻦ‬

‫ ﻋﻦ ﺗﺼﻤﻴﻢ‬Benoy ‫ﻛﺸﻔﺖ ﺷﺮﻛﺔ‬ ‫ﻋﻤﺎل اﻟﺠﺪﻳﺪة ﻟﻠﺒﻨﻴﻦ‬R‫ﻣﺪرﺳﺔ إدارة ا‬ ‫واﻟﺒﻨﺎت ﻓﻲ ﻣﺪﻳﻨﺔ ﺟﺪة واﻟﺘﻲ ﺗﻬﺪف‬ ‫إﻟﻰ اﺳﺘﻘﻄﺎب اﻟﻄﻼب ﻣﻦ اﻟﻤﻤﻠﻜﺔ‬ ‫ و ﺗﺘﻤﻴﺰ ﺑﺘﺼﻤﻴﻢ‬،‫وﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬ ‫ ﻟﻠﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ‬٢٠٣٠ ‫ﻳﺘﻤﺎﺷﻰ ﻣﻊ رؤﻳﺔ‬ ‫ ﻛﻤﺎ ﻳﻌﻜﺲ اﻟﺘﺼﻤﻴﻢ‬،‫اﻟﺴﻌﻮدﻳﺔ‬ ‫رؤﻳﺔ ﺷﺮﻛﺔ ﺷﺒﺎﺑﻜﻮ ﻟﺘﻄﻮﻳﺮ وﺗﻌﻠﻴﻢ‬

‫أﻛﺒﺮ ﻣﺰرﻋﺔ رأﺳﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ‬ World`s Largest Vertical Farm

The world`s biggest vertical farm is set to be built – like so many other “world`s biggest” things – in Dubai, where it will grow salads and leafy greens for Emirates Airlines passengers.

As a partnership between Emirates Flight Catering and Silicon Valley-startup Crop One, the new facility is expected to cover 130,000 sq ft (12,000 sqm).

At its peak, the companies say it will produce as much food as 900 acres (364 ha) of conventional farmland, with a yield of three tons (2,700 kg) every day.

It`s not just about being the biggest though. One of the other key advantages of vertical farming is that it can be set up almost anywhere, including on ships, trailers, inner city, & even in space.

‫ وﺑﺎﻟﺘﺎﻟﻲ ﺧﻔﺾ ﺑﺼﻤﺔ‬، ‫اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫اﻟﻜﺮﺑﻮن اﻟﻨﺎﺗﺠﺔ ﻣﻦ ﻋﻤﻠﻴﺎت ﻧﻘﻞ‬ ‫ ﻳﻀﻤﻦ اﻟﻤﺸﺮوع‬.‫اﻟﺨﻀﺮوات‬ ‫اﻟﺘﺴﻠﻴﻢ اﻟﺴﺮﻳﻊ ﻟﻠﻤﻨﺘﺠﺎت‬ ‫اﻟﻄﺎزﺟﺔ ﺑﻌﺪ ﻗﻄﻔﻬﺎ ﻣﻤﺎ ﻳﺤﺎﻓﻆ‬ ‫ ﺗﺒﻠﻎ‬.‫ﻋﻠﻰ ﻗﻴﻤﺘﻬﺎ اﻟﻐﺬاﺋﻴﺔ‬ ١٣٠ ‫ﻣﺴﺎﺣﺔ اﻟﻤﻨﺸﺄة ﻟﺪى اﻛﺘﻤﺎﻟﻬﺎ‬ ‫ وﺗﻌﺎدل ﻣﺴﺎﺣﺘﻬﺎ‬،‫أﻟﻒ ﻗﺪم ﻣﺮﺑﻊ‬ .‫راﺿﻲ اﻟﺰراﻋﻴﺔ‬R‫ ﻫﻜﺘﺎر ﻣﻦ ا‬٩٠٠ ‫ﻗﺼﻰ‬R‫وﺳﻮف ﻳﺒﻠﻎ اﻟﺤﺼﺎد ا‬ ‫ ﻛﻴﻠﻮﻏﺮام ﻳﻮﻣﻴ! ﻣﻦ‬٢٧٠٠ ‫ﻟﻠﻤﻨﺸﺄة‬ ‫اﻟﺨﻀﺮوات اﻟﻮرﻗﻴﺔ ذات اﻟﺠﻮدة‬ ‫ﺳﻤﺪة‬R‫اﻟﻌﺎﻟﻴﺔ اﻟﺨﺎﻟﻴﺔ ﻣﻦ ا‬ .‫واﻟﻤﺒﻴﺪات اﻟﺤﺸﺮﻳﺔ‬

‫ﻗﺎﻣﺖ ﺷﺮﻛﺔ ا ﻣﺎرات ﻟﺘﻤﻮﻳﻦ‬ ‫اﻟﻄﺎﺋﺮات ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﺷﺮﻛﺔ ﻛﺮوب‬ ‫وان )ﺷﺮﻛﺔ راﺋﺪة ﻋﺎﻟﻤﻴ! ﻓﻲ اﻟﺰراﻋﺔ‬ ‫اﻟﺮأﺳﻴﺔ( ﺑﺈﻧﺸﺎء أﻛﺒﺮ ﻣﻨﺸﺄة‬ ‫ﻟﻠﺰراﻋﺔ اﻟﺮأﺳﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ ﺑﺎﻟﻘﺮب‬ ‫ﻣﻦ ﻣﻄﺎر آل ﻣﻜﺘﻮم اﻟﺪوﻟﻲ ﻓﻲ‬ ‫ ﺣﻴﺚ ﻳﻬﺪف اﻟﻤﺸﺮوع‬.‫ﻣﺪﻳﻨﺔ دﺑﻲ‬ ‫إﻟﻰ ﺗﻮﻓﻴﺮ اﻟﺨﻀﺮوات اﻟﻤﺤﻠﻴﺔ‬ ‫اﻟﻄﺎزﺟﺔ ذات اﻟﺠﻮدة اﻟﻌﺎﻟﻴﺔ‬ ‫ﺑﻬﺪف اﻟﺤﺪ ﻣﻦ ﺗﺄﺛﻴﺮ اﻟﺒﻴﺌﺔ ﻓﻲ‬ ‫ ﻳﻌﻤﻞ اﻟﻤﺸﺮوع‬.‫ﻋﻤﻠﻴﺎت اﻟﺰراﻋﺔ‬ ‫أﻳﻀ! ﻓﻰ اﻟﺤﺪ ﻣﻦ اﺳﺘﻬﻼك اﻟﻤﺎء‬ ٪٩٩ ‫ﻓﻲ اﻟﺰراﻋﺔ ﺑﻨﺴﺒﺔ ﺗﺼﻞ إﻟﻰ‬ ‫ﻣﻦ اﻟﻤﺎء اﻟﻤﺴﺘﺨﺪم ﻓﻰ اﻟﺰراﻋﺔ‬

12 Albenaa

¡UM³ « ±≤

l¹—UA*« —U³š√

Plaza Colon

‫ﺑﻼزا ﻛﻮﻟﻮن‬

Architect: Foster + Partners : ‫اﻟﻤﺼﻤﻢ‬

ŸËdALK ÂUŽ —uEM

50 Scollard

‫ﺑﺮج ﺳﻜﻨﻲ‬

Architect: Foster + Partners : ‫اﻟﻤﺼﻤﻢ‬ The 41-storey residential tower is located on the corner of Bay and Scollard Streets in Yorkville, Toronto. Shops and restaurants within the heritage building and tower, including the restaurant on the third floor, provide active social spaces for both residents and public, making a positive contribution to the surrounding urban realm.

Setting itself apart from the usual ‘green glass tower’, the building has been inspired by the colors and textures of the surrounding urban fabric, giving the tower a materiality that relates to the unique character of the borough.

The pure geometry and structural expression provide a timeless quality, creating a harmonious relationship between the tower and the heritage area of Yorkville.

‫ﺑﺮج ﺳﻜﻨﻲ ﺟﺪﻳﺪ ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫ﺗﻮرﻧﺘﻮ ﻳﺘﻤﻴﺰ ﺑﺘﺼﻤﻴﻤﻪ اﻟﺬي ﻳﻤﺰج‬ ‫ﺑﻴﻦ وﺳﺎﺋﻞ اﻟﺮاﺣﺔ واﻟﻤﺴﺎﻛﻦ‬ .‫اﻟﻔﺎﺧﺮة واﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ اﻟﺨﻀﺮاء‬ ‫ﻳﻘﻊ اﻟﻤﺒﻨﻰ ﻋﻠﻰ زاوﻳﺔ ﺷﺎرﻋﻴﻦ‬ ‫ ﻃﺎﺑﻖ‬٤١ ‫ وﻳﺘﻜﻮن ﻣﻦ‬،‫رﺋﻴﺴﻴﻴﻦ‬ ‫وﻳﻬﺪف إﻟﻰ ﺗﻌﺰﻳﺰ اﻟﻌﻼﻗﺔ ﺑﻴﻦ‬ Jesse Ketchum Park ‫ﺣﺪﻳﻘﺔ‬ ‫ ﻣﻦ‬، ‫اﻟﻌﺎﻣﺔ وﺑﻴﻦ ﻣﻤﺮ ﻣﺸﺎة ﻛﺒﻴﺮ‬ ‫ﺧﻼل إﻧﺸﺎء ﺳﺎﺣﺔ ﻋﺎﻣﺔ ﺟﺪﻳﺪة ﻓﻲ‬ ‫ ﻳﺘﻜﻮن اﻟﻤﺒﻨﻰ‬.‫ﻣﻘﺪﻣﺔ اﻟﻤﺸﺮوع‬ ‫ﻣﻦ أرﺑﻊ ﻛﺘﻞ ﺑﻨﺎﺋﻴﺔ ﻣﺘﺪرﺟﺔ ﻓﻴﻤﺎ‬ ،‫ﺑﻴﻨﻬﺎ ﻟﻜﻞ ﻣﻨﻬﺎ ﺳﻄﺢ ﻣﺰروع‬ ‫وﻳﻤﻜﻦ إﺳﺘﺨﺪاﻣﻬﺎ ﻛﻔﻀﺎءات‬ ‫ ﻳﻀﻢ‬.‫ﺧﺎرﺟﻴﺔ ﻟﻼﺣﺘﻔﺎﻻت واﻟﻤﻨﺎﺳﺒﺎت‬ ‫اﻟﻤﺒﻨﻰ ﻣﺤﻼت ﺗﺠﺎرﻳﺔ وﻣﻄﺎﻋﻢ ﻓﻲ‬ ‫اﻟﺪور اﻟﺜﺎﻟﺚ ﺗﻮﻓﺮ ﻣﺴﺎﺣﺎت اﺟﺘﻤﺎﻋﻴﺔ‬ .‫ﻧﺸﻄﺔ ﻋﺎﻣﺔ ﻟﻠﺴﻜﺎن واﻟﺰوار‬ ‫اﺳﺘﻮﺣﻴﺖ ﺗﻘﺴﻴﻤﺎت اﻟﻮاﺟﻬﺎت ﻣﻦ‬ ‫ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ‬ ‫ﻣﻤﺎ ﻳﻌﻄﻲ اﻟﻤﺒﻨﻰ ﻃﺎﺑﻊ ﻣﺮﺗﺒﻂ‬ .‫ﺑﺎﻟﻤﺪﻳﻨﺔ‬

UOKF « WI¹b×K —uEM

WFЗ_« U¹u² LK Uł—b² « WEŠö sJ1Ë Ãd³K ÂUŽ dEM

© Photos Foster + Partners

The four-storey building is ‫ﺳﺒﺎﻧﻴﺔ وﻓﻲ أﻛﺜﺮ‬P‫ﻓﻲ ﻗﻠﺐ ﻣﺪﻳﻨﺔ ﻣﺪرﻳﺪ ا‬ characterised by its distinctive ‫ ﻋﻠﻰ‬،‫ ﻳﻘﻊ ﻣﺒﻨﻰ ﺑﻼزا ﻛﻮﻟﻮن‬R‫اﻟﻤﻮاﻗﻊ ﺟﺬﺑ‬ stainless-steel diagrid façade that ‫زاوﻳﺔ أﺣﺪ اﻟﺘﻘﺎﻃﻌﺎت اﻟﻤﻬﻤﺔ اﻟﻤﻘﺎﺑﻠﺔ‬ gives it a strong visual identity. ‫اﻟﺴﺎﺣﺎت‬ ‫ﻟﺴﺎﺣﺔ ﺑﻼزا ﻛﻮﻟﻮن اﻟﺘﻲ ﺗﻌﺪ أﺣﺪ‬ The optimised geometry ‫اﻟﻤﻜﺘﺒﺔ‬ ‫اﻟﻌﺎﻣﺔ اﻟﻜﺒﻴﺮة واﻟﺘﻲ ﺗﻘﻊ ﻋﻠﻴﻬﺎ‬ responds to structural efficiency, ‫ ﻳﺴﻌﻰ اﻟﻤﺸﺮوع إﻟﻰ ﺗﺤﻮﻳﻞ‬.‫اﻟﻮﻃﻨﻴﺔ‬ minimising energy and material consumption. Shops on the ‫وإﻋﺎدة ﺗﺼﻤﻴﻢ اﻟﻬﻴﻜﻞ اﻟﻘﺪﻳﻢ ﻟﻠﻤﺒﻨﻰ‬ ground floor draw pedestrians ‫ﻧﺸﺎء ﻣﻌﻠﻢ ﺑﺎرز ﺟﺪﻳﺪ ﻟﻠﻤﺪﻳﻨﺔ ﻳﻌﻜﺲ‬P into the building, with the ‫ ﻳﺘﻤﺘﻊ اﻟﻤﻮﻗﻊ ﺑﺄﻫﻤﻴﺔ‬.‫ﻫﻮﻳﺔ وأﻫﻤﻴﺔ اﻟﻤﻮﻗﻊ‬ permeable building envelope ‫ أﺳﺎﺳﻲ ﻣﻦ رؤﻳﺔ‬X‫ ﺟﺰء‬R‫ﺗﺎرﻳﺨﻴﺔ وﻫﻮ أﻳﻀ‬ ensuring maximum visibility, ‫ ﻛﻤﺎ ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ إﻟﻰ‬. ‫ﺗﻄﻮﻳﺮ ﻣﺪرﻳﺪ‬ allowing daylight to flood in and creating a friendly and inviting ‫إﻧﺸﺎء ﻣﺒﻨﻰ ذو ﻣﺮوﻧﺔ ﻋﺎﻟﻴﺔ ﺗﺘﻨﺎﺳﺐ ﻣﻊ‬ experience. The building has a ‫ ﻳﺘﻜﻮن اﻟﻤﺒﻨﻰ‬.‫أي إﺳﺘﺨﺪاﻣﺎت ﻣﺴﺘﻘﺒﻠﻴﺔ‬ flexible floor plan throughout, ‫ ﻏﻠﻔﺖ ﺑﻮاﺟﻬﺎت زﺟﺎﺟﻴﺔ‬،‫ﻣﻦ أرﺑﻌﺔ أدوار‬ with the core with lifts, stairs ‫ﺗﻐﻄﻴﻬﺎ ﺷﺒﻜﺔ ﻣﻦ اﻟﺴﺘﻴﻨﻠﺲ ﺳﺘﻴﻞ‬ and services focussed along ‫ ﺗﻘﻊ‬.‫ﺗﻌﻄﻲ ﻫﻮﻳﺔ ﺑﺼﺮﻳﺔ ﻗﻮﻳﺔ ﻟﻠﻤﺒﻨﻰ‬ the south façade. The building ‫اﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ ﻓﻲ اﻟﺪور ا]رﺿﻰ ﺑﻴﻨﻤﺎ‬ is naturally lit and ventilated with maximised floor-to‫ﺗﺸﻐﻞ اﻟﻤﻜﺎﺗﺐ اﻻدوار اﻻرﺑﻌﺔ ﻓﻮﻗﻬﺎ اﻟﺘﻰ‬ ceiling heights, and the design ‫ﺗﻌﻠﻮﻫﺎ ﺣﺪﻳﻘﺔ ﺗﻮﻓﺮ ﻣﺴﺎﺣﺎت ﺗﺸﺠﻊ ﻋﻠﻰ‬ retains the existing structure ‫ وﻳﺮﺗﺒﻂ اﻟﻤﺒﻨﻰ‬، ‫ﺗﻼﻗﻰ ﻣﺮﺗﺎدى اﻟﻤﺒﻨﻰ‬ of the building erected in the ‫اﻟﺘﻲ‬ ‫ﺑﻤﺤﻴﻄﻪ ﻣﻦ ﺧﻼل واﺟﻬﺎﺗﻪ اﻟﺸﻔﺎﻓﺔ‬ 1970’s, reinforcing the project’s .‫اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﺿﺎءة‬P‫ﺗﻮﻓﺮ أﻛﺒﺮ ﻛﻤﻴﺔ ﻣﻦ ا‬ innovative sustainable approach.

sJ « 5Ð vŽUL²ł≈ q «u² « l−Að W¹—U& ö× Ë ¡«dCš «¡UC 14 Albenaa

¡UM³ « ±¥

l¹—UA*« —U³š√

‫ﻣﺴﺎﻛﻦ ﺑﺈﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ اﻟﻄﺒﺎﻋﺔ اﻟﺜﻼﺛﻴﺔ ا ﺑﻌﺎد‬ World’s First 3D-Printed Concrete Housing Project

ŸËdALK ÂUŽ —uBð

ÂU−Š_« WHK² WOMJÝ «bŠË

ŸËdALK jD The Dutch city of Eindhoven is to host the world’s first commercial housing project based on 3D-concrete printing, with the first of five planned houses due to start construction this year. The units were developed by a collaborative team including local firm Houben & Van Mierlo Architecten, and the Eindhoven University of Technology.

The pods will be purchased and let out by a real estate company upon completion.

The first house will be a singlefloor, three-room house measuring 1000 square feet (95 square meters), to be followed by four multi-story units. The irregular shape of the buildings is based on “erratic blocks in the green landscape,” made possible due to the flexibility of form permitted

by 3D-printing.

A phased approach to construction allows for research and innovation from the construction of early units to be enacted for later houses. The elements for the first house will be printed at the university, with the goal of shifting the entire process to the construction site for the fifth unit.

The scheme represents the potential impact of 3D-printed concrete on the construction industry, with the ability to construct almost any shape, with a variety of qualities and colors in the same building element.

The process also addresses the environmental impact of construction, with the reduction in cement resulting in a decrease in CO2 emissions.

‫ ﺗﺤﺪ ﻋﻤﻠﻴﺔ‬.‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﺠﻮدة‬ ‫ﺑﻌﺎد ﻣﻦ‬-‫اﻟﺒﻨﺎء ﺑﺎﻟﻄﺎﺑﻌﺔ ﺛﻼﺛﻴﺔ ا‬ ‫اﻟﺘﺄﺛﻴﺮ اﻟﺴﻠﺒﻰ ﻋﻠﻰ ﻋﻤﻠﻴﺎت‬ ‫اﻟﺒﻨﺎء ﺑﺨﻔﺾ اﻧﺒﻌﺎﺛﺎت اﻟﻜﺮﺑﻮن‬ ‫واﻟﺘﻘﻠﻴﻞ ﻣﻦ إﺳﺘﻬﻼك ﻛﻤﻴﺎت‬ ‫ ﻳﺘﻜﻮن‬.‫ﻛﺒﻴﺮة ﻣﻦ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫ وﺣﺪات ﺳﻜﻨﻴﺔ‬٥ ‫اﻟﻤﺸﺮوع ﻣﻦ‬ ‫ﻣﺨﺘﻠﻔﺔ اﻻﺣﺠﺎم واﻟﻤﺴﺎﺣﺎت‬ ‫ اﻟﻮﺣﺪة‬.‫ﻣﻼﺋﻤﺔ ﻟﻠﺴﻜﻦ‬ ‫وﻟﻰ ﺗﺘﻜﻮن ﻣﻦ‬-‫اﻟﺴﻜﻨﻴﺔ ا‬ ‫ ﻣﺘﺮ‬٩٥ ‫ﻃﺎﺑﻖ واﺣﺪ ﺑﻤﺴﺎﺣﺔ‬ ،‫ﻣﺮﺑﻊ ﻣﻜﻮﻧﺔ ﻣﻦ ﺛﻼث ﻏﺮف‬ ‫ﺧﺮى‬-‫أﻣﺎ اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ ا‬ ‫ ﻳﺘﻤﻴﺰ‬. ‫ﻓﺘﺘﻜﻮن ﻣﻦ ﻋﺪة ﻃﻮاﺑﻖ‬ ‫اﻟﻤﺸﺮوع ﺑﺘﺼﻤﻴﻤﻪ ﻟﻠﻮﺣﺪات‬ ‫اﻟﺴﻜﻨﻴﺔ اﻟﺘﻲ ﺻﻤﻤﺖ ﺑﺰواﻳﺎ‬ ‫داﺋﺮﻳﺔ ﻣﻦ اﻟﺨﺎرج ﺑﻴﻨﻤﺎ ﻣﻦ‬ ‫اﻟﺪاﺧﻞ اﻟﺰواﻳﺎ اﻟﺪاﺧﻠﻴﺔ ﻋﺎدﻳﺔ‬ ‫ﺳﺘﺨﺪاﻣﺎت‬+‫ﻟﻠﺘﺘﻨﺎﺳﺐ ﻣﻊ ا‬ .‫اﻟﺪاﺧﻠﻴﺔ ﻟﻠﺴﻜﺎن‬

‫ﻓﻲ ﻣﺪﻳﻨﺔ آﻳﻨﺪﻫﻮﻓﻦ ﺗﺴﺘﻌﺪ‬ ‫ﻫﻮﻟﻨﺪا ﻟﺒﻨﺎء أول ﻣﺴﻜﻦ‬ ‫ﺿﻤﻦ أول ﻣﺸﺮوع ﺗﻘﻨﻲ ﺣﺪﻳﺚ‬ ‫ﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ اﻟﻄﺎﺑﻌﺔ ﺛﻼﺛﻴﺔ‬+ ‫ اﻟﻤﺸﺮوع‬. ‫ﺑﻌﺎد ﻓﻲ اﻟﺒﻨﺎء‬-‫ا‬ ‫ﻣﺸﺘﺮك ﺑﻴﻦ ﺷﺮﻛﺔ‬ Houben & Van Mierlo Architecten

‫و ﺟﺎﻣﻌﺔ آﻳﻨﺪﻫﻮﻓﻦ‬ ‫ وﺳﺘﺒﺪأ ﻣﺮاﺣﻞ‬.‫ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫ ﺑﺪأً ﺑﺎﻟﻮﺣﺪة‬7‫اﻟﺒﻨﺎء ﺗﺪرﻳﺠﻴ‬ ‫ وﺳﻴﺘﻢ ﻃﺒﺎﻋﺔ ﻋﻨﺎﺻﺮﻫﺎ‬, ‫وﻟﻰ‬-‫ا‬ ‫ﻓﻲ اﻟﺠﺎﻣﻌﺔ ﺛﻢ ﻧﻘﻞ اﻟﻄﺒﺎﻋﺔ‬ ‫ﺑﺄﻛﻤﻠﻬﺎ إﻟﻰ ﻣﻮﻗﻊ اﻟﺒﻨﺎء ﻋﻨﺪ‬ ‫ ﻳﻬﺪف‬.‫اﻟﺒﺪء ﺑﺎﻟﻮﺣﺪة اﻟﺨﺎﻣﺴﺔ‬ ‫اﻟﻤﺸﺮوع إﻟﻰ إﺑﺮاز اﻟﻔﻮاﺋﺪ اﻟﺒﻴﺌﻴﺔ‬ ‫ﻟﻠﺨﺮﺳﺎﻧﺔ اﻟﻤﻄﺒﻮﻋﺔ ﺑﺎﻟﻄﺎﺑﻌﺔ‬ ،‫ﺑﻌﺎد ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﺒﻨﺎء‬-‫ﺛﻼﺛﻴﺔ ا‬ ‫ﻓﻬﻲ أﻓﻀﻞ ﻣﻦ اﻟﺒﻨﺎء اﻟﺘﻘﻠﻴﺪي‬ ‫ﺣﻴﺚ ﻳﻤﻜﻦ ﺗﺼﻤﻴﻢ أي ﺷﻜﻞ‬ ‫ ﺑﺄﻟﻮان ﻣﺨﺘﻠﻔﺔ وﻣﺴﺘﻮﻳﺎت‬7‫ﺗﻘﺮﻳﺒ‬

16 Albenaa

¡UM³ « ±∂

l¹—UA*« —U³š√

Studio Gang’s first project in Canada, One Delisle is a new residential tower that considers how to sustainably grow cities. Located at an important node in Toronto and anchoring the corner of a fullblock development, it provides much-needed density on a compact footprint, growing its neighborhood upward to meet urban challenges and benefit the city, while remaining sensitive to its context amid new open park space. Bringing an abundance of comfortable outdoor space to city living, the tower is tuned to Toronto’s climate and lifestyle.

Its distinctive facade comprises a series of eight-story elements, which nest together as they spiral up the building. Balconies are set within these elements, with generous terraces set atop them.

Leaning outward for sun-shading and wind protection, they permit use of the balconies and terraces well into the shoulder seasons. In addition to providing protected outdoor space, these elements lend the tower a more human scale. Their angled, alternating geometry allows for variously sized floor plates that result in unique conditions within the units, bringing a diversity of residential options to the mixeduse neighborhood. Responsive to the surrounding streetscape, the tower is rectilinear at its base to fit within the city grid and address its corner condition at Yonge Street and Delisle Avenue, transforming into a multifaceted cylindrical shape as it rises to expand views, capture more sunlight, and minimize shadows on the street. The building’s setbacks allow for widened, landscaped sidewalks, which, in addition to new small-scale retail, create a pleasant pedestrian experience. Improving urban connectivity, the design also links the important node at Yonge Street and St. Clair Avenue with the newly developed Delisle Park.

The full-block revitalization will utilize a district energy system that allows the new construction to share mechanical loads with existing commercial buildings, offsetting energy use.

