‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr.

‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﺗﺳﺟﯾل اﻟدﺧول‬ ‫إﻧﺷﺎء ﻣدوﻧﺔ إﻟﻛﺗروﻧﯾﺔ‬ ‫ﻣزﯾد‬

‫‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب‬
‫‪An architect, academic and scholar. Received B.Sc. from Ain Shams University, Cairo, Egypt in‬‬
‫‪1978 and Doctorate in Architecture from The University of Michigan, Ann Arbor, USA in 1990. Held‬‬
‫‪several academic positions at Ain Shams University, United Arab Emirates University, Kuwait‬‬
‫‪University and Qatar University. The former Head of the Department of Architecture and Urban‬‬
‫‪Planning, College of Engineering, Qatar University. Practiced as a professional and consultant‬‬
‫‪architect.‬‬

‫‪Tuesday, June 5, 2012‬‬

‫‪ - Architectural Design Methods‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى‬

‫ﺗﻄﻮر ﻃﺮق اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎرى‬

‫ﻓﻰ ﺑﺪاﻳﺔ اﻟﺴﺘﻴﻨﻴﺎت ﺗﻮاﻓﺮت اﻟﻨﻈﻢ اﻟﻬﻨﺪﺳﻴﺔ و اﻟﺒﺤﻮث اﻟﺘﻄﺒﻴﻘﻴﺔ و ﻧﻈﺮﻳﺎت اﻟﻤﻌﻠﻮﻣﺎت و اﻟﺮﻳﺎﺿﻴﺎت‬
‫اﻟﺤﺪﻳﺜﺔ و اﻟﺤﺎﺳﺒﺎت ﻟﻤﻄﻮرى ﻧﻈﺮﻳﺎت اﻟﺘﺼﻤﻴﻢ ﻓﻰ اﺷﻜﺎل ﻣﺘﻄﻮرة و ﺳﺎﻋﺪت اﻟﻌﺪﻳﺪ ﻣﻦ ا ﺣﺪاث ﻋﻠﻰ‬
‫ﻇﻬﻮر ﻃﺮق اﻟﺘﺼﻤﻴﻢ ﻣﻦ ﻫﺬه اﻟﻤﺼﺎدر ﻛﻤﺠﺎل ﻣﺘﺨﺼﺺ‪[i].‬‬

‫‪ 1950‬ﻣﺎﻟﺪوﻧﺎدو ‪Maldonado‬‬

‫و ﻇﻬﺮ ذﻟﻚ ﻓﻰ ﺑﺪاﻳﺔ اﻟﺨﻤﺴﻴﻨﻴﺎت ﻓﻰ ﻣﺪرﺳﺔ اوﻟﻢ ﻟﻠﺘﺼﻤﻴﻢ ‪ Ulm School of Design‬ﺣﻴﺚ ﺣﺎول‬
‫ﻣﺎﻟﺪوﻧﺎدو و آﺧﺮﻳﻦ ارﺳﺎء ﻗﻮاﻋﺪ "ﻋﻠﻢ ا ﻧﺴﺎن اﻟﺘﻄﺒﻴﻘﻰ" اﻟﺬى ﻳﺠﻌﻞ اﻟﻤﺼﻤﻢ ﺟﺰء ﻣﺘﻜﺎﻣﻞ ﻣﻊ اﻟﻤﺠﺘﻤﻊ‬
‫و ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﻣﺮاﻛﺰ اﻟﺤﻀﺎرة اﻟﺼﻨﺎﻋﻴﺔ ﺣﻴﺚ ﺗﻘﻮم اﻟﺼﻨﺎﻋﺔ ﺑﺎﺗﺨﺎذ اﻟﻘﺮارات اﻟﻬﺎﻣﺔ اﻟﺘﻰ ﺗﺆﺛﺮ ﻋﻠﻰ اﻟﺤﻴﺎة‬
‫اﻟﻴﻮﻣﻴﺔ‪.‬‬

‫‪ 1956‬ﻣﺎﻛﺲ ﺑﻞ ‪Max Bill‬‬

‫ﺣﺎول ﻣﺎﻛﺲ ﺑﻞ و زﻣ ﺋﻪ ﺗﺤﺮﻳﺮ اﻧﻔﺴﻬﻢ ﻣﻦ ﺳﻴﻄﺮة اﺳﻄﻮرة ﻣﺪرﺳﺔ اﻟﺒﻮزار و ﺣﺎوﻟﻮا اﻟﻮﺻﻮل اﻟﻰ ﻃﺮﻳﻘﺔ اﻛﺜﺮ ﺣﺰﻣﺎ و ﺗﺘﺒﻊ ا ﺗﺠﺎه اﻟﻌﻠﻤﻰ‪ .‬و ﺗﻢ‬
‫اﺳﺘﺒﺪال ا ﺣﺎﺳﻴﺲ و اﻟﻔﻦ ﺑﺎﻟﻄﺮق اﻟﺘﺤﻠﻴﻠﻴﺔ و اﻟﻌﻠﻤﻴﺔ‪.‬‬

‫‪ 1962‬ﻣﻮرﻳﺲ اﺳﻴﻤﻮ ‪Morris Asimow‬‬

‫ﻗﺪم ﻣﻮرﻳﺲ اﺳﻴﻤﻮ ﻛﺘﺎب ﺑﻌﻨﻮان "ﻣﻘﺪﻣﺔ ﻟﻠﺘﺼﻤﻴﻢ" ﺣﻴﺚ ﻳﺼﻒ اﻟﺘﺼﻤﻴﻢ ﻛﺎﻧﺴﺎق ﻣﻌﻠﻮﻣﺎت اﻟﺘﻰ ﺗﺘﻀﻤﻦ اﻟﺠﻤﻊ و اﻟﻤﻌﺎﻟﺠﺔ و اﻟﺘﻨﻈﻴﻢ ا ﺑﺪاﻋﻰ‬
‫ﻟﻠﻤﻌﻠﻮﻣﺎت اﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﻤﺸﻜﻠﺔ‪ .‬و ﻳﺼﻒ ﻃﺮق اﻟﻮﺻﻮل ﻟﻠﻘﺮارات اﻟﻤﺜﺎﻟﻴﺔ و ﺗﻮﺻﻴﻠﻬﺎ و اﺧﺘﺒﺎرﻫﺎ و ﺗﻘﻴﻴﻤﻬﺎ‪ .‬و ﻟﻄﺮﻳﻘﺔ ﻣﻮرﻳﺲ اﺳﻤﻮ ﺧﺎﺻﻴﺔ اﻟﺘﻔﺎﻋﻞ‬
‫ﺣﻴﺚ ﻳﺘﻢ ﻏﺎﻟﺒﺎ اﺛﻨﺎء اﻟﻌﻤﻞ ﻇﻬﻮر ﻣﻌﻠﻮﻣﺎت ﺟﺪﻳﺪة و رؤﻳﺔ ﺟﺪﻳﺪة ﻣﻤﺎ ﻳﺘﻄﻠﺐ اﻟﻌﻮدة ﻟﺨﻄﻮات اﻟﺴﺎﺑﻘﺔ‪ .‬و ﻃﺮﻳﻘﺘﻪ ﻣﺎﺧﻮذة ﺑﻮﺿﻮح ﻣﻦ اﻟﻨﻈﻢ‬
‫اﻟﻬﻨﺪﺳﻴﺔ‪ .‬و ﺗﺘﻀﻤﻦ اﻟﻤﺮاﺣﻞ اﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -1‬دراﺳﺎت اﻟﺠﺪوى ‪Feasibility Study‬‬
‫‪ -2‬اﻟﺘﺼﻤﻴﻢ ا وﻟﻰ ‪Preliminary Design‬‬
‫‪ -3‬اﻟﺘﺼﻤﻴﻢ اﻟﺘﻔﺼﻴﻠﻰ ‪Detailed Design‬‬
‫‪ -4‬اﻟﺘﺨﻄﻴﻂ ﻟﻨﺴﻖ ا ﻧﺘﺎج ‪Planning the Production Process‬‬
‫‪ -5‬اﻟﺘﺨﻄﻴﻂ ﻟﻠﺘﻮزﻳﻊ ‪Planning for Distribution‬‬
‫‪ -6‬اﻟﺘﺨﻄﻴﻂ ﻟ ﺳﺘﻬ ك ‪Planning for Consumption‬‬
‫‪ -7‬اﻟﺘﺨﻄﻴﻂ ﻟﺰوال اﻟﻤﻨﺘﺞ ‪Planning for retirement of the Product‬‬
‫و ﺗﺘﻀﻤﻦ ﻣﺮﺣﻠﺔ اﻟﺘﺼﻤﻴﻢ اﻟﺘﻔﺼﻴﻠﻰ ﻣﺎ ﻳﻠﻰ‪:‬‬
‫‪ -1‬ا ﻋﺪاد ﻟﻠﺘﺼﻤﻴﻢ ‪Preparation for Design‬‬
‫‪ -2‬اﻟﻨﻈﻢ اﻟﻌﺎﻣﺔ ﻟﻠﺘﺼﻤﻴﻢ ‪Overall design Subsystems‬‬
‫‪ -3‬اﻟﻤﻜﻮﻧﺎت اﻟﻌﺎﻣﺔ ﻟﻠﺘﺼﻤﻴﻢ ‪Overall Design Components‬‬
‫‪ -4‬اﻟﺘﺼﻤﻴﻢ اﻟﺘﻔﺼﻴﻠﻰ ﻟ ﺟﺰاء ‪Detailed Design of Parts‬‬
‫‪ -5‬ا ﻋﺪاد ﻟﻠﺮﺳﻮﻣﺎت اﻟﺘﺠﻤﻴﻌﻴﺔ ‪Preparation of Assembly Drawings‬‬
‫‪ -6‬ا ﻧﺸﺎء اﻟﺘﺠﺮﻳﺒﻰ ‪Experimental Construction‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫‪ -7‬ﺑﺮﻧﺎﻣﺞ ﺗﺠﺮﺑﺔ اﻟﻤﻨﺘﺞ ‪Product test Programme‬‬

‫‪ -8‬اﻟﺘﺤﻠﻴﻞ و اﻟﺘﻮﻗﻌﺎت ‪Analysis and Prediction‬‬
‫‪ٌ -9‬اﻋﺎدة اﻟﺘﺼﻤﻴﻢ ‪Redesign‬‬
‫و ﻳﺘﻀﻤﻦ ﻧﺴﻖ ﺣﻞ اﻟﻤﺸﺎﻛﻞ و ﻫﻮ ﻣﺎ ﻳﺴﻤﻴﻪ ﻧﺴﻖ اﻟﺘﺼﻤﻴﻢ ﻣﺎ ﻳﻠﻰ‪:‬‬
‫‪ -1‬اﻟﺘﺤﻠﻴﻞ ‪Analysis‬‬
‫‪ -2‬اﻟﺤﻞ ‪Synthesis‬‬
‫‪ُ -3‬اﻟﺘﻘﻴﻴﻢ و اﻟﻘﺮار ‪Evaluation and Decision‬‬
‫‪ -4‬اﻟﻘﻴﺎس ‪Optimization‬‬
‫‪ -5‬اﻟﻤﺮاﺟﻌﺔ ‪Revision‬‬
‫‪ -6‬اﻟﺘﻨﻔﻴﺬ ‪Implementation‬‬
‫و ﻧﺴﻖ اﻟﺘﺼﻤﻴﻢ ‪ Design Process‬ﻫﻮ وﺻﻒ ﻟﻜﻞ ﻣﺎ ﻳﺤﺪث ﻣﻨﺬ ﺗﺤﺪﻳﺪ اﻟﻤﺸﻜﻠﺔ اﻟﻰ ا ﻧﺘﻬﺎء ﻣﻦ اﻟﺘﺼﻤﻴﻢ‪ .‬و ﺑﻨﺎء ﻋﻠﻰ ﻃﺒﻴﻌﺔ و ﻧﻮع اﻟﻤﺸﻜﻠﺔ‬
‫ﻳﺘﻀﻤﻦ ﻧﺴﻖ اﻟﺘﺼﻤﻴﻢ ﻧﺸﺎﻃﺎت ذﻫﻨﻴﺔ و ﻫﻰ اﻟﺘﻰ ﺗﺴﻤﻰ ﺗﺘﺎﺑﻊ اﻟﻘﺮارت‪.‬‬

‫ﺳﺒﺘﻤﺒﺮ ‪ 1962‬اﻟﻤﺆﺗﻤﺮ ا ول ﻟﻄﺮق اﻟﺘﺼﻤﻴﻢ ‪ -‬اﻟﻜﻠﻴﺔ اﻟﻤﻠﻜﻴﺔ ‪ -‬ﻟﻨﺪن‬

‫ﻛﺎن اﻟﻬﺪف ﻣﻦ اﻟﻤﺆﺗﻤﺮ ﻫﻮ ﺗﺠﻤﻴﻊ ا ﻓﺮاد و اﻟﺠﻤﺎﻋﺎت ذوى ا ﻫﺘﻤﺎم اﻟﻤﺸﺘﺮك و اﻟﻬﺪف اﻟﻤﺸﺘﺮك ﻓﻰ اﻟﺘﺨﺼﺼﺎت اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ اﻟﻌﻠﻮم و اﻟﻔﻨﻮن‬
‫ﺳﺘﻜﺸﺎف ﺗﻄﺒﻴﻖ اﻟﻄﺮق اﻟﻌﻠﻤﻴﺔ و اﻟﻤﻌﺮﻓﺔ ﻋﻠﻰ اﻟﻤﺸﻜ ت اﻟﺘﻰ ﻳﺘﻌﺎﻣﻠﻮن ﻣﻌﻬﺎ‪ .‬و اﻟﺘﻐﻠﺐ ﻋﻠﻰ اﻟﺤﻮاﺟﺰ ﺑﻴﻦ ا ﻧﺸﻄﺔ و ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ و اﻛﺘﺸﺎف‬
‫اﻟﻌ ﻗﺎت اﻟﻤﺤﺘﻤﻠﺔ اﻟﺘﻰ ﺗﺮﺑﻂ ﻛﻞ ا ﻧﺸﻄﺔ ا ﺑﺪاﻋﻴﺔ و اﻟﻮﺻﻮل اﻟﻰ ﻟﻐﺔ ﻣﺸﺘﺮﻛﺔ ﻟ ﺗﺼﺎل ﺑﻴﻦ اﻟﺘﺨﺼﺼﺎت اﻟﻤﺨﺘﻠﻔﺔ و ﻋﻠﻰ ا ﺧﺺ ﺗﻠﻚ اﻟﻐﻴﺮ‬
‫ﻣﺘﺮاﺑﻄﺔ‪.‬‬
‫‪:‬‬ ‫و ﻛﺎﻧﺖ ﻧﺘﻴﺠﺔ اﻟﻤﺆﺗﻤﺮ ﺗﺤﺪﻳﺪ ﺛ ﺛﺔ ﻣﺮاﺣﻞ اﺳﺎﺳﻴﺔ ﻟﻄﺮق اﻟﺘﺼﻤﻴﻢ و ﺗﺴﻤﻰ ﺑﺘﺴﻤﻴﺎت ﻣﺨﺘﻠﻔﺔ ﺣﺴﺐ اﻟﻤﺠﺎل اﻟﺘﺨﺼ‬
‫‪ -1‬ا ﺳﺘﻴﻌﺎب ‪Conception‬‬
‫‪ -2‬ا دراك ‪Realization‬‬
‫‪ -3‬ا ﺗﺼﺎل ‪Communication‬‬
‫او ﺑﺼﻮرة اﺧﺮى‪:‬‬
‫‪ -1‬اﻟﺘﺤﻠﻴﻞ ‪Analysis‬‬
‫‪ -2‬اﻟﺤﻞ ‪Synthesis‬‬
‫‪ -3‬اﻟﺘﻘﻴﻴﻢ ‪Evaluation‬‬

‫‪ 1962‬دﻧﻴﺲ ﺛﻮرﻧﻠﻰ ‪ Dennis Thornley‬و ﺗﻌﻠﻴﻢ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻤﺎرى]‪[ii‬‬

‫ﻓﻰ ﻫﺬا اﻟﻤﺆﺗﻤﺮ ﻗﺪم دﻧﻴﺲ ﺛﻮرﻧﻠﻰ ‪ Dennis Thornley‬ﺑﺤﺚ ﻋﻨﻮاﻧﻪ "ﻃﺮق اﻟﺘﺼﻤﻴﻢ ﻓﻰ اﻟﺘﻌﻠﻴﻢ اﻟﻤﻌﻤﺎرى" ﻛﻨﺘﻴﺠﺔ ﻟﺪراﺳﺎت ﻗﺎم ﺑﻬﺎ ﻣﻨﺬ ﻋﺎم ‪1958‬‬
‫ﻋﻨﺪﻣﺎ ﻋﺎد ﻟﻠﺘﺪرﻳﺲ ﺑﻌﺪ ﻣﻤﺎرﺳﺔ اﻟﻤﻬﻨﺔ ﻓﻰ ﺟﺎﻣﻌﺔ ﻣﺎﻧﺸﺴﺘﺮ ﺣﻴﺚ ﺣﻆ ان "اﻟﺘﺼﻤﻴﻢ اﻟﺬى ﻳﺘﻢ ﺗﺪرﻳﺴﻪ ﻓﻰ ﻣﺪارس اﻟﻌﻤﺎرة ﻟﻪ ﻋ ﻗﺔ ﺿﺌﻴﻠﺔ ﻟﻤﺎ‬
‫ﻳﺤﺪث ﻓﻰ اﻟﻤﻤﺎرﺳﺔ و ﺗﺪﻫﻮر ﻣﺴﺘﻮى ﺗﻌﻠﻴﻢ اﻟﺘﺼﻤﻴﻢ‪.‬‬
‫دون اﻟﻨﻈﺮ ﻟﻠﺘﺤﻠﻴ ت اﻟﻮﻇﻴﻔﻴﺔ او‬ ‫ﻛﺎﻧﺖ ﻣﺼﻄﻠﺤﺎت ﻧﻈﻢ اﻟﺒﻮزار ‪ Beaux Arts‬ﻣﺎزاﻟﺖ ﺗﺴﺘﺨﺪم و ﻛﺎن ﺷﻜﻞ اﻟﻤﺒﻨﻰ و ﺷﻜﻞ اﻟﺮﺳﻮﻣﺎت ﻫﻮ اﻫﻢ‬
‫اﻟﺘﻔﺎﺻﻴﻞ‪ .‬و ﻟﻢ ﻳﻜﻦ ﻫﻨﺎك اى اﺳﺎس ﻣﻨﻄﻘﻰ ﻟﻠﺘﺤﻜﻴﻢ ﺣﻴﺚ ﻛﺎن اﻟﺘﺤﻜﻴﻢ ﻳﺘﻢ ﺑﻨﺎء ﻋﻠﻰ اﻫﻮاء اﻟﻤﻌﻠﻤﻴﻦ‪ .‬اﻟﻤﻬﻢ ﻫﻮ ﺗﻄﺎﺑﻖ اﻟﻤﺴﻠﻤﺎت ﺑﻴﻦ اﻟﻤﻌﻠﻢ و‬
‫اﻟﻄﺎﻟﺐ‪.‬‬
‫ﺣﺎول ﺛﻮرﻧﻠﻰ ارﺳﺎء ﻗﻮاﻋﺪ ﻟﺘﻌﻠﻴﻢ اﻟﺘﺼﻤﻴﻢ ﺑﺎﻟﺘﻔﻜﻴﺮ ﻓﻴﻤﺎ ﻳﻔﻌﻠﻪ اﻟﻤﻌﻤﺎرى ﻋﻨﺪﻣﺎ ﻳﻘﻮم ﺑﺎﻟﺘﺼﻤﻴﻢ‪ .‬و اﻟﻄﺮﻳﻘﺔ ﺗﺘﻜﻮن ﻣﻦ ﺳﺒﻌﺔ ﻣﺮاﺣﻞ‪:‬‬
‫‪ -1‬ﺟﻤﻊ اﻟﻤﻌﻠﻮﻣﺎت ‪Accumulation of data‬‬
‫‪ -2‬ﺗﺤﺪﻳﺪ اﻟﻔﻜﺮة اﻟﻌﺎﻣﺔ او اﻟﺸﻜﻞ ‪Isolation of a General Concept or Form‬‬
‫ﻟﻠﻤﺒﻨﻰ‬ ‫‪      ‬ا( اﻟﻐﺮض اﻟﺮﺋﻴ‬
‫‪      ‬ب( ﻋ ﻗﺔ اﻟﻤﺒﻨﻰ ﺑﺎﻟﻔﺮد‬
‫‪      ‬ج( ﻋ ﻗﺔ اﻟﻤﺒﻨﻰ و اﻟﻤﺴﺘﻌﻤﻠﻴﻦ ﺑﺎﻟﻤﺠﺘﻤﻊ اﻟﻤﺤﻴﻂ و اﻟﻨﻤﻂ اﻟﺘﺠﺎرى‬
‫‪      ‬د( ﻋ ﻗﺔ اﻟﻤﺒﻨﻰ ﺑ ﻟﺒﻴﺌﺔ اﻟﻤﺎدﻳﺔ اﻟﻤﺤﻴﻄﺔ‬
‫‪      ‬ﻫـ( ا ﻗﺘﺼﺎدﻳﺎت‬
‫‪      ‬و( ا ﻫﺘﻤﺎﻣﺎت ا وﻟﻴﺔ‬
‫‪      ‬ز( ا ﻫﺘﻤﺎات ا وﻟﻴﺔ‬
‫‪      ‬ح( وﺿﻊ ﻓﻜﺮة ﻋﺎﻣﺔ ﻟﻠﺸﻜﻞ اﻟﻤﻨﺎﺳﺐ او اﻟﻔﻜﺮة اﻟﻌﺎﻣﺔ‬
‫‪ -3‬ﺗﻄﻮﻳﺮ اﻟﺸﻜﻞ ﻟﻠﺘﺼﻮر اﻟﻨﻬﺎﺋﻰ ‪Development of Form into Final Scheme‬‬
‫‪      ‬ا( اﻫﺘﻤﺎﻣﺎت ﺗﻔﺼﻴﻠﻴﺔ ﺑﺎﻟﺘﻨﻈﻴﻢ اﻟﻔﺮاﻏﻰ و اﻟﺸﻜﻠﻰ‬
‫‪      ‬ب( اﻫﺘﻤﺎﻣﺎت ﺗﻔﺼﻴﻠﻴﺔ ﺑﺎﻟﺘﻨﻈﻴﻢ ا ﻧﺸﺎﺋﻰ‬
‫‪      ‬ج( ﺗﻄﻮﻳﺮ اﻟﻘﻴﻢ اﻟﻤﻌﻤﺎرﻳﺔ‬
‫‪ -4‬ﺗﻘﺪﻳﻢ اﻟﺘﺼﻮر اﻟﻨﻬﺎﺋﻰ ‪Presentation of Final Scheme‬‬
‫و ﻗﺪ ﻛﺎﻧﺖ ﻃﺮﻳﻘﺔ ﺛﻮرﻧﻠﻰ اﺳﺎﺳﺎ اداة ﺗﻌﻠﻴﻢ اﻟﺘﻰ ﻳﺘﻤﻜﻦ ﻣﻦ ﺧ ﻟﻬﺎ اﻟﻤﻌﻠﻢ ﻣﻦ ﻣﺘﺎﺑﻌﺔ ﻋﻤﻞ اﻟﻄﺎﻟﺐ‪ .‬ﻓﻜﻞ ﻣﺮﺣﻠﺔ ﻳﺘﻢ ﺗﻘﻴﻴﻤﻬﺎ ﻓﻰ ﺣﻴﻦ ﻛﺎﻧﺖ اﻟﺪرﺟﺔ‬
‫ﺗﻌﻄﻰ ﻟﻠﻤ وع اﻟﻨﻬﺎﺋﻰ‪.‬‬ ‫اﻟﻜﺎﻣﻠﺔ ﻓﻰ اﻟﻤﺎ‬

