‫اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ اﻟﻤﺘﻘﺪﻣﺔ ‪High Technology‬‬

‫ﻣﻦ ﺗﻘﺪم اﻟﻌﻠﻮم واﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ وﻇﮭﻮر ﻧﻈﺮﯾﺎت إﻧﺸﺎﺋﯿﺔ ﺟﺪﯾﺪة ﻛﺎﻧﺖ ﻣﻦ أـﺴﺒﺎب ﻇﮭﻮر‬
‫ﻋﻤﺎرة اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ اﻟﻤﺘﻘﺪﻣﺔ‬

‫ﻣﻦ أﺳﺒﺎب ﻇﮭﻮر ﻋﻤﺎرة اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ اﻟﻤﺘﻘﺪﻣﺔ ‪:‬‬

‫• ﻇﮭﻮر ﻣﻮاد ﺟﺪﯾﺪة ﺧﻔﯿﻔﺔ ﻣﺜﻞ اﻷﻟﻤﻮﻧﯿﻮم‪ ،‬اﻟﺰﺟﺎج‪ ،‬ﺧﺮﺳﺎﻧﺎت ﺧﻔﯿﻔﺔ‪،‬ﺣﺪﯾﺪ‪،‬ﺑﻼﺳﺘﯿﻚ‪..‬‬
‫• اﻟﻄﺮق اﻹﻧﺸﺎﺋﯿﺔ اﻟﺠﺪﯾﺪة اﻟﺘﻲ أدت إﻟﻰ ﻇﮭﻮر ﺑﺤﻮر واﺳﻌﺔ ﺗﺼﻞ إﻟﻰ ‪120‬م‬
‫وﻣﺸىﺖ ﻣﻌﺪﻧﯿﺔ ﺑﺎرﺗﻔﺎﻋﺎت ﺷﺎھﻘﺔ أﻛﺒﺮ ﻣﻦ ‪500‬م‪..‬‬
‫• ﻇﮭﻮر ﻃﺮق ﺗﺼﻨﯿﻊ ﺟﺪﯾﺪة ﻣﺜﻞ ﻣﺒﺎﻧﻲ ﺟﺎھﺰة ‪ ،‬ﻣﺒﺎﻧﻲ ﺳﺎﺑﻘﺔ اﻻﺟﮭﺎد ‪ ،‬ﻣﺒﺎﻧﻲ ﺳﺎﺑﻘﺔ‬
‫اﻟﺼﺐ ‪..‬‬
‫• ﻇﮭﻮر اﻟﺜﻮرة اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺔ ﻓﻲ اﻟﯿﺎﺑﺎن‪..‬‬
‫• اﻟﺤﺎﺟﺔ إﻟﻰ ﺗﻮﻓﯿﺮ اﻟﻮﻗﺖ واﻟﺠﮭﺪ‪..‬‬
‫• اﻟﻮﺻﻮل إﻟﻰ ﻣﺮﺣﻠﺔ اﻻﺳﺘﻐﻨﺎء ﻋﻦ اﻟﻌﺎﻣﻞ وإﺣﻼل اﻵﻟﺔ واﻟﻤﺎﻛﯿﻨﺔ ﺑﺪﻻً ﻣﻨﮫ‪..‬‬
‫• ﺳﮭﻮﻟﺔ ﻓﻚ وﺗﺮﻛﯿﺐ وﺗﺒﺪﯾﻞ وﻧﻘﻞ اﻟﻤﺒﺎﻧﻲ ﻣﺜﻞ اﻟﻤﺒﺎﻧﻲ اﻟﻀﺨﻤﺔ ) ‪mega‬‬
‫‪ (structure‬واﻟﻤﺒﺎﻧﻲ اﻟﻜﺒﺴﻮﻟﯿﺔ ‪..‬‬

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 ‫اﻟﻤﻤﯿﺰات اﻟﻌﺎﻣﺔ ﻟﻌﻤﺎرة اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ اﻟﻤﺘﻘﺪﻣﺔ ‪:‬‬
‫• اﺳﺘﺨﺪام آﺧﺮ ﻣﺎ ﺗﻮﺻﻠﺖ إﻟﯿﮫ اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ ﻣﻦ ﻣﻮاد ‪ ،‬ﻃﺮق إﻧﺸﺎء ‪ ،‬ﻧﻈﺮﯾﺎت إﻧﺸﺎﺋﯿﺔ‬
‫• اﻟﻤﺒﺎﻟﻐﺔ ﻓﻲ اﺳﺘﺨﺪام اﻟﻤﻮاد اﻟﻤﺼﻨﻌﺔ ) زﺟﺎج ‪ ،‬ﻣﻌﺎدن ‪ ،‬ﺑﻼﺳﺘﯿﻚ ( ﺑﺪﻻً ﻣﻦ اﻟﻤﻮاد‬
‫اﻟﺘﻘﻠﯿﺪﯾﺔ ) اﻟﺤﺠﺮ ( ‪..‬‬
‫• ﻋﺪم اﻟﺨﻮف ﻣﻦ إﻇﮭﺎر اﻟﺤﺪﯾﺪ ‪ ،‬ﺑﻞ إﻇﮭﺎره ﺑﺸﻜﻞ واﺿﺢ ‪..‬‬
‫• رﻓﻊ ﺷﻌﺎر ) اﻵﻟﺔ ‪ +‬اﻟﻔﻦ = ﻋﻤﺎرة ﺟﻤﯿﻠﺔ ﻣﺘﻘﺪﻣﺔ ( ‪..‬‬
‫• ﻣﺮوﻧﺔ اﻟﻤﺒﻨﻰ وﺗﻐﯿﯿﺮ اﻟﻮﻇﺎﺋﻒ ﺣﯿﺚ أﺻﺒﺢ اﻟﻤﺒﻨﻰ ﻋﺒﺎرة ﻋﻦ ﻣﺴﻄﺤﺎت وﻓﺮاﻏﺎت ﺗﻜﺎد‬
‫ﺗﺨﻠﻮ ﻣﻦ اﻟﻌﻨﺎﺻﺮ اﻹﻧﺸﺎﺋﯿﺔ‪..‬‬
‫• اﻻﺳﺘﻐﻨﺎء ﻋﻦ اﻟﻌﻤﺎل واﻟﺤﺮﻓﯿﯿﻦ واﺳﺘﺒﺪاﻟﮭﻢ ﺑﻤﻮاد وأﺟﺰاء ﻣﺼﻨﻌﺔ آﻟﯿﺎً ‪..‬‬

‫ﻇﮭﻮر ﻋﺪة ﻓﺮق ‪:‬‬

‫‪ -‬ﻓﺮﯾﻖ ﻗﺎم ﺑﺈﺧﻔﺎء ﻣﻮاﺳﯿﺮ اﻟﺼﺮف ﻓﻲ أﺳﻘﻒ ﻣﺰﯾﻔﺔ ‪..‬‬
‫‪ -‬ﻓﺮﯾﻖ ﺗﺮﻛﮭﺎ ﻛﻤﺎ ھﻲ وﻗﺎم ﺑﺈﻇﮭﺎرھﺎ وﺗﺄﻛﯿﺪھﺎ ﺑﺄﻟﻮان ﻣﻤﯿﺰة وﻣﻠﻔﺘﺔ ﻟﻠﻨﻈﺮ واﻻﻧﺘﺒﺎه ‪..‬‬
‫‪ -‬ﻓﺮﯾﻖ ﺑﺎﻟﻎ ﻓﯿﮭﺎ ﺑﺠﻌﻠﮭﺎ ﻋﻨﺼﺮ أﺳﺎﺳﻲ ﻓﻲ اﻟﻮاﺟﮭﺎت إﻟﻰ ﺟﺎﻧﺐ اﻟﺴﻼﻟﻢ اﻟﻤﺘﺤﺮﻛﺔ و‬
‫اﻟﻤﺼﺎﻋﺪ ‪..‬‬

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 ‫ﻣﻦ أﺷﮭﺮ اﻟﻤﻌﻤﺎرﯾﯿﻦ اﻟﺬﯾﻦ ﻇﮭﺮوا ﻓﯿﮭﺎ ‪:‬‬
‫‪ -‬ﺑﺎﻛﻤﻨﺴﺘﺮ ﻓﻮﻟﺮ ‪ -‬رﯾﺘﺸﺎرد روﺟﺮز و رﯾﻨﺰوﺑﯿﺎﻧﻮ‬
‫‪ -‬ﻧﻮرﻣﺎن ﻓﻮﺳﺘﺮ ‪ -‬ھﯿﻠﻤﻮت ﺟﺎن‬
‫‪ -‬ﻛﯿﺸﻮ ﻛﺎراﻛﺎوا ‪ -‬ﻣﻮﺳﻰ ﺻﻔﺪي‬
‫‪I.M.BEI -‬‬
‫رﯾﺘﺸﺎرد ﺑﺎﻛﻤﻨﺴﺘﻠﺮ ﻓﻮﻟﺮ‬
‫‪Pritchard Buckminster fuller‬‬
‫ﻛﺎن ﺗﺮﻛﯿﺰ ﻓﻮﻟﺮ ﻋﻠﻰ اﻟﻌﻨﺎﺻﺮ اﻟﺘﻲ ﺗﺘﺤﻤﻞ اﻟﺸﺪ ﻷﻧﮭﺎ ﺧﻔﯿﻔﺔ اﻟﻮزن ﻓﻜﺎﻧﺖ ﻧﻈﺮة ﻓﻮﻟﺮ‬
‫ﻻﺳﺘﻐﻼل ﻗﻮى اﻟﺸﺪ ﻓﻲ اﻟﻤﺒﺎﻧﻲ‪ .‬ﻓﻮﺻﻞ إﻟﻰ ﻃﺮﯾﻘﺔ إﻧﺸﺎﺋﯿﺔ ﺑﺴﯿﻄﺔ ﺗﺴﺘﮭﻠﻚ أﻗﻞ ﻗﺪر‬
‫وأﺧﻒ وزن ﻣﻦ ﻣﻮاد اﻟﺒﻨﺎء ‪،‬واﺳﺘﺨﺪم ﺗﻐﻄﯿﺎت ﺗﻐﻄﻲ ﻣﺴﺎﺣﺎت ﻛﺒﯿﺮة دون اﻟﺤﺎﺟﺔ إﻟﻰ‬
‫أﻋﻤﺪة إﻧﺸﺎﺋﯿﺔ‬
‫اﺳﺘﺨﺪم اﻟﻤﻮاد اﻟﺨﻔﯿﻔﺔ ﻣﻦ أﻟﻮاح اﻟﺰﺟﺎج ‪ ،‬واﻟﺒﻼﺳﺘﯿﻚ ‪،‬واﻷﻟﻮﻣﯿﻨﯿﻮم ‪ ،‬واﻟﻌﻮازل‬
‫واﻟﻘﺒﺎب اﻟﺠﯿﻮدﺳﯿﺔ ‪...‬‬
‫اﻟﻘﺒﺔ اﻟﺠﯿﻮدﺳﯿﺔ )‪:(Geodesic Dome‬‬
‫وھﻲ ﻋﺒﺎرة ﻋﻦ ﻗﻄﺎﻋﺎت ﻣﻦ اﻟﺤﺪﯾﺪ أو وﺣﺪات ﻣﻌﺪﻧﯿﺔ ﺗﺘﻌﺮض ﻛﻠﮭﺎ ﻟﻘﻮى ﻣﺤﻮرﯾﺔ‬
‫أﻏﻠﺒﮭﺎ ﻗﻮى ﺷﺪ وﺗﺜﺒﺖ ﻣﻊ ﺑﻌﻀﮭﺎ اﻟﺒﻌﺾ ﺑﺸﻜﻞ ﻣﺜﻠﺜﺎت أو ﻣﺴﺪﺳﺎت ﺗﻨﻤﻮ ﻣﺘﺮاﺑﻄﺔ‬
‫ﻟﺘﺸﻜﻞ ﻋﻘﻮد وﻗﺒﺎب‬

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 ‫ﻓﻠﺴﻔﺔ ﻓﻮﻟﺮ ‪:‬‬
‫•أن اﻟﻤﺒﻨﻰ ﻻ ﺑﺪ أن ﯾﻨﺸﺄ ﻃﺒﻘﺎ ﻷﺳﺎﺳﯿﺎت اﻟﺨﻔﺔ واﻟﻘﻮة‬
‫•واﻻﺗﺠﺎه ﺑﻔﻜﺮﻧﺎ ﻧﺤﻮ اﻟﻘﻮى اﻟﺘﻲ ﺗﺘﺤﻜﻢ ﻓﻲ ﺗﺼﻤﯿﻢ اﻟﻄﺎﺋﺮات واﻟﺴﻔﻦ وﻛﯿﻒ ﺗﻄﺒﻖ ﻓﻲ اﻟﻌﻤﺎرة‬
‫‪.‬‬
‫•اﺳﺘﺨﺪام اﻟﻤﻮاد اﻟﺘﻲ ﺗﺘﺤﻤﻞ اﻟﺸﺪ ﻟﺨﻔﺔ وزﻧﮭﺎ وﺳﺮﻋﺔ ﺗﻨﻔﯿﺬھﺎ‬
‫•ﻛﺎن ﯾﺆﻣﻦ أن اﻟﻤﺴﺎﻛﻦ ﻣﺴﺒﻘﺔ اﻟﺼﻨﻊ ﺗﻌﺘﺒﺮ رﻣﺰ ﻟﻠﺘﻜﻨﻮﻟﻮﺟﯿﺎ‬
‫•ﯾﻌﺘﺒﺮ أن اﻟﻌﻤﺎرة ﻋﻨﺪﻣﺎ ﺗﺼﻤﻢ ﺑﺎﻟﻄﺮق اﻟﺘﻘﻠﯿﺪﯾﺔ ﺗﻜﻮن ﻻ ﻣﻌﻨﻰ ﻟﮭﺎ ‪Nonsense‬‬
‫أھﻢ أﻋﻤﺎﻟﮫ‪:‬‬
‫اﻟﺠﻨﺎح اﻷﻣﺮﯾﻜﻲ ﺑﻤﻌﺮض ﻧﯿﻮﯾﻮرك اﻟﺪوﻟﻲ ‪1967‬‬
‫وھﻮ ﻋﺒﺎرة ﻋﻦ ﻗﺒﺔ ﺟﯿﻮدﺳﯿﺔ ﺿﺨﻤﺔ ﻣﻦ ﻣﻮاد ﺧﻔﯿﻔﺔ ﺗﻀﻢ ﻛﻞ أﻗﺴﺎم اﻟﻤﻌﺮض ﻟﯿﺘﺨﻠﻠﮫ اﻟﻀﻮء‬
‫اﻟﻄﺒﯿﻌﻲ ‪.‬‬

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 ‫• ﺑﺎﻛﻤﻨﺴﱰ ﻓﻮﻟﺮ‬
‫•ﺍﳉﻨﺎﺡ ﺍﻻﻣﺮﻳﻜﻲ ﲟﻌﺮﺽ ﻧﻴﻮﻳﻮﺭﻙ‬
‫ﺍﻟﺪﻭﱄ‬

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 ‫• ﺑﺎﻛﻤﻨﺴﱰ ﻓﻮﻟﺮ‬
‫•ﺍﳉﻨﺎﺡ ﺍﻻﻣﺮﻳﻜﻲ ﲟﻌﺮﺽ ﻧﻴﻮﻳﻮﺭﻙ ﺍﻟﺪﻭﱄ‬

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 ...‫أﯾﻀﺎً ﺑﻨﻔﺲ اﻟﻔﻠﺴﻔﺔ‬..‫أﺣﺪ أﻋﻤﺎل ﻓﻮﻟﺮ‬

North Carolina State University

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬

‫• ﺃﻫﻢ ﺃﻋﻤﺎﻟﻪ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬
‫• ﺷﺮﻛﺔ ﻟﻮﻳﺪﺯ‬
‫• ﻣﺒﲎ ﻣﻴﻠﻴﻨﻴﻢ ﺩﻭﻡ‬

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 ‫اﻟﻤﻌﻤﺎري رﯾﺘﺸﺎرد روﺟﺮز‬
‫ﻛﺎن ﻣﻦ أﻛﺜﺮ اﻟﻤﻌﻤﺎرﯾﯿﻦ ﻋﺸﻘﺎ‬
‫و اھﺘﻤﺎﻣﺎ أن ﺗﻌﺒﺮ ﻣﺒﺎﻧﯿﮫ ﻋﻦ‬
‫ﻋﺼﺮ اﻵﻟﺔ‬
‫أﺛﺎر ﺟﺪﻻ ﺑﻤﺒﻨﺎه ﺑﻤﺒﯿﺪو ﺳﻨﺘﺮ و‬
‫ﺗﻢ ﺷﺮح ھﺬا اﻟﻤﺒﻨﻰ ﻓﻲ ﻋﻤﺎرة‬
‫اﻟﺤﺪاﺛﺔ اﻟﻤﺘﺄﺧﺮة ﻓﻲ ﻧﻤﻂ‬
‫اﻟﺠﻤﺎل اﻟﻤﺘﺄﺛﺮ ﺑﺎﻵﻟﺔ‬

‫ﺑﻤﺒﯿﺪو ﺳﻨﺘﺮ و اﻟﻮﺳﻂ‬

‫اﻟﻤﺤﯿﻂ ﺑﮫ‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬

‫• ﯾﻘﻊ ﻣﺮﻛﺰ ﺟﻮرج ﺑﻮﻣﺒﯿﺪو ﻟﻠﻔﻨﻮن‬

‫واﻟﺜﻘﺎﻓﺔ ﻓﻰ ﻗﻠﺐ ﺑﺎرﯾﺲ اﻟﺘﺎرﯾﺨﻰ‬
‫)واﻟﻤﺮﻛﺰ ﻣﻌﺮوف ﺑﺎﺳﻢ ﺑﻮﺑﻮر ‪،‬‬
‫وﯾﺴﺘﻘﺒﻞ ﻗﺮاﺑﺔ اﻟـ ‪ 30‬اﻟﻒ زاﺋﺮ ﯾﻮﻣﯿﺎ(‪.‬‬
‫•اﺷﺘﺮك ﻣﻊ رﯾﺘﺸﺎرد روﺟﺮز اﻹﯾﻄﺎﻟﻲ‬
‫رﯾﻨﺰو ﺑﯿﺎﻧﻮ وﻛﺎﻧﺖ اﻟﻤﻨﻄﻘﯿﺔ اﻟﻮاﺿﺤﺔ‬
‫ﻓﻰ اﻟﺘﺼﻤﯿﻢ واﻟﻔﻠﺴﻔﺔ اﻟﻌﻤﻠﯿﺔ أﺣﺪ‬
‫ﻋﻼﻣﺎت ھﺬا اﻟﻤﺒﻨﻰ‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬
‫أوﻻ ‪ :‬ﻣﻜﻮﻧﺎت اﻟﻤﺮﻛﺰ‪:‬‬
‫ﻓﺎﻟﻤﺒﻨﻰ ﻣﻜﻮن ﻣﻦ ﺻﺎﻻت ﻋﺮض ﻣﺨﺘﻠﻒ‬
‫اﻟﻔﻨﻮن اﻟﺘﺸﻜﯿﻠﯿﺔ وﻣﻜﺘﺒﺎت ﺗﺤﻮي اﺣﺪث‬
‫اﻟﻜﺘﺐ واﻟﻤﻄﺒﻮﻋﺎت وﻗﺎﻋﺎت ﻗﺮاءة‬
‫وﻣﺨﺎزن وﻛﻞ ھﺬه اﻷﻧﺸﻄﺔ ﻗﺎﺑﻠﺔ ﻟﻠﺘﻮﺳﻊ‬
‫أو اﻻﻧﻜﻤﺎش ﺣﺴﺐ اﻟﺤﺎﺟﺔ وذﻟﻚ ﺑﺎﺳﺘﺨﺪام‬
‫ﻧﻈﺎم إﻧﺸﺎﺋﻲ ﯾﺴﻤﺢ ﺑﺒﺤﺮ ﺣﻮاﻟﻲ ‪ 45‬ﻣﺘﺮ‪،‬‬
‫وذﻟﻚ واﺿﺢ ﺑﺎﻟﻄﺒﻊ ﻋﻠﻰ اﻟﻮاﺟﮭﺎت واﻟﺘﻰ‬
‫ﺟﻌﻠﺖ اﻟﻤﺒﻨﻰ ﯾﻈﮭﺮ وﻛﺄﻧﮫ أﺣﺪ ﻣﺤﻄﺎت‬
‫ﺗﻜﺮﯾﺮ اﻟﺒﺘﺮول‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬

‫وﺗﻀﻢ ﻣﻜﺘﺒﺔ اﻟﻤﺮﻛﺰ اﻛﺜﺮ ﻣﻦ ﻣﻠﯿﻮن‬

‫ﻛﺘﺎب ووﺛﯿﻘﺔ وﻣﯿﻜﺮوﻓﯿﻠﻢ ‪...‬‬
‫وﻣﻌﺎﻣﻞ ﻟﺘﻌﻠﯿﻢ ﻣﻌﻈﻢ اﻟﻠﻐﺎت )ﻣﺠﺎﻧﺎ(‬
‫‪ ،‬وﻣﻜﺘﺒﺔ وﺛﺎﺋﻖ ﺳﻤﻌﯿﺔ ﺑﺼﺮﯾﺔ ‪.‬‬

‫وﯾﻮﺟﺪ ﻓﻰ اﻟﻤﺮﻛﺰ اﯾﻀﺎ )ﻣﻌﮭﺪ‬

‫ﺑﺤﻮث اﻟﺘﻮاﻓﻖ اﻟﺼﻮﺗﻰ اﻟﻤﻮﺳﯿﻘﻰ(‬
‫ﺑﺎﻹﺿﺎﻓﺔ اﻟﻰ )ﻣﺮﻛﺰ اﻹﺑﺪاع‬
‫اﻟﺼﻨﺎﻋﻰ(‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬
‫ﺛﺎﻧﻴﺎ ‪ :‬ﲢﻠﻴﻞ ﺍﻟﻌﻨﺎﺻﺮ‪:‬‬
‫ﺗﺄﻛﻴﺪ ﳏﺎﻭﺭ ﺍﳊﺮﻛﺔ ‪:‬‬
‫ﯾﺘﻀﺢ ذﻟﻚ ﻣﻦ ﺧﻼل اﻟﺴﻼﻟﻢ اﻟﻤﺘﺤﺮﻛﺔ ﻋﻠﻰ‬
‫اﻟﻮاﺟﮭﺔ اﻟﺮﺋﯿﺴﯿﺔ داﺧﻞ اﻧﺎﺑﯿﺐ زﺟﺎﺟﯿﺔ‬
‫ﯾﺴﺘﺨﺪﻣﮭﺎ اﻟﺠﻤﮭﻮر ﻟﻠﻮﺻﻮل إﻟﻰ اﻷدوار‬
‫اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻤﺒﻨﻰ ﻛﻤﺎ ﯾﻤﻜﻦ ﻣﺸﺎھﺪة‬
‫اﻟﺴﺎﺣﺔ اﻟﻜﺒﯿﺮة اﻟﺘﻰ ﺗﺮﻛﺖ ﻓﻰ ﻣﻮاﺟﮭﺔ اﻟﻤﺒﻨﻰ‬
‫ﺣﯿﺚ ﯾﺘﺠﻤﻊ اﻟﺤﻮاة وإﻣﻜﺎﻧﯿﺔ اﻻﺳﺘﻤﺎع إﻟﻰ‬
‫اﻟﻔﺮق اﻟﻤﻮﺳﯿﻘﯿﺔ واﻟﻔﺮق اﻟﺸﻌﺒﯿﺔ ‪ ،‬وھﻜﺬا‬
‫ﻇﮭﺮت اﻟﺴﻼﻟﻢ وﻛﺄﻧﮭﺎ دودة ﺗﺘﺴﻠﻖ اﻟﻤﺒﻨﻰ‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬
‫ﺍﻻﺳﺘﺨﺪﺍﻡ ﺍﻟﺰﺧﺮﰲ ﺍﳌﺘﺄﻧﻖ ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ ‪:‬‬
‫ﻧﺠﺪ ذﻟﻚ ﻓﻰ اﺳﺘﺨﺪاﻣﮫ ﺧﻤﺲ أﻟﻮان ﻋﺒﺎرة ﻋﻦ‬
‫ﻃﺒﻘﺎت ﻋﻠﻰ اﻟﻮاﺟﮭﺔ ﻛﻞ ﻟﻮن ﻣﻨﮭﺎ ﺧﺪﻣﺔ ﻣﻌﯿﻨﺔ‬
‫ﻣﻦ ﺧﺪﻣﺎت اﻟﻤﺒﻨﻰ أو ﻋﻨﺼﺮ إﻧﺸﺎﺋﻲ وھﻰ ﺣﺴﺐ‬
‫ﺗﺮﺗﯿﺒﮭﺎ ﻣﻦ اﻟﺪاﺧﻞ إﻟﻰ اﻟﺨﺎرج ﻛﻤﺎ ﯾﻠﻲ ‪:‬‬
‫‪ .1‬ﻗﻔﺺ ﻣﻦ اﻟﺤﺪﯾﺪ اﻟﻤﻄﻠﻲ ﺑﺎﻷﺳﻮد ‪.‬‬
‫‪ .2‬ﻣﻮاﺳﯿﺮ إﻧﺸﺎﺋﯿﺔ ﺧﻀﺮاء اﻟﻠﻮن ‪.‬‬
‫‪ .3‬دھﺎﻧﺎت زرﻗﺎء ﻓﻰ ﺑﻌﺾ اﻟﻐﺮف اﻟﺨﺎﺻﺔ ‪.‬‬
‫‪ .4‬وﺣﺪات إﻧﺸﺎﺋﯿﺔ ﻣﺘﻘﺎﻃﻌﺔ رﻣﺎدﯾﺔ اﻟﻠﻮن ‪.‬‬
‫‪ .5‬اﻟﺪﻛﺘﺎت أﺧﺬت اﻟﻠﻮن اﻟﺒﺮﺗﻘﺎﻟﻲ اﻟﻼﻣﻊ ‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬
‫وﺗﻌﺘﺒﺮ اﻟﻮﺻﻼت واﻟﮭﯿﻜﻞ‬
‫اﻹﻧﺸﺎﺋﻲ اﻟﺘﻰ اﺳﺘﺨﺪﻣﺖ‬
‫ﺑﻜﺜﺮة ﻣﻊ اﻟﻨﻈﺎم اﻹﻧﺸﺎﺋﻲ‬
‫واﻟﺘﻌﺒﯿﺮ ﻋﻦ اﻟﻔﻦ اﻟﺠﺪﯾﺪ‬
‫ﯾﻌﺘﺒﺮ ذﻟﻚ اﺣﺘﻔﺎل ﻛﺒﯿﺮ‬
‫ﺑﺎﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ واﻧﻔﺼﺎل ﻋﻦ‬
‫اﻟﺘﺎرﯾﺦ ‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬

‫وأﻣﺎم اﻟﻤﺮﻛﺰ اﻟﻮاﻗﻊ ﻓﻰ ﻣﻨﻄﻘﺔ ﺳﯿﺎﺣﯿﺔ ﻣﻦ‬

‫اﻟﺪرﺟﺔ اﻷوﻟﻰ ‪ ،‬ﺗﻮﺟﺪ ﺳﺎﺣﺔ ﺿﺨﻤﺔ ‪ ،‬ﯾﻠﺘﻘﻰ ﻓﯿﮭﺎ‬
‫اﻟﻔﻨﺎﻧﯿﯿﻦ واﻟﻤﻮﺳﯿﻘﯿﯿﻦ واﻟﻤﮭﺮﺟﯿﻦ ‪ ...‬وﯾﺤﯿﻂ‬
‫ﺑﺎﻟﻤﺮﻛﺰ ﺑﺎﻟﻄﺒﻊ ﻋﺪد ﻛﺒﯿﺮ ﻣﻦ اﻟﻤﺤﻼت اﻟﺘﺠﺎرﯾﺔ‬
‫واﻟﻤﻄﺎﻋﻢ واﻟﻤﻘﺎھﻰ‪.‬‬
‫وﺗﻼﺻﻖ اﻟﻤﺮﻛﺰ ﻧﺎﻓﻮرة ﻣﺎﺋﯿﺔ ﻛﺒﯿﺮة ﻣﺰﯾﻨﺔ‬
‫ﺑﺎﻟﻤﻨﺤﻮﺗﺎت اﻟﻤﻌﺪﻧﯿﺔ اﻟﺤﺪﯾﺜﺔ ذات اﻷﻟﻮان اﻟﺒﺎھﺮة‪.‬‬
‫واﻟﺘﻰ ﺗﺸﻐﻞ ﻣﻌﻈﻢ ﻣﺴﺎﺣﺔ اﻟﻤﯿﺪان اﻟﻮاﻗﻌﺔ ﻓﯿﮫ‬
‫)ﻣﯿﺪان إﯾﻐﻮر ﺳﺘﺮاﻓﻨﺴﻜﻲ(‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﺷﺮﻛﺔ ﻟﻮﻳﺪﺯ‬
‫ﯾﻘﻊ ﻓﻲ ﻟﻨﺪن‪,‬وﻗﺪ ﻧﻔﺬ ﻓﻲ ﺳﻨﺔ‬
‫‪1986‬وأھﻢ ﻣﺎ ﯾﻤﯿﺰه‪:‬‬

‫•ﺷﺒﻜﺎت اﻟﺼﺮف اﻟﺼﺤﻲ‬

‫واﻟﺘﻐﺬﯾﺔ اﻟﻲ اﻟﻮاﺟﮭﺎت‪.‬‬
‫•ﺗﺴﮭﯿﻞ ﻋﻤﻠﯿﺎت اﻟﺼﯿﺎﻧﺔ ﻟﻜﻞ‬
‫ﺷﺒﻜﺎت اﻟﻤﺮاﻓﻖ‪.‬‬
‫•ﺗﻮﻓﯿﺮ ﻗﺪر ﻛﺒﯿﺮ ﻣﻦ اﻻﺿﺎءة ‪.‬‬

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 ‫ﻣﺒﻨﻰ اﻟﻤﺮﻛﺰ اﻟﺮﺋﯿﺴﻲ ﺑﺸﺮﻛﮫ ﻟﻮﯾﺪ ﻓﻲ ﻟﻨﺪن ‪1986‬‬
‫أﺣﺪ اﻟﻌﻤﺎل اﻟﻤﺸﮭﻮرة ﻟﺮوﺟﺮز ﻓﻲ ﻟﻨﺪن وﯾﺘﻤﯿﺰ اﻟﻤﺒﻨﻰ ﺑﺎﻟﺘﺎﻟﻲ‪:‬‬
‫• ﺧﺮوج ﻛﻞ أﺣﺸﺎء اﻟﻤﺒﻨﻰ ﻟﻠﻮاﺟﮭﺎت ﻟﺘﺤﺮﯾﺮ اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﯿﺔ ﻣﻦ أي ﻋﻮاﺋﻖ‬
‫• ﺗﻮﻓﯿﺮ ﻋﺪد ﻛﺒﯿﺮ ﻣﻦ اﻹﺿﺎءة اﻟﻄﺒﯿﻌﯿﺔ ﻣﻦ اﻟﺴﻘﻒ اﻟﺰﺟﺎﺟﻲ‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﺳﻨﱰ‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺒﲎ ﻣﻴﻠﻴﻨﻴﻢ ﺩﻭﻡ‬

‫ﻗﺒﺔ اﻷﻟﻔﯿﺔ ھﻰ واﺣﺪة ﻣﻦ ﻋﺠﺎﺋﺐ‬

‫اﻟﻌﺼﺮ اﻟﺤﺪﯾﺚ ‪ ...‬ﺗﻘﻊ ﺗﻠﻚ اﻟﻘﺒﺔ ﻓﻰ‬
‫ﺷﺒﮫ ﺟﺰﯾﺮة ﺟﺮﯾﻨﺘﺶ ﻓﻰ ﺑﺮﯾﻄﺎﻧﯿﺎ ﻋﻠﻰ‬
‫ﻣﺴﺎﺣﺔ ‪ 130‬ھﻜﺘﺎر وھﻰ اﻋﺠﻮﺑﺔ ﻣﻦ‬
‫ﻋﺠﺎﺋﺐ اﻟﮭﻨﺪﺳﺔ اﻟﻤﺪﻧﯿﺔ ﻗﺒﻞ ان ﺗﻜﻮن‬
‫ﺗﺤﻔﺔ ﻣﻌﻤﺎرﯾﺔ ‪ ..‬ﻓﻠﻘﺪ ﻃﻮﻋﺖ اﻟﮭﻨﺪﺳﺔ‬
‫اﻟﻤﺪﻧﯿﺔ ﻧﻔﺴﮭﺎ ﻟﻜﻰ ﺗﺤﻘﻖ ﻟﻠﻤﺼﻤﻢ‬
‫اﻟﻤﻌﻤﺎرى ﻣﺎ ﯾﺮﻧﻮ اﻟﯿﮫ‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺒﲎ ﻣﻴﻠﻴﻨﻴﻢ ﺩﻭﻡ‬

‫ﻗﻄﺮ اﻟﻘﺒﺔ ‪ 320‬ﻣﺘﺮ وﻣﻌﻠﻘﺔ‬

‫ﻣﻦ ‪ 12‬ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺴﻮارى‬
‫اﻟﻔﻮﻻذﯾﺔ ﻃﻮل ﻛﻞ ﻣﻨﮭﺎ ‪100‬‬
‫ﻣﺘﺮ واﺳﺘﺨﺪم ﻓﻰ اﻧﺸﺎﺋﮭﺎ اﻛﺜﺮ‬
‫ﻣﻦ ‪ 70‬ﻛﯿﻠﻮﻣﺘﺮ ﻣﻦ اﻟﻜﺎﺑﻼت‬
‫ذات اﻟﻘﻮة اﻟﻌﺎﻟﯿﺔ‪.‬‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺒﲎ ﻣﻴﻠﻴﻨﻴﻢ ﺩﻭﻡ‬

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 ‫• ﺭﻳﺘﺸﺮﺩ ﺭﻭﺟﺮﺯ‬
‫• ﻣﺒﲎ ﻣﻴﻠﻴﻨﻴﻢ ﺩﻭﻡ‬

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 ‫• ﻣﺒﲎ ﻣﻴﻠﻴﻨﻴﻢ ﺩﻭﻡ‬

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 ‫ﻧﻮرﻣﺎن ﻓﻮﺳﺘﺮ‬
‫ﻛﺎﻧﺖ ﻣﻦ اﻣﺎﻟﮫ اﻟﻮﺻﻮل اﻟﻰ ﻋﻤﺎره ﺗﺴﺘﮭﻠﻚ اﻗﻞ واﺧﻒ ﻗﺪر ﻣﻦ ﻣﻮاد اﻟﺒﻨﺎء وﻓﻲ ﻧﻔﺲ‬
‫اﻟﻮﻗﺖ ﺗﺴﺘﮭﻠﻚ اﻗﻞ ﻗﺪر ﻣﻦ اﻟﻄﺎﻗﺔ ﻓﻲ اﻹﻧﺎرة واﻟﺘﻜﯿﯿﻒ ‪.‬‬
‫ﺗﺄﺛﺮ ﺑﻤﺲ ﻓﺎﻧﺪرو و ﻓﻮﻟﺮ ﺑﺎﺳﺘﺨﺪام اﻟﻤﻌﺎدن ﺑﺪل اﻟﺨﺮﺳﺎﻧﺔ ﺣﯿﺚ اﻟﺨﻔﺔ واﻟﺴﺮﻋﺔ واﻟﺮﺷﺎﻗﺔ‬
‫اﻋﺠﺐ ﺑﺒﻌﺾ اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ اﻧﺸﺌﺖ ﻓﻲ اﻟﻘﺮن ‪ 19‬ﻣﻦ اﻟﮭﯿﺎﻛﻞ اﻟﺤﺪﯾﺪﯾﺔ ﻣﺜﻞ اﻟﻘﺼﺮ اﻟﺒﻠﻮري‬
‫ﻓﻲ ﻟﻨﺪن‬
‫اھﻢ اﻋﻤﺎﻟﮫ‪:‬‬
‫‪stansted airport‬‬
‫‪Hong kong bank‬‬
‫وﺻﻒ ﻣﻄﺎر ﺳﺘﺎﻧﺴﺘﯿﺪ‪ :‬ﻟﮫ ﻣﻈﻠﺔ ﺗﺘﻜﻮن ﻣﻦ ﺧﻼﯾﺎ ﻧﻤﻄﯿﺔ ﻋﻠﻰ ارﺗﻔﺎع ‪ 15‬ﻣﺘﺮ‬
‫ﻛﻞ ﺧﻠﯿﺔ ﯾﺤﻤﻠﮭﺎ ﻋﻤﻮد ﺻﻠﺐ ﻟﮫ ارﺑﻊ ﺳﯿﻘﺎن ﺛﻢ ﯾﺘﻔﺮع ﻟﺠﺰوع ﺗﺤﻤﻞ اﻟﺨﻠﯿﺔ ) ﻧﻈﺎم ﻋﻠﻰ‬
‫ﺷﻜﻞ ﺷﺠﺮه‬
‫ﻓﻲ اﻟﺨﻼﯾﺎ ﻓﺘﺤﺎن زﺟﺎﺟﯿﺔ ﯾﺪﺧﻞ ﺧﻼﻟﮭﺎ اﻟﻀﻮء اﻟﻄﺒﯿﻌﻲ‬
‫اﻟﻮاﺟﮭﺎت اﻟﺨﺎرﺟﯿﺔ واﺟﮭﺎت زﺟﺎﺟﯿﺔ ﺗﺪﺧﻞ اﻻﺿﺎءة اﻟﻄﺒﯿﻌﯿﺔ و ﯾﺼﻞ ارﺗﻔﺎﻋﮭﺎ ال ‪12‬‬
‫ﻣﺘﺮ ‪.‬‬
‫ﺑﺮوز اﻟﺴﻘﻒ ﻟﻠﺨﺎرج ﺣﻤﻰ اﻟﻔﺮاغ اﻟﺪاﺧﻠﻲ ﻣﻦ اﺷﻌﺔ اﻟﺸﻤﺲ‬
‫ﺻﺎﻟﺔ ﻣﻔﺘﻮﺣﺔ اﻣﺘﺎزت ﺑﺎﻟﻤﺮوﻧﺔ وﻋﺪم وﺟﺪود ﻋﻮاﺋﻖ ﺧﻼﻟﮭﺎ‬

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬

‫• ﺃﻫﻢ ﺃﻋﻤﺎﻟﻪ‬
‫•ﺑﻨﻚ ‪ HSBC‬ﰲ ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬
‫•ﻣﻄﺎﺭ ﺇﺳﺘﺎﻧﺴﺘﻴﺪ‬
‫•ﻣﺒﲎ ﺑﻨﻚ ﻛﻮﻣﻴﺰﺭ ﰲ ﻓﺮﺍﻧﻜﻔﻮﺭﺕ‬
‫•ﻣﺒﲎ ﻣﻜﺘﺒﺔ ﺟﺎﻣﻌﺔ ﺃﳌﺎﻧﻴﺎ ﺍﳊﺮﻩ‬

‫•ﻣﻜﺎﺗﺐ ﺷﺮﻛﺔ ‪ SWISS‬ﰲ ﻟﻨﺪﻥ‬

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬
‫•ﺑﻨﻚ ‪ HSBC‬ﰲ ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬
‫ﯾﻌﺘﺒﺮ ھﺬا اﻟﻤﺒﻨﻰ ھﻮ ﻣﻔﺘﺎح اﻟﺸﮭﺮه‬
‫ﻟﻨﻮرﻣﺎن ﻓﻮﺳﺘﺮ ﺣﯿﺚ ﺑﻨﻰ ﻓﻰ ھﻮﻧﻎ‬
‫ﻛﻮﻧﻎ ﻓﻰ أﺣﺪ أھﻢ أﺣﯿﺎﺋﮭﺎ و أﻓﻀﻞ‬
‫ﺑﻨﻚ ﻓﻰ اﻟﻌﺎﻟﻢ ﺣﯿﺚ ﯾﺮﺗﻔﻊ ‪ 44‬ﻃﺎﺑﻖ‪.‬‬

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 ‫ ﰲ ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬HSBC ‫•ﺑﻨﻚ‬

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 ‫ ﰲ ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬HSBC ‫•ﺑﻨﻚ‬

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 interior, main atrium space

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬
‫•ﺑﻨﻚ ‪ HSBC‬ﰲ ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬
‫** ﻭﳝﺘﺎﺯ ﺍﳌﺒﲎ ﺑـ‪:‬‬
‫•اﺳﺘﺨﺪام اﺳﻠﻮب اﻟﻔﯿﻨﺞ ﺷﻮى‪.‬‬
‫•اﺳﺘﺨﺪام اﻟﻀﻮء اﻟﻄﺒﯿﻌﻰ ﻓﻰ اﻟﺒﻨﻚ ﻋﻦ‬
‫ﻃﺮﯾﻖ واﺟﮭﺎت زﺟﺎﺟﯿﮫ ﺻﺮﯾﺤﮫ‪.‬‬
‫•اﻟﻤﺮوﻧﮫ اﻟﻜﺎﻣﻠﮫ ﻓﻰ اﻟﻤﺒﻨﻰ ﻣﻦ اﻟﺪاﺧﻞ‬
‫ﺣﯿﺚ ﺗﻢ اﺳﺘﺨﺪام وﺣﺪات ﺟﺎھﺰه‪.‬‬
‫•اﺑﺮاز اﻟﮭﯿﻜﻞ اﻻﻧﺸﺎﺋﻰ ﻟﻠﻤﺒﻨﻰ ﻣﻦ‬
‫اﻟﺨﺎرج‪.‬‬
‫•ﺣﺪﯾﻘﮫ ﻟﻠﺴﻄﺢ‪.‬‬

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 ‫ ﰲ ﻫﻮﻧﻎ ﻛﻮﻧﻎ‬HSBC ‫•ﺑﻨﻚ‬

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬
‫•ﻣﻄﺎﺭ ﺇﺳﺘﺎﻧﺴﺘﻴﺪ‬
‫•أﺣﺪ أھﻢ اﻟﻌﻼﻣﺎت اﻟﺒﺎرزة و اﻟﻤﺤﻄﺎت اﻟﻤﮭﻤﺔ ﻓﻰ‬
‫ﺣﯿﺎة ﻧﻮرﻣﺎن ﻓﻮﺳﺘﺮ ﺣﯿﺚ ﯾﻤﺘﺎز اﻟﻤﺒﻨﻰ ﺑﺎﻟﻤﺮوﻧﺔ‬
‫اﻟﺸﺪﯾﺪة ‪ 36*36‬ﻣﺘﺮ ﻣﻦ اﻟﻤﺴﺎﺣﮫ اﻟﻤﻔﺘﻮﺣﺔ ﻋﺒﺎرة‬
‫ﻋﻦ وﺣﺪات ﻧﻤﻄﯿﮫ ﻣﺘﻜﺮرة ﻣﺮﺑﻌﺔ اﻟﺸﻜﻞ ﺗﺤﻤﻞ ﻋﻠﻰ‬
‫ﻋﻤﻮد أﺷﺒﮫ ﺑﺎﻟﺸﺠﺮة ﺑﺪاﺧﻠﮫ ﻛﻞ ﻣﺎ ﯾﺤﺘﺎج اﻟﻤﺴﺎﻓﺮ‬
‫ﻣﻦ ﻣﻌﻠﻮﻣﺎت ﻋﻦ اﻟﺴﻔﺮ‪.‬‬
‫•اﻋﺘﻤﺪ ﻧﻮرﻣﺎن واﺟﮭﺎت ﺻﺮﯾﺤﺔ ﻹدﺧﺎل اﻟﻀﻮء‬
‫اﻟﻄﺒﯿﻌﻰ ﻣﻊ ﻛﺎﺑﻮﻟﻰ ﻟﻤﻨﻊ اﻻﺑﮭﺎر و ﻣﻊ وﺟﻮد‬
‫ﻓﺘﺤﺎت ﻓﻰ ﺳﻘﻒ اﻟﻮﺣﺪات اﻟﻨﻤﻄﯿﮫ ﻹدﺧﺎل اﻟﻀﻮء‬
‫اﻟﻄﺒﯿﻌﻰ ﻓﻰ اﻟﻨﮭﺎر‪.‬‬

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬
‫•ﻣﻄﺎﺭ ﺇﺳﺘﺎﻧﺴﺘﻴﺪ‬

‫• اﻟﻌﻤﻮد ذو اﻟﻮﻇﯿﻔﮫ اﻻﻧﺸﺎﺋﯿﮫ ﻛﺎن‬

‫ﯾﺤﺘﻮى ﻋﺪد ﻣﻦ اﻟﻌﻨﺎﺻﺮ اﻟﻤﮭﻤﮫ‪:‬‬
‫اﻟﺘﻜﯿﯿﻒ‪ ,‬اﻻﺿﺎءه ‪,‬اﻟﺴﺎﻋﮫ‪ ,‬رﺣﻼت‬
‫اﻟﺴﻔﺮ‪,‬اﻟﻠﻮﺣﺎت اﻻرﺷﺎدﯾﮫ ‪,‬ﻣﺨﺎرج‬
‫اﻟﻄﻮارئ‪.‬‬
‫• ﺗﻢ اﻟﺘﺨﻠﺺ ﻣﻦ ﻛﻞ ﻣﻜﺎﺗﺐ اﻟﻤﻮﻇﻔﯿﻦ‬
‫و اﻟﻌﺎﻣﻠﯿﻦ و اﻷﻣﻦ اﻟﺘﻰ ﻟﯿﺲ‬
‫اﻟﻤﺴﺎﻓﺮ ﻓﻰ ﺣﺎﺟﮫ ﻟﺮؤﯾﺘﮭﺎ اﻟﻰ‬
‫اﻟﻄﺎﺑﻖ اﻟﻘﺒﻮ‪.‬‬

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬
‫•ﻣﻄﺎﺭ ﺇﺳﺘﺎﻧﺴﺘﻴﺪ‬

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 ‫• ﻧﻮﺭﻣﺎﻥ ﻓﻮﺳﱰ‬
‫•ﻣﻄﺎﺭ ﺇﺳﺘﺎﻧﺴﺘﻴﺪ‬
‫• ﺗﻢ رﺑﻂ ھﺬا اﻟﻤﻄﺎر ﺑﻠﻨﺪن ﻋﻦ‬
‫ﻃﺮﯾﻖ ﻋﺪد ﻣﻦ اﻟﻘﻄﺎرات و‬
‫اﻟﺴﻜﻚ اﻟﺤﺪﯾﺪﯾﮫ و اﻟﻄﺮق‬
‫اﻟﺴﺮﯾﻌﮫ ‪.‬‬
‫• ﯾﻤﺘﺎز اﻟﻤﺒﻨﻰ ﺑﻮﺟﻮد دراﺳﮫ‬
‫ﻟﻠﺘﻮﺳﻌﮫ اﻟﻤﺴﺘﻘﺒﻠﯿﮫ‪.‬‬
‫• اﻟﺮﺑﻂ ﻣﻦ اﻟﻤﺒﻨﻰ اﻟﻄﺎﺋﺮات‬
‫ﻋﻦ ﻃﺮﯾﻖ اﻟﺤﺎﻓﻼت‪.‬‬

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 Stansted airport

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 Interior details

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 ‫ھﯿﻠﻤﻮت ﺟﺎن‬

‫أﻋﺠﺐ ﺑﺄﻋﻤﺎل ﻣﯿﺲ ﻓﺎﻟﺘﺤﻖ ﺑﻤﻌﮭﺪه ﻟﯿﺴﺘﻜﻤﻞ اﻟﺪراﺳﺔ ﻋﻠﻰ ﯾﺪﯾﮫ‬

‫ﺣﺎول ﺗﻜﻮﯾﻦ ﺷﺨﺼﯿﺔ ﻣﺴﺘﻘﻠﺔ و ﻣﻤﯿﺰة ﻟﮫ‬

‫ﻣﻈﺎھﺮ اﺳﺘﻘﻼل ھﯿﻠﻤﻮت ﻋﻦ ﻣﯿﺲ )اﻟﻔﺮق ﺑﯿﻦ اﻋﻤﺎل ﻣﯿﺲ وأﻋﻤﺎل ھﯿﻠﻤﻮت( ‪:‬‬
‫‪-1‬اﺳﺘﺨﺪم ﻓﻲ اﻟﺒﺪاﯾﺔ اﻻﻟﻮان اﻟﺼﺎرﺧﺔ داﺧﻞ اﻟﻤﺒﻨﻰ ﺛﻢ اﻧﺘﻘﻞ اﻟﻰ اﻟﺨﺎرج ﻋﻜﺲ ﻣﯿﺲ‬
‫ﺣﯿﺚ ﻛﺎن ﺑﺨﯿﻞ ﻓﻲ اﺳﺘﺨﺪام اﻻﻟﻮان‬
‫‪-2‬اﻟﻤﺴﺎﻗﻂ اﻻﻓﻘﯿﺔ و اﻟﻮاﺟﮭﺎت ﻛﺎن ﯾﺴﺘﺨﺪم ﻓﯿﮭﺎ أي ﺷﻜﻞ ﯾﺘﺮاءى ﻟﮫ ﺑﻤﺨﯿﻠﺘﮫ ﺑﺠﺮأة‬
‫ﻛﺒﯿﺮة ﺧﻼف ﻣﯿﺲ اﻟﺬي ﻛﺎن ﯾﺴﺘﺨﺪم اﻻﺷﻜﺎل اﻟﮭﻨﺪﺳﯿﺔ اﻟﺒﺴﯿﻄﺔ اﻻﺳﺎﺳﯿﺔ و اﻟﺨﻄﻮط‬
‫اﻟﻤﺴﺘﻘﯿﻤﺔ‬
‫ﻣﻤﯿﺰات اﻋﻤﺎل ھﯿﻠﻤﻮت ‪:‬‬
‫• ﺟﺮأة ﻓﺎﺋﻘﺔ ﻓﻲ اﻗﺘﺤﺎم و ﺗﺠﺮﯾﺐ ﻛﻞ ﺷﻲء ﺟﺪﯾﺪ ‪.‬‬
‫• ﻟﻢ ﯾﺨﻠﻂ ﺑﯿﻦ اﻟﻘﺪﯾﻢ و اﻟﺤﺪﯾﺚ ﻣﻦ ﺣﯿﺚ اﻻﺷﻜﺎل اﻟﻘﺪﯾﻤﺔ اﻟﻤﺘﻮارﺛﺔ و أﺷﻜﺎل اﻟﺘﻜﻨﻮﻟﻮﺟﯿﺎ‬
‫اﻟﻤﺘﻘﺪﻣﺔ ﻛﻤﺎ ﻓﻌﻞ اﻟﻐﯿﺮ‪.‬‬
‫•‬

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 ‫• ﺗﺮك ﻣﻮاﺳﯿﺮ و ﺷﺒﻜﺎت اﻟﺼﺮف اﻟﺼﺤﻲ ﺑﺪاﯾﺔ داﺧﻞ اﻟﻤﺒﺎﻧﻲ ﺛﻢ ﺗﺠﺮأ و وﺿﻌﮭﺎ ﻓﻲ‬
‫اﻟﺨﺎرج و ﺟﻌﻠﮭﺎ ﻛﻌﻨﺎﺻﺮ ﺗﺸﻜﯿﻞ ﺧﺎرﺟﯿﺔ‬
‫اﺳﺘﺨﺪم اﻻﻟﻮان اﻟﺼﺎرﺧﺔ ) اﻻﺻﻔﺮ واﻷﺣﻤﺮ ﻟﺘﻠﻮﯾﻦ ﻣﻮاﺳﯿﺮ اﻟﺼﺮف اﻟﺼﺤﻲ (‬
‫• ﺗﻤﯿﺰ ھﯿﻠﻤﻮت ﺟﺎن ﺑﻐﺰارة اﻓﻜﺎره و ﺳﻌﺔ اﻟﺨﯿﺎل و ﺳﺮﻋﺔ ﻋﻤﻞ اﻻﺳﻜﺘﺸﺎت ﻣﻤﺎ ادى‬
‫إﻟﻰ ﺷﮭﺮﺗﮫ ﻓﻲ أﻣﺮﯾﻜﺎ ﺑﻮﻗﺖ ﻗﺼﯿﺮ‬
‫• اﻟﺘﺨﻠﺺ ﻣﻦ اﻻﺷﻜﺎل اﻟﺼﻨﺪوﻗﯿﺔ‬

‫أﻋﻤﺎل ھﯿﻠﻤﻮت ﺟﺎن‪:‬‬

‫ﺷﯿﺪ أﻛﺜﺮ ﻣﻦ ‪ 70‬ﻣﺸﺮوع ﺧﻼل اﻟﻔﺘﺮة ﺑﯿﻦ ‪1990 – 1973‬م ﺑﺄﻣﺮﯾﻜﺎ وأوروﺑﺎ و ﺟﻨﻮب‬
‫إﻓﺮﯾﻘﯿﺎ ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ اﻻﻋﻤﺎل اﻟﺤﺒﺴﯿﺔ‬
‫أھﻢ اﻋﻤﺎﻟﮫ ‪:‬‬
‫‪ -1‬ﻣﺒﻨﻰ ﻣﺮﻛﺰ وﻻﯾﺔ ﺷﯿﻜﺎﻏﻮ ‪1985‬م‬
‫‪ -2‬ﻣﺤﻄﺔ ﺳﻜﺔ ﺣﺪﯾﺪ اﻟﺸﻤﺎل اﻟﻐﺮﺑﻲ ﺷﯿﻜﺎﻏﻮ ‪1986‬م‬

‫ﻣﺒﻨﻰ ﻣﺮﻛﺰ وﻻﯾﺔ ﺷﯿﻜﺎﻏﻮ‬

‫‪ -‬ﻛﺎن ﻋﻤﺮ ﺟﺎن ﺣﯿﻨﺌﺬ ‪ 39‬ﻋﺎم‬

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 ‫‪ -‬اﻋﺘﺒﺮه اﻟﻜﺜﯿﺮﯾﻦ ﺷﻜﻞ ﻣﻦ أﺷﻜﺎل ﻋﻤﺎرة اﻟﻘﺮن ‪ 21‬ﻧﻈﺮا ﻟﻐﺮاﺑﺔ ﺷﻜﻠﮫ اﻟﺨﺎرﺟﻲ اﻟﻐﯿﺮ‬
‫ﻣﺄﻟﻮف ﺣﯿﺚ ﯾﺒﺪو ﻛﺄﻧﮫ أﺣﺪ اﻻﻃﺒﺎق اﻟﻄﺎﺋﺮة وﺳﻂ اﻟﻤﺒﺎﻧﻲ اﻟﻘﺪﯾﻤﺔ ‪.‬‬
‫‪ -‬ﺗﻨﺎﻗﺾ ﻓﻮﺿﻮي ﯾﺜﯿﺮ اﻟﺠﺪل ﺣﯿﺚ اﺳﺘﺨﺪم اﻻﻟﻮان اﻟﻤﺒﻌﺜﺮة ﻓﻲ اﻻﺟﺰاء اﻟﺴﻔﻠﯿﺔ ﻣﻦ‬
‫اﻟﻮاﺟﮭﺔ اﻟﺮﺋﯿﺴﯿﺔ ﻛﺬﻟﻚ ﻓﻲ اﻟﻔﺮاغ اﻟﺘﻲ ﯾﺘﻮﺳﻂ اﻟﻤﺒﻨﻰ‬
‫‪ -‬اﻻﻧﺴﺠﺎم و اﻟﺠﻤﺎل ﻓﻲ اﻟﺘﻜﻮﯾﻦ اﻟﺨﺎرﺟﻰ ﻟﻠﻤﺒﻨﻰ ﻣﻦ ﺟﮭﺔ اﻻﻟﻮان و اﻟﺸﻜﻞ ﺣﯿﺚ ‪:‬‬
‫اﻟﺘﺪرج ﻓﻲ ﺛﻼث ﻣﺴﺘﻮﯾﺎت ) ﺣﻠﻘﺎت ﻣﺴﺘﺪﯾﺮة ( أﻋﻼھﺎ اﺳﻄﻮاﻧﺔ ﻣﺸﻄﻮرة ﻣﺘﺠﮭﺔ ﻧﺎﺣﯿﺔ‬
‫اﻟﺠﻨﻮب ﻻﺳﺘﻘﺒﺎل أﺷﻌﺔ اﻟﺸﻤﺲ ‪.‬‬
‫‪ -‬ﯾﻌﺘﺒﺮ ﺗﺸﻜﯿﻞ ﻣﻌﺪﻧﻲ ﻗﻮي ‪.‬‬
‫‪ -‬ﯾﺘﻜﻮن ﻣﻦ‪ 17‬ﻃﺎﺑﻖ ﺗﻠﺘﻒ ﺣﻮل ﻓﺮاغ رأﺳﻲ ﺗﻈﮭﺮ ﻓﯿﮫ اﻟﺴﻼﻟﻢ و اﻟﻤﺼﺎﻋﺪ و ﻓﻲ‬
‫اﻻﺳﻔﻞ ﺻﺎﻟﺔ ﻣﺴﺘﺪﯾﺮة و ﻣﻄﻌﻢ ﻟﺨﺪﻣﺔ اﻟﻌﺎﻣﻠﯿﻦ ‪.‬‬

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 ‫اﻟﻤﻌﻤﺎرى اﻟﺼﯿﻨﻰ ‪I. M. BEI‬‬

‫اھﻢ ﻣﺎ ﺗﻤﯿﺰت ﺑﮫ اﻋﻤﺎﻟﮫ‪:‬‬

‫• اﻟﺘﻮﺟﮫ اﻟﻌﻤﻠﻲ أﻛﺜﺮ ﻣﻦ اﻟﺘﻮﺟﮫ اﻟﻤﺜﺎﻟﻲ‬
‫• اﻟﻤﻨﻄﻘﯿﺔ اﻟﺘﺎﻣﺔ‬
‫• اﻟﺘﺄﻛﯿﺪ ﻋﻠﻰ ﻣﺤﺎور اﻟﺤﺮﻛﺔ‬
‫• اﻟﺘﺠﺮﯾﺪ اﻟﺬي ﯾﻨﺎﻗﺾ أﺷﻜﺎل اﻟﻌﻤﺎرة اﻟﺘﻘﻠﯿﺪﯾﺔ و اﻻﻋﺘﻤﺎد ﻋﻠﻰ اﻟﺸﻜﻞ اﻟﻨﺤﺘﻲ‬
‫• اﻻﻓﺮاط ﻓﻰ اﺳﺘﺨﺪام اﻟﻤﻮاد اﻟﻤﺼﻨﻌﺔ ﻛﺎﻟﻤﻌﺎدن و اﻟﺰﺟﺎج و اﻟﺒﻼﺳﺘﯿﻚ‬
‫• اﻟﻤﺰج ﺑﯿﻦ اﻟﻔﻦ اﻟﻤﻌﻤﺎرى و اﻻﻟﺔ ﻹﻇﮭﺎر ﻋﻤﺎرة ﻣﺘﻨﺎﺳﻘﺔ و ﺟﻤﯿﻠﺔ‬
‫• اﻻﻧﻔﺼﺎل ﻋﻦ اﻟﺘﺎرﯾﺦ واﻟﻌﻤﺎرة اﻟﺘﻘﻠﯿﺪﯾﺔ‬
‫• اﻟﻤﯿﻞ ﻧﺤﻮ اﻟﺘﺤﺪﯾﺚ وإﻗﺎﻣﺔ ﻋﻤﺎرة ﻻ ﻋﻼﻗﺔ ﻟﮭﺎ ﺑﺎﻟﻤﺎﺿﻲ‬
‫• ﺗﻤﯿﺰ اﻟﻤﺒﻨﻰ ﻋﻤﺎ ﺣﻮﻟﮫ و اﻧﺴﺠﺎﻣﮫ ﻣﻌﮫ‬
‫• ﻗﻮة اﻟﻤﺒﻨﻰ ﻧﻔﺴﮫ ﻓﻲ ﺑﻌﺾ اﻷﺣﯿﺎن‬

‫أھﻢ أﻋﻤﺎﻟﮫ ‪:‬‬

‫أوﻻ‪ :‬ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ ﻟﻠﻤﻌﻤﺎري ‪IM Pie‬‬

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 ‫ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ ﻋﺒﺎرة ﻋﻦ ﺻﺎﻟﺔ ﺗﺘﻮﺳﻂ ﻣﺘﺤﻒ اﻟﻠﻮﻓﺮ اﻟﻘﺪﯾﻢ و ھﺬه اﻟﺼﺎﻟﺔ ﺗﻤﻜﻦ ﻣﻦ‬
‫اﻟﻮﺻﻮل ﻟﻜﻞ اﻻﻗﺴﺎم ﺑﺴﮭﻮﻟﺔ و ﺑﻄﺮﯾﻘﺔ ﻣﺒﺎﺷﺮة ‪.‬‬

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 I.M.Pei ‫ اﻟﻤﻌﻤﺎري اﻟﺼﯿﻨﻲ‬/‫•ﺛﺎﻧﯿﺎ‬

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 ‫أﻋﻤﺎل ﻣﻮﺳﻰ اﻟﺼﻔﺪي‬

‫ﻧﻔﺬ أﻋﻤﺎل ﻛﺜﯿﺮة ﻓﻲ أﻧﺤﺎء ﻣﺘﻔﺮﻗﺔ ﻣﻦ اﻟﻌﺎﻟﻢ‬

‫‪ ü‬ﻓﻲ أول ﻋﻤﻞ ﻟﮫ ﺻﻤﻢ ﻣﻨﻄﻘﺔ ﺳﻜﻨﯿﺔ ﻓﻲ ﻣﻌﺮض ﻣﻮﻧﺘﺮﯾﺎل‪ ،‬وﺑﻌﺪھﺎ ﻣﺒﺎﺷﺮة‬
‫ﻓﺘﺢ ﻣﻜﺘﺐ ﻣﻌﻤﺎري ﻟﮫ ﻓﻲ ﻣﺪﯾﻨﺔ ﻣﻮﻧﺘﺮﯾﺎل‬
‫‪ ü‬أﺛﺒﺖ ﻣﻤﺎرﺳﺘﮫ اﻟﻤﻌﻤﺎرﯾّﺔ ﻓﻲ ﻋﺎم ‪ 1964‬ﻋﻨﺪﻣﺎ ﻗﺎم ﺑﺘﺼﻤﯿﻢ واﻹﺷﺮاف ﻋﻠﻰ‬
‫اﻟﺤﻲ رﻗﻢ ‪ 67‬ﻓﻲ ﻣﻮﻧﺘﺮﯾﺎل‪.‬‬
‫‪ ü‬ﻟﮫ ﻣﺸﺎرﯾﻊ ﺟﺪﯾﺪة ﻓﻲ ﻛﻞ ﻣﻦ وﻻﯾﺔ ﻛﻨﺴﺎس وإﻧﺪﯾﺎﻧﺎ‪.‬‬

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 HABITAT DI MOSHE SAFDIE, 1967

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