‫ﺑﺮج ﺳﻜﻨﻲ ﻣﺴﺘﺪام‬ One Delisle : ‫اﻟﻤﺼﻤﻢ‬ Architect: Studio Gang

ÂUŽ dEM

ŸËdALK ÂUŽ jD

ÂUF « l u « ‫إﺳﻄﻮاﻧﻰ ﻟﻜﻰ ﺗﻮﻓﺮ إﻃﻼﻟﺔ ﻛﺎﻣﻠﺔ‬ . ‫وﺗﺘﻌﺮض اﻛﺜﺮ ?ﺷﻌﺔ اﻟﺸﻤﺲ‬ ‫ﻳﺮﺗﺪ اﻟﺒﺮج إﻟﻰ داﺧﻞ ا?رض ﻟﻴﺤﻘﻖ‬ ‫ﻓﻀﺎءات واﺳﻌﺔ ﻟﻠﻤﺎرة و ﺗﻮﻓﻴﺮ‬ ‫اﻻﺷﺠﺎر ﻛﻤﺎ ﻳﺴﻤﺢ ﺑﺘﻮﻓﻴﺮ ﺣﻮاﻧﻴﺖ‬ ‫ﺗﺠﺎرﻳﺔ ﻓﻴﻬﺎ ﺑﺤﻴﺚ ﻳﺤﻘﻖ اﻟﻤﺸﺮوع‬ . ‫ﻓﻀﺎءات ﻋﺎﻣﺔ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺤﻴﻮﻳﺔ‬ ‫ﻳﺘﻮاﺻﻞ اﻟﻤﺸﺮوع ﻣﻊ اﻟﻜﺘﻞ اﻟﺒﻨﺎﺋﻴﺔ‬ ‫اﻟﻤﺤﻴﻄﺔ ﻣﻦ ﺧﻼل اﻟﻔﻀﺎءات‬ ‫ ﺻﻤﻢ اﻟﻤﺸﺮوع‬. ‫اﻟﻤﻔﺘﻮﺣﺔ ﻓﻴﻪ‬ ‫ﺑﺤﻴﺚ ﺗﺘﺸﺎرك اﻧﻈﻤﺘﻪ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬ ‫ﻣﻊ اﻧﻈﻤﺔ اﻟﻤﺒﺎﻧﻴﻰ اﻟﻤﺤﻴﻄﺔ ﺑﻬﺪف‬ . ‫ﺧﻔﺾ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬

tDO× l vM³*« jÐdð …bŽUI « w W¹—U& Èdš√Ë WOł—Uš UŠU ‫ﻟﻮﻟﺒﻴﺔ و ﺗﺘﺪاﺧﻞ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ‬ ‫ زودت‬. ‫ ادوار‬٨ ‫ﺗﺘﻜﻮن ﻛﻞ ﻣﻨﻬﺎ ﻣﻦ‬ ‫اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ ﺑﺸﺮﻓﺎت ﺧﺎرﺟﻴﺔ‬ ‫ ﺗﻤﻴﻞ اﻟﻮاﺟﻬﺎت اﻟﻰ اﻟﺨﺎرج‬. ‫رﺣﺒﺔ‬ ‫ﻟﺘﻮﻓﺮ ﻟﻬﺎ ﺗﻈﻠﻴﻼ وﺣﻤﺎﻳﺔ ﻣﻦ اﻟﺮﻳﺎح‬ ‫ﺿﺎﻓﺔ إﻟﻰ ﺗﺤﻘﻴﻘﻄﺎﺑﻊ‬S‫ ﺑﺎ‬، ‫ﻓﻲ أﺣﺪ‬ ‫ ﺗﺘﻨﻮع ﻣﺴﺎﺣﺎت‬. ‫إﻧﺴﺎﻧﻲ ﻟﻠﺒﺮج‬ ‫اﻟﻮﺣﺪات اﻟﺴﻜﻨﻴﺔ ﻧﺘﻴﺠﺔ ﻟﺸﻜﻞ‬ . ‫اﻟﻜﺘﻞ اﻟﺒﻨﺎﺋﻴﺔ واﺟﻬﺎﺗﻬﺎ اﻟﻤﺎﺋﻠﺔ‬ ‫ﻗﺎﻋﺪة اﻟﺒﺮج ذات ﺧﻄﻮط ﻣﺴﺘﻘﻴﻤﺔ‬ ‫ﺗﺘﻤﺎﺷﻴﻰ ﻣﻊ ﺣﺪود ا?رض‬ ‫وﺗﺨﻄﻴﻂ اﻟﺤﻰ وﻣﻮﻗﻊ ا?رض ﻣﻦ‬ ‫اﻟﺘﻘﺎﻃﻊ ﺑﻴﻨﻤﺎ ﺗﺮﺗﻔﻊ ا?دوار ﺑﺸﻜﻞ‬

‫ﻳﻘﺪم ﻫﺬا اﻟﺒﺮج اﻟﺴﻜﻨﻲ ﺟﺪﻳﺪ‬ ‫ ﻧﻤﻮذﺟ ﺟﺪﻳﺪ ﻟﻠﻨﻤﻮ‬،‫ﻓﻲ ﻛﻨﺪا‬ ‫ ﻳﻘﻊ اﻟﻤﺸﺮوع‬. ‫اﻟﻤﺴﺘﺪام ﻟﻠﻤﺪن‬ ‫ﻋﻠﻰ ﻧﺎﺻﻴﺔ ﺗﻘﺎﻃﻊ ﻃﺮق ﻫﺎم ﻓﻲ‬ ‫ﻣﺪﻳﻨﺔ ﺗﻮرﻧﺘﻮ ﻋﻠﻰ ارض ﻳﺮﺗﻔﻊ‬ ‫ﻓﻮﻗﻬﺎ اﻟﺒﺮج ﻋﺎﻟﻴﺎ ﻋﻠﻲ ﺟﺰء‬ ‫ﻣﻨﻬﺎ ﻟﻴﺤﻘﻖ ﻛﺜﺎﻓﺔ ﺳﻜﻨﻴﺔ ﻋﺎﻟﻴﺔ‬ ‫وﻳﺴﻤﺢ ﺑﺘﺤﻘﻴﻖ ﻓﻀﺎء ﻋﺎم ﻣﻔﺘﻮح‬ ‫ اﻟﺘﺼﻤﻴﻢ‬. ‫ﻋﻠﻲ ﺑﺎﻗﻰ ﻣﺴﺎﺣﺔ ا?رض‬ ‫ﻳﺤﺘﺮم و ﻳﺤﺎﻓﻆ ﻋﻠﻰ ﻧﻤﻂ ﺣﻴﺎة‬ ‫ ﻛﻤﺎ ﻳﺮاﻋﻰ‬، ‫اﻟﺴﻜﺎن ﻓﻲ ﺗﻮرﻧﺘﻮ‬ ‫ﻣﻨﺎﺧﻬﺎ ﻓﻮاﺟﻬﺎﺗﻪ اﻟﻤﺘﻤﻴﺰة ﺗﺘﻜﻮن‬ ‫ﻣﻦ ﻛﺘﻞ ﺑﻨﺎﺋﻴﺔ ﺗﺮﺗﻔﻊ ﺑﻄﺮﻳﻘﺔ‬

18 Albenaa

¡UM³ « ±∏

l¹—UA*« —U³š√

‫ﻣﺮﻛﺰ ﻓﺎﻧﻚ ا وﻟﻤﺒﻲ‬ ‫اﻟﻤﺘﻌﺪد ا ﺳﺘﺨﺪاﻣﺎت‬ Olympic Vanke Centre : ‫اﻟﻤﺼﻤﻢ‬ Architect: LWK & Partners Architects

ŸËdALK Íuł —uEM

‰Ë_« —Ëb « jI

ŸËdALK w Ozd « qšb*« Olympic Vanke Centre is a mixed-use development located at the heart of Qianjiang Century City Central Business District that has reinterpreted the podiumtower typology by blurring the work-life distinction. The twin towers of 23 and 21 storeys high respectively sit on top of a five-storey podium.

The building is complete with three levels of underground space that serves as a car park and integrated servicing area. The towers are mainly

office space, while the podium contains various foods and beverages as well as connecting amenities, such as the gymnasium, cafeteria and other entertainment spaces.

Continuity of outdoor space allows free movement of air and visual connection on plan and section; as well as encouraging human activities to spill out, expand and appropriate. The two towers target at different tenants: the higher is expected to house corporate tenants,

f U)« —Ëb « jI while the lower tower features numerous cubicle work stations with a generous common area for start-ups and entrepreneurs. The two’s façades also employs contrasting systems of passive sun-shading to lower interior heat gain. The higher tower deploys external super grid on the curtain wall to regulate the oblique glaring nuisance, whereas the lower has installed horizontally slicing timber planes on the window wall to reflect the light inward.

‫اﻟﻤﺸﺮوع ﻫﻮ ﻣﺠﻤﻊ ﻣﺘﻌﺪد‬ ‫ا ﺳﺘﺨﺪاﻣﺎت ﻳﻘﻊ ﻓﻲ ﻗﻠﺐ ﻣﺮﻛﺰ‬ ‫ا'ﻋﻤﺎل ﻓﻲ ﻣﺪﻳﻨﺔ ﻫﺎﻧﻐﺘﺸﻮ ﻓﻲ‬ ‫ ﻳﺘﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ ﺑﺈﻋﺎدة‬.‫اﻟﺼﻴﻦ‬ ‫ﺗﺼﻮر ﻗﺎﻋﺪة اﻟﻤﺒﻨﻰ ذات اﻟﺨﻤﺴﺔ‬ ‫ادوار ﻣﻦ ﺧﻼل دﻣﺠﻬﺎ ﻓﻰ اﻟﺒﻴﺌﺔ‬ ‫ ﻳﺘﻜﻮن‬. ‫اﻟﻤﻨﻴﺔ واﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ‬ ‫اﻟﻤﺸﺮوع ﻣﻦ ﺑﺮﺟﻴﻦ أﺣﺪﻫﻤﺎ ﻳﻀﻢ‬ ‫ ﻛﻞ ﻣﻨﻬﺎ‬،‫ دور‬٢٣ ‫ﺧﺮ ﻳﻀﻢ‬E‫ وا‬F‫ دور‬٢١ ‫ﻳﺤﺘﻮى ﻋﻠﻰ ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ ﻣﺮﻧﺔ‬ ‫ ﻓﻰ اﻟﻘﺎﻋﺪة اﻟﺘﻰ‬I‫وﻳﺸﺘﺮﻛﺎن ﻣﻌ‬ ‫ﺗﺤﺘﻮي ﻋﻠﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻄﺎﻋﻢ‬ ‫واﻟﻤﻘﺎﻫﻲ واﻟﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ ﺑﺎ ﺿﺎﻓﺔ‬ ‫إﻟﻰ ﺷﺮﻓﺎت ﺧﺎرﺟﻴﺔ ﻣﺰروﻋﺔ ﺗﺮﺗﺒﻂ‬ ‫ﺑﺎ'ﺑﺮاج ﻣﻦ ﺧﻼل ﻣﻤﺮات ﻓﻮق ﺳﻄﺢ‬ ‫ ﻛﻤﺎ ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ‬.‫اﻟﻘﺎﻋﺪة‬ ‫ ﻣﺴﺘﻮﻳﺎت ﺗﺤﺖ ا'رض ﻟﻤﻮاﻗﻒ‬٣ ‫ اﺳﺘﺨﺪﻣﺖ‬.‫اﻟﺴﻴﺎرات وﻣﺮاﻓﻖ ﺧﺪﻣﻴﺔ‬ ‫أﻧﻈﻤﺔ ﻣﺘﺒﺎﻳﻨﺔ ﻟﺘﻈﻠﻴﻞ واﺟﻬﺎت‬ ‫ا'ﺑﺮاج ﻟﻠﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ‬ ‫واﻟﺤﺪ ﻣﻦ اﻛﺘﺴﺎب اﻟﺤﺮارة ﻓﻲ‬ ‫ إﺳﺘﺨﺪﻣﺖ ﻓﻲ اﻟﺒﺮج ا'ﻃﻮل‬،‫اﻟﺪاﺧﻞ‬ ‫ﺷﺒﻜﺔ ﻣﻦ اﻟﺴﻮاﺗﺮ ﻋﻠﻰ واﺟﻬﺎﺗﻪ‬ ‫ﺗﻌﻜﺲ أﺷﻌﺔ اﻟﺸﻤﺲ اﻟﻤﺒﺎﺷﺮة‬ ‫ﺗﺴﺘﻔﻴﺪ ﻣﻨﻬﺎ اﻟﻘﺎﻋﺪة ﻓﻲ اﻟﺤﺼﻮل‬ ‫ أﻣﺎ اﻟﺒﺮج‬،‫ﻋﻠﻰ ا ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ا'ﻗﺼﺮ اﺳﺘﺨﺪﻣﺖ ﻓﻴﻪ أﻟﻮاح ﻃﻮﻟﻴﺔ‬ ‫ﻣﻦ اﻟﺨﺸﺐ ﻟﺘﻈﻠﻴﻞ اﻟﻨﻮاﻓﺬ ﺗﻌﻤﻞ‬ .‫ﻋﻠﻰ ﻋﻜﺲ اﻟﻀﻮء إﻟﻰ اﻟﺪاﺧﻞ‬

20 Albenaa

¡UM³ « ≤∞

‫ﻣﺘﻌﺎرف ﻋﻠﻴﻬﺎ ﻟﺸﻜﻞ ا ﺳﺘﺎد وﻫﻲ اﻟﺸﻜﻞ اﻟﺒﻴﻀﺎوي‬ ‫واﻟﺪاﺋﺮي واﻟﺴﺪاﺳﻲ واﻟﻤﺴﺘﻄﻴﻞ اﻟﺪاﺋﺮي ا رﻛﺎن‬ ‫واﻟﻤﺴﺘﻄﻴﻞ اﻟﻤﻔﺘﻮح اﻟﺰواﻳﺎ واﻟﻤﻔﺘﻮح اﻟﺠﺎﻧﺒﻴﻦ ‪.‬ﺗﻨﺎﺳﺐ‬ ‫ا ﺳﺘﺎدات اﻟﺒﻴﻀﺎوﻳﺔ واﻟﺪاﺋﺮﻳﺔ ا ﺳﺘﺨﺪاﻣﺎت اﻟﻤﺘﻌﺪدة‬ ‫)ﻣﻀﻤﺎر وﻣﻠﻌﺐ( ﺑﻴﻨﻤﺎ ﻳﺤﻘﻖ اﻟﻤﺴﺘﻄﻴﻞ اﻟﺪاﺋﺮي ا رﻛﺎن‬ ‫ﻋﻼﻗﺔ ﺟﻴﺪة ﺑﻴﻦ اﻟﻤﻠﻌﺐ واﻟﻤﺪرﺟﺎت ﻓﻰ إﺳﺘﺎدات ﻛﺮة‬ ‫اﻟﻘﺪم‪ ،‬أﻣﺎ ا ﺳﺘﺎدات اﻟﻤﻔﺘﻮﺣﺔ ا رﻛﺎن ﻓﻬﻲ ا ﻗﻞ ﺗﻜﻠﻔﺔ‬ ‫ﻛﻮﻧﻬﺎ ذات ﺗﺼﻤﻴﻢ ﻣﺒﺴﻂ إﻻ أﻧﻬﺎ ﻣﻤﻴﺰة ﻧﻬﺎ ﺗﺴﻤﺢ‬ ‫ﺑﺈﻃﻼﻟﺔ واﺳﻌﺔ ﻟﻠﻤﺘﻔﺮﺟﻴﻦ ﻋﻠﻰ اﻟﻤﻨﺎﻃﻖ اﻟﻤﺤﻴﻄﺔ ﺧﺎﺻﺔ‬ ‫إذا ﻛﺎﻧﺖ ذات ﻃﺒﻴﻌﺔ ﺧﻼﺑﺔ ) ﺟﺒﺎل ‪ ،‬ﺑﺤﺮ ‪ ،‬ﺣﺪاﺋﻖ ﻏﻨﺎء ( ‪.‬‬ ‫ ﺣﺮﻛﺔ اﻟﻤﺘﻔﺮﺟﻴﻦ ‪ :‬ﻫﻨﺎك ‪ ٣‬ﻧﻤﺎذج رﺋﻴﺴﺔ ﻟﻠﺤﺮﻛﺔ‬‫ﺗﻬﺪف ﺟﻤﻴﻌﻬﺎ إﻟﻰ ﺗﺤﻘﻴﻖ دﺧﻮل وﺧﺮوج آﻣﻦ وﺳﻬﻞ‬ ‫ﻟﻠﻤﺘﻔﺮﺟﻴﻦ وﺗﻌﺘﻤﺪ ﻋﻠﻰ ﻋﺪد ﻃﺒﻘﺎت اﻟﻤﺪرﺟﺎت‬ ‫واﻟﻔﺼﻞ ﺑﻴﻦ ﻓﺌﺎت اﻟﻤﺘﻔﺮﺟﻴﻦ ) ﻓﺼﻞ ﻣﺪرﺟﺎت‬ ‫اﻟﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ و اﻟﻔﺼﻞ ﺑﻴﻦ ﻣﺸﺠﻌﻲ ا ﻧﺪﻳﺔ‬ ‫اﻟﻤﺘﻨﺎﻓﺴﺔ( ‪ .‬ﻓﺈذا ﻛﺎﻧﺖ اﻟﻤﺪرﺟﺎت ﻣﻦ ﻃﺒﻘﺔ واﺣﺪة‬ ‫ﻣﺪﻓﻮﻧﺔ ﻓﻲ ا رض ﻓﺎﻟﺪﺧﻮل ﻳﻜﻮن ﻣﻦ اﻟﻤﺴﺘﻮى اﻟﻌﻠﻮي‬ ‫اﻟﺬي ﻳﻜﻮن ا رﺿﻲ ﻣﻦ ﺧﻼل ﻣﻤﺮ ﺗﻮزﻳﻊ ﺧﺎرﺟﻲ داﺋﺮي ﺣﻮل‬ ‫اﻟﻤﺪرﺟﺎت ‪ .‬إذا ﻛﺎﻧﺖ اﻟﻤﺪرﺟﺎت ﻣﻜﻮﻧﺔ ﻣﻦ ﻃﺒﻘﺘﻴﻦ ﻓﺈﻧﻪ‬ ‫ﻳﺘﻢ اﻟﺪﺧﻮل إﻟﻴﻬﺎ ﻋﺒﺮ ﻣﺴﺘﻮى وﺳﻄﻲ ﺑﻴﻦ اﻟﻄﺒﻘﺘﻴﻦ‬ ‫ﻣﻦ ﺧﻼل ﻣﻤﺮ داﺋﺮي ﻳﻤﻜﻦ اﻟﻨﺰول أو اﻟﺼﻌﻮد ﻣﻨﻪ إﻟﻰ‬ ‫ﻃﺒﻘﺘﻲ اﻟﻤﺪرﺟﺎت ‪ ،‬وإذا ﻛﺎن ﻋﺪد ﻃﺒﻘﺎت اﻟﻤﺪرﺟﺎت ‪٣‬‬ ‫ﺗﺰود اﻟﻤﺪرﺟﺎت ﺑﺄﻛﺜﺮ ﻣﻦ ﻣﻤﺮ داﺋﺮي ‪ ،‬ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ﻣﺨﺎرج‬ ‫ﺻﻐﻴﺮة ﻣﺘﻌﺪدة ﻣﻮزﻋﺔ ﻋﻠﻰ اﻟﻤﺪرﺟﺎت وﺗﻮﻓﻴﺮ ﻋﺪد‬ ‫ﻛﺎﻓﻲ ﻣﻦ اﻟﻤﺼﺎﻋﺪ واﻟﺴﻼﻟﻢ واﻟﻤﻨﺤﺪرات ‪.‬‬ ‫ اﻟﻤﺪرﺟﺎت ‪ :‬ﻳﻌﺘﻤﺪ ﺗﺼﻤﻴﻢ اﻟﻤﺪرﺟﺎت ﻋﻠﻰ اﻟﻄﺎﻗﺔ‬‫ا ﺳﺘﻴﻌﺎﺑﻴﺔ ﻟﻠﻤﺘﻔﺮﺟﻴﻦ اﻟﻤﺮاد ﺗﺤﻘﻴﻘﻬﺎ واﻟﺘﻲ ﺗﺤﺪد‬ ‫ﻋﺪد ﻃﺒﻘﺎت اﻟﻤﺪرﺟﺎت‪ ،‬ﻋﻠﻰ أﻧﻪ ﻣﻦ اﻟﻤﻼﺣﻆ أن زﻳﺎدة‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ﻟ‪d‬ﺳﺎدات واﻟﺤﺎﺟﺔ إﻟﻰ إﻋﺎدة ﺗﺄﻫﻴﻠﻬﺎ‬ ‫ﻛﺎﻧﺖ اﻟﺴﺒﺐ ﻓﻲ ﺗﻮﺳﻌﺔ اﻟﻌﺪﻳﺪ ﻣﻦ ا ﺳﺘﺎدات اﻟﻘﺎﺋﻤﺔ‬ ‫واﻟﺘﺎرﻳﺨﻴﺔ ا ﻣﺮ اﻟﺬي ﻳﻌﻨﻲ إﺿﺎﻓﺔ ﻃﺒﻘﺎت ﻣﺪرﺟﺎت ﺟﺪﻳﺪة‬ ‫ﻣﻤﺎ ﻳﺆﺛﺮ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻋﻠﻰ ﺗﺼﻤﻴﻢ اﻟﻤﺪرﺟﺎت ‪ .‬ﻛﻤﺎ‬ ‫ﻳﺠﺐ أن ﻳﺮاﻋﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺪرﺟﺎت زاوﻳﺔ ﻣﺸﺎﻫﺪة ﻣﺮﻳﺤﺔ‬ ‫وﺗﺤﻘﻴﻖ درﺟﺔ ﻣﻴﻮل ﻣﻨﺎﺳﺒﺔ ﻟﻠﻤﺪرﺟﺎت وﻋﺎدة ﻣﺎ ﺗﻜﻮن‬ ‫اﻟﻄﺒﻘﺔ ا وﻟﻰ أو اﻟﺴﻔﻠﻴﺔ ﻟﻠﻤﺪرﺟﺎت ذات زواﻳﺔ ﻣﻴﻮل‬ ‫ﺻﻐﻴﺮة ﺑﻴﻨﻤﺎ اﻟﻌﻠﻮﻳﺔ ﻓﺘﻜﻮن زواﻳﺎ اﻟﻤﻴﻮل أﻛﺜﺮ ﺣﺪة ‪.‬‬ ‫ ﻣﻘﺎﻋﺪ اﻟﻤﺪرﺟﺎت ‪ :‬اﻟﻴﻮم أﺻﺒﺢ ﻣﻦ اﻟﻀﺮورى ﺗﻮﻓﻴﺮ ﻣﻘﻌﺪ‬‫ﻟﻜﻞ ﻣﺘﻔﺮج ﺑﻌﺪ أن اﻟﻤﺘﻔﺮﺟﻴﻦ ﻳﺠﻠﺴﻮن ﻋﻠﻰ دﻛﻚ ﺑﻄﻮل‬ ‫اﻟﻤﺪرﺟﺎت ‪ ،‬ﺗﺘﺒﻊ اﻟﻤﻘﺎﻋﺪ ﻣﻮاﺻﻔﺎت وﻣﻘﺎﻳﻴﺲ إﺗﺤﺎد ﻛﺮة‬ ‫اﻟﻘﺪم ﻛﻤﺎ ﺗﺘﺒﻊ أﻧﻈﻤﺔ اﻟﺒﻨﺎء اﻟﻤﻌﻤﻮل ﺑﻬﺎ ﻓﻲ ﻛﻞ دوﻟﺔ ‪،‬‬ ‫ﻳﺮاﻋﻲ ﺗﺼﻤﻴﻢ اﻟﻤﻘﺎﻋﺪ ﺗﺄﻣﻴﻦ اﻟﻮﺻﻮل إﻟﻴﻬﺎ واﻟﺤﺮﻛﺔ ﺑﻴﻦ‬ ‫ﺻﻔﻮﻓﻬﺎ و ﺗﺄﻣﻴﻦ اﻟﺮؤﻳﺔ وﻫﻲ إﻣﺎ ﺛﺎﺑﺘﺔ أو ﻗﺎﺑﻠﺔ ﻟﻠﻄﻲ‪ .‬وﻗﺪ‬ ‫ﺗﻠﻮن اﻟﻤﻘﺎﻋﺪ ﺑﺄﻟﻮان ا ﻧﺪﻳﺔ اﻟﺘﻲ ﻳﺘﺒﻊ ﻟﻬﺎ ا ﺳﺘﺎد‪ .‬وﻳﺄﺧﺬ ﻓﻲ‬ ‫ا ﻋﺘﺒﺎر ﺗﻮﻓﻴﺮ ﻣﻘﺎﻋﺪ ﻟﻠﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ وﻛﺬﻟﻚ ﻟﻠﻤﻌﺎﻗﻴﻦ‪.‬‬

‫« ‪wÝ«b « qJA‬‬

‫« ‪Ídz«b « qJA‬‬

‫« ‪ÍËUCO³ « qJA‬‬

‫« ‪W¹dz«œ ÊU —QÐ qOD² *« qJA‬‬

‫« ‪ÊU —_« Õu²H*« qJA‬‬ ‫« ‪5²N'« Õu²H*« qJA‬‬ ‫«_‪UNOKŽ ·—UF²*« WO{U¹d « «œU²Ýû W UF « ‰UJý‬‬ ‫‪© Construction and Design Manual Stadium Buildings by Martin Wimmer - DOM Publishers‬‬

‫≥≤ « ‪¡UM³‬‬

‫‪23 Albenaa‬‬

‫ﻋﻤﺎرة ﻛﺄس اﻟﻌﺎﻟﻢ‬ ‫ﻟﻜﺮة اﻟﻘﺪم ‪ 2018‬م‬ ‫إﻋﺪاد ‪ :‬اﻟﻤﻬﻨﺪس إﺑﺮاﻫﻴﻢ ﻋﺒﺪ ا أﺑﺎ اﻟﺨﻴﻞ‬

