Issue 294

ALBENAA VOL. 35 NO.

294

w½U³LK q UA « rOLB² «

≤π¥ œbF « ¨ ÊuŁö¦ « Ë W U)« WM « ¡UM³ «

‫اﻟﻤﺤﺘﻮﻳﺎت‬ WOŠU²² ù« ±¥

q UA « rOLB² « ÆÆ w½U³*« rOLB² b¹bł »uKÝ√

—U³š_« ≤∞

UIÐU Ë WOK× l¹—UA

l¹—UA*« —U³š√ ≤¥

w¾O³ « rOLB² « Â√ ÎôË√ Í—«d(« ‰eF « ø q _« „d²½Ë ŸdH « cšQ½ «–U*

¡UM³ « w b¹b'« ≥∏

W UD « bOýdðË ÊU ú WO – WLE½√

—uJ¹b « w b¹b'« ¥≤

W¹dBŽ UOMI²Ð UýËdH

W¹b U)« l u d¹uDð μ∞ μ≤ μ¥ μμ μ∂

ÊuO½«dLŽ V²J WIÐU *« rEM Êœ—_« ? ◊˃U½—√ w «— ”bMN*« V²J ∫ ‰Ë_« e d*« WJ ? …d³)« XOÐ V²J ∫ w½U¦ « e d*« dB ? u¹œu²Ý fM²Ýœ ∫ Y U¦ « e d*« wÐœ ? XJ² —√ f ≈ V²J ∫ lЫd « e d*«

q UA « rOLB² « ∂≤ ∑≤ ∑∂ ∏∞ ∏¥ ∏∏ π≤

WÝbMN «Ë …—ULF « 5Ð …b¹bł U öŽ „—u¹uO½ ? ÊuMH «Ë ÂuKF « d¹uD² dÐu œU%≈ e d* bO'« vM³*« „—u¹uO½ ? ©5K ËdÐ 2wЮ wMJ « Ãd³ « ÊuMHK ËbO uð nײ w włUłe « ÕUM'« ©MIT® UOłu uMJ²K f²ÝuAðUÝU bNF w e½uLOÝ vM³ ÍUNGMý wł wÐ ”≈ w½U³ lL− !u !u¼ ? !uKO ¡UMO w b¹b'« lL−*«

¡U Š_«Ë WO dA « WIDM*« w WOK;« …—ULF « ±∞≤ ±∞¥ ±∞∂ ±∞∏ ±±∞ ±±≤ ±±¥ ±±∂ ±≤∞

¡U Š_«Ë WO dA « WIDM*« w WOK;« …—ULF « WOÝbMN « «—UA²Ýû w «uF « V²J ‰ULŽ√ s WOÝbMN « «—UA²Ýû p OЫ—√ V²J ‰ULŽ√ s WOÝbMN « «—UA²Ýû ržUM² « V²J ‰ULŽ√ s WOÝbMN « «—UA²Ýû dOŁQ² « V²J ‰ULŽ√ s WOÝbMN « «—UA²Ýû ö*« WŽuL− ‰ULŽ√ s ôËUILK WO UB²šô« bOOA² « W ÝR ‰ULŽ√ s WOÝbMN « —UA²Ýû ÍdDI « V²J ‰ULŽ√ s u U¼ o UHF «Ë 5 (« W dý

¡UM³ « o×K ±≥∞

 ≤∞±μ q¹dЫØ?¼ ±¥≥∂ ‰Ë_« œULł

W¦¹bŠ WO*UŽ l¹—UA

bI½Ë Í√— ≥¥

≤π¥ œbF « ¨5Łö¦ «Ë W U)« WM «

U dA « l¹—UA Ë U−²M ÀbŠ√ sŽ ôUI

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× d¹dײ « d¹b ÕU²H «b³Ž bL× ‚—UÞ ”bMN*« 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 mail@albenaamagazine.com.sa 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— ÎU¹œuFÝ ô μμ W¹œuF « WOÐdF « WJKL*« w²¹u —UM¹œ ¥[∏∞ X¹uJ « WOM¹d×Ð dO½U½œ ∂ s¹d׳ « ÎUOð«—U ≈ UÎ L¼—œ μμ WOÐdF « «—U ù« W Ëœ Î U¹— UÎ ¹dD ô ¥μ dD Î U¹— ÎUO½ULŽÔ ô ∂ ÊULŽÔ UÎ ¹dB UÎ NOMł ≤μ dB W¹—uÝ …dO ≥∞∞ U¹—uÝ WO½UM³ …dO ±∞∞∞∞ ÊUM³ WO½œ—√ dO½U½œ ¥ Êœ—_« Ë—u¹ ±∞ UO½U*√ Ë—u¹ ±∞ U ½d WOMO d²Ý« UNOMł ±∞ «d²K$« —ôËœ ±¥ Èdš_« ‰Ëb « lOLłË …bײ*« U¹ôu « ISSN: 1319 - 206 X

WOŠU²² ù«

‫أﺳﻠﻮب ﺟﺪﻳﺪ ﻟﺘﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‬

‫اﻟﺘﺼﻤﻴﻢ اﻟﺸﺎﻣﻞ‬ cM Í—ULF*« tO ÊËU?F²¹ b¹bł rOLBð »uK?Ý√ u¼ q U?A « rOLB² « Í—ULF*« 5?Ð ÊËUF² « ÆÈd?š_« WO?ÝbMN « UBB ² « l? ŸËd?A*« W¹«bÐ √b³¹ ÍbOKI² « r?OLB² « »uK?Ý√ ÊU YOŠ Î «b¹bł fO hB ²*« ”b?MN*«Ë WOLOLB² « «—«dI « Êu?Jð bŠ v ≈ rOLB² « w ÂbI²¹ Íc? « Í—ULF*« WD?Ý«uÐ tðUDD l dÐ Í—ULF*« ÂuI¹ p – bFÐ ¨ œb% b wKš«b « l¹“u² «Ë vM³*« qJ?ý «c¼ ÆtBB ð w? q rNLOLBð l?{u Èdš_« U?BB ² « w?ÝbMN v ≈ QA½ w² « UFL²−*« U³KD²* VO−²? ¹ô t½√ ô≈ ? Î UF³² ‰«“U Ê≈Ë ? »uK?Ý_« Æw½«dLF « ‰U−*« vKŽ …b¹bł WO¾OÐË WOŽUL²ł«Ë W¹œUB² ≈ «bOIFð —uNþ W−O²½ Èdš_« UBB ² « l Í—ULF*« ÊËUF²¹ q UA « rOLB² « »uKÝ√ w qO UHð Ë wKš«b « l?¹“u² «Ë qJ?A « b¹b%Ë WOLOLB² « «—«dI « –U ð« w U¹«e*« Ê√ ô≈ ¨q U?A «Ë ÍbOKI² « »uK?Ý_« 5Ð ”U?Ý_« ‚dH « u¼ «c¼ Æ¡U?M³ « ¡UM³ « WHKJð iHš q¦ WLN Ë …d?O¦ q U?A « rOLB² « ‰öš s oIײð w² « w UL'« Ÿ«bÐù« o?OI% r¼_« u¼Ë p c ¨l¹—U?A*« »U× _ Î «bł rN «c?¼Ë ÆŸËdALK ÕU−M « oOI% ÂUŽ qJAÐË ¨wHOþu «Ë »—U−² « s qŠ«d bFÐ ô≈ t*UF qL²Jð r b¹b'« »uKÝ_« «c¼ l³D UÐ ¨W b ² *« «Ëœ_« w p c Ë WOKLF « «d³)«Ë WOÝbMN « ÂuKF « w —uD² «Ë œbFðË WOMN*« U?BB ² « —uDðË w?ÝbMN «Ë Í—ULF*« rOKF² « —u?D² UL ¨oO M² «Ë “U$ù« WŽd?ÝË WO UFH « oI% XF{ËË qLŽ jDšË f?Ý√ q WO UŽ «—b «– WO½Ëd²J ù« UIO³D² «Ë Z «d³ « s qLF « «Ëœ√ —uDð ÆŸËdA*« ÕU$≈Ë ÊËUF² «Ë rOLB² « dO Oð v ≈ ·bN¹ p – Í—ULF*« rOKF² « ‰«“U? Ë W¹bOKI² « VO U?Ý_« o³Dð UM³ðUJ X? «“U Î U?OK× w UL'« Ÿ«bÐù« v ≈ bI²Hð w½U³*« X «“U w U² UÐË ¨W¹bOKI² « VO UÝ_« rÒKF¹Ô wÝbMN «Ë Ædšü« uK¹ bŠ«Ë WOK;« l¹—UA*« nDIð WO*UF « VðUJ*« X «“U Ë ¨wHOþu «Ë l¹—U?A* WK¦ √Ë q U?A « rOLB² « ‰uŠ Î UHK WK−*« ÂbIð œbF « «c¼ w X−N½Ë UNKLŽ d¹uDð v ≈ 5MÝ cM XFÝ WO*UŽ VðUJ UNLOLB²Ð ÂU WŽuM² d?A²Mð Ê√Ë UN ULŽ√ `?−Mð Ê√ wFO³D « s? ÊUJ q U?A « r?OLB² « »uK?Ý√ ÆU¼œöÐ œËbŠ ×Uš UNðU bš d¹dײ « fOz— 14 Albenaa

¡UM³ « ±¥

—U³š_«

‫و ﺿﻊ ﺣﺠﺮ ا ﺳﺎس‬ ‫ﻟﺠﻤﻠﺔ ﻣﻦ اﻟﻤﺸﺎرﻳﻊ‬ ‫ﺑﻤﺮﻛﺰ اﻟﺒﻄﻴﻦ‬ rOBI « W?IDM d?O √ uL?Ý l?{Ë q¦ ¨l¹—UA*« s œbF ”UÝ_« d−Š ÂUF « 5D³ « ÁeM² ¡U?A½≈ ŸËd?A lÐd d?² n √ ≥∂∂ WŠU? v?KŽ ƉU¹— 5¹ö ∑ ?Ð —bIð WO ULł≈ WHKJ²Ð ≥∂∂ WŠU? 0 W¹bK³ « vM³ ¡U?A½≈ ÆÊuOK ¥[≤ WHKJ²ÐË l?Ðd d² n √ ≥≤ WŠU? vKŽ ôUH²Šô« Ê«b?O —bIð WO ULł≈ W?HKJ²Ð lÐd d² n? √ WO½U¦ « WKŠd*« Æ ‰U?¹— ÊuOK ±¥ ??Ð ∂ ‰uDÐ w UL?A « Ídz«b « ŸËd?A* qšb*« 똓« ŸËdA Æ «d² uKO W?O ULł≈ W?HKJ²Ð 5?D³K w?ÐuM'« ‚«u?Ý√ Æ ‰U?¹— Êu?OK ≥[≤ X?GKÐ lÐd d² μ∞∞∞ WŠU? 0 W?¹—U& ƉU¹— w½uOK0 —b?Ið WO ULł≈ WHKJ²Ð W?OŽUMB « W?IDM*« ÁuL?Ý `?²² «Ë W?ý—Ë ±≤ r?Cð w?² « 5?D³ UÐ w½uOK XGKÐ WO ULł≈ WHKJ²Ð cH½Ë WOýU*« ‚uÝË aK *« `²² «Ë Æ ‰U¹— mKÐ ¡UMÐ `D? Ë 5D³ UÐ ·öŽ_«Ë ÁuL?Ý `²² « UL Æl?Ðd d?² ¥∞∞ ‰ULŽ sJ?ÝË UŽœu²? Ë Ã«d?ł w½uOK X?GKÐ WHKJ²Ð 5?D³ « W¹bK³ ±∞∞∞ XGKÐ WO ULł≈ WŠU 0Ë ‰U¹— …UALK Î «—ULC s?ýœË Æ lÐd d² ÆÂöŽú W¹—UÝË «d² uKO ∂ ‰uDÐ qBO —u² b « dO _« uLÝ `²² « UL w½b*« ŸU b « e d vM³ qF?A sÐ ŸËd?A sL{ c?H½ Íc? « 5?D³ UÐ p?K*« 5H¹d?A « 5? d(« ÂœU?š «dI*« d¹uD² e¹eF «b³Ž sÐ tK «b³Ž vKŽ cH½ Íc « WOKš«b « …—«“u WOM _« ±≤≥∞ XGKÐ fOzd « vM³LK WŠU XGKÐ w½U³LK WŠU? 0Ë Î UFÐd Î «d² ÆlÐd d² ±μ∞∞

‫ﻣﺘﺤﻒ اﻟﻤﺴﺘﻘﺒﻞ ـ دﺑﻲ‬

q³I² *« nײ* —uEM

w WM¹b*« ¡UIЫ v « ·bN¹ wÐœ WM¹b w q³I² *« nײ rOLBð sŽ «dšR nAJ « 5Žd² *«Ë 5¦ŠU³ « »UDI²Ý« UL v « ·bN¹ UL ÆW¦¹b(« …—ULF « w b¹b'« dBF « W bI vM³*« qJAÐ rOLB² « eOL²¹Ë ÆbŠ«Ë nIÝ X% 5 uL*«Ë U d?A «Ë ÀU×Ð_« e «d Ë ULKJÐ —uH;« VKB « «b ²Ý« r²OÝË ¨WHOKš ÃdÐ s »dI UÐ WIK(« t³A¹ ÍËUCO³ « «d³² nײ*« rCO?Ý ÆWOł—U)« U?Nł«u « qLŽ w ÃUłe «Ë w?ÐdF « dF?A « s Æq³I² *« UŽ«d²šù Î UHײ Ë qIM «Ë W UD «Ë WO c « Êb*«Ë rOKF² «Ë W×B « w —UJ²Ðö

‫ﺗﺼﻤﻴﻢ أﻋﻠﻰ ﺑﺮج ﻓﻲ ﻣﺼﺮ‬

Ãd³K ÂUŽ —uEM

b¹«“ò ŸËd?A s?Ž «d?šR n?AJ « b¹«“ aOA « WM¹b0 ¨å„—U³?Ý ‰U²? ¹d v ÃdÐ v?KŽ√ vKŽ Íu?²×¹Ë ¨dB w? cOHMð r²O?ÝË Æd?² ≤∞∞ ‰u?DÐ ¨d?B lÐd d² n √ ∑π∏WŠU vKŽ ŸËdA*« È—«œ≈ ŸËd?A t½UÐ ŸËd?A*« e?OL²¹Ë¨ Èu² ŸUHð—UÐ eOL²¹Ë ¨vNO dð È—U& WŽuM² v?½U³ vKŽ Èu?²×¹Ë ¨W?AOF*« ŸËdA*«œdHðv ≈W U{ùUШ U «b ²Ýô« qB¹ o¼U?ý ŸUHð—UÐ W½uI¹√ ÃdÐ œułuÐ ≥ s ŸËd?A*« Êu?J²¹ Æd?² ≤∞∞ v? ≈ WI¹bŠ ¨W?¹—U&Ë W¹—«œ≈ W?IDM ¨oÞUM W½uI¹_« Ãd³ «Ë ¨WONO dð WIDM Ë W¹e d Íu²×O Ãd³ « U « ¨ U «b ²?Ýù« œbF² ÆÎUIÐUÞ ¥π vKŽ 20 Albenaa

¡UM³ « ≤∞

—U³š_«

‫ وﻳﺘﻮﻓﻰ ﻗﺒﻞ ﺗﺴﻠﻤﻬﺎ‬..«‫ﻓﺮاي أوﺗﻮ ﺣﺼﻞ ﻋﻠﻰ ﺟﺎﺋﺰة »ﺑﺮﻳﺘﺰﻛﺮ‬ ±π∂∑ w ‰U¹d²½u w v Ëb « ÷dF*« w WO³*Ë_« »U?F _« œU²?Ýù rOLBð rŁ rOLBð w ÊËUFðË Â±π∑≤ v? a½uO

r¼UÝ U2 ¨÷U¹d « WM¹b w o¹uÞ dB WO UL?A « UJ¹d √ w WO*UF « tðdN?ý w vKŽ qBŠË ¨UO «d²?Ý√Ë UOÝ¬Ë UÐË—Ë√Ë UNM ¨ ±π∏≤ v? e?z«u'« s b?¹bF « sH « WO1œU √ s pO²J² «Ë Y׳ « WO «bO

WO³¼c « W?O «bO*«Ë f?¹—UÐ w Í—U?LF*« ÆUO½U*√ w 5¹—ULF*« 5?½UMH « WOFLł s

WO³¼c « WO «bO*« vKŽ qBŠ Â≤∞∞μ w Ë ¨UO½UD¹dÐ w Í—ULF*« sHK vJK*« bNFLK WO U¹d³ ù« …e?zU'« v?KŽ Â≤∞∞∂ w? Ë q ‰c³¹ ÊU?MH « ÊU Ë ¨ÊU?ÐUO UÐ Êu?MHK WOMÐ_« r?LB ¡«d?IH « …bŽU? * Áb?Nł U uBš ¨dO¦J « rNHKJð ô w² « WDO ³ « r?NKF& w?² « W?OFO³D « À—«u?J « b?FÐ ÆrN “UM ÊËbIH¹

uðË√ Í«d Í—ULF*«

œUŽ rŁ ¨UOMOłd WF Uł w Êb*« r?OEMðË W U Ë Êu YOŠ ¨Â±πμ≤ w? 5 dÐ v ≈ Æt ULŽ√ “U$≈ w √bÐË t HM ¡UM³ « WOLM² «bÎ ?NF Q?A½√  ±πμ∏ w Ë tðU öŽ ‰Ë√ √b?Р±π∂± w Ë jO? ³ « 5½UMH «Ë 5?ÝbMN*« s?

W?ŽuL− l?

5Ž ±π∂¥ w Ë ¡UOŠ_« ¡ULKŽË 5¹—ULF*« —U&u²?ý WF Uł w WOMÐ_« bNF* «dÎ ¹b

w w½U*_« ÕUM−K r?OLBð l{uÐ ÂU Ë

Ê√ q³ ¨uðË√ Í«d w½U*_« Í—ULF*« qŠ— åd e²¹dÐò …e?zUł vKŽ t uB×Ð bF? ¹ s?HK …e?zUł v?KŽ√ w?¼Ë ¨≤∞±μ ÂU?F ¨åqÐu½ò …e?zUł ‰œU?Fð w?² « Í—U?LF*« U UŽ ∏π e¼UM¹ dLŽ sŽ WOM*« t?² «Ë YOŠ ≤∞±μ ”—U ≤≥ w …ezU'« tLK ð q³ Í—ULF*« s?HK …e?zUł l? —√ b?Fð w?¼Ë Íc? « v?MH « Á—«u?A s?Ž t? U?1dJð ÆU UŽ ∂∞ ‚dG²Ý« lD²? ¹ r Ë Â±π≤μ w uðË√ Í«d b Ë ¨q Q¹ ÊU U?L Í—U?LF*« s?H « W?Ý«—œ -Ë Â±π¥≥ w? gO'UÐ o?ײ « Y?OŠ qš«œ 5 UŽ ‘U?ŽË  ±π¥μ w Ád?Ý√ »d(« bFÐË Â±π¥∏ w «dJ F*« bŠ√ ¨5 dÐ W?F Uł w Í—U?LF*« s?H « ”—œ ¨±πμ∞ w WO?Ý«—œ W×M vKŽ q?BŠË WOJ¹d _« …b?ײ*« U?¹ôu « v ≈ d U? ŸUL²łô« r?KŽ X u « f?H½ w? ”—œË

‫ م ﻓﻲ ﻛﺎن‬٢٠١٥ ‫ﺟﻮاﺋﺰ ﻣﻌﺮض ﻣﻴﺒﻴﻢ‬ ∫ WO U² « WHK² *« ôU−*« w ez«u'UÐ l¹—UA*« “U b ˨Â≤∞±μ ÂUF Áez«uł sŽ ÊU w rO³O ©MIPIM® w Ëb « —UIF « ÷dF sKŽ√ —uNL'« …ezUł ? ± Oyygen Eco≠ Tower ≠ Indonesia

W U)« rOJײ « WM' …ezUł ? ≤

Queen Elizebth Olympic Park fl London

‚bM Ë wŠUOÝ l−²M s Š√ ? ≥

ÆCenter Parce Wabrun Forest

wŽUM Ë w² łu d¹uDð s Š√ ? ¥ Wurth Srenska AB

dCš√ vM³* —UJ²Ð« s Š√ fl μ One Central Park

w³²J vM³ s Š√ ? ∂ Selcuk Ecaz HQ

Ád¹uDð œUF¹ vM³ ? ∑ Dreischeibenhaus

ÊUJÝ≈ d¹uDð s Š√ ? ∏ Kroyers Plads

Í—U& e d s Š√ ? π Mark Thal Rottadam

q³I² LK ŸËdA s Š√ ? ±∞ Cite Musicale Departementale De L’lle Seguin

q³I² LK r { ŸËdA s Š√ ? ±± New North Zaland Hospital Â≤∞±μ rO³O ez«uł vKŽ XKBŠ w² « l¹—UA*«

22 Albenaa

¡UM³ « ≤≤

l¹—UA*« —U³š√

‫اﻟﻌﺎﺻﻤﺔ اﻹدارﻳﺔ اﻟﺠﺪﻳﺪة ﻟﻠﻘﺎﻫﺮة‬ W¹—«œù« WL UF « lIð …d¼UI « ‚dý w …b¹b'« 5Ð qB¹ Íc « —u;« vKŽ WM « 5F «Ë …d¼UI « …b¹b'« WL UF « d³²FðË ÕË— ¡UM³ …b¹bł W ËU× oOI% v ≈ W U{ùUÐ WOMÞË Æb _« q¹uÞ Â«b² u/ WŠU vKŽ WM¹b*« ÂUIð vKŽ Íu²%Ë lÐd r ∑∞∞ «—«“u « «dI Ë w½U³ —UD Ë WO uJ(« U¾ON «Ë W¹—U& oÞUM Ë ‚œUM Ë «bŠËË oz«bŠË WONO dðË UŠU *« WŽuM² WOMJÝ v ≈ W U{ùUÐ U¹u² *«Ë VŽu² ð ¨…œU³F « —Ëœ μ w «uŠ …b¹b'« WL UF « ÆWL ½ ÊuOK —u bOJÝ W dý Ê√ d c¹ jD *« WLLB w¼ WO*UF « WM¹bLK ÂUF «

ŸËdALK W¹uł dOþUM

…d¼UI « WM¹b* W³ M UÐ ÂUF « l u*«

24 Albenaa

¡UM³ « ≤¥

l¹—UA*« —U³š√

‫إﻋﺎدة ﺗﺼﻤﻴﻢ ﻣﺪﻳﻨﺔ ﺑﺎرﻳﺲ اﻟﺠﺪﻳﺪة‬ ÍœUŽ dOžË b¹bł Õ«d² ≈ WM¹b q³I² qOJA² W³ž— v « WÐU−²Ý≈ f¹—UÐ rOLBð …œUŽ« w WM¹b*« ¨…b¹b'« f¹—UÐ WM¹b mMO½öÐ V²J qLŽ YOŠ rOLB² «Ë jOD ²K U¹—u TK vKŽ åPlaning koreaò bNA*« qš«œ Už«dH « - ÆWM¹bLK ÍdC(« s ÊuJ ŸËdA rOLBð ¡«uN « w WLzUŽ ôu ³ 5Ð U «b ²Ýô« …œbF² —uÐ s »dI UÐ s¹d ł UNCF³Ð j³ðdðË ¨u¹U ÆdýU³ dOž Ë√ dýU³ qJAÐ w rN —Ëœ WFO³DK Ê« UL YOŠ Î UOKš«œ ŸËdA*« ¡UOŠ« WOKš«œ oz«bŠ ¡UA½≈ sJ1 ÍœR¹ U2 ôu ³J « w l WOFO³D « ÃU b½≈ v ≈ ÆWO uO « …UO(«

ôu ³JK ÂUŽ —uEM

ŸËdALK Íuł dEM Ë ÂUF « l u*«

26 Albenaa

¡UM³ « ≤∂

l¹—UA*« —U³š√

‫ﻣﺮﻛﺰ اﻗﺘﺼﺎدي ﻟﺒﻴﻊ اﻟﺴﻠﻊ اﻟﻐﺬاﺋﻴﺔ‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة اﻻﻣﺮﻳﻜﻴﺔ‬ wÝbMN « V²J*« nA —uD rOLBð sŽ OMA lK « lOÐ ŸËdA* Y¹bŠË …bײ*« U¹ôu « w WOz«cG « q¹u% - YOŠ ¨WOJ¹d ô« e d v « oÐUÝ lMB jA½ lL²− Ë ÍœUB² « 5Ð «b¹bł Uł–u/ öJA eOL²¹ ÆZ²M*«Ë pKN² *« l «u oO M²Ð rOLB² « l b¹b'« ÂUFD « lOÐ UŠU «Ë W UF « s U _« Z²M*« lL²−¹ YOŠ W UF « ÆbŠ«Ë ÊUJ w pKN² *«Ë W öŽ ŸËdA*« b −¹Ë WÝbMN « 5Ð W¹dCŠ WOz«cG « œ«u*«Ë W¹—ULF*« Æ…dJH «Ë rOLB² « ‰öš s WŽ—e ŸËdA*« qLA¹Ë WOz«cž WI¹bŠË W¹dCŠ W UF « UMŠUAK ‚uÝË WOz«cG « œ«u*UÐ WKL;« Wze−² « lO³ UŠU Ë Æœ«u*« d¹Ëbð …œUŽù o «d Ë WŽUM ¡«cG « ¡UMO d u¹ WOz«cG « œ«uLK WK Uý ŸËdA*« œb×¹Ë ¨ UOKLF «Ë Ê√ sJ1 nOJ b¹bł Öu/ pKN² *« 5Ð W öF « œb% ÆZ²M*«Ë

ÂUF « ⁄«dHK dOþUM

ÂUF « l u*«

ôUH²Šû W UF « Už«dH «

28 Albenaa

¡UM³ « ≤∏

l¹—UA*« —U³š√

‫ ﺳﻨﻐﺎﻓﻮرا‬- ‫ﻣﺠﻤﻊ ﺳﻜﻨﻲ‬ ¡UOŠù Õd²I rOLBð ÂUF « ÊUJÝù« ÂuNH vKŽ qLŽ ¨«—u UGMÝ w Groupasia V²J tLOLBð v Ëô« …ezU'« vKŽ ezU(« rOLB² WIÐU sL{ ÊuJ²¹ Æb¹bł wMJÝ Õd²I s WŽuL− s ŸËdA*« UŠUÐ ‰uŠ X³ð— w½U³*« vKŽ Íu²% W¹e d WOMJÝ oIý s ±∏∑∂ Ác¼ vKŽ UNFOLł qDð dþUM*UÐ W¾OK*« UŠU³ « ŸËdA*« wDG¹ ÆWOFO³D « Z bMð ≤Â∑∞∞∞ w «uŠ W¾O³ « l w½U³*« UNO rOLBð eO9 ÆUNÐ WDO;« WOÝ«bÝ w½U³0 ŸËdA*« UNÐ jO% W dH² …dO³ v « W U{ùUÐ ¡«dCš W¾OÐ q qš«œ W¹e d*« WŠU « eO9 UL ÆwÝ«bÝ vM³ YOŠ W «b²ÝùUÐ rOLB² « vKŽ w½U³*« …—«b²Ý« qLFð fLA « WFý« s qOKI² « W U{ùUÐ UNO »užd*« dOž W¦¹bŠ UOMIðË WLE½« v « ÆW UD « dO u²

ÊUJÝù« ëdÐ_ Íuł —uEM

ÂUF « l u*«

WHK² dOþUM

30 Albenaa

¡UM³ « ≥∞

‫—√‪bI½Ë Í‬‬

‫ﻟﻤﺎذا ﻧﺄﺧﺬ اﻟﻔﺮع وﻧﺘﺮك ا ﺻﻞ ؟‬

‫اﻟﻌﺰل اﻟﺤﺮاري أو ًﻻ أم اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ ∫ ”bMN‬‬

‫ﻋﻨﺪﻣﺎ ﺑﺪأ اﻟﻌﺎﻟﻢ‬ ‫ﺗﻄﺒﻴﻖ ﻣﻔﺎﻫﻴﻢ‬ ‫ا)ﺳﺘﺪاﻣﺔ ﻛﺎن ﻻﺑﺪ‬ ‫ﻣﻦ إﻋﺎدة اﻟﻨﻈﺮ ﻓﻲ‬ ‫ﻛﻞ ﻋﻠﻮم اﻟﺒﻨﺎء‬

‫ﻓﻲ اﻟﻤﺎﺿﻲ ﻛﺎﻧﺖ‬ ‫اﻟﻌﻤﺎرة اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﺗﻌﺘﻤﺪ ﻛﻠﻴ; ﻋﻠﻰ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ‪،‬‬ ‫ ﻧﻪ ﻟﻢ ﺗﻜﻦ ﻫﻨﺎك‬ ‫ﻛﻬﺮﺑﺎء أو ﺗﻜﻴﻴﻒ أو‬ ‫ﻋﻮازل ﺣﺮارﻳﺔ ﻣﺼﻨﻌﺔ‬ ‫وﻣﻨﺘﺸﺮة ﻓﻲ اﻟﻌﺎﻟﻢ‬ ‫ﻛﻤﺎ ﻫﻮ اﻟﺤﺎل اﻟﻴﻮم‪.‬‬ ‫‪¡UM³ « ≥¥‬‬

‫‪34 Albenaa‬‬

‫ﻳﻌﺘﺒﺮ اﻟﺤﺪ ﻣﻦ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ اﻟﻴﻮم‬ ‫ﻫﺪف أﺳﺎس ﻟﺪول اﻟﻌﺎﻟﻢ ‪ ،‬وﻓﻲ اﻟﻤﻤﻠﻜﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ﺗﻢ إﻧﺸﺎء ﻣﺮﻛﺰ ﻛﻔﺎءة‬ ‫اﻟﻄﺎﻗﺔ ﺑﻬﺪف اﻟﺤﺪ ﻣﻦ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ اﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ اﻟﻄﺎﻗﺔ ا‪2‬وﻟﻴﺔ‬ ‫اﻟﺒﺘﺮول‪.‬‬ ‫وإن ﻛﺎن إﻧﺸﺎؤه ﺟﺎء ﻣﺘﺄﺧﺮ‪ :‬ﺑﻌﺾ اﻟﺸﺊ‬ ‫إﻻ أن ﻓﻜﺮﺗﻪ راﺋﺪة‪ ،‬وﻣﺎ ﻫﻮ ﻣﻔﺘﺮض أن‬ ‫ﻳﺤﻘﻘﻪ ﺿﺮوري ﺟﺪ‪ :‬ﻟﺤﻞ ﻣﺸﺎﻛﻞ اﻟﻄﺎﻗﺔ‪.‬‬ ‫ﻣﻨﺬ إﻧﺸﺎء اﻟﻤﺮﻛﺰ ﻇﻬﺮ ﺑﻮﺿﻮح أﻫﻤﻴﺔ‬ ‫ﺗﺤﻘﻴﻖ ﻣﺒﺪأ ﻛﻔﺎءة اﻟﻄﺎﻗﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ‬ ‫‪2‬ن اﺳﺘﻬﻼﻛﻬﺎ ﻟﻠﻄﺎﻗﺔ ﻛﺒﻴﺮ‪ ،‬و‪2‬ن ﻫﻨﺎك‬ ‫إﻣﻜﺎﻧﻴﺎت ﻣﺘﺎﺣﺔ ﻓﻲ ﻣﺠﺎل اﻟﺒﻨﺎء ﻟﺨﻔﺾ‬ ‫إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ‪.‬‬ ‫ﻓﻲ ا‪2‬ﺷﻬﺮ اﻟﻘﻠﻴﻠﺔ اﻟﻤﺎﺿﻴﺔ ﻗﺎم اﻟﻤﺮﻛﺰ‬ ‫ﺑﺈﺣﺪى ﺧﻄﻮاﺗﻪ ﻧﺤﻮ ﺗﺤﻘﻴﻖ ﻛﻔﺎءة اﻟﻄﺎﻗﺔ‬ ‫ﻓﻲ اﻟﻤﺒﺎﻧﻲ ﺑﺄن ﺗﻮﺟﻪ إﻟﻰ اﻟﻤﻮاﻃﻨﻴﻦ‬ ‫ﻟﺤﺜﻬﻢ ﻋﻠﻰ إﺳﺘﻌﻤﺎل اﻟﻌﺎزل اﻟﺤﺮاري‬ ‫ﻓﻲ اﻟﻤﺒﺎﻧﻲ‪ .‬ﻛﻤﺎ ﺗﻮﺟﻪ إﻟﻰ اﻟﻤﻜﺎﺗﺐ‬ ‫اﻟﻬﻨﺪﺳﻴﺔ ﺑﻀﺮورة ﺗﻄﺒﻴﻖ اﻟﻌﺰل اﻟﺤﺮاري‬ ‫ﻓﻲ اﻟﻤﺨﻄﻄﺎت اﻟﻬﻨﺪﺳﻴﺔ ﻟﺘﻨﻔﻴﺬ‬ ‫اﻟﻤﺒﺎﻧﻲ ﺑﻞ ﻗﺮر أﻧﻪ ﺳﻴﺘﻢ ﻣﺤﺎﺳﺒﺔ‬ ‫اﻟﻤﻜﺎﺗﺐ اﻟﻬﻨﺪﺳﻴﺔ اﻟﺘﻲ ﻟﻦ ﺗﻄﺒﻖ ﻓﻲ‬ ‫ﻣﺨﻄﻂ اﻟﻌﺰل اﻟﺤﺮاري‪.‬‬ ‫وإذا ﻛﺎن ﻫﺪف اﻟﻤﺮﻛﺰ ﻫﻮ اﻟﺘﻮﻓﻴﺮ ﻓﻲ‬ ‫اﻟﻄﺎﻗﺔ إﻻ أﻧﻨﻲ أﻋﺘﻘﺪ ﺟﺎزﻣ[ أن اﻟﺘﺮﻛﻴﺰ‬ ‫ﻋﻠﻰ اﻟﺠﻮاﻧﺐ اﻟﺘﻔﺼﻴﻠﻴﺔ أو اﻟﻔﺮﻋﻴﺔ ‪...‬‬ ‫ﻓﻲ اﻟﻤﺒﺎﻧﻲ وﻫﻮ اﻟﻌﺰل اﻟﺤﺮاري ﻟﻴﺲ‬ ‫ا‪2‬ﺳﻠﻮب اﻟﻤﻨﺎﺳﺐ ﻟﻠﺤﺼﻮل ﻋﻠﻰ اﻟﻨﺘﺎﺋﺞ‬ ‫ا`ﻳﺠﺎﺑﻴﺔ ﻟﻠﺘﻮﻓﻴﺮ ﻓﻲ اﻟﻄﺎﻗﺔ‪.‬‬ ‫ﻓﻌﻨﺪﻣﺎ ﺑﺪأ اﻟﻌﺎﻟﻢ ﺗﻄﺒﻴﻖ ﻣﻔﺎﻫﻴﻢ‬ ‫ا`ﺳﺘﺪاﻣﺔ ﻛﺎن ﻻﺑﺪ ﻣﻦ إﻋﺎدة اﻟﻨﻈﺮ ﻓﻲ‬ ‫ﻛﻞ ﻋﻠﻮم اﻟﺒﻨﺎء‪ ،‬ﻓﺘﻢ ﻣﺮاﺟﻌﺔ اﻟﻤﻮاد‬ ‫وأﻧﻈﻤﺔ اﻟﺒﻨﺎء وإﻋﺎدة ﺻﻴﺎﻏﺔ ﻃﺮق‬ ‫اﻟﺘﺼﻨﻴﻊ واﻟﺘﻨﻔﻴﺬ ﺑﻤﺎ ﻳﺘﻼﺋﻢ ﻣﻊ ﻣﻮاﺻﻔﺎت‬ ‫اﻻﺳﺘﺪاﻣﺔ اﻟﺘﻲ ﺗﻨﻈﺮ إﻟﻰ اﻟﺒﻨﺎء ﻣﻦ‬ ‫ﻣﻨﻈﻮر ﺟﺪﻳﺪ ﻫﻮ ﻣﻨﻈﻮر ا`ﺳﺘﺪاﻣﺔ‪.‬‬

‫وﻟﻘﺪ ﺗﻢ إﻋﺎدة اﻟﻨﻈﺮ ﻓﻲ ﻣﻔﻬﻮم اﻟﻌﺰل‬ ‫اﻟﺤﺮاري ﻓﻲ اﻟﻤﺒﺎﻧﻲ وﺗﺼﻨﻴﻔﻪ ﺗﺤﺖ ﺑﻨﺪ‬ ‫ﺟﺪﻳﺪ ﻫﻮ اﻟﻜﻔﺎءة اﻟﺤﺮارﻳﺔ ﻟﻠﻤﺒﺎﻧﻲ اﻟﺘﻲ‬ ‫أﺻﺒﺤﺖ ﻫﻲ اﻟﻘﻴﺎس اﻟﺠﺪﻳﺪ واﻟﺘﻲ ﻳﻨﺪرج‬ ‫ﺗﺤﺘﻬﺎ ﻛﺎﻓﺔ ا`ﺟﺮاءات اﻟﺘﻲ ﻳﺠﺐ إﺗﺨﺎذﻫﺎ‬ ‫ﺑﻤﺎ ﻓﻲ ذﻟﻚ اﻟﻌﺰل اﻟﺤﺮاري ﻟﺘﺤﻘﻴﻖ‬ ‫اﻟﺘﻮﻓﻴﺮ ﻓﻲ اﻟﻄﺎﻗﺔ‪.‬‬ ‫ﻟﻘﺪ أﺻﺒﺢ اﻟﻌﺰل اﻟﺤﺮاري ﻟﻠﻤﺒﻨﻰ أﺣﺪ‬ ‫ﺑﻨﻮد ﻫﺬه اﻟﻜﻔﺎءة وأﺻﺒﺢ ﺗﺮﺗﻴﺒﻪ ﻣﻦ‬ ‫ﺣﻴﺚ ﻣﺮاﺣﻞ اﻟﺒﻨﺎء ﺑﻌﺪ ﻣﺮﺣﻠﺔ ﺗﻄﺒﻴﻖ‬ ‫ﻣﻌﺎﻳﻴﺮ ﺗﺼﻤﻴﻤﻴﺔ ﺗﻌﺮف ﺑﺎﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺒﻴﺌﻲ ﻟﻠﻤﺒﺎﻧﻲ‪ ،‬و اﻟﺬي ﻳﻬﺪف إﻟﻰ ﻣﻼﺋﻤﺔ‬ ‫اﻟﺒﻨﺎء ﻣﻊ اﻟﺒﻴﺌﺔ اﻟﺨﺎرﺟﻴﺔ اﻟﻤﺤﻴﻄﺔ‬ ‫أو اﻟﻤﻮﻗﻊ اﻟﺠﻐﺮاﻓﻲ‪ ) ،‬اﻟﻤﻨﺎخ‪ ،‬اﻟﻤﻮاد‬ ‫اﻟﻤﺘﻮﻓﺮة ﻟﻠﺒﻨﺎء‪ ... ،‬إﻟﺦ(‪ .‬ﻓﻲ ﻫﺬه اﻟﻤﺮﺣﻠﺔ‬ ‫ﻻﻳﺘﻢ اﻟﺘﻄﺮق إﻟﻰ اﺧﺘﻴﺎر اﻟﻤﻮاد اﻟﻌﺎزﻟﺔ‪.‬‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ ﻟﻠﻤﺒﻨﻰ ﻫﻮ ﻣﺤﺼﻠﺔ‬ ‫ﺛﻼث ﻣﻜﻮﻧﺎت ‪ :‬اﻟﺘﺼﻤﻴﻢ اﻟﻤﻼﺋﻢ ﻟﻔﺼﻞ‬ ‫اﻟﺸﺘﺎء‪ ،‬واﻟﺘﺼﻤﻴﻢ اﻟﻤﻼﺋﻢ ﻟﻔﺼﻞ اﻟﺼﻴﻒ‪،‬‬ ‫واﻟﺘﺼﻤﻴﻢ اﻟﻤﻼﺋﻢ ﻟ‪u‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ‪.‬‬ ‫ﻳﺘﻢ ﺑﻌﺪ ذﻟﻚ ﺟﻤﻌﻬﺎ ودﻣﺠﻬﺎ واﻟﻤﻮاﺋﻤﺔ‬ ‫ﺑﻴﻨﻬﺎ ﻓﻲ ﺗﺼﻤﻴﻢ واﺣﺪ ﻫﻮ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺒﻴﺌﻲ‪.‬‬ ‫ﻓﻲ اﻟﻤﺎﺿﻲ ﻛﺎﻧﺖ اﻟﻌﻤﺎرة اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﻛﻠﻬﺎ ﻋﻤﺎرة ذات ﺗﺼﻤﻴﻢ ﺑﻴﺌﻲ أدى إﻟﻰ‬ ‫إﻧﺘﺎج ﻣﺒﺎﻧﻲ ذات ﺗﻨﻮع وﺛﺮاء ﻣﻌﻤﺎري ﺗﺄﺛﺮت‬ ‫ﺑﺎﻟﻤﻮﻗﻊ اﻟﺠﻐﺮاﻓﻲ ﻟﻬﺬه اﻟﻤﺒﺎﻧﻲ‪ ،‬ﻟﻢ ﺗﻜﻦ‬ ‫ﻫﻨﺎك ﻛﻬﺮﺑﺎء أو ﺗﻜﻴﻴﻒ أو ﻋﻮازل ﺣﺮارﻳﺔ‬ ‫ﻣﺼﻨﻌﺔ وﻣﻨﺘﺸﺮة ﻓﻲ اﻟﻌﺎﻟﻢ ﻛﻤﺎ ﻫﻮ‬ ‫اﻟﺤﺎل اﻟﻴﻮم‪. ،‬‬ ‫ﻓﻲ ﻣﻨﻄﻘﺘﻨﺎ اﻟﺤﺎرة ﻳﺮﻛﺰ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺒﻴﺌﻲ ﻋﻠﻰ ﺗﻮﻓﻴﺮ اﻟﻈﻼل ﻟﻠﻤﺒﺎﻧﻲ ﻣﻦ‬ ‫ﺧﻼل زراﻋﺔ ا‪2‬ﺷﺠﺎر واﺳﺘﺨﺪام ا‪2‬ﻓﻨﻴﺔ‬ ‫اﻟﺪاﺧﻠﻴﺔ اﻟﺘﻲ ﺗﺴﻤﺢ ﺑﺎﻟﺘﻬﻮﻳﺔ وا`ﺿﺎءة‬ ‫اﻟﻄﺒﻴﻌﻴﺔ واﺳﺘﺨﺪام ﻓﺘﺤﺎت ﺻﻐﻴﺮة‬ ‫ﻓﻲ اﻟﻮاﺟﻬﺎت اﻟﺨﺎرﺟﻴﺔ اﻟﺘﻲ ﺗﻘﻠﻞ ﻣﻦ‬ ‫ﺗﻌﺮض اﻟﻤﺒﺎﻧﻲ ﻟﻠﺤﺮارة‪ .‬واﺳﺘﺨﺪام ا‪2‬ﻟﻮان‬

‫—√‪bI½Ë Í‬‬

‫اﻟﺘﺨﻄﻴﻂ واﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺒﻴﺌﻲ ﻟﻴﺲ أﻣﺮ ‬ ‫ﺳﻬ ً‬ ‫ﻼ‪ ،‬ن ﻫﻨﺎك‬ ‫ﻣﺘﻄﻠﺒﺎت وأﻧﻈﻤﺔ‬ ‫وﻗﻮاﻧﻴﻦ ﺗﺨﻄﻴﻂ‬ ‫وﺑﻨﺎء ﻳﺠﺐ أن‬ ‫ﺗﺘﻤﺎﺷﻰ ﻣﻌﻬﺎ ﻗﻄﻌﺔ‬ ‫ا رض واﻟﻤﺒﻨﻰ‪.‬‬

‫ﻟﻤﺎذا ﻻﻳﺘﻢ ﻣﻘﺎرﻧﺔ‬ ‫دور ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ‬ ‫ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ‬ ‫ﺑﺎﻟﻤﺠﻬﻮدات ا ﺧﺮى‬ ‫اﻟﻤﺒﺬوﻟﺔ >ﺳﺘﺒﺪال‬ ‫اﻟﺒﺘﺮول ﺑﺎﻟﻄﺎﻗﺔ‬ ‫اﻟﺸﻤﺴﻴﺔ واﻟﺘﻲ‬ ‫ﺳﺘﻜﻠﻒ اﻟﺪوﻟﺔ أﻣﻮاﻻً‬ ‫ﻃﺎﺋﻠﺔ ﻟﺘﺤﻘﻴﻘﻬﺎ‪.‬‬

‫∂≥ « ‪¡UM³‬‬

‫‪36 Albenaa‬‬

‫اﻟﻔﺎﺗﺤﺔ ﻟﻠﻐﻼف اﻟﺨﺎرﺟﻲ ﻟﻌﻜﺲ اﻟﺤﺮارة‬ ‫و إﺳﺘﺨﺪام ﺟﺪران ﺳﻤﻴﻜﺔ ﻟﺘﺄﺧﻴﺮ وﺻﻮل‬ ‫اﻟﺤﺮارة إﻟﻰ داﺧﻞ اﻟﻤﺒﻨﻰ‪ ،‬وﻫﻨﺎك ﻃﺮق‬ ‫أﺧﺮى ﻟﺘﺤﻘﻴﻖ اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ ﻣﻦ ﺧﻼل‬ ‫ﺗﺨﻄﻴﻂ اﻟﻤﺪﻳﻨﺔ‪ .‬ﻣﻦ ﺣﻴﺚ ﺗﻼﺻﻖ اﻟﻤﺒﺎﻧﻲ‬ ‫ﺑﻴﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ واﻟﻄﺮق اﻟﻀﻴﻘﺔ ﺑﻴﻦ‬ ‫اﻟﻤﺒﺎﻧﻲ‪ ،‬وﻳﻤﻜﻦ أن ﻧﺮى ﻣﺜﺎﻻ ﺣﺪﻳﺜ‪ D‬ﻋﻠﻰ‬ ‫ذﻟﻚ ﻓﻲ ﻣﺪﻳﻨﺔ ﻣﺼﺪر ﻓﻲ أﺑﻮﻇﺒﻲ‪.‬‬ ‫إﻻ أن اﻟﺘﺨﻄﻴﻂ واﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ ﻟﻴﺲ‬ ‫أﻣﺮ‪ N‬ﺳﻬ ً‬ ‫ﻼ‪L ،‬ن ﻫﻨﺎك ﻣﺘﻄﻠﺒﺎت ﺣﻴﺎﺗﻴﺔ‬ ‫أﺧﺮى وأﻧﻈﻤﺔ وﻗﻮاﻧﻴﻦ ﺗﺨﻄﻴﻂ وﺑﻨﺎء ﻳﺠﺐ‬ ‫أن ﺗﺘﻤﺎﺷﻰ ﻣﻌﻬﺎ ﻗﻄﻌﺔ ا‪L‬رض واﻟﻤﺒﻨﻰ‪،‬‬ ‫ا‪L‬ﻣﺮ اﻟﺬي ﻳﺴﺘﺪﻋﻲ ﻣﻜﺎﺗﺐ ﻫﻨﺪﺳﻴﺔ‬ ‫ﻟﺪﻳﻬﺎ ﻗﺪرات ﺗﺼﻤﻴﻤﻴﺔ ﻋﺎﻟﻴﺔ ﻟﺘﺤﻘﻴﻖ ﻫﺬا‬ ‫اﻟﺘﺼﻤﻴﻢ‪.‬‬ ‫ﻣﻦ ﺟﻬﺔ أﺧﺮى ﻓﺈﻧﻨﺎ ﻋﻨﺪﻣﺎ ﻧﺘﻜﻠﻢ ﻋﻦ‬ ‫اﻟﻌﺰل اﻟﺤﺮاري ﻓﻬﺬا ﻳﻌﻨﻲ ﻋﺰل اﻟﻐﻼف‬ ‫اﻟﺨﺎرﺟﻲ ﻟﻠﻤﺒﻨﻰ و‪L‬ن اﻟﻐﻼف اﻟﺨﺎرﺟﻲ‬ ‫ﻟﻠﻤﺒﻨﻰ ﻳﺘﻢ ﺗﺼﻤﻴﻤﻪ ﻗﺒﻞ ﺗﺼﻤﻴﻢ اﻟﻌﺰل‬ ‫اﻟﺤﺮاري‪ ،‬ﻓﺈن ذﻟﻚ ﻳﺆﻛﺪ ﻓﻜﺮة أوﻟﻮﻳﺔ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ‪ .‬ﻟﺬﻟﻚ ﻓﺈن اﻟﺘﺨﻄﻴﻂ‬ ‫واﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ ﻳﺄﺗﻲ ﻓﻲ اﻟﻤﻘﺎم ا‪L‬ول‬ ‫ﻣﻦ ﺣﻴﺚ ﺗﺤﻘﻴﻖ اﻟﻜﻔﺎءة اﻟﺤﺮارﻳﺔ‪L ،‬ﻧﻪ‬ ‫ﻳﻤﻬﺪ ﻟﻤﺎ ﺳﻴﺄﺗﻲ ﻣﻦ ﺑﻌﺪه ﻣﻦ إﺟﺮاءات‬ ‫وﻣﻨﻬﺎ اﻟﻌﺰل اﻟﺤﺮاري ﻟﻠﻤﺒﻨﻰ‪ .‬وﻧﺤﻦ ﻫﻨﺎ‬ ‫ﻻﻧﺮﻳﺪ أن ﻧﺘﻨﺎول ﻛﻞ ﺟﻮاﻧﺐ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺒﻴﺌﻲ ﺑﻘﺪر ﻣﺎ ﻧﺮﻳﺪ أن ﻧﺘﻄﺮق إﻟﻰ‬ ‫ا_ﺟﺮاءات اﻟﺘﻲ أﺗﺨﺬت ﻣﺆﺧﺮ‪ N‬ﻟﺘﺤﻘﻴﻖ‬ ‫ﻛﻔﺎءة اﻟﻄﺎﻗﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ واﻟﺘﻲ ﺗﻤﺖ ﻣﻦ‬ ‫ﺧﻼل ﺣﻤﻠﺔ دﻋﺎﺋﻴﺔ ﺗﻢ اﻟﺘﺮﻛﻴﺰ ﻓﻴﻬﺎ ﻋﻠﻰ‬ ‫اﻟﻌﺰل اﻟﺤﺮاري أوﻻً ﺑﺪون ﺷﺮح ﻣﻮﻗﻌﻪ ﻣﻦ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻛﻠﻪ وﺑﺪون اﻟﺘﻄﺮق إﻟﻰ ﻣﻮﺿﻮع‬ ‫اﻟﻜﻔﺎءة اﻟﺤﺮارﻳﺔ ﻟﻠﻤﺒﻨﻲ وﺧﺼﻮﺻ‪D‬‬ ‫ﻣﻔﻬﻮم اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ‪ ،‬وﻟﺬﻟﻚ ﻓﺈن‬ ‫اﻟﺼﻮرة اﻟﺘﻲ ﻧﻘﻠﺖ ﻟﻠﻤﻮاﻃﻦ ﻫﻲ ﺻﻮرة‬ ‫ﻏﻴﺮ واﻗﻌﻴﺔ‪ ،‬وﻣﻦ ﺣﻴﺚ اﻟﻤﻔﻬﻮم اﻟﻌﺎم‬ ‫ﻟﻠﺘﻮﻓﻴﺮ ﻓﻲ اﻟﻄﺎﻗﺔ ﻇﻬﺮ وﻛﺄن اﻟﻌﺰل‬ ‫اﻟﺤﺮاري ﻫﻮ اﻟﺤﻞ ا‪L‬ول وا‪L‬ﺧﻴﺮ‪ .‬اﻟﺼﻮرة‬ ‫اﻟﺘﻲ ﻧﻘﻠﺖ ﺗﺠﺎﻫﻠﺖ اﻟﻌﺼﺮ اﻟﺬي ﻧﻌﻴﺶ‬ ‫ﻓﻴﻪ واﻟﺬي ﻳﻨﻈﺮ إﻟﻰ اﻟﻤﺒﺎﻧﻲ ﺑﻤﻔﻬﻮم‬ ‫ﺟﺪﻳﺪ ﻫﻮ ﻣﻔﻬﻮم ا_ﺳﺘﺪاﻣﺔ‪ .‬وا‪L‬ﻣﺮ ا‪g‬ﺧﺮ‬ ‫وا‪L‬ﻫﻢ ﻫﻲ ﺗﻠﻚ اﻟﺼﻮرة اﻟﺘﻲ ﻧﻘﻠﺖ إﻟﻰ‬ ‫اﻟﻤﻜﺎﺗﺐ اﻟﻬﻨﺪﺳﻴﺔ اﻟﻤﺤﻠﻴﺔ واﻟﺘﻲ ﺗﺠﺎﻫﻞ‬ ‫ﻓﻴﻬﺎ اﻟﻤﺮﻛﺰ أوﻟﻮﻳﺔ اﻟﺘﺼﻤﻴﻢ اﻟﺒﻴﺌﻲ‬ ‫ورﻛﺰ ﻋﻠﻰ ﻋﺰل اﻟﻐﻼف ﻓﻘﻂ‪ ،‬ﺑﻴﻨﻤﺎ أن دور‬

‫اﻟﻤﻜﺘﺐ اﻟﻬﻨﺪﺳﻲ ا‪L‬ﻛﺒﺮ وا‪L‬ول ﻫﻮ ﺣﻞ‬ ‫ﻣﺸﺎﻛﻞ اﻟﻄﺎﻗﺔ ﺑﻮاﺳﻄﺔ دوره ا‪L‬ﺳﺎس‬ ‫وﻫﻮ ﺗﺼﻤﻴﻢ اﻟﻤﺒﻨﻰ وﺟﻮاﻧﺒﻪ اﻟﺒﻴﺌﻴﺔ‪.‬‬ ‫وﻓﻲ رأﻳﻲ أن ﻫﺬا اﻧﺘﻘﺎص ﻟﺪور اﻟﻤﻜﺎﺗﺐ‬ ‫اﻟﻬﻨﺪﺳﻴﺔ وﺗﺤﺠﻴﻢ ﻟﺪورﻫﺎ‪ ،‬وﻟﺬﻟﻚ أدﻋﻮ‬ ‫إﻟﻰ إﻋﺎدة ﻓﺘﺢ اﻟﻨﻘﺎش ﺑﻴﻦ اﻟﻤﺮﻛﺰ وﺑﻴﻦ‬ ‫اﻟﻤﻜﺎﺗﺐ اﻟﻬﻨﺪﺳﻴﺔ ﻋﻠﻰ أﺳﺎس اﻟﺪور‬ ‫اﻟﺘﺼﻤﻴﻤﻲ ﻟﻠﻤﺨﻄﻄﻴﻦ و ﻟﻠﻤﻬﻨﺪﺳﻴﻦ‬ ‫ﻣﻦ وﺟﻬﺔ ﻧﻈﺮ اﻟﺘﻮﻓﻴﺮ ﻓﻲ اﻟﻄﺎﻗﺔ‪ .‬واﻟﺬي‬ ‫أراه ﻣﻦ وﺟﻬﺔ ﻧﻈﺮي أن دور اﻟﺘﺼﻤﻴﻢ‬ ‫ﻓﻲ ﺗﺤﻘﻴﻖ ﻛﻔﺎءة اﻟﻄﺎﻗﺔ ﻓﻲ اﻟﻤﺒﻨﻰ‬ ‫أﻫﻢ ﺑﻜﺜﻴﺮ وﻻ ﻳﻨﺤﺼﺮ ﻓﻘﻂ ﻓﻲ ﻣﺠﺮد‬ ‫وﺿﻊ ﻋﺎزل ﺣﺮاري داﺧﻞ ﺟﺪران اﻟﻤﺒﻨﻰ‪ ،‬ﺑﻞ‬ ‫ﻳﺠﺐ ﻋﻠﻰ اﻟﻤﺮﻛﺰ أن ﻳﻘﻮم ﺑﺎﻟﺘﻮﺟﻪ إﻟﻰ‬ ‫اﻟﻘﺎﺋﻤﻴﻦ ﻋﻠﻰ ﺗﺨﻄﻴﻂ اﻟﻤﺪﻳﻨﺔ وأﺣﻴﺎﺋﻬﺎ‬ ‫وﻛﺬﻟﻚ اﻟﻘﺎﺋﻤﻴﻦ ﻋﻠﻰ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري‬ ‫واﻟﻬﻨﺪﺳﻲ ﻟﺤﺜﻬﻢ ﻋﻠﻰ ﺗﻔﻌﻴﻞ دورﻫﻢ‬ ‫ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ وﻛﻔﺎءﺗﻬﺎ‪.‬‬ ‫اﻟﻤﻼﺣﻈﺔ ا‪L‬ﺧﺮى اﻟﺘﻲ ﻳﺠﺐ اﻟﺘﻄﺮق إﻟﻴﻬﺎ‬ ‫أن اﻟﻤﻜﺎﺗﺐ اﻟﻬﻨﺪﺳﻴﺔ اﻟﻤﺤﻠﻴﺔ واﻟﺠﻬﺎت‬ ‫اﻟﻘﺎﺋﻤﺔ ﻋﻠﻴﻬﺎ‪) ،‬أﻣﺎم ﻫﺬا ا_ﻏﻔﺎل ﻟﺪورﻫﺎ‬ ‫ﻓﻲ ﺗﺸﻴﻴﺪ اﻟﻤﺒﺎﻧﻲ وﻓﻲ ﻣﻘﺪرﺗﻬﺎ‬ ‫وﻣﺴﺌﻮﻟﻴﺘﻬﺎ ﻋﻠﻰ ﺗﺮﺷﻴﺪ اﻟﻄﺎﻗﺔ وﺗﺤﻘﻴﻖ‬ ‫ﻛﻔﺎءﺗﻬﺎ ﻓﻲ اﻟﻤﺒﺎﻧﻲ( ﻟﻢ ﺗﺤﺮك ﺳﺎﻛﻨ‪D‬‬ ‫وﻛﺄن ا‪L‬ﻣﺮ ﻻﻳﻌﻨﻴﻬﺎ‪ ،‬وﻟﻢ ﺗﺴﺘﻐﻞ ﻣﺎ‬ ‫ﺣﺪث ﻟﻠﺪﻓﺎع ﻋﻦ اﻟﻤﻬﻨﺔ وأﻫﻤﻴﺘﻬﺎ‪،‬‬ ‫ﻟﻴﺲ ﻓﻘﻂ ﻣﻦ ﺣﻴﺚ اﻟﺠﺎﻧﺐ اﻟﺠﻤﺎﻟﻲ‬ ‫ﺑﻞ ﻣﻦ ﺣﻴﺚ ﻣﺎ ﻳﻤﻜﻦ أن ﻳﺤﻘﻘﻪ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ ﺻﻌﻴﺪ اﻟﻤﺴﺘﻮى‬ ‫اﻻﻗﺘﺼﺎدي واﻻﺟﺘﻤﺎﻋﻲ‪ .‬وإذا ﻛﺎﻧﺖ‬ ‫ﻫﻨﺎك ﺑﻌﺾ ا‪L‬ﺻﻮات اﻟﺘﻲ ﻧﺴﻤﻌﻬﺎ‬ ‫ﻣﻦ وﻗﺖ إﻟﻰ آﺧﺮ ﺗﻄﺎﻟﺐ ﺑﻀﺮورة إﻋﺎدة‬ ‫اﻟﻨﻈﺮ ﻓﻲ أﺗﻌﺎب اﻟﻤﻜﺎﺗﺐ اﻟﻬﻨﺪﺳﻴﺔ‪،‬‬ ‫ﻓﺈن ﻣﻮﺿﻮع اﻟﺘﻮﻓﻴﺮ ﻓﻲ اﻟﻄﺎﻗﺔ ﻣﻦ‬ ‫ﺧﻼل اﻟﺘﺼﻤﻴﻢ اﻟﻬﻨﺪﺳﻲ واﻟﺘﺨﻄﻴﻂ‬ ‫ﻫﻮ أﺣﺪ اﻟﺠﻮاﻧﺐ اﻟﻬﺎﻣﺔ اﻟﺘﻲ ﻳﻤﻜﻦ‬ ‫أن ﻳﺘﻔﻬﻢ اﻟﻤﺠﺘﻤﻊ ﻣﻦ ﺧﻼﻟﻬﺎ ﺻﻌﻮﺑﺔ‬ ‫ﻫﺬه اﻟﻤﻬﻨﺔ وﻋﻈﻢ دورﻫﺎ ﻓﻲ رﻓﻊ‬ ‫ﻣﺴﺘﻮى ﺣﻴﺎة ا_ﻧﺴﺎن وﺿﺮوروة رﻓﻊ‬ ‫أﺗﻌﺎﺑﻬﺎ ﻣﻘﺎﺑﻞ دورﻫﺎ ﻫﺬا‪ ،‬وﻓﻲ ﻫﺬا‬ ‫اﻟﺼﺪد ﻟﻤﺎذا ﻻﻳﺘﻢ ﻣﻘﺎرﻧﺔ دور ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺒﺎﻧﻲ ﻓﻲ ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ ﺑﺎﻟﻤﺠﻬﻮدات‬ ‫ا‪L‬ﺧﺮى اﻟﻤﺒﺬوﻟﺔ _ﺳﺘﺒﺪال اﻟﺒﺘﺮول‬ ‫ﺑﺎﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ واﻟﺘﻲ ﺳﺘﻜﻠﻒ‬ ‫اﻟﺪوﻟﺔ أﻣﻮاﻻً ﻃﺎﺋﻠﺔ ﻟﺘﺤﻘﻴﻘﻬﺎ‪.‬‬

‫«'‪¡UM³ « w b¹b‬‬

‫أﻧﻈﻤﺔ ذﻛﻴﺔ ﻟ ﻣﺎن وﺗﺮﺷﻴﺪ اﻟﻄﺎﻗﺔ‬ ‫ﻧﻈﺎم ﺷﺎﻣﻞ‬ ‫ ﻣﻦ اﻟﻤﻨﺰل‬ ‫‪ DefenDoor‬ﻫﻮ ﻧﻈﺎم ا ﻣﻦ اﻟﻤﻨﺰﻟﻲ‬ ‫اﻟﺸﺎﻣﻞ ﻳﺘﺼﻞ اﻟﻬﺎﺗﻒ اﻟﺬﻛﻲ اﻟﺨﺎص‬ ‫ﺑﻚ ﻟﺠﻌﻞ ﺣﻤﺎﻳﺔ اﻟﻤﻨﺰل أو اﻟﻤﻜﺘﺐ‬ ‫أﺳﻬﻞ ﻣﻦ أي وﻗﺖ ﻣﻀﻰ‪ .‬ﻳﺘﻜﻮن‬ ‫اﻟﻨﻈﺎم ﻣﻦ ﻛﺎﻣﻴﺮة ﻣﺮاﻗﺒﺔ وﺟﺮس ﺑﺎب‪،‬‬ ‫وﻣﺠﻤﻮﻋﺔ ﻣﻦ أﺟﻬﺰة اﺳﺘﺸﻌﺎر ﺻﻐﻴﺮة‬ ‫اﻟﺤﺠﻢ‪ .‬ﻳﺘﻢ ﺗﺜﺒﻴﺖ اﻟﻜﺎﻣﻴﺮا داﺧﻠﻴ=‬ ‫أو ﺧﺎرﺟﻴ= وﺗﺜﻴﺒﺖ أﺟﻬﺰة اﻻﺳﺘﺸﻌﺎر‬ ‫ﻓﻲ أي ﻣﻜﺎن ﻋﻠﻰ ا ﺑﻮاب أو اﻟﻨﻮاﻓﺬ‬ ‫او اﻟﺠﺪران‪ ،‬ﺗﻘﻮم اﺟﻬﺰة اﻻﺳﺘﺸﻌﺎر‬ ‫ﺑﺎرﺳﺎل ﺗﻨﺒﻴﻬﺎت ﻟﻠﻜﺎﻣﻴﺮا ﺑﻮﺟﻮد‬ ‫ﺣﺮﻛﺔ‪ .‬ﻓﺘﺮﺳﻞ إﺷﺎرات إﻟﻰ اﻟﻬﺎﺗﻒ‬ ‫اﻟﺬﻛﻲ اﻟﻤﺘﺼﻞ ﺑﻬﺎ ﻟﻴﺘﻤﻜﻦ اﻟﺸﺨﺺ‬ ‫ﺑﻤﺸﺎﻫﺪة ﻣﺎﻳﺤﺪث داﺧﻞ ﻣﻨﺰﻟﻪ أو‬ ‫ﻣﻜﺘﺒﻪ‪ .‬ﺗﺘﻤﻴﺰ اﻟﻜﺎﻣﻴﺮا ﺑﺪوراﻧﻬﺎ ‪١٥٠‬‬ ‫درﺟﺔ ﻻﻟﺘﻘﺎط زاوﻳﺔ اﻛﺒﺮ‪ .‬ﺗﻌﻤﻞ اﻟﻜﺎﻣﻴﺮا‬ ‫ﺑﺎﻟﺒﻄﺎرﻳﺎت وﺗﺪوم ﻟﻤﺪة ﺳﻨﺔ أو ﺣﺘﻰ‬ ‫‪ ٥٠٠‬ﻣﺮة ﻣﻦ اﻟﺘﺴﺠﻴﻞ ﻟﻤﺪة ‪ ٣٠‬ﺛﺎﻧﻴﺔ‬ ‫ﻟﻜﻞ ﻣﻨﻬﺎ‪.‬‬

‫∏≥ « ‪¡UM³‬‬

‫‪38 Albenaa‬‬

¡UM³ « w b¹b'«

‫أﻗﻔﺎل ذﻛﻴﺔ‬ øe πØ≤dG ¿ƒ``μàj .ΩGóîà``°S’G ádƒ¡``°Sh ábÉf’G ÚH ™ªŒ á«còdG ∫É``Øb’G øe ó``jóL QÉμ``àHG ƒ``g Danalock ∫ÓN øe Éjhój ÉeG π``Ø≤dÉH ºμëàdG ºàj .Qƒ£e π«¨``°ûJ Ωɶf ⋲∏Y …ƒàëj …ôFGO πμ``°ûH Ωƒ«æeƒdC’G øe RÉ``¡L áμÑ``°T ∫ÓN øe hCG çƒJƒ∏ÑdG á«æ≤àH ÉeEG ó©H ø``Y ¬H ºμëàdG øμÁ hCG πØ≤dG ≥``∏Z hCG íàa IöTÉÑe º``à«a ¬``°ùŸ .í«JÉØe ¤G êÉàëj’h ¬``eGóîà°SG ádƒ¡°Sh áYöùH õ``«ªàj .á«còdG Iõ¡LCÓd ¢``UÉN ≥«Ñ£J π«ªëàH á``«μ∏°S’

‫ﻋﺎزل ﻣﻦ اﻟﺰﺟﺎج‬

ÇQGƒ£dG ∫ÉØbCG

ΩÉÿG OGƒ```ŸGh √ôjhóJ OÉ```©ŸG êÉLõdG ø```e è```jõe ó```jó◊G ó«```°ùcCGh π```eôdG π```ãe á```«©«Ñ£dG √òg §```∏îJ .á```ehÉ≤ŸG ‹É```Y ∫RÉ```Y ø```jƒμàd

πNGO É¡∏«μ```°ûàd Ö```dGƒb ‘ ™```°VƒJh OGƒ```ŸG ∫RÉ```Y É```¡æY è```àæj IQGô```◊G á```«dÉY ¿Gô```aG

∫õ```©dG ‘ ¬```FGOG Iƒ```≤H õ```«ªàj FOAMGLAS

‫“ ﺣـــﻼ ﺟﺪﻳﺪا ﻟﻼﻣﻦ واﻟﺴـــﻼﻣﺔ ﻣﻦ‬GEZE” ‫ﺗﻘـــﺪم ﺷـــﺮﻛﺔ‬ ‫ ﺗﺘﻤﻴﺰ ﺑﺴـــﻬﻮﻟﺔ اﺳـــﺘﺨﺪاﻣﻬﺎ ﻓﻲ‬.‫ﺧـــﻼل اﻓﻘﺎل ﻟﻼﺑـــﻮاب‬ ‫ﺣـــﺎﻻت اﻟﻄـــﻮارئ ﻟﺘﺄﻣﻴﻦ اﻟﻤﺒﻨﻰ وﺗﺴـــﻬﻴﻞ ﻋﻤﻠﻴﺔ ﺧﺮوج‬ ‫اﻻﺷﺨﺎص ﻣﻦ اﻟﻤﺒﻨﻰ ﻓﻲ ﺣﺎﻟﺔ اﻟﺨﻄﺮ ﺗﻌﻤﻞ ﺑﻨﻈﺎم ذﻛﻲ‬ ‫ ﺗﺤﺘﻮي اﻻﻗﻔـــﺎل ﻋﻠﻰ ﻧﻈﺎم اﺳﺘﺸـــﻌﺎر‬.‫ﻳﺘﻨﺒـــﺄ ﺑﺤﺪوﺛﻬـــﺎ‬ .‫ﻳﻔﺘﺢ اﻻﻗﻔﺎل ﻓﻲ ﺣﺎﻟﺔ اﻟﻄﻮارئ وإﻗﻔﺎﻟﻬﺎ ﻟﺘﺄﻣﻴﻦ اﻟﻤﻜﺎن‬ .‫ ﺗﺘﻮﻓـــﺮ اﻻﻗﻔﺎل ﺑﻤﺠﻤﻮﻋﺔ واﺳـــﻌﺔ ﻟﻤﺨﺘﻠﻒ اﻧﻮاع اﻻﺑﻮاب‬.

40 Albenaa

¡UM³ « ¥∞

‫«'‪—uJ¹b « w b¹b‬‬

‫ﻣﻔﺮوﺷﺎت ﺑﺘﻘﻨﻴﺎت ﻋﺼﺮﻳﺔ‬ ‫ارﻳﻜﺔ ﺑﺘﺼﻤﻴﻢ ﺟﺪﻳﺪ‬ ‫ارﻳﻜﺔ ﻋﺼﺮﻳﺔ ﺗﺘﻜﻮن ﻣﻦ ‪ ٣‬ﻣﻘﺎﻋﺪ ﻣﻦ ﺗﺼﻤﻴﻢ روش‬ ‫ﺑﻮﺑﻮا ﻣﺼﻨﻌﺔ ﻣﻦ ﺗﻜﻨﻮ ‪ .٣D‬ﺗﺘﻤﻴﺰ ﺑﺎﻧﻬﺎ ﻣﺮﻳﺤﺔ وﻣﺮﻧﺔ‬ ‫ﺣﻴﺚ ﺗﺘﺎﻟﻒ ﻣﻦ ﻫﻴﻜﻞ ﺧﺸﺒﻲ ﻣﻐﻄﻰ ﺑﺎﺳﻔﻨﺦ ﻓﺎﺋﻖ‬ ‫اﻟﻤﺮوﻧﺔ ﻋﻠﻰ ﺷﻜﻞ ﻓﻘﺎﻋﺎت‪ ،‬ﻣﻐﻠﻔﺔ ﺑﻨﺴﻴﺞ ﺗﻜﻨﻮ ‪٣D‬‬ ‫ﻟﺘﻌﻄﻲ راﺣﺔ ﻋﺎﻟﻴﺔ ﻋﻨﺪ اﻟﺠﻠﻮس ﻋﻠﻴﻬﺎ‪ ،‬وﺗﺘﻮﻓﺮ اﻳﻀﺎ‬ ‫ﺑﻌﺪة اﺣﺠﺎم واﻟﻮان‪.‬‬

‫≤‪¡UM³ « ¥‬‬

‫‪42 Albenaa‬‬

‫«'‪—uJ¹b « w b¹b‬‬

‫ﺳﺮﻳﺮ ذو ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﻋﺼﺮﻳﺔ‬ ‫ﺳﺮﻳﺮ ﻛﻮزﻣﻮس ﻣﻦ ﺗﺼﻤﻴﻢ ﻧﺎﺗﺎﻟﻴﺎ‬ ‫روﻣﻴﺎﻧﺘﺴﻴﻔﺎ ﻳﺘﻤﻴﺰ ﺑﺘﺼﻤﻴﻤﻪ‬ ‫اﻟﻌﺼﺮي‪ .‬ﻳﺘﻜﻮن اﻟﺴﺮﻳﺮﻣﻦ ﻛﺘﻠﺔ‬ ‫واﺣﺪة ﻣﻦ ﻗﺎﻋﺪة وﺳﻘﻒ ﻣﻔﺘﻮح‬ ‫ﺟﺰﺋﻴ‪ ،1‬ﻳﻮﻓﺮ اﻟﺸﻌﻮر ﺑﺎﻟﺨﺼﻮﺻﻴﺔ‬ ‫ﻋﻨﺪ اﻻﺳﺘﻠﻘﺎء ﻋﻠﻰ اﻟﺴﺮﻳﺮ‪ .‬ﺗﻢ‬ ‫ﺗﺼﻤﻴﻢ اﻟﺴﺮﻳﺮ ﺑﺈﺿﺎﻓﺔ أﻧﻈﻤﺔ‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﺣﻴﺚ ﻳﺤﺘﻮي اﻟﺴﻘﻒ‬ ‫ﻋﻠﻰ ﻧﻈﺎم اﺿﺎءة ‪ LED‬ﺑﺎ?ﺿﺎﻓﺔ إﻟﻰ‬ ‫ﻧﻈﺎم ﺻﻮﺗﻲ‪ ،‬ﻛﻤﺎ ﻳﺤﺘﻮي ﻋﻠﻰ ﻧﻈﺎم‬ ‫اﻟﻤﻨﺒﻪ ﺣﻴﺚ ﻳﻤﻜﻦ ﻟﻠﻤﺴﺘﺨﺪم‬ ‫إﻋﺪاد اﻟﻤﻨﺒﻪ ?ﻳﻘﺎﻇﻪ ﻓﻲ اﻟﺼﺒﺎح‪.‬‬ ‫وﻗﺪ ﺗﻢ اﺳﺘﺨﺪام ا‪F‬ﻟﻴﺎف اﻟﺰﺟﺎﺟﻴﺔ‬ ‫ﻓﻲ ﺻﻨﺎﻋﺘﻪ‪.‬‬

‫ﻃﺎوﻟﺔ ﺑﺘﻘﻨﻴﺔ ﺟﺪﻳﺪة‬ ‫اﺑﺘﻜﺎر ﺟﺪﻳﺪ ﻓﻲ ﻋﺎﻟﻢ اﻻﺛﺎث ﻳﺘﻜﻮن ﻣﻦ ﻃﺎوﻟﺔ ﺗﺴﺘﺨﺪم‬ ‫اﻟﻨﺒﺎﺗﺎت ﻓﻲ ﺗﺰوﻳﺪ آﻻت اﺧﺮى ﺑﺎﻟﻜﻬﺮﺑﺎء‪ .‬ﺗﻌﻤﻞ اﻟﻄﺎوﻟﺔ‬ ‫ﻋﻠﻰ اﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ ﺗﺤﻮﻳﻞ اﻟﻄﺎﻗﺔ اﻟﻜﻴﻤﻴﺎﺋﻴﺔ اﻟﻰ ﻃﺎﻗﺔ‬ ‫ﻛﻬﺮﺑﺎﺋﻴﺔ ‪ Biophotovoltaics‬ﺣﻴﺚ ﻳﺘﻢ اﻻﺳﺘﻔﺎدة ﻣﻦ‬ ‫اﻟﻄﺤﺎﻟﺐ ﻓﻲ اﻟﻨﺒﺎﺗﺎت ﻟﺘﻔﻌﻴﻞ ﻫﺬه اﻟﻌﻤﻠﻴﺔ‪ .‬وﺗﺘﻜﻮن‬ ‫اﻟﻄﺎوﻟﺔ ﻣﻦ ﺳﻄﺢ داﺋﺮي ﻳﺤﺘﻮي ﻋﻠﻰ ﻣﺴﺎﺣﺔ ﻣﺨﺼﺼﺔ‬ ‫ﻟﻮﺿﻊ اﻟﻨﺒﺎﺗﺎت ﻋﻠﻴﻬﺎ ﺑﺎﻻﺿﺎﻓﺔ اﻟﻰ ﻣﺼﺒﺎح اﺿﺎءة ﻳﺴﺘﻤﺪ‬ ‫ﻃﺎﻗﺘﻪ ﻣﻦ اﻟﻨﺒﺎﺗﺎت‪.‬‬

‫‪¡UM³ « ¥¥‬‬

‫‪44 Albenaa‬‬

‫اﻟﻤﺸﺮوع ﺑﻌﺪ اﻟﺘﻄﻮﻳﺮ‬ ‫ﺗﻢ ﺗﺼﻤﻴﻢ ﻣﺸﺮوع وﻗﻒ زﻣﺰم ﻋﻠﻰ‬ ‫أﺳﺲ ﻋﻤﺮاﻧﻴﺔ ﺗﺤﺎول إﻳﺠﺎد ﻟﻐﺔ‬ ‫ﺣﻮارﻳﺔ ﻣﻌﺎﺻﺮة ﺗﻨﻄﻠﻖ ﻣﻦ اﻟﻌﻨﺎﺻﺮ‬ ‫واﻟﻤﻔﺮدات اﻟﻤﻤﻴﺰة ﻟﻠﻌﻤﺎرة اﻟﻤﻜﻴﺔ‬ ‫ا‪9‬ﺻﻴﻠﺔ ﺑﻤﺒﺎدﺋﻬﺎ اﻟﺘﻲ ﺗﺘﻔﺎﻋﻞ ﻣﻊ‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﻤﺤﻠﻴﺔ واﻟﻤﻨﺎخ واﻟﻄﺒﻴﻌﺔ‬ ‫اﻟﺠﺒﻠﻴﺔ وﺑﻤﺎ ﺗﻌﻜﺴﻪ ﻣﻦ ﻃﺎﺑﻊ‬ ‫ﻓﺮﻳﺪ ﻋﻠﻰ ا‪9‬ﺷﻜﺎل وا‪9‬ﻟﻮان واﻟﻤﻮاد‬ ‫اﻟﻤﺴﺘﻌﻤﻠﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ‪ ،‬ﻛﻞ ذﻟﻚ‬ ‫ﻣﻦ ﺧﻼل ﻣﻘﺎرﺑﺔ ﺣﺪاﺛﺔ ﻻﺗﻬﻤﻞ ﻟﻐﺔ‬ ‫اﻟﻌﺼﺮ وﻣﻔﺮداﺗﻪ واﺣﺘﻴﺎﺟﺎﺗﻪ اﻟﻤﺘﻐﻴﺮة‬ ‫ﻟﻠﺨﺮوج ﺑﻨﺎﺗﺞ ﻋﻤﺮاﻧﻲ ﻳﺘﺨﺬ ﻣﻦ ﻋﻤﻖ‬ ‫ا‪T‬دراك ﻟﻠﻤﺎﺿﻲ أﺳﺎﺳ‪ Q‬ﻓﻲ ﻣﺤﺎﻛﺎة‬ ‫اﻟﻤﺴﺘﻘﺒﻞ‪.‬‬

‫اﻻﺳﺘﺪاﻣﺔ واﻟﺒﻨﺎء ا ﺧﻀﺮ‬ ‫ﺗﻢ اﺳﺘﻌﻤﺎل ﻣﻮاد اﻟﻌﺰل اﻟﺤﺮاري‬ ‫ﺳﻮاء ﻓﻲ ا‪9‬ﺳﻘﻒ أو اﻟﺠﺪران اﻟﺨﺎرﺟﻴﺔ‪،‬‬ ‫ﻛﻤﺎ ﺗﻢ اﺳﺘﻌﻤﺎل واﺟﻬﺎت زﺟﺎﺟﻴﺔ‬ ‫ذات ﻣﻮاﺻﻔﺎت ﻋﺰل ﺣﺮاري ﻋﺎﻟﻴﺔ‪ ،‬ﻫﺬا‬ ‫ﺑﺎ‪T‬ﺿﺎﻓﺔ إﻟﻰ اﺳﺘﻌﻤﺎل اﻟﻜﺎﺳﺮات‬ ‫اﻟﻤﻌﺪﻧﻴﺔ واﻟﻤﻈﻼت ﻟﺘﻮﻓﻴﺮ أﻛﺒﺮ ﻗﺪر‬ ‫ﻣﻦ اﻟﺘﻈﻠﻴﻞ ﻟﻠﻤﺒﻨﻰ ‪ ،‬ﻣﻤﺎ ﻳﺴﺎﻫﻢ‬ ‫ﻓﻲ ﺗﺨﻔﻴﺾ ﻓﺎﺗﻮرة إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‪،‬‬ ‫و ﻳﻀﻔﻲ ﻣﺼﺪاﻗﻴﺔ أﻛﺒﺮ ﻋﻠﻰ ﻓﻜﺮة‬ ‫اﻟﻤﺸﺮوع اﻟﺘﻲ ﺗﺤﺎول اﻟﺠﻤﻊ ﺑﻴﻦ‬ ‫اﻟﻤﺎﺿﻲ واﻟﺤﺎﺿﺮ ﻻ ﻓﻲ إﻃﺎر اﻟﺸﻜﻞ‬ ‫ﻓﺤﺴﺐ ﺑﻞ ﻛﺬﻟﻚ ﻓﻲ إﻃﺎر اﻟﻤﻀﻤﻮن‬ ‫اﻟﺬي ﻳﻘﻮم ﻋﻠﻰ ﻣﻔﺎﻫﻴﻢ ﺗﺮاﺛﻴﺔ أﺻﻴﻠﺔ‬ ‫ﺗﻘﻮم ﻋﻠﻰ ﻣﺒﺎدئ إﺣﺘﺮام اﻟﺒﻴﺌﺔ‬ ‫واﻟﺨﺼﻮﺻﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ ﻣﻦ ﺧﻼل ﺗﻔﺎﻋﻞ‬ ‫إﻳﺠﺎﺑﻲ ﻳﺤﺘﺮم ﻣﺤﺪدات اﻟﻤﻜﺎن ﻣﻦ‬ ‫ﻃﺒﻴﻌﺔ وﻣﻨﺎخ وﺛﻘﺎﻓﺔ‪.‬‬

‫ﻣﻮﻗﻊ اﻟﻤﺸﺮوع‬

‫ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع‬

‫ﻳﻘﻊ ﻣﺒﻨﻰ وﻗﻒ زﻣﺰم اﻟﺼﺤﻲ رﻗﻢ ‪3‬‬ ‫ﻋﻠﻰ اﻟﻄﺮﻳﻖ اﻟﺪاﺋﺮي اﻟﺜﺎﻟﺚ ﺟﻨﻮب ﻏﺮب‬ ‫اﻟﺤﺮم اﻟﻤﻜﻲ اﻟﺸﺮﻳﻒ ﻋﻠﻲ ﻗﻄﻌﺔ‬ ‫أرض ﻓﻲ ﺣﻲ اﻟﺨﺎﻟﺪﻳﺔ ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻬﺎ‬ ‫‪2173‬م‪ 2‬ﻳﺤﺪﻫﺎ ﻃﺮﻳﻖ اﻟﺨﺪﻣﺔ ﻟﻠﺪاﺋﺮي‬ ‫اﻟﺜﺎﻟﺚ ﻣﻦ اﻟﺸﻤﺎل وﻳﺨﺪﻣﻬﺎ ﺷﺎرﻋﺎن‬ ‫ﻓﺮﻋﻴﺎن ﻣﻦ ﺟﻬﺔ اﻟﺠﻨﻮب واﻟﻐﺮب وﻫﻮ‬ ‫ﻣﻮﻗﻊ ﻣﻤﻴﺰ ﻟﻜﻮﻧﻪ ﻳﻘﻊ ﻋﻠﻰ ﺷﺮﻳﺎن‬ ‫ﺣﺮﻛﺔ رﺋﻴﺲ ﻳﺮﺑﻂ اﻟﺒﻠﺪ اﻟﺤﺮام ﺑﺎﻟﻄﺮﻳﻖ‬ ‫اﻟﺮﺋﻴﺲ اﻟﻤﺘﺠﻪ ﻧﺤﻮ ﺟﺪة اﻟﺒﻮاﺑﺔ اﻟﻐﺮﺑﻴﺔ‬ ‫ﻟﻠﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ ‪ ،‬ﻣﻤﺎ ﻳﺆﻫﻠﻪ‬ ‫ﻟﻴﻜﻮن ﻧﻮاة ﻟﻌﺼﺐ إﻗﺘﺼﺎدي ﻫﺎم‬ ‫وﺷﺮﻳﺎن اﺳﺘﺜﻤﺎري رﺋﻴﺲ ﻳﻐﺬي ﻫﺬا‬ ‫اﻟﺠﺰء ﻣﻦ ﻣﻜﺔ اﻟﻤﻜﺮﻣﺔ ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ‬ ‫اﻟﻘﺮﻳﺐ ﺑﺈذن ا‪.j‬‬

‫ﻳﺘﻜﻮن ﻣﺒﻨﻰ وﻗﻒ زﻣﺰم اﻟﺼﺤﻲ‬ ‫رﻗﻢ ‪ 3‬ﻣﻦ ﺑﺮﺟﻴﻦ رﺋﻴﺴﻴﻦ‬ ‫أﺣﺪﻫﻤﺎ اﺳﺘﺜﻤﺎري ﺗﺄﺟﻴﺮي )ﻓﻲ‬ ‫اﻟﺠﺰء اﻟﺸﻤﺎﻟﻲ( ﺑﺎرﺗﻔﺎع ‪ 12‬دور ﻋﺪا‬ ‫ﻃﺎﺑﻘﻲ ا‪9‬رﺿﻲ واﻟﻤﻴﺰﻧﻴﻦ وﻃﺎﺑﻖ‬ ‫اﻟﺨﺪﻣﺎت‪ ،‬وأﻣﺎ اﻟﺒﺮج اﻟﺜﺎﻧﻲ ) ﻓﻲ‬ ‫اﻟﺠﺰء اﻟﺠﻨﻮﺑﻲ( ﻓﻬﻮ إداري ﻣﻜﺘﺒﻲ‬ ‫ﺳﻴﻜﻮن ﻣﻘﺮ‪ o‬رﺋﻴﺴ‪ Q‬ﻟﺠﻤﻌﻴﺔ زﻣﺰم‬ ‫وﺑﺎرﺗﻔﺎع ‪ 6‬أدوار ﻋﺪا ﻃﺎﺑﻘﻲ ا‪9‬رﺿﻲ‬ ‫واﻟﻤﻴﺰاﻧﻴﻦ وﻃﺎﺑﻖ اﻟﺨﺪﻣﺎت‪.‬‬

‫‪¡UM³ « μ±‬‬

‫‪51 Albenaa‬‬

‫ﺗﻄﻮﻳﺮ ﻣﻮﻗﻊ اﻟﺨﺎﻟﺪﻳﺔ‬ ‫ﻣﻨﻈﻢ اﻟﻤﺴﺎﺑﻘﺔ ﻣﻜﺘﺐ ﻋﻤﺮاﻧﻴﻮن‬

‫ﺟﻤﻌﻴﺔ زﻣﺰم ﻟﻠﺨﺪﻣﺎت‬ ‫اﻟﺼﺤﻴﺔ اﻟﺘﻄﻮﻋﻴﺔ‬ ‫إﻧﻄﻼﻗـــ‪ I‬ﻣـــﻦ ﺣﺮﺻﻬـــﺎ ا‪P‬ﻛﻴـــﺪ ﻋﻠـــﻰ ﺗﻌﺰﻳﺰ‬ ‫اﻟـــﺪور اﻟﺮﻛﻴـــﺰ ﻟﻤﻔﻬـــﻮم اﻟﻮﻗﻒ ﻓـــﻲ ﺛﻘﺎﻓﺔ‬ ‫ا‪P‬ﻣﺔ ا^ﺳـــﻼﻣﻴﺔ ﻓﻲ ﺗﻔﻌﻴﻞ اﻟﻌﻤﻞ اﻟﺨﻴﺮي‬ ‫ودﻳﻤﻮﻣﺘﻪ واﺳـــﺘﺪاﻣﺘﻪ وأﺛﺮ ذﻟﻚ اﻟﺒﺎﻟﻎ ﻓﻲ‬ ‫رﻓﻊ ﺳﻮﻳﺔ اﻟﻤﺠﺘﻤﻊ اﻟﻤﺤﻠﻲ وﺗﻘﺪﻳﻢ اﻟﻌﻮن‬ ‫ﻟـــﻜﻞ ﻣﺤﺘـــﺎج وﻣﻌـــﻮز ﻓـــﻲ ﺷـــﺘﻰ ﻣﻨﺎﺣﻲ‬ ‫اﻟﺤﻴﺎة اﻻﻗﺘﺼﺎدﻳﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﺘﻌﻠﻴﻤﻴﺔ‬ ‫واﻟﺼﺤﻴﺔ‪ .‬ﺟﺎءت ﻣﺸﺎرﻳﻊ ﺟﻤﻌﻴﺔ زﻣﺰم ﻓﻲ‬ ‫ﻣﺠـــﺎل اﻟﺨﺪﻣﺎت اﻟﺼﺤﻴـــﺔ اﻟﺘﻄﻮﻋﻴﺔ وﺟﻬ‪I‬‬ ‫ﻣﺸـــﺮﻗ‪ I‬ﻟﻤـــﺎ ﻳﻤﻜـــﻦ أن ﻳﻘﺪﻣـــﻪ اﻟﻮﻗﻒ ﻣﻦ‬ ‫دور أﺳـــﺎس ﻓﻲ ﺧﺪﻣﺔ اﻟﻤﺠﺘﻤﻊ ﻓﻲ ﺟﺎﻧﺒﻪ‬ ‫اﻟﻄﺒـــﻲ واﻻﻗﺘﺼـــﺎدي ﻣـــﻦ ﺧـــﻼل ﻣﺸـــﺎرﻳﻊ‬ ‫ﻃﻤﻮﺣﺔ ﺗﻜﻮن ﻗﺎدرة ﻋﻠﻰ أن ﺗﻘﺪم اﻟﺮﻋﺎﻳﺔ‬ ‫اﻟﺼﺤﻴـــﺔ ﻟﻜﻞ ﺻﺎﺣﺐ ﺣﺎﺟـــﺔ ﺑﺘﻤﻮﻳﻞ ذاﺗﻲ‬ ‫ﻳﻨﻄﻠـــﻖ ﻣﻦ ﺗﻔﻌﻴﻞ دور اﻟﻮﻗﻒ ﻓﻲ إﻧﺸـــﺎء‬ ‫وﺗﺸـــﻐﻴﻞ ﻣﺸـــﺎرﻳﻊ اﺳـــﺘﺜﻤﺎرﻳﺔ واﻋـــﺪة‬ ‫ذات رﻳـــﻊ ﺧﻴـــﺮي ﻳﻜـــﻮن وﻗـــﻮد‪ D‬ﻻﺳـــﺘﺪاﻣﺔ‬ ‫اﻟﻌﻤـــﻞ اﻟﺨﻴـــﺮي ﻓﺤﺴـــﺐ ﺑـــﻞ ﻟﺘﻄﻮﻳـــﺮه‬ ‫واﻟﺘﺮﻗـــﻲ ﺑﻪ ﻟﻴﻜﻮن ﺗﺮﺟﻤﺔ ﻓﺮﻳﺪة ﻟﻤﻔﻬﻮم‬ ‫اﻟﺼﺪﻗـــﺔ اﻟﺠﺎرﻳـــﺔ ﻓـــﻲ إﻃـــﺎر ﻣﺆﺳﺴـــﻲ‪.‬‬

‫ﻣﻦ ﻫﻨﺎ ﺟﺎءت ﻓﻜﺮة ﻣﺸﺮوع وﻗﻒ‬ ‫زﻣﺰم اﻟﺼﺤﻲ رﻗﻢ ‪ 3‬ﻛﺈﻧﻌﻜﺎس‬ ‫ﻣﺒﺎﺷﺮ ﻟﻤﺪى ﺣﺮص ﺟﻤﻌﻴﺔ زﻣﺰم ﻋﻠﻰ‬ ‫ﺗﻄﻮﻳﺮ ﻋﻤﻠﻬﺎ اﻟﺨﻴﺮي اﻟﺘﻄﻮﻋﻲ ﻣﻦ‬ ‫ﺧﻼل ﺗﻮﻇﻴﻒ اﻟﻤﺸﺎرﻳﻊ اﻟﻮﻗﻔﻴﺔ ﻓﻲ‬ ‫ﻣﺸﺎرﻳﻊ اﺳﺘﺜﻤﺎرﻳﺔ ﻣﻤﻴﺰة ﺗﻜﻮن راﻓﺪ‪D‬‬ ‫أﺳﺎﺳﻴ‪ I‬ﻻﺳﺘﺪاﻣﺔ وﺗﻄﻮﻳﺮ ﺧﺪﻣﺎﺗﻬﺎ‪.‬‬ ‫وﻗﺪ ﻛﻠﻔﺖ اﻟﺠﻤﻌﻴﺔ ﻣﻜﺘﺐ ﻋﻤﺮاﻧﻴﻮن‬ ‫ﺑﻌﻤﻞ اﻟﺪراﺳﺎت واﻟﺨﺪﻣﺎت و‬ ‫اﻟﻤﺴﺎﺑﻘﺔ واﻟﺘﻘﺪﻳﻤﺎت اﻟﺘﻲ ﻳﻠﺘﺰم ﺑﻬﺎ‬ ‫اﻻﺳﺘﺸﺎري ﻃﺒﻘ‪ I‬ﻟﻠﻤﺮاﺣﻞ اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫اﻟﻤﺮﺣﻠﺔ ا‪P‬وﻟﻰ ‪ :‬اﻟﻤﺴﻮﺣﺎت اﻟﻤﻴﺪاﻧﻴﺔ‬ ‫وا‪P‬ﻋﻤﺎل ا‪P‬وﻟﻴﺔ‪.‬‬ ‫اﻟﻤﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ‪:‬إﻋﺪاد دراﺳﺎت اﻟﺠﺪوى‪.‬‬ ‫اﻟﻤﺮﺣﻠﺔ اﻟﺜﺎﻟﺜﺔ ‪ :‬إﻋﺪاد اﻟﻔﻜﺮة‬ ‫اﻟﺘﺼﻤﻴﻤﻴﺔ واﻟﻤﺸﺮوع ا‪P‬وﻟﻲ و‬ ‫إﻋﺪاد ﻛﺮاﺳﺔ ﺷﺮوط وﻣﻮاﺻﻔﺎت )‪(RFB‬‬ ‫ﻟﻠﻤﺴﺎﺑﻘﺔ اﻟﻤﻌﻤﺎرﻳﺔ ‪.‬‬ ‫وﺗﺄﻫﻴﻞ ﻋﺪد ﻣﻦ اﻟﻤﻜﺎﺗﺐ ﻟﻠﺪﺧﻮل‬ ‫ﻓﻲ اﻟﻤﺴﺎﺑﻘﺔ اﻟﻤﻌﻤﺎرﻳﺔ وﺗﺤﻜﻴﻤﻬﺎ‪،‬‬ ‫واﺧﺘﻴﺎر اﻟﻔﺎﺋﺰ ‪ ،‬وإﻋﺪاد ﻣﺠﺴﻤﺎت‬ ‫وﺗﺠﻬﻴﺰ ﻟﻠﻤﺸﺮوع ‪.‬‬

‫اﻟﻤﺮﺣﻠﺔ اﻟﺮاﺑﻌﺔ ‪ :‬اﺳﺘﺨﺮاج رﺧﺼﺔ‬ ‫اﻟﺒﻨﺎء ) إﻋﺘﻤﺎد اﻟﻤﺸﺮوع ( و‬ ‫ﺗﻄﻮﻳﺮ اﻟﻤﺸﺮوع اﻟﻔﺎﺋﺰ ﻓﻲ اﻟﻤﺴﺎﺑﻘﺔ‪.‬‬ ‫اﻟﻤﺮﺣﻠﺔ اﻟﺨﺎﻣﺴﺔ ‪ :‬اﻟﻄﺮح واﻟﺘﻨﻔﻴﺬ‬ ‫ﺑﻌﺪ اﻟﺤﺼﻮل ﻋﻠﻰ ﻣﻮاﻓﻘﺔ ا‪P‬ﻣﺎﻧﺔ‪.‬‬ ‫وﻋﻤﻞ ﻛﻞ ا‪P‬ﻋﻤﺎل اﻟﻔﻨﻴﺔ وﺗﺄﻫﻴﻞ‬ ‫اﻟﻤﻘﺎوﻟﻴﻦ ﻟﺘﻨﻔﻴﺬ اﻟﻤﺸﺮوع‪.‬‬ ‫اﻟﻤﺮﺣﻠﺔ اﻟﺴﺎدﺳﺔ ‪ :‬ا^ﺷﺮاف ﻋﻠﻰ‬ ‫أﻋﻤﺎل اﻟﺘﻨﻔﻴﺬ وﺗﺸﻤﻞ اﻟﺘﺎﻟﻲ‪:‬‬ ‫ا^ﺷﺮاف اﻟﻔﻨﻲ وإدارة اﻟﻤﺸﺮوع و‬ ‫اﻟﺘﻨﻔﻴﺬ ﻓﻨﻴ‪ I‬ﺑﺼﻮرة ﻛﺎﻣﻠﺔ‪،‬‬ ‫وﻛﺬﻟﻚ ﻣﺮاﺟﻌﺔ وﺗﺪﻗﻴﻖ ﻣﺴﺘﺨﻠﺼﺎت‬ ‫اﻟﻤﻘﺎوﻟﻴﻦ ‪ ،‬ﺑﺎﻻﺿﺎﻓﺔ اﻟﻲ ﻋﻘﺪ اﺟﺘﻤﺎﻋﺎت‬ ‫دورﻳﺔ ﻣﻊ اﻟﻤﺎﻟﻚ ﻳﺘﻢ ﻓﻴﻬﺎ ﺗﻮﺿﻴﺢ‬ ‫اﻟﻌﻘﺒﺎت و ا^ﻳﺠﺎﺑﻴﺎت ﻓﻲ اﻟﻌﻤﻞ‬ ‫واﻟﺘﻮﺻﻴﺎت اﻟﺘﻲ ﺗﺴﺎﻋﺪ ﻋﻠﻰ ﺗﻘﺪم‬ ‫ﺳﻴﺮ اﻟﻌﻤﻞ ‪ .‬ﻫﺬا و ﻟﻤﻜﺘﺐ ﻋﻤﺮاﻧﻴﻮن‬ ‫ﻣﺸﺎرﻳﻊ ﻛﺜﻴﺮة ﻓﻲ ﻣﺠﺎل اﻟﺘﺨﻄﻴﻂ‬ ‫و اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري و اﻻﺷﺮاف ﻋﻠﻲ‬ ‫اﻟﺘﻨﻔﻴﺬو أﻋﻤﺎل اﻟﻤﺴﺢ اﻟﻤﺨﺘﻠﻔﺔ‬ ‫ﺑﺎﻻﺿﺎﻓﻪ اﻟﻲ إﻋﺪاد اﻟﻤﺴﺎﺑﻘﺎت ‪.‬‬

‫«*‪WFO³D « s ÂUF « l u‬‬

‫∞‪¡UM³ « μ‬‬

‫‪50 Albenaa‬‬

WOL — WO½öŽ≈ WŠuK WO U _« WNł«u « ‰ULF²Ý«

53 Albenaa

¡UM³ « μ≥

WJ w Wł—b*« W “ú …U U× l WO³½U'« WNł«u « s ÂbI*« Õd²ILK —uEM

‫اﻟﻤﺮﻛﺰ ا ول ‪ :‬ﻣﻜﺘﺐ اﻟﻤﻬﻨﺪس راﻣﻲ أرﻧﺎؤوط ـ ا!ردن‬

‫«*‪ÂUF « l u‬‬

‫ ‪ŸUD Ë dOþUM‬‬

‫≤‪¡UM³ « μ‬‬

‫‪52 Albenaa‬‬

‫ﻟﻌﻞ ﻣﻦ أﻫﻢ اﻟﻤﻜﻮﻧﺎت ﻻأﺳﺎﺳﻴﺔ‬ ‫ﻓﻲ اﻟﻌﻤﺎرة اﻟﻤﻜﻴﺔ واﻟﺘﻲ ﺗﻌﻜﺲ‬ ‫ﺷﺨﺼﻴﺘﻬﺎ اﻟﻤﻤﻴﺰة ﺗﻠﻚ ا!زﻗﺔ ذات‬ ‫ا!دراج‪ ،‬ذﻟﻚ أﻧﻬﺎ ﺗﺸﻜﻞ ﺗﺮﺟﻤﺔ‬ ‫ﻓﻄﺮﻳﺔ ﻣﺒﺎﺷﺮة ﻟﺨﺼﺎﺋﺺ اﻟﻤﻜﺎن‬ ‫واﻟﺜﻘﺎﻓﺔ ﺑﻜﻞ أﺑﻌﺎدﻫﺎ اﻻﺟﺘﻤﺎﻋﻴﺔ‬ ‫واﻟﻤﻨﺎﺧﻴﺔ واﻟﺠﻐﺮاﻓﻴﺔ ﻋﻠﻰ‬ ‫اﻟﻤﺴﺘﻮﻳﻴﻦ اﻟﺒﻨﺎﺋﻲ واﻟﺤﻀﺮي‪.‬‬ ‫إن اﻟﻄﺮح اﻟﻤﻘﺪم ﻓﻲ ﻫﺬ اﻟﻤﻘﺘﺮح‬ ‫ﻳﺤﺎول ﻋﺮض ﺗﺠﺮﺑﺔ ﺣﻀﺮﻳﺔ ﺗﻘﻮم‬ ‫ﻋﻠﻰ ﻓﻜﺮة ﺗﻔﻌﻴﻞ دور اﻟﺰﻗﺎق‬ ‫اﻟﺪرﺟﻲ اﻟﻤﻨﺴﺎب ﺑﻴﻦ ﻛﺘﻠﺘﻲ‬ ‫اﻟﻤﺸﺮوع اﻟﺴﻜﻨﻴﺔ وا‪O‬دارﻳﺔ ﻟﻴﻨﻘﻞ‬ ‫اﻟﺰاﺋﺮ ﻣﻦ ﺧﻼل ﻓﻌﺎﻟﻴﺎت ﺧﺪﻣﻴﺔ‬ ‫وﺗﺠﺎرﻳﺔ وﺣﺪاﺋﻘﻴﺔ ﻣﺘﺪرﺟﺔ ﺗﻌﺰز‬ ‫اﻟﻌﻼﻗﺔ ﺑﻴﻦ ﻃﺮﻓﻲ اﻟﻤﺸﺮوع‬ ‫ﻣﺴﺘﻠﻬﻤ‪ T‬أﻫﻢ ﻣﻔﺮدات ﺛﻘﺎﻓﺔ‬ ‫اﻟﻤﻜﺎن‪ ،‬وﻗﺪ اﺳﺘﻠﻬﻢ اﻟﻤﺼﻤﻢ‬ ‫«* ‪WOI _« j U‬‬

‫ﻓﻜﺮة اﻟﺮواﺷﻴﻦ اﻟﺨﺸﺒﻴﺔ وﻗﺪﻣﻬﺎ‬ ‫ﻓﻲ إﻃﺎر ﻣﻌﺎﺻﺮ ﺑﺤﻴﺚ ﺗﺤﺎﻓﻆ ﻋﻠﻰ‬ ‫ﺗﻤﻴﺰﻫﺎ ﺷﻜ ً‬ ‫ﻼ ووﻇﻴﻔﺔ ﻣﻦ ﺣﻴﺚ‬ ‫اﻟﺤﻤﺎﻳﺔ اﻟﻤﻨﺎﺧﻴﺔ واﻟﺨﺼﻮﺻﻴﺔ‪ .‬ﻛﻤﺎ‬ ‫ﺗﻤﻴﺰت أﺳﻄﺢ اﻟﺒﻴﻮت اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﻓﻲ ﻣﻜﺔ ﺑﺈﻣﻜﺎﻧﻴﺔ اﺳﺘﺨﺪاﻣﻬﺎ‬ ‫ﻛﻐﺮﻓﺔ ﻟﻠﻤﻌﻴﺸﺔ ﻓﻲ اﻟﻬﻮاء‬ ‫اﻟﻄﻠﻖ وﻫﺬا ﻣﺎ أﻣﻜﻦ ﺗﻔﻌﻴﻠﻪ ﻓﻲ‬ ‫إﻃﺎر اﻟﻤﻌﺎﺻﺮة واﻻﺳﺘﺪاﻣﺔ ﺿﻤﻦ‬ ‫ﻣﻔﻬﻮم اﻟﺤﺪاﺋﻖ اﻟﻮﺳﻄﻴﺔ‪.‬‬

‫اﻟﻤﺮﻛﺰ اﻟﺜﺎﻟﺚ ‪:‬‬ ‫دﺳﺘﻨﺲ ﺳﺘﻮدﻳﻮ ـ ﻣﺼﺮ‬ ‫ﺗﻮاﺟﻪ اﻟﺒﻠﺪﻳﺎت وﺻﻨﺎﻋﺔ اﻟﺘﺸﻴﻴﺪ‬ ‫واﻟﺒﻨﺎء اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻀﻐﻮط‬ ‫ﻣﻦ أﺟﻞ ﺗﺤﻘﻴﻖ اﻻﺳﺘﺪاﻣﺔ‬ ‫وﻳﻠﺰم اﺗﺒﺎع ﻧﻬﺞ ﺟﺪﻳﺪ وﺷﺎﻣﻞ‬ ‫ﻟﺘﺼﻤﻴﻢ وﺑﻨﺎء وإدارة اﻟﺒﻴﺌﺔ‬ ‫اﻟﻌﻤﺮاﻧﻴﺔ وﻣﻌﺎﻟﺠﺔ اﻟﻤﺒﻨﻰ‬ ‫واﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ ‪.‬‬ ‫وﻳﻘﻮل اﻟﻤﺼﻤﻢ أﻧﻪ وﺿﻊ ﻧﺼﺐ‬ ‫أﻋﻴﻨﻪ ﺣﺎﻟﺔ وﻧﻮﻋﻴﺔ ﺟﺪﻳﺪة ﻣﻦ‬ ‫اﻟﺒﻨﺎء ﺗﺴﺘﻮﺟﺐ ﻣﻌﻬﺎ ا‪B‬ﻫﺘﻤﺎم‬ ‫ﺑﺠﻤﻴﻊ اﻟﻤﺆﺛﺮات اﻟﻤﺤﻴﻄﺔ ﺑﻤﻮﻗﻊ‬ ‫اﻟﻤﻨﺸﺄة ﻣﻦ اﺗﺠﺎه رﻳﺎح وإﺗﺠﺎه‬ ‫ﺳﻄﻮع اﻟﺸﻤﺲ وﻣﻤﺮات اﻟﺤﺮﻛﺔ‬ ‫واﻻرﺗﻔﺎﻋﺎت اﻟﻤﺤﻴﻄﺔ واﻟﻔﺼﻞ‬ ‫ﺑﻴﻦ اﻻﺳﺘﺨﺪاﻣﺎت اﻟﻤﺨﺘﻠﻔﺔ‬ ‫وأﺧﻴﺮ‪ O‬اﻟﺜﻘﺎﻓﺔ اﻟﻌﻤﺮاﻧﻴﺔ ﺳﻮاء‬ ‫ﻛﺎﻧﺖ وﻇﻴﻔﻴﺔ أو ﺟﻤﺎﻟﻴﺔ‪.‬‬ ‫أﺳﺘﻘﺮ اﻟﺘﻮﺟﻪ اﻟﻌﺎم ﻟﻠﺘﺼﻤﻴﻢ‬ ‫ﻟﻴﻜﻮن اﻟﻤﺸﺮوع ﺑﻨﺎء ﻣﻤﻴﺰ‬ ‫ﻣﻦ ﺣﻴﺚ اﻟﻜﺘﻞ واﻟﺘﻔﺎﻋﻞ ﻣﻊ‬ ‫اﻟﺒﻴﺌﺔ ﺑﻤﺎ ﻻ ﻳﺨﺎﻟﻒ اﻟﻄﺎﺑﻊ اﻟﻌﺎم‬ ‫وﻟﺬﻟﻚ ﻛﺎﻧﺖ اﻟﻤﻨﻬﺠﻴﺔ اﻟﻤﺘﺒﻌﺔ‬ ‫ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﺒﻨﻰ أن ﻳﻈﻞ‬ ‫ﻣﺘﻤﺎﺳﻚ ﻣﻊ ﻣﺎ ﻳﺤﻴﻄﻪ ﻋﻤﺮاﻧﻴ‪Y‬‬ ‫وﺑﺼﺮﻳ‪ Y‬ﻣﻊ اﻻﺣﺘﻔﺎظ ﺑﺮوح اﻟﺘﻤﻴﺰ‪.‬‬

‫ ‪Y U¦ « ezUH « ŸËdA* —uEM‬‬

‫ ‪ UŽUD‬‬

‫«*‪ÂUF « l u‬‬

‫«* ‪WOI _« j U‬‬

‫‪¡UM³ « μμ‬‬

‫‪55 Albenaa‬‬

‫اﻟﻤﺮﻛﺰ اﻟﺜﺎﻧﻲ ‪:‬‬ ‫ﻣﻜﺘﺐ ﺑﻴﺖ اﻟﺨﺒﺮاء ـ ﻣﻜﺔ‬ ‫د‪ .‬أﻣﺠﺪ ﻣﻐﺮﺑﻲ‬ ‫أﻋﺘﻤﺪت اﻟﻔﻜﺮة ﻋﻠﻰ ﺧﻠﺨﻠﺔ‬ ‫ا!دوار ورﺑﻄﻬﺎ رأﺳﻴ ﺑﻌﻨﺎﺻﺮ‬ ‫ﻧﺒﺎﺗﻴﺔ ﻣﻤﺎ ﻳﺴﺎﻋﺪ ﻋﻠﻰ ﺣﺮﻛﺔ‬ ‫اﻟﻬﻮاء ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺤﺎرة ﺑﺎﻟﺨﺎرج‬ ‫إﻟﻰ اﻟﻤﻨﻄﻘﺔ اﻟﻤﻌﺘﺪﻟﺔ ذات‬ ‫اﻟﻄﺒﻴﻌﺔ اﻟﻨﺒﺎﺗﻴﺔ اﻟﻤﻈﻠﻠﺔ ﻣﺜﻞ‬ ‫ﺗﺄﺛﻴﺮ اﻟﻔﻨﺎء ﻓﻲ اﻟﻌﻤﺎرة اﻟﺘﺮاﺛﻴﺔ ‪،‬‬ ‫ﻛﻤﺎ ﺗﺴﺎﻋﺪ ﻫﺬه اﻟﻌﻨﺎﺻﺮ اﻟﻨﺒﺎﺗﻴﺔ‬ ‫ﻋﻠﻰ ﻋﻤﻞ ﻏﻼف ﻣﺰدوج ﻟﻠﻮاﺟﻬﺎت‬ ‫ﻣﻤﺎ ﻳﻘﻠﻞ اﻟﺘﺄﺛﻴﺮ ﻟﻠﺠﻮ اﻟﺤﺎر اﻟﺠﺎف‬ ‫اﻟﻤﻮﺟﻮد ﺑﺎﻟﺨﺎرج ‪.‬‬ ‫ﺗﻢ ﻣﺮاﻋﺎة أﺳﺎﻟﻴﺐ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﻤﺴﺘﺪام ﻓﻲ ﻋﻤﻠﻴﺔ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺒﺎﻧﻲ ﺑﺄﺳﻠﻮب ﻳﺤﺘﺮم اﻟﺒﻴﺌﺔ‬ ‫ﻣﻊ ا!ﺧﺬ ﻓﻲ ا‪I‬ﻋﺘﺒﺎر ﺗﻘﻠﻴﻞ‬ ‫اﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ واﻟﻤﻮاد واﻟﻤﻮارد‬ ‫ﻣﻊ ﺗﻘﻠﻴﻞ ﺗﺄﺛﻴﺮات ا‪I‬ﻧﺸﺎء‬ ‫وا‪I‬ﺳﺘﻌﻤﺎل ﻋﻠﻰ اﻟﺒﻴﺌﺔ ﻣﻊ‬ ‫ﺗﻨﻈﻴﻢ اﻻﻧﺴﺠﺎم ﻣﻊ اﻟﻄﺒﻴﻌﺔ‪.‬‬ ‫ﻋﻨﺼﺮ اﻟﺴﻘﻒ ا!ﺧﻀﺮ ﻳﻌﻤﻞ ﻋﻠﻰ‬ ‫ﺗﺤﺴﻴﻦ اﻟﺒﻴﺌﺔ اﻟﺤﺮارﻳﺔ واﻟﺼﻮﺗﻴﺔ‬ ‫ﻟﻠﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ واﻟﻤﻜﺸﻮﻓﺔ‬ ‫ﻣﻦ اﻟﻤﺒﻨﻰ ذو اﻟﺴﻘﻒ اﻟﻤﺰروع‪.‬‬ ‫وﻳﺴﺘﺨﺪم ﻓﻲ ا!ﺳﻘﻒ اﻟﻤﺰروﻋﺔ‬ ‫ﺷﺒﻜﺔ ﻣﻦ ا!ﻟﻴﺎف اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﻟﺘﺴﻤﺢ ﻟﻠﺠﺬور اﻟﻨﻤﻮ ﻣﻌ ‬ ‫وﺗﺸﻜﻞ اﻟﺤﺪود اﻟﺨﺎرﺟﻴﺔ‪.‬‬

‫« ‪wM³LK WłËœe WNł«Ë qLFÐ ÂuIð WOðU³M « d UMF‬‬

‫ ‪w½U¦ « ezUH « ŸËdA* Íuł —uEM‬‬

‫«*‪ÂUF « l u‬‬ ‫ ‪qšb*UÐ —U ŸUD‬‬

‫‪¡UM³ « μ¥‬‬

‫‪54 Albenaa‬‬

‫«* ‪WOI _« j U‬‬

‫اﻟﻤﺮﻛﺰ اﻟﺮاﺑﻊ ‪:‬‬ ‫ﻣﻜﺘﺐ إﻛﺲ أرﻛﺘﻜﺖ ـ دﺑﻲ‬ ‫ﺗﻢ ﺗﺨﺼﻴﺺ اﻻدوار اﻟﺴﻔﻠﻰ ﻟﻠﺠﻤﻬﻮر‬ ‫واﻻدارة وﺗﻢ ﺗﺸﻜﻴﻞ اﻟﻔﺮاغ اﻟﺪاﺧﻠﻲ‬ ‫ﺑﺸﻜﻞ ﻣﺮن وﺷﻔﺎف وﻣﺴﺘﻤﺮ ﻟﻴﻌﻜﺲ‬ ‫ﺣﺪود اﻟﻤﻮﻗﻊ‪ .‬ﺗﺘﻜﻮن اﻻرﺑﻊ ادوار اﻻوﻟﻰ‬ ‫ﻣﻦ ﻣﺴﺘﻮﻳﺎت ﻣﺨﺘﻠﻔﺔ ﻳﻄﻞ ﻛﻞ ﻣﻨﻬﺎ‬ ‫ﻋﻠﻰ ﻣﺮﻛﺰ اﻟﻤﺒﻨﻰ ﻣﺸﻜﻼ ﻓﻀﺎء اﻛﺒﺮ‪ .‬و‬ ‫اﻟﺒﻬﻮ اﻟﺪاﺧﻠﻲ ﻳﺨﺘﻠﻒ ﺗﻤﺎﻣﺎ ﻋﻦ اﻟﻔﺮاغ‬ ‫اﻟﻌﻠﻮي ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ ﺣﻴﺚ ﻳﻮﻓﺮ ﺑﻴﺌﺔ‬ ‫ﻫﺎدﺋﺔ ﺗﺘﻄﻞ ﻋﻠﻰ اﻟﻔﻨﺎءات اﻟﺪاﺧﻠﻴﺔ‬ ‫ﻟﻠﻤﺒﻨﻰ‪ .‬اﻟﺘﺼﻤﻴﻢ ﻳﺎﺧﺬ ﺑﻌﻴﻦ اﻻﻋﺘﺒﺎر‬ ‫اﻟﻈﺮوف اﻟﻤﻨﺎﺧﻴﺔ ﻣﻦ ﺧﻼل ﺗﻮﺟﻴﻪ‬ ‫اﻟﻤﺒﻨﻰ وﺗﻘﻠﻴﻞ اﻟﻔﺘﺤﺎت ﻓﻲ ﺟﻬﺘﻲ‬ ‫اﻟﺸﺮق واﻟﻐﺮب‪.‬‬ ‫اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺨﺎرج ﻣﻐﻄﻰ ﺑﻤﺸﺮﺑﻴﺎت‬ ‫ﻟﺘﻘﻠﻴﻞ دﺧﻮل اﺷﻌﺔ اﻟﺸﻤﺲ‪ ،‬وﻫﻲ‬ ‫ﻣﺤﻔﻮر ﻋﻠﻴﻬﺎ آﻳﺎت ﻣﻦ اﻟﻘﺮآن اﻟﻜﺮﻳﻢ‪.‬‬ ‫اﻟﻬﻴﻜﻞ اﻻﻧﺸﺎﺋﻲ ﻟﻠﻤﺒﻨﻰ ﻳﻈﻬﺮ‬ ‫ﺑﺸﻜﻞ ﺷﺒﻜﻲ ذو ﺗﺼﻤﻴﻢ ﻫﻨﺪﺳﻲ‬ ‫ﻋﺮﺑﻲ ﻣﻌﺎﺻﺮ‪.‬‬ ‫اﻟﻤﻮاﻗﻒ ﻓﻲ ﻃﺎﺑﻘﻴﻦ اﻟﻘﺒﻮ‪ .‬ﻳﻮﺟﺪ‬ ‫ﻣﺪﺧﻠﻴﻦ اﺣﺪﻫﻤﺎ ﻣﻮاﺟﻬﺎ ﻟﻠﻄﺮﻳﻖ‬ ‫اﻟﺪاﺋﺮي اﻟﺜﺎﻟﺚ‪.‬أﻣﺎ اﻟﻤﺪﺧﻞ اﻟﺜﺎﻧﻲ‬ ‫ﻓﻬﻮ ﻣﻦ اﻟﺨﻠﻒ‪ .‬ﻛﻤﺎ ﻳﻮﺟﺪ ﻣﻨﻄﻘﺘﻴﻦ‬ ‫ﻣﺨﺼﺼﺘﻴﻦ ﻟﻠﻤﺼﺎﻋﺪ‪.‬‬ ‫«* ‪WOI _« j U‬‬

‫∂‪¡UM³ « μ‬‬

‫‪56 Albenaa‬‬

‫ ‪fOzd « o¹dD « s wł—Uš —uEM‬‬

‫ ‪vM³*« ÷dFÐ Í—uEM ŸUD‬‬

‫ ‪W dA « s ÍuKF « w{—_ «—Ëb « uN³ —uEM‬‬

The Interdisciplinary Imperative Collaborations in Architecture and Engineering: Based on the Book ‘Collaborations in Architecture and Engineering’ from the same authors

By Sinead Mac Namara and Clare Olsen Widespread change is occurring in the fields of architecture and engineering.

Similar to the typological and stylistic transformations that grew out of the Industrial Revolution, new technologies and materials are revolutionizing the architecture and engineering professions.

Cultural, technological and social paradigms have emerged requiring new programs and building types, not to mention increased expectations of the experiences and contributions of the built environment. Consequently, the work—and work life—of architects and engineers is becoming increasingly more complex.

Technological developments in materials, construction techniques (including digital fabrication and offsite construction), and sustainable systems are just a few of the advancements that call for new approaches to design, analysis and construction work. Famously, Moore’s Law predicted that the speed of our computer processor would double every eighteen to twenty-four months. “This extraordinary rate of progress means that our mobile phones now contain computers several hundred times more powerful than the one used to control the Lunar Lander for the Apollo missions.”1This is an overwhelming but exciting notion that suggests tremendous potential for new technologies in architecture and engineering. Any number of complex forms and material assemblies that would have been too computationally expensive are now within the realm of possibility. However, given the complexity resulting from an aggregation of these systems, navigating this array requires synthesis of multiple specialties and sensibilities.

Perhaps one of the most significant outcomes of the technological shift

63 Albenaa

¡UM³ « ∂≥

is a growth in importance of both specialization and collaboration.

Although architects are often described as generalists and engineers as specialists, the practices both require high levels of expertise, and projects at multiple scales usually necessitate teams of experts to see them through. Alliances among disciplinary experts lend to greater innovation and boundary-pushing proposals. As a result, specializations hold great value in the professional realm, making team development a crucial part of the design and construction process.

Large and small firms working at all scales are increasingly forming collaborative design teams at the initial stages of the design process. Finding the “right” collaborators—those with copacetic sensibilities--can take the better part of one’s career. Numerous factors contribute to the success of collaborations and the composition of the design team can make or break a project.

Collaborations in Practice When one considers the exquisite domes, barrel vaults and hypostyle forms of the earliest mosques, it is clear that the architecture and engineering were fully integrated in the minds of the constructors. Ever since the Industrial Revolution, however, the expansion of disciplinary knowledge, capabilities, materials and tactics has continued apace with a proliferation of specializations required to realize a work of architecture.

There are good reasons for this, of course: modern society requires new, widely diverse programs and building types, and an ever more complex range of technologies are available for the design, construction and maintenance of buildings. But it is worth reminding ourselves that as the professions of the

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‫ﻋﻼﻗﺎت ﺟﺪﻳﺪة ﺑﻴﻦ اﻟﻌﻤﺎرة واﻟﻬﻨﺪﺳﺔ‬

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‫ﻫﻨﺎك‬

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architect and engineer diverged, they also became more reliant on one another for their disciplinary expertise while working towards common goals in the form of safe, habitable, beautiful buildings.

Stereotypes of engineers and architects and their work abound: The engineer makes it stand, the architect makes it look good. The architect’s lofty design ambitions are thwarted by engineers’ column grids and bracing. While there might be some kernel of truth at the heart of these caricatures, the reality of interdisciplinary collaboration is more complex and nuanced. Since the professions are so interdependent, collegiality and mutual respect must form the basis of any partnership. Traditionally however, there are structural impediments that hinder successful collaboration between engineers and architects, and both disciplines have much to learn from those on the vanguard of integrated design practice.

In the context of the design and construction of buildings large and small, the dominant division of labor between the disciplines is generally understood as an architect-led process with structural engineers, mechanical engineers, and other experts providing disciplinary expertize along the way.

Often in traditional practice, the design is relatively well advanced by the architects before other disciplines are engaged in the process. The particular engineerarchitect pairings and the case studies we examine in our book, Collaborations in Architecture and Engineering, condensed versions of which are presented here, however, are different. We focus on particularly well-integrated and successful collaborations that have resulted in buildings that would have been impossible without the involvement and expertise of multiple disciplines: in their realization, the buildings are greater than the sum of their parts.

The proximity of the engineers and architects working together certainly facilitates a comfort level and ease of communication, crucial aspects of successful collaboration. When architects and engineers don’t work well together, both aesthetics and function suffer.

One might find structure in the way of a spatial sequence, or air conditioning that needs to run 24/7 because passive cooling strategies were not considered early in the design process.

The contemporary movements toward

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in-house collaborations and Integrated Project Delivery highlight the growing need to work synergistically. Integrating aesthetics with structure, sustainability, and systems requires multiple voices at the design table to share perspectives and expertise.

Communicating with experts outside one’s discipline can be challenging and sometimes frustrating, so when architects find engineers with whom they work well, who understand their design goals and intentions, they often partner with the same colleagues for decades. Louis Kahn and August Komendant designed innovative reinforced concrete structures together from the 1950’s until Khan’s death in the late 1970’s. Many of the structurally expressive skyscrapers of the Second Chicago School were the result of the long collaboration at SOM between architect Bruce Graham and engineer Fazlur Kahn. Similarly, Renzo Piano and Peter Rice worked on numerous projects together, with the Pompidou Center in Paris an especially successful example of their work. Rem Koolhaas and Cecil Balmond have designed numerous structurally ambitious projects including Maison a Bordeaux and CCTV. Like Koolhaas and Balmond, Toyo Ito and Matsuro Sasaki’s collaborative work is so well integrated that it is impossible to distinguish the engineering from the architecture. Steven Holl and Guy Nordenson have a decades-long working relationship and their writings about their work reflect a deep mutual understanding and reciprocal inspiration in their working methods.

Conversations with almost all of the architects and engineers interviewed for the Collaborations book described the importance of long-standing relationships; learning how one’s collaborators think and communicate forms the basis of successful partnerships. Bruce Gibbons, head of the Building Structure practice for Thornton Tomasetti Los Angeles believes strongly in early collaboration, but also recognizes, “It’s always easier to collaborate with someone you know. When working with people for the first time, communication can be a major challenge.”2 Engineer Hans Schober of SBP, speaking about the Berlin Hauptbahnof design, argued it was years of experience working together, that prompted architects Gerkan, Marg and Partners (gmp), to invite SBP to the design team for the transit project.

Schober also asserted that his firm

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agreed to be involved precisely because they knew gmp were open to the kind of structurally expressive designs that SBP so favors.3 It is important to note that the disciplines of engineering and architecture have different, but overlapping disciplinary vocabularies. The same word might mean very different things to architects and engineers. Words with fluid and useful meanings in architecture such as differentiation, articulation, atmosphere, continuity, discontinuity, integration, and variation, have altogether more prosaic and perhaps more rigidly defined meanings for engineers. As these examples suggest, the disciplinary vocabulary one learns in school is not necessarily helpful when communicating with colleagues in other fields, so learning how to communicate effectively is a skill one develops over time through mentorship and observation. Ken Sanders, on the Board of Directors at Gensler notes “The most important skill set is the ability to collaborate, by far.â€?4 Sanders also remarks that technical skills can be taught on the job, but the ability to collaborate is “the most important criteria for new hires‌The human piece is the harder piece.â€?5 Of course, communication skills can also be learned on the job, but working well with others does not come naturally to all people.

When asked about communicating with his structural engineering colleagues, Ben Mickus,Associate at Skidmore Owings and Merrill (SOM), notes that the burden is on architects to learn how to communicate effectively in order to integrate structural reasoning with architectural goals.6 SOM has an unwritten mentorship program where junior colleagues and Directors participate side-by-side in roundtable design discussions and after a meeting, a mentor might explain why something was said, thereby passing along communication methods.7 At the interdisciplinary firm, communication skills are highly valued and assessed in the annual performance reviews.

Collaboration requires more than clear communication, however. David Farnsworth of ARUP speaking about the interdisciplinary design process, made an incisive comment: “In today’s working environment, one needs to be able to collaborate, be quick to get on the right side of a job, have a willingness to take responsibility, but also know when to share credit.�8 These behaviors can be challenging, but extremely important

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when working in teams. Architecture, especially, has a reputation for being egodriven, so collaborators need to know when to advocate for their project goals, but also to support team members.

Stereotypically, architects and engineers value different results, but aesthetics and efficiency don’t have to be pitted against one another, and credit given to an engineer’s contribution need not diminish the architect’s reputation. Ideally, behavioral researchers claim, “In a true creative collaboration, almost everyone emerges with a sense of ownership.�9 Hanif Kara, structural engineer, co-founder and design director of AKT points out, “Just as good architecture relies on good clients, good architects make for good engineering. They understand the basic technical role played by engineers, but can also push engineers to think of questions they have not thought of themselves. In this way, good architects know how to get the best out of engineers.�10 Along these lines, engineer, George Keliris of Buro Happold states, “[Being a good engineer] is not just about structural calculations, but about creativity. [At Buro Happold], we value new ideas, innovation, and difference,�11 which is a major reason that Buro Happold is widely known for collaborating on some of the world’s most innovative projects.

Finding the “right� collaborators, to contribute to the creative process is of utmost importance.

Of course, the context of the collaboration is also highly influential on the working relationships. Numerous interviewees for the Collaborations book cited the role of project finances in shaping the nature of collaboration. Rich Garlock of LERA notes that the contract structure and the number of engineering hours the client is willing to pay for can dictate whether an engineer is brought on board for the early discussions where they might have more design influence.12 Some architects may feel that since the engineer’s fee often comes out of the architect’s compensation then it makes financial sense to establish early collaboration only on the more technically complex projects. However, as Steven Holl describes, waiting until later in the design process to consult with technical experts can be a false economy since design services are a small part of the overall budget in comparison to materials and construction.13 In larger projects especially, collaborations resulting in minor savings in materials

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costs would more than compensate for extra engineering fees at the start of the project.

Tools for Collaboration Architect, urban designer, educator and the late Dean of Architecture at MIT, Bill Mitchell is famously quoted as saying, “Architects drew what they could build, and built what they could draw.� As software that facilitates representation, rationalization, analysis, design, prototyping, component fabrication, and construction become ever more available, ever more widely used, and ever more cross-platform compatible, what an architect can draw and build has dramatically grown and shifted. Software tools with one, some, or many of these applications are increasingly a vehicle for collaboration amongst architects, engineers, contractors and owners.

Collaborators find greater coherence and integration when communicating often and this certainly happens through numerous means: from verbal communication about the values and goals for a particular project to a highly intricate cloud-based virtual model that integrates all building systems. Increasingly, as emerging software becomes more accessible and easier to use, digital tools have a significant role to play, potentially addressing a number of the challenges to architect-engineer partnerships, and making teamwork more efficient and integrated.

Certainly, most engineering and architecture practices have long shared 2D digital drawings using AutoCAD and similar programs. However, increasingly in collaborative design, practitioners cite the importance of 3D digital representation tools such as Rhinoceros (Rhino) to their conversations and mutual development of design ideas.14 Because complex shapes need to be understood not just in terms of geometric resolution, but also in terms of strength, deflection and other performance criteria, designers employ a wide range of robust software for rationalization and analysis. These parametric tools include Grasshopper, CATIA, and finite element analysis (FEA) programs such as ANSYS and SAP2000 that can analyze multiple performance criteria (for example, stress, deflection, thermal performance, air flow). Digital visualization and analysis tools have forever changed the practices of architecture and engineering. Ben van

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ÂĄUMÂł ÂŤ âˆ‚Ď€

Berkel of architecture firm UNStudio, writing with the practice’s Smart Parameter Platform states, “It is clear now that computation is ubiquitous, and form making and form controlling are no longer its most expedient uses. Whether it is through proprietary and customized software or a single piece of code, computation’s primary potential lies in its flexibility to communicate design across multiple disciplines via associative data.�15 In addition to advances in computation, visualization techniques, and FEA software, Building Information Modeling (BIM), which enables teams to create comprehensive shared digital models, is also revolutionizing the collaborative design process. BIM software applications are parametric tools that facilitate design and representation through relational data driven models. When these models are shared across multiple disciplines, design teams can more easily asses the impacts of integrating systems and monitor the consequent effects of changes to the design.

In the same vein, through the advancement and proliferation of digital fabrication machines, architects and engineers are reconnecting with the process of making. Traditionally, the “middle man� at the fabrication shop interprets the 2D drawings in the form of shop drawings, which are then confirmed by the architects or the engineers. All around, it’s a time-consuming process and one that can be avoided if designers are willing to invest in a fabrication-ready model and can find manufacturers who have the know-how to efficiently interpret the digital files. Examples of such digitally driven fabrication include robotics, 3D printing, laser and water jet cutting.

Delivery Methods Facilitating Collaboration Without a doubt, delivery methods significantly affect a design team’s ability to complete a successful project. Simply put, contracts define the roles and responsibilities of architects, engineers, contractors and owners, and guide the relationships and communication amongst the people involved. The hierarchical organization guiding project delivery has remained fairly stagnant since the turn of the turn of the 20th century: traditionally, owners hire architects who manage the design, development and construction of the project, a delivery method known in the United States as

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Design-Bid-Build. Barbara Jackson, author of Construction Management Jumpstart, describes the problematic aspects of the traditional contract system, asserting, “Our industry (architecture, engineering, and construction) is so familiar with a reactive model of engaging with one another versus a proactive model‌ We’re missing fundamental trust.â€?16 Recently, however, the industry has developed alternatives to normative project delivery methods with the goals of improving design, communication, schedules and costs through increased collaboration. In the US, for example, the American Institute of Architects, the main source for industry contracts, has developed three other contract families: Design-Build, Construction Manager as Constructor and Integrated Project Delivery. Each of these contract families seeks to promote better communication amongst the architects, contractors and engineers through increased communication and partnering from the start of the project.

In The Demise and Rebirth of Professionalism, Carl Saper points out that for Frank Gehry, the redesign of the firm’s contract structures was more important than digital technologies for growth and success of the office.17 Given the complexity and multiplicity of the practices of architecture, engineering and construction, new contract types, especially integrated project delivery and its associated methods such as Lean Construction and Target Value Design, hold extraordinary potential and should not be undervalued, especially in their capacity to facilitate collaboration through more productive, less adversarial, more cost effective ways of designing and delivering projects.

END NOTES:

Case Studies in Collaboration The case studies that follow provide an introduction to the collaborative design processes that contributed to these significant works of architecture and engineering. Seeking an understanding of how projects are realized, the authors interviewed dozens of architects and engineers about their working methods.

The following case studies provide insights into exemplary modes of collaborative design.

15 van Berkel, B. (2013), Navigating the Computational Turn. Architectural Design, 83: 82–87. 87

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1Bentley, Peter J. “Climbing through Complexity Ceilings.� In Network practices: new strategies in architecture and design, edited by Anthony Burke and Therese Tierney, 178-195. New York: Princeton Architectural Press, 2007.

2 Gibbons, Bruce. Interview by authors. Phone interview. Los Angeles, July 8, 2013.

3 Schober, Hans. Interview by authors. Phone interview. Stuttgart, June 19, 2013.

4 Sanders, Ken. “Collaboration & Performance/ Materials & Building Practices.� Lecture, New Constellations, New Ecologies for Association of Collegiate Schools of Architecture, San Francisco, March 20, 2013.

5 Sanders Ibid 6 Mickus, Ben. Interview by authors. In person interview. San Luis Obispo, CA, March 15, 2013.

7 Long, Eric. Interview by authors. Phone interview. San Francisco, CA, April 23, 2013.

8 Farnsworth, David. Interview by authors. Phone interview. New York City, June 4, 2013.

9 Bennis, Warren G., and Patricia Ward Biederman. Organizing genius: the secrets of creative collaboration. Reading, Mass.: AddisonWesley, 1997. 28 10 Kara, H. (2010), On Design Engineering.

Architectural Design, 80: 46–51.

11 Keliris, George. Interview by authors. Phone interview. London, England, June 21, 2013.

12 Garlock. Interview by authors. Phone Interview, Princeton, NJ, June 25, 2013.

13 Holl, Steven. Interview by authors. Email interview. New York, NY, August 6, 2013.

14 For example, Schober, Hans. Interview by the authors. Skype Interview. Stuttgart, June 19, 2013 and Keliris, George. Interview by authors. Phone interview. London, England, June 21, 2013.

16 Jackson, Barbara. Interview by authors. Phone interview. Denver, August 21, 2013.

17 Moe, Kiel. “Automation Takes Command: The Nonstandard, Unautomatic History of Standardization and Automation in Architecture.� In Robert Corser ed. Fabricating architecture selected readings in digital design and manufacturing. New York, N.Y.: Princeton Architectural Press, 2010. 152-167. 164

uLMK WOL d ÂŤ  UOMI² ÂŤ ‰ULF²?Ă?ÂŤ s Ă bMĹ˝ Ĺ“bFĂ°Ă‹ bOIFĂ° VÂł? Ă? p –Ë ÆV²J*ÂŤ Ă•U?$Ă‹ ŸuÂ˝âˆš Æ¥UMÂł ÂŤĂ‹ WĂ?bMN ÂŤĂ‹ ‌—ULF ÂŤ  UĂ?—U2 rOLB² ÂŤ Ĺ“u?IĹ˝ W UĹĄĂ‹ ¨‌b?šb'ÂŤ Ĺ“u?IF ÂŤ WšœUĹ˝ dOĹž  U½UJ ≈ pK²9 q U?A ÂŤ cOHM² ÂŤĂ‹ s? ĂŠĂ‹U?F² ÂŤ qON? Ă° v?KĹ˝ U?Nð—bI q?ÂŚ s? n?OH ² ÂŤĂ‹ ¨ W?OĹ‚U²½Ú ‌œU?Âšâ€œâˆŤâ€°ĂśĹĄ ¨ 5½ËUF²*ÂŤ 5?Ă? Ă€b?% b w?² ÂŤ W?OzÂŤbF ÂŤ nO UJĂ° i?H) WO UF d?ÂŚ √ ‚d?Ăž Ĺ“U?âˆ’ÂšÂŤ Ælš—UA*ÂŤ cOHMĂ°Ă‹ rOLBĂ°

ĂŠĂ‹UF ÂŤ s Ă´U ∂ W —œ 5 bMN*ÂŤĂ‹ 5 —ULF*ÂŤ 5 UN{dF²? š w² ÂŤ  ôU?(ÂŤ  U?Ă?—œ d uĂ° w² ÂŤ q U?A ÂŤ rOLB² ÂŤ  U?OKLF W bI ‰U?I*ÂŤ ‌—ULFK W? UN ÂŤ  UŽËd?A*ÂŤ Ă c?Âź w XLÂźU?Ă? r?OLBĂ° r?²š n?O r?NH ĂŽ UOF?Ă?Ă‹ ÆW?Ă?bMN ÂŤĂ‹  dAF ÂŤ l  ÜĂ?UI0 ĂŠU²H R*ÂŤ X U ¨lš—UA*ÂŤ ÆrNKLĹ˝ VO UĂ?√ ‰uĹ 5Ă?bMN*ÂŤĂ‹ 5š—ULF*ÂŤ s Ăƒâ€“U/ WO U² ÂŤ X? ÂŤ  ôU(ÂŤ  U?Ă?—œ d uĂ°Ă‹ Ă‚uNH wKĹ˝ ‌bšbĹ‚ ÂĄÂŤu{ÂŤ wIKĂ° ĂŠÂŤ sJ1 WOIOIŠÆ w½UÂłLK w½ËUF² ÂŤ q UA ÂŤ rOLB² ÂŤ

“u «dOÝ WF Uł w ÊU²H R*« Ád¹bð wLOKFð Z U½dÐ —UÞ≈ w bŽ√ ©Shell® U¹dAIK WOzUA½≈ WÝ«—œ

tKÐUI¹Ë ¨iF³ « UMCFÐ 5Ð WI¦ « w « dI²H¹ oOIײ t?Ð qLF « V?−¹ w?½ËUFð Öu?/ ÆåqLF « w WOÝUÝ_« WI¦ « w ¡UM³ « W?ŽUM —u?Þ ¨p – s? ržd UÐ W?¹bOKI² « œu?IFK q?z«bÐ …d?Oš_« W?½Ëü« ¨q? «u² «Ë ¨r?OLB² « 5? % ·b?NÐ nO UJ² « œ«b?Ž≈Ë W?OM e « ‰Ë«b?'« œ«bŽ≈Ë w 5K UF « 5?Ð ÊËU?F² « …œU?¹“ ‰öš s?

U¹ôu « w? ¨‰U?¦*« qO³?Ý vKŽ ÆŸËd?A*« 5?ÝbMNLK wJ¹d _« bNF*« l?{Ë ¨…bײ*« vKŽ ‰uB×K f?Ozd « —bB*« ¨5?¹—ULF*« rOLB² « ∫…b?¹bł ÖU/ WŁöŁ ¡U?M³ « œuIŽ sŽ ‰u¾? L ¡UM³ « …—«œ« U d?ý ¨¡U?M³ «Ë UN'« W U 5?Ð q U?A « Z b «Ë ¨cOHM² « Æq U?A « c?OHM² «Ë r?OLB² UÐ W? öF « «– e¹eFð vKŽ ‰uB(« v ≈ vF ð œuIF « Ác¼ 5? ËUI*«Ë 5?¹—ULF*« 5?Ð q?C √ q? «uð q? «u² « …œU?¹“ ‰ö?š s? 5?ÝbMN*«Ë »U² w? Ë ÆŸËd?A*« W¹«bÐ cM W «d?A «Ë t½√ dÐUÝ ‰—U dO?A¹ åWOMN*« ¡UOŠ≈Ë ‰«Ë“ò …œUŽ≈ X½U ¨ÍdOł p½«d Í—ULFLK W³ M UÐ WOL¼√ d¦ √ UNzöLŽ l W d?A « œuIŽWžUO

“u «dOÝ WF Uł ? qIMK e d rOLBð ŸËdA* WOzUA½≈Ë W¹—ULF WÝ«—œ

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© Sinead Mac Namara.

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‫اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﻟﻤﺮﻛﺰ إﺗﺤﺎد ﻛﻮﺑﺮ‬ ‫ﻟﺘﻄﻮﻳﺮ اﻟﻌﻠﻮم واﻟﻔﻨﻮن ـ ﻧﻴﻮﻳﻮرك‬ ‫ﺗﺼﻤﻴﻢ إﻧﺸﺎﺋﻲ ﻟﻤﺒﻨﻰ ﻋﻠﻰ ﺷﻜﻞ إﻋﺼﺎر‬ © Morphosis Architects.

41 Cooper Square

© Sinead Mac Namara.

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dÐu œU%« e d ∫qOLF « d b½UAð ¨·u²Oł q UÐ ¨wK¼u UOHKOÝ ¨s¹U Âuð ∫f¹“u —u W dý ∫5¹—ULF*« Æo¹dH « v ≈ W U{ùUÐ ¨U¹Ë√ ÊUł ¨fM¹d¼√ wÐ ‰≈ ‰≈ Êu²³ UÝ Ê“Ëdł ∫¡U dA « 5¹—ULF*« sð—U t¹≈ Êuł ”U dý W dý ∫5OzUA½ù« 5ÝbMN*« w OMO¼ UJ OÝ WŽuL− Ë ¨WOÝbMN « «—UA²Ýö Í≈ wÐ Í√ ∫5OJO½UJO*« 5ÝbMN*« YOLÝ Ægð≈ ÊËœ—uł W dý ∫WNł«u « Í—UA²Ý« …¡U{ù« rO UB² Ê«bžË— eO Êuð—u¼ W dý ∫…¡U{ù« Í—UA²Ý« WOÝULš WL$ ∫ U uÝd « ¡UM³K w UOÝ tOł ·≈ W dý ∫¡UM³ « …—«œ≈ Client: The Cooper Union Architects: Morphosis: Thom Mayne, Silvia Kuhle, Pavel Getov, Chandler Ahrens, Jean Oei, plus team Associate Architects: Gruzen Samton, LLP Structural Engineers: John A. Martin Associates, Inc. Mechanical Engineers: IBE Consulting Engineers, Syska Hennesy Group Façade Consultants: Gordon H. Smith Corporation Lighting Consultants: Horton Lees Brogden Lighting Design, Inc. Graphics: Pentagram Construction Management: F.J. Sciame Construction Co., Inc.

‫ ﺗﻢ ﺗﻜﻠﻴﻒ ﺷﺮﻛﺔ ﻣﻮرﻓﻮزﻳﺲ ﻣﻦ ﻗﺒﻞ ﻣﺮﻛﺰ‬،2004 ‫ﻓﻲ ﻋﺎم‬ ‫اﺗﺤﺎد ﻛﻮﺑﺮ ﻟﺘﻄﻮﻳﺮ اﻟﻌﻠﻮم واﻟﻔﻨﻮن ﺗﺼﻤﻴﻢ ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻳﻘﻊ‬ ‫دراك ﻣﻮرﻓﻮزﻳﺲ‬5‫ و‬.‫ ﻓﻲ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮرك‬41 ‫ﻓﻲ ﻣﻴﺪان ﻛﻮﺑﺮ‬ ،‫ﻧﺸﺎء وﺗﺸﻐﻴﻞ اﻟﻤﺒﻨﻰ‬5 ‫ﺗﻌﻘﻴﺪ اﻟﺒﺮﻧﺎﻣﺞ واﻟﻨﻈﻢ اﻟﻼزﻣﺔ‬ .‫ﺟﻨﺪت اﻟﺸﺮﻛﺔ ﻣﻬﻨﺪﺳﻴﻦ إﻧﺸﺎﺋﻴﻴﻦ ﻣﻦ ﺷﺮﻛﺔ ﺟﻮن إﻳﻪ‬ ‫ﻣﺎرﺗﻦ وﻣﻬﻨﺪﺳﻴﻦ ﻣﻴﻜﺎﻧﻴﻜﻴﻦ وﻛﻬﺮﺑﺎﺋﻴﻦ وﺻﺤﻴﻴﻦ ﻣﻦ‬ ‫ﻣﻜﺘﺐ أي ﺑﻲ إي ﻟﻠﺪﺧﻮل ﻓﻲ ﺷﺮاﻛﺔ ﻣﻌﻬﻢ ﻣﻨﺬ ﺑﺪاﻳﺔ‬ .‫اﻟﻤﺸﺮوع‬ ‫ أن ﻳﻘﻮم ﺗﺸﺎﻧﺪﻟﺮ‬M‫أﺳﺘﺪﻋﻰ ﺑﻨﺎء ﻫﺬا اﻟﻤﺸﺮوع اﻟﻤﻌﻘﺪ ﻧﺴﺒﻴ‬ ً‫أﻫﺮﻳﻨﺲ ـ اﻟﺬي ﻛﺎن ﻛﺒﻴﺮ اﻟﻤﺼﻤﻤﻴﻦ ﻟﻤﻮرﻓﻮزﻳﺲ ﺑﺎﻟﺒﺖ أوﻻ‬ ‫ وأدت اﻟﺘﻌﻘﻴﺪات اﻟﻌﺪﻳﺪة ﻓﻲ ﻫﺬا‬.M‫ﻓﻲ ﻗﻀﻴﺔ اﻟﺘﻌﺎون ﺳﺮﻳﻌ‬ :‫اﻟﺘﺼﻤﻴﻢ إﻟﻰ ﺿﺮورة إﺗﺨﺎذ ﻗﺮارات ﺗﺼﻤﻴﻤﻴﺔ ﻫﺎﻣﺔ وﻣﻨﻬﺎ‬ Z‫ واﻻﺣﺘﻴﺎﺟﺎت اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ اﻟﺨﺎﺻﺔ ﺟﺪ‬،‫ﻗﻴﻮد اﻻرﺗﻔﺎع ﻓﻲ اﻟﻤﻮﻗﻊ‬ .‫ﻧﺸﺎﺋﻲ‬5‫ وﺗﺄﺛﻴﺮ ﻫﺬه اﻟﻘﺮارات ﻋﻠﻰ اﻟﻬﻴﻜﻞ ا‬،‫ﻟﻤﺒﻨﻰ اﻟﻤﺨﺘﺒﺮات‬ ‫إﺣﺪى اﻻﺑﺘﻜﺎرات اﻟﻌﺪﻳﺪة ﻓﻲ ﻫﺬا اﻟﻤﺸﺮوع ﻫﻮ ﺗﺼﻤﻴﻢ‬ ،‫ اﻟﺬي ﻳﻌﺘﺒﺮ ﺑﻤﺜﺎﺑﺔ اﻟﻘﻠﺐ واﻟﺮوح ﻟﻠﻤﺒﻨﻰ‬،(‫ﺗﺮﻳﻮم‬c‫اﻟﻔﻨﺎء )ا‬ ‫ﻓﻜﺎر ﻟﺤﻞ اﻟﻤﺸﺎﻛﻞ ﺑﻴﻦ‬c‫راء وا‬e‫ﻣﺮ اﻟﺬي ﻳﺘﻄﻠﺐ ﺗﺒﺎدل ا‬c‫ا‬ ‫ﻧﻴﻖ اﻟﺬي ﻳﺸﺒﻪ ﺷﻜﻞ‬c‫ ﺷﻜﻞ ﺗﺼﻤﻴﻢ اﻟﻔﻨﺎء ا‬.‫ﻓﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ‬ M‫ إﻧﺸﺎﺋﻴ‬M‫ﻋﺼﺎر و ﻳﻠﺘﻒ ﻓﻲ ﻗﻔﺺ ﻓﻮﻻذي ﺧﻔﻴﻒ ﻳﻤﺜﻞ ﺗﺤﺪﻳ‬5‫ا‬ .‫ وﺧﺎﺻﺔ ﺛﻘﻞ اﻟﻬﻴﻜﻞ اﻟﺨﺮﺳﺎﻧﻲ اﻟﻤﺤﻴﻂ ﺑﻪ‬،‫ﻓﻲ ﻋﻤﻠﻴﺎت اﻟﺒﻨﺎء‬ In 2004, Morphosis was commissioned by The Cooper Union for the Advancement of Science and Art to design a new building located at 41 Cooper Square in New York City. Recognizing the complexity of the program and systems required, the architects enlisted structural engineers from John A. Martin and Mechanical, Electrical and Plumbing engineers from IBE to partner with them from the beginning of the project. For a relatively complex building like 41 Cooper Square, Chandler Ahrens, who was Lead Designer for Morphosis, makes the case for collaboration as early as possible in the process. Numerous complexities drove design decisions for the project including height restrictions on the site, the very particular mechanical needs of a university building with labs, and the impact these had on the structure.

One of the many innovations on this project includes the design of the atrium space, considered the “heart and soul”18 of the project, which required early problem-solving conversations amongst the design team.

18 Jean Oei, Interview by authors, phone interview, Los Angeles, CA, February 10, 2014.

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© Morphosis Architects.

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© Morphosis Architects.

¡UMH « UNł«u WO½bF*« WJ³A «Ë UNÐ WD³ðd*« W¹–ôuH « U UŽb «Ë nIÝ_« U¹UN½ Èd½ Ê√ sJ1Ë ¡UMH « ¡UMÐ

‫ »ﻟﻘﺪ اﻗﺘﺮﺣﺖ‬:‫ﻳﺒﻴﻦ اﻟﻤﻬﻨﺪس ﻛﻼﻧﺪﻳﻨﻎ‬ ‫أن ﻧﺄﺧﺬ ﺟﻤﻴﻊ اﻟﺒﻼﻃﺎت اﻟﺒﺎرزة ﻋﻠﻰ‬ ‫ﺷﻜﻞ ﻛﻮاﺑﻴﻞ إﻟﻰ داﺧﻞ اﻟﻔﻨﺎء وﺗﻘﻠﻴﺺ‬ ‫ وﻣﻦ ﺛﻢ دﻓﻦ‬،‫ ﺑﻮﺻﺎت‬8 ‫ﺳﻤﺎﻛﺘﻬﺎ إﻟﻰ‬ ‫دﻋﺎﻣﺔ ﻓﻮﻻذﻳﺔ أﺳﻄﻮاﻧﻴﺔ اﻟﺸﻜﻞ ﻟﺘﻘﻮﻳﺔ‬ ‫ ﻟﻜﻲ ﺗﺴﺘﺨﺪم‬،‫ ﺑﻮﺻﺎت‬8 ‫اﻟﻨﻬﺎﻳﺎت ﺑﺴﻤﺎﻛﺔ‬ ‫ ﻫﺬا اﻟﺤﻞ ﻛﺎن‬.‫ﻛﺤﺎﺟﺰ ﻋﻨﺪ ﺻﺐ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫ﻧﻪ ﺳﻤﺢ ﻟﻨﺎ ﺑﺎﻟﺤﺼﻮل ﻋﻠﻰ‬O P‫ﺑﺴﻴﻂ ﺟﺪ‬ ‫ن‬O P‫ﺑﻌﺎد ﻧﻈﺮ‬O‫ ﻓﻲ ا‬P‫ﺗﺤﻜﻢ دﻗﻴﻖ ﺟﺪ‬ ‫ ﻣﻦ اﻟﺼﻌﺐ‬U‫ﻋﻤﻠﻴﺔ ﺻﺐ اﻟﺨﺮﺳﺎﻧﺔ داﺋﻤ‬ ‫ اﻟﺪﻋﺎﻣﺔ اﻟﻔﻮﻻذﻳﺔ اﻟﺠﺎﻫﺰة‬،‫اﻟﺴﻴﻄﺮة ﻋﻠﻴﻬﺎ‬ ‫ﻛﺎن ﻳﻤﻜﻦ ﺗﺸﻜﻴﻠﻬﺎ ﻓﻲ اﻟﻤﺼﻨﻊ ﺣﺴﺐ‬ .«‫ﺗﺼﻤﻴﻢ ﺷﺮﻛﺔ ﻣﻮرﻓﻮﺳﻴﺲ‬ ‫وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ أن ﻫﺬا ﻳﻌﺘﺒﺮ ﺗﺼﻤﻴﻢ‬ ‫ﻣﻌﻘﺪ ﻟﻨﻬﺎﻳﺎت اﻟﺒﻼﻃﺎت اﻟﺨﺮﺳﺎﻧﻴﺔ اﻟﺘﻲ‬ ‫ إﻻ أﻧﻬﻢ ذﻛﺮوا ﻓﻴﻤﺎ‬،‫ﻗﺎم اﻟﻤﻘﺎوﻟﻮن ﺑﺒﻨﺎﺋﻬﺎ‬ ‫ﺑﻌﺪ أﻧﻬﺎ ﻓﻲ اﻟﻮاﻗﻊ ﻛﺎﻧﺖ أرﺧﺺ اﻟﺤﻠﻮل‬ ‫ﻣﻦ ﻣﺸﺎرﻳﻊ ﻣﻤﺎﺛﻠﺔ ﺑﺴﺒﺐ دﻗﺔ ﺷﺪات‬ .«‫ﺳﻤﻨﺖ اﻟﻔﻮﻻذﻳﺔ اﻟﺘﻲ ﺳﻬﻠﺖ اﻟﺒﻨﺎء‬Z‫ا‬ ‫إن اﻟﺘﺼﺮف اﻟﺘﻌﺎوﻧﻲ واﻟﺨﺒﺮة ﻓﻲ‬ ‫اﻟﺘﺨﺼﺼﺎت اﻟﻤﺨﺘﻠﻔﺔ ﻟﺠﻤﻴﻊ ﻣﺼﻤﻤﻴﻬﺎ‬ ً ‫ وﻳﻔﻮز ﺑﺠﺎﺋﺰة‬U‫راﺋﻌ‬ ‫اﺟﺘﻤﻌﺖ ﻟﺠﻌﻞ اﻟﻤﺒﻨﻰ‬ .‫ﻣﻌﻤﺎرﻳﺔ ﻫﺎﻣﺔ‬ The desire for an elegant, tornado-like atrium wrapped in a light steel cage was a construction challenge, especially considering the heaviness of the concrete structure surrounding it.

Clandening describes, “I suggested we take all of the slabs that cantilever out into the atrium and taper them down to 8 inches, and then embed an 8-inch channel, which also serves as a form stop when you pour the concrete...In our mind, that was a very simple solution that allowed them to get very accurate dimensional control because concrete formwork is always hard to control, but a prefabricated channel could be bent in the shop to Morphosis’ tolerances.”19 Even though this was amongst the most complex slab edges the contractors had ever built, they reported that it was actually cheaper than comparable projects because of the precision machined steel form stops that facilitated construction.20 This and the numerous other innovations in 41 Cooper Square demonstrate how the collaborative disposition and disciplinary expertise of all its designers combined to make a remarkable and award-winning building.

19 20

Clandening, Interview by authors.

Clandening. Interview by authors.

© Sinead Mac Namara.

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Owner Developer: Forest City Ratner Companies Architect of Record: SHoP Architects Structural and Mechanical Engineer: Arup Integrator: SC (SHoP Construction) Modular Consultant: XSite Modular Construction Manager: Skanska Modular Contractor: FC + Skanska Modular, LLC

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(‫ ﺑﺮوﻛﻠﻴﻦ‬2 ‫اﻟﺒﺮج اﻟﺴﻜﻨﻲ )ﺑﻲ‬ ‫ﻧﻴﻮﻳﻮرك‬

dMð«— w²OÝ XÝ—u U dý ∫—uD*« p U*« ©SHOP® …—ULFK »uý W dý ∫¡UM³K ‰u *« Í—ULF*« »Ë—√ ∫wJO½UJO*«Ë wzUA½ù« ”bMN*« ©SC® ¡UM³K »uý ∫bŠu*« X¹UÝ f ≈ ∫ «bŠu « —UA² UJ ½UJÝ ∫¡UM³ « d¹b UJ ½UJÝ ´ w²OÝ XÝ—u ∫ «bŠu « ‰ËUI

‫ﺑﺮاج اﻟﺴﻜﻨﻴﺔ اﻟﻜﺒﻴﺮة‬+‫اﻟﺒﻨﺎء اﻟﺠﺎﻫﺰ ﻟ^ﻗﺘﺼﺎد ﻓﻲ ﺑﻨﺎء ا‬

B2 BKLYN ‫ ﺑﺮوﻛﻠﻴﻦ اﻟﺴﻜﻨﻲ أﺣﺪ‬2‫ﻳﻌﺘﺒﺮ ﺗﺼﻤﻴﻢ ﻣﺸﺮوع ﺑﺮج ﺑﻲ‬ ً‫ﺑﺮاج اﻟﺴﻜﻨﻴﺔ ذات اﻟﺒﻨﺎء اﻟﺠﺎﻫﺰ ﻓﻲ اﻟﻌﺎﻟﻢ ﻣﺜﺎﻻ‬+‫أﻃﻮل ا‬ ‫ ﻟﻼﺑﺘﻜﺎرات اﻟﺘﻲ ﻳﻤﻜﻦ أن ﺗﻨﺠﻢ ﻋﻦ اﻟﺘﻌﺎون‬4‫اﺳﺘﺜﻨﺎﺋﻴ‬ ‫ إن‬. ‫ﺑﻴﻦ ﻓﺮﻳﻖ ﻣﺘﻌﺪد اﻟﺘﺨﺼﺼﺎت ﻣﻨﺬ ﺑﺪاﻳﺔ اﻟﺘﺼﻤﻴﻢ‬ ‫ا@ﺑﺘﻜﺎرات اﻟﺘﻲ ﻳﺘﻄﻠﺒﻬﺎ ﻫﺬا اﻟﻨﻮع اﻟﺠﺪﻳﺪ ﻣﻦ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺴﻜﻨﻴﺔ )ذات اﻟﺘﺼﻨﻴﻊ اﻟﺠﺎﻫﺰ( ﺗﺘﻄﻠﺐ ﺿﺮورة اﻟﻌﻤﻞ‬ ‫ ﻳﺠﻌﻞ ﻫﻨﺎك إﻣﻜﺎﻧﻴﺔ ﻟﻮﺿﻊ ﺗﺼﺎﻣﻴﻢ‬،‫ﺑﺸﻜﻞ ﺗﻌﺎوﻧﻲ‬ .‫ﻣﺒﺘﻜﺮة ﻟﻜﺎﻓﺔ ﺗﻔﺎﺻﻴﻞ اﻟﻤﺸﺮوع‬ ‫ ﺑﺮوﻛﻠﻴﻦ ﻫﻮ ﺟﺰء ﻣﻦ ﻣﺸﺮوع ﺗﻄﻮﻳﺮ‬2 ‫اﻟﺒﺮج اﻟﺴﻜﻨﻲ ﺑﻲ‬ 22 ‫رض‬+‫ ﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ ا‬، ‫ﻃﻠﺴﻲ‬+‫ﻋﻘﺎري أﻃﻠﻖ ﻋﻠﻴﻪ اﺳﻢ ا‬ .(‫ ﻣﺒﻨﻰ وﺗﻘﻊ ﻓﻲ ﻗﻠﺐ ﺑﺮوﻛﻠﻴﻦ )ﻧﻴﻮﻳﻮرك‬14 ‫ﻓﺪان وﺗﺘﺄﻟﻒ ﻣﻦ‬ ‫ﻳﻌﺘﺒﺮ ﻣﻄﻮر اﻟﻤﺸﺮوع ﻫﻮ أﺣﺪ أﺑﺮز اﻟﻤﻄﻮرﻳﻦ اﻟﻌﻘﺎرﻳﻴﻦ ﻓﻲ‬ . (FCRC) ‫ﻧﻴﻮﻳﻮرك وﻫﻮ ﺷﺮﻛﺔ ﻓﻮرﺳﺖ ﺳﻴﺘﻲ راﺗﻨﺮ‬ ‫ﻓﻲ اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ اﻟﻤﺒﺎﻧﻲ ﺳﺘﺸﻴﺪ ﺑﻄﺮق ﺗﻘﻠﻴﺪﻳﺔ إﻻ أن ﺷﺮﻛﺔ‬ ‫( اﻟﺘﻲ ﻗﺎﻣﺖ ﺑﺎﻟﺘﺼﻤﻴﻢ ا@ﻧﺸﺎﺋﻲ واﻟﻤﻴﻜﺎﻧﻴﻜﻲ‬ARUP) ‫أروب‬ ‫اﻗﺘﺮﺣﺖ أن ﻳﺘﻢ اﻟﺒﻨﺎء ﺑﻄﺮق اﻟﺘﺼﻨﻴﻊ اﻟﺠﺎﻫﺰ ﻟﺨﻔﺾ‬ ‫وﻫﻜﺬا ﺗﻢ ﺗﻜﻠﻴﻒ ﻓﺮﻳﻖ ﻣﻦ اﻟﻤﻌﻤﺎرﻳﻴﻦ‬،‫ﺗﻜﻠﻔﺔ اﻟﻤﺸﺮوع‬ .‫واﻟﻤﻬﻨﺪﺳﻴﻦ واﻟﻤﺼﻨﻌﻴﻦ ﻟﻠﺘﻌﺎون ﻓﻲ إﻋﺪاد اﻟﺘﺼﺎﻣﻴﻢ‬

ÂUŽ —uEM

© SHoP Architects.

The design process for B2 BKLYN, set to become one of the tallest prefabricated residential towers in the world, is an extraordinary example of the innovations that can result from an interdisciplinary team working together from the start of the project. The inventiveness required for this new building type made working collaboratively essential and the story of the building’s realization is one where the integration of a multidisciplinary team was so fundamental to the process that it enabled innovation in every detail of the project.

The B2 BKLYN residential tower is part of Atlantic Yards, a 22-acre development comprised of 14 buildings in the heart of Brooklyn by one of New York City’s most prominent developers, Forest City Ratner Companies (FCRC). Although the towers were originally intended to be conventionally constructed, Arup’s structural studies in module assembly inspired the developer to employ prefabricated construction, and so a fully integrated team of architects, engineers and constructors was assembled to collaborate on the project.

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© SHoP Architects.

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© SC

Íb¹b(« qJON «

ÂUL(« …bŠË

÷—«uF «Ë rz«uI «

wł—U)« uNM «

a³D*«Ë f³'«

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«bŠu « WŽUM w qLF « ÂbIð `{uð WHK² qŠ«d

© SHoP Architects.

UNFOMBð - w² « WOMJ « «bŠu « ÈbŠù —uEM ©…bŠË π≥∞ U¼œbŽ ® lMB*« w

ÂUŽ —uEM

e¼U'« ÍuKF « ¡e'«Ë W¹bOKI² « ‚dD UÐ Á¡UMÐ - Íc « wKH « ¡e'« `{uð WNł«Ë

‫ﻣﻦ أﻫﻢ اﻟﻤﺰاﻳﺎ اﻟﺘﻲ ﺗﺤﻘﻘﺖ ﺑﻮاﺳﻄﺔ اﻟﺒﻨﺎء‬ ‫اﻟﺠﺎﻫﺰ ﻫﻲ اﻟﺘﻮﻓﻴﺮ ﻓﻲ ﺗﻜﺎﻟﻴﻒ اﻟﻤﺸﺮوع‬ ‫)ﺣﻴﺚ ﺗﻌﺘﺒﺮ ﺗﻜﺎﻟﻴﻒ اﻟﺒﻨﺎء ا(ﻋﺘﻴﺎدي ﻓﻲ‬ .(‫ ﻓﻲ اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة‬3‫اﻟﻤﻮﻗﻊ ﻣﺮﺗﻔﻌﺔ ﺟﺪ‬ ‫وﻟﺬﻟﻚ ﻃﻮر اﻟﻔﺮﻳﻖ إﺑﺘﻜﺎرات ﻋﺪﻳﺪة ﻟﻴﺘﻢ ﺑﻨﺎء‬ ‫اﻟﻮﺣﺪات ﻓﻲ اﻟﻤﺼﻨﻊ و ﻟﻴﺘﻢ ﻧﻘﻠﻬﺎ ﺑﺴﻬﻮﻟﺔ‬ .‫إﻟﻰ ﻣﻮﻗﻊ اﻟﺒﻨﺎء‬ ‫ﻟﻘﺪ ﺟﺮت اﻟﻌﺎدة أن ﻳﺘﻢ ﻟﺤﺎم اﻟﻮﺣﺪات ﻓﻴﻤﺎ‬ ‫ وﻫﺬا ﻳﺘﻄﻠﺐ‬، ‫ﺑﻴﻨﻬﺎ ﻣﻦ داﺧﻞ اﻟﻮﺣﺪة‬ ‫ أﺷﺨﺎص )ﻟﺤﺎم وﻣﺮاﻗﺐ‬3 ‫ﻓﺮﻳﻖ ﻣﻜﻮن ﻣﻦ‬ ‫ن ﻫﺬه‬O‫ و‬، (‫ﺷﻌﻠﺔ وﺣﺎﻣﻞ ﺟﻬﺎز اﻟﻠﺤﺎم‬ ‫ ﻟﺬﻟﻚ ﻋﻤﻞ‬،‫اﻟﻌﻤﻠﻴﺔ ﺗﻌﺘﺒﺮ ﻣﻌﻘﺪة وﻣﻜﻠﻔﺔ‬ ،‫اﻟﻔﺮﻳﻖ ﻋﻠﻰ ﺗﻘﻠﻴﻞ اﻟﻠﺤﺎم ﻗﺪر ﻻإﻣﻜﺎن‬ ‫( اﺳﺘﺮاﺗﻴﺠﻴﺔ‬ARUP) ‫وﻃﻮر ﻣﻬﻨﺪﺳﻮ أروب‬ ‫ﻟﺮﺑﻂ اﻟﻮﺣﺪت ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﻣﻦ اﻟﺨﺎرج ﻣﻤﺎ‬ ‫ﻳﻌﻨﻲ أﻧﻪ ﻳﻤﻜﻦ ا(ﻧﺘﻬﺎء ﻣﻦ ﺗﺼﻨﻴﻊ‬ ،‫رﺿﻴﺎت‬O‫اﻟﻮﺣﺪات ﻓﻲ اﻟﻤﺼﻨﻊ ﺑﻤﺎ ﻓﻲ ذﻟﻚ ا‬ ‫ وﻫﺬه ﻋﻤﻠﻴﺔ أﻗﻞ‬.‫ﺛﻢ ﻳﺘﻢ اﻟﺮﺑﻂ ﻓﻲ اﻟﻤﻮﻗﻊ‬ .‫ ﻣﻦ اﻟﺮﺑﻂ ﻣﻦ اﻟﺪاﺧﻞ‬3‫ﺗﻜﻠﻔﺔ وأﻗﻞ ﺗﻌﻘﻴﺪ‬ ‫ﻳﺘﻀﻤﻦ اﻟﺘﺼﻤﻴﻢ اﻟﻌﺪﻳﺪ ﻣﻦ ا(ﺑﺘﻜﺎرات‬ ‫اﻟﺘﻲ ﺟﺎءت ﻧﺘﻴﺠﺔ ﻟﻠﺒﺤﺚ واﻟﺘﻌﺎون ﺑﻴﻦ‬ ‫أﻋﻀﺎء اﻟﻔﺮﻳﻖ واﻟﺘﻲ أﺣﺘﺎﺟﺖ إﻟﻰ ﻛﺜﻴﺮ ﻣﻦ‬ ‫اﻟﻮﻗﺖ أﺛﻨﺎء اﻟﺘﺼﻤﻴﻢ ﻟﻀﻤﺎن ﺳﻴﺮ ﻋﻤﻠﻴﺎت‬ ً‫ ﺗﻌﺘﺒﺮ اﻟﺘﺠﺮﺑﺔ ﻣﺜﺎﻻ‬.‫اﻟﺒﻨﺎء ﺑﻄﺮﻳﻘﺔ ﻓﻌﺎﻟﺔ‬ .‫ﻧﻤﻮذﺟﻴ\ ﻟﻠﻤﺸﺎرﻳﻊ اﻟﺠﺎﻫﺰة اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬

One of the major advantages achieved through offsite construction is the cost savings (since onsite labor costs are so high in the US), so the team developed numerous innovations to enable the truck bed-sized modules to be almost fully constructed in the factory. Often in modular construction, the units are welded from the interior and the finishes are subsequently applied on site. With three people required to weld (the welder, fire watch and machine holder) the process is complicated and costly, so the aim was to minimize welding as much as possible. Arup engineers developed a strategy for bolting the modules together from the outside of the apartment units, which meant that each unit could be finished in the factory right down to the hardwood floors.

Numerous other innovations like this one required research, collaboration and time during the design process; however, the front-ended approach ensures there will be an efficient construction process, setting the bar for prefabricated projects of the future.

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The Glass Pavilion of the Toledo Art Museum was designed to house an impressive collection of contemporary and historical glass art, and is a remarkable example of the innovative work that has come out of a decades-long collaboration between SANAA and Sasaki and Partners. Mutsuro Sasaki values the equality of both the architectural and engineering point of view in the process of developing a structural system, stating, “The structural engineer’s role is thereby defined as being more like an architect than an engineer….They must undertake their collaborations from an equivalent standing”21 Architect Toshihiro Oki who worked for SANAA on the Toledo project describes the working relationship between SANAA and Mutsuro Sasaki as a particularly collaborative one, “He’s always in the office…He’s always involved in projects as an integral part from the very beginning.”22 This collaborative mode and mutual respect is demonstrated in the Glass Pavilion through a dramatic tension created seemingly out of the air, using the thinnest, most minimal, and most

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transparent elements of structure and enclosure.23 The pavilion appears from the outside as a stripe of white roof sitting atop a band of glass. Inside, most interior walls are glass with curved corners. The structure very much responds to the lightness of the design through a meandering grid of beams that accommodate the glass room enclosures by shifting the 35 thin columns (some as slender as 3½ inches in diameter24) and receding the structure from view, contributing to the illusion that the roof floats in the air.

Sasaki et al, Morphogenesis of flux structure. 11.

Oki, Toshihiro. Interview by authors. Phone interview. New York, NY, July 30, 2013.

23 Pearson, Clifford A. . “SANAA’s Sejima and Nishizawa create layers of reflections and perspectives in their Glass Pavilion at the Toledo Museum of Art.” Architectural Record 195, no. 1 (2007): 78-83.

24 Eakin. Architecture. 46-51.

21 22

‫اﻟﺠﻨﺎح اﻟﺰﺟﺎﺟﻲ ﻓﻲ‬ ‫ﻣﺘﺤﻒ ﺗﻮﻟﻴﺪو ﻟﻠﻔﻨﻮن‬ ‫اﻟﺤﺼﻮل ﻋﻠﻰ ﺷﻔﺎﻓﻴﺔ ﻓﺎﺋﻘﺔ‬ ‫ﺑﻮاﺳﻄﺔ اﻟﺘﺼﻤﻴﻢ ا‪H‬ﻧﺸﺎﺋﻲ‬

‫‪Toledo Museum of Art‬‬ ‫‪Glass Pavilion‬‬ ‫اﻟﻬﺪف ﻣﻦ ﺗﺼﻤﻴﻢ اﻟﺠﻨﺎح اﻟﺰﺟﺎﺟﻲ ﻟﻤﺘﺤﻒ ﺗﻮﻟﻴﺪو‬ ‫ﻟﻠﻔﻨﻮن ﻫﻮ إﻳﻮاء ﻣﺠﻤﻮﻋﺔ راﺋﻌﺔ ﻣﻦ ﻓﻦ اﻟﺰﺟﺎج اﻟﻤﻌﺎﺻﺮ‬ ‫واﻟﺘﺎرﻳﺨﻲ‪ ،‬وﻫﻮ ﻣﺜﺎل ﻟ‪1‬ﻋﻤﺎل اﻟﻤﺒﺘﻜﺮة اﻟﺘﻲ ﻧﺘﺠﺖ‬ ‫ﻣﻦ اﻟﺘﻌﺎون اﻟﻮﺛﻴﻖ و اﻟﻤﺴﺘﻤﺮ ﻣﻨﺬ ﻋﻘﻮد ﺑﻴﻦ ﺷﺮﻛﺔ‬ ‫ﺳﺎﻧﺎ وﺳﺎﺳﺎﻛﻲ وﺷﺮﻛﺎه ﺑﺎﻟﺘﻌﺎون ﻣﻊ اﻟﻤﻬﻨﺪس‬ ‫اﻟﻤﻌﻤﺎري ﺗﻮﺷﻴﻬﻴﺮو أوﻛﻲ‪ .‬ﻳﺤﺎول ﻣﻮﺗﺴﻮرو ﺳﺎﺳﺎﻛﻲ‬ ‫ﺗﻘﻴﻴﻢ ﻛﻞ ﻣﻦ وﺟﻬﺘﻲ اﻟﻨﻈﺮ اﻟﻤﻌﻤﺎرﻳﺔ واﻟﻬﻨﺪﺳﻴﺔ‬ ‫ﻟﻠﺸﺮﻛﺘﻴﻦ ﻓﻲ ﻋﻤﻠﻴﺔ ﺗﻄﻮﻳﺮ اﻟﻨﻈﺎم ا‪H‬ﻧﺸﺎﺋﻲ ﻓﻲ ﻫﺬا‬ ‫اﻟﻤﺸﺮوع‪ ،‬ﺣﻴﺚ ﺗﻢ ﺗﺤﺪﻳﺪ دور اﻟﻤﻬﻨﺪس ا‪H‬ﻧﺸﺎﺋﻲ ﻛﺄﻧﻪ‬ ‫أﺷﺒﻪ ﺑﻤﻌﻤﺎري أﻛﺜﺮ ﻣﻦ ﻛﻮﻧﻪ ﻣﺠﺮد ﻣﻬﻨﺪس إﻧﺸﺎﺋﻲ‪،‬‬ ‫وﻳﺠﺐ أن ﻳﺘﻌﺎون اﻟﻤﻌﻤﺎري وا‪H‬ﻧﺸﺎﺋﻲ ﻋﻠﻰ أﺳﺎس‬ ‫اﻟﺸﺮاﻛﺔ اﻟﻤﺘﺴﺎوﻳﺔ ﻓﻲ إﺗﺨﺎذ اﻟﻘﺮارات‪.‬‬ ‫أﻣﺎ ﺗﻮﺷﻴﻬﻴﺮو أوﻛﻲ اﻟﻤﻌﻤﺎري ﻣﻦ ﺳﻨﺎ اﻟﺬي ﻋﻤﻞ‬ ‫ﻋﻠﻰ ﻫﺬا اﻟﻤﺸﺮوع ﻓﻴﺘﻄﺮق إﻟﻰ اﻟﻌﻼﻗﺔ اﻟﺨﺎﺻﺔ ﺑﻴﻦ‬ ‫اﻟﺸﺮﻛﺘﻴﻦ واﺻﻔ‪ W‬ﺳﺎﺳﺎﻛﻲ ﺑﺄﻧﻪ داﺋﻤ‪ W‬ﻣﺘﻮاﺟﺪ ﻓﻲ‬ ‫اﻟﻤﻜﺘﺐ وﻳﻌﻤﻞ ﻋﻠﻰ اﻟﻤﺸﺮوع ﺑﺄﺳﻠﻮب اﻟﺪﻣﺞ ﺑﻴﻦ‬ ‫اﻟﺘﺨﺼﺼﺎت ﻣﻨﺬ اﻟﺒﺪاﻳﺔ‪ .‬وﻳﺘﺠﻠﻰ ا‪Z‬ﺳﻠﻮب اﻟﺘﻌﺎوﻧﻲ‬ ‫ﻣﻦ ﺧﻼل اﻟﺘﻔﺎﻋﻞ ﻓﻲ اﻟﺒﺤﺚ ﺑﻴﻦ اﻟﻌﺎﻣﻠﻴﻦ ﻣﻦ ﻗﺒﻞ‬ ‫اﻟﺸﺮﻳﻜﻴﻦ ﻓﻲ اﻟﺘﺼﻤﻴﻢ ﺑﺎﺳﺘﺨﺪام ﻋﻨﺎﺻﺮ ﻏﺎﻳﺔ ﻓﻲ‬ ‫اﻟﻨﺤﺎﻟﺔ واﻟﺒﺴﺎﻃﺔ واﻟﺸﻔﺎﻓﻴﺔ ﻓﻲ اﻟﻬﻴﻜﻞ ا‪H‬ﻧﺸﺎﺋﻲ‬ ‫واﻟﻐﻼف اﻟﺨﺎرﺟﻲ‪ .‬وﻳﻈﻬﺮ اﻟﺠﻨﺎح ﻣﻦ اﻟﺨﺎرج وﻛﺄﻧﻪ ﻣﻜﻮن‬ ‫ﻣﻦ ﺷﺮﻳﻂ أﺑﻴﺾ ﻓﻮق ﻗﺎﻋﺪة زﺟﺎﺟﻴﺔ ﺷﻔﺎﻓﺔ‪ ،‬ﺑﻴﻨﻤﺎ‬ ‫ﺻﻤﻤﺖ ﻣﻌﻈﻢ اﻟﻘﻮاﻃﻊ اﻟﺪاﺧﻠﻴﺔ اﻟﺰﺟﺎﺟﻴﺔ ﺑﺰواﻳﺎ ﻣﻨﺤﻨﻴﺔ‪.‬‬ ‫« ‪ÊuMHK ËbO uð nײ ∫qOLF‬‬ ‫«*‪«Ë«eOAO½ u¹— ´ ULOÝ u¹Ë“U ∫U½UÝ ∫Í—ULF*« ”bMN‬‬ ‫ ‪w ËeO ¨U UOýu¹ uJO ¨«ËUGOÝU¼ w u¹U Uð ¨w Ë√ ËdONOýuð ∫rOLB² « o¹d‬‬ ‫≈‪⁄—u³M¹œ≈ ÊU¹—uK ¨w UGOý« UO½uł ¨Ëb½u u ²O𠨫—u U1‬‬ ‫«‪ÁU dýË Êu M¹œ—u½ ÍUžË ©SAPS® Á¡U dýË wJÝUÝ ∫¡UA½ù‬‬ ‫ ‪X½Ëd W dý ∫ÃUłe « —UA²‬‬ ‫«‪mMO½öÐ XKO …—uM² « Ø »Ë—¬ ∫…¡U{ù‬‬ ‫‪Client: Toledo Museum of Art‬‬ ‫‪Architect: SANAA Kazuyo Sejima + Ryue Nishizawa‬‬ ‫‪Design Team: Toshihiro Oki, Takayuki Hasegawa, Keiko Uchiyama,‬‬ ‫‪Mizuki Imamura, Tetsuo Kondo, Junya Ishigami, Florian Idenburg‬‬ ‫‪Structure: Saski and Partners & Guy Nordenson and Associates SAPS‬‬ ‫‪Glass consultant: Front Inc.‬‬ ‫‪Lighting: ARUP/ Kilt Planning‬‬

‫∞∏ « ‪¡UM³‬‬

‫‪80 Albenaa‬‬

‫ ‪ŸËdA*« jI‬‬

‫‪© Plan redrawn by Christina Hoover‬‬

© Guy Nordenson and Associates.

×U)« s ÕUM'« U{ËdF …b¼UA WO½UJ SÐ ·UHA « wł—U)« ·öG « `L ¹

qOKI « pL « kŠö¹Ë wM×M*« ÃUłe « VO dð qO UHð `L OÝ Íc «Ë —UF² *« nI «Ë nI « 5Ð ⁄«dHK WOJO½UJO*« WLE½_« —Ëd0

83 Albenaa

¡UM³ « ∏≥

© Guy Nordenson and Associates.

WOFO³D « …¡U{ù« d uð w² « WOKš«b « WOM _«Ë qš«b « s ÕUM−K WDI

© Toshihiro Oki. © Toshihiro Oki.

ÕUM−K wzUA½ù« qJON «

U b)« «uM —Ëd0 `L ² UNO »uIŁ qLŽ - w² «Ë qJON « U½uJ 5Ð jÐd « ◊UI½ kŠö¹Ë ÕUM−K wzUA½ù« qJON «

‫ﻳﺴﺘﺠﻴﺐ اﻟﻬﻴﻜﻞ ا ﻧﺸﺎﺋﻲ ﻛﺜﻴﺮ‬ ‫ﻟﺨﻔﺔ اﻟﺘﺼﻤﻴﻢ ﻣﻦ ﺧﻼل ﺷﺒﻜﺔ‬ ‫ﻣﺘﻌﺮﺟﺔ ﻣﻦ اﻟﻜﻤﺮات اﻟﺘﻲ ﺗﺴﺘﻮﻋﺐ‬ ‫ﻓﻌﺎﻟﻴﺎت اﻟﺠﻨﺎح ﻋﻦ ﻃﺮﻳﻖ ﺗﺤﻮﻳﻞ‬ ‫ ﻋﻤﻮد‬35 ‫ﻋﻤﺪة اﻟﺮﻗﻴﻘﺔ وﻋﺪدﻫﺎ‬:‫ا‬ ‫)ﺑﻌﻀﻬﺎ ﻧﺤﻴﻠﺔ ﻳﺒﻠﻎ ﻣﺤﻴﻄﻬﺎ ﺛﻼث‬ ‫وﻧﺼﻒ ﺑﻮﺻﺔ( ﺗﺠﻌﻞ اﻟﻬﻴﻜﻞ‬ ‫ﻣﺮ اﻟﺬي‬:‫ ا‬،‫ا ﻧﺸﺎﺋﻲ ﻳﻜﺎد ﻻ ﻳﻼﺣﻆ‬ ‫ﻳﺴﺎﻫﻢ ﻓﻲ ا ﻳﻬﺎم ﺑﺄن اﻟﺴﻘﻒ ﻳﻄﻔﻮ‬ .(Making out of the air) ‫ﻓﻲ اﻟﻬﻮاء‬ ‫ﺳﻤﺤﺖ اﻻﺳﺘﺮاﺗﻴﺠﻴﺔ ا ﻧﺸﺎﺋﻴﺔ ﺑﻔﺼﻞ‬ ‫ﻓﻘﻴﺔ ﺑﺤﻴﺚ ﺗﻘﻮم‬:‫ﺣﻤﺎل اﻟﺮأﺳﻴﺔ وا‬:‫ا‬ ،‫ﻋﻤﺪة ﺑﻤﻘﺎوﻣﺔ أﺣﻤﺎل اﻟﺠﺎذﺑﻴﺔ ﻓﻘﻂ‬:‫ا‬ .‫ﻋﻤﺪة ﻧﺤﻴﻠﺔ ﻟﻠﻐﺎﻳﺔ‬:‫ﺑﺤﻴﺚ أﺻﺒﺤﺖ ا‬ ‫ﻓﻘﻴﺔ‬:‫ﺣﻤﺎل ا‬:‫وﺗﻢ ﺣﻞ ﻣﺸﻜﻠﺔ ا‬ ‫ﺑﺘﻘﺴﻴﻢ اﻟﻤﺒﻨﻰ إﻟﻰ أرﺑﻌﺔ أﺟﺰاء ﻣﻦ‬ ‫( ﻋﻠﻰ ﺷﻜﻞ‬Bracing) ‫ﺧﻼل دﻋﺎﻣﺔ‬ ‫ أﻣﺎ ﻓﻲ‬،‫( ﻣﺨﺒﺄة ﻓﻲ ﺛﻼﺛﺔ أﺟﺰاء‬X) ‫اﻟﺠﺰء اﻟﺮاﺑﻊ ﻓﺘﻢ ذﻟﻚ ﻣﻦ ﺧﻼل ﺟﺪار‬ ‫ ﺑﻮﺻﺔ ﻣﻐﻄﻰ ﺑﺎﻟﻔﻮﻻذ‬4/3 ‫ﺑﺴﻤﺎﻛﺔ‬ ‫ﻧﻴﻖ وﻫﻮ ﻳﺸﻜﻞ ﻏﻼف ﺣﺪى وﺣﺪات‬:‫ا‬ .‫اﻟﺘﺨﺰﻳﻦ اﻟﻤﺼﻤﺘﺔ‬ ‫ﻋﻨﺪ اﻟﺘﺤﻘﻴﻖ ﻓﻲ اﻟﺘﺼﻤﻴﻢ اﻟﻔﻨﻲ‬ ‫ﻟﻠﻤﺒﻨﻰ ﻧﺠﺪ أن ا ﺑﺘﻜﺎرات ﻓﻲ‬ ‫اﻟﻔﻀﺎءات واﻟﺠﻤﺎﻟﻴﺎت أﺻﺒﺤﺖ ﻣﻤﻜﻨﺔ‬ ‫ﻋﻦ ﻃﺮﻳﻖ اﻟﺘﻜﺎﻣﻞ اﻟﻮﺛﻴﻖ ﺑﻴﻦ‬ ‫ وﻫﻲ ﻣﻴﺰة ﻳﺘﺮدد‬،‫اﻟﻌﻤﺎرة واﻟﻬﻨﺪﺳﺔ‬ ‫ﺻﺪاﻫﺎ ﻓﻲ ﺟﻤﻴﻊ ﻋﻼﻗﺎت اﻟﺘﻌﺎون ﺑﻴﻦ‬ .‫ﺳﺎﻧﺎ وﺳﺎﺳﺎﻛﻲ‬

© Guy Nordenson and Associates.

The structural strategy whereby the vertical and horizontal loads were separated so that the columns carried gravity loads only, allowed the columns to be dramatically thin.

The horizontal loads, were resolved in each quadrant through cross-bracing hidden in walls in three quadrants and in the fourth, through an elegant ¾” rolled steel wall that forms the enclosure of one of the opaque volumes. It is clear when investigating the technical design of the building that the experience of the spaces and the ephemeral aesthetic are made possible only through very careful integration of architecture and engineering, a quality that resonates throughout SANAA and Sasaki’s collaborations.

UNF{Ë - w² « …bLŽ_« bł«uð s U √ l rzö²ð wJ ÃdF²*« «dLJ « —U Ëb³¹Ë W Ozd « «dLJ « dNEð ∫wzUA½ù« qJON « —Ëb « fH½ u¼Ë ÕU¹d « sŽ WLłUM « WOI _« ÈuI « …bLŽ_« 5Ð ©X® ·dŠ qJý vKŽ W UŽb « ÂËUIð ÆvM³*« ôULF²Ýù Î UF³ð ÆvM³*« s s1_« s d « w …œułu*« WOM×M*« lÞ«uI « t³FKð Íc «

82 Albenaa

¡UM³ « ∏≤

cOHM² « bFÐ ŸËdA*« Client: Massachusetts Institute of Technology Architects: Steven Holl Architects: Steven Holl and Tim Bade Local Architects: Perry Dean Rogers and Partners Structural Engineering Design: Guy Nordenson and Associates Project Engineers: Guy Nordenson and Associates and Simpson, Gumpertz & Heger Mechanical Engineer: Ove Arup & Partners Lighting Consultants: Fisher Marantz Stone General Contractor: Daniel O’Connell’s Sons

85 Albenaa

¡UM³ « ∏μ

UOłu uMJ²K f²ÝuAðUÝU bNF ∫qOLF « ÁœUÐ rOðË ‰u¼ sHO²Ý ∫…—ULFK ‰u¼ sHO²Ý W dý ∫5¹—ULF*« 5ÝbMN*« ÁU dýË “dłË— s¹œ ÍdOÐ ∫5OK;« 5¹—ULF*« 5ÝbMN*« ÁU dýË Êu M¹œ—u½ ÍUž ∫WOzUA½ù« WÝbMN « rOLBð Êu ³LOÝË ÁU dýË Êu M¹œ—u½ ÍUž ∫ŸËdA*« wÝbMN dGO¼Ë e²O³ užË ÁU dýË »Ë—¬ ·Ë√ ∫wJO½UJO ”bMN Êu²Ý e²½«—U dAO ∫…¡U{ù« Í—UA²Ý« qO½u Ë√ ‰UO½«œ œôË√ ∫ÂUF « ‰ËUI*«

‫ﻣﺒﻨﻰ ﺳﻴﻤﻮﻧﺰ ﻓﻲ ﻣﻌﻬﺪ‬ (MIT) ‫ﻣﺎﺳﺎﺗﺸﻮﺳﺘﺲ ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫ﻧﺸﺎﺋﻲ‬/‫دور اﻟﺘﺼﻤﻴﻢ ا‬ ‫ﻓﻲ ﺗﺤﻘﻴﻖ واﺟﻬﺎت ﺟﻤﻴﻠﺔ‬

Simmons Hall At MIT ‫ﻳﺆﻛﺪ ﺳﺘﻴﻔﻦ ﻫﻮل )اﻟﺤﺎﺋﺰ ﻋﻠﻰ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫ﻓﻲ ﺣﺪﻳﺜﻪ ﻋﻦ اﻟﺘﺤﺪﻳﺎت اﻟﺘﻲ ﺗﻮاﺟﻪ اﻟﺘﻌﺎون اﻟﻮﺛﻴﻖ ﺑﻴﻦ‬ ‫ﻧﺸﺎﺋﻲ ﻓﻲ اﻟﻤﻤﺎرﺳﺔ اﻟﻌﻤﻠﻴﺔ »أن‬/‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وا‬ ‫اﻟﺘﻮﺟﻪ اﻟﻴﻮم ﻫﻮ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﺗﺼﻤﻴﻢ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ ﺛﻢ‬ ‫اﻟﺘﻨﺎزل ﻟﻠﻤﻄﻮرﻳﻦ )أﺻﺤﺎب اﻟﻤﺸﺎرﻳﻊ( ﻓﻲ اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ‬ ‫ ﻟﻘﺪ أﺻﺒﺢ‬.‫ ﺑﺤﻴﺚ ﻳﻜﻮن ﻏﻴﺮ ﻣﻜﻠﻒ وﺳﺮﻳﻊ اﻟﺘﻨﻔﻴﺬ‬،‫ﻟﻠﻤﺒﻨﻰ‬ ‫ وأﻋﺘﻘﺪ أن اﻟﻔﻜﺮة‬، ‫ ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ‬L‫ﻫﺬا اﻟﺘﻮﺟﻪ ﻳﺸﻜﻞ ﺗﺤﺪﻳ‬ «‫ﻧﺸﺎﺋﻲ‬/‫ﺳﺎﺳﻴﺔ ﻳﺠﺐ أن ﻳﻨﺪﻣﺞ ﻓﻴﻬﺎ اﻟﺘﺼﻤﻴﻢ ا‬Q‫اﻟﻤﻌﻤﺎرﻳﺔ ا‬ ‫ﻫﺬا ﻫﻮ اﻟﺘﻮﺟﻪ اﻟﺬي أﻋﺘﻤﺪه اﻟﻤﻌﻤﺎري ﻫﻮل ﻓﻲ اﻟﺘﻌﺎون ﻣﻊ‬ ‫ ﻋﻨﺪﻣﺎ ﻗﺎﻣﺎ ﺑﺎﻟﺘﻌﺎون ﻓﻲ ﺗﺼﻤﻴﻢ‬،‫ﺷﺮﻛﺔ ﻧﻮردﻧﻴﺴﻮن وﺷﺮﻛﺎه‬ ‫ﻣﺸﺮوع ﻣﺒﻨﻰ ﺳﻴﻤﻮﻧﺰ وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻣﺠﻤﻊ وﻣﺮﻛﺰ ﻟﻠﻄﻠﺒﺔ‬ ‫ ﻋﻤﻞ ﻫﻮل‬. (MIT) ‫ﻓﻲ ﺣﺮم ﻣﻌﻬﺪ ﻣﺎﺳﻮﺷﺘﺲ ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫ وﻣﻦ ﺧﻼل اﻟﺘﻌﺎون‬، L‫ ﻋﺎﻣ‬30 ‫ﻛﺜﺮ ﻣﻦ‬Q‫وﻧﻮردﻳﻨﺴﻮن ﻣﻦ ﻗﺒﻞ و‬ ‫ ﻓﻤﻦ اﻟﻮاﺿﺢ أن ﻛﻼ اﻟﻤﺼﻤﻤﻴﻦ ﻗﺪ‬،‫اﻟﻮﺛﻴﻖ ﻧﺘﺞ ﻫﺬا اﻟﺘﺼﻤﻴﻢ‬ .‫اﺳﺘﻔﺎدا ﻣﻦ ﺑﻌﻀﻬﻤﺎ اﻟﺒﻌﺾ ﻣﻦ ﺧﻼل ﻋﻼﻗﺔ ﻋﻤﻞ ﻃﻮﻳﻠﺔ‬

Speaking about the challenges to the integration of architecture and engineering in contemporary design practice, award-winning architect Steven Holl asserts, “The tendency today to opt for a complex skin and give in to developers building inexpensive and rapidly constructed interiors has become a challenge...I feel that a concept should integrate structure into the meaning, the basic experience of a work in space and light.”25 This was the approach Holl and his firm took along with engineering collaborators Guy Nordenson and Associates in the design of Simmons Hall, a dormitory and student center on the campus of the Massachusetts Institute of Technology (MIT). Holl and Nordenson have worked together for over 30 years and through the highly integrated work that has resulted, it is clear that both designers have doubtless learned a great deal from each other through their longstanding working relationship.

Holl, Steven, and Todd Gannon. “Execution.” In Steven Holl: Simmons Hall. New York (N.Y.): Princeton Architectural Press, 2004. 113.

© Steven Holl Architects.

25

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…dO³ UŽUDIÐ UN WK U(« «dLJ « dNEðô YO×Ð Î UOzUA½≈ X'uŽ w² « …“—U³ « ¡«eł_« Èd½ Ê√ sJ1Ë vM³*«

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Š Steven Holl Architects. Š Guy Nordenson and Associates. Š Guy Nordenson and Associates.

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‍ؼﺣﺪى ا ďş‘ďş˜ďťœďşŽŘąŘ§ŘŞ اďť&#x;ďş˜ďť˛ ďťłďş˜ďť€ďť¤ďť¨ďťŹďşŽ ﺗﺟ ﺏا اďť&#x;ďť¤ďş¸ďşŽŮˆŘš ‏ ‍اďť&#x;اďş&#x;ﺎت اďť&#x;ﺨﺎﺳﺎﺔ ďťŁďş´ďş’ďť˜ďş” اďť&#x;ďşźďş? ﺣﺚ ďş—ďť¤ďşœďťž ﺏه اďť&#x;اďş&#x;ﺎت‏ ‍ ŮˆďťłďťŒďť ďť– ل ďť‹ďť ďť° Ř°ďť&#x;‏. ‍اďť&#x;ďť¨ďťˆďşŽŮ… ا ﺸﺎﺋ ďť&#x;ďť ďť?٠اďť&#x;ﺨﺎعďş&#x;‏ ‍ ÂťŘ§ďş§ďş˜ďşŽŘą ďť?ﺎي عدﺴن ﺎﺝﺎ ﺧﺎﺳﺎﺔ  ŘĽďť§ďş˜ďşŽŘŹ ﺡﺎﺔ‏: ‍ﺎﺋ ً‏ ‍ ďť&#x;ďť˜ďşŞâ€ŹŘŒÂŤâ€Ťďş‘ďť´ďşŽďť“ďťœďťŽŮ† ﺗﺪﺞ اďť&#x;ﺎﺏ؊ ŮˆŘ§ďť&#x;ďş ďşŞŘ§Řą  ﺟﺎ ؼﺸﺎﺋ ŮˆŘ§ďşŁďşŞâ€Ź â€Ťďť‹ďşœďşŽ ďť?ﺎي عدﺴن ďť‹ďť ďť° اďť&#x;ﺟ اďť&#x;ďťœďť¨ďşŞŮŠ اďť&#x;ﺏي ﺎم ďş‘ďş˜ďşźďť¨ďť´ďťŠâ€Ź ‍ Ůˆďş—ďş¨ďş˜ďť ďť’ ďť—ďť ďť´ Ů‹ďťźâ€ŹŘŒâ€Ť ) ŮˆďşŁďşŞŘ§ŘŞ( ؼﺸﺎﺋﺔ ďťŁďş´ďş’ďť˜ďş” اďť&#x;ďşźďş?‏T‍ ﺟﺎ‏291 ‍ﺣﺎل ا ﺸﺎﺋﺔ ‏X‍ﺏه اďť&#x;ďťŒďť¨ďşŽďşťďşŽ ﺎ ﺑﺎ ďť§ďş˜ďť´ďş ďş” ďş§ďş˜ďťźŮ Ř§â€Ź .â€ŤŮˆďşŁďşŞŘŠ ŘĽďť&#x;ďť° أﺧﺎى ﺣﺴďş? ďťŁďťŽďť—ďťŒďťŹďşŽ  اďť&#x;ﺒﺎإ‏ ‍ﺣﺎل‏X‍ﺏه اďť&#x;ﺣﺪات ا ﺸﺎﺋﺔ ﺗﺤ ďť›ďş˜ďť ďş” اďť&#x;ﺒ Ůˆďş—ďť˜ďşŽŮˆŮ… ا‏ ‍اďť&#x;ďť¨ďşŽďş—ďş ďş”  ى اďť&#x;ďş ďşŽŘ°ďş‘ďť´ďş” ŮˆŘ§ďť&#x;ﺎﺎح اďť&#x;ďş˜ďť˛ ďş—ďť¨ďş˜ďť˜ďťž  اďť&#x;ďş¸ďş’ďťœďş”â€Ź ‍ ا ﺑﺪاؚ ﺄﺗ ‏.‍ﺳﺎﺳﺎت‏X‍اďť&#x;ﺨﺎﺳﺎﺔ  اďť&#x;اďş&#x;ﺎت ŘĽďť&#x;ďť° ا‏ ‍ا ďş‘ďş˜ďťœďşŽŘą  ďş‘ďťŒďşž اďť&#x;ďť¤ďť¨ďşŽďťƒďť–  اďť&#x;ďťŹďť´ďťœďťž ا ﺸﺎﺋ ﺪﺎ‏ ‍ďş&#x;ﺰاإ اďť&#x;ﺒﺎعز؊ )اďť&#x;ďťœďťŽŘ§ďş‘ďť´ďťž( ŘŁŮˆâ€ŹX‍ ďťŁďşœďťž Ř§â€ŹŘŒâ€Ťďş—ďş˜ďş’ďşŽďť‹ďşŞ اďť&#x;ďťŒďť¨ďşŽďşťďşŽ اďť&#x;ďş˜ďť˛ ďş—ďş¤ďť¤ďť ďťŹďşŽâ€Ź ‍اďť&#x;ďť”ďş˜ďş¤ďşŽŘŞ اďť&#x;ďťœďş’ďť´ďşŽŘŠ  ﺏه اďť&#x;ďť¤ďť¨ďşŽďťƒďť– ďş—ďťŒďť¤ďťž اďť&#x;اďş&#x;ﺎت اďť&#x;ďť¤ďťœďťŽďť§ďş”â€Ź ‍ ďşˇďş’ďťœďş” اďť&#x;ﺣﺪات ا ﺸﺎﺋﺔ ďť›ďťŒďť¨ďşźďşŽ ؼﺸﺎﺋ ŮˆŘ§ďşŁďşŞ ďş—ďş˜ďşŽŘ§ďş‘ďť‚â€Ź ‍ﺎ ﺑﺎ ﺑاﺳﺔ ﺒﺎن اďť&#x;ďş˜ďş´ďť ďť´ďş˘ اďť&#x;ذﺔ اďť&#x;ďť¤ďşŞďťŁďş ďş”â€Ź ‍ Ůˆďş‘ďşŹďť&#x;ďťš ďťłďş˜ďť˘ ا ďşłďş˜ďť?ﺎإ  اďť&#x;ďťœďť¤ďşŽŘ§ŘŞâ€ŹŘŒâ€ŤŘŻŘ§ďş§ďťž اďť&#x;ﺣﺪات اďť&#x;ﺨﺎﺳﺎﺔ‏ ‍اďť&#x;ﺨﺎﺳﺎﺔ ذات اďť&#x;ďť˜ďť„ďşŽŘš اďť&#x;ďťœďş’ďť´ďşŽ اďť&#x;ﺏي ﺨ ﺑﺎďť&#x;ďş¸ďťœďťž اďť&#x;ďş¸ďş’ďťœďť˛â€Ź ‍اďť&#x; ďť&#x;ďť ďťŽŘ§ďş&#x;ﺎت اďť&#x;ďş˜ďť˛ ﺎﺖ ďşłďş˜ďş¤ďť¤ďťž ﺏه اďť&#x;ďť¤ďť¨ďşŽďťƒďť– ‏ ‍  ﺏه اďť&#x;ďť¤ďť¨ďşŽďťƒďť– ﺗ ﺎﺔ اďť&#x;ďş˜ďş´ďť ďť´ďş˘â€Ź.‍اďť&#x;ďťŹďť´ďťœďťž ا ﺸﺎﺋ‏ .â€ŤŮˆŘĽďşżďşŽďť“ďş” ŘĽďťƒďşŽŘąŘ§ŘŞ ؼﺸﺎﺋﺔ ﺣل اďť&#x;اﺏ‏ ‍م Ůˆďť§ďşŽŮ„ ﺪد  اďť&#x;ďş ďťŽŘ§ďş‹ďş°  ďťŁďş ďşŽŮ„â€Ź2002 â€ŤŘŁďť“ďş˜ďş˜ďş˘ اďť&#x;ﺒ ﺎم‏ â€ŤďťŁďşŽďťłďťœďť˛â€ŹX‍ا ﺸﺎإ ﺑﺎ  Ř°ďť&#x;ďťš ďş&#x;ﺎﺋﺰ؊ اďť&#x;ďş˜ďť¤ďť´ďş°  اďť&#x;ďť¤ďş ďť ďş˛ ا‏ .‍ďť&#x;ďť ďş¸ďşŽďť›ďşŽŘŞ اďť&#x;ﺪﺳﺔ‏ One of the many innovations in the student-focused building includes a precast concrete façade, which allows for the integration of structure and enclosure. Holl describes, “Guy suggested the prefabricated concrete sections of perfcon, which fuses window, wall and structure. Guy found the Canadian pre-caster who produced the 291 precast wall panels. They are all slightly different due to the different structural loads.â€?26 The panels carry the mass of the building, resolving gravity and wind loads that flow through the grid to the mat foundation. It is, however, at the moments where the façade must bridge or cantilever over the larger openings that the true innovative merit of the structural scheme can be seen. In these locations, the grid (all fully moment-connected due to the embedded steel reinforcement) acts like a Vierendeel truss, resolving the large bending forces that would otherwise require large heavy beams. The parts of the grid with larger forces (due to openings large or small) required a combination of filled-in window panels and increased steel reinforcing.

Simmons Hall opened in 2002 and received considerable praise and numerous awards including an Engineering Excellence Honor Award from the American Council of Engineering Companies.

26 Holl, Steven. Interview by authors. Email interview. New York, NY, August 6, 2013.

WOM _ bŠ_ ‌—u

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The SPG Shanghai Project is an un-built competition design created by engineers and architects working at the firm of SOM. Craig Hartman, design partner in SOM’s San Francisco office and lead architect on the project describes SOM’s practice as “fundamentally interdisciplinary” and a culture of collaboration is primary to the success of the firm. “Specifically in architecture and structural engineering, it very important for the collaborative environment to exist for this work. The firm’s history has been defined by that for the last 50 or 60 years.”27 Mark Sarkisian, Structural Engineering Partner, agrees, arguing it is imperative that engineers come into the design process ready to innovate & willing to contribute big ideas.28 In 2010, the team collaborated on the design of the SPG Shanghai project, which is a huge urban block in a rapidly developing part

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of Shanghai. The proposal includes a series of eight to nine storyhigh buildings that maximize the developable area within the height restrictions, enabling the design of an expansive green space that bridges across the tops of all the buildings, conceptualized as the “sky” level. Two other horizontal planes of public or semipublic program were defined as “water” and “ground”. The water level forms a physical and experiential connection to an existing river, which is below the city streetscape.

27 Hartman, Craig. Interview by authors. Phone interview. San Francisco, CA, August 2, 2013.

28 Sarkisian, Mark. Interview by authors. Phone interview. San Francisco, CA, August 2, 2013.

‫ﻣﺠﻤﻊ ﻣﺒﺎﻧﻲ إس ﺑﻲ ﺟﻲ ﺷﻨﻐﻬﺎي‬ ‫ﺣﻠﻮل إﻗﺘﺼﺎدﻳﺔ إﻧﺸﺎﺋﻴﺔ ﺗﻘﺎوم اﻟﺰﻻزل ﻟﺘﻄﻮﻳﺮ‬ ‫ﻣﺴﺎﺣﺎت ﺧﻀﺮاء ﻛﺒﻴﺮة ﻓﻮق أﺳﻄﺢ اﻟﻤﺒﺎﻧﻲ‬

‫‪SPG Shanghai‬‬ ‫ﺻﻤﻢ ﻣﺸﺮوع إس ﺑﻲ ﺟﻲ ﺷﻨﻐﻬﺎي )اﻟﺬي ﻟﻢ ﻳﻨﻔﺬ ﺑﻌﺪ(‬ ‫ﺷﺮﻛﺔ ‪ SOM‬ﺑﻬﺪف اﻟﻤﺸﺎرﻛﺔ ﻓﻲ ﻣﺴﺎﺑﻘﺔ ﻣﻌﻤﺎرﻳﺔ ‪ ،‬وﻳﻘﻮل‬ ‫ﻣﻌﻤﺎري اﻟﻤﺸﺮوع ﻛﺮﻳﻎ ﻫﺎرﺗﻤﺎن اﻟﺸﺮﻳﻚ ﻓﻲ ﺷﺮﻛﺔ ‪SOM‬‬ ‫ﻓﻲ ﺳﺎن ﻓﺮاﻧﺴﻴﺴﻜﻮ » إن ‪ SOM‬ﻫﻲ ﻓﻲ ا‪/‬ﺳﺎس ﺷﺮﻛﺔ‬ ‫ﻣﺘﻌﺪدة اﻟﺘﺨﺼﺼﺎت‪ ،‬وﺗﻘﻮم أﻋﻤﺎﻟﻬﺎ ﻋﻠﻰ ﻣﺒﺪأ اﻟﺘﻌﺎون ﺑﻴﻦ‬ ‫اﻟﺘﺨﺼﺼﺎت ‪D‬ﻧﺠﺎح أﻋﻤﻼﻫﺎ‪ ،‬ﻓﻤﻦ اﻟﻤﻬﻢ ﻟﻠﻐﺎﻳﺔ وﺟﻮد ﺑﻴﺌﺔ‬ ‫ﺗﻌﺎوﻧﻴﺔ ﺑﻴﻦ اﻟﻬﻨﺪﺳﺔ اﻟﻤﻌﻤﺎرﻳﺔ واﻟﻬﻨﺪﺳﺔ ا‪D‬ﻧﺸﺎﺋﻴﺔ ﻋﻠﻰ‬ ‫وﺟﻪ اﻟﺘﺤﺪﻳﺪ« وﻳﺆﻛﺪ ﺗﺎرﻳﺦ ﺷﺮﻛﺔ ‪ SOM‬ﻫﺬا اﻟﺘﻮﺟﻪ ﻣﻦ ﺧﻼل‬ ‫اﻟـ ‪ 50‬إﻟﻰ اﻟـ ‪ 60‬ﻋﺎﻣ‪ O‬اﻟﻤﺎﺿﻴﺔ‪ .‬وﻳﺘﻔﻖ ﻣﺎرك ﺳﺮﻛﺴﻴﺎن اﻟﺸﺮﻳﻚ‬ ‫ﻓﻲ اﻟﺠﺎﻧﺐ ا‪D‬ﻧﺸﺎﺋﻲ ﺣﻴﺚ ﻻﺑﺪ أن ﻳﻜﻮن اﻟﻤﺼﻤﻤﻮن ﻟﺪﻳﻬﻢ‬ ‫اﻟﺮﻏﺒﺔ ﻓﻲ ا‪D‬ﺑﺘﻜﺎر و اﻟﻤﺴﺎﻫﻤﺔ ﺑﺄﻓﻜﺎر ﺟﺪﻳﺪة‪.‬‬ ‫ﻓﻲ ﻋﺎم ‪2010‬م ﺗﻌﺎون اﻟﻔﺮﻳﻖ اﻟﻤﻜﻮن ﻣﻦ ﺗﺨﺼﺼﺎت ﻣﺨﺘﻠﻔﺔ‬ ‫ﻓﻲ إﻋﺪاد ﺗﺼﻤﻴﻢ ﻫﺬا اﻟﻤﺸﺮوع وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻛﺘﻠﺔ ﻋﻤﺮاﻧﻴﺔ‬ ‫ﺿﺨﻤﺔ ﺗﻘﻊ ﻓﻲ ﻣﻨﻄﻘﺔ ﺗﻄﻮر ﻋﻤﺮاﻧﻲ ﺳﺮﻳﻊ ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫ﺷﻨﻐﻬﺎي‪ ،‬وﻳﺘﻀﻤﻦ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻘﺘﺮح ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﻌﺎﻟﻴﺔ اﻟﻤﻜﻮﻧﺔ ﻣﻦ ﺛﻤﺎﻧﻲ إﻟﻰ ﺗﺴﻊ ﻃﻮاﺑﻖ ﺗﺤﻘﻖ اﺳﺘﻔﺎدة‬ ‫ﻗﺼﻮى ﻓﻲ اﻟﻤﺴﺎﺣﺎت اﻟﻤﺴﻤﻮح ﺑﻬﺎ ﻟﻠﺘﻄﻮﻳﺮ ‪ ،‬وﻗﺪ أﺗﺎح‬ ‫ذﻟﻚ ﺗﻄﻮﻳﺮ ﻣﺴﺎﺣﺔ ﺧﻀﺮاء ﻛﺒﻴﺮة ﻓﻮق أﺳﻄﺢ اﻟﻤﺒﺎﻧﻲ‬ ‫ﺗﺮﺗﺒﻂ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ ﺑﺠﺴﻮر وﺗﺸﻜﻞ ﻣﺴﺘﻮى أﻃﻠﻖ ﻋﻠﻴﻪ‬ ‫ﻣﺴﺘﻮى اﻟﺴﻤﺎء‪.‬‬ ‫ﻫﻨﺎك ﻣﺴﺘﻮﻳﻴﻦ آﺧﺮﻳﻴﻦ ﻳﻀﻤﺎن اﺳﺘﻌﻤﺎﻻت ﻋﺎﻣﺔ وﺷﺒﻪ ﻋﺎﻣﺔ‬ ‫ﻫﻤﺎ ﻣﺴﺘﻮى اﻟﻤﺎء وﻣﺴﺘﻮى ا‪/‬رض‪ ،‬ﻳﺸﻜﻞ ﻣﺴﺘﻮى اﻟﻤﺎء ﻋﻨﺼﺮ‬ ‫إﺗﺼﺎل ﻟﻨﻬﺮ ﻳﻤﺮ ﺗﺤﺖ ﻣﺴﺘﻮى ﺷﻮارع اﻟﻤﺪﻳﻨﺔ وﻳﻌﺘﺒﺮ ﺑﻤﺜﺎﺑﺔ‬ ‫ﺗﺠﺮﺑﺔ ﺟﺪﻳﺪة ﻟﺴﻜﺎن اﻟﻤﺪﻳﻨﺔ وﻣﺴﺘﻌﻤﻠﻲ ﻫﺬه اﻟﻤﺒﺎﻧﻲ‪.‬‬ ‫‪© SOM.‬‬

‫«*‪q¹dO Ë e−M¹Ë√Ë —u bOJÝ W dý ∫5¹—ULF*« 5ÝbMN‬‬ ‫®‪«“Ë— Ë—b½U O √Ë ”uJO 5Ð ¨ÊU9—U¼ m¹d ∫©SOM‬‬ ‫«*‪m½u p¹—≈Ë ÊUO O dÝ „—U ∫ ©SOM® ∫5OzUA½ù« 5ÝbMN‬‬ ‫« ‪w½u ∫©SOM® ∫wJO «d'« rOLB²‬‬ ‫«‪eð—u Ë „ö ©WSP® wÐ ”√ uOKÐœ ∫W «b²Ýô« Í—UA²Ý‬‬

‫∏∏ « ‪¡UM³‬‬

‫‪88 Albenaa‬‬

‫‪© SOM.‬‬

‫‪Architects: SOM: Craig Hartman, Ben Mickus‬‬ ‫‪and Alessandro Rozza‬‬ ‫‪Structural Engineers: SOM: Mark Sarkisian and Eric Long‬‬ ‫‪Graphic Design: SOM: Lonny‬‬ ‫‪Sustainability Consultants: WSP|Flack and Kurtz‬‬

‫ ‪dCš_« `D « ôULF²Ý≈ V½«uł iF³ dEM‬‬

© SOM. © SOM.

w½U³*« `DÝ√ 5Ð WDЫd « —u '« UNO dNEð ×U)« s ŸËdALK 5¹—uEM

91 Albenaa

¡UM³ « π±

© SOM.

ŸËdA*« `DÝ nIÝ U½uJ d³Ž œUNłù« W³ ½ `{u¹ jD

© SOM.

The integrated team developed numerous innovations through the process of designing the competition entry, ranging from new structural and facades strategies to unique sustainability measures. For example, in order to minimize material and reduce waste, the team came up with a (to be patented) design for structural slabs where concrete is replaced in the low stress areas of the slab with lightweight recycled plastic materials,29 thereby reducing the weight of the structure. The invention has the advantage of reducing stress and thus decreasing the amount of concrete required (and therefore the total mass), a hugely important consideration in seismic design.

Although the project was not ultimately built, the research and innovations they developed during the collaborative design process have already and will continue to influence their subsequent work. The challenges of this project are essentially the challenges of the 21st century city, particularly in developing nations. The creative solutions were made possible only through thoughtful individual contributions to an interdisciplinary team.

`D « nIÝ w œUNłù« ÂUEM W¹—u²½u WÝ«—œ

d −K wzUA½≈ r −

‫ﻃﻮر ﻓﺮﻳﻖ اﻟﻌﻤﻞ اﻟﻌﺪﻳﺪ ﻣﻦ ا ﺑﺘﻜﺎرات‬ ‫ﻣﻦ ﺧﻼل ﺗﺼﻤﻴﻢ ﻫﺬا اﻟﻤﺸﺮوع ﺗﺘﺮاوح‬ ‫ﺑﻴﻦ أﺳﺎﻟﻴﺐ ﺗﺼﻤﻴﻢ إﻧﺸﺎﺋﻴﺔ ﺟﺪﻳﺪة‬ .‫ﻟﻠﻮاﺟﻬﺎت وإﺟﺮاءات اﺳﺘﺪاﻣﻴﺔ ﺟﺪﻳﺪة‬ ‫ﻓﻌﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﺻﻤﻢ اﻟﻔﺮﻳﻖ ﺑﻼﻃﺎت‬ ‫ا>ﺳﻄﺢ اﻟﺨﺮﺳﺎﻧﻴﺔ واﻟﺘﻲ ﺳﺘﺘﺤﻤﻞ وزن‬ ‫اﻟﺘﺮﺑﺔ اﻟﺰراﻋﻴﺔ ﻟﻠﺴﻄﺢ ا>ﺧﻀﺮ وﺑﺤﻴﺚ‬ ‫ﺗﻘﺎوم اﻟﺰﻻزل ﺣﻴﺚ ﺗﻢ إﺳﺘﺒﺪال اﻟﺨﺮﺳﺎﻧﺔ‬ ‫ﺑﻤﻮاد ﺑﻼﺳﺘﻴﻜﻴﺔ ﺧﻔﻴﻔﺔ اﻟﻮزن ﻣﻌﺎد‬ ‫ وﺑﺬﻟﻚ‬J‫ﺗﺪوﻳﺮﻫﺎ ﻓﻲ اﻟﻤﻨﺎﻃﻖ ا>ﻗﻞ إﺟﻬﺎد‬ . ‫ﺗﻢ اﻟﺤﺼﻮل ﻋﻠﻰ ﻣﻨﺸﺄ ﺧﻔﻴﻒ اﻟﻮزن‬ ‫ﺗﻜﻤﻦ اﻟﻔﻜﺮة ﻓﻲ اﻟﻌﻤﻞ ﻋﻠﻰ ﺗﻘﻠﻴﻞ‬ ‫ وﺑﺎﻟﺘﺎﻟﻲ ﺧﻔﺾ ﻛﻤﻴﺔ‬،‫ا ﺟﻬﺎد‬ ‫اﻟﺨﺮﺳﺎﻧﺔ اﻟﻤﺴﺘﻌﻤﻠﺔ ﻟﻠﻮﺻﻮل إﻟﻰ‬ ‫ اﻟﻤﺸﺮوع‬، ‫ﺧﻔﺾ اﻟﻜﺘﻠﺔ اﻟﺨﺮﺳﺎﻧﻴﺔ‬ ‫ﻟﻢ ﻳﻨﻔﺬ وﻟﻜﻦ ﺗﻢ اﻻﺳﺘﻔﺎدة ﻣﻦ‬ ‫ا ﺑﺘﻜﺎرات ا ﻧﺸﺎﺋﻴﺔ اﻟﺘﻲ أﺗﺎﺣﺘﻬﺎ‬ ‫ﻓﻜﺮة اﻟﺘﻌﺎون ﺑﻴﻦ اﻟﻌﺎﻣﻠﻴﻦ ﻓﻲ‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﺤﻴﺚ ﺗﻢ إﺳﺘﻌﻤﺎﻟﻬﺎ ﻓﻲ‬ .‫ﺗﺼﺎﻣﻴﻢ ﻣﺸﺎرﻳﻊ أﺧﺮى ﺗﻢ ﺗﻨﻔﻴﺬﻫﺎ‬

¡«dC)« —u '« w œUNłù« WÝ«—œ UNMOÐ ULO w½U³*« `DÝ√ jÐdð w² «

29

Sarkisian. Interview by authors.

90 Albenaa

¡UM³ « π∞

93 Albenaa

¡UM³ « π≥

‫اﻟﻤﺠﻤﻊ اﻟﺠﺪﻳﺪ ﻓﻲ ﻣﻴﻨﺎء ﻛﻴﻠﻮﻧﺞ‬ ‫ﻫﻮﻧﺞ ﻛﻮﻧﺞ ـ اﻟﺼﻴﻦ‬

…—ULFK Í—UM¹œ ÆÂ≈ qO½ W dý ∫5¹—ULF*« 5LLB*« ”uK$√ ”u ¨w²¹“U uð Êu²½—uŁ ∫qJON «Ë UNł«u « m½u m½u¼ ¨»Ë—¬ ∫WO² łuK « U b)« m½u m½u¼ ¨ œ—UNMO ∫wK;« WNł«u « —UA² Ê«u¹Uð ¨tO³¹Uð ¨ÁU dýË mMAðË ÍU ∫wK;« Í—ULF*« ”bMN*«

‫إﺳﺘﺨﺪام اﻟﺪﻋﺎﻣﺎت ا\ﻧﺸﺎﺋﻴﺔ‬ ‫ﻛﻤﻔﺮدات ﻣﻌﻤﺎرﻳﺔ ﺟﻤﺎﻟﻴﺔ‬

Design Architects: Neil M. Denari Architects, Inc. Facades and Structure: Thornton Tomasetti, Los Angeles Logistics: ARUP, Hong Kong Local Facade Consultant: Meinhardt, Hong Kong Local Architect: Fei and Cheng & Associates, Taipei, Taiwan

Keelung Harbor Project

w½uI¹_« Ãd³K —uEM

© NMDA.

‫م ﻧﻈﻤﺖ ﻫﻴﺌﺔ ﻣﻴﻨﺎء ﻛﻴﻠﻮﻧﺞ ﻣﺴﺎﺑﻘﺔ ﺗﺘﺄﻟﻒ ﻣﻦ‬2012 ‫ﻓﻲ ﻋﺎم‬ ‫ ﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ اﻟﻤﻮﻗﻊ‬.‫ﻣﺮﺣﻠﺘﻴﻦ ﻟﺘﺼﻤﻴﻢ اﻟﻤﺠﻤﻊ اﻟﺠﺪﻳﺪ ﻟﻠﻤﻴﻨﺎء‬ ‫ وﻟﻘﺪ ﺗﻢ إﺧﺘﻴﺎر اﻟﺘﺼﻤﻴﻢ اﻟﻤﻘﺘﺮح ﻣﻦ ﺷﺮﻛﺔ‬.‫ﺧﻤﺴﺔ ﻫﻜﺘﺎرات‬ ،‫ﻧﻴﻞ دﻳﻨﺎري ﻟﻠﻌﻤﺎرة ﻟﺨﻮض اﻟﻤﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ ﻟﺘﻄﻮﻳﺮ اﻟﻤﻘﺘﺮح‬ ‫ﻓﻘﺎﻣﺖ اﻟﺸﺮﻛﺔ ﺑﺘﺸﻜﻴﻞ ﻓﺮﻳﻖ ﻋﻤﻞ ﻓﻴﻤﺎ ﺑﻴﻨﻬﺎ وﺑﻴﻦ ﺷﺮﻛﺔ‬ ‫ﺛﻮرﺗﻮن ﺗﻮﻣﺎزﻳﺘﻲ )اﻟﺘﻲ ﺗﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ ﻣﻨﺬ زﻣﻦ ﺑﻌﻴﺪ ﻟﺘﻄﻮﻳﺮ‬ . (‫اﻟﺘﺼﺎﻣﻴﻢ ﻓﻲ اﻟﻤﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ‬ ‫ ﻋﻠﻰ أرض‬M‫ﻳﺘﺄﻟﻒ اﻟﺘﺼﻤﻴﻢ اﻟﻔﺎﺋﺰ ﻣﻦ ﻛﺘﻠﺔ ﺷﺮﻳﻄﻴﺔ ﺗﺘﻤﺪد أﻓﻘﻴ‬ ‫اﻟﻤﺸﺮوع ﻟﺘﺸﻜﻴﻞ اﻟﻤﺒﺎﻧﻲ وﺗﻨﺘﻬﻲ ﺑﻜﺘﻠﺔ رأﺳﻴﺔ ﻋﺒﺎرة ﻋﻦ ﺑﺮج‬ ‫ ﻟﻘﺪ أﺗﺎح ﻗﺮب ﻣﻘﺮ ﺷﺮﻛﺔ ﺗﻮﻣﺎزﻳﺘﻲ‬. ‫ﻳﻤﺜﻞ ﺑﻮاﺑﺔ أﻳﻘﻮﻧﻴﺔ ﻟﻠﻤﻴﻨﺎء‬ ‫ﺑﻤﺪﻳﻨﺔ ﻟﻮس أﻧﺠﻠﻮس ﻣﻦ ﻣﻘﺮ ﺷﺮﻛﺔ دﻳﻨﺎري ﻋﻘﺪ اﺟﺘﻤﺎﻋﺎت‬ ‫ ﻫﺬه اﻻﺟﺘﻤﺎﻋﺎت ﺳﻤﺤﺖ‬، ‫ﺑﺤﻀﻮر ﻛﺎﻣﻞ [ﻋﻀﺎء ﻓﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ‬ .‫ﺑﻤﺴﺘﻮى ﻋﺎﻟﻲ ﻣﻦ اﻟﺘﻮاﺻﻞ واﻟﺘﻌﺎون \ﻧﺠﺎز اﻟﺘﺼﻤﻴﻢ‬ ‫رﻛﺰ ﻓﺮﻳﻖ اﻟﻌﻤﻞ ﻓﻲ ﺗﺼﻤﻴﻢ ﻣﺸﺮوع ﻣﺠﻤﻊ ﻣﻴﻨﺎء ﻛﻴﻠﻮج ﻋﻠﻰ‬ _‫دراﺳﺔ اﻟﻨﻈﺎم ا\ﻧﺸﺎﺋﻲ ﻟﻠﻮاﺟﻬﺎت ﻧﻈﺮ_ ﻟﻜﻮﻧﻪ ﻋﻨﺼﺮآً ﻣﺆﺛﺮ‬ ‫ أﺣﺪ ا[ﻣﺜﻠﺔ ﻋﻠﻰ ذﻟﻚ‬،‫ﻓﻲ ﺗﺤﻘﻴﻖ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺠﻤﺎﻟﻴﺔ ﻟﻠﻤﺸﺮوع‬ ‫ﻫﻮ اﻻﺣﺘﺮاﻓﻴﺔ ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﺪﻋﺎﻣﺎت ا\ﻧﺸﺎﺋﻴﺔ اﻟﻈﺎﻫﺮة ﻓﻲ‬ ‫( ﻟﻤﻘﺎوﻣﺔ اﻟﺰﻻزل ﻣﻦ ﺧﻼل اﺳﺘﺨﺪام اﻟﺸﻜﻞ‬Bracing) ‫اﻟﻮاﺟﻬﺎت‬ ‫اﻟﻤﺎﺋﻞ ﻟﻠﺪﻋﺎﻣﺎت ﻛﺄﺣﺪ ﻣﻔﺮدات اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وﺗﻜﺮارﻫﺎ ﻓﻲ‬ .‫اﻟﻮاﺟﻬﺎت وا[ﺳﻄﺢ‬ In 2012, the Keelung Harbor Port Authority held a two-stage competition calling for a new complex of buildings on a five hectare site. Neil M. Denari Architects designed a proposal that the jury selected for the second phase of the competition. At that point, Denari assembled a team of longtime friends and colleagues from Thorton Tomasetti (TT) to collaborate in the development of the proposal. The team’s winning design, which is scheduled for completion in 2017, is a stretched, molded bar that rises as a tower to form an iconic gateway to the harbor.

Since TT Los Angeles is located a couple of miles from the NMDA office, the proximity facilitated weekly in-person meetings with the whole design team, enabling a highly integrated and collaborative working process. This working method proved crucial for the Keelung Harbor Project since the structural and façade systems fundamentally interact and play a prominent role in the aesthetics of the design. One example of this skillful integration includes the expression of seismic bracing, which emphasizes an aesthetic of diagonal vectors that emerge throughout the project.

92 Albenaa

¡UM³ « π≤

© NMDA.

ÂUF « l u*«

95 Albenaa

¡UM³ « πμ

© NMDA.

ŸËdALK r −

© NMDA. © NMDA / Nephew

ŸËdALK WO³½Uł WNł«Ë

© NMDA.

ŸËdALK WO³½Uł WNł«Ë

wKš«œ —uEM

‫ﻣﺜﺎل آﺧﺮ ﻋﻠﻰ اﻟﺘﺼﻤﻤﻴﻢ ا ﻧﺸﺎﺋﻲ وﻫﻮ اﺳﺘﻌﻤﺎل‬ ‫( ﻣﻜﺎﻧﻴﺔ إﻋﺎدة‬Parametric Grasshopper) ‫ﺗﻄﺒﻴﻖ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻌﻨﺎﺻﺮ ا ﻧﺸﺎﺋﻴﺔ ﻟﺘﺘﺒﻊ ﺗﻐﻴﺮ ﻣﺴﺎﺣﺎت‬ ‫اﻟﻤﺒﺎﻧﻲ ﻧﺘﻴﺠﺔ ﻟﻠﺘﻄﻮﻳﺮات اﻟﻤﺘﻼﺣﻘﺔ ﻓﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫ وﻫﻮ‬Rhino ‫ اﻟﺘﻄﺒﻴﻖ ﻳﺘﻼﺋﻢ ﻣﻊ ﺑﺮﻧﺎﻣﺞ‬. ‫اﻟﻤﻌﻤﺎري‬ ‫ﺑﻌﺎد‬:‫ﺑﺮﻧﺎﻣﺞ ذو ﻗﺪرة ﻋﺎﻟﻴﺔ ﻟﺮﺳﻢ ﻣﺠﺴﻤﺎت ﺛﻼﺛﻴﺔ ا‬ ‫ ﺣﻴﺚ ﻳﻤﻜﻦ‬، ‫وﻫﻮ اﻟﺒﺮﻧﺎﻣﺞ اﻟﻤﻔﻀﻞ ﻟﺸﺮﻛﺔ دﻳﻨﺎري‬ ‫ﻟﻤﺼﻤﻤﻲ دﻳﻨﺎري إﺟﺮاء اﻟﺘﻌﺪﻳﻼت اﻟﻬﻨﺪﺳﻴﺔ‬ ‫وﺗﺤﻮﻳﻠﻬﺎ إﻟﻰ اﻟﺘﻄﻴﺒﻖ اﻟﺬي ﺗﺴﺘﺨﺪﻣﻪ ﺷﺮﻛﺔ‬ ‫ وﻛﺬﻟﻚ ﺗﺤﻮﻳﻞ اﻟﺘﻌﺪﻳﻼت‬،‫ﺗﻮﻣﺎزﻳﺘﻲ ا ﻧﺸﺎﺋﻴﺔ‬ ‫ وﺑﺬﻟﻚ ﺗﻢ ﺗﺤﻘﻴﻖ‬،‫ا ﻧﺸﺎﺋﻴﺔ إﻟﻰ ﺑﺮﻧﺎﻣﺞ اﻟﻤﻌﻤﺎري‬ ‫ﺗﻨﺴﻴﻖ ﺳﺮﻳﻊ واﺧﺘﺼﺎر ﻟﻠﻮﻗﺖ ﻋﻨﺪ إﻋﺪاد اﻟﻤﺨﻄﻄﺎت‬ ‫ ا ﻧﺪﻣﺎج اﻟﺘﺎم ﺑﻴﻦ‬S‫ ﻇﻬﺮ ﺟﻠﻴ‬. ‫اﻟﻤﻌﻤﺎرﻳﺔ وا ﻧﺸﺎﺋﻴﺔ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وا ﻧﺸﺎﺋﻲ وﺧﺎﺻﺔ ﻓﻲ ﻋﻨﺼﺮ‬ ‫اﻟﺪﻋﺎﻣﺎت ا ﻧﺸﺎﺋﻴﺔ اﻟﻤﺎﺋﻠﺔ ﻓﻲ اﻟﻐﻼف اﻟﺨﺎرﺟﻲ واﻟﺬي‬ ‫ﺳﻄﺢ‬:‫ﺷﻜﻞ ﺗﺼﻤﻴﻤﻪ وﺗﻜﺮاره ﻓﻲ اﻟﻮاﺟﻬﺎت وا‬ ‫ وﻓﻲ ﻫﺬا اﻟﺼﺪد ﻃﻮر اﻟﻔﺮﻳﻖ ﻧﻈﺎم‬.S‫ إﻧﺸﺎﺋﻴ‬S‫ﺗﺤﺪﻳ‬ ‫ وﺳﺮﻳﻊ اﻟﺘﻨﻔﻴﺬ وذو ﻣﺰاﻳﺎ‬S‫ﺗﺼﻨﻴﻊ ﺟﺎﻫﺰ آﻣﻦ إﻧﺸﺎﺋﻴ‬ ‫إﻧﺸﺎﺋﻴﺔ ﻣﺘﻌﺪدة ﻣﺜﻞ ﻗﺪرﺗﻪ ﻋﻠﻰ ﺗﻮزﻳﻊ اﻟﻀﻐﻂ‬ ‫وﻣﻘﺎوﻣﺘﻪ ﻟﺤﺮﻛﺔ اﻟﻤﺒﻨﻰ واﻟﺮﻳﺎح ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ‬ .‫ﻣﺴﺎﻫﻤﺘﻪ ﻓﻲ ﺗﺤﻘﻴﻖ ﻛﻔﺎءة ﺣﺮارﻳﺔ ﻟﻠﻤﺒﻨﻰ‬ ‫وﺑﺎﻟﺮﻏﻢ ﻣﻦ اﻟﺤﺠﻢ اﻟﻜﺒﻴﺮ ﻟﻠﻤﺒﻨﻰ إﻻ أن ﻓﺮﻳﻖ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻗﺪ أﻇﻬﺮ ﻗﻮة إﺑﺪاﻋﻴﺔ ﻓﻲ ﺗﺼﻤﻴﻢ أﺗﺴﻢ‬ ‫ﺑﺘﻌﻘﻴﺪات ﻛﺒﻴﺮة ﺧﺎﺻﺔ ﻣﻦ ﺣﻴﺚ اﻟﺸﻜﻞ واﻟﻤﻈﻬﺮ‬ .‫ ﻟﻢ ﻳﺘﻢ ﺗﺠﺎوزﻫﺎ‬S‫ﻓﻲ إﻃﺎر ﻣﻴﺰاﻧﻴﺔ ﻣﺎﻟﻴﺔ ﻣﺤﺪدة ﺳﻠﻔ‬ Since the required floor area changed a number of times during preliminary design, TT Structure created a parametric Grasshopper definition to more efficiently locate the structural members. Grasshopper is a visual scripting software that plugs into Rhinoceros (both by McNeel), a precise, 3d modeling program with robust capabilities. Rhino happens to be NMDA’s software of choice, so when they altered the surface forms, these new geometries were easily fed into TT’s Grasshopper definition. As a result, structural updates could happen relatively quickly and were thereby fed back into the architectural model.

The integration of architecture and engineering is also clear in the diagonals of the façade, which posed structural challenges including racking. In response, the team developed a prefabricated system that is not only structural sound and faster to construct, but also provides numerous environmental benefits. Brian Guerrero of TT Skin describes, “[It] is a pressure-equalized system and also works better with building movement, wind loads and racking,”30 and contributes significantly to the building’s overall energy performance.

Despite the huge scale and scope of the Keelung Harbor Project, the design by the interdisciplinary team demonstrates the power of invention to realize complex forms and effects on a finite budget.

30 Guerrero, Brian. Interview by authors. Phone interview.

Los Angeles, July 9, 2013.

94 Albenaa

¡UM³ « π¥

‫ﻣﻨﺘﺰه ﺟﺒﻞ اﻟﺸﻌﺒﺔ‬

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‫ﻣﺮﻛﺰ اﻟﻤﻠﻚ ﻋﺒﺪ ا اﻟﺤﻀﺮي‬

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‫ﻣﺪﻳﻨﺔ اﻟﻤﻠﻚ ﻋﺒﺪا ﻟﻠﺘﻤﻮر‬

…U?DG W? U Ë ¨ w?*UŽ j?/ v?KŽ Èd?š_«Ë W?¹bOKIð U?L¼«bŠ≈ ëd?Š w²ŠU?Ý r?Cð W¾³Fð l?½UB ¡U?A½ù hB l u Ë W?¹—U& e? «d Ë ¨j?ÝU³ l ‰U?; 5?ŠUMłË ‰UBð≈ e? «d Ë ¨W?O öŽ≈ VðUJ Ë l?¹“u² «Ë q?IM « U d?A V?ðUJ Ë —u?L² « n?OKGðË ÷—UF Ë «d9R WŽU v? « W U{ùUÐ Ê«“Ë_« WIÐUD Ë Z?²M*« …œuł W³ «d «d?³² Ë «d³)«Ë »—U?−² « ‰œU?³² oO? MðË ‰UBð« V?²J Ë —u?L² «Ë q?O M « WD?A½QÐ W? Uš —uL² « W?ŽUM w nOI¦ðË q?O¼QðË V¹—bð e? d Ë W U r? UF « ¡U?×½√ v ≈Ë s? W?KŁUL*«

‫ﻓﻨﺪق ﻓﻲ ا ﺣﺴﺎء‬

‚b?MH « ∫ w?¼Ë W? Oz— d? UMŽ Àö?Ł s? ŸËd?A*« Êu?J²¹ rOLB² « o?¹d ’d?Š b Ë ¨ ‰U?LŽô« e? d Ë Õ«d? ô« U?ŽU Ë Àö¦ « WO?ÝUÝ_« d UMF « 5?Ð q UJ² «Ë f?½U−² « o?OI% vKŽ U?Nł«uK Y?¹b(« r?OLB² « Y?OŠ W?HOþu « v? s?¹U³² « r?ž— ÆÃU?łe « U×D? Ë ¡U?LB « q?²J « t?O l?ÐU²²ðË ‰œU?³²ð

‫اﻟﻤﺮﻛﺰ اﻟﻄﺒﻲ اﻟﺘﺄﻫﻴﻠﻲ ﺑﺎﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ‬

l?Ðd d?² ±∑μ∞π[∞∞ ¡U?MÐ `D? v? ULłUÐ —«Ëœ« W? Lš s? Êu?J²¹ q UJ² «Ë Ÿu?M² «Ë WŠU? *« Y?OŠ s WO d?A « W?IDM*UÐ t?Žu½ s? ‰Ëô« u?¼Ë œb?;« v?¼ v?M³*« W?HOþË ÆW?OłöF «Ë W?OLOKF² «Ë W?OKO¼Q² « d? UMFK Æv?M³LK W?Oł—U)«Ë W?OKš«b « U?ž«dH «Ë q?²J « U? öŽ v?KŽ d?ŁR¹ Íc? «

‫ﻣﻨﺘﺰه اﻟﻤﻠﻚ ﻋﺒﺪا اﻟﺒﻴﺌﻲ‬

‰UHÞ√ VŽö Ë WOKŽUHð …—u U½ UNM o «d*« s b¹bF « rC¹ ¨lÐd d² n √ μ∞∞ WŠU vKŽ Áe²M*« lI¹ ÆWOŁ«dðW¹d ËqO MK nײ Ë UNO UývKŽÁe²M*«Íu²×¹ UL ¨d² ∑∞∞‰uDÐ…dO×ÐjÝËWOzU …d¹ełË

‫ﺳﻮق اﻟﻨﺴﺎء اﻟﺸﻌﺒﻲ‬

n? «u Ë b−? Ë U d?A*« V?²J Ë U?FzU³ « j?ÝU³ s? Êu?J²¹ Æ U C W? džË q?× Ë t¹uÐË s? √ ·d?žË ÁU?O «—ËœË «—UO?Ý

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ ﻓﻲ‬ ‫اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ وا ﺣﺴﺎء‬ ‫ﻰ‬ ‫اﻟﻌﺎم ﻟ ﺣﺴﺎء ﻳﺆﻛﺪ ﻋﻠﻰ‬ ‫اﻟﻤﺸﻬﺪ‬ ‫أﻧﻬﺎ »واﺣﺔ اﻟﻤﺴﺘﻘﺒﻞ«‪،،‬‬ ‫ﻓﻬﻨﺎك اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺘﻄﻠﻌﺎت وا ﻫﺪاف‬ ‫اﻟﺘﻲ ﺗﺴﻌﻰ إﻟﻰ ﺗﺤﻘﻴﻘﻬﺎ اﻟﺠﻬﺎت‬ ‫اﻟﺤﻜﻮﻣﻴﺔ اﻟﺘﻲ ﺗﻌﻤﻞ ﻓﻲ ا ﺣﺴﺎء‬ ‫وذﻟﻚ ﻣﻦ ﺧﻼل اﻟﺨﻄﻂ واﻟﻤﺸﺎرﻳﻊ اﻟﺘﻲ‬ ‫ووﺿﻌﻬﺎ‬ ‫ﻬﺎ‬ ‫ﺗﺠﻌﻠﻬﺎ ﻣﻮاﻛﺒﺔ ﻟﻠﻨﻤﻮ واﻟﺘﻘﺪم‬ ‫ﻋﻠﻰ اﻟﺨﺮﻳﻄﺔ اﻟﺴﻴﺎﺣﻴﺔ وذﻟﻚ ﻧﻈﺮ= ﻟﻤﺎ‬ ‫ﺗﻤﺘﻠﻜﻪ ﻣﻦ ﻣﻘﻮﻣﺎت ﻃﺒﻴﻌﻴﺔ وﺟﻤﺎﻟﻴﺔ‬

‫وﻋﻤﺮاﻧﻴﺔ ﻟﺘﺤﻘﻴﻖ ﻣﻨﻈﻮﻣﺔ اﻟﺘﻨﻤﻴﺔ‬ ‫اﻟﺸﺎﻣﻠﺔ‪ ،‬ﻓﺎﻟﻨﻬﻮض ﺑﺎﻟﺨﺪﻣﺎت وﺗﻘﺪﻳﻢ‬ ‫وﺳﺎﺋﻞ اﻟﺘﺮﻓﻴﻪ وﺗﻄﻮﻳﺮ اﻟﻨﻤﺎﻃﻖ اﻟﺘﺮاﺛﻴﺔ‬ ‫واﻟﻌﻤﻞ ﻋﻠﻰ إﻳﺠﺎد ﻣﺮاﻛﺰ ﺧﺪﻣﻴﺔ‬ ‫ﺣﻀﺮﻳﺔ ﺟﺪﻳﺪة وﺗﻄﻮﻳﺮ اﻟﻤﺤﺎور واﻟﻄﺮق‬ ‫ﻟﻠﻨﻘﻞ وإﻧﺸﺎء اﻟﺤﺪاﺋﻖ وﻣﻼﻋﺐ أﻃﻔﺎل‬ ‫واﻟﻤﺴﺎرح واﻟﻤﻌﺎرض ﻛﻠﻬﺎ ﺗﺼﺐ ﻓﻲ‬ ‫ﻣﺼﻠﺤﺔ اﻟﻤﻮاﻃﻦ واﻟﺰاﺋﺮ ‪ .‬وﻓﻲ ﻫﺬا ﻟﻌﺪد‬ ‫ﻧﺴﺘﻌﺮض ﺑﻌﺾ اﻟﻤﺸﺎرﻳﻊ اﻟﻤﺤﻠﻴﺔ ‪.‬‬

‫ﺳﻮق اﻟﺤﻤﻴﺪﻳﺔ‬

‫‪Î‬‬ ‫ ×?‪5H qJ?ý vKŽ U¼¡UMÐ w? ÊuJð ö‬‬ ‫‪±∂ s n Q²¹Ë W?¹dBOI « ‚u?Ý »uMł ‚u? « l?I¹‬‬ ‫‪W?ýuIM WO³?Aš …bLŽ√ vKŽ n?I¹ Êu?KLł qJ?AÐ V?A)UÐ ·uI? 5 u? ²LK d2 U?LNMOÐ‬‬ ‫‪r?²¹ ‚u? « `D?ÝË ¨ WO³?Aš ” pOÐU³?ý ” g?¹«—œ U?NÐ …b?¹d U?Nł«ËË e?OL² q?šb t? Ë‬‬ ‫‪Æ UNNÐU?ýU Ë WOŠUO? « V½«u'« i?F³ `D? « «b ²?Ý« WO½UJ ù WO³?Aš ôu?łd³Ð W?ODGð‬‬

‫ﻣﺠﻤﻊ ﻣﺪارس اﻟﺘﻬﺬﻳﺐ ﻟﻠﺒﻨﺎت‬

‫‪∑π≤∂ UN²ŠU? ÷—√ v?KŽ ÂU? b « W?M¹b w? V?¹cN² « ”—«b? ÂUI²?Ý‬‬ ‫ ‪WŠU? w? ULł≈ s? •μμ[≥∞ ‰œU?Fð W?OzUMÐ WŠU? 0Ë l?Ðd d?²‬‬ ‫«_—÷ ‪j?Ýu²*« v?M³ Ë w?z«b²Ðù« v?M³ Ë W?{Ëd « v?M³ v?KŽ Íu?²%Ë‬‬ ‫‪Æ «—UO? « n? «u Ë …—«œù« v?M³ v? ≈ W? U{ùUÐ Íu?½U¦ « v?M³ Ë‬‬ ‫‪Æ—«Ëœ√ W?ŁöŁË w?{—√ —ËœË ÂË—b?Ð —Ëœ s? ŸËd?A*« Êu?J²¹‬‬

‫ﺳﻮق اﻟﻘﻴﺼﺮﻳﺔ‬

‫‪Î‬‬ ‫ ‪sŽ ö?C‬‬ ‫‪¨W?IDMLK wŠUO? « »c?'« d? UMŽ r?¼√ b?Š√ W?¹dBOI « ‚u?Ý b?F¹‬‬ ‫« ¦‪v? ≈ q?B¹ W?¹dBOI « ‚u?Ý ö?× œb?Ž Ê√ Ád?

– d?¹b'« ÆÍ—U?−² « q?I‬‬ ‫‪Î‬‬ ‫‪Î‬‬ ‫ ×?‪s WzU*UÐ ≥π t²³? ½ U?0 W?½U ú U?N²OJK œu?Fð ö‬‬ ‫ ×?‪±≤∂ U?NM ¨ ö‬‬ ‫≤≤‪¥‬‬ ‫‪Î‬‬ ‫ ×?‪Æ‚u? « ö× s? W?zU*UÐ ∂± W³? MÐ Êu?MÞ«u*« U?NJKL²¹ ö‬‬ ‫«;?‪≤π∂Ë ¨‰U‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ WO dA « WIDM*« s l¹—UA

fOzd « o¹dD « WNł s —uEM

qšb*« WNł s —uEM

w{—ô« —ËbK wI ô« jI *«

WOÐdG « WNŠ«u «

w uÞ ŸUD

105 Albenaa

¡UM³ « ±∞μ

‫ﻣﺠﻤﻊ ﻣﺪارس اﻟﺘﻬﺬﻳﺐ ﻟﻠﺒﻨﺎت‬

‫ﻣﻦ أﻋﻤﺎل ﻣﻜﺘﺐ اﻟﻌﻮاﻣﻲ ﻟ ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬

‫ ‪ŸËdALK Íuł —uEM‬‬

‫ﺳﺘﻘﺎم ﻣﺪارس اﻟﺘﻬﺬﻳﺐ ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫اﻟﺪﻣﺎم ﻋﻠﻰ أرض ﻣﺴﺎﺣﺘﻬﺎ ‪ 7926‬ﻣﺘﺮ‬ ‫ﻣﺮﺑﻊ وﺑﻤﺴﺎﺣﺔ ﺑﻨﺎﺋﻴﺔ ﺗﻌﺎدل ‪55.30٪‬‬ ‫ﻣﻦ إﺟﻤﺎﻟﻲ ﻣﺴﺎﺣﺔ ا‪1‬رض وﺗﺤﺘﻮي‬ ‫ﻋﻠﻰ ﻣﺒﻨﻰ اﻟﺮوﺿﺔ وﻣﺒﻨﻰ ا;ﺑﺘﺪاﺋﻲ‬ ‫وﻣﺒﻨﻰ اﻟﻤﺘﻮﺳﻂ وﻣﺒﻨﻰ اﻟﺜﺎﻧﻮي‬ ‫ﺑﺎ;ﺿﺎﻓﺔ إﻟﻰ ﻣﺒﻨﻰ ا;دارة وﻣﻮاﻗﻒ‬ ‫اﻟﺴﻴﺎرات‪.‬‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ دور ﺑﺪروم ودور‬ ‫أرﺿﻲ وﺛﻼﺛﺔ أدوار‪ .‬أﻣﺎ دور اﻟﺒﺪروم‬ ‫ﻓﻴﺤﺘﻮي ﻋﻠﻰ‪ 88‬ﻣﻮﻗﻒ ﺳﻴﺎرة وﻗﺎﻋﺔ‬ ‫اﻟﻤﺴﺮح اﻟﺮﺋﻴﺲ وﻗﺎﻋﺔ ﻣﺘﻌﺪدة‬

‫«*‪ÂUF « l u‬‬

‫‪¡UM³ « ±∞¥‬‬

‫‪104 Albenaa‬‬

‫اﻻﺳﺘﺨﺪاﻣﺎت وﻛﺎﻓﺘﻴﺮﻳﺎ وﻗﺎﻋﺔ ﺗﺮﻓﻴﻪ‬ ‫وﻣﻌﺎﻣﻞ ﺑﺎ;ﺿﺎﻓﺔ إﻟﻰ ﻏﺮف اﻟﺨﺪﻣﺎت‬ ‫اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ واﻟﻜﻬﺮﺑﺎﺋﻴﺔ ‪ ،‬وﻳﺤﺘﻮي‬ ‫اﻟﺪور ا‪1‬رﺿﻲ ﻋﻠﻰ ﺳﺎﺣﺎت دﺧﻮل‬ ‫اﻟﻄﻼب إﻟﻰ اﻟﻤﺪارس و ‪ 6‬ﻓﺼﻮل‬ ‫ﻟﻠﺮوﺿﺔ ‪ ،‬وﻗﺪ وزﻋﺖ ﻓﺼﻮل اﻟﺘﻌﻠﻴﻢ‬ ‫ا;ﺑﺘﺪاﺋﻲ واﻟﻤﺘﻮﺳﻂ واﻟﺜﺎﻧﻮي ﻋﻠﻰ‬ ‫ا‪1‬دوار ا‪1‬رﺿﻲ واﻟﺜﻼث اﻟﻤﺘﻜﺮرة‪،‬‬ ‫و‪ 21‬ﻓﺼﻞ ﻟﻠﻤﺪرﺳﺔ ا;ﺑﺘﺪاﺋﻲ و‬ ‫‪ 7‬ﻓﺼﻮل ﻟﻠﺘﻌﻠﻴﻢ اﻟﻤﺘﻮﺳﻂ و ‪7‬‬ ‫ﻟﻠﺘﻌﻠﻴﻢ اﻟﺜﺎﻧﻮي‪ ،‬ﻓﻴﻤﺎ ﺗﻮﺟﺪ ﻣﻜﺎﺗﺐ‬ ‫ا;دارة ﻓﻲ اﻟﻄﺎﺑﻘﻴﻦ ا‪1‬رﺿﻲ وا‪1‬ول‪.‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪¡U Š_« WIDM s l¹—UA‬‬

‫ﻣﻨﺘﺰه اﻟﻤﻠﻚ ﻋﺒﺪا اﻟﺒﻴﺌﻲ‬ ‫ ‪WOŁ«d² « W¹dI « ·«dý√ Ë rOLBð ‰ ULŽQÐ p OЫ—¬ V²J ÂU‬‬

‫ﻳﻘﻊ ﻣﻨﺘﺰه اﻟﻤﻠﻚ ﻋﺒﺪا اﻟﺒﻴﺌﻲ ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫اﺟﻤﺎﻟﻴﺔ ﺗﻘﺪر ﺑـ ‪ 500‬اﻟﻒ ﻣﺘﺮﻣﺮﺑﻊ‪ ,‬وﻳﻀﻢ‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﺮاﻓﻖ ﻣﻨﻬﺎ ﻧﺎﻓﻮرة ﺗﻔﺎﻋﻠﻴﺔ‬ ‫ﺗﻌﺪ ا‪6‬ﻛﺒﺮ ﻋﻠﻰ ﻣﺴﺘﻮى اﻟﻌﺎﻟﻢ ووﺳﺎﺋﻞ‬ ‫ﺗﺮﻓﻴﻪ ﻣﻦ ﻣﻼﻋﺐ ا‪6‬ﻃﻔﺎل وﺟﺰﻳﺮة ﻣﺎﺋﻴﺔ وﺳﻂ‬ ‫اﻟﺒﺤﻴﺮة ﺑﻄﻮل ‪ 700‬ﻣﺘﺮ ‪ ,‬وﻗﺪ ﺗﻢ اﻋﺪاد اﻋﻠﻰ‬ ‫اﻟﻤﻮاﺻﻔﺎت اﻟﻔﻨﻴﺔ ‪E‬ﻧﺸﺎء اﻟﻤﻨﺘﺰه ﺑﻤﺨﺘﻠﻒ‬ ‫اﻟﺨﺪﻣﺎت وﻣﻨﻬﺎ ﺟﺴﻮر اﻟﻤﺸﺎه اﻟﺪاﺧﻠﻴﺔ ﻟﻌﺒﻮر‬ ‫اﻟﺒﺤﻴﺮة وا‪6‬ﺳﻮار اﻟﺨﺎرﺟﻴﺔ وﺷﻼﻻت ﻣﺎﺋﻴﺔ و‪6‬‬ ‫ﻧﻮاﻓﻴﺮ ﻣﻮزﻋﻪ ﻋﻠﻰ اﻧﺤﺎء اﻟﻤﻨﺘﺰه‪ ,‬ﻛﻤﺎﻳﺤﻮي‬ ‫اﻟﻤﻨﺘﺰه ﻋﺪد ﻣﻦ اﻟﻤﻮاﻗﻊ اﻟﻤﺨﺘﻠﻔﺔ ﻛﺎﻟﻤﻨﺎﻃﻖ‬ ‫اﻟﺘﺮﻓﻴﻬﻴﺔ واﻟﺸﺎﻟﻴﻬﺎت وﻣﺘﺤﻒ ﻟﻠﻨﺨﻴﻞ ﻳﺤﻮي‬ ‫ﻋﺪد ﻣﻦ اﺷﺠﺎر اﻟﻨﺨﻴﻞ ﻟﺒﻌﺾ اﺻﻨﺎف اﻟﺘﻤﻮر‬ ‫ﻓﻲ ﻣﺨﺘﻠﻒ اﻟﻤﻨﺎﻃﻖ اﻟﺰراﻋﻴﺔ ﺑﺎﻟﻤﻤﻠﻜﺔ ‪,‬‬ ‫وﻛﺬﻟﻚ ﻗﺮﻳﺔ ﺗﺮاﺛﻴﺔ ﺗﻀﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﺮاﺛﻴﺔ اﻟﻘﺪﻳﻤﺔ ﺗﺼﻮر واﻗﻊ ا‪6‬ﺣﺴﺎء ﻓﻲ اﻟﻌﺎم‬ ‫‪1350‬ﻫـ ﻣﻜﺎﻧﻴ‪ W‬وزﻣﺎﻧﻴ‪.W‬‬

‫ﺗﻄﻮﻳﺮ ﺷﺎﻃﺊ اﻟﻌﻘﻴﺮ‬

‫ ‪vAL*« Ë w½U Ëd « Õd *« Ë «dO׳ « WIDM* ·«dý√ Ë rOLBð ‰ULŽQÐ p OЫ—¬ V²J ÂU‬‬

‫ﻳﻘﺎم اﻟﻤﺸﺮوع ﻋﻠﻰ ﻣﺴﺎﺣﺔ ‪ 570‬أﻟﻒ‬ ‫ﻣﺘﺮ ﻣﺮﺑﻊ وﺗﺸﺘﻤﻞ اﻟﻤﻨﻄﻘﺔ اﻟﺘﺮﻓﻴﻬﻴﺔ‬ ‫ﻋﻠﻰ ﻋﻨﺎﺻﺮ ﻋﺪة ﻣﻦ ﺑﻴﻨﻬﺎ ﺑﺤﻴﺮات‬ ‫ﻣﺎﺋﻴﺔ ﺗﺤﻮي ﺟﺰر‪ f‬وﺟﺴﻮر وأﻟﻌﺎب ﻣﺎﺋﻴﺔ‬ ‫ﺗﺼﻞ ﻣﺴﺎﺣﺘﻬﺎ إﻟﻰ أﻛﺜﺮ ﻣﻦ ‪ 30‬أﻟﻒ‬ ‫ﻣﺘﺮ ﻣﺮﺑﻊ ‪ ،‬ﻣﺴﻄﺤﺎت ﺧﻀﺮاء ﺑﻤﺴﺎﺣﺔ‬ ‫‪ 120‬أﻟﻒ ﻣﺘﺮ ﻣﺮﺑﻊ ﺳﻴﺰرع ﻓﻴﻬﺎ أﻛﺜﺮ‬ ‫ﻣﻦ ‪ 1350‬ﺷﺠﺮة ﻛﺒﻴﺮة و‪ 40‬أﻟﻒ ﺷﺠﻴﺮة‬

‫ذات ﺗﺸﻜﻴﻼت زﻫﺮﻳﺔ ﻣﺘﻨﻮﻋﺔ‪ ،‬ﻣﻼﻋﺐ‬ ‫وﻣﻴﺎدﻳﻦ وﻣﻮاﻗﻊ ﺧﺎﺻﺔ ﻟﺒﻨﺎء ﻣﺴﺠﺪ و‪6‬‬ ‫دورات ﻣﻴﺎه و‪ 4‬ﻣﻄﺎﻋﻢ وﺷﺎﻟﻴﻬﺎت وﻋﺪد‬ ‫ﻣﻦ اﻟﻤﺮاﻓﻖ ا‪6‬ﺧﺮى‪ ،‬إﺿﺎﻓﺔ إﻟﻰ إﻧﺸﺎء‬ ‫ﻣﻤﺮات ﻣﺸﺎه ﻓﻲ اﻟﻤﻨﻄﻘﺔ ﻣﺴﺎﺣﺘﻬﺎ‬ ‫‪ 37‬أﻟﻒ ﻣﺘﺮ ﻣﺮﺑﻊ وﻃﺮق ﺳﻴﺎرات أﻛﺜﺮ ﻣﻦ‬ ‫‪ 4‬ﻛﻴﻠﻮﻣﺘﺮات وﺗﺨﺼﻴﺺ ﻣﻮاﻗﻒ ‪6‬ﻛﺜﺮ‬ ‫ﻣﻦ ‪ 300‬ﺳﻴﺎرة‪.‬‬

‫ ‪ÂUŽ dEM‬‬

‫∑∞‪¡UM³ « ±‬‬

‫‪107 Albenaa‬‬

‫أﻋﻤﺎل ﺗﺼﻤﻴﻢ و أﺷﺮاف‬

‫ﻣﻜﺘﺐ آراﺑﻴﺴﻚ ﻟ ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬

‫ ‪ŸËdA*« U½uJ Ë w½U³‬‬

‫ﻣﺪﻳﻨﺔ اﻟﻤﻠﻚ ﻋﺒﺪا ﻟﻠﺘﻤﻮر‬

‫ ‪—uL²K tK « b³Ž pK*« WM¹b* ·«dý_« Ë rOLB² « ‰ULŽQÐ p OЫ—¬ V²J ÂU‬‬

‫ﺗﻀﻢ ﻣﺪﻳﻨﺔ اﻟﻤﻠﻚ ﻋﺒﺪا ﻟﻠﺘﻤﻮر ﺳﺎﺣﺘﻲ ﺣﺮاج إﺣﺪاﻫﻤﺎ‬ ‫ﺗﻘﻠﻴﺪﻳﺔ وا‪1‬ﺧﺮى ﻋﻠﻰ ﻧﻤﻂ ﻋﺎﻟﻤﻲ ﻣﺜﻞ اﻟﺒﻮرﺻﺔ‪ ،‬وﺻﺎﻟﺔ ﻣﻐﻄﺎة‬ ‫وﺟﻨﺎﺣﻴﻦ ﻟﻤﺤﺎل ﻣﻊ ﻣﺒﺎﺳﻂ ﺗﺤﺪد ﺧﻄﻮط اﻟﻤﺸﺮوع‪ ،‬وﻣﺮاﻛﺰ‬ ‫ﺗﺠﺎرﻳﺔ ﻓﻲ زواﻳﺎ اﻟﻤﺸﺮوع وﻣﻮﻗﻊ ﻣﺨﺼﺺ @ﻧﺸﺎء ﻣﺼﺎﻧﻊ ﺗﻌﺒﺌﺔ‬ ‫وﺗﻐﻠﻴﻒ اﻟﺘﻤﻮر وﻣﻜﺎﺗﺐ ﻟﺸﺮﻛﺎت اﻟﻨﻘﻞ واﻟﺘﻮزﻳﻊ وﻣﻜﺎﺗﺐ‬ ‫إﻋﻼﻣﻴﺔ‪ ،‬وﻣﺮاﻛﺰ إﺗﺼﺎل وﻣﺨﺘﺒﺮات ﻣﺮاﻗﺒﺔ اﻟﺠﻮدة ﻟﻔﺤﺺ اﻟﻤﻨﺘﺞ‬ ‫وﻣﻄﺎﺑﻘﺔ ا‪1‬وزان ﺑﺎ@ﺿﺎﻓﺔ اﻟﻰ ﻗﺎﻋﺔ ﻣﺆﺗﻤﺮات وﻣﻌﺎرض ﺧﺎﺻﺔ‬ ‫ﺑﺄﻧﺸﻄﺔ اﻟﻨﺨﻴﻞ واﻟﺘﻤﻮر وﻣﻜﺘﺐ اﺗﺼﺎل وﺗﻨﺴﻴﻖ ﻟﺘﺒﺎدل‬ ‫اﻟﺘﺠﺎرب واﻟﺨﺒﺮات اﻟﻤﻤﺎﺛﻠﺔ ﻣﻦ وإﻟﻰ أﻧﺤﺎء اﻟﻌﺎﻟﻢ وﻣﺮﻛﺰ ﺗﺪرﻳﺐ‬ ‫وﺗﺄﻫﻴﻞ وﺗﺜﻘﻴﻒ ﻓﻲ ﺻﻨﺎﻋﺔ ﻛﺎﻓﺔ اﻟﺘﻤﻮر‪.‬ﻛﻤﺎأن ﻣﺸﺮوع ﻣﺪﻳﻨﺔ‬ ‫اﻟﻤﻠﻚ ﻋﺒﺪا ﻟﻠﺘﻤﻮر ﻳﺘﻀﻤﻦ إﻧﺸﺎء ﺷﺎﺷﺔ إﻟﻜﺘﺮوﻧﻴﺔ ﻣﻔﺘﻮﺣﺔ‬ ‫ﺑﻤﻨﻄﻘﺔ اﻟﺨﻠﻴﺞ ﺗﻌﻤﻞ ﻛﻨﻈﺎم »ﺑﻮرﺻﺔ« ﻟﺴﻮق اﻟﻨﺨﻴﻞ واﻟﺘﻤﻮر‬ ‫‪ ,‬ﻋﻠﻰ ان ﻳﺘﻢ ﺗﻌﻤﻴﻢ ﻫﺬه اﻟﺒﻮرﺻﺔ ﺗﺠﺎرﻳ] ﻋﻠﻰ ﻛﺎﻓﺔ ﻣﻨﺎﻃﻖ‬ ‫اﻟﻤﻤﻠﻜﺔ ودول اﻟﺨﻠﻴﺞ ﺑﺤﻴﺚ ﺗﺴﻤﺢ ﻟﻜﻞ ﻓﺮد ﺑﺎﻟﻤﺰاودة ﻋﻠﻰ‬ ‫ﺳﻴﺴﺎﻫﻢ ﻓﻲ‬ ‫ﺳﻠﻊ ﺗﺎﺟﺮ ا‪1‬ﺣﺴﺎء ﺑﺴﻮق اﻟﺤﺮاج ‪ ,‬واﻟﻤﺸﺮوع ُ‬ ‫إﻋﻄﺎء اﻟﺴﻠﻌﺔ اﻟﻘﻴﻤﺔ اﻟﺘﻲ ﺗﺴﺘﺤﻘﻬﺎ وﻋﺪم ﺑﺨﺲ ﻗﻴﻤﺘﻬﺎ‬ ‫ا‪1‬ﺳﺎﺳﻴﺔ وﻫﻮ ﻣﺎﻳﺤﺎﻓﻆ ﻋﻠﻰ اﻟﻤﻨﺘﺞ وﻋﻠﻰ ﺑﻴﺌﺔ اﻟﻨﺨﻴﻞ واﻟﻮاﺣﺔ‪،‬‬ ‫وا‪1‬ﻣﺎﻧﺔ ﺟﺎءت ﻛﺠﻬﺔ ﺣﻴﺎدﻳﺔ ﻟﺘﻘﻴﻴﻢ اﻟﺴﻠﻌﺔ وإﻋﻄﺎﺋﻬﺎ ﻣﺴﺘﻮى‬ ‫ﻣﻌﻴﻨﺎ ﻳﺘﻢ ﺧﻼﻟﻪ ﺗﻘﺴﻴﻤﻬﺎ إﻟﻰ ﻓﺌﺎت ) أ‪,‬ب‪,‬ج ( ﺣﻴﺚ ﺳﻴﺤﻔﻆ‬ ‫ذﻟﻚ ﺣﻘﻮق اﻟﻤﺰارع وﺣﻘﻮق اﻟﻤﺴﺘﻬﻠﻚ ‪.‬‬ ‫∂∞‪¡UM³ « ±‬‬

‫‪106 Albenaa‬‬

‫ ‪fOzd « qšb*« WNł s —uEM‬‬

‫‪WM¹b*UÐ qO M « UŠ«Ë‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪WO dA « WIDM*« s l¹—UA‬‬ ‫ﻓﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ ‪:‬‬ ‫م‪ .‬ﺧﺎﻟﺪ اﻟﻌﻘﻴﻞ‬ ‫م‪ .‬ﺣﺎﻓﻆ ﻋﺒﺪ اﻟﻌﺰﻳﺰ‬ ‫م‪ .‬روﻣﻴﻮ ﻓﺮوﻧﺪا‬

‫اﻟﻤﺎﻟﻚ ‪ :‬ﺷﺮﻛﺔ‬ ‫اﻟﻌﻤﺎرة اﻟﻌﺎﻟﻤﻴﺔ‬ ‫اﻟﻤﺼﻤﻢ ‪ :‬ﻣﻜﺘﺐ‬ ‫اﻟﺘﻨﺎﻏﻢ ﻟﻼﺳﺘﺸﺎرات‬ ‫اﻟﻬﻨﺪﺳﻴﺔ‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﺠﺒﻴﻞ‬ ‫اﻟﺼﻨﺎﻋﻴﺔ ﺣﻲ‬ ‫ﺟﻠﻤﻮده ﻣﺤﻠﺔ ﻃﻴﺒﺔ‬ ‫ﻣﺴﺎﺣﺔ اﻻرض ‪:‬‬ ‫‪ 8336.00‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫اﻟﻤﺴﺎﺣﺔ اﻟﻤﺒﻨﻴﺔ ‪:‬‬ ‫‪ 3381.00‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫وﺻﻒ اﻟﻤﺸﺮوع ‪:‬‬ ‫ﻋﺒﺎره ﻋﻦ ﻣﺸﺮوع‬ ‫ﺗﺠﺎري ﺳﻜﻨﻲ‬ ‫ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع ‪:‬‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ‬ ‫ﻣﺤﻼت ﺗﺠﺎرﻳﺔ ﺑﺎﻟﺪور‬ ‫اﻻرﺿﻲ و ﺛﻼث ادوار‬ ‫ﻣﺘﻜﺮره ﺷﻘﻖ ﺳﻜﻨﻴﺔ‬ ‫ﻣﺠﻤﻮﻋﻬﺎ ‪ 54‬ﺷﻘﺔ‬

‫ ‪WOHK)« WNł«uK —uEM‬‬

‫‪¡UM³ « ±∞π‬‬

‫‪109 Albenaa‬‬

‫ﻣﺠﻤﻊ ﺗﺠﺎري ﺳﻜﻨﻲ‬

‫ﻣﻦ أﻋﻤﺎل ﻣﻜﺘﺐ اﻟﺘﻨﺎﻏﻢ ﻟﻼﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬

WO U ô« WNł«uK —uEM

WOMJ « …bŠu « rOLB² © » ®Ã–u/

WOMJ « …bŠu « rOLB² © « ®Ã–u/

w{—ô« —ËbK wI ô« jI *«

108 Albenaa

¡UM³ « ±∞∏

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪¡U Š_« WIDM s l¹—UA‬‬

‫‪W Ozd « qš«b*« WNł«Ë‬‬

‫ﻋﻠـــﻰ اﻟﻤﺴـــﺘﻮى اﻟﻮﻇﻴﻔـــﻰ روﻋﻴﺖ‬ ‫ﺧﺼﺎﺋﺺ اﻟﻤﻮﻗـــﻊ واﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ‬ ‫ﺣﻴﺚ ﺗـــﻢ ﺗﺠﻤﻴﻊ ﻣﻮاﻗﻒ اﻟﺴـــﻴﺎرات‬ ‫وﻋﻨﺎﺻـــﺮ اﻟﺨﺪﻣﺔ ﺑﺎﻟﺒﺪروم ﻻﻓﺴـــﺎح‬ ‫اﻟﻤﺠﺎل ﻓﻰ اﻟﺴﺎﺣﺔ اﻟﻜﺒﻴﺮة ا‪2‬ﻣﺎﻣﻴﺔ‬ ‫ﻟﻠﻔﻨﺪق ﻻﺿﺎﻓﺔ ﻣﺴﻄﺤﺎت ﺗﺮﻓﻴﻬﻴﺔ‬ ‫ﻟ=ﻃﻔﺎل وﺟﻠﺴﺎت ﻣﻜﺸﻮﻓﺔ ﺗﻄﻞ‬ ‫ﻋﻠﻰ اﻟﻤﺪاﺧﻞ اﻟﺮﺋﻴﺴـــﺔ ﺑﺎﻟﺸـــﻮارع‬ ‫اﻻﻣﺎﻣﻴـــﺔ ﻓـــﻰ اﻟﺠﻬـــﺔ اﻟﻐﺮﺑﻴـــﺔ‬ ‫واﻟﺠﻨﻮﺑﻴﺔ ‪ ،‬ﻛﻤﺎ اﺿﻴﻔﺖ اﻟﺠﻠﺴـــﺎت‬ ‫واﻟﻤﻘﺎﻫﻰ اﻟﺪاﺧﻠﻴﺔ واﻟﺨﺎرﺟﻴﺔ ﻓﻮق‬ ‫ﻗﺎﻋـــﺎت اﻻﻓﺮاح ﻟﺘﻄـــﻞ ﻋﻠﻰ اﻟﻨﺨﻴﻞ‬ ‫ﻣﻊ ﻣﺮاﻋﺎة اﻟﺒﻌﺪ اﻻﺟﺘﻤﺎﻋﻰ ﺑﺎﻟﻔﺼﻞ‬ ‫ﺑﻴـــﻦ اﻟﻌﺎﺋﻼت واﻻﻓﺮاد ‪ ،‬وﺗﻤﺖ ﻣﺮاﻋﺎة اﻟﻔﺼﻞ ﺑﻴﻦ ﺣﺮﻛﺔ وﻣﺪاﺧﻞ ﻗﺎﻋﺎت اﻻﻓﺮاح وﺑﻴﻦ ﻣﺪﺧﻞ اﻟﻔﻨﺪق‬ ‫ﻣﻊ اﻣﻜﺎﻧﻴﺔ اﻻﺗﺼﺎل اﻟﺴـــﻠﺲ ﺑﻴﻦ اﻟﻌﻨﺼﺮﻳﻦ اﻟﺮﺋﻴﺴـــﻴﻴﻦ ‪ ،‬وﺗﺘﺪرج ﻛﺘﻠـــﺔ اﻟﻔﻨﺪق ﺻﻌﻮد‪ ، I‬وﺗﺘﻮزع‬ ‫ﻋﻠﻴﻬـــﺎ ا‪2‬ﺟﻨﺤﺔ واﻟﻐـــﺮف اﻟﻔﻨﺪﻗﻴﺔ ﺑﺤﻴﺚ ﺗﻜﻮن ا‪2‬ﺟﻨﺤﺔ اﻟﻜﺒﻴﺮة اﻟﻤﻤﻴـــﺰة ﻓﻰ أرﻛﺎن اﻟﻤﺒﻨﻰ وﺧﺎﺻﺔ‬ ‫ﻓﻰ ا‪2‬دوار اﻟﻌﻠﻮﻳﺔ ﺣﻴﺚ ﻳﺰداداﻟﻤﻮﻗﻊ ﺗﻤﻴﺰ‪ I‬ﻣﻊ ا‪2‬رﺗﻔﺎع ‪.‬‬

‫«* ‪w{—ô« —ËbK wI ô« jI‬‬

‫‪¡UM³ « ±±±‬‬

‫‪111 Albenaa‬‬

‫ﻣﺸﺮوع ﻓﻨﺪق‬

‫ﻣﻜﺘﺐ اﻟﺘﺄﺛﻴﺮ‬ ‫ﻟ ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬ ‫ﻓﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ ‪ :‬م ‪ :‬ﺣﺎزم ﻓﻮزى ‪ ,‬م ‪ :‬أﺣﻤﺪ اﻟﺸﻘﻴﺮى‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻻﺣﺴﺎء‬ ‫ﻣﺴﺎﺣﺔ ا رض ‪ 10000:‬م‪2‬‬

‫ﻳﺘﻜﻮن اﻟﻤﺸــــﺮوع ﻣﻦ ﺛﻼث ﻋﻨﺎﺻﺮ رﺋﻴﺴــــﺔ وﻫﻲ ‪ :‬اﻟﻔﻨــــﺪق وﻗﺎﻋﺎت اﻻﻓﺮاح‬ ‫وﻣﺮﻛﺰ اﻻﻋﻤﺎل ‪ ،‬وﻗﺪ ﺣﺮص ﻓﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ ﻋﻠﻰ ﺗﺤﻘﻴﻖ اﻟﺘﺠﺎﻧﺲ واﻟﺘﻜﺎﻣﻞ‬ ‫ﺑﻴــــﻦ اﻟﻌﻨﺎﺻﺮ ا‪K‬ﺳﺎﺳــــﻴﺔ اﻟﺜﻼث رﻏﻢ اﻟﺘﺒﺎﻳﻦ ﻓــــﻰ اﻟﻮﻇﻴﻔﺔ ﺣﻴﺚ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺤﺪﻳﺚ ﻟﻠﻮاﺟﻬﺎت ﺗﺘﺒﺎدل وﺗﺘﺘﺎﺑﻊ ﻓﻴﻪ اﻟﻜﺘﻞ اﻟﺼﻤﺎء وﻣﺴــــﻄﺤﺎت اﻟﺰﺟﺎج‬ ‫‪U‬ﻛﺴﺎء اﻟﻮاﺟﻬﺎت ﺑﺸﻜﻞ ﻣﺘﻨﺎﺳﻖ ﻣﻊ اﺳﺘﻌﻤﺎل وﺣﺪة ﺗﺮاﻛﺒﻴﺔ ﻓﻰ واﺟﻬﺔ‬ ‫اﻟﻔﻨﺪق ﺗﺘﻤﺎﻫﻰ ﻣﻊ ﻣﺴﻄﺤﺎت اﻟﺰﺟﺎج واﻟﺤﺠﺮ ا‪K‬ﺻﻔﺮ‪.‬‬

‫ ‪q²J « ×bð dNE¹ UL qO M « vKŽ qD² Õ«d ô« UŽU ‚u WOł—U)«Ë WOKš«b « v¼UI*«Ë U K'« `{u¹ WNł«uK —uEM‬‬

‫∞‪¡UM³ « ±±‬‬

‫‪110 Albenaa‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪WO dA « WIDM*« s l¹—UA‬‬ ‫ﻣﻜﻮﻧﺎت اﻟﻤﺸﺮوع‬

‫«* ‪w{—_« —ËbK wI _« jI‬‬

‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع‬ ‫ﻣﻦ ‪ :‬ﻣﺮﻛﺰ ا ﻃﺮاف‬ ‫اﻟﺼﻨﺎﻋﻴﺔ ﺑﺎﻟﻤﺮﻛﺰ‬ ‫اﻟﺘﺄﻫﻴﻠﻲ‪ ،‬واﻟﻌﻴﺎدات‬ ‫اﻟﺨﺎرﺟﻴﺔ‪ ،‬وﻣﺮﻛﺰ‬ ‫اﻟﻌﻼج اﻟﺤﺮ ‪ ،‬واﻟﻌﻼج‬ ‫اﻟﻄﺒﻴﻌﻲ‪ ،‬وﻋﻠﻞ‬ ‫اﻟﻨﻄﻖ واﻟﺘﺨﺎﻃﺐ‬ ‫واﻟﺒﻠﻊ‪ ،‬واﻟﻌﻴﺎدات‬ ‫اﻟﺨﺎرﺟﻴﺔ‪ ،‬وﻣﺨﺘﺒﺮات‬ ‫ﻃﺒﻴﺔ ‪ ،‬وﺻﻴﺪﻟﻴﺔ‪،‬‬ ‫وﻣﺮﻛﺰ اﻟﺘﻌﻠﻴﻢ‬ ‫اﻟﻤﺴﺘﻤﺮ‪ ،‬وا ﺷﻌﺔ‪.‬‬

‫«* ‪‰Ë_« —ËbK wI _« jI‬‬

‫‪fOzd « o¹dD « WNł«Ë‬‬

‫‪WNł«u « ‰uDÐ WOłUł“ UNł«Ë‬‬

‫≥‪¡UM³ « ±±‬‬

‫‪113 Albenaa‬‬

тАл╪зя╗Яя╗дя║оя╗Ыя║░ ╪зя╗Яя╗Дя║Тя╗▓ ╪зя╗Яя║Шя║Дя╗ля╗┤я╗ая╗▓ я║Ся║Оя╗Яя╗дя╗ия╗Дя╗Шя║Ф ╪зя╗Яя║╕я║оя╗Чя╗┤я║ФтАм

тАля╗гя╗ж ╪гя╗Ля╗дя║О┘Д я╗гя║ая╗дя╗оя╗Ля║Ф ╪зя╗Яя╗дя╗╝ я╗Я я║│я║Шя║╕я║О╪▒╪з╪к ╪зя╗Яя╗мя╗ия║кя║│я╗┤я║ФтАм

тАлтАкfOzd ┬л q┼бb*┬л WN┼В┬л├ЛтАмтАм

тАл╪зя╗Яя╗дя║оя╗Ыя║░ ╪зя╗Яя╗Дя║Тя╗▓ ╪зя╗Яя║Шя║Оя╗ля╗┤я╗ая╗▓ я║Ся║Оя╗Яя╗дя╗ия╗Дя╗Шя║ФтАм тАл╪зя╗Яя║╕я║оя╗Чя╗┤я║Ф я╗ля╗о я╗гя║оя╗Ыя║░ я║Чя║Дя╗ля╗┤я╗ая╗▓ я╗│я║Шя╗Ья╗о┘ЖтАм тАля╗гя╗ж я║зя╗дя║┤я║Ф ╪з╪п┘И╪з╪▒ я║Ся║Оя║Яя╗дя║Оя╗Яя╗░ я╗гя║┤я╗Дя║втАм тАля║Ся╗ия║О╪б тАк 17509.00тАмя╗гя║Шя║о я╗гя║оя║Ся╗К ┘Ия╗ля╗о ╪зя╗╗┘И┘ДтАм тАля╗гя╗ж я╗зя╗оя╗Ля╗к я║Ся║Оя╗Яя╗дя╗ия╗Дя╗Шя║Ф ╪зя╗Яя║╕я║оя╗Чя╗┤я║Ф я╗гя╗жтАм тАля║гя╗┤я║Ъ ╪зя╗Яя╗дя║┤я║Оя║гя║Ф ┘И╪зя╗Яя║Шя╗ия╗о╪╣ ┘И╪зя╗Яя║Шя╗Ья║Оя╗гя╗ЮтАм тАля╗Яя╗ая╗Мя╗ия║Оя║╗я║о ╪зя╗Яя║Шя║Дя╗ля╗┤я╗ая╗┤я║Ф ┘И╪зя╗Яя║Шя╗Мя╗ая╗┤я╗дя╗┤я║ФтАм тАл┘И╪зя╗Яя╗Мя╗╝я║Яя╗┤я║ФтАк.тАмтАм тАл┘Ия╗Зя╗┤я╗Фя║Ф ╪зя╗Яя╗дя║Тя╗ия╗░ я╗ля╗░ ╪зя╗Яя╗дя║дя║к╪п ╪зя╗Яя║м┘КтАм тАля╗│я║Жя║Ыя║о я╗Ля╗ая╗░ я╗Ля╗╝я╗Чя║О╪к ╪зя╗Яя╗Ья║Шя╗Ю ┘И╪зя╗Яя╗Фя║о╪зя╗Пя║О╪ктАм тАлтЙдтАк┬бUM┬│ ┬л ┬▒┬▒тАмтАм

тАлтАк112 AlbenaaтАмтАм

тАл╪зя╗Яя║к╪зя║зя╗ая╗┤я║Ф ┘И╪зя╗Яя║ия║О╪▒я║Яя╗┤я║Ф я╗Яя╗ая╗дя║Тя╗ия╗░тАк ╪МтАм┘Ия╗ля║м╪зтАм тАля╗гя║О ╪г╪▒я║Чя╗Ья║░ я╗Ля╗ая╗┤я╗к ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я╗гя╗ж ┘Ия╗Зя╗┤я╗Фя╗┤я║ФтАм тАл╪зя╗Яя╗Мя╗ия║Оя║╗я║о ╪зя╗Яя╗дя╗Ья╗оя╗зя╗к я╗Яя╗ая╗дя║╕я║о┘И╪╣ я╗Яя║Шя║╝я╗дя╗┤я╗втАм тАля╗Уя║о╪зя╗Пя║О╪к ╪п╪зя║зя╗ая╗┤я║Ф я╗Ыя╗дя║дя║О┘Ия╗Яя║Ф я╗Яя║оя║Ся╗В ╪зя╗Яя║ия║О╪▒╪мтАм тАля║Ся║Оя╗Яя║к╪зя║зя╗ЮтАк ,тАмя║Ся║Оя╗╗я║┐я║Оя╗Уя║Ф ╪зя╗Яя╗░ я║│я╗мя╗оя╗Яя║ФтАм тАл╪зя╗Яя║дя║оя╗Ыя║Ф ┘Ия╗Ля║к┘Е ┘Ия║Яя╗о╪п я║Чя║к╪зя║зя╗Ю я╗Уя╗░тАм тАл╪зя╗Яя╗дя║┤я║О╪▒╪з╪к я║Ся╗┤я╗ж ╪зя╗Яя╗Мя╗ия║Оя║╗я║о ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║ФтАм тАля╗Яя╗ая╗дя║╕я║о┘И╪╣тАк ╪МтАмя╗Яя║мя╗Яя╗Ъ я║Чя╗в ╪зя╗Яя║Шя║Оя╗Ыя╗┤я║ктАм тАля╗Ля╗ая╗░ ┘Ия║┐я╗К я║Яя╗дя╗┤я╗К ╪зя╗Яя╗Мя╗ия║Оя║╗я║о ╪зтАкRтАм╪п╪з╪▒я╗│я║ФтАм тАл┘И╪зя╗Яя║Шя╗Мя╗ая╗┤я╗дя╗┤я║Ф ╪зя╗Яя╗дя╗Ья╗дя╗ая║Ф я╗Яя╗ая╗дя║╕я║о┘И╪╣ я║Ся╗дя║ОтАм

тАля╗│я║┤я╗дя║в я║Ся║ОтАкRтАмя║Чя║╝я║О┘Д ╪зя╗Яя╗дя║Тя║Оя║╖я║о я╗Яя╗ая╗дя║Тя╗ия╗░тАм тАл╪зя╗Яя╗Дя║Тя╗▓ тАк.тАмтАм тАл┘Ия╗Чя║к я║Чя╗в я║Чя║╝я╗дя╗┤я╗в ╪зтАкUтАм╪п┘И╪з╪▒ я╗гя╗ж ╪зя╗Яя║Ья║Оя╗Яя║ЪтАм тАл╪ея╗Яя╗░ ╪зя╗Яя║ия║Оя╗гя║▓ я║Ся║дя╗┤я║Ъ я╗│я║Шя╗в ╪зя╗Яя║Шя║дя╗Ья╗в я╗Уя╗░тАм тАл╪зя╗Яя╗Ья║Шя╗Ю ┘И╪зя╗Яя╗Фя║о╪зя╗Пя║О╪к ┘И╪ея╗│я║ая║О╪п я╗гя║┤я║Оя║гя║О╪ктАм тАля║зя╗Ая║о╪з╪б ┘И╪▓я╗│я║О╪п╪й я╗гя║┤я║Оя║гя║Ф ╪зя╗Яя║дя╗о╪зя║Ля╗ВтАм тАл╪зя╗Яя║░я║Яя║Оя║Яя╗┤я║Ф я╗Ля╗ая╗░ я╗Гя╗о┘Д ╪зя╗Яя╗о╪зя║Яя╗мя║О╪к ╪зя╗╗я╗гя║отАм тАл╪зя╗Яя║м┘Й я╗│я╗Фя║Шя║в ╪зя╗╗я╗Уя╗Ц ╪зя╗гя║О┘Е я╗гя║Шя╗ая╗Шя╗░ ╪зя╗Яя╗Мя╗╝╪мтАм тАл┘Ия╗│я║┤я║Оя╗Ля║к я╗Ля╗ая╗░ я║Чя║к╪зя║зя╗Ю ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗к я╗гя╗КтАм тАля║Чя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя║оя╗Ыя║░ ╪зя╗Яя║Шя║Дя╗ля╗┤я╗ая╗▓ тАк.тАмтАм

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪WO dA « WIDM*« s l¹—UA‬‬ ‫اﻟﻤﻮﻗﻊ‪ :‬اﻟﺪﻣﺎم اﻟﻤﺪﻳﻨﻪ اﻟﺼﻨﺎﻋﻴﻪ اﻟﺜﺎﻧﻴﻪ‬ ‫ﻣﺪة اﻟﻤﺸﺮوع ‪ 13‬ﺷﻬﺮ‬ ‫ﺑﺪاﻳﺔ اﻟﻤﺸﺮوع ‪2015/1/1‬م‬ ‫ﻣﺴﺎﺣﺔ اﻟﻤﻮﻗﻊ ‪ 9000 :‬ﻣﺘﺮ ﻣﺮﺑﻊ‬

‫ﻛﻤﻴﺎت ﻋﻨﺎﺻﺮ اﻟﻤﺸﺮوع‬ ‫ﻋﺪد اﻻدوار ‪4 :‬‬ ‫اﻟﻤﺴﺎﺣﺔ اﻟﻜﻠﻴﻪ ‪ 36000 :‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫ﻟﻼرﺑﻊ ادوار‬ ‫ﻋﺪد اﻟﻐﺮف اﻟﺴﻜﻨﻴﻪ‪ 640 :‬ﻏﺮﻓﻪ‬ ‫ﺳﻜﻨﻴﻪ‬ ‫ﻋﺪد دورات اﻟﻤﻴﺎه‪ 272 :‬دورة ﻣﻴﺎه‬ ‫ﻋﺪد اﻟﻤﻄﺎﺑﺦ‪ 16 :‬ﻣﻄﺒﺦ‬ ‫ﻋﺪد ﻏﺮف اﻟﻐﺴﻴﻞ‪ 16 :‬ﻏﺮﻓﻪ‬ ‫ﻋﺪد ﺻﺎﻻة اﻟﺘﺮﻓﻴﻪ ‪ 16 :‬ﺻﺎﻟﻪ‬ ‫ﻋﺪد ﺻﺎﻻت اﻟﻄﻌﺎم‪ 4 :‬ﺻﺎﻻت‬

‫ﻋﺪد ﺻﺎﻻت اﻻﺳﺘﻘﺒﺎل ‪ 2 :‬ﺻﺎﻟﺔ‬ ‫ﻋﺪد اﻟﻤﺴﺎﺟﺪ ‪ 2 :‬ﻣﺴﺠﺪ‬ ‫ﻋﺪد ﻏﺮف اﻟﻮﺿﻮء ‪ 2 :‬ﻏﺮف اﻟﻮﺿﻮء‬ ‫ﻋﺪد اﻟﻤﺼﺎﻋﺪ ‪ 4 :‬ﻣﺼﺎﻋﺪ‬ ‫ﻋﺪد اﻟﺴﻼﻟﻢ ‪ 14 :‬ﺳﻠﻢ‬ ‫ﻋﺪد اﻟﻤﺪاﺧﻞ‪ 5 :‬ﻣﺪاﺧﻞ‬ ‫ﻋﺪد ﻏﺮف اﻟﺤﺮس‪2 :‬‬ ‫ﺗﺸﻄﻴﺐ دوﻟﻜﺲ‬ ‫ﺗﻜﻴﻴﻒ ﺳﺒﻠﺖ‬

‫«* ‪wI _« jI‬‬

‫« ‪WO U _« WNł«u‬‬

‫« ‪WOHK)« WNł«u‬‬

‫اﻟﻤﻌﺪات‬ ‫ﺑﻮرﺗﻜﺎﺑﻦ ﻣﻜﺎﺗﺐ ﻋﺪد ‪ 3‬رﺻﺎﺻﻪ ‪ 8‬ﻃﻦ ﻋﺪد ‪2‬‬ ‫ﻛﻮﻧﺘﻴﻨﺮ ﻣﺴﺘﻮدع ﻋﺪد ‪ 4‬رﺻﺎﺻﻪ ‪ 1‬ﻃﻦ ﻋﺪد ‪3‬‬ ‫ﻓﻮرﻛﻠﻔﺖ ﻋﺪد ‪3‬‬ ‫ﻣﻮﺑﺎﻳﻞ ﻛﺮﻳﻦ ﻋﺪد ‪1‬‬ ‫ﺑﻮﺑﻜﺎت ﻋﺪد ‪4‬‬ ‫ﻣﻮﻟﺪ ﻛﻬﺮﺑﺎﺋﻲ ﻋﺪد ‪3‬‬ ‫دﻳﻨﺎ ﻋﺪد ‪3‬‬ ‫ﻛﺮﻳﻦ ﻛﻬﺮﺑﺎﺋﻲ ﻋﺪد ‪4‬‬ ‫ﺑﻴﻚ اب ﻋﺪد ‪8‬‬ ‫ﺣﻔﺎر ﻋﺪد ‪2‬‬ ‫ﺷﺎﻳﻮل ﻋﺪد ‪2‬‬

‫«*‪¡UA½ô« X% wM³‬‬

‫‪¡UM³ « ±±μ‬‬

‫‪115 Albenaa‬‬

‫ﺳﻜﻦ ﺗﺠﺎري ) اﻟﺠﻤﻌﻴﻪ اﻟﺨﻴﺮﻳﻪ ﻟﻠﻄﻌﺎم ـــ إﻃﻌﺎم (‬

‫ﻣﻦ أﻋﻤﺎل ﻣﺆﺳﺴﺔ اﻟﺘﺸﻴﻴﺪ اﻻﺧﺘﺼﺎﺻﻴﺔ ﻟﻠﻤﻘﺎوﻻت‬

‫اﻟﺘﻨﻈﻴﻢ و ﻋﺪد اﻟﻌﻤﺎﻟﺔ ﻟﻠﻤﺸﺮوع‬ ‫ﻣﺪﻳﺮ ﻣﺸﺮوع ﻋﺪد ‪1‬‬ ‫ﻣﺤﺎﺳﺐ ﻋﺪد ‪1‬‬ ‫ﻣﻬﻨﺪس ﻣﺸﺮوع ﻋﺪد ‪2‬‬ ‫ﻣﻬﻨﺪس ﻛﻬﺮﺑﺎء وﻣﻴﻜﺎﻧﻴﻚ ﻋﺪد‪1‬‬ ‫ﻣﻬﻨﺪس ﻣﺴﺎﺣﺔﻋﺪد ‪1‬‬ ‫ﻣﺮاﻗﺐ اﻟﺠﻮده ﻋﺪد ‪1‬‬ ‫ﻓﻨﻲ اﺑﻨﻴﻪ ﻋﺪد ‪6‬‬ ‫‪¡UM³ « ±±¥‬‬

‫‪114 Albenaa‬‬

‫ﻣﺴﺆول ﻣﺴﺘﻮدع ﻋﺪد ‪1‬‬ ‫ﻣﺴﺆول ﻣﺸﺘﺮﻳﺎت ﻋﺪد ‪1‬‬ ‫ﻧﺠﺎر ﺗﺴﻠﻴﺢ ﻋﺪد ‪35‬‬ ‫ﺣﺪاد ﺗﺴﻠﻴﺢ ﻋﺪد ‪22‬‬ ‫ﺑﻨﺎء ﻋﺪد ‪44‬‬ ‫ﻓﻨﻲ ﻛﻬﺮﺑﺎﺋﻲ ﻋﺪد ‪21‬‬

‫ﻓﻨﻲ ﺳﺒﺎﻛﻪ ﻋﺪد ‪20‬‬ ‫ﻣﺴﺎح ﻣﺒﺎﻧﻲ ﻋﺪد ‪35‬‬ ‫دﻫﺎن ﻣﺒﺎﻧﻲ ﻋﺪد ‪26‬‬ ‫ﻣﺒﻠﻂ ﻋﺪد ‪36‬‬ ‫ﻓﻨﻲ دﻳﻜﻮرات ﻋﺪد ‪8‬‬ ‫ﻋﺎﻣﻞ ﻋﺎدي ﻋﺪد ‪56‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪WO dA « WIDM*« s l¹—UA‬‬

‫ ‪WO U _« WNł«uK —uEM‬‬

‫اﻟﻤﻨﻄﻘﺔ ‪ :‬اﻟﺨﺒﺮ‬ ‫اﻟﻤﺎﻟﻚ ‪:‬ﺷﺮﻛﺔ اﺳﻮاق اﻟﻌﺜﻴﻢ‬ ‫ﻳﻀﻢ اﻟﻤﺸﺮوع ﻋﺪة أﺣﺠﺎم ﻣﻦ‬ ‫اﻟﻤﺴﺎﺣﺎت ﻟﻤﻌﺎرض اﻛﺒﺮﻫﺎ ﻫﺎﻳﺒﺮ‬ ‫ﻣﺎرﻛﺖ ﺑﻤﺴﺎﺣﺔ ‪ 2648‬ﻣﺘﺮ ﻣﺮﺑﻊ ‪،‬‬ ‫وﻣﺴﺘﻮدع ﺧﺎص ﺑﺎﻟﻬﺎﻳﺒﺮ ﻣﺎرﻛﺖ‬ ‫ﺑﻤﺴﺎﺣﺔ ‪ 558‬ﻣﺘﺮ ﻣﺮﺑﻊ ‪ ،‬و ﻣﻌﺮض‬ ‫ﺑﻤﺴﺎﺣﺔ ‪ 1078‬ﻣﺘﺮ ﻣﺮﺑﻊ ‪ ،‬و ﻣﻌﺮض‬ ‫ﺑﻤﺴﺎﺣﺔ ‪ 820‬ﻣﺘﺮ ﻣﺮﺑﻊ ‪ ،‬و ﻣﻌﺎرض‬ ‫ﺗﺠﺎرﻳﺔ ﺑﻌﺪد ‪ 19‬ﻣﻌﺮض ﺑﻤﺴﺎﺣﺔ‬ ‫اﺟﻤﺎﻟﻴﺔ ‪ 1144‬ﻣﺘﺮ ﻣﺮﺑﻊ ‪ ،‬و ﻣﻄﻌﻢ وﺟﺒﺎت‬ ‫ﺳﺮﻳﻌﺔ ﺑﻤﺴﺎﺣﺔ ‪ 266‬ﻣﺘﺮ ﻣﺮﺑﻊ ﻛﻮﻓﻰ‬ ‫ﺷﻮب ‪ 15‬ﻣﺘﺮ ﻣﺮﺑﻊ ‪ ،‬و ﻣﻜﺎﺗﺐ ﻓﻰ ﻃﺎﺑﻖ‬ ‫اﻟﻤﻴﺰاﻧﻴﻴﻦ ﺑﻤﺴﺎﺣﺔ ‪ 325‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫وﺗﺒﻠﻎ ﻣﺴﺎﺣﺎت اﻟﻤﺸﺮوع ‪ 6767‬ﻣﺘﺮ ﻣﺮﺑﻊ‪.‬‬ ‫«* ‪w{—_« —ËbK wI _« jI‬‬

‫∑‪¡UM³ « ±±‬‬

‫‪117 Albenaa‬‬

‫ﻣﻌﺎرض ﺗﺠﺎرﻳﺔ‬

‫ﻣﻦ أﻋﻤﺎل ﻣﻜﺘﺐ اﻟﻘﻄﺮي ﻟﻼﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬

‫ ‪WO U _« WNł«uK —uEM‬‬

‫اﻟﻤﻨﻄﻘﺔ ‪ :‬اﻟﺪﻣﺎم‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﺷﺮﻛﺔ ﻧﻤﻮ ﻟﻠﺘﻄﻮﻳﺮ‬ ‫اﻟﻌﻘﺎرى‬ ‫ﻳﻀﻢ اﻟﻤﺸﺮوع ﻋﺪة أﺣﺠﺎم ﻣﻦ‬ ‫اﻟﻤﺴﺎﺣﺎت ﻟﻤﻌﺎرض اﻛﺒﺮﻫﺎ ﻟﻬﺎﻳﺒﺮ‬ ‫ﻣﺎرﻛﺖ ﺑﻤﺴﺎﺣﺔ ‪ 4030‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫و ﻣﻌﺎرض ﺗﺠﺎرﻳﺔ ﺑﻌﺪد ‪ 13‬ﻣﻌﺮض‬ ‫ﺑﻤﺴﺎﺣﺔ ﺑﺎﺟﻤﺎﻟﻰ ﻣﺴﺎﺣﺔ ‪1189‬‬ ‫ﻣﺘﺮ ﻣﺮﺑﻊ و ﻣﺴﺠﺪ ﺑﻤﺴﺎﺣﺔ‬ ‫‪ 200‬ﻣﺘﺮ ﻣﺮﺑﻊ‪ ،‬و ﺗﺒﻠﻎ ﻣﺠﻤﻮع‬ ‫ﻣﺴﺎﺣﺎت اﻟﻤﺸﺮوع ‪ 5420‬ﻣﺘﺮ ﻣﺮﺑﻊ‪.‬‬

‫«* ‪w{—_« —ËbK wI _« jI‬‬

‫∂‪¡UM³ « ±±‬‬

‫‪116 Albenaa‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪¡U Š_« WIDM s l¹—UA‬‬

‫ ‪WO U _« WNł«uK —uEM‬‬

‫اﻟﻤﻨﻄﻘﺔ ‪ :‬اﻻﺣﺴﺎء‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﺷﺮﻛﺔ اﻟﻤﻮﺣﺪة ﻟﻠﺘﻄﻮﻳﺮ‬ ‫اﻟﻌﻘﺎرى‬ ‫ﻳﻀﻢ اﻟﻤﺸﺮوع ﻋﺪة أﺣﺠﺎم ﻣﻦ‬ ‫اﻟﻤﺴﺎﺣﺎت ﻟﻤﻌﺎرض اﻛﺒﺮﻫﺎ ﻫﺎﻳﺒﺮ‬ ‫ﻣﺎرﻛﺖ ﺑﻤﺴﺎﺣﺔ ‪ 3132‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫و ﻣﻌﺎرض ﺗﺠﺎرﻳﺔ ﺑﻤﺴﺎﺣﺔ اﺟﻤﺎﻟﻴﺔ‬ ‫‪ 2110‬ﻣﺘﺮ ﻣﺮﺑﻊ‪ ،‬و ﻣﻄﻌﻢ وﺟﺒﺎت‬ ‫ﺳﺮﻳﻌﺔ ﺑﻤﺴﺎﺣﺔ ‪ 300‬ﻣﺘﺮ ﻣﺮﺑﻊ‬ ‫و ﻣﻜﺎﺗﺐ ﻓﻰ ﻃﺎﺑﻖ اﻟﻤﻴﺰاﻧﻴﻴﻦ‬ ‫ﺑﻤﺴﺎﺣﺔ ‪ 300‬ﻣﺘﺮ ﻣﺮﺑﻊ‪.‬‬ ‫و ﺗﺒﻠﻎ ﻣﺴﺎﺣﺎت اﻟﻤﺸﺮوع ‪5638‬‬ ‫ﻣﺘﺮ ﻣﺮﺑﻊ ‪.‬‬

‫∏‪¡UM³ « ±±‬‬

‫‪118 Albenaa‬‬

‫«* ‪w{—_« —ËbK wI _« jI‬‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪¡U Š_« WIDM s l¹—UA‬‬

‫وا ﺳﻤﻨﺖ ﻓﻲ اﻟﺨﻠﻴﻂ ﺗﺴﺘﻄﻴﻊ ‪ƒ`cÉ`g‬‬

‫ﺗﻌﺪﻳﻞ ﻣﻘﺎوﻣﺔ اﻟﺨﺮﺳﺎﻧﺔ وﺳﻬﻮﻟﺔ إدارﺗﻬﺎ‪.‬‬ ‫وﺑﺎ‪,‬ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﺗﺴﺘﺨﺪم ﺷﺮﻛﺔ‬ ‫‪ ƒ`cÉ`g‬إﺿﺎﻓﺎت ﻣﻦ أﺟﻞ ﺗﻄﻮﻳﻊ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫وﻓﻘ‪ 6‬ﻟﻮﻗﺖ اﻟﻨﻘﻞ ﻣﻦ اﻟﻤﺤﻄﺔ اﻟﺨﺎﺻﺔ ﺑﻬﺎ‬ ‫إﻟﻰ اﻟﻤﺸﺮوع واﻟﻤﻮاﺻﻔﺎت اﻟﻔﻨﻴﺔ ﻟﻠﻤﺸﺮوع‪.‬‬ ‫اﻟﺨﺪﻣﺎت اﻟﻤﺴﺎﻧﺪة‬ ‫ﺗﺴﺘﻄﻴﻊ ‪ ƒ`cÉ`g‬ﻣﻦ ﺧﻼل ﻣﺎﻳﺰﻳﺪ ﻋﻠﻰ‬ ‫‪ 300‬ﺷﺎﺣﻨﺔ ا‪,‬ﻳﻔﺎء ﺑﺎﺣﺘﻴﺎﺟﺎت اﻟﻌﻤﻴﻞ‪،‬‬ ‫ﻛﻤﺎ ﺗﻘﻮم ﺑﺘﺴﻠﻴﻢ ﺣﻮاﻟﻲ ‪ ٪ 70‬ﻣﻦ اﻟﻤﻮاد‬ ‫اﻟﺘﻲ ﺗﺤﺘﺎﺟﻬﺎ إﻟﻰ ﻓﺮوﻋﻬﺎ ﻣﻦ أﺟﻞ ﺿﻤﺎن‬ ‫ﺗﻮﻓﺮ اﻟﻤﻮاد اﻟﺨﺎم اﻟﻀﺮورﻳﺔ ﻟﻌﻤﻠﻴﺔ ا‪,‬ﻧﺘﺎج‬ ‫ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ‪.‬‬ ‫ﺗﻤﺘﻠﻚ ﺷﺮﻛﺔ ‪ ƒ`cÉ`g‬ﺷﺒﻜﺔ ﻣﻦ ‪10‬‬ ‫ﻓﺮوع ﻣﻨﺘﺸﺮة ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ ﻣﻤﺎ‬ ‫ﻳﺠﻌﻠﻬﺎ ﻗﺎدرة ﻋﻠﻰ ﺧﺪﻣﺔ ﻋﻤﻼﺋﻬﺎ ﻓﻲ ﻛﺎﻓﺔ‬ ‫اﻟﻤﺸﺎرﻳﻊ ‪.‬‬ ‫اﻟﺨﺪﻣﺔ اﻟﻔﻨﻴﺔ‬ ‫ﻳﺴﺘﻄﻴﻊ اﻟﻔﻨﻴﻴﻦ اﻟﻤﺆﻫﻠﻴﻦ ﺑﺎﻟﺸﺮﻛﺔ دﻋﻢ‬ ‫اﻟﺨﺒﺮاء وﻛﺬﻟﻚ ا‪,‬ﺟﺎﺑﺔ ﻋﻠﻰ أي ﺗﺴﺎؤل ﻓﻴﻤﺎ‬ ‫ﻳﺘﻌﻠﻖ ﺑﺘﺼﻤﻴﻢ اﻟﺨﻠﻴﻂ واﺧﺘﺒﺎر ﺗﺰﻳﻴﺖ‬ ‫ﺣﻮل اﻟﺨﺮﺳﺎﻧﺔ واﻻﺧﺘﺒﺎر اﻟﺪاﺧﻠﻲ ﺑﺎﻟﻤﻮﻗﻊ‬ ‫واﺧﺘﺒﺎر اﻟﺪﻋﻢ اﻟﻔﻨﻲ‪.‬‬ ‫اﻟﻤﻮاد اﻟﺨﺎم‬ ‫ﻳﺠﺐ أن ﺗﻤﺮ اﻟﻤﻮاد ﺑﻤﺠﻤﻮﻋﺔ ﻣﻦ اﻻﺧﺘﺒﺎرات‬ ‫واﻟﻤﻌﺎﻟﺠﺎت ﻣﻦ أﺟﻞ ﺗﺤﻘﻴﻖ أﻋﻠﻰ اﻟﻨﺘﺎﺋﺞ‬ ‫اﻟﻤﺘﻮﻗﻌﺔ‪ ،‬وﺑﻌﺪ اﺧﺘﻴﺎر اﻟﺒﺤﺺ ﺑﻌﻨﺎﻳﺔ ﻓﺎﺋﻘﺔ‬ ‫ﻳﺘﻢ اﺧﺘﺒﺎر اﻟﺤﺼﻰ وﻓﻘ‪ 6‬ﻟﻤﺘﻄﻠﺒﺎت اﻟﻌﻤﻴﻞ‪،‬‬ ‫ﻛﻤﺎ ﺗﻀﻤﻦ ﺷﻬﺎدات اﺧﺘﺒﺎر اﻟﺠﻮدة اﻟﺼﺎدرة‬ ‫ﻣﻦ أﻃﺮاف أﺧﺮى ا‪,‬ﻳﻔﺎء ﺑﺎﻟﻤﻮاﺻﻔﺎت اﻟﻔﻨﻴﺔ‬ ‫ﻟﻠﻌﻤﻴﻞ‪.‬‬ ‫ﺗﺸﻤﻞ ﻛﺎﻓﺔ ﻣﺤﻄﺎت اﻟﺸﺮﻛﺔ ﻣﺒﺎﻧﻲ‬ ‫ﻣﻌﺎﻟﺠﺔ اﻟﺤﺼﻰ اﻟﺘﻲ ﺗﻘﻮم ﺑﻐﺴﻠﻪ وإزاﻟﺔ‬ ‫أي ﻣﻮاد ﻏﻴﺮ ﻣﺮﻏﻮﺑﺔ وإﺿﺎﻓﺔ ﻋﻨﺼﺮ اﻟﺜﺒﺎت‬ ‫ﻟﻠﻤﻨﺘﺞ‪.‬‬ ‫ﻋﻼوة ﻋﻠﻰ ذﻟﻚ ‪ ،‬ﻳﺘﻢ ﻣﻌﺎﻟﺠﺔ اﻟﻤﻴﺎه اﻟﺨﺎم‬ ‫ﻓﻲ ﻣﺤﻄﺎت ﺗﺤﻠﻴﺔ اﻟﻤﻴﺎه اﻟﺘﻲ ﺗﻌﻤﻞ‬ ‫أوﺗﻮﻣﺎﺗﻴﻜﻴ‪ 6‬ﺑﺸﻜﻞ ﻛﺎﻣﻞ ﻣﻦ أﺟﻞ إﻧﺘﺎج‬ ‫ﻣﻴﺎه ﺗﺘﻮاﻓﻖ ﻣﻊ اﻟﻤﻮاﺻﻔﺎت اﻟﻔﻨﻴﺔ ﻟﻠﺠﻤﻌﻴﺔ‬ ‫ا ﻣﺮﻳﻜﻴﺔ ﻟﻠﻤﻮاد واﻻﺧﺘﺒﺎرات اﻟﺪوﻟﻴﺔ ﺣﺘﻰ‬ ‫ﺗﺼﺒﺢ آﻣﻨﺔ ﻟ‪d‬ﺳﺘﺨﺪام ﻓﻲ اﻟﺨﺮﺳﺎﻧﺔ‪.‬‬ ‫إن ﻣﺤﻄﺎت اﻟﺸﺮﻛﺔ ﻣﺠﻬﺰة ﺑﻤﺒﺮدات اﻟﻤﻴﺎه‬ ‫وﻣﺤﻄﺎت اﻟﺜﻠﺞ اﻟﻤﺘﻜﺎﻣﻠﺔ ‪,‬ﻧﺘﺎج اﻟﻤﻴﺎه‬ ‫اﻟﻤﺒﺮدة )‪ 4‬درﺟﺔ ﻣﺌﻮﻳﺔ( ورﻗﺎﺋﻖ اﻟﺜﻠﺞ ﻣﻤﺎ‬ ‫ﻳﻀﻴﻒ ﺗﺤﻜﻢ ﻓﻲ درﺟﺔ اﻟﺤﺮارة إﻟﻰ إﻣﻜﺎﻧﺎﺗﻬﺎ‪.‬‬

‫اﻟﺒﻠﻮك‬

‫‪ ƒ`cÉ`g‬ﻫﻲ أﺣﺪ أﻛﺒﺮ ﻣﻮردي ﺑﻠﻮك اﻟﺒﻨﺎء‬ ‫ا ﺳﻤﻨﺘﻲ ﺣﻴﺚ ﺗﻨﺘﺞ اﻟﺸﺮﻛﺔ ‪ 6‬أﻧﻮاع‬ ‫ﻣﺨﺘﻠﻔﺔ‪ ،‬ﺗﺘﺮاوح ﺑﻴﻦ اﻟﺒﻠﻮك وﺣﺠﺮ ا رﺻﻔﺔ‬ ‫واﻟﺒﻠﻮك اﻟﻤﻌﺰول واﻟﺒﻠﻮك اﻟﻬﻮردي‪.‬‬ ‫اﻟﺒﺤﺺ‬ ‫إن اﻟﺒﺤﺺ ﻟﻴﺲ ﻓﻘﻂ ﻋﻨﺼﺮ‪ p‬أﺳﺎﺳﻴ‪ 6‬ﻓﻲ‬ ‫إﻧﺸﺎء وﺻﻴﺎﻧﺔ اﻟﻄﺮق اﻟﺴﺮﻳﻌﺔ واﻟﺸﻮارع‬ ‫وﻟﻜﻨﻪ أﻳﻀ‪ 6‬ﻣﻜﻮﻧ‪ 6‬ﻻﻳﻤﻜﻦ ا‪,‬ﺳﺘﻐﻨﺎء ﻋﻨﻪ‬ ‫ﻓﻲ اﻟﺨﺮﺳﺎﻧﺔ وﻳﺆﺛﺮ اﻟﺒﺤﺺ ﺑﺸﻜﻞ ﻗﻮي‬ ‫ﻋﻠﻰ ﺟﻮدة اﻟﺨﺮﺳﺎﻧﺔ ﺣﻴﺚ ﻳﻜﻮن اﻟﺒﺤﺺ‬ ‫ﻧﺴﺒﺔ ‪ 60‬إﻟﻰ ‪ 70٪‬ﻣﻦ إﺟﻤﺎﻟﻲ ﺣﺠﻢ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫ﻣﻤﺎ ﻳﺠﻌﻠﻪ ﻳﺆﺛﺮ ﺑﻘﻮة ﻓﻲ ﺟﻮدة اﻟﺨﺮﺳﺎﻧﺔ‬ ‫ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ ‪ ،‬ﻟﺬا ‪ ƒ`cÉ`g‬ﺗﻘﻮم ﺑﺈﺧﺘﻴﺎر‬ ‫اﻟﺒﺤﺺ اﻟﻤﺴﺘﺨﺪم واﻟﻤﺤﺎﺟﺮ اﻟﺘﻲ ﻳﺴﺘﺨﺮج‬ ‫ﻣﻨﻬﺎ ﺑﻌﻨﺎﻳﺔ‪.‬‬

‫اﻟﻤﻨﺘﺠﺎت‬ ‫اﻟﺨﺮﺳﺎﻧﺔ اﻟﺠﺎﻫﺰة‬ ‫ﻣﻦ أﺟﻞ إﻧﺘﺎج اﻟﺨﺮﺳﺎﻧﺔ اﻟﺠﺎﻫﺰة ﺗﻌﺘﻨﻲ‬ ‫ﺑﻨﺎء ﻋﻠﻰ‬ ‫اﻟﺸﺮﻛﺔ ﺑﺈﺧﺘﻴﺎر اﻟﻤﻮاد اﻟﺨﺎم‬ ‫ً‬ ‫اﺧﺘﺒﺎرات ﻛﻴﻤﻴﺎﺋﻴﺔ وﻓﻴﺰﻳﺎﺋﻴﺔ ﻟﻠﻤﻮاد ﻳﺘﻢ‬ ‫إﺟﺮاؤﻫﺎ ﻓﻲ ﻣﻌﺎﻣﻠﻬﺎ اﻟﻤﺠﻬﺰة ﺑﺸﻜﻞ‬ ‫ﻛﺎﻣﻞ‪.‬‬ ‫ﺗﺤﺮص ‪ ƒ`cÉ`g‬ﻋﻠﻰ ﺗﻮرﻳﺪ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫اﻟﻤﺠﻬﺰة ﻓﻲ أﻓﻀﻞ ﺣﺎﻟﺔ وﺑﺎﻟﻄﺮﻳﻘﺔ‬ ‫اﻟﻤﻄﻠﻮﺑﺔ‪ ،‬وﻳﻤﻜﻦ ﺗﻌﺪﻳﻞ ﺗﺼﻤﻴﻢ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫ﻟﺘﻌﺰﻳﺰ اﻟﻤﻘﺎوﻣﺔ وﺳﻬﻮﻟﺔ ﺗﺸﻜﻴﻠﻬﺎ وﻏﻴﺮﻫﺎ‬ ‫ﻣﻦ اﻟﺨﺼﺎﺋﺺ ا ﺧﺮى ﻣﻦ ﺧﻼل ﺗﻐﻴﻴﺮ‬ ‫ﻧﺴﺐ اﻟﻤﻴﺎه واﻟﺒﺤﺺ وا ﺳﻤﻨﺖ وا‪,‬ﺿﺎﻓﺎت‬ ‫اﻟﻜﻴﻤﻴﺎﺋﻴﺔ ﻓﻲ اﻟﺨﻠﻄﺔ‪.‬‬

‫‪¡UM³ « ±≤±‬‬

‫‪121 Albenaa‬‬

‫ﺷﺮﻛﺔ اﻟﺤﺴﻴﻦ واﻟﻌﻔﺎﻟﻖ ‪ƒcÉg‬‬

‫دور رﺋﻴﺲ ﻓﻲ ا ﻧﺸﺎء واﻟﺘﻌﻤﻴﺮ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ‬

‫ﺣﻘﺎﺋﻖ أﺳﺎﺳﻴﺔ‬

‫ﺗﻘﻮم ‪ ƒ`cÉ`g‬ﺑﺪور رﺋﻴﺴﻲ ﻓﻲ ا ﻧﺸﺎء‬ ‫واﻟﺘﻌﻤﻴﺮ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ ﻣﻦ ﺧﻼل‬ ‫ﺗﻘﺪﻳﻢ ﻣﻨﺘﺠﺎت ﻋﺎﻟﻴﺔ اﻟﺠﻮدة ﺗﺘﻮاﻓﻖ ﻣﻊ‬ ‫اﻟﻤﻌﺎﻳﻴﺮ واﻟﻤﻮاﺻﻔﺎت اﻟﻔﻨﻴﺔ اﻟﻤﻌﺘﻤﺪة‬ ‫دوﻟﻴ‪ 3‬ﻟﻜﻼ اﻟﻤﺸﺎرﻳﻊ اﻟﺼﻐﻴﺮة واﻟﻜﺒﻴﺮة اﻟﺘﻲ‬ ‫ﺗﺸﻤﻞ ‪:‬‬ ‫اﻟﻤﺒﺎﻧﻲ اﻟﺨﺎﺻﺔ واﻟﺘﺠﺎرﻳﺔ‪ ،‬اﻟﻤﺸﺎرﻳﻊ اﻟﻌﺎﻣﺔ‬ ‫واﻟﺤﻜﻮﻣﻴﺔ واﻟﻤﺸﺎرﻳﻊ اﻟﻜﺒﺮى ﻣﺜﻞ ﻣﺤﻄﺎت‬ ‫اﻟﻄﺎﻗﺔ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ وﻣﻌﺎﻣﻞ اﻟﻐﺎز اﻟﻄﺒﻴﻌﻲ‬ ‫وﺧﻄﻮط وﻃﺮق ﻧﻘﻞ اﻟﻄﺎﻗﺔ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ‬ ‫واﻟﺠﺴﻮر وﻏﻴﺮﻫﺎ اﻟﺘﻲ ﺗﺘﻄﻠﺐ ﻣﺴﺘﻮى‬ ‫ﻋﺎﻟﻲ ﺟﺪ‪ H‬ﻣﻦ ا‪G‬داء وﺟﻮدة اﻟﻤﻨﺘﺞ‪.‬‬ ‫‪ ƒ`cÉ`g‬ﻫﻲ أﺣﺪ أﻛﺒﺮ ﻣﻨﺘﺠﻲ اﻟﻤﻤﻠﻜﺔ‬ ‫ﻟﻠﺨﺮﺳﺎﻧﺔ اﻟﺠﺎﻫﺰة واﻟﺒﻠﻮك ا‪G‬ﺳﻤﻨﺘﻲ‬ ‫واﻟﺒﺤﺺ واﻟﺘﻲ ﺗﺘﻜﻮن ﻣﻨﻬﺎ اﻟﻤﻮاد‬ ‫ا‪G‬ﺳﺎﺳﻴﺔ ﻟﺒﻨﺎء اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ اﻟﺘﻲ ﻧﻌﺘﻤﺪ‬ ‫ﻋﻠﻴﻬﺎ ﺟﻤﻴﻌ‪.3‬‬ ‫ﺗﻌﺘﺒﺮ ﺷﺮﻛﺔ اﻟﺤﺴﻴﻦ واﻟﻌﻔﺎﻟﻖ )‪(ƒ`cÉ`g‬‬ ‫ﻣﻮرد اﻟﺨﺮﺳﺎﻧﺔ اﻟﺠﺎﻫﺰة ا‪G‬ول ﻓﻲ ا‪G‬ﺣﺴﺎء‪،‬‬ ‫وﻗﺪ ﻛﻮﻧﺖ اﻟﺸﺮﻛﺔ ﺳﻤﻌﺔ ﻋﺒﺮ اﻟﺴﻨﻮات‬ ‫ﻟﻤﺎ ﺗﺘﻤﺘﻊ ﺑﻪ ﻣﻦ اﻟﺠﺪارة واﻟﺨﺪﻣﺔ اﻟﺴﺮﻳﻌﺔ‬ ‫واﻟﻤﻨﺘﺠﺎت ﻋﺎﻟﻴﺔ اﻟﺠﻮدة ‪ ،‬اﺳﺘﻄﺎﻋﺖ ‪ƒ`cÉ`g‬‬ ‫ﻣﻦ ﺧﻼل زﻳﺎدة اﻟﻘﺪرة ﻣﻦ ‪ 50‬ﻣﺘﺮ ﻣﻜﻌﺐ ﻓﻲ‬ ‫∞≤‪¡UM³ « ±‬‬

‫‪120 Albenaa‬‬

‫اﻟﺴﺎﻋﺔ ﻓﻲ ﻋﺎم ‪1976‬م إﻟﻰ ‪ 1500‬ﻣﺘﺮ ﻣﻜﻌﺐ‬ ‫ﻓﻲ اﻟﺴﺎﻋﺔ ﻓﻲ اﻟﻮﻗﺖ اﻟﺤﺎﻟﻲ ‪،‬ﺑﺤﻴﺚ‬ ‫أﺻﺒﺤﺖ اﻟﻤﻮرد ا‪G‬ول ﻟﻠﺨﺮﺳﺎﻧﺔ اﻟﺠﺎﻫﺰة‬ ‫ﻋﺎﻟﻴﺔ اﻟﺠﻮدة واﻟﺒﻠﻮك اﻟﻤﻌﺰول ﻟﻠﻨﺒﺎء وﺣﺠﺮ‬ ‫ا‪G‬رﺻﻔﺔ واﻟﺒﺤﺺ‪.‬‬ ‫ﻟﻘﺪ ﻛﻮﻧﺖ اﻟﺸﺮﻛﺔ ﺳﻤﻌﺔ ﺑﻨﺘﻬﺎ ﻋﻠﻰ ﻣﺮ‬ ‫ﻗﺮاﺑﺔ أرﺑﻌﺔ ﻋﻘﻮد ﻣﻦ اﻟﻌﻤﻞ واﻟﺘﻔﻮق اﻟﻔﻨﻲ‬ ‫وا ﺑﺘﻜﺎر وإﻳﺠﺎد اﻟﺤﻠﻮل ﻟﻠﻌﻤﻼء‪.‬‬ ‫ﻳﻌﻤﻞ ﺑﺎﻟﺸﺮﻛﺔ ﻣﺎ ﻳﺰﻳﺪ ﻋﻠﻰ ‪ 1000‬ﺷﺨﺺ ﻓﻲ‬ ‫أﻗﺴﺎم ﻣﺘﻌﺪدة ﺗﺸﻤﻞ ‪ :‬اﻟﻘﺴﻢ اﻟﺘﺠﺎري‪،‬‬ ‫ا ﻧﺘﺎج‪ ،‬اﻟﻬﻨﺪﺳﺔ‪ ،‬اﻟﺼﻴﺎﻧﺔ‪ ،‬واﻟﺘﺴﻮﻳﻖ‪.‬‬ ‫اﻟﻤﻮاﻗﻊ‬ ‫ﺗﻤﺘﻠﻚ ﻫﺎﻛﻮ وﺗﻘﻮم ﺑﺘﺸﻐﻴﻞ ‪ 2‬ﻣﺤﺠﺮ‬ ‫وﻛﺴﺎرة ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ وﻣﺎ ﻳﺰﻳﺪ‬ ‫ﻋﻠﻰ ‪ 20‬ﻣﻦ وﺣﺪات ﻣﺤﻄﺎت ﺧﻠﻂ اﻟﺨﺮﺳﺎﻧﺔ‬ ‫اﻟﺠﺎﻫﺰة ﻓﻲ ﻛﺎﻓﺔ ﻓﺮوﻋﻨﺎ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ‬ ‫ﻣﻮاﻗﻊ إﻋﺎدة ﺗﺪوﻳﺮ اﻟﻤﺨﻠﻔﺎت ﻓﻲ ﻛﺎﻓﺔ ﻫﺬه‬ ‫اﻟﻔﺮوع‪.‬‬ ‫‪ ƒ`cÉ`g‬ﺗﻤﺘﻠﻚ ﺷﺒﻜﺔ ﻣﻦ اﻟﻔﺮوع‬ ‫اﻟﻤﻨﺘﺸﺮة ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﺸﺮﻗﻴﺔ ﻟﺘﻠﺒﻲ‬ ‫اﺣﺘﻴﺎﺟﺎت ﻋﻤﻼﺋﻬﺎ ﻓﻲ أي ﻣﺪﻳﻨﺔ ﺑﺎﻟﻤﻨﻄﻘﺔ‬ ‫) ا‪G‬ﺣﺴﺎء‪ ،‬اﻟﻌﻀﻴﻠﻴﺔ‪ ،‬أﺑﻘﻴﻖ‪ ،‬ﺣﺮض‪ ،‬اﻟﺠﺒﻴﻞ‪،‬‬ ‫اﻟﻘﺮﻳﻪ‪ ،‬اﻟﺪﻣﺎم وﻃﺮﻳﻖ اﻟﻌﻘﻴﺮ (‪.‬‬ ‫ﺑﻤﺎ ﻓﻲ ذﻟﻚ ‪:‬‬ ‫ـ إﻧﺸﺎء اﻟﻤﻨﺎزل‪.‬‬ ‫ـ ﺑﺮاﻣﺞ ﺑﻨﺎء اﻟﻤﺪارس واﻟﻤﺴﺘﺸﻔﻴﺎت‪.‬‬ ‫ـ ﺻﻴﺎﻧﺔ اﻟﻄﺮق وﺷﺒﻜﺎت اﻟﺴﻜﻚ اﻟﺤﺪﻳﺪ‪.‬‬ ‫ـ ﺑﺮاﻣﺞ اﻻاﺳﺘﺜﻤﺎر اﻟﻜﺒﺮى ﻓﻲ ﺧﺪﻣﺎت اﻟﻤﻴﺎه‬ ‫وﺗﻮﻟﻴﺪ اﻟﻄﺎﻗﺔ‪.‬‬ ‫اﻟﺠﻮدة‬ ‫إن ﺷﺮﻛﺔ ‪ ƒ`cÉ`g‬ﺗﻘﻮم ﺑﺘﺼﻤﻴﻢ ﻣﻨﺘﺠﺎت‬ ‫اﻟﺨﺮﺳﺎﻧﺔ اﻟﺠﺎﻫﺰة اﻟﺘﻲ ﺗﺘﻔﻖ ﻣﻊ اﻻﺣﺘﻴﺎﺟﺎت‬ ‫اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﻤﻴﻞ‪.‬‬ ‫وﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ ﺗﺘﻮاﻓﻖ ﻫﺬه اﻟﻤﻨﺘﺠﺎت‬ ‫ﻣﻊ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺤﺪﻳﺜﺔ ـ اﻟﺠﻤﻌﻴﺔ ا‪G‬ﻣﺮﻳﻜﻴﺔ‬ ‫ﻟﻠﻤﻮاد واﻻﺧﺘﺒﺎرات‪ ،‬أراﻣﻜﻮ‪ ،‬ﺷﺮﻛﺔ اﻟﻜﻬﺮﺑﺎء‬ ‫اﻟﺴﻌﻮدﻳﺔ واﻟﻬﻴﺌﺔ اﻟﻤﻠﻜﻴﺔ ووزارة اﻟﻨﻘﻞ‬ ‫واﻟﺤﺮس اﻟﻮﻃﻨﻲ وأي ﻣﻌﺎﻳﻴﺮ أﺧﺮى ﻗﺪ ﺗﻜﻮن‬ ‫ﻣﻄﻠﻮﺑﺔ‪.‬‬ ‫ﻋﻦ ﻃﺮﻳﻖ ﺗﻐﻴﻴﺮ ﻧﺴﺐ اﻟﻤﻴﺎه واﻟﺒﺤﺺ‬

‫اﻟﻌﻤﺎرة اﻟﻤﺤﻠﻴﺔ‬ ‫ ‪¡U Š_« WIDM s l¹—UA‬‬

‫اﻟﻤﺸﺮوﻋﺎت‬

‫ﻣﻦ أﻫﻢ اﻟﻤﺸﺮوﻋﺎت اﻟﺘﻲ ﻧﻔﺬﺗﻬﺎ واﻟﺠﺎري ﺗﻨﻔﻴﺬﻫﺎ ﻣﻦ ﻗﺒﻞ ‪ ƒ`cÉ`g‬ﻓﻲ اﻟﻮﻗﺖ اﻟﺤﺎﺿﺮ ‪:‬‬ ‫ـ ﻣﺸﺮوع ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﺳﻌﻮد اﻟﻌﻠﻮم اﻟﺼﺤﻴﺔ )ﺟﺎري(‪.‬‬ ‫ـ ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﻓﻴﺼﻞ ﺑﺎ‪5‬ﺣﺴﺎء ‪ ،‬ﻣﺸﺮوع اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ‪ ،‬اﻟﻤﺮﺣﻠﺔ ا‪5‬وﻟﻰ واﻟﻤﺮﺣﻠﺔ‬ ‫اﻟﺜﺎﻧﻴﺔ‪.‬‬ ‫ـ ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﻓﻴﺼﻞ ﺑﺎ‪5‬ﺣﺴﺎء ـ ﻣﺸﺮوع ﻛﻠﻴﺔ اﻟﻄﺐ وﻣﺒﻨﻰ اﻻﺟﺘﻤﺎﻋﺎت اﻟﻌﺎﻣﺔ‪.‬‬ ‫ـ ﺟﺎﻣﻌﺔ ا‪A‬ﻣﺎم ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻮد ا‪A‬ﺳﻼﻣﻴﺔ‪.‬‬ ‫ـ ﺑﺮج اﻟﻤﻠﺤﻢ‪.‬‬ ‫ـ ﺑﺮج اﻟﻌﻠﻲ ‪.‬‬ ‫ـ ﻓﻨﺪق اﻧﺘﺮﻛﻮﻧﺘﻴﻨﻨﺘﺎل ﺑﺎ‪5‬ﺣﺴﺎء‪.‬‬ ‫ـ ﻧﻔﻖ ﺷﺎرع ﻇﻬﺮان‪.‬‬ ‫ـ ﻧﻔﻖ ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﻓﻴﺼﻞ ﺑﺎﻟﻄﺮﻳﻖ اﻟﺪاﺋﺮي‪.‬‬ ‫ـ ﺧﺰان ﻣﻴﺎه ﺟﺒﻞ أﺑﻮ ﻏﻨﻴﻤﺔ‪.‬‬ ‫ـ ﻣﺪارس ﺟﻮاﺛﺎ‪.‬‬ ‫ـ ﻣﺴﺘﺸﻔﻰ اﻟﻤﺪﻳﻨﺔ‪.‬‬ ‫ـ ﻣﺸﺮوع ﻣﺴﺘﺸﻔﻰ ا‪5‬ﺣﺴﺎء‪.‬‬ ‫ـ ﻣﺸﺮوع ﻣﺤﻄﺔ ﻏﺎز اﻟﻬﻮﻳﺔ ‪ ،‬ﻳﺸﻤﻞ اﻟﻤﻨﻄﻘﺔ اﻟﺮﺋﻴﺴﺔ واﻟﻤﻨﺸﺂت اﻟﺘﺎﺑﻌﺔ‪.‬‬ ‫ـ ﻣﺸﺮوع ﻏﺎز اﻟﺨﻒ‪.‬‬ ‫ـ ﻣﺸﺮوع ﺳﺎﻧﺞ ﺷﻴﺪﺟﻢ رﻳﻨﺠﻴﺲ‪.‬‬ ‫ـ ﻣﺒﺎﻧﻲ اﻟﺜﻤﺎﻧﻴﺔ ﻟﻤﻌﺎﻟﺠﺔ اﻟﻐﺎز‪.‬‬ ‫ـ ﻣﺤﻄﺎت ﻓﺮز اﻟﻐﺎز ﻣﻦ اﻟﺰﻳﺖ ‪ 1.2‬و ‪5 3‬راﻣﻜﻮ أﻳﻨﺪر اﻟﺴﻌﻮدﻳﺔ‪.‬‬ ‫ـ ﻣﺸﺮوع ﺷﺎﻳﺒﻪ أراﻣﻜﻮ اﻟﺴﻌﻮدﻳﺔ‪.‬‬ ‫ـ ﺷﺮﻛﺔ أﺳﻤﻨﺖ اﻟﺴﻌﻮدﻳﺔ اﻻﻣﺘﺪاد اﻟﺮاﺑﻊ‪.‬‬ ‫ـ ﻣﺤﻄﺔ ﻣﻌﺎﻟﺠﺔ اﻟﺼﺮف اﻟﺼﺤﻲ ﺑﺎ‪5‬ﺣﺴﺎء‪.‬‬ ‫ـ ﻗﺼﺮ ا‪5‬ﻣﻴﺮ ﺳﻠﻄﺎن ﺑﺎ‪5‬ﺣﺴﺎء‪.‬‬ ‫ـ اﻟﺸﺮﻛﺔ اﻟﺴﻌﻮدﻳﺔ اﻟﻤﻮﺣﺪة ﻟﻠﻜﻬﺮﺑﺎء ﺷﺮوق ـ ﻣﺤﻄﺔ اﻟﻄﺎﻗﺔ ﻟﻤﺤﻄﺔ ﻏﺎز ﻫﻮﻳﻪ‪.‬‬ ‫ـ اﻟﺸﺮﻛﺔ اﻟﺴﻌﻮدﻳﺔ اﻟﻤﻮﺣﺪة ﻟﻠﻜﻬﺮﺑﺎء ﺷﺮوق ـ ﻣﻜﺘﺐ ﻓﺮع ا‪5‬ﺣﺴﺎء‪.‬‬ ‫ـ ﻣﺸﺮوع اﻟﻤﺴﺠﺪ اﻟﻤﻠﻜﻲ ‪.‬‬ ‫ـ ﺧﻄﻮط أﻧﺎﺑﻴﺐ أراﻣﻜﻮ اﻟﺴﻌﻮدﻳﺔ‪.‬‬ ‫ـ إﺿﺎﻓﺔ اﻟﺨﺎم ﺣﺮض ‪. 2‬‬ ‫ـ ﻣﺤﻄﺔ ﻏﺎز ﺣﺮض ‪.‬‬ ‫ـ ﻣﺤﻄﺔ ﻏﺎز ﺧﺮﻳﺺ‪.‬‬ ‫ـ ﺗﻘﺎﻃﻊ ﺗﺒﺎدل ﻃﺮﻳﻖ ﻇﻬﺮان ـ ﻣﻜﺔ ‪.‬‬ ‫ـ إﻧﺸﺎء ﻧﻔﻖ ﻋﻨﺪ ﺟﺎﻣﻌﺔ اﻟﻤﻠﻚ ﻓﻴﺼﻞ ﻣﻨﻄﻘﺔ اﻟﺘﻮﺻﻴﻞ ‪ 1‬و ‪. 2‬‬ ‫ـ إﻧﺸﺎء ‪ 2‬ﺟﺴﺮ وﺳﻜﺔﺣﺪﻳﺪ ﺗﻤﺮ ﻓﻲ ﻣﻨﺎﻃﻖ ﺧﺮﻳﺺ وﺣﺮض‪.‬‬ ‫ـ ﺷﺮﻛﺔ ﻧﺎدك ﻟ‪h‬ﻟﺒﺎن ـ اﻟﺘﻮﺳﻊ اﻟﺜﺎﻧﻲ‪.‬‬ ‫ـ ﻣﺤﻄﺔ ﺗﻮﻟﻴﺪ اﻟﻄﺎﻗﺔ ﺑﺎﻟﺪورة اﻟﻤﺮﻛﺒﺔ ﻓﻲ اﻟﻘﺮﻳﺔ ) ﺟﺎري(‪.‬‬

‫ﻋﻼوة ﻋﻠﻰ ذﻟﻚ ﻓﺈن ﺷﺮﻛﺔ ‪ ƒ`cÉ`g‬ﻣﻌﺘﻤﺪة ﻣﻦ ﻗﺒﻞ ﺷﺮﻛﺔ اﻟﺰﻳﺖ اﻟﺴﻌﻮدﻳﺔ‬ ‫اﻟﻌﺮﺑﻴﺔ )أراﻣﻜﻮ( وﻣﻦ ﻗﺒﻞ ﺷﺮﻛﺔ اﻟﻜﻬﺮﺑﺎء اﻟﻤﻮﺣﺪة اﻟﺴﻌﻮدﻳﺔ وﺑﻮاﺳﻄﺔ اﻟﻮزارات‬ ‫ﺑﺎﻟﻤﻤﻠﻜﺔ ﺑﺪون اﺳﺘﺜﻨﺎء ﻣﻨﺬ ﺗﺎرﻳﺦ اﻓﺘﺘﺎح اﻟﺸﺮﻛﺔ‪ ،‬وﻣﺆﺧﺮ‪ l‬ﺗﻢ اﻋﺘﻤﺎد اﻟﺸﺮﻛﺔ ﻣﻦ‬ ‫ﻗﺒﻞ اﻟﻬﻴﺌﺔ اﻟﻤﻠﻜﻴﺔ ﻟﻠﺠﺒﻴﻞ وﻳﻨﺒﻊ وﺷﺮﻛﺔ ﺳﺎﺑﻚ وﻣﺮاﻓﻖ ﺑﻌﺪ إﻓﺘﺘﺎح ﻣﺤﻄﺔ‬ ‫‪ ƒ`cÉ`g‬اﻟﺠﺒﻴﻞ‪.‬‬

‫≤≤‪¡UM³ « ±‬‬

‫‪122 Albenaa‬‬

‫ا ﺗﺼﺎل‬ ‫اﻟﻤﻜﺘﺐ اﻟﺮﺋﻴﺴﻲ ‪:‬‬ ‫ﻃﺮﻳﻖ ﻋﻴﻦ ﻧﺤﻢ ‪ ،‬ص‪.‬ب ‪200‬‬ ‫ا‪5‬ﺣﺴﺎء ـ اﻟﺮﻣﺰ اﻟﺒﺮدي ‪31982‬‬ ‫اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬ ‫ﻫﺎﺗﻒ ‪ 5865006 :‬ـ ‪(+ 966) 13 5877711‬‬ ‫ﻓﺎﻛﺲ ‪(+ 966) 13 5850473 :‬‬ ‫اﻟﺒﺮﻳﺪ ا‪A‬ﻟﻜﺘﺮوﻧﻲ ‪:‬‬ ‫‪infoahacoreadymix.com‬‬ ‫اﻟﻤﻮﻗﻊ ا‪A‬ﻟﻜﺘﺮوﻧﻲ ‪:‬‬ ‫‪www.hacoreadymix.com‬‬ ‫اﻟﺪﻣﺎم ‪:‬‬ ‫ﺟﻮال ‪(966+) 554582440‬‬ ‫اﻟﺠﺒﻴﻞ ‪:‬‬ ‫ﻫﺎﺗﻒ ‪ 3448501 :‬ـ ‪(+ 966) 13 3448502‬‬ ‫ﻓﺎﻛﺲ ‪(+ 966) 13 3448503 :‬‬ ‫اﻟﻌﻀﻴﻠﻴﺔ ‪:‬‬ ‫ﻫﺎﺗﻒ ‪(+ 966) 13 5991930 :‬‬ ‫ﻓﺎﻛﺲ ‪(+ 966) 13 5991940 :‬‬ ‫أﺑﻘﻴﻖ ‪:‬‬ ‫ﻫﺎﺗﻒ ‪ 5681771 :‬ـ ‪(+ 966) 13 5681661‬‬ ‫ﻓﺎﻛﺲ ‪(+ 966) 13 5681800 :‬‬ ‫ﺟﻮال ‪(+ 966) 555287411 :‬‬ ‫ﺣﺮض ‪:‬‬ ‫ﻫﺎﺗﻒ ‪ 5992445 :‬ـ ‪(+ 966) 13 599403‬‬ ‫ﻓﺎﻛﺲ ‪(+ 966) 13 5992445 :‬‬ ‫ﺟﻮال ‪(+ 966) 504934018 :‬‬

‫اﻟﻘﺮﻳﺔ ‪:‬‬ ‫ﺟﻮال ‪(+ 966) 505707512 :‬‬ ‫ﻃﺮﻳﻖ اﻟﻌﻘﻴﺮ ‪:‬‬ ‫ﺟﻮال ‪(+ 966) 556998008 :‬‬ ‫ﺟﻮال ‪(+ 966) 554353800 :‬‬ ‫ﻟﻼﺳﺘﻔﺴﺎر أو اﻟﻄﻠﺒﺎت‬ ‫ﻧﺮﺟﻮ ا‪A‬ﺗﺼﺎل ﺑﺎﻟﻤﻜﺘﺐ اﻟﺮﺋﻴﺴﻲ‬ ‫أو أﻗﺮب ﻓﺮع ﻟﻚ ﻓﻲ أي وﻗﺖ‬ ‫ﻣﻦ اﻟﺴﺒﺖ وﺣﺘﻰ اﻟﺨﻤﻴﺲ ﺑﻴﻦ‬ ‫ﻣﺴﺎء‬ ‫‪ 8‬ﺻﺒﺎﺣ| إﻟﻰ ‪8‬‬ ‫ً‬

WO½öŽ≈ …œU ¡UM³ « o×K

‰uK(« qC √ v ≈ ‰u uK W {«Ë W ƒ— ÊUD d « W dý

qŠ«d q?³ t?ðUłUO²Š« s? b? Q² « VKÞ sJ1 Y?O×Ð WOzUNM « ÃU?²½ù« V? ×Ð U−²M*« w? «d?OOGð Í√ ÀËbŠ ÈœU?H²ð Y?O×Ð t?ðUłUO²Š« ÆrOLB² « qŠ«d ¡UMŁ√ QDš Í√

qOLF « —U?E²½« ÂbŽ sLC¹ l¹d? « U? uKF Í√ v?KŽ ‰u?B×K `O{uð ‰öš s Ë Z²M*« ’uB Ð …œb?F² qzU?ÝuÐ ÃU?²½ù« q?Š«d s qOLF « s?JL²¹ Y?O×Ð q?OLFK

W d?A « ÂuIð YOŠ ¨l?O³ « b?FÐ U? o?¹d Ë ¡ö?LFK q U?ý V?¹—b²Ð WI¹dDÐË Z?²M*UÐ n?¹dF²K r?NKLŽ W? U{ùUÐ p? –Ë ¨t «b ²?Ý≈ W½UOBK U?*UJ ÂU?E½ d?O uð v? ≈ b²1 Z²MLK ÊUL{ „UM¼Ë h×H «Ë Æ «uMÝ fLš v ≈ q?Š«d0 l?O³ « q?³ b?²9 U?MðU bš W d?A UÐ ‰UBðù« œd?−L³ …b?¹bŽ W?O U U? uKF ÊU?D d « Âb?Ið lO³ « q?³ U? WKŠd0 h?² ¹ U?LO U? uKF v?KŽ q?OLF « q?B×¹Ë U b)«Ë dF UÐ h² ¹ ULO WO U WŽd? « vN²M0 WŠuML*« U?OMI² «Ë œd « ÂU?EM ¨ U?½UO³ « q WK U?ýË

UŽUMBK ÊU?D d « W d?ý X? b ZOK)« WIDM w UNðU bš W?Oz«cG « W dž ÕU²² « l Ë Æ±π∑∂ ÂUŽ cM fK½U²Ýô« lMB Ë UðU³MK b¹d³² « X?×$ b? W d?A « Êu?Jð qO²?Ý UN¼U&≈ w? fOz— ·b?¼ oOI% w ÆWK U WOłU²½≈ ‰uKŠ .bI² U?M UL²¼«Ë U?M²¹UMŽ oײ? ¹ U?MKOLŽ Ê≈ w Ë ÃU²½ù« UOKLŽ bFÐË ¡U?MŁ√Ë q³ qOLF « l? WKJ?A Í√ œu?łË W? UŠ UNKFł w U?½bNł È—UB ‰c?³½ U?M½S U uKF*« lL−Ð ÂuIM ÆÈd – œd− W¹ƒd qBM ¡öLF « öJA WÝ«—œË ƉuK(« qC _ qB½Ë W×{«Ë ÊU?D d « d?³²Fð W?OłU²½≈ W? ÝRL w? U? ÝR*« r?¼√ s? …b?Š«Ë W b Ð ÂuI½ s?×M ¨ZOK)« W?IDM qOLF « ¡U?{—≈ v ≈ q?BM U?MzöLŽ t?KLŽ ‰U?− 5? Q² j?I f?O w q?OLFK ÕU?−M « d?O u² s?J Ë ÊU?D d « l?L ¨ W? œUI « «u?Ž_« u¼ q?LF « o?¹dH f?Ozd « ·b?N « œ«bŽù« WKŠd W?¹«bÐ w Ë rJŠU$ WOzUÐdNJ « «b¹bL² «Ë «eON−²K …—b v?KŽ bO Q²K l? u*« …œU?¹“ «b?F*« .b?Ið v?KŽ «e?ON−² « UL ÆW?ÐuKD*« U?LOLB² « f?HMÐ WKŠd v ≈ b²9 ÊUD d « U bš Ê√

…œu'« WO UŽ ÊUD d « U{ËdF s V½Uł

130 Albenaa

¡UM³ « ±≥∞

WO½öŽ≈ …œU ¡UM³ « o×K

…b b nzU Ë Ë– Êd ÂUE Ë WO – WOMI …œËb;« WOÐdF « ËUÐ XÝöÐ W dý

W¹—ULF*« rO UB² « U?łUO²Š« w³K¹ ? ÆWOzUA½ù«Ë qKI¹ U2 ¡UM³ « WOKLŽ w —b?N « qKI¹ ? ÆW¾O³ « ÀuKð s ∫ UH «u s? w?ł—U)« ‰e?F « Õu? ŸU?Hð—≈ W½U?Ýd)« W?ÞöK v?KŽ_« Èu²? *« WÞö³ vKŽ_« Èu²? *« v ≈ WOKH? « ÆW¹uKF « W½UÝd)« ‰ËU? ¹ wKš«b « ‰eF « Õu ŸU?Hð—≈ ? Èu² *« s W dGK wKš«b « ŸUHð—ô« WOKH? « W½U?Ýd)« W?Þö³ v?KŽ_« s? nI? K wKH? « Èu²? *« v? ≈ U³OD?Að W UL?Ý »U? Š d?Ož Æ UO{—_« ÆrÝ ±≤∞ V UI « ÷dŽ ? ±μ v ≈ rÝ μ 5Ð ‰eF « Õu W ULÝ ?

Z ≥∞ ? ≤μ 5Ð ÕË«d²ð W U¦JÐ rÝ Æ ≥Â Ø rÝ ∂ 5Ð ÕË«d²ð ∫ W½UÝd)« W ULÝ ? ÆrÝ ≥∞ v ≈ r?Ý μ wKš«b « ‰eF « Õu W UL?Ý ?

Z ≥∞ ? ≤μ 5?Ð Õ«Ëd?²ð W? U¦JÐ Æ≥Â Ø —ËU× 5Ð WOI _« W U *« ? ÆrÝ ≤∞ w¼ Plastic Caps —ËU× 5Ð WOÝ√d « W U *« ? ÆrÝ ≤∞ w¼ Plastic Caps W ULÝ Ω nI « WÞöÐ …bý ŸUHð—≈ ? Æ©eDeck® W ULÝ ´ nI « WÞöÐ

∫ WO¾OÐ bz«u

w? ËU?Ð X?ÝöÐ ÂU?E½ ‰ULF²?Ý« Ê≈ WLł bz«uHÐ œuFO?Ý w½U?Ýd)« ¡U?M³ « s? d?O¦ qKIO?Ý Y?OŠ W?¾O³ « v?KŽ …—U?−M « w? »U?Aš_« „öN²?Ý« „öN²?Ý« qKIO?Ý U?L ¨ W½U?Ýd)«Ë qKIO?Ý w U² UÐË Èdš_« ¡U?M³ « œ«u tM½√ v ≈ …Ëö?Ž W¾O³ « Y¹u —Ë b?N U Æ W UD « „öN²Ý« s qKIOÝ ∫ ¡UA½ù« l «u w W ö « W uN?ÝË ËUÐ X?ÝöÐ V «u WHš Ê≈ ¡«œ√ v?KŽ U?Nð—b p? c Ë U?N³O dð 5? %Ë e¹eFð w? r¼U? ¹ U?N²HOþË Æl «u*« w W ö « ‰u √ ∫ w½UÝd)« ¡UM³K qC √ WI¹dÞ ËUÐ X?ÝöÐ W?LE½√ «b ²?ÝSÐ ¡U?M³ « 5Ð UÎ D?ÝË d³²F¹ W?FL²− Ë√ …œd?HM l u*« w VB UÐ ¡UM³ « W?LE½_UÐ ¡U?M³ «Ë ©Cast in situ® Æ©Precast® VB « W u³ d? u¹Ë …œu?'« j?³{ v?KŽ bŽU? ¹ ? ÆW½UÝd K WLz«œ W¹ULŠ qBð W³? MÐ ¡UM³ « WOKLŽ w Ÿ—U? ¹ ? Æ• ∑∞ v ≈ WO½U?Ýd)« »U?Aš_« w? i?H ¹ ? Æ•∑μ v ≈ qBð W³ MÐ WOKLŽ w WÐuKD*« W ULF « œbŽ qKI¹ ? Æ¡UM³ « v ≈ ‰Ë«b?² «Ë W ËUM*« w? ÃU?²×¹ô ? ÆWKOIŁ p¹d%Ë qI½ qzUÝË

p –Ë nI?Ýú ËUÐ X?ÝöÐ V «u »U?BŽ_ «u?M Ë U?ŽUD q?LF WOzUA½ù« —u׳ « ÊuJð U bMŽ WMO{dŽ V? Š UN×OK? ð r²¹Ë Â∑ s? d?³ √ ÆWOLOLB² « dO¹UF*« ∫ U½“Ë nš√ nIÝ√ X?ÝöÐ V? «uIÐ W?OM³*« nI?Ý_« Ê≈ s UNðöO¦ s? UÎ ½“Ë nš√ d³²Fð ËU?Ð Ë√ Íœ—u?N « ÂU?EMÐ W?OM³*« nI?Ý_« Æ• μ∞ v ≈ qBð W³ MÐ lMB « WI³ ∫ WO U{≈ bz«u

ËU?Ð X?ÝöÐ V? «u n?Oþuð s?J1 ¡U?M³ « W?OKLF W?O U¦ ‰u?KŠ d?O u² W?O½UJ ≈ s? Èu?BI « …œUH²?Ýô« Ë√ ÆV «uI « ∫Monolithic ¡UA½≈ ÂUE½ ËU?Ð X?ÝöÐ V? «u «b ²?Ý« b?MŽ Ë√ W?FL²− Ê«—b?'«Ë nI?Ýú rOLB² « WOKLŽ ¡UMŁ√ UMMJ1 t½S W dH² p –Ë wzU?A½≈ ÂUE½ v?KŽ q?B×½ Ê√ Æ Z²M*« s WOzUA½ù« …bzUH « rOEF² ∫ Í—«d(« ‰eF « X?ÝöÐ V «u Ê√ U?Ý«—b « X²³Ł√ UÎ ¹—«dŠ ôÎ eŽ d u²Ý nIÝ_«Ë Ê«—b−K ËUÐ ÆÂUEM « «cNÐ WOM³*« PAMLK ôÎ UF ∫ wðuB « ‰eF « wðuB « ‰eF « hzUBš nOþuð sJ1 hzUBšË s¹d¹U² O u³ «Ë b¹bŽ …œU* …œUH²Ýô«Ë W×K *« WO½U?Ýd)« WK²J « W ËeF*« W×K *« W½UÝd)« UÞöÐ s hOH ² ËUÐ XÝöÐ V «u WD?Ý«uÐ Æ «u _« …bŠ

ÂU?Ž W?OÐdF « ËU?Ð X?ÝöÐ X? ÝQð WOŽUMB « WM¹b*« w l?IðË ¨  ≤∞∞μ ¨oOIÐ√ o?¹dÞ ? ÂU b « W?M¹b0 W?O½U¦ « Ê«—b'« V «u WŽUM w hB ²ðË Æs¹d¹U² O u³ « Õ«u _«Ë nIÝ_«Ë ∫ WO – WOMIð 5MÝ bFÐ ËUÐ XÝöÐ V «u d¹uDð …d³)«Ë rOLB² «Ë Y׳ « s? …b¹bŽ q UJ² ÃU²½≈ jš ¡UMÐ tMŽ Z²½ WOKLF « nIÝú ËUÐ XÝöÐ V «u qOJ?A²Ð ÆWO½bF `z«dAÐ UÎ Oð«– WLŽb*« ∫ …œbF² nzUþË Ë– X?ÝöÐ V «u W?ÝbM¼Ë r?OLBð nzUþu « s œbFÐ ÂUOI nIÝú ËUÐ ÆX u « w WOÝUÝ_« ∫ Êd ÂUE½ WO u¹b0 nB²¹ ËUÐ XÝöÐ ÂUE½ Ê√ l …—bI pK²1 t½√ ô≈ W?MOF wŠ«u½ s U UL «Ë ‰«uÞ_« w qOJAð vKŽ l¹—U?A*« UłUŠ V? Š UײH «Ë ÆWHK² *« rO UB² «Ë ∫»UBŽ_« «– UÞö³ « `OK ð v?KŽ W?D³CM W?O U¦ V? «u d? uð b?¹bŠ ¡«u?²Šô V?BF « œ«b?² « W¹UL(« d?O uðË W½U?Ýd)«Ë« `OK? ² « ÆW “ö « ∫nI « V «u lOL&Ë VO dð ËUÐ XÝöÐ V «u lOL&Ë VO dð r²¹ WIzU WŽd?ÝË W Uð W uN? Ð nIÝú ÆWO³A)« «bA UÐ W½—UI ∫WO{dŽ »UBŽ√ w ÷dF UÐ lDI « ÊUJ0 W uN « s

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UNIQUE VALUE CAN ONLY BE CREATED BY PROFESSIONALISM, SPECULATION HAS NO FUTURE

Computarised Machinery

Kin Long Company has been an innovative and professional company engaged in research, development, manufacture, and marketing of fittings of high quality and provides consulting services to the architectural industry.

Through many years’ development, Kin Long achieves a good reputation in construction industry.

Kin Long has a factory of 250,000sq.m. With a construction area of 200,000sq.m. The total number of employees exceeds 5000, including over 500 technical and managerial personnel. With a developing sales network both home and abroad, its products are

Fabrication Machine

Assembly Section

distributed through China and exported to more than 100 countries and areas.

Unique value can only be created by professionalism, speculation has no future. This motto is practiced by Kin Long personnel at all levels. In the continuous quest for constant technology development, higher quality and better services, today Kin Long has become the prominent and largest supplier of fittings for architectural hardware industry.

Striving to become the leaser to serve the architectural hardware industry in the world, Kin Long not only adopts advanced management and manufactural method,

but also invests heavily in design and innovation. Till now, Kin Long has more than 10,000 items of products and owns more than 300 patents.

The company has achieved acclaim in innovative design, elegant appearance,

high quality products and unsurpassed famous landmarks in countless cities all over the world.

Kin Long is always your best and most reliable partner in supplying fittings for architectural hardware.

Cutting Machine

Production Process

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l «Ëd « r U w WO U *« …—bI « ÷U¹d « UM¹d lMB ? ÊULKÝ sÐ bL× tK « b³Ž aOA «

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UŽUDI «Ë U d?A « Èd³ s ÆWHK² *« WO uJ(« tðU bš q? UJ²Ð l?MB*« e?OL²¹Ë l?OLł W?O³Kð v?KŽ …—b?I «Ë U³KD² r?zö¹ U0 U?łUO²Šô« ¡ö?LF « U?łUO²Š«Ë ‚u? « U?H «u*« l?OLł d?O uðË ôuL(« ·ö?²š« s WÐuKD*« U —U*« n?K² Ë ö?¹œu*«Ë ôU Ë pK²1 l?MB*« Ê√ Y?OŠ WO*UF « U dA « nK² * W¹dBŠ JasoØ SwF W d?ý U?¼“dÐ√ s?

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s?Ð W d?ý® ∫q?¦ W? U)«Ë pÐU?Ý W d?ý ¨W¹œuF? « Êœô u?J «—√ W d?ý ¨W¹œuF? « w?׳«d « W d?ý ¨W¹œuF? « ÊUO½uÐ√ W dý ¨…—U−² «Ë WŽUMBK ‚d?A « l?MB ¨ ôËU?ILK ¡U?ÐdNJ « W d?ý ¨pO²?Ýö³K W?OMÞu « W d?A « ¨W¹œuF? « W dý ¨w×B « ·dB «Ë ÁUOLK W d?ý ¨ ôËU?ILK »«d?F « ¨ ôËU?I*«Ë …—U?−²K e?¹eŽ ¨ «b?FLK w? UH'« W d?ý ôu?×LK …b?ײ*« W d?A « W? UF « W? ÝR*« ¨W?OzUÐdNJ « W UF « W ÝR*« ¨‰öG « l «uB W×KB ¨W?¹b¹b(« Ë ◊u?D K W?¹d¹b*« ¨W¹œuF? « „—U?L'« W? ÝR*« ¨w½b*« ŸU? bK W? UF « ¨W?OÐd(« U?ŽUMBK W? UF « U?¼dOž ©Ê«d?OD «Ë ŸU? b « …—«“Ë

W¹œuF? « W?ŽUMB « XŽUD²?Ý√ lOLł w W?OLM² « …dO? W³ «u qþ w? W?¹œUB² ô« U?ŽUDI « W uJŠ s? œËb?× ö « r?Žb « pK*« 5H¹d?A « 5? d(« ÂœU?š œuF?Ý ‰¬ e¹eF « b³Ž sÐ ÊULK?Ý Æ? tK « tEH×¹ ? ’U?)« ŸU?DI « X?³Ł√ b?I Ë W?ŽUMB UÐ ¡U?Ið—ô« v?KŽ t?ð—b U0 U?NðU½UJ ≈ W?HŽUC Ë W?OMÞu « w?² « W?OzU/ù« ·«b?¼_« Âb? ¹ fLK½ UMKF Ë ¨W? Ëb « UNðœbŠ W?ŽUMB « l? «u «Î d?O³ «Î —u?Dð v?KŽ U?Nð—b b?¹«eðË W?OMÞu « WŽuM²*« ‚u? « U−OŠ« WO³Kð t² b U ‰ö?š s W?HK² *«Ë« œuNł s l½UB*«Ë U? ÝR*« W½UJ e¹eFð w? XLN?Ý√ W³OÞ l½UB*« Ác¼ s Ë wMÞu « Z²M*« «bF* ÷U¹d « UM¹d lMB ÆWO½bF*« ôuG?A*«Ë ‘—u « ?¼±¥±μ WM?Ý l?MB*« f?ÝQð f? Ý√ vKŽ WOM³ W?Ý«—œ bFÐ d?Nþ√ W?ÝË—b W?OLKŽ ‚u? K …b¹«e²*« U?łUO²Šô« W?³ «u*Ë ¨U?MðU−²M* ÍœuF? « W?CNMK WŽ—U? ²*« …d?Oðu « XLŽ w?² « WK U?A « W?O½«dLF « l¹—U?A s ÆW?JKL*« o?ÞUM ŸU?DI « l¹—U?A Ë W?O uJŠ Æ’U)« s?¹cš¬ W?¹u W? öD½ù« X?½U «—uDðË «d?OG² UMÐU? Š w œ«dO²?ÝUÐ U?ML Y?OŠ ¨‚u? « «b?F*«Ë …e?Nł_« Àb?Š√ ¡U?×½√ s? l?MBLK W? “ö « s t?K « q?CHÐ U?MJ9Ë Ær? UF « w …dO³ l¹—U?A cOHMðË ÃU²½ù« W?O uJ(« U?ŽUDI « n?K² 138 Albenaa

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l —UA*« s W uM W uL r b Êö F « WOzUA½ù« WOAžú Êö−F « W dý

qL?Að WOMJ?Ý l¹—U?A* ‰U?LŽ√ U?ŠU³ «Ë W?OM _«Ë q?š«b*« WŠU³? « ÷«u?Š√Ë o?z«b(«Ë Æ «dL*«Ë VFK « oÞUM Ë w?² « W¹œuF? « W d?A « X? b Ë …błË ÷U?¹d « w VðUJ p?K²9 w? ¡ö?LF « s? œb?F U?NðU bš W¹œuF « W d?A « rNM Ë ¨WJKL*« w?ÐdG « ŸU?DI «® ¡U?ÐdNJK ¨uJ «—√Ë ¨©WOÐuM'« U?ŽUDI «Ë …—«“ËË ¨÷U¹d UÐ WFL−*« WF UłË ÆWOKš«b « …—«“ËË ¨ÊUJÝù«

‚œU?MH « qL?Að l¹—U?A*« s? e «d Ë U?ŽUI «Ë ¨ U?F−²M*«Ë W?O UI¦ « l? «u*«Ë ¨‚u? ² « „d?ÐË ¨o?z«b(«Ë ¨n?ŠU²*«Ë o?z«b(«Ë ¨V?Žö*«Ë ¨WŠU³? « n u'« VŽö Ë ¨`DÝ_« vKŽ Æ U¼eM²*«Ë Íœ«uM «Ë e? dð ¨ ö? «u*« ŸU?D w? Ë w?ŽUL'« q?IM « v?KŽ W d?A « o? «d ¨ ö? U(« U?D× Ë ¨ U?³ d*«Ë «—UO? « n? «u cH½Ë Æ»—«u?I « lOÐ ö× Ë

WO?Ažú Êö−F « W d?ý d? uðË qJAÐ XF?Ýuð w² « ≠ WOzU?A½ù« w? UO?ÝUÝ√ U?³Žô Î Î `?³B² d?O³ W?OLOK ù«Ë W¹œuF? « ‚«u?Ý_« U bš ? w{U*« bIF « Èb vKŽ wzU?A½ù« b?A « q U?O¼ l?OMBð «—UO? « n? «u ö?E* U³ÝUM*« UŽU Ë W UF « oz«b(«Ë ÷«u?Š√Ë W?O{U¹d « ôU?B «Ë »U?F _« ôU? Ë WŠU³? « Æg?z«dF «Ë W?M¹e « ö?þË WŽuM² W?ŽuL− W d?A « rŽbðË

WO?Ažú Êö?−F « W d?ý c?HMð WJKL*« w U¼dI l «u « WOzU?A½ù« «Î œb?Ž UÎ ?O UŠ W¹œuF? « W?OÐdF « «—UO? « n? «u l¹—U?A s? n u ö?E U?NM Ë ¨Èd?³J « p?K*« —U?D w? «—UO? « Æ…bł w e¹eF «b³Ž bIF « cHMð w² « W d?A « qLFð UL ‰U?¹— Êu?OK ¥∞ t?²LO W?G U³ « W?ŽuL−* ©—ôËœ Êu?OK ±∞[∂® l¹—U?A w? W¹œuF? « Êœô s?Ð s? œb?Ž w? «—UO? « n? «u* ¨W?JKL*« w? Èd?³J « l¹—U?A*« tK « b?³Ž pK*« e? d p – w? U0 w WO Ëd²³ « Àu׳ «Ë UÝ«—bK ¨W¹œuF « uJ «—√ W dA ÷U¹d « pK*« W?M¹b s? W?O½U¦ « W?KŠd*«Ë ¡U? Š_« w? W?O³D « e?¹eF «b³Ž W?O×B « ÊËR?A « U? b) pK*« ŸËd?A Ë ¨wMÞu « ”d(UÐ W?OM _« «d?I*« d?¹uD² t?K «b³Ž ∞≥ KAP W?FЫd « t?²KŠd w? ŸËdA Ë ¨WOKš«b « …—«“u lÐU² «Ë —UŁü«Ë WŠUO? K W¹œuF? « W¾ONK WO²×² « WOM³ « ŸËd?A Ë ¨÷U¹d UÐ X¹U? u³ « r−M …Q?AM* o «d*«Ë ÆÊœUF W dA lÐU² «

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ë“U$ù« s UÎ U Êu ö ôËUILK q× *« tK « b³Ž W ÝR

WOŽUMB « qO³'UÐ W¹œuF « f³OKO ÊËdHOý W dý ÊUJÝ≈

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∫nOOJ² «Ë b¹d³² « ‰ULŽ√ r ∫ wðü« cOHM²Ð ÂuI¹Ë w?ÝbM¼ ·«d?ý≈Ë r?OLBð ? ÆhB ² W?LE½√ ‰U?LŽ√ l?OLł c?OHMð ?

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ÆW¹—«œù« w½U³*« ?

UD× ® q¦ WOŽUMB « w?½U³*« ? r?Jײ « ·d?žË ¡U?ÐdNJ « Æ©UNðUI×K Ë WOŽUMB « ‘—u «Ë UŽœu² *« ?

P?AM Ë WO½U?Ýdš w?½U³ s? ® Æ©WO½bF q? UF*«Ë ÀU?×Ð_« e? «d ? ÆWO³D « UOHA² *«Ë ÆWOJO½UJO*«Ë WOzUÐdNJ « ‰ULŽ_« ?

q×? *« t?K « b?³Ž W? ÝR W? ÝR w?¼ ôËU?ILK ¨W? UŽ ôËU?I Ë «¡U?A½≈ UNzU?A½≈ - ¨•±∞∞ W¹œuF?Ý W?BB ² ¨UÎ ? UŽ 5?ŁöŁ c?M «¡U?A½ù« ‰U?− w? q?LFðË U? bšË W? UF « ôËU?I*«Ë Íb¹_« dO uðË W?ŽuM²*« W½UOB « »U?× √Ë …d?N*« W?K UF « l V?ÝUM²ð w² « WO UF « …œu'« W?OŽUMB «Ë WOzU?A½ù« ‰U?LŽ_« U d?ý l cHMð w?² « W?IO b « U¹ËULO Ëd²³ «Ë U?¹ËULOJ « …b?Ž v?KŽ qL²?AðË ¨U?¼dOžË ∫w¼Ë W Oz— ÂU √ ∫¡UM³ «Ë W UF « ôËUI*« r ∫ wðü« cOHM²Ð ÂuI¹ W?OM³ «Ë ÊUJ?Ýù« l¹—U?A ? ÆWO²×² «

WOŽUMB « qO³'UÐ WOMÞu « lOMB² « W dý ÊUJÝ≈

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V UM*« dF «Ë …œu'«Ë ŸuM « pO «dO K ‚œdÝ …bLŽ√ W ÝR l «u « b?¹b'« ÷d?F*« ÕU?²² ≈ ÍdÐu ® Ê«d?NE « ? qO³'« o?¹dDÐ r? ²¹ Íc? «Ë ©W?OÐUM « UNO?Ý qN ¹ v²Š tO —Ë ÷ËdF « WŽËdÐ qJÐ t³?ÝUM¹ U —UO²š« qOLF « vKŽ ÆWŠ«—Ë W uNÝ

·U?M _UÐ e?OL² « Ê√ v?²Š ¨U?NÐ «Î —UF?ý `?³ √ b? W?OŽuM «Ë ÆW ÝRLK v?KŽ qN? « s? Êu?J¹ w?J Ë W? ÝR*« l? q? «u² « ¡ö?LF « b?I b?¹bł q s? …œUH²?Ýù«Ë

u¼ UÎ ?C¹√ W? ÝR*« eO1 U? r?¼√Ë Ê«u? _«Ë ·U?M _« —«dL²?Ý« U?OLJ « l?OLł d? «u²ð Y?O×Ð UNÐ V?žd¹ WMOŽ Í√ s? W?ÐuKD*« ÆqOLF « W? ÝR*« —UF?ý w¼ W?O «bB*« Ê≈ YO×Ð ¡öLF « l? UNK UFð ‰ö?š U? b)« q?C √ U?NzöLF Âb?Ið w?³Kð w?² « ·U?M _« Àb?Š√Ë W¹—U& ¡«uÝ rNF¹—UA UłUO²Š« ÆU¼dOž Ë√ WOMJÝ Ë√ w² « …e?OL*« U?{ËdF*« W? UÐ Ê≈ ‚œd?Ý …b?LŽ√ W? ÝR U?N bIð pO «dOÝ qLA² ŸuM²ð pO «dO K pO «dO?Ý ¨w?ł—UšË w?Kš«œ W U)« «—«u ù«Ë ¨`ÐU *«

‚œd?Ý …b?LŽ√ W? ÝR d?³²Fð …bz«d « U ÝR*« s pO «dO? K œ«u?*«Ë pO «dO? « ‰U?− w? ‰U?− w? p? c Ë ¨t? W?KLJ*« ÆWO dA « WIDM*UÐ ¡UM³ « œ«u WMÝ ≤μ sŽ b¹e¹ U W ÝR*« pK²9 r?ÝSÐ X? ÝQð YOŠ ¨…d³)« s rŁ WMÝ ≤± …b* ©pO «dO K bOF «® «uMÝ μ w «uŠ cM r?Ýù« dOGð ©pO «dO K ‚œd?Ý W ÝR ® v ≈ b? Ë Æp? U*« d?OG² «Î d?E½ p? –Ë X? ÝQð Ê√ cM …—«œù« X? dŠ U−²MLK «Î —b?B ÊuJð Ê√ v?KŽ –≈ WO UF « UH «u*«Ë …œu'« «– ¨UO½U³?Ý√ s UNðU{ËdF œ—u²? ð Æ5B «Ë ¨bMN « ¨dB

146 Albenaa

¡UM³ « ±¥∂

WO½öŽ≈ …œU ¡UM³ « o×K

åÊuLLB U lMB s ò sz«e)« ŸUM Ë fKÐ s¹U½ w²M¹U½ W dý

? ÂU b « WM¹b w b¹b'« UMŽd w UMŽËd w p c Ë WŽdý_« Ÿ—Uý ¡U?ý Ê≈ UÎ ³¹d `²H²?Ý w² « …b¹b'« ÆtK « v d½ Ê√ fKÐ s¹U½ 5²¹U½ w UM b¼ Uł—œ vKŽ√ v ≈ rNF Ë UMzöLFÐ ‰ö?š s? WÞU? ³ «Ë W? U H « Æ UMðU−²M

fO «c¼ åÊuLLBð U lMB½ s×½ò l «u « u¼ qÐ ¨tF d½ —UF?ý œd− ¨sz«e)« l?OMB² t?Ð Âu?I½ Íc? « ôË rO UB²K œËb?Š UM¹b f?OK X½U ULN Ë ¨ U?ÝUILK œËb?Š Æsz«e)« s rJðU³KD² œ«u?*« s? …d?O³J « WKOJ?A² « Ê≈ s?z«e)« W?ŽUM w? W b ²? *« W?OŽu½ ¨Ê«u? _« s? «Î ¡«u?Ý ÂuOM*_« ö?¹U ËdÐ ¨»U?Aš_« U¼—UO²š« - w² « «—«u? ô«Ë «– œ«u?*«Ë Ÿ«u?½_« q?C √ s? .bIð s? UMMJ9 ¨W?O UF « …œu?'« w² « rO UB² « v —QÐË Z²M qC √ ÆUN œËbŠ ô d —bB w¼ UM{—UF* rJð—U¹“ rJ² bšvKŽ ÂuIMÝË ¨UM “«e²Ž≈Ë ÆÈu² vKŽQÐË UNzöLŽ W b Ð s¹U½ w²M¹U½ lKD²½Ë

v —√ s? Ë ÍdBF « ÀU?Ł_« s? ¨Êu? J¹œ ‰U¦ √ WO*UF « U —U*« Ê«e?)« ŸU?M Ë U UO?Ý√ ¨q?Ð√ œ— W? U{ùUÐ …“U?²L*« W?OŽuM « «– UN bI¹ w?² « …e?O*« U? b)« v? ≈ q?¼R*« f?KÐ s?¹U½ w?²M¹U½ o?¹d lO³ « U bš ÂbI¹ Íc «Ë RHJ «Ë ¨WO UŽ WOMN0 rOK? ² «Ë VO d² «Ë bFÐ U U bš .bI²Ð dL²? ¹ UL

w W¹Ë«e « d?−Š d³²Fð w?² « lO³ « ¡öLF « l WMO² U öŽ ¡«dÝ≈ w qLF « —UF?A UM uNH s UÎ öD½« bF½ UL qOBHð Í√ q?LN¹ô Íc « p – vKŽ W?E U;«Ë —«dL²?ÝôUÐ ÆUMzöLŽ WIŁ qOM

ŸU?M Ë f?KÐ w?²M¹U½ w? s?×½ s «uM?Ý fLš bFÐË s?z«e)« W¹«b³ « w UMF? ¹ô UM{dF ÕU²² ≈ d¹bI² «Ë dJ?A « d? «uÐ Âb?I² « ô≈ U?½u×M s?¹c « U?MzöLŽ W? UJ U½bŽË l? ¨UMÐË U?MðU−²M0 r?N²IŁ qC _« .bIð w —«dL²ÝùUÐ rN ÆUÎ Lz«œ ŸU?M Ë f?KÐ w?²M¹U½ w? U?M×$ U?M{dF* ÕU?²² ù« c?M Ë s?z«e)« oOI% w s?z«e)«Ë U?ýËdHLK W? u d WFL?ÝË …“U?²2 Z?zU²½ œ«d? _« s? ¡ö?LF « W? U Èb? ‰öš s? l¹—U?A*«Ë U d?A «Ë UMzöLF U? b)« W? UJ U?M1bIð s WOMN*« s Èu²? vKŽ√ vKŽË ÆU½—œU Ë UMOÝbMN ‰öš w²M¹U½ w U½eO9 ÁbŠË tK « dJ?A½Ë œuIŽ vKŽ UM uBŠ w? fKÐ s¹U½ UML Y?OŠ …dO³ Y?OŁQð l¹—U?A œuIF c?OHM² «Ë r?OLB² « ‰U?LŽQÐ c?OHMð U?MKL √Ë W?ŽuM² Y?OŁQð X? u « w? UMF¹—U?A rOK? ðË ÆtłË qL √ vKŽË œb;« …b R W?−O²½ u¼ ÕU?−M « «c?¼ Ê≈ t? bI½ Íc? « w? UF « Èu²? LK 148 Albenaa

¡UM³ « ±¥∏

WO½öŽ≈ …œU

¡UM³ « o×K

UN «d

w UÎ U ’U d « …œU h W b ÂbI åq uJO u ò W u u « UN KL sL{ åq¹uJO½u¹ò W dý

WMHK−*« b¹b(« ÃU Õ«u √

‰UHÞ_« 5Ð …b¹bł wM¼– e−Ž W UŠ ÆUÎ ¹uMÝ h ý n √ ±¥≥ …U ËË W³? ½ bŽUBð s W?LEM*« —c?ŠË dOž …—u?BÐ …œU*« ÁcN «b ²?Ýô« iFÐ t−N²Mð œb?× —b ö?ÐË WM WG U³ « Á—«d{√ s YOŠ U d?A « dOBIðË WO «—œù« «—b?I « iHš qKšË „uK? « dOGðË e?O d² « b? √ »«dD{ô«Ë åUOJOKO? ¹œò …¡«d?I « j?G{ ŸU?Hð—«Ë ÁU?³²½ô« n?F{Ë WOŽUM*« WOL «Ë vKJ « —uB Ë Âb « ÊuJðË ¨WOÐU$ù« ¡UCŽ_« WOL?ÝË ULO ¨ÂUŽ t?łuÐ W1b²? U¼—«d{√ Æ…dO¦ ôUŠ w …U uK ÍœRð b

’U? d « …œU? œu?łË d?Ł√ s?ŽË U¼dOžË uJMO?A « `D?Ý√ ¡ö?Þ w Ê≈ W?O*UF « W?×B « W?LEM b? √Ò …œU?*« Ác?¼ v?KŽ Íu?²;« ¡ö?D « qKײ « w √b³¹ U? bMŽ «dDš `³B¹ r²ð U? bMŽË ¨—U?³žË «—c?ý v ≈ vKŽ ÍuDMð VO UÝ√ WD?Ý«uÐ t² «“≈ V³? ²ð Y?OŠ 5 ? ² « Ë√ p?(« W?¾O³ « Àu?Kð w? «—c?A « Ác?¼ ‰UHÞ_« ÷d?F² WDO;«Ë W?O eM*« —U³G «Ë «—c?A « Ác?N UÎ ? uBš VFK « ÊËœR?¹ r¼Ë W Uš W uN? Ð «—«d rN¹b¹√ ÊuFC¹Ë ÷—_« vKŽ Ê√ UL ¨rH «Ë dF?A « vKŽ «—«dJðË b¹b(« w ÊU¼b « ‚dŠ Ë√ 5 ? ð ÃUB « ÂU( UOKLŽ p c Ë ÊuK*« ’U? d « v?KŽ Íu?²;« s?HK−*« W uN? Ð UN U?AM²Ý« r²¹ …d Ð√ b uð ÷«d? _« s? b?¹bF « V³? ðË Æ…dOD)«

151 Albenaa

¡UM³ « ±μ±

W½uK*« b¹b(« ÃU Õ«u √

s œ—u² *« åuJMO?ýò ÊuK*« ÃUB « ¡«u²Š« XK−?Ý Y?OŠ 5B « W? Ëœ nF{ μ∞ s? d?¦ √ v?KŽ U?NðU½U¼œ ÆUÎ O*UŽ tÐ ÕuL *«Ë s ü« b(« d?A³ « «b ²?Ý« W?FO³Þ q?þ w? Ë s?HK−*« b?¹b(« U?−²M* W?¹uO(« ¨W?OzUÐdNJ « …e?Nł_« w? ¡«u?Ý ¨»d?A « ÁU?O dO?Ý«u Ë U?½«eš ¨U?Nz«u¼ Í—U?− Ë U?HOJ*«Ë «b ²?Ý« W?FO³Þ q?þ w? U?C¹√Ë åuJMO?ýò Êu?K*« b?¹b(« U?−²M WOLOKF² « «—u³? « ¡«u?Ý W?¹uO(« s?¹e ð UŽœu²? ¨‰U?HÞú «—UO?ÝË «Ëd?C)«Ë Âu?×K « ‰U?HÞ_« V?Žö Ë ¨…œd?³*« U?NKI½ ¨U¼dOžË ”—«b*« UŠU?Ý —«u?Ý√Ë W?¹uO(« U «b ²?Ýô« Ác?¼ q ¨d?A³ « l d?ýU³*« ”UL² UÐ `L? ð vKŽ U−²M*« Ác¼ ¡«u²Š« W UŠ w? Ë b?(« ‚u?Hð V? MÐ ’U? d « …œU? w V³ ²ð b UN½S UO*UŽ tÐ ÕuL? *« ·dŽÔ U* dD K d?A³ « …UOŠ i?¹dFð r? ł vKŽ U?¼dOŁQðË UN uL?Ý s?Ž h²9 s¹c « ‰UHÞ_« W UšË ÊU ½ù« b¹e¹ ‰bF0 ’U d « …œU r¼œU ł√ Æ·UF{√ W L Ð 5G U³ « sŽ U WO*UF « W?×B « W?LEM —c?ŠË s r UF « w ‰UHÞ_« W Uš t?O½UF¹ ’U? d « …œU?* d?zU'« «b ²?Ýô« U−²M*« iFÐ ¡öÞ w W b ²? *« W?O eM*« U?½U¼b «Ë »U?F _U v? ≈ U?N² U{≈Ë b?¹b(« U?½U¼œË d?ýU³*« ‰UBðô« Ê√ Y?OŠ ¨p?½e « n √ ∂∞∞ ?Ð V³ ²¹ UNÐ dýU³*« dOžË

W b)«Ë …dJH « Ác?¼ Ê√ åq¹uJO½u¹ò b¹bF « s UÎ FÝ«Ë UÎ ³OŠdð X U½ …dJ²³*« WOŽUMB «Ë W?¹—U−² « U?O UFH « s? Æ U−²M*« ÁcN WJKN² *« U¾H «Ë W d?ý w ‰ËR? *« —b?B*« œU? √Ë ÁcN W d?A « .bIð Ê√ åq¹uJO½u¹ò UN³ł«Ë l? UÎ U−? ½« w?ðQ¹ W? b)« Íc « UN½öŽ≈ l? Ë wMÞu «Ë w?MN*« X e² «Ë WM?Ý s d¦ √ cM tð—b √ WOFOMB² « UN²O ËR? * U?NKLײРt?O W× Ë sÞu « W¾OÐ ÁU& WOŽUL²łô«Ë Ê√ w? pKN²? *« o?ŠË 5?MÞ«u*« W? Uš Íd²?A¹ U? W?IOIŠ ·d?F¹ U?−²M*« U?½uJ Êu?Jð U? bMŽ UN²IOIŠ „«—œ≈ sJ1 ô UN¹d²A¹ w² « Æ…œd−*« 5F UÐ W d?ý ·U?A² « Ê√ —bB*« ·U{√Ë U?H U o?zUI( åq?¹uJO½u¹ò VKž√ UH «u w W œU Ë …dO³ s?HK−*« b?¹b(« ÃU? U?−²M åuJMOA «ò ÊuK*« b¹b(« ÃU UÎ C¹√Ë WJKL*« ‚uÝ w W Ë«b²*«Ë …œ—u² *« UN²O ËR — ÒbBð v ≈ W dA « XF œ fO W¹UL( WOŽUL²łô«Ë WOFOMB² « UÎ C¹√ U/≈Ë ¨5JKN² *« ‚uIŠ jI 5MÞ«u*« W× Ë sÞu « W?¾OÐ W¹UL( W−O²½ dD K UN{dFð qL²% b w² « «d³² Èb lÞU qJ?AÐ X³Ł U W?OMÞË «d?³² Ë åq?¹uJO½u¹ò s b¹bF « Ê√ s …b¹U× Ë WKI²? åuJMO?ýò Êu?K*« ÃU?B « U?−²M …œ—u²? *« sHK−*« b?¹b(« ÃU? Ë s «Î bł …d?O³ UOL v?KŽ Íu²% …—uE;«Ë …d?D)« ’U? d « …œU Î s b?¹bF « XK−?Ý Y?OŠ ¨U?O*UŽ - w² « sHK−*« b¹b(« ÃU UMOŽ WOKD*« p?½e « …œU ¡«u?²Š« UNB× »—UIð ’U? — …œU? v?KŽ U?NOKŽ ¨UÎ O*UŽ tÐ ÕuL *« b(« ·UF{√ ±∞ w? W?OIOI(« W? bB « X?½U U?LO U?−²M V?Kž√ U? u× Z?zU²½

ŸU?DI « Èu²? v?KŽ …d? ‰Ë_ WOÐdF « WJKL*« w ’U)« wŽUMB « WOK× WOMÞË W dý ÂuIð ¨W¹œuF « q?LF U¼œ«bF²?Ý« s?Ž Êö?ŽùUÐ WK U?ý ©UÎ ½U− ® W¹d³ U? u× sHK−*« b¹b(« ÃU? d UMŽ W UJ ÃUB « W UL?Ýw YOŠ s Êu?K*«Ë W UL?ÝË tOKŽ WOKD*« p½e « W?OL Ë v?KŽ e?O d² « l? ¨ÊU?¼b « W?I³Þ W UC*« ’U d « …œU* h× ¡«dł≈ Õ«u? √ w? Âb ²? *« p?½e « v? ≈ h?× UÎ ?C¹√Ë ¨s?HK−*« ÃU?B « U−²M U½U¼œ w ’U d « …œU åuJMO?A «ò W?łdF*« Ò Êu?K*« b?¹b(« ÆWOK;« ‚u « w W Ë«b²*« ÊœUF*« ¡öD WO*UF « W d?A « X U

W UÝ— tOłu²Ð åq¹uJO½u¹ò …œËb;« ¨l¹—U?A*« ¨—U?−² « v? ≈ W?Šu²H ¨5¹—U?A²Ýô«Ë WO?ÝbMN « VðUJ*« ÷dFð 5JKN² *« ÂuLŽË ¨5OMH « U u×H « ¡«dłù U¼œ«bF²Ý« UNO ÊuK*« b¹b(« ÃU U−²M* W¹d³ *« WBB ²*« UNð«d³² w? sHK−*«Ë h×H « …e?Nł√ ÀbŠQÐ …e?N−*«Ë UÎ Šu²H »U³ « X dðË ¨W öF « «– s …œUH²?ÝôUÐ V?žd¹ ·d?Þ Í_ w U(« ÂUF « W¹UN½ v?²Š W b)« Ác¼ ‚UD½ W d?A « XF?ÝËË ÆÂ≤∞±μ qL?A² w½U−*« h?×HK U?N² bš l?OLłË W?O−OK)« ‰Ëb? « ‚«u?Ý√ ÆWOÐdF « ‰Ëb « W d?ý W? bš w? X? ö « s? Ë h?×HK W?O½U−*« åq?¹uJO½u¹ò W dA « œ«bF²Ý« qL?Að UN½√ Íd³ *« b?¹d³ « n?¹—UB q? U q?Lײ »uKD*« UMOF « ‰U?Ý—ù q−F² *« UL ¨’U)« UNÐU? Š vKŽ U?NB× V UÞ b¹Ëe²Ð U?N «e² « b? √ U?N½√Ë ÂU¹√ W?ŁöŁ ‰ö?š Z?zU²M UÐ h?×H « Æ UMOFK UN ö²?Ý« a¹—Uð s q?LŽ W d?AÐ ‰ËR? —bB Õd? b? Ë

‫ﺑﻤﻨﺎﺳﺒﺔ اﻟﻤﻌﺮض‬ ‫اﻟﺴﻌﻮدي ﻟﻠﻄﺎﻗﺔ‬ ‫ﻣﻦ ‪ ١٣-١١‬ﻣﺎﻳﻮ ‪٢٠١٥‬‬

‫ﻳﺘﻨﺎول ا ﺻﺪار ‪:‬‬ ‫اﻟﻤﺤﻮر اﻻول ‪ :‬اﻟﻄﺎﻗﺔ ا وﻟﻴﺔ‬ ‫• اﻟﻄﺎﻗﺎت اﻟﻨﺎﺑﻀﺔ • اﻟﻄﺎﻗﺔ ا وﻟﻴﺔ اﻟﻤﺘﺠﺪدة • اﻟﻄﺎﻗﺔ اﻟﺬرﻳﺔ‬ ‫• ﺧﻄﻂ وﻣﺸﺮوﻋﺎت ﻣﺪﻳﻨﺔ اﻟﻤﻠﻚ ﻋﺒﺪ ا ﻟﻠﻄﺎﻗﺔ اﻟﻤﺘﺠﺪدة‬

‫اﻟﻤﺪﻳﻨﺔ‬ ‫و اﻟﻄﺎﻗﺔ‬

‫اﻟﻤﺤﻮر اﻟﺜﺎﻧﻲ ‪ :‬اﻟﻄﺎﻗﺔ اﻟﺜﺎﻧﻮﻳﺔ‬ ‫• اﻟﺸﺒﻜﺎت اﻟﻜﻬﺮﺑﺎﺋﻴﺔ اﻟﺤﺪﻳﺜﺔ ﻓﻲ اﻟﻤﺪﻳﻨﺔ • ﻣﺸﺮوﻋﺎت اﻟﻄﺎﻗﺔ‬ ‫اﻟﻤﺤﻮر اﻟﺜﺎﻟﺚ ‪ :‬اﻟﻄﺎﻗﺔ اﻟﻨﻬﺎﺋﻴﺔ‬ ‫• اﻟﻄﺎﻗﺔ ا‪2‬ﻳﺠﺎﺑﻴﺔ • إﻧﺎرة اﻟﻤﺪﻳﻨﺔ • ﻛﻔﺎءة اﻟﻄﺎﻗﺔ • اﻟﻄﺎﻗﺔ وﺗﺨﻄﻴﻂ اﻟﻤﺪن‬ ‫• ﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ وﺗﻜﻴﻴﻒ اﻟﻤﺒﺎﻧﻲ • اﻟﻌﺰل اﻟﺤﺮاري • اﻟﺘﻌﺮﻳﻒ ﺑﻤﻨﺘﺠﺎت وﺗﻘﻨﻴﺎت اﻟﻄﺎﻗﺔ‬ ‫• ا ﺑﺤﺎث واﻟﺘﻌﻠﻴﻢ اﻟﻤﺴﺘﻤﺮ • إدارة اﻟﻄﺎﻗﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ • ا<ﻻت اﻟﻤﻨﺰﻟﻴﺔ اﻟﻜﻬﺮﺑﺎﺋﻴﺔ‪.‬‬

‫ﻟﻤﺎذا اﻟﻤﺸﺎرﻛﺔ ﻓﻲ ﻋﺪد‬ ‫اﻟﻜﻬﺮﺑﺎء‬

‫اﻟﻘﻄﺎﻋﺎت اﻟﻤﻌﻨﻴﺔ ﻓﻲ ﻫﺬا‬ ‫ا ﺻﺪار‪:‬‬

‫اﻟﻤﺴﺘﻬﺪﻓﻴﻦ ﻣﻦ اﻟﻘﺮاء‬

‫ اﻟﺘﻌﺮﻳﻒ ﺑﻤﻨﺘﺠﺎت وﺗﻘﻨﻴﺎت‬‫اﻟﻄﺎﻗﺔ واﻟﻜﻬﺮﺑﺎء ‪.‬‬

‫‪ -‬اﻟﻄﺎﻗﺔ‪.‬‬

‫ ﺟﻤﻴﻊ ا‪2‬دارات اﻟﻬﻨﺪﺳﻴﺔ ﻓﻲ‬‫اﻟﻘﻄﺎع اﻟﺤﻜﻮﻣﻲ‪.‬‬

‫ اﻟﻮﺻﻮل اﻟﻤﺒﺎﺷﺮ إﻟﻰ اﻟﺴﻮق‬‫اﻟﻤﺴﺘﻬﺪف‪.‬‬ ‫ ﺗﺒﺎدل اﻟﺨﺒﺮات ﻓﻲ ﻗﻄﺎع‬‫اﻟﻄﺎﻗﺔ واﻟﻜﻬﺮﺑﺎء‪.‬‬

‫ﻋﺪد ﺧﺎص‬

‫ ﺑﻤﻨﺎﺳﺒﺔ اﻟﻤﻌﺮض اﻟﺴﻌﻮدي‬‫ﻟﻠﻄﺎﻗﺔ‪.‬‬ ‫ﻫﻲ اﻟﻤﺠﻠﺔ‬ ‫ ﻣﺠﻠﺔ اﻟﺒﻨﺎء‬‫اﻟﺮﺳﻤﻴﺔ ﻟﻠﻤﻌﺮض اﻟﺴﻌﻮدي‬ ‫ﻟﻠﻄﺎﻗﺔ‪.‬‬

‫ اﻟﻜﻬﺮﺑﺎء‪.‬‬‫‪ -‬ا‪2‬ﻧﺎرة‪.‬‬

‫‪ -‬ﺷﺮﻛﺎت اﻟﻤﻘﺎوﻻت‪.‬‬

‫‪ -‬اﻟﺘﻜﻴﻴﻒ ‪.‬‬

‫ اﻟﻤﻜﺎﺗﺐ ا‪2‬ﺳﺘﺸﺎرﻳﺔ‬‫واﻟﻬﻨﺪﺳﻴﺔ‪.‬‬

‫‪ -‬اﻟﻤﻮﻟﺪات واﻟﻤﺤﻮﻻت‬

‫‪ -‬أﺻﺤﺎب اﻟﻤﺸﺎرﻳﻊ‪.‬‬

‫اﻟﻜﻬﺮﺑﺎﺋﻴﺔ‪.‬‬

‫ اﻟﻤﺘﺨﺼﺼﻮن ﻓﻲ أﻧﻈﻤﺔ وﻣﻮاد‬‫اﻟﺒﻨﺎء‪.‬‬

‫ اﻟﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ‪.‬‬‫ ﺗﺤﻠﻴﺔ اﻟﻤﻴﺎه‪.‬‬‫‪ -‬أﻧﻈﻤﺔ اﻟﺘﺤﻜﻢ ‪.‬‬

‫ اﻟﻤﺘﺨﺼﺼﻮن ﻓﻲ اﻟﻄﺎﻗﺔ‬‫وااﻟﻜﻬﺮﺑﺎء‪.‬‬

„«d?³ « l?MB c?OHMð Í—U?łË jO?A w W¦ U¦ « WOŽUMB « W?M¹b*« w ÃU?łeK …bŽ w WŽuL−*« dL¦²? ðË «c¼Æ…bł U¼—b WO ULł≈ W?HKJ²Ð W¹—UIŽ l¹—U?A U?FL− W? U ù ‰U?¹— Êu?OK ∏∞ UN²FÐU²0 Âu?I¹ WO d?A « WIDM*UÐ WOMJ?Ý d¹uD² « r? w Êu d²× Êu?ÝbMN j?D)UÐ o?KF²¹ U?LO ËÆÍ—UIF « U?FKDð U?N¹b W?ŽuL−*U WOK³I²? *« ôU?− d?¹uDðË lO?Ýuð w? …d?O³ ‚u? « W?łUŠ V? Š v?KŽ q?LF « UL ‰U−*« «c¼ w? b¹bł u¼ U qJ?ÐË …œu'« dO¹UF vKŽ WE U;« v « vF? ð WOMH « «—u?D² « W³ «u v « W? U{ùUÐ ÆlOMB² « ‰U− w WOMI² «Ë

.bIð vKŽ W dA « qLFð WO UŽ …dOðË w

v?KŽ√ o? Ë …e?OL²*« U? b)« q?C √ UN «e² « YOŠ s WO*UF « …œu'« d?O¹UF UNzöLF U b)« v —√ œUL²ŽUÐ oKD*« rNðUFKDðË rNðUłUO²Š« v?KŽ ·dF² «Ë w² « WO «d²Šô«Ë e?OL²K «d?E½Ë ÆW bÐ - bI ¨W d?A « U?−²M U?NÐ l?²L²ð Èd³ q³ s W d?A « U−²M —U?O²š« »«uÐú W?FMB*«Ë W?O*UF « U d?A « ¨«b?M “uO½ w?

U?¼dOžË ÃU?łe «Ë «bM Ë …b?ײ*« U?¹ôu «Ë ¨UO «d²?Ý√Ë s?ŽËÆ5B «Ë U? ½d Ë ¨U?O UD¹≈Ë WOŽUMB « l¹—UA*«Ë UF?Ýu² « ÀbŠ√ „«d³ « lMB cOHMð s ¡UN²½ô« - b?IK

fOL Ð W?OŽUMB « WM¹b*« w? ÃU?łeK

lOMB « ‰U w WOMI «Ë WOMH « ë—uD « W «u Ë „«d « W uL W d

ÍcOHM² « fOzd « VzU½ ? „«d³ « tK « b³Ž rO¼«dÐ≈ Ø –U²Ý_«

Ÿ—«e*«Ë ¡UM³ « œ«u ◊U?A½ w ¡U Šô« ◊U?AM « w?

—u?Dð Ë «—U?IF «Ë »«uÐú „«d?³ « lMB U?NM wŽUMB « ÃUłeK „«d?³ « l½UB ? W?OJOðU uðô« ? W?OŽUMB « «“U?GK „«d?³ « l?MB ? ÆqOKC² « ‘ULI „«d³ « lMB „«d³ « W?ŽuL− W d?ý bN?ý U?L W?CNM « q?þ w?

U?þu×K «—u?Dð WOÐdF « WJKL*« U¼bN?Að w² « W?OŽUMB « Y?OŠ …d?Oš_« W?½Ëü« w?

W¹œuF? « WLŽ«b « b? «Ëd « r¼√ ÈbŠ≈ X?׳ √ w−Oð«d²Ýô« —UO)«Ë wMÞu « œUB² ö WJKL*« ÁbN?Að Íc « —uD²K W?³ «u Ë

r¼√ ÈbŠ≈ „«d³ « WŽuL− W d?ý bFð »«uÐô« W?ŽUM w …bz«d « U d?A « U d?A « q?z«Ë√ s? Ë ÃU?łe «Ë wŽUMB « ŸUDI « w WK UF « W¹œuF? « W?M¹b w?

U? UŽ Êu?FЗ√ w? «uŠ s?

„«d³ « tŽuL− W dA pK wMJ « W¹—uBM*« lL−

…—U K WOzU dNJ « …—UM*« W d s …œu'« .bI vK rz«b « ’d(«

pO½uÝU½UÐ UŠu

u “u UŠu

©”U Š® lÞUI UÐ W³KŽ

pOÝö UŠu

©—u²O Ëe¹«® lÞUI UÐ W³KŽ

×U *« œbF² W? bš ‚ËbM IP 65 lÞUI « ÊËbÐË l

WO Oz— l¹“uð UŠu Ÿ—«uA « …bLŽ√ …—U½≈ WŠu

WO½UÐUO « w UÝ«dOð W dý s lÞ«u

lOMBð ‰U?− w …d?³š ÂUŽ π∞ s? …bz«— w¼Ë WOŽdH «Ë WO Ozd « lÞ«uI « UN¹b Ë WOzU u « U?ŽUMB « ‰U− w

UO O½Ëb½√ ? U¹eO U ? ÊUÐUO «® ?Ð l½UB Æ ©U¼dOžË ÆÆ5B « ? pO½uÝU½UÐ UŠu q?C √ .b?Ið v?KŽ r?z«b « ’d?(« b¹b'« U?M−²M r?J Âb?I½ U?−²M*« WOzUÐdNJ « U?ŠuK …—UM*« lMB s l?Þ«u l? ©pO½u?ÝU½UÐ U?Šu ® YOŠ WO½UÐUO « pO½u?ÝU½UÐ W d?ý s? ÆÍdBF « qJ?A «Ë b¹dH « rOLB² « UŠuK …—U?M*« l?MB U?−²M WOzUÐdNJ « ”U? (« l?ÞUI « ÂU?E½ U?Šu ? Æ©u “u ® wÐË—Ë_« ©pOÝö ® wÐË—Ë_« ÂUEM « UŠu ? Æ wJ¹d _« ”UI*« ×U? *« œb?F² W? b)« ‚Ëb?M ? ÆlÞUI « ÊËbÐË lÞUI UÐ d u² ©wł—Uš ? wKš«œ® lÞUI « l W³KŽ ? Æ©lOMBð UŠu ® WO Ozd « l¹“u² « UŠu ? ÆŸ—«uA « …bLŽ√ …—U½≈ UŠu ?

U?ŠuK …—U?M*« l?MB d?³²F¹ …b?z«d « l?½UB*« s? W?OzUÐdNJ « WIDM*UÐ ? W¹œuF? « W?OÐdF « W?JKL*UÐ U d?A « s u¼Ë ? WO½U¦ « WOŽUMB « W?OzUÐdNJ « …—U?M*« W?ŽuL−* W?FÐU² « ±π∏∑ ÂUŽ X? ÝQð w² «Ë …—U−²K WO*UŽ U dý s öO uð UN¹b w² « ? pO½u?ÝU½UÐ ‘UO √Ë `?OðUH ® q?¦ w U− u …b?LŽ√ ? W?O UD¹ù« Êu?1d

WOKš«b « …—U½û qÐË√ W dýË WO UD¹ù« ÆU¼dOžË W?¦¹b(« b?OK « U?Ołu uMJðË vKŽ …—U?M*« W d?ý …—«œ≈ s UÎ ? dŠË «c? …œu?'« U¹u²? v?KŽ√ .b?Ið w U?Ý«dOð W d?ý vKŽ —UO²šù« l? Ë s UÎ ? dŠ p? –Ë l?Þ«uIK W?O½UÐUO « s? U?NzöLŽ ¡U?{—ù …—U?M*« W d?ý U¹u² qC √ .bIðË eOL² « ‰öš —UF?ÝQÐ p – q U? b)«Ë …œu?'« r?Ý≈ b?F¹ Y?OŠ W?O{d Ë W? UM W?¹—U−² « U? öF « s? w U?Ý«dOð UO?Ý√ s? ö w?

—U?A²½ù« WF?Ý«Ë W?OÐuM'« UJ?¹d √Ë U?OI¹d √Ë U?ÐË—Ë√Ë d?¦ √ ±π≤≥ ÂU?Ž X? ÝQð Y?OŠ 142 Albenaa

¡UM³ « ±μ≤

WO½öŽ≈ …œU

¡UM³ « o×K

W ö «Ë WOMN*« W B « …—«œ≈Ë WO O « …—«œù« dO UF w 5 *U …œu w œUN vK qB% åq uJO u ò åq¹uJO½u¹ò W dý

nzUH ® ÃU?²½ù 5?DšË ¨UÎ ¹uM?Ý U¼—b WOłU²½≈ W UDÐ ©ÊuK*« b¹b(« ‰Ë_« l?I¹ UÎ ¹uM?Ý sÞ n? √ ≤±∞ w dšü«Ë WOŽUMB « qO³'« W?M¹b Æ…bł WM¹b åq¹uJO½u¹ò U−²M Ê√ v ≈ —UA¹Ë s?HK−*« ÃU?B « n?zUH s? Êu?K*« ÃU?B « n?zUH p? c Ë …b?¹bŽ ôU?− w? Âb ²? ð Í—U− Ë b?¹d³² « UHOJ ∫U?NM ÁU?O dO?Ý«u Ë U?½«eš ¨¡«u?N « Âu?×K « b?¹d³ð Ê“U? ¨»d?A « ¨…œd³*« «—UO? « ¨ «ËdC)«Ë ¨¡UCO³ « WO? OÞUMG*« «—u³? « ôU?B «Ë ”—«b?*« V?Žö u?OÐË ¨`ÐU? *«Ë W?O{U¹d « b¹bFK W? U{≈ ¨…e?¼U'« ‰U?LF « Èd?š_« U «b ²?Ýô« s? ”U9 vKŽ Êu?Jð UN³Kž√ w? w?² « —bB b? √Ë Æd?A³ « l? d?ýU³ ’d% W d?A « Ê√ åq¹uJO½u¹òw WOFOMB² « UN²O ËR? XЫuŁ vKŽ ‰öš s lL²−*« ÁU?& WO UH?A «Ë W¾O³K WI¹b b¹bŠ U−²M .bIð …œU s UNðU½uJ WO Uš ÊU? ½ù«Ë ¡«uÝ …—uE;«Ë …—UC « ’U d « ÃU vKŽ W?OKD*« p½e « …œU? w U?½U¼œ w? Ë√ s?HK−*« b?¹b(« ÆÊuK*« ÃUB «

W d?A « sŽ ·dF¹Ô U?L ÆW?O ËœË Èu²? vKŽ UÎ ¹œuF?Ý d³ _« UN½√ «– WOK¹uײ « b?¹b(« U?ŽUM Y?OŠ ¨W?O UF « W? UC*« W?LOI « b¹b(« nzUH q?OK ðò jš p?K9 ¥∞∞ mK³ð W?OłU²½≈ W UDÐ åœu?Ý_« ÃU?²½≈ j?šË ¨UÎ ¹uM?Ý s?Þ n? √ »u× *« iOÐ_« b¹b(« nzUH ® U¼—b WOłU²½≈ W? UDÐ ©œ—U?³ « vKŽ ÃU²½≈ jšË ¨UÎ ¹uMÝ sÞ n √ ≥¥∞ W? UDÐ ©s?HK−*« b?¹b(« n?zUH ® s?Þ n? √ ≤μ∞ U?¼—b W?OłU²½≈

U×D? ® s? W d?A « U?−²M* b¹b(« U×D? ®Ë ©sHK−*« b¹b(« Æ©ÊuK*« U ÊQ?Ð W d?A « w —b?B œU? √Ë s? åq?¹uJO½u¹ò t?OKŽ X?KBŠ U öŽË W?O*UŽ …œu?ł «œUN?ý UÎ −¹u²ð w?ðQ¹ WOÐdŽË WOK× …œu?ł w?² « W?OŽuM «Ë …œu?'« X?Ыu¦ c?M W d?A « U?NOKŽ X?E UŠ Y?OŠ Ʊππ∑ ÂU?Ž UN? OÝQð WIÐUD d¦ _« UN½QÐ UNðU−²M e?OL²ð s dN?ý_«Ë WO*UF « U?H «uLK vKŽ …œu'«Ë W?OŽuM « “UO² « Y?OŠ ‚«u?Ý√Ë W?JKL*« ‚u?Ý Èu²?

ÆWOLOK ù« WIDM*« W d?ý Ê√ d? c UÐ d?¹błË d?³ √Ë Âb? √ b?Fð åq?¹uJO½u¹ò nzUH ® ÃU²½≈ w WBB ² W dý d?³ QÐ l?²L²ðË ¨©Êu?K*« b?¹b(« ‚dA « Èu²? vKŽ WOłU²½≈ W UÞ s œËeð UOI¹d ≈ ‰UL?ýË j?ÝË_« ¨WJKL*« UłUO²Š« VKž√ UN öš WOLOK ≈ ‚«uÝ_ UNM «Î ¡eł —bBðË

¡ö?D W?O*UF « W d?A « X?KBŠ åq?¹uJO½u¹ò …œËb?;« ÊœU?F*« qO³'« W?M¹b w fOzd « U?¼dI Ë U öF 5ðœUNý vKŽ ≠ WOŽUMB « …œu'« …œUNý U¼ôË√ ¨WO*UŽ …œuł dO¹UF U?N²IÐUD* ISO 14001 Ëe?¹…œUNý UNO½UŁË ¨WO¾O³ « …—«œù« ÂUE½ UN²IÐUD* OHSAS 18001 …œu?'« WOMN*« W?×B « …—«œ≈ ÂU?E½ d?O¹UF 5ðœUNA « 5²¼ d³²FðË ¨W ö «Ë …œu?−K Ëe?¹ü« …œUN?A «Î œ«b?² « W dA « XF²9 w² « w² « ISO 9001 ÆÂ≤∞∞≥ ÂUŽ cM UN UIײÝUÐ vKŽ åq?¹uJO½u¹ò ‰u?BŠ wðQ¹Ë …b¹b'« «œUNA « Ác¼ ‚UIײ?Ý« t²IIŠ U vKŽ dš¬ «Î bO — nOC² X?KBŠ U?IÐUD s? W d?A « …œu?'« W? öŽ v?KŽ U?N³łu0 s åSASO Ø u?ÝUÝò W¹œuF? « U?H «uLK W¹œuF? « W?¾ON «ò …œu'« W öŽË å…œu'«Ë fO¹UI*«Ë s? åESMA Ø UL?Ý≈ò W?Oð«—U ù« fO¹UI*«Ë UH «uLK «—U ù« W¾O¼

154 Albenaa

¡UM³ « ±μ¥

WO½öŽ≈ …œU ¡UM³ « o×K

Ÿ«b ù«Ë eOL U «e ù« aÐUDLK ÊuO−OK)«

eOL² « s? q?F−¹ ô o³?ÝU q

Êu e²K UM½_ …—Ëd{ qÐ ¨«—UOš ¡öLF « U?³ž— o?OIײР•±∞∞ U?MðU bšË U?MðU−²M ‰ö?š s? Æ…œu'« WO UŽ

W?FMB*« W?O½U*ô« »U?Ašô« WIDM w a?ÐUD*« ôULF²?Ýô Y?O×ÐÆÆÆ j?ÝË_« ‚d?A « —UJ? _UÐ w?Mž r?OLBð s?LC½ ÆÂuOM*ú W?O UF « W ËUI*« fHMÐ

W?³ «u Ë —u?D² « W?K−Ž l¹d? ð aÐUD r? UŽ ‰u???šœË d?BF « WO³?Aš aÐUD W? U{SÐ Ê—œu?*« U?NłU²½≈ WK? KÝ v? ≈ W?¦¹bŠ Ÿ«u??½√ œu??ł√ ‰öš s? p –Ë

WO½U*ô« »UAšô« Ÿ«u??½√ œu??ł√ öBH Ë Ã«—œ√Ë «—«u « ÆÆ W?O*UF « U d?A « dN?ý√ s? s wzUM¦²?Ý« o¹d ÆÆ W?B² *« WOMž rO UBð ÆÆÆ …dN*« 5LLB*« ÂUEMÐ Y?¹bŠ lMB ÆÆ —UJ? _UÐ d¦ _« W¹«b³ « WDI½ ÆÆÆ q UJ² w o³?ÝU qJ …—U?Ł« d¦ _«Ë …u?

w¼ ÆÆ Êu?O−OK)« U?−²M w? ÂuNH b?¹b% - Y?OŠ —UJ?²Ðô« ÆÆÆ¡UC œd?− t½QÐ Y?¹bײ « tKGAð Ê√ dE²M¹ ‰eM*« qš«œ ⁄«d a³D0 q?¦L²ð Ÿ«b?Ðù«Ë W?HÞUF « ÊuO−OK)« U?−²M s? e?OL² ±ππ≥ « X ÝQð w² « aÐUDLK W¹œuF? « W?OÐdF « W?JKL*« w? ÂuOM*√ a?ÐUD lOMBð ‰ö?š s bFÐË ¨ U?NMOŠ w ÀbŠ_« w?¼ —d U?N o?I% Íc? « ÕU?−M « w —«dL²?Ýô« Êu?O−OK)« …—«œ≈ 156 Albenaa

¡UM³ « ±μ∂