‫‪ 1963‬ﻫﺎﻧﺰ ﺟﻮﺟﻴﻠﻮت ‪Hans Gugelot‬‬

‫ﺗﻌﺘﻤﺪ ﻃﺮﻳﻘﺔ ﻫﺎﻧﺰ ﺟﻮﺟﻴﻠﻮﺗﺲ ﻋﻠﻰ ﻣﺎ ﻳﻠﻰ‪:‬‬

‫‪ -1‬ﻣﺮﺣﻠﺔ اﻟﻤﻌﻠﻮﻣﺎت ‪Information Stage‬‬
‫اﻟﻌﻤﻴﻞ ‪ -‬اﻟﻤﻨﺘﺠﺎت اﻟﻤﺸﺎﺑﻬﺔ ‪ -‬ﻣﺠﺎل اﻟﻌﻤﻞ‬
‫‪ -2‬ﻣﺮﺣﻠﺔ اﻟﺒﺤﺚ ‪Research Stage‬‬
‫اﻟﻤﺴﺘﻌﻤﻞ ‪ -‬ا ﺣﺘﻴﺎﺟﺎت ‪ -‬اﻟﺒﻴﺌﺔ ‪ -‬ا ﺳﺘﺨﺪام ‪ -‬اﻟﻮﻇﻴﻔﺔ‬
‫‪ -3‬ﻣﺮﺣﻠﺔ اﻟﺘﺼﻤﻴﻢ ‪Design Phase‬‬
‫ا ﺑﺪاع ‪ -‬ا ﺣﺘﻤﺎ ت اﻟﺠﺪﻳﺪة ﻟﻠﺘﺸﻜﻴﻞ ‪ -‬اﺣﺘﻴﺎﺟﺎت ا ﺧﺮﻳﻦ اﻟﻤﺸﺎرﻛﻴﻦ ﻓﻰ اﻟﻌﻤﻞ‬
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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫‪ -4‬ﻣﺮﺣﻠﺔ اﺗﺨﺎذ اﻟﻘﺮار ‪Decision Stage‬‬

‫ا ﻧﺘﺎج ‪ -‬اﻟﺘﺴﻮﻳﻖ ‪ -‬اﻟﺘﻘﻨﻴﺎت‬
‫‪ -5‬اﻟﺤﺴﺎﺑﺎت ‪Calculation‬‬
‫اﻟﻤﻮاﺻﻔﺎت اﻟﻘﻴﺎﺳﻴﺔ‬
‫‪ -6‬ﻋﻤﻞ اﻟﻨﻤﺎذج ‪Model Making‬‬
‫ﻋﻤﻞ ﻧﻤﺎذج ﻟﻠﺘﻮﺿﻴﺢ‬

‫‪ 1963‬ﻃﺮﻳﻘﺔ اﻟﺘﺼﻤﻴﻢ اﻟﻤﻨﻈﻢ ﻟﻜﺮﻳﺴﺘﻮﻓﺮ ﺟﻮﻧﺲ]‪[iii‬‬

‫ﻇﻬﺮ ا ﺗﺠﺎه ﻧﺤﻮ ﻃﺮق ﻣﻨﻄﻘﻴﺔ و ﻣﻨﻈﻤﺔ ﻟﻠﺘﺼﻤﻴﻢ ﺧ ل اﻟﺨﻤﺴﻴﻨﻴﺎت و ﻇﻬﺮت ﻛﻨﺘﻴﺠﺔ ﻟﻠﺘﻘﺪم اﻟﺘﻜﻨﻮﻟﻮﺟﻰ ﻓﻰ ﻣﺠﺎ ت اﻟﻜﻤﺒﻴﻮﺗﺮ و اﻟﺘﺤﻜﻢ ا ﻟﻰ و‬
‫اﻟﻨﻈﻢ‪ .‬و ﻓﻰ ﻧﻔﺲ اﻟﻔﺘﺮة ﻛﺎﻧﺖ ﻫﻨﺎك ﻣﺤﺎو ت ﻋﻄﺎء اﻫﻤﻴﺔ اﻛﺒﺮ ﻟﻠﺨﻴﺎل و ا ﺑﺪاع ﻓﻰ اﻟﺘﺼﻤﻴﻢ ﺗﺤﺖ ﻣﺴﻤﻴﺎت ﻣﺜﻞ "اﻟﻬﻨﺪﺳﺔ ا ﺑﺪاﻋﻴﺔ" و‬
‫"اﻟﻌﺎﺻﻔﺔ اﻟﺬﻫﻨﻴﺔ"‪ .‬و ﺗﻄﺒﻖ ﻃﺮﻳﻘﺔ ﺟﻮﻧﺲ ﻋﻠﻰ اى ﻋﻤﻠﻴﺔ ﺗﺼﻤﻴﻤﻴﺔ ﺳﻮاء ﻣﻌﻤﺎرﻳﺔ او ﺻﻨﺎﻋﻴﺔ و ﻓﻨﻴﺔ او ﺧ ﻓﻪ‪.‬‬
‫وﺻﻒ ﺟﻮﻧﺰ ﻓﻰ ﻛﺘﺎﺑﻪ "ﻣﻘﺎرﻧﺔ ﻃﺮق اﻟﺘﺼﻤﻴﻢ‪ :‬ا ﺳﺘﺮاﺗﻴﺠﻴﺎت" اﻟﺬى ﺻﺪر ﻋﺎم ‪ 1966‬ا ﻫﺪاف اﻟﻌﺎﻣﺔ ﻟﻔﻜﺮ ﻃﺮق اﻟﺘﺼﻤﻴﻢ اﻟﻤﺘﺒﻌﺔ ﻓﻰ ذﻟﻚ اﻟﻮﻗﺖ‬
‫ﺑﺎن "اﻟﻄﺮﻳﻘﺔ ﻫﻰ اﺳﺎﺳﺎ وﺳﻴﻠﺔ ﻟﻠﺘﻐﻠﺐ ﻋﻠﻰ اﻟﺘﻌﺎرض اﻟﻤﻮﺟﻮد ﺑﻴﻦ اﻟﻤﻨﻄﻖ اﻟﺘﺤﻠﻴﻠﻰ و اﻟﺘﻔﻜﻴﺮ ا ﺑﺪاﻋﻰ‪ .‬و اﻟﺼﻌﻮﺑﺔ ﺗﻜﻤﻦ ﻓﻰ ان اﻟﺨﻴﺎل ﻳﻌﻤﻞ‬
‫اﻟﻤﺸﻜﻠﺔ ﺑﺤﺮﻳﺔ و ﺑﺎى ﺗﺮﺗﻴﺐ و ﻓﻰ اى وﻗﺖ ﻓﻰ ﺣﻴﻦ ان اﻟﻤﻨﻄﻖ اﻟﺘﺤﻠﻴﻠﻰ ﻳﺘﻬﺪم ﻟﻮ ان ﻫﻨﺎك ادﻧﻰ ﺗﺨﻠﻰ‬ ‫ا اذا ﻛﺎن ﺣﺮا ﻓﻰ اﻟﺘﻨﻘﻞ ﺑﻴﻦ ﺟﻤﻴﻊ ﻋﻨﺎ‬
‫ﻋﻦ اﻟﺘﺮﺗﻴﺐ اﻟﻤﻨﺘﻈﻢ ﺧﻄﻮة ﺧﻄﻮة‪ .‬و ﻟﺬﻟﻚ ﻳﺠﺐ ان ﺗﺘﻴﺢ اى ﻃﺮﻳﻘﺔ ﺗﺼﻤﻴﻢ ﻟﻠﻨﻮﻋﻴﻦ اﻟﻤﺨﺘﻠﻔﻴﻦ ﻣﻦ اﻟﺘﻔﻜﻴﺮ اﻟﺤﺮﻛﺔ ﺳﻮﻳﺎ ﻟﺘﺤﻘﻴﻖ اﻟﺘﻘﺪم‪ .‬و اﻟﻄﺮق‬
‫اﻟﻤﻮﺟﻮدة ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﺗﺒﺎﻋﺪ ﻣﺘﻌﻤﺪ ﺑﻴﻦ اﻟﻤﻨﻄﻖ و اﻟﺘﺨﻴﻞ ‪ -‬اﻟﻤﺸﻜﻠﺔ و اﻟﺤﻞ ‪ -‬و ﻳﻌﻮد ﻓﺸﻠﻬﺎ اﻟﻰ ﺻﻌﻮﺑﺔ اﺑﻘﺎء ﻫﺬﻳﻦ اﻟﻨﺴﻘﻴﻦ ﻣﻨﻔﺼﻠﻴﻦ ﻓﻰ ﻋﻘﻞ‬
‫ا ﻧﺴﺎن‪ .‬ﻟﺬﻟﻚ ﻓﺎﻟﺘﺼﻤﻴﻢ اﻟﻨﺘﻈﻢ ﻫﻮ اداة ﺑﻘﺎء اﻟﻤﻨﻄﻖ و اﻟﺘﺨﻴﻞ ﻣﻨﻔﺼﻠﻴﻦ ﺑﻮﺳﺎﺋﻞ ﺧﺎرﺟﻴﺔ و ﻟﻴﺴﺖ داﺧﻠﻴﺔ‪.‬‬
‫ﻣﻌﻠﻮﻣﺎت اﻟﺘﺼﻤﻴﻢ ﺑﻄﺮﻳﻘﺔ ﻣﺮﺗﺒﺔ ﺧﺎرج اﻟﺬاﻛﺮة‪ .‬و ﻳﺠﺐ ان ﻳﻜﻮن اﻟﺸﺨﺺ ﺣﺮﻳﺼﺎ ﻓﻰ ﻓﺼﻞ ا ﻓﻜﺎر اﻟﺘﺨﻴﻠﻴﺔ و اﻟﺘﺼﻤﻴﻢ‬ ‫و ﻳﺘﻢ ذﻟﻚ ﺑﺘﺴﺠﻴﻞ ﻋﻨﺎ‬
‫ﻣﻦ ا ﻓﺘﺮاﺿﺎت اﻟﻤﻨﻄﻘﻴﺔ ﻋﻦ اﻟﻤﻌﻠﻮﻣﺎت و ا ﺣﺘﻴﺎﺟﺎت‪ .‬و ﺗﺴﺠﻴﻞ ا ﻓﻜﺎر ﻳﺘﻄﻮر ﻓﻰ ﺛ ﺛﺔ ﻣﺮاﺣﻞ‪:‬‬
‫‪ -1‬اﻟﺘﺤﻠﻴﻞ ‪Analysis‬‬
‫و ﻳﺘﻢ ﻓﻴﻬﺎ ﺗﺴﺠﻴﻞ ﻗﺎﺋﻤﺔ ﺑﻜﻞ ﻣﺘﻄﻠﺒﺎت اﻟﺘﺼﻤﻴﻢ و ﺗﻘﻠﻴﺼﻬﺎ اﻟﻰ ﻣﺠﻤﻮﻋﺔ ﻛﺎﻣﻠﺔ ﻣﻦ ﻣﻮاﺻﻔﺎت ا داء اﻟﻤﻨﻄﻘﻴﺔ اﻟﻤﺘﺮاﺑﻄﺔ‪ .‬و ﻳﺒﺪأ اﻟﺘﺤﻠﻴﻞ ﺑﻠﻘﺎءات‬
‫ﻳﻘﺮأ ﻓﻴﻬﺎ ﻛﻞ ﻓﺮد ا ﻓﻜﺎر اﻟﺘﻰ ﺣﺪﺛﺖ ﻟﻪ ﻋﻨﺪﻣﺎ ﺗﻌﺮض ﻟﻠﻤﺸﻜﻠﺔ ول ﻣﺮة‪ .‬و ﻳﺘﻢ ﺗﺠﻤﻴﻊ ﺗﻠﻚ ا ﻓﻜﺎر ﺑﺪون ﻣﻨﺎﻗﺸﺔ او ﻧﻘﺪ ﻟﺘﻜﻮن اﻟﻤﺠﻤﻮﻋﺔ ا وﻟﻰ‬
‫اﻟﻌﺸﻮاﺋﻴﺔ ﻣﻦ اﻟﻤﺆﺛﺮات‪ .‬و ﻳﺘﻢ ﺗﻘﺴﻴﻤﻬﺎ اﻟﻰ ﻣﺠﻤﻮﻋﺎت‪ .‬ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﺗﺨﺘﺺ اﻟﻤﺠﻤﻮﻋﺔ ا وﻟﻰ ﺑﺎﻟﺤﺠﻢ و اﻟﺘﻜﻠﻔﺔ و ﻳﺘﻢ ﺗﻘﺴﻴﻢ ﺑﺎﻗﻰ اﻟﻤﺆﺛﺮات‬
‫اﻟﻰ ﻣﺠﻤﻮﻋﺎت ﻣﺘﺮاﺑﻄﺔ‪ .‬و ﻳﻤﻜﻦ ان ﻳﻮﺿﻊ اﻟﻤﺆﺛﺮ ﻓﻰ اﻛﺜﺮ ﻣﻦ ﻣﺠﻤﻮﻋﺔ‪ .‬و ﺑﻌﺪ اﻟﺤﺼﻮل ﻋﻠﻰ اﻟﻤﺠﻤﻮﻋﺎت اﻟﻤﺘﻜﺎﻣﻠﺔ ﻣﻦ اﻟﻤﺆﺛﺮات ﻳﺘﻢ دراﺳﺔ‬
‫اﻟﺘﻔﺎﻋ ت ﺑﻴﻦ اﻟﻤﺠﻤﻮﻋﺎت‪ .‬و ﺑﻌﺪﻫﺎ ﻳﺘﻢ ﻛﺘﺎﺑﺔ ﻣﻮاﺻﻔﺎت ا داء ‪ p-specs‬و اﻟﺘﻰ ﻳﺘﻢ اﻟﺘﻌﺒﻴﺮ ﻓﻴﻬﺎ ﻋﻦ اﻟﻤﺘﻄﻠﺒﺎت ﺑﺎﺳﺘﺨﺪام ﻟﻐﺔ ا داء ﺑﺪون ﺗﺤﺪﻳﺪ‬
‫اﻟﺸﻜﻞ او اﻟﻤﻮاد او اﻟﺘﺼﻤﻴﻢ‪.‬‬
‫و ﺗﺘﻀﻤﻦ ﻣﺮﺣﻠﺔ اﻟﺘﺤﻠﻴﻞ ﻣﺎ ﻳﻠﻰ‪:‬‬
‫‪ (1‬ﻗﺎﺋﻤﺔ ﻋﺸﻮاﺋﻴﺔ ﺑﺎﻟﻤﺆﺛﺮات‬
‫‪ (2‬ﻗﺎﺋﻤﺔ ﻣﺮﺗﺒﺔ ﺑﺎﻟﻤﺆﺛﺮات‬
‫‪ (3‬ﺗﺤﺪﻳﺪ ﻣﺼﺎدر اﻟﻤﻌﻠﻮﻣﺎت‬
‫‪ (4‬دراﺳﺔ اﻟﺘﻔﺎﻋﻞ ﺑﻴﻦ اﻟﻤﺆﺛﺮات‬
‫‪ (5‬ﺗﺤﺪﻳﺪ ﻣﻮاﺻﻔﺎت ا داء‬
‫‪ (6‬ا ﺗﻔﺎق ﻋﻠﻰ اﻟﺘﺤﻠﻴﻞ‬
‫‪ -2‬اﻟﺤﻞ ‪Synthesis‬‬
‫و ﻓﻴﻬﺎ ﻳﺘﻢ اﻟﺤﺼﻮل ﻋﻠﻰ اﻟﺤﻠﻮل ﻟﻜﻞ ﻣﻦ ﻣﻮاﺻﻔﺎت ا داء و ﻳﺘﻢ ﺗﺠﻤﻴﻌﻬﺎ ﻟﺘﺸﻜﻞ اﻟﺘﺼﻤﻴﻢ اﻟﻤﺘﻜﺎﻣﻞ‪ .‬و ﻳﺘﻢ اﻳﺠﺎد اﻟﺤﻠﻮل اﻟﻤﻘﺒﻮﻟﺔ ﻟﻜﻞ ﻣﻦ ﻣﻮاﺻﻔﺎت‬
‫ا داء و ﻋﻤﻞ ﺗﺼﻤﻴﻤﺎت ﺑﺎﻗﻞ اﻟﺘﻨﺎز ت اﻟﻤﻤﻜﻨﺔ‪ .‬و ﻳﺘﻀﻤﻦ اﻟﺤﻞ ﻣﺎ ﻳﻠﻰ‪:‬‬
‫‪ (1‬اﻟﺘﻔﻜﻴﺮ ا ﺑﺪاﻋﻰ‬
‫‪ (2‬اﻟﺤﻠﻮل اﻟﺠﺰﺋﻴﺔ‬
‫‪ (3‬اﻟﻤﺤﺪدات‬
‫‪ (4‬اﻟﺤﻠﻮل اﻟﻤﺘﺮاﻛﺒﺔ‬
‫‪ (5‬وﺿﻊ اﻟﺤﻞ اﻟﻤﺘﻜﺎﻣﻞ‬
‫و ﻳﺼﻒ ﺟﻮﻧﺰ ﻋﺪة ﺗﻘﻨﻴﺎت ﻟﻠﺤﻞ ﻣﺜﻞ اﻟﻌﺎﺻﻔﺔ اﻟﺬﻫﻨﻴﺔ ‪ Brain Storming‬و ﻳﺸﻴﺮ اﻟﻰ ان اﻟﺘﺼﻤﻴﻢ اﻟﻤﻨﻈﻢ ﻳﺨﺘﻠﻒ ﻋﻦ ﻃﺮق اﻟﺘﺼﻤﻴﻢ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻓﻰ‬
‫ﻫﺬه اﻟﻤﺮﺣﻠﺔ ﻓﻰ ان اﻟﺘﺼﻤﻴﻢ اﻟﺘﻘﻠﻴﺪى ﻳﻌﻤﻞ ﻟﻠﻮﺻﻮل اﻟﻰ ﺣﻞ واﺣﺪ اﻟﺬى ﻳﺘﻢ اﻟﻌﻤﻞ ﻋﻠﻰ ﺗﻔﺎﺻﻴﻠﻪ ﻓﻰ ﺣﻴﻦ ان اﻟﺘﺼﻤﻴﻢ اﻟﻤﻨﻈﻢ ﻳﻬﺘﻢ ﺑﺎﻟﻨﻈﺮ اﻟﻰ‬
‫اﻟﺤﻠﻮل اﻟﺠﺰﺋﻴﺔ ﻟﻜﻞ ﻣﻦ ﻣﻮاﺻﻔﺎت ا داء اﻟﺘﻰ ﻳﺘﻢ ﺗﺠﻤﻴﻌﻬﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﻓﻰ ﻣﺮادﻓﺎت ﻣﺨﺘﻠﻔﺔ ﻟﺘﻌﻄﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺤﻠﻮل اﻟﻤﺮﻛﺒﺔ اﻟﺘﻰ ﻳﺘﻢ ا ﺧﺘﻴﺎر ﻣﻦ‬
‫ﺑﻴﻨﻬﺎ‪ .‬و ﺑﺪ ان ﺗﺘﻌﺎرض ﺑﻌﺾ ﺣﻠﻮل ا ﺟﺰاء ﻣﻊ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ و ﻳﻤﻜﻦ رﺳﻢ اﻟﺘﻔﺎﻋ ت ﺑﻴﻨﻬﺎ ﻟﺘﻔﺎدى ﻋﺪم اﻟﺘﺠﺎﻧﺲ ﺑﻴﻨﻬﺎ‪.‬‬
‫‪ -3‬اﻟﺘﻘﻴﻴﻢ ‪Evaluation‬‬
‫و ﻳﺘﻢ ﻓﻴﻬﺎ اﺧﺘﺒﺎر ﻣﺮادﻓﺎت اﻟﺘﺼﻤﻴﻢ اﻟﻤﺨﺘﻠﻔﺔ ﺑﺎﻟﻤﻘﺎرﻧﺔ ﺑﻤﻮاﺻﻔﺎت ا داء و ﺧﺎﺻﺔ اﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﺘﺸﻐﻴﻞ و اﻟﺘﺼﻨﻴﻊ و اﻟﻤﺒﻴﻌﺎت‪ .‬و ﺗﻘﻴﻴﻢ دﻗﺔ ﻣﺮادﻓﺎت‬
‫اﻟﺘﺼﻤﻴﻢ ﻟﻜﻰ ﺗﻘﺎﺑﻞ ﻣﺘﻄﻠﺒﺎت ا داء ﻟﻠﻌﻤﻞ و ا ﻧﺸﺎء و اﻟﺘﺴﻮﻳﻖ ﻗﺒﻞ اﺧﺘﻴﺎر اﻟﺘﺼﻤﻴﻢ اﻟﻨﻬﺎﺋﻰ‪ .‬و اﻟﻬﺪف ﻣﻦ اﻟﺘﻘﻴﻴﻢ ﻫﻮ ﻣﻌﺮﻓﺔ اﻟﺴﻠﺒﻴﺎت و اﻟﻌﻴﻮب‬
‫ﻓﻰ اﻟﺘﺼﻤﻴﻢ ﻗﺒﻞ ان ﻳﺘﻢ ﺗﻄﻮﻳﺮ اﻟﺘﺼﻤﻴﻢ و ﻗﺒﻞ ان ﻳﺘﻢ ﻋﻤﻞ رﺳﻮﻣﺎت اﻟﺘﺼﻨﻴﻊ و ﻗﺒﻞ ا ﻧﺘﺎج و ﻗﺒﻞ ﺑﻴﻊ اﻟﻤﻨﺘﺞ و ﻗﺒﻞ اﻟﺘﺮﻛﻴﺐ و ﻗﺒﻞ ا ﺳﺘﻌﻤﺎل‪.‬‬
‫ﻓﻤﻌﺮﻓﺔ اﻟﺨﻄﺄ ﺑﻌﺪ ﻫﺬه اﻟﻤﺮﺣﻠﺔ ﺳﻮف ﻳﻜﻮن ﻣﻜﻠﻔﺎ ﺟﺪا ﺑﻌﺪ وﺿﻊ اﻟﻮﻗﺖ و اﻟﺘﻜﺎﻟﻴﻒ ﻓﻰ اﻟﺘﺼﻤﻴﻢ‪ .‬و اﻟﺘﻘﻴﻴﻢ ﻛﺎن ﻳﻌﺘﺒﺮ ﺗﻘﻠﻴﺪﻳﺎ ﻧﺘﻴﺠﺔ اﻟﺨﺒﺮة و اﻟﺤﻜﻢ‬
‫و ﻟﻜﻦ ﻫﺬا ﻏﻴﺮ ﻓﻌﺎل ﺣﻴﺚ اﺻﺒﺢ اﻟﺘﺼﻤﻴﻢ اﻛﺜﺮ ﺗﻌﻘﻴﺪا ﻋﻦ ذى ﻗﺒﻞ‪ .‬و ﻳﺤﺒﺬ ﺟﻮﻧﺰ ﻃﺮﻳﻘﺔ اﺣﺼﺎﺋﻴﺔ ﻟﻠﺘﻘﻴﻴﻢ ﺗﻌﺘﻤﺪ ﻋﻠﻰ ﻣﺎ ﻳﻠﻰ‪:‬‬
‫‪ (1‬ﺗﺠﻤﻴﻊ و ﺗﻘﻴﻴﻢ ﺧﺒﺮات اﻟﺘﻘﻴﻴﻢ اﻟﻤﻮﺟﻮدة‪.‬‬
‫‪ (2‬اﺳﺘﺨﺪام اﻟﺠﺪاول و اﻟﺮﺳﻮﻣﺎت و اﻟﺘﺠﺎرب و اﻟﺤﺴﺎﺑﺎت ﻟﺘﻮﻓﻴﺮ رؤﻳﺔ ﻣﺼﻄﻨﻌﺔ‪.‬‬
‫‪ (3‬وﺿﻊ اﻟﺘﻘﺪﻳﺮات اﻟﻤﻨﻄﻘﻴﺔ ﻟﺠﻤﻴﻊ ﻇﺮوف اﻟﺘﺸﻐﻴﻞ اﻟﻤﺨﺘﻠﻔﺔ اﻟﺘﻰ ﻗﺪ ﻳﺘﻌﺮض ﻟﻬﺎ اﻟﻤﻨﺘﺞ‪.‬‬
‫‪ (4‬ﺗﻄﻮﻳﺮ ﻧﻤﺎذج ﻣﺼﻐﺮة ﻟ ﻧﺘﺎج و اﻟﺘﺴﻮﻳﻖ و اﻟﺘﺸﻐﻴﻞ ﻗﺒﻞ ﻋﻤﻞ اﻟﻨﻤﻮذج اﻟﺤﻘﻴﻘﻰ‪.‬‬
‫و ﻳﺘﻀﻤﻦ اﻟﺘﻘﻴﻴﻢ ﻣﺎ ﻳﻠﻰ‪:‬‬
‫‪ (1‬ﻃﺮق اﻟﺘﺤﻠﻴﻞ‬
‫‪ (2‬ﺗﺤﻠﻴﻞ ا داء و اﻟﺘﺼﻨﻴﻊ و اﻟﺘﺴﻮﻳﻖ‬
‫و ﻳﻤﻜﻦ ﺗﻄﺒﻴﻖ ﺗﻠﻚ اﻟﻄﺮﻳﻘﺔ ﻋﻠﻰ اﻟﻤﺠﺎ ت اﻟﺘﺎﻟﻴﺔ‪ -1 :‬و ﺟﻮد ﻛﻢ ﻛﺒﻴﺮ ﻣﻦ اﻟﻤﻌﻠﻮﻣﺎت اﻟﺘﺼﻤﻴﻤﻴﺔ ﻣﺘﻮﻓﺮ او ﻳﻤﻜﻦ اﻟﺤﺼﻮل ﻋﻠﻴﻪ ‪ -2 -‬وﺟﻮد‬
‫ﻣﺴﺌﻮﻟﻴﺎت واﺿﺤﺔ ﻟﻔﺮﻳﻖ اﻟﺘﺼﻤﻴﻢ ﺧﺎﻟﻴﺔ ﻣﻦ اﻟﺮوﺗﻴﻦ اﻟﺘﻘﻠﻴﺪى ﻣﻤﺎ ﻳﻤﻜﻨﻪ ﻣﻦ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﺘﻄﻮﻳﺮ ‪ -3 -‬ا ﻧﻄ ق ﺑﻌﻴﺪا ﻋﻦ اﻟﺘﺼﻤﻴﻢ اﻟﺘﻘﻠﻴﺪى‬
‫و ﺗﻬﺪف ﻃﺮﻳﻘﺔ ﺟﻮﻧﺲ اﻟﻰ‪ -1 :‬ﺗﻘﻠﻴﻞ ﻛﻤﻴﺔ اﻟﺨﻄﺄ اﻟﺘﺼﻤﻴﻤﻰ و اﻋﺎدة اﻟﺘﺼﻤﻴﻢ و اﻟﺘﺄﺧﻴﺮ ‪ -2 -‬اﻟﻮﺻﻮل اﻟﻰ ﺗﺼﻤﻴﻢ اﻛﺜﺮ اﺑﺘﻜﺎر و ﺗﻘﺪﻣﺎ‪ .‬ﺗﻬﺪف‬
‫ﻃﺮﻳﻘﺔ ﺟﻮﻧﺲ ﻛﺬﻟﻚ اﻟﻰ ﻣﻌﺎﻟﺠﺔ اﻟﻤﺸﺎﻛﻞ ﺑﻴﻦ اﻟﺘﺤﻠﻴﻞ اﻟﻤﻨﻄﻘﻰ و اﻟﺘﻔﻜﻴﺮ ا ﺑﺪاﻋﻰ و ﺗﻜﻤﻦ اﻟﻤﺸﻜﻠﺔ ﻓﻰ ان اﻟﺘﺨﻴﻞ و اﻟﺘﻔﻜﻴﺮ ا ﺑﺪاﻋﻰ ﻳﺤﺪث‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﺑﺼﻮرة ﺟﻴﺪة ا اذا ﺗﻤﺘﻊ ﺑﺎﻟﺤﺮﻳﺔ ﻓﻰ اﻟﺘﻨﻘﻞ ﺑﻴﻦ ﻣﺨﺘﻠﻒ ﺟﻮاﻧﺐ اﻟﻤﺸﻜﻠﺔ ﺑﺄى ﺗﺮﺗﻴﺐ و ﻓﻰ اى وﻗﺖ ﻓﻰ ﺣﻴﻦ ﻳﺤﺪد اﻟﺘﺤﻠﻴﻞ اﻟﻤﻨﻄﻘﻰ اﻟﺨﻄﻮات‬
‫اﻟﻤﻨﻈﻤﺔ اﻟﻮاﺟﺐ اﺗﺒﺎﻋﻬﺎ ﺧﻄﻮة ﺧﻄﻮة‪ .‬و ﻟﺬا ﻳﺠﺐ ﻋﻠﻰ اى ﻃﺮﻳﻘﺔ ﺗﺼﻤﻴﻢ اﻟﺴﻤﺎح ﻟﻄﺮﻳﻘﺘﻰ اﻟﺘﻔﻜﻴﺮ ﻓﻰ اﻟﺘﻘﺪم ﻣﻌﺎ‪ .‬ﻟﺬا ﻳﺠﺐ ﻋﺪم اﻟﻔﺼﻞ ﺑﻴﻦ‬
‫اﻟﻤﻨﻄﻖ و اﻟﺘﺨﻴﻞ او ﺑﻴﻦ اﻟﻤﺸﻜﻠﺔ و اﻟﺤﻞ ﺑﻄﺮﻳﻘﺔ ﻣﺘﻌﻤﺪة ن اﻟﻔﺸﻞ ﺳﺒﺒﻪ ﻓﻰ ﺻﻌﻮﺑﺔ ﺗﺒﺎﻋﺪ ﻃﺮﻳﻘﺘﻰ اﻟﺘﻔﻜﻴﺮ ﻓﻰ ﻋﻘﻞ ا ﻧﺴﺎن‪ .‬و ﻃﺮﻳﻘﺔ اﻟﺘﺼﻤﻴﻢ‬
‫اﻟﻤﻨﻈﻢ ﺗﺒﻘﻰ اﻟﻤﻨﻄﻖ و ا ﺑﺘﻜﺎر ﻣﻨﻔﺼﻠﻴﻦ ﺑﺎﺳﺎﻟﻴﺐ ﺧﺎرﺟﻴﺔ و ﻟﻴﺲ داﺧﻞ ﻋﻘﻞ ا ﻧﺴﺎن‪.‬‬
‫و اﻟﻄﺮﻳﻘﺔ ﻫﻰ‪ -1 :‬ﻳﺒﻘﻰ اﻟﻌﻘﻞ ﺣﺮا ﻧﺘﺎج ا ﻓﻜﺎر و اﻟﺤﻠﻮل ﻓﻰ اى وﻗﺖ دون ان ﻳﻘﻴﺪ ﺑﻤﺤﺪدات او ﻳﻌﻴﻖ ﻋﻤﻠﻴﺔ اﻟﺘﺤﻠﻴﻞ ‪ -2 -‬ﺗﻮﻓﻴﺮ ﻧﻈﺎم ﻟﻠﺘﺴﺠﻴﻞ‬
‫ﻳﻘﻮم ﺑﺘﺴﺠﻴﻞ ﻛﻞ ﺑﻨﺪ ﻣﻦ ﺑﻨﻮد ﻣﻌﻠﻮﻣﺎت اﻟﺘﺼﻤﻴﻢ ﺧﺎرج اﻟﺬاﻛﺮة و ﻳﺒﻘﻰ ﺟﻤﻴﻊ ﻣﺘﻄﻠﺒﺎت اﻟﺘﺼﻤﻴﻢ و اﻟﺤﻠﻮل ﻣﻨﻔﺼﻠﺔ ﻋﻦ ﺑﻌﻀﻬﺎ اﻟﺒﻌﺾ و ﺗﻮﻓﺮ‬
‫ﻃﺮﻳﻘﺔ ﻣﻨﻈﻤﺔ ﻟﺮﺑﻂ اﻟﺤﻠﻮل و اﻟﻤﺘﻄﻠﺒﺎت ﺑﺎﻗﻞ ﻗﺪر ﻣﻦ اﻟﺘﻨﺎز ت‪ .‬و ﻫﺬا ﻳﻌﻨﻰ اﻧﻪ ﻋﻨﺪ اﻧﺘﻘﺎل اﻟﻌﻘﻞ ﻣﻦ ﺗﺤﻠﻴﻞ اﻟﻤﺸﻜﻠﺔ اﻟﻰ اﻳﺠﺎد اﻟﺤﻠﻮل ﻳﺘﻄﻮر‬
‫اﻟﺘﺴﺠﻴﻞ ﻓﻰ ﺛ ﺛﺔ ﻣﺮاﺣﻞ اﺳﺎﺳﻴﺔ‪:‬‬