‫ﺗﻌﺘﺒﺮ رﻳﺎﺿﺔ ﻛﺮة اﻟﻘﺪم اﻟﺮﻳﺎﺿﺔ اﻟﺸﻌﺒﻴﺔ ا وﻟﻰ ﻓﻲ‬ ‫اﻟﻌﺎﻟﻢ‪ ،‬ﺗﻄﻮرت ﻫﺬه اﻟﺮﻳﺎﺿﺔ ﻓﻲ اﻟﺴﻨﻴﻦ ا ﺧﻴﺮة ﺑﺸﻜﻞ‬ ‫ﻣﻠﺤﻮظ وﻃﻐﺖ ﻋﻠﻰ ا ﻟﻌﺎب اﻟﺮﻳﺎﺿﻴﺔ واﻟﻤﻨﺎﻓﺴﺎت‬ ‫اﻟﺮﻳﺎﺿﻴﺔ ا ﺧﺮى‪ .‬ﻓﻰ ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض ﻣﺸﺮوﻋﺎت‬ ‫إﺳﺘﺎدات ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم ‪٢٠١٨‬م ﻓﻰ روﺳﻴﺎ ﻣﻦ‬ ‫ﺣﻴﺚ ﺗﺼﻤﻴﻤﻬﺎ اﻟﻤﻌﻤﺎري واﻟﻈﺮوف وا ﺣﺪاث اﻟﻤﺤﻴﻄﺔ‬ ‫اﻟﺘﻲ أﺛﺮت ﻋﻠﻰ ﻋﻤﺎرة ﻫﺬه ا‪L‬ﺳﺘﺎدات‪ ،‬ﻓﻬﺬه اﻟﻤﺸﺮوﻋﺎت‬ ‫ﺗﺸﻐﻞ ﻣﺴﺎﺣﺎت ﻛﺒﻴﺮة ﻓﻲ اﻟﻤﻨﺎﻃﻖ اﻟﺘﻲ ﺗﻘﺎم ﻓﻴﻬﺎ‬ ‫ﺗﺆﺛﺮ وﺗﺘﺄﺛﺮ ﺑﻤﺎ ﺣﻮﻟﻬﺎ ﻣﻜﺎﻧﻴ‪ P‬وزﻣﺎﻧﻴ‪ ،P‬ﻛﻤﺎ أﻧﻬﺎ ﺗﺤﺘﺎج‬ ‫إﻟﻰ إﺳﺘﺜﻤﺎرت ﻛﺒﻴﺮة ي دوﻟﺔ ﺗﻘﻮم ﺑﺈﺳﺘﻘﺒﺎل ﻣﺒﺎرﻳﺎت‬ ‫ﻛﺄس اﻟﻌﺎﻟﻢ ﻋﻠﻰ أراﺿﻴﻬﺎ ‪ -‬ﻋﻠﻰ ﻣﺪى زﻣﻨﻲ ﻗﺼﻴﺮ‬ ‫ ﻟﺘﺄﻣﻴﻦ إﺳﺘﺎدات ﺗﻠﺒﻲ ﻣﻌﺎﻳﻴﺮ إﺗﺤﺎد ﻛﺮة اﻟﻘﺪم ﻣﻦ‬‫ﺣﻴﺚ اﻟﻄﺎﻗﺔ ا‪L‬ﺳﺘﻴﻌﺎﺑﻴﺔ ﻟﻠﻤﺘﻔﺮﺟﻴﻦ ﻓﻲ ﻛﻞ إﺳﺘﺎدات‪،‬‬ ‫ﺑﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ ﻣﻌﺎﻳﻴﺮ اﻟﺴﻼﻣﺔ وﺣﻔﻆ ا ﻣﻦ وإدارة دﺧﻮل‬ ‫وﺧﺮوج ا ﻋﺪاد اﻟﻐﻔﻴﺮة ﻣﻦ اﻟﻤﺸﺠﻌﻴﻦ واﻟﻔﺼﻞ ﺑﻴﻦ‬ ‫ﻓﺌﺎﺗﻬﻢ‪ ،‬ﻓﻲ إﻃﺎر ﻓﻀﺎءات ﺣﻴﻮﻳﺔ ﻣﻔﻌﻤﺔ ﺑﺎﻟﺤﻴﻮﻳﺔ ﺗﺘﺴﻢ‬ ‫ﺑﺴﻬﻮﻟﺔ ا‪L‬ﺳﺘﻌﻤﺎل وﺗﻮﻓﻴﺮ اﻟﺮاﺣﺔ وﻣﺘﻌﺔ ﻣﺸﺎﻫﺪة‬ ‫اﻟﻤﺒﺎرﻳﺎت وا‪L‬ﺛﺎرة وﺗﻤﻀﻴﺔ أوﻗﺎت وﺗﺠﺮﺑﺔ ﺗﺮﻓﻴﻬﻴﺔ‬ ‫إﺳﺘﺜﻨﺎﺋﻴﺔ وﺗﻘﺪﻳﻢ ﻋﻤﺎرة ﻣﻌﻠﻤﻴﺔ ﺗﺤﺘﺮم وﺗﻌﺒﺮ ﻋﻦ ﻫﻮﻳﺔ‬ ‫اﻟﻤﻨﺎﻃﻖ اﻟﺘﻲ ﺗﻘﺎم ﻓﻴﻬﺎ وﺗﺒﻌﺚ ﺑﺎ‪L‬ﻋﺘﺰاز ﻟﺪى ﺳﻜﺎﻧﻬﺎ‬ ‫ﻛﻤﺎ ﺗﺨﺪم إﺣﺘﻴﺎﺟﺎت ﺣﺪث ﻛﺄس اﻟﻌﺎﻟﻢ ﺑﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ‬ ‫إﺣﺘﻴﺎﺟﺎت اﻟﺴﻜﺎن اﻟﻤﺤﻠﻴﻴﻦ ﺑﻌﺪ إﻧﻘﻀﺎء ﺣﺪث ﻛﺄس‬ ‫اﻟﻌﺎﻟﻢ ‪ .‬و‪L‬ﺳﺘﻌﺮاض ﻫﺬه ا ﺳﺘﺎدات ﻧﺤﺘﺎج إﻟﻰ ﻋﺮض‬ ‫ﺳﺮﻳﻊ ﻫﺪاف ﻣﻦ وراء ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻤﺸﺎرﻳﻊ واﻟﺠﻮاﻧﺐ‬ ‫اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﻬﺎﻣﺔ اﻟﺘﻲ ﻳﺠﺐ ﻣﺮاﻋﺎﺗﻬﺎ‪.‬‬ ‫ﻓﻲ اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ ا‪L‬ﺳﺘﺎدات اﻟﺮﻳﺎﺿﻴﺔ ﺗﺠﻤﻊ ﺑﻴﻦ ﻣﺒﺎرﻳﺎت‬ ‫ﻛﺮة اﻟﻘﺪم وأﻟﻌﺎب اﻟﻘﻮى ا ﺧﺮى وﻛﺎﻧﺖ ﻃﺎﻗﺔ ا‪L‬ﺳﺘﺎدات‬ ‫ﺗﺘﺮاوح ﻣﺎﺑﻴﻦ ‪ 60،000‬إﻟﻰ ‪ 100،000‬ﻣﺘﻔﺮج‪ .‬وﻛﺎن ﻣﻀﻤﺎر اﻟﺮﻛﺾ‬ ‫اﻟﺒﺎﻟﻎ ﻃﻮﻟﻪ ‪400‬ﻣﺘﺮ ﻫﻮ اﻟﺬي ﻳﺤﺪد ﻗﻴﺎﺳﺎت وﻣﺴﺎﺣﺎت‬ ‫ا‪L‬ﺳﺘﺎد و ﺑﺎﻗﻲ ﻓﻌﺎﻟﻴﺎﺗﻪ ‪ ،‬إﻻ أﻧﻪ ﻧﺘﻴﺠﺔ ا‪L‬زﻋﺎج اﻟﺤﺎﺻﻞ ﻣﻦ‬ ‫ﺗﻘﺎﻃﻊ ﺑﺮاﻣﺞ ﺗﻮﻗﻴﺘﺎت ﻟﻌﺒﺔ ﻛﺮة اﻟﻘﺪم ﻣﻊ ا ﻟﻌﺎب ا ﺧﺮى‬ ‫ﻇﻬﺮت اﻟﺤﺎﺟﺔ إﻟﻰ ﺿﺮورة ﺑﻨﺎء إﺳﺘﺎدات ﺧﺎﺻﺔ ﺑﻜﺮة‬ ‫اﻟﻘﺪم‪ .‬إﻧﺘﺸﺮت إﺳﺘﺎدات ﻛﺮة اﻟﻘﺪم ﺑﻌﺪ ذﻟﻚ وﺗﻄﻮرت‬ ‫ﻋﻤﺎرﺗﻬﺎ وﺑﺎﻟﻤﻘﺎرﻧﺔ ﻗﻞ ا‪L‬ﻫﺘﻤﺎم ﺑﺈﺳﺘﺎدات أﻟﻌﺎب اﻟﻘﻮى‪،‬‬ ‫وأﺳﺲ ا‪L‬ﺗﺤﺎد اﻟﻌﺎﻟﻤﻲ ﻟﻜﺮة اﻟﻘﺪم ﻓﻰ ﻋﺎم ‪1904‬م‬ ‫وأﺻﺒﺢ ﻣﺴﺌﻮﻻً ﻋﻦ ﺗﻨﻈﻴﻢ ﻣﺴﺎﺑﻘﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة‬

‫≤≤ « ‪¡UM³‬‬

‫‪22 Albenaa‬‬

‫اﻟﻘﺪم ‪ .‬ﺣﻴﺚ ﻟﻢ ﺗﻜﻦ ﻣﺒﺎرﻳﺎت ﻛﺮة اﻟﻘﺪم ﻓﻲ إﻃﺎر ا ﻟﻌﺎب‬ ‫ا وﻟﻤﺒﻴﺔ ﺗﻠﺒﻲ ﻃﻤﻮح ﻣﺤﺒﻲ وﻣﺸﺠﻌﻲ ﻫﺬه اﻟﺮﻳﺎﺿﺔ‬ ‫ﺧﺎﺻﺔ وأن ا ﻟﻌﺎب ا وﻟﻤﺒﻴﺔ ﻟﻢ ﺗﻜﻦ ﺗﺴﻤﺢ ﺑﻤﺸﺎرﻛﺔ‬ ‫اﻟﺮﻳﺎﺿﻴﻴﻦ إﻻ ﻟﻤﻦ ﻫﻢ أﻗﻞ ﻣﻦ ‪ 20‬ﻋﺎﻣ‪ .P‬وﻣﻨﺬ ﺗﺄﺳﻴﺲ‬ ‫ا‪L‬ﺗﺤﺎد ﺑﺪأت ﺗﺘﻄﻮر رﻳﺎﺿﺔ ﻛﺮة اﻟﻘﺪم وﻣﻨﺎﻓﺴﺎﺗﻬﺎ‬ ‫ﻓﺒﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ ﺗﻨﻈﻴﻢ ﻛﺄس اﻟﻌﺎﻟﻢ ﻗﺎم ا‪L‬ﺗﺤﺎد ﺑﺘﻨﻈﻴﻢ‬ ‫ﻣﺴﺎﺑﻘﺔ ﻛﺄس أوروﺑﺎ وآﺳﻴﺎ وإﻓﺮﻳﻘﻴﺎ وأﻣﺮﻳﻜﺎ ﺑﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ‬ ‫اﻟﻤﺴﺎﺑﻘﺔ اﻟﻤﺤﻠﻴﺔ واﻟﻤﻮﺳﻤﻴﺔ واﻟﻤﺒﺎرﻳﺎت اﻟﻮدﻳﺔ‪ .‬ﻳﺨﺘﻠﻒ‬ ‫ﺗﺼﻤﻴﻢ إﺳﺘﺎد رﻳﺎﺿﺔ ﻛﺮة اﻟﻘﺪم ﻓﻲ أﻧﻪ أﻟﻐﻲ اﻟﻤﻀﻤﺎر‬ ‫ﻟ{ﺳﺘﻔﺎدة ﻣﻦ ﻣﺴﺎﺣﺘﻪ ﻓﻲ زﻳﺎدة اﻟﻄﺎﻗﺔ ا‪L‬ﺳﺘﻴﻌﺎﺑﻴﺔ‬ ‫ﻟﻠﻤﺘﻔﺮﺟﻴﻦ وﻟﺘﺨﺼﻴﺺ ﻣﺴﺎﺣﺎت رﺣﺒﺔ ﻟﻠﺸﺨﺼﻴﺎت‬ ‫اﻟﻬﺎﻣﺔ وﺧﻔﺾ اﻟﻤﺴﺎﺣﺔ ﺑﺸﻜﻞ ﻋﺎم ‪L‬ﻣﻜﺎﻧﻴﺔ ﺗﺰوﻳﺪ‬ ‫ا‪L‬ﺳﺘﺎدات ﺑﺘﻐﻄﻴﺔ ﺗﺤﻤﻲ اﻟﻤﺘﻔﺮﺟﻴﻦ ﻣﻦ ا ﻣﻄﺎر واﻟﺮﻳﺎح‬ ‫واﻟﺸﻤﺲ‪.‬‬ ‫اﻟﻴﻮم ﻳﺠﺐ أن ﻳﺤﻘﻖ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻟ{ﺳﺘﺎدات‬ ‫اﻟﺮﻳﺎﺿﻴﺔ ﺳﻮاء ﻛﺎﻧﺖ ﻣﺘﻌﺪدة ا‪L‬ﺳﺘﻌﻤﺎﻻت أو ذات‬ ‫إﺳﺘﻌﻤﺎل واﺣﺪ ﻋﺪد ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻤﻴﺔ ﻣﻦ أﻫﻤﻬﺎ‬ ‫ﻋﺸﺮة ﻣﻌﺎﻳﻴﺮ ﻫﻲ ‪:‬‬ ‫ إﺧﺘﻴﺎر اﻟﻤﻮﻗﻊ ‪ :‬ﺑﺎ‪L‬ﺿﺎﻓﺔ إﻟﻰ ﻣﺮاﻋﺎة اﻟﻄﺒﻴﻌﺔ اﻟﺠﻐﺮاﻓﻴﺔ‬‫و اﻟﺨﺼﺎﺋﺺ اﻟﺘﺎرﻳﺨﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ وا‪L‬ﺟﺘﻤﺎﻋﻴﺔ ﻟﻠﻤﻮﻗﻊ‪،‬‬ ‫ﻫﻨﺎك ﺟﻮاﻧﺐ أﺧﺮى ﻳﺠﺐ ﻣﺮاﻋﺎﺗﻬﺎ وﻣﻨﻬﺎ اﻟﻌﻼﻗﺔ ﺑﻮﺳﺎﺋﻞ‬ ‫وﺷﺒﻜﺎت اﻟﻨﻘﻞ اﻟﻤﺨﺘﻠﻔﺔ ) ﻃﺮق وﻧﻘﻞ ﻋﺎم ‪ ،‬ﻗﻄﺎرات ‪،‬‬ ‫ﺣﺮﻛﺔ ﺟﻮﻳﺔ ( ﻓﻜﻠﻤﺎ إﻗﺘﺮب ا‪L‬ﺳﺘﺎد ﻣﻨﻬﺎ ﻛﻠﻤﺎ زاد ا‪L‬ﻗﺒﺎل‬ ‫ﻋﻠﻴﻪ ‪ ،‬ﺑﺤﻴﺚ ﻳﻜﻮن ا‪L‬ﺳﺘﺎد ﻣﺘﺎح ﻟﻠﺴﻜﺎن اﻟﻤﺤﻠﻴﻴﻦ‬ ‫واﻟﻮاﻓﺪﻳﻦ ﻣﻦ اﻟﺨﺎرج‪.‬‬ ‫ ا‪L‬ﻧﺪﻣﺎج داﺧﻞ اﻟﻤﺤﻴﻂ اﻟﺤﻀﺮي ‪ :‬ﻳﺠﺐ أن ﻳﺨﺪم ا‪L‬ﺳﺘﺎد‬‫اﻟﺴﻜﺎن اﻟﻤﺤﻠﻴﻴﻦ وأن ﻳﺤﻘﻖ ﺗﻄﻼﻋﺎﺗﻬﻢ ‪ ،‬ﻛﻮﻧﻪ ﻳﺸﻐﻞ‬ ‫ﻣﺴﺎﺣﺎت ﻛﺒﻴﺮة ﻣﻦ ا راﺿﻲ ﻳﺠﺐ أن ﺗﻌﻮد ﺑﺎﻟﻨﻔﻊ ﻋﻠﻴﻬﻢ‪.‬‬ ‫ﻋﺎدة ﻣﺎ ﻳﺘﻢ إﺧﺘﻴﺎر ﻣﻮاﻗﻊ ا‪L‬ﺳﺘﺎدات ﻓﻲ ﺛﻼث أﻧﻮاع ﻣﻦ‬ ‫اﻟﻤﻮاﻗﻊ؛ ﻓﻬﻲ إﻣﺎ ﺗﻜﻮن داﺧﻞ اﻟﻨﺴﻴﺞ اﻟﻌﻤﺮاﻧﻲ ﻟﻠﻤﺪن أو‬ ‫أن ﺗﻜﻮن ﻓﻲ ﻣﻨﺎﻃﻖ ﻣﻔﺘﻮﺣﺔ أو أن ﺗﻜﻮن ﺿﻤﻦ ﻣﺪن أو‬ ‫ﻣﺠﻤﻌﺎت رﻳﺎﺿﻴﺔ ﻛﺒﻴﺮة ) إﺳﺘﺎدات ا ﻟﻌﺎب ا وﻟﻤﺒﻴﺔ(‪ ،‬ﻫﺬه‬ ‫اﻟﻤﻮاﻗﻊ ذات اﻟﻄﺒﻴﻌﺔ اﻟﻌﻤﺮاﻧﻴﺔ وا‪L‬ﻣﻜﺎﻧﻴﺎت اﻟﻤﺨﺘﻠﻔﺔ‬ ‫اﻟﺘﻲ ﻳﻤﻜﻦ أن ﺗﻮﻓﺮﻫﺎ ﺗﺆﺛﺮ ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﻋﻠﻰ ﻋﻤﺎرة‬ ‫ا‪L‬ﺳﺘﺎدات وﺧﺪﻣﺎﺗﻬﺎ‪ .‬ﻓﺈذا ﻛﺎن اﻟﻤﻮﻗﻊ ﻗﺮﻳﺐ أو داﺧﻞ‬ ‫ا ﺣﻴﺎء اﻟﺴﻜﻨﻴﺔ ﻓﻴﺠﺐ أن ﻳﺮاﻋﻲ اﻟﺘﺼﻤﻴﻢ ﻣﺸﻜﻠﺔ‬ ‫اﻟﻀﻮﺿﺎء وﺣﺮﻛﺔ اﻟﺪﺧﻮل واﻟﺨﺮوج اﻟﻨﺎﺗﺠﺔ ﻋﻦ اﻟﺠﻤﻊ‬ ‫اﻟﻜﺒﻴﺮ ﻣﻦ اﻟﻤﺘﻔﺮﺟﻴﻦ ‪.‬ﻛﻤﺎ إذا ﻛﺎن اﻟﻤﻮﻗﻊ ﻓﻲ ﻣﻨﺎﻃﻖ‬ ‫ﻣﻔﺘﻮﺣﺔ ﻳﺠﺐ أن ﺗﺮاﻋﻲ ﻋﻤﺎرﺗﻪ ﻃﺒﻴﻌﺔ ا راﺿﻲ اﻟﻤﺤﻴﻄﺔ‬ ‫ﺳﻮاء ﻛﺎﻧﺖ أراﺿﻲ زراﻋﻴﺔ أو ﺣﺪاﺋﻖ ﻋﺎﻣﺔ أو أراﺿﻲ ﺑﻴﻀﺎء‬ ‫ﻟﻢ ﻳﺼﻠﻬﺎ اﻟﻌﻤﺮان ﺑﻌﺪ‪ .‬وإذا ﻛﺎن ا‪L‬ﺳﺘﺎد داﺧﻞ ﻣﺠﻤﻊ‬ ‫رﻳﺎﺿﻲ ﻓﻴﺠﺐ أن ﺗﺘﺒﻊ ﻋﻤﺎرﺗﻪ اﻟﺘﺼﻤﻴﻢ اﻟﻌﺎم ﻟﻠﻤﺠﻤﻊ ‪.‬‬ ‫ اﻟﺸﻜﻞ اﻟﻌﺎم ﻟ{ﺳﺘﺎد ‪ :‬ﻋﺎدة ﻣﺎ ﺗﺘﺒﻊ ا‪L‬ﺳﺘﺎدات ﻓﻲ‬‫ﺷﻜﻠﻬﺎ اﻟﻌﺎم ﻣﻌﺎﻳﻴﺮ إﺗﺤﺎد ﻛﺮة اﻟﻘﺪم وﻫﻨﺎك ﻧﻤﺎذج‬

Football World Cup Architecture 2018 Arch. Ibrahim Abaalkhail In this issue we feature the 2018 World Cup stadiums in Russia from an architecture perspective and the conditions that surrounded its design and construction. These large scale projects occupy large areas of lands and influenced its context. For any world cup host country, stadium buildings requires huge investments in short period of time to achieve FIFA requirements in regards to capacity, safety, and security.

Today, architecture design of stadiums should achieve several criteria or parameters: 1. Location Strategy, 2. Urban Context, 3. Building Footprint, 4. Spectator Accessibility, 5.

Grandstands and Tiers, 6. Seating and Balustrades, 7. VIP Lounges and Boxes, 8. Structure and Support Systems, 9.

Separation of Platform/Field, 10. Lighting and Illumination.

For the 2018 world cup, 12 stadiums were chosen all around over the main cities in Russia. These stadiums, as showcased, were either rehabilitated or newly built with the majority of new stadiums been constructed on top of the ruins of old ones. The locations were carefully selected to be close to transportation networks and highways and in city centers.

However, these stadiums faced difficult economical conditions because of inaccurate costs estimates as well as the events that saw the Russian currency slump in 2015. Also, the architecture program saw some additions in regards to services, leisure and office spaces, while some stadiums saw the additions of temporarily stands and tiers to achieve FIFA requirements. Nevertheless, economical situations surrounding its construction heavily affected the architecture design. Amendments had to be taken either in the initial designs or by commissioning new architects or contractor. Moreover, the construction costs had to be reduced; therefore, building design had to be substituted with others while in some stadiums the built areas had to be reduced.

Despite that, the stadiums achieved its objectives and the 2018 World Cup was considered one of the successful events according to FIFA president. This is apparent in the majority of the stadiums which succeeded in preserving its original design, such as the historical architecture of Luzhniki stadium in Moscow, or the ones that illustrated local identity or the local club identity like Rostov Arena, Spartak, Kaliningrad and Mordovia, while other stadiums like Samara Arena expressed airplane industry known in the area. Others like Fisht stadium illustrated the environment or typological conditions, while Nizhny Novgorod Stadium’s design expressed the winds and rivers in its architecture.

Finally, the architecture of Volgograd Arena illustrated its location as an intersection of highway networks, while the Saint Petersburg Stadium architecture represents a space craft expressing future.

25 Albenaa

¡UM³ « ≤μ

‫ ﺗﺄﺛﺮت واﺟﻬﺎت ﻫﺬه اﻟﻤﺸﺎرﻳﻊ ﺑﻤﺼﺎﻋﺐ‬،‫واﻟﻤﺪن اﻟﺮﺋﻴﺴﺔ‬ ‫وﻟﻴﺔ ﻟﺘﻜﻠﻔﺔ‬%‫إﻗﺘﺼﺎدﻳﺔ ﻣﻦ ﻋﺪم دﻗﺔ اﻟﺘﻘﺪﻳﺮات ا‬ ‫اﻟﻤﺸﺮوﻋﺎت اﻟﺘﻲ ﺗﻀﺎﻋﻔﺖ ﻣﻊ إﻧﺨﻔﺎض اﻟﻌﻤﻠﺔ اﻟﺮوﺳﻴﺔ ﻓﻰ‬ ‫ﺳﺘﺎدات إﻟﻰ ﻣﺸﺎرﻳﻊ إﻋﺎدة‬8‫ إﻧﻘﺴﻤﺖ ﻣﺸﺎرﻳﻊ ا‬. ‫م‬2015 ‫ﻋﺎم‬ ٢ ‫ﺗﺄﻫﻴﻞ ﻟﺘﺰوﻳﺪﻫﺎ ﺑﺨﺪﻣﺎت إﺿﺎﻓﻴﺔ وﻟﺮﻓﻊ ﺳﻌﺘﻬﺎ وﻋﺪدﻫﺎ‬ ‫ أﻗﻴﻢ ﺑﻌﻀﻬﺎ ﻋﻠﻰ أﻧﻘﺎض‬١٠ ‫أو إﻟﻰ ﻣﺸﺎرﻳﻊ ﺟﺪﻳﺪة وﻋﺪدﻫﺎ‬ ‫إﺳﺘﺎدات ﺗﻢ ﻫﺪﻣﻬﺎ ﺑﺤﻴﺚ ﺗﻠﺒﻲ ﻣﺘﻄﻠﺒﺎت اﻟﺠﻬﺔ اﻟﻤﻨﻈﻤﺔ‬ ‫ﺳﺘﺎدات ﻟﻘﺮب‬8‫ ﺗﻢ إﺧﺘﻴﺎر ﻣﻮاﻗﻊ ﻫﺬه ا‬. ‫ﻟﻜﺄس اﻟﻌﺎﻟﻢ‬ ‫ﻣﻮاﻗﻌﻬﺎ ﻣﻦ ﺷﺒﻜﺎت اﻟﻄﺮق واﻟﻨﻘﻞ اﻟﻌﺎم اﻟﺮﺋﻴﺴﺔ أو ﻣﺮاﻛﺰ‬ ‫ﺳﺘﺎدات إﺿﺎﻓﺔ‬8‫ ﺗﻀﻤﻨﺖ اﻟﺒﺮاﻣﺞ اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻬﺬه ا‬.‫اﻟﻤﺪن‬ ‫ﺧﺪﻣﺎت وﻣﺮاﻓﻖ رﻳﺎﺿﻴﺔ و ﺗﺮﻓﻴﻬﻴﺔ وﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ‬ ‫ ﻛﻤﺎ زودت‬، ‫وﺗﺠﺎرﻳﺔ ﺗﺨﺪم اﻟﻤﻨﺎﻃﻖ اﻟﺘﻲ أﻗﻴﻤﺖ ﻓﻴﻬﺎ‬ ‫ﺑﻌﻀﻬﺎ ﺑﻤﺪرﺟﺎت ﻣﺆﻗﺘﺔ ﻟﺘﻠﺒﻴﺔ ﻣﺘﻄﻠﺒﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ﻋﻠﻰ‬ . ‫ﺣﺘﻴﺎﺟﺎت اﻟﻤﺤﻠﻴﺔ ﻣﻨﻬﺎ‬8‫أن ﻳﺘﻢ إزاﻟﺘﻬﺎ ﺑﻌﺪﻫﺎ ﻟﺘﻼﺋﻢ ا‬ ‫ﻗﺘﺼﺎدي اﻟﺬى ﺻﺎﺣﺐ‬8‫ﺗﺄﺛﺮ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري ﻣﻦ اﻟﺴﻴﺎق ا‬ ‫ﻣﺮاﺣﻞ اﻟﺘﺼﻤﻴﻢ واﻟﺘﻨﻔﻴﺬ ﻓﺘﻐﻴﺮ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري‬ ‫ وﻣﻦ ﺧﻼل‬، ‫ﻓﺘﻢ ﺗﻐﻴﻴﺮ ﻣﺼﻤﻢ أو ﻣﻨﻔﺬ اﻟﻤﺸﺮوع ﺗﺎرة‬ ‫اﻟﺤﺎﺟﺔ إﻟﻰ ﺧﻔﺾ اﻟﺘﻜﻠﻔﺔ ﺗﻢ ﺗﻐﻴﻴﺮ أﻧﻈﻤﺔ وﻣﻮاد اﻟﺒﻨﺎء أو‬ ‫ ﻛﺎن ﻳﺤﺪث ذﻟﻚ أﺛﻨﺎء ﻣﺮاﺣﻞ‬. ‫ﺧﻔﺾ اﻟﻤﺴﺎﺣﺎت ﺗﺎرة أﺧﺮى‬ ‫ﻣﺮ اﻟﺬي أدى إﻟﻰ ﻣﻮاﺟﻬﺔ اﻟﺘﺼﻤﻴﻢ واﻟﺘﻨﻔﻴﺬ‬%‫اﻟﺘﻨﻔﻴﺬ ا‬ ‫ﻟﺼﻌﻮﺑﺎت ﺟﻤﺔ إﻧﺸﺎﺋﻴﺔ وﻣﻌﻤﺎرﻳﺔ وﺗﻘﻨﻴﺔ وﺗﺄﺧﻴﺮ ﻓﻰ‬ ‫ﺳﺘﺎدات‬8‫ إﻻ أﻧﻪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ ﻓﺈن ا‬. ‫ﺗﺴﻠﻴﻢ اﻟﻤﺸﺮوﻋﺎت‬ ‫ﺣﻘﻘﺖ أﻫﺪاﻓﻬﺎ وإﻋﺘﺒﺮ ﺗﻨﻈﻴﻢ ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم‬ ‫م ﻓﻰ روﺳﻴﺎ ﻣﻦ أﻧﺠﺢ دورات ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم‬٢٠١٨ ‫ وﻳﻈﻬﺮ ذﻟﻚ ﻓﻲ ﻧﺠﺎح ﻣﻌﻈﻢ‬.‫ﺗﺤﺎد‬8‫ﺣﺴﺐ ﻗﻮل رﺋﻴﺲ ا‬ ‫ﺻﻠﻴﺔ‬%‫اﻟﻤﺸﺮوﻋﺎت ﻋﻠﻰ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﻔﻜﺮة اﻟﻤﻌﻤﺎرﻳﺔ ا‬ ‫ﺳﺘﺎد اﻟﺘﻲ ﻛﺎن ﺑﻌﻀﻬﺎ ﻳﻬﺪف‬o‫وﻣﻨﻬﺎ اﻟﺸﻜﻞ اﻟﻌﺎم ﻟ‬ ‫إﻟﻰ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﻌﻤﺎرة اﻟﺘﺎرﻳﺨﻴﺔ ﻣﺜﻞ ﻓﻲ إﺳﺘﺎدى‬ ‫ﻟﻮزﻧﻴﻜﻲ ﻓﻲ ﻣﻮﺳﻜﻮ اﻟﺬي إﺳﺘﻘﺒﻞ ﻣﺒﺎرة ﻧﻬﺎﺋﻲ اﻟﻜﺄس‬ ‫ أو اﻟﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻬﻮﻳﺔ اﻟﻤﺤﻠﻴﺔ أو ﻫﻮﻳﺔ‬. ‫وإﺳﺘﺎد إﻛﺎﺗﺮﻳﻨﺒﺮغ‬ ‫ﺳﺘﺎد ﻣﺜﻞ إﺳﺘﺎدات ﻛﻞ ﻣﻦ‬8‫اﻟﻨﺎدي اﻟﺮﻳﺎﺿﻲ اﻟﺬي ﻳﺘﺒﻊ ﻟﻪ ا‬ ‫روﺳﺘﻮف وﺳﺒﺎرﺗﻚ وﻛﺎﻟﻴﻨﻴﻨﻐﺮاد وﻣﻮردوﻓﻴﺎ اﻟﺘﻲ ﻋﺒﺮت ﻋﻦ‬ ‫اﻟﻨﻮادي اﻟﺘﺎﺑﻌﺔ ﻟﻬﺎ وﻓﻰ ﻛﻞ ﻣﻦ إﺳﺘﺎدت ﺳﻤﺎرة اﻟﺘﻲ ﻋﺒﺮ‬ ‫ﻓﻴﻬﺎ اﻟﺘﺼﻤﻴﻢ ﻋﻦ ﺻﻨﺎﻋﺔ اﻟﻄﺎﺋﺮات واﻟﻤﺮﻛﺒﺎت اﻟﻔﻀﺎﺋﻴﺔ‬ ‫اﻟﺘﻲ إﺷﺘﻬﺮت ﻓﻴﻬﺎ اﻟﻤﺪﻳﻨﺔ ﻓﺠﺎء اﻟﻤﺸﺮوع ﻋﻠﻰ ﺷﻜﻞ‬ ‫ﻃﺒﻖ ﻃﺎﺋﺮ و إﺳﺘﺎد ﻓﻴﺸﺖ اﻟﺬي ﻋﺒﺮ اﻟﺘﺼﻤﻴﻢ ﻓﻴﻬﺎ ﻋﻦ‬ ‫اﻟﺘﻀﺎرﻳﺲ اﻟﺠﻔﺮاﻓﻴﺔ ﻓﻲ ﺳﻮﺗﺸﻲ ﻓﻔﻴﺸﺖ ﺗﻌﻨﻲ اﻟﻤﺮﺗﻔﻊ‬ ‫اﻟﺼﻐﻴﺮ أو إﺳﺘﺎد ﻧﻴﺰﻫﻨﻲ ﻧﻮﻓﻐﻮرود اﻟﺬي ﻳﻌﺒﺮ ﻟﻮن‬ ‫ﻧﻬﺎر اﻟﺘﻲ ﺗﺸﺘﻬﺮ ﻓﻲ ﻣﻨﻄﻘﺘﻪ‬%‫ﺑﻴﺾ ﻋﻦ اﻟﺮﻳﺎح وا‬%‫ﻋﻤﺎرﺗﻪ ا‬ ‫ﻓﻜﺎر اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺪارﺟﺔ ﻣﺜﻞ أﺳﺘﺎد‬8‫ﺳﺘﺎدات ذات ا‬8‫وﻫﻨﺎك ا‬ ‫ﻓﻮﻟﻐﻮﻏﺮاد اﻟﺬي ﻳﻌﺒﺮ ﺷﻜﻠﻪ اﻟﺪاﺋﺮي ﻋﻦ ﻣﻮﻗﻌﻪ اﻟﺬي‬ ‫ﻳﺘﻮﺳﻂ ﻣﺤﺎور ﻃﺮق ﻣﺘﻌﺪدة ﺑﺤﻴﺚ ﻳﻈﻬﺮ ﺑﻤﻈﻬﺮ ﻣﻮﺣﺪ‬ ‫ﻣﻦ ﻛﺎﻓﺔ اﻟﺠﻬﺎت أو إﺳﺘﺎد ﺳﺎن ﺑﻴﺘﺮﺳﺒﺮغ اﻟﺬي ﺟﺎء ﻋﻠﻰ‬ . ‫ﺷﻜﻞ ﻃﺒﻖ ﻃﺎﺋﺮ ﻟﻴﻌﺒﺮ ﻋﻦ اﻟﻤﺴﺘﻘﺒﻞ‬

‫ أﺟﻨﺤﺔ اﻟﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ ‪ :‬ﺗﻮﻓﺮ ﻫﺬه ا ﻣﺎﻛﻦ ﻣﺴﺎﺣﺎت‬‫ذات ﻣﻮاﺻﻔﺎت ﻓﺎﺧﺮة ﻣﻦ ﻣﻘﺎﻋﺪ ﻣﻊ ﺗﻮﻓﻴﺮ ﺧﺪﻣﺎت ﺿﻴﺎﻓﺔ‬ ‫ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺟﻠﺴﺎت إﺳﺘﺮاﺣﺔ وﻣﻄﺎﻋﻢ وﻗﺎﻋﺎت إﺟﺘﻤﺎﻋﺎت‬ ‫وﺧﺪﻣﺔ ﺻﺤﻴﺔ وﺗﻘﺴﻢ اﻟﻤﻘﺎﻋﺪ ﻓﻴﻬﺎ ﻋﻠﻰ ﺟﻠﺴﺎت ﺧﺎﺻﺔ‬ ‫ﻳﻤﻜﻦ أن ﺗﺨﺼﺺ ﻟﻤﺠﻤﻮﻋﺎت ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻤﺘﻔﺮﺟﻴﻦ‪.‬‬ ‫ ا ﻧﻈﻤﺔ ا;ﻧﺸﺎﺋﻴﺔ ﻟ<ﺳﺘﺎدات ‪:‬ﻋﺎدة ﻣﺎ ﺗﻜﻮن ا;ﺳﺘﺎدات‬‫ﻣﻨﻔﺼﻠﺔ إﻧﺸﺎﺋﻴ‪ D‬إﻟﻰ ﻋﻨﺼﺮﻳﻦ؛ ﻣﺒﺎﻧﻲ اﻟﻤﺪرﺟﺎت وﺗﺒﻨﻰ‬ ‫ﻋﺎدة ﻣﻦ اﻟﺨﺮﺳﺎﻧﺔ واﻟﺴﻘﻒ اﻟﺬي ﻳﻤﻜﻦ أن ﻳﺠﻤﻊ ﺑﻴﻦ‬ ‫اﻟﻮاﺟﻬﺎت واﻟﺴﻘﻒ ﻓﻲ ﻋﻨﺼﺮ واﺣﺪ ﻫﻮ اﻟﻐﻄﺎء وﻋﺎدة‬ ‫ﻳﻜﻮن ﻣﻦ ﻣﻮاد ﺧﻔﻴﻔﺔ ﻳﻤﻜﻦ ﻣﻌﻬﺎ ﺗﻘﻠﻴﻞ ﻧﻘﺎط إرﺗﻜﺎزه‬ ‫ﻟﻴﺴﻤﺢ ﺑﺨﻠﻮ ﻣﺪرﺟﺎت ا;ﺳﺘﺎد ﻣﻦ ا ﻋﻤﺪة اﻟﺘﻲ ﻗﺪ ﺗﺤﺠﺐ‬ ‫رؤﻳﺔ اﻟﻤﺘﻔﺮﺟﻴﻦ اﻟﻜﺎﻣﻠﺔ ﻟﻠﻤﻠﻌﺐ وﻋﺎدة ﻣﺎﺗﺴﺘﻌﻤﻞ‬ ‫اﻟﻬﻴﺎﻛﻞ اﻟﺤﺪﻳﺪﻳﺔ وﻳﺘﻢ ﺗﻐﻄﻴﺘﻬﺎ ﺑﻤﻮاد ﺧﻔﻴﻔﺔ ﻣﺜﻞ‬ ‫اﻟﺨﻴﺎم أو ﺑﻌﺾ اﻟﻤﻮاد اﻟﺤﺪﻳﺜﺔ ﻣﺜﻞ ﻣﺎدة ‪ ETFE‬وﻫﻲ‬ ‫ﻋﺒﺎرة ﻋﻦ وﺣﺪات )وﺳﺎدات( ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﻟﺪاﺋﻦ ﻳﺘﻢ‬ ‫ﺗﻌﺒﺌﺘﻬﺎ ﺑﺎﻟﻬﻮاء ﻟﻜﻲ ﺗﻜﺘﺴﺐ ﺻﻼﺑﺔ ﻣﻊ ﺧﻔﺔ وزﻧﻬﺎ‪.‬‬ ‫ﻳﺮاﻋﻲ اﻟﺘﺼﻤﻴﻢ ا;ﻧﺸﺎﺋﻲ ﻟﻠﻐﻄﺎء ﻣﻘﺎوﻣﺔ اﻟﺮﻳﺎح وﺗﺤﻤﻞ‬ ‫اﻟﻮزن اﻟﺰاﺋﺪ ﻣﻦ ﺳﻘﻮط اﻟﺜﻠﻮج وا ﻣﻄﺎر وﺗﺼﺮﻳﻔﻬﺎ‪.‬‬ ‫ اﻟﻔﺼﻞ ﺑﻴﻦ اﻟﻤﺪرﺟﺎت واﻟﻤﻼﻋﺐ ‪ :‬ﺗﻜﻤﻦ ﺿﺮورة اﻟﻔﺼﻞ‬‫ﺑﻴﻦ اﻟﻤﺪرﺟﺎت واﻟﻤﻼﻋﺐ ﻓﻲ ﻣﻨﻊ اﻟﻤﺘﻔﺮﺟﻴﻦ ﻣﻦ ا;ﺧﺘﻼط‬ ‫ﺑﺎﻟﺮﻳﺎﺿﻴﻴﻦ وﻟﻜﻦ ﻫﺬا اﻟﻔﺼﻞ ﻳﺠﺐ أن ﻳﺮاﻋﻲ ﺟﻮاﻧﺐ‬ ‫اﻟﺴﻼﻣﺔ ﻓﺎﻟﻔﺼﻞ ﻻ ﻳﺠﺐ أن ﻳﻤﻨﻊ ﻫﺮوب اﻟﻤﺘﻔﺮﺟﻴﻦ إﻟﻰ‬ ‫داﺧﻞ ا;ﺳﺘﺎد أو اﻟﻤﻼﻋﺐ ﻓﻲ ﺣﺎﻟﺔ ﺣﺪوث ﻛﻮارث )ﺣﺮﻳﻖ‬ ‫أوﺗﺪاﻓﻊ( وﻟﺬﻟﻚ ﻳﻜﻮن اﻟﻔﺼﻞ ﺑﺮﻓﻊ ﻣﺴﺘﻮى اﻟﻤﺪرﺟﺎت‬ ‫ﻋﻦ ﻣﺴﺘﻮى اﻟﻤﻼﻋﺐ ﺑﻘﺪار ‪ ٢‬م ﻣﻊ ﻋﻤﻞ اﻟﺤﻤﺎﻳﺔ اﻟﻼزﻣﺔ‬ ‫ﻣﻦ ﺣﻮاﺟﺰ زﺟﺎﺟﻴﺔ ﺷﻔﺎﻓﺔ ﻻ ﺗﺤﺠﺐ اﻟﺮؤﻳﺔ ودراﺑﺰﻳﻨﺎت‪،‬‬ ‫أوﺣﻔﺮ ﺧﻨﺪق ﺑﻴﻦ اﻟﻤﺪرﺟﺎت واﻟﻤﻼﻋﺐ ﻣﻊ إﺳﺘﺨﺪام‬ ‫ﻋﺒﺎرات ﻟﻠﻬﺮوب إﻟﻰ اﻟﻤﻠﻌﺐ ﻋﻨﺪ اﻟﻠﺰوم‪ .‬ﻓﻲ ا;ﺳﺘﺎدات‬ ‫اﻟﺘﻲ ﻻﻳﺘﻢ ﻓﻴﻬﺎ اﻟﻔﺼﻞ اﻟﻜﺎﻣﻞ ﺟﻴﺪ‪ f‬ﻳﺘﻢ ﻧﺸﺮ ﺣﺮاس‬ ‫أﻣﻦ ﻓﻲ أوﻗﺎت اﻟﻤﺒﺎرﻳﺎت‪ ،‬ﻛﻤﺎ ﻳﺘﻢ ﺗﺰوﻳﺪ اﻟﻤﺪرﺟﺎت ﺑﺄﺑﻮاب‬ ‫ﻫﺮوب ﻻﺗﻘﻔﻞ ﺑﻞ ﻳﻮﺿﻊ ﺣﺮاس ﻋﻠﻴﻬﺎ ‪.‬‬ ‫ إﻧﺎرة اﻟﻤﻼﻋﺐ ‪ :‬ﻳﺮاﻋﻲ ﺗﺼﻤﻴﻢ إﻧﺎرة اﻟﻤﻼﻋﺐ اﻟﺘﻮزﻳﻊ‬‫اﻟﻤﻨﺘﻈﻢ ﻟﻠﻀﻮء وﺗﺠﻨﺐ اﻟﻮﻫﺞ ﻛﻤﺎ ﻳﻌﺘﻤﺪ اﻟﺘﺼﻤﻴﻢ‬ ‫ﻋﻠﻰ ﻧﻮع اﻟﺮﻳﺎﺿﺔ اﻟﺘﻲ ﺳﻮف ﺗﻤﺎرس داﺧﻞ ا;ﺳﺘﺎد‪ .‬اﻟﻴﻮم‬ ‫ﻫﻨﺎك ﺛﻼﺛﺔ ﻃﺮق ;ﻧﺎرة ا;ﺳﺘﺎدات ا;ﻧﺎرة اﻟﻤﺜﺒﺘﺔ ﻋﻠﻰ‬ ‫ﺳﻮاري ﻋﺎﻟﻴﺔ ا;رﺗﻔﺎع واﻟﺘﻲ ﺗﻜﻮن ﺧﺎرج اﻟﻤﺪرﺟﺎت وﻫﻨﺎك‬ ‫ا;ﻧﺎرة اﻟﻤﺜﺒﺘﺔ ﻋﻠﻰ ا;ﻃﺎر اﻟﺪاﺧﻠﻲ ﻟﻐﻄﺎء ا;ﺳﺘﺎد وﺗﺸﻜﻞ‬ ‫ﻋﻨﺼﺮ‪ f‬ﻣﻦ ﻋﻨﺎﺻﺮ ﺗﺼﻤﻴﻢ اﻟﻐﻄﺎء‪ .‬ﻛﻤﺎﻳﻌﺘﻤﺪ ﺗﺼﻤﻴﻢ‬ ‫ا;ﻧﺎرة ﻛﺬﻟﻚ أﻧﻈﻤﺔ إﺗﺤﺎد ﻛﺮة اﻟﻘﺪم ;ﻧﺎرة ا;ﺳﺘﺎدات‪ ،‬اﻟﺘﻲ‬ ‫ﺗﻤﻨﻊ أن ﺗﺴﺒﺐ ا;ﻧﺎرة ا;زﻋﺎج ﻟﺴﻜﺎن اﻟﻤﺒﺎﻧﻲ اﻟﻤﺠﺎورة‬ ‫ﻛﻤﺎ ﺗﻨﻈﻢ أﻧﻮاع ا;ﻧﺎرة وﻣﻮاﺻﻔﺎﺗﻬﺎ و إﺣﺘﻴﺎﺟﺎت اﻟﻨﻘﻞ‬ ‫اﻟﺘﻠﻔﺰﻳﻮﻧﻲ ﻟﻠﻤﺒﺎرﻳﺎت ‪.‬‬ ‫ﻧﺴﺘﻌﺮض ﻫﻨﺎ ﻣﺸﺎرﻳﻊ إﺳﺘﺎدات ﻛﺄس اﻟﻌﻠﻢ ‪٢٠١٨‬م ﻓﻲ‬ ‫روﺳﻴﺎ وﻋﺪدﻫﺎ ‪ ١٢‬إﺳﺘﺎد وزﻋﺖ ﻋﻠﻲ اﻟﻌﺎﺻﻤﺔ ﻣﻮﺳﻜﻮ‬

‫ ‪…bŠ«Ë WI³Þ s Uł—b‬‬

‫ ‪5²I³Þ s Uł—b‬‬

‫ ‪ UI³Þ ÀöŁ s Uł—b‬‬

‫‪W d×K WO Oz— ÖU/‬‬ ‫‪© Construction and Design Manual Stadium Buildings by Martin Wimmer - DOM Publishers‬‬

‫— ‪VFK*« Èu² sŽ Uł—b*« Èu² l‬‬

‫‪VFK*«Ë Uł—b*« 5Ð ‚bMš dHŠ‬‬

‫ ‪VFK*« sŽ Uł—b*« qB‬‬ ‫‪© Construction and Design Manual Stadium Buildings by Martin Wimmer - DOM Publishers‬‬

‫‪¡UM³ « ≤¥‬‬

‫‪24 Albenaa‬‬

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪General design and planning : Mosinzhproekt‬‬ ‫‪Architect technology , site plan : SPEECH Architectural Office‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻮﺳﻜﻮ‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 221٫000 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2017 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 81٫026 :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒﺎ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ 26٫6 :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒﺎ‬

‫‪© Ilya Ivanov‬‬

‫ﺷﺮﻳﻂ أﻋﻠﻰ اﻟﻮاﺟﻬﺎت ﻳﻌﺮض ﺻﻮر ورﻣﻮز رﻳﺎﺿﻴﺔ ﻟﻤﺨﺘﻠﻒ‬ ‫ا;ﻟﻌﺎب‪ ،‬ﺑﺎ‪4‬ﺿﺎﻓﺔ إﻟﻰ ﺷﺮﻓﺔ واﺳﻌﺔ ﻓﻲ اﻋﻠﻰ ﻣﺴﺘﻮى‬ ‫ﻟﻠﻤﺪرﺟﺎت ﻳﻤﻜﻦ ﻣﻦ ﺧﻼﻟﻬﺎ ا‪4‬ﻃﻼﻟﺔ ﻋﻠﻰ ﻣﺤﻴﻂ ا‪4‬ﺳﺘﺎد‬ ‫وﻣﻌﺎﻟﻢ ﻣﻮﺳﻜﻮ‪.‬‬ ‫ﻛﺎن ﻟﻮزﻧﻴﻜﻲ ﻣﺮﻛﺰ ﻣﺘﻌﺪد ا;ﺳﺘﻌﻤﺎﻻت ﻳﻀﻢ ﻋﺪد ﻣﻦ‬ ‫اﻟﺼﺎﻻت اﻟﺮﻳﺎﺿﻴﺔ وﻓﻨﺪق ‪ ،‬ﺑﻌﺪ إﻋﺎدة اﻟﺘﺄﻫﻴﻞ اﺿﻴﻒ ﻟﻪ‬ ‫ﻣﺮﻛﺰ اﻋﻤﺎل ﻛﺒﻴﺮ وﻧﺎدي رﻳﺎﺿﻲ وﻗﺎﻋﺔ ﻣﺘﻌﺪدة اﻻﻏﺮاض‬ ‫وﻧﺎدي ﺻﺤﻲ ‪ .‬وﺑﺎ‪4‬ﺿﺎﻓﺔ اﻟﻰ ﻣﺒﺎرﻳﺎت ﻛﺮة اﻟﻘﺪم ﻳﻤﻜﻦ‬ ‫إﺳﺘﻌﻤﺎل ا‪4‬ﺳﺘﺎد ﻟﻠﺘﻈﺎﻫﺮات اﻟﻌﺎﻣﺔ اﻟﻤﺨﺘﻠﻔﺔ ﻣﺜﻞ‬ ‫اﻟﻌﺮوض اﻟﻤﻮﺳﻴﻘﻴﺔ ﻣﺜ ً‬ ‫ﻼ‪.‬‬ ‫« ‪œU²Ýû WO ¹—U² « UNł«u‬‬

‫∑≤ « ‪¡UM³‬‬

‫‪27 Albenaa‬‬

‫إﻋﺎدة ﺗﺄﻫﻴﻞ إﺳﺘﺎد‬ ‫ﻟﻮزﻧﻴﻜﻲ‬ ‫‪Refurbishment of Luzhniki Stadium‬‬

‫ ‪œU²Ýû ÂUŽ dEM‬‬

‫ﺻﻤﻢ وﻧﻔﺬ ا ﺳﺘﺎد اﻻﺻﻞ ﺑﻴﻦ ﻋﺎﻣﻲ ‪ ١٩٥٥‬و‪١٩٥٦‬م‪ ،‬ﻳﻘﻊ‬ ‫ا ﺳﺘﺎد ﻋﻠﻰ ﻣﺤﻮر ﺗﺨﻄﻴﻄﻲ ﻛﺎن ﺿﻤﻦ ﻣﺨﻄﻂ ﻣﻮﺳﻜﻮ‬ ‫ﻟﻌﺎم ‪١٩٣٠‬م‪ ،‬وﻛﺎن ﻳﺼﻞ ﺑﻴﻦ ﻣﻮاﻗﻊ اﻟﻤﺪﻳﻨﺔ اﻟﻬﺎﻣﺔ ﻣﺜﻞ‬ ‫اﻟﻜﺮﻣﻠﻴﻦ واﻟﻜﻨﻴﺴﺔ اﻟﺮﺋﻴﺴﺔ وﺟﺎﻣﻌﺔ ﻣﻮﺳﻜﻮ‪ .‬ﻓﻲ ﻋﺎم‬ ‫‪ ١٩٨٠‬م اﺻﺒﺢ ا ﺳﺘﺎد اﻟﺮﺋﻴﺲ ﻟﻼﻟﻌﺎب اﻻوﻟﻤﺒﻴﺔ وﻓﻲ ﻋﺎم‬ ‫‪ ٢٠١٣‬م ﺗﻢ إﻏﻼﻗﻪ ﻋﺎدة ﺗﺄﻫﻴﻠﻪ ﻟﻴﻜﻮن ﻓﻲ ﻋﺎم ‪٢٠١٨‬م ا ﺳﺘﺎد‬ ‫اﻟﺬي ﺳﻴﺤﺘﻀﻦ اﻟﻤﺒﺎرة اﻟﻨﻬﺎﺋﻴﺔ ﻟﻜﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم‬ ‫‪ 2018‬م ‪.‬‬ ‫ﻳﻬﺪف اﻟﺘﺼﻤﻴﻢ اﻟﺠﺪﻳﺪ ﻟ‪T‬ﺳﺘﺎد اﻟﻰ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ‬ ‫اﻟﻐﻄﺎء و اﻟﻮاﺟﻬﺎت اﻟﺨﺎرﺟﻴﺔ اﻟﺘﺎرﻳﺨﻴﺔ ﻛﻤﻌﻠﻢ روﺳﻲ ﻳﻌﺒﺮ‬ ‫ﻋﻦ اﻟﺮﻳﺎﺿﺔ وﻣﻦ ﺟﻬﺔ أﺧﺮى ﺗﻠﺒﻴﺔ ﻣﺘﻄﻠﺒﺎت ا ﺗﺤﺎد اﻟﺪوﻟﻲ‬ ‫ﻟﻜﺮة اﻟﻘﺪم ﻣﻦ ﺣﻴﺚ ﻣﺴﺎﺣﺔ اﻟﻤﺒﺎﻧﻲ واﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ‬

‫∂≤ « ‪¡UM³‬‬

‫‪26 Albenaa‬‬

‫ﻟﻠﻤﺘﻔﺮﺟﻴﻦ وﺑﺤﻴﺚ ﻳﺘﻢ ﺗﻠﺒﻴﺔ ﻛﻞ اﻟﻤﺘﻄﻠﺒﺎت داﺧﻞ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻬﻨﺪﺳﻲ اﻟﻤﺘﺎح ﻟ‪T‬ﺳﺘﺎد‪.‬‬ ‫إﺳﺘﻄﺎع اﻟﺘﺼﻤﻴﻢ اﻟﺠﺪﻳﺪ ان ﻳﻮﻓﺮ ﻃﺎﻗﺔ إﺳﺘﻴﻌﺎﺑﻴﺔ ﻗﺼﻮى‬ ‫ﺗﺒﻠﻎ ‪ ٨١٠٠٠‬ﻣﺘﻔﺮج وﻫﻲ ‪ ٣٠٠٠‬ﻣﺮة اﻛﺒﺮ ﻣﻦ اﻟﻄﺎﻗﺔ اﻻﺻﻞ‪ ،‬ﻛﻤﺎ‬ ‫ﺗﻢ إﺳﺘﺒﺪال ‪ ٪ ١٠‬ﻣﻦ اﻟﻤﻘﺎﻋﺪ ﻛﺎﻧﺖ ﻻ ﺗﺴﻤﺢ ﺑﺮؤﻳﺔ ﻛﺎﻣﻠﺔ‬ ‫اﻟﻰ ﺻﻔﻴﻦ ﻣﻦ اﻟﻤﺪرﺟﺎت ذات زواﻳﺎ ﻣﻴﻮل اﻛﺜﺮ إﻧﺤﺪار‪ i‬وﺻﻒ‬ ‫إﺿﺎﻓﻲ ﻳﻀﻢ ‪ ١٠٠‬ﺟﻠﺴﺔ ﺟﻤﺎﻋﻴﺔ ﺧﺎﺻﺔ و ﺗﻮﻓﻴﺮ ﺟﻠﺴﺎت‬ ‫ﺧﺎﺻﺔ ﻟﻠﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ ﻟﻌﺪد‪ ١٩٥٠‬ﻣﺘﻔﺮج ‪.‬‬ ‫ﺗﻢ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﻤﻈﻬﺮ اﻟﺨﺎرﺟﻲ ﻟﻼﻋﻤﺪة اﻟﺘﻲ ﺗﺪور‬ ‫ﺣﻮل ا ﺳﺘﺎد وﻛﺬﻟﻚ اﻟﺤﺎﺋﻂ اﻟﺪاﺧﻠﻲ واﻟﻐﻄﺎء وزﺧﺎرﻓﻪ‪.‬‬ ‫ﺗﻢ ﺗﺼﻤﻴﻢ ﺷﺎرع داﺧﻠﻲ ﺧﻠﻒ اﻟﺤﺎﺋﻂ ﻳﺤﺘﻮي ﻋﻠﻰ ﺳﻼﻟﻢ‬ ‫ﺻﻌﻮد اﻟﻤﺘﻔﺮﺟﻴﻦ ذات ﺷﻜﻞ ﻣﺘﺪرج‪ ،‬ﻛﻤﺎ ﺗﻢ ﺗﺼﻤﻴﻢ‬

From the Architect Report: Luzhniki Stadium was designed and built in 1955-1956 under the supervision of architect Alexander Vlasov. The stadium is situated on a planning axis created by the 1930s masterplan for Moscow and linking key sites in the city such as the Kremlin, the Church of Christ the Saviour, and Moscow State University. In 1980 Luzhniki was the main arena for the Olympics.

