AL Al BAA 93 06

:: ‫ 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
‫ﺷﺮﻭﻉ ﻣﺠﻤﻊ ﺍﻟﻜﻬﺮﺑﺎء‬
‫ﻭﻛﺎﻧﺖ ﺍﺳﺲ ﺍﻟﺘﻘﻴﻴﻢ‬ ‫ﺗﻢ ﺗﻮﻗﻴﻊ ﻋﻘﺪ ﺗﻔﺪﻳﻢ ﺍﻟﺨﺪﻣﺎﺕ ﺍﻻﺳﺘﺸﺎﺭﻳﺔ ﻟﺒﻨﺎء ﻣﺠﻤﻊ ﻭﺯﺍﺭﺓ‬
‫ﺍﻟﻜﻬﺮﺑﺄء ﺑﻴﻦ ﺍﻟﻤﻜﺌﺐ ﺍﻟﻌﺮﺭ ﻟﻠﺘﻤﻤﻴﻤﺎﺕ ﻭﺍﻻﺳﺘﺜﺎﺭﺍﺕ‬
‫ﺍﻛﺒﺮ ﺍﺳﺘﻐﻼﻝ ﻭﺍﻛﺒﺮ ﻣﺴﺎﺣﺔ ﻧﺴﺒﻴﺔ ﻟﻤﺴﻄﺤﺎﺕ‬ ‫ﺍﻟﻬﻨﺪﺳﻴﺔ ﻭﻫﻴﺌﺔ ﻛﻬﺮﺑﺎء ﻣﺼﺮ ﻭﻛﺎﻥ ﺍﻟﻤﺸﺮﻭﻉ ﻗﺪ ﻃﺮﺡ ﻓﻰ‬
‫ﺍﻟﻤﻜﺎﺗﺐ‬ ‫ﻣﺴﺎﺑﻘﺔ ﻣﻔﺘﻮﺣﺔ ﺗﻘﺪﻡ ﻟﻬﺎ ‪ 79‬ﻣﻜﺘﺒﺄ ﺍﺳﺘﺸﺎﺭﻳﺄ ﻭﺍﺧﺘﺎﺭﺕ ﻟﺠﻨﺔ‬
‫ﺃﻗﻞ ﻧﺴﺒﺔ ﻣﺌﻮﻳﺔ ﺑﻴﻦ ﻣﺴﻄﺤﺎﺕ ﺍﻟﺨﺮﻛﺔ ﻭﺍﻟﻤﺴﻄﺤﺎﺕ‬ ‫ﺍﻟﺘﺤﻜﻴﻢ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺜﻼﺛﺔ ﺍﻷﻭﻟﻰ ﻟﻴﺘﻘﺪﻡ ﺃﺻﺤﺎﺑﻬﺎ ﺑﺴﺎﺑﻘﺔ‬
‫ﺍﻟﻮﻇﻴﻔﻴﺔ‬ ‫ﺧﺒﺮﺍﺗﻬﻢ ﻓﻰ ﻣﺠﺄﻝ ﺍﻻﺳﺘﺸﺎﺭﺍﺕ ﺍﻓﺪﺳﻴﺔ ﻭﻗﺪ ﻭﻗﻊ ﺍﻻﺣﺘﻴﺎﺭ ﻋﻠﻰ‬
‫ﺍﻟﻤﻴﻬﺐ ﺍﻟﻌﺮﺑﻰ ﻟﻤﺎ ﻟﻪ ﻣﻦ ﺗﺎﺵ ﻳﺢ ﻃﻮﻳﻞ ﻭﺧﺒﺮﻩ ﺕ ﺯﺓ ﻓﻰ ﻣﺠﺎﻝ‬
‫ﺍﻛﺒﺮ ﻃﻮﻝ ﻟﻠﻮﺍﺟﻬﺎﺕ ﻭﺍﻻﻋﺒﻤﺎﺩ ﺍﻟﻜﻠﻰ ﻋﻠﻰ ﺍﻻﻧﺎﺭﺓ‬ ‫ﺍﻟﺘﺼﻤﻴﻤﺎﺕ ﺍﻟﻬﺪﺳﻴﺔ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﺗﻮﻓﻴﺮﺍ ﻟﻠﻄﺎﻗﺔ‬
‫ﻫﺬﺍ ﻭﺍﺧﺘﺎﺭ ﺍﻟﻤﻴﻬﺐ ﻟﻨﻔﺴﻪ ﺍﺳﻠﻮﺑﺎ ﻋﻠﻤﺒﺎ ﻓﻰ ﻃﺮﻳﻘﺔ ﺍﻟﺘﺼﻤﻴﻢ‬
‫ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺃﻗﻞ ﺍﻟﺘﻜﺎﻟﻴﻒ ﻻﻧﺸﺎء ﺻﺎﻟﺔ ﻣﺨﺘﻠﻒ‬ ‫ﺗﺘﻔﻖ ﻭﺍﻣﻜﺎﻧﻴﺎﺗﻪ ﻛﺎﻛﺒﺮ ﺗﺠﻤﻊ ﻟﻠﻤﺼﻤﻤﻴﻦ ﻭﺍﻻﺳﺘﺘﻨﺎﺭﻳﺒﻦ‬
‫ﺍﻷﻏﺮﺍﺽ ﺫﺍﺕ ﺍﻟﺒﺤﺮ ﺍﻟﻮﺍﺳﻊ ﻭﺫﻟﻚ ﺑﻌﺪﻡ ﺍﻧﺸﺎء ﺃﺩﻭﺍﺭ‬ ‫ﻭﻳﺘﻠﺨﺺ ﻫﺬﺍ ﺍﻷﺳﻠﻮ ﻑ ﺩﺭﺍﺳﺔ ﺍﻟﻤﻌﻄﻴﺎﺕ ﻓﻰ ﺑﺮﻧﺎﺝ‬
‫ﻓﻮﻗﻬﺎ‬ ‫ﻭﻣﺤﺪﺩﺍﺕ ﻣﻈﻤﺔ ﺛﻢ ﺗﺼﻤﻴﻢ ﻋﺪﺓ ﻟﺪﺍﺋﻞ ﺳﺒﻌﺔ ﺑﺪﺍﺋﻞ ﻗﻲ‬
‫ﻣﻘﺎﺭﻧﺘﻬﺎ ﻭﺗﻘﻴﻴﻤﻬﺎ ﺑﻤﻌﺎﻳﺮ ﻗﻴﺎﺳﻴﺔ ﻭﺍﺣﺪﺓ ﻣﻮﺿﻮﻋﺔ ﻋﻠﻰ ﺃﺱ ﺭ‬
‫ﻣﺮﻭﻧﺔ ﺍﻟﺘﺼﻤﻴﻢ ﻭﺧﺎﺻﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻤﺴﻄﺤﺎﺕ ﺍﻟﻤﻜﺎﺗﺐ‬ ‫ﻧﻈﺮﻳﺎﺕ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻮﻇﻴﻔﻰ ﺙ ﻣﺒﺎﺙ ﺍﻟﻤﻜﺎﺗﺐ ﻭﺫﻟﻚ ﻟﻠﻮﺻﻮﻝ‬
‫ﻭﺍﻣﻜﺎﻥ ﺗﻐﻴﻴﺮ ﺗﻘﺴﻴﻤﻬﺎ ﻭﺗﻨﻈﻴﻤﻬﺎ ﺣﺴﺐ ﺍﻟﺤﺎﺟﺔ ﻓﻰ‬ ‫ﺍﻟﺤﻞ ﺍﻟﻤﺨﺘﺎﺭ‬ ‫ﻟﻠﺤﻞ ﺍﻷﻓﺼﻞ‬
‫ﺍﻟﻤﺴﺘﻘﺒﻞ‬
‫ﻥ ﺻﻴﺔ‬ ‫ﺅﻓﻰ ﻟﺨﺼﺮﻭﺕ ﺍﻻﺳﺘﺸﻤﺄ ﺍﺕ ﺍ‬ ‫ﻛﺤﺘﺐ ﺍ‬
‫ﺍﻟﺮﻛﺰﺍﻟﺮﺵ ﻯ ﻋﺮﻣﻴﺔ ﻓﻬﺰ ﺑﺎﻙ ﺗﻠﺒﻔﻮﻯ ﺟﻤﻊ ﻍ ‪ 3‬ﻣﺮء ﺣﻪ ‪T 04039 CEDBA NU 4371‬‬
‫‪I‬‬
‫‪x‬‬
‫ﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﻣﺘﺨﺼﺼﺔ‬ ‫ﻋﻠﻤﻴﺔ‬ ‫ﺷﻬﺮﻳﺔ‬
‫ﺗﺼﺪﺭﻫﺎ ﺟﻤﻌﻴﺔ ﺃﺣﻴﺎء ﺍﻟﺘﺮﺍﺙ ﺍﻟﺘﺨﻄﻄﻰ ﻭﺍﻟﻤﻌﻤﺎﺭﻯ‬ ‫ﻝ ﻓﺘﺖ ﺍﺣﻴﺔ‬
‫ﺑﺎﻟﻘﺎﻫﺮﺓ‬ ‫ﺑﻤﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻳﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺍﻣﻤﺮ‬ ‫ﻟﺴﻪ ﺍﻟﻤﻄﻮﻋﺎ‬
‫ﺷﻮﺍ ﻝ ‪t‬‬
‫‪r‬‬ ‫ﺍﻏﺴﻄﺲ ‪ 3891‬ﻡ‬ ‫ﺑﺪﺧﻮﻝ ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء ﻋﺎﻣﻬﺎ ﺍﻟﺮﺍﺑﻊ ﻻ ﺳﺘﻄﻊ ﺍﻟﻤﺮء ﺇﻻ ﺃﻥ ﻳﺴﺠﺪ ﻟﻠﻪ ﺣﺪﺍ ﻭﺛﻜﺮﺍ ﻋﻞ ﻋﻄﺎﺋﻪ ﻭﺗﻮﻓﻴﻘﻪ‬
‫ﻭﻻ ﻳﺴﺘﻄﻊ ﺍﻟﻤﺮء ﺇﻻ ﺃﻥ ﻋﺚ ﺑﻬﺬﻩ ﺍﻟﻤﻨﺎﺷﺔ ﺇﻟﻰ ﻛﻞ ﻗﺮﺍء ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎءﺃ ﻓﻰ ﻋﺄﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﺑﺨﺎﻟﺺ ﺍﻟﺘﺤﻴﺔ‬
‫ﺭﺋﻲ ﺍﻟﺘﺤﺮﻳﺮ ﺩﻣﺤﻤﻮﺭ ﻋﺒﺪ ﺍﻟﺒﺎﻗﻰ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﻭﺍﻻﻣﺘﺎﻥ ﻟﻤﺎ ﺃﺑﺪﻭﻩ ﻧﺤﻮ ﺍﺑﺨﻠﺔ ﻣﻦ ﺣﺮﺹ ﺷﺪﻳﺪ ﻭﻛﻘﺪﻳﺮ ﻛﺒﻴﺮ ﻭﺇﻫﻤﺎﻡ ﺑﺎﻟﻨﻲ ﺣﻰ ﺃﺻﺒﺤﺖ ﺍﺑﺨﻠﺔ ﺟﺰءﺍ‬
‫ﻭﻛﺺ ﻙﺑﺎﺏ ﺍﻟﺒﻨﺎء ﺍﻟﺬﻯ ﻳﺠﺪ ﻓﻴﺎ ﻧﺠﻌﺎ ﻓﺎﺿﺎ ﻟﻠﻌﻠﻢ ﻭﺍﻟﻤﻌﺮﻓﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﻻﻳﺘﺠﺰﺃ ﻣﻦ ﺣﻌﺎﺗﻪ ﺍﻟﻌﻠﻢ ﺓ ﻭﺍﻟﻌﻤﻠﺔ‬
‫ﻣﺴﺎﻋﺪ ﺭﺋﻴﺲ ﺍﻟﺘﺤﺮﻳﺮ ﺩﻛﻮﺭ ﺣﺎﺯﻡ ﺃﺑﺮﺍﻫﻴﻢ‬ ‫ﻭﻻﺑﺪ ﻫﻨﺎ ﻣﻦ ﺍﻹﺷﺎﺩﺓ ﺑﺪﻭﺭ‬ ‫ﺍﻟﺤﻀﺎﺭﻯ ﻭﺟﻢ ﻩ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻻﺳﻤﺎ ﻓﻤﺎ ﺭﻛﺒﻂ ﺑﺘﺮ‬ ‫ﻭﺍﻟﺘﺨﻄﻄﻴﺔ‬
‫ﻣﺪﻳﺮ ﺍﻟﺘﺤﺮﻳﺮ ﻡ ﻧﻮﺭﺍ ﺍﻟﺸﻨﺎﻭﻯ‬ ‫ﺃﻋﻀﺎء ﻣﺌﺔ ﺗﺤﺮﻳﺮ ﺍﻣﺤﻠﺔ ﻟﻰ ﺗﺤﺮﻳﺮﻫﺎ ﻭﺍﺧﺮﺍﺟﻬﺎ ﻭﻃﺒﺎﻋﺘﻬﺎ ﻭﺗﻮﺯﻳﻌﻬﺎ ﻭﻗﺪ ﺃﺻﺒﺤﻮﺍ ﺟﺰ ‪ 4‬ﺍ ﻳﺨﻬﺎ ﺑﻌﺪ ﺍﻥ ﺍﺭﺗﻘﺖ‬
‫ﻭﺃﺭﺳﺖ ﻗﻮﺍﻋﺪﻫﺎ ﻭﺗﺼﺪﺭﺕ ﻣﻜﺐ ﺕ ﺍﻟﻌﺎﻟﻢ ﻭﺍﻧﺘﺸﺮﺕ ﻟﻰ ﺍﺭﻛﺎﻥ ﺍﻟﻤﺪﻥ ﺍﻟﻌﺮﺑﻴﺔ ﻳﻘﺒﻞ ﻋﻴﻬﺎ ﺍﻟﻌﺎﻣﺔ‬
‫ﻫﻴﺌﺔ ﺍﻟﺘﺤﺮﻳﺮ ﻡ ﻣﻬﺎ ﺍﻣﻤﺎﻋﻴﻞ‬
‫ﺣﻰ ﺃﻋﺒﺤﺖ ﻭﺑﺠﺪﺍﺭﺓ ﺍﺑﺤﻠﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﺸﻬﺮﻳﺔ ﺍﻷﻭﻟﻰ ﻓﻰ ﺍﻟﻌﺎﻟﻢ‬ ‫ﻭﺍﻃﺎﺻﺔ ﻭﻛﻞ ﺍﻟﻤﻬﻤﻴﻦ ﺑﻌﺎﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﻡ ﻫﺪﻯ ﻓﻮﺯﻯ‬ ‫ﺍﻟﻌﺮﻓﻰ ﻭ ﻋﺎﻟﻢ ﺍﺑﺎء ﻭﻫﻰ ﺗﺨﻄﻮ ﺑﺨﻄﻮﺍﺗﻬﺎ ﺍﻟﻨﻮﺋﻤﺪﺓ ﺇﻟﻰ ﻋﺎﻣﻬﺎ ﺍﻟﺮﺍﺑﻊ ﺗﺪﻋﻮ ﻗﺮﺍءﻫﺎ ﻟﻤﺴﺎﻧﺪﻛﻬﺎ ﻓﻜﺮﻳﺎ ﻭﻣﺎﺩﻳﺎ‬
‫ﺣﻰ ﺛﺴﺘﻂ ﻉ ﺃﻥ ﺗﺸﻤﺮ ﻓﻰ ﺃﺩﺍء ﺭﻣﺎﻟﺘﺎ ﺍﻟﻤﻘﺪﺳﺔ ﻓﻬﻰ ﻻ ﻛﻠﺤﻤﺪ ﺇﻻ ﻋﻞ ﺍﻟﻠﻪ ﻓﻰ ﻣﻮﺍﺭﺩﻫﺎ ﺍﻟﻤﺎﺩﻳﺔ ﺍﻟﺘﻰ‬
‫ﻣﺴﺘﺸﺎﺭﻭ ﺍﻟﺘﺤﺮﻳﺮ‬ ‫ﻳﺖ ﺭﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺨﻄﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻣﻀﺤﻴﺎ ﺑﻜﻞ ﺟﻬﺪ ﻭﻛﻞ ﻋﺮﻕ ﻓﻰ ﺳﺒﻴﻞ ﻇﻬﻮﺭﻫﺎ ﺑﺈﻧﺘﻈﺎﻡ‬
‫ﺣﻤﻠﻬﺎ‬
‫ﺩ ﻋﻼﺡ ﺭﻛﻰ ﻟﻌﺪ‬
‫ﺩ ﻃﺎﻣﺮ ﺍﻟﻤﺎﺙ‬
‫ﻡ ﺃﻟﻮ ﺭﻳﺪ ﺭﺍﺣﺢ‬
‫‪ U‬ﺩ ﺍﺣﻤﺪ ﺩﺭﻳﺪ ﻣﻤﻄﻤﻰ‬
‫ﺑﺤﻴﺚ ﻻ ﺗﻨﻘﻄﻊ ﻋﻦ ﻗﺮﺍﺋﻬﺎ ﺑﺈﺫﻥ ﺍﻟﻠﻪ ﻭﻫﻰ ﺗﺤﺎﻭﻝ ﻓﻰ ﻛﻞ ﺛﻬﺮ ﺍﻥ ﺗﻘﺪﻡ ﺟﺪﻳﺪﺍ ﻣﻦ ﻋﺎﻟﻢ ﺍﻟﻨﺒﺎء ﺳﻮﺍء‬
‫ﺍ ﻣﺤﻤﺪ ﺍﻻﻣﻰ‬ ‫ﺩ ﺃﺣﻤﺪ ﻛﻤﺎﻝ ﻋﺪ ﺍﻟﻤﺎﺡ‬
‫ﺑﺈﻓﺮﺍﺩ ﺍﻋﺪﺍﺩ ﺧﺎﺻﺔ ﻣﻬﺎ ﻣﻮﻓﻌﻮﻋﺎﺕ ﻣﺤﺪﺩﺓ ﺃﻭ ﻟﻤﻮﺿﻮﻋﺎﺕ ﻡ ﻭﻋﺔ ﻭﻧﺤﻦ ﻧﻘﺪﻡ ﻟﻠﻌﺪﺩ ﺍﻟﺴﺎﺩﺱ ﻭﺍﻟﺜﻼﺗﻴﻦ‬
‫ﺩ ﻣﺤﻤﺪ ﺣﻠﻤﻰ ﺍﻟﺤﻮﻟﻰ‬ ‫ﺩ ﺍﺣﻤﺪ ﺳﻮﺩ‬ ‫ﻳﺤﻀﺮﻧﻰ ﺗﻌﻠﻴﻖ ﻷﺣﺪ ﺍﻟﻤﻬﺪﻣﻴﻦ ﻗﺒﻞ ﺧﺮﻭﺝ ﺃﻭﻝ ﻋﺪﺩ ﻣﻦ ﺍﻣﺤﻠﺔ ﻟﻤﺎﺫﺍ ﺗﺼﺪﺭ ﺷﻬﺮﻳﺎ ﻭﻛﻴﻒ ﻳﻤﻜﻦ ﺃﻥ ﺗﻤﺘﻞء‬
‫‪ U‬ﻡ ﻣﺤﻤﺪ ﻣﻼﺡ ﺣﺤﺎ‬ ‫‪ U‬ﺩ ﺃﺻﺪ ﻣﺪﻉ‬
‫ﺩ ﻣﺤﻤﺪﻋﺰﺹ‬ ‫ﺩ ﻟﺪﺭﻯ ﻉ ﺭﺍﻳﺎﺱ‬
‫ﻭﻟﻤﺎﺫﺍ ﻻ‬ ‫ﻟﻤﺎﺫﺍ ﺗﻄﺒﻊ ﺑﻬﺬﺍ ﺍﻟﻤﻈﻬﺮ ﺍﻟﺮﺍﻗﻰ ﻭﺃﻧﻢ ﺑﻌﺪ ﻓﻰ ﺑﺪﺍﻳﺔ ﺍﻟﻄﺮﻳﻖ‬ ‫ﺻﻔﺤﺎﺗﻬﺎ ﺟﻤﻬﺬﻩ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﺘﻨﻮﻋﺔ‬
‫ﺩ ﺍﻣﻤﺎﻋﻞ ﻣﺮﺍﺡ ﺍﻟﺪﺏ‬ ‫ﺩ ﻋﻠﻰ ﺣﺮ ﻟﺒﺮ‬ ‫ﻭﻟﻜﻦ ﺑﺎﻟﻌﺰﻳﻤﺔ ﻭﺍﻹﺻﺮﺍﺭ ﻭﺍﻹﻳﻤﺎﻥ ﺑﺎﻟﻠﻪ ﻭﻟﺪﺕ‬ ‫ﺗﺼﺪﺭ ﻛﻞ ﺩ ﺭﻧﻰ ﺍﻭ ﺛﻼﺛﺔ ﺃﺷﻬﺮ ﻓﻰ ﺻﻮﺭﺓ ﺃﻗﻞ ﺗﻮﺍﺿﻌﺎ‬
‫‪ U‬ﺩ ﺍﺗﻤﺎﺭ ﻋﺮﻭﺭ‬ ‫ﻃﻔﻰ ﻛﻮﻗﻰ‬ ‫ﻡ‬ ‫ﻛﻤﺎ ﻫﻰ ﻋﻤﻼﺗﺔ ﻓﻰ ﻋﺪﺩﻫﺎ ﺍﻟﺴﺎﺩﺱ ﻭﺍﺛﻼﺛﻴﻦ‬ ‫ﻋﻤﻼﺗﺔ ﻓﻰ ﻋﺪﺩﻫﺎ ﺍﻷﻭﻝ‬ ‫ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬
‫‪ U‬ﺩ ﻋﺪ ﺍﻓﺔ ﻳﺮ ﻣﺤﺎﺭﻯ‬
‫‪ 01‬ﻷﺳﻌﺎ ﺭ‬
‫ﺍﻻﺷﺘﺮﺍﻙ ﺍﻟﻮﻯ‬ ‫ﺳﺮﺍﺑﺨﺔ‬ ‫ﺍﻟﺪﻭﻟﺔ‬ ‫ﻓﻰ ﻫﺬﺍ ﺍﻟﻌﺪﺩ‬
‫‪ 5‬ﺭ ‪ 8‬ﺟﻪ‬ ‫‪ 57‬ﻗﺮﺋﺄ‬ ‫ﻣﺼﺮ‬
‫‪ 93‬ﻳﺨﻬﻼﺭ‬ ‫‪ 17‬ﻗﺮﻻﺛﺄ‬ ‫ﺍﺑﻮ ﺭ‬ ‫ﻓﻜﺮﺓ ‪0000000000000000000000000000005‬‬

‫ﺩ ﺭ ﻻﺭ‬ ‫‪63‬‬ ‫ﺩ ﻳﺨﺎ ﺭ‬ ‫‪9‬‬ ‫ﺍ ﻟﻌﺮ ﺍﻕ‬
‫ﺩ ﻭ ﻻﺭ‬ ‫‪63‬‬ ‫‪ 1‬ﺩ ﻳﺎ ﺭ‬ ‫‪ 01‬ﻟﻜﻮﺏ‬ ‫ﺃﻧﺠﺎﺭ ‪000000000000000000000006‬ءﺍﻥﺏﻝﺍ‬
‫ﺩ ﻭ ﻻﺭ‬ ‫‪63‬‬ ‫‪ 21‬ﺭﻳﺎﻝ‬ ‫‪ 01‬ﻟﺮ ﺩﻳﺔ‬ ‫ﻣﻮﺿﻮﻉ ﺍﻟﻌﺪﺩ ‪0000000000000000000008‬‬
‫ﺩﻭﻻﺭ‬ ‫‪63‬‬ ‫‪ 21‬ﺩﺭﻣﻢ‬ ‫ﺩﻭﻟﺔ ﺍﻻﻁ ﺭﺍﺕ ﺍﻟﺮﺑﺔ‬
‫ﺛﺮﻭﻉ ﺍﻟﻌﺪﺩ ‪000000000000000000000041‬‬
‫ﺩ ﻭ ﻻﺭ‬ ‫‪63‬‬ ‫‪ 21‬ﺭ ﻳﺎﻝ‬ ‫‪ S‬ﻧﻄﺮ‬
‫ﺩ ﻭ ﻻﺭ‬ ‫‪63‬‬ ‫ﺩ ﻳﺎ ﺭ‬ ‫‪9‬‬ ‫ﺍ ﺑﺤﺮ ﻳﻦ‬
‫ﺍﻟﻤﺮﻛﺰ ﺍﻟﺜﻘﺎﻓﻲ ﻧﺒﺪﺍ‬
‫‪00000000000000000000081‬‬ ‫ﺷﺨﺼﻴﺔ ﺍﻟﻌﺪﺩ‬
‫ﺩﻭﻻﺭ‬ ‫‪63‬‬ ‫‪ 59‬ﻟﺮﻩ‬ ‫ﺳﻮﺭﻳﺎ‬
‫ﺩـ ﻭﻻﺭ‬ ‫‪63‬‬ ‫‪ 59‬ﻟﺮﺓ‬ ‫ﻟﺒﻨﺎﺩ‬ ‫ﻣﻘﺎﻝ ﻓﻰ ‪0000000000000000000000000062‬‬
‫ﺩﻭﻻﺭ‬ ‫‪63‬‬ ‫‪ 5‬ﺭ ‪ 3‬ﺩﻭﻻﺭ‬ ‫ﺍﻟﻌﺮﻟﻰ‬ ‫ﺍﻟﻤﻌﺮ‬ ‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﻤﻌﻤﺎﺭ ﻱ ﻓﻲ ﺍﻟﺔ ﺍﻟﺮﺑﻴﺔ‬
‫‪ 06‬ﺭ‬
‫ﺩﻭﻻ‬ ‫‪ 5‬ﺩﻭﻻﺭﺍﺕ‬ ‫ﺃﻭﺭﻭﻻ‬
‫ﺑﺨﻰ ﻣﺠﻤﻊ ﺍﻟﻤﺤﻢ ﺑﺎﻟﻜﻮﺕ ‪0000000000003‬‬
‫ﺩﻭ ﻻﺭ‬ ‫‪27‬‬ ‫ﺩ ﻭ ﻻﺭ ﺍﺕ‬ ‫‪6‬‬ ‫‪ 01‬ﻻﻣﺮ ﻳﻜﻴﻦ‬
‫ﻣﻘﺎﻝ ﻧﺪﻣﻰ ‪00000000000000000000053‬‬
‫ﻭ ‪ 3‬ﺩﻭﻻﺭ ﻭ ﺍﻟﻼﺩ‬ ‫ﻛﻤﺎ ﻳﻤﻜﻰ ﺇﺿﺎﺩﻩ ﻣﻠﻎ ‪ 5‬ﺭ ‪ 1‬ﺑﺨﻪ ﺩﺍﺣﻞ ﻣﺼﺮ‬
‫ﺍﻟﻬﺎﻛﻞ ﺍﻹﻧﺜﺎﺋﻪ ﺍﻟﻔﺮﺍﻋﻴﺔ‬
‫ﻟﻺﺭﺳﺎﻝ ﻁ ﻟﺒﺮﻳﺪ ﺍﻟﻤﺤﻞ‬ ‫ﺍﻟﻌﺮﻳﺔ ﻭﺍﻃﺎﺭﺝ‬
‫ﺍﻟﻠﻮﻥ ﻓﻲ ﺍﻟﻘﺮﺑﺔ ﺍﻟﻤﺼﺮﻟﺔ ‪00000000000000093‬‬
‫‪0000000000000000000000000024‬ءﺍﺭﻕﻝﺍﺩﻱﺭﺏ‬
‫ﺍ ﻟﻤﺮ ﺍ ﺳﻼﺕ‬ ‫ﺍﻟﻔﻨﺎء ﻓﻲ ﺑﻨﻰ ﻭﺯﺍﺭﺓ ﺍﻟﺸﺌﻮﻥ ﺍﻟﺤﺎﺭﺟﻴﺔ‬
‫ﻣﺸﺮﻭﻉ ﺍﻟﻄﺎﻟﺐ ‪000000000000000000054‬‬
‫ﻣﺼﺮ ﺍﻟﺤﺪﺑﺪﺓ‬ ‫ﺣﻤﻬﻮﺭﻳﺔ ﻣﺼﺮ ﺍﻟﻌﺮﻳﺔ‬ ‫ﺍﻟﻘﺎﻣﺮﻩ‬ ‫ﺍﻟﻜﻮﺕ ﻣﺸﺮﻭﻉ ﺍﻟﻌﺪﺩ ‪jç‬ﻉ ‪3‬‬ ‫‪ 01‬ﻟﻤﻮﺋﻞ ‪0000000000000000000000000000064‬‬
‫ﻣﻪ ﺍﻟﻜﺮﻯ‬ ‫‪ 49‬ﺵ ﺍﻟﻜﻰ‬
‫ﺳﺮﺍﻯ ﺍﻟﻔﻪ‬ ‫‪6‬‬ ‫ﻣﺮ‬ ‫ﺍﻟﻤﻘﺎﻝ ﺍﻹﻧﺠﻴﺰﻯ ‪00000000000000000000064‬‬
‫‪9 it‬‬
‫‪r 3 SAPC NU‬‬ ‫ﺗﻠﻚ‬
‫ﻛﺮﺓ‬
‫ﻋﺺﺭ ﻉ ﺩ ﺍﻳﺎﻗﻰ ﺍﻳﺰﻣﻴﻢ‬ ‫ﺍﻟﺒﺤﺚ ﻓﻰ ﺍﻟﺪﻇﺮﻳﺔ ﺍﻋﺤﺎﻝ ﺓ‬ ‫ﻗﻮﺍ‬
‫ﻓﻰ ﺟﺎﻣﻌﺔ ﻃﻮﻛﻮ ﺑﺎﻟﻴﺎﺑﺎﻥ ﺃﺻﺪﺭ ﺗﻴﺮﻯ ﺃﻟﻦ ﻗﺎﺋﻤﺔ ﺑﻤﺮﺍﺟﻊ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻹﺳﻼﻣﻴﺔ ﻓﻰ ﻛﻞ‬ ‫ﻛﻴﺮﺍ ﻣﺎ ﻛﻠﺘﻀﺎﺭﺏ ﺍﻵﺭﺍء ﻭﺍﻷﻓﻂ ﺭ ﺑﻴﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﻭﺍﻧﺤﻄﻄﻴﻦ ﺍﻟﻌﺮﺏ ﻓﻰ ﺗﻨﺎﻭﻟﻬﻢ‬
‫ﻭﺋﺘﻔﻤﻦ ﺍﻟﻘﺎﺋﻤﺔ ﺣﻮﺍﻟﻰ ‪ 081‬ﻣﺮﺟﻌﺎ‬ ‫ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﺑﻜﻞ ﺍﻟﻠﻐﺎﺕ ﺇﻻ ﺍﻟﻠﻐﻪ ﺍﻟﻌﺮﺑﻴﺔ‬ ‫ﻟﻠﺠﺮﺍﻧﺐ ﺍﻟﻌﻠﻤﻬﺔ ﻭﺍﻟﻔﻨﻴﺔ ﻓﻰ ﻣﺠﺎﻝ ﺍﻟﻌﻤﺎﺭﺓ ﻭﻛﻄﻴﻂ ﺍﻟﻤﺪﻥ ﻭﻣﻊ ﺇﻥ ﺇﺧﻼﻑ ﺍﻟﺮﺃﻯ‬
‫ﻣﺪﻋﻤﺔ ﺑﺎﻟﺘﺤﻠﻞ ﻭﺍﻟﻘﻮﻳﻢ ﻭﻓﻰ ﺟﺎﻣﻌﺔ ﺍﻟﺴﺮﺑﻮﻥ ﺑﺒﺎﺭﻳﺲ ﻳﻘﻮﻡ ﻃﺪﺑﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺒﻼ‬ ‫ﻭﺍﻟﻔﻜﺮ ﻳﺤﺒﺮ ﻇﺎﻫﺮﺓ ﺻﺢ ﺓ ﻓﻰ ﺍﻣﺠﻤﻌﺎﺕ ﺍﻳﻘﺪﻣﺔ ﺇﻻ ﺃﻥ ﻓﺄﻙ ﺩﺍﺋﻤﺎ ﻗﻮﺍﻋﺪ ﺃﺳﺎﺳﻴﺔ ﻻ‬
‫ﺑﺒﺤﺚ ﻭﺩﺭﺍﺳﺔ ﻣﻘﻮﻣﺎﺕ ﺍﻟﻤﺪﻥ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻝ ﻡ ﻻﻣﻴﺔ ﺗﻜﻮﻳﻨﺎ ﻭﺗﺤﻴﻄﻄﺎ ﺣﺎﻓﺮﺃ‬ ‫ﻗﻮﺍﻋﺪ ﺗﺮﺛﺒﻂ ﺑﺎﻟﻮﺍﻗﻊ ﺍﻟﻤﺤﻞ ﻟﻺﻧﺴﺎﻥ ﻭﺍﻟﺒﻴﺌﺔ ﻭﺍﻟﺠﺬﻭﺭ ﺍﻟﺤﻀﺎﺭﻳﺔ‬ ‫ﻳﺨﻠﻒ ﻋﻴﻬﺎ ﺃﺣﺪ‬
‫ﻭﻓﻰ ﺟﺎﻣﻌﺔ ﺑﺮﻟﻴﻦ ﺗﻘﻮﻡ ﺃﻗﺴﺎﻡ ﺍﻟﻌﻤﺎﺭﺓ ﺑﺪﺭﺍﺳﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻌﺮ ﺓ ﺍﻟﻤﺤﻠﻴﺔ ﺟﻤﺎ‬ ‫ﻭﻣﺴﻘﺒﻼ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺑﻌﺪ ﺫﻟﻚ ﺗﻲء ﺍﺧﻼﻓﺎﺕ ﺍﻵﺭﺍء ﻭﺍﻻﻓﻜﺎﺭ ﻓﻰ ﺍﺳﻠﻮﺏ ﺗﺎﻭﻝ ﺍ ﺑﺨﻮﺍﻧﺐ‬
‫ﻋﻦ ﺟﺬﻭﺭﻫﺎ ﺍﻟﺤﻀﺎﺭﻳﻪ ﻭﻣﻘﻮﻣﺎﻛﻬﺎ ﺍﻟﺒﻴﺌﻬﺔ ﻟﻰ ﻣﺤﺎﻭﻻﺕ ﻻﺱ ﺑﺎﻁ ﺻﻮﺭﻫﺎ ﺍﻟﻤﻌﺎﺻﺮﺓ ﺑﻴﺪﺍ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺍﻟﺘﺨﻂ ﻁ ﻭﻟﻜﻦ ﻳﻈﻬﺮ ﺃﻥ ﺗﻀﺎﺭﺏ ﺍﻵﺭﺍء ﻭﺍﻷﻓﻜﺎﺭ ﺑﻴﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬
‫ﻋﻦ ﺍﻟﺘﺄﻳﺮ ﺍﻟﺤﻀﺎﺭﻯ ﺍﻟﻐﺮﻓﻰ ﺍﻟﻤﻌﺎﺻﺮ ﻳﺄﻧﻰ ﺍﻟﻄﻠﺒﺔ ﺇﻟﻰ ﻣﺼﺮ ﻳﺠﻮﺑﻮﻥ ﻭﺍﺩ ﻛﺎ ﻭﺻﺤﺎﺭءﻛﺎ‬ ‫ﻭﺍﻟﻤﺨﻄﻄﻴﻦ ﺍﻟﻌﺮﺏ ﺗﻀﺎﺭﺏ ﺟﺬﺭﻯ ﻳﺒﺪﺃ ﻣﻦ ﺗﺤﺖ ﻫﺬﻩ ﺍﻟﻘﻮﺍﻋﺪ ﺍﻷﺳﺎﺳﻬﺔ ﻓﺎﻟﻔﻜﺮ‬
‫ﺟﻤﺄ ﻋﻦ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﻤﺤﻠﺔ ﻋﻦ ﺍﻟﻤﻌﺎ ﺭ ﺍﻟﺌﺨﻂ ﻃﻴﺔ ﻭﺍﻟﻤﻔﺎ ﺍﻟﺘﺼﻤﻤﺔ ﺍﻟﺘﻰ ﺗﺘﻨﺎﺳﺐ ﻣﻊ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻯ ﻭﺍﻟﺘﺨﻄﻄﻰ ﺍﻟﻌﺮﻓﻰ ﻻﻭﻭﺍﻝ ﻣﺮﻛﺒﻄﺎ ﺃﻭ ﺗﺎﺑﻌﺎ ﻓﻰ ﺃﺳﺎﺳﻪ ﺑﺎﻟﻔﻜﺮ ﺍﻟﻐﺮﻓﻰ ﻓﻰ ﻧﻈﺮﻳﺎﺗﻪ‬
‫ﺍﻟﻮﺍﻗﻊ ﺍﻟﻤﺤﻞ ﻭﺭ ﻣﺮﻛﺰ ﺑﻜﻮﺙ ﺍﻹﺳﻜﺎﻥ ﻓﻰ ﺭﻭﺗﺮﺩﺍﻡ ﺑﻬﻮﺑﺪﺍ ﻟﻨﻈﻢ ﺍﻟﺤﻠﻘﺎﺕ ﺍﻟﺪﺭﺍﺳﺔ‬ ‫ﻭﻓﻠﺴﻔﺎﺗﻪ ﻭﻣﻨﺠﺰﺍﺗﻪ ﻭﺍﺧﺘﺮﻋﺎﺗﻪ ﻓﺎﻟﻤﺮﺟﻊ ﺩﺍﺋﻤﺎ ﻟﻞ ﺏ ﺍﻟﻐﺮﻓﻰ ﻭﺍﺛﻞ ﺩﺍﺋﻤﺎ‬
‫ﻟﺪﺭﺍﺳﺔ ﺑﻜﻮﻧﺎﺕ ﺍﻹﺱ ﺙ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺗﺤﺪﻳﺪ ﺍﻟﻤﺘﻄﻠﺒﺎﺕ ﺍﻟﺴﻜﻨﻬﻪ ﻟﻔﺌﺎﺕ ﺍﻟﺪﺧﻞ‬ ‫ﻫﺬﺍ ﻓﻰ ﺍﻟﻮﻗﺖ ﺍﻟﺬﻯ ﻳﻌﺎﺭﺽ‬ ‫ﻭﺍﻹﺷﺎءﺓ ﺩﺍﺋﻤﺎ ﻟﻠﻤﺨﻄﻂ ﺍﻟﻐﺮﻓﻰ‬ ‫ﻟﻠﻤﻌﻤﺎﺭﻯ ﺍﻟﻐﺮﻑ‬
‫ﺍﺗﺤﻠﻔﺔ ﻭﻣﺎ ﻛﻄﻠﺒﻪ ﻣﻦ ﺃﻧﻤﺎﻁ ﺗﺼﻤﻴﻤﺔ ﻭﻃﺮﻕ ﺇﻧﺸﺎﺋﻴﺔ ﻭﻣﻌﺎﻭﻭ ﺗﺤﻴﻄﻄﻬﺔ ﻭﻣﻘﺎ ﺱ‬ ‫ﻓﻴﻪ ﺍﻟﻔﻜﺮ ﺍﻟﻐﺮﻓﻰ ﻧﻔﺴﻪ ﻫﺬﻩ ﺍﻳﺒﻤﺔ ﻭﻫﺬﺍ ﺍﻻﺭﺗﺎﻁ ﺑﻞ ﻭﺍﻛﻨﺮ ﻣﻦ ﺫﻟﻚ ﻳﺮء ﺍﻟﻔﻜﺮ‬
‫ﺗﺤﻴﻄﻴﻂ ﺓ ﻭﻣﻘﺎﻝ ﻯ ﺗﺼﻤﻴﻤﻴﺔ ﺛﻨﺎﺳﺐ ﻣﻊ ﻧﺤﻠﻒ ﺍﻟﺒﻴﺌﺎﺕ ﺍﻟﻤﺤﻠﺔ ﺍﻟﻤﺤﺮﺍﻭﻳﺔ ﻭﺍﻟﺰﺭﺍﻋﻴﺔ‬ ‫ﺍﻟﻐﺮﻓﻰ ﻟﻠﻌﺎﻟﻢ ﺍﻟﻌﺮﻓﻰ ﻱ ﺣﺚ ﻋﻦ ﺟﺬﻭﺭ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﻤﺤﻠﺔ ﺍﻟﺘﻰ ﻓﺸﻞ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﺩ ﻓﻰ ﻛﺸﻔﻬﺎ‬
‫ﻭﻳﺄﻧﻰ ﺍﻟﺪﺭﺍﺳﻮﻥ ﺇﻟﻰ ﻣﺼﺮ ﻓﻰ ﺯ ﺍﺭﺍﺕ ﻋﻠﻤﻴﺔ ﻋﻤﻠﺔ ﻳﻢ ﺛﻮﻥ ﺍﻟﻤﺸﻜﻠﺔ ﻓﻰ‬ ‫ﻭﺍﻟﺴﺎﺣﻠﺔ‬ ‫ﻭﺍﻇﻬﺎﺭﻫﺎ ﺍﻟﻌﺎﻟﻢ ﻭﻫﺬﻩ ﻧﺘﻬﺠﺔ ﻃﺒﻴﻌﻴﺔ ﻟﻠﻐﺰﻭﺓ ﺍﻟﺤﻀﺎﺭﻳﺔ ﺍﻟﺘﻰ ﺩﻫﺖ ﻛﻞ ﺃﻭﺟﻪ ﺍﻣﺤﻤﻊ‬
‫ﺣﻮﻥ ﻋﻦ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﺤﻠﺔ‬ ‫ﻓﻔﻰ ﺍﻷﺣﻴﺎء ﺍﻟﻔﻘﻴﺮﺓ ﻭﺍﻟﻤﻨﺎﻃﻖ ﺍﻧﺤﻠﻔﻪ‬ ‫ﺍﻟﻘﺮﻳﺔ ﻭﺍﻟﻤﺪﻩ ﻳﺔ‬ ‫ﺍﻷﺧﺮﻯ ﻭﺍﻣﺘﺪﺕ ﺁﻻﺭﻫﺎ ﺇﻟﻰ ﻛﻞ ﺍﻟﻄﺒﻘﺎﺕ ﻣﻦ ﺍﻟﺤﺎﻋﺔ ﻭﺍﻟﻌﺎﻣﺔ‬
‫ﻭﺍﻹﻣﻜﺎﺿﺎﺕ ﺍﻟﺬﺍﻗﻲ ﻓﻰ ﺍﻟﺒﻨﺎء ﻭﺍﻳﺸﻴﻴﺪ ﻭﻟﻰ ﻟﻨﺪﻥ ﻳﺘﻮﻟﻰ ﻣﺮﻛﺰ ﻣﻬﺮﺟﺎﻥ ﺍﻟﻔﻨﻮﻥ‬ ‫ﻭﺩﻏﺎﺭﺏ ﺍﻷﺭﺍء ﻭﺍﻷﻑ ﺭ ﺑﻴﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻦ ﻭﺍﻟﻤﺨﻄﻄﻴﻦ ﺍﻟﻌﺮﺏ ﻫﻮ ﺕ ﺟﺔ ﺣﻨﻤﻴﺔ ﻟﻌﺪﻡ‬
‫ﺍﻻﺳﻼﻣﻴﺔ ﻧﺸﺮ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻔﻨﺮﻥ ﺍﻹﺳﻼﻣﻴﺔ ﻓﻰ ﺟﻤﺎﻻﺕ ﻣﺤﺪﺩﺓ ﻣﺪﻋﻤﺔ ﺑﺎﻟﻜﻠﻤﺔ ﻭﺍﻟﻮﺳﻢ‬ ‫ﺗﻮﻓﺮ ﺍﻟﻤﻌﺎﻳﺮ ﻭﺍﻟﻤﻘﺎ ﺱ ﺍﻻﺳﺎﺳﺔ ﻓﻰ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﺜﺨﻄﻴﻂ ﻟﺬﻟﻚ ﺩﻇﻬﺮ ﺍﻷﺭﺍء ﻣﺘﻀﺎﺭﺑﺔ‬
‫ﻭﺍﻟﺼﻮﺭﺓ ﺃﻋﺪﻛﻬﺎ ﻣﺠﻤﻮﻋﺎﺕ ﻋﻤﻞ ﺟﻤﺔ ﺍﻧﻘﻠﺖ ﻣﻦ ﺍﻟﻤﻜﺐ ﺕ ﻭﺍﻟﻤﺮﺍﺟﻊ ﺍﻟﻰ ﺍﻟﻄﻌﺔ‬ ‫ﻣﺒﻨﻴﺔ ﻋﻞ ﺍﻟﺘﺼﺆﺭ ﻭﺍﻻﺗﺠﻤﺎﺩ ﺍﻟﺚ ﺧﺼﻰ ﻭﻟﺶ ﻋﻞ ﺃﺳﺎﺱ ﺍﻟﺒﺤﺚ‬ ‫ﺍﺳﺎﺳﻴﺎﻙ‬
‫ﺗﺮﻓﻊ ﺍﻟﻤﺒﺎﻧﻰ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺗﺼﻮﺭ ﻋﻨﺎﺻﺮﻫﺎ ﻭﺗﻔﺎﺻﻴﻠﻬﺎ ﻟﺘﻘﺪﻡ ﻟﻠﻔﻜﺮ ﺍﻟﻌﺎﻟﻤﻰ ﻧﻤﺎﺫﺝ ﺣﻴﺔ ﻣﻦ‬ ‫ﺍﻟﻤﻮﻓﻮﻋﻰ ﻟﺬﻟﻚ ﺗﻔﺘﻘﺮ ﺍﻟﻤﻜﺒﺔ ﺍﻟﻤﻌﻤﺎﺭ ﺓ ﻭﺍﻟﺘﺨﻂ ﻃﻴﺔ ﺍﻟﻤﺮﺑﻴﺔ ﺇﻟﻰ ﺍﻟﻔﻜﺮ ﺍﻟﻌﺮﻓﻰ‬
‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﺤﻀﺎﺭﻯ ﺍﻹﺳﻼﻣﻰ ﻟﻰ ﻣﺼﺮ ﻓﻰ ﺇﻳﺮﺍﻥ ﻟﻰ ﺍﻟﻴﻤﻦ ﻭﻟﻰ ﻛﻞ ﺃﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ‬ ‫ﻭﻳﻌﻮﺩ ﺫﻟﻚ ﺍﻟﻰ ﻗﻤﻮﺭ ﻓﻰ ﺍﻟﻔﻜﺮ ﻣﻦ ﻧﺎﺡ ﺓ‬ ‫ﺍﻟﻤﻜﻮﺏ ﺍﻟﺬﻯ ﺣﺚ ﻓﻰ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﻤﺤﻠﻴﺔ‬
‫ﻭﻓﻰ ﺑﺮﺍﺩﻓﻮﺭ ﺑﺈﻧﺠﻠﺘﺮﺍ ﺗﺒﺪﺃ ﻣﺪﺭﺳﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻓﻰ ﺇﻧﺸﺎء ﻗﺴﻢ‬ ‫ﺍﻹﺳﻼﻣﻰ ﺍﻟﻤﻤﺘﺪ ﺍﻷﻃﺮﺍﻑ‬ ‫ﻭﻗﺼﻮﺭ ﻓﻰ ﺍﻟﻤﺎﺩﺓ ﻣﻦ ﻧﺎﺣﻌﺔ ﺃﺧﺮﻯ ﺑﻞ ﻫﻮ ﻗﺼﻮﺭ ﺣﻀﺎﺭﻯ ﻭﺛﻘﺎﻓﻰ ﻭﻣﺰﺫﻁ ﻩ ﺍﻟﻈﺎﻫﺮﺓ‬
‫ﻟﻠﻌﻤﺎﺭﺓ ﺍﻹﺳﻼﻣﻴﺔ ﺩﺳﺘﻘﻄﺐ ﻟﻪ ﺍﻟﺪﺭﺍﺳﻴﻦ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻭﺍﻃﺎﺭﺝ ﺑﺎﻹﺿﺎﻓﺔ ﺍﻟﻰ ﻧﺸﺎﻁ‬ ‫ﻓﻰ ﺍﻟﻤﻘﺎﻡ ﺍﻷﻭﻝ ﺍﻟﻰ ﺍﻟﺠﻤﺎﻋﺎﺕ ﻭﻣﺮﺍﻛﺰ ﺍﻟﺒﺤﻮﺙ ﺣﻴﺚ ﻣﻨﺎﺑﻊ ﺍﻟﻔﻜﻮ ﻭﺍﻻﺑﺘﻜﺎﺭ ﻭﺍﻟﺘﻘﺪﻡ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻤﺆﺳﺴﺎﺕ ﺍﻟﻌﻠﻤﻬﺔ ﻭﺍﻟﺜﻘﺎﻓﻌﺔ ﺍﻟﺘﻰ ﺗﺴﻰ ﺇﻟﻰ ﺇﺡ ﺍء ﺍﻟﺘﺮﺍﺙ ﺍﻹﺳﻼﻣﻰ ﻓﻰ‬ ‫ﺭﺟﻤﻌﻬﺎ ﻣﺤﺒﻮﺳﺔ ﻋﻦ‬ ‫ﺍﻟﻌﻠﻤﻰ ﺛﻢ ﺍﻟﻌﻠﻤﺎء ﻭﺍﻃﺒﺮﺍء ﺣﻌﺚ ﺍﻟﻨﺠﺮﺑﺔ ﻭﺍﻃﺒﺮﺓ ﻭﺍﻟﻤﻤﺎﺭﺳﺔ‬
‫ﺃﻭ ﻛﻠﻌﻤﻞ ﻓﻰ ﻣﺠﺎﻝ ﺑﺤﻮﺙ ﺍﻹﺳﻜﺎﻥ ﻭﺍﻟﺘﺨﻄﻴﻂ ﻓﻰ ﺍﻟﺪﻭﻝ‬ ‫ﺍﻟﺘﺨﻄﻂ ﻭﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﻌﺎﺻﺮﺓ‬ ‫ﻋﻦ ﺍﻟﻨﺠﺪﻳﺪ ﺑﺘﺤﺮﻳﻚ ﺍﻟﻔﻜﺮ‬ ‫ﻋﻦ ﺍﻟﻔﺎﻋﻞ ﻣﻊ ﻣﺎﻳﻘﺎﻡ ﺃﻭ ﻳﻨﻔﺬ‬ ‫ﺍﻟﺘﺎﻟﻴﻒ ﻭﺍﻟﻨﺸﺮ‬
‫ﺍﻟﺘﺎﻣﻴﺔ‬
‫ﺍﻟﻨﻈﺮﻱ ﺍﻟﻤﺤﻠﻴﺔ ﺍﺑﺎﺑﻌﺔ ﻣﻦ ﺍﻟﻤﻘﺆﻣﺎﺕ ﺍﻟﺤﻀﺎﺭﻳﺔ ﻭﺍﻟﺒﻴﺔ‬
‫ﻟﻠﻮﺻﻮﻝ ﺇﻟﻰ ﺟﺬﻭﺭ ﺓ‬
‫ﺇﻥ ﻗﻮﺍﻋﺪ ﺍﻟﺒﺤﺚ ﻟﻰ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﻤﺤﻠﺔ ﻟﻰ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﺘﺨﻄﻴﻂ ﺗﺒﻨﻰ ﻟﻰ ﺍﻟﺠﺎﻣﻌﺎﺕ‬ ‫ﻭﺍﻟﺼﻮﺭﺓ ﻭﺍﺿﺤﺔ ﺑﻴﻦ ﺍﻹﺗﺎﺝ ﺍﻟﻌﻠﻤﻰ ﻟﻰ ﺍﻟﺪﻭﻝ ﺍﻳﻘﺪﻣﺔ ﻭﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ ﻧﻜﻢ ﻣﻦ‬
‫ﻭﻣﺮﺍﻛﺰ ﺍﻟﺒﺤﻮﺙ ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺑﺪﺓ ﺍ ﺑﺎﻟﻤﻜﻮﻧﺎﺕ ﺣﻰ ﻛﺼﻞ ﺇﻟﻰ ﺍﻟﻜﻠﻤﺎﺕ ﺑﺎﻟﻤﻌﺎﻳﻴﺮ‬ ‫ﺍﻟﻜﺐ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺍﻟﺘﺨﻂ ﻃﻴﺔ ﺗﺨﺮﺝ ﺳﻨﻮﻳﺎ ﻣﻦ ﻣﻄﺎﺑﻌﻬﺎ ﺃﻭ ﺛﺼﺪﺭ ﻋﻦ ﺩﻭﺭ ﺍﻟﻨﺸﺮ ﻳﺨﻬﺎ‬
‫ﺑﺎﻟﻌﻤﺎﻟﻸ ﻭﻣﻌﺪﺍﺕ‬ ‫ﺑﻤﺎﺩﺓ ﺍﻟﺒﻨﺎء ﻭﻋﻨﺎﺻﺮ ﺍﻹﻧﺜﺎء‬ ‫ﺍﻟﺘﺨﻄﻴﻄﻬﺔ ﻭﺍﻟﻤﻘﺎ ﺱ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﻡ ﻣﻦ ﺍﻟﻤﺠﻼﺕ ﻭﺍﺑﺸﺮﺍﺕ ﻭﻡ ﻣﻦ ﺍﻟﻤﻘﺎﻻﺕ ﻭﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺘﻰ ﻳﻨﺸﺮ ﻋﻬﺎ ﺑﺎﻟﺘﺤﻠﻴﻞ ﺃﻭ‬
‫ﺑﻤﻨﺎﺳﺒﺔ ﺍﻟﻤﻮﺍﺩ ﺍﻟﻤﺴﺘﻮﺭﺩﺓ ﻟﻼﺱﺣﻤﺎﻝ‬ ‫ﺑﺎﻷﺳﻌﺎﺭ ﻭﻯ ﻟﻴﻒ ﺍﻟﺒﻨﺎء‬ ‫ﺍﻹﻧﺘﺎﺝ‬ ‫ﺍﻟﻘﺪﻳﻢ ﺛﻢ ﻛﻴﻒ ﻳﺘﻮ ﺍﻟﻰ ﻧﺸﺮ ﺍﻟﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻟﻰ ﺍﻻﺳﻜﺎﻥ ﻭﻣﻮﺍﺩ ﺍﻟﺒﻨﺎء ﻭﺍﻟﻠﻮﺍﺋﺢ‬
‫ﻭﺑﺨﺎﺳﺒﺔ ﻃﺮﻕ ﺍﻹﻧﺸﺎء ﺍﻟﻤﺴﺘﻮﺭﺩﺓ ﻟﻠﻈﺮﻭﻑ ﺍﻟﻤﺤﻠﻴﺔ ﻭﺍﻳﺸﻐﻴﻞ ﻭﺍﻟﺼﻴﺎﻧﺔ‬ ‫ﺍﻟﻤﺤﻠﻰ‬ ‫ﻭﺍﻟﺘﺸﺮﻳﻌﺎﺕ ﻟﻰ ﺩﻭﺭ ﺍﻟﻨﺸﺮ ﺍﻟﺮﻣﻤﻴﺔ ﺍﻟﻤﻨﺘﺸﺮﺓ ﻟﻰ ﻛﻞ ﻣﻜﺎﻥ ﺛﻢ ﺭﺑﻂ ﺑﻴﻦ ﺍﻟﻨﻈﺮﻳﺔ ﺍﻟﺒﺢ ﺓ‬
‫ﻭﻣﺘﻄﺒﺎﺕ ﺍﻷﻣﻦ ﻭﺍﻷﻣﺎﻥ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻢ ﻭﺍﻹﻧﺸﺎء ﻭﺗﺨﺮﺝ ﻛﻠﻬﺎ ﻓﻲ ﺟﻤﺐ ﺍﺕ ﺗﺼﻞ ﺇﻟﻰ‬ ‫ﻭﺍﻟﻮﺍﻗﻊ ﺍﻟﺘﻄﺠﻘﻰ ﻟﻰ ﺍﻟﺒﻨﺎء ﻭﺍﻳﺜﺤﺪ ﻭﻋﻼﻗﺔ ﻗﻮﻳﺔ ﺑﻴﻦ ﻣﺮﺍﻛﺰ ﺍﻟﺒﺤﻮﺙ ﻭﻣﺮﺍﻛﺰ‬
‫ﻛﻞ ﺍﻷﻳﺪﻯ ﺍﻟﻔﻨﻴﺔ ﺑﻤﺴﺘﻮﻳﺎﺗﻬﺎ ﺍﻧﺤﻠﻔﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﺘﺄﻟﻴﻒ ﻭﺍﻟﻨﺸﺮ ﻋﻦ ﺍﻟﺨﺒﺮﺍﺕ‬ ‫ﻭﺗﺤﺪﻳﺪ ﻟﻤﻨﺎﻫﺞ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﺍﻻﻧﺘﺎﺝ ﻭﺛﻌﺮﻳﻒ ﺑﺄﺻﻮﻝ ﺍﺑﺤﺚ ﻭﻣﻘﻮﻣﺎﺗﻪ‬
‫ﺍﻟﻤﻜﺴﺒﺔ ﺑﺎﻟﻨﺠﺎﺭﺏ ﻭﺍﻟﻤﻤﺎﺭﺳﺔ‬ ‫ﻭﻛﻠﻘﺪﻳﺮ ﻣﺴﺘﻮﻯ ﺍﺑﺤﺚ ﺍﻟﻌﻠﻤﻰ ﻟﻠﻤﺎﺟﺴﺘﻴﺮ ﻭﺍﻟﺪﻛﻮﺭﺍﻩ ﻭﻣﺤﺪﺩﺍﺛﻪ‬ ‫ﻭﺍﻟﺘﺨﻄﻄﺔ‬
‫ﻭﺗﺤﻠﻴﻠﻬﺎ ﻭﻋﺮﺿﻬﺎ ﺛﻢ ﺇﺿﺎﻓﺔ ﺍﻟﺠﺪﻳﺪ ﻋﻞ ﺍﻟﻌﻠﻢ ﺍﻟﻘﺎﻛﻢ‬ ‫ﺑﻬﺪﻑ ﺗﺠﻢ ﻉ ﺍﻟﺒﻬﺎﻧﺎﺕ‬
‫ﻫﻨﺎ ﻓﻘﻂ ﻳﻜﻮﻥ ﺍﺧﻼﻑ ﺍﻟﻔﻜﺮ ﻭﺍﻟﺮﺃﻯ ﺑﻨﻬﺎ ﻋﻠﻰ ﻗﺎﻋﺪﺓ ﺳﻠﻤﺔ ﻣﻦ ﺍﻷﺳﺎﺳﻴﺎﺕ‬ ‫ﻣﻊ ﺇﺣﺼﺎﺋﻴﺔ ﺗﺘﻀﺨﻢ ﺑﻬﺎ ﺍﺟﻤﻠﺪﺍﺕ ﻟﻠﻔﺨﺮ‬
‫ﻭﻝ ﺱ ﺗﺮﺩـ ﻳﺪﺍ ﻃﻠﻔﻴﺎﺕ ﺗﺎﺭﻳﺨﻴﻪ ﺃﻭ ﻟﻮﻣﺎﺕ‬
‫ﻫﻨﺎ ﻓﻘﻂ ﻧﺴﺘﻄﻊ ﺃﻥ ﻧﺪﺧﻞ ﺣﻴﺰ ﺍﻟﺪﻭﻝ ﺍﻳﻘﺪﻣﺔ‬ ‫ﺍﻟﻌﻠﺼﺔ ﻭﺍﻟﻔﻨﻴﺔ‬ ‫ﺛﻢ ﺗﺘﻜﺮﺭ ﻧﻔﻰ ﺍﻟﺼﻮﺭﺓ ﺑﻨﻔﺲ ﺍﻧﺤﻮﻯ ﻟﻘﺼﻮﺭ ﻓﻰ ﺍﻟﻨﺸﺮ ﻭﺍﻹﻋﻼﻡ‬ ‫ﻭﺍﺑﺎﻫﺎﺓ‬
‫ﺍﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﻧﻘﺺ ﺍﻟﻤﺴﺎﻛﻦ ﺿﻤﻦ ﻣﺸﺮﻭﻉ ﺃﻛﺒﺮ ﻟﻠﺘﻨﻤﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬

‫ﺳﻮﻑ ﻳﺴﺘﻐﺮﻕ ﺍﻧﺠﺎﺯﻩ ﺃﺭﺑﻊ ﺳﻨﻮﺍﺕ ﻛﻤﺎ ﺗﺒﻠﻎ ﺍﻟﺘﻜﻠﻔﺔ‬
‫ﺍﻹﺟﻤﺎﻟﻴﺔ ﻟﻠﻤﺸﺮﻭﻉ ‪ 711‬ﻣﻠﻴﻮﻥ ﺭﻳﺎﻝ ﻳﻤﻨﻰ ﻭﺫﻟﻚ‬
‫ﺃﺧﺒﺎﺭﺍﻟﺒﻨﺎء‬
‫ﺑﺘﻤﻮﻳﻞ ﻣﺸﺘﺮﻙ ﺗﺴﺎﻫﻢ ﻓﻲ ﺍﻟﺤﻜﻮﻣﺔ ﺍﻟﻴﻤﻨﻴﺔ ﺑﻨﺴﺒﺔ ‪54‬‬
‫ﻭﻳﻨﻘﺴﻢ ﺍﻟﻤﺸﺮﻭﻉ ﺇﻟﻰ‬ ‫ﻭﺍﻟﺒﻨﻚ ﺍﻟﺪﻭﻟﻲ ﺑﻨﺴﺒﺔ ‪55‬‬
‫ﻣﺮﺣﻠﺘﻴﻦ ﻭ ﺧﺼﺺ ﺍﻟﻤﺸﺮﻭﻉ ﺍﻷﻭﻝ ﻟﻠﺘﻨﻤﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬ ‫ﻟﻠﻘﺎﻫﺮﺓ ﺍﻟﻜﺒﺮﻯ ﻳﻌﻤﻞ ﻋﻠﻰ ﺭﻓﻊ ﻛﻔﺎﻳﺔ ﺍﻟﻤﺮﺍﻓﻖ ﻓﻰ‬
‫ﻭﺍﻟﺬﻱ ﺗﻤﻮﻟﻪ ﻭﻛﺎﻟﺔ ﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺪﻭﻟﻴﺔ ﻹﻗﺎﻣﺔ ﺍﻟﻤﺴﺎﻛﻦ‬ ‫ﺑﻌﺾ ﺍﻷﺣﻴﺎء ﺍﻟﺴﻜﻨﻴﺔ ﺩﺍﺧﻞ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺇﻧﺸﺎء‬ ‫ﻣﺼﺮ‬
‫ﺍﻹﻗﺘﺼﺎﺩﻳﺔ ﻭﻣﻦ ﺃﻫﺪﺍﻓﻪ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺗﻮﻓﻴﺮ ﺍﻟﻌﺪﺩ ﺍﻟﻜﺎﻓﻰ‬ ‫ﻣﺠﺘﻤﻌﺎﺕ ﻋﻤﺮﺍﻧﻴﺔ ﺻﻨﺎﻋﻴﺔ ﺟﺪﻳﺪﺓ ﺧﺎﺭﺝ ﺍﻟﻘﺎﻫﺮﺓ ﺗﻀﻢ‬
‫ﻣﻦ ﺍﻟﻤﺴﺎﻛﻦ ﺑﺴﺮﻋﺔ ﻭﺑﺄﺳﻌﺎﺭ ﺭﺧﻴﺼﺔ ﺣﺘﻰ ﻳﻤﻜﻦ‬ ‫ﺍﻟﺼﻨﺎﻋﺎﺕ ﺍﻟﻤﻠﻮﺛﺔ ﻟﻠﺒﻴﺌﺔ ﻣﺜﻞ ﺍﻟﻤﺤﺎﺟﺮ ﻭﺍﻟﻘﻤﺎﺋﻦ ﻭﻭﺭﺵ‬ ‫ﺑﺪﺃﺕ ﺍﺟﺘﻤﺎﻋﺎﺕ ﺍﻟﻠﺠﻨﺔ ﺍﻟﺪﻭﻟﻴﺔ ﻟﺘﻄﻮﻳﺮ ﺍﻟﻤﺮﺣﻠﺔ‬
‫ﺍﻟﺴﻴﻄﺮﺓ ﻋﻠﻰ ﺍﻷﺳﻌﺎﺭ‬ ‫ﺍﻟﺴﻤﻜﺮﺓ ﻭﺍﻟﺪﻭﻛﻮ ﻛﺬﻟﻚ ﻳﺸﻤﻞ ﺑﺮﻧﺎﻣﺞ ﺍﻟﺘﻌﺎﻭﻥ‬ ‫ﺍﻟﺜﺎﻧﻴﺔ ﻭﺍﻷﺧﻴﺮﺓ ﻣﻦ ﺍﻟﻤﺘﺤﻒ ﺍﻟﻤﺼﺮﻯ ﻭﺍﻟﺘﻰ ﻳﺘﻢ ﺧﻼﻟﻬﺎ‬
‫ﺍﻧﺸﺎء ﻃﺮﻳﻖ ﺩﺍﺋﺮﻯ ﺣﻮﻝ ﺍﻟﻘﺎﻫﺮﺓ ﺍﻟﻜﺒﺮﻯ‬ ‫ﻭﺿﻊ ﺍﻟﻤﺸﺮﻭﻉ ﺍﻟﻨﻬﺎﺋﻰ ﻟﻌﻠﻤﻴﺔ ﺍﻟﺘﻄﻮﻳﺮ ﺍﻟﺸﺎﻣﻠﺔ‬
‫ﻟﻠﻤﺘﺤﻒ ﺣﻴﺚ ﺳﻴﺘﻢ ﻋﺮﺿﻬﺎ ﻋﻠﻰ ﺍﻟﺴﻴﺪ ﻭﺯﻳﺮ ﺍﻟﺜﻘﺎﻓﺔ‬
‫ﻳﺒﺪﺃ ﻓﻰ ﺃﻭﺍﺋﻞ ﺍﻟﻌﺎﻡ ﺍﻟﻘﺎﺩﻡ ﺑﻨﺎء ﺃﺭﺑﻌﺔ ﺃﺣﻴﺎء ﺳﻜﻨﻴﺔ‬
‫ﺍ ﻷﺭﺩﻥ‬ ‫ﺑﻤﺪﻳﻨﺔ ﺍﻟﻌﺒﻮﺭ ﺗﺴﺘﻮﻋﺐ ‪ 21‬ﺃﻟﻒ ﻧﺴﻤﺔ ﻭﺗﻘﻊ ﻣﺪﻳﻨﺔ‬
‫ﻭﺗﺴﺘﻐﺮﻕ‬ ‫ﻹﻗﺮﺍﺭﻫﺎ ﺗﻤﻬﻴﺪﺍ ﻟﺒﺪء ﻋﻤﻠﻴﺎﺕ ﺍﻟﺘﻨﻔﻴﺬ‬
‫ﺍﻧﺘﻬﺖ ﺑﻠﺪﻳﺔ ﻣﺪﻳﻨﺔ ﺻﻮﻳﻠﺢ ﻣﺆﺧﺮﺍ ﻣﻦ ﺍﻋﺪﺍﺩ‬
‫ﻋﻤﻠﻴﺔ ﺍﻟﺘﻄﻮﻳﺮ ﻋﺎﻣﻴﻦ ﻭﺗﺒﺪﺃ ﻣﻦ ﺃﻭﻝ ﻳﻨﺎﻳﺮ ﺍﻟﻘﺎﺩﻡ‬
‫ﺑﻠﺒﻴﺲ ﺍﻟﺼﺤﺮﺍﻭﻯ‬ ‫ﺍﻟﻌﺒﻮﺭ ﻋﻠﻰ ﻃﺮﻳﻖ ﺍﻟﻘﺎﻫﺮﺓ‬
‫ﺍﻟﺘﺼﻤﻴﻤﺎﺕ ﺍﻟﻨﻬﺎﺋﻴﺔ ﻟﻤﺸﺮﻭﻉ ﻣﺮﻛﺰ ﺻﻮﻳﻠﺢ ﺍﻟﺘﺠﺎﺭﻱ‬ ‫ﻭﺗﺒﻠﻎ ﺗﻜﻠﻔﺔ ﻣﺸﺮﻭﻉ ﺍﻟﺘﻄﻮﻳﺮ ‪ 21‬ﻣﻠﻴﻮﻥ ﺟﻨﻴﻪ‬
‫ﺣﻴﺚ ﻳﺠﺮﻯ ﺣﺎﻟﻴﺎ ﻭﺿﻊ ﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﺘﻔﺼﻴﻠﻰ ﻟﻬﺬﻩ‬
‫ﻭﻫﻮ ﻣﻦ ﺃﺣﺪﺙ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﺘﻰ ﺗﻨﻔﺬﻫﺎ ﺍﻟﺒﻠﺪﻳﺔ ﻓﻲ ﻣﺮﻛﺰ‬ ‫ﺍﻷﺣﻴﺎء ﺍﻟﺠﺪﻳﺪﺓ ﻭﺩﺭﺍﺳﺔ ﻧﻤﺎﺫﺝ ﺍﻟﻤﺴﺎﻛﻦ ﺍﻟﺘﻰ ﺗﻘﺎﻡ‬ ‫ﻛﻤﺎ ﺗﺸﻤﻞ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻄﻮﻳﺮ ﺇﻧﺸﺎء ﻣﺮﻛﺰ ﺛﻘﺎﻓﻰ‬
‫ﺍﻟﻤﺪﻳﻨﺔ ﻭﻣﻦ ﺍﻟﻤﻘﺮﺭ ﺇﻗﺎﻣﺔ ﺍﻟﻤﺸﺮﻭﻉ ﻋﻠﻰ ﻗﻄﻌﺔ ﺃﺭﺽ‬ ‫ﺩﺍﺧﻞ ﺗﻠﻚ ﺍﻷﺣﻴﺎء ﺳﻮﺍء ﻣﻦ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﻔﺎﺧﺮ ﺃﻭ‬ ‫ﻭﺗﻌﻠﻤﻴﻰ ﻟﺼﻴﺎﻧﺔ ﻭﺣﺮﺍﺳﺔ ﻭﺗﺮﻣﻴﻢ ﺍﻵﺛﺎﺭ ﺍﻟﻰ ﺟﺎﻧﺐ‬
‫ﻣﺴﺎﺣﺘﻬﺎ ‪ 0562‬ﻣﺘﺮﺍ ﻣﺮﺑﻌﺎ ﻭﻳﺘﻜﻮﻥ ﺍﻟﻤﺮﻛﺰ ﻣﻦ ﻣﺒﻨﻰ‬ ‫ﺍﻟﻤﺘﻮﺳﻂ ﺃﻭ ﺍﻻﻗﺘﺼﺎﺩﻯ ﻭﺳﻮﻑ ﻳﺸﻤﻞ ﻛﻞ ﺣﻰ ﻋﻠﻰ‬ ‫ﻣﺮﻛﺰ ﺛﻘﺎﻓﻰ ﻟﻠﻄﻔﻞ ﻟﻠﺘﻮﻋﻴﺔ ﺑﺎﻵﺛﺎﺭ ﻭﺍﻟﺤﻀﺎﺭﺓ‬
‫ﻣﻦ ‪ 01‬ﻃﻮﺍﺑﻖ ﻣﻨﻬﺎ ‪ 4‬ﻃﻮﺍﺑﻖ ﻣﺨﺼﺼﺔ ﻻﻧﺘﻈﺎﺭ‬ ‫ﺍﺭﺑﻊ ﻣﺠﺎﻭﺭﺍﺕ ﺳﻜﻨﻴﺔ ﺗﻀﻢ ﻛﻞ ﻣﻨﻬﺎ ﻋﺪﺩﺍ ﻣﻦ‬ ‫ﺍﻟﻤﺼﺮﻳﺔ ﻭﻣﻌﺎﻣﻞ ﻟﻠﺘﺼﻮﻳﺮ ﻭﻭﺭﺵ ﻓﻨﻴﺔ ﻭﻣﻜﺘﺒﺔ‬
‫ﺍﻟﺴﻴﺎﺭﺍﺕ ﻛﻤﺎ ﻳﺤﺘﻮﻯ ﺍﻟﺪﻭﺭ ﺍﻻﺭﺿﻰ ﻋﻠﻰ ‪ 82‬ﻣﺨﺰﻧﺎ‬ ‫ﺍﻟﻮﺣﺪﺍﺕ ﻳﺘﺮﺍﻭﺡ ﻣﺎ ﺑﻴﻦ ‪ 5‬ﺇﻟﻰ ‪ 7‬ﺁﻻﻑ ﻭﺣﺪﺓ‬ ‫ﺷﺎﻣﻠﺔ ﺗﺸﻜﻞ ﺛﻼﺛﺔ ﺃﺿﻌﺎﻑ ﺣﺠﻢ ﺍﻟﻤﻜﺘﺒﺔ ﺍﻟﺤﺎﻟﻴﺔ‬
‫ﻭﻳﻀﻢ ﺍﻟﻤﺒﻨﻰ ﻗﺎﻋﺔ ﻛﺒﺮﻯ ﻟﻼﺟﺘﻤﺎﻋﺎﺕ ﻭﺗﻘﺪﺭ‬ ‫ﺑﺎﻻﺿﺎﻓﺔ ﺍﻟﻰ ﺗﻮﻓﻴﺮ ﺍﺣﺘﻴﺎﺟﺎﺗﻬﺎ ﻣﻦ ﺍﻟﺨﺪﻣﺎﺕ‬ ‫ﻋﻼﻭﺓ ﻋﻠﻰ ﺍﺩﺧﺎﻝ ﻭﺳﺎﺋﻞ ﺍﻹﻃﻔﺎء ﻭﺍﻹﻧﺬﺍﺭ ﺍﻵﻟﻰ‬
‫ﺍﻟﺘﻜﺎﻟﻴﻒ ﺍﻻﺟﻤﺎﻟﻴﺔ ﻟﻠﻤﺸﺮﻭﻉ ﺑﻤﺒﻠﻎ ‪ 2 002 000‬ﺩﻳﻨﺎﺭ‬ ‫ﺍﻟﺤﺪﻳﺜﺔ ﻭﺍﺳﺘﺨﺪﺍﻡ ﺃﺣﺪﺙ ﺍﻟﻮﺳﺎﺋﻞ ﻓﻰ ﻣﺠﺎﻝ ﺣﺮﺍﺳﺔ‬
‫ﺃﺭﺩﻧﻰ ﺣﻴﺚ ﺣﺼﻠﺖ ﺍﻟﺒﻠﺪﻳﻪ ﻋﻠﻰ ﻗﺮﺽ ﻗﻴﻤﺘﺔ‬ ‫ﻣﻨﻈﻤﺔ ﺍﻟﻤﺪﻥ ﺍﻟﻌﺮﺑﻴﺔ‬ ‫ﻭﺃﻣﻦ ﺍﻵﺛﺎﺭ‬
‫‪ 003 000‬ﺩﻳﻨﺎﺭ ﺃﺭﺩﻧﻰ ﻣﻦ ﻣﻨﻈﻤﺔ ﺍﻟﻤﺪﻥ ﺍﻟﻌﺮﺑﻴﺔ ﻭﻋﻠﻰ‬ ‫ﺍﻓﺘﺘﺢ ﺍﻟﺴﻴﺪ ﻣﺤﺎﻓﻆ ﺷﻤﺎﻝ ﺳﻴﻨﺎء ﻣﺨﻴﻤﺎ ﺳﻴﺎﺣﻴﺎ ﻋﻠﻰ‬
‫ﺃﻋﻠﻨﺖ ﻣﻨﻈﻤﺔ ﺍﻟﻤﺪﻥ ﺍﻟﻌﺮﺑﻴﺔ ﻋﻦ ﺍﻟﺠﻮﺍﺋﺰ‬
‫ﻗﺮﺽ ﺁﺧﺮ ﻗﻴﻤﺘﻪ ‪ 003 500‬ﺩﻳﻨﺎﺭ ﻣﻦ ﺑﻨﻚ ﺗﻨﻤﻴﺔ ﺍﻟﻤﺪﻥ‬ ‫ﺷﺎﻃﻰء ﻣﺪﻳﻨﺔ ﺍﻟﺸﻴﺦ ﺯﻭﻳﺪ ﻳﻀﻢ ‪ 05‬ﺳﺮﻳﺮﺍ ﻭﺍﻟﻤﺨﻴﻢ‬
‫ﻭﺍﻟﻘﺮﻯ ﻓﻰ ﺍﻻﺭﺩﻥ ﻣﻦ ﺃﺟﻞ ﺗﻨﻔﻴﺬ ﺍﻟﻤﺸﺮﻭﻉ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﺜﻼﺛﺔ ﻟﻌﺎﻡ ‪ 5891‬ﻭﺍﻟﺘﻰ ﺗﻤﻨﺤﻬﺎ ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﺬﻯ ﺑﻠﻐﺖ ﺗﻜﺎﻟﻴﻔﻪ ‪ 01‬ﺍﻵﻑ ﺟﻨﻴﻪ ﻣﺰﻭﺩ ﺑﺎﻟﻜﻬﺮﺑﺎء‬
‫ﻷﺣﺴﻦ ﻣﺸﺮﻭﻉ ﻣﻌﻤﺎﺭﻯ ﻧﻔﺬ ﻓﻰ ﻣﺪﻳﻨﺔ ﻋﺮﺑﻴﺔ‬ ‫ﻭﺍﻟﻤﻴﺎﻩ ﺍﻟﻨﻘﻴﺔ ﻭﻛﺎﻓﻴﺘﻴﺮﻳﺎ ﻛﻤﺎ ﻳﺒﺪﺃ ﺍﻟﻌﻤﻞ ﺧﻼﻝ ﺍﻟﺸﻬﺮ‬
‫ﻭﻳﻤﺜﻞ ﻣﺮﻓﻘﺎ ﻋﺎﻣﺎ ﺃﻭ ﻋﻼﻣﺔ ﻣﻤﻴﺰﺓ ﻭﺍﻟﺜﺎﻧﻴﺔ ﻟﻤﺪﻳﻨﺔ‬ ‫ﺍﻟﻘﺎﺩﻡ ﻓﻰ ﺇﻗﺎﻣﺔ ‪ 02‬ﺷﺎﻟﻴﻬﺎ ﻋﻠﻰ ﺍﻟﺸﺎﻃﻰء ﺑﺘﻜﺎﻟﻴﻒ‬
‫ﺗﺮﻛﻴﺎ‬ ‫ﻋﺮﺑﻴﺔ ﺗﻘﺪﻳﺮﺍ ﻟﺠﻬﻮﺩﻫﺎ ﻓﻰ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﻣﻌﺎﻟﻤﻬﺎ‬ ‫‪ 002‬ﺃﻟﻒ ﺟﻨﻴﻪ ﺗﺴﺘﻘﺒﻞ ﺍﻟﻤﺼﻄﺎﻓﻴﻦ ﻓﻰ ﺍﻟﺼﻴﻒ‬
‫ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺇﻋﺎﺩﺓ ﺗﻮﻇﻴﻔﻬﺎ ﻓﻰ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ‬
‫ﻣﻦ ﺍﻟﻤﺸﺎﻛﻞ ﺍﻟﺜﺎﺑﺘﺔ ﺍﻟﺘﻰ ﺗﻮﺍﺟﻬﻬﺎ ﺟﻤﻴﻊ ﺍﻟﺒﻠﺪﺍﻥ‬ ‫ﺍ ﻟﻘﺎ ﺩﻡ‬
‫ﻭﺍﻟﺜﺎﻟﺜﺔ ﻟﻤﻬﻨﺪﺱ ﻋﺮﺑﻰ ﺃﻭ ﻋﺮﺑﻰ ﺍﻷﺻﻞ ﺗﻘﺪﻳﺮﺍ ﻟﻤﺎ‬
‫ﻭﺑﺨﺎﺻﺔ ﺑﻠﺪﺍﻥ ﺍﻟﻌﺎﻟﻢ ﺍﻟﺜﺎﻟﺚ ﺍﻟﻔﻘﻴﺮﺓ ﻛﻴﻔﻴﺔ ﺍﻟﺼﻴﺎﻧﺔ‬
‫ﻗﺎﻡ ﺑﻪ ﻣﻦ ﺃﻋﻤﺎﻝ ﻣﻌﻤﺎﺭﻳﺔ ﺗﺆﻛﺪ ﺍﺭﺗﺒﺎﻃﻪ ﺑﺎﻟﻌﻤﺎﺭﺓ‬ ‫ﻣﻦ ﺍﻟﻤﻨﺘﻈﺮ ﻓﻰ ﺍﻷﺷﻬﺮ ﺍﻟﻘﻠﻴﻠﻪ ﺍﻟﻘﺎﺩﻣﻪ ﺍﻓﺘﺘﺎﺡ‬
‫ﻭﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻵﺛﺎﺭ ﺍﻟﻘﺪﻳﻤﺔ ﻣﻊ ﻋﺪﻡ ﺗﻮﻓﺮ ﺍﻷﻣﻮﺍﻝ‬ ‫ﻳﻔﺘﺢ ﺑﺎﺏ ﺍﻟﺘﺮﺷﻴﺢ ﻣﻦ‬ ‫ﺍﻟﻌﺮﺑﻴﺔ ﺍﻹﺳﻼﻣﻴﺔ‬ ‫ﺍﺣﺪﺙ ﻗﺮﻳﺔ ﺳﻴﺎﺣﻴﺔ ﺑﺎﻷﻗﺼﺮ ﻋﻠﻰ ﺟﺰﻳﺮﺓ ﺍﻟﺘﻤﺴﺎﺡ ﻓﻰ‬
‫ﻭﻟﻌﻞ ﻣﻦ ﺣﺎﻻﺕ ﺍﻹﻫﻤﺎﻝ‬ ‫ﺍﻟﻼﺯﻣﺔ ﻟﻬﺬﺍ ﺍﻟﻐﺮﺽ‬ ‫ﻧﻬﺮ ﺍﻟﻨﻴﻞ ﻭﺗﺒﻠﻎ ﻣﺴﺎﺣﺔ ﺍﻟﻘﺮﻳﺔ ‪ 34‬ﻓﺪﺍﻧﺎ ﻭﺗﻀﻢ ‪02‬‬
‫ﻭﺗﻌﻠﻦ‬ ‫‪ 3891 3 51‬ﺣﺘﻰ ‪4891 3 1 4‬‬
‫ﺍﻟﻤﺮﻭﻉ ﻣﺎ ﺃﺻﺎﺏ ﺫﻟﻚ ﺍﻷﺛﺮ ﺍﻟﻬﺎﻡ ﺍﻟﺬﻯ ﻳﺒﻠﻎ ﻋﻤﺮﻩ‬ ‫ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻰ‬ ‫ﻓﻰ ﻳﻮﻡ‬ ‫ﺍﻟﻨﺘﺎﺋﺞ‬
‫ﻭﻣﻦ ﺍﻟﻤﺨﻄﻂ ﺍﻥ ﺗﺴﺘﻮﻋﺐ ﺍﻟﻘﺮﻳﺔ ‪008‬‬ ‫ﺷﺎﻟﻴﻬﺎ‬
‫ﺃ ﻩ ﺍﻉ ﻩ‬ ‫ﻧﺤﻮ ‪ 0052‬ﺳﻨﺔ ﻭﻫﻮ ﻋﻤﻮﺩ ﻳﻠﻔﻰ‬ ‫‪5891 3 51‬‬ ‫ﺳﺎﺋﺢ ﻟﻺﻗﺎﻣﺔ ﺑﻬﺎ ﻭﺗﻀﻢ ﺃﻳﻀﺎ ﻣﺰﺭﻋﺔ ﻟﻠﺨﻀﺮ‬
‫ﺍﻟﻤﻌﺮﻭﻑ ﺑﺎﺳﻢ ﺍﻟﻌﻤﻮﺩ ﺍﻷﻓﻌﻮﺍﻧﻰ ﻓﻰ ﻣﺪﻳﻨﺔ‬ ‫ﻭﺍﻟﻔﺎﻛﻬﺔ ﻭﺍﻟﺰﻫﻮﺭ ﻭﺣﺪﻳﻘﺔ ﺍﺳﺘﻮﺍﺋﻴﺔ ﺑﺎﻻﺿﺎﻓﺔ ﺇﻟﻰ‬
‫ﺍﺳﺘﺎﻧﺒﻮﻝ ﺍﻟﺘﺮﻛﻴﺔ ﻭﻛﺎﻥ ﺍﻟﻌﻤﻮﺩ ﻓﻰ ﺍﻷﺻﻞ ﺗﻠﺘﻒ‬ ‫ﺍﻟﺠﻤﻬﻮﺭﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻴﻤﻨﻴﺔ‬ ‫ﺑﺮﻛﺔ ﺻﻨﺎﻋﻴﺔ‬
‫ﺣﻮﻝ ﻗﻤﺘﻪ ﺭﺅﺱ ﺣﻴﺎﺕ ﺛﻼﺛﺔ ﻭﻟﻜﻨﻪ ﺍﻵﻥ ﺑﻌﺪ‬ ‫ﺍﻋﻠﻦ ﺍﻟﺴﻴﺪ ﻭﺯﻳﺮ ﺍﻟﺘﻌﻤﻴﺮ ﻭﺍﻟﺪﻭﻟﺔ ﻟﻺﺳﻜﺎﻥ‬
‫ﺃﻥ ﺗﺂﻛﻞ ﺟﺰء ﻛﺒﻴﺮ ﻣﻨﻪ ﻟﻢ ﻳﺒﻖ ﺳﻮﻯ ﺟﺰﻉ‬ ‫ﺗﺘﺒﻨﻰ ﺍﻟﺤﻜﻮﻣﺔ ﺍﻟﻴﻤﻨﻴﺔ ﻋﺪﺩﺍ ﻣﻦ ﻣﺸﺎﺭﻳﻊ ﺍﻹﺳﻜﺎﻥ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻘﺮﺍﺭﺍﺕ ﻭﺍﻹﺟﺮﺍﺕ ﺍﻟﻬﺎﻣﺔ ﻟﻠﻨﻬﻮﺽ‬
‫ﻣﻜﺴﻮﺭ‬ ‫ﻭﺗﻌﻤﻞ‬ ‫ﻟﻤﻮﺍﺟﻬﺔ ﺍﻟﺰﻳﺎﺩﺓ ﺍﻟﻤﺴﺘﻤﺮﺓ ﻓﻰ ﻋﺪﺩ ﺍﻟﺴﻜﺎﻥ‬ ‫ﺑﻘﻄﺎﻉ ﺍﻟﺘﺸﻴﻴﺪ ﻭﺍﻟﺒﻨﺎء ﻭﺗﺰﻭﻳﺪﻫﺎ ﺑﺄﺣﺪﺙ ﺍﻷﺳﺎﻟﻴﺐ‬
‫ﻭﺍﻟﻤﻄﻠﻮﺏ ﺍﻟﺤﻔﺎﻅ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺛﺮ ﺑﻨﻘﻠﻪ ﺍﻟﻰ‬ ‫ﺍﻟﺤﻜﻮﻣﺔ ﺇﻟﻰ ﺟﺎﻧﺐ ﺗﺒﻨﻴﻬﺎ ﻟﻤﺸﺎﺭﻳﻊ ﺍﻹﺳﻜﺎﻥ ﺍﻹﻗﺘﺼﺎﺩﻯ‬ ‫ﺣﻴﺚ ﺗﻤﺖ ﺩﺭﺍﺳﺔ ﻣﻊ ﺍﻟﺒﻨﻚ ﺍﻟﺪﻭﻟﻰ ﺑﻬﺬﺍ‬ ‫ﺍﻟﻌﻠﻤﻴﺔ‬
‫ﺃﺣﺪ ﺍﻟﻤﺘﺎﺣﻒ ﺃﻭ ﺇﺣﺎﻃﺘﻪ ﻓﻰ ﻣﻮﻗﻌﻪ ﺑﺒﻨﺎء ﻳﺤﻤﻴﻪ ﻣﻦ‬ ‫ﻋﻠﻰ ﺗﺸﺠﻴﻊ ﺍﻹﺳﺘﺜﻤﺎﺭﺍﺕ ﺍﻟﺨﺎﺻﺔ ﻓﻲ ﺇﻗﺎﻣﺔ ﺍﻟﻤﺴﺎﻛﻦ‬ ‫ﺍﻟﺸﺄﻥ ﻭﻗﺪ ﺃﻋﻠﻦ ﺳﻴﺎﺩﺗﻪ ﺃﻥ ﺍﻟﻮﺯﺍﺭﺓ ﺑﺪﺃﺕ‬
‫ﺍﻟﺠﻮ ﻭﻣﻦ ﺃﻳﺪﻯ ﺍﻟﻌﺎﺑﺜﻴﻦ‬ ‫ﺍﻟﻔﺎﺧﺮﺓ ﻟﺬﻭﻱ ﺍﻟﺪﺧﻮﻝ ﺍﻟﻤﺮﺗﻔﻌﺔ ﻭﻳﺠﺮﻯ ﺃﺩﻣﺎﺝ ﻣﺸﻜﻠﺔ‬ ‫ﺑﺎﻻﺷﺘﺮﺍﻙ ﻣﻊ ﻫﻴﺌﺎﺕ ﻓﺮﻧﺴﻴﺔ ﻭﺿﻊ ﺗﺨﻄﻴﻂ ﺟﺪﻳﺪ‬
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‫ﺍﻟﻢ ﺇﻟﺒﻨﺎء‬
‫ﺍ‬
‫ﺭﻳﺲ‬
‫ﺍﺃﻻ‬
‫ﺃ‬
‫ﻳﻘﺎﻡ ﺍﻟﻤﻌﺮﺽ ﺍﻟﺪﻭﻟﻰ ﻟﻠﺒﻨﺎء ﻛﻞ ﻋﺎﻣﻴﻦ ﻋﻠﻰ‬ ‫ﺃ‬
‫ﻓﻰ‬ ‫ﺃ ﺃﺭﺽ ﺍﻟﻤﻌﺎﺭﺽ ﺑﺒﻮﺭﺕ ﺩﻯ ﻓﺮﺳﺎﻯ ﻳﺎﺭﻱ‬
‫‪ 02‬ﻧﻮﻓﻤﺒﺮ ﺣﻴﺚ ﻳﺸﺎﻫﺪ‬ ‫ﺃ ﺍﻟﻤﺰﺓ ﻣﻦ ‪19‬‬
‫ﺍﺍءﺍﻟﺰﺍﺋﺮ ﺻﻮﺭﺓ ﻛﺎﻣﻠﺔ ﻭﺷﺎﻣﻠﺔ ﻵﻟﻴﺔ ﻣﻮﺍﻗﻊ ﺍﻻء‬
‫ﺍ ﻭﺍﺣﺪﺙ ﺃﺳﺎﻟﻴﺐ ﺍﻟﺒﻨﺎء ﺍﻟﺘﻰ ﺃﺳﺘﺤﺪﺛﺖ ﻓﻰ ﻫﺬﺍ‬
‫ﻭﺻﻞ ﻋﺪﺩ ﻃﻠﺒﺎﺕ ﺍﻻﺛﺰﺍﻙ ﻓﻰ ﺍﻟﻤﻌﺮﺽ‬ ‫ﺃ ﺍﻟﻤﺠﺎﻝ‬
‫ﺃ ﺣﺘﻰ ﻳﻨﺎﻳﺮ ‪ 3891‬ﺣﻮﺍﻟﻰ ‪ 0002‬ﻃﻠﺐ‬
‫ﺍ ﻭﻣﺎﺯﺍﻟﺖ ﺍﻳﻄﺎﻟﻴﺎ ﻫﻰ ﺃﻛﺒﺮ ﻣﺸﺘﺮﻙ ﻓﻰ ﺍﻟﻤﻌﺮﺽ ﻳﻴﻬﺎ‬
‫ﺍ ﺃﻟﻤﺎﻧﻴﺎ ﺍﻟﻐﺮﺑﻴﺔ ﻭﻋﺎﺩﺓ ﻣﺎﻳﺸﺘﺮﻙ ﻓﻰ ﺍﻟﻤﻌﺮﺽ ﺷﺮﻛﺎﺕ‬
‫ﺑﻠﺠﻴﻜﺎ‬ ‫ﺍﺳﺘﺮﺍﻟﻴﺎ‬ ‫ﺍﻳﻄﺎﻟﻴﺎ‬ ‫ﺍ ﻣﻦ ﻓﺮﻧﺴﺎ‬
‫ﺃ ﺍﻟﺒﺮﺍﺯﻳﻞ ﺍﻟﻴﻮﻧﺎﻥ ﺍﻣﺤﺮ ﺍﻳﺮﻟﻨﺪ ﺍ ﺍﻟﻴﺎﺑﺎﻥ‬ ‫ﻣﺸﺮﻭﻉ ﺍﻟﻤﻨﺜﺂﺕ ﺍﻟﺠﺎﻣﻌﻴﺔ ﺍﻟﺠﺪﻳﺪﺓ ﺑﺎﺭﻳﺎﺽ ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﻣﺤﻤﺪ ﺑﻦ ﺳﻌﻮﺩ ﺍﻻﺳﻼﻣﻴﺔ‬
‫ﺍ ﺍﻟﻨﺮﻭﻳﺢ ﺑﻮﻟﻨﺪﺍ ﺍﻟﺒﺮﺗﻐﺎﻝ ﺍﻟﻤﺎﻧﻴﺎ ﺍﻟﻐﺮﺑﻴﺔ‬
‫ﺍ ﻟﺴﻮﻳﺪ ﺳﻮ ﻳﺴﺮ ﺍ ﺭﻭﺳﻴﺎ ﺃﻣﺮﻳﻜﺎ ﺃﺳﻴﺎ ﻧﻴﺎ‬ ‫‪01‬‬ ‫ﺍﻻﺗﺤﺎﺩ ﺍﻟﻌﺎﻟﻤﻰ ﻝ ﺣﻮﺙ ﺍﻟﺒﻨﺎء‬ ‫ﺍﻟﺴﻌﻮﺩ ﻟﺔ‬
‫ﺍﻟﺪﻧﻤﺎﺭﻙ ﺍﻓﺎ‬ ‫ﺍ ﻫﻮﺑﺪﺍ ﺃﻧﺠﻠﺘﺮﺍ‬
‫ﻳﻌﻘﺪﺍﻹﺗﺤﺎﺩﺍﻟﻌﺎﻟﻤﻰ ﺑﺤﻮﺙ ﺍﻟﺒﻨﺎءﻭﺗﻮﺛﻴﻘﻬﺎﻣﺆﺗﻤﺮﻩ‬ ‫ﺣﺼﻠﺖ ﺍﻟﻤﺠﻤﻮﻋﻪ ﺍﻹﺳﺘﺜﺎﺭﻳﺔ ﺍﻷﺳﻴﺎﻧﻴﺔ‬
‫ﻳﻬﻢ ﺍﻟﻤﻌﺮ ﺽ ﻛﻞ ﻣﻦ ﻳﻌﻤﻞ ﻓﻰ ﻣﺠﺎﻝ ﺍﻟﺒﻨﺎءﺳﻮﺍء‬ ‫ﺍ‬ ‫‪91‬‬ ‫ﻓﻲ ﺳﺘﻮﻛﻬﻮﻟﻢ ﻓﻲ ﺍﻟﻔﺘﺮﺓ ﻣﺎﺑﻴﻦ ‪41‬‬ ‫‪ rA‬ﺍ‬ ‫ﺗﻜﻨﻴﺒﺮﻳﺎ ﻋﻠﻰ ﻋﻘﺪ ﻗﻴﻤﺘﻪ ‪ 0052‬ﻣﻠﻴﻮﻥ ﺩﻭﻻﺭ‬
‫ﺍﻕءﺍﻻﺳﻜﺎﻥ ﺍﻟﺨﺎﺹ ﺍﻟﺘﻌﺎﻭﻧﻰ ﺃﻭ ﻟﻨﺎء ﺍﻟﻤﺪﺍﺭﺱ‬
‫ﺍ ﻣﺠﺎﻝ‬ ‫ﺃﻛﺴﻄﺲ ﻭﺳﻴﻜﻮﻥ ﻣﻮﺿﻮﻉ ﺍﻟﻤﺆﺗﻤﺮﺍ ﻟﻨﺒﻦ ﻭﺑﺤﺎﻓﻆ‬ ‫ﻟﺘﺨﻄﻴﻂ ﻭﺗﺼﻤﻴﻢ ﺟﺎﻣﻌﺔ ﺍﻹﻣﺎﻡ ﻣﺤﻤﺪ ﺑﻦ ﺳﻮﺩ‬
‫ﺍ ﻭﺍﻟﻤﺴﺘﺸﻔﻴﺎﺕ ﺃﻭ ﺍﻻﻟﺜﺮﺍﻑ ﻋﻠﻰ ﺍﻻﻋﻤﺎﻝ ﺑﺎﻟﻤﻮﺍﻓﻊ‬ ‫ﻋﻠﻰ ﻣﺎﺑﻨﻴﻨﺎﻩ ﺑﻤﻮﺍﺭﺩﻧﺎ ﺍﻟﻤﺤﺪﻭﺩﺓ ﻭﺗﻠﻘﻰ ﻓﻲ ﻣﺤﺎﺿﺮﺍﺕ ﻋﻦ‬ ‫ﺍﻹﺳﻼﻣﻴﺔ ﺑﺎﻟﺮﻳﺎﺽ ﻭﻣﺠﻤﻮﻋﺔ ﺗﻜﻨﻴﺒﺮﻳﺎ ﻋﺒﺎﺭﺓ ﻋﻦ‬
‫ﻭﻻ ﻳﻐﻔﻞ ﺍﻟﻤﻌﺮﺽ ﺍﻟﻤﻘﺎﻭﻟﻴﻦ ﺍﻧﺤﺼﻴﻦ ﻓﻰ ﺃﻋﻤﺎﻝ‬ ‫ﺃﺑﺤﺎﺙ ﺍﻟﺤﺮﻳﻖ ﻭﺃﺳﺤﻤﺎﻝ ﺍﻟﻜﻤﺒﻴﻮﺗﺮﻓﻲ ﺗﻜﻨﻮﻟﻮﺟﺎ ﺍﻟﺒﻨﺎء‬ ‫ﺗﺄﺳﺴﺖ ﻋﺎﻡ‬ ‫‪ 22‬ﻣﻜﺘﺒﺎ ﺍﺳﺘﺸﺎﺭﻳﺎ ﺃﺳﺒﺎﻧﻴﺎ‬
‫ﻳﺸﻤﻞ‬ ‫ﺍﻟﻨﺠﺎﺭﺓ ﻭﺍﻟﻜﻬﺮﺑﺎء ﻭﺍﻟﺴﻴﺎﻛﺔ ﻭﺍﻟﺪﻫﺎﻥ‬ ‫ﻭﻛﺬﻟﻚ ﻋﻦ ﺍﻟﻄﺎﻗﺔ ﻛﻤﺎ ﻳﻘﻴﻢ ﺍﻹﺗﺤﺎﺩ ﺑﺎﻟﺤﺎﻭﻥ ﻣﻊ‬ ‫‪ 4691‬ﻡ ﻟﺪﻋﻢ ﻭﺗﻨﺴﻴﻖ ﺍﻻﻧﺸﻄﺔ ﺍﻻﺳﺘﺸﺎﺭﻳﺔ ﻓﻰ‬
‫ﻣﻌﺪﺍﺕ ﺻﺐ ﺍﻻﻣﻤﻨﺖ‬ ‫ﺍ ﻫﻴﻜﻞ ﺍﻟﻌﺮﺽ‬ ‫ﺟﻬﺎﺕ ﺃﺧﺮﻯ ﺣﻠﻘﺔ ﺩﺭﺍﺳﻴﺔ ﻓﻰ ﻧﺮﻭﻳﻰ ﻓﻲ ﻧﻮﻓﻤﺒﺮ‬ ‫ﺍﻟﺨﺎﺭﺝ ﻟﺘﻘﺪﻳﻢ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻻﺳﺒﺎﻧﻴﺔ‬
‫ﻣﻌﺪﺍﺕ ﺍﻹﻧﺬﺍﺭ‬ ‫ﻋﻮﺍﺯﻝ ﺍﻟﺼﻮﺕ ﻭﺍﻟﺤﺮﺍﺭﺓ‬ ‫ﺍﻟﻤﻮﺍﺩ ﺍﺑﺎﺳﺒﺔ ﻟﺒﻨﺎء ﺍﻟﻤﺴﺎﻛﻦ‬ ‫ﺗﺤﺖ ﺷﻌﺎﺭ‬ ‫‪3891‬‬
‫ﻭﻣﻦ ﺃﺑﺮﺯ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﺘﻰ ﻳﻘﻮﻡ ﺑﻬﺎ ﺃﻋﻀﺎء‬
‫ﻗﻮﺍﻃﻬﺖ‬ ‫ﻣﺎﻧﻰ ﺳﺎﺑﻘﺔ ﺍﻟﻨﺠﻬﻴﺰ‬ ‫ﺑﺎﻟﺨﺮﻳﻖ‬ ‫ﺍﻟﺮﺧﻴﺼﺔ ﻭﻗﺪﺗﻢ ﺗﺴﺠﻴﻞ ﺍﻣﻤﺎء‪ 130‬ﻣﺸﺘﺮﻛﺎﻭﺫﻟﻚ‬
‫ﺑﺘﻮﻫﺎﺕ‬ ‫ﻧﺠﺎﺭﺓ ﺍﺏ ﺏ ﻭﺍﻟﺸﺒﺎﻙ‬ ‫ﺍﻟﺒﺴﺘﻮﺱ‬ ‫ﻣﺠﻤﻮﻋﻪ ﺗﻜﻨﻴﺒﺮﻳﺎ ﻓﻰ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻌﺮﺑﻰ ﻓﻰ ﻣﺠﺎﻝ ﺍﻟﻌﻤﺎﺭﺓ‬
‫ﻗﺒﻞ ﺍﻧﻌﻘﺎﺩ ﺍﻟﻤﺆﺗﻤﺮ ﺑﻤﺪﺓ ﻋﺎﻡ ﻛﺎﻣﻞ ﻛﻤﺎ ﺿﻢ ﺗﻘﺪﻳﻢ‬ ‫ﻭﺍﻟﺘﺨﻄﻴﻂ ﺗﻤﻨﻤﻴﻢ ﻣﺪﻳﻨﺔ ﺳﻴﺎﺣﻴﺔ ﺟﺪﻳﺪﺓ ﻓﻰ ﻣﻨﻄﻘﺔ‬
‫ﺃﻏﻄﻪ ﺃﺭﺽ ﻭﺣﻮﺍﺋﻂ‬ ‫ﺃ ﺣﻮﺍﺋﻂ ﻭﻭﺍﺟﻬﺎﺕ‬ ‫ﻣﺎﻳﻘﺮﺏ ﻣﻦ ‪ 07‬ﺑﺤﺜﺎ ﻣﻦ ﻣﺼﺎﺩﺭ ﻣﺨﺘﻠﻔﺔ ﺗﻐﻄﻰ‬
‫ﻣﻌﺪﺍﺕ ﻣﻌﺎﻟﺠﺔ ﺍﻟﻬﻮﺍء‬ ‫ﺩﻫﺎﻧﺎﺕ‬ ‫ﺭﺧﺎﻡ‬ ‫ﺍﻟﺒﺤﺮ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻟﺤﻜﻮﻣﺔ ﺍﻟﻤﻤﻠﻜﺔ ﺍﻟﻌﺮﻧﻴﺔ ﻭﺗﺼﻤﻴﻢ‬
‫ﻣﻮﺿﻮﻋﺎﺕ ﺍﻟﻤﺆﺗﻤﺮ‬ ‫ﻓﻨﺪﻕ ﺑﺎﻳﻬﺪﻭﻥ ﻓﻰ ﺟﺪﺓ ﻭﺇﻧﺸﺎء ﻋﻴﺎﺩﺓ ﺷﺎﻣﻠﺔ ﻓﻰ‬
‫ﺃﺩﻭﺍﺕ ﺻﺤﻴﺔ‬ ‫ﺣﻤﺎﻣﺎ ﺳﻴﺎﺣﺔ‬
‫ﺕ‬ ‫ﻭﺍﻟﻤﺎء‬
‫ﺟﺪﻩ‬ ‫ﺍﺣﺪﻯ ﺍﻷﻋﻤﺎﻝ ﺍﻳﺚ ﻳﻬﻠﻴﻪ ﺍﻟﺘﻰ ﺍﻗﻴﻤﺖ ﻋﻠﻰ ﻛﻮﺭﻱ‬ ‫ﻭﺩﺭﺍﺳﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﻃﺮﺍﺑﻠﺲ ﻟﻮﺯﺍﺭﺓ ﺍﻟﺼﺤﺔ ﺍﻟﻠﻴﻴﺔ‬
‫ﻣﻌﺪﺍﺕ ﻣﻄﺎﻳﺖ‬ ‫ﻣﺴﺘﻠﺰﻣﺎﺕ ﺇﺿﺎءﺓ ﺳﻴﺮﺍﻣﻴﻚ‬
‫ﻋﻼﻭﺓ ﻋﻠﻰ ﺑﺨﺖ‬ ‫ﺣﻮﻝ ﺍﻹﺳﻜﺎﻥ ﻓﻰ ﺍﻟﻤﻐﺮﺏ‬
‫ﻳﺤﺼﻞ ﺯﺍﺋﺮ ﺍﻟﻤﻌﺮﺿﺮ ﻋﻠﻰ ﺑﻄﺎﻗﺔ ﺍﺏ ﺗﻴﻜﺎﺭﺕ‬
‫ﻭﺩﺭﺍﺳﺔ ﺣﻮﻝ ﺗﻨﻤﻴﺔ ﺍﻟﺸﺎﺣﺔ ﻓﻰ ﺍﻗﻠﻴﻢ ﻛﻮﺭﺩﺳﺘﺎﻥ‬
‫‪ ITRA‬ﺽ ‪ TAB‬ﻭﻫﻰ ﺗﺪﻝ ﻋﻠﻰ ﺃﻧﻪ ﻣﻦ ﺍﻟﻌﺎﻣﻞ ﺕ‬
‫ﻟﺼﺎﻟﺢ ﻭﺯﺍﺭﺓ ﺍﻟﺸﺌﻮﻥ ﺍﻟﺸﻤﺎﻟﻴﺔ ﺑﺎﻟﻌﺮﺍﻕ‬
‫ﺍﻟﻤﺘﺨﻤﺼﻴﻦ ﻓﻰ ﻣﺠﺎﻝ ﺍﻟﺒﻨﺎء ﻭﺗﺨﻮﻝ ﻟﻪ ﻫﺬﻩ ﺍﻟﻄﺎﻗﺔ‬
‫ﺍﻟﺤﻤﻮﻝ ﺍﻟﻤﻄﺒﻮﻋﺎﺕ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺘﻰ ﺗﻮﺯﻋﻴﺎ ﺍﻟﺸﺮﻛﻤﺎﺕ‬ ‫ﻳﻈﻬﺮ ﺃﻫﻤﺎﻡ ﻣﻌﺎﻟﻰ ﺃﻣﻴﻦ ﻣﺪﻳﻨﺔ ﺟﺪﺓ ﺑﺘﺠﻤﻴﻞ‬
‫ﺍﻟﻤﺸﺘﺮﻛﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺍﻟﻰ ﺗﺴﺠﻴﻠﻪ ﻟﺪﻯ ﻫﺬﺩـ‬ ‫ﺍﻟﻤﺪﻳﻨﺔ ﺣﺘﻰ ﺃﺻﺒﺤﺖ ﻣﺮﺟﻌﺎ ﻓﻰ ﺍﻟﺘﺨﻄﻴﻂ‬
‫ﺍﻟﻤﺸﺮﻛﺎﺕ ﻛﻤﺎ ﺗﺴﻤﺢ ﻫﺬﻩ ﺍﻟﺒﻄﺎﻗﺔ ﻟﺨﺎﻣﻠﻬﺎ‬ ‫ﻭﺍﻟﺘﻨﺴﻴﻖ ﻭﻳﻤﻞ ﻛﻮﺭﻧﻲ ﺟﺪﺓ ﺃﺟﻤﻞ ﺍﻟﻤﻨﺎﻃﻖ‬
‫ﺩﺧﻮﻝ ﺍﻟﻤﻌﺮﺽ ﺍﻟﺪﻭﻟﻰ ﻟﻴﺪﻓﺔ ﻭﺍﻟﺘﺒﺮﻳﺪ ﻭﺗﻜﻴﻴﻒ‬ ‫ﺍﻟﺘﺮﻓﺠﺔ ﻭﺍﻟﺜﻘﺎﻳﺨﺔ ﺣﻴﺚ ﺗﻨﺘﺸﺮ ﻋﻠﻰ ﻃﻮﻟﻪ ﺍﻷﻋﻤﺎﻝ‬
‫ﺍﻟﻬﻮﺍء ‪ AMILCRETNI‬ﺍﻟﺬﻯ ﺳﻴﻘﺎﻡ ﻓﻰ ﺍﻟﻔﺘﺮﺓ ﻣﻦ‬ ‫ﺍﻟﻔﻨﻴﺔ ﺍﻟﺘﻰ ﺻﻤﻤﻬﺎ ﻛﺒﺎﺭ ﺍﻟﻔﻨﺎﻧﻴﻦ ﻓﻰ ﺍﻟﻌﺎﻟﻢ‬
‫‪ 2 0‬ﻧﻮﻓﻤﺒﺮ ‪ 3899‬ﻟﻤﺰﻳﺪ ﻣﻦ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ‬ ‫‪41‬‬ ‫ﻭﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﺘﺸﻜﻴﻞ ﺍﻟﻔﻨﻰ ﻟﻠﺴﺒﻊ ﺳﻨﺎﺑﻞ ﺍﻟﺬﻯ‬
‫ﻋﻦ ﺍﻟﻤﻌﺮﺽ ﻭﺍﻟﺤﻤﻮﻝ ﻋﻠﻰ ﺗﺄﺷﻴﺮﺓ ﺩﺧﻮﻝ ﻓﺮﻧﺴﺎ‬ ‫ﺍﻗﻴﻢ ﻋﻠﻰ ﻛﻮﺭﻧﻲ ﺵ ﺟﺪﺓ ﻗﺎﻡ ﺑﺘﺼﻤﻴﻢ ﻭﺗﻨﻔﻴﺬ‬
‫ﻳﺮﺟﻰ ﺍﻻﺗﺼﺎﻝ ﺑﺨﺪﻭﺏ ﺍﻟﻤﻌﺮﺽ ﺑﻤﺼﺮ ﺍﻛﺴﻮ‬ ‫ﺃﻋﻤﺎﻝ ﺃﺧﺮﻯ ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﺍﻵﻳﺔ ﻭﺃﻧﺰﻟﺜﺎ ﺍﻟﺤﺪﻳﺪ‬
‫ﻱ ﻳﺮﻓﻴﻴﻲ ﺍﻳﺠﻴﺖ‬ ‫ﻓﻴﻪ ﺑﺄﺱ ﻟﺜﺪﻳﺪ ﻭﻣﻨﺎﻓﻊ ﻟﻠﻨﺎﺱ‬
‫‪V‬‬
‫‪63‬‬ ‫ﺗﺤﻘﻴﻖ ﺍﻟﻌﺪﺩ‬
‫ﻋﻮﺓﺇﻟﻰ‬ ‫ﺍﻝ‬
‫ﺍﻣﺪﻳﻠﻰ‬
‫ﺍﻟﻘﻴﻢ ﺍﻟﺤﻔﻂ ﻭ ﺓ‬
‫ﻓﻰ ﺍﻟﻤﺔ ﻳﺔﺍﻋﻌﺮﻳﻴﺔ ﻫﻞ ‪ 9‬ﺝ ﺕ ﺍﻳﺪﺗﺠﺎ ﺓﻉ‬
‫ﻋﻘﺪﻛﺔ‬
‫ﺇﻥ ﻫﺪﻩ ﺍﻟﺪﻋﻮﺓ ﺍﻟﻤﺘﻜﺮﺭﺓ ﺍﻟﺘﻰ ﺃﺻﺒﺤﺖ ﺍﻟﻤﻮﺿﻮﻉ‬

‫ﻟﻮ ﺻﻌﺎﺕ ﻣﻌﻈﻢ ﺍﻟﻤﺆﺗﻤﺮﺍﺕ ﻭﺍﻟﻨﺪﻭﺍﺕ ﻭﺍﻟﺘﻰ‬ ‫‪11‬ﺱ ﻟﻴﻰ ﻟﻰ‬
‫ﻧﻔﺴﻬﺎ ﺑﺼﻮﺭﺓ ﻣﻠﺤﺔ ﺗﺴﺘﻮﺟﺐ ﻣﻌﻬﺎ ﺿﺮﻭﺭﺓ‬ ‫ﺗﻔﺮﺹ‬
‫ﺗﻘﻴﻴﻢ ﻟﻠﻮﺿﻊ ﺍﻟﻘﺎﺛﻢ ﻓﻲ ﺍﻟﻤﺄﺿﻲ ﻭﺍﻟﺤﺄﺿﺮ ﺣﺘﻰ ﻧﺴﺘﻄﻊ‬
‫ﻣﻜﺔ ﺍ ‪F‬ﻣﺔ ﻓﺎﻟﺮ‬
‫ﺧﺪﻳﺪ ﻣﺪﻯ ﺍﻹﺳﺘﺠﺎﺑﺔ ﻟﻬﺬﻩ ﺍﻟﺪﻋﻮﺓ ﻣﻦ ﺧﻼﻝ‬
‫ﻭﺍﺿﺢ ﺍﻟﻄﺎﺑﻊ ﺍﺗﺤﻄﻄﻰ ﺍﻟﻤﻤﻴﺰ‬
‫ﻟﻠﻬﻴﻬﻞ ﺍﻟﻌﺎﻡ ﻟﻠﻤﺪﻳﺔ ﺍﻹﻳﻼﻣﻴﺔ‬ ‫ﻣﻤﺜﻢ ﻋﺎﺕ ﺍﻗﺎﻣﺔ ﺍﻟﻤﺪﻥ ﺍﻟﺠﺪﻳﺪﺓ ﻭﻣﻦ ﺃﺟﻞ ﺭﺳﻢ‬
‫ﻳﺨﺖ ﺍﻟﻤﺴﺠﺪ ﻳﻤﻞ ﺍﻟﻨﺼﺮ ﺍﻟﻮﺍﻓﺢ‬ ‫ﺍ ﻃﺮﻳﻖ ﺃﻣﺎﻡ ﺍﻟﻤﺪﺩ ﺍﻟﺘﻰ ﻣﺎﺯﺍﻟﺖ ﺧﺎﺭﺝ ﺩﺍﺋﺮﺓ ﺍﻟﺘﻨﻔﻴﺬ‬
‫ﺍﺑﺎﺭﺯ ﺑﺎﻟﻤﺪﻳﺔ‬ ‫ﻓﻬﻞ ﺗﻨﺎﻝ ﺷﻰء ﻣﻦ ﻫﺬﻩ ﺍﻟﺪﻋﻮﺍﺕ‬
‫ﺍﻟﻨﺠﺎﺭﺓ ﻭﺍﻟﻤﺎﻝ ﻭﺍﻻﻋﻤﺎﻝ ﻭﺻﺨﺐ ﺍﻟﺤﻴﺎﺓ‬ ‫ﻳﺮﺅﺕ‬

‫ﻋﻠﻰ ﺇﺗﺴﺎﻋﻪ ﺻﻔﺎﺕ ﻭﺍﺣﺪﺓ ﻣﻤﻴﺰﺓ ﻓﻨﺠﺪ ﺃﻥ ﻣﺪﻥ ﻣﺜﻞ‬ ‫ﺍﻟﺘﺤﻮﻝ ﻓﻲ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻓﻲ ﻋﻦ ﺍﻟﻤﺪﻳﻨﺔ‬ ‫ﻭﺍﺯﺩﺣﺎﻣﻬﺎ ﺃﻧﻌﻜﺮ ﺑﻜﻞ ﻭﺍﺿﺢ ﻋﻠﻰ ﻭﺍﺟﻬﺎﺕ ﺍﺑﻰ ﻧﻰ ﻭﺃﻧﺘﺢ‬
‫ﻣﻜﺔ ﺍﻟﻤﻜﺮﻣﺔ ﻭﺍﻟﻘﺎﻫﺮﺓ ﺩﻣﺸﻖ ﻭﺑﻐﺪﺍﺩ ﻭﻓﺎﺱ ﻭﺍﺳﻄﻨﺒﻮﻝ‬ ‫ﻟﺘﻜﻼ ﻋﺮﻳﺎ ﻟﻠﻤﺪﻳﺔ ﻳﻌﺒﺮ ﻋﻦ ﻋﻮﺭﺓ ﺟﻪ ﻭﻛﺎﻣﻠﺔ ﻟﻠﺠﺎﺓ ﺍﻟﻤﺎﺩﻳﺔ‬
‫ﺇﻟﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ‬ ‫ﺍﻟﻘﺪﻳﻤﺔ‬ ‫ﺍﻹﺳﻼ ﺓ‬ ‫ﺍﻟﻤﻌﺎﺻﺮﺓ‬
‫ﻭﺍﺻﻔﻬﺎﻥ ﺗﺠﻤﻌﻬﺎ ﺻﻔﺎﺕ ﺣﻀﺎﺭﻳﺔ ﻭﺛﻘﺎﻓﻴﺔ ﻭﺍﺣﺪﺓ‬ ‫ﺍﻟﺤﺪﻳﺜﺔ‬
‫ﺗﺠﻌﻠﻬﺎ ﻣﻤﻴﺰﺓ ﻛﻜﻞ ﻋﻦ ﻣﺪﻥ ﻛﺒﺎﺭﻳﺲ ﻭﺑﻜﻴﻦ ﻭﻛﻠﻜﺘﺎ‬
‫ﻟﻘﺪ ﺗﻌﺮﺿﺖ ﺩﺭﺍﻣﺎﺕ ﻋﺪﻳﺪﺓ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ‬
‫ﻓﺄﺻﺒﺤﺖ ﻣﺪﻧﻨﺎ ﺍﻹﺳﻼﻣﻴﺔ ﺻﺮﺭﺓ ﻣﻨﻘﻮﻟﺔ ﻣﻦ ﺃﻯ ﻣﺪﻳﻨﺔ‬
‫ﺃﻭﺭﺑﻴﺔ ﺃﻭ ﺍﻣﺮﻳﻜﻴﺔ ﺣﺘﻰ ﺃﺩﻕ ﺗﻔﺎﺻﻴﻠﻬﺎ ﻧﺠﺢ ﺍﻟﻨﺎﻗﻞ‬ ‫ﻭﺗﻨﺎﻭﻟﺖ ﻋﻨﺎﺻﺮ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻹﺻﻼﻣﻴﺔ ﺭﺍﺳﺒﺎﺏ ﺍﻧﻬﻴﺎﺭﻫﺄ‬
‫ﻭﺻﺎﺭﺕ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻣﺴﺨﺎ‬ ‫ﻣﺮﺓ ﻭﻓﺸﻞ ﻋﺸﺮﺍﺕ ﺍﻟﻤﺮﺍﺕ‬ ‫ﻭﻣﻦ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻣﺠﺚ ﻗﺪﻡ ﻣﻦ ﺍﻟﺴﻴﺪ ﺍﻟﺪﻛﺘﻮﺭ‬
‫ﻳﺜﻤﻞ ﺧﻠﻴﻂ ﺍﻟﻄﺮﺯ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﺍﻷﻭﺭﻭﺑﻴﺔ‬ ‫ﺣﺎﺯﻡ ﺍﺑﺮﺍﻫﻴﻢ ﻟﺪﻭﺓ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﻲ ﻧﻮﻓﻤﺒﺮ ‪ A‬ﺍﻡ‬
‫ﻭﻗﺪ ﺗﻨﺎﻭﻝ ﺍ ﻫﺬﺍ ﺍﻟﺒﺤﺚ‬
‫ﻣﻊ ﺁﺧﺮ ﺻﻴﺤﺎﺕ ﺍﻟﺘﺨﻄﻂ ﻭﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺤﺪﻳﺜﺔ ﺍﻷﻭﺭﺑﻴﺔ‬
‫ﻭﻏﺮﻫﺎ ﻣﻀﺎﻓﺎ ﺇﻟﻴﻬﻢ ﺍﻟﺾ ﻳﺐ ﻣﻦ ﺍﻷﺷﻜﺎﻝ ﻭﺍﻟﺨﻂ ﻁ‬ ‫‪ 9‬ﺇﻥ ﺍﻟﻤﺪﻳﻨﺔ ﺑﺎﻷﻣﺲ ﻛﺎﻧﺖ ﺇﺳﻼﻣﻴﺔ ﺷﻜﻸ‬
‫ﻭﺍﻷﺭﺍﻥ ﻭﻗﺪ ﻓﺎﺕ ﺍﻟﻨﺎﻗﻞ ﺃﻥ ﺗﻠﻚ ﺍﻟﻄﺮﺯ ﻭﺍﻟﻨﻈﺮﻳﺎﺕ‬ ‫ﻭﻣﻮﺿﻮﻋﺎ ﻓﻠﻢ ﺗﻜﻦ ﻛﻤﺪﻳﻨﺔ ﺍﻟﻴﻮﻡ ﺃﻭ ﺍﻟﻤﺪﻳﻨﺔ‬
‫ﻇﻬﺮﺕ ﻭﻭﺟﺪﺕ ﻓﻲ ﺗﻠﻚ ﺍﻟﺪﻭﻝ ﺑﻌﺪ ﺳﻠﺴﻠﺔ ﻣﻦ‬ ‫ﺍﻟﺘﻰ ﻣﻦ ﺍﻟﺼﻌﺐ ﺑﻤﻜﺎﻥ ﺃﻥ ﻳﻄﻠﻖ ﻋﻠﻬﺎ‬ ‫ﺍﻟﻤﻌﺎﺻﺮﺓ‬
‫ﺍﻟﺘﻄﻮﺭﺍﺕ ﻋﺒﺮ ﺍﻟﺘﺎﺭﻳﺦ ﻟﺘﺮﺍﺙ ﻭﺣﻀﺎﺭﺓ ﻭﺍﺣﺘﻴﺎﺟﺎﺕ‬ ‫ﺣﺘﻰ ﻣﻦ ﺑﺎﺏ ﺍﻟﺸﻜﻠﻴﺎﺕ ﺻﻔﺔ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﻭﺑﺎﻟﺘﺎﻟﻰ ﻇﻬﺮﺕ ﻣﻌﺒﺮﺓ ﻋﻦ ﺫﺍﺗﻬﻢ‬ ‫ﺗﻠﻚ ﺍﻟﺸﻌﺮﺏ‬ ‫ﻛﺎﻧﺖ ﺗﻤﻴﺰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺑﺎﻷﻣﺲ ﺣﻤﺎﺕ ﻭﺍﺣﺪﺓ ﻧﺒﻌﺖ‬
‫ﻣﺆﺩﻳﺔ ﻻﺣﺘﻴﺎﺟﺎﺗﻬﻢ ﻭﻋﺎﻛﺴﺔ‬ ‫ﻣﻨﺎﻣﺒﺔ ﻟﻬﻢ‬ ‫ﻣﻦ ﺍﻟﺪﻳﻦ ﻭﺍﺭﺗﺒﻄﺖ ﺑﻮﺍﻗﻊ ﺍﻟﺤﻴﺎﺓ ﻭﺍﻧﻌﻜﺴﺖ ﻋﻠﻰ ﺟﻮﺍﻧﺒﻬﺎ‬
‫ﻟﺨﻤﻴﺘﻬﻢ ﻭﺗﺤﺖ ﺿﻌﺎﺭ ﺍﻟﺘﻘﺪﻡ ﻭﺍﻟﻤﺪﻳﻨﺔ ﺗﻢ ﺍﺣﻼﻝ‬ ‫ﻭﺍﻧﺚ ﻃﺘﺎ ﺍﻟﻤﺎﺩﻳﺔ ﻭﺍﻻﺑﺊ ﻋﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻓﺄﺛﺮﺕ‬
‫ﺍﻟﺠﺪﻳﺪ ﺍﻟﻤﺴﺘﻮﺭﺩ ﺑﺪﻻ ﻣﻤﺎ ﻫﻮ ﻗﺎﺋﻢ ﻧﺎﻇﺮﻳﻦ ﺇﻟﻰ ﻛﻞ ﻣﺎﻫﻮ‬ ‫ﺑﺎﻟﺘﺎﻟﻰ ﻓﻲ ﺍﻟﻮﻋﺎء ﺍﻟﺬﻯ ﺗﻎ ﻓﻴﻪ ﻫﺬﻩ ﺍﻷﻧﺸﻄﺔ ﺃﻯ ﺍﺛﺮﺕ‬
‫ﻭﻟﻰ‬ ‫ﻗﺎﺋﻢ ﻣﻦ ﺧﻼﻝ ﺟﺎﻧﺒﻪ ﺍﻟﻘﺪﻳﻢ ﺍﻟﻤﺘﺪﺍﻋﻰ ﺍﻟﺨﺮ‬ ‫ﻋﻠﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺑﺤﻴﺚ ﺃﺻﺒﺢ ﻳﺠﻤﻊ ﻣﺪﻥ ﺍﻟﻌﺎﻟﻢ ﺍﻹﺳﻼﻣﻰ‬
‫ﺣﻴﺚ ﺇﺧﻔﻰ ﺍﻟﻤﺴﺠﺪ ﻣﻦ‬ ‫ﻳﺮﻭﺕ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ‬

‫ﺍﻟﺼﻮﺭﺓ ﻭﻇﻬﺮ ﺑﺪﻻ ﻧﻪ ﺍﺑﺎﻧﻰ ﺍﻟﻔﺨﻤﺔ ﺍﻟﻔﺎﺭﻫﺔ ﻭﺍﺏ ﺩﺑﻦ ﺍﺑﻘﺔ‬
‫ﺍﻟﻔﺎﻳﺔ ﺑﺎﺑﺎﻓﻰ ﺍﻥ ﺭﻳﺠﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻤﻴﺰ ﻋﻜﻞﺓ‬ ‫ﺟﺪﺓ‬
‫ﻭﺍﻟﺤﺪﺍﺋﻖ ﻭﺍﻷﻳﻮﺍﻕ ﻭﺷﻜﺎﺕ ﺍﻟﻄﺮﻕ ﻭﺍﻟﻤﻮﺍﺻﻼﺕ‬
‫ﻋﻞ ﺃﻧﻪ ﻳﺤﺎﻓﻆ ﻋﻞ ﺟﺰء ﻣﻦ ﺍﻟﺘﺮﺍﺙ ﺍﻟﻘﻮﻣﻰ ﻓﺈﻧﻪ ﺃﻳﻔﺎ ﻳﻌﻄﻰ ﻧﻤﺎﺫﺝ‬
‫ﻗﺪﻭﺓ ﻳﻤﻜﺊ ﺃﻥ ﺟﻤﺬﻯ ﺑﻬﺎ‬ ‫ﻋﻠﻰ ﺍﻟﻨﻘﻴﺾ ﻣﻦ ﺫﻟﻚ ﻟﻮﻗﺎﺭﻧﺎ ﺍﻟﻤﺮﻛﺰ ﺍﻟﺘﺠﺎﺭﻯ ﺍﻟﻘﺪﻳﻢ‬ ‫ﻳﻠﺘﻔﺘﻮﺍ ﺇﻟﻰ ﻣﺎﻳﻜﻤﻦ ﻓﺒﻪ ﻣﻦ ﻗﻴﻢ ﻣﺘﺄﺻﻠﺔ ﻭﺧﺒﺮﺍﺕ ﻭﻧﺮﺍﺙ‬
‫ﺑﺎﻟﻤﺮﻛﺰ ﺍﻟﺘﺠﺎﺭﻯ ﺍﻟﺤﺪﻳﺚ ﻟﻤﺪﻳﻨﺔ ﺍﻟﻘﺎﻫﺮﺓ ﻭﺍﻟﻤﺘﺂﺣﻤﻴﻦ‬ ‫ﻭﺗﺠﺎﺭﺏ ﺍﻟﺴﺎﺑﻘﻴﻦ‬
‫ﻟﺒﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ ﻭﻧﺘﺴﺎءﻝ ﻣﺎ ﻫﻰ ﻭﺳﺎءﻟﻞ ﺗﺤﺪﻳﺪ ﺍﻻﺗﺠﺎﺓ‬ ‫ﻯ‬ ‫ﺍﺿﺎء ﺍﻟﻤﺴﺠﺪﻛﻌﻨﺼﺮ ﺗﺦ‬
‫ﺍﻝ ﺍﻟﺼﺤﻴﺔ ﻟﻬﺎ ﻳﺄﺧﺬ ﺃﺑﻴﺔ‬
‫ﺑﺎﻻﺻﺮﺓ ﻭﺗﻮﻓﺮ ﺍﻟﺒﻴﺌﺔ ﺳﻜﻨﻴﺔ‬
‫ﻭﻣﻦ‬ ‫ﻭﻣﺎ ﻫﻰ ﻣﺮﺍﻛﺰ ﺍﻟﺠﺬﺏ ﺍﻟﺒﺸﺮﻯ ﻓﻴﻪ‬ ‫ﺩﺍﺧﻠﻪ‬
‫ﺟﺎﻧﺒﻴﺔ ﺗﺤﺖ ﻧﺄﺛﺮ ﺳﻴﻄﺮﺓ ﻭﺳﺎﺋﻞ ﺍﻟﻨﻘﻞ ﻭﺷﺒﻜﺎﺗﻬﺎ ﻋﻠﻰ‬ ‫ﺍﻟﺮﺩﻭﺩ ﻋﻠﻰ ﻫﺬﻳﻦ ﺍﻟﺴﺆﺍﻟﻴﻦ ﻧﻌﺮﻑ ﺍﻟﺘﺤﻮﻝ ﺍﻟﺬﻯ ﻃﺮﺃ‬ ‫ﻛﺎﻥ ﻣﻦ ﺃﻫﻢ ﻣﻈﺎﻫﺮ ﺿﻴﺎﻉ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻤﻤﻴﺰﺓ‬
‫ﺗﺨﻄﻴﻂ ﺍﻻﺣﻴﺎء ﺍﻟﺴﻜﻨﻴﺔ ﺣﻴﺚ ﺃﺧﺬ ﺗﻮﻓﺮ ﻣﺴﺘﻠﺰﻣﺎﺕ‬ ‫ﻣﺎﻳﻈﻬﺮ ﻋﻠﻰ ﻋﻼﻗﺔ ﺍﻟﻤﺴﺠﺪ ﺑﺎﻟﻤﺪﻳﻨﺔ‬ ‫ﻟﻠﻤﺪﻳﻨﺔ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﻋﻠﻰ ﺍﻟﻤﻔﺎﻫﻴﻢ ﻭﺍﻟﻘﻴﻢ ﻭﻛﺬﻟﻚ ﻋﻠﻰ ﺍﻟﻤﺪﻳﻨﺔ ﻭﺗﻜﻮﻳﻨﺎﺗﻬﺎ‬
‫ﺍﻣﺎ ﺍﻟﻤﺴﻜﻦ‬ ‫ﺍﻟﺴﻴﺎﺭﺓ ﻣﻦ ﻣﻮﺍﺗﻒ ﻭﻃﺮﻕ ﺍﻻﻟﻤﺠﺔ ﺍﻟﻤﻄﻠﻘﺔ‬ ‫ﻓﺈﺫﺍ‬ ‫ﻛﻜﻞ ﻭﺍﻻﺣﻴﺎء ﺍﻟﺴﻜﻨﻴﺔ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﺨﺼﻮﺹ‬
‫ﺍﻟﻤﺎﺩﻳﺔ ﻭﺍﻟﻤﺸﻜﻠﺔ ﺍﻷﺩﻫﻰ ﻫﻰ ﺍﻹﺧﺘﻔﺎء ﺍﻟﺘﺪﺭﻳﺠﻰ‬
‫ﻓﻘﺪ ﺍﻧﺴﺤﺐ ﺍﻟﻰ ﺩﺍﺋﺮﺓ ﺍﻟﻈﻞ‬
‫ﻓﺈﺧﺘﻔﺎء ﺍﻟﻤﺴﺠﺪ ﻛﻌﻨﺼﺮ ﺗﺨﻄﻴﻄﻰ ﻣﻦ‬ ‫ﻟﻠﻤﺴﺠﺪ‬
‫ﺃﺧﺬﻧﺎ ﻣﻮﺿﻮﻉ ﺍﻟﻤﺴﺠﺪ ﻭﻋﻼﻗﻖ ﻯﺍﻟﻤﺪﻳﻨﺔ ﻭﺍﻻ ﻳﺮﺍء‬
‫ﺍﻟﺴﻜﻨﻴﺔ ﻧﺠﺪ ﺃﻥ ﻗﻠﺐ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻷﻭﻟﻰ ﻛﺎﻥ ﻳﻤﺜﻠﻪ ﺍﻟﻤﺴﺠﺪ‬
‫ﻭﻣﻦ ﺃﺧﻄﺮ ﻣﻈﺎﻫﺮ ﺍﻟﺘﺤﻮﻝ ﺍﻟﺘﻰ ﺷﻬﺪﺗﻬﺎ ﺍﻷﺣﺒﺎء‬ ‫ﺍﻷﺣﻴﺎء ﺍﻟﺴﻜﻨﻴﺔ ﻧﺎﺗﺞ ﻋﻦ ﺍﻣﺎ ﺿﻌﻒ ﺍﻟﻮﺍﺯﻉ ﺍﻟﺪﻳﻨﻰ‬
‫ﻳﻘﻊ ﺣﻮﻟﻪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻤﻨﺸﺌﺎﺕ‬ ‫ﺑﻮﻇﺎﺋﻔﻪ ﺍﻟﻌﺪﺑﺪﺓ‬
‫ﺍﻟﺴﻜﻨﻴﺔ ﺍﺧﺘﻔﺎء ﻋﺎﻣﻞ ﺗﺮﻓﺮ ﺍﻟﺨﺼﻮﺻﻴﺔ ﺍﻟﻼﺯﻣﺔ‬ ‫ﻟﺪﻯ ﺍﻧﺤﻄﻂ ﺃﻭ ﺟﻬﻠﻪ ﺑﺎﻟﺪﻳﻦ ﺃﻭ ﻻﻥ ﺍﻟﻤﺴﺠﺪ ﻟﻢ ﻳﺮﺩ ﻓﻰ‬
‫ﻧﻈﺮﻳﺎﺕ ﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﺤﺪﻳﺜﺔ ﻟﻠﻤﺠﺎﻭﺭﺍﺕ ﺍﻟﺴﻜﻨﻴﺔ‬
‫ﺍﻹﻗﺘﻀﺎﺩﻳﺔ ﻭﺍﻹﺩﺍﺭﻳﺔ ﺍﻟﺘﻰ ﺗﻤﺎﺭﺱ ﻓﻬﺎ ﻛﺎﻓﺔ ﺍﻷﻧﺜﺤﻄﺔ‬
‫ﻟﻸﻣﺮﺓ ﻭﻻ ﻳﻌﻜﻰ ﻗﺒﻮﻝ ﻫﺬﺍ ﺍﻟﺮﺿﻊ ﻣﺠﺮﺩ ﻣﺸﻜﻠﺔ‬ ‫ﻛﺎﻥ ﺫﻟﻚ ﻣﺎ ﻧﻌﺮﻓﻪ ﺍﻟﻴﻮﻡ ﻓﻲ ﺍﻟﻌﻠﻮﻡ ﺍﻟﺤﺪﻳﺜﺔ‬ ‫ﺍﻟﺤﻴﻮﻳﺔ‬
‫ﺗﺨﻄﻴﻄﻴﺔ ﻭﻟﻜﻨﻪ ﻳﻌﻜﺲ ﻗﺒﻮﻝ ﺃﻭﺿﺎﻉ ﻻﺗﺘﻨﺎﺻﺐ ﻣﻊ‬ ‫ﻭﻛﻠﻬﺎ ﻧﻈﺮﻳﺎﺕ ﻣﺴﺘﻮﺭﺩﺓ ﻭﻛﻤﺎ ﺍﺧﺘﻔﺖ ﺍﻟﻜﻨﻴﺴﺔ ﺃﻭ‬
‫ﻭﻛﺎﻥ‬ ‫ﻟﻠﺘﺨﻂ ﻁ ﻋﻠﻰ ﺃﻧﻪ ﻣﻨﻄﻘﺔ ﺍﻹﻧﺸﻄﺔ ﺍﻟﻤﺮﻛﺰﻳﺔ‬
‫ﺍﻟﺪﻳﻦ ﺍﻹﺻﻼﻣﻰ ﻭﻻ ﻳﻬﻢ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﺃﻥ ﺍﻟﻤﺴﻜﻦ‬ ‫ﺍﺧﺬﺕ ﻣﻜﺎﻧﺎ ﻣﺘﻮﺍﺿﻌﺎ ﻓﻰ ﺍﻟﻈﻞ ﺩﺍﺧﻞ ﻧﻈﺮﻳﺔ ﺍﻟﻤﺠﺎﻭﺭﺓ‬
‫ﻳﻨﻤﻮ ﺑﻤﻴﺰﺍﻥ ﻣﻤﻴﺰ‬ ‫ﻣﺮﻛﺰ ﺍﻟﻤﺪﻳﻨﺔ ﻗﺪﺑﻤﺎ ﻋﻨﺪﻣﺎ ﻳﻨﻤﻮ‬
‫ﻗﺪﻳﻤﺎ ﻛﺎﻥ ﻳﺘﻤﺘﻊ ﺑﺤﻮﺻﻖ ﺩﺍﺧﻠﻰ ﺗﺘﺠﻤﻊ ﺣﻮﻟﻪ ﺣﻴﺎﺓ‬ ‫ﺍﻟﺴﻜﻨﻴﺔ ﻓﻲ ﺗﻄﺒﻴﻘﺎﺗﻬﺎ ﻓﻰ ﺃﻭﺭﺑﺎ ﻭﺃﻣﺮﻳﻜﺎ ﺗﻨﺎﺳﻴﻨﺎ ﻧﺤﻦ‬
‫ﻳﺘﻤﺜﻞ ﻓﻲ ﻇﻬﻮﺭ ﻧﺮﺍﺓ ﻣﺮﻛﺰﻳﺔ ﺟﺪﻳﺪﺓ ﺗﺮﺗﺒﻂ ﺑﺎﻟﻤﺮﻛﺰ‬
‫ﺍﻷﺻﺮﺓ ﺍﻭ ﻭﺟﻮﺩ ﺻﺜﺮﻳﻴﺎﺕ ﺃﻭ ﺳﻮﺍﺗﺮ ﻋﻠﻰ ﺍﻟﻔﺘﺤﺎﺕ‬ ‫ﺍﻟﻤﺴﺠﺪ ﻛﻌﻨﺼﺮ ﻭﺣﻴﺪ ﻟﺒﻌﺚ ﺍﻟﺤﻴﺎﺓ ﺍﻹﺟﻤﺎﻋﻴﺔ ﺍﻟﺼﺤﻴﺔ‬
‫ﺃﻯ ﻣﺴﺠﺪ‬ ‫ﻭﺗﺄﺧﺬ ﻧﻔﻤﺼﻔﺘﻪ ﺍﻟﺘﺜﺮﻳﺤﻴﺔ‬ ‫ﺍﻷﻡ‬
‫ﻭﺍﻷﺑﻮﺍﺏ ﺃﻭ ﺍﻟﻔﺼﻞ ﺍﻟﺪﺍﺧﻠﻰ ﺑﺎﻟﻤﺴﻜﻦ ﺑﻴﻦ ﺍﻟﺤﻴﺎﺓ‬ ‫ﻓﻰ ﻣﺪﻳﻨﺔ ﺍﻟﻴﻮﻡ ﻭﺍﺗﺠﻬﻨﺎ ﺻﺆ ﺑﻌﺚ ﺗﻠﻠﺚ ﺍﻟﺤﻴﺎﺓ ﺍﻹﺟﺘﻤﺎﻋﺒﺔ‬
‫ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻤﺮﻛﺰ ﺍﻟﺘﺠﺎﺭﻯ ﺃﻭ ﺍﻟﻤﺪﺭﺳﺔ ﺍﻻﺑﺘﺪﺍﺋﻴﺔ ﺃﻭ‬ ‫ﻳﺘﺠﻤﻊ ﺣﻮﻟﻪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻧﺸﻄﺔ ﺍﻹﻗﺘﺼﺎﺩﻳﺔ‬
‫ﺍﻟﺨﺎﺻﺔ ﻭﺍﻟﺤﻴﺎﺓ ﺍﻟﻌﺎﻣﺔ ﺍﺫ ﺃﻥ ﻛﻞ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻛﺎﻧﺖ‬ ‫ﻭﺍﻹﺟﺘﻤﺎﻋﺒﺔ ﻭﺃﺛﺒﺎﺗﺎ ﻟﺬﻟﻚ ﻓﺎﻟﺴﺎﺋﺮ ﻓﻰ ﺍﻟﺠﺰء ﺍﺭﻓﻲ‬
‫ﺍﻟﺖ‬
‫ﻣﺠﺮﺩ ﻭﺳﺎﺛﻞ ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﺍﻟﺨﺼﻮﺻﻴﺔ ﻭﻟﻴﺴﺖ ﻫﺪﻓﺎ‬ ‫ﺍﻟﺤﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ ﻭﺍﻟﻤﻨﺘﺰﻫﺎﺕ‬
‫ﻭﻫﻮ ﻣﺎﺗﻌﺎﺭﻑ ﺍﻟﻨﺎﺱ ﻋﻠﻰ ﺗﺴﻤﻴﺘﻪ ﺑﻘﺎﻫﺮﺓ‬ ‫ﻣﻦ ﺍﻟﻐﺎﻫﺮﺓ‬
‫ﻓﻲ ﺣﺪ ﺫﺍﺗﻬﺎ‬ ‫ﺍﺧﻔﺎء ﺭﻭﺡ ﺍﻟﺠﻮﺍﺭ ﻧﻰ ﺍﻟﺘﺨﻄﻴﻂ‬ ‫ﻳﺠﺪ ﺃﻥ ﺍﻟﺸﻮﺍﺭﻉ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻋﺒﺎﺭﺓ ﻋﻦ ﺗﺘﺎﺑﻊ‬ ‫ﺍﻟﻔﺎﻃﺤﻴﻴﻦ‬
‫ﻭﺍﻟﻨﺎﻇﺮ ﺍﻟﻤﻘﺎﺭﻥ ﺑﻴﻦ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻧﻰ ﻟﻠﺤﻰ ﺍﻟﺴﻜﻨﻰ‬ ‫ﺇﺫﺍ ﻧﺘﻔﻠﻨﺎ ﺇﻟﻰ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺴﻜﻨﻴﺔ ﻛﺒﻴﺌﺔ ﻣﻨﺎﺳﺒﺔ ﻟﻘﻴﺎﻡ‬ ‫ﻣﻦ ﺍﻟﻤﺴﺎﺟﺪ ﺍﻟﻤﺘﻔﺎﻭﺗﺔ ﺍﻟﺤﺠﻢ ﻳﻘﻊ ﺣﻮﻟﻬﺎ ﻭﻟﻴﻬﺎ ﻛﺎﻓﺔ‬
‫ﻗﺪﻳﻤﺎ ﻭﺣﺪﻳﺜﺎ ﻳﻼﺣﻆ ﺑﻮﺿﻮﺡ ﺍﻟﺘﻐﺮ ﺍﻹﺟﺘﻤﺎﻋﻰ ﻓﻲ ﻣﺠﺘﻤﻊ‬ ‫ﺍﻷﺻﺮ ﺛﻰء ﻣﻘﺪﺱ‬
‫ﺣﻴﺎﺓ ﺃﺳﺮﻳﺔ ﺳﻠﻴﻤﺔ ﻛﺎﻧﺖ ﻓﻴﻬﺎ ﺓ‬ ‫ﺍﻷﻧﺸﻄﺔ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻭﺗﻌﻤﻞ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺟﺪ ﻛﻤﺮﺍﻛﺰ ﺟﺬﺏ‬
‫ﺍﻟﺴﻜﺎﻥ ﻓﺄﻧﻤﺎﻁ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻧﻰ ﺍﻟﺤﺪﻳﺜﺔ ﺗﻌﻜﺲ‬ ‫ﻭﺍﻟﻌﻼﻗﺎﺕ‬ ‫ﻭﺍﻟﺤﻴﺎﺓ ﺍﻷﺱ ﻳﺔ ﺗﺄﺧﺬ ﺍﻟﻤﻜﺎﻧﺔ ﺍﻻﻭﻟﻰ‬ ‫ﺑﺸﺮﻯ ﻟﺘﻨﺸﺒﻂ ﺍﻟﺤﺮﻛﺔ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻫﺬﺍ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺃﻧﻬﺎ‬
‫ﻣﻨﻔﺮﺩﺓ ﺃﻭ ﻣﺠﺘﻤﻌﺔ ﺇﺯﺩﻳﺎﺩ ﺭﻭﺡ ﺍﻟﻔﺮﺩﻳﺔ ﻟﺪﻯ‬ ‫ﺍﻹﻧﺴﺎﻧﻴﺔ ﻳﻴﻦ ﻣﺠﻤﺮﻉ ﺍﻟﺠﺮﺃﻥ ﻟﻬﺎ ﺍﻷﻳﺔ ﺍﻟﺨﺎﺻﺔ‬ ‫ﺗﺸﻬﺪ ﻋﻠﻰ ﻣﺎﻛﺎﻥ ﻋﻠﻴﻪ ﺍﻟﺪﻳﻦ ﻳﻮﻣﺎ ﻣﺎﻣﻦ ﺃﻫﻤﻴﺔ ﺧﺎﺻﺔ‬
‫ﺍﻟﻤﺠﺘﻤﻊ ﻭﻋﺪﻡ ﺍﻟﺘﺮﺍﺑﻂ ﺃﻭ ﺍﻟﺘﻜﺎﻓﻞ ﺍﻻ ﺃﻋﻰ ﺑﻴﻦ‬ ‫ﻭﺍﻟﺘﺮﺍﺣﻢ ﺍﻟﻮﺍﺭﺩ ﻓﻰ ﺍﻟﺪ ﻛﺄ ﺍﻻﺳﻼﻣﻰ ﺃﺻﺒﺤﻨﺎ ﻧﺠﺪ ﺃﻥ‬ ‫ﻟﺪﻯ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻌﺮﺑﻰ ﺍﻟﻤﺴﻠﻢ ﺍﻟﻤﺆﻣﻦ ﺍﻟﺬﻯ ﻛﺎﻥ ﻋﻨﺪﻩ‬
‫ﻣﺠﻤﻮﻉ ﺍﻟﺴﻜﺎﻥ ﺣﻴﺚ ﻧﺠﺪ ﺃﻥ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻧﻰ‬ ‫ﺍﻟﻤﺠﺎﻭﺭﺓ ﺍﻟﺴﻜﻨﻴﺔ ﻭﻣﺎ‬ ‫ﺭﻭﺡ ﺍﻟﺠﻮﺍﻫـ ﻭﺍﻟﺘﻜﺎﻓﻞ ﺍﻻﺱ ﻯ‬ ‫ﺍﻟﻤﺴﺠﺪ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﻤﺜﻠﻰ ﻭﺍﻟﻮﺣﻴﺪﺓ ﻟﺘﺠﻤﻴﻊ ﺍﺑﺊ ﺭ‬
‫ﺃﻭ‬ ‫ﺑﺎﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ ﻳﺘﺴﻴﺰ ﺑﺎﻟﻌﻤﺎﺭﺍﺕ ﺍﻟﺸﺎﻫﻘﺔ‬ ‫ﺗﺤﺘﻮﻳﻪ ﻣﻦ ﺧﻼﻳﺎ ﺳﻜﻨﻴﺔ ﻗﺪ ﻓﻘﺪ ﺃﻫﻢ ﻋﻨﺼﺮ ﺍﻭﺟﺪ‬ ‫ﻭﺍﻹﻧﺸﻄﺔ ﻻﺭﺗﺒﺎﻁ ﺍﻟﻤﺴﺘﻤﺮ ﺍﻟﺪﺍﺋﺐ ﺑﺤﻴﺎﺗﻬﻢ ﻓﺎﻟﻤﺴﺠﺪ‬
‫ﺃﻭ ﺍﻟﻤﺒﺎﻓﻲ ﺍﻟﺘﻰ ﺗﺄﺧﺬ‬ ‫ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﺴﻜﻨﻴﺔ ﺍﻟﻤﺴﺘﻘﻠﺔ‬ ‫ﺍﻓﻂ ﻭﺍﻟﻄﺎﺑﻊ ﺍﻟﻌﺎﻡ ﻟﻠﻤﻨﻄﻘﺔ ﺍﻟﺴﻜﻨﻴﺔ ﺑﻤﺪﻳﻨﺔ ﺍﻻﺹ‬ ‫ﻫﻨﺎ ﻫﻮ ﻋﻨﺼﺮ ﺍﻟﺠﺬﺏ ﻭﻭﺣﺪﺓ ﺍﻹﻳﻘﺎﻉ ﻓﻲ ﺍﻟﺘﺨﻄﻂ‬
‫ﺗﻮﺟﻬﻬﺎ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺝ ﺑﺤﻴﺚ ﺗﻌﻄﻰ ﺍﻹﺣﺴﺎﺱ ﺑﺎﻟﺘﻔﺮﻕ‬ ‫ﺍﻻﺻﻼﻣﻴﺔ ﻓﻔﻰ ﺍﻟﻤﺪﻧﻴﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ ﺃﺻﺒﺢ ﺍﻹﻫﻤﺎﻡ‬ ‫ﻭﻋﻼﻣﺔ ﺃﺭﺿﻴﻪ ﻟﺘﺤﺪﻳﺪ ﺍﻹﺗﺠﺎﻩ ﻭﺍﻟﺤﺮﻛﺔ ﺩﺍﺧﻞ ﺍﻟﻤﺪﻳﻨﺔ‬
‫‪q‬‬
‫ﻭﺫﻟﻚ ﻋﻠﻰ ﺍﻟﻨﻘﻴﺾ ﺗﻤﺎﻣﺎ ﻣﻦ ﺍﻟﻨﺴﻴﺞ‬ ‫ﺍﻟﺘﺸﺘﻴﺖ‬

‫ﺍﻟﻌﻤﺮﺍﻧﻰ ﺑﻤﺪﻳﻨﺔ ﺍﻷﻣﺲ ﺍﻻﺳﻼﻣﻴﺔ‬
‫ﻭﻣﻦ‬ ‫ﺍﻟﺼﺮﺍﻉ ﺍﻟﺤﻀﺎﺭﻯ ﻭﺍﻟﻐﺰﻭ ﺍﻟﺜﻘﺎﻓﻲ‬
‫ﺍﻷﺳﺒﺎﺏ ﺍﻟﺘﻲ ﺃﺩﺕ ﺇﻟﻰ ﺍﻧﺤﺮﺍﻑ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ ﻋﻦ‬
‫ﺍﻟﺨﻂ ﺍﻹﺳﻼﻣﻲ ﺍﻟﺼﺮﺍﻉ ﺍﻟﺤﻀﺎﺭﻯ ﻭﺍﻟﻐﺰﻭ ﺍﻟﺜﻘﺎﻓﻲ‬
‫ﻓﻌﻨﺪﻣﺎ ﺑﻌﺪﺕ ﺍﻟﺤﻀﺎﺭﺓ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻹﺳﻼﻣﻴﺔ ﻋﻦ ﺭﻛﻴﺰﺗﻬﺎ‬
‫ﺟﺎءﺕ ﻋﻬﻮﺩ ﺷﻘﺎﻕ ﻭﺑﻌﺪ ﻋﻦ ﺍﻟﺪﻳﻦ ﺃﻋﻘﺒﻬﺎ‬ ‫ﺍﻟﺪﻳﻨﻴﺔ‬
‫ﺍﻻﻧﻬﻴﺎﺭ ﺍﻟﺴﻴﺎﺳﻲ ﻭﺍﻟﻌﺴﻜﺮﻯ ﻭﻋﻨﺪﻣﺎ ﺑﺪﺃ ﻋﺼﺮ ﺍﻟﺜﻮﺭﺓ‬
‫ﺗﻠﻚ ﺍﻟﺜﻮﺭﺓ ﺍﻟﺘﻰ ﺍﻋﻘﺒﺘﻬﺎ‬ ‫ﺍﻟﺼﻨﺎﻋﻴﺔ ﻓﻲ ﺍﻭﺭﻭﺑﺎ ﻭﺃﻣﺮﻳﻜﺎ‬
‫ﻛﺎﻥ‬ ‫ﻧﻬﻀﺔ ﻓﻜﺮﻳﺔ ﻭﻓﻨﻴﺔ ﻭﻋﻤﺮﺍﻧﻴﺔ ﻏﻴﺮﺕ ﻭﺟﻪ ﺍﻟﺘﺎﺭﻳﺦ‬
‫ﺍﻟﻌﺎﻟﻢ ﺍﻟﻌﺮﺑﻰ ﺍﻹﺳﻼﻣﻲ ﻣﺎﺯﺍﻝ ﻳﻘﻊ ﺗﺤﺖ ﻧﺮ ﺍﻻﺣﺘﻼﻝ‬
‫ﺍﻷﺟﻨﺒﻲ ﻭﺑﺎﻟﺘﺎﻟﻰ ﻓﺎﺗﻪ ﺃﻥ ﻳﻜﻮﻥ ﺳﺒﺎﻗﺎ ﻓﻲ ﺗﻠﻚ ﺍﻟﻨﻬﻀﺔ‬
‫ﺍﻟﺸﺎﻣﻠﺔ ﻓﻴﻤﺎ ﻋﺪﺍ ﺑﻌﺾ ﺍﻟﻤﺤﺎﻭﻻﺕ ﺍﻟﻔﺮﺩﻳﺔ ﺍﻟﺘﻰ ﻇﻬﺮﺕ‬
‫ﺭﻯ ﺍﻟﻌﻠﻮﻟﺔ ﺩﻭﺭ‬ ‫ﻛﺎﻥ ﺛﺮﻭﻋﺎﺕ ﺍﻟﻄﺮﺅ ﻭﺍﻝ‬ ‫ﻋﺮﻻﺕ‬

‫ﻛﻤﺤﺎﻭﻻﺕ ﻣﺤﻤﺪ ﻋﻠﻰ ﺑﺎﺷﺎ ﻓﻲ‬ ‫ﺑﻘﺎﻉ ﺍﻟﻌﺎﻟﻢ ﺍﻹﺳﻼﻣﻰ‬
‫ﺭﺋﻰ ﻓﻰ ﺍﻓﺎﺩ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺪﻳﺨﻴﺔ ﻭﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻻﺋﺮﻳﺔ ﻭﻛﺬﻟﻚ ﻓﻰ‬ ‫ﻣﺼﺮ ﻭﻓﻲ ﺗﻠﻚ ﺍﻟﻔﺘﺮﺍﺕ ﺍﻟﺘﻰ ﺳﻨﺤﺖ ﻟﻠﺒﻌﺾ ﺃﻥ‬
‫ﺗﺪﻣﻴﺮ ﺍﺑﺢ ﺍﻟﻌﻤﺮﺍﻧﻰ ﺍﻟﻘﺎﻛﻢ‬ ‫ﻓﺈﻥ ﺑﺮﻳﻘﻬﺎ ﻛﺎﻥ‬ ‫ﻳﻘﺘﺒﺲ ﺟﺰءﺍ ﻣﻦ ﻧﻮﺭ ﺗﻠﻚ ﺍﻟﻨﻬﻀﺔ‬
‫ﻳﻌﻤﻰ ﻋﻴﻨﻴﻪ ﺑﻌﺪ ﻃﻮﻝ ﻇﻼﻡ ﻭﻟﺬﻟﻚ ﻛﺎﻥ ﻳﻘﻒ ﺃﻣﺎﻣﻬﺎ‬
‫ﻣﺒﻬﻮﺭﺍ ﻭﻻ ﻳﻤﻠﻚ ﺃﻣﺎﻡ ﺑﺮﻳﻘﻬﺎ ﻭﺗﻴﺎﺭﻫﺎ ﺍﻟﺠﺎﺭﻑ ﺳﻮﻯ ﺃﻥ‬
‫ﺍﻟﺠﻮﺍﻧﺐ ﺍﻟﻤﺎﺩﻳﺔ ﻟﻠﺸﺮﻭﻉ ﺑﻞ ﻳﺠﺐ ﺍﻷﺧﺬ ﻓﻲ ﺍﻻﻋﺘﺒﺎﺭ‬ ‫ﻟﻠﺴﻴﺎﺭﺍﺕ ﻛﻜﻞ ﻭﻻ ﺃﺣﺪ ﻳﻨﻜﺮ ﺫﻟﻚ ﺇﻻ ﺃﻧﻬﺎ‬ ‫ﻳﺮﻣﻰ ﻭﺭﺍء ﻇﻬﺮﻩ ﻣﺎﺑﻘﻰ ﻣﻌﻪ ﻣﻦ ﺗﺮﺍﺛﻪ ﺍﻟﻘﺪﻳﻢ‬
‫ﺍﻟﻌﺎﻣﻞ ﺍﻹﻧﺴﺎﻓﻲ ﺍﻟﻤﺘﻤﺜﻞ ﻓﻲ ﺍﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﺍﻟﺘﺮﺍﺙ ﻭﻋﺪﻡ‬ ‫ﻻﻳﺠﺐ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻌﺎﻣﻞ ﺍﻟﻬﺎﻡ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺘﺠﻤﻌﺎﺕ‬
‫ﺍﻟﻤﺴﺎﺱ ﺑﻪ ﻛﻤﺎ ﻛﺎﻥ ﻟﻠﻤﺨﻄﻄﻴﻦ ﺍﻻﺻﺘﺜﺎﺭﻳﻴﻦ ﺍﻷﺟﺎﺕ‬ ‫ﺍﻟﺴﻜﻨﻴﺔ ﺃﻭ ﺩﺍﺧﻞ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻭﻓﻲ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ‬ ‫ﻭﻗﺪ ﻇﻬﺮ ﻣﻦ ﻳﻨﺎﺩﻱ ﺑﺄﻧﻪ ﻳﺠﺐ ﺍﻟﺘﺴﻠﻴﻢ ﺑﺒﻌﺪ ﺍﻟﺸﻘﺔ‬
‫ﺑﻴﻦ ﺍﻟﺤﻀﺎﺭﺓ ﺍﻟﻐﺮﺑﻴﺔ ﻭﺍﻟﺤﺎﻝ ﻓﻲ ﺍﻟﺸﺮﻕ ﻭﺃﻧﻪ ﻟﻠﺘﻘﺪﻡ‬
‫ﺩﻭﺭﺍ ﻓﻲ ﻃﻤﺲ ﻣﻌﺎﻟﻢ ﻭﺷﺨﺼﻴﺔ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻹﺳﻼﻣﻴﺔ ﻭﻗﺪ‬ ‫ﺟﺮﺕ ﻣﺤﺎﻭﻻﺕ ﻋﺪﻳﺪﺓ ﻓﻲ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻐﺮﺑﻰ ﻣﻨﺬ ﺗﺼﻤﻴﻢ‬
‫ﻻﺗﻜﻮﻥ ﻫﺬﻩ ﺍﻟﻤﺸﻜﻠﺔ ﻇﺎﻫﺮﺓ ﻣﻠﺤﺔ ﻓﻲ ﻣﺼﺮ ﻭﻟﻜﻦ‬ ‫ﻣﺪﻳﻨﺔ ﺭﺍﺩﺑﻮﻥ ﻓﻲ ﺃﻭﺍﺧﺮ ﺍﻟﻼﺛﻴﻨﺎﺕ ﻭﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬﺍ ﺍﻻ‬ ‫ﻳﻠﺰﻡ ﺍﻟﺘﺨﻠﻰ ﻋﻦ ﺗﻠﻚ ﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﺒﺎﻟﻴﺔ ﻭﺫﻟﻚ ﺍﻟﺘﺮﺍﺙ‬
‫ﺃﻧﻨﺎ ﻏﺎﻟﻴﺎ ﻻﻧﻄﺒﻘﻬﺎ ﻓﻲ ﻣﺮﻭﻋﺎﺕ ﺍﻹﺳﻜﺎﻥ ﺃﻭ‬ ‫ﻭﺍﻟﺒﺪء ﻓﻮﺭﺍ ﻓﻲ ﻧﻘﻞ ﺣﻀﺎﺭﺓ ﺍﻟﻐﺮﺏ ﻟﻜﻲ ﻧﺠﻌﻞ ﻣﻦ‬
‫ﺍﻟﻤﺜﻤﻜﻠﺔ ﺗﻈﻬﺮ ﺑﻮﺿﻮﺡ ﻭﺇﻟﺤﺎﺡ ﻱ ﺩﻭﻝ ﻣﻨﻄﻘﺔ ﺍﻟﺨﻠﻴﺞ‬
‫ﺍﻟﺸﺮﻕ ﻗﻄﻌﺔ ﻣﻦ ﺍﻟﻐﺮﺏ ﻓﻘﺪ ﻇﻬﺮﺕ ﺩﻋﻮﺓ ﺇﻟﻰ ﻫﺠﺮ‬
‫ﻭﻓﻲ ﺃﻏﻠﺐ ﺍﻷﺣﻮﺍﻝ ﺗﻢ ﺗﺠﺎﻫﻞ ﺍﻟﻌﺎﻣﻞ ﺍﻹﺟﺘﻤﺎﻋﻰ ﻋﻨﺪ‬ ‫ﻣﺮﻭﻋﺎﺕ ﺗﻘﺴﻴﻢ ﺍﻷﺭﺍﺿﻲ ﺍﻟﺘﻰ ﻧﺮﺍﻫﺎ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‬
‫ﻭﺻﺮﻑ ﺍﻻﻫﺘﻤﺎﻡ ﻧﺤﻮ ﺍﻟﺠﺎﻧﺐ ﺍﻟﻤﺎﺩﻯ‬ ‫ﻋﺪﺍﺩ ﺍﻟﺘﺨﻄﻴﻂ‬ ‫ﻋﻠﻰ ﺃﺳﺎﺱ ﺃﻥ ﺍﻟﻤﺪﻥ ﺍﻟﻜﺒﺮﻯ‬ ‫ﻣﺎﻫﻮ ﻗﺪﻳﻢ ﻓﻲ ﺍﻟﻤﺪﻥ‬
‫ﻭﻛﺎﻥ ﻟﺸﺒﻜﺎﺕ ﺍﻟﻄﺮﻕ ﻭﻣﻮﺍﻗﻒ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺣﻈﺎ‬
‫ﻓﻘﻂ‬ ‫ﻭﺑﻤﺎ‬ ‫ﺍﻟﺤﺪﻳﺜﺔ ﺑﺌﻮﺍﺭﻋﻬﺎ ﺍﻟﻌﺮﻳﻀﺔ ﻭﺧﻄﻮﻁ ﻣﻮﺍﺻﻼﺗﻬﺎ‬
‫ﻭﺍﻓﺮ ﻓﻲ ﺍﻹﺿﺮﺍﺭ ﺑﺎﻟﻬﻴﻜﻞ ﺍﻟﻌﺎﻡ ﻟﻠﻤﺪﻧﻴﺔ ﺍﻻﺳﻼﻣﻴﺔ ﺑﻮﺟﻪ‬
‫ﻓﻴﻬﺎ ﻣﻦ ﻣﺤﻼﺕ ﺗﺠﺎﺭﻳﺔ ﻛﺒﺮﻯ ﻭﻋﻤﺎﺭﺍﺕ ﻭﻣﻨﺸﺌﺎﺕ ﺍﻟﻠﻬﻮ‬
‫ﻋﺎﻡ ﻭﺑﺎﻟﻤﻨﺎﻃﻖ ﺍﻷﺛﺮﻳﺔ ﺍﻟﺘﺎﺭﻳﺠﺔ ﺑﻮﺟﻪ ﺧﺎﺹ ﺣﻴﺚ ﺗﻢ‬ ‫ﻭﺍﻳﺮﻓﻴﺔ ﺗﻤﺜﻞ ﺍﻟﻄﻤﻮﺡ ﺍﻟﺬﻯ ﻳﺮﻧﻮ ﺇﻟﻴﻪ ﺍﻟﺘﺎﺱ ﻭﺗﺴﺎﻳﺮ‬
‫ﻭﻣﻦ ﺟﺎﻧﺐ ﺁﺧﺮ ﻓﻘﺪ ﺃﺩﺕ ﺳﻴﻄﺮﺓ ﺍﻟﻤﺎﺩﻳﺎﺕ‬ ‫ﺗﺪﻣﻴﺮ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﺮﺍﻓﻲ ﺍﻟﻘﺎﺋﻢ ﻟﻠﻤﺪﻳﻨﺔ ﻟﻐﺮﺽ ﻓﺘﺢ‬
‫ﻭﺍﻟﻨﻈﺮﺓ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺍﻟﺮﻗﻤﻴﺔ ﺍﻟﺒﺤﺘﺔ ﺍﻟﻰ ﺟﺪﻭﻯ ﺍﻻﻣﻮﺭ‬ ‫ﻣﺘﻄﻠﺒﺎﺕ ﺍﻟﻌﺼﺮ ﻭﻣﻈﺎﻫﺮ ﺍﻟﻤﺪﻧﻴﺔ ﺍﻟﺤﺪﻳﺜﺔ ﻭﺍﺭﺗﺒﻂ ﺫﻟﻚ‬
‫ﺍﻟﺸﻮﺍﺭﻉ ﻭﻟﻢ ﻳﻎ ﻓﺤﺴﺐ ﺍﻟﺘﻀﺤﻴﺔ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ‬
‫ﺇﻟﻰ ﻃﺴﻰ ﺷﺨﺼﻴﺔ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﺴﻜﻨﻰ ﺍﻹﺳﻼﻣﻰ ﻭﻏﻴﺎﺏ‬ ‫ﺑﺎﻹﺩﻋﺎء ﺑﺄﻥ ﺍﻗﺴﻚ ﺑﺎﻟﺘﺮﺍﺙ ﻭﻣﺤﺎﻭﻟﺔ ﺍﺣﻴﺎﺅﻩ ﻣﺎﻫﻮ‬
‫ﺍﻟﻤﺜﺌﺎﺕ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ ﺍﻟﺠﻤﺎﻟﻴﺔ ﺃﻭ ﺍﻟﺘﺎﺭﻳﺠﺔ ﺍﻟﺨﺎﺻﺔ ﺑﻞ ﻳﻎ‬ ‫ﻭﻳﻤﺜﻞ ﻗﻴﺪﺍ ﻋﻠﻰ ﻣﺤﺎﻭﻻﺕ‬ ‫ﺍﻹﺭﺩﺓ ﻋﻦ ﺍﻟﺘﻘﺪﻡ ﻭﺍﻟﻤﺪﻧﻴﺔ‬
‫ﺍﻟﻤﺴﺠﺪ ﻛﻌﻨﺼﺮ ﺑﺎﺭﺯ ﻭﺭﺋﻴﻰ ﺩﺍﺧﻞ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﺴﻜﻨﻰ‬ ‫ﺍﻹ ﻋﻲ ﻭﺍﻟﺘﺮﺍﺑﻂ ﺍﻟﻌﺎﺋﻠﻰ ﻭﺍﻷﺳﺮﻯ‬ ‫ﺍﻟﺘﻀﺤﻴﺔ ﺑﺎﻟﻬﻴﻜﻞ ﺑﺊ‬ ‫ﺍﻗﺪﻥ ﻭﺍﻟﺨﻔﺮ ﻭﻣﺴﺄﻳﺮﺓ ﺩﻭﺍﻋﻰ ﺍﻟﻌﺼﺮ‬
‫ﺣﺪﺙ ﺫﻟﻠﺚ ﻋﻨﺪﻣﺎ ﻗﺜﻤﺖ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﻣﻦ ﻭﺍﻗﻊ‬ ‫ﺍﻟﺬﻯ ﻛﺎﻥ ﻗﺎﺋﻤﺎ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺫﻟﻚ ﻓﻘﺪ ﺃﻭﺟﺪﺕ ﻣﺜﻞ‬
‫ﺟﺪﻭﺍﻫﺎ ﺍﻻﻗﺘﻀﺎﺩﻳﺔ ﻭﻣﻦ ﻣﻨﻄﻠﻖ ﺟﺎﻧﺒﻬﺎ ﺍﻟﺮﻗﻤﻰ ﺍﻟﺠﺎﻣﺪ‬ ‫ﻫﺬﻩ ﺍﻷﻋﻤﺎﻝ ﺻﻮﺭﺓ ﺑﺼﺮﻳﺔ ﺭﺩﻳﺌﺔ ﻟﻠﺸﻮﺍﺭﻉ ﺃﻧﻌﻜﺴﺖ‬
‫ﻟﻠﺮﺑﺢ ﺃﻭ ﺍﻟﺨﺴﺎﺭﺓ ﻭﺣﻴﺚ ﺃﻥ ﺍﻟﻤﺴﺠﺪ ﻻﻳﻌﺘﺒﺮ ﻣﺮﻭﻋﺎ‬ ‫ﺍﻟﺴﻴﺎﺭﺓ ﻋﻠﻰ ﺗﻮﺟﻴﻪ ﺍﻟﺘﺨﻄﻴﻂ‬ ‫ﺳﻄﺮﺓ‬
‫ﻭﻫﻨﺎﻙ ﻣﺸﻜﻠﺔ ﺃﺧﺮﻯ‬ ‫ﻋﻠﻰ ﺍﻟﺼﻮﺭﺓ ﺍﻻﻣﻠﺔ ﻟﻠﻤﺪﻳﻨﺔ‬
‫ﻣﺮﺑﺤﺎ ﺍﻗﺘﻀﺎﺩﻳﺎ ﻭﻻﻳﻤﻜﻦ ﺃﻥ ﻳﻜﻮﻥ ﻟﻪ ﻣﺮﺩﻭﺩﺍ ﻣﺎﻟﻴﺄ‬ ‫ﺍ ﻟﻌﻤﺮﺍ ﻧﻰ‬
‫ﻭﻫﻰ ﺍﻟﻄﺮﻕ ﺍﻟﻌﻠﺮﻳﺔ ﺍﻟﺘﻰ ﺗﺒﻨﻲ ﺩﺍﺧﻞ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺪﻳﻨﺒﺔ ﺃﻭ‬
‫ﻓﺈﺫﺍ ﻧﻈﺮﻧﺎ ﺇﻟﻰ ﺍﻟﻤﺤﺼﻠﺔ ﺍﻟﻨﻬﺎﺋﻴﺔ ﻟﻬﺬﺍ ﺍﻟﻌﺎﻣﻞ ﻭﺗﺄﺛﻴﺮﻫﺎ‬ ‫ﺍﻷﺛﺮﻳﺔ ﻭﺍﻟﺘﺎﺭﻳﺠﺔ ﻣﺜﻞ ﺍﻟﻄﺮﻕ ﺍﻟﻌﻠﻮﻳﺔ ﺑﻤﻜﺔ ﺍﻟﻤﻜﺮﻣﺔ‬ ‫ﻭﻟﻮ‬ ‫ﻻ ﻳﻨﻜﺮ ﺃﺣﺪ ﺃﻟﻤﺠﺔ ﺍﻟﻄﺮﻕ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﺪﻳﻨﺔ‬
‫ﻭﺧﺼﻮﺻﺎ ﺍﻟﺤﻲ‬ ‫ﻋﻠﻰ ﺍﻟﻨﺴﻴﺞ ﺍﻟﻌﻤﺮﺍﻓﻲ ﻟﻠﻤﺪﻳﻨﺔ‬ ‫ﻭﻣﻨﻄﻘﺔ ﺍﻟﻤﺸﺎﻋﺮ ﺍﻟﻤﻘﺪﺻﺔ ﻧﻲ ﻣﻨﻰ ﻭﻣﺰﺩﻟﻔﺔ ﻭﻋﺮﻓﺎﺕ‬ ‫ﺗﻌﻄﻠﺖ ﺷﺒﻜﺎﺕ ﺍﻟﻄﺮﻕ ﻟﺘﻌﻄﻠﺖ ﺍﻭﺟﻪ ﺍﻷﻧﺸﻄﺔ‬
‫ﺍﻟﺴﻜﻨﻲ ﻟﻮﺟﺪﻧﺎ ﺃﻥ ﺍﻟﻤﺴﺠﺪ ﺗﻮﺍﺭﻯ ﻓﻲ ﺍﻟﻈﻞ ﻭﺃﺻﺒﺢ‬ ‫ﻭﺗﻌﺤﻞ ﻫﺬﻩ ﺍﻟﻄﺮﻕ ﺍﻟﻌﻠﻮﻳﺔ ﻋﻠﻰ ﺇﻓﺴﺎﺩ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺒﺼﺮﻳﺔ‬ ‫ﻛﻤﺎ‬ ‫ﺍﻟﺘﺠﺎﺭﻳﺔ ﻭﺍﻹﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻹﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬
‫ﻻﻳﺘﻨﺎﺳﺐ ﻋﺪﺩﻳﺎ ﺃﻭ ﻣﺴﺎﺣﻴﺎ ﻣﻊ ﻣﺠﻤﻮﻉ ﺍﻟﺴﻜﺎﻥ ﺍﻟﻘﺎﺋﻢ‬ ‫ﺩﺍﺧﻞ ﺗﻠﻚ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻷﺛﺮﻳﺔ ﻭﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻟﻤﺎ ﺗﻤﺜﻠﻪ ﻣﻦ ﻋﺎﻣﻞ‬ ‫ﻻﻳﻤﻜﻦ ﺍﻧﻜﺎﺭ ﺃﻟﻤﺠﺔ ﻣﻮﺍﻗﻒ ﺍﻟﺴﻴﺎﺭﺍﺕ ﺩﺍﺧﻞ ﺍﻟﻤﺪﻥ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺿﻴﺎﻋﻪ ﺍﻟﺤﺠﻤﻰ ﻳﻴﻦ‬ ‫ﻋﻠﻰ ﺧﺪﻣﻬﻢ‬ ‫ﺗﻨﺎﻓﺮ ﻏﺮﻳﺐ ﻋﻦ ﺗﻠﻚ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺘﻰ ﻳﻌﺒﺮﻫﺎ ﺍﻟﻄﺮﻳﻖ ﻭﻳﺤﺐ‬ ‫ﺣﻴﺚ ﺇﻧﻬﺎ ﺷﻰء ﺿﺮﻭﺭﻯ ﺍﺭﺗﺒﻂ ﺑﻮﺟﻮﺩ ﺍﻟﺴﻴﺎﺭﺓ ﺫﺍﺗﻬﺎ‬
‫ﺍﻟﻌﻤﺎﺭﺍﺕ ﺍﻟﻀﺨﻤﺔ ﺍﻟﻤﺮﺗﻔﻌﺔ ﺍﻟﺘﻲ ﺳﻴﻄﺮﺕ ﻋﻠﻰ ﺍﻟﺘﻜﻮﻳﻦ‬ ‫ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﺍﻟﺒﺤﺚ ﻋﻦ ﻭﻣﺎﺋﻞ ﺃﺧﺮﻯ ﻟﺤﻞ ﻣﺸﻜﻠﺔ‬ ‫ﻭﺍﻟﺘﺴﺎﺅﻝ ﻫﻨﺎ ﺇﻟﻰ ﺍﻯ ﻣﺪﻯ ﻳﺴﻤﺢ ﻟﻠﺴﻴﺎﺭﺓ ﺃﻥ ﺗﺴﻴﻄﺮ‬
‫ﺍﻟﻌﺎﻡ ﻟﻠﺤﻰ ﻭﻭﻗﻔﺖ ﻣﻌﺒﺮﺓ ﻋﻦ ﺗﻔﻜﻚ ﺍﻟﺮﻭﺍﺑﻂ‬ ‫ﻭﺍﻥ ﻛﺎﻥ ﻻﺑﺪ ﻣﻦ ﻋﺒﻮﺭ ﻭﺳﺎ ﻟﻞ ﺍﻟﻤﺮﺍﺻﻼﺕ‬ ‫ﺍﻟﻤﺮﻭﺭ‬ ‫ﻋﻠﻰ ﻛﺎﻓﺔ ﺃﻭﺟﻪ ﺍﻟﺤﻴﺎﺓ ﺑﺎﻟﻤﺪﻳﻨﺔ ﻓﺎﻟﺸﻮﺍﺭﻉ ﺃﺻﺒﺤﺖ‬
‫ﻭﺿﻴﺎﻉ‬ ‫ﻭﺍﻟﻤﺎﺩﻳﺎﺕ‬ ‫ﺍﻟﻔﺮﺩﻳﺔ‬ ‫ﺍﻻﺑﺊ ﻋﻴﺔ ﻭﺳﻴﻄﺮﺓ‬ ‫ﻟﺘﻠﻚ ﺍﻟﻤﻨﺎﻃﻖ ﻓﻴﻤﻜﻦ ﺑﺪﻻ ﻣﻦ ﺑﻨﺎء ﻃﺮﻕ ﻋﻠﻮﻳﺔ ﺃﻥ ﺗﺒﻨﻲ‬ ‫ﺗﺼﻤﻢ ﻟﻠﺴﻴﺎﺭﺍﺕ ﻭﻟﻮ ﺗﻌﺎﺭﺿﺖ ﺧﻄﺮﻁ ﺍﻟﻤﺜﺎﺓ ﻣﻊ‬
‫ﺍﻟﺨﺼﺮﺻﻴﺔ ﻟﻸﺱ ﺓ‬ ‫ﺍﻧﻔﺎﺗﺎ ﺗﺤﺖ ﺍﻷﺭﺽ ﻭﻓﻲ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﻻﻳﺠﺐ ﺍﻟﻨﻈﺮ ﺇﻟﻰ‬ ‫ﺧﻄﻮﻁ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻓﺎﻟﺘﺮﺟﻴﺢ ﻭﺍﻟﻐﻠﺒﺔ ﺑﻠﻮﻥ ﺷﻚ‬
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‫ﻡ ﺍﻙ ﻭﺭ ﺃﺭ ﺻﺸﺌﺎ‬
‫ﻣﺠﻤﻊ ﺳﺒﻬﻰ ﺗﺠﺎﺭﻯ ﺃﺩﺍﺭﻯ ﺻﻤﻴﻢ ﺑﺜﺰ‬ ‫ﺟﺪﺓ‬ ‫ﺏ‬

‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺨﻄﻄﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﺩﺓ‬
‫ﺑﻨﻰ ﻣﺒﻬﻰ ﺩﺻﻤﻴﻢ ﺩ ﻋﺪ ﺍﺏ ﻗﻰ ﺍﺑﺰﻫﻴﻢ‬ ‫ﺍﻟﻘﺎﻫﺮﺓ‬ ‫ﺍ‬
‫ﺍﻟﻤﺤﺎﻭﻻﺕ ﺍﻟﻔﺮﺩﻳﺔ ﻓﻰ ﻛﺎﺻﻬﻞ ﺍﻟﻘﻴﻢ ﺍﻟﺤﻀﺎﺭﻳﺔ ﻟﻠﻌﻤﺎﺭﺓ‬
‫ﺍﻃﻮﺍﺋﻂ ﻣﻦ ﺍﻃﺠﺮ ﺍﻟﻤﺮﺟﺎﻧﻰ‬ ‫ﺻﺖ ﻧﺼﻬﻒ‬ ‫ﺟﺪﺓ‬

‫ﺣﻦ ﺧﺤﻰ‬ ‫ﻭﺍﻻﺳﻘﻒ ﺧﺜﺔ ﻣﻦ ﻟﺼﻤﻴﻢ ﺍﻟﻤﺤﺪﺱ‬
‫ﺍﻟﺪﻋﻮﺓ ﺍﻟﻰ ﺛﺄﻣﻞ ﺍﻟﻘﻴﻢ ﺍﻃﻀﺎﻭ ﺓ ﻟﻰ ﺍﻟﻤﺪﻳﻨﺔ‬

‫ﺍ ﻟﻤﻌﺎ ﻋﺮﺓ‬
‫ﺍﻷﺧﺮﻯ ﺍﻟﺘﻰ ﻳﺠﺐ ﺃﻥ ﺩﺣﻤﻴﺰ ﺑﻬﺎ ﻣﺜﻞ ﺍﻟﻘﺪﺭﺓ ﻋﻞ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ ﺍﻻﺳﻼﻓﻴﺔ ﻭﻃﺎﺑﻌﻬﺎ ﺍﻟﻤﻤﻜﻞ ﻭﺍﻟﻤﺤﺎﻓﻈﺔ ﻋﻞ ﺍﺣﺎﺭ‬ ‫ﻟﻘﺪ ﺗﻤﺜﻠﺖ ﻫﺬﻩ ﺍﻟﺪﻋﻮﺓ ﻓﻰ ﻋﺪﻩ ﻋﺎﻭﻻﺕ ﻓﺮﺩﻳﺔ‬
‫ﺛﺮﺳﺦ ﺍﻟﻤﻌﺮﻓﺔ ﺍﻛﺸﺒﻌﺔ ﺑﺎﻟﺜﻘﺎﻓﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺑﺎﻹﻓﺎﻓﺔ ﺇﻟﻰ‬ ‫ﻭﺍﻟﻤﺪﻥ ﺍﻟﻘﺪﻳﻤﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻤﺤﻞ ﻭﻣﺸﻜﻼﺕ‬ ‫ﻣﻦ ﺍﻋﻤﺎﻝ ﻣﻌﻤﺎﺭﻳﺔ ﻟﻤﻬﻨﺪﺳﻴﻦ ﻣﻌﻤﺎﺭﻳﻴﻦ ﻣﺜﻞ ﺃﻋﻤﺎﻝ‬
‫ﻛﺸﺠﻊ ﺣﺮﻛﺔ ﺍﻟﺒﻨﺎء ﺍﻳﺜﺎﺑﻪ ﺑﻪ ﻓﻰ ﺍﻻﻃﺮﺍﻑ ﺍﻣﺤﻠﻔﺔ‬ ‫ﻭﺍﻟﻨﺪﻭﺓ ﺍﻻﻳﻀﺮﺓ‬ ‫ﺍﻹﺱ ﻥ ﻭﺍﻟﺮﻣﺰ ﺓ ﻓﻰ ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻭﻗﺪ ﺗﻈﻬﺮ ﻫﺬﻩ ﺍﻟﻤﺤﺎﻭﻻﺕ‬ ‫ﺍﻟﻤﻬﻨﺪﺱ ﺣﺴﻦ ﻛﺤﻰ‬
‫ﻣﻦ ﺍﻟﻌﺎﻟﻢ ﺍﻻﻳﻼﻣﻰ ﻭﻫﺪﻩ ﺍﻟﻤﺆﻣﺴﺔ ﺍﻳﻀﺎ ﻛﻌﻤﻞ ﻋﻞ‬ ‫ﺗﻨﺎﻭﻟﺖ ﺍﻟﻤﻴﺎﻧﻰ ﺍﻟﻌﺎﻣﺔ ﻭﻣﺪﻯ ﻧﺜﺮﻫﺎ ﺑﺎﻟﻄﺎﺑﻊ ﺍﻣﺤﻠﻰ‬ ‫ﺍﻟﻔﺮﺩـ ﻳﺔ ﺍﻳﻀﺎ ﻓﻰ ﺻﻮﺭﺓ ﺗﻜﻮءﻧﻰ ﻣﺆﺳﺴﺎﺕ ﺗﺴﺎﻫﻢ ﻓﻰ‬
‫ﺍﺻﺪﺍﺭ ﺍﻟﻨﺸﺮﺍﺕ ﻭﺍﻟﻤﻄﺒﻮﻋﺎﺕ ﺍﻟﺘﻰ ﻣﻦ ﺃﻏﺮﺍﻓﻌﻬﺎ ﺇﺣﻴﺎء‬ ‫ﻭﻳﺘﻎ ﺫﻟﻚ ﻋﻘﺪ ﺍﻟﻤﺴﺎﺑﻘﺎﺕ‬ ‫ﻟﻠﻤﺠﻤﻌﺎﺕ ﺍﻣﺤﻠﻔﺔ‬ ‫ﺗﺄﻋﻞ ﺍﻟﻘﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻻﺳﻼﻣﻴﺔ ﻋﻦ ﻃﺮﻳﻖ ﻋﻤﻞ‬
‫ﺍﺏ ﺋﺔ ﺍﻹﺳﻼﺻﺔ ﻭﺍﻟﻤﺤﺎﻧﻈﺔ ﻋﻞ ﺍﻟﻤﺪﻳﻨﺔ ﻭﻛﺮﺍﻟﻬﺎ ﻣﻦ‬ ‫ﻷﺧﺎﺭ ﺃﺣﺴﻦ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﺘﻰ ﻳﺘﻮﻓﺮ ﻳﺨﻬﺎ‬ ‫ﺍﻟﻨﺪﻭﺍﺕ ﻭﻋﻘﺪ ﺍﻟﻤﺆﺗﻤﺮﺍﺕ ﻭﺍﻟﻤﺴﺎﺑﻘﺎﺕ ﻣﺜﻞ ﺑﺮﻧﺎﻣﺞ‬
‫ﺍﻟﻌﻤﺎﺭﺓ ﻭﻛﺮﺍﺛﻬﺎ ﻣﻦ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻹﺳﻼﻣﻴﺔ ﻭﻫﻨﺎﻙ ﺃﻓﺎ‬ ‫ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺇﻇﻬﺎﺭ ﻓﻦ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻻﺳﻼﻣﻴﺔ ﻭﺃﻥ ﺗﺘﻮﻓﺮ‬ ‫ﺍﻻﻏﺎﺧﺎﻥ ﻟﻠﻌﻤﺎﺭﺓ ﺍﻻﺳﻼﻣﻴﺔ ﺍﻟﺬﻯ ﺑﺪء ﺑﻌﻘﺪ ﺧﻤﺲ‬
‫ﻣﻦ ﺍﻟﻤﺠﻬﻮﺩﺍﺕ ﻣﺎﻱ ﺩﻝ ﺭ ﻋﻘﺬ ﺍﻟﻤﺆﺗﻤﺮﺍﺕ ﺍﻟﻌﻠﻢ ﺓ‬ ‫ﺃﻳﻀﺎ ﺍﻟﻘﺪﺭﺓ ﻋﻞ ﻣﻼﻗﺎﺓ ﺍﻟﺘﺤﺪﻳﺎﺕ ﺍﺗﺤﻠﻔﺔ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ‬ ‫ﺟﺎﻛﺎﺭﺛﺎ‬ ‫ﺃﺱ ﺑﻮﻝ‬ ‫ﺩﻭﺭﺍﺕ ﻟﻰ ﻛﻞ ﻣﻦ ﺑﺎﺭﻳﺮ‬
‫ﻭﺍﻟﻨﺪﻭﺍﺕ ﺍﻟﺘﻰ ﻣﻦ ﺍﻫﺪﺍﻓﻬﺎ ﺍﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﺍﻟﻤﺪﻳﻨﺔ‬ ‫ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺒﻴﺌﺔ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻃﻮﺍﺹ‬ ‫ﻭﻗﺪ ﻛﻨﺎﻭﻟﺖ ﻫﺬﻩ ﺍﻟﻨﺪﻭﺍﺕ ﻋﻨﺎﺻﺮ‬ ‫ﻋﻤﺎﻥ‬ ‫ﻓﺎﺱ‬
‫ﻋﺪ ﺍﻟﻮﺍﺣﺪ ﺍﻟﻮﻳﻬﻞ‬ ‫ﻳﺖ ﺣﻼﻭﺓ ﺗﺼﻤﻴﻢ ﺍﻟﻤﻬﻨﺪﺱ‬ ‫ﺍﻻﺳﻜﻨﺪﺭﻳﺔ‬
‫ﺍﻟﻤﺸﺮﻳﻪ ﺗﻤﻤﻴﻢ ﺍﻟﻤﻬﺪﺱ‬ ‫ﻣﺴﻜﺮ ﺣﺎﺹ‬ ‫ﺍﻟﻘﺎﻫﺮﺓ‬

‫ﺍﺣﻤﺪ ﻓﺎﻳﺪ ﺷﻜﺮﻯ‬
‫ﻭﻣﻦ ﺍﻟﻤﺠﻬﻮﺩﺍﺕ ﺍﻟﺘﻰ ﺗﺪﻝ ﺑﻮﺿﻮﺡ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ‬

‫ﻣﺠﻬﻮﺩﺍﺕ ﺍﻟﻴﻮﻧﺴﻜﻮ ﻭﺍﻟﺒﻨﻚ ﺍﻟﺪﻭﻟﻰ ﻓﻰ ﺍﻹﺭﺗﻘﺎء‬
‫ﺑﺎﻟﻤﻨﺎﻃﻖ ﺍﻟﻘﺪﻳﻤﺔ ﻭﻭﺳﺎﺋﻞ ﺗﻨﻤﻴﻬﺎ ﻭﺗﻄﻮﻳﺮﻫﺎ ﺑﻬﺪﻑ‬
‫ﺍﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺤﻀﺎﺭﻯ ﺍﻟﻒ ﺙ ﻳﺨﻬﺎ ﻭﻣﻦ ﻫﺬﻩ‬
‫ﺍﻟﻤﺤﺎﻭﻻﺕ ﻣﺸﺮﻭﻉ ﺍﻷﺭﺗﻘﺎء ﺑﻤﺪﻳﻨﺔ ﻓﺎﺱ ﺍﻟﻘﺪﻳﻤﺔ ﻭﺣﻠﺐ‬
‫ﺍﻟﻘﺪﻳﻤﺔ ﻭﻗﺎﻫﺮﺓ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻮﺳﻄﻰ‬
‫ﺑﻌﺪ ﻛﻞ ﺫﻟﻚ ﻻﺑﺪ ﻣﻦ ﺍﻟﺘﺴﺎﺅﻝ ﻋﻦ ﻣﺪﻯ ﺗﺄﺛﻴﺮ‬ ‫ﻗﺼﺮ ﺍﻟﺴﻠﻴﻤﺎﻥ ﺗﻤﻤﻴﻢ ﺍﺑﻠﻬﻨﺪﺱ ﻋﺪ ﺍﻟﻮﺍﺣﺪ ﺍﻟﻮﻯ‬ ‫ﺟﺪﻩ‬
‫ﻛﻞ ﻫﺬﻩ ﺍﻟﻤﺤﺎﻭﻻﺕ ﺍﺑﺬﻭﻟﺔ ﻋﻠﻰ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻤﺪﻳﻨﺔ‬
‫ﺍﻟﻤﻌﺎﺻﺮﺓ ﻭﻣﺎ ﻳﻘﺎﻡ ﻣﻦ ﻣﺪﻥ ﺟﺪﻳﺪﺓ ﻭﺍﺫﺍ ﻛﺎﻧﺖ‬ ‫ﻭﻣﻦ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬ ‫ﺍﻟﺘﺮﺍﺙ ﺍﻟﺤﻀﺎﺭﻯ ﻟﻠﻤﺪﻥ ﺍﻻﺳﻼﻣﻴﺔ‬ ‫ﺍﻹﺳﻼﻣﻴﺔ ﻭﺇﺣﻴﺎء ﺍﻟﺘﺮﺍﺙ ﻭﻭﺿﻊ ﺍﻟﺘﺮﻋﻴﺎﺕ ﺍﻟﻼﺯﻣﺔ‬
‫ﺍﻟﻤﺪﻥ ﺍﻟﺠﺪﻳﺪﺓ ﻣﺜﻞ ﺍﻟﻌﺎﻟﺜﺮ ﻣﻦ ﺭﻣﻀﺎﻥ ﻭﺍﻟﺴﺎﺩﺍﺕ ﻭ‬ ‫ﺃﻳﻀﺎ ﻳﺘﺘﺒﻊ ﻫﺬﺍ ﺍﻟﺘﺮﺍﺙ ﺍﻟﺪﻛﻮﺭ ﻋﺎﺩﻝ‬ ‫ﺍﻟﻤﻬﺘﻤﻴﻦ‬ ‫ﻟﻠﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﻄﺎﺑﻊ ﺍﻟﻤﺤﻠﻰ ﻟﻠﻤﺪﻥ‬
‫‪ 5‬ﺍ ‪ ot‬ﻳﻮ ﻭﻣﺪﻳﻨﺔ ﺍﻟﺴﻼﻡ ﻓﻰ ﻣﺼﺮ ﻭﻏﻴﺮﻫﻬﺎ ﻣﻦ ﺍﻟﻤﺪﻥ‬ ‫ﻳﺎﺳﻴﻦ ﻋﻦ ﻃﺮﺑﻖ ﻋﺪﺓ ﻣﺤﺎﻭﻻﺕ ﺗﻮﺿﺢ ﺍﻟﺠﺮﺍﻣﻤﻢ ﺍﻟﺘﻰ‬ ‫ﻣﺜﻞ ﻧﺪﻭﺍﺕ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺘﻰ ﻋﻘﺪ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻨﻮﺭﺓ‬
‫ﺍﻟﺠﺪﻳﺪﺓ ﻓﻰ ﺍﻟﻌﺎﻟﻢ ﺍﻟﻌﺮﻓﻰ ﻗﺪ ﻇﻬﺮﺕ ﻋﻠﻰ ﺍﻟﺨﺮﻳﻄﺔ‬ ‫ﺗﺮﺗﻜﺐ ﻓﻰ ﺣﻖ ﺗﺮﺍﺛﻨﺎ ﺍﻟﺤﻀﺎﺭﻯ ﺑﻬﺪﻑ ﺇﺛﺎﺭﺓ ﺍﻟﻐﻴﺮﺓ‬ ‫ﻭﺍﻟﺪﻣﺎﻡ ﻭﻗﺪ ﺧﺮﺟﺖ ﻫﺬﻩ ﺍﺑﺪﻭﺍﺕ ﺑﻌﺪﺓ ﺗﻮﺻﻴﺎﺕ‬
‫ﻓﻤﺎ ﻫﻮ ﻧﺼﻴﺒﻬﺎ‬ ‫ﻭﻛﺐ ﺍﻻ ﺍﻟﺘﻮﺍﺟﺪ ﺑﻴﻦ ﺍﻟﻤﺪﻥ ﺍﻟﻘﺎﺋﻤﺔ‬ ‫ﻭﺭﺳﺎﻟﺔ ﺍﻟﺼﺤﺎﻓﺔ ﺍﻟﻮﺍﻋﻴﺔ‬ ‫ﻭﺍﻟﺮﻋﻴﺔ ﻓﻰ ﺍﻟﺤﻔﺎﻅ ﻋﻴﻪ‬ ‫ﻻﻧﺠﺪ ﻟﻬﺎ ﺗﺮﺟﻤﺔ ﻓﻴﻤﺎ ﺗﻢ ﺇﻗﺎﻗﻪ ﻣﻦ ﻣﺪﻥ ﺟﺪﻳﺪﺓ ﻓﻬﻞ‬
‫ﻣﻦ ﻛﻞ ﻫﺬﻩ ﺍﻟﻤﺤﺎﻭﻻﺕ ﻭﺍﻟﺘﻮﻋﻴﺎﺕ ﻭﻓﻰ ﺍﻟﻮﺍﻗﻊ ﺍﻥ‬ ‫ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﺗﺘﺄﻧﻰ ﻋﻦ ﻃﺮﺑﻖ ﻋﺮﺽ ﺍﻟﺤﻘﺎﺋﻖ ﺑﺼﻮﺭ‬ ‫ﺍﻧﻌﻘﺎﺩ ﻫﺬﻩ ﺍﻟﻤﺆﺗﻤﺮﺍﺕ ﻭﺍﻟﻨﺪﻭﺍﺕ ﻟﻲ ﻟﻪ ﺃﻯ ﺻﺪﻯ‬
‫ﺗﺎﺛﻴﺮ ﻫﺬﻩ ﺍﻟﻤﺤﺎﻭﻻﺕ ﻇﻬﺮ ﻓﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ‬ ‫ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻟﺮﺗﻮﺵ ﻣﻤﺎ ﻳﻨﺒﻪ ﺍﻟﻘﺎﺋﻤﻴﻦ ﻓﻰ ﺍﻟﻤﺠﺎﻝ ﺍﻟﺘﺨﻄﻴﻄﻰ‬ ‫ﻟﺪﻯ ﺍﻟﻘﺎﺋﻤﻴﻦ ﻋﻠﻰ ﺗﺨﻄﻴﻂ ﻭﺗﺼﻤﻴﻢ ﻫﺬﻩ ﺍﻟﻤﺪﻥ‬
‫ﺍﻟﻌﻤﺮﺍﻧﻴﺔ ﻓﻰ ﺍﻟﻤﻤﻠﻜﺔ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﺴﻌﻮﺩﻳﺔ ﻭﺍﻟﺠﺰﺍﺋﺮ‬ ‫ﻭﺍﻟﻤﻌﻤﺎﺭﻯ ﻭﺻﺎﻧﻌﻰ ﺍﻟﻘﺮﺍﺭ ﺇﻟﻰ ﻣﺎﻳﻤﻜﻦ ﺍﻥ ﺗﺠﻨﻴﻪ ﻣﻦ‬
‫ﺛﻢ ﻳﺄﻧﻰ ﺩﻭﺭ ﺍﻟﻜﻠﻤﺔ ﻣﻦ ﺧﻼﻝ ﺍﺑﺨﻼﺕ ﻭﺍﻟﻨﺸﺮﺍﺕ‬
‫ﻭﺫﻟﻚ ﺑﻬﺪﺍﻳﺔ ﻹﻧﺘﺸﺎﺭ ﻫﺬﺍ ﺍﻟﻔﻜﺮ ﺍﻟﻰ‬ ‫ﻭﺍﻟﻌﺮﺍﻕ‬ ‫ﺟﺮﺍء ﻫﺬﻩ ﺍﻟﻐﻴﺒﻮﺑﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﻣﻦ ﺃﻣﺜﻠﺔ‬
‫ﺍﻟﺘﻰ ﺗﺒﺬﻝ ﺍﻟﺠﻬﺪ ﻓﻰ ﻋﺮﺽ ﺍﻟﺠﻮﺍﻧﺐ ﺍﻧﺤﻠﻔﺔ ﻟﻠﻤﺸﻜﻠﺔ‬
‫ﻛﻞ ‪ o‬ﻳﻘﺎﻡ ﻣﻦ ﻣﺸﺮﻭﻋﺎﺕ ﻋﻤﺮﺍﻧﻴﺔ ﺟﺪﻳﺪﺓ ﻻﺛﺰﺍ ﻝ ﻓﻰ‬ ‫ﻫﺬﻩ ﺍﻟﻤﺠﻼﺕ ﺍﻟﺘﻰ ﺗﻌﻤﻞ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﻣﺠﻠﺔ ﺍﻟﺒﻨﺎء‬
‫ﻭﺗﺪﻋﻮ ﺑﺼﻮﺭ ﻣﺨﺘﻠﻔﺔ ﺍﻟﻰ ﺗﺄﺻﻞ ﺍﻟﻘﻴﻢ ﺍﻟﺤﻀﺎﺭﻳﺔ‬
‫ﺟﺒﺔ ﺍﻟﻤﺨﻄﻄﻴﻦ ﻭﺻﺎﻧﻌﻰ ﺍﻟﻘﺮﺍﺭ‬ ‫ﺍﻟﺴﻌﻮﺩﻳﺔ ﻭﻣﺠﻠﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺘﻰ ﺗﺼﺪﺭﻫﺎ ﻓﺆﺳﺴﺔ‬
‫ﻟﻠﻌﻤﺎﺭﺓ ﻭﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ ﻭﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺃﻗﻼﻡ‬
‫ﻭﺍﻟﺸﺎﺅﻝ ﺍﻵﻥ ﻫﻮ ﻗﻰ ﺗﻨﺘﻘﻞ ﻫﺬﻩ ﺍﻟﺪﻋﻮﺓ‬ ‫ﺍﻻﻏﺎﺧﺎﻥ ﻟﻠﻌﻤﺎﺭﺓ ﺍﻻﺳﻼﻣﻴﺔ ﻭﻣﺠﻠﺔ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻌﺮﻧﻴﺔ‬
‫ﻧﻌﻤﺎﺕ ﻓﺆﺍﺩ‬ ‫ﺍﻟﻤﻬﺘﻤﻴﻦ ﺑﻬﺬﻩ ﺍﻟﻤﺠﺎﻻﺕ ﻣﺜﻞ ﺍﻟﺪﻛﻮﺭﺓ‬
‫ﻳﺄﺻﻴﻞ ﺍﻟﻘﻴﻢ ﺍﻟﺨﻀﺎﺭﻳﺔ ﻓﻰ ﺑﻨﺎء ﺍﻣﺤﻴﻤﻊ ﺍﻹﺳﻼﻣﻰ‬ ‫ﺍﻟﺘﻰ ﺗﺼﺪﺭﻫﺎ ﻣﻨﻈﻤﺔ ﺍﻟﻤﺪﻥ ﺍﻟﻌﺮﺑﻴﺔ ﻭﻣﺠﻠﺔ ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﻭﻣﺎ ﺗﺠﺮﺑﺔ ﻣﻦ ﺑﻼﻏﺎﺕ ﻭﺡ ﻭﺍﺭ ﻣﻊ ﺍﻟﻤﺴﺌﻮﻟﻴﻦ ‪j‬‬
‫ﺍﻟﻤﻌﺎﺻﺮ ﺍﻟﻰ ﺍﻟﻘﺎﺋﻤﻴﻦ ﻋﻠﻰ ﻭﺿﻊ ﺍﻟﻤﺨﻄﻄﺎﺕ ﻟﻺﺟﺎء‬ ‫ﻭﻣﺠﻠﺔ ﻣﺠﺘﻤﻊ ﻭﻋﻤﺮﺍﻥ ﺍﻳﻮﻧﺴﻴﻪ ﻭﻫﻨﺎﻙ ﺃﻳﻀﺎ‬ ‫ﻣﺤﺎﻭﻟﺔ ﻻﻇﻬﺎﺭ ﺍﻟﺤﻘﺎﺋﻖ ﻛﺎﻣﻠﺔ ﺑﻐﺮﺽ ﺍﻟﺒﺤﺚ ﻋﻦ‬
‫ﻭﺍﻟﻤﺪﻥ ﺍﻟﺠﺪﻳﺪﺓ ﻓﻲ ﺃﻥ ﺗﺪﺧﻞ ﺩﺍﺋﺮﺓ ﺍﻟﺘﻨﻔﻴﺬ‬ ‫ﻣﻄﺒﻮﻋﺎﺕ ﻣﺆﺳﺴﺔ ﻣﻬﺮﺟﺎﻥ ﺍﻟﻌﺎﻟﻢ ﺍﻻﺳﻼﻣﻰ ﺑﻠﻨﺪﻥ‬ ‫ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﻤﺨﻠﻔﺔ ﺍﻟﺘﻰ ﻳﻤﻜﻦ ﻋﻦ ﻃﺮﻳﻘﻬﺎ ﺍﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ‬
‫‪21‬‬
‫ﻭﻭﺓ ﻭﺗﻌﻠﻴﻖ‬
‫‪31‬‬
‫ﺑﻴﻦ ﺍﻻﻗﺪﻳﻢ ﻭﺍﻟﺨﺪﻳﺚ ﻓﻰ ﻣﺪﻳﺔ ﺟﺪﺓ ﻣﺒﻨﻰ ﺃﺛﺮﻯ ﺃﻣﺎﻡ‬ ‫ﺍﻟﺘﻀﺎﺭﺏ ﻓﻰ ﺍﻟﻤﻘﻴﺎﺱ ﺍﻻﻧﺴﺎﻧﻰ‬
‫ﻣﺒﻨﻰ ﺍﻟﺒﻨﻚ ﺍﻟﺘﺠﺎﺭﻯ‬
‫ﻡ ﺳﻰ ﺍﻟﻤﺮﻛﺮ ﺍﻟﺜﻘﺎﺩ‬
‫ﻣﻚ ﺏ ﺍﻟﻤﻌﻤﺎﺭ‬
‫ﻳﺮ‪yJ jjy‬‬
‫‪j‬‬ ‫ﻓﻨﻠﺖ ﺍ‬ ‫ﻣﻤﻖ ﻣﺮﻛﺆﺛﻘﺎ ﻓﻰ‬
‫ﻭﺍﻟﻤﻜﺔ ﻣﻤﺒﺮ ﺍﻟﻮﺣﺪﺍﺕ ﺍﻟﻔﺮﺍ ﺓ ﺍﻟﻤﻜﻮﻧﺔ ﻟﻠﻤﺮﻛﺮ‬ ‫ﻭﻣﺴﺮﺡ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﻧﺼﻒ ﻣﺴﻄﺤﻬﺎ ﻟﻰ ﺍﻟﻤﺆﺗﻤﺮﺍﺕ‬ ‫ﺍﺟﺮﺕ ﻟﻰ ﻋﺎﻡ ‪ 0891‬ﻣﺴﺎﻟﻘﺔ ﻣﻔﺘﻮﺣﺔ ﻟﺘﺼﻤﻴﻢ‬
‫ﺣﻌﺚ ﺗﻢ ﺗﺠﻤﻬﻌﻬﺎﻝ ﺟﻤﻨﺎﺣﻦ ﻋﻞ ﻃﻮﻝ ﺍﻟﺸﺎﺭﻋﻨﻦ‬ ‫‪ TP‬ﺩﺧﺼﺎ ﻭﻗﺎﺣﺎﻥ ﻟﻠﺴﻌﻤﺎ ﺍﻟﺴﻌﺎﻥ‬ ‫ﻳﻊ‬ ‫ﻣﺒﻨﻰ ﻣﺮﻛﺮ ﻗﺎﺭﻳﻔﺖ ﺍ ﻓﻴﻬﺎ ﺍﻟﺤﺴﻴﻢ ﺍﻟﻤﻘﺪﻡ ﻣﻦ‬
‫ﺍﻃﺎﺭﺟﺾ ﻻﺭﻛﺔ ﺩ ‪ iJ‬ﺧﻞ ﺧﺎﺓ ﺍ ﻣﺴﻘﻮﻓﺎ ﻭﻛﺜﻜﻞ‬ ‫ﻋﻼﻭﺓ ﻋﻞ ﻣﺴﺎﺣﺎﺕ ﻟﻠﻌﺮﺽ‬ ‫‪ V 5‬ﻭ ‪ 002‬ﺛﺨﺺ‬ ‫ﻣﻜﺐ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻟﺮﻭﻧﻮ ﻭﻣﻮﻧﻮﻻ ﻭﺍﻟﻤﺒﻨﻰ ﻋﺎﺭﺓ ﻋﻦ‬
‫ﺣﺠﻢ ﻁ ﻩ ﺍﻟﻮﺣﺪﺍﺕ ﻋﻼﻣﺔ ﻣﻤﻴﺰﺓ ﺩﻇﻬﺮ ﻟﻜﻞ ﻣﻦ‬ ‫‪ teP‬ﻳﻤﻜﻦ ﻗﺴﻤﻬﺎ ﺇﻟﻰ ﻭﺣﺪﺍﺕ‬ ‫ﻣﻞ ﺇﻟﻰ‬ ‫ﻣﺮﻛﺰ ﻟﻘﺎﺭ ﻣﺤﺪ‪ a‬ﺍﻷﻏﺮﺍﻓﻰ ﺣﻬﺚ ﻛﻞ ﺍﻓﺮ ﻓﻴﻪ ﺟﻤﻊ‬
‫ﻳﻘﺘﺮﺏ ﻣﻦ ﺍﻟﻤﺪﺧﻞ ﺍﻟﺮﻟﻰ ﻟﻠﻤﺒﻨﻰ ﻛﻤﺎ ﺩﻃﻰ ﺍﻟﻤﺮﻛﺰ‬ ‫ﺃﺻﻐﺮ ﻭ ‪ 3‬ﻗﺎﻋﺎﺕ ﻟﻠﺘﺪﺭ ﺍﺕ ﺍﻟﻤﻮﻣﺌﺔ ﺑﻤﺴﻄﺤﺎﺕ‬ ‫ﻭ ﻗﻊ‬ ‫ﺍﻹﻣﻜﺎﻧﻬﺎﺕ ﺍﻟﻤﻄﻠﻮﻟﺔ ﻟﻬﻮﺍ ‪ 6‬ﺍﻟﺘﺎﻓﺔ ‪ iI‬ﻟﺘﻮﻥ‬
‫ﺍﻣﺎ ﺍﻟﻮﺍﺑﻬﺎﺕ ﻓﻤﻨﺎ ‪6‬‬ ‫ﺍﻳﻌﺎﺩ ﺍﻟﻤﺎﻧﻰ ﺍﻟﻌﺎﻣﺔ ﺍﻟﻤﻨﺎﺳﺒﺔ‬ ‫‪ 031‬ﻡ ‪ 5 2‬ﻡ ‪ 05 2‬ﻡ ‪ 2‬ﻭﻗﺎﻋﺎﺕ ﺇﺟﺘﻤﺎﻋﺎﺕ‬ ‫ﻋﻞ ﻧﺎﺻﻌﺔ‬ ‫ﺍﻟﻤﺮﻛﺰ ﻋﻞ ﻧﻬﺮ ﻛﻬﺼﺒﻮﻛﻰ ﻩ ﺗﻬﻼ‬
‫ﻳﺎﻟﻄﻮﻟﻲ ﺍﻷﺣﺮ ﻭﺍﺑﻼﻁ ﺍﻟﺴﺮﺍﺻﻚ ﻷﻟﻮﺍﻥ ﻧﺎﺗﺤﺔ ﻣﻤﺎ‬ ‫ﻭﻛﺎﺑﺮ ﺍ ﻭﺧﺜﻤﺔ ﻣﺴﺮﺡ ﻟﻰ ﺍﻟﻔﻨﺎء ﺍﻟﻤﻜﺸﻮﻑ‬ ‫ﺛﺎﺭﺟﻤﻦ ﻣﺰﺩﺣﻦ ﺩ ﻗﻠﻲ ﺍﻟﻤﺪﻧﺔ ﺣﻬﺚ ﺩﻛﻞ ﺍﻟﻤﻮﻗﻊ‬
‫ﺭﻭﻁ ﺍﺑﻨﻰ ﻟﻘﻠﺐ ﺍﻟﻢ ﺩﻧﺔ ﺩﺍﺕ ﺍﻷﻟﻮﺍﻥ ﺍﻻﻫﺘﻪ ﻧﻮﻋﺎ‬ ‫ﻟﺜﻤﻤﻞ ﻓﻰ ﺍﻫـﻮﺍء ﺍﻟﻄﻠﻖ ﻳﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻤﻜﺒﺔ ﺍﻟﺘﻰ‬ ‫ﻧﻘﻄﺔ ﺍﻟﺒﺪﺍﻳﺔ ﻓﻰ ﺍﻟﻔﻜﺮ ﺍﻟﺤﻤﻴﻤﻰ ﻟﻠﻤﺒﻨﻰ‬
‫ﻛﻤﺎ ﻟﻄﻰ ﺍﻧﻄﺎﻋﺎ ﻏﻬﺎ ﺩ ﺍﻟﻔﻨﺎء ﺍﻟﺪﺍﺧﻞ ﻭﻣﻦ ﺍﻟﻤﻘﺮﺭ‬ ‫ﻭ ﺍﻡ ‪3‬‬ ‫ﻟﻎ ﺣﺒﻤﻬﺎ‬
‫ﺃﻥ ﺑﺪﺃ ﺍﻟﻤﺮﺣﻠﺔ ﺍﻷﻭﻟﻰ ﻣﻦ ﺍﻝ ﻅ ﻓﻰ ﺭ ﻉ ﻋﺎﻡ‬ ‫ﻭﺩﺿﻢ ﺍﻟﻤﺮﻛﺮ ﻋﺪ ‪ 6‬ﻛﺎﻣﺮ ﻫﻰ ﻻﻋﺔ ﺍ ﻻﺕ‬
‫‪ 1 389‬ﺣﻤﺚ ﻣﻞ ﺣﺒﻢ ﺍﻟﻤﻨﻰ ﺍﻟﻰ ‪ 5 0 0‬ﺭ ‪ 33‬ﻡ ‪3‬‬ ‫ﻭﻛﺤﺒﺮ ﻗﺎﻋﺔ ﺍﺿﻼﺕ ﺍﻟﻤﻮﻣﻬﺘﺔ ﻭﺍﻟﻤﺴﺮﺡ ﻭﺍﻟﺴﺄ‬ ‫ﺣﻌﺚ ﻳﻤﻜﻦ‬ ‫ﺍﻟﻤﻮﻣﺎﺗﺔ ﺍﻟﻰ ﻟﻊ ‪ 005‬ﺛﺨﺺ‬
‫ﻟﻮﺍﺑﻬﺔ ﺍﻟﺚ ﺍﻟﻬﺔ‬
‫ﺍﻟﻤﻮﻗﻊ ﺍﻭﻝﻡ‬
‫ﻇﺎﻉ ﺭ ﻻﻋﺔ ﺍﻻﺿﺎﻻﺕ ﻭﺍﻟﻤﺮﺡ‬
‫ﺍﻟﺔ ﺍﻟﻤﺮﺥ‬ ‫ﻋﻢ‬
‫‪51‬‬
‫ﻭﺭﺛﺔ ﺍﻟﺪﻛﻮﺭ‬ ‫‪6‬‬ ‫ﻋﺎﻟﺔ ‪ 34‬ﺧﻞ‬ ‫ﺍ‬
‫ﺧﺪﻣﺎﺕ ﺍﻟﻤﺆﺗﻤﺮ ﺍ‬ ‫‪17‬‬ ‫ﻗﺎﻋﺔ ﺍﻧﺤﻼﺕ ﺍﻟﻤﻮﻣﻬﻘﻬﺔ‬ ‫‪12‬‬ ‫ﺍﻟﻢ ﺇﻟﺒﻨﺎء‬
‫ﻗﺎﻋﺔ ﺍﻟﻆ‬ ‫‪8‬‬ ‫ﻛﺎﻓﺘﺮ‬ ‫‪3‬‬
‫ﺍﻟﻤﺠﺔ‬ ‫‪9‬‬ ‫ﻋﺎﻻﺕ ﺍﻟﻤﺮﻑ‬ ‫‪4‬‬
‫ﻣﺴﻘﻂ ﺍﺷﻰ ﻟﻠﺪﻭﺭ ﺍﻷﺭﺽ‬
‫ﺍﻟﺠﺰء ﺍﻷﻣﻨﻞ ﻣﻦ ﺍﻟﻤﺮﺡ‬ ‫‪5‬‬
‫ﻣﻘﻂ ﺃﺧﻰ ﻟﻠﺪﻭﺭ ﺍﻷﻭﻝ‬
‫‪ i‬ﻗﺎﻋﺔ ﺍﻏﻼﺕ ﺍﻟﻤﻮﻫﺔ‬

‫‪a‬ﺕ‬
‫ﺭﺩ ﺗﺒﺪ ﻝ ﺍﻟﻤﻼﻟﺲ‬ ‫‪2‬‬
‫ﺍﻟﻤﺮﺡ‬ ‫‪3‬‬
‫ﻣﺎ ﻟﺔ ﻣﺪﺧﻞ ﺍﻟﻤﺮﺡ‬ ‫‪4‬‬
‫ﻋﺎﻟﺔ ﻣﺪﺧﻞ ﻗﺎﻋﺔ ﺍﺿﻼﺕ ﺍﻟﻤﻮﻣﻘﻬﺔ‬ ‫‪5‬‬
‫ﺿﺪﻣﺎﺕ ﺍﻟﻤﺆﺗﻤﺮﺍﺕ‬ ‫‪6‬‬
‫ﻭﺣﺪ ‪ 6‬ﺩﻛﺔ‬ ‫‪V‬‬
‫ﺻﻤﺎ‬ ‫‪8‬‬
‫ﻧﺮﺍﻍ ﺍﻟﻤﺠﺔ‬ ‫‪9‬‬ ‫ﺿﺎﻉ ﻃﻮﻟﻰ‬

‫ﺍﺟﻬﺔ ﺋﺴﻴﺔ‬
‫ﺍﻃﺤﺎﻛﻢ ﺍﻟﻜﻮﻳﺐ‬ ‫ﻣﺪﺵ ﻣﺠﻢ‬

‫ﺍﻧﺠﻠﺘﺮﺍ‬ ‫ﺳﻴﺮ ﺑﺎﺯﻝ ﺳﺒﺶ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻯ‬
‫ﻭﻛﺬﻟﻚ ﺍﻟﻔﺼﻞ ﺩﺍﺧﻞ ﻧﻄﺎﻕ ﺍﻟﺤﺠﺰ ﺑﻴﻦ‬ ‫ﺣﺮ ﻛﺔ ﺍﻟﻬﻴﺌﺔ ﺍﻟﻘﻀﺎﺋﻴﺔ ﻭﻣﺠﺎﻝ ﺍﻟﺠﻤﻬﻮﺭ‬
‫ﺗﺠﻠﺖ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻳﻘﻠﻴﺪﻳﺔ ﻓﻰ ﺗﺼﻤﻴﻢ ﻣﺒﻨﻰ ﺍﻟﻤﺠﻤﻊ ﺍﻟﺠﺪﻳﺪ ﻟﻤﺤﺎﻡ‬
‫ﻣﺠﺎﻝ ﺣﺮﻛﻂ ﺭﺟﺎﻝ ﺍﻟﻤﺸﺮﻃﺔ ﻭﻣﺠﺎﻝ ﺣﺮﻛﺔ ﺍﻟﻤﺘﻬﻤﻴﻦ ﻛﻤﺎ ﺧﺼﺺ ﺟﻤﺎﻝ ﺍﻟﺤﺮﻛﺔ ﺍﻟﺮﺃﺳﻴﺔ‬ ‫ﻟﻜﻮﻳﺖ ﺍﻟﺬﻯ ﺭﻭﻋﻰ ﻓﻴﻪ ﺍﻟﻔﺼﻞ ﺭﺃﺳﻴﺎ ﻭﺃﻓﻤﺎ ﺑﻴﻦ ﺧﻠﻒ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﺘﻰ ﺗﻔﻤﻨﻬﺎ‬
‫ﻟﻜﺒﺎﺭ ﺍﻟﻤﻮﻇﻔﻴﻦ ﻭﻫﻜﺬﺍ‬
‫ﺭ ﻩﻡ ‪2‬‬ ‫ﻧﺨﻄﻴﻂ ﺍﻟﻤﺠﻤﻊ ﻋﻠﻰ ﺻﺎﺣﺔ‬
‫ﻭﻗﺪ ﺗﻢ ﺗﻤﻴﻴﺰ ﻗﺎﻋﺎﺕ ﺍﻟﺤﺎﻣﻞ ﻣﻊ ﺍﻟﺠﻤﻬﻮﺭ ﻋﻦ ﺃﻣﺎﻛﻦ ﻫﺔ ﺍﻟﻘﻀﺎﺓ ﻭﺫﻟﻚ ﺑﺠﻌﻞ‬ ‫ﻭﻳﺸﻜﻞ ﺍﻟﻤﺠﻤﻊ ﺍﻟﺬﻯ ﺳﻮﻑ ﻳﺸﻊ ﻟﻨﺤﻮ ‪ 0051‬ﺷﺨﺺ ﺟﺰءﺍ ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬
‫ﻗﺎﻋﺎﺕ ﺍﻟﺠﻠﺴﺎﺕ ﺗﻘﻮﻡ ﺑﺪﻭﺭ ﺍﻟﻤﻨﺎﻃﻖ ﺍﻟﻌﺎﺯﻟﺔ ﺑﻴﻦ ﺍﻟﻌﻨﺼﺮﻳﻦ ﻭﻗﺪ ﺃﺩﻯ ﺍﻳﻔﺎﻭﺕ ﻓﻰ‬ ‫ﺍﻷﻣﺔ ﻭﺍﻟﻤﺘﺤﻒ ﺍﻟﻮﻃﻨﻰ ﻓﻰ ﻗﻠﺐ‬ ‫ﺍﺑﺎﻧﻰ ﺍﻟﺤﻜﻮﻣﻴﺔ ﺍﻟﻀﺨﻤﺔ ﺍﻟﺘﻰ ﺗﻀﻢ ﻣﻘﺮ ﻣﺠﻞ‬
‫ﺣﺠﻢ ﺍﻟﻌﻨﺼﺮﻳﻦ ﻓﻀﻼ ﻋﻦ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻮﺛﻴﻘﺔ ﺍﻟﺘﻰ ﻻﺑﺪ ﻣﻨﻬﺎ ﺑﻴﻦ ﺑﻌﺾ ﺍﻟﻤﻜﺎﺗﺐ‬ ‫ﺍﻟﻤﺪﻳﻨﺔ ﻭﻛﺎﺗﺖ ﺍﻟﺪﻋﻮﺓ ﻗﺪ ﻭﺟﻬﺖ ﻓﻰ ﻧﻮﻓﻤﺒﺮ ‪ 6791‬ﻡ ﺍﻟﻰ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﻟﻠﺪﺧﻮﻝ ﻓﻰ‬
‫ﻭﺍﻟﻤﺤﺎﻡ ﺍﻟﺘﻰ ﺗﺨﺪﻣﻬﺎ ﺍﻟﻰ ﺗﻮﺯﻳﻊ ﺍﻟﻤﻜﺎﺗﺐ ﻋﻠﻰ ﻣﺴﺘﻮﻳﻦ ﻓﻰ ﻣﻘﺎﺑﻞ ﺑﻨﺎء ﺍ ﻟﻤﺤﺎﻡ ﺫﺍﺕ‬ ‫ﻣﺤﺪﻭﺩ ﻭﻓﺪﻡ ﺍﻟﻤﺸﺮﻭﻉ ﻓﻰ ﻓﺒﺮﺍﻳﺮ ‪ 1 VV‬ﻡ ﺿﻤﻦ ﻣﺴﺎﺑﻘﺔ ﺷﺎﺭﻙ ﻳﺨﻬﺎ‬
‫ﻣﺴﺎﺑﻘﺔ ﺓ‬
‫ﺍﻟﻌﻼﻗﺔ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﻭﺍﺣﺪ‬ ‫ﻓﻀﻼ ﻋﻦ ﺍﻟﻤﻜﺘﺐ‬ ‫ﻣﻌﻤﺎﺭﻳﻮﻥ ﻣﻦ ﻛﻞ ﻣﻦ ﺇﻳﻄﺎﻟﻴﺎ ﻭﻓﺮﻧﺴﺎ ﻭﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ‬
‫ﻭﻫﻜﺬﺍ ﺗﻢ ﺗﺤﻘﻴﻖ ﺃﻗﺼﻰ ﻗﺪﺭ ﻣﻦ ﺍﻻﻗﺘﺼﺎﺩ ﻓﻰ ﺣﺠﻢ ﺍﻟﻤﺒﻨﻰ ﻣﻊ ﺗﺤﻘﻴﻖ ﺍﻟﻜﻆ ﻳﺔ‬ ‫ﺍﻟﺒﺮﻳﻄﺎﻧﻰ ﺍﻟﻤﺼﻤﻢ ﻭﺑﻌﺪ ﻓﻮﺯ ﺍﻟﻤﺸﺮﻭﻉ ﺃﻋﻄﻴﺖ ﺍﻟﻤﻮﺍﻓﻘﺔ ﻋﻠﻰ ﺑﺪء ﺇﻋﺪﺍﺩ ﺍﻟﺮﺳﻮﻣﺎﺕ‬
‫ﺍﺡ ﺍﻟﻌﺎﻋﺮ ﺣﺠﻤﺎ ﻭﻣﺴﺎﺣﺔ‬
‫ﻧﺤﻠﻒ ﺗﻴﺎﺟﺎﺕ‬ ‫ﻭﻫﻮ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻯ ﺇﺳﺘﻐﺮﻕ ﻭﻛﺎ‬ ‫ﻟﻠﺪﺧﻮﻝ ﻓﻰ ﻣﺮﺣﻠﺔ ﺍﻳﻨﻔﻴﺬ ﻓﻰ ﻣﺎﻳﻮ ‪ 7791‬ﻡ‬
‫ﻭﻳﻤﺮ ﺍﻟﺠﻤﻬﻮﺭ ﺍﻟﻘﺎﺩﻡ ﺍﻟﻰ ﺍﻟﻤﺒﻨﻰ ﻣﻦ ﺧﻼﻝ ﺣﺪﻳﻘﺔ ﺃﻧﺸﺌﺖ ﺣﺪﻳﺜﺎ ﺗﻀﻢ ﻓﻰ ﺩﺍﺧﻠﻬﺎ‬ ‫ﺃﻃﻮﻝ ﻣﻤﺎ ﻛﺎﻥ ﻓﻰ ﺍﻟﺤﺴﺒﺎﻥ ﺑﺠﺚ ﻟﻢ ﻳﺒﺪء ﺇﻻ ﺑﻌﺪ ﺩﺭﺍﺳﺔ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻻﻛﺮﺍﺣﺎﺕ‬
‫ﻗﻀﻼ ﻋﻦ ﻋﺪﺩ ﻣﻦ ﺍﻟﻨﺎﻓﻮﺭﺍﺕ ﻭﺷﻼﻻﺕ ﺍﻟﻤﻴﺎﻩ‬ ‫ﺃﺣﺪ ﺍﻟﻤﺴﺎﺟﺪ ﺍﻟﻜﻮﺗﻴﻪ ﺍﻟﻘﺪﻳﻤﺔ‬ ‫ﺍﻟﺒﺪﻳﻠﻪ ﻓﻰ ﺇﻃﺎﺭ ﺍﻟﺮﻛﺒﺔ ﻓﻰ ﺃﻥ ﻳﻔﻰ ﺍﻓﻲ ﺑﻜﺎﻓﺔ ﺍﻹﺣﺘﻴﺎﺟﺎﺕ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻤﺴﺘﻌﻤﻠﻴﺔ‬
‫ﻭﻫﻨﺎﻙ ﻣﺴﻠﻚ ﺁﺧﺮ ﻳﺆﺩﻯ ﺑﺎﻟﺠﻤﻬﻮﺭ ﺍﻟﻰ ﺍﺑﻨﻰ ﻣﻦ ﻧﺎﺣﻴﺔ ﻣﻮﻗﻒ‬ ‫ﺍﻟﻤﺘﺪﺭﺟﺔ‬ ‫ﻭﻣﻦ ﺛﻢ ﺻﺪﺭ ﺍﻻﻋﻤﺎﺩ ﺍﻧﻬﺎﺋﻰ ﻟﻠﺘﺼﻤﻴﻢ ﻓﻰ ﻓﺒﺮﺍﻳﺮ ‪ 979‬ﺍﻡ‬
‫ﺍﻟﺴﻴﺎﺭﺍﺕ ﺍﻟﻤﺠﺎﻭﺭ ﻭﺫﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﻟﻴﻮﺍﻛﻰ ﺍﻟﻈﻠﻴﻠﺔ ﺍﻟﺘﻰ ﺗﺤﻴﻂ ﺑﺎﺑﻨﻰ ﻭﻳﺸﺘﻤﻞ‬ ‫ﻭﻗﺪ ﺍﺷﺘﻤﻞ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻔﺼﻞ ﻋﻠﻰ ﺍﻟﺘﺤﻠﻴﻞ ﺍﻹﻧﺸﺎﻕ ﻭﻋﻠﻰ ﺗﻘﺎﺭﻳﺮ ﺇﻋﺪﺍﺩ‬
‫ﺍﻟﻄﺎﻳﻖ ﺍﻷﻭﻝ ﻋﻠﻰ ﺍﻟﻤﻜﺎﺗﺐ ﺍﻻﺩﺍﺭﻳﺔ ﺍﻟﻌﺎﻣﺔ ﻭﺻﺎﻻﺕ ﺍﻟﻤﺪﺧﻞ ﻭﺗﻤﺘﺪ ﺻﺎﻟﺔ ﺍﻟﻤﺪﺧﻞ‬ ‫ﺍﻟﺨﺪﻣﺎﺕ ﺍﺑﻮﺳﻌﺔ ﻭﺍﻟﺸﺎﻣﻠﺔ ﻭﺗﻢ ﺍﻋﻤﺎﺩ ﻫﺬﻩ ﺍﻟﻤﺮﺣﻠﺔ ﻓﻰ ﻧﻮﻓﻤﺒﺮ ‪ 9791‬ﻡ ﺃﻣﺎ‬
‫ﺍﻟﺮﺋﻴﺴﻴﺔ ﺑﻜﺎﻣﻞ ﻋﺮﺽ ﺍﺑﻨﻰ ﺭﺍﺑﻄﺔ ﺑﻴﻦ ﻣﺠﻤﻮﻋﺔ ﺍﻟﻤﺼﺎﻋﺪ ﻭﺍﻟﺴﻼﻟﻢ ﻋﻠﻰ ﺍﻟﺠﺎﻧﺠﻴﻦ‬ ‫ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻳﻨﻔﻴﺬﻳﺔ ﻓﻘﺪ ﺗﻢ ﺇﻋﺪﺍﺩﻫﺎ ﻓﻰ ﺍﺑﺮﻳﻞ ‪ 089‬ﺍﻡ‬
‫ﻭﻳﻄﻞ ﺍﻟﺠﻤﻬﻮﺭ ﺳﻮﺍء ﻣﻦ ﻫﺬﻩ ﺍﻟﺼﺎﻟﺔ ﺃﻭ ﻣﻦ ﻗﺎﻋﺎﺕ ﺍﻹﻧﺘﻈﺎﺭ ﻋﻠﻰ ﺍﻟﻔﻨﺎء ﺍﻷﺧﻀﺮ‬ ‫ﻭﻳﺘﻊ ﺍﻟﻤﺠﻤﻊ ﻟﺘﺸﻊ ﻭﺛﻼﺛﻴﻦ ﻣﺤﻜﻤﺔ ﺇﺑﺘﺪﺍﺋﻴﺔ ﺑﻤﺎ ﻓﻰ ﺫﻟﻚ ﻏﺮﻑ ﺍﻟﻘﻀﺎﺓ ﻭﻣﻜﺎﺗﺐ‬
‫ﺍﻟﺠﻤﻴﻞ‬
‫ﺇﺩﺍﺵ ﻳﺔ ﻛﻤﺎ ﻳﺸﻊ ﺃﻳﻀﺎ ﻟﻌﺸﺮﺓ ﻣﺤﺎﻡ ﺍﺳﺘﺜﻨﺎﻓﻴﺔ ﻋﻠﻴﺎ ﻣﺸﺘﻤﻠﺔ ﻋﻠﻰ ﻏﺮﻑ ﻟﻤﺴﺘﺸﺎﺭﻳﻬﺎ‬
‫ﺍﻟﻌﺎ ﻭﻣﻜﺎﺗﺐ ﻛﺢ ﺍﻟﻘﻀﺎﻳﺎ‬
‫ﻭﻓﺎﻙ ﻣﺪﺧﻞ ﻣﺒﺎﺷﺮ ﺍﻟﻰ ﻣﻜﺎﺗﺐ ﺍﻟﺘﺤﻘﻴﻘﺎﺕ ﻣﺔ‬ ‫ﻭﻣﻜﺎﺗﺐ ﺇﺩﺍﺭﻳﺔ ﻭﻛﺬﻟﻚ ﺗﺴﻊ ﺍﻟﻤﺒﻨﻰ ﻟﺜﻼﺋﺔ ﻣﺤﺎﻡ ﻟﻠﻨﻘﺾ ﺓ ﻭﻫﻨﺎﻙ ﺃﻳﻀﺎ ﺭﺩﻫﺎﺕ‬
‫ﻭﺗﺤﺼﻴﻞ ﺍﻟﻐﺮﺍﻣﺎﺕ ﺛﻢ ﻓﺎﻙ ﻣﺪﺧﻞ ﺟﺎﻧﺒﻰ ﻣﻨﻔﺼﻞ ﻣﻦ ﻣﻮﻗﻒ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻓﻰ‬ ‫ﻓﺴﻴﺤﺔ ﻟﻠﺠﻤﻬﻮﺭ ﻭﺃﻣﺎﻛﻦ ﻟﻼﻧﺘﻈﺎﺭ ﻭﻳﻀﻢ ﺍﺑﺨﻤﻊ ﻣﻜﺎﺗﺐ ﺃﺧﺮﻯ ﺗﺸﺘﻤﻞ ﻋﻠﻰ‬
‫ﺍﻟﺠﺎﻧﺐ ﺍﻟﺸﻤﺎﻟﻰ ﺍﻟﻐﺮﺑﻰ ﻟﻜﺒﺎﺭ ﺍﻟﻌﺎﻣﻠﻴﻦ ﻭﺍﻟﺰﻭﺍﺭ ﻭﻳﺆﺩﻯ ﺍﻟﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻨﻔﺼﻠﺔ ﻣﻦ‬ ‫ﺇﺩﺍﺭﺓ ﺍﻟﺜﺎﺋﺐ ﺍﻟﻌﺎﻡ ﻭﺇﺩﺍﺭﺓ ﻳﺎﺑﺔ ﺃﻣﻦ ﺍﻟﺪﻭﻟﺔ ﻭﺇﺩﺍﺭﺓ ﺍﻟﺨﺒﺮﺍء ﻓﻀﻼ ﻋﻦ ﺍﻹﺩﺍﺭﺓ‬
‫ﺍﻟﻤﺼﺎﻋﺪ‬
‫ﺍﻟﻌﺎﻣﺔ ﻟﻤﺠﻤﻊ ﺍﻟﻤﺤﺎﻡ ﻭﻳﺤﺘﻮﻯ ﺍﻟﻤﺠﻤﻊ ﻛﺬﻟﻚ ﻋﻠﻰ ﻣﻜﺒﺔ ﻭﻗﺎﻋﺔ ﻟﻠﺼﻼﺓ ﻭﻗﺎﻋﺔ‬
‫ﻭﺍﻟﻄﺎﻳﻖ ﺍﻟﺜﺎﻧﻰ ﻳﺸﺘﻤﻞ ﻋﻠﻰ ﺍﻟﻤﻜﺎﺗﺐ ﺍﻟﺘﻰ ﺋﻀﻢ ﺍﻟﺠﺰء ﺍﻟﺮﺋﻰ ﻣﻦ ﺇﺩﺍﺭﺓ ﺍﻟﺜﺎﺋﺐ‬ ‫ﻭﻏﺮﻑ‬ ‫ﻭﻏﺮﻑ ﻟﺮﺟﺎﻝ ﺍﻟﻤﺸﺮﻃﺔ‬ ‫ﻭﻣﺴﺎﺣﺎﺕ ﻻﺳﺘﻔﺒﺎﻝ ﺍﻟﻤﺤﺠﻮﺯﻳﻦ‬ ‫ﻟﻠﻤﺤﺎﻣﻴﻦ‬
‫ﺍﻟﻌﺎﻡ ﺃﻣﺎ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺜﺎﻟﺚ ﻭﺍﻟﺨﺎﺱ ﻭﺍﻟﺴﺎﺑﻊ ﻓﻔﻴﻬﺎ ﺍﻟﻤﺤﺎﻡ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﻟﺘﻰ ﺧﻄﻄﺖ‬ ‫ﻟﻠﺘﺤﻘﻴﻖ ﺛﻢ ﺃﻣﺎﻛﻦ ﻳﻨﺎﻭﻝ ﺍﻟﻤﺮﻃﺎﺕ ﻭﺃﺿﻴﻒ ﺃﺧﻴﺮﺃ ﺍﻟﻰ ﺍﻟﺘﺼﻤﻴﻢ ﻗﺎﻋﺔ ﺍﺟﺘﻤﺎﻋﺎﺕ ﺑﻬﺄ‬
‫ﺑﺠﺚ ﺗﻮﻓﺮ ﻣﻨﻄﻘﺔ ﻋﺎﺯﻟﺔ ﺑﻴﻦ ﺍﻟﺠﻤﻬﻮﺭ ﻭﺍﻷﻋﻤﺎﻝ ﺍﻹﺩﺍﺭﻳﺔ ﻭﺣﻮﻝ ﺳﺎﺣﺔ ﺍﺑﻨﻰ‬ ‫‪ 023‬ﻣﻘﻌﺪﺍ ﻣﻊ ﻣﺎﻟﺔ ﺍﺳﻤﺎﻝ ﻭﻋﺪﺩ ﻣﻦ ﺩﻭﺭﺍﺕ ﺍﻟﺠﺎﻩ ﺍﻟﻤﻨﻔﺼﻠﺔ‬
‫ﺗﺼﻄﻒ ﺍﻟﻤﻜﺎﺗﺐ ﺍﻟﻤﺴﺘﻘﻠﺔ ﻭﻏﺮﻑ ﺍﻟﻘﻀﺎﺓ ﻭﺍﻟﻤﺴﺘﺸﺎﺭﻳﻦ ﻭﺃﺟﻨﺤﺔ ﻛﺒﺎﺭ ﺍﻟﻌﺎﻣﻠﻴﻦ‬
‫ﻭﻫﻰ ﺗﺮﺗﺒﻂ ﻣﻦ ﺧﻼﻝ ﺩﻫﻠﻴﺰ ﺃﻭ ﻣﺠﺎﺯ ﻳﻤﻞ ﻣﺠﺎﻝ ﺍﻟﺤﺮﻛﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﻬﻴﺌﺔ ﺍﻟﻌﺎﻣﻠﻴﻦ‬ ‫ﻓﺼﻞ ﺍﻟﻮﻇﺎﺋﻒ‬
‫ﺑﺎﻟﻤﺠﻤﻊ ﻛﻤﺎ ﺗﺘﺼﻞ ﺑﻤﺼﺎﻋﺪ ﺍﻟﺤﺮﻳﻖ ﻭﺍﻟﺴﻼﻟﻢ ﻓﻰ ﻧﻘﺎﻁ ﺑﻴﻴﺔ ﻭﻋﻠﻰ ﺍﻟﺠﺎﻧﺐ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫ﻭﺗﻌﺘﻤﺪ ﺍﻟﻔﻜﺮﺓ ﺍﻷﺳﺎﺳﻴﺔ ﻓﻰ ﺗﺼﻤﻴﻢ ﺍﺑﻨﻰ ﻋﻠﻰ ﺍﻟﻔﺼﻞ ﺍﻟﺮﺃﺳﻰ ﻭﺍﻷﻓﻘﻰ‬
‫ﻣﻦ ﻫﺬﺍ ﺍﻣﺠﺎﺯ ﺗﻮﺟﺪ ﻏﺮﻑ ﻣﺪﺍﻭﻻﺕ ﺍﻟﻘﻀﺎﺓ ﺍﻟﺘﻰ ﺃﻟﺤﻘﺖ ﺑﻬﻬﺎ ﺩﻭﺭﺍﺕ ﻣﻴﺎﻩ‬ ‫ﻟﻠﻮﻇﺎﺋﻒ ﻋﻠﻰ ﻧﺤﻮ ﻣﺎ ﻳﺤﺪﺙ ﻓﻰ ﺗﺼﻤﻴﻢ ﺍﻟﻤﻄﺎﺭﺍﺕ ﻓﻤﺜﻼ ﺭﻭﻋﻰ ﺍﻟﻔﺼﻞ ﺑﻴﻦ ﻣﺠﺎﻝ‬
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‫ء‬ ‫ﺍﻟﻢ ﺍ‬
‫ﻭﺗﻨﺘﻰ ﺍﻟﻤﺼﺎﻋﺪ ﻭﻏﺮﻑ ﺍﻟﻤﻘﺎﺑﻼﺕ ﻭﺃﻣﺎﻛﻦ ﺗﻨﺎﻭﻝ ﺍﻟﻤﺮﻃﺒﺎﺕ ﻭﻛﺬﻟﻚ ﺩﻭﺭﺍﺕ‬ ‫ﻣﺴﺘﻘﻠﺔ ﻭﻣﻦ ﻫﺬﺍ ﺍﻟﺠﺎﻧﺐ ﻳﺪﺧﻞ ﺍﻋﻀﺎء ﺍﻟﻬﺌﺔ ﺍﻟﻘﻀﺎﺋﻴﺔ ﻗﺎﻋﺎﺕ ﺍﻟﻤﺤﺎﻡ ﺍﻟﺘﻰ‬
‫ﺍﻟﻤﻴﺎﻩ ﺇﻟﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﺍﻟﻤﺤﻴﻄﻰ ﻟﻠﺤﺮﻛﺔ ﻭﻫﻨﺎﻙ ﺍﺗﺼﺎﻝ ﻋﻨﺪ ﺑﻬﻮ ﺍﻟﻤﺼﺎﻋﺪ ﻣﻊ ﺍﻟﻤﺠﺎﻝ‬ ‫ﺻﻤﻤﺖ ﺑﺎﺭﺗﻔﺎﻉ ﻣﺰﺩﻭﺝ ﺃﻣﺎ ﺍﻟﺠﺎﻧﺐ ﺍﻟﻤﻘﺎﺑﻞ ﻣﻦ ﻗﺎﻋﺔ ﺍﻟﻤﺤﻜﻤﺔ ﻓﻴﻪ ﺍﻟﻤﺪﺧﻞ ﺍﻟﺬﻯ‬
‫ﺍﻟﺮﺋﺸﻰ ﻟﺤﺮﻛﺔ ﺍﻟﻌﺎﻣﻠﻴﻦ ﻭﻫﻜﺬ ﻹﺯﺩﻭﺍﺝ ﺍﻻﺭﺛﻔﺎﻉ ﻛﺪﺭﺝ ﺍﻟﻔﺮﺍﻛﺎﺕ ﺍﻟﻌﺎﻣﺔ‬ ‫ﻳﺴﻠﻜﻪ ﺍﻟﻘﺎﺩﻡ ﻣﻦ ﺍﺑﻬﻮ ﺍﻟﻌﺎﻡ ﺍﻟﻤﻘﺐ ﻭﻣﻦ ﺷﺎﻥ ﺍﻟﺤﺮﻛﺔ ﻓﻲ ﻫﺬﺍ ﺍﻻﺭﺗﻔﺎﻉ ﺍﻟﻤﺰﺩﻭﺝ‬
‫ﻭﺗﺸﺘﻤﻞ ﺍﻟﻤﺴﺘﻮﻳﺎﺕ‬ ‫ﺍﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻤﻜﺎﺗﺐ ﺍﻟﺨﺎﺭﺟﻴﺔ ﺑﺎﻟﺪﻭﺭﻳﻦ ﺣﻮﻝ ﻣﺴﺎﺣﺔ ﺍﻟﻤﺒﻨﻰ‬ ‫ﻭﻣﻨﻄﻘﺔ ﺍﻻﺗﻈﺎﺭ ﺃﻥ ﺗﺮﺑﻂ ﺟﻤﻎ ﺍﻟﻤﺤﺎﻡ ﻓﻰ ﻛﻞ ﺩﻭﺭ ﻛﻤﺎ ﺃﻧﻬﺎ ﺗﻠﺘﻒ ﻭﺣﻮﻝ ﺛﻼﺛﺔ‬
‫ﺍﻟﺮ ﺍﺑﻊ ﻭﺍﻻﺩﺱ ﻭﺍﻟﺜﺎﻣﻦ ﻋﻠﻰ ﻁ ﺗﺐ ﺇﺩﺍﺭﻳﺔ ﺍﺿﺎﻓﺔ ﻓﻴﻪ ﻭﻋﻠﻰ ﻏﺮﻑ ﺍﻟﺘﺠﻬﺰﺍﺕ‬ ‫ﺟﻮﺍﻧﺐ ﻣﻦ ﺍﺑﻨﻰ‬
‫ﺍﻟﻤﺤﻴﺔ ﻃﺪﻣﺔ ﺍﻟﻤﺤﺎﻡ‬
‫ﻭﻳﺸﺘﻤﻞ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺴﺎﺩﺱ ﻋﻞ ﻣﺪﺧﻞ ﺍﻟﺤﺠﺮ ﺍﻟﻘﻀﺎﻕ ﺍﻟﻤﺆﺩﻯ ﺍﻟﻰ ﻣﺤﺎﻡ‬ ‫ﻣﺴﻘﻂ ﺃﻓﻘﻰ ﻟﻠﺪﻭﺭ ﺍﻟﺜﺎﻟﺚ ﺍﻟﻤﺤﺎﻡ ﺍﻻﺑﺘﺪﺍﺋﻴﺔ‬
‫ﺍﻟﺠﻨﺎﻳﺎﺕ ﻭﻳﺘﻢ ﺍﺣﻔﺎﺭ ﺍﻟﻤﺘﻬﻤﻴﻦ ﻣﻦ ﻧﻄﻘﺔ ﺍﻟﺤﺠﺰ ﻓﻰ ﺍﺑﺪﺭﻭﻡ ﻋﻦ ﻃﺮﻳﻖ ﻣﺼﺎﻋﺪ‬
‫ﺧﺎﺻﺔ ﺍﻟﻰ ﻧﻘﻄﺔ ﺗﺠﻤﻊ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﻤﺘﻮﺳﻂ ﻭﻓﺎﻙ ﻣﺠﺎﺯ ﻣﺤﻜﻢ ﻳﻔﻐﻰ ﺇﻟﻰ‬
‫ﺃﻋﻠﻰ ﺣﻴﺚ ﺍﻟﻤﺤﺎﻡ ﺍﻟﻤﺴﺘﻘﻠﺔ ﻓﻲ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺴﺎﺑﻊ ﻭﺍﻟﻰ ﺍﺳﻔﻞ ﺣﻴﺚ ﺍﻟﻤﺤﺎ ﺁ ﺍﻟﺤﺎﺻﺔ ﻓﻰ‬
‫ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺴﺎﺩﺱ ﻭﻳﻀﻢ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺴﺎﺑﻊ ﻛﻼ ﻣﻦ ﻣﺤﺎﻡ ﺍﻻﺳﺘﺜﺎء ﺍﻟﻌﺎﻟﻰ ﻭﻣﺤﺎﻡ‬
‫ﺍﻣﺎ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﺘﺎﺳﻊ ﻛﺸﻐﻠﻪ ﺇﺩﺍﺭﺓ‬ ‫ﻓﻀﻼ ﻋﻦ ﺍﻟﻤﻜﺒﺔ ﻭﻗﺎﻋﺔ ﺍﻟﺼﻼﺓ‬ ‫ﺍﻟﻨﻘﺾ‬
‫ﺍﻟﺨﺒﺮﺍء ﺍﻟﻔﻨﻴﻴﻦ‬
‫ﻭﻳﺴﻤﺢ ﺗﺪﺭﺝ‬ ‫ﻭﻳﻘﻮﻡ ﻣﺨﻄﻂ ﺣﺪﻳﻘﺔ ﺍﻟﻤﺎء ﻋﻠﻰ ﻧﻤﻂ ﺇﺳﻼﻣﻰ ﺗﻘﻠﻴﺪﻯ ﻣﺠﺴﻢ‬
‫ﺃﺭﺽ ﺍﻟﺤﺪﻳﻘﺔ ﺑﺘﻜﻮﻧﻰ ﺍﻟﻼﻻﺕ ﺍﻟﻤﺎﺋﻴﺔ ﻛﻤﺎ ﻳﺘﻴﺢ ﺍﺗﺤﻔﺎﺽ ﻣﺴﺘﻮﻯ ﺍﻻﺭﺽ ﻋﻨﺪ‬
‫ﺃﻃﺮﺍﻓﻬﺎ ﻣﻤﺎ ﻳﺴﻤﺢ ﺑﻤﻎ ﻧﻮﺍﻓﺬ ﻟﻐﺮﻑ ﺍﻟﻤﻜﺎﺗﺐ ﺍﻥ ﺛﺄﺓ ﻓﻰ ﺍﻟﺒﺪﺭﻭﻡ‬
‫ﻭﻫﻨﺎﻙ ﺃﻫﺎ ﻟﻰ ﻫﺪﺍ ﺍﻟﻤﺴﺘﻮﻯ ﺳﺮﺩﺍﺏ ﺍﻟﺰﻧﺰﺍﻧﺎﺕ‬
‫ﻭﺍﺳﻘﺒﺎﻝ ﺍﻟﻤﺤﺠﻮﺯﻧﻰ ﻭﻏﺮﻑ ﺍﻟﺘﺠﻬﺰﺍﺕ ﻭﺧﺪﻣﺔ‬
‫ﺍﻟﻌﺎﻣﻠﻴﻦ ﻭﺍﻟﺮﺩـ ﻫﺔ ﻭﻗﺎﻋﺔ ﺍﻻﺟﺘﻤﺎﻋﺎﺕ ﺍﻟﺘﻰ ﺗﺤﻮﻯ ﻋﻞ‬
‫‪ 023‬ﻣﻘﻌﺪﺃ ﻣﺪﺭﺟﺎ ﻭﻫﻰ ﻛﻮﺳﻂ ﺟﻤﻤﻮﻉ ﻯ‬
‫ﺍﻟﻤﺼﺎﻋﺪ ﻭ ﻗﻊ ﺗﺤﺖ ﺻﺎﻟﺔ ﺍﻟﻤﺪﺧﻞ ﺑﺎﺛﺮﺓ ﻭﻟﺸﻤﻞ‬
‫ﺋﻞ‬ ‫ﺍﻟﻘﺎﻋﺔ ﻋﻞ ﻏﺮﻓﺔ ﻟﻤﺮﺽ ﺍﻻﻓﻼﻡ ﻣﻊ ﻛﺎﻣﻞ‬ ‫ﺍ ﻟﻤﺪﺧﻞ ﺍﻟﺮﺽ ﻯ ﻟﻠﺒﻨﻰ ﻣﻦ ﺧﻼﻝ ﺣﺪﻳﻘﺔ ﺗﻀﻢ ﻣﺴﺠﺪﺍ ﻗﺎﺋﻤﺎ‬
‫ﺍﻟﺴﻤﻴﺔ ﻭﺍﻟﺒﺼﺮ ﺓ ﺍﻟﻤﻴﺴﺮﺓ ﻟﻠﻤﺆﺗﻤﺮﺍﺕ‬
‫ﺍﻟﻄﺮﺍﺯ ﺍﻹﺳﻼﻣﻰ‬
‫ﻭﺗﻢ ﺛﻌﺎ ﻣﻊ ﺭﻏﺒﺔ ﺍﻟﺴﻠﻄﺎﺕ ﺍﻟﻜﻮﻗﺔ ﻟﻰ ﺍﻥ ﻛﻮﻥ‬
‫ﺍﻟﻤﺒﻨﻰ ﺫﺍ ﻃﺎﻟﻊ ﺇﻣﻼﻣﻰ ﺭﺍﻋﻰ ﺍﻟﻤﻌﻤﺎﺭﻭﻭﻥ ﺍﻥ ﺭﻭﻛﺪ‬
‫ﺍﻟﻤﺒﻨﻰ ﻛﻞ ﻣﻦ ﺍﻟﻈﻼﻝ ﻭﺍﻷﺿﻮﺍء ﻭﺍﻥ ﺟﻤﺴﺪ ﺑﻌﺾ‬
‫ﻋﻨﺎﻋﺮ ﺍﻳﺮﺍﺙ ﺍﻹﺳﻼﻣﻰ ﻓﺎ ﻟﻬﻜﻞ ﺍﻃﺮﻣﺎﻧﻰ ﺍﻟﻤﺴﻠﺢ‬
‫ﺍﻟﻤﻜﺴﺆ ﻻﻃﺠﺮ ﺫﻭ ﺍﻋﻤﺪﺓ ﻋﻤﻘﺔ ﺍﻳﺠﺲ ﺩ ﺗﺮ ﻓﻊ‬
‫ﻧﺼﻒ ﺩـ ﺍﻟﺮ ﺓ‬ ‫ﺧﻼﻝ ﺳﺘﺔ ﻃﻮﺍﺑﻖ ﻭﺛﺘﻰ ﺑﻌﻘﻮﺩ‬
‫ﻭﻋﻞ ﻣﺴﺘﻮﻯ ﺍﻻﺭﺽ ﺗﺮﺍﺟﻊ ﺍﻟﺪﻭﺭ ﺍﻷﺭﺽ‬
‫ﻭﺍﻟﺪﻭﺭ ﺍﻷﻭﻝ ﻟﺘﺸﻜﻴﻞ ﻣﺠﺎﺯ ﻣﻐﻄﻰ ﺩﺍﻟﺼﻮﺩ ﻭﻣﺰﺩﻭﺝ‬
‫ﺍﻻﺭﻛﻔﺎﻉ ﻭﺩﻳﻦ ﺍﻷﻋﻤﺪﺓ ﻋﻠﻘﺖ ﺃﺳﺘﺎﺭ ﺧﺮﺳﺎﻧﻴﺔ‬
‫ﻣﺴﻠﺤﺔ ﺯﺟﺎﺟﻴﺔ ﻟﻠﻮﻗﺎ ﺓ ﻣﻦ ﺍﻟﺸﻤﺲ ﻭﺃﻋﻞ ﺍﻷﻋﻤﺪﺓ‬
‫ﻧﻄﺎﻕ ﺑﺴﻌﻂ ﺧﺎﻝ ﻣﻦ ﺍﻟﺰﺧﺎﺭﻑ ﺑﻪ ﻧﻮﺍﻓﺪ ﺫﺍﺕ‬
‫ﻣﺜﺮ ﺍﺕ ﻏﺎﻟﺮﺓ ﻭﻛﻮﺟﻬﺎ ﺳﻠﺴﻠﺔ ﻣﻦ ﺍﻟﻜﻮﺍ ﻝ‬
‫ﺍﺑﺼﻒ ﺩﺍﻟﺌﺮﻳﺔ‬
‫ﻭﻳﺘﻜﻮﻥ ﺳﻄﺢ ﺍﺑﺨﻤﻊ ﻣﻦ ﺍﻟﺪﻭﺭ ﺍﻟﺘﺎﻣﻊ ﺍﻟﻐﺎﺋﺮ‬
‫ﻭﺍﻟﻤﺼﻨﻮﻉ ﻣﻦ ﺍﻃﺮﺳﺎﻧﺔ ﺍﻟﻤﺨﺸﻨﺔ ﺍﻟﻈﺎﻫﺮﺓ ﻭﻋﻠﻔﺖ‬
‫ﺍﻟﻨﻈﺮ ﺍﻟﻪ ﺫﻟﻚ ﺍﻟﻤﻈﻬﺮ ﺍﻟﺠﺎﻧﺒﻰ ﺍﻟﻤﺸﻄﻮﻑ ﻟﻐﺮﻑ‬
‫ﻋﺮﻛﺎﺕ ﺍﻟﻤﺼﺎﻋﺪ‬
‫‪81‬‬
‫ﺍﻟﻮﻣﻠﺊ‬ ‫ﻧﺨﻒ‬
‫ﺃﺧﺘﻴﺮ ﻟﻤﺘﺤﻒ ﻗﻄﺮ ﺍﻟﻮﻃﻨﻰ ﻣﻮﻗﻊ ﺑﺎﻟﻘﺮﺏ ﻣﻦ‬
‫ﺍﻟﺴﺎﺣﻞ ﻓﻰ ﺍﻟﺮﻛﻦ ﺍﻟﺸﻤﺎﻝ ﺍﻟﻤﺸﺮﻗﻰ ﻣﻦ ﻣﺪﻳﻨﺔ‬
‫‪91 P‬‬
‫ﺍﻟﺪﻭﺣﺔ ﻭﻗﺪ ﺗﻢ ﺃﺣﺘﻴﺎﺭ ﻫﺬﺍ ﺍﻟﻤﻮﻗﻊ ﻓﻰ ﻋﺎﻡ ‪V‬‬
‫ﻟﻺﺳﺘﻔﺎﺩﺓ ﻣﻦ ﺑﻘﺎﻳﺎ ﻗﺼﺮ ﺍﻟﺨﺎﻡ ﺍﻟﻘﺪﻳﻢ ﺍﻟﺬﻯ ﺃﻧﺸﺎﻩ‬
‫ﺍﻟﺸﻴﺦ ﻋﺒﺪﺍﻧﺌﻪ ﺑﻦ ﻗﺎﺳﻢ ﺛﺎﻧﻰ ﻓﻰ ﻋﺎﻡ ‪ 9091‬ﻭﻗﺪ‬
‫ﺑﻨﻰ ﻫﺬﺍ ﺍﻟﻘﺼﺮ ﻋﻠﻰ ﺍﻟﻄﺮﺍﺯ ﺍﻟﻮﻃﻨﻰ ﺍﻟﺴﺎﺋﺪ ﻓﻰ ﺍﻟﺒﻼﺩ‬
‫ﺣﻴﺚ ﻫﺠﺮ ﺍﻟﻘﺼﺮ ﻓﺬ ﻋﺎﻡ ‪ 2391‬ﻭﻛﺎﺩﺕ ﻣﻌﺎﻟﻤﻪ‬
‫ﺗﻨﺪﺛﺮ ﻟﻮﻻ ﺃﻥ ﻗﺎﻣﺖ ﻭﺯﺍﺭﺓ ﺍﻷﺷﻐﺎﻝ ﺍﻟﻘﻄﺮﻳﺔ ﻓﻴﻤﺎ‬
‫ﺩﻭﻥ ﺃﻯ‬ ‫ﺑﻴﻦ ﺳﻨﺔ ‪ 2791‬ﻭﺳﻨﺔ ‪ 5791‬ﺑﺘﺮﻣﻴﻤﻪ‬
‫ﺗﻔﺮﻳﻂ ﻓﻰ ﻧﻤﻄﻪ ﺍﻷﺻﻠﻰ ﻭﺗﺠﺪﻳﺪﻩ ﻭﺇﻋﺎﺩﺓ ﺃﺳﺘﺨﺪﺍﻡ‬
‫ﺑﺎﻧﻴﻪ ﺑﻌﺪ ﺇﺿﺎﻓﺔ ﺑﺎﺑﺊ ﺟﺪﻳﺪﺓ ﻛﻨﻮﺍﺓ ﻟﻤﺘﺤﻒ ﻗﻄﺮ‬
‫ﻭﺳﺎﺣﺔ ﺍﻟﺤﺪﻣﺔ ﻭﻏﺮﻑ ﺍﻟﻤﻔﻂ‬ ‫ﻣﻌﺮﺽ ﺍﻷﺣﻴﺎء ﺍﻟﻤﺎﻧﻴﺔ‬
‫ﻭﻳﺘﻜﻮﻥ ﻣﺘﺤﻒ ﻗﻄﺮ ﺍﻟﻮﻃﻨﻰ ﻣﻦ ﺧﺴﺔ‬ ‫ﺍﻟﻮﻃﻨﻰ‬
‫ﻭﺍﻟﻘﺼﺮ‬ ‫ﻫﻰ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ‬ ‫ﺃﻗﺴﺎﻡ ﺭﺋﻴﺴﻴﺔ‬
‫ﻭﻫﻮ ﺍﻟﻴﺎﺏ ﺍﻟﺮﺋﺸﻰ ﺍﻟﺬﻯ ﻳﺸﻜﻞ‬ ‫ﺟﺬﺩ ﺑﺎﻟﻜﺎﻣﻞ‬ ‫ﺍﻟﺬﻯ ﻳﺤﺘﻮﻯ ﻋﻠﻰ ﺇﺣﺪﻯ ﻋﺜﺮﺓ ﻭﺣﺪﺓ ﺃﻋﺪ ﺗﺮﻣﻴﻤﻬﺎ‬ ‫ﺍﻟﺠﺪﻳﺪ ﻭﺍﻟﻘﺴﻢ ﺍﻟﺒﺤﺮﻯ ﻭﺍﻟﺒﺤﻴﺮﺓ ﺍﻟﻤﻨﺎﻋﻴﺔ‬
‫ﻓﺎﻟﻴﺎﺑﺎﻥ ﺍﻷﺻﻠﻴﺎﻥ‬ ‫ﺍﻟﻤﺪﺧﻞ ﺍﻟﻌﺎﻡ ﻟﻤﺠﻤﻊ ﺍﻟﻤﺘﺤﻒ‬ ‫ﻭﺃﻋﻴﺪﺕ ﺇﻟﻰ ﻣﺎ ﻛﺎﻧﺖ ﻋﻴﻪ ﻓﻰ ﺍﻷﺻﻞ ﺑﺎﻟﺮﺟﻮﻉ ﺍﻟﻰ‬ ‫ﻭﺍﻟﺨﺪﻳﻘﺔ ﺍﺑﺒﺎﺋﻴﺔ ﻭﺗﻐﻄﻰ ﻣﻨﺸﺂﺕ ﺍﻟﻤﺘﺤﻒ ﻣﺴﺎﺣﺔ‬
‫ﺍﻟﺸﺮﻗﻰ ﻭﺍﻟﺸﻤﺎﻟﻰ ﻟﻢ ﻳﻜﻮﻧﺎ ﻣﻨﺎﺳﺒﻴﻦ ﻟﺪﺧﻮﻝ ﺍﻟﺰﻭﺍﺭ‬ ‫ﻭﻗﺪ ﺗﻢ ﺍﻟﺘﺮﻣﻴﻢ‬ ‫ﻣﺨﻄﻮﻃﺎﺕ ﻭﺻﻮﺭ ﻗﺪﻳﻤﺔ ﻟﻠﻘﺼﺮ‬ ‫ﺗﻘﺎﺭﺏ ﺍﻟﺤﻤﺴﻴﻦ ﺍﻟﺤﻤﺴﻴﻦ ﺃﻟﻒ ﻣﺘﺮ ﻣﺮﺑﻊ ﻗﺮﺏ‬
‫ﺣﻴﺚ ﺃ ﻫﻤﺎ ﻻﻳﺘﻴﺤﺎﻥ ﺗﻮﻓﻴﺮ ﺗﺴﻬﻴﻼﺕ ﻛﺎﻓﻴﺔ ﻟﻮﻗﻮﻑ‬ ‫ﺑﺄﻗﺼﻰ ﻣﺎ ﻳﻤﻜﻦ ﻣﻦ ﺍﻷﻣﺎﻧﺔ ﺭﻏﻢ ﺇﺳﺘﻌﻤﺎﻝ ﻣﻮﺍﺩ ﺣﺪﻳﺜﺔ‬ ‫ﺍﻟﺴﺎﺣﻞ ﻓﻴﻤﺎ ﺑﻴﻦ ﺭﺃﺱ ﺃﺑﻰ ﻋﺒﻮﺩ ﻭﻣﻴﻨﺎء ﺍﻟﺪﻭﺣﺔ‬
‫ﺍﻟﺴﻴﺎﺭﺍﺕ ﻭﻟﺬﻟﻚ ﻓﻘﺪ ﺷﻴﺪ ﺑﺎﺏ ﻋﻈﻴﻢ ﻓﻰ ﺍﻟﺴﻮﺭ‬ ‫ﻟﻬﺬﻩ ﺍﻟﻐﺎﻳﺔ ﻭﺛﻦ ﻝ ﺍﻟﺘﺮﻣﻴﻢ ﻣﻨﺸﺂﺕ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ‬ ‫ﻭﺗﺤﻴﻂ ﺍﻟﺠﺎﻧﻰ ﺍﻟﺠﺪﻳﺪﺓ ﻭﺍﻟﻘﺴﻢ ﺍﺑﺤﺮﻯ ﻭﺍﺑﺤﻴﺮﺓ ﺍﻟﺘﻰ‬
‫ﺍﻟﺠﻨﺮﻓﻰ ﻋﻠﻰ ﻧﻔﺲ ﻧﻤﻂ ﻭﻃﺮﺍﺯ ﺍﻟﻤﺪﺧﻞ ﺍﻟﻘﺪﻳﻢ‬ ‫ﻟﻢ ﺗﻤﺒﻪ ﻳﺪ ﺍﻟﺘﺮﻣﻴﻢ ﺑﻞ‬ ‫ﺟﻤﻴﻌﻬﺎ ﺑﺎﺱ ﻧﺎء ﺟﺰء ﻭﺍﺣﺪ‬ ‫ﺗﻤﻞ ﺟﺰءﺍ ﻣﻦ ﺷﺎﻃﻰء ﻗﻄﺮ ﺍﻟﻘﺪﻳﻢ ﺑﺎﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ‬
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‫ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ‬
‫ﺍﻟﻘﺼﺮ ﺍﻟﺠﺪﻳﺪ‬
‫ﺍﻟﻘﺴﻢ ﺍﻟﺒﺤﺮﻯ‬
‫ﺍ ﻟﺒﺤﻴﺮﺓ‬
‫ﺍﻟﺨﺪﻳﻘﺔ‬
‫ﺍ ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﻋﺪﺍﻓﺌﺔ ﺑﻦ ﻗﺎﺳﻢ‬

‫‪ 2‬ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﺣﻤﺪ ﺑﻦ ﻋﺪﺍﻓﺜﻪ‬
‫‪ 3‬ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﻋﻠﻰ ﺑﻦ ﻋﺒﺪﺍﻟﻠﺔ‬
‫ﺍﺑﺤﻠﺲ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫‪4‬‬
‫ﺍﻟﻤﺠﻠﺲ ﺍﻧﺤﻌﺼﺮ‬ ‫‪5‬‬
‫ﺍﻣﺠﻠﺲ ﺍﻟﺮﻳﻌﺺ‬ ‫‪6‬‬
‫ﻣﺨﻄﻂ ﻗﺤﻒ ﻗﻄﺮ ﺍﻟﻮﻃﻨﻰ‬ ‫ﺍﻟﻤﺪﺭﺳﺔ ﻭﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻭﻳﺖ ﺗﺐ‬
‫ﺍﻟﻜﺎ‬ ‫‪7‬‬
‫ﺑﻴﺖ ﺍﻟﻤﻄﻮﻉ‬ ‫‪8‬‬
‫ﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﻤﺸﺮﻗﻴﺔ‬ ‫‪9‬‬
‫ﻏﺮﻓﺔ ﺍﻟﺨﺮﺱ‬ ‫‪01‬‬
‫ﻣﻘﺮ ﺍﻟﺸﺮﻃﺔ ﻭﻗﻄﻊ‬ ‫ﻣﺨﺰﻥ ﺍﻟﻄﻌﺎﻡ‬ ‫‪11‬‬
‫ﺍ ﻟﺘﺬ ﺍﻛﺮ‬
‫ﻣﻦ ﺍﻟﻤﻌﺎﻟﻢ ﺍﻷﺳﺎﺳﻴﺔ ﻓﻰ ﻗﺼﺮ‬ ‫ﺑﻴﺖ ﺍﻟﺸﻌﺮ‬

‫ﺍﻟﺤﻜﻢ ﺍﻟﻘﺪﻳﻢ ﺑﺎﻟﻤﺘﺤﻒ‬
‫ﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻟﻠﻘﻄﺮ ﻟﻠﻘﺪﻳﻢ‬

‫ﻭﺑﺄﻋﻼﻫﺎ ﻏﺮﻓﺔ ﺍﻟﻜﺎﺗﺐ‬
‫ﺍﻟﺮﻛﻦ ﺍﻟﺸﻤﺎﻟﻰ ﺍﻟﺸﺮﻗﻰ ﻟﻠﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﻭﻓﻰ ﺍﻟﻤﺠﻠﺲ‬ ‫ﺍﻟﻤﺠﻠﺲ ﺍﻟﺮﻣﻤﻰ‬

‫ﻛﺎﻥ ﺍﻟﺤﺎﻡ ﺍﻟﻤﺴﻠﻢ ﻗﺒﻞ ﺍ ﺭ ﻣﻦ ﻧﺼﻒ ﻗﺮﻥ ﻳﺤﻞ ﺟﻤﻴﻊ ﻓﺎﻛﺎ ﺍﻟﻨﺎء‬
‫ﻗﻄﺎﻉ ﻳﻮﺿﺢ ﺧﺰﺍﻥ ﺍﻟﻌﺮﺽ ﻭﺍﻟﺨﺪﻣﺎﺕ ﺍﻳﻌﻠﻘﺔ ﺑﻪ ﺑﻤﻌﺮﺽ ﺍﻷﺣﻴﺎء ﺍﻟﻤﺎﺋﻴﺔ‬

‫ﻣﻮﺫﺝ ﻷﺻﺎﻟﺔ ﻭﺟﻤﺎﻝ ﺍﻟﻤﻌﻤﺎﺭ ﺍﻻﺳﻼﻣﻰ ﻓﻰ‬
‫ﺑﺎﻧﻰ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﺑﺎﻟﻤﺘﺤﻒ‬
‫ﺍﻟﺸﻴﺦ ﻋﺪﺍﻓﺘﺔ ﺍﻟﻰ ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﺣﻤﺪ ﺑﻦ ﻋﺪﺍﻟﺜﻪ ﺗﺎﺭﻛﺎ‬

‫ﻋﻠﻰ ﻳﺴﺎﺭﻩ ﺍﻟﻔﻨﺎء ﺍﻟﺬﻯ ﻛﺎﻥ ﻓﻰ ﺍﻟﺴﺎﺑﻖ ﻣﺮﺑﻄﺎ ﻟﻠﺨﻴﻞ‬
‫ﻭﺍﻹﺑﻞ ﻓﻰ ﺍﻟﺮﻛﻦ ﺍﻟﺠﻨﻮﻓﻰ ﺍﻟﻐﺮﺏ ﻣﻦ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ‬
‫ﻭﺍﻟﺬﻯ ﺃﺻﺒﺢ ﺍﻟﻴﻮﻡ ﺟﺰءﺃ ﻣﻦ ﺣﺪﻳﻘﺔ ﺍﻟﻤﺘﺤﻒ‬
‫ﻭﻳﺘﻜﻮﻥ ﺑﻴﻦ ﺍﻟﺸﻴﺦ ﺣﻤﺪ ﺑﻦ ﻋﺪﺍﻓﺘﺔ ﻣﻦ ﺃﺭﺑﻊ ﻏﺮﻑ‬
‫ﻣﺤﻔﻮﻇﺔ ﺣﺎﻟﻴﺎ‬ ‫ﺃﺣﺪﺍﻫﺎ ﺑﺎﻟﻄﺎﺑﻖ ﺍﻟﻌﻠﻮﻯ‬ ‫ﻭﺇﻳﻮﺍﻥ‬
‫ﻛﻨﻤﻮﺫﺝ ﻟﺒﻨﺎء ﺍﻟﻘﺪﻳﻢ ﺃﻣﺎ ﺍﻟﺜﻼﺙ ﻏﺮﻑ ﺍﻻﺧﺮﻳﺎﺙ‬
‫ﻳﺨﻌﺮﺽ ﺍﻟﻤﺘﺤﻒ ﻓﻴﺎ ﻣﺨﻠﻔﺎﺕ ﺍﻟﻤﻐﻔﻮﺭ ﻟﻪ ﺍﻟﺸﻴﺦ ﺣﻤﺪ ﺑﻦ‬
‫ﻋﺒﺪﺍﻓﺜﻪ ﻭﺍﻻﺩﻭﺍﺕ ﺍﻟﻤﻨﺰﻟﻴﺔ ﺍﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ ﺍﻟﺤﺚ‬
‫ﻭﺍﻝ ﺛﺠﺮ ﻭﺑﻌﺾ ﻧﻤﺎﺫﺝ ﺍﻻﺩﻭﺍﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ‬
‫ﺍﻟﻄﺐ ﺍﻟﻌﺮﻓﻰ ﻭﺍﻷﻋﺸﺎﺏ ﻭﻣﻦ ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﺣﻤﺪ‬
‫ﻳﺘﺠﻪ ﺇﻟﻰ ﺑﻴﺖ ﺃﺧﻴﻪ ﺍﻟﺸﻴﺦ ﻋﻠﻰ ﺑﻦ ﻋﺪﺍﻟﻠﺔ ﻭﻫﻮ‬
‫ﻣﻨﺰﻝ ﻣﻦ ﺛﻼﺙ ﻛﺮﻑ ﻭﺇﻳﻮﺍﻥ ﻓﻰ ﺍﻟﺮﻛﻦ ﺍﻟﺸﻤﺎﻟﻰ‬ ‫ﺍﻟﻤﻄﻮﻉ ﻭﻳﺘﻜﻮﻥ ﻣﻦ ﻏﺮﻗﺔ ﺷﺮﻗﻴﺔ ﻭﺍﻳﻮﺍﻥ ﺫﻯ ﻋﻘﻮﺩ‬ ‫ﻭﺗﺸﺘﻤﻞ ﻭﺣﺪﺍﺕ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﺍﻻﺣﺪﻯ ﻋﺸﺮﺓ ﻋﻠﻰ‬
‫ﺍﻟﻐﺮﻓﻰ ﻣﻦ ﻓﻨﺎء ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﺣﻴﺚ ﺗﻌﺮﺽ‬ ‫ﺣﺎﻝ ﻧﻤﻮﺫﺟﺎ ﻟﻸﺑﻨﻴﺔ‬
‫ﻓﻰ ﺍﻟﻐﺮﺏ ﻭﻳﺘﺨﺬﻩ ﺍﻟﻤﺘﺤﻒ ﻳﺄ‬ ‫ﻣﺨﺰﻥ ﻃﻌﺎﻡ ﻭﻣﻴﺮﺓ ﺍﻟﻘﺼﺮ ﻭﺑﻴﺖ ﺍﻟﻤﻮﻃﻮﻉ ﻭﺑﻴﺖ‬
‫ﻣﺴﺘﺤﺪﺛﺎﺕ ﺍﻛﺎﺙ ﻭﺍﻟﻔﺮﺵ ﻭﻣﺰﻳﺪ ﻣﻦ ﺍﻷﺩـ ﺕ‬
‫ﻭﺍ‬ ‫ﺍﻟﻘﺪﻳﻤﺔ ﻭﻳﺘﻮﺳﻂ ﺑﻴﺖ ﺍﻟﻤﻮﻃﻮﻉ ﻭﻁ ﻥ ﻗﻄﻊ ﺍﻳﺬﺍﻛﺮ‬ ‫ﺍﻟﺜﻴﺦ ﻋﺪﺍﻟﻠﺔ ﺑﻦ ﻗﺎﺳﻢ ﻭﻳﺖ ﺍﻟﺸﻴﺦ ﺣﻤﺪ ﺑﻦ‬
‫ﻭﻣﻦ ﺑﻴﺖ‬ ‫ﺍﺑﺰﻟﻴﺔ ﺍﻟﻔﺨﺎﺭﻳﺔ ﻭﺍﻧﺤﻮﺗﻪ ﻣﻦ ﺍﻟﺤﺠﺮ‬ ‫ﺑﻮﺍﺑﺔ ﺍﻟﻤﺘﺤﻒ ﺍﻟﺮﺋﺸﻴﺔ ﺍﻟﻤﺴﺘﺤﺪﺛﺔ‬ ‫ﻋﺒﺪﺍﻟﺜﻪ ﻭﺑﻴﺖ ﺍﻟﺸﻴﺦ ﻋﻠﻰ ﺑﻦ ﻋﺪ ﺍﻟﺜﻪ ﻭﺍﻟﻤﺠﻞ‬
‫ﺍﻟﺸﻴﺦ ﻋﻠﻰ ﻳﻤﻜﻦ ﻟﻠﺰﺍﺋﺮ ﺃﻥ ﺗﺠﻪ ﺍﻟﻰ ﺍﻣﺠﻠﺲ ﺍﻟﺪﺍﺧﻠﻰ‬ ‫ﻭﻣﻦ ﺑﻴﺖ ﺍﻟﻤﻄﻮﻉ ﻳﺘﺠﻪ ﺍﻟﺰﺍﺋﺮ ﻟﻠﻤﺘﺤﻒ ﻏﺮﺑﺎ ﺇﻟﻰ‬ ‫ﻭﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﺸﺮﻗﻴﺔ‬ ‫ﻭﻟﻤﺠﻠﺲ ﺍﻧﺤﻌﺼﺮ‬ ‫ﺍﻟﺪﺍﺧﻠﻰ‬
‫ﻣﺎﺭﺍ ﺑﺒﻴﺖ ﺍﻟﺸﻌﺮ ﺍﻟﺒﺪﻭﻯ ﻭﻳﻘﻊ ﺍﻟﻤﺠﻠﺲ ﺍﻟﺪﺍﺧﻠﻰ ﻓﻰ‬ ‫ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﻋﺪﺍﻟﺜﻪ ﺑﻦ ﻗﺎﺳﻢ ﻭﻫﻮ ﻣﻨﺰﻝ ﻗﺪﻳﻢ‬ ‫ﻭﺑﻴﺖ ﺍﻟﻜﺎﺗﺐ‬ ‫ﻭﺍﻟﻤﺪﺭﺳﺔ‬ ‫ﻭﺍﻟﻤﺠﻠﺲ ﺍﻟﺮﻣﻤﻰ‬
‫ﻭﺳﻂ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﻭﻫﻮ ﻳﻨﺎء ﻣﻦ ﻃﺎﺑﻘﻴﻦ ﻭﻛﺎﻥ ﻗﺪ‬ ‫ﻳﺘﻜﻮﻥ ﻣﻦ ﺳﺖ ﻏﺮﻑ ﻭﺍﻳﻮﺍﻥ ﻭﻳﺜﺎﻫﺪ ﺍﻟﺰﺍﺋﺮ ﻓﻴﻪ‬ ‫ﻓﺎﻣﺎ ﻣﺨﺰﻥ‬ ‫ﻭﻣﺴﻜﻦ ﺍﻟﺤﺮﺱ‬ ‫ﻭﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ‬
‫ﺑﻨﺎﻩ ﺍﻟﻤﻬﻨﺪﺱ ﻋﺪﺍﻓﺜﺔ ﺍﻳﻞ ﺷﻪ ‪ 8191‬ﻡ ﻟﻴﻜﻮﻥ‬ ‫ﺃﺳﻠﻮﺏ ﺍﻟﺒﻨﺎء ﺍﻟﻘﺪﻳﻢ ﺑﺰﺧﺎﺭﻓﻪ ﺍﻟﺠﺼﻴﻪ ﺍﻟﺠﻤﻴﻠﺔ ﺃﺑﻮﺍﺑﻪ‬ ‫ﺍﻟﻄﻌﺎﻡ ﻭﻣﺮﺓ ﺍﻟﻘﺼﺮ ﻓﻬﻮ ﺍﻟﺒﻨﺎء ﺍﻟﺬﻯ ﻳﻘﻊ ﺍﻟﻰ ﻳﺴﺎﺭ‬
‫ﻭﻓﻰ ﺍﻟﻄﺎﻳﻖ‬ ‫ﻣﺠﻠﺴﺎ ﺧﺎﻣﺎ ﻟﻠﺸﻴﺦ ﻋﺒﺪﺍﻃﺔ ﺑﻦ ﻗﺎﺳﻢ‬ ‫ﻭﻳﻌﺮﺽ ﺑﻪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ‬ ‫ﺍﻟﺨﺜﺒﻴﻪ ﻭﺑﺴﺎﻃﺔ ﺃﺛﺎﺛﻪ‬ ‫ﺍﻟﺪﺍﺧﻞ ﻣﻦ ﺍﻟﻴﺎﺏ ﺍﻟﺠﻨﻮﻓﻰ ﺍﻟﺮﺛﺸﻰ ﻟﻠﻤﺘﺤﻒ‬
‫ﺍﻷﺭﺽ ﻣﻨﻪ ﻛﻌﺮﺽ ﺍﻻﻭﻣﻤﺔ ﻭﺍﻟﻘﻼﺩﺍﺕ ﺍﻟﺨﺎﺻﺔ ﺑﺴﻤﻮ‬ ‫ﺍﻷﺩﻭﺍﺕ ﺍﺑﺰﻟﻴﺔ ﻭﺍﻟﻤﻌﻴﺸﺔ ﻭﺍﻷﻭﻋﻴﺔ ﻭﺍﻟﻔﺮﺵ ﻭﺍﻷﺯﻳﺎء‬ ‫ﻭﻳﺴﺘﺨﺪﻡ ﺣﺎﻟﻴﺎ ﻣﻘﺮ ﻟﻠﺸﺮﻃﺔ ﻭﻣﻜﻆ ﻟﻘﻄﻊ ﺍﻟﺘﺬﺍﻛﺮ‬
‫ﺛﺎﻥ ﻭﻧﻤﺎﺫﺝ ﻣﻦ ﺍﻟﺤﻠﻰ‬
‫ﺍﻻﻳﺮ ﺧﻠﻴﻔﺔ ﺑﻦ ﺣﻤﺪ ﺁﻝ ﻯ‬ ‫ﻣﻦ ﻣﺨﻠﻔﺎﺕ ﻣﺆﺳﻰ ﺍﻟﻘﺼﺮ ﺛﻢ ﻳﺨﻪ ﺍﻟﺰﺍﺋﺮ ﻣﻦ ﺑﻴﺖ‬ ‫ﻭﻓﻰ ﺍﻟﺠﻨﻮﺏ ﺍﻟﺸﺮﻗﻰ ﻣﻦ ﺍﻟﻘﺼﺮ ﻳﻘﻊ ﺑﻴﺖ‬ ‫ﺑﺎﻟﻤﺘﺤﻒ‬
‫ﺍﻟﻢ ﺍ‬
‫ﺍﻟﻰ ﺟﺎﻧﺐ ﻗﺴﻢ ﻟﻠﻄﻴﺐ ﻭﺍﻟﺮﻭﺍﺋﺢ‬ ‫ﺍﻟﺬﻫﻴﺒﺔ ﻭﺍﻟﻔﻀﻴﺔ‬

‫ﻭﺗﻌﺮﺽ ﻓﻰ ﺍﻟﻄﺎﺑﻖ ﺍﻟﻌﻠﻮﻯ‬ ‫ﺍﻟﻌﻄﺮﻳﺔ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﻣﺴﻜﻮﻛﺎﺕ ﺇﺳﻼﻣﻴﺔ ﻭﻣﻨﻪ ﻳﺬﻫﺐ ﺍﻟﺰﺍﺋﺮ ﺍﻟﻰ ﺍﻟﻤﺠﻞ‬
‫ﺍﻧﺤﺼﺮ ﻭﻫﻮ ﺑﻨﺎء ﺻﻐﻴﺮ ﻧﺴﺒﻴﺎ ﻳﻘﻊ ﺃﻣﺎﻡ ﻣﺪﺧﻞ ﺑﻮﺍﺑﺔ‬
‫ﻭﻳﺘﺨﺬﻩ ﺍﻟﻤﺘﺤﻒ ﺣﺎﻟﻴﺎ ﻣﻌﺮﺿﺎ‬ ‫ﺍﻟﻘﺼﺮ ﺍﻟﺸﻤﺎﻟﻴﺔ‬
‫ﻷﺩﻭﺍﺕ ﺍﻟﻖ ﺓ ﺍﻟﻌﺮﻧﻴﺔ‬
‫ﺛﻢ ﻳﺘﺠﻪ ﺍﻟﺰﺍﺋﺮ ﺑﻌﺪ ﺫﻟﻚ ﺇﻟﻰ ﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﻤﺸﺮﻗﻴﺔ‬
‫ﻭﺍﻟﺘﻰ ﻛﺎﻧﺖ ﺃﺻﻼ ﺃﺣﺪ ﺃﺑﻮﺍﺏ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﻭﻛﺎﻧﺖ‬
‫ﺗﻄﻞ ﻣﺒﺎﻟﺜﺮﺓ ﻋﻠﻰ ﻳﺎﺓ ﺍﻟﺨﻠﻴﺞ ﺣﻴﺚ ﺗﺮﺳﻮ ﺍﻟﻘﻮﺍﺭﺏ‬
‫ﻭﻳﺨﻬﺎ ﻣﻘﺮ ﺍﻟﺤﺮﺱ‬ ‫ﺍﻟﻘﺎﺩﻣﺔ ﺇﻟﻰ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ‬
‫ﻭﻳﻼﺣﻆ ﻓﻰ ﻓﻦ ﻣﻌﻤﺎﺭﻫﺎ ﺃﻥ ﺍﻟﺪﺍﺧﻞ ﻣﻬﺎ ﻣﻦ ﺍﻟﺸﺮﻕ‬
‫ﻻﻳﺮﻯ ﺍﻟﻘﺼﺮ ﺇﺫﺍ ﺃﻧﻬﺎ ﺗﻔﺘﺢ ﻣﻦ ﺍﻟﺸﻤﺎﻝ ﺍﻟﻰ ﺩﺍﺧﻞ‬
‫ﻭﻣﻦ ﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﺸﺮﻗﻴﺔ‬ ‫ﺍﻟﻘﺼﺮ ﻃﺒﻘﺎ ﻟﻠﺘﻘﺎﻳﺪ ﺍﻟﻌﺮﺑﻴﺔ‬
‫ﻳﺘﺠﻪ ﺍﻟﺰﺍﺋﺮ ﻟﺰﻳﺎﺭﺓ ﺍ ﻟﻰ ﺍﻟﺮﻣﻤﻰ ﻭﻫﻮ ﺍﻟﺒﻨﺎء ﺍﻟﻮﺍﻗﻊ‬
‫ﺍﻟﻰ ﺍﻟﺸﻤﺎﻝ ﻣﻦ ﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﻤﺸﺮﻗﻴﺔ ﺑﺎﻳﺜﺮﺓ ﻭﻛﺎﻥ ﺍﻟﺸﻴﺦ‬
‫ﻋﺒﺪﺍﻟﻠﺔ ﺑﻦ ﻗﺎﺳﻢ ﻳﻨﺎﻟﺜﺮ ﻣﻬﺎﻣﻪ ﻛﺎﻳﺮ ﻟﻠﺒﻼﺩ ﻣﻦ ﻫﺬﺍ‬
‫ﺭﺇﻟﻰ ﺍﻟﻐﺮﺏ ﻣﺎﺷﺮﺓ ﻣﻦ ﺍ ﻟﺲ ﺍﻟﺮﻣﻤﻰ ﺗﻘﻊ‬ ‫ﺍﻟﻤﺠﻞ‬
‫ﺍﻟﻤﺪﺭﻟﻤﺔ ﻭﺑﻴﺖ ﺍﻟﻜﺎﺗﺐ ﻭﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻭﻳﻌﺮﺽ‬
‫ﺍﻟﻤﺘﺤﻒ ﻓﻰ ﺍﻟﻤﺪﺭﺳﺔ ﻧﻤﻮﺫﺟﺎ ﻟﻄﺮﻳﻘﺔ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﻘﺪﻳﻤﺔ‬
‫ﻭﻧﻤﺎﺫﺝ ﻟﺘﻄﻮﺭ ﺍﻟﺨﻂ ﺍﻟﻌﺮﺑﻰ ﺧﻼﻝ ﺍﻟﻘﺮﻭﻥ ﻛﻤﺎ ﺃﻥ‬
‫ﻏﺮﻓﺔ ﺍﻟﻜﺎﺗﺐ ﻣﺤﺘﻔﻆ ﺑﻬﺎ ﺣﺎﻟﻴﺎ ﻛﻨﻤﻮﺫﺝ ﺑﻨﺎﺋﻰ ﻭﻛﺬﻟﻚ‬
‫ﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻭﻳﺘﺠﻪ ﺍﻟﺰﺍﺋﺮ ﺑﻪ ﺩ ﺫﻟﻚ ﺍﻟﻰ ﻣﺒﻨﻰ‬
‫ﺍﻟﻘﺼﺮ ﺍﻟﺠﺪﻳﺪ ﻭﻫﻮ ﺑﻨﻰ ﻋﻠﻰ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺤﺪﻳﺜﺔ‬
‫ﺍﻝ ﺍﻟﻤﺎﺋﻴﺔ‬
‫ﻗﻄﺎﻉ ﻳﻮﺿﺢ ﺧﺰﺍﻧﺎﺕ ﺍﻟﻌﺮﺽ ﺑﻤﻌﺮﺽ ﺃﺣﻴﺎء‬
‫ﻭﻳﺘﻜﻮﻥ ﻣﻦ ﺛﻼﺛﺔ ﻃﻮﺍﻳﻖ ﺃﺣﺪﻫﺎ ﺗﺤﺖ ﻣﺴﺘﻮﻯ‬
‫ﺍﻷﺭﺽ ﻭﻳﺸﺎﻫﺪ ﺍﻟﺰﺍﺋﺮ ﻓﻰ ﺍﻟﻤﺪﺧﻞ ﻓﻴﻠﻤﺎ ﻳﺤﻜﻰ ﻗﺼﺔ‬
‫ﻣﺸﺘﻤﻠﺔ ﻋﻠﻰ ﻛﺎﻓﺔ ﻧﺒﺎﺗﺎﺕ ﺍﻟﺼﺤﺮﺍء ﻭﺃﺷﺠﺎﺭﻫﺎ ﻣﻦ‬ ‫ﻭﻳﺘﺞ ﻣﻦ ﺧﻼﻝ‬
‫ﺛﻢ ﻳﻐﺎﺩﺭ ﺍﻟﺰﺍﺋﺮ ﺍﻟﻘﺼﺮ ﺍﻟﺠﺪﻳﺪ ﻩ‬ ‫ﺧﻠﻖ ﺍﻷﺭﺽ ﻛﻤﺎ ﻳﺮﺍﻫﺎ ﺑﻌﺾ ﻋﻠﻤﺎء ﺍﻟﻔﻠﻚ‬
‫ﻧﺨﻴﻞ ﻭﺻﺒﺎﺭ ﻭﺃﻋﺸﺎﺏ ﻃﺒﻴﺔ ﻭﺯﻫﻮﺭ ‪ Jj3j‬ﺩ ﻭﺑﻬﺎ‬ ‫ﺍﻟﻴﻮﺍﺑﺔ ﺍﻟﺸﺮﻗﻴﺔ ﺻﻮﺏ ﺍﻟﻘﺴﻢ ﺍﻟﺒﺤﺮﻯ ﻭﻫﻮ ﺑﻨﺎء ﻣﻦ‬ ‫ﻭﻛﻴﻒ ﻇﻬﺮﺕ ﺷﺒﻪ ﺟﺰﻳﺮﺓ ﻗﻄﺮ‬ ‫ﻟﻮﺟﻴﺎ‬
‫ﻭﺍﻟﻜﻮﺯﻣﻮ‬
‫ﻣﻘﺼﻒ ﻣﻘﺎﻡ ﻋﻠﻰ ﺍﻟﺸﺎﻃﻰء ﺍﻟﻐﺮﺑﻰ ﺍﻟﺸﻤﺎﻟﻰ ﻟﻠﺒﺤﻴﺮﺓ‬ ‫ﻃﺎﺑﻘﻴﻦ ﻳﻘﻊ ﺍﻟﻰ ﺍﻟﺠﻨﻮﺏ ﺍﻟﻤﺸﺮﻗﻰ ﻣﻦ ﺑﻴﺚ ﺍﻟﻤﻄﻮﻉ‬ ‫ﻋﻠﻰ ﺳﻄﺢ ﺍﻷﺭﺽ ﺛﻢ ﻳﺘﺠﻪ ﻏﺮﺑﺎ ﺍﻟﻰ ﺍﻟﻄﺎﻳﻖ ﺍﻟﻤﺴﻔﻠﻰ‬
‫ﻭﻋﻠﻰ ﻫﺬﺍ ﻓﻤﺘﺤﻒ ﻗﻄﺮ ﺍﻟﻮﻃﻨﻰ ﻳﻌﺪ ﻣﺘﺤﻔﺎ ﺑﺌﺎ‬ ‫ﺑﺎﻟﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﻭﻓﻴﻪ ﻗﺴﻤﺎﻥ ﻳﻌﺮﺽ ﻓﻰ ﺍﻟﻘﺴﻢ‬ ‫ﻣﻦ ﺍﻟﻘﺼﺮ ﺍﻟﺠﺪﻳﺪ ﻟﻴﺸﺎﻫﺪ ﺁﺛﺎﺭ ﺍﻟﻌﺼﺮ ﺍﻟﺤﺠﺮﻯ‬
‫ﻳﺘﻨﺎﻭﻝ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻘﻄﺮﻳﺔ ﻛﺠﺰء ﻻﻳﻨﻔﺼﻞ ﻋﻦ ﺍﻟﻮﻃﻦ‬ ‫ﻭﺍﻝ ﺍﻟﺬﻯ ﻳﻠﻌﺒﻪ ﻓﻰ ﻗﻄﺮ‬
‫ﺍﻟﻌﻠﻮﻯ ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﺒﺤﺮ ﺩﻭﺭ‬ ‫ﺍﻟﻘﻄﺮﻯ ﺛﻢ ﻳﺪﺧﻞ ﺍﻟﺮﺩﻫﺔ ﺍﻟﻮﺳﻄﻰ ﻟﻴﺘﻌﺮﻑ ﻋﻠﻰ‬
‫ﻳﻘﺘﻨﻰ ﻭﻳﻌﺮﺽ ﻭﻳﺪﺭﺱ‬ ‫ﺍﻟﻌﺮﺏ ﻭﺍﻟﻌﺎﻟﻢ ﺍﻻﺳﻼﻣﻰ‬ ‫ﻣﻦ ﺗﺎﺭﻳﺢ ﻭﺟﻐﺮﺍﻓﻴﺎ ﻭﻟﺆﻟﺆ ﻭﻗﻮﺍﻗﻊ ﻭﻣﺤﺎﺭﺍﺕ ﻣﻌﺎﺻﺮﺓ‬ ‫ﺑﻌﺾ ﺇﻧﺠﺎﺯﺍﺕ ﺍﻟﻤﺴﻠﻤﻴﻦ ﻓﻰ ﺍﻟﻌﻠﻮﻡ ﻭﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﻓﻰ‬
‫ﻭﻳﺤﻔﻆ ﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﻬﺬﻩ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺘﻰ ﻫﻰ ﻓﻰ ﺃﺳﺎﺳﻬﺎ‬ ‫ﻭﻣﺴﺘﺤﺠﺮﺓ ﻓﺬ ﺍﻷﺯﻓﺔ ﺍﻟﺠﻮﻟﻮﺟﻴﺔ ﺍﻟﻐﺎﺑﺮﺓ ﺃﻣﺎ‬ ‫ﺍﻟﻘﺮﻭﻥ ﺍﻟﻮﺳﻄﻰ ﻭﻓﻰ ﺍﻟﻐﺮﻑ ﺍﻟﺠﺎﻧﻴﺔ ﻳﺸﺎﻫﺪ ﺭﺳﻮﻡ‬
‫ﺻﺤﺮﺍﻭﻳﺔ ﺑﺮﻳﺔ ﻓﻰ ﺍﻟﻤﺎﺿﻰ ﻭﺍﻟﺤﺎﺿﺮ ﺇﻻ ﺃﻥ‬ ‫ﺍﻟﻄﺎﺑﻖ ﺍﻷﺭﺽ ﻓﻬﻮ ﻣﻌﺮﺽ ﻟﻸﺣﻴﺎء ﺍﻟﻤﺎﺋﻴﺔ ﻣﻦ ﺃﻣﻤﺎﻙ‬ ‫ﺍﻹﺑﻞ ﻭﺗﻘﺴﻴﻢ ﺍﻟﻘﺒﺎﺋﻞ ﺍﻟﻌﺮﺑﻴﺔ ﻭﻋﺎﺩﺍﺕ ﺍﺑﺎﺩﻳﺔ ﻭﻋﺮﺿﺄ‬
‫ﻃﻤﻮﺣﺎﺕ ﺗﻄﻮﻳﺮﻩ ﻭﺍﻹﺿﺎﻓﺔ ﺍﻟﻴﺔ ﻭﺗﻨﻤﻴﺔ ﺃﻗﺴﺎﻣﻪ‬ ‫ﻭﺍﻟﻔﻘﺎﺭﻳﺎﺕ ﻣﺨﻠﻔﺔ ﺍﻻﻟﻮﺍﻥ ﻭﺍﻻﺷﻜﺎﻝ ﻭﺑﻬﺬﺍ ﺍﻟﻘﺴﻢ‬ ‫ﺍﻻﺳﻼﻣﻴﺔ ﻭﺍﻟﻨﻐﺰﻝ‬ ‫ﻟﻠﻔﻨﻮﻥ‬ ‫ﻭﻋﺮﻓﺎ‬ ‫ﻟﻼﺳﻠﺤﺔ‬
‫ﻭﻓﺮﻭﻋﻬﺎ ﻻﺗﻘﻒ ﻋﺪ ﺣﺪ‬ ‫ﻣﻌﻤﻞ ﻟﻠﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ ﺍﻟﻤﺘﻘﺪﻡ‬ ‫ﻭﺍﺑﺴﻴﺦ ﻓﻰ ﺍﻟﺒﺎﺩﻳﺔ ﻭﺍﻷﺩﻭﺍﺕ ﺍﻟﻤﻮﺳﻴﻘﻴﺔ ﺛﻢ ﻳﺸﺎﻫﺪ‬
‫ﻭﻗﺪ ﺣﺎﺯﺕ ﺩﻭﻟﺔ ﻗﻄﺮ ﻋﻠﻰ ﺟﺎﺋﺰﺓ‬ ‫ﻭﻋﻨﺪ ﻣﻐﺎﺩﺭﺓ ﺍﻟﻘﺴﻢ ﺍﻟﺒﺤﺮﻯ ﻳﻤﻜﻦ ﻟﻠﺰﺍﺋﺮ ﺃﻥ‬ ‫ﺑﻌﺪ ﺫﻟﻚ ﺑﻌﺾ ﻣﻘﺘﻨﻴﺎﺕ ﺍﻟﺒﺪﻭﻯ ﻭﻋﺮﺿﺎ ﻷﻧﺴﺎﺏ‬
‫ﺍﻷﻏﺎﺧﺎﻥ ﺍﻟﺪﻭﻟﻴﺔ ﻓﻰ ﻋﺎﻡ ‪ 0891‬ﻡ ﻋﻦ‬ ‫ﻳﻄﻮﻑ ﺣﻮﻝ ﺍﻟﺒﺤﻴﺮﺓ ﺍﻟﺼﻨﺎﻋﻴﺔ ﻭﻫﻰ ﻣﺴﻄﺢ ﻣﺎﺋﻰ ﻳﻘﻊ‬ ‫ﻭﺟﻮﺍﻧﺐ ﻣﻦ ﺍﻟﻤﺘﺎﺭﻳﺢ ﺍﻟﻄﺒﻴﻌﻰ ﻣﻤﺜﻠﺔ ﻓﻰ‬ ‫ﺍﻹﺑﻞ ﻭﺍﻟﺨﻴﻞ‬
‫ﻭﻋﻠﻴﻪ ﻧﻤﺎﺫﺡ ﻣﻦ ﺍﻟﻘﻮﺍﺭﺏ‬ ‫ﺷﻤﺎﻟﻰ ﺍﻟﻘﺴﻢ ﺍﻟﺒﺤﺮﻯ‬ ‫ﻋﺮﺽ ﻟﻠﻄﻴﻮﺭ ﻭﻧﺒﺎﺗﺎﺕ ﺍﻟﺼﺤﺮﺍء ﻭﺣﺸﺮﺍﺿﻬﺎ ﻭﺛﺪﻳﻨﺎﺗﻬﺎ‬
‫ﺃﻋﻤﺎﻝ ﺍﻟﺘﺮﻣﻴﻢ ﺍﻟﺮﺍﺋﻌﺔ ﺍﻟﺘﻰ ﺗﻢ ﺗﻨﻔﻴﺬﻫﺎ‬ ‫ﻭﻳﺠﺮﻯ ﻓﻴﻪ ﺍﻟﺒﻴﻮﻟﻮﺟﻴﻮﻥ ﺑﺎﻟﻘﺴﻢ‬ ‫ﺍﻟﻤﺸﺮﺍﻋﻲ ﺍﻟﻘﺪﻳﻤﺔ‬
‫ﺓ‬ ‫ﻭﻇﻮﺍﻫﺮﻫﺎ ﺍﻟﺠﻮﻣﻮﺭﻓﻮﻟﻮﺟﻴﺔ ﻭﺍﻟﻤﻴﺘﺮﻳﻮﻟﻮﺟﻴﺔ ﺛﻢ‬
‫ﺑﺎﻟﻤﺘﺤﻒ ﺍﻟﺬﻯ ﻳﺼﻮﺭ ﻣﺎﻓﻰ ﻗﻄﺮ ﺍﻟﺤﻘﻴﻘﻰ‬ ‫ﺍﻟﺒﺤﺮﻯ ﺃﺑﺤﺎﺛﻬﻢ ﺍﻟﻌﻠﻤﻴﺔ ﺑﻌﺪ ﺍﻟﻄﻮﺍﻑ ﺑﺎﻟﺒﺤﻴﺮﺓ‬ ‫ﻳﻮﺍﺻﻞ ﺍﻟﻤﺴﻴﺮﺓ ﺣﺘﻰ ﺁﺧﺮ ﺍﻟﺮﺩﻫﺔ ﺷﺮﻗﺎ ﻟﻴﺮﻯ ﺑﻌﺾ‬
‫ﻭﺣﺎﺿﺮﻫﺎ ﺍﻟﻤﺰﺩﻫﺮ ﻭﻳﻈﻬﺮ ﺗﻘﺪﻳﺮ ﺍﻟﺪﻭﻟﺔ‬ ‫ﻳﻤﻜﻦ ﻟﻠﺰﺍﺋﺮ ﺃﻥ ﻳﺴﺘﻮﻳﺢ ﺑﻴﻦ ﺭﺑﻮﻉ ﺍﻟﺤﺪﻳﻘﺔ ﺍﻟﻨﺒﺎﻧﻴﺔ‬ ‫ﻣﺴﺠﻼﺕ ﺍﻟﺘﺎﺭﻳﺢ ﺍﻟﺨﺪﻳﺚ ﺛﻢ ﻳﺼﻌﺪ ﺇﻟﻰ ﻗﺴﻢ‬
‫ﻭﺍﺣﺘﺮﺍﻣﻬﺎ ﻟﻠﺘﺮﺍﺙ ﺍﻟﺬﻯ ﻭﺭﺛﺘﻪ ﻭﻛﺬﻟﻚ‬ ‫ﻟﻠﻤﺘﺤﻒ ﻭﺍﻟﺘﻰ ﺗﺘﺨﻠﻞ ﺟﻤﻎ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺑﻴﻦ ﺍﻗﺴﺎﻡ‬ ‫ﺍﻟﺮﻭﻝ ﻭﺍﻟﻤﻌﺎﺩﻥ ﻣﺎﺭﺍ ﺑﺮﺩﻫﺔ ﺍﻟﺠﻮﻟﻮ ﺍ ﺍﻟﻘﻄﺮﻳﺔ‬
‫ﻟﻠﺘﻄﻮﺭ ﺍﻟﺤﺪﻳﺚ ﺍﻟﺬﻯ ﺗﻤﺮ ﺑﻪ ﺍﻟﺒﻼﺩ‬ ‫ﻯ ﻟﺘﻄﻮﺭ ﺗﺪﺭﻳﺠﻴﺎ ﺑﺤﻴﺚ ﺗﻜﻮﻥ‬
‫ﺍﻟﻤﺘﺤﻒ ﺍﻟﻤﺨﻠﻔﺔ ﻭﻩ‬ ‫ﻭ ﺍﻟﻌﺮﺑﻴﺔ‬
‫‪P‬‬
‫ﺧﺼﻴﺔ ﺍﻟﻌﺪﺩ‬
‫ﻣﻬﻨﺪﺱ‬
‫ﻣﺤﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ‬
‫ﺍﻟﻤﻬﻨﺪﺱ ﻋﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ ﻣﺪﻳﺮ ﻋﺎﻡ ﻭﻋﻀﻮ ﻣﺠﻠﺲ ﺇﺩﺍﺭﺓ ﺍﻟﻤﻜﻌﺐ ﺍﻟﻬﻨﺪ‬
‫ﺻﺒﻮﺭﺃ ﻭﺭﺋﻴﺲ ﻣﺠﻠﺲ ﺇﺩﺍﺭﺓ ﺷﺮﻛﺔ ﺑﺎﺭﻭﺩﻭﻧﺰ ﺑﺮﻧﻜﺮﻫﻮﻑ ﺻﺒﻮﺭ‬ ‫ﺍﻻﺳﺸﺘﺎﺭﻯ‬
‫ﺍ ﻻﺳﺘﺸﺎ ﺭﻳﺔ‬
‫ﺣﺼﻞ ﺍﻟﻤﻬﻨﺪﺱ ﻣﺤﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ ﻋﻞ ﺑﻜﺎﻟﻮﺭﺱﺱ ﺍﻟﻌﻤﺎﺭﺓ ﻣﻦ ﺟﺎﻣﻌﺔ ﻋﻴﻦ‬

‫ﺷﻢ ﻯ ‪ 659‬ﺍﻡ ﺛﻢ ﻋﻞ ﻣﺎﺟﺴﺘﻴﺮ ﻓﻰ ﻋﻠﻮﻡ ﺍﻟﺠﺎﻃﻖ ﺍﻟﺨﺎﺭﺓ ﻣﻦ ﻣﻌﻬﺪ ﺑﺮﺍﺕ‬
‫ﻣﺒﻨﻰ ﻭﺯﺍﺭﻧﻰ ﺍﻻﺱ ﻣﺎﺭ ﻭﺍﻻﺧﻤﺎﺩ ﺛﺎﺭﻉ ﻋﺪﻟﻰ ﺑﺎﻟﻘﺎﻣﺮﺓ‬
‫ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺑﻨﻴﻮﺱ ﺭﻙ ﺳﻨﺔ ‪ 6691‬ﺑﺪﺃ ﺍﻟﻤﻬﻨﺪﺱ ﻣﺤﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ ﻋﻤﻠﻪ ﺑﻌﺪ‬
‫ﺍﻟﺪﻭﻟﻰ ﺑﺒﺮﻟﻴﻦ ﺍﻟﻐﺮﺑﻴﺔ ‪ 0791‬ﻡ ﻛﻤﺎ ﻗﺎﻡ ﺑﺰﻳﺎﺭﺓ ﺩﺭﺍﺳﻴﺔ ﻟﺠﻤﻬﻮﺭﻳﺔ ﺍﻟﻤﺠﺮ ﺍﻟﺸﺒﻴﺔ‬ ‫ﺗﺨﺮﺟﻪ ﻓﻰ ﻣﻌﻬﺪ ﻛﻮﺙ ﺍﻟﺒﻨﺎء ﺍﻟﻬﻴﺜﺔ ﺍﻟﻌﺎﻣﺔ ﻟﺒﺤﻮﺙ ﺍﻟﺒﻨﺎء ﻭﺍﻹﺳﻜﺎﻥ ﻭﺍﻟﺘﺨﻄﻴﻂ‬
‫ﻟﺪﺭﺍﺳﺔ ﻃﺮﻕ ﺍﺑﺎﻧﻰ ﺍﻟﺠﺎﻫﺰﺓ ‪ C‬ﻭﻗﺎﻡ ﻛﺬﻟﻚ ﺑﺰﻳﺎﺭﺓ ﺩﺭﺍﺳﻴﺔ ﻟﻤﺸﺮﻭﻋﺎﺕ‬ ‫ﺍﻟﻌﻤﺮﺍﻧﻰ ﺣﺎﻳﻰ ﺣﻴﺚ ﺑﺪﺍ ﺍﻟﻤﻌﻬﺪ ﻓﻰ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ﺑﺮﻧﺎﻣﺠﺎ ﺷﺎﻣﻸ ﻟﺪﺭﺍﺳﺔ ﺍﻟﻘﺮﻳﺔ‬
‫ﺍﻻﺳﻜﺎﻥ ﺍﻟﺮﻳﻔﻰ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺍﻟﻤﻌﻮﻧﺔ ﺍﻟﺬﺍﺗﻴﺔ ﻓﻰ ﺑﻮﺭﺗﻮﺭﻳﻜﻮ ﻋﺎﻡ ‪ C 5‬ﻭﺩﺭﺍﺳﺔ‬ ‫ﺍﻟﻤﺼﺮﻳﺔ ﻭﻗﺪ ﺷﺎﺭﻙ ﻓﻰ ﺟﻤﻊ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﻰ ﺗﻤﺖ ﻓﻰ ﺍﻟﻤﻌﻬﺪ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﻓﻰ ﺍﻟﻔﺘﺮﺓ‬
‫ﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻻﺱ ﻥ ﺑﺎﻟﻤﻌﻮﻧﺔ ﺍﻟﺬﺍﻧﻴﺔ ﻓﻰ ﻣﻨﺎﻃﻖ ﺗﺠﻤﻌﺎﺕ ﺍﻟﻬﻨﻮﺩ ﺍﻻﻣﺮﻳﻜﻴﻴﻦ ﺑﻮﻻﻳﺘﻰ‬ ‫ﺛﻢ ﺍﻧﻘﻞ ﻟﻠﻌﻤﻞ ﺑﺎﻹﺩﺍﺭﺓ ﺍﻟﻌﺎﻣﺔ ﻟﻠﺘﺨﻄﻴﻂ‬ ‫ﻣﺎ ﺑﻴﻦ ﺗﺨﺮﺟﻪ ﻭﺣﻰ ﻋﺎﻡ ‪C‬‬
‫‪ 1‬ﻡ ﻭﺍﻟﺘﺪﺭﻳﺐ ﺋﺔ ﺗﻤﻮﻳﻞ‬ ‫ﺍﺭﺭﺯﻭﻧﺎ ﻭﻧﻴﻮﻣﻜﺴﻴﻜﻮ ﺑﺎﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﻋﺎﻡ ‪t‬‬ ‫ﻭﻫﻰ ﺇﺩﺍﺭﺓ ﻛﺎﻧﺖ ﻣﺴﺌﻮﻟﺔ ﻋﻦ‬ ‫ﻭﺍﻻﺱ ﻥ ﺑﻮﺯﺍﺭﺓ ﺍﻟﺸﺌﻮﻥ ﺍﻟﺒﻠﺪﻳﺔ ﻭﺍﻟﻘﺮﻭﻳﺔ‬
‫ﺍﻻﺳﻜﺎﻥ ﺍﻻﻣﺮﻳﻜﻴﺔ ﺑﻮﺍﺷﻨﻄﻦ ﻭﺯﺍﺭﺓ ﺍﻻﺳﻜﺎﻥ ﻭﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺤﻀﺮﻳﺔ ﺣﺎﻟﻴﺎ ﻟﻤﺪﺓ ﺳﺘﺔ‬ ‫ﻗﻄﺎﻋﺎﺕ ﺍﻟﺘﺨﻄﻂ ﺍﻟﻌﻤﺮﺍﻧﻰ ﻟﻠﻤﺪﻥ ﻭﺍﻟﻘﺮﻯ ﻭﺍﻻﺳﻜﺎﻥ ﺑﻬﺎ ﻭﺗﻢ ﺇﻟﻐﺎﺅﻫﺎ ﻓﻰ ﻋﺎﻡ‬
‫ﺃﺩ ﺭ ﺳﻨﺔ ‪ 4691‬ﻡ‬ ‫ﺣﺚ ﺷﺎﺭﻙ ﻓﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺸﺮﻭﻋﺎﺕ ﺍﻻﺩﺍﺭﺓ ﺍﻟﻤﺬﻛﻮﺭﺓ ﻛﻤﺎ ﺷﺎﺭﻙ‬ ‫‪C 569‬‬
‫ﻭﻣﻦ ﺍﻫﻢ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺘﻰ ﺷﺎﺭﻙ ﻓﻬﺎ ﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﻌﺎﻡ ﻭﺍﻟﺘﻔﺼﻴﻠﻰ ﻟﻤﺪﻳﻨﺔ‬ ‫ﻓﻰ ﻭﺿﻊ ﺧﻄﺔ ﺷﺎﻣﻠﺔ ﻟﺘﻨﻤﻴﺔ ﺍﻟﻘﺮﻳﺔ ﺍﻟﻤﺼﺮﻳﺔ ﻗﺪﻣﺖ ﺍﻟﻰ ﺍﻷﻡ ﺍﻟﻤﺘﺤﺪﺓ ﺳﻨﺔ ‪ 369‬ﺍﻡ‬
‫ﺍﻟﺴﺎﺩﺍﺕ ﻭﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﺘﻔﺼﻴﻠﻰ ﻟﻤﺪﻳﻨﺔ ‪ 6‬ﺍﻣﺤﻮﺑﺮ ﻭﺍﻳﺨﻄﻴﻂ ﺍﻟﺘﻔﺼﻴﻠﻰ ﻟﻠﻬﻀﺒﺔ‬ ‫ﺣﻴﺚ ﺍﻛﻎ ﻣﻦ ﺫﻟﻚ ﺍﻟﻮﻗﺖ ﻭﺣﺘﻰ ﺍﻵﻥ ﺑﺄﻥ ﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺸﺎﻣﻠﺔ ﻟﻤﺼﺮ ﻻﺑﺪ ﻭﺃﻥ ﺗﺒﺪﺃ‬
‫ﺍﻟﻮﺳﻄﻰ ﺑﺎﻟﻤﻘﻄﻢ ﻭﺗﺼﻤﻴﻢ ﺷﺒﻜﺎﺕ ﺍﻟﻤﺮﺍﻓﻖ ﺍﻟﻌﺎﻣﺔ ﻭﻣﺒﺎﻧﻰ ﺍﻟﺨﺪﻣﺎﺕ ﺑﺎﻟﻤﺪﻥ ﺍﻟﺠﺪﻳﺪﺓ‬ ‫ﺃﺳﺎﻳﻤﺎ ﻣﻦ ﺍﻟﺮﻳﻒ ﺳﺎﻓﺮ ﺍﻟﻤﻬﻨﺪﺱ ﻋﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ ﺇﻟﻰ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻟﻤﺘﺤﺪﺓ ﻓﻰ‬
‫ﺑﻌﺜﺔ ﻋﻤﻠﻴﺔ ﻓﻲ ﺍﻟﻔﺘﺮﺓ ﻣﺎ ﺑﻴﻦ ﻋﺎﻣﻰ ‪ 76 U‬ﻭﻫﻴﺄﺕ ﻟﻪ ﺍﻟﻈﺮﻭﻑ ﻣﻦ ﺧﻼﻝ ﻫﺬ‬
‫ﻩ‬
‫ﻭﻓﻰ ﺟﻤﻊ ﻣﺸﺮﻭﻋﺎﺕ ﺍﻻﺳﻜﺎﻥ ﺍﻟﺘﻰ ﻧﻔﺬﺧﻤﻬﺎﻳﺜﺮﻛﺎﺕ ﺍﻟﻤﻘﺎﻭﻻﺕ ﺍﻟﻤﺼﺮﻳﺔ ﻓﻰ ﻳﺒﻴﺎ ﺛﻢ‬
‫ﺗﺼﻤﻴﻢ ﻣﺒﺎﻧﻰ ﺍﻟﻮﺯ ﺍﺭﺍﺕ ﻭﺍﺑﺎﻧﻰ ﺍﻟﻌﺎﻣﺔ ﻓﻰ ﻣﺪﻳﻨﺘﻰ ﺍﻟﺴﺎﺩﺍﺕ ﻭ ‪ 6‬ﺍﻉ ﻭﺑﺮ ﻭﻓﻨﺪﻕ‬ ‫ﺍﻟﺒﺤﺔ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺸﺮﻭﻋﺎﺕ ﺍﻟﺘﺨﻄﻂ ﻭﺍﻹﺩ ﻥ ﺟﻬﺎ ﻭﺑﺨﺎﺻﺔ ﺇﺳﻜﺎﻥ‬
‫ﻭﻛﺬﻟﻚ ﺑﻨﻰ‬ ‫ﻣﻤﻴﺮﺍﻣﺶ ﺍﺗﺮﻛﻮﻧﻴﻨﻨﺘﺎﻝ ﺍﻟﻘﺎﻫﺮﺓ ﺑﻤﻮﻗﻊ ﻓﻨﺪﻕ ﻣﻤﻴﺮﺍﻣﻴﺲ ﺍﻟﻘﺪﻳﻢ‬ ‫ﺫﻭﻯ ﺍﻟﺪﺧﻞ ﺍﻟﻤﺤﺪﻭﺩ ﺣﻴﺚ ﺗﺘﺤﺪﺩـ ﺍﻟﻘﻴﻤﺔ ﺍﻻﻳﺠﺎﺭﻳﺔ ﺑﻨﺸﺔ ﻣﺤﺪﺩﺓ ﻣﻦ ﺍﻟﺪﺧﻞ ﺍﻟﻌﺎﻡ‬
‫ﻭﺯﺍﺭﻧﻰ ﺍﻻﺳﺘﻤﺎﺭ ﻭﺍﻻﻗﺘﺼﺎﺩ ﺑﺸﺎﺭﻉ ﻋﺪﻟﻰ ﺑﺎﻟﻘﺎﻫﺮﺓ ﻛﻤﺎ ﺍﺷﺘﺮﻙ ﻓﻰ ﺗﺨﻄﻴﻂ ﻭﺗﻨﻤﻴﺔ‬ ‫ﺍﻟﺴﻚ ﺍﻟﻤﺨﺼﺼﺔ ﺑﻤﺎ ﻳﺘﻨﺎﺳﺐ ﻭﻇﻴﻔﻴﺎ ﻣﻊ‬
‫ﻟﻸﺳﺮﺓ ﻭﺣﻴﺚ ﺗﺘﺤﺪﺩ ﻣﻜﻮﻧﺎﺕ ﺍﻟﻮﺣﺪﺓ ﻧﻴﺔ‬
‫ﻣﻴﻨﺎء ﺍﻟﺴﻮﻳﺲ‬ ‫ﺣﺠﻢ ﺍﻷﺳﺮﺓ ﻭﺫﻟﻚ ﻣﻊ ﺛﺒﻴﺖ ﻥ ﺑﺔ ﻣﻘﺎﺑﻞ ﺍﻻﻧﺘﻔﺎﻉ ﺃﻭ ﺍﻟﻘﻴﻤﺔ ﺍﻻﻳﺠﺎﺭﻳﺔ ﻟﺪﺧﻞ‬
‫ﺍﻻﺳﺮﺓ ﻛﻤﺎ ﺃﻧﻪ ﻻﺯﺍﻝ ﻳﺬﻛﺮ ﻣﺎ ﺗﻌﻠﻤﻪ ﻣﻦ ﺃﻥ ﺇﺳﻜﺎﻥ ﺫﻭﻯ ﺍﻟﺪﺧﻮﻝ ﺍﻟﻤﻨﺨﻔﻀﺔ ﻟﻲ‬
‫ﻭﻳﻨﺎﺩﻯ ﺍﻟﻤﻬﻨﺪﺱ ﺻﻼﺡ ﺣﺠﺎﺏ ﺩﺍﺋﻤﺎ ﺑﺎﻥ ﺍﻟﺨﺒﺮﺍﺕ ﺍﻟﻤﺼﺮﻳﺔ ﺗﻮﻓﺮﺓ ﻓﻰ ﺟﻤﻊ‬ ‫ﺑﺎﻟﻀﺮﻭﺭﺓ ﻫﻮ ﺍﻹﺳﻜﺎﻥ ﺍﻷﻗﻞ ﺗﻜﻠﻔﺔ ﻭﻟﺒﻬﻪ ﺑﺎﻟﻀﺮﻭﺭﺓ ﺍﻻﺳﻜﺎﻥ ﺍﻷﻗﻞ ﺻﺎﻧﺔ‬
‫ﺍﻟﻤﺠﺎﻻﺕ ﻋﻠﻰ ﻧﻔﺲ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻟﻌﺎﻟﻤﻰ ﺑﻞ ﻭﺗﻔﻮﻗﻪ ﻓﻰ ﺗﻔﻬﻢ ﺍﻟﻈﺮﻭﻑ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺼﺮﻳﺔ‬
‫ﻭﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺘﻪ ﻓﻰ ﻗﺴﻢ ﺍﻟﺘﺨﻄﻴﻂ ﺍﻻﻗﻠﻴﻤﻰ ﻭﺗﺨﻄﻴﻂ ﺍﻟﻤﺪﻥ ﺑﺠﺎﻣﻌﺔ ﻛﺎﻳﻔﻮﺭﻧﻴﺎ‬
‫ﻭ ‪ ot‬ﻳﻨﻘﺺ ﻫﺬﻩ ﺍﻟﺨﺒﺮﺍﺕ ﻫﻮ ﺍﻟﺘﺠﻤﻊ ﻣﻦ ﺃﺟﻞ ﻫﺪﻑ ﺃﺷﻤﻞ ﻓﻰ ﻇﻞ ﺗﺸﻜﻴﻞ ﻭﺗﻨﻈﻴﻢ‬
‫ﺟﺎﺩ ﻟﻀﻤﺎﻥ ﺍﻳﺘﻤﺮﺍﺭﻳﺔ ﺃﺩﺍء ﺍﻟﺨﺪﻣﺔ ﺍﻟﻔﻨﻴﺔ ﻟﻠﻮﻃﻦ‬ ‫‪ 0‬ﺃﺩﺭﻙ ﺃﻥ ﺍﻟﺘﺨﻄﻴﻂ ﻋﻤﻠﻴﺔ ﺕ ﻣﻠﺔ ﺗﺸﺎﺭﻙ ﻓﻴﻬﺎ ﻭﻓﻰ ﺗﻌﻠﻴﻤﻬﺎ‬
‫ﻓﻰ ﺑﻴﺮﻛﻠﻰ ‪C‬‬
‫ﺟﻤﻊ ﺍﻟﺨﺒﺮﺍﺕ ﺍﻷﺳﺎﺳﻴﺔ ﺑﺠﺎﻧﺐ ﺍﻟﻤﻬﻨﺪﺱ ﺍﻟﻤﻌﻤﺎﺭﻯ ﺍﻟﺬﻯ ﻳﻤﻜﻨﻪ ﻛﺄﺣﺪ ﺃﻓﺮﺍﺩ ﺍﻟﻔﺮﻳﻖ‬
‫ﻃﺒﻘﺎ ﻃﻠﻔﻴﻪ ﺍﻟﻌﻠﻤﻴﺔ ﺃﻥ ﻳﻌﺎﻭﻥ ﻓﻰ ﺍﻳﺜﻜﻴﻞ ﺍﻟﺒﺼﺮﻯ ﻟﻨﺘﺎﺋﺞ ﻣﻌﻄﻴﺎﺕ ﺍﻟﻔﺮﻳﻖ‬
‫ﻭﻟﻘﺪ ﺗﺮﺳﺐ ﻓﻰ ﻭﺟﺪﺍﻧﻪ ﺑﻌﺪ ﻋﻮﺩﺗﻪ ﻣﻦ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻳﺤﺪﺓ ﺍﻻﻛﻨﺎﻉ ﺑﻀﺮﻭﺭﺓ ﺍﻧﻬﻮﺽ‬
‫ﺑﺎﻟﻤﻬﻨﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺸﻜﻞ ﺍﻷﻛﺒﺮ ﻓﻰ ﻓﺮﻳﻖ ﻗﻜﺎﻣﻞ ﻳﻤﻜﻪ ﺃﻥ ﻱ ﺛﺎﺭﻙ ﻓﻰ ﻣﺸﺮﻭﻋﺎﺕ‬
‫ﺍﻝ ﺣﻤﻬﺔ ﻓﻰ ﻣﺼﺮ ﻭﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻓﺸﺎﺭﻙ ﻓﻰ ﺗﺄﺳﻴﺲ ﺍﻟﻤﻜﺐ ﺍﻻﺳﺘﺸﺎﺭﻯ‬
‫ﻋﻌﺒﻮﺭ ﺍﻟﺬﻯ ﺑﺪﺍ ﺗﻜﻮﻳﻦ ﻣﺠﻤﺮﻋﺔ ﺃﺳﺎﺳﻴﺔ ﻣﺘﻔﺮﻏﺔ ﺑﺎﻟﻤﻜﺐ ﺗﺰﺍﻳﺪ ﺣﺠﻤﻬﺎ ﻓﺬ‬
‫ﺩ ﺑﻬﺎ ﺍﻟﻰ ﺍﻟﻤﻜﺐ‬ ‫ﻣﻤﺎﻡ ‪ 1 969‬ﻡ ﺇﻟﻰ ﺍﻵﻥ ﻣﻊ ﺗﺰﺍﻳﺪ ﻭﺗﻨﻮﻉ ﺍﻟﻤﺸﺮﻭﻋﺎﺕ ﺍﻟﺘﻰ‬
‫ﻭﻟﻘﺪ ﺷﺎﺭﻙ ﺍﻟﻤﻬﺪﺱ ﻣﺤﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ ﻓﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺪﻭﺭﺍﺕ ﻭﺍﻟﻨﺪﻭﺍﺕ‬
‫ﺍﻟﻌﻠﻤﻴﺔ ﻓﻬﺎ ﻣﺆﺗﻤﺮ ﺍﻟﻤﺪﻥ ﺍﻟﺠﺪﻳﺪﺓ ﺑﺎﺳﻜﻠﻨﺪﻩ ﻋﺎﻡ ‪ 5891‬ﻡ ﻛﻤﺎ ﺳﺎﻫﻢ ﺑﺎﻟﺪﺭﺍﺳﺎﺕ‬
‫ﺍﻧﺤﻠﻔﺔ ﺿﻤﻦ ﺑﺮﻧﺎﻣﺞ ﺧﺎﺹ ﻟﻠﺘﺨﻄﻴﻂ ﻭﺍﻟﺘﻨﻤﻴﺔ ﺍﻟﺸﺎﻣﻠﺔ ﺑﺠﺎﻣﻌﺔ ﻟﻨﺪﻥ ﻋﺎﻡ‬
‫ﻭﻗﺪ ﻗﺎﻡ ﺑﺘﻤﺜﻴﻞ ﻣﺼﺮ ﻓﻰ ﻧﺪﻭﺓ ﻋﻦ ﺍﻟﺘﺨﻄﻴﻂ ﺍﻟﺸﺎﻣﻞ ﺑﻤﺮﻛﺰ ﺍﺑﺪﻭﺍﺕ‬ ‫‪ V‬ﻡ‬
‫ﺍﻟﻢ ﺃﻟﺒﻤﺎ‬
‫ﺍﻭ ﺓ‬ ‫ﻣﻦ ﺍﻟﺴﺎ ﺑﻘﺎﺕ ﺍﻃﻊ‬

‫ﺗﻘﺪﻳﻢ ﺍ ﺩ ﻋﻠﻰ ﺑﺴﻴﻮﻧﻰ‬
‫ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻬﻨﺪﺳﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺟﺎﻣﻌﺔ ﺍﻟﻘﺎﻫﺮﺓ‬
‫‪ 91 P‬ﻭﺍﻓﻖ ﺭﺋﻴﺲ ﺍﻟﺠﻤﻬﻮﺭﻳﺔ‬

‫ﻓﻰ ﻣﺎﺭﺱ ﺳﻨﺔ ‪A‬‬
‫ﺍﻟﻔﺮﻧﺸﺔ ﻋﻠﻰ ﺍﻧﺸﺎء ﻣﺮﻛﺰ ﻟﻼﺛﺼﺎﻻﺕ ﺍﻟﺪﻭﻟﻴﺔ ﻳﺤﺘﻮﻯ‬
‫ﻋﻠﻰ ﻣﺘﺤﻒ ﻟﺘﺎﺭﻍ ﻋﻠﻢ ﺍﻹﺛﺼﺎﻻﺕ ﺑﻴﻦ ﺍﻻﻥ ﺍﻥ‬
‫ﻭﻣﺮﻛﺰ ﻟﻼﺳﺤﻼﻣﺎﺕ ﻭﺍ ﻹﻋﻼﻡ ﻭﺍ ﻻﺧﺒﺎﺭ ﻛﺬ ﻟﻚ‬
‫ﻣﺮﻛﺰ ﻟﻠﻤﻌﻠﻮﻣﺎﺕ ﺩﻭﻟﻰ ﺑﺠﻤﻴﻊ ﺍﻟﻠﻐﺎﺕ ﺍﻟﺤﻴﺔ ﻋﻞ ﺃﻥ‬
‫ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ ﺟﺎﻫﺰ ﻻﺳﺘﻘﺒﺎﻝ ﺍﻟﺰﺍﺋﺮﺑﻦ ﻓﻰ‬
‫ﺍﻟﻤﻌﺮﺽ ﺍﻟﺬﻯ ﺳﻴﻘﺎﻡ ﺑﻤﻨﺎﺳﺒﺔ ﻣﺮﻭﺭ ‪ 002‬ﻋﻠﻰ ﺍﺛﻮﺭﺓ‬
‫ﻛﺬﻟﻚ ﺭﻏﺒﺔ ﻣﻨﻪ ﻓﻰ‬ ‫ﺍﻟﻔﺮﻧﺴﻴﺔ ﺃﻯ ﻓﻰ ﺳﻨﺔ ‪9891‬‬
‫ﺃﻥ ﻳﻜﻮﻥ ﻻﺩﺍﺭﺍﺕ ﺍﻟﺤﻜﻮﻣﺔ ﻭﺟﻮﺩ ﻓﻰ ﺣﻰ ﺍﻟﺪﻓﺎﻥ‬
‫ﻓﻘﺪ ﻗﺮﺭ ﺃﻥ ﺗﻨﻘﻞ ﻭﺯﺍﺭﻗﻰ ﺍﻻﻣﻜﺎﻥ ﻭﺍﺑﻴﺌﺔ ﺍﻟﻰ ﻫﺬﺍ‬
‫ﺍﻟﺤﻰ ﺍﻟﺠﺪﻳﺪ‬
‫ﻭﻗﺪ ﻗﺮﺭ ﺃﻳﻀﺎ ﺃﻥ ﺗﻜﻮﻥ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺜﻼﺛﺔ‬
‫ﻣﺮﻛﺰ ﺍﻷﻧﺼﺎﻻﺕ ﺍﻟﺪﻭﻟﻴﺔ ‪ ii‬ﺍﺭﺓ ﺍﻻﺳﻜﺎﻥ ﻭﻭﺯﺍﺭﺓ‬
‫ﻣﻮﻓﻮﻉ ﻣﺴﺎﺑﻘﺔ ﺩﻭﻟﻴﺔ ﻟﻴﻈﻬﺮ ﻳﺨﻬﺎ ﺍﻟﺘﻌﺎﻭﻥ‬ ‫ﺍﻟﺒﻴﺌﺔ‬
‫ﺍﻟﺪﻭﻟﻰ ﻣﻌﺒﺮﺍ ﻋﻦ ﻓﻜﺮﺓ ﻣﺮﻛﺰ ﺍﻹﺗﺼﺎﻻﺕ ﺍﻟﺪﻭﻟﻴﺔ‬
‫ﺍﻟﺬﻯ ﺳﻴﻜﻮﻥ ﺃﺣﺪ ﺍﻟﻤﻴﺎﻧﻰ ﺍﻷﺳﺎﺳﻴﺔ ﻓﻲ ﻣﻌﺮﺽ‬
‫‪ o‬ﺽ ‪9881‬‬
‫‪ 9891‬ﻛﻤﺎ ﻛﺎﻥ ﺑﺮﺝ ﺍﻳﻔﻞ ‪J jAj‬‬
‫ﺣﻰ ﺍﻟﺪﻓﺎﻧﺲ‬
‫ﻭﻛﺎﻥ ﺍﺧﻴﺎﺭ ﺍﻟﻤﻮﻗﻊ ﻛﺬﻟﻚ ﻣﻮﻓﻘﺎ ﻋﻨﺪ ﺗﺤﺪﻳﺪﻩ ﻓﻰ‬
‫‪eniotnA hcabmurG‬‬ ‫ﺃﻧﻄﻮﺍﻥ ﺟﺮﻭﻣﺒﺎ ﻓﺮﻧﺴﺎ‬ ‫ﻋﻤﻞ ﺍﻟﺘﺨﻄﻂ ﺍﻧﻬﺎﺋﻰ ﻟﻠﻤﺸﺮﻭﻉ ﻛﻤﺎ ﺍﻋﻄﻴﺖ ﻟﻬﻢ‬ ‫ﻧﻬﺎﻳﺔ ﺣﻰ ﺍﻟﺪﻓﺎﻧﺲ ﺍﻟﺬﻯ ﻳﻘﻊ ﻋﻠﻰ ﺍﻟﻤﺤﻮﺭ ﺍﻟﺮﺋﺸﻰ ﺍﻟﺬﻯ‬
‫‪ohsbK awakoruK‬‬ ‫ﺍ ﻟﻴﺎ ﻥ‬ ‫ﻛﻴﺸﻮ ﻛﺒﺮﻭﻛﺎﻭﺍ‬ ‫ﺍﻹﺟﻬﺎﺩﺍﺕ ﺍﻟﻤﺴﻤﻮﺡ ﺑﻬﺎ ﻓﻰ ﻛﻞ ﻣﻨﻄﻘﺔ ﻣﻦ ﺍﻟﻤﻮﻗﻊ‬ ‫ءﻛﻞ ﺑﻂ ﺷﺎﺭﻉ ﺭﻳﻔﻮﻟﻰ ﻭﻣﻴﺪﺍﻥ ﺍﻟﻜﻮﻧﻜﻮﺭﺩ ﻭﺷﺎﺭﻉ‬
‫ﻭﻗﺪ ﺍﺷﺘﺮﻙ ﻓﻰ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺑﻘﺔ ‪ 54‬ﺩﻭﻟﺔ ﻣﻦ ﻛﺎﻓﺔ‬ ‫ﺍﻟﺸﺎﻧﺰﻟﺰﻳﻴﻪ ﻭﻳﺪﺍﻥ ﺍﻻﻟﻮﺍﻝ ﻭﺩﺍﺭﻉ ﺍﻟﺠﺮﺍﻧﺪ ﺃﺭﻣﻴﻪ‬
‫‪drehcbR sregoR‬‬ ‫ﺭﻳﺘﺸﺎﺭﺩ ﺭﻭﺟﺮﺯ ﺍﻧﺠﻴﺮﺍ‬
‫ﺍﻧﺤﺎء ﺍﻟﻌﺎﻟﻢ ﻭﻟﻜﻦ ﺑﻜﻞ ﺍﺳﻒ ﻟﻢ ﻳﺸﺘﺮﻙ ﻣﻦ ﻣﻨﻄﻘﺔ‬ ‫ﻭﻫﻮ ﺃﻫﻢ ﻋﻮﺭ ﺗﺎﺭﻳﺨﻰ ﻓﻰ ﺑﺎﺭﻳﺲ ﻱ ﺗﺪﺃ ﺑﻤﻴﺪﺍﻥ ﺍﺏ ﺳﺘﻴﻞ‬
‫‪ j‬ﻓﻮﺱ ﻓﺮ ﻧﺴﺎ ‪dronroeB ssuferheZ‬‬
‫ﺑﺮﺑﺎ ﻧﺎ ﺭ ﺩ ‪jo‬‬ ‫ﻭﻳﻨﺘﻰ ﻋﺪ ﺣﻰ ﺍﻟﺪﻓﺎﻧﺲ ﺑﻄﻮﻝ ﺣﻮﺍﻟﻰ ﺍﺣﺪﻯ ﻋﺸﺮ‬
‫ﺍﻟﺸﺮﻕ ﺍﻷﻭﺳﻂ ﺍﻻ ﺍﻳﻮﺍﺋﻴﻞ ﻭﺗﻘﺪﻣﺖ ﺑﺜﻼﺛﺔ‬
‫ﻛﻤﺎ ﺍﺷﺮﻙ ﺃﻳﻀﺎ ﻋﻀﻮﻳﻦ ﺑﺼﻔﺔ ﻧﺎﻗﺪ ﻓﻨﻰ ﻣﻦ‬ ‫ﻛﻠﻴﻮ ﻣﺘﺮ ﻣﺎﺭﺍ ﺑﻘﻮﺱ ﺍﻟﻨﺼﺮ ﺍﻟﺬﻯ ﺑﺪﺃ ﻓﻰ ﻋﺼﺮ‬
‫ﻣﺜﺎﺭﻳﻊ ﻭﺑﺎﻟﺮﻛﻢ ﻣﻦ ﻋﺪﻡ ﻓﻮﺯ ﺃﻯ ﻣﺸﺮﻭﻉ ﻓﻬﺎ‬
‫ﻭﻗﺪ ﺗﻘﺪﻡ ﻟﻠﻤﺴﺎﺑﻘﺔ ﺣﻮﺍﻟﻰ‬ ‫ﺃﻣﺮﻳﻜﺎ ﻭﺍﻷﺭﺝ ﻳﻦ‬ ‫ﻟﻜﻦ ﻳﻜﻔﻲ ﺍﻟﻮﺟﻮﺩ ﻓﻰ ﺍﻟﻤﺤﺎﻓﻞ ﺍﻟﻌﺎﻟﻴﺔ ﻣﻤﺎ ﻳﻌﻄﻴﻬﺎ ﻡ ﻧﺔ‬ ‫ﻧﺎﺑﻮﻟﻴﻮﻥ ﻓﻲ ﺍ ﻯﻟﻮﺍﻝ‬
‫‪ 024‬ﻣﺸﺮﻭﻉ ﻣﻦ ﺣﻮﺍﻟﻰ ‪ 506‬ﻣﺘﺴﺎﺑﻖ ﻗﺎﻣﻮﺍ‬ ‫ﺍﺩﺑﻴﺔ ﻋﻠﻰ ﺃﻗﻞ ﺗﻘﺪﻳﺮ‬ ‫ﻓﻘﺪ ﺑﺪء‬ ‫ﻭﻛﻔﻜﺮﺓ ﺳﺮﻳﻌﺔ ﻋﻦ ﺣﻰ ﺍﻟﺪﻓﺎﻥ‬
‫ﺑﺴﺤﺐ ﺛﺮﻭﻁ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻭﺍﺳﺤﺎﻧﺖ ﻫﻴﺌﺔ ﺍﻳﺤﻜﻴﻢ‬ ‫ﺍﻟﻔﻜﻴﺮ ﻓﻪ ﻓﻰ ﺍﻭﺍﺧﺮ ﺍﻟﺴﺘﻴﺎﺕ ﻭﻻ ﻧﺮﺍﻝ ﺍﻟﻌﻤﻞ‬
‫ﺑﻠﺠﻨﺔ ﻓﻨﻴﺔ ﻟﺒﺤﺚ ﺍﻟﻨﻮﺍﺣﻰ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺔ ﻣﻦ ﺣﻴﺚ‬
‫ﻭﻗﺪ ﺷﻜﻠﺖ ﻫﻴﺌﺔ ﺍﻳﺤﻜﻴﻢ ﻣﻦ ﻋﺪﺩـ ﻛﺒﻴﺮ ﻣﻦ‬ ‫ﺟﺎﺭﻯ ﻓﻴﻪ ﺍﻟﻰ ﺍﻵﻥ ﻟﻴﻜﻮﻥ ﻣﻘﺮ ﻟﻠﺸﺮﻛﺎﺕ ﺍﻟﺪﻭﻟﻴﺔ‬
‫ﺍﻟﻤﺘﺨﺼﺼﻴﻦ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﺣﺴﺐ ﻻﻟﺤﺔ ﺍﻟﻤﺴﺎﺑﻘﺎﺕ‬
‫ﻣﻼﺛﻤﺔ ﻧﻮﻉ ﺍﻹﻧﺸﺎء ﻭﺍﻹﺟﻬﺎﺩﺍﺕ ﺍﻟﻤﺴﻤﻮﺡ ﺑﻬﺎ ﺑﺎﻟﻤﻮﻗﻊ‬
‫ﻻﺗﺤﺎﺩ ﺍﻟﻤﻌﻤﺎﺭﻳﻨﻦ ﺍﻟﺪﻭﻟﻰ‬
‫ﻭﺍﻟﻔﺮﻧﺲ ﺍﻟﻜﺒﺮﻯ ﻓﻰ ﺑﺎﺭﻳﺲ ﻭﻣﻤﺢ ﻓﻴﻪ ﺑﺎﻻﺭﺗﻔﺎﻋﺎﺕ‬
‫ﻳﺔ‬
‫ﻛﺬﻟﻚ ﺍﻟﻤﺴﻄﺤﺎﺕ ﻭﺍﻟﺘﻜﺎﻟﻴﻒ‬ ‫ﺍﻟﻜﺒﻴﺮﺓ ﺑﺨﻼﻑ ﻣﺎ ﻫﻮ ﻣﻌﻤﻮﻝ ﺑﻪ ﺡ ﺳﺐ ﺍﻟﻠﻮﺍﺋﺢ ﺍﻟﺘﻰ‬
‫ﺛﻢ ﺍﺟﻤﺖ ﻫﻴﺌﺔ ﺍﻟﺘﺤﻜﻴﻢ ﻭﺍﺳﺤﺮﺿﺖ ﺍﻟﻤﺸﺎﺭﻳﻊ‬ ‫ﻭﻛﺎﻥ ﻋﺪﺩـ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ ﻓﻰ ﻫﺌﺔ ﺍﻟﺘﺤﻜﻴﻢ ﺳﺒﻌﺔ ﻫﻢ‬ ‫ﻳﺤﺪﺩ ﺍﻻﺭﺗﻔﺎﻉ ﻳﺨﻬﺎ ﺑﺴﺘﺔ ﺃﺩﻭﺍﺭ ﺑﺨﻼﻑ ﺍﻷﺭﺿﻰ ﺩﺍﺧﻞ‬
‫ﺍﻟﻤﻘﺪﻣﺔ ﻭﺑﻌﺪ ﻧﺎﻗﺸﺎﺕ ﻋﺪﻳﺪﺓ ﺛﻢ ﺗﺤﺪﻳﺪ ﺍﻟﻄﺎﺑﻊ‬ ‫ﺑﺎﻟﺘﺮﻛﻴﺐ ﻛﺎﻻﻕ‬ ‫ﻛﻮﺭﺩﻭﻥ ﺑﺎﺭﻳﻰ‬
‫ﺍﻟﻤﻄﻠﻮﺏ ﻟﻠﻤﺸﺮﻭﻉ ﻭﻫﻮ ﺍﻷﺳﺎﺱ ﻟﻰ ﻋﻤﻴﺔ ﺍﻻﺧﻴﺎﺭ‬ ‫‪drehciR‬‬ ‫ﺭﻳﺘﺜﺎﺭﺩ ﺻﻴﺴﺮ ﺍﻣﺮﻱ‬
‫ﻓﻬﻮ ﺑﺈﺧﺼﺎﺭ ﺣﻰ ﻣﺎﻧﻬﺎﺗﻦ ﻣﺼﻐﺮ ﻋﻞ ﺍﻟﻄﺮﻳﻘﺔ‬
‫ﻭﻛﺎﻧﺖ ﺍﻟﺘﺠﺔ ﺗﺒﻌﺎ ﻟﺬﻟﻚ ﻛﺎﻻﻕ‬ ‫ﺍﻟﻔﺮﻧﺴﻴﺔ ﻭﻳﺨﻠﻒ ﻋﻨﻪ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﺘﺨﻄﻴﻂ ﻭﺍﻟﻤﺴﺎﺣﺎﺕ‬
‫‪ A‬ﻧﺎﺋﺐ ﺭﺋﻰ ﻫﻴﺌﺔ ﺍﻟﺘﺤﻜﻴﻢ‬
‫‪reieM‬‬
‫‪U‬‬
‫‪S‬‬
‫ﺍﻟﺠﺎﺋﺰﺓ ﺍﻷﻭﻟﻰ ﻟﻤﻬﻨﺪﺱ ﻣﻌﻤﺎﺭﻯ ﺩﻧﻤﺮﻛﻰ‬ ‫ﺍﻟﻜﺒﻴﺮﺓ ﻣﻦ ﺣﺪﺍﺋﻖ ﻭﻣﻤﺮﺍﺕ ﻟﻠﻤﺸﺎﻩ ﻭﺍﻟﻤﺴﻄﺢ ﺍﻟﻌﺎﻡ‬
‫‪drereG anruht‬‬ ‫ﻓﺮﻧﺴﺎ‬ ‫ﺟﺮﺍﺩ ﻛﻮﺭﻧﻮﻳﺮ‬
‫ﺍﻟﺠﺎﺋﺰﺓ ﺍﻷﻭﻟﻰ ﻣﻜﺮﺭ ﻟﻤﻬﻨﺪﺱ ﻣﻌﻤﺎﺭﻯ ﻓﺮﻥ ﻯ‬ ‫ﻟﻘﻄﻌﺔ ﺍﻷﺭﺽ ﻣﻮﺿﻮﻉ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺣﻮﺍﻟﻰ ﻣﺎﺋﺔ ﻭﻋﺸﺮﻭﻥ‬
‫ﺍﻟﺠﺎﺋﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻟﻤﻬﻨﺪﺱ ﻣﻌﻤﺎﺭﻯ ﻓﺮﻧﻰ‬ ‫ﻩ ﺳﻜﺮﻛﺮ ﻫﻴﺌﺔ ﺍﻟﺘﺢ‬
‫ﻛﻴﻢ‬ ‫ﺍﻟﻒ ﻡ ‪ 2‬ﻭﻛﺎﻥ ﻋﻠﻰ ﺍﻟﻤﺘﺴﺎﺑﻘﻴﻦ ﺗﻔﺎﺩﻯ ﺍﻣﺎﻛﻦ ﻣﺮﻭﺭ‬
‫ﺍﻟﺠﺎﺋﺰﺓ ﺍﻟﺜﺎﻧﻴﺔ ﻣﻜﺮﺭ ﻟﻤﻬﻨﺪﺱ ﻣﻌﻤﺎﺭﻯ ﺑﻬﺪﻯ‬ ‫‪brO saghtoB‬‬ ‫ﺃﻭﺭ ﺱ ﻝ ﺑﻮﻛﻴﺠﺎﺱ ﺍﺳﺒﺎﻧﻴﺎ‬ ‫ﺍﻟﺴﻜﺔ ﺍﻟﺤﺪﻳﺪ ﻭﺍﻳﺮﻭ ﻭﺍﻷﻧﻔﺎﻕ ﺗﺤﺖ ﺍﻷﺭﺽ ﻗﺒﻞ‬
‫‪tP‬‬
‫ﺍﻟﻤﻼﺣﻆ ﻓﻰ ﻣﻮﺿﻮﻉ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻫﻮ ﺍﻻﺗﺠﻬﺎﺕ‬

‫ﺍﻧﺤﻠﻔﺔ ﺍﻟﺘﻰ ﻇﻬﺮﺕ ﻓﻰ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﻢﻗﺪﻣﺔ ﻫﻴﻬﺎ ﻧﺠﺪ‬
‫ﺍﻟﺮﻭﻣﺎﻧﺴﻴﻮﻥ ﻭﻧﺠﺪ ﺍﻻﻧﺚ ﺍﺋﻴﻮﻥ ﻭﻧﺠﺪ ﺍﺑﺤﺎﺗﻮﻥ‬
‫ﻭﻫﻰ ﺍﺗﺠﺎﻫﺎﺕ ﻣﺎﺑﻌﺪ ﺍﻟﻤﻮﺩﺭﻧﺰﻳﻢ ﺭﺍﺟﻊ ﻣﻘﺎﻻﺕ‬
‫ﻭﺑﻬﺎ ﺍ ﺍ‬ ‫ﺍﻟﻔﻜﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻓﻰ ﻣﻔﺘﺮﻕ ﺍﻟﻄﺮﻕ‬
‫ﺧﻠﻒ ﺍﻟﻤﺪﺍﺭﺱ ﺍﻟﻔﻨﻴﺔ ﻓﻰ ﺍﻟﺮﺳﻢ ﻭﺍﻟﺘﻌﺒﻴﺮ ﻭﺍﻻﺧﺮﺍﺝ‬
‫ﺃﻣﺎ ﺍﻟﻤﺜﺮﻭﻉ ﺍﻟﻔﺎﺋﺰ ﻓﻬﻮ ﻟﻠﻤﻬﻨﺪﺱ ﺳﺒﺮﻳﻜﻠﺴﻦ‬
‫‪ I3t‬ﺭﻛﻰ ﺍﻟﺬﻯ ﻳﺸﻐﻞ ﺣﺎﻟﻴﺎ ﻭﻇﻤﻔﺔ‬
‫‪L neslekcerpS‬‬
‫ﺍﻟﻤﺸﺮﻭﻉ ﺍﻟﻔﺎﺋﺰ ﻣﻜﻌﺐ ﻃﻮﻝ ﺿﻠﻌﻪ ‪ 001‬ﻗﺮ ﻣﻔﺮﻍ ﻣﻦ ﺍﻟﺪﺧﻞ ﻋﻞ ﻣﺌﺔ ﺑﻮﺍﺑﺔ ﺃﻭ ﻗﻮﺱ‬
‫ﺭﺋﺸﻰ ﻗﺴﻢ ﺍﻟﻌﻤﺎﺭﺓ ﻓﻰ ﺍﻷﻛﺎﺩﻣﻴﺔ ﺍﻟﻤﻠﻜﺔ ﻟﻠﻔﻨﻮﻥ ﻓﻰ‬
‫ﻛﻮﺑﺨﻬﺎﺟﻦ‬
‫ﻭﻗﺪ ﺍﺣﻤﺪ ﺭﺋﻴﺲ ﺟﻤﻬﻮﺭﻳﺔ ﻓﺮﻧﺴﺎ ﻓﻰ ‪ ot 52‬ﻳﻮ‬
‫ﻱ ﻧﺔ ‪ 3891‬ﻧﺘﻴﺠﺔ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺑﻌﺪ ﺍﺳﺤﺮﺍﺿﻪ ﺑﻮﺟﻪ ﻋﺎﻡ‬
‫ﺍﻟﻤﺸﺎﺭﻳﻊ ﺍﻟﺘﻰ ﺍﺧﺎﺭﺗﻬﺎ ﻫﻴﺜﺔ ﺍﻟﺘﺤﻜﻴﻢ ﻭﻣﻨﺎﻗﺸﺔ ﺍﻟﻄﺎﺑﻊ‬
‫ﺍﻟﻤﻄﻠﻮﺏ ﻛﺮﻣﺰ ﻟﻤﺴﺎﻫﺔ ﻓﺮﻧﺴﺎ ﻓﻰ ﺍﻟﺤﻀﺎﺭﺓ ﺍﻟﻌﺎﻟﻤﻬﺔ‬
‫ﻭﺟﺎء ﻓﻲ ﻛﻠﻘﺮﻭﺭ ﻫﻴﺜﺔ ﺍﻟﺘﺤﻜﻴﻢ ﺃﻥ ﺍﻟﻤﺚ ﺭﻭﻉ ﺍﻟﻔﺎﺋﺰ‬
‫ﺗﻤﺎﺯ ﺑﻮﺿﻮﺡ ﺍﻟﻔﻜﺮﺓ ﻭﻗﻮﺓ ﺍﻟﺮﻣﺰ ﻭﺑﺴﺎﻃﺔ ﺍﻟﺠﺮ‬
‫ﺣﺚ ﺃﻥ ﺍﻟﺠﻨﻰ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﻜﻌﺐ ﻃﻮﻝ ﺿﻠﻌﻪ ‪001‬‬
‫ﻣﺘﺮ ﻣﻔﺮﻍ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻋﻞ ﻣﺌﺔ ﺑﻮﺍﺑﻪ ﻭﺃﺩﺍﺩﺕ ﺍﻟﻠﺠﻨﺔ‬
‫ﺃﻳﻀﺎ ﺑﺜﺎﻋﺮ ﺓ ﺍﻟﺘﻤﻤﻴﻢ ﻭﺿﻘﻪ ﺍﻫﻢ ﻫﺪﻑ ﻓﻲ ﺗﻘﺪﻭﺭ‬
‫ﻟﺠﻨﺔ ﺍﻟﺘﺤﻜﻴﻢ ﻭﻫﻮ ﺃﻥ ﻫﺪﺍ ﺍﻟﻤﺒﻨﻰ ﺍﻟﺪﻱ ﻳﻘﻊ ﻋﻞ ﺍﻟﻤﺤﻮﺭ‬
‫ﺍﻟﺮﺋﻢ ﻯ ﺍﻟﺴﺎﻳﻖ ﺫﻛﺮﻩ ﺑﻤﺜﻞ ﺑﻮﺍﺑﺔ ﻟﻠﻤﺲ ﻗﺒﻞ ﺑﻨﺴﺐ‬
‫ﺟﻤﻠﺔ ﺗﻨﺎﺳﺐ ﺍﻟﻌﺼﺮ‬
‫ﻣﺴﻘﻂ ﺍﻫﻰ ﻟﻠﻤﺸﺮﻭﻉ ﺍﻟﻔﺎﺋﺰ‬
‫ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺑﻤﻮﻗﻊ ﺍﻟﻤﺎﺑﻘﺔ‬
‫‪0P‬‬
‫ﻣﻘﺎﻝ ﻓﻨﻲ‬
‫ﻯ‬ ‫ﺍﻟﻘﺮﺍﺙ ﺍﻟﻊ‬

‫ﻓﻰ ﺍﻟﺒﻴﻔﺔ ﺍﻟﻌﺮﻳﺔ‬
‫ﺣﺴﻦ ﻭﻫﺒﻰ‬ ‫ﺩﻛﺘﻮﺭ‬
‫ﻟﺌﺤﺲ ﻗﺴﻢ ﺍﻓﺪﺳﺔ ﺍﻟﻤﻌﻤﺎﺭﺑﺔ‬
‫ﺟﺎﻣﻌﺔ ﺍﻷﻣﺎﺯﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻟﻤﺘﺤﺪﺓ‬
‫ﻟﻠﻤﺠﺘﻤﻊ ﻣﻦ ﺧﻼﻝ ﻗﻴﻤﻪ ﻭﻭﺟﺪﺍﻧﻪ ﺇﻥ ﻋﻤﻠﻴﺔ ﺍﻟﺒﻨﺎء‬ ‫ﺍﻟﻌﻤﺎﺭﺓ ﻫﻰ ﺍﻟﻔﻦ ﺍﻟﻌﻠﻤﻰ ﻹﻗﺎﻣﺔ ﻣﺒﺎﻥ ﺗﻔﻰ‬
‫ﺗﻎ ﺑﻼ ﺧﻄﺔ ﻣﻨﻬﺠﻴﺔ ﺗﺮﺑﻂ ﺍﻻﺷﻤﺮﺍﺭ ﺍﻟﺤﻀﺎﺭﻱ ﺑﻴﻦ‬ ‫ﺑﺎﻹﺣﺘﻴﺎﺝ ﺍﻟﻤﺎﺩﻯ ﻭﺍﻟﻨﻔﺴﻰ ﻭﺍﻟﺮﻭﺣﻰ ﻟﻺﻧﺴﺎﻥ ﻭﻳﺠﺐ‬
‫ﺍﻟﻴﻤﻦ‬ ‫ﺍﻟﻤﺎﻓﻲ ﻭ ﺍﻟﺨﺎﺿﺮ ﻭﺍﻟﻤﺴﻘﻞ ﻓﺎﻟﻮﻓﻊ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻻﻳﺰﺍﻝ‬ ‫ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻌﻤﺎﺭﺓ ﻋﻠﻰ ﺻﻠﺔ ﺑﺎﻟﻮﺍﻗﻊ ﻭﺑﺎﻟﺤﻴﺎﺓ ﻣﻦ ﺧﻼﻝ‬
‫ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻴﻤﻨﻴﺔ ﺍﻟﻘﻠﻴﺪﻳﺔ ﺫﺍﺕ ﻃﺮﺍﺯ ﻣﺘﻤﻴﺰ ﻳﻔﻰ‬ ‫ﻳﻌﺘﻤﺪ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﻋﻠﻰ ﺍﻻﻧﻔﻌﺎﻻﺕ ﻭﺍﻻﺟﻨﻬﺎﺩﺍﺕ‬ ‫ﺍﻟﻮﻋﻰ ﻭﺍﻹﺩﺭﺍﻙ ﺍﻟﻜﺎﻣﻞ ﺑﺄﺣﻮﺍﻝ ﺍﻟﺒﺌﺔ ﺍﻟﻤﺨﻠﻴﺔ ﻭﺍﻟﺜﺎﺱ‬
‫ﺑﺎﺣﺘﻴﺎﺟﺎﺕ ﺍﻟﻤﺠﺘﻤﻊ ء‬ ‫ﺍﻟﺸﺨﺼﻴﺔ ﻭﺍﻹﺣﺴﺎﺳﺎﺕ ﺍﻟﻔﺮﺩﻳﺔ ﺍﻟﻢ ﺍﻓﺮﺓ‬ ‫ﻭﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﻤﻌﺎﺻﺮﺓ ﻓﺎﻟﻬﺪﻑ ﺍﻷﺳﺎﺳﻰ ﻓﻲ ﻣﺠﺎﻝ‬
‫ﺇﻥ ﺍﻷﺟﻴﺎﻝ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻗﺪ ﻭﺿﻌﺖ ﺻﻮﺭﺓ ﺳﻴﻤﺔ‬ ‫ﺍﻝ ﻫﻮ ﺧﺪﻣﺔ ﺍﻟﻤﺠﺘﻤﻊ ﻭﻳﺠﺐ ﺃﻥ ﻳﻘﻊ ﻫﺬﺍ ﺍﻟﻬﺪﻑ‬ ‫ﺑﻨﺎء‬
‫ﻓﺠﺎءﺕ‬ ‫ﻟﻠﻌﻤﺎﺭﺓ ﺣﺴﺐ ﺇﻣﻜﺎﻳﺎﺕ ﻭﻇﺮﻭﻑ ﻋﺼﺮﻫﺎ‬ ‫ﻓﻲ ﻧﻄﺎﻕ ﻗﺪﺭﺍﺗﻨﺎ ﺑﺎﺧﻴﺎﺭ ﺍﻟﻮﺳﻴﻠﺔ ﺍﻟﻜﻔﻴﻠﺔ ﺑﺘﺤﻘﻴﻘﻪ ﻣﻦ‬
‫ﺣﻴﺚ ﻋﻜﺴﺖ ﻃﺒﻴﻌﺔ ﺍﻷﺭﺽ ﺍﺗﺠﺎﻩ‬ ‫ﺻﺎﺩﻗﺔ ﺍﻟﺘﻌﺒﺮ‬ ‫ﺧﻼﻝ ﺗﺜﺨﻴﺺ ﺩﻗﻴﻖ ﻟﺤﻘﺎﺋﻖ ﺍﻷﻭﺿﺎﻉ ﺍﻟﻘﺎﺋﻤﺔ ﺟﻤﻬﺬﺍ‬
‫ﺍﻟﺤﻴﺎﺓ ﻓﻲ ﺍﻟﻤﺒﺎﻧﻲ ﺳﻮﺍء ﻛﺎﻥ ﺇﻟﻰ ﺍﻟﺪﺍﺧﻞ ﻛﻤﺎ ﻓﻲ ﺍﻟﻤﺪﻥ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ‬
‫ﺍﻟﺼﺤﺮﺍﻭﻳﺔ ﺃﻭ ﺇﻟﻰ ﺍﻟﺨﺎﺭﺡ ﻛﻤﺎ ﻓﻲ ﻣﺪﻥ ﺍﻟﻤﺮﺗﻔﻌﺎﺕ ﺫﺍﺕ‬ ‫ﻭﻗﺪ ﻧﺠﺪ ﺃﻧﻨﺎ ﺗﺤﺖ ﻑ ﻏﻂ ﺩﺍ ﺁ ﻟﻤﻼﺣﻘﺔ ﺍﻟﻘﺪﻡ‬
‫ﺍﻟﺤﻀﺮﺓ ﺍﻟﺪﺍﺋﻤﺔ ﻛﻤﺎ ﺗﺤﻜﻤﺖ ﻃﺒﻴﻌﺔ ﺍﻷﺭﺽ ﻓﻲ ﻧﻮﻋﻴﺔ‬ ‫ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻰ ﺑﻬﺪﻑ ﺍﻻﺭﺗﻔﺎﻉ ﺑﺎﻟﻤﺴﺘﻮﻯ ﺍﻟﻤﻴﺜﻰ‬
‫ﺍﻹﻧﺸﺎء ﻓﻲ ﺍﺑﺎﻧﻲ ﻭﺍﺭﺗﻔﺎﻋﺎﺗﻬﺎ ﻓﺮﺑﻄﺖ ﺍﻟﺒﻨﺎء ﺑﺎﻟﺒﻴﺌﺔ‬ ‫ﻟﻠﻤﻮﺍﻃﻦ ﻣﻤﺎ ﻻﻳﺪﻉ ﻟﺜﺎ ﺟﻤﺎﻻ ﻹﻣﻜﺎﻧﻴﺔ ﺭﻟﻂ ﺍﻟﺘﺤﻮﻻﺕ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﺑﺮﺑﺎﻁ ﻋﻀﻮﻯ ﻋﻴﺮ ﻋﻦ ﺍﻷﻣﺎﻟﺔ ﺍﻟﺘﻰ ﺗﻜﺎﻣﻠﺖ‬ ‫ﺍﻹﺟﻤﺎﻋﻴﺔ ﺑﺎﻟﻄﻔﺮﺍﺕ ﺍﻟﻌﻠﻤﻴﺔ ﻭﺑﺬﻟﻚ ﻗﺪ ﺗﻐﻠﺐ ﻛﻔﺔ‬
‫ﺑﺄﻟﻘﻴﻢ ﺍﻟﺤﻀﺎﺭﺑﺔ ﺍﻷﺧﺮﻯ ﻛﻤﺎ ﺗﻌﺎﻣﻠﺖ ﻉ ﺍﻟﻈﺮﻭﻑ‬ ‫ﺍﻟﻤﺎﺩﻳﺎﺕ ﻋﻠﻰ ﻛﻔﺔ ﺍﻟﻤﻌﻨﻮﻻﺕ ﺍﻟﺘﻰ ﺑﺪﺃﺕ ﺗﺘﻼﻟﺜﻰ ﻓﻲ‬
‫ﺍﻟﻨﺎﺧﻴﺔ ﻣﻦ ﺧﻼﻝ ﻣﻌﺎﻟﺠﺘﻬﺎ ﺍﻟﻤﻌﻤﺎﺭﺑﺔ ﺍﻟﺘﻰ ﺳﺎﻋﺪﺕ ﻋﻠﻰ‬ ‫ﻛﺜﻴﺮ ﻣﻦ ﺃﻋﻤﺎﻟﺘﺎ ﻭﻟﻮ ﺗﻨﺎﻭﻟﺘﺎ ﺍﻟﻤﺘﻄﻠﺒﺎﺕ ﺍﻟﻤﻌﻴﺸﻴﺔ‬
‫ﺍﻝ ﻭﺍﻟﺤﻤﺎﻳﺔ ﻣﻦ ﺍﻟﺸﻤﺲ ﻭﺍﺳﺤﻤﺎﻝ‬ ‫ﺗﻮﺟﻴﻪ ﺣﺮﻛﺔ ﻫﻮﺍء‬ ‫ﻟﻠﻌﺎﺋﻠﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻟﻮﺟﺪﻧﺎ ﺃﻥ ﺑﻌﻀﻬﺎ ﻻﻳﺰﺍﻝ ﻳﺮﺗﺒﻂ ﺑﺎﻟﻘﻴﻢ‬
‫ﺍﻟﻤﻮﺍﺩ ﺍﻟﺘﻰ ﺕ ﺍﺏ ﻭﺍﻟﻈﺮﻭﻑ ﺍﺑﺎﺧﻴﺔ ﻭﺫﻟﻚ ﻣﻦ‬ ‫ﺍﻟﺤﻀﺎ ﺑﺔ ﻭﺍﻹﺟﻤﺎﻋﻴﺔ ﺍﻟﻤﺘﻮﺍﺭﺛﺔ ﻭﺇﻥ ﻛﺎﻥ ﻳﺤﺘﻮءﻛﺎ ﺣﻴﺰ ﻣﻦ‬
‫ﺧﻼﻝ ﺍﻷﻓﻨﻴﺔ ﻭﻣﻼﻗﻒ ﺍﻟﻬﻮﺍء ﻭﺍﻟﻤﺜﻴﺎﺕ ﻭﺗﻮﺟﻴﻪ‬ ‫ﻭﺗﺪﺭﻳﺤﺎ ﻗﺪ ﻳﻔﻘﺪ ﺍﻟﻤﺠﺘﻤﻊ ﻗﻴﻤﺘﻪ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ ﺍﻷﺟﻨﻲ ﺓ‬
‫ﺣﺘﻰ ﻣﻌﺎﻟﺠﺎﺕ ﺍﻟﻄﺮﻕ‬ ‫ﻭﻣﻌﺎﻟﺠﺔ ﺍﻟﻤﺨﺎﺕ‬ ‫ﺍﻟﻤﺪﺍﺧﻞ‬ ‫ﺍﻟﺤﻔﺎﺭﺑﺔ ﺍﻟﺘﻰ ﺍﺭﺗﺒﻂ ﺟﻤﻬﺎ ﺳﻨﻮﺍﺕ ﻃﻮﻟﻠﺔ ﻳﺤﻮﻝ ﻣﺘﻄﻠﺒﺎﺗﻪ‬
‫ﺃﻣﺎ ﺍﻟﺤﺒﺮ ﺍﻟﻌﻀﻮﻯ ﻓﻘﺪ ﺗﺤﻘﻖ ﺑﺈﻇﻬﺎﺭ‬ ‫ﻭﺍﻟﻤﻤﺮﺍﺕ‬ ‫ﻛﺈﺣﺪﻯ ﻧﺘﺎﺋﺞ ﺍﻟﻐﺰﻭ ﺍﻟﺤﻀﺎﺭﻯ ﺍﻷﺟﻨﺒﻲ ﻟﻠﻘﻴﻢ ﺍﻟﺤﻀﺎ ﺑﺔ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻠﻤﺒﺎﻧﻰ ﺑﺪﻭﻥ ﺇﻟﺰﺍﻡ ﺷﺎﺑﻖ ﺑﺪﻟﻴﻞ‬ ‫ﻟﻴﻰ ﻓﻘﻂ ﻓﻲ ﺍﻟﻜﻴﺎﻥ‬ ‫ﻟﻠﻤﺠﺘﻤﻊ ﺍﻟﻌﺮﻳﻰ ﻭﺍﻹﺳﻼﻣﻰ‬
‫ﻣﻌﻤﺎﺭﻯ ﻣﻌﻴﻦ ﻓﻲ ﺻﻮﺭﺓ ﻋﻀﻮﻳﺔ ﻭﺗﻠﻘﺎﺋﻴﺔ ﻭﺍﻓﺤﺔ‬ ‫ﺍﻟﻌﻤﺮﺍﻧﻲ ﻭﻟﻜﻦ ﺃﻳﻀﺎ ﻓﻰ ﻋﺎﺩﺍﺕ ﻭﺗﻘﺎﻳﺪ ﺍﻟﻔﺮﺩ ﻭﻣﻦ‬
‫ﺑﺮﺕ ﻣﻌﻤﺎﺭﻳﺎ ﻋﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻹﻧﺸﺎﺋﻴﺔ ﻓﻲ ﺍﻟﻤﺒﺎﻧﻰ ﻣﻦ‬ ‫ﺛﻢ ﻓﻲ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﺘﻰ ﺗﺮﺑﻂ ﺍﻷﻓﺮﺍﺩ ﻭ‬
‫ﻭﺍﻟﻜﻮﺍﻳﻴﻞ ﺍﻟﺤﺎﻣﻠﺔ‬ ‫ﺧﻼﻝ ﺇﻇﻬﺎﺭ ﺃﻋﺘﺎﺏ ﺍﻟﻔﺘﺤﺎﺕ‬ ‫ﺍﻟﺠﻤﺎﻋﺎﺕ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻳﻮﺟﺐ ﺩﻋﻮﺓ ﺟﺎﺩﺓ ﺑﻞ ﺻﺤﻮﺓ‬
‫ﻟﻸﺍﺑﺮﺝ ﻭﺍﻷﻛﺘﺎﻑ ﻭﻃﺮﻕ ﺍﻟﺸﻘﻴﻒ ﺑﺪﻭﻥ ﺃﻋﻤﺎﻝ‬ ‫ﻋﺎﺭﻣﺔ ﻟﺘﺄﺻﻴﻞ ﺍﻟﻘﻴﻢ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﺤﻀﺎﺭﻳﺔ ﻛﻌﻘﻴﺪﺓ‬
‫ﻳﻴﺎﺽ ﺃﻭ ﻣﺎﺷﺎﺑﻪ ﻓﺠﺎء ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻭﺍﻓﺤﺎ ﻣﻌﺒﺮﺍ‬ ‫ﺑﻬﺪﻑ ﺑﻨﺎء ﺍﻹﻧﺴﺎﻥ ﺍﻟﻔﺎﺻﻞ ﺣﺘﻰ‬ ‫ﻭﻣﻤﺎﺭﻟﻤﺔ ﻳﻮﻳﺔ‬
‫ﻋﻦ ﺻﺮﺍﺣﺔ ﻭﺻﺪﻕ ﺍﻹﻧﺜﺎء ﻛﻤﺎ ﻇﻬﺮ ﺍﻟﺸﻜﻴﻞ‬ ‫ﻳﺴﻬﻞ ﺗﺤﻘﻴﻖ ﺍﻟﺒﻨﺎء ﺍﻟﺬﻱ ﻳﻌﻜﺲ ﻫﺬﻩ ﺍﻟﻘﻴﻢ‬
‫ﺍﻟﻤﺒﻨﻰ ﻭﻗﺪ ﺃﺧﺬ ﺍﻟﻌﺎ ﺃ ﺍﻟﺨﺎﺭﺟﻲ ﻫﺬﺍ ﺍﻹﺗﺠﺎﺩـ ﻓﻨﻦ ﻳﺨﺮ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻯ ﻓﻰ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺑﺈﻳﻘﺎﻉ ﻣﻨﻈﻢ ﻋﻠﻰ ﺍﻟﺮﻛﻢ ﻣﻦ‬ ‫ﺣﻘﺎﺋﻖ ﺍﻟﻮﺿﻊ ﺍﻟﻤﻌﻤﺎﺭﻯ‬
‫ﻣﻦ ﺍﻟﻤﺒﺎﻓﻲ ﺍﻟﺤﺪﻳﺜﺔ ﻭﻣﻦ ﺍﻟﻌﺠﻴﺐ ﺃﻥ ﺑﻌﺾ ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬
‫ﺍﺣﺘﻮﺍء ﺍﻟﻮﺍﺟﻬﺎﺕ ﻋﻠﻰ ﻣﻮﻳﺎﺕ ﻣﺨﺘﻠﻔﺔ‬
‫ﺍﻷﺟﺎﻧﺐ ﻟﺠﺄﻭﺍ ﺇﻟﻰ ﻫﺬﻩ ﺍﻟﺤﻠﻮﻝ ﻓﻲ ﻣﺒﺎﻧﻴﻬﻢ ﺍﻟﺨﺪﻳﻨﺔ‬ ‫ﻟﻮ ﺗﻌﺮﻓﻨﺎ ﻟﻠﻮﻓﻊ ﺍﻟﻤﻌﻤﺎﺭﻣﻤﻲ ﺍﻟﻤﻌﺎﺻﺮ ﻓﻰ ﻣﺠﺘﻤﻌﺎﺗﻨﺎ‬
‫ﺃﻣﺎ ﻋﻦ ﺗﻨﺴﻴﻖ ﺍﻟﻤﻮﺍﻗﻊ ﻓﻘﺪ ﺟﺎء ﺗﻨﺴﻴﻖ ﺍﻷﻓﻨﻴﺔ ﺍﻟﺪﺍﺧﻠﻴﺔ‬ ‫ﻭﻗﺪ ﺗﻜﺎﻣﻠﺖ ﺍﻟﻔﺮﺍﻏﺎﺕ ﻭﻫﻲ ﺃﻫﻢ ﺍﻟﻘﻴﻢ‬ ‫ﻟﻮﺟﺪﻧﺎ ﺃﻧﻪ ﻻﻳﻤﺜﻞ ﺍﺳﺘﻤﺮﺍﺭﺍ ﻃﺒﻴﻌﻴﺎ ﻻﻧﻌﻜﺎﺱ‬
‫ﻟﻠﻤﺒﺎﻧﻰ ﻭﺍﻟﺨﺪﺍﺋﻖ ﻭﺃﺳﺘﺨﺪﻣﺖ ﻓﻲ ﺫﻟﻚ ﺍﻟﻘﻮﺍﺕ ﺍﻟﻤﺎﻧﻴﺔ‬ ‫ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﺣﻴﺚ ﺍﺳﺘﻤﺮﺍﺭﻳﺔ ﺍﻟﻔﺮﺍﻍ ﺃﻓﻘﻴﺎ ﻭﺭﺃﺳﻴﺎ‬ ‫ﻭﻗﺪ ﻳﻜﻮﻥ‬ ‫ﺍﻟﻤﻘﻮﻣﺎﺕ ﺍﻟﺒﻴﺌﻴﺔ ﻭﺍﻟﺤﻀﺎ ﺑﺔ ﻟﻠﻤﺠﺘﻤﻊ‬
‫ﻭﺍﺑﺎﻓﻮﺭﺍﺕ ﻻ ﻟﻞ ﺳﻴﻖ ﻓﺤﺴﺐ ﺑﻞ ﻭﺃﻳﻀﺎ ﻟﺘﻜﻴﻴﻒ‬ ‫ﻭﺗﺪﺍﺧﻼﺕ ﺍﻟﻔﺮﺍﻏﺎﺕ ﻓﻲ ﺗﻜﺎﻣﻞ ﻣﻊ ﺑﻌﻀﻬﺎ‬ ‫ﺍﻟﻮﺿﻊ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻓﻰ ﻛﺜﻴﺮ ﻣﻦ ﺟﻮﺍﻧﺒﻪ ﺑﻌﻴﺪﺃ ﻋﻦ ﺍﻟﻮﺍﻗﻌﻴﺔ‬
‫ﺍﻟﺠﻮ ﺍﻟﺪﺍﺧﻠﻰ ﻟﻠﻤﺒﺎﻧﻰ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻋﻄﺎء ﺍﻟﻤﻘﻮﻣﺎﺕ‬ ‫ﻭﻛﺬﻟﻚ ﺍﻟﻤﻼﻣﺞ ﺍﻟﺘﻰ ﺗﺘﻤﻴﺰ ﺑﻬﺎ ﺍﻟﻤﺒﺎﻧﻰ ﻛﺈﻇﻬﺎﺭ‬ ‫ﻭﻗﺪ ﻻﻳﻌﻜﺲ‬ ‫ﻣﻦ ﺣﻴﺚ ﺃﻧﻪ ﻳﺘﺎﻓﻰ ﻭﻇﺮﻭﻓﻨﺎ ﺍﻟﺒﺌﺔ‬
‫ﺍﻟﻤﻌﻴﺸﻴﺔ ﻟﻠﺴﻜﺎﻥ ﻓﺠﺎ‬ ‫ﺍﻟﺒﺮﻭﺯﺍﺕ ﻓﻲ ﺍﺑﻨﻰ ﻳﺴﺎﻋﺪ ﻋﻠﻰ ﺗﻈﻠﻴﻞ ﺟﻮﺍﻧﺐ‬ ‫ﺃﻳﻀﺎ ﺇﻇﻬﺎﺭ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺼﺎﻟﺤﺔ ﻟﻠﻨﻤﻮ ﺍﻟﺮﻭﺣﻰ ﻭﺍﻟﻤﻌﻨﻮﻯ‬
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‫ﺍﻹﺗﺠﺎﻫﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻨﺠﺪ ﺃﻥ ﻫﺬﻩ ﺍﻟﺘﺸﻜﻴﻼﺕ ﺗﺤﻴﺪ‬

‫ﻧﺎﻫﻴﻚ ﻋﻦ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻷﻟﻮﺍﻥ‬ ‫ﺑﺎﻟﻤﺒﻨﻰ ﻋﻦ ﺍﻟﻮﺍﻗﻊ‬
‫ﻓﻠﻴﺴﺖ ﺍﻟﺤﻜﻤﺔ ﻓﻲ ﻫﺬﺍ‬ ‫ﺍﻟﻤﺘﻨﺎﻓﺮﺓ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﻟﻤﺜﺎﻝ‬
‫ﺍﻟﺴﻌﻰ ﻭﺭﺍء ﻛﻞ ﻏﺮﻳﺐ ﺃﻭ ﺟﺪﻳﺪ ﺑﺪﻭﻥ ﻫﺪﻑ ﻣﻤﺎ ﻗﺪ‬
‫ﻳﻀﺎﻋﻒ ﻣﻦ ﺗﻜﺎﻟﻴﻒ ﺍﻟﺘﺸﻴﻴﺪ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺃﻧﻬﺎ ﻗﺪ‬
‫ﺗﻌﻤﻞ ﻋﻠﻰ ﺇﻃﺎﻟﺔ ﺯﻣﻦ ﺍﻹﻧﺸﺎء ﻓﻌﻠﻰ ﺍﻟﻤﻌﻤﺎﺭﻯ ﺃﻥ‬
‫ﻳﻘﻮﻡ ﺑﻌﻤﻠﻪ ﻣﺮﺍﻋﻴﺎ ﻇﺮﻭﻑ ﺍﻟﺒﻴﺌﺔ ﻭﻃﺒﻴﻌﺔ ﺍﻟﻤﻮﺍﺩ‬
‫ﺍﻟﺘﻌﺒﻴﺮ ﺑﻤﻌﻨﺎﻩ‬ ‫ﻭﻫﺬﺍ ﻫﻮ‬ ‫ﺍﻹﻧﺸﺎء‬ ‫ﻭﺃﺳﺎﻟﻴﺐ‬
‫ﺍﻟﺼﺤﻴﺢ ﻓﻼ ﻧﺒﺪﺃ ﺑﻤﺤﺎﻭﻟﺔ ﺍﻟﺘﻌﺒﻴﺮ ﻭﺇﻧﻤﺎ ﻳﻨﺘﻬﻰ ﻋﻨﺪﻩ‬
‫ﺍﻟﻌﻤﻞ ﻓﻠﻴﺲ ﺍﻟﺘﻌﺒﻴﺮ ﻫﺪﻓﺎ ﻳﻘﺼﺪ ﻭﺇﻧﻤﺎ ﻫﻮ ﻧﺘﻴﺠﺔ‬ ‫ﻣﺼﺮ‬
‫ﺛﺎﻧﻮﻳﺔ ﻏﻴﺮ ﻣﺒﺎﺷﺮﺓ ﻟﻠﺘﺼﻤﻴﻢ‬
‫ﻣﺜﺎﻝ ﻟﺘﺄﺻﻴﻞ ﺍﻟﻘﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻰ ﺍﻟﻌﻤﺎﺭﺓ‬
‫ﺭﺍﺑﻌﺎ ﺍﻹﺷﻌﺎﻉ ﺍﻟﺸﻤﺴﻰ‬ ‫ﺍﻟﻨﺠﺎﺡ ﻳﺘﻮﻗﻒ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﻋﻠﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ‬
‫ﺍﻟﺴﻜﻨﻴﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ‬
‫ﺍﻟﺘﻰ ﻳﺸﺘﻤﻞ ﻋﻠﻴﻬﺎ ﻫﺬﺍ ﺍﻟﻤﻮﻗﻊ ﻭﻣﺪﻯ ﺗﺄﺛﻴﺮﻫﺎ ﻋﻠﻰ ﺷﻜﻞ‬
‫ﻣﻦ ﺍﻟﻌﻮﺍﻣﻞ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺍﻟﺘﻰ ﺗﺆﺛﺮ ﻋﻠﻰ ﺗﻜﻮﻳﻦ ﺍﻟﻜﺘﻞ‬ ‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ‬ ‫ﻭﺗﻜﻮﻳﻦ ﺗﻠﻚ ﺍﻟﻜﺘﻞ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺗﺸﻜﻴﻠﻬﺎ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻦ ﻫﺬﻩ ﺍﻟﻜﺘﻞ‬ ‫ﻣﺎﻟﻄﺒﻮﻍ ﻫﺬﺍ ﺍﻟﻤﻮﻗﻊ ﻣﻦ ﺗﺄﺛﻴﺮ ﺃﻳﻀﺎ ﻣﻦ ﺧﻼﻝ‬
‫ﺭﺍﻓﻴﺔ‬
‫ﻓﺎﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﻭﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻰ ﺗﺘﻮﺍﺟﺪ ﺑﻴﻨﻬﺎ‬ ‫ﺗﻨﺴﻴﻖ ﻫﺬﺍ ﺍﻟﻤﻮﻗﻊ ﻟﺼﺎﻟﺢ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻌﺎﻡ ﻟﻠﺒﻴﺌﺔ‬
‫ﺍﻟﻮﻗﺎﻱ ﺍﻟﻤﻤﻜﻨﺔ ﺿﺪ‬
‫ﻳﺠﺐ ﺃﻥ ﻳﻜﻔﻞ ﺃﻗﺼﻰ ﺩﺭﺟﺔ ﻣﻦ ﺓ‬ ‫ﻭﺑﻨﺎء ﻋﻠﻴﻪ ﺗﺘﺤﺪﺩ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﺤﺴﻴﺔ ﺑﻴﻦ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺣﺮﺍﺭﺓ ﺍﻻﺷﻌﺎﻉ ﺍﻟﺸﻤﺴﻰ ﻭﺫﻟﻚ ﺑﺎﻟﻘﻴﺎﻡ ﺑﺈﻋﺪﺍﺩ‬ ‫ﻟﺮﺳﻢ ﺍﻟﺼﻮﺭﺓ‬ ‫ﺃﺣﺠﺎﻡ ﺍﻟﻤﺒﺎﻧﻰ ﻭﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﺘﻰ ﺑﻴﻨﻬﺎ‬
‫ﺭﺳﻢ ﺑﻴﺎﻧﻰ ﻳﻤﺜﻞ ﺍﻟﻌﻼﻗﺔ ﺍﻟﻴﻮﻣﻴﺔ ﺑﻴﻦ ﺍﻟﻈﻞ ﻭﺍﻟﺰﻣﻦ‬ ‫ﻣﻊ ﻣﺎﻳﺤﻴﻂ ﺑﻬﺎ ﻣﻦ‬ ‫ﺍﻟﻤﺘﺤﺮﻛﺔ ﻟﻤﺠﻤﻮﻋﺎﺕ ﺍﻟﻤﺒﺎﻧﻰ‬
‫ﻓﻤﻦ ﺧﻼﻝ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ ﺗﻈﻬﺮ ﻟﻨﺎ ﺇﻣﻜﺎﻧﻴﺔ ﺍﻹﺳﺘﺨﺪﺍﻡ‬ ‫ﺍﻷﺷﺠﺎﺭ ﻭﺍﻟﻤﻨﺎﻇﺮ ﺍﻟﻄﺒﻴﻌﻴﺔ ﺃﻭ ﺍﻟﺼﻨﺎﻋﻴﺔ ﻭﻣﻦ ﻫﻨﺎ‬
‫ﺍﻟﻤﻮﻓﻖ ﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺼﻤﻴﻢ ﻋﻦ ﻃﺮﻳﻖ ﺍﺳﺘﺨﺪﺍﻡ ﻭﺳﺎﺋﻞ‬ ‫ﻳﺘﻀﺢ ﺩﻭﺭ ﺗﺼﻤﻴﻢ ﺍﻟﻤﻮﺍﻗﻊ ﻣﻦ ﺧﻼﻝ ﺇﻳﺠﺎﺩ ﺍﻟﺘﻜﺎﻣﻞ ﺑﻴﻦ‬
‫ﺑﺈﺳﺘﺨﺪﺍﻡ‬ ‫ﻭﻇﻴﻔﻴﺔ ﺳﻮﺍء ﻛﺎﻧﺖ ﻣﻌﻤﺎﺭﻳﺔ ﺃﻭ ﺇﻧﺸﺎﺋﻴﺔ‬ ‫ﺍﻟﻤﺒﺎﻧﻰ ﻭﺑﻴﻦ ﻣﺎﻳﺤﻴﻂ ﺑﻬﺎ ﻣﻦ ﻣﻌﺎﻟﻢ ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻳﺤﻘﻖ‬
‫ﻭﺗﺰﻭﻳﺪ ﺍﻟﻤﻮﻗﻊ ﺑﺎﻟﻤﺴﻄﺤﺎﺕ ﺍﻟﻤﺎﺋﻴﺔ‬ ‫ﺍﻟﺘﺸﺠﻴﺮ‬ ‫ﺍﻟﺘﻜﺎﻣﻞ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻌﺎﻡ ﻟﻠﺒﻴﺌﺔ ﻭﻳﺘﺎﻛﺪ ﻫﺬﺍ‬
‫ﻟﻠﻤﺴﺎﻋﺪﺓ ﻋﻠﻰ ﺍﻟﺨﻔﺾ ﻣﻦ ﺩﺭﺟﺔ ﺍﻹﺷﻌﺎﻉ ﺍﻟﺸﻤﺴﻰ‬ ‫ﺍﻟﺘﻜﺎﻣﻞ ﺑﺘﻮﺯﻳﻊ ﺍﻟﻤﺪﺍﺧﻞ ﻭﺍﻟﻤﺨﺎﺭﺝ ﻓﻲ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺑﻴﻦ‬
‫ﺇﻟﻰ ﺃﻗﻞ ﺣﺪ ﻣﻤﻜﻦ ﻟﻠﻮﺻﻮﻝ ﺇﻟﻰ ﻗﺮﺍﺭﺍﺕ ﺗﺼﻤﻴﻤﻴﺔ‬ ‫ﺍﻟﻜﺘﻞ ﻭﺗﺤﺪﻳﺪ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻨﻬﺎ ﻭﺑﻴﻦ ﻣﻤﺮﺍﺕ ﺍﻟﻤﺸﺎﺓ‬
‫ﺻﺤﻴﺤﺔ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ‬ ‫ﻭﺍﺗﺠﺎﻫﺎﺕ ﺍﻟﺤﺮﻛﺔ‬
‫ﺧﺎﻣﺴﺎ ﺍﺗﺠﺎﻩ ﺍﻟﺮﻳﺎﺡ ﻭﺣﺮﻛﺔ ﺍﻟﻬﻮﺍء‬ ‫ﺛﺎﻧﻴﺎ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻤﻌﻤﺎﺭﻯ‬
‫ﻣﻦ ﺃﻫﻢ ﺍﻟﻮﺍﺟﺒﺎﺕ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﺍﻟﺘﻰ ﺗﻔﺮﺽ ﻧﻔﺴﻬﺎ‬ ‫ﻣﻨﻬﺎ‬ ‫ﻫﻨﺎﻙ ﻋﺪﺓ ﻋﻮﺍﻣﻞ ﺗﺤﺪﺩ ﺍﻟﻄﺎﺑﻊ‬
‫ﻋﻠﻰ ﺍﻟﻘﺮﺍﺭ ﺍﻟﺘﺼﻤﻴﻤﻲ ﺗﺤﺪﻳﺪ ﺍﻟﻌﻼﻗﺔ ﺑﻴﻦ ﺍﺗﺠﺎﻩ ﺍﻟﺮﻳﺢ‬ ‫ﺍﻻﺣﺘﻴﺎﺟﺎﺕ ﻭﺍﻟﻤﻨﺎﺥ ﻭﺍﻟﻘﻴﻢ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺤﺎﻟﺔ‬
‫ﻭﺗﻮﺟﻴﻪ ﺍﻟﻤﺒﻨﻰ ﻓﻲ ﺍﻟﻤﻮﻗﻊ ﺍﻟﻤﻘﺘﺮﺡ ﻟﻪ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ‬ ‫ﺍﻹﻗﺘﺼﺎﺩﻳﺔ ﻭﻣﻮﺍﺩ ﺍﻟﺒﻨﺎء ﻭﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺍﻟﺘﻤﻴﻴﺰ ﺑﻴﻦ ﺍﻟﺮﻳﺎﺡ ﺍﻟﻤﺤﺒﺒﺔ ﻭﻏﻴﺮ ﺍﻟﻤﺤﺒﺒﺔ ﻟﻺﻧﺴﺎﻥ ﻓﻼﺑﺪ‬ ‫ﻭﻹﻇﻬﺎﺭ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻟﻤﺠﺘﻤﻌﺎﺗﻨﺎ ﺍﻟﻌﺮﺑﻴﺔ ﺍﻹﺳﻼﻣﻴﺔ‬
‫ﻣﻦ ﺗﺤﻘﻴﻖ ﺍﻟﻔﺎﺋﺪﺓ ﺍﻟﻘﺼﻮﻯ ﻻﺳﺘﻐﻼﻝ ﺣﺮﻛﺔ ﺍﻟﻬﻮﺍء‬ ‫ﻻﺑﺪ ﻣﻦ ﺗﺄﺻﻴﻞ ﺍﻟﻘﻴﻢ ﺍﻟﺤﻀﺎﺭﻳﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻹﺳﻼﻣﻴﺔ‬
‫ﻟﺼﺎﻟﺢ ﺍﻟﻘﺮﺍﺭ ﺍﻟﺘﺼﻤﻴﻤﻲ ﻣﻊ ﺗﺠﻨﺐ ﺍﻟﻤﻀﺎﻳﻘﺔ‬ ‫ﻟﻬﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻟﻤﺒﺎﻧﻴﻬﺎ‬
‫ﻭﺍﻹﺯﻋﺎﺝ ﻧﺘﻴﺠﺔ ﺗﻨﺎﺛﺮ ﺍﻟﻐﺒﺎﺭ ﻭﺍﻷﺗﺮﺑﺔ ﺑﻔﻌﻞ ﺍﻟﺮﻳﺎﺡ‬ ‫ﺍﻟﺘﻌﺒﻴﺮ‬ ‫ﺛﺎﻟﺜﺎ‬
‫ﻭﺫﻟﻚ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺸﺠﻴﺮ ﺑﻤﺼﺪﺍﺕ‬ ‫ﺍﻟﻤﺤﻤﻠﺔ ﺑﻬﺎ‬
‫ﻳﺘﺤﺪﺩ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻟﻠﻤﺒﻨﻰ ﻣﻦ ﺧﻼﻝ ﺃﺷﻜﺎﻟﻪ‬ ‫ﻭﻛﻤﺎ ﺃﻥ ﻟﻜﻞ ﻋﻤﻞ ﻓﻰ ﺍﻟﺤﻴﺎﺓ ﺃﺳﻠﻮﺏ ﻳﺘﺒﻊ ﻟﻸﺩﺍء‬
‫ﻛﻤﺎ ﻳﻤﻜﻦ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺤﻜﻢ ﻓﻲ ﺍﻟﻌﻨﺎﺻﺮ‬ ‫ﻟﻠﺮﻳﺎﺡ‬
‫ﺍﻟﻤﺨﺘﻠﻔﺔ ﺳﻮﺍء ﻛﺎﻥ ﻫﺬﺍ ﺍﻟﺘﻌﺒﻴﺮ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﺘﻜﺘﻞ ﺃﻭ‬ ‫ﻓﺈﻥ ﻻﺩﺍءﻧﺎ ﺃﻳﻀﺎ ﻛﻤﻌﻤﺎﺭﻳﻴﻦ ﺃﺳﻠﻮﺑﺎ ﻟﻠﻌﻤﻞ ﻭﻧﻌﺮﺽ‬
‫ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻣﻦ ﺗﻮﺯﻳﻊ ﺍﻟﻔﺘﺤﺎﺕ ﻭﺗﻨﺴﻴﻖ ﺍﻟﻤﻮﻗﻊ ﺍﻟﻤﺤﻴﻂ‬
‫ﺍﻟﻌﻮ ﺫﺍﺕ ﺍﻟﺘﺄﺛﻴﺮ ﻋﻠﻰ ﺍﻟﺘﺸﻜﻴﻞ‬‫ﻫﻨﺎ ﻟﺒﻌﺾ ﺍﻣﻞ‬
‫ﻭﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻹﺳﺘﻔﺎﺩﺓ ﺍﻟﻘﺼﻮﻯ ﻣﻦ ﺍﻟﺮﻳﺎﺡ ﺍﻟﻤﺤﺒﺒﺔ‬ ‫ﻓﻲ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻨﻔﺼﻞ ﺃﻭ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻢ ﻓﻲ ﺍﻟﻔﺮﺍﻍ ﺃﻭ‬
‫ﺍ ﻟﻤﻌﻤﺎ ﺭ ﻯ‬
‫ﻟﻺﻧﺴﺎﻥ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺤﻜﻢ ﻓﻲ ﺣﺮﻛﺔ ﺳﻴﺮ ﺍﻟﻬﻮﺍء‬ ‫ﻓﻲ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻮﻇﻴﻔﻰ ﺃﻭ ﻓﻲ ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﻨﻘﻲ ﺃﻭ ﻓﻲ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻹﺳﺘﻔﺎﺩﺓ ﻣﻦ ﺍﺳﺘﻐﻼﻝ ﺍﻟﻬﻮﺍء ﻓﻲ ﺍﻟﺘﻬﻮﻳﺔ‬ ‫ﺍﻟﺘﻌﺒﻴﺮ ﺍﻟﺘﺸﻜﻴﻠﻰ ﺃﻭ ﻓﻲ ﻃﺮﻕ ﺍﻹﻧﺸﺎء ﻛﺄﺳﺎﺱ ﻟﻠﺘﻌﺒﻴﺮ‬ ‫ﺃﻭﻻ ﺍ ﻟﻤﻮﻗﻊ‬
‫ﺍﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻤﺒﺎﻧﻰ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﻤﻼﻗﻒ ﺍﻟﻬﻮﺍﺋﻴﺔ ﻭﺍﻟﺘﻰ‬ ‫ﻭﻳﻐﺎﻟﻰ ﺑﻌﺾ ﺍﻟﻤﺼﻤﻤﻴﻦ ﻓﻲ ﻭﺿﻊ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻯ‬ ‫ﺇﻥ ﻧﺠﺎﺡ ﺍﻟﺘﺼﻤﻴﻢ ﺑﻤﻮﻗﻊ ﻣﺎﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺗﻜﻮﻳﻦ‬
‫ﺍﺳﺘﺨﺪﻣﺖ ﺑﻨﺠﺎﺡ ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻮﺍﻝ ﻓﻲ ﺍﻟﺒﻴﺌﺎﺕ‬ ‫ﺗﺼﻤﻴﻤﺎﺗﻬﻢ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻣﻦ ﺧﻼﻝ ﺇﺩﺧﺎﻝ ﻛﺜﻴﺮ ﻣﻦ‬ ‫ﻭﺷﻜﻞ ﺍﻟﻜﺘﻞ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻟﻤﻘﺘﺮﺡ ﺇﻧﺸﺎﺅﻫﺎ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﻮﻗﻊ‬
‫ﺍﻟﻤﻤﺎﺛﻠﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻼﺕ ﺍﻟﻔﻨﻴﺔ ﻋﻠﻰ ﺍﻟﻤﺒﺎﻧﻰ ﺑﻬﺪﻑ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺑﻌﺾ‬ ‫ﻟﺘﺤﻘﻴﻖ ﺍﻟﻮﻇﺎﺋﻒ ﺍﻟﺘﻰ ﺷﻴﺪﺕ ﻣﻦ ﺃﺟﻠﻬﺎ ﻛﻤﺎ ﺃﻥ ﻫﺬﺍ‬
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‫ﺍﻑء‬ ‫ﺍ‬
‫ﺍ ﻹﻣﺎﺭ ﺍﺕ‬
‫‪ 41‬ﻻﻣﺎﺭ ﺍﺕ‬
‫ﺍﻟﺨﺮﺍﺭﻯ ﺍﻟﻰ ﺃﻗﻞ ﺩﺭﺟﺔ ﻣﻤﺒﻬﺔ ﻫﺬﺍ ﺇﻟﻰ ﺟﺎﻧﺐ‬ ‫ﻳﻘﻮﻡ‬ ‫ﻓﺎء ﺩﺍﺧﻠﻰ ﺑﻤﺒﻨﻰ ﺳﻜﻨﻰ ﺗﻘﻠﻴﺪﻯ‬
‫ﺩﺭﻭﺓ ﺳﻄﺢ ﺩﺭﻭﺓ ﺍﻟﺴﻄﺢ ﺗﺘﻜﻮﻥ ﻣﻦ‬ ‫ﺍﻟﻔﻨﺎء ﺑﻮﻇﻴﻔﺔ ﺍﺟﺘﻤﺎﻋﻴﺔ ﻟﻠﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ ﺍﻟﺤﺼﻮﻣﻴﺔ‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﺨﺮﻣﺎﺕ ﺍﻟﺰﺧﺮﻟﻴﺔ ﺗﻈﻬﺮ ﺗﺄﺛﺮ ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﻌﺎﺯﻟﺔ ﻟﻠﺤﺮﺍﺭﺓ ﻓﻰ ﺍﻷﻣﺎﻛﻦ‬
‫ﺍﻟﻤﺨﺼﺼﺔ ﻟﺬﻟﻚ ﺗﺠﻨﺒﺎ ﻷﻯ ﺇﻫﺪﺍﺭ ﻟﻠﻄﺎﻗﺔ ﺍﻟﺘﺎﺗﺠﺔ ﻋﻦ‬ ‫ﻭﻭﻇﻴﻔﺔ ﻃﺒﻴﻌﻴﺔ ﻟﺘﻜﻴﻒ ﺍﻟﻤﺒﻨﻰ ﻣﻊ ﺍﻟﺔ ﺍﻟﺤﺎﺭﺓ ﺍﻟﻤﺤﻴﻄﺔ‬
‫ﺍﻟﻤﺤﻠﻴﺔ ﺑﻌﻤﺎﺭﺓ ﻣﺎﺑﻴﻦ ﺍﻟﻨﻬﺮﻳﻦ ﻭﻋﻤﺎﺭﺓ ﺍﻟﻔﺮﺱ ﻣﻊ ﺍﻟﻤﺤﺎﻓﻈﺔ‬
‫ﻋﻠﻰ ﺍﻟﻘﻴﻢ ﺍﻻﺳﻼﻣﻴﺔ ﻓﻰ ﺍﺳﺤﻤﺎﻝ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺰﺧﺮﻓﻴﺔ‬ ‫ﺃﺳﺘﺨﺪﺍﻡ ﻭﺳﺎﺋﻞ ﺍﻟﺘﻬﻮﻳﺔ ﻭﺍﻳﺒﺮﻳﺪ ﺍﻟﻤﻴﻜﺎﻧﻴﻜﻰ ﻛﻤﺎ ﻳﻘﻊ‬
‫ﻋﻠﻴﺎ ﻭﺍﺟﺐ ﺁﺧﺮ ﻫﻮ ﺣﻤﺎﻳﺔ ﺍﻟﻤﻨﺸﺂﺕ ﻭﻣﻐﻠﻔﺎﺗﻬﺎ ﺍﻟﻤﺎﺩﻳﺔ‬ ‫ﻭﻗﺪ ﻳﻜﻮﻥ ﻣﻦ ﺩﻭﺍﻋﻰ ﻣﺴﺎﻳﺮﺓ ﺍﻟﻘﺪﻡ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻲ‬
‫ﺍﻧﺒﺎﻧﻴﺔ ﺑﺪﻭﻥ ﻭﺟﻮﺩ ﻛﺎﺻﺮ ﺁﺩﻣﻴﺔ ﺃﻭ ﺣﻴﻮﺍﻧﻴﺔ ﻭﺍﻟﺪﺭﺓ‬ ‫ﺍﺳﺘﺨﺪﺍﻡ ﺃﺟﻬﺰﺓ ﻭﺳﺎﺋﻞ ﺃﻳﺒﺮﻳﺪ ﻭﺍﺗﻬﻮﻳﺔ ﺍﻳﻜﺎﻧﻴﻜﻴﺔ‬
‫ﺑﺼﻮﺭﺗﻬﺎ ﺍﻟﻘﺎﺋﻤﺔ ﺗﺤﻘﻖ ﺍﻟﺤﺼﻮﺻﻴﺔ ﻭﺍﻟﻤﻌﺎﻟﺠﺔ ﺍﻟﻤﻨﺎﺧﻴﺔ‬
‫ﻣﻦ ﺍﻟﺮﻃﻮﺑﺔ ﺑﺄﻟﻤﺘﺨﺪﺍﻡ ﺍﻟﻄﻘﺎﺕ ﺍﻟﻌﺎﺯﻟﺔ ﻟﻠﺮﻃﻮﺑﺔ‬
‫ﺍﻟﺨﻼﺻﺔ‬
‫ﻭﺑﺨﺎﺻﺔ ﻓﻲ ﺃﺷﻬﺮ ﺍﻟﺼﻴﻒ ﺍﻟﺘﻰ ﻫﻰ ﺃﻛﺜﺮ ﺷﻬﻮﺭ ﺍﻟﺴﻨﻪ‬
‫ﺣﺮﺍﺭﺓ ﺣﻴﺚ ﻳﺠﺐ ﺗﻮﻓﺮ ﺍﻷﻣﻜﻨﺔ ﺍﻟﻤﻨﺎﺳﺒﺔ ﻟﻬﺬﻩ‬
‫ﻣﻦ ﻣﺒﺎﺑﺊ ﻟﻲ ﺇﻻ ﺗﺠﺎﺭﺏ ﻻﺑﺪ ﻣﻦ ﺍﻟﺤﺮﺽ ﻟﻬﺎ ﺑﺎﻟﻨﻘﺪ‬ ‫ﺇﻥ ﺗﺠﺮﺑﺔ ﺍﻟﺤﻄﺄ ﻭﺍﻟﺼﻮﺍﺏ ﻓﻲ ﺗﺎﺭﻳﺦ ﺍﻹﻧﺴﺎﻥ ﻫﻰ‬ ‫ﺑﺠﺚ ﻧﺘﺠﻨﺐ ﺗﻮﺟﻴﻪ ﺍﻟﻬﻮﺍء‬ ‫ﺍﻷﺟﻬﺰﺓ ﺑﺎﻟﺘﺼﻤﻴﻢ‬
‫ﺑﺪﺍﻓﻊ ﺇﻋﻄﺎء ﺩﻓﻌﺎﺕ ﺟﺪﻳﺪﺓ ﻟﺘﺠﺎﺭﺏ ﺟﺪﻳﺪﺓ ﺣﺘﻰ‬ ‫ﻭﺇﻥ ﺍﻳﺠﺮﺑﺔ ﻭﺍﻟﺘﺠﺮﺩ ﻣﻦ‬ ‫ﺍﻟﻄﺮﻳﻖ ﺇﻟﻰ ﺍﺑﻀﻮﺡ‬ ‫ﺍﻟﻤﺴﺎﺧﻦ ﻣﻦ ﻫﺬﻩ ﺍﻷﺟﻬﺰﺓ ﺳﻮﺍء ﺇﻟﻰ ﺍﻟﻔﺮﺍﻏﺎﺕ‬
‫ﻻﻳﻮﻗﻒ ﺍﻟﻔﻜﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻋﻨﺪ ﺃﺩﺍء ﺩﻭﺭﻩ ﻓﻰ ﺍﻟﻌﻤﻞ‬ ‫ﺍﻻﻟﺘﺰﺍﻡ ﺑﻔﻜﺮ ﺧﺎﺹ ﺃﻭ ﺗﺸﻜﻴﻞ ﻣﻌﻴﻦ ﻫﻮ ﺑﺪﺍﻳﺔ‬ ‫ﺍﻟﻤﺨﺼﻮﺭﺓ ﺑﻴﻦ ﺍﻟﻤﺒﺎﻧﻰ ﺃﻭ ﺇﻟﻰ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺍﻟﻌﺎﻣﺔ ﺑﺎﻹﺿﺎﻓﺔ‬
‫ﻭﺍﻹﻧﺠﺎﺯ ﻟﻮﺿﻊ ﻣﺎ ﻳﺮﺍﻩ ﻣﻦ ﻣﻌﺎﺱ ﻭﺃﻫﺪﺍﻑ‬ ‫ﺍﻻﻧﻄﻼﻕ ﻭﺇﻥ ﺍﻟﺘﺴﺎﺅﻝ ﺍﻟﻔﻜﺮﻯ ﻫﻮ ﺩﺍﺋﻤﺎ ﻣﻔﺘﺎﺡ‬ ‫ﺇﻟﻰ ﺃﻥ ﻇﻬﻮﺭ ﺍﻷﺟﻬﺰﺓ ﻋﻠﻰ ﻭﺍﺟﻬﺎﺕ ﺍﻟﻤﺒﺎﻧﻰ ﻗﺪ ﺗﺆﺩﻱ‬
‫ﺣﺘﻰ ﻳﺘﺤﻘﻖ ﺍﻟﺘﺮﺍﺯﻥ ﻓﻰ ﺗﻜﻮﻳﻦ ﺍﻟﻌﻤﻞ‬ ‫ﻟﻠﺘﻄﻮﻳﺮ‬ ‫ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﺤﻘﻴﻘﺔ ﻛﻤﺎ ﺃﻥ ﺍﻟﻤﻘﺎﺭﻧﺔ ﻭﺍﻟﻘﻴﺎﺱ ﺃﺩﻳﺎﺱ‬ ‫ﺍﻟﻰ ﺗﺸﻮﻳﻪ ﻫﺬﻩ ﺍﻟﻮﺍﺟﻬﺎﺕ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻯ ﻣﻦ ﺍﻟﺠﻮﺍﻧﺐ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻴﻮﺍﻛﺐ ﺍﻟﺘﻄﻮﺭ‬ ‫ﻭﺇﺫﺍ ﻛﻨﺎ ﻗﺪ ﺗﻌﺮﺿﻨﺎ ﺑﺎﻟﻨﻘﺪ ﺍﻟﻌﻠﻤﻰ‬ ‫ﺍﻟﺠﻄﻖ ﺍﻟﻌﻠﻤﻰ‬
‫ﺍ ﻻﺟﺘﻤﺎ ﻋﻰ‬ ‫ﺣﻴﺚ ﺃﻥ‬ ‫ﻟﻤﻔﻬﻮﻡ ﺍﻟﻌﻤﺎﺭﺓ ﻟﺒﻌﺾ ﻣﺎ ﺣﻮﻟﺘﺎ ﻣﻦ ﺑﺎﻧﻰ‬ ‫ﺳﺎﺩﻟﻢ ﺍ ﻣﻮﺍﺩ ﺍﻟﺒﻨﺎء‬
‫ﻓﺎﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻤﺠﺘﻤﻊ ﻫﻤﺎ ﻋﻨﺼﺮﺍ ﺍﻟﺒﻨﺎء ﻭﻛﻤﺎ ﻭﺿﻌﺖ‬ ‫ﻭﻣﻌﺎﻭﻭ ﻭﻣﻘﺎﻳﻴﺲ‬ ‫ﺍﻟﻨﻘﺪ ﺑﻌﺎﻣﺔ ﺑﻤﺎ ﻳﺤﻮﻳﻪ ﻣﻦ ﺃﺱ‬ ‫ﻣﻦ ﺃﻫﻢ ﻋﻨﺎﺻﺮ ﺃﻱ ﻓﺮﻭﻉ ﻣﻌﻤﺎﺭﻯ ﺍﻻﺳﺘﺨﺪﺍﻡ‬
‫ﺍﻷﺟﺎﻝ ﺍﻟﻤﺴﺎﺑﻘﺔ ﺍﻟﻤﻮﺭﺓ ﺍﻟﺴﻠﻴﻤﺔ ﻟﻠﻌﻤﺎﺭﺓ ﻓﻰ ﻋﺼﺮﻫﺎ‬ ‫ﻳﻌﺘﺒﺮ ﻣﻦ ﺃﻫﻢ ﻣﻘﻮﻣﺎﺕ ﺍﻟﺘﻄﻮﺭ ﻭﺍﻟﻘﺪﻡ ﻓﺈﻥ ﺍﻟﻘﺪﻡ‬ ‫ﺍﻟﻤﻮﻓﻖ ﻟﻤﻮﺍﺩ ﺍﻟﺒﻨﺎء ﻟﻮﺍء ﻛﺎﻧﺖ ﺗﻘﻠﻴﺪﻳﺔ ﺃﻭ ﻏﻴﺮ‬
‫‪ojj‬ﺍﻧﻬﺎ ﻓﻮﺍﺟﺒﻨﺎ ﻫﻨﺎ ﻭﺿﻊ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺤﻘﻴﻘﻴﺔ ﻟﻠﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻌﻠﻤﻰ ﻓﻰ ﻣﺠﺎﻝ ﺍﻟﺒﻨﺎء ﺑﺨﺎﺻﺔ ﺟﺰء ﻻ ﻳﺘﺠﺰﺃﻣﻦ‬ ‫ﺗﻘﻠﻴﺪﻳﺔ ﺗﺤﻘﻴﻘﺎ ﻟﻠﻮﻇﺎﺋﻒ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻭﻣﻼءﻣﺘﻬﺎ ﻟﻠﻌﻮﺍﻣﻞ‬
‫ﺃ ﺩ ﺍﺋﻨﺎ‬ ‫ﺍﻟﺠﻮﻳﺔ ﺍﻟﻤﺨﻴﻄﺔ ﺑﻬﺪﻑ ﺧﺪﻣﺔ ﻭﺭﺍﺣﺔ ﺍﻹﻧﺴﺎﻥ ﺇﻥ ﻣﻮﺍﺩ‬
‫ﺍﻟﻤﻌﺎﺻﺮﺓ ﻣﻦ ﺧﻼﻝ ﺍﻟﺸﻜﻞ ﻭﺍﻟﻤﻀﻤﻮﻥ ﺣﺴﺐ‬
‫ﺍﻁ ﻧﻴﺎﺗﻨﺎ ﻭﻇﺮﻭﻓﻨﺎ ﺍﻟﺘﺎﺑﻌﺔ ﻣﻦ ﻳﻴﺌﺘﺎ ﻭﻗﻴﻤﻨﺎ ﻟﻜﻰ ﺗﺄﻗﻰ‬ ‫ﺇﻥ ﺩﻭﺭ ﺍﻟﻌﻤﺎﺭﺓ ﻟﻴﺲ ﺟﺎﻣﺪﺍ ﻭﺇﻧﻤﺎ ﻳﺨﺮﻙ ﻣﻊ‬ ‫ﻭﻟﻜﻦ ﻧﺴﺒﺔ‬ ‫ﺍﻟﺒﻨﺎء ﺑﺼﻔﺔ ﻋﺎﻣﺔ ﺗﻌﺘﺒﺮ ﻣﻮﺍﺩ ﻋﺎﺯﻟﺔ‬
‫ﻣﻌﺒﺮﺓ ﺻﺎﺩﻗﺔ ﺣﻴﺚ ﺃﻥ ﺍﻟﺼﺪﻕ ﻓﻰ ﺍﻟﺘﻌﺒﺮ ﻫﻮ ﻣﻦ‬ ‫ﺍﻟﺘﻄﻮﺭ ﺍﻻﺟﺘﻤﺎﻋﻰ ﺇﺫ ﻳﺠﺐ ﻋﻠﻰ ﺍﻟﻤﺼﻤﻢ ﺍﻟﺤﺮﻑ ﻋﻠﻰ‬ ‫ﻭﻋﻞ ﻓﺈﻥ‬ ‫ﺍﻟﻌﺰﻝ ﻓﻴﻬﺎ ﺗﺨﺘﻠﻒ ﻣﻦ ﻣﺎﺩﺓ ﻷﺧﺮﻯ‬
‫ﺃﺳﺎﺳﻴﺎﺕ ﺃﺧﻼﻣﺎﺕ ﺃﺩﺍﺋﻨﺎ ﻭﻋﻠﻴﻪ ﻓﺈﻥ ﺍﻟﻬﺪﻑ ﻫﻮ‬ ‫ﺍﻹﻧﺴﺎﻥ ﺍﻟﺬﻱ ﻳﻨﻰ ﻣﻦ ﺃﺟﻠﻪ ﺍﻟﻤﺒﺎﻧﻰ ﻭﺍﻟﺤﺮﻑ ﻋﻠﻰ‬ ‫ﻭﻛﺬﻟﻚ ﻧﻮﻋﻴﺔ‬ ‫ﺍﻟﻬﺪﻑ ﻣﻦ ﺍﺣﺘﻴﺎﺭ ﺍﻟﻤﻐﻠﻔﺎﺕ ﺍﻟﻤﺎﺩﻳﺔ‬
‫ﺗﻔﻬﻤﻨﺎ ﻟﻠﻘﻴﻢ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﺤﻀﺎﺭﻳﺔ ﻣﻨﻊ ﺍﻷﺻﺎﻟﺔ ﺍﻟﺘﻰ‬ ‫ﺍﻟﻈﺮﻭﻑ ﺍﻟﺒﻴﺌﻴﺔ ﺍﻟﺘﻰ ﻳﺘﻢ ﻓﺠﺎ ﺇﻧﺸﺎء ﺗﻠﻚ ﺍﻟﻤﺒﺎﻧﻰ‬ ‫ﺍﻷﺳﻠﻮﺏ ﺍﻹﻧﺸﺎﺋﻲ ﺍﻟﻤﺴﺘﺨﺪﻡ ﻓﻰ ﺍﻟﻤﺒﺎﻧﻰ ﺍﻟﺘﻰ ﺗﺤﺮﺽ‬
‫ﺗﺮﺑﻂ ﺍﻹﻧﺴﺎﻥ ﺑﻤﺘﻄﻠﺒﺎﺗﻪ ﺍﻟﻤﺎﺩﻳﺔ ﻭﺍﻟﺒﻴﺌﻴﺔ ﻟﺘﺼﺒﺢ ﺍﻋﻤﺎﻟﻨﺎ‬ ‫ﻭﺍﻟﺤﺮﻑ ﺃﻳﻀﺎ ﻋﻠﻰ ﺍﻟﻤﻘﺎﻳﺶ ﺍﻟﺠﻤﺎﻳﺔ ﺍﻟﺘﻰ ﻧﺴﻄﻴﻊ ﻣﻦ‬ ‫ﻭﻫﻮ ﺃﻥ ﻧﺘﻤﻜﻦ ﻣﻦ ﺗﻘﻠﻴﻞ‬ ‫ﻟﻀﻮء ﻭﺣﺮﺍﺭﺓ ﺍﻟﺸﻢ‬
‫ﻣﻌﺒﺮﺓ ﻋﻦ ﺍﻧﺴﺎﻥ ﻫﺬﻩ ﺍﻟﺔ‬ ‫ﺧﻼﻟﻬﺎ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺃﻧﺴﺐ ﺍﻟﺤﻠﻮﻝ ﻭﻣﺎ ﺃﻗﻴﻢ ﻭﻳﻘﺎﻡ‬ ‫ﺍﻟﺘﺮﺻﻴﻞ ﺍﻟﺨﺮﺍﺭﻯ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻣﺤﺎﻭﻟﺔ ﺧﻔﺾ ﺍﻟﺤﻤﻞ‬
‫ﺍﻟﻘﺎ‬ ‫ﻣﺎ‬ ‫ﺃ‬ ‫ﻟﻜﺎ‬
‫ﻯ‬ ‫ﺻﻮﻣﻮﻋﺎ ﺃ‬ ‫‪hsilgnE selcitrA‬‬ ‫‪ IJ‬ﺳﺤﺖ ﺍﻟﻤﻮﺋﻠﻰ‬

‫‪I‬‬ ‫ﻣﺮﻭﻋﺎﺕ ﺍﻟﻌﺪﺩ ﻛﺴﻤﺎ ﺍﻟﻊ ﺩ ﻣﻌﺎﻻ ﺻﺪ ﺳﻴﺔ ﻭﻣﻪ‬ ‫ﻣﻮ ﻭﻉ ﺍﻟﺺ ﺩ ﺷﺤﺼﻪ ﺍﻟﻌﺪﺩ‬ ‫ﺍﻟﻌﺪﺩ‬
‫ﺍﺻﺪﻫـ‬
‫ﺍﻝ‬ ‫‪sesuoH‬‬ ‫‪gnisuoH‬‬ ‫ﻣﺺ ﺍﻟﺤﻂ‬ ‫ﺣﻮ ﺭﺍﻟﻌﻜﺮﺍﻻﺳﻼﻣﻰ ﻭﺻﺎﻫﻪ‬ ‫ﺻﻠﻬـﻰ ﺍﻟﺴﻜﺺ ﻁ ﻟﺮﺳﻢ‬ ‫ﺍﻟﻤﺮﻛﺮﺍﻟﺪﻭﻟﻰ ﻟﻠﻤﺆﺻﻤﺮﺍ‬ ‫ﺍﻟﻤﻌﻤﺎﺭ ﻣﻰ ﺩ ﻋﻤﺪﺍﻟﻌﻤﺎﺡ‬ ‫ﺃﻋﻌﺎ‬ ‫ﺍﻟﻌﺪﺩﺍﻟﺤﺎﻣﻰ‬
‫‪ni‬‬ ‫ﻡ ﻩ ﻡ ‪3 e noc e‬‬ ‫ﻛﺮﺍﻟﻤﻤﺴﺎﺭﻯ ﻱ ﺳﺼﺮ ﺍﻟﻄﺮﻕ‬ ‫ﻟﻠﻤﻌﻤﺎﺭﻳﺮ‬ ‫ﺭﺣﺤﻤﺴﻰ ﻭﻭﺩﺳﻠﺪ‬ ‫ﻳﺎ‬ ‫ﺩ‬ ‫ﺍﻟﻤﻮﻋﻠﻰ‬ ‫ﺹ‬ ‫ﺭﺍﻟﻤﺤﻄﻄﻤﻰ ﺍﻻﺣﺎ‬ ‫ﻭﺍﻟﻌﺜﺮﺹ‬
‫‪malsI‬‬ ‫ﻭﺍﻟﻤﺺ ﻣﻰ‬ ‫ﺷﻴﻜﺎ ﺣﻮ‬ ‫‪ 1‬ﻳﻠﻤﺴﻮﻯ‬ ‫ﺍ ﻻ ﻭﺳﻂ‬ ‫‪ I‬ﻟﺜﺮ‬ ‫ﺍ ﻋﺴﻄﺮ ‪2891‬‬
‫‪traP 1‬‬ ‫ﻛﺴﺔ ﻣﺪﻫـﺴﻪ ﺍﻟﺤﻘﻮﺩ‬ ‫ﻣﻠﺢ‬
‫ﻣﺴﻀﺲ‬ ‫ﻟﺤﺎﺻﺤﺔ‬ ‫ﺓ‬ ‫ﺍﻻ‬
‫ﺹ ﺃﺣﻞ ﺍﻟﺺء‬ ‫‪ sesuoH‬ﺹ‬ ‫‪gnisuoH ni‬‬ ‫ﺻﺎ ﻻﺕ‬ ‫ﺍ ﻃﻮﺹ ﺍﻟﻌﺼﺮﺍﺹ ﻟﺼﺼﻌﻪ ﺍﻭﺭ ﻟﻴﺲ ‪LL‬‬
‫‪II‬‬ ‫ﺍﻻ ﺍﺭﺓ‬ ‫ﺣﺴﺲ ﺍﻟﺼﻤﺎﻃﻰ ﺍﺳﺼﻰ ﺍﻝ ﺩﺻﻤﺔ‬ ‫ﺍﻟﻌﺪﺩ ﺍﺭﺭﺩﺱ ﺹ ﺍﻣﺢ ﺍﻻﺭﺳﻌﺎءﺍﻟﻌﻤﺮﺍﺹ ﻡ ﺣﺴﻰ ﻋﺪ‬
‫‪eht txetnoc fo‬‬ ‫ﺍﻟﻌﺮﺍﻋﺎ‬ ‫ﺍﻟﺴﻮﺭ ﺍﻟﺤﺮ‬ ‫ﺓ‬ ‫ﺍﻟﻌﻌﺎ‬ ‫ﺍ ﺣﻂ‬ ‫ﺍﺩ‬ ‫ﺍﻻﺱ‬ ‫ﺍ ﻣﺮ‬ ‫ﺹ ﺍﻟﻤﺪ‬ ‫ﺍﻟﻤﻤﻌﻤﺎﻝ‬ ‫ﻭﺍﻟﻌﺸﺮ ﻟﻠﻤﻤﺎﻃﻰ ﺍﻟﻤﻤﺪﻫﻮﺭ‬
‫ﺳﻄﻮﺹ ﺍﻟﻤﺎﻃﻰ ﺍﻟﺴﻜﻴﺔ ﺍﻟﻌﺪﺻﺔ ﺍﻟﺘﻘﻠﻬـﺪ ﺓ ﺹ‬ ‫ﺳﻤﺼﺮ ‪ nun‬ﺍﺹ ﺍﻟﺮﺍﺣﻞ‬
‫‪traP III‬‬ ‫ﺍﻟﺪﺳﻜﻮ‬ ‫ﻡ ﻧﻤﻜﻠﺪ‬ ‫ﺍﻻﺳﻌﺎﻟﺔ‬
‫‪sesuoH gnisuoH ni‬‬ ‫ﻭﺭ ﺍ‬ ‫ﺍﻟﻤﺴﺸﻌﺎ ﺭﺍﻟﻤﺴﻤﺎﺹ ﺍﻝ ﺕ ﺍ‬ ‫ﺍﻟﻤﺮﻛﺮ ﺍﻟﻄﻤﻰ ﻟﻠﻤﻌﺎﺭﻟﻰ ﺍﻟﺤﺮ‬ ‫ﺳﺤﻄﻤﻂ ﻭﺷﺼﻤﺤﻢ ﺛﺎﺻﻰ ﺩ ﺃﺳﻤﺎﻋﻤﻠﻰ‬ ‫ﺍﻟﻌﺪﺩ ﺍﻟﺴﺎ‬
‫‪eht txetnoc fo‬‬ ‫ﻣﻤﺎﺩ ﺩﺭ‬ ‫ﺍﻟﻤﺴﺘﺸﻊ ﺍ‬ ‫ﺍﻻﻟﻮﺍﻯ‬ ‫ﺃﺱ ﺍﻟﺸﻤﻤﻢ ﺹ ﻣﺎﺱ ﻟﺤﺸﻌﺎ‬ ‫ﻣﻤﺎﻟﺤﺴﻞ ﺍﻻﺣﻤﺮ‬ ‫ﺹ ﺍﺡ ﺍﻟﺪﺹ‬ ‫ﺍﻟﺤﺪﻣﺎﺕ ﺍﻟﺤﺤﻴﻪ‬ ‫ﻭﺍﻟﺤﺸﺮ‬
‫‪ ma‬ﺃ ‪51‬‬ ‫ﺍﻟﺤﻮ ﺍ ﺷﻂ‬ ‫ﺍﻝ ﺍﻟﻌﺎﺩﻯ‬‫ﻣﻤﺜﻌﻰ ﺍﻟﺴﻼﻡ ﺩﻭﻝ‬ ‫‪51‬ﺻﺺ ‪1 389‬‬
‫‪traP VI‬‬ ‫ﺍﻟﺪ ﺍ ﺣﻠﻤﻪ‬ ‫ﺍﻟﻤﺴﺴﻀﺺ ﺍﻟﻤﺼﺮﻯ ﺍﻟﻌﻄﺮﻯ‬
‫ﻭﺍﻟﻌﺺ‬ ‫ﺍﻟﻤﻌﺎ ﺭﻩ‬ ‫‪sesuoH‬‬ ‫‪gnisuoH ni‬‬ ‫ﺵ ﺍ ﺍﻟﻌﺮﺍﻋﺎ‬ ‫ﺍﻟﺘﺤﻠﺪ ﺍﻝ ﻣﺮﻯ ﻟﺘﻜﺮﺹ ﺍ ﻻ ﺳﻮﺍﻕ ﻋﺮ ﺓ ﺍﻟﻤﻌﺤﺸﺔ‬ ‫ﺍ‬ ‫ﺓ‬ ‫ﻯ ﺣﺮﺭ‬ ‫ﺍﻟﺴﺮ ﺍﻟﺴﻂ ﻫـﻰ ﻯ‬ ‫ﺩ ﻣﺤﻤﺪ ﻯ ﻣﻞ‬ ‫ﻭﺍﻟﺮﻛﺎﺭ‬ ‫ﺍﻻﺳﻮﺍ‬ ‫ﺍﻟﺺ ﺩﺍﻧﻨﺎﻣﻰ‬
‫ﺍﻟﻤﺸﺮﻣﻤﻪ ﺍﻟﻌﺮﺳﻪ‬ ‫‪ oe‬ء ‪e noc‬‬ ‫ﻡﻩ‬ ‫ﺍﻟﻌﻤﺮﺍ‬ ‫ﺣﺪﻯ‬ ‫ﺍ‬ ‫ﻯ ﻟﻌﻮﺭ‬ ‫ﺻﻤﻮ‬ ‫ﺍﻟﻤﺪﺳﻤﻪ ﺍﻟﺤﺮ ﺳﻪ ﺱ‬ ‫ﻭﺍﻟﻌﺸﺮ‬
‫ﺃﺹ‬ ‫‪malsI‬‬ ‫ﺃﺳﺴﻰ ﺳﺤﻤﻤﻢ ﺍﻟﻤﺮﺍ ﻭﺍﻟﺤﻌﺎ‬ ‫ﺍﻟﻤﻼ ﻉ ﺍﻟﻬـﺤﻄﻤﻄﺼﻪ ﻟﻠﻤﺪﻯ ﺍﻟﻘﺪﺹ ﺍﻟﻤﺤﺤﻢ‬ ‫ﺭ ﺍﻟﻌﻤﻮﺭ‬ ‫ﺳﻮ ﻣﺤﺮ ‪i‬‬
‫‪nu‬‬
‫ﺍﻟﻤﻌﻴﺮﺍ ﺍﺍ ﻟﺤﺪﺳﺔ ﺹ‬ ‫‪ytraP‬‬ ‫ﺍﻟﻤﺤﺎﺭﻳﺔ‬ ‫ﺩﻳﺔ ﺣﺎﺏ ﻭﺭ ﻟﻼﺣﻮﺍءﺍﻟﺤﺎﺭ‬ ‫ﺍﻟﺲ ﺍﻟﻌﺪﻳﻢ‬
‫ﺍﻟﺴﻮﻗﺎ ﺍﻻ ﻻﺹ ﺍﻟﻌﺪ‬ ‫ﺳﺎﻟﻬﺤﺪ‬
‫ﺍ ﻟﺤﺎ ﺭﻯ‬ ‫ﺳﻤﺴﻤﻂ ﻟﺸﺎ‬
‫ﺭﺻﺎء ﺻﺎﺣﺴﻴﺮ‬ ‫‪ gnisuoH noitcurtsnoC‬ﺹ‬ ‫ﺍﻟﻌﺮﺍﻉ ﻭﺍﻻﻫﺪﺍ‬ ‫ﺍﻟﻤﻤﺪﺓ‬ ‫ﺻﻮﺳﻪ ﺻﻤﻤﻴﻢ ﺍﻻﺳﻰ ﺍﻟﺴﻜﻬـﻤﺔ‬ ‫ﺍﻟﻌﺎﻟﻤﺤﻮﺭ‬ ‫ﺩﺓ‬ ‫ﺍﻟﻢ ﺟﻪ ﺍﺳﺴﺠﻪ ﺍﻟﺤﺪ‬ ‫ﺩ ﺃﺣﻤﺪﺻﻜﺺ‬ ‫ﺻﻘﺴﻴﻢ ﺍﻻﺭﺍﺻﻰ‬ ‫‪ J‬ﺳﻊ‬
‫ﺍ ‪IIJL‬‬
‫‪ smetsyS H ngiseD ni‬ﻣﻤﻄﻮ ﺭﺍﻟﺴﻰ ﺍﻟﻌﺮ‬ ‫‪ II‬ﺣﻠﻪ‬
‫ﺳﺮﻫﺔ ﺍﻟﻤﻌﺴﻨﻤﻪ ﺍﻟﻤﺮﺙ ‪I‬‬ ‫ﻋﺪ ﺓ ﺍﻟﻄﻮﺍ‬ ‫ﺍﻟﻤﻌﻤﺎﺭء‬ ‫ﺭ‬ ‫ﺻﻠﻮﺭ‬ ‫ﻣﻤﻄﻌﻰ‬ ‫ﺍﻟﻤﺪﺻﻪ‬ ‫ﻭﻣﻤﻌﺎ‬ ‫ﻭﺍﻟﻌﺮﺽ‬
‫ﺩﺍﺹ‬ ‫‪ 1 tpygE noitacirbaferP‬ﻩ‬ ‫ﺍﻟﻤﺴﻜﻰ ﺍﻟﻮﺍﻫـ ﻭﺍﺳﺤﺪﺍﻣﺔ‬ ‫ﺻﻢ‬ ‫ﻣﺘﺮﻭﻉ ﺣﻄﻴﻂ ﺍﻟﺼﺪﻳﻪ ﺍﻟﺴﻚ ﻳﻪ ﺹ‬ ‫ﺍﻟﻤﻤﺮﺳﺔ ﻭﺍﺳﻮﺍﺷﻊ‬ ‫ﺩﺻﺼﺮﺻﺎ‬
‫ﺍﻻﺣﻼﻝ‬ ‫ﻣﻤﻂ ﻩ‬ ‫ﺍﻟﻤﺴﺎﻙ‬ ‫ﺍﻟﻤﻮﺭﺓ‬ ‫ﺍﻟﻤﺪﺻﻪ‬ ‫ﺍﻟﺤﺪﻣﻤﺪﺓ‬ ‫ﺍﻟﻤﻤﻄﻤﺔ ﻟﻬﻤﺎﺍ‬ ‫‪3891‬‬
‫ﻡ ﺍﻻﺩ ﺍﺭ ﺍﻟﺤﺪ‬ ‫ﺷﻄﺼﺲ ﺍﺳﺤﺪ ﺍﻡ‬ ‫ﺍﻟﻤﺎﻃﻖ‬
‫ﺍﻟﺘﺤﻄﻤﻂ‬ ‫ﺹ ﺳﻌﻤﺪﻣﺘﺎﺭﺹ‬ ‫ﺍﻟﻤﺤﺮﻭﻳﻪ‬
‫ﺍﻟﻌﻤﺮﺍﺣﻰ ﺍﻟﺪﺩ ﺍﻟﻤﻤﺮﻳﺔ‬
‫ﺷﻤﻤﻤﻢ ﺍﻟﻤﻤﺎﺹ ﺍ‬ ‫ﺍﺩﺳﺎ‬ ‫ﺃﺗﻢ‬
‫ﺭ‬ ‫ﺹ ﺣﻂ ﺍ‬ ‫‪ lamrehT ioitagitxevnD‬ﺍﺣﻤﻠﻰ‬ ‫ﺻﺤﺘﺮﺳﺎﺩﺓ ﻛﻌﺎء‬ ‫ﺍﻟﻌﻤﻠﻴﻪ ﺍﻟﺘﺤﻄﻄﻪ ﻟﻠﻢ ﺭﻋﺎ‬ ‫ﻣﺮﺳﺔ ﺹ ﺃﻣﻮﺭﺍﻟﺴﺎﺡ ﻩ ﺍ ﺳﻮﺍ ﺍﻻﻋﻤﺎ‬ ‫ﻋﻠﻰ ﺻﺴﻮﺹ‬ ‫ﺍﻟﻌﺪﺩ ﺍﻟﻤﺤﺖ ﺹ ﺿﺤﻤﻴﻪ ﻟﻠﻌﻤﺎﺭ‬
‫‪ fo evissaP detaeH‬ﺍﻟﻤﻤﻠﻮﻛﻰ ﺗﻤﻠﻰ ﺃﺭ ﺻﺤﻮ‬ ‫ﻋﺎﻋﺮ ﺍ ﻻﻣﻤﺴﻌﻤﺎﻝ‬ ‫ء‬ ‫ﺍﻟﺴﺎﺣﺔ‬ ‫ﺳﻤﺪﻕ ﺍﻟﺴﻠﻰ ﺳﻼﺩﻭﺻﺎ ﺳﺎﻻ ﺣﺮ ﺍﻟﺤﺤﺮﺍﺭﻯ‬ ‫ﺍﻟﺜﻼﺗﻮﻯ ﺍﻟﺴﻤﺎﺣﻴﺔ‬
‫‪py‬ﻭ ﺍءﺡ ﺃﻍ ﺱ ﺑﻢ ‪ 4‬ﺃ ﺍﻟﻰ ﻣﻤﺮﺍﻟﺤﺸﺎ‬ ‫ﻉ ﻧﻤﺎﺕ ﺍﻟﻤﺴﺎﺣﻪ‬ ‫ﺩﺭﻟﻬﺄ ﺍﺳﺎﻻﺳﺔ ﺩﻯ ﺭﻟﻮﺳﺮﺩﻛﺎ ﺍﻟﺴﺎﺟﻪ‬
‫ﺍﻟﺤﺮﺻﻪ‬ ‫ﻣﺪﻯ ﺽ ﺍﺹ‬
‫ﻣﺮﺍﻳﺮ‪1 389‬‬
‫ﻟﻌﻤﺎﻫـ ﺭﻩ‬ ‫ﺩﺳﻜﻰ ﻋﺎﺋﻠﻰ ﺣﺎ‬
‫ﻭ ﺍﻟﻤﺪﺻﻪ ﺍﻟﻌﺮﺻﻪ‬ ‫‪ehT smelborP fo‬‬ ‫ﺍﻟﺘﻌﺮﺩﺓ‬ ‫ﻭﻻﺷﻠﻰ ﺍﻟﺤﻌﺎﻁ ﻋﻠﻰ ﺍﻟﺮﺍ‬ ‫ﺣﻤﺎءﻣﺪﺻﻪ ﺍﺻﻄﻮﻝ ﺍﻟﻌﺪﺻﻪ‬ ‫ﺩ ﺭﻛﺔ ﺵ‬ ‫ﺍﻟﻌﺪﺩﺍﻟﺤﺎﺩﻯ ﺹ ﺳﻢ ﺍﻵﺷﺎﺭﺍﻻ ﺳﻼﺳﻪ‬
‫‪ 33‬ﺣﻤﺎﺋﻤﻬﺎﺭﺹ ﺍﺷﻬﺎ ﺍﻟﺤﻤﻤﺎﺭﻯ‬ ‫ﺍﻻﻓﻂ ﺩﻫـ ﻫـﺎﻟﺮﺡ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻯ‬ ‫ﺩﺛﺎ ﺻﺎﺭﺹ ﻋﻤﺮ ﺍﻟﺤﻴﺎﻡ‬ ‫ﻭﺍﻟﻼﻧﺠﻮ ﺻﺎﻟﻌﺎﻣﺮﺓ‬
‫ﻻﺹ‬ ‫ﺍﻻ‬ ‫ﺹ ﺍﻟﻌﻤﺎﺭﺓ ‪u naenarre a re‬‬ ‫ﺍﻟﻌﻼﺳﺔ ﻛﻰ ﺍﻟﺘﺤﻠﺴﻢ ﺍﻟﺤﺴﺎﺭﻯ‬ ‫ﺻﺎء ﻭﺣﺪ ﺍﻻﺣﺎءﺍﻟﻌﺪ ﻣﻪ‬ ‫ﺍ ‪runi‬‬
‫‪L‬‬
‫‪ nub‬ﻩ ﻻ ﺃﻩ ﻉ ﻱ‬ ‫ﻭﺻﻄﻠﻤﺎ ﺍﻟﺴﻤﺤﺔ ﺳﺎﻟﻮﻃﻰ‬ ‫ﺩ ﺍﺩ‬ ‫ﺳﺪﺳﻪ‬

‫‪seitiC‬‬ ‫ﺍﻟﺤﺮ‬
‫ﻣﺴﺎﺹ ﺍﻟﻤﺢ ﻫـﺤﻤﺎ‬ ‫ﺡ ‪ ce‬ﺃء‪3‬‬ ‫ﺍﻟﻜﻦ ﺳﺔ ﺍﻟﺴﻜﻴﻪ‬ ‫ﺃﻋﺪﺍﺩﺹ ﺍ ﺡ ﺍﻟﻀﺎﺹ ﺍﺳﺤﻠﺤﻤﻪ‬ ‫ﻣﺎﺹ ﻣﺪﺭ ﺣﻤﺎ ﻛﻠﻪ ﺍﻟﺤﺪﺳﺔ‬ ‫ﺩ ﺻﺎﻟﻊ ﻟﻤﺤﻰ‬ ‫ﺍﻟﺤﺎ ﻋﺎ ﺍﻻﺳﻼﻣﻤﻪ‬ ‫ﺍﻟﺤﺪﺩﺍﻟﻨﺎﺳﻰ‬
‫‪ I‬ﻟﻼﺩ ﺍﻟﺤﺮﺻﻪ‬ ‫‪suhsiniF rof‬‬ ‫ﺍﺭ‬ ‫ﻭﺃ‬ ‫ﺍﻟﻬﻊ ﺍﻟﺤﻠﺺ ﻟﺤﻄﺤﻂ ﺍﻟﻤﻤﺎﺹ‬ ‫ﺣﺎﻣﻤﻪ ﻋﺺ ﺷﻤﺲ‬ ‫ﻣﺤﻄﻌﻰ‬ ‫ﺍﻻء ﺍﻟﺪﻭﺭ‬ ‫ﻭﺍﻟﻼ‬
‫ﻫـ‬ ‫ﺍﻟﻢ‬ ‫ﺹ ﺍﻟﻤﺴﺎﻣﻤﻌﺎ‬ ‫‪4‬‬ ‫ﻣﺸﺎﺭﺳﻊ‬ ‫ﺩﺭﺍﺻﺪﺷﻄﺤﻴﻌﻴﺔ ﻋﻠﻰ‬ ‫ﺍﻟﺤﺎﻣﻌﻤﺔ‬ ‫ﺣﺎﻣﻌﺔ‬ ‫ﻛﻠﺴﻪ ﺍﻝ‬ ‫ﺻﻰ ﻣﺪﺭﺣﺎ‬ ‫ﺃﺹ‪rAil J‬‬
‫ﻯ ﻣﺤﻤﻴﻊ ﻭﺭﺍﺭﻩ‬ ‫ﺳﺎﻟﺮ ﺍ‬ ‫ﻛﻠﻤﺔ ﺍﻻ‬ ‫ﻣﺜﺮ‬ ‫ﺍﻟﻌﺎﻫﺮﺓ‬
‫ﺍﻟﻜﻬﺮﺻﺎء‬ ‫ﺍﻟﺴﻌﻮﺩ‬ ‫ﺍﻟﻌﺮﺳﺔ‬ ‫ﺍﻟﻌﻠﻜﻪ‬ ‫ﻟﺪﻻ‬ ‫ﻩ ﻟﺤﺎﻣﺪ‬ ‫ﺣﺪ‬ ‫ﻣﺎ‬
‫ﻣﺤﻤﻊ ﺍﻟﻤﻤﺮ ﺍﻟﺴﻜﺤﻰ‬ ‫ﺻﺎﻣﻤﺤﻠﻤﺮﺍ‬ ‫ﺣﺎﻣﻌﺔ ﺩﺳﺎ‬
‫ﻁ ﻟﻌﺮﺍﺣﻪ ﺍﻟﻌﺮﺻﻪ‬
‫ﺳﺎ ﻟﻬﺮﻡ‬
‫ﺍﻟﻌﺼﻤﺎﺭﻫـ ﺍﻟﻤﺸﻪ‬ ‫‪dnuoS noitalusnI‬‬ ‫ﺍﻟﻜﻨﺎﺳﻪ ﺍﻟﺴﻜﻤﺎﺻﻪ‬ ‫ﺕ ﺿﺎﻟﻰ ﻟﺮﺍﻝ ﻋﻠﻰ ﺍﻟﻤﺤﻄﻄﻮﺍﻟﻤﻤﻤﻢ‬ ‫ﻋﺺ‬ ‫ﻹ ﺱ ﺍﺱ‬ ‫ﺍﻟﺴﻜﻪ ﺍﻟﻌﻞ‬ ‫ﺩ ﻣﺤﻤﺪﺻﺎﻟﻊ‬ ‫ﻩ ﻭﺍ‬ ‫ﺍﻟﺤﺪﺩﺍﻻﻟﺖ ﺍﻻﺹ ﺍﻟﺤﻄﻢ‬
‫‪ni sgnidliuB‬‬ ‫ﺍ‬ ‫ﻭﺃ ﺗﻤﺎﺩ‬ ‫ﺍﻝ ﻛﺮ ﺍﻟﻤﻌﺼﺎﺭ ﻯ ﻣﻘﺮﻭﺍﻟﻄﺮﻯ‬ ‫ﺩﻟﺮﺳﻤﺎ ﺓ ﺍﻟﺴﻤﺎ‬ ‫ﻁﻻ‬ ‫ﺍﺱ‬ ‫ﻣﻜﻴﻪ‬ ‫ﻭﺍﻟﻨﻼﺕ ﻭﺭ ﻟﻠﻤﺎﺹ ﺍﻻﺩﺍﺭﺳﺔ‬
‫ﺃﺭﺍﺹ ﻣﺮﺭﻋﺎ‬ ‫ﺍﻻﺷﺎﺽ‬ ‫ﺍﻻﺣﺎ‬ ‫ﺻﺎﻟﺤﻤﺮﺓ‬ ‫ﺑﻢ ﻭ ‪3891‬‬
‫ﺩ‬ ‫ﺍﻻ‬ ‫ﺣﻤﻚ ﺍﻻﺳﻤﻨﻤﺎﺭﺍﻻﺭﺭﻭ ﻟﻜﺴﻤﻮﻫـﺢ‬
‫ﺳﻰ ﻭﺭﺍﺭﺓ ﺍﻟﻤﺒﻤﺎﻋﺔ ﻭﺍﻟﻜﺮ ﺍء‬
‫ﺍﻟﺮﻳﺎ‬
‫ﺍﻟﻌﺎﺻﺆ‬ ‫ﺳﺮﺡ ﺻﻤﻤﺎء‬
‫ﺍﻟﻄﺮﺭ ﺭﺍﻟﻜﺎ ﻯ‬ ‫ﻣﺼﻰ ﺍﺩ ﺍﺭﺓ ﻣﺆ‬
‫ﻯ‬ ‫ﺹ ﺍ‬ ‫ﺱ ‪ teN ertacurtS sekalI‬ﺻﻄﻮﺹ‬ ‫ﺍﻟﻤﺎﺩ ﺍ ﺍﻝ‬ ‫‪ I I‬ﻟﺴﻤﺎﻝ ﺡ‬

‫ﻣﻌﺎﻟﺤﻪ ﺍﻟﻤﻮﺻﺎ ‪i‬‬ ‫ﺍﻟﻤﺤﻄﻤﻂ‬ ‫ﻗﺎﻋﻪ ﺍﻟﻤﻮﻣﻤﺴﻌﻂ ﻟﺴﻤﻌﻮﺻﻪ ﻭﻣﺮﻛﺮ‬ ‫‪ i‬ﻡ ﺭﺩﻋﻪ‬‫ﺍﻟﻌﺪﺩﺍﻟﺮﺍﺳﻊ ﻣﺎﺱ ﺇ ﻟﻤﻌﺎ ‪0L‬‬
‫‪1‬‬
‫‪ ecapS ngiseD‬ﺍﻻﺳﻼﺹ‬ ‫ﺍﻟﻤﻌﻤﻤﺎﻫـﻰ ﻋﺎﻣﺮ‬ ‫ﺭﻣﺎﻻ ﺍﻻﺳﺎﻉ‬ ‫ﺍﻻﺳﻠﻤﻤﻰ‬ ‫ﺍﻟﻌﻮﺭ ﺩﺳﻪ ﺻﻮ ﻩ ﻟﻤﺒﻪ‬ ‫ﺍﻟﺤﺎﺩﺭﺹ‬ ‫ﻫـ ﺍﻟﺸﻼﺷﻮ ﺻﻌﺎ ﻟﻠﺴﻠﻮﻙ ﺍﻻﺻﺴﺎﺹ‬
‫ﺍﻝ ﺍﻟﺤﺎﺭﺣﻴﻪ‬ ‫ﺍﻻ‬ ‫ﺱ ﻣﺎﺹ‬ ‫ﺩﺭﺍﺳﻪ ﺃﺹ ﺍﺡ ﺍﻟﻌﺮﺍ ﺍ‬ ‫ﺍﻟﺼﺤﺪﻫـ‬ ‫ﺍﻟﺮﻻﻳﺎ‬ ‫‪ u‬ﺍﺣﻠﻬﺎ‬ ‫ﺹ ﺹ ‪ ron‬ﺍ‬
‫ﺍﻟﻤﻌﺎ ﺭﺹ‬ ‫ﺱ ﻣﺮﻛﺮ ﺍﻟﻤﻤﻮﺭﺹ ﺳﺎﺭﺳﻜﻤﺎﺭ‬
‫ﻟﻼﺣﻤﺎءﺍﻟﻤﺎﺷﻤﻪ ﺹ‬ ‫ﺍﻟﻤﻤﺤﺺ ﺍﻟﻌﻮ‬

‫‪ S‬ﻟﻤﻤﺺ ﻩ‬
‫ﻁ ﻟﺴﻤﻤﻮﺭﻁ ﻟﻮ ‪I‬‬
‫ﻷﻧﻈﻤﺔ ﺍﻟﺤﺪﻳﺜﺔ ﻟﻸﺑﻮﺍﺑﻂ ﺍﻟﻤﻨﺰﻟﻘﺔ‬

‫ﺃﻣﺎ ﺍﺫﺍ ﻛﺎﻥ ﺍﻟﻤﻮﻗﻊ ﺑﻪ ﻧﺴﺒﺔ ﻋﺎﻟﻴﺔ ﻣﻦ‬ ‫ﺃﺳﺘﺨﺪﻣﺖ ﻓﻰ ﺍﻟﺴﻨﻮﺍﺕ ﺍﻷﺿﺮﺓ ﻭﻟﻔﺘﺮﺓ‬
‫ﻓﺘﺴﺘﺨﺪﻡ ﻧﻈﺎﻡ ﺍﻻﻧﺰﻻﻕ ﺍﻟﺴﻔﻠﻰ ‪mottoB‬‬
‫ﺍﻻﺗﺮﺑﺔ ﺃﻭ ﺍﻟﺮﻣﺎﻝ ﺩﻻﺋﻞ ﻛﺮﺍﺕ ﻓﺈﻥ‬ ‫‪ gnilloR metsyS‬ﺃﻣﺎ ﻣﺠﺮﻯ ﺍﻟﺒﺎﺏ‬ ‫ﻃﻮﻳﻠﺔ ﻣﺠﺎﺭﻯ ﻣﻦ ﻗﻀﺒﺎﻥ ﺣﺪﻳﺪﻳﺔ ﻋﺮ ﻣﺠﻬﺰﺓ‬
‫ﺍﻟﻤﺠﺮﻯ ﺳﻮﻑ ﺗﻤﺘﻠﻰء ﺳﺮﻳﻌﺎ ﺑﺎﻻﺗﺮﺑﺔ ﻭﺍﻟﺮﻣﺎﻝ‬ ‫ﻓﻴﺜﺒﺖ ﻋﻠﻰ ﻛﻮﺍﺑﻴﻞ ﺣﺎﻣﻠﺔ ‪ stekcarb‬ﻭﺍﻟﺘﻰ‬ ‫ﻛﻤﺴﺎﺭ ﺗﺘﺤﺮﻙ ﻋﻠﻴﺔ ﺍﻻﺑﻮﺍﺏ ﺍﻟﻤﻨﺰﻟﻘﺔ ﺣﻴﺚ‬
‫ﻓﻴﺠﺐ ﻫﻨﺎ ﺍﻥ ﺗﺴﺘﺨﺪﻡ ﻛﺮﺍﺕ ﺃﺭﺿﻴﺔ ﺗﺴﻤﺢ‬ ‫ﻛﻤﺎ ﺍﻥ‬ ‫ﺗﻜﻮﻥ ﻣﺜﺒﺘﺔ ﻣﻦ ﺍﻟﺠﻮﺍﻧﺐ ﺍﻭ ﺭﺃﺳﻴﻪ‬ ‫ﻣﻦ‬ ‫ﻳﻌﺘﺒﺮ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻳﺨﺮ ﻣﻼﻛﻢ ﺍﻃﻼﻗﺎ‬
‫ﻟﻠﺒﺎﺏ ﺍﻥ ﻳﻨﺰﻟﻖ ﺑﻴﻨﻬﻢ‬ ‫ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺘﺼﻤﻴﻤﺔ ﻭﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻻﻣﺎﻥ ﺃﻳﻔﺎ‬
‫ﺍﺳﺘﺨﺪﺍﻡ ﻫﺬﻩ ﺍﻟﻜﻮﺍﺑﻴﻞ ﻳﺴﻤﺢ ﺑﺎﺳﺘﺨﺪﺍﻡ‬
‫ﺃﻣﺎ ﺁﺧﺮ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﻰ ﻳﺠﺐ ﺍﺳﺘﺨﺪﺍﻣﻬﺎ‬ ‫ﻣﺠﺎﺭﻯ ﺧﻂ ﺃﻭ ﺍﺛﻨﻴﻦ ﺃﻭ ﺛﻼﺛﺔ ﻓﻰ ﺣﺎﻟﺔ ﺗﻐﻄﻴﺔ‬ ‫ﺍﻟﺬﻯ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻜﻮﻥ ﻳﺨﺮ‬ ‫ﺍﺫ ﺃﻥ ﺍﻟﻘﻀﻴﺐ‬
‫ﻓﻬﻰ ﻣﺎﻧﻌﺔ ﺍﻟﺨﺮﻛﺔ ‪ S 55‬ﺍﻟﺘﻰ ﺗﺘﺖ ﻓﻰ ﺍﻟﺤﺎﺋﻂ‬ ‫ﺍﻟﻔﺘﺤﺎﺕ ﺍﻟﻜﺒﻴﺮﺓ ﻣﻦ ﺍﻻﺑﻮﺍﺑﻂ ﻭﺗﺼﻨﻊ ﻫﺬﻩ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻌﺠﻞ‬ ‫ﻳﺴﻤﺢ ﻟﻠﻜﺮﺍﺕ‬ ‫ﻣﺠﻠﻔﻦ‬
‫ﺃﻭ ﺍﻻﺭﺿﻴﺔ ﻭﻋﻨﺪﻣﺎ ﺗﺜﺒﺖ ﺑﺎﻟﺼﻮﺭﻩ ﺍﻟﺴﻠﻴﻤﺔ‬ ‫ﺍﻟﻜﻮﺍﺑﻴﻞ ﻣﻦ ﺍﻻﻟﻮﻣﻨﻴﻮﻡ ﺃﻭ ﺍﻟﺼﻠﺐ ﺍﻟﻤﺠﻠﻔﻦ‬ ‫ﺗﺘﻌﺮﺽ ﻟﻠﻸﺗﺮﺑﺔ ﻭﺍﻟﺮﻣﺎﻝ ﻛﻤﺎ ﺃﻧﻬﺎ ﻣﻦ ﺍﻟﻤﻤﻜﻦ‬
‫ﺗﻮﻗﻒ ﺣﺮﻛﺔ ﺍﻟﺒﺎﺏ ﺳﻮﺍء ﺃﺛﻨﺎء ﻋﻤﻠﻴﺔ ﺍﻟﻔﺘﺢ‬ ‫ﻛﻤﺎ ﺗﺜﺒﺖ ﻓﻰ ﻧﻬﺎﻳﺘﻰ ﺍﻟﻤﺠﺮﻯ ﻛﻮﺍﺑﻴﻞ ﻣﻐﻠﻘﺔ‬ ‫ﺃﻥ ﺗﻨﺰﻟﻖ ﺧﺎﺭﺝ ﺍﻟﻤﺠﺮﻯ ﻧﻈﺮﺍ ﻻﻧﺰﻻﻕ ﻫﺬﻩ‬
‫ﺃﻭ ﺍﻟﻐﻠﻖ ﺑﺪﻭﻥ ﺃﻥ ﻳﺮﺗﻄﻢ ﺑﺎﻟﻜﻮﺍﺑﻴﻞ ﻋﻨﺪ‬ ‫ﻟﺘﺜﺒﻴﺖ ﺍﻟﻤﺠﺮﻯ ﻓﻰ ﻣﻜﺎﺧﻤﻬﺎ ﻭﺗﻮﺿﻊ ﺍﻟﻜﻮﺍﺑﻴﻞ‬ ‫ﺍﻟﻜﺮﺇﺕ ﻋﻠﻰ ﻣﺠﺮﻯ ﻣﻜﺸﻮﻑ ﻣﻤﺎ ﻳﻌﺮﺽ ﺍﻟﺒﺎﺏ‬
‫ﻧﻬﻬﺎﻳﺘﻰ ﺍﻟﻤﺠﺮﻯ‬ ‫ﻋﻠﻰ ﻣﺴﺎﻓﺎﺕ ﻛﻞ ﻣﺘﺮ‬ ‫ﻟﻠﺴﻘﻮﻁ ﻋﻠﻰ ﺍﻻﺭﺽ‬
‫ﺇﻥ ﺍﺳﺘﺨﺪﺍﻡ ﻧﻈﺎﻡ ﺍﻟﺤﺮﻛﺔ ﺍﻟﻤﻼﻛﻢ ﻟﻼﺑﻮﺍﺏ‬ ‫ﺃﻣﺎ ﺍﻻﻧﻈﻤﺔ ﺍﻟﺤﺪﻳﺜﺔ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ‬
‫ﻭﻳﻌﻠﻖ ﻛﻞ ﺑﺎﺏ ﻣﺰﻟﻖ ﻣﻦ ﻧﻘﻄﺘﻴﻦ ﻭﻣﻦ‬
‫ﺍﻟﻤﻨﺰﻟﻘﺔ ﻳﺴﺎﻋﺪ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻋﻠﻰ ﺃﺳﺘﺨﺪﺍﻡ‬ ‫ﺍﻻﺑﻮﺍﺏ ﺍﻟﻤﻨﺰﻟﻘﺔ ﻓﺘﺴﺘﺨﺪﻡ ﺍﻟﻤﺠﺎﺭﻯ ﺍﻻﺳﻄﺒﺮﺍﻧﻴﺔ‬
‫ﺃﺑﻮﺍﺏ ﻣﺼﻨﻌﺔ ﻣﻦ ﺍﻟﺤﺸﺐ ﺃﻭ ﺍﻟﻤﻌﺎﺩﻥ‬ ‫ﺍﻟﻤﻔﻀﻞ ﺍﻥ ﺗﻜﻮﻥ ﻋﻨﺎﺻﺮ ﺍﻟﺘﻌﻴﻖ ‪sregnaH‬‬
‫ﺍﻟﻤﺼﻨﻌﺔ ﻣﻦ ﺍﻟﺼﻠﺐ ﺍﻟﻤﺠﻠﻔﻦ ﺍﻟﻤﺪﺭﻓﻞ ﻋﻠﻰ ﺍﻟﺒﺎﺭﺩ‬
‫ﻣﻐﻄﺎﻩ ﺗﻤﺎﻣﺎ ﻟﺤﻤﺎﻳﻨﻬﺎ ﻣﻦ ﺍﻻﺗﺮﺑﺔ ﺑﺤﻴﺚ ﻻﺗﺤﺘﺎﺝ‬
‫ﻟﺘﺤﻘﻴﻖ ﺃﺣﺴﻦ ﺗﺸﻐﻴﻞ ﻳﺠﺐ ﺍﻻ ﻳﺘﻌﺪﻯ ﻋﺮﺽ‬ ‫ﻟﺘﻌﻄﻰ ﻗﻄﺎﻉ ﺃﺳﺎﺱ ﻣﺘﻴﻦ ﻭﺩﻗﻴﻖ ﻭﻳﺤﻤﻞ ﺛﻘﻞ‬
‫ﺍﻟﻰ ﺻﻴﺎﻧﺔ ﺍﻟﻤﺴﺎﺻﺮ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻰ ﺗﺜﺒﺖ‬
‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ‬ ‫ﺍﻟﻴﺎﺏ ﺛﻼﺛﺔ ﺃﺭﺑﺎﻉ ﺍﺭﺗﻔﺎﻋﻪ‬ ‫ﺍﻟﻌﺠﻞ‬ ‫‪ I‬ﻋﻠﻰ ﻛﺮﺍﺕ‬
‫ﺍﻟﺒﺎﺏ ﻓﻰ ﻫﺬﻩ ‪tJ‬‬
‫ﻟﻠﻤﺨﺎﺯﻥ ﻭﺣﻈﺎﺋﺮ ﺍﻟﻄﺎﺋﺮﺍﺕ ﻓﻐﺎﻟﺒﺎ ﻣﺎ ﺗﺼﻨﻊ‬
‫ﻋﻨﺎﺻﺮ ﺍﻟﺘﻌﻠﻴﻖ ﻳﺠﺐ ﺍﻥ ﺗﺴﻤﺢ ﺑﺎﻟﺘﺮﻛﻴﺐ‬
‫ﺍﺳﻄﻮﺍﻥ ﻟﺤﻤﺎﻳﺘﻬﺎ ﻣﻦ‬
‫ﺗﻨﺰﻟﻖ ﺩﺍﺧﻞ ﻣﺠﺮﻯ ﻯ‬
‫ﺃﺑﻮﺍﺑﻬﺎ ﺍﻟﻤﻌﺪﻧﻴﺔ ﻣﻦ ﺍﻃﺎﺭ ﻣﻦ ﺯﻭﺍﻳﺎ ﻭﻗﻄﺎﻋﺎﺕ‬ ‫ﺍﻻﺗﺮﺑﺔ ﺃﻭ ﺃﻯ ﺍﺿﺮﺍﺭ ﺃﺧﺮﻯ ﻛﻤﺎ ﺍﻥ ﺍﻟﻤﺠﺎﺭﻯ ﺍﻟﺮﺃﺳﻰ ﺑﺤﻴﺚ ﻳﻌﻤﻞ ﺍﻟﺒﺎﺏ ﺑﺴﻬﻮﻟﺔ ﻭﺑﺄﻗﻞ‬
‫ﻣﻌﺮﺽ ﻣﻦ ﺍﻻﺭﺿﻴﺔ ﻭﻳﺜﺒﺖ ﺍﺳﻔﻞ ﺍﻟﻴﺎﺏ‬
‫ﻋﻠﻰ ﺷﻜﻞ ﺭﺗﻤﻠﻰء ﺑﺎﻟﻮﺍﺡ ﻣﻦ ﺍﻟﺼﺒﺎﺡ ﻛﻤﺎ‬
‫ﺍﻻﺳﻄﻮﺍﻧﻴﺔ ﺗﺴﻤﺢ ﺑﻜﺮﻛﺔ ﺳﻠﺴﺔ ﻭﻧﺎﻋﻤﺔ ﺩﺍﺋﻤﺎ ﺩﻟﻴﻠﻴﻦ ﻳﻨﺰﻟﻘﺎﻥ ﻓﻰ ﻣﺠﺮﻯ ﺃﺭﺿﻴﺔ ﻋﻠﻰ‬
‫ﺗﺴﺘﺨﺪﻡ ﺍﻳﻀﺎ ﺍﻻﺑﻮﺍﺏ ﺍﻟﻤﺼﻨﻌﺔ ﻣﻦ ﺍﻻﻟﻮﻣﻨﻴﻮﻡ‬ ‫ﻭﺗﻌﻄﻰ ﻗﻮﺓ ﺃﻛﺒﺮ ﻋﻨﺪ ﺍﻟﺘﺸﻐﻴﻞ ﻭﻳﻮﻓﺮ‬
‫ﺍﻟﻤﻘﺼﻮﻝ ﺍﻭ ﺍﻟﺨﺸﺐ ﺍﻟﻤﺤﻔﻮﺭ ﺑﺘﺼﻤﻴﻤﺎﺕ‬
‫ﺷﻜﻞ ﺣﺮﻑ ﻳﻮ ﺍﻝ ﻭﻳﺤﺄﻓﻆ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ‬
‫ﺍﻟﻤﻨﺘﺠﻮﻥ ﺷﺮﻛﺔ ﻫﻨﺪﺭﺳﻮﻥ ﺍﻻﻧﺠﻠﻴﺰﻳﺔ‬
‫ﺍﺳﻼﻣﻴﺔ‬
‫ﻋﻠﻰ ﺭﺃﺳﻴﺔ ﺍﻟﺒﺎﺏ‬ ‫ﺍﺣﺠﺎﻣﺎ ﻭﻗﻮﻯ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﻫﺬﻩ ﺍﻟﻤﺠﺎﺭﻯ‬
‫ﻭﻟﻜﻦ ﻳﺒﻠﻎ ﺍﻗﺼﻰ ﺣﺠﻢ ﻟﻬﺬﻩ ﺍﻟﻨﻮﻋﻴﺔ ﻣﻦ‬
‫ﺭ ‪ 2‬ﻛﺠﻢ ﺃﻭ ﺑﺎﺭﺗﻔﺎﻉ‬ ‫ﺍﻻﺑﻮﺍﺏ ﺍﻟﻤﻨﺰﻟﻘﺔ‬
‫ﺍﻣﺎ ﻓﻰ ﺣﺎﻟﺔ ﺍﻻﺑﻮﺍﺏ ﺍﻻﻛﺒﺮ ﺣﺠﻤﺎ‬ ‫‪ 6‬ﻣﺘﺮ‬
‫ﺍﻣﻤﺒﻬﻨﻪ‬
‫ﻣﺸﺮﻭﻉ ﺍﻟﻌﺪﺩ‬
‫ﺍﻟﺒﻦ ﻫﺒﻴﻞ‬
‫ﻣﻮﻗﻊ ﻋﺎﻡ ‪ 01‬ﺍﻗﺪﺍﺩ ﻗﺼﺮﻳﻒ ﻣﻜﺐ ﺍﻷﻣﻴﺮ ﻭﺑﻨﻰ ﺍﻻﺳﺘﻘﺒﺎﻻﺕ ﺏ ﻣﺠﻠﺲ ﺍﻟﻮﺯﺭﺍء‬
‫ﻭﺯﺍﺭﺓ ﺍﻟﻮﻥ ﺍﻃﺎﺭﺟﻴﺔ‬ ‫ﺑﺮ‬
‫ﺍ ﻑ ﺍﻩ ﻭﻭﺍﻓﺮء‬
‫ﺍ ﺍﻟﻨﺎﻭﺏ ﺁ ﻳﻜﻮ ﻳﻦ‬
‫ﺭﺍﻓﻰ ﻭﺭﻳﻤﺎ ﺗﻼ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻯ‬
‫ﻣﻨﻈﺮ ﻋﺎﻡ‬
‫ﺍﻝ ﻭﻧﻈﺮﺍ ﻟﻮﺟﻮﺩ ﺍﺏ ﻧﻰ ﻋﻠﻰ ﻳﺜﺎﻃﻰء ﺍﻟﺤﻠﻴﺞ‬

‫ﺧﻮﺍﺯﺑﻖ ﻣﺜﺒﺘﻪ ﻓﻲ ﺍﻟﺼﺨﻮﺭ ﻣﺮﺟﺎﻧﻴﺔ‬ ‫ﺑﺪﺃ ﺍﻟﻌﻤﻞ ﻟﻰ ﻣﺸﺮﻭﻉ ﺍﺑﺎﻧﻰ ﺍﻹﺩﺍﺭ ﺓ ﻟﻰ ﻓﻄﻘﺔ ﻗﺼﺮ ﺳﻬﻒ ﺍﻟﺘﻰ ﺗﻘﻊ ﻟﻰ ﻣﺪﻳﻨﺔ‬
‫ﻓﻘﺪ ﺍﻗﻴﻤﺖ ﺳﺒﻊ ﻧﺎﻓﻮﺭﺍﺕ ﻓﻲ ﺍﻷﻳﺨﺔ ﻭﺍﻟﺘﺮﺍﺳﺎﺕ ﺗﺴﺘﻤﺪ ﻳﺎﻫﻬﺎ ﻣﻦ ﺍﻟﺤﻠﻴﺞ ﻭﻟﻘﺪ‬ ‫ﺍﻟﻜﻮ ﺕ ﺍﻟﻘﺪﻳﻤﺔ ﻟﻰ ﻋﺎﻡ ‪ 3791‬ﻡ ﻭﻫﻌﻢ ﺍﺛﺮﻭﻉ ﻁ ﻛﺐ ﺣﻜﻮﺻﺔ ﻭﺑﺨﻰ‬
‫ﺃﻧﺸﺌﺖ ﻫﺬﻩ ﺍﻟﺘﺎﻓﻮﺭﺍﺕ ﻣﻦ ﺍﻟﺴﻴﺮﺍﻳﻚ ﺍﻟﻤﻠﻮﻥ ﻟﺜﻪ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﺍﻷﻋﺚ ﺍﺏ‬ ‫ﻭﻛﺎﻧﺖ ﻟﺠﻨﺔ ﺍﺳﺘﺸﺎﺭﻳﺔ ﺩﻭﻟﻴﺔ ﻗﺪ‬ ‫ﻭﻭﺯﺍﺭﺓ ﺍﻟﺸﺌﻮﻥ ﺍﻃﺎﺭﺝ ﺓ‬ ‫ﻣﺠﻠﺲ ﺍﻟﻮﺯﺭﺍء‬
‫ﺍﻟﻤﺮﺟﺎﻧﻴﺔ ﺃﻣﺎ ﺍﻟﻮﺍﺟﻬﺎﺕ ﻓﻘﺪ ﺗﻜﻮﻧﺖ ﻣﻦ ﻛﻞ ﻳﻔﺼﻞ ﺑﻴﻬﺎ ﻓﺠﻮﺍﺕ ﻣﻤﺎ ﺃﺗﺎﺡ‬ ‫ﻛﺸﻜﻠﺖ ﺑﺮﺋﺎﺳﺔ ﺷﺮ ﻳﺰﻟﻰ ﻣﺎﺭﻳﻦ ﻭﻓﺮﺍﻧﻜﻮ ﺍﻟﺠﻨﻰ ﺣﻌﺚ ﻗﺮﺭﺕ ﻓﺮﻭﺭﺓ ﺇﻧﺸﺎء‬
‫ﺍﻟﻔﺮﺻﺔ ﻟﻠﻈﻼﻝ ﺃﻥ ﺗﺸﺘﺮﻙ ﻓﻲ ﺍﻟﺘﻜﻮﻳﻦ ﺍﻟﻤﻌﻤﺎﺭﻯ ﺍﻟﺘﺎﺟﺢ ﻟﻠﻮﺍﺟﻬﺎﺕ ﻛﻤﺎ ﺗﻌﻄﻰ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﺑﺎﻧﻰ ﺍﻃﻜﻮ ﺓ ﺛﻢ ﺯ ﺑﻄﺎﺑﻊ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻹﻳﻼﻣﻴﺔ ﻭﺍﻟﺸﺨﻤﻬﺔ ﺍﻟﻤﺤﻠﺔ‬
‫ﻛﺎﺳﺮﺍﺕ ﺍﻟﺸﻤﺲ ﺍﻟﻤﻤﺒﻌﺔ ﻓﻲ ﺍﻷﻓﺎﺭﻭﻭ ﺗﻜﻮﻳﻨﺎﺕ ﺣﻤﻴﺔ ﻣﻦ ﺍﺑﻮﺭ ﻭﺍﻟﻈﻼﻝ ﻋﻠﻰ‬ ‫ﻭﺩﻋﺖ ﻣﺠﻤﻮﻋﺔ ﻛﻴﺮﺓ ﻣﻦ ﺍﻟﻤﻌﻤﺎﺭﻭﻭ ﻣﻦ ﻧﺤﻠﻒ ﺍﻟﺪﻭﻝ ﻟﻼﺷﺘﺮﺍﻙ ﻓﻰ ﻫﺬﺍ ﺍﻟﻌﻤﻞ‬
‫ﺍﻟﻮﺍﺟﻬﺎﺕ ﻭﻫﺬﻩ ﺍﻟﻔﻜﺮﺓ ﻣﺴﺘﻮﺣﺎﻩ ﻣﻦ ﻣﺪﻳﻨﺔ ﺍﻟﺒﺼﺮﺓ ﺣﻴﺚ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻷﻓﺎﺭﻳﺰ‬ ‫ﻭﻗﺪ ﻧﺠﺢ ﺍﻟﻤﺜﺮﻭﻉ ﺍﻟﻤﻘﺪﻡ ﻣﻦ ﺗﺠﻞ ﺭﺍ ﻟﻰ ﻭﺭﻳﻤﺎ ﺑﻴﺜﻌﻼ ﻟﻲ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ ﺍﻟﺤﻞ ﺍﻟﻤﻄﻠﻮﺏ‬
‫ﺗﻤﻎ ﻣﻦ ﺧﺜﺐ ﺍﻟﺸﺎﺝ ﻭﺍﻟﻮﺍﺟﻬﺎﺕ ﻣﻦ ﺍﻟﻄﻮﺏ ﺍﻟﺠﻴﺮﻯ ﺍﻟﻤﺼﻨﻊ ﻓﻲ ﺍﻟﻜﻮﻳﺖ‬ ‫ﻭﻟﻘﺪ ﻛﺎﻧﺖ ﻣﺪﻳﻨﺔ ﺍﻟﻜﻮﻳﺖ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻋﺎﺭﺓ ﻋﻦ ﺷﺎﻃﻰء ﻣﻦ ﺍﻷﺣﺠﺎﺭ ﺍﻟﻤﺮﺟﺎﻧﻴﺔ‬
‫ﻭﺗﻘﺒﺮ ﺍﻟﻴﻮﺍﻛﻰ ﺍﻟﻤﺠﻄﺔ ﺑﺎﺑﻰ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﺗﻌﺒﺮ ﻋﻦ ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﺍﻟﻤﺤﻠﻴﺔ‬ ‫ﻭﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﻟﻤﺴﺎﻛﻦ ﺍﻟﻄﻨﻌﺔ ﺍﻟﺘﻲ ﺍﺯﻳﻠﺖ ﻭﺍﺷﺪﻟﺖ ﺑﻤﺎﺑﺊ ﺫﺍﺕ ﻣﺴﺘﻮﻯ‬
‫ﻟﻤﻌﺎﻟﺠﺔ ﺍﺑﺎﺥ ﺍﻟﺤﺎﺭ ﻛﻤﺎ ﺗﻌﻄﻰ ﺗﻌﺒﻴﺮﺍ ﻣﻌﻤﺎﺭﻳﺎ ﻧﺎﺟﺤﺎ ﻓﻲ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺃﻣﺎ ﺑﺎﻟﻨﺸﺔ‬ ‫ﺗﻜﻨﻮﻟﻮﺟﻰ ﻣﺮﻛﻔﻊ ﻋﻞ ﺍﻟﻨﻈﺎﻡ ﺍﻟﻐﺮﻳﻰ ﻭﻟﻜﻦ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻫﻨﺎ ﺃﺭﺍﺩ ﺃﻥ ﻳﻤﻤﻢ ﻋﻤﺎﺭﺓ‬
‫ﻟﻠﻔﺮﺍﻍ ﺍﻟﺪﺍﺧﻞ ﻓﻘﺪ ﺟﺎء ﺍﺷﺨﺪﺍﻡ ﺍﻷﺳﻘﻒ ﺍﻟﻤﻌﻠﻘﺔ ﻣﻦ ﺍﻷﻟﻮﻣﻨﻴﻮﻡ ﻓﻰ ﺗﺸﺎﺑﻪ ﻛﺒﻴﺮ‬ ‫ﺗﻌﺒﺮ ﻋﻦ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻤﺤﻠﺔ ﻟﻠﻤﺪﻳﺔ‬
‫ﺑﺎﺳﻘﻒ ﻣﺴﺎﻛﻦ ﺍﻟﻜﻮﻳﺖ ﺍﻟﻘﻴﺪﻳﺔ ﺍﺑﻨﻴﺔ ﻣﻦ ﺍﻟﻴﻮﺹ ﺣﻴﺚ ﺍﺳﺘﺨﺮﺟﺖ ﻗﻄﺎﻋﺎﺕ‬ ‫ﻭﻳﻘﻊ ﻣﻼﺻﻘﺎ ﻟﻠﻤﻮﻗﻊ ﺍﻟﺬﻯ ﻳﻄﻞ ﻋﻠﻰ ﺍﻟﺤﻠﻴﺞ ﻗﺼﺮ ﺍﻻﺳﻘﺎﻝ ﺍﻟﺤﺎﺹ ﺑﺎﻷﻳﺮ‬
‫ﻣﻦ ﺍﻷﻟﻮﻓﻴﻮﻡ ﻓﻰ ﺍﻷﻳﻘﻒ ﻣﻤﺎﺛﻠﻪ ﻟﻘﻄﺎﻉ ﺍﻟﻴﻮﺹ ﺍﻟﺬﻯ ﻳﺴﺘﺨﺪﻡ ﻋﺎﺩﺓ ﻓﻲ ﻣﺴﺎﻛﻦ‬ ‫ﻭﻟﺬﻟﻚ ﻛﺎﻥ‬ ‫ﻭﻗﺼﺮ ﺳﻴﻒ ﺍﻟﺬﻱ ﺍﻧﺜﺴﻰء ﻋﺎﻡ ‪ r‬ﻡ ﻋﻞ ﺍﻟﻄﺮﺍﺯ ﺍﻹﺳﻼﻣﻰ‬
‫ﻛﻤﺎ ﺃﻥ ﺍﻟﺘﺒﻠﻴﻄﺎﺕ ﺍﻟﻤﻠﻮﻧﺔ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ ﺍﻟﻔﺮﺍﻏﺎﺕ‬ ‫ﺍﻟﻜﻮﻳﺖ ﺍﻟﻘﺪﻳﻤﺔ ﻟﻸﺳﻤﻒ‬ ‫ﻻﺑﺪ ﻭﺃﻥ ﻗﻤﺸﻰ ﺍﻟﻤﺒﻨﻰ ﺍﻟﺠﺪﻳﺪ ﺍﻟﻤﻠﺤﻖ ﺑﻪ ﻣﻊ ﻫﺬﺍ ﺍﻟﻄﺮﺍﺯ‬
‫ﺍﻟﺪﺍﺧﻠﻴﺔ ﻟﻠﻤﺒﺎﻓﻲ ﻛﺸﺒﻪ ﺇﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﻗﻄﻊ ﺍﻟﻨﺴﻴﺞ ﺍﻟﺘﻰ ﻳﺴﺘﺨﺪﻣﻬﺎ ﺍﻟﻌﺮﺏ ﻟﺘﻘﺴﻴﻢ‬ ‫ﻭﻟﻘﺪ ﺃﻟﺮﺕ ﺍﻟﺤﻀﺎﺭﺓ ﺍﻟﻘﺪﻳﻤﺔ ﺍﻟﻘﺎﺋﻤﺔ ﻓﻲ ﻣﻨﻄﻘﺔ ﺍﻟﺤﻠﻴﺞ ﻋﻞ ﺗﺼﻤﻴﻢ ﺍﻟﻤﺴﺎﻗﻂ‬
‫ﺧﺎﻣﻬﻢ ﺍﻟﻰ ﻗﺮﻏﺎﺕ ﻣﻨﻔﺼﻠﺔ ﻭﻟﺮﻙ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻻﺑﻘﺔ ﻣﺠﻤﻌﺔ ﻣﻊ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﺍﻷﻫﺔ ﻭﺍﻟﺤﻮﺍﺋﻂ ﺍﻃﺎﺭﺟﻴﺔ ﺍﻳﺪﺭﺟﺔ ﻳﻠﻘﻰ ﻇﻼﻻ ﻋﻞ ﺍﻟﻔﺘﺤﺎﺕ ﻟﺤﻤﺎﺗﻬﺎ ﻣﻦ ﺃﻳﺜﻌﺔ‬
‫ﺍﻟﻤﺤﻴﻄﺔ ﻓﻲ ﺇﻋﻄﺎء ﺍﻟﻤﺸﺮﻭﻉ ﻃﺎﺑﻌﻪ ﻭﺷﺨﺼﻴﻆ ﺍﻟﻤﻤﻴﺰﻩ ﻭﺑﺎﻟﺘﺎﻟﻤﻲ ﻓﻲ ﺗﺤﻘﻴﻖ ﺍﻟﻨﺠﺎﺡ‬ ‫ﺍﻟﺸﻤﺲ ﺍﺏ ﺛﺮﺓ ﺣﺚ ﻛﺸﺎﺑﻪ ﻃﺒﻌﺔ ﺍﻟﻤﺸﺮﻭﻉ ﻣﻊ ﻣﺒﺎﻧﻰ ﻣﺪﻳﻨﺔ ﻳﺮﻳﻮﻙ ﺍﻟﻘﺪﻳﻤﺔ ﻓﻰ‬
‫ﻟﻠﺘﺼﻤﻴﻢ ﺍﻟﻤﻌﻤﺎﺭﻯ‬ ‫ﺷﻤﺎﻝ ﺍﻟﻜﻮﻳﺖ ﻭﺍﻟﻤﻮﻗﻊ ﻋﺎﺭﺓ ﻋﻦ ﻣﻨﻄﻘﺔ ﻣﺴﺘﺼﻠﺤﻪ ﻭﻗﺪ ﺗﻢ ﺍﻹﻧﺸﺎء ﺑﺄﺷﺨﺪﺍﻡ‬
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‫ﻭﺯﺍﺭﺓ ﺍﻟﺸﺌﻮﻥ ﺍﻟﺨﺎﺭﺟﻴﺔ‬ ‫ﺍﺟﻬﺎﺕ ﻣﺒﻨﻰ ﻣﺠﻠﺲ ﺍﻟﻮﺯﺭﺍء‬
‫ﺍﻣﺘﺪﺍﺩ ﻗﺼﺮ ﺳﻴﻒ ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺎ ﺁ‬
‫ﺻﺎﻟﺔ ﺍﻟﻤﺪﺧﻞ ﺍﻟﺮﺋﻴﺴﻬﺔ ﻓﻰ ﻣﺒﻨﻰ ﻭﺯﺍﺭﺓ ﺍﻟﺨﺎﺭﺟﺔ‬

‫ﺍﻟﺼﺎﻟﺔ ﺍﻟﻌﻠﻮ ﺓ ﻓﻰ ﻣﺒﻨﻰ ﻣﺠﻠﺲ ﺍﻟﻮﺯﺭﺍء‬
‫ﺍﻟﻴﻮﺍﻛﻰ ﺍﻟﻐﺮﺑﻴﺔ ﻟﻲ ﻣﺒﻨﻰ ﻣﺠﻠﺲ ﺍﻟﻮﺯﺭﺍء‬ ‫ﺍﺟﻬﺔ ﺍﻟﻔﻨﺎء ﺍﻟﺠﻮﺭ ﻟﻰ ﺑﺨﻰ ﻣﺠﻠﻰ ﺍﻟﻮﺯﺭﺍء‬
‫ﻧﺎﻧﺮﺭﺓ ﺍﻟﻤﻴﺎﻩ ﻓﻲ ﻣﺒﻨﻰ ﺑﺤﻠﺲ ﺍﻟﻮﺯﺭﺍء‬ ‫ﺍﺣﺪﻯ ﻧﺎﻓﻮﺭﺍﺕ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺴﻴﻊ ﺗﺤﺖ ﺍﻝ ﻣﺬ‬
‫ﺍﻟﻔﻨﺎء ﻓﻰ ﻣﺒﻨﻰ ﻭﺯﺍﺭﺓ ﺍﻟﺸﺜﻮﻥ ﺍﻃﺎﺭﺟﻌﺔ‬

‫ﻗﺎﻝ ﻫﻨﺪﻟﺼﻲ‬
‫ﺍ ﺹ ﺍﻟﻼﻧﺸﺎﺋﺪء ﺍﻟﻔﻴﺎ ﻥ ﺓ‬
‫ﺇ‬ ‫ﻝ ﺍ ﻭﺇ‬ ‫ﺍ ﻗﻲ‬
‫ﺩﺍﻧﻴﻚ ﻛﻮﻛﻮ ‪ocouC leinaD A‬‬ ‫ﺑﻘﻠﻢ‬

‫ﻋﻦ ﻣﺠﻠﺔ ﺭﻳﻜﻮﺭﺩ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺑﻌﺪ ﻣﺮﻭﺭ ‪ 04‬ﻋﺎﻣﺎ ﻋﻠﻰ ﺗﺼﻨﻴﻊ ﺃﻭﻝ ﻫﻴﻜﻞ‬

‫ﻓﺮﺍﻏﻲ ﻇﻬﺮﺕ ﺃﻧﻮﺍﻉ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻫﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ‬
‫ﺍﻟﺘﻰ ﺗﺤﻠﻒ ﻣﻦ ﺣﻴﺚ ﺍﻷﺷﻜﺎﻝ ﺍﻟﻬﻨﺪﺳﻴﺔ ﻭﺍﻟﺤﺠﻢ‬
‫ﻭﺇﺫﺍ ﻧﻈﺮﻧﺎ‬ ‫ﻭﺍﻟﻤﻮﺍﺩ ﻭﺗﻔﺎﺻﻴﻞ ﺍﻟﻮﻫﻼﺕ ﻭﺍﻟﺘﺮﻛﻴﺒﺎﺕ‬
‫ﺇﻟﻰ ﺍﻟﻬﻴﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻧﺠﺪ ﺃﻥ ﺍﻟﻘﻄﺎﻋﺎﺕ‬
‫ﻭﺗﺮﺑﻂ ﻣﻌﺎ‬ ‫ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ ﺇﻧﺸﺎﺋﻬﺎ ﺿﺨﻤﺔ ﺟﺪﺍ‬
‫ﺑﻮﺍﺳﻄﺔ ﺃﻟﻮﺍﺡ ﺗﻘﻮﻳﺔ ‪ tessuG setalp‬ﺗﺨﻌﻠﻒ ﻣﻦ ﻣﻨﺸﺄ‬
‫ﺇﻟﻰ ﺁﺧﺮ ﻭﻳﺴﺘﺨﺪﻡ ﺍﻟﻤﺼﻤﻤﻮﻥ ﻋﺎﺩﺓ ﺍﻟﻨﻈﻢ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ‬
‫ﺣﻴﺚ ﻻﺷﻤﻞ‬ ‫ﻓﻲ ﺍﻟﻤﻨﺸﺌﺎﺕ ﺫﺍﺕ ﺍﻟﺒﺤﻮﺭ ﺍﻟﻜﺒﻴﺮﺓ‬
‫ﺍﻟﻮﺻﻼﺕ ﺍﻟﻤﺼﻨﻌﺔ ﺍﻟﻘﻮﻯ ﺍﻟﻤﺤﻮﺭﻳﺔ ﺍﻟﻜﺐ ﻳﺮﺓ ﺍﻟﻮﺍﻗﻌﺔ‬
‫ﻋﻠﻴﻬﺎ ﺑﻴﻨﻤﺎ ﺗﺴﺘﺨﺪﻡ ﺍﻟﻮﺻﻼﺕ ﺍﻟﻤﺼﻨﻌﺔ ﺑﻨﺠﺎﺡ ﻓﻲ‬
‫ﺍﻟﺒﺤﻮﺭ ﺍﻟﻮﺍﻗﻌﺔ ﻣﺎﺑﻴﻦ ‪ 001 55‬ﻗﺪﻡ ﻭﻗﺪ ﺗﺼﻞ‬
‫ﺇﻟﻰ ‪ 002‬ﻗﺪﻡ ﻣﻦ ﺧﻼﻝ ﺯﻳﺎﺩﺓ ﺃﻗﻄﺎﺭ ﺍﻟﻘﻄﺎﻋﺎﺕ‬
‫ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻭﺯﻳﺎﺩﺓ ﻣﻤﻚ ﺍﻟﺨﻮﺍﺋﻂ ﺃﻭ ﻣﻀﺎﻋﻔﺔ‬
‫ﺍﻝ ﺃﺷﻜﺎﻻ ﻫﻨﺪﺳﻴﺔ ﻣﺨﺘﻠﻔﺔ ﻣﻦ ﺍﻟﻬﻴﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﻓﻲ ﻣﺤﺎﻭﻟﺔ ﻟﻠﻮﺻﻮﻝ ﺇﻟﻰ‬
‫ﻳﺨﺘﺎﺭ ﻣﺼﻤﻢ‬ ‫ﻣﺴﺘﻮﻳﺎﺕ ﺍﻟﺠﻤﺎﻟﻮﻥ ﺍﻟﻔﺮﺍﻏﻲ ﻭﺑﺎﻟﺘﺎﻟﻤﻂ ﺗﻘﻠﻴﻞ ﺍﺟﺘﻤﺎﻻﺕ‬
‫ﺃﻗﻞ ﺗﻜﻠﻔﺔ ﻭﺇﻟﻰ ﺗﺼﻤﻴﻢ ﺟﻤﺎﻟﻤﻲ ﻣﻌﻴﻦ ﻓﻀﻼ ﻋﻦ ﺍﻟﺤﺼﻮﻝ ﻋﻠﻰ ﺍﻟﻘﻮﺓ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻓﺎﻷﻭﺗﺎﺭ‬ ‫ﺍ ﻻﻧﺒﻌﺎﺝ‬
‫ﺍﻟﻌﻠﻴﺎ ﺗﺤﻌﻮﻱ ﻋﻠﻰ ﻗﻮﻯ ﺿﻐﻂ ﺑﻴﻨﻤﺎ ﺗﺤﻮﻱ ﺍﻷﻭﺗﺎﺭ ﺍﻟﺴﻔﻠﻰ ﻋﻠﻰ ﻗﻮﻯ ﺷﺪ ﻭﻟﺬﻟﻚ‬
‫ﻳﻤﻜﻦ ﺇﺳﺘﺨﺪﺍﻡ ﺃﻭﺗﺎﺭ ﺗﺨﻠﻒ ﺃﻃﻮﺍﻟﻬﺎ ﻓﻲ ﺍﻟﻄﺒﻘﺎﺕ ﻋﻬﺎ ﻓﻲ ﺍﻟﻄﺒﻘﺎﺕ ﺍﻟﻌﻠﻴﺎ ﺗﺒﻌﺎ ﻟﻠﻘﻮﻯ‬ ‫ﻭﺗﺨﻠﻒ ﺍﺳﺎﻟﻴﺐ ﺍﻟﻮﺻﻼﺕ ﻣﻦ ﻧﻈﺎﻡ ﺇﻧﺸﺎﺋﻲ ﺇﻟﻰ‬
‫ﺍﻟﺘﻰ ﺗﺤﻮﻛﺎ ﺃﻣﺎ ﺍﻷﻗﻄﺎﺭ ﻛﺴﺎﻋﺪ ﻋﻠﻰ ﺍﺷﻬﻼﻙ ﻣﻮﺍﺩ ﺃﻗﻞ ﺇﻟﻰ ﺟﺎﻧﺐ ﺗﻘﻮﻟﺔ ﺍﻟﻬﻴﻜﻞ‬ ‫ﺁﺧﺮ ﺗﺒﻌﺎ ﻟﺸﻜﻞ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﺳﻮﺍء ﻛﺎﻧﺖ‬
‫ﺍﻟﻔﺮﺍﻏﻰ‬ ‫ﻣﺮﺑﻌﺔ ﺃﻭ ﻣﺴﺘﺪﻳﺮﺓ ﻭﻋﻨﺎﺻﺮ ﺍﻹﺗﺼﺎﻝ ﺳﻮﺍء ﻛﺎﻧﺖ‬
‫ﻣﺴﻄﺤﺔ ﺃﻭ ﻋﺪﺓ ﺃﻭ ﻛﺮﺍﺕ ﻣﻦ ﺍﻷﻟﻮﻣﻨﻴﻮﻡ ﺃﻭ‬
‫ﻳﻌﻄﻲ ﺍﻟﻤﺼﻤﻢ ﺣﺮﻳﺔ ﻛﺒﻴﺮﺓ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻢ ﻗﺒﻞ ﺍﻟﺤﺼﻮﻝ‬ ‫ﺍﻟﻜﺮﻭﻡ ﺃﻭ ﺍﻟﻨﺤﺎﺱ ﻣﻊ ﻣﺮﺍﻋﺎﺓ ﺃﻥ ﺍﻟﻤﻘﺎﺭﻧﺔ ﺑﻴﻦ ﺍﻟﻨﻈﻢ‬
‫ﻋﻠﻰ ﻛﺎﻓﺔ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﺍﻟﻼﺯﻣﺔ ﻛﻤﺎ ﺗﻤﺘﺎﺯ ﺍﻟﻬﻴﺄﻛﻞ‬
‫ﺍﻟﺼﻠﺐ ﺃﻭ ﻏﻴﺮﻫﺎ ﺇﺫ ﻳﺘﻤﺘﻊ ﻛﻞ ﻧﻮﻉ ﺑﺒﻌﺾ ﺍﻟﺨﻮﺍﺹ‬
‫ﺍﻧﺤﻠﻔﺔ ﻟﻠﻬﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﻳﺠﺐ ﺃﻻ ﺗﺤﻤﺪ ﺃﺳﺎﺳﺎ ﻋﻠﻰ‬ ‫ﻣﺜﻞ ﺇﻁ ﻧﻴﺔ ﺗﺮﻛﻴﺐ ﺑﻌﺾ ﺃﺟﺰﺍء ﺍﻟﻤﻨﺚ ﺃ ﺍﻟﻔﺮﺍﻏﻲ ﻓﻲ‬
‫ﺍﻟﻔﺮﺍﻋﻴﺔ ﺑﻘﻮﺓ ﺇﺿﺎﻓﻴﺔ ﺣﻴﺚ ﺃﻧﻪ ﻣﻦ ﺍﻟﻤﻤﻜﻦ ﻧﺰﻉ‬ ‫ﺍﻟﺘﻜﻠﻔﺔ ﺇﺫ ﺗﺒﻠﻎ ﺗﻜﻠﻔﺔ ﺍﻟﺠﻤﺎﻟﻮﻧﺎﺕ ﺍﻟﺘﻘﻠﻴﺪﻳﺔ ﻓﻲ‬
‫ﻋﺪﺩ ﻣﻦ ﺍﻷﻋﻀﺎء ﻭﻧﻘﻂ ﺍﻻﻟﺘﻘﺎء ﺑﺪﻭﻥ ﺃﻥ ﻳﺆﺩﻯ ﻫﺬﺍ‬ ‫ﺍﻟﻤﺼﻦ ﺃﻭ ﺍﻣﻜﺎﻧﻴﺔ ﺭﺑﻂ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺍﻷﻋﻀﺎء‬
‫ﻉ‬
‫ﻣﻦ ﺍﻟﻬﻴﺎﻛﻞ‬ ‫ﺍﺗﺠﺎﻩ ﻭﺍﺣﺪ ﺃﻭ ﺍﻟﻜﻤﺮﺍﺕ ﺍﻟﻌﻤﻴﻘﺔ ‪05‬‬ ‫ﻣﻤﺎ ﻳﻌﻄﻲ‬ ‫ﻓﻲ ﻧﻘﻄﺔ ﻭﺍﺣﺪﺓ‬ ‫ﻗﺪ ﻳﺼﻞ ﺇﻟﻰ ‪02‬‬
‫ﺇﻟﻰ ﺍﻛﺎﺭ ﺍﻟﻤﻨﺸﺄ ﺇﺫ ﺗﻮﺯﻉ ﺍﻟﻘﻮﻯ ﻣﻦ ﺗﻠﻘﺎء ﻧﻔﺴﻬﺎ‬ ‫ﺍﻟﻔﺮﺍﻋﻴﺔ ﺑﻴﻤﺎ ﺗﻤﺘﺎﺯ ﺍﻷﺧﻴﺮﺓ ﺑﻜﻮﻧﻬﺎ ﺃﺧﻒ ﻭﺯﻧﺎ ﻭﺃﻗﻞ‬
‫ﻋﻠﻰ ﺍﻷﻋﻀﺎء ﺍﻟﻴﺎﻗﻴﺔ‬ ‫ﻑ ﺗﺸﻜﻴﻼﺕ‬ ‫ﻟﻠﻤﺼﻤﻢ ﺇﻁ ﻧﻴﺎﺕ ﻓﺨﻤﺔ ﻻﺳﺖ‬
‫ﻋﻤﻘﺎ ﻣﻤﺎ ﻳﻘﻠﻞ ﺣﺠﻢ ﺍﻟﻔﺮﺍﻍ ﺍﻟﻤﺮﺍﺩ ﺗﺪﻙ ﻩ ﺃﻭ‬ ‫ﻫﻨﺪﺳﻴﺔ ﻣﺘﻌﺪﺩﺓ ﻟﻠﻬﻴﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺍﻟﺘﻰ ﺗﻨﺸﺎ ﺗﻠﻘﺎﺋﻴﺎ‬
‫ﻭﺗﻌﺘﺒﺮ ﺩﺭﺍﺳﺔ ﺗﻔﺎﺻﻴﻞ ﺍﻟﻮﺻﻼﺕ ﻓﻲ ﺍﻟﻬﻴﺎﻛﻞ‬ ‫ﺗﻜﻴﻴﻔﻪ ﻓﻔﺤﻼ ﻋﻦ ﺗﻘﻠﻴﻞ ﻋﻨﺎﺻﺮ ﺍﻟﺘﻜﺴﻴﺔ ﺍﻟﺨﺎﺭﺟﻴﺔ‬ ‫ﺍﻳﻀﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺠﻬﻮﺩ ﺍﺑﺬ ﻭﻟﺔ ﻟﺘﻘﻠﻴﻞ ﻋﺪﺩ ﺍﻷﻋﻤﺎء‬
‫ﺍﻟﻔﺮﺍﻋﻴﺔ ﻋﻤﻠﻴﺔ ﻣﻌﻘﺪﺓ ﻭﺧﻄﻴﺮﺓ ﻓﻴﺠﺐ ﻋﻠﻰ ﺍﻟﻤﻬﻨﺪﺱ‬ ‫ﻭﺑﺬﻟﻚ ﻳﺘﻢ ﺗﻮﻓﻴﺮ ﻏﻴﺮ ﻣﺒﺎﺷﺮ ﻓﻲ ﺍﻟﺘﻜﻠﻔﺔ ﻭﻣﻦ‬ ‫ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻭﺍﻟﻮﺻﻼﺕ ﺍﻟﻤﻄﻠﻮﺑﺔ ﻭﺗﺦ ﻟﻒ ﺗﻜﻠﻔﺔ‬
‫ﺗﻔﻔﻢ ﺍﺗﺠﺎﻫﺎﺕ ﺳﻴﺮ ﺍﻟﻘﻮﻯ ﻓﻲ ﺃﻋﻀﺎء ﺍﻟﻤﻨﺸﺄ ﻭﺗﺼﻤﻴﻢ‬ ‫ﻣﻤﻴﺰﺍﺕ ﺍﻟﻬﻴﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺃﻳﻀﺎ ﺇﻣﻜﺎﻧﻴﺔ ﺭﻓﻊ ﺃﺣﻤﺎﻝ‬ ‫ﺍﻳﺮ ﺍﻟﻤﺮﺑﻊ ﻓﻲ ﺍﻟﻬﻴﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺗﺒﻌﺎ ﻟﻠﺒﺤﺮ ﺍﻟﻤﺮﺍﺩ‬
‫ﺍﻟﻮﺻﻼﺕ ﻟﺜﺘﺤﻤﻞ ﻫﺬﻩ ﺍﻟﻘﻮﻯ‬ ‫ﻣﺘﺤﺮﻛﺔ ﻣﺜﻞ ﺍﻷﻭﻧﺎﺵ ﻋﻨﺪ ﻧﻘﻄﺔ ﺍﻻﻟﺜﻘﺎء ‪t edoN‬‬
‫‪I‬‬ ‫ﻭﺗﺒﻌﺎ ﻟﻨﻮﻋﻴﺔ ﺍﻟﺘﺸﻄﻴﺒﺎﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻣﺜﻞ‬ ‫ﺗﻐﻄﻴﺘﻪ‬
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‫ﺫ ﺃﻥ ﻣﺤﺎﻭﻻﺕ ﺗﺒﺴﻴﻂ ﺍﻟﻬﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺑﺪﻭﻥ‬

‫ﺩﺭﺍﻭﺭ ﻭﺍﻋﻴﺔ ﻗﺪ ﺗﺆﺩﻯ ﺇﻟﻰ ﻣﺸﻜﻼﺕ ﻛﺒﻴﺮﺓ‬
‫ﻭﻛﻤﺎ ﺳﺒﻖ ﺃﻥ ﺃﺷﺮﻧﺎ ﺗﺨﻠﻒ ﺍ ﺍﻻﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﻣﻦ‬
‫ﻧﻈﺎﻡ ﻵﺧﺮ ﻣﻦ ﺣﻴﺚ ﺍﻟﻘﻴﻢ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻭﺍﻟﺜﻘﺎﻋﻞ‬
‫ﺍﻹﻧﺜﺎﺋﻴﺔ ﻭﺍﻳﻜﺎﻟﻴﻒ ﻭﻧﻌﺮﺽ ﻓﺎ ﻋﺪﺓ ﻧﻈﻢ ﺇﻧﺸﺎﺋﻴﺔ‬
‫ﻟﻠﻬﻴﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺗﺨﻠﻒ ﻣﻦ ﺣﻴﺚ ﻧﻮﻋﻴﺔ ﺍﻟﻮﺻﻼﺕ‬
‫ﺑﻴﻦ ﺍﻷﻋﻀﺎء ﻭﺍﻟﻘﻄﺎﻋﺎﺕ ﺍﻟﻤﺴﺘﺨﺪﻣﺔ ﻳﺨﻬﺎ‬
‫ﻧﻈﺎﻡ ‪ turisinU napsudoM‬ﺑﺪﺃ ﺍﻧﺘﺎﺟﻪ ﻓﻲ ﻣﻨﺘﺼﻒ ﺍﻟﺨﻤﺴﻴﻨﺎﺕ ﻭﺗﺴﺘﺨﺪﻡ‬

‫ﻓﻲ ﻗﻔﺎﻥ ﻣﻦ ﺍﻟﻤﻠﺐ ﺫﺍﺕ ﻣﻘﻄﻊ ﻋﻠﻰ ﺷﻜﻞ ﻟﻜﻞ ﻣﻦ ﺍﻷﻭﺗﺎﺭ ﻭﺍﻷﻗﻄﺎﺭ‬
‫ﻭﺗﺮﺑﻂ ﻓﻰ ﺃﻟﻮﺍﺡ ﻣﻦ ﺍﻟﺼﻠﺐ ﻣﻤﻚ ﺭﺑﻊ ﻣﺜﻨﻴﺔ ﺍﻷﻃﺮﺍﻑ ﻭﻣﺎﺋﻠﺔ ﻟﺰﺍﻭﻳﺔ ‪ 05‬ﻝ ﻳﺖ‬
‫ﺍﻷﻗﻄﺎﺭ ﻛﻤﺎ ﻳﻤﻜﻦ ﺍﺳﺘﺨﺪﺍﻡ ﻗﻔﺎﻥ ﻣﺰﺩﻭﺟﺔ ﻟﺰﻳﺎﺩﺓ ﺍﻷﺣﻤﺎﻝ ﻭﺗﺒﻠﻎ ﺍﻟﺒﺤﻮﺭ ﺍﻟﺘﻰ‬
‫ﻳﻐﻄﻴﻤﺎ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻣﻦ ‪ 04‬ﺇﻟﻰ ‪ 06‬ﻗﺪﻡ ﻏﻴﺮ ﺃﻧﻪ ﻳﻤﻜﻦ ﺯﻳﺎﺩﺓ ﻫﺬﻩ ﺍﻟﺒﺤﻮﺭ ﺇﻟﻰ ﺃﻛﺜﺮ‬
‫ﻣﻦ ‪ 001‬ﻗﺪﻡ ﻓﻲ ﺣﺎﻟﺔ ﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﻘﻀﺒﺎﻥ ﺍﻟﻤﺰﺩﻭﺟﺔ‬
‫ﻧﻈﺎﻡ ‪ turisrewoP‬ﻳﻤﺘﺎﺯ ﻳﺎﻃﺘﻪ ﺣﻴﺚ ﺗﺴﺘﺨﺪﻡ ﻭﺻﻠﺔ ﻣﺴﻄﺤﺔ ﻟﺮﻟﻂ‬

‫ﺍﻷﻭﺗﺎﺭ ﺑﺎﻷﻗﻄﺎﺭ ﺗﺴﻤﺢ ﺑﺎﺳﺘﺨﺪﺍﻡ ﺍﻷﺷﻜﺎﻝ ﺍﻟﻬﻨﺪﺳﻴﺔ ﺍﻟﻤﺨﺘﻠﻤﺔ ﺍﻟﻤﺮﺑﻌﺔ ﻭﺍﻟﻘﻄﺮﻳﺔ‬
‫ﻭﺍﻟﻤﺜﻠﺜﺔ ﻭﺗﺘﻤﻞ ﻫﺬﻩ ﺍﻟﺒﺴﺎﻃﺔ ﻓﻲ ﻃﺮﻳﻘﺔ ﺗﺮﻛﻴﺐ ﺍﻷﻗﻄﺎﺭ ﻣﻪ ﺍﻟﻮﺻﻠﺔ ﺍﻟﻤﺴﻄﺤﺔ ﺣﻴﺚ‬
‫ﺗﺘﻨﻰ ﺍﻷﻗﻄﺎﺭ ﻟﺘﻠﺘﻘﻰ ﻣﻊ ﺍﻟﻮﺻﻠﺔ ﺑﺴﻄﺢ ﺃﻓﻘﻲ‬
‫ﺗﺴﺘﺨﺪﻡ ﻓﻲ ﻧﻈﺎﻡ ‪ tabinU‬ﻭﺻﻼﺕ ﻛﺮﻭﻳﺔ ﻣﻤﺒﻮﺑﺔ ﻋﻠﻰ ﺟﺆﻳﻦ ﺑﺠﺚ ﻳﺄﻗﻲ ﻭﺟﻪ‬
‫ﺍﻟﻜﺮﺓ ﺭﺃﺳﻴﺎ ﻓﻲ ﺍﻷﻭﺗﺎﺭ ﺍﻟﻌﻴﺎ ﻭﺃﻓﻘﻴﺎ ﻓﻲ ﺍﻷﻭﺗﺎﺭ ﺍﻟﺴﻔﻞ ﻣﻤﺎ ﻳﺴﻬﻞ ﻋﻤﻠﻴﺔ ﺗﺮﻛﻴﺐ ﺍﻟﻤﻨﺸﺄ‬
‫ﻓﻰ ﺍﻟﻤﻮﻗﻊ ﺣﻴﺚ ﺗﺜﺒﺖ ﺍﻷﻭﺗﺎﺭ ﺍﻟﺴﻔﻠﻰ ﻓﻰ ﺭﺃﺱ ﺍﻟﻬﺮﻡ ﺑﻴﻤﺎ ﺗﺎﻗﻲ ﺍﻷﻭﺗﺎﺭ ﺍﻟﻌﻴﺎ ﺍﻷﻗﻞ‬
‫ﻃﻮﻻ ﺗﺴﺘﺨﺪﻡ ﻣﻮﺍﺩ ﺃﻗﻞ ﻣﺎﺋﻠﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻸﻭﺗﺎﺭ ﺍﻟﺴﻔﻠﻰ‬
‫‪I‬‬
‫ﺇﻟﺒﻨﺎ‬ ‫ﻛﻼ‬
‫ء ﻧﻈﺎﻡ ﻉ ﻩ ‪ repuS urtS‬ﺍﻟﺬﻣﻤﻂ ﻳﺘﻜﻮﻥ ﻣﻦ ﺃﻧﺎﺑﻴﺐ ﻣﺴﺘﺪ ‪2‬ﺓ ﻣﻠﺤﻮﻡ ﺑﻬﺎﺗﻬﺎ ﺃﻟﺴﻨﺔ‬
‫ﺗﺮﻟﻌﻞ ﻣﻌﺎ ﻟﺘﻜﻮﻥ ﻭﺻﻠﺔ ﻣﺮﻧﺔ ﻧﻘﻄﺔ ﺍ ﻻﻟﺜﻘﺎء ‪ edon‬ﺍﻟﻌﺎﺩﻳﺔ ﺗﻀﻢ ﻣﻦ ‪ 8‬ﺇﻟﻰ ‪01‬‬
‫ﻗﻐﺎﻥ ﻭﻗﺪ ﻳﺼﻞ ﻋﺪﺩﻫﻢ ﻓﻲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﺇﻟﻰ ‪ 62‬ﻭﻳﺴﻤﺢ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ‬
‫ﺑﺘﺸﻜﻴﻼﺕ ﻫﻨﺪﺳﻴﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻦ ﺍﻟﻤﺮﺡ ﻭﺍﻟﻤﺜﻠﺚ ﺍﻟﻤﺘﺴﺎﻭﻯ ﺍﻟﺴﺎﻗﻴﻦ ﻭﻳﺨﺮﺑﺎ ﻣﻦ‬
‫ﺍﻟﺘﺸﻜﻴﻼﺕ‬
‫ء ﻭﻳﺼﻨﻊ ﻧﻈﺎﻡ ‪ ecapS kceD‬ﻓﻲ ﺍﻟﻤﺼﻨﻊ ﻭﻳﺘﻜﻮﻥ ﻣﻦ ﻭﺣﺪﺍﺕ ﻫﺮﻣﻴﺔ ﺣﻴﺚ‬
‫ﻳﺴﺘﺨﺪﻡ ﺯﻭﺍﻳﺎ ﻓﻲ ﺍﻷﻭﻛﺎﺭ ﺍﻟﻌﻠﻴﺎ ﻭﻗﻀﺒﺎﻥ ﺩﺍﺋﺮﻳﺔ ﻓﻲ ﺍﻷﻗﻄﺎﺭ ﻭﺗﺮﺑﻂ ﻫﺬﻩ ﺍﻟﻮﺣﺪﺍﺕ‬
‫ﻣﻌﺎ ﺟﻨﺒﺎ ﺇﻟﻰ ﺟﻨﺐ ﺡ ﺙ ﺗﺮﺑﻂ ﺭﺅﺱ ﺍﻝ‪ i‬ﺣﺪﺍﺕ ﺍﻟﻬﺮﻣﻴﺔ ﺍﻟﻤﻜﻮﻧﺔ ﻣﻦ ‪ 4‬ﻫﺎﻳﺎﺕ‬
‫ﻣﻘﻠﻮﻇﺔ ﻣﻌﺎ ﺑﻮﺍﺳﻄﺔ ﻗﻀﺐ ﺍﻥ ﻋﺎﻟﻴﺔ ﺍﻟﺘﺤﻤﻞ‬
‫ﻛﺎﻥ ﻧﻈﺎﻡ ‪ oreM‬ﺃﻭﻝ ﻫﻴﻜﻞ ﻓﺮﺍﻏﻲ ﻳﺼﻨﻊ ﺗﺠﺎﺭﻳﺎ ﻓﻲ ﺍﻷﺭﺑﻴﻨﺎﺕ ﻭﺗﻤﺘﺎﺯ‬

‫ﺍﻟﻘﻐﺒﺎﻥ ﺍﻟﻤﻜﻮﻥ ﻓﻬﺎ ﺍﻫﻜﻞ ﻧﻬﺎﻛﺘﻬﺎ ﺍﻟﻤﺨﺮﻭ ﺓ ﺍﻟﺘﻰ ﺍﺳﺘﺨﺪﺕ ﺑﻌﺪ ﺫﻟﻚ ﻓﻲ ﻋﺪﺓ‬
‫ﻧﻈﻢ ﺃﺧﺮﻯ ﺑﺈﺳﻠﻮﺏ ﻣﺘﻄﻮﺭ ﻭﻧﻘﻄﺔ ﺍﻻﻟﺜﻘﺎء ‪ edon‬ﻓﻲ ﻫﺬﺍ ﺍﻟﻨﻈﺎﻡ ﻋﺎﺭﺓ ﻋﻦ ﻛﺮﺓ‬
‫ﻣﻦ ﺍﻟﺼﻠﺐ ﺫﺍﺕ ﺃﻭﺟﻪ ﻣﺴﺘﻮﻵ ﺏ ﺧﺤﺎﺕ ﻣﻘﻠﻮﻇﺔ ﺃﻣﺎ ﺍﻷﻋﻀﺎء ﺍﻟﻤﻜﻮﻧﺔ ﻟﻠﻬﻴﻜﻞ‬
‫ﻓﺒﺎﺭﺓ ﻋﻦ ﻗﻤﺎﻥ ﻣﺴﺘﺪﻳﺮﺓ ﻣﻦ ﺍﻟﻤﻠﺐ ﺗﻰ ﺑﺸﻜﻞ ﻣﺨﺮﻭﻃﻲ ﻣﻠﺤﻮﻡ ﻭﺛﺪﺧﻞ‬
‫ﺍﻟﻤﺴﺎﻣﻴﺮ ﻣﻦ ﺧﻼﻝ ﺥ ﺣﺔ ﺩﺍﺋﺮ ﺓ ﻟﻰ ﻥ ﻵ ﺍﻟﻘﻀﻲ ﻭﻳﻤﻜﻦ ﺛﺮﻛﻌﺐ ‪ 81‬ﻗﻀﻴﺐ ﻓﻲ‬
‫ﺍﻟﻜﺮﺓ‬
‫‪73‬‬
‫ﻧﻈﺎﻡ ‪ laborehpS‬ﻭﻫﻮ ﺃﺣﺪﺙ ﺗﻄﻮﻳﺮ ﺑﻈﺎﻡ ‪ tabinU‬ﻟﻪ ﻧﻘﻄﺔ ﺍﻟﺜﻘﺎء ﻋﺎﺭﺓ‬

‫ءﻟﻈﺎﻡ ﺍﻟﻬﻴﺎﻛﺎ ﺍﻟﻔﺮﺍﻏﻴﺔ ﺍﻷﻧﺒﻮﺑﻴﺔ ‪GP serlcurtS‬‬
‫ﻋﻦ ﻛﺮﺓ ﻣﻔﺮﻏﺔ ﻣﻦ ﺍﻟﺼﻠﺐ ﻟﻬﺎ ﻏﻄﺎء ﻣﻨﻔﺼﻞ ﺃﻣﺎ ﺃﻋﻀﺎء ﺍﻟﻬﻴﻜﻞ ﺍﻟﻔﺮﺍﻛﻲ ﻧﻔﻪ‬
‫ﻭﻳﺘﻜﻮﻥ ﻣﻦ ﺃﻧﺎﺑﻴﺐ ﻣﻦ ﺍﻟﺼﻠﺐ ﻭﻛﺮﺍﺕ ﻣﺒﻮﻛﺔ ﻣﻦ‬
‫ﻓﻌﺒﺎﺭﺓ ﻋﻦ ﻗﻀﺒﺎﻥ ﺩﺍﺋﺮﻳﺔ ﻣﻦ ﺍﻟﺼﻠﺐ ﻣﺜﻘﻮﺑﺔ ﻭﻣﻘﻠﻮﻇﺔ ﻳﺨﺘﻔﻲ ﺍﻟﻮﺻﻠﺔ ﺗﻤﺎﻣﺎ‬
‫ﺍﻟﺼﻠﺐ ﺫﺍﺕ ﺃﻭﺟﻪ ﺩﺍﺧﻠﻴﺔ ﻣﺴﻄﺤﺔ ﻭﻗﻔﺎﻥ ﻣﻦ‬
‫ﺍﻟﺼﻠﺐ ﻋﺎﻟﻴﺔ ﺍﻟﺘﺤﻤﻞ ﻭﻫﺬﻩ ﺍﻟﻘﻀﺒﺎﻥ ﺃﻃﻮﻝ ﻗﻠﻴﻼ‬ ‫ﺗﻔﺎﻣﻞ ﻋﻼﻗﺔ ﺍﻟﻬﻴﻜﻞ ﺍﻟﻔﺮﺍﻏﻲ ﺑﺎﻟﺴﻘﻒ‬
‫ﻣﻦ ﺍﻷﻧﺎﺑﻴﺐ ﻭﺗﻤﺪ ﺇﻟﻰ ﺍﻟﻜﺮﺍﺕ ﺍﻟﻤﺴﺒﻮﻛﺔ ﻭﺑﺈﺣﻜﺎﻡ‬ ‫ﻭﻛﺤﺎﺕ ﺍﻹﻓﺎءﺓ ﺍﻟﻌﻠﻮﻳﺔ‬
‫ﺭﺑﻂ ﺍﻟﺼﻮﺍﻣﻴﻞ ﻋﻨﺪ ﺍﻟﻴﻬﺎﻳﺔ ﺍﻟﻤﻘﻠﻮﻇﺔ ﻟﻠﻘﻀﺒﺎﻥ ﻋﻠﻰ‬
‫ﺍﻝ ﻃﺢ ﺍﻟﻤﺴﺘﻮﻯ ﻟﻠﻜﺮﺍﺕ ﺗﺖ ﺍﻷﻧﺎﺑﻴﺐ ﺑﺎﻟﻤﺘﺎﻟﻤﻂ ﻋﻠﻰ‬
‫ﺍﻟﻜﺮﺍﺕ ﻭﻳﺘﺄ ﺭﺑﻂ ﻣﻴﻜﺎﻧﻴﻜﻲ ﺑﻴﻦ ﺍﻷﻧﺎﺑﻴﺐ ﻭﻧﻘﻂ‬
‫ﻭﻳﺴﺎﻋﺪ ﺍﻟﻐﻄﺎء ﺍﻟﻤﻨﻔﺼﻞ ﻋﻠﻰ ﺍﻟﻮﺻﻮﻝ ﺇﻟﻰ‬ ‫ﺍﻻﻟﺜﻘﺎء‬ ‫ﻳﻀﻢ ﻧﻈﺎﻡ ‪ ôreltuB citedoirT‬ﻋﻨﺼﺮ ﺭﺑﻂ ﻣﻦ‬
‫ﺍﻟﺠﺰء ﺍﻟﺪﺍﺧﻠﻲ ﻣﻦ ﺍﻟﻜﺮﺍﺕ‬ ‫ﺍﻷﻟﻮﻳﺨﻮﻡ ﻋﺒﺎﺭﺓ ﻋﻦ ﺃﺳﻄﻮﺍﻧﺔ ﻟﻬﺎ ﻣﺠﺎﺭ ﻣﺴﻨﻨﻪ ﻭﺃﻧﺎﺑﻴﺐ‬
‫ﻣﻦ ﺍﻟﺼﻠﺐ ﺫﺍﺕ ﻧﻬﺎﻳﺎﺕ ﻣﻀﻐﻮﻃﺔ ﻟﺤﻄﻰ ﺣﺮﻓﺎ ﻣﺴﻨﻨﺎ‬
‫ﻭﺑﻌﺪ ﺇﺩﺧﺎﻝ‬ ‫ﻳﻄﺎﺑﻖ ﺍﻟﻤﺠﺮﻯ ﺍﻟﻤﻮﺟﻮﺩﺓ ﻓﻲ ﺍ ﺍﻻﺋﻄﻮﺍﻧﺔ‬
‫ﺍﻷﻧﺎﺑﻴﺐ ﺗﻮﺿﻊ ﻭﺭﺩﺓ ﻋﻨﺪ ﻧﻬﺎﺗﻲ ﺍﻻﺋﻄﻮﺍﻧﺔ ﻣﻊ ﺗﻤﺮﻭﺭﺑﺮ‬
‫ﻣﺴﻤﺎﺭ ﻗﻼﻭﻭﻅ ﻓﻲ ﺍﻟﻤﺨﻮﺭ ﻭﺭﺑﻄﻪ ﺑﺈﺣﻜﺎﻡ‬
‫ﺃﻣﺎ ﻋﻨﺎﺻﺮ ﺍﻟﺮﺑﻂ ﻓﻲ ﻧﻈﺎﻡ ‪ sudoN‬ﻓﻴﺒﻢ ﺳﺒﻜﻬﺎ‬

‫ﺗﺖ‬ ‫ﻋﻠﻰ ﺟﺰءﻳﻦ ﻣﻦ ﺍﻟﺼﻠﺐ ﻣﻘﻠﻮﻇﻴﻦ ﻣﻦ ﺍﻟﺪﺍﺧﻞ‬
‫ﻃﺮﻑ ﺍﻷﻭﺗﺎﺭ ﺍﻟﻤﻘﻠﻮﻇﺔ ﻓﻲ ﻋﻨﺼﺮ ﺍﻟﺮﺑﻂ ﺑﻴﻨﻤﺎ ﺗﺖ‬
‫ﺍﻷﻗﻄﺎﺭ ﻓﻲ ﺟﺰء ﺑﺎﺭﺯ ﺑﻌﻨﺼﺮ ﺍﻟﺮﺑﻂ ﻭﺑﻤﺎ ﺃﻥ ﻣﺤﺎﻭﺭ‬
‫ﺍﻷﻭﺗﺎﺭ ﻭﺍﻷﻗﻄﺎﺭ ﻻ ﺗﻠﺘﻘﻲ ﻓﻲ ﺍﻟﻤﺮﻛﺰ ﻓﻤﻦ ﺍﻳﻮﻗﻊ ﺃﻥ‬
‫ﻳﺤﺪﺙ ﺑﻌﺾ ﺍﻻﻧﺤﻨﺎء‬
‫‪Ar‬‬
‫ﺍﻟﻢ ﺇﻟﺒﻨﺎء‬
‫ﺍﺗﺄ‬
‫ﺩ‬
‫ﻳﺊ‬ ‫ﺇ‬
‫ﺓ‬ ‫ﺍ‬ ‫ﺍﻟﻤﻤﻠﻰ ﻳﺜﺮﺍﺋﻂ ﻣﻦ ﺍﻷﺣﻤﺮ ﻭﺍﻷﺻﻔﺮ‬
‫ءﺍﻟﻤﺼﻞ ﺍﻟﺘﻰ ﺗﻨﻰ ﺑﺎﻟﺠﻬﻮﺩ ﺍﻟﺬﺍﺋﻴﺔ‬
‫ﺩ ﺳﺎﻣﻰ ﻋﻠﻰ ﻛﺎﻣﻞ‬

‫ﻣﺪﺭﺱ ﺑﻘﺴﻢ ﺍﻟﻌﻤﺎﺭﺓ‬
‫ﺟﺎﻣﻌﺔ ﺍﻟﻤﻨﻴﺎ‬ ‫ﻛﻠﻴﺔ ﺍﻟﻬﻨﺪﺳﺔ‬
‫ﻣﻦ ﺃﻫﻢ ﻣﺎ ﻳﻤﻴﺰ ﺃﻫﻞ ﺍﻟﺮﻳﻒ ﻋﻤﻮﻣﺎ ﻓﻰ ﺟﻤﻴﻊ ﺩﻭﻝ‬

‫ﺍﻟﻌﺎ ﺃ ﺃﻧﻬﻢ ﻭﻟﺪﻭﺍ ﻋﻠﻰ ﺍﻟﻔﻄﺮﺓ ﻭﺗﺮﺑﻮﺍ ﻋﻴﻬﺎ ﺑﻤﻌﻨﻰ‬
‫ﻣﻌﺎﻳﺸﺘﻬﻢ ﻟﻜﻞ ﻣﺎ ﻫﻮ ﻃﺒﻴﻌﻰ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﻟﻤﻠﻤﺲ ﺃﻭ‬
‫ﻭﻟﺬﺍ ﻓﺈﻧﻪ ﻣﻦ ﺍﻟﺼﻌﺐ ﺟﺪﺍ ﻋﻠﻰ ﻣﻦ ﺗﺮﺏ ﻋﻠﻰ‬ ‫ﺍﻟﻠﻮﻥ‬
‫ﺍﻷﻟﻮﺍﻥ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﻮﺍﺿﺤﺔ ﻋﻠﻰ ﻃﺒﻴﻌﺘﻬﺎ ﺃﻥ ﻳﻘﻮﻡ‬
‫ﻣﺜﻼ ﺑﺪﻫﺎﻥ ﻣﻨﺰﻟﻪ ﺑﺎﻟﻠﻮﻥ ﺍﻟﺒﻨﻔﺴﺠﻰ ﺃﻭ ﺍﻷﺣﻤﺮ‬
‫ﻭﺍﺳﺘﻌﻤﺎﻝ ﺩﺭﺟﺄﺕ ﻟﻮﻧﻴﺔ ﺭﻣﺎﺩﻳﺔ ﺃﻭ ﺗﺤﻄﻴﻢ ﺍﻟﻤﺴﺎﺣﺎﺕ‬
‫ﺣﻴﺚ ﺃﻥ ﻫﺬﺍ‬ ‫ﺍﻟﻜﺒﻴﺮﺓ ﺑﺰﺧﺎﺭﻑ ﻫﻨﺪﺳﻴﺔ ﺃﻭ ﻧﺒﺎﻧﻴﺔ‬
‫ﺍﻝ ﻣﺨﺼﺺ ﻟﻠﻤﺒﺎﻧﻰ ﺍﻟﺪﻳﻨﺔ ﻟﺘﻰ‬
‫ﺍﻟﻨﻮﻉ ﺍﻷﺧﻴﺮ ﻣﻦ ﺇﻇﻬﺎﺭ‬
‫ﻳﺠﺐ ﺃﻥ ﻳﻜﻮﻥ ﻟﻬﺎ ﻣﻈﻬﺮ ﻧﺤﻠﻒ ﻋﻦ ﺍﻟﻤﺒﺎﻧﻰ ﺍﻟﺴﻜﻨﻴﻪ‬
‫ﻭﻧﻼﺣﻆ ﺃﻳﻀﺎ ﺃﻧﻪ ﻧﻈﺮﺍ ﻷﻥ ﺍﻟﻔﻼﺡ ﻳﺴﺘﻌﻤﻞ ﻧﻒ‬ ‫ﺍﻟﻠﻮﻥ ﺍﻷﻋﻔﺮ ﻧﺎﺳﺐ ﻟﻠﺠﻮ ﺍﻟﺠﺮﺏ ﺍﻟﺤﺎﺭ ﻛﻤﺎ ﺃﻧﻪ ﻗﺪ ﻳﺪﻝ‬
‫ﻓﺈﻥ‬ ‫ﺍﻟﻄﻮﺏ ﺍﻟﻨﻰء‬ ‫ﻣﺎﺩﺓ ﺍﻟﺘﺮﺑﺔ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻓﻰ ﺍﻟﺒﻨﺎء‬ ‫ﻋﻠﻰ ﺍﻟﻘﻴﻤﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻟﻤﺼﺪﺭ ﺍﻟﻠﻮﻥ ﺍﻷﺻﻔﺮ ﻭﻫﻮ ﺍﻟﺬﻣﺐ ﺍﻟﺬﻯ‬
‫ﺫﻟﻚ ﻛﻔﻴﻞ ﺑﻌﻤﻞ ﺗﻨﺎﺳﻖ ﻭﺗﻜﺎﻣﻞ ﺑﻴﻦ ﺍﻟﻤﺒﻨﻰ ﻭﺍﻟﺒﻴﺌﺔ‬ ‫ﺍﺳﺘﺨﺪﻡ ﺑﻜﺜﺮﺓ ﻟﺪﻯ ﺍﻟﻔﺮﺍﻋﺔ‬
‫ﺍﻟﻤﻮﺟﻮﺩﺓ ﺣﻮﻟﻪ ﻣﻦ ﺃﺭﺽ ﻭﻧﺒﺎﺕ ﻭﺷﺠﺮ ﻭﻫﻰ ﻣﻴﺰﺓ‬
‫ﺣﺘﻰ ﻭﻟﻮ ﻟﻢ ﻳﻘﻢ‬ ‫ﻛﺒﻴﺮﺓ ﺗﻔﺘﻘﺪﻫﺎ ﺍﻟﻤﻴﺎﻧﻰ ﻓﻰ ﺍﻟﻤﺪﻳﻨﺔ‬
‫ﺃﻣﺎ ﻓﻰ ﺣﺎﻟﺔ ﺍﻟﺪﻫﺎﻥ ﻓﺈﻧﻪ‬ ‫ﺍﻟﻔﻼﺡ ﺑﺪﻫﺎﻥ ﻣﻨﺰﻟﺔ‬
‫ﺑﻔﻄﺮﺗﻪ ﻭﻏﺮﻳﺰﺗﻪ ﺍﻟﻤﺠﺔ ﻟﻠﻄﺒﻴﻌﺔ ﻻ ﻳﺮﻳﺪ ﺃﻥ ﻳﺴﺒﺐ ﻛﻨﺎﻓﺮﺍ‬
‫ﺃﻭ ﻧﺸﺎﺫﺍ ﺑﻴﻦ ﺍﻟﻤﺒﻨﻰ ﻭﺍﻟﺒﻴﺌﺔ ﻭﻟﺬﺍ ﻓﻬﻮ ﻳﻘﻮﻡ ﺑﺎﺧﺘﻴﺎﺭ‬
‫ﺍﻷﻟﻮﺍﻥ ﺍﻟﺘﺎﺑﻊ ﺛﺮﺣﻬﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﺣﻰ ﺗﻜﻮﻥ ﻃﺒﻴﻌﻴﺔ‬
‫ﻣﻦ ﺍﻟﻌﻴﻨﺔ ﺍﻟﻌﺸﻮﺍﻧﻴﺔ‬ ‫ﻭﻫﻮ ﺍﻟﺮﺩ ﺍﻟﺬﻯ ﺍﺳﺘﻌﻤﻠﻪ ‪56‬‬
‫ﺍﻟﺘﻰ ﺗﻢ ﺳﺆﺍﻟﻬﺎ ﻓﻰ ﻣﺪﻳﻨﺔ ﺍﻟﻤﻨﻴﺎ ﻭﺿﻮﺍﺟﻬﺎ ﻭﻋﺪﺩﻫﻢ‬
‫ﻭﺃﺟﺎﺏ ﺍﻟﻴﺎﻗﻮﻥ ﺑﺎﺧﻬﻢ ﻻ ﻳﻌﺮﻓﻮﻥ ﻟﻤﺎﺫﺍ‬ ‫‪001‬‬
‫ﺍﺧﺘﺎﺭﻭﺍ ﻫﺬﻩ ﺍﻷﻟﻮﺍﻥ ﺑﺎﻟﺬﺍﺕ ﻭﺗﺮﺍﻭﺣﺖ ﺍﻟﺮﺩﻭﺩ ﺑﻴﻦ‬
‫‪ 02‬ﺭﻋﻴﺔ ﺍﻷﺳﺮﺓ ﻭﻩ ‪ 1‬ﺭﻋﻴﺔ ﺍﻟﻨﻘﺎﺵ ﺃﻭ ﻭﺟﻬﺔ‬
‫ﻧﻈﺮﻩ ﺍﻟﻔﻨﻴﺔ‬
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‫ﺍﺟﻬﺔ ﻧﻤﻄﺔ ﺗﻜﺮﺭ ﻛﻴﺮﺃ ﻭﺗﻌﺒﺮ ﻉ ﺍﻟﻠﻮﺩ ﺍﻷﺻﻤﺮ ﺍﻟﻤﺎﺏ‬

‫ﺍﻷﺻﻔﺮ ﻭﺍﻷﺯﺭﻕ ﻟﻮﻧﺎﻥ ﻣﺤﺎﻥ ﺇﻟﻰ ﺃﻫﻞ ﺍﻟﺮﻳﻒ ﻓﻰ ﻣﺼﺮ‬
‫ﻭﻗﺪ ﻳﺪﻝ ﻋﻠﻰ ﻟﻮﻥ ﺍﻟﻤﺤﻤﻮﻝ ﺍﻟﻨﺎﻓﺞ ﻛﻤﺎ ﻳﻮﺟﺪ ﺗﻘﺴﻴﻢ‬ ‫ﻟﻠﺠﻮ‬
‫ﻭﻳﻼﺣﻆ ﻭﺟﻮﺩ ﺧﻂ ﺃﻳﻔﺮ ﻟﻔﺼﻞ ﺍﻻﺧﺼﺎﺹ ﺍﻭ ﺗﻤﻬﻴﺪﺍ ﻟﻠﺘﻐﻴﺮ ﺍﻟﻠﻮﻕ‬
‫ﻟﻠﻮﻥ ﺃﺯﺭﻕ ﻣﺴﺘﻮﺣﻰ ﻏﺎﺑﺎ ﻣﻦ ﺍﻟﻘﺎﺓ ﺍﻟﺘﻰ ﺗﺮﻭﻯ ﺍﻷﺭﺽ ﻭﺗﻘﺴﻤﻬﺎ ﺇﻟﻰ ﺃﺣﻮﺍﻓﺮ‬
‫ﻳﻐﻠﺐ ﻋﻞ ﺍﺗﻮﺍﺟﻬﺔ ﺍﻟﻠﻮﻥ ﺍﻷﺯﺭﻕ ﻭﻳﻼﺣﻆ ﺃﻳﺼﺎ ﻭﺟﻮﺩ‬ ‫ﻋﻮﻓﻖ‬ ‫ﺍﻷﺭﺭﻕ ﻭﺍﻷﺧﺼﺮ ﺑﺘﺠﺎﻥ‬ ‫ﻳﻼﺣﻆ ﺍﻳﺘﻌﻤﺎ‬
‫ﺍﻳﻘﺴﻴﻢ ﻣﺴﺘﻮﺣﻰ ﻣﻦ ﺭﻯ ﺍﻟﺤﻴﺎﺹ‬ ‫ﺗﻘﻴﻢ ﺑﻠﻮﻥ ﺁﺧﺮ ﻭﻣﻮ ﺍﻷﺻﻔﺮ‬ ‫ﻭﺍﻟﺘﻘﺴﻴﻢ ﺑﻠﻮﻥ ﺁﺧﺮ ﻛﻤﺎ ﻳﻼﺣﻆ ﺗﺤﺪﻳﺪ ﺍﻟﻤﺨﺎﺕ ﺃﻳﻀﺎ‬
‫ﻛﺎﻥ ﻣﻨﺘﺸﺮﺍ ﻓﻰ ﻣﺼﺮ ﺍﻟﻰ ﻋﻬﺪ ﻗﺮﻳﺐ ﻟﻬﻮ‬ ‫ﻭﻳﺮﺟﻊ ﻓﻰ ﺫﻟﻚ ﺇﻟﻰ ﻓﻠﺴﻔﺔ ﺍﻟﺮﺳﻢ ﻭﺍﻟﺘﻠﻮﻳﻦ ﻋﻠﻰ‬ ‫ﻭﺩﺧﻠﻴﻞ ﺍﻷﻟﻮﺍﻥ ﺍﻟﺸﺎﺋﻌﺔ ﻳﻼﺣﻆ ﻣﻦ ﺍﻟﺼﻮﺭ‬
‫ﻛﻤﺎ‬ ‫ﻳﻨﻘﻞ ﻧﻔﻰ ﺍﻟﺼﻮﺭﺓ ﺍﻟﺘﻰ ﻳﻌﺎﻳﺸﻬﺎ ﺍﻟﻔﻼﺡ ﻳﻮﻣﻴﺎ‬ ‫ﺗﺼﻮﻳﺮ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻴﻮﻣﻴﺔ‬ ‫ﺟﺪﺭﺍﻥ ﺍﻟﻤﻌﺎﺑﺪ ﺍﻟﻤﺼﺮﻳﺔ‬ ‫ﺍﻟﻤﺮﻓﻘﺔ ﺃﻥ ﺍﻷﻟﻮﺍﻥ ﺷﺎﺋﻌﺔ ﺍﻻﺳﺘﻌﻤﺎﻝ ﻫﻰ ﺍﻷﺧﻀﺮ‬
‫ﻧﻼﺣﻆ ﺃﻥ ﺑﺎﻧﻰ ﺍﻟﺠﻮﺍﻣﻊ ﺃﻭ ﺍﻟﻤﻤﻠﻴﺎﺕ ﺍﻟﺘﻰ ﺗﻘﺎﻡ ﻓﻰ‬ ‫ﻭﺣﺪﻛﺎ ﺃﻳﻀﺎ ﻭﺑﻌﺪ ﻇﻬﻮﺭ‬ ‫ﻭﺍﻟﺤﺮﻭﺏ ﻭﺍﻵﻟﻬﻪ‬ ‫ﻭﺍﻷﺯﺭﻕ ﻭﺍﻷﺻﻔﺮ ﻭﻳﺮﻣﺰ ﺍﻟﻠﻮﻥ ﺍﻷﺧﻀﺮ ﻟﻠﻄﺒﻴﻌﺔ ﺃﻭ‬
‫ﺍﻟﻘﺮﻯ ﻛﺜﻴﺮﺍ ﻣﺎ ﺗﺄﺧﺬ ﺷﻜﻼ ﻟﻮﻧﻴﺎ ﻣﺘﻘﺎﺭﺑﺎ ﻭﻫﻮ‬ ‫ﺍﻹﺳﻼﻡ ﻛﺮﻣﺖ ﺍﻟﻤﻴﺎﻩ ‪ 9‬ﻭﺧﻠﻘﻨﺎ ﻟﻜﻢ ﻣﻦ ﺍﻟﻤﺎء ﻛﻞ ﻳﺜﻰء‬ ‫ﺍﻟﺘﻔﺎﺅﻝ ﻭﻫﻮ ﻣﺴﺘﻮﺣﻰ ﺑﺎﻟﻄﺒﻊ ﻣﻦ ﻟﻮﻥ ﺍﺑﺎﺕ ﺍﻟﺬﻯ‬
‫ﺍﻷ ﻭﺍﻷﺻﻔﺮ ﻭﻫﺬﻩ‬ ‫ﻳﺜﺮﺍﺋﻂ ﺃﻓﻘﻴﺔ ﻣﻦ ﻟﻮﻧﻴﻦ ﺣﻤﺮ‬ ‫ﺣﻰ‬ ‫ﻳﻤﺜﻞ ﺭﺃﻣﻤﺎﻝ ﺍﻟﻔﻼﺡ ﻭﻳﻤﺜﻞ ﻟﻪ ﺍﻟﻨﺠﺎﺡ ﻓﻰ ﺗﺤﻮﻳﻞ‬
‫ﺍﻟﻄﺮﻳﻘﺔ ﻓﻰ ﺍﻟﺘﻌﺒﻴﺮ ﻗﺪ ﻳﻘﺼﺪ ﺑﻬﺎ ﺇﻇﻬﺎﺭ ﺗﺘﻮﻉ ﺍﻟﻤﺎﺩﺓ‬ ‫ﻭﻟﻠﻮﻥ ﺍﻷﺻﻔﺮ ﻛﺪ ﺍﻟﻔﻼﺡ ﻗﻴﻤﺔ ﻛﺒﻴﺮﺓ ﻓﻬﻮ‬ ‫ﺍﻟﻄﻴﻨﺔ ﺑﻌﺪ ﻋﺮﻕ ﻭﻛﻔﺎﺡ ﺍﻟﻰ ﻣﺤﺼﻮﻝ ﻳﻌﻮﺿﻪ ﻋﻦ‬
‫ﺍﻻﻧﺸﺎﻧﻴﺔ ﻓﻲ ﺍﻻﺭﺗﻔﺎﻋﺎﺕ ﺍﻧﺤﻠﻔﺔ ﻓﻴﺪﻝ ﺍﻟﻠﻮﻥ ﺍﻷﺣﻤﺮ ﻋﻠﻰ‬ ‫ﺃﻯ‬ ‫ﻳﺪﻝ ﻋﻠﻰ ﻟﻮﻥ ﺍﻟﻤﺤﻌﻮﻝ ﻋﺪ ﺗﻤﺎﻡ ﻧﻀﺠﺔ‬ ‫ﺍﻣﺤﻬﻮﺩ ﺍﻟﺬﻯ ﺑﺬﻟﻪ ﻭﻳﺠﻌﻠﻪ ﻳﺤﻠﻢ ﺑﺎﻟﻌﺎﺋﺪ ﺍﻟﻤﺎﺩﻯ ﺑﻌﺪ‬
‫ﻣﺪﻣﻴﻚ ﻣﻦ ﺍﻟﻄﻮﺏ ﺍﻷﺣﻤﺮ ﻭﻫﻮ ﻣﺎﺩﺓ ﺇﻧﺸﺎﺋﻴﺔ ﺃﻛﺜﺮ‬ ‫ﺍﻟﺘﻔﺎﺅﻝ ﺑﻨﺠﺎﺡ ﺍﻟﺰﺭﺍﻋﺔ ﺟﺚ ﺃﻥ ﻧﺠﺎﺣﻪ ﻓﻰ ﺍﻟﺰﺭﺍﻋﺔ‬ ‫ﺑﻴﻌﻪ ﻭﺍﻟﺬﻯ ﻳﻌﺪ ﺍﻟﺪﺧﻞ ﺍﻟﻮﺟﺪ ﻟﻠﻔﻼﺡ‬
‫ﺟﻮﺩﺓ ﻣﻦ ﺍﻟﻄﻮﺏ ﺍﻟﺘﻰء ﺍﻟﻤﺴﺘﻌﻤﻞ ﻓﻰ ﺍﻟﻤﺴﺎﻛﻦ‬ ‫ﻭﻳﻊ ﺍﻟﻤﺨﺼﻮﻝ ﻳﺆﻧﺎﻥ ﻟﻪ ﻭﻷﻭﻻﺩﻩ ﺍﻟﻤﻌﻴﺸﺔ ﻃﻮﺍﻝ‬ ‫‪ j‬ﺍﻟﻠﻮﻥ ﺍﻷﺯﺭﻕ ﺇﻟﻰ ﺍﻟﻤﺴﻤﺎء ﺍﻟﺼﺎﻓﻴﺔ ﺃﻭ‬ ‫‪jo‬‬
‫ﻭﺍﻟﻤﺪﺍﻣﻴﻚ ﺫﺍﺕ ﺍﻟﻠﻮﻥ ﺍﻷﺻﻔﺮ ﻟﻠﺪﻟﺔ ﻋﻠﻰ ﺃﻧﻬﺎ ﻣﻦ‬ ‫ﺍﻟﻌﺎﻡ ﻭﻗﺪ ﻳﺪﻝ ﺍﻟﻠﻮﻥ ﺍﻷﺻﻔﺮ ﻛﺬﻟﻚ ﻋﻠﻰ ﻟﻮﻥ‬ ‫ﺍﻟﻤﻴﺎﻩ ﻓﺎﻟﺴﻤﺎء ﺗﻌﻨﻰ ﺍﻳﺒﺮﻙ ﺑﺎﻹﻟﻪ ﻭﺑﺎﻟﻤﻼﺛﻜﺔ ﺣﻴﺚ‬
‫ﺣﻴﺚ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻄﺮﻳﻘﺔ ﻓﻰ ﺍﻟﺒﻨﺎء ﻫﻰ‬ ‫ﺍﻟﺤﺠﺮ‬ ‫ﺍﻟﻤﻌﻨﻰ ﺍﻟﺬﻯ ﺍﻧﺘﻘﻞ ﺑﺮ ﺁﻻﻑ ﺍﻟﺴﻨﻴﻦ‬ ‫ﺍﻟﺬﻫﺐ‬ ‫ﺃﻧﻬﺎ ﺫﻛﺮﺕ ﻛﺜﻴﺮﺍ ﻓﻰ ﻛﺐ ﺍﻟﺪﻳﺎﻧﺎﺕ ﻭﻟﺬﺍ ﻓﻬﻮ ﻳﺘﺒﺮﻙ‬
‫ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺍﻫﻤﺎﻡ ﺍﻟﻔﻼﺡ ﺑﺎﻓﻲ ﺍﻟﺪﻳﻨﻰ ﻭﺑﻨﺎﺋﻪ ﺑﻤﻮﺍﺩ‬ ‫ﻟﻴﺘﺸﺒﻪ ﺑﺬﻟﻚ ﺑﺎﻟﻤﺒﺎﻧﻰ ﺍﻟﻔﺮﻋﻮﻧﻴﺔ ﺫﺍﺕ ﺍﻟﻘﻴﻤﺔ ﺍﻟﺒﻬﻴﺮﺓ‬ ‫ﺑﻬﺎ ﻭﻗﺪ ﻭﺭﻣﺰ ﺍﻷﺯﺭﻕ ﺇﻟﻰ ﺍﻟﻤﻴﺎﻩ ﺍﻟﺘﻰ ﻫﻰ ﻣﻦ ﺍﻟﻔﺎﺻﺮ‬
‫ﻗﻮﻳﺔ ﺍﻟﻄﻮﺏ ﺍﻷﺣﻤﺮ ﻭﺍﻟﺤﺠﺮ‬ ‫ﺍﻟﺘﻰ ﻛﺎﻧﺖ ﺗﺰﺧﺮﻑ ﺑﺮﺳﻮﻣﺎﺕ ﻭﺃﺣﻴﺎﻧﺎ‬ ‫ﺍﻟﻤﻌﺎﺑﺪ‬ ‫ﺍﻷﺷﺎﺳﻴﺔ ﻓﻰ ﺣﻴﺎﺓ ﺍﻟﻔﻼﺡ ﻭﻳﻨﻈﺮ ﺃﻟﻴﻬﺎ ﺑﺎﺧﺮﺍﻡ ﻭﺣﺐ‬
‫ﺃﻣﺎ ﺍﻟﻤﺴﺎﺣﺎﺕ ﺍﻟﻠﻮﻧﻴﺔ ﻓﻤﺴﺘﻤﺮﺓ ﻭﻻ ﺗﻮﺟﺪ ﺟﻬﺎ‬ ‫ﺷﺮﺍﺋﺢ ﻣﺬﻫﻪ ﻟﺘﻌﻜﺲ ﺃﺷﻌﻪ ﺍﻟﺸﻤﺲ ﻭﺗﻌﻄﻰ ﺑﺮﻳﻘﺎ‬ ‫ﻟﺜﺪﻳﺪﻳﻦ ﻣﻦ ﺣﻴﺚ ﺃﻧﻪ ﻻ ﻏﻨﻰ ﻟﻪ ﻋﻦ ﺍﻟﻤﻴﺎﻩ ﻟﻤﻌﻴﺸﺘﻪ‬
‫ﺗﻘﺴﻴﻤﺎﺕ ﺃﻭ ﺯﺧﺎﺭﻑ ﻧﺒﺎﻧﻴﺔ ﺃﻭ ﻓﺪﺳﻴﺔ ﻷﻥ ﺷﻜﻞ‬ ‫ﻭﻛﺜﻴﺮﺍ ﻣﺎﺗﻘﺴﻢ‬ ‫ﻳﻔﻴﻒ ﺇﻟﻰ ﻣﻈﻬﺮﻫﺎ ﻗﻮﺓ ﻭﺟﻤﺎﻻ‬ ‫ﻭﻟﻠﺰﺭﺍﻋﺔ ﻭﻟﻤﺸﺮﺏ ﺍﻟﺨﻴﻮﺍﻧﺎﺕ ﻛﻤﺎ ﺃﻥ ﺍﻟﻤﻴﺎﻩ ﺗﺮﺗﺒﻂ ﻓﻰ‬
‫ﺍﻟﺤﻘﻞ ﻓﻰ ﺍﻟﺮﻳﻒ ﺍﻟﻤﺼﺮﻯ ﻣﻤﺘﺪ ﺇﻟﻰ ﻣﺎﻻ ﻧﻬﺎﻳﺔ ﻭﺍﻷﺭﺽ‬ ‫ﻣﺮﺑﻌﺎﺕ ﻭﻣﺴﺘﻄﻴﻼﺕ‬ ‫ﺍﻟﻮﺍﺟﻬﺎﺕ ﺍﻟﻰ ﺗﻘﺴﻴﻤﺎﺕ‬ ‫ﻋﻘﻠﺔ ﺍﻟﻴﺎﻃﻦ ﺃﻳﻀﺎ ﺑﺎﻟﺪﻳﻦ ﻭﻣﻤﺎﺭﺳﺘﻪ ﻓﻬﻰ ﻣﻨﺬ ﺃﻳﺎﻡ‬
‫ﺛﻼ ﺃﻭ ﻏﺎﺑﺎﺕ‬ ‫ﺟﺒﺎﻝ‬ ‫ﻣﺴﺘﻮﻳﺔ ﻓﻼ ﺗﻮﺟﺪ ﻋﻮﺍﺋﻖ‬ ‫ﻭﺍﻟﺘﻘﻴﻢ ﻳﺘﻢ ﺑﻠﻮﻥ ﺁﺧﺮ ﻏﻴﺮ ﻟﻮﻥ ﺍﻟﻤﺴﺎﺣﺎﺕ ﻭﻗﺪ ﻳﺮﺍﺩ‬ ‫ﺍﻟﻔﺮﺍﻋﻨﺔ ﻧﻬﺮ ﺍﻟﻞ ﺍﻟﺬﻯ ﻳﻔﺼﻞ ﺑﻴﻦ ﻣﺪﻳﺘﻰ ﺍﻟﺤﻴﺎﺓ‬
‫ﺗﻤﺜﻞ ﻋﻮﺍﺋﻖ ﺑﺼﺮﻳﺔ ﺃﻣﺎ ﺯﺧﺮﻓﺔ ﺍﻟﻮﺍﺟﻬﺎﺕ ﻛﻈﻬﺮ ﻓﻰ‬ ‫ﺑﺬﻟﻚ ﺍﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺟﺰﺋﻴﺎﺕ ﻣﺨﺘﻠﻔﺔ ﺛﻠﻤﺎ ﺗﻘﺴﻢ ﺍﻷﺭﺽ‬ ‫ﻭﺍﻟﻤﻮﺕ ﻭﺍﻟﻤﻴﺎﻩ ﺗﺤﻤﻞ ﻓﻰ ﻃﻴﺎﺗﻬﺎ ﺃﺳﺮﺍﺭﺍ ﻋﺪﻳﺪﺓ‬
‫ﺍﻟﺮﺳﻮﻣﺎﺕ ﺍﻟﻌﻔﻮﻳﺔ ﺍﻟﺘﻰ ﺗﻈﻬﺮ ﻓﻰ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ ﻣﻌﺒﺮﺓ‬ ‫ﺃﺣﻮﺍﺿﺎ ﺑﻴﻪ ﻭﺑﻴﻦ ﺟﻴﺮﺍﻧﻪ ﺃﻭ ﻳﻘﺴﻢ ﻫﻮ ﻧﻔﻰ‬ ‫ﻓﺎﻟﻔﻼﺡ ﻳﺤﺐ ﺍﻟﻤﻴﺎﻩ ﻭﻓﻰ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻳﺨﺎﻓﻬﺎ ﺃﻳﻀﺎ ﻓﻰ‬
‫ﻋﻦ ﺍﻟﻜﻌﺒﺔ ﺍﻟﻤﺸﺮﻳﻔﺔ ﺃﻭ ﺍﻟﻴﺎﺧﺮﺓ ﻛﺮﻣﺰ ﻟﻠﺘﺮﺣﻴﺐ‬ ‫ﺍﻟﻤﺴﺎﺣﺔ ﻣﻦ ﺍﻷﺭﺽ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺃﻧﻮﺍﻋﺎ ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬ ‫ﺷﻜﻞ ﺍﻟﺘﻬﺮ ﻭﻓﻴﻀﺎﻧﻪ ﻭﻛﻞ ﻣﺎ ﻳﺨﺎﻑ ﻓﻪ ﺍﻟﻔﻼﺡ‬
‫ﻭﺍﻹﻋﻼﻥ ﻋﻦ ﻋﻮﺩﺓ ﺍﻟﺤﺠﺎﺝ‬ ‫ﺍﻟﻤﺤﺎﺻﻴﻞ ﻭﻋﻤﻮ ‪ oti‬ﻟﺘﻘﺴﻴﻢ ﻣﺮﺗﺒﻂ ﺑﺮﻯ ﺍﻟﺤﻴﺎﺽ ﺍﻟﺬﻯ‬ ‫ﻳﺤﺘﻮﻣﻪ ﻭﻳﻤﺜﻠﻪ ﺑﺎﻟﻠﻮﻥ ﺃﻭ ﺍﻟﺸﻜﻞ ﻋﻠﻰ ﺟﺪﺭﺍﻥ ﻣﻨﺰﻟﻪ‬
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‫ء‬ ‫ﺍ‬ ‫ﺍﺙ‬
‫ﺍﺻﺼﺎﻋﺔﻣﻤﺎ ﻭﺇﻏﺎء ﻣﻜﺘﺒﺔ ﺍﻟﻤﻌﻬﺪ ﻟﺘﻜﻮﻥ ﻣﺮﺟﻌﺎ ﻟﻄﻠﺒﺔ ﺍﻟﺪﺭﺍﻟﻤﺎﺕ ﺍﻟﻌﻠﻴﺎ‬

‫ﻻﺩﺓ‬ ‫ﺍﻟﺴﻴﺪ ﺍﻻﺳﺘﺎﺫ ﺍﻟﺪﻛﻮﺭ ﺍﻟﻤﻬﻨﺪﺱ ﺍ ﻋﺒﺪ ﺍﻟﺒﺎﻗﻰ ﺍﺑﺮﺍﻫﻴﻢ‬
‫ﻭﻟﻼﺳﺘﻔﺎﺩﺓ ﻓﻬﺎ ﻓﻰ ﺗﺤﻘﻴﻖ ﺑﺮﺍﻣﺞ ﺍﻟﻤﻌﻬﺪ‬ ‫ﺭﺋﺶ ﺗﺤﺮﻳﺮ ﻣﺠﻠﺔ ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﻭﻧﺘﺘﻬﺰ ﻫﺬﻩ ﺍﻟﻔﺮﺻﻪ ﻟﻨﻌﺮﺏ ﻟﻜﻢ ﻋﻦ ﺧﺎﻟﺺ ﺗﻘﺪﻳﺮﻧﺎ ﻭﺃﻋﺘﺰﺍﺯﻧﺎ‬
‫ﺗﺤﻪ ﻃﻴﺒﺔ ﻭﺑﻌﺪ‬
‫ﻟﻌﺮﻭﻕ ﻣﺤﻤﺪ ﺍﻟﻬﺎﺩﻯ ﺍﻟﻤﺪﻳﺮ ﺍﻟﻤﺴﺎﻋﺪ ﻟﻠﺒﺤﺚ ﺍﻟﻌﻠﻤﻰ‬
‫ﻳﺴﺮﻓﻰ ﺃﻥ ﺍﻗﺪﻡ ﺧﺎﻟﺺ ﻟﺜﻜﺮﻯ ﻋﻠﻰ ﻣﺎ ﻗﺎﻣﺖ ﺑﻪ ﻣﺠﻠﺔ ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء ﻓﻰ ﺗﻐﻄﻴﺔ‬
‫ﺍﻟﺠﺰﺍﺋﺰ‬ ‫ﻭﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻌﻠﻴﺎ ﻣﻌﻬﺪ ﻋﻠﻮﻡ ﺍﻷﺭﺽ ﺟﺎﻣﻌﺔ ﺍﻟﻘﺴﺘﻄﻴﻨﻴﺔ‬
‫ﻣﺜﺮﻭﻉ ﺗﻄﻮﻳﺮ ﻣﺘﺤﻒ ﺍﻟﻔﻦ ﺍﻷﺳﻼﻣﻰ ﺑﺘﻨﻜﻞ ﻋﻠﻤﻰ ﻭﻓﻨﻰ ﻛﺎﻥ ﻣﻮﺿﻊ ﺃﺣﺘﺮﺍﻡ‬
‫ﺍﺳﺘﺎﺫ ﺍﻟﻔﺎﺿﻞ ﺩ ﺃ ﻋﺒﺪ ﺍﻟﻴﺎﻗﻰ ﺃﺑﺮﺍﻫﻴﻢ‬ ‫ﻭﺗﻘﺪﻳﺮ ﻫﻴﺌﺔ ﺍﻻﺗﺎﺭ ﻭﺍﻟﻰ ﺗﻌﺎﻭﻥ ﺩﺍ ﺁ‬
‫‪u‬‬ ‫ﺑﻌﺪ ﺍﻟﺘﺤﻴﺔ ﻭﺍﻟﻼﻡ‬ ‫ﻭﺗﻔﻀﻠﻮﺍ ﺑﻘﺒﻮﻝ ﻭﺍﻓﺮ ﺍﻻﺣﺘﺮﺍﻡ‬
‫ﺗﻘﺪﻳﺮﺍ ﻣﻨﺎ ﻟﺠﻬﻮﺩ ﺍﻟﻤﺮﻛﺰ ﺑﻘﻴﺎﺩﺓ ﺳﻴﺎﺩﺗﻜﻢ ﻭﺍﻳﻤﺎﻧﺎ ﺑﺎﻟﺠﻬﻮﺩ ﺍﻟﺠﺬﻭﻟﺔ ﻭﻟﻜﻨﻨﺎ ﻓﻰ‬ ‫ﺭﺋﻴﺲ ﻫﻴﺌﺔ ﺍﻻﺛﺎﺭ ﺍﻟﻤﺼﺮﻳﺔ‬
‫ﺣﺎﺟﺔ ﺩﺍﺋﻤﺔ ﺍﻟﻰ ﺍﻟﻤﺰﻳﺪ ﻭﻳﻴﺒﻬﻢ ﺍﻟﻠﻪ ﻟﺨﻴﺮ ﺭﺳﺎﻟﺔ ﺍﺧﺬﺗﻤﻮﻫﺎ‬
‫ﺩ ﺍﺣﻤﺪ ﻗﺪﺭﻯ‬
‫ﻭﻟﻰ ﺭﺃﻯ ﺃﺗﻮﺟﻪ ﺑﻪ ﺍﻟﻰ ﺳﻴﺎﺩﺗﻜﻢ‬
‫‪ 1‬ﺭﺃﻯ ﺳﻴﺎﺩﺗﻜﻢ ﻛﻮﺟﻬﻪ ﻧﻈﺮ ﺷﺎﻣﻠﺔ ﻟﻌﻤﻴﺎﺕ ﺍﻻﺛﺎﺭ ﺍﻟﻤﺼﺮﻳﺔ ﻭﺧﺎﺻﺔ ﻣﺎ ﻳﺤﺪﺙ‬
‫ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬ ‫ﺍﻟﻰ ﻣﺠﻠﺘﻰ ﺍﻟﻌﺰﻳﺰﺓ‬
‫ﻓﻰ ﺍﻟﻘﻠﻌﺔ ﻣﻦ ﺣﻴﺚ ﺍﻟﻜﻔﺎﺋﺔ ﻭﺍﻣﺠﻬﻮﺩ‬
‫ﺍﻟﻰ ﻛﻞ ﻣﻦ ﺃﺳﻬﻢ ﻭﺑﺬﻝ ﺍﻟﺠﻬﺪ ﻓﻰ ﺇﺧﺮﺍﺝ ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﻌﻈﻴﻢ ﺍﻟﻰ ﺣﻴﺰ ﺍﻟﻮﺟﻮﺩ‬
‫ﻓﻜﺮﺓ ﺃﻧﺸﺎء ﻣﺮﻛﺰ ﺗﺎﺑﻌﺔ ﻟﻠﻤﺮﻛﺰ ﻋﻦ ﻃﺮﻳﻘﻪ ﻧﺴﺘﻄﻴﻊ ﺍﻟﺤﺼﻮﻝ ﺑﻬﺎ ﻋﻠﻰ ﺑﻌﺾ‬ ‫‪2‬‬
‫ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﻛﻤﻮﺍﻋﺪ ﻣﻨﺎﻗﺸﺔ ﺭﺳﺎﺋﻞ ﺍﻟﻤﺎﺝ ﺗﻴﺮ ﻭﺍﻟﺪﻛﻮﺭﺍﺓ ﺍﻟﻨﺪﻭﺍﺕ‬
‫ﺑﻴﺪ ‪3‬ـ ﺍﻟﺼﻮﺭﺓ ﺍﻟﻤﺸﺮﻓﺔ ﻭﺍﻟﻤﺸﺮﻗﻪ ﺃﻳﻐﺎ ﻭﺍﻟﺘﻰ ﻳﻴﺎﻫﻰ ﺑﻬﺎ ﻛﻞ ﻣﺼﺮﻯ ﺑﺮﻏﻢ ﺍﻟﻌﻘﺒﺎﺕ‬
‫ﺍﻟﻤﺤﺎﻓﺮﺍﺕ ﺍﻟﻤﺸﺎﺭﻳﻊ ﺫﺍﺕ ﺍﻻﻓﻜﺎﺭ ﺍﻟﺠﺪﻳﺪﺓ‬
‫ﻫﺬﺍ ﺍﻟﻌﻤﻞ ﺍﻟﺬﻯ ﻧﺘﻠﻬﻒ ﻋﻠﻴﻪ ﻓﻰ ﺑﺪﺍﻳﺔ ﻛﻞ ﻟﺜﻬﺮ ﻭﺍﻟﺬﻯ ﻳﻌﺘﺒﺮ ﺑﻤﺎ ﻳﺤﺘﻮﻳﻪ ﻣﻦ ﻣﺎﺩﺓ‬
‫ﺁﺛﺎﺭ ﻓﻜﺮﺓ ﺗﻨﻤﻴﺔ ﺍﻟﻔﻜﺮ ﺍﻟﻤﻌﻤﺎﺭﻯ ﻣﻦ ﺍﻟﺘﺎﺣﻴﺔ ﺍﻟﻌﻠﻤﻴﺔ ﻝ ﻭﺍء ﺑﺎﻟﻌﻤﻞ ﺍﻟﻤﻜﺘﺒﻰ ﺃﻭ‬ ‫‪3‬‬
‫ﺍﻟﺘﻨﻔﻴﺬﻯ ﻓﻰ ﺍﻟﻤﻮﺍﻗﻊ ﺧﻼﻝ ﺍﻟﻌﻄﻼﺕ ﻭﺫﻟﻚ ﻟﻠﻄﻠﺒﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﻤﻜﺎﺗﺐ‬ ‫ﻳﺤﺔ ﻭﺗﻘﺪﻳﺮ ﻭﺗﻨﺎء‬ ‫ﻋﻤﻠﻴﺔ ﻣﺮﺟﻊ ﻟﻜﻞ ﻃﺎﺑﻰ ﻭﻣﻬﻨﺪﺱ‬
‫ﺍﻻﺳﺘﺸﺎﺭﻳﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻭﺍﻟﺸﺮﻛﺎﺕ ﺍﻟﻘﺎﺋﻤﺔ ﺑﺬﻟﻚ‬
‫ﻣﻊ ﺗﻤﻴﺎﻗﻰ ﻟﻠﻤﺠﻠﺔ ﺑﻜﻞ ﺗﻘﺪﻡ ﻭﺃﺯﺩﻫﺎﺭ‬
‫ﺃﻳﺘﻜﻢ ﻓﻰ ﺍ ﻟﻢ‬ ‫ﻭﻟﺴﻴﺎﺩﺗﻜﻢ ﻓﺎﺋﻖ ﺍﻟﺘﻨﻜﺮﻭﺍﻻﺣﺘﺮﺍﻡ‬ ‫ﻣﺤﻤﺪ ﺣﻤﺰﺓ ﺃﺣﻤﺪ‬
‫ﺃﺣﻤﺪ ﻓﻮﺯﻯ ﺍﻟﻌﺒﺎﻟﻴﻰ‬ ‫ﺍﻟﻤﺠﻠﺔ‬
‫ﻫﻨﺪﺳﺔ ﺍﻻﺳﻜﻨﺪﺭﻳﺔ‬ ‫ﻗﺴﻢ ﺍﻟﻌﻤﺎﺭﺓ‬
‫ﺑﺨﺼﻮﺹ ﻣﺸﺮﻭﻋﺎﺕ ﺗﺮﻣﻴﻢ ﺍﻻﺛﺎﺭ ﻭﺧﺎﺻﻪ ﻣﺸﺮﻭﻉ ﺗﻄﻮﻳﺮ ﻗﻠﻌﺔ ﺻﻼﺡ ﺍﻟﺪﻳﻦ‬
‫ﺳﻮﻑ ﺗﻘﻮﻡ ﺍﻟﻤﺠﻠﺔ ﺑﻌﻤﻞ ﻣﺴﺢ ﻛﺎﻣﻞ ﻭﺗﺤﻘﻴﻘﺎﺕ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ ﻓﻰ ﺍﻻﻋﺪﺍﺩ ﺍﻟﻘﺎﺩﻣﺔ ﺇﻥ‬ ‫ﻣﺪﻳﺮ ﻣﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﺍﻟﺴﻴﺪ ﺍﻻﺳﺘﺎﺫ‬
‫ﺷﺎءﺍﻟﻠﺔ‬
‫ﺍﻟﻼﻡ ﻋﻠﻴﻜﻢ ﻭﺭﺣﻤﻪ ﺍﻟﻠﻪ ﻭﺑﺮﻛﺎﺗﻪ‬
‫ﺳﻨﺒﺬﻝ ﺍﺑﺨﻬﺪ ﻣﻦ ﺃﺟﻞ ﺇﻗﺎﻣﺔ ﻫﺬﺍ ﺍﻟﻤﺮﻛﺰ ﻓﻌﻼ ﺑﺎﻟﺘﻌﺎﻭﻥ ﻣﻊ ﺭﺅﺳﺎء ﺃﻗﺴﺎﻡ ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻳﻬﺪﻯ ﻣﻌﻬﺪ ﻋﻠﻮﻡ ﺍﻷﺭﻓﺮ ﺃﻣﻤﻰ ﻳﺤﺎﺗﻪ ﻟﺸﺨﺼﻜﻢ ﺍﻟﻜﺮﻳﻢ ﻭﻳﺮﺟﻮ ﺗﻜﺮﻣﻜﻢ‬
‫ﺑﺎﻟﻤﻌﺎﻫﺪ ﻭﺍﻟﻜﻴﺎﺕ ﺍﻧﺤﻠﻔﺔ ﻭﺃﺟﻬﺰﺓ ﺍﺑﺤﺚ ﺍﻟﻌﻠﻤﻰ‬ ‫ﻭﺍﻟﻮ ﻓﻰ ﻣﻌﻬﺪﻧﺎ ﺑﻨﺴﺦ ﻣﻦ ﺃﻋﺪﺍﺭﺗﻜﻢ ﻭﺑﺤﻮﺛﻜﻢ‬
‫ﺗﺰﻭﻳﺪ ﺍﺋﺮﺓ ﺍﻟﻤﻌﻠﻮﻣﺎﺕ ﺛﺎﺋﻖ‬
‫‪MALA AANEB‬‬
‫‪LE‬‬ ‫ﻋﺎﻟﻢ ﺍﻟﺒﻨﺎء‬
‫ﺑﻴﺎﻧﺎﺕ ﺍﻻﺷﺘﺮﺍﻙ‬
‫‪noitpircsbuS atad‬‬
‫‪emaN‬‬
‫ﺍﻻﺻﻢ‬
‫‪noisseforP‬‬
‫ﺍﻟﻌﻤﻞ ﺃﻭ ﺍﻟﻮﻇﻴﻔﺔ‬
‫‪sserddA‬‬
‫ﺍﻟﻔﻮﺍﻥ‬
‫‪enohpeleT‬‬
‫ﺭﻗﻢ ﺍﻟﺘﻴﻠﻔﻮﻥ‬
‫‪ ec esu‬ﺑﻪ ‪roF o‬‬ ‫ﻷﺳﻨﻌﻤﺎﻝ ﺍﻷﺩ ﺍﺭﺓ‬

‫‪etaD fo tpiecer‬‬ ‫‪yb‬‬ ‫ﺍﻟﻤﺘﻠﻢ‬ ‫ﺗﺎﺭﻳﺦ ﺍﻻﺻﻼﻡ‬
‫‪laireS oN‬‬
‫ﺍﻟﺮﻧﻢ ﺍﻟﻢ ﻟﻞ‬
‫‪2‬ﺍ‬
‫ﺷﺮﻭﻉ ﺍﻟﻄﺎﻟﺐ‬
‫ﻭﺃ‬
‫ﻭﻋﺚ ﺍ‬
‫ﻋﺎﻧﻰ ﺇﻗﻠﻴﻢ ﺍﻟﻘﺎﻫﺮﺓ ﺍﻟﻜﺒﺮﻯ ﻣﻦ ﻛﺜﻴﺮ ﻣﻦ ﺍﻟﻤﺸﺎﻛﻞ‬
‫ﺍﻟﺘﻰ ﺃﻓﻘﺪﺗﻪ ﺍﻟﻔﻴﻤﺔ ﺍﻟﺠﻤﺎﻟﻴﺔ ﻓﻰ ﻣﻌﻈﻢ ﺃﺟﺰﺍﺋﻪ ﻭﺟﻌﻠﺘﻪ‬
‫ﻳﻌﺠﺰ ﻋﻦ ﺗﺤﻘﻴﻖ ﺃﻧﺴﺐ ﻭﻇﺎﺋﻔﻪ ﻓﻰ ﺍﻟﺘﺮﻭ ‪2‬‬
‫ﻭﻣﺎ ﻳﺤﻘﻘﻪ ﻧﻬﺮ ﺍﻟﻨﻴﻞ ﻟﻺﻗﻠﻴﻢ ﻛﺸﺮﻳﺎﻥ‬ ‫ﻭﺍﻟﺴﻴﺎﺣﺔ‬
‫ﺭﺋﻴﺪﻯ ﻳﻌﻤﻞ ﻛﻤﻨﻄﻘﺔ ﻣﻔﺘﻮﺣﺔ ﻭﺭﺋﺔ ﻳﺘﻨﻔﺲ ﻓﻬﺎ‬
‫ﺍﻹﻗﻠﻴﻢ‬
‫ﻭﻓﻰ ﻫﺬﺍ ﺍﻟﻌﺪﺩ ﻧﻌﺮﺽ ﻣﺸﺮﻭﻉ ﺍﻟﺒﻜﺎﻟﻮﺭﻳﻮﺱ‬
‫ﻟﻠﻄﺎﻟﺐ ﺇﺟﻤﻬﺎﺏ ﻣﺤﻤﺪ ﺃﺑﻮ ﺍﻟﻔﺘﻮﺡ ﻋﻔﻴﻔﻰ ﻭﻗﺪ ﻗﺪﻡ‬
‫ﻫﺬﺍ ﺍﻟﻤﺸﺮﻭﻉ ﻟﻠﺘﺨﺮﺝ ﻣﻦ ﻗﺴﻢ ﺍﻟﺘﺨﻄﻴﻂ ﺑﻜﻠﻴﺔ‬
‫‪ TA‬ﻡ ﺣﻴﺚ ﺗﺼﻞ ﻋﻠﻰ‬ ‫ﺍﻟﻬﻨﺪ ﺟﺎﻣﻌﺔ ﺍﻷﺯﻫﺮ ﻋﺎﻡ ‪Is‬‬‫ﺳﺔ‬
‫ﻛﻠﻘﺪﻳﺮ ﻋﺎﻡ ﺍﻣﺘﻴﺎﺯ ﻣﻊ ﻣﺮﻛﺒﺔ ﺍﻟﺸﺮﻑ‬
‫ﻭﻳﻬﺪﻑ ﺍﻟﻤﺸﺮﻭﻉ ﺇﻟﻰ ﺇﻳﺠﺎﺩ ﻛﻴﺎﻥ ﻣﺘﻜﺎﻣﻞ ﻭﻣﺘﻌﺪﺩ‬
‫ﺍﻷﻏﺮﺍﺽ ﻳﺸﻤﻞ ﺃﻭﺟﻪ ﺍﻟﺴﻴﺎﺣﺔ ﻭﺍﻟﺘﺮﻭﺝ ﻭﺍﻟﺒﺤﺚ‬
‫ﺍﻟﻌﻠﻤﻰ ﻭﺍﻻﻧﺘﺎﺝ ﻭﺍﻟﺜﻘﺎﻓﺔ ﺍﻟﻌﺎﻣﺔ ﻭﻗﺪ ﺍﻧﻌﻜﺲ ﺫﻟﻚ‬
‫ﺧﺮﻳﻄﺔ ﺍﺳﺘﻌﻤﺎﻻﺕ ﺍﻷﺭﺍﺽ‬ ‫ﻋﻠﻰ ﺍﻟﻤﺸﺮﻭﻉ ﺣﻴﺚ ﺍﺷﺘﻤﻞ ﻋﻠﻰ ﺍﻳﺠﺎﺩ ﺣﺪﻳﻘﺔ ﺗﺮﻓﻴﻬﺔ‬
‫ﻛﺒﺮﻯ ﺑﺄﻧﺸﻄﻤﺎ ﺍﻟﺘﺮﻓﻴﻬﺔ ﺍﻳﻌﺪﺩﺓ‬
‫ﻭﺗﻘﻊ ﻫﺬﻩ ﺍﻟﺤﺪﻳﻘﺔ ﻓﻰ ﻣﺠﺎﻝ ﺇﺛﺮﺍﻑ ﻣﺮﻛﺰ ﺍﻻﺑﺤﺎﺙ‬
‫ﺍ ﻟﺰﺭ ﺍ ﻋﻴﺔ‬
‫ﻳﺤﺘﻮﻯ ﺍﻟﺠﺰء ﺍﻟﺘﺮﻓﻴﻰ ﻣﻦ ﺍﻟﻤﺸﺮﻭﻉ ﻋﻠﻰ ﻣﺮﻛﺰ‬
‫ﺗﺠﺎﺭﻯ ﺳﻴﺎﺣﻰ ﻭﻣﺮﻛﺰ ﺛﻘﺎﻓﻰ ﻭﺣﺪﻳﻘﺔ ﺣﻴﻮﺍﻥ‬
‫ﻭﺣﺪﻳﻘﺔ ﻣﻼﻫﻰ ﻭﻗﺮﻳﺔ ﺳﻴﺎﺣﻴﺔ ﻭﻧﺎﺩ ﺭﻳﺎﺽ ﻭﻧﺎﺏ‬
‫ﻟﻠﺘﺠﺪﻳﻒ ﻭﻣﻨﻄﻘﺔ ﻛﺒﻴﺮﺓ ﻟﻠﺘﺮﻭﺝ ﻭﺍﻟﺘﺮﻧﻲ‬
‫ﺃ ‪ ot‬ﺍﻟﺠﺰء ﺍﻟﻌﻠﻤﻰ ﻓﻴﺤﺘﻮﻯ ﻋﻠﻰ ﻣﺮﻛﺰ ﺍﻷﺑﻜﺎﺙ‬
‫ﺍﻟﺰﺭﺍﻋﻴﺔ ﻭﺣﻘﻞ ﺇﻧﺘﺎﺝ ﻛﺒﻴﺮ ﻭﻗﺮﻯ ﺭﻳﻔﻴﺔ ﻧﻤﻮﺫﺟﻴﺔ‬
‫ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻣﻨﻄﻘﺔ ﺗﻌﻠﻴﻤﺔ ﻭﻗﺪ ﺭﻭﻋﻰ ﻓﻰ ﺍﻟﺘﺼﻤﻴﻢ‬
‫ﺍﻳﺴﻨﻼﻝ ﺍﻟﺠﺰﻳﺮﺓ ﻛﻤﻨﻄﻘﺔ ﻟﻠﺘﺮﻭﻉ ﻭﺍﻟﺴﺎﺣﺔ ﺍﻟﺪﺍﺧﻠﻴﺔ‬
‫ﻣﻊ ﺍﻷﺣﻌﻔﺎﻅ ﺑﺎﻟﻘﺮﻯ ﺍﻟﺤﺎﻟﻴﺔ ﺑﻌﺪ ﺗﻄﻮﻳﺮﻫﺎ ﺑﻤﺎ ﻳﻜﻔﻞ‬
‫ﻣﺴﺎﻛﻦ ﻟﻠﻌﺎﻣﻠﻴﻦ ﻓﻰ ﺍﺑﻄﻘﺔ ﺍﻟﺘﺮﻧﺠﺔ ﻭﻣﺮﻛﺰ ﺍﻷﻣﺠﺎﺙ‬
‫ﻭﺣﻘﻮﻝ ﺍﻻﻧﺘﺎﺝ ﻛﺬﻟﻚ ﺿﺮﻭﺭﺓ ﺗﺤﻘﻴﻖ ﺍﻻﻛﻔﺎء‬
‫ﺍﻟﺬﺍﻕ ﻣﻦ ﺍﻟﺨﺪﻣﺎﺕ ﻟﻠﺴﻜﺎﻥ ﺍﻟﻘﺎﻃﻨﻴﻦ ﺑﻬﺎ ﻭﻗﺪ ﺃﺩﻯ‬
‫ﺍﺧﻤﺎﺭ ﻭﺳﺎﺋﻞ ﺍﻻﻧﺘﻘﺎﻝ ﻣﻦ ﻭﺍﻟﻰ ﺍﻟﺠﺰﻳﺮﺓ ﻋﻠﻰ‬
‫ﺍﻟﻘﻮﺍﺭﺏ ﻭﺍﻟﻴﻮﺍﺧﺮ ﻭﺍﻷﺗﻮﺑﺶ ﺍﻟﺘﻬﺮﻯ ﺇﻟﻰ ﺃﻥ ﺗﻜﻮﻥ‬
‫ﺍ ﺯﻳﺮﺓ ﺧﺎﻟﻴﺔ ﻣﻦ ﺍﻟﺴﻴﺎﺭﺍﺕ ﻭﻗﺪ ﺭﻭﻋﻰ ﻓﻰ ﺍﻟﺘﺼﻤﻴﻢ‬
‫ﻛﻮﻓﻴﺮ ﺍﻟﻤﻨﺸﺂﺕ ﺍﻟﺘﺮﻭﻳﺤﻴﺔ ﻭﺍﻟﺴﻴﺎﺣﻴﺔ ﺑﻤﺎ ﻳﻼﻛﻢ ﻭﻇﻒ ﻫﺎ‬
‫ﺍﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﻭﺗﻐﻄﻴﺔ ﺍﻟﺠﺰﻳﺮﺓ ﺑﺸﺒﻜﺎﺕ ﺍﻟﻤﺮﺍﻓﻖ ﺍﻟﻌﺎﻣﺔ ﺑﻤﺎ‬
‫ﻳﻔﻰ ﺑﻤﺘﻄﻠﺒﺎﺕ ﺍﻟﺲ ﻥ ﺟﻤﻬﺎ‬
‫ﺍﻟﻤﻬﻨﺪﺱ ﺍﺑﺮﻫﻴﻢ ﻋﻴﻰ ﻣﺎﺟﺪ‬

‫ﻭﺓ ﺍ ﻟﻰ ﻳﺎﻟﻼﻣﻴﺔ‬ ‫ﺭﻓﻲ ﺍﻟﻊ‬ ‫ﺍﻟﻴﻀﻮ‬
‫ﺑﻠﺪ ﺩﻭﻟﺔ ﺍﻟﺒﺤﺮﻳﺊ‬
‫ﻭﺳﻠﻢ ﻭﻟﻜﺮﺍﻫﺔ ﺍﻳﺪﻭ ﻳﺮﺻﺎ ﺗﺼﻮ ﻳﺮ ﺍﻹﻧﺎﺭ ﺍﻭ ﺍﻟﺠﻮﺍﻥ ﻓﺈﺗﺎ ﻧﻼﺣﻆ ﺗﺒﻜﻬﻢ ﺑﺎﻟﻌﺪ ﻋﻦ ﺍﻳﺼﺎﻭ ﻳﺮ ﺍﻟﺘﺤﺮﺕ ﻓﻰ‬ ‫ﺇﻥ ﺍﻟﺮﺍء ﺍﻟﻤﻜﺮ ﻭﺍﻟﺼﻔﺔ ﻻ ﻗﻲ ﺇﻻ ﻋﻦ ﻃﺮﺑﻖ ﺍﻟﻨﻘﺎﺵ ﺍﻟﻬﺎﺩﻯء ﺍﻟﻤﻨﺪ ﺇﻟﻰ ﺍﻷﺳﺎﻳﺨﺪ ﻭﺍﻟﺮﺍﻳﻴﻦ ﻭﺍﻟﻼﺣﻄﺎﻫـ‬
‫ﺣﺬﺍﺭﺗﻬﻢ ﻣﻤﺎ ﺃﺩﻯ ﺇﻟﻰ ﺗﺢ ﻻ ﺍﻹﻟﺪﺍﻉ ﻓﻰ ﺍﻟﻘﻮﻥ ﺍﻷﺣﺮﻯ ﻣﻦ ﻧﺤﺖ ‪1‬ﻑ ﻭﺃﺭﺍﻥ ﺇﻟﺦ‬ ‫ﺳﻰ ﺍﻟﻤﺤﺎﻝ ﺍﻟﻌﻤﺎﺭﻯ ﻭﻛﺪ ﺍﻟﺤﺚ ﻭﺍﺗﻘﻌﻰ ﺣﻮﻝ ﺣﻮﻣﺮ ﺍﻟﻔﻜﺮ ﺍﻹﺳﻼﻣﻰ ﻭﺗﻄﻴﻘﺎﻧﻪ ﻋﻞ ﺍﻟﻌﺎﺭﺓ ﻓﺈﻧﻪ ﻣﻦ ﻭﺍﺣﻰ‬
‫ﻭ ﻳﻼﺣﻆ ﻣﻦ ﺣﻀﺎﺭﺗﻬﻢ ﺻﺎء ﺻﻔﺎ ﺍﻟﻴﻮﺕ ﺃﻭ ﺍﻟﻤﺎﺣﺪ ﺃﻥ ﺗﺌﻬﻢ ﻫﻮﻗﻦ ﺍﻟﺘﺤﺮﻳﺪ ﻭﻳﻰ ﻣﻦ ﻟﻪ ﺻﻮﻯ ﺃﻧﻬﻢ‬ ‫ﺍﻻﺣﺖ ﺃﻭ ﺍﻟﺪﺍء ﺩﺭﺍﺳﺔ ﺍﻻﺻﻼﻡ ﻟﻜﻰ ﻳﺘﻄﻎ ﺃﻥ ﻳﺨﺮﺡ ﻛﻠﻔﻬﻮﻡ ﻟﻠﻊ ﺍﺯ ﺍﻹﺳﻼﻳﺔ ﺃﻳﻰ ﻟﻢ ﺗﻜﻦ ﻓﻰ ﺑﻮﻡ ﻣﻦ ﺍﻷ ﻳﺎﻡ‬
‫ﺍﻧﺮﺍ ﺷﺔ ﺍﻟﺮﺻﻮﻝ ﻋﻠﻰ ﺍ ﻋﺒﻪ ﻭﺳﻠﻢ ﻓﺄﻋﺢ ﺍﻟﻔﺎﺩ ﺍﻟﻠﻢ ﻧﻔﺬﻝ ﺩﻧﺠﻪ ﺳﺪﻋﺄ ﺇﻭﺭﺍﻋﺄ ﻻ ﻧﻬﺎﻳﺔ ﻟﻪ ﻓﻰ ﺍﺭﺣﺮ‬ ‫ﻝ ﻣﻰ ﻭﻛﻤﺎ ﻋﺮﻓﻼ ﺍﻟﺪﻳﻬﻮﺭﻋﺪﺍﻻﺗﻰ ﺍ ﺭﺍ ‪3‬‬ ‫ﺍﻟﺦ‬ ‫ﻉ ﺍ ﺍ ﺳﻄﺤﻴﺔ ﻋﺎﺭﺓ ﻋﻰ ﺃﺗﺮﺍﺱ ﻭﻋﺘﻮ ﻭﺯﺧﺎﺭﻑ‬
‫ﻭﺍﻟﺤﻄﻮﻁ ﻭﺍﻟﻔﻮﻥ ﺍﻟﻬﻨﺪﺻﻴﺔ ﻭﺭﻛﺮﻳﺨﻬﺎ ﻛﻠﻬﺎ ﻋﻠﻰ ﺍﻟﻤﻨﻰ ﻭﺍﻟﻘﻴﻢ ﺍﺏ ﻳﺔ ﻭﻫﺬﺍ ﺍﺗﺮﻳﻬﺮ ﻫﻮﻧﻔﻪ ﺗﻲ ﻭﺗﻌﺎ ‪3‬‬
‫ﻋﺎ ﺓ ﺗﻌﺮ ﻋﺮ ﻣﻄﻼ ﻣﺤﻤﻊ ﺇﺳﻼﻣﻰ ﻣﻴﺮﻡ ﺅ ﻣﻜﺎﻥ ﻣﺎ ﻟﻪ ﺧﺼﺎﺕ ﺍﻟﺔ ﺍﻟﺤﺎﺕ ﻭﻻﺏ ﺃﻥ ﺗﻠﻨﻰ ﺍﻟﻌﺎﻋﺮ‬
‫ﺍﻹﺻﻼﻡ ﻭﻫﻜﺪﺍ ﻧﻼﺣﻆ ﺃﻥ ﺿﻪ ﺍﻟﺤﺪﺑﺚ ﻛﺎﻥ ﻋﻈﻴﻢ ﺍﻷﺛﺮ ﻓﻰ ﺍﻳﺠﺎﺩ ﻧﻮﻉ ﻣﻐﻴﻦ ﻣﻦ ﺍﻟﻨﻦ ﺍﻟﻤﺘﺪ ﻟﻌﺪﻡ ﺍﻳﺼﻮﻳﺮ ﻟﻴﻌﻞ‬ ‫ﻭﻣﻦ ﻣﺪﺍ ﺍﻳﺮﻳﻒ ﻭ ﻻﻟﻦ ﻭﺍﻳﻔﺤﻌﻰ‬ ‫ﺍﻟﺮﺣﺮﻳﺨﺔ ﺍﻟﻰ ﺗﻌﺮﻛﻜﻤﻼ ﻷﻟﻮﺍﻧﻬﺎ ﻭ ﻟﺤﺮﻛﺎﺍﺗﻬﺎ ﺍﻟﻔﻪ ﻭﺗﺜﻜﻴﻼﺗﻬﺎ‬
‫ﺇﻟﻰ ﻟﻦ ﻻ ﺗﺎ ﻓﻰ ﺍﻻﻟﺪﺍﻟﻢ‬
‫ﺩ ﻧﺮﺍﺕﺍ ﺍﻟﻤﻌﺎﺭﻯ ﺩ ﻧﺮﺍ ﺍﻹﺑﺮﺍﻡ ﻻﻹﺳﻼﻡ ﻓﻰ ﻋﺎﺑﺎ ﻫﺬﺍ ﻣﻦ ﺃﺿﺎ ﺇﻟﻰ ﺃﺿﺎ ﻧﺤﺪ ﺳﻤﺔ ﻣﺜﺮﻛﺔ ﻓﻰ ﺍﻟﻨﺎﺻﺮ‬
‫ﺍﻟﻜﻤﻠﺔ ﺃﻻ ﻭﺱ ﺍﻟﺪﺱ ﺍﻳﻌﻪ ﻳﺮ ﻭﺍﻟﻌﺪ ﻋﻦ ﺍﻟﻘﻞ ﺍﻟﻤﺎﺿﺮ ﻓﻠﻮﻧﻄﺮﻧﺎ ﺇﻟﻰ ﺍﻗﺪﻡ ﺍﻟﺰﺣﺎﺭﻑ ﺍﻟﺤﻮ ﻳﺮﻳﺔ ﻟﻼﺣﺪ‬
‫ﻣﻼﺣﻈﺎﺕ ﻓﻰ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﻔﻨﻰ ﺍﻻﺳﻼﻣﻰ‬ ‫ﻟﻮﺣﺪﻧﻰ ﺍ ﺗﻼ ﻙ ﺍ ﻓﻰ ﺗﺔ ﺍﻟﺼﺨﺰ ﻣﻦ ﺍﻟﻨﻴﺎءﻓﻴﻰ‬
‫ﻟﻬﺎ ﺃﻯ ﻋﻮﺭ ﻹﻧﺎﻥ ﺃﻭ ﺣﻴﻮﺍﺩ ﻭﻛﻞ ﻣﺎ ﻓﻴﻬﺎ ﻋﺎﺭﺓ ﻋﻦ ﺃﺷﺤﺎﺭﻭﻧﺨﻴﻞ ﻭﺗﺼﻮﻳﺮ ﻣﺤﻠﻰ ﻛﺎ ﻳﺪﻭ ﺑﺎﻇﺮ ﺗﺤﻴﻬﺎ ﺍﻟﻔﺎﻥ‬
‫ﻳﻼﺣﻆ ﻣﻦ ﺍﻵﺗﺎﺭ ﺍﻻﺑﻼﻣﺔ ﺍﻟﻜﺜﻴﺮﺓ ﻭﺍﺗﺎﻧﺰ ﺩ ﺍﻟﻌﺎﻟﻢ ﺍﻻﺑﻼﻣﻰ ﺻﻮﺍء ﻣﻬﺎ ﻣﺎ ﻛﺎﻥ ﺭ ﺃﻣﺤﻴﺎ ﺃﻭ ﺃﻓﺮﻳﻘﺎ‬ ‫‪1‬‬ ‫ﺍﻟﻤﻠﻢ ﻟﻠﺨﺔ ﺍﻳﻰ ﺑﻈﻎ ﺃﻥ ﺗﺠﺤﺒﻠﻬﺎ ﻭﻟﻬﺬﺍ ﺍﻟﺪﻉ ﻓﻰ ﺍﻳﺼﻮ ﻳﺮﻣﺤﺎﻭﻻ ﺍﻟﻮﺻﻮﻝ ﻳﺮﺣﻤﺔ ﻣﺎﻻ ﻋﻴﻦ ﺭﺃﺕ ﻭﻻ ﺃﺫﻥ ﺱ‬
‫‪ I‬ﻓﺎﻻﺕ ﺍﻻ ﺓ ﻭ ﻻﻟﺮﺣﻮﻉ ﻟﻬﺪﻩ ﺍﻟﺤﺎﻻ ﻧﺤﺪﻫﺎ ﺇﻣﺎ ﺃﻥ ﺗﻜﻮﻥ ﻓﻰ‬ ‫ﺗﻠﺔ ﺍﻟﻀﺎﻭ ﻳﺮ ﺍﻟﻤﺨﺪﺓ ﺇﻻ ﺭ ﻟﻌﻔﻰ ‪Ua‬‬ ‫ﺩﻭﺭ ﺍﻟﺘﻌﺮﺽ ﻟﺘﻮﻳﺮ ﻣﺎﻟﻪ ﺭﻭﺡ ﻭﻛﺬﻟﻚ ﺍﻟﺤﺎﻝ ﺭ ﺍﻟﺠﺎﻣﻊ ﺍﻷﻣﻮﻯ ﻟﺪﺛﻖ ﻑ ﻉ ﺍﺣﺘﻼﻑ ﻣﻮﻓﻮﻋﺎﺕ ﻓﻀﺎء‬
‫ﻣﺘﺮﺓ ﺯﻣﻨﻴﺔ ﺍﻟﻌﺪ ﺍﻟﻤﺤﻠﻤﻮﻥ ﻓﻴﺎ ﻋﻦ ﺩﻳﻨﻬﻢ ﺍﻭ ﻣﻰ ﺗﺄﺗﻴﺮﻟﺾ ﺍ ﺍﺭﺍ ﺍﻻﻟﻘﺔ ﻟﻼﺳﻼﻡ ﻓﻰ ﺍﻟﻔﻦ‬ ‫ﺍﻟﻤﺤﺪ ﻟﻰ ﻟﻬﺎ ﺇﻻ ﺭﺣﺎﺭﻑ ﻧﺎﻳﺔ ﻭﺻﻮﺭﻟﺘﺼﺮﺭ ﻭﺣﺎﻝ ﻭﺃﻧﻬﺎﺭ ﻭﺍﻳﻰ ﻋﺮﺭﻫﺎ ﺇﻟﺪﺍﻉ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻤﻠﻢ ﺍ ﻷﻧﻬﺎ ﺍﻟﻤﺤﺎﻝ‬
‫ﺍﻹﺻﻼﻣﻰ ﻓﻰ ﺍﻟﻜﺎﻥ ﺍﻟﻤﻌﻴﻦ ﻭﻻ ﻳﺊ ﻫﺬﺍ ﻋﺎﻻ ﺇﻻ ﻓﻰ ﻟﻼﺩ ﺍﻷﻋﺎ ‪ 3‬ﺹ ﺗﺪ ﻳﻜﻮﻥ ﻣﺮﺍﺣﺘﻼﻑ ﺍﻟﻠﻐﺔ ﺃﻭ‬ ‫ﺻﺮﺭﻫﺎ ﻻﻟﻠﻮﺭ ﺍﻷ ﺭﺭﻕ ﺍﻟﺬﻯ ﺗﺤﻠﻠﻪ ﺍﻟﻠﻮﻥ ﺍﻟﻔﻴﺮﻭﺯﻯ ﺍﻟﻼﺯﻭﺭﺩﻯ‬ ‫ﺍﻟﻮﺣﻴﺪ ﻟﻞ ﺍ ﺍﻟﻔﻨﻰ‬
‫ﻋﺪﻡ ﺍﻹﻟﻤﺎ ﻡ ﺍﻟﺔ ﺍﻟﻨﺮ ﻳﺔ ﺍﻟﻤﻄﻘﺮﺓ‬ ‫ﻭﻫﻜﺪﺍ ﺍﻟﺤﺎﻝ ﻓﻰ ﺍﻟﺠﻮﺍﻣﻊ ﺍﻷﺣﺮﻯ ﻣﺺ ﻣﻞ ﺣﺎﻣﻊ ﺇﻟﻦ ﻃﺮﻟﻮﻥ ﻓﻊ ﻛﺮﺓ ﺯﺣﺎﺭﻑ ﺛﺎﻳﻜﻪ ﺇﻻ ﺍﻧﻪ ﻳﺨﻠﺮﻣﻦ‬
‫ﻗﺎﻝ ﺗﻌﺎ ﻟﻰ ﻭ ﻳﺄﻟﻮﻟﻚ ﻋﻦ ﺍﻟﺮﻭﺡ ﻗﻞ ﺍﻟﺮﻭﺡ ﻣﻦ ﺃﻣﺮﺭﺳﻰ ﻟﺬﺍ ﺿﺪ ﺍﻟﻌﺪ ﺍﻟﻤﻤﺎﺭﻯ ﺍﻟﻤﻠﻢ ﻋﻦ ﻛﻞ ﻣﺎ‬ ‫‪2‬‬ ‫ﺍﻟﺼﻮ ﻳﺮ ﻭﻓﻰ ﺍﻟﻐﺮ ﺍﻟﺮﻟﻰ ﺃﻳﻀﺎ ﻧﺮﻯ ﻣﻞ ﻣﺬﺍ ﺍﻷﺗﺮ ﻭﺍﻗﺎ ﻣﺎ ﻭﺣﺪﻕ ﻗﺼﺮ ﺍﻟﺤﺮﺍء ﻟﻀﻨﺎﻃﺔ ﺳﺎﻷﻧﺪﻟﻰ ﻣﻦ ﺻﻮﺭ‬
‫ﻭﺣﺰﻑ ﻓﻴﻬﺎ ﻻﻟﺮﺑﺎﺩﺓ ﺍﻭ‬ ‫ﻳﺨﻪ ﺭﻭﺡ ﻭﺍﻣﺎﺯ ﻓﻨﻪ ﻻﻳﺤﺮﻳﺪ ﻭﻧﻘﻞ ﻋﻮﺭ ﻳﻰ ﻓﻴﺎ ﺭﻭﺡ ﻛﺎﻟﺜﺠﺮﻭﺍﻻ‬ ‫ﻣﺨﺪﺓ ﻓﻬﻰ ﺗﻤﻞ ﻋﻤﺎﺭﺓ ﺍﺻﻼﻳﺔ ﻣﻌﺪﺓ ﻋﻦ ﺍﻧﻬﺢ ﺍﻟﺼﺤﻲ ﻭﻻ ﺃﺩﻝ ﻋﻠﻰ ﺫﻟﻚ ﺇﻟﻰ ﺣﺎﻑ ﺑﻬﺎﻝ ﺍﻟﻘﺼﺮ ﻣﻦ‬
‫ﻻﻟﺘﺼﺎﺭ ﺣﻮﻧﺎ ﻣﻰ ﺍﻟﻘﻴﺪ ﺍﻟﻤﺎﺻﺮ ﺍﻟﺆﻯ ﺗﺪ ﻳﺆﻯ ﺇﻟﻰ ﺍﻳﺼﻮﻳﺮﺑﻤﻌﻨﺎﻩ ﺍﻻﻣﻞ‬ ‫ﺍﻟﺬﺡ ﺍﻟﻔﺎﺥ ﺍﻟﺪﻯ ﻟﻢ ﻳﺄﻣﺮ ﻟﻪ ﺍﻹﺻﻼﻡ ﻛﺪﻳﻦ ﻭ ﻟﻬﺬ ﺍﻟﻘﺪﺕ ﺍﻟﻤﻮﺣﺰ ﻭﺩ ﺃﻥ ﺍﺭﺧﻞ ﻓﻰ ﺍﻟﻤﻮﺿﻮﻉ ﻭﻣﻮﺗﻮﺿﻎ ﺿﻰ‬
‫ﺍﻟﻼﺣﻈﺎﻫـ ﻓﻰ ﺍﺗﺼﻮﻳﺮ ﺍﻟﻔﺶ ﺍﻹﺳﻼﻣﻰ‬
‫ﻳﻘﻮﻝ ﺭﻭﺟﻪ ﻛﺎﺭﻭﺩﻯ ﺭ ﻳﻬﺎﺋﻪ ﺻﺜﺮﺍﺕ ﺍﻹﺳﻸﻡ ﺇﺩ ﺟﻤﻎ ﺍﻟﻔﻨﻮﻥ ﺭ ﺍﻹﺳﻼﻡ ﻣﺆﺩﻳﺔ ﺇﻟﻰ ﺍﻟﺤﺪ ﻭ ﻳﻘﺆ‬ ‫‪3‬‬
‫ﺍﻟﻢ ﺣﺪ ﻟﺪﻭﺯ ﺇﻟﻰ ﻋﺎﺩﺓ ﺍﺩ‬ ‫ﻟﺔ ﻓﻲ ﻫﺬﺍ ﺍﻟﻤﻮﻓﻊ ﻣﺎ ﻗﺮﺍﺗﻪ ﻓﻲ ﺍﻟﻌﺪﺩ ‪ 52‬ﺃﻏﻄﻰ ‪ YIVI1‬ﻣﻦ ﻛﻠﺔ ﺧﺎﻟﻢ‬ ‫ﻭﻗﺪ ﺩﻋﺎﻧﻰ ﺇﺩ ﺍﻝ‬
‫ﻭﻋﺒﻪ ﻓﺎﻟﻔﻦ ﻓﻰ ﺍ ﺍﺣﺪ ﻟﻢ ﺑﻜﻦ ﻟﻴﺨﺪﻡ ﻏﺮﺿﺎ ﺩﻳﻨﻴﺎ ﻣﺎﺿﺮﺃ ﻭﻛﺬﻟﻚ ‪ U IL5J‬ﻧﺔ ﻟﻠﻀﻮﻳﺮ ﻓﻠﻢ ﺏ ﺗﻊ ﻝ‬ ‫ﻭﻏﺖ ﻋﻨﻮﺍﻥ ﺣﻮﻫﺮﺍﻟﻔﻜﺮﺍﻹﻣﻼﺱ ﻣﺎ ﻣﻴﻪ ﺑﻘﻠﻢ ﺍﻟﺪﻛﻮﺭﺓ ﻣﻌﺎﺩ ﻣﺎﻫﺮ ﻭﻓﻰ ﺍﻟﻊ ﻭﺩ ﺍﻥ ﻧﻰ‬ ‫ﺍﻟﻨﺎء‬
‫ﺍﻟﻔﻘﺮﺓ ﺍﻟﻨﺎﻧﻴﺔ ﻣﻦ ﺍﻟﻤﻘﺎﻝ ﺗﻔﻮﻝ ﺍﻟﺪﻛﻮﺭﺓ ﻳﻂ ﺩ ﻣﺎ ﺑﻞ‬
‫ﻭﻳﺮ ﻟﺤﺪﻣﺔ ﺍﻟﺪﻳﺮ ﻛﻤﺎ ﻓﻰ ﺍﻷﺩﻳﺎﻥ ﺍﻷﺣﺮﻯ ﻭﻟﻢ ﻳﺪﺣﻞ ﺍﻟﻤﺴﺤﺪ ﺻﻮﺭ ﻷﺷﺤﺎﻋﻰ ﺍﻷﻧﻴﺎء ﺃﻭ ﺣﻴﻮﺍﻥ‬ ‫ﺍﻝ‬
‫ﻭﺃﻣﺘﻠﺔ ﺩ ﺭ ﺃﻓﺪﻡ ﺍﻟﺰﺣﺎﺭﻑ ﺍﻳﻌﻮ ﺑﺮﻳﺔ ﺍﻻﻟﻖ ﺩﻛﺮﻫﺎ‬ ‫ﻭﺍﻟﻘﺼﺪ‬ ‫ﺍﻣﺎ ﻋﻦ ﻛﺮﺍﻳﺔ ﺍﺗﻌﻮ ﻳﺮ ﻋﻨﺪ ﺍﻟﻤﻠﺴﻴﻰ ﻓﺄﺻﺎﺻﺎ ﺃﺣﺎﺩﺑﺖ ﻧﻨﻰ ﺇﻓﻰ ﺍﻟﺶ ﻋﻠﻰ ﺍﻟﻠﻪ ﻋﻴﻪ ﻭﺳﻠﻢ‬
‫ﻣﻬﺎ ﺍﻟﻌﺪ ﻋﻦ ﺍﻟﻮﺗﻨﻴﺔ ﻭﻋﺎﺩﺓ ﺍﻷﺻﺎﻡ ﻭﺫﻟﻚ ﺿﻼ ﻋﻦ ﻛﺮﺍﻫﻴﺔ ﺍﺗﺮﻑ ﻕ ﺩﻟﻚ ﺍﻟﻌﺼﺮ ﺍﻟﺪﻯ ﺳﺎﺩ ﻓﻴﻪ ﺍﻟﺮﻫﺪ‬
‫ﻇﻬﻮﺭ ﻟﻌﺾ ﺍﻟﺼﻮﺭ ﻟﻸﻻء ﻭﺍﻟﻌﺤﺎﻟﺔ ﻭﺫﻟﻚ ﻟﻌﺪ ﺍﻹﻧﺤﺮﺍﻑ ﻋﻰ ﺣﺎﺩﺓ ﺍﻹﻣﺤﻼﻡ ﻓﻰ ﻋﺼﻮﺭ ﺍﻟﺠﻬﻞ ﻭﻝ ﻟﻢ‬ ‫‪4‬‬
‫ﻭﺍﻟﻔﻒ ﻭﺍﻟﺠﻬﺎﺩ ﺭ ﺳﻞ ﺍ‬
‫ﺍﻟﺪﻳﻦ ﺍﻹﺻﻼﻣﻰ ﻛﻌﺼﺮ ﺗﻴﻤﻮﺭﻧﻚ ﻭﻋﺼﺮ ﺍﻟﺪﻭﻟﺔ ﺍﻟﺼﻨﻮ ﻳﺔ ﺍﻟﻔﺎﺭﺳﻴﺔ‬
‫ﻛﻤﺎ ﺭ ﻓﻰ ﺽ ﺍﻟﺼﻮﺭ ﺍﻹﺳﻼﻳﺔ ﺻﻮﺭ ﺗﺎﺗﻴﻞ ﻟﺘﻘﻠﻴﺪ ﺍﻷﻛﺎﺳﺮﺓ ﺭﺍﻷ ﻻﻃﺮﺓ ﻳﺨﺬﻛﺮ ﺍﺗﺎﺭﻳﺦ ﺃﻥ‬ ‫ﺃﻣﺎ ﺍﻟﻘﻮﻝ ﻷﻥ ﺍﻹﺻﻼﻡ ﺣﺮﻡ ﺍﺗﺼﻮﻳﺮﻓﻠﻴﻰ ﻟﻪ ﺃﺻﺎﺱ ﻣﻦ ﺍﺕ ﺇﺫ ﻟﻢ ﺗﻌﺮﺽ ﺍﻟﻀﺂﺭ ﺍﻟﻜﺮﻳﻢ ﻟﺘﺼﻮﻳﺮﺷﻰء‬
‫ﺑﻘﻮﻝ ﻧﻌﺎﻟﻰ ﻭﻣﺎ ﺑﻨﻄﻖ ﺹ ﺍﻟﻬﻮﻯ ﺇﺭ ﻫﺮﺇﻻ ﻭﺣﻰ ﺑﻮﺣﻰ ﻋﻠﺼﻪ ﺷﺪﺑﺪ ﺍﻟﻘﻮﻯ ﻋﺪﻕ ﺍ ﺍﻟﺼﺒﻢ‬
‫ﺍﻟﻤﺺ ﻭﺭ ﻗﺪ ﺃﺗﺎ ﻡ ﻧﺮﻕ ﺗﺔ ﺿﺮ ﻟﻨﺪﺍﺩ ﺗﻤﺎﻷ ﻟﻔﺎﺭﺱ ﻟﻴﺪﻩ ﺭﻣﺢ ﻭﺃﻷ ﺍﻷﻣﻴﻦ ﻃﺮﺗﺎﺕ ﻋﻠﻰ ‪ a‬ﺓ ﺭ ﺃﺿﻜﺎﻝ‬
‫ﻧﻮﺭ ﻭﺣﻴﺎﻥ ﻭﺁﺳﻮﺩ ﻧﻎ ﻣﻦ ﻫﺬﺍ ﺃﻥ ﻓﺎﻙ ﻋﻮﺭﺃ ﺭﺕ ﻓﻰ ﺃﻭﻗﺎﺕ ﻣﻌﻴﻨﺔ ﻭﻟﻜﻨﻬﺎ ﺍﻧﺪﺗﺮﺕ ﻳﺎ ﻋﺪ‬ ‫ﺍﻝ ﻋﻠﻪ ﻭﺳﻠﻢ ﻻ ﻳﺨﻄﻖ ﻋﻦ ﺍﻟﻬﻮﻯ ﻟﺬﻟﻚ ﻓﺈﻥ ﺍﻹﺻﻼﻡ ﻫﻮﺍﻟﻀﺂﻥ ﻭﺍﻟﺔ ﻭﻻ ﺿﻞ‬ ‫ﻭﻟﻤﺎ ﻙ ﺍﻥ ﺍﻟﺮﺻﻮﻝ ‪ 1‬ﺻﻠﻰ ﻟﻪ‬
‫ﻫـ ﺍﻟﺮﺣﻮﻉ ﻟﻠﻌﻨﻴﺪﺓ ﺍﻟﺼﺤﺒﺤﺔ‬
‫ﻟﻨﻬﻤﺎ ﺍﻟﺔ ﻭﻟﺖ ﺍﻟﺪﻳﻬﻮﺭﺓ ﺍﻟﻨﺎﺿﻠﺔ ﻝ ﺳﻼﻡ ﻋﺪﻡ ﺗﺤﺮﺏ ﺍﺗﻌﻮﻳﺮ ﻣﺪﺓ ﺇﻟﻰ ﺃﻥ ﺍﻟﻘﺮﺁﻥ ﻟﻢ ﻳﺰ ﻟﻪ ﺗﺤﺮﻳﻢ‬
‫ﻟﻠﻀﻮ ﻳﺮ ﻭﺗﺠﺎﻫﻞ ﺍﻟﻨﺔ ﻣﻊ ﺍﻋﺮﺍ ﺍ ﻓﻰ ﻟﺪﺍﻳﺔ ﺍﻟﻔﻘﺰ ﻟﻮﺣﻮﺩ ﺍﻷﺣﺎﺩﻳﺖ ﺍﻟﺪﺍﻟﺔ ﻛﻞ ﺍﻟﻨﻰ ﻋﻦ ﺍﻟﺘﺼﻮ ﻳﺮ ‪6‬ﻟﺮﺍءﺃ‬
‫ﺍﺻﺎ ﻓﻰ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻘﺮﻳﺔ ﻛﻌﻤﺮ ﺍﻟﻌﺴﺎﻳﺨﻴﻦ ﻓﺈﻧﻨﻬﺒﻢ ﻟﻢ ﻳﻘﺘﻮﺍ ﻻﻟﺼﻮﺭﻭﺍﻟﺮﻣﻮﻡ ﻟﻞ ﻛﺎﻥ ﻟﻬﻢ ﺿﻞ ﺗﻄﻮﻳﺮ‬ ‫‪5‬‬ ‫ﻟﻠﺮﺻﻮﻉ ﻭﺗﺤﻴﻼ ﻣﻦ ﺍﺗﺎﺭﻳﺦ ﺍﻭﺣﺮﻓﺎ ﺑﻌﺾ ﺍﻟﻤﻼﺣﻄﺎ ﻭﺃﻭﺭﺩﺽ ﺍﻻﺣﺎﺩﻳﺖ ﺍﻟﻮﻳﺔ ﺍﻟﺜﺮﻳﻔﺔ ﻓﻰ ﻫﺬﺍ ﺍﻟﺜﺄﻥ‬
‫ﺍﻟﺤﻂ ﺍﻟﻌﺮﻟﻰ ﻓﻰ ﺍﻟﻊ ﺍ ﻭﺍﻟﺰﺣﺮﻑ ﻭﻻ ﻳﻤﺎ ﻟﻠﻘﺜﺎﻧﻰ ﺍﻟﻤﺘﻮﻥ ﺅﻳﺬﻛﺮﺃﻧﻪ ﻋﺪﻣﺎ ‪ a‬ﻣﺢ ﺩ ﺍﻟﻔﺎﺗﻊ‬ ‫ﺑﻄﺒﻊ ﺍﻟﻌﺼﺎﺭﻯ ﺍﻟﻤﻠﻢ ﺃﻥ ﻳﻐﻠﻰ ﻟﻠﺪﻭ ﺍﻟﻤﺘﻜﺎﻣﻠﺔ ﻟﻠﺢ ﻭ ﺑﺮ ﻓﻰ ﺍﻹﺳﻼﻡ‬
‫ﺍﻟﻀﻄﻄﻴﺔ ﻭﺧﻮﻝ ﺑﻬﺔ ﺃﻳﺎ ﻋﺮﻳﺨﺎ ﺇﻟﻰ ﺣﺎﻣﻊ ﻗﺎﻡ ﻟﻄﻤﻰ ﺍﻟﻌﺮﺭ ﻟﻜﻰ ﻻ ﺗﺮﻯ ﻭﻟﻜﻦ ﻓﻴﻤﺎ ﻋﺪ ﻭﻓﻰ‬
‫ﻋﻬﺪ ﺃﻻﺗﻮﺭﻙ ﺃﻛﻴﺪ ﺣﻼء ﻣﺎ ﻃﺴﻰ ﺹ ﺻﻮﺭ‬ ‫ﺍﺛﺮﻓﻘﻪ ﺍﻟﺤﺪﻳﺚ ﻓﻰ ﺍﻟﺤﻀﺎﺭﺓ ﻭﺍﻟﻔﻨﻮﻥ ﺍﻻﺳﻼﻣﻴﺔ‬
‫ﻳﻼﺣﻆ ﻛﺬﻟﻚ ﻋﺪﻡ ﺗﻌﻈﻴﻢ ﺍﻟﻌﻮﺭﻣﻊ ﻧﺪﺭﺗﻬﺎ ﻓﻠﻢ ﻳﻜﺊ ﻣﻨﺎﻙ ﻓﻨﺎﻥ ﻣﺴﻠﻢ ﻋﻈﻢ ﻓﻨﻪ ﻛﻨﺊ ﺩ ﻧﻨﺎ‬ ‫‪6‬‬
‫ﺍﻋﺘﺮﻩ ﻣﺮﺁﺓ ﻟﻌﻜﻰ ﻓﺒﻤﻪ ﺍﻟﺮﻭﺣﺒﺔ ﻭﺍﻹﺳﻼﻣﺒﺔ ﻓﻠﻢ ﺑﻌﻤﻞ ﻛﻤﺎ ﻋﻤﻞ ﻣﺎﺑﻜﻞ ﺃﻧﺠﻠﻮ ﻟﻌﺪ ﺇﺗﻤﺎﻣﻪ‬ ‫ﻭﺗﻞ ﺍﻳﻄﺮﻕ ﻟﻸﺗﺮﺗﻄﺮﻕ ﻟﺾ ﺃﺡ ‪ t‬ﺏ ﺍﻟﺮﺳﻮﻝ ﻋﻠﻰ ﺍ ﻋﻴﻪ ﻭﺿﻠﻢ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺤﺎﻝ‬
‫ﻟﻨﺤﺖ ﺗﻤﺎﻝ ‪ 0jpp‬ﺍﻟﻀﺨﻢ ﺣﻴﻦ ﺭﺱ ﺍﻟﻤﻄﺮﻗﺔ ﻓﻲ ﻭﺟﻪ ﺍﻟﺘﺜﺎﻝ ﻭﻗﺎﻝ ﻟﻪ ﺗﻜﻠﻢ ﻭﻛﻤﺎ ﻳﻼﺣﻆ‬ ‫ﻻ ﺗﺪﺧﻞ ﺍﻟﻤﻼﻟﻜﺔ ﻟﻲ ﺍ ﻳﺨﻪ ﻛﺪ ﺃﻭﺻﻮﺭﺓ‬ ‫ﻣﻦ ﺣﺪﻳﺖ ﺍﻟﺼﺤﻴﺤﻴﻦ ﻋﻦ ﺍﻟﺮﺳﻮﻝ ﻋﻞ ﺍﻟﻠﻪ ﻋﻠﻴﻪ ﻭﺻﻠﻢ‬
‫ﺃﻳﻀﺎ ﺃﻧﻪ ﻟﻢ ﻳﺮﺩ ﺃﻯ ﺃﻡ ﺍء ﻟﻠﻤﻌﻮﺭﻳﻦ ﻓﻰ ﻓﻲ ﺍﻟﺘﺎﺭﺥ ﺍﻹﺳﻼﺱ ﻣﻤﺎ ﻳﺪﻝ ﻋﻞ ﻋﺪﻡ ﺍﻹﻫﺘﻤﺎﻡ‬ ‫ﺇﻥ ﺍﻟﺬﻳﻦ ﻳﺼﻨﻌﻮﻥ ﻫﺬ ﺍﻟﻌﻮﺭﻳﻐﺬﻟﻮﻥ ﻳﻮﻡ‬ ‫ﻋﻦ ﺍﻟﻦ ﻋﺮﺭﺻﻰ ﺍﻟﻠﻪ ﻛﻬﻤﺎ ﻗﺎﻝ ﺭﺳﻮﻝ ﺍﻟﻠﻪ ﺹ ﺍﻟﻠﻪ ﻋﻞ ﻭﻣﻠﻢ‬
‫ﻻﻟﺘﺼﻮﻳﺮ‬ ‫ﺍﻟﻴﺎﻣﺔ ﻭ ﻳﻘﺎﻝ ﻟﻬﻢ ﺃﺟﻮﺍ ﻣﺎ ﺣﻠﻘﺘﻤﺎ‬
‫ﻋﺬﺍﻝ ﻳﻮﻡ ﺍﻟﺘﻴﺎﻣﺔ‬
‫ﺇﻥ ﺍﺷﺪ ﺍﻟﻨﺎﺱ ﺍ‬ ‫ﻋﺊ ﺍﻟﻰ ﺳﻌﺆ ﺭﻋﻰ ﺍﻟﻠﻪ ﻋﻨﻬﻤﺎ ﻗﺎﻝ ﺭﺻﻮﻝ ﺍﻟﻠﻪ ﺻﻠﻰ ﺍﻟﻠﻪ ﻋﻴﻪ ﻭﺳﻠﻢ‬
‫ﻣﺤﻠﺔ ﺍﻟﻤﺨﻊ ﺍﻟﻜﻮ ﻳﻴﺔ ﺍﻭﺭﺩ ‪ 084‬ﺍﻟﻮﺍﻓﻖ ‪ 31‬ﻡ ﺍﻳﻮ ‪i‬‬
‫‪A‬‬ ‫ﺍﻟﻘﻮﺭﻭﺩ‬
‫ﺍﻟﺔ ﺍﻟﻤﻄﻬﺮﺓ ‪ I‬ﻟﻤﺤﻤﺪ ﻻﺻﺮ ﺍﻟﺪﺑﺮ ﺍﻷﻻﻧﻰ ﺍﻟﻨﺎ ﺹ ﻣﺆﺳﺔ ﺍﻟﻤﺼﺮﻯ‬ ‫ﻳﻬﺎ ﺁﺩﺍ ﺍﻟﺮﻻ‬ ‫ﻋﻞ ﺍ ﻋﻞ ﻭﺳﻠﻢ ﻟﻌﻞ ﺭﺻﻰ ﺍ ﻛﻪ ﻻﺗﺪﻍ ﻋﺮﺭ ﺇﻻﻃﺼﺤﻘﺎ‬ ‫ﺗﺎﻝ ﺭﺳﻮﻝ ﺍ‬
‫ﺱ ﻣﺤﺎﺿﺮﺍﻫـ ﺗﺄﻋﻞ ﺍﻟﻘﻴﻢ ﺍﻻﺑﻼﻣﻴﺔ ﻓﻰ ﺍﻟﻌﻤﺎﺭﺓ ﺻﻜﺰ ﺍﻟﺪﺭﺍﺳﺎﻫـ ﺍﻟﺘﺤﻄﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬ ‫ﻋﻦ ﺍﻟﻦ ﻋﺎﺱ ﺭﺻﻰ ﺍ ﻛﻬﺴﺎ ﻗﺎﻝ ﺳﻌﻰ ﺭﺻﻮﻝ ﺍﻟﻠﻪ ﺹ ﺍﻟﻠﻪ ﻋﻴﻪ ﻭﺻﻠﻢ ﻳﺘﻮﻝ ﻣﻦ ﺿﻮﺭﻋﻮﺭﺓ ﻓﻰ‬
‫ﻣﺤﻠﺔ ﺍﻷﻣﺔ ﺍﻟﻘﻄﺮﻳﺔ ﺍﺩ ‪ 42 a‬ﺍﻟﺔ ﺍﻳﺎﻟﺔ ﺍﻛﺘﻮﻟﺮ ‪2811‬‬ ‫ﺍﻟﺪﻧﻴﺎ ﻛﻠﻒ ﺃﺭ ﻧﺠﻔﺢ ﻓﻴﻬﺎ ﺍﻟﺮﻭﺡ ﻭﺑﻰ ﻻﻓﺦ ﺗﻤﻖ ﻋﻠﻴﻪ‬
‫ﺍﻟﻌﺪ ‪ og itA I a‬ﺿﻌﺎﺭ ‪2041‬‬ ‫ﺟﻤﻠﺔ ﺍﻟﺪﻋﻮﺓ ﺍﻝ ﻋﻮﺩﺑﺔ‬ ‫ﺍﻟﻰ ﺣﻤﺎﻟﻰ ﺃ ﺩﻳﺖ ﺍﻟﺮﺻﻮﻝ ﺻﻞ ﺍﻟﻠﻪ ﻋﻠﻴﻪ ﻭﺳﻠﻢ ﻓﺘﺪ ﺍﺗﻔﻖ ﺍﻟﻌﻘﻬﺎء ﻓﻲ ﻛﻼ ﻳﺨﻴﻢ ﺍﻷﺳﺔ ﺍﻷﺭﻟﻌﺔ ﻋﻞ ﺧﺮﻣﺔ‬
‫ﺷﺪ ﻭﻥ ﺃ ﻟﻤﻬﻢ ﺍﻟﻤﺤﻠﻤﻴﻰ ﻟﻨﻬﻰ ﺍﺭﺳﻮﻝ ﻋﻞ ﻟﺜﻪ ﻋﻞ‬ ‫ﺍﻟﻤﻮ ﻳﺮ ﻭﺍﻟﻤﺼﻮﺭﻳﻰ ﻣﻊ ﺍﻹﺣﻼﻑ ﺍﻟﻴﻂ ﻭﻛﻞ‬
‫‪U‬‬
‫‪AMLA E‬‬
‫‪W‬‬
‫ﺍﻟﺘﺸﺮﺓ ﺍﻟﻌﻠﻤﻴﺔ ﻟﻤﺮﻛﺰ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺨﻄﻴﻄﻴﺔ ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬
‫ﺑﺨﺖ ﺍﻟﻤﻮﺋﻞ‬ ‫ﺃﺧﺒﺎﺭ ﺍﻟﻤﻮﺋﻞ‬

‫ﺩ ﺣﺎﺯﻡ ﻣﺤﻤﺪ ﺍﺑﺮﺍﻫﻴﻢ‬ ‫ﺍ‬ ‫ﻓﺎﺯ ﺍﻟﻤﺮﻛﺰ ﺑﺈﺣﺪﻯ ﺍﻟﺠﻮﺍﺋﺰ ﺍﻟﺘﻘﺪﻳﺮﻳﺔ ﻓﻲ ﻣﺎﻟﻘﺔ ﺍﻟﻤﺮﻛﺮ‬
‫ﺍﻟﺘﺠﺎﺭ ﻯ ﺍﻹﺩﺍﺭﻯ ﺑﻤﺪﻳﺔ ﺃﺑﻮ ﻓﻲ ﻭﻗﺪ ﺃﺷﺘﺮﻙ ﻓﻴﻬﺎ ﻋﺪﺩ‬
‫ﻭﺍﻟﻤﺸﺮﻭﻉ ﻳﻐﻄﻰ‬ ‫ﻛﺒﻴﺮ ﻣﻦ ﺍﻟﻤﻜﺎﺗﺐ ﺍﻷﻳﺜﺎﺭﻳﺔ ﺍﻟﻌﺎﻳﺔ‬
‫ﺍﻟﻄﻤﻤﺔ ﺱ ﺍﻟﻮﻋﺎء ﺍﻟﻜﺒﻴﺮ ﺍﻟﺪﻯ ﻗﻊ ﻓﻌﻪ ﺍﻟﻤﺪﻳﻨﺔ ﻭﻗﺪ ﻛﺎﻧﺖ ﺍﻟﻄﺒﻴﻌﺔ ﻫﻰ ﺍﻟﻤﻮﻃﻦ ﺍﻷﺻﻞ ﻟﻺﻧﺴﺎﻥ‬ ‫ﻣﺎﺣﺔ ﻃﻮﻟﻬﺎ ‪ 0053‬ﻡ ﻭﻋﺮﺿﻬﺎ ‪ 055‬ﻡ ﻧﻤﻨﺪ ﻓﻲ ﻭﺳﻂ‬
‫ﻭﻓﻴﻬﺎ ﺍﻟﺼﺤﺎﺭﻯ‬ ‫ﺣﻨﻦ ﻋﻤﺮ ﺍﻷﺭﺽ ﻭﻋﺎﺻﺮ ﺍﻟﻄﺠﻌﺔ ﻋﺪ ﺩﻩ ﻳﺨﻬﺎ ﺍﻟﻤﺎء ﻭﺍﻟﻨﺒﺎﺕ ﻭﺍﻟﺠﻤﺎﺩ‬ ‫ﺍﻟﻤﺪﻳﻨﺔ ﻭﻗﺪ ﺍﻳﺰﻡ ﺍﻟﺘﺼﻤﻴﻢ ﺍﻟﻤﻘﺪﻡ ﺑﺎﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺍﻟﻘﻴﻢ‬
‫ﻭﺍﻟﻐﺎﻻﺕ ﻭﺍﻟﺠﺎﻝ ﻭﺍﻟﻮﺩ ﻥ ﻛﻤﺎ ﻓﻴﻬﺎ ﺍﻟﻬﻮﺍء ﻭﺍﻟﺸﻤﺲ ﻭﺍﻟﺤﺮﺍﺭﺓ ﻭﺍﻟﺒﺮﻭﺩﺓ ﻭﺍﻟﻤﻄﺮ ﻭﺍﻟﺜﻠﺞ ﻭﺑﻤﺪﺍ ﻋﻦ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻏﻠﺔ ﻟﻠﻨﻄﻘﺔ‬
‫ﺍﻟﺠﺎﻧﺐ ﺍﻟﺠﻤﺎﻟﻰ ﺗﺤﺜﻠﻒ ﺍﻟﻨﻈﺮﺓ ﺍﻟﻰ ﺍﻟﻄﺒﻴﻌﺔ ﺣﺴﺐ ﺍﻟﺘﺨﺼﺺ ﻭﺍﻟﻨﺸﺎﻁ ﺍﻟﻤﻤﺎﺭﺱ ﻓﻬﻰ ﺑﺎﺑﻪ ﻟﻤﻬﻨﺪﺱ‬ ‫ﻓﺎﺯ ﺍﻟﻤﺮﻛﺰ ﺑﺈﺣﺪﻯ ﺍﻟﺠﻮﺍﺋﺰ ﺍﻷﻭﻓﻰ ﻓﻲ ﻋﻠﻴﻂ ﻭﺗﺼﻤﻴﻢ‬
‫ﺍﻟﻜﻬﺮﺑﺎء ﻣﻤﺪﺭ ﻟﻠﻄﺎﻗﺔ ﻭﺍﻟﺌﺔ ﻟﻤﻬﻨﺪﺱ ﺍﻟﻤﺠﻮﻟﻮﺝ ﺍ ﻃﺒﻘﺎﺕ ﻭﻋﻤﻮﺭ ﺟﻴﻮﻟﻮﺟﻴﺔ ﻭﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﻬﻨﺪﺱ‬ ‫ﻯ‬ ‫ﻣﺠﺎﺭﺭﺓ ﻳﻜﻨﻴﺔ ﻟﻲ ﺣﺪ ﺃﺡ ﺍء ﻣﺪﻳﻨﺔ ﺍﻟﺒﻮﺭ ﻭﺱ‬
‫ﺍﻻﻧﺸﺎﻓﻰ ﻣﺼﺪﺭﺍ ﻟﻤﻮﺍﺩـ ﺍﻟﺒﻨﺎء ﻭﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻨﺎﻥ ﻣﺼﺪﺭ ﻭﺣﻰ ﺍﻟﻬﺎﻡ ﻭﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻤﻌﻤﺎﺭﻯ ﻫﻰ ﺍﻟﻤﻤﺪﺭ‬ ‫ﺍﻟﻤﺪﻥ ﺍﻟﺠﺪﻳﺪﺓ ﺍﻟﺘﻰ ﻛﻘﻊ ﻋﻞ ﺍﻟﻄﺮﻳﻖ ﺍﻟﻤﺤﺮﺍﻭﻯ ﺍﻟﻤﺆﺩﻯ ﺵ‬
‫ﺍﻟﺪﻯ ﻛﺘﺨﻠﻤﻰ ﻓﻪ ﺧﻄﻮﻃﻪ ﻭﺍﺷﻜﺎﻟﻪ ﻭﻛﻜﻮﻳﻨﺎﺗﻪ‬ ‫ﻟﻠﻤﺸﺮﻭﻉ ﻓﻲﻭﻗﺪﺭﻙ‬
‫ﺍﻟﺘﻔﺬﻳﺔ ﺍﻟﺠﻈﺮ ﺃﻥ‬
‫ﺑﺒﺲ ﻭﺵ‬ ‫ﻯ ﻝ ﺷﺮﻕ ﺍﻟﻘﺎﻣﺮﺓ ﺇﻟﻰ‬
‫ﺍﻟﻤﺮﻛﺰ ﻓﻲ ﺇﻋﺪﺍﺩ ﺍﻟﺘﺼﻤﻴﻤﺎﺕ‬
‫ﻭﺍﺫﺍﺛﻌﻤﻘﺎ ﻓﻰ ﻋﺎﻋﺮ ﺍﻟﻄﺒﻌﺔ ﻭﺟﺪﻧﺎ ﺍﻟﺠﻤﺎﻝ‬ ‫ﺍﻳﺰﻡ ﺍﺑﺨﻄﻂ ﺑﺎﻟﺠﺮ ﻋﻦ ﺍﻟﻘﻴﻢ ﺍﻟﺤﻔﺎﺭﻳﺔ ﻟﻠﻤﺪﻳﻨﺔ‬
‫ﻟﻰ ﻛﻞ ﺍﺭﻛﺎﻥ ﻳﻮﺍء ﻛﺎﻥ ﺫﻟﻚ ﻋﺪ ﺍﻟﻨﻈﺮ ﻣﻦ‬ ‫ﺍﻹﺳﻼﻣﻴﺔ ﺍﻭﻝ ﺻﺮﺓ‬
‫ﺧﻼﻝ ﺍ ﻫﺮ ﺇﻟﻰ ﺧﻠﺔ ﻋﻈﻢ ﺃﻭ ﺍﻟﻰ ﺟﻨﺎﺡ‬ ‫ﻳﺜﺎﺭﻙ ﺍﻟﻤﺮﻛﺰ ﻟﻲ ﻣﺆﺗﻤﺮ ﻓﻈﻤﺔ ﺍﻟﻌﻮﺍﺻﻢ ﺍﻹﺳﻼﺻﺔ‬
‫ﻗﺮﺍﺛﺔ ﺍﻭ ﻛﺪ ﻓﺤﺺ ﺧﻠﺔ ﻧﺤﻞ ﺃﻭ ﻗﻄﺎﻉ ﻟﻰ‬ ‫ﻓﺎ ﻓﻲ ﺍﻟﻤﺮﺓ ﻣﻦ ‪ 42‬ﺇﻟﻰ ‪03‬‬
‫ﺍﻟﺬ ﻱ ﻳﻌﻘﺪ ﻓﻲ ﻣﺪﻳﺔ ﺱ‬
‫ﺟﺰﻉ ﺩﺟﺮﺓ ﺍﻭ ﻋﺪ ﺛﺎﻫﺪﺓ ﻏﺎﺑﺔ ﻣﻦ‬ ‫ﺍ ﺑﺮ ‪ 3 9 rA‬ﻡ ﺑﻌﺪﺩﺵ ﺍﻟﺠﻮﺙ ﺍﺑﺨﻄﻴﻴﺔ ﻭﺍﻟﻤﻊ ﺍﺭﻳﺔ‬
‫ﺍﻷ ﺟﺎﺭ ﺃﻭ ﻟﻼﻝ ﺭﻣﻠﺔ ﻻﻟﺼﺤﺮﺍء ﺍﻭ ﺳﻨﺒﺪﺓ‬ ‫ﻭ ‪ L‬ﻫﻢ ﺍﻟﻤﺮﻛﺰ ﻓﻲ ﺑﻌﺾ ﻧﺜﺎﻃﺎﺕ ﺍﺑﻈﻤﺔ‬
‫ﺍﻟﻤﺮﻛﺮءﻟﻤﺢ ﺃﻭ ﺍءﻭ ﻧﺎ ﺍﻭ ﻋﺪ ﻓﺔ ﻟﻰ ﺍﻟﺒﺤﺮ ﺃﻭ‬
‫ﺭﺛﻴﻰﺍﻟﻌﻮﺍﻋﻢ‬
‫ﻋﺪﺍﻟﻘﺎﺩﺭﻛﻮﺷﻚﺍﺑﺎﻗﻲﺃﻣﻴﻦ ﺍﺑﺮﻋﺎﻡﺍﻫﻴﻢﻧﻈﻤﺔ‬
‫ﺍﻟﻘﻰ ﺍﻟﺪﻛﻮﺭ ﻋﺪ‬
‫ﺑﺎﻟﻤﻬﺪﺱ‬
‫ﺣﻰ ﺣﺸﺮﺓ ﺻﻐﺮﺓ‬ ‫ﺍﻹﺳﻼﻣﻴﺔ ﻓﻲ ﻣﺪﻳﻨﺔ ﻣﻜﺔ ﺍﻟﻢ ﺕ ﻭﻝ ﻗﺜﺔ ﺃﺭﺟﻪ ﺍ ﺍﻭﻥ‬
‫ﻭﻗﺪ ﻭﺿﻊ ﺍﻃﺎﻟﻖ ﻣﺒﺤﺎﻧﺔ ﻭﻟﻌﺎﻟﻰ ﻓﻰ ﺍﻟﻄﺒﻌﺔ‬ ‫ﺍﻟﺬ ﻱ ﻳﻤﻜﻦ ﺃﻥ ﻳﻘﻮﻡ ﺑﻴﻦ ﺍﺑﻈﻤﺔ ﻭﺍﻟﻤﺮﻛﺰ ﻓﻲ ﻣﺠﺎﻻﺕ ﺍﻟﺚ ﻁ‬
‫ﻛﻞ ﻛﻤﺎﻝ ﻭﺇﻟﺰﺍﻥ ﺩﺍﺛﺮﺍﻥ ﺍﻟﻄﺠﻌﺔ ﻓﺎ ﻻ ﻗﺄﻗﻰ‬ ‫ﺍﻟﻌﻠﻤﻲ ﻭﺍﻟﺒﺤﺚ ﻭﺗﺄﻟﻴﻒ ﻭﻧﺜﺮ ﺍﻟﻤﺮﺍﺟﻊ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﺍﻹﻳﻼﻣﻴﺔ‬
‫ﺑﻤﺤﻮﺭ ﺗﻤﺎﻟﻞ ﻭﻟﻜﻦ ﻧﺄﻕ ﺑﺎﺕ ﻣﻞ ﻭﺍﻳﺠﺎﻥ‬ ‫ﺧﺎﺻﺔ ﻣﻊ ﺍﻓﺘﺘﺎﺡ ﻋﺪﺭﻳﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻹﻣﻼﻣﻴﺔ ﻓﻲ ﺟﺎﻣﻌﺔ ﺃﻡ‬
‫ﻭﺍﻟﺌﺜﺎﻣﻖ ﺑﻴﻦ ﻣﻜﻮﻧﺎﻛﻬﺎ ﺃ ﻟﻰ ﻟﻰ ﻭﺣﺪﺓ ﺍﻹﻳﻘﺎﻉ‬ ‫ﺍﻟﻘﺮﻯ ﻧﻲ ﺍﻟﻌﺎﻡ ﺍﻟﺪﺭﺍ ﻁ ‪ 1 489 3891‬ﻡ‬
‫ﻭ ‪ 8‬ﺃﻥ ﻛﻞ ﺽ ﻣﻦ ﻋﺎﺻﺮ ﺍﻟﻄﺒﻌﺔ ﺗﻤﻒ‬ ‫ﺍﻷﻟﻤﺎﻳﺔ ﺍﻟﻤﺼﺮﻋﺪﺩﻥ‬
‫ﺍﻟﻜﻦﻟﻨﻦ ﺍﻟﻌﺮﺏ‬
‫ﺑﻤﺠﻠﺔ ﺍﻟﻔﻲﺍﻟﺒﻨﺎءﻋﻦ ﺍﻟﻤﻌﻤﺎﺭ‬
‫ﺍﻟﺬﻯﺃﺷﺎﺩﻧﺸﺮ ﺍﻟﻤﻘﺎﻝ‬
‫ﻟﺠﻤﺎﻝ ﻭﺍ ﺍﻧﺮﺍﻥ ﺧﻴﺄﻕ ﺩﺍﺋﻤﺎ ﺍﻟﺼﻮﺭﺓ ﺍﻧﻬﺎﺋﻴﺔ‬ ‫ﺃﺑﺮﻳﻞ ‪ 3891‬ﻡ ﺑﺎﻻﻁ ﺍﻳﻮﻉ ﻟﻠﻤﺮﻛﺰ ﻭﺍﻟﺘﺮﺍﻣﻪ ﺑﺘﺄﻋﻞ‬
‫ﻟﻠﻄﺠﻌﺔ ﻣﺘﻤﻔﺔ ﺑﻨﻔﺲ ﺻﻔﺔ ﺍﺟﺰﺍﺋﻬﺎ‬ ‫ﺍﻟﺘﻦ ﺍﻟﺤﻔﺎﺭﻳﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﻌﺎﻋﺮﺓ ﻭﻋﺮﺽ ﺍﻟﻤﻘﺎﻝ ﺑﻌﺾ‬
‫ﺃﻋﻤﺎﻝ ﺍﻟﻤﺮﻛﺰ ﻭﺍﻣﻤﺎء ﺃﻋﻀﺎء ﻫﻴﺌﺔ ﺍﻟﻤﺮﻛﻢ ﻭﻣﺎﺭﻳﻪ‬
‫ﺃﺭﻳﻞ ﺍﺗﺤﺎﺩ ﺍﻟﻤﻌﻤﺎﺭ ﻧﻦ ﺍﻟﺪﻭﻟﻤﻲ ﺇﻟﻰ ﺍﻟﻰ ﻓﻲ ﻗﺎﺋﻤﺔ ﺑﺄﻳﻂء‬
‫ﺍﻟﻤﺪﺍﺭﺱ ﻭﺍﻟﻜﺈﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻲ ﺩﻭﻝ ﺍﻟﻌﺎﻟﻢ ﻭﻋﺎﻭﻥ‬
‫ﻟﻠﺮﺟﻮﻉ ﺇﻟﻴﻬﺎ‬
‫ﺗﻠﻘﻰ ﺭﺋﻬﺲ ﺍﻟﻤﺮﻛﺰ ﺩﻋﻮﺓ ﻟﺤﻀﻮﺭ ﻣﺆﺗﻤﺮ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻘﺪﻳﻤﺔ‬
‫‪ rA‬ﺛﻠﻘﻰ‬
‫ﺍﻟﺬﻛﻲ ﻳﻌﻘﺪ ﻓﻲ ﺣﻠﺐ ﻓﻲ ‪ 32‬ﺳﺘﺒﺮ ‪3er‬‬
‫ﺩﻋﻮﺓ ﻣﻦ ﻣﺆﺳﺴﺔ ﺍﻷﻏﺎﺧﺎﻥ ﻟﻠﻌﻤﺎﺭﺓ ﺍﻹﻳﻼﻣﻴﺔ ﺑﻤﻴﺼﻮﺹ‬
‫ﻧﺪﻭﺓ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻹﺳﻼﻣﻴﺔ ﺍﻟﺘﻰ ﺗﻌﻘﺪ ﻓﻲ ﺑﻮﻳﻄﻦ ﺑﺎﻟﻮﻻﻳﺎﺕ‬
‫ﺍﻳﺤﺪﺓ ﻓﻲ ‪ oT‬ﺃﻏﺴﻄﺲ ‪ 3891‬ﻡ‬
‫‪IL‬‬
www.cpas-egypt.com
L MAW
EL NEWS
The Centre has won an appreciative prize

in the Competition of Abu Dhabi
s Com
mercial office building The project covers
an area of 3500m long and 500m wide
g downtown The winning design
stretchin
displayed sustained expression of the local
architectural values in the Gulf area
The Centre has been awarded one of the
first prizes on planning and designing a

neighbourhood at a quarter of Obour city
a new urban community lying on
Bilbeis
Cairo desert road The Centre is
expected to participate in preparing the

drawing of the project The plan
working
ning has been expressive of the cultural
values of the modern Islamic city
The Centre is to contribute a number of

papers on planning and architecture to the
Conference of Islamic Capitals due to be
convened in Fez Morocco during 24
30
Oct 1983
Dr Abdelbaki Ibrahim presideni of the

Centre has met with engr Abdel Qader
Koshak secretary general of the Organiza
tion of Islamic Capitals in Makka
Mukarramah They disussed the possible
al
aspecis of cooperation between the Centre
and the Organization
The technical article on the Egyptian

Arab architects published in the German
magazine Bauen und wohnung issue of
April 1983 celebrated the activity of the
Centre and its keeping to establish the deep
rooted cultual values in contemporary
architecture The article demonstrated some
achievements of the Centre and names of its
staff members and consultants
The president of the Centre received an

invitation to allend the conference of ancient
city due to be help in Aleppo Syria on 23

Sept 1983 He also received an invitation
from the Agha Khan foundation regarding
the symposium on Islamic architecture due
to be held in Boston U
A on 25 Aug
S
1983
An exhibition of the Third World archi
tecture is due to be staged in New York as of

12 Sept 1983 The Centre is to exhibit the
rein some of its achievements expressive of
the cultural values of contemporary Islamic
architeclure The president of the Centre has
received an invitation to lecture on the
s achievements in the symposium due
Centre
to be held for this purpose on 15 Sept in
one of New York city halls
6
www.cpas-egypt.com
ynopsis
Subject of the Issue
aThe cAti for the accentuation of the Deep
rooted Values In Contemporary Architecture
and PIannIng The article demonstrates the
report gresented by Dr Baum Ibrahlm to
Madina FI
Fi Monnawara conference in Nov
1980 on the transformation In the wrk an
structure of the modern Islamic city Insplte of
the earners u and rigeated calls in this respect
in the form of publications researches confe
reaces and personal experinents in the field of
architecations however It didn
t lfluence and of
the new cities The gueslion Is cWffl these calls
have an Influence the Is new cItles
a
Technical Article
tThe Architectural Heritage In the Arab EnvI

ronment written by Dr Buena Wahbl The
writer censures the coabemporary architectural
condition In the Arab world which depends on
blind adoption of Western concepts neglecting
the deep
rooted Inherited values and the envi
ronmental conditions of the area He then dis
the basic points in g
ses kI design the
m
site local character architectural expression
climatic conditions and building materials
Personality of the Issue

Arch Mohained Salah Hegab director general
and member of the board of the Sabbour
Engineering Coasultancy Firm He received his
bachelor degree from Fin Shams University and
his MA In Hot Areas Sciences from Pratt Ins
titute of Technology In New York in 1966
Projects of the Issue

Council of Ministers and the Ministry of Foreign
Affairs building at Slef Palace area in Kuwait
architects Rail Relma Pletila
Qatar National Museum The museum was
constructed in 1975
1972 In Doha The site was
chosen to utilize the ruins of the old palace of the
Governor built by El Shelkh Abdalla El Quelmy
in 1901 It Includes 5 basIc sections the old
Palace the new palace the marine section the
artificial lake and plants garden on a total area
of 50
000 in2
Kuwait Law Court Complex Architect Sir Basil
Spence International Partnership in association
with the Fitzroy Robinson Partnership The
project expresses the deep
rooted Islamic cha
racter in architecture The designer took into
consideration the vertical and horizontal sep
ration of the functions Included in the complex
Cultural Center In Finland architects Brunow

and Manvla The center comprises a concert
ball theater two cinemas in addition to art
galleries musical training rooms conference
rooms cafeteria open air theater and a library
www.cpas-egypt.com
ynamic Form Acts Motion

Dr Medhat Dora
Nowadays housing unit development should provide
Considering the outer environmental constraints we
dynamic masses This word
JnJls larger sense means that
could easily regard the successfulness of such variable
flexibility of architectural space should react well to
combination ways in reacting a unique character to archi
physical pattern
tectural design Fig 5
Accordingly we can point out that positioning of struc
Standardization covers users needs in trend of space
ture so far has not the role of determining the space zones
design which is important and essential for physical eco
allocation as well as in such mobile structure Fig 1
2
nomic aesthetic qualities and requirements with regard to
The formation of such form creates a lot of varieties in thematic and non thematic elevations Fig 67
itomparison to any other structure techniques Fig 3 On
To get as much visual interest and variety as possible
the other hand combination of such form leads to adapta
and at the same time use what is available intensively as that
tion of architectural design even on plain site to solve the
basic plans limited in number to effect economic construc
environmental controls problems This is one of the major
tion are combined in many different ways to obtain variety
crisis in our world of today
Elevation designs too are varied with bays recesses
Modern architectural technology is a provision of access extensions of wall plans and different locations of windows
to structures in an expeditious attractive and safe manner and other secondary elements
so that this analysis may be made as a basis for architectural
The process of desiging an apartment building may be
design process to determine the most appropriate use of a
graphically depicted in a general way Fig 9
particular site Fig 4
www.cpas-egypt.com
ALAM AL BENA
A Monthly on Architecture
Published jointly by
Centre for Planning and
Architectural Studies Cairo
ARE
Prints and Publication Sec
Dr ABDELBAKI IBRAHIM
36 Th Issne August
Chief
in
Editor Rules of Researching into the Local Theory
Dr Abdelbaki Ibrahim
Assistant Editor
Chief
in Opinions and Ideas of Ar
ab archItects and planners are often contradictory when they deal with
scientific and technical aspects in the field of architecture and townplanning To be sure difference
Dr Hazem Ibrahim
of opinion and thinkIng Is a wholesome phenomeno In the developed communities but there are
Editing Manager always uncontroversial basic rules linked with the local reality of man environment and cultural
Arch Nora El Shinnawy roots Later on difference of opinion and thinking occurs over the way of dealing with architectural
Editing Staff and planning aspects Yet It seems that such clash of opinion among Arab architects and planners is
Arch Maha Ismail a radical clash that begins from beneath such basic rules considering that Arab architectural and
planning thinking in the main Is still connected with or subordinate to the thinking of the West
Arch Hoda Fawzy
represented In Its theories philosophies achievements and inventions Reference Is always to the
Western book the Ideal Is always the Western architect and the praise always goes to the Western
planner at the same time when the Western thinking Itself vitoes such subordination And even
Ediling Advisors moreover It comes Into the Arab world searching for the roots of the local theory which the Arab
r
l Ahdullah I
ehva Btikhari thinking failed to unveil and demonstrate to the world This Is a corollary of the Western cultural
Arch Ahu aid Rajeh Inroad that befell all the other aspects of the community
r
I Ahmed Farid Mouslafa
r
I Ahmed Kamal Abdel FatIah aash of opinions among Arab architects and planners Is thus an inevitable result of lack In criteria
r
I Ahmed Mass
oud and standards of judging in the field of architecture and planning OpInions therefore seem con
r
I Assad Nadiem
flIcting in theIr principles and based on personal effort and conception rather than objective
r
I Badri Omar Flias
research That Is why the Arab planning and architectural library Is short of the wrItten Arab thinking
r
l Ali Hassan Rass
oiin
r
I Salah Zaki Sa
eed dealing with the local theory This Is attributable partly to lack In thinking and partly to lack of
r
l Taher II Sadiq material or rather to cultural lack This phenomenon maybe ascribed fIrst of all to unIversitIes and
Mr Mohammad El Bahi
researching centres where there are the sprfngheads of thinking origination and scientific progress
r
I Mohammad Hilmy ElkhoI
and then to scIentists and experts who acquired practice and experience all of which Is shut off from
Arch Mohammad Salah Hegab
r
I Mohammed mv Moussa
A wrIting and publication from Interaction with what Is erected or carried into effect from regenera
ArSh Mouslafa Shawqi tion through stimulation of the Ifltellect so as to get to the roots of the local theory Issuing from
r
l Ismail Siraguddin environmental and cultural factors
r
l Inhissar A
7ouz
There Is a huge and obvious difference between scientific production in the developed countries
Prices and Subscription
and the Arab courntrles How tremendous the quantity of books on architecture and p1 ning that
Issue from their publishing houses are How many magazines and publications arel How many the
Ofle Cops Annual projects dealt with In writing through analysis and appraisal are Furthermore there Is a connection
Eg p1 T 75
P LE 85
between the theory of researching and the practical reality In building and construction There Is
Sudan PT 75 E 9
I 00
Jordan J I
I U
3
S 6 Information about the basic rules and factors of resear
ching and definition of the curricula for
Iraq 1 I 1
5
5 361 planning and architectural studies There Is estimation of the scientifIc level of study for post gra
Kuwait D I
K 536
S
U duate degrees and Its limitations with a view to gather pieces of Information analyse and demons
S Arabia R 12
S 536
5
11
hate them and to add something new to the existing knowledge It Is not mere reiteration of histo
U
m
F
A irates D IS
F 536
S
U
Qatar R 12
Q 36
S
t rical background and statistical Information that fIlls large volumes for boasting and priding on one
Bahrein l
B 1 36
S
U another
Ssria L 15
S S36
S
U
Lebanon LI 15 11
5
5 36 Rules of researching Into the local theory In architecture and planning develop Inside unIversities
Morocco 53
U
5 536
5
11 and centres of Arab researches and studies starting with constituents till they reach the entire con
Europe S 5
U 560
5
11 ceptions through crIteria of planning and standards of architecture through the building material
Americas S 6
U S 72
U
and elements of construction through manpower and average production through prices and costs
B The rates increase by L
N E 5
1 inside Egypt
of building through sult1n the Imported materials to local uses and the Imported methods of cons
and 3 dollars abroad for dispatching by registered
mail truction to local conditions and last but not the least through methods of Installation production
and preservation as well as safety requirements In designing and building All such Information must
Correspondence be brought out In the form of pamphlets for all the technical manpower all levels In addition to wrI
Egypt A
Cairo E
R ting and publication on the expertise acquired through practice
14 El Sohkv Street M El Bakrv Heliopolis
Tel 603843
603397 605271 Only In this manner Is difference of opinion on safe basis of scientific and technical fundamen
Telex 93243 CPAS UN mis Only this way can we be counted among the developed countries

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

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

‫ﻥ ﺻﻴﺔ‬ ‫ﺅﻓﻰ ﻟﺨﺼﺮﻭﺕ ﺍﻻﺳﺘﺸﻤﺄ ﺍﺕ ﺍ‬ ‫ﻛﺤﺘﺐ ﺍ‬

‫‪ 93‬ﻳﺨﻬﻼﺭ‬ ‫‪ 17‬ﻗﺮﻻﺛﺄ‬ ‫ﺍﺑﻮ ﺭ‬ ‫ﻓﻜﺮﺓ ‪0000000000000000000000000000005‬‬

‫ﻋﺺﺭ ﻉ ﺩ ﺍﻳﺎﻗﻰ ﺍﻳﺰﻣﻴﻢ‬ ‫ﺍﻟﺒﺤﺚ ﻓﻰ ﺍﻟﺪﻇﺮﻳﺔ ﺍﻋﺤﺎﻝ ﺓ‬ ‫ﻗﻮﺍ‬

‫ﻧﻘﺺ ﺍﻟﻤﺴﺎﻛﻦ ﺿﻤﻦ ﻣﺸﺮﻭﻉ ﺃﻛﺒﺮ ﻟﻠﺘﻨﻤﻴﺔ ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‬

‫‪63‬‬ ‫ﺗﺤﻘﻴﻖ ﺍﻟﻌﺪﺩ‬

‫ﺇﻥ ﻫﺪﻩ ﺍﻟﺪﻋﻮﺓ ﺍﻟﻤﺘﻜﺮﺭﺓ ﺍﻟﺘﻰ ﺃﺻﺒﺤﺖ ﺍﻟﻤﻮﺿﻮﻉ‬

‫ﺍﻟﻨﺠﺎﺭﺓ ﻭﺍﻟﻤﺎﻝ ﻭﺍﻻﻋﻤﺎﻝ ﻭﺻﺨﺐ ﺍﻟﺤﻴﺎﺓ‬ ‫ﻳﺮﺅﺕ‬

‫ﺣﻴﺚ ﺇﺧﻔﻰ ﺍﻟﻤﺴﺠﺪ ﻣﻦ‬ ‫ﻳﺮﻭﺕ ﺍﻟﻤﺪﻳﻨﺔ ﺍﻟﻤﻌﺎﺻﺮﺓ‬

‫ﻭﺫﻟﻚ ﻋﻠﻰ ﺍﻟﻨﻘﻴﺾ ﺗﻤﺎﻣﺎ ﻣﻦ ﺍﻟﻨﺴﻴﺞ‬ ‫ﺍﻟﺘﺸﺘﻴﺖ‬

‫ﺭﻯ ﺍﻟﻌﻠﻮﻟﺔ ﺩﻭﺭ‬ ‫ﻛﺎﻥ ﺛﺮﻭﻋﺎﺕ ﺍﻟﻄﺮﺅ ﻭﺍﻝ‬ ‫ﻋﺮﻻﺕ‬

‫ﻣﺠﻤﻊ ﺳﺒﻬﻰ ﺗﺠﺎﺭﻯ ﺃﺩﺍﺭﻯ ﺻﻤﻴﻢ ﺑﺜﺰ‬ ‫ﺟﺪﺓ‬ ‫ﺏ‬

‫ﺍﻃﻮﺍﺋﻂ ﻣﻦ ﺍﻃﺠﺮ ﺍﻟﻤﺮﺟﺎﻧﻰ‬ ‫ﺻﺖ ﻧﺼﻬﻒ‬ ‫ﺟﺪﺓ‬

‫ﺍﻟﺪﻋﻮﺓ ﺍﻟﻰ ﺛﺄﻣﻞ ﺍﻟﻘﻴﻢ ﺍﻃﻀﺎﻭ ﺓ ﻟﻰ ﺍﻟﻤﺪﻳﻨﺔ‬

‫ﻋﺪ ﺍﻟﻮﺍﺣﺪ ﺍﻟﻮﻳﻬﻞ‬ ‫ﻳﺖ ﺣﻼﻭﺓ ﺗﺼﻤﻴﻢ ﺍﻟﻤﻬﻨﺪﺱ‬ ‫ﺍﻻﺳﻜﻨﺪﺭﻳﺔ‬

‫ﺍﻟﻤﺸﺮﻳﻪ ﺗﻤﻤﻴﻢ ﺍﻟﻤﻬﺪﺱ‬ ‫ﻣﺴﻜﺮ ﺣﺎﺹ‬ ‫ﺍﻟﻘﺎﻫﺮﺓ‬

‫ﻭﻣﻦ ﺍﻟﻤﺠﻬﻮﺩﺍﺕ ﺍﻟﺘﻰ ﺗﺪﻝ ﺑﻮﺿﻮﺡ ﻓﻰ ﻫﺬﺍ ﺍﻟﻤﺠﺎﻝ‬

‫ﻟﻮﺍﺑﻬﺔ ﺍﻟﺚ ﺍﻟﻬﺔ‬

‫ﻇﺎﻉ ﺭ ﻻﻋﺔ ﺍﻻﺿﺎﻻﺕ ﻭﺍﻟﻤﺮﺡ‬

‫ﺍﻟﺔ ﺍﻟﻤﺮﺥ‬ ‫ﻋﻢ‬

‫ﻣﻘﻂ ﺃﺧﻰ ﻟﻠﺪﻭﺭ ﺍﻷﻭﻝ‬

‫‪ i‬ﻗﺎﻋﺔ ﺍﻏﻼﺕ ﺍﻟﻤﻮﻫﺔ‬

‫ﻧﺮﺍﻍ ﺍﻟﻤﺠﺔ‬ ‫‪9‬‬ ‫ﺿﺎﻉ ﻃﻮﻟﻰ‬

‫ﺍﻃﺤﺎﻛﻢ ﺍﻟﻜﻮﻳﺐ‬ ‫ﻣﺪﺵ ﻣﺠﻢ‬

‫ﺍ ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﻋﺪﺍﻓﺌﺔ ﺑﻦ ﻗﺎﺳﻢ‬

‫ﻣﻦ ﺍﻟﻤﻌﺎﻟﻢ ﺍﻷﺳﺎﺳﻴﺔ ﻓﻰ ﻗﺼﺮ‬ ‫ﺑﻴﺖ ﺍﻟﺸﻌﺮ‬

‫ﺍﻟﺒﻮﺍﺑﺔ ﺍﻟﺸﻤﺎﻟﻴﺔ ﻟﻠﻘﻄﺮ ﻟﻠﻘﺪﻳﻢ‬

‫ﺍﻟﺮﻛﻦ ﺍﻟﺸﻤﺎﻟﻰ ﺍﻟﺸﺮﻗﻰ ﻟﻠﻘﺼﺮ ﺍﻟﻘﺪﻳﻢ ﻭﻓﻰ ﺍﻟﻤﺠﻠﺲ‬ ‫ﺍﻟﻤﺠﻠﺲ ﺍﻟﺮﻣﻤﻰ‬

‫ﻗﻄﺎﻉ ﻳﻮﺿﺢ ﺧﺰﺍﻥ ﺍﻟﻌﺮﺽ ﻭﺍﻟﺨﺪﻣﺎﺕ ﺍﻳﻌﻠﻘﺔ ﺑﻪ ﺑﻤﻌﺮﺽ ﺍﻷﺣﻴﺎء ﺍﻟﻤﺎﺋﻴﺔ‬

‫ﺍﻟﺸﻴﺦ ﻋﺪﺍﻓﺘﺔ ﺍﻟﻰ ﺑﻴﺖ ﺍﻟﺸﻴﺦ ﺣﻤﺪ ﺑﻦ ﻋﺪﺍﻟﺜﻪ ﺗﺎﺭﻛﺎ‬

‫ﺍﻟﻰ ﺟﺎﻧﺐ ﻗﺴﻢ ﻟﻠﻄﻴﺐ ﻭﺍﻟﺮﻭﺍﺋﺢ‬ ‫ﺍﻟﺬﻫﻴﺒﺔ ﻭﺍﻟﻔﻀﻴﺔ‬

‫ﺣﺼﻞ ﺍﻟﻤﻬﻨﺪﺱ ﻣﺤﻤﺪ ﺻﻼﺡ ﺣﺠﺎﺏ ﻋﻞ ﺑﻜﺎﻟﻮﺭﺱﺱ ﺍﻟﻌﻤﺎﺭﺓ ﻣﻦ ﺟﺎﻣﻌﺔ ﻋﻴﻦ‬

‫ﺍﻭ ﺓ‬ ‫ﻣﻦ ﺍﻟﺴﺎ ﺑﻘﺎﺕ ﺍﻃﻊ‬

‫‪ 91 P‬ﻭﺍﻓﻖ ﺭﺋﻴﺲ ﺍﻟﺠﻤﻬﻮﺭﻳﺔ‬

‫ﺍﻟﻤﻼﺣﻆ ﻓﻰ ﻣﻮﺿﻮﻉ ﻫﺬﻩ ﺍﻟﻤﺴﺎﺑﻘﺔ ﻫﻮ ﺍﻻﺗﺠﻬﺎﺕ‬

‫ﻣﺴﻘﻂ ﺍﻫﻰ ﻟﻠﻤﺸﺮﻭﻉ ﺍﻟﻔﺎﺋﺰ‬

‫ﺍﻟﻤﻨﻄﻘﺔ ﺍﻟﻤﺤﻴﻄﺔ ﺑﻤﻮﻗﻊ ﺍﻟﻤﺎﺑﻘﺔ‬

‫ﻯ‬ ‫ﺍﻟﻘﺮﺍﺙ ﺍﻟﻊ‬

‫ﺍﻹﺗﺠﺎﻫﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻳﺔ ﻓﻨﺠﺪ ﺃﻥ ﻫﺬﻩ ﺍﻟﺘﺸﻜﻴﻼﺕ ﺗﺤﻴﺪ‬

‫ﺍﻟﻘﺎ‬ ‫ﻣﺎ‬ ‫ﺃ‬ ‫ﻟﻜﺎ‬

‫ﻯ‬ ‫ﺻﻮﻣﻮﻋﺎ ﺃ‬ ‫‪hsilgnE selcitrA‬‬ ‫‪ IJ‬ﺳﺤﺖ ﺍﻟﻤﻮﺋﻠﻰ‬

‫‪ nub‬ﻩ ﻻ ﺃﻩ ﻉ ﻱ‬ ‫ﻭﺻﻄﻠﻤﺎ ﺍﻟﺴﻤﺤﺔ ﺳﺎﻟﻮﻃﻰ‬ ‫ﺩ ﺍﺩ‬ ‫ﺳﺪﺳﻪ‬

‫ﻯ‬ ‫ﺹ ﺍ‬ ‫ﺱ ‪ teN ertacurtS sekalI‬ﺻﻄﻮﺹ‬ ‫ﺍﻟﻤﺎﺩ ﺍ ﺍﻝ‬ ‫‪ I I‬ﻟﺴﻤﺎﻝ ﺡ‬

‫ﻟﻼﺣﻤﺎءﺍﻟﻤﺎﺷﻤﻪ ﺹ‬ ‫ﺍﻟﻤﻤﺤﺺ ﺍﻟﻌﻮ‬

‫ﻷﻧﻈﻤﺔ ﺍﻟﺤﺪﻳﺜﺔ ﻟﻸﺑﻮﺍﺑﻂ ﺍﻟﻤﻨﺰﻟﻘﺔ‬

‫ﺍﻝ ﻭﻧﻈﺮﺍ ﻟﻮﺟﻮﺩ ﺍﺏ ﻧﻰ ﻋﻠﻰ ﻳﺜﺎﻃﻰء ﺍﻟﺤﻠﻴﺞ‬

‫ﻭﺯﺍﺭﺓ ﺍﻟﺸﺌﻮﻥ ﺍﻟﺨﺎﺭﺟﻴﺔ‬ ‫ﺍﺟﻬﺎﺕ ﻣﺒﻨﻰ ﻣﺠﻠﺲ ﺍﻟﻮﺯﺭﺍء‬

‫ﺍﻣﺘﺪﺍﺩ ﻗﺼﺮ ﺳﻴﻒ ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﻟﻘﺼﺮ ﺍﻟﻘﺎ ﺁ‬

‫ﺻﺎﻟﺔ ﺍﻟﻤﺪﺧﻞ ﺍﻟﺮﺋﻴﺴﻬﺔ ﻓﻰ ﻣﺒﻨﻰ ﻭﺯﺍﺭﺓ ﺍﻟﺨﺎﺭﺟﺔ‬

‫ﺍﻟﻔﻨﺎء ﻓﻰ ﻣﺒﻨﻰ ﻭﺯﺍﺭﺓ ﺍﻟﺸﺜﻮﻥ ﺍﻃﺎﺭﺟﻌﺔ‬

‫ﺩﺍﻧﻴﻚ ﻛﻮﻛﻮ ‪ocouC leinaD A‬‬ ‫ﺑﻘﻠﻢ‬

‫ﺑﻌﺪ ﻣﺮﻭﺭ ‪ 04‬ﻋﺎﻣﺎ ﻋﻠﻰ ﺗﺼﻨﻴﻊ ﺃﻭﻝ ﻫﻴﻜﻞ‬

‫ﺫ ﺃﻥ ﻣﺤﺎﻭﻻﺕ ﺗﺒﺴﻴﻂ ﺍﻟﻬﺎﻛﻞ ﺍﻟﻔﺮﺍﻋﻴﺔ ﺑﺪﻭﻥ‬

‫ﻧﻈﺎﻡ ‪ turisinU napsudoM‬ﺑﺪﺃ ﺍﻧﺘﺎﺟﻪ ﻓﻲ ﻣﻨﺘﺼﻒ ﺍﻟﺨﻤﺴﻴﻨﺎﺕ ﻭﺗﺴﺘﺨﺪﻡ‬

‫ﻧﻈﺎﻡ ‪ turisrewoP‬ﻳﻤﺘﺎﺯ ﻳﺎﻃﺘﻪ ﺣﻴﺚ ﺗﺴﺘﺨﺪﻡ ﻭﺻﻠﺔ ﻣﺴﻄﺤﺔ ﻟﺮﻟﻂ‬

‫ﻛﺎﻥ ﻧﻈﺎﻡ ‪ oreM‬ﺃﻭﻝ ﻫﻴﻜﻞ ﻓﺮﺍﻏﻲ ﻳﺼﻨﻊ ﺗﺠﺎﺭﻳﺎ ﻓﻲ ﺍﻷﺭﺑﻴﻨﺎﺕ ﻭﺗﻤﺘﺎﺯ‬

‫ﻧﻈﺎﻡ ‪ laborehpS‬ﻭﻫﻮ ﺃﺣﺪﺙ ﺗﻄﻮﻳﺮ ﺑﻈﺎﻡ ‪ tabinU‬ﻟﻪ ﻧﻘﻄﺔ ﺍﻟﺜﻘﺎء ﻋﺎﺭﺓ‬

‫ﺃﻣﺎ ﻋﻨﺎﺻﺮ ﺍﻟﺮﺑﻂ ﻓﻲ ﻧﻈﺎﻡ ‪ sudoN‬ﻓﻴﺒﻢ ﺳﺒﻜﻬﺎ‬

‫ﺩ ﺳﺎﻣﻰ ﻋﻠﻰ ﻛﺎﻣﻞ‬

‫ﻣﻦ ﺃﻫﻢ ﻣﺎ ﻳﻤﻴﺰ ﺃﻫﻞ ﺍﻟﺮﻳﻒ ﻋﻤﻮﻣﺎ ﻓﻰ ﺟﻤﻴﻊ ﺩﻭﻝ‬

‫ﺍﺟﻬﺔ ﻧﻤﻄﺔ ﺗﻜﺮﺭ ﻛﻴﺮﺃ ﻭﺗﻌﺒﺮ ﻉ ﺍﻟﻠﻮﺩ ﺍﻷﺻﻤﺮ ﺍﻟﻤﺎﺏ‬