‫ﺠﺎﻤﻌﺔ ﺍﻝﻨﺠﺎﺡ ﺍﻝﻭﻁﻨﻴﺔ‬

‫ﻜﻠﻴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻌﻠﻴﺎ‬

‫ﺃﺜﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺇﻨﺠﺎﺡ ﻤﺤﺘﻭﻯ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‬

‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ "ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻠل(‬
‫ﻓﻲ ﻨﺎﺒﻠﺱ ﻨﻤﻭﺫﺠ ﹰﺎ"‬

‫ﺇﻋﺩﺍﺩ‬
‫ﺭﻭﻨﺩ ﺤﻤﺩﺍﷲ ﺃﺒﻭ ﺯﻋﺭﻭﺭ‬

‫ﺇﺸﺭﺍﻑ‬
‫ﺍﻝﺩﻜﺘﻭﺭ ﻤﺤﻤﺩ ﻋﻁﺎ ﻴﻭﺴﻑ‬

‫ﻗﺩﻤﺕ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﺍﺴﺘﻜﻤﺎ ﹰﻻ ﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺩﺭﺠﺔ ﺍﻝﻤﺎﺠﺴﺘﻴﺭ ﻓـﻲ ﺍﻝﻬﻨﺩﺴـﺔ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺒﻜﻠﻴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻌﻠﻴﺎ ﻓﻲ ﺠﺎﻤﻌﺔ ﺍﻝﻨﺠﺎﺡ ﺍﻝﻭﻁﻨﻴﺔ ﻓﻲ ﻨﺎﺒﻠﺱ‪ ،‬ﻓﻠﺴﻁﻴﻥ‪.‬‬
‫‪2013‬ﻡ‬
 ‫אא
 ‬
‫دא و
אول‪KK‬א א ‬

‫‪ $‬א‪! "#‬و ‪ KKK‬‬

‫"‪%‬و'& ‪+,-./0KK%‬ز")و(‪ KKK‬‬

‫(و‪2‬وא&‪1‬א&
‪KK0/0‬ووא&‪671‬و‪ KKK3 "4)5‬‬

‫‪+89-‬א‪KK67‬و‪ KKK67+8‬‬

‫و‪ KKK:;-.‬‬

‫ج‬
  
‫א وא‬
<‫ن‬+>/‫ن‬-?@-A&‫א‬BC‫א‬+D‫א‬E
&‫אא‬A‫@م‬.3?G>‫ن‬-HEI‫و‬H0"#)>J&‫א‬
 KKK ‫!א‬,‫م‬18-6>&67?:‫אن‬0 K

 KKK./(+?D‫وא‬NO:&‫א‬KKL‫אد‬H‫ א&
و(و‬M‫و‬

 KKK& )&‫א‬LA "S‫)א‬T,ً‫(א‬+>J‫>)م‬7A&‫א‬P +/"1Q(+DR1&‫وא‬

 KKK!I‫)א‬8‫و‬E
&‫אא‬A‫ز‬VK)W‫א‬X&,!&‫ن‬RA&‫א‬L‫د‬+"YZK-‫و‬

 KKKL)>T." [&‫א‬0\
/‫و‬61" .ER‫و‬

‫د‬
 ‫ﺍﻹﻗﺭﺍﺭ‬

‫ﺃﻨﺎ ﺍﻝﻤﻭﻗﻌﺔ ﺃﺩﻨﺎﻩ ﻤﻘﺩﻤﺔ ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﺘﻲ ﺘﺤﻤل ﺍﻝﻌﻨﻭﺍﻥ‪:‬‬

‫ﺃﺜﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺇﻨﺠﺎﺡ ﻤﺤﺘﻭﻯ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‬

‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ "ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻠل(‬
‫ﻓﻲ ﻨﺎﺒﻠﺱ ﻨﻤﻭﺫﺠ ﹰﺎ"‬
‫ﺃﻗﺭ ﺒﺄﻥ ﻤﺎ ﺍﺸﺘﻤﻠﺕ ﻋﻠﻴﻪ ﻫﺫﻩ ﺍﻝﺭﺴﺎﻝﺔ ﺇﻨﻤﺎ ﻫﻲ ﻨﺘﺎﺝ ﺠﻬﺩﻱ ﺍﻝﺨﺎﺹ‪ ،‬ﺒﺎﺴﺘﺜﻨﺎﺀ ﻤـﺎ ﺘﻤـﺕ‬

‫ﺍﻹﺸﺎﺭﺓ ﺇﻝﻴﻪ ﺤﻴﺜﻤﺎ ﻭﺭﺩ‪ ،‬ﻭﺃﻥ ﻫﺫﻩ ﺍﻝﺭﺴﺎﻝﺔ ﻜﻜل‪ ،‬ﺃﻭ ﺃﻱ ﺠﺯﺀ ﻤﻨﻬﺎ ﻝﻡ ﻴﻘﺩﻡ ﻤﻥ ﻗﺒل ﻝﻨﻴل ﺃﻴﺔ ﺩﺭﺠﺔ‬
‫ﻋﻠﻤﻴﺔ ﺃﻭ ﺒﺤﺙ ﻋﻠﻤﻲ ﺃﻭ ﺒﺤﺜﻲ ﻝﺩﻯ ﺃﻴﺔ ﻤﺅﺴﺴﺔ ﺘﻌﻠﻴﻤﻴﺔ ﺃﻭ ﺒﺤﺜﻴﺔ ﺃﺨﺭﻯ‪.‬‬

‫‪Declaration‬‬

‫‪The work provided in this thesis، unless otherwise referenced، is the‬‬

‫‪researcher's own work، and has not been submitted elsewhere for any other‬‬

‫‪degree or qualification.‬‬

‫‪Student's name:‬‬ ‫ﺍﺴﻡ ﺍﻝﻁﺎﻝﺒﺔ‪:‬‬

‫‪Signature:‬‬ ‫ﺍﻝﺘﻭﻗﻴﻊ‪:‬‬

‫‪Date:‬‬ ‫ﺍﻝﺘﺎﺭﻴﺦ‪:‬‬

‫‬
 ‫ﻓﻬﺭﺱ ﺍﻝﻤﺤﺘﻭﻴﺎﺕ‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﻤﻭﻀﻭﻉ‬ ‫ﺍﻝﺭﻗﻡ‬
‫ﺝ‬ ‫ﺍﻹﻫﺩﺍﺀ‬
‫ﺩ‬ ‫ﺍﻝﺸﻜﺭ ﻭﺍﻝﺘﻘﺩﻴﺭ‬
‫ﻫـ‬ ‫ﺍﻹﻗﺭﺍﺭ‬
‫ﻭ‬ ‫ﻓﻬﺭﺱ ﺍﻝﻤﺤﺘﻭﻴﺎﺕ‬
‫ﻱ‬ ‫ﻓﻬﺭﺱ ﺍﻷﺸﻜﺎل‬
‫ﻥ‬ ‫ﺍﻝﻤﻠﺨﺹ‬
‫‪1‬‬ ‫ﺍﻝﻤﻘﺩﻤﺔ‬
‫‪2‬‬ ‫ﻤﺸﻜﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪3‬‬ ‫ﺃﻫﻤﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪3‬‬ ‫ﺃﻫﺩﺍﻑ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪4‬‬ ‫ﺃﺴﺌﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪4‬‬ ‫ﻓﺭﻀﻴﺎﺕ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪5‬‬ ‫ﻤﻨﻬﺠﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪6‬‬ ‫ﺤﺩﻭﺩ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪6‬‬ ‫ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ‬
‫‪8‬‬ ‫ﻤﻜﻭﻨﺎﺕ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪11‬‬ ‫ﺍﻝﻔﺼل ﺍﻷﻭل‪ :‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬
‫‪12‬‬ ‫ﺘﻤﻬﻴﺩ‬
‫‪12‬‬ ‫ﻤﻘﺩﻤﺔ‬
‫‪13‬‬ ‫ﺘﻌﺭﻴﻔﺎﺕ‬ ‫‪1.1‬‬
‫‪13‬‬ ‫ﺍﻝﻌﻤﺎﺭﺓ‬ ‫‪1.1.1‬‬
‫‪14‬‬ ‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬ ‫‪2.1.1‬‬
‫‪15‬‬ ‫ﺍﻝﻁﺎﺒﻊ ﺍﻝﻤﻌﻤﺎﺭﻱ‬ ‫‪3.1.1‬‬
‫‪15‬‬ ‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬ ‫‪4.1.1‬‬
‫‪16‬‬ ‫ﺃﺼﻨﺎﻑ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬ ‫‪1.4.1.1‬‬
‫‪17‬‬ ‫ﺇﺩﺭﺍﻙ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ )ﺍﻝﺤﻴﺯ ﺍﻝﻔﺭﺍﻏﻲ(‬ ‫‪2.4.1.1‬‬
‫و‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﻤﻭﻀﻭﻉ‬ ‫ﺍﻝﺭﻗﻡ‬
‫‪18‬‬ ‫ﺍﻹﻨﺴﺎﻥ ﻭﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬ ‫‪3.4.1.1‬‬
‫‪20‬‬ ‫ﺍﻝﻤﺼﻤﻡ ﻜﻤ‪‬ﺸﻜﱟل ﻝﻠﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬ ‫‪4.4.1.1‬‬
‫‪26‬‬ ‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫‪2.1‬‬
‫‪26‬‬ ‫ﺘﻌﺭﻴﻔﻪ ﻭﻤﺤﺩﺩﺍﺘﻪ‬ ‫‪1.2.1‬‬
‫‪27‬‬ ‫ﺃﺼﻨﺎﻑ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪2.2.1‬‬
‫‪28‬‬ ‫ﺨﺼﻭﺼﻴﺔ ﻝﻐﺔ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬ ‫‪3.2.1‬‬
‫‪30‬‬ ‫ﺍﻝﻘﻭﺍﻋﺩ ﺍﻝﻔﻠﺴﻔﻴﺔ ﻭﺠﺩﻝﻴﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫‪4.2.1‬‬
‫‪32‬‬ ‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺨﺎﺭﺠﻲ‬ ‫‪3.1‬‬
‫‪32‬‬ ‫ﺍﻝﺒﻴﺌﺔ ﻭﺘﺄﺜﻴﺭﻫﺎ‬ ‫‪1.3.1‬‬
‫‪34‬‬ ‫ﺍﻝﺒﻴﺌﺔ ﻭﺍﻝﻘﻴﻡ ﺍﻹﻨﺴﺎﻨﻴﺔ‬ ‫‪2.3.1‬‬
‫‪34‬‬ ‫ﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ )ﻏﻼﻑ ﺍﻝﻤﺒﻨﻰ ﻭﻤﺤﻴﻁﻪ(‬ ‫‪3.3.1‬‬
‫‪39‬‬ ‫ﻤﻌﺎﻴﻴﺭ ﻋﻼﻗﺔ ﺍﻝﻤﺒﻨﻰ ﺒﻤﺤﻴﻁﻪ‬ ‫‪4.3.1‬‬
‫‪41‬‬ ‫ﺍﻝﺘﻬﻭﻴﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ‬ ‫‪1.4.3.1‬‬
‫‪42‬‬ ‫ﺍﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺃﺸﻌﺔ ﺍﻝﺸﻤﺱ‬ ‫‪2.4.3.1‬‬
‫‪43‬‬ ‫ﺍﻝﻬﺩﻭﺀ‬ ‫‪3.4.3.1‬‬
‫‪44‬‬ ‫ﺍﻷﻤﺎﻥ‬ ‫‪4.4.3.1‬‬
‫‪45‬‬ ‫ﺍﻝﺨﺼﻭﺼﻴﺔ‬ ‫‪5.4.3.1‬‬
‫‪46‬‬ ‫ﺘﻭﺠﻴﻪ ﺍﻝﻤﺒﻨﻰ‬ ‫‪6.4.3.1‬‬
‫‪46‬‬ ‫ﻭﻀﻌﻴﺔ ﺍﻝﻐﺭﻑ‬ ‫‪7.4.3.1‬‬
‫‪47‬‬ ‫ﻨﺴﺏ ﻤﺴﺎﺤﺔ ﺍﻝﺒﻨﺎﺀ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﺴﺎﺤﺔ ﺍﻝﻤﺤﻴﻁﺔ ﻭﻤﻭﻗﻌﻪ ﺒﻬﺎ‬ ‫‪5.3.1‬‬
‫‪47‬‬ ‫ﺍﻝﻤﻭﺍﺩ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺍﻝﺒﻨﺎﺀ‬ ‫‪6.3.1‬‬
‫‪50‬‬ ‫ﻭﺼل ﺍﻝﻔﺭﺍﻍ ﺍﻝﺨﺎﺭﺠﻲ ﺒﺎﻝﻤﺒﻨﻰ )ﺍﻝﻔﻴﻼ ﻨﻤﻭﺫﺠﺎ(‬ ‫‪7.3.1‬‬
‫‪52‬‬ ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﺴﻜﻨﻲ‬
‫‪53‬‬ ‫ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪1.2‬‬
‫‪53‬‬ ‫ﻤﻔﻬﻭﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪1.1.2‬‬
‫‪55‬‬ ‫ﺘﺎﺭﻴﺦ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻁﻭﺭ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪2.1.2‬‬
‫‪57‬‬ ‫ﻤﺘﻁﻠﺒﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪3.1.2‬‬

‫ز‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﻤﻭﻀﻭﻉ‬ ‫ﺍﻝﺭﻗﻡ‬
‫‪59‬‬ ‫ﺍﻷﺴﺱ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻝﻠﺘﺼﻤﻴﻡ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪4.1.2‬‬
‫‪61‬‬ ‫ﺍﻷﺴﺱ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻠﺘﺼﻤﻴﻡ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪5.1.2‬‬
‫‪62‬‬ ‫ﺍﻝﻘﻭﻯ ﺍﻝﻤﺅﺜﺭﺓ ﻓﻲ ﺒﻨﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫‪6.1.2‬‬
‫‪65‬‬ ‫ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺒﻴﻨﻴﺔ ﺍﻝﺘﺭﺍﺒﻁﻴﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ‬ ‫‪7.1.2‬‬
‫‪66‬‬ ‫ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ‬ ‫‪2.2‬‬
‫‪66‬‬ ‫ﻤﺎﻫﻴﺔ ﺍﻝﻤﺴﻜﻥ ﻭﻋﻤﺎﺭﺘﻪ‬ ‫‪1.2.2‬‬
‫‪68‬‬ ‫ﺘﺼﻨﻴﻑ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ‬ ‫‪2.2.2‬‬
‫‪69‬‬ ‫ﺍﻝﻤﻨﺎﺯل ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻴﻼﺕ(‬ ‫‪3.2.2‬‬
‫‪70‬‬ ‫ﺍﻝﻬﻭﻴﺔ ﻓﻲ ﻋﻤﺎﺭﺓ ﺍﻝﻤﺴﻜﻥ‬ ‫‪4.2.2‬‬
‫‪72‬‬ ‫ﻋﻨﺎﺼﺭ ﺍﻝﻤﺴﻜﻥ ﺍﻝﺭﺌﻴﺴﻴﺔ‬ ‫‪5.2.2‬‬
‫‪73‬‬ ‫ﺘﺼﻤﻴﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫‪6.2.2‬‬
‫‪90‬‬ ‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﺴﻜﻨﻲ‬ ‫‪3.2‬‬
‫‪90‬‬ ‫ﻋﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺴﻜﻥ‬ ‫‪1.3.2‬‬
‫‪96‬‬ ‫ﻤﻜﻤﻼﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ)ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺯﻴﻨﻴﺔ(‬ ‫‪2.3.2‬‬
‫‪97‬‬ ‫ﺍﻝﺨﺎﻤﺎﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫‪3.3.2‬‬
‫‪99‬‬ ‫ﺍﻷﺜﺎﺙ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫‪4.3.2‬‬
‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ‪ :‬ﻋﻼﻗﺔ ﺍﻝﺘﺼـﻤﻴﻡ ﺍﻝـﺩﺍﺨﻠﻲ ﺒﺎﻝﻔﻀـﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴـﺔ‬
‫‪103‬‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ ﺍﻝﻤﻨﻔﺼل )ﺤﺎﻻﺕ ﺩﺭﺍﺴﻴﺔ(‬
‫‪104‬‬ ‫ﻤﻘﺩﻤﺔ‬ ‫‪1.3‬‬
‫‪105‬‬ ‫ﻨﺒﺫﺓ ﻋﻥ ﺍﻹﺴﻜﺎﻥ )ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ(‬ ‫‪1.1.3‬‬
‫‪106‬‬ ‫ﺍﻝﻤﺴﺎﻗﻁ ﺍﻷﻓﻘﻴﺔ ﻝﻨﻤﺎﺫﺝ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺫﺓ ﻓﻲ ﺍﻹﺴﻜﺎﻥ‬ ‫‪2.1.3‬‬
‫‪108‬‬ ‫ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺁﻝﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ‬ ‫‪2.3‬‬
‫‪108‬‬ ‫ﺍﻝﺘﺼﻤﻴﻡ ﻭﻓﻘﹰﺎ ﻝﺴﻠﻭﻙ ﺍﻝﻤﺴﺘﺨﺩﻡ‬ ‫‪1.2.3‬‬
‫‪117‬‬ ‫ﺘﻐﻴﺭ ﺸﻜل ﺍﻝﻔﻀﺎﺀ ﺍﻝﺴﻜﻨﻲ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫‪2.2.3‬‬
‫‪124‬‬ ‫ﺁﻝﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺘﺒﻌﺎ ﻝﻌﻼﻗﺔ )ﺍﻝﻤﺼﻤﻡ – ﺍﻝﻤﺴﺘﺨﺩﻡ(‬ ‫‪3.2.3‬‬
‫‪127‬‬ ‫ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﺎﻨﻲ‬ ‫‪4.2.3‬‬
‫‪128‬‬ ‫ﺘﻘﻴﻴﻡ ﺃﺩﺍﺀ ﺍﻝﻤﺒﺎﻨﻲ ﺒﻌﺩ ﺍﻹﺸﻐﺎل‬ ‫‪1.4.2.3‬‬

‫ح‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﻤﻭﻀﻭﻉ‬ ‫ﺍﻝﺭﻗﻡ‬
‫‪129‬‬ ‫ﻋﻭﺍﻤل ﺃﺴﺎﺴﻴﺔ ﺘﺘﺤﻜﻡ ﻓﻲ ﺃﺩﺍﺀ ﺍﻝﻤﻨﺸﺂﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‬ ‫‪2.4.2.3‬‬
‫‪130‬‬ ‫ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻝﻠﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ‬ ‫‪3.3‬‬
‫‪130‬‬ ‫ﺇﺠﺭﺍﺀﺍﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ‬ ‫‪1.3.3‬‬
‫‪130‬‬ ‫ﺍﻝﻬﺩﻑ ﻤﻥ ﺍﻝﻤﻘﺎﺒﻠﺔ‬ ‫‪2.3.3‬‬
‫‪131‬‬ ‫ﻤﻔﺭﺩﺍﺕ ﺍﻝﻤﻘﺎﺒﻠﺔ‬ ‫‪3.3.3‬‬
‫‪132‬‬ ‫ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬ ‫‪4.3.3‬‬
‫‪135‬‬ ‫ﺘﺤﻠﻴل ﻨﺘﺎﺌﺞ ﺍﻝﻤﻘﺎﺒﻼﺕ ﻭﺘﻔﺴﻴﺭﻫﺎ‬ ‫‪5.3.3‬‬
‫‪145‬‬ ‫ﺍﻝﻨﺘﺎﺌﺞ ﻭﺍﻝﺘﻭﺼﻴﺎﺕ‬
‫‪150‬‬ ‫ﻗﺎﺌﻤﺔ ﺍﻝﻤﺼﺎﺩﺭ ﻭﺍﻝﻤﺭﺍﺠﻊ‬
‫‪b‬‬ ‫‪Abstract‬‬

‫ط‬
 ‫ﻓﻬﺭﺱ ﺍﻷﺸﻜﺎل‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﺸﻜل‬ ‫ﺍﻝﺭﻗﻡ‬
‫‪13‬‬ ‫ﺭﺴﻡ ﻴﻭﻀﺢ ﻤﻌﻨﻰ ﺍﻝﻌﻤﺎﺭﺓ‬ ‫ﺸﻜل )‪(1.1‬‬
‫‪14‬‬ ‫ﺃﻫﻡ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﻲ ﺘﺅﺜﺭ ﻭﺘﺘﺄﺜﺭ ﺒﻬﺎ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬ ‫ﺸﻜل )‪(2.1‬‬
‫ﻤﺴﺎﺤﺔ ﺍﻝﺤﻴﺯ ﻫﻲ ﻨﺘﻴﺠﺔ ﻝﻤﻘﻴﺎﺱ ﻭﻀﻊ ﺍﻷﺜﺎﺙ ﻤـﻊ ﺤﻴـﺯ ﺤﺭﻜـﺔ‬
‫‪19‬‬ ‫ﺸﻜل )‪(3.1‬‬
‫ﺍﻹﻨﺴﺎﻥ ﺒﻴﻥ ﺍﻷﺜﺎﺙ‬
‫‪22‬‬ ‫ﺃﺒﻌﺎﺩ ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬ ‫ﺸﻜل )‪(4.1‬‬
‫‪23‬‬ ‫ﺍﻝﻤﻘﻴﺎﺱ ﺍﻹﻨﺴﺎﻨﻲ‬ ‫ﺸﻜل )‪(5.1‬‬
‫‪24‬‬ ‫ﻤﺭﺍﺤل ﺘﻁﻭﺭ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻷﻭﻝﻰ‬ ‫ﺸﻜل )‪(6.1‬‬
‫‪25‬‬ ‫ﻤﺭﺍﺤل ﺘﻁﻭﺭ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻝﺜﺎﻨﻴﺔ‬ ‫ﺸﻜل )‪(7.1‬‬
‫‪26‬‬ ‫ﻤﺭﺍﺤل ﺘﻁﻭﺭ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ‪ -‬ﺍﻝﺨﻁﻭﺘﺎﻥ ﺍﻝﺜﺎﻝﺜﺔ ﻭﺍﻝﺭﺍﺒﻌﺔ‬ ‫ﺸﻜل )‪(8.1‬‬
‫‪33‬‬ ‫ﺍﻝﺼﻔﺎﺕ ﺍﻝﻌﺎﻤﺔ ﻝﻠﻤﻭﻗﻊ‬ ‫ﺸﻜل )‪(9.1‬‬
‫ﺘﺤﻠﻴل ﻤﻭﻗﻊ ﺍﻝﻤﺸﺭﻭﻉ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻌﻭﺍﻤل ﺍﻝﻤﻨﺎﺨﻴﺔ ﻭ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺭﺅﻴـﺔ‬
‫‪34‬‬ ‫ﺸﻜل )‪(10.1‬‬
‫ﻭﻤﻨﺎﻁﻕ ﺍﻝﺘﻁﻭﻴﺭ‬
‫‪35‬‬ ‫ﺸﻜل )‪ (11.1‬ﺍﻝﺘﻨﻅﻴﻡ ﺍﻝﻔﺭﺍﻏﻲ ﻝﻠﻜﺘل ﻭ ﺍﻝﺤﻭﺍﺌﻁ‬
‫‪36‬‬ ‫ﺸﻜل )‪ (12.1‬ﺍﻻﺘﺯﺍﻥ ﻓﻲ ﻭﺍﺠﻬﺔ ﻏﻴﺭ ﻤﺘﻤﺎﺜﻠﺔ‬
‫‪36‬‬ ‫ﺸﻜل )‪ (13.1‬ﺍﻝﺘﺸﻜﻴل ﻓﻲ ﺍﻝﺒﻌﺩ ﺍﻝﺜﺎﻝﺙ‬
‫‪37‬‬ ‫ﺸﻜل )‪ (14.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‬
‫‪37‬‬ ‫ﺸﻜل )‪ (15.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‬
‫‪38‬‬ ‫ﺸﻜل )‪ (16.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻤﺩﺍﺨل ﺍﻝﺴﻜﻥ‬
‫‪39‬‬ ‫ﺸﻜل )‪ (17.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻤﺩﺍﺨل ﺍﻝﺴﻜﻥ‬
‫‪41‬‬ ‫ﺸﻜل )‪ (18.1‬ﺍﻝﻤﺤﺩﺩﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬
‫‪43‬‬ ‫ﺸﻜل )‪ (19.1‬ﻤﻘﺩﺍﺭ ﻀﻭﺀ ﺍﻝﺸﻤﺱ ﻁﺒﻘﹰﺎ ﻝﻔﺼﻭل ﺍﻝﻌﺎﻡ‬
‫ﺘﺄﺜﻴﺭ ﺍﺨﺘﻼﻑ ﺍﻝﻤﻭﺍﺩ ﻋﻠﻰ ﺍﻝﻭﺍﺠﻬﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨـﻰ ﻭﻤﻨﻅـﻭﺭﻩ‬
‫‪48‬‬ ‫ﺸﻜل )‪(20.1‬‬
‫ﺍﻝﺨﺎﺭﺠﻲ‬
‫ﺼﻭﺭ ﺘﻅﻬﺭ ﺘﻨﻭﻉ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ ﻓﻲ ﺍﻝﻭﺍﺠﻬﺎﺕ ﺍﻝﺨﺎﺭﺠﻴـﺔ‬
‫‪49‬‬ ‫ﺸﻜل )‪(21.1‬‬
‫ﻝﻠﻤﺒﺎﻨﻲ‬
‫ﺼﻭﺭﺓ ﺘﻅﻬﺭ ﺘﻨﻭﻉ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻷﻝﻭﺍﻥ ﻭﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ ﻓﻲ ﺍﻝﻭﺍﺠﻬـﺎﺕ‬
‫‪49‬‬ ‫ﺸﻜل )‪(22.1‬‬
‫ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﺴﻜﻨﻲ‬
‫ي‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﺸﻜل‬ ‫ﺍﻝﺭﻗﻡ‬
‫‪50‬‬ ‫ﺸﻜل )‪ (23.1‬ﺼﻭﺭﺓ ﺘﻅﻬﺭ ﺤﺎﻝﺔ ﺍﻻﺘﺯﺍﻥ ﻭﺍﻝﺘﻨﺎﺴﻕ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ‬
‫‪54‬‬ ‫ﻨﻤﻭﺫﺠﻴﻥ ﻤﺨﺘﻠﻔﻴﻥ ﻝﻠﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻠﻰ ﻓﺘﺭﺍﺕ ﺯﻤﻨﻴﺔ‬ ‫ﺸﻜل )‪(1.2‬‬
‫‪57‬‬ ‫ﺭﺴﻡ ﺘﻭﻀﻴﺤﻲ ﻴﺒﻴﻥ ﻤﺘﻁﻠﺒﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫ﺸﻜل )‪(2.2‬‬
‫‪59‬‬ ‫ﺭﺴﻡ ﺍﻝﻤﻭﺩﻴﻭﻝﺭ ﻤﻥ ﺃﻋﻤﺎل ﻝﻭﻜﻭﺭﺒﻭﺯﻴﻪ‬ ‫ﺸﻜل )‪(3.2‬‬
‫ﻓﻴﻼ ﻻﺭﻭﺵ‪ ،‬ﺒﺎﺭﻴﺱ‪ ،‬ﻤﻥ ﺃﻋﻤﺎل ﻝﻭ ﻜﻭﺭﺒﻭﺯﻴـﻪ)ﺍﻝﻭﻅﻴﻔﻴـﺔ‪-‬ﺁﻝـﺔ‬
‫‪60‬‬ ‫ﺸﻜل )‪(4.2‬‬
‫ﻝﻠﻌﻴﺵ(‪1923 ،‬‬
‫‪63‬‬ ‫ﻤﺨﻁﻁ ﺍﻝﻘﻭﻯ ﺍﻝﻤﺅﺜﺭﺓ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‬ ‫ﺸﻜل )‪(5.2‬‬
‫‪66‬‬ ‫ﺸﻜل ﻴﻤﺜل ﺘﺒﺎﺩل ﺍﻝﻘﻭﻯ ﺍﻝﺸﺭﻁﻴﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ‬ ‫ﺸﻜل )‪(6.2‬‬
‫ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻻﻨﺴﺎﻨﻴﺔ ﻓﻲ ﺘﺩﺭﺝ ﻤﺎﺴﻠﻭ ﻭﻤﺎﻴﻘﺎﺒﻠﻬﺎ ﻤـﻥ ﺍﺤﺘﻴﺎﺠـﺎﺕ‬
‫‪71‬‬ ‫ﺸﻜل )‪(7.2‬‬
‫ﻤﺴﻜﻨﻴﺔ ﺒﺼﻔﺔ ﻋﺎﻤﺔ‬
‫‪72‬‬ ‫ﺍﻷﺤﺩﺍﺙ ﺍﻝﺜﺎﺒﺘﺔ ﺍﻝﻔﺭﺍﻏﻴﺔ ﻓﻲ ﺍﻝﻤﺴﻜﻥ‬ ‫ﺸﻜل )‪(8.2‬‬
‫‪72‬‬ ‫ﺍﻷﺤﺩﺍﺙ ﺍﻝﻔﺭﺍﻏﻴﺔ ﻝﻠﻔﺭﺩ ﻓﻲ ﺍﻝﻤﺴﻜﻥ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﺍﻝﺒﺎﺤﺜﺔ‬ ‫ﺸﻜل )‪(9.2‬‬
‫‪74‬‬ ‫ﺸﻜل )‪ (10.2‬ﻤﺩﺨل ﺍﻝﻤﺴﻜﻥ ﻜﻔﺭﺍﻍ ﺍﻨﺘﻘﺎﻝﻲ ﺒﻴﻥ ﺨﺎﺭﺝ ﺍﻝﻤﺴﻜﻥ ﻭﺩﺍﺨﻠﻪ‬
‫ﺍﻷﺒﻌﺎﺩ ﺍﻝﻼﺯﻤﺔ ﻝﻸﺴﺭﺓ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﺤﻴﻁﺔ ﺤﻭل ﻭﺤﺩﺍﺕ ﺍﻷﺜـﺎﺙ‬
‫‪76‬‬ ‫ﺸﻜل )‪(11.2‬‬
‫ﺍﻷﺨﺭﻯ ﻓﻲ ﻏﺭﻓﺔ ﺍﻝﻨﻭﻡ‬
‫‪77‬‬ ‫ﺸﻜل )‪ (12.2‬ﻨﻤﻭﺫﺝ ﺍﻷﺜﺎﺙ ﻭﻤﻤﺭﺍﺕ ﺍﻝﺤﺭﻜﺔ ﻓﻲ ﺤﺠﺭﺓ ﻨﻭﻡ ﻴﺸﻐﻠﻬﺎ ﻁﻔﻼﻥ‬
‫ﺍﻝﻤﻭﻗﻊ ﺍﻝﻤﻨﺎﺴﺏ ﻝﺭﻜﻥ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺍﻝﻁﻌﺎﻡ ﻓﻲ ﺤﺎﻝـﺔ ﺍﻝﺠﻤـﻊ ﺒـﻴﻥ‬
‫‪80‬‬ ‫ﺸﻜل )‪(13.2‬‬
‫ﺤﺠﺭﺍﺕ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺍﻝﻁﻌﺎﻡ‬
‫‪81‬‬ ‫ﺸﻜل )‪ (14.2‬ﺍﻝﻤﺴﺎﻓﺎﺕ ﺍﻝﺒﻴﺌﻴﺔ ﺍﻝﻭﺍﺠﺏ ﺘﻭﻓﻴﺭﻫﺎ ﻓﻲ ﺘﺼﻤﻴﻡ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ‬
‫‪83‬‬ ‫ﺸﻜل )‪ (15.2‬ﺍﻝﻤﻭﻗﻊ ﺍﻝﻤﻨﺎﺴﺏ ﻝﻠﻤﻁﺒﺦ‬
‫‪84‬‬ ‫ﺸﻜل )‪ (16.2‬ﺃﺸﻜﺎل ﺍﻝﻤﻁﺎﺒﺦ ﻭﻓﻘﹰﺎ ﻝﺘﺭﺘﻴﺏ ﻤﺭﺍﻜﺯ ﺍﻝﻌﻤل‬
‫‪85‬‬ ‫ﺸﻜل )‪ (17.2‬ﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺍﻻﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻼﺯﻤﺔ ﻝﻠﺤﺭﻜﺔ ﻓﻲ ﺍﻝﻤﻁﺒﺦ‬
‫‪86‬‬ ‫ﺸﻜل )‪ (18.2‬ﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺍﻻﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻤﺭﻴﺤﺔ ﻝﻤﺨﺘﻠﻑ ﻋﻨﺎﺼﺭ ﺍﻝﻤﻁﺒﺦ‬
‫‪87‬‬ ‫ﺸﻜل )‪ (19.2‬ﻤﻭﻗﻊ ﺍﻝﺤﻤﺎﻡ ﻓﻲ ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻝﻠﻤﺴﻜﻥ‬
‫‪90‬‬ ‫ﺸﻜل )‪ (20.2‬ﻴﻭﻀﺢ ﺃﺜﺭ ﺍﻷﻝﻭﺍﻥ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬
‫‪91‬‬ ‫ﺸﻜل )‪ (21.2‬ﻴﻭﻀﺢ ﺃﺜﺭ ﺍﻷﻝﻭﺍﻥ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬
‫‪93‬‬ ‫ﺸﻜل )‪ (22.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﺃﺜﺭ ﺍﻻﻀﺎﺀﺓ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬
‫‪94‬‬ ‫ﺸﻜل )‪ (23.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻝﺤﻭﺍﺌﻁ‬
‫ك‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﺸﻜل‬ ‫ﺍﻝﺭﻗﻡ‬
‫‪95‬‬ ‫ﺸﻜل )‪ (24.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻷﺴﻘﻑ‬
‫‪96‬‬ ‫ﺸﻜل )‪ (25.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻷﺴﻘﻑ‬
‫‪98‬‬ ‫ﺸﻜل )‪ (26.2‬ﺘﻨﻭﻉ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺨﺎﻤﺎﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬
‫‪99‬‬ ‫ﺸﻜل )‪ (27.2‬ﺘﻨﻭﻉ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺨﺎﻤﺎﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬
‫‪100‬‬ ‫ﺸﻜل )‪ (28.2‬ﺃﺜﺭ ﺍﻷﺜﺎﺙ ﻓﻲ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﺒﺼﺭﻱ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‬
‫‪107‬‬ ‫ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻝﻠﻨﻤﻭﺫﺝ ﺍﻷﻭل ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‬ ‫ﺸﻜل )‪(1.3‬‬
‫‪107‬‬ ‫ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻝﻠﻨﻤﻭﺫﺝ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‬ ‫ﺸﻜل )‪(2.3‬‬
‫‪108‬‬ ‫ﺍﻝﻤﻨﻅﻭﻤﺔ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻝﻤﺴﺘﻌﻤل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ‬ ‫ﺸﻜل )‪(3.3‬‬
‫ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (1‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ‬
‫‪110‬‬ ‫ﺸﻜل )‪(4.3‬‬
‫ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬
‫ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (2‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ‬
‫‪111‬‬ ‫ﺸﻜل )‪(5.3‬‬
‫ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬
‫‪111‬‬ ‫ﺼﺎﻝﺔ ﺍﻝﻀﻴﺎﻓﺔ‬ ‫ﺸﻜل )‪(6.3‬‬
‫‪112‬‬ ‫ﺼﺎﻝﺔ ﺍﻝﻤﺩﺨل ﻭﺍﻝﻤﻤﺭ ﺍﻝﻤﺅﺩﻱ ﻝﻤﻨﻁﻘﺔ ﺍﻝﻨﻭﻡ‬ ‫ﺸﻜل )‪(7.3‬‬
‫‪112‬‬ ‫ﺍﻝﻤﻁﺒﺦ‬ ‫ﺸﻜل )‪(8.3‬‬
‫‪113‬‬ ‫ﻤﺩﺍﺨل ﺍﻝﻭﺤﺩﺓ ﻤﻥ ﺍﻝﺨﺎﺭﺝ‬ ‫ﺸﻜل )‪(9.3‬‬
‫ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (3‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ‬
‫‪113‬‬ ‫ﺸﻜل )‪(10.3‬‬
‫ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬
‫‪114‬‬ ‫ﺸﻜل )‪ (11.3‬ﺼﺎﻝﺔ ﺍﻝﻀﻴﺎﻓﺔ‬
‫‪114‬‬ ‫ﺸﻜل )‪ (12.3‬ﺼﺎﻝﺔ ﺍﻝﻤﻌﻴﺸﺔ‬
‫‪115‬‬ ‫ﺸﻜل )‪ (13.3‬ﺼﺎﻝﺔ ﺍﻝﻤﺩﺨل ﻭﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﻀﻴﺎﻓﺔ‬
‫‪115‬‬ ‫ﺸﻜل )‪ (14.3‬ﺍﻝﻤﻁﺒﺦ‬
‫ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (4‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ‬
‫‪116‬‬ ‫ﺸﻜل )‪(15.3‬‬
‫ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬
‫ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﻤﻁـﺎﺒﺦ ﺍﻝﻭﺤـﺩﺍﺕ ﻋﻴﻨـﺔ‬
‫‪118‬‬ ‫ﺸﻜل )‪(16.3‬‬
‫ﺍﻝﺩﺭﺍﺴﺔ‬
‫ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻀﻴﺎﻓﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ‬
‫‪119‬‬ ‫ﺸﻜل )‪(17.3‬‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫ل‬
‫ﺍﻝﺼﻔﺤﺔ‬ ‫ﺍﻝﺸﻜل‬ ‫ﺍﻝﺭﻗﻡ‬
‫ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ‬
‫‪119‬‬ ‫ﺸﻜل )‪(18.3‬‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻁﻌﺎﻡ ﻓﻲ ﺍﻝﻭﺤـﺩﺍﺕ‬
‫‪120‬‬ ‫ﺸﻜل )‪(19.3‬‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻤﺩﺨل ﻓﻲ ﺍﻝﻭﺤـﺩﺍﺕ‬
‫‪121‬‬ ‫ﺸﻜل )‪(20.3‬‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﺤﻴﻁﺔ ﻭﻤﺩﺍﺨل ﺍﻝﻭﺤـﺩﺍﺕ ﺍﻝﺴـﻜﻨﻴﺔ‬
‫‪122‬‬ ‫ﺸﻜل )‪(21.3‬‬
‫ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻝﺨﺎﻤﺎﺕ ﻤﺘﻨﻭﻋﺔ ﻭﺘﺸﻜﻴﻼﺕ ﻓﻨﻴـﺔ ﺠﻤﺎﻝﻴـﺔ ﻓـﻲ‬
‫‪123‬‬ ‫ﺸﻜل )‪(22.3‬‬
‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬
‫‪125‬‬ ‫ﺸﻜل )‪ (23.3‬ﻨﻤﻭﺫﺝ ﺍﻝﺘﻌﺎﻭﻥ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬
‫‪126‬‬ ‫ﺸﻜل )‪ (24.3‬ﻨﻤﻭﺫﺝ ﺍﻝﺘﻌﺎﻭﻥ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬
‫‪133‬‬ ‫ﺸﻜل )‪ (25.3‬ﻋﺩﺩ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻭﺍﻝﻔﺌﺎﺕ ﺍﻝﻌﻤﺭﻴﺔ ﻝﻬﺎ‬
‫ﺸﻜل ﻴﻭﻀﺢ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﻋﺩﺩ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴـﻜﻨﻴﺔ ﻭﻋـﺩﺩ ﺴـﻨﻭﺍﺕ‬
‫‪134‬‬ ‫ﺸﻜل )‪(26.3‬‬
‫ﺍﻹﺸﻐﺎل ﻓﻴﻬﺎ‬
‫‪136‬‬ ‫ﺸﻜل )‪ (27.3‬ﺸﻜل ﻴﻭﻀﺢ ﻤﺩﻯ ﺍﺴﺘﻌﺎﻨﺔ ﺍﻝﺴﻜﺎﻥ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ‬
‫‪137‬‬ ‫ﺸﻜل )‪ (28.3‬ﺸﻜل ﻴﻭﻀﺢ ﺭﺃﻱ ﺍﻝﺴﻜﺎﻥ ﻓﻲ ﺴﺒﺏ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ‬
‫‪145‬‬ ‫ﺸﻜل )‪ (29.3‬ﺸﻜل ﺘﻭﻀﻴﺤﻲ ﻴﺒﻴﻥ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺃﺭﻜﺎﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﺘﺠﺎﻫﺎﺘﻬﺎ‬

‫م‬
 ‫ﺃﺜﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺇﻨﺠﺎﺡ ﻤﺤﺘﻭﻯ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ "ﺍﻝﻤﺒﺎﻨﻲ‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻠل( ﻓﻲ ﻨﺎﺒﻠﺱ ﻨﻤﻭﺫﺠﹰﺎ"‬
‫ﺇﻋﺩﺍﺩ‬
‫ﺭﻭﻨﺩ ﺤﻤﺩﺍﷲ ﺃﺒﻭ ﺯﻋﺭﻭﺭ‬
‫ﺇﺸﺭﺍﻑ‬
‫ﺍﻝﺩﻜﺘﻭﺭ ﻤﺤﻤﺩ ﻋﻁﺎ ﻴﻭﺴﻑ‬
‫ﺍﻝﻤﻠﺨﺹ‬

‫ﺘﻌﺘﺒﺭ ﺩﺭﺍﺴﺔ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺒﻤﺎ ﺘﺤﻭﻴﻪ ﻤﻥ ﻋﻨﺎﺼﺭ ﻭﺃﺴﺱ ﻭﻤﺤﺩﺩﺍﺕ ﻤـﻥ ﺃﻫـﻡ‬

‫ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻻ ﺴﻴﻤﺎ ﺍﻝﺤﺩﻴﺜﺔ ﻤﻨﻬﺎ‪ .‬ﻓﻬﻲ ﺩﺭﺍﺴﺔ ﺘﺤﺎﻜﻲ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻝﺘﺸﻜﻴل ﻝﻐـﺔ‬
‫ﻤﻔﻬﻭﻤﺔ ﺒﻴﻥ ﺍﻹﻨﺴﺎﻥ ﻭﺒﻴﻥ ﺍﻝﻤﺤﻴﻁ ﺃﻭ ﺍﻝﺤﻴﺯ ﺍﻝﺫﻱ ﻴﺴﻜﻨﻪ‪ .‬ﻓﺎﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺒﺘﻜﻭﻴﻨﻪ ﺍﻝﻔﻴﺯﻴـﺎﺌﻲ‬
‫ﻭﺸﻜﻠﻪ ﺍﻝﻭﻅﻴﻔﻲ ﻭﻤﻅﻬﺭﻩ ﺍﻝﺠﻤﺎﻝﻲ ﻫﻭ ﺍﻝﻭﻋﺎﺀ ﺍﻝﺫﻱ ﺘﺘﻔﺎﻋل ﻓﻴﻪ ﺍﻝﺒﺸﺭﻴﺔ ﻝﺘﻜﻭﻴﻥ ﺍﻝﺤﻀـﺎﺭﺓ ﺍﻝﺘـﻲ‬

‫ﺘﻌﺘﺒﺭ ﺃﺴﻤﻰ ﻭﺃﺭﻗﻰ ﻤﺎ ﺃﺒﺩﻋﺘﻪ ﺍﻹﻨﺴﺎﻨﻴﺔ‪.‬‬

‫ﻭﻤﻥ ﻫﺫﺍ ﺍﻝﻤﻨﻁﻠﻕ ﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﻭﻗﺩ ﺤﺎﻭﻝﺕ ﻓﻲ ﻓﺼﻠﻬﺎ ﺍﻷﻭل ﺃﻥ ﺘﺴـﺒ‪‬ﺭ ﺃﻏـﻭﺍﺭ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﺘﺤﺩﺩ ﻤﻔﻬﻭﻤﻪ‪ ،‬ﻭﺘﻌﺭﺽ ﻜﻴﻑ ﻋـﺭ‪‬ﻑ ﺍﻝﺒـﺎﺤﺜﻭﻥ ﺃﻭ ﺍﻝﻤﺘﺨﺼﺼـﻭﻥ ﺍﻝﻔﻀـﺎﺀ‬

‫ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺘﺤﺩﺩ ﻤﻔﻬﻭﻤﻪ ﻭﺃﺴﺴﻪ ﻭﻤﺠﻤﻭﻋﺔ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺘﺭﺍﺒﻁﻴﺔ ﺒﻴﻥ ﺃﺠﺯﺍﺌﻪ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ‪،‬‬
‫ﻭﻝﻬﺫﺍ ﻓﻘﺩ ﺴﻠﻁﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﺍﻝﻘﻭﺍﻋﺩ ﺍﻝﻔﻠﺴﻔﻴﺔ ﻭﺠـﺩﻝﻴﺎﺕ ﺘﺼـﻤﻴﻡ ﺍﻝﻔﻀـﺎﺀ ﺍﻝـﺩﺍﺨﻠﻲ‪،‬‬
‫ﻓﻁﺭﺤﺕ ﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ ﻝﻠﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻜﺎﻝﺘﻭﺍﺯﻥ ﻭﺍﻝﺘﺭﺘﻴﺏ ﻭﺍﻝﺘﺴﻠﺴـل ﻭﺍﻝﻘﻴـﺎﺱ‬

‫ﻭﺍﻝﻨﺴﺏ‪ ،‬ﻭﻤﺒﺩﺃ ﺍﻝﻭﺤﺩﺓ ﻭﻏﻴﺭﻫﺎ‪ .‬ﺜﻡ ﺭﻜﺯﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻠﻰ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺨﺎﺭﺠﻲ ﻤﻥ ﺤﻴـﺙ‬
‫ﺍﻝﻤﻭﻗﻊ ﻭﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺅﺜﺭﺓ ﻭﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﺒﻨﺎﺀ ﻭﻤﻌﺎﻴﻴﺭ ﻋﻼﻗﺘﻪ ﺒﻤﺤﻴﻁـﻪ ﻜﺎﻹﻀـﺎﺀﺓ ﻭﺍﻝﺘﻬﻭﻴـﺔ‬
‫ﻭﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺍﻹﻁﻼﻝﺔ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫ﻭﻗﺩ ﺍﺘﺒﻌﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻤﻨﻬﺞ ﺍﻝﻭﺼﻔﻲ ﻓﻲ ﺇﻁﺎﺭﻩ ﺍﻝﻨﻅﺭﻱ ﻝﻠﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴـﺔ‪،‬‬
‫ﻓﺄﻋﻁﺕ ﻝﻤﺤﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻋﻥ ﺘﻁﻭﺭ ﻫﺫﺍ ﺍﻝﻌﻠﻡ‪ ،‬ﺜﻡ ﻨﺎﻗﺸﺕ ﺒﺈﺴﻬﺎﺏ ﻤﻘﺘﻀـﺏ ﻤﺘﻁﻠﺒـﺎﺕ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻭﻋﺭﻀﺕ ﻝﻠﻤﺩﺍﺭﺱ ﺍﻝﺘﻲ ﻗﺴﻤﺘﻬﺎ ﺇﻝﻰ ﻤﺘﻁﻠﺒﺎﺕ ﻭﻅﻴﻔﻴﺔ‪ ،‬ﻭﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺸﺎﺌﻴﺔ‪ ،‬ﺜﻡ ﻤﺘﻁﻠﺒـﺎﺕ‬

‫ﻯ ﻤﺅﺜﺭﺓ ﻓﻲ‬
‫ﺠﻤﺎﻝﻴﺔ ﻭﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ‪ ،‬ﻝﻜﻥ ﻭﺒﻐﺽ ﺍﻝﻨﻅﺭ ﻋﻥ ﻨﻭﻉ ﺘﻠﻙ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ‪ ،‬ﻓﺈﻥ ﻫﻨﺎﻙ ﻗﻭ ‪‬‬
‫ن‬
‫ﺒﻨﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺠﻭﻫﺭﻫﺎ ﺍﻹﻨﺴﺎﻥ ﺒﺘﻜﻭﻴﻨﻪ ﺍﻝﺸﺨﺼﻲ ﻭﺍﻻﺠﺘﻤﺎﻋﻲ ﻭﺜﻘﺎﻓﺘﻪ ﻭﻜﺎﻓـﺔ ﻤﺼـﺎﺩﺭ‬
‫ﻤﻌﺭﻓﺘﻪ ﻭﺘﻘﺎﻝﻴﺩﻩ‪.‬‬

‫ﺼﻠﺕ ﻓﻲ ﻋﻨﺎﺼﺭ ﺍﻝﻭﺤﺩﺍﺕ‬

‫ﺜﻡ ﺍﻨﺘﻘﻠﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻝﺘﺘﺤﺩﺙ ﻋﻥ ﺍﻝﻤﺴﻜﻥ ﻭﺃﻫﻤﻴﺘﻪ ﻭﺃﻨﻭﺍﻋﻪ‪ ،‬ﻭﻓ ‪‬‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﻜﻭﻨﻬﺎ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻓﻲ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﻜﻤﻨﻁﻘﺔ ﺍﻝﻤﺩﺨل ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‬
‫ﻜﺎﻝﻤﻌﻴﺸﺔ‪ ،‬ﻭﺍﻝﻨﻭﻡ‪ ،‬ﻭﺍﻝﺨﺩﻤﺎﺕ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻓﺘﺤﺩﺜﺕ ﻋﻥ ﺍﻝﻤﺒـﺎﺩﺉ ﺍﻝﺘﺼـﻤﻴﻤﻴﺔ ﻝﺘﻠـﻙ ﺍﻝﻌﻨﺎﺼـﺭ ﺃﻭ‬

‫ﺍﻝﻔﺭﺍﻏﺎﺕ‪ ،‬ﻜﺎﻝﻤﺴﺎﺤﺔ ﻭﺍﻝﻤﻘﺎﻴﻴﺱ ﻭﺍﻝﺘﻭﺠﻴﻪ ﻭﺍﻝﻤﻭﻗﻊ ﻭﺍﻹﻀﺎﺀﺓ ﻭﺍﻷﻝﻭﺍﻥ‪ ،‬ﻭﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺘﺭﺍﺒﻁﻴـﺔ ﺃﻭ‬
‫ﺍﻝﺒﻴﻨﻴﺔ‪.‬‬

‫ﻭﻝﻤﺎ ﻜﺎﻨﺕ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ ﺘﺩﻋﻡ ﺍﻝﻘﻭل ﺒـﺄﻥ ﻝﻌﻠـﻡ ﺍﻷﻝـﻭﺍﻥ ﻭﺍﻹﻀـﺎﺀﺓ ﻭﺍﻝﺨﺎﻤـﺎﺕ‬

‫ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻭﻁﺭﻴﻘﺔ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﻭﺍﻝﻤﻜﻤﻼﺕ ﺍﻝﺘﺯﻴﻴﻨﻴﺔ ﻜﺎﻷﺜﺎﺙ ﻭﺍﻝﺴﺘﺎﺌﺭ ﻭﺍﻝﻠﻭﺤﺎﺕ ﻭﻏﻴﺭﻫـﺎ ﻓـﻲ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺒﺎﻝﻎ ﺍﻷﺜﺭ ﻋﻠﻰ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ ﻋﻠﻰ ﺍﻝﻔﺭﺩ ﻭﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﻓﻘـﺩ ﺘﻁﺭﻗـﺕ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻝﻬﺫﻩ ﺍﻝﻤﻭﺍﻀﻴﻊ ﻭﻋﺯﺯﺕ ﺍﻝﺠﺎﻨﺏ ﺍﻝﻨﻅﺭﻱ ﻝﻬﺎ ﺒﺎﻝﺼﻭﺭ ﺍﻝﺸﺎﺭﺤﺔ ﻭﺍﻝﻤﻭﻀﺤﺔ‪ ،‬ﻭﺒﻴﻨﺕ ﻁﺭﻕ‬

‫ﺍﻻﺴﺘﺨﺩﺍﻡ ﻭﺍﻝﺘﻨﺴﻴﻕ ﺒﻬﺩﻑ ﺍﻝﺘﻨﺎﻏﻡ ﻭﺍﻝﺘﻜﺎﻤل ﻹﻀﻔﺎﺀ ﺍﻝﺸﻜل ﺍﻝﺠﻤﺎﻝﻲ ﺍﻝﻤﻁﻠـﻭﺏ ﻭﺒـﺙ ﺍﻝﺸـﻌﻭﺭ‬
‫ﺒﺎﻝﻬﺩﻭﺀ ﻭﺍﻝﺭﺍﺤﺔ ﺍﻝﻨﻔﺴﻴﺔ‪.‬‬

‫ﻭﻓﻲ ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ ﺘﺤﺩﺜﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺃﺭﻜﺎﻨﻬـﺎ ﺍﻷﺭﺒﻌـﺔ ﻭﻫـﻲ‪:‬‬

‫ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﺍﻝﻘﺎﻨﻭﻥ ﻭﺍﻝﻤﺒﻨﻰ‪ ،‬ﻭﺘﺤﺩﺜﺕ ﻋﻥ ﺃﻫﻤﻴﺔ ﺃﻥ ﺘﻜـﻭﻥ ﺍﻝﻌﻼﻗـﺔ ﺒـﻴﻥ ﺍﻝﻤﺼـﻤﻡ‬
‫ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ ﻋﻼﻗﺔ ﺘﺸﺎﺭﻜﻴﺔ ﺃﺜﻨﺎﺀ ﻓﺘﺭﺓ ﺍﻝﺘﺼﻤﻴﻡ ﺃﻭ ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﺒل ﻭﺫﻫﺒـﺕ ﺇﻝـﻰ ﺍﻋﺘﺒـﺎﺭ‬
‫ﺍﻝﻤﺴﺘﺨﺩﻡ ﻜﻤﺼﻤﻡ ﺜﺎﻨﻭﻱ ﻭﺇﺸﺭﺍﻜﻪ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﺘﺼﻤﻴﻤﻲ ﺩﻭﻥ ﺇﻓﺭﺍﻁ ﺃﻭ ﺘﻔﺭﻴﻁ‪ ،‬ﻭﺫﻝﻙ ﺒﻬﺩﻑ‬

‫ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﻤﺸﺭﻭﻉ ﻤﻜﺘﻤل ﺍﻷﺭﻜﺎﻥ ﻤﻥ ﺤﻴﺙ ﺍﻝﻐﺎﻴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﺸـﻜل ﺍﻝـﻭﻅﻴﻔﻲ ﻭﺍﻝﻘﻴﻤـﺔ‬
‫ﺍﻝﺠﻤﺎﻝﻴﺔ‪ ،‬ﺘﻌﺯﺯ ﺒﺫﻝﻙ ﺜﻘﺔ ﺍﻝﻤﺼﻤﻡ ﻭﺘﺤﻭﺯ ﻋﻠﻰ ﺍﺴﺘﺤﺴﺎﻥ ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺭﻀﺎﻩ‪.‬‬

‫ﻜﻤﺎ ﺍﺘﺒﻌﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻤﻨﻬﺞ ﺍﻝﻭﺼﻔﻲ ﻓﻲ ﺇﻁﺎﺭﻩ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻤﻥ ﺨـﻼل ﺇﺠـﺭﺍﺀ ﺍﻝﻤﻘـﺎﺒﻼﺕ‬

‫ﻝﻠﺘﻌﺭﻑ ﻋﻠﻰ ﺁﺭﺍﺀ ﻋﻴﻨﺔ ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻠل( ﻓﻲ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ‬
‫ﻤﻨﻁﻘﺔ ﺍﻝﺠﻨﻴﺩ‪ ،‬ﻭﻗﺩ ﺸﻤﻠﺕ ﺍﻝﻤﻘﺎﺒﻠﺔ ﺜﻠﺙ ﺴﻜﺎﻥ ﺍﻹﺴﻜﺎﻥ ﺍﻝﺫﻱ ﻴﻀﻡ ﺨﻤﺴﹰﺎ ﻭﺨﻤﺴﻴﻥ ﻭﺤـﺩﺓ ﺴـﻜﻨﻴﺔ‬

‫س‬
‫ﻤﺴﺘﺨﺩﻤﺔ )ﻤﺴﻜﻭﻨﺔ(‪ ،‬ﻭﺘﺴﻊ ﻋﺸﺭﺓ ﻭﺤﺩﺓ ﻏﻴﺭ ﻤﺴﺘﺨﺩﻤﺔ‪ ،‬ﻭﻗﺩ ﺘﻀﻤﻨﺕ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻨﻭﻋﻴﻥ ﻤﻥ ﺍﻷﺴﺌﻠﺔ‪،‬‬
‫ﺍﻝﻨﻭﻉ ﺍﻷﻭل‪ :‬ﺘﺤﺩﺙ ﻋﻥ ﺭﺃﻱ ﺍﻝﻤﺴﺘﺨﺩﻡ )ﺍﻝﺴﺎﻜﻥ( ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺃﻫﻤﻴﺘﻪ‪ ،‬ﻭﻋﻥ ﺘﺠﺭﺒﺘـﻪ‬

‫ﺍﻝﺸﺨﺼﻴﺔ ﻓﻲ ﺫﻝﻙ‪ ،‬ﻤﻥ ﺤﻴﺙ ﺘﻌﺎﻭﻨﻪ ﻤﻊ ﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻤﻥ ﻋﺩﻤﻪ‪ ،‬ﻭﺍﻝﻨﺘﺎﺌﺞ ﺍﻝﻤﺘﺭﺘﺒﺔ ﺘﺒﻌﹰﺎ ﻝـﺫﻝﻙ‪،‬‬
‫ﻭﺭﺃﻴﻪ ﻓﻲ ﺃﺩﺍﺀ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻭﻋﻥ ﺘﺠﺭﺒﺘﻪ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺸﻜل ﻋﺎﻡ ﻭﺍﻵﻝﻴﺎﺕ ﺍﻝﻤﺘﺒﻌـﺔ‬
‫ﻓﻲ ﺍﻝﺘﻨﻔﻴﺫ‪.‬‬

‫ﺒﻴﻨﻤﺎ ﻜﺎﻥ ﺍﻝﻨﻭﻉ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺍﻷﺴﺌﻠﺔ ﺫﺍﺕ ﻁﺎﺒﻊ ﻤﻬﻨﻲ ﻭﺘﺨﺼﺼﻲ ﺃﻜﺜﺭ‪ ،‬ﻓﻘﺩ ﺸﻤﻠﺕ ﺍﻷﺴﺌﻠﺔ‬
‫ﺘﺴﺎﺅﻻﺕ ﻋﻥ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﻤﺜل ﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻨﺴﺏ ﺍﻝﺒﻨﺎﺀ‬
‫ﻭﺍﻝﺤﺩﺍﺌﻕ ﺍﻝﻤﺤﻴﻁﺔ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻹﻀﺎﺀﺓ ﻭﺍﻝﺘﻬﻭﻴﺔ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﻗـﺩ ﺴـﻤﺤﺕ ﺍﻝﺒﺎﺤﺜـﺔ‬

‫ﻝﻠﻤﺴﺘﺨﺩﻡ ﺃﻥ ﻴ‪‬ﻌﺒﺭ ﻋﻥ ﺇﺠﺎﺒﺘﻪ ﻤﻥ ﺤﻴﺙ ﻜﻭﻥ ﻤﺴﺘﻭﻯ ﺍﻝﺭﻀﻰ ﻤﻤﺘﺎﺯﹰﺍ ﺃﻭ ﺠﻴـﺩﹰﺍ ﺃﻭ ﻤﺘﻭﺴـﻁﹰﺎ ﺃﻭ‬
‫ﻀﻌﻴﻔﺎﹰ‪ ،‬ﺜﻡ ﺘﹸﺭﻙ ﺍﻝﻤﺠﺎل ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺒﻌﻤل ﺍﻗﺘﺭﺍﺤﺎﺕ ﻭﺘﻭﺼﻴﺎﺕ ﻹﺴﻜﺎﻨﺎﺕ ﻤﺸﺎﺒﻬﺔ ﻓـﻲ‬
‫ﺍﻝﻤﺴﺘﻘﺒل‪ ،‬ﻭﻓﻲ ﻫﺫﺍ ﺃﻜﺩﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻠﻰ ﺃﻫﻤﻴﺔ ﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﻘﻴﻴﻡ ﺍﻝﻤﺴﺘﻤﺭﺓ ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ ﻭﻤﻭﺍﻜﺒـﺔ‬

‫ﺍﻝﺘﻁﻭﺭﺍﺕ ﻭﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ‪.‬‬

‫ﺜﻡ ﺨﻠﺼﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻝﺠﻤﻠﺔ ﻤﻥ ﺍﻝﻨﺘﺎﺌﺞ ﻜﺎﻥ ﻤﻥ ﺃﺒﺭﺯﻫﺎ‪ :‬ﺍﻝﺘﺄﻜﻴﺩ ﻋﻠـﻰ ﺃﻫﻤﻴـﺔ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﻌﺯﻴﺯ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺇﺜﺭﺍﺌﻪ ﺒﻤﺎ ﻴﻌﻭﺩ ﻋﻠﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺒﻨﺘﺎﺌﺞ ﻋﻠـﻰ ﺍﻝﻤﺴـﺘﻭﻴﻴﻥ‬

‫ﺍﻝﻤﺎﺩﻱ ﻭﺍﻝﻨﻔﺴﻲ ﻭﺒﻨﺎﺀﹰﺍ ﻋﻠﻰ ﺘﻠﻙ ﺍﻝﻨﺘﺎﺌﺞ‪ ،‬ﻓﻘﺩ ﺩﻋﺕ ﺍﻝﺩﺭﺍﺴﺔ – ﻜﺘﻭﺼﻴﺔ‪ -‬ﺇﻝﻰ ﻀـﺭﻭﺭﺓ ﺘﻔﺎﻋـل‬
‫ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﺜﻨﺎﺀ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﻭ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﻭﺫﻝﻙ ﺒﻬـﺩﻑ ﺍﻝﺤﺼـﻭل‬
‫ﻋﻠﻰ ﻤﺴﻜﻥ ﻤﺭﻴﺢ ﻴﻭﺍﻜﺏ ﺍﻝﻌﺼﺭ ﻭﺍﻝﺘﻁﻭﺭﺍﺕ ﺍﻝﺤﺩﻴﺜﺔ‪ ،‬ﻝﻪ ﻫﻭﻴﺔ ﻭﻋﻨﻭﺍﻥ ﻴﺘﻤﺎﺸﻰ ﻤﻊ ﺭﻭﺡ ﺍﻝﻤﻜﺎﻥ‬

‫ﻭﻴﺤﻘﻕ ﺍﻷﺼﺎﻝﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ ﺍﻝﻌﻤﺭﺍﻨﻲ‪.‬‬

‫ع‬
 ‫ﺍﻝﻤﻘﺩﻤﺔ‬

‫ﻤﻨﺫ ﺃﻥ ﺨﻠﻕ ﺍﷲ ﺍﻹﻨﺴﺎﻥ ﻭﻫﻭ ﻓﻲ ﺒﺤﺙ ﺩﺍﺌﻡ ﻋﻤﺎ ﻴﺠﻌﻠﻪ ﻴﻌﻴﺵ ﺒﺭﺍﺤﺔ ﻭﺍﻋﺘـﺩﺍل‪ ،‬ﺤﻴـﺙ‬

‫ﺤﺎﻭل ﺍﺴﺘﻐﻼل ﻜل ﻤﺎ ﻴﺤﻴﻁ ﺒﻪ ﻤﻥ ﻋﻨﺎﺼﺭ ﺍﻝﻁﺒﻴﻌﺔ ﻓﺎﺘﺨﺫ ﻤﻨﻬﺎ ﺍﻝﻤﻠﺒﺱ ﻭﺍﻝﻤﺴﻜﻥ‪ ،...‬ﻭﻨﺠﺩﻩ ﻗـﺩ‬
‫ﺒﺤﺙ ﻋﻥ ﺍﻝﺭﺍﺤﺔ ﻭﺍﻝﺠﻤﺎل ﻓﻲ ﺠﻤﻴﻊ ﻤﺎ ﻜﺎﻥ ﻴﺤﻴﻁ ﺒﻪ ﻝﻴﻭﻅﻔﻪ ﻤﺘﻌﺘﻪ ﻭﺭﺍﺤﺘﻪ ﻝﻪ‪ .‬ﻓﺎﻹﻨﺴﺎﻥ ﺍﻝﻘـﺩﻴﻡ‬
‫ﻤﺎﺭﺱ ﺍﻝﺭﺴﻡ ﻭﺍﻝﻨﺤﺕ ﻓﻲ ﻜﻬﻔﻪ ﺍﻷﻭل‪ ،‬ﺤﻴﺙ ﺒﺩﺃ ﻓﻥ ﺍﻝﺘﺯﻴﻴﻥ ﺍﻝـﺩﺍﺨﻠﻲ ﻤـﻥ ﺒـﺩﺍﻴﺎﺕ ﺍﻝﺤﻀـﺎﺭﺓ‬

‫ﺍﻹﻨﺴﺎﻨﻴﺔ ﺇﻝﻰ ﺃﻥ ﺒﻨﻰ ﺠﺩﺭﺍﻨﻪ ﻤﻥ ﺍﻝﺤﺠﺭ ﺃﻭ ﺍﻝﻁﻴﻥ‪.‬‬

‫ﻴﻌﺘﺒﺭ ﺍﻝﻤﺴﻜﻥ ﻓﻲ ﻓﻜﺭ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻌﺭﺒﻲ ﻭﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺍﻝﺭﻜﻴﺯﺓ ﺍﻷﺴﺎﺴﻴﺔ ﺍﻝﻤﺴﺎﻋﺩﺓ ﻓﻲ‬
‫ﺘﻜﻭﻴﻥ ﺍﻷﺴﺭﺓ ﻭﺴﻼﻤﺔ ﻨﻤﻭﻫﺎ ﻷﻨﻪ ﻴﺅﺜﺭ ﺒﺸﻜل ﺍﻴﺠﺎﺒﻲ ﻓﻲ ﺃﻤﺎﻥ ﻭﺍﺴﺘﻘﺭﺍﺭ ﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﺤﻴﺙ ﺇﻥ ﻝﻠﺒﻴﺕ‬

‫ﻤﺭﺩﻭﺩﹰﺍ ﺜﻘﺎﻓﻴ ﹰﺎ ﻭﻨﻔﺴﻴ ﹰﺎ ﻋﻠﻰ ﺍﻷﺴﺭﺓ‪ ،‬ﻓﻠﻡ ﻴﻜﻥ ﻤﺠﺭﺩ ﺤﺎﺠﺔ ﻝﻠﻤﺄﻭﻯ‪ ،‬ﺒل ﻜﺎﻥ ﺍﻝﻤﺴﻜﻥ ﻓـﻲ ﻨﻅـﺭﻫﻡ‬
‫ﻴﺠﻤﻊ ﺒﻴﻥ ﻋﻨﺎﺼﺭ ﺍﻝﺠﻤﺎل ﻭﺍﻝﺭﺍﺤﺔ ﻭﺍﻝﺒﺴﺎﻁﺔ ﻭﺍﻝﺤﺎﺠﺔ‪ ،‬ﻝﺘﺤﻘﻴﻕ ﺍﻝﻤﺘﻌﺔ ﺍﻝﺒﺼﺭﻴﺔ‪ ،‬ﻭﺍﻝﺭﺍﺤﺔ ﺍﻝﻨﻔﺴﻴﺔ‬
‫ﻭﺍﻝﺘﺤﻘﻴﻕ ﺍﻝﻭﻅﻴﻔﻲ ﺍﻝﺫﻱ ﻴﻭﻓﺭﻩ ﺍﻝﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‪.‬‬

‫ﻭﻫﻨﺎ ﻴﻜﻭﻥ ﺩﻭﺭ ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺃﺴﺎﺴﻴ‪‬ﺎ ﺒﺎﻝﺘﻭﺍﻓﻕ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﺄﻤﻴﻥ ﺘﻠـﻙ‬
‫ﺍﻝﻌﻨﺎﺼﺭ ﺃﻭ ﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﺘﻲ ﺴﺘﺅﻤﻥ ﻝﻠﺴﺎﻜﻥ ﻜﺎﻓﺔ ﺍﺤﺘﻴﺎﺠﺎﺘﻪ ﺍﻝﻨﻔﻌﻴﺔ ﻭﺍﻝﺭﻤﺯﻴﺔ ﺍﻝﺘﻲ ﺘﺘﻀﻤﻥ ﻤﺘﻁﻠﺒﺎﺕ‬
‫ﻫﻭﻴﺔ ﺍﻝﻔﺭﺩ ﻭﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﻭﺘﺸﻤل ﺍﻝﻌﻘﺎﺌﺩ ﻭﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﻌﻼﻗﺎﺕ ﺍﻻﻋﺘﺒﺎﺭﻴﺔ ﻭﺍﻝﺠﻤﺎﻝﻴﺔ‪ ،‬ﺒﺤﻴـﺙ ﺘـﺅ ‪‬ﻤﻥ‬

‫ﻤﺘﻌﺔ ﺇﺩﺭﺍﻜﻴﺔ ﻭﺒﺼﺭﻴﺔ‪ ،‬ﻤﻊ ﺍﻝﻌﻠﻡ ﺃﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﻅﻬﺭ ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﺒﻨﺎﺀ ﻴﺸـﺘﺭﻜﺎﻥ ﻓـﻲ‬
‫ﺘﺤﻘﻴﻕ ﺍﻝﻤﻨﻔﻌﺔ ﻭﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﻤﻁﻠﻭﺒﺔ‪ ،‬ﻭﻝﻠﺘﻜﻭﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺫﻱ ﻴﺤﻭﻱ ﻓﻴﻬﺎ ﻗﻴﻤﹰﺎ ﻤﺘﻨﻭﻋﺔ‬
‫ﻭﻤﺭﻜﺒﺔ ﺘﺅﻤﻥ ﻝﻠﻨﺎﺱ ﺍﻝﺤﻤﺎﻴﺔ ﻭ ﺍﻝﻤﺘﻌﺔ ﻭﺍﻻﺴﺘﺭﺨﺎﺀ ﺍﻝﻨﻔﺴﻲ‪.‬‬

‫ﻓﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻫﻭ ﺍﻝﺫﻱ ﻴﻬﺘﻡ ﺒﺩﺭﺍﺴﺔ ﺍﻝﻔﺭﺍﻍ ﻭﺍﻝﺤﻴﺯ ﻭﻭﻀﻊ ﺍﻝﺤﻠﻭل ﻭﺍﻝﺘﺼﻭﺭﺍﺕ ﺍﻝﺫﻱ‬
‫ﻴﻤﻜﻥ ﻤﻥ ﺍﺴﺘﻐﻼل ﻫﺫﺍ ﺍﻝﻔﻀﺎﺀ ﺃﻓﻀل ﺍﺴﺘﻐﻼل ﻤﻥ ﺃﺠل ﺃﺩﺍﺀ ﻭﻅﻴﻔﺘﻪ ﺒﺼﻭﺭﺓ ﻜﺎﻤﻠﺔ ﻭﻤﻭﻀﻭﻋﻴﺔ‪،‬‬
‫ﻭﻴﻜﻭﻥ ﻫﺫﺍ ﺍﻷﻤﺭ ﻭﻓﻕ ﻀﻭﺍﺒﻁ ﺘﺭﺍﻋﻲ ﻁﺒﻴﻌﺔ ﺍﻝﻔﺭﺍﻍ ﻭﺸﻜﻠﻪ ﺍﻝﻬﻨﺩﺴﻲ ﻭﻭﻅﻴﻔﺘﻪ ﻭﺍﻝﻤﻨـﺎﺥ ﺍﻝـﺫﻱ‬

‫ﻴﺤﻴﻁ ﺒﻪ‪ ،‬ﻭ ﺘﺭﺍﻋﻲ ﺒﺸﻜل ﺃﻜﻴﺩ ﺫﻭﻕ ﺼﺎﺤﺏ ﺍﻝﺒﻴﺕ ﻭﺭﻏﺒﺎﺘﻪ ﻭﻤﻴﻭﻝﻪ ﻭﺜﻘﺎﻓﺘﻪ‪ ،‬ﻭﻫﺫﻩ ﺍﻝﻌﻨﺎﺼﺭ ﺘﻌﺘﺒﺭ‬
‫ﻤﻥ ﺃﻫﻡ ﺍﻝﻀﻭﺍﺒﻁ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺩﻴﻜﻭﺭ ﻤﻊ ﺍﻷﺨﺫ ﺒﻌـﻴﻥ ﺍﻻﻋﺘﺒـﺎﺭ ﻋﻠـﻰ ﺃﻥ‬

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‫ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻤﺩﺭﻙ ﻭﻤﺘﻔﻬﻡ‪ ‬ﻝﻜﺎﻓﺔ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺒﻜل ﺘﻔﺎﺼﻴﻠﻬﺎ ﻭﺨﺎﺼﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻨﻬـﺎ‬
‫ﻻﺴﻴﻤﺎ ﺍﻝﺨﺎﻤﺎﺕ ﻭﺍﻝﻤﻭﺍﺩ ﺍﻝﻤﺨﺘﻠﻔﺔ ﺍﻝﻤﺴﺘﻌﻤﻠﺔ ﻓﻴﻬﺎ‪.‬‬

‫ﻤﺸﻜﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫• ﺍﻝﻭﻗﻭﻑ ﻋﻠﻰ ﻤﺩﻝﻭﻻﺕ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺭﻜﺎﺌﺯ ﺍﻝﺘﺼﻤﻴﻡ ﻭﻫﻲ‪ :‬ﺍﻝﻤﺼﻤﻡ‪ ،‬ﺍﻝﻤﺎﻝﻙ‪ ،‬ﺍﻝﻘﺎﻨﻭﻥ ﻭﻤﻌﺭﻓﺔ‬
‫ﺍﻝﺤﺩﻭﺩ ﺍﻝﻔﺎﺼﻠﺔ ﺒﻴﻥ ﻜل ﻤﻨﻬﺎ‪ .‬ﻓﺎﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻴﻌﺎﻨﻲ ﻤﻥ ﻤﺸﺎﻜل ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﻨﺎﺘﺠﺔ‬
‫ﻋﻥ ﺍﻷﻋﻤﺎل ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﻨﻤﻁﻴﺔ ﻭﺍﻝﺘﻲ ﻗﺩ ﺘﻜﻭﻥ ﻭﻝﻴﺩﺓ ﻅﺭﻭﻑ ﻤﺘﻌﺩﺩﺓ ﻗﺩ ﻴﺸﺘﺭﻙ ﻓﻴﻬﺎ ﺍﻝﻤﺼﻤﻡ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﻤﺎﻝﻙ ﺍﻝﻤﺴﻜﻥ ﻭﺍﻝﻘﺎﻨﻭﻥ‪ ،‬ﻭﺍﻝﺘﻲ ﻗﺩ ﺘﺒﺩﺃ ﻤﻥ ﻓﻜﺭﺓ ﻝﺩﻯ ﺍﻝﻤﺼـﻤﻡ ﻴﻘﺒﻠﻬـﺎ ﺍﻝﻤﺎﻝـﻙ‪،‬‬
‫ﻭﻴﻨﻅﻤﻬﺎ ﺍﻝﻘﺎﻨﻭﻥ‪ ،‬ﺜﻡ ﺘﺘﺒﻌﻬﺎ ﻤﺭﺤﻠﺔ ﺍﻝﺘﻨﻔﻴﺫ ﺍﻝﻌﻤﻠﻲ ﺍﻝﻤﺭﻜﺒﺔ ﻭﺘﻨﺘﻬﻲ ﺒﺎﻝﺠﺴﺩ ﺍﻝﻤﺎﺩﻱ ﻝﺭﻭﺡ ﻫﺫﻩ‬
‫ﺍﻝﻔﻜﺭﺓ‪.‬‬

‫• ﻤﻥ ﺍﻝﻤﻼﺤﻅ ﺃﻥ ﺩﻭﺭ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻴﺒﺩﺃ ﺒﻌﺩ ﺍﻨﺘﻬﺎﺀ ﺍﻹﻨﺸﺎﺀ ﺍﻝﻔﻌﻠﻲ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﺭﻏﻡ ﺃﻥ ﺃﻫﻤﻴﺔ‬
‫ﺩﻭﺭ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺘﺘﺒﻠﻭﺭ ﻋﻨﺩ ﻭﻗﻭﻓﻪ ﺠﻨﺒﺎ ﺇﻝﻰ ﺠﻨﺏ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻋﻨﺩ ﺍﻝﺸﺭﻭﻉ‬
‫ﺒﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﺒﺩﺌﻲ ﻭﻤﻥ ﺜﻡ ﺘﻨﻔﻴﺫ ﺍﻝﻤﺒﻨﻰ ﻝﺘﻼﻓﻲ ﻭﻗﻭﻉ ﺃﺨﻁﺎﺀ ﻗﺩ ﺘﺅﺩﻱ ﺇﻝﻰ ﺭﻓﻊ ﺘﻜﺎﻝﻴﻑ ﺍﻹﻨﺸﺎﺀ‬
‫ﺨﺎﺼﺔ ﺇﺫﺍ ﻜﺎﻥ ﻫﻨﺎﻙ ﺤﺎﺠﺔ ﻹﺯﺍﻝﺔ ﻋﻨﺼﺭ ﻗﺩ ﺒﻨﻲ ﻓﻌﻼ‪.‬‬

‫• ﺍﻝﻌﺸﻭﺍﺌﻴﺔ ﺍﻝﻤﺘﺒﻌﺔ ﻓﻲ ﺘﻨﻔﻴﺫ ﺍﻷﻋﻤﺎل ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﻭﻋﺩﻡ ﺍﻝﺭﺠﻭﻉ ﻝﻠﺘﺼﻤﻴﻡ ﻭﺍﻝﺩﺭﺍﺴﺔ ﺃﻭ ﺩﻭﻥ‬
‫ﻭﺠﻭﺩ ﻤﺩﺭﺴﺔ ﺃﻭ ﻓﻠﺴﻔﺔ ﺃﻭ ﻤﺭﺠﻌﻴﺔ ﺼﺤﻴﺤﺔ ﻭﻫﺫﺍ ﺒﺎﻝﺘﺄﻜﻴﺩ ﺴـﻴﺅﺩﻱ ﺇﻝـﻰ ﻓﺸـل ﺍﻝﻔﻀـﺎﺀ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻱ‪.‬‬

‫• ﺍﻨﻘﻁﺎﻉ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻋﻥ ﺃﺠﻭﺍﺀ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺨﺎﺭﺠﻴﺔ ﺍﻝﻤﺤﻴﻁﺔ ﻭﺍﻝﺘﻲ ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﺒﺩﻭﺭﻫﺎ‬
‫ﺍﻤﺘﺩﺍﺩﹰﺍ ﻝﻠﻁﺒﻴﻌﺔ ﻭﺇﻝﻰ ﻋﻤﻕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

‫• ﺍﻝﻌﺸﻭﺍﺌﻴﺔ ﺒﺎﺨﺘﻴﺎﺭ ﺍﻷﺜﺎﺙ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﻤﻌﻁﻴﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﺒﻌـﹰﺎ ﻷﻫـﻭﺍﺀ ﻭﻤﺘﻐﻴـﺭﺍﺕ‬
‫ﻤﺘﻌﺩﺩﺓ ﺴﻴﺅﺩﻱ ﻝﻀﻴﺎﻉ ﻫﻭﻴﺔ ﺍﻝﻤﺒﻨﻰ‪.‬‬

‫• ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﻤﻅﻬﺭ ﻭﺍﻝﻔﺨﺎﻤﺔ ﻋﻠﻰ ﺤﺴﺎﺏ ﺍﻝﻤﻨﻔﻌﺔ ﻭﺍﻝﻭﻅﻴﻔﺔ ﺴﻭﺍﺀ ﺃﻜﺎﻥ ﺒـﺎﻝﻤﻭﺍﺩ ﺃﻡ ﺍﻝﺘﻘﻨﻴـﺎﺕ‬
‫ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﺃﻡ ﺍﻝﻤﻜﻤﻼﺕ ﻭﺍﻷﺜﺎﺙ‪.‬‬
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 ‫ﺃﻫﻤﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺘﻅﻬﺭ ﺃﻫﻤﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻤﻥ ﺨﻼل ﻁﺭﺤﻬﺎ ﺍﻝﺩﻭﺭ ﺍﻝﻜﺒﻴﺭ ﻝﻠﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﻭﻓﻴﺭ ﺍﻝﻤﻨـﺎﺥ‬

‫ﺍﻝﻤﻼﺌﻡ ﻝﻠﺴﺎﻜﻥ ﻹﻴﺠﺎﺩ ﺍﻝﻅﺭﻭﻑ ﺍﻝﺼﺤﻴﺔ ﻭﺍﻝﺒﻴﺌﻴﺔ ﺍﻷﻨﺴﺏ‪ ،‬ﺠﻨﺒﺎ ﺇﻝﻰ ﺠﻨﺏ ﻭﻤﺘﻨﺎﻏﻤﺎ ﻤﻊ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﻔﻨﻲ ﺍﻝﺠﻤﺎﻝﻲ ﻝﻠﺴﻜﻥ ﻤﻤﺎ ﺠﻌل ﻝﻪ ﺍﻷﺜﺭ ﺍﻝﻜﺒﻴﺭ ﻓﻲ ﺘﺤﺴﻴﻥ ﻨﻭﻋﻴﺔ ﺍﻝﺤﻴﺎﺓ ﻭﺯﻴﺎﺩﺓ ﺍﻹﻨﺘﺎﺠﻴﺔ‪ ،‬ﻭﺤﻤﺎﻴﺔ‬
‫ﺍﻝﺼﺤﺔ ﻭﺍﻝﺴﻼﻤﺔ ﻭﺍﻝﻌﻴﺵ ﺒﺭﻓﺎﻫﻴﺔ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﻝﺘﻌﺯﻴﺯ ﺍﻨﺘﻤﺎﺀ ﺍﻝﺴﺎﻜﻥ ﻝﺒﻴﺌﺘﻪ ﻤﻤﺎ ﻴﺅﺩﻱ ﺇﻝﻰ ﻜﻔـﺎﺀﺓ‬

‫ﺍﻝﺴﻜﻥ ﻭﻤﺭﻭﻨﺔ ﺍﻷﺩﺍﺀ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺩﺭﺍﺴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺒﻨﻰ ﻓﻲ ﺍﻝﻤﺭﺍﺤل ﺍﻷﻭﻝﻴﺔ ﻝﻺﻨﺸﺎﺀ ﺘﻤﻨﻊ‬
‫ﻭﻗﻭﻉ ﺃﺨﻁﺎﺀ ﻗﺩ ﺘﺅﺩﻱ ﺇﻝﻰ ﺭﻓﻊ ﺍﻝﺠﻬﺩ ﻭ ﺍﻝﺘﻜﺎﻝﻴﻑ‪.‬‬

‫ﻭﺘﺒﺭﺯ ﺃﻫﻤﻴﺔ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻜﻭﻨﻬﺎ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻷﻭﻝﻰ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﺍﻝﺘﻲ ﺘﺒﺤﺙ ﻓﻲ ﻫـﺫﺍ‬

‫ﺍﻝﻤﺠﺎل ﻭﺍﻝﺘﻲ ﺘﻭﻓﺭ ﺍﻝﺒﻴﺎﻨﺎﺕ ﻭﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻜﺎﻓﻴﺔ‪ ،‬ﺨﺎﺼﺔ ﻓﻲ ﻅل ﺍﻝﺘﻁـﻭﺭ ﺍﻝﻌﻤﺭﺍﻨـﻲ ﺍﻝﺤﺎﺼـل‬
‫ﻭﺍﻨﺘﺸﺎﺭ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻝﻤﺴﺎﻜﻥ ﻤﻊ ﺍﺯﺩﻴﺎﺩ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺸﻜل ﻋﺎﻡ ﻨﺤﻭ ﺍﻝﺘﺨﺼﺼـﻴﺔ ﻭﺍﻝﺘﻘﻨﻴـﺔ ﻓـﻲ‬
‫ﺍﻝﺘﺸﻁﻴﺏ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

‫ﺃﻫﺩﺍﻑ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺘﻬﺩﻑ ﺍﻝﺩﺭﺍﺴﺔ ﺇﻝﻰ ﺇﻝﻘﺎﺀ ﺍﻝﻀﻭﺀ ﻭﺍﻝﺘﺄﻜﻴﺩ ﻋﻠﻰ ﺃﻫﻤﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﻌﺯﻴـﺯ ﻭﺇﻨﺠـﺎﺡ‬ ‫•‬
‫ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ‪.‬‬

‫ﻭﻀﻊ ﺨﻁﻭﻁ ﺇﺭﺸﺎﺩﻴﺔ ﺘﺴﺎﻋﺩ ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻋﻠﻰ ﺍﻹﻋﺩﺍﺩ ﺍﻝﺠﻴﺩ ﻭﺍﻝﺘﺨﻁـﻴﻁ ﻭﺍﻹﻝﻤـﺎﻡ‬ ‫•‬
‫ﺒﻤﺘﻁﻠﺒﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻝﺘﻼﻓﻲ ﺍﻷﺨﻁﺎﺀ ﺍﻝﻨﺎﺘﺠـﺔ ﻋـﻥ ﻨﻘـﺹ‬
‫ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻤﺘﻭﺍﻓﺭﺓ ﻋﻨﺩ ﺍﻝﺘﺨﻁﻴﻁ‪.‬‬

‫ﻭﻀﻊ ﻤﻘﺘﺭﺤﺎﺕ ﻝﺘﻨﻅﻴﻡ ﻋﻼﻗﺔ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻤﻊ ﺫﻭﻱ ﺍﻝﻌﻼﻗﺔ ﻝﻠﻤﺒﻨﻰ‬ ‫•‬
‫ﺍﻝﺴﻜﻨﻲ ﻹﻴﺠﺎﺩ ﻤﻨﻅﻭﻤﺔ ﺘﻌﺎﻭﻥ ﺒﻴﻨﻬﻤﺎ ﻭﺼﻭﻻ ﺇﻝﻰ ﺃﺴﺎﻝﻴﺏ ﺘﺼﻤﻴﻡ ﺠﺩﻴﺩﺓ ﻭﺃﻓﻜـﺎﺭ ﺇﺒﺩﺍﻋﻴـﺔ‬
‫ﻤﻌﺎﺼﺭﺓ ﻤﺸﺘﺭﻜﺔ‪.‬‬

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 ‫ﺃﺴﺌﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺘﺩﻭﺭ ﺃﺴﺌﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ ﺤﻭل ﺃﻫﻤﻴﺔ ﺩﻭﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﺘﻌﺯﻴﺯ ﻭﺇﻨﺠﺎﺡ‬
‫ﻤﺤﺘﻭﻯ ﺘﻠﻙ ﺍﻝﻔﻀﺎﺀﺍﺕ ﻹﺸﺒﺎﻉ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﻏﻴﺭ ﺍﻝﻤﺎﺩﻴﺔ ﻝﻠﻘﺎﻁﻨﻴﻥ ﻓﻴﻬﺎ‪ ،‬ﻭﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻝﻬـﻡ‬
‫ﻭﺍﻝﺘﻲ ﺘﺭﺘﺒﻁ ﺒﺄﻨﺸﻁﺔ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻜﺎﻓ ﹰﺔ‪ ،‬ﻭﻤﻥ ﺜﻡ ﻓﺈﻥ ﺍﻝﺘﺴﺎﺅل ﺍﻝﺭﺌﻴﺴﻲ ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﻁﺭﺤـﻪ ﻝﻬـﺫﻩ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻫﻭ‪:‬‬

‫ﻤﺎ ﻤﺩﻯ ﺃﻫﻤﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﻭﻤﺎ ﻤﺩﻯ ﻤﻼﺌﻤﺘـﻪ ﻝﻠﻭﻓـﺎﺀ‬
‫ﺒﺎﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻭﺍﻝﻨﻔﺴﻴﺔ ﻝﻠﺴﻜﺎﻥ؟ ﻭﻴﺘﻔﺭﻉ ﻋﻥ ﻫﺫﺍ ﺍﻝﺘﺴﺎﺅل ﺍﻝﺭﺌﻴﺴﻲ ﺍﻷﺴﺌﻠﺔ ﺍﻵﺘﻴﺔ‪:‬‬

‫‪ -‬ﻤﺎ ﻫﻲ ﻭﺴﺎﺌل ﺘﻔﻌﻴل ﺩﻭﺭ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻻﺴﺘﻴﻌﺎﺏ ﺍﻻﺤﺘﻴﺎﺠـﺎﺕ ﺍﻝﻤﺎﺩﻴـﺔ ﻭﻏﻴـﺭ‬
‫ﺍﻝﻤﺎﺩﻴﺔ ‪ -‬ﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ ﻝﻠﺴﻜﺎﻥ؟‬

‫‪ -‬ﻤﺎ ﺃﻫﻡ ﺍﻻﺘﺠﺎﻫﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺘﻘﻴﻴﻡ ﺃﺩﺍﺀ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ؟‬

‫‪ -‬ﻤﺎ ﻫﻲ ﺃﺭﺍﺀ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﻓﻲ ﻓﺭﺍﻏﺎﺘﻬﺎ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﻌﺩ ﺍﺴﺘﺨﺩﺍﻤﻬﻡ ﻝﻬﺎ؟‬

‫‪ -‬ﻤﺎ ﻫﻲ ﺃﻫﻡ ﻤﻘﺘﺭﺤﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﻝﺘﻁﻭﻴﺭ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬
‫ﺍﻝﺤﺎﻝﻲ ﺃﻭ ﻓﻲ ﺍﻝﻤﺴﺘﻘﺒل؟‬

‫‪ -‬ﻤﺎ ﻫﻲ ﺤﺩﻭﺩ ﺘﻔﺎﻋل ﺍﻝﻤﺼﻤﻤﻴﻥ ﻤﻊ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﺃﺜﻨﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﻝﻤﻌﺭﻓﺔ ﺍﺤﺘﻴﺎﺠﺎ‪6‬ﻬﻡ ﺍﻝﻤﺎﺩﻴﺔ ﻭﻏﻴﺭ‬
‫ﺍﻝﻤﺎﺩﻴﺔ ‪ -‬ﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ؟‬

‫ﻓﺭﻀﻴﺎﺕ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﻥ ﺴﻜﻨﻴﺔ ﺫﺍﺕ ﻁﺎﺒﻊ ﻤﻌﻤﺎﺭﻱ ﻤﺘﻤﻴﺯ‪ ،‬ﻭﺒﻴﺌﺔ‬

‫ﻫﻨﺎﻙ ﻀﺭﻭﺭﺓ ﻭﺃﻫﻤﻴﺔ ﻝﻠﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻹﻴﺠﺎﺩ ﻤﺒﺎ ﹴ‬ ‫•‬
‫ﺩﺍﺨﻠﻴﺔ ﻤﻨﺎﺴﺒﺔ ﻤﻥ ﺤﻴﺙ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻨﺎﺘﺞ ﻋﻥ ﺩﺭﺍﺴﺔ ﻤﺴﺘﻔﻴﻀﺔ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ‬
‫ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﺘﺘﻤﺎﻫﺎ ﻤﻊ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻝﺼﺤﻴﺔ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﺴﺎﻜﻥ‪.‬‬

‫ﺘﻌﺎﻭﻥ ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﺜﻨﺎﺀ ﻤﺭﺍﺤل ﺍﻝﺘﺼـﻤﻴﻡ ﺍﻝـﺩﺍﺨﻠﻲ ﻝﻠﻤﺒﻨـﻰ‪،‬‬ ‫•‬
‫ﻭﺇﺸﺭﺍﻙ ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﺜﻨﺎﺀ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻴﺅﺩﻱ ﺇﻝﻰ ﻭﺤـﺩﺓ ﻭﺍﺘـﺯﺍﻥ ﻭﺘﻜﺎﻤـل‬
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‫ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﺘﺼﻤﻴﻤﻲ‪ .‬ﻤﻤﺎ ﻴﻌﻤل ﻋﻠﻰ ﺘﻘﻠﻴل ﺍﻝﺯﻤﻥ ﺍﻝﻤﺴـﺘﻐﺭﻕ ﻭﺨﻔـﺽ ﺘﻜـﺎﻝﻴﻑ ﺍﻝﺘﻨﻔﻴـﺫ‪،‬‬
‫ﻭﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺤﺎﻝﺔ ﻤﻥ ﺍﻝﺭﻀﻰ ﺍﻝﻌﺎﻡ ﻝﺩﻯ ﻜل ﺍﻷﻁﺭﺍﻑ ﺍﻝﻔﺎﻋﻠﺔ‪.‬‬

‫ﻫﻨﺎﻙ ﻋﻼﻗﺔ ﻋﻜﺴﻴﺔ ﺒﻴﻥ ﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﻘﻴﻴﻡ ﺍﻝﻤﺴﺘﻤﺭﺓ ﻭﺭﺃﻱ ﺍﻷﻁﺭﺍﻑ ﺍﻝﻔﺎﻋﻠﺔ ﻤﻥ ﺃﺭﻜﺎﻥ ﺍﻝﻌﻤﻠﻴﺔ‬ ‫•‬
‫ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻓﻲ ﺍﻝﻤﺸﺎﺭﻴﻊ ﺍﻝﻤﻨﻔﺫﺓ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻭﺒﻴﻥ ﺇﻋﺎﺩﺓ ﺩﺭﺍﺴـﺔ ﺃﻭ ﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﺒﻤﺎ ﻴﻌﻭﺩ ﺒﺎﻷﺜﺭ ﺍﻹﻴﺠﺎﺒﻲ ﻋﻠﻰ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺘﻲ ﺴﻭﻑ ﻴﺘﻡ ﺘﺼﻤﻴﻤﻬﺎ ﻓﻲ‬

‫ﺍﻝﻤﺴﺘﻘﺒل‪ ،‬ﻭﺒﺎﻝﺘﺎﻝﻲ ﺍﻷﺜﺭ ﺍﻹﻴﺠﺎﺒﻲ ﻋﻠﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺍﻝﻤﺴﺘﻘﺒﻠﻲ ﺍﻝﻘﺎﺩﻡ‪.‬‬

‫ﻤﻨﻬﺠﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺍﻝﻤﻨﻬﺞ ﺍﻝﻭﺼﻔﻲ‪:‬‬

‫ﻭﺍﻝﺫﻱ ﻴﻘﻭﻡ ﻋﻠﻰ ﻭﺼﻑ ﺍﻝﻭﻗﺎﺌﻊ ﻭﺍﻝﺤﺎﻻﺕ ـ ﻭﻫﻲ ﻫﻨﺎ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ـ ﻭﺼـﻔﹰﺎ‬
‫ﻜﻴﻔﻴﹰﺎ ﺃﻭ ﻜﻤﻴﺎﹰ‪ ،‬ﺒﻨﺎﺀﹰﺍ ﻋﻠﻰ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻤﻭﺠﻭﺩﺓ ﻭﺍﻝﻤﺭﺠﻌﻴﺎﺕ ﺍﻝﻌﺎﻝﻤﻴﺔ‪ ،‬ﻓﺎﻝﺘﻌﺒﻴﺭ ﺍﻝﻜﻴﻔﻲ ﻴﻌﻁﻲ ﻭﺼﻔﹰﺎ‬
‫ﻝﻠﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻤﻭﻀﺤﹰﺎ ﺨﺼﺎﺌﺼﻪ‪ ،‬ﻓﻲ ﺤﻴﻥ ﻴﻌﻁﻲ ﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﻜﻤﻲ ﻭﺼﻔﹰﺎ ﺭﻗﻤﻴﹰﺎ ﻤﻭﻀﺤﹰﺎ ﻗﻴﺎﺱ‬

‫ﺃﻭ ﻤﺴﺎﺤﺔ ﺃﻭ ﺤﺠﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﺩﺭﺠﺔ ﺃﻭ ﻜﻴﻔﻴﺔ ﺍﺭﺘﺒﺎﻁ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻓﻴﻤﺎ ﺒﻴﻨﻬـﺎ‪.‬‬
‫ﻭﻫﻭ ﺃﺴﻠﻭﺏ ﻴﺭﻜﺯ ﻋﻠﻰ ﻭﺼﻑ ﺍﻝﻔﻜﺭﺓ ﻤﻭﻀﻭﻉ ﺍﻝﺩﺭﺍﺴﺔ ﺒﺎﻝﺸﺭﺡ ﻭﺍﻝﺘﻔﺴﻴﺭ ﻭﺃﺤﻴﺎﻨﹰﺎ ﺒﺎﻝﺘﺤﻠﻴل‪ ،‬ﺜـﻡ‬
‫ﻴﺭﺒﻁ ﺒﻴﻥ ﺍﻝﻤﻘﺩﻤﺎﺕ ﻭﺍﻝﻨﺘﺎﺌﺞ‪.‬‬

‫ﺍﻝﻤﻨﻬﺞ ﺍﻝﻭﺼﻔﻲ ﺍﻝﺘﺤﻠﻴﻠﻲ‪:‬‬

‫ﻭﻓﻲ ﻫﺫﺍ ﺍﻝﻤﻨﻬﺞ ﻜﺎﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻝﻠﺩﺭﺍﺴﺔ‪ .‬ﻓﻘﺩ ﺍﺴﺘﺨﺩﻤﺕ ﺍﻝﺒﺎﺤﺜﺔ ﻤﻥ ﺃﺩﻭﺍﺘﻪ ﺍﻝﻤﻘﺎﺒﻠﺔ‬
‫ﻝﻌﻴﻨﺔ ﺩﺭﺍﺴﻴﺔ ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﺒﻬﺩﻑ ﺠﻤﻊ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻤﻥ ﻤﺼـﺎﺩﺭﻫﺎ ﺍﻝﻤﺒﺎﺸـﺭﺓ‬

‫ﻭﺍﻝﻘﺎﺌﻤﺔ ﻋﻠﻰ ﺍﻝﻭﺼﻑ ﺍﻝﺩﻗﻴﻕ ﻝﻠﺘﺠﺭﺒﺔ ﺍﻝﺸﺨﺼﻴﺔ ﻷﺼﺤﺎﺏ ﺘﻠـﻙ ﺍﻝﻭﺤـﺩﺍﺕ‪ ،‬ﺜـﻡ ﺘﺤﻠﻴـل ﺘﻠـﻙ‬
‫ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻭﺍﻝﺘﻌﺒﻴﺭ ﻋﻨﻬﺎ ﺒﺄﺭﻗﺎﻡ ﻴﺴﻬل ﻋﻠﻰ ﺍﻝﻘﺎﺭﺉ ﻓﻬﻤﻬﺎ ﺃﻭ ﻤﻼﺤﻅﺘﻬﺎ‪ ،‬ﻭﻗﺩ ﻋـﺯﺯﺕ ﺍﻝﺩﺭﺍﺴـﺔ‬
‫ﺍﻝﻤﻘﺎﺒﻼﺕ ﺒﺎﻝﺼﻭﺭ ﻭﺍﻝﻤﺨﻁﻁﺎﺕ ﻗﺒل ﻤﺭﺤﻠﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺒﻌﺩﻩ‪ ،‬ﺒﻬﺩﻑ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺃﻫﻤﻴـﺔ‬

‫ﺩﻭﺭ ﻭﻤﺴﺅﻭﻝﻴﺔ ﺍﻝﻤﺼﻤﻤﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻭﺩﻭﺭ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﺭﺤﻠﺔ‪.‬‬

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 ‫ﺤﺩﻭﺩ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺍﻝﺤﺩﻭﺩ ﺍﻝﺯﻤﻨﻴﺔ‪ :‬ﺘﻘﺘﺼﺭ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻠﻰ ﺍﻝﻔﺘﺭﺓ ﺍﻝﻤﻌﺎﺼﺭﺓ ﺍﻝﻤﻤﺘﺩﺓ ﻤﻥ ﺴﻨﺔ ‪1980‬ﻡ ﻭﺤﺘـﻰ ﺴـﻨﺔ‬

‫‪2013‬ﻡ‪ .‬ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ﺍﻝﺘﻲ ﺒﺩﺃ ﻓﻴﻬﺎ ﻅﻬﻭﺭ ﻨﻤﺎﺫﺝ ﻤﺘﻤﻴﺯﺓ ﻭﻤﺘﺨﺼﺼﺔ ﻝﻤﺒﺎﻨﻲ ﺴﻜﻨﻴﺔ ﻤﻨﻔﺼﻠﺔ )ﻓﻠل(‬
‫ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ‬

‫ﺍﻝﺤﺩﻭﺩ ﺍﻝﻤﻜﺎﻨﻴﺔ‪ :‬ﺘﺨﺘﺹ ﺍﻝﺩﺭﺍﺴﺔ ﺒﺎﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻠل( ﻓﻲ ﺇﻁﺎﺭ ﻤﺤﺎﻓﻅﺔ ﻨﺎﺒﻠﺱ ﻓﻲ‬

‫ﺩﻭﻝﺔ ﻓﻠﺴﻁﻴﻥ‪ .‬ﻜﻭﻨﻬﺎ ﻤﻜﺎﻥ ﺘﻭﺍﺠﺩ ﺍﻝﺒﺎﺤﺜﺔ ﻭﻀﻤﻥ ﻨﻁﺎﻕ ﻋﻤﻠﻬﺎ‪.‬‬

‫ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ‬

‫ﺩﺭﺍﺴﺔ ﻝﻠﺒﺎﺤﺜﺔ ﺭﺍﻨﻴﺎ ﻫﺎﻨﻲ ﻜﺴ‪‬ﺎﺭ )‪ (2007‬ﺒﻌﻨﻭﺍﻥ‪ :‬ﺩﻭﺭ ﺘﺼﻤﻴﻡ ﺍﻝﻔﺭﺍﻍ ﺍﻝـﺩﺍﺨﻠﻲ ﻓـﻲ‬

‫ﺘﻌﺯﻴﺯ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﺍﻝﺠﺎﻤﻌﺔ ﺍﻷﺭﺩﻨﻴﺔ‪.‬‬

‫ﺘﻨﺎﻭﻝﺕ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ‪ ،‬ﻭﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺭﺌﻴﺴﻴﺔ ﺍﻝﺘـﻲ ﺘـﻡ‬
‫ﻁﺭﺤﻬﺎ ﻫﻲ ﻤﺸﻜﻠﺔ ﺍﻝﻔﺼل ﺍﻝﺘﺎﻡ ﺍﻝﺫﻱ ﻴﺤﺩﺙ ﻋﻨﺩ ﺘﺼﻤﻴﻡ ﺩﺍﺨل ﺍﻝﻤﺒﻨﻰ ﻭﺨﺎﺭﺠﻪ‪ .‬ﺒﻬﺩﻑ ﺇﺜﺒﺎﺕ ﻓﺭﻀﻴﺔ‬

‫ﺃﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻫﻭ ﺠﺯﺀ ﻤﻥ ﺍﻝﻌﻤﺎﺭﺓ ﻭﻝﻴﺱ ﻤﻨﻔﺼل ﺒﺤﺩ ﺫﺍﺘﻪ ﻭﺃﻥ ﺘﺼﻤﻴﻡ" ﻋﻤﺎﺭﺓ ﺠﻴﺩﺓ "ﻴﻌﻨﻲ‬
‫ﺘﻁﻭﺭ ﻨﻭﻋﻴﺔ ﺍﻝﺤﻴﺎﺓ ﻝﻠﻤﺴﺘﺨﺩﻡ‪ .‬ﻭﻗﺩ ﺨﺭﺠﺕ ﺍﻝﺒﺎﺤﺜﺔ ﺒﻌﺩﺓ ﺘﻭﺼﻴﺎﺕ ﻤﻥ ﺃﻫﻤﻬﺎ ﻀـﺭﻭﺭﺓ ﺘـﺩﺭﻴﺏ‬
‫ﻭﺘﺜﻘﻴﻑ ﺍﻝﻤﻌﻤﺎﺭﻴﻴﻥ ﺍﻝﺠﺩﺩ ﺤﻭل ﺍﻝﺘﻌﺎﻤل ﻤﻊ ﺍﻝﻔﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺒﺸﻤﻭﻝﻴﺘﻪ‪ ،‬ﻭﺭﻓﻊ ﻤﺴﺘﻭﻯ ﺍﻝﻭﻋﻲ ﻋﻨﺩ‬

‫ﻋﺎﻤﺔ ﺍﻝﻨﺎﺱ ﺒﺄﻫﻤﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺭﻓﻊ ﺍﻝﻤﺴﺘﻭﻯ ﺍﻝﻤﻌﻴﺸﻲ ﻤﻊ ﺇﻋﻁﺎﺀ ﺤﻠﻭل ﻤﻼﺌﻤﺔ ﺍﻗﺘﺼﺎﺩﻴﹰﺎ‪.‬‬

‫ﺩﺭﺍﺴﺔ ﻝﻠﺒﺎﺤﺙ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺴﻠﻴﻤﺎﻥ ﺍﻝﺭﺸﻭﺩ‪1425 ،‬ﻫــ‪ .‬ﺒﻌﻨـﻭﺍﻥ‪ :‬ﺘـﺄﺜﻴﺭ ﺍﻷﻨﻤـﺎﻁ‬
‫ﺍﻝﺴﻠﻭﻜﻴﺔ ﻋﻠﻰ ﺘﺼﻤﻴﻡ ﺠﻨﺎﺡ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜﺭﺭﺓ ﻓﻲ ﻤﺸـﺭﻭﻋﺎﺕ ﺍﻹﺴـﻜﺎﻥ‬

‫ﺒﻤﺩﻴﻨﺔ ﺍﻝﺭﻴﺎﺽ‪ ،‬ﺠﺎﻤﻌﺔ ﺍﻝﻤﻠﻙ ﺴﻌﻭﺩ‪.‬‬

‫ﻁﺭﺤﺕ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻀﺭﻭﺭﺓ ﺘﻭﻓﻴﺭ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻭﺍﻝﻨﻔﺴﻴﺔ ﻝﻺﻨﺴـﺎﻥ ﻭﺍﻝﻤﺘﻌﻠﻘـﺔ‬
‫ﺒﺎﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻭﺫﻝﻙ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺘﺼﻤﻴﻡ ﻝﺘﻠﻙ ﺍﻝﻔﺭﺍﻏﺎﺕ‪ ،‬ﻭﻴﻜﻭﻥ ﺫﻝﻙ ﻋـﻥ ﻁﺭﻴـﻕ‬

‫ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﻭﺘﺼﻨﻴﻔﻬﺎ ﻭﺩﺭﺍﺴﺔ ﻤﻜﻭﻨﺎﺕ ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻭﻤﺤﺎﻭﻝﺔ ﺍﻝﺭﺒﻁ ﺒﻴﻨﻬﻤـﺎ ﺒﻠﻐـﺔ ﻤـﻥ‬

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‫ﺍﻝﺘﺤﺎﻭﺭ ﺍﻝﺭﻤﺯﻱ ﻭﻏﻴﺭ ﺍﻝﺸﻔﻬﻲ‪ ،‬ﻭﻤﺤﺎﻭﻝﺔ ﺍﻝﺭﺒﻁ ﻫﺫﻩ ﺘﺴﻌﻰ ﺇﻝﻰ ﺘﺠﻤﻴﻊ ﻜل ﻤﻥ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﻌﻤل‬
‫ﻭﻋﻠﻤﺎﺀ ﺍﻻﺠﺘﻤﺎﻉ ﻭﺍﻝﻨﻔﺱ ﻓﻲ ﻤﻨﻅﻭﻤﺔ ﻭﺍﺤﺩﺓ‪.‬‬

‫ﻭﺤﺎﻭل ﺍﻝﺒﺎﺤﺙ ﻓﻲ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﺘﺸﺨﻴﺹ ﻭﺍﻗﻊ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻭﺤـﺩﺍﺕ‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜﺭﺭﺓ ﻓﻲ ﺍﻹﺴﻜﺎﻥ ﺍﻝﺠﻤﺎﻋﻲ ﺒﻤﺩﻴﻨﺔ ﺍﻝﺭﻴﺎﺽ ‪8‬ﻬﺩﻑ ﺘﺄﻜﻴﺩ ﺩﻭﺭ ﺍﻝﻌﻠﻭﻡ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ‬
‫ﻓﻲ ﺘﺼﻤﻴﻡ ﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﺩﺍﺨل ﻤﺸﺎﺭﻴﻊ ﺍﻹﺴﻜﺎﻥ ﺍﻝﺠﻤﺎﻋﻲ‪ ،‬ﻭﻜﺫﻝﻙ ﻭﻀـﻊ ﺍﻝﺨﻁـﻭﻁ ﺍﻝﻌﺭﻴﻀـﺔ‬

‫ﻹﻤﻜﺎﻨﻴﺎﺕ ﻭﺤﺩﻭﺩ ﺇﺴﻬﺎﻡ ﺍﻝﻌﻠﻭﻡ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ ﻓﻲ ﻤﺭﺤﻠﺔ ﻤﺎ ﺒﻌﺩ ﺍﻹﺸﻐﺎل ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ ﻓﻲ‬
‫ﻤﺭﺤﻠﺔ ﺍﻹﻋﺩﺍﺩ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻝﻠﻤﺸﺭﻭﻋﺎﺕ ﺍﻝﺠﺩﻴﺩﺓ‪.‬‬

‫ﻭﻗﺩ ﻗﺩﻤﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻤﻘﺘﺭﺤﺎﺕ ﻋﻠﻰ ﺸﻜل ﺘﻭﺼﻴﺎﺕ ﻜﺎﻥ ﻤﻥ ﺃﻫﻤﻬﺎ‪ :‬ﻀﺭﻭﺭﺓ‬

‫ﺍﻷﺨﺫ ﺒﻨﺘﺎﺌﺞ ﺍﻝﻌﻠﻭﻡ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺨﺎﺼﺔ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺎﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ ﻝﻠﺴﻜﺎﻥ ﻋﻨﺩ ﺘﺼﻤﻴﻡ‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜﺭﺭﺓ‪ ،‬ﻀﺭﻭﺭﺓ ﺍﻷﺨﺫ ﺒﺂﺭﺍﺀ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻋﻨﺩ ﺇﺠﺭﺍﺀ ﺍﻝﺘﺼﻤﻴﻡ‪ ،‬ﻭ ﻀـﺭﻭﺭﺓ‬
‫ﻭﻀﻊ ﺒﺭﺍﻤﺞ ﺘﺩﺭﻴﺒﻴﺔ ﻝﻠﻤﻬﻨﺩﺴﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻴﻴﻥ ﺍﻝﻤﺸﺎﺭﻜﻴﻥ ﻓﻲ ﺒﻨﺎﺀ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜـﺭﺭﺓ ﺒﻤـﺎ‬

‫ﻴﺴﺎﻋﺩ ﻋﻠﻰ ﺯﻴﺎﺩﺓ ﻨﻤﻭﻫﻡ ﺍﻝﻤﻬﻨﻲ ﻭﺍﻹﻨﺴﺎﻨﻲ‪.‬‬

‫ﺭﺴﺎﻝﺔ ﻤﻘﺩﻤﺔ ﻤﻥ ﺍﻝﺒﺎﺤﺙ ﺤﺴﺎﻡ ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،2009 ،‬ﺒﻌﻨـﻭﺍﻥ‪ :‬ﺍﻝـﺩﻴﻜﻭﺭ ﺍﻝﻤﺴـﺭﺤﻲ‬
‫ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻗﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻤﺸﻕ‪.‬‬

‫ﺘﺒﺤﺙ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻓﻲ ﻤﺎﻫﻴﺔ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻭﺭﻜﺯﺕ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻋﻠﻰ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻜﻭﺍﺤﺩﺓ ﻤﻥ ﻝﻐﺎﺕ ﺍﻝﺘﺸﻜﻴل ﺍﻝﺘﻲ ﺒﺤﺜﺕ ﻓـﻲ ﺍﻝـﻨﻅﻡ ﻭﺍﻝﻌﻼﻗـﺎﺕ‪،‬‬
‫ﻭﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﻔﻠﺴﻔﻴﺔ ﺠﻤﻴﻌﻬﺎ‪ ،‬ﻓﻲ ﺍﻁﺎﺭ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻜﻤﺎ ﻫﺩﻓﺕ ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﻤﻔﻬـﻭﻤﻲ‬

‫ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﺸﻜﻴل ﺍﻝﻔﻨﻲ ﺒﺎﻻﻀﺎﻓﺔ ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺍﻝﻤﻔﺭﺩﺍﺕ ﺍﻝﺒﺼﺭﻴﺔ ﺍﻝﻤﻜﻭﻨﺔ ﻝﻬﻤﺎ‪ ،‬ﺍﻀﺎﻓﺔ‬
‫ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﺍﻻﺴﺱ ﻭﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﺘﻌﺒﻴﺭﻴﺔ ﺍﻝﻤﺭﺘﺒﻁﺔ ﺒﻬﻤﺎ‪ ،‬ﻭﺍﻝﻤﻘﺎﺭﻨﺔ ﻓﻴﻤﺎ ﺒﻴﻨﻬﺎ ﻓﻲ ﻤﺠـﺎﻝﻲ‬
‫ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ‪ ،‬ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‪.‬‬

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‫ﺩﺭﺍﺴﺔ ﻝﻠﺒﺎﺤﺙ ﻴﻭﺴﻑ ﺃﺤﻤﺩ ﻋﺒﺩ ﺍﻝﺴﻼﻡ‪ ،2006 ،‬ﺒﻌﻨﻭﺍﻥ‪ :‬ﺍﻻﺴﺘﻐﻼل ﺍﻷﻤﺜل ﻝﻠﻤﺴـﺎﺤﺎﺕ‬
‫ﺍﻝﻔﺭﺍﻏﻴﺔ ﺩﺍﺨل ﺍﻷﺒﻨﻴﺔ ﺍﻝﻤﻜﺘﺒﻴﺔ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻤﺸﻕ‪.‬‬

‫ﻴﻬﺩﻑ ﻫﺫﺍ ﺍﻝﺒﺤﺙ ﺇﻝﻰ ﻭﻀﻊ ﺨﻁﻭﻁ ﺇﺭﺸﺎﺩﻴﺔ ﻋﺎﻤﺔ ﻭﻀﻭﺍﺒﻁ ﺘﻭﺠﻴﻬﻴﺔ ﺘﺼﻠﺢ ﺃﺴﺎﺴ‪‬ﺎ ﻝﻘﺎﻋﺩﺓ‬
‫ﺒﻴﺎﻨﺎﺕ ﺘﺴﺎﻋﺩ ﺍﻝﻤﺼﻤﻤﻴﻥ ﻋﻠﻰ ﺍﻹﻋﺩﺍﺩ ﺍﻝﺠﻴﺩ ﻭﺍﻝﺘﺨﻁﻴﻁ ﻭﺍﻹﻝﻤﺎﻡ ﺒﻤﺘﻁﻠﺒﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬
‫ﻝﻠﻤﻜﺎﺘﺏ‪ ،‬ﻝﺘﻼﻓﻲ ﺍﻷﺨﻁﺎﺀ ﻭﻨﻘﺹ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻤﺘﻭﺍﻓﺭﺓ ﻋﻨﺩ ﺍﻝﺘﺨﻁـﻴﻁ‪ .‬ﻓﻘـﺩ ﺃﺼـﺒﺤﺕ ﻤﻭﺍﻜﺒـﺔ‬

‫ﺍﻝﺘﻁﻭﺭﺍﺕ ﻓﻲ ﺘﺼﻤﻴﻡ ﺍﻝﻨﻅﻡ ﺍﻝﻤﻜﺘﺒﻴﺔ ﻭﺘﺨﻁﻴﻁﻬﺎ ﻀﺭﻭﺭﺓ ﻤﻠﺤﺔ ﻝﻠﻤﺴﺎﻋﺩﺓ ﻓﻲ ﺭﻓﻊ ﺇﻨﺘﺎﺠﻴﺔ ﺍﻝﻤﻭﻅﻑ‬
‫ﻭﻜﻔﺎﺀﺘﻪ‪ ،‬ﻭﻓﻌﺎﻝﻴﺔ ﺃﺩﺍﺀ ﻨﻅﻡ ﺍﻹﺩﺍﺭﺓ ﻭﺍﻻﺘﺼﺎﻻﺕ‪ ،‬ﻭﺫﻝﻙ ﻤﻥ ﺤﻴﺙ ﺇﺘﺎﺤﺔ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻤﺘﺩﺓ ﻭﺍﻝﻤﻔﺘﻭﺤﺔ‪،‬‬
‫ﻭﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻔﻭﺍﺼل ﺍﻝﺠﺩﺍﺭﻴﺔ ﻏﻴﺭ ﺍﻝﻤﺒﺎﺸﺭﺓ‪ ،‬ﻭﺍﻝﻌﻭﺍﻤل ﺍﻝﻔﺴﻴﻭﻝﻭﺠﻴﺔ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﻭﻅﺎﺌﻑ ﺍﻷﻋﻀﺎﺀ ﻤﻥ‬

‫ﺤﻴﺙ ﺍﻹﻀﺎﺀﺓ ﺍﻝﺠﻴﺩﺓ ﻭﺍﻝﻌﺯل ﺍﻝﺼﻭﺘﻲ ﻭﺍﻝﺤﺭﺍﺭﻱ ﻭﺍﻝﺘﻬﻭﻴﺔ ﻭﻭﻀﻌﻴﺔ ﺍﻝﺠﻠﻭﺱ ﺍﻝﻤﺭﻴﺤﺔ ﻝﻸﺜـﺎﺙ‪،‬‬
‫ﻭﺍﻝﻌﻭﺍﻤل ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﻤﻥ ﺤﻴﺙ ﺍﻝﺘﻨﺎﻏﻡ ﺍﻝﻠﻭﻨﻲ ﻤﻊ ﺃﻝﻭﺍﻥ ﺍﻝﺴﻁﻭﺡ ﺍﻝﻤﻜﺘﺒﻴﺔ‪ ،‬ﻓﻀﻼ ﻋﻥ ﺤﺴـﺎﺒﺎﺕ‬
‫ﺍﻷﺒﻌﺎﺩ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻔﺭﺍﻍ ﺍﻝﻤﻜﺘﺒﻲ ﻭﻗﻁﻊ ﺍﻷﺜﺎﺙ ﻭﺍﻝﺘﺠﻬﻴﺯﺍﺕ ﺍﻝﻤﻜﺘﺒﻴﺔ ﺍﻝﺘﻲ ﺘﺴﺎﻋﺩ ﻓـﻲ ﺭﻓـﻊ ﻜﻔـﺎﺀﺓ‬

‫ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﻭﻅﻴﻔﻲ ﻝﻠﻤﺴﺎﺤﺎﺕ ﻭﺍﻝﺴﻁﻭﺡ ﻭﺍﻷﺜﺎﺙ ﺍﻝﺜﺎﺒﺕ ﻭﺍﻝﻤﺘﺤﺭﻙ‪.‬‬

‫ﻤﻜﻭﻨﺎﺕ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺘﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻝﺭﺴﺎﻝﺔ ﻤﻥ ﺜﻼﺜﺔ ﻓﺼﻭل ﺃﺴﺎﺴﻴﺔ‪ ،‬ﻓﺎﻝﻔﺼل ﺍﻷﻭل ﻴﺘﻨﺎﻭل ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤـﺎﺭﻱ‬

‫ﻭﻴﻌﺭﺽ ﻜﻴﻑ ﻋﺭ‪‬ﻓﻪ ﺍﻝﺒﺎﺤﺜﻭﻥ ﺃﻭ ﺍﻝﻤﺘﺨﺼﺼﻭﻥ ﻭﻜﻴﻑ ﺘﺤﺩﺩ ﻤﻔﻬﻭﻤﻪ ﻭﺃﺴﺴﻪ ﻭﻤﺠﻤﻭﻋﺔ ﺍﻝﻌﻼﻗﺎﺕ‬
‫ﺍﻝﺘﺭﺍﺒﻁﻴﺔ ﺒﻴﻥ ﺃﺠﺯﺍﺌﻪ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ‪ ،‬ﻭﻝﻬﺫﺍ ﻓﻘﺩ ﺴﻠﻁﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﺍﻝﻘﻭﺍﻋﺩ ﺍﻝﻔﻠﺴﻔﻴﺔ‬
‫ﻭﺠﺩﻝﻴﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﻁﺭﺤﺕ ﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﻨﻔﺴـﻴﺔ ﺍﻝﺘﻨﻅﻴﻤﻴـﺔ ﻝﻠﻔﻀـﺎﺀ ﺍﻝﻤﻌﻤـﺎﺭﻱ‪،‬‬

‫ﻜﺎﻝﺘﻭﺍﺯﻥ ﻭﺍﻝﺘﺭﺘﻴﺏ ﻭﺍﻝﺘﺴﻠﺴل ﻭﺍﻝﻘﻴﺎﺱ ﻭﺍﻝﻨﺴﺏ‪ ،‬ﻭﻤﺒﺩﺃ ﺍﻝﻭﺤﺩﺓ ﻭﻏﻴﺭﻫﺎ‪ .‬ﺜﻡ ﺭﻜﺯﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻠـﻰ‬
‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺨﺎﺭﺠﻲ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﻭﻗﻊ ﻭﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺅﺜﺭﺓ ﻭﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﺒﻨـﺎﺀ ﻭﻤﻌـﺎﻴﻴﺭ‬
‫ﻋﻼﻗﺘﻪ ﺒﻤﺤﻴﻁﻪ ﻜﺎﻹﻀﺎﺀﺓ ﻭﺍﻝﺘﻬﻭﻴﺔ ﻭﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺍﻹﻁﻼﻝﺔ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫ﺜﻡ ﻨﺎﻗﺸﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻋﺭﻀﺕ ﻝﻠﻤﺩﺍﺭﺱ ﺍﻝﺘـﻲ ﻗﺴـﻤﺘﻬﺎ ﺇﻝـﻰ‬
‫ﻤﺘﻁﻠﺒﺎﺕ ﻭﻅﻴﻔﻴﺔ‪ ،‬ﻭﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺸﺎﺌﻴﺔ‪ ،‬ﺜﻡ ﻤﺘﻁﻠﺒﺎﺕ ﺠﻤﺎﻝﻴﺔ ﻭﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ‪.‬‬

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‫ﺼﻠﺕ ﻓﻲ‬
‫ﺜﻡ ﺍﻨﺘﻘﻠﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻓﻲ ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ ﻝﺘﺘﺤﺩﺙ ﻋﻥ ﺍﻝﻤﺴﻜﻥ ﻭﺃﻫﻤﻴﺘﻪ ﻭﺃﻨﻭﺍﻋﻪ‪ ،‬ﻭﻓ ‪‬‬
‫ﻋﻨﺎﺼﺭ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﻜﻭﻨﻬﺎ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻓﻲ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﻜﻤﻨﻁﻘـﺔ ﺍﻝﻤـﺩﺨل‬

‫ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻜﺎﻝﻤﻌﻴﺸﺔ‪ ،‬ﻭﺍﻝﻨﻭﻡ‪ ،‬ﻭﺍﻝﺨﺩﻤﺎﺕ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻓﺘﺤﺩﺜﺕ ﻋﻥ ﺍﻝﻤﺒـﺎﺩﺉ ﺍﻝﺘﺼـﻤﻴﻤﻴﺔ‬

‫ﻝﺘﻠﻙ ﺍﻝﻌﻨﺎﺼﺭ ﺃﻭ ﺍﻝﻔﺭﺍﻏﺎﺕ‪ ،‬ﻜﺎﻝﻤﺴﺎﺤﺔ ﻭﺍﻝﻤﻘﺎﻴﻴﺱ ﻭﺍﻝﺘﻭﺠﻴـﻪ ﻭﺍﻝﻤﻭﻗـﻊ ﻭﺍﻹﻀـﺎﺀﺓ ﻭﺍﻷﻝـﻭﺍﻥ‪،‬‬
‫ﻭﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺘﺭﺍﺒﻁﻴﺔ ﺃﻭ ﺍﻝﺒﻴﻨﻴﺔ‪ .‬ﻜﻤﺎ ﺘﻁﺭﻗﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻝﻤﻭﺍﻀﻴﻊ ﺍﻷﻝـﻭﺍﻥ ﻭﺍﻹﻀـﺎﺀﺓ ﻭﺍﻝﺨﺎﻤـﺎﺕ‬

‫ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻭﻁﺭﻴﻘﺔ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﻭﺍﻝﻤﻜﻤﻼﺕ ﺍﻝﺘﺯﻴﻴﻨﻴﺔ ﻜﺎﻷﺜﺎﺙ ﻭﺍﻝﺴﺘﺎﺌﺭ ﻭﺍﻝﻠﻭﺤﺎﺕ ﻭﻏﻴﺭﻫـﺎ ﻓـﻲ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻝﻤﺎ ﻝﻬﺎ ﻤﻥ ﺒﺎﻝﻎ ﺍﻷﺜﺭ ﻋﻠﻰ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ ﻋﻠﻰ ﺍﻝﻔﺭﺩ ﻭﺍﻝﻤﺠﺘﻤﻊ‪.‬‬

‫ﻭﻓﻲ ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ ﺘﺤﺩﺜﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺃﺭﻜﺎﻨﻬـﺎ ﺍﻷﺭﺒﻌـﺔ ﻭﻫـﻲ‪:‬‬

‫ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﺍﻝﻘﺎﻨﻭﻥ ﻭﺍﻝﻤﺒﻨﻰ‪ ،‬ﻭﺘﺤﺩﺜﺕ ﻋﻥ ﺃﻫﻤﻴﺔ ﺃﻥ ﺘﻜـﻭﻥ ﺍﻝﻌﻼﻗـﺔ ﺒـﻴﻥ ﺍﻝﻤﺼـﻤﻡ‬
‫ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ ﻋﻼﻗﺔ ﺘﺸﺎﺭﻜﻴﺔ ﺃﺜﻨﺎﺀ ﻓﺘﺭﺓ ﺍﻝﺘﺼﻤﻴﻡ ﺃﻭ ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﺒل ﻭﺫﻫﺒـﺕ ﺇﻝـﻰ ﺍﻋﺘﺒـﺎﺭ‬
‫ﺍﻝﻤﺴﺘﺨﺩﻡ ﻜﻤﺼﻤﻡ ﺜﺎﻨﻭﻱ ﻭﺇﺸﺭﺍﻜﻪ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﺘﺼﻤﻴﻤﻲ ﺩﻭﻥ ﺇﻓﺭﺍﻁ ﺃﻭ ﺘﻔﺭﻴﻁ‪ ،‬ﻭﺫﻝﻙ ﺒﻬﺩﻑ‬

‫ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﻤﺸﺭﻭﻉ ﻤﻜﺘﻤل ﺍﻷﺭﻜﺎﻥ ﻤﻥ ﺤﻴﺙ ﺍﻝﻐﺎﻴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﺸـﻜل ﺍﻝـﻭﻅﻴﻔﻲ ﻭﺍﻝﻘﻴﻤـﺔ‬
‫ﺍﻝﺠﻤﺎﻝﻴﺔ‪.‬‬

‫ﻜﻤﺎ ﺍﺘﺒﻌﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻤﻨﻬﺞ ﺍﻝﻭﺼﻔﻲ ﻓﻲ ﺇﻁﺎﺭﻩ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻤﻥ ﺨـﻼل ﺇﺠـﺭﺍﺀ ﺍﻝﻤﻘـﺎﺒﻼﺕ‬

‫ﻝﻠﺘﻌﺭﻑ ﻋﻠﻰ ﺁﺭﺍﺀ ﻋﻴﻨﺔ ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻠل( ﻓﻲ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ‬
‫ﻤﻨﻁﻘﺔ ﺍﻝﺠﻨﻴﺩ‪ ،‬ﻭﻗﺩ ﺘﻀﻤﻨﺕ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻨﻭﻋﻴﻥ ﻤﻥ ﺍﻷﺴﺌﻠﺔ‪ ،‬ﺍﻝﻨﻭﻉ ﺍﻷﻭل‪ :‬ﺘﺤﺩﺙ ﻋﻥ ﺭﺃﻱ ﺍﻝﻤﺴﺘﺨﺩﻡ‬
‫)ﺍﻝﺴﺎﻜﻥ( ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺃﻫﻤﻴﺘﻪ‪ ،‬ﻭﻋﻥ ﺘﺠﺭﺒﺘﻪ ﺍﻝﺸﺨﺼﻴﺔ ﻓﻲ ﺫﻝﻙ‪ ،‬ﻤﻥ ﺤﻴﺙ ﺘﻌﺎﻭﻨﻪ ﻤـﻊ‬

‫ﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻤﻥ ﻋﺩﻤﻪ‪ ،‬ﻭﺍﻝﻨﺘﺎﺌﺞ ﺍﻝﻤﺘﺭﺘﺒﺔ ﺘﺒﻌﹰﺎ ﻝﺫﻝﻙ‪ ،‬ﻭﺭﺃﻴﻪ ﻓﻲ ﺃﺩﺍﺀ ﺍﻝﻤﺼﻤﻡ ﺍﻝـﺩﺍﺨﻠﻲ‪ ،‬ﻭﻋـﻥ‬
‫ﺘﺠﺭﺒﺘﻪ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺸﻜل ﻋﺎﻡ ﻭﺍﻵﻝﻴﺎﺕ ﺍﻝﻤﺘﺒﻌﺔ ﻓﻲ ﺍﻝﺘﻨﻔﻴﺫ‪.‬‬

‫ﺒﻴﻨﻤﺎ ﻜﺎﻥ ﺍﻝﻨﻭﻉ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺍﻷﺴﺌﻠﺔ ﺫﺍﺕ ﻁﺎﺒﻊ ﻤﻬﻨﻲ ﻭﺘﺨﺼﺼﻲ ﺃﻜﺜﺭ‪ ،‬ﻓﻘﺩ ﺸﻤﻠﺕ ﺍﻷﺴﺌﻠﺔ‬

‫ﺘﺴﺎﺅﻻﺕ ﻋﻥ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﻤﺜل ﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻨﺴﺏ ﺍﻝﺒﻨﺎﺀ‬
‫ﻭﺍﻝﺤﺩﺍﺌﻕ ﺍﻝﻤﺤﻴﻁﺔ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻹﻀﺎﺀﺓ ﻭﺍﻝﺘﻬﻭﻴﺔ ﻭﻏﻴﺭﻫﺎ‪.‬‬

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‫ﺜﻡ ﺨﻠﺼﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻝﺠﻤﻠﺔ ﻤﻥ ﺍﻝﻨﺘﺎﺌﺞ ﻜﺎﻥ ﻤﻥ ﺃﺒﺭﺯﻫﺎ‪ :‬ﺍﻝﺘﺄﻜﻴﺩ ﻋﻠـﻰ ﺃﻫﻤﻴـﺔ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﻌﺯﻴﺯ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺇﺜﺭﺍﺌﻪ ﺒﻤﺎ ﻴﻌﻭﺩ ﻋﻠﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺒﻨﺘﺎﺌﺞ ﻋﻠـﻰ ﺍﻝﻤﺴـﺘﻭﻴﻴﻥ‬

‫ﺍﻝﻤﺎﺩﻱ ﻭﺍﻝﻨﻔﺴﻲ ﻭﺒﻨﺎﺀﹰﺍ ﻋﻠﻰ ﺘﻠﻙ ﺍﻝﻨﺘﺎﺌﺞ‪ ،‬ﻓﻘﺩ ﺩﻋﺕ ﺍﻝﺩﺭﺍﺴﺔ – ﻜﺘﻭﺼﻴﺔ‪ -‬ﺇﻝﻰ ﻀـﺭﻭﺭﺓ ﺘﻔﺎﻋـل‬
‫ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﺜﻨﺎﺀ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﻭ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﻭﺫﻝﻙ ﺒﻬـﺩﻑ ﺍﻝﺤﺼـﻭل‬
‫ﻋﻠﻰ ﻤﺴﻜﻥ ﻤﺭﻴﺢ ﻴﻭﺍﻜﺏ ﺍﻝﻌﺼﺭ ﻭﺍﻝﺘﻁﻭﺭﺍﺕ ﺍﻝﺤﺩﻴﺜﺔ‪ ،‬ﻝﻪ ﻫﻭﻴﺔ ﻭﻋﻨﻭﺍﻥ ﻴﺘﻤﺎﺸﻰ ﻤﻊ ﺭﻭﺡ ﺍﻝﻤﻜﺎﻥ‬

‫ﻭﻴﺤﻘﻕ ﺍﻷﺼﺎﻝﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ ﺍﻝﻌﻤﺭﺍﻨﻲ‪.‬‬

‫‪10‬‬
 ‫ﺍﻝﻔﺼل ﺍﻷﻭل‬

‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪11‬‬
 ‫ﺍﻝﻔﺼل ﺍﻷﻭل‬

‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﺘﻤﻬﻴﺩ‬

‫ﻴﻌﺘﺒﺭ ﺍﻝﻤﻨﺘﺞ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺒﻤﺎ ﻴﺤﻘﻘﻪ ﻤﻥ ﻭﻅﻴﻔﺔ ﻭﺠﻤﺎل‪ ،‬ﺍﻝﻤﺤﺼﻠﺔ ﺍﻝﻨﻬﺎﺌﻴﺔ ﻝﻌﻤﻠﻴـﺔ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﺭﻏﻡ ﺫﻝﻙ ﻓﺎﻝﺠﺩﻝﻴﺔ ﻻﺯﺍﻝﺕ ﻗﺎﺌﻤﺔ ﺒﻴﻥ ﺇﻋﻁﺎﺀ ﺍﻷﻭﻝﻭﻴﺔ ﻝﻠﺸﻜل ﺃﻭ ﻝﻠﻔﺭﺍﻏﺎﺕ ﺍﻝﺘﻲ ﺘﻤﺎﺭﺱ‬
‫ﻓﻴﻬﺎ ﺍﻷﻨﺸﻁﺔ )ﺍﻝﻭﻅﻴﻔﻴﺔ(‪.‬ﺒﻤﻌﻨﻰ ﺃﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻤﺤﻭﺭ ﻫﺎﻡ ﺇﻥ ﻝﻡ ﻴﻜـﻥ ﺍﻷﻫـﻡ ﻓـﻲ ﺍﻝﻤﻨـﺘﺞ‬

‫ﺍﻝﻤﻌﻤﺎﺭﻱ‪.‬‬

‫ﻤﻘﺩﻤﺔ‬

‫ﻴﻤﻜﻥ ﺘﻌﺭﻴﻑ ﺍﻝﻌﻤﺎﺭﺓ ﻋﻠﻰ ﺃﻨﻬﺎ ﻓﻥ ﺘﻁﺒﻴﻘﻲ ﻴﻌﻁﻲ ﻤﻨﺘﺠﹰﺎ ﺍﺠﺘﻤﺎﻋﹰﺎ ﻭﺇﻨﺴﺎﻨﻴﹰﺎ‪ ،‬ﻴﺤﻘﻕ ﺍﻝﻭﻅﻴﻔﺔ‬

‫ﻭﺍﻝﺠﻤﺎل‪ ،‬ﻭﻴﻨﺘﺞ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺫﻱ ﻴﻌﺘﺒﺭ ﻤﺤﻭﺭﺍ ﺭﺌﻴﺴﻴﹰﺎ ﺒﺸﺨﺼﻪ ﻭﺇﻝﻤﺎﻤﻪ ﺒﺎﻝﻔﻥ‬
‫ﻭﺍﻝﻌﻠﻭﻡ ﻭﻅﺭﻭﻑ ﺍﻝﻌﺼﺭ ﻭﺍﻝﻤﺠﺘﻤﻊ‪ .‬ﻜﻤﺎ ﻴﻠﻌﺏ ﺍﻝﺒﻌﺩ ﺍﻻﺠﺘﻤﺎﻋﻲ ﺩﻭﺭﹰﺍ ﻜﺒﻴﺭﹰﺍ ﻓﻲ ﺘﻭﺠﻴﻪ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﻤﻨﺘﺞ ﻤﻌﻤﺎﺭﻱ ﻴﺅﺩﻱ ﺃﻏﺭﺍﻀ‪‬ﺎ ﺇﻨﺴﺎﻨﻴﺔ ﻭﻤﺘﻁﻠﺒﺎﺕ ﺤﻴﺎﺘﻴﺔ ﻤﻥ ﺨﻼل ﻭﺴﺎﺌل‬

‫ﻤﻜﺎﻨﻴﺔ ﻭ ﺯﻤﺎﻨﻴﺔ ﻤﺭﺘﺒﻁﺔ ﺍﺭﺘﺒﺎﻁﺎ ﻭﺜﻴﻘﹰﺎ ﺒﺤﻴﺎﺓ ﺍﻝﺠﻤﺎﻋﺔ‪ ،‬ﻭﺘﺨﻀﻊ ﻝﻠﻤﺅﺜﺭﺍﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﻌﻭﺍﻤـل‬
‫ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺍﻝﻤﻨﺎﺥ‪.‬‬

‫ﻭﺍﻝﺘﺼﻤﻴﻡ ﻜﺫﻝﻙ ﻫﻭ ﺼﻴﻐﺔ ﺍﻝﺘﻭﻓﻴﻕ ﺒﻴﻥ ﺍﻝﻤﻁﺎﻝﺏ ﺍﻝﺨﺎﺼﺔ ﻝﻸﻓﺭﺍﺩ ﻤﻊ ﺍﺤﺘﻴﺎﺠﺎﺘﻬﻡ ﺍﻝﻔﻌﻠﻴﺔ ﻓﻲ‬

‫ﺼﻭﺭﺓ ﺤﻠﻭل ﻤﻌﻤﺎﺭﻴﺔ ﻤﺭﻀﻴﺔ ﺘﻭﻓﺭ ﺘﻭﺍﺯﻨﺎ ﻓﻜﺭﻴﺎ ﻭﻋﻤﻠﻴﺎ ﺤﺘﻰ ﻴﺘﺤﻘﻕ ﺍﻝﻨﺠﺎﺡ ﻝﻠﻤﺸـﺭﻭﻉ‪ ،‬ﻭﺃﻭﻝـﻰ‬
‫ﺨﻁﻭﺍﺕ ﻋﻤل ﺍﻝﻤﺼﻤﻡ ﺃﻥ ﻴﺤﺩﺩ ﻭﻴﺘﻔﻬﻡ ﻤﺘﻁﻠﺒﺎﺕ ﻭﺃﺫﻭﺍﻕ ﺍﻝﻨﺎﺱ ﻜﺎﻓﺔ‪.‬‬

‫ﺃﻤﺎ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻓﻬﻭ ﺠﻭﻫﺭ ﺍﻝﻌﻤﺎﺭﺓ ﻭﻤﻘﺼﺩﻫﺎ ﺍﻝﻨﻬﺎﺌﻲ‪ ،‬ﻭﺇﻥ ﺍﻝﺨﺒﺭﺓ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻫﻲ‬

‫ﺨﺒﺭﺓ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﺭﻑ ﺒﻭﻀﻭﺡ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺠﻭﻫﺭ ﺍﻝﻌﻤﺎﺭﺓ ﻫﻭ ﻝﻴﺱ ﺍﻝﻔﻀﺎﺀ ﺒﺤﺩ ﺫﺍﺘﻪ ﺒل ﻭﺍﺤﺘﻭﺍﺌﻪ‪.‬‬

‫‪12‬‬
 ‫‪ 1.1‬ﺘﻌﺭﻴﻔﺎﺕ‬

‫‪ 1.1.1‬ﺍﻝﻌﻤﺎﺭﺓ )‪(Architecture‬‬

‫"ﻫﻲ ﻓﻥ ﺇﻗﺎﻤﺔ ﻤﻨﺸﺂﺕ ﻜﺨﻠﻕ ﻓﺭﺍﻏﺎﺕ ﻤﻌﻤﺎﺭﻴﺔ ﺫﺍﺕ ﻤﻨﻔﻌﺔ ﻭﺒﺄﺸﻜﺎل ﻋﻠﻰ ﺩﺭﺠﺔ ