التصميم بالألوان

338

December 2018 / Volume 40

‫اﻟﺘﺼﻤﻴﻢ ﺑﺎ ﻟﻮان‬

Designing With Colours ‫ﻣﺸﺎرﻳﻊ ﺳﻌﻮدﻳﺔ ﺣﺪﻳﺜﺔ‬ New Saudi Projects

ALBENAA

www.albenaamag.com ‫ﻫـ‬١٤٤٠ ‫ رﺑﻴﻊ اﻟﺜﺎﻧﻲ‬/ ٤٠ ‫اﻟﺴﻨﺔ‬

٣٣٨

338 December 2018 / Volume 40 ‫ ﻫـ‬١٤٤٠ ‫ رﺑﻴﻊ اﻟﺜﺎﻧﻲ‬/ ٤٠ ‫اﻟﺴﻨﺔ‬

‫اﻟﺘﺼﻤﻴﻢ ﺑﺎ ﻟﻮان‬ ٣٣٨

‫اﻟﻤﺤﺘﻮﻳﺎت‬ ‫ا ﻓﺘﺘﺎﺣﻴﺔ‬

‫« ‪≥≥∏ œbF « ¨ÊuFЗ_« WM‬‬ ‫—‪ ≤∞±∏ d³L ¹œ Ø?¼ ±¥¥∞ w½U¦ « lOÐ‬‬ ‫« ‪d¹dײ « fOz—Ë dýUM‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ ”bMN‬‬ ‫«*‪ÂUF « d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž e¹eF « b³Ž ”bMN‬‬ ‫«*‪ÍcOHM² « d¹b‬‬ ‫ ×‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ bL‬‬ ‫ ‪W U)« «—«b ù« …d¹b‬‬ ‫«*‪qO)« UÐ√ tK « b³Ž rO¼«dÐ≈ …u u WÝbMN‬‬ ‫«‪wMH « ëdšù‬‬ ‫ ‪WO½«dLF « ÊËRAK ¡UM³ « WK−‬‬ ‫«‪∫l¹“u² «Ë U «d²ýô‬‬ ‫’ ‪±±¥≤± ÷U¹d « μ≤≤ » Æ‬‬ ‫«*‪W¹œuF « WOÐdF « WJKL‬‬ ‫« ‪¥∂μ ? π∑¥π ¨ ¥∂¥ ? ≤μμ∂ ÷U¹d‬‬ ‫ ‪¥∂¥ ? ∂≥¥∏ f U‬‬ ‫‪info@albenaamag.com‬‬ ‫‪ÆÊ«bK³ « q w «bM² *« q sŽ WþuH× dAM « ‚uIŠ‬‬ ‫«‪ ôUI*UÐ …œ—«u « UDD *«Ë —u?B «Ë U uKF*«Ë ¡«—ü‬‬ ‫‪WK−*« ÁcNÐ WHK² *« UŽËd?A*«Ë U?Ý«—b «Ë Àu׳ «Ë‬‬ ‫‪¨UÎ OK Ë√ UÎ Ozeł U¼d?A½ …œUŽ≈ Ë√ ¨UNM ”U³² ôUÐ `L? ¹ ô‬‬ ‫√‪vKŽ ‰uB(« bFÐ ô≈ ¨X½U U?LN WI¹dÞ ÍQÐ U?NM¹e ð Ë‬‬ ‫ ‪Æd¹dײ « fOz— s WOÐU² WI «u‬‬

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

‫‪00 Albenaa‬‬

‫ﻣﻌﺎﻳﻴﺮ ا ﺳﺘﺪاﻣﺔ ﻻ ﺗﺤﻘﻖ ﺑﺪون اﻟﻘﺪرات اﻟﻔﻨﻴﺔ ﻟﻠﻤﻌﻤﺎري‬

‫∞‪±‬‬

‫أﺧﺒﺎر اﻟﻤﺸﺎرﻳﻊ‬ ‫رﻋﺎﻳﺔ ﺧﺎدم اﻟﺤﺮﻣﻴﻦ اﻟﺸﺮﻳﻔﻴﻦ‬ ‫ﻟﻤﺸﺮوع ﺗﻄﻮﻳﺮ ﺣﻲ اﻟﻄﺮﻳﻒ ﺑﺎﻟﺪرﻋﻴﺔ اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﺳﻤﻮ وﻟﻲ اﻟﻌﻬﺪ ﻳﻀﻊ ﺣﺠﺮ ا‪3‬ﺳﺎس ﻟﻤﺪﻳﻨﺔ اﻟﻤﻠﻚ ﺳﻠﻤﺎن ﻟﻠﻄﺎﻗﺔ )ﺳﺒﺎرك(‬ ‫ﺗﺪﺷﻴﻦ ﺻﺎﻟﺔ اﻟﻄﻴﺮان اﻟﺨﺎص ﺑﻤﻄﺎر اﻟﻤﻠﻚ ﺧﺎﻟﺪ اﻟﺪوﻟﻲ‬ ‫ﻗﻠﺐ ﺣﻜﻮﻣﻲ ﻟﻤﺪﻳﻨﺔ إدارﻳﺔ ﺟﺪﻳﺪة‬ ‫ﻣﺒﺎﻧﻲ اﻟﻄﻴﻦ ﺑﺘﻘﻨﻴﺔ ﺛﻼﺛﻴﺔ ا‪3‬ﺑﻌﺎد‬

‫≤‪±‬‬ ‫≤‪±‬‬ ‫≤‪±‬‬ ‫‪±¥‬‬ ‫∂‪±‬‬

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫ﺳﺠﺎد ﻟﺤﻤﺎﻳﺔ ا‪3‬رﺿﻴﺎت‬ ‫إﻃﺎرات ﻧﻮاﻓﺬ ﻣﺒﺘﻜﺮة‬ ‫ﺗﻘﻨﻴﺔ ﻣﻨﺎﺧﻴﺔ ﺟﺪﻳﺪة ﻟﻠﻨﻮاﻓﺬ‬

‫∞≤‬ ‫≤≤‬ ‫≤≤‬

‫اﻟﺘﺼﻤﻴﻢ ﺑﺎ ﻟﻮان‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﺎ‪3‬ﻟﻮان‬ ‫واﺟﻬﺎت ﻣﻠﻮﻧﺔ ﺗﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻀﻮء‬ ‫ﻣﺪرﺳﺔ ﻣﺘﻌﺪدة اﻟﻠﻐﺎت وا‪3‬ﻟﻮان‬ ‫أﻟﻮان وزﺧﺎرف ﺟﺎذﺑﺔ ﻟﻠﺘﺮﻓﻴﻪ‬ ‫ﺑﺮج ﺑﻠﻮن اﻟﻠﺆﻟﺆ‬ ‫إﻋﺎدة اﻟﺒﻬﺠﺔ ﻟﻠﺒﻨﺎء ﻓﻲ اﻟﺒﻴﺌﺎت اﻟﻘﺎﺳﻴﺔ‬

‫‪≤¥‬‬ ‫∞≥‬ ‫∂≥‬ ‫≤‪¥‬‬ ‫∏‪¥‬‬ ‫≤‪μ‬‬

‫ﻣﺸﺎرﻳﻊ ﺣﺪﻳﺜﺔ‬ ‫ﻣﺠﻤﻊ رﻳﺎﺿﻲ ﻋﻠﻰ ﻓﻮﻫﺔ ﺑﺮﻛﺎن‬ ‫ﻣﺮﻛﺰ ﺗﺠﺎري ﺻﻐﻴﺮ ذو ﻣﺴﺎﺣﺎت واﺳﻌﺔ‬

‫∏‪μ‬‬ ‫∞∂‬

‫ﻣﺸﺎرﻳﻊ ﺳﻌﻮدﻳﺔ ﺣﺪﻳﺜﺔ‬ ‫ﻣﺸﺎرﻳﻊ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬ ‫ﻣﻦ أﻋﻤﺎل ﻣﺮﻛﺰ ﻃﻴﺒﺔ ﻟ‪T‬ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ ــ ﻣﺸﺮوع أﺑﺮاج ﺟﺎﻣﻌﺔ‬ ‫ﻃﻴﺒﺔ )أﺑﺮاج اﻟﺴﻼم(‬ ‫ﻣﻦ أﻋﻤﺎل ﻣﻜﺘﺐ دار اﻟﻤﺪﻳﻨﺔ ﻟ‪T‬ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ ــ ﻃﻴﺒﺔ ﺟﺎﻟﻴﺮي‬

‫‪∂¥‬‬ ‫∂∂‬ ‫∏∂‬

‫ﻣﻠﺤﻖ اﻟﺒﻨﺎء‬ ‫ﻣﻘﺎﻻت ﻋﻦ أﺣﺪث ﻣﻨﺘﺠﺎت وﻣﺸﺎرﻳﻊ اﻟﺸﺮﻛﺎت‬

‫≤∑‬

‫«‪WOŠU²² ù‬‬

‫ﻣﻌﺎﻳﻴﺮ ا ﺳﺘﺪاﻣﺔ ﻻ ﺗﺤﻘﻖ ﺑﺪون‬ ‫اﻟﻘﺪرات اﻟﻔﻨﻴﺔ ﻟﻠﻤﻌﻤﺎري‬ ‫ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻧﺘﻨﺎول اﻟﺘﺼﻤﻴﻢ ﺑﺎ ﻟﻮان ﻛﺄﺣﺪ ا دوات‬ ‫اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﻳﺴﺘﻌﻴﻦ ﺑﻬﺎ اﻟﻤﺼﻤﻢ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ أﻓﻜﺎره‬ ‫اﻟﻤﻌﻤﺎرﻳــــﺔ‪ .‬ا ﻟــــﻮان ﻟﻴﺴــــﺖ ﻓﻘــــﻂ أدآة ﻓﻨﻴــــﺔ ﺑﻞ ﻫﻲ‬ ‫ﻋﻠﻢ وﻋﻠﻢ ﻣﻌﻘﺪ ﻳﺴــــﺘﻌﺎن ﺑﻪ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ اﻟﻤﺠﺎﻻت‬ ‫اﻟﺘﺼﻤﻴﻤﻴــــﺔ ورﺑﻤــــﺎ ﻫﻮ أﻛﺜﺮ ﺗﻌﻘﻴﺪ< ﻣﻦ ﻋﻠﻢ ا;ﻧﺸــــﺎء‬ ‫وﻗﺪ ﻳﻜﻮن ﺗﺄﺛﻴﺮه أﻛﺒﺮ ﻋﻠﻰ ا;ﻧﺴــــﺎن ن ا ﻟﻮان ﺗﺤﻤﻞ‬ ‫رﺳﺎﺋﻞ إرﺷــــﺎدﻳﺔ ﺗﻮﺟﻬﻨﺎ وﺗﻌﺒﺮ ﻋﻦ ﻣﻌﺎﻧﻲ ﺗﺴﺘﻬﺪف‬ ‫ﻣﺸــــﺎﻋﺮﻧﺎ وﺗﺆﺛﺮ ﻋﻠﻴﻬــــﺎ‪ ،‬ﻛﻞ ﻣﺎ ﻳﺤﻴﻂ ﺑﺎ;ﻧﺴــــﺎن وﻳﺮاه‬ ‫ﻫــــﻮ ﻣﻠﻮن‪ ،‬اﻟﻤﺒﺎﻧﻲ ﻛﻠﻬﺎ ﻣﻠﻮﻧﺔ ﺳــــﻮاء ﻛﺎن ﻟﻮﻧﻬﺎ ﻫﻮ‬ ‫ﻣﻦ ﻃﺒﻴﻌﺔ ﻣﺎدﺗﻬﺎ أو ﻣﻦ ﻃﻼﺋﻬﺎ‪.‬‬ ‫وﻣﺜــــﻞ ا ﻟﻮان ﻳﺤﺘﺎج وﻳﺴــــﺘﻌﻴﻦ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري‬ ‫ﻛﺤﺮﻓــــﺔ ﺑﻌﺪد ﻛﺒﻴﺮ ﻣــــﻦ ا دوات اﻟﻔﻨﻴﺔ ﻣﺜﻞ اﻟﺰﺧﺮﻓﺔ‬ ‫واﻟﻤﻮاد واﻟﺠﻐﺮاﻓﻴﺎ واﻟﻤﻨﺎخ وﻋﻠﻢ ا;ﺟﺘﻤﺎع وﻏﻴﺮﻫﺎ ﻣﻦ‬ ‫ا دوات اﻟﻔﻨﻴﺔ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﻓﻜﺮﺗﻪ اﻟﻤﻌﻤﺎرﻳﺔ وﺗﺤﻘﻴﻖ‬ ‫اﻟﺠﻮاﻧــــﺐ اﻟﺠﻤﺎﻟﻴــــﺔ‪ ،‬وﻻ ﻳﻜﺘﻔــــﻰ ﻓﻘــــﻂ ﺑﺘﻌﻠﻤﻬﺎ ﺑﻞ‬ ‫ﻳﺠﺐ اﻟﻤــــﺮور ﺑﺘﺠﺮﺑﺘﻬﺎ‪ ،‬وﻛﻠﻬــــﺎ أدوات وﻋﻠﻮم ﺗﻬﺪف‬ ‫إﻟــــﻰ ﺗﻄﻮﻳــــﺮ ﻗﺪرات اﻟﺘﺼﻤﻴــــﻢ ‪ .‬إﻻ أن ﻫﺬه ا دوات ﻗﺪ‬ ‫ﺗﻜــــﻮن ﻓﻲ ﺑﻌــــﺾ ا ﺣﻴﺎن أﻛﺒﺮ ﻣﻦ ﻃﺎﻗﺔ إﺳــــﺘﻴﻌﺎب‬ ‫ﻃﺎﻟﺐ اﻟﺘﻌﻠﻴــــﻢ اﻟﻤﻌﻤﺎري‪ ،‬ﻓﻔﻲ ﺑﻌﺾ اﻟﺪول ﻻ ﻳﻘﻮم‬ ‫اﻟﺘﻌﻠﻴــــﻢ ﺑﺘﺪرﻳﺴــــﻬﺎ‪ ،‬وﻓــــﻲ دول أﺧــــﺮى ﻳﺴــــﺘﻄﻴﻊ‬ ‫اﻟﻄــــﻼب دراﺳــــﺘﻬﺎ ﺧــــﺎرج ﻧﻄــــﺎق اﻟﺘﻌﻠﻴــــﻢ ﻣــــﻦ ﺧﻼل‬ ‫ﺗﻌﻠﻴﻢ ﻣﻮازي ﺗﺘﻌﺪد وﺗﺘﻮﻓﺮ ﻓﻴﻪ ﻣﺼﺎدر اﻟﻤﻌﻠﻮﻣﺎت‬ ‫واﻟﻌﻠﻮم واﻟﺜﻘﺎﻓﺔ وﻳﺘﻢ ﺗﺒﻨﻲ وﺳﺎﺋﻞ ﺣﺪﻳﺜﺔ ﻟﻠﺘﺄﻫﻴﻞ‬ ‫واﻟﺘﻌﻠﻴﻢ اﻟﻤﺴﺘﻤﺮ ‪.‬‬ ‫اﻟﻴﻮم وﻧﺤــــﻦ ﻧﻌﺎﻳﺶ ﺗﻮﺟﻬﺎت ﺟﺪﻳــــﺪة ﻓﻲ اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﻤﻌﻤــــﺎري ﺗﺘﻤﺤﻮر ﺣــــﻮل ﻣﻔﻬﻮم ا;ﺳــــﺘﺪاﻣﺔ وﺗﻀﻴﻒ‬ ‫ﻋﺐء ﺟﺪﻳﺪ< ﻋﻠــــﻰ ﻛﺎﻫﻞ اﻟﺘﻌﻠﻴﻢ واﻟﺘﺄﻫﻴﻞ اﻟﻤﻌﻤﺎري‬ ‫ً‬ ‫ﺧﺎﺻﺔ ﻓــــﻲ اﻟﺪول اﻟﺘﻲ ﻟﻢ ﺗﻮﻓﺮ ﺗﻌﻠﻴــــﻢ ﻣﻮازي‪ ،‬ﻳﺼﺒﺢ‬ ‫ﻧﻘــــﺺ ﻫــــﺬه ا دوات اﻟﻔﻨﻴــــﺔ ﻋﺎﺋــــﻖ ﻛﺒﻴــــﺮ أﻣــــﺎم ﻗــــﺪرة‬ ‫اﻟﻤﺼﻤﻢ ﻋﻠﻰ ﻣﺴــــﺎﻳﺮة اﻟﺘﻮﺟﻬﺎت اﻟﺠﺪﻳﺪة‪ .‬وﻣﺎ ﻳﺰﻳﺪ‬ ‫ﻣﻦ اﻟﻤﺸــــﻜﻠﺔ ﻫﻮ اﻧﺪﻓﺎع اﻟﻜﺜﻴــــﺮ ﻣﻦ اﻟﻤﺼﻤﻤﻴﻦ ﻓﻲ‬ ‫ﻫــــﺬه اﻟــــﺪول ﻋﻠــــﻰ ﺗﻌﻠــــﻢ ﻣﻌﺎﻳﻴــــﺮ ا;ﺳــــﺘﺪاﻣﺔ ﺑﺎﻟﺮﻏﻢ‬ ‫ﻣــــﻦ اﻟﻨﻘﺺ اﻟﻮاﺿــــﺢ ﻟﺪﻳﻬﻢ ﻓﻲ ﺗﺤﺼﻴــــﻞ اﻟﻜﺜﻴﺮ ﻣﻦ‬

‫اﻟﻌﻠﻮم وا دوات اﻟﻔﻨﻴﺔ‪ ،‬وﻳﺸﺠﻌﻬﻢ ﻋﻠﻰ ذﻟﻚ إﻧﺘﺸﺎر‬ ‫ﻣﻘﺪﻣــــﻲ ﺧﺪﻣــــﺎت ﺗﻌﻠﻴــــﻢ ﻣﻌﺎﻳﻴــــﺮ اﻟﻤﺒﺎﻧــــﻲ اﻟﺨﻀﺮاء‬ ‫وا;ﺳــــﺘﺪاﻣﺔ وﺷــــﻬﺎداﺗﻬﺎ‪ .‬أﻣﺎ ﻓﻲ اﻟﺪول اﻟﺘﻲ اﻫﺘﻤﺖ‬ ‫ﺑﺎﻟﺘﻌﻠﻴــــﻢ اﻟﻤــــﻮازي ﻓــــﺈن ا ﻣــــﺮ ﻳﺨﺘﻠــــﻒ ﺗﻤﺎﻣــــ‪ i‬ﻓﺘﻌﻠﻢ‬ ‫اﻟﻤﻌﺎﻳﻴــــﺮ ا;ﺳــــﺘﺪاﻣﻴﺔ ﻓﻴﻬــــﺎ ﻳﺄﺗــــﻲ ﺑﻄﺮﻳﻘــــﺔ ﻃﺒﻴﻌﻴﺔ‬ ‫وﻫــــﻲ أن ﻳﺄﺗــــﻲ ﺗﻌﻠﻤﻬــــﺎ ﺑﻌــــﺪ أن ﻳﻜــــﻮن اﻟﻤﺼﻤﻢ ﻗﺪ‬ ‫أﻟــــﻢ ﺑﺎﻟﻌﻠــــﻮم وا دوات اﻟﻔﻨﻴــــﺔ اﻟﻤﺨﺘﻠﻔــــﺔ‪ ،‬وإﻻ ﻓﻜﻴﻒ‬ ‫ﺳــــﻴﻜﻮن ﻗﺎدر< ﻋﻠﻰ ﺗﺤﻘﻴﻖ ﻣﻌﺎﻳﻴﺮ ا;ﺳــــﺘﺪاﻣﺔ وﻋﻠﻤﻪ‬ ‫وﺗﺠﺮﺑﺘﻪ ﻧﺎﻗﺼﺔ‪ .‬وﻣﻊ ﻣﻔﻬﻮﻣﻲ ﻟﻠﻤﻌﺎﻳﻴﺮ ا;ﺳــــﺘﺪاﻣﻴﺔ‬ ‫ﻓــــﻲ اﻟﺒﻨــــﺎء ﻓﺈﻧــــﻲ ﻻ أرى أﻧﻬــــﺎ ﺗﻀﻴــــﻒ اﻟﺸــــﻲء اﻟﻜﺜﻴﺮ‬ ‫ﻟﻠﻤﺼﻤﻢ اﻟﻮاﺳﻊ اﻟﻌﻠﻢ واﻟﺘﺠﺮﺑﺔ ﺑﺎﻟﺮﻏﻢ ﻣﻦ أﻫﻤﻴﺘﻬﺎ‬ ‫وﺿﺮورﺗﻬــــﺎ ﻛﺈﺿﺎﻓــــﺔ ﻋﻠﻤﻴﺔ ﺑﻞ إن اﻟﻤﺸــــﻜﻠﺔ ﻫﻲ أن‬ ‫ﻳﺘﺼﻮر اﻟﺒﻌﺾ أن ﺗﻌﻠﻢ ﻣﻌﺎﻳﻴﺮ ا;ﺳــــﺘﺪاﻣﺔ واﻟﺤﺼﻮل‬ ‫ﻋﻠﻰ ﺷــــﻬﺎدﺗﻬﺎ ﺳــــﻮف ﻳﻠﻐــــﻲ أو ﻳﻌﻮض ﻋــــﻦ اﻟﻨﻘﺺ‬ ‫اﻟﺤﺎﺻﻞ ﻋﻨﺪ اﻟﻤﺼﻤﻢ ﻓﻲ ﺗﻮﺳــــﻴﻊ ﻣﺪارﻛﻪ وﺗﺤﺼﻴﻠﻪ‬ ‫اﻟﻔﻨﻲ واﻟﻌﻠﻤﻲ ‪.‬‬ ‫ﻣﺎ ﻧﻔﻘﺪه ﻫﻮ ﻫﺬا اﻟﺘﻌﻠﻴﻢ واﻟﺘﺄﻫﻴﻞ اﻟﻤﺴﺘﻤﺮ ﻓﻲ ﻋﻠﻮم‬ ‫اﻟﺘﺼﻤﻴــــﻢ ﻓﻔﻲ ﻣﻨﻄﻘﺘﻨﺎ ﻻ ﻳﻮﺟﺪ ﺧﺎرج إﻃﺎر اﻟﺠﺎﻣﻌﺎت‬ ‫أي ﻣﺤﺎوﻟــــﺔ ﻟﺘﻄﻮﻳﺮ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺘﻌﻠﻴﻢ اﻟﺬي ﻳﻬﺪف‬ ‫إﻟﻰ رﻓــــﻊ اﻟﻘﺪرات اﻟﻔﻨﻴﺔ واﻟﺘﺼﻤﻴﻤﻴــــﺔ ﻟﻠﻤﻌﻤﺎري‪ ،‬وﻗﺪ‬ ‫ﻳﻜﻮن ذﻟﻚ أﺣﺪ أﺳــــﺒﺎب اﻟﻠﺠﻮء إﻟــــﻰ ﻣﻜﺎﺗﺐ اﻟﺘﺼﻤﻴﻢ‬ ‫ﻣﻦ ﺧﺎرج اﻟﻤﻨﻄﻘﺔ‪ .‬ﻓــــﻲ ﻣﻨﻄﻘﺘﻨﺎ ﻳﻨﺼﺐ دور اﻟﺤﻠﻘﺎت‬ ‫اﻟﺘﺪرﻳﺒﻴﺔ ﻋﻠﻰ ﺗﻌﻠﻴﻢ إﺳــــﺘﻌﻤﺎل اﻟﺤﺎﺳــــﺐ ﻓﻲ اﻟﺮﺳﻢ‬ ‫اﻟﻬﻨﺪﺳــــﻲ أو اﻟﺒﻨــــﺎء أو دورات ا;ﺳــــﺘﺪاﻣﺔ أﻣــــﺎ ﺗﻄﻮﻳــــﺮ‬ ‫اﻟﻘــــﺪرات اﻟﻔﻨﻴــــﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ ﻓﻠﻢ أﺳــــﻤﻊ ﻳﻮﻣﺎ ﺑﺪورات‬ ‫ﺗﺪرﻳﺒﻴﺔ ;ﺳــــﺘﻌﻤﺎل ا ﻟﻮان ﻓــــﻲ اﻟﺘﺼﻤﻴﻢ أو اﻟﺰﺧﺮﻓﺔ‬ ‫أو اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﻨﺎخ وﻛﺄﻧﻬﺎ ﻏﻴﺮ ﺿﺮورﻳﺔ ‪.‬‬ ‫وﻣــــﻦ اﻟﺠﺪﻳــــﺮ أن ﻧﺘﺬﻛﺮ ﻫﻨﺎ أن ﻣﻨﻄﻘﺘﻨــــﺎ ﻛﺎﻧﺖ إﺣﺪى‬ ‫اﻟﻤﻨﺎﻃــــﻖ اﻟﺘــــﻲ إﺳــــﺘﺨﺪﻣﺖ ﺑﺈﺑــــﺪاع أدوات ﺗﺼﻤﻴﻤﻴﺔ‬ ‫ﻛﺎ ﻟــــﻮان واﻟﺰﺧﺮﻓــــﺔ وﺗﻌﺎﻣﻠﺖ ﻣﻊ ﻣﺸــــﺎﻛﻞ اﻟﻤﻨﺎخ ﻓﻲ‬ ‫ﻋﻤﺎرﺗﻬــــﺎ اﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬ﺗﻠــــﻚ اﻟﻌﻤﺎرة اﻟﺘــــﻲ ﻣﺎزﻟﻨﺎ ﻧﺘﻌﻠﻢ‬ ‫وﻧﺴــــﺘﻠﻬﻢ ﻣﻦ ﺗﺠﺮﺑﺘﻬﺎ اﻟﻜﺜﻴﺮ ﻣﻦ ﻣﻌﺎﻳﻴﺮ ا;ﺳﺘﺪاﻣﺔ‬ ‫اﻟﺘﻲ ﻧﺘﺴﺎﺑﻖ اﻟﻴﻮم ﻋﻠﻰ ﺗﻌﻠﻤﻬﺎ ‪.‬‬ ‫رﺋﻴﺲ اﻟﺘﺤﺮﻳﺮ‬

‫∞‪¡UM³ « ±‬‬

‫‪10 Albenaa‬‬

тАлтИЪтАкl┬╣тАФUA*┬л тАФU┬│┼бтАмтАм

тАл╪▒я╗Ля║Оя╗│я║Ф я║зя║О╪п┘Е ╪зя╗Яя║дя║оя╗гя╗┤я╗ж ╪зя╗Яя║╕я║оя╗│я╗Фя╗┤я╗ж я╗Яя╗дя║╕я║о┘И╪╣ я║Чя╗Дя╗оя╗│я║отАм тАля║гя╗▓ ╪зя╗Яя╗Дя║оя╗│я╗Т я║Ся║Оя╗Яя║к╪▒я╗Ля╗┤я║Ф ╪зя╗Яя║Шя║О╪▒я╗│я║ия╗┤я║ФтАм

тАл╪▒я╗Ля╗░ я║зя║О╪п┘Е ╪зя╗Яя║дя║оя╗гя╗┤я╗ж ╪зя╗Яя║╕я║оя╗│я╗Фя╗┤я╗жтАм тАл╪зя╗Яя╗дя╗ая╗Ъ я║│я╗ая╗дя║О┘Ж я║Ся╗ж я╗Ля║Тя║к╪зя╗Яя╗Мя║░я╗│я║░ ╪в┘ДтАм тАля║│я╗Мя╗о╪п тАк -тАмя║гя╗Фя╗Ия╗к ╪зтАк - iтАм╪з я║гя║к тАк┘йтАмтАм тАл╪пя╗│я║┤я╗дя║Тя║о тАк┘в┘а┘б┘итАм┘ЕтАк ╪МтАмя║Ся║дя╗Ая╗о╪▒ ╪ея║зя╗о╪зя╗зя╗ктАм тАл╪гя║╗я║дя║О╪и ╪зя╗Яя║ая╗╝я╗Яя║Ф ┘И╪зя╗Яя║┤я╗дя╗о я╗Чя║О╪п╪йтАм тАл╪п┘И┘Д я╗гя║ая╗ая║▓ ╪зя╗Яя║Шя╗Мя║О┘И┘Ж я╗Яя║к┘И┘ДтАм тАл╪зя╗Яя║ия╗ая╗┤я║Ю ╪зя╗Яя╗Мя║оя║Ся╗┤я║Ф тАк ,тАмя║гя╗Фя╗Ю ╪зя╗Уя║Шя║Шя║О╪нтАм тАля╗гя║╕я║о┘И╪╣ я║Чя╗Дя╗оя╗│я║о я║гя╗▓ ╪зя╗Яя╗Дя║оя╗│я╗ТтАк ╪МтАмя║┐я╗дя╗жтАм тАля║Ся║оя╗зя║Оя╗гя║Ю я║Чя╗Дя╗оя╗│я║о ╪зя╗Яя║к╪▒я╗Ля╗┤я║Ф ╪зя╗Яя║Шя║О╪▒я╗│я║ия╗┤я║ФтАк.тАмтАм тАл┘Ия╗│я╗Мя║к я║Ся║оя╗зя║Оя╗гя║Ю я║Чя╗Дя╗оя╗│я║о ╪зя╗Яя║к╪▒я╗Ля╗┤я║ФтАм тАл╪зя╗Яя║Шя║О╪▒я╗│я║ия╗┤я║Ф я╗гя╗ж ╪гя╗ля╗в я║Ся║о╪зя╗гя║ЮтАм тАл╪зя╗Яя║Шя╗Дя╗оя╗│я║о ╪зя╗Яя║Ья╗Шя║Оя╗Уя╗▓ ┘И╪зя╗Яя║Шя║о╪зя║Ыя╗▓тАм тАл┘И╪зя╗Яя║┤я╗┤я║Оя║гя╗▓ я╗Уя╗▓ ╪зя╗Яя╗дя╗ия╗Дя╗Шя║ФтАк ╪МтАм┘И╪гя║гя║ктАм тАля╗гя║╕я║О╪▒я╗│я╗К ╪зя╗Яя║Шя╗Дя╗оя╗│я║о ╪зя╗╗я║│я║Шя║о╪зя║Чя╗┤я║ая╗▓тАм

тАл╪зя╗Яя╗дя║╕я║Шя╗дя╗ая║Ф я╗Ля╗ая╗░ я╗Ля║к╪й я╗гя║дя║О┘И╪▒тАм тАля║Чя║Шя╗о╪▓╪╣ я║Ся╗┤я╗ж ╪зя╗Яя║Шя║ия╗Дя╗┤я╗В ╪зя╗Яя║дя╗Ая║о┘КтАк╪МтАмтАм тАл┘И╪гя╗Ля╗дя║О┘Д ╪зя╗Яя║Шя╗Дя╗оя╗│я║о ╪зя╗Яя╗Мя╗дя║о╪зя╗зя╗▓тАк╪МтАмтАм тАл┘И╪зя║│я║Шя╗Ья╗дя║О┘Д ╪зя╗Яя╗дя║о╪зя╗Уя╗Ц ┘И╪зя╗Яя║Тя╗ия╗░тАм тАл╪зя╗Яя║Шя║дя║Шя╗┤я║ФтАк ╪МтАм┘Ия║Чя╗оя╗Уя╗┤я║о ╪зя╗Яя║┤я║Оя║гя║О╪ктАм тАл┘И╪зя╗Яя╗дя╗┤я║О╪пя╗│я╗ж ┘И╪зя╗Яя║дя║к╪зя║Ля╗Ц ╪зя╗Яя╗Мя║Оя╗гя║ФтАк╪МтАмтАм тАля╗Уя╗▓ ╪зя╗Яя╗оя╗Чя║Ц ╪зя╗Яя║м┘К я╗│я║ая╗дя╗К я╗Уя╗┤я╗ктАм тАл╪зя╗Яя║Тя║оя╗зя║Оя╗гя║Ю я║Ся╗┤я╗ж я╗Ля╗ия║Оя║╗я║о ╪зя╗Яя║Шя╗Дя╗оя╗│я║отАм тАл╪зя╗Яя╗Мя╗дя║о╪зя╗зя╗┤я║Ф ┘И╪зя╗Яя║Ья╗Шя║Оя╗Уя╗┤я║Ф ┘И╪зя╗╗я╗Чя║Шя║╝я║О╪пя╗│я║ФтАм тАл┘И╪зя╗╗я║Яя║Шя╗дя║Оя╗Ля╗┤я║ФтАк ╪МтАм┘Ия╗гя║Шя╗Дя╗ая║Тя║О╪ктАм тАл╪зя╗Яя║Шя╗Дя╗оя╗│я║о ╪зя╗Яя║Тя╗┤я║Мя╗▓ я╗Яя╗о╪з╪п┘К я║гя╗ия╗┤я╗Фя║ФтАм тАл╪зя╗Яя║м┘К я╗Чя║Оя╗гя║Ц ╪зя╗Яя║к╪▒я╗Ля╗┤я║Ф я╗Ля╗ая╗░ я║┐я╗Фя║Оя╗Уя╗ктАк╪МтАмтАм тАля╗гя╗К ╪зя╗Яя╗дя║дя║Оя╗Уя╗Ия║Ф я╗Ля╗ая╗░ ╪зя╗Яя╗ия║┤я╗┤я║ЮтАм тАл╪зя╗Яя╗Мя╗дя║о╪зя╗зя╗▓ я╗Яя╗ая╗дя╗ия╗Дя╗Шя║Ф ╪з я║Ыя║оя╗│я║ФтАм

тАл┘И╪зя╗Яя║Шя║о╪зя║Ыя╗┤я║ФтАк ╪МтАм┘Ия║Чя╗оя╗Зя╗┤я╗Фя╗мя║О я║Ся╗дя║О я╗│я║ия║к┘ЕтАм тАл╪гя╗зя║╕я╗Дя║Ф ╪зя╗Яя║Тя║оя╗зя║Оя╗гя║Ю ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║ФтАк.тАмтАм тАл┘Ия║Чя╗ия║Тя╗К ╪гя╗ля╗дя╗┤я║Ф я╗гя║╕я║о┘И╪╣ я║Чя╗Дя╗оя╗│я║отАм тАля║гя╗▓ ╪зя╗Яя╗Дя║оя╗│я╗Т я╗гя╗ж я╗Чя╗┤я╗дя║Ф ╪зя╗Яя║дя╗▓тАм тАл╪зя╗Яя║Шя║О╪▒я╗│я║ия╗┤я║ФтАк ╪МтАмя║гя╗┤я║Ъ я╗Ыя║О┘Ж я╗гя╗Шя║о_тАм тАля╗Яя╗ая║дя╗Ья╗в я╗Уя╗▓ ╪зя╗Яя║к┘Ия╗Яя║Ф ╪зя╗Яя║┤я╗Мя╗о╪пя╗│я║ФтАм тАл╪з ┘Ия╗Яя╗░тАк ╪МтАм┘Ия╗│я║дя║Шя╗Ая╗ж ╪гя╗ля╗в я╗гя╗Мя║Оя╗Яя╗втАм тАл╪зя╗Яя║к╪▒я╗Ля╗┤я║Ф ┘Ия╗Чя║╝я╗о╪▒я╗ля║О ┘Ия╗гя║Тя║Оя╗зя╗┤я╗мя║ОтАм тАл╪з я║Ыя║оя╗│я║ФтАк ╪МтАм┘Ия╗Уя╗▓ я╗гя╗Шя║кя╗гя║Шя╗мя║ОтАк :тАмя╗Чя║╝я║отАм тАля║│я╗ая╗о┘ЙтАк ╪МтАм┘Ия╗гя║┤я║ая║к ╪зтАкyтАмя╗гя║О┘Е я╗гя║дя╗дя║к я║Ся╗жтАм тАля║│я╗Мя╗о╪птАк ╪МтАм┘Ия╗гя║ая╗дя╗оя╗Ля║Ф я╗гя╗ж ╪зя╗Яя╗Шя║╝я╗о╪▒тАм тАл┘И╪зя╗Яя╗дя╗ия║О╪▓┘ДтАк ╪МтАм╪ея║┐я║Оя╗Уя║Ф ╪ея╗Яя╗░ ╪зя╗Яя╗дя║┤я║Оя║Яя║ктАм тАл╪з я║зя║о┘ЙтАк ╪МтАм┘И╪з ┘Ия╗Чя║О┘БтАк ╪МтАм┘И╪зтАкaтАмя║Ся║О╪▒тАк ╪МтАм┘И╪з я║│я╗о╪з╪▒тАк.тАмтАм тАл╪зя╗Яя╗дя║╝я║к╪▒тАк :тАм┘И╪з╪│тАм

тАля║Чя║кя║╖я╗┤я╗ж я║╗я║Оя╗Яя║Ф ╪зя╗Яя╗Дя╗┤я║о╪з┘Ж ╪зя╗Яя║ия║О╪╡тАм тАля║Ся╗дя╗Дя║О╪▒ ╪зя╗Яя╗дя╗ая╗Ъ я║зя║Оя╗Яя║к ╪зя╗Яя║к┘Ия╗Яя╗▓тАм

тАл╪пя║╖я╗ж я╗гя╗Мя║Оя╗Яя╗▓ ┘И╪▓я╗│я║о ╪зя╗Яя╗ия╗Шя╗Ю ╪▒я║Ля╗┤я║▓тАм тАля╗гя║ая╗ая║▓ ╪е╪п╪з╪▒╪й ╪зя╗Яя╗мя╗┤я║Мя║Ф ╪зя╗Яя╗Мя║Оя╗гя║ФтАм тАля╗Яя╗ая╗Дя╗┤я║о╪з┘Ж ╪зя╗Яя╗дя║кя╗зя╗▓ ╪зя╗Яя║кя╗Ыя║Шя╗о╪▒ я╗зя║Тя╗┤я╗ЮтАм тАля║Ся╗ж я╗гя║дя╗дя║к ╪зя╗Яя╗Мя║Оя╗гя╗о╪п┘К ┬╗я║╗я║Оя╗Яя║ФтАм тАл╪зя╗Яя╗Дя╗┤я║о╪з┘Ж ╪зя╗Яя║ия║О╪╡ ╪зя╗Яя║ая║кя╗│я║к╪й ┬л я║Ся╗дя╗Дя║О╪▒тАм