It has been closed for reconstruction since 2013. In 2018 it will a venue for World Cup football matches, including the cup final.

The key objectives of the reconstruction project made by SPEECH architectural office (Moscow) have been on the one hand to preserve the stadium’s external appearance (the stadium’s historical wall and roof) as an icon of Russian sport and on the other to fulfil all FIFA’s requirements with regard to floor areas and capacity. This meant that the difficult task facing the planners and designers was to fit all the required functions into the existing geometry.The renewed Large Sports Arena has a maximum capacity of 81 000, which is 3000 more than previously. Furthermore, prior to reconstruction, approximately 10% of seats in the stadium were in a zone where there were limited views of play. The stands have for this reason been replaced with two tiers raked at a steeper angle; additionally, there is a third tier consisting of 100 skyboxes. These changes mean that football fans now have a great view of the pitch from any point in the stands (including the bottom and top rows). There are also new comfortable VIP boxes with capacity for 1950 spectators.

The stadium’s external appearance has been lovingly preserved, including the colonnade girdling the stadium, the inside wall, and the shape and sculptural form of the roof. Behind the historical wall an internal street has been created; its main feature is eye-catching cascades of staircases, which serve as the main way for spectators to get about. The only new element on the façade is a frieze in the form of a broad metal strip on which images of symbols of various types of sport have been created using perforation. The graphic design of this element was developed in collaboration with the Art Lebedev Studio.

A 23-metre-high viewing platform is situated at the very top of the stands and will be open to all, providing an opportunity to admire the views which open up from here of Sparrow Hills, the University, and the city center.

Prior to reconstruction, Luzhniki was mixed-use, containing sports halls and a hotel. The stadium has retained a mix of functions; it now has a large business center in its southern part and a fitness center and universal sports hall and spa in its northern part. As well as football matches, the pitch can be used for mass events of various kinds (e.g. concerts).

‰Ë_« —ËbK wI _« jI *«

lЫd « —ËbK wI _« jI *«

œU²Ýû WOÐUFO²Ýù« W UD « l d Uł—b*« vKŽ © œuÝôUÐ ® WOzUA½ù« ö¹bF² « `{u¹ ŸUD 29 Albenaa

¡UM³ « ≤π

ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

qš«b « s œU²Ýû WHK² UDI

ÂUŽ ŸUD 28 Albenaa

¡UM³ « ≤∏

© Ilya Ivanov

œU²Ýû WO ¹—U² « WNł«u « 31 Albenaa

¡UM³ « ≥±

© Dmitry Chistoprudov

© Ilya Ivanov

œU²Ýù« qš«œ UDI

30 Albenaa

¡UM³ « ≥∞

© Ilya Ivanov

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : PI Arena, GMP Architekten‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻓﻮﻟﻐﻮﻏﺮاد‬ ‫اﻟﻤﺴﺎﺣﺔ ا ﺟﻤﺎﻟﻴﺔ ‪ 123،000:‬م‪2‬ﺗﻘﺮﻳﺒﺎ‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 43٫713 :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒ ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ ١٧٫١ :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒ ‬

‫ ‪ Uł—b*« qš«b Èu² Ë UNł«u «Ë nI « ¡UDž `{uð cOHM² « ¡UMŁ« œU²Ýû …—u‬‬ ‫≥≥ « ‪¡UM³‬‬

‫‪33 Albenaa‬‬

‫ﻓﻮﻟﻐﻮﻏﺮاد ارﻳﻨﺎ‬

Volgograd Arena

32 Albenaa

¡UM³ « ≥≤

WłuL*« Uł—b*« ·«uŠ WEŠö sJ1Ë qš«b « s œU²Ýù« Located in most busies axis, the Volgograd Arena had to be a full circle to appear in one unit from all directions with the main axis of the stadium is from North to South.

The outer facade was raised on a steel structure and consists of repetitive units, while the facade leans outward making the base smaller than the ceiling. The steel structure consists of to levels of units. These units amount for 44 in each level while the structure weighs 500 tons with 43m hight. The structure is anchored on scaffolding at the time of construction and were later removed once the structure was able to hold itself. The ceiling, on the other hand, is not anchored on the structure, and rather it is hold over 44 pillars. Built from steel net with ETFE panels, the outer ceiling covers a terrace that surrounds the stands, while the inner ceiling, which is made of two levels of nets of tensioned metal cables with a width of 25m and covered by membranes. The cables structure weighs 21000 tons and the ceiling covers an area of 77000 sqm while the stadium diameter is 303m and rises to 49.5m.

Inside, the stadium consists of the stands with an area of 31,600 sqm and with a reception areas of 24,300 sqm. The stands consists of two levels with the higher stands ends with wavy edges.

35 Albenaa

¡UM³ « ≥μ

‫ ا ﻣﺮ اﻟﺬي أدى‬،‫ﻳﻘﻊ ﻫﺬا ا ﺳﺘﺎد ﻋﻠﻰ أﻛﺜﺮ ﻣﻦ ﻣﺤﻮر ﺣﺮﻛﺔ رﺋﻴﺲ‬ ‫إﻟﻰ أن ﻳﻜﻮن ﻣﺴﻘﻄﻪ ﻋﻠﻰ ﺷﻜﻞ داﺋﺮة ﻛﺎﻣﻠﺔ ﺑﺤﻴﺚ ﻳﻈﻬﺮ‬ . ‫اﻟﻤﺸﺮوع ﺑﻤﻈﻬﺮ واﺣﺪ ﻣﻦ ﻛﻞ اﻟﺠﻬﺎت‬ ‫رﻓﻌﺖ اﻟﻮاﺟﻬﺎت اﻟﺨﺎرﺟﻴﺔ ﻋﻠﻰ ﻫﻴﻜﻞ ﺣﺪﻳﺪي ﻣﻜﻮن ﻣﻦ‬ ‫ﻣﺴﺘﻮﻳﻴﻦ ﻣﻦ اﻟﻮﺣﺪات اﻟﻤﺘﻜﺮرة ﻋﻠﻰ ﺷـﻜﻞ ﻣﻌﻴﻦ ﻳﺒﻠﻎ ﻋﺪدﻫﺎ‬ ‫ وﺗﻤﻴﻞ اﻟﻮاﺟﻬﺎت إﻟﻰ اﻟﺨﺎرج ﻟﺘﺠﻌﻞ‬،‫ وﺣﺪة ﻓﻲ ﻛﻞ ﻣﺴﺘﻮى‬44 ‫ ﻳﺒﻠﻎ وزن ﻫﻴﻜﻞ اﻟﻮاﺟﻬﺎت‬.‫ﻗﺎﻋﺪة ا ﺳﺘﺎد أﺻﻐﺮ ﻣﻦ ﺳﻘﻔﻪ‬ ‫ إرﺗﻜﺰ ﻫﺬا اﻟﻬﻴﻜﻞ ﻋﻨﺪ ﺗﻨﻔﻴﺬه ﻋﻠﻰ‬.‫م‬43 ‫ ﻃﻦ وﺑﺈرﺗﻔﺎع‬500 ‫ﺳﻘﺎﻻت ﺗﻢ ﺳﺤﺒﻬﺎ ﺑﻤﺠﺮد إﻛﺘﻤﺎل ﺑﻨﺎءه ﻟﻴﺤﻤﻞ ﻧﻔﺴﻪ ﺑﻨﻔﺴﻪ‬ ‫ أﻣﺎ اﻟﺴﻘﻒ ﻓﻼ ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﻫﻴﻜﻞ اﻟﻮاﺟﻬﺎت ﺑﻞ ﻳﺮﺗﻜﺰ‬.‫ﺑﻌﺪ ذﻟﻚ‬ ‫ ﺑﻨﻲ اﻟﺴﻘﻒ ﻣﻦ ﻣﻮاد ﻣﺨﺘﻠﻔﺔ ﻓﻬﻨﺎك ا ﻃﺎر‬.‫ ﻋﻤﻮد‬44 ‫ﻋﻠﻰ‬ ‫اﻟﺨﺎرﺟﻲ ﻟﻠﺴﻘﻒ اﻟﺬي ﻳﻐﻄﻲ ﺷﺮﻓﺔ ﺧﺎرﺟﻴﺔ ﺗﺤﻴﻂ ﺑﺎﻟﻤﺪرﺟﺎت‬ ‫وﻫﻮ ﻣﺼﻨﻮع ﻣﻦ ﺷﺒﻜﺔ ﺣﺪﻳﺪﻳﺔ ﺗﻐﻄﻴﻬﺎ وﺣﺪات ﻣﻦ ﻣﺎدة‬ ‫ أﻣﺎ ا ﻃﺎر اﻟﺪاﺧﻠﻲ ﻓﻬﻮ ﻣﺼﻨﻮع ﻣﻦ ﺷﺒﻜﺘﻴﻦ ﻣﻦ اﻟﻜﺎﺑﻼت‬.ETFE ‫م‬25 ‫اﻟﻤﻌﺪﻧﻴﺔ اﻟﻤﺸﺪودة ﻳﺼﻞ ﺑﻴﻨﻬﻤﺎ ﻛﻮاﺑﻴﻞ ﺣﺪﻳﺪﻳﺔ ﺑﻌﺮض‬ ‫ ﺑﻴﻨﻤﺎ ﻳﺒﻠﻎ‬،2‫ م‬77000 ‫ ﻳﻐﻄﻲ اﻟﺴﻘﻒ ﻣﺴﺎﺣﺔ‬،‫وﺗﻐﻄﻴﻬﺎ اﻟﺨﻴﺎم‬ ‫ ﻳﺘﻜﻮن ا ﺳﺘﺎد ﻣﻦ‬.‫ م‬49،5 ‫ وإرﺗﻔﺎﻋﻪ‬،‫ م‬303 ‫ﻗﻄﺮ داﺋﺮة ا ﺳﺘﺎد‬ ‫ وﺑﻤﺴﺎﺣﺎت إﺳﺘﻘﺒﺎل ﺗﺒﻠﻎ‬2‫ م‬31،600 ‫اﻟﺪاﺧﻞ ﻣﻦ ﻣﺪرﺟﺎت ﺑﻤﺴﺎﺣﺔ‬ ‫ وﺗﺘﻜﻮن اﻟﻤﺪرﺟﺎت ﻣﻦ ﻣﺴﺘﻮﻳﻴﻦ وﺗﻨﺘﻬﻲ اﻟﻤﺪرﺟﺎت‬،2‫م‬24،300 . ‫اﻟﻌﻠﻴﺎ ﺑﺤﻮاف ﻣﻤﻮﺟﺔ‬

© GMP Architekten

ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

52 Albenaa

¡UM³ « μ≤

WHK² *« WOzUA½ù« qŠ«d*«Ë œU²Ýù« U½uJ `{uð U uÝ— 34 Albenaa

¡UM³ « ≥¥

37 Albenaa

¡UM³ « ≥∑

ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

nI «Ë UNł«u « s qJ wzUA½ù« qJON « `{uð WHK² UDI 36 Albenaa

¡UM³ « ≥∂

5 dײ 5zeł s W½uJ*« W¹uKF « W³I «Ë qš«b « v ≈ WKzU*« Í—«u « WDÝ«uÐ Ÿu d*« ¡UDG «Ë qš«b*« Èu² v ≈ ÍœRð w² « r ö «Ë Wł—b*« …bŽUI « Ëb³ðË ÂUŽ dEM 39 Albenaa

¡UM³ « ≥π

‫إﺳﺘﺎد‬ ‫ﺳﺎن ﺑﻴﺘﺮﺳﺒﺮج‬ ‫‪Saint Petersburg Stadium‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Kisho Kurokawa Architect & Associates‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﺎن ﺑﻴﺘﺮﺳﺒﺮج‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 286٫000 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2017 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪69٫000 :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒﺎ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ 42،8 :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒﺎ‬

‫ﺑﺪء ﺑﻨﺎء ا ﺳﺘﺎد ﻓﻲ ﻋﺎم ‪2007‬م ﻋﻠﻰ أﻧﻘﺎض ا ﺳﺘﺎد اﻟﻘﺪﻳﻢ‪،‬‬ ‫اﻟﺬي ﻫﺪم ﻓﻲ ﻋﺎم ‪2006‬م ‪ ،‬ﻧﺘﻴﺠﺔ إﻟﻰ ﺣﺎﻟﺔ ا ﻫﻤﺎل اﻟﺘﻲ‬ ‫وﺻﻞ إﻟﻴﻬﺎ وﻋﺪم ﺻﻼﺣﻴﺔ ﻣﺒﺎﻧﻴﻪ ﺑﻌﺪ ﺳﻘﻮط ا ﺗﺤﺎد‬ ‫اﻟﺴﻮﻓﻴﺘﻲ‪ .‬إﺳﺘﻐﺮق اﻟﺒﻨﺎء ‪ 10‬ﺳﻨﻮات ﺑﺴﺒﺐ اﻟﺘﻐﻴﺮات‬ ‫اﻟﻀﺮورﻳﺔ ﻓﻲ اﻟﺘﺼﻤﻴﻢ ﺣﺘﻰ إن ﺑﻌﻀﻪ ﺗﻢ ﻫﺪﻣﻪ وإﻋﺎدة‬ ‫ﺑﻨﺎﺋﻪ ﻣﻦ ﺟﺪﻳﺪ‪.‬‬ ‫ﺻﻤﻢ ا ﺳﺘﺎد ﻋﻠﻰ ﺷﻜﻞ ﺳﻔﻴﻨﺔ ﻓﻀﺎﺋﻴﺔ )ﻃﺒﻖ ﻃﺎﺋﺮ‬ ‫ﻛﺒﻴﺮ(‪ ،‬ﺗﻮﻓﻲ اﻟﻤﻌﻤﺎري أﺛﻨﺎء ﻓﺘﺮة اﻟﺒﻨﺎء اﻟﻄﻮﻳﻠﺔ ا‪L‬ﻣﺮ اﻟﺬي‬ ‫ﺗﻐﻴﺮ اﻟﺘﺼﻤﻴﻢ ﻛﺜﻴﺮا ﺑﻌﺪﻫﺎ‪ .‬اﻟﻴﻮم ﻳﺒﺪو ا ﺳﺘﺎد ﻣﻦ اﻟﺨﺎرج‬ ‫ﻋﻠﻰ ﻫﻴﺌﺔ ﻃﺒﻖ ﻣﻘﻌﺮ ﺷﺒﻪ داﺋﺮي ﻳﺮﺗﻔﻊ ﻓﻮق ﻗﺎﻋﺪة أرﺿﻴﺔ‬ ‫ﻣﺰروﻋﺔ ﻣﺎﺋﻠﺔ وﻣﺘﺪرﺟﺔ ﻳﻤﻜﻦ ﺻﻌﻮدﻫﺎ ﻋﺒﺮ ﺳﻼﻟﻢ ﺧﺎرﺟﻴﺔ‬ ‫ﻟﻠﻮﺻﻮل إﻟﻰ ﻣﺴﺘﻮى ﻣﺪاﺧﻞ ا ﺳﺘﺎد‪ .‬رﻓﻊ ﻏﻄﺎء ا ﺳﺘﺎد‬ ‫ﻋﻠﻰ ‪ 8‬أﻋﻤﺪة ﻋﺎﻟﻴﺔ ﻋﻠﻰ ﺷﻜﻞ ﺳﻮاري ﻣﺎﺋﻠﺔ إﻟﻰ اﻟﺪاﺧﻞ‬ ‫ﺗﺒﺪء ﻣﻦ ﻣﺴﺘﻮى اﻟﻤﺪرﺟﺎت وﺗﺨﺘﺮق اﻟﻐﻄﺎء وﺑﺤﻴﺚ ﻳﺒﺪو‬ ‫اﻟﻐﻄﺎء وﻛﺄﻧﻪ ﻳﺤﻮم ﻓﻲ اﻟﺴﻤﺎء‪ ،‬ﻳﻌﻠﻮ اﻟﻐﻄﺎء ﻗﺒﺔ ﻣﺘﺤﺮﻛﺔ‬ ‫ﺗﻐﻄﻲ اﻟﻤﻠﻌﺐ وﻫﻲ ﻣﻜﻮﻧﺔ ﻣﻦ ﺟﺰﺋﻴﻦ‪ ،‬ﺑﺤﻴﺚ ﻳﺒﺪو‬ ‫اﻟﺘﻜﻮﻳﻦ اﻟﻌﺎم ﻛﻄﺒﻖ ﻓﻀﺎﺋﻲ ﻃﺎﺋﺮ ‪.‬‬ ‫ﺗﻢ رﻓﻊ اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ﻟ_ﺳﺘﺎد ﻟﺘﻠﺒﻴﺔ ﻣﺘﻄﻠﺒﺎت‬ ‫ﻣﺒﺎرﻳﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ﻟﻜﺮة اﻟﻘﺪم ‪ 2018‬م ﻟﺘﺒﻠﻎ ‪69،000‬ﻣﺘﻔﺮج‪،‬‬ ‫ﻛﻤﺎ ﺑﻠﻐﺖ ﻣﺴﺎﺣﺔ ا ﺳﺘﺎد اﻟﻜﻠﻴﺔ ‪286،000‬م‪ ، 2‬ﺑﻴﻨﻤﺎ ﺑﻠﻎ‬ ‫إرﺗﻔﺎع اﻟﺴﻮاري ‪110‬م و اﻟﻐﻄﺎء ‪79‬م ووزﻧﻪ اﻟﻤﺮﻓﻮع ﺑﻮاﺳﻄﺔ‬ ‫اﻟﺴﻮاري ‪32،000‬ﻃﻦ وﺑﻤﺴﺎﺣﺔ ‪71000‬م‪. 2‬‬

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The new Saint Petersburg Stadium construction started in 2007 on top of the remnants of the old stadium that were demolished in 2006 , due to the bad conditions of the stadium’s buildings, after the fall of the Soviet Union. It took 10 years to construct this stadium because of the many changes that occurred in the design and some parts were even built and demolished and rebuilt.

The stadium was designed by the Japanese architect Kisho Kwarakawa after he won the design competition for this stadium, although he sadly died during the long period of construction.

The design shape resembles a space craft and appears as a semi concave circle from the inside. The building rises over a landscaped base. At this base there are stairs for the spectators to access the stadium.

The cover of the building is raised over 8 pillars, that resemblers a ship mast. Inclined towards the inside, These pillars starts at the stands level and go through the stadium cover. This feature makes the cover appears as if it is flying in the sky. On top of the cover rises a moving dome that covers the stadium and consists of two sections, so that the composition resembles a space craft.

The stadium’s capacity was raised to allow more fans for the World Cup matches in 2018.

And today the capacity is 69000 spectators, with a total area of 286,000 sqm for the stadium, while the mast hight is 110 m. The cover rises to 79 m and weighs 32,000 tons with an area of 71,000 sqm.

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‫روﺳﺘﻮف أرﻳﻨﺎ‬ ‫‪Rostov Arena‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Sport In, Crocus Group‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬روﺳﺘﻮف ‪ -‬اون ‪ -‬دون‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 128،000 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2018 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ ٤٠٫٠٠٠ :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒ‪j‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ ١٩٫٨٤ :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒ‪j‬‬

‫ﻳﻌﺘﺒﺮ ﻫﺬا ا ﺳﺘﺎد ﻣﻦ أﻛﺜﺮ ا ﺳﺘﺎدات ﺗﻜﻠﻔﺔ ﻓﻲ روﺳﻴﺎ ‪،‬‬ ‫ﺣﻴﺚ ﺑﻠﻐﺖ اﻟﺘﻜﻠﻔﺔ ﻋﻨﺪ إﻧﺘﻬﺎء اﻟﺒﻨﺎء ‪ 19.8‬ﺑﻠﻴﻮن روﺑﻞ ‪،‬‬ ‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ إﺟﺮاء ﺗﻐﻴﻴﺮات ﻣﺘﻼﺣﻘﺔ ﻓﻲ اﻟﺘﺼﻤﻴﻢ ﺑﻬﺪف‬ ‫ﺧﻔﺾ اﻟﺘﻜﻠﻔﺔ ‪ .‬وﻟﻘﺪ أدى ذﻟﻚ إﻟﻰ إﻟﻐﺎء اﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫اﻟﻌﻨﺎﺻﺮ اﻟﻤﻌﻤﺎرﻳﺔ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ اﻟﺘﻘﻠﻴﻞ ﻣﻦ أﻋﻤﺎل اﻟﻤﻮﻗﻊ‬ ‫اﻟﺨﺎرﺟﻴﺔ وﻣﻮاﻗﻒ اﻟﺴﻴﺎرات ‪ .‬ﻣﺎﻳﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ اﻟﻴﻮم ﻫﻮ‬ ‫واﺟﻬﺎﺗﻪ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ أﻟﻮاح ا‪M‬ﻟﻮﻣﻨﻴﻮم اﻟﻤﺜﻘﻮب اﻟﺘﻲ‬ ‫ﺛﺒﺖ ﺧﻠﻔﻬﺎ ﻧﻈﺎم إﻧﺎرة ‪ LED‬ﻳﻀﻰء اﻟﻮاﺟﻬﺎت ﻟﻴ ً‬ ‫ﻼ ﺑﺈﻧﺎرة‬ ‫ﻣﺘﻤﻴﺰة ‪ .‬ﺻﻨﻊ اﻟﺴﻘﻒ ﻣﻦ ‪ 46‬ﻛﻤﺮة ﺣﺪﻳﺪﻳﺔ ﻏﻄﻴﺖ ﺑﻤﺎدة‬ ‫ﺑﻲ ﻓﻲ ﺳﻲ ﻋﻠﻰ ﻣﺴﺎﺣﺔ ‪49،500‬م‪ ،2‬ﻳﺮﻓﻊ اﻟﻐﻄﺎء أوﺗﺎد‬ ‫ﻳﺒﻠﻎ إرﺗﻔﺎﻋﻬﺎ ‪ 51،5‬م ‪ .‬ﻛﺎﻧﺖ اﻟﻤﺪرﺟﺎت ﺗﺘﻤﻴﺰ ﺑﻔﺘﺤﺎت ﻓﻲ‬ ‫أرﻛﺎﻧﻬﺎ ﺗﺴﻤﺢ ﺑﺎ ﻃﻼﻟﺔ إﻟﻰ اﻟﺨﺎرج إﻻ أﻧﻪ ﺗﻢ وﺿﻊ ﺷﺎﺷﺎت‬ ‫ﻋﺮض ﻛﺒﻴﺮة ﻓﻴﻬﺎ‪ .‬ﺗﺒﻠﻎ اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 40،000‬ﻣﺘﻔﺮج ‪.‬‬ ‫وﻣﻦ اﻟﻤﺘﻮﻗﻊ أن ﻳﺘﻢ ﺗﻄﻮﻳﺮ اﻟﻤﻨﺎﻃﻖ اﻟﻤﺤﻴﻄﺔ ﺑﺎ ﺳﺘﺎد‬ ‫ﺑﻌﺪ ﻣﺒﺎرﻳﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ‪2018‬م‪ ،‬ﺣﻴﺚ ﺳﻴﺸﻤﻞ اﻟﺘﻄﻮﻳﺮ‬ ‫ﺗﻨﺴﻴﻖ اﻟﻤﻮﻗﻊ وإﻗﺎﻣﺔ ﻣﺒﺎﻧﻲ ﺗﺮﻓﻴﻬﻴﺔ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ‬ ‫ﻣﺴﺎﺣﺎت ﻣﻜﺘﺒﻴﺔ وﺗﺠﺎرﻳﺔ واﺳﻌﺔ ‪.‬‬

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¡UDG « qO UHðË œU²Ýû 5²DI The Rostov Arena is considered one of the expensive stadiums in Russia. Its cost reached 19.8 billion Rubles despite the many ensued changes on the design to reduce its cost. This tremendously affected the original design because they had to cancel several architectural features in addition to reducing external works and parking spaces.