‫و ﻗﺪ ﻃﻮر ﺟﻮﻧﺰ ﻋﺪدا ﻣﻦ ﺗﻘﻨﻴﺎت اﻟﺮﺳﻮم اﻟﺒﻴﺎﻧﻴﺔ ﻟﻠﺘﺤﻠﻴﻞ و اﻟﺘﻰ اﺻﺒﺤﺖ ﻣﺘﺪاوﻟﺔ ﻓﻰ ﻣﺠﺎل اﻟﺘﺼﻤﻴﻢ ﻣﻨﺬ ذﻟﻚ اﻟﺘﺎرﻳﺦ و ﻳﻌﺘﺒﺮﻫﺎ اﻟﻌﺪﻳﺪ ﻣﻦ‬
‫اﻟﻤﺼﻤﻤﻴﻦ ﻫﻰ ﻃﺮق اﻟﺘﺼﻤﻴﻢ‪.‬‬

‫اﻟﺮﺳﻢ اﻟﺒﻴﺎﻧﻰ ﻟﻠﻌ ﻗﺎت اﻟﺒﺴﻴﻄﺔ ﻳﺒﻴﻦ اﻟﻌ ﻗﺔ ﺑﻴﻦ اﻟﻐﺮف‪ .‬و ﻳﻮﺿﺢ اﻟﺸﻜﻞ اﻟﻌ ﻗﺔ ﺑﻴﻦ اﻟﻐﺮف ﺑﻨﺎء ﻋﻠﻰ ﺳﻬﻮﻟﺔ اﻟﺤﺮﻛﺔ ﺑﻴﻦ اﻟﻐﺮف و اﻟﺘﺮﻗﻴﻢ ﻳﻨﺎﺳﺐ‬
‫اﻟﺘﺤﻠﻴﻞ ﺑﺎﻟﺤﺎﺳﺐ‪.‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫اﻟﺮﺳﻢ اﻟﺒﻴﺎﻧﻰ ﻟ ﺗﺼﺎل اﻟﻤﺴﺘﻨﺒﻂ ﻣﻦ اﻟﺸﻜﻞ اﻟﺴﺎﺑﻖ و ﻳﻈﻬﺮ ﻓﻴﻪ ﻛﻞ ا ﺗﺼﺎ ت ﺣﺘﻰ اﻟﻤﺴﺘﻮى اﻟﺜﺎﻟﺚ ﻣﻮﺿﺤﺔ ﺑﺨﻄﻮط ذات اﺳﻤﺎك ﻣﺨﺘﻠﻔﺔ‪ .‬‬

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12/23/2020 Architect Dr. Yasser Mahgoub - - - - - - - - - ‫ طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى‬: ‫ ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب‬.‫ ﻣﮭﻧدس ﻣﻌﻣﺎرى د‬- Architectural Design Methods

‫اﻧﻣﺎط اﻟﻌﻼﻗﺎت اﻟوظﯾﻔﯾﺔ ﺑﯾن اﻟﻌﻧﺎﺻر‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﺑﻨﺎء ﻋﻠﻰ اﻟﺸﻜﻞ اﻟﺴﺎﺑﻖ‪.‬‬ ‫اﻟﺮﺳﻢ اﻟﺒﻴﺎﻧﻰ ﻟ ﺗﺼﺎل ﺑﻴﻦ اﻟﻌﻨﺎ‬

‫ا ﻛﺜﺮ ارﺗﺒﺎﻃﺎ ﺑﻪ‪ .‬‬ ‫رﻗﻢ ‪ 5‬ﺛﻢ ﻳﻠﻴﻪ اﻟﻌﻨﺎ‬ ‫ارﺗﺒﺎﻃﺎ و ﻫﻮ اﻟﻌﻨ‬ ‫ﺳﺘﻴﻔﺎء ﻛﻞ اﻟﻌ ﻗﺎت ﺣﺴﺐ ﺗﺮﺗﻴﺐ اﻛﺜﺮ اﻟﻌﻨﺎ‬ ‫اﻋﺎدة ﺗﻮزﻳﻊ اﻟﻌﻨﺎ‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ا ﺗﺼﺎل‬ ‫اﻋﺎدة اﻟﺘﻮزﻳﻊ ﻣﻊ ا ﺧﺬ ﻓﻰ ا ﻋﺘﺒﺎر اﻟﺘﻮﺟﻴﻪ و اﻟﻤﺆﺛﺮات ا ﺧﺮى و ﻳﻈﻬﺮ ﻗﺮار ﺗﻘﺴﻢ اﻟﻤﺴﻜﻦ اﻟﻰ دورﻳﻦ ﻳﺼﻠﻬﻢ ﻋﻨ‬

‫اﻟﻔﺎﺻﻠﺔ ﺑﻴﻨﻬﻢ )اﻟﺤﻮاﺋﻂ( ﻟﻠﺒﺪء ﻓﻰ اﻟﻤﺴﻘﻂ ا ﻓﻘﻰ اﻟﻮﻇﻴﻔﻰ‬ ‫ﺗﺤﻮﻳﻞ ﻟﺮﺳﻢ اﻟﺒﻴﺎﻧﻰ ﻣﻊ ا ﺧﺬ ﻓﻰ ا ﻋﺘﺒﺎر اﺣﺠﺎم اﻟﻐﺮف و اﻟﻌﻨﺎ‬

‫‪[i] - Broadbent, p. 252.‬‬

‫‪[ii]  - Jones, J. Christopher, A Method of Systematic Design, in Cross, Nigel ed., Developments in Design Methododlogy, John Wiley‬‬
‫‪& Sons, Chichester and New York, 1984, p. 9‬‬
‫‪[iii]  - Jones, J. Christopher, A Method of Systematic Design, in Cross, Nigel ed., Developments in Design Methododlogy, John‬‬
‫‪Wiley & Sons, Chichester and New York, 1984, p. 9‬‬

‫‪[i]Bruce Archer‬‬ ‫ﻃﺮﻳﻘﺔ ﻣﻨﻈﻤﺔ ﻟﻠﻤﺼﻤﻤﻴﻦ ﻟﺒﺮوس ار‬

‫ﻓﻦ اﻟﺘﺼﻤﻴﻢ اﻟﺘﻘﻠﻴﺪى و ﻫﻮ اﺧﺘﻴﺎر اﻟﻤﺎدة اﻟﻤﻨﺎﺳﺒﺔ و ﺗﺸﻜﻴﻠﻬﺎ ﻟﻤﻘﺎﺑﻠﺔ اﺣﺘﻴﺎﺟﺎت وﻇﻴﻔﻴﺔ و ﺟﻤﺎﻟﻴﺔ ﻣﻊ ﻣﺮاﻋﺎة ﻣﺤﺪدات ﻃﺮق اﻟﺘﺼﻨﻴﻊ اﻟﻤﺘﺎﺣﺔ اﺻﺒﺢ‬
‫اﻛﺜﺮ ﺗﻌﻘﻴﺪا ﻓﻰ اﻟﺴﻨﻮات ا ﺧﻴﺮة‪ .‬ﻛﺎﻧﺖ اﺣﺘﻴﺎﺟﺎت اﻟﻤﺴﺘﻌﻤﻠﻴﻦ ﺑﺴﻴﻄﺔ و اﻟﻤﻮاد ﻣﺤﺪودة و ﻃﺮق اﻟﺘﺼﻨﻴﻊ ﺑﺪاﺋﻴﺔ و ﻛﺎن ﺑﺄﻣﻜﺎن اﻟﻤﺼﻤﻢ ﻣﻘﺎﺑﻠﺔ ﻛﻞ‬
‫ﻟﻪ ﻣﻦ اﻟﻤﻮاد و ﻃﺮق ﺗﺼﻨﻴﻊ ﺣﺪﻳﺜﺔ و ﺗﻜﺎﻟﻴﻒ‬ ‫ﺣ‬ ‫‪ .‬و اﻟﻴﻮم ﺗﻘﺎﺑﻞ اﻟﻤﺼﻤﻢ اﺣﺘﻴﺎﺟﺎت ﻣﺴﺘﻌﻤﻠﻴﻦ و ﺗﺴﻮﻳﻖ ﻣﺘﺒﺎﻳﻨﺔ‪ .‬ﻓﻬﻨﺎك ﻋﺪد‬ ‫ذﻟﻚ ﺑﺴﻬﻮﻟﺔ و ﻳ‬
‫ﻣﺠﺎل ﻟﻠﺨﻄﺄ ﻓﻰ ﺣﺴﺎﺑﺎﺗﻬﺎ‪ .‬ﻟﺬا ﻧﺠﺪ ﺗﺤﻮل ﻣﻦ ا ﺗﺠﺎه اﻟﻔﻨﻰ ﻟﻠﺘﺼﻤﻴﻢ اﻟﻰ ا ﺗﺠﺎه اﻟﺘﻘﻨﻰ ﻟﻠﺘﺼﻤﻴﻢ اﻟﺬى ﻳﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﻌﻠﻮﻣﺎت اﻟﺨﺎﺻﺔ ﺑﺎﻟﺒﻴﺌﺔ و‬
‫ا ﻧﺴﺎن و اﻟﻨﻈﻢ و اﻟﺘﺴﻮﻳﻖ و ﻋﻠﻮم ا دارة ﻣﻦ ﺧ ل اﻟﻔﻜﺮ اﻟﺘﺼﻤﻴﻤﻰ‪ .‬ﻓﻬﻨﺎك ﺗﺤﻮل ﻧﺤﻮ اﻟﺘﺼﻤﻴﻢ ﺑﺎﻟﻨﻈﻢ ﺑﺪ ﻣﻦ اﻟﺘﺼﻤﻴﻢ اﻟﺤﺮﻓﻰ‪.‬‬

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‫ﻃﺮﻳﻘﺔ ﻣﻨﻈﻤﺔ ﻟﻠﺘﺼﻤﻴﻢ ‪ -‬ﺑﺮوس ار‬

‫ﻳﻘﻮم اﻟﻤﻬﻨﺪس اﻟﻤﻌﻤﺎرى ﺑﺎﻟﺘﺼﻤﻴﻢ ﻋﻨﺪ اﻋﺪاد ﻣﺨﻄﻄﺎت ﻟﻤﺴﻜﻦ و ﻳﻘﻮم اﻟﻤﺤﺮر ﺑﺎﻟﺘﺼﻤﻴﻢ ﻋﻨﺪ اﻋﺪاد ﺻﻔﺤﺔ اﻟﺠﺮﻳﺪة و ﻟﻜﻦ اﻟﻔﻨﺎن اﻟﺬى ﻳﻨﺤﺖ‬
‫ﺗﻤﺜﺎل ﻳﻘﻮم ﺑﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻢ ا اذا اﻋﺪ ﻧﻤﻮذج ﻣﺴﺒﻖ ﻟﻤﺎ ﺳﻴﻘﻮم ﺑﻨﺤﺘﻪ اﻣﺎ اذا ﻗﺎم ﺑﺎﻟﻌﻤﻞ اﻟﻔﻨﻰ ﻣﺒﺎ ة دون وﺿﻊ ﺗﺼﻮر ﺳﺎﺑﻖ ﻟﻤﺎ ﻳﺘﻮﻗﻌﻪ ﻓﻰ‬
‫ﻗﺒﻞ ﻋﻤﻠﻪ ﺑﺘﺤﺪﻳﺪ‬ ‫اﻟﻬﺎم و ا وﺣﺪ ﻓﻰ ﻋﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻢ ﻫﻮ ﺗﻮﻗﻊ ﻣﺎ ﺳﻴﻜﻮن ﻋﻠﻴﻪ اﻟ‬ ‫اﻟﻨﻬﺎﻳﺔ ﻓﻬﻮ ﻳﻘﻮم ﺑﺎﻟﺘﺼﻤﻴﻢ و اﻧﻤﺎ ﻳﻘﻮم ﺑﻌﻤﻞ ﻓﻨﻰ‪ .‬ﻓﺎﻟﻌﻨ‬
‫ﻣﺎ ﻫﻮ ﻣﺘﻮﻗﻊ ﻛﻌﻤﻠﻴﺔ اﺑﺘﻜﺎرﻳﺔ‪ .‬و ﻫﺬا اﻟﺘﻌﺮﻳﻒ ﻳﻀﻢ اﻧﺸﻄﺔ اﻟﻬﻨﺪﺳﺔ اﻟﻤﻌﻤﺎرﻳﺔ و اﻏﻠﺐ اﻟﺘﺨﺼﺼﺎت اﻟﻬﻨﺪﺳﻴﺔ ﺑﻤﺎ ﻓﻴﻬﺎ ﻫﻨﺪﺳﺔ اﻟﻨﻈﻢ و اﻟﺘﺼﻤﻴﻢ‬
‫اﻟﺼﻨﺎﻋﻰ و اﻏﻠﺐ اﻟﺤﺮف و اﻟﻔﻨﻮن اﻟﺘﻄﺒﻴﻘﻴﺔ و ﺑﻌﺾ اﻟﻌﻠﻮم‪ .‬و ﻫﻰ ﺗﺤﺪد اﻟﺤﻠﻮل ﺑﺪ ﻣﻦ ا ﺳﺘﻜﺸﺎف و ﻫﻰ ﺗﻌﻨﻰ ﺑﺎﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﺤﺪدات و‬
‫اﻟﻤﺼﺎدر ﺑﺪ ﻣﻦ اﺗﺨﺎذ اﺟﺮاءات ﻋﺸﻮاﺋﻴﺔ‪.‬‬
‫ﺑﺪاﻳﺔ اﻟﺘﺼﻤﻴﻢ ﻫﻮ "اﺣﺘﻴﺎج"‪ .‬اﻣﺎ ان ﻳﻘﺎﺑﻞ ﻫﺬا ا ﺣﺘﻴﺎج ﻣﺒﺎ ة او ﺗﻜﻮن ﻫﻨﺎك ﻋﻮاﺋﻖ ﻟﻤﻘﺎﺑﻠﺘﻪ‪ .‬اﻳﺠﺎد اﻟﻮﺳﺎﺋﻞ ﻟﻠﺘﻐﻠﺐ ﻋﻠﻰ اﻟﻤﺼﺎﻋﺐ ﻳﻮﺟﺪ اﻟﻤﺸﻜﻠﺔ‪ .‬و‬
‫ﺑﻤﺤﺎوﻟﺔ ﺣﻞ اﻟﻤﺸﻜﻠﺔ ﻟﺘﺤﺪﻳﺪ اﻟﻮﺳﺎﺋﻞ ﺣﺘﻮاء اﻟﺼﻌﻮﺑﺎت ﺗﺘﻮاﺟﺪ اﻟﻤﺸﻜﻠﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ‪.‬‬
‫اﻟﺘﺼﻤﻴﻢ ﻫﻮ ا ﺧﺬ ﻓﻰ ا ﻋﺘﺒﺎر اﻟﻨﻈﺎم اﻟﻤﻄﻠﻮب ﺗﻮﻓﻴﺮه ﻛﻜﻞ‪.‬‬ ‫و اﻫﻢ ﻋﻨﺎ‬

‫‪[i]  - Archer, L. Brucer, Systematic Method for Designers, in Cross, Nigel ed., Developments in Design Methododlogy,‬‬
‫‪John Wiley & Sons, Chichester and New York, 1984, p. 57‬‬

‫‪ 1965‬ﺧﻄﺔ اﻟﻌﻤﻞ ﻟﻠﺠﻤﻌﻴﺔ اﻟﻤﻠﻜﻴﺔ ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ اﻟﺒﺮﻳﻄﺎﻧﻴﻴﻦ ‪RIBA‬‬

‫ﻓﻰ ﻛﺘﺎب ﻣﻤﺎرﺳﺔ اﻟﻤﻬﻨﺔ و ادارﺗﻬﺎ ﻟﻠﺠﻤﻌﻴﺔ اﻟﻤﻠﻜﻴﺔ ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ اﻟﺒﺮﻳﻄﺎﻧﻴﻴﻦ )‪ (RIBA‬ﺗﻈﻬﺮ اﻟﺨﺮﻳﻄﺔ اﻟﺘﺎﻟﻴﺔ اﻟﺘﻰ ﺗﻮﺿﺢ ﻣﺮاﺣﻞ اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ‬
‫ا رﺑﻌﺔ اﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -1‬ﺟﻤﻊ اﻟﻤﻌﻠﻮﻣﺎت ‪Assimilation‬‬
‫ﻣﺮﺣﻠﺔ ﺟﻤﻊ اﻟﻤﻌﻠﻮﻣﺎت و ﺗﺮﺗﻴﺒﻬﺎ و ﺧﺎﺻﺔ اﻟﻤﻌﻠﻮﻣﺎت اﻟﺨﺎﺻﺔ ﺑﺎﻟﻤﺸﻜﻠﺔ ﻣﺤﻞ اﻟﺪراﺳﺔ‪ .‬و ﺗﺘﻀﻤﻦ اﻟﺘﻌﺮﻳﻒ ﺑﺎﻟﻤ وع و اﻟﺒﺮﻧﺎﻣﺞ ا وﻟﻰ و اﻟﺒﺮﻧﺎﻣﺞ‬
‫اﻟﻨﻬﺎﺋﻰ‪.‬‬
‫‪ -2‬دراﺳﺔ ﻋﺎﻣﺔ ‪General Study‬‬
‫دراﺳﺔ ﻋﺎﻣﺔ و اﺳﺘﻜﺸﺎف ﻃﺒﻴﻌﺔ اﻟﻤﺸﻜﻠﺔ و اﻟﺤﻠﻮل اﻟﻤﺘﺎﺣﺔ و ﻃﺮق اﻟﺤﻞ‪ .‬و اﻳﺠﺎد ا ﺷﻜﺎل و اﻟﺘﻘﻴﻴﻢ‪.‬‬
‫‪ -3‬ﺗﻄﻮﻳﺮ اﻟﺤﻞ ‪Development‬‬
‫ﺗﻄﻮﻳﺮ اﻟﺤﻞ او اﻟﺤﻠﻮل اﻟﻤﺨﺘﺎرة ﺧ ل اﻟﺨﻄﻮة اﻟﺜﺎﻧﻴﺔ‪.‬‬
‫‪ -4‬ﺗﻮﺻﻴﻞ اﻟﺤﻞ ‪Communication‬‬

‫ﺗﻮﺻﻴﻞ اﻟﺤﻞ او اﻟﺤﻠﻮل ﻟ ﺷﺨﺎص داﺧﻞ او ﺧﺎرج ﻓﺮﻳﻖ اﻟﻌﻤﻞ‪ .‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ ﺣﺴﺐ اﻟﺠﻤﻌﻴﺔ اﻟﻤﻠﻜﻴﺔ ﻟﻠﻤﻌﻤﺎرﻳﻴﻦ اﻟﺒﺮﻳﻄﺎﻧﻴﻴﻦ ‪[i]RIBA‬‬

‫و ﯾﻌﯾب ھذا اﻟﺗﺻور ﻟﻠﻌﻣﻠﯾﺔ اﻟﺗﺻﻣﯾﻣﯾﺔ ﻋدم وﺟود ﻣﺣددات ﻟﻛل ﻣرﺣﻠﺔ او ان ھذه اﻟﻣراﺣل ﻟﯾﺳت ﺑﺎﻟﺿرورة ﻣﺗﺗﺎﻟﯾﺔ ﻏﯾر ﻟﻧﮫ ﯾﺑدو اﻧﮫ ﻣن اﻟﻣﻧطﻘﻰ ﺗﺗﺑﻊ اﻟﺧطوات ﻣن ‪ 1‬اﻟﻰ ‪ 4‬ﻟﻠوﺻول‬
‫اﻟﻰ اﻟﺗﺻﻣﯾم و ﻟﻛن ﻣﻊ وﺟود ﻋودة ﻟﻠﻣراﺣل اﻟﺳﺎﺑﻘﺔ ﻛﻠﻣﺎ اﺳﺗدﻋﻰ اﻻﻣر ذﻟك‪ .‬ﻛذﻟك ﻧﺟد ان ھذا اﻟﺗﺻور ﯾرﻛز ﻋﻠﻰ اﻟﻣﻧﺗﺞ ﻣن ﻛل ﻣرﺣﻠﺔ و ﻟﯾس ﻋﻠﻰ اﻟطرﯾﻘﺔ‪.‬‬
‫و ﯾﺗﺿﻣن ﻛﺗﺎب ﻣﻣﺎرﺳﺔ اﻟﻣﮭﻧﺔ و ادارﺗﮭﺎ ﻟﻠﺟﻣﻌﯾﺔ اﻟﻣﻠﻛﯾﺔ ﻟﻠﻣﻌﻣﺎرﯾﯾن اﻟﺑرﯾطﺎﻧﯾﯾن )‪ (RIBA‬اﯾﺿﺎ ﺧطﺔ ﺗﻔﺻﯾﻠﯾﺔ ﻟﻠﻌﻣل ‪ Plan of Work‬و ﻣراﺣﻠﮫ ﻛﺎﻟﺗﺎﻟﻰ‪:‬‬
‫‪ -1‬اﻟﺷروع ﻓﻰ اﻟﻌﻣل ‪Inception‬‬
‫‪ -2‬اﻟﺟدوى ‪Feasibility‬‬
‫‪ -3‬اﻻﻗﺗراح اﻻوﻟﻰ ‪Outline Proposals‬‬
‫‪ -4‬اﻟﺗﺻﻣﯾم اﻻوﻟﻰ ‪Scheme Design‬‬
‫‪ -5‬اﻟﺗﺻﻣﯾم اﻟﺗﻔﺻﯾﻠﯾﻰ ‪Detailed Design‬‬
‫‪ -6‬ﻣﻌﻠوﻣﺎت اﻻﻧﺗﺎج ‪Production Information‬‬
‫‪ -7‬ﻗواﺋم اﻟﻛﻣﯾﺎت ‪Bills of Quantities‬‬
‫‪ -8‬طرح اﻟﻌطﺎءات ‪Tender Action‬‬
‫‪ -9‬اﻟﺗﺧطﯾط ﻟﻠﻣﺷروع ‪Project Planning‬‬
‫‪ -10‬ﻋﻣﻠﯾﺎت اﻟﻣوﻗﻊ ‪Operations on Site‬‬
‫‪ -11‬اﺳﺗﻛﻣﺎل اﻟﻌﻣل ‪Completion‬‬
‫‪ -12‬ﻣراﺟﻌﺔ اﻟﻌﻣل ‪Feedback‬‬
‫و اھم ﻣﺎ ﻓﻰ ھذه اﻟﺧطﺔ ھو اﻧﮭﺎ ﺗﺗﻌدى ﻣﮭﻣﺔ اﻟﻣﻌﻣﺎرى اﻟﺗﺻﻣﯾﻣﯾﺔ اﻟﻰ اﻟﻛﻣﯾﺎت و اﻟﻌطﺎءات و اﺳﺗﻛﻣﺎل اﻟﻌﻣل و ﺣﺗﻰ ﻣراﺟﻌﺔ اﻟﻣﺷروع اﻟﺗﻰ ﯾﺗﻌﻠم ﻣن ﺧﻼﻟﮭﺎ اﻟﻣﺻﻣم اﻟدروس اﻟﻣﺳﺗﻔﺎدة‬
‫ﻟﺗﺣﺳﯾن اﻟﻌﻣﻠﯾﺔ اﻟﻘﺎدﻣﺔ‪ .‬و ھﻰ اﯾﺿﺎ ﺗﺣﺗوى ﻋﻠﻰ ﻧﻘطﺗﯾن ﻓﺎﺻﻠﺗﯾن ﻓﻰ اﻟﻌﻣل اﻻوﻟﻰ ﺑﻌد اﻟﺗﺻﻣﯾم اﻻوﻟﻰ و ﻗﺑل ﺗﻔﺎﺻﯾل اﻟﺗﺻﻣﯾم ﺣﯾث ﻻ ﯾﺟب ﺗﻐﯾﯾر وﺻﻔﺎﻟﻣﺷروع ﺑﻌد ھذه اﻟﻧﻘطﺔ و‬
‫اﻟﺛﺎﻧﯾﺔ ﺑﻌد ﺗﻔﺎﺻﯾل اﻟﺗﺻﻣﯾم ﺣﯾث " اى ﺗﻐﯾﯾرات ﻓﻰ اﻟوظﯾﻔﺔ و اﻟﺣﺟم و اﻟﺷﻛل او اﻟﺗﻛﻠﻔﺔ ﺑﻌد ذﻟك ﺗﺣدث اﺟﮭﺎض ﻟﻠﻌﻣل"‪.‬‬

‫‪[i]  - Lawson, Bryan, How designers Think, The Architectural Press Ltd: London, 1980, p. 24‬‬

‫ﺳﺑﺗﻣﺑر ‪ 1965‬ﻣﺟﻣوﻋﺔ اﻟﺗﺻﻣﯾم اﻻﺑﺗﻛﺎرى ‪Design Innovation Group‬‬

‫ﻋﻘدت ﻣﺟﻣوﻋﺔ اﻟﺗﺻﻣﯾم اﻻﺑﺗﻛﺎرى ﻣؤﺗﻣرا ﻓﻰ ﻛﻠﯾﺔ ﺑرﻣﻧﺟﮭﺎم ﻟﻠﻌﻠوم و اﻟﺗﻛﻧوﻟوﺟﯾﺎ )ﺟﺎﻣﻌﺔ اوﺳﺗن اﻻن( ﻓﻰ ﺳﺑﺗﻣﺑر ‪ 1965‬و اﺻدرت ﻛﺗﺎﺑﺎ ﺑﻌﻧوان "طرق اﻟﺗﺻﻣﯾم" ﺳﻧﺔ ‪.1966‬‬

‫اﺑرﯾل ‪ 1966‬ﻣؤﺗﻣر ﺗﻌﻠﯾم اﻟﺗﺻﻣﯾم ‪ -‬طرق اﻟﺗﺻﻣﯾم ﻓﻰ اﻟﻌﻣﺎرة‬

‫ﻋﻘد اﻟﻣؤﺗﻣر ﻓﻰ اوﻟم ‪ Ulm‬ﻓﻰ اﺑرﯾل ‪ 1966‬و ﻗدﻣت ﻓﯾﮫ ﻋدد ﻣن ﻣﺷروﻋﺎت طرق اﻟﺗﺻﻣﯾم اﻟﻣﺑﻧﯾﺔ ﻋﻠﻰ اﻟطرﯾﻘﺔ اﻟﻣﻧظﻣﺔ اﻟﻣﺻﻣﻣﺔ ﻟﻠﺗطﺑﯾﻖ ﻓﻰ ﻣدارس اﻟﻌﻣﺎرة‪.‬‬

‫اﺑرﯾل ‪ 1966‬ﺗﺄﺳﯾس ﻣﺟﻣوﻋﺔ ﺑﺣوث اﻟﺗﺻﻣﯾم ﻓﻰ ﻟﻧدن‬

‫ﺗﺄﺳﺳت ﻣﺟﻣوﻋﺔ ﺑﺣوث اﻟﺗﺻﻣﯾم ﻓﻰ ﻟﻧدن ‪ Design Methods Group (DMG) - London‬اﻟﺗﻰ اﺻدرت ﻣﺟﻠﺔ و ﻋﻘدت ﻣؤﺗﻣر ﻓﻰ ﻛﻠﯾﺔ ﻣﺎﺳﺎﺷوﺳﺗس ﻟﻠﺗﻛﻧوﻟوﺟﯾﺎ ‪ MIT‬ﻓﻰ‬
‫اﺑرﯾل ‪ 1968‬و ﺟﻣﻌﯾﺔ ﺑﺣوث اﻟﺗﺻﻣﯾم اﻟﺑﯾﺋﻰ ﻓﻰ اﻣرﯾﻛﺎ ‪ Environmental Design Research Association (EDRA) - United States‬اﻟﺗﻰ ﻋﻘدت اﺟﺗﻣﺎﻋﺎﺗﮭﺎ ﻓﻰ ﺷﺎﺑل‬
‫ھﯾل ‪ 1969‬و ﺑﺗﺳﺑرج ‪ 1970‬و ﻟوس اﻧﺟﻠوس ‪.1972‬‬

‫‪ 1966‬ﺗﺎﻓﯾﺳﺗوك ‪[i]Tavistock‬‬

‫ﻛﺎن ﻣن اﻟﻣﻔﺗرض ان ﯾﺗم ﺗﻌدﯾل ﺧطﺔ اﻟﻌﻣل ﻟﻠﺟﻣﻌﯾﺔ اﻟﻣﻠﻛﯾﺔ ﻟﻠﻣﮭﻧدﺳﯾن اﻟﻣﻌﻣﺎرﯾﯾن اﻟﺑرﯾطﺎﻧﯾﺔ ﺑﻧﺎء ﻋﻠﻰ دراﺳﺔ اﻋدھﺎ ﺗﺎﻓﯾﺳﺗوك ﺧﻼل اﻻﻋوام ‪ 1963‬اﻟﻰ ‪ 1966‬اﻻ ان اﻟﺗﻘرﯾر اﻟﻧﮭﺎﺋﻰ‬
‫ﻟﺗﻠك اﻟدراﺳﺔ ﻟم ﯾﻛن ﻣﺷﺟﻌﺎ ﻋﻠﻰ اﻻطﻼق‪ .‬اﺷﺎر اﻟﺗﻘرﯾر اﻟﻰ اﻟﺻﻌوﺑﺎت اﻟﻣﻼزﻣﺔ ﻟﻛل اﻧﺳﺎق اﻟﺗﺻﻣﯾم اﻟﺗﻰ ﺗرﺑط اﻟﻣﺟﻣوﻋﺎﺗﺎو اﻻﻓراد ﻟﺗرﺗﯾب ﺟﺎﻣد ﻟﻼﺣداث‪ .‬ﻓﻘد اﺷﺎر اﻟﺗﻘرﯾر اﻟﻰ ﺑﻌض‬
‫اﻟﺣﺎﻻت اﻟدراﺳﯾﺔ اﻟﺗﻰ ﺗم اﺧﺗﺑﺎرھﺎ و ﻗﺎل اﻟﺗﻘرﯾر‪:‬‬
‫ﻓﻰ ﻛل ﻣرة ﯾﺗم ﻓﯾﮭﺎ اﺗﺧﺎذ ﻗرار ﺗﺻﻣﯾﻣﻰ ﯾﺣدث ﺳﻠﺳﻠﺔ ﻣن ردود اﻻﻓﻌﺎل اﻟﺗﻰ ﻗد ﺗﺣدث ﺗﻐﯾﯾر ﻓﻰ اﻟﻘرار ﻧﻔﺳﮫ‪ .‬و اذا ﻛﺎن ﻣن اﻟﺻﻌب ﺗوﻗﻊ اﻟﺗﺄﺛﯾر اﻟﻛﺎﻣل ﻟﻛل ﻗرار ﺑﺎى درﺟﺔ ﻣن اﻟدﻗﺔ‬
‫ﻓﺎن ﻧظﺎم اﻻﺗﺻﺎل اﻟذى ﯾﺗوﻗﻊ ﺣدوث ھذا اﻟﺗﺄﺛﯾر ﻟن ﯾﻘوم ﺑﻌﻣﻠﮫ‪ .‬وﺟدﻧﺎ ان ﻓﻰ ﻛل اﻟﺣﺎﻻت اﻟدراﺳﯾﺔ ان اﻟﺷك ﺣول ﺗﺻرﯾﺣﺎت اﻟﺗﺧطﯾط و ﻣﻠﻛﯾﺔ اﻻرض و اﻟﻣواﻓﻘﺎت و اﻟﺗﻣوﯾل ﺗﺣﯾر‬
‫ﻣراﺣل اﻟﻣوﺟز و اﻟﺗﺻﻣﯾم‪ .‬ﻋدم اﻟﺗﺎﻛد ﻣن ﺗواﻓر اﻟﻣواد و اﻟﻌﻣﺎﻟﺔ ﺗﺿﺣد اى ﻣﺣﺎوﻟﺔ ﻟﺗﺧطﯾط اﻟﻌﻣل ﺑﺷﻛل ﻣﻧﺗظم‪ .‬و اﻟﺗﺷوش ﯾﺣدث اﯾﺿﺎ ﻣن ﺳوء ﺗﻘدﯾم اﻟﻣﻌﻠوﻣﺎت اﻟﻣﻌﻠوﻣﺎت اﻟﺧﺎطﺋﺔ‪.‬‬
‫و ﯾؤﻛد ﺗﻘرﯾر ﺗﺎﻓﯾﺳﺗوك ﺣﻘﯾﻘﺔ ان ﻧﺳﻖ اﻟﺗﺻﻣﯾم ﻻ ﯾﻣﻛن ان ﯾﻛون ﻣﺗﺗﺎﺑﻌﺎ‪ .‬ﻓﯾﺗﺣﺗم ﻋﻠﻰ اى ﻧﺳﻖ ﺗﺻﻣﯾم وﺟود ﺣﻠﻘﺎت ﻣراﺟﻌﺔ ﺗﺳﻣﺢ ﻟﻠﻣﻌﻠوﻣﺎت اﻟﺟدﯾدة ﺑﺎﻟدﺧول ﻣرة اﺧرى ﻓﻰ اى ﻣرﺣﻠﺔ‪.‬‬

‫‪[i] - Broadbent, p. 268.‬‬

‫‪ 1967‬ﻣؤﺗﻣر طرق اﻟﺗﺻﻣﯾم ﻓﻰ اﻟﻌﻣﺎرة ﻓﻰ ﻛﻠﯾﺔ ﺑورﺗﺳﻣﺎوث ﻟﻠﺗﻛﻧوﻟوﺟﯾﺎ‬

‫‪ 1967‬ﻟﯾﻔن و ﻧﺳﻖ اﻟﺗﺻﻣﯾم ﻓﻰ اﻟﺗﺧطﯾط‬

‫ﯾرى ﻟﯾﻔن اﻧﮫ اذا ﺗم اﺗﺧﺎذ اﻟﻘرار ﻓﻼ ﯾوﺟد اى دﻟﯾل اﻧﮫ ﺳوف ﯾﺗم ﺗﻧﻔﯾذه‪ .‬ﻓﻣن اﻟﻣﻣﻛن اھﻣﺎﻟﮫ او ﻓﮭﻣﮫ ﻟﯾﻌن ﺷﺊ ﻣﺧﺗﻠف ﺗﻣﺎﻣﺎ ﻋن ﻣﺎ ﻗﺻد ﻣﻧﮫ‪.‬‬

‫‪ 1969‬ﻣﺎرﻛوس و ‪ 1970‬ﻣﯾﻔر ‪Marcus and Meaver‬‬

‫ﻗﺎم ﻣﺎرﻛوس ﺳﻧﺔ ‪ 1969‬و ﻣﯾﻔر ﺳﻧﺔ ‪ 1970‬ﺑﺗطوﯾر ﺧرﯾطﺔ اﻟﻌﻣﻠﯾﺔ اﻟﺗﺻﻣﯾﻣﯾﺔ ﻟﺗﺷﻣل ﻣراﺣل اﺗﺧﺎذ اﻟﻘرار و اﻟﻌﻣﻠﯾﺔ اﻟﺗﺻﻣﯾﻣﯾﺔ‪ .‬و ﻗد اﻗﺗرﺣوا ان اﻟﻣﺻﻣم ﯾﺟب ان ﯾﻣر ﻓﻰ اﻟﻣراﺣل‬
‫اﻟﻣﺧﺗﻠف )ﺗﺣﻠﯾل ‪ -‬ﺣل ‪ -‬ﺗﻘﯾﯾم ‪ -‬ﻗرار( ﻓﻰ ﻣﺳﺗوﯾﺎت ﻣﺧﺗﻠﻔﺔ ﻣن اﻟﺗﺻﻣﯾم ﺗﺗدرج ﻓﻰ ﺗﻔﺎﺻﯾﻠﮭﺎ‪.‬‬
‫اﻟﺗﺣﻠﯾل ھو اﺳﺗﻛﺷﺎف اﻟﻌﻼﻗﺎت و اﻟرواﺑط ﻓﻰ اﻟﻣﻌﻠوﻣﺎت اﻟﻣﺗﺎﺣﺔ و ﺗرﺗﯾب اﻻھداف و ھو اﺳﺎﺳﺎ ﺗرﺗﯾب و ﺗﺣدﯾد اﻟﻣﺷﻛﻠﺔ اﻟﺗﺻﻣﯾﻣﯾﺔ‪.‬‬
‫اﻟﺣل ھو ﻣﺣﺎوﻟﺔ ﻟﺗﻛوﯾن رد ﻓﻌل ﻟﻠﻣﺷﻛﻠﺔ اﻟﻣطروﺣﺔ و ھو اﺳﺎﺳﺎ ﻣﺣﺎوﻟﺔ اﯾﺟﺎد اﻟﺣﻠول‪.‬‬

