:: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::

Center of Planning and Architecture Studies :: All rights reserved.

www.cpas-egypt.com
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﻣﺘﻀﺼﺼﻪ‬ ‫ﻋﻠﻤﻴﻪ‬ ‫ﺷﻬﺮﻳﻪ‬
‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﺘﻤﻄﻴﻄﻰ ﻭﺍﻟﻤﻌﻤﺎﺭﻯ‬ ‫ﺗﺼﺪﺭﻫﺎ ﺟﻤﻌﻴﺔ ﺃﺣﻴﺎ‬ ‫ﺣﺎﻭﻝ ﺍﻟﻤﺠﻠﺔ ﺟﻤﺎﻫﺪﻩ ﺍﻥ ﺗﻔﻒ ﻋﻠﻰ ﺭﺟﻠﻴﻬﺎ ﻭﻫﻰ ﺗﺤﻤﻞ ﻫﺬﺍ ﺍﻟﻌﺐء ﺍﻟﺜﻔﻴﻞ ﻣﻦ ﺟﻬﺪ ﻣﺘﺼﻞ ﻭﻣﺎﻝ‬
‫ﻣﻨﺼﺮﻑ ﺇﻳﻤﺎﻧﺎ ﻣﻨﻬﺎ ﺑﺎﻟﺮﺳﺎﻟﺔ ﺍﻟﺴﺎﻣﻴﺔ ‪ 01‬ﻟﺘﻰ ﺗﺆﺩﻳﻬﺎ ﺍﻥ ﻛﺎﻧﺖ ﺍﻟﻤﺠﻠﺔ ﻗﺪ ﻧﺎﻟﺖ ﺗﻔﺪﻳﺮﺍ ﻻ ﺣﺪﻭﺩ ﻟﻪ ﻓﻰ‬
‫ﺩ ﻋﺒﺪ ﺍﻟﺒﺎﻓﻲ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺃ‬ ‫ﺃﺳﺴﻬﺎ‬
‫ﻫﺬ ﺍﻟﺸﺜﻦ ﻃﺎﻟﺒﺖ ﺍﻟﻤﺠﻠﺔ ﺑﺘﺠﺪﻳﺪ‬
‫ﺟﻤﻴﻊ ﺍﻷﻗﻄﺎﺭ ﺍﻟﻌﺮﺑﻴﺔ ﻓﺈﻥ ﺫﻟﻚ ﻳﺰﻳﺪ ﻣﻦ ﻣﺴﺆﻭﻟﻴﺘﻬﺎ ﻗﺒﻠﻬﻢ ﻭﻓﻰ ﺍ‬
‫ﺩ ﺣﺎﺯﻡ ﻣﺤﻤﺪ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺃ‬ ‫ﻣﺴﺘﺸﺎﺭﻳﻬﺎ ﻋﻠﻰ ﻣﻤﻤﺸﻮﻯ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻌﺮﺑﻰ ﻭﺍﻟﺬﻳﻦ ﺷﺮﻓﺖ ﺍﻟﻤﺠﻠﺔ ﺑﻤﻮﺍﻓﻘﺘﻬﻢ ﻭﺗﻘﺪﻳﺮﻫﻢ ﻟﺮﺳﺎﻟﺘﻬﺎ ﻭﺑﺪﺃﺕ‬
‫ﺍﻟﻤﺠﻠﺔ ﻣﺮﺣﻠﺔ ﺟﺪﻳﺪﺓ ﻣﻦ ﻣﺮﺍﺣﻞ ﺣﻴﺎﺗﻬﺎ ﺍﻟﻄﻮﻳﻠﺔ ﺗﺘﺤﻠﻰ ﺑﺎﻟﺼﺒﺮ ﻭﺍﻟﻤﺜﺎﺑﺮﺓ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻞ ﺍﻟﺼﻤﻮﺑﺎﺕ‬
‫ﺍﻟﺘﻤﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ‬
‫ﻗﺴﻢ ﺍﻟﻤﻄﺒﻮﻋﺎﺕ ﻭﺍﻟﻨﺸﺮ‬ ‫ﺍﻟﺘﻰ ﺗﻮﺍﺟﻬﻬﺎ ﻓﻬﺬﺍ ﻗﺪﺭﻫﺎ ﻓﻰ ﻋﺎﻟﻢ ﻻﻳﻘﺪﺭ ﺍﻟﻘﻘﺎﻓﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﻻﻳﻬﺘﻢ ﺑﻬﺎ ﻛﺎﻫﺘﻤﺎﻣﻪ ﺑﺄﺧﺒﺎﺭ ﻛﺮﺓ ﺍﻟﻘﺪﻡ‬
‫ﻭﺍﻟﻤﺴﺮﺡ ﻭﺍﻵﻏﻨﻴﺔ ﺍﻟﺸﺒﺎﺑﻴﺔ ﻫﺬﺃ ﻓﻰ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻯ ﺗﺘﺪﺍﻋﻰ ﻓﻴﻪ ﺍﻟﻔﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺳﻮﺍء ﻓﻰ ﺍﻟﻤﻤﺎﺭﺳﺔ‬
‫‪ 1141‬ﻫـ‬ ‫‪ 0991‬ﻡ‬ ‫‪521‬‬ ‫ﺍﻟﻤﺪﺩ‬ ‫ﺍﻟﻌﻠﻤﻴﺔ ﺃﻭ ﻓﻰ ﺍﻹﻧﺘﺎﺝ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻭﺍﻟﻤﺠﻠﺔ ﺗﺤﺎﻭﻝ ﺑﻜﻞ ﻗﻮﺓ ﺃﻥ ﺗﻌﻴﺪ ﺍﻻﺣﺘﺮﺍﻡ ﺍﻟﺬﻯ ﻓﻘﺪ ﻟﻠﻤﻬﻨﺔ ﺍﻟﻤﻬﺎﻧﺔ ﻣﻦ‬
‫ﺃﺻﺤﺎﺑﻬﺎ ﻓﻔﺪ ﻋﺮﺿﺖ ﺍﻟﻤﺠﻠﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻷﻣﺜﻠﺔ ﺍﻟﺘﻰ ﺗﻈﻬﺮ ﻣﺪﻯ ﺍﻟﺘﺪﻫﻮﺭ ﺍﻟﺬﻯ ﻃﺮﺃ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﺭﺋﻴﺲ ﺍﻟﺘﺤﺮﻳﺮ ﺩﻛﻘﻮﺭ ﻋﺒﺪ ﺍﻟﺒﺎﻓﻰ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﻛﺐ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﻳﻘﺒﻠﻮﻥ ﺍﻟﺘﻘﺪﻡ ﻟﻤﺴﺎﺑﻔﺎﺕ ﻣﻌﻤﺎﺭﻳﺔ ﺩﻭﻥ ﺃﻥ ﻳﻜﻮﻥ ﻟﻬﺎ ﻟﺠﻨﺔ ﻧﺤﻜﻴﻢ ﻭﻟﺠﺎﻥ ﺗﺤﻜﻴﻢ‬
‫ﺍﻟﻤﻬﻨﺔ ﺍﺭ‬
‫ﻫﺪﻯ ﻓﻮﺯﻯ‬ ‫ﻡ‬ ‫ﻣﺪﻳﺮ ﺍﻟﺘﺤﺮﻳﺮ‬ ‫ﻳﻘﺒﻠﻮﻥ ﺍﻟﺘﺤﻜﻴﻢ ﻓﻰ ﻣﺴﺎﺑﻔﺎﺕ ﻟﻢ ﻳﺸﺎﺭﻛﻮﺍ ﻫﻢ ﻓﻰ ﻭﺿﻊ ﺷﺮﻭﻃﻬﺎ ﻭﺫﻟﻚ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺍﻟﺘﺤﺬﻳﺮﺍﺕ ﺍﻟﺘﻰ‬
‫ﻡ ﻫﺎﻟﻪ ﻣﺼﻄﻔﻰ‬ ‫ﻫﻴﺌﻪ ﺍﻟﺘﺤﺮﻳﺮ‬ ‫ﺻﺪﺭﺕ ﻣﻦ ﺷﻌﺒﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺑﻨﻔﺎﺑﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺑﺎﻋﻼﻧﺎﺗﻬﺎ ﻋﻠﻰ ﺻﻔﺤﺎﺕ ﺍﻟﺠﺮﺍﺛﺪ ﻭﻟﻜﻦ ﻻﺣﻴﺎﺓ ﻟﻤﻦ ﺗﻨﺎﺩﻯ‬
‫ﻡ ﻃﺎﺭق ﺳﻌﺪ ﺍﻟﻠﻪ‬ ‫ﻭﺗﺘﻜﺮﺭ ﺍﻙﺳﺎﺓ ﻣﺮﺓ ﺑﻌﺪ ﺃﺧﺮﻯ ﺩﻭﻧﻤﺎ ﻭﺍﺯﻉ ﻣﻦ ﺃﺧﻼﻗﻴﺎﺕ ﺍﻟﻤﻬﻨﺔ ﻳﻮﻗﻒ ﻫﺬﺍ ﺍﻟﺘﺪﻧﻰ ﻓﻰ ﺍﻟﻤﻤﺎﺭﺳﺔ‬
‫ﻡ ﻧﺎﺭﻳﻤﺎﻥ ﺯﻳﻦ ﺍﻟﻌﺎﺑﺪﻳﻦ‬ ‫ﺧﺎﺻﺔ ﻣﻦ ﻫﺆﻻء ﺍﻟﺬﻳﻦ ﺭﻓﻌﻮﺍ ﺃﻳﺪﻳﻬﻢ ﻓﻰ ﺍﻟﻤﺆﺗﻤﺮ ﺍﻟﺜﺎﻟﺚ ﻟﻠﻤﻌﻤﺎﺭﻳﻴﻦ ﺍﻟﻤﺼﺮﻳﻴﻦ ﻳﻔﺴﻤﻮﻥ ﺑﺎﻟﻠﻪ ﺍﻥ‬
‫ﺯﻳﻨﺐ ﺷﺎﻫﻴﻦ‬ ‫ﺳﻜﺮﺗﺎﺭﻳﻪ‬
‫ﻳﺤﺎﻓﻈﻮﺃ ﻋﻠﻰ ﺷﺮﻑ ﺍﻟﻤﻬﻨﺔ ﻫﺬﻩ ﻟﻴﺴﺖ ﺇﺳﺎءﺓ ﻷﺣﺪ ﻭﻟﻜﻨﻬﺎ ﺍﻟﺤﻔﻴﻘﺔ ﺍﻟﻤﺮﺓ ﺍﻟﺘﻰ ﺗﺤﺎﻭﻝ ﺍﻟﻤﺠﻠﺔ ﻛﺸﻔﻬﺎ‬
‫ﺍﻟﺘﺤﺮﻳﺮ‬ ‫ﻣﺴﺘﺸﺎﺭﻭ‬ ‫ﻟﻸﺟﻴﺎﻝ ﺍﻟﺼﺎﻋﺪﺓ ﻣﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﺣﺘﻰ ﻻﺗﻀﻞ ﺃﻗﺪﺍﻣﻬﻢ ﻭﺣﺘﻰ ﻳﺠﺪﻭﺍ ﻷﻧﻔﺴﻬﻢ ﻣﻜﺎﻧﺎ ﻋﻠﻰ ﺧﺮﻳﻄﺔ‬
‫ﺍﻟﻌﺎﻟﻢ ﺑﻴﻦ ﺯﻣﻼﺋﻬﻢ ﻣﻦ ﻛﻞ ﺩﻭﻝ ﺍﻟﻌﺎﻟﻢ‬
‫ﻡ ﻣﺎﺟﺪﺧﻠﻮﺱ‬ ‫ﻡ ﻛﺪﺍ ﺍﻟﺸﻨﺎﻝ‬
‫ﺩ ﺳﺪ ﺳﺎﻣﻰ ﺷﺎﻓﻌﻰ‬ ‫ﻡ ﺃﻛﺪﺍﻟﺤﻤﺎﻗﻰ‬
‫ﺩ ﺳﺪ ﺻﻼﺡ ﺍﻟﺪﻳﻦ ﺣﺒﺎﺏ‬ ‫ﺟﻠﻴﻠﺔ ﺍﻟﻘﺎﺿﻰ‬ ‫ﺩ‬
‫ﺩ ﻣﺮﺍﺩ ﻋﺒﺪ ﺍﻟﻘﺎﺩﺭ‬ ‫ﻡ ﺣﻌﺎﻝ ﺑﻜﺮﻯ‬
‫ﺳﻮﺡ ﻋﺰﻣﻰ‬ ‫ﻡ‬ ‫ﺩ ﺻﻼﺡ ﺯﻛﻰ ﺳﻌﻴﺪ‬
‫ﺩ ﺑﺎﺳﻞ ﺍﻟﺒﻴﺎﺗﻰ ﺍﻧﺠﻠﺘﺮﺍ‬ ‫ﻡ ﺻﻼﺡ ﺯﻳﺘﻮﻥ‬
‫ﻡ ﺑﻌﻔﺮﻃﻮﻗﺎﻥ ﺍﻻﺭﺩﻥ‬ ‫ﺩ ﻋﺎﺩﻝ ﻳﺎﺳﻴﻦ‬
‫ﺩ ﻋﺒﺪ ﺍﻟﻤﺤﺴﻦ ﻓﺮﺣﺎﺕ ﺍﻟﺴﻌﻮﺩﻳﺔ‬ ‫ﺩ ﻋﺒﺪ ﺍﻟﻌﻠﻴﻢ ﺇﺑﺮﺍﻣﻴﻢ‬
‫ﻡ ﻋﻠﻰ ﺍﻟﻐﺒﺎﺷﻰ ﺍﻟﻨﻤﺴﺎ‬ ‫ﺩﻋﻠﻰ ﺑﻤﻤﻴﻮﺵ‬

‫ﻡ ﺳﺪ ﺧﻴﺮ ﺍﻟﺪﻳﻦ ﺃﻭﻓﺎﻋﻲ ﺳﻮﺭﺑﺎ‬ ‫ﻋﻠﻰ ﺭﺍﻓﺖ‬ ‫ﺩ‬

‫ﻣﻘﺎﻝ ﻓﻨﻰ‬ ‫ﻓﻜﺮﺓ‬
‫ﺍﻷﺳﻤﺎﺭ‬ ‫‪32‬‬ ‫ﺍﻟﺒﻨﺎءﺑﺎﻟﻄﻴﻦ ﻓﻰ ﺍﻟﻬﻨﺪ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ ﻣﻜﻮﻥ ﺣﻀﺎﺭﻯ ‪0000000000000000000005‬‬
‫‪000000000062‬‬ ‫ﺍﻟﻜﻤﺒﻴﻮﺗﺮ ﻓﻰ ﺍﻟﺒﻨﺎء‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﻣﻮﺿﻮﻉ‬
‫ﺳﻤﺮ ﺍﻟﻨﺴﻤﻪ‬ ‫ﺍﻟﻤﻮﻟﻪ‬ ‫ﺑﺮﻳﺪ ‪00000000000‬ءﺍﺭقﻝﺍ ‪0000000092‬‬ ‫ﺍ ﻟﺴﺎ ﺣﺎﺕ ﺍ ﻟﻌﻤﺮﺍ ﻧﻴﺔ‬
‫‪ 051‬ﻗﺮﺷﺎ‬ ‫ﻣﺴﺎﺑﻘﺔ ﺗﺼﻤﻴﻢ ﺑﻨﻚ ﻗﻨﺎﺓ ﺍﻟﺴﻮﺵ ‪00000000000003‬‬ ‫‪0000000008‬‬ ‫ﺍﻟﻔﺮﺍﻍ ﺍﻟﻤﻔﻘﻮﺩ ﻓﻰ ﻣﺪﻳﻨﻪ ﺍﻟﻔﺎﻫﺮﺓ‬
‫‪ 051‬ﻗﺮﺷﺎ‬ ‫ﺍﻟﺴﻮﺩ ﺍﻥ‬
‫‪ 24‬ﻟﻮﻻﺭ‬ ‫‪ 5‬ﺭ ‪ 3‬ﻟﻮﻻﺭ‬
‫ﻣﺸﺮﻭﻉ ﺍﻟﻄﺎﻟﺐ‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﻣﺸﺮﻭﻋﺎﺕ‬
‫‪ 01‬ﻻﺭﺩﻥ‬
‫‪ 24‬ﻟﻮﻻﺭ‬ ‫‪ 5‬ﺭ ‪ 3‬ﻟﻮﻻﺭ‬ ‫‪ 01‬ﻟﻌﺮﺍق‬ ‫ﺍﻟﺴﻮق ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻤﺸﺘﺮﻛﺔ ‪0000000000000000000000000043‬‬ ‫ﻣﺪﺭﺟﺎﺕ ﻛﻠﻴﺔ ﺍﻟﻠﻐﺎﺕ ﻭﺍﻟﺘﺮﺟﻤﺔ‬
‫‪ 24‬ﻟﻮﻻﺭ‬ ‫ﻟﻮﻝ ﺍﻟﺨﻠﻴﺞ‬ ‫ﺍﻟﻤﻮﻧﻞ‬ ‫ﺑﺤﺚ‬ ‫ﻣﺪﻳﻨﺔ ﻧﺼﺮ ‪00000000000000041‬‬ ‫ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ‬
‫‪ 24‬ﻟﻮﻻﺭ‬ ‫‪ 5‬ﺭ ‪ 3‬ﻟﻮﻻﺭ‬ ‫ﺍﻟﺴﻌﻮﺩﻳﻪ‬
‫‪ 24‬ﻟﻮﻻﺭ‬ ‫‪ 5‬ﺭ ‪ 3‬ﻟﻮﻻﺭ‬ ‫ﺍﻟﻤﻌﺎﻳﻴﺮ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻟﻤﺪﺍﺭﺱ ﻣﺮﺣﻠﺔ‬ ‫ﺟﺮﺍﺝ ﻣﺘﻌﺪﺩ ﺍﻟﻄﻮﺍﺑﻖ‬
‫‪ 24‬ﻟﻮﻻﺭ‬ ‫‪ 5‬ﺭ ‪ 3‬ﻟﻮﻻﺭ‬ ‫ﻟﺒﻨﺎﻥ‬
‫‪000000000063‬‬ ‫ﺍﻟﺘﻌﻠﻴﻢ ﺍﻷﺳﺎﺳﻰ ﺍﻟﺠﺰء ﺍﻟﺜﺎﻧﻰ‬ ‫ﻭﻣﺮﻛﺰ ﺗﺠﺎﺭﻯ ﺑﺸﺎﺭﻉ ﺍﻟﺒﺴﻨﺎﻥ ‪000000000000000071‬‬
‫‪ 5‬ﺭ ‪ 3‬ﻟﻮﻻﺭ‬ ‫ﺍﻟﻤﻐﺮﺏ ﺍﻟﻌﺮﺑﻰ‬
‫‪ 06‬ﻟﻮﻻﺭ‬ ‫‪ 5‬ﻟﻮﻻﺭﺍﺕ‬
‫‪ 27‬ﻟﻮﻻﺭ‬ ‫‪ 6‬ﻟﻮﻻﺭﺍﺕ‬ ‫ﺍﻹﻣﺮﺑﻜﻤﻴﻦ‬

‫ﻛﻤﺎ ﻳﻤﻜﻦ ﺍﺿﺎﻓﻪ ‪ 05‬ﺭ ‪ 2‬ﺟﻨﻴﻪ ﻟﻺﺭﺳﺎﻝ ﺑﺎﻟﺒﺮﻳﺪ ﺍﻟﻌﺎﺩﻯ‬

‫ﻣﺒﻠﻎ ‪ 5‬ﺭ ‪ 9‬ﺟﻨﻴﻪ ﻟﻺﺭﺳﺎﻝ ﺑﺎﻟﺒﺮﻳﺪ ﺍﻟﻤﺴﺠﻞ ﺩﺍﺧﻞ ﻣﺼﺮ‬

‫ﻣﺼﺮ ﺍﻟﺠﺪﻳﺪﺓ‬ ‫ﺟﻌﻬﻮﺭﻳﻪ ﻣﺼﺮ ﺍﻟﻌﺮﺑﻴﻪ‬ ‫ﺍﻟﻤﺮﺍﺳﺖ‬

‫‪ 41‬ﺵ ﺍﻟﺴﺒﻜﻰ ﻣﻨﺸﻴﻪ ﺍﻟﺒﻜﺮﻯ ﺧﻠﻒ ﻧﺎﺩﻯ ﻫﻠﻴﻮﺑﻮﻟﻴﺲ‬ ‫ﻛﻠﻴﺔ ﺍﻃﻔﺎﺕ ﻭﺍﻟﺘﺮﺟﻤﺔ‬
‫ﺹ ﺏ ‪ 6‬ﺳﺮﺍﻯ ﺍﻟﻘﺐ ﺍﻟﺮﻣﺰ ﺍﻟﺒﺮﻳﺪﻯ ‪21711‬‬
‫ﻣﺸﺮﻭﻉ ﺍﻟﻌﺪﺩﺹ ‪41‬‬ ‫ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ‬
‫ﻟﻜﻴﻐﻮﻥ ﺓ ‪076 348 076 172 076 47 4‬‬
‫ﻓﺎ ﻛﺲ ‪1439192‬‬ ‫ﻻ ‪ 3‬ﻭﻝ ﺡ ‪34239‬‬ ‫ﻟﻠﻜﺲ‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﻛﺮﺓ‬

‫ﺩﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﺒﺎﻓﻰ ﺇﺑﺮﺍﻫﻴﻢ‬

‫ﻭﻗﺪ ﻳﺴﺮﻑ ﺍﻟﺒﻌﺾ ﻓﻰ ﺗﺤﻠﻴﻞ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻦ ﺍﻷﺻﺎﻟﺔ ﻭﺍﻟﻤﻌﺎﺻﺮﺓ ﻭﻛﺄﻧﻬﺎ ﻓﻠﺴﻔﺔ ﺃﻭ‬
‫ﺗﻌﺪﺩﺕ ﺍﻵﺭﺍء ﺣﻮﻝ ﺍﻟﺤﺎﻟﺔ ﺍﻟﺘﻰ ﻭﺻﻠﺖ ﺇﻟﻴﻬﺎ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺤﻀﺎﺭﻳﺔ ﻟﻠﻤﺪﻳﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ‬
‫ﺳﻔﺴﻄﺔ ﻭﻟﻜﻨﻬﺎ ﻓﻰ ﺍﻟﻮﺍﻗﻊ ﻟﻬﺎ ﺑﻌﺪﻫﺎ ﺍﻻﻗﺘﺼﺎﺩﻯ ﺍﻟﺬﻯ ﻗﺪ ﻻ ﻳﺸﻌﺮ ﺑﻪ ﺧﺒﺮﺍء‬
‫ﺍﻻﻓﺘﺼﺎﺩ ﺑﺒﻨﺎء ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻟﻠﻤﺪﻳﻨﺔ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺘﻌﻤﻖ ﻓﻰ ﺍﻟﻤﺤﻠﻴﺔ ﻳﻀﻴﻒ‬ ‫ﻭﺻﻔﻬﺎ ﺍﻟﺒﻌﺾ ﺑﺄﻧﻬﺎ ﻭﺻﻠﺖ ﺍﻟﻰ ﺣﺎﻟﺔ ﻣﻦ ﺍﻟﻘﺒﺢ ﻳﺼﻌﺐ ﺇﺻﻌﺤﻪ ﻭﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ‬
‫ﺇﻟﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺑﻌﺪﺃ ﺳﻴﺎﺣﻴﺎ ﻳﺠﺬﺏ ﺍﻟﻴﻬﺎ ﺍﻟﻤﻼﻳﻴﻦ ﻣﻦ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﺧﺎﺻﺔ ﺍﻟﻬﺎﺭﺑﻴﻦ ﻣﻦ‬ ‫ﻳﻔﺴﺮ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺑﺄﻧﻬﺎ ﻃﺒﻴﻌﻴﺔ ﻣﺜﻞ ﻏﻴﺮﻫﺎ ﻣﻦ ﺍﻟﺼﻮﺭ ﺍﻟﺤﻀﺎﺭﻳﺔ ﺍﻷﺧﺮﻯ ﺍﻟﺘﻰ‬
‫ﺍﻟﻤﺪﻥ ﺫﺍﺕ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ﻣﻦ ﻫﻨﺎ ﻛﺎﻥ ﺍﻟﺒﺤﺚ ﻟﻠﺮﺑﻂ ﺑﻴﻦ ﺍﻷﺻﺎﻟﺔ ﻭﺍﻟﻤﻌﺎﺻﺮﺓ ﻫﺪﻓﺎ‬ ‫ﻭﺻﻞ ﺇﻟﻴﻬﺎ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﻤﺼﺮﻯ ﺍﻟﺬﻯ ﺗﻌﺪﺩﺕ ﺃﺯﻳﺎﺅﻩ ﻓﺈﺫﺍ ﻛﺎﻧﺖ ﻋﻤﺎﺭﺓ ﺍﻟﻤﺪﻥ ﺍﻟﻤﺼﺮﻳﺔ‬
‫ﺣﻀﺎﺭﻳﺎ ﻛﻤﺎ ﻫﻮ ﺃﻳﻀﺄ ﻫﺪﻓﺎ ﺍﻓﺘﺼﺎﺩﻳﺎ ﻻﻳﻤﻜﻦ ﺍﻏﻔﺎﻟﻪ ﻭﻗﺪ ﺗﻨﺒﻬﺖ ﺇﻟﻰ ﺫﻟﻚ ﺍﻟﻌﺪﻳﺪ‬ ‫ﺗﻮﺻﻒ ﺑﺎﻟﻜﺮﻧﻔﺎﻝ ﻓﺎﻟﻜﺮﻧﻔﺎﻝ ﻣﻮﺟﻮﺩ ﺃﺳﺎﺳﺄ ﻓﻰ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻤﺼﺮﻯ ﻓﻰ ﺍﻷﺯﻳﺎء‬
‫ﻣﻦ ﺩﻭﻝ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺴﻴﺎﺣﻴﺔ ﻣﺜﻞ ﺍﻟﻤﻐﺮﺏ ﺍﻟﺘﻰ ﺗﻌﻤﻞ ﻋﻠﻰ ﺍﺿﻔﺎء ﺍﻟﻄﺎﺑﻊ ﺍﻟﻤﻌﻤﺎﺭﻯ ﺍﻟﻤﺘﻤﻴﺰ‬ ‫ﻣﺨﺘﻠﻔﺔ ﺍﻷﺷﻜﺎﻝ ﻭﺍﻷﻟﻮﺍﻥ ﻭﻓﻰ ﺍﻟﻌﺎﺩﺍﺕ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﺘﻰ ﻃﻔﺤﺖ ﻋﻠﻴﻬﺎ ﺍﻟﻘﻴﻢ ﺍﻟﻐﺮﺑﻴﺔ ﻓﻰ‬
‫ﺍﻝ ﻻﺗﺮﺗﺒﻂ ﺑﺎﻟﻘﻴﻢ ﺍﻟﺬﺍﺗﻴﺔ‬
‫ﻟﻤﺪﻧﻬﺎ ﺷﻜﻼ ﻭﻟﻮﻧﺎ ﺣﺘﻰ ﻭﺍﻥ ﻛﺎﻧﺖ ﺍﻟﻌﻤﺎﺭﺓ ﻓﻰ ﺑﻌﺾ ﺃﺣﻴﺎﻥ‬ ‫ﺍﻷﻏﻨﻴﺔ ﻭﺍﻟﻤﻮﺳﻴﻘﻰ ﺣﺘﻰ ﻣﺴﻤﻴﺎﺕ ﺍﻟﺸﺮﻛﺎﺕ ﻭﺍﻟﻤﺤﺎﻝ ﺍﻟﺘﺠﺎﺭﻳﺔ ﺍﻟﺘﻰ ﺟﻨﺤﺖ ﺇﻟﻰ‬
‫ﺗﻤﺎﻣﺄ ﻣﺜﻞ ﺣﺮﺹ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﻤﻐﺮﺑﻰ ﻋﻠﻰ ﺍﺿﻔﺎء ﺍﻟﻄﺎﺑﻊ ﺍﻟﻮﻃﻨﻰ ﻋﻠﻰ ﺍﻟﺰﻯ ﺣﺘﻰ ﻭﻟﻮ‬ ‫ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﻔﺮﻧﺴﻴﺔ ﻭﺍﻻﻧﺠﻠﻴﺰﻳﺔ ﺍﻣﻌﺎﻧﺄ ﻓﻰ ﺍﻟﺘﺨﻠﻒ ﺍﻟﺤﻀﺎﺭﻯ ﻓﺎﻟﻮﺟﻪ ﺍﻟﻤﻀﺎﺭﻯ‬
‫ﻛﺎﻥ ﺗﺤﺘﻪ ﺯﻯ ﻏﺮﺑﻰ ﻓﺎﻟﻌﻤﺎﺭﺓ ﻫﻰ ﺍﻟﺰﻯ ﺍﻷﺷﻤﻞ ﻟﻠﻤﺠﺘﻤﻊ ﻭﺑﻨﻔﺲ ﺍﻟﻤﻨﻄﻖ ﻇﻬﺮﺕ‬ ‫ﻟﻠﻤﺪﻳﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ ﻟﻴﺲ ﺍﻻ ﺍﻧﻌﻜﺎﺳﺎ ﻃﺒﻴﻌﻴﺎ ﻟﻬﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﺍﻟﻤﻀﺎﺭﻳﺔ ﺍﻟﺘﻰ ﺃﺻﺎﺑﺖ‬
‫ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﺘﻮﻧﺴﻴﺔ ﺑﻄﺎﺑﻌﻬﺎ ﺍﻟﻤﻤﻴﺰ ﺣﺘﻰ ﺃﺻﺒﺢ ﻣﻦ ﺍﻟﺴﻠﻮﻙ ﺍﻻﺟﺘﻤﺎﻋﻰ ﺻﺒﺎﻏﺔ ﺍﻟﻤﺒﺎﻧﻰ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﻤﺼﺮﻯ ﻋﻠﻰ ﻣﺪﻯ ﺳﻨﻮﺍﺕ ﺍﻻ ﺗﻠﻜﻞ ﺍﻟﻔﺮﻧﺴﻰ ﻭﺍﻟﺘﺮﻛﻰ ﻭﺍﻟﺒﺮﻳﻄﺎﻧﻰ ﻓﺨﻠﻔﻨﺎ‬
‫ﺑﺎﻟﻠﻮﻥ ﺍﻷﺑﻴﺾ ﻭﺍﻟﺸﺒﺎﺑﻴﻚ ﻭﺍﻷﺑﻮﺍﺏ ﺑﺎﻟﻠﻮﻥ ﺍﻷﺯﺭق ﺍﻟﺘﺮﻛﻮﺍﺯ ﻣﺮﺓ ﻛﻞ ﻋﺎﻣﻴﻦ ﻛﻤﺎ ﺃﺻﺒﺢ‬ ‫ﺍﻟﺰﻯ ﺍﻟﺘﻘﻠﻴﺪﻯ ﻭﻟﺒﺴﻨﺎ ﺍﻟﺒﺪﻟﺔ ﻭﺭﺑﺎﻁ ﺍﻟﻌﻨﻖ ﺍﻟﺬﻯ ﻳﻠﺘﻒ ﺣﻮﻝ ﺃﻋﻨﺎﻗﻨﺎ ﻟﻮﻥ ﺃﻥ ﻧﺪﺭﻯ ﻟﻪ‬
‫ﻣﻦ ﺍﻟﺴﻠﻮﻙ ﺍﻻﺟﺘﻤﺎﻋﻰ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻘﻴﺸﺎﻧﻰ ﺍﻟﺬﻯ ﻋﻠﻴﻪ ﺯﺧﺎﺭﻑ ﺇﺳﺪﻳﺔ ﻛﺈﻃﺎﺭ‬
‫ﺳﺒﺒﺎ ﺇﻻ ﺃﻧﻪ ﺻﻮﺭﺓ ﻣﻦ ﺻﻮﺭ ﺍﻻﺳﺘﻌﺒﺎﺩ ﺍﻟﺤﻀﺎﺭﻯ ﻟﺒﺴﻨﺎ ﺍﻟﻄﺮﺑﻮﺵ ﺍﻟﻨﻤﺴﺎﻭﻯ ﺛﻢ‬
‫ﻟﻠﻔﺘﺤﺎﺕ ﺃﻭ ﻟﺘﻜﺴﻴﺔ ﺍﻟﻤﻘﺎﻋﺪ ﺍﻟﺜﺎﺑﺘﺔ ﻭﻣﻦ ﺍﻟﻐﺮﻳﺐ ﺃﻥ ﺗﺴﺘﻤﺮ ﻫﺬﻩ ﺍﻟﺴﻠﻮﻛﻴﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬
‫ﺗﺮﻛﻨﺎﻩ ﺑﺎﻋﺘﺒﺎﺭﻩ ﺻﻮﺭﺓ ﻟﻠﺘﺨﻠﻒ ﻭﻇﻬﺮﺕ ﺍﻟﺴﻼﺳﻞ ﺍﻟﺬﻫﺒﻴﺔ ﻓﻰ ﺃﻋﻨﺎق ﺷﺒﺎﺏ ﺍﻟﻐﺮﺏ‬
‫ﻓﻰ ﺩﻭﻝ ﻋﺎﺷﺖ ﺣﻘﺒﺔ ﻃﻮﻳﻠﺔ ﺗﺤﺖ ﺍﻻﺣﺘﻼﻝ ﺍﻟﻔﺮﻧﺴﻰ ﺍﻟﺬﻯ ﻏﻴﺮ ﺍﺳﺠﺔ ﻗﻠﻴﻼ ﻭﻟﻜﻨﻪ ﻟﻢ‬
‫ﻓﺴﺎﺭﻋﻨﺎ ﻻﺭﺗﺪﺍﻧﻬﺎ ﻭﻇﻬﺮﺕ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻐﺮﺑﻴﺔ ﻓﺴﺎﺭﻋﻨﺎ ﺑﺘﻘﻠﻴﺪﻫﺎ ﺗﻔﺎﺧﺮﺃ ﻭﺗﺒﺎﻫﻴﺄ‬
‫ﺍﻟﺤﺾ ﻟﻠﻤﺠﺘﻤﻌﺎﺕ ﻓﻰ ﻋﻤﺎﺭﺗﻬﺎ ﺃﻭ ﺃﺯﻳﺎﻧﻬﺎ ﺃﻭ ﻋﺎﺩﺗﻬﺎ‬
‫ﻳﺴﺘﻄﻊ ﺃﻥ ﻳﻐﻴﺮ ﺍﻟﺘﺮﺍﺙ ﺍﺭﻯ‬
‫ﻓﺎﺧﺘﻠﻞ ﺍﻟﻘﺪﻳﻢ ﺑﺎﻟﺤﺪﻳﺚ ﺃﻭ ﺷﺒﻪ ﺍﻟﺤﺪﻳﺚ ﻭﻓﻘﺪﺕ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ ﻭﺟﻬﻬﺎ ﺍﻟﺤﻀﺎﺭﻯ ﻓﻰ‬
‫ﻭﺗﻘﺎﻟﻴﺪﻫﺎ ﻭﻓﻰ ﺃﻓﺼﻰ ﺍﻟﻤﺸﺮق ﻻﺗﺰﺍﻝ ﺷﻌﻮﺏ ﺷﺮق ﺃﺳﻴﺎ ﺗﺤﺘﻔﻆ ﺑﺘﻘﺎﻟﻴﺪﻫﺎ ﻓﻰ ﺍﻟﺰﻯ‬
‫ﻧﻈﺮ ﺍﻷﺻﻮﻟﻴﻴﻦ ﻭﻟﻜﻦ ﺍﻟﻤﺤﺪﺛﻴﻦ ﻳﺮﻭﻧﻪ ﻋﻜﺲ ﺫﻟﻚ ﻓﺎﻻﻧﻔﺘﺎﺡ ﻋﻠﻰ ﺍﻟﺤﻀﺎﺭﺍﺕ ﺍﻷﺧﺮﻯ‬
‫ﻛﻤﺎ ﻓﻰ ﺍﻟﻌﻤﺎﺭﺓ ﻓﺎﻟﻬﻨﺪ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻃﻮﻝ ﻓﺘﺮﺓ ﺍﻻﺣﺘﻼﻝ ﺍﻟﺒﺮﻳﻄﺎﻧﻰ ﻻﺗﺰﺍﻝ ﻟﻠﺒﺲ ﺍﻟﺰﻯ‬
‫ﺍﻟﻮﻃﻨﻰ ﺍﻟﺬﻯ ﻳﺆﻛﻞ ﺍﻟﺸﻤﺼﻴﺔ ﺍﻟﻘﻮﻣﻴﺔ ﺍﻵﻣﺮ ﺍﻟﺬﻯ ﻳﻨﻌﻜﺲ ﺑﺎﻟﺘﺒﻌﻴﺔ ﻋﻠﻰ ﻋﻤﺎﺭﺓ ﺍﻟﻤﺪﻥ‬ ‫ﺃﻣﺮ ﻻﺑﺪ ﻣﻨﻪ ﺍﻋﺠﺎﺑﺎ ﻭﺗﻘﻠﻴﺪﺍ ﻭﺍﺳﺘﻴﺮﺍﺩﺍ ﻭﻋﻠﻰ ﺍﻟﻤﺠﺘﻤﻊ ﺃﻥ ﻳﺘﻔﺎﻋﻞ ﻣﻊ ﺍﻟﻤﺴﺘﺤﺪﺛﺎﺕ‬
‫ﻭﻳﺰﻳﺪ ﻣﻦ ﻋﻮﺍﻣﻞ ﺟﺬﺑﻬﺎ ﺍﻟﺴﻴﺎﺣﻰ‬ ‫ﻭﺍﻟﻤﺴﺘﺠﺪﺍﺕ ﺇﺫﺍ ﺍﺳﺘﻄﺎﻉ ﻭﻫﻮ ﻓﻰ ﻇﺮﻭﻓﻪ ﺍﻻﻓﺘﺼﺎﺩﻳﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺑﺠﻨﻮﺭﻩ‬
‫ﺍﻟﺤﻀﺎﺭﻳﺔ ﻻﻳﺴﺘﻄﻴﻊ ﻓﻴﻘﻒ ﺍﻟﻤﺠﺘﻤﻊ ﻛﻤﻦ ﻳﺮﻓﺺ ﻋﻠﻰ ﺍﻟﺴﻠﻢ ﻻﻳﺮﻯ ﻣﻮﻗﻔﻪ ﻣﻦ‬
‫ﻭﺍﺫﺍ ﻛﺎﻧﺖ ﺍﻟﺪﺭﻝ ﺗﺴﻌﻰ ﺍﻟﻰ ﺗﻄﻮﺭ ﺍﻻﻗﺘﺼﺎﺩ ﺍﻟﻘﻮﻣﻰ ﻭﺗﺤﺮﻳﺮﻩ ﻛﻤﺎ ﺗﺴﻌﻰ ﺇﻟﻰ‬
‫ﺍﻟﻌﺎﻟﻢ‬
‫ﺗﻔﻴﻴﺮ ﺳﻠﻮﻛﻴﺎﺕ ﺍﻟﻤﻤﺘﻤﻊ ﺧﺎﺻﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻷﻧﻤﺎﻁ ﺍﻻﺳﺘﻬﻼﻙ ﻓﺈﻥ ﺍﻟﺒﺤﺚ ﻋﻦ ﺯﻯ ﻭﻃﻨﻰ‬
‫ﺗﺘﻮﻓﺮ ﻓﻴﻪ ﺍﻟﺒﺴﺎﻃﺔ ﻭﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺍﻟﺘﺮﺍﺙ ﻭﻳﻨﺎﺳﺐ ﺍﻟﺒﻴﻨﺔ ﻭﺣﺮﻛﺔ ﺍﻹﻧﺴﺎﻥ ﺻﻴﻔﺄ ﻭﺷﺘﺎء‬ ‫ﻭﺍﻟﻤﻬﻢ ﻣﻊ ﻛﻞ ﺫﻟﻚ ﺃﻥ ﻣﻌﻈﻢ ﺍﻟﻨﻘﺪ ﺍﻟﻤﻮﺟﻪ ﺇﻟﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ ﻟﻔﻘﺪﺍﻧﻬﺎ ﺍﻟﻮﺟﻪ‬
‫ﻗﺪ ﻳﺆﺩﻯ ﺍﻟﻰ ﺍﻻﺳﺘﻐﻨﺎء ﻋﻦ ﻛﺜﻴﺮ ﻣﻦ ﺍﻟﻤﻜﻤﺪﺕ ﺍﻟﻈﺎﻫﺮﺓ ﻓﻰ ﺍﻟﺰﻯ ﻭﻳﻘﻠﻞ ﻣﻦ ﺍﺳﺘﻬﻼﻙ‬ ‫ﺍﻟﺤﻀﺎﺭﻯ ﻳﺎﻛﻰ ﻣﻦ ﺍﻟﻐﺮﺏ ﺍﻟﺬﻯ ﻳﺴﺘﻬﻴﻦ ﺑﺎﻟﻤﻘﻠﺪﻳﻦ ﻭﺍﻟﻤﺒﻬﻮﺭﻳﻦ ﺑﻞ ﻭﻳﻤﺎﻝ ﺃﻥ ﻳﺤﺪ ﻓﻰ‬
‫ﺍﻟﺨﺎﻣﺎﺕ ﺍﻟﺪﺍﺧﻠﺔ ﻓﻴﻪ ﻫﺬﺍ ﺑﻀﺪﻑ ﻣﺎﻳﻤﺘﺎﺟﻪ ﺍﻟﺘﺼﺪﻳﺮ ﻭﻳﻨﻔﺲ ﺍﻟﻤﻨﻄﻖ ﻳﻤﻜﻦ ﺍﻟﺒﺤﺚ‬ ‫ﺗﺮﺍﺛﻨﺎ ﺍﻟﺤﻀﺎﺭﻯ ﻧﺒﻌﺎ ﻳﺴﺘﻘﻰ ﻣﻨﻪ ﻭﻗﺪ ﻛﺎﻥ ﻟﺬﻟﻚ ﺍﻧﺒﻬﺮ ﺍﻟﻐﺮﺏ ﺑﻔﻜﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﺣﺴﻦ‬
‫ﻋﻦ ﻋﻤﺎﺭﺓ ﻭﻃﻨﻴﺔ ﺗﺘﻮﻓﺮ ﻓﻴﻬﺎ ﺍﻟﺒﺴﺎﻃﺔ ﻭﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺍﻟﺘﺮﺍﺙ ﻭﺗﺘﻼﻋﻢ ﻣﻊ ﺍﻟﺒﻴﻨﺔ ﺍﻟﻤﻄﻴﺔ‬ ‫ﻓﺘﺤﻰ ﺍﻟﺬﻯ ﺗﻌﻤﻖ ﻓﻰ ﺍﻟﻤﺤﻠﻴﺔ ﻭﻭﺻﻞ ﺑﻬﺎ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺃﻣﺎ ﺍﻟﺬﻳﻦ ﻟﻬﺜﻮﺍ ﻭﺭﺍء ﺍﻟﻌﺎﻟﻤﻴﺔ ﻣﻦ‬
‫ﻭﻣﺘﻄﻠﺒﺎﺕ ﺍﻹﻧﺴﺎﻥ ﺩﺍﺧﻠﻬﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺘﻄﻮﺭ ﺃﻧﻤﺎﻁ ﺍﻷﺛﺎﺙ ﺃﻭﺧﺎﺭﺟﻬﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﺎﺑﻊ‬ ‫ﺧﺎﺭﺟﻬﺎ ﻓﻠﻢ ﻳﻨﻈﺮ ﺇﻟﻴﻬﻢ ﺃﺣﺪ ﻓﺎﻟﺤﻴﺎﺓ ﺗﺪﻭﺭ ﻓﻰ ﻟﻘﺎﺕ ﺣﻀﺎﺭﻳﺔ ﺻﻌﻮﺩﺃ ﻭﻫﺒﻮﻃﺎ ﺗﺎﺭﺓ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻯ ﺍﻟﻌﺎﻡ ﻭﺇﺫﺍ ﻛﺎﻥ ﺍﻟﺰﻯ ﺍﻟﻮﻃﻨﻰ ﻫﻮ ﺷﻜﻞ ﺍﺗﻔﻖ ﻋﻠﻴﻪ ﺍﻟﻤﺠﺘﻤﻊ ﻓﺈﻥ ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺃﻭ ﻳﺴﺎﺭﺃ ﻭﻳﻤﻴﻨﺎ ﺗﺎﺭﺓ ﻭﻟﻜﻦ ﻓﻰ ﺍﻟﻨﻬﺎﻳﺔ ﺗﺮﺟﻊ ﺍﻟﻨﻔﻮﺱ ﺇﻟﻰ ﻣﻤﺰﻭﻧﻬﺎ ﺍﻟﺤﻀﺎﺭﻯ ﺗﺒﺤﺚ‬
‫ﺍﻟﻮﻃﻨﻴﺔ ﻣﻦ ﺍﻟﻀﺎﺭﺝ ﺗﺼﺒﺢ ﻣﺜﻞ ﺍﻟﺰﻯ ﺗﻤﺎﻣﺄ ﻳﺘﻔﻖ ﻋﻠﻴﻬﺎ ﺍﻟﻤﺠﺘﻤﻊ ﻓﺘﻜﻮﻥ ﻣﻦ ﺍﻟﺨﺎﺭﺝ‬ ‫ﻓﻴﻪ ﻋﻦ ﺍﻟﻘﻴﻢ ﺍﻟﻤﻀﺎﺭﻳﺔ ﻭﺍﻟﻤﻌﻨﻮﻳﺔ ﻟﻤﻮﺍﺯﻧﺔ ﺍﻟﻘﻴﻢ ﺍﻟﻤﺎﺩﻳﺔ ﻛﻤﺎ ﺃﺻﻴﺐ ﺑﻬﺎ ﺍﻟﻐﺮﺏ ﻭﺍﻟﻔﺮق‬
‫ﻫﻰ ﻋﻤﺎﺭﺓ ﺍﻟﻤﺠﺘﻤﻊ ﻭﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻫﻰ ﻋﻤﺎﺭﺓ ﺍﻟﻔﺮﺩ ﻣﻦ ﻫﻨﺎ ﺗﻘﻴﺪ ﺻﺮﻳﺔ ﺍﻻﺑﺘﻜﺎﺭ‬ ‫ﺑﻴﻦ ﺍﻟﺘﻘﺪﻡ ﻭﺍﻟﺘﺨﻠﻒ ﻫﻮ ﺃﻥ ﺍﻟﺘﻘﺪﻡ ﻳﺴﻴﺮ ﺑﺴﺮﻋﺎﺕ ﻛﺒﻴﺮﺓ ﻭﻳﺘﻮﺍ ﻋﻢ ﻣﻊ ﻧﻔﺴﻪ ﻋﻠﻰ ﻓﺘﺮﺍﺕ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻯ ﻣﻦ ﺍﻟﺨﺎﺭﺝ ﺑﺎﻟﻘﻴﻢ ﺍﻟﺘﻰ ﻳﺮﺿﻰ ﻋﻠﻴﻬﺎ ﺍﻟﻤﻤﺘﻤﻊ ﻭﺗﺘﺤﺮﺭ ﺭﻳﺔ ﺍﻻﺑﺘﻜﺎﺭ ﻓﻰ‬ ‫ﻓﺮﻳﺒﺔ ﺃﻣﺎ ﺍﻟﺘﻀﻠﻒ ﻓﻴﺴﻴﺮ ﺑﻤﻌﺪﻻﺕ ﺃﺑﺬ ﺑﺤﻴﺚ ﻻﻳﺴﺘﻄﻴﻊ ﻣﻌﻬﺎ ﺍﻟﻠﺤﺎق ﺑﺎﻟﺘﻘﺪﻡ‬
‫ﺍﻟﺪﺍﺧﻞ ﺗﺒﻌﺎ ﻟﻠﻤﺘﻄﻠﺒﺎﺕ ﺍﻟﻤﻌﻴﺸﻴﺔ ﻭﺍﻻﻣﻜﺎﻧﻴﺎﺕ ﺍﻟﻤﺎﺩﻳﺔ ﻭﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺜﻘﺎﻓﻰ ﻫﺬﻩ ﻫﻰ‬ ‫ﻓﻴﻤﺎﻭﻝ ﺗﻘﻠﻴﺪﻩ ﻛﺎﻷﻋﻤﻰ ﺍﻟﺬﻯ ﻻﻳﺒﺼﺮ ﺗﺤﺖ ﻗﺪﻣﻴﻪ ﻟﻴﺮﻯ ﺫﺍﺗﻪ ﻭﻗﻴﻤﻪ ﺍﻟﻤﻌﻨﻮﻳﺔ ﺍﻟﻤﻔﻘﻮﺩﺓ‬
‫ﻋﻤﺎﺭﺓ ﺍﻟﻮﺳﻂ ﺍﻟﺘﻰ ﺗﻌﺘﺒﺮ ﻣﻦ ﺃﻫﻢ ﺍﻟﻘﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺴﻠﻤﻴﻦ ﻭﺍﻟﻐﺮﻳﺐ ﺃﻥ ﻫﺬﺍ‬ ‫ﻓﺘﺘﻮﻩ ﺍﻝ ﻃﻮﺍﺕ ﻭﻳﻔﻘﺪ ﺍﻟﻤﻤﺘﻤﻊ ﺷﻔﺼﻴﺘﻪ ﻭﻫﻮﻳﺘﻪ ﺍﻟﻤﻀﺎﺭﻳﺔ ﻛﻤﺎ ﺗﻔﻘﺪ ﺍﻟﻤﺪﻳﻨﺔ‬
‫ﻧﺴﺘﻮﺭ ﻣﻨﻬﺎ ﺍﻟﻘﺸﻮﺭﻭﻧﺄﺧﺬ ﻣﻨﻬﺎ‬
‫ﺍﻟﻤﻨﻄﻖ ﻳﻄﺒﻖ ﻓﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺪﺭﻝ ﺍﻟﻤﺘﻘﺪﻣﺔ ﺍﻟﺘﻰ ﺩ‬ ‫ﺍﻝ ﻭﻟﻢ ﻳﺪﺭﻙ ﺍﻟﻤﻔﻜﺮﻭﻥ ﺑﻌﺪ ﺑﺄﻥ ﺍﻟﺤﻀﺎﺭﺓ ﺍﻹﺳﻴﺔ ﻣﺒﻨﻴﺔ‬ ‫ﺷﻨﺼﻴﺘﻬﺎ ﻭﻫﻮﻳﺘﻬﺎ ﻣﻌﻤﺎﺭﻳﺔ‬
‫ﺍﻟﻈﺎﻫﺮ ﺩ ﻭﻥ ﺍﻟﺒﺎﻃﻦ ﻭﻫﻜﺬﺍ ﻳﺼﺒﺢ ﺍﻟﺒﻤﺚ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻟﻠﻤﺪﻳﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ‬ ‫ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺘﻮﺍﺯﻥ ﺍﻟﻤﺴﺘﻤﺮ ﺑﻴﻦ ﺍﻟﻤﺎﺩﻳﺎﺕ ﻭﺍﻟﻤﻌﻨﻮﻳﺎﺕ ﻭﻫﻰ ﺍﻟﺤﻀﺎﺭﺓ ﺍﻟﺘﻰ ﺗﻤﻔﻆ‬
‫ﻓﻀﻴﺔ ﺣﺘﻤﻴﺔ ﺍﺟﺘﻤﺎﻋﻴﺎ ﻭﺛﻘﺎﻓﻴﺎ ﻣﻦ ﻧﺎﺣﻴﺔ ﻭﺍﻓﺘﺼﺎﺩﻳﺄ ﻭﺳﻴﺎ ﻳﺄ ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﻫﻨﺎ‬ ‫ﻟﻠﻤﻤﺘﻤﻊ ﺗﻮﺍﺯﻧﻪ ﻛﻤﺎ ﺗﻤﻔﻆ ﻟﻠﻤﺪﻳﻨﺔ ﺑﺎﻟﺘﺒﻌﻴﺔ ﺗﻮﺍﺯﻧﻬﺎ ﻣﻦ ﻫﻨﺎ ﻛﺎﻥ ﻻﺑﺪ ﻣﻦ ﺍﻟﺮﺟﻮﻉ ﺇﻟﻰ‬
‫ﻳﻈﻬﺮ ﺩﻭﺭ ﺍﻟﻬﻴﻨﺎﺕ ﺍﻟﻤﺴﺆﻭﻟﺔ ﻋﻦ ﺑﻨﺎء ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ ﺑﻤﺮﺍﻓﻘﻬﺎ ﻭﺍﺳﻜﺎﻧﻬﺎ ﻭﺧﺪﻣﺎﺗﻬﺎ‬ ‫ﺍﻟﻘﻴﻢ ﺍﻹﺳﻴﺔ ﺍﻟﺘﻰ ﺗﻌﻤﻞ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺘﻮﺍﺯﻥ ﺍﻟﻤﺘﻤﺜﻞ ﻓﻰ ﺍﻟﺘﻮﺍﺯﻥ ﺍﻟﺒﻴﻨﻰ ﻭﺍﻻﻓﺘﺼﺎﺩﻯ‬
‫ﻭﻣﺴﺘﺸﻔﻴﺎ ﺗﻬﺎ ﻭﻣﺼﺎ ﻧﻌﻬﺎ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﻰ ﻟﻤﺠﺘﻤﻊ ﺍﻟﻤﺪﻳﻨﺔ ﺃﻭﻻ ﺛﻢ ﻟﻌﻤﺎﺭﺗﻬﺎ ﺑﻌﺪ ﺫﻟﻚ ﻛﺎﻧﻌﻜﺎﺱ ﻃﺒﻘﻰ ﻟﻠﻤﺠﺘﻤﻊ‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﺗﻢ ﺍﻋﺘﻤﺎﺩ ‪ 72‬ﻣﻠﻴﻮﻥ ﺟﻨﻴﻪ ﺧﻼﻝ ﺍﻟﻌﺎﻡ ﺍﻟﺤﺎﻟﻰ‬

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‫ﺃﻋﻤﺎﻝ ﺍﻟﺒﻨﻴﺔ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﺮﻧﻴﺴﻴﺔ ﻭﺍﻟﻔﺮﻋﻴﺔ ﻭﺗﺠﻤﻴﻞ‬
‫ﺍﻟﻤﻮﺍ ﻓﻊ ﻭﺍ ﻹﺳﻜﺎﻥ ﻣﻨﺨﻔﺾ ﺍﻟﺘﻜﺎﻟﻴﻒ ﻭﺍﻻﻓﺘﺼﺎﺩﻯ‬
‫ﻭﺍﻟﻤﺘﻮﺳﻂ ﻭﻓﻮق ﺍﻟﻤﺘﻮﺳﻂ ﻭﺍﻟﻔﻴﻼﺕ ﻭﻳﺠﺮﻯ ﺣﺎﻟﻴﺎ ﺗﻨﻔﻴﺬ‬
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‫ﻭﺍﻟﺠﻤﻌﻴﺎﺕ ﻭﺍﻵﻓﺮﺍﺩ ﻛﻤﺎ ﺗﺠﺮﻯ ﺃﻋﻤﺎﻝ ﺍﻟﻤﺮﺍﻓﻖ ﻓﻰ‬
‫ﺍﻷﺣﻴﺎء ﺍﻷﻭﻝ ﻭﺍﻟﺨﺎﻣﺲ ﻭﺍﻟﺜﺎﻧﻰ ﻋﺸﺮ ﺑﺘﻜﺎﻟﻴﻒ ﺳﻮﻑ‬
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‫‪ 2991‬ﻛﻤﺎ ﺗﻢ ﺗﺨﺼﻴﺺ ﺃﺭﺍﺿﻰ ﻟﻨﺤﻮ ‪ 092‬ﻣﺼﻨﻌﺎ‬
‫ﻟﺘﻮﻓﻴﺮ ﻓﺮﺹ ﺍﻟﻌﻤﻞ ﺑﺎﻟﻤﺪﻳﻨﺔ‬
‫ﺗﻘﺮﺭ ﺍﻟﺒﺪء ﻓﻰ ﺇﻋﺎﺩﺓ ﺗﺨﻄﻴﻂ ﻭﺗﻄﻮﻳﺮ ﻣﻴﺪﺍﻥ‬
‫ﺭﻣﺴﻴﺲ ﻟﺮﻓﻊ ﻛﻔﺎءﺓ ﺍﻟﻤﻴﺪﺍﻥ ﻣﺮﻭﺭﻳﺎ ﻭﺳﻴﺎﺣﻴﺎ ﻭﺇﺯﺍﻟﺔ‬
‫ﻛﺎﻓﺔ ﺍﻹﺷﻐﺎﻻﺕ ﺑﺎﻟﻤﻴﺪﺍﻥ ﺑﻤﺎ ﻓﻴﻬﺎ ﺍﺷﻐﺎﻻﺕ ﺍﻟﺒﺎﻋﺔ‬
‫ﻝ‬ ‫ﺍﻟﺠﺎﺋﻠﻴﻦ ﻭﺇﻋﺎﺩﺓ ﺍﻟﻠﻤﺴﺎﺕ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻟﻠﻤﻴﺪﺍﻥ ﻣﻦ‬
‫ﺗﻄﻮﻳﺮ ﺍﻟﻨﺎﻓﻮﺭﺓ ﺍﻟﺘﻰ ﺗﻀﻢ ﺗﻤﺜﺎﻝ ﺭﻣﺴﻴﺲ‬

‫ﻫﻰ‬
‫ﻛﺎ ﻋﺔ ﺍﻟﻄﺎﻓﺔ ﻭﺍﻟﻤﺨﺰﻭﻥ ﻣﻨﻬﺎ‬
‫ﺍﺳﺘﻌﻤﺎ ﻻﺕ ﺍ ﻻﺭﺍﺿﻰ ﻭﺍ ﻟﺘﺸﻤﻜﻴﻞ ﺍﻟﺤﻀﺮﻯ‬
‫ﺍﻟﻤﺪ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬
‫ﻳﻨﺔ‬ ‫ﻳﻌﻘﺪ ﻓﻰ ﻛﻠﻴﺔ ﺍﻟﻔﻨﻮﻥ ﺑﻤﺪﻳﻨﺔ ﺑﺮﺍﻳﺘﻮﻥ ﺍﻹﻧﺠﻠﻴﺰﻳﺔ‬
‫ﺍﻟﺒﻄﺎ ﻟﺔ ﻭﺍ ﻻﻓﺘﺼﺎﺩ‬ ‫ﻣﻨﺘﺪﻯ ﺍﻭﺭﻭﻳﻰ ﺗﺤﺖ ﻋﻨﻮﺍﻥ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﺒﺎﻗﻴﺔ‬
‫ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺨﻀﺮﺍ ﻭﺍﻟﻄﺒﻴﻌﻴﺔ‬ ‫‪ elbaniatsuS ytiC‬ﻭﺫﻟﻚ ﻓﻰ ﺍﻟﻔﺘﺮﺓ ﻣﻦ ‪ 5 3‬ﺍﺑﺮﻳﻞ‬
‫ﺍﻟﻨﻘﻞ ﻭﺍﻟﻤﻮﺍﺻﺪﺕ‬ ‫‪ 2991‬ﻭﺗﻮﺟﻪ ﻫﺬﻩ ﺍﻟﻨﺪﻭﺓ ﺇﻟﻰ ﻣﺘﺨﺬﻯ ﺍﻟﻘﺮﺍﺭﺍﺕ‬ ‫ﻳﺘﻢ ﺗﻨﻈﻴﻢ ﻣﻌﺮﺽ ﺍﻟﻜﻮﻳﺖ ﺍﻟﺪﻭﻟﻰ ﺑﻤﺪﻳﻨﺔ ﺍﻟﻜﻮﻳﺖ‬
‫ﺍ ﻹﺳﻜﺎﻥ‬ ‫ﻭﺍﻟﺴﻴﺎﺳﻴﻴﻦ ﻭﺍﻟﻤﺘﺨﺼﺼﻴﻦ ﻓﻰ ﻣﺨﺘﻠﻒ ﺍﻟﻤﺠﺎﻻﺕ ﻣﻬﺘﻤﻴﻦ‬ ‫ﻓﻰ ﺍﻟﻔﺘﺮﺓ ﻣﻦ ‪ 62‬ﻓﺒﺮﺍﻳﺮ ‪ 3‬ﻣﺎﺭﺱ ‪ 2991‬ﻡ ﻭﺍﻟﺬﻯ‬
‫ﺗﻤﻨﺐ ﺍﻟﺘﻠﻮﺙ‬ ‫ﺑﺘﻨﻈﻴﻢ ﺍﻟﻤﺪﻳﻨﺔ ﻭﺍﻟﺤﻔﺎﻅ ﻋﻠﻴﻬﺎ‬ ‫ﺗﻘﻮﻡ ﺑﺈﺩﺍﺭﺗﻪ ﺷﺮﻛﺔ ﺍﻟﻤﻌﺎﺭﺽ ﺍﻟﻜﻮﻳﺘﻴﺔ ﺑﺎﻟﺘﻌﺎﻭﻥ ﻣﻊ‬
‫ﺗﻔﻔﻴﺾ ﺍﻟﻔﺎﻓﺪ ﻭﺍﻹﺩﺍﺭﺓ‬ ‫ﻭﻟﻠﺘﻌﺮﻑ ﻋﻠﻰ ﻣﻌﻨﻰ ﺗﻌﺒﻴﺮ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﺒﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺭﺽ ﻫﻠﻜﻞ ﺍﻟﺨﻠﻴﺞ ﻭﺍﻟﻤﻌﺮﺽ ﻳﺘﺴﻢ ﺑﺎﻟﻌﺮﻭﺽ‬
‫ﺗﺸﺎﺭﻙ ﻓﻰ ﺍﻟﻤﻨﺘﺪﻯ ﻋﺪﺓ ﻫﻴﻨﺎﺕ ﻋﺎﻟﻤﻴﺔ ﻫﻰ‬ ‫ﻧﺘﻌﺮﺽ ﻟﻤﺎ ﺭﺩ ﻓﻰ ﺗﻘﺮﻳﺮ ﺑﺮﻧﺪﻻﻧﺪ ﻋﻦ ﺍﻟﺒﻴﺌﺔ ﻭﺍﻟﺘﻨﻤﻴﺔ‬ ‫ﺍﻟﺸﺎﻣﻠﺔ ﺍﻟﺘﻰ ﺗﻐﻄﻰ ﺍﻟﻤﻮﺍﻧﺐ ﺍﻟﺘﺎﻟﻴﺔ‬
‫ﺍﻟﺠﻤﻌﻴﺔ ﺍﻟﻘﻮﻣﻴﺔ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻟﺤﻀﺮﻳﺔ ‪ SUAN‬ﻣﺮﻛﺰ‬ ‫‪ VA‬ﺣﻴﺚ ﻋﺮﻓﻬﺎ ﺑﺎﻟﻤﺪﻳﻨﺔ ﺍﻟﺘﻰ ﺗﻮﺍﺟﻪ ﺍﺣﺘﻴﺎﺟﺎﺕ‬ ‫ﺻﻨﺎﻋﺔ ﺍﻟﺒﻨﺎءﻭﺍﻹﻧﺸﺎ ﺕ ﻭﻣﻨﺘﺠﺎﺕ ﻭﻣﻮﺍﺩ ﻭﻣﻌﺪﺍﺕ‬
‫ﻟﻮﻳﺤﻰ ﻛﻮﻫﻴﻦ ﻟﻠﺪﺭﺍﺳﺎﺕ ﺍﻟﺤﻀﺮﻳﺔ ﻣﺠﻤﻮﻋﺔ ﺍﺻﺪﻗﺎء‬ ‫ﺍﻟﺤﺎﺿﺮ ﺑﺪﻭﻥ ﺍﻟﺘﻌﺮﺽ ﻟﻘﺪﺭﺓ ﺍﻻﺟﻴﺎﻝ ﺍﻟﻘﺎﺩﻣﺔ ﻋﻠﻰ‬
‫ﺍﻟﺒﻨﺎءﻭﺍﻟﺘﺮﻛﻴﺒﺎﺕ ﻭﺍﻟﺘﺼﺎﻣﻴﻢ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻭﻣﻮﺍﺩ‬
‫ﻣﻨﻈﻤﺔ ﺍﻟﺼﺤﺔ ﺍﻟﻌﺎﻟﻤﻴﺔ ﻣﺸﺮﻭﻉ‬ ‫ﺍ ﻻﺭﺽ ‪EOF‬‬ ‫ﻣﻮﺍﺟﻬﺔ ﺍﺣﺘﻴﺎﺟﺎﺗﻬﻢ ﺍﻟﺨﺎﺻﺔ ﻭﻋﻠﻰ ﻫﺬﺍ ﻓﻨﺤﻦ ﺑﺤﺎﺟﺔ‬
‫ﺍ ﻟﻤﺪﻥ ﺍ ﻟﺼﻤﻴﺔ‬ ‫ﺍﻟﺘﺴﻠﻴﺢ‬
‫ﻟﺘﻐﻴﻴﺮﺍﺕ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﺳﻴﺎﺳﻴﺔ ﻭﻋﻤﺮﺍﻧﻴﺔ ﻋﻤﻴﻘﺔ ﻓﻰ‬
‫ﻟﻤﺬ ﺩ ﻣﻦ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‬ ‫ﺍ ﻻﺷﻐﺎﻝ ﺍﻟﻌﺎﻣﺔ ﻭﻫﻨﺪﺳﺔ ﺍﻟﺒﻠﺪﻳﺔ‬
‫‪ehT ecnerefnoC noitanidro‬‬
‫‪oC‬‬
‫ﺗﻨﻈﻴﻢ ﺍﻟﻤﺪﻥ ﻟﺠﻌﻠﻬﺎ ﺃﻛﺌﺮ ﺟﺎﺫﺑﻴﺔ ﻭﻓﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺒﻘﺎء ﻋﻠﻰ‬
‫ﺍﻷﻣﺪ ﺍﻟﻄﻮﻳﻞ‬ ‫ﺍﻟﻬﻨﺪﺳﺔ ﺍﻟﻜﻬﺮﺑﺎﻧﻴﺔ ﻭﺃﻧﻈﻤﺔ ﺍﻟﺘﻤﻜﻢ ﻟﻠﻤﺒﺎﻧﻰ‬
‫‪siweL nehoC nabrU seidutS ertneC‬‬
‫ﻭﺗﻬﺪﻑ ﻫﺬﻩ ﺍﻟﻨﺪﻭﺍﺕ ﺇﻟﻰ ﺗﻨﻤﻴﺔ ﺍﻟﻔﻬﻢ ﺍﻟﻌﻠﻤﻰ ﻟﻤﻌﻨﻰ‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻻﺗﺼﺎﻻﺕ ﺍﻧﻈﻤﺔ ﻣﻜﺘﺒﻴﺔ ﻭﻛﻤﺒﻴﻮﺗﺮﺍﺕ‬
‫‪ta nothgirB cinhcetyloP‬‬
‫‪86 dnarG edaraP‬‬ ‫ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺍﻟﺒﻘﺎءﻭﺍﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﻣﺴﺎﻋﺪﺓ ﺍﻟﺘﺪﺭﻳﺐ‬ ‫ﺍﻟﺘﻌﻠﻴﻢ ﻭﺍﻟﺘﺪﺭﻳﺐ ﺍﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﺼﺤﺔ ﺍﻟﺘﺼﻨﻴﻊ‬
‫‪nothgirB 2NN YJ2 DNALGNE‬‬ ‫ﺍﻟﻤﻬﻨﻰ ﺍﻟﺠﻴﺪ ﻣﻦ ﺧﻜﻞ ﺑﺮﺍﻣﺞ ﺍﻟﺘﻌﻠﻴﻢ ﺓ‬
‫ﻭﻣﺸﺎﺭﻙ‬ ‫ﻭﺍ ﻹﻧﺘﺎﺝ ﺑﺘﺮﻭﻛﻴﻤﺎﻭﻳﺎﺕ ﻧﻔﻂ ﻭﻏﺎﺯ‬
‫‪ENOHPELET 6143763720‬‬ ‫ﺍﻟﻤﻮﺍﻃﻨﻴﻦ ﻓﻰ ﺇﻳﺠﺎﺩ ﺑﻴﻨﺔ ﺣﻀﺮﻳﺔ ﺻﺤﻴﺔ ﻓﺎﺩﺭﺓ ﻋﻠﻰ‬
‫ﺑﻀﺎﺋﻊ ﺍﺳﺘﻬﻼﻛﻴﺔ‬
‫‪XAF 9719763720‬‬
‫ﺍﻟﺒﻘﺎء ﻭﺃﻫﻢ ﺍﻟﻘﻀﺎﻳﺎ ﺍﻟﻤﻄﺮﻭﺣﺔ ﻟﻠﻤﻨﺎﻓﺸﺔ ﺧﻜﻞ ﺍﻟﻤﻨﺘﺪﻯ‬
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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﻭﺍﻟﻨﻬﻮﺵ ﺑﺎﻟﻨﺸﺮﺓ ﻭﺃﺳﺘﻄﻼﻉ ﺍﺭﺍء ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﻓﻰ‬