What distinguishes the design of the Rostov Arena is its facade that is made of perforated aluminium panels that accommodate LED lighting system . The ceiling structure is made of 46 iron beams covered with PVC fabric on an area of 49,500 sqm. The cover rises on 51.5 m high anchors.

The stands were open at the corners but later large screens accommodated the empty space at corners. The capacity of the Rostov Arena is 40,000 seats and it is expected that the surrounding area will see some development after the World Cup. These developments include landscaping and building recreational facilities, as well as office and commercial spaces.

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‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : .Sport In, PI Arena‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻧﻴﺰﻫﻨﻲ ﻧﻮﻓﻐﻮرود‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 127،500 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 43،319:‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒﺎ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ 17،9 :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒﺎ‬

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‫إﺳﺘﺎد ﻧﻴﺰﻫﻨﻲ ﻧﻮﻓﻐﻮرود‬ Nizhny Novgorod Stadium

ÂUO)«Ë U½uÐdJO u³ « Õ«u QÐ nI « WODGð `{uð œU²Ýû wł—Uš ÂUŽ —uEM 46 Albenaa

¡UM³ « ¥∂

‫ﻳﻘﻊ ا ﺳﺘﺎد ﻋﻨﺪ ﺗﻼﻗﻲ ﻧﻬﺮﻳﻦ ﻋﺮﻳﻘﻴﻦ ﻫﻤﺎ ﻓﻮﻟﺠﺎ وأوﻛﺎ‬ !‫ ا)ﻣﺮ اﻟﺬي ﺗﻄﻠﺐ ﺗﺼﻤﻴﻤ‬،‫وﺑﺎﻟﻘﺮب ﻣﻦ ﻛﻨﻴﺴﺔ ﻋﺮﻳﻘﺔ ﻛﺬﻟﻚ‬ ‫ إﺗﺨﺬ ﻣﺴﻘﻂ ا ﺳﺘﺎد ﺷﻜﻼ ﺑﻴﻀﺎوﻳﺎ‬. ‫ﻣﻌﻤﺎرﻳ! ﻳﺤﺘﺮم اﻟﻌﺮاﻗﺔ‬ ‫ ﻟﻠﺼﻌﻮد ﻟﻠﻤﺪرﺟﺎت ﻫﻨﺎك ﺳﻼﻟﻢ‬. ‫ﻳﻘﻊ داﺧﻞ إﻃﺎر داﺋﺮي‬ 20 ‫داﺋﺮﻳﺔ ﺗﺼﻌﺪ ﺑﻄﺮﻳﻘﺔ ﻣﺤﺎذﻳﺔ ﻟﻠﻤﺪرﺟﺎت ﻳﺒﻠﻎ ﻋﺪدﻫﺎ‬ ‫ﺳﻠﻢ ﺗﺆدي إﻟﻰ ﺷﺮﻓﺔ رﺋﻴﺴﺔ ﻳﺘﻢ اﻟﺼﻌﻮد ﻣﻨﻬﺎ ﺑﻮاﺳﻄﺔ‬ ‫ واﺟﻬﺎت ا ﺳﺘﺎد ﻣﻜﻮﻧﺔ‬. ‫ﺳﻼﻟﻢ أﺧﺮى ﺗﺆدي إﻟﻰ اﻟﻤﺪرﺟﺎت‬ ‫ﻣﻦ وﺣﺪات ﻧﺴﻴﺠﻴﺔ ﻣﻠﻮﻧﺔ ﺑﺄﻟﻮان ا)ﺑﻴﺾ وا)زرق ﺗﻌﺒﺮ ﻋﻦ‬ ، ‫اﻟﺨﺼﺎﺋﺺ اﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﻮﻗﻊ ﻣﻦ اﻟﺮﻳﺎح وﻣﻴﺎه ا)ﻧﻬﺎر‬ ‫ﺻﻔﺖ اﻟﻮﺣﺪات ﻋﻠﻰ ﺷﻜﻞ ﺷﺮاﺋﻂ ﻣﺎﺋﻠﺔ ﺗﻬﺪف إﻟﻰ ﺣﻤﺎﻳﺔ‬ . ‫اﻟﻤﺘﻔﺮﺟﻴﻦ ﻓﻲ اﻟﻤﺪرﺟﺎت ﻣﻦ اﻟﺮﻳﺎح‬ ‫ ﻋﻤﻮد‬132 ‫ﻳﺮﺗﻔﻊ ﺳﻘﻒ ا ﺳﺘﺎد ﻋﻠﻰ أﻋﻤﺪة ﻳﺒﻠﻎ ﻋﺪدﻫﺎ‬ ‫ ا)ﻋﻤﺪة اﻟﺨﺎرﺟﻴﺔ ذات‬. ‫ﻣﻮزﻋﺔ ﻋﻠﻰ ﺣﻠﻘﺘﻴﻦ ﺧﺎرﺟﻴﺔ وداﺧﻠﻴﺔ‬ ‫ ﺑﻴﻨﻤﺎ ا)ﻋﻤﺪة اﻟﺪاﺧﻠﻴﺔ‬،‫ ﻋﻤﻮد‬88 ‫ﻗﻄﺎع ﻣﺜﻠﺚ وﻳﺒﻠﻎ ﻋﺪدﻫﺎ‬ ‫ ﻳﺘﻜﻮن اﻟﺴﻘﻒ‬.‫ ﻋﻤﻮد‬44 ‫ذات ﻗﻄﺎع داﺋﺮي وﻳﺒﻠﻎ ﻋﺪدﻫﺎ‬ ‫إﻧﺸﺎﺋﻴ! ﻣﻦ ﺟﻤﺎﻟﻮن ﺣﺪﻳﺪي ﺗﻐﻄﻴﻪ أﻟﻮاح ﻣﻦ اﻟﺒﻮﻟﻴﻜﺮﺑﻮﻧﺎت‬ ‫ ﻃﻦ‬10،000 ‫ ﻳﺰﻳﺪ وزن اﻟﺴﻘﻒ ﻋﻦ‬،‫اﻟﻤﻠﻮن ﺑﺎ)ﺑﻴﺾ وا)زرق‬ .‫ م‬54 ‫ م وﺑﺈرﺗﻔﺎع‬288 ‫ وﺑﻘﻄﺮ‬2‫ م‬54،700 ‫وﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ‬ ‫اﻟﻤﺪرﺟﺎت ﺗﺘﻜﻮن ﻣﻦ ﻗﺴﻤﻴﻦ ﺳﻔﻠﻴﺔ وﻋﻠﻮﻳﺔ ﺻﻤﻤﺖ‬ . ‫ﺣﻮاف اﻟﻤﺪرﺟﺎت اﻟﻌﻠﻮﻳﺔ ﻋﻠﻰ ﺷﻜﻞ ﻣﻤﻮج‬

Because of its location at the intersection point between the Volga River and Awaka River and in proximity to a heritage church, the architecture of the Nizhny Novgorod Stadium had to respect the heritage of its area. The floor plan took an oval shape inside a circle frame, which accommodate 20 circular stairs that leads to the main terrace which also include additional stairs leading to the stands. The facade consists of colored units in blue and white to symbolize the natural location features of wind and water . These units are put in order to protect the fans from the wind. The ceiling rises on 132 pillars distributed in two rings. The outer pillars, 88 pillars, with a triangle shape while the inner pillars, 44 pillars, are circulars shaped. Weighing more than 10,000 tons, the ceiling consists of metal structure covered by polycarbonate panels colored in white and blue. The ceiling area is 54,070 sqm with a diameter of 288m and rises to 54m. The stands consists of two levels, upper and lower stands, with upper ones designed in a wavy shape.

49 Albenaa

¡UM³ « ¥π

qš«b « s œU²Ýù«

UNł«u «Ë nI K WOzUA½ù« qO UH² « iFÐ `{uð WHK² UDI 48 Albenaa

¡UM³ « ¥∏

wKš«œ ÂUŽ —uEM

UNł«uK w Ë_« rOLB²K —uEM 51 Albenaa

¡UM³ « μ±

‫ﺳﻤﺎرة أرﻳﻨﺎ‬ ‫‪Samara Arena‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : GMP Architecten‬‬ ‫‪GUS SO TerrNIIgrazhdanproekt, PI Arena‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﻤﺎرا‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 41٫970 :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒﺎ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ 18.9 :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒﺎ‬

‫ﺗﺄﺛﺮ ﺗﺼﻤﻴﻢ ﻫﺬا ا ﺳﺘﺎد ﺑﺼﻨﺎﻋﺔ اﻟﻄﺎﺋﺮات واﻟﻤﺮﻛﺒﺎت‬ ‫اﻟﻔﻀﺎﺋﻴﺔ اﻟﻤﻮﺟﻮدة ﻓﻲ ﺳﻤﺎرة‪ ،‬ا"ﻣﺮ اﻟﺬي دﻓﻊ اﻟﺘﺼﻤﻴﻢ‬ ‫إﻟﻰ ﺗﺒﻨﻲ ﺷﻜﻞ ﻗﺒﺔ ﻓﻀﺎﺋﻴﺔ ) ﻃﺒﻖ ﻃﺎﺋﺮ ( ﺟﺎﺳﻢ‬ ‫ﻋﻠﻰ ا"رض‪ ،‬ﺗﻢ ﺗﺼﻤﻴﻢ اﻟﻘﺒﺔ ﻣﻦ ﻗﺒﻞ ﻣﻜﺘﺐ ﻋﺎﻟﻤﻲ‬ ‫‪ GMP Architecten‬وﻃﻮر ﺑﻌﺪ ذﻟﻚ ﻓﻲ روﺳﻴﺎ‪ .‬إﺣﺘﻔﻆ‬ ‫اﻟﻤﺸﺮوع ﺑﺸﻜﻠﻪ اﻟﻤﻠﻔﺖ ﻟﻠﻨﻈﺮ ﺑﺎﻟﺮﻏﻢ ﻣﻦ اﻟﺘﻐﻴﻴﺮات‬ ‫اﻟﻜﺒﻴﺮة ﻓﻲ اﻟﺘﺼﻤﻴﻢ ا"ﺻﻠﻲ‪ ،‬ﺣﻴﺚ ﺗﻢ ﺗﺨﻔﻴﺾ‬ ‫إرﺗﻔﺎع اﻟﻘﺒﺔ ﻣﻦ ‪ 80‬اﻟﻰ ‪ 60‬م وإﺳﺘﺒﺪال ﺗﻐﻄﻴﺘﻬﺎ ﻣﻦ‬ ‫أﻟﻮاح اﻟﺒﻮﻟﻲ ﻛﺮﺑﻮﻧﺎت ﺷﺒﻪ ﺷﻔﺎﻓﺔ إﻟﻰ أﻟﻮاح ﻣﻦ ﻣﻮاد‬ ‫ﻣﺼﻤﺘﺔ ‪ .‬ﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ اﻟﻘﺒﺔ ‪38،346‬م‪ ، 2‬وﺻﻤﻤﺖ اﻟﺴﻼم‬ ‫اﻟﺼﺎﻋﺪة إﻟﻰ ﺷﺮﻓﺔ ﻣﺪاﺧﻞ اﻟﻤﺪرﺟﺎت ﻛﺴﻼﻟﻢ ا"ﻃﺒﺎق‬ ‫اﻟﻄﺎﺋﺮة ﺗﻈﻠﻠﻬﺎ أﻃﺮاف اﻟﻘﺒﺔ اﻟﻤﺸﺮﺷﺮة اﻟﻨﻬﺎﻳﺎت ‪ .‬ﺗﺘﻤﻴﺰ‬ ‫اﻟﻤﺪرﺟﺎت اﻟﻤﻜﻮﻧﺔ ﻣﻦ ﻃﺒﻘﺘﻴﻦ‪ ،‬ودورﻳﻦ ﻣﺨﺼﺼﻴﻦ‬ ‫ﻟﻠﺸﺨﺼﻴﺎت اﻟﻬﺎﻣﺔ‪ ،‬ﺑﺘﺼﻤﻴﻢ ﻳﺸﺒﺔ اﻟﻨﺠﻤﺔ اﻟﺘﻰ ﺗﻮﺣﻲ‬ ‫ﻛﺬﻟﻚ ﺑﺎﻟﻔﻀﺎء‪ ،‬ﺑﻴﻨﻤﺎ ﺗﻘﻊ ﺧﻠﻒ اﻟﻤﺪرﺟﺎت ‪ 6‬أدوار ﺧﺼﺼﺖ‬ ‫ﻟﻠﺨﺪﻣﺎت اﻟﻤﺨﺘﻠﻔﺔ ‪.‬‬

‫ ‪vzUNM « rOLB² « V Š œU²Ýù« ¡UDG —uEM‬‬ ‫∞‪¡UM³ « μ‬‬

‫‪50 Albenaa‬‬

qš«b « s œU²Ýû WDI

The design of Samara Arena was influenced by the local industry of space crafts and planes.The original design by GMP Architecten adopted a UFO shaped dome.

The shape was preserved through the following design phases were carried out by local firm PI Arena despite the many changes that occurred on the original design, although the dome hight was reduced from 80 m to 60 m.

The dome also saw a change in the material used from panels made from transparent polycarbonate panels to solid ones. The entire area of the dome is 38,346 sqm.

Going further, the stairs were also designed to resemble a space craft stairs. In addition, the two tiers stands, that also include two levels for VIP . The bowl shape of the seating takes the shape of the stars implying to the space.

The project consist of 6 floors of services sections located behind the stands.

W UN « UOB AK s¹—Ëœ ULNMOÐ qBH¹ 5²I³Þ s Uł—b*« ÊuJ²ð 53 Albenaa

¡UM³ « μ≥

© GMP Architekten

‰Ë_« —ËbK vI _« jI *«

WNł«Ë

ŸUD

52 Albenaa

¡UM³ « μ≤

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Crocus Group‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻛﺎﻟﻴﻨﻴﻨﻐﺮاد‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 112،500 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2018:‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 33٫973 :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒﺎ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ 18.5 :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒﺎ‬

‫—‪ Uł—b*« v « qš«b*« Èu² Ë œU²Ýù« nIÝ `{u¹ ÂUF « l uLK rÝ‬‬ ‫‪¡UM³ « μμ‬‬

‫‪55 Albenaa‬‬

‫إﺳﺘﺎدﻛﺎﻟﻴﻨﻴﻨﻐﺮاد‬ ‫‪Kaliningrad Stadium‬‬

‫ ‪œU²Ýû ÂUŽ dEM‬‬

‫ﺗﺄﺧﺮ ﺗﻨﻔﻴﺬ ﻫﺬا ا ﺳﺘﺎد ﺣﺘﻰ ﻋﺎم ‪ 2015‬م ﺑﺴﺒﺐ اﻟﺤﺎﻟﺔ‬ ‫ا ﻗﺘﺼﺎدﻳﺔ ﻓﻲ روﺳﻴﺎ ﻧﺘﻴﺠﺔ إﻧﺨﻔﺎض اﻟﻌﻤﻠﺔ اﻟﺮوﺳﻴﺔ‪،‬‬ ‫وإﻓﻼس اﻟﺸﺮﻛﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﻌﻨﻴﺔ ﺑﺈﻧﻬﺎء اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺬي أﻋﺪ ﻣﻨﺬ ﻋﺎم ‪ 2012‬م ‪ .‬ﻟﺬﻟﻚ ﻛﺎن ﻣﻦ اﻟﻀﺮوري إﻋﺎدة‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﻬﺪف ﺧﻔﺾ ﺗﻜﻠﻔﺔ اﻟﺘﻨﻔﻴﺬ ﻣﺮاﻋﺎة ﻟﻠﺤﺎﻟﺔ‬ ‫ا ﻗﺘﺼﺎدﻳﺔ ﻟﻠﺒﻼد ﻓﻲ ‪ 2015‬م ‪.‬‬ ‫ﺗﻢ ﺗﺮﺳﻴﺔ ﺗﺼﻤﻴﻤﻢ وإﻧﺸﺎء ا ﺳﺘﺎد ﻋﻠﻰ ﺗﻀﺎﻣﻦ ﻋﺪد ﻣﻦ‬ ‫اﻟﺸﺮﻛﺎت ﺗﺎﺑﻌﺔ ﻟﻤﺠﻤﻮﻋﺔ ﻛﺮوﻛﺲ اﻟﺮوﺳﻴﺔ ﻟﻠﺘﻌﺠﻴﻞ‬ ‫ﺑﺈﻧﺸﺎﺋﻪ اﻟﺬي ﺑﺪء ﻓﻲ ﻧﻔﺲ ﻋﺎم ‪ 2015‬م ‪.‬‬ ‫ﻧﻈﺮ‪ N‬ﻟﻠﻤﺪة اﻟﻘﺼﻴﺮة اﻟﻤﺘﺒﻘﻴﺔ ﺣﺘﻰ ﻣﻮﻋﺪ ﺗﺴﻠﻴﻢ إﺳﺘﺎدات‬ ‫ﻛﺄس اﻟﻌﺎﻟﻢ ﻓﻲ روﺳﻴﺎ ﺗﻘﺮر ﺑﻨﺎء ﻫﺬا ا ﺳﺘﺎد ﻣﻦ ﻋﻨﺎﺻﺮ‬

‫‪¡UM³ « μ¥‬‬

‫‪54 Albenaa‬‬

‫ﻣﻌﺪﻧﻴﺔ ﺟﺎﻫﺰة ﺑﺪﻻً ﻣﻦ اﻟﺨﺮﺳﺎﻧﺔ ‪ ،‬ﻛﻤﺎ ﺗﻢ ﺗﻘﻠﻴﺺ ﻣﺴﺎﺣﺔ‬ ‫ا ﺳﺘﺎد ا‪V‬وﻟﻴﺔ إﻟﻰ ‪ 112،500‬م‪ . 2‬ﻧﻔﺬ اﻟﻬﻴﻜﻞ اﻟﺤﺪﻳﺪي‬ ‫ﻟ‪Z‬ﺳﺘﺎد ﻓﻲ ﻏﻀﻮن ﻋﺎم ‪ ،‬ﻛﻤﺎ ﺗﻢ ﺗﻐﻠﻴﻒ ا ﺳﺘﺎد ﻣﻦ‬ ‫اﻟﺨﺎرج ﺑﺄﻟﻮاح ﻣﻦ ا‪V‬ﻟﻮﻣﻨﻴﻮم اﻟﻤﺜﻘﺐ رﺻﺖ ﺑﺰواﻳﺎ ﻣﺎﺋﻠﺔ ﻓﻲ‬ ‫ﺗﻜﻮﻳﻨﺎت ﺷﺮﻳﻄﻴﺔ أﻓﻘﻴﺔ ﺑﺄﻟﻮان ا‪V‬ﺑﻴﺾ وا‪V‬زرق وﻫﻲ أﻟﻮان‬ ‫ﻧﺎدي ﻛﺮة اﻟﻘﺪم اﻟﻤﺤﻠﻲ ﻓﻲ ﻛﺎﻟﻴﻨﻴﻨﺠﺮاد ‪ .‬وﻟﻘﺪ ﺳﺎﻋﺪت‬ ‫اﻟﺜﻘﻮب ﻓﻲ ا‪V‬ﻟﻮاح ﻋﻠﻰ ﺗﻮﻓﻴﺮ ﺗﻬﻮﻳﺔ ﻃﺒﻴﻌﻴﺔ ﻣﻨﺎﺳﺒﺔ‬ ‫ﻟﻠﻤﺪرﺟﺎت‪ .‬ﻳﺒﻠﻎ إرﺗﻔﺎع ا ﺳﺘﺎد ‪ 47‬م وﻳﺮﻓﻊ ﺳﻘﻔﻪ ‪ 32‬ﻋﻤﻮد‪.‬‬ ‫وﺑﺎﻟﺮﻏﻢ ﻣﻦ إﻋﺎدة اﻟﺘﺼﻤﻴﻢ واﻟﺘﺄﺧﻴﺮ ﻓﻲ اﻟﺒﺪء ﺑﺎ ﻧﺸﺎء‬ ‫ﺗﻢ ا ﻧﺘﻬﺎء ﻣﻦ ﺗﻨﻔﻴﺬ ا ﺳﺘﺎد ﻗﺒﻞ ﺑﺪء ﻓﻌﻠﻴﺎت ﻛﺄس‬ ‫اﻟﻌﺎﻟﻢ ‪ 2018‬م ‪.‬‬

v{—_« —ËbK wI _« jI *«

2014 © Sport In

© qš«b*« Íu² ® ‰Ë_« —ËbK wI _« jI *«

W UN « UOB A « —Ëb wI _« jI *«

57 Albenaa

¡UM³ « μ∑

The construction of Kaliningrad Stadium was delayed until 2015 for economical reasons in Russia due to the slump in the currency and the bankruptcy of the company responsible for the initial design. It was imperative to redesign the stadium to reduce the cost and consider the economical situation of the country in 2015. The design task was given to a consortium to speed the construction in 2015. It was decided to construct the stadium using prefabricated metal elements instead of precast to speed the project . The area also saw some reduction to112,500 sqm. The steel structure was constructed in a year and the stadium was covered by aluminium panels with holes (helped in providing ventilation to the stands) in slope angles with white and blue colors , to resemble the colors of Kaliningrad local club .The top of stadium rises to 47m on top of 32 pillars. Despite the delay and redesigning, the project was completed before the World Cup.

2015 © Kgd2018.ru

qš«b « s œU²Ý_«

nI «Ë Uł—b*« vKŽ Í—uEM ŸUD

56 Albenaa

¡UM³ « μ∂

‫ﻣﻮردوﻓﻴﺎ أرﻳﻨﺎ‬ Mordovia Arena : ‫اﻟﻤﺼﻤﻢ‬ Architect : Sport In, AO Gradproekt ‫ ﺳﺎراﻧﺴﻚ‬: ‫اﻟﻤﻮﻗﻊ‬ 2‫ م‬122،000 : ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ‬ ‫م‬2018: ‫ا!ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬ _‫ ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒ‬41٫685 : ‫اﻟﻄﺎﻗﺔ ا!ﺳﺘﻴﻌﺎﺑﻴﺔ‬ _‫ ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒ‬17 : ‫اﻟﺘﻜﻠﻔﺔ‬

‫ﺗﻌﺮض ﺗﺼﻤﻴﻢ ﻫﺬا ا ﺳﺘﺎد ﻟﻠﺘﻐﻴﻴﺮ ﻧﺘﻴﺠﺔ ﻧﺨﻔﺎض ﺳﻌﺮ‬ ‫ ﺑﻌﺪ اﻟﺘﻐﻴﻴﺮ ات أﺻﺒﺢ‬،‫ م‬2015 ‫اﻟﻌﻤﻠﺔ اﻟﺮوﺳﻴﺔ ﻓﻲ ﻋﺎم‬ ‫ا ﺳﺘﺎد ﻋﻠﻰ ﺷﻜﻞ ﻛﺮوي ﻳﺮﻣﺰ إﻟﻰ اﻟﺸﻤﺲ اﻟﻤﺸﺮﻗﺔ ﻓﻲ‬ ‫ ﻳﺘﻜﻮن اﻟﺸﻜﻞ اﻟﻜﺮوي ﻣﻦ أﻟﻮاح ﺷﺒﻪ ﺷﻔﺎﻓﺔ‬. ‫ﺧﻂ اﻟﺴﻤﺎء‬ ،‫ﺣﻤﺮ ﺗﻌﺒﺮ ﻋﻦ ﻟﻮن اﻟﺸﻤﺲ‬D‫ﺑﻴﺾ واﻟﺒﺮﺗﻘﺎﻟﻲ وا‬D‫ﺑﺄﻟﻮان ا‬ ‫م ﻓﻮق ﻗﺎﻋﺪة ﺗﺘﺄﻟﻒ ﻣﻦ‬50،1 ‫ﻳﺮﺗﻔﻊ اﻟﺸﻜﻞ اﻟﻜﺮوي ﻟﻴﺒﻠﻎ‬ ‫ ﺑﻴﻨﻤﺎ‬، ‫دورﻳﻦ وﻳﻘﻊ ﻓﻮﻗﻬﺎ ﻣﺴﺘﻮى اﻟﻤﺪاﺧﻞ إﻟﻰ اﻟﻤﺪرﺟﺎت‬ ‫ﻳﺼﻞ اﻟﻤﺘﻔﺮﺟﻴﻦ إﻟﻰ ﻫﺬا اﻟﻤﺴﺘﻮى ﻋﺒﺮ ﺳﻼﻟﻢ ﺻﻤﻤﺖ‬ ‫ ﺗﻨﻘﺴﻢ‬.X ‫ﺑﺸﻜﻞ ﻳﺮﻣﺰ إﻟﻰ ﺷﻌﺎر اﻟﻤﺪﻳﻨﺔ ﻋﻠﻰ ﺷﻜﻞ ﺣﺮف‬ ‫ ﺑﺎﻟﺮﻏﻢ ﻣﻦ اﻟﺘﻌﺪﻳﻼت اﻟﻜﺜﻴﺮة‬. ‫اﻟﻤﺪرﺟﺎت إﻟﻰ ﻃﺒﻘﺘﻴﻦ‬ ‫إﻻ أن اﻟﻤﺸﺮوع إﺳﺘﻄﺎع أن ﻳﺤﺎﻓﻆ ﻋﻠﻰ ﻓﻜﺮﺗﻪ اﻟﻤﻌﻤﺎرﻳﺔ‬ . ‫ﺳﺎﺳﻴﺔ‬D‫ا‬

The Mordovia Arena design witnessed many changes due to the slump in the Russian currency in 2015. The design became more circular to symbolize the sun. The stadium is covered with semi-transparent panels in white, orange, and red colors that denote the sun colors. The circular shaped stadium rises to 50.1m on a base that rise two floors from the ground level , with the entrance terraces on its top. Fans enter the stadium through stairs designed to resemble the city’s crest. Further, the stands are divided in two tiers.

Despite the many changes, the project was able to keep its original architectural concept.

œU²Ýû ÍËd t³A « qJA « 59 Albenaa

¡UM³ « μπ

œU²Ýû ÂUŽ dEM

fLA « qJý œU²Ýû ÍËdJ « qJA « t³A¹ 58 Albenaa

¡UM³ « μ∏

© Sport In

fLA « Êu sŽ d³Fð Ê«u √ dLŠ_«Ë w UIðd³ «Ë iOÐ_«

Uł—b*«Ë ·öG « ¡UA½≈ qO UHð `{u¹ œU²Ýù« vKŽ Í—uEM ŸUD

œU²Ýû wKš«œ —uEM 61 Albenaa

¡UM³ « ∂±

qš«b « s œU²Ýù« 60 Albenaa

¡UM³ « ∂∞

‫إﻛﺎﺗﺮﻳﻨﺒﺮغ أرﻳﻨﺎ‬ ‫‪Ekaterinburg Arena‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : PI Arena‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻛﺎﺗﺮﻳﻨﺒﺮغ‬ ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 57،101 :‬م‪2‬‬ ‫ا‪$‬ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2015:‬م واﻟﺘﺠﺪﻳﺪ ‪2017‬م‬ ‫اﻟﻄﺎﻗﺔ ا‪$‬ﺳﺘﻴﻌﺎﺑﻴﺔ ‪33٫061 :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒ‪X‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ 13.1 :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒ‪X‬‬

‫ﻳﻬﺪف ﻫﺬا اﻟﻤﺸﺮوع إﻟﻰ زﻳﺎدة اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ‬ ‫ ﺳﺘﺎد ﻣﺪﻳﻨﺔ إﻛﺎﺗﺮﻳﻨﺒﺮغ ﻟﻴﺤﻘﻖ ﻣﺘﻄﻠﺒﺎت إﺗﺤﺎد ﻛﺮة ﻗﺪم‬ ‫ ﺳﺘﺎدات ﻛﺄس اﻟﻌﺎﻟﻢ ‪ 2018‬م ورﻓﻌﻬﺎ ﻣﻦ ﺣﻮاﻟﻲ ‪27،000‬‬ ‫إﻟﻰ ﻣﺎ ﻓﻮق ‪ 40،000‬ﻣﺘﻔﺮج ‪.‬ﻳﻘﻊ ا ﺳﺘﺎد ﻓﻲ ﻣﻨﻄﻘﺔ ﺗﻤﺎرس‬ ‫ﻓﻴﻬﺎ ا‪C‬ﻟﻌﺎب اﻟﺮﻳﺎﺿﻴﺔ ﻣﻨﺬ ﺑﺪاﻳﺔ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ ﺣﺘﻰ‬ ‫ﺗﻢ ﺑﻨﺎء ا ﺳﺘﺎد ﻓﻲ ﻋﺎم ‪1920‬م وﻛﺎن ذو ﻣﺴﻘﻂ داﺋﺮي‬ ‫ﻳﻐﻄﻲ ﻣﺴﺎﺣﺔ ‪ 20،000‬م‪ 2‬ﻣﻊ وﺟﻮد اﻟﻤﺪرﺟﺎت ﻋﻠﻰ ﻫﻴﺌﺔ‬ ‫ﻫﻼل ﻣﻮزﻋﺔ ﻓﻲ اﻟﺠﻬﺔ اﻟﺸﺮﻗﻴﺔ واﻟﻐﺮﺑﻴﺔ ﻣﻦ ا ﺳﺘﺎد‬ ‫ﺑﻴﻨﻤﺎ ﻳﻨﺨﻔﺾ إرﺗﻔﺎﻋﻬﺎ ﻛﻠﻤﺎ إﺗﺠﻬﻨﺎ إﻟﻰ اﻟﺠﻬﺔ اﻟﺸﻤﺎﻟﻴﺔ‬ ‫واﻟﺠﻨﻮﺑﻴﺔ‪ ،‬اﻟﻮاﺟﻬﺔ اﻟﺸﺮﻗﻴﺔ واﻟﻐﺮﺑﻴﺔ ﻫﻲ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺮﺋﻴﺴﺔ ﺗﺘﻮﺳﻄﻬﺎ ﺑﻮاﺑﺎت ذات زﺧﺎرف وأﻋﻤﺎل ﻧﺤﺘﻴﺔ‬ ‫ﺗﺒﺮز رﻳﺎﺿﻴﻦ و ﻋﻤﺎل‪ ،‬إﻋﺘﺒﺮ ا ﺳﺘﺎد ﻣﻌﻠﻤ‪ X‬ﻣﻌﻤﺎرﻳ‪ X‬ﻳﺠﺐ‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻴﻪ ﻧﻈﺮ‪ Z‬ﻟﻘﻴﻤﺔ ﻋﻤﺎرﺗﻪ اﻟﺘﺎرﻳﺨﻴﺔ ‪ .‬ﺗﻢ إﻋﺎدة ﺑﻨﺎء‬ ‫ا ﺳﺘﺎد ﻓﻲ ﻋﺎم ‪ 2011‬م ورﻓﻊ ﻃﺎﻗﺘﻪ ا ﺳﺘﻴﻌﺎﺑﻴﺔ إﻟﻰ ‪27،000‬‬ ‫ﻣﺘﻔﺮج ‪ ،‬وﻟﻜﻦ ﻫﺬه ا ﻋﺎدة ﻟﻢ ﺗﻜﻦ ﻛﺎﻓﻴﺔ ا‪C‬ﻣﺮ اﻟﺬي أدى‬ ‫إﻟﻰ إﻋﺎدة اﻟﺒﻨﺎء ﺛﺎﻧﻴﺔ ﻟﺮﻓﻊ ﻫﺬه اﻟﻄﺎﻗﺔ إﻟﻰ ‪ 40،000‬ﻣﺘﻔﺮج‬ ‫ﻟﻜﻲ ﺗﺘﻼﺋﻢ ﻣﻊ ﻣﺘﻄﻠﺒﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ‪ 2018‬م ﻣﻊ ﺿﺮورة‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﻋﻤﺎرة ا ﺳﺘﺎد اﻟﻘﺪﻳﻢ ‪ .‬ﻓﻲ اﻟﺒﺪاﻳﺔ ﻃﺮﺣﺖ‬ ‫ﻋﺪة ﺣﻠﻮل وﺑﻌﺪ ﻣﻮاﻓﻘﺔ اﻟﻔﻴﻔﺎ ﻋﻠﻰ إﻣﻜﺎﻧﻴﺔ ﺗﺨﻔﻴﺾ‬ ‫ﻋﺪد اﻟﻤﺘﻔﺮﺟﻴﻦ إﻟﻰ ‪ 35،000‬ﻣﺘﻔﺮج ‪ ،‬أﻣﻜﻦ اﻟﺘﻮﺻﻞ إﻟﻰ ﺣﻞ‬ ‫ﻣﻘﺒﻮل ﺣﻴﺚ ﺗﻢ ﺑﻨﺎءﻣﺪرﺟﺎت ﻣﺆﻗﺘﺔ ﺑﺴﻌﺔ ‪ 10،000‬ﻣﺘﻔﺮج‬ ‫ﺧﺎرج ﺣﺪود ا ﺳﺘﺎد وﺗﻢ ﻛﺬﻟﻚ اﻟﺘﻮﺳﻊ رأﺳﻴ‪ X‬وﺑﻨﺎء ‪ 7‬أدوار‬ ‫ﺑﻤﺴﺎﺣﺔ إﺟﻤﺎﻟﻴﺔ ‪ 57،110‬م‪ . 2‬ﻳﺮﺗﻔﻊ ا ﺳﺘﺎد ‪ 45،5‬م ﻣﻦ‬ ‫ﺧﻼل واﺟﻬﺎت ذات أﻟﻮاح ﻣﻌﺪﻧﻴﺔ رﻣﺎدﻳﺔ ﻣﺜﻘﺒﺔ ﻣﻊ ﺗﺰوﻳﺪﻫﺎ‬ ‫ﺑﻨﻈﺎم ‪ LED‬ﺑﺤﻴﺚ ﺗﺤﻮﻟﺖ اﻟﻮاﺟﻬﺎت إﻟﻰ ﺷﺎﺷﺎت ﻋﺮض‬ ‫ﻛﺒﻴﺮة ﺑﺤﻴﺚ أﺻﺒﺤﺖ اﻟﻮاﺟﻬﺎت ﺗﺮﺗﻔﻊ ﻋﺎﻟﻴ‪ X‬ﺧﻠﻒ اﻟﻮاﺟﻬﺎت‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ ﻣﻊ وﺟﻮد ﻓﺮاغ ﺑﻴﻨﻬﻤﺎ ﻳﻮﻓﺮ ا ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﻟﻔﺮاﻏﺎت ا ﺳﺘﺎد اﻟﺪاﺧﻠﻴﺔ ‪ .‬ﻧﺠﺢ اﻟﺘﺼﻤﻴﻢ اﻟﺠﺪﻳﺪ ﻓﻲ‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻟﻌﻤﺎرة اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻠﻮاﺟﻬﺎت وا ﺑﻘﺎء ﻋﻠﻰ‬ ‫اﻟﺸﻜﻞ اﻟﺪاﺋﺮي ﻟﺴﻘﻒ ا ﺳﺘﺎد اﻟﺬي ﻳﻤﻴﻞ إﻟﻰ اﻟﺪاﺧﻞ‬ ‫ﻟﻠﺘﻘﻠﻴﻞ ﻣﻦ إرﺗﻔﺎع ﻣﺴﺘﻮي اﻟﺴﻘﻒ ﻋﻦ اﻟﻤﺘﻔﺮﺟﻴﻦ‪.‬‬ ‫إﻧﺸﺎﺋﻴ‪ X‬ﻳﺘﻜﻮن اﻟﺴﻘﻒ ﻣﻦ ﺣﻠﻘﺘﻴﻦ ﺗﺼﻞ ﺑﻴﻨﻬﻤﺎ ‪54‬‬ ‫ﻛﻤﺮة إﺷﻌﺎﻋﻴﺔ ‪.‬‬ ‫≥∂ « ‪¡UM³‬‬

‫‪63 Albenaa‬‬

ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

W¹dz«b « œU²Ýù« œËbŠ ×Uš W² R Uł—b ¡UMÐ - UL ¨ UNOKŽ WE U;« ·bNÐ WO ¹—U² « UNł«u « nKš UO UŽ lHðdð w² « …b¹b'« UNł«u « ¡UMÐ - YOŠ l uLK ÂUŽ dEM 62 Albenaa

¡UM³ « ∂≤

qš«b « s œU²Ýù« This project aims at increasing the capacity of Ekaterinburg Arena to achieve FIFA requirements for the World Cup from 27,000 to 40,000 fans.

Located in a sport area since 1920s, the stadium with a circle floor plan of 20,000 sqm and a crescent shape stands on both east and west sides with hight decreasing as we move to the north and south. The eastern and western facade were considered the main facade with ornamented gates at the middle. The stadium was considered an iconic architecture site for the city for its historical value.

In 2011, the stadium was rebuilt to increase its capacity to 27,000 then later was increased to 40,000 seats to satisfy FIFA requirements. This process was not easy and after some negotiations with FIFA the stadium capacity was decreased to 35,000 with 10,000 temporarily seats built outside. Even this was not feasible due to lack of space.

Therefore, a new solution was proposed to increase the capacity by going vertical, so a further 7 floors were built with an area of 57,110 sqm with the final hight of the stadium reaching 45.5m. The facade are covered with grey metallic panels with holes and were accommodated with LED system. These transformed the facade to huge screen around the the historical facade to allow for natural light into the stadium. The new design succeeded in preserving the historical architecture of the facade and keeping the same circle shape of the ceiling which leans to the inside to reduce the hight level for the fans. Structurally, the ceiling consists of two rings connected by 54 beams.

65 Albenaa

¡UM³ « ∂μ

wzUA½ù« qJONK r −

¡UDGK WOKš«b « …dz«b «

2015 © PI Arena

Uł—b*« ¡UMÐ

WO ¹—U² « UNł«u « vKŽ ¡UIÐù«

UNł«u « ¡UMÐ

UN² UÞ …œU¹“ bFÐ Uł—b*« ¡UMÐ

W² R*« Uł—b*« W U{≈

œU²Ýù« ¡UMÐ ‰UL² ≈

r UF « ”Q UO UF ¡UN²½≈ bFÐ W² R*« Uł—b*« W «“≈ 64 Albenaa

¡UM³ « ∂¥

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Populous‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﻮﺗﺸﻲ‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2014:‬م واﻟﺘﺠﺪﻳﺪ ‪2017‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ ٤٤٫٢٨٧ :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒﺎ‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ ٢٣٫٥ :‬ﻣﻠﻴﻮن ‪ ٤ +‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒﺎ‬

‫«‪qš«b « s œU²Ýù‬‬ ‫∑∂ « ‪¡UM³‬‬

‫‪67 Albenaa‬‬

‫إﺳﺘﺎد ﻓﻴﺸﺖ‬

Fisht Stadium

Uł—b*« ÊUODGð 5²³ nB½ s ÊuJ*« tzUDžË œU²Ýû ÂUŽ dEM The Fisht stadium was built to serve Winter Olympic Games in 2014 in Sochi. The design is distinguished with two similar half domes on the cover over the stands with clear space in between.

Named after the Fisht Hill, the stadium’s cover shape is inspired by the nearby hills. Carried by 22000 tone iron metal structure , the cover is made of ETFE material that provides attractive light at night, it covers 36,000 sqm while each dome rises to 76m It covers the stands on both side of the stadium while behind goals stands are left open allowing for a view of the sea on one side and of the hills on the other. When the stadium was chosen for the World Cup, the behind the goal stands saw some additions to increase the capacity of the stadium to 44,287 fans, although this number will decrease after the World Cup to 25,000 fans to suits the city’s needs and requirements.

‫أﻧﺸﻰء ا ﺳﺘﺎد ﺳﺘﻀﺎﻓﺔ دورة ﺳﻮﺗﺸﻰ ا ﻟﻌﺎب ا وﻟﻤﺒﻴﺔ‬ ‫ ﻳﺘﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ ﺑﻐﻄﺎء ﻣﻜﻮن ﻣﻦ ﻧﺼﻒ‬. ‫م‬2014 ‫اﻟﺸﺘﻮﻳﺔ‬ ‫ اﺳﺘﻠﻬﻢ اﻟﺸﻜﻞ‬،‫ﻗﺒﺘﻴﻦ ﻣﺘﻨﺎﻇﺮﺗﻴﻦ ﺗﻐﻄﻴﺎن اﻟﻤﺪرﺟﺎت‬ .‫ﻣﻦ اﻟﺘﻼل اﻟﻤﺠﺎورة ﻓﻔﻴﺸﺖ ﻫﻮ إﺳﻢ إﺣﺪى اﻟﺘﻼل اﻟﻤﺠﺎورة‬ ‫ وﻳﻐﻄﻲ ﻣﺴﺎﺣﺔ‬ETFE ‫اﻟﻐﻄﺎء ﻣﺼﻨﻮع ﻣﻦ وﺳﺎدت ﻣﻦ ﻣﺎدة‬ ‫ ﻳﺤﻤﻞ اﻟﻐﻄﺎء ﺟﻤﺎﻟﻮن ﺣﺪﻳﺪي‬، ‫م‬76 ‫ وﻳﺮﺗﻔﻊ إﻟﻰ‬2‫م‬36000 . ‫ ﻓﻲ اﻟﻠﻴﻞ ﻳﻀﻲء اﻟﻐﻄﺎء ﺑﺈﻧﺎرة ﺟﺬاﺑﺔ‬. ‫ﻃﻦ‬22000 ‫ﻳﺒﻠﻎ وزﻧﻪ‬ ‫اﻟﺠﻬﺘﻴﻦ اﻟﻠﺘﺎن ﺗﻘﻌﺎن ﺧﻠﻒ اﻟﻤﺮﻣﻰ ﻣﻔﺘﻮﺣﺔ ﻟﺘﺴﻤﺢ ﺑﺈﻃﻼﻟﺔ‬ ‫ ﻋﻨﺪﻣﺎ ﺗﻢ إﺧﺘﻴﺎر ا ﺳﺘﺎد‬. ‫اﻟﻤﺘﻔﺮﺟﻴﻦ ﻋﻠﻰ اﻟﺒﺤﺮ وﻋﻠﻰ اﻟﺘﻼل‬ ‫ ﺳﺘﻀﺎﻓﺔ ﻣﺒﺎرﻳﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ﺗﻢ إﺿﺎﻓﺔ ﻣﺪرﺟﺎت ﻓﻲ ﻫﺎﺗﻴﻦ‬ 44٫287 ‫اﻟﺠﻬﺘﻴﻦ ﻟﺰﻳﺎدة اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ﻟ\ﺳﺘﺎد إﻟﻰ‬ ‫ ﻣﺘﻔﺮج‬25000 ‫ﻣﺘﻔﺮج وﺑﻌﺪ إﻧﺘﻬﺎء ﻛﺄس اﻟﻌﺎﻟﻢ ﺳﺘﺨﻔﺾ إﻟﻰ‬ . ‫ﻟﺘﺘﻨﺎﺳﺐ ﻣﻊ ا ﺣﺘﻴﺎﺟﺎت اﻟﻔﻌﻠﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ‬ 66 Albenaa

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‫ﻛﺎزان أرﻳﻨﺎ‬ ‫‪Kazan Arena‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Populous‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻛﺎزان‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2013 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ ٤٢،٨٧٣ :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒ‪V‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ ١٥،٥ :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒ‪V‬‬

‫ﺗﻢ اﻟﺘﺨﻄﻴﻂ ﻧﺸﺎء ﻛﺎزان أرﻳﻨﺎ ﺳﺘﻘﺒﺎل دورة ا ﻟﻌﺎب‬ ‫اﻟﺠﺎﻣﻌﻴﺔ ﻓﻲ ‪ 2013‬م ‪ .‬اﻟﺘﺼﻤﻴﻢ ا ﺑﺘﺪاﺋﻲ ﻛﺎن ﻳﺸﺒﻪ إﻟﻰ‬ ‫ﺣﺪ ﺑﻌﻴﺪ ﺗﺼﻤﻴﻢ إﺳﺘﺎد آﺧﺮ ‪ .‬ا ﻣﺮ اﻟﺬي دﻓﻊ اﻟﻤﺼﻤﻢ إﻟﻰ‬ ‫ﺗﻌﺪﻳﻞ اﻟﺘﺼﻤﻴﻢ ﺧﺎﺻﺔ ﻓﻲ اﻟﻮاﺟﻬﺎت‪ .‬ﺣﻴﺚ ﺗﻢ إﺳﺘﺒﺪال‬ ‫اﻟﻮاﺟﻬﺎت اﻟﻤﺒﻨﻴﺔ ﺑﻤﻮاد ﺧﻔﻴﻔﺔ ﺑﻮاﺟﻬﺎت زﺟﺎﺟﻴﺔ ﻓﻲ‬ ‫اﻟﺠﻬﺔ اﻟﺸﺮﻗﻴﺔ ‪ ،‬أﻣﺎ اﻟﺠﻬﺔ اﻟﻐﺮﺑﻴﺔ ﻓﻠﻘﺪ ﺗﻢ ﺗﺮﻛﻴﺐ‬ ‫ﺷﺎﺷﺔ ﻋﺮض ﻋﺎﻟﻴﺔ اﻟﻮﺿﻮح ﻋﻠﻴﻬﺎ ﺑﻤﺴﺎﺣﺔ ‪4030‬م‪.2‬‬ ‫ﺧﺼﺺ اﻟﺪور ا رﺿﻲ ﻟﻠﻤﺴﺎﺣﺎت اﻟﺘﺠﺎرﻳﺔ وأﺧﺮى ﻃﺒﻴﺔ‬ ‫وﺛﻘﺎﻓﻴﺔ ‪ .‬ﺑﻴﻨﻤﺎ ﻳﻘﻊ ﻓﻮﻗﻬﺎ ﺷﺮﻓﺔ ﻛﺒﻴﺮة ﺗﺤﻴﻂ ﺑﺎﻟﻤﺪرﺟﺎت‬ ‫ﻳﺘﻢ اﻟﺼﻌﻮد إﻟﻴﻬﺎ ﺑﻮاﺳﻄﺔ ﺳﻼﻟﻢ داﺋﺮﻳﺔ ﻣﻮازﻳﺔ ﻟﻠﻤﺪرﺟﺎت‬ ‫وﻣﻨﻬﺎ إﻟﻰ اﻟﻤﺪرﺟﺎت ‪.‬‬

‫‪The Kazan Arena was constructed to host Universiade‬‬ ‫‪Games in 2013. Because the initial design resembled‬‬ ‫‪another stadium, the designer had to modify the design at‬‬ ‫‪the facade. The original lightweight material facade was‬‬ ‫‪replaced by glass facade to the east, while a huge media‬‬ ‫‪screen was installed at the western facade covering an area‬‬ ‫‪4,030 sqm. At the ground level are located commercial,‬‬ ‫‪cultural and medical spaces. On top of the ground level,‬‬ ‫‪a huge terrace surrounds the stands accessed by stairs‬‬ ‫‪parallel to the stands .‬‬

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‫‪69 Albenaa‬‬

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wM×M*« tzUDž dNE¹Ë bFÐ sŽ œU²Ýù« 68 Albenaa

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‫إﺳﺘﺎد ﺳﺒﺎرﺗﻚ‬ ‫‪Spartak Stadium‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : AEKOM Russia Ltd (S. Bailey, P. Feoktistov, M. Yudin),‬‬ ‫‪Dexter Moren Associates‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻣﻮﺳﻜﻮ‬ ‫اﻟﻤﺴﺎﺣﺔ ‪ 53،758 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2014 :‬م‬ ‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ ٤٥،٠٠٠ :‬ﻣﺘﻔﺮج ﺗﻘﺮﻳﺒ‪9‬‬ ‫اﻟﺘﻜﻠﻔﺔ ‪ ١٤،٥ :‬ﺑﻠﻴﻮن روﺑﻞ ﺗﻘﺮﻳﺒ‪9‬‬

‫إﺳﺘﻐﻞ اﻟﻤﺼﻤﻢ ﺷﻜﻞ ﺷﻌﺎر ﻧﺎدي ﺳﺒﺎرﺗﻚ اﻟﺮوﺳﻰ ﻟﻜﺮة‬ ‫اﻟﻘﺪم ) ﻣﺎﻟﻚ ا&ﺳﺘﺎد ( ﻟﻴﻜﻮن اﻟﻌﻨﺼﺮ اﻟﺰﺧﺮﻓﻲ اﻟﺮﺋﻴﺲ‬ ‫اﻟﺬي ﻳﻤﻴﺰ ﻋﻤﺎرﺗﻪ ﻓﻐﻄﻴﺖ اﻟﻮاﺟﻬﺎت اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻤﺪرﺟﺎت‬ ‫ﺑﺮﻗﺎﺋﻖ ﻋﻠﻲ ﺷﻜﻞ ﻣﻌﻴﻦ و ﺑﺄﻟﻮان ا;ﺑﻴﺾ وا;ﺣﻤﺮ ﺗﻤﺎﻣ‪9‬‬ ‫ﻛﺸﻌﺎر اﻟﻨﺎدي ‪ .‬ﻣﻦ اﻟﺪاﺧﻞ ﺗﺘﻜﻮن اﻟﻤﺪرﺟﺎت ﻣﻦ ﻃﺒﻘﺘﻴﻦ‬ ‫ﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﻣﺴﺘﻮى اﻟﻤﺪاﺧﻞ ﺗﺒﻠﻎ اﻟﻄﺎﻗﺔ ا&ﺳﺘﻴﻌﺎﺑﻴﺔ‬ ‫اﻟﺤﺎﻟﻴﺔ ﻟ‪P‬ﺳﺘﺎد ﺣﻮاﻟﻲ ‪ 45000‬ﻣﺘﻔﺮج ﻣﻊ إﻣﻜﺎﻧﻴﺔ زﻳﺎدﺗﻬﺎ‬ ‫‪ 4000‬ﻣﺘﻔﺮج ﻟﺨﺪﻣﺔ ﻣﺒﺎرﻳﺎت ﻛﺄس اﻟﻌﺎﻟﻢ ‪2018‬م ‪ ،‬ﺑﻌﺪ أن‬ ‫ﻛﺎﻧﺖ‪ 35000‬ﻣﺘﻔﺮج ‪.‬‬

‫‪Inspired by the Spartak club’s crest, the designer used the‬‬ ‫‪crest colors in the facade covers that consists of panels‬‬ ‫‪in white and red to cover the stands, while the main‬‬ ‫‪stand facade is covered by glass. Inside the stadium, the‬‬ ‫‪stands consists of two levels separated by internal level.‬‬ ‫‪The capacity if the stadium is 45000 fans and could be‬‬ ‫‪increased by 4000, while its capacity at the World Cup was‬‬ ‫‪35000 fans.‬‬

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lÝUM « —Ëb « w WOł—Uš WOM √ 75 Albenaa

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lĂ?U² ÂŤ â&#x20AC;&#x201D;Ă&#x2039;bK wI _ÂŤ jI *ÂŤ

ŸĂ&#x2039;dALK Ă&#x201A;UĹ˝ dEM

â&#x20AC;Ťďťłďş&#x2DC;ﺰ ﺎďť&#x203A;ďş° ا ďť?ďş&#x17D;ﺧďş&#x17D;Ů&#x2020; ďť&#x201C; ﺪďş&#x201D; ďť&#x;ﺪŮ&#x2020; ﺎďť&#x203A;ďş° ďş&#x2018;ďş&#x2DC;ﺟ اďť&#x;ﺴďş&#x2DC;ﺣâ&#x20AC;Ź â&#x20AC;ŤďťŁďťŚ اďť&#x;ďť&#x152;ďş&#x17D;ع؊ ا*ﺳďş&#x201D; ) ďť&#x2039;ďť ďť° ا ďť&#x2014;ďť&#x17E;  اďť&#x;ﺪاﺧďť&#x17E;(  ﺧŮ&#x201E; ďťŁďş ďť¤ďťŽďť&#x2039;ďş&#x201D;â&#x20AC;Ź â&#x20AC;ŤďťŁďťŚ اďť&#x;ﺸﺎďť&#x201C;ďş&#x17D;ŘŞ Ů&#x2C6;ا ďť&#x201C;ďş&#x201D; اďť&#x;ďşŞŘ§ďş§ďť ďť´ďş&#x201D; ďş&#x2014;ďť&#x20AC; ďş&#x203A;ďş&#x17D;ďş&#x201D; ﺣﺪاďş&#x2039;ďť&#x2013; ﺟďş&#x201D; ďş&#x2018;ďť&#x201E;ﺎازâ&#x20AC;Ź â&#x20AC;Ť ďťłďş&#x2DC;ďť&#x153;Ů&#x2020;â&#x20AC;Ź.â&#x20AC;Ť ďş&#x2018;ďş&#x17D;*ďşżďş&#x17D;ďť&#x201C;ďş&#x201D; ŘĽďť&#x;ďť° ﺣﺪďť&#x2DC;ďş&#x201D; ďť&#x2039;ďť ďť° ďşłďť&#x201E;ﺢ اďť&#x;ﺎďť&#x203A;ďş°â&#x20AC;ŹŘ&#x152; â&#x20AC;ŤďťŁďť&#x152;ďş&#x17D;ŘąŮ&#x160; ؼﺳâ&#x20AC;Ź â&#x20AC;Ťďş&#x2018;ﺤďş&#x17D;ŘŤ Ů&#x2C6;اďť&#x;ﺪعاﺳďş&#x17D;ŘŞ Ů&#x2C6;ﺴďş&#x17D;ﺣďş&#x17D;ŘŞâ&#x20AC;ŹDâ&#x20AC;ŤŘ§ďť&#x;ﺎďť&#x203A;ďş°  ďş&#x2014;ďş´ďť&#x152;ďş&#x201D; ŘŁŘŻŮ&#x2C6;اع ďş&#x2014;ďť&#x20AC; ﺎاďť&#x201C;ďť&#x2013; ďť&#x;â&#x20AC;Ź â&#x20AC;Ť ďş&#x2018;ďş&#x17D;*ďşżďş&#x17D;ďť&#x201C;ďş&#x201D; ŘĽďť&#x;ďť° ďş&#x2018; Řąďş&#x2039;ﺴ ďť&#x201D;ďş&#x2DC;حâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤďťŁďť&#x153;ďş&#x2DC;ďş&#x2019;ďť´ďş&#x201D; ďť&#x;ďş&#x2020;ďşłďş´ďş&#x201D; ŘŁďť?ďş&#x17D;ﺧďş&#x17D;Ů&#x2020;â&#x20AC;Ź â&#x20AC;Ť ďť&#x203A;ďş&#x17D; ďťłďť&#x2DC;ďť&#x160; ďť&#x201C; اďť&#x;ﺪŮ&#x2C6;Řą ا Ů&#x2C6;Ů&#x201E; ďť&#x201C;ďş&#x17D;ŘĄâ&#x20AC;Ź. â&#x20AC;Ťďť&#x2039;ďť ďť° Ů&#x2C6;ďş&#x2014;ďť ďş&#x2DC;ďť&#x2019; ﺣďť&#x; ďş&#x;ďť&#x160; ا ŘŻŮ&#x2C6;اعâ&#x20AC;ŹDâ&#x20AC;Ťďť&#x;â&#x20AC;Ź â&#x20AC;Ť ďť&#x203A;ďş&#x17D;â&#x20AC;Ź.â&#x20AC;&#x153;â&#x20AC;Ť â&#x20AC;?ﺣﺪďť&#x2DC;ďş&#x201D; اďť&#x;ďť&#x201E;ďş&#x201E;ďş&#x201D;â&#x20AC;ŹGarden of Tranquilility â&#x20AC;Ťďş§ďş&#x17D;Řąďş&#x; ďş&#x2018;ďş&#x17D;ﺳâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťłďť&#x20AC; اďť&#x;ﺪŮ&#x2C6;Řą اďť&#x;ﺎاďş&#x2018;ďť&#x160; اďť&#x;ďť&#x201D;ďş&#x17D;ŘĄ اďť&#x;ďş&#x153;ďş&#x17D;â&#x20AC;Ź. â&#x20AC;Ťďťłďť&#x20AC; اďť&#x;ﺎďť&#x203A;ďş° ďť&#x153;ďş&#x2DC;ďş&#x2019;ďş&#x201D; ا ďť?ďş&#x17D; ﺧďş&#x17D;Ů&#x2020;â&#x20AC;Ź â&#x20AC;Ť ŘŁŮ&#x2C6; â&#x20AC;? ﺡﺎďť&#x201C;ďş&#x201D; اďť&#x;ďş&#x2DC;ďť&#x152;ďť ďť´ďť˘â&#x20AC;&#x153; اďť&#x;ďş&#x2DC; ďş&#x2014;ďş&#x2DC;ﺰ ďş&#x2018;ďş&#x17D;ďť&#x;ďť&#x152;ďş&#x17D;ع؊â&#x20AC;ŹTerrace of Learning â&#x20AC;Ť ďť&#x201C; ا ŘŻŮ&#x2C6;اع ا Řąďş&#x2018;ďť&#x152;ďş&#x201D; اďť&#x;ďş&#x2DC;â&#x20AC;Ź.â&#x20AC;ŤŘ§*ﺳďş&#x201D; ďť&#x201C; ŘĽďşłďş&#x2019;ďş&#x17D;ďş&#x17D; Ů&#x2C6;اďť&#x;ďť?ﺎب Ů&#x2C6;ﺟﺎâ&#x20AC;Ź â&#x20AC;Ť ďť&#x201C; اďť&#x;ﺪŮ&#x2C6;Řąâ&#x20AC;Ź.â&#x20AC;Ťďş&#x2014;ďť&#x2DC;ďť&#x160; ďť&#x201C;Ů&#x201A; اďť&#x;ďť&#x153;ďş&#x2DC;ďş&#x2019;ďş&#x201D; ďş&#x2014;ďť&#x2DC;ďť&#x160; ďť&#x153;ďş&#x17D;ďş&#x2014;ďş? ďť&#x;ďş&#x2DC;ďť&#x201E;ﺎ Ů&#x2C6;اďť&#x;ďş&#x2DC;ďť&#x152;ďť ďť´ďť˘â&#x20AC;Ź â&#x20AC;Ť â&#x20AC;?ďť&#x201C;ďş&#x17D;ŘĄ اďť&#x;ďş&#x2DC;ďş&#x17D;ďť?â&#x20AC;&#x153; Ů&#x2C6;â&#x20AC;ŹCourtyard of Harmony â&#x20AC;ŤŘ§ďť&#x;ﺨďş&#x17D;ﺲ ďťłďť&#x2DC;ďť&#x160; اďť&#x;ďť&#x201D;ďş&#x17D;ŘĄâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6; ďťŁďş ďş&#x17D;ďť&#x;ﺲ ﺧďş&#x17D;Řąďş&#x;ďť´ďş&#x201D; ﺤďş&#x17D;ďť&#x192;ďş&#x201D;â&#x20AC;Ź- â&#x20AC;ŤďťŁďş´ďş&#x2DC;ﺣ  ďş&#x2014;ﺟ ا*اďş&#x17D;ŘŞâ&#x20AC;Ź Ř&#x152;â&#x20AC;Ť ďş&#x2014;ďť&#x201D;ďş&#x2DC;ﺢ  ďş&#x;ďş&#x201D; Ů&#x2C6;اﺣﺪ؊ ďť&#x2039;ďť ďť° ďť&#x201C;ďş&#x17D;ŘĄâ&#x20AC;ŹŘ&#x152; â&#x20AC;ŤďťŁďťŚ ďş&#x;ďş&#x17D;ŘŞ ďş&#x203A;؍ Ů&#x2C6;ﺴďť&#x2DC;ďť&#x201D;ďş&#x201D;â&#x20AC;Ź .â&#x20AC;ŤŘĽďşłďş&#x2DC;ﺨﺪŮ&#x2026; ﺏا اďť&#x;ďť&#x152;ﺟﺎ اďť&#x;ďť&#x152;ďş&#x17D;ŘąŮ&#x160; ďť&#x201C; اďť&#x;ﺸﺎŮ&#x201A; ا Ů&#x2C6;ďşłďť&#x201A; Ů&#x2C6;Ů&#x2C6;ďşłďť&#x201A; ŘŁďşłďť´ďş&#x201A;â&#x20AC;Ź â&#x20AC;Ť ďť&#x203A;ďş&#x17D; ďş&#x2014;ďť&#x2DC;ďť&#x160; ďť&#x201C; ďť&#x203A;ďť&#x17E; â&#x20AC;ŹŘ&#x152; â&#x20AC;Ťďť&#x201C; ŘŁďť&#x2039;ďť ďť° اďť&#x;ﺎďť&#x203A;ďş° ďş&#x2014;ďť&#x2DC;ďť&#x160; ďť?ﺎ٠ďť&#x;`ďş&#x;ďş&#x2DC;ďş&#x17D;ďť&#x2039;ďş&#x17D;ŘŞâ&#x20AC;Ź â&#x20AC;Ť â&#x20AC;?ďť&#x201C;ďş&#x17D;ŘĄâ&#x20AC;ŹTerrace of Discovery , â&#x20AC;&#x153;â&#x20AC;Ťâ&#x20AC;? ﺣﺪďť&#x2DC;ďş&#x201D; اďť&#x;ﺤďş&#x17D;ŘŠâ&#x20AC;ŹGarden of Life . â&#x20AC;&#x153;â&#x20AC;Ť â&#x20AC;?ﺣﺪďť&#x2DC;ďş&#x201D; اďť&#x;ďť&#x20AC;إâ&#x20AC;ŹGarden of Light Ř&#x152;â&#x20AC;&#x153;â&#x20AC;ŤŘ§*ďť&#x203A;ďş&#x2DC;ﺸďş&#x17D;Ů â&#x20AC;Ź The nine storey block, which stands next to a millennial-pink office designed by Duggan Morris, is the latest building to be completed as part of the development of Kingâ&#x20AC;&#x2122;s Cross, London. Containing facilities for research and education, as well as offices for the Aga Khan Foundationâ&#x20AC;&#x2122;s development organisations, the building is arranged around a central atrium that stretches its full-height. The design also incorporates eight Islamic gardens located alongside the building, and on roof gardens, terraces and courtyards inside the educational centre.

The libraryâ&#x20AC;&#x2122;s upper level contains the Terrace of Learning â&#x20AC;&#x201C; the second Islamic garden â&#x20AC;&#x201C; which took its inspiration from the cloisters and courtyards of Spain, Morocco and Egypt. Above the library are four floors of offices for the Aga Khanâ&#x20AC;&#x2122;s education and development organisations: the Institute of Ismaili Studies, the Aga Khan Universityâ&#x20AC;&#x2122;s Institute for the Study of Muslim Civilisations and the Aga Khan Foundation UK. On the fifth floor the Courtyard of Harmony that takes its form from an iwan â&#x20AC;&#x201C; a small outdoor space walled on three sides commonly found in the Middle East and central Asia. The building is topped by two executive meeting rooms and three further Islamic gardens the Garden of Life, Terrace of Discovery and Garden of Light.

74 Albenaa

ÂĄUMÂł ÂŤ â&#x2C6;&#x2018;ÂĽ

vM³*« jO×0 wKš«b « ¡UMH « jÐdð w² « WOł—U)« U dA « WEŠö sJ1Ë ŸËdALK ÂUŽ dEM

WOł—U)« U dA « bŠ√ 77 Albenaa

¡UM³ « ∑∑

vM³LK w Ozd « qšb*«

‫ﻣﻘﺮ ﻣﻜﺘﺒﻲ رﺋﻴﺴﻲ‬

‫ﺷﺮﻛﺔ أﻣﻮري ﺑﺎﺳﻔﻴﻚ ﻟﻠﺘﺠﻤﻴﻞ‬

Amorepacific Headquarters : ‫اﻟﻤﺼﻤﻢ‬ Architect: David Chipperfield Architects Berlin ‫ ﻛﻮرﻳﺎ‬، ‫ ﺳﻴﻮل‬: ‫اﻟﻤﻮﻗﻊ‬ 2‫م‬216،000 : ‫اﻟﻤﺴﺎﺣﺔ‬ ‫م‬2017 : ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

v{—_« —ËbK wI _« jI *«

s U¦ « —ËbK wI _« jI *«

‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺴﻲ ﻟﺸﺮﻛﺔ أﻣﻮري ﺑﺎﺳﻔﻴﻚ وﻫﻲ ﺷﺮﻛﺔ ﻛﻮرﻳﺔ ﻛﺒﻴﺮة‬ ‫ ﻳﻘﻊ ﻓﻲ وﺳﻂ ﻣﺪﻳﻨﺔ ﺳﻴﻮل وﻳﺘﻤﻴﺰ ﺑﺸﻜﻞ‬،‫ﻓﻲ ﻋﺎﻟﻢ اﻟﺘﺠﻤﻴﻞ‬ ‫ ﻳﺮﻛﺰ اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ ﺣﺠﻢ‬.‫ﺗﺠﺮﻳﺪي و ﺗﻌﺒﻴﺮي ﻓﻰ ﻧﻔﺲ اﻟﻮﻗﺖ‬ ‫اﻟﻤﺒﻨﻰ ووﺿﻮﺣﻪ ﺣﻴﺚ ﻳﻠﺘﻒ اﻟﻤﺒﻨﻰ ﺣﻮل ﻓﻨﺎء ﻣﺮﻛﺰي ﻟ@ﺳﺘﻔﺎدة‬ ‫ وﻳﺮﺗﺒﻂ اﻟﻔﻨﺎء ﺑﺜﻼث‬، ‫ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‬J‫اﻟﻘﺼﻮى ﻣﻦ اﻟﺘﻬﻮﻳﺔ وا‬ ‫ﺷﺮﻓﺎت ﺧﺎرﺟﻴﺔ ﻣﺰروﻋﺔ ﻛﺄﻧﻬﺎ ﺣﺪاﺋﻖ ﻣﻌﻠﻘﺔ ﺗﺮﺑﻂ اﻟﻤﺒﻨﻰ‬ ‫ ﻳﻌﺒﺮ اﻟﺘﺼﻤﻴﻢ ﻋﻦ أﻫﺪاف‬. ‫ﺑﻤﺤﻴﻄﻪ وﺗﻮﻓﺮ إﻃﻼﻻت ﻋﻠﻰ اﻟﻤﺪﻳﻨﺔ‬ ‫ﺟﺘﻤﺎﻋﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ واﻟﻤﻬﻨﻴﺔ ﻣﻦ ﺧﻼل ﻣﺰج أﻣﺎﻛﻦ‬J‫اﻟﺸﺮﻛﺔ ا‬ ‫ ﺗﻢ رﻓﻊ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ﻟﻠﻮاﺟﻬﺎت إﻟﻰ‬. ‫اﻟﻌﻤﻞ ﺑﺄﻧﺸﻄﺔ ﻋﺎﻣﺔ‬ ‫ﻓﻮق ﻣﺴﺘﻮى اﻟﻤﺪﺧﻞ ﻟﻴﻔﺘﺢ اﻟﺪور ا[رﺿﻲ ﻋﻠﻰ اﻟﻤﺪﻧﻴﺔ ﺑﻮاﺟﻬﺎت‬ ‫ ا[ﻧﺸﻄﺔ‬. ‫زﺟﺎﺟﻴﺔ ﺷﻔﺎﻓﺔ ﻟﺠﺬب اﻟﻤﺎرة واﻟﺰوار إﻟﻰ داﺧﻞ اﻟﻤﺒﻨﻰ‬ ،‫ ﻣﻜﺘﺒﺔ‬،‫ ﻣﺴﺮح‬،‫اﻟﻌﺎﻣﺔ اﻟﺘﻲ ﻳﻀﻤﻬﺎ اﻟﻤﺒﻨﻰ ﺗﺘﻜﻮن ﻣﻦ ﻣﺘﺤﻒ‬ ‫ ﺗﺨﺪم ﻫﺬه ا[ﻧﺸﻄﺔ اﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﻳﻘﻊ‬، ‫ﻣﻄﺎﻋﻢ وﺣﻀﺎﻧﺔ أﻃﻔﺎل‬ ‫ ﻳﺘﻤﻴﺰ اﻟﻤﺒﻨﻰ ﺑﻮاﺟﻬﺎت زﺟﺎﺟﻴﺔ‬.‫ وﻟﻴﺲ ﻓﻘﻂ اﻟﺸﺮﻛﺔ‬،‫ﻓﻴﻬﺎ اﻟﻤﺒﻨﻰ‬ e‫ﺗﻐﻄﻴﻬﺎ أﻟﻮاح ﻣﻌﺪﻧﻴﺔ ﺗﻮﻓﺮ اﻟﻈﻞ وﺗﺤﺪ ﻣﻦ اﻟﺤﺮارة وﺗﻮﻓﺮ أﻳﻀ‬ .‫ﺿﺎﻓﺔ إﻟﻰ ﺗﻌﺒﻴﺮﻫﺎ ﻋﻦ اﻟﻘﻮة اﻟﺘﻤﺎﺳﻚ‬J‫ ﺑﺎ‬e‫ وﺧﻔﻴﻔ‬e‫ﺷﻜ ًﻼ ﻣﻔﺘﻮﺣ‬ The new headquarters for Amorepacific, Korea’s largest beauty company, is located in the centre of Seoul at a site which has been occupied by the company since 1956. The form of the building is both abstract and gestural. Focusing on a single, clear volume, the proportions of the building have been carefully developed around a central courtyard to maximise the effectiveness of natural ventilation and daylight. Three large urban openings connect this central void with the exterior surroundings. As ‘hanging gardens’, these openings give scale and allow nature to extend from the adjacent park into all parts of the building. The design elaborates the social, cultural and professional ambitions of the company by combining the workplace with other communal activities. By elevating the external layer of the façade, the entrance level opens up to the city and draws the public into a generous atrium. The courtyard situated above represents the communal centre of the company workplace, with the elevated gardens providing recreational space for those who use the building.

A rich mixture of public amenities such as a museum, auditorium, library, restaurants and childcare facilities ensures that the building is not only an efficient headquarters but also the public face of a vital company embedded in the growing metropolis of Seoul.

lÝU² « —ËbK wI _« jI *« 76 Albenaa

¡UM³ « ∑∂

‫ﻳﻘﻊ اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﻟﻤﺘﺤﻒ اﻟﻔﻦ اﻟﺤﺪﻳﺚ ﻓﻲ ﻣﺮﻛﺰ ﺳﻴﺠﺮﺳﺘﺮوم‬ ‫ وﻳﻬﺪف‬،‫ﻟﻠﻔﻨﻮن ﻓﻲ ﻣﺪﻳﻨﺔ ﻛﻮﺳﺘﺎ ﻣﻴﺴﺎ ﻓﻲ وﻻﻳﺔ ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ‬ ‫ﺳﺘﻴﻌﺎب أﻛﺒﺮ ﻗﺪر‬. ‫اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ إﻟﻰ زﻳﺎدة ﻣﺴﺎﺣﺔ اﻟﻤﺘﺤﻒ‬ ‫ ﺳﺘﺒﺪأ أﻋﻤﺎل‬.‫ﻣﻦ اﻟﻘﻄﻊ اﻟﻔﻨﻴﺔ ﻟﻔﻨﺎﻧﻴﻮ ﺟﻨﻮب ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ‬ ‫ ﺑﺰﻳﺎدة‬.‫م‬٢٠٢١ ‫م وﻳﺘﻮﻗﻊ إﻓﺘﺘﺎﺣﻪ ﻓﻲ ﻋﺎم‬٢٠١٩ ‫ﻧﺸﺎء ﻓﻲ ﻋﺎم‬.‫ا‬ ‫ أﻛﺜﺮ‬٪ 50 ‫ ﺗﻘﺪر ﺑﺤﻮاﻟﻲ‬، ‫ أﻟﻒ ﻗﺪم ﻣﺮﺑﻊ ﻣﻦ اﻟﻤﻌﺎرض‬٢٥ ‫ﺗﻘﺎرب‬ ‫ ﺣﻴﺚ ﻳﺴﻤﺢ اﻟﻤﺘﺤﻒ اﻟﺠﺪﻳﺪ اﻟﺬي ﺗﺒﻠﻎ‬، ‫ﻣﻦ اﻟﻤﺒﻨﻰ اﻟﺤﺎﻟﻲ‬ ‫ أﻟﻒ ﻗﺪم ﻣﺮﺑﻊ ﺑﺘﻨﻈﻴﻢ ﻣﻌﺎرض ﺧﺎﺻﺔ رﺋﻴﺴﻴﺔ إﻟﻰ‬٥٢ ‫ﻣﺴﺎﺣﺘﻪ‬ .‫ﺟﺎﻧﺐ اﻟﻤﺤﺘﻮﻳﺎت اﻟﻔﻨﻴﺔ اﻟﻮاﺳﻌﺔ اﻟﺘﻲ ﻳﻀﻤﻬﺎ ﻣﻦ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬ ،‫ أﻻف ﻗﺪم ﻣﺮﺑﻊ إﺿﺎﻓﻴﺔ ﻟﺒﺮاﻣﺞ اﻟﺘﻌﻠﻴﻢ‬١٠ ‫ﻛﻤﺎ ﺳﻴﻀﻢ اﻟﻤﺘﺤﻒ‬ ‫ ﻣﺤﻞ ﻟﺒﻴﻊ اﻟﻬﺪاﻳﺎ‬،‫دارﻳﺔ‬.‫ ﻣﻜﺎﺗﺐ ا‬،‫ اﻟﺘﺠﻤﻌﺎت اﻟﻌﺎﻣﺔ‬،‫اﻟﻌﺮوض‬ ‫ ﻳﻘﺪم اﻟﺘﺼﻤﻴﻢ اﻟﺠﺪﻳﺪ ﻣﺮوﻧﺔ ﻋﺎﻟﻴﺔ وﻣﺴﺎﺣﺎت وﻇﻴﻔﻴﺔ‬.‫وﻣﻘﻬﻰ‬ ‫ ﻛﻤﺎ ﻳﺤﺘﻮي اﻟﻤﺒﻨﻰ ﻋﻠﻰ ﻃﺎﺑﻖ رﺋﻴﺴﻲ ﻣﺨﺼﺺ‬،‫وأﺟﻮاء ﺗﺮﺣﻴﺒﻴﺔ‬ ‫ ﻳﻀﻢ اﻟﻤﺒﻨﻰ‬.‫ﺳﺘﺨﺪاﻣﺎت‬.‫ﻟﻤﺴﺎﺣﺔ ﻋﺮض ﻣﻔﺘﻮﺣﺔ ﻣﺘﻌﺪدة ا‬ .‫ﻃﺎﺑﻖ ﻣﻴﺰاﻧﻴﻦ وﻣﻌﺎرض ﺗﺮﺗﺒﻂ ﻣﻊ ﺑﻌﻀﻬﺎ ﻣﻦ ﺧﻼل ﺟﺴﻮر‬ ‫ ﻣﻦ ﻣﺴﺎﺣﺔ اﻟﻤﺒﻨﻰ ﺣﻴﺚ‬٪٧٠ ‫ﻛﻤﺎ ﺻﻤﻢ اﻟﺴﻄﺢ ﺑﻤﺴﺎﺣﺔ ﺗﻘﺎرب‬ ‫ ﻟﺼﺎﻻت اﻟﻌﺮض وﺗﻮﻓﻴﺮ ﻣﺴﺎﺣﺔ ﻓﻲ‬a‫ﻳﻤﻜﻦ أن ﻳﺸﻜﻞ اﻣﺘﺪاد‬ ‫ ﻛﻤﺎ‬.‫ﺣﺘﻔﺎﻻت واﻟﻤﻨﺎﺳﺒﺎت‬b‫اﻟﻬﻮاء اﻟﻄﻠﻖ ﻳﻤﻜﻦ إﺳﺘﺨﺪاﻣﻬﺎ ﻟ‬ . ‫رﺗﻔﺎع‬.‫ﻳﻀﻢ اﻟﻤﺘﺤﻒ ردﻫﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﻀﻮء ذات ﻧﻮاﻓﺬ ﻋﺎﻟﻴﺔ ا‬ ‫ﻓﻲ اﻟﺨﺎرج ﻳﻠﺘﻒ ﺣﻮل اﻟﻤﺒﻨﻰ ﺳﻼﻟﻢ ﻛﺒﻴﺮة ﺗﻨﺤﻨﻲ ﺑﺈﺗﺠﺎه‬ ‫اﻟﻤﺪﺧﻞ ﺗﺮﺑﻂ اﻟﻤﺘﺤﻒ ﺑﺎﻟﻤﺮﻛﺰ وﺗﺸﻜﻞ ﻣﺴﺎﺣﺔ ﻋﺎﻣﺔ ﻟﻠﻤﺸﺎة‬ ‫ ﻳﺘﻤﻴﺰ اﻟﻤﺒﻨﻰ ﺑﻮاﺟﻬﺎت ذات أﻟﻮان ﻓﺎﺗﺤﺔ ﻣﻜﻮﻧﺔ‬. ‫وزوار اﻟﻤﺘﺤﻒ‬ ‫ ﻳﻌﺒﺮ‬.‫ﻣﻦ أﻟﻮاح ﻣﻌﺪﻧﻴﺔ ﻣﻤﻮﺟﺔ وﺟﺪران زﺟﺎﺟﻴﺔ وأﻟﻮاح ﺧﺮﺳﺎﻧﻴﺔ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ ﻋﻦ ﺗﺠﺮﺑﺔ ﻓﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ ﻟﻠﺰوار ﺗﺒﺪأ ﻣﻦ‬ ‫اﻟﻤﺪﺧﻞ وﺻﻮﻻً إﻟﻰ ﻗﺎﻋﺎت اﻟﻌﺮض وﺗﻨﺘﻬﻲ ﺑﺈﻃﻼﻟﺔ ﻋﻠﻰ ﺳﻠﻢ‬ .‫رﺋﻴﺲ و اﻟﻤﻘﻬﻰ و ﻣﺘﺎﺟﺮ اﻟﻤﺘﺤﻒ‬ From Architect Report: With nearly 25,000 square feet of exhibition galleries—approximately 50 percent more than in the current location—the new 52,000-square-foot museum will allow OCMA to organize major special exhibitions alongside spacious installations from its world-traveled collection. It will also feature an additional 10,000 square feet for education programs, performances, and public gatherings, and will include administrative offices, a gift shop, and a café. Designed to provide flexible and functional spaces while creating an inviting and memorable atmosphere, the building has a main floor dedicated to reconfigurable open-span exhibition space. A spacious roof terrace, equivalent in size to 70 percent of the building’s footprint. Hovering over the soaring, lightfilled lobby atrium is an inspiring and dynamic architectural space for performance and education, illuminated by a full-height window overlooking the terrace. On the outside, a grand public stair curves toward the entry, linking the museum to Segerstrom Center for the Arts’ Argyros Plaza and the adjacent performing arts venues, and creating an inviting public gathering space for pedestrians and visitors. A distinctive façade of light-colored, undulating bands of metal paneling, glazed curtain wall, and exposed concrete plays off the forms and language of neighboring works of architecture.

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Orange County Museum of Art

© Photos by Morphosis Architects

: ‫اﻟﻤﺼﻤﻢ‬ Architect: Morphosis Architects ‫ اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬- ‫ ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ‬، ‫ﻛﻮﺳﺘﺎ ﻣﻴﺴﺎ‬: ‫اﻟﻤﻮﻗﻊ‬ ‫ ﻣﺘﺮ ﻣﺮﺑﻊ‬52٫000 :‫اﻟﻤﺴﺎﺣﺔ‬ ‫م‬2021 :‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

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