тАлтЙдтАк┬бUM┬│ ┬л ┬▒тАмтАм

тАлтАк12 AlbenaaтАмтАм

тАл╪зя╗Яя╗дя╗ая╗Ъ я║зя║Оя╗Яя║к ╪зя╗Яя║к┘Ия╗Яя╗▓ я║Ся╗дя║кя╗│я╗ия║ФтАм тАл╪зя╗Яя║оя╗│я║О╪╢тАк ╪МтАм┘Ия║Яя║О╪б ╪░я╗Яя╗Ъ я╗Уя╗▓ я║гя╗Фя╗Ю ╪гя╗Чя╗┤я╗втАм тАля║Ся╗мя║м┘З ╪зя╗Яя╗дя╗ия║Оя║│я║Тя║Ф ╪зя╗Яя║м┘К я╗│я║Дя║Чя╗▓ я║Чя║░╪зя╗гя╗ия║ОтАм тАля╗гя╗К ┬╗я║│я║Тя║О┘В я╗Уя╗о╪▒я╗гя╗оя╗╗ ╪е┘К тАУ ╪зя╗Яя║к╪▒я╗Ля╗┤я║Ф┬лтАм тАл╪зя╗Яя║м┘К я╗│я╗Шя║О┘Е я╗Яя╗ая╗дя║о╪й ╪з ┘Ия╗Яя╗░ я╗Уя╗▓тАм тАля╗гя╗ия╗Дя╗Шя║Ф ╪зя╗Яя║╕я║о┘В ╪з ┘Ия║│я╗ВтАк ╪МтАмя║гя╗┤я║ЪтАм тАля╗│я╗Мя║к ╪зя╗Яя╗дя║╕я║о┘И╪╣ я║Яя║░╪б_ я╗гя╗ж я║Ся║оя╗зя║Оя╗гя║ЮтАм тАл╪зя╗Яя║ия║╝я║ия║╝я║Ф я╗Яя║Шя╗Дя╗оя╗│я║о я╗Чя║к╪▒╪з╪к ╪зя╗Яя╗дя╗Дя║О╪▒тАм тАля╗гя╗ж ╪гя║Яя╗Ю я║Чя╗Шя║кя╗│я╗в ╪гя╗Уя╗Ая╗Ю ╪зя╗Яя║ия║кя╗гя║О╪ктАм тАл╪зя╗Яя╗дя╗Шя║кя╗гя║Ф я╗Яя╗ая╗дя║┤я║Шя╗Фя╗┤я║кя╗│я╗жтАк ╪МтАмя║Ся║Ия║╖я║о╪з┘БтАм тАля╗гя╗ж я║╖я║оя╗Ыя║Ф я╗гя╗Дя║О╪▒╪з╪к ╪зя╗Яя║оя╗│я║О╪╢тАк.тАмтАм тАл┘И╪гя╗зя║ая║░ ╪зя╗Яя╗дя║╕я║о┘И╪╣ я║зя╗╝┘Д тАк ┘итАм╪гя║│я║Оя║Ся╗┤я╗КтАм тАля╗Уя╗Шя╗ВтАк ╪МтАм┘Ия╗│я╗Шя╗К я╗Ля╗ая╗░ я╗гя║┤я║Оя║гя║Ф тАк ┘г┘а┘а┘атАмя╗гя║Шя║отАм

тАл┘Ия║Ся╗ая╗Ря║Ц ╪гя╗Гя╗о╪з┘Д ╪зя╗╗я║│я╗Фя╗ая║Ц я║гя╗о╪зя╗Яя╗▓ тАк┘гтАмтАм тАля╗Ыя╗┤я╗ая╗о я╗гя║Шя║о╪з╪ктАк ╪МтАмя╗Уя╗┤я╗дя║О я║Ся╗ая╗Ря║Ц я╗гя║┤я║Оя║гя║ФтАм тАл╪зя╗Яя╗дя║┤я╗Дя║дя║О╪к ╪зя╗Яя║ия╗Ая║о╪з╪б тАк ┘б┘етАм╪гя╗Яя╗Т я╗гя║Шя║отАк.тАмтАм тАл┘Ия╗Чя║к я╗зя╗Фя║м╪к я║╗я║Оя╗Яя║Ф ╪зя╗Яя╗Дя╗┤я║о╪з┘Ж ╪зя╗Яя║ия║О╪╡тАм тАл╪зя╗Яя║ая║кя╗│я║к╪й ┘Ия╗Уя╗Ш^ я╗Уя╗Ая╗Ю ╪зя╗Яя╗дя╗о╪зя║╗я╗Фя║О╪ктАм тАл┘И╪зя╗Яя╗дя╗Шя║Оя╗│я╗┤я║▓ ╪зя╗Яя╗Мя║Оя╗Яя╗дя╗┤я║ФтАк ╪МтАм┘Ия║Ся║Шя║╝я╗дя╗┤я╗втАм тАля╗гя╗Мя╗дя║О╪▒┘К я╗Ля║╝я║о┘КтАк ╪МтАм┘Ия║Яя╗мя║░╪к я║Ся║Дя║гя║к╪лтАм тАл╪з я╗зя╗Ия╗дя║Ф ┘И╪зя╗Яя╗дя╗Мя║к╪з╪ктАк ╪МтАм┘Ия╗Чя║к ╪гя║╖я║оя╗Уя║ЦтАм тАля║╖я║оя╗Ыя║Ф я╗гя╗Дя║О╪▒╪з╪к ╪зя╗Яя║оя╗│я║О╪╢ я╗Ля╗ая╗░тАм тАля║Чя╗ия╗Фя╗┤я║м ╪зя╗Яя╗дя║╕я║о┘И╪╣ ┘Ия║Чя╗в я║Чя║╕я╗Ря╗┤я╗ая╗ктАм тАля╗гя╗ж я╗Чя║Тя╗Ю я║╖я║оя╗Ыя║Ф ╪пя║Ся╗ая╗ж ╪зя╗Яя╗Мя║Оя╗Яя╗дя╗┤я║ФтАк╪МтАмтАм тАл╪зя╗Яя╗дя║╝я║к╪▒тАк :тАм╪зя╗Яя╗мя╗┤я║Мя║Ф ╪зя╗Яя╗Мя╗ая╗┤я║О я╗Яя║Шя╗Дя╗оя╗│я║отАм тАля╗гя║кя╗│я╗ия║Ф ╪зя╗Яя║оя╗│я║О╪╢тАм

тАля║│я╗дя╗о ┘Ия╗Яя╗▓ ╪зя╗Яя╗Мя╗мя║ктАм тАля╗│я╗Ая╗К я║гя║ая║о ╪з я║│я║О╪│тАм тАля╗Яя╗дя║кя╗│я╗ия║Ф ╪зя╗Яя╗дя╗ая╗ЪтАм тАля║│я╗ая╗дя║О┘Ж я╗Яя╗ая╗Дя║Оя╗Чя║ФтАм тАл)я║│я║Тя║О╪▒┘Г(тАм

тАля║Чя╗Фя╗Ая╗Ю я║╗я║Оя║гя║Р ╪зя╗Яя║┤я╗дя╗о ╪зя╗Яя╗дя╗ая╗Ья╗▓ ╪з я╗гя╗┤я║отАм тАл┘СтАм тАля╗гя║дя╗дя║к я║Ся╗ж я║│я╗ая╗дя║О┘Ж я║Ся╗ж я╗Ля║Тя║к ╪зя╗Яя╗Мя║░я╗│я║░ ┘Ия╗Яя╗▓тАм тАл╪зя╗Яя╗Мя╗мя║к я╗зя║Оя║Ля║Р ╪▒я║Ля╗┤я║▓ я╗гя║ая╗ая║▓ ╪зя╗Яя╗о╪▓╪▒╪з╪б ┘И╪▓я╗│я║отАм тАл╪зя╗Яя║кя╗Уя║О╪╣тАк ╪МтАмя╗Уя╗▓ я╗│я╗о┘Е тАк ┘б┘атАм╪пя╗│я║┤я╗дя║Тя║о тАк┘в┘а┘б┘итАм┘Е я║Ся╗оя║┐я╗КтАм тАля║гя║ая║о ╪з я║│я║О╪│ я╗Яя╗дя║кя╗│я╗ия║Ф ╪зя╗Яя╗дя╗ая╗Ъ я║│я╗ая╗дя║О┘ЖтАм тАля╗Яя╗ая╗Дя║Оя╗Чя║Ф )я║│я║Тя║О╪▒┘Г( я╗Уя╗▓ ╪зя╗Яя╗дя╗ия╗Дя╗Шя║Ф ╪зя╗Яя║╕я║оя╗Чя╗┤я║ФтАк╪МтАмтАм тАл┘И╪зя╗Яя║Шя╗▓ я║│я║Шя╗Ья╗о┘Ж я╗гя║оя╗Ыя║░┘Л╪з я╗Ля║Оя╗Яя╗д ┘Ля╗┤я║О я╗Яя╗ая╗Дя║Оя╗Чя║ФтАм тАл┘И╪зя╗Яя║╝я╗ия║Оя╗Ля║Ф ┘И╪зя╗Яя║Шя╗Шя╗ия╗┤я║Ф я╗Ля╗ая╗░ ╪г╪▒╪╢ я╗гя║┤я║Оя║гя║Шя╗мя║ОтАм тАлтАк ┘е┘атАмя╗Ыя╗┤я╗ая╗о я╗гя║Шя║о я╗гя║оя║Ся╗КтАк ╪МтАм┘Ия║│я║Шя╗Ья║Шя╗дя╗Ю ╪зя╗Яя╗дя║оя║гя╗ая║ФтАм тАл╪з ┘Ия╗Яя╗░ я╗гя╗ж ╪гя╗Ля╗дя║О┘Д ╪ея╗зя║╕я║О╪б я╗гя║кя╗│я╗ия║Ф ╪зя╗Яя╗дя╗ая╗ЪтАм тАля║│я╗ая╗дя║О┘Ж я╗Яя╗ая╗Дя║Оя╗Чя║Ф я╗Уя╗▓ я╗Ля║О┘Е тАк┘в┘а┘в┘бтАм┘ЕтАк .тАмя║Чя╗Шя╗КтАм тАл╪зя╗Яя╗дя║кя╗│я╗ия║Ф я║Ся╗┤я╗ж я║гя║Оя║┐я║оя║Чя╗▓ ╪зя╗Яя║кя╗гя║О┘Е ┘И╪з я║гя║┤я║О╪бтАм тАля╗Уя╗▓ ╪зя╗Яя╗дя╗ия╗Дя╗Шя║Ф ╪зя╗Яя║╕я║оя╗Чя╗┤я║ФтАк ╪МтАм┘Ия║Чя╗Ря╗Дя╗▓тАм тАля╗гя║┤я║Оя║гя║Ф ╪зя╗Яя╗дя║оя║гя╗ая║Ф ╪з ┘Ия╗Яя╗░ я╗гя╗ия╗мя║О тАк ┘б┘втАмя╗Ыя╗┤я╗ая╗отАм тАля╗гя║оя║Ся╗Мя║О ┘Ия║Чя╗ия║Шя╗мя╗▓ ╪гя╗Ля╗дя║О┘Д я║Чя╗Дя╗оя╗│я║оя╗ля║ОтАм тАля╗гя║Ш ┘Ля║о╪зтАм тАл┘ЛтАм тАля║Ся║Оя╗Яя╗Ья║Оя╗гя╗Ю я╗Уя╗▓ тАк ┘в┘а┘в┘бтАмя║Ся║Оя║│я║Шя║Ья╗дя║О╪▒╪з╪к я║Чя║Тя╗ая╗ОтАм тАля╗зя║дя╗о я║│я║Шя║Ф я╗гя╗ая╗┤я║О╪▒╪з╪к ╪▒я╗│я║О┘Д╪Ы ┘Ия║Чя║Шя╗оя╗Яя╗░ я║╖я║оя╗Ыя║ФтАм тАл╪г╪▒╪зя╗гя╗Ья╗о ╪зя╗Яя║┤я╗Мя╗о╪пя╗│я║Ф я║Чя╗Дя╗оя╗│я║о ╪зя╗Яя║Тя╗ия╗┤я║Ф ╪зя╗Яя║Шя║дя║Шя╗┤я║ФтАм тАля╗Яя╗ая╗дя║кя╗│я╗ия║Ф ┘Ия║Чя║╕я╗Ря╗┤я╗ая╗мя║О ┘И╪е╪п╪з╪▒я║Чя╗мя║О ┘Ия║╗я╗┤я║Оя╗зя║Шя╗мя║ОтАк╪МтАмтАм тАля║Ся║Оя╗Яя║╕я║о╪зя╗Ыя║Ф я╗гя╗К ╪зя╗Яя╗мя╗┤я║Мя║Ф ╪зя╗Яя║┤я╗Мя╗о╪пя╗│я║Ф я╗Яя╗ая╗дя║к┘ЖтАм тАл╪зя╗Яя║╝я╗ия║Оя╗Ля╗┤я║Ф ┘Ия╗гя╗ия║Оя╗Гя╗Ц ╪зя╗Яя║Шя╗Шя╗ия╗┤я║Ф ┬╗я╗гя║к┘Ж┬л╪ЫтАм тАл┘Ия╗гя╗ж ╪зя╗Яя╗дя╗Шя║о╪▒ ╪г┘Ж я╗│я║Шя╗в я║Чя╗Дя╗оя╗│я║о ╪зя╗Яя╗дя║кя╗│я╗ия║Ф я║зя╗╝┘ДтАм тАля║Ыя╗╝╪л я╗гя║о╪зя║гя╗Ю я╗Ля╗ая╗░ я╗гя║┤я║Оя║гя║Ф ╪ея║Яя╗дя║Оя╗Яя╗┤я║Ф я║Чя║Тя╗ая╗ОтАм тАля╗гя║оя║Ся╗Мя║ОтАк .тАмя╗│я╗мя║к┘Б я╗гя║╕я║о┘И╪╣тАм тАлтАк ┘е┘атАмя╗Ыя╗┤я╗ая╗оя╗гя║Ш ┘Ля║о╪зтАм тАл┘ЛтАм тАл╪зя╗Яя╗дя║кя╗│я╗ия║Ф ╪ея╗Яя╗░ я║Чя╗Мя║░я╗│я║░ я╗гя╗Ья║Оя╗зя║Ф ╪зя╗Яя╗дя╗дя╗ая╗Ья║ФтАм тАля║Ся╗оя║╗я╗Фя╗мя║О я╗гя║оя╗Ыя║░_ ╪ея╗Чя╗ая╗┤я╗дя╗┤^ ┘Ия╗Ля║Оя╗Яя╗дя╗┤^ я╗Яя╗ая╗Дя║Оя╗Чя║ФтАк.тАмтАм тАл┘Ия║Чя╗Ая╗в )я║│я║Тя║О╪▒┘Г( я║зя╗дя║▓ я╗гя╗ия║Оя╗Гя╗Ц ╪▒я║Ля╗┤я║┤я║ФтАм тАл╪г┘Ия╗Яя╗мя║О я║╗я╗ия║Оя╗Ля╗┤я║ФтАк ╪МтАм┘Ия╗гя╗ия╗Дя╗Шя║Ф ╪зя╗Яя╗дя╗┤я╗ия║О╪б ╪зя╗Яя║ая║О┘БтАм тАл┘Ия╗Гя║Оя╗Чя║Шя╗мя║О я║Ыя╗дя║Оя╗зя╗┤я║Ф я╗гя╗╝я╗│я╗┤я╗ж я╗Гя╗ж я╗гя║Шя║о┘К я╗гя╗жтАм тАл╪зя╗Яя║╕я║дя╗ж я║│я╗ия╗о ┘Ля╗│я║ОтАк ╪МтАм┘Ия╗гя╗ия╗Дя╗Шя║Ф я╗Ля╗дя║О┘Д ╪г╪▒╪зя╗гя╗Ья╗отАм тАл╪зя╗Яя║┤я╗Мя╗о╪пя╗│я║Ф ╪зя╗Яя║ия║Оя║╗я║Ф я║Ся║Оя╗Яя║дя╗Фя║о ┘Ия║╗я╗┤я║Оя╗зя║Ф ╪зтАкaтАмя║Ся║О╪▒тАк╪МтАмтАм тАл┘Ия╗гя╗ия╗Дя╗Шя║Ф я╗гя║Шя║ия║╝я║╝я║Ф я║Ся║Дя╗Ля╗дя║О┘Д ╪зя╗Яя║Шя║к╪▒я╗│я║РтАм тАл┘Ия║Чя║Шя║┤я╗К я╗Яя╗Мя║╕я║о╪й я╗гя║о╪зя╗Ыя║░ я║Чя║к╪▒я╗│я║РтАк ╪МтАм┘И╪гя║зя╗┤ ┘Ля║о╪зтАм тАля╗гя╗ия╗Дя╗Шя║Ф я║│я╗Ья╗ия╗┤я║Ф ┘Ия║Чя║ая║О╪▒я╗│я║Ф ┘Ия║Чя║оя╗Уя╗┤я╗мя╗┤я║ФтАк.тАмтАм тАл╪зя╗Яя╗дя║╝я║к╪▒тАк :тАм┘И╪з╪│тАм

l¹—UA*« —U³š√

: ‫اﻟﻤﺼﻤﻢ‬ Architect: Norman Foster + Partners

‫ﻗﻠﺐ ﺣﻜﻮﻣﻲ ﻟﻤﺪﻳﻨﺔ إدارﻳﺔ ﺟﺪﻳﺪة‬ ‫ اﻟﻬﻨﺪ‬، ‫أﻣﺎراﻓﺎﺗﻲ‬

Governamental Complex in New State Capital Amaravati

…b¹b'« W¹—«œù« WM¹bLK ÂUF « jD *«

Lord Foster met Chief Minister N Chandrababu Naidu and his team on his visit to Andhra Pradesh to oversee the next stage of design development of the governmental complex of the new state capital, Amaravati. Foster + Partners is designing the central focus of the 217-square-kilometre city, including the design of two key buildings: Legislature Assembly and High Court Complex, along with several secretariat buildings. The new administrative capital of the Indian state of Andhra

wF¹dA² « fK−*« vM³ Pradesh, Amaravati was born following the redefinition of state boundaries between Andhra Pradesh and the newly created state of Telangana. Situated on the banks of the River Krishna, the new city is strategically positioned to benefit from an abundant supply of fresh water, and will be one of the most sustainable in the world. Measuring 5.5 kilometres x 1 kilometre, the governmental complex occupies the heart of the city, defined by the strong urban grid that structures it. A clearly

UOKF « WLJ;« lL− defined green spine runs through its length, providing the foundation of the masterplan’s environmental strategy, where at least 60% of the area is occupied by greenery or water. The city has been designed to the highest standards of sustainability, including the widespread use of solar energy. The transportation strategy includes electric vehicles, water taxis, and dedicated cycle routes, along with shaded streets and squares that will encourage people to walk through the city.

‫اﻟﺘﻘﻰ اﻟﻠﻮرد ﻧﻮرﻣﻦ ﻓﻮﺳﺘﺮ‬ ‫ﺑﺮﺋﻴﺲ اﻟﻮزراء اﻟﻬﻨﺪي ﻟ ﺷﺮاف‬ ‫ﻋﻠﻰ ﺗﺼﻤﻴﻢ وﺗﻄﻮﻳﺮ ﻣﺸﺮوع‬ ‫ﺣﻜﻮﻣﻲ ﻟﻠﻌﺎﺻﻤﺔ ا*دارﻳﺔ‬ . ‫اﻟﺠﺪﻳﺪة ﻓﻲ اﻟﻬﻨﺪ أﻣﺎراﻓﺎﺗﻲ‬ ‫ﻳﻌﺘﺒﺮ ﻫﺬا اﻟﻤﺸﺮوع اﻟﺤﻜﻮﻣﻲ‬ ‫ﻗﻠﺐ اﻟﻤﺪﻳﻨﺔ اﻟﺠﺪﻳﺪة اﻟﺘﻲ ﺗﻘﻊ‬ ‫ﻋﻠﻰ ﺿﻔﺎف ﻧﻬﺮ ﻛﺮﻳﺸﻨﺎ وﺗﺘﻤﺘﻊ‬ ‫ﺑﻤﻮﻗﻊ إﺳﺘﺮاﺗﻴﺠﻲ ﻳﻤﻜﻨﻬﺎ‬ ‫ﻣﻦ ا*ﺳﺘﻔﺎدة ﻣﻦ وﻓﺮة اﻟﻤﻴﺎه‬ ‫ وﺳﺘﻜﻮن واﺣﺪة ﻣﻦ أﻛﺜﺮ‬،‫اﻟﻌﺬﺑﺔ‬ .‫اﻟﻤﻨﺎﻃﻖ إﺳﺘﺪاﻣﺔ ﻓﻲ اﻟﻌﺎﻟﻢ‬ ‫ﺻﻤﻢ ﻣﻜﺘﺐ ﻓﻮﺳﺘﺮ وﺷﺮﻛﺎﺋﻪ‬ ‫ﻣﺮﻛﺰ اﻟﻤﺪﻳﻨﺔ اﻟﺬي ﺗﺒﻠﻎ ﻣﺴﺎﺣﺘﻪ‬ ‫ وﻳﺸﻤﻞ‬،‫ ﻛﻴﻠﻮ ﻣﺘﺮ ﻣﺮﺑﻊ‬٢١٧ ‫ﻣﺒﻨﻴﻴﻦ رﺋﻴﺴﻴﻴﻦ ﻫﻤﺎ ﻣﺒﻨﻰ‬ ‫اﻟﻤﺠﻠﺲ اﻟﺘﺸﺮﻳﻌﻲ اﻟﺬي ﻳﻘﻊ ﻓﻲ‬ ‫ وﻣﺠﻤﻊ اﻟﻤﺤﻜﻤﺔ‬،‫وﺳﻂ اﻟﻤﺪﻳﻨﺔ‬ ‫اﻟﻌﻠﻴﺎ اﻟﺬي ﻳﻘﻊ ﻓﻲ اﻟﺠﻬﺔ‬ ‫اﻟﻤﻘﺎﺑﻠﺔ ﻣﻦ ﻣﺮﻛﺰ اﻟﻤﺪﻳﻨﺔ وﻳﺘﻤﻴﺰ‬ ‫ﺑﺴﻘﻔﻪ اﻟﻤﺪرج اﻟﻤﺴﺘﻮﺣﻰ ﻣﻦ‬ ‫ ﺑﺎ*ﺿﺎﻓﺔ‬،‫ﻣﺒﺎﻧﻲ اﻟﻬﻨﺪ اﻟﻘﺪﻳﻤﺔ‬ .‫ﻣﺎﻧﺔ اﻟﻌﺎﻣﺔ‬P‫إﻟﻰ ﻣﺒﺎﻧﻲ ا‬ ‫ﻛﻤﺎ ﺗﻀﻢ اﻟﻤﺪﻳﻨﺔ ﻓﻲ اﻟﺠﻬﺔ‬ ‫اﻟﺠﻨﻮﺑﻴﺔ ﻣﻦ اﻟﻨﻬﺮ ﻣﺨﻄﻂ‬ ‫ﻣﺘﻌﺪد ا*ﺳﺘﻌﻤﺎﻻت ﻳﺘﺄﻟﻒ ﻣﻦ‬ ١٣ ‫ﺣﻴﺎء‬P‫ ﺳﺎﺣﺔ ﺗﻌﺒﺮ ﻋﻦ ا‬١٣ ‫ ﻳﺠﻤﻊ اﻟﺘﺼﻤﻴﻢ ﺑﻴﻦ‬.‫ﻟﻠﻤﺸﺮوع‬ ‫أﺑﺤﺎث اﻟﻤﻜﺘﺐ اﻟﻤﻌﻤﺎري ﻟﺘﻄﻮﻳﺮ‬ ‫اﻟﻤﺪن اﻟﻤﺴﺘﺪاﻣﺔ و ﺑﻴﻦ أﺣﺪث‬ ‫ﻧﻈﻤﺔ اﻟﺘﻲ ﻳﺘﻢ‬P‫اﻟﺘﻘﻨﻴﺎت وا‬ .‫ﺗﻄﻮﻳﺮﻫﺎ ﻓﻲ اﻟﻬﻨﺪ‬ ‫ﻳﺘﻤﻴﺰ اﻟﺘﺼﻤﻴﻢ ﺑﻤﺴﻄﺤﺎت‬ Z‫ﺧﻀﺮاء ﺗﻘﻄﻊ اﻟﻤﺸﺮوع ﻋﻤﻮدﻳ‬ ‫وﺗﻤﺜﻞ اﻟﻌﻤﻮد اﻟﻔﻘﺮي ﻟﻠﻤﺸﺮوع‬ ‫ﺣﻴﺚ ﺗﻮﻓﺮ ﻣﺴﺎﺣﺎت ﺧﻀﺮاء‬ ‫ ﻣﻦ‬٪٦٠ ‫وﻣﺴﻄﺤﺎت ﻣﺎﺋﻴﺔ ﻣﺎﻳﻘﺎرب‬ ‫ ﺻﻤﻤﺖ اﻟﻤﺪﻳﻨﺔ ﻋﻠﻰ‬.‫اﻟﻤﺴﺎﺣﺔ‬ ‫أﻋﻠﻰ ﻣﻌﺎﻳﻴﺮ ا*ﺳﺘﺪاﻣﺔ ﻣﻦ ﺧﻼل‬ ،‫اﺳﺘﺨﺪام واﺳﻊ ﻟﻠﻄﺎﻗﺔ اﻟﺸﻤﺴﻴﺔ‬ ‫ﺑﺎ*ﺿﺎﻓﺔ إﻟﻰ ﺗﻄﺒﻴﻖ اﺳﺘﺮاﺗﻴﺠﻴﺔ‬ ‫اﻟﻨﻘﻞ اﻟﻤﺴﺘﺪاﻣﺔ ﺑﺎﺳﺘﺨﺪام‬ ‫اﻟﺴﻴﺎرات اﻟﻜﻬﺮﺑﺎﺋﻴﺔ واﻟﺘﻜﺎﺳﻲ‬ ‫اﻟﻤﺎﺋﻴﺔ وﻃﺮق ﻣﺨﺼﺼﺔ ﻟﻠﺪراﺟﺎت‬ ‫إﻟﻰ ﺟﺎﻧﺐ ﺗﻮﻓﻴﺮ ﻣﻤﺮات اﻟﻤﺸﺎة‬ ‫واﻟﻤﻴﺎدﻳﻦ اﻟﻤﻈﻠﻠﺔ ﻟﺘﺸﺠﻴﻊ اﻟﻨﺎس‬ .‫ﻋﻠﻰ اﻟﻤﺸﻲ‬

14 Albenaa

¡UM³ « ±¥

‫√‪l¹—UA*« —U³š‬‬

‫ﻣﺒﺎﻧﻲ اﻟﻄﻴﻦ ﺑﺘﻘﻨﻴﺔ ﺛﻼﺛﻴﺔ ا ﺑﻌﺎد‬ ‫‪Prototype Low-Cost House is 3D-Printed Using Mud‬‬ ‫ﻗﺪﻣﺖ اﻟﺸﺮﻛﺔ ا ﻳﻄﺎﻟﻴﺔ ‪WASP‬‬ ‫ﻣﺴﻜﻦ ‪ Gaia‬وﻳﻌﻮد اﻻﺳﻢ إﻟﻰ‬ ‫اﺳﺘﺨﺪام اﻟﺘﺮﺑﺔ اﻟﺨﺎم ﻛﻤﺎدة‬ ‫أﺳﺎﺳﻴﺔ ﻓﻲ ﺧﻠﻂ اﻟﻤﻮاد‪ .‬ﻳﻌﺪ‬ ‫اﻟﻤﺸﺮوع ﻧﻤﻮذﺟ* ﻣﻌﻤﺎرﻳ* ﻣﺴﺘﺪام‬ ‫ﺑﺎﺳﺘﺨﺪام ﻣﻮاد ﻃﺒﻴﻌﻴﺔ‪ ،‬وﻫﻮ ﻋﺒﺎرة‬ ‫ﻋﻦ ﺗﻘﻨﻴﺔ ﺑﻨﺎء ﺟﺪﻳﺪة ﻳﺘﻢ ﻓﻴﻬﺎ‬ ‫اﺳﺘﺨﺪام ﻃﺎﺑﻌﺔ ﺛﻼﺛﻴﺔ ا;ﺑﻌﺎد‬ ‫وراﻓﻌﺔ ﺑﻨﺎء ﺗﻘﻠﻴﺪﻳﺔ ﺗﺜﺒﺖ ﻋﻠﻰ‬ ‫ا;رض ﺑﺜﻼث أﻋﻤﺪة‪ ،‬ﻳﺘﻢ ﺗﺠﻤﻴﻌﻬﺎ‬ ‫ﻓﻲ ﻣﻮﻗﻊ اﻟﺒﻨﺎء وﻳﺘﻢ اﺳﺘﺨﺪام‬ ‫اﻟﻤﻮاد اﻟﻄﺒﻴﻌﻴﺔ اﻟﻤﺘﻮﻓﺮة ﻓﻲ ﻣﻮﻗﻊ‬ ‫اﻟﺒﻨﺎء ‪ .‬وﺗﺴﺘﻄﻴﻊ ﻫﺬه اﻟﺘﻘﻨﻴﺔ‬ ‫ﺑﻨﺎء وﺣﺪة داﺋﺮﻳﺔ ﺑﻘﻄﺮ ‪٦٫٦٠‬م و‬ ‫ﺑﺎرﺗﻔﺎع ‪ ٣‬أﻣﺘﺎر‪ .‬وﻳﻤﻜﻦ زﻳﺎدة ﻋﺪد‬ ‫اﻟﻮﺣﺪات وﺑﻨﺎﺋﻬﺎ ﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ‬ ‫ﻣﻦ ﺧﻼل إﺿﺎﻓﺔ أذرع آﻟﻴﺔ ﻟﻠﻄﺒﺎﻋﺔ‬ ‫ﻓﻲ أﻋﻤﺪة اﻟﺮاﻓﻌﺔ اﻟﺘﻲ أﻳﻀ* ﻳﻤﻜﻦ‬ ‫زﻳﺎدة ﻋﺪدﻫﺎ‪ .‬ﻳﺘﻤﻴﺰ اﻟﻤﺴﻜﻦ ﺑﺄداﺋﻪ‬ ‫اﻟﻌﺎﻟﻲ ﻓﻲ اﻟﻄﺎﻗﺔ وﺑﻴﺌﺔ داﺧﻠﻴﺔ‬ ‫ ‪ÂUŽ dEM‬‬ ‫اﻟﺼﺤﻴﺔ‪ ،‬ﺑﺪون ﺗﺄﺛﻴﺮ ﺳﻠﺒﻲ ﻋﻠﻰ‬ ‫اﻟﺒﻴﺌﺔ‪ .‬ﻳﺴﺘﻐﺮق ﺑﻨﺎء اﻟﻤﺴﻜﻦ‬ ‫ﻋﺪة أﺳﺎﺑﻴﻊ‪ ،‬وﺑﻔﻀﻞ ﻃﺮﻳﻘﺔ اﻟﺒﻨﺎء‬ ‫واﻟﻤﻮاد اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﺈن اﻟﻤﺴﻜﻦ‬ ‫ﻻﻳﺤﺘﺎج إﻟﻰ أﻧﻈﻤﺔ ﺗﺪﻓﺌﺔ أو ﺗﺒﺮﻳﺪ‬ ‫ﺣﻴﺚ ﺗﺤﺎﻓﻆ اﻟﻤﻮاد اﻟﻄﺒﻴﻌﻴﺔ‬ ‫اﻟﻤﺴﺘﺨﺪﻣﺔ ﻋﻠﻰ درﺟﺔ ﺣﺮارة‬ ‫ﻣﻌﺘﺪﻟﺔ ﻓﻲ ﺟﻤﻴﻊ اﻟﻔﺼﻮل‪ .‬ﺗﻢ‬ ‫اﺳﺘﺨﺪام ‪ ٪٢٥‬ﻣﻦ اﻟﺘﺮﺑﺔ ﻓﻲ اﻟﻤﻮﻗﻊ‬ ‫و ‪ ٪٤٠‬ﻣﻦ اﻟﻘﺶ و ‪ ٪٢٥‬ﻣﻦ ﻗﺸﻮر ا;رز‬ ‫و‪ ٪١٠‬ﻣﻦ اﻟﺠﻴﺮ‪ ،‬واﺳﺘﺨﺪﻣﺖ أﻟﻮاح‬ ‫ﺧﺸﺒﻴﺔ ﻟﺼﻨﺎﻋﺔ اﻟﺴﻘﻒ وإﻃﺎرات‬ ‫اﻟﻨﻮاﻓﺬ‪ .‬ﻳﺄﺧﺬ اﻟﻤﺸﺮوع ﺑﺎ ﻋﺘﺒﺎر اﺗﺠﺎه‬ ‫اﻟﺸﻤﺲ ﺣﻴﺚ وﺿﻌﺖ ﻧﺎﻓﺬة ﻛﺒﻴﺮة‬ ‫ﻓﻲ اﺗﺠﺎه اﻟﺠﻨﻮب اﻟﻐﺮﺑﻲ ﻟﺘﺤﺴﻴﻦ‬ ‫ا ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ اﻟﺪاﺧﻞ‪.‬‬ ‫≈‪ UO{—_«Ë nIÝ_« WODGð w Ë wzUA½ù« qJON « w VA)« «b ²Ý‬‬

‫½‪…—dJ² «bŠË ¡UM³ wŽULł qJAÐ Ë√ …bŠË ¡UM³ Íœd qJAÐ UN «b ²Ý≈ sJ1 w ¬ Ÿ«—c WK UŠ WF «— s ÊuJ q UJ² œUFÐ_« wŁöŁ ÂUE‬‬ ‫∂‪¡UM³ « ±‬‬

‫‪16 Albenaa‬‬

l¹—UA*« —U³š√

On the occasion of the «Viaggio a Shamballa» event and the «A call to save the world» conference, WASP presents Gaia, a case study of 3D printed construction using the new Crane WASP technology with natural materials from the surrounding area. which it reinterprets the classic building cranes from a digital manufacturing point of view. It is composed of a main printer unit that can be assembled in different configurations depending on the printing area and therefore on the dimensions of the architectural structure to be calculated in 3d. The print area of the single module is 6.60 meters in diameter for a height of 3 meters, it can work self-sufficiently by printing fluids of different kinds: cement, bio cement, natural dough. and it can expand it by adding traverses and printer arms, thus generating an infinite digital manufacturing system. Gaia project, whose name is due to the use of raw soil as the main binder of the constituent mixture, can be considered a new eco-sustainable architectural model with particular attention to the use of natural waste materials, coming from the rice production chain and oriented to the construction of particularly efficient masonry from a bioclimatic and healthy point of view. For the realization of Gaia, RiceHouse supplied the vegetable fibers through which WASP has developed a compound composed of 25% of soil taken from the site (30% clay, 40% silt and 30% sand), 40% from straw chopped rice, 25% rice husk and 10% hydraulic lime. The mixture has been mixed through the use of a muller, able to make the mixture homogeneous and workable. Gaia is a highly performing module both in terms of energy and indoor health, with an almost zero environmental impact. Printed in a few weeks thanks to its masonry, it does not need heating or an air conditioning system, as it maintains a mild and comfortable temperature inside both in winter and in summer.

gI « s W³ ½ UNO ≈ ·UC¹Ë ◊öš qš«œ UNDKš r²¹Ë WÐd² U ¡UM³ « l u s WOFO³Þ œ«u «b ²Ý« r²¹

UNI¦³ WF «d UÐ X³¦*« w ü« Ÿ«—c « Âb ² ¹Ë gI «Ë 5D « jOKš s Ê«—b'« ¡UMÐ r²¹

Í—«dŠ ‰“UF «—b'« Uײ qš«œ “—_« —uA VBð

c «uMK VA)« «—UÞ« V dð 18 Albenaa

¡UM³ « ±∏

¡UM³ « w b¹b'«

‫اﻟﺠﺪﻳﺪ ﻓﻲ اﻟﺒﻨﺎء‬ ‫ﺳﺠﺎد ﻟﺤﻤﺎﻳﺔ ا رﺿﻴﺎت‬ ‫ﺳﺠﺎد ﺣﻤﺎﻳﺔ ﻏﻴﺮ ﻣﻨﺴﻮﺟﺔ ﻣﻦ ا ﻟﻴﺎف اﻟﺼﻨﺎﻋﻴﺔ‬ .‫ﺗﺴﺘﺨﺪم ﻟﺤﻤﺎﻳﺔ ا رﺿﻴﺎت واﻟﺠﺪران ﺑﻤﺨﺘﻠﻒ أﻧﻮاﻋﻬﺎ‬ ‫رﺿﻴﺎت واﻟﺠﺪران ﻣﻦ‬+‫ﻳﻮﻓﺮ ﻫﺬا اﻟﺴﺠﺎد ﺣﻤﺎﻳﺔ ﻓﺎﺋﻘﺔ ﻟ‬ ‫ ﻳﺘﻤﻴﺰ اﻟﺴﺠﺎد ﺑﺄﻧﻪ ﻏﻴﺰ إﻧﺰﻻﻗﻲ وﻫﻮ آﻣﻦ‬.‫أي أﺛﺎر ﺧﺎرﺟﻴﺔ‬ ‫ وذو ﻗﺎﺑﻠﻴﺔ اﻣﺘﺼﺎص ﻋﺎﻟﻴﺔ ﻟﻠﺴﻮاﺋﻞ ﺣﻴﺚ ﻳﺤﺘﻮي‬A‫ﺟﺪ‬ ‫ﻋﻠﻰ ﻃﺒﻘﺔ ﺳﻔﻠﻴﺔ ﻻﺻﻖ ﻏﻴﺮ ﻗﺎﺑﻞ ﻟﻨﻔﺎذﻳﺔ أي ﺳﺎﺋﻞ‬ .‫ ﻛﻤﺎ ﻳﺘﻤﻴﺰ ﺑﺴﻬﻮﻟﺔ ﺗﺮﻛﻴﺒﻪ‬،‫ﻣﻦ ﺧﻼﻟﻪ‬

Allprotect Allprotect (Original) is made of an exceptionally strong nonwoven with a non- slip surface and an impermeable adhesive reverse side. It is designed to strongly protect underlaying surfaces against most mechanical impacts and liquids and may be applied on most surfaces.* Because of its strong adhesion, it can be used both horizontally and vertically.

www.landolt.com

20 Albenaa

¡UM³ « ≤∞

¡UM³ « w b¹b'«

‫إﻃﺎرات ﻧﻮاﻓﺬ ﻣﺒﺘﻜﺮة‬ ‫ إﻃﺎرات ﻧﻮاﻓﺬ ﻣﺼﻨﻌﺔ ﻣﻦ‬، ‫إﺑﺘﻜﺎر ﺟﺪﻳﺪ ﻓﻲ ﻋﺎﻟﻢ اﻟﻨﻮاﻓﺬ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻮاد ﺗﺸﻜﻞ ﻋﺪة ﻃﺒﻘﺎت وﻫﻲ ﻣﻜﻮﻧﺔ ﻣﻦ ﻧﺸﺎرة‬ ‫رز ﻓﻲ اﻟﺠﺰء‬,‫ﻃﺎر وﻗﺸﻮر ا‬.‫ ﻃﺒﻘﺔ وﺳﻂ ا‬PVC ‫اﻟﺨﺸﺐ‬ ‫ﻟﻮﻣﻨﻴﻮم‬,‫ وﻣﻐﻄﺎة ﻣﻦ اﻟﺨﺎرج ﺑﻄﺒﻘﺔ ﻣﻦ ا‬،‫ﻃﺎر‬.‫اﻟﺴﻔﻠﻲ ﻣﻦ ا‬ ‫ ﻃﺒﻘﺎت ﻣﻦ اﻟﺰﺟﺎج وﻳﻌﺪ ﻫﺬا اﻟﻤﻨﺘﺞ ﻣﻦ‬٣ ‫ﻃﺎر‬.‫وﻳﺤﻤﻞ ا‬ ‫اﻟﻤﻨﺘﺠﺎت اﻟﺼﺪﻳﻘﺔ ﻟﻠﺒﻴﺌﺔ وﻣﺴﺘﺪام وﻳﻤﻜﻦ إﻋﺎدة ﺗﺪوﻳﺮه‬ .‫وﻫﻮ ﺟﻴﺪ ﻓﻲ ﻋﻤﻠﺔ اﻟﻌﺰل ﻣﻦ ﺗﺴﺮﺑﺎت اﻟﻬﻮاء ﻣﻦ ﺧﻼﻟﻪ‬

FIN-PROJECT FORRES NOVA PLUS, The window of innovative aesthetics FIN-Project ForRes is the innovative and ecological window par excellence! It combines a modular conception with a completely new material developed by Finstral: ForRes. This material made from PVC scraps and rice husks constitutes the lower part of the window. The central part is made of a PVC core and the outside of an aluminum frame. ForRes is an environmentally friendly, sustainable and recyclable material with excellent thermal insulation values, an original aspect and is unusually pleasant to the touch. Moreover, on the outside, the glazing completely covers the sash, thus giving the window the appearance of an all glass window on the outside.

www.finstral.com

‫ﺗﻘﻨﻴﺔ ﻣﻨﺎﺧﻴﺔ ﺟﺪﻳﺪة ﻟﻠﻨﻮاﻓﺬ‬ Climatic Window ‫ﻧﻮاﻓﺬ ﺟﺪﻳﺪة ﻣﻦ ﺷﺮﻛﺔ ﺗﻜﻨﺎل وﻫﻲ ﻧﻮاﻓﺬ ﻣﻨﺎﺧﻴﺔ ﺗﻨﺘﺞ اﻟﺒﺮودة أو اﻟﺤﺮارة‬ ‫ﻓﻲ داﺧﻞ اﻟﻤﻜﺎن ﺑﻔﻀﻞ ﺗﻘﻨﻴﺔ ﺟﺪﻳﺪة ﻋﺒﺎرة ﻋﻦ ﻏﺸﺎء ﻣﺒﺘﻜﺮ ﻳﻮﺿﻊ‬ ‫ ﻓﻲ‬.‫دارة درﺟﺎت اﻟﺤﺮارة اﻟﺪاﺧﻠﻴﺔ‬. ‫ﻋﻠﻰ اﻟﻨﻮاﻓﺬ اﻟﺰﺟﺎﺟﻴﺔ ﻳﺘﺼﻞ ﺑﻨﻈﺎم‬ ‫ﺣﺎﻟﺔ ﺗﺸﻐﻴﻞ اﻟﺘﺪﻓﺌﺔ ﺗﺴﺎﻋﺪ ﻫﺬه اﻟﺘﻘﻨﻴﺔ ﻓﻲ ﺧﻔﺾ إﺳﺘﻬﻼك اﻟﻄﺎﻗﺔ‬ ‫ أﻣﺎ‬.‫ﻟﻠﺘﺪﻓﺌﺔ ﺣﻴﺚ ﺗﻘﻮم ﺑﺈﻛﺘﺴﺎب اﻟﺤﺮارة ﻣﻦ اﻟﺨﺎرج وإدﺧﺎﻟﻬﺎ إﻟﻰ اﻟﺪاﺧﻞ‬ .‫ﻓﻲ ﺣﺎﻟﺔ اﻟﺘﺒﺮﻳﺪ ﻓﻬﻲ ﺗﺴﺎﻋﺪ ﻓﻲ ﺗﺒﺮﻳﺪ اﻟﻬﻮاء ﻓﻲ اﻟﻐﺮف‬

FENETRE CLIMATIQUE, The right temperature summer like winter The Technal climatic window is a carpentry concept with a technical cover and an innovative system for producing heat or cold. In heating mode, the power, variable according to the size of the window, is diffused by radiation and forced convection and can substitute for a conventional heating system. The «cold wall» sensation is also suppressed on the frame and the glazing. In the cooling mode, it cools the ambient air of the room and improves the summer comfort of the occupant.

Connected to a temperature management system or a thermostat, this fully integrated solution allows an appreciable gain of space in living rooms in urban areas where every m2 is important. The window is now an integral interior design element that contributes to the comfort of the user and the design of the living space. www.technal.com 22 Albenaa

¡UM³ « ≤≤

‫وإذا ﻛﺎﻧﺖ ا ﻟﻮان ﻓﻲ اﻟﻄﺒﻴﻌﺔ ﺗﺨﺪم أﻫﺪاف ﺗﻮﺟﻴﻬﻴﺔ‬ ‫ﺿﺮورﻳﺔ ‪-‬ﺳﺘﻤﺮارﻳﺔ ﺗﻄﻮر اﻟﺤﻴﺎة ﻓﺈﻧﻬﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺒﻴﺌﺔ‬ ‫اﻟﻤﺒﻨﻴﺔ ﺗﺨﺪم أﻫﺪاف ﺗﻮﺟﻴﻬﻴﺔ ﺗﻨﺒﻊ ﻣﻦ ﺗﻄﻮر اﻟﺜﻘﺎﻓﺔ‬ ‫وﺗﻨﻮﻋﻬﺎ ﺣﺴﺐ ﻛﻞ ﻣﺠﺘﻤﻊ‪ .‬ﻓﺎ ﻟﻮان ﻓﻲ اﻟﻤﺪن وﻓﻲ‬ ‫اﻟﻤﺒﺎﻧﻲ وداﺧﻠﻬﺎ وأﻟﻮان اﻟﻤﻨﺘﺠﺎت وا ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﺗﺆدي‬ ‫وﻇﺎﺋﻒ ﺗﺸﺎرك ﻓﻲ ﺻﻨﻊ ﺣﻴﺎة ﻣﺠﺘﻤﻌﺎﺗﻬﺎ ‪.‬‬ ‫ﻓﻲ اﻟﺒﺪاﻳﺔ ﻛﺎﻧﺖ ﻣﺼﺎدر ا ﻟﻮان ﻣﺤﻠﻴﺔ ا ﻣﺮ اﻟﺬي أدى إﻟﻰ‬ ‫ﺗﻜﻮﻳﻦ ﻛﻮد ﻣﺤﻠﻲ ﻟ‪O‬ﻟﻮان ﺧﺎص ﺑﻜﻞ ﻣﺠﺘﻤﻊ‪ ،‬ﻳﺴﻤﺢ‬ ‫ﻫﺬا اﻟﻜﻮد ﺑﺎﻟﺘﻮﺟﻴﻪ واﻟﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻤﻌﺎﻧﻲ واﻟﺘﻌﺮﻳﻒ‬ ‫ﺑﺎﻟﻬﻮﻳﺔ اﻟﻤﺤﻠﻴﺔ‪ .‬ﻣﻊ ﺗﻄﻮر اﻟﺼﻨﺎﻋﺔ ووﺳﺎﺋﻞ اﻟﻨﻘﻞ‬ ‫واﻟﺘﻮاﺻﻞ اﻟﺤﺪﻳﺚ‪ ،‬ﺷﺠﻊ ذﻟﻚ ﻋﻠﻰ إﻧﺘﺎج ﻣﻮاد اﻟﺒﻨﺎء‬ ‫وﻣﻨﻬﺎ اﻟﻄﻼءات ﺑﻜﻤﻴﺎت ﻛﺒﻴﺮة وﺗﻮﺣﻴﺪﻫﺎ وﺗﻜﺮارﻫﺎ‬ ‫وﺳﻬﻮﻟﺔ ﺗﻮزﻳﻌﻬﺎ‪ ،‬ﻣﻤﺎ أﺿﻌﻒ اﻟﻬﻮﻳﺎت اﻟﻤﺤﻠﻴﺔ‪ ،‬وﻟﺬﻟﻚ‬ ‫ﻛﺎن ﻳﺠﺐ إﻳﺠﺎد وﺳﺎﺋﻞ ﺟﺪﻳﺪة ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ وﻣﻦ‬ ‫ﻫﻨﺎ ﺗﺄﺗﻲ أﻫﻤﻴﺔ ا ﻟﻮان اﻟﻴﻮم ﻛﻮﻧﻬﺎ أداة ﺗﺼﻤﻴﻤﻴﺔ ﻗﺎدرة‬ ‫ﻋﻠﻰ اﻟﺘﻌﺒﻴﺮ واﻟﺘﺄﺛﻴﺮ ﻋﻠﻰ ا‪-‬ﻧﺴﺎن ‪.‬‬

‫—‪”bMN*« œ«bŽ≈ s WOKI …d¹eł wI¹dž≈ b³F* ÊuK rÝ‬‬ ‫«*‪±∏∂μ ≠ ±∏∂± f¹—UÐ ¨ ·—u²O¼ ”UOM¹≈ ÊUł Í—ULF‬‬

‫ﺛﺎﻧﻴ ‪ :‬ﻧﺒﺬة ﺗﺎرﻳﺨﻴﺔ ‪:‬‬ ‫ﻣﻊ ﺗﻄﻮر ﻋﻠﻢ ا ﺛﺎر ﻓﻲ اﻟﻨﺼﻒ اﻟﺜﺎﻧﻲ ﻣﻦ اﻟﻘﺮن اﻟﺜﺎﻣﻦ‬ ‫ﻋﺸﺮ ﺳﺎﻋﺪت اﻟﺪراﺳﺎت وا ﺑﺤﺎث ﻋﻠﻰ ﻓﻬﻢ ﻋﻼﻗﺔ ا ﻟﻮان‬ ‫ﺑﺎﻟﺒﻨﺎء‪ ،‬ﺣﻴﺚ أﺛﺒﺘﺖ ﻫﺬه اﻟﺪراﺳﺎت أن اﺳﺘﺨﺪام ا ﻟﻮان‬ ‫ﻓﻲ اﻟﻤﻌﺎﺑﺪ وا ﻋﻤﺎل اﻟﻨﺤﺘﻴﺔ اﻟﺘﺎرﻳﺨﻴﺔ ا‪-‬ﻏﺮﻳﻘﻴﺔ ﻛﺎن‬ ‫أﻣﺮ‪ a‬ﺷﺎﺋﻌ`‪ ،‬ﻓﺘﻠﻚ اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﻣﺎ زاﻟﺖ ﻗﺎﺋﻤﺔ ﻛﺎن ﻳﻌﺘﻘﺪ‬ ‫أﻧﻬﺎ ﺷﻴﺪت ﺑﺄﺳﻄﺢ ﺣﺠﺮﻳﺔ ﻣﺠﺮدة ﻣﻦ ا ﻟﻮان‪ .‬وﻗﺪ دار‬ ‫ﺧﻼف ﻓﻲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ ﺑﻴﻦ اﻟﻤﺆرﺧﻴﻦ ﺣﻮل دور‬ ‫ا ﻟﻮان ﻓﻲ ﺗﺼﻤﻴﻢ اﻟﻤﺒﺎﻧﻲ وﻣﺎ إذا ﻛﺎن اﺳﺘﺨﺪام ا ﻟﻮان‬ ‫ﻓﻲ اﻟﻌﻤﺎرة ﻳﺠﺐ أن ﻳﻜﻮن ﺑﻮاﺳﻄﺔ ا ﻟﻮان اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﻟﻠﻤﻮاد أو ﻳﻤﻜﻦ أن ﺗﻀﺎف ا ﻟﻮان ﻋﻠﻰ ﺳﻄﺢ اﻟﻤﺎدة‪،‬‬ ‫وﻳﺮﺟﻊ إﻟﻰ اﻟﻤﻌﻤﺎري ا ﻟﻤﺎﻧﻲ ﺟﻮﺗﻔﺮﻳﺪ ﺳﺎﻧﺒﺮ ‪ ،‬ﻓﻲ ﻛﺘﺎﺑﺘﻪ‬ ‫ﺑﻴﻦ ﻋﺎﻣﻲ ‪ 1834‬و ‪ 1869‬م‪ ،‬ﺗﻔﺴﻴﺮ إﺳﺘﺨﺪام ا ﻟﻮان ﻓﻲ‬ ‫ﺣﻮاﺋﻂ اﻟﻤﻌﺎﺑﺪ ا‪-‬ﻏﺮﻳﻘﻴﺔ ﺑﺄﻧﻪ ﻣﺴﺘﻮﺣﻰ ﻣﻦ ﺳﻮاﺗﺮ‬ ‫ا ﻛﻮاخ واﻟﺨﻴﺎم اﻟﺒﺪاﺋﻴﺔ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻤﻨﺴﻮﺟﺎت‬ ‫اﻟﻤﻠﻮﻧﺔ )اﻟﺴﺠﺎد( وأن ﻛﻼﻫﻤﺎ )اﻟﺴﻮاﺗﺮ واﻟﺤﻮاﺋﻂ اﻟﻤﺰﻳﻨﺔ‬ ‫ﺑﺎ ﻟﻮان( ﺗﻤﺜﻞ اﻟﻜﺴﻮة اﻟﺨﺎرﺟﻴﺔ ﻟﻠﺒﻨﺎء اﻟﺘﻲ ﺗﺰﻳﻦ‬ ‫ﺑﻮاﺳﻄﺔ ا ﻟﻮان ‪ .‬ﻫﺬا اﻟﺘﻔﺴﻴﺮ ﻣﺎزال ﻳﻌﻤﻞ ﺑﻪ ﻣﻌﻤﺎرﻳ`‬ ‫ﺣﺘﻰ اﻟﻴﻮم ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻣﺮور أﻛﺜﺮ ﻣﻦ ﻗﺮن ﻋﻠﻴﻪ ) اﻧﻈﺮ‬ ‫ﻣﺸﺮوع ﺑﺮج ﻓﻲ ﻣﺮﺳﻴﻠﻴﺎ ﻣﻦ ﺗﺼﻤﻴﻢ ﺟﺎن ﻧﻮﻓﻞ( ‪.‬‬ ‫ﺛﺎﻟﺜ ‪ :‬اﻟﺘﺼﻤﻴﻢ ﺑﺎ ﻟﻮان ‪:‬‬ ‫ﻛﻴﻒ ﺗﻮﺟﺪ ا ﻟﻮان ﻓﻲ اﻟﺒﻨﺎء ‪:‬‬ ‫ﻳﺴﺘﺸﻌﺮ ا‪-‬ﻧﺴﺎن ا ﻟﻮان وﺗﺆﺛﺮ ﻋﻠﻰ أﺣﺎﺳﻴﺴﻪ ﻛﻤﺎ‬ ‫ﺗﺆﺛﺮ ﻋﻠﻰ اﻟﺤﻮاس اﻟﺨﻤﺲ ) اﻟﺒﺼﺮ واﻟﺴﻤﻊ‪ ،‬اﻟﺸﻢ‪،‬‬

‫‪Ëb³ð WOł—U)« UNł«u «≤∞±∏ q u½ ÊUł rOLBð s UOKOÝd w ÃdÐ‬‬ ‫‪w ½dH « rKF « Ê«u _UÐ UNG³ - ZO ½ ◊uDš W¾O¼ vKŽ‬‬ ‫‪¡UM³ « ≤μ‬‬

‫‪25 Albenaa‬‬

тАл╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся║О я╗Яя╗о╪з┘ЖтАм тАлтАкDesigning With ColoursтАмтАм тАл╪ея╗Ля║к╪з╪п тАк :тАм┘Е тАк .тАм╪ея║Ся║о╪зя╗ля╗┤я╗в ╪гя║Ся║О ╪зя╗Яя║ия╗┤я╗ЮтАм

тАл╪з я╗Яя╗о╪з┘Ж ╪зя╗Яя║Шя╗▓ я║Чя║┤я║Шя║ия║к┘Е я╗Уя╗▓ я╗гя║ая║О┘Д я║Чя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя║Тя║Оя╗зя╗▓ ┘И╪зя╗Яя║Тя╗ия║О╪бтАм тАля╗╗ я║Чя╗Мя╗ия╗▓ ╪з я╗Яя╗о╪з┘Ж ╪зя╗Яя║╝я║О╪▒я║зя║Ф я╗Уя║дя║┤я║Р я║Ся╗Ю я╗Ыя╗Ю ╪з я╗Яя╗о╪з┘Ж ╪зя╗Яя║Тя║Оя╗ля║Шя║ФтАм тАл┘И╪зя╗Яя╗ия║Оя║╗я╗Мя║Ф ┘И╪з я╗Яя╗о╪з┘Ж ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗┤я║Ф я╗Яя╗ая╗дя╗о╪з╪п ┘И╪зя╗Яя╗Дя╗╝╪б╪з╪к я╗Уя╗╝ я╗│я║ия╗ая╗отАм тАл╪г┘К я╗гя║Тя╗ия╗░ я╗гя╗ж ╪з я╗Яя╗о╪з┘ЖтАк .тАм╪з я╗Яя╗о╪з┘Ж я╗ля╗▓ ╪г╪п╪з╪й я║Чя║╝я╗дя╗┤я╗в ╪зя╗Чя║Шя║╝я║О╪пя╗│я║ФтАм тАля╗Уя╗мя╗▓ я║Чя║Дя║зя║м я║гя╗┤я║░ я║╗я╗Ря╗┤я║о я╗Уя╗▓ ╪зя╗Яя╗дя║Тя╗ия╗░ я╗Уя╗мя╗▓ ╪ея╗гя║О я║Чя╗Ья╗о┘Ж я║Яя║░╪б я╗╗тАм тАля╗│я║Шя║ая║░╪б я╗гя╗ж я╗Гя║Тя╗┤я╗Мя║Ф я╗гя║О╪п╪й ╪зя╗Яя║Тя╗ия║О╪б ╪г┘И я╗╗ я║Чя║Шя╗Мя║к┘Й я║│я╗дя║Оя╗Ыя║Ф я╗Гя║Тя╗Шя║ФтАм тАля╗Гя╗╝╪бя╗ля║О я║Ся╗Ая╗К я╗гя╗ая╗┤я╗дя║Шя║о╪з╪к тАк .тАм┘Ия╗ля╗▓ я║│я╗мя╗ая║Ф ╪зя╗Яя║Шя╗ия╗Фя╗┤я║м я╗Уя╗мя╗ия║О┘ГтАм тАл╪зя╗Яя╗Ья║Ья╗┤я║о я╗гя╗ж ╪зя╗Яя╗Дя╗╝╪б╪з╪к ╪зя╗Яя║Шя╗▓ я╗│я╗дя╗Ья╗ж я║Чя╗ия╗Фя╗┤я║мя╗ля║О я║Ся╗о╪зя║│я╗Дя║ФтАм тАл╪гя║╖я║ия║О╪╡ я╗Ля║О╪пя╗│я╗┤я╗жтАк ╪МтАм┘Ия╗ля╗▓ я╗Чя╗ая╗┤я╗ая║Ф ╪зя╗Яя║Шя╗Ья╗ая╗Фя║Ф ╪е╪░╪з я╗гя║О я╗Чя╗о╪▒я╗зя║ЦтАм тАля║Ся║Оя╗Яя╗дя╗о╪з╪п ┘И╪зя╗Яя╗Дя║о┘В ╪зя╗Яя║Шя╗Мя║Тя╗┤я║оя╗│я║Ф ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║Ф ╪з я║зя║о┘ЙтАк .тАм╪з я╗Яя╗о╪з┘Ж ╪зя╗Яя║Шя╗▓тАм тАля║Чя╗Ья╗о┘Ж я╗гя║кя╗гя║ая║Ф ╪п╪зя║зя╗Ю ╪зя╗Яя╗дя╗о╪з╪п ) ╪зя╗Яя║дя║ая║отАк ╪МтАм╪зя╗Яя║оя║зя║О┘Е тАк ╪МтАм╪зя╗Яя║░я║Яя║О╪м тАк╪МтАмтАм тАл╪зя╗Яя╗ая║к╪зя║Ля╗ж ╪зя╗Яя║╝я╗ия║Оя╗Ля╗┤я║Ф ( я╗╗ я╗│я╗дя╗Ья╗ж я╗гя║дя╗оя╗ля║ОтАк ╪МтАм╪гя╗гя║О ╪зя╗Яя║Шя╗▓ я║Чя╗Ая║О┘БтАм тАля╗Ля╗ая╗░ я║│я╗Дя║в ╪зя╗Яя╗дя║О╪п╪й я╗Ля╗ая╗░ я╗ля╗┤я║Мя║Ф я╗Гя║Тя╗Шя║Ф я╗Яя╗о┘Ж )я╗Гя╗╝╪б( я╗Уя╗о┘ВтАм тАл╪зя╗Яя╗дя║О╪п╪й я╗Уя╗мя╗▓ я╗Чя║Оя║Ся╗ая║Ф я╗Яя╗ая║Шя╗Ря╗┤я╗┤я║отАк .тАм╪з я╗Яя╗о╪з┘Ж я╗╗ я║Чя╗оя║Яя║к я║Ся╗дя╗Фя║о╪пя╗ля║ОтАм тАля╗Уя╗▓ ╪зя╗Яя╗Дя║Тя╗┤я╗Мя║Ф я║Ся╗Ю ╪п╪зя║Ля╗дтАк XтАмя╗гя║О я║Чя╗Ья╗о┘Ж я║Чя║дя║Ц я║Чя║Дя║Ыя╗┤я║о ┘Ия║Чя╗Фя║Оя╗Ля╗Ю я║Ся╗┤я╗жтАм тАл╪зя╗Яя╗Мя╗ия║Оя║╗я║о ╪зя╗Яя╗Дя║Тя╗┤я╗Мя╗┤я║Ф ╪зя╗Яя╗дя║дя╗┤я╗Дя║Ф я║Ся╗мя║О я╗гя║Ья╗Ю )╪зя╗Яя╗Ая╗о╪б( тАк .тАмя║Чя╗ия╗о╪╣тАм тАл╪з я╗Яя╗о╪з┘Ж я╗Уя╗▓ ╪зя╗Яя╗Дя║Тя╗┤я╗Мя║Ф я╗Уя║Оя╗Яя║┤я╗дя║О╪б я╗│я║Шя║дя╗о┘Д я╗Яя╗оя╗зя╗мя║О я╗гя╗ж ╪з я║Ся╗┤я║╛тАм тАля╗Уя╗▓ ╪зя╗Яя╗Ия╗мя║о ╪ея╗Яя╗░ я╗гя║О я║Ся╗Мя║к ╪зя╗Яя╗Мя║╝я║о я║Ыя╗в ╪ея╗Яя╗░ ╪з я║гя╗дя║о я╗Ля╗ия║к ╪зя╗Яя╗Ря║о┘И╪итАм тАл┘Ия╗Уя╗▓ я║Ся║к╪зя╗│я║Ф ╪зя╗Яя╗ая╗┤я╗Ю ╪ея╗Яя╗░ ╪зя╗Яя║Тя╗ия╗Фя║┤я║ая╗▓ я║Ыя╗в ╪ея╗Яя╗░ ╪з я║│я╗о╪п я╗Уя╗▓тАм тАл╪зя╗Яя╗ая╗┤я╗Ю тАк .тАм╪е┘Ж ╪гя╗Яя╗о╪з┘Ж ╪зя╗Яя╗ия║Тя║Оя║Чя║О╪к ┘И╪зя╗Яя║дя╗┤я╗о╪зя╗зя║О╪к ╪зя╗Яя╗┤я╗о┘Е я╗ля╗▓ я║Ся║Оя╗Яя║Шя║дя║кя╗│я║ктАм тАля╗гя║О я║Чя║дя║Шя║Оя║Яя╗к я╗ля║м┘З ╪зя╗Яя╗дя║ия╗ая╗оя╗Чя║О╪к я╗Яя╗оя║Яя╗о╪пя╗ля║О ┘И ╪ея║│я║Шя╗дя║о╪з╪▒ я║│я╗╝я╗╗я║Чя╗мя║ОтАк╪МтАмтАм тАля╗Ыя╗дя║О ╪гя╗зя╗мя║О я║Чя║оя║│я╗Ю ╪▒я║│я║Оя║Ля╗Ю я║Чя╗мя║к┘Б ╪ея╗Яя╗░ я╗гя║┤я║Оя╗Ля║к╪й ╪зя╗Яя╗дя║ия╗ая╗оя╗Чя║О╪ктАм тАля╗Ля╗ая╗░ ╪зя╗Яя║Шя║ия╗Фя╗▓ ╪г┘И ╪зя╗Яя║Шя╗дя╗оя╗│я╗к ╪г┘И ╪зя╗Яя║Шя║дя║мя╗│я║о тАк .тАм╪з я╗Яя╗о╪з┘Ж я║Яя║░╪б я╗гя╗мя╗втАм тАля╗гя╗ж ╪зя╗Яя╗Фя╗ия╗о┘Ж ╪зя╗Яя╗дя║оя║Ля╗┤я║Ф ╪ея╗╗ ╪г┘Ж ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся║О я╗Яя╗о╪з┘Ж ╪гя╗гя║о я╗гя╗Мя╗Шя║ктАм тАля╗зя╗Ия║о_ ┘Ж ╪з я╗Яя╗о╪з┘Ж я║Чя║Шя╗Фя║Оя╗Ля╗Ю я╗гя╗К ╪зя╗Яя╗Ая╗о╪б ┘И╪зя╗Яя║Тя║╝я║о ┘И╪з я║╖я╗Ья║О┘ДтАм тАл┘И╪зя╗Яя╗Ия╗╝┘Д ┘Ия║гя╗о╪з╪│ ╪з`я╗зя║┤я║О┘ЖтАк ╪МтАм╪ея╗зя╗мя║О я╗Ля╗ая╗в я╗Уя╗┤я║░я╗│я║Оя║Ля╗▓ я╗Чя║Оя║Ля╗в я║Ся║м╪зя║Чя╗ктАк╪МтАмтАм тАля╗Яя║мя╗Яя╗Ъ я╗│я║Шя║о╪п╪п ╪зя╗Яя╗Ья║Ья╗┤я║о я╗гя╗ж ╪зя╗Яя╗дя║╝я╗дя╗дя╗┤я╗ж я╗Уя╗▓ ╪зя╗Яя║Шя╗Мя║Тя╗┤я║о я║Ся║О я╗Яя╗о╪з┘ЖтАм тАл ┘Ж я║Чя║Дя║Ыя╗┤я║оя╗ля║О я╗Ля╗ая╗░ ╪зя╗Яя╗дя║┤я║Шя╗Мя╗дя╗ая╗┤я╗ж я╗│я╗Мя║Шя╗дя║к я╗Ля╗ая╗░ я╗зя╗Фя║┤я╗┤я║ФтАм тАл┘Ия╗гя╗Мя║Оя╗зя╗▓ ╪з`я║╖я║О╪▒╪з╪к ┘И╪зя╗Яя╗ая╗Ря║Ф ╪зя╗Яя║Шя╗▓ я╗│я╗Фя╗мя╗дя╗мя║О ╪зя╗Яя╗дя║┤я║Шя╗Мя╗дя╗Ю ╪г┘ИтАм тАл╪зя╗Яя╗дя║ая║Шя╗дя╗КтАк ╪МтАм┘Ия╗Яя║мя╗Яя╗Ъ я╗Уя║И┘Ж ╪зя║│я║Шя║ия║к╪з┘Е ╪з я╗Яя╗о╪з┘Ж я╗Уя╗▓ ╪зя╗Яя║Тя╗ия║О╪б я╗│я║дя║Шя║О╪мтАм тАл╪ея╗Яя╗░ я╗гя╗Мя║оя╗Уя║Ф я╗Ля╗ая╗дя╗┤я║Ф ┘Ия║Чя║ая║оя║Ся║Ф я╗Ля╗дя╗ая╗┤я║Ф ┘И╪зя║│я╗Мя║ФтАк ╪МтАмя╗Ыя╗дя║О ╪гя╗зя╗к я╗│я║ая║РтАм тАл╪гя║зя║мя╗ля║О я╗Уя╗▓ ╪з`я╗Ля║Шя║Тя║О╪▒ я╗гя╗ия║м ╪зя╗Яя║Тя║к╪зя╗│я║Ф ╪е╪░╪з ╪г╪▒╪пя╗зя║О ╪ея╗зя║ая║О╪н ╪зя╗Яя║Шя║╝я╗дя╗┤я╗втАм тАл┘Ия╗Яя╗┤я║▓ я║Ся╗Мя║к я║Чя║дя║кя╗│я║к ╪зя╗Яя╗Фя║о╪зя╗Пя║О╪к ┘И╪з я║╖я╗Ья║О┘Д ┘И╪зя╗Яя╗о╪зя║Яя╗мя║О╪ктАм тАл┘И╪зя╗Яя╗мя╗┤я╗Ья╗Ю ╪з`я╗зя║╕я║Оя║Ля╗▓тАк ╪МтАм┘Ия╗ля║м╪з я╗гя║Оя╗│я║кя╗Уя╗К ╪зя╗Яя╗дя║╝я╗дя╗дя╗┤я╗ж ╪ея╗Яя╗░тАм

тАлтАк┬бUM┬│ ┬л тЙд┬етАмтАм

тАлтАк24 AlbenaaтАмтАм

тАл╪з`я║│я║Шя╗Мя║Оя╗зя║Ф я║Ся╗дя║Шя║ия║╝я║╝я╗┤я╗ж я╗Уя╗▓ ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся║О я╗Яя╗о╪з┘Ж ┘Ия╗Гя║о┘ВтАм тАл╪ея║│я║Шя╗Мя╗дя║Оя╗Яя╗мя║О я╗гя╗дя║О я╗│я║оя╗Уя╗К я╗гя╗ж я║Чя╗Ья╗ая╗Фя║Ф ╪зя╗Яя║Шя║╝я╗дя╗┤я╗втАк ╪МтАм╪з я╗гя║о ╪зя╗Яя║м┘КтАм тАля╗│я║ая╗Мя╗Ю ╪ея║│я║Шя╗Мя╗дя║Оя╗Яя╗мя║О я║гя╗Ья║о_ я╗Ля╗ая╗░ ╪зя╗Яя╗дя║╕я║О╪▒я╗│я╗К ╪зя╗Яя╗Ья║Тя╗┤я║о╪йтАк .тАмя╗Уя╗▓тАм тАл╪зя╗Яя╗Мя║╝я║о ╪зя╗Яя║дя║кя╗│я║Ъ я╗ля╗ия║О┘Г я╗гя╗Мя╗дя║О╪▒я╗│я╗о┘Ж я║Ся║оя╗Ля╗о╪з я╗Уя╗▓ ╪ея║│я║Шя║ия║к╪з┘ЕтАм тАл╪з я╗Яя╗о╪з┘Ж я╗гя║Ья╗Ю ╪зя╗Яя╗дя╗Ья║┤я╗┤я╗Ья╗┤я║О┘Ж я╗Яя╗оя╗│я║▓ я║Ся║оя╗Чя║О┘Ж )тАк 1988- 1902тАм┘Е(тАм тАл┘И ╪▒я╗│я╗Ья║О╪▒╪п┘И я╗Яя╗┤я║ая╗о╪▒я╗│я║Шя║О )тАк 2011 - 1931тАм┘Е( ┘И╪з я╗гя║оя╗│я╗Ья╗▓ я╗Уя║о╪зя╗зя╗Ъ я║Яя╗┤я║о┘КтАм тАл)тАк 1929тАм┘Е( ┘И╪зя╗Яя╗Фя║оя╗зя║┤я╗▓ я║Яя║О┘Ж я╗зя╗оя╗Уя╗Ю )тАк 1945тАм┘Е( ┘И╪зя╗Яя╗мя╗оя╗Яя╗ия║к┘К я║Ся╗жтАм тАля╗Уя║О┘Ж я║Ся║оя╗Ыя╗Ю )тАк 1957тАм┘Е( ┘Ия╗Пя╗┤я║оя╗ля╗в тАк .тАмя╗Уя╗▓ я╗ля║м╪з ╪зя╗Яя╗Мя║к╪п я╗зя║оя╗│я║к ╪г┘ЖтАм тАля╗зя║Шя╗ия║О┘И┘Д ╪п┘И╪▒ ╪з я╗Яя╗о╪з┘Ж я╗Уя╗▓ ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪зя╗Яя╗дя╗Мя╗дя║О╪▒┘К ┘И╪ея║│я║Шя╗Мя╗дя║Оя╗Яя╗мя║ОтАм тАля║Ся╗Дя║оя╗│я╗Шя║Ф я╗Уя╗ия╗┤я║Ф ┘Ия╗Ля╗ая╗дя╗┤я║Ф я║╗я║дя╗┤я║дя║Ф я╗гя╗ж я║гя╗┤я║ЪтАк:тАмтАм тАл ╪з┘Ия╗╗┘Л тАк :тАм┘Ия╗Зя╗┤я╗Фя║Ф ╪з я╗Яя╗о╪з┘Ж тАк.тАмтАмтАл я║Ыя║Оя╗зя╗┤я║О тАк :тАмя╗зя║Тя║м╪й я║Чя║О╪▒я╗│я║ия╗┤я║Ф я╗Ля╗ж ╪ея║│я║Шя║ия║к╪зя╗гя╗мя║О я╗Уя╗▓ ╪зя╗Яя║Тя╗ия║О╪бтАмтАл я║Ыя║Оя╗Яя║Ья║О тАк :тАм╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся║О я╗Яя╗о╪з┘Ж тАк :тАмя╗Ыя╗┤я╗Т я║Чя╗оя║Яя║к я╗Уя╗▓ ╪зя╗Яя║Тя╗ия║О╪б ┘ИтАмтАл╪зя╗Яя║Шя╗Мя║оя╗│я╗Т я║Ся║Дя╗зя╗Ия╗дя║Ф ╪з я╗Яя╗о╪з┘Ж ┘Ия╗Ыя╗┤я╗Т я╗│я║┤я║Шя║ия║к┘Е ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в ╪з я╗Яя╗о╪з┘ЖтАм тАл┘И я║Чя║Дя║Ыя╗┤я║о ╪зя╗Яя╗Ая╗о╪б я╗Ля╗ая╗░ ╪з я╗Яя╗о╪з┘Ж тАк.тАмтАм тАл ╪▒╪зя║Ся╗МтАк : XтАм╪ея║│я║Шя╗Мя║о╪з╪╢ ╪гя╗гя║Ья╗ая║Ф я╗гя╗Мя║Оя║╗я║о╪й я╗Яя╗ая║Шя║╝я╗дя╗┤я╗в я║Ся║О я╗Яя╗о╪з┘ЖтАк.тАмтАмтАл╪з┘И ┘Ля╗╗ тАк :тАм┘Ия╗Зя╗┤я╗Фя║Ф ╪з я╗Яя╗о╪з┘Ж тАк:тАмтАм тАл╪з я╗Яя╗о╪з┘Ж я╗Зя║Оя╗ля║о╪й ┘И┘Ия║│я╗┤я╗В я╗ЯтАкxтАмя║Ся║╝я║О╪▒ ┘И╪зя╗Яя║Шя╗о╪зя║╗я╗Ю тАк .тАм╪з я╗Яя╗о╪з┘ЖтАм тАля╗Ыя╗Ия║Оя╗ля║о╪й я║Чя║╕я╗Ья╗Ю ╪зя╗Яя║╕я╗Мя╗о╪▒ ╪зя╗Яя║Тя║╝я║о┘К я╗ЯтАкxтАмя╗зя║┤я║О┘Ж я║Ся║Оя╗Яя║Тя╗┤я║Мя║Ф я╗гя╗жтАм тАля║гя╗оя╗Яя╗к тАк ╪МтАмя║гя╗┤я║Ъ я╗│я╗дя╗Ья╗ж ╪зя╗Яя╗Шя╗о┘Д ┘Ия║Ся╗Дя║оя╗│я╗Шя║Ф я╗гя║Тя║┤я╗Дя║Ф ╪г┘Ж ╪з я╗Яя╗о╪з┘ЖтАм тАля║Чя║Шя║дя╗о┘Д я║Ся╗о╪зя║│я╗Дя║Ф я║╖я║Тя╗Ья║Ф ╪зя╗Яя╗Мя╗┤я╗ж ╪ея╗Яя╗░ я╗Гя║Оя╗Чя║Ф я║Чя║дя║к╪л я║Чя╗Фя║Оя╗Л ┘ЛтАм тАля╗╝тАм тАля║┐я╗оя║Ля╗▓ я╗Ыя╗┤я╗дя╗┤я║Оя║Ля╗▓ я╗│я║┤я║Шя║╕я╗Мя║о┘З ╪з`я╗зя║┤я║О┘Ж ┘Ия╗│я║Жя║Ыя║о я╗Ля╗ая╗░ я╗Ля║Оя╗Гя╗Фя║Шя╗ктАк.тАмтАм тАл┘Ия╗Ыя╗оя║│я╗┤я╗В я╗ля╗▓ ╪в╪п╪з╪й я╗Яя╗ая║Шя╗оя║Яя╗┤я╗к ┘Ия╗Яя╗ая║Шя╗Мя║Тя╗┤я║о я╗Ля╗ж ╪зя╗Яя╗дя╗Мя║Оя╗зя╗▓тАм тАл┘И╪з я║гя║Оя║│я╗┤я║▓ тАк .тАм╪з я║╖я╗┤я║О╪б я╗Чя║кя║Чя╗Ия╗мя║о я║Ся║к┘И┘Ж ╪гя╗Яя╗о╪з┘Ж )╪з я║Ся╗┤я║╛ тАк╪МтАмтАм тАл╪зя╗Яя║оя╗гя║О╪п┘К тАк ╪МтАм╪з я║│я╗о╪п( ╪г┘И ╪г┘Ж я║Чя╗Ия╗мя║о я╗гя╗ая╗оя╗зя║Ф тАк ╪МтАмя╗Уя║О я║╖я╗Ья║О┘Д ╪зя╗Яя╗Ря╗┤я║отАм тАля╗Яя╗оя╗зя╗┤я║Ф я║Чя║дя║к╪п ╪з`я╗Гя║О╪▒ ╪зя╗Яя║╕я╗Ья╗ая╗▓ ┘И╪зя╗Яя║дя║ая╗в ┘Ия║Чя║оя╗Ыя║░ я╗Ля╗ая╗░ я╗Ля╗ия║Оя║╗я║отАм тАл╪зя╗Яя╗Дя╗о┘Д ┘И╪зя╗Яя╗Мя║о╪╢ ┘И╪зя╗Яя╗Мя╗дя╗Ц ┘И╪зя╗Яя╗ия║┤я║РтАк .тАм╪гя╗гя║О ╪з я╗Яя╗о╪з┘Ж я╗Уя╗мя╗▓тАм тАля║Чя║╕я╗Ря╗Ю ╪зя╗Яя║Тя║╝я║о я╗Ля╗ж ╪зя╗Яя║Шя║оя╗Ыя╗┤я║░ я╗Ля╗ая╗░ ╪зя╗Яя║╕я╗Ья╗Ю ┘Ия║гя║ая╗в ╪з я║╖я╗┤я║О╪бтАм тАл┘Ия╗Яя║мя╗Яя╗Ъ я║Чя║╝я║Тя║в ╪з я╗Яя╗о╪з┘Ж я╗гя║ая║о╪п я╗Ля╗ия║╝я║о ╪▓я║зя║оя╗Уя╗▓ я╗Уя╗▓ ╪з я║╖я╗┤я║О╪бтАм тАл╪░╪з╪к ╪з я║╖я╗Ья║О┘Д ╪зя╗Яя╗дя║┤я╗Дя║дя║Ф )╪зя╗Яя║Шя╗▓ я╗Яя╗┤я║▓ я╗Яя╗мя║О я║гя║ая╗в( тАк .тАм╪е┘Ж ╪▓я╗│я║О╪п╪йтАм тАля╗гя╗Шя║к╪з╪▒ ╪з я╗Яя╗о╪з┘Ж ╪г┘И я║Чя╗Шя╗ая╗┤я╗ая╗мя║О я║Ся║к┘И┘Ж я╗гя╗Мя║оя╗Уя║Ф я╗│я╗дя╗Ья╗ж ╪г┘Ж я╗│я║Жя║Ыя║отАм тАля║│я╗ая║ТтАк XтАмя╗Ля╗ая╗░ ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся║дя╗┤я║Ъ я╗│я║Ж╪п┘К ╪ея╗Яя╗░ я║Чя╗Ая╗ая╗┤я╗Ю ╪зя╗Яя╗дя║Шя╗ая╗Шя╗▓тАк╪МтАмтАм тАля╗Уя║Оя╗Яя║Шя║╝я╗дя╗┤я╗в я║Ся║О я╗Яя╗о╪з┘Ж я╗ля╗о ╪г╪п╪з╪й я║Чя╗о╪зя║╗я╗Ю я║Ся║╝я║о┘КтАк ╪МтАм┘Ия╗Яя║мя╗Яя╗Ъ я╗Уя║И┘ЖтАм тАл╪ея║│я║Шя║ия║к╪з┘Е ╪з я╗Яя╗о╪з┘Ж я╗Уя╗▓ ╪зя╗Яя║Шя║╝я╗дя╗┤я╗в я╗│я║ая║Р ╪г┘Ж я╗│я╗Ья╗о┘Ж я╗Яя╗к ╪гя╗ля║к╪з┘БтАм тАля║Чя╗о╪зя║╗я╗ая╗┤я║Ф я╗гя║дя║к╪п╪йтАк.тАмтАм тАл┘И╪е╪░╪з я╗Ыя║Оя╗зя║Ц ╪з я╗Яя╗о╪з┘Ж я╗Уя╗▓ ╪зя╗Яя╗Дя║Тя╗┤я╗Мя║Ф я║Чя║Шя║Тя╗К я╗зя╗Ия║оя╗│я║Ф ╪зя╗Яя║Шя╗Дя╗о╪▒ я╗Уя║И┘ЖтАм тАл╪г┘К я║Чя╗Ря╗┤я║о я╗Уя╗▓ я║Чя╗о╪з╪▓┘Ж я╗ля║м┘З ╪з я╗Яя╗о╪з┘Ж я╗│я║ия╗Ю я║Ся╗оя║Яя╗о╪п ╪зя╗Яя╗дя║ия╗ая╗оя╗Чя║О╪к ╪г┘ИтАм тАля╗│я║ая║Тя║оя╗ля║О я╗Ля╗ая╗░ ╪зя╗Яя║Шя║дя╗о┘ДтАк ╪МтАмя╗гя║Ья║О┘Д я╗Ля╗ая╗░ ╪░я╗Яя╗Ъ тАк :тАмя║зя║Оя║╗я╗┤я║Ф ╪зя╗Яя║Шя╗оя║Яя╗┤я╗ктАм тАля╗Ля╗ия║к ╪зя╗Яя╗ия║дя╗Ю ╪зя╗Яя║Шя╗▓ я║Ся╗о╪зя║│я╗Дя║Шя╗мя║О я╗│я╗Мя║Шя╗дя║к я╗Ля╗ая╗░ я╗Гя╗┤я╗Т ╪гя╗Яя╗о╪з┘ЖтАм тАл╪з ╪▓я╗ля║О╪▒ я╗Яя╗┤я║Шя╗ия╗Шя╗Ю я║Ся╗┤я╗ия╗мя║О я╗зя║Оя╗Ч ┘ЛтАм тАля╗╝ я╗Яя╗Шя║Оя║гя╗мя║О я╗гя╗ж ╪▓я╗ля║о╪й ╪ея╗Яя╗░ ╪гя║зя║о┘ЙтАк╪МтАмтАм тАля║Ся║к┘И┘Ж я╗ля║м┘З ╪зя╗Яя║ия║Оя║╗я╗┤я║Ф я╗│я╗ия╗Шя║о╪╢ тАк ┘к ┘ж┘атАмя╗гя╗ж ╪гя╗зя╗о╪з╪╣ ╪зя╗Яя╗ия║Тя║Оя║Чя║О╪к тАк.тАмтАм

‫اﻟﻬﺎﺋﻞ اﻟﻨﺎﺗﺞ ﻣﻦ درﺟﺎﺗﻬﺎ وﺧﻠﻄﻬﺎ ووﺿﻌﻬﺎ ﻓﻲ أﻧﻈﻤﺔ‬ ‫ﺑﻮاﺳﻄﺔ اﻟﺸﺮﻛﺎت اﻟﻤﻨﺘﺠﺔ‪ .‬ﻟﻘﺪ ﺗﻄﻠﺐ ﺗﻌﺪد وﺗﻌﻘﻴﺪ‬ ‫ا‪1‬ﻧﻈﻤﺔ ﻋﻤﻞ ﺗﻨﺴﻴﻖ ﺑﻴﻨﻬﺎ ﻋﻠﻰ اﻟﻤﺴﺘﻮى اﻟﻌﺎﻟﻤﻲ‬ ‫ﻣﻦ ﺧﻼل اﻟﺸﺮﻛﺎت اﻟﻤﻨﺘﺠﺔ ﻟ‪5‬ﻟﻮان ‪ .‬ﺗﺨﺪم أﻧﻈﻤﺔ ا‪1‬ﻟﻮان‬ ‫ﻗﻄﺎﻋﺎت ﻣﺘﻌﺪدة ﻣﺜﻞ ‪:‬‬ ‫اﻟﻤﻨﺘﺠﺎت ﺑﻤﺨﺘﻠﻒ أﻧﻮاﻋﻬﺎ وا‪1‬ﺳﻄﺢ )‪(Surfaces‬‬ ‫واﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎري وواﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ واﻟﺤﻮاﺋﻂ‬ ‫اﻟﺪاﺧﻠﻴﺔ واﻟﺘﺼﻤﻴﻢ واﻟﺰﺧﺮﻓﺔ اﻟﺪاﺧﻠﻴﺔ وإﻋﺎدة ﺗﺄﻫﻴﻞ‬ ‫اﻟﻤﺒﺎﻧﻲ وﺗﺮﻣﻴﻢ اﻟﻤﺒﺎﻧﻲ اﻟﺘﺎرﻳﺨﻴﺔ و اﻟﺘﺼﻨﻴﻊ واﻟﺘﺠﺎرة‬ ‫واﻟﻌﻠﻮم وﻋﻠﻢ ا‪1‬ﺛﺎر وﻋﻠﻮم ا‪1‬رض واﻟﻔﻦ واﻟﻤﻨﺘﺠﺎت‬ ‫ا‪P‬ﻟﻜﺘﺮوﻧﻴﺔ وا‪1‬ﻏﺬﻳﺔ ووﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ وا‪P‬ﺗﺼﺎﻻت ‪.‬‬ ‫إﺧﺘﻴﺎر اﻻﻟﻮان ﻻ ﻳﺘﻢ ﺑﺎ‪P‬ﻋﺘﻤﺎد ﻋﻠﻰ ا‪1‬ﻧﻈﻤﺔ ﻓﻘﻂ ﺑﻞ ﻳﺘﺒﻊ‬ ‫اﻟﺤﺲ اﻟﻔﺮدي )ﻃﺮﻳﻘﺔ ﺣﺮة( ﻟﻜﻞ ﻓﺮد وﻻ ﻳﻤﻜﻦ ﺗﻌﻤﻴﻢ‬ ‫وﺗﺤﺪﻳﺪ درﺟﺎت ا‪1‬ﻟﻮان ﺑﻄﺮﻳﻘﺔ ﺣﺴﺎﺑﻴﺔ‪ ،‬ا‪P‬ﺧﺘﻴﺎر ﻳﻤﻜﻦ‬ ‫أن ﻳﺘﺒﻊ ﺧﺼﺎﺋﺺ ﻣﺜﻞ درﺟﺔ ﻓﻌﺎﻟﻴﺔ اﻟﻠﻮن ﻓﻲ ﺗﺤﻘﻴﻖ‬ ‫ﻣﺘﻄﻠﺒﺎت اﻟﺘﺼﻤﻴﻢ‪.‬‬ ‫ﻛﻴﻒ ﻳﺴﺘﺨﺪم اﻟﺘﺼﻤﻴﻢ ا‪1‬ﻟﻮان ‪:‬‬ ‫ﻳﻌﺘﻤﺪ اﻟﺘﺼﻤﻴﻢ اﻟﻔﻨﻲ ﺑﺎ‪1‬ﻟﻮان ﻋﻠﻰ ﻣﻌﻠﻮﻣﺎت ﻋﻠﻤﻴﺔ‬ ‫وﻋﻤﻠﻴﺔ ﻧﺘﺠﺖ ﻣﻦ ﻋﻠﻮم ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻓﺎﻟﺘﺼﻤﻴﻢ ﻳﺄﺧﺬ ﻓﻲ‬ ‫اﻟﺤﺴﺒﺎن اﻟﻤﻜﻮﻧﺎت اﻟﺘﻘﻨﻴﺔ واﻟﺤﻘﺎﺋﻖ اﻟﻬﻨﺪﺳﻴﺔ وإﺗﺠﺎﻫﺎت‬ ‫اﻟﺴﻮق‪ ،‬ﻛﺬﻟﻚ اﻟﺘﻄﻮرات اﻟﺘﺎرﻳﺨﻴﺔ واﻟﻈﻮاﻫﺮ ا‪P‬ﺟﺘﻤﺎﻋﻴﺔ‬ ‫واﻟﺒﻴﺌﻴﺔ واﻟﻌﻮاﻣﻞ اﻟﻨﻔﺴﻴﺔ‪ .‬إن اﻟﺨﺒﺮة واﻟﻤﻌﺮﻓﺔ اﻟﺪﻗﻴﻘﺔ‬ ‫ﻟﺨﺼﺎﺋﺺ اﻟﻤﻮاد وﻃﺮق اﻟﺘﺼﻨﻴﻊ واﻟﺘﺠﺪﻳﺪ ﻓﻴﻬﺎ ﺗﺴﻬﻞ‬ ‫اﻟﻮﺻﻮل إﻟﻰ ﺗﺼﻤﻴﻢ ﻣﻠﻮن ﻣﻀﻤﻮن اﻟﻌﻮاﻗﺐ ‪ ،‬وﻳﻌﺘﻤﺪ‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﺎ‪1‬ﻟﻮان ﻋﻠﻰ ‪ 3‬ﺗﺄﺛﻴﺮات ‪:‬‬ ‫ اﻟﺘﺄﺛﻴﺮ اﻟﻤﺮﺋﻲ ‪ :‬وﻳﻌﻨﻲ إﺳﺘﺨﺪام ا‪1‬ﻟﻮان ﻓﻲ اﻟﺘﻌﺮﻳﻒ‬‫ﺑﺎ‪1‬ﺷﻴﺎء‪ ،‬وﻫﻲ وﺳﻴﻠﺔ ﺳﻬﻠﺔ وﺳﺮﻳﻌﺔ ﻟﻠﺘﻌﺮﻳﻒ ﺑﺎﻟﺮﺳﺎﻟﺔ‬ ‫اﻟﺘﺼﻤﻴﻤﻴﺔ واﻟﺘﻤﻴﻴﺰ ﺑﻴﻦ اﻟﻔﺮاﻏﺎت ﻣﻦ ﺣﻴﺚ وﻇﻴﻔﺘﻬﺎ‬ ‫وﻫﻮ ﻳﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺘﺄﺛﻴﺮات اﻟﻤﺮﺋﻴﺔ اﻟﻨﺎﺗﺠﺔ ﻋﻦ إﺳﺘﺨﺪام‬ ‫ﺑﻌﺾ ا‪1‬ﻟﻮان ﻓﻬﻨﺎك أﻟﻮان ﺗﻘﺮب ا‪1‬ﺷﻴﺎء ﺑﺼﺮﻳ‪ e‬وأﺧﺮى‬ ‫ﺗﺒﻌﺪﻫﺎ أو ﺗﺆﺛﺮ ﻋﻠﻰ ﺣﺠﻢ اﻟﻔﺮاﻏﺎت ‪ ،‬أو ﻟﻜﻲ ﺗﺒﺮز أو ﺗﺆﻛﺪ‬ ‫ا‪1‬ﺷﻴﺎء ﻣﻦ ﺣﻴﺚ أﻫﻤﻴﺘﻬﺎ أو ﺗﺠﻌﻠﻬﺎ ﻛﺨﻠﻔﻴﺔ‪ .‬ﺗﺨﺪم‬ ‫ا‪1‬ﻟﻮان وﻇﺎﺋﻒ واﺳﺘﻌﻤﺎﻻت داﺧﻞ اﻟﻤﺒﺎﻧﻲ ﻣﺜﻞ أﻧﻈﻤﺔ‬ ‫اﻟﺘﻮﺟﻴﻪ اﻟﺘﻲ ﺗﻮﻓﺮ اﻟﺸﻌﻮر ﺑﺎ‪1‬ﻣﺎن واﻟﻤﻮﺛﻮﻗﻴﺔ ‪.‬‬ ‫ اﻟﺘﺄﺛﻴﺮ اﻟﺤﺴﻲ ‪ :‬إذا ﻛﺎن اﻟﺘﺼﻤﻴﻢ ﺑﻮاﺳﻄﺔ اﻟﺒﺼﺮ ﻳﺤﺪد‬‫ﻣﻮاﻗﻊ ا‪1‬ﺷﻴﺎء ووﻇﺎﺋﻔﻬﺎ ﻣﻦ ﺧﻼل ا‪1‬ﻟﻮان ﻓﺎﻟﺘﺼﻤﻴﻢ‬ ‫ﺑﻮاﺳﻄﺔ ا‪1‬ﺣﺎﺳﻴﺲ ﻳﺴﺘﻌﻤﻞ ا‪1‬ﻟﻮان ﻟﻠﺘﺄﺛﻴﺮ ﻋﻠﻰ‬ ‫إﺣﺴﺎس اﻟﻤﺴﺘﻌﻤﻞ‪ ،‬ﻓﻬﻨﺎك أﻟﻮان ﺗﻮﺣﻲ ﺑﺎﻟﺨﺸﻮﻧﺔ‬ ‫وأﺧﺮى ﺑﺎﻟﻨﻌﻮﻣﺔ‪ ،‬وﻫﻨﺎ ﻳﻤﻜﻦ ﺗﺸﺒﻴﻪ اﻟﺒﺼﺮ ﺑﺤﺎﺳﺔ اﻟﻠﻤﺲ‬ ‫أو اﻟﺸﻢ‪ ،‬ﻓﻬﻨﺎك أﻟﻮان ﺗﺴﺘﺨﺪم ‪P‬ﺣﺪاث أو ﺗﻐﻴﻴﺮ إﻧﻄﺒﺎﻋﻨﺎ‬ ‫ﻋﻦ ا‪1‬ﺷﻴﺎء وﺗﻜﻮن ﻣﻦ ﺧﻼل ﻟﻮن اﻟﻤﺎدة أو اﻟﻔﺮاغ )اﻟﺤﺠﻢ(‪.‬‬ ‫وﻗﺪ ﻳﺘﻢ اﻟﺘﺄﺛﻴﺮ ﻣﻦ ﺧﻼل اﻟﺘﺤﻜﻢ ﻓﻲ درﺟﺔ ﺳﻄﻮع اﻟﻠﻮن‬

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‫∂≤ « ‪¡UM³‬‬

‫‪26 Albenaa‬‬

‫اﻟﺘﺬوق‪ ،‬اﻟﻠﻤﺲ( إﻻ أن اﻟﻤﺼﻤﻤﻴﻦ واﻟﻔﻨﺎﻧﻴﻦ وإن‬ ‫ﻛﺎﻧﻮا ﻳﺴﺘﺸﻌﺮون ا‪$‬ﻟﻮان ﻛﻐﻴﺮﻫﻢ ﻓﺈﻧﻬﻢ ﻳﻘﻮﻣﻮن‬ ‫ﺑﺈﺳﺘﻌﻤﺎﻟﻬﺎ ﻓﻲ اﻟﺘﺼﻤﻴﻢ ‪$‬ﻧﻬﺎ ﺗﺘﻤﺘﻊ ﺑﺨﺼﺎﺋﺺ ﺟﻤﺎﻟﻴﺔ‬ ‫وﺗﻌﺒﻴﺮﻳﺔ ﻋﺎﻟﻴﺔ ﺑﺤﻴﺚ ﺗﺴﺘﻄﻴﻊ أن ﺗﺆﺛﺮ ﻋﻠﻰ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻔﺮاﻏﺎت وا‪$‬ﺳﻄﺢ ﻣﻦ أرﺿﻴﺎت وﺣﻮاﺋﻂ وﻓﻲ اﻟﺰﺧﺮﻓﺔ‬ ‫وا‪$‬ﺛﺎث‪ .‬ﺑﺎ‪I‬ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﻓﺈن ا‪$‬ﻟﻮان ﻳﺠﺐ أن ﺗﻜﻮن ذات‬ ‫ﻗﻮة ﺗﺤﻤﻞ ﻋﺒﺮ اﻟﺰﻣﻦ وا‪I‬ﺳﺘﻌﻤﺎل ﻣﻦ اﻟﻤﻘﺎوﻣﺔ اﻟﻌﺎﻟﻴﺔ‬ ‫ﻟﻠﻌﻮاﻣﻞ اﻟﺨﺎرﺟﻴﺔ ﻣﺜﻞ ا‪$‬ﺷﻌﺔ اﻟﻔﻮق اﻟﺒﻨﻔﺴﺠﻴﺔ‬ ‫وﻋﻮاﻣﻞ اﻟﺘﺄﻛﻞ واﻟﺬوﺑﺎن اﻟﻤﺨﺘﻠﻔﺔ‪ ،‬وأن ﺗﻜﻮن ﻏﻴﺮ ﻣﻠﻮﺛﺔ‬ ‫ﻟﻠﺒﻴﺌﺔ وﺳﻬﻠﺔ اﻟﺘﻨﻔﻴﺬ‪.‬‬ ‫ا‪$‬ﻟﻮان ﻓﻲ اﻟﺒﻨﺎء ﻳﻤﻜﻦ أن ﺗﻜﻮن ﺟﺰء ﻣﻦ ﻃﺒﻴﻌﺔ اﻟﻤﺎدة‬ ‫أو ﻳﺘﻢ إﺿﺎﻓﺔ ﻣﻠﻮﻧﺎت ﺗﺘﺸﺒﻊ ﺑﻬﺎ اﻟﻤﺎدة‪ ،‬وﻓﻲ ﻫﺬه اﻟﺤﺎﻟﺔ‬ ‫ﺗﺄﺗﻲ اﻟﻤﻠﻮﻧﺎت ﻋﻠﻰ ﻫﻴﺌﺔ ﻃﻼء )‪ (Dyes‬وﻫﻲ أﻟﻮان ﻗﺎﺑﻠﺔ‬ ‫ﻟﻠﺬوﺑﺎن أو ﺧﻀﺐ )‪ (Pigments‬وﻫﻲ أﻟﻮان ﻏﻴﺮ ﻗﺎﺑﻠﺔ‬ ‫اﻟﺤﺒﻴﺒﻲ )ﺣﺒﻴﺒﺎت ذات ﺳﻤﺎﻛﺔ‬ ‫ﻟﻠﺬوﺑﺎن ﺑﻔﻌﻞ ﺗﻜﻮﻳﻨﻬﺎ ُ‬ ‫ﺗﻘﺎس ﺑﻌﺪد ﻗﻠﻴﻞ ﻣﻦ وﺣﺪة اﻟﻤﻴﻜﺮوﻣﺘﺮ أو اﻟﻨﺎﻧﻮﻣﺘﺮ(‬ ‫وﻳﺴﺘﻌﻤﻞ اﻟﻄﻼء ﻣﺜ ً‬ ‫ﻼ ﻓﻲ ﺗﻠﻮﻳﻦ اﻟﻮرق ﻧﻈﺮ^ ﻟﻘﺎﺑﻠﻴﺔ‬ ‫ذوﺑﺎﻧﻪ ﺣﻴﺚ ﻳﺠﻒ ﺑﻌﺪ أن ﻳﺘﺨﻠﻞ وﺗﺘﺸﺒﻊ ﺑﻪ اﻟﻤﺎدة‪ ،‬وﻓﻲ‬ ‫اﻟﻤﻘﺎﺑﻞ ﻳﻔﻀﻞ إﺳﺘﻌﻤﺎل اﻟﺨﻀﺐ ﻓﻲ ﺗﻠﻮﻳﻦ اﻟﺒﻼﺳﺘﻴﻚ‬ ‫ﻛﻮن اﻟﺒﺎﺳﺘﻴﻚ ﻣﺎدة ﻻﺻﻘﺔ وﻗﻠﻴﻠﺔ اﻟﺘﻜﻠﻔﺔ و ﻣﻘﺎوﻣﺔ‬ ‫ﻟﺘﺄﺛﻴﺮ اﻟﻀﻮء‪ .‬ﻛﻤﺎ ﺗﺴﺘﺨﺪم ا‪$‬ﻟﻮان ﻋﻠﻰ ﻫﻴﺌﺔ ﻃﻼء‬ ‫ﺧﺎرﺟﻲ ﻓﻮق اﻟﻤﺎدة ﻟﺘﺤﺴﻴﻦ ﻣﻈﻬﺮﻫﺎ ووﻇﻴﻔﺘﻬﺎ‬ ‫ﻣﺜﻞ ﻃﻼء اﻟﻤﻄﺎط ﺑﻤﻮاد ﻻﻣﻌﺔ أو اﺳﺘﺨﺪام ﻃﻼء ﻳﺤﻤﻲ‬ ‫أﺳﻄﺢ اﻟﻤﺎدة ﻣﻦ اﻟﻤﺎء أو ا‪I‬ﺗﺴﺎخ‪ .‬اﻟﻄﻼء إﻣﺎ ﻳﻜﻮن‬ ‫ﺷﻔﺎف ﻻﻣﻊ )ورﻧﻴﺶ( أو دﻫﺎن ﻣﻠﻮن‪ .‬اﻟﻄﻼءات اﻟﺼﻨﺎﻋﻴﺔ‬ ‫أﺻﺒﺤﺖ اﻟﻴﻮم أﻛﺜﺮ إﻧﺘﺸﺎر^ ﻣﻦ اﻟﻄﺒﻴﻌﻴﺔ وﺗﻌﺘﻤﺪ ﻋﻠﻰ‬ ‫ﻣﻮاد ﻣﺜﻞ ا‪$‬ﻛﺮﻳﻠﻴﻚ أو ﻣﺴﺘﺤﻠﺒﺎت اﻟﻠﺪاﺋﻦ اﻟﺼﻨﺎﻋﻴﺔ أو‬ ‫ﻟﺪاﺋﻦ اﻟﺴﻴﻠﻴﻜﻮن واﻟﺒﻮﻟﻴﺮﻳﺜﺎن أو ﺗﺴﺘﻌﻤﻞ ﻋﻠﻰ ﻫﻴﺌﺔ‬ ‫ﺑﻮدرة‪ .‬ﺗﺘﻌﺪد ﻃﺮق ﺗﻨﻔﻴﺬ ا‪$‬ﻟﻮان إﻻ أﻧﻪ ﻣﻦ اﻟﻀﺮوري‬ ‫أن ﻳﺘﻌﺮف ﻋﻠﻴﻬﺎ اﻟﻤﺼﻤﻢ ﺟﻴﺪ^ ﻗﺒﻞ إﺳﺘﻌﻤﺎﻟﻬﺎ ﻓﻲ‬ ‫اﻟﺘﺼﻤﻴﻢ وﻋﻠﻰ ﻃﺮق ﺗﻨﻔﻴﺬﻫﺎ اﻟﻤﺘﻮﻓﺮة ﻓﻲ اﻟﻜﺘﺎﻟﻮﺟﺎت‬ ‫واﻟﻜﺘﺐ اﻟﻌﻠﻤﻴﺔ ﻟ‪l‬ﻟﻮان ‪.‬‬ ‫أﻧﻈﻤﺔ ا‪$‬ﻟﻮان ‪:‬‬ ‫ﻣﻦ ﺧﻼل ﻣﺮور اﻟﻀﻮء ﻋﺒﺮ ﻣﻮﺷﻮر زﺟﺎﺟﻲ إﺳﺘﻄﺎع اﻟﻌﺎﻟﻢ‬ ‫اﻟﻔﻴﺰﻳﺎﺋﻲ إﺳﺤﺎق ﻧﻴﻮﺗﻦ أن ﻳﺤﻠﻞ ﺷﻌﺎع اﻟﻀﻮء ا‪$‬ﺑﻴﺾ‬ ‫ﺑﻌﺪ إﻧﻜﺴﺎره إﻟﻰ ﻣﺠﻤﻮﻋﺔ أﺷﻌﺔ ذات أﻟﻮان ﻣﺨﺘﻠﻔﺔ‬ ‫ﺑﻌﺪد‪ 7‬ﻫﻲ ﻋﻠﻰ اﻟﺘﻮاﻟﻲ‪ :‬ا‪$‬ﺣﻤﺮ واﻟﺒﺮﺗﻘﺎﻟﻲ وا‪$‬ﺻﻔﺮ‬ ‫وا‪$‬ﺧﻀﺮ و ا‪$‬زرق واﻟﻨﻴﻠﻲ ﺛﻢ اﻟﺒﻨﻔﺴﺠﻲ ﺗﺸﻜﻞ ﻓﻲ‬ ‫ﻣﺠﻤﻮﻋﻬﺎ ﺷﻌﺎع اﻟﻀﻮء ا‪$‬ﺑﻴﺾ‪ .‬ﻋﻠﻰ أن ا‪$‬ﻟﻮان ﻻ ﺗﻨﺤﺼﺮ‬ ‫ﻓﻘﻂ ﻓﻲ ﻫﺬا اﻟﻌﺪد‪ ،‬ﻓﻤﻦ ﺧﻼل ﺧﻠﻄﻬﺎ ﺑﻴﻦ ﺑﻌﻀﻬﺎ‬ ‫اﻟﺒﻌﺾ أو ﺗﺨﻔﻴﻔﻬﺎ أو ﺗﺮﻛﻴﺰﻫﺎ ﻳﺘﻮﻟﺪ ﺗﻨﻮع ﻻ ﺣﺼﺮ‬ ‫ﻟﻪ ا‪$‬ﻣﺮ اﻟﺬي أدى إﻟﻰ اﻟﻠﺠﻮء إﻟﻰ ﺣﺼﺮ وﺗﺮﺗﻴﺐ ﻟﻠﻜﻢ‬

‫ﻃﻮال ﺳﺎﻋﺎت اﻟﻨﻬﺎر ‪ .‬ﻫﺬه اﻟﻮاﺟﻬﺎت اﻟﻤﺘﻐﻴﺮة اﻟﻤﻈﻬﺮ‬ ‫ﺗﻄﻞ ﻋﻠﻰ ﻓﻨﺎء داﺧﻠﻲ ﻣﺘﻌﺮج ﻳﺮﺑﻂ ﺑﻴﻦ اﻟﻤﻨﺎﻃﻖ اﻟﺘﻲ‬ ‫ﻳﻘﻊ ﺑﻴﻨﻬﺎ اﻟﻤﺒﻨﻰ وﺗﻬﺪف إﻟﻰ ﺟﺬب اﻟﻤﺎرة إﻟﻰ اﻟﻤﺮور‬ ‫ﻋﺒﺮه وإﺣﻴﺎء وﺳﻄﻪ‪ .‬ا‪9‬ﻟﻮان ﻫﻨﺎ ﻫﻲ أﺣﺪ ﻣﻤﻴﺰات اﻟﻤﺒﻨﻰ‬ ‫ﻟﺠﺬب اﻟﺸﺮﻛﺎت ﻟﺘﻔﻀﻴﻠﻪ @ﺳﺘﺌﺠﺎر ﻣﺴﺎﺣﺎﺗﻪ اﻟﻤﻜﺘﺒﻴﺔ‬ ‫) اﻟﺠﺎﻧﺐ اﻟﺠﻤﺎﻟﻲ ﻳﺨﺪم اﻟﺠﺎﻧﺐ اﻟﺘﺠﺎري ( ‪.‬‬ ‫ ﻣﺸﺮوع اﻟﻤﺪرﺳﺔ اﻟﺪوﻟﻴﺔ اﻟﻔﺮﻧﺴﻴﺔ ﻓﻲ ﻫﻮﻧﺞ ﻛﻮﻧﺞ ‪،‬‬‫اﻟﺼﻴﻦ ﻟﻤﺼﻤﻤﻪ ﻣﻜﺘﺐ ‪ . Henning Larsen‬إن ﻃﺒﻴﻌﺔ‬ ‫اﻟﻤﺒﺎﻧﻲ اﻟﺨﺎدﻣﺔ ﻟﺼﻐﺎر اﻟﺴﻦ ﺗﺪﻓﻊ إﻟﻰ إﺳﺘﺨﺪام ا‪9‬ﻟﻮان‬ ‫ﻛﻌﻨﺼﺮ ﺗﺄﺛﻴﺮ وﺟﺬب ﻟﻬﺬه اﻟﻔﺌﺎت اﻟﻌﻤﺮﻳﺔ اﻟﺘﻲ ﺗﺘﺄﺛﺮ‬ ‫ﺑﺎ‪9‬ﻟﻮان ﺑﻄﺮﻳﻘﺔ ﻣﺒﺎﺷﺮة وﺳﺮﻳﻌﺔ‪ .‬ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﻳﻮﻇﻒ‬ ‫اﻟﻤﺸﺮوع ا‪9‬ﻟﻮان ﻛﻌﻨﺼﺮ إرﺷﺎد وﺗﻌﺮﻳﻒ ﺗﺤﻘﻖ أﺟﻮاء ﻣﻦ‬ ‫اﻟﻤﻮﺛﻮﻗﻴﺔ وا‪9‬ﻣﺎن ﻟﺼﻐﺎر اﻟﺴﻦ و ﻟﻠﺘﻘﻠﻴﻞ ﻣﻦ ﺗﺄﺛﻴﺮ اﻟﺘﺨﻤﺔ‬ ‫اﻟﺨﺮﺳﺎﻧﻴﺔ ﻟﻤﺒﺎﻧﻲ ﻣﺪﻳﻨﺔ ﻫﻮﻧﺞ ﻛﻮﻧﺞ ‪ ،‬ﻛﻤﺎ ﻳﺴﺘﺨﺪﻣﻬﺎ‬ ‫اﻟﺘﺼﻤﻴﻢ ﻟﺪﻣﺞ اﻟﻤﺸﺮوع ﻓﻲ ﻣﺤﻴﻄﻪ اﻟﻄﺒﻴﻌﻲ ﺑﺈﺳﺘﺨﺪام‬ ‫أﻟﻮان ﺗﺘﻨﺎﻏﻢ اﻟﺴﻤﺎء اﻟﻤﺴﺎﺣﺎت ﺧﻀﺮاء واﻟﺘﺮﺑﺔ ‪.‬‬ ‫ ﻣﺸﺮوع ﺗﺮﻓﻴﻬﻲ ﻓﻲ ﺳﻴﺌﻮل‪ ،‬ﻛﻮرﻳﺎ ﻟﻤﺼﻤﻤﻪ ﻣﻜﺘﺐ‬‫‪ . MVRDV‬اﻟﻤﺸﺮوﻋﺎت اﻟﺘﺮﻓﻴﻬﻴﺔ ﺗﺤﺘﺎج داﺋﻤ^ إﻟﻰ‬ ‫ﺗﺼﻤﻴﻤﺎت ﻣﻌﻤﺎرﻳﺔ ﻏﺎﻳﺔ ﻓﻲ اﻟﺠﺬب‪ ،‬وﻫﻮ ﻣﺎ ﻳﻘﺪﻣﻪ‬ ‫اﻟﺘﺼﻤﻴﻢ اﻟﺬي ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﺰﺧﺎرف اﻟﺒﺎرزة وا‪9‬ﻟﻮان اﻟﺘﻲ‬ ‫ﺗﻌﻄﻲ ﻟﻠﻤﻈﻬﺮ اﻟﺨﺎرﺟﻲ إﻧﻄﺒﺎﻋﺎت ﺛﺮﻳﺔ ﺣﻴﺚ إﺳﺘﺨﺪم‬ ‫اﻟﻄﻼء اﻟﺬﻫﺒﻲ اﻟﺬي داﺋﻤ^ ﻣﺎﻳﻌﻄﻲ ﻗﻴﻤﺔ أﻋﻠﻰ ﻟ‪b‬ﺷﻴﺎء‬ ‫ﻣﻦ ﻗﻴﻤﺘﻬﺎ اﻟﺤﻘﻴﻘﻴﺔ ﻓﺎﻟﻤﺒﺎﻧﻲ ﻓﻲ اﻟﺤﻘﻴﻘﺔ ﻟﻴﺴﺖ ﻣﻦ‬ ‫اﻟﺬﻫﺐ‪ ،‬ﻫﻨﺎ ﻳﺘﻌﺎﻣﻞ اﻟﻤﺼﻤﻢ ﺑﺎﻟﻄﻼء اﻟﺬﻫﺒﻲ ﻛﺎﻟﻜﺴﺎء‬ ‫اﻟﺬي ﻳﻠﺒﺴﻪ اﻟﻨﺎس ﻟﻠﺘﺒﺎﻫﻲ ﺑﻪ وإﻋﻄﺎء إﻧﻄﺒﺎع ﺑﺎﻟﺜﺮاء‬ ‫وﻟﻠﺘﻌﺮﻳﻒ ﺑﻤﻮﻗﻊ اﻟﻤﺒﺎﻧﻲ ﻧﻈﺮ‪ g‬ﻟﻘﺮﺑﻪ ﻣﻦ ﻣﻄﺎر اﻟﻤﺪﻳﻨﺔ‪.‬‬ ‫ ﻣﺸﺮوع ﺑﺮج ﻣﻜﺘﺒﻲ ﻟﺘﺠﺎرة اﻟﻠﺆﻟﺆ ﻃﻮﻛﻴﻮ‪ ،‬اﻟﻴﺎﺑﺎن‬‫ﻟﻤﺼﻤﻤﻪ ‪ .Toyo Ito‬ﻫﻨﺎ ﻳﺴﺘﺨﺪم اﻟﻤﺼﻤﻢ اﻟﻠﻮن ا‪9‬ﺑﻴﺾ‬ ‫اﻟﻠﺆﻟﺆي ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ وﻇﻴﻔﺔ اﻟﻤﺒﻨﻰ وﻫﻲ ﺗﺠﺎرة اﻟﻠﺆﻟﺆ ﻣﻊ‬ ‫ﺗﻐﻴﺮ اﻟﻠﻮن ﺣﺴﺐ ﺳﺎﻋﺎت اﻟﻨﻬﺎر إﻟﻰ اﻟﻮردي ﺗﻤﺎﻣ^ ﻛﻤﺎ ﻫﻮ‬ ‫ﻟﻮن اﻟﻠﺆﻟﺆ ‪.‬‬ ‫ ﻣﺸﺮوع ﻟﺘﺮﺑﻴﺔ وﺻﻨﺎﻋﺔ ا‪9‬ﺳﻤﺎك ﻓﻲ ﺷﻤﺎل اﻟﻨﺮوﻳﺞ‬‫ﻟﻤﺼﻤﻤﻪ ﻣﻜﺘﺐ ‪ .Snohetta‬ﻳﺴﺘﻌﻤﻞ اﻟﺘﺼﻤﻴﻢ ا‪9‬ﻟﻮان‬ ‫@داﺧﻞ ﻋﻨﺼﺮ اﻟﺒﻬﺠﺔ ﻓﻲ ﻫﺬه اﻟﺒﻴﺌﺔ اﻟﻘﺎﺗﻤﺔ ا‪9‬ﻟﻮان‬ ‫اﻟﺘﻲ ﻳﺤﻴﻂ ﺑﻬﺎ اﻟﺒﺤﺮ اﻟﺪاﺋﻢ اﻟﻬﻴﺠﺎن واﻟﺠﺒﺎل ذات‬ ‫اﻟﺼﺨﻮر اﻟﻄﺒﻴﻌﺔ اﻟﻘﺎﺗﻤﺔ واﻟﺴﻤﺎء اﻟﺪاﻣﺴﺔ اﻟﻠﻮن‬ ‫واﻟﻤﻠﺒﺪة ﺑﺎﻟﻐﻴﻮم‪ .‬اﻟﻤﺸﺮوع ﻳﺴﺘﺨﺪم أﻟﻮاح ا‪9‬ﻟﻮﻣﻨﻴﻮم‬ ‫اﻟﺘﻲ داﺋﻤﺎ ﻣﺎ ﺗﻀﺎف ا‪9‬ﻟﻮان إﻟﻴﻬﺎ أو اﻟﺨﺮﺳﺎﻧﺔ اﻟﻈﺎﻫﺮة‬ ‫ﻓﻲ ﻣﻈﻬﺮه اﻟﺨﺎرﺟﻲ @ﻳﺠﺎد ﺗﺒﺎﻳﻦ ﻳﻤﻴﺰ اﻟﻤﺒﺎﻧﻲ ﻋﻦ‬ ‫ﺑﻌﻀﻬﺎ ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ ﻛﻮن ﻫﺬه اﻟﻤﻮاد ذات ﻣﻘﺎوﻣﺔ ﻋﺎﻟﻴﺔ‬ ‫ﻟﺘﺄﺛﻴﺮات اﻟﺒﻴﺌﺎت اﻟﺒﺎردة واﻟﺒﺤﺮﻳﺔ ‪.‬‬