‫‪ymahgoub.blogspot.com/2012/06/blog-post_04.html‬‬ ‫‪10/21‬‬
‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ھو ﺗﻘدﯾم ﺗﻘﯾﯾم ﻧﺎﻗد ﻟﻠﺣﻠول اﻟﻣﻘﺗرﺣﺔ ﻣﻘﺎرﻧﺔ ﺑﺎﻻھداف اﻟﻣﺣددة ﻓﻰ اﻟﺗﺣﻠﯾل‪.‬اﻟﺗﻘﯾﯾم‬

‫اﻟﻌﻣﻠﯾﺔ اﻟﺗﺻﻣﯾﻣﯾﺔ ﺣﺳب ﻣﺎرﻛوس و ﻣﯾﻔر]‪[i‬‬

‫‪[i] - Lawson, Bryan, How designers Think, The Architectural Press Ltd: London, 1980, p. 24‬‬

‫‪ 1973‬ﺟﻴﻮﻓﺮى ﺑﺮودﺑﻨﺖ ‪Geoffrey Broadbent‬‬

‫اذا ﺣﺎوﻟﻨﺎ ﻓﺼﻞ اﻟﻤﻬﺎرات اﻟﻤﺘﻤﻴﺰة اﻟﺘﻰ ﻳﺴﺘﺨﺪﻣﻬﺎ اﻟﻤﻌﻤﺎرى ﻧﺠﺪ اﻧﻬﺎ ﺗﺨﺘﺺ ﺑﺎﻟﻘﺪرات اﻟﻔﺮاﻏﻴﺔ و ﺑﺎ ﺧﺺ اﻟﻘﺪرات ﻋﻠﻰ ﺗﺼﻮر و اﻧﺘﺎج اﺷﻜﺎل اﻟﻤﺒﺎﻧﻰ‬
‫ﻓﻰ اﻟﺒﻌﺪ اﻟﺜﺎﻟﺚ و اﻟﻔﺮاﻏﺎت اﻟﺪاﺧﻠﻴﺔ و اﻟﺨﺎرﺟﻴﺔ‪[i].‬‬
‫ﻳﻘﻮل ﺑﺮودﺑﻨﺖ اﻧﻪ ﺑﻌﺪ دراﺳﺔ ﻣﺘﺄﻧﻴﺔ وﺟﺪ ان اﻟﻤﻌﻤﺎرﻳﻴﻦ اﺳﺘﺨﺪﻣﻮا ارﺑﻊ ﻃﺮق ﻧﺘﺎج ا ﺷﻜﺎل ﺛ ﺛﻴﺔ ا ﺑﻌﺎد و ﻫﻰ‪:‬‬
‫‪ -1‬اﻟﻮاﻗﻌﻰ او اﻟﻨﻔﻌﻰ ‪Pragmatic‬‬
‫‪ -2‬اﻟﺘﻤﺎﺛﻞ ‪Iconic‬‬
‫‪ -3‬اﻟﺘﺸﺒﻴﻪ او اﻟﻤﻨﺎﻇﺮة ‪Analogic‬‬
‫‪ -4‬اﻟﻘﺎﻧﻮﻧﻰ او اﻟﻤﻌﻴﺎرى ‪Canonic‬‬
‫‪ -1‬اﻟﺘﺼﻤﻴﻢ اﻟﻮاﻗﻌﻰ او اﻟﻨﻔﻌﻰ ‪Pragmatic Design‬‬
‫ﻳﺒﺪو ان اﻟﻤﺼﻤﻤﻮن ا واﺋﻞ اﺗﺨﺬوا اﺳﻠﻮب واﻗﻌﻰ ﻟﻤﻬﻤﺘﻬﻢ ﺑﺎﺳﺘﺨﺪام اﻟﻤﻮاد اﻟﻤﺘﻮﻓﺮة ﻓﻰ اﻟﻴﺪ و اﺳﺴﻮا ﺑﺎﻟﺘﺠﺮﺑﺔ و اﻟﺨﻄﺄ اى اﻟﻤﻮاد ﻳﻤﻜﻦ‬
‫اﺳﺘﺨﺪاﻣﻬﺎ ﺛﻢ اﺳﺘﺨﺪاﻣﻬﺎ ﺑﻮﻋﻰ‪ .‬ﻇﻬﺮ ا ﻧﺴﺎن اﻟﺬى ﻧﻌﺮﻓﻪ ا ن ﻣﻨﺬ ‪ 40000‬ﺳﻨﺔ و اﺳﺘﺨﺪ ا دوات و ا ﺳﻠﺤﺔ و ﻋﺎش اﻳﻨﻤﺎ اﺳﺘﻄﺎع ووﻗﺘﻤﺎ اﺳﺘﻄﺎع‬
‫ﻓﻰ ﻛﻬﻮف اﻟﺠﺒﺎل‪ .‬و ﻛﺎن ﺻﻴﺎدا و اﺧﺬﺗﻪ رﺣ ت اﻟﺼﻴﺪ ﺑﻌﻴﺪا ﻋﻦ ﻣﺴﻜﻨﻪ‪ .‬و ﻛﺎن ﻋﻠﻴﻪ ان ﻳﺴﺘﺮﻳﺢ و ﻳﻨﺎم و ﻳﺤﻤﻰ ﻧﻔﺴﻪ ﻣﻦ اﻟﺤﻴﻮاﻧﺎت اﻟﻤﻔﺘﺮﺳﺔ و ﻣﻦ‬
‫ا ﺷﻴﺎء ﻟﺬﻟﻚ ﻛﺎن ﻋﻠﻴﻪ ان ﻳﺒﻨﻰ ﻣﺄوى )ﻣﻠﺠﺄ او ﻣﺤﻤﻰ( ﻟﻪ‪ .‬و ﻟﻢ ﻳﺘﺒﻘﻰ اﻟﻜﺜﻴﺮ ﻣﻦ ﺗﻠﻚ اﻟﻤ ﺟﺊ اﻟﺘﻰ ﺑﻨﺎﻫﺎ ا ﻧﺴﺎن ﻟﻨﻔﺴﻪ ﻓﻰ اﻟﻌﺼﻮر ا وﻟﻰ و اﻟﻌﺪﻳﺪ‬
‫ﻣﻨﻬﺎ اﺗﺨﺬ اﻟﺸﻜﻞ ا ﺳﻄﻮاﻧﻰ‪.‬‬
‫و ﻛﺎﻧﺖ اﻟﻤﻮاد اﻟﻤﺘﻮﻓﺮة ﻟﻠﺒﻨﺎء ا ول ﻏﻴﺮ ﻣﺸﺠﻌﺔ ﻣﺜﻞ ا ﺣﺠﺎر اﻟﺼﻐﻴﺮة و ﺑﻌﺾ ﻓﺮوع ا ﺷﺠﺎر و ﻋﻈﺎم و ﺟﻠﻮد اﻟﺤﻴﻮاﻧﺎت‪ .‬ﻟﺬﻟﻚ ﻋﻤﺪ اﻟﺼﻴﺎدون اﻟﻰ‬
‫ﻋﻤﻞ ﺣﻔﺮ ﻓﻰ ا رض ﺑﻴﻀﺎوﻳﺔ اﻟﺸﻜﻞ و اﻗﺎﻣﺔ ﻏﻄﺎء ﻓﻮﻗﻬﺎ ﻣﻜﻮن ﻣﻦ ﺟﺰوع ا ﺷﺠﺎر و ا ﻏﺼﺎن و ﻋﻈﺎم اﻟﺤﻴﻮاﻧﺎت ﻟﺘﻜﻮﻳﻦ ﻗﻮس ﻗﻮى ﻓﻮق اﻟﺤﻔﺮة‪ .‬و‬
‫و اﻟﻈﺮوف اﻟﺠﻮﻳﺔ و وﻓﺮ ﻟﻨﻔﺴﻪ ﺣﻤﺎﻳﺔ‬ ‫ﻛﺎﻧﺖ ﺗﻐﻄﻰ ﺑﺠﻠﻮد اﻟﺤﻴﻮاﻧﺎت و ﺗﺜﺒﺖ ﻓﻰ ا ﻃﺮاف ﺑﺎﻟﺤﺠﺎرة و اﻟﻌﻈﺎم‪ .‬و ﺑﺬﻟﻚ اﺗﻘﻰ ا ﻧﺴﺎن ا ول اﻟﺠﻮ اﻟ‬
‫ﻓﺎﻗﺎﻣﻮ اﻣﺎﻛﻦ ﻟﻠﻨﺎر داﺧﻞ اﻟﺨﻴﻤﺔ ﻟﻠﺘﺪﻓﺌﺔ و ﺑﺬﻟﻚ ﻏﻴﺮوا‬ ‫ﻣﻦ اﻟﺤﻴﻮاﻧﺎت اﻟﻤﻔﺘﺮﺳﺔ اﻟﻬﺎﺋﻤﺔ‪ .‬و ﻟﻜﻦ ا ﺣﺘﻴﺎج ﻛﺎن ﻛﺜﺮ ﻣﻦ ذﻟﻚ‪ .‬ﻓﺎﻟﺠﻮ ﻳﻜﻮن اﺣﻴﺎﻧﺎ ﻗﺎ‬
‫اﻟﻤﻨﺎخ اﻟﻤﺎدى ﺑﻌﺪ اﺗﻘﺎء اﻟﺮﻳﺎح و ا ﻣﻄﺎر‪.‬‬
‫ﻟﻠﺒﻨﺎء ﻛﺎن ﺗﻐﻴﻴﺮ اﻟﺠﻮ اﻟﻤﻌﻄﻰ ﺑﺎﻟﻄﺒﻴﻌﺔ اﻟﻘﺎﺳﻴﺔ ﻣﻤﺎ ﻳﻤﻜﻦ ﺑﻌﺾ ا ﻧﺸﻄﺔ ا ﻧﺴﺎﻧﻴﺔ )اﻟﺮاﺣﺔ و اﻟﻨﻮم ﻓﻰ ﻫﺬه‬ ‫و ﻣﻦ ﻫﺬا ﻧﺮى ان اﻟﺴﺒﺐ ا ﺳﺎ‬
‫اﻟﺤﺎﻟﺔ( ن ﺗﺘﻢ ﻓﻰ راﺣﺔ و ﺳﻬﻮﻟﺔ‪ .‬ﻛﻞ اﻟﻤﺒﺎﻧﻰ ﺗﻔﻌﻞ ذﻟﻚ ﻓﻬﻰ ﺗﺆﺛﺮ ﻋﻠﻰ اﻟﻌ ﻗﺔ ﺑﻴﻦ اﺣﺘﻴﺎﺟﺎت ا ﻧﺴﺎن و اﻟﻤﻨﺎخ ﻓﻰ اى ﻣﻨﻄﻘﺔ ﻣﻦ ا رض‪ .‬و ﻣﺎ زال‬
‫ﻟﻠﺒﻨﺎء ﻓﺎﻟﻤﻮﻗﻊ اﻟﻤﻌﻄﻰ ﻳﻮﻓﺮ اﻟﻤﻨﺎخ اﻟﻤﻨﺎﺳﺐ ﻓﻰ ﺑﻌﺾ اوﻗﺎت اﻟﺴﻨﺔ ﻟﻤﺎ ﻧﺮﻳﺪ ان ﻧﻔﻌﻞ‪.‬‬ ‫ﻫﺬا ﻫﻮ اﻟﺴﺒﺐ اﻟﺮﺋﻴ‬
‫و ﻫﻨﺎك ا ن ﻣﺎ ﻫﻮ اﻛﺜﺮ ﻣﻦ ﺗﻐﻴﻴﺮ اﻟﻤﻨﺎخ اﻟﻤﺎدى‪ .‬ﻓﺎﻟﻤﺒﻨﻰ ﺷﺌﻨﺎ ام اﺑﻴﻨﺎ ﻳﻐﻴﺮ و ﻳﺘﻐﻴﺮ ﺑﺒﻌﺾ‪  ‬ﻋﻮاﻣﻞ اﻟﻤﻨﺎخ اﻟﺜﻘﺎﻓﻰ )ا ﺟﺘﻤﺎﻋﻴﺔ و اﻟﺴﻴﺎﺳﻴﺔ و‬
‫ا ﻗﺘﺼﺎدﻳﺔ و اﻟﺠﻤﺎﻟﻴﺔ و ا ﺧ ﻗﻴﺔ و ‪ (...‬و ﺑﺘﻮﻓﻴﺮ ﻫﺬه اﻟﺮؤﻳﺔ اﻟﻮاﺳﻌﺔ ﻟﻠﻤﻨﺎخ اﻟﻌﺎم ﻳﺒﻘﻰ اﻟﻐﺮض ﻣﻦ اﻟﻤﺒﻨﻰ ﻫﻮ ﺗﻐﻴﻴﺮ اﻟﻤﻨﺎخ اﻟﻤﺤﻴﻂ‪.‬‬
‫و ﺗﺜﻴﺮ ﺧﻴﺎم اﻟﺼﻴﺎد ا ول ﺑﻌﺾ اﻟﺤﻘﺎﺋﻖ ا ﺳﺎﺳﻴﺔ ﻋﻦ ﻃﺒﻴﻌﺔ اﻟﻌﻤﺎرة‪ .‬و ﺗﺮﺟﺢ ﺑﺎن او ﻃﺮﻳﻘﺔ ﻟﻠﻮﺻﻮل اﻟﻰ اﻟﺒﻌﺪ اﻟﺜﺎﻟﺚ ﻟﻠﺸﻜﻞ اﻟﺒﻨﺎﺋﻰ ﻫﻮ اﻟﺘﺠﺮﺑﺔ و‬
‫اﻟﺨﻄﺄ ‪ trial and error‬ﺑﺎﺳﺘﺨﺪام اﻟﻤﻮاد اﻟﻤﺘﺎﺣﺔ و وﺿﻌﻬﺎ ﻣﻌﺎ ﺑﻄﺮﻳﻘﺔ ﺗﻌﻤﻞ‪.‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﺧﻴﺎم اﻟﺼﻴﺎد ا ول ‪ 40000‬ﻗﺒﻞ اﻟﻢ‬

‫اﻟﺘﺼﻤﻴﻢ اﻟﻮاﻗﻌﻰ او اﻟﻨﻔﻌﻰ ﻛﺎن اول ﻃﺮق اﻟﺒﻨﺎء و ﻣﺎ زال ﻳﺴﺘﺨﺪم ﻓﻰ ﺑﻌﺾ اﻟﻈﺮوف و ﺧﺎﺻﺔ ﻋﻨﺪﻣﺎ ﻧﺮﻳﺪ ان ﻧﺘﻌﺮف ﻋﻠﻰ ﻛﻴﻔﻴﺔ ﻋﻤﻞ اﻟﻤﻮاد‬
‫اﻟﺠﺪﻳﺪة‪.‬‬
‫و ﻋﻨﺪﻣﺎ ﺗﺘﺄﺳﺲ ﻗﻮاﻋﺪ ﻃﺮﻳﻘﺔ ﻟﻠﺒﻨﺎء ﻳﺘﻢ اﺳﺘﺨﺪﻣﻬﺎ ﺑﻨﻔﺲ اﻟﺸﻜﻞ ﻟﻌﺪة ا ف ﻣﻦ اﻟﺴﻨﻴﻦ‪ .‬و ﻛﺎن ﻫﺬا ﻫﻮ اﻟﺤﺎل ﻣﻊ ﺧﻴﺎم اﻟﺼﻴﺎد ا ول اﻟﺘﻰ ﻛﺎﻧﺖ‬
‫ﺗﺴﺘﺨﺪم ﻟﺤﻮاﻟﻰ ‪ 30000‬ﺳﻨﺔ‪ .‬و ﻫﻨﺎك ﻋﺪة ﻧﻈﺮﻳﺎت ﻟﺘﻔﺴﻴﺮ ﻛﻴﻔﻴﺔ اﻧﺘﺸﺎر ﻫﺬه اﻟﻄﺮﻳﻘﺔ ﻓﻰ اﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ ﻋﺒﺮ ا ف اﻟﺴﻨﻴﻦ و ﻣﻨﻬﺎ ﻧﻈﺮﻳﺔ ا ﻧﺘﺸﺎر‬
‫ﺑﺎ ﺗﺼﺎل اﻟﺤﻀﺎرى و ﻫﻨﺎك اﻟﻨﻈﺮﻳﺔ اﻟﺒﻨﺎﺋﻴﺔ اﻟﺘﻰ ﺗﺮى ان اى ﺗﻘﻨﻴﺔ ﺗﻢ‬ ‫اﻟﺘﻰ ﺗﺮﺟﺢ اﻧﺘﻘﺎل اﻟﺘﻘﻨﻴﺎت ﻛﺎن ﻳﻨﺸﺄ ﻓﻰ ﻣﻜﺎن ﻣﻌﻴﻦ ﻓﻰ وﻗﺖ ﻣﻌﻴﻦ و ﻳﻨﺘ‬
‫ى ﻋﻨﺪﻣﺎ ﻳﺼﺎدف ﻣﺸﺎﻛﻞ ﻣﻄﻠﻮب ﺣﻠﻬﺎ ﺑﻨﻔﺲ ا ﻣﻜﺎﻧﻴﺎت ﻓﺎﻧﻪ ﻳﻌﻤﻞ ﺑﻄﺮﻗﺔ ﺗﺤﺪد اﻧﻮاع‬ ‫اﻛﺘﺸﺎﻓﻬﺎ ﻋﺪة ﻣﺮات ﻓﻰ ﻋﺪة اﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ ن اﻟﻌﻘﻞ اﻟﺒ‬
‫اﻟﺤﻠﻮل اﻟﺘﻰ ﻳﻤﻜﻦ ان ﻳﻨﺘﺠﻬﺎ‪ .‬ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻞ ﻫﺬا ﻓﺎن اﻟﺤﻘﺎﺋﻖ ﺗﻘﻮل ان اﺷﻜﺎل ﻣﺤﺪدة ﻟﻠﻤﺒﺎﻧﻰ ﻛﺎﻧﺖ ﺗﺴﺘﺨﺪم ﺑﺎﺳﺘﻤﺮار ﻓﻰ ﺛﻘﺎﻓﺔ ﻣﻌﻴﻨﺔ‪ .‬و ﻫﻨﺎك‬
‫اﺳﺒﺎب ﻋﺪﻳﺪة ﻟﺬﻟﻚ ﻓﺎﻟﻤﻨﺎخ اﻟﻤﻄﻠﻮب اﻟﺘﺤﻜﻢ ﻓﻴﻪ و ا ﻣﻜﺎﻧﻴﺎت اﻟﻤﺘﻮاﻓﺮة ﻟﻬﺬا اﻟﺘﺤﻜﻢ ﺑﻢ ﺗﺘﻐﻴﺮ ﻟﻔﺘﺮات ﻃﻮﻳﻠﺔ ﻣﻦ اﻟﺰﻣﻦ و ﻋﻠﻰ ا ﺧﺺ ﻟﻠﻘﺒﺎﺋﻞ اﻟﺘﻰ‬
‫اﺳﺘﻤﺮت ﻓﻰ ﻧﻔﺲ اﻟﻤﻜﺎن‪ .‬و ﺣﺘﻰ اﻟﺒﺪو اﻟﺮﺣﻞ ﻛﺎن ﻟﻬﻢ اﺷﻜﺎل ﺛﺎﺑﺘﺔ ﻟﺒﻴﻮﺗﻬﻢ اﻟﻤﺘﻨﻘﻠﺔ‪ .‬و ﻫﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ ا ﻣﺜﻠﺔ ﻣﺜﻞ اﻟﺨﻴﺎم اﻟﻌﺮﺑﻴﺔ اﻟﺴﻮداء و ﺑﻴﻮت‬
‫ا ﺳﻜﻴﻤﻮ‪ .‬و ﺑﺎﻟﻄﺒﻊ ﻟﻢ ﻳﻌﺶ اى ﻣﻦ ﻫﺬه اﻟﺒﻴﻮت ﻃﻮﻳ و ﻟﻜﻦ ﻃﺮﻳﻘﺔ اﻟﺒﻨﺎء اﺳﺘﻤﺮت ﻟﻘﺮون ﻃﻮﻳﻠﺔ دون ﺗﻐﻴﻴﺮ‪ .‬ﻓﻜﻞ ﻓﺮد ﻓﻰ اﻟﻘﺒﻴﻠﺔ ﻳﻌﺮف ﻛﻴﻒ ﻳﺒﻨﻰ‬
‫ﺑﻴﺘﻪ‪.‬‬

‫ﺑﻴﺖ ا ﺳﻜﻴﻤﻮ ﻳﺒﻨﻰ ﻣﻦ ﻗﻮاﻟﺐ ﻛﺒﻴﺮة ﻣﻦ اﻟﺜﻠﺞ ﻳﺘﻢ وﺿﻌﻬﺎ ﻓﻰ ﺣﻠﻘﺎت ﺑﻌﻀﻬﺎ ﻓﻮق ﺑﻌﺾ ﻟﺘﺼﺒﺢ ﻗﺒﺔ ﻣﻔﺮﻏﺔ ﻳﺘﻢ ﺗﻐﻄﻴﺘﻬﺎ ﻣﻦ اﻟﺪاﺧﻞ ﺑﺠﻠﻮد‬
‫ﻳﺴﻤﺢ ﻟﻠﻬﻮاء اﻟﺒﺎرد ﺑﺎﻟﺪﺧﻮل‪ ‬‬ ‫اﻟﺤﻴﻮاﻧﺎت و ﺗﺪﻓﺌﺘﻬﺎ و ﻳﺘﻢ ﺣﻤﺎﻳﺔ اﻟﻤﺪﺧﻞ ﺑﺤﻴﺚ‬

‫و ﻛﻤﺎ ﻫﻮ ﻣﺘﻮﻗﻊ ﻓﺎن ﺷﻜﻞ اﻟﻤﺴﻜﻦ ﻓﻰ اﻟﻤﻨﺎخ اﻟﺒﺎرد ﻳﺘﻢ ﺗﺼﻤﻴﻤﻪ ﺑﺤﻴﺚ ﻳﺤﺘﻔﻆ ﺑﺎﻟﺤﺮارة ﺑﻘﺪر ا ﻣﻜﺎن و ﻓﻰ ا ﻣﺎﻛﻦ اﻟﺤﺎرة ﻳﻜﻮن ا ﻧﺸﺎء ﻣﻔﺘﻮﺣﺎ‬
‫ﺑﺤﻴﺚ ﻳﺴﻤﺢ ﻟﻠﻬﻮاء ان ﻳﺘﺨﻠﻠﻪ و ﺣﺘﻰ اﻟﺨﻴﺎم اﻟﺒﺪوﻳﺔ ﻛﺎن ﻳﺘﻢ ﺗﻌﺪﻳﻞ وﺿﻌﻬﺎ ﺣﺴﺐ اﺗﺠﺎه اﻟﺮﻳﺎح‪.‬‬
‫‪ -2‬اﻟﺘﺼﻤﻴﻢ ﺑﺎﻟﺘﻤﺎﺛﻞ او اﻟﺘﻜﺮار ‪Iconic‬‬
‫اﻟﺘﻜﺎﻓﺊ اﻟﺘﺎم ﺑﻴﻦ اﻟﻤﻨﺎخ اﻟﻤﻄﻠﻮب اﻟﺘﺤﻜﻢ ﻓﻴﻪ و ا ﻣﻜﺎﻧﺎت اﻟﻤﺘﺎﺣﺔ ﻟﻠﺘﺤﻜﻢ ﻳﻤﻜﻦ ان ﺗﻜﻮن ﺳﺒﺐ ﻛﺎﻓﻰ ﻟﺘﻜﺮار ﺷﻜﻞ اﻟﻤﺴﻜﻦ ﻃﺎﻟﻤﺎ اﻧﻬﺎ وﺟﺪت ﺗﻌﻤﻞ‬
‫ﺑﻜﻔﺎءة‪ .‬و ﻟﻜﻦ ﻫﻨﺎك ﺿﻐﻮط اﺧﺮى ﺗﺪﻋﻮ ﻟﻠﺘﺤﻔﻆ ﻋﻠﻰ ﺷﻜﻞ اﻟﻤﺴﻜﻦ ﺛﺎﺑﺖ دون ﺗﻐﻴﻴﺮ‪.‬‬
‫‪  ‬و ﺗﺮﺑﻂ ﺑﻴﻮﺗﻬﻢ ﻣﻊ ﺑﻌﻀﻬﺎ‬ ‫و اﻟﺴﺒﺐ ا ول ان ﺷﻜﻞ اﻟﻤﺴﻜﻦ و ﻧﻤﻂ اﻟﺤﻴﺎة ﻳﺼﺒﺤﻮن ﻣﺴﺎﻳﺮون ﻟﺒﻌﻀﻬﻢ اﻟﺒﻌﺾ‪ .‬ﻓﺮﺑﻤﺎ ﺗﺠﺘﻤﻊ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ا‬
‫اﻟﺒﻌﺾ ﻓﻴﻨﺸﺄ ﺗﻔﺎﻋﻞ اﺟﺘﻤﺎﻋﻰ‪  ‬ﺑﻴﻨﻬﻢ و رﺑﻤﺎ ﺗﻌﻴﺶ اﻟﻘﺒﻴﻠﺔ ﻛﻠﻬﺎ ﻓﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺒﻴﻮت اﻟﻤﺘﺮاﺑﻄﺔ ﺗﺸﻜﻞ ﺑﻴﺘﺎ واﺣﺪا ﻓﻰ ﺣﻴﻦ ﺗﺼﻤﻢ اﻟﺨﻴﺎم اﻟﻌﺮﺑﻴﺔ‬
‫ﺑﺤﻴﺚ ﺗﻮﻓﺮ ﺳﻜﻦ ﻣﻨﻔﺼﻞ ﻟﻠﺮﺟﺎل و اﻟﺴﻴﺪات‪ .‬ﻓﻬﻨﺎك ﺗﻮاﻓﻖ ﺑﻴﻦ ﺷﻜﻞ اﻟﻤﺴﻜﻦ و ﻧﻤﻂ اﻟﻤﻌﻴﺸﺔ و ﻃﺮﻳﻘﺔ اﻟﺤﻴﺎة‪.‬‬
‫ﺳﻨﻮات ﻃﻮﻳﻠﺔ ﻓﻰ اﺳﺘﻴﻌﺎب اﻟﻤﻬﺎرات و ﺗﻌﻠﻢ ﻃﺒﻴﻌﺔ اﻟﻤﻮاد اﻟﺘﻰ‬ ‫اﻟﺴﺒﺐ اﻟﺜﺎﻧﻰ ان ﺑﻘﺎء ﻃﺮﻳﻘﺔ اﻟﺒﻨﺎء دون ﺗﻐﻴﻴﺮ ﻫﻮ اﻟﺒﻨﺎء اﻟﺤﺮﻓﻰ اﻟﺬى ﻳﻤ‬
‫ﻳﺘﻌﺎﻣﻞ ﻣﻌﻬﺎ و اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ا دوات اﻟﺘﻰ ﻳﺴﺘﺨﺪﻣﻬﺎ‪ .‬و ﻋﻨﺪﻣﺎ ﻳﺘﻤﻜﻦ ﻣﻦ اﻟﺤﺮﻓﺔ ﺗﺼﺒﺢ ﺟﺰء ﻳﺘﺠﺰأ ﻣﻦ وﻋﻴﻪ و ﻳﺼﺒﺢ ﻟﺪﻳﻪ ﻧﻤﻂ ﻟﺘﻔﺎﻋﻞ ﻳﺪﻳﻪ و‬
‫ار ﻟﻠﺠﻴﻞ اﻟﺘﺎﻟﻰ‪ .‬ﻣﻤﺎ ﻳﺪﻋﻢ اﻟﻀﻐﻮط‬ ‫ﻋﻴﻨﻴﻪ و ﻋﻘﻠﻪ ﻓﻰ اﻧﺘﺎج ا ﺷﻴﺎء ﻣﻤﺎ ﻳﺸﺠﻌﻪ ﻋﻠﻰ اﻟﺘﺨﻠﻰ ﻋﻦ ﻛﻞ ذﻟﻚ‪ .‬و ﻳﺼﺒﺢ اﻫﺘﻤﺎﻣﻪ ﻫﻮ ﺗﻤﺮﻳﺮ ﺗﻠﻚ ا‬
‫اﻟﻘﻮﻳﺔ ﻋﻠﻰ اﺑﻘﺎء ﻧﻤﻂ اﻟﺒﻨﺎء ﻋﻠﻰ ﻣﺎ ﻫﻮ ﻋﻠﻴﻪ‪.‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫و ﻫﻨﺎك اﻳﻀﺎ اﺳﺒﺎب ﺛﻘﺎﻓﻴﺔ ﻓﺒﻌﺾ اﻟﻘﺒﺎﺋﻞ ﻟﺪﻳﻬﺎ اﺳﺎﻃﻴﺮ ﺗﺼﻒ ﻧﺸﺄة ﺷﻜﻞ اﻟﺒﻨﺎء و اﻟﺒﻌﺾ ا ﺧﺮ وﺿﻌﻬﺎ ﻓﻰ اﻏﺎﻧﻰ ﺗﺼﻒ اﻟﻤﻮاد اﻟﺘﻰ ﻳﺠﺐ اﻟﻌﺜﻮر‬
‫ﻋﻠﻴﻬﻞ و اﻣﺎﻛﻦ ﺗﻮاﻓﺮﻫﺎ و ﻛﻴﻔﻴﺔ ﺗﺸﻜﻴﻠﻬﺎ و وﺿﻌﻬﺎ ﻣﻌﺎ و ﻫﻮ ﻣﺎ ﻳﻘﺪم اﻟﻨﺴﻖ ا ول ﻟﻠﺘﺼﻤﻴﻢ‪ .‬ﻓﻄﺮﻳﻘﺔ اﻟﺒﻨﺎء ﻣﻮﺟﻮدة ﻓﻰ ﻋﻤﻖ اﻟﻮﻋﻰ اﻟﻘﺒﻠﻰ و ن‬
‫ﻛﻞ ﻓﺮد ﻣﻦ اﻓﺮاد اﻟﻘﺒﻴﻠﺔ ﻟﻪ ﺗﺼﻮر ﺛﺎﺑﺖ ﻋﻦ ﻣﺎذا ﻳﺠﺐ ان ﻳﻜﻮن ﻋﻠﻴﻪ ﺷﻜﻞ اﻟﻤﺴﻜﻦ‪.‬‬
‫‪ -3‬اﻟﺘﺼﻤﻴﻢ ﺑﺎﻟﺘﺸﺒﻴﻪ او اﻟﻤﻨﺎﻇﺮة ‪Analogic‬‬
‫ﺗﺘﻜﻮن اﻟﻜﻠﻤﺎت اﻟﺠﺪﻳﺪة ﻏﺎﻟﺒﺎ ﺑﺎﺳﺘﺨﺪام اﻟﺘﺸﺎﺑﻪ ﺑﻴﻨﻬﺎ و ﺑﻴﻦ ﻛﻠﻤﺎت اﺧﺮى‪ .‬و ﺗﺘﻜﻮن ا ﺷﻜﺎل اﻟﺠﺪﻳﺪة ﻓﻰ ﻛﺜﻴﺮ ﻣﻦ ا ﺣﻴﺎن ﺑﺎﻟﺘﺸﺒﻴﻪ‪ .‬و ﺗﻘﻮل اﻟﻨﻈﺮﻳﺎت‬
‫ان رﺳﺎﻣﻰ اﻟﻜﻬﻮف وﺟﺪوا ﺗﺸﺎﺑﻪ ﺑﻴﻦ ا ﺷﻜﺎل اﻟﻤﻮﺟﻮدة ﻋﻠﻰ ﺣﻮاﺋﻂ اﻟﻜﻬﻮف و اﻟﺤﻴﻮاﻧﺎت اﻟﻤﺨﺘﻠﻔﺔ و ﻗﺎﻣﻮا ﺑﺎﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺣﻮاف ﺗﻠﻚ ا ﺷﻜﺎل ﺑﺎ ﻟﻮان‬
‫و ﺑﺬﻟﻚ ﻋﻤﻠﻮا ﻋﻠﻰ ﺗﻘﻮﻳﺔ ﻗﻴﻤﺔ اﻟﺘﺸﺎﺑﻪ ﻟﻜﻰ ﺗﺼﺒﺢ واﺿﺤﺔ ﻟ ﺧﺮﻳﻦ‪ .‬و ﻫﺬه اﻟﻄﺮﻳﻘﺔ ﻓﻰ اﻧﺘﺎج اﺷﻜﺎل ﺟﺪﻳﺪة اﺳﺎﺳﻴﺔ ﻟﻠﻌﻘﻞ اﻟﺒ ى و ﻗﺪ ﻇﻬﺮت‬
‫ﺑﻄﺮﻳﻘﺔ ﻋﻔﻮﻳﺔ ﻓﻰ اﻣﺎﻛﻦ ﻣﺘﻔﺮﻗﺔ ﻣﻦ اﻟﻌﺎﻟﻢ اﻟﻘﺪﻳﻢ‪.‬‬
‫و ﻟﻜﻦ اﻟﺘﻄﺒﻴﻖ ا ول ﻟﻬﺎ ﻓﻰ اﻟﻌﻤﺎرة اﻟﺮﺳﻤﻴﺔ ﻛﺎن ﻓﻰ اﻟﻤﺠﻤﻮﻋﺔ اﻟﺠﻨﺎﺋﺰى اﻟﺘﻰ ﺑﻨﺎﻫﺎ اﻣﺤﺘﺐ ﻟﻠﻤﻠﻚ زو ﻓﻰ ﺳﻘﺎرة ﻗﺮب ﻣﻤﻔﻴﺲ ﺳﻨﺔ ‪ 2800‬ﻗﺒﻞ‬
‫اﻟﻤﻴ د‪ .‬ﻛﺎﻧﺖ اﻟﻤﺒﺎﻧﻰ اﻟﺪاﺋﻤﺔ ﺣﺘﻰ ذﻟﻚ اﻟﻮﻗﺖ ﻫﻰ ﻣﻘﺎﺑﺮ اﻟﻤﺼﺎﻃﺐ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻄﻮب اﻟﻨﻰ ذات ا ﺳﻄﺢ اﻟﻌﻠﻮﻳﺔ اﻟﻤﺴﺘﻮﻳﺔ و اﻟﺤﻮاف اﻟﻤﺎﺋﻠﺔ‪.‬‬
‫ﻓﻰ ﺣﻴﻦ ﻛﺎﻧﺖ اﻟﺒﻴﻮت ﺗﺼﻨﻊ ﻣﻦ اﻟﺠﺮﻳﺪ اﻟﻤﻐﻄﻰ ﺑﺎﻟﻄﻤﻰ ﻟﻜﻰ ﻳﻤﻜﻦ ﻧﻘﻠﻬﺎ اﻳﺎم اﻟﻔﻴﻀﺎن‪.‬‬
‫و ﻟﻢ ﻳﻜﻦ ﻫﻨﺎك ﺳﺎﺑﻘﺔ ﻋﻠﻰ ﻋﻤﻞ اﻣﺤﺘﺐ ﺑﻬﺬا اﻟﻤﻘﻴﺎس و اﻟﺤﺠﻢ‪ .‬و ﺗﻢ اﻟﺤﻔﺮ ﻋﻠﻰ اﻟﺤﻮاﺋﻂ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺤﺠﺎرة اﻟﻜﺒﻴﺮة ﻟﺘﺸﺎﺑﻪ ﺷﻜﻞ اﻟﺤﻮاﺋﻂ‬
‫اﻟﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻄﻮب اﻟﺼﻐﻴﺮ‪ .‬و ﺗﻢ ﻧﻘﺶ ﺟﻤﻴﻊ اﻟﺘﻔﺎﺻﻴﻞ ﻋﻠﻰ اﻟﺤﺠﺎرة ﻟﺘﺸﺎﺑﻪ ا ﻋﻤﺪة و اﻟﺤﻮاﺋﻂ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺠﺮﻳﺪ و اﻟﻄﻤﻰ‪ .‬و اﻟﻤﻘﺒﺮة ﻧﻔﺴﻬﺎ‬
‫ﻛﺎﻧﺖ ﻣﻜﻮﻧﺔ ﻣﻦ ﻋﺪة ﻣﺼﺎﻃﺐ ﻣﻜﺮرة اﻓﻘﻴﺎ و راﺳﻴﺎ ﺣﺘﻰ ﻳﻤﻜﻦ رؤﻳﺘﻬﺎ ﻣﻦ ﺑﻌﻴﺪ‪ .‬و ﻛﻮﻧﺖ اﻟﻤﺼﻄﺒﺔ اﻟﻤﺘﺪرﺟﺔ و ﻫﻮ اول ﻫﺮم ﻳﺘﻢ ﺑﻨﺎء ﻓﻰ اﻟﺘﺎرﻳﺦ‬
‫اﻟﻘﺪﻳﻢ‪.‬‬
‫ﻳﺒﺪو ان اﻣﺤﺘﺐ اﻋﺘﻤﺪ ﻋﻠﻰ ﺑﻨﺎء ﺑﻴﺖ‬ ‫و اﻟﺘﺸﺒﻴﻪ اﺳﺘﺨﺪم ﻛﺬﻟﻚ ﻟﺘﺸﻜﻴﻞ ﺗﻴﺠﺎن ا ﻋﻤﺪة اﻟﺘﻰ ﺗﺸﺒﻪ زﻫﺮات اﻟﻠﻮﺗﺲ و رؤس اﻟﻜﻮﺑﺮا و ﻣﺎ اﻟﻰ ذﻟﻚ‪ .‬و‬
‫ﻣﻦ اﻟﻄﻴﻦ ﺳﺘﺨﺪاﻣﻪ ﻛﻤﺜﺎل ﻟﻠﻌﻤﻞ ﻋﻠﻴﻪ ﻓﻰ ﺑﺎﻗﻰ اﻟﻤﺠﻤﻮﻋﺔ اﻟﺠﻨﺎﺋﺰﻳﺔ‪ .‬ﻓﻘﺪ ﺗﻢ اﻟﻌﺜﻮر ﻋﻠﻰ ﻣﺎ ﻳﻤﻜﻦ ان ﻧﻄﻠﻖ ﻋﻠﻴﻪ "اول رﺳﻮﻣﺎت ﻣﻌﻤﺎرﻳﺔ " ﻓﻰ‬
‫و ﻫﻰ ﻣﺮﺳﻮﻣﺔ ﻋﻠﻰ اﻟﻮاح ﻣﻦ اﻟﺤﺠﺮ اﻟﺠﻴﺮى و ﻳﻈﻬﺮ‬ ‫ﺳﻘﺎرة‪ .‬و ﻳﻌﻮد ﺗﺎرﻳﺨﻬﺎ اﻟﻰ ‪ 2800‬ﺳﻨﺔ ﻗﺒﻞ اﻟﻤﻴ د اﺛﻨﺎء ﺑﻨﺎء اﻟﻤﺠﻤﻮﻋﺔ اﻟﺠﻨﺎﺋﺰﻳﺔ ﻟﻠﻤﻠﻚ زو‬
‫ى اﻟﻘﺪﻳﻢ و ﻫﻰ اﻟﺬراع و اﻟﻴﺪ‬ ‫ﻋﻠﻴﻬﺎ ﻣﻨﺤﻨﻰ ﻣﺮﺳﻮم ﺑﺎﻟﺤﺒﺮ ﻣﻊ ﺧﻄﻮط راﺳﻴﺔ ﻣﻤﺘﺪة ﺗﺤﺘﻪ و ﻋﺪة رﻣﻮز ﻳﻤﻜﻦ ان ﺗﻜﻮن ﻣﻘﺎﺳﺎت ﻓﻰ ﻧﻈﺎم اﻟﻘﻴﺎس اﻟﻤ‬
‫و ا ﺻﺒﻊ‪ .‬و اذا ﻗﻤﻨﺎ ﺑﺮﺳﻢ اﻟﻘﺎﻋﺪة و ا ﺟﺰاء اﻟﺮأﺳﻴﺔ ﻋﻠﻰ ﻣﺴﺎﻓﺔ ذراع و ﻳﺘﻢ ﻗﻴﺎس اﻟﻘﺎﻋﺪة و ﻧﺮﺳﻢ اﻟﻤﻨﺤﻨﻰ ﻧﺠﺪ ﻣﻨﺤﻨﻰ ﻣﻤﺎﺛﻞ ﻟﻤﺎ ﻫﻮ ﻣﻮﺟﻮد و ﻟﻜﻦ‬
‫ﻣﺮة اﻛﺒﺮ ﻣﻦ اﻟﻤﻨﺤﻨﻰ اﻟﻤﻮﺟﻮد ﻓﻰ اﻟﺮﺳﻢ ﻧﻔﺴﻪ‪ .‬‬ ‫اﺛﻨﻰ ﻋ‬

‫ﻣﻦ ﺗﺼﻤﻴﻢ اﻣﺤﺘﺐ‬ ‫اﻟﻤﺠﻤﻮﻋﺔ اﻟﺠﻨﺎﺋﺰﻳﺔ ﻟﻠﻤﻠﻚ زو‬

‫اﻟﻤﻨﺤﻨﻰ اﻟﻤﺮﺳﻮم ﻋﻠﻰ اﻟﺤﺠﺮ اﻟﻤﺴﺘﺨﺪم ﻓﻰ اﻋﻤﺎل ﻣﺠﻤﻮﻋﺔ اﻟﻤﻠﻚ زو‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫و ﻫﺬا ﻳﺸﻴﺮ اﻟﻰ ﺣﻘﻴﻘﺔ ﺑﺎﻟﻐﺔ ا ﻫﻤﻴﺔ و ﻫﻰ اﻧﻪ ﺑﺪ ﻣﻦ ﻳﺒﺪأ اﻟﻌﻤﻞ ﻣﺒﺎ ة و اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﻮاد ﺑﺎﻟﻄﺮﻳﻘﺔ اﻟﻮاﻗﻌﻴﺔ‪/‬اﻟﻨﻔﻌﻴﺔ او ﺑﻄﺮﻳﻘﺔ اﻟﺘﻤﺎﺛﻞ ﻓﺎن‬
‫اﻟﻤﺼﻤﻢ ﻗﺎم ﺑﺎﻋﺪاد اﻟﺮﺳﻮﻣﺎت او ﺑﺄﺧﻠﺺ ﺑﻘﺪر ﻣﺎ ﻳﺴﺘﻄﻴﻊ و ﺑﺬﻟﻚ ﻗﺎم ﺑﺘﺠﺮﺑﺔ اﻟﻮاﻗﻊ ﻓﻰ ﺻﻮرة ﺗﺸﺒﻴﻪ ﻟﻠﻮاﻗﻊ او اﻟﺮﺳﻢ ﻗﺒﻞ ان ﻳﺤﺪد ﻧﻔﺴﻪ‬
‫ﺑﺎﺳﻠﻮب ﻣﻌﻴﻦ‪.‬‬
‫ﻣﻘﻨﻊ ﻓﻰ ﺣﺪ ذاﺗﻪ‪ .‬و ﻛﺎن‬ ‫ﻋﻨﺪﻣﺎ ﺑﺪأ اﻟﻤﺼﻤﻢ اﻟﺘﻔﻜﻴﺮ و اﻟﺮﺳﻢ ﺑﻌﻴﺪا ﻋﻦ ﻣﻮﻗﻊ اﻟﻌﻤﻞ ﻓﺎن اﺷﻴﺎء ﻋﺪﻳﺪة ﺗﺤﺪث‪ .‬ﻓﻬﻮ ﻳﻜﻮن ﻣﻬﺘﻢ ﺑﺎﻟﺮﺳﻢ ﻧﻔﺴﻪ ﻛﻌﻨ‬
‫ﻋﻠﻴﻪ ان ﻳﺘﺄﻛﺪ ﻣﻦ اﻟﺮﺳﻢ ﺳﻮف ﻳﻘﻊ ﻓﻰ ﺣﺪود اﻟﻠﻮﺣﺔ اﻟﺤﺠﺮﻳﺔ اﻟﺘﻰ ﻳﺮﺳﻢ ﻋﻠﻴﻬﺎ او ورﻗﺔ اﻟﺒﺮدى او اى ﺳﻄﺢ آﺧﺮ ﻣﻨﺎﺳﺐ ﻟﻠﺮﺳﻢ و ﺑﺬﻟﻚ ﺑﺪأ ﻓﻰ رﺳﻢ‬
‫اﻟﺸﺒﻜﺔ و اﻟﻤﺤﺎور اﻟﺘﻰ ﻳﻤﻜﻦ ان ﺗﺤﺪد ﺣﺠﻢ و ﺷﻜﻞ اﻟﺮﺳﻢ ﻗﺒﻞ ان ﻳﺒﺪأ ﻓﻰ ﺗﻔﺎﺻﻴﻞ اﻟﺘﺼﻤﻴﻢ‪.‬‬
‫و ﻓﻰ ﺣﺎﻟﺔ اﺧﺮى ﻧﺠﺪ اﻟﺤﻔﺮ ﻋﻠﻰ واﺟﻬﺔ ﻣﻌﺒﺪ اﻟﺪﻳﺮ اﻟﺒﺤﺮى ﺳﻨﺔ ‪ 2100‬ﻗﺒﻞ اﻟﻤﻴ د ﺗﺸﻴﺮ اﻟﻰ ان اﻟﻤﺼﻤﻢ ﻗﺎم ﺑﻌﻤﻞ ﺷﺒﻜﻴﺔ ﻏﻄﺖ ﻋﻠﻰ اﻟﻤﻮﻗﻊ‬
‫اﻟﻤﺠﺎور و اﻟﺬى ﻗﺎم ﺑﻤﺤﻮه ﻣﻦ اﻟﺮﺳﻢ و ﻫﻰ ﻣﻦ اواﺋﻞ اﻟﺮﺳﻮﻣﺎت و اﻟﺘﻰ ﺗﻈﻬﺮ اول ﺧﻄﺄ ﻣﻌﻤﺎرى‪.‬‬

‫اﻗﺘﺮاح اﻟﻤﻌﻤﺎرى ﺑﺎﻟﺘﻨﺴﻴﻖ ﺣﻮل اﻟﺪﻳﺮ اﻟﺒﺤﺮى ﺳﻨﺔ ‪ 2100‬ﻗﺒﻞ اﻟﻤﻴ د‬

‫و ﯾﺑدو ان اﻟرﺳوﻣﺎت ﻛﺎﻧت ﺗﺳﺗﺧدم ﻟﺗرﺟﻣﺔ اﻻﺷﻛﺎل اﻟﻣرﺋﯾﺔ اﻟﻣﻌروﻓﺔ ﻻﺳﺗﺧداﻣﺎت ﺟدﯾدة و ان اﻟرﺳوﻣﺎت ﻧﻔﺳﮭﺎ اﺟﺑرت ﺑﻌض اﻻﻋراف ﻋﻠﻰ اﻟﻣﺻﻣم و ھﻰ ﺗﻘﺗرح اﻟﺗﻧظﯾم و اﻟﺗرﺗﯾب و‬
‫اﻟﺗﻧﺎﺳﻖ اﻟﺗﻰ ﻣﺎ ﻛﺎن ﯾﻣﻛن ان ﯾﺗﻌرف ﻋﻠﯾﮭﺎ ﺑدوﻧﮭﺎ‪ .‬و اﻟرﺳم اﻟﻣﺻرى اﻟﻘدﯾم ﻟﻼﻧﺳﺎن ﺟﺎﻧﺑﯾﺎ ھﻰ اول ﻣﺣﺎوﻟﺔ ﻟرﺳم ﺷﺊ ﻣوﺟود ﻓﻰ اﻟﺑﻌد اﻟﺛﺎﻟث ﻋﻠﻰ ﺳطﺢ ذو ﺑﻌدﯾن‪.‬‬
‫و ھذه اﻟظﺎھرة ﯾﻣﻛن ان ﻧطﻠﻖ ﻋﻠﯾﮭﺎ "اﻟﺗﺷﺑﯾﮫ اﻟﻣﺳﯾطر ﻋﻠﻰ اﻟﺣﻘﯾﻘﺔ" و ھﻰ ﻣوﺟودة ﻓﻰ اﻟﻠﻐﺔ ﻋﻧدﻣﺎ ﺗﺣدد ﺑﻌض اﻟﻛﻠﻣﺎت اﻓﻛﺎرا ﻟﯾﺳت ھﻰ ﻣﻌﻧﺎھﺎ اﻻﺻﻠﻰ‪ .‬و اﯾﻣﺎ ﻛﺎن اﺳﺗﺧداﻣﻧﺎ ﻟﻠﺗﺷﺑﯾﮫ‬
‫ﺑﺎﻟﺗﺻﻣﯾم ﺳواء ﺑﺎﻟرﺳم او ﻧﻣﺎذج اﻟﺑﻌد اﻟﺛﺎﻟث او ﺑراﻣﺞ اﻟﻛﻣﺑﯾوﺗر ﻓﺎن اﺳﻠوب اﻟﺗﺷﺑﯾﮫ ﻧﻔﺳﮫ ﺗﺟﺑر اﻋراﻓﮭﺎ ﻋﻠﻰ ﺗﺻﻣﯾﻣﻧﺎ و ﺗﻐﯾر ﻣﺎ ﻛﻧﺎ ﻧﻧوى ان ﻧﻔﻌﻠﮫ‪.‬‬
‫اﻟﺗﺻﻣﯾم ﺑﺎﻟﺗﺷﺎﺑﮫ ﺳواء ﺑﺎﺳﺗﺧدام اﻟﻣﺷﺎﺑﮭﺎت ام ﻻ ﻣﺎ زال اﻟﻣﺻدر اﻻﺳﺎﺳﻰ ﻟﻼﻓﻛﺎر اﻻﺑداﻋﯾﺔ ﻓﻰ اﻟﺗﺻﻣﯾم‪ .‬و ﻧﺟد ذﻟك ﻓﻰ اﻋﻣﺎل ﻓراﻧك ﻟﻠوﯾد راﯾت و ﻣﺛل ﻗطرات اﻟﻣﯾﺎه اﻟﻣﺷﺎﺑﮭﺔ ﻟﻼﻋﻣدة‬
‫اﻟﻣﺷروﻣﯾﺔ ﻓﻰ ﺗﺻﻣﯾم اﻟﻣﺑﻧﻰ اﻻدارى ﻟﻣﺻﻧﻊ ﺟوﻧﺳون ﻟﻠﺷﻣﻊ ﺳﻧﺔ‪ 1936‬او ﺗﺷﺑﯾﮭﺎت ﻟوﻛورﺑوزﯾﯾﮫ ﻓﻰ ﺗﺻﻣﯾم ﻛﻧﯾﺳﺔ روﻧﺷﺎم و ﻏﯾرھﺎ‪.‬‬
‫‪ -4‬اﻟﺗﺻﻣﯾم اﻟﻣﻌﯾﺎرى او اﻟﻘﺎﻧوﻧﻰ ‪Canonic‬‬
‫رأﯾﻧﺎ اﻧﮫ ﺣﯾﻧﻣﺎ ﺑدأ اﻟﻣﺻﻣم ﺑﺄﻋداد رﺳوﻣﺎت ﻗﺑل ﺑدء اﻟﻌﻣل ﺑﺎﻟﻣوﻗﻊ ﻓﺎن اﻟرﺳوﻣﺎت ﻧﻔﺳﮭﺎ اﺻﺑﺢ ﻟﮭﺎ ﻓﺗﻧﺔ او ﺳﺣر ﺑﺎﻟﻧﺳﺑﺔ ﻟﮫ‪ .‬ﻓﺑدأ ﯾطور اھﺗﻣﺎم ﺑﺎﻻﻧﻣﺎط و اﻟﺗﻧظﯾم و و اﻟﺗرﺗﯾب و اﻟﺗﻧﺎﺳﻖ و‬
‫اﻟﺗﻰ ﻛﺎﻧت ﺗظﮭر ﻣن ﺧﻼل اﻟﺷﺑﻛﯾﺔ اﻟﻣﺳﯾطرة‪ .‬و اﻟﻔﻧﺎن اﻟﻣﺻرى اﺳﺗﺧد اﻟﺷﺑﻛﯾﺔ ﻻﻣور اﺧرى‪ .‬ﻓﺎﻟﺷﺑﻛﺎت ﻣن اﻟﺧطوط اﻟدﻗﯾﻘﺔ ﺗرى ﻋﻠﻰ اﻟﻣﺋﺎت ﻣن اﻟﻠوﺣﺎت اﻟﺣﺎﺋطﯾﺔ و اﻋﻣﺎل اﻟﺣﻔر اﻟﻐﯾر‬
‫ﻣﻧﺗﮭﯾﺔ‪ .‬و ھﻧﺎك ﻋدم اﺗﻔﺎق ﻋﻠﻰ ﺳﺑﺑﮭﺎ اﻻﺳﺎﺳﻰ ﻓﺑﻌض ﻋﻠﻣﺎء اﻻﺛﺎر ﯾرﺟﺣون اﻧﮭﺎ ﺷﺑﻛﺎت اﺳﺗﺧدﻣت ﻟﻧﻘل اﻟﺗﻛوﯾن ﻟﻠﺣﺎﺋط ﻣن رﺳم اوﻟﻰ او ان اﻟﺷﺑﻛﺎت ﻛﺎﻧت ﺗﺳﺗﺧدم ﻛﻧظﺎم ﻣﺗﻧﺎﺳب اى‬
‫ﺷﺑﻛﺎت ﻣﻌﯾﺎرﯾﺔ‪.‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﻳﻴﻦ‬ ‫اﻟﺘﻨﺎﺳﺐ اﻟﻤﻌﻴﺎرى ﻟﺪى ﻗﺪﻣﺎء اﻟﻤ‬

‫و ﻟﻢ ﺗ ﺣﻆ ﺗﻠﻚ اﻟﺸﺒﻜﺎت ﻓﻰ اﻋﻤﺎل اﻟﺪرﺟﺔ ا وﻟﻰ ﻣﺜﻞ ﻣﻘﺎﺑﺮ اﻟﻤﻠﻮك ﻣﻤﺎ ﻳﺸﻴﺮ اﻟﻰ ان ﻓﻨﺎﻧﻮا اﻟﺪرﺟﺔ ا وﻟﻰ ﻟﻢ ﻳﻜﻮﻧﻮا ﻓﻰ ﺣﺎﺟﺔ اﻟﻰ ﺗﻠﻚ اﻟﺸﺒﻜﺎت‬
‫و ﻛﺎﻧﻮا ﻳﺴﺘﻄﻴﻌﻮن اﻟﺮﺳﻢ ﻣﺒﺎ ة ﻋﻠﻰ اﻟﺤﻮاﺋﻂ و ان رﺳﺎﻣﻮا اﻟﺪرﺟﺔ اﻟﺜﺎﻧﻴﺔ اﺣﺘﺎﺟﻮﻫﺎ او ان ﻋﻤ ﺋﻬﻢ ا وا ﻋﻠﻴﻬﺎ ﻟﻠﺘﺄﻛﺪ ﻣﻦ اﻟﻨﻈﺎم اﻟﻤﺘﻨﺎﺳﺐ‪ .‬و ﻫﻨﺎك‬
‫د ﺋﻞ ﻋﻠﻰ ان ﻋﻠﻤﺎء ا ﺛﺎر اﻟﻤ ﻳﺔ اﻟﻘﺪﻣﺎء ﺣﻮاﻟﻰ ﺳﻨﺔ ‪ 600‬ﻗﺒﻞ اﻟﻤﻴ د ﻗﺪ زاروا ﻣﻘﺎﺑﺮ زو و ﻗﺎﻣﻮا ﺑﻌﻤﻞ ﻗﻴﺎﺳﺎت ﻟﻠﻨﺤﺖ ﻋﻠﻰ اﻟﺤﻮاﺋﻂ و‬
‫اﺳﺘﻨﺒﻄﻮا ﻣﻨﻬﺎ ﻧﻈﺎم ﺗﻨﺎﺳﺐ وﺿﻊ ﻟﻠﻌﻤﻞ ﺑﻌﺪ ذﻟﻚ‪ .‬و ﻛﺎن ﻫﺬا اﻟﻌﻤﻞ ﻣﺪﻋﻤﺎ ﺑﺎﺳﻄﻮرة اﻣﺤﺘﺐ اﻟﺬى ﻛﺎن ﻓﻰ ذﻟﻚ اﻟﻮﻗﺖ ﻳﻌﺘﺒﺮ اﻟﻪ اﻟﻄﺐ‪.‬‬
‫و ﺑﺎﻟﺘﺄﻛﻴﺪ ﻓﺎن ﻧﻈﺎم اﻟﺘﻨﺎﺳﺐ ﻳﻮﻓﺮ ﻟﻠﻤﺼﻤﻢ اﻟﺴﻠﻄﺔ ﺗﺨﺎذ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﺮارات ﺑﺨﺼﻮص ﺷﻜﻞ اﻟﺼﻮرة ة اﻟﺤﺠﻢ و ﺷﻜﻞ اﻟﻮاﺟﻬﺔ و اﻟﺸﺒﺎك و اﻟﺒﺎب‬
‫ﻓﻘﻂ‪ .‬ﺑﻌﺾ اﻟﻤﺼﻤﻤﻮن ‪ -‬و ذﻟﻚ ﻳﻌﻮد ﺑﺎﻟﻄﺒﻊ ﻟﻠﺸﺨﺼﻴﺔ ‪ -‬ﻟﻴﺲ ﻟﺪﻳﻬﻢ اﻟﺜﻘﺔ ﻓﻰ اﻣﻜﺎﻧﻴﺎﺗﻬﻢ‬ ‫اﻟﺦ‪ .‬و اﻟﺘﻰ ﻟﻮ ذﻟﻚ ﻋﺘﻤﺪت ﻋﻠﻰ ﺣﻜﻤﻪ اﻟﺸﺨ‬
‫ﺗﺨﺎذ اﺣﻜﺎم ﻣﺜﻞ ﻫﺬه و ﻳﺘﻄﻠﻌﻮن اﻟﻰ ﺳﻠﻄﺔ ﻧﻈﺎم ﻫﻨﺪ ‪.‬‬
‫و ﻫﺬا ا ﻟﺘﺠﺎء اﻟﻰ اﻟﺴﻠﻄﺔ ﻛﺎن ﻟﻪ ﺻﺪى ﻛﺒﻴﺮ ﻟﺪى اﻟﺮﻳﺎﺿﻴﻮن اﻟﻴﻮﻧﺎﻧﻴﻮن اﻣﺜﺎل ﻓﻴﺜﺎﻏﻮرس )‪ 550‬ﻗﺒﻞ اﻟﻤﻴ د( و اﻟﻔ ﺳﻔﺔ اﻣﺜﺎل اﻓ ﻃﻮن )‪ 348‬ﻗﺒﻞ‬
‫ا رﺑﻌﺔ و ﻫﻰ ا رض و اﻟﻬﻮاء و اﻟﻨﺎر و اﻟﻤﺎء و اﻟﺘﻰ ﺗﺘﻜﻮن ﻣﻦ ﻛﺘﻞ ﻫﻨﺪﺳﻴﺔ ﻣﻨﺘﻈﻤﺔ‪.‬‬ ‫اﻟﻤﻴ د( اﻟﺬى اﻗﺘﺮح وﺟﻮد ﻧﻈﺎم ﺑﻨﺎﺋﻰ ﻟﻠﻜﻮن ﺑﻨﺎء ﻋﻠﻰ اﻟﻌﻨﺎ‬
‫و ﻛﻞ ﻛﺘﻠﺔ ﻣﻜﻮﻧﺔ ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﺜﻠﺜﺎت‪ .‬و ﻳﺒﺪو ان اﻓﻜﺎر اﻓ ﻃﻮن ﻛﺎن ﻟﻬﺎ ﺗﻌﺒﻴﺮ ﻗﻠﻴﻞ ﻓﻰ اﻟﻌﻤﺎرة اﻟﻜ ﺳﻴﻜﻴﺔ اﻟﻴﻮﻧﺎﻧﻴﺔ ﻧﻬﺎ ﻛﺘﺒﺖ ﺑﻌﺪ ﻗﺮﻧﻴﻦ و ﻧﺼﻒ‬
‫ﻇﻬﻮر اﻟﻄﺮز اﻟﻤﻌﻤﺎرﻳﺔ ﻟﻠﻌﻤﺎرة اﻟﻴﻮﻧﺎﻧﻴﺔ اﻟﻤﻤﺜﻠﺔ ﻓﻰ اﻟﻌﻤﻮد اﻟﺪورى اﻟﻘﺪﻳﻢ )ﺳﻨﺔ ‪ 600‬ﻗﺒﻞ اﻟﻤﻴ د( ‪ .‬و اﻟﻄﺮز اﻟﻴﻮﻧﺎﻧﻴﺔ ﺗﺘﻀﻤﻨﺖ ﻧﻈﺎم ﻣﻌﻴﺎرى ﻟﻨﺴﺐ‬
‫اﻟﻌ ﻗﺎت اﻟﺜﺎﺑﺘﺔ ﺑﻴﻦ ﻗﻄﺮ اﻟﻌﻤﻮد و ارﺗﻔﺎﻋﻪ و اﻟﻤﺴﺎﻓﺎت ﺑﻴﻨﻬﺎ اﻟﺦ‪ .‬و ﺣﻈﺖ ﻫﻨﺪﺳﺔ اﻓ ﻃﻮن ﺑﺎﻫﻤﻴﺔ ﻟﻠﻌﻤﺎرة ﻓﻰ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ و ﻛﺎﻧﺖ ا ﺳﺎس‬
‫اﻟﺬى ﺗﻜﻮﻧﺖ ﻋﻠﻴﻪ ا ﺷﻜﺎل ﺛ ﺛﻴﺔ ا ﺑﻌﺎد ﻟﻠﻜﻨﺎﺋﺲ اﻟﻜﺒﻴﺮة ﻣﻦ اﻟﻤﺴﻘﻂ ا ﻓﻘﻰ‪.‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ا رﺑﻌﺔ )ا رض و اﻟﻬﻮاء و اﻟﻨﺎر و اﻟﻤﺎء( و ﺗﺮﻣﺰ ﻟﻬﺎ اﺣﺠﺎم ﻣﻜﻮﻧﺔ ﻣﻦ ﻣﺜﻠﺜﺎت و ﻣﺮﺑﻌﺎت‬ ‫اﻟﻨﻈﺎم اﻟﻜﻮﻧﻰ ﻛﻤﺎ رآه اﻓ ﻃﻮن و اﻟﻤﻜﻮن ﻣﻦ اﻟﻌﻨﺎ‬

‫و اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻨﺎس ﻳﻌﺘﺒﺮون ان اﻟﻌﻤﺎرة ﻫﻰ اﻟﺒﻨﺎء اﻟﺬى ﻳﺘﺒﻊ ﻧﻈﻢ ﻣﻌﻴﺎرﻳﺔ ﻟﻠﻨﺴﺐ ﻓﻰ اﻟﺘﺼﻤﻴﻢ‪ .‬و ﻫﺬا ا ﺗﺠﺎه ﻳﺤﻈﻰ ﺑﺎﻟﺘﺄﻳﻴﺪ و ﻳﻈﻬﺮ ذﻟﻚ ﻣﻦ ﺧ ل‬
‫و ﻧﻈﻢ اﻟﺒﻨﺎء‪.‬‬ ‫ا ﻫﺘﻤﺎم ﺑﻨﻈﺎم اﻟﻤﺪﻳﻮل و اﻟﺘﻮﻓﻴﻖ اﻟﻘﻴﺎ‬
‫اﻟﺨ ﺻﺔ‬
‫و اﻟﻄﺮق ا رﺑﻌﺔ اﻟﺴﺎﺑﻘﺔ ﻟﻠﺘﺼﻤﻴﻢ او اﻧﻮاع اﻟﺘﺼﻤﻴﻢ ﻣﺮﺗﺒﺔ ﺣﺴﺐ ﺗﺎرﻳﺦ ﻇﻬﻮرﻫﺎ و ﻫﺬا اﻟﺘﺮﺗﻴﺐ ﻳﻈﻬﺮ ازدﻳﺎد اﻟﺪﻗﺔ ﺑﺪءا ﻣﻦ اﻟﺘﺼﻤﻴﻢ اﻟﻮﻟﻘﻌﻰ ﻛﺄﻛﺜﺮ‬
‫اﻟﻄﺮق ﺑﺪاﺋﻴﺔ و اﻟﺘﺼﻤﻴﻢ اﻟﻤﻌﻴﺎرى ﻛﺄﻛﺜﺮﻫﺎ ﺛﻘﺎﻓﺔ و ﻋﻠﻤﺎز و ﻫﺬا ﻳﻌﻨﻰ ان اﻟﻄﺮق ا ﺧﻴﺮة اﻟﻐﺖ اﻟﻄﺮق اﻟﺴﺎﺑﻘﺔ ﻋﻠﻴﻬﺎ او ان ﻛﻞ ﻃﺮﻳﻘﺔ اﺳﺘﺨﺪﻣﺖ‬
‫وﺣﺪﻫﺎ ﻓﻰ وﻗﺖ ﻣﻌﻴﻦ‪ .‬و ﻟﻜﻦ ﺗﻢ اﺳﺘﺨﺪاﻣﻬﻢ ﺟﻤﻴﻌﺎ ﻓﻰ ﺗﺮﻛﻴﺒﺎت ﻣﺨﺘﻠﻔﺔ و ﻟﻜﻦ ﺑﺎﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﺣﺪﻫﻢ‪.‬‬

‫‪[i]  - Broadbent, p. 25.‬‬

‫ﺳﻮ ‪[i]Paul Laseau‬‬ ‫‪ 1980‬ﺑﻮل‬

‫ﻳﻘﻮل ﺑﻮل ﺳﻮ ان اﻟﻬﻨﺪﺳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﺗﻮاﺟﻪ ﺗﺤﺪﻳﺎت ﻛﺒﻴﺮة ﻫﻰ‪:‬‬

‫‪            ‬ﻣﻘﺎﺑﻠﺔ ا ﺣﺘﻴﺎﺟﺎت ﺑﻄﺮﻳﻘﺔ اﻓﻀﻞ ‪More responsive to needs‬‬ ‫*‬
‫‪            ‬ان ﺗﺘﺒﻊ ﻧﺴﻖ ﻟﺤﻞ اﻟﻤﺸﻜ ت ‪Problem Solving Process‬‬ ‫*‬
‫‪            ‬ان ﺗﻜﻮن اﻛﺜﺮ ﻋﻠﻤﻴﺔ ‪More Scientific‬‬ ‫*‬
‫‪            ‬ان ﺗﻜﻮن اﻛﺜﺮ اﻋﺘﻤﺎدا و ﺗﻨﺒﺆا ‪More Reliable or Predictable‬‬ ‫*‬
‫و ﻟﻤﻘﺎﺑﻠﺔ ﺗﻠﻚ اﻟﺘﺤﺪﻳﺎت ﻳﺮى ﺳﻮ ا ﺗﻰ‪:‬‬
‫‪ -1‬ﻳﺠﺐ ان ان ﻳﻘﻮم اﻟﻤﻌﻤﺎرﻳﻮن ﺑﺤﻞ اﻟﻤﺸﺎﻛﻞ ﻣﻊ اﻟﻨﺎس ﺑﺪ ﻣﻦ ﺣﻞ اﻟﻤﺸﺎﻛﻞ ﻟﻠﻨﺎس وذﻟﻚ ﻋﻦ ﻃﺮﻳﻖ ﻣﺴﺎﻋﺪﺗﻬﻢ ﻓﻰ ﻓﻬﻢ اﺣﺘﻴﺎﺟﺎﺗﻬﻢ و ا ﺧﺘﻴﺎرات‬
‫اﻟﺘﻰ ﺗﻘﺎﺑﻞ ﺗﻠﻚ ا ﺣﺘﻴﺎﺟﺎت‪ .‬و ﻳﺘﺄﺗﻰ ذﻟﻚ ﺑﺄدﺧﺎل ﻣﺴﺘﻌﻤﻠﻮا اﻟﻤﺒﺎﻧﻰ ﻓﻰ اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ ﻟﻠﻤﺒﺎﻧﻰ اﻟﺘﻰ ﻳﺴﺘﻌﻤﻠﻮﻧﻬﺎ‪.‬‬
‫‪ -2‬ﻳﺠﺐ ﻋﻠﻰ اﻟﻤﻌﻤﺎرﻳﻴﻦ ﺗﻜﻮﻳﻦ ﻓﻬﻢ اﻓﻀﻞ ﻟﻠﻌﻠﻢ و ﻋ ﻗﺘﻪ ﺑﺎﻟﻌﻤﺎرة‪ .‬ﻓﺎﻟﻌﺎﻟﻢ اﻟﻤﺒﺪع ﻳﻬﺘﻢ ﺑﺎﺳﺘﻜﺸﺎف ا ﻓﻜﺎر و ﻟﻴﺲ وﺿﻊ اﻟﺤﻘﺎﺋﻖ‪.‬‬
‫ﻧﺴﻖ اﻟﺘﺼﻤﻴﻢ‬
‫ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻤﺎ ﻳﺘﻢ ﺗﺼﻤﻴﻤﻪ او ﻣﻦ ﻳﺸﺎرك ﻓﻰ اﻟﺘﺼﻤﻴﻢ ﻓﻬﻨﺎك ﻫﺪف ﻋﺎم و ﻫﻮ ﺗﺮﺟﻤﺔ ﺑﺮﻧﺎﻣﺞ اﻟﻌﻤﻴﻞ اﻟﻰ اﻟﻰ ﻣﺒﻨﻰ ﻣﻌﻴﻦ او اى رد ﻓﻌﻞ آﺧﺮ‬
‫ﺣﺘﻴﺎﺟﻪ‪ .‬و ﻓﻰ ﻣﻤﺎرﺳﺔ ﻣﻬﻨﺔ اﻟﻌﻤﺎرة ﻳﺘﻀﻤﻦ ذﻟﻚ اﻟﺨﻄﻮات اﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -1‬ﺑﺮﻧﺎﻣﺞ اﻟﻤﺒﻨﻰ‬
‫‪ -2‬ﺗﺼﻤﻴﻢ اوﻟﻰ‬
‫‪ -3‬ﺗﺼﻤﻴﻢ اﺑﺘﺪاﺋﻰ‬
‫‪ -4‬ﺗﻄﻮﻳﺮ اﻟﺘﺼﻤﻴﻢ‬
‫‪ -5‬ﻣﺴﺘﻨﺪات اﻟﺘﻨﻔﻴﺬ‬
‫‪ -6‬رﺳﻮﻣﺎت اﻟﺘﻨﻔﻴﺬ‬
‫‪ -7‬اﻟﺘﻨﻔﻴﺬ‬
‫ﻓﻰ ﻛﻞ ﺧﻄﻮة ﻣﻦ ﻫﺬه اﻟﺨﻄﻮات ﻓﺎن اﻟﻤﺸﺎﻛﻞ اﻟﺘﻰ ﻳﺠﺐ ﺣﻠﻬﺎ ﺗﺘﻄﻠﺐ ﻣﻦ اﻟﻤﺼﻤﻢ ﻧﺴﻖ ﺣﻞ ﻟﻠﻤﺸﺎﻛﻞ ذو ﻓﺎﻋﻠﻴﺔ ﻋﺎﻟﻴﺔ‪ .‬و ﻫﻨﺎك اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻨﻤﺎذج‬
‫ﻧﺴﺎق ﻣﻌﺎﻟﺠﺔ اﻟﻤﺸﺎﻛﻞ‪ .‬و اﻓﻀﻠﻬﺎ اﻟﻨﻤﻮذج اﻟﻤﻜﻮن ﻣﻦ اﻟﺨﻄﻮات اﻟﺨﻤﺲ اﻟﺘﺎﻟﻴﺔ‪:‬‬
‫‪ -1‬ﺗﻌﺮﻳﻒ اﻟﻤﺸﻜﻠﺔ ‪Problem Definition‬‬

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‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫اﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﻤﺸﻜﻠﺔ ﻟﺘﺤﺪﻳﺪ ا ﺣﺘﻴﺎﺟﺎت و اﻟﻤﻌﻮﻗﺎت و اﻟﻤﺼﺎدر‪ .‬و ﻳﺤﺪد اﻟﻤﺼﻤﻢ‬ ‫ﺗﺤﺪﻳﺪ اﻟﻤﺤﺪدات اﻟﺨﺎﺻﺔ ﺑﺎﻟﻤﺸﻜﻠﺔ اﻟﻤﻄﻠﻮب ﺣﻠﻬﺎ‪ .‬ﺗﺤﻠﻴﻞ اﻟﻌﻨﺎ‬
‫ا ﻫﺪاف ا ﺳﺎﺳﻴﺔ ﻟﻠﺘﺼﻤﻴﻢ‪.‬‬
‫‪ -2‬ﺗﻄﻮﻳﺮ ﻣﺮادﻓﺎت ‪Developing Alternatives‬‬
‫ﻳﻘﻮم اﻟﻤﺼﻤﻢ ﺑﺎﺧﺘﺒﺎر اﻟﺤﻠﻮل اﻟﻤﺘﻮاﻓﺮة و اﻟﺠﺪﻳﺪة و ﻳﻘﻮم ﺑﺘﻄﻮﻳﺮ ﻋﺪد ﻣﻦ اﻟﻤﺮادﻓﺎت اﻟﻤﻘﺒﻮﻟﺔ‪.‬‬
‫‪ -3‬اﻟﺘﻘﻴﻴﻢ ‪Evaluation‬‬
‫ﻳﺘﻢ ﺗﺒﻨﻰ ﻋﺪد ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ ﻟﻠﺘﻘﻴﻴﻢ ﺑﻨﺎء ﻋﻠﻰ اﻫﺪاف اﻟﺘﺼﻤﻴﻢ‪ .‬وﻳﺘﻢ ﺗﺮﺗﻴﺐ ﻣﺮادﻓﺎت اﻟﺤﻞ ﺣﺴﺐ ﻣﻌﺎﻳﻴﺮ اﻟﺘﻘﻴﻴﻢ‪.‬‬
‫‪ -4‬ا ﺧﺘﻴﺎر ‪Selection‬‬
‫ﺑﻨﺎء ﻋﻠﻰ ﻧﺘﺎﺋﺞ اﻟﺘﻘﻴﻴﻢ ﻳﺘﻢ اﺧﺘﻴﺎر ﻣﺮادف واﺣﺪ ﻣﻦ ﻣﺮادﻓﺎت اﻟﺤﻞ‪ .‬و اذا ﻟﻢ ﻳﺘﻮاﻓﺮ ﻧﺮادف ﻣﺘﻤﻴﺰ ﻋﻦ ا ﺧﺮﻳﻦ ﻳﺘﻢ ادﻣﺎج اﺛﻨﻴﻦ او اﻛﺜﺮ ﻣﻦ اﻟﻤﺮادﻓﺎت‪ .‬و‬
‫اﻟﻨﺎﺟﺤﺔ ﻣﻦ اﻟﻤﺮادﻓﺎت ا ﺧﺮى‪.‬‬ ‫ﻋﻠﻰ اى اﻟﺤﺎ ت ﻳﺘﻢ ﺗﻌﺪﻳﻞ اﻟﻤﺮادف اﻟﻤﺨﺘﺎر ﺑﺎﺳﺘﺨﺪام اﻟﻌﻨﺎ‬
‫‪ -5‬ا ﺗﺼﺎل ‪Communication‬‬
‫اﻟﺤﻞ اﻟﻨﻬﺎﺋﻰ ﻟﻠﻤﺸﻜﻠﺔ ﻳﺠﺐ ان ﻳﺘﻢ وﺻﻔﻪ ﺑﻄﺮﻳﻘﺔ ﺗﺠﻌﻠﻪ ﻗﺎﺑﻞ ﻟ ﺳﺘﺨﺪام ﻓﻰ اﻟﻤﺮﺣﻠﺔ اﻟﺘﺎﻟﻴﺔ ﻣﻦ اﻟﺘﺼﻤﻴﻢ‪.‬‬

‫اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ ﺣﺴﺐ ﺑﻮل ﺳﻮ‬

‫ﺗﻘﻴﻴﻢ اﻟﻤﺮادﻓﺎت‬
‫ﻳﻨﻄﻮى ﻋﻠﻰ وﺟﻮد ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻘﻴﻢ ﺗﻜﻮن ﺑﻤﺜﺎﺑﺔ ﻣﺮﺟﻊ ﻟﻠﻤﻘﻴﻢ‪ .‬ﻋﻨﺪﻣﺎ ﻧﻘﻴﻢ اﻟﺘﺼﻤﻴﻢ ﻓﻨﺤﻦ ﻧﺴﺘﺨﺪم "ﻣﻌﺎﻳﻴﺮ‬ ‫ﺗﻌﺮﻳﻒ اﻟﺘﻘﻴﻴﻢ و ﻫﻮ وﺿﻊ ﻗﻴﻢ ﻟ‬
‫اﻟﺘﺼﻤﻴﻢ" ﻟﺘﻤﺜﻞ ﻧﻠﻚ اﻟﻘﻴﻢ‪ .‬و ا ﻫﺘﻤﺎم ا ول اﻟﺬى ﻳﺠﺐ ﺗﻮاﻓﺮه ﻓﻰ "ﻣﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻢ" ﻫﻮ ان ﺗﻜﻮن ﺷﺎﻣﻠﺔ ﺗﻐﻄﻰ ﺟﻤﻴﻊ ﺟﻮاﻧﺐ اﻟﻤﺸﻜﻠﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ‪.‬‬
‫و ﻣﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻢ ﻳﺘﻢ ﺗﻄﻮﻳﺮﻫﺎ ﺑﻨﺎء ﻋﻠﻰ اﻟﺜ ث ﻣﻌﺎﻳﻴﺮ ا ﺳﺎﺳﻴﺔ‪ :‬ا ﺣﺘﻴﺎج و اﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ و اﻟﺸﻜﻞ‪ .‬و ﻳﺘﻢ ﻋﻤﻞ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻮﺛﺎﺑﺖ ﻟﻤﺮاﺟﻌﺘﻬﺎ‬
‫ﻟﻨﻀﻤﻦ اﻧﻨﺎ ﻧﻨﻈﺮ ﻟﻔﻜﺮة اﻟﺘﺼﻤﻴﻢ ﻣﻦ زواﻳﺎ ﻣﺨﺘﻠﻔﺔ‪.‬‬
‫و ا ﻫﺘﻤﺎم اﻟﺜﺎﻧﻰ ﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﻘﻴﻴﻢ ﻫﻮ ﻛﻴﻔﻴﺔ ﺗﻘﺪﻳﻢ اﻟﻤﻌﺎﻳﻴﺮ و ﻣﻦ اﻟﺬى ﻳﺤﺪد ﺗﻠﻚ اﻟﻘﻴﻢ‪ .‬ﻓﻌﻨﺪﻣﺎ ﻧﻘﻮم ﺑﺘﺼﻤﻴﻢ ﻣﺒﻨﻰ ﻓﺎن اﻟﻘﺮارات ﺗﺘﺨﺬ ﻋﻠﻰ اﺳﺎس‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻘﻴﻢ اﻟﻤﺘﻨﺎﻓﺴﺔ ﺗﻠﻚ اﻟﺨﺎﺻﺔ ﺑﺎﻟﻌﻤﻴﻞ و اﻟﻤﺼﻤﻢ و اﻟﻤﺴﺘﻌﻤﻞ اﻟﻤﺘﻮﻗﻊ و ﺣﺘﻰ اﻟﻤﺠﺘﻤﻊ ﻛﻜﻞ ﻣﺘﻤﺜﻠﺔ ﻓﻰ اﻟﺘﻘﺎﻟﻴﺪ و اﻟﻘﻮاﻧﻴﻦ‪ .‬و‬
‫ﺑﺎ ﺿﺎﻓﺔ ﻟﺘﻮﺿﻴﺢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ ﻳﺠﺐ ﺗﻮﻓﻴﺮ ا ﺗﺰان ﺑﻴﻦ اﻟﻘﻴﻢ اﻟﻤﺨﺘﻠﻔﺔ ﻋﻦ ﻃﺮﻳﻖ وزن اﻟﻘﻴﻢ‪ .‬ا ﺧﺘ ف ﺑﻴﻦ اﻟﻘﻴﻢ ﻳﺘﻢ ﻣﻨﺎﻗﺸﺘﻪ ﻣﻊ ا ﺧﺮﻳﻦ و‬
‫ﻟﻜﻦ ﻳﺠﺐ ﻋﻠﻰ اﻟﻤﺼﻤﻢ ﻋﻠﻰ اﻗﻞ ﺗﻘﺪﻳﺮ ﺗﻘﺪﻳﻢ اﻟﻌ ﻗﺎت ﺑﻴﻦ اﻟﻘﻴﻢ و اﻟﺘﻘﻴﻴﻢ اﻟﺨﺎص ﺑﺎﻟﺘﺼﻤﻴﻢ‪.‬‬
‫و ا ﻫﺘﻤﺎم اﻟﺜﺎﻟﺚ ﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﺼﻤﻴﻢ ﻫﻮ ا ﺧﺘ ﻓﺎت ﻓﻰ ﻃﺮﻳﻘﺔ اﻟﻨﻈﺮ ﻓﻜﺎر اﻟﺘﺼﻤﻴﻢ‪ .‬ﻓﺒﻌﺾ اﻟﻤﻌﻤﺎرﻳﻴﻦ ﻳﻜﻮﻧﻮن ﻟﻬﻢ ﺗﻔﻀﻴﻞ ﻟ ﻓﻜﺎر ﺑﺤﻴﺚ ﺗﺘﺄﺛﺮ‬
‫ﺗﻘﻴﻴﻤﺎﺗﻬﻢ ﺑﺄﺷﻴﺎء ﻣﺜﻞ اﻟﺘﻨﻈﻴﻢ و اﻟﺘﻮاﻓﻖ و اﻟﺘﺮﺗﻴﺐ ﻛﻤﺎ ﺗﻈﻬﺮ ﻓﻰ اﻟﻤﺴﻘﻂ ا ﻓﻘﻰ‪  ‬و اﻟﻤﻨﻈﻮر‪ .‬و ﻫﻨﺎك ﻣﻌﻤﺎرﻳﻴﻦ ﻳﻔﻀﻠﻮن ا ﺳﺘﻴﻌﺎب و ﻳﻬﺘﻤﻮن‬
‫ﺑﺎﻟﺘﺠﺮﺑﺔ ا ﻧﺴﺎﻧﻴﺔ ﻟﻠﺸﺨﺺ ﺧﺎرج و داﺧﻞ اﻟﻤﺒﻨﻰ‪ .‬و اﻟﺠﺎﻧﺒﻴﻦ ﻣﻦ ا ﻫﻤﻴﺔ ﻓﻰ ﺗﺠﺮﺑﺔ اﻟﻤﺒﻨﻰ و ﻟﻬﻢ اﻫﻤﻴﺔ ﻓﻰ ﺗﻘﻴﻴﻢ ا ﻓﻜﺎر اﻟﺘﺼﻤﻴﻤﻴﺔ‪ .‬و ﻳﺠﺐ ﻋﻠﻰ‬
‫اﻟﻤﺼﻤﻢ ﻣﺮاﻋﺎة ا ﺗﺠﺎﻫﺎت اﻟﺘﻔﻀﻴﻠﻴﺔ اﻟﻤﺨﺘﻠﻔﺔ و اﺗﺨﺎذ ﻣﻮﻗﻒ ﻣﺘﺰن ﻋﻨﺪ اﻟﺘﻘﻴﻴﻢ‪.‬‬
‫و ﻳﻘﺪم اﻟﺸﻜﻞ اﻟﺘﺎﻟﻰ ﻣﻘﺎرﻧﺔ ﺑﻴﻦ اﻟﻤﺮادﻓﺎت اﻟﻤﺨﺘﻠﻔﺔ و ﻫﻮ ﻗﺎﺋﻤﺔ ﻣﻦ ﻣﻌﺎﻳﻴﺮ اﻟﺘﻘﻴﻴﻢ ﺗﺤﺖ اﻟﺒﻨﻮد ا ﺳﺎﺳﻴﺔ ﻟ ﺣﺘﻴﺎج و اﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ و اﻟﺸﻜﻞ‪ .‬و ﻟﻜﻞ‬
‫ﺑﻨﺪ ﺗﻢ وﺿﻊ اﻟﻘﺎﺋﻤﺔ ﺣﺴﺐ ﺗﺮﺗﻴﺐ ا ﻫﻤﻴﺔ‪.‬‬

‫‪ymahgoub.blogspot.com/2012/06/blog-post_04.html‬‬ ‫‪17/21‬‬
‫‪12/23/2020‬‬ ‫‪ - Architectural Design Methods‬ﻣﮭﻧدس ﻣﻌﻣﺎرى د‪ .‬ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب ‪ :‬طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى ‪Architect Dr. Yasser Mahgoub - - - - - - - - -‬‬

‫ﺗﻘﻴﻴﻢ اﻟﻤﺮادﻓﺎت ﺑﻄﺮﻳﻘﺔ ﺑﻮل ﺳﻮ‬

‫ﻟﻐﺔ اﻟﺮﺳﻢ ﻋﻨﺪ ﺑﻮل ﺳﻮ‬
‫ﻧ ﺣﻆ اﻧﻬﺎ ﺗﻌﻜﺲ ﻣﺪى اﻟﺘﻔﻜﻴﺮ اﻟﺪﻳﻨﺎﻣﻴﻜﻰ اﻟﺬى ﻛﺎن ﻳﺘﻤﺘﻊ ﺑﻪ‪ .‬و ﻳﺘﻀﺢ ﻓﻰ رﺳﻮﻣﺎت‬ ‫ﻳﻘﻮل ﺑﻮل ﺳﻮ اﻧﻨﺎ ﻋﻨﺪﻣﺎ ﻧﻨﻈﺮ اﻟﻰ رﺳﻮﻣﺎت ﻟﻴﻮﻧﺎردو داﻓﻴﻨ‬
‫ﻣﺎ ﻳﻠﻰ‪:‬‬ ‫داﻓﻴﻨ‬
‫‪ -1‬وﺿﻊ ﻋﺪة اﻓﻜﺎر ﻓﻰ ﺻﻔﺤﺔ واﺣﺪة ﺑﻬﺪف ا ﻧﺘﻘﺎل ﻣﻦ ﻣﻮﺿﻮع اﻟﻰ ﻣﻮﺿﻮع آﺧﺮ‪.‬‬
‫‪ -2‬رؤﻳﺔ ا ﻓﻜﺎر ﺑﺼﻮر ﻣﺨﺘﻠﻔﺔ ﻓﻰ ﻧﻔﺲ اﻟﻮﻗﺖ و ﺑﻄﺮق ﻣﺨﺘﻠﻔﺔ‪.‬‬
‫‪ -3‬ﻧﻮع اﻟﺘﻔﻜﻴﺮ اﺳﺘﻜﺸﺎﻓﻰ و ﻏﻴﺮ ﻣﺤﺪد و اﻟﺮﺳﻮﻣﺎت ﺑﺪاﺋﻴﺔ و ﻏﻴﺮ ﻛﺎﻣﻠﺔ و ﺗﻈﻬﺮ اﻗﺘﺮاﺣﺎﺗﻪ ﺑﺘﻄﻮﻳﺮ ا ﻓﻜﺎر‪.‬‬
‫ﻟﻘﺮﻧﻴﻦ ﻣﻦ اﻟﺰﻣﺎن اﻋﺘﻤﺪت اﻟﺒﻮزار )ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ ﺑﺒﺎرﻳﺲ( ﻋﻠﻰ اﻟﻤﺴﻘﻂ ا ﻓﻘﻰ ﻛﺎﺳﺎس ﻟﻄﺮﻳﻘﺘﻬﺎ ﻓﻰ اﻟﺘﺪرﻳﺐ‪ .‬و ﻣﻊ ﻇﻬﻮر ﻣﻜﺎﺗﺐ ﻣﻌﻤﺎرﻳﺔ‬
‫ﻛﺒﻴﺮة ﻓﻰ اﻟﻮ ﻳﺎت اﻟﻤﺘﺤﺪة ﺑﺪأ اﺳﺘﺨﺪام اﻟﻤﺠﺴﻤﺎت ذات اﻟﻤﻘﻴﺎس و اﻟﺒﻌﺪ اﻟﺜﺎﻟﺚ ﻟﺘﻜﻮن اﺳﺎس ﻋﻤﻠﻴﺔ ﺗﻄﻮﻳﺮ اﻟﺘﺼﻤﻴﻢ‪.‬‬
‫ﻳﻤﻜﻨﻨﺎ اﻟﺘﻔﻜﻴﺮ ﻓﻰ اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ ﻋﻠﻰ اﻧﻬﺎ ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺘﺤﻮ ت ﺗﺒﺪأ ﻣﻦ اﻣﻮر ﻏﻴﺮ ﻣﺆﻛﺪة و ﺗﻨﺘﻬﻰ ﺑﻤﻌﻠﻮﻣﺎت‪ .‬و ﻳﺘﻢ ﺗﺴﺠﻴﻞ اﻟﻤﺮاﺣﻞ ﻋﻦ ﻃﺮﻳﻖ‬
‫اﻟﺮﺳﻢ‪ .‬و ﻓﻰ ﻧﻬﺎﻳﺔ اﻟﻌﻤﻠﻴﺔ اﻟﺘﺼﻤﻴﻤﻴﺔ ﻳﺴﺘﺨﺪم اﻟﻤﺼﻤﻤﻮن ﻟﻐﺔ رﺳﻢ ﻣﺘﻄﻮرة ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ اﻓﻜﺎرﻫﻢ‪.‬‬
‫ﺗﺤﺘﻮى اﻟﻠﻐﺔ ﻋﻠﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ "اﻟﻘﻮاﻋﺪ" اﻟﺘﻰ ﻳﺘﻢ ﻣﻦ ﺧ ﻟﻬﺎ ﺗﻨﻈﻴﻢ "اﻟﺮﻣﻮز" ﻟﺘﻘﺪﻳﻢ "ﻣﻌﻨﻰ" اﻛﺒﺮ ﻣﻤﺎ ﻳﻘﺪﻣﻪ اﻟﺮﻣﺰ اﻟﻮاﺣﺪ‪ .‬و ﻓﻰ ﺣﻴﻦ ﺗﺘﻀﻤﻦ اﻟﻠﻐﺔ‬
‫اﻟﻤﻜﺘﻮﺑﺔ اﻟﻜﻠﻤﺎت ﻓﻘﻂ ﺗﺘﻀﻤﻦ ﻟﻐﺔ اﻟﺮﺳﻢ اﻟﺘﺼﻮرات و اﻟﻌ ﻣﺎت و ا رﻗﺎم ﺑﺎ ﺿﺎﻓﺔ اﻟﻰ اﻟﻜﻠﻤﺎت‪ .‬و ﻓﻰ ﺣﻴﻦ ﺗﻠﺘﺰم اﻟﻠﻐﺔ اﻟﻤﻜﺘﻮﺑﺔ ﺑﺘﻄﻮر ﺗﺪرﻳﺠﻰ‬
‫)ﺑﺪاﻳﺔ ‪ -‬وﺳﻂ ‪ -‬ﻧﻬﺎﻳﺔ( ﺗﺤﺘﻮى ﻟﻐﺔ اﻟﺮﺳﻢ ﻋﻠﻰ ﻛﻞ اﻟﺮﻣﻮز و اﻟﻌ ﻗﺎت ﻓﻰ ﻧﻔﺲ اﻟﻮﻗﺖ‪ .‬و ﻟﻬﺬا ﺗﺘﻤﻴﺰ ﻟﻐﺔ اﻟﺮﺳﻢ ﺑﺎن ﻟﻬﺎ ﻗﻮة اﻛﺒﺮ ﻓﻰ ﻣﻌﺎﻟﺠﺔ اﻟﻤﺸﺎﻛﻞ‬
‫اﻟﻤﺮﻛﺒﺔ‪ .‬و ﻳﻘﺎل "ﻓﻰ ﻛﻞ ﺻﻮرة اﻟﻒ ﻛﻠﻤﺔ"‪.‬‬

‫‪[i] - Laseau, Paul, Graphic Thinking for Architects and Designers, Van Nostrand Reinhold Company, New York, 1980.‬‬

‫‪Posted by Unknown at Tuesday, June 05, 2012‬‬

‫‪Labels: Architecture, Education‬‬

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12/23/2020 Architect Dr. Yasser Mahgoub - - - - - - - - - ‫ طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى‬: ‫ ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب‬.‫ ﻣﮭﻧدس ﻣﻌﻣﺎرى د‬- Architectural Design Methods

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12/23/2020 Architect Dr. Yasser Mahgoub - - - - - - - - - ‫ طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى‬: ‫ ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب‬.‫ ﻣﮭﻧدس ﻣﻌﻣﺎرى د‬- Architectural Design Methods

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12/23/2020 Architect Dr. Yasser Mahgoub - - - - - - - - - ‫ طرق اﻟﺗﺻﻣﯾم اﻟﻣﻌﻣﺎرى‬: ‫ ﯾﺎﺳر ﻋﺛﻣﺎن ﻣﺣرم ﻣﺣﺟوب‬.‫ ﻣﮭﻧدس ﻣﻌﻣﺎرى د‬- Architectural Design Methods

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