‫ﻣﺨﻄﻒ ﺍﻟﻬﺎﻧﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﻓﻴﻤﺎ ﻳﻬﻤﻬﻢ ﻣﻦ ﻣﻌﻠﻮﻣﺎﺕ ﻣﻊ‬
‫ﻭﺿﻊ ﺃﻭﻳﺎﺕ ﻟﻬﺎ ﻭﺍﻟﺘﻌﺮﻫـ ﻋﻠﻰ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﺍﻟﺘﻰ ﺗﺸﺘﺪ‬
‫ﺍﻟﺤﺎﺟﺔ ﺇﻟﻴﻬﺎ ﺑﻴﻦ ﺍﻟﺠﻤﺎﻋﺎﺕ ﻭﺍﻟﻘﻄﺎﻋﺎﺕ ﺍﻟﻌﺮﻳﻀﺔ ﻣﻦ‬
‫ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﻭﻗﺪ ﻓﺪﺭﺕ ﺍﻟﻠﻤﻨﺔ ﺇﺭﺳﺎﻝ ﺍﻻﺳﺘﺒﻴﺎﻥ ﺇﻟﻰ‬
‫ﺗﺪﺭﺱ ﺷﻌﺒﺔ ﺍﻟﻬﻨﺪﺳﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺑﺎﻟﺘﻌﺎﻭﻥ ﻣﻊ‬
‫ﺍﻟﻬﻴﻨﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﺍﻟﻘﻄﺮﻳﺔ ﺍﻻﻋﻀﺎ ﻓﻰ ﺍﺗﺤﺎﺩ‬
‫ﻭﺯﺍﺭﺓ ﺍﻻﻭﻗﺎﻑ ﺍﻟﺤﻜﻮﻣﻴﺔ ﺍﻗﺎﻣﺔ ﻣﺴﺎﺑﻘﺔ ﻋﺎﻟﻤﻴﺔ ﻟﺘﺮﻣﻴﻢ‬
‫ﺍ ﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﻟﻤﺮﺏ‬
‫ﻗﺒﺔ ﺍﻟﻤﺴﺠﺪ ﺍﻻﻗﺼﻰ‬
‫ﺋﺎﻟﺜﺎ ﺇﻗﺎﻣﺔ ﻧﺪﻭﺓ ﺑﻌﻨﻮﺍﻥ ﻭﺍﻓﻊ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‬
‫ﺗﻘﺒﻢ ﺍﻟﺸﻌﺒﺔ ﺩﻭﺭﺓ ﺗﺪﺭﻳﺒﻴﺔ ﻋﻦ ﺍﻟﺘﺤﻜﻴﻢ ﻓﻰ‬
‫ﺍ ﺳﺘﺪﺭﺍﻙ‬ ‫ﺍﻟﻬﻨﺪﺳﻴﺔ ﻛﻞ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻌﺮﺑﻰ ﻓﻰ ﺍﻟﻘﺎﻫﺮﺓ ﻳﻮﻡ ﺍﻟﺴﺒﺖ‬
‫ﺍﻟﻤﻨﺎﺯﻋﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﻛﻤﺎ ﺗﻌﺪ ﻣﺸﺮﻭﻋﺎ ﻟﻤﺮﺍﺟﻌﺔ‬
‫‪ i‬ﻣﻦ ﺍﻟﻤﺠﻠﺔ ﺹ ‪01‬‬
‫ﻓﻰ ﺍﻟﻌﺪﺩ ‪v‬‬ ‫ﻧﺸﺮ ﺥ‬ ‫ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﺍﻟﺘﻰ ﺗﻘﺪﻡ ﻟﻠﻤﺠﺎﻟﺲ ﺍﻟﻤﺤﻠﻴﺔ‬
‫ﺗﻌﻠﻴﻘﺎ ﻋﻠﻰ ﺻﻮﺭﺓ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺍﻟﺪﻭﻟﻴﺔ ﻟﺘﺼﻌﻴﻢ ﺑﻨﻚ ﻓﻴﺼﻞ‬
‫ﺭﺍﺑﻌﺎ ﺭﻓﻊ ﺗﻮﺻﻴﺔ ﺇﻟﻰ ﺍﻟﻤﺠﻠﺲ ﺍﻷﻋﻠﻰ ﻻﺗﺤﺎﺩ‬
‫ﺗﺴﻌﻰ ﻧﻔﺎﺑﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﻟﻔﺮﻋﻴﺔ ﺑﺎﻟﺠﻴﺰﺓ‬
‫ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﻟﻌﺮﺏ ﺑﺈﺻﺪﺍﺭ ﻧﺪﺍء ﺇﻟﻰ ﺍﻟﻤﺴﻨﻮﻟﻴﻦ ﻋﻦ ﺍﻟﻤﻴﺎﻩ‬
‫ﺍﻹﺳﻼﻣﻰ ﺑﻤﻴﺪﺍﻥ ﺍﻟﺠﻼء ﺑﺎﻟﻘﺎﻫﺮﺓ ﻣﺼﻄﻔﻰ ﺍﺭﺩﻻﻥ‬
‫ﻟﺘﺨﺼﻴﺺ ﺃﺭﺽ ﻋﻠﻰ ﺷﺎﻃﻰء ﺍﻟﻨﻴﻞ ﺃﻣﺎﻡ ﺍﻟﻘﺮﻳﺔ‬
‫ﻧﺎﺩﺭ ﺍﺭﺩﻻﻥ ﺑﻮﺻﻔﻬﻤﺎ ﺍﻟﻔﺎﻧﺰﻳﻦ ﺑﺎﻟﺠﺎﺋﺰﺓ ﺍﻷﻭﻟﻰ‬ ‫ﻓﻰ ﺍﻷﻗﻄﺎﺭ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻟﻬﻴﺌﺎﺕ ﺍﻟﻤﺎﻧﻴﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻛﺬﻟﻚ‬
‫ﺍﻟﻔﺮﻋﻮﻧﻴﺔ ﻻﻧﺸﺎ ‪ 5‬ﻧﺎﺩﻯ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺑﺎﻟﺠﻴﺰﺓ ﻭﺧﺼﺺ‬
‫ﺍﻟﻤﺸﺘﺮﻛﺔ ﻓﻰ ﺗﻠﻚ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻭﺻﺤﺘﻪ ﻫﻰ ﻣﺆﻣﻦ‬ ‫ﺍﻟﺘﻮﺻﻴﻘﺈﻗﺎﻣﺔ ﻧﺪﻭﺓ ﻣﻦ ﻣﺸﻜﻠﺔ ﺍﻟﻤﻴﺎ ﻓﻰ ﺍﻟﻌﺎﻟﻢ‬
‫ﻣﺒﻠﻎ ﺧﻤﺴﻮﻥ ﺃﻟﻒ ﺟﻨﻴﻪ ﺗﺤﺖ ﺣﺴﺎﺏ ﺗﺠﻬﻴﺰﺍﺕ ﺍﻟﻨﺎﺩﻯ‬
‫ﻣﻬﻨﺪﺳﻮﻥ ﺍﺳﺘﺸﺎﺭﻳﻮﻥ ﺩ ﻣﺼﻄﻔﻰ ﻣﺆﻣﻦ‬ ‫ﺍﻟﻌﺮﺑﻰ ﻭﺗﻜﻠﻴﻒ ﻟﺠﻨﺔ ﺍﻟﻤﻮﺍﺭﺩ ﺍﻟﻤﺎﺋﻴﺔ ﺑﺎﺗﻤﺎﺩ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ‬
‫ﻗﺮﺭﺕ ﻧﻔﺎﺑﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﺳﺘﻀﺎﻓﺔ ﺍﻟﻤﺆﺗﻤﺮ‬
‫ﻡ‬ ‫‪ Y GNUJ‬ﺭ‬ ‫ﺣﻢ‬ ‫ﺍﻟﻌﺮﺏ ﺑﺘﻨﻄﻴﻢ ﻫﺬﻩ ﺍﻟﻨﻤﺆ ﻓﻰ ﺃﻓﺮﺏ ﻭﻓﺖ ﻣﻤﻜﻦ‬
‫ﺍﻟﺪﻭﻟﻰ ﺍﻟﺜﺎﻟﺚ ﻟﻠﺘﻌﻠﻴﻢ ﺍﻟﻬﻨﺪﺳﻰ ﻭﻳﻌﻘﺪ ﺍﻟﻤﺆﺗﻤﺮ ﻓﻰ‬
‫ﺍﻟﻘﺎﻫﺮﺓ ﺧﻼﻝ ﻧﻮﻓﻤﺒﺮ ‪ 4991‬ﻭﺫﻟﻚ ﺑﻌﺪ ﻣﻮﺍﻓﻘﺔ ﺍﻻﺗﺤﺎﺩ‬
‫ﻣﻮﺍﺗﺠﻌﻒ‬
‫ﺍﻟﻌﺎﻟﻤﻰ ﻟﻠﻤﻨﻈﻤﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﻫﺬﺍ ﻭﻗﺪ ﺗﻘﺮﺭ ﺗﻮﻓﻴﺮ ﺟﻤﻴﻊ‬
‫ﺍﻻﻋﺘﻤﺎﺩﺍﺕ ﺍﻟﻤﺎﻟﻴﺔ ﺍﺳﺰﻣﺔ ﻟﻀﻤﺎﻥ ﻧﺠﺎﺡ ﻫﺬﺍ ﺍﻟﻤﺆﺗﻤﺮ‬
‫ﺗﻮﻛﻞ ﺇﻟﻰ ﺭ ﻣﺔ ‪fI ld‬ﺳﺘﺎﻟﻢ ﺷﻔﻴﻖ ﺍﻟﺼﺪﺭ ﺭﺍﻧﺪ ﻋﻠﻢ ﺍﻟﺘﻨﻄﻴﻂ ﺍﻟﻌﻤﺮﺍﻧﻲ ﻓﻰ ﻣﺼﺮﻭﺍﻟﺬﻯ ﺗﺘﻠﻤﺪ ﻋﻠﻰ ﻳﺪﻳﻪ‬
‫ﻋﻘﺪﺕ ﻟﺠﻨﺔ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻭﺍﻟﻨﺸﺮ ﺑﺎﺗﺤﺎﺩ‬
‫ﺍﺳﺎﺗﺬﺓ ﺍﻟﺘﻤﻄﻴﻂ ﺻﺎﺳﻤﺎﻭﺓ ﺕ ﻓﻰ ﻓﻰ ﻩ ﻭ ﻓﻮﻥ ﺃﻥ ﻳﺸﻌﺮ ﺑﻪ ﺃﺻﺪ ﻭﻛﺄﻧﻪ ﺣﺪﺙ ﻋﺎﺑﺮ ﻛﻤﺎ ﺣﺪ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻌﺪﻳﺪ ﻣﻤﻦ‬
‫ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﻟﻌﺮﺏ ﺍﺟﺘﻤﺎﻋﻬﺎ ﺍﻟﺜﺎﻧﻰ ﻓﻰ ﺳﺒﺘﻤﺒﺮ ﺍﻟﻤﺎﺿﻰ‬
‫ﺭﻃﻮﺍ ﻣﻦ ﺭﻭﺍﺩ ﺍﺛﻤﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻣﺘﻜﻞ ﺍﻻﺳﺘﺎﺫ ﻣﺼﻔﻔﻲ ﺷﺎﻓﻤﻲ ﻭﻣﻦ ﻓﺒﻠﻪ ﺍﻻﺳﺘﺎﺫ ﻧﺤﻤﺮﻯ ﻛﺎﻣﻞ ﻭﺍﻻﺳﻴﺘﺎﺫ ﻋﺰﺕ ﺍﺑﻮ‬
‫ﺟﺪ ‪ 4IL‬ﻧﺪﻣﺎﻥ ﻭﺍﻻﺳﺘﺎﺫ ﺻﻌﻦ ﺷﺎﻓﻌﻰ ﻭﺍﻻﺳﺘﺎﺫ ﻋﻠﻰ ﻟﺒﻴﺐ ﺟﺒﺮ ﻭﻏﻴﺮﻫﻢ ﻣﻦ ﺭﻭﺍﺩ ﺍﻟﻌﺒﻞ ﺍﻟﻤﻬﻨﻰ ﻣﺘﻜﻞ‬ ‫ﻭﺃﺻﺪﺭﺕ ﺧﻼﻝ ﻫﺬﺍ ﺍﻻﺟﺘﻤﺎﻉ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﻘﺮﺍﺭﺍﺕ ﺟﺎء‬
‫ﻓﻴﻬﺎ‬
‫ﺍﺑﺮﺍﻫﻴﻢ ﺑﻴﺐ ﻭﻫﻤﺾ ﻣﻌﻤﻪ ﺻﻦ ﺍﺫﺍ ﻛﺎﻥ ﺻﻤﻦ ﻓﺘﺤﻰ ﻓﺪ ﺭﺣﻞ ﻓﻰ ﻇﺮﻭﻑ ﺍﻋﺼﻴﺔ ﺍﺭﺗﺒﻂ ﻓﻴﻬﺎ ﺍﺳﻤﻪ ﺑﻌﻤﺎﺭﺓ‬
‫ﺍﻟﻔﻘﺮﺍء ﻫﺮ ﺍﻟﻢ ﻣﺜﻮﻯ ﺍﺳﺎﻟﻤﻰ ﻗﺒﻞ ﺍﻟﻤﺴﺘﻮﻛﺎ ﺍﻟﻤﻌﻠﻰ ﺍﻻﻣﺪ ﺍﻟﺬﻯ ﺃﺛﺎﺭ ﺍﻫﺘﻤﺎﻡ ﺑﻌﺾ ﺍﻟﻤﻬﺘﻤﻴﻦ ﺑﺘﺮﺍﻝ ﺍﻟﻔﻜﺮﻯ ﻟﺒﻌﺾ‬ ‫ﺃﻭﻻ ﻋﻔﺪ ﻭﺭﺷﺔ ﻋﻤﻞ ﻟﺘﻘﻴﻴﻢ ﺍﻟﺪﺭﺍﺳﺔ ﺍﻟﺘﻰ ﺍﻋﺪﻫﺎ‬
‫ﺍﻟﻤﻬﻨﺪﺳﻮﻥ ﺍﻟﻌﺮﺍﻗﻴﻮﻥ ﺣﻮﻝ ﺣﺼﺮ ﺍﻟﻜﻔﺎ ﺍﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ‬
‫ﺍ ﻓﺖ ﺽ ﻯ ﻛﻞ ﺍﺻﻤﻪ ﺑﻘﻨﻞ ﻓﻰ ﻃﻰ ﺍﻟﻨﺴﻴﺎﻥ ﻛﻤﻦ ﺳﺒﻘﻪ ﻣﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﻭﻳﻌﺪ ﻛﻞ ﺫﻟﻚ ﻟﻢ ﺗﺘﺤﺮﻙ ﺃﻯ ﻣﻦ ﺍﻟﻤﻨﻈﻌﺎﺕ‬
‫ﺍﻟﻤﻌﻤﺎ ﺓ ﺍﻟﻤﺼﺮﻳﺔ ﺏ ﺍ ﺍﺳﻢ ﻣﻦ ﻫﺬﻩ ﺍﻻﺳﻤﺎء ﻓﻠﻢ ﺗﻮﻓﻖ ﺃﻯ ﻣﻦ ﻫﺬﻩ ﺍﻟﻤﻨﻈﻤﺎﺕ ﻓﻰ ﺗﺠﻤﻴﻊ ﺃﻋﻤﺎﻟﻬﻢ ﻓﻰ ﻛﺘﺎﺏ ﺃﻭ‬ ‫ﻓﻰ ﺍﻟﻮﻃﻦ ﺍﻟﻌﺮﺑﻰ ﻭﺗﻜﻠﻴﻒ ﻧﻘﺎﺑﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﻷﺭﺩﻧﻴﺔ‬
‫ﺧﺒﻴﻦ ﻟﻮ ﺛﻲ ﻓﻰ ﺱ ﻝ ﻳﻀﻢ ﻣﻌﻬﻢ ﺃﻳﺤﻤﻤﺎءﻣﻦ ﺣﺼﻠﻮﺍ ﻋﻠﻰ ﻭﺍﺋﺰ ﺍﻟﺪﻭﻟﺔ ﺍﻟﺘﻘﺪﻳﺮﻳﺔ ﻫﺬﺍ ﻓﻰ ﺍﻟﻮﻓﺖ ﺍﻟﺬﻯ ﺗﻘﻮﻡ ﻓﻴﻪ‬ ‫ﺑﺎﻟﺪﻋﻮﺓ ﺇﻟﻰ ﺍﻻﺟﺘﻤﺎﻉ ﺑﺎﻟﺘﻨﺴﻴﻖ ﻣﻊ ﺃﻣﺎﻧﺔ ﻟﻤﻨﺔ‬
‫ﺻﻤﻤﻴﺔ ﻛﺘﺎﺏ ﺍﺩﻓﻨﻂ ﻫﺜﻼ ﺑﺘﻨﻈﻴﻢ ﻣﻬﺮﺟﺎﻧﺎﺕ ﺳﻨﻮﻳﺔ ﻟﻠﺴﻴﻨﻤﺎ ﺍﻟﻤﺤﻠﻴﺔ ﻭﺍﻟﻌﺎﻟﻤﻴﺔ ﺗﻤﻼ ﺑﺄﺿﻮﺍﻧﻬﺎ ﻭﺳﺎﺋﻞ ﺍﻻﻋﺜﻢ‬ ‫ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻭﺍﻟﻨﺸﺮ ﺑﺎﻟﻘﺎﻫﺮﺓ ﻋﻠﻰ ﺍﻥ ﻳﺪﻋﻰ ﻟﺤﺠﺘﻤﺎﻉ ﻛﻞ‬
‫ﻣﻦ‬
‫ﺍﻟﻤﻀﻜﻠﻔﺔ ﻭﺉ ﻡ ﺩﺫﺃﺭﺓ ﺍﻟﺌﻘﺎﻓﺔ ﺑﺘﻨﻈﻴﻢ ﻣﻬﺮﺟﺎﻧﺎﺕ ﺍﻟﻤﺴﺮﺡ ﺍﻟﺘﺠﺮﻳﺒﻰ ﺃﻭ ﺗﻘﻴﻢ ﻟﻠﻔﻨﺎﻧﻴﻦ ﻟﺘﺸﻜﻴﻠﻴﻴﻦ ﺍﻟﺒﻴﻨﺎﻟﻰ ﺍﻟﺴﻨﻮﻯ‬
‫ﻻﻋﻤﺎﻟﻤﻢ ﺛﻢ ﻫﺎﻫﻰ ﺗﺮﻓﻊ ﺭﻭﺍﺩ ﺍﻟﻘﺼﺔ ﺍﻟﻘﺼﻴﺮﺓ ﻭﺍﻟﻄﻮﻳﻠﺔ ﻭﺍﻟﺸﻌﺮ ﺍﻟﻤﻨﻈﻮﻡ ﻭﺍﻟﻤﻨﺜﻮﺭ ﺍﻟﻰ ﺃﺭﻓﻊ ﺍﻟﺪﺭﺟﺎﺕ ﻭﺗﺴﻠﻂ ﻋﻠﻴﻬﻢ ﻛﻞ‬ ‫ﺃﺣﺪ ﺃﻋﻀﺎء ﺍﻟﻠﺠﻨﺔ ﺍﻟﻤﺼﺮﻳﺔ ﺍﻟﺘﻰ ﺃﻋﺪﺕ‬
‫ﺍﻟﺘﻘﺮﻳﺮ ﺍ ﻟﺨﺎﺹ ﺑﺎﻟﺪﺭﺍﺳﺔ‬
‫ﺍﻻﺿﻮﺍء ﻭﺃﺑﻌﻤﺎﺭﻯ ﻣﻦ ﻛﻞ ﻫﺆﻻء ﻻﻳﺰﺍﻝ ﺟﺎﻟﺴﺎ ﻓﻰ ﻇﻞ ﺍﻻﺣﺪﺍﺙ ﻳﺮﺍﻓﺐ ﻭﻻ ﻳﺘﺤﺮﻙ ﻓﻜﻞ ﺍﻟﻤﻨﻈﻤﺎﺕ ﺗﻄﻠﺐ ﺍﻥ ﻳﺨﻠﺪ‬
‫ﺍﻟﺮﺍﻃﻦ ﻣﻦ ﺭﺩ ﺍﺩﻫﺎ ﺍﻣﺎ ﻓﻰ ﻛﺘﺎﺏ ﺃﻭ ﻋﻠﻰ ﺍﺋﻢ ﺷﺎﺭﻉ ﻣﻦ ﺍﻟﺸﻮﺍﺭ‪ 4‬ﺍﻟﺘﻰ ﻳﺨﻄﻄﻬﺎ ﺍﻟﻤﻌﻤﺎﺭﻳﻮﻥ ﺍ ﺍ ﺍﻟﻤﻨﻈﻤﺎﺕ ﺍﻟﻤﻌﻤﺎﻛﻴﺔ‬ ‫ﺃﻋﻀﺎء ﻟﺠﻨﺔ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻭﺍﻟﻨﺸﺮ ﺑﺎﺗﺤﺎﺩ‬

‫ﺍﻟﺘﻰ ﺍﻧﻌﺴﺮ ﻋﻨﻬﺎ ﺍ ﻓﺎء ﻭﺭﺣﻢ ‪ IJlj‬ﻛﺘﻮﺭﺷﻔﻴﻖ ﺍ ﻣﺪ ﺭ ﺍﻟﺬﻯ ﺍﻃﻠﻖ ﺍﺳﻢ ﺯﻣﻴﻠﻪ ﺍﻻﺳﺘﺎﺫ ﻋﻠﻰ ﺍﻟﺤﺮﻳﺮﻯ ﻋﻠﻰ ﺍ ﺩ‬ ‫ﺍ ﻟﻤﻬﻨﺪﺳﻴﻦ ﺍ ﻟﻌﺮﺏ‬

‫ﺷﻮﺍﺭ‪ 4‬ﻣﺪﻳﻨﺔ ﻧﺤﻤﺮﻭﺫﻙ ﻣﻨﺪﻣﺎ ﻛﺎﻥ ﻣﺴﺰﻻ ﻋﻦ ﺗﻨﻈﻴﻢ ﺍﻟﻘﺎﻫﺮﺓ ﻧﺠﻬﻞ ﻣﻦ ﺍﺣﺪ ﻳﺴﻌﻰ ﻻﻥ ﻳﻄﻠﻖ ﺍﺳﻢ ﺍﻟﺪﻛﺌﻮﺭ ﺷﻔﻴﻖ‬ ‫ﺍﻻﺷﺨﺎﺹ ﺍﻟﺬﻳﻦ ﺗﺮﻯ ﺍﻟﻬﻴﺌﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ‬

‫ﺍﻟﺼﺪﺭ ﻋﻠﻲ ﺍ ﺩ ﺍ ﺍﻟﺜﻤﻮﺍﺭﻉ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻜﺒﻴﺮﺓ ﺍﻟﺘﻰ ﻛﺎﻥ ﻓﺎﻧﻤﺎ ﻋﻠﻰ ﺗﺨﻄﻴﻄﻬﺎ ﻛﻤﺎ ﺳﻌﻰ ﻻﻥ ﻳﻄﻠﻖ ﺍﺳﻤﺎء ﻏﻴﺮﻩ ﻋﻠﻰ‬ ‫ﺍﻟﻘﻄﺮﻳﺔ ﺗﺮﺷﻴﺤﻬﻢ ﻟﺤﻀﻮﺭ ﺍﻻﺟﺘﻤﺎﻉ ﻣﻦ ﺍﻟﻤﺘﺨﺼﺼﻴﻦ‬
‫ﺷﻮﺍﺭﻉ ﺍﺧﺮﻯ ﻻﺳﻤﺎء ﻟﻬﺎ ﻳﺘﺤﻤﺎﻛﻞ ﺍﻟﺒﻌﺾ ﺃﻳﻦ ﺍﻟﻤﻨﻈﻤﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺍﻟﺘﻔﻄﻴﻄﻴﺔ ﺍﻟﻤﺼﺮﻳﺔ ﻣﻦ ﺷﻌﺐ ﻭ ﻣﻌﻴﺎﺕ ﻭﻟﻬﺎﻥ‬ ‫ﻓﻰ ﻣﻮﺿﻮﻉ ﺍﻟﺪﺭﺍﺳﺔ‬
‫ﺃﻭ ﺍﺗﺤﺎﺩ ﻳﺤﻤﻌﻬﻢ ﻣﻦ ﻛﻞ ﺫ ﺃﻭﻣﻦ ﻏﻴﺮ ﻣﻦ ﺍﻻﺣﺪﺍﺙ ﺃﻭ ﺍﻟﻨﺸﺎﻁ ﺍﻟﻌﻠﻤﻰ ﻭﺍﻟﻤﻬﻨﻰ ﻭﻻ ﻭﻝ ﻭﻻ ﻗﻮﺓ ﺇﻻ ﺑﺎﻟﻠﻪ‬ ‫ﺛﺎﻧﻴﺎ ﻧﺸﺮ ﻓﻰ ﺍﻟﻌﺪﺩ ﺍﻟﻔﺎﻟﺚ ﻣﻦ ﻧﺸﺮﺓ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‬
‫ﻯ ‪01‬‬ ‫ﺍﻟﻬﻨﺪﺳﻴﺔ ﺍﺳﺘﺒﻴﺎﻥ ﻣﻦ ﺃﺟﻞ ﺗﻄﻮﻳﺮ ﺃﻋﻤﺎﻝ ﺍﻟﻠﺠﻨﺔ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﻣﺎﻫﺮ ﻣﺤﺐ ﺃﺳﺘﻴﻨﻮ‬ ‫ﺩ‬

‫ﺃ ﺩ ﻟﻴﻠﻰ ﺍﻟﻤﺼﺮﻯ‬

‫ﺗﻤﺜﻞ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺼﺮﺍﻧﻴﺔ ﺍﻟﻤﻔﺘﻮﺣﺔ ﻭﻋﻠﻰ ﺍﻷﺧﺺ ﺍﻟﺴﺎﺣﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﺟﺰﻋﺄ ﻫﺎﻣﺎ‬
‫ﻣﻦ ﻧﻈﺎﻡ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻤﻔﺘﻮﺣﺔ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ ﻭﺍﻟﺘﻰ ﺗﻔﺘﻘﺪﻫﺎ ﻣﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﺭﻏﻢ ﺷﺪﺓ‬
‫ﺃ ﺗﻴﺎﺝ ﺍﻟﻤﺠﺘﻤﻊ ﻟﺘﻠﻚ ﺍﻟﻔﺮﺍﻏﺎﺕ ﻟﺘﻨﺎﺳﺒﻬﺎ ﻣﻊ ﻧﻤﻂ ﺍﻟﻤﻴﺎﺓ ﺍﻟﻴﻮﻣﻰ ﻭﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ‬
‫ﻟﻠﺸﻌﺐ ﺍﻟﻤﺼﺮﻯ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺗﻮﻓﺮ ﺍﻟﻈﺮﻭﻑ ﺍﻟﻤﻨﺎﺧﻴﺔ ﺍﻟﻤﺜﻨﻤﺔ‬
‫ﻭﺍﻟﺴﺎﺻﺎﺕ ﻟﻬﺎ ﺃﻫﻤﻴﺔ ﻭﻇﻴﻔﻴﺔ ﻛﻤﻠﺘﻘﻰ ﻟﻤﺴﺎﺭﺍﺕ ﺍﻟﻤﺸﺎﻩ ﻭﺗﺠﻤﻊ ﻭﺗﺮﻛﻴﺰ ﻟﻔﺸﻄﺔ‬
‫ﺍﻟﻤﻀﺘﻠﻔﺔ ﻛﻤﺎ ﺃﻥ ﻟﻬﺎ ﺃﻫﻤﻴﺔ ﺑﺼﺮﻳﺔ ﻛﺄﻣﺎﻛﻦ ﺫﺍﺕ ﺗﺎ ﻳﺮ ﻫﺎﻡ ﻓﻰ ﺍﻟﺘﺸﻜﻴﻞ ﺍﻟﺒﺼﺮﻯ‬
‫ﻟﻠﻤﺪﻳﻨﺔ ﻭﻓﺜﻴﺎﺏ ﻟﻠﻚ ﺍﻟﻔﺮﺍﻏﺎﺕ ﻭﺍﻟﺴﺎﺣﺎﺕ ﺍﻟﻌﺎﻣﺔ ﻋﺪ ﻋﻠﻰ ﺍﻧﺪﺛﺎﺭ ﻭﺟﻮﺩ ﺍﻻﻧﺪﻣﺎﺝ‬
‫ﺍﻻﺟﺘﻤﺎﻋﻰ ﻓﻰ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﻤﺼﺮﻯ ﺍﻟﺤﺪﻳﺚ‬
‫ﻭﺑﻴﻨﻤﺎ ﻧﺠﺪ ﺃﻥ ﺑﻌﺾ ﺍﻟﻤﺪﻥ ﺗﻌﺎﻧﻰ ﻣﻦ ﻋﺪﻡ ﻭﻣﻮﺩ ﺣﺮﻛﺔ ﻣﺸﺎﻩ ﺫﺍﺕ ﻛﺘﺎﻓﺔ ﻛﺎﻓﻴﺔ‬
‫ﻟﺘﺆﻓﻴﺮ ﺣﻴﻮﻳﺔ ﻻﻧﺠﺎﺡ ﺗﻠﻚ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻤﻔﺘﻮﺣﺔ ﻧﺠﺪ ﻋﻠﻰ ﺍﻟﻨﻘﻴﺾ ﻣﻦ ﺫﻟﻚ ﻓﻰ ﻣﺪﻳﻨﺔ‬
‫ﺍﻟﻘﺎﻫﺮﺓ ﻳﺚ ﺗﺘﻮﺍﻓﺮ ﺑﻬﺎ ﺃﻫﻢ ﻣﻘﻮﻣﺎﺕ ﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺎﺕ ﻓﺎﻟﻘﺎﻫﺮﺓ ﺗﺘﺼﻒ ﺑﺘﻮﺍﺟﺪ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻧﻘﺎﻁ ﺗﺠﻤﻊ ﺍﻟﻤﺸﺎ ﻭﺍﻟﺘﻰ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻜﻮﻥ ﻣﺮﺗﺒﻄﺔ ﺑﺄﻧﺸﻄﺔ ﻓﻮﻳﺔ ﻛﺎﻟﺨﺪﻣﺎﺕ‬
‫ﻭﺍﻟﻤﺼﺎﻟﺢ ﺍﻟﻌﺎﻣﺔ ﻣﺜﻞ ﺍﻟﻮﺯﺍﺭﺍﺕ ﻭﻧﻬﺎﻳﺎﺕ ﺧﻄﻮﻁ ﻭﻧﻘﻂ ﺍﺗﺼﺎﻝ ﺍﻟﻨﻘﻞ ﺍﻟﻌﺎﻡ ﻭﺍﻟﻤﺴﺎﺟﺪ‬
‫ﻭﺩ ﻭﺭ ﺍﻟﻤﻨﺎﺳﺒﺎﺕ ﻭﺍ ﻷﻧﺸﻄﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﻛﺎﻟﺠﺎﻣﻌﺎﺕ‬
‫ﻭﻳﺒﺪﺭ ﺫﻟﻚ ﻭﺍﺿﻤﺎ ﻓﻰ ﻛﺌﻴﺮ ﻣﻦ ﺍﻟﻤﻴﺎﺩﻳﻦ ﻛﻤﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ ﻓﻔﻴﻪ‬
‫ﺗﺠﻤﻊ ﻟﺤﺮﻛﺔ ﺍﻟﻤﺸﺎ ﻭﺍﻟﺘﻘﺎء ﺃﻋﺪﺍﺩ ﻛﺒﻴﺮ ﺟﺪﺍ ﻣﻨﻬﺎ ﻭﺫﻟﻚ ﻛﻨﻘﻄﺔ ﺍﻧﻄﻼق ﻟﻠﻌﻤﻞ ﺃﻭ‬
‫ﻟﻠﺘﺮﻓﻴﻪ ﺃﻭﻟﻠﺴﻴﺎﺣﺔ ﻣﺜﻞ ﺍﻟﻤﺘﻤﻒ ﺍﻟﻤﺼﺮﻯ ﻫﻴﻠﺘﻮﻥ ﺃﻭ ﻟﻘﻀﺎء ﻣﺼﺎﻟﺢ ﺣﻜﻮﻣﻴﺔ‬
‫ﻣﺠﻤﻊ ﺍﻟﺘﺤﺮﻳﺮ ﺃﻭﻭﺯﺍﺭﺓ ﺍﻟﻔﺎﺭﺟﻴﺔ ﺃﻭ ﻟﻤﺠﺮﺩ ﺍﻟﺘﻘﺎﺑﻞ‬
‫ﻭﺭﻏﻢ ﺫﻟﻚ ﻧﺠﺪ ﺃﻥ ﺍﻟﻤﺸﺎﻩ ﻳﻌﺎﻧﻮﻥ ﻛﺜﻴﺮﺍ ﻣﻦ ﻓﻮﺿﻰ ﺍﻟﻤﺮﻭﺭ ﻭﺳﻴﻄﺮﺓ ﺍﻟﺴﻴﺎﺭﺓ ﻋﻠﻰ‬
‫ﺍﻹﻧﺴﺎﻓﻲ ﺃﻣﺜﻠﺔ ﺃﺧﺮﻯ ﻧﺮﺍﻫﺎ ﻓﻰ ﺍﻟﻘﺎﻫﺮﺓ ﻣﺖ ﺳﺎﺣﺔ ﺍﻷﺯﻫﺮ ﻭﺍﻟﺤﺴﻴﻦ ﻭﻣﻴﺪﺍﻥ ﺍﻟﻘﻠﻌﺔ‬
‫ﻓﻬﻰ ﺃﻣﺎﻛﻦ ﺫﺍﺕ ﺃﻫﻤﻴﺔ ﺩﻳﻨﻴﺔ ﻭﺗﺎﺭﻳﻤﻴﺔ ﻭﺣﻀﺎﺭﻳﺔ ﻭﺛﻘﺎﻓﻴﺔ ﻭﻻﺑﺪ ﺃﻥ ﺗﻜﻮﻥ ﺣﺮﻛﺔ ﺍﻟﻤﺸﺎﻩ‬
‫ﺑﻬﺎ ﺇﻧﺴﻴﺎﺑﻴﺔ ﻟﺘﺴﺎﻋﺪ ﻋﻠﻰ ﺃﺩﺍء ﺍﻟﺪﻭﺭ ﺍﻟﻮﻇﻴﻔﻰ ﻭﺍﻟﺘﺮﻓﻴﻬﻰ ﻟﻠﻤﻜﺎﻥ ﻭﻟﺘﺤﻘﻴﻖ ﺍﻻﺳﺘﻤﺘﺎﻉ‬
‫ﻭﺍﻷﻣﺎﻥ ﻟﻠﻤﺴﺘﻌﻤﻠﻴﻦ ﺑﻌﻴﺪﺃ ﻋﻦ ﺣﺮﻛﺔ ﺍﻟﻤﺮﻭﺭ ﺍﻟﺨﺎﻧﻘﺔ‬
‫ﺍﻟﻘﺎﻫﺮﺓ‬ ‫ﺭﺏ‬ ‫ﻣﻴﺪﺍﻥ ﻃﻠﻌﺖ‬
‫ﻭﺍ ﻵﻣﺜﻠﺔ ﺍ ﻷﺧﺮﻯ ﻛﺜﻴﺮﺓ ﻭﻣﺘﻌﺪﺩﺓ ﺑﻤﺪﻳﻨﺔ ﺍﻟﻘﺎ ﻫﺮﺓ ﻟﻤﻴﺎﺩﻳﻦ ﻭﺃﻣﺎﻛﻦ ﺗﺘﻤﻴﺰ ﺑﺄﻧﺸﻄﺔ‬
‫ﺍﻟﺴﺎﺣﺎﺕ ﻟﺘﺸﻤﻞ ﺃﻧﺸﻄﺔ ﺃﺧﺮﻯ ﻣﺜﻞ ﺇﻗﺎﻣﺔ ﺍﻟﻌﺮﻭﺽ ﺍﻟﺴﻤﻜﺮﻳﺔ ﻭﺇﻟﻘﺎء ﺍﻟﺨﻄﺐ‬ ‫ﺃﻋﻄﺖ ﻟﻤﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻃﺎﺑﻌﻬﺎ ﺍﻟﺤﻀﺎﺭﻯ ﻭﺍﻟﺘﺎﺭﻳﺨﻰ ﻣﺜﻞ ﺳﺎﺣﺔ ﺍﻟﺤﺴﻴﻦ ﻭﻣﻴﺪﺍﻥ‬
‫ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﻤﺤﺎﻭﺭﺍﺕ ﺍﻟﺴﻴﺎﺳﻴﺔ ﻭﺍﻟﻘﻘﺎﻓﻴﺔ ﻭﺃﺣﻴﺎﻧﺎ ﻹﻗﺎﻣﺔ ﺍﻟﺼﻼﺓ ﻛﻤﺎ ﻳﺤﺪﺙ ﻓﻰ‬ ‫ﻛﻞ ﺃﻣﺎﻛﻦ ﺃﻫﻤﻠﺖ ﻭﺗﺪﻫﻮﺭﺕ ﻧﺘﻴﺠﺔ ﻹﻋﻄﺎء ﺍﻷﺩ ﺍﻟﻬﺔ‬
‫ﻫﺎ‬ ‫ﺍﻟﻌﺘﺒﺔ ﻭﺍﻷﻭﻳﺮﺍ ﻭﻳﺎﺏ ﺍﻟﺤﺪﻳﺪ‬
‫ﺍﻟﺴﺎﺣﺎﺕ ﺍﻟﻤﻤﺘﺪﺓ ﺃﻣﺎﻡ ﺍﻟﻤﺴﺎﺟﺪ ﺃﻭﻛﺄﻣﺎﻛﻦ ﻻﻧﺘﻈﺎﺭ ﺇﻋﺜﻦ ﺃﺣﺪﺍﺙ ﻣﻌﻴﻨﺔ ﻣﺜﻞ ﺍﻧﺘﺨﺎﺏ‬ ‫ﻟﺤﺮﻛﺔ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺩﺇﻫﺪﺍﺭ ﺣﻖ ﺍﻟﻤﺸﺎﻩ ﻣﻤﺎ ﺃﻭﺟﺪ ﺷﻌﻮﺭﺃ ﺑﺎﻟﺘﻨﺎﻓﺮ ﺩﻛﺮﺍﻫﻴﺔ ﺍﻟﺘﻮﺍﺟﺪ ﺑﻨﻠﻚ‬
‫ﺍﻟﺒﺎﺑﺎ ﺃﻭ ﺍﻧﺘﻈﺎﺭ ﺍﻟﻌﺎﻡ ﺍﻟﺠﺪﻳﺪ ﻛﻤﺎ ﻛﺎﻧﺖ ﺗﻘﺎﻡ ﺍﻟﺴﺎﺣﺎﺕ ﺃﺣﻴﺎﻧﺎ ﻟﺘﺨﻠﻴﺪ ﺫﻛﺮﻯ ﺑﻄﻞ‬ ‫ﺍﻷﻣﺎﻛﻦ‬
‫ﺣﺮﺏ ﺃﻭ ﻓﻴﻠﺴﻮﻑ‬ ‫ﺍﻟﺘﻄﻮﺭ ﺍﻟﻮﻇﻴﻔﻰ ﻭﺍﻟﺘﺪﻛﻴﻠﻰ ﻟﻠﺴﺎﺻﺔ‬
‫ﺃﻣﺎ ﺍﻵﻥ ﻓﻘﺪ ﺗﻄﻮﺭﺕ ﺍﻟﺴﺎﺣﺎﺕ ﻭﺯﺍﺩ ﺍﻻﺗﺠﺎﻩ ﻧﺤﻮ ﺗﺼﻤﻴﻢ ﻓﺮﺍﻏﺎﺕ ﻣﻔﺘﻮﺣﺔ‬ ‫ﻳﺮﺟﻊ ﺃﺻﻞ ﻅ ﺭ ﺍﻟﺴﺎﺣﺔ ﺇﻟﻰ ﻓﺪﻣﺎء ﺍﻹﻏﺮﻳﻖ ﻣﻨﺬ ﺍﻻﻑ ﺍﻟﺴﻨﻴﻦ ﻭﻛﺎﻧﺖ ﻟﺴﺎﺣﺔ‬
‫ﻭﺳﺎﺣﺎﺕ ﺗﺤﻘﻖ ﺃﻫﺪﺍﻓﺎ ﺍﺟﺘﻤﺎﻋﻴﺔ ﺃﻭ ﻋﻠﻰ ﺍﻵﻗﻞ ﻟﺘﺤﻘﻴﻖ ﺃﻛﺒﺮ ﻗﺪﺭ ﻣﻦ ﺍﻟﻤﺘﻌﺔ ﻟﺮﻭﺍﺩ‬ ‫ﻭﻗﺘﻨﺬ ﻫﻰ ﺍﻷﺭﺽ ﺍﻟﻤﻘﺪﺳﺔ ﻭﻛﺎﻧﺖ ﺗﻤﺎﻁ ﺑﺤﻮﺍﻧﻂ ﺣﺠﺮﻳﺔ ﺗﻤﻨﻊ ﺍﻣﺘﺪﺍﺩ ﺍﻟﻤﺒﺎﻧﻰ ﺍﻟﻤﺤﻴﻄﺔ‬
‫ﺫﻟﻚ ﺍﻟﻤﻜﺎﻥ ﻭﻧﺠﺪ ﺃﻣﺜﻠﺔ ﻋﺪﻳﺪﺓ ﻧﺠﺤﺖ ﻓﻰ ﺗﺤﻘﻴﻖ ﺫﻟﻚ ﻣﺜﻞ ﺍﻟﺴﺎﺣﺔ ﺍﻟﻤﻘﺎﻣﺔ ﺃﻫﺎﻡ ﻣﺘﺤﻒ‬ ‫ﻋﻠﻴﻬﺎ ﺛﻢ ﺗﻄﻮﺭﺕ ﺍﻟﺴﺎ ﺍﺕ ﺑﻌﺪ ﺫﻟﻚ ﻓﻜﺎﻧﺖ ﻓﻰ ﺃﻏﻠﺐ ﺍﻟﺒﻚ ﻧﺠﻠﻠﻤﺎ ﻭﺍﻟﺸﺮق ﺗﻌﻨﻰ‬
‫ﺍﻟﻠﻮﻓﺮ ﺑﺒﺎﺭﺷﻰ ﻭﺳﺎﺣﺔ ﻛﻮﺑﻠﻰ ﺑﻤﺪﻳﻨﺔ ﺑﻮﺳﻄﻦ ﺃﻭ ﻣﺤﺎﻭﻻﺕ ﻟﺘﺠﺪﻳﺪ ﻭﺇﻧﻘﺎﺫ ﺃﻣﺎﻛﻦ‬ ‫ﻣﻜﺎﻥ ﺍﻟﺘﺴﻮق ﺃﻭ ﺍﻟﺴﻮﺅﻭﻣﺮﺗﺒﻄﺔ ﺍﺭﺗﺒﺎﻃﺎ ﻛﻘﻴﺮﺃ ﺑﺎﻟﻨﺸﺎﻁ ﺍﻟﺘﻤﺎﺭﻯ ﺛﻢ ﺗﻄﻮﺭﺕ ﺑﻌﺪ ﺫﻟﻚ‬
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‫ﺑﺎﺭﻳﺲ‬ ‫ﺳﺎﺣﺔ ﺑﺮﺝ ﺇﻳﻠﻞ‬

‫ﺍﻟﺤﺪﻳﺪﻳﺔ ﺍﻟﻘﺪﻳﻤﺔ ﺃﻭ ﺧﻠﻖ‬ ‫ﺳﺎﺣﺎﺕ ﻗﺪﻳﻤﺔ ﺗﺪﻫﻮﺭﺕ ﻣﺜﻞ ﺍﻟﺴﺎﺣﺎﺕ ﺃﻣﺎﻡ ﻣﺤﻄﺎﺕ ﺍﻟﺲ‬
‫ﻟﻞ ﻣﺎ‬ ‫ﺳﺎﺣﺔ ﺳﺒﺎﺟﻨﻮ‬ ‫ﻓﺮﺍ ﻏﺎﺕ ﻣﻔﺘﻮﺣﺔ ﻛﻤﺘﻨﻔﺲ ﻭﺧﺎﺻﺔ ﻓﻰ ﺍﻟﻤﺪﻥ ﺍﻟﻤﺰﺩﺣﻤﺔ‬
‫ﻭﻗﺪ ﺗﻐﻴﺮ ﺍﻟﺘﺸﻜﻴﻞ ﺍﻟﻨﻬﺎﺋﻰ ﻟﻠﺴﺎﺣﺔ ﻋﺒﺮ ﺍﻟﺘﺎﺭﻳﺦ ﻭﺃﺻﺒﺢ ﻣﺤﺼﻠﺔ ﻋﻮﺍﻣﻞ ﻛﺜﻴﺮﺓ‬
‫ﻣﺮﺕ ﻋﻠﻴﻪ ﺃﺛﻨﺎء ﺍﻟﺘﻄﻮﺭ ﻓﻨﺠﺪ ﺃﻥ ﺍﻟﺘﻘﺎﻟﻴﺪ ﻭﺍﻟﻤﻨﺎﺥ ﻭﺍﻟﺤﻀﺎﺭﺓ ﻭﺍﻟﺪﻳﻦ ﻛﻠﻬﺎ ﻋﻮﺍﻣﻞ‬
‫ﺳﺎﻋﺪﺕ ﻋﻠﻰ ﺗﻜﻮﻳﻦ ﺗﺸﻜﻴﻞ ﻗﻮﻯ ﻟﻠﺴﺎﺣﺎﺕ‬
‫ﻓﻤﺜﻼ ﻓﻰ ﺑﻠﺪ ﻣﺜﻞ ﺍﻟﻤﻜﺴﻴﻚ ﻧﺠﺪ ﺃﻥ ﻣﻨﺴﻖ ﺍﻟﻤﻮﻗﻊ ﻭﺍﻟﻤﻌﻤﺎﺭﻯ ﺍﺗﻔﻘﺎ ﻋﻠﻰ ﺗﺤﻘﻴﻖ‬
‫ﻓﺮﺍﻏﺎﺕ ﺫﺍﺕ ﻣﺴﺎﺣﺎﺕ ﻛﺒﻴﺮﺓ ﻭﻧﺴﺐ ﺗﺴﻤﺢ ﺑﺈﻗﺎﻣﺔ ﺍﻻﺣﺘﻔﺎﻻﺕ ﺍﻟﻀﺨﻤﺔ ﻭﻧﺼﺐ‬
‫ﺍﻷﺳﻮﺍق ﻭﺍﻟﻤﺤﺎﻛﻢ ﺍﻟﻤﻔﺘﻮﺣﺔ ﻓﻘﺪﻳﻤﺎ ﻛﺎﻧﺖ ﺍﻟﺤﺪﺍﺋﻖ ﺍﻟﻤﻘﺎﻣﺔ ﺣﻮﻝ ﺍﻷﻫﺮﺍﻣﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ‬
‫ﻭﺍﻟﻤﻌﺎﺑﺐ ﺩﺍﺋﻤﺄ ﻣﺎ ﺗﻘﺎﻡ ﺑﻤﻘﻴﺎﺱ ﺗﺬﻛﺎﺭﻯ ﺿﺨﻢ ﺣﻴﺚ ﺃﻧﻬﺎ ﻛﺎﻧﺖ ﺗﻔﺎﻡ ﻟﻼ ﻟﻬﺔ ﻭﻟﻴﺴﺖ‬
‫ﻟﻠﻨﺎﺱ ﺛﻢ ﺗﺄﺛﺮ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻌﻤﺮﺍﻧﻰ ﻟﻠﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﺎﻣﺔ ﺑﺎﻟﻐﺰﺍﺓ ﺍﻷﺳﺒﺎﻥ ﻓﺄﺻﺒﺤﺖ ﺍﻟﺴﺎﺣﺔ‬
‫ﻫﻰ ﻣﺮﻛﺰ ﺍﻟﻤﺪﻳﻨﺔ ﻭﻧﻘﻄﺔ ﺍﻻﻟﺘﻘﺎء ﺍﻟﺴﻴﺎﺳﻰ ﻭﺍﻟﺘﺠﺎﺭﻯ ﻭﺑﻌﺪ ﻏﺰﻭ ﺍﻟﻔﺮﻧﺴﻴﻴﻦ ﻟﻠﻤﻜﺴﻴﻚ‬
‫ﻇﻬﺮ ﺍﻟﺒﻮﻟﻴﻔﺎﺭ ﻛﻔﺮﺍﻍ ﻃﻮﻟﻰ ﻟﻠﺘﻨﺰﻩ ﻋﻠﻰ ﻇﻬﻮﺭ ﺍﻟﺨﻴﻞ ﻭﻟﻠﺴﻴﺮ ﻋﻠﻰ ﺍﻷﻗﺪﺍﻡ ﻭﻛﺬﻟﻚ‬
‫ﻹﻗﺎﻣﺔ ﺍﻟﻌﺮﻭﺽ ﺍﻟﻌﺴﻜﺮﻳﺔ ﺛﻢ ﺃﺻﺒﺢ ﻇﺎﻫﺮﺓ ﺛﺎﺑﺘﺔ ﻓﻰ ﻣﺪﻥ ﺍﻟﻤﻜﺴﻴﻚ ﻭﺗﻮﺍﻓﻖ ﻣﻌﻬﺎ‬
‫ﻇﻬﻮﺭ ﺍﻟﺤﺪﺍﺋﻖ ﺍﻟﺼﻐﻴﺮﺓ ﻭﺍﻷﻛﺸﺎﻙ ﻭﻣﻘﺎﻋﺪ ﺍﻟﺠﻠﻮﺱ ﻭﺍﻟﻤﻘﺎﻫﻰ‬

‫ﺗﺤﻠﻴﻞ ﻟﺒﻌﺾ ﺍﻟﺴﺎﺣﺎﺕ ﺍﻟﻨﺎﺟﺤﺔ‬

‫ﻧﻼﺣﻆ ﺃﻥ ﺍﻟﺴﺎﺣﺎﺕ ﻓﻰ ﺍﻟﻤﺪﻥ ﺍﻷﻭﺭﻭﺑﻴﺔ ﺃﻋﻄﻴﺖ ﺍﻫﺘﻤﺎﻣﺎ ﻛﺒﻴﺮﺍ ﻭﺫﻟﻚ ﻟﺮﺑﻂ ﺣﺮﻛﺔ‬
‫ﺍﻟﻤﺸﺎﺓ ﻣﻊ ﻧﻤﻂ ﺍﻷﻧﺸﻄﺔ ﻭﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻬﺎﻣﺔ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ ﻓﻨﺠﺪ ﻓﻰ ﻣﺪﻳﻨﺔ ﻣﺜﻞ ﺑﺎﺭﻳﺲ ﺃﻥ‬
‫ﻓﻴﻨﻴﺴﻴﺎ‬ ‫ﺳﺎﺣﺔ ﺳﺎﻥ ﻣﺎﺭﻛﻮ‬ ‫ﺃﻣﺎﻛﻦ ﺗﺠﻤﻊ ﺍﻟﻤﺸﺎﺓ ﻭﺍﻟﺴﺎﺣﺎﺕ ﻗﺪ ﺻﻤﻤﺖ ﻛﺸﺒﻜﺔ ﻣﺘﺮﺍﺑﻄﺔ ﻭﻟﻴﺴﺖ ﻣﻨﻌﺰﻟﺔ ﻋﻤﺎ ﻳﺪﻭﺭ‬
‫ﺣﻮﻟﻬﺎ ﻣﻦ ﺃﻧﺸﻄﺔ ﻭﺃﺣﺪﺍﺙ ﺑﺎﻟﻤﺪﻳﻨﺔ ﺭﻏﻢ ﻣﺸﺎﻛﻞ ﺍﻻﺯﺩﺣﺎﻡ ﻭﺍﻟﻜﺜﺎﻓﺔ ﺍﻟﻤﺮﻭﺭﻳﺔ ﺍﻟﻌﺎﻟﻴﺔ‬
‫ﺃﺭﺽ ﺍﻟﺴﺎﺣﺔ ﻋﺎﺩﺓ ﺫﺍﺕ ﻧﻤﻂ ﻣﻤﻴﺰ ﻣﻤﺎ ﻳﺰﻳﺪ ﻣﻦ ﺍﻟﺘﺮﻛﻴﺰ ﺍﻟﺒﺼﺮﻯ ﻋﻠﻰ ﺳﻄﺢ‬ ‫ﻭﻧﺠﺪ ﺫﻟﻚ ﻭﺍﺿﺤﺎ ﻓﻰ ﺳﺎﺣﺎﺕ ﻛﻨﻴﺴﺔ ﻧﻮﺗﺮﺩﺍﻡ ﻭﺍﻟﻠﻮﻓﺮ ﻭﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪﻭ ﻭﺍﺭﺗﺒﺎﻃﻬﻢ‬
‫ﺍﻟﺴﺎﺣﺔ ﻭﻳﺒﻌﺚ ﻋﻠﻰ ﺍﻟﺤﻴﻮﻳﺔ ﺑﻬﺎ ﻭﺍﻟﻜﺜﻴﺮ ﻓﻦ ﺍﻟﺴﺎﺣﺎﺕ ﺗﺤﺘﻮﻯ ﻋﻠﻰ ﻧﺎﻓﻮﺭﺓ ﻋﺎﻣﺔ‬ ‫ﺃﻳﻀﺎ ﺑﺎﻟﻌﻔﺪ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﻭﺍﻟﺤﻀﺮﻳﺔ ﺍﻟﺼﻐﻴﺮﺓ ﻭﺍﻟﻤﺴﺎﺭﺍﺕ ﺍﻟﻤﻤﺘﺪﺓ ﻋﻠﻰ ﺿﻔﺎﻑ ﻧﻬﺮ‬
‫ﻭﺑﻌﺾ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺘﻰ ﺗﺘﻤﻴﺰ ﺑﺎﻟﺬﻭق ﺍﻟﺮﻓﻴﻊ ﻭﺃﻏﻠﺐ ﻟﻠﻚ ﺍﻟﺴﺎﺣﺎﺕ ﺗﺤﻴﻂ ﺑﻬﺎ‬ ‫ﺍﻟﺴﻴﻦ‬
‫ﺍﻟﻄﺮق ﻭﻟﻜﻦ ﻧﺘﻴﺠﺔ ﺗﺰﺍﻳﺪ ﺣﺮﻛﺔ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻭﺑﺎﻟﺘﺎﻟﻰ ﺍﻟﻤﺸﺎﻛﻞ ﺍﻟﻨﺎﺟﻤﺔ ﻋﻦ ﺫﻟﻚ ﻓﻘﺪ‬
‫ﺍﺗﺨﺬﺕ ﺍﻟﻤﺪﻥ ﻗﺮﺍﺭﺃ ﺑﻘﺼﺮ ﺍﻟﺤﺮﻛﺔ ﻓﻰ ﺗﻠﻚ ﺍﻟﺴﺎﺣﺎﺕ ﻋﻠﻰ ﺍﻟﻤﺸﺎﻩ ﻓﻘﻂ ﻣﻤﺎ ﺃﻋﺎﺩ‬ ‫ﻛﺬﻟﻚ ﺗﻮﺟﺪ ﺃﻣﺜﻠﺔ ﻟﺴﺎﺣﺎﺕ ﻧﺎﺟﺤﺔ ﻛﺜﻴﺮﺓ ﻓﻰ ﻣﺪﻥ ﺇﻳﻄﺎﻟﻴﺎ ﻣﺜﻞ ﺳﺎﺣﺔ ﺍﻟﻜﺎﻣﺒﻮ ﻓﻰ‬
‫ﻟﻠﺴﺎﺣﺎﺕ ﺣﻴﻮﻳﺘﻬﺎ ﻣﺜﻠﻤﺎ ﻳﻈﻬﺮ ﺫﻟﻚ ﻓﻰ ﺳﺎﺣﺔ ﻧﺎﻓﻮﻧﺎ ﺑﺮﻭﻣﺎ ﻧﻼﺣﻆ ﺃﻳﻀﺎ ﺃﻥ ﺃﻏﻠﺐ‬ ‫ﺳﻴﻨﺎ ‪ azziP anovaN azziP led opmaC‬ﻭﺳﺎﺣﺔ ﻧﻮﻓﻮﻧﺎ ﺑﺮﻭﻣﺎ ﻭﺗﺘﻤﻴﺰ ﺃﻏﻠﺐ ﺗﻠﻚ‬
‫ﺗﻠﻚ ﺍﻟﺴﺎﺣﺎﺕ ﻣﺎﺯﺍﻟﺖ ﺗﺤﺘﻮﻯ ﻋﻠﻰ ﻧﻔﺲ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻰ ﻛﺎﻧﺖ ﺑﻬﺎ ﺩﺍﺋﻤﺎ ﻛﺎﻟﺴﻮق‬ ‫ﺍﻟﺴﺎﺣﺎﺕ ﺑﺄﻧﻬﺎ ﺟﻴﺪﺓ ﺍﻟﺘﺤﺪﻳﺪ ﺗﻤﺎﻣﺎ ﺑﺎﻟﻤﺒﺎﻧﻰ ﻭﻫﻰ ﻣﻔﺘﻮﺣﺔ ﻟﻠﺴﻤﺎء ﻳﻮﺟﺪ ﺑﻬﺎ ﻣﺒﻨﻰ‬
‫ﺛﻦ ﺍﻟﺒﺎﺑﺎ ﺍﻟﺠﺪﻳﺪ ﺃﻭ ﺗﺠﻤﻊ ﺍﻟﺴﻴﺎﺡ ﻭﺃﻫﻞ‬ ‫ﺍﻟﻤﺮﻛﺰﻯ ﺃﻭ ﺍﻻﺣﺘﻔﺎﻝ ﺑﺄﺣﺪﺍﺙ ﻣﻌﻴﻨﺔ ﻣﺜﻞ‬ ‫ﻣﺴﻴﻄﺮ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻜﻮﻥ ﻣﺒﻨﻰ ﻣﺠﻠﺲ ﺍﻟﻤﺪﻳﻨﺔ ﺃﻭ ﺑﺮﺝ ﻣﺮﺗﻔﻊ ﻳﻌﻤﻞ ﻛﻌﻼﻣﺔ ﻣﻤﻴﺰﺓ ﻭﺗﻜﻮﻥ‬
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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﻋﻤﺎ ﻳﺴﻤﺢ ﺑﻪ ﻋﺎﺩﺓ ﻗﺎﻧﻮﻥ ﺍﻟﺒﻨﺎءﻭﺫﻟﻚ ﻓﻰ ﻣﻘﺎﺑﻞ ﺗﺤﺮﻳﻚ ﺍﻟﻤﺒﻨﻰ ﻟﻠﺨﻠﻒ ﻋﻦ ﺧﻂ ﺍﻟﻤﻠﻜﻂ‬ ‫ﻟﻤﺪﻳﻨﺔ ﻟﻠﺘﺒﺎﺩﻝ ﺍﻟﺘﺠﺎﺭﻯ ﻛﻤﺎ ﻧﻼﺣﻆ ﺃﻥ ﻛﺜﻴﺮﺃ ﻣﻦ ﺍﻟﺴﺎﺣﺎﺕ ﺗﺤﻴﻂ ﺑﻬﺎ ﺍﻟﻤﻘﺎﻫﻰ‬
‫ﻣﺴﺎﻓﺔ ﻣﻌﻴﻨﺔ ﺑﺤﻴﺚ ﻳﺘﻨﺎﺯﻝ ﻋﻦ ﺍﻟﻔﺮﺍﻍ ﺍﻷﻣﺎﻣﻰ ﻟﻴﺼﺒﺢ ﻣﻠﻜﻴﺔ ﻋﺎﻣﺔ ﻭﺟﺰء ﻣﻦ ﺍﻟﺸﺎﺭﻉ‬ ‫ﺍﻟﻤﻔﺘﻮﺣﺔ ﺍﻟﺘﻰ ﺗﻤﻠﻠﻰء ﺑﺎﻟﺮﻭﺍﺩ ﺃﻏﻠﺐ ﺍﻟﻨﻬﺎﺭ ﻭﺗﻔﺎﻡ ﺑﻬﺎ ﺍﻻﺣﺘﻔﺎﻻﺕ ﺍﻟﻤﺴﺎﺋﻴﺔ ﺍﻟﺘﻰ ﺗﺠﺬﺏ‬
‫ﻭﻳﺴﺘﻐﻞ ﻛﺴﺎﺣﺔ ﻭﺑﺎ ﺑﻊ ﺍﻟﻌﺎﺋﺪ ﺍﻻﻗﺘﺼﺎﺩﻯ ﺍﻟﻤﺮﺗﻔﻊ ﻣﻦ ﺗﺄﺟﻴﺮ ﺍﻟﻤﺴﺎﺣﺔ ﺍﻟﻤﻀﺎﻓﺔ‬ ‫ﺍﻟﺴﻴﺎﺡ ﻭﺃﻫﻞ ﺍﻟﺒﻠﺪ ﻋﻠﻰ ﺍﻟﺴﻮﺍء ﻭﺗﻌﺘﺒﺮ ﺍﻟﺴﺎﺣﺎﺕ ﻧﻤﻮﺫﺟﺎ ﻟﻠﻔﺮﺍﻍ ﺍﻟﻌﻤﺮﺍﻧﻰ ﺍﻟﻨﺎﺟﺢ ﻣﻦ‬
‫ﻟﻠﻤﺒﻨﻰ ﻫﻮ ﺍﻟﺪﺍﻓﻊ ﻹﻳﺠﺎﺩ ﺗﻠﻚ ﺍﻟﺴﺎﺣﺎﺕ ﻭﻫﻨﺎﻙ ﺍﻷﻣﺜﻠﺔ ﺍﻟﻤﺘﻮﺍﺟﺪﺓ ﻓﻰ ﻣﺪﻳﻨﺔ ﺷﻴﻜﺎﻏﻮ‬ ‫ﺣﻴﺚ ﺍﻟﺘﺼﻤﻴﻢ ﻭﺍﺧﺘﻴﺎﺭ ﺍﻟﻤﻮﻗﻊ ﻭﺍﻟﺘﻔﺎﺻﻴﻞ ﻭﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺤﻴﻄﺔ ﻭﺭﺑﻄﻬﺎ ﻣﻊ ﺍﻟﻨﺴﻴﺞ‬
‫ﻣﺜﻞ ﺳﺎﺣﺔ ﻣﺒﻨﻰ ﺑﻨﻚ ﻓﻴﺮﺳﺖ ﻧﺎﺷﻴﻮﺷﺎﻝ ﻭﻓﻰ ﻧﻴﻮﻳﺮﺭﻙ ﻣﺜﻞ ﺳﺎﺣﺔ ﻣﺒﻨﻰ ﺍﻟﺴﻴﺠﺮﺍﻡ‬ ‫ﺍ ﻟﻌﻤﺮﺍ ﻧﻰ ﻟﻠﻤﺪﻳﻨﺔ‬
‫ﺣﻴﺚ ﻳﻮﺟﺪ ﺣﻮﺽ ﻣﺴﺘﻄﻴﻞ ﻣﻦ ﺍﻟﻤﻴﺎﻩ ﻭﺑﻌﺾ ﺍﻷﻋﻼﻡ ﺃﻭ ﻣﺒﻨﻰ ﻣﺎﻧﻬﺎﺗﻦ ﺑﺎﻟﺰﺍ‬ ‫ﻭﺗﺘﻨﺎﻗﺾ ﺍﻟﺴﺎﺣﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﺍﻟﺤﺪﻳﺜﺔ ﺍﻟﺘﻰ ﺗﻘﺎﻡ ﺍﻵﻥ ﺑﻜﺜﺮﺓ ﻓﻰ ﺍﻟﻤﺪﻥ ﺍﻷﻣﺮﻳﻜﻴﺔ‬
‫ﻭﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﺃﻥ ﺍﻟﻤﺪﻥ ﺍﻷﻣﺮﻳﻜﻴﺔ ﻟﻢ ﺗﺤﻘﻖ ﺗﻄﻮﻳﺮﺍ ﻓﻰ ﺍﺗﺠﺎﻩ ﺧﻠﻖ ﻓﺮﺍﻏﺎﺕ ﻋﺎﻣﺔ‬ ‫ﻣﻊ ﺍﻟﺴﺎﺣﺎﺕ ﺍﻷﻭﺭﻭﺑﻴﺔ ﻣﺜﻞ ﺳﺎﺣﺎﺕ ﻣﺪﻳﻨﺔ ﻧﻴﻮﻳﻮﺭﻙ ﻭﺷﻴﻜﺎﻏﻮﻭﺑﻮﺳﻄﻦ ﻓﺘﻘﻊ ﻟﻠﻚ‬
‫ﻋﻈﻴﻤﺔ ﻭﻧﺎﺟﺤﺔ ﻓﻼ ﺗﻮﺟﺪ ﺳﺎﺣﺎﺕ ﺗﻘﺎﺭﻥ ﺑﺴﺎﺣﺔ ﺳﺎﻥ ﻣﺎﺭﻛﻮ ﺃﻭ ﺗﻌﺎﺩﻝ ﺍﻟﺪﺭﺝ‬ ‫ﺍﻟﺴﺎﺣﺎﺕ ﺃﻣﺎﻡ ﻧﺎﻃﺤﺎﺕ ﺍﻟﺴﺤﺎﺏ ﻭﺍﻟﻤﺒﺎﻧﻰ ﺍﻹﺩﺍﺭﻳﺔ ﺍﻟﻤﺮﺗﻔﻌﺔ ﻭﻫﻰ ﻟﻢ ﺗﺼﻤﻢ ﺃﺻﻼ‬
‫ﺍﻷﺳﺒﺎﻧﻰ ﺍﻟﺬﻯ ﻳﻤﺜﻞ ﻣﻜﺎﻥ ﻋﺎﻡ ﻟﻠﺘﺠﻤﻊ ﺍﻟﺤﻘﻴﻘﻰ‬ ‫ﻟﺘﻜﻮﻥ ﻧﻘﻄﺔ ﺟﺬﺏ ﻟﻠﻤﺪﻳﻨﺔ ﺑﺎﻛﻤﻠﻬﺎ ﺑﻞ ﻟﺘﻮﻓﻴﺮ ﻓﺮﺍﻏﺎﺕ ﻣﻔﺘﻮﺣﺔ ﺃﺻﻐﺮ ﻓﻰ ﻣﻨﺎﻃﻖ‬
‫ﺗﺠﺎﺭﻳﺔ ﻣﺰﺩﺣﻤﺔ ﻭﺗﻮﺟﺪ ﺍﻵﻥ ﻓﻰ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﺍﻷﻣﺮﻳﻜﻴﺔ ﺣﺮﻛﺔ ﺗﺴﻤﻰ ﺣﺮﻛﺔ‬
‫ﻣﻘﻮﻣﺎﺕ ﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬
‫ﺍﻟﻌﻮﺩﺓ ﻟﻠﻤﺪﻳﻨﺔ ﺗﺪﻋﻮ ﺇﻟﻰ ﺇﻋﺎﺩﺓ ﺍﻟﻨﻤﻂ ﺍﻟﺤﻀﺮﻯ ﺛﺎﻧﻴﺔ ﻟﻮﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ ﻭﺧﻠﻖ ﺃﻣﺎﻛﻦ‬
‫ﻧﻼﺣﻆ ﺗﻮﺍﺟﺪ ﺑﻌﺾ ﺍﻷﺳﺲ ﻭﺍﻟﻤﻘﻮﻣﺎﺕ ﺍﻟﺘﻰ ﺗﺴﺎﻫﻢ ﻓﻰ ﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺎﺕ ﺃﻭ‬
‫ﻟﺘﺠﻤﻊ ﺍﻟﻤﺸﺎﻩ ﻭﺩﻓﻊ ﺍﻟﻨﺎﺱ ﻟﻠﺘﻘﺎﺭﺏ ﻓﻰ ﻋﺎﻟﻢ ﺯﺍﺩﺕ ﻓﻴﻪ ﺍﻟﻬﻮﺓ ﻭﺍﻟﺘﺒﺎﻋﺪ ﺑﻴﻦ ﺍﻷﻓﺮﺍﺩ‬
‫ﻓﺸﻠﻬﺎ ﻭﺍﻟﺘﻰ ﻳﻤﻜﻦ ﺃﺧﺬﻫﺎ ﻓﻰ ﺍﻻﻋﺘﺒﺎﺭ ﻋﻨﺪ ﺇﻋﺎﺩﺓ ﺗﺼﻤﻴﻢ ﺍﻷﻣﺎﻛﻦ ﺍﻟﺘﻰ ﻟﻬﺎ ﻣﻔﻮﻣﺎﺕ‬
‫ﻭﺑﺎﻟﺘﺎﻟﻰ ﺗﺎﻛﻴﺪ ﺍﻟﺤﺎﺟﺔ ﻟﻸﻣﺎﻛﻦ ﺍﻟﻤﻔﺘﻮﺣﺔ ﻭﺍﻟﺴﺎﺣﺎﺕ ﻭﺍﻷﻣﺜﻠﺔ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻟﺬﻟﻚ ﺍﻻﺗﺠﺎﻩ‬
‫ﺍﻟﺼﻼﺣﻴﺔ ﻛﺴﺎﺣﺔ ﻧﺎﺟﺤﺔ ﺑﻤﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺫﻟﻚ ﻣﺜﻞ ﻣﻴﺪﺍﻥ ﺍﻟﺤﺴﻴﻦ ﻭﺍﻷﺯﻫﺮ ﻭﻣﻴﺪﺍﻥ‬
‫ﺗﺘﻀﺢ ﻓﻰ ﺗﺼﻤﻴﻢ ﺳﺎﺣﺔ ﻣﺪﻳﻨﺔ ﺑﻮﺭﺗﻼﻧﺪ ﺑﻮﻻﻳﺔ ﺃﺭﻳﺠﻮﻥ ﻭﻓﻜﺮﺓ ﺗﺼﻤﻴﻢ ﺳﺎﺣﺔ ﻣﺪﺭﺟﺔ‬
‫ﺇﻟﺦ‬ ‫ﺍ ﻟﺘﺤﺮﻳﺮ ﻭﺍ ﻟﻘﻠﻌﺔ‬
‫ﻓﻰ ﻟﻮﺱ ﺃﻧﺠﻠﻮﺱ ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﻓﻜﺮﺓ ﺍﻟﺪﺭﺝ ﺍﻷﺳﺒﺎﻧﻰ ﻭﻫﻰ ﻣﻦ ﺗﺼﻤﻴﻢ ﻣﻨﺴﻖ‬
‫ﺭﻏﻢ ﺃﻫﻤﻴﺔ ﻭﺟﻮﺩ ﺍﻷﺳﺲ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﺍﻟﺠﻴﺪﺓ ﻋﻨﺪ ﺗﺼﻤﻴﻢ ﺍﻟﺴﺎﺣﺔ ﺇﻻ ﺃﻥ‬
‫ﺍﻟﻤﻮﺍﻗﻊ ﻫﺎﻟﺒﺮﻳﻦ‬
‫ﺍﻟﻤﻔﻮﻣﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻠﻮﻛﻴﺔ ﺗﻌﺘﺒﺮ ﺃﺳﺎﺳﻴﺔ ﻭﻫﺎﻣﺔ ﻓﻰ ﺇﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺔ ﻭﺗﻮﺍﺟﺪ‬
‫ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﺭﻏﺒﺔ ﺳﻜﺎﻥ ﺍﻟﻤﺪﻥ ﻓﻰ ﺧﻠﻖ ﺳﺎﺣﺎﺕ ﻋﺎﻣﺔ ﺇﻻ ﺃﻧﻬﻢ ﺣﺘﻰ ﺍﻵﻥ ﻟﻢ ﻳﺼﻠﻮﺍ‬
‫ﻋﻨﺼﺮ ﺭﺑﻂ ﺍﺟﺘﻤﺎﻋﻰ ﺑﺎﻟﺴﺎﺣﺔ ﻳﺪﻓﻊ ﺍﻟﻨﺎﺱ ﻟﻠﺘﺠﻤﻊ ﺑﻬﺎ ﻭﺗﻜﺮﺍﺭ ﺯﻳﺎﺭﺗﻬﻢ ﻟﻬﺎ ﻣﺜﻞ‬
‫ﺇﻗﺎﻣﺔ ﺍﻟﺼﻼﺓ ﺃﻭ ﺍ ﺣﺘﻔﺎﻝ ﺑﺎ ﻷﻋﻴﺎﺩ ﻭﺍﻟﻤﻨﺎﺳﺒﺎﺕ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻟﻤﻮﻟﺪ ﻭﺍﻻﺳﺘﻤﺎﻉ ﻟﺨﻄﺎﺏ‬ ‫ﺑﻌﺪ ﻟﻤﺮﺣﻠﺔ ﺍﻟﺘﺠﺎﻭﺏ ﻣﻌﻬﺎ ﻭﺍﻻﺳﺘﻤﺘﺎﻉ ﺑﻬﺎ ﻷﻧﻪ ﻟﻢ ﻳﺤﺪﺙ ﺑﻌﺪ ﺩﻣﺞ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻌﺎﻡ‬
‫ﻫﺎﻡ ﺃﻭ ﺍﻟﻤﺸﺎﺭﻛﺔ ﻓﻰ ﻣﻬﺮﺟﺎﻥ ﺳﻴﺎﺣﻰ ﻛﺬﻟﻚ ﻭﺟﻮﺩ ﻧﺸﺎﻁ ﺗﺠﺎﺭﻯ ﻭﺳﻴﺎﺣﻰ ﺟﺎﺫ ﺏ‬ ‫ﺍﻹﻧﺴﺎﻧﻰ ﻣﻊ ﺍﻟﻨﻤﻂ ﺍﻟﻌﻤﺮﺍﻧﻰ ﻟﻠﻤﺪﻳﻨﺔ ﻛﻜﻞ ﻓﻴﻤﺎ ﻋﺪﺍ ﺳﺎﺣﺔ ﻣﺮﻛﺰ ﺭﻭﻛﻔﻠﺮ ﺑﻨﻴﻮﻳﻮﺭﻙ‬
‫ﻟﻠﻨﺎﺱ ﺑﺎﻟﺴﺎﺣﺔ ﻣﺜﻞ ﺍﻷﺳﻮﺍق ﻭﺍﻟﻤﻘﺎﻫﻰ ﻭﺧﺎﺻﺔ ﻋﻠﻰ ﺍﻟﻤﺤﻴﻂ ﺍﻟﺨﺎﺭﺟﻰ ﻟﻠﺴﺎﺣﺔ ﻛﻤﺎ‬ ‫ﻓﺮﻏﻢ ﺃﻧﻪ ﻣﺜﺎﻝ ﻗﺪﻳﻢ ﻧﺴﺒﻴﺄ ﻭﻓﻰ ﺍﻟﻐﺎﻟﺐ ﻳﺮﺟﻊ ﺳﺒﺐ ﺫﻟﻚ ﺇﻟﻰ ﺃﻥ ﺃﻏﻠﺐ ﻟﻠﻚ ﺍﻟﺴﺎﺣﺎﺕ‬
‫ﺃﻥ ﻋﺪﻡ ﺍﻧﻌﺰﺍﻝ ﺍﻟﺴﺎﺣﺔ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺴﻜﻨﻴﺔ ﺑﻞ ﺑﺎﻟﻌﻜﺲ ﺍﻧﺪﻣﺎﺟﻬﺎ ﺗﻘﺎﺭﺑﻬﺎ ﻣﻊ‬ ‫ﻛﺎﻧﺖ ﻣﺼﻤﻤﺔ ﻣﻦ ﻗﺒﻞ ﻣﺨﻄﻄﻴﻦ ﻭﻣﺼﻤﻤﻴﻦ ﺗﺄﺛﺮﻭﺍ ﺑﺄﺭﺍء ﻣﻌﻤﺎﺭﻳﻰ ﺫﻟﻚ ﺍﻟﻌﺼﺮﻣﺜﻞ‬
‫ﺍﻟﺸﻜﻦ ﻳﺴﺎﻋﺪ ﻋﻠﻰ ﻧﺠﺎﺣﻬﺎ ﺃﻭ ﺯﻳﺎﺩﺓ ﺍﻟﺘﻔﺎﻋﻞ ﺍﻻﺟﺘﻤﺎﻋﻰ ﺑﻬﺎ ﻫﺬﺍ ﻭﻳﻌﺘﺒﺮ ﺇﺣﺎﻃﺔ‬ ‫ﻟﻮﻛﻮﺭﺑﺰﻳﻪ ﻓﻰ ﺃﻥ ﺍﻟﺴﺎﺣﺔ ﺩ ﻭﺭﻫﺎ ﻳﻜﻮﻥ ﺃﻛﻠﺮ ﻛﺈﻋﺪﺍﺩ ﻟﻠﻤﺒﻨﻰ ﺍﻟﺘﺬﻛﺎﺭﻯ ﻭﻟﻴﺲ ﻟﻬﺎ ﺩﻭﺭ‬

‫ﺍﻟﻔﺮﺍﻍ ﺟﻴﺪﺍ ﺑﺎﻟﻤﺒﺎﻧﻰ ﻭﻭﺟﻮﺩ ﺃﻣﺎﻛﻦ ﻣﻈﻠﻠﺔ‬ ‫ﺳﺎﺣﺔ ﻧﺎﻓﻮﻧﺎ ﺑﺮﻭﻣﺎ‬

‫ﺃﻭ ﺍﺣﺘﻴﺎﺝ ﺍﺟﺘﻤﺎﻋﻰ ﻟﺬﺍ ﻧﺠﺪ ﺃﻥ ﺍﻟﻘﻠﻴﻞ ﻣﻨﻬﺎ‬
‫ﻭﻛﺬﻟﻚ ﻭﺟﻮﺩ ﻣﺒﻨﻰ ﻣﻤﻴﺰ ﻟﻪ ﺩﻭﺭ ﻛﻌﻼﻣﺔ ﺑﺼﺮﻳﺔ‬
‫ﻳﺤﻘﻘﻖ ﻧﻔﺲ ﻣﺴﺘﻮﻯ ﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺎﺕ ﺍﻷﻭﺭﻭﺑﻴﺔ‬
‫ﻣﻤﻴﺰﺓ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻤﺪﻳﻨﺔ ﻛﻞ ﺫﻟﻚ ﻣﻦ ﻋﻮﺍﻣﻞ‬
‫ﻭﻗﺪ ﻳﻜﻮﻥ ﺳﺒﺐ ﻋﺪﻡ ﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺎﺕ ﻭﻫﻮ‬
‫ﻧﺠﺎﺡ ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻭﺃﺧﻴﺮﺍ ﻳﺠﺐ ﺩﻣﺞ‬
‫ﻭﺍ ﺍ ﻻﺟﺘﻤﺎ ﻋﻰ ﻟﺴﻜﺎﻥ‬
‫ﺍ ﺧﺘﻼﻑ ﺍﻟﺴﻠﻮﻛﻴﺎﺕ ﻟﻨﻤﻂ‬
‫ﺍﻟﻔﺮﺍﻍ ﺃﻭ ﺍﻟﺴﺎﺣﺔ ﻛﺠﺰء ﻣﻦ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻧﻰ‬
‫ﺍﻟﻘﺎﺭﺓ ﺍﻷﻣﺮﻳﻜﻴﺔ ﺣﻴﺚ ﺃﻥ ﻧﻘﻞ ﺍﻷﺧﺒﺎﺭ‬
‫ﻟﻠﻤﺪﻳﻨﺔ ﻭﻋﺪﻡ ﺗﺼﻤﻴﻤﻬﺎ ﻛﻔﺮﺍ ﻏﺎﺕ ﻣﺘﻨﺎﺛﺮﺓ ﻭﻏﻴﺮ‬
‫ﻭﺍﻷﺣﺪﺍﺙ ﻳﻜﻮﻥ ﻣﻦ ﺧﻼﻝ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﻤﺮﺋﻴﺔ‬
‫ﻣﺮﺗﺒﻄﺔ ﻣﻊ ﻣﺴﺎﺭﺍﺕ ﺍﻟﻤﺸﺎﺓ‬
‫ﻭﺍ ﻟﺴﻤﻌﻴﺔ ﻛﺎ ﻟﺘﻠﻴﻔﺰﻳﻮﻥ ﻭﺍ ﻟﺮﺍ ﺩﻳﻮﻭﺍ ﻟﻜﻤﺒﻴﻮﺗﺮﻭﺃﻥ‬
‫ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬ ‫ﺗﺤﺮﻛﺎﺗﻬﻢ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻜﻮﻥ ﻟﻤﺴﺎﻓﺎﺕ ﺑﻌﻴﺪﺓ ﻓﻰ‬
‫ﺍﻟﻘﺎﻫﺮﺓ‬ ‫ﺑﻤﺪﻳﻨﺔ‬ ‫ﺍﻟﻌﺮﺑﺔ ﺍﻟﺨﺎﺻﺔ ﺑﺪﻭق ﺍﻻﺣﺘﻴﺎﺝ ﻟﻠﺘﺠﻮﻝ ﺃﻭ ﺗﺒﺎﺩﻝ‬

‫ﻫﻨﺎﻙ ﺑﻌﺾ ﺍﻟﺴﺎﺣﺎﺕ ﻭﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬

‫ﺍﻷﺧﺒﺎﺭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﻏﻴﺮﻫﺎ ﻣﻊ ﺍﻟﻨﺎﺱ ﻓﻰ‬
‫ﺍﻟﻤﻔﺘﻮﺣﺔ ﻓﻰ ﻣﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺍﻟﺘﻰ ﻟﻬﺎ ﻣﻦ‬ ‫ﺍﻟﺴﺎﺣﺎﺕ ﻭﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﺎﻣﺔ ﻛﻤﺎ ﻳﺤﺪﺙ ﻓﻰ‬
‫ﺍﻟﺨﺼﺎﺋﺺ ﻭﺍﻹﻣﻜﺎﻧﺎﺕ ﻣﺎ ﻳﺆﻫﻠﻬﺎ ﻟﻠﺘﻄﻮﺭ‬ ‫ﺃﻟﻠﻮﺑﺎ ﻭﺍﻟﺸﺮق ﺍ ﻷﻭﺳﻂ‬
‫ﻭﺍﻟﻔﻴﺎﻡ ﺑﺪﻭﺭﻫﺎ ﺍﻟﻮﻇﻴﻔﻰ ﻛﺴﺎﺣﺔ ﻋﻤﺮﺍﻧﻴﺔ ﺿﻤﻦ‬
‫ﺳﺎ ﻋﺪ ﻗﺎﻧﻮﻥ ﺗﻮﺯﻳﻊ ﺍ ﻻﺳﺘﻌﻤﺎ ﻻﺕ‬
‫ﺍ ﻟﻨﺴﻴﺞ ﺍ ﻟﻌﻤﺮﺍﻧﻰ ﻟﻠﻤﺪﻳﻨﺔ ﻭﺫﻟﻚ ﻣﻦ ﺧﻼﻝ‬
‫ﺍﻟﻤﺸﺮﻭﻃﺔ ﻋﻠﻰ ﺍﻧﺘﺸﺎﺭ ﺍﻟﺴﺎﺣﺎﺕ ﻓﻰ ﺃﻣﺮﻳﻜﺎ‬
‫ﺍﻟﺘﺤﻠﻴﻞ ﻭﺍﻟﻔﻬﻢ ﻟﻤﻮﻗﻌﻬﺎ ﺍﻟﺤﺎﻟﻰ ﻣﻦ ﻫﺬﻩ‬
‫ﺍﻟﺴﺎﺣﺎﺕ ﻭﺍﻟﻤﻴﺎ ﺩﻳﻦ ﻣﻴﺪﺍﻥ ﺍ ﻟﺘﺤﺮﻳﺮ ﻭﻣﻴﺪﺍﻥ‬ ‫ﻭﺗﻘﺪﻳﺮ ﻭﺟﻮﺩﻫﺎ ﺧﺎﺻﺔ ﺑﺎﻟﻤﺪﻥ ﺍﻟﻜﺒﺮﻯ ﻭﺑﻘﺎ ﻋﺼﺎ‬

‫ﺭﻳﺔ ﻭﻣﻴﺪﺍﻥ ﺭﻭﻛﺴﻰ‬ ‫ﺭﻣﺴﻴﺲ ﻭﻣﻴﺪﺍﻥ ﺍﻟﺠﻢ‬ ‫ﻛﺄﺩﺍﺓ ﻣﻌﻤﺎﺭﻳﺔ ﺃﻛﺜﺮ ﻣﻨﻬﺎ ﺃﺩﺍﺓ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻭﻫﺬﺍ‬
‫ﻭﻣﻴﺪﺍﻥ ﺍﻟﻘﻠﻌﺔ ﻭﺳﺎﺣﺔ ﺍﻟﺤﺴﻴﻦ ﻭﺟﺎﻣﻊ ﻋﻤﺮﻭ‬ ‫ﺍﻟﻘﺎﻧﻮﻥ ﻳﻌﻄﻰ ﺍﻟﻤﺒﻨﻰ ﺍﻟﺠﺪﻳﺪ ﺍﻟﺤﻖ ﻓﻰ ﻋﺪﺩ‬
‫ﻭﺳﺎ ﺣﺔ ﺍ ﻷﻭﺑﺮﺍ‬ ‫ﺇﺿﺎﻓﻰ ﻣﻦ ﺍﻷﺩﻭﺍﺭ ﻛﻤﻨﺤﺔ ﻭﺯﻳﺎﺩﺓ ﺍﻻﺭﺗﻔﺎﻉ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫ﻧﻘﻄﺔ ﺍﻟﺘﻘﺎء ﺃﻣﺪﺍﺩ ﻛﺒﻴﺮﺓ ﻣﻦ ﺍﻟﻤﺸﺎﻩ‬
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‫ﺗﻘﻴﻴﻢ ﻫﺬﻩ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺑﻨﺎء ﻋﻠﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﻘﻮﻣﺎﺕ ﺃﻭﻟﻬﺎ ﺍﻟﺤﺮﻛﺔ ﻭﺗﺸﻤﻞ ﻛﺜﺎﻗﺔ‬
‫ﺣﺮﻛﺔ ﺍﻟﻤﺸﺎﺓ ﻭﺗﺪﺍﺧﻞ ﺣﺮﻛﺔ ﺍﻟﻤﺸﺎﻩ ﻣﻊ ﺍﻵﻟﻴﺎﺕ ﻭﺳﻬﻮﻟﺔ ﺍﻟﻮﺻﻮﻝ ﺛﻢ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﺒﻴﺌﻴﺔ‬
‫ﻭﺗﺸﻤﻞ ﺍﻟﺘﻠﻮﺙ ﻭﺍﻟﻀﻮﺿﺎءﻭﺍﻟﺘﻌﺮﺽ ﻟﻠﺸﺴﺲ ﻭﺃﻻﺣﺴﺎﺱ ﺑﺎﻷﻣﺎﻥ ﻭﻛﺬﻟﻚ ﺍﻷﻧﺸﻄﺔ‬
‫ﺍ ﻟﻤﺤﻴﻄﺔ ﻭﻫﻰ ﺗﺠﺎﺭﻳﺔ ﺃﻭ ﺛﻘﺎﻓﻴﺔ ﺃﻭ ﺳﻴﺎﺣﻴﺔ ﺃﻭ ﺩﻳﻨﻴﺔ ﺃﻭ ﺣﻜﻮﻣﻴﺔ ﻭﺗﺮﻓﻴﻬﻴﺔ ﺛﻢ‬
‫ﺍﻟﺨﺪﻣﺎﺕ ﻣﻦ ﻣﻄﺎﻋﻢ ﻭﺃﻛﺸﺎﻙ ﻣﺮﻃﺒﺎﺕ ﻭﺗﻠﻴﻔﻮﻧﺎﺕ ﻋﺎﻣﺔ ﻭﻣﻨﺎﻃﻖ ﺟﻠﻮﺱ ﻣﻈﻠﻠﺔ ﻭﺩ ﻭﺭﺍﺕ‬
‫ﻣﻴﺎﻩ ﻋﺎﻣﺔ ﻭﺃﻣﺎﻛﻦ ﺍﻧﺘﻈﺎﺭ ﺳﻴﺎﺭﺍﺕ ﻭﺗﻘﻴﻴﻢ ﺍﻟﻔﺮﺍ ﻏﺎﺕ ﺃﻳﻀﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻻﺭﺗﺒﺎﻁ‬
‫ﺑﺎﻟﻤﺤﻴﻂ ﺍﻟﻤﺒﺎﺷﺮ ﻭﻫﻮ ﺍﺭﺗﺒﺎﻁ ﻣﻊ ﻣﻨﺎﻃﻖ ﺳﻜﻨﻴﺔ ﺃﻭ ﺍﺭﺗﺒﺎﻁ ﻣﻊ ﻧﻈﺎﻡ ﺍﻟﺤﺮﻛﺔ ﺋﻢ‬
‫ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻟﺠﻤﺎﻟﻴﺔ ﻭﺗﺸﻤﻞ ﺗﺤﺪﻳﺪ ﺍﻟﻔﺮﺍﻍ ﻭﻭﺟﻮﺩ ﻣﺒﻨﻰ ﻣﺴﻴﻄﺮ ﺃﻭ ﻋﻼﻣﺔ‬
‫ﻣﻤﻴﺰﺓ ﻭﺗﺠﺎﻧﺲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﻣﻠﺴﻰ ﺍﻵﺭﺿﻴﺎﺕ ﻭﻓﺮﺵ ﺍﻟﻤﻮﻗﻊ ﻭﺍﻟﻌﻨﺎﺻﺮ‬
‫ﺍﻟﺠﻤﺎﻟﻴﺔ‬
‫ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ‬
‫ﻳﻌﺘﺒﺮ ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ ﻣﻦ ﺃﻫﻢ ﻭﺃﻛﺒﺮ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻓﻰ ﺍﻟﻘﺎﻫﺮﺓ ﻭﻳﺘﻤﻴﺰ‬
‫ﻣﻮﻗﻌﻪ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻧﻬﺮ ﺍﻟﻨﻴﻞ ﻭﺑﻘﻮﺓ ﺍﺗﺼﺎﻟﻪ ﺑﻮﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ ﻭﻫﻮ ﻣﻠﺘﻘﻰ ﻣﺠﻤﻮﻣﻤﺔ ﻣﻦ‬
‫ﺷﺮﺍﻳﻴﻦ ﺍﻟﺤﺮﻛﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﺘﻰ ﺗﺮﺑﻂ ﻣﺎ ﺑﻴﻦ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺍﻝ ﻳﺰﺓ ﻭﻣﺎ ﺑﻴﻦ ﻭﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ‬
‫ﺇﻱ ﺍﻟﻤﻜﺎﻥ ﻓﻰ ﺗﻮﻓﺮ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻜﺒﻴﺮ ﻓﺈﻥ ﻧﻈﺎﻡ‬
‫ﻭﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺃﺣﻴﺎء ﺍﻟﻘﺎﻫﺮﺓ ﻭﺭﻏﻢ ﺟﺎﺑﻴﺎﺕ‬
‫ﺍﻟﺤﺮﻛﺔ ﺍﻵﻟﻴﺔ ﺩﺍﺧﻞ ﺍﻟﻔﺮﺍﻍ ﻓﺪ ﺗﺴﺒﺐ ﻓﻰ ﺗﺸﺮﻳﺢ ﻭﺗﻘﻄﻴﻊ ﺍﻟﻔﺮﺍﻍ ﺇﻟﻰ ﻣﺴﺎﺻﺎﺕ‬
‫ﺻﻐﻴﺮﺓ ﻣﺒﻌﻘﺮﺓ ﺑﺴﺒﺐ ﺗﺒﺎﻳﻦ ﻧﻮﻋﻴﺎﺕ ﺍﻵﻟﻴﺎﺕ ﻣﻦ ﺳﻴﺎﺭﺍﺕ ﺧﺎﺻﺔ ﻭﺃﺗﻮﻳﻴﺴﺎﺕ ﻧﻘﻞ‬
‫ﻋﺎﻡ ﻣﻮﻗﻒ ﺭﺋﻴﺴﻰ ﻟﻠﻨﻘﻞ ﺍﻟﻌﺎﻡ ﻭﺃﺧﺮ ﺃﻣﺎﻡ ﺍﻟﻤﺠﻤﻊ ﻛﺬﻟﻚ ﺍﻟﺘﺮﺍﻡ ﻓﻰ ﺧﻠﻖ ﺟﻮ ﻣﻦ‬
‫ﺍﻟﻔﻮﺿﻰ ﻭﺍﻟﻀﻮﺿﺎءﻭﺍﻟﺘﻠﻮﺙ ﻓﻰ ﺍﻟﻔﺮﺍﻍ‬
‫ﻭﻳﺮﺗﺒﻂ ﻓﺮﺍﻍ ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﺑﻤﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺫﺍﺕ‬
‫ﺍﻟﺘﻤﻴﺰ ﺍﻟﻮﻇﻴﻔﻰ ﻣﺠﻤﻊ ﺍﻟﺘﺤﺮﻳﺮ ﺍﻟﺠﺎﻣﻌﺔ ﺍﻷﻣﺮﻳﻜﻴﺔ ﺍﻟﻤﺘﻤﻒ ﺍﻟﻤﺼﺮﻯ ﻓﻨﺪق ﻫﻴﻠﺘﻮﻥ‬
‫ﻭﺯﺍﺭﺓ ﺍﻟﺨﺎﺭﺟﻴﺔ ﻣﺒﻨﻰ ﺟﺎﻣﻤﺔ ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﺘﻤﺎﺭﻳﺔ ﺑﻮﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ ﻣﻨﻄﻘﺔ‬
‫ﺍﻟﻮﺯﺍﺭﺍﺕ ﻣﺠﻠﺲ ﺍﻟﺸﻌﺐ ﺟﺎﻣﻊ ﻋﻌﺮ ﻣﻜﺮﻡ ﻣﻤﺎ ﻳﻔﻠﻖ ﺻﺮﻛﺔ ﻛﺜﻴﻔﺔ ﺟﺪﺍ ﻟﻠﻌﺸﺎﻩ‬
‫ﺗﺨﺘﻠﻂ ﺑﻄﺮﻳﻘﺔ ﻋﺸﻮﺍﻧﻴﺔ ﻣﻊ ﺣﺮﻛﺔ ﺍﻵﻟﻴﺎﺕ ﻣﺴﺒﺒﺔ ﺇﺣﺴﺎﺳﺎ ﺑﻌﺪﻡ ﺍﻷﻣﺎﻥ ﻭﺍﻻﻧﻄﺒﺎﻉ‬
‫ﺍﻟﺴﻠﺒﻰ ﻋﻦ ﺍﻟﻔﺮﺍﻍ ﻭﺍﻟﻮﺍﺿﺢ ﺃﻥ ﺍﻟﻤﺸﺎﺓ ﺭﺍﻓﻀﻮﻥ ﻻﺳﺘﻌﻤﺎﻝ ﺍﻧﻔﺎق ﺍﻟﻤﺘﺮﻭ ﺳﻨﺘﻘﺎﻝ ﻣﺎ‬
‫ﺑﻴﻦ ﺃﺟﺰﺍ ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ ﺍﻟﻤﺨﺘﻠﻔﺔ‬
‫ﻭﺍﻟﻮﺿﻊ ﺍﻟﺮﺍﻫﻦ ﻟﻠﻔﺮﺍﻍ ﻻ ﻳﻌﻜﺲ ﺃﻯ ﺟﺎﻧﺐ ﺇﻳﺠﺎﺑﻰ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ‬
‫ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻟﺠﻤﺎﻟﻴﺔ ﻭﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﺍﻟﺤﻞ ﺍﻟﺬﻯ ﺗﻢ ﺗﻨﻔﻴﺬﻩ ﻓﻰ ﺍﻟﻤﻴﺪﺍﻥ ﻳﻌﻜﺲ‬
‫ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ‬ ‫ﺗﺼﻤﻴﻢ ﻣﻬﻨﺪﺱ ﺍﻟﻄﺮق ﻓﻘﻂ‬
‫ﻭﻓﻰ ﻇﻞ ﺍﻟﻤﺤﺪﺩﺍﺕ ﻭﺍﻹﻣﻜﺎﻧﻴﺎﺕ ﺍﻟﻤﺘﺎﺣﺔ ﻳﺘﻀﺢ ﺃﻥ ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ ﻫﻮ ﻣﻦ ﺃﻫﻢ‬
‫ﻭﺃﻛﺜﺮ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻓﻰ ﺍﻟﻘﺎﻫﺮﺓ ﺍﻟﺘﻰ ﻳﺠﺐ ﺃﻥ ﻧﻨﻈﺮ ﻟﻬﺎ ﻧﻈﺮﺓ ﻣﺘﻀﺼﺼﺔ‬
‫ﻹﻣﻜﺎﻧﻴﺔ ﺗﻄﻮﻳﺮﻩ ﻟﻴﻜﻮﻥ ﺳﺎﺻﺔ ﻋﻤﺮﺍﻧﻴﺔ ﻫﺎﻣﺔ ﻭﻟﻴﺲ ﺍﻟﻤﻘﺼﻮﺩ ﻫﻨﺎ ﻫﻮ ﺗﺤﻮﻳﻠﻪ ﺑﺎﻟﻜﺎﻣﻞ‬
‫ﻟﻠﻤﺸﺎﻩ ﺃﻭﺗﺠﻤﻴﻠﻪ ﺑﺎﻷﻋﻤﺎﻝ ﺍﻟﻔﻨﻴﺔ ﻭﻟﻜﻦ ﺍﻟﻐﺮﺽ ﻫﻮﻣﺤﺎﻭﻟﺔ ﺍﻟﺘﻔﻠﺐ ﻋﻠﻰ ﺍﻟﺴﻠﺒﻴﺎﺕ‬
‫ﺍﻟﻤﻮﺟﻮﺩﺓ ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﻭﺗﻘﻮﻳﺔ ﺍﻟﻨﻘﺎﻁ ﺍﻹﻳﻤﺎﺑﻴﺔ ﻭﻳﻈﻬﺮ ﻣﻦ ﺍﻟﺘﺤﻠﻴﻞ ﺃﻥ ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﻔﺮﺑﻴﺔ‬
‫ﻟﻠﻤﻴﺪﺍﻥ ﻭﻫﻰ ﺍﻟﻔﺮﺍﻍ ﺃﻣﺎﻡ ﺍﻟﻤﺘﺤﺪ ﻭﺍﻟﻬﻴﻠﺘﻮﻥ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻤﻔﺘﻮﺡ ﺃﻣﺎﻡ‬
‫ﺍﻟﻤﺠﻤﻊ ﻳﻤﻜﻦ ﺇﻋﺎﺩﺓ ﺗﺼﻤﻴﻤﻬﺎ ﻟﻴﻜﻮﻥ ﻓﺮﺍﻏﺎ ﺷﺒﻪ ﻣﺴﺘﻤﺮ ﻳﻤﻜﻦ ﺭﺑﻄﻪ ﺑﺒﻘﻴﺔ ﺃﺟﺰﺍء‬
‫ﺍﻟﻔﺮﺍﻍ ﻭﺧﻠﻖ ﺳﺎﺣﺔ ﻋﻤﺮﺍﻧﻴﺔ ﺟﻴﺪﺓ‬
‫ﻓﺮﺍﻍ ﺳﺎﺻﺔ ﺟﺎﻣﻊ ﻫﻤﺮﺑﻰ ﺑﻦ ﺍﻟﻌﺎﺹ‬
‫ﺭﻏﻢ ﺍﻟﻘﻴﻢ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﺴﻴﺎﺣﻴﺔ ﻟﺠﺎﻣﻊ ﻋﻤﺮﻭ ﺑﻦ ﺍﻟﻌﺎﺹ ﻓﺈﻥ ﺍﻟﺴﺎﺣﺔ ﺗﻔﺘﻘﺪ‬
‫ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﻣﻘﻮﻣﺎﺕ ﻧﺠﺎﺣﻬﺎ ﻭﻇﻴﻔﻴﺎ ﻛﺴﺎﺣﺔ ﻭﺫﻟﻚ ﻟﻌﺪﻡ ﺍﺭﺗﺒﺎﺳﺎ ﻣﻊ ﺃﻯ ﻣﻦ ﺍﻟﻔﺮﺍﻏﺎﺕ‬
‫ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﺍﻟﻤﺤﻴﻄﺔ ﻭﻳﻌﺪﻫﺎ ﻋﻦ ﺷﺮﺍﻳﻴﻦ ﺍﻟﺤﺮﻛﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻣﻤﺎ ﻳﻘﻠﻞ ﻣﻦ ﺗﻌﺮﻳﻀﻬﺎ‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻛﻞ ﺍﻟﻔﺮﺍﻍ‬

‫ﻣﺴﺎﺭ‬
‫ﺗﺤﻠﻴﻞ‬
‫ﺍﻟﺤﺮﻛﺔ‬

‫ﺍﻟﻔﺮﺍﻍ‬ ‫ﻋﻼﻗﺔ‬
‫ﺑﺎﻟﻌﻤﺮﺍﻥ ﺍﻟﻤﺤﻴﻂ‬

‫ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺤﻴﻄﺔ‬

‫ﺗﺤﻠﻴﻞ ﺍﻟﻔﺮﺍﻍ ﻟﺠﺎﻣﻊ ﻋﻤﺮﻭ ﺑﻦ ﺍﻟﻌﺎﺹ‬

‫ﺍﻟﻔﺮﺍﻍ‬ ‫ﻣﺤﺪﺩﺍﺕ‬

‫ﻟﻠﻤﺸﺎﺓ ﻭﺍﻟﻤﺸﻜﻠﺔ ﺍﻟﻮﺍﺿﺤﺔ ﻫﻨﺎ ﻫﻮ ﺍﻟﺘﻘﺴﻴﻢ ﺍﻟﻘﺎﻃﻊ ﻟﻠﻔﺮﺍﻍ ﺍﻟﻨﺎﺗﺞ ﻣﻦ ﺣﺮﻛﺔ ﺍﻻﻟﻴﺎﺕ‬
‫ﻋﻠﻰ ﻃﻮﻝ ﺷﺎﺭﻉ ﺍﻷﺯﻫﺮ ﻭﺍﻟﺴﻮﺭ ﺍﻟﺤﺪﻳﺪﻯ ﺍﻟﺬﻯ ﺗﻢ ﺇﻗﺎﻣﺘﻪ ﻣﺎ ﺑﻴﻦ ﺟﺎﻧﺒﻰ ﺍﻟﺸﺎﺭﻉ‬
‫ﺍﻟﺤﻞ ﺍﻷﻣﺜﻞ ﻟﻬﺬﻩ ﺍﻟﻤﺸﻜﻠﺔ ﻫﻮ ﻋﻤﻞ ﻧﻔﻖ ﻳﻮﻓﺮ ﺍﻟﺮﺑﻂ ﻣﺎ ﺑﻴﻦ ﻓﺮﺍﻏﻰ ﺍﻟﺤﺴﻴﻦ‬
‫ﻭﺍﻷﺯﻫﺮ ﻭﺧﻠﻖ ﺳﺎﺣﺔ ﻭﺍﺣﺪﺓ ﻣﺘﻜﺎﻣﻠﺔ‬
‫ﻣﻴﺪﺍﻥ ﺍﻟﻘﻠﻤﺔ‬
‫ﻳﻌﺘﺒﺮ ﻣﻴﺪﺍﻥ ﺍﻟﻘﻠﻌﺔ ﻣﻦ ﺃﻛﺜﺮ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻓﻰ ﺍﻟﻘﺎﻫﺮﺓ ﺫﺍﺕ ﺍﻟﺘﻤﻴﻴﺰ‬
‫ﺍﻟﺒﺼﺮﻯ ﻭﺫﻟﻚ ﻟﻮﺟﻮﺩ ﻣﺴﺠﺪ ﻣﺤﻤﺪ ﻋﻠﻰ ﻛﻌﻼﻣﺔ ﺑﺼﺮﻳﺔ ﻫﺎﻣﺔ ﻳﺴﺘﺪﻝ ﻋﻠﻴﻬﺎ ﻣﻦ ﺃﻛﺜﺮ‬
‫ﻣﻦ ﻣﺴﺎﺭ ﺭﺋﻴﺴﻰ ﻛﻤﺎ ﺃﻥ ﺍﻟﻔﺮﺍﻍ ﻣﺎﺯﺍﻝ ﻣﺤﺘﻔﻈﺎ ﺑﻌﺾ ﺍﻟﺸﻰء ﺑﺎﻟﻄﺎﺑﻊ ﺍﻟﺘﺎﺭﻳﺨﻰ‬
‫ﻟﻮﺟﻮﺩ ﻣﺴﺠﺪ ﺍﻟﺴﻠﻄﺎﻥ ﺣﺴﻦ ﻭﺍﻟﻤﺴﺎﺟﺪ ﺍﻷﺧﺮﻯ ﻣﺜﻞ ﺍﻟﻤﺤﻤﻮﺩﻳﺔ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻠﻤﻨﺎﻃﻖ‬
‫ﺍﻟﺴﻜﻨﻴﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻧﻰ ﺍﻟﻘﺪﻳﻢ‬
‫ﻭﺗﺤﺘﻞ ﺣﺮﻛﺔ ﺍﻵﻟﻴﺎﺕ ﺍﻟﺠﺰء ﺍﻷﻛﺒﺮ ﻣﻦ ﻣﺴﺎﺣﺔ ﺍﻟﻔﺮﺍﻍ ﻣﺴﺒﺒﺔ ﻓﻘﺪﺍﻥ ﺍﻟﺘﺮﺍﺑﻂ ﻣﺎ‬
‫ﺑﻴﻦ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻭﻋﺪﻡ ﺍﻹﺣﺴﺎﺱ ﺑﺎﻟﻔﺮﺍﻍ ﻛﻜﻞ ﻭﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻳﻀﺎ ﺍﻧﻔﺼﺎﻟﻴﺔ‬
‫ﻣﻨﺎﻃﻖ ﺍﻟﺪﺧﻮﻝ ﻟﻠﻘﻠﻤﺔ ﻋﻦ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺮﺋﻴﺴﻰ ﺍﻟﻤﻴﺪﺍﻥ ﻭﻋﺪﻡ ﻭﺟﻮﺩ ﺃﻯ ﻧﻮﻉ ﻣﻦ ﺍﻟﺮﺑﻂ‬
‫ﺧﺼﻮﺻﺎ ﻟﺤﺮﻛﺔ ﺍﻟﻤﺸﺎﻩ‬
‫ﺑﺼﺮﻳﺎ ﻭﺧﺎﺻﺔ ﺃﻥ ﻣﺌﺬﻧﺔ ﺍﻟﻤﺴﺠﺪ ﻣﻨﺨﻔﻀﺔ ﺍﻻﺭﺗﻔﺎﻉ ﻓﺎﻟﻤﺴﺠﺪ ﻭﺍﻟﺴﺎﺣﺔ ﻭﺣﺘﻰ ﻛﻞ‬
‫ﺑﺎق ﺍﻟﻤﺪﻳﻨﺔ ﻭﺫﻟﻚ ﻹﺣﺎﻃﺘﻬﺎ ﺑﻜﺜﻴﺮ ﻣﻦ‬
‫ﺍﻷﻣﺎﻛﻦ ﺍﻷﺛﺮﻳﺔ ﺍﻟﻤﺤﻴﻄﺔ ﻣﻌﺰﻭﻟﺔ ﺑﺼﺮﻳﺎ ﻋﻦ ﻯ‬
‫ﺍﻟﻤﺤﺪﺩﺍﺕ ﺍﻟﻤﺎﺩﻳﺔ ﻣﺜﻞ ﺧﻂ ﺍﻟﻤﺘﺮﻭ ﻭﻣﺴﺎﺣﺎﺕ ﻛﺒﻴﺮﺓ ﻣﻦ ﺍﻟﻤﻘﺎﺑﺮ ﺍﻟﻤﺴﻮﺭﺓ ﻭﺑﻌﺾ‬
‫ﺍﻟﻤﺴﺎﻛﻦ ﺍﻟﻤﺘﺪﻫﻮﺭﺓ ﻭﺍﻟﻌﺸﺶ ﻛﺬﻟﻚ ﺗﻮﺟﺪ ﺑﻌﺾ ﺍﻟﺴﻠﺒﻴﺎﺕ ﻣﺜﻞ ﺍﻟﺘﻠﻮﺙ ﺍﻟﺒﻴﺌﻰ ﻓﻰ‬
‫ﺍﻟﻤﻨﻄﻘﺔ ﺧﻠﻒ ﺍﻟﻤﺴﺠﺪ ﻧﺘﻴﺠﺔ ﻭﺟﻮﺩ ﻣﻘﻠﺐ ﻛﺒﻴﺮ ﻟﻠﻘﻤﺎﻣﺔ ﻛﺬﻟﻚ ﻋﺪﻡ ﺍﻹﺣﺴﺎﺱ ﺑﺎﻷﻣﺎﻥ‬
‫ﻋﻨﺪ ﺍﻟﺘﻮﺍﺟﺪ ﻣﺴﺎء ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﻜﺎﻥ ﻟﻘﻠﺔ ﺍﻟﻜﺜﺎﻓﺔ ﺍﻟﺴﻜﺎﻧﻴﺔ ﺑﻪ ﻭﻗﻠﺔ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺤﻴﻄﺔ‬
‫ﻭﻍ ﻣﻨﻔﺼﻠﺔ ﻋﻨﻪ ﺑﺎﻟﻄﺮﻳﻖ‬
‫ﻭﺍﻟﺨﺪﻣﺎﺕ ﻳﺤﺘﺎﺝ ﺍﻟﻤﺴﺠﺪ ﻟﺨﻠﻖ ﻣﺴﺎﺣﺔ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﻤﺴﺠﺪ ﻳﺮ‬
‫ﺍﻟﻌﺎﻡ ﻳﻤﻜﻦ ﺍﺳﺘﻤﻤﺎﻟﻬﺎ ﻓﻰ ﺇﻗﺎﻣﺔ ﺍﻟﺼﻼﺓ ﻓﻰ ﺍﻷﻋﻴﺎﺩ ﻭﺍﻟﻤﻮﺍﻟﺪ ﻣﻊ ﺗﻮﻓﻴﺮ ﺍﻷﻧﺸﻄﺔ‬
‫ﺍﻟﺨﺪﻣﻴﺔ ﺍﻟﻀﺮﻭﺭﻳﺔ ﻟﺪﻋﻢ ﺍﻟﺪﻭﺭ ﺍﻟﻮﻇﻴﻔﻰ ﻟﻠﺴﺎﺣﺔ‬
‫ﻓﺮﺍﻍ ﺳﺎﺣﺔ ﺍﻟﺤﺴﻴﻦ‬
‫ﻳﻌﺘﺒﺮ ﻫﺬﺍ ﺍﻟﻔﺮﺍﻍ ﺫﺍ ﻃﺎﺑﻊ ﺩﻳﻨﻰ ﺣﻀﺎﺭﻯ ﺛﻘﺎﻓﻰ ﻣﻌﺎ ﻭﻳﻌﻄﻰ ﺇﻣﻜﺎﻧﻴﺔ ﻛﺒﻴﺮﺓ‬
‫ﻟﺘﻄﻮﻳﺮﻩ ﻛﺴﺎﺣﺔ ﻋﻤﺮﺍﻧﻴﺔ ﻋﺎﻣﺔ ﻓﻰ ﺍﻟﻘﺎﻫﺮﺓ ﻓﺎﻟﻔﺮﺍﻍ ﻳﺠﻤﻊ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺍﻟﺨﺼﺎﺋﺺ‬
‫ﺍﻟﺘﻰ ﺗﺆﻫﻠﻪ ﻟﻠﻘﻴﺎﻡ ﺑﻬﺬﺍ ﺍﻟﺪﻭﺭ ﻣﻨﻬﺎ ﺗﻤﻴﺰ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺤﻴﻄﺔ ﻣﺜﻞ ﺟﺎﻣﻊ ﺍﻷﺯﻫﺮ ﻭﻣﺴﺠﺪ‬
‫ﺍﻟﺤﺴﻴﻦ ﻭﺧﺎﻥ ﺍﻟﺨﻠﻴﻠﻰ ﻭﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺘﺠﺎﺭﻳﺔ ﺍﻟﻘﺪﻳﻤﺔ ﻛﻤﺎ ﺃﻥ ﺍﻟﻤﻨﻄﻘﺔ ﺗﺘﻤﻴﺰ ﺑﻨﺸﺎﻁ ﻣﻜﺜﻒ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺗﺤﻠﻴﻞ ﺍﻟﻔﺮﺍﻍ ﻟﺴﺎﺣﺔ ﺍﻟﻤﺴﺠﺪ ﺍﻟﺤﺴﻴﻨﻰ‬

‫ﺳﺎﺣﺔ ﺍﻷﺯﻫﺮ ﻭﺍﻟﺤﺴﻴﻦ ﺃﻣﺎﻛﻦ ﺫﺍﺕ ﺍﻫﻤﻴﺔ ﺩﻳﻨﻴﺔ ﻭﺗﺎﺭﻳﺨﻴﺔ ﻭﺣﻀﺎﺭﻳﺔ‬
‫ﻭﺛﻘﺎﻓﻴﺔ‬

‫ﻋﻼﻗﺔ ﺍﻟﻔﺮﺍﻍ ﺑﺎﻟﻌﻤﺮﺍﻥ‬

‫ﺷﻜﻞ ﺍﻟﻔﺮﺍﻍ‬
‫ﺗﺤﻠﻴﻞ ﺍﻟﺤﺮﻛﺔ‬

‫ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺤﻴﻄﺔ‬
‫ﺍﻟﻔﺮﺍﻍ‬ ‫ﻣﺤﺪﺩﺍﺕ‬

‫ﺗﺤﻠﻴﻞ ﺍﻟﻔﺮﺍﻍ ﻟﻤﻴﺪﺍﻥ ﺍﻟﻘﻠﻌﺔ‬

‫ﺍﻟﻘﻠﻌﺔ‬ ‫ﻣﻴﺪﺍﻥ‬

‫ﺗﺤﻠﻴﻞ ﺍﻟﺤﺮﻛﺔ‬ ‫ﺷﻜﻞ ﺍﻟﻔﺮﺍﻍ‬ ‫ﺍﻟﻔﺮﺍﻍ‬ ‫ﻣﺤﺪﺩﺍﺕ‬ ‫ﺍﻟﻤﺤﻴﻄﺔ‬ ‫ﺍﻷﻧﺸﻄﺔ‬

 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻋﺎﻟﺠﺔ ﺍﻟﻔﺘﺤﺎﺕ ﺇﻣﺎ ﺑﻜﺎﺳﺮﺍﺕ ﺍﻟﻤﻠﺴﻰ ﺃﻭ‬

‫ﺑﺒﺮﻭﺯ ﺍﻹﻃﺎﺭﺍﺕ ﺍﻟﻤﺤﻴﻄﺎ ﺑﻬﺎ‬
‫ﺍﻟﻤﺎﻟﻴﺔ ﺍﻟﺪﺛﻴﺔ ﻷﺭﻛﺎﻥ ﺍﻟﻤﻄﻲ‬
‫ﻛﻮﺑﺎ‬ ‫ﺍﻟﻤﻜﺘﺐ ﺍﻻﺳﺘﺸﺎﺭﻯ ﺍﻟﻬﻨﺪﺳﻰ ﻟﻠﺘﺨﻄﻴﻂ ﻭﺍﻟﻌﻤﺎﺭﺓ‬

‫ﻳﺘﻜﻮﻥ ﻣﺒﻨﻰ ﻛﻠﻴﺔ ﺍﻟﻠﻐﺎﺕ ﻭﺍﻟﺘﺮﺟﻤﺔ ﻣﻦ ﻛﺘﻠﺘﻴﻦ ﺃﺳﺎﺳﻴﺘﻴﻦ ﺍﻷﻭﻟﻰ ﺑﻰ ﺍﺭﺓ ﻭﺃﻋﻀﺎء ﻫﻴﺌﺔ ﺍﻟﺘﺪﺭﺷﻰ ﻭﺍﻟﻘﺎﻧﻴﺔ ﺧﺎﺻﺔ ﺑﺎﻟﻄﻠﺒﺔ ﻭﺗﺤﺘﻮﻯ ﻋﻠﻰ ﺍﻟﻤﺪﺭﺟﺎﺕ ﻭﺍﻟﻔﺼﻮﻝ‬
‫ﻭﺑﺎﻓﻰ ﺍﻟﺨﺪﻣﺎﺕ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‬
‫ﻭﻳﻘﻊ ﻣﺒﻨﻰ ﺍﻟﻜﻠﻴﺔ ﺩﺍﺧﻞ ﺣﺮﻡ ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ ﺑﻨﻴﻦ ﺑﻤﺪﻳﻨﺔ ﻧﺼﺮ ﺑﻤﺤﺎﺫﺍﺓ ﺍﻟﺴﻮﺭ ﺍﻟﺨﺎﺭﺟﻰ ﻷﺭﺽ ﺍﻟﺠﺎﻣﻌﺔ ﻭﻳﻄﻞ ﺑﻮﺍﺟﻬﺘﻪ ﺍﻟﺨﻠﻔﻴﺔ ﻋﻠﻰ ﻣﺪﺧﻞ ﻧﺎﺩﻯ ﻣﺪﻳﻨﺔ‬
‫ﻧﺼﺮ ﻭﻳﻤﻜﻦ ﺭﺅﻳﺘﻪ ﻫﻦ ﻃﺮﻳﻖ ﺍﻟﻨﺼﺮ ﺃﻭ ﻣﻦ ﻋﻨﺪ ﺍﻟﻨﺼﺐ ﺍﻟﺘﺬﻛﺎﺭﻯ ﻟﻠﺠﻨﺪﻯ ﺍﻟﻤﺠﻮﻝ ﻭﺍﻟﻤﻨﺼﺔ‬
‫ﻳﺄﺧﺬ ﻣﺴﻘﻂ ﻃﺘﻰ ﺍﻟﻤﺒﻨﻰ ﺷﻜﻞ ﻣﺮﺑﻌﻴﻦ ﻣﺘﺠﺎﻭﺭﻳﻦ ﻳﺮﺑﻂ ﺑﻴﻨﻬﺎ ﺳﻠﻢ ﺧﺎﺭﺟﻰ ﺑﻴﻦ ﺑﺴﻄﺘﻴﺔ ﻓﺮق ﻣﻨﺴﻮﺏ ﻳﺴﺎﻭﻯ ﻧﺼﻒ ﻃﺎﺑﻖ ﻟﺘﻌﻮﻳﺾ ﺍﻟﻔﺎﺭق ﻓﻰ ﺍﺭﺗﻔﺎﻋﺎﺕ‬
‫ﺍﻷﺩ ﻭﺍﺭ ﺑﺎﻟﻜﺘﻠﺘﻴﻦ ﻭﻳﺘﻜﻮﻥ ﻣﺒﻨﻰ ﺍﻹﺩﺍﺭﺓ ﻣﻦ ﻣﺴﺘﻄﻴﻞ ﺑﺈﺑﻌﺎﺩ ‪ 72 1 5 3 0 57‬ﻡ ﻳﺘﻮﺳﻄﻪ ﻓﻨﺎء ﻣﺮﺑﻊ ﺻﻐﻴﺮ ‪ 7 7‬ﻡ ﻫـﻠﺘﻒ ﺣﻮﻟﻪ ﺍﻟﻔﺮﺍﻏﺎﺕ ﻓﻰ ﺍﻷﺩﺭﺍﺭ ﺍﻟﻤﺨﺘﻠﻔﺔ‬
‫ﻭﻳﺤﺘﻮﻯ ﺍﻟﺪﻭﺭ ﺍﻷﺭﺿﻰ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻠﻤﺪﺧﻞ ﻋﻠﻰ ﻏﺮﻑ ﺍﻹﺩﺍﺭﺓ ﺫﺍﺕ ﺍﻟﺘﻌﺎﻣﻞ ﺍﻟﻤﺒﺎﺷﺮ ﻣﻊ ‪ 01‬ﻟﻄﻠﺒﺔ ﻭﺑﺎﻟﺪ ﻭﺭ ﺍﻟﺜﺎﻧﻰ ﻳﻮﺟﺪ ﻣﻜﺘﺐ ﻋﻤﻴﺪ ﺍﻟﻜﻠﻴﺔ ﻭﺍﻟﻮﻛﻴﻞ ﻣﻊ ﺑﺎﻗﻰ ﻏﺮﻑ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻣﺪ ﻝ ﻭﻳﻰ‬

‫ﻟﻠﺘﺠﻤﻊ‬
‫ﻣﻜﺘﺒﺔ‬ ‫‪2‬‬
‫ﻣﺤﺒﻠﻰ‬ ‫‪3‬‬
‫ﻛﺎﻓﺘﻴﺮﻳﺎ‬ ‫‪4‬‬

‫ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺠﺎﻧﺒﻴﺔ ﻟﻤﺒﻨﻰ ﺍﻹﺩﺍﺭﺓ‬

‫ﻣﺴﻘﻂ ﺃﻓﻘﻰ ﺍﻟﺪﻭﺭ ﺍﻷﺭﺿﻰ‬

‫ﻣﺴﻘﻂ ﺍﻓﻘﻰ ﺍﻟﺪﻭﺭ ﺍﻷﻝ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻃﺎﻉ ﻃﻮﻟﻰ ﻣﺎﺭ ﺑﺎﻟﻤﺒﻨﺒﻴﻦ‬

‫ﻗﻄﺎﻋﺎﺕ ﺧﺸﺒﻴﺔ ﺧﻔﻴﻔﺔ ﻓﻰ ﺃﻋﻤﺎﻝ ﺍﻷﺑﻮﺍﺏ ﻭﺍﻟﺸﺒﺎﺑﻴﻚ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﻟﺰﻳﺎﺩﺓ ﻣﺴﻄﺤﺎﺕ ﺍﻟﺰﺟﺎﺝ ﺍﻟﺘﻰ ﻳﺼﻞ ﺑﻌﻀﻬﺎ‬
‫ﺍﻟﺤﺮﻙ ﻭﺍﻟﺘﺠﻤﻊ‬
‫ﺇﻟﻰ ﻣﻨﺴﻮﺏ ﺍﻷﺭﺿﻴﺔ ﻓﻰ ﺃﻣﺎﻛﻦ ﺓ‬
‫ﺍﻟﻄﻼﺑﻰ ﺣﻮﻝ ﺍﻟﻔﻨﺎء ﺍﻟﺪﺍﺧﻠﻰ ﺑﻤﺎ ﻳﻌﺮﺿﻬﺎ ﺑﺴﻬﻮﻟﺔ‬
‫ﻟﻠﻜﺴﺮ‬
‫ﻭﺗﻀﻤﻴﻢ ﻭﺍﺟﻬﺎﺕ ﺍﻟﻤﺒﻨﻰ ﻳﺘﻔﻖ ﻣﻊ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻌﺎﻡ‬
‫ﻟﻤﺒﺎﻧﻰ ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ ﻭﺇﻥ ﺍﺧﺘﻠﻒ ﻓﻰ ﺍﺳﺘﺒﺪﺍﻝ ﺍﻟﻌﻘﻮﺩ‬
‫ﺍﻟﺪﺍﻧﺮﻳﺔ ﺑﺎﻟﻌﻘﻮﺩ ﺍﻟﻤﺜﻠﻘﺔ ﺍﻟﺴﺎﺋﺪﺓ ﻓﻰ ﻣﺒﺎﻧﻰ ﺍﻟﺠﺎﻣﻌﺔ‬
‫ﻭﺃﻏﻠﺐ ﺍﻟﻔﺘﺤﺎﺕ ﺑﺎﻟﻤﺒﻨﻰ ﻣﻌﺎﻟﺠﺔ ﺑﻜﺎﺳﺮﺍﺕ ﺷﺴﺴﻴﺔ ﺃﻭ‬
‫ﺑﺎﻟﻤﺨﺮﻣﺎﺕ ﺍﻟﺠﺼﻴﺔ ﻟﺘﺨﻔﻴﻒ ﺃﺛﺮ ﺍﻟﻮﻫﺞ ﺍﻟﺸﻤﺴﻰ ﺍﻟﺪﺍﺧﻞ‬
‫ﻟﻠﻔﺮﺍ ﻏﺎﺕ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻭﻳﺒﺪﻭ ﺍﻟﻤﺒﻨﻰ ﻓﻰ ﺟﻤﻠﺘﻪ ﻣﺘﻤﻴﺰﺍ ﺑﺘﺸﻜﻴﻠﻪ‬
‫ﺍﻟﻤﺘﻨﺎﺳﻖ ﻭﺃﺭﻛﺎﻧﻪ ﺫﺍﺕ ﺍﻟﺘﺸﻜﻴﻞ ﺍﻟﻨﺤﺘﻰ ﺑﻤﺎ ﻳﻌﺘﺒﺮ‬
‫ﺇﺿﺎﻓﺔ ﺟﻴﺪﺓ ﻟﻤﺒﺎﻧﻰ ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ‬
‫ﺍﻟﻤﻴﺎﻩ ﻭﺍﻷﻭﻓﻴﺴﺎﺕ ﻭﻟﻜﻦ ﻳﺆﺧﺬ ﻋﻠﻰ ﺍﻟﺘﺼﻤﻴﻢ ﺍﺳﺘﺨﺪﺍﻣﻪ‬
‫ﺻﺪﺭ ﻣﻨﻬﺎ ﺍﺳﺘﺮﺍ ﺣﺔ‬
‫ﻣﻨﻬﺎ ‪ 002‬ﻃﺎﻟﺐ ﻭﻣﻠﺤﻖ ﺑﻜﻞ ﺝ‬
‫ﻟﻠﻤﺤﺎﺿﺮ ﺃﻣﺎ ﺍﻷﺩ ﻭﺍﺭ ﻣﻦ ﺍﻟﺜﺎﻧﻰ ﺇﻟﻰ ﺍﻟﺮﺍﺑﻊ ﻓﻴﺤﺘﻮﻯ ﻛﻞ‬
‫ﻣﻨﻬﺎ ﺛﻠﻰ ‪ 8‬ﻓﺼﻮﻝ ﺩﺭﺍﺳﻴﺔ ﻳﺸﻐﻞ ﻛﻞ ﻣﻨﻬﺎ ﻧﺼﻒ‬
‫ﻣﺴﺎﺣﺔ ﺍﻟﻤﺪﺭﺝ ﻭﺍﻟﻔﺼﻮﻝ ﻣﺠﻬﺰﺓ ﺑﺎﻻﺙ ﻣﺘﺤﺮﻙ ﻭﻣﺰﻭﺩﺓ‬
‫ﺑﻤﺨﺎﺭﺝ ﺧﺎﺻﺔ ﺑﺎﻟﺴﻤﺎﻋﺎﺕ ﺍﻟﺪﺯﻣﺔ ﻟﻠﺪﺭﻭﺱ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﻭﻧﻈﺮﺍ ﻻﺭﺗﻔﺎﻉ ﻣﺒﻨﻰ ﺍﻟﻄﻠﺒﺔ ﻓﻘﺪ ﺯﻭﺩ ﺑﻤﺼﻌﺪﻳﻦ ﻛﻤﺎ‬
‫ﺭﻭﻋﻰ ﻓﻰ ﺗﺸﻄﻴﺒﻪ ﻣﺘﺎﻧﺔ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ‬
‫ﺗﻔﺼﻴﻼﺗﻬﺎ ﺍﻟﻤﻀﺘﻠﻔﺔ ﻛﺎﻟﺘﻜﺴﻴﺎﺕ ﺍﻟﺠﺮﺍﻧﻴﺘﻴﺔ ﻟﻠﻤﺪﺧﻞ‬
‫ﻭﺍﻟﻮﺯﺍﺭﺍﺕ ﺍﻟﺮﺧﺎﻣﻴﺔ ﺍﻟﻐﺎﻃﺴﺔ ﻭﻛﺴﻮﺓ ﺍﻟﺴﻼﻟﻢ ﻭﻛﺬﻟﻚ‬
‫ﺗﺠﻠﻴﺪ ﺣﻮﺍﺋﻂ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺑﺎﻟﺨﺸﺐ ﺑﺎﺭﺗﻔﺎﻉ‬
‫ﺍﻷﺑﻮﺍﺏ ﺃﻭ ﺗﻜﺴﻴﺔ ﺣﻮﺍﺋﻂ ﺍﻟﻤﻤﺮﺍﺕ ﺑﺎﻟﻤﻮﺍﺯﻳﻜﻮ ﻛﻤﺎ‬
‫ﺍﺳﺘﺨﺪﻡ ﺑﺜﻂ ﺍﻟﺴﻮﺭﻧﺎﺟﺎ ﻏﻴﺮ ﺍﻟﻘﺎﺑﻞ ﻟﻠﻈﻜﻞ ﺳﻤﻚ‬
‫‪ 71‬ﻣﻢ ﻓﻰ ﺗﻜﺴﻴﺔ ﺍﺭﺿﻴﺎﺕ ﻓﺮﺍﻏﺎﺕ ﺍﻟﺨﺪﻣﺔ ﻣﻦ ﺩ ﻭﺭﺍﺕ‬
‫ﻭﻳﺤﺘﻮﻯ ﺍﻟﺪﻭﺭ ﺍﻷﻭﻝ ﻋﻠﻰ ﺃﺭﺑﻌﺔ ﻣﺪﺭﺟﺎﺕ ﺳﻌﺔ ﻛﻞ‬
‫ﺍﻻﻳﻨﺔ ﺍﻹﺩﺍﺭﻳﺔ ﻟﻠﻜﻠﻴﺔ ﺛﻢ ﺧﺼﺼﺖ ﺍﻷﺩ ﻭﺍﺭ ﻣﻦ ﺍﻟﺜﺎﻧﻰ ﺇﻟﻰ‬
‫ﺍﻟﺨﺎﻣﺲ ﺃﻗﺴﺎﻡ ﺍﻟﻜﻠﻴﺔ ﻓﻴﺤﺘﻮﻯ ﺍﻟﺪﻭﺭ ﻋﻠﻰ ﻣﻜﺘﺐ ﺭﻧﻴﺲ‬
‫ﺍﻟﻘﺴﻢ ﻭﻏﺮﻑ ﺃﻋﻀﺎء ﻫﻴﺌﺔ ﺍﻟﺘﺪﺭﻳﺲ ﻭﺍﻟﻤﻌﻴﺪﻳﻦ‬
‫ﻭﺍ ﻟﺴﻜﺮﺗﺎﺭﻳﺘﺮﺍ ﻟﺨﺪﻣﺎﺕ‬
‫ﺃﻣﺎ ﻣﺒﻨﻰ ﺍﻟﻄﻠﺒﺔ ﺃﻭ ﺍﻟﻜﺘﻠﺔ ﺍﻷﻛﺒﺮ ﺣﺠﻤﺎ ﻓﻬﻰ ﻋﻠﻰ‬
‫ﺷﻜﻞ ﻣﺮﺑﻊ ﻃﻮﻝ ﺿﻠﻌﻪ ﺍﻟﺨﺎﺭﺟﻰ ‪ 63 6‬ﻡ ﻣﻮﺩﻳﻮﻝ‬
‫‪3 6‬ﻡ ﻳﺘﻮﺳﻄﻪ ﻓﻨﺎءﻣﺮﺑﻊ ‪ 7‬ﻭ ‪ 7001 01‬ﺗﻠﺘﻒ ﻭﻟﻪ‬
‫ﺍﻟﻔﺮﺍﻏﺎﺕ ﻋﻠﻰ ﺷﻜﻞ ﻣﻔﺮﻭﻛﺔ ﺭﺑﺎﻋﻴﺔ ﻓﺮﻏﺖ ﺇﺣﺪﻯ‬
‫ﻭﺣﺪﺍﺗﻬﺎ ﻓﻰ ﺍﻟﺪﻭﺭ ﺍﻷﺭﺿﻰ ﻟﺘﻜﻮﻥ ﺍﻟﻤﺪﺧﻞ ﺑﺎﻹﺿﺎﻓﺔ‬
‫ﻟﻤﺴﻄﺢ ﻛﺒﻴﺮ ﻣﻔﺘﻮﺡ ﻟﺘﺠﻤﻊ ﺍﻟﻄﻠﺒﺔ ﻓﻰ ﺣﻴﻦ ﺧﺼﺼﺖ‬
‫ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻘﻼﺙ ﺍﻟﻤﺘﺒﻘﻴﺔ ﻟﻠﻤﻜﺘﺒﺔ ﻭﺍﻟﻜﺎﻓﺘﻴﺮﻳﺎ ﻭﺍﻟﻤﺴﺠﺪ‬
‫ﻭﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ ﻛﻞ ﻭﺣﺪﺓ ﻣﻦ ﻫﺬﻩ ﺍﻭﺣﺪﺍﺕ ﺍﻷﺭﺑﻊ ﺣﻮﺍﻟﻰ‬
‫‪ 522‬ﻣﺘﺮﺍ ﻣﺮﺑﻌﺎ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺷﺮﻭﻉ‬
‫ﺍﻟﻌﺪﺩ‬

‫ﺍ ﻻﺳﺘﺸﺎ ﺭﻯ‬
‫ﺟﻤﺎﻋﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍﻻﺳﺘﺸﺎﺭﻳﻴﻦ ‪GCE‬‬

‫ﻣﻊ ﺍﻟﺰﻳﺎﺩﺓ ﺍﻟﻤﻄﺮﺩﺓ ﻓﻰ ﺃﻋﺪﺍﺩ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻓﻰ‬

‫ﻣﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻭﻋﺪﻡ ﻛﻔﺎﻳﺔ ﺃﻣﺎﻛﻦ ﺍﻻﻧﺘﻈﺎﺭ ﻟﻤﻮﺍﺟﻬﺔ ﻫﺬﻩ‬
‫ﺍﻷﻋﺪﺍﺩ ﺗﻔﺎﻗﻤﺖ ﻣﺸﻜﻠﺔ ﺍﻟﻤﺮﻭﺭ ﻭﺑﺪﺕ ﺍﻟﻀﺮﻭﺭﺓ ﻣﻠﺤﺔ‬
‫ﻻﻳﺠﺎﺩ ﺍﻟﺤﻠﻮﻝ ﺍﻟﻤﻨﺎﺳﺒﺔ ﻟﺬﺍ ﺣﺪﺩﺕ ﻣﺤﺎﻓﻈﺔ ﺍﻟﻘﺎﻫﺮﺓ‬
‫ﺃﺣﺪ ﻋﺸﺮ ﻣﻮﻗﻌﺎ ﻻﻗﺎﻣﺔ ﺟﺮﺍﺟﺎﺕ ﻣﺘﻌﺪﺩﺓ ﺍﻟﻄﻮﺍﺑﻖ ﺗﻔﻰ‬
‫ﺑﺎﺣﺘﻴﺎﺟﺎﺕ ﺍﻟﻤﺪﻳﻨﺔ ﻣﻦ ﺃﻣﺎﻛﻦ ﺍﻧﺘﻈﺎﺭ ﺍﻟﺴﻴﺎﺭﺍﺕ‬
‫ﻭﻳﺤﺘﻞ ﺍﻟﻤﺮﻛﺰ ﺍﻟﺘﺠﺎﺭﻯ ﺑﺠﺮﺍﺟﺔ ﻣﺘﻌﺪﺩ ﺍﻟﻄﻮﺍﺑﻖ‬
‫ﺃﻫﻢ ﻫﺬﻩ ﺍﻟﻤﻮﺍﻗﻊ ﻧﻈﺮﺍ ﻟﻮﺟﻮﺩﻩ ﻓﻰ ﻗﻠﺐ ﻣﺮﻛﺰ ﺍﻷﻋﻤﺎﻝ‬
‫ﻟﻠﻤﺪﻳﻨﺔ ﺣﻴﺚ ﻳﺘﺮﻛﺰ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺍﻟﻮﺯﺍﺭﺍﺕ ﻭﺍﻟﻬﻴﻨﺎﺕ‬
‫ﻭﺍﻟﺸﺮﻛﺎﺕ ﻭﺍﻟﻔﻨﺎﺩق ﻭﺍﻷﻧﺸﻄﺔ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻓﻀﻼ ﻋﻦ‬
‫ﻭﺟﻮﺩﻩ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﻣﺤﺎﻭﺭ ﺣﺮﻛﺔ ﻭﻧﻘﻂ ﺍﺗﺼﺎﻝ ﺭﺋﻴﺴﻴﺔ‬
‫ﻣﺜﻞ ﻣﻴﺪﺍﻥ ﺍﻟﺘﺤﺮﻳﺮ ﻭﺷﺎﺭﻋﻰ ﺭﻣﺴﻴﺲ ﻭﺍﻟﺘﺤﺮﻳﺮ ﻭﻣﺘﺮﻭ‬
‫ﺍﻷﻧﻔﺎق‬

‫ﺑﻠﻐﺖ ﺍﻟﺘﻜﺎﻟﻴﻒ ﺍﻻﺳﺘﺜﻤﺎﺭﻳﺔ ﻟﻠﻤﺸﺮﻭﻉ ﺣﻮﺍﻟﻰ ‪32‬‬

‫ﻣﻠﻴﻮﻥ ﺟﻨﻴﻪ ﻣﺼﺮﻯ ﻭﺍﺳﺘﻐﺮق ﺗﻨﻔﻴﺬﻩ ﺣﻮﺍﻟﻰ ﺃﺭﺑﻊ‬
‫ﺳﻨﻮﺍﺕ ﻭﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻔﺘﺮﺓ ﻭﺍﺟﻬﺖ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻨﻔﻴﺬ ﺍﻟﻌﺪﻳﺪ‬
‫ﻣﻦ ﺍﻟﻤﺼﺎﻋﺐ ﺍﻟﺘﻰ ﺗﻢ ﺍﻟﺘﻔﻠﺐ ﻋﻠﻴﻬﺎ ﻣﻘﻞ ﺍﺭﺗﻔﺎﻉ‬
‫ﻣﻨﺴﻮﺏ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺠﻮﻓﻴﺔ ﻭﻋﻤﻠﻴﺘﻰ ﻧﻘﻞ ﻭﺭﻓﻊ ﺍﻟﻜﻤﺮﺍﺕ‬
‫ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﻭﺍﻻﺟﻬﺎﺩ ﺑﺄﺣﻤﺎﻟﻬﺎ ﻭﺃﻃﻮﺍﻟﻬﺎ ﺍﻟﻜﺒﻴﺮﺓ‬
‫ﻓﻀﻼ ﻋﻦ ﻋﺪﻡ ﺍﻟﺴﻤﺎﺡ ﻟﺴﻴﺎﺭﺍﺕ ﺍﻟﻨﻘﻞ ﺑﺪﺧﻮﻝ ﻭﺳﻂ‬
‫ﺍﻟﻤﺪﻳﻨﺔ ﻧﻬﺎﺭﺍ ﻭﻋﺪﻡ ﺗﻮﺍﻓﺮ ﻣﺴﺎﺣﺎﺕ ﻛﺎﻓﻴﺔ ﻟﺘﺸﻮﻳﻦ‬
‫ﺍﻟﻤﻮﺍﺩ ﺑﺎﻟﻤﻮﻗﻊ‬

‫ﻣﻮﻓﻊ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﻳﻘﻊ ﺍﻟﻤﺮﻛﺰ ﺍﻟﺘﺠﺎﺭﻱ ﻋﻠﻰ ﺷﺎﺭﻉ ﻋﺒﺪ ﺍﻟﺴﻼﻡ‬
‫ﻋﺎﺭﻑ ﺑﻴﻦ ﻣﻴﺪﺍﻧﻰ ﺍﻟﻔﻠﻜﻰ ﻭﺍﻟﺘﺤﺮﻳﺮ ﻋﻠﻰ ﻣﺴﺎﺣﺔ ﻣﻦ‬
‫‪ vr‬ﻣﺘﺮ ﻣﺮﺑﻊ ﻭﻳﺤﺪ ﺍﻟﻤﻮﻗﻊ ﻣﻦ‬ ‫ﺍﻻﺭﺽ ﺗﺒﻠﻎ‬
‫ﺍﻟﺠﻬﺘﻴﻦ ﺍﻟﺸﺮﻗﻴﺔ ﻭﺍﻟﻐﺮﺑﻴﺔ ﺷﺎﺭﻋﺎﻥ ﻓﺮﻋﻴﺎﻥ ﻫﻤﺎ ﻳﻮﺳﻒ‬
‫ﺍﻟﺠﻨﺪﻯ ﻭﻣﻀﻄﻔﻰ ﺃﺑﻮ ﻫﻴﻒ‬

‫ﻭﺻﻒ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﻳﺘﻜﻮﻥ ﺍﻟﻤﺒﻨﻰ ﻣﻦ ﺍﺣﺪ ﻋﺸﺮﻃﺎﺑﻘﺎ ﻭﻳﺸﻤﻞ ﺳﻮﻗﺎ‬
‫ﺗﺠﺎﺭﻳﺎ ﻭﻣﺴﺎﺣﺎﺕ ﻟﻼﺳﻜﺎﻥ ﺍﻹﺩﺍﺭﻯ ﻭﺟﺮﺍﺟﺎ ﻣﺘﻌﺪﺩ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻣﺤﺪﺕ‬ ‫ﺍﻟﻤﺴﻘﻂ ﺍﻷﻓﻘﻰ ﻟﻠﻤﻮﺭ ﺍﻷﺭﺿﻰ‬ ‫ﺍﻟﻤﻮﻓﻊ ﺍﻟﻌﺎﻡ‬

‫ﺍﻟﺤﺮﺍﻛﺎﻣﺘﻌﺪﺩ ﺍﻟﻄﻮﺍﺑﻖ‬ ‫ﺍﻟﺜﺎﻧﻰ ﻭﺍﻟﺜﺎﻟﺚ ﻭﺍﻟﺮﺍﺑﻊ ﻭﻳﺤﺘﻮﻯ ﻋﻠﻰ ﻣﺤﺤﺖ ﺑﻤﺴﺎﺣﺎﺕ‬ ‫ﺍﻟﻄﻮﺍﺑﻖ ﻭﻗﺪ ﻭﺯﻋﺖ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻋﻠﻰ ﺍﻟﻄﻮﺍﺑﻖ ﺑﻤﺎ‬
‫ﻳﻮﻓﺮ ﺍﻟﺠﺮﺍﺡ ‪ 049‬ﻣﻜﺎﻧﺎ ﻻﻧﺘﻈﺎﺭ ﺍﻟﺴﻴﺎﺭﺍﺕ‬ ‫ﺗﻔﻰ ﺑﺎﻻﺣﺘﻴﺎﺟﺎﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻭﻗﺪ ﺻﻤﻢ ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ‬ ‫ﻳﺘﻼﻋﻢ ﻣﻊ ﻃﺒﻴﻌﺘﻬﺎ ﻭﺍﺣﺘﻴﺎﺟﺎﺗﻬﺎ ﻭﺍﻟﻤﺒﻨﻰ ﻟﻪ ﻣﺪﺧﻞ‬
‫ﻣﻮﺯﻋﺔ ﻋﻠﻰ ﺳﺘﺔ ﻃﻮﺍﺑﻖ ﺗﺒﺪﺃ ﺑﺎﻟﻄﺎﺑﻖ ﺍﻟﺜﺎﻧﻰ ﻭﻳﺘﻢ‬ ‫ﻋﻠﻰ ﺃﺳﺎﺱ ﺗﺤﻘﻴﻖ ﺃﻛﺒﺮ ﻗﺪﺭ ﻣﻤﻜﻖ ﻣﻦ ﺍﻟﻤﺮﻭﻧﺔ ﻓﻰ‬ ‫ﺭﺋﻴﺴﻰ ﻋﻠﻰ ﺷﺎﺭﻉ ﻋﺒﺪ ﺍﻟﺴﻼﻡ ﻋﺎﺭﻑ ﻭﻣﺪﺧﻼﻥ‬
‫ﺍﻟﺪﺧﻮﻝ ﺇﻟﻴﻪ ﻣﻦ ﺷﺎﺭﻉ ﻳﻮﺳﻒ ﺍﻟﺠﻨﺪﻯ ﻭﺍﻟﺨﺮﻭﺝ ﻣﻨﻪ‬ ‫ﺛﺎﻧﻮﻳﺎﻥ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻤﺪﺧﻞ ﻭﻣﺨﺮﺝ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻭﻗﺪ ﺭﻭﻋﻰ‬
‫ﺗﺠﻤﻴﻊ ﺍﻟﻤﺤﻼﺕ ﻭﻓﻰ ﺍﻟﺨﺪﻣﺎﺕ ﺍﻟﻼﺯﻣﺔ ﻟﻬﺎ ﻣﻤﺎ ﻳﺴﺎﻋﺪ‬
‫ﺇﻟﻰ ﺷﺎﺭﻉ ﻣﺼﻄﻔﻰ ﺃﺑﻮ ﻫﻴﻒ ﻭﻗﺪ ﺭﻭﻋﻰ ﻓﻰ ﺗﺼﻤﻴﻢ‬ ‫ﻓﻰ ﺍﻟﺘﺼﻤﻴﻢ ﻭﺿﻮﺡ ﻭﺳﻬﻮﻟﺔ ﻣﺴﺎﺭﺍﺕ ﺍﻟﺤﺮﻛﺔ ﺍﻷﻓﻘﻴﺔ‬
‫ﻋﻠﻰ ﺍﻣﻜﺎﻧﻴﺄ ﺿﻢ ﺃﻛﺜﺮ ﻣﻦ ﻭﺣﺪﺓ ﺑﻜﻔﺎﻣﺔ‬ ‫ﻭﺍﻟﺮﺃﺳﻴﺔ ﺳﻮﺍء ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺴﻴﺎﺭﺍﺕ ﺃﻭ ﺍﻷﻓﺮﺍﺩ‬
‫ﺍﻟﺠﺮﺍﺡ ﺗﺤﻘﻴﻖ ﺍﻷﺑﻌﺎﺩ ﺍﻟﻘﻴﺎﺳﻴﺔ ﻟﻠﺴﻴﺎﺭﺍﺕ ﻣﺘﻮﺳﻄﺔ‬
‫ﻭﻳﺸﻤﻞ ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ ﻛﺎﻓﻴﺘﺮﻳﺎ ﺑﺎﻟﻄﺎﺑﻖ‬
‫ﺍﻟﺤﺠﻢ ﻭﻫﻰ ﺗﻤﺜﻞ ﺍﻟﻨﺴﺒﺔ ﺍﻟﻐﺎﻟﺒﺔ ﺑﻴﻦ ﺃﻧﻮﺍﻉ ﺍﻟﺴﻴﺎﺭﺍﺕ‬ ‫ﺍﻟﺘﺤﺎﺭﻯ‬ ‫ﺍﻟﺴﻮق‬
‫ﻓﻰ ﻣﺼﺮ‬ ‫ﺍﻷﺭﺿﻰ ﻟﺘﻘﺪﻳﻢ ﺍﻟﻤﺸﺮﻭﺑﺎﺕ ﻭﺍﻟﻮﺟﺒﺎﺕ ﺍﻟﺨﻔﻴﻔﺔ ﻟﺮﻭﺍﺩ‬
‫ﻳﺸﻐﻞ ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ ﺍﻟﻄﺎﺑﻖ ﺍﻷﺭﺿﻰ ﻭﺍﻷﻭﻝ‬
‫ﺻﻤﻢ ﺍﻟﺠﺮﺍء ﻋﻠﻰ ﻧﻈﺎﻡ ﺍﻟﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻤﻨﻔﺼﻠﺔ‬ ‫ﺍﻟﺴﻮق ﻭﻟﺨﻠﻖ ﻣﻜﺎﻥ ﺟﻌﻴﻞ ﻳﺴﺎﻋﺪ ﻋﻠﻰ ﺟﺬﺏ ﺍﻟﺠﻤﻬﻮﺭ‬
‫ﻭﺍﻷﺟﺰﺍء ﺍﻟﻤﻄﻠﺔ ﻋﻠﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺮﻧﻴﺴﻴﺔ ﻣﻦ ﺍﻟﻄﻮﺍﺑﻖ‬

‫ﺃﻣﺎﻛﻦ ﺍﻧﺘﻈﺎﺭ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺑﺎﻟﺒﺮﺍ‬ ‫ﺍﻟﻤﻤﺮ ﺍﻟﺘﺠﺎﺭﻯ ﺑﺎﻟﻄﺎﺑﻖ ﺍﻷﺭﺿﻰ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺍﻟﻤﺴﻘﻂ ﺍﻷﻓﻘﻰ ﻟﻠﺪﻭﺭ ﺍﻟﺜﺎﻧﻰ‬

‫ﻭﺍﻷﻓﺮﺍﺩ ﻣﻦ ﺧﻄﺮ ﺍﻟﺤﺮﻳﻖ ﺑﻤﺎ ﻳﺘﻮﺍﻓﻖ ﻣﻊ ﺍﻻﺷﺘﺮﺍﻃﺎﺕ‬ ‫ﺍﻹﺩﺍﺭﻯ‬ ‫ﺍﻻﺳﻜﺎﻥ‬
‫ﺍﻟﻌﺎﻟﻤﻴﺔ ﻓﻔﺪ ﺗﻢ ﺗﻘﺴﻴﻢ ﻛﻞ ﻃﺎﺑﻖ ﻣﻦ ﺍﻟﻄﻮﺍﺑﻖ ﺍﻟﺘﺠﺎﺭﻳﺔ‬ ‫ﺧﺼﺺ ﺍﻟﻄﺎﺑﻘﺎﻥ ﺍﻟﺘﺎﺳﻊ ﻭﺍﻟﻌﺎﺷﺮ ﻟﻼﺳﻜﺎﻥ‬
‫ﻭﺍﻻﺩﺍﺭﻳﺔ ﺇﻟﻰ ﺃﻗﺴﺎﻡ ﻣﻨﻔﺼﻠﺔ ﺑﺤﻮﺍﻧﻂ ﺗﻘﺎﻭﻡ ﺍﻟﺤﺮﻳﻖ‬ ‫ﺍﻹﺩﺍﺭﻯ ﻣﻊ ﺍﻣﻜﺎﻧﻴﺔ ﺍﺳﺘﻐﻼﻝ ﺍﻟﺪﻭﺭ ﺍﻟﺘﺎﺳﻊ ﻓﻰ‬
‫ﻟﻤﺪﺓ ﺳﺎﻋﺔ ﻭﻧﺼﻒ ﻭﻳﻤﻜﻦ ﻋﺰﻝ ﻫﺬﻩ ﺍﻷﻓﺴﺎﻡ ﻭﻗﺖ‬ ‫ﺃﻧﺸﻄﺔ ﻣﺘﻌﺪﺩﺓ ﺍ ﻷﻏﺮﺍﺽ ﻣﺜﻞ ﻗﺎﻋﺎﺕ ﺍﻻﺟﺘﻤﺎﻋﺎﺕ‬
‫ﺍﻟﺤﺮﻳﻖ ﻣﻤﺎ ﻳﻘﻠﻞ ﻣﻦ ﺍﻧﺘﺸﺎﺭﻩ ﻭﻳﺆﺩﻯ ﺑﺎﻟﺘﺎﻟﻰ ﺇﻟﻰ‬ ‫ﻭﺍﻟﺤﻔﻼﺕ ﻭﺍﻟﻜﺎﻓﻴﺘﺮﻳﺎﺕ ﻭﻳﻤﻜﻦ ﺗﻘﺴﻴﻢ ﺕ‬
‫ﻣﺴﻄﺤﺎ‬
‫ﺍ ﻟﺴﻴﻄﺮﺓ ﻋﻠﻴﻪ‬ ‫ﺍﻟﻄﺎﺑﻔﻴﻦ ﺇﻟﻰ ﻭﺣﺪﺍﺕ ﺗﻨﺎﺳﺐ ﺍﻻﺣﺘﻴﺎﺟﺎﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻣﻊ‬
‫ﻛﻤﺎ ﺗﻢ ﺗﻮﻓﻴﺮ ﻣﺴﺎﺭﺍﺕ ﺃﻓﻘﻴﺔ ﻛﺎﻓﻴﺔ ﻻﺧﻼء‬ ‫ﺗﻮﻓﻴﺮ ﺍﻟﻤﺮﻭﻧﺔ ﺍﻟﺪﺯﻣﺔ ﻟﺘﺠﻤﻴﻊ ﺃﻛﺜﺮ ﻣﻦ ﻭﺣﺪﺓ‬
‫ﺍﻟﻄﻮﺍﺑﻖ ﻣﻦ ﺍﻷﻓﺮﺍﺩ ﻭﺃﺭﺑﻌﺔ ﺳﻼﻟﻢ ﻟﻠﻄﻮﺍﺭﻯء ﻣﻌﺰﻭﻟﺔ‬ ‫ﺍﻷﻣﺎﻥ‬ ‫ﺍﺣﺘﻴﺎﻃﺎﺕ‬
‫ﺑﺤﻮﺍﻧﻂ ﻣﻘﺎﻭﻣﺔ ﻟﻠﺤﺮﻳﻖ ﻭﻳﺘﻢ ﺍﻟﺪﺧﻮﻝ ﻟﻬﺬﻩ ﺍﻟﺴﻼﻟﻢ ﻋﺒﺮ‬
‫ﺍﺗﺨﺬﺕ ﺍﻻﺣﺘﻴﺎﻃﺎﺕ ﺍﻟﻤﻨﺎﺳﺒﺔ ﻟﺤﻤﺎﻳﺔ ﺍﻟﻤﻨﻤﺜﺖ‬
‫ﻃﺮﻗﺎﺕ ﻣﺤﻤﻴﺔ ﻳﻤﻨﻊ ﺩﺧﻮﻝ ﻭﺍﻧﺘﺸﺎﺭ ﺍﻟﺪﺧﺎﻥ ﻓﻴﻬﺎ‬
‫ﺃﺱ ‪ 7‬ﻣﺤﺄ ‪ 1 3 11‬ﻭﻳﺘﻢ ﺍﻻﻧﺘﻘﺎﻝ ﺑﻴﻦ ﺍﻟﻤﺴﺘﻮﻯ ﻭﺍﻵﺧﺮ‬
‫ﺑﻮﺍﺳﻄﺔ ﻣﻨﺤﺪﺭﺍﺕ ﺫﺍﺕ ﻣﻴﻮﻝ ﻣﻨﺎﺳﺒﺔ ﻭﻗﺪ ﺃﺧﺬ ﺑﻨﻈﺎﻡ‬
‫ﺍﻻﻧﺘﻈﺎﺭ ﺍﻟﻤﺘﻌﺎﻣﺪ ﻋﻠﻰ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺬﻯ ﻳﺤﻘﻖ ﺃﻗﺼﻰ‬
‫ﺍﺳﺘﻐﻼﻝ ﻟﻠﻤﺴﺎﺣﺎﺕ ﺍﻟﻤﺘﺎﺣﺔ ﻣﻊ ﺗﺤﺪﻳﺪ ﺍﻟﺴﻴﺮ ﻓﻰ‬
‫ﺍﻟﻤﻤﺮﺍﺕ ﻭﺍﻟﻤﻨﺤﺪﺭﺍﺕ ﻓﻰ ﺍ ﺗﺠﺎﻩ ﻭﺍﺣﺪ‬
‫ﻭﻗﺪ ﺯﻭﺩ ﺍﻟﺠﺮﺍﺡ ﺑﺎﻟﻌﻼﻣﺎﺕ ﺍﻻﺭﺷﺎﺩﻳﺔ ﺍﻟﻤﻀﻴﻨﺔ‬
‫ﺍﻟﻜﻬﺮﺑﻴﺔ ﻭﺍﻟﻔﺴﻔﻮﺭﻳﺔ ﻭﺍﻟﻌﻼﻣﺎﺕ ﺍ ﻷﺭﺿﻴﺔ ﻟﺘﻮﺟﻴﻪ ﺣﺮﻛﺔ‬
‫ﺍﻟﺴﻴﺎﺭﺍﺕ ﻭﺍﻷﻓﺮﺍﺩ ﺩﺍﺧﻠﻪ ﻛﻤﺎ ﺯﻭﺩ ﺑﺄﺟﻬﺰﺓ ﻟﻠﺘﺤﻜﻢ ﻓﻰ‬
‫ﺩﺧﻮﻝ ﻭﺧﺮﻭﺝ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺁﻟﻴﺎ ﻭﺑﻮﺳﺎﻧﻞ ﻟﺤﻤﺎﻳﺔ ﺍﻟﻤﻨﻤﺜﺚ‬
‫ﻣﻦ ﺍﺭﺗﻄﺎﻡ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺑﻪ‬

‫ﺍﻟﻤﻨﺤﺪﺭﺍﺕ ﺍﻟﺘﻰ ﺗﺮﺑﻂ ﺑﻴﻦ ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺠﺮﺍ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺍﻟﻤﺴﻘﻂ ﺍ ﻓﻘﻰ ﻟﻠﻤﻮﺭ ﺍﻟﻌﺎﻫﻤﺮ ﻣﻜﺎﺗﻤﻲ‬ ‫ﻣﺴﻘﻂ ﺃﻓﻘﻰ ﻷﺩﻭﺍﺭ ﺃﻧﺘﻄﺎﺭ ﺍﻟﺴﻴﺎﺭﺍﻯ‬
‫ﺃﻋﻄﻴﺖ ﺍﻷﻭﻟﻴﺔ ﻻﺣﺘﻴﺎﺻﺎﺕ ﺍﻟﻤﺮﺍﺝ ﻣﺘﻌﺪﺩ ﺍﻟﻄﻮﺍﺑﻖ ﻣﻌﺎ‬
‫ﺃﻭﺹ ﺑﺎﺧﺘﻴﺎﺭ ﺍﻟﻤﻮﺩﻳﻮﻝ ﺍﻹﻧﺸﺎﻧﻰ ﺭ ‪ x 61‬ﺭﻩ‬
‫ﺃﻣﺘﺎﺭ ﺻﻴﺚ ﻳﺘﻨﺎﺳﺐ ﻣﻊ ﺍﻷﺑﻌﺎﺩ ﺍﻟﻘﻴﺎﺳﻴﺔ ﻷﻣﺎﻛﻦ‬
‫ﺍﻧﺘﻈﺎﺭ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻭﺍﻟﻤﻤﺮﺍﺕ ﺍﻟﺘﻰ ﺗﻔﺪﻣﻬﺎ‬

‫ﻭﻟﻠﻮﺻﻮﻝ ﻟﻠﺘﺴﻴﻢ ﺍﻹﻧﺸﺎﻧﻰ ﺍﻷﻣﻔﻞ ﺍﻟﺬﻯ ﻳﺤﻘﻖ‬

‫ﺍﻟﻜﺎﻋﺔ ﺍﻟﻮﻇﻴﻔﻴﺔ ﻟﻠﻤﺒﻨﻰ ﻣﻊ ﺳﺮﻋﺔ ﺍﻟﺘﻨﻔﻴﺬ ﻭﻣﺮﺍﻋﺎﺓ‬
‫ﺍﻟﺠﻮﺍﻧﺐ ﺍﻻﻓﺘﺼﺎﺩﻳﺔ ﻟﻠﻤﺸﺮﻭﻉ ﺗﻢ ﺩﺭﺍﺳﺔ ﻋﺪﺩ ﻣﻦ‬
‫ﺍﻟﻤﺮﺍﺩﻓﺎﺕ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻻﺧﺘﻴﺎﺭ ﺃﻓﻀﻠﻬﺎ ﻭﺍ ﺷﺘﻤﻠﺖ ﻫﺬ‬
‫ﺍﻟﻤﺮﺍﺩﻓﺎﺕ ﻋﻠﻰ ﻣﺎﻳﻠﻰ‬

‫ﺃﻭﻻ ﻧﻈﺎﻡ ﻫﻴﻜﻠﻰ ﻣﻦ ﺍﻟﺼﻠﺐ ﺍﻹﻧﺸﺎﺛﻰ‬

‫ﻭﻫﻮﻧﻈﺎﻡ ﺑﺎﻫﻆ ﺍﻟﺘﻜﺎﻟﻴﻒ ﻟﻌﺪﺓ ﺃﺳﺒﺎﺏ ﺃﻫﻤﻬﺎ ﻣﺎ‬
‫ﻳﺘﻄﻠﺒﻪ ﻣﻦ ﺍ ﺗﻴﺎﻃﺎﺕ ﻟﺤﻤﺎﻳﺔ ﺍﻟﻤﻨﺸﺄ ﻣﻦ ﺍﻟﻤﺮﻳﻖ ﻣﻦ‬
‫ﺗﻜﺴﻴﺎﺕ ﻭﺩﻫﺎﻧﺎﺕ ﺧﺎﺻﺔ ﻻﺗﺘﻮﺍ ﻓﺮ ﺻﺎﻟﻴﺎ ﺍﻟﻨﺒﺮﺍﺕ‬
‫ﺍﻟﻤﺤﻠﻴﺔ ﺍ ﺯﻣﺔ ﻟﺘﻨﻔﻴﺬﻫﺎ‬
‫ﻓﻄﺎﻉ ﺭﺃﺳﻰ‬

‫ﺛﺎﻧﻴﺎ ﻧﻈﺎﻡ ﻫﻴﻜﻠﻰ ﻣﻦ ﺍﻟﻤﺮﺳﺎﻧﺔ ﺍﻟﻤﺴﻠﺤﺔ‬

‫ﻭﻳﻨﺘﻊ ﻋﻦ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﺳﻤﻚ ﻛﺒﻴﺮ ﻟﻤﻜﻮﻧﺎﺕ‬
‫ﺍﻷﺳﻘﻒ ﻣﻦ ﺑﺎﺕ ﻭﻛﻤﺮﺍﺕ ﺧﺮﺳﺎﻧﻴﺔ ﻳﺘﻨﺎﺳﺐ ﻣﻊ‬ ‫ﺍﻟﺴﻴﺎﺭﺍﺕ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻤﺼﻌﺪﻳﻦ ﺃﺧﺮﻳﻦ ﻳﻀﺪﻣﺎﻥ ﻃﻮﺍﺑﻖ‬ ‫ﺑﻄﺮﻳﻘﺔ ﺩﻓﻊ ﻫﻮﺍءﻧﻘﻰ ﺗﺤﺖ ﺿﻐﻂ ﻛﺒﻴﺮ ﻫﺬﺍ ﺑﺎﻹﺿﺎﻓﺔ‬
‫ﺍﻟﺒﺤﻮﺭ ﺍﻟﺘﻰ ﺗﻐﻄﻴﻬﺎ ﻭﺛﺎﻟﺘﺎﻟﻰ ﻳﺰﺩﺍﺩ ﺍﺭﺗﻔﺎﻉ ﺍﻟﻄﺎﺑﻖ‬
‫ﺍﻟﺴﻮق ﺍﻟﺘﻤﺎﺭﻯ ﻓﻖ ﻝ ﻭ ﺳﺘﻀﺪﻣﺎﻥ ﻓﻰ ﻧﻘﻞ ﺍﻻﻓﺮﺍﺩ ﺃﻭ‬ ‫ﻟﺘﻮﻓﻴﺮ ﺃﻧﻈﻤﺔ ﺍﻻﻧﺬﺍﺭ ﺍﻵﻟﻰ ﻭﺍﻻﻃﻔﺎء ﺍﻵﻟﻰ ﻭﺍﻟﻴﺪﺭﻯ‬
‫ﻓﻴﻘﻞ ﺍﻟﻌﺪﺩ ﺍﻟﻜﻰ ﻟﻄﻮﺍﺑﻖ ﻯ‬
‫ﺍﻟﻤﺒﻦ‬
‫ﺍﻟﺒﻀﺎﻧﻊ ﻋﻠﻰ ﺍﻟﺴﻮﺍء ﻭﻳﺘﻢ ﺗﺸﻐﻴﻞ ﺍﻟﻤﺼﺎﻋﺪ ﺑﻨﻈﺎﻡ‬ ‫ﻟﻠﺤﺮﻳﻖ‬
‫ﺛﺎﻟﺜﺎ ﻧﻈﺎﻡ ﻫﻴﻜﻠﻰ ﻣﻦ ﺍﻟﻀﺮﺳﺎﻧﺔ ﻳﺸﻤﻞ ﻛﻤﺮﺍﺕ‬ ‫ﺍﻟﺘﺤﻜﻢ ﺍﻟﺮﺑﺎﻋﻰ ﺍﻵﻟﻰ‬
‫ﺳﺎﺑﻘﺔ ﺍﻻﺟﻬﺎﺩ ﻻﺣﻘﺔ ﺍﻟﺸﺪ ‪dessertserP tsoP‬‬ ‫ﺍﺳﺘﻐﻞ ﺳﻄﺢ ﺍﻟﻤﺒﻨﻰ ﻓﻰ ﺍﻳﻮﺍﻩ ﻛﺎﻓﺔ ﺍﻟﻀﺪﻣﺎﺕ‬
‫ﺍﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ﻭﺍﻟﻜﻬﺮﺑﻴﺔ ﻣﺜﻞ ﻣﻌﺪﺍﺕ ﺗﻜﻴﻴﻒ ﺍﻟﻬﻮﺍء‬
‫‪ 3‬ﻫﻢ ‪ denoisneT B‬ﻛﻤﺎ ﺃﻥ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻳﺰﻳﺪ ﺃﻳﻀﺎ‬
‫ﻣﻦ ﺍﻷﺻﻤﺎﻝ ﺍﻟﺜﺎﺑﺘﺔ ﻫﻴﺚ ﺍﻟﺤﺠﻢ ﺍﻟﻜﻠﻰ ﻷ ﻣﺎﻝ‬ ‫ﺍﻟﻨﻈﺎﻡ ﻧﻰ‬
‫ﺍﻹﻧﺸﺎ‬ ‫ﻭﻧﺠﺰﺍﻧﺎﺕ ﻭﻃﻠﻤﺒﺎﺕ ﺍﻟﻤﻴﺎﻩ ﻭﺗﺠﻬﻴﺰﺍﺕ ﺍﻣﺪﺍﺩ ﺍﻟﻤﺒﻨﻰ‬
‫ﺍﻟﻀﺮﺳﺎﻧﺔ ﻳﻜﻮق ﺃﻛﺒﺮ ﻣﻤﺎ ﻳﺆﺛﺮ ﻋﻠﻰ ﺯﻳﺎﺩﺓ ﺗﻜﻠﻔﺔ‬ ‫ﻭﻧﻈﺮﺍ ﻟﺘﻨﻮﻉ ﺍﻟﻤﺘﻄﻠﺒﺎﺕ ﺍﻟﻔﺮﺍﻏﻴﺔ ﻟﻜﻞ‬ ‫ﺑﺎﻟﻘﻮﻯ ﺍﻟﻜﻬﺮﺑﻴﺔ ﻭﺍﻟﻤﻮﻟﺪ ﺍﻻﺣﺘﻴﺎﻃﻰ ﻭﻛﺬﻟﻚ ﻏﺮﻓﺔ‬
‫ﺍ ﻷﺳﺎﺳﺎﺕ‬ ‫ﻣﺎﻛﻴﻨﺎﺕ ﺍﻟﻤﺼﺎﻋﺪ‬
‫ﺍﻻﺳﺘﺤﺪﺍﻣﺎﺕ ﺍﻟﺘﻰ ﻳﺤﺘﻮﻳﻬﺎ ﺍﻟﻤﺒﻤﻊ ﻓﻘﺪ ﻛﺎﻥ ﺍﺧﺘﻴﺎﺭ‬
‫ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻳﺘﻄﻠﺐ ﺻﺐ ﻛﻤﻴﺎﺕ ﻛﺒﻴﺮﺓ ﻣﻦ‬ ‫ﺍﻟﻤﻮﺩﻳﻮﻝ ﺍﻹﻧﺸﺎﻧﻰ ﻫﻮ ﺍﻟﻤﺸﻜﻠﺔ ﺍﻷﻭﻟﻰ ﺍﻟﺘﻰ ﻭﺍﺟﻬﺖ‬ ‫ﺗﺨﺪﻡ ﺍﻟﻤﺒﻨﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺃﺭﺑﻌﺔ ﻣﺼﺎﻋﺪ ﺗﺮﺑﻂ‬
‫ﺍﻟﻀﺮﺳﺎﻧﺔ ﺑﺎﻟﻤﻮﻗﻊ ﻭﻓﺪ ﺍﺳﺜﺒﻤﺪ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻟﻌﺪﻡ‬ ‫ﺍﻟﻤﺤﻤﻤﻢ ﻭﻟﺘﺤﻘﻴﻖ ﺍﻟﻬﺪﻑ ﺍﻷﺳﺎﺳﻰ ﻣﻦ ﺍﻟﻤﺸﺮﻭﻉ ﻓﻘﺪ‬ ‫ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ ﻭﺍﻻﺳﻜﺎﻥ ﺍﻹﺩﺍﺭﻯ ﺑﻄﻮﺍﺑﻖ ﺍﺗﺘﻈﺎﺭ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺍﻟﻨﻈﺎﺙ ﺍ ﻷﻧﺸﺎﺋﻰ‬
‫ﺍﻣﻜﺎﻧﻴﺔ ﻣﺮﻭﺭ ﺳﻴﺎﺭﺍﺕ ﻧﻘﻞ ﺍﻟﺨﺮﺳﺎﻧﺔ ﺑﻮﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ‬
‫ﻧﻬﺎﺭﺍ‬

‫ﺭﺍﺑﻌﺎ ﻧﻈﺎﻡ ﻫﻴﻜﻠﻰ ﻣﻦ ﺍﻟﺨﺮﺳﺎﻧﺔ ﻳﺸﻤﻞ ﻛﻤﺮﺍﺕ‬

‫ﺳﺎﺑﻘﺔ ﺍﻻﺟﻬﺎﺩ ﻭﺍﻟﺸﺪ ‪dessertserP erP‬‬
‫ﻟﻜﻤﺮﺍﻯ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﻟﺼﻤﻘﺪ ﺍﻟﻘﻮﺭ ﺍﻷﺭﺿﻰ‬ ‫‪ denoisneT miaeB‬ﺑﻴﻨﺖ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺃﻥ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ‬
‫ﻳﻔﻰ ﺑﺎﻟﺤﻞ ﺍﻷﻣﺜﻞ ﻛﻤﺎ ﻳﺤﻘﻖ ﺳﻤﻜﺎ ﻣﺤﺪﻭﺩﺍ ﻟﻤﻜﻮﻧﺎﺕ‬
‫ﺍ ﻷﺳﻘﻒ ﻣﻊ ﻣﺪﺓ ﻭﺟﻴﺰﺓ ﻟﺸﺎء‬
‫ﻭﻳﺘﻠﺨﺺ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﺨﺘﺎﺭ ﻓﻰ ﻭﺟﻮﺩ ﻛﻤﺮﺍﺕ‬
‫ﺛﺎﻧﻮﻳﺔ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﻭﺍﻹﺟﻬﺎﺩ ﺑﺒﺤﻮﺭ ﺗﺼﻞ ﺇﻟﻰ‬
‫ﺭ ‪ 61‬ﻡ ﻭﻋﻤﻖ ‪ 05‬ﺭ ﻡ ﻓﻔﻊ ﺗﺮﺗﻜﺰ ﻋﻠﻰ ﻛﻤﺮﺍﺕ ﻣﻦ‬
‫ﺭﻩ ﻡ ﻭﻫﺬﻩ‬ ‫ﺍﻟﺨﺮﺳﺎﻧﺔ ﺍﻟﻤﺴﻠﺤﺔ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﺑﺒﺤﻮﺭ‬
‫ﺑﺪﻭﺭﻫﺎ ﺗﺮﺗﻜﺰ ﻋﻠﻰ ﺃﻋﻤﺪﺓ ﻣﺼﺒﻮﺑﺔ ﻓﻰ ﺍﻟﻤﻮﻗﻊ ﻭﺑﻬﺬﺍ‬
‫ﺧﻔﻀﺖ ﻛﻤﻴﺎﺕ ﺍﻟﺨﺮﺳﺎﻧﺔ ﺍﻟﻤﺼﺒﻮﺑﺔ ﻓﻰ ﺍﻟﻤﻮﻗﻊ ﻷﺩﻭﺍﺭ‬
‫ﺍﻟﺠﺮﺍﺟﺎﺕ ﻭﺍﻟﻤﻜﺎﺗﺐ ﺇﻟﻰ ﺍﻟﺤﺪ ﺍﻷﺩﻧﻰ ﺑﻴﻨﻤﺎ ﺗﻢ ﺻﺐ‬
‫ﺍﻟﻜﻤﺮﺍﺕ ﺳﺎﺑﻔﺔ ﺍﻟﺼﺐ ﻭﺍﻻﺟﻬﺎﺩ ﻓﻰ ﻭﺭﺷﺔ ﺧﺎﺻﺔ‬
‫ﺍﻹﺳﻤﺎﻋﻴﻠﻴﺔ‬ ‫ﺃﻋﺪﺕ ﻟﻬﺬﺍ ﺍﻟﻐﺮﺽ ﻓﻰ ﻃﺮﻳﻖ ﺍﻟﻘﺎﻫﺮﺓ‬
‫‪ gnoL‬ﺍﻟﺘﻰ ﻳﺘﻢ ﻓﻴﻬﺎ ﺷﺪ‬
‫ﻭﺍﺳﺘﺨﺪﻣﺖ ﻃﺮﻳﻘﺔ ‪eniL‬‬
‫ﻛﺎﺑﻼﺕ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻜﻤﺮﺍﺕ ﻋﻠﻰ ﺍﺳﺘﻘﺎﻣﺔ ﻭﺍﺣﺪﺓ ﻗﺒﻞ‬
‫ﺻﺐ ﺧﺮﺳﺎﻧﺔ ﻫﺬﻩ ﺍﻟﻜﻤﺮﺍﺕ ﻭﺩﻣﻜﻬﺎ ﺑﺎﺳﺘﺨﺪﺍﻡ‬
‫ﺍﻟﻬﺰﺍﺯﺍﺕ ﺍﻟﻤﺜﺒﺘﺔ ﻋﻠﻰ ﺍﻟﻔﺮﻡ ﺓ‬
‫ﺍﻟﺤﺪﻳﺪﻱ‬
‫ﻭﻋﻨﺪ ﺍﺗﻤﺎﻡ ﺍﻟﺼﺐ ﻭﺍﻟﺪﻣﻚ ﺗﺘﻢ ﺍﻟﻤﻌﺎﻟﺠﺔ‬
‫ﺑﺎﺳﺘﺨﺪﺍﻡ ﺍﻟﺒﺨﺎﺭ ﻣﻤﺎ ﻳﻘﻠﻞ ﻣﻦ ﺍﻟﺰﻣﻦ ﺍﻟﻜﻠﻰ ﻟﻺﻧﺘﺎﺝ‬
‫ﻭﻳﺤﻘﻖ ﻭﺻﻮﻝ ﺍﻟﺨﺮﺳﺎﻧﺎﺕ ﺇﻟﻰ ﺍﻹﺟﻬﺎﺩ ﺍﻟﻌﺎﻟﻰ ﺍﻟﻤﻄﻠﻮﺏ‬
‫ﻟﻠﻔﻚ ﻓﻰ ﻣﺪﺓ ﺯﻣﻨﻴﺔ ﻭﺟﻴﺰﺓ ﻳﺘﻢ ﺑﻌﺪ ﺫﻟﻚ ﻗﻄﻊ ﺍﻟﻜﺎﺏ ﺕ‬
‫ﻭﻧﻔﻞ ﺍﻟﻜﻤﺮﺍﺕ ﻟﻠﺘﺸﻮﻳﻦ ﺍﻟﻤﺒﺪﺋﻰ ﻓﻰ ﻣﻜﺎﻥ ﺧﺎﺹ ﺣﻴﺚ‬
‫ﺗﺴﺘﻜﻤﻞ ﻋﻤﻠﻴﺔ ﺍﻟﻤﻌﺎﻟﺠﺔ ﺛﻢ ﻳﺘﻢ ﻧﻘﻠﻬﺎ ﺇﻟﻰ ﻣﻮﻗﻊ‬
‫ﺍﻟﻤﺸﺮﻭﻉ ﻟﻴﻼﻭﺗﺸﻮﻳﻨﻬﺎ ﻟﺘﺮﻓﻊ ﻭﺗﺮﻛﺐ ﻓﻰ ﺃﻣﺎﻛﻨﻬﺎ ﺑﻌﺪ‬
‫ﺗﺮﻛﻴﺐ ﺍﻟﻜﻤﺮﺍﺕ ﺍﻟﺤﺎﻣﻠﺔ ﻟﻬﺎ‬

‫ﺗﻢ ﺍﺳﺘﺨﺪﺍﻡ ﺩﻋﺎﻣﺎﺕ ﻣﺆﻗﺘﻪ ﻓﻰ ﻣﻨﺘﺼﻒ ﺑﺤﺮ‬

‫ﺍﻟﻜﻤﺮﺍﺕ ﺳﺎﺑﻔﺔ ﺍﻻﺟﻬﺎﺩ ﺇﻟﻰ ﺍﻥ ﻳﺘﻢ ﺻﺐ ﺍﻟﺒﻼﻃﺔ‬
‫ﺍﻟﺨﺮﺳﺎﻧﻴﺔ ﺍﻟﻤﺴﻠﺤﺔ ﺃﻋﻼﻫﺎ ﺣﻴﺚ ﻛﺎﻧﺖ ﺷﺪﺍﺕ ﻭﻓﺮﻡ‬
‫ﻫﺬﻩ ﺍﻟﺬﻋﺎﻣﺎﺕ ﺍﻟﻤﺆﻗﺘﻪ ﻋﻨﺪ ﺗﻤﺎﻡ ﺟﻔﺎﻑ ﺧﺮﺳﺎﻧﺔ‬
‫ﺍﻟﺒﻼﻃﺔ ﺍﻟﻤﺴﻠﺤﺔ ﻭﻭﺻﻮﻟﻬﺎ ﺇﻟﻰ ﺍﻟﻤﻘﺎﻭﻣﺔ ﺍﻟﻤﻄﻠﻮﺑﺔ ﺣﻴﺚ‬
‫ﺻﻤﻤﺖ ﻫﺬﻩ ﺍﻟﺐ ﻃﺔ ﻟﺘﻌﻤﻞ ﻛﻘﻄﺎﻉ ﻣﺮﻛﺐ ﻣﻊ ﺍﻟﻜﻤﺮﺍﺕ‬
‫ﺳﺎﺑﻘﺔ ﺍﻹﺟﻬﺎﺩ ﻓﻰ ﻣﺮﺣﻠﺔ ﺍﻟﺘﺤﻤﻴﻞ ﺍﻟﻨﻬﺎﺋﻴﺔ‬

‫ﻓﺮﺿﺖ ﻣﺸﻜﻠﺔ ﺍﺧﺘﻼﻑ ﺃﺣﻤﺎﻝ ﺍﻟﻤﺒﻨﻰ ﻧﻔﺴﻬﺎ‬

‫ﺑﺴﺒﺐ ﺗﺒﺎﻳﻦ ﺍ ﺳﺘﺨﺪﺍﻣﺎﺕ ﺑﻴﻦ ﻃﻮﺍﺑﻖ ﺍﻹﺳﻜﺎﻥ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﺍﻹﺩﺍﺭﻯ ﻭﺍﻟﺠﺮﺍﺟﺎﺕ ﻻﺳﻴﻤﺎ ﻭﺃﻥ ﺍﻟﺤﻞ ﺍﻟﻤﻘﺘﺮﺡ‬

‫ﺳﻘﻒ ﺍﻟﻤﻮﺭ ﺍﻟﻤﺘﻜﺮﺭ ﺃﻧﻨﺎء ﺍﻟﺘﻨﻔﻴﺬ‬
‫ﺃﺑﺤﺎﺙ ﺍﻟﺘﺮﺑﺔ ﻭﺍﻷﺳﺎﺳﺎﺕ‬
‫ﻻﺳﺘﻀﺪﺍﻡ ﺍﻟﺨﺮﺳﺎﻧﺔ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﻭﺍﻹﺟﻬﺎﺩ ﻳﺴﺘﻠﺰﻡ‬
‫ﺗﻔﻠﻴﻞ ﺍﻷﻧﻤﺎﻁ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﻜﻤﺮﺍﺕ ﺇﻟﻰ ﺍﻟﺤﺪ ﺍﻻﺩﻧﻰ ﻭﻟﺬﻟﻚ‬
‫ﺗﻘﺮﺭ ﺍﺳﺘﺨﺪﺍﻡ ﻓﻄﺎﻉ ﻭﺍﺣﺪ ﻟﻠﻜﻤﺮﺍﺕ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ‬
‫ﻭﺍﻹﺟﻬﺎﺩ ﻭﺗﺤﻘﻴﻖ ﺍﻟﻘﻴﻢ ﺍﻟﻤﺨﻔﻠﻔﺔ ﻟﻤﺎﻝ ﺍﻟﻮﺍﻗﻌﺔ ﻋﻠﻴﻬﺎ‬
‫ﺑﻮﺍﺳﻄﺔ ﺗﻐﻴﻴﺮ ﺍﻟﻤﺴﺎﻓﺎﺕ ﺑﻴﻨﻬﺎ ﻋﻨﺪ ﻭﺿﻌﻬﺎ ﻓﻰ ﺃﻣﺎﻛﻨﻬﺎ‬
‫ﻓﻰ ﺍﻷﺳﻘﻒ ﺍﻟﻤﺨﺘﻠﻔﺔ‬
‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻄﻮﺍﺑﻖ ﺍﻟﺴﻔﻠﻴﺔ ﻭﺍﻟﻤﺴﺘﻐﻠﺔ ﻛﻤﺤﻼﺕ‬
‫ﺗﺠﺎﺭﻳﺔ ﻓﻘﺪ ﻭﺟﺪ ﺃﻥ ﺍﻟﺤﻞ ﺍﻷﻣﺜﻞ ﻳﺘﺤﻘﻖ ﺑﺎﺧﺘﻴﺎﺭ‬
‫ﺭﻩ ﻡ ﻭﺫﻟﻚ‬ ‫ﻣﺤﺎﻭﺭ ﺍﻷﻋﻤﺪﺓ ﻋﻠﻰ ﻣﺴﺎﻓﺎﺕ ﺭ‪ 8‬ﻡ‬
‫ﺑﺈﺿﺎﻓﺔ ﺻﻒ ﻣﻦ ﺍﻷﻋﻤﺪﺓ ﻳﻘﺴﻢ ﺍﻟﺒﺤﺮ ﺍﻷﺻﻠﻰ ﺇﻟﻰ‬
‫‪8‬ﺭ ﺃﻣﻨﺎﺭ‬ ‫ﺑﺤﺮﻳﻦ ﻃﻮﻝ ﻛﻞ ﻣﻨﻬﻤﺎ‬
‫ﻭﺗﻢ ﺍﺳﺘﺨﺪﺍﻡ ﻛﻤﺮﺍﺕ ﻣﻦ ﺍﻟﺨﺮﺳﺎﻧﺔ ﺍﻟﻤﺴﻠﺤﺔ‬
‫ﻳﺆﺩﻯ ﺇﻟﻰ ﺍﻣﻜﺎﻧﻴﺔ ﺍﻧﺘﺎﺟﻬﺎ ﺑﺸﻜﻞ ﻧﻌﻄﻰ ﺑﺄﻋﺪﺍﺩ ﻛﺒﻴﺮﺓ‬ ‫ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﺗﺮﺗﻜﺰ ﺃﻋﻼﻫﺎ ﺑﻼﻃﺔ ﻣﺮﻛﺒﺔ ﻣﻦ ﺟﺰء‬

‫ﺗﻢ ﻋﻤﻞ ﺃﺭﺑﻌﺔ ﻋﺸﺮﺓ ﺟﺴﺔ ﺗﺨﺘﻠﻒ ﻓﻰ ﺍﻟﻌﻤﻖ ﺑﻴﻦ‬ ‫ﻭﺑﺴﺮﻋﺔ ﻋﺎﻟﻴﺔ ﻭﺗﻜﻔﺔ ﺍﻗﺘﺼﺎﺩﻳﺔ‬ ‫ﺳﻔﻠﻰ ﺳﺎﺑﻖ ﺍﻟﺼﺐ ﻭﺁﺧﺮ ﻋﻠﻮﻯ ﻳﺘﻢ ﺻﺒﻪ ﺑﺎﻟﻤﻮﻗﻊ ﻭﻳﺘﻢ‬
‫ﺧﻤﺴﺔ ﻭﻋﺸﺮﻳﻦ ﻭﺧﻤﺴﺔ ﻭﺛﻼﺛﻴﻦ ﻣﺘﺮﺍ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ‬ ‫ﺭﺑﻂ ﺍﻟﺠﺰﺋﻴﻦ ﻣﻌﺎ ﺑﺘﺴﻠﻴﺢ ﺧﺎﺹ ﻟﻀﻤﺎﻥ ﺗﺸﻐﻴﻞ‬
‫‪ 2‬ﻳﺘﻢ ﺍﻟﺘﺮﻛﻴﺐ ﺑﻮﺍﺳﻄﺔ ﺍﻷﻭﻧﺎﺵ ﺍﻟﺒﺮﺟﻴﺔ ﻭﺍﻟﺘﻲ‬
‫ﺍﻟﺒﻼﻃﺔ ﺑﻜﺎﻣﻞ ﺍﻟﻌﻌﻖ‬
‫ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﺍﻟﺠﻴﻮﺗﻘﻨﻴﺔ ﺍﻝ ﺯﻣﺔ ﻟﺘﺼﻤﻴﻢ ﺍ ﻻﺳﺎﺳﺎﺕ‬ ‫ﺗﻮﺟﺪ ﻓﻰ ﺃﻣﺎﻛﻦ ﺍﻧﺸﺎء ﺍﻟﻤﺸﺮﻭﻉ ﻭﻻﻳﺤﺘﺎﺝ ﺍﻷﻣﺮ ﺇﻟﻰ‬
‫ﻭﺑﺘﺤﻠﻴﻞ ﺍﻟﻌﻴﻨﺎﺕ ﺍﻛﺨﻮﺫﺓ ﻣﻦ ﻫﺬﻩ ﺍﻟﺠﺴﺎﺕ ﺗﺒﻴﻦ ﻭﺟﻮﺩ‬ ‫ﺭﻭﻋﻰ ﻋﻨﺪ ﺍﺧﺘﻴﺎﺭ ﺍﻟﻨﻈﺎﻡ ﺍ ﻧﺸﺎﻧﻰ ﺍﻟﺘﻨﺴﻴﻖ ﻣﻊ‬
‫ﻣﻌﺪﺍﺕ ﺇﺿﺎﻓﻴﺔ ﺗﺰﻳﺪ ﻣﻦ ﺗﻜﻠﻔﺔ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﻃﺒﻘﺔ ﻣﻦ ﺍﻟﺮﺩﻡ ﺗﺼﻞ ﺇﻯ ﻋﻤﻖ ﻳﺘﺮﺍﻭﺡ ﺑﻴﻦ ﺧﻤﺴﻪ ﺃﻣﺘﺎﺭ‬ ‫ﺍﻟﺘﺨﺼﺼﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﺍﻷﺧﺮﻱ ﻻﺳﻴﻤﺎ ﺍﻟﻤﻌﻌﺎﺭﻯ ﻓﺘﻌﺖ‬
‫ﺗﺨﺘﺼﺮ ﻣﺪﺓ ﺍﻟﺘﻨﻔﻴﺪ ﺣﻴﺚ ﺃﻥ ﺍﻷﻋﻤﺎﻝ‬ ‫‪3‬‬
‫ﻭﺧﻤﺴﺔ ﻋﺸﺮﺓ ﻣﺘﺮﺍ ﺗﺘﻠﻮﻫﺎ ﻃﺒﻘﺔ ﻣﻦ ﺍﻟﻄﻴﻦ ﺷﺪﻳﺪ‬ ‫ﺩﺭﺍﺳﺎﺕ ﻣﺸﺘﺮﻛﺔ ﻟﻠﻨﻘﺎﻁ ﺍﻟﻨﺎﻟﻴﺔ‬
‫ﺍﻟﺘﻤﺎﺳﻚ ﺑﺴﻤﻚ ﻳﺘﺮﺍﻭﺡ ﺑﻴﻦ ﻣﺘﺮ ﻭﺃﺭﺑﻌﺔ ﺃﻣﺘﺎﺭ ﻭﺗﺘﻠﻮﻫﺎ‬ ‫ﺍﻹﻧﺸﺎﻧﻴﺔ ﺑﺎﻟﻤﻮﻗﻊ ﺗﺘﻠﺨﺺ ﻓﻰ ﺇﻧﺸﺎء ﺍﻷﺳﺎﺳﺎﺕ‬
‫ﻃﺒﻘﺔ ﺃﺧﺮﻯ ﺑﺴﻤﻚ ﻳﺘﺮﺍﻭﺡ ﺑﻴﻦ ﻣﺘﺮﻳﻦ ﻭﺳﺘﺔ ﺃﻣﺘﺎﺭ ﻣﻦ‬ ‫ﻭﺍﻷﻋﻤﺪﺓ ﻭﺍﻟﻮﺻﻼﺕ ﺑﻴﻦ ﺍﻷﺟﺰﺍءﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ‬ ‫‪ 1‬ﻋﻼﻓﺔ ﺍﻻﻋﻤﺪﺓ ﻭﺍﻟﺤﻮﺍﻧﻂ ﺍﻟﻤﺴﻠﺤﺔ ﺍﻟﺤﺎﻣﻠﺔ‬
‫ﺍﻟﺮﻣﻞ ﺍﻟﻨﺎﻋﻢ ﺛﻢ ﻃﺒﻘﺔ ﻣﻦ ﺍﻟﺮﻣﻞ ﺍﻟﻨﺎﻋﻢ ﺇﻟﻰ ﺍﻟﻤﺘﻮﺳﻂ‬ ‫ﺗﻘﻞ ﻛﻤﻴﺎﺕ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻟﻠﻤﺸﺮﻭﻋﺎﺕ‬ ‫‪4‬‬ ‫ﻟﻼﻭﺯﺍﻥ ﺍﻟﺮﺃﺳﻴﺔ ﺑﺎ ﻟﻨﻈﻢ ﺍﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ﻭﺍ ﻟﻜﻬﺮﺑﺎﻧﻴﺔ‬
‫ﺑﺴﻤﻚ ﻳﺘﺮﺍﻭﺡ ﺑﻴﻦ ﺛﻼﺛﺔ ﻭﺍﺛﻨﻰ ﻋﺸﺮ ﻣﺘﺮﺍ ﻭﺗﻔﻠﻮﻫﺎ ﺇﻟﻰ‬ ‫ﺍﻟﻤﻌﻴﻜﻨﺔ ﻋﻦ ﺗﻠﻚ ﺍﻟﺘﻰ ﺗﻨﻔﺬ ﺑﺎﻟﻄﺮق ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﺇﺫ ﻳﺘﻢ‬ ‫ﻭﺍﺳﺘﻐﻼﻝ ﺍﻟﺤﻮﺍﻧﻂ ﺍﻟﻤﺴﻠﺤﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻤﺼﺎﻋﺪ‬
‫ﻧﻬﺎﻳﺔ ﻋﻤﻖ ﺍﻟﺠﺴﺎﺕ ﻃﺒﻘﺔ ﻣﻦ ﺍﻟﺮﻣﻞ ﺍﻟﻤﺘﺪﺭﺝ ﺍﻟﻤﺘﻮﺳﻂ‬ ‫ﺍﻻﺳﺘﻐﻨﺎ ﻋﻦ ﻛﻤﻴﺎﺕ ﻛﺒﻴﺮﺓ ﻣﻦ ﺍﻟﺸﺪﺍﺕ ﻭﺍﻟﻌﺒﻮﺍﺕ ﻛﻤﺎ‬ ‫ﻭﺍﻟﺴﻼﻟﻢ ﻛﻌﻨﺎﺻﺮ ﺇﻧﺸﺎﺋﻴﺔ ﻓﻌﺎﻟﺔ ﺗﺘﺤﻤﻞ ﺍﻷﺣﻤﺎﻝ‬
‫ﺇﻟﻰ ﺍﻟﺨﺸﻦ ﻭﺗﺪ ﻇﻬﺮﺕ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺠﻮﻓﻴﺔ ﻋﻠﻰ ﻋﻤﻖ ﻳﺘﺮﺍﻭﺡ‬ ‫ﺗﻘﻞ ﻛﻤﻴﺔ ﺍﻟﺨﺮﺳﺎﻧﺔ ﻭﺣﺪﻳﺪ ﺍﻟﺘﺴﻠﻴﺢ ﻣﻤﺎ ﻳﺆﺩﻯ ﺇﻟﻰ ﻗﻠﺔ‬ ‫ﺍﻟﺮﺃﺳﻴﺔ ﻭﺗﻌﻄﻰ ﺍﻟﻤﺒﻨﻰ ﺍﻟﻤﻘﺎﻭﻣﺔ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻟﻤﺎﻝ‬
‫ﺑﻴﻦ ﻣﺘﺮﻳﻦ ﻭﺛﻼﺛﺔ ﺃﻣﺘﺎﺭ ﻣﻊ ﺯﻳﺎﺩﺓ ﻣﺤﺘﻮﻯ ﺍﻟﻜﻠﻮﺭﻳﺪﺍﺕ‬ ‫ﻭﺯﻥ ﺍﻟﻤﺒﻨﻰ ﻭﺑﺎﻟﺘﺎﻟﻰ ﺍﻻﻗﺘﺼﺎﺩ ﻓﻰ ﺍﻷﺳﺎﺳﺎﺕ ﺍﻟﺤﺎﻣﻠﺔ‬ ‫ﺍﻷﻓﻘﻴﺔ ﻣﺜﻞ ﻣﻘﺎﻭﻣﺔ ﺿﻔﻌﻞ ﺍﻟﺮﻳﺎﺡ‬
‫ﻭﺍﻟﻜﺒﺮﻳﺘﺎﺕ‬
‫ﻟﻠﻤﺒﻨﻰ ﺍﻟﻔﻮﻗﻰ‬
‫ﻭﻗﺪ ﺗﻢ ﺍﺧﺘﻴﺎﺭ ﺃﺳﻠﻮﺏ ﺍﻷﺳﺎﺳﺎﺕ ﺍﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬ ‫ﻋﻼﻗﺔ ﺍﻟﺤﻮﺍﻧﻂ ﺍﻟﻤﺴﻠﺤﺔ ﺍﻟﻤﻘﺎﻭﻣﺔ ﻟﻤﺎﻝ‬ ‫‪2‬‬
‫ﺇﻧﺘﺎﺝ ﺍﻟﻮﺣﺪﺍﺕ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﺑﺄﻋﺪﺍﺩ ﻛﺒﻴﺮﺓ‬ ‫‪5‬‬
‫ﺣﻴﺚ ﺍﺳﺘﺨﺪﻣﺖ ﺍﻟﺨﻮﺍﺯﻳﻖ ﺍﻟﺨﺮﺳﺎﻧﻴﺔ ﺍﻟﻤﺴﻠﺤﺔ‬ ‫ﺍﻟﺮﺃﺳﻴﺔ ﻭﺍﻷﻓﻘﻴﺔ ﺑﺎﻟﻤﺘﻄﻠﺒﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻴﻤﺎ ﻳﺨﺺ‬
‫ﻳﺘﻄﻠﺐ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻤﻴﻜﻨﺔ ﺑﺪﻻ ﻣﻦ ﺍﻟﻌﻤﺎﻟﺔ ﺍﻟﻴﺪﻭﻳﺔ‬
‫ﺍﻟﻤﺼﺒﻮﺑﺔ ﻓﻰ ﻣﻜﺎﻧﻬﺎ ﺑﻌﺪ ﺍﻟﺘﻔﺮﻳﻎ ﺑﺎﻃﻮﺍﻝ ﺣﻮﺍﻟﻰ‬ ‫ﺍﻟﻌﻼﻗﺎﺕ ﺑﻴﻦ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻤﺴﺎﺣﺎﺕ‬
‫ﻟﻠﺤﺤﻤﻮﻝ ﻋﻠﻰ ﻭﺣﺪﺍﺕ ﻣﺘﻤﺎﻟﻠﺔ ﻭﻣﻨﺘﻈﻤﺔ ﺍﻟﺸﻜﻞ ﺗﻨﺘﺞ‬
‫ﺭ ‪ 2‬ﻣﺘﺮﺍ ﻟﻠﺨﺎﺯﻭق ﻭﺫﻟﻚ ﻟﺘﻨﺎﺳﺐ ﺍﻷﺣﻤﺎﻝ ﺍﻟﻌﺎﻟﻴﺔ‬
‫ﺍﻟﻨﺎﺗﺠﺔ ﻋﻦ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻮﺍﺳﻌﺔ ﺑﻴﻦ ﺍﻷﻋﻤﺪﺓ ﻭﺣﻴﺚ ﺃﻥ‬ ‫ﺗﺤﺖ ﻇﺮﻭﻑ ﺗﺤﻜﻢ ﻛﺎﻣﻞ ﻭﻣﺮﺍﻗﺒﺔ ﻟﻠﺠﻮﺩﺓ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ‬ ‫ﺍﺧﺘﻴﺎﺭ ﺍﻷﻣﺎﻛﻦ ﺍﻟﻤﺜﻠﻰ ﻟﻠﻔﻮﺍﺻﻞ ﻓﻰ ﺍﻟﻤﺒﻨﻰ‬ ‫‪3‬‬
‫ﻃﺒﻘﺎﺕ ﺍﻟﺮﺩﻡ ﺗﺼﻞ ﺇﻟﻰ ﺣﻮﺍﻟﻰ ﺧﻤﺴﺔ ﻋﺸﺮ ﻣﺘﺮﺍ‬ ‫ﺇﻣﻜﺎﻧﻴﺔ ﺻﺐ ﻫﺬﻩ ﺍﻟﻮﺣﺪﺍﺕ ﻓﻰ ﺍﻟﻮﺿﻊ ﺍﻷﻣﺜﻞ ﻓﻰ‬ ‫ﺍﺧﺘﻴﺎﺭﻃﺮﻳﻔﺔ ﺍﻻﻧﺸﺎءﻭﺗﺤﺪﻳﺪ ﺗﺎ ﻳﺮﻫﺎ ﻋﻠﻰ‬ ‫‪4‬‬
‫ﻟﻠﺨﺎﺯﻭق ﻭﺫﻟﻚ ﻟﺘﻨﺎﺳﺐ ﺍﻷﺣﻤﺎﻝ ﺍﻟﻌﺎﻟﻴﺔ ﺍﻟﻨﺎﺗﺠﺔ ﻋﻦ‬ ‫ﺍﻟﻔﺮﻡ ﺍﻟﺤﺪﻳﺪﻳﺔ ﻭﻳﻨﺘﺞ ﻋﻦ ﺫﻟﻚ ﺗﻘﻠﻴﻞ ﺍﻟﺘﻜﻠﻔﺔ ﻭﺗﺤﻘﻴﻖ‬ ‫ﻣﺪﺓ ﺍﻟﺘﻨﻔﻴﺬ‬
‫ﺍﻟﺒﺤﻮﺭ ﺍﻟﻮﺍﺳﻌﺔ ﺑﻴﻦ ﺍﻷﻋﻤﺪﺓ ﻭﺣﻴﺚ ﺃﻥ ﻃﺒﻘﺎﺕ ﺍﻟﺮﺩﻡ‬ ‫ﻇﺮﻭﻑ ﻋﻤﻞ ﺃﻓﻀﻞ ﻟﺸﺎء‬
‫ﺗﺼﻞ ﺇﻟﻰ ﺧﻤﺴﺔ ﻋﺸﺮ ﻣﺘﺮﺍ ﻭﺍﻟﻤﻴﺎﻩ ﺍﻟﺠﻮﻓﻴﺔ ﺗﻮﺟﺪ ﻋﻠﻰ‬ ‫‪ 5‬ﺻﻮﺍﻧﻂ ﻭﺍﺟﻬﺎﺕ ﺍﻟﻤﺒﻨﻰ ﻭﺍﻟﺘﻰ ﺗﻢ ﺍﻧﺸﺎﻭﻫﺎ‬
‫ﻭﻓﻰ ﻣﻘﺎﺑﻞ ﺍﻟﻤﺰﺍﻳﺎ ﺍﻟﺴﺎﺑﻖ ﺫﻛﺮﻫﺎ ﻻﺳﺘﺨﺪﺍﻡ‬
‫ﻋﻤﻖ ﺣﻮﺍﻟﻰ ﻣﺘﺮﻳﻦ ﻛﻤﺎ ﺗﻮﺟﺪ ﺣﻮﻝ ﺍﻟﻤﻮﻗﻊ ﻋﺪﺓ ﻣﺒﺎﻧﻰ‬ ‫ﺃﻳﻀﺎ ﻣﻦ ﺍﻟﻤﺮﺳﺎﻧﺔ ﺳﺎﺑﻘﺔ ﺍﻟﺘﻤﻬﻴﺰ‬
‫ﺍﻟﺨﺮﺳﺎﻧﺔ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﻇﻬﺮﺕ ﻣﺸﻜﻠﺔ ﻧﻘﻞ ﺍﻟﻜﻤﺮﺍﺕ‬
‫ﻗﺪﻳﻤﺔ ﻓﻔﺪ ﺗﻢ ﺍﺳﺘﺨﺪﺍﻡ ﺃﺳﻠﻮﺏ ﺍﻟﺤﻘﻦ ﺑﺎﻟﻤﻮﻧﺔ‬ ‫ﺭ ‪ 61‬ﻣﺘﺮ ﻣﻦ ﺍﻟﻤﺼﻨﻊ ﺇﻟﻰ‬ ‫ﺳﺎﺑﻔﺔ ﺍﻻﺟﻬﺎﺩ ﺑﻄﻮﻝ‬ ‫ﻭﻗﺪ ﺑﻴﻨﺖ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺃﻥ ﻣﺰﺍﻳﺎ ﺍﺳﺘﺨﺪﺍﻡ‬
‫ﺍﻷﺳﻤﻨﺘﻴﺔ ﺣﻮﻝ ﻭﺗﺤﺖ ﺍﻟﺨﻮﺍﺯﻳﻖ ﻟﻤﻞء ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻰ ﻗﺪ‬ ‫ﺍﻟﻀﺮﺳﺎﻧﺔ ﺳﺎﺑﻘﺔ ﺍﻟﺼﺐ ﻓﻰ ﺃﺟﺰﺍء ﻣﺒﻨﻰ ﺳﺎﺑﻖ‬
‫ﺍﻟﻤﻮﻗﻊ ﻓﻰ ﻭﺳﻂ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﺰﺩﺣﻢ ﻭﻛﺬﻟﻚ ﻣﺸﻜﻠﺔ ﺭﺑﻂ‬
‫ﺗﻨﺸﺄ ﺑﺎﻟﺘﺮﺑﺔ ﻣﻊ ﺍﺳﺘﺨﺪﺍﻡ ﺃﺳﻤﻨﺖ ﻣﻘﺎﻭﻡ ﻟﻠﻜﺒﺮﻳﺘﺎﺕ‬ ‫ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﺘﻜﻮﻥ ﺍﻟﻬﻴﻜﻞ ﺍﻟﻨﻬﺎﺋﻰ ﻟﻠﻤﺒﻨﻰ ﻭﺃﻳﻀﺎ‬ ‫ﺍﻟﺘﻤﻬﻴﺰ ﺗﻈﻬﺮ ﺑﺼﻮﺭﺓ ﺃﻭﺿﺢ ﻓﻰ ﺍﻟﻤﺒﺎﻧﻰ ﺍﻟﻌﺎﻟﻴﺔ ﻋﻨﻬﺎ‬
‫ﻓﻰ ﺟﻤﻴﻊ ﺃﻋﻤﺎﻝ ﺧﺮﺳﺎﻧﺎﺕ ﺍﻷﺳﺎﺳﺎﺕ ﻟﻤﻨﻊ ﺗﺎ ﻳﺮ‬ ‫ﻓﻰ ﺍﻟﻤﺒﺎﻧﻰ ﻣﺤﺪﻭﺩﺓ ﺍﻻﺭﺗﻔﺎﻉ ﻟﻼﺳﺒﺎﺏ ﺍﻻﺗﻴﺔ‬
‫ﺍﻟﻤﺸﺎﻛﻞ ﺍﻟﻔﻨﻴﺔ ﻟﻌﻤﻠﻴﺎﺕ ﺍﻟﺼﺐ ﻭﺍﻟﻤﻌﺎﻟﺠﺔ ﻭﺩﻭﺭﺓ ﺍﻹﻧﺘﺎﺝ‬
‫ﻣﺤﺘﻮﻯ ﺍﻟﺘﺮﺑﺔ ﻣﻦ ﺍﻟﻜﺒﺮﻳﺘﺎﺕ‬
‫ﻟﺘﺤﻤﻞ ﺇﻟﻰ ﺍﻟﺤﺪ ﺍﻷﻣﺜﻞ‬ ‫ﺗﻜﺮﺍﺭ ﺍﻷﺟﺰﺍء ﺍﻟﻤﺘﻤﺎﺛﻠﺔ ﻓﻰ ﺟﻤﻴﻊ ﺍﻷﺩﻭﺍﺭ‬ ‫‪1‬‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﺃﺣﻤﺪ ﺻﻼﺡ ﺍﻟﺪﻳﻦ ﻋﻄﻴﺔ‬ ‫ﻛﺘﻮﺭ‬

‫ﻗﺴﻢ ﺍﻟﻬﻨﺪﺳﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﺃﺳﺘﺎﺫ ﻣﺴﺎﻋﺪ‬
‫ﺟﺎﻣﻌﺔ ﺍﻹﺳﻜﻨﺪﺭﻳﺔ‬ ‫ﻛﻠﻴﺔ ﺍﻟﻬﻨﺪﺳﺔ‬

‫ﺗﻌﺎﻧﻰ ﺍﻟﻬﻨﺪ ﺷﺄﻧﻬﺎ ﺷﺄﻥ ﺟﻤﻴﻊ ﺍﻟﺪﻭﻝ ﺍﻟﻨﺎﻣﻴﺔ ﻣﻦ ﻣﺸﻜﻠﺔ ﺍﻹﺳﻜﺎﻥ ﺣﻴﺚ ﻳﻌﻴﺶ‬
‫ﻣﺎ ﻳﻘﺮﺏ ﺇﻟﻰ ﺍﻟﻨﺼﻒ ﻣﻦ ﺳﻜﺎﻥ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ ﻓﻰ ﺃﻏﻠﺐ ﺍﻟﻤﺪﻥ ﻓﻰ ﻣﺄﻭﻯ ﺫﺍﺗﻰ‬
‫ﻣﺆﻗﺖ ﻣﺘﻨﻘﻞ ﻣﻦ ﻣﻜﺎﻥ ﻵﺧﺮ ﺃﻭ ﻣﻨﺎﻃﻖ ﺇﺳﻜﺎﻥ ﻋﺸﻮﺍﺋﻴﺔ ﻣﺘﺪﻫﻮﺭﺓ ﻭﻏﺎﻟﺒﻴﺔ ﺳﻜﺎﻥ‬
‫ﻫﺬﻩ ﺍﻟﻤﻨﺎﻃﻖ ﻟﻴﺲ ﻟﺪﻳﻬﻢ ﺍﻻﻣﻜﺎﻧﻴﺎﺕ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺃﺭﺧﺺ ﻣﺴﻜﻦ ﻣﺘﻮﻓﺮ ﺑﺎﻟﺴﻮق‬
‫ﻟﻺﺳﻜﺎﻥ‬

‫ﺃﻣﺎ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺮﻳﻔﻴﺔ ﻭﺍﻟﺘﻰ ﺗﻤﺜﻞ ﺗﻘﺮﻳﺒﺎ ﺛﻼﺛﺔ ﺃﺭﺑﺎﻉ ﻣﺴﺎﺣﺔ ﺍﻟﻬﻨﺪ ﻓﻬﻰ ﺃﺳﻮﺃ‬
‫ﺣﺎﻻ ﻓﺤﻮﺍﻟﻰ ‪ 57‬ﻣﻦ ﺍﻟﻤﺴﺎﻛﻦ ﺑﻨﻴﺖ ﻛﺒﻴﻮﺕ ﻏﻴﺮ ﺩﺍﺋﻤﺔ ﻓﻐﺎﻟﺒﻴﺘﻬﺎ ﻣﺒﻨﻴﺔ ﻛﻤﺄﻭﻯ‬
‫ﺑﺪﺍﺋﻰ ﻣﻦ ﻣﻮﺍﺩ ﺃﻭﻟﻴﺔ ﺃﻭ ﺃﻛﻮﺍﺥ ﻃﻴﻨﻴﺔ ﻣﻌﺎﻟﺠﺔ ﺑﻄﺮﻳﻘﺔ ﻓﻘﻴﺮﺓ‬
‫ﻭﺗﻮﺍﺟﻪ ﺑﺮﺍﻣﺞ ﺍﻟﺤﻜﻮﻣﺔ ﻓﻰ ﻣﺠﺎﻝ ﺍﻹﺳﻜﺎﻥ ﻧﻘﺺ ﺍﻟﺘﻤﻮﻳﻞ ﺍﻟﻜﺎﻓﻰ ﻣﻊ ﻧﻤﻮ‬
‫ﺍﻻﺣﺘﻴﺎﺝ ﺇﻟﻰ ﺍﻟﻤﺄﻭﻯ ﻧﺘﻴﺠﺔ ﻟﻠﺰﻳﺎﺩﺓ ﺍﻟﻜﺒﻴﺮﺓ ﻟﻠﺴﻜﺎﻥ ﺣﻴﺚ ﺑﻠﻎ ﻋﺪﺩ ﺍﻟﺴﻜﺎﻥ ﺣﻮﺍﻟﻰ‬
‫‪ 000828618‬ﻧﺴﻤﺔ ﻓﻰ ﻋﺎﻡ ‪ 8891‬ﻭﺳﻴﺼﻞ ﻋﺪﺩ ﺍﻟﺴﻜﺎﻥ ﺣﻮﺍﻟﻰ ‪0004517301‬‬
‫ﻧﺴﻤﺔ ﻓﻰ ﻋﺎﻡ ‪ 0002‬ﻣﻌﺪﻝ ﻧﻤﻮ ﺍﻟﺴﻜﺎﻥ ‪2 10‬‬
‫ﻋﻼﻭﺓ ﻋﻠﻰ ﺫﻟﻚ ﻓﺈﻥ ﺃﻏﻠﺐ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺤﻜﻮﻣﻴﺔ ﺗﺒﻨﻰ ﻣﻦ ﺍﻟﺨﺮﺳﺎﻧﺔ ﻭﺍﻟﻄﻮﺏ‬
‫ﺍﻷﺳﻤﻨﺘﻰ ﻭﺍﻟﺘﻰ ﺗﻌﺘﻤﺪ ﺃﺳﺎﺳﺎ ﻋﻠﻰ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﺤﺪﻳﺜﺔ ﺍﻟﺘﻰ ﺗﺮﻓﻊ ﺑﺪﻭﺭﻫﺎ ﻣﻦ‬
‫ﺗﻜﺎﻟﻴﻒ ﺍﻟﺒﻨﺎء ﻛﻤﺎ ﺗﺘﻄﻠﺐ ﺍﺳﺘﻬﻼﻛﺎ ﻛﺒﻴﺮﺍ ﻟﻠﻄﺎﻗﺔ‬
‫ﻭﻳﻘﺪﺭ ﺣﺠﻢ ﺍﻟﻨﻘﺺ ﻓﻰ ﺍﻹﺳﻜﺎﻥ ﺑﺎﻟﻬﻨﺪ ﺑﺄﻛﺜﺮ ﻣﻦ ﺣﻮﺍﻟﻰ ‪ 04‬ﻣﻠﻴﻮﻥ ﻭﺣﺪﺓ ﺳﻜﻨﻴﺔ‬
‫ﻭﺫﻟﻚ ﺑﻨﻬﺎﻳﺔ ﻫﺬﺍ ﺍﻟﻘﺮﻥ ﻣﻨﻬﺎ ﺣﻮﺍﻟﻰ ‪ 03‬ﻣﻠﻴﻮﻥ ﻭﺣﺪﺓ ﺳﻜﻨﻴﺔ ﻓﻰ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺮﻳﻔﻴﺔ‬
‫ﻭﺣﻮﺍﻟﻰ ‪ 01‬ﻣﻠﻴﻮﻥ ﻭﺣﺪﺓ ﺳﻜﻨﻴﺔ ﻓﻰ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺤﻀﺮﻳﺔ‬
‫ﺃﻛﻮﺍﺥ ﻣﻦ ﺍﻟﻄﻴﻦ ﻭﺍﻟﺴﻘﻒ ﻣﻦ ﺍﻟﻨﺒﺎﺗﺎﺕ ﺍﻟﺠﺎﻓﺔ‬
‫ﻋﻤﺎﺭﺓ ﺍﻟﻄﻴﻦ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻓﻰ ﺍﻟﻬﻨﺪ‬
‫‪ 04‬ﻣﻦ‬ ‫‪ 09‬ﻣﻦ ﺳﻜﺎﻥ ﺍﻟﺮﻳﻒ ﻭﺣﻮﺍﻟﻰ ‪03‬‬ ‫ﻳﻌﻴﺶ ﻓﻰ ﺍﻟﻬﻨﺪ ﺣﻮﺍﻟﻰ ‪08‬‬
‫ﺳﻜﺎﻥ ﺍﻟﺤﻀﺮ ﻓﻰ ﻣﺴﺎﻛﻦ ﻣﺒﻨﻴﺔ ﻣﻦ ﺍﻟﻄﻴﻦ ﺑﺴﺒﺐ ﻣﻼءﻣﺘﻬﺎ ﻟﻠﺒﻴﺌﺔ ﺍﻟﻤﺤﻠﻴﺔ ﻭﺍﻟﻤﻨﺎﺥ‬
‫ﻭﻃﺮﻳﻘﺔ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻟﻨﻈﺎﻡ ﺍﻻﺟﺘﻤﺎﻋﻰ ﺑﺎﻟﺒﻼﺩ ﻭﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ ﻓﺤﻮﺍﻟﻰ ‪ 56‬ﻣﻠﻴﻮﻥ‬
‫ﻣﺴﻜﻨﺎ ﻣﺒﻨﻴﺔ ﻣﻦ ﺍﻟﻄﻴﻦ ﻣﻦ ﺇﺟﻤﺎﻟﻰ ‪ 811‬ﻣﻠﻴﻮﻥ ﻣﺴﻜﻦ ﺑﺎﻟﻬﻨﺪ‬

‫ﻣﺴﻜﻦ ﻣﻦ ﺍﻟﻄﻴﻦ ﻭﺍﻟﺴﻘﻒ ﻣﻐﻄﻰ ﺑﺒﻼﻃﺎﺕ ﻣﻦ ﺻﺨﺮ ﺃﺣﻤﺮ ﻣﺴﺎﻣﻰ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻄﻮﺏ ﺍﻟﻄﻴﻨﻰ ﺍﻟﻤﺨﻠﻮﻁ ﺑﺎﻷﺳﻤﻨﺖ ﻓﻰ‬ ‫ﻣﺴﺎﻛﻦ ﺭﻳﻔﻴﺔ ﻣﺒﻨﻴﺔ ﻣﻦ ﺍﻟﺨﺮﺳﺎﻧﺔ ﻭﺗﻈﻬﺮ ﺯﺧﺎﺭﻓﻬﺎ ﺍﻟﻤﻠﻮﻧﺔ‬
‫ﺩﻧﺎء ﺍﻟﺤﻮﺍﻧﻂ ﻭﺍﻷﺳﻘﻒ ﻛﺄﻗﺒﻴﺔ ﻭﻗﺒﺎﺏ‬

‫‪ OCDUH‬ﻭﻫﻰ ﺍﻟﻤﺆﺳﺴﺔ ﺍﻟﻤﺴﺌﻮﻟﺔ ﻋﻦ‬

‫ﺍﻟﻨﻮﺍﺣﻰ ﺍﻟﻔﻨﻴﺔ ﻭﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻭﺍﻟﺘﻤﻮﻳﻞ‬
‫ﻟﻠﻤﺴﺎﻛﻦ ﺍﻟﻤﻨﺨﻔﻀﺔ ﺍﻟﺘﻜﺎﻟﻴﻒ ﻓﻰ ﺍﻟﻬﻨﺪ ﺑﺤﻴﺚ‬
‫ﻳﻤﻜﻦ ﻟﻠﻨﺎﺱ ﺑﻨﺎءﺑﻴﻮﺗﻬﻢ ﺑﻤﺎ ﻳﺘﻼﻋﻢ ﻣﻊ‬
‫ﺍﺣﺘﻴﺎﺟﺎﺗﻬﻢ ﺍﻟﺨﺎﺻﺔ ﻭﻃﺮﻳﻘﺔ ﺣﻴﺎﺗﻬﻢ ﺑﺎﻟﻤﻘﺎﺑﻞ‬
‫ﻳﻤﻜﻦ ﺗﺤﻤﻞ ﺗﻜﺎﻟﻴﻔﻬﺎ‬

‫ﻭﻣﻦ ﺧﻼﻝ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺃﻣﻜﻦ ﺗﻄﻮﻳﺮ‬

‫ﺃﺳﻠﻮﺏ ﺍﻟﺒﻨﺎء ﺑﺤﻴﺚ ﺗﻢ ﺍﺑﺘﻜﺎﺭ ﻣﺎﻛﻴﻨﺔ ﺟﺪﻳﺪﺓ‬
‫ﻟﺼﻨﺎﻋﺔ ﺍﻟﻄﻮﺏ ﺍﻟﻄﻴﻨﻰ ﺍﻟﻤﺨﻠﻮﻁ ﺑﻨﺴﺒﺔ ﺿﺌﻴﻠﺔ‬
‫ﻣﻦ ﺍ ﻷﺳﻤﻨﺖ ﺑﺎ ﻹﺿﻬـﺎﻓﺔ ﻟﺘﺪﺭﻳﺐ ﺍﻟﺤﺮﻓﻴﻴﻦ‬
‫ﻭﺍﻟﺴﻜﺎﻥ ﻭﺍﻟﺸﺒﺎﺏ ﻋﻠﻰ ﺃﺳﺎﻟﻴﺐ ﺍﻟﺒﻨﺎء ﺫﺍﺕ‬
‫ﺍﻟﺨﺮﺳﺎﻧﺔ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ‬
‫ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﻤﻨﺨﻔﻀﺔ ﺍﻟﺘﻜﺎﻟﻴﻒ ﺑﻬﺪﻑ ﺩﻋﻢ‬
‫ﺍﻟﻤﺴﻠﺤﺔ ﻟﻸﺳﻘﻒ ﺍﻟﻤﺴﺘﻮﻳﺔ‬
‫ﺗﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﺒﻨﺎء ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻭﺃﻣﻜﻦ ﺍﺳﺘﺨﺪﺍﻡ‬
‫ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻄﻮﺏ ﻓﻰ ﺑﻨﺎء ﺍﻟﺤﻮﺍﺋﻂ ﻭﺍﻷﺳﻘﻒ ﻛﺄﻗﺒﻴﺔ ﻭﻗﺒﺎﺏ ﻭﺃﻣﺎ ﻓﻰ ﺣﺎﻟﺔ‬
‫ﺍﻷﺳﻘﻒ ﺍﻟﻤﺴﺘﻮﻳﺔ ﻓﻘﺪ ﺍﺳﺘﺨﺪﻣﺖ ﺍﻟﺨﺮﺳﺎﻧﺔ ﺍﻟﻤﺴﻠﺤﺔ ﺍﻟﺘﻰ ﻳﺘﻢ ﺻﺒﻬﺎ ﻋﻠﻰ ﻭﺣﺪﺍﺕ‬
‫ﻣﻮﺩﻳﻮﻟﻴﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﻣﺎﺩﺓ ﺍﻟﻔﻴﺒﺮ ﺟﻼﺱ ﻣﻊ ﺗﺴﻠﻴﺢ ﺍﻟﺨﺮﺳﺎﻧﺔ ﺗﺴﻠﻴﺤﺂ ﺧﻔﻴﻔﺎ‬
‫ﻭﺃﻣﻜﻦ ﻣﻌﺎ ﻟﺠﺔ ﺍﻟﻮﺍ ﺟﻬﺎﺕ ﺑﺰﺧﺎﺭﻑ ﻭﺃﺷﻜﺎﻝ ﻫﻨﺪﺳﻴﺔ ﻣﻦ ﺑﻠﻮﻛﺎﺕ ﺍﻟﻄﻮﺏ ﻓﻰ ﺻﻮﺭﺓ‬
‫ﺗﺸﻜﻴﻼﺕ ﻫﻨﺪﺳﻴﺔ ﺟﻤﻴﻠﺔ ﺃﺷﻜﺎﻝ‬
‫ﺍﻟﻄﻮﺏ ﻓﻰ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﺑﻠﻮﻛﺎﺕ‬ ‫ﺑﻠﻮﻛﺎﺕ ﺍﻟﻄﻮﺏ ﻓﻰ ﻋﻤﻞ‬
‫ﻋﻤﻞ ﺗﺸﻜﻴﻼﺕ ﻫﻨﺪﺳﻴﺔ ﺑﺎﻟﻮﺍﺟﻬﺎﺕ‬ ‫ﻫﻨﺪﺳﻴﺔ ﺑﺎﻟﻮﺍﺟﻬﺎﺕ‬
‫ﻭﺍﻟﻤﺴﻜﻦ ﺍﻟﺘﻘﻠﻴﺪﻯ ﺍﻟﻤﺒﻨﻰ ﻣﻦ ﺍﻟﻄﻴﻦ ﺑﺎﻟﻬﻨﺪ ﻟﻪ ﻣﻈﻬﺮﻩ ﺍﻟﺨﺎﺹ ﺑﺤﻴﺚ ﻳﺒﻨﻰ ﻋﻠﻰ‬
‫ﻫﻴﺌﺔ ﺃﻛﻮﺍﺥ ﺫﺍﺏ ﻋﺴﺎﻗﻂ ﻣﺴﺘﺪﻳﺮﺓ ﺃﻭ ﻣﺴﺘﻄﻴﻠﺔ ﺍﻟﺸﻜﻞ ﻭﺗﺒﻨﻰ ﺣﻮﺍﺋﻄﻬﺎ ﻣﻦ ﺍﻟﻄﻴﻦ ﻣﻊ‬
‫ﻓﺘﺴﺘﺨﺪ ﺟﺬﻭﻉ ﺍﻷﺷﺠﺎﺭ ﺃﻭ‬
‫ﻋﻤﻞ ﺑﻌﺾ ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﻋﻠﻴﻬﺎ ﺃﻣﺎ ﺍﻷﺳﻔﻒ ﻡ‬
‫ﺃﻓﺮﻉ ﺍﻟﻨﺒﺎﺗﺎﺕ ﺍﻟﺠﺎﻓﺔ ﻓﻰ ﺗﺴﻘﻴﻔﻬﺎ ﻣﻊ ﺗﻐﻄﻴﺘﻬﺎ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﺑﻄﺒﻘﺔ ﻣﻦ ﺍﻟﻄﻴﻦ‬
‫ﻭﺗﺴﺘﺨﺪﻡ ﻓﺮﻭﻉ ﺃﺷﺠﺎﺭ ﺟﻮﺯ ﺍﻟﻬﻨﺪ ﻓﻰ ﻋﻤﻞ ﻛﻤﺮﺍﺕ ﺭﺋﻴﺴﻴﺔ ﻭﺛﺎﻧﻮﻳﺔ ﺛﻢ ﺗﻐﻄﻰ‬
‫ﺑﺒﻼﻃﺎﺕ ﻣﻦ ﺻﺨﺮ ﺃﺣﻤﺮ ﻣﺴﺎﻣﻰ ‪ ETIR SKCOLB‬ﺑﻢ ‪ TAL‬ﺛﻢ ﺗﻌﺎﻟﺞ ﺑﻢ ﻳﺴﻤﻰ‬
‫‪ duM akhsup‬ﻷ ﺣﻴﺚ ﺗﻮﺿﻊ ﻃﺒﻘﺔ ﻣﻦ ﺍﻟﻄﻴﻦ ﻥ ﺍﻟﻤﺠﻸﻃﺎﺕ ﺍﻟﺼﺨﺮﻳﺔ ﻭﺍ ﻭﺭﻑ‬
‫ﺍﻟﺨﺸﺒﻰ ﻟﺘﻮﻓﺮ ﻋﺰﻻ ﺟﻴﺪ ﺁ ﻟﻠﺤﺮﺍﺭﺓ‬
‫ﻭﻳﻮﻓﺮ ﺍﻟﻄﻴﻦ ﺑﺮﻭﺩﺓ ﻭﻫﻮﺍء ﻧﻘﻴﺎ ﺑﺎﻟﺪﺍﺧﻞ ﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺍﺭﺗﻔﺎﻉ ﺩﺭﺟﺎﺕ ﺍﻟﺤﺮﺍﺭﺓ‬
‫ﺑﺎﻟﺨﺎﺭﺝ ﻣﻊ ﻣﻌﺎﻟﺠﺔ ﺍﻟﺤﻮﺍﺋﻂ ﺍﻟﺨﺎﺭﺟﻴﺔ ﺑﺎﻷﻟﻮﺍﻥ ﺍﻟﺒﻴﻀﺎء ﻭﺍﻟﺼﻔﺮﺍء ﺑﺎﻹﺿﺎﻓﺔ ﻟﺒﻌﺾ‬
‫ﺍﻟﺘﺸﻜﻴﻼﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﺍﻟﺮﺍﺋﻌﺔ ﻭﺍﻟﺘﻰ ﺗﻨﻌﻜﺲ ﻋﻠﻰ ﺷﻜﻠﻬﺎ ﺍﻟﺨﺎﺭﺟﻰ ﻣﻤﺎ ﻳﺆﻛﺪ ﺍﻫﺘﻤﺎﻡ‬
‫ﺍﺳﺘﺨﺪﺍ‬
‫ﺍﻟﻬﻨﻮﺩ ﺑﺒﻴﻮﺗﻬﻢ ﻭﺍﻟﺬﻯ ﻳﻈﻬﺮ ﺣﺘﻰ ﻓﻰ ﺑﻌﺾ ﺍﻟﻤﺴﺎﻛﻦ ﺍﻟﺮﻳﻔﻴﺔ ﺍﻟﺘﻰ ﺑﻨﻴﺖ ﺣﺪﻳﺜﺎ ﻣﻦ‬
‫ﺗﺸﻜﻴﻼﺕ‬
‫ﺍ ﻟﺨﺮﺳﺎﻧﺔ ﺍﻟﻤﺴﻠﺤﺔ‬

‫ﺗﻄﻮﻳﺮ ﺍﺳﺎﻟﻴﺐ ﺍﻟﺒﻨﺎء ﺑﺎﻟﻄﻴﻦ ﻓﻰ ﺍﻟﻬﻨﺪ‬

‫ﺑﺎﻷﺧﺬ ﺑﻌﻴﻦ ﺍﻻﻋﺘﺒﺎﺭ ﻫﺬﺍ ﺍﻟﻌﺪﺩ ﺍﻟﻜﺒﻴﺮ ﻣﻦ ﺍﻟﺴﻜﺎﻥ ﺍﻟﺬﻯ ﻳﻌﻴﺸﻮﻥ ﻓﻰ ﻣﺴﺎﻛﻦ ﻣﻦ‬
‫ﺍﻟﻄﻴﻦ ﻓﻰ ﺍﻟﻬﻨﺪ ﻓﻘﺪ ﻛﺎﻥ ﻣﻦ ﺍﻟﺨﻂ ﺃﻥ ﻳﺮﻓﺾ ﺍﻟﻄﻴﻦ ﻋﻠﻰ ﺃﺳﺎﺱ ﺃﻧﻪ ﻣﺎﺩﺓ ﺑﻨﺎء‬
‫ﻏﻴﺮ ﺣﺪﻳﺜﺔ ﻓﻜﺎﻥ ﻻﺑﺪ ﻣﻦ ﺇﺟﺮﺍء ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﻟﺘﻄﻮﻳﺮ ﺃﺳﺎﻟﻴﺐ ﺍﻟﺒﻨﺎء ﺑﺎﻟﻄﻴﻦ‬
‫ﺍﻟﻤﻤﺴﺎﻫﻤﺔ ﻓﻰ ﺣﻞ ﻣﺸﻜﻠﺔ ﺍﻹﺳﻜﺎﻥ ﻭﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ ﺇﻳﺠﺎﺩ ﺍﻟﻮﺳﺎﺋﻞ ﺍﻟﺨﺎﺻﺔ ﻟﻤﻌﺎﻟﺠﺔ‬
‫ﺑﻌﺾ ﺍﻟﻤﺸﺎﻛﻞ ﻭﺍﻟﻌﻴﻮﺏ ﺍﻟﺘﻰ ﺗﻨﺸﺄ ﻣﻦ ﺳﺘﺨﺪﺍﻡ ﺍﻟﻄﻴﻦ ﻓﻰ ﺍﻟﺒﻨﺎء ﻭﺍﻟﺘﻰ ﺗﺘﻤﺜﻞ ﻓﻰ‬
‫ﺯﻳﺎﺩﺓ ﻗﻮﺓ ﺍﻟﻤﺤﻮﺍﺋﻂ ﻭﺍﻟﻌﺰﻝ ﻭﺗﻄﻮﻳﺮ ﺍﻟﻤﻬﺎﺭﺍﺕ ﺍﻟﺨﺎﺻﺔ ﺑﺄﺳﺎﻟﻴﺐ ﺍﻟﺒﻨﺎء ﻓﺘﻢ ﺇﻧﺸﺎﺕ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺮﺍﻛﺰ ﺗﻄﻮﻳﺮ ﻣﻬﺎﺭﺍﺕ ﺍﻟﺒﻨﺎءﻭﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ ﻣﺆﺳﺴﺔ ﺍﻟﺘﻄﻮﻳﺮ ﺍﻟﺤﻀﺮﻯ‬

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 :: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::
Center of Planning and Architecture Studies :: All rights reserved.
www.cpas-egypt.com
 :: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::
Center of Planning and Architecture Studies :: All rights reserved.
www.cpas-egypt.com
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻟﺮﺳﺎﻟﻂ ﺍﻟﻘﻮﺟﻴﺔ‬

‫ﻳﺸﻴﺮ ﻣﺼﻄﻠﺢ ﻻ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ‪ aidemitluM‬ﺍ ﺇﻟﻰ ﺗﻠﻚ ﺍﻟﺘﻄﺒﻴﻔﺎﺕ‬

‫ﺍﻟﺼﺎﻟﺔ ‪ 01‬ﻟﻤﻐﻄﺎﺓ ﺍﻟﻤﻌﺪﺓ ﻟﺪﻭﺭﺓ ﺑﺮﺷﻠﻮﻧﺎ ﺍﻷﻭﻟﻤﺒﻴﺔ‬ ‫ﺍﻟﺤﺎﺳﺒﻴﺔ ﺍﻟﺘﻰ ﺗﺘﻴﺢ ﻟﻠﺤﺎﺳﺐ ﺍﻟﺘﺤﻜﻢ ﻓﻰ ﻭﺳﺎﺋﻞ ﺍﻹﻇﻬﺎﺭﻭﺍﻟﻌﺮﺽ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻣﺜﻞ‬
‫ﺑﺎﺳﺘﺨﺪﺍﻡ ﺑﺮﻧﺎﻣﺞ ‪OT‬‬ ‫‪8891‬‬ ‫ﺍﻟﻨﺼﻮﺹ ﻭﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ ﻭﺍﻟﺼﻮﺭ ﺍﻟﻤﻠﻮﻧﺔ ﻭﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﻤﺘﺤﺮﻛﺔ ﻭﺍﻟﺼﻮﺭ‬
‫ﻟﻠﻨﺼﻮﺹ ﻭﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﺘﻰ ﺗﺘﻜﻮﻥ ﻣﻦ ﺧﻄﻮﺩﻁ ﺑﺴﻤﻚ ﺑﻴﻜﺴﻞ ﻭﺍﺣﺪ ﺃﻣﺎ‬ ‫ﺍﻟﻤﻤﺴﻮﺣﺔ ﺍ ‪ dennacS‬ﻭﺻﻮﺭ ﺍﻟﻔﻴﺪﻳﻮ ﺍﻟﺴﺎﻛﻨﺔ ﻭﺍﻟﺤﻴﺔ ﻭﺍﻟﺼﻮﺗﻴﺎﺕ ﻭﻋﻤﻮﻣﺎ‬
‫ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﻤﻈﻠﻠﺔ ﺃﻭ ﺍﻟﻤﻈﻬﺮﺓ ﺑﻤﺴﺎﺣﺎﺕ ﻟﻮﻧﻴﺔ ﻓﻤﻦ ﺍﻟﻤﻔﺘﺮﺽ ﺃﻥ ﺗﺒﺪﻭ ﺑﺼﻮﺭﺓ‬
‫ﻓﺎﻟﻮﺻﻮﻝ ﻟﺘﻌﺮﻳﻒ ﻭﺍﺿﺢ ﻭﻣﺤﺪﺩ ﻟﻤﻔﻬﻮﻡ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﻟﻴﺲ ﺑﺎﻷﻣﺮ ﺍﻟﻴﺴﻴﺮ‬
‫ﺟﻴﺪﺓ ﻋﻠﻰ ﺷﺎﺷﺎﺕ ﺍﻟﺘﻠﻴﻔﺰﻳﻮﻥ‬
‫ﻭﺫﻟﻚ ﻳﺮﺟﻊ ﻟﻼﺧﺘﻼﻓﺎﺕ ﺍﻟﻜﺒﻴﺮﺓ ﺍﻟﺘﻰ ﺗﻨﻈﺮ ﺑﻬﺎ ﺍﻟﺸﺮﻛﺎﺕ ﺍﻟﻌﺎﻣﻠﺔ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ‬
‫ﻭﺑﺎﻟﻌﻜﺲ ﻓﺈﻥ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﺤﺎﺳﺒﺎﺕ ﻟﺸﺎﺷﺎﺕ ﺗﻌﻤﻞ ﺑﺎﻟﻤﺴﺢ ﻏﻴﺮﺍﻟﻤﺤﺒﻮﻙ ‪noN‬‬ ‫ﻟﻤﻔﻬﻮﻡ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻠﺘﻨﻮﻉ ﺍﻟﻜﺒﻴﺮ ﻓﻰ ﺍﻟﺘﺨﺼﺼﺎﺕ ﺳﻮﺍء ﺍﻟﻌﺎﻣﻠﺔ‬
‫‪ decalretni‬ﻳﺴﺒﺐ ﻣﺸﺎﻛﻞ ﻋﻨﺪ ﺍﺳﺘﺨﺪﺍﻡ ﺷﺎﺷﺎﺕ ﺍﻟﺤﺎﺳﺒﺎﺕ ﻟﻌﺮﺽ ﺃﺟﺴﺎﻡ‬ ‫ﻓﻰ ﺗﻄﻮﻳﺮ ﺍﻟﻤﻨﺘﺠﺎﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ ﻧﻈﻢ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﺃﻭ ﻓﻰ ﺍﻟﻤﺴﺘﻔﻴﺪﻳﻦ‬
‫ﻣﺘﺤﺮﻛﺔ ﺑﺴﺮﻋﺔ ﻛﺒﻴﺮﺓ‬ ‫ﻣﻨﻬﺎ ﻭﻟﺬﻟﻚ ﻓﻴﻤﻜﻦ ﺃﻥ ﻧﺠﺪ ﻓﻰ ﺍﻟﻤﻨﺸﻮﺭﺍﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻣﺼﻄﻠﺤﺎﺕ ﻣﺘﻨﻮﻋﺔ ﻗﺪ ﺗﺸﻴﺮ ﻓﻰ‬

‫ﺛﺎﻟﻘﺎ ﺷﺎﺷﺎﺕ ﺍﻟﺘﻠﻴﻔﺰﻳﻮﻥ ﻻ ﺗﻮﻓﺮ ﻣﺪﻯ ﺍﻷﻟﻮﺍﻥ ﺍﻟﺬﻯ ﻳﻤﻜﻦ ﺃﻥ ﻳﺘﺎﺡ ﻋﻠﻰ ﺷﺎﺷﺎﺕ‬ ‫ﺇﻟﻰ ﻧﻔﺲ ﺍﻟﻤﻔﻬﻮﻡ ﻣﺜﻞ‬ ‫ﺑﺼﻮﺭﺓ ﺃﻭ ﺑﺄﺧﺮﻯ‬ ‫ﺃﻏﻠﺒﻬﺎ‬

‫ﺍﻟﺤﺎﺳﺒﺎﺕ ﻭﺇﻥ ﻛﺎﻥ ﺑﻌﺾ ﺑﺮﺍﻣﺞ ﺍﻟﺤﺎﺳﺒﺎﺕ ﺗﻨﺘﺞ ﺍﻵﻟﻮﺍﻥ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ ﺍﻟﺒﺚ‬ ‫‪ ssaM‬ﺍ‬ ‫‪aidem detargetnI‬‬ ‫‪ aidem weN‬ﺍ‬ ‫‪ aidem evitcaretnI aidem‬ﺍ‬
‫‪evitcaretnI aidemitlum‬‬
‫ﺍﻟﺘﻠﻔﺰﻳﻮﻧﻰ ﻟﻤﺴﺎﻋﺪﺓ ﺍﻟﻤﺴﺘﺨﺪﻣﻴﻦ ﻓﻰ ﺣﻞ ﻫﺬﻩ ﺍﻟﻤﺸﻜﻠﺔ ﻓﺈﻥ ﺍﻟﻤﺴﺘﺨﺪﻡ ﻻ ﻳﻨﺒﻐﻰ‬
‫ﺃﻥ ﻳﺤﺼﺮ ﻧﻔﺴﻪ ﻓﻰ ﻧﻄﺎﻓﻬﺎ ﻛﻤﺎ ﻳﻔﻀﻞ ﻋﻤﻮﻣﺎ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻵﻟﻮﺃﻥ ﺍﻷﻗﻞ‬ ‫ﺃﻣﺎ ﻓﻰ ﺍﻟﻤﻨﺸﻮﺭﺍﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻠﻢ ﺗﺘﻌﺪ ﺍﻟﻤﺼﻄﻠﺤﺎﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﺍﻟﺘﺮﺟﻤﺔ ﺍﻟﺤﺮﻓﻴﺔ‬
‫ﺗﺸﺒﻌﺎ ﻭﻳﻤﻜﻦ ﺃﻥ ﻳﻠﺾ ﺍﻟﻤﺴﺘﺨﺪﻡ ﻻﺳﺘﺨﺪﺍﻡ ﻟﻠﻔﺰﻳﻮﻥ ﻛﺸﺎﺷﺔ ﺇﺿﺎﻓﻴﺔ ﻟﻠﺤﺎﺳﺐ‬ ‫ﻓﻴﺸﺎﺭﺇﻟﻴﻬﺎﻏﺎﻟﺒﺎ ﺑﺎﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﺃﻭ ﺃﻭﺳﺎﻁ‬
‫ﺍﻝ‬ ‫ﻟﻤﺼﻄﻠﺢ‬
‫ﻟﻠﺘﻌﺮﻑ ﻋﻠﻰ ﻧﺘﻴﺠﺔ ﻋﻤﻠﻪ ﺃﻭﻻ ﺑﺄﻭﻝ ﻟﺘﺤﺎﺷﻰ ﺍﻟﻤﻔﺎﺟﺂﺕ ﻏﻴﺮ ﺍﻟﺴﺎﺭﺓ ﺑﻌﺪ ﺗﺴﺠﻴﻞ‬ ‫‪ IJ‬ﻟﻮﺳﺎﺋﻞ ﺍﻟﻤﺘﻌﺪﺩﺓ‬
‫ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﺍﻟﻤﺘﻌﺪﺩﺓ ‪I‬‬
‫ﺍﻟﻌﻤﻞ ﻋﻠﻰ ﺍﻟﻔﻴﺪﻳﻮ‬
‫ﻭﻻﺗﺴﺎﻉ ﻣﻔﻬﻮﻡ ﺍﻟﻮﺳﺎﻧﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﻓﺈﻥ ﻟﻬﺎ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺘﻄﺒﻴﻘﺎﺕ ﺍﻟﺘﻰ ﺗﻨﺘﺸﺮ‬
‫ﺍﻟﺒﺮﺍﻣﺢ ﻭﺍﻷﺟﻬﺰﺓ‬ ‫ﻟﺘﻐﻄﻰ ﺃﻏﻠﺐ ﺍﻟﺘﺨﺼﺼﺎﺕ ﺍﻟﻤﻬﻨﻴﺔ ﻓﻨﺠﺪﻫﺎ ﻣﺴﺘﺨﺪﻣﺔ ﻋﻠﻰ ﻧﻄﺎق ﻭﺍﺳﻊ ﻓﻰ ﻣﺠﺎﻻﺕ‬
‫‪ 1‬ﺍﻟﺒﺮﺍﻣﺢ ﺍﻟﻌﻨﺼﺮ ﺍﻷﺳﺎﺳﻰ ﻓﻰ ﻧﻈﺎﻡ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﻫﻮ ﺍﻟﺒﺮﻧﺎ‬
‫ﻣﺞ‬ ‫ﺍﻟﺖ ﺍﻟﻤﺨﺘﻠﻔﺔ ﺳﻮﺍء ﻓﻰ ﺗﻌﻠﻴﻢ ﺍﻷﻃﻔﺎﻝ ﺃﻭ ﻓﻰ ﺗﺪﺭﻳﺐ ﺍﻟﻌﻤﺎﻝ ﻭﺍﻟﻤﻮﻇﻔﻴﻦ ﻓﻰ ﻣﺮﺍﻛﺰ‬
‫ﻋﻠﻴﻢ‬
‫ﺍﻟﺬﻯ ﻳﺘﺤﻜﻢ ﺑﻜﺎﻣﻞ ﺍﻟﻌﻤﻠﻴﺔ ﻭﻋﻠﻰ ﺍﻟﺮﻏﻢ ﻣﻦ ﺃﻥ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺑﺮﺍﻣﺞ ﻛﺎﺩ ﻳﻤﻜﻨﻬﺎ ﺇﻧﺘﺎﺝ‬ ‫ﺍﻹﻧﺘﺎﺝ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻭﻓﻰ ﻣﺠﺎﻝ ﺍﻹﻋﻼﻧﺎﺕ ﻭﺍﻟﻆ ﻟﻴﻒ ﺍﻟﻤﻮﺳﻴﻘﻰ ﻭﺃﻓﻼﻡ ﺍﻟﺨﻴﺎﻝ ﺍﻟﻌﻠﻤﻰ‬
‫ﺭﺳﻮﻣﺎﺕ ﺻﺎﻟﺤﺔ ﻟﻠﻨﻔﻞ ﺇﻟﻰ ﺃﺟﻬﺰﺓ ﺍﻟﻔﻴﺪﻳﻮ ﻓﺈﻥ ﻗﻠﻴﻼ ﻣﻨﻬﺎ ﻳﺘﻴﺢ ﺇﻣﻜﺎﻧﻴﺔ ﺗﺤﺮﻳﻚ‬ ‫ﻭﺑﺤﻮﺙ ﺍﻟﺘﺴﻮﻳﻖ ﺑﺎﻹﺿﺎﻓﺔ ﻻﺳﺘﺨﺪﺍﻣﻬﺎ ﻛﻮﺳﻴﻠﺔ ﻧﺎﺟﺤﺔ ﻟﻌﺮﺽ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﻬﻨﺪﺳﻴﺔ‬

‫ﺍﻟﺮﺳﻮﻣﺎﺕ ﻛﻤﺎ ﺃﻥ ﻋﺪﺩﺍ ﺃﻗﻞ ﻣﻨﻬﺎ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﺟﻬﺰﺓ ﺍﻟﺘﻰ ﺗﺘﻴﺢ‬
‫ﺍﻟﺘﺤﻜﻢ ﺑﺎﻟﻔﻴﺪﻳﻮ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺤﺎﺳﺐ ‪ oediV rellortnoC‬ﺃﻭ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻟﺘﺤﻜﻢ‬
‫ﻓﻰ ﺧﺼﺎﺋﺺ ﺑﻄﺎﻗﺎﺕ ﺍﻟﻔﻴﺪﻳﻮ ﻭﻏﻴﺮﻫﺎ ﻣﻦ ﺍﻷﺟﻬﺰﺓ ﺍﻟﻤﻜﻤﻠﺔ‬
‫ﺍﻝ ﺃﻭ ﺍﻟﻤﺼﺮﻳﺔ ﻋﺪﺓ ﺧﻴﺎﺭﺍﺕ ﻣﻦ ﺍﻟﺒﺮﺍﻣﺞ ﺍﻟﺼﺎﻟﺤﺔ‬
‫ﻭﺗﺘﻮﺍﻓﺮ ﺑﺎﻷﺳﻮﺍق ﺳﻮﺍء ﻋﺎﻟﻤﻴﺔ‬
‫ﻹﺩﺍﺭﺓ ﻧﻈﺎﻡ ﻟﻠﻮﺳﺎﻧﻌﻞ ﺍﻟﻤﺘﻌﺪﺩﺓ ﺳﻮﺍء ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻷﺟﻬﺰﺓ ﺍﻟﺸﺨﺼﻴﺔ ﺃﻭ ﻋﻠﻰ ﻣﺴﺘﻮﻯ‬
‫ﻣﺤﻄﺎﺕ ﺍﻟﻌﻤﻞ ﻭﺑﺎﻟﻄﺒﻊ ﺗﺘﺒﺎﻳﻦ ﻫﺬﻩ ﺍﻟﺒﺮﺍﻣﺞ ﻓﻰ ﻗﺪﺭﺍﺗﻬﺎ ﻭﻋﺪﺩ ﺍﻟﻮﻇﺎﻧﻒ ﺍﻟﺘﻰ ﻳﻤﻜﻦ‬
‫ﺃﻥ ﺗﺆﺩﻳﻬﺎ ﻭﺑﺎﻟﺘﺎﻟﻰ ﻓﻰ ﺳﻌﺮﻫﺎ ﻭﻣﻦ ﻫﺬﻩ ﺍﻟﺒﺮﺍﻣﺞ ‪ sapoT‬ﻭ‪ D3 oidutS‬ﻭﻫﻰ ﺑﺮﺍﻣﺞ‬
‫ﺗﻌﻤﻞ ﻋﻠﻰ ﺍﻷﺟﻬﺰﺓ ﺍﻟﺸﺨﺼﻴﺔ ‪ sCP‬ﻭﻣﻦ ﺍﻟﺒﺮﺍﻣﺞ ﺍﻟﺘﻰ ﺗﻌﻤﻞ ﻋﻠﻰ ﺃﺟﻬﺰﺓ‬
‫ﺍﻟﻤﺎﻛﻨﺘﻮﺵ ‪noisivatratS D3 tplucS D3‬‬
‫ﺑﻄﺎﻓﺎﺕ ﺍﻟﻔﻴﺪﻳﻮ ﻳﺘﻮﻓﺮ ﺣﺎﻟﻴﺎ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﺟﻬﺰﺓ ﺍﻟﺘﻰ ﺗﺘﻴﺢ ﺗﺤﻮﻳﻞ‬ ‫‪2‬‬
‫ﻣﺨﺮﺟﺎﺕ ﺍﻟﻜﻤﺒﻴﻮﺗﺮ ﺇﻟﻰ ﻧﻈﻢ ﺑﺎﻝ ﺃﻭ ﺳﻴﻜﺎﻡ ‪ i 1JCSTN‬ﻭ ﻟﺘﺴﺠﻴﻠﻬﺎ ﻋﻠﻰ ﺷﺮﺍﻧﻂ‬
‫ﻓﻴﺪﻳﻮ ﻭﺑﻌﺾ ﻫﺬﻩ ﺍﻟﻤﻨﺘﺠﺎﺕ ﺗﺴﻤﺢ ﺑﺎﻟﺘﻘﺎﻁ ﻟﻘﻄﺎﺕ ﻣﻔﺮﺩﺓ ﺳﻮﺍء ﻣﻦ ﻛﺎﻣﻴﺮﺓ ﺍﻟﻔﻴﺪﻳﻮ ﺃﻭ‬
‫ﻣﻦ ﺷﺮﻱ ﻝ ﻣﺴﺠﻞ ﻭﺑﻌﻀﻬﺎ ﻳﺴﻤﺢ ﺑﺎﻟﺘﻘﺎﻁ ﺳﻠﺴﻠﺔ ﻣﺘﺘﺎﺑﻌﺔ ﻣﻦ ﺍﻟﻠﻘﻄﺎﺕ ﺍﻟﻤﺘﺤﺮﻛﺔ ﻭﻣﻦ‬
‫ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﻓﺒﻌﺾ ﻫﺬﻩ ﺍﻟﻤﻨﺘﺠﺎﺕ ﻣﺼﻤﻤﺔ ﻋﻠﻰ ﺷﻜﻞ ﺑﻄﺎﻗﺎﺕ ﻋﺎﺩﻳﺔ ﺗﺜﺒﺖ ﺩﺍﺧﻞ‬
‫ﺍﻟﺤﺎﺳﺐ ﻭﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻋﻠﻰ ﺷﻜﻞ ﺟﻬﺎﺯ ﺧﺎﺭﺟﻰ ﻭﺑﻐﺾ ﺍﻟﻨﻈﺮ ﻋﻦ ﻫﺬﻩ ﺍﻟﻔﺮﻭق ﻓﺈﻥ‬
‫ﺍﻟﻮﻇﻴﻔﺔ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻬﺬﻩ ﺍﻟﺒﻄﺎﻗﺎﺕ ﻫﻰ ﺗﺤﻮﻳﻞ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﺑﺎﻟﺤﺎﺳﺒﺎﺕ ﺇﻟﻰ‬
‫ﺍﻹﺷﺎﺭﺍﺕ ﺍﻟﺨﺎﺻﺔ ﺑﺎﻟﻔﻴﺪﻳﻮ ﻹﻣﻜﺎﻥ ﺗﺴﺠﻴﻞ ﻣﺨﺮﺟﺎﺕ ﺍﻟﺤﺎﺳﺐ ﻋﻠﻰ ﺷﺮﻳﻂ ﻓﻴﺪﻳﻮ ﺃﻭ‬
‫ﻭﺍﻟﺒﺤﻮﺙ ﺍﻟﻌﻠﻤﻴﺔ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﻌﻤﻮﻡ ﻹﻧﺘﺎﺝ ﻭﺳﻴﻠﺔ ﻋﺮﺽ ﺃﻛﺜﺮ ﻭﺿﻮﺣﺎ ﻭﺗﺎﻟﻴﺮﺍ ﻣﻦ‬
‫ﻣﺠﺮﺩ ﻋﺮﺽ ﻟﻮﺣﺎﺕ ﻭﺭﻗﻴﺔ ﺃﻭ ﺷﺮﺍﺛﺢ ﻣﻠﻮﻧﺔ‬
‫ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﺤﺎﺳﺐ‬
‫ﺍﻟﺘﻮﺿﻴﺢ ﻓﻰ ﻫﺬﻩ ﺍﻟﻨﻘﻄﺔ ﻫﻰ ﻣﺰﺝ‬
‫ﺃﺩ ﻣﺸﻜﻠﺔ ﺗﻮﺍﺟﻪ ﻣﺴﺘﺨﺪﻣﻰ ﺍﻟﻮﺳﺎﺋﻂ ﻳﺔ‬
‫ﻧﻮﻋﻴﻦ ﻣﻦ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﻟﺘﻰ ﻟﻜﻞ ﻣﻨﻬﺎ ﺗﺎﺭﻳﺨﻪ ﻭﺧﺼﺎﺋﺼﻪ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻭﻟﺬﻟﻚ ﻓﺄﻭﻝ ﻣﺎﻳﻨﺒﻐﻰ‬
‫ﺃﻥ ﻳﺪﺣﻆ ﻫﻮ ﺍﻟﻔﺮﻭق ﺍﻟﻜﺒﻴﺮﺓ ﺑﻴﻦ ﺍﻟﻌﺮﺽ ﺍﻟﺘﻠﻴﻘﺰﻳﻮﻧﻰ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﻌﺮﺽ ﻋﻠﻰ ﺷﺎﺷﺔ‬
‫ﺍﻟﺤﺎﺳﺐ ﻓﻤﻦ ﺣﻴﺚ ﺍﻟﻐﺮﺽ ﻓﺈﻥ ﺷﺎﺷﺎﺕ ﺍﻟﺤﺎﺳﺐ ﻣﺠﻬﺰﺓ ﻭﻣﺼﻤﻤﺔ ﺃﺳﺎﺳﺎ ﻟﻤﺮﺽ‬
‫ﺍﺕ‬
‫ﺍﻟﻨﺼﻮﺹ ﺃﻭ ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﺴﺎﻛﻨﺔ ﺍﻟﺘﻰ ﺗﺘﻢ ﻣﺸﺎﻫﺪﺗﻬﺎ ﻣﻦ ﻣﺴﺎﻓﺎﺕ ﻗﺮﻳﺒﺔ ﻧﺼﻒ ﺇﻟﻰ‬
‫ﺍﻟﺘﻠﻴﻔﺰﻱ ﻣﺼﻤﻤﺔ ﻟﺘﻌﺮﺽ ﺻﻮﺭﺍ ﻷﺟﺴﺎﻡ‬
‫‪ 1‬ﻣﺘﺮ ﻓﻰ ﺍﻟﻤﺘﻮﺳﻂ ﻓﻰ ﺣﻴﻦ ﺃﻥ ﺷﺎﺷﺎﺕ ﻭﻥ‬
‫ﻣﺘﺤﺮﻛﺔ ﻭﻟﺌﺸﺎﻫﺪ ﻣﻦ ﻣﺴﺎﻓﺎﺕ ﺑﻌﻴﺪﺓ ﻧﺴﺒﻴﺎ ﺗﺼﻞ ﺇﻟﻰ ﻋﺪﺓ ﺃﻣﺘﺎﺭ ﺃﻣﺎ ﻣﻦ ﺣﻴﺚ‬
‫ﺍﻟﻨﻮﺍﺣﻰ ﺍﻟﻔﻨﻴﺔ ﻓﻴﻤﻜﻦ ﺃﻥ ﻧﺪﺣﻆ ﺛﻼﺛﺔ ﻓﺮﻭق ﺃﺳﺎﺳﻴﺔ ﺑﻴﻦ ﻛﻼ ﺍﻟﻮﺳﻄﻴﻦ‬
‫ﺃﻭﻻ ﺷﺎﺷﺔ ﺍﻟﺘﻠﻴﻔﺰﻳﻮﻥ ﻣﺼﻤﻤﺔ ﺑﺤﻴﺚ ﺗﺘﺠﺎﻭﺯ ﺃﺑﻌﺎﺩ ﺍﻟﺼﻮﺭ ﺍﻟﻤﻌﺮﻭﺿﺔ ﺣﻮﺍﻑ ﺍﻟﺸﺎﺷﺔ‬
‫ﻓﻠﻴﻼ ‪ revO nacs‬ﻓﻰ ﺣﻴﻦ ﺃﻥ ﺷﺎﺷﺔ ﺍﻟﺤﺎﺳﺐ ﻣﺼﻤﻤﺔ ﺑﺤﻴﺚ ﺗﻘﻞ ﺃﺑﻌﺎﺩ ﻣﺎ‬
‫ﻳﻌﺮﺽ ﻋﻠﻴﻬﺎ ﻋﻦ ﺃﺑﻌﺎﺩ ﺍﻟﺸﺎﺷﺔ ‪ rednU nacs‬ﻭﻟﺬﻟﻚ ﻓﻌﻨﺪ ﻋﺮﺽ ﺻﻮﺭﺓ ﻣﻌﺪﺓ‬
‫ﺣﺎﺳﺒﻴﺎ ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﻌﻠﻴﻔﺰﻳﻮﻥ ﻓﺴﺘﺒﺪﻭ ﺃﺻﻐﺮ ﺣﺠﻤﺎ ﻭﺑﺪﻗﺔ ﺃﻗﻞ ﻣﻤﺎ ﺗﺒﺪﻭ ﻋﻠﻴﻪ‬
‫ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﺤﺎﺳﺐ ﻭﺫﻟﻚ ﺣﺘﻰ ﻳﺤﺎﻓﻆ ﻋﻠﻰ ﻋﺪﻡ ﺿﻴﺎﻉ ﺟﺰء ﻣﻦ ﺍﻟﺼﻮﺭ ﺧﻠﻒ‬
‫ﺣﻮﺍﻑ ﺷﺎﺷﺔ ﻥ‬
‫ﺍﻟﺘﻠﻴﻘﺰﻳﻮ‬

‫ﻋﻜﺲ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻟﻌﺮﺽ ﺃﺣﺪ ﺗﺴﺤﻴﻼﺕ ﺍﻟﻔﻴﺪﻳﻮ ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﺤﺎﺳﺐ ﻭﻳﻤﻜﻦ‬ ‫ﺛﺎﻧﻴﺎ ﻳﺘﻢ ﺗﻜﻮﻳﻦ ﺍﻟﺼﻮﺭﺓ ﻋﻠﻰ ﺷﺎﺷﺔ ﺍﻟﺘﻠﻴﻔﺰﻳﻮﻥ ﺑﺎﺳﻠﻮﺏ ﻳﻌﺮﻑ ﺑﺎﻟﻤﺴﺢ ﺍﻟﻤﺤﺒﻮﻙ‬
‫ﺗﻘﺴﻴﻢ ﻫﺬﻩ ﺍﻟﺒﻄﺎﻗﺎﺕ ﻭﻇﻴﻔﻴﺎ ﺇﻟﻰ ﻧﻮﻋﻴﻦ ﺃﺳﺎﺳﻴﻴﻦ ﺍﻷﻭﻝ ﺑﻄﺎﻗﺎﺕ ﻓﻴﺪﻳﻮ ﻣﺘﺨﺼﺼﺔ‬ ‫‪ decalretnI‬ﺑﺤﻴﺚ ﻳﺘﻢ ﻣﺴﺢ ﺍﻟﺸﺎﺷﺔ ﻣﺮﺗﻴﻦ ﻓﻰ ﻛﻞ ﻟﻔﻄﺔ ﺑﻤﺎ ﻳﺴﺒﺐ ﺍﻫﺘﺰﺍﺯﺍ‬
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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﺗﺼﻤﻴﻢ ﻟﻠﺴﺎﺭﻯ ﺟﻴﻢ ﻟﻴﻨﻮﻥ ﺍﻟﻤﺎﻛﻨﺘﻮﺵ ﻣﻌﺪﻝ‬
‫ﺑﺒﺮﻧﺎﻣﺞ ‪tratS noisiV‬‬
‫ﻟﻠﻤﺨﺮﺟﺎﺕ ﻓﻬﻮ ﺃﻣﺮ ﺿﺮﻭﺭﻯ ﻋﻨﺪ ﺗﻨﺎﻗﻞ ﺍﻟﺼﻮﺭ ﺑﻴﻦ ﻧﻈﺎﻡ ﻭﺁﺧﺮ ﻭﻣﻦ ﺃﺷﻬﺮ ﺍﻟﺼﻴﻎ‬
‫ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻟﻨﻘﻞ ﻣﻠﻔﺎﺕ ﺍﻟﺼﻮﺭ ﻣﻠﻔﺎﺕ ﺗﺎﺭﺟﺎ ‪ agraT‬ﻭﻫﻰ ﺗﺴﺘﺨﺪﻡ ﻓﻰ ﺃﻏﻠﺐ ﺑﺮﺍﻣﺞ‬
‫ﻣﻌﺎﻟﺠﺔ ﺍﻟﺼﻮﺭ ﻭﺻﻴﻐﺔ ﺍ ‪ deggaT egamI eliF tamroF IT‬ﻭﻫﻰ ﺻﻴﻐﺔ‬
‫ﺗﺘﻮﺍﻓﻖ ﻣﻊ ﺍﻟﻜﺜﻴﺮ ﻣﻦ ﺑﺮﺍﻣﺞ ﺍﻟﻨﺸﺮ ﺍﻟﻤﻜﺘﺒﻰ ﻭﺑﺮﺍﻣﺞ ﻣﻌﺎﻟﺠﺔ ﺍﻟﺼﻮﺭ‬
‫‪ 2‬ﻣﺰﺝ ﺻﻮﺭﺓ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﺤﺎﺳﺐ ‪ gniyalrevO oediV segam‬ﺇﺫﺍ ﺯﺍﺩ‬
‫ﺗﻌﻘﻴﺪ ﻣﺘﻄﻠﺒﺎﺕ ﺍﻟﺘﻄﺒﻴﻖ ﺍﻟﻤﺴﺘﺨﺪﻡ ﺑﻪ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﻭﻟﻢ ﻳﻌﺪ ﻛﺎﻓﻴﺄ ﻣﺠﺮﺩ‬
‫ﺍﻟﺘﻔﺎﻁ ﺻﻮﺭ ﻣﻦ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺗﻄﻠﺐ ﺍﻷﻣﺮ ﺇﺿﺎﻓﺔ ﺑﻌﺾ ﺍﻟﻨﺼﻮﺹ ﺍﻟﻤﻜﺘﻮﺑﺔ ﺃﻭ ﺍﻟﺮﺳﻮﻣﺎﺕ‬
‫ﺍﻟﻤﺘﺤﺮﻛﺔ ﺍﻟﻤﻌﺪﺓ ﺣﺎﺳﺒﻴﺎ ﺇﻟﻰ ﻟﻘﻄﺔ ﺍﻟﻔﻴﺪﻳﻮ ﻭﻓﻰ ﻫﺬﻩ ﺍﻟﺤﺎﻟﺔ ﻳﻠﺰﻡ ﺍﺳﺘﺨﺪﺍﻡ ﺑﻄﺎﻗﺔ‬
‫ﺍﻟﻌﺮﺽ ﺍﻟﻤﺘﺨﺼﺼﺔ ﺍﻟﺘﻰ ﺗﺴﻤﺢ ﺑﺈﺿﺎﻓﺔ ﺟﺰء ﻣﻦ ﺻﻮﺭﺓ ﻓﻴﺪﻳﻮ ﺇﻟﻰ ﺇﺣﺪﻯ ﺍﻟﻠﻘﻄﺎﺕ‬
‫ﺍﻟﻤﻌﺪﺓ ﺣﺎ ﺳﺒﻴﺎ‬
‫ﺍﻟﺼﻮﺗﻴﺎﺕ‬ ‫ﺍﺿﺎﻓﺔ‬
‫ﻓﻰ ﺑﻌﺾ ﺍﻟﺘﻄﺒﻴﻘﺎﺕ ﺗﻜﻮﻥ ﺇﺿﺎﻓﺔ ﺍﻟﺼﻮﺕ ﻣﻦ ﺍﻷﻣﻮﺭ ﺍﻷﺳﺎﺳﻴﺔ ﻭﻓﻰ ﺍﻟﺒﻌﺾ‬
‫ﺍﻵﺧﺮ ﺗﻌﺘﺒﺮ ﺍﻟﺨﻠﻔﻴﺔ ﺍﻟﺼﻮﺗﻴﺔ ﺇﺣﺪﻯ ﺍﻟﻠﻤﺴﺎﺕ ﺍﻟﺠﻤﺎﻟﻴﺔ ﺍﻟﺘﻰ ﺗﻀﻔﻰ ﻣﺰﻳﺪﺍ ﻣﻦ‬
‫ﺍﻟﻮﺍﻗﻌﻴﺔ ﻋﻠﻰ ﺍﻟﻌﺮﺽ ﻭﺃﺑﺴﻂ ﺍﻟﻄﺮق ﻹﺿﺎﻓﺔ ﺍﻟﺼﻮﺗﻴﺎﺕ ﻋﻠﻰ ﺃﺣﺪ ﻋﺮﻭﺽ ﺍﻟﺤﺎﺳﺐ‬
‫ﻫﻰ ﺃﻥ ﻳﻘﻮﻡ ﺍﻟﻌﺎﺭﺽ ﺑﺈﻟﻘﺎء ﺍﻟﺘﻌﻠﻴﻖ ﺍﻟﻤﻘﺮﻭء ﺑﻨﻔﺴﻪ ﺃﺛﻨﺎء ﺍﻟﻌﺮﺽ ﺃﻭ ﺗﺸﻐﻴﻞ ﺃﺣﺪ‬
‫ﺍﻝ ﻻ ﻳﺼﻠﺢ ﻓﻰ ﺃﻏﻠﺐ ﺍﻟﺘﻄﺒﻴﻔﺎﺕ‬
‫ﺍﻟﺸﺮﺍﺋﻂ ﺍﻟﻤﻮﺳﻴﻘﻴﺔ ﺃﺛﻨﺎﻋﻪ ﻭﻟﻜﻦ ﻫﺬﺍ ﺃﺳﻠﻮﺏ ﺑﺴﻴﻂ‬
‫ﺇﻣﺎ ﻟﺰﻳﺎﺩﺓ ﺣﺠﻢ ﺍﻟﻤﻜﻮﻧﺎﺕ ﺍﻟﺼﻮﺗﻴﺔ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻣﻮﺳﻴﻘﻰ ﺗﻌﻠﻴﻖ ﻣﻘﺮﻭء ﻣﺆﺛﺮﺍﺕ‬
‫ﺻﻮﺗﻴﺔ ﺃﻭ ﻻﺣﺘﻴﺎﺝ ﺍﻟﻌﺮﺽ ﻟﺘﺰﺍﻣﻦ ﺩﻗﻴﻖ ﺑﻴﻦ ﻣﻜﻮﻧﺎﺗﻪ ﺍﻟﺼﻮﺗﻴﺔ ﻭﺍﻟﻤﺼﻮﺭﺓ ﺑﺤﻴﺚ ﻳﻠﺰﻡ‬
‫ﺃﻥ ﺗﺴﺠﻞ ﻫﺬﻩ ﺍﻟﺼﻮﺗﻴﺎﺕ ﻋﻠﻰ ﻧﻔﺲ ﺍﻹﺳﻄﻮﺍﻧﺔ ﺍﻟﻤﺴﺠﻞ ﻋﻠﻴﻬﺎ ﺑﺎﻗﻰ ﺃﻧﻮﺍﻉ ﺍﻟﺒﻴﺎﻧﺎﺕ‬
‫ﻭﻟﺘﻨﻔﻴﺬ ﺫﻟﻚ ﻳﻠﺰﻡ ﺍﺳﺘﺨﺪﺍﻡ ﺣﺎﺳﺐ ﻣﺠﻬﺰ ﺑﻮﺻﻠﺔ ﻟﺠﻬﺎﺯ ﻣﻮﺳﻴﻘﻰ ﺭﻗﻤﻰ ‪ DIM‬ﻣﻊ‬
‫ﺍﻟﺒﺮﻧﺎﻣﺞ ﺍﻟﻤﻨﺎﺳﺐ‬
‫ﺍﻟﻤﺘﻌﺪﺩ ﺍﻟﻌﻤﻠﻴﺎﺕ ﺍﻟﺘﺎﻟﻴﺔ‬
‫ﻭﺗﺸﻤﻞ ﻋﻤﻠﻴﺔ ﺇﺿﺎﻓﺔ ﺍﻟﺼﻮﺕ ﻷﺣﺪ ﺗﻄﺒﻴﻘﺎﺕ ﺍﻟﻮﺳﺎﺋﻂ ﺓ‬
‫ﺇﺩﺧﺎﻝ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻟﺼﻮﺗﻴﺔ ﺇﻟﻰ ﺍﻟﺤﺎﺳﺐ ﻭﻗﺪ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﻷﺻﻮﺍﺕ ﻣﺴﺠﻠﺔ ﻋﻠﻰ‬
‫ﻗﻨﺎﺓ ﺻﻮﺗﻴﺔ ﻭﺍﺣﺪﺓ ﺃﻭ ﺃﻛﺜﺮ‬
‫ﺗﺤﻮﻳﻞ ﺍﻹﺷﺎﺭﺍﺕ ﺍﻟﺼﻮﺗﻴﺔ ﺇﻟﻰ ﺇﺷﺎﺭﺍﺕ ﺭﻗﻤﻴﺔ ﻹﻣﻜﺎﻥ ﺗﺨﺰﻳﻨﻬﺎ ﺣﺎﺳﺒﻴﺎ‬
‫ﺍﻝ ﻟﻠﺼﻮﺗﻴﺎﺕ‬
‫ﺗﺨﺰﻳﻦ ﺍﻟﻤﻠﻔﺎﺕ ﺭﻗﻤﻴﺔ‬
‫ﺍﺳﺘﺮﺟﺎﻉ ﺍﻟﻤﻠﻔﺎﺕ‬
‫ﺗﻨﻘﻴﺢ ﺍﻟﻤﻠﻒ ﺑﻤﺎ ﻓﻰ ﺫﻟﻚ ﺇﻣﻜﺎﻥ ﺩﻣﺞ ﺃﻛﺜﺮ ﻣﻦ ﻗﻨﺎﺓ ﺻﻮﺗﻴﺔ ﻓﻰ ﻗﻨﺎﺓ ﻭﺍﺣﺪﺓ‬
‫ﺇﺧﺮﺍﺝ ﺍﻟﺼﻮﺗﻴﺎﺕ ﺍﻟﺠﺪﻳﺪﺓ‬
‫ﻳﻤﻜﻦ ﺭﺑﻂ ﺍﻟﺤﺎﺳﺐ ﻣﻊ ﻭﺣﺪﺓ ﺗﺸﻐﻴﻞ ﺇﺳﻄﻮﺍﻧﺎﺕ ﺿﻮﺋﻴﺔ ﻭﻣﺬﻳﺎﻉ ﻭﻣﺴﺠﻞ‬
‫ﻭﻣﻴﻜﺮﻭﻓﻮﻥ ﻋﻦ ﻃﺮﻳﻖ ﺑﻄﺎﻗﺔ ﺻﻮﺗﻴﺔ ﻭﺍﻟﻤﻨﺘﺠﺎﺕ ﺍﻟﻤﺘﻮﺍﻓﺮﺓ ﺑﺎﻷﺳﻮﺍق ﻻ ﻳﻘﺒﻞ ﺑﻌﻀﻬﺎ‬
‫ﺇﻻ ﺍﻷﺻﻮﺍﺕ ﺍﻟﻤﺴﺠﻠﺔ ﻋﻠﻰ ﻗﻨﺎﺓ ﻭﺍﺣﺪﺓ ﺑﻤﺎ ﻳﻔﺮﺽ ﺃﻥ ﺗﻜﻮﻥ ﺟﻤﻴﻊ ﺍﻟﺼﻮﺗﻴﺎﺕ ﺍﻟﻤﻄﻠﻮﺑﺔ‬
‫ﺍﻹﺳﻂ ﺍﻟﺼﻠﺒﺔ ﻭﺍﻟﺒﻌﺾ ﺍﻵﺧﺮ ﻳﻘﺒﻞ‬
‫ﻣﺴﺠﻠﺔ ﻭﻣﻤﺰﻭﺟﺔ ﻣﻌﺎ ﻗﺒﻞ ﺗﺴﺠﻴﻠﻬﺎ ﻋﻠﻰ ﻭﺍﻧﺔ‬
‫ﺍﻟﺼﻮﺗﻴﺎﺕ ﻣﺴﺠﻠﺔ ﻋﻠﻰ ﻗﻨﺎﺗﻴﻦ ﻣﻨﻔﺼﻠﺘﻴﻦ ﻭﻳﻘﻮﻡ ﺑﻤﺰﺟﻬﺎ ﻣﻌﺎ ﻭﻣﻦ ﻣﻤﻴﺰﺍﺕ ﺩﻣﺞ‬
‫ﻗﻨﺎﺗﻴﻦ ﻟﻠﺼﻮﺕ ﻓﻰ ﻗﻨﺎﺓ ﻭﺍﺣﺪﺓ ﺳﻮﺍء ﻋﻨﺪ ﺍﻟﺘﺴﺠﻴﻞ ﺃﻭ ﺍﻻﺳﺘﻤﺎﻉ ﺗﻮﻓﻴﺮ ﻋﺪﺩ‬
‫ﺍﻟﺘﺠﻬﻴﺰﺍﺕ ﺍﻹﻟﻴﻜﺘﺮﻭﻧﻴﺔ ﺍﻟﺼﻮﺗﻴﺔ ﺍﻟﻼﺯﻣﺔ ﻟﺘﻨﻔﻴﺬ ﻋﻤﻠﻴﺎﺕ ﺍﻹﺩﺧﺎﻝ ﻭﺍﻹﺧﺮﺍﺝ ﺍﻟﺼﻮﺗﻰ‬
‫ﻭﻛﺬﻟﻚ ﺗﻘﻠﻴﻞ ﺣﺠﻢ ﺍﻟﻌﻤﻞ ﻋﻠﻰ ﺍﻟﺤﺎﺳﺐ ﻣﻊ ﺗﻮﻓﻴﺮ ﻣﺴﺎﺣﺎﺕ ﺍﻟﺘﺨﺰﻳﻦ ﻋﻠﻰ ﺍﻟﺤﺎﺳﺐ‬
‫ﻭﻫﻮ ﺃﻫﻢ ﻫﺬﻩ ﺍﻟﻤﺰﺍﻳﺎ‬
‫‪aidemitluM htyM ro ytlaeR nnA reyeM NCM lirpA 1991‬‬
‫‪ehT egasseM fo aidemitluM nemuaM caM suaM NCM lirpA 1991‬‬
‫‪morF oediV ot BGR dna kcab niaga sirhC nahK ECNEDAC lirpA 1991‬‬
‫ﻭﻣﻈﻬﺮﺃ‬ ‫ﻣﻨﺰﻝ ﺭﺳﻰ ﻟﻔﺮﺍﻧﻚ ﻟﻮﻳﺪ ﺭﺍﻳﺖ ﻣﺮﺳﻮﻣﺎ ﺑﺎﻷﺗﻮﻛﺎﺩ‬
‫ﺑﺒﺮﻧﺎﻣﻢ ‪redneR ratS‬‬
‫ﻭﻫﻰ ﺑﻄﺎﻗﺎﺕ ﻣﻨﺘﺠﺔ ﺧﺼﻴﺼﺎ ﻟﺘﺴﻤﺢ ﺑﺘﺒﺎﺩﻝ ﺍﻹﺷﺎﺭﺍﺕ ﺑﻴﻦ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺍﻟﺤﺎﺳﺐ ﻣﺜﻞ‬
‫‪ i‬ﻭﻫﺬﻩ ﺍﻟﺒﻄﺎﻗﺎﺕ ﺫﺍﺕ ﻛﻔﺎﻋﺔ ﻋﺎﻟﻴﺔ ﻭﻟﻜﻦ ﺗﻌﺘﺒﺮ ﻣﻦ‬
‫ﺑﻄﺎﻗﺎﺕ ﺍ ‪agraT atsiV‬‬
‫ﺍﻟﺘﺠﻬﻴﺰﺍﺕ ﺍﻟﻤﻜﻠﻔﺔ ﻭﺍﻟﻨﻮﻉ ﺍﻟﺜﺎﻧﻰ ﻫﻰ ﺑﻄﺎﻗﺎﺕ ‪ AGV‬ﺍ ﻣﻄﻮﺭﺓ ﺑﺤﻴﺚ ﻳﻤﻜﻨﻬﺎ ﺗﺒﺎﺩﻝ‬
‫ﺍﻟﻤﺪﺧﻼﺕ ﻭﺍﻟﻤﺨﺮﺟﺎﺕ ﺑﻴﻦ ﺍﻟﻔﻴﺪﻳﻮﻭﺍﻟﺤﺎﺳﺐ ﻭﺗﺘﻤﻴﺰ ﻫﺬﻩ ﺍﻷﺟﻬﺰﺓ ﺑﺎﻧﺨﻔﺎﺽ ﺳﻌﺮﻫﺎ‬
‫ﺑﺎﻟﻤﻘﺎﺭﻧﺔ ﺑﺒﻄﺎﻗﺎﺕ ﺍﻟﻔﻴﺪﻳﻮ ﺍﻟﻤﺘﺨﺼﺼﺔ ﺇﻻ ﺃﻧﻬﺎ ﻻ ﻳﻤﻜﻨﻬﺎ ﺗﻮﻓﻴﺮ ﻣﺪﻯ ﺍﻷﻟﻮﺍﻥ ﺍﻟﻤﺘﺴﻊ‬
‫ﺍﻟﺬﻯ ﺗﻮﻓﺮﻩ ﺍﻟﺒﻄﺎﻗﺎﺕ ﺍﻟﻤﺘﺨﺼﺼﺔ ﻓﻔﻰ ﺣﻴﻦ ﺗﻮﻓﺮ ﺍﻟﺒﻄﺎﻗﺎﺕ ﺍﻟﻤﺘﺨﺼﺼﺔ ﻗﺎﺋﻤﺔ ﺃﻟﻮﺍﻥ‬
‫‪ A‬ﻣﻠﻴﻮﻥ ﻟﻮﻥ ﻓﺈﻥ ﻣﺎ ﺗﻮﻓﺮﻩ ﺑﻄﺎﻗﺎﺕ ﺍﻭﻝ ﻙ ‪ 7‬ﺍ ﻻﻳﺰﻳﺪ ﻋﻦ‬
‫‪1‬‬ ‫ﺗﺘﺮﺍﻭﺡ ﺑﻴﻦ‬
‫‪ 652‬ﻟﻮﻧﺎ‬
‫ﻭﺑﺎﻟﻄﺒﻊ ﻓﺈﻥ ﺍﺧﺘﻴﺎﺭ ﻧﻮﻉ ﺍﻟﺒﻄﺎﻗﺔ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻳﺘﻮﻗﻒ ﺃﺳﺎﺳﺎ ﻋﻠﻰ ﺍﻟﻤﻴﺰﺍﻧﻴﺔ‬
‫ﺍﻟﻤﺘﺎﺣﺔ ﻭﻋﻠﻰ ﻧﻮﻉ ﺍﻟﺘﻄﺒﻴﻖ ﺍﻟﻤﺴﺘﺨﺪﻡ ﻭﺩﺭﺟﺔ ﺟﻮﺩﺓ ﻭﺩﻗﺔ ﺍﻟﻌﺮﺽ ﺍﻟﻤﻄﻠﻮﺏ‬
‫ﺑﺎﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺘﺠﻬﻴﺰﺍﺕ ﺍﻟﺘﻰ ﺗﺒﺎﺩﻝ ﺍﻟﻤﺨﺮﺟﺎﺕ‬ ‫ﺃﺟﻬﺰﺓ ﺍﻟﺘﺤﻜﻢ‬ ‫‪3‬‬
‫ﻭﺍﻟﻤﺪﺧﻼﺕ ﺑﻴﻦ ﺍﻟﺤﺎﺳﺐ ﺍﻟﻔﻴﺪﻳﻮ ﻓﺴﺘﻮﺍﺟﻪ ﻣﺸﻜﻠﺔ ﻋﺪﻡ ﺍﻟﺘﻮﺍﻓﻖ ﺑﻴﻦ ﺍﻟﻤﻌﺪﻻﺕ ﺍﻟﺘﻰ‬
‫ﺗﻌﻤﻞ ﺑﻬﺎ ﺃﺟﻬﺰﺓ ﺍﻟﺤﺎﺳﺒﺎﺕ ﻣﻊ ﻣﻌﺪﻻﺕ ﺍﻟﻔﻴﺪﻳﻮ ﻓﺎﻟﻜﻤﺒﻴﻮﺗﺮ ﻻ ﻳﻤﻜﻨﻪ ﺗﻮﻟﻴﺪ ﺍﻟﻠﻘﻄﺎﺕ‬
‫ﺑﺎﻟﺴﺮﻋﺔ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻟﻠﺘﺴﺠﻴﻞ ﻭﻫﻨﺎ ﻳﻈﻬﺮ ﺩﻭﺭ ﺃﺟﻬﺰﺓ ﺍﻟﺘﺤﻜﻢ ‪ oediV rellortnoC‬ﺍ ﺍﻟﺘﻰ‬
‫ﺗﺠﻌﻞ ﺟﻬﺎﺯ ﺍﻟﻔﻴﺪﻳﻮ ﻳﺴﺠﻞ ﺍﻟﻠﻘﻄﺎﺕ ﺍﻟﻤﻨﺘﺠﺔ ﻣﻨﻔﺮﺩﺓ ﻟﻘﻄﺔ ﻟﻠﻮ ﻟﻘﻄﺔ ﻭﺑﻤﺠﺮﺩ ﺍﻻﻧﺘﻬﺎء‬
‫ﻣﻨﻬﺎ ﺃﻯ ﺃﻥ ﺩ ﻭﺭ ﻫﺬﻩ ﺍﻷﺟﻬﺰﺓ ﻫﻮ ﺗﻤﻜﻴﻦ ﺍﻟﺤﺎﺳﺒﺎﺕ ﻣﻦ ﺍﻟﺘﺤﻜﻢ ﻓﻰ ﺃﺟﻬﺰﺓ ﺍﻟﻔﻴﺪﻳﻮ‬
‫ﺑﺘﺤﺪﻳﺪ ﺑﺪﺍﻳﺔ ﺍﻟﺘﺴﺠﻴﻞ ﺩﻳﺎﻳﻘﺎﻓﻪ ﺃﺛﻨﺎء ﻋﻤﻞ ﺍﻟﺤﺎﺳﺐ ﻓﻰ ﺗﻮﻟﻴﺪ ﺍﻟﻠﻘﻄﺎﺕ ﺍﻓﻈﻔﺮﺓ‬
‫ﻭﺗﺘﻴﺞ ﻫﺬﻩ ﺍﻷﺟﻬﺰﺓ ﻟﻤﺴﺘﺨﺪﻣﻰ ﻧﻈﻢ ﺍﻟﻮﺳﺎﺋﻂ ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﺇﺟﺮﺍء ﻋﻤﻠﻴﺘﻴﻦ‬
‫ﺃﺳﺎﺳﻴﺘﻴﻦ‬
‫ﺍﻟﺘﻘﺎﻁ ﺻﻮﺭ ﺍﻟﻔﻴﺪﻳﻮ ﻭﺗﺤﻮﻳﻠﻬﺎ ﻣﻦ ﺍﻟﺼﻴﻐﺔ ﺍﻟﻤﺼﻮﺭﺓ ﺍﻷﺻﻠﻴﺔ ﺇﻟﻰ ﺻﻴﻐﺔ‬ ‫‪1‬‬
‫ﻋﻦ ﺍﻟﺤﺎﺟﺔ‬
‫ﺭﻗﻤﻴﺔ ﻳﻤﻜﻦ ﺗﺨﺰﻳﻨﻬﺎ ﻋﻠﻰ ﺍﻹﺳﻄﻮﺍﻧﺎﺕ ﺍﻟﺼﻠﺒﺔ ﻟﻠﺤﺎﺳﺒﺎﺕ ﻻﺳﺘﺨﺮﺍﺟﻬﺎ ﺩ‬
‫ﺇﻟﻴﻬﺎ ﻛﻤﺎ ﻳﻨﺒﻐﻰ ﺃﻥ ﺗﺤﻘﻖ ﻫﺬﻩ ﺍﻷﺟﻬﺰﺓ ﺷﺮﻃﺎ ﺃﺳﺎﺳﻴﺎ ﻟﺘﻄﺒﻴﻘﺎﺕ ﺍﻟﻮﺳﺎﺋﻂ‬
‫ﺍﻟﺘﻮﺿﻴﺤﻴﺔ ﻭﻫﻮ ﺃﻥ ﻳﺘﻢ ﺗﺒﺎﺩﻝ ﺍﻟﺒﻴﺎﻧﺎﺕ ﺍﻟﺨﺎﺻﺔ ﺑﺎﻟﺼﻮﺭ ﻓﻰ ﺯﻣﻦ ﺣﻘﻴﻘﻰﺍ ‪ ii‬ﻥ ﻳﺘﻢ‬
‫ﺇﺧﺮﺍﺝ ﺑﻴﺎﻧﺎﺕ ﺍﻟﺼﻮﺭ ﻓﻰ ﺇﺣﺪﻯ ﺍﻟﺼﻴﻎ ﺍﻟﻘﻴﺎﺳﻴﺔ ﺍﻟﻤﺘﻌﺎﺭﻑ ﻋﻠﻴﻬﺎ ﻭﻳﻌﻨﻰ ﺗﻨﻔﻴﺬ‬
‫ﺍﻟﻌﻤﻠﻴﺎﺕ ﻓﻰ ﺯﻣﻦ ﺣﻘﻴﻘﻰ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﻋﺮﺽ ﻟﻘﻄﺔ ﻣﺼﻮﺭﺓ ﻛﻞ ‪ 03 1‬ﻣﻦ ﺍﻟﺜﺎﻧﻴﺔ ﺑﺤﻴﺚ‬
‫ﺗﺘﻮﺍﻓﻖ ﻣﻊ ﻣﻌﺪﻻﺕ ﺗﻨﺎﺑﻊ ﺍﻟﻠﻘﻄﺎﺕ ﻓﻰ ﺗﺴﺠﻴﻼﺕ ﺍﻟﻔﻴﺪﻳﻮ ﺃﻣﺎ ﺍﻟﺘﻮﺣﻴﺪ ﺍﻟﻘﻴﺎﺳﻰ‬
‫ﻣﻨﻔﺬﺓ ﻓﻰ‬ ‫‪ IIjU‬ﺳﺒﻴﺎ ﻣﻊ ﺻﺪﺭﺓ ﻣﻠﺘﻘﻄﺔ ﺑﺎﻟﻜﺎﻣﻴﺮﺍ‬
‫ﺩﻣﻲ ﺍﻟﺼﻮﺭﺓ ﻋﺎﻟﻴﺔ ‪L‬‬
‫ﻛﺎﻟﻤﻔﺺ‬ ‫ﺟﺎﻣﻌﺔ‬
‫ﺍ ﻟﻤﺼﺎ ﺩﺭ‬
‫‪A‬‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﻟﺴﺎﺩﺓ ﻣﺠﻠﺔ ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬

‫ﻭﺑﻌﺪ‬ ‫ﺍﻟﺴﺜﻢ ﻋﻠﻴﻜﻢ ﻭﺭﺣﻤﺔ ﺍﻟﻠﻪ ﻭﺑﺮﻛﺎﺗﻪ‬
‫ﺇﺷﺘﺮﻙ ﻣﻜﺖ ﺑﻨﺎ ﻣﺆﻣﻦ ﻣﻬﻨﺪﺳﻮﻥ ﺇﺳﺘﺸﺎﺭﻳﺮﻥ ﻓﻰ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺍﻟﺪﺭﻟﻴﺔ ﻟﺘﺼﻌﻴﻢ‬
‫ﻣﻘﺮ ﺑﻨﻚ ﻓﻴﺼﻞ ﺍﻹﺳﻼﻣﻰ ﺑﻤﻴﺪﺍﻥ ﺍﻟﺒﻼء ﺑﺎﻟﻔﺎﻫﺮﺓ ﻭﻧﻮﺩ ﻫﻨﺎ ﺃﻥ ﻧﺸﺎﺭﻙ ﺍﻟﺴﺎﺩﺓ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﻭﺍﻟﻤﺴﺌﻮﻟﻴﻦ ﻋﻦ ﺍﻟﻤﻬﻨﺔ ﺍﻟﺮﺃﻯ ﻓﻴﻤﺎ ﺍﻛﻠﺌﻨﻒ ﻫﺬﺍ ﺍﻟﻤﻮﻓﻖ ‪4‬ﻭ ﻣﻤﻦ ﺃﻣﻮﺭ ﻧﺬﻛﻠﺮ‬
‫ﺟﺎﻧﺒﺎ ﻣﻨﻬﺎ ﻓﻰ ﺍﻟﻨﻘﺎﻁ ﺍﻟﻨﺎﻟﻴﺔ ﺗﺼﻮ ﺑﺎ ﻭﺍﻳﻀﺎﺣﺎ ﻟﻤﻀﺎﻣﻴﻦ ﻣﺎ ﻧﻀﺮ‬
‫ﺃﻋﻠﻦ ﺑﻨﻚ ﻓﻴﺼﻞ ﺍﻹﺳﺜﻤﻰ ﻋﻦ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺍﻟﺪﺭﻟﻴﺔ ﻳﻢ ‪ 2 0‬ﻟﻢ‪ 9891 2‬ﻡ‬ ‫‪1‬‬
‫ﻭﻃﻠﺐ ﻣﻦ ﺍﻟﻤﺘﺴﺎﺑﻘﻴﻦ ﺗﻘﺪﻳﻢ ﺳﺎﺑﻘﺔ ﺍﻟﻀﺒﺮﺓ ﻟﻤﺸﺎﻭﺭﻳﻪ ﺍﻟﻤﺒﻤﻮﻋﺔ ﺍﻻﺳﺜﻤﻴﺔ ﺃﺏ ﺍﻥ‬
‫‪ 91 A‬ﻡ ﻭﺗﻘﺪﻡ ﻧﺤﻮ ‪ 2 0‬ﺑﻴﺘﺎ ﺇﺳﺘﺸﺎﺭﻳﺄ‬
‫ﺇﺳﻴﻚ ‪ NAP CIMALSI‬ﻳﻮﻡ ‪M‬‬
‫‪r‬‬
‫ﻋﺸﺮﺓ ﻣﻨﻬﻢ ﻓﻘﻂ ﻫﻢ ﺍﻟﺬﻳﻦ ﺗﻨﺎﻓﺴﻮﺍ ﻓﻰ ﻫﺬ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻭﻓﺪﻣﻮﺍ ﺩﺭﺍﺳﺎﺗﻬﻢ ﻭﻣﻔﻄﻄﺎﺗﻬﻢ‬
‫ﻭﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﻤﺠﺴﻤﺔ ﺍﻟﺘﻰ ﺍﺷﺘﺮﻃﻮﺍ ﺇﻧﻤﺎﺯﻫﺎ ﻣﻊ ﺑﺎﻓﻰ ﺍﻟﻤﺴﺘﻨﺪﺍﺕ‬
‫‪ 2‬ﻓﺪﻣﺖ ﻛﺮﺍﺳﺔ ﺍﻟﺸﻤﺮﻭﻁ ﺍﻷﻭﻟﻰ ﻟﻠﻤﺘﻤﻤﺎﺑﻘﻴﻦ ﻓﺎﻋﺘﺮﺿﻮﺍ ﻋﻠﻰ ﻣﺎﺣﻮﺗﻪ ﻫﻦ‬
‫ﺗﻨﺎﻓﻀﺎﺕ ﺇﺿﻄﺮﺕ ﺑﻌﺪﻫﺎ ﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻹﺳﻤﻴﺔ ﺍﻹﺳﺘﻀﺎﻭﻳﺔ ﺇﻟﻰ ﺳﺤﺒﻬﺎ ﻳﻮﻡ‬
‫ﻝ ﻛﺮﺍﺳﺔ ﺷﺮﻭﻁ ﺃﺧﺮﻯ ﻣﻄﻬﺎ ﻭﻳﺎﻟﺘﺎﻟﻰ ﺗﺎﺟﻞ ﻣﻮﺱ ﺍﻟﺘﺴﻠﻲ ﻡ‬ ‫‪ 9891 11 02‬ﻡ ﻭ‬
‫‪ 0991 8‬ﻡ ﻭﺻﻌﻬﺎ ﻣﺠﺴﻢ ﺟﺪﻳﺪ ﻟﻠﻤﺸﺮﻭﻉ ﺍﻟﻤﻌﺪﻝ ﻭﺍﻟﻠﻮﺣﺎﺕ ﻭﺍﻟﺨﺮﺍﺋﻂ‬ ‫ﻯ ‪1‬‬ ‫‪ i‬ﻡ ﺇﻟﻰ ‪ 1‬ﻡ‬
‫‪M‬‬
‫‪Y‬‬
‫ﺍﻟﻤﻌﺪﻻ ﺃ ﺃﻥ ﺍﻟﻤﺤﻤﺎﺑﻘﺔ ﺗﻌﺎﺩ ﻟﻠﻤﺮﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻭﺩ ﻭﻥ ﺃﻯ ﺗﻌﻮﻳﺾ ﻟﻼﺳﺘﺸﺎﺭﻳﻴﻦ‬ ‫‪ 3‬ﺧﻠﺖ ﻛﺮﺍﺳﺘﺎ ﺍﻟﺸﺮﻭﻁ ﺍﻵﻭﻟﻰ ﻭﺍﻟﺜﺎﻧﻴﺔ ﻣﻦ ﺫﻛﺮ ﺃﺳﻤﺎء ﺍﻟﻤﺤﻜﻴﻦ ﺿﺪ ﻟﻤﺎ‬
‫‪ 1‬ﻓﺮﺿﺌﻨﺎ ﺑﺮﺳﺎﻟﺴﺔ ﻣﻦ ﻣﻜﺘﺐ ﺍﻹﺳﺘﺸﺎﺭﻯ ‪DETAR NOC‬ﻟﺤﻜﻬـﺤﻢ‬ ‫ﺗﻨﺺ ﻋﻠﻴﻪ ﻗﻮﺍﻋﺪ ﺍﻹﺗﺤﺎﺩ ﺍﻟﺪﻟﻖ ﻣﺴﺎﺭﻳﻴﻦ ‪ CIDH‬ﻣﻦ ﻭﺑﻮﺏ ﺇﻩ ﻥ ﺃﺿﺎء ﻟﺒﻨﺔ‬
‫‪ SNOIIA‬ﻭﻫﺤﺮﺭﺓ ﺑﺎﻹﻧﺒﻴﻴﺰﻳﺔ ﻳﻄﻠﺐ ﻓﻴﻬﺎ‬
‫‪tUS‬‬ ‫ﺍﻟﺘﻤﻜﻴﻢ ﻣﻊ ﺑﺎﻓﻰ ﺷﺮﻭﻁ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻷﺳﺒﺎﺏ ﻻﺕ ﻓﻰ ﻋﻠﻰ ﺃ ﺩ ﻃﺎ ﻟﻠﻄﻤﻠﻴﻨﺎ ﻟﻰ‬
‫‪1 LATOT NO1ICURTSNOC NOITAMITSE‬‬
‫‪S‬‬ ‫‪ FO‬ﻋﺜﻤﺎ‬ ‫ﻻ ﺍ ‪ 4‬ﻛﺪﻫﻢ ‪ 3‬ﻳﻪ‬ ‫ﻱﻳﻬﻌﻬـﻬﻤﺤﻊ ‪ONITRATS‬‬
‫ﻧﻔﻮﺱ ﺍﻟﻤﺘﺴﺎﺑﻘﻴﻦ ﺃﻥ ﻋﻤﺪﻫﻢ ﻭﺗﻘﻴﻴﻤﻬﻢ ﺳﻮﺕ ﻳﻘﻮﻡ ﺑﻪ ﻗﻀﺎﺓ ﻩ ﻭﻻ ﻻﺗﻀﺘﻞ ﻓﻰ‬
‫ﻳﻲ‬ ‫‪ TNATLUSNOC‬ﻋﻢ‬ ‫ﻭﻝ ﺭ‬ ‫ﻡ ‪REVO FO‬‬ ‫ﻃﺎ‬ ‫ﺭ‬ ‫ﺃﻳﺪﻳﻬﻢ ﺍﻟﻤﻮﺍﺯﻳﻦ‬
‫ﻷ ‪ NO PO‬ﻃﻤﺼﺺ ‪3 DESOPORP EMIT FO‬‬ ‫ﺱ‬ ‫ﻭﻗﺪ ﺃﺛﻴﺮﺕ ﻫﺬ ﺍﻟﻨﻘﻄﺔ ﺿﻤﻦ ﺃﺳﻨﻠﺔ ﺍﻻﺳﺘﺸﺎﺭﻳﻴﻦ ﺍﻟﺘﻰ ﺃﺑﻲ ﺏ ﻃﻴﻬﺎ ﺑﺮﺻﺎﻟﺔ‬
‫‪ NO‬ﺳﻜﻌﻢ‬
‫ﻣﻮﻗﻌﺔ ﻣﻦ ﺍﻟﻤﻬﻨﺪﺱ ﻋﺒﺪ ﺍﻟﻌﺮﻳﺰ ﻋﻴﺴﻰ ﻳﻮﻡ ‪ 9891 11 02‬ﻡ ﻧﺤﻤﻬﺎ ﻣﺎﻳﻠﻲ‬
‫‪4‬‬ ‫ﺱ ‪ POS AP‬ﺳﺜﻢ‬ ‫‪PO EhT LATOT SEEF ROF NGISED‬‬ ‫‪CNIUSSI‬‬
‫ﺙ‬ ‫ﺩﺣﻢ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻷﺳﻤﺎءﻟﺠﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﻟﻠﻤﺸﻮﻭﻉ ﻓﺈﻥ ﺍﻟﺒﻨﻚ ﻭﺍﻟﻤﺒﻤﻮﻋﺔ ﺍﻻﺳﺪﻳﺔ‬
‫ﺍﻻﺳﺘﺸﺎﺭﻳﺔ ﺍﻟﺪﻭﻟﻴﺔ ﺻﺮﻳﺼﺎﻥ ﻋﻠﻲ ﺃﻥ ﺗﻀﻢ ﻫﺬ ﺍﻟﻠﺠﻨﺔ ﺃﻋﻠﻰ ﺍﻟﺖ ﻣﺼﺼﺎﺕ ﺍﻟﻔﻨﻴﺔ‬
‫‪ 7‬ﺃﻣﺪﺙ ﻭﺹ ﺗﻠﻚ ﺍﻟﺮﺳﺎﻟﺔ ﺗﺴﺎﺭﻻﺕ ﻋﺪﺓ ﻭﻫﻞ ﻫﺬﺍ ﻣﻌﻨﺎ ﺃﻥ ﻣﻜﺘﺐ ﺡ ﺍ ﻗﺪ‬
‫ﻭﺍﻟﻤﺘﻤﺸﻴﺔ ﻣﻊ ﺃﺣﺪﺙ ﺍﻟﻨﻈﻢ ﺍﻟﻌﺎﻟﻤﻴﺔ ﻭﺳﻮﻑ ﻧﺨﻄﺮﻛﻢ ﻓﻰ ﻳﺪﻩ ﻋﻨﺪ ﺍﻻﻧﺘﻬﺎ ﻣﻦ ﺗﺸﻜﺌﻞ‬
‫‪ SI‬ﻭﻟﻤﺎﺫﺍ ﻫﺬﺍ ﺍﻟﺘﻐﺘﻴﺮﻓﻰ ﺍﻟﻤﺮ ﻟﺔ ﺍﻟﻔﺎﺻﻠﺔ‬
‫ﻣﻤﺄ ‪NAP‬‬ ‫ﻁ ﻣﻤﻞ ﻣﺪ ﺭﻯ ﺍﻟﺒﻨﻚ ﺱ‬ ‫ﻫﺬ ‪ 01‬ﻟﻠﺠﻨﺔ‬
‫ﻟﻰﺍﺫﺍ ﻛﺎﻥ ﺃﺣﺪ ﺃﻋﻀﺎء ﻟﺠﻨﺔ ﺍﻟﺘﺨﻜﻴﻢ ﻫﻮ‬ ‫ﻓﻰ ﺍﻟﺘﺤﻜﻴﻢ ﺑﻴﻦ ﺍﻟﻤﺘﺴﺎﺑﻘﻴﻦ ﺍﻟﺜﺪﻷ‬ ‫‪ 4‬ﺃﺑﻠﻐﺘﻨﺎ ﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻹﺳﺘﺸﺎﺭﻳﺔ ﺑﺎﻥ ﺇﺳﺼﻴﻞ ﻫﺎﺗﻔﻴﺎ ﻳﻮﻡ ‪ 1‬ﺭ ‪ 91 AI‬ﻡ‬
‫ﺳﺎﺣﺐ ﻫﺬﺍ ﺍﻟﻤﻜﺘﺐ ﻓﻬﻞ ﻳﺠﻮﺯ ﻟﻪ ﺍﻟﻘﻴﺎﻡ ﺑﺘﻠﻠﺪ ﺍﻟﻤﻬﻤﺔ ﻓﻰ ﻭﺿﻊ ﻣﺤﺪﺩﺍﺕ ﻭﺷﺮﻭﻁ‬
‫ﺃﻥ ﻟﺠﻦ ﺍﻟﻤﺤﻜﻤﻴﻦ ﻓﻰ ﻣﺸﺮﻭﻉ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻫﻢ‬
‫ﺑﺪﻳﺪﺓ ﺛﻢ ﻳﺘﻮﻟﻰ ﻫﺮ ﺇﺻﺪﺍﺭ ﺣﻜﻤﻪ ﻓﻴﻬﺎ‬
‫ﻟﻪ ﻭﻫﻮ ﻣﻔﺈﻭﻝ‬ ‫ﺍﻟﺸﻴﺦ ﺍﻟﻤﻬﻨﺪﺱ ﺣﻴﺪﺭ ﺑﻦ ﻻﺩﻥ ﻋﻀﻮ ﻣﺒﻠﺺ ﺇﺩﺍﺭﺓ ﺍ‬
‫ﺃﻣﺎ ﻟﻤﺎﺫﺍ ﻟﻢ ﻗﻌﻠﻦ ﻧﺘﺎﺋﺞ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻓﻲ ﺍﻟﺼﺤﻒ ﻛﻤﺎ ﺟﺮﻯ ﺍﻟﻌﺮﻑ ﻋﻠﻰ‬ ‫ﺳﻌﻮﺩﻯ ﻣﻌﺮﻭﻑ‬
‫ﺫﻟﻚ ﻓﻬﻮ ﺃﻣﺮ ﻳﺪﻋﻮ ﻟﻠﺤﻲ ﺭﻩ ﻃﺎﺫﺍ ﻟﻢ ﺗﻌﺮﺽ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﻔﺎﻧﺰﺓ ﻓﻰ ﻣﻌﺮﺽ ﻣﻔﺘﻮﺡ‬ ‫ﺍﻟﻠﻮﺍء ﺣﺴﻦ ﺃﻧﻮﺭ ﻋﻀﻮ ﻣﻢ ﻟﻘﻰ ﺍﺩﺍﺭﺓ ﺍﻟﺒﻨﻚ ﻭﻫﻮ ﻣﻬﻨﺪﺱ ﻣﻌﻤﺎﻯ‬
‫ﻟﻴﺮﻯ ﺍﻟﻤﻌﻤﺎﺭﻳﻮﻥ ﺍﻟﻤﻬﻮﺩ ﺍﻟﺘﻰ ﺑﺬﻟﺖ ﻓﻰ ﺇﻋﺪﺍﺩ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺍﻟﺪﺭﻟﻴﺔ ﺩ ﻟﻰ ﺍﻟﻤﻤﺘﺼﻮﻥ‬
‫ﻭﺻﺎﺣﺐ ﻣﻜﺘﺐ ﻫﻨﺪﺳﻰ ‪DETAR SNOITALUSNOC‬ﻟﺤﻚ ﻱ ﻫـ‬
‫ﻧﻘﺪﻫﺎ ﺍﻟﻔﻨﻰ ‪ 11‬ﻟﺒﻨﺎءﺇ ﺇ ﻹﺛﺮﺍء ﺍﻟﻔﻜﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﺑﻤﺰﻳﺪ ﻣﻦ ﺍﻟﻌﻄﺎء‬
‫ﺍﻷﺳﺘﺎﺫ ﻣﺤﻤﺪ ﻣﺼﻄﻔﻰ ﻋﻠﻰ ﻛﺎﻣﻞ ﻣﺴﺎﻣﺪ ﺍﻟﺮﻧﻴﺲ ﺍﻟﺘﻨﻔﻴﺬﻯ‬
‫ﻫﺬ ﺍﻷﺳﺘﻠﺔ ﺗﻔﺘﻘﺪ ﺍﻹﺟﺎﺑﺔ ﺣﺘﻰ ﺍﻷﻥ ﻭﺍﺣﺴﺐ ﺃﻥ ﻛﻼ ﻣﻦ ﺍﻷﻃﺮﺍﻑ ﺍﻟﻤﻌﻨﻴﺔ ﺑﻨﻚ‬
‫ﻭﻫﻢ ﻳﻤﺘﻠﻮﻥ ﺻﺎﻧﺐ ﺍﻟﺒﻨﻚ ﺻﺎﺣﺐ ﺍﻟﻤﺸﺮﻭﻉ ﺃﻣﺎ ﺍﻟﺠﻮﺍﻧﺐ ﺍﻟﻤﻌﺤﺎﺭﻧﺔ ﻓﻴﺘﻮﻻﻫﺎ ﻛﻞ‬
‫ﺃ‬ ‫ﻓﻴﺼﻞ ﻭﻣﺪﺍﻭﺭﻳﻪ ﺍﻷﺻﻴﻞ ‪ NAP CIMALSI‬ﻭﺍﻟﺒﺪﻳﻞ ‪ DETARG‬ﺭ‬
‫‪ SNOItALOSNOC‬ﻓﻰ ﻣﺮﺍﺣﻞ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺍﻷﺻﻠﻴﺔ ﻭﻓﻰ ﻣﺮﺍﺣﻞ ﺍﻟﺘﺤﻜﻴﻢ ﺍﻟﺜﺎﻧﻴﺔ ﻫﻢ‬
‫ﺍﻟﺴﻴﺪ ﺍﻟﻤﻬﻨﺪﺱ ﻳﻮﺳﻒ ﺷﻔﻴﻖ ﺍﻷﺳﺘﺎﺫ ﺍﻟﻤﺘﻔﺮﻍ ﺑﺒﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ‬
‫ﻭﻫﺪﺩﻡ ﺍﻟﻔﺎﺩﺭﻭﻥ ﻋﻠﻰ ﺍﻟﺮﺩ ﻳﺴﺎﻟﻮﻧﻚ ﻣﺘﻰ ﻫﻮ ﻓﻞ ﻣﻰ ﺃﻥ ﻳﻜﻮﻥ ﻗﺮﻳﺒﺎ‬ ‫ﺍﻟﺴﻴﺪ ﺍﻟﻤﻬﻨﺪﺱ ﻋﻠﻰ ﻧﻮﺭ ﺍﻟﺪﻳﻦ ﻧﺼﺎﺭ ﺍﻟﺮﻧﻴﻊ ﺍﻷﺻﺒﻖ ﻟﺸﺮﻛﺔ ﺍﻟﺘﻌﻤﻴﺮ‬
‫ﻭﺍﻟﻤﺴﺎﻛﻦ ﺍﻟﺸﻌﺒﻴﺔ‬
‫ﺑﻴﺖ ﺍﻟﻔﺒﺮﺓ‬
‫ﻣﻮﻣﻦ ﻣﻬﻨﺪﺳﻮﻥ ﺓ ﺳﺘﺸﺎ ﺭﻳﻮﻥ‬
‫‪ 5‬ﺃﺧﻄﺮﻧﺎ ﻣﺴﻤﺎﻋﺪ ﺍﻟﺮﻧﻴﺲ ﺍﻟﺘﻨﻔﻴﺬﻯ ﻟﻠﺒﻨﻚ ﻳﻮﻡ ‪ 0991 5 22‬ﻡ ﺍﻋﺘﺒﺎﺭ‬
‫ﺩ ﻣﺼﻄﻔﻰ ﻣﺆﻣﻦ‬
‫ﺍﻟﻤﺸﺮﻭﻉ ﺍﻟﻤﻘﺪﻡ ﻣﻨﺎ ﻫﻮ ﺃﺣﺪ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﺜﺔ ﺍﻟﻤﺮﺷﺤﺔ ﻟﻠﻔﻮﺯ ﺑﺎﻟﻤﺴﺎﺑﻘﺔ ﺑﻌﺪ ﻋﻤﻞ‬
‫ﺍﻟﺘﻌﺪﻟﺠﺖ ﺍﻟﺘﻰ ﻻﺣﻈﺘﻬﺎ ﻫﻴﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﻭ ﺣﺪﺩﺕ ﻟﻠﺜﺖ ﺍﻷﻭﺍﻧﻞ ﻟﺘﻘﺪﻳﻢ ﺗﻠﻚ ﺍﻟﺘﻌﺪﺟﺖ‬
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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺍﻟﻤﻴﺰﺍﻧﻴﻦ ﻳﺨﺼﺺ ﻟﻠﺨﺰﺍﻧﻦ ﺍﻟﺮﻧﻴﺴﻴﺔ ﻟﻠﺒﻨﻚ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻠﺨﺰﺍﻧﻦ ﺍﻟﻤﻮﺟﺮﺓ‬ ‫ﻋﺖ ﺇﺩﺍﺭ ﺑﻨﻚ ﻓﻨﺎﺓ ﺍﻟﺴﻮﺷﻰ ﺇﻟﻰ ﻣﺴﺎﺑﻘﺔ ﻣﺤﺪﻭﺩﺓ ﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻘﺮ ﺍﻟﺮﻧﻴﺴﻰ ﻟﻠﺒﻨﻚ‬
‫ﺩﻭﺭﺍﻥ ﻟﻤﻜﺎﺗﺐ ﺍﻟﻔﺮﻉ ﺍﻟﺮﺋﻴﺴﻨﻰ ﻟﻠﺒﻨﻚ ﻭﻣﻜﺘﺐ ﻣﺪﻳﺮ ﺍﻟﻔﺮﻉ ﻭﻏﺮﻑ ﺍﺟﺘﻤﺎﻋﺎﺕ‬ ‫ﺑﺎﻟﻘﺎﻫﺮﺓ ﻭﺗﻢ ﺍﺧﺘﻴﺎﺭ ﺛﻤﺎﻥ ﻣﻜﺎﺗﺐ ﻟﻼﺷﻔﺮﺍﻙ ﻓﻰ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺑﻌﺪ ﺗﻘﺪﻳﻢ ﺳﺎﺑﻖ‬
‫ﺑﻤﺴﺎﺣﺎﺕ ﻣﺨﻠﻠﻔﺔ ﻟﻼﺟﺘﻤﺎﻉ ﺑﺎﻟﻌﻤﻼء ﻭﻛﺎﻓﺘﻴﺮﻳﺎ ﺻﻐﻴﺮﺓ ﻟﺨﺪﻣﺔ ﺍﻟﻔﺮﻉ‬ ‫ﺧﺒﺮﺍ ﺗﻬﺎ‬
‫ﻣﻜﺘﺐ ﺃﻧﺘﺮﻛﻮﻧﺴﻠﺖ ﺩ ﻋﻠﻰ ﺭﺃﻓﺖ‬ ‫‪1‬‬
‫ﻟﻤﻜﺎﺗﺐ ﺍﻹ ﺍﺭﺓ ﺍﻟﻌﻠﻴﺎ ﺑﻬﺎ ﻏﺮﻑ ﻟﻠﺴﻜﺮﺗﺎﺭﻳﺔ ﻭﻏﺮﻑ ﺍﺟﺘﻤﺎﻋﺎﺕ‬ ‫ﺩﻭﺭ ﻛﺎﻣﻞ‬
‫ﺍﻟﻤﻬﻨﺪﺳﻮﻥ ﺍ ﻻﺳﺘﺸﺎﺭﻳﻮﻥ ﺍﻟﻤﺼﺮﻳﻮﻥ‬ ‫‪2‬‬
‫ﺻﻐﻴﺮﺓ ﺃﻭ ﻗﺎﻋﺔ ﺍﺟﺘﻤﺎﻋﺎﺕ ﻟﻤﺠﻠﺲ ﺇﺩﺍﺭﺓ ﺍﻟﺒﻨﻚ‬
‫‪ 3‬ﻣﻜﺘﺐ ﺳﺒﻴﺲ ﺩ ﻣﺪﺣﺖ ﺩﺭﺓ‬
‫ﺃﺩﻭﺍﺭ ﺫﺍﺕ ﻣﺴﻘﻂ ﻣﻔﺘﻮﺡ ﻹﺩﺍﺭﺍﺕ ﺍﻟﻤﺮﻛﺰ ﺍﻟﺮﺋﻴﺴﻰ ﻟﻠﺒﻨﻚ ﻭﺑﻜﻞ ﺩ ﻭﺭ ﻛﺎﻓﺘﻴﺮﻳﺎ‬
‫ﺍﻟﻤﻜﺘﺐ ﺍﻟﻬﻨﺪﺳﻰ ﺍﻻﺳﺘﺸﺎﺭﻯ ﻟﻠﺘﺨﻌﻠﻴﻂ ﻭﺍﻟﻌﻌﺎﺭﺓ ﺩ ﻣﺤﻤﺪ ﺃﺣﻤﺪ ﻋﺒﺪﺍﻟﻠﻪ‬ ‫‪4‬‬
‫ﺻﻐﺒﺮﺓ‬
‫ﺍﻟﻤﻜﺘﺐ ﺍﻟﻬﻨﺪﺳﻰ ﺍﻻﺳﺘﺸﺎﺭﻯ ﺻﺒﻮﺭ‬ ‫‪5‬‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ ﻣﻐﻞ ﻗﺎﻋﺔ ﺳﻴﻨﻤﺎ ﻭﺍﺟﺘﻤﺎﻋﺎﺕ ﻭﻣﻜﺜﺒﺔ ﻭﻋﻴﺎﺩﺓ‬ ‫ﺟﻤﺎﻋﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ ﺍ ﻻﺳﺘﺸﺎﺭﻳﻴﻦ‬ ‫‪6‬‬
‫ﻃﺒﻴﺔ ﻭﻣﺼﻠﻰ ﻭﺍﺳﺘﺮﺍﺣﺎﺕ ﻭﻛﺎﻓﺘﻴﺮﻳﺎ ﻋﺎﻣﺔ ﺑﺎﻟﻤﺒﻨﻰ ﻭﺣﺠﺮﺍﺕ ﻟﻠﻤﻘﺎﺑﻼﺕ ﺃﻭ‬ ‫ﺍﻟﻤﻜﺘﺐ ﺍﻻﺳﺘﺸﺎﺭﻯ ﻟﻠﺘﺨﻄﻴﻂ ﻭﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﻌﻌﺮﺍﻧﻴﺔ ﺩ ﻋﺒﺪﺍﻟﻠﻪ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ‬ ‫‪7‬‬
‫ﻟﺤﺠﺘﻤﺎﻋﺎﺕ ﺍﻟﺼﻐﻴﺮﺓ ﺑﻜﻞ ﺩﻭﺭ ﻭﻣﻜﺎﻥ ﻟﻼﺳﺘﻌﻼﻣﺎﺕ ﻭﺍﻷﻣﻦ ﺑﻤﺪﺧﻞ ﺍﻟﻤﺒﻨﻰ‬ ‫‪ 8‬ﺍﻟﺒﻨﻚ ﺍﻻﺳﺘﺸﺎﺭﻯ ﺍﻟﻌﺮﺑﻰ ﺍﻟﺤﻮﻟﻰ ﺃﺭﻳﻜﻮﻥ‬
‫ﻭﺣﺪﺩﺕ ﻛﺮﺍﺳﺔ ﺍﻟﺸﺮﻭﻁ ﺛﻼﺙ ﺟﻮﺍﻧﺰ ﺭﻧﻴﺴﻴﺔ ﻟﻠﻤﺘﺴﺎﺑﻘﻴﻦ ﻣﻊ ﺛﻼﺛﺔ ﺟﻮﺍﻧﺰ‬ ‫ﺍﻟﺘﻰ ﺃﻋﺪﻫﺎ ﺍﻟﺒﻨﻚ ﺑﺎﻻﺳﺘﻌﺎﻧﺔ ﺑﻬﻴﻨﺔ ﻗﻨﺎﺓ ﺍﻟﺴﻮﺷﻰ‬ ‫ﺍﺻﺘﻮﺕ ﻛﺮﺍﺳﺔ ﺍﻟﺸﺮﻭﻁ‬
‫ﺗﺸﺠﻴﻌﻴﺔ ﻭﻟﻢ ﺗﺬﻛﺮ ﺍﻟﻜﺮﺍﺳﺔ ﺃﺳﻤﺎء ﺃﻋﻀﺎء ﻟﺠﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﺣﻴﺚ ﺃﺷﺎﺭﺕ ﺇﻟﻰ ﺃﻧﻪ ﺳﻴﺘﻢ‬ ‫ﺳﺮﺩﺍ ﻟﻌﻨﺎﺻﺮ ﺍﻟﺒﺮﻧﺎﻣﺞ ﻭﺗﻮﺯﻳﻌﻬﺎ ﻋﻠﻰ ﺍﻷﺩﻭﺍﺭ ﺣﻴﺚ ﺗﻄﻠﺐ ﺍﻟﺒﺮﻧﺎﻣﺞ ﺗﻘﺴﻴﻢ ﺍﻟﻤﺒﻨﻰ‬
‫ﻻﺣﻘﺄﺗﺸﻜﻴﻞ ﻫﺬﻩ ﺍﻟﻠﺠﻨﺔ ﻣﻦ ﻏﻴﺮ ﺍﻟﻤﺘﺴﺎﺑﻘﻴﻦ ﻓﻴﻬﺎ‬ ‫ﺇﻟﻰ ﺟﺰﻧﻴﻦ ﺍﻷﺩ ﻳﺨﺼﺺ ﻛﻤﻘﺮ ﻟﻠﺒﻨﻚ ﻭﺍﻟﺜﺎﻧﻰ ﻳﺨﺼﺺ ﻛﻤﻜﺎﺗﺐ ﺍﺳﺘﺸﺎﺭﻳﺔ ﻋﻠﻰ‬
‫ﺍﺟﺘﻤﻌﺖ ﻟﺠﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﺑﻌﺪ ﺗﻘﺪﻳﻢ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﻭﺃﻋﻠﻨﺖ ﺃﻥ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺘﻰ ﻗﺪﻣﺖ‬ ‫ﺃﻥ ﺗﺘﺮﻙ ﻋﻤﻠﻴﺔ ﺗﺤﺪﻳﺪ ﺍﻟﻤﺴﻄﺤﺎﺕ ﻭﻋﺪﺩ ﺍﻷﺩﻭﺍﺭ ﻓﻰ ﻛﻼ ﺍﻟﻘﺴﻤﻴﻦ ﻟﻠﻤﺘﺴﺎﺑﻘﻴﻦ ﺣﺴﺒﻤﺎ‬
‫ﻭﻟﺬﺍ ﺗﻘﺮﺭ ﺇﻋﺎﺩﺓ ﺍﻟﺘﺴﺎﺑﻖ ﺑﻴﻦ‬ ‫ﻻ ﻳﺮﻗﻰ ﺃﻯ ﻣﻨﻬﺎ ﻻﻳﻔﺎء ﺍﻟﻤﻌﺎﻳﻴﺮ ﺍﻟﺘﻰ ﺣﺪﺩﺗﻬﺎ ﻟﻠﺘﻘﻴﻴﻢ‬ ‫ﺗﺴﻤﺢ ﺑﻪ ﺍﻻﺭﺗﻔﺎﻋﺎﺕ ﺍﻟﻤﺤﺪﺩﺓ ﻓﺎﻧﻮﻧﺎ ﺳﺮﺽ‬
‫ﺃﺭﺑﻌﺔ ﻣﺸﺎﺭﻛﻴﻦ ﺍﺧﺘﻴﺮﻭﺍ ﻛﺮﺏ ﺍﻟﻤﺘﺴﺎﺑﻘﻴﻦ ﺗﺤﻘﻴﻘﺄ ﻟﻠﻤﻌﺎﻳﻴﺮ ﺍﻟﺘﻰ ﺣﺪﺩﺗﻬﺎ ﻟﺠﻨﺔ‬ ‫ﺍﺷﺘﻤﻞ ﺍﻟﺒﺮﻧﺎﻣﺞ ﺍﻟﺨﺎﺹ ﺑﺎﻟﺒﻨﻚ ﻋﻠﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺎﻟﻴﺔ‬
‫ﺍﻟﺘﺤﻜﻴﻢ ﻟﻠﺘﻘﻴﻴﻢ ﻭﻫﺬﻩ ﺍﻟﻤﻜﺎﺗﺐ ﻫﻰ ﺍﻟﻤﻜﺘﺐ ﺍﻻﺳﺘﺸﺎﺭﻯ ﻟﻠﺘﺨﻄﻴﻂ ﻭﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬ ‫ﻟﻮﺭ ﺃﻭ ﺃﻛﻘﺮ ﻳﺨﺼﺺ ﻛﺠﺮﺍﺝ ﻟﺴﻴﺎﺭﺍﺕ ﻣﻮﻇﻔﻰ ﺍﻟﺒﻨﻚ ﻭﺳﻜﺎﻥ‬ ‫ﺍﻟﺒﺪﺭﺩﻡ‬
‫ﻭﻣﻜﺘﺐ ﺃﻧﺘﺮﻛﻮﻧﺴﻠﺖ ﻭﺍﻟﻤﻬﻨﺪﺳﻮﻥ ﺍ ﻻﺳﺘﺸﺎﺭﻳﻮﻥ ﺍﻟﻤﺼﺮﻳﻮﻥ ﻭﺟﻤﺎ ﻋﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ‬ ‫ﺍﻟﺒﺰ ﺍﻻﺳﺘﺜﻤﺎﺭﻯ‬

‫ﺍ ﻻﺳﺘﺸﺎ ﺭﻳﻴﻴﻦ‬ ‫ﺍﻟﺪ ﺭ ﺍﻷﺭﺿﻰ ﻳﻀﻢ ﺻﺎﻟﺔ ﺍﺳﺘﻘﺒﺎﻝ ﺍﻟﻌﻤﻼء ﻭﺍﻟﻤﻌﺎﻣﻼﺕ ﺍﻟﻤﺼﺮﻓﻴﺔ‬
‫ﻭﻣﺮﺍﺟﻌﺔ ﺍﻟﻤﻌﺎﺕ ﻭﻏﺮﻑ ﻟﻤﺪﻳﺮ ﺍﻷﻓﺴﺎﻡ ﻭﺍﻟﻤﺮﺍﺟﻌﺔ ﺑﺎ ﻹﺿﺎﻓﺔ ﻟﻐﺮﻑ ﻧﻮﺍﺏ ﺍﻟﻤﺪﻳﺮ‬
‫ﻗﺎﻣﺖ ﻟﺠﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﺍﻟﺘﻰ ﺗﻜﻮﻧﺖ ﻣﻦ ﻣﻬﻨﺪﺱ ﻣﺤﻤﺪ ﻋﺰﺕ ﻋﺎﺩﻝ ﺭﻧﻴﺲ ﻫﻴﻨﺔ‬
‫ﻭﻣﺴﺎﻋﺪﻳﻪ‬
‫ﻗﻨﺎﺓ ﺍﻟﺴﻮﺵ ﻭﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﻳﺤﻴﻰ ﺍﻟﺰﻳﻨﻰ ﺭﺋﻴﺲ ﻟﺠﻨﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺑﺎﻟﻤﺠﻠﺲ ﺍﻷﻋﻠﻰ‬

‫ﺳﻤﻘﻂ ﺃﻓﻘﻰ ﺩﻫـﺪ ﺍﻟﺒﺪﺭﻭﻡ ﺍﻟﻤﺎﺋﺰﺓ ﺍﻷﻭﻟﻰ‬ ‫ﺳﻤﻘﻂ ﺃﻓﻘﻰ ﺍﻟﻤﺮﺭ ﺍﻟﺮﺍﺑﻊ ﺍﻟﻬﺎﺋﺰﺓ ﺍﻷﻭﻟﻰ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻃﺎﻉ ﻋﺮﺽ ﺍﻟﺒﺎﻧﺰﺓ ﺍﻷﻭﻟﻰ‬

‫ﻟﻠﺜﻘﺎﻓﺔ ﻭﺍﻷﺳﻨﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﻣﺤﻤﺪ ﺳﺎﻣﻰ ﺷﺎﻓﻌﻰ ﺃﺳﺘﺎﺫ ﺍﻟﻌﻤﺎﺭﺓ ﺑﺠﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ‬
‫ﻭﺍﻷﺳﺘﺎﺫ ﺍﻟﺪﻛﺘﻮﺭ ﺣﺎﻣﺪ ﻓﻬﻤﻰ ﺍﻟﺴﻴﺪ ﺣﺎﻣﺪ ﺭﺋﻴﺲ ﺍﻟﻬﻴﻨﺔ ﺍﻟﻌﺎﻣﺔ ﻟﺒﺤﻮﺙ ﺍﻟﺒﻨﺎء‬
‫ﻭﺍﻹﺳﻜﺎﻥ ﻭﺍﻟﻤﻬﻨﺪﺱ ﺟﻤﺎﻝ ﺣﺴﻦ ﻣﺤﻤﻮﺩ ﻫﻴﺌﺔ ﻓﻨﺎﺓ ﺍﻟﺴﻮﺷﻰ ﺑﺎﻋﻼﻥ ﻧﺘﻴﺠﺔ‬
‫ﺍﻟﻤﺴﺎﺑﻘﺔ ﺑﻌﺪ ﺍﺳﺘﻌﺮﺍﺽ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﻤﻘﺪﻣﺔ ﺣﻴﺚ ﻗﺮﺭﺕ ﺍﻵﺗﻰ‬
‫ﻓﻮﺯ ﻣﻜﺘﺐ ﺃﻧﺘﺮﻛﻮﻧﺴﻠﺖ ﺑﺎﻟﺠﺎﺋﺰﺓ ﺍﻷﻭﻟﻰ‬
‫ﻓﻮﺯ ﺍﻟﻤﻜﺘﺐ ﺍﻻﺳﺘﺸﺎﺭﻯ ﻟﻠﺘﺨﻄﻴﻂ ﻭﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻣﻊ ﺟﻤﺎﻋﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ‬
‫ﺍ ﻻﺳﺘﺸﺎﺭﻳﻴﻦ ﺑﺎ ﻟﺠﺎﺋﺰﺓ ﺍ ﻟﺜﺎ ﻧﻴﺔ ﺑﺎ ﻟﺘﺴﺎﻭﻯ‬

‫ﺍﻟﺤﺎﻧﺰﺓ ﺍﻷﻭﻟﻰ ﻣﻜﺘﺐ ﺃﻧﺘﺮﻛﻮﻧﺴﻠﺖ‬

‫ﺩ ﻋﻠﻰ ﺭﺃﻓﺖ‬
‫ﺍﻟﺠﺎﻧﺰﺓ ﺍﻷﻟﺪ‬ ‫ﺃﺷﺎﺭﺍﻟﺘﻘﺮﻳﺮ ﺍﻟﻨﻬﺎﺋﻰ ﻟﻠﺠﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﺇﻟﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﺰﺍﻳﺎ ﺍﻟﺘﻰ ﺣﻘﻘﻬﺎ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﺍﻷﻭﻟﻰ ﻭﺍﻟﺘﻰ ﺩﻋﺖ ﺇﻟﻰ ﺍﺧﺘﻴﺎﺭﻩ ﻟﻨﻴﻞ ﻫﺬﻩ ﺍﻟﺠﺎﺋﺰﺓ ﻭﻗﺪ ﺷﻤﻠﺖ ﻫﺬﻩ ﺍﻟﻤﻼﺣﻈﺎﺕ ﺍﻹﺷﺎﺭﺓ‬
‫ﺇﻟﻰ ﻧﺠﺎﺡ ﺍﻟﻤﺸﺮﻭﻉ ﻓﻰ ﺇﻳﺠﺎﺩ ﻃﺔ ﻣﻌﻤﺎﺭﻳﺔ ﻣﺘﻤﻴﺰﺓ ﺫﺍﺕ ﺃﺭﺑﻌﺔ ﻭﺍﺟﻬﺎﺕ ﻣﻔﺘﻮﺣﺔ ﻭﻏﻴﺮ‬
‫ﻣﻼﺻﻘﺔ ﻷﻯ ﻣﻦ ﺣﺪﻭﺩ ﺍﻟﻤﻮﻗﻊ ﺑﺎﻹﺿﺎﻓﺔ ﻟﻌﻤﻞ ﺍﻟﺘﻤﻬﻴﺪ ﺍﻟﻤﻄﻠﻮﺏ ﻟﻤﺪﺧﻞ ﻓﺮﻉ ﺍﻟﺒﻨﻚ‬
‫ﻭﺍﻟﻤﺮﻛﺰ ﺍﻟﺮﺋﻴﺴﻰ ﺍﻟﺬﻯ ﺣﻘﻖ ﻋﻨﺼﺮ ﺍﻟﻔﺨﺎﻣﺔ ﺍﻟﻮﺍﺟﺐ ﺗﻮﺍﻓﺮﻫﺎ ﻓﻰ ﻣﻘﻞ ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﻛﻤﺎ ﻧﺠﺢ ﺍﻟﺘﺼﻤﻴﻢ ﻓﻰ ﺗﻮﻓﻴﺮ ﺍﻟﻤﺪﺍﺧﻞ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻭﻓﻰ ﺗﺠﻤﻴﻊ ﻋﻨﺎﺻﺮ ﺍﻻﺗﺼﺎﻝ‬
‫ﺍﻟﺮﺃﺳﻰ ﻭﺍﻟﺨﺪﻣﺎﺕ ﻓﻰ ﻓﺮﺍﻍ ﺍﻧﺘﻔﺎﻋﻰ ﻭﺍﺣﺪ ﻫﺬﺍ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻤﻴﺰﺓ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﺘﻰ‬
‫ﻟﻢ ﺗﺘﺤﻘﻖ ﻓﻰ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻷﺧﺮﻯ ﻭﻫﻰ ﺍﻟﻔﺼﻞ ﺍﻟﻌﻀﻮﻯ ﺑﻴﻦ ﺻﺎﻻﺕ ﺗﻌﺎﻣﻞ ﺍﻟﺠﻢ ﺭ‬
‫ﻭﺣﺮﻛﺔ ﺍ ﻻﺗﺼﺎﻝ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﻺﺩﺍﺭﺍﺕ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻭﺍﻟﺼﺎﻟﺔ ﻣﺘﻌﺪﺩﺓ ﺍﻷﻏﺮﺍﺽ ﺃﻣﺎ ﻋﻦ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻻﻧﺘﻔﺎﻋﻴﺔ ﺍﻷﺳﺎﺳﻴﺔ ﺑﺎﻟﻤﺒﻨﻰ ﻓﻘﺪ ﻧﺠﺢ ﺍﻟﻤﺸﺮﻭﻉ ﻓﻰ ﻓﺤﻤﻞ ﺧﺰﺍﺋﻦ ﺍﻟﻌﻤﻼء‬
‫ﻋﻦ ﺧﺰﺍﺋﻦ ﺍﻟﺒﻨﻚ ﺑﻄﺮﻳﻘﺔ ﺗﺤﻘﻖ ﺍﻷﻣﻦ ﺍﻝ ﺯﻡ ﻛﻤﺎ ﺃﻋﻄﻰ ﺍﻻﻣﺘﺪﺍﺩ ﺍﻟﻔﺮﺍﻏﻰ ﺍﻟﺮﺃﺳﻰ‬
‫ﻟﺼﺎﻟﺔ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﺠﻤﻬﻮﺭ ﻭﺗﺪﺍﺧﻠﻬﺎ ﻣﻊ ﻓﺮﺍﻏﺎﺕ ﺍﻟﻤﻜﺎﺗﺐ ﺑﺪﻭﺭﻯ ﺍﻟﻤﻴﺰﺍﻧﻴﻦ ﻭﺍﻹﺩﺍﺭﺓ‬
‫ﺍﻟﻔﺨﺎﻣﺔ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻟﻬﺬﻩ ﺍﻟﺼﺎﻟﺔ ﻭﻳﺘﻤﺘﻊ ﺟﻨﺎﺡ ﺭﺋﻴﺲ ﻣﺠﻠﺲ ﺍﻹﺩﺍﺭﺓ ﻭﺍﻟﺼﺎﻟﺔ ﻣﺘﻌﺪﺩﺓ‬
‫ﺍﻷﻏﺮﺍﺽ ﻓﻰ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻘﺘﺮﺡ ﺑﺎﻟﺘﻮﺟﻴﻪ ﺇﻟﻰ ﺛﻼﺛﺔ ﺍﺗﺠﺎﻫﺎﺕ ﻭﺍﻧﻔﺘﺎﺡ ﻋﻠﻰ ﻛﺎﻣﻞ‬
‫ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺮﻧﻴﺴﻴﺔ ﺍﻷﻣﺮ ﺍﻟﺬﻯ ﻳﻮﻓﺮ ﺇﻣﻜﺎﻧﻴﺔ ﻛﺒﻴﺮﺓ ﻟﺘﻘﺴﻴﻢ ﺍﻟﺼﺎﻟﺔ ﺣﺴﺐ ﺍﻻﺳﺘﺨﺪﺍﻣﺎﺕ‬
‫ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫ﺍﻟﻤﻜﺘﺐ ﺍﻻﺳﺘﺸﺎﺭﻯ ﻟﻠﺘﻨﻄﻴﻂ ﻭﺍﻟﺘﻨﻤﻴﺔ‬ ‫ﺍﻟﺒﺎﺋﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ‬

‫ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﺩ ﻋﺒﺪﺍﻟﻠﻪ ﻋﺒﺪ ﺍﻟﻌﺰﻳﺰ‬
‫ﻳﻬﺪﻑ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻔﺪﻡ ﺇﻟﻰ ﺗﺤﻘﻴﻖ ﺃﻓﻀﻞ ﺍﺳﺘﻐﻼﻝ ﻟﻠﻤﻮﻗﻊ ﻣﻊ ﺯﻳﺎﺩﺓ ﺍﻟﻮﺍﺟﻬﺎﺕ‬
‫ﺍﻟﺨﺎﺭﺟﻴﺔ ﺍﻟﻤﻀﺎﻋﺔ ﻃﺒﻴﻌﻴﺄ ﺑﺎﺳﺘﻐﻼﻝ ﺣﻖ ﺍﻻﺭﺗﻔﺎق ﻣﻊ ﺍﻟﺠﺎﺭ ﺍﻟﺸﺮﻓﻰ ﻛﻨﻴﺴﺔ ﺍﻷﻗﺒﺎﻁ‬
‫ﺍﻹﻧﺠﻴﻠﻴﻴﻦ ﻛﻤﺒﻨﻰ ﻗﺎﺋﻢ ﺑﺎﺭﺗﻔﺎﻉ ﺛﺎﺑﺖ ﻭﺭﺩ ﻭﺩ ﻣﺤﺪﺩﺓ ﻣﻊ ﺍﻻﺳﺘﻌﺎﻧﺔ ﺑﻔﻨﺎء ﺩﺍﺧﻠﻰ‬
‫ﻟﺰﻳﺎﺩﺓ ﻣﺴﻄﺢ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺍﻟﻤﻀﺎﻋﺔ ﻃﺒﻴﻌﻴﺎ ﻟﻤﻌﺎﻟﺠﺔ ﻋﻤﻖ ﺍﻟﻤﺒﻨﻰ ﻭﺗﻮﻓﻴﺮ ﻣﻨﺎﻃﻖ ﻣﺘﻤﺘﻌﺔ‬
‫ﺑﺈﺿﺎءﺓ ﻃﺒﻴﻌﻴﺔ‬
‫ﺍﻟﺠﺎﻧﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ‬ ‫ﺳﻌﻘﻂ ﺃﻓﻘﻰ ﺍﻟﻤﻮﺭ ﺍﻷﺭﺧﻌﻰ‬
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‫ﺍﻟﺒﺎﺋﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻣﻜﺮﺭﺓ‬
‫ﺟﻤﺎﻋﺔ ﺍﻟﻤﻬﻨﺪﺳﻴﻦ‬ ‫ﺍﻟﺠﺎﻧﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻣﻜﺮﺭ‬
‫ﺍ ﻻﺳﺘﺸﺎﺭﻳﻴﻦ‬
‫ﺍﻋﺘﻤﺪ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻘﺘﺮﺡ ﻋﻠﻰ ﻋﺪﺓ ﺭﻛﺎﺋﺰ ﺃﻫﻤﻬﺎ‬
‫ﺗﺤﻘﻴﻖ ﺃﻓﻀﻞ ﺍﺳﺘﻐﻼﻝ ﺳﺮﺽ ﻓﻰ ﻇﻞ ﺍﻟﻤﺤﺪﺩﺍﺕ‬
‫ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻟﻠﻤﻮﻗﻊ ﻭﺍﻟﻤﺤﺪﺩﺍﺕ ﺍ ﻟﺒﻴﺌﻴﺔ ﻭﺍﻟﺘﺸﺮﻳﻌﻴﺔ‬
‫ﻭﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻭﻛﺬﻟﻚ ﻭﺿﻊ ﺃﻓﻀﻞ ﺍ ﻟﺤﻠﻮﻝ ﻟﺘﺤﻘﻴﻖ‬
‫ﺑﺮﻧﺎﻣﺞ ﺍﻟﻤﺸﺮﻭﻉ ﻭﻣﺮﺍﻋﺎﺓ ﻣﻼﺣﻈﺎﺕ ﺍﻟﻠﺠﻨﺔ ﺍﻟﻤﻨﻈﻤﺔ‬
‫ﻣﻊ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ‬
‫ﺍﻟﺪﻭﺭ ﺍﻻﻗﺘﺼﺎﺩﻯ ﻟﻠﺒﻨﻚ ﻭﺗﺤﻘﻴﻖ ﺍﻷﻫﺪﺍﻑ ﺍﻟﻤﺮﺟﻮﺓ‬
‫ﺍﺗﺨﺬ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻘﺘﺮﺡ ﻣﻦ ﺍﻟﻜﺘﻠﺔ ﺍﻟﻤﻜﻌﺒﺔ ﻭﺣﺪﺓ‬
‫ﻟﻠﺘﺸﻜﻴﻞ ﻭﺭﻣﺰﺍ ﻟﻠﻘﻮﺓ ﻭﺍ ﻟﺜﺒﺎﺕ ﻭﺍ ﻟﺮﺳﻮﺥ ﻭﺍ ﻟﻤﺒﻨﻰ‬
‫ﻣﻔﺮﻍ ﺇﻟﻰ ﺍﻟﺪﺍﺧﻞ ﻣﻦ ﺧﻼﻝ ﻭﺍﺟﻬﺘﻪ ﺍﻟﺮﺋﻴﺴﻴﺔ‬
‫ﻟﺞ ﺍﻟﻌﻤﻼء‬
‫ﻣﺸﻜﻼ ﺑﺬﻟﻚ ﺳﺎﺣﺔ ﻣﺪﺧﻞ ﺭﺣﺒﺔ ﺫﺏ‬
‫ﻭﺗﻔﺼﻠﻬﻢ ﻋﻦ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻌﺎﻡ ﺍﻟﺨﺎﺭﺟﻰ ﺃﻣﺎ ﺍﻟﺘﺸﻜﻴﻞ‬
‫ﺍﻟﺨﺎﺭﺟﻰ ﺍﻟﻤﺼﻤﺖ ﻭﺍﻟﻤﺤﻴﻂ ﺑﺎﻟﺠﺴﻢ ﺍﻟﺰﺟﺎﺟﻰ‬
‫ﻓﻴﺮﻣﺰ ﺇﻟﻰ ﻗﻮﺓ ﻭﻣﻜﺎﻧﺔ ﺍﻟﺒﻨﻚ ﻓﻰ ﺍﺣﺘﻮﺍءﻣﺎ ﺑﺪﺍﺧﻠﻪ‬
‫ﺑﺤﻴﺚ ﻳﻮﺣﻰ ﺑﺎﻟﺜﻘﺔ ﻭﺍﻷﻣﺎﻥ ﻟﻌﻤﻼﺋﻪ ﻛﻤﺎ ﺃﻥ ﻟﺒﺮﻭﺯﺍﺕ‬
‫ﺍﻷﺩﻭﺍﺭ ﺍﻟﻤﺘﺮﺍﻛﻤﺔ ﺃﺛﺮﻫﺎ ﻓﻰ ﺍﻟﻤﻌﺎﻟﺠﺔ ﺍﻟﻤﻨﺎﺧﻴﺔ‬
‫ﻟﻠﻮﺍﺟﻬﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﺠﻨﻮﺑﻴﺔ ﻟﻠﻤﺒﻨﻰ‬
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‫ﻭﻣﻦ ﺍ ﻷﻫﺪﺍﻑ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﻤﺸﺮﻭﻉ ﺍﻟﻤﻘﺪﻡ‬
‫ﻗﻄﺎﻉ ﻋﺮﺽ ﺍﻟﻤﺎﻧﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ‬
‫ﺍﻟﻔﺼﻞ ﺑﻴﻦ ﺍﻟﻤﺪﺍﺧﻞ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﺘﺤﻘﻴﻖ ﺍﻟﻜﻔﺎﻋﺔ‬
‫ﺍﻟﻮﻇﻴﻔﻴﺔ ﻭﺗﻮﻓﻴﺮ ﺍﻷﻣﺎﻥ ﻟﻠﻤﺒﻨﻰ ﻣﻊ ﺗﻮﺯﻳﻊ‬
‫ﻣﺨﺎﺭﺝ ﺍﻟﻬﺮﻭﺏ ﻭﺍﻟﻄﻮﺍﺭﻯء ﻭﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ‬
‫ﺍﻟﻔﺼﻞ ﺑﻴﻦ ﺣﺮﻛﺔ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺍﻟﻤﺼﻔﺤﺔ ﻭﺍﻷﻭﺭﺍق‬
‫ﺍﻟﻤﺎﻟﻴﺔ ﻭﺍﻟﺒﻨﻜﻨﻮﺕ ﻭﺑﻴﻦ ﺣﺮﻛﺔ ﺍﻟﻤﺘﻌﺎﻣﻠﻴﻦ ﻭﺃﻯ‬
‫ﻭﺳﻴﻠﺔ ﻣﺒﺎ ﺷﺮﺓ ﻣﻦ ﻭﺳﺎﺋﻞ ﺍ ﻻﺗﺼﺎﻝ ﺍ ﻟﺮﺃﺳﻴﺔ‬
‫ﺍﻟﻤﺘﺼﻠﺔ ﺑﺎﻷﺩﻭﺍﺭ ﺍﻟﻌﻠﻴﺎ ﻟﻠﻤﺒﻨﻰ ﺑﺘﻮﻓﻴﺮ ﻣﻜﺎﻥ‬
‫ﺧﺎﺹ ﻣﻐﻠﻖ ﻟﻮﻗﻮﻑ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺍﻟﻤﺼﻔﺤﺔ‬
‫ﺑﺎﻟﺒﺪﺭﻭﻡ ﻭﻣﺼﻌﺪ ﺧﺎﺹ ﻣﺒﺎﺷﺮ ﻟﻨﻘﻞ ﺍﻟﺒﻨﻜﻨﻮﺕ‬
‫ﻭﺍﻷﻭﺭﺍق ﺍﻟﻤﺎﻟﻴﺔ ﺇﻟﻰ ﺍﻟﺨﺰﺍﺋﻦ ﺍﻟﺨﺎﺻﺔ ﺑﺎﻟﺪﻭﺭ‬
‫ﺍﻟﻤﺘﻮﺳﻂ ﺑﻴﻦ ﺍﻟﺒﺪﺭﻭﻡ ﻭﺍﻷﺭﺿﻰ ﻛﻤﺎ ﺗﻢ ﻓﺼﻞ‬
‫ﺣﺮﻛﺔ ﺍﻟﻤﻮﻇﻔﻴﻦ ﻋﻦ ﺣﺮﻛﺔ ﺍﻟﺠﻤﻬﻮﺭﺑﺘﺨﺼﻴﺺ‬
‫ﻣﺪﺍﺧﻠﻴﻦ ﺃﺣﺪﻫﻤﺎ ﻟﻔﺮﻉ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺍﻵﺧﺮ ﻟﻺﺩﺍﺭﺓ‬
‫ﺍﻟﺠﺎﻧﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ‬ ‫ﺳﻤﻘﻂ ﺃﻓﻘﻰ ﻟﺪﻭﺭ‬
‫ﺍﻟﻌﻠﻴﺎ ﻭﻣﻮﻇﻔﻰ ﺍﻟﻤﺮﻛﺰ ﺍﻟﺮﺋﻴﺴﻰ ﻭﺗﻮﻓﻴﺮ ﻣﺪﺧﻞ‬
‫ﺛﺎﻧﻮﻯ ﻣﻨﻔﺼﻞ ﻟﻠﺨﺪﻣﺔ‬
‫ﻫﺪﻓﺖ ﺍﻟﻔﻜﺮﺓ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﺇﻟﻰ ﺇﺑﺮﺍﺯ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺬﺍﺗﻴﺔ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﻤﺘﻔﺮﺩﺓ ﻟﻠﻤﺒﻨﻰ‬
‫ﺑﺘﻌﺒﻴﺮ ﻣﻌﻤﺎﺭﻯ ﻣﺘﺰﻥ ﻳﻮﺻﻰ ﺑﺎﻟﺜﻘﺔ ﻭﺍﻷﻣﺎﻥ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍ ﺑﺮﺍﺯ ﺷﻌﺎﺭ ﺍﻟﺒﻨﻚ ﻛﻌﻼﻣﺔ ﻣﻤﻴﺰﺓ‬
‫ﻳﺴﺎﻋﺪ ﻣﻊ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻓﻰ ﺇﺑﺮﺍﺯ ﻭﻇﻴﻔﺔ‬
‫ﻛﺒﻨﻚ ﺭﺋﻴﺴﻰ ﻭﻗﺪ ﺗﻢ ﺍﻻﺳﺘﻌﺎﻧﺔ ﺑﻤﻮﺍﺩ ﺍﻟﻨﻬﻮ‬
‫ﺍﻟﻔﻨﻴﺔ ﻛﻤﺎ ﻓﻰ ﺗﺠﻠﻴﺪ ﺍﻟﺤﻮﺍﺋﻂ ﺑﺎﻟﺮﺧﺎﻡ ﻣﻊ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻜﺎﺳﺮﺍﺕ ﺍﻟﺸﻤﺴﻴﺔ ﻣﻦ ﺍﻷﻟﻮﻣﻨﻴﻮﻡ‬
‫ﺍﻟﻨﺤﺎﺳﻰ ﺍﻟﺘﻰ ﺗﻐﻄﻰ ﻛﻞ ﺍﻟﻔﺘﺤﺎﺕ ﺍﻟﺨﺎﺭﺟﻴﺔ‬
‫ﺑﺎ ﻷﺩﻭﺍﺭ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻋﻠﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﻘﺒﻠﻴﺔ‬
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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺱ ﻗﻂ ﺃﻓﻘﻰ ﺍﻟﺪﻭﺭ ﻯﺽ‪I‬ﺃﻝﺍ ﺍﻟﺠﺎﻧﺰﺓ ﺍﻟﺌﺎﻧﻴﺔ ﻣﻜﺮﺭ‬ ‫ﺍﻟﺠﺎﻧﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻣﻜﺮﺭ‬ ‫ﺳﻘﻂ ﺃﻓﻘﻰ ﺍﻟﺪﻭﺭ‬

‫ﻭﻟﺘﺤﻘﻴﻖ ﻣﺴﺘﻮﻯ ﻋﺎﻝ ﻣﻦ ﺍﻟﻜﻔﺎءﺓ ﺭﻭﻋﻰ ﺍﺳﺘﺨﺪﺍﻡ ﺃﺳﻠﻮﺏ ﺇﻧﺸﺎﻧﻰ ﺍﻓﺘﺼﺎﺩﻯ‬

‫ﺳﻬﻞ ﺍﻟﺘﻨﻔﻴﺬ ﻳﺘﻜﺎﻣﻞ ﻣﻊ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﻳﺤﻘﻖ ﻓﻜﺮﺓ ﺍﻟﻤﺴﺎﻗﻂ ﺍﻟﻤﻔﺘﻮﺣﺔ ﺍﻟﺘﻰ‬
‫ﻳﻤﻜﻦ ﺗﻘﺴﻴﻤﻬﺎ ﻭﻓﻘﺎ ﻟﻠﻮﻇﻴﻔﺔ ﻛﻤﺎ ﺍﺧﺘﻴﺮﺕ ﺃﻧﻈﻤﺔ ﻟﻠﺘﺒﺮﻳﺪ ﻭﺍﻟﺘﺪﻗﻨﺔ ﻭﺍﻟﺘﻬﻮﻳﺔ ﺗﺤﻘﻖ‬
‫ﻣﻨﺎﺧﺎ ﻣﻤﺎ ﻟﻠﻌﻤﻞ ﻣﻊ ﺍﻷﺧﺬ ﻓﻰ ﺍﻻﻋﺘﺒﺎﺭ ﺍﻷﺩﺍء ﺍﻟﻮﻇﻴﻔﻰ ﺍﻟﺸﺎق ﻭﺳﻬﻮﻟﺔ ﺍﻟﺼﻴﺎﻧﺔ‬
‫ﻟﻮﻥ ﺇﻋﺎﻗﺔ ﻟﻠﻌﻤﻞ ﻣﻊ ﻣﺮﻭﻧﺔ ﺍﻻﺳﺘﺨﺪﺍﻡ ﻭﺍﻟﺼﻴﺎﻧﺔ ﺑﺎﻹﺿﺎﻓﺔ ﻻﺳﺘﺨﺪﺍﻡ ﺍﻟﻄﺎﻓﺔ‬
‫ﺍﻟﺸﻤﺴﻴﺔ ﻟﻠﺘﺪﻗﺌﺔ ﻣﻤﺎ ﻳﻘﻠﻞ ﻣﻦ ﺗﻜﻠﻔﺔ ﺍﻟﻄﺎﻗﺔ‬
‫ﻓﻄﺎﻉ ﻋﺮﺽ ﺍﻟﺠﺎﻧﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻣﻜﺮﺭ‬

‫‪edargleB lainneirT fo dlroW crutcetihcrA‬‬

‫‪civI civonegdaiM‬‬ ‫ﺍ ﻋﺪﺍ ﺩ‬
‫‪raveluB ajonvA 311 zalU I‬‬
‫‪07011 N DARGOEB aivalsoguY xaF 83 11 24‬‬
‫‪141 6‬‬

‫ﻳﺸﻤﻞ ﺍﻟﻜﺘﺎﺏ ﺍﻟﺬﻯ ﻳﻘﻊ ﺣﺎﻟﻴﺎ ﺗﺤﺖ ﺍﻟﻄﺒﻊ ﺟﻤﻴﻊ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺍﻟﻤﺸﺎﺭﻛﺔ ﻓﻰ ﺗﺮﻳﻨﺎﻟﻰ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻷﻭﻝ ‪ oA‬ﻭﺍﻟﺜﺎﻧﻰ ‪ AA‬ﻭﺍﻟﺜﺎﻟﺚ ‪19‬‬
‫ﺍﻟﺬﻳﻦ ﻋﻘﺪﻭﺍ ﻓﻰ ﺑﻠﺠﺮﺍﺩ ﺗﺤﺖ ﺭﻋﺎﻳﺔ ﺍﺗﺤﺎﺩ ﻣﻌﻤﺎﺭﻳﻴﻦ ﺍﻟﻌﺮﺏ‬
‫ﻳﻌﺮﺽ ﺍﻟﻜﺜﺎﺏ ﺃﻋﻤﺎﻝ ‪ 091‬ﻣﻌﻤﺎﺭﻳﺎ ﻋﺎﻟﻤﻴﺎ ﻣﻦ ‪ 54‬ﺩ ﻭﻟﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ‬
‫ﺍﻋﻤﺎﻝ ‪ 47‬ﻣﻌﻤﺎﺭﻳﺎ ﻳﻮﻏﻮﺳﻼﻓﻴﺎ ﻭﻳﻘﻊ ﻓﻰ ‪ 672‬ﺻﻔﺤﺔ ‪ 42‬ﻭ ‪ 42‬ﺳﻢ ﻣﻄﺒﻮﻉ‬
‫ﺩﻭ ﻟﻠﻨﺴﺨﺔ ﺃﻭ ‪ 004‬ﺩﺭﻻﺭ ﻟﻠﻨﺴﺨﺘﻴﻦ‬
‫ﻃﺒﺎﻋﺔ ﻓﺎﺧﺮﺓ ﺳﻌﺮ ﺍﻟﻜﺘﺎﺏ ‪ 022‬ﻻﺭ‬

‫‪lf‬‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﺷﺮﻭﻉ ﺍﻟﻄﺎﺑﻰ‬

‫ﺍﻟﻤﺸﺮﻭﻉ ﻣﻘﺪﻡ ﻓﻰ ﻫﺬﺍ ﺍﻟﻌﺪﺩ ﻣﻦ ﺍﻟﻄﺎﻟﺒﺔ ﺃﻣﻨﻴﺔ ﻣﺨﺘﺎﺭ‬

‫ﻳﻮﺳﺖ ﺑﻜﺎﻟﻮﺭﻳﻮﺱ ﺍﻟﻬﻨﺪﺳﺔ ﺟﺎﻣﻌﺔ ﻋﻴﻦ ﺷﺴﻰ ‪9891‬‬

‫ﺍﻟﻤﻮﻓﻊ ﺍﻟﻌﺎﻡ‬ ‫ﻭﻗﺪ ﺣﺤﻤﻞ ﻋﻠﻰ ﺗﻘﺪﻳﺮ ﻣﻤﺘﺎﺯ ﻳﻬﺪﻑ ﺍﻟﻤﺸﺮﻭﻉ ﺇﻟﻰ‬
‫ﺗﺪﻋﻴﻢ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺑﻴﻦ ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ ﻭﻗﺪ ﺗﻢ‬
‫ﺍﺧﺘﻴﺎﺭ ﻣﻨﻄﻘﺔ ﺭﺃﺱ ﻣﺴﻠﺔ ﻹﻓﺎﻣﺔ ﺍﻟﻤﺸﺮﻭﻉ ﻭﻫﻮ ﻳﺘﻜﻮﻥ ﻣﻦ‬
‫ﺃﺭﺑﻌﺔ ﻋﻨﺎﺻﺮ ﺃﺳﺎﺳﻴﺔ ﻭﻫﻰ ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ ﻭﺍﻟﻤﺒﻨﻰ‬
‫ﺍﻹﺩﺍﺭﻯ ﻭﺍﻟﻔﻨﺪق ﻭﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﻭﻫﻰ ﻣﺠﻤﻌﺔ ﺣﻮﻝ‬
‫ﻣﻨﻈﺪﺭ ﻟﻠﻤﻮﻗﻊ ﺍﻟﻌﺎﻡ‬ ‫ﺳﺎﺣﺔ ﺭﻧﻴﺴﻴﺔ‬

‫ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ‬

‫ﻳﻌﺘﺒﺮ ﻫﻮ ﺃﺳﺎﺱ ﺍﻟﻤﺸﺮﻭﻉ ﻭﺑﺎﻗﻰ ﺍﻟﻌﻨﺎﺻﺮ ﻟﺨﺪﻣﺔ‬

‫ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮﻭﻳﻌﺘﻤﺪ ﺗﺼﻤﻴﻢ ﺍﻟﺴﻮق ﺍﻟﺘﺠﺎﺭﻯ ﻋﻠﻰ ﻭﺟﻮﺩ‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻜﺒﻴﺮﺓ ﺗﺤﺘﻮﻯ ﻋﻠﻰ ﻣﺴﺘﻮﻳﺎﺕ‬
‫ﻣﺘﻌﺪﺩﺓ ﻟﻠﻌﺮﺽ ﻳﺨﺘﺺ ﻛﻞ ﻓﺮﺍﻍ ﺑﻌﺮﺽ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬
‫ﺍﻟﻤﻨﺘﺠﺎﺕ ﺍﻟﺨﺎﺻﺔ ﺑﻜﻞ ﺑﻠﺪ ﻭﻳﺘﻢ ﺍﻻﺗﺼﺎﻝ ﺑﻴﻦ ﻫﺬﻩ‬
‫ﺍﻟﻔﺮﺍﻏﺎﺕ ﻣﻦ ﻃﺮﻳﻖ ﻣﻤﺮﺍﺕ ﺗﺠﺎﺭﻳﺔ ﺗﺠﻌﻞ ﺍﻟﺤﺮﻛﺔ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﻣﻨﺴﺎﺑﺔ ﻓﻰ ﺍﺗﺠﺎﻩ ﻭﺍﺣﺪ‬

‫ﻭﺗﺠﻤﻊ ﻫﺬﻩ ﺍﻟﻔﺮﺍﻏﺎﺕ ﻋﻠﻰ ﻓﺮﺍﻍ ﻛﺒﻴﺮ ﻣﻔﺘﻮﺡ ﻣﻐﻄﻰ‬

‫ﺑﻮﺍﺳﻄﺔ ﺟﻤﺎﻟﻮﻥ ﻓﺮﺍﻏﻰ ﻳﺘﻢ ﻓﻴﻪ ﻋﺮﺽ ﺍﻟﻤﻨﺘﺠﺎﺕ ﺍﻟﻜﺒﻴﺮﺓ‬
‫ﺍﻟﻀﺨﻤﺔ ﻛﺬﻟﻚ ﻳﻮﺟﺪ ﺑﻪ ﺧﺪﻣﺎﻟﺺ ﺧﻔﻴﻔﺔ ﻭﺃﻣﺎﻛﻦ ﺍﻟﺮﺍﺣﺔ‬
‫ﻭﻧﺎﻓﻮﺭﺍﺕ ﺍﻟﻤﻴﺎﻩ ﻭﺍﻟﺸﻼﻻﺕ ﺍﻟﺼﻨﺎﻋﻴﺔ ﺍﻟﺘﻰ ﺗﺘﺨﻠﻞ ﺍﻟﺠﻮﻟﺔ‬

‫ﻭﻳﺪﺣﻆ ﺃﻥ ﻛﻞ ﺍﻟﻤﻌﺎﺭﻓﻰ ﻋﻠﻰ ﺍﺗﺼﺎﻝ ﺑﻬﺬﺍ ﺍﻟﻔﺮﺍﻍ‬

‫ﺑﺤﻴﺚ ﻳﻤﻜﻦ ﻟﻠﻤﺘﺠﻮﻝ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻴﻪ ﻓﻰ ﺃﻯ ﻭﻗﺖ ﻟﻠﺮﺍﺣﺔ‬
‫ﻭﺗﻢ ﺍﺳﺘﺨﺪﺍﻡ ﻣﻮﻟﻮﻳﻮﻝ ﺇﻧﺸﺎﻧﻰ ﻳﺴﺎﻋﺪ ﻓﻰ ﺣﻞ‬
‫ﺍﻟﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﺪﺍﺧﻠﻴﺔ‬
‫ﺍﻟﻤﻮﻓﻊ ﺍﻟﻌﺎﻡ‬
‫ﻳﺘﻢ ﺍﻹﺗﺼﺎﻝ ﺑﻴﻦ ﺍﻟﻬﺮﻡ ﺍﻟﺮﺋﻴﺴﻰ ﻭﺑﺎﻗﻰ ﺍﻟﺠﺰء‬
‫ﺍﻟﺘﻤﺎﺭﻯ ﻋﻦ ﻃﺮﻳﻖ ﻣﺼﺮﻳﻦ ﺯﺟﺎﺟﻴﻴﻦ ﺷﻔﺎﻓﻴﻦ ﺣﺘﻰ ﻳﺘﻢ‬
‫ﺭﺅﻳﺔ ﺍﻟﻤﻮﻗﻊ ﺃﺛﻨﺎءﺍﻟﺠﻮﻟﺔ‬

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‫ﻭﺍﻣﻬﺔ ﻣﺎﻧﺒﻴﺔ‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫ﻭﺬﻟﻚﺗﻢ ﺪﺍﺍﻟﺤﺪﻳﻛﻤﺎﺩﺓﺧﺇﻧﺸﺎﺋﻴﺘﺔﻭﺗﻌﺘﻤﻴﺪﺍﻟﻔﻜﺮﺓﺎﺭ‬
‫ﺍﻟﺬﻯ ﻳﺘﻢ ﺗﻘﺴﻴﻤﻪ ﺩﺍﺧﻠﻴﺎ ﻋﻦ‬
‫ﺍﻹﻧﺸﺎﺋﻴﺔ‬

‫ﻧﺘﻴﺠﺔ ﺍﻋﺘﻤﺎﺩ ﺍﻟﻤﺸﺮﻭﻉ ﻋﻠﻰ ﻓﻜﺮﺓ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻜﺒﻴﺮ‬

‫ﻟﻔﻜﺮﺓ‬

‫‪LASR ECAPS‬‬
‫ﻃﺮﻳﻖ ﺍﻟﻤﺴﺘﻮﻳﺎﺕ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﻌﺮﺽ ﻓﻘﺪ ﺗﻄﻠﺐ ﺫﻟﻚ ﺍﻟﺘﻔﻜﻴﺮ‬
‫ﻓﻰ ﻓﻜﺮﺓ ﺇﻧﺸﺎﺋﻴﺔ ﺳﻬﻠﺔ ﻭﺳﺮﻳﻌﺔ ﺍﻟﺘﻨﻔﻴﺬ ﻟﺘﻐﻄﻴﺔ ﻣﺜﻞ ﻫﺬﺍ‬

‫ﺗﺘﺨﻞ ﻣﺜﻠﺔﻓﻤﻰﺍﻟﺴﺣﺎﺸﺕﺼﺮﺓﺍﻟﻐﻨﻴﺔﻭﻉ‬
‫ﺍﻟﻔﺮﺍﻍ ﺣﻴﺚ ﺃﻥ ﺍﻟﻤﻌﺮﺽ ﺍﻟﺮﺋﻴﺴﻰ ﻗﺎﻋﺪﺗﻪ ‪ 46‬ﻡ ‪ 46‬ﻡ‬

‫ﻋﻠﻰ ﺍﺳﺘﺨﺪﺍﻡ ﺟﻤﺎﻟﻮﻥ ﺣﺪﻳﺪﻯ ﻣﺮﺗﻜﺰﺍ ﻋﻠﻰ ﻗﻮﺍﻋﺪ‬

‫ﺧﺮﺳﺎﻧﻴﺔ ﻟﺘﻠﻘﻰ ﻗﻮﻯ ﺍﻟﺮﻓﺺ ﻭﺗﻐﻄﻰ ﺍﻟﺠﻤﺎﻟﻮﻧﺎﺕ‬
‫ﺍﻟﺤﺪﻳﺪﻳﺔ ﻣﺴﻄﺤﺎﺕ ﺯﺟﺎﺟﻴﺔ ﻛﺎﻣﻠﺔ ﻟﻜﻞ ﻫﺮﻡ ﺣﻴﺚ ﺗﺒﺪﻭ‬
‫ﻭﻛﺄﻧﻬﺎ ﺃﻫﺮﺍﻣﺎﺕ ﺑﻠﻠﻮﺭﻳﺔ ﺷﻔﺎﻓﺔ ﺗﻌﻜﺲ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﺠﻤﻴﻠﺔ‬
‫ﺑﺎﻟﺨﺎﺭﺝ ﻭﺗﻮﻓﺮ ﺃﻛﺒﺮ ﻗﺪﺭ ﻣﻦ ﺍﻹﺿﺎءﺓ‬
‫ﺍﻟﻤﺒﻨﻰ ﺍﻹﺩﺍﺭﻯ‬

‫ﺻﻤﻢ ﻋﻤﻮﺩﻳﺎ ﻋﻠﻰ ﺍﻟﺸﺎﻃﻰء ﻭﻳﺮﺗﻔﻊ ﺭﺃﺳﻴﺎ ﻷﻋﻠﻰ‬

‫ﻣﻤﺜﻼ ﻋﻼﻣﺔ ﻣﻤﻴﺰﺓ ﻟﻠﻤﺸﺮﻭﻉ ﻳﺤﺘﻮﻯ ﻋﻠﻰ ﺃﺩﻭﺍﺭ ﺇﺩﺍﺭﻳﺔ‬ ‫ﻣﺴﻘﻂ ﺍﻓﻘﻰ ﺭﺋﻴﺴﻰ‬
‫ﻛﺎﻣﻠﺔ ﻭﺳﻜﻦ ﺇﺩﺍﺭﻯ ﻭﻗﺎﻋﺎﺕ ﺍﺟﺘﻤﺎﻋﺎﺕ ﻭﻛﺎﻓﺘﻴﺮﻳﺎ ﻭﻗﺎﻋﺔ‬
‫ﺭﺋﻴﺴﻴﺔ ﻛﺒﻴﺮﺓ ﻣﻨﻔﺼﻠﺔ ﺗﺄﺧﺬ ﺷﻜﻞ ﻫﺮﻡ ﻧﺎﻗﺺ ﻣﺘﻤﺸﻴﺎ‬
‫ﻣﻊ ﺑﺎﻗﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻓﻰ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﺍﻟﻔﻨﺪق‬

‫ﻳﻤﺘﺪ ﻣﻮﺍﺯﻳﺎ ﻟﻠﺸﺎﻃﻰءﻹﻋﻄﺎء ﺃﻛﺒﺮ ﻣﺪﻯ ﻟﻠﺮﺅﻳﺔ ﻣﻊ‬

‫ﺍﻻﺳﺘﻔﺎﺩﺓ ﻣﻦ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﻜﻮﻧﺘﻮﺭﻳﺔ ﻟﻸﺭﺽ ﻭﺗﺤﻴﻂ ﺑﻪ‬

‫ﻣﻨﻄﻘﺔ ﺗﺮﻓﻴﻬﻴﺔ ﺧﺎﺻﺔ ﻣﻄﻠﺔ ﻣﺒﺎﺷﺮﺓ ﻋﻠﻰ ﺍﻟﺸﺎﻃﻰء‬

‫ﻭﻣﺘﺼﻠﺔ ﺑﻤﺎﺭﻳﻨﺎ ﻭﻣﺮﺳﻰ ﻟﻠﻘﻮﺍﺭﺏ ﻭﻛﺎﻓﺘﻴﺮﻳﺎ ﻋﺎﺋﻤﺔ ﻓﻰ‬

‫ﻳﻮﺟﺪ ﻣﻮﻗﻒ ﺳﻴﺎﺭﺍﺕ ﺧﺎﺹ ﻟﻠﻤﺒﻨﻰ ﺍﻹﺩﺍﺭﻯ‬

‫ﻭﺍﻟﻔﻨﺪق ﺍﻟﻠﺬﻳﻦ ﺗﻢ ﺗﺼﻤﻴﻤﻬﻤﺎ ﻓﻰ ﻣﻮﻗﻌﻴﻦ ﻣﺘﻘﺎﺭﺑﻴﻦ‬
‫ﺍﻟﺘﺮﻓﻴﻬﻴﺔ‬ ‫ﺍﻟﻤﻨﻄﻘﺔ‬

‫ﺗﻤﺘﺪ ﻋﻠﻰ ﺍﻟﺸﺎﻃﻰء ﻣﺒﺎﺷﺮﺓ ﺑﺄﻣﺎﻛﻨﻬﺎ ﺍﻟﻤﻔﺘﻮﺣﺔ‬ ‫ﻣﺴﻘﻂ ﺃﻓﻘﻰ ﺍﻟﺪﻭﺭ ﺍﻟﺜﺎﻧﻰ‬
‫ﻭﺍﻟﻤﻼﻫﻰ ﺍﻟﻤﺎﺋﻴﺔ ﻭﺃﻣﺎﻛﻦ ﺍﻻﺳﺘﺮﺧﺎء ﻭﻣﻤﺎﺭﺳﺔ ﺍﻟﺮﻳﺎﺿﺎﺕ‬

‫ﺑﺎﻟﻨﺎﻓﻮﺭﺍﺕ ﻭﺃﻣﺎﻛﻦ ﺍﻟﺮﺍﺣﺔ ﻭﺗﻌﺘﺒﺮ ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﺘﺮﻓﻴﻬﻴﺔ ﻣﻦ‬

‫ﺃﻫﻢ ﻋﻮﺍﻣﻞ ﺍﻟﺠﺬﺏ ﻟﻠﻤﺸﺮﻭﻉ‬

‫ﻫﺬﺍ ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﻟﺨﺪﻣﺎﺕ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻓﻰ ﺍﻟﻤﺸﺮﻭﻉ‬
‫ﻭﺍﺟﻬﺔ ﺭﺋﻴﺴﻴﺔ‬
‫ﺍﻟﻤﺘﻤﺜﻠﺔ ﻓﻰ ﺍﻟﻤﺴﺮﺡ ﺍﻟﻤﻜﺸﻮﻑ ﺍﻟﺬﻯ ﺗﻢ ﺍﻻﺳﺘﻔﺎﺩﺓ ﻣﻦ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﺍﻟﻜﻮﻧﺘﻮﺭﻳﺔ ﻟﻸﺭﺽ ﻓﻰ ﻧﺤﺘﻪ ﺇﻟﻲ ﺟﺎﻧﺐ ﻗﺎﻋﺎﺕ‬
‫ﺍﻟﻌﺮﺽ ﺍﻟﺴﻴﻨﻤﺎﺋﻰ ﻭﺍﻟﻨﺪﻭﺍﺕ‬

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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
‫‪Center of Planning and Architecture Studies :: All rights reserved.‬‬
‫‪www.cpas-egypt.com‬‬

‫‪AMLA E‬‬
‫‪W‬‬
‫‪SAPC weiver‬‬

‫ﺍﻟﻨﺸﺮﺓ ﺍﻟﻌﻠﻤﻴﺔ ﻟﻤﺮﻛﺰ ﺍﻟﺪﺭﺍﻟﻤﺎﺕ ﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬

‫ﺑﺤﺚ ﺍﻟﻢ ﺋﻞ‬

‫ﺍﻟﺠﺰء ﺍﻟﺜﺎﻧﻰ‬
‫ﺍﻋﺪﺍﺩ ﻣﺮﻛﺰ ﺑﺤﻮﺙ ﺍﻹﺳﻜﺎﻥ ﻭﺍﻟﺒﻨﺎء‬
‫ﻭﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﻌﻤﺮﺍﻧﻰ ﺑﺎﻟﺘﻌﺎﻭﻥ ﻣﻊ‬
‫ﻫﻴﺌﺔ ﺍﻷﺑﻨﻴﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‬
‫ﻭﻳﻠﺤﻖ ﺑﻐﺮﻑ ﺍﻟﻤﺠﺎﻝ ﺍﻟﺰﺭﺍﻋﻰ ﺻﻮﺏ ﺯﺭﺍﻋﻴﺔ ﻭﺣﻘﻞ‬
‫ﺻﻐﻴﺮ ﻭﻋﻨﺒﺮ ﻟﺘﺮﺑﻴﺔ ﺍﻟﺪﻭﺍ ﺟﻦ‬
‫ﺍﻟﻤﻌﺎﻳﻴﺮ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‬
‫ﻟﻠﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻜﻤﻴﻠﻴﺔ ﻭﺍﻟﺨﺪﻣﺎﺕ‬
‫ﺛﺎﺛﻴﺎ ﺍﻟﻤﻌﺎﻳﻴﺮ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‬
‫ﻭﻳﺨﺺ ﺍﻟﺘﻠﻤﻴﺬ ﻣﻨﻬﺎ‬ ‫ﺍﻟﻔﺼﻮﻝ ﺍﻟﻤﺘﺨﺼﺼﺔ‬
‫ﻟﻠﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ‬
‫‪ 1 5‬ﻡ ‪ 2‬ﻭﻫﻰ ﺧﺎﺻﺔ ﺑﺎﻟﻔﺼﻮﻝ ﻣﻦ ﺍﻟﺼﻒ ﺍﻟﺮﺍﺑﻊ ﺇﻟﻰ‬
‫ﻳﺠﺐ ﺃﻥ ﻳﻮﻓﺮ ﺗﺼﻤﻴﻢ ﺍﻟﻔﺼﻞ ﺍﻟﺒﻴﺌﺔ‬ ‫ﺍﻟﻔﺼﻞ‬
‫ﻧﺎﻟﺜﺎ‬ ‫ﺍﻟﺜﺎﻣﻦ ﻛﻐﺮﻑ ﺍﻟﻤﻮﺍﺩ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺘﺮﺑﻴﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺘﺮﺑﻴﺔ‬
‫ﺍﻟﻤﻨﺎﺳﺒﺔ ﻻﺗﻤﺎﻡ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﻣﻦ ﺍﺣﺘﻴﺎﺟﺎﺕ ﺍﻧﺘﻔﺎﻋﻴﺔ‬
‫ﺍﻟﻤﻮﺳﻴﻘﻴﺔ ﻭﻫﻰ ﺑﻤﻌﺪﻝ ﻏﺮﻓﺔ ﺑﺎﻟﻤﺪﺭﺳﺔ ﺇﺫﺍ ﺗﺮﺍﻭﺡ ﺣﺠﻢ‬
‫‪ 1‬ﺗﻠﻤﻴﺬ ﻭﻏﺮﻓﺘﻴﻦ ﻷﻛﺜﺮ ﻣﻦ‬ ‫ﺍﻟﻤﺪﺭﺳﺔ ﻣﻦ ‪046‬‬ ‫ﻭﺍﺣﺘﻴﺎﺟﺎﺕ ﺑﻴﺌﻴﺔ ﻭﺗﻮﺻﻰ ﺍﻟﺪﺭﺍﺳﺔ ﺑﺄﻻ ﻳﺘﻌﺪﻯ ﺳﻌﺔ‬

‫ﺍﻟﻤﺴﺎﻧﺪﺓ‬ ‫‪ 0061‬ﻟﻠﻤﻴﺬ ﻭﻓﻰ ﺍﻟﻤﺪﺍﺭﺱ ﺍﻟﻜﺒﻴﺮﺓ ﻳﺘﻢ ﺗﺨﺼﻴﺺ ﻣﻌﻤﻞ‬ ‫ﺍﻟﻔﺼﻞ ‪ 04‬ﻟﻠﻤﻴﺬﺁ ﻳﺨﺺ ﺍﻟﺘﻠﻤﻴﺬ ﻣﻦ ﻣﺴﺎﺣﺘﻪ ‪ 1 52‬ﻡ ‪2‬‬
‫ﻟﻠﻐﺎﺕ ﻳﺠﻬﺰ ﺑﻤﻨﺎﺿﺪ ﺑﺤﺎﺟﺰ ﺷﻔﺎﻑ ﺑﺎﺭﺗﻔﺎﻉ ‪ 04‬ﺳﻢ‬ ‫ﻛﻤﺎ ﻳﺠﺐ ﺃﻻ ﺗﻘﻞ ﻣﺴﺎﺣﺔ ﺍﻟﻔﺼﻞ ﻋﻦ ‪ 4 A‬ﻡ ‪ 2‬ﻃﺒﻘﺎﻟﻠﻤﻌﺎﻳﻴﺮ‬
‫ﻭﺗﺸﻤﻞ ﺍﻟﻤﻜﺘﺒﺔ ﻭﻳﺮﺍﻋﻰ ﺃﻥ ﺗﻜﻮﻥ ﺑﻌﻴﺪﺓ ﻋﻦ ﻣﺼﺎﺩﺭ‬
‫ﻭﺗﺰﻭﺩ ﺑﺴﻤﺎﻋﺎﺕ ﻭﻣﻴﻜﺮﻭﻓﻮﻥ ﻟﺴﻤﺎﻉ ﻱ ﺍ ﻋﺎﺩﺓ ﺍﻟﻨﻄﻖ‬ ‫ﺍﻟﺨﺎﺻﺔ ﺑﺎﻟﺼﻮﺗﻴﺎﺕ ﻭﺍ ﻹﺿﺎ ﻋﺔ ﻭﺗﻮﺯﻳﻊ ﺍ ﻷﺛﺎﺙ ﻭﻳﻜﻮﻥ‬
‫ﺍﻟﻀﻮﺿﺎءﻭﺗﺴﺘﻮﻋﺐ ﺣﻮﺍﻟﻰ ‪ 04‬ﺗﻠﻤﻴﺬﺍ ﻋﻠﻰ ﺍﻷﻗﻞ‬
‫ﺍﻟﻌﺎﻣﻞ ﺍﻟﻤﺴﻴﻄﺮ ﻓﻰ ﺗﺤﺪﻳﺪ ﺍﺭﺗﻔﺎﻉ ﺍﻟﻔﺼﻞ ﻫﻮ ﺍﻟﺤﺼﻮﻝ‬
‫ﻭﻳﺮﺍﻋﻰ ﻋﻨﺪ ﺍﻟﺘﻮﺟﻴﻪ ﻋﺪﻡ ﺩﺧﻮﻝ ﺃﺷﻌﺔ ﺍﻟﺸﻤﺲ ﺍﻟﻤﺒﺎﺷﺮﺓ‬ ‫ﺍﻟﺴﻠﻴﻢ‬
‫ﺇﻟﻴﻬﺎ ﻭﻳﻔﻀﻞ ﻟﻬﺎ ﺍﻻﺗﺠﺎﻩ ﺍﻟﺸﻤﺎﻟﻰ ﻭﺍﺳﺘﺨﺪﺍﻡ ﺃﺭﻓﻒ‬ ‫ﻋﻠﻰ ﺣﺠﻢ ﻣﻌﻴﻦ ﻣﻦ ﺍﻟﻬﻮﺍء ﻟﻠﺘﻠﻤﻴﺬ ﻭﻫﻮﻣﺎﻳﻮﺍﺯﻯ ‪ 813‬ﻡ ‪3‬‬
‫ﻳﺘﻄﻠﺐ ﺗﺼﻤﻴﻢ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺜﺰﻡ ﺩﺭﺟﺔ ﻋﺎﻟﻴﺔ‬ ‫ﺍﻟﻤﻌﺎﻣﻞ‬
‫ﻟﻠﻜﺘﺐ ﻣﺘﻐﻴﺮﺓ ﺍ ﻻﺭﺗﻔﺎﻉ ﺑﻤﺴﺎﻓﺎﺕ ﺣﻮﺍﻟﻰ ‪ 09‬ﺳﻢ ﻭﺗﺘﺮﺍﻭﺡ‬ ‫ﻭﻋﻠﻰ ﻫﺬﺍ ﻳﻜﻮﻥ ﺣﺠﻢ ﺍﻟﻔﺼﻞ ‪ o 2 13 LxA‬ﻡ ‪ 3‬ﺃﻯ‬
‫ﻣﻦ ﺍﻟﻤﺮﻭﻧﺔ ﺣﺘﻰ ﻳﻤﻜﻦ ﺗﻌﺪﻳﻠﻪ ﺣﺴﺐ ﺍﻻﺣﺘﻴﺎﺝ ﺳﻮﺍءﻓﻰ‬
‫ﺳﻌﺔ ﺍﻟﻤﺘﺮ ﺍﻟﻄﻮﻟﻰ ﻟﻬﺎ ﺑﻴﻦ ‪ 51‬ﻣﺠﻠﺪﺁﻭﻩ ‪ 2‬ﻛﺘﺎﺑﺎ ﺣﺴﺐ‬ ‫ﺍﺭﺗﻔﺎﻉ ﺍﻟﻔﺼﻞ ‪ 3 01‬ﻡ ﻭﻳﺘﻢ ﺗﺠﻬﻴﺰ ﺍﻟﻔﺼﻮﻝ ﻓﻰ ﻫﺬﻩ‬
‫ﺍﻟﻌﻤﻞ ﺍﻟﻔﺮﺩﻯ ﺃﻭ ﺍﻟﺠﻤﺎﻋﻰ ﻭﺗﺠﻬﺰ ﺍﻟﻤﻌﺎﻣﻞ ﺑﺎ ﻵﺛﺎﺙ‬
‫ﻧﻮﻋﻴﺔ ﺍﻟﻜﺘﺎﺏ ﻛﺬﻟﻚ ﺗﻀﻢ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻜﻤﻴﻠﻴﺔ ﻣﻌﺎﻣﻞ‬ ‫ﺍﻟﻤﺮﺣﻠﺔ ﺑﺤﺠﻤﻴﻦ ﻣﻦ ﺍﻷﺛﺎﺙ ﺣﺠﻢ ﺻﻐﻴﺮ ﻟﻠﺴﻦ ﻣﻦ ‪9 6‬‬
‫ﺍﻟﺜﺎﺑﺖ ﻣﻦ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻤﻌﻤﻠﻴﺔ ﻭﺍﻵﺛﺎﺙ ﺍﻟﻤﺘﺤﺮﻙ ﻣﻦ ﻣﻨﺎﺿﺪ‬
‫ﺍﻟﻜﻤﺒﻴﻮﺗﺮ ﻭﻳﻘﺘﺮﺡ ﺍﻟﺒﺪء ﺑﺘﺠﻬﻴﺰ ﺍﻟﻤﻌﻤﻞ ﺑﻌﺪﺩ ‪ 01‬ﺃﺟﻬﺰﺓ‬ ‫‪ 51‬ﺳﻨﺔ ﻭﻳﻮﺻﻰ‬ ‫ﺳﻨﻮﺍﺕ ﻭﺣﺠﻢ ﻛﺒﻴﺮ ﻟﻠﺴﻦ ﻣﻦ ‪01‬‬
‫ﺧﺸﺒﻴﺔ ﻭﺗﺘﺮﺍﻭﺡ ﻣﺴﺎﺣﺔ ﺍﻟﻤﻌﻤﻞ ﻟﻌﺪﺩ ‪ 04‬ﻃﺎﻟﺒﺎ ﻣﻦ ‪76‬‬
‫ﻳﻤﻜﻦ ﺯﻳﺎﺩﺗﻬﺎ ﺇﻟﻰ ‪ 02‬ﺟﻬﺎﺯﺍ ﻻﺭﺗﻔﺎﻉ ﺗﻜﻠﻔﺘﻬﺎ ﺗﻢ‬
‫ﻭﻱ‬ ‫ﺑﺎﺳﺘﺨﺪﺍﻡ ﻣﻨﺎﺿﺪ ﻣﻨﻔﺼﻠﺔ ﻋﻦ ﺍﻟﻜﺮﺍﺳﻰ ﻭﺑﺎﻟﻨﺴﺒﺔ‬
‫ﺇﻟﻰ ‪ 57‬ﻡ ‪ 2‬ﻣﻠﺤﻖ ﺑﻬﺎ ﻏﺮﻓﺔ ﺗﺠﻬﻴﺰﻭﺗﺨﺰﻳﻦ ﻣﻊ ﺗﺰﻭﻳﺪﻩ‬
‫ﺗﺸﻐﻴﻞ ﺍﻟﻤﻌﻤﻞ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﺷﺘﺮﺍﻙ ﻛﻞ ﻟﻠﻤﻴﺬﻳﻦ ﻋﻠﻰ‬ ‫ﻟﻠﻮﺳﺎﺋﻞ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﻓﻴﻔﻀﻞ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻠﻮﻥ ﺍﻷﺧﻀﺮ ﺃﻭ‬
‫ﺟﻬﺎﺯ ﻭﺍﺣﺪ ﻭﻳﺠﺐ ﺗﺰﻭﻳﺪ ﺍﻟﻤﻌﻤﻞ ﺑﺄﺟﻬﺰﺓ ﺗﻜﻴﻴﻒ ﺍﻟﻬﻮﺍء‬ ‫ﺑﺠﻬﺎ ﺯ ﻛﺸﻒ ﻭﺇﻧﺬﺍ ﺭ ﺍ ﻟﺤﺮﺍ ﺋﻖ ﻭﺻﻨﺪﻭق ﻟﻼﺳﻌﺎ ﻓﺎﺕ‬
‫ﺍﻷﻭﻟﻴﺔ‬ ‫ﺍﻟﺮﻣﺎﺩﻯ ﻓﻰ ﻟﻮﻥ ﺍﻟﺴﺒﻮﺭﺓ ﺑﺤﻴﺚ ﻳﺘﺮﺍﻭﺡ ﻣﻌﺎﻣﻞ ﺍﻻﻧﻌﻜﺎﺱ‬
‫ﻟﻀﻤﺎﻥ ﺳﻼﻣﺔ ﺗﺸﻐﻴﻞ ﺍﻷﺟﻬﺰﺓ ﻭﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺼﺎﻟﺔ ﺍﻟﻤﺘﻌﺪﺩﺓ‬
‫ﻭﻫﻰ ﺗﻨﻤﻰ ﻟﺪﻯ‬ ‫ﻭﺭﺵ ﺍﻟﻤﺠﺎﻻﺕ ﺍﻟﻌﻤﻠﻴﺔ‬ ‫ﻟﻬﺎ ﺑﻴﻦ ‪ 52 51‬ﻭﻳﺮﺍﻋﻰ ﺃﻥ ﺗﻜﻮﻥ ﺇﺿﺎﻋﺘﻬﺎ ﺃﺷﺪ ﻣﻦ‬
‫ﻣﻌﺎﻟﺠﺔ ﺍﻟﻔﺘﺤﺎﺕ ﻓﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺸﺮﻗﻴﺔ‬ ‫ﺇﺿﺎءﺓ ﺍﻷﺳﻄﺢ ﺍﻟﻤﺤﻴﻄﺔ ﻣﻊ ﺗﺠﻨﺐ ﺍﻻﺑﻬﺎﺭﻭﺫﻟﻚ‬
‫ﺍﻟﺘﻼﻣﻴﺬ ﺍﻹﺣﺴﺎﺱ ﺑﺄﻫﻤﻴﺔ ﺍﻟﻌﻤﻞ ﺍﻟﻴﺪﻭﻯ ﻭﺗﺘﺮﺍﻭﺡ ﻣﺴﺎﺣﺔ‬
‫‪ 5‬ﺍﻡ ﻣﺰﻭﺩﺓ‬ ‫ﺍﻟﻮﺭﺷﺔ ﺳﻌﺔ ‪ 04‬ﻃﺎﻟﺒﺎ ﺑﻴﻦ ‪021‬‬ ‫ﺑﺎﺳﺘﺨﺪﺍﻡ ﻟﻤﺒﺎﺕ ﺍﻟﻔﻠﻮﺭﺳﻨﺖ ﻛﻤﺎ ﻳﺮﺍﻋﻰ ﻓﻰ ﺣﺎﻟﺔ‬
‫ﺑﻤﺨﺰﻥ ﻭﺃﺣﻬﺰﺓ ﺇﻧﺬﺍ ﺭ ﺣﺮﻳﻖ ﻭﺗﺰﻭﺩ ﺍ ﻟﻤﺪ ﺍﺭﺱ ﺳﻌﺔ ‪046‬‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﺷﺎﺷﺔ ﻋﺮﺽ ﺃﻥ ﻳﻜﻮﻥ ﺳﻄﺤﻬﺎ ﻋﺎﻛﺲ ﻟﻠﻀﻮء‬
‫‪ A‬ﺗﻠﻤﻴﺬ ﺑﻮﺭﺷﺘﻴﻦ ﻭﺗﺰﻭﺩ ﻏﺮﻑ ﺍﻟﻤﺠﺎﻝ ﺍﻟﺘﺠﺎﺭﻯ‬ ‫ﻻ ﻳﺘﻄﻠﺐ ﺇﻇﻼﻣﺎ ﺗﺎﻣﺂ ﻟﻠﻔﺼﻞ ﻭﻻ ﺗﺰﻳﺪ ﺍﻟﺰﺍﻭﻳﺔ ﺍﻟﻤﻘﺎﺳﺔ ﻣﻦ‬
‫ﺑﺄﺟﻬﺰﺓ ﻋﺮﺽ ﺍ ﻷﻓﻼﻡ ﻭﺍ ﻟﺸﺮﺍﺋﺢ ﺍ ﻟﻤﻠﻮﻧﺔ ﻭﺍ ﻵﻻﺕ ﺍﻟﻜﺎ ﺗﺒﺔ‬ ‫ﺍﻟﻤﺤﻮﺭ ﺍﻟﻮﺍﺻﻞ ﺑﻴﻦ ﺍﻟﺸﺎﺷﺔ ﻭﺟﻬﺎﺯ ﺍﻻﺳﻘﺎﻁ ﻋﻦ ‪ 5‬ﺓ ﻓﻰ‬
‫ﻣﺴﻘﻂ ﺃﻓﻘﻰ ﻟﻔﺤﻤﻞ ﺩﺭﺍﺳﻰ ﻟﻠﺼﻔﻮﻑ ﻣﻦ ﺍﻟﺮﺃﺑﻊ‬ ‫ﺍ ﻻﺗﺠﺎ ﻫﻴﻦ‬
‫ﺣﺘﻰ ﺍﻟﺜﺎﻣﻦ‬ ‫ﻣﺴﻘﻂ ﺃﻓﻘﻰ ﻟﻔﺤﻤﻞ ﺩﺭﺍﺳﻰ ﻟﻠﺼﻔﻮﻑ ﻣﻦ ﺍﻷﻭﻝ‬
‫ﺣﺘﻰ ﺍﻟﺜﺎﻟﺚ ﺍﻻﺑﺘﺪﺍﻧﻰ‬

‫ﻣﻌﺎﻟﺠﺔ ﻟﻔﺘﺮﺍﺕ ﻓﻰ ﺍﻟﻤﺎﺟﻬﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ‬

‫ﻣﻌﺎﻟﻤﺔ ﺍﻟﻔﺘﺤﺎﺕ ﻓﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﻐﺮﺑﻴﺔ‬

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‫ﺍﺳﺖ ﺩﺍﻡ ﺍﻟﻀﻠﺪ ﺍﻟﻤﺘﺤﺮﻛﺔ ﻟﺘﻤﺒﻴﻪ ﺍﻟﻬﻮﺍء‬

‫ﺍﺳﺘﻤﺪﺍﻡ ﺍﻟﻤﺼﺪﺍﺕ ﻟﺘﺪﺑﻴﻪ ﺍﻟﻬﻮﺍء ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫ﺇﻟﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺃﺧﻠﻰ‬
‫ﺍﻟﻄﻮﺏ ﺍﻷﺳﻤﻨﺘﻰ ﺍﻟﻄﻮﺏ ﺍﻟﺮﻣﻠﻰ ﻭﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺒﻠﻮﻛﺎﺕ‬ ‫ﺣﺮﻑ ‪ L‬ﺣﻴﺚ ﺗﺸﻐﻞ ﺍﻟﻘﺼﻮﻝ ﺍﻟﻀﻠﻊ ﺍﻷﻛﺒﺮﺇ ﺛﻢ‬
‫ﺍﻟﻤﻔﺮﻏﺔ ﻳﻔﻀﻞ ﺍﻟﻄﻮﺏ ﺍﻟﻄﻔﻠﻰ ﻧﻮ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻻﺳﻄﻮﺍﻧﻴﺔ‬ ‫ﺍﻟﻤﺴﻘﻂ ﺍﻷﻓﻘﻰ ﻋﻠﻰ ﺷﻜﻞ ﺣﺮﻑ ‪ U‬ﻟﻠﺘﻒ ﺍﻟﻔﺼﻮﻝ ﺣﻮﻝ‬
‫ﺛﻢ ﻃﻮﺏ ﺍﻟﻠﻴﻜﺎ ﺛﻢ ﺍﻟﺒﻠﻮﻛﺎﺕ ﺍﻵﺳﻤﻨﺘﻴﺔ ﻭﻳﻌﻄﻰ ﺍﺳﺘﻌﻤﺎﻝ‬ ‫ﻓﻨﺎء ﺩﺍﺧﻠﻰ ﺣﻴﺚ ﻳﻄﻞ ﺍﻟﻤﻤﺮ ﻋﻠﻰ ﺍﻟﺪﺍﺧﻞ ﻭﻳﻔﻀﻞ‬ ‫ﻋﺎﻟﺠﺔ ﺍﻟﻔﺘﺤﺎﺕ ﻓﻰ ﺍﻟﻮﺃﺟﻬﺔ ﺍﻟﺒﻨﻮﻳﻴﺔ‬
‫ﺍﻟﺤﻮﺍﺋﻂ ﺍﻟﻤﻔﺮﻏﺔ ﺃﻭﺍﻟﻤﺰﺩﻭﺟﺔ ﻧﻨﺎﺋﺞ ﻃﻴﺒﺔ ﻟﻠﺤﺪ ﻣﻦ ﻧﻔﺎﺫ‬ ‫ﺗﻮﺟﻴﻪ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﻠﻀﻠﻊ ﺍﻷﻛﺒﺮ ﻣﻦ ﺍﻟﻤﺴﻘﻂ ﻋﻠﻰ‬
‫ﺷﻜﻞ ﺣﺮﻑ ﺻﺄ ﻓﻰ ﺍﻹﺗﺠﺎﻩ ﺍﻟﺠﻨﻮﺑﻰ ﺍﻟﺸﺮﻗﻰ ﻭﺍﻟﺘﻮﺟﻴﻪ‬ ‫ﺍﻷﻏﺮﺍﺽ ﻓﻴﻤﻜﻦ ﺗﺠﻬﻴﺰﻫﺎ ﺃﻳﻀﺄ ﻛﻤﺴﺮﺡ ﺃﻭ ﻛﺼﺎﻟﺔ‬
‫ﺍﻟﺤﺮﺍﺭﺓ ﺣﻴﺚ ﻳﻘﻮﻡ ﺍﻟﻬﻮﺍء ﺍﻟﻤﺤﺼﻮﺭ ﺑﻴﻦ ﺃﺟﺰﺍﺋﻬﺎ ﺑﺪﻭﺭ‬
‫ﺍﻷﻣﻘﻞ ﻟﻠﻤﺴﻔﻂ ﻋﻠﻰ ﺷﻜﻞ ﺣﺮﻑ ﻻ ﻳﻜﻮﻥ ﺑﺤﻴﺚ ﺗﻮﺍﺟﻪ‬ ‫ﻟﻸﻟﻌﺎﺏ ﺍﻟﻤﻐﻠﻘﺔ ﻭﻳﺒﻠﻎ ﻧﺼﻴﺐ ﺍﻟﻔﺮﺩ ﻣﻦ ﻣﺴﺎﺣﺔ ﺍﻟﺼﺎﻟﺔ‬
‫ﺍﻟﻌﺎﺯﻝ ﺍﻟﺤﺮﺍﺭﻯ ﺇﻻ ﺃﻧﻪ ﻳﺠﺐ ﺗﺤﺮﻳﻚ ﻫﺬﺍ ﺍﻟﻬﻮﺍء ﺑﻌﻤﻞ‬
‫ﺣﻮﺍﻟﻰ ‪ 1‬ﻡ ‪ 2‬ﻛﻤﺎ ﺗﺸﻤﻞ ﺍﻟﻔﺮﺍ ﻏﺎﺕ ﺍﻟﺘﻜﻤﻴﻠﻴﺔ ﺍﻟﻤﺴﻄﺤﺎﺕ‬
‫ﻓﺘﺤﺎﺕ ﺃﻋﻠﻰ ﻭﺃﺳﻔﻞ ﺍﻟﺤﻮﺍﺋﻂ ﺍﻟﺨﺎﺭﺟﻴﺔ ﻭﺗﻜﻮﻥ‬ ‫ﺍﻷﺿﻼﻉ ﺍﻟﺜﻼﺛﺔ ﺍﻟﺸﻤﺎﻝ ﻭﺍﻟﺸﺮق ﻭﺍﻟﺠﻨﻮﺏ ﻭﻻ ﻳﺘﺎﻟﺮ‬
‫ﺍﺳﺰﻣﺔ ﻟﻤﺠﺪﺃﺭﺓ ﻭﻳﺮﺍﻋﻰ ﺃﻥ ﺗﻜﻮﻥ ﻗﺮﻳﺒﺔ ﻣﻦ ﻣﺪﺧﻞ ﺍﻟﻤﺪﺭﺳﺔ‬
‫ﺍﻟﺤﻮﺍﺋﻂ ﺍﻟﻤﺰﺩﻭﺟﺔ ﻣﻨﺎﺳﺒﺔ ﻟﻠﺤﻮﺍﺋﻂ ﺍﻟﺸﺮﻗﻴﺔ ﻭﺍﻟﻐﺮﺑﻴﺔ‬ ‫ﺍﻟﻤﺴﻘﻌﻞ ﺍﻟﻤﻨﺘﺸﺮ ﻛﺜﻴﺮﺍ ﺑﺘﻐﻴﻴﺮ ﺍﻟﺘﻮﺟﻴﻪ ﺩﺍﺋﻤﺎ ﻳﺠﺐ‬ ‫ﻭﺑﻌﻴﺪﻩ ﻋﻦ ﻣﺼﺎﺩﺭ ﺍﻟﻀﻮﺿﺎء ﻭﺑﺎﻟﻨﺴﺒﺔ ﻟﺪﻭﺭﺍﺕ ﺍﻟﻤﻴﺎﻩ‬
‫ﻛﺬﻟﻚ ﺗﻜﻮﻥ ﺍﻷﺳﻘﻒ ﺍﻟﻤﺰﺩﻭﺟﺔ ﺫﺍﺕ ﻓﺎﻋﻠﻴﺔ ﻋﺎﻟﻴﺔ ﻓﻰ‬ ‫ﻣﺮﺍﻋﺎﺓ ﻋﺪﻡ ﺗﻮﺟﻴﻪ ﺍﻷﺿﻼﻉ ﺍﻟﻤﺘﻮﺍﺯﻳﺔ ﻓﻰ ﺍﺗﺠﺎﻩ ﺍﻟﻐﺮﺏ‬ ‫ﻛﺨﺪﻣﺎﺕ ﻣﺴﺎﻧﺪﺓ ﻓﻴﻤﻜﻦ ﺗﺤﺪﻳﺪﻫﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺗﺨﺼﻴﺺ‬
‫ﺧﻔﺾ ﺍﻟﻨﻔﺎﺫ ﺍﻟﺤﺮﺍﺭﻯ ﻟﻠﻮﺳﻂ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫ﺗﻘﻴﻴﻢ ﺗﺎﺛﻴﺮﻃﺮق ﺗﺠﻤﻴﻊ ﺍﻟﻔﺼﻮﻝ ﻋﻠﻰ‬ ‫ﻡ ‪ 2‬ﻣﻠﻤﻴﺬﻭﺣﻮﺽ ﻟﻜﻞ ‪ 04‬ﺩﻟﻤﻴﺬ‬ ‫‪8‬‬
‫ﺿﺮﻭﺭﺓ ﻭﺿﻊ ﻃﺒﻘﺔ ﻋﺎﺯﻟﺔ ﻟﻠﺤﺮﺍﺭﺓ ﻓﻰ ﺍﻷﺳﻄﺢ‬ ‫ﺍﻟﻜﻔﺎءﺓ ﺍﻟﺤﺮﺍﺭﻳﺔ ﻣﻦ ﺧﻼﻝ ﺃﻧﻈﻤﺔ ﺍﻟﺘﺠﻤﻴﻊ‬ ‫ﻭﻳﺘﻢ ﺗﺤﺪﻳﺪ ﻋﺮﺽ ﻭﺃﻃﻮﺍﻝ ﻣﺴﺎﺭﺍﺕ ﺍﻟﺤﺮﻛﺔ ﺍﻷﻓﻘﻴﺔ‬
‫ﺍﻟﺨﺎﺭﺟﻴﺔ ﺍﻟﻤﻌﺮﺿﺔ ﻟﻼﺷﻌﺎﻉ ﺍﻟﺸﻤﺴﻰ ﻭﻳﻤﻜﻦ ﺍﻻﻛﺘﻔﺎء‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ ﻣﻊ ﺗﺜﺒﻴﺖ ﻣﺴﻄﺢ ﺍﻟﻔﺼﻞ ﻭﺍﻟﻔﺘﺤﺎﺕ ﻭﺍﻟﻤﻮﺍﺻﻔﺎﺕ‬ ‫ﻭﺍﻟﺮﺃﺳﻴﺔ ﻃﺒﻘﺎ ﻟﻜﺜﺎﻓﺔ ﺍﻟﺤﺮﻛﺔ ﻭﻣﻌﺎﻳﻴﺮ ﺍﻷﻣﻦ ﻭﺍ ﻷﻣﺎﻥ‬
‫ﺑﻄﺒﻘﺔ ﺫﺍﺕ ﺳﻤﻚ ‪ 2‬ﺳﻢ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺤﻮﺍﺋﻂ ‪3‬ﻭ ﺳﻢ ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﺍﻟﺤﺮﺍﺭﻳﺔ ﻟﻠﺤﻮﺍﺋﻂ ﻭﺍﻷﺳﻘﻒ ﺗﻢ ﺍﻟﺘﻮﺻﻞ ﻟﻼﻓﻀﻠﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ‬ ‫ﻛﻤﻔﺮﻳﻎ ﺍﻟﻤﺒﻨﻰ ﺃﺛﻨﺎء ﺍﻟﺤﺮﺍﺋﻖ ﺍﻟﺦ ﻓﻔﻰ ﺣﺎﻟﺔ ﻣﻤﺮ ﻳﺨﺪﻡ‬
‫ﻟﻸﺳﻘﻒ ﻣﻊ ﺿﺮﻭﺭﺓ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﻟﻮﺍﻥ ﺍﻟﻔﺎﺗﺤﺔ‬ ‫ﻣﻦ ﺣﻴﺚ ﺍﻷﺩﺍء ﺍﻟﺤﺮﺍﺭﻯ ﻓﻰ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺤﺎﺭﺓ ﻭﺍﻟﺒﺎﺭﺩﺓ ﻣﻦ‬ ‫ﻣﻦ‬ ‫ﺻﻒ ﻭﺍﺣﺪ ﻣﻦ ﺍﻟﻔﺼﻮﻝ ﺣﻮﺍﻟﻰ ‪ 003‬ﺗﻠﻤﻴﺬ‬
‫ﻟﺘﺸﻄﻴﺒﺎﺕ ﺍﻷﺳﻄﺢ ﺍﻟﺨﺎﺭﺟﻴﺔ ﻟﻠﺤﻮﺍﺋﻂ ﻭﻛﺬﻟﻚ ﺍﺳﺘﺨﺪﺍﻡ‬ ‫ﺍﻟﻌﺎﻡ ﺗﺠﻤﻴﻊ ﺍﻟﻐﺼﻮﻝ ﺣﻮﻝ ﺑﻨﺎءﻣﻜﺸﻮﻑ ‪TRUOC‬‬ ‫‪ 0801‬ﺇﻟﻰ ‪ 2 04‬ﻣﺘﺮ ﻋﺮﺽ ﻭﻓﻰ ﺣﺎﻟﺔ ﻣﻤﺮ ﻳﺨﺪﻡ‬
‫ﻟﻦ ﻓﺎﺗﺢ ﻟﻠﺴﻘﻒ ﻟﻌﻜﺲ ﻗﺪﺭ ﻛﺒﻴﺮ ﻣﻦ ﺍﻻﺷﻌﺎﻉ ﺍﻟﺸﻤﺴﻰ‬ ‫ﺻﻔﻴﻦ ﻣﻦ ﺍﻟﻔﺼﻮﻝ ﺣﻮﻟﻰ ‪ 005‬ﻟﻠﻤﻴﺬ ﻳﺒﻠﻎ ﺍﻟﻌﺮﺽ ﻣﻦ‬
‫ﻳﻠﻴﻪ ﺗﺠﻤﻴﻊ ﺍﻟﻔﺼﻮﻝ ﻓﻰ ﻣﺠﻤﻮﻋﺎﺕ‬
‫ﺍﻟﺴﺎﻗﻂ ﻋﻠﻴﻪ‬ ‫‪ 0402‬ﺇﻟﻰ ‪ 3 00‬ﻣﺘﺮ ﻭﺗﺘﺮﺍﻭﺡ ﻧﺴﺒﺔ ﻣﺴﺎﺣﺔ ﻣﺴﺎﺭﺍﺕ‬
‫ﻣﻨﻐﻠﻘﺔ ‪ SRETSULC‬ﺛﻢ ﺗﺠﻤﻴﻊ ﺍﻟﻔﺼﻮﻝ ﻋﻠﻰ ﺟﺎﻧﺒﻰ‬
‫ﺍﻟﺘﻬﻮﻳﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﺍﻟﺤﺮﻛﺔ ﻟﺼﺎﻓﻰ ﻣﺴﻄﺢ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻭﻓﻘﺄ‬
‫ﺍﻟﻤﻤﺮ ﻳﻠﻴﻪ ﺗﺠﻤﻴﻊ ﺍﻟﻔﺼﻮﻝ ﻋﻠﻰ ﺟﺎﻧﺐ ﻭﺍﺣﺪ ﻣﻦ ﺍﻟﻤﻤﺮ‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻘﺮﺍﻏﺎﺕ ﺍﻟﻔﺼﻮﻝ ﻳﻜﻮﻥ ﻣﻌﺪﻝ ﺍﻟﻬﻮﺍء ﺍﻟﻨﻘﻰ‬ ‫‪ 13‬ﻭﻳﻔﻀﻞ ﺃﻥ‬ ‫ﻟﻠﻌﻴﻨﺎﺕ ﺍﻟﻤﺨﺘﺎﺭﺓ ﻓﻰ ﺍﻟﺪﺭﺍﺳﺔ ‪22 5‬‬
‫ﻫﺬﺍ ﻭﻳﻔﻀﻞ ﺍﻟﻤﺴﻘﻂ ﺍﻟﻤﺴﺘﻄﻴﻞ ﻓﻰ ﺣﺎﻟﺔ ﺗﺠﻤﻴﻊ ﺍﻟﻔﺼﻮﻝ‬ ‫ﺗﻘﻞ ﻋﻦ ﻫﺬﻩ ﺍﻟﻨﺴﺒﺔ ﻟﺨﻔﺾ ﺍﻟﺘﻜﻠﻔﺔ‬
‫ﺍﻟﻤﻄﻠﻮﺏ ﻫﻮﻣﻦ ‪ 4‬ﺇﻟﻰ ‪ 6‬ﻡ ‪ 2‬ﺳﺎﻋﺔ ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻌﺪﺩ‬ ‫ﻋﻠﻰ ﺟﺎﻧﺒﻰ ﺍﻟﻤﻤﺮ‬
‫ﺷﺎﻏﻠﻰ ﺍﻟﻘﺮﺍﻍ ﻓﺈﻥ ﻣﻌﺪﻻﺕ ﺍﻟﺘﻬﻮﻳﺔ ﺗﺘﻨﺎﻗﺺ ﻛﻠﻤﺎ ﺯﺍﺩ‬
‫ﻧﺼﻴﺐ ﺍﻟﻔﺮﺩ ﻣﻦ ﺣﺠﻢ ﺍﻟﻬﻮﺍءﻭﻓﻴﻤﺎ ﻳﻠﻰ ﺑﻌﺾ ﺍﻟﻤﻌﺎﻟﺠﺎﺕ‬
‫ﻣﺴﻄﺢ ﺍﻟﻔﺘﺤﺎﺕ ﻟﻠﻔﺼﻮﻝ ﺍﻟﺤﺪ ﺍﻷﺩﻧﻰ‬ ‫‪ 8‬ﺭﺍﺑﻌﺎ ﺍﻟﻤﻌﺎﻳﻴﺮ ﺍﻟﺒﻴﺌﻴﺔ‬
‫ﻟﻤﺴﻄﺤﺎﺕ ﺍﻟﻐﺘﺤﺎﺕ ﺍﻟﺪﺯﻣﺔ ﻟﺘﻮﻓﻴﺮ ﺍﻹﺿﺎءﺓ ﻳﻮﺍﺯﻯ ‪51‬‬
‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﺨﺎﺻﺔ ﺑﺘﻨﺸﻴﻂ ﺣﺮﻛﺔ ﺍﻟﻬﻮﺍء‬ ‫ﺍ ﻟﺤﺮﺍ ﺭﻳﺔ‬
‫ﺗﻮﺟﻴﻪ ﺍﻟﻔﺘﺤﺔ ﺑﻤﻴﻞ ‪ 5‬ﻋﻠﻰ ﺍﺗﺠﺎﻩ ﺍﻟﺮﻳﺎﺡ ﻳﺆﺩﻯ‬ ‫ﻣﻦ ﻣﺴﺼﺢ ﺍﻟﻔﺼﻞ ﻭﺍﻷﺷﻜﺎﻝ ﺗﻮﺿﺢ ﺍﻟﻤﻌﺎﻟﺠﺎﺕ‬ ‫ﻳﻤﻜﻦ ﺍﻟﺘﺤﻜﻢ ﻧﺴﺒﻴﺎ ﻓﻰ ﺍﻟﻈﺮﻭﻑ ﺍﻟﺤﺮﺍﺭﻳﺔ ﻟﻠﻔﺮﺍﻍ‬
‫ﺇﻟﻲ ﺗﺤﻘﻴﻖ ﺃﻋﻠﻰ ﻣﻌﺪﻝ ﺳﺮﻋﺔ ﻫﻮﺍء ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫ﺍﻟﺨﺎﺻﺔ ﺍﻟﻤﻘﺘﺮﺣﺔ ﺑﺎﻟﻔﺘﺤﺎﺕ ﻭﺍﻟﺘﻰ ﺗﺤﺪ ﻣﻦ ﻧﻔﺎﺫ ﺍﻻﺷﻌﺎﻉ‬ ‫ﺍﻟﺪﺍﺧﻠﻰ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻌﻨﺎﺻﺮﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻟﻠﻤﺒﻨﻰ ﻭﺃﻫﻤﻬﺎ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺗﻮﻓﻴﺮ ﺃﻓﻀﻞ ﺗﻮﺯﻳﻊ ﻟﻠﻬﻮﺍء ﻓﻰ ﺍﻟﻔﺮﺍﻍ‬ ‫ﺍﻟﺸﻤﺴﻰ ﺍﻟﻤﺒﺎﺷﺮ ﺇﻟﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ ﻥ ﻟﻚ ﺗﺒﻌﺎ‬ ‫ﺍﻟﺘﻮﺟﻴﻪ ﻭﻣﺴﻄﺤﺎﺕ ﺍﻟﺰﺟﺎﺝ ﻭﻣﻌﺎ ﻟﺠﺔ ﺍﻟﻔﺘﺤﺎﺕ ﻭﺃﻳﻀﺎ‬
‫ﺍﻟﺪﺍﺧﻠﻰ ﻭﻓﻰ ﺣﺎﻟﺔ ﻋﺪﻡ ﺍﻹﻣﻜﺎﻧﻴﺔ ﻳﺘﻢ ﻋﻤﻞ ﻣﺼﺪﺍﺕ‬ ‫ﻟﻼﺗﺠﺎﻩ ﺍﻟﺠﻐﺮﺍﻓﻰ ﻭﻳﻔﻀﻞ ﺗﻮﺟﻴﻪ ﺍﻟﻔﺘﺤﺎﺕ ﺑﻤﻴﻞ ‪54‬‬ ‫ﺑﺎﺧﺘﻴﺎﺭ ﻣﻮﺍﺩ ﺍﻟﺒﻨﺎء ﻭﺗﻮﻓﻴﺮ ﺍﻟﻌﺰﻝ ﺍﻟﺤﺮﺍﺭﻯ ﻭﺳﻨﺘﻨﺎﻭﻝ‬
‫ﻟﻠﺮﻳﺎﺡ ﺑﺠﺎﻧﺐ ﺍﻟﻔﺘﺤﺎﺕ ﻟﺘﻌﻤﻞ ﻋﻠﻰ ﺗﻮﺟﻴﻪ ﺍﻟﻬﻮﺍءﺇﻟﻰ‬ ‫ﻋﻠﻰ ﺍﺗﺠﺎﻩ ﺍﻟﺮﻳﺎﺡ ﺍﻟﺴﺎﺋﺪﺓ ﺻﻴﻔﺎ ﻟﺘﺤﻔﻴﻖ ﺃﻓﻀﻞ ﺗﻮﺯﻳﻊ‬ ‫ﻫﺬﻩ ﺍﻟﻤﺘﻐﻴﺮﺍﺕ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻰ ﻣﺤﺎﻭﻟﺔ ﻟﺮﺑﻄﻬﺎ‬
‫ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ‬
‫ﺍﻟﺤﺮﻛﺔ ﺍﻟﻬﻮﺍء ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ ﻛﻤﺎ ﻳﻔﻀﻞ ﺃﻥ ﺗﻜﻮﻥ‬ ‫ﺑﺎﻟﻈﺮﻭﻑ ﺍﻟﻤﻨﺎﺧﻴﺔ ﻟﻤﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻟﻠﺘﻮﺻﻞ ﺇﻟﻰ ﺭﻓﻊ ﻛﻔﺎءﺓ‬
‫ﻳﺠﺐ ﻋﻤﻞ ﻓﺘﺤﺎﺕ ﻋﻠﻮﻳﺔ ﻋﻠﻰ ﺍﻟﻤﻤﺮ ﻟﺨﺮﻭﺝ ﺍﻟﻬﻮﺍء‬ ‫ﺍﻷﺩﺍء ﺍﻟﺤﺮﺍﺭﻯ ﻟﻠﻤﺒﻨﻰ ﺍﻟﻤﺪﺭﺳﻰ‬
‫ﺿﻠﻒ ﺍﻟﻔﺘﺤﺎﺕ ﻣﺘﺤﺮﻛﺔ ﻋﻠﻰ ﻣﺤﻮﺭ ﺃﻓﻘﻰ ﺣﺘﻰ ﻳﻤﻜﻦ‬
‫ﻭﻳﻤﻜﻦ ﺍﻟﺘﺤﻜﻢ ﻓﻰ ﺗﻮﺟﻴﻪ ﺍﻟﻬﻮﺍء ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ‬
‫ﺑﺎﺳﺘﺨﺪﺍﻡ ﺍﻟﻀﻠﻒ ﺍﻟﻤﺘﺤﺮﻛﺔ ﺃﻭ ﺍﻟﺴﻨﺎﺋﺮ ﺍﻟﻤﻌﺪﻧﻴﺔ ﻭﻟﺘﺠﻨﺐ‬
‫ﺍﺳﺘﺨﺪﺍﻣﻬﺎ ﻓﻰ ﺗﻮﺟﻴﻪ ﺣﺮﻛﺔ ﺍﻟﻬﻮﺍء ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫‪ 8‬ﺍﻟﺘﺄﺛﻴﺮ ﺍﻟﻤﺸﺘﺮﻙ ﺑﻴﻦ ﺗﻮﺟﻴﻪ‬
‫ﺍﻟﻒ ﺋﻴﺮ ﺍﻟﺴﻠﺒﻰ ﻟﻜﺎﺳﺮﺍﺕ ﺍﻟﺸﻤﺲ ﺍﻷﻓﻔﻴﺔ ﻋﻠﻰ ﺍﻟﺘﻬﻮﻳﺔ‬ ‫ﺍﺧﺘﻴﺎﺭ ﻣﻮﺍﺩ ﺍﻟﺒﻨﺎ‬ ‫ﺍﻟﻤﺒﻨﻰ ﻭﺗﺼﻤﻴﻢ ﺍﻟﻤﺴﻘﻂ ﺍﻷﻓﻘﻰ ﻳﺆﺛﺮ‬
‫ﺗﺘﺮ ﻣﺴﺎﻓﺔ ﺻﻐﻴﺮﺓ ﺑﻴﻨﻬﺎ ﻭﺑﻴﻦ ﺍﻟﺤﺎﺋﻂ ﺍﻟﺨﺎﺭﺟﻰ‬
‫ﻙ‬ ‫ﻭﺍﻟﻘﻄﺎﻋﺎﺕ ﻳﺮﺍﻋﻰ ﺍﺧﺘﻴﺎﺭ ﻣﻮﺍﺩ ﺑﻨﺎء ﺫﺍﺕ‬ ‫ﻛﻞ ﻣﻦ ﺷﻜﻞ ﺍﻟﻤﺒﻨﻰ ﻭﺗﻮﺟﻴﻬﻪ ﺍﻟﺠﻐﺮﺍﻓﻰ ﻋﻠﻰ ﺍﻟﻈﺮﻭﻑ‬
‫ﻓﻰ ﺣﺎﻟﺔ ﺍﻟﻤﻤﺮ ﺍﻟﻤﺤﻤﻞ ﺑﺎﻟﻔﺼﻮﻝ ﻋﻠﻰ ﺍﻟﺠﺎﻧﺒﻴﻦ‬ ‫ﻣﻘﺎﻭﻣﺔ ﺣﺮﺍﺭﻳﺔ ﻋﺎﻟﻴﺔ ﺗﺨﻔﺾ ﺣﺪ ﺗﺪﻓﻖ ﺍﻟﺤﺮﺍﺭﺓ ﻣﻦ‬ ‫ﺍﻟﺤﺮﺃﺭﻳﺔ ﻓﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻠﻰ ﻭﻗﺪ ﺗﻢ ﺍﺧﺘﻴﺎﺭ ﺛﻼﺛﺔ‬
‫ﻳﻌﺘﺒﺮﺑﺌﺮ ﺍﻟﺴﻠﻢ ﻋﻨﺼﺮﻫﺎﻡ ﻟﺴﺤﺐ ﺍﻟﻬﻮﺍء ﺍﻟﺴﺎﺧﻦ ﻋﻦ‬ ‫ﺍﻟﺨﺎﺭﺝ ﺇﻟﻰ ﺍﻟﺪﺍﺧﻞ ﻓﻰ ﺍﻟﺸﻬﻮﺭ ﺍﻟﺤﺎﺭﺓ ﻭﻣﻦ ﺍﻟﺪﺍﺧﻞ‬ ‫ﺃﺷﻜﺎﻝ ﻟﻠﻤﺴﺎﻗﻂ ﺍﻷﻓﻘﻴﺔ ﺑﺎﻷﺑﻨﻴﺔ ﺍﻟﺘﻌﻠﻴﻤﻴﺔ ﺛﺒﺖ ﻣﻦ ﺧﻼﻝ‬
‫ﻃﺮﻳﻖ ﺍﻟﻤﻤﺮ ﻣﻦ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻟﻠﻔﺼﻮﻝ ﻭﻳﺠﺐ‬ ‫ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ ﻓﻰ ﺍﻟﺸﻬﻮﺭ ﺍﻟﺒﺎﺭﺩﺓ ﻭﻗﺪ ﺗﻢ ﺗﺮﺗﻴﺐ ﻣﻮﺍﺩ‬ ‫ﺍﻟﺒﺤﺚ ﺍﻟﻤﻴﺪﺍﻧﻰ ﺃﻧﻬﺎ ﺃﻛﺜﺮ ﺍﻟﺘﺼﻤﻴﻤﺎﺕ ﺍﻧﺘﺸﺎﺭﺍ ﺗﻢ‬
‫ﻣﺮﺍﻋﺎﺓ ﻋﻤﻞ ﻓﺘﺤﺎﺕ ﻋﻠﻮﻳﺔ ﻓﻰ ﺃﻋﻠﻰ ﺍﻟﺴﻠﻢ ﻟﻠﺴﻤﺎﺡ ﻟﻠﻬﻮﺍء‬ ‫ﺍﻟﺒﻨﺎءﺗﺒﻌﺄﻷﻓﻀﻠﻴﺔ ﺍﻟﺴﻠﻮﻙ ﺍﻟﺤﺮﺍﺭﻯ ﺑﻨﺎءﻋﻠﻰ ﺗﺠﺎﺭﺏ‬ ‫ﺗﺮﺗﻴﺒﻬﺎ ﻣﻦ ﺣﻴﺚ ﺍﻷﻓﻀﻠﻴﺔ ﻓﻰ ﺍﻷﺩﺍء ﺍﻟﺤﺮﺍﺭﻯ ﻛﺎﻟﺘﺎﻟﻰ ﺓ‬
‫ﺑﺎﻟﺨﺮﻭﺝ ﻛﻤﺎ ﻳﻤﻜﻦ ﺗﻨﺸﻴﻂ ﺣﺮﻛﺔ ﺍﻟﻬﻮﺍءﻭﺳﺤﺐ ﺍﻟﻬﻮﺍء‬ ‫ﻛﺎﻟﺘﺎﻟﻰ ﺍﻟﺤﺠﺮ ﺍﻟﺠﻴﺮﻯ ﺍﻟﺤﺠﺮ‬ ‫ﻣﻌﻬﺪ ﺑﺤﻮﺙ ﺍﻟﺒﻨﺎء‬ ‫ﺍﻟﻤﺴﻘﻂ ﺍﻷﻓﻘﻰ ﺍﻟﻤﻨﺘﺸﺮ ﺃﺑﻨﻴﺔ ﻣﺘﻮﺍﺯﻳﺔ ﺗﺤﺼﺮ ﺑﻴﻨﻬﺎ‬
‫ﺍﻟﺴﺎﺧﻦ ﻣﻦ ﺍﻟﻤﻤﺮ ﺑﻌﻤﻞ ﻓﺮﺍﻏﺎﺕ ﺑﻴﻦ ﺍﻟﻔﺼﻮﻝ‬ ‫ﺍﻟﺮﻣﻠﻰ ﺍﻟﻄﻮﺏ ﺍﻷﺣﻤﺮ ﺍﻟﻄﻮﺏ ﺍﻟﺠﺒﺴﻰ ﺍﻟﺨﻘﻴﻒ‬ ‫ﺃﺣﻮﺍﺵ ﺷﺒﻪ ﺩﺍﺧﻠﻴﺔ ﻳﻠﻴﻪ ﺍﻟﻤﺴﻘﻂ ﺍﻷﻓﻘﻰ ﻋﻠﻰ ﺷﻜﻞ‬
‫ﻓﺘﺤﺎﺕ ﺧﺎﺻﺔ ﻟﻠﺘﻪ ﻳﺔ ﺑﺎﻟﺤﻮﺍﺋﻂ ﻗﺎﺑﻠﺔ‬
‫ﺍﻟﻤﺖ‬ ‫ﻟﺔ ﺍﻟﻜﺎﺳﺮﺍﺕ ﺍﻷﻓﻘﺒﺔ ﺑﺎﻟﻮﺍﺟﻬﺔ‬
‫ﺍﺳﺘﺤﺪﺍﻡ ﺑﻨﺮ ﺍﻟﺴﻠﻢ ﻟﺴﺤﺐ ﺍﻟﻬﻮﺍء‬
 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫‪lE sweN‬‬
‫‪lewaM‬‬ ‫ﺧﺒﺎﺭ ﺍﻟﻤﻮﺛﻞ‬

‫ﺍﻟﻐﻘﺮﺍءﻭﺳﻮﻑ ﺗﻀﻢ ﺟﻤﻌﻴﺔ ﺍﺣﻴﺎء ﺍﻟﺘﺮﺍﺙ ﺍﻟﺘﺨﻄﻴﻄﻰ‬ ‫ﺷﺎﺭﻙ ﺍﻟﺪﻛﺘﻮﺭ ﻋﺒﺪ ﺍﻟﺒﺎﻗﻰ ﺇﺑﺮﺍﻫﻴﻢ ﺭﺛﻴﺲ‬
‫‪rD ikabledbA miharbI‬‬ ‫‪tnediserP ic‬‬
‫ﻭﺍﻟﻤﻌﻤﺎﺭﻯ ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ ﺇﻟﻰ ﻏﻴﺮﻩ ﻣﻦ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺘﻰ‬ ‫ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻰ ﺍﻟﻨﺪﻭﺓ‬
‫‪eht retneC rof gninnalP dna‬‬
‫‪larutcetihcrA seidutS detapicitrap rI‬‬ ‫ﺗﻘﺪﻡ ﻟﻬﺬﻩ ﺍﻟﺠﺎﺋﺰﺓ ﻭﺫﻟﻚ ﺗﻤﻬﻴﺪﺍ ﻟﻌﺮﺿﻬﺎ ﻋﻠﻰ ﻟﺠﻨﺔ‬ ‫ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻟﺘﻰ ﻋﻘﺪﺕ ﻓﻰ ﻣﺪﻳﻨﺔ ﺍﺳﻄﻨﺒﻮﻝ ﺑﺘﺮﻛﻴﺎ ﺗﺤﺖ‬
‫‪na lanoitanretnI muisopmys ro‬‬ ‫ﺍﻟﺘﺤﻜﻴﻢ ﻻﺻﺪﺍﺭ ﻗﺮﺍﺭﻫﺎ ﺑﻤﻨﺢ ﺟﺎﺋﺰﺓ ﺣﺴﻦ ﻓﺘﺤﻰ‬ ‫ﻋﻨﻮﺍﻥ ﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺴﻴﺎﺣﻴﺔ ﻓﻰ ﺣﻮﺽ ﺍﻟﺒﺤﺮ ﺍﻷﺑﻴﺾ‬
‫‪erutcetlhcrA fo msiruoT nI eht ideM‬‬
‫ﺯﺍﺭ ﺍﻟﻤﺮﻛﺰ ﻋﺪﺩ ﻣﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﺍﻟﻌﺮﺏ ﻣﻦ ﺩ ﻭﻟﺔ‬ ‫ﺍﻟﻤﺘﻮﺳﻂ ﻛﻤﺎ ﺷﺎﺭﻙ ﻓﻰ ﺍﻟﺤﻠﻘﺔ ﺍﻟﺪﺭﺍﺳﻴﺔ ﺍﻟﺘﻰ ﺗﻠﺖ‬
‫‪naenarret nI eht doirep morf al‬‬ ‫‪31‬‬
‫‪tcO 19 eH osla denioJ nI eht seires lo‬‬ ‫ﺍ ﻻﻣﺎﺭﺍﺕ ﻭﺍﻟﻤﻤﻠﻜﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺴﻌﻮﺩﻳﺔ ﻟﻼﻃﻼﻉ ﻋﻠﻰ‬ ‫ﺍﻟﻨﺤﻮﺓ ﻓﻰ ﻣﺪﻳﻨﺔ ﻧﺎﺗﺎﻟﻴﺎ ﺟﻨﻮﺏ ﺗﺮﻛﻴﺎ ﺑﻌﺪ ﺍﻻﻃﻼﻉ ﻋﻠﻰ‬
‫‪seiduts taht dewollof eht muisopmys ri‬‬ ‫ﻋﺪﺩ ﻣﻦ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺴﻴﺎﺣﻴﺔ ﻓﻰ ﻣﺮﺍﺣﻞ ﺍﻟﺘﺨﻄﻴﻂ‬
‫ﺍﻟﻨﺸﺎﻁ ﺍﻟﻤﻬﻨﻰ ﻭﺍﻟﻌﻠﻤﻰ ﻭﺍﻟﺜﻘﺎﻓﻰ ﺍﻟﺬﻯ ﻳﻔﻮﻡ ﺑﻪ ﺍﻟﻤﺮﻛﺰ‬
‫‪aIlataN ytic htuos fo yekruT retfa er‬‬
‫ﻭﻗﺪ ﺃﺷﺎﺩﻭﺍ ﺑﺎﻟﺠﻬﺪ ﺍﻟﺬﻯ ﺑﺬﻝ ﻓﻰ ﺍﺻﺪﺍﺭ ﺍﻟﻤﻮﺳﻮﻋﺔ‬ ‫ﻭﺍ ﻟﺘﺼﻤﻴﻢ ﻭﺍ ﻟﺘﻨﻔﻴﺬ ﻭﺍ ﻻﺳﺘﻌﻤﺎﻝ‬
‫‪ gn a rebmun fo msiruoT stcejorp‬ﺍﻟﻼ ‪eiv‬‬
‫‪rednu tnereffid segats fo gninnalp ed‬‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺗﺤﺖ ﻋﻨﻮﺍﻥ ﺍﺳﺲ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻯ‬ ‫ﻛﺎﻥ ﻣﻮﺿﻮﻉ ﺍﻷﻣﺴﻴﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﺘﻰ ﻋﻔﺪﻫﺎ‬
‫‪ngis noitcurtsnoc dna secIvres‬‬ ‫ﻓﻰ ﻣﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺫﻟﻚ‬ ‫ﻭﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﺤﻀﺮﻯ ﻙ‬ ‫ﺍﻟﻤﺮﻛﺰﻣﺴﺎء ﺍﻻﺛﻨﻴﻦ ﺍﻷﻭﻝ ﻣﻦ ﺷﻬﺮ ﺍﻛﺘﻮﺑﺮ ﻋﻦ ﻣﺴﺘﻘﺒﻞ‬
‫ﻩ‬ ‫‪ehT‬‬ ‫‪retneC dezinagro‬‬ ‫‪ra‬‬ ‫ﺑﺎﻟﻠﻐﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍ ﻻﻧﺠﻠﻴﺰﻳﺔ ﻭﺍﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻓﻰ ﻣﺼﺮ ﻭﺗﺤﺪﺩ ﻣﻮﺿﻮﻉ ﺍﻷﻣﺴﻴﺔ‬
‫‪larutcetihcrA gninevE no eht isrif‬‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻟﺸﻬﺮ ﻧﻮﻓﻤﺒﺮ ﻋﻦ ﺗﺠﺮﺑﺔ ﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺴﻴﺎﺣﻴﺔ ﻓﻰ‬
‫‪yadnoM fo rebotcO 1991 gnissucsId‬‬
‫ﻳﻘﻮﻡ ﺍﻟﻤﺮﻛﺰ ﺑﻨﺎء ﻋﻠﻰ ﺭﻏﺒﺔ ﺍﻟﻌﺪﻳﺪ ﻣﻦ‬
‫ﺍﻟﻤﺆ ﺳﺴﺎﺕ ﺍﻟﻌﻠﻤﻴﺔ ﺑﺎﻟﺨﺎﺭﺝ ﺑﺎﻻﻋﺪﺍﺩ ﻟﺘﺮﺟﻤﺔ ﺍﻟﻜﺘﺐ‬ ‫ﺗﺮﻛﻴﺎ‬
‫‪ehT erutuF fo noitazinabrU poleveD‬‬
‫‪tnenr ni tpygE ehT tcejbus detnioppa‬‬ ‫ﺍﻟﺘﻰ ﺻﺪﺭﺕ ﻋﻦ ﺍﻟﻤﺮﻛﺰ ﺇﻟﻰ ﺍﻟﻠﻐﺔ ﺍﻻﻧﺠﻠﻴﺰﻳﺔ ﻭﺫﻟﻚ‬ ‫ﺗﻘﺪﻡ ﺃﺣﺪ ﺍﻟﻤﻌﺎﻫﺪ ﺍﻟﺒﺤﺜﻴﺔ ﻓﻰ ﻣﺠﺎﻝ ﺍﻟﺒﻨﺎء‬
‫‪rof eht rebmevoN gnineve saw‬‬ ‫ﺑﺎﻟﺠﻬﻮﺩ ﺍﻟﺬﺍﺗﻴﺔ ﺑﻤﺸﺮﻭﻉ ﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﺒﻨﺎء ﺍﻟﻤﺘﻮﺍﻓﻘﺔ‬
‫‪msiruoT tnempoleveD ecneIrepxE ri‬‬
‫ﻟﻼﺗﺴﻤﺎﻉ ﺑﺪﺍﺋﺮﺓ ﺍﻻﻧﺘﺸﺎﺭ ﺍﻟﻔﻜﺮﻯ ﻋﻠﻰ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺪﻭﻟﻰ‬
‫ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺟﺎﺋﺰﺓ ﺣﺴﻦ ﻓﺘﺤﻰ ﺍﻟﺪﻭﻟﻴﺔ ﻟﻌﻤﺎﺭﺓ‬
‫‪yekruT‬‬

‫‪enO fo eht hcraeser setutitsni eps‬‬

‫‪dezilalc ni gnidliub yb pleh‬‬
‫‪ orp‬ﻟﻢ ‪fles‬‬
‫‪desop a tcejorp ni etairporppA dliuB‬‬
‫‪gni ygolonhceT ot eveihca rassaH‬‬
‫‪yhtaF lanoitanretnI ezirP ehT elcoS‬‬
‫‪s‬‬
‫‪yt fo gniviveR gninnalP dna‬‬
‫‪larutcetihcrA egatireh dedulcnI eht‬‬
‫‪ htI rehto ralimis stcejorp rof‬ﻟﻼ ‪tcejorp‬‬ ‫ﺍﻭﻭﻥ‬
‫‪eht yruj eettimmoc ot etanimon eht‬‬
‫‪ezirp renniw‬‬

‫‪A rebmun fo barA stcetihcra rrorf‬‬

‫‪setarimE dna aiduaS aibarA diap a slv‬‬
‫ﻳﻌﻠﻦ ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻋﻦ ﺗﻨﻈﻴﻢ‬
‫‪ti ot eht retneC ot evresbo stI seforp‬‬
‫‪lanols cifitneics dna larutluc seitivitca‬‬
‫ﺍﻟﺪﻭﺭﺓ ﺍﻟﺘﺪﺭﻳﺒﻴﺔ ﺍﻷﻭﻟﻰ ﻟﻌﺎﻡ ‪ 2991‬ﻓﻰ ﺍﻟﻔﺘﺮﺓ ﻣﻦ ﺍﻟﺴﺒﺖ ‪11‬‬
‫‪yehT ylralucitrap desiarppa eht lroffe‬‬ ‫ﻳﻨﺎﻳﺮ ﺍﻟﻰ ﺍﻷﺭﺑﻌﺎء‪ 22‬ﻳﻨﺎﻳﺮ ‪ 2991‬ﺍﻟﻤﻮﺍﻓﻖ ﻣﻦ ‪ 6‬ﺍﻟﻰ ‪71‬‬
‫‪enod ot hsilbup eht larutcetihcra ne‬‬
‫‪aidepolcyc ni cibarA hsilgnE dna erF‬‬ ‫ﺭﺟﺐ ‪ 2141‬ﻭﻣﻮﺻﻮﻋﻬﺎ ﺩﺭﺍﺳﺎﺕ ﺍﻟﺠﺪﻭﻯ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻓﻰ‬
‫‪hcn rednu eht selpicnlrP‬‬
‫‪eltit ta‬‬
‫‪larutcetihcrA ngiseD dna nabrU nalP‬‬
‫ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬
‫‪gnilf nI oriaC ytiC‬‬
‫ﺑﺮﺟﺎء ﺳﺮﻋﺔ ﺍﻟﺘﺴﺠﻴﻞ ﺑﺎﺩﺍﺭﺓ ﺍﻟﺘﺪﺭﻳﺐ ﺑﺎﻟﻤﺮﻛﺰ ﻗﺒﻞ ﻧﻬﺎﻳﺔ‬
‫‪tA eht tseuqer fo ynam ngierof neics‬‬
‫‪ II etalsnart‬ﺍﻟﻼ ‪ciflt setutitsni eht retneC‬‬ ‫ﺷﻬﺮﺩﻳﺴﻤﺒﺮ ‪ 1991‬ﻡ‬
‫‪otni hsilgnE dna hsilbuper seires fo‬‬
‫‪gninnalp dna larutcetihcra skoob roni‬‬
‫‪red ot dnapxe stI lautcelletni sweiv ro‬‬
‫‪na lanoitanretnI level‬‬

‫‪Ar‬‬
 :: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::
Center of Planning and Architecture Studies :: All rights reserved.
www.cpas-egypt.com

sisponyS
tcejbuS fo eht eussi
ehT cimalsI raazab detseggus eht raenil enips rof alucanrev

nabrU azalp eht gnissim ecaps ni oriaC

yb rD rehaM onitsI dna rD aliaL E ‫ﺍ‬
irsaM ehT elcitra sgnirb pu rof sucsid
nois na tnatropmi melborp fo eht
naitpygE latipac eht ecnaraeppasid
fo nabru azalp ahas hcihw saw eno
fo eht niam serutaef fo ciamlsI orlaC

ehT elcitra sisylana emos fo eht tsixe

gni rojam serauqs ni oriaC taht dluoc
eb depoleved sa nabru sazalp

stcejorP fo eht eussi

lE laicremmoC retneC dna

notsoB

gnikraP egaraG stcetihcra naitpygE

ehT ibarhsaM sa fo E tp detareneg eht smrof dna eht
snoitroporp fo eht sgninepo
stnatlusnoC puorG GCE ehT nevele
roolf gnidliub sedulcni a nroc
hgih
lacirem retnec a xis sroolf gnikrap ag
egar dna owt sroolf fo eciffo aera

egelloC fo segaugnaL dna alsnarT

noit lE ytisrevinU
rahzA tenidaM
rsaN stcetihcra ehT ycnatlusnoC fO
ecif rof gninnalP dna erutcetihcrA
ABUC ehT gnidliub si desopmoc fo
owt niam skcolb eht tsrif rof eht nimda
noitartsi dna ffats srebmem seciffo
dna eht rehto rof lanoitacude seitilicaf

ehT ngised stcelfer lacol serutaef hcus

a eht occuts sung dna llebroc nI eht
snoitavele eht nepo draytruoc eht
dehcra sgninepo cte

iiccinhceT eicitrA

gnidliuB htiw ebodA ni aidnI yb rD

niam raenil syawhtap era tnecsinmer fo eht
enips ro absaq fo eht lanoitidart raazab
gnivres eht traeh fo eht laitaps xelpmoc
suhcamiiiaC llaH
tuohguorhT eht elddiM tsaE dna eht
naenarretideM eht draytruoc sah syawla
neeb na tnatropmi larutcetihcra erutaef
gnivres suoirav larutluc laicos dna citamilc
snoitnuf ni tnreffid gnidliub sepyt nI eht
euqsom dna eht asardam eht draytruoc si
a egral lartnec ecaps taht yllacilobmys dna
yllanoitcnuf setinu eht ruof sloohcs fo sI
cimai wal suoigileR noitcurtsni si tcudnoc
de ni ruof snawi ro sessecer taht nepo
otno eht lartnec truoc nI ruo tcejorp ew
ylppa a ralimis aedi ni suhcamillaC llaH ti si
6
eht gniyfinu tnemele fo eht ruof sehcnarb
damhA halaS eniD
lE aiffA ehT elclntra
fo onk egdel detneserper yb eht ividbus
snois fo eht nredom yrarbil secalp erehw setartsulli ht lanoitidart ebo
da ihcra
elpoep og ot etagitsevni dezilaiceps arb erutcet ni aidnI dna eht wen poleved
sehcn fo gninrael
stnem decudortni ot tI yb eht OCDUH
ehT tnemtaert fo swodniw si na ropmi
tnat erutaef fo cimalsI erutcetihcra ificepS
retupmoC weiveR
yllac eht tnemele fo eht ayibarhsam na
srews cificeps larutluc dna citamilc sdeen itluM
aideM itluM aideM ni eht
ni ruo ngised a ralimis tnemele no eht daorb esnes si eht rgetni ‫ ﺍ‬noi fo nroc
htuos dna tsew sedacaf sekam esu fo siht
retup detareneg hparg ‫ ﺓ ﺍ‬noitamina
lanoitidart noitulos rof gnillortnoc thgilnus
elihw gniwolla rof noitalitnev ti ommocca dennacs segami oediv dna oidua II
setad sesu detius ot eht ekil
ehcin ecaps dluoc edivorp eht tcetihcra htI c
detaerc no eht roiretni ediw murtceps fo snaem ot etartsulli
sih saedi ot eht strepxe dna stneilc
 :: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::
Center of Planning and Architecture Studies :: All rights reserved.
www.cpas-egypt.com

ecnerefnoC retneC dna eht çnirobhgien

latipsoh era trap fo siht ‫ ﺍ‬n ruo ngised ew
esohc ot eunitnoc eht cimhtyhr erutxet lo
eht lanoitidart naenarretideM ytic gnisU
eht rojam lanoitcnuf skcolb fo eht yrarbil ct
ehT ecnartne sa na gnirohcna tniop erehw eht owt sexa eem
etaerc a gnorts teerts egde ew denitnoc evoba si deripsni yb eht jsaM ‫ ﺍ ﺍ‬hahS ni nahais tfel
siht nrettap fo sdilos detautcnup yb secaps
taht nepo ot eht aes
tpecnoC tnempoleveD
nI gnidiced no eht gnidliub epolevne
dna eht laitaps noitatneiro fo eht gnidliub
ew dewollof eht setatcid fo eht etis tsriF a
gnorts yrtne saw detaerc gnola eht sixa
taht sdnetxe drawot eht ytisrevinU ceS
dno eht gnitsixe ecnerefnoC retneC saw
detargetni hguorht eht noitcudortni fo a
dnoces sixa ehT gninioj fo eseht owt sexa
eht ytisrevinU sixa dna eht ecnerefnoC
sixa detacol eht retnec fo eht etis hcihw
emaceb suhcamillaC llaH morF siht retnec
tniop ruo nadiam ro azalp saw detneiro ot
draw tyaQ yeB sihT deihslbatse eht mys
cilob sixa ehT gnissorc fo eseht sexa
sevig su eerht secaps taht era tcnitsid tey
suounitnoc gniknil eht ytisrevinU ot eht
aes ehT seitivitca dnuora eht owt secaps etaercer eht citsinelleH

citammargorP snoitcnuf erew desu sa

gnidliub sessam ot enifed eht eerht sexa
dna ot emarf eht sazalp yeht etaerc A noc
suounit edacaf gnola eht ehcinroC nier
secrof eht nabru egde suhT eht yrarbil si
derohcna ni eht cirbaf fo eht ytic
cirotsiH secnerefeR
suoremuN serutluc ylbaton eht ahP
cinoar eht citsnelleH dna eht cimalsI evah
dednelb rehtegot ot mrof a hcir sisehtnys
taht si euqinu ot eht naitpygE txetnoc
yraropmetnoC naitpygE erutcetihcra tsum
eb nees sa a noitaunitnoc fo siht ssecorp
fo larutluc syalrevo sti yticitnehtua sevired
morf sti ytiliba ot ward no cirotsih ecerp
stned gnimrofsnart meht otni smrof taht
era nredom tey yllarutluc elbadaer dna ler
tnave ruO tpecnoc sah neeb demrofni b
suoirav selpicnirp dna stnedecerp taht
thgim hcirne eht elor fo a nredom yrarbil ri
tpygE
ehT lareneg mrof ruo gnidliub si neg
detare yb a tcepser rof tnacifingis atneiro
snoit eht cilobmys sixa drawot eht isorahP
ehT ecnartne deripsni yb nolyhp fo tneicna naitpygE relpmet
tyaQ yeB eht lanoitcnuf sxia drawot eht
ytisrevinU dna eht etis sixa drawot eht
ecnerefnoC retneC sihT tnedecerp si ra eIp fo yraropmetnoc yteicos ew dediced sgninepo ereH ew etadommocca eht
ot esu siht noitatonnoc rof ruo gnidliub teerts srelleskoob a nommoc ralucanrev
tnatropmi eno ni cimalsI erutcetihcra atse
dehsub yb seuqsom hcus sa eht dijsaM ehT aots saw na tnatropmi tnemele ri ytivitca ni airdnaxelA ruO tnetni si ot er
hahS hcihw yitnagele seirram a ytic dirg citsinelleH erutcetihcra ti saw yllacipyt etaerc eht gnileef fo na aroga ni ruo iam
desu ot etadommocca laciremmoc ivitca nad
dna eht albiq noitatneiro ehT epahs dna
lareneg snoitroporp fo eht ecnartne seit dna saw nommoc erutaef fo seirarbil ehT aedi fo eht raazab saw na ropmi
kcolb ot ruo gnidliub erew deripsni yb
s dna rehto cilbup sgnidliub ni ruo gnidliub tnat noitaripsni eht raazab fo oppelA rof
eht evissam snolyp desu ni tsom tneicnA ew esu a dedannoloc edacra a elgnis or elpmaxe setadommocca a hcir xim fo vitca
naitpygE selpmet sA eht yrarbil si eht met fo snmuloc gnimarf a llaw detautcnup yb seiti gnola a raenil htap nI ruo tcejorp cwt

5
 :: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::
Center of Planning and Architecture Studies :: All rights reserved.
www.cpas-egypt.com

‫ ﺍﻑ‬yrots sa a seD ‫ ﺍ‬ng edoM

ehT weN acehtoilbiB anirdnaxelA

kraM kcaM dna razeN lA dayyaS ytisrevinU fo ainrofliaC eiekreB

ehT ngised fo eht n airdnaxelA iI
yrarb seriuqer a noitaredisnoc fo eht ynam
larutluc dna lacirotsih sreyal fo eht etis eht
ytic dna eht yrtnuoc ruO ngised ssecorp
nageb htiw ruo noisiv fo eht elor fo eht iI
yrarb nihtiw sti lacirotsih dna larutluc tes
gnit eht yrarbil sa htym dna rohpatem eW
neht dedeecorp ot ezylana eht etis ni sti
suoirav stxetnoc eht etis ni yrotsih rihtiw
sti nabru cirbaf dna ni sti notisop sa knil eb
neewt eht ytisrevinU fo airdnaxelA dna eht
aes margorP stnemele erew neht dialrevo
otno siht ehT tpecnoc taht degreme ram
seir eht cilobmys sixa drawot eht etis fo eht
tneicna esuohthgil sorahP dna eht cnuf
lanoit sixa drawot eht ytisrevinU lo
airdnaxelA supmac gniwolla eht gnidliub
ssam ot tca sa na nabru egde
sesimerP

eerhT tnatropmi stpecnoc dediug ruo

ngised fo eht yrarbil tsriF eht yrarbil
dluohs eb a sisehtnys fo s airdnaxelA tsap
dnoceS eht yrarbil dluohs dnopser ct
airdnaxelA tneserp erutcetihcrA dluohs
s
tcelfer larutluc ytiunitnoc ton aiglatson rof
eht tsap smrof tsum eb yllarutluc elbadaer
dna yllanoitcnuf tnaveler drihT eht yrarbil
dluohs etaercer eht anirdnaxelA ni tirips
rehtar naht ni mrof
nabrU txetnoC
nI tneicna semit sorahP dehcaer tuo dna cilobmys noisnetxe fo eht ecalap
drawot eht layoR ecalaP no eht alusninep seirutneC retal eht nrehtron retemirep fo a
fo helisliS owt evitcetorp smra gnilcricne laveidem barA llaw dluow dnetxe gnola eht
eht taerG robraH ehT dlO yrarbil xelpmoc egde fo eht tcejorp etis sti strapmar tsum
si decalp yb emos secruos tsuj dnalni irrorf evah deohce eht mhtyhr fo esoht fo lyaQ
helisliS erehw ti denoitcnuf sa a acisyhp yeB ledatiC ssorca eht stiarts
ehT sedacaf taht enil eht nretsaE raH
rob llet eht yrots fo s
airdnaxelA tsap maM
kui troF fo tyaQ yeB tiiub no eht adnuof
snoit fo eht sorahP eht etal ramottO
euqsoM fo iubA sabbA eht acissalcoeN
bmoT fo eht nwonknU reidloS eht ocerG
namoR muesuM tes kcab morf eht roC
ehcin tub liits a tnenimorp erutaef gnikniL
eseht era eht naenarretideM sedacaf fo
eht laitnediser sgnidliub taht mrof eht ipyt
lac nairdnaxelA epacsteerts tA eht nretsae
dne fo eht robrah eht en yrarbil dluohs
etelpmoc siht lacirotsih ecneuqes sa a
kramdnai taht si nredom tey sekam a seg
erut ot eht tsap
owT tcnitsid snrettap fo nabru cirbaf
redrob eht etis fo eht wen yrarbil oT eht
tsae dna tsew gnoia eht ehcinroC raluger
laitnediser skcolb etaerc eht cimhtyhr xet
erut fo lanoitidart airdnaxelA yltceriD ajda
tnec ot eht etis sgnidliub ni eht epacsdnal
mrof na detropmi ekilsupmac nrettap eht
4
 :: ‫ ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ‬- ‫ ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬::
Center of Planning and Architecture Studies :: All rights reserved.
www.cpas-egypt.com

MALA LA ANEB LAIROTIDE

A ylhtnoM no erutcetihcrA erutcetihcrA ai a tnenopmoC fo noitaziliviC

srehsiibatsE rD ikabiedbA irriharbi
rD ikabledbA miharbI
rD mezaH niharbI
ehT naitpygE ytic evah dehcaer a tluciffid noitautis EmOS
dehsilbuP yb ebircsed ti yb gnieb yrev ylgu dna elbadnemnu srehto etaler ti
ertneC rof gninnalP dna ot eht lareneg larutluc enecs taht degnahc eht erutcurts fo uo
larutcetihcrA seidutS SAPC naitpygE yteicos ehT tsael ot eb dias tuoba eht naitpygE ytic
stnirP dna noitacilbuP noitceS erutcetihcra si ot ebircsed ti sa a lavinraC ‫ﺓ‬ uoY nac eciton
eht lavinraC yreve erehw dnuora uoy ni eht yteirav fo soc
sensut gnilaever tnereffid stibah dna seniotsuc taht evah reeb
eussI oN 521 ceD 1991 detpoda morf eht nertsew noitazilivic neve ni sgnos cisum
rotidE
ni
feihC seman fo snoitazinagro dna serots taht era erom ro ssel Icnerf
rD ikabledbA mihanbl dna hsilgne gnitcelfer a noissergoter yawa morf noitazilivic
gniruD eht sraey fo noitapucco yb eht hcnerF skruT ro tfsitirB
gnitidE reganaM eht naitpygE ytic tnew hguorht stol fo segnahc ruO lanoitidart
hcrA adoH yzwaF semutsoc erew dedart rof stius dna seit htiw hcihw ew parw ruo
gnitidE ffatS kcen rof na nwonknu nosaer ylralimiS ew erow eht nairtsuA rat
hsuob nedlog sniahc cte nI eht emas rennam ew detatimi
hcrA alaH afatsuoM
nretsew erutcetihcra yrev ylduorp yb gnixim neewteb eht idart
hcrA keraT da
aS hallA lanoit dna eht nredom ro eht nredom
imes larutcetihcra selyts EW
hcrA naminaN nieZ lE reednebA tsol ruo ytitnedi ot eveihca a nredom egami revewoH eht redom
sren ees taht ti si rehtar tnatropmi ton ot diova a wen ivic
tairaterceS
noitazil ot nepo pu ot ti erimda etatimi dna tropmi sti tsewen
banieZ niehahS saedi ehT elor fo eht gnipoleved yteicos ereh si ot tcaer dna
tcaretni ot eht wen sweiv teY gniredisnoc ruo lacimonoce os
gnitidE srosivdA laic dna lanoitidart seitilaitnetop ew era llits elbanu ot od os
hcrA aroN iwanihS
lE tI si tnatropmi ot wonk taht eht niam msicitirc detcerid ct
hcrA rawnA iqamaH
lE eht egami fo eht naitpygE ytic semoc morf eht tsew erehw yeht
rD alilaG idaQ
lE redisnoc srotatimi sa gnieb roirefni elihwnaeM yeht dnuof ruo
egatireh sa na lanoitacude ecruos ehT tsew saw yletulosba rekat
hcrA lamaG irkaB
yb eht saedi fo eht naitpygE tcetihcra nassaH yhtaF ohw ylluferac
hcrA halaS ikaZ aS ‫ﺍ‬ deiduts msilacol dna degrem htiw ti ot a labolg erutluc
hcrA halaS nuotieZ nO eht rehto dnah esoht ohw yltarapsed deirt ot eveihca na retni
rD ledA nissaY lanoitan emaf yb gnihctarcs eht retuo secafrus erehw ton reve
deciton
rD ledbA milaH miharbI
rD ylA inoyssaB ehT pihsnoitaler neewteb lanoitidart dna nredom si ton a
lacihposolihp eussi rof noissucsid ti si rehtar na acimonoce
rD ylA taafaR
eussi taht dluohs eb deredisnoc yb strepxe gnidliuB ruo ceitic
rD degaM ysolohK gniredisnoc ruo detirehni larutcetihcra scitsiretcarahc dna xe
rD hoM halaS eniD
lE bageH gnidnet ylpeed ni ruo msilacol lliw yfilpma citsiruot cartta
rD daruoM ledbA redaQ snoit yllaicepse rof stsiruot gnipacse rieht lacinahcem seitic
suhT ti si raelc taht yb gninibmoc lanoitidart dna nredom ra
hcrA huodmaM imzA erutcetihc ew nac eveihca a dezilivic laog dna na cimonoce rat
teg A tol fo suomaf gniruot seirtnuoc hcus sa occoroM dna
rD lisaB itayiaB
lE dnalgnE
aisinuT dezilaer eht tifeneb msiruot dluoc niag yb qnitautnecca
hcrA rafaG naquoT nadroJ eht euqinu lacol larutcetihcra elyts fo rieht seitic sihT ceod
rD ledbA neshoM taharaF aiduaS ton naem gnitcelgen laudividni sdeen tub rehtar gnitcepser eht
hcrA ilA ihsabuohG airtsuA itidart seulav fo eht yteicos yllanretxe dna gnillifluf eht
lano
lanosrep sdeen yllanretni nI a ralimis rennam ew ees eht coroM
hcrA hoM rihK eniD
lE iaafi
lE airyS
I
snaic gniraew rieht lanoitan semutsoc hguohtla yeht od raew lla
dnik fo nretsew stiftuo htaenrednu yb eht emas nekot cetihcra
secirP dna noitpircsbuS erut dluohs eb eht lanoitan ebordraw fo eht yteicos tI si
eno ypoc launnA egnarts ot ees hcus ecnerehda ot lanoitan snoitidart gnieb
tpygE P 051
T EL 5
61 detpoda yb seirtnuoc taht erew deipucco rof a gnol lavretni
naduS P 051
1 EL 62
fI seirtnuoc era gnihcaer tuo ot poleved rieht lanoitan
nadroJ SU
3
5 U 24
S ymonoce dna gnitarebil ti a egnahc fo laicos stibah yllaicepse
qarI 3
5
S U U S 24
S sdrawot noitpmusnoc si a tsum roF elpmaxe ew deen ot dnif a
fluG seirtnuoC U5
S 3 U 24
S
elpmis citsiretcarahc lanoitan emutsoc gnitcelfer ruo egatireh
dna elbatius rof ruo tnemnorivne dna gnikrow snoitidnoc gnirud
S aibarA U5
S 3 U 24
S eht tnereffid snosaes ylralimiS ew evah ot hcraes rof a an
airyS U5
S 3 U 24
S lanoit erutcetihcra taht lliw edivorp yticilpmis sserpxe ruo
nonabeL 3
5
S U U 24
S egatireh dna eb tneinevnoc ot gnidnuorrus snoitidnoc yllanretnI
ti dluohs yfsitas lanosrep stnemeriuqer fo sti stnapucco ylppA
occoroM U5
S 3 U 24
S
gni a lacipyt larutcetihcra elyts si ralimis ot gnieerga ot raew
eporuE SU
5 06 a lanoitan emutsoc taht lla eht yteicos ev
ah ot eerga nopu rA
saciremA SU
6 SU
27 erutcetihc si yllanretxe eht erutcetihcra fo eht yteicos elihw
yllanretni ti si eht erutcetihcra fo eht laudividni renwo ro
N ehT setar esaercni yb E
B I 05
2 rof tcetihcra sihT si eht esnesse fo eht s milsuM yrotaidem ra
gnihctapsid yb yranidro ilam I 05
E 9
erutcetihc ylegnartS ew nac ees ti deilppa ni a elbaredisnoc
rebmun fo decnavda seirtnuoc ekil napaJ morf hcihw ew yldnilb
rof deretsiger iiam edisni tpygE ypoc eht retuo sweiv gnitcelgen eht eurt txetnoc gnidulcnoC eht
larutcetihcra ytilanosrep fo eht naitpygE ytic si yletenifed a
ecnednopserroC esac ot eb dessucssid dna ylluferac deredisnoc yllaicos luc
oriaC
tpygE ‫ﺓ‬ yllarut yllacimonoce dna tsiruot esiw sihT snethgilne eht elor
41 lE ykboS teertS M lE yrkaB silopoileH
fo eht setutitsni dna snoitazinagro elbisnopser rof gnidliu
b dna
gnitcurtsnoc eht naitpygE ytic
leT 172076
447076
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 ‫‪ ::‬ﻣﺭﻛﺯ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﺧﻁﻳﻁﻳﺔ و ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ‪ -‬ﺟﻣﻳﻊ ﺍﻟﺣﻘوﻕ ﻣﺣﻔوﻅﺔ ‪::‬‬
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‫ﻥ ﻣﻄﺒﻮﻋﺎﺕ ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﻳﺎﺕ ﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫‪snoitacilbuP fo ertneC rof gninnalP dna larutcetihcrA seidutS‬‬

‫ﺃﺻﺪﺭ ﺍﻟﻤﺮﻛﺰ ﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻷﻭﻟﻰ ﻣﻦ ﺍﻟﻜﺘﺐ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺍﻟﺘﺨﻄﻴﻄﻴﺔ‬

‫ﺍﻻﺭﺗﻔﺎء ﺑﺎﻝ ﺋﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻟﻠﻤﺪﻥ‬ ‫ﻥ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻻﺳﻼﻣﻴﺔ‬ ‫ﺍﻻﺱ‬ ‫ﺗﺄﺻﻴﻞ ﺍﻟﻘﻴﻢ ﺍﻟﺤﻔﺎﺭﻳﺔ ﻓﻰ ﺑﺨﺎء ﺍﻟﻤﺪﻳﻨﻪ‬
‫ﺍﻻﺳﻼﻳﺔ ﺍﻟﻤﻌﺎﻣﺮﺓ‬

‫ﺍﺑﻈﻮﺭ ﺍﻻﺳﻼﻣﻰ ﻟﻠﻨﻈﺮﻳﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﺍﻟﻤﻨﻈﻮﺭ ﺍﻟﺘﺎﺭﻳﺊ ﻟﻠﻌﻤﺎﺭﻩ ﻓﻰ ﺍﻟﻤﺜﺮق ﺍﻟﻌﺮﻓﻰ‬ ‫ﻛﻠﻤﺎﺕ ﺻﺤﻤﻪ ﻓﻰ ﺍﻟﺸﺌﻮﻥ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬

‫ﺣﺴﻦ ﻛﻌﺤﻰ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﻮﻥ ﺍﻟﻌﺮﺏ‬ ‫ﺑﻨﺎء ﺍﻟﻔﻜﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻭﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‬ ‫ﺻﻼﺡ ﺯﻳﻮﻥ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﻮﻥ ﺍﻟﻤﺮﺏ‬