‫‪ -2‬اﻟﺠﻤﺎﻟﻴﺎت اﻟﺸﻜﻠﻴﺔ ‪Delight of Form‬‬

‫ﺗﻘﺪﻣﺔ‪:‬‬
‫ﺗﺼﻨﻴﻒ ﺳﺎﻧﺘﻴﺎﻧﺎ ﻟﻠﺠﻤﺎﻟﻴﺎت‬
‫اﻟﺘﺠﺮﺑﺔ اﻟﺠﻤﺎﻟﻴﺔ وﻡﺘﻐﻴﺮاﺗﻬﺎ )اﻟﻤﻮﺿﻮع او اﻟﻌﻤﻞ اﻟﻤﻌﻤﺎري‪ /‬اﻟﻤﻜﺎن‪ /‬اﻟﺰﻡﺎن‪ /‬اﻻﻧﺴﺎن(‬
‫ﻡﻔﻬﻮم اﻟﺸﻜﻞ )ﻟﻐﻮیﺎ – ﻓﻠﺴﻔﻴﺎ – ﻡﻌﻤﺎریﺎ( وأهﻤﻴﺔ ﻋﻨﺼﺮ اﻟﺸﻜﻞ‬

‫رؤﻳﺔ ‪ Schulz‬ﻟﻠﺸﻜﻞ اﻟﻤﻌﻤﺎري‬

‫‪ -1‬ﻋﻨﺎﺹﺮ اﻟﺸﻜﻞ اﻷﺳﺎﺳﻴﺔ ‪Elements‬‬
‫‪ -2‬ﻋﻼﻗﺎت ﺗﺸﻜﻴﻠﻴﺔ او اﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ ‪Relations or Principles‬‬
‫ایﻘﺎع‪ /‬ﺗﻨﺎﻏﻢ‪ /‬ﺗﻨﺎﺳﺐ‪ /‬ﺗﺮﺗﻴﺐ‪ /‬ﺗﺪرج‪ /‬ﺗﻌﻘﻴﺪ‪ /‬ﺗﻤﺎﺛﻞ‪.... /‬‬

‫هﻞ أﺳﺲ اﻟﺘﺸﻜﻴﻞ ﺛﺎﺑﺘﺔ أم ﻣﺘﻐﻴﺮة؟ )ﻣﺘﻐﻴﺮات اﻟﻔﻜﺮ‪ /‬اﻟﻤﻜﺎن(‬

‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ ‪modern vision‬‬ ‫اﻟﺮؤیﺔ اﻟﺘﻘﻠﻴﺪیﺔ ‪traditional vision‬‬
‫اﻟﺮؤیﺔ اﻟﻜﻮﻧﻴﺔ ‪cosmic vision‬‬ ‫رؤیﺔ ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ ‪Post-modern vision‬‬

‫ﺑﻌﺾ أﺳﺒﺎب ﺗﺤﻘﻖ ﺗﺠﺮﺑﺔ ﺟﻤﺎﻟﻴﺔ اﻳﺠﺎﺑﻴﺔ ‪ +AE‬ﻣﻦ ﺧﻼل اﻟﺸﻜﻞ اﻟﻤﻌﻤﺎري‬
‫ﺗﻮاﻓﻖ اﻟﺸﻜﻞ ﻡﻊ اﻟﻤﻨﻔﻌﺔ‬ ‫ﺗﻮاﻓﻖ اﻟﺸﻜﻞ ﻡﻊ اﻟﻤﺒﺎدئ واﻟﻘﻴﻢ اﻟﺨﺎﺹﺔ ﺑﺎﻟﻤﺘﻠﻘﻲ‬
‫ﺝﺬب اﻻﻧﺘﺒﺎﻩ واﻟﺘﺸﻮیﻖ‬ ‫ﺗﻮاﻓﻖ اﻟﺸﻜﻞ ﻡﻊ ﻡﺴﺘﻮى ﻓﻬﻢ اﻟﻤﺘﻠﻘﻲ‬
 ‫رؤیﺔ ‪ Schulz‬ﻟﻠﺸﻜﻞ اﻟﻤﻌﻤﺎري‬
‫‪ -1‬اﻟﻌﻨﺎﺹﺮ اﻷﺳﺎﺳﻴﺔ اﻟﻤﻜﻮﻧﺔ ﻟﻠﺸﻜﻞ ‪Basic elements of form‬‬
‫• اﻟﻨﻘﻄﺔ‬

‫• اﻟﺨﻂ‬

‫• اﻟﻤﺴﺘﻮى‬

‫• اﻟﻤﺠﺴﻤﺎت‬

‫‪ -2‬ﻋﻼﻗﺎت ﺗﺸﻜﻴﻠﻴﺔ او اﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ ‪Relations or Principles‬‬

‫ﻡﺎهﻲ أﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ‪ /‬اﻟﺘﻜﻮیﻦ؟ أﻡﺜﻠﺔ – هﻞ هﻲ ﺛﺎﺑﺘﺔ أم‬

‫ﻡﺘﻐﻴﺮة؟ وﻋﻠﻰ أي أﺳﺎس یﺘﻢ ﺗﺤﺪیﺪهﺎ؟‬
 ‫ﻡﺎهﻲ أﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ‪ /‬اﻟﺘﻜﻮیﻦ؟ أﻡﺜﻠﺔ‬
‫ﻡﺠﻤﻮﻋﺔ اﻟﻘﻮاﻋﺪ اﻟﺤﺎآﻤﺔ ﻟﻠﺸﻜﻞ‬
‫أو اﻟﻌﻼﻗﺎت اﻟﺘﻲ ﺗﺮﺑﻂ ﺑﻴﻦ اﻻﺝﺰاء ﻟﺘﻜﻮیﻦ اﻟﻜﻞ‬

‫ﻧﻤﺎذج ﻷﺳﺲ اﻟﺘﺸﻜﻴﻞ وﻡﺒﺎدئ اﻟﺘﻜﻮیﻦ اﻟﻤﻌﻤﺎري‬

‫‪Proportions‬‬ ‫اﻟﻨﺴﺐ‬ ‫•‬ ‫‪Totality‬‬ ‫اﻟﻜﻠﻴﺔ‬ ‫•‬
‫‪Scale‬‬ ‫اﻟﻤﻘﻴﺎس‬ ‫•‬ ‫‪Order‬‬ ‫اﻟﻨﻈﺎم‬ ‫•‬
‫‪Eurhythmy‬‬ ‫اﻻیﻘﺎع‬ ‫•‬ ‫‪Hierarchy‬‬ ‫اﻟﺘﺪرج‬ ‫•‬
‫‪Disposition‬‬ ‫اﻟﺘﺮﺗﻴﺐ‬ ‫•‬ ‫‪Simplicity‬‬ ‫اﻟﺒﺴﺎﻃﺔ‬ ‫•‬
‫‪Contrast‬‬ ‫اﻟﺘﻨﺎﻗﺾ‬ ‫•‬ ‫‪Complexity‬‬ ‫اﻟﺘﻌﻘﻴﺪ‬ ‫•‬
‫‪Distribution‬‬ ‫اﻟﺘﻮزیﻊ‬ ‫•‬ ‫‪Symmetry‬‬ ‫اﻟﺘﻤﺎﺛﻞ‬ ‫•‬
‫‪Composition‬‬ ‫اﻟﺘﻜﻮیﻦ‬ ‫•‬ ‫‪Unity‬‬ ‫اﻟﻮﺡﺪة‬ ‫•‬
‫‪Harmony‬‬ ‫اﻟﺘﻨﺎﻏﻢ‬ ‫•‬
 ‫أﺳﺲ اﻟﺘﺸﻜﻴﻞ‪ /‬ﻡﺒﺎدئ اﻟﺘﻜﻮیﻦ‬

‫‪Complexity‬‬
‫اﻟﺘﻌﻘﻴﺪ‬
 ‫أﺳﺲ اﻟﺘﺸﻜﻴﻞ‪ /‬ﻡﺒﺎدئ اﻟﺘﻜﻮیﻦ‬

‫‪Contrast‬‬
‫اﻟﺘﻨﺎﻗﺾ‬
‫أﺳﺲ اﻟﺘﺸﻜﻴﻞ‪ /‬ﻡﺒﺎدئ اﻟﺘﻜﻮیﻦ‬ ‫‪Eurhythmy‬‬
‫اﻻیﻘﺎع‬
‫هﻞ أﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ ﺛﺎﺑﺘﺔ أم ﻡﺘﻐﻴﺮة؟ وﻋﻠﻰ‬
‫أي أﺳﺎس یﺘﻢ ﺗﺤﺪیﺪهﺎ؟‬
‫ﻡﺘﻐﻴﺮة‬ ‫•‬
‫ﻋﻠﻰ ﺡﺴﺐ ﻡﻼﻡﺢ اﻟﻌﺼﺮ واﻟﻤﺠﺘﻤﻊ وﺛﻘﺎﻓﺘﻪ وﻡﺎ یﺘﻮاﻓﺮ ﻡﻦ ﺗﻘﻨﻴﺎت وﺗﻜﻨﻮﻟﻮﺝﻴﺎ‬ ‫•‬
‫ﻡﺘﺎﺡﺔ )ﻡﺘﻐﻴﺮات اﻟﺰﻡﺎن واﻟﻤﻜﺎن(‬
‫هﻞ هﻲ ﻡﻌﻠﻨﺔ أم ﺿﻤﻨﻴﺔ؟‬ ‫•‬
‫آﻴﻒ یﻤﻜﻦ ﺗﻨﺎوﻟﻬﺎ واﻟﺘﻌﺮف ﻋﻠﻴﻬﺎ؟ وآﻴﻒ ﺗﻄﻮرت وﺗﻐﻴﺮت؟ ﺗﻄﻮر ﻡﺒﺎدئ‬ ‫•‬
‫اﻟﺘﺸﻜﻴﻞ واﻟﺘﻜﻮیﻦ اﻟﻤﻌﻤﺎري‬

‫‪Traditional Vision‬‬ ‫اﻟﺘﻘﻠﻴﺪیﺔ‪ /‬اﻟﺤﻀﺎرات‬

‫‪Mechanical Vision‬‬ ‫اﻟﺤﺪاﺛﺔ‪ /‬اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬
‫‪Post-Modern Vision‬‬ ‫ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ‬
‫‪Cosmic Vision‬‬ ‫اﻟﺘﻔﻜﻴﻜﻴﺔ‪ /‬اﻟﻜﻮﻧﻴﺔ‬
 ‫أﺳﺲ اﻟﺘﺸﻜﻴﻞ ﻓﻲ اﻟﺘﻘﻠﻴﺪیﺔ‪ /‬اﻟﺤﻀﺎرات‬
‫‪Traditional Vision‬‬
‫اﻟﺮؤیﺔ اﻟﺘﻘﻠﻴﺪیﺔ ‪Traditional Vision‬‬

‫‪Proportions‬‬ ‫اﻟﻨﺴﺐ‬ ‫•‬

‫‪Module‬‬ ‫اﻟﻤﻮدیﻮل‬ ‫•‬
‫‪Order‬‬ ‫اﻟﻨﻈﺎم‬ ‫•‬
‫‪Symmetry‬‬ ‫اﻟﺘﻤﺎﺛﻞ‬ ‫•‬
‫‪Hierarchy‬‬ ‫اﻟﺘﺪرج‬ ‫•‬
‫‪Unity‬‬ ‫اﻟﻮﺡﺪة‬ ‫•‬
Traditional Vision ‫اﻟﺮؤیﺔ اﻟﺘﻘﻠﻴﺪیﺔ‬

Proportions ‫اﻟﻨﺴﺐ‬ •
Module ‫اﻟﻤﻮدیﻮل‬ •
Order ‫اﻟﻨﻈﺎم‬ •
Symmetry ‫اﻟﺘﻤﺎﺛﻞ‬ •
Hierarchy ‫اﻟﺘﺪرج‬ •
Unity ‫اﻟﻮﺡﺪة‬ •
Traditional Vision ‫اﻟﺮؤیﺔ اﻟﺘﻘﻠﻴﺪیﺔ‬

Proportions ‫اﻟﻨﺴﺐ‬ •
Module ‫اﻟﻤﻮدیﻮل‬ •
Order ‫اﻟﻨﻈﺎم‬ •
Symmetry ‫اﻟﺘﻤﺎﺛﻞ‬ •
Hierarchy ‫اﻟﺘﺪرج‬ •
Unity ‫اﻟﻮﺡﺪة‬ •
 ‫ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬/‫ أﺳﺲ اﻟﺘﺸﻜﻴﻞ ﻓﻲ اﻟﺤﺪاﺛﺔ‬-2
Mechanical Vision
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

Form follows function ‫• اﻟﺸﻜﻞ یﺘﺒﻊ اﻟﻮﻇﻴﻔﺔ‬

Simplicity ‫• اﻟﺘﺒﺴﻴﻂ‬
Ornaments is a crime ‫• ﺗﺠﺮیﻢ اﻟﺰﺥﺎرف‬
Simplicity ‫• اﻟﺒﺴﺎﻃﺔ‬
Clarity ‫• اﻟﻮﺿﻮح‬
Material truth ‫• ﺹﺪق اﻟﻤﻮاد‬
Structural truth ‫• ﺹﺪق اﻻﻧﺸﺎء‬
Functional truth ‫• ﺹﺪق اﻟﻮﻇﻴﻔﺔ‬
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

August Perret
Apartment Building
Paris, 1903-1904
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

Peter Behres
AEG Turbine Factory
Berlin, 1908-1909
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

Walter Gropius
Fagus Factory
Germany, 1911-1913
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

Walter Gropius
Bauhaus
Germany, 1925-1926
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

Le Corbusier
Villa Savoye
France, 1928-1931
Modern Vision ‫اﻟﺮؤیﺔ اﻟﻤﻴﻜﺎﻧﻴﻜﻴﺔ‬

Lake Shore Drive Apts, 1951

Mies Van Deo Rohe

Seagram Building
New York, 1954-1958
 ‫‪ -3‬أﺳﺲ اﻟﺘﺸﻜﻴﻞ ﻓﻲ ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ‬
‫‪Post-Modern Vision‬‬
‫ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ ‪Post-Modern Vision‬‬

‫‪Less is Bore‬‬ ‫اﻟﻘﻠﻴﻞ ﻡﻤﻞ‬ ‫•‬

‫‪Complexity‬‬ ‫اﻟﺘﻌﻘﻴﺪ‪ /‬اﻟﺘﺮآﻴﺐ‬ ‫•‬
‫‪Double Coded‬‬ ‫ازدواﺝﻴﺔ اﻟﺸﻔﺮة‬ ‫•‬
‫‪Metaphor‬‬ ‫اﻻﺳﺘﻌﺎرة‬ ‫•‬
‫‪Revivalism‬‬ ‫اﻻﺡﻴﺎء‬ ‫•‬
‫‪Symbolism‬‬ ‫اﻟﺮﻡﺰیﺔ‬ ‫•‬
‫‪Vernacular Arch.‬‬ ‫اﻟﻌﺎﻡﻴﺔ‪ /‬اﻟﻌﻤﺎرة اﻟﺸﻌﺒﻴﺔ‬ ‫•‬
Post-Modern Vision ‫ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ‬

Robert Venturi,
Vanna Venturi House
Philadelphia, 1959-1964
Post-Modern Vision ‫ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ‬

Office Building
Atlanta, Georgia,
Michael Graves, 1987
Post-Modern Vision ‫ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ‬

Philip Johnson
At & T Building
New York, 1978-84
Post-Modern Vision ‫ﻡﺎﺑﻌﺪ اﻟﺤﺪاﺛﺔ‬

Charles Moore
Piazza d’Italia
New Orleans, 1976-79
‫اﻟﺘﻔﻜﻴﻜﻴﺔ‪ /‬اﻟﻜﻮﻧﻴﺔ ‪Deconstruction or Cosmic Vision‬‬ ‫‪ -4‬أﺳﺲ اﻟﺘﺸﻜﻴﻞ ﻓﻲ اﻟﺘﻔﻜﻴﻜﻴﺔ‪ /‬اﻟﻜﻮﻧﻴﺔ‬
‫‪Cosmic Vision‬‬

‫‪Non linear arch.‬‬ ‫اﻟﻌﻤﺎرة ﻏﻴﺮ اﻟﺨﻄﻴﺔ‬ ‫•‬

‫‪Life of forms‬‬ ‫اﻷﺵﻜﺎل اﻟﺤﻴﺔ‬ ‫•‬
‫‪Self-similar forms‬‬ ‫اﻟﺸﻜﺎل ذاﺗﻴﺔ اﻟﺘﻤﺎﺛﻞ‬ ‫•‬
‫‪Fractal design‬‬ ‫اﻷﺵﻜﺎل اﻟﻤﺘﻜﺴﺮة‬ ‫•‬
‫‪Folded shapes‬‬ ‫اﻷﺵﻜﺎل اﻟﻤﻄﻮیﺔ‬ ‫•‬
‫‪Waved shapes‬‬ ‫اﻷﺵﻜﺎل اﻟﻤﻤﻮﺝﺔ‬ ‫•‬
‫‪Twisted/ Wrapped shapes‬‬ ‫اﻷﺵﻜﺎل اﻟﻤﻠﺘﻮیﺔ‬ ‫•‬
Deconstruction or Cosmic Vision ‫ اﻟﻜﻮﻧﻴﺔ‬/‫اﻟﺘﻔﻜﻴﻜﻴﺔ‬

Daniel Libeskind
Jewish Museum, extention to Berlin Museum
Berlin, 1989-95
 ‫اﻟﺘﻔﻜﻴﻜﻴﺔ‪ /‬اﻟﻜﻮﻧﻴﺔ ‪Deconstruction or Cosmic Vision‬‬

‫ﻓﺮاﻧﻚ ﺝﻴﻬﺮي‬
‫آﻮریﺎ – ﺳﻴﻮل‬

‫ﻡﺘﺤﻒ ﺳﺎﻡﺴﻮﻧﺞ ﻟﻠﻔﻦ اﻟﺤﺪیﺚ‬

Deconstruction or Cosmic Vision ‫ اﻟﻜﻮﻧﻴﺔ‬/‫اﻟﺘﻔﻜﻴﻜﻴﺔ‬

1991-93
Paris, France
Frank O. Gehry
American Center
 Deconstruction or Cosmic Vision ‫ اﻟﻜﻮﻧﻴﺔ‬/‫اﻟﺘﻔﻜﻴﻜﻴﺔ‬

Spain, 1992-97
Frank O. Gehry
Guggenheim Museum
‫هﺬا اﻟﺘﻐﻴﺮ ﻓﻲ أﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ ﻋﺒﺮ اﻟﻌﺼﻮر‬
‫یﺴﺘﺪﻋﻲ ﻡﺠﻤﻮﻋﺔ ﻡﻦ اﻟﺘﺴﺎؤﻻت؟؟؟؟؟؟؟؟؟؟‬
‫هﻞ اﻟﻘﻴﻤﺔ اﻟﺠﻤﺎﻟﻴﺔ ﻟﻠﻌﻤﻞ ﺗﺘﻮﻗﻒ ﻋﻠﻰ ﺗﻠﻚ اﻟﻤﺒﺎدئ اﻟﺘﺸﻜﻴﻠﻴﺔ؟ ﺑﻤﻌﻨﻰ‬ ‫•‬
‫أﻧﻪ اذا اﺗﺒﻌﻨﺎهﺎ ﻧﻀﻤﻦ ﺝﻤﺎل اﻟﻌﻤﻞ‬
‫هﻞ یﻤﻜﻦ ﺗﺬوق ﺝﻤﺎل اﻟﻤﺒﻨﻰ ﺥﺎرج اﻻﻃﺎر اﻟﺴﺎﺋﺪ ﻡﻦ هﺬﻩ اﻟﻤﺒﺎدئ‬ ‫•‬
‫اﻟﺸﻜﻠﻴﺔ؟ ﺑﻤﻌﻨﻰ هﻞ یﻤﻜﻦ ان اﺵﻌﺮ ﺑﺎﻟﺠﻤﺎل اﻟﻜﻼﺳﻴﻜﻲ وﻧﺤﻦ ﻧﻌﻴﺶ‬
‫ﻡﺮﺡﻠﺔ اﻟﺘﻔﻜﻴﻚ‬
‫هﻞ ﺗﻠﻚ اﻟﻤﺒﺎدئ إﻟﺰاﻡﻴﺔ وﻻﺑﺪ ﻟﻜﻲ ﺗﺤﺪث ﺗﺠﺮﺑﺔ ﺝﻤﺎﻟﻴﺔ ﺵﻜﻠﻴﺔ ایﺠﺎﺑﻴﺔ‬ ‫•‬
‫‪ +AE‬ان یﻜﻮن اﻟﻤﺒﻨﻰ ﻡﺘﺒﻌﺎ ﻟﺘﻠﻚ اﻟﻘﻮاﻋﺪ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﻤﺘﻠﻘﻲ‬
‫)اﻟﺸﻴﺊ ‪ +‬اﻟﻤﺘﻠﻘﻲ(‬
‫اذن ﻡﺎهﻲ اﺳﺒﺎب ﺗﺤﻘﻖ ﺗﺠﺮﺑﺔ ﺝﻤﺎﻟﻴﺔ ﻡﻦ ﺥﻼل اﻟﺸﻜﻞ ‪+AE‬‬ ‫•‬
 ‫أﺳﺒﺎب ﻧﺠﺎح اﻟﺘﺠﺮﺑﺔ اﻟﺠﻤﺎﻟﻴﺔ‬
‫أو آﻴﻔﻴﺔ اﻟﻮﺹﻮل اﻟﻰ ﺗﺠﺮﺑﺔ ﺝﻤﺎﻟﻴﺔ ایﺠﺎﺑﻴﺔ ‪+AE‬‬
‫‪ -1‬أن یﺘﻢ ﻓﻬﻢ اﻟﻌﻤﻞ ﺑﺎﻋﺘﺒﺎرﻩ ﺗﻌﺒﻴﺮًا ﻋﻦ أﺡﺪ اﻟﻤﺒﺎدئ‪ /‬اﻟﻘﻴﻢ‪/‬‬
‫اﻟﻤﻌﺘﻘﺪات اﻟﻬﺎﻡﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﺘﻠﻘﻲ‪.‬‬
‫‪Meaning‬‬
‫اﻟﺴﺮور‬ ‫=‬ ‫‪messages‬‬
‫‪His‬‬
‫‪+ A. E.‬‬ ‫اﻟﺮاﺡﺔ‬ ‫‪values‬‬
‫اﻟﻤﺘﻌﺔ‬

‫‪Symbolic‬‬
‫‪function‬‬
‫اﻟﻌﻤﻞ یﻌﺒﺮ ﻋﻦ‬
‫ﻗﻴﻤﺔ اﻷﺹﺎﻟﺔ‬
‫واﻟﺘﺮاث‬

‫ﺗﻘﺪیﺮ ﻗﻴﻤﺔ‬
‫اﻟﺘﺮاث‬

‫‪+ A. E.‬‬
‫اﻟﻌﻤﻞ یﻌﺒﺮ ﻋﻦ‬
‫ﻗﻴﻤﺔ اﻟﺤﺪاﺛﺔ‬
‫واﻟﻌﺎﻟﻤﻴﺔ‬

‫ﺗﻘﺪیﺮ ﻗﻴﻤﺔ‬
‫اﻟﺘﺮاث‬

‫‪- A. E.‬‬
 ‫ﺗﺎﺑﻊ أﺳﺒﺎب ﻧﺠﺎح اﻟﺘﺠﺮﺑﺔ اﻟﺠﻤﺎﻟﻴﺔ‬
‫أو آﻴﻔﻴﺔ اﻟﻮﺹﻮل اﻟﻰ ﺗﺠﺮﺑﺔ ﺝﻤﺎﻟﻴﺔ ایﺠﺎﺑﻴﺔ‬
‫‪ -2‬ﺗﻮاﻓﻖ اﻟﺸﻜﻞ ﻡﻊ اﻟﻤﻨﻔﻌﺔ ﺑﻤﺎ یﺨﻠﻖ وﺿﻮح وﻓﻬﻢ اﻓﻀﻞ ﻟﺪى‬
‫اﻟﻤﺘﻠﻘﻲ‪.‬‬
‫وﺿﻮح وﻓﻬﻢ‬ ‫ﺗﻮاﻓﻖ اﻟﺸﻜﻞ ﻡﻊ‬
‫اﻟﺴﺮور‬ ‫أﻓﻀﻞ ﻟﻠﻌﻤﻞ‬ ‫اﻟﻮﻇﻴﻔﺔ‬
‫اﻟﺮاﺡﺔ‬ ‫اﻟﻤﻌﻤﺎري‬
‫‪+ A. E.‬‬
‫اﻟﻤﺘﻌﺔ‬
‫ﺗﻮاﻓﻖ اﻟﺸﻜﻞ ﻡﻊ‬
‫اﻟﻮﻇﻴﻔﺔ‬

‫وﺿﻮح وﻓﻬﻢ‬

+ A. E.

Satolas TGV Station

Lyon, France
Santiago Calatrava, 1990-94
‫ﻋﺪم ﺗﻮاﻓﻖ اﻟﺸﻜﻞ‬
‫ﻡﻊ اﻟﻮﻇﻴﻔﺔ‬

‫ﻏﻤﻮض وﻋﺪم‬
‫ﻓﻬﻢ‬

- A. E.

KressCox Assoc.
Connelly Chapel
Washington, DC, 1994-1996
 ‫ﺗﺎﺑﻊ أﺳﺒﺎب ﻧﺠﺎح اﻟﺘﺠﺮﺑﺔ اﻟﺠﻤﺎﻟﻴﺔ‬
‫أو آﻴﻔﻴﺔ اﻟﻮﺹﻮل اﻟﻰ ﺗﺠﺮﺑﺔ ﺝﻤﺎﻟﻴﺔ ایﺠﺎﺑﻴﺔ‬
‫‪ -3‬ﺗﻄﺎﺑﻖ واﻧﺴﺠﺎم ﻡﺴﺘﻮى ﺗﺮآﻴﺐ اﻟﺸﻜﻞ وﻋﻼﻗﺎﺗﻪ ﻡﻊ ﻡﺴﺘﻮى ﻓﻬﻢ‬
‫اﻟﻤﺘﻠﻘﻲ وﺛﻘﺎﻓﺘﻪ‪.‬‬

‫اﻟﺸﻜﻞ‬
‫=‬
‫اﻟﺴﺮور‬ ‫ﻡﺴﺘﻮى اﻟﻔﻬﻢ‬
‫اﻟﺮاﺡﺔ‬ ‫)ﻟﻪ ﻡﺮﺝﻌﻴﺔ(‬
‫‪+ A. E.‬‬
‫اﻟﻤﺘﻌﺔ‬
‫ﺗﻮاﻓﻖ اﻟﺸﻜﻞ وﻋﻼﻗﺎﺗﻪ ﻡﻊ‬
‫ﻡﺴﺘﻮى ﻓﻬﻢ اﻟﻤﺘﻠﻘﻲ‬
‫وﺛﻘﺎﻓﺘﻪ‬

‫وﺝﻮد ﻡﺮﺝﻌﻴﺔ‬
‫‪.Reference‬‬

‫ﻡﺮآﺰ اﻟﺨﺰف ﺑﺎﻟﻔﺴﻄﺎط‬

‫‪+ A. E.‬‬

‫أﺡﺪ اﻟﻤﺒﺎﻧﻲ اﻟﺴﻜﻨﻴﺔ ﺑﺎﻟﺒﺤﺮیﻦ‬

 ‫ﻋﺪم وﺝﻮد ﻡﺮﺝﻌﻴﺔ‬ ‫ﻋﺪم ﺗﻮاﻓﻖ اﻟﺸﻜﻞ وﻋﻼﻗﺎﺗﻪ ﻡﻊ‬
‫‪- A. E.‬‬ ‫‪.Reference‬‬ ‫ﻡﺴﺘﻮى ﻓﻬﻢ اﻟﻤﺘﻠﻘﻲ وﺛﻘﺎﻓﺘﻪ‬

‫آﻮریﺎ – ﺳﻴﻮل‬
‫ﻓﺮاﻧﻚ ﺝﻴﻬﺮي‬
‫ﻡﺘﺤﻒ ﺳﺎﻡﺴﻮﻧﺞ ﻟﻠﻔﻦ اﻟﺤﺪیﺚ‬
 ‫ﺗﺎﺑﻊ أﺳﺒﺎب ﻧﺠﺎح اﻟﺘﺠﺮﺑﺔ اﻟﺠﻤﺎﻟﻴﺔ‬
‫أو آﻴﻔﻴﺔ اﻟﻮﺹﻮل اﻟﻰ ﺗﺠﺮﺑﺔ ﺝﻤﺎﻟﻴﺔ ایﺠﺎﺑﻴﺔ‬
‫‪ -4‬ﺝﺬب اﻧﺘﺒﺎﻩ اﻟﻤﺸﺎهﺪ ﻡﻦ ﺥﻼل ﻋﻨﺼﺮ اﻟﺤﺮآﺔ‪ /‬أو ﺗﻨﻮع اﻟﻤﺸﺎهﺪ‪ /‬أو‬
‫ﻋﻨﺼﺮ اﻟﺘﺸﻮیﻖ واﻟﻤﻔﺎﺝﺄة‪.‬‬

‫‪Attention‬‬
‫ﻡﺜﻴﺮات اﻻﻧﺘﺒﺎﻩ‬
‫اﻟﺴﺮور‬
‫‪+ A. E.‬‬ ‫اﻟﺮاﺡﺔ‬
‫اﻟﻤﺘﻌﺔ‬

‫ﻋﻨﺼﺮ اﻟﺤﺮآﺔ‪/‬‬
‫اﻟﻤﻔﺎﺝﺄة‪/‬‬
‫اﻟﺘﺸﻮیﻖ‬
‫ﺗﻨﻮع اﻟﻤﺸﺎهﺪ وﺗﻮاﻓﺮ‬
‫ﻋﻨﺼﺮ اﻟﺘﺸﻮیﻖ‬
‫واﻟﺤﺮآﺔ‬

‫اﻻﻧﺘﺒﺎﻩ‬
Attention

+ A. E.
Notre-Dam-du-Haut Chapel
Ronchamp, France, 1950-
1955
Le Corbusier
 ‫اﻟﺮﺗﺎﺑﺔ وﻋﺪم ﺗﻨﻮع‬
‫اﻟﻤﺸﺎهﺪ )ﺛﺒﺎت‬
‫اﻟﺼﻮرة واﻟﺘﺠﺮﺑﺔ‬
‫اﻟﺒﺼﺮیﺔ ﻡﻊ اﻟﺰﻡﻦ(‬

‫ﻋﺪم اﻻﻧﺘﺒﺎﻩ‬

‫‪- A. E.‬‬
 ‫؟‬+AE ‫هﻞ اﻟﻨﻘﺎط اﻷرﺑﻌﺔ اﻟﺴﺎﺑﻘﺔ ﺗﻀﻤﻦ ﺗﺤﻘﻴﻖ‬

‫)ﺗﺎﺑﻊ اﻟﺘﻤﺮﻳﻦ( اﺑﺤﺚ ﻋﻦ اﺡﺪ اﻷﺳﺒﺎب اﻟﺘﻲ ﻗﺪ ﺗﻜﻮن وراء ﺵﻌﻮرك ﺑﺠﻤﺎل اﻟﻤﺒﻨﻰ ﻡﺤﻞ اﻟﺘﻨﺎول‬ •
‫ ﻡﻊ ﺗﻮﺿﻴﺢ اﺳﺲ وﻡﺒﺎدئ اﻟﺘﺸﻜﻴﻞ ﻓﻴﻪ‬،‫وﺡﻠﻠﻬﺎ ﻡﺤﺎوﻻ ﻓﻬﻢ ﻟﻤﺎذا ﺵﻌﺮت ﺑﺠﻤﺎل هﺬا اﻟﻤﺒﻨﻰ‬

References:

Lang, John, (1987), Creating Architectural Theory: The Role Of The

Behavioral Science In Environmental Design, VNR, New York.

Schulz (1965), Intensions in Architecture, MIT Press

Jencks (1977), the language of post modern architecture, Academy

Edition, London

Jencks (1997), Architecture of the Jumping Universe, Academy Edition,

London