‫‪Toyo Ito ´ Associates¨ Architects ´ TAISEI DESIGN PAE ∫V²J ¨R RK « ÊuKÐ ÃdÐ‬‬

‫≈‪Snohetta ∫V²J ¨WOÝUI « U¾O³ « w ¡UM³K W−N³ « …œUŽ‬‬

‫‪¡UM³ « ≤π‬‬

‫‪29 Albenaa‬‬

‫‪UNStudio ∫V²J ¨¡uC « l qŽUH²ð W½uK UNł«Ë‬‬

‫ ‪Henning Larsen ∫V²J ¨Ê«u _«Ë UGK « …œbF² WÝ—b‬‬

‫اﻟﺬي ﻳﻤﻜﻦ أن ﻳﻮﻓﺮ أﺣﺎﺳﻴﺲ ﻣﺜﻞ )ﺧﻔﻴﻒ أو ﺛﻘﻴﻞ‪،‬‬ ‫ﻣﻨﺨﻔﺾ أو ﻋﺎﻟﻲ(‪ ،‬أو اﻟﺘﺤﻜﻢ ﻓﻲ درﺟﺔ إﺷﺒﺎع اﻟﻠﻮن‬ ‫)ﻗﺮﻳﺐ أو ﺑﻌﻴﺪ‪ ،‬ﻣﺘﺤﺮك أو ﺳﺎﻛﻦ( أو درﺟﺔ اﻟﻠﻮن )ﺑﺎرد أو‬ ‫داﻓﻲء‪ ،‬ﺣﺎد أو ﺗﻘﺮﻳﺒﻲ(‪ ،‬ﻋﻠﻰ أن ﺗﺄﺛﻴﺮ ا;ﻟﻮان ﻻ ﻳﻜﻮن ﻓﻘﻂ‬ ‫ﻣﻦ اﻟﻠﻮن ﺑﻞ ﻣﻦ ﺧﻼل اﻟﻨﺎﺗﺞ ﻣﻦ اﻟﺨﻠﻂ اﻟﻤﻨﺴﻖ ﺑﻴﻦ‬ ‫اﻟﻠﻮن واﻟﺸﻜﻞ واﻟﻨﻈﺎم ا‪J‬ﻧﺸﺎﺋﻲ ﻟﻠﻮن‪ .‬ا;ﻣﺮ اﻟﺬي ﻳﺠﻌﻞ‬ ‫ﺗﺼﻤﻴﻢ ا;ﻟﻮان ﺑﺎ‪J‬ﺣﺴﺎس ﻋﻤﻠﻴﺔ ﻣﻌﻘﺪة ;ﻧﻬﺎ ﺗﻌﺘﻤﺪ أﻛﺜﺮ‬ ‫ﻋﻠﻰ ﻣﺮور اﻟﻤﺼﻤﻢ ﺑﺘﺠﺎرب ﻋﺪﻳﺪة ﻓﺎ;ﺣﺎﺳﻴﺲ ﻻﺗﻘﺪر‬ ‫ﺑﺎﻟﻌﻤﻠﻴﺎت اﻟﺤﺴﺎﺑﻴﺔ ‪.‬‬ ‫ اﻟﺘﺄﺛﻴﺮاﻟﺮﻣﺰي ‪ :‬ﺑﻌﺪ أن ﻳﻜﻮن اﻟﺘﺼﻤﻴﻢ اﻟﺤﺴﻲ ﺑﺎ;ﻟﻮان‬‫ﻗﺪ اﺳﺘﻄﺎع أن ﻳﻮﺟﺪ ﺗﻮاﺻﻞ ﺑﻴﻦ ا;ﺷﻴﺎء وﻣﺴﺘﻌﻤﻠﻴﻬﺎ‬ ‫ﻳﺄﺗﻲ دور ا;ﻟﻮان ﻟﻠﺘﻌﺒﻴﺮ اﻟﺮﻣﺰي ﻟ‪X‬ﺷﻴﺎء اﻟﺘﻲ ﺗﻌﺘﻤﺪ‬ ‫ﻋﻠﻰ ﻣﻌﺎﻧﻲ ﻧﺎﺑﻌﺔ ﻣﻦ ﺛﻘﺎﻓﺔ اﻟﻤﺠﺘﻤﻊ‪ ،‬ﻓﻘﺪ ﺗﻜﻮن ﻟ‪X‬ﻟﻮان‬ ‫ﻣﻌﺎﻧﻲ ﺗﺎرﻳﺨﻴﺔ )ﻋﻘﺎﺋﺪﻳﺔ( أو ﻣﻌﺎﻧﻲ ﺑﻴﺌﻴﺔ )ﺟﻐﺮاﻓﻴﺔ‬ ‫ﻃﺒﻴﻌﻴﺔ( ا;ﻣﺮ اﻟﺬي ﻳﺠﻌﻞ ﺗﺤﻘﻴﻘﻬﺎ ﻳﺤﺘﺎج ﻣﻌﺮﻓﺔ‬ ‫ﺑﺎﻟﺴﻴﺎق اﻟﻤﺤﻠﻲ اﻟﺜﻘﺎﻓﻲ واﻟﺒﻴﺌﻲ ‪.‬‬ ‫ اﻟﺘﺼﻤﻴﻢ اﻟﻌﺎم اﻟﺠﺎﻣﻊ ﻟﻬﺬه اﻟﺘﺄﺛﻴﺮات اﻟﺜﻼث ‪:‬‬‫وﻓﻴﻪ ﻳﺒﺤﺚ اﻟﻤﺼﻤﻢ ﻋﻦ أﻓﻀﻞ اﻟﺤﻠﻮل وأﺑﺴﻄﻬﺎ‬ ‫ﻟﻠﺘﻨﺴﻴﻖ ﺑﻴﻦ اﻟﺜﻼث أﻧﻮاع ‪ ،‬وﺟﻤﻌﻬﺎ ﻓﻲ ﺣﻞ واﺣﺪ‬ ‫ﻫﺎدف ﺳﻬﻞ وﻣﺒﺴﻂ‪.‬‬ ‫اﻟﻀﻮء وا;ﻟﻮان ‪:‬‬ ‫ﺗﻌﺘﺒﺮ ا;ﻟﻮان واﻟﻀﻮء أدوات ﺗﺼﻤﻴﻤﻴﺔ رﺋﻴﺴﺔ‬ ‫ﻓﺎ;ﻟﻮان ﻻ ﻳﻤﻜﻦ رؤﻳﺘﻬﺎ إﻻ ﺑﻮﺟﻮد اﻟﻀﻮء اﻟﺬي ﻳﺴﻘﻂ‬ ‫ﻋﻠﻴﻬﺎ ﻓﻔﻲ اﻟﻈﻼم ﻻ ﻳﻤﻜﻦ رؤﻳﺎ ا;ﻟﻮان ﻋﻠﻰ أﻧﻪ ﻳﺠﺐ أن‬ ‫ﻳﺆﺧﺬ ﻓﻲ ا‪J‬ﻋﺘﺒﺎر ﻋﻨﺪ اﻟﺘﺼﻤﻴﻢ ﺑﺎ;ﻟﻮان أن اﻟﻀﻮء ﻟﻴﺲ‬ ‫ﻣﺎدة ﻣﻠﻤﻮﺳﺔ إﻻ أﻧﻪ ﻳﻤﺜﻞ ﻋﻨﺼﺮ ﺣﻴﻮي ﻓﻲ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻤﺒﺎﻧﻲ وﻳﺘﻐﻴﺮ اﻟﻀﻮء واﻟﻈﻞ ﺣﺴﺐ ﻣﺴﺎر اﻟﺸﻤﺲ‬ ‫ﺑﺤﻴﺚ ﺗﺒﺪو ا;ﺷﻴﺎء ﻛﺄﻧﻬﺎ ﺗﺘﺤﺮك وﻋﻨﺪﻣﺎ ﻳﺴﻘﻂ اﻟﻀﻮء‬ ‫ﻋﻠﻰ ا;ﺷﻴﺎء ﻳﺘﻐﻴﺮ ﻣﻈﻬﺮﻫﺎ ‪ ،‬وﻣﻦ اﻟﻀﺮوري إذا أردﻧﺎ‬ ‫إﻧﺠﺎح اﻟﺘﺼﻤﻴﻢ ﻣﻦ ﺣﻴﺚ إﺳﺘﻌﻤﺎل ا;ﻟﻮان واﻟﻀﻮء‬ ‫إﻋﺘﺒﺎرﻫﺎ ﻣﻦ ﺑﺪاﻳﺔ اﻟﻌﻤﻞ وﻟﻴﺲ ﺑﻌﺪ أن ﻳﻜﻮن اﻟﺘﺼﻤﻴﻢ‬ ‫ﻗﺪ ﺣﺪد اﻟﻔﺮاﻏﺎت واﻟﻮاﺟﻬﺎت واﻟﻬﻴﻜﻞ ا‪J‬ﻧﺸﺎﺋﻲ ‪.‬‬ ‫راﺑﻌ ‪ :‬اﻟﻤﺸﺎرﻳﻊ اﻟﺘﻲ ﻳﺴﺘﻌﺮﺿﻬﺎ اﻟﻌﺪد ‪:‬‬ ‫ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض ‪ 5‬ﻣﺸﺎرﻳﻊ اﺳﺘﺨﺪﻣﺖ ﻓﻴﻬﺎ‬ ‫ا;ﻟﻮان ﻛﻌﻨﺼﺮ أﺳﺎس ﻟﺘﺤﻘﻴﻖ ﻣﺘﻄﻠﺒﺎت اﻟﻤﺸﺮوع وﻫﻲ‪:‬‬ ‫ ﻣﺸﺮوع ﻣﺒﺎﻧﻲ ﻣﻜﺘﺒﻴﺔ ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﻤﻴﺮا‪ ،‬ﻫﻮﻟﻨﺪا‬‫وﻣﺼﻤﻤﻬﺎ ‪ . UNStudio‬ﻳﺰاوج اﻟﺘﺼﻤﻴﻢ ﺑﻴﻦ ﻋﻨﺼﺮي‬ ‫اﻟﻀﻮء اﻟﻄﺒﻴﻌﻲ وا;ﻟﻮان ﻣﻦ ﺧﻼل واﺟﻬﺎت اﻟﻤﺒﻨﻰ‬ ‫اﻟﺰﺟﺎﺟﻴﺔ اﻟﺘﻲ ﻏﻄﻴﺖ ﺑﻤﺰﻳﺞ ﻣﻦ اﻟﺮﻗﺎﺋﻖ اﻟﻤﻠﻮﻧﺔ‪ ،‬ﻳﺘﻐﻴﺮ‬ ‫ﻟﻮن اﻟﻮﺟﻬﺎت ﺣﺴﺐ ﺳﻘﻮط اﻟﻀﻮء اﻟﻄﺒﻴﻌﻲ ﻋﻠﻴﻬﺎ‬

‫√ ‪MVRDV ∫V²J ¨tO d²K WЖUł ·—Uš“Ë Ê«u‬‬

‫∏≤ « ‪¡UM³‬‬

‫‪28 Albenaa‬‬

‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : .UNSTUDIO‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﻤﻴﺮا ‪ ،‬ﻫﻮﻟﻨﺪا‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 8833:‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2004 :‬م‬

‫‪© Christian Richters‬‬

‫ا رض ﻟﺘﻤﺘﺪ ﻋﻠﻰ ﻛﺎﻣﻞ ﻣﺴﺎﺣﺔ ا رض و ﺗﺤﺖ اﻟﻤﺒﺎﻧﻲ ‪.‬‬ ‫ﺗﺘﻨﻮع ﻋﺪد أدوار اﻟﻤﺒﺎﻧﻲ ﻣﻦ ‪ 5‬أو ‪ 6‬إﻟﻰ ‪ 3‬أو ‪ 4‬أدوار ﺑﻴﻨﻤﺎ‬ ‫ﻳﻀﻢ إرﺗﻔﺎع اﻟﺪور ا ﺧﻴﺮ دورﻳﻦ ‪ .‬اﻟﺘﺼﻤﻴﻢ ﻳﻬﺪف إﻟﻰ‬ ‫إﺳﺘﻌﻤﺎل اﻟﻤﺒﻨﻰ اﻟﻤﻜﺘﺒﻲ ﻣﻦ ﻋﺪد ﻣﻦ اﻟﺸﺮﻛﺎت ‪،‬‬ ‫روﻋﻲ ذﻟﻚ ﻓﻲ ﺗﺤﺪﻳﺪ اﻟﻜﺜﺎﻓﺔ اﻟﺴﻜﻨﻴﺔ واﻟﺒﺮﻧﺎﻣﺞ‬ ‫ﺑﻬﺪف إﺑﻘﺎء اﻟﺘﻜﻠﻔﺔ ﻣﻨﺨﻔﻀﺔ ﺑﺤﻴﺚ ﻳﻜﻮن اﻟﻤﺒﻨﻰ أﻛﺜﺮ‬ ‫ﺟﺬﺑ‪ I‬ﻟﻠﻤﺴﺘﻌﻤﻠﻴﻦ اﻟﻤﺤﻠﻴﻴﻦ‪ .‬ﻳﻮﻓﺮ اﻟﻤﺒﻨﻰ ﻣﺪاﺧﻞ‬ ‫واﺳﻌﺔ ﺗﺸﺠﻊ ﻋﻠﻰ ﻋﺒﻮر ه‪ .‬ﻳﻤﻜﻦ اﻟﺪﺧﻮل ﻟﻠﻤﺒﺎﻧﻲ ﻣﻦ‬ ‫ﺟﻬﺔ اﻟﺸﻮارع اﻟﺨﺎرﺟﻴﺔ ﻣﺒﺎﺷﺮة ﻣﻦ اﻟﻤﺴﺘﻮى ا رﺿﻲ‬ ‫ﺑﻴﻨﻤﺎ ﺗﻢ رﻓﻊ ﻣﺴﺘﻮى اﻟﻤﺪاﺧﻞ اﻟﻮاﻗﻌﺔ ﻋﻠﻰ اﻟﻔﻨﺎء‬ ‫اﻟﺪاﺧﻠﻲ اﻟﻤﺘﻌﺮج ‪.‬‬

‫ ‪WO U _« WI¹b(« dNEð tO Ë ÂUF « l uLK —uEM‬‬ ‫‪¡UM³ « ≥±‬‬

‫‪31 Albenaa‬‬

‫واﺟﻬﺎت ﻣﻠﻮﻧﺔ‬ ‫ﺗﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻀﻮء‬ ‫‪“La Defence” Office Building‬‬

‫‪Almere, The Netherlands‬‬

‫« ‪ÊuK*« w½bF*« dNE*« «– WOłUłe « UNł«u‬‬

‫ﻳﺒﺪو اﻟﻤﺸﺮوع ﻓﻲ ﺳﻴﺎﻗﻪ اﻟﻌﻤﺮاﻧﻲ ﻛﻤﺒﻨﻰ ذو ﺣﺠﻢ‬ ‫ﺑﺴﻴﻂ ﻳﻌﻜﺲ ﺻﻮرة ﻣﺤﻴﻄﻪ ﻣﻦ ﺧﻼل واﺟﻬﺎﺗﻪ‬ ‫اﻟﺰﺟﺎﺟﻴﺔ ذات اﻟﻤﻈﻬﺮ اﻟﻤﻌﺪﻧﻲ ‪ .‬ﺷﻜﻞ اﻟﻤﺒﻨﻰ وﻏﻼﻓﻪ‬ ‫اﻟﺨﺎرﺟﻲ ﻳﻌﺒﺮان ﻋﻦ اﻟﻨﺴﻴﺞ اﻟﻌﻤﺮاﻧﻲ اﻟﻤﺘﻀﺎم ‪ .‬ﺑﻌﺪ‬ ‫اﻟﺪﺧﻮل إﻟﻰ اﻟﻔﻨﺎء اﻟﺪاﺧﻠﻲ اﻟﻤﺘﻌﺮج اﻟﺸﻜﻞ ﻳﻜﺸﻒ‬ ‫اﻟﻤﺒﻨﻰ ﻋﻦ ﺧﺼﺎﺋﺼﻪ اﻟﺘﺼﻤﻴﻤﻴﺔ اﻟﺠﻤﻴﻠﺔ ‪ ،‬ﺣﻴﺚ ﻏﻄﻴﺖ‬ ‫اﻟﻮاﺟﻬﺎت اﻟﻤﻄﻠﺔ ﻋﻠﻰ اﻟﻔﻨﺎء اﻟﻤﺘﻌﺮج ﺑﺄﻟﻮاح زﺟﺎﺟﻴﺔ‬ ‫دﻣﺠﺖ ﺑﺄﻏﺸﻴﺔ ﻣﻠﻮﻧﺔ ﺗﺘﻐﻴﻴﺮ أﻟﻮﻧﻬﺎ ﻋﻠﻰ ﻣﺪار ﺳﺎﻋﺎت‬ ‫اﻟﻴﻮم ﺗﺒﻌ‪ Q‬ﻟﺰواﻳﺎ اﻟﻀﻮء ﺣﻴﺚ ﺗﺘﻐﻴﺮ ا‪P‬ﻟﻮان ﻣﻦ ا‪P‬ﺻﻔﺮ‬ ‫إﻟﻰ ا‪P‬زرق وإﻟﻰ ا‪P‬ﺣﻤﺮ أو ﻣﻦ اﻟﺒﻨﻔﺴﺠﻲ إﻟﻰ ا‪P‬ﺧﻀﺮ‬ ‫وﻫﻜﺬا ﺗﺘﻌﺎﻗﺐ ﻫﺬه ا‪P‬ﻟﻮان ‪.‬‬

‫∞≥ « ‪¡UM³‬‬

‫‪30 Albenaa‬‬

‫اﻟﻤﺒﻨﻰ ﻗﺮﻳﺐ ﻣﻦ ﻣﺤﻄﺔ ﻗﻄﺎر ﻣﺮﻛﺰﻳﺔ‪ ،‬وﻳﻮﺿﺢ اﻟﻤﺨﻄﻂ‬ ‫اﻟﻌﺎم ﻟﻠﻤﺸﺮوع ﺗﻨﻈﻴﻢ ﻛﺘﻠﻪ ﺑﻄﺮﻳﻘﺔ ﻣﺤﺎﻳﺪة وﻣﻨﻄﻘﻴﺔ‬ ‫ﻣﻘﺴﻤﺔ إﻟﻰ ‪ 4‬ﻣﺒﺎﻧﻲ ﺷﺮﻳﻄﻴﺔ ﻣﻨﻔﺼﻠﺔ وﺑﺄﻃﻮال‬ ‫وإرﺗﻔﺎﻋﺎت ﻣﺨﺘﻠﻔﺔ ﺗﺤﺘﻞ ﻛﺎﻣﻞ ﻣﺴﺎﺣﺔ ا‪P‬رض ذات‬ ‫اﻟﺸﻜﻞ اﻟﻐﻴﺮ ﻣﻨﺘﻈﻢ ‪ .‬ﻳﺪﻣﺞ اﻟﻤﻘﺘﺮح اﻟﺘﺼﻤﻴﻤﻲ ﻫﺬه‬ ‫اﻟﻜﺘﻞ اﻟﺸﺮﻳﻄﻴﺔ ﺑﺎﻟﻤﺨﻄﻂ اﻟﺘﻄﻮﻳﺮي اﻟﻌﻤﺮاﻧﻲ اﻟﺠﺪﻳﺪ‬ ‫ﻟﻤﺮﻛﺰ اﻟﻤﺪﻳﻨﺔ ﺑﺄﺳﻠﻮب ﻏﻴﺮ ﻣﺒﺎﺷﺮ ‪.‬‬ ‫ﻟﻠﻤﺸﺮوع ذو اﻟﺸﻜﻞ اﻟﻤﻐﻠﻖ ﻣﻦ اﻟﺨﺎرج ﻣﺪﺧﻼن ﻳﺮﺑﻄﺎن‬ ‫اﻟﺤﺪﻳﻘﺔ اﻟﻮاﻗﻌﺔ أﻣﺎم اﻟﻤﺒﻨﻰ ﺑﺎﻟﻤﻨﻄﻘﺔ اﻟﺘﻲ ﻣﻦ ﺧﻠﻔﻪ‬ ‫ﻣﻊ رﻓﻊ ﻣﺴﺘﻮى أرﺿﻴﺔ اﻟﻤﺸﺮوع ﻋﻨﺪﻫﺎ ﻟﺘﺤﺴﻴﻦ اﻟﺮﺑﻂ‬ ‫ﺑﻴﻨﻬﻤﺎ‪ ،‬ﺑﻴﻨﻤﺎ ﺗﺴﺘﻔﻴﺪ ﻣﻮاﻗﻒ اﻟﺴﻴﺎرات ﻣﻦ رﻓﻊ ﻣﺴﺘﻮى‬

© Christian Richters

WŽuM²*« UN½«u QÐ UNłu « dNEð ULMOÐ ŸËdA*« qš«œ s dEM From the Architect Report: This office building ‘La Defense’ appears in its urban context as a modest building volume reflecting the direct surroundings in its metallic façade finishing. The outer skin expresses urbanity and a degree of closeness of the units. Entering the inner-court yard the building reveals its genuine characteristics. The façade adjacent to the courtyard is built-up out of glass panels in which a multi-colored foil is integrated. Dependent on the time of the day and the angel of incidence, the façade changes from yellow to blue, to red or from purple to green and back

33 Albenaa

¡UM³ « ≥≥

again. La Defense is located behind Almere Central Station.

The plan shows a neutral, rational organization with four separate bands of different lengths and heights covering the irregular plot. The proposal links these bands to some extent in a more integrated urban solution which ties in with the new, larger-scale center development of Almere Town.

The essentially closed complex is interrupted at two points, creating a link with the park to the rear. Raising the ground level from the town side strengthens the link. Parking facilities are provided under the building rather than in between the

w{—_« Èu² *«

‰Ë_« Èu² *«

lЫd « Èu² *« units, creating a pleasant inner area. The units vary in height from 5 or 6 to 3 or 4 levels, the top level often being doubled.

The design is based on the complex being used by a number of companies. The density and program are balanced in such a way as to keep the price per square meter low, making the development more attractive to local users. A large number of entrances are provided to highlight the complex’s accessibility.

On the street side, access to the units is via entrances at ground floor level, on the inside via raised entrances. The organization accentuates the flexibility of the office block.

w{dŽ ŸUD

32 Albenaa

¡UM³ « ≥≤

© Christian Richters

ÃdF²*« wKš«b « ¡UMHK dEM 35 Albenaa

¡UM³ « ≥μ

—UNM « UŽUÝ V Š UNł«u « Ê«u √ dOG²ð

UNł«u « w WKLF² *« Ê«u _«

UNł«u « ÃUł“ vKŽ Ê«u _« jK) ‰U¦ 34 Albenaa

¡UM³ « ≥¥

37 Albenaa

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‫ﻣﺪرﺳﺔ ﻣﺘﻌﺪدة‬ ‫اﻟﻠﻐﺎت وا‪%‬ﻟﻮان‬ ‫‪French International‬‬ ‫‪School of Hong Kong‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : Henning Larsen‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻫﻮﻧﺞ ﻛﻮﻧﺞ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 19،600 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪ 2018 :‬م‬

‫اﻟﻄﺎﻗﺔ ا ﺳﺘﻴﻌﺎﺑﻴﺔ ‪ 1100 :‬ﻃﺎﻟﺐ وﻃﺎﻟﺒﺔ‬ ‫ﻳﻘﻊ اﻟﻤﺠﻤﻊ اﻟﺠﺪﻳﺪ ﻟﻠﻤﺪرﺳﺔ اﻟﻔﺮﻧﺴﻴﺔ اﻟﺪوﻟﻴﺔ ذو اﻟﻌﻤﺎرة اﻟﺨﻀﺮاء داﺧﻞ‬ ‫اﻟﻤﺤﻴﻂ اﻟﺒﻨﺎﺋﻲ اﻟﻜﺜﻴﻒ ذي اﻟﻤﺒﺎﻧﻲ اﻟﺨﺮﺳﺎﻧﻴﺔ ﻟﻤﺪﻳﻨﺔ ﻫﻮﻧﺞ ﻛﻮﻧﺞ‪.‬‬ ‫ﻳﺴﺘﺨﺪم اﻟﺘﺼﻤﻴﻢ ا@ﻟﻮان ﻛﻮﻧﻬﺎ ﺗﺠﺬب اﻟﺼﻐﺎر ﻟﻠﻤﺒﺎﻧﻲ اﻟﺘﻌﻠﻴﻤﻴﺔ ﻛﻤﺎ‬ ‫ﺗﻌﺒﺮ ﻃﺒﻴﻌﺔ ﻫﺬا اﻟﻤﺠﻤﻊ اﻟﺘﻌﻠﻴﻤﻲ اﻟﺬي ﻳﺴﺘﻌﻤﻞ اﻟﻠﻐﺔ اﻟﻔﺮﻧﺴﻴﺔ ‪،‬‬ ‫ﺑﺎ‪K‬ﺿﺎﻓﺔ إﻟﻰ ‪ 4‬ﻟﻐﺎت‪ ،‬ﻓﻲ اﻟﺘﻌﻠﻴﻢ ﻓﻲ ﺛﻘﺎﻓﺎت ﻣﺨﺘﻠﻔﺔ ﻋﺒﺮ اﻟﻌﺎﻟﻢ وﻳﺠﻤﻊ‬ ‫ﻓﻲ ﻛﻞ ﺑﻠﺪ ﻳﻘﺎم ﻓﻴﻪ ﺑﻴﻦ ﻋﺪد ﻣﻦ اﻟﺠﻨﺴﻴﺎت‪ .‬ﻣﻦ ﺟﻬﺔ أﺧﺮى ﻳﻮﻇﻒ‬ ‫ﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع ا@ﻟﻮان ﻟﺘﺨﺪم ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻮﻇﺎﺋﻒ وا‪K‬ﺳﺘﻌﻤﺎﻻت‬ ‫ﻣﺜﻞ ﻧﻈﺎم ا‪K‬رﺷﺎد وﺗﺤﺪﻳﺪ اﻟﻤﺮاﻓﻖ اﻟﺘﺮﻓﻴﻬﻴﺔ واﻟﺮﻳﺎﺿﻴﺔ اﻟﻤﺪﻣﺠﺔ داﺧﻞ‬ ‫اﻟﻔﻀﺎءات اﻟﻌﺎﻣﺔ وﻛﺬﻟﻚ ﻓﻲ اﻟﺘﺄﺛﻴﺚ‪ .‬اﺧﺘﻴﺮت ا@ﻟﻮان ﺑﺤﻴﺚ ﺗﺨﺪم وﻇﺎﺋﻔﻬﺎ‬ ‫اﻟﻤﺨﺘﻠﻔﺔ ﻣﺜﻞ اﻟﻠﻮن ا@ﺣﻤﺮ اﻟﺒﺎﻫﺖ ﻟﻤﻀﻤﺎر اﻟﺮﻛﺾ وأﻟﻮان ا@زرق وا@ﺻﻔﺮ‬ ‫وا@ﺧﻀﺮ اﻟﺘﻲ ﺗﺘﻨﺎﻏﻢ ﻣﻊ اﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ وﺗﺘﻌﺰزﻫﺎ ﻣﻦ ﺳﻤﺎء‪ ،‬ﺣﺪاﺋﻖ ‪،‬‬ ‫وﺗﺮﺑﺔ ﻃﺒﻴﻌﻴﺔ‪ .‬ﻣﻦ اﻟﺪاﺧﻞ ﺻﻤﻤﺖ ﻓﺼﻮل اﻟﻤﺮﺣﻠﺔ ا‪K‬ﺑﺘﺪاﺋﻴﺔ داﺧﻞ ﻓﺮاﻏﺎت‬ ‫ﻣﺮﻧﺔ ﻛﻞ ﻓﺮاغ ﻳﺤﺘﻮي ﻋﻠﻰ ‪ 125‬ﻃﺎﻟﺐ ذوي ﻣﺮﺣﻠﺔ ﻋﻤﺮﻳﺔ واﺣﺪة‪ ،‬وﻳﺴﻤﺢ‬ ‫ﺑﺎﻟﺘﻌﻠﻴﻢ ﺑﺠﻤﻌﻬﻢ ﻓﻲ ﻣﺠﻤﻮﻋﺔ أو ﺑﺘﻘﺴﻴﻤﻬﻢ ﻋﻠﻰ ﻋﺪد ﻣﻦ اﻟﻔﺼﻮل‪.‬‬ ‫ﻳﺘﻤﺘﻊ اﻟﻤﺸﺮوع ﺑﺘﺼﻤﻴﻢ ﻣﺴﺘﺪام ﻣﻦ ﺣﻴﺚ ﺗﻮﻓﻴﺮ إﺿﺎءة ﻃﺒﻴﻌﻴﺔ‬ ‫وﻓﻴﺮة داﺧﻞ اﻟﻤﺒﺎﻧﻲ ﺗﻜﻮن ﻣﻠﻮﻧﺔ ﻓﻲ ﺑﻌﺾ ا@ﺣﻴﺎن ﺑﻔﻌﻞ ا@ﻟﻮان اﻟﺨﺎرﺟﻴﺔ‬ ‫ﻟﻠﻮاﺟﻬﺎت وﻣﻦ ﺣﻴﺚ اﻟﺤﻤﺎﻳﺔ ﻣﻦ أﺷﻌﺔ اﻟﺸﻤﺲ ﺑﺎﺳﺘﺨﺪام ﻛﺎﺳﺮات‬ ‫ﺧﺎرﺟﻴﺔ ﺗﻐﻨﻲ ﻋﻦ إﺳﺘﺨﺪام اﻟﺴﻮاﺗﺮ اﻟﺪاﺧﻠﻴﺔ‪ .‬ﻛﻤﺎ اﻫﺘﻢ اﻟﺘﺼﻤﻴﻢ‬ ‫ﺑﺘﻨﺴﻴﻖ اﻟﻤﻮﻗﻊ وﺗﺰوﻳﺪه ﺑﻤﺴﺎﺣﺎت ﺧﻀﺮاء ﻛﺎﻓﻴﺔ وﺣﺪﻳﻘﺔ ﺗﻌﻠﻴﻤﻴﺔ زراﻋﻴﺔ‬ ‫أﻋﻠﻰ اﻟﻤﺒﻨﻰ ‪ .‬ﻛﻤﺎ ﻳﺴﻤﺢ اﻟﺘﺼﻤﻴﻢ ﺑﺎﺳﺘﻌﻤﺎل ﻋﺪد ﻣﻦ اﻟﻔﻌﺎﻟﻴﺎت ﻣﻦ‬ ‫ﻗﺒﻞ ﺳﻜﺎن اﻟﺤﻲ ﻣﺜﻞ ﻣﺴﺎﺣﺎت اﻟﻌﺮض واﻟﻤﺮاﻓﻖ اﻟﺮﻳﺎﺿﻴﺔ ‪.‬‬ ‫‪© All Photos Photographed by Philippe Ruault‬‬

‫ ‪UNO ≈ »öD « »c& w² « UN½«u QÐ fOzd « qšb*« WNł«Ë eOL²ð WÝ—bLK ÊUð—u‬‬

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© All Photos Photographed by Philippe Ruault

From the Architect Report: In the concrete jungle of Hong Kong, the new campus of the French International School stands as a vibrant green oasis in the dense city. 1100 pupils now enjoy a colorful, collaborative multicultural learning space, setting the scene for the working environment of tomorrow. Just above street level in Hong Kong’s Tseung Kwan O district, sunlight meets the kaleidoscopic façade of the new French International School campus, spilling into the building through windows laid across a grid of 627 multicolored tiles. From the street, this colorful façade draws the eye to the institution’s new primary and secondary school – A vibrant, sustainable environment supporting a world-class multicultural education. Completed in September, the 19,600 m2 new French International School creates an open and active learning environment that place the school at the forefront of pedagogical innovation in Hong Kong. In the Primary School section, the traditionally enclosed classrooms with corridors merge together in a series of large open plan spaces called Villas, each with 125 pupils in the same age group. Teachers can open their classes up to each other and share a central space called the Agora, where group activities unfold. Here, classes from both streams of the school (French and International) can collaborate and develop group projects together; preparing for the work environments of tomorrow.Pushing a green, sustainable agenda - Green in form and function, the campus sets an example in sustainability. The building form and the façade designs are optimized to respond to the local climate and to decrease energy consumption and increase comfort by passive means.Strategic use of daylight also supports the sustainable vision. The campus offers ample daylight in all of its spaces. In the sunny tropics, this means careful orientation of windows and robust sun shading.

All the classrooms face North or South to avoid the punitive low sun from East and West, and the deep brise-soleil shade the façade to avoid any direct sunlight into the spaces. The light is generous and homogenous throughout the day. The brise-soleils entirely removes the need for blinds or curtains and enables a clearer glass to be used, thus providing a more natural color of daylight in interior spaces.Natural vegetation is crucial to the campus’ green function. Forty-two trees, a plant covered perimeter fence, multi-story hanging gardens and a 550 square meter botanical garden planted with native South Chinese vegetation are among the green spaces that establish the school as a lush garden within urban Hong Kong. As the vegetation improves air quality within the urban setting, ventilation systems utilize natural breezes to circulate fresh air through the building and reduce reliance on air conditioning. With ample opportunity to study, play among and cultivate these gardens, students are able to gain hands-on experience with the region’s natural vegetation, fostering a sense of environmental stewardship and a practical education in sustainabilityThe multicolored ceramic tiles covering the French International School’s distinctive façade are a material representation of the environment within.

A spectrum of colors, the tile design gives sustainable form and a multicultural vision to the campus, supporting its mission of a forward-thinking, international education.Offering five languages to a student body representing 40 nationalities, the French International School is an active cultural crossroad. Outside of school hours the campus also acts as a quiet and green oasis in a city with a scarcity of space.

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© All Photos Photographed by Philippe Ruault

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‫أﻟﻮان وزﺧﺎرف‬ ‫ﺟﺎذﺑﺔ ﻟﻠﺘﺮﻓﻴﻪ‬

‫‪The Imprint at Paradise City‬‬ ‫‪Icheon, South Korea‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : MVRDV‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺳﻴﺌﻮل ‪ ،‬ﻛﻮرﻳﺎ اﻟﺠﻨﻮﺑﻴﺔ‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2018 :‬م‬

‫ﻳﻘﻊ ﻫﺬا اﻟﻤﺸﺮوع اﻟﻔﻨﻲ واﻟﺘﺮﻓﻴﻬﻲ اﻟﻤﻜﻮن ﻣﻦ ﻣﺒﻨﻴﻴﻦ‬ ‫ﺗﺮﻓﻴﻬﻴﻴﻦ ﺑﺎﻟﻘﺮب ﻣﻦ ﻣﻄﺎر اﻟﻤﺪﻳﻨﺔ‪ ،‬أﺿﻴﻔﺖ إﻟﻰ ﻣﺠﻤﻊ ﻳﺤﺘﻮي‬ ‫ﻋﻠﻰ ‪ 6‬ﻣﺒﺎﻧﻲ‪ .‬ﻟﻘﺪ إﺷﺘﺮط اﻟﻤﺎﻟﻚ أن ﺗﻜﻮن واﺟﻬﺎت اﻟﻤﺒﻨﻴﻴﻦ‬ ‫ﻣﺼﻤﺘﺔ ﺧﺎﻟﻴﺔ ﻣﻦ اﻟﻨﻮاﻓﺬ وﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﻃﺒﻴﻌﺔ اﻟﻤﺸﺮوع وﺗﺤﻘﻴﻖ‬ ‫ﺗﺼﻤﻴﻢ ﺟﺎذب ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺳﻠﺒﻴﺔ اﻟﻮاﺟﻬﺎت اﻟﻤﺼﻤﺘﺔ اﻟﺘﻲ ﻗﺪ‬ ‫ﺗﻌﺰل اﻟﺘﺼﻤﻴﻢ ﻋﻦ ﻣﺤﻴﻄﻪ ﺟﺎء اﻟﺘﺼﻤﻴﻢ ﺑﺜﻼﺛﺔ أﻓﻜﺎر ﺗﺼﻤﻴﻤﻴﺔ‪:‬‬ ‫ ﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت اﻟﻤﺼﻤﺘﺔ ﻟﻠﻤﺒﻨﻴﻴﻦ ﺑﺘﺼﻤﻴﻢ زﺧﺮﻓﻲ ﺑﺎرز‬‫ﻳﺘﻄﺎﺑﻖ و ﻳﻌﻜﺲ ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ اﻟﻘﺎﺋﻤﺔ ﺑﻬﺪف‬ ‫دﻣﺞ ﻋﻤﺎرة اﻟﻤﺒﻨﻴﻴﻦ ﻣﻊ ﻋﻤﺎرة ﺑﺎﻗﻲ اﻟﻤﺒﺎﻧﻲ ﻛﻮﻧﻬﺎ ﻓﻲ‬ ‫ﻣﺠﻤﻮﻋﻬﺎ ﺗﺸﻜﻞ ﻣﺠﻤﻊ واﺣﺪ ‪.‬‬ ‫ رﻓﻌﺖ إﺣﺪى أرﻛﺎن اﻟﻤﺒﻨﻰ ا\ول ووﺳﻂ اﻟﻤﺒﻨﻰ اﻟﺜﺎﻧﻲ ﻛﻤﺎ ﻳﺮﻓﻊ‬‫اﻟﻐﻄﺎء ﻓﻴﻨﻜﺸﻒ ﻣﺎ ﻛﺎن ﻳﺴﺘﺮه ﻟﻴﺸﻜﻞ ﻣﺪﺧ ً‬ ‫ﻼ ﺟﺎذﺑ^ وﻣﺮﺣﺒ^‪.‬‬ ‫ ﺻﺒﻎ أﺣﺪ اﻟﻤﺒﻨﻴﻴﻦ ﺣﻮل ﻣﺪﺧﻠﻪ ﺑﺪاﺋﺮة ذﻫﺒﻴﺔ ﻛﺄﻧﻬﺎ ﻗﺮص‬‫ﺷﻤﺴﻲ ﺗﻢ ﻓﺮﺷﻬﺎ ﻋﻠﻰ اﻟﻤﺒﻨﻰ ﻟﺘﻐﻄﻲ أﺟﺰاء ﻣﻦ ﺳﻄﺢ‬ ‫وواﺟﻬﺎت وﺳﻼم اﻟﺴﺎﺣﺔ ا\ﻣﺎﻣﻴﺔ ﻟﻠﻤﺒﻨﻰ ‪ ،‬ﻓﺎﻟﻠﻮن اﻟﺬﻫﺒﻲ‬ ‫ﻳﻌﻨﻲ اﻟﻐﻨﻰ واﻟﺮﻏﺪ واﻟﻤﺴﺘﻮى اﻟﻌﺎﻟﻲ ﻣﻦ اﻟﺨﺪﻣﺔ اﻟﺘﻲ ﻳﻤﻜﻦ‬ ‫أن ﻳﻠﻘﺎﻫﺎ اﻟﺰاﺋﺮ ﻟﻬﺬا اﻟﻤﺠﻤﻊ اﻟﺘﺮﻓﻴﻬﻲ‪ .‬ﻛﻤﺎ أﻧﻬﺎ ﺗﺸﻜﻞ ﻋﻼﻣﺔ‬ ‫اﻟﻤﺸﺮوع اﻟﻤﻤﻴﺰة اﻟﺘﻲ ﻳﻤﻜﻦ أن ﻳﺸﺎﻫﺪﻫﺎ ﻋﻦ ﺑﻌﺪ اﻟﻘﺎدﻣﻴﻦ‬ ‫إﻟﻰ اﻟﻤﺪﻳﻨﺔ ﻋﺒﺮ اﻟﻤﻄﺎر ‪.‬‬ ‫وﻟﺘﺤﻘﻴﻖ ﻫﺬه ا\ﻓﻜﺎر ﻏﻄﻴﺖ اﻟﻮاﺟﻬﺎت ﺑﻌﺪد ‪ 3،869‬ﻟﻮح‬ ‫ﻣﺰﺧﺮف ﻏﻴﺮ ﻧﻤﻄﻲ ﻣﻦ اﻟﺨﺮﺳﺎﻧﺔ اﻟﻤﺴﻠﺤﺔ ﺑﺎ\ﻟﻴﺎف اﻟﺰﺟﺎﺟﻴﺔ‪.‬‬ ‫ﺗﻢ ﺗﺼﻨﻴﻌﻬﺎ ﺑﻮاﺳﻄﺔ ﺑﺮﻧﺎﻣﺞ ﺛﻼﺛﻲ ا\ﺑﻌﺎد ﺧﺎص ﺑﺎﻟﻤﺼﻤﻢ‬ ‫ﻣﻨﺬ ﺑﺪاﻳﺔ اﻟﺘﺼﻤﻴﻢ‪ ،‬ﺻﺒﻐﺖ ﺑﻌﺪ ﺗﺮﻛﻴﺒﻬﺎ ﺑﺎﻟﻠﻮن ا\ﺑﻴﺾ‬ ‫‪n‬ﻇﻬﺎر اﻟﺒﺮوزات ﻓﻴﻬﺎ‪ .‬ﻣﻦ اﻟﺪاﺧﻞ ﻏﻄﻴﺖ اﻟﺤﻮاﺋﻂ اﻟﺪاﺧﻠﻴﺔ‬ ‫ﺑﻠﻮﺣﺎت ﺿﻮﺋﻴﺔ ﺗﺒﺚ ﺗﺸﻜﻴﻼت زﺧﺮﻓﻴﺔ ﻣﺘﻨﻮﻋﺔ ا\ﻟﻮان ‪.‬‬

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From the Architect Report: MVRDV has completed construction on The Imprint, a new 2-building in close proximity to Seoul’s Incheon Airport. The windowless structures feature three key design elements: imprints of the façade features of surrounding buildings, lifted entrances, and a golden entrance spot covering one corner of the nightclub building.

MVRDV’s The Imprint is part of the larger Paradise City complex of 6 buildings in total, which will provide a full suite of entertainment and hotel attractions less than a kilometre away from South Korea’s largest airport.

Given the proposed programme of the 2 buildings, the client required a design with no windows, yet one that still integrated with the other buildings in the complex. The design of The Imprint therefore arises from a simple question: can we design an expressive façade that connects with its surroundings even though it has no windows?

The design achieves this by projecting the façades of the surrounding buildings in the complex, which are ‘draped’ over the simple building forms and plazas like a shadow, and ‘imprinted’ as a relief pattern onto the façades.

“By placing, as it were, surrounding buildings into the facades of our buildings and in the central plaza, we connect The Imprint with the neighbours,” says Winy Maas, principal and co-founder of MVRDV. “This ensures coherence. Paradise City is not a collection of individual objects such as Las Vegas, but a real city.”

In order to achieve the desired ‘imprint’ of the surrounding buildings, the façade of The Imprint is constructed of glassfibre reinforced concrete panels. As many of the 3,869 panels are unique, the construction required moulds to be individually produced using MVRDV’s 3D modelling files from the design phase. Once installed, these panels were painted white in order to emphasise the relief in the design. As Winy Maas explains: “Two months ago most of the cladding was done and client said, ‘this is an art piece.

What is interesting about that is that they are looking for that momentum—that entertainment can become art or that the building can become artistic in that way. What, then, is the difference between architecture an art? The project plays with that and I think that abstraction is part of it, but it has to surprise, seduce and it has to calm down.”

The golden spot is the project’s most obvious and attentiongrabbing expressive element, even catching the eyes of passengers coming in to land at Incheon Airport. The golden colour is achieved simply, by using gold paint instead of white, and is reinforced by the lighting of the facades at night: while the majority of the façade is lit from below, the gold spot is highlighted from above.

“The virgin building has received a splash of gold. This makes it as if the entrance is also illuminated at night by a ray of sunlight,” says Maas. “Passengers in the incoming aircraft can already see this ‘sun’ from above the ocean, as a kind of welcome to South Korea.” The entrances, where the façades are lifted like a curtain to reveal mirrored ceilings and glass media floors, exude a sense of the excitement happening inside.

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‫ﺑﺮج ﺑﻠﻮن اﻟﻠﺆﻟﺆ‬ ‫‪MIKIMOTO Ginza2 Building‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect :‬‬ ‫‪Toyo Ito & Associates, Architects + TAISEI DESIGN PAE‬‬ ‫اﻟﻤﻮﻗﻊ ‪:‬أب‪ .‬ﻃﻮﻛﻴﻮ ‪ ،‬اﻟﻴﺎﺑﺎن‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪2205،02 :‬م‪2‬‬ ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ ‪2005 :‬م‬

‫ﺻﻤﻢ ﻫﺬا اﻟﺒﺮج ﻟﺼﺎﻟﺢ ﻣﺆﺳﺴﺔ ﻣﻴﻜﻴﺪو وﻫﻲ ﻣﺆﺳﺴﺔ‬ ‫ﻋﺎﻟﻤﻴﺔ ﻣﻌﺮوﻓﺔ ﻓﻲ ﺗﺠﺎرة ﺣﻠﻲ اﻟﻠﺆﻟﺆ ‪ .‬ﻳﻈﻬﺮ اﻟﺒﺮج ﻋﻠﻰ‬ ‫ﻫﻴﺌﺔ ﻋﻠﺒﺔ ﺑﻴﻀﺎء ﺑﻘﺎﻋﺪة ﺑﺄﺑﻌﺎد ‪ 14X 17‬م وﺑﺎرﺗﻔﺎع ‪ 9‬أدوار‬ ‫ﺑﺎ‪H‬ﺿﺎﻓﺔ إﻟﻰ دور ﺑﺪروم ‪ .‬ا‪E‬دوار ا‪E‬وﻟﻰ ﺗﺴﺘﺨﺪم ﻛﻤﺤﻼت‬ ‫وﻣﻜﺎﺗﺐ ﺑﻴﻨﻤﺎ ﺗﻢ ﺗﺄﺟﻴﺮ ا‪E‬دوار اﻟﻌﻠﻴﺎ ‪ .‬اﻟﻤﺒﻨﻰ ﻳﺒﺪو‬ ‫ﻣﻐﻠﻔ‪ R‬ﻣﻦ اﻟﺨﺎرج ﺑﺄرﺑﻌﺔ ﺣﻮاﺋﻂ ﺑﺤﻴﺚ ﺗﺸﻜﻞ اﻟﻬﻴﻜﻞ‬ ‫ا‪H‬ﻧﺸﺎﺋﻲ اﻟﺤﺎﻣﻞ ‪E‬ﺳﻘﻒ ا‪E‬داور اﻟﺘﺴﻌﺔ اﻟﺘﻲ ﺧﻠﺖ ﺗﻤﺎﻣ‪R‬‬ ‫ﻣﻦ ا‪E‬ﻋﻤﺪة‪ .‬ﺗﺘﺄﻟﻒ اﻟﺤﻮاﺋﻂ ﻣﻦ أﻟﻮاح ﺣﺪﻳﺪﻳﺔ ﺗﻢ ﺻﺐ‬ ‫اﻟﺨﺮﺳﺎﻧﺔ ﻓﻲ اﻟﻔﺮاغ ﺑﻴﻨﻬﺎ‪ ،‬ﺻﻨﻌﺖ ا‪E‬ﻟﻮاح ﻣﺴﺒﻘ‪R‬‬ ‫ﺛﻢ ﺗﻢ ﻧﻘﻠﻬﺎ وﺗﺮﻛﻴﺒﻬﺎ ورﺑﻄﻬﺎ ﺑﺒﻌﻀﻬﺎ ﻓﻲ اﻟﻤﻮﻗﻊ‬ ‫وﻫﻲ ﺣﻞ إﻗﺘﺼﺎدي ﺟﻴﺪ‪ ،‬ﻓﻬﻲ ﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ ﺗﻌﺘﺒﺮ‬ ‫اﻟﺸﺪات اﻟﺘﻲ ﺳﻴﺘﻢ ﺻﺐ اﻟﺨﺮﺳﺎﻧﺔ داﺧﻠﻬﺎ‪ ،‬وﻟﻜﻨﻬﺎ‬ ‫ﺷﺪات ﺑﺎﻗﻴﺔ‪ .‬ﻛﻤﺎ أﻧﻬﺎ ﺗﻘﻠﻞ ﻣﻦ ﺳﻤﺎﻛﺔ اﻟﺤﻮاﺋﻂ ا‪H‬ﻧﺸﺎﺋﻴﺔ‬ ‫ﺣﻴﺚ ﺗﺒﻠﻎ ﺳﻤﺎﻛﺔ اﻟﻔﺮاغ ﺑﻴﻦ اﻟﻠﻮﺣﻴﻦ ‪ 20‬ﺳﻢ‪ .‬ﻣﻦ ﺟﻬﺔ‬ ‫أﺧﺮى و‪E‬ن ﺗﺼﻤﻴﻢ اﻟﺤﻮاﺋﻂ إﻧﺸﺎﺋﻴ‪ R‬ﻻﻳﻌﺘﻤﺪ ﻋﻠﻰ ﻣﺤﺎور‬ ‫رﺋﻴﺴﺔ ﻣﺤﺪدة ‪ ،‬أﻣﻜﻦ ﺗﻮزﻳﻊ اﻟﻔﺘﺤﺎت ﺑﺸﻜﻞ ﺣﺮ ‪ .‬ﺗﺘﻜﻮن‬ ‫اﻟﻔﺘﺤﺎت ﻣﻦ ‪ 6‬أﺷﻜﺎل ﻣﺜﻠﺜﺔ ﻛﻤﺎ ﺻﺒﻐﺖ اﻟﻮاﺟﻬﺎت‬ ‫ﺑﻄﻼء أﺑﻴﺾ ﻟﺆﻟﺆي ﻳﻤﻴﻞ إﻟﻰ اﻟﻮردي ﺗﺤﺖ ﺗﺄﺛﻴﺮ اﻟﻀﻮء‬ ‫ﻳﺬﻛﺮﻧﺎ ﺑﻠﻮن اﻟﺆﻟﺆ وﺑﺮﻳﻘﻪ‪ ،‬وﻳﺘﻀﻤﻦ اﻟﻄﻼء ﻋﺪة أوﺟﻪ‬ ‫ﻟﺤﻤﺎﻳﺔ ا‪E‬ﻟﻮاح اﻟﺤﺪﻳﺪﻳﺔ ﻣﻦ اﻟﺼﺪأ ‪.‬‬

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From the Architect Report: This commercial building in Tokyo’s Ginza district has been designed for Mikimoto, a company world famous for its pearl jewelry. This is a rectangular building, 17m wide by 14m deep, with nine stories above ground and one basement level.

The lower levels are used as a shop and offices for Mikimoto and the upper levels are leased as offices.

Structure and Surface (Structural System): “Mikimoto Ginza 2” is wrapped in four thin walls to create a tube structural system. There are no internal columns, and the floor slabs are a stack of nine homogeneous layers.

In previous projects we have integrated the structure and surface layers to express a strong presence, but with this project we used a steel plate-sandwitched concrete structure in which concrete is poured into a space between two steel plates. Panels composed of steel plates (t=6-12mm) sandwiched together with studs and structural reinforcements are made in a factory and conveyed to the construction site. After erection and adjustment on the site, they are welded together and 200mm of concrete is poured inside.

Through this system, which treats the steel plates as expendable formwork, it was possible to create an extremely thin structure and achieve high strength and redundancy. Also, since it is a non-directional planar structural system, it was possible for openings to be inserted freely.

Opening Patterns: The openings of this building employ random shapes derived from a quasi-crystalline geometry generated by the dividing the façade planes with seven triangle shapes. By integrating the structure and the fluid opening pattern (as if capturing a moment of fluctuation), and through the use of a special coating, the building expresses both soft lightness and refined intensity. This design is not based on pure geometry, nor does it follow a (structural) expressionist approach, but employs a new method. It goes without saying that such a design has become possible for the first time through the use of structural analysis technology known as the “finite element analysis method”.

Materials, Joints, Coatings, and Abstractness: In order to realize flat facades without joints, the welded joints were smoothed flat on site and the steel received many layers of paint, from rust proofing to topcoats. By eliminating the joints usually found in curtain walls, the external image of the building presents a different kind of abstractness, and the multilayer coatings draw out the materiality of the steel plate to the maximum and directly express the strength of the structure.

Construction: Since we were challenging something very new, this project required sophisticated construction technology and verification by careful inspection. We made mockups, testing construction methods and evaluating performance through a trial and error process. The building was completed in December 2005, and has since become a focal point of architecture in the Ginza shopping area.

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: ‫اﻟﻤﺼﻤﻢ‬ Architect : Snohetta ‫ ﺷﻤﺎل اﻟﻨﺮوﻳﺞ‬: ‫اﻟﻤﻮﻗﻊ‬

2‫ م‬6000 : ‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ‬

© Ketil Jacobsen

© Ketil Jacobsen

© Ketil Jacobsen

‫م‬2018 : ‫ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﻨﻔﻴﺬ‬

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‫إﻋﺎدة اﻟﺒﻬﺠﺔ ﻟﻠﺒﻨﺎء‬ ‫ﻓﻲ اﻟﺒﻴﺌﺎت اﻟﻘﺎﺳﻴﺔ‬ ‫‪Holmen Industrial Area‬‬

‫ ‪w½U³*UÐ WDO;« WOFO³D « W¾O³ « Ëd׳ « WNł s ŸËdALK dEM‬‬

‫ﻳﻬﺪف ﻫﺬا اﻟﻤﺸﺮوع إﻟﻰ ﺗﻮﻓﻴﺮ ﻣﺮاﻓﻖ ﻣﺘﻜﺎﻣﻠﺔ وﺧﺪﻣﺎت‬ ‫ﺣﺪﻳﺜﺔ ﻟﻠﺼﻨﺎﻋﺎت اﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ اﻟﺜﺮوة اﻟﺴﻤﻜﻴﺔ اﻟﺘﻲ ﺗﻌﺘﺒﺮ‬ ‫ﺛﺎﻧﻲ أﻛﺒﺮ ﻧﺸﺎط ﺻﻨﺎﻋﻲ ﺗﺸﺘﻬﺮ ﺑﻪ اﻟﻨﺮوﻳﺞ ﺣﻴﺚ ﻳﺒﻠﻎ‬ ‫ﻋﺎﺋﺪﻫﺎ ﻣﺎ ﻳﻔﻮق ﺑﻠﻴﻮن دوﻻر ﺳﻨﻮﻳ‪ .9‬ﺗﺘﻮزع اﻟﻔﻌﺎﻟﻴﺎت ﻋﻠﻰ‬ ‫‪ 4‬ﻣﺒﺎﻧﻲ ﻣﺴﺘﻘﻠﺔ ﺗﺨﺪم ﻛﻞ ﻣﻦ ﺻﻴﺪ ا‪A‬ﺳﻤﺎك وﺗﺮﺑﻴﺘﻬﺎ‬ ‫وﺗﻌﻠﻴﺒﻬﺎ ﺑﺎ‪A‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﺮﻛﺰ ا‪A‬داري ﻟﺸﺮﻛﺔ ﻫﻮﻟﻤﻮي‬ ‫اﻟﺒﺤﺮﻳﺔ‪ .‬ﻛﻤﺎ ﻳﺤﺘﻮي اﻟﻤﺠﻤﻊ ﻋﻠﻰ ﻣﺒﻨﻰ ﺿﻴﺎﻓﺔ ‪A‬ﺳﺘﺮاﺣﺔ‬ ‫اﻟﻌﺎﻣﻠﻴﻦ ﻓﻲ اﻟﺒﺤﺮ أو ﻓﻲ اﻟﻴﺎﺑﺴﺔ ﺑﻴﻦ ﻓﺘﺮات اﻟﻌﻤﻞ‬ ‫واﻟﺒﻌﻴﺪﻳﻦ ﻋﻦ ﻣﺴﺎﻛﻨﻬﻢ ‪.‬‬ ‫ﺗﻌﺮف اﻟﻤﻨﻄﻘﺔ ﺑﻤﻨﺎخ ﻗﺎﺳﻲ ذو ﺷﺘﺎء ﻣﻌﺘﺪل وﺻﻴﻔﻬﺎ‬ ‫ﺑﺎرد ﺗﻐﺮب اﻟﺸﻤﺲ ﻓﻴﻪ ﻓﻲ ﻣﻨﺘﺼﻒ اﻟﻠﻴﻞ وﺗﻜﺜﺮ ﻓﻴﻪ‬ ‫ا‪Z‬ﻣﻄﺎر ﺑﻴﻨﻤﺎ ﺗﻌﻴﺶ اﻟﺠﺰﻳﺮة ﻓﻲ ﻟﻴﻞ داﻣﺲ ﻓﻲ ﺷﻬﺮ‬ ‫دﻳﺴﻤﺒﺮ‪ ،‬ﺑﺎ‪A‬ﺿﺎﻓﺔ إﻟﻰ ﻃﺒﻴﻌﺔ اﻟﺠﺒﺎل اﻟﻤﺤﻴﻄﺔ ذات ا‪Z‬ﻟﻮان‬

‫≤‪¡UM³ « μ‬‬

‫‪52 Albenaa‬‬

‫اﻟﻘﺎﺗﻤﺔ واﻟﺒﺤﺮ اﻟﺪاﺋﻢ اﻟﻬﻴﺠﺎن ‪ .‬ﻟﻘﺪ دﻓﻊ ذﻟﻚ إﻟﻰ إﺳﺘﻌﺎﻧﺔ‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﺎ‪Z‬ﻟﻮان ﻓﻲ ﺻﺒﻎ اﻟﻤﺒﺎﻧﻲ ﻣﻦ اﻟﺪاﺧﻞ واﻟﺨﺎرج‬ ‫‪A‬ﺿﻔﺎء أﺟﻮاء ﻣﺮﺣﺔ ﺗﺘﺒﺎﻳﻦ ﻣﻊ ﻫﺬه اﻟﺒﻴﺌﺔ ‪ .‬ﺗﺘﻤﺘﻊ اﻟﻤﺒﺎﻧﻲ‬ ‫ﺑﻔﺘﺤﺎت ﻛﺒﻴﺮة ﻋﻠﻰ اﻟﺨﺎرج ﺗﻮﻓﺮ ا‪A‬ﺿﺎءة اﻟﻄﺒﻴﻌﻴﺔ اﻟﺠﻴﺪة‬ ‫ﻛﻤﺎ ﺗﺴﻤﺢ ﺑﺎ‪A‬ﻃﻼﻟﺔ اﻟﻮاﺳﻌﺔ ﻋﻠﻰ اﻟﻤﺤﻴﻂ اﻟﻄﺒﻴﻌﻲ‬ ‫ﻟﻠﻤﺸﺮوع ﻣﻦ ﺟﺒﺎل وﺑﺤﺮ‪.‬‬ ‫ﺗﻢ إﺧﺘﻴﺎر ا‪Z‬ﻟﻮﻣﻨﻴﻮم ﻓﻲ ﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت واﻟﺨﺮﺳﺎﻧﺔ ﻓﻲ‬ ‫ا‪Z‬رﺿﻴﺎت ﻛﻮﻧﻬﺎ ﻣﻮاد ذات ﺻﻔﺎت ﺟﻤﺎﻟﻴﺔ وﻗﻮة ﺗﺤﻤﻞ ﻋﺎﻟﻴﺔ‬ ‫ﻛﻤﺎ أﻧﻬﺎ ﺗﺘﺒﺎﻳﻦ ﻣﻊ ا‪Z‬ﻟﻮان اﻟﻤﺒﺎﻧﻲ ﺑﺤﻴﺚ ﺗﻤﻴﺰﻫﺎ ‪ .‬ﺗﺘﺪرج‬ ‫ا‪Z‬ﻟﻮان اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ اﻟﻤﺒﺎﻧﻲ ﻣﻦ ا‪Z‬ﺣﻤﺮ اﻟﺪاﻛﻦ إﻟﻰ‬ ‫اﻟﺒﺮﺗﻘﺎﻟﻲ وا‪Z‬ﺻﻔﺮ وا‪Z‬ﺧﻀﺮ ﺑﻴﻨﻤﺎ إﺳﺘﺨﺪﻣﺖ ﻓﻲ اﻟﺪاﺧﻞ‬ ‫أﻟﻮان ﻓﺎﺗﺤﺔ ﻓﻲ ا‪Z‬ﺳﻘﻒ واﻟﻘﻮاﻃﻊ اﻟﺪاﺧﻠﻴﺔ وا‪Z‬رﺿﻴﺎت وا‪Z‬ﺛﺎث‬ ‫اﻟﺘﻲ ﺗﺘﺒﺎﻳﻦ وا‪A‬ﻃﻼﻟﺔ اﻟﺨﺎرﺟﻴﺔ ﻋﻠﻰ اﻟﺒﻴﺌﺔ اﻟﻘﺎﺗﻤﺔ ا‪A‬ﻟﻮان ‪.‬‬

© Ketil Jacobsen

© S_CITRONE

© Ketil Jacobsen

From the Architect Report: By assembling all employees and top-notch facilities on the same site, this bold new facility ensures the regions continued international success within Norway’s second largest industry – an industry worth over one billion dollars annually.The new facility intelligently blurs the distinction between the rawness of the fishing industry with a more polished corporate allure by subtly merging Holmøy Maritime’s trawling, fish farming and fish processing business and the company’s headquarters into four, distinctive buildings. The buildings also include a guest house that functions as a home away from home for employees that need to rest their eyes between shifts at sea or on land.With its typical coastal climate, mild winters and cool summers, the islands of Vesterålen is home to a little over 32 000 inhabitants. The area has been a beacon of the Norwegian fishing industry for almost 1,000 years, and the region is famous for its highly nutritious ocean currents and its booming fauna and flora boosted by the Gulfstream which runs closer to the coastline here than anywhere else in the world. Nature in the area is characterized by the rough ocean, sheer mountains and rainy skies that tend to hide the endless midnight sun in summertime.

From December to the beginning of January, Vesterålen is plunged in a distinctive blue darkness, only to be lit by occasional northern lights.The colorful facility is inspired by the changing light conditions and spectacular landscape of Vesterålen and is organized in a simple rectangular shape that carefully camouflages in- and outgoing traffic from boats and trucks that shuttle between the facility, the sea and the mainland. By creating an open space with large windows, the facility allows for a maximum of daylight to penetrate the building while also providing beautiful views overlooking the sea.Surplus excavations from the building site are transferred back to the surrounding nature through the creation of a gently undulating landscape.

Following a green alley that runs along the guest house and headquarters, the landscape ends up as a small park area dubbed “Lunden”, a recreational free-zone for employees and visitors. Grass, local vegetation and birch trees safeguard and emphasize the aesthetic of the surrounding landscape.Snøhetta has conducted an extensive mapping of the complex logistics required to ensure that the quality of the fish meets the highest standards before being exported to the millions of people around the globe that consume Norwegian fish every day.Functional materials such as an aluminum façade cladding and concrete floors have been chosen for their aesthetic and durability, and create a contrast to the colorful details of the facility. Warm colors ranging from red, subdued orange, yellow and green create a playful contrast to the sky, ocean and mountains of Vesterålen and distinguish themselves to the otherwise subdued metallic grey color and materiality of the facility and subtle wayfinding elements both on the inside and outside of the facility.The bright color palette is also translated into the interior design – from the construction itself to interior elements. The colors create a warm atmosphere contrasting with the light ash and birch woodwork of the ceiling battens, wall panels, flooring and fixed and loose furnishings, adding a touch of playfulness to the breathtaking views of the shifting and dramatic scenery outside. ÀUŁ_«Ë UO{—_«Ë WOKš«b « lÞ«uI «Ë nIÝ_« w W%UH « Ê«u _« «b ²Ý« 55 Albenaa

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© Ketil Jacobsen © S_CITRONE

© S_CITRONE © Ketil Jacobsen

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w uÞ ŸUD 54 Albenaa

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‫ﻣﺠﻤﻊ رﻳﺎﺿﻲ‬ ‫ﻋﻠﻰ ﻓﻮﻫﺔ ﺑﺮﻛﺎن‬ The Quzhou Sports Campus : ‫اﻟﻤﺼﻤﻢ‬ Architect : . MAD ‫ ﺷﺮق اﻟﺼﻴﻦ‬: ‫اﻟﻤﻮﻗﻊ‬

‫ﺑﺪء اﻟﻌﻤﻞ ﻓﻲ اﻟﻤﺮﺣﻠﺔ ا وﻟﻰ واﻟﺜﺎﻧﻴﺔ ﻣﻦ ﻣﺸﺮوع ”ﺣﺮم‬ MAD ‫ﺗﺸﻴﻮﺗﺸﻮ اﻟﺮﻳﺎﺿﻲ“ اﻟﺬي ﺻﻤﻤﻪ ﻓﺮﻳﻖ اﻟﻤﻌﻤﺎرﻳﻮن‬ ‫ ﺑﻤﺪﻳﻨﺔ ﺗﺸﻮﺗﺸﻮ اﻟﺘﺎرﻳﺨﻴﺔ ﻓﻲ‬، Ma Yansong ‫ﺑﻘﻴﺎدة‬ ‫ ﻳﻤﺘﺪ اﻟﻤﺸﺮوع‬. ‫ﻣﻘﺎﻃﻌﺔ ﺗﺸﺠﻴﺎﻧﻎ اﻟﺴﺎﺣﻠﻴﺔ ﺷﺮق اﻟﺼﻴﻦ‬ ‫ ﺗﺒﻠﻎ اﻟﻤﺮﺣﻠﺔ ا وﻟﻰ‬2‫ م‬700،000 ‫ﻋﻠﻰ ﻣﺴﺎﺣﺔ ﺗﻘﺮﻳﺒﻴﺔ ﺗﺒﻠﻎ‬ 30،000 ‫ إﺳﺘﺎد ﻳﺴﻊ‬:‫ وﺗﺸﻤﻞ‬، 2‫ م‬340،000 ‫واﻟﺜﺎﻧﻴﺔ ﺣﻮاﻟﻲ‬ ،‫ف ﻣﺘﻔﺮج‬E‫ ﺻﺎﻟﺔ أﻟﻌﺎب رﻳﺎﺿﻴﺔ ﺗﺘﺴﻊ ﻟﻌﺸﺮة أ‬،‫ﻣﺘﻔﺮج‬ ‫ ﻣﻜﺎن ﻟﻠﺮﻳﺎﺿﺎت‬،‫ ﻣﺠﻤﻊ رﻳﺎﺿﻲ وﻃﻨﻲ‬،‫ﻣﺴﺒﺢ ﻟﻔﻲ ﻣﺘﻔﺮج‬ ‫ ﻣﺮﻛﺰ‬، ‫ ﻓﻨﺪق‬،‫ ﻣﺘﺤﻒ ﻟﻠﻌﻠﻮم واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬،‫اﻟﺨﺎرﺟﻴﺔ‬ ‫ ﻋﻠﻰ وﻇﺎﺋﻒ‬MAD ‫ ﻳﺸﻤﻞ ﺗﺼﻤﻴﻢ‬.‫ﻟﻠﺸﺒﺎب وﻣﺤﻼت ﺗﺠﺎرﻳﺔ‬ ‫اﻟﻤﻨﺘﺰه اﻟﺮﻳﺎﺿﻲ ﺑﺘﺼﻤﻴﻢ ﻳﺤﺎﻛﻲ اﻟﻄﺒﻴﻌﺔ ﻋﻠﻰ ﻫﻴﺌﺔ‬ ‫ﻣﺮﺗﻔﻌﺎت ﺧﻀﺮاء ﻃﺒﻴﻌﻴﺔ ﻓﻲ وﺳﻂ اﻟﻤﺪﻳﻨﺔ ﺑﺤﻴﺚ ﻳﺸﻜﻞ‬ ،‫اﻟﻤﺸﺮوع ﻣﺴﺎﺣﺎت ﺣﻀﺮﻳﺔ ﺣﻮل اﻟﺮﻳﺎﺿﺔ وا\ﻳﻜﻮﻟﻮﺟﻴﺎ‬ ‫ وإﻗﺎﻣﺔ‬،‫وﻟﻜﻦ أﻳﻀ_ ﺗﺤﻘﻴﻖ ﻣﺘﻨﺰه ﻓﺮﻳﺪ ﻟﻠﻔﻨﻮن اﻟﺒﺮﻳﺔ ﻟﻠﻌﺎﻟﻢ‬ .‫ﻋﻼﻗﺔ ﺑﻴﻦ ﺗﺮاث اﻟﻤﺪﻳﻨﺔ وﺗﺎرﻳﺦ ﺛﻘﺎﻓﺔ اﻟﻤﺪﻳﻨﺔ‬ ّ “‫ﺗﺸﻜﻞ ”اﻟﺘﻼل‬ ‫ ﻛﻤﺎ‬،‫ﻳﺸﺒﻪ ﺗﺼﻤﻴﻢ ا\ﺳﺘﺎد ﻓﻮﻫﺔ اﻟﺒﺮﻛﺎن‬ ‫اﻟﻤﺠﺎورة ﻋﻠﻰ اﻟﺠﺎﻧﺐ اﻟﺸﻤﺎﻟﻲ اﻟﺸﺮﻗﻲ ﺻﺎﻟﺔ ا ﻟﻌﺎب‬ ‫ أﻋﻠﻰ اﻟﺘﻼل ﻫﻲ ا ﻣﺎﻛﻦ اﻟﻌﺎﻣﺔ‬.‫اﻟﺮﻳﺎﺿﻴﺔ وﻣﺮﻛﺰ اﻟﺘﺪرﻳﺐ‬ ‫ ﺗﻢ ﺗﺼﻤﻴﻢ اﻟﻘﻤﻢ واﻟﺠﺒﺎل واﻟﺘﻼل ﺑﻤﻨﺼﺎت أو‬،‫اﻟﻬﻴﻜﻠﻴﺔ‬ ‫ﻧﻮاﻓﺬ ﺳﻘﻔﻴﺔ ﺗﺴﻤﺢ ﺑﺪﺧﻮل اﻟﻀﻮء اﻟﻄﺒﻴﻌﻲ إﻟﻰ اﻟﺪاﺧﻞ‬ .‫وﺗﻮﻓﺮ ﺗﻬﻮﻳﺔ ﻃﺒﻴﻌﻴﺔ ﻋﺒﺮ اﻟﻤﺒﺎﻧﻲ‬ From the Architect Report: The “Quzhou Sports Campus” designed by MAD Architects, led by Ma Yansong, has just broken ground in the historic city of Quzhou, in China’s eastern coastal province of Zhejiang. Spanning almost 700,000 square meters, the first and second phase have a total construction area of approximately 340,000 square meters, and include a stadium (30,000 seats), gymnasium (10,000 seats), natatorium (2,000 seats), national sports complex, outdoor sports venue, science & technology museum, hotel accommodations, youth centre and retail programs. MAD’s design embeds the functions of the sports park within natural forms, creating an earth-art landscape in the center of the city – a poetic landscape that falls somewhere between that of Earth and Mars. “We dream not only of creating an urban space about sports and ecology, but also turning it into a unique land art park for the world, establishing a relationship between the city’s heritage and history of Shanshui culture,” says Ma Yansong.

59 Albenaa

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V¹—b² « e d Ë WO{U¹d « »UF _« W U qJAð w² « ‰ö² « WŽuL− Ë ÊU d³ « W¼u qJý vKŽ rL Íc « w{U¹d « œU²Ýù« WEŠö sJ1 ¨w{U¹d « lL−LK WHK² UDI 58 Albenaa

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tÐ WDO;« ‚dD «Ë vM³LK WHK² UDI From the Architect Report: Located just within Beijing’s innermost ring road, the KWG·M·CUBE is prominently located next to the Beijing Railway Station and near to both the Temple of Heaven to the Southwest, and Tiananmen and the Forbidden City to the Northwest. Given this prime location and the consequent value of the land, the client wanted a building that would stand out from its mostly beige and grey neighbours, while also packing a large amount of space into a relatively small footprint. Contradicting this request were the desires of the city government, whose preference was for a building that would fit in with its muted surroundings on the busy street. MVRDV was commissioned to design the building’s exterior and responded to these competing hopes with a 7-storey volume that rises to the maximum allowed height of 36 metres—an unusually tall building for this kind of mall. The shape of the building was generated by cutting the volume at various angles to orient the façades to face key locations, such as the railway station and an intersection on the other side of the street, generating a shape that is both contextual and recognizable in its visual presence. It also

61 Albenaa

¡UM³ « ∂±

allowed MVRDV to include open-air terraces on each level, which are symbolically oriented towards landmarks such as the Forbidden City and Temple of Heaven—some visible from the building, others more distant—to root the building in its location. The building is wrapped in a pearlescent ceramic façade that at different times appears either grey or colourful, creating a subtle façade that does not need large LED screens to stand out and catch the attention of the passersby. Hand-glazed in China, these tiles were made by applying three layers of glaze to the ceramic, and firing at a different temperature each time. To accommodate the building’s 7-storey height, MVRDV proposed to split the KWG·M·CUBE shopping centre into two layers: on the lower 3 floors is the daytime shopping centre, which mostly hosts retail stores, while the upper levels feature more restaurants, bars, and cafés, and will truly come alive at night. In order to allow the upper floors to function while the lower floors are closed, an express elevator from the ground level takes visitors up to a second lobby on the fourth floor. To complete this layering effect, a landscaped roof terrace allows visitors to relax outside when the weather is pleasant.

‫ﻣﺮﻛﺰﺗﺠﺎري ﺻﻐﻴﺮ‬ ‫ذو ﻣﺴﺎﺣﺎت واﺳﻌﺔ‬

‫‪KWG - M - CUBE‬‬ ‫اﻟﻤﺼﻤﻢ ‪:‬‬ ‫‪Architect : MVRDV‬‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﺑﻜﻴﻦ‬ ‫‪© MVRDV - Photography: Seth Powers‬‬

‫ ‪ UNł«u « wDG¹ Íc « pO «dO K WHK² *« ◊U/_« WEŠö sJ1Ë ÂUŽ —uEM‬‬

‫ﻳﻘﻊ اﻟﻤﺸﺮوع ﻋﻠﻰ ﻃﺮﻳﻖ داﺋﺮي ﻓﻲ ﻣﺪﻳﻨﺔ ﺑﻜﻴﻦ ﺑﺎﻟﻘﺮب ﻣﻦ‬ ‫ﻣﺤﻄﺔ ﺳﻜﺔ ﺣﺪﻳﺪ‪ ،‬وﻧﻈﺮ‪+ ,‬ﻫﻤﻴﺔ اﻟﻤﻮﻗﻊ ﻛﺎﻧﺖ رﻏﺒﺔ اﻟﻤﺎﻟﻚ‬ ‫إﻧﺸﺎء ﻣﺒﻨﻰ ﻣﻤﻴﺰ ﻳﺨﺘﻠﻒ ﻋﻦ اﻟﻤﺸﺎرﻳﻊ اﻟﻤﺤﻴﻄﺔ ﺑﻪ ذات‬ ‫اﻟﻠﻮن اﻟﺒﻴﺞ واﻟﺮﻣﺎدي ‪ .‬اﻟﻤﺸﺮوع ﻳﻀﻢ ﻣﺴﺎﺣﺎت واﺳﻌﺔ وﻣﺮﻧﺔ‬ ‫ﺿﻤﻦ ﻣﺴﺎﺣﺔ إﺟﻤﺎﻟﻴﺔ ﺻﻐﻴﺮة ﻧﺴﺒﻴ‪ .D‬ﻣﻤﺎ ﻳﺘﻌﺎرض ﻣﻊ ﻗﻮاﻧﻴﻦ‬ ‫ﺣﻜﻮﻣﺔ اﻟﻤﺪﻳﻨﺔ اﻟﺘﻲ ﺗﻔﻀﻞ إﻧﺸﺎء ﻣﺒﺎﻧﻲ ﺗﺘﻨﺎﺳﺐ ﻣﻊ ﻣﻮاﻗﻌﻬﺎ‬ ‫وﻣﺤﻴﻄﻬﺎ‪ .‬و إﺳﺘﺠﺎﺑﺔ ﻟﺮﻏﺒﺔ اﻟﻤﺎﻟﻚ وﻟﻘﻮاﻧﻴﻦ اﻟﻤﺪﻳﻨﺔ ﻗﺎم‬ ‫ﻣﻜﺘﺐ ‪ MVRDV‬ﺑﺘﺼﻤﻴﻢ اﻟﻤﺸﺮوع ﺑﺤﻴﺚ ﻳﺘﻜﻮن ﻣﻦ ﻣﺒﻨﻰ‬ ‫ﻳﻀﻢ ‪ 7‬أدوار ﺑﺎرﺗﻔﺎع ﻳﺼﻞ إﻟﻰ ‪ 36‬م ‪ ،‬وﻫﻮ ارﺗﻔﺎع ﻏﻴﺮ ﻣﻌﺘﺎد ﻟﻬﺬا‬ ‫اﻟﻨﻮع ﻣﻦ اﻟﻤﺒﺎﻧﻲ اﻟﺘﺠﺎرﻳﺔ‪ .‬ﺻﻤﻢ اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺨﺎرج ﻣﻦ ﺧﻼل‬ ‫ﻗﺺ اﻟﻤﺒﻨﻰ ﺑﺰواﻳﺎ ﻣﺨﺘﻠﻔﺔ ﻟﻴﺘﻢ ﺗﻮﺟﻴﻪ اﻟﻮاﺟﻬﺎت اﻟﺮﺋﻴﺴﻴﺔ‬ ‫ﻟﻠﻤﺸﺮوع إﻟﻰ اﻟﻤﻮاﻗﻊ اﻟﺮﺋﻴﺴﻴﺔ ﻣﺜﻞ ﻣﺤﻄﺔ ﺳﻜﺔ اﻟﺤﺪﻳﺪ‬ ‫وﺗﻘﺎﻃﻊ اﻟﻄﺮق‪ .‬ﻧﺸﺄ ﻋﻦ ﻫﺬا اﻟﺘﺼﻤﻴﻢ ﺷﻜ ًﻠﺎ ﻣﻤﻴﺰ‪ ,‬ﻳﺠﺬب‬

‫∞∂ « ‪¡UM³‬‬

‫‪60 Albenaa‬‬

‫اﻟﻤﺎرة‪ ،‬وﻳﻀﻢ اﻟﻤﺒﻨﻰ ﺷﺮﻓﺎت ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ ﻓﻲ ﻛﻞ ﻣﺴﺘﻮى‪،‬‬ ‫ﺗﻢ ﺗﻮﺟﻴﻬﻬﺎ ﻧﺤﻮ ﻣﻌﺎﻟﻢ ﻣﻌﺮوﻓﺔ ﻓﻲ اﻟﻤﺪﻳﻨﺔ‪ .‬اﺳﺘﺨﺪم‬ ‫اﻟﺴﻴﺮاﻣﻴﻚ ﺑﺎﻟﻠﻮن اﻟﺆﻟﺆي ﻓﻲ ﺗﻐﻄﻴﺔ اﻟﻮاﺟﻬﺎت و إﺿﺎﻓﺔ ﺛﻼث‬ ‫ﻃﺒﻘﺎت ﻣﻦ اﻟﺰﺟﺎج وﻣﻌﺎﻟﺠﺘﻬﺎ ﺗﺤﺖ درﺟﺎت ﻣﺨﺘﻠﻔﺔ ﻣﻦ اﻟﺤﺮارة‪،‬‬ ‫وﻳﺘﻤﺰ اﻟﺴﻴﺮاﻣﻴﻚ اﻟﻤﺴﺘﺨﺪم ﺑﺘﻐﻴﺮ ﻟﻮﻧﻪ ﻣﻦ اﻟﺮﻣﺎدي إﻟﻰ أﻟﻮان‬ ‫ﻣﺨﺘﻠﻔﺔ ﻋﻨﺪ ﺗﻌﺮﺿﻪ ﻟﻠﻀﻮء ﺣﻴﺚ ﻳﻨﺸﻲء واﺟﻬﺔ ﺧﻔﻴﺔ ﻻ ﺗﺤﺘﺎج‬ ‫إﻟﻰ ﺷﺎﺷﺎت ‪ leed‬ﻛﺒﻴﺮة ﻟﺘﻠﻔﺖ اﻧﺘﺒﺎه اﻟﻤﺎرة ‪ .‬و ﻳﻌﺘﻤﺪ ﺗﺼﻤﻴﻢ‬ ‫اﻟﻮاﺟﻬﺎت ﻋﻠﻰ اﻻﺳﺘﺨﺪاﻣﺎت اﻟﺪاﺧﻠﻴﺔ ﻟﻠﻤﺒﻨﻰ ﻓﺒﻌﻀﻬﺎ ﻣﺼﻤﺘﺔ‬ ‫وﺑﻌﻀﻬﺎ ﻳﺤﺘﻮي ﻋﻠﻰ ﻓﺮاﻏﺎت وﺑﻌﻀﻬﺎ ﺷﻔﺎﻓﺔ‪ .‬ﺗﻢ ﺗﻘﺴﻴﻢ‬ ‫اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺪاﺧﻞ إﻟﻰ ﻗﺴﻤﻴﻦ‪ ،‬ﺣﻴﺚ ﺧﺼﺼﺖ ا‪+‬دوار اﻟﺜﻼﺛﺔ‬ ‫اﻟﺴﻔﻠﻴﺔ ﻟﻠﻤﺤﻼت اﻟﺘﺠﺎرﻳﺔ و ا‪+‬دوار اﻟﻌﻠﻴﺎ ﻟﻠﻤﻄﺎﻋﻢ واﻟﻤﻘﺎﻫﻲ‬ ‫اﻟﺘﻲ ﺗﺮﺗﺒﻂ ﻣﺒﺎﺷﺮة ﺑﺎﻟﺪور ا‪+‬رﺿﻲ ﻣﻦ ﺧﻼل ﻣﺼﻌﺪ ﻳﺄﺧﺬ اﻟﺰوار‬ ‫إﻟﻰ اﻟﻄﺎﺑﻖ اﻟﺮاﺑﻊ ﻋﻨﺪ إﻏﻼق اﻟﻤﺤﻼت ﻟﻴ ًﻼ ‪.‬‬

‫ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ ﺗﻢ إﻧﺸﺎء واﺣﺔ ﻟﻠﻘﺮآن‬ ‫اﻟﻜﺮﻳﻢ اﻟﺘﻲ ﺗﻌﺪ أﻫﻢ ﻣﺮﻛﺰ ﺛﻘﺎﻓﻲ ﻓﻲ اﻟﻌﺎﻟﻢ‬ ‫ﻣﺘﺨﺼﺺ ﻓﻲ اﻟﺒﺮاﻣﺞ واﻟﻔﻌﺎﻟﻴﺎت اﻟﻤﺮﺗﺒﻄﺔ‬ ‫ﺑﺎﻟﻘﺮآن اﻟﻜﺮﻳﻢ وﻋﻠﻮﻣﻪ‪ ،‬وﻣﻦ اﻟﻤﺸﺎرﻳﻊ اﻟﻤﻬﻤﺔ‬ ‫ﻓﻲ اﻟﻤﺪﻳﻨﺔ ﻣﺸﺮوع ﺗﻄﻮﻳﺮ ﻣﺴﺠﺪ ﻗﺒﺎء‬ ‫اﻟﺤﻀﺎري واﻟﻤﻨﻄﻘﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻪ ‪.‬‬ ‫ﻛﻤﺎ أﺳﺲ ﺻﻨﺪوق ا ﺳﺘﺜﻤﺎرات اﻟﻌﺎﻣﺔ ﺷﺮﻛﺔ‬ ‫»رؤى اﻟﻤﺪﻳﻨﺔ« وﻫﻲ ﺷﺮﻛﺔ ﻋﻤﺮاﻧﻴﺔ ﺗﻬﺪف‬ ‫إﻟﻰ ﺗﻌﺰﻳﺰ ﺟﺎﻫﺰﻳﺔ اﻟﻤﺴﺠﺪ اﻟﻨﺒﻮي ﺳﺘﻘﺒﺎل‬ ‫أﻛﺒﺮ ﻋﺪد ﻣﻦ اﻟﺰوار وﺗﻄﻮﻳﺮ ﻣﺸﺎرﻳﻊ ﻓﻨﺪﻗﻴﺔ‬ ‫وﺳﻜﻨﻴﺔ وﺗﺠﺎرﻳﺔ‪.‬‬ ‫ﻣﺆﺧﺮ‪ Q‬ﺣﺼﻠﺖ ﻫﻴﺌﺔ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة ﻋﻠﻰ‬ ‫ﺟﺎﺋﺰﺗﻴﻦ ﻋﺎﻟﻤﻴﺘﻴﻦ ﻋﻠﻰ اﻟﻤﺴﺘﻮى اﻟﺤﻀﺎري‬ ‫اﻟﻌﺎﻟﻤﻲ ﺑﻔﻮز ﻣﺸﺮوﻋﻴﻦ ﻓﻲ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬ ‫ﺗﻮﺟﺖ‬ ‫ﺑﺠﻮاﺋﺰ إﻧﺴﺎﻧﻴﺔ ﺛﻘﺎﻓﻴﺔ ﺑﺎﻣﺘﻴﺎز‪ ،‬إذ ّ‬ ‫ﻣﺆﺳﺴﺔ اﻟﺠﺎﺋﺰة اﻟﻌﺎﻟﻤﻴﺔ ﻟﻠﻤﺠﺘﻤﻌﺎت اﻟﺤﻴﻮﻳﺔ‬ ‫اﻟﻤﻌﺘﻤﺪة ﻟﺪى ﺑﺮﻧﺎﻣﺞ ا‪W‬ﻣﻢ اﻟﻤﺘﺤﺪة‪ ،‬ﻟﻠﺒﻴﺌﺔ‬ ‫ﺑﺮﻧﺎﻣﺞ »أﻧﺴﻨﺔ اﻟﻤﺪﻳﻨﺔ« ﻓﻲ ﻫﻴﺌﺔ ﺗﻄﻮﻳﺮ‬ ‫ﻣﻨﻄﻘﺔ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة ﺑﺎﻟﺠﺎﺋﺰﺗﻴﻦ اﻟﺬﻫﺒﻴﺔ‬ ‫واﻟﻔﻀﻴﺔ‪ ،‬ﻋﻦ ﻓﺌﺔ اﻟﻤﺸﺎرﻳﻊ اﻟﻤﻠﺘﺰﻣﺔ ﺑﺘﻄﺒﻴﻖ‬ ‫أﻓﻀﻞ اﻟﻤﻤﺎرﺳﺎت اﻟﻌﺎﻟﻤﻴﺔ ﻓﻲ إدارة اﻟﺒﻴﺌﺔ‬ ‫اﻟﻤﺤﻠﻴﺔ واﻟﻤﺠﺘﻤﻌﺎت اﻟﺤﻴﻮﻳﺔ‪ .‬ﻣﺸﺮوع ﺗﻄﻮﻳﺮ‬ ‫وﺗﺄﻫﻴﻞ ﺣﻲ ﺣﻤﺮاء ا‪W‬ﺳﺪ ﺣﺼﻞ ﻋﻠﻰ اﻟﺠﺎﺋﺰة‬ ‫اﻟﺬﻫﺒﻴﺔ‪ ،‬ﻓﻴﻤﺎ ﻣﻨﺤﺖ اﻟﺠﺎﺋﺰة اﻟﻔﻀﻴﺔ ﻟﻤﺸﺮوع‬ ‫ﺗﻄﻮﻳﺮ وﺗﺄﻫﻴﻞ ﺟﺎدة ﻗﺒﺎء ﻓﻲ اﻟﻤﻨﺎﻓﺴﺔ ﻋﻠﻰ‬ ‫اﻟﺠﺎﺋﺰة اﻟﺘﻲ ﺷﻬﺪت ﻣﺸﺎرﻛﺔ أﻛﺜﺮ ﻣﻦ ‪80‬‬

‫ﻣﺪﻳﻨﺔ وﻣﺸﺮوﻋ_ ﺣﻮل اﻟﻌﺎﻟﻢ ﻓﻲ دورة اﻟﻌﺎم‬ ‫‪ 2018‬اﻟﺘﻲ اﺳﺘﻀﺎﻓﺘﻬﺎ اﻟﻘﺎﻫﺮة ‪.‬‬ ‫ﻛﻤﺎ وﺿﻊ ﺻﺎﺣﺐ اﻟﺴﻤﻮ اﻟﻤﻠﻜﻲ ا‪W‬ﻣﻴﺮ ﻓﻴﺼﻞ‬ ‫ﺑﻦ ﺳﻠﻤﺎن ﺑﻦ ﻋﺒﺪاﻟﻌﺰﻳﺰ أﻣﻴﺮ ﻣﻨﻄﻘﺔ اﻟﻤﺪﻳﻨﺔ‬ ‫اﻟﻤﻨﻮرة رﺋﻴﺲ ﻫﻴﺌﺔ ﺗﻄﻮﻳﺮ اﻟﻤﻨﻄﻘﺔ‪ ،‬ﺣﺠﺮ‬ ‫ا‪W‬ﺳﺎس ﻟﻤﺸﺮوع ﻣﺘﺤﻒ وﺑﺴﺘﺎن اﻟﺼﺎﻓﻴﺔ ‪،‬‬ ‫ﺟﻨﻮب اﻟﻤﺴﺠﺪ اﻟﻨﺒﻮي اﻟﺸﺮﻳﻒ ﻋﻠﻰ ﻣﺴﺎﺣﺔ‬ ‫‪4419‬م‪ ،2‬وﻳﺘﻀﻤﻦ اﻟﻤﺸﺮوع ﺛﻼﺛﺔ أﺟﺰاء رﺋﻴﺴﻴﺔ‬ ‫ﺗﺸﻤﻞ اﻟﺤﺪﻳﻘﺔ اﻟﺜﻘﺎﻓﻴﺔ وﻣﻨﻄﻘﺔ اﻟﻌﺮض‬ ‫اﻟﻤﺘﺤﻔﻲ ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﻨﻄﻘﺔ اﻟﻤﺨﺼﺼﺔ‬ ‫ﻟﻠﺨﺪﻣﺎت اﻟﺘﺠﺎرﻳﺔ واﻟﺘﺮﻓﻴﻬﻴﺔ‪.‬‬ ‫ﻓﻲ ﻫﺬا اﻟﻌﺪد ﻧﺴﺘﻌﺮض ﻋﺪد‪ Q‬ﻣﻦ اﻟﻤﺸﺎرﻳﻊ‬ ‫اﻟﺘﻲ ﺗﺸﻬﺪﻫﺎ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‪ ،‬اﻟﻤﺸﺮوع‬ ‫ا‪W‬ول ﻫﻮ أﺑﺮاج ﺟﺎﻣﻌﺔ ﻃﻴﺒﺔ )أﺑﺮاج اﻟﺴﻼم(‬ ‫وﻫﻮ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﺮﻛﺰ ﻃﻴﺒﺔ ﻟ‪n‬ﺳﺘﺸﺎرات‬ ‫اﻟﻬﻨﺪﺳﻴﺔ‪ .‬أﻣﺎ اﻟﻤﺸﺮوع اﻟﺜﺎﻧﻲ اﻟﺬي ﻳﺘﻨﺎوﻟﻪ‬ ‫ﻫﺬا اﻟﻌﺪد وﻫﻮ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻜﺘﺐ دار اﻟﻤﺪﻳﻨﺔ‬ ‫ﻟ‪n‬ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ وﻫﻮ ﻣﺸﺮوع ﻃﻴﺒﺔ‬ ‫ﺟﺎﻟﻴﺮي وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻣﺸﺮوع ﺗﺠﺎري ﻓﻲ‬ ‫اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة ‪.‬‬ ‫وﻣﻦ اﻟﺠﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ أن اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة ﺣﺮﺻﺖ‬ ‫ﻋﻠﻰ ا ﻟﺘﺰام ﺑﺈﺳﺘﺮاﺗﻴﺠﻴﺎت اﻟﺘﺨﻄﻴﻂ ﻟﻠﻤﺸﺎرﻳﻊ‬ ‫وأﺳﻠﻮب ﻣﻌﺎﻟﺠﺔ اﻟﺘﺸﻮﻫﺎت اﻟﺒﺼﺮﻳﺔ وﺗﺤﺴﻴﻦ‬ ‫اﻟﺼﻮرة اﻟﻌﺎﻣﺔ إﺿﺎﻓﺔ إﻟﻰ اﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﺜﻘﺎﻓﺔ‬ ‫واﻟﺘﺮاث وإﺳﺘﺨﺪام اﻓﻀﻞ اﻟﻤﻤﺎرﺳﺎت اﻟﺒﻴﺌﻴﺔ‬ ‫ورﻓﻊ ﻣﺴﺘﻮى ﺟﻮدة اﻟﺤﻴﺎة ﻓﻲ اﻟﻤﺪن ‪.‬‬

‫ ‪…—uM*« WM¹b*« ? ©Âö « ëdÐ√® W³OÞ WF Uł ëdÐ√ ŸËdA‬‬

‫ ‪…—uM*« WM¹b*« ? ÍdO Uł W³OÞ ŸËdA‬‬ ‫‪¡UM³ « ∂μ‬‬

‫‪65 Albenaa‬‬

‫ﻣﺸﺎرﻳﻊ‬ ‫اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬ ‫ﺗﺴﻌﻰ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ إﻟﻰ‬ ‫ﺗﺤﻘﻴﻖ ﺗﻨﻤﻴﺔ ﻣﺴﺘﺪاﻣﺔ وﻣﺘﻮازﻧﺔ ﻣﻦ ﺧﻼل‬ ‫ﻣﺸﺎرﻳﻊ ﺗﺨﺪم اﻟﻮﻃﻦ ﻓﻲ ﺷﺘﻰ اﻟﻤﺠﺎﻻت‪.‬‬ ‫وﻗﺪ أوﻟﺖ اﻟﺤﻜﻮﻣﺔ اﻫﺘﻤﺎﻣ‪ 4‬ﻛﺒﻴﺮ‪ 1‬ﻓﻲ إﻋﻤﺎر‬ ‫وﺑﻨﺎء اﻟﺒﻼد ﺗﻀﻤﻨﺖ ﻣﺸﺎرﻳﻊ ﻋﻤﺮاﻧﻴﺔ ﻛﺒﻴﺮة‬ ‫ﻓﻲ ﻣﺠﺎﻻت ﻣﺨﺘﻠﻔﺔ ﻣﺜﻞ ﺗﺨﻄﻴﻂ اﻟﻤﺪن‬ ‫وإﻋﺪاد اﻟﻤﺨﻄﻄﺎت ا‪D‬ﻗﻠﻴﻤﻴﺔ‪ .‬وإﻧﺸﺎء اﻟﺼﺮوح‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ اﻟﻜﺒﺮى ﻓﻲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻤﻤﻠﻜﺔ‪، ،‬‬ ‫ﺑﺎ‪D‬ﺿﺎﻓﺔ إﻟﻰ ﻣﺸﺮوﻋﺎت ﺻﺤﻴﺔ ﻛﺜﻴﺮة ﺑﻤﺨﺘﻠﻒ‬ ‫اﻟﺘﺨﺼﺼﺎت ﻣﻦ ﻣﺪن ﻃﺒﻴﺔ وﻣﺴﺘﺸﻔﻴﺎت‬ ‫ﻟﻠﺼﺤﺔ اﻟﻨﻔﺴﻴﺔ وﻣﺮاﻛﺰ ﻟﻌﻼج اﻟﺴﺮﻃﺎن‪.‬‬ ‫وﻗﺎﻣﺖ اﻟﻤﻤﻠﻜﺔ ﺑﺠﻬﻮد ﻛﺒﻴﺮة ﻟﺘﻄﻮﻳﺮ‬ ‫اﻟﺴﻜﻦ وﺑﻨﺎء ﻣﺴﺎﻛﻦ ﻣﻨﺎﺳﺒﺔ ﻟﻤﺨﺘﻠﻒ ﺷﺮاﺋﺢ‬ ‫اﻟﻤﺠﺘﻤﻊ‪ .‬ﻛﻤﺎ أوﻟﺖ اﻟﻤﻤﻠﻜﺔ اﻫﺘﻤﺎﻣ‪ 4‬ﻛﺒﻴﺮ‪1‬‬ ‫ﻓﻲ ﺗﻄﻮﻳﺮ اﻟﺤﺮﻣﻴﻦ اﻟﺸﺮﻳﻔﻴﻦ وإﻋﻤﺎر ﻣﻜﺔ‬ ‫اﻟﻤﻜﺮﻣﺔ واﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة وا‪D‬ﻫﺘﻤﺎم ﺑﺎﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﺪﻳﻨﻴﺔ ﺑﺸﻜﻞ ﺧﺎص‪ .‬ﻓﻲ اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬ ‫ﺣﺮﺻﺖ اﻟﻤﻤﻠﻜﺔ ﻋﻠﻰ ﺗﻘﺪﻳﻢ أﻓﻀﻞ اﻟﺨﺪﻣﺎت‬ ‫ﻟﺨﺪﻣﺔ زوار اﻟﺤﺮﻣﻴﻦ اﻟﺸﺮﻳﻔﻴﻦ‪ ،‬ﻓﺎﻟﻤﺪﻳﻨﺔ‬ ‫اﻟﻤﻨﻮرة ﻋﺎﺻﻤﺔ ا‪D‬ﺳﻼم ا‪T‬وﻟﻰ ﺑﻌﺪ أن ﻫﺎﺟﺮ‬ ‫إﻟﻴﻬﺎ رﺳﻮل ا‪ W‬ﺻﻠﻰ ا‪ W‬ﻋﻠﻴﻪ و ﺳﻠﻢ وأﺳﺲ‬

‫ﻓﻴﻬﺎ أرﻛﺎن اﻟﺪوﻟﺔ واﻟﻤﺠﺘﻤﻊ ا‪D‬ﺳﻼﻣﻲ وأﺳﺲ‬ ‫ﻓﻴﻬﺎ اﻟﻤﺴﺠﺪ اﻟﻨﺒﻮي اﻟﺸﺮﻳﻒ‪ ،‬وﻫﻲ ﺑﺬﻟﻚ‬ ‫ﺗﺤﺘﻞ اﻟﻤﻜﺎﻧﺔ اﻟﺜﺎﻧﻴﺔ ﻓﻲ ﻗﻠﻮب اﻟﻤﺴﻠﻤﻴﻦ‬ ‫اﻟﻘﺎﺻﺪﻳﻦ إﻟﻰ ا‪T‬راﺿﻲ اﻟﻤﻘﺪﺳﺔ ‪T‬داء ﻓﺮﻳﻀﺔ‬ ‫اﻟﺤﺞ أو ﺷﻌﻴﺮة اﻟﻌﻤﺮة‪ . .‬ﻓﻠﻘﺪ ﺗﻢ إﻋﺪاد‬ ‫ﻣﺨﻄﻂ ﺷﺎﻣﻞ ﻟﺘﻄﻮﻳﺮ اﻟﺤﺮم اﻟﻨﺒﻮي اﻟﺸﺮﻳﻒ‬ ‫واﻟﻤﻨﺎﻃﻖ اﻟﻤﺤﻴﻄﺔ ﺑﻪ‪ ،‬ﻳﻬﺪف إﻟﻰ اﺣﺘﺮام‬ ‫ﻗﺪﺳﻴﺔ اﻟﻤﺴﺠﺪ اﻟﻨﺒﻮي اﻟﺸﺮﻳﻒ واﻟﺨﺼﺎﺋﺺ‬ ‫اﻟﺒﻴﺌﻴﺔ اﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة وﺗﻮﻓﻴﺮ‬ ‫اﻟﺨﺪﻣﺎت واﻟﻤﺮاﻓﻖ واﻻﺳﺘﻌﻤﺎﻻت اﻟﺘﻲ ﺗﻠﺒﻲ‬ ‫اﺣﺘﻴﺎﺟﺎت اﻟﺴﻜﺎن واﻟﺰوار ﻋﻠﻰ ﺣﺪ ﺳﻮاء‪ .‬وﻗﺪ‬ ‫ﻗﺎﻣﺖ اﻟﺪوﻟﺔ ﺑﺘﻮﺳﻌﺔ اﻟﻤﺴﺠﺪ اﻟﻨﺒﻮي اﻟﺸﺮﻳﻒ‬ ‫ﻻﺳﺘﻴﻌﺎب ا‪T‬ﻋﺪاد اﻟﻤﺘﺰاﻳﺪة ﻣﻦ اﻟﺰوار وذﻟﻚ ﻣﻦ‬ ‫ﺧﻼل ﺗﻮﻓﻴﺮ اﻟﻜﻢ واﻟﻨﻮع ﻣﻦ اﻟﻔﺮاﻏﺎت اﻟﻌﺎﻣﺔ‬ ‫وﻓﻲ اﻟﺘﺨﻄﻴﻂ اﻟﻤﺴﺘﺪام وﺗﺤﺴﻴﻦ اﻟﺒﻴﻨﺔ‬ ‫اﻟﺘﺤﺘﻴﺔ واﻟﺨﺪﻣﺎت وﺗﻮﻓﻴﺮ ﺑﻴﺌﺔ ﻋﻤﺮاﻧﻴﺔ ﺻﺤﻴﺔ‬ ‫وﺿﻤﺎن ا‪T‬ﻣﻦ واﻟﺴﻼﻣﺔ‪ .‬ﻛﻤﺎ ﺗﻢ رﺑﻂ اﻟﻤﺪﻳﻨﺔ‬ ‫ااﻟﻤﻨﻮرة ﺑﻤﻜﺔ اﻟﻤﻜﺮﻣﺔ ﺑﻘﻄﺎر اﻟﺤﺮﻣﻴﻦ ﻣﺎر‪1‬‬ ‫ﺑﻤﺪﻳﻨﺔ ﺟﺪة وﻣﺪﻳﻨﺔ اﻟﻤﻠﻚ ﻋﺒﺪ ا‪ W‬ا‪D‬ﻗﺘﺼﺎدﻳﺔ‬ ‫ﻓﻲ راﺑﻎ‪ .‬ﺗﻢ إﻗﺮار ﻣﻨﻈﻮﻣﺔ اﻟﻨﻘﻞ اﻟﻌﺎم ﺑﻤﻮﺟﺐ‬ ‫ﻗﺮار ﻣﺠﻠﺲ اﻟﻮزراء رﻗﻢ ‪ ٢‬ﻓﻲ ﺗﺎرﻳﺦ ‪ ١/١/١٤٣٥‬ﻫـ‬ ‫واﻟﺘﻲ ﺗﺸﺘﻤﻞ ﻋﻠﻰ ﺧﻄﻮط اﻟﻤﺘﺮو واﻟﺒﺎﺻﺎت‬ ‫واﻟﺘﻘﺎﻃﻌﺎت‬ ‫ﻛﻤﺎ ﻗﺎﻣﺖ اﻟﺪوﻟﺔ ﺑﺈﻧﺸﺎء ﺑﻮاﺑﺎت ﻟﻠﻤﺪﻳﻨﺔ‬ ‫ﻛﻤﺮاﻛﺰ ﻟﺘﻘﺪﻳﻢ اﻟﺨﺪﻣﺎت اﻟﻤﻤﻴﺰة اﻟﺘﻲ ﻳﺤﺘﺎﺟﻬﺎ‬ ‫ﺟﻤﻴﻊ اﻟﺰوار واﻟﺤﺠﺎج ﻋﻨﺪ اﻟﻘﺪوم واﻟﻤﻐﺎدرة‪،‬‬

‫«(‪n¹dA « Íu³M « Âd‬‬

‫ ‪…—uM*« WM¹b*« UЫuÐ rOLB² ÂUŽ —uEM‬‬

‫‪¡UM³ « ∂¥‬‬

‫‪64 Albenaa‬‬

‚bMHK WO U _« WNł«u « `{u¹ ÂUŽ —uEM

5½«eO*« —Ëœ

—dJ²*« —Ëb «

WO U _« UNł«u « 67 Albenaa

¡UM³ « ∂∑

‫ﻣﻦ أﻋﻤﺎل‬ ‫ﻣﺮﻛﺰ ﻃﻴﺒﺔ‬ ‫ﻟ ﺳﺘﺸﺎرات‬ ‫اﻟﻬﻨﺪﺳﻴﺔ‬ ‫ﻣﺸﺮوع أﺑﺮاج ﺟﺎﻣﻌﺔ ﻃﻴﺒﺔ‬ ‫)أﺑﺮاج اﻟﺴﻼم(‬

‫ ‪WO bMH « W×Mł_« ëdÐ_ ÂUŽ —uEM‬‬

‫اﻟﻤﻮﻗﻊ ‪ :‬اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 65420 :‬م‪2‬‬ ‫ﺳﺘﻈﻞ ﻣﺸﻜﻠﺔ اﻟﻤﻌﻤﺎري اﻟﺪاﺋﻤﺔ‬ ‫ﻫﻲ ﺗﺤﻘﻴﻖ اﻟﻤﺘﻄﻠﺒﺎت اﻟﻮﻇﻴﻔﻴﺔ ﻓﻲ‬ ‫إﻃﺎر ﻣﻦ اﻟﺘﻜﻮﻳﻨﺎت اﻟﺠﻤﺎﻟﻴﺔ اﻟﺤﺴﻴﺔ‬ ‫اﻟﻤﺮﺗﺒﻄﺔ ﺑﻤﺴﺘﺨﺪﻣﻲ اﻟﻤﺸﺮوع‪،‬‬ ‫وﻋﻠﻴﻪ ﻗﺎﻣﺖ اﻟﻔﻜﺮة اﻟﺮﺋﻴﺴﻴﺔ ﻟﻠﻤﺸﺮوع‬ ‫ﻋﻠﻰ اﻳﺠﺎد ﻟﻐﺔ ﻣﻌﻤﺎرﻳﺔ ﺗﻌﺒﺮ ﻋﻦ‬ ‫اﻟﺘﺮاث اﻟﻤﻌﻤﺎري ﻟﻠﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة ﻓﻲ‬ ‫إﻃﺎر ﻣﻦ اﻟﻤﻌﺎﺻﺮة واﻟﺤﺪاﺛﺔ ﺗﺮﺗﺒﻂ‬ ‫ﺑﺰﻣﻦ ﺗﺼﻤﻴﻢ وإﻧﺸﺎء اﻟﻤﺸﺮوع‪ ،‬وﺗﻠﻚ‬ ‫اﻟﺮﻏﺒﺔ ا‪O‬ﻧﺴﺎﻧﻴﺔ اﻟﺪاﺋﻤﺔ ‪O‬ﺳﺘﺸﺮاف‬ ‫اﻟﻤﺴﺘﻘﺒﻞ‪ .‬وﻋﻠﻴﻪ اﻋﺘﻤﺪت اﻟﻔﻜﺮة‬ ‫اﻟﺘﺼﻤﻴﻤﻴﺔ ﻋﻠﻰ ﺗﺤﻘﻴﻖ اﻟﻤﺒﺎدئ‬ ‫ا‪T‬ﺳﺎﺳﻴﺔ اﻟﺘﺎﻟﻴﺔ‪:‬‬ ‫‪1‬ـ ﻣﺤﺪدات اﻟﺒﺮﻧﺎﻣﺞ اﻟﻮﻇﻴﻔﻲ‪ ،‬ﻣﻦ ﺧﻼل‬ ‫اﺳﺘﻴﻔﺎء ﻣﺘﻄﻠﺒﺎت اﻟﺒﺮﻧﺎﻣﺞ اﻟﻮﻇﻴﻔﻲ‬ ‫اﻟﻤﺤﺪد ﻣﻦ ﻗﺒﻞ ﻣﻠﻚ اﻟﻤﺸﺮوع‪.‬‬ ‫‪2‬ـ اﻟﻮﺿﻌﻴﺔ اﻟﻤﻜﺎﻧﻴﺔ واﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ‪.‬‬ ‫‪3‬ـ اﻟﻮﺻﻮل واﻟﺴﻼﻣﺔ وا‪T‬ﻣﺎن‪ ،‬ﻣﻦ‬ ‫ﺧﻼل ﺗﻮﻓﻴﺮ اﻟﺴﻴﻮﻟﺔ اﻟﻤﺮورﻳﺔ اﻟﻼزﻣﺔ‬ ‫ﻟﺤﺮﻛﺔ اﻟﺤﺎﻓﻼت‪.‬‬ ‫‪4‬ـ ا‪O‬ﺳﺘﻤﺮارﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ واﻟﺤﻀﺎرﻳﺔ‪،‬‬ ‫ﺣﻴﺚ ﻳﺘﻢ ﺗﺤﻘﻴﻖ اﻟﺘﻮاﺻﻞ اﻟﺜﻘﺎﻓﻲ‬ ‫واﻟﺤﻀﺎري ﻣﻦ ﺧﻼل ﻣﺤﺎﻛﺎة اﻟﻘﻴﻢ‬ ‫اﻟﻤﺤﺴﻮﺳﺔ ﻟﻠﻌﻨﺎﺻﺮ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺘﺮاﺛﻴﺔ‬ ‫ﻟﻠﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‪.‬‬ ‫‪5‬ـ ا‪O‬ﺳﺘﺪاﻣﺔ وا‪O‬ﺣﺘﻴﺎﺟﺎت اﻟﺒﻴﺌﻴﺔ‪ ،‬ﻣﻦ‬ ‫ﺣﻴﺚ اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﻣﺼﺎدر اﻟﻄﺎﻗﺔ‬ ‫وﻋﺪم اﻟﺘﻠﻮث اﻟﺒﻴﺌﻲ ﻛﻮاﺣﺪ ﻣﻦ أﻫﻢ‬ ‫اﻟﺘﻮﺟﻬﺎت اﻟﻌﺎﻟﻤﻴﺔ اﻟﻤﻌﺎﺻﺮة‪.‬‬

‫∂∂ « ‪¡UM³‬‬

‫‪66 Albenaa‬‬

‫ ‪WOMJ « «bŠuK ÂUŽ —uEM‬‬

‫«‪ŸËdA*UÐ WDO;« w{«—_« U «b ²Ý‬‬

‫«*‪ÂUF « l u‬‬

‰Ë_« —Ëb « jI

w{—_« —Ëb « jI 69 Albenaa

¡UM³ « ∂π

‫ﻣﻦ أﻋﻤﺎل ﻣﻜﺘﺐ دار اﻟﻤﺪﻳﻨﺔ‬ ‫ﻟ'ﺳﺘﺸﺎرات اﻟﻬﻨﺪﺳﻴﺔ‬ ‫ﻃﻴﺒﺔ ﺟﺎﻟﻴﺮي‬ ‫اﻟﻤﻮﻗﻊ ‪ :‬ﻃﺮﻳﻖ اﻟﺴﻼم ‪ -‬اﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‬ ‫اﻟﻤﺎﻟﻚ ‪ :‬ﺳﻌﺎدة اﻟﺪﻛﺘﻮر‪ /‬ﻋﺼﺎم ﺣﺴﻦ‬ ‫ﺣﺴﻴﻦ ﻋﻮﻳﻀﺔ‬ ‫ﻓﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ ‪ :‬م‪ .‬ﺣﻤﺰة اﻟﺮﺷﻴﺪ‬ ‫م‪ .‬إﻳﻬﺎب ﻋﻔّ ﺖ‬

‫اﻟﻤﺴﺎﺣﺔ اﻻﺟﻤﺎﻟﻴﺔ ‪ 9479٫01 :‬م‪2‬‬ ‫ﺗﻢ دراﺳﺔ وﺗﺼﻤﻴﻢ اﻟﻤﺸﺮوع اﻟﺘﺠﺎري‬ ‫ﻋﻠﻰ أﻋﻠﻰ ﻣﺴﺘﻮى ﻟﻴﻜﻮن ﻣﻌﻠﻤ;‬ ‫ﺑﺼﺮﻳ; ﻣﺘﻤﻴﺰ ﺑﺎﻟﻤﺪﻳﻨﺔ اﻟﻤﻨﻮرة‪.‬‬ ‫ﻳﺘﻜﻮن اﻟﻤﺸﺮوع ﻣﻦ دور ﺑﺪروم‬ ‫ﺑﻤﺴﺎﺣﺔ ‪4239.45‬م‪ .2‬وﻳﺤﺘﻮي ﻋﻠﻰ‬ ‫ﻣﻮاﻗﻒ ﺳﻴﺎرات ﺑﻌﺪد )‪ (87‬ﻣﻮﻗﻒ‬ ‫ﺑﺎ‪S‬ﺿﺎﻓﺔ إﻟﻰ ﻏﺮف ﺧﺪﻣﺎت ﺧﺎﺻﺔ‬ ‫ﺑﺎﻟﻤﺸﺮوع ﻛﺨﺪﻣﺎت اﻟﺼﻴﺎﻧﺔ واﻟﻨﻈﺎﻓﺔ‬ ‫واﻟﻤﻀﺨﺎت وﺧﺰان اﻟﻤﻴﺎه‪.‬‬ ‫وﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ اﻟﺪور ا‪Y‬رﺿﻲ‬ ‫ﺑﻤﺴﺎﺣﺔ ‪5357.70‬م‪ 2‬وﻳﺤﺘﻮي ﻋﻠﻰ‬ ‫ﻋﺪد )‪ (21‬ﻣﻌﺮض ﺗﺠﺎري ﻣﺠﻬﺰ ﺑﻜﺎﻓﺔ‬ ‫اﻟﺨﺪﻣﺎت ﺑﺎ‪S‬ﺿﺎﻓﺔ إﻟﻰ ﺧﻤﺲ ﻣﺪاﺧﻞ‬ ‫ﻟ^دوار اﻟﻌﻠﻮﻳﺔ وﻣﻮاﻗﻒ ﺳﻴﺎرات‬ ‫وﻋﺪدﻫﺎ )‪ (169‬ﻣﻮﻗﻒ‪.‬‬ ‫ﻛﻤﺎ ﻳﺤﺘﻮي ﻋﻠﻰ دورﻳﻦ‪ ،‬ا‪Y‬ول ﺑﻤﺴﺎﺣﺔ‬ ‫‪4690.79‬م‪ 2‬ﻳﺤﺘﻮي ﻋﻠﻰ ﻋﺪد )‪(30‬‬ ‫ﻣﻌﺮﺿ; ﺗﺠﺎرﻳ; ﺗﺼﻠﺢ ﻟ‪c‬ﺳﺘﺨﺪام‬ ‫ﻛﻌﻴﺎدات وﻣﺮاﻛﺰ ﻃﺒﻴﺔ وﺻﺤﻴﺔ‪.‬‬ ‫واﻟﺜﺎﻧﻲ ﺑﻤﺴﺎﺣﺔ ‪4825.79‬م‪ 2‬ﻳﺤﺘﻮي‬ ‫ﻋﻠﻰ ﻋﺪد )‪ (31‬ﻣﻌﺮﺿ; ﺗﺠﺎرﻳ; ﺗﺼﻠﺢ‬ ‫ﻟ‪c‬ﺳﺘﺨﺪام ﻛﻌﻴﺎدات وﻣﺴﺘﻮﺻﻔﺎت‬ ‫ﻃﺒﻴﺔ وﻣﺮاﻛﺰ ﺻﺤﻴﺔ‪.‬‬ ‫ﺑﺎ‪S‬ﺿﺎﻓﺔ إﻟﻰ ﻣﻠﺤﻖ ﻋﻠﻮي ﺑﻤﺴﺎﺣﺔ‬ ‫‪2412.90‬م‪ 2‬وﻳﺤﺘﻮي ﻋﻠﻰ ﻋﺪد )‪(16‬‬ ‫ﻣﻌﺮض ﺗﺠﺎري ﺗﺼﻠﺢ ﻟ‪c‬ﺳﺘﺨﺪام‬ ‫ﻛﻤﻄﺎﻋﻢ وﻛﺎﻓﻴﻬﺎت وﺗﺤﺘﻮي ﻋﻠﻰ‬ ‫ﺟﺰء داﺧﻠﻲ ﻣﻐﻄﻰ وآﺧﺮ ﺗﺮاﺳﺎت‬ ‫ﺧﺎرﺟﻴﺔ ﻣﻜﺸﻮﻓﺔ‪.‬‬ ‫اﻟﻤﺼﺪر‪ :‬ﺗﻘﺮﻳﺮ اﻟﻤﺼﻤﻢ‬

‫∏∂ « ‪¡UM³‬‬

‫‪68 Albenaa‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ ‪¡UM³ « o×K‬‬

‫اﻟﻄﻮب ا ﺣﻤﺮ أم ا ﺳﻤﻨﺘﻲ‬ ‫ﺑﻘﻠﻢ ‪ /‬أ‪ .‬ﻫﺸﺎم رأﻓﺖ ـ ﻣﺼﺎﻧﻊ اﻟﻤﻴﻤﻨﻲ ﻟﻠﻄﻮب ا ﺣﻤﺮ‬

‫إن ﻗـــﺮار اﺳـــﺘﺨﺪام اﻟﻄـــﻮب ا ﺣﻤـــﺮ ﻓـــﻲ‬ ‫اﻟﻤﺒﺎﻧـــﻲ ﻗﺮار ﻓﻲ ﻏﺎﻳـــﺔ ا ﻫﻤﻴﺔ ﺣﻴﺚ ﺑﻌﺪ‬ ‫إﻧﺘﻬﺎء ﻋﻤﻠﻴﺔ اﻟﺒﻨﺎء واﻟﺘﺸﻄﻴﺐ واﻟﺴﻜﻦ‬ ‫ﻻﺗﺴـــﺘﻄﻴﻊ اﻟﺘﻐﻴﻴﺮ ﻛﻤﺎ ﻓﻲ أي ﻗﺮار ﻳﺘﺨﺬه‬ ‫ا‪A‬ﻧﺴـــﺎن وﻟﺬﻟـــﻚ وﻟ?ﻣﺎﻧـــﺔ اﻟﻤﻬﻨﻴـــﺔ ﻓـــﺈن‬ ‫ﻛﻮد اﻟﺒﻨﺎء اﻟﺴـــﻌﻮدي ﻗﺪ أﻧـــﺎر ﻟﻨﺎ اﻟﻄﺮﻳﻖ‬ ‫ﺑﺎﺳـــﺘﺨﺪام ﺟﺪارﻳـــﻦ ﻣـــﻦ اﻟﻄـــﻮب ا ﺣﻤـــﺮ‬ ‫ﺑﻴﻨﻬﻤـــﺎ ﺻـــﻮف ﺻﺨـــﺮي ﺑﺴـــﻤﺎﻛﺔ ‪ ١٠‬ﺳـــﻢ‬ ‫وﻫـــﻲ اﻟﻄﺮﻳﻘـــﺔ اﻟﻤﺜﻠـــﻰ ﻟﻠﻌـــﺰل اﻟﺤـــﺮاري‬ ‫وﺗﻮﻓﻴﺮ اﻟﻄﺎﻗﺔ‪.‬‬ ‫واﻟﻄـــﻮب ا ﺣﻤﺮ اﻟﻔﺨـــﺎري ﻳﻤﺘﺎر ﻋﻦ اﻟﻄﻮب‬ ‫ا ﺳـــﻤﻨﺘﻲ ﺑﻤﻴـــﺰات ﻋﺪﻳـــﺪة ﻧﻮﺟﺰﻫـــﺎ ﻓﻴﻤﺎ‬ ‫ﻳﻠﻲ ‪:‬‬ ‫‪ ١‬ـ ﻳﺼﻨﻊ ﻣﻦ ﻣﺎدة ﻃﻴﻨﻴﺔ‪.‬‬ ‫‪ ٢‬ـ ﺧﻔﺔ اﻟﻮزن ‪.‬‬ ‫‪ ٣‬ـ ﻗﻮة اﻟﺘﺤﻤﻞ‪.‬‬ ‫‪ ٤‬ـ ﻣﻘﺎوﻣﺔ اﻟﺤﺮﻳﻖ ‪.‬‬ ‫‪ ٥‬ـ ﻋﺎزل ﺻﻮﺗﻲ ‪.‬‬ ‫‪ ٦‬ـ ﺳﻬﻮﻟﺔ اﻻﺳﺘﺨﺪام‪.‬‬ ‫‪ ٧‬ـ ﻻﻳﺘﺄﺛﺮ ﺑﺎﻟﻌﻮاﻣﻞ اﻟﺠﻮﻳﺔ‪.‬‬ ‫وﻣﻦ ﺧـــﻼل ﻋﻨﺼـــﺮ واﺣﺪ ﻓﻘﻂ وﻫـــﺎم ﺟﺪ_‬ ‫وﻫﻮ ﺧﻔﺔ اﻟﻮزن ﻣﺎذا ﺗﺴـــﺘﻔﻴﺪ وا‪A‬ﺟﺎﺑﺔ إذا‬ ‫ﻗﺎرﻧﺎ ﺑﻴﻦ اﻟﻄﻮب ا ﺣﻤﺮ واﻟﻄﻮب ا‪A‬ﺳﻤﻨﺘﻲ‬ ‫ﻓـــﻲ ﻫـــﺬا اﻟﻤﺠـــﺎل ﻧﺠـــﺪ أن اﻟﻄـــﻮب ا ﺣﻤﺮ‬ ‫ﻣﻘـــﺎس ‪ ٤٠ x ٣٠ x ٢٠‬ﻳـــﺰن ﺣﻮاﻟـــﻲ ‪ ١٦‬ﻛﻴﻠـــﻮ‬ ‫ﺟـــﺮام أﻣﺎ ا ﺳـــﻤﻨﺘﻲ ﻓﻴـــﺰن ‪ ٢٦‬ﻛﻴﻠﻮ ﺟﺮام‬

‫وﻫﺬا اﻟﻔﺮق ﻳﺴـــﺎﻋﺪ ﻋﻠﻰ ﺧﻔـــﺾ ا ﺣﻤﺎل‬ ‫ﻋﻠﻰ اﻟﻜﻤﺮات واﻟﺠﺴـــﻮر اﻟﺨﺮﺳـــﺎﻧﻴﺔ وﻫﺬا‬ ‫اﻟﻔﺮق ﻳﺆدي إﻟﻰ ‪:‬‬ ‫‪ ١‬ـ ﺗﺨﻔﻴـــﺾ اﻟﺘﻜﺎﻟﻴـــﻒ ) وذﻟـــﻚ ﻟﻌﻨﺎﺻـــﺮ‬ ‫اﻟﻬﻴﻜﻞ اﻟﺨﺮﺳﺎﻧﻲ ( ‪.‬‬ ‫‪ ٢‬ـ ﺗﺨﻔﻴـــﺾ وﻗـــﺖ اﻟﺘﻨﻔﻴﺬ ) ﺳـــﺮﻋﺔ اﻟﺒﻨﺎء‬ ‫وا‪A‬ﻧﺠﺎز( ‪.‬‬ ‫‪ ٣‬ـ إﻃﺎﻟﺔ ﻋﻤﺮ اﻟﻤﺒﻨﻰ )ﻟﺘﺨﻔﻴﺾ ا ﺣﻤﺎل( ‪.‬‬ ‫‪ ٤‬ـ ﻣﻮﻓـــﺮ ﻟﻠﻄﺎﻗـــﺔ ) ﺣﻴﺚ ﻣﻘﺎوﻣـــﺔ اﻟﻄﻮب‬ ‫ا ﺣﻤﺮ ﻟﻠﺤﺮارة ﻳﻌـــﺎدل ﺛﻼث أﺿﻌﺎف اﻟﻄﻮب‬ ‫ا ﺳـــﻤﻨﺘﻲ وﺑﺬﻟـــﻚ ﺗﺨﻔﻴـــﺾ اﺳـــﺘﻬﻼك‬ ‫اﻟﻜﻬﺮﺑﺎء وﺗﻘﻠﻴﻞ اﻟﺘﻜﺎﻟﻴﻒ ‪.‬‬ ‫وإذا ﻛﻨـــﺖ ﺗﺮﻛﻴـــﺪ ﺗﺮﻛﻴـــﺐ اﻟﺮﺧـــﺎم ﻋﻠـــﻰ‬ ‫اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺨﺎرج وﺗﺮﻳﺪ ﻋﺰل ﺣﺮاري ﻓﻠﺪﻳﻨﺎ‬ ‫ﺑﻤﺼﺎﻧﻊ اﻟﻤﻴﻤﻨﻲ ﻟﻠﻄﻮب ا ﺣﻤﺮ اﻟﺤﻞ وﻫﻮ‬ ‫ﻃﻮب ﺧﺎرﺟﻲ ﺣﺎﻣﻞ ‪ Load Bearing‬ﻳﺼﻠﺢ‬ ‫ﻟﺘﺮﻛﻴﺐ اﻟﺮﺧﺎم ﺑﺎﺳﺘﺨﺪام ﻣﺴﺎﻣﻴﺮ ﺗﺜﺒﻴﺖ‬ ‫اﻟﺮﺧـــﺎم ﺛـــﻢ ﻋﺎزل ﺻـــﻮف ﺻﺨﺮي ﺳـــﻤﺎﻛﺔ ‪١٠‬‬ ‫ﺳـــﻢ وإذا ﻛﻨـــﺖ ﺗﺮﻳـــﺪ ﻃﺮﻳﻘﺔ أﺧـــﺮى ﻟﻌﺰل‬ ‫اﻟﺠـــﺪران اﻟﺨﺎرﺟﻴﺔ ﻓﻨﺤﻦ أﻳﻀـــ‪ p‬ﻟﺪﻳﻨﺎ اﻟﺤﻞ‬ ‫وﻧﻨﻔـــﺮد ﺑﺘﻮﻓﻴـــﺮ ﻣﻨﺘﺠـــﺎت ﻣﻨﻮﻋـــﺔ وأﻳﻀـــ‪p‬‬ ‫ﻣﻌﺰوﻟﺔ ﺑﺎﻟﺼﻮف اﻟﺼﺨﺮي‪.‬‬ ‫ﺳﻤﺎﻛﺔ ‪ ٢٠‬ﺳﻢ وﺳﻤﺎﻛﺔ ‪ ٢٥‬ﺳﻢ‬ ‫و ﺳﻤﺎﻛﺔ ‪ ٣٠‬ﺳﻢ ‪.‬‬ ‫اﻟﻤﺼﻨﻊ اﻟﻮﺣﻴﺪ ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﺬي ﻳﻨﺘﺞ ﻃﻮب‬ ‫ﻋﺮﺿﻪ ‪ ٣٠‬ﺳﻢ ﻣﻌﺰول وﺑﻤﻮاﺻﻔﺎت ﺧﺎﺻﺔ ‪.‬‬

‫‪ ٢٦‬ﻛﻴﻠﻮﺟﺮام‬

‫‪ ١٥,٥‬ﻛﻴﻠﻮﺟﺮام‬

‫ﻣﻘﺎوم ﻟﻠﺤﺮﻳﻖ‬

‫≥∑ « ‪¡UM³‬‬

‫‪73 Albenaa‬‬

‫ ‪¡UM³ « o×K‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫اﻟﺤﻤﻼت اﻟﺘﻮﻋﻮﻳﺔ ﺑﻔﻮاﺋﺪ اﻟﻌﺰل اﻟﺤﺮاري‬ ‫ﺗﻮاﺻﻞ ﺟﻬﻮدﻫﺎ اﻟﻤﻜﺜﻔﺔ ﺑﺸﻜﻞ ﻧﺎري‬ ‫ﻣﺼﻨﻊ ﻋﺎزل ﻟﻠﺼﻮف اﻟﺼﺨﺮي اﻟﻌﺎزل‬

‫«_‪wMLO*« sLŠd « b³Ž Ø –U²Ý‬‬ ‫ ‪o¹u ² «Ë UFO³*« d¹b‬‬

‫واﺻﻠـــﺖ اﻟﺤﻤﻠﺔ اﻟﺘﻮﻋﻮﻳﺔ اﻟﺘﻰ أﻃﻠﻘﻬﺎ‬ ‫اﻟﻤﺮﻛـــﺰ اﻟﺴـــﻌﻮدى ﻟﻜﻔـــﺎءة اﻟﻄﺎﻗـــﺔ‬ ‫ﺑﻤﺪﻳﻨـــﺔ اﻟﻤﻠـــﻚ ﻋﺒـــﺪ اﻟﻌﺰﻳـــﺰ ﻟﻠﻌﻠـــﻮم‬ ‫واﻟﺘﻘﻨﻴﺔ ﺑﺎﻟﺮﻳﺎض ﺑﺎﻟﺘﻌﺎون ﻣﻊ اﻟﻌﺪﻳﺪ‬ ‫ﻣﻦ اﻟﺠﻬﺎت اﻟﺤﻜﻮﻣﻴﺔ وا‪2‬ﻫﻠﻴﺔ ﺟﻬﻮد‪/‬‬ ‫ﻣﻜﺜﻔـــﺔ ﺣﻮل ﻓﻮاﺋﺪ اﻟﻌـــﺰل اﻟﺤﺮارى ﻓﻰ‬ ‫اﻟﻤﺒﺎﻧـــﻰ ﺣﻴﺚ ﻗﺪﻣـــﺖ اﻟﻠﺠﻨﺔ ﻋﺪد‪ /‬ﻣﻦ‬ ‫اﻟﺘﻮﺻﻴﺎت أﺑﺮزﻫﺎ ﺗﻮﺻﻴﺎت ﻣﻨﻬﺎ ﺗﺨﺰﻳﻦ‬ ‫اﻟﻤــــﻮاد اﻟﻌﺎزﻟﺔ ﻟﻠﺤــــﺮارة ﻓﻰ أﻣﺎﻛﻦ ﺟﺎﻓﺔ‬ ‫وﻋــــﺪم ﺗﻌﺮﻳﻀﻬــــﺎ ‪2‬ﺷــــﻌﺔ اﻟﺸــــﻤﺲ‬ ‫ﻟﻔﺘــــﺮات ﻃﻮﻳﻠــــﺔ وﻋــــﺪم ﺗﻬﺸــــﻴﻤﻬﺎ أو‬ ‫ﺛﻘﺒﻬــــﺎ‪ .‬ﻛﻤﺎ أوﺻﺖ اﻟﺤﻤﻠــــﺔ اﻟﺘﻰ ﺗﺤﻤﻞ‬ ‫ﻋﻨــــﻮان ) اﻟﻔﺮق واﺿﺢ ( واﻟﺘﻰ إﺳــــﺘﻤﺮت‬ ‫ﻟﺒﻀﻌــــﺔ أﺷــــﻬﺮ ﺑﻌــــﺪد ﻣــــﻦ ا‪2‬ﻣــــﻮر ﻓﻰ‬ ‫ﻛﻴﻔﻴــــﺔ اﻟﺘﻌﺎﻣــــﻞ اﻟﺘﻄﺒﻴﻘﻰ ﻣــــﻊ ﻣﻮاد‬ ‫اﻟﻌﺰل اﻟﺤﺮارى ﻟﻠﻤﺒﺎﻧﻰ وأﻫﻤﻬﺎ ا‪2‬ﺗﻰ ‪ :‬ـــ‬ ‫أوﻻً‪ :‬ﻋﻨﺪ ﻋﺰل ا‪2‬ﺳﻘﻒ ﻳﺠﺐ ﻣﺮاﻋﺎة وﺿﻊ‬ ‫ﺣﺎﺟﺰ ﻣﻦ اﻟﺒﻼﺳﺘﻴﻚ ) اﻟﺒﻮﻟﻰ إﻳﺜﻴﻠﻴﻦ (‬ ‫أو ا‪2‬ﻟﻴـــﺎف )اﻟﻔﻴﺒﺮ( ﻟﻠﻔﺼـــﻞ ﺑﻴﻦ اﻟﻌﺰل‬ ‫اﻟﻤﺎﺋـــﻰ واﻟﻌـــﺰل اﻟﺤـــﺮارى وإﺿﺎﻓﺔ ﺣﺎﺟﺰ‬ ‫أﺧـــﺮ ﺑﻴﻦ اﻟﻌـــﺰل اﻟﺤـــﺮارى واﻟﺒﺤﺺ ﻓﻰ‬ ‫ﺣﺎﻟـــﺔ ﻋـــﺪم إﺳـــﺘﺨﺪام اﻟﺒـــﻼط ﻛﻄﺒﻘﺔ‬ ‫ﻧﻬﺎﺋﻴﺔ‪.‬‬ ‫ﺛﺎﻧﻴـــ‪ :Z‬وﻗﺎﻳـــﺔ اﻟﻌـــﻮازل اﻟﺤﺮارﻳـــﺔ وﻋـــﺪم‬ ‫ﺗﻌﺮﻳﻀﻬـــﺎ ‪2‬ى ﺗﻠـــﻒ ﻋﻨـــﺪ اﻟﻨﻘـــﻞ أو‬ ‫اﻟﺘﺨﺰﻳﻦ أو اﻟﺘﺮﻛﻴﺐ ‪.‬‬ ‫ﺛﺎﻟﺜـــ‪ :Z‬ﺗﺜﺒﻴـــﺖ ﻋـــﻮازل اﻟﺤـــﺮارة دون ﺗﺮك‬ ‫ﻓﺮاﻏﺎت ﺑﻴﻨﻬﺎ ﺗﺘﺠﺎوز رﺑﻊ ﺳﻨﺘﻴﻤﺘﺮﻋﻠﻰ‬ ‫ا‪2‬ﻛﺜﺮ ‪.‬‬ ‫≤∑ « ‪¡UM³‬‬

‫‪72 Albenaa‬‬

‫راﺑﻌـــ‪ :Z‬إذا ﻛﺎن ﺳـــﻄﺢ اﻟﻤﺒﻨـــﻰ ﻓـــﻮق‬ ‫اﻟﺴـــﻄﺢ اﻟﻤﺴـــﺘﻌﺎر ﻣـــﻦ ﻧﻮع اﻟﺠﺴـــﻮر‬ ‫اﻟﻤﻌﺪﻧﻴـــﺔ اﻟﺸـــﺒﻜﻴﺔ ﻓﻴﺠـــﺐ ﺗﻮﻓﻴـــﺮ‬ ‫ﺗﻬﻮﻳﺔ ﻟﻠﻔﺮاغ اﻟﻤﻮﺟﻮد ﺑﻴﻦ اﻟﺴـــﻘﻔﻴﻦ‬ ‫اﻟﻤﺴﺘﻌﺎر واﻟﺸﺒﻜﻰ ‪.‬‬ ‫ﺧﺎﻣﺴــــ‪ :Z‬ﻓﻰ اﻟﻤﺒﺎﻧﻰ اﻟﺘﻰ ﺗﺴﺘﺨﺪم ﻓﻰ‬ ‫إﻧﺸــــﺎﺋﻬﺎ أو ﺗﺼﻔﻴﺤﻬﺎ ا‪2‬ﻟــــﻮاح اﻟﻤﻌﺪﻧﻴﺔ‬ ‫ﻛﺎﻟﻤﺴــــﺘﻮدﻋﺎت وﻏﺮف اﻟﺘﺒﺮﻳﺪ ﻓﺈﻧﻪ ﻳﺠﺐ‬ ‫ﻣﺮاﻋﺎة إﺳــــﺘﺨﺪام ﻋــــﻮازل ﺣﺮارﻳﺔ ﻣﻘﺎوﻣﺔ‬ ‫ﻟ‪d‬ﻧﺼﻬﺎر وذات ﻣﻘﺎوﻣﺔ ﻣﻨﺎﺳــــﺒﺔ ﻟﻠﺤﺮﻳﻖ‬ ‫ﺗﺠﻨﺒ‪ Z‬ﻟ‪d‬ﻧﺘﺸﺎر اﻟﺴﺮﻳﻊ ﻟﻠﺤﺮﻳﻖ ﻻ ﻗﺪر ا‪e‬‬ ‫وﻋﻠــــﻰ رأس ﻫﺬه اﻟﻤــــﻮاد وأﻫﻤﻬــــﺎ ﻣﺎدة‬ ‫اﻟﺼﻮف اﻟﺼﺨﺮى ‪.‬‬ ‫ﺳﺎدﺳــــﺎ‪ :‬أن ﺗﻜﻮن ﺟﻤﻴﻊ أﺳــــﻄﺢ اﻟﻤﺎدة‬ ‫اﻟﻌﺎزﻟﺔ ﺧﺎﻟﻴﺔ ﻣﻦ اﻟﻐﺒﺎر أو اﻟﺸــــﺤﻮم ﻗﺒﻞ‬ ‫وﺿﻌﻬﺎ ‪.‬‬ ‫ﺳﺎﺑﻌ‪ :Z‬ﻳﺠﺐ أن ﺗﺘﻢ أﻋﻤﺎل اﻟﻌﺰل اﻟﺤﺮارى‬ ‫ﺑﺈﺷﺮاف ﻣﻬﻨﺪس ﻣﺨﺘﺺ ‪.‬‬ ‫ﺛﺎﻣﻨــــ‪ :Z‬ﻋﻨﺪ ﺷــــﺮوﻋﻚ ﻓــــﻰ ﺑﻨﺎء ﻣﻨــــﺰل أو‬ ‫ﻣﻨﺸــــﺄة ﻳﺠﺐ ا‪l‬ﺳــــﺘﻌﺎﻧﺔ ﺑﺄﺣــــﺪ اﻟﻤﻜﺎﺗﺐ‬ ‫ا‪l‬ﺳﺘﺸﺎرﻳﺔ اﻟﻬﻨﺪﺳﻴﺔ اﻟﻤﻌﺘﻤﺪة ﻟﻀﻤﺎن‬ ‫ﺗﻄﺒﻴــــﻖ إﺷــــﺘﺮاﻃﺎت ﺗﺮﺷــــﻴﺪ إﺳــــﺘﻬﻼك‬ ‫اﻟﻜﻬﺮﺑﺎء ﺑﻜﻮد اﻟﺒﻨﺎء اﻟﺴﻌﻮدى ‪.‬‬ ‫ﻳﺬﻛــــﺮ أن ﺣﻤﻠــــﺔ ) اﻟﻔــــﺮق واﺿــــﺢ ( ﺗﻬﺪف‬ ‫إﻟــــﻰ ﺗﻮﻋﻴــــﺔ اﻟﻤﻮاﻃﻨﻴــــﻦ ﺑﺄﻫﻤﻴــــﺔ اﻟﻌﺰل‬ ‫اﻟﺤﺮارى ﻟﻠﻤﺒﺎﻧﻰ وا‪2‬ﺛﺎر ا‪l‬ﻳﺠﺎﺑﻴﺔ اﻟﻤﺘﺮﺗﺒﺔ‬ ‫ﻋﻠــــﻰ إﺳــــﺘﺨﺪاﻣﻪ واﻟﻔــــﺮق اﻟﺬى ﻳﻠﻤﺴــــﻪ‬ ‫اﻟﻤﻮاﻃــــﻦ ﺑﻴــــﻦ اﻟﻤﺒﻨﻰ اﻟﻤﻌــــﺰول وا‪2‬ﺧﺮ‬ ‫ﻏﻴﺮ اﻟﻤﻌﺰول ‪.‬‬

‫ ‪¡UM³ « o×K‬‬

‫ ‪WO½öŽ≈ …œU‬‬

‫ﺷﺮﻛﺔ ﻋﺎﻟﻢ اﻟﻤﻈﻼت‬

‫إﺣﺪى ﺷﺮﻛﺎت ﻣﺠﻤﻮﻋﺔ اﻟﺘﺠﻮﻳﺪ‬

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

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

‫‪¡UM³ « ∑¥‬‬

‫‪74Albenaa‬‬

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

‫ ‪WO½öŽ≈ …œU ¡UM³ « o×K‬‬

‫ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟ ﺛﺎث واﻟﻤﻨﺰل ﻳﻨﺎﻳﺮ ‪٢٠١٩‬‬ ‫‪Maison et Objet Paris January 2019‬‬ ‫ﻳﻌﺪ ﻣﻌﺮض ﺑﺎرﻳﺲ ﻟ ﺛﺎث واﻟﻤﻨﺰل ﻣﻦ‬ ‫أﻓﻀﻞ اﻟﻤﻌﺎرض اﻟﻌﺎﻟﻤﻴﺔ اﻟﺘﻲ ﺗﺠﻤﻊ‬ ‫أﺣﺪث اﻟﻤﻨﺘﺠﺎت واﻟﻤﻔﺮوﺷﺎت وﻗﻄﻊ ا‪#‬ﺛﺎث‬ ‫وﻣﺼﻤﻤﻲ أﺛﺎث ودﻳﻜﻮر ﻣﻦ ﺷﺘﻰ أﻧﺤﺎء‬ ‫اﻟﻌﺎﻟﻢ ﺗﺤﺖ ﺳﻘﻒ واﺣﺪ‪.‬‬ ‫ﻳﻨﻌﻘﺪ اﻟﻤﻌﺮض ﻓﻲ ﻧﺴﺨﺘﻪ ا‪#‬وﻟﻰ ﻟﻌﺎم ‪٢٠١٩‬‬ ‫ﻓﻲ ﺷﻬﺮ ﻳﻨﺎﻳﺮ ﻓﻲ اﻟﻔﺘﺮة ﻣﻦ ‪ ١٨‬ﺣﺘﻰ ‪٢٢‬‬ ‫ﻟﻤﺪة ﺧﻤﺲ أﻳﺎم‪ .‬ﻓﻲ ﻫﺬه اﻟﻨﺴﺨﺔ ﺗﻢ اﺧﺘﻴﺎر‬ ‫!‪ Excuse My French‬ﻣﻮﺿﻮﻋ‪ H‬ﻟﻠﻤﻌﺮض‬ ‫ﻳﻬﺪف ﻣﻦ ﺧﻼﻟﻪ إﺑﺮاز اﻟﻌﻼﻣﺎت اﻟﺘﺠﺎرﻳﺔ‬ ‫اﻟﻔﺮﻧﺴﻴﺔ واﻟﻤﺼﻤﻤﻴﻦ اﻟﻔﺮﻧﺴﻴﻴﻦ اﻟﺠﺪد‬ ‫ﻟﻜﺎﻓﺔ زوار اﻟﻤﻌﺮض‪ .‬ﻛﻤﺎ ﺗﻢ اﺧﺘﻴﺎر ﺳﺘﺔ‬ ‫ﻓﻨﺎﻧﻴﻦ ﻣﻦ ﻓﺌﺔ اﻟﺸﺒﺎب ﻣﻦ اﻟﺼﻴﻦ ﻟﺠﺎﺋﺰﺗﻲ‬ ‫‪ Rising Talents‬و ‪ Call For Entry‬ﺣﻴﺚ‬ ‫ﺳﻴﺘﻢ ﻋﺮض ﻣﺠﻤﻮﻋﺔ ﻣﻦ أﻋﻤﺎﻟﻬﻢ اﻟﻤﺒﺘﻜﺮة‬ ‫واﻟﻤﻤﻴﺰة ﺧﻼل ﻓﺘﺮة اﻟﻤﻌﺮض‪.‬‬ ‫وﻗﺪ ﺗﺘﻨﻮع وﺗﺘﻐﻴﺮ اﺗﺠﺎﻫﺎت اﻟﺘﺼﻤﻴﻢ‬ ‫اﻟﺪاﺧﻠﻲ وﻳﻜﻤﻦ اﻟﺘﺤﺪي ﻓﻲ إﺑﺘﻜﺎر ﺗﺼﺎﻣﻴﻢ‬ ‫ﺟﺪﻳﺪة وإﻟﻬﺎﻣﺎت ﺟﺪﻳﺪة‪ ،‬ﺣﻴﺚ ﻗﺎم اﻟﻤﻌﺮض‬ ‫ﺑﺈﺟﺮاء ﺗﻐﻴﺮات ﻓﻲ أﻗﺴﺎﻣﻪ ﺣﻴﺚ ﻳﻨﻘﺴﻢ‬ ‫اﻟﻤﻌﺮض إﻟﻰ ﻗﺴﻤﻴﻦ أﺳﺎﺳﻴﻴﻦ اﻟﻤﻨﺰل‬ ‫‪ Maison‬وا‪#‬ﺛﺎث ‪ Objet‬وﻳﻀﻢ ﻗﺴﻢ اﻟﻤﻨﺰل‬ ‫‪ Maison‬ﻋﻠﻰ أرﺑﻊ أﻗﺴﺎم ﺗﺤﺘﻮي ﻋﻞ ﻣﺎﻳﺘﻢ‬ ‫ﻋﺮﺿﻪ ﻓﻴﻬﺎ‪ :‬ﻓﺮﻳﺪة وإﻧﺘﻘﺎﺋﻴﺔ‪ ،‬اﻟﻴﻮم‪ ،‬ﻟ ﺑﺪ‪،‬‬ ‫ﺣﺮﻓﻴﺔ‪ .‬أﻣﺎ ﻗﺴﻢ ا‪#‬ﺛﺎث ‪ Objet‬ﻓﻴﻘﺴﻢ إﻟﻰ‬ ‫ﺳﺒﻌﺔ أﻗﺴﺎم‪ :‬اﻟﻤﺸﺎرﻛﺔ واﻟﻤﻄﺒﺦ‪ ،‬اﻟﻬﺪﻳﺔ‬ ‫اﻟﺬﻛﻴﺔ‪ ،‬إﻛﺴﺴﻮارات‪ ،‬اﻟﻌﺎﺋﻠﺔ وا‪#‬ﻃﻔﺎل‪.‬‬

‫∂∑ « ‪¡UM³‬‬

‫‪76 Albenaa‬‬

WO½öŽ≈ …œU ¡UM³ « o×K

The Famous Brand For Tyre Aeolus Tyre Co., Ltd. (Sole Exclusive Agent in Saudi Arabia: Tariq Fareed Al Mimani Trading Est.)

SUV The products of Aeolus Tyre Co., LTD are sold well all over China and exported more than 140 countries and region all over the world. The brand of AEOLUS is the famous brand of China, and the brand has been internationally registered in more than 100 countries and regions.

Friend from home and abroad are zealously welcome to our company to hold business talks and technical exchange; our company will provide youth satisfactory products and services.

PASSENGER CARS

LIGHT COMMERCIAL VEHICLE Brief introduction Located in Jiaozuo, a city with beautiful scenes and has welldeveloped transport facilities, Aeolus Tyre Co., Ltd. was founded in 1965, has a total space of 1,300,000 square meters for manufacturing and research & development.

Aeolus Tyre ranked 20th position in the world Tyre industry. Aeolus Tyre stocks (A Share) are exchanged at SSE from Oct 21, 2003. The main products of the company is “AEOLUS” brand, “AEOLUS’ brand have many kinds of tyres like off-theroad Tyre, Radial off-the road Tyre, truck & bus radial Tyre etc.

The company has successively passed ISO 9002 Product Quality Certification, ISO 9001 Quality Management System Certification, China Commodity Inspection Certification approved by China National Accreditation Board (CNAB) United States DOT Certification, European Union ECE Certification, China Tyre Product Compulsory Certification (CCC certification), ISO/ TS 16949:2002 certificate ; Inner Tube Product Quality Certification, ISO 14001 Environmental Management System Certificate andOccupational Safety & Health Management System (OSHMS) certificate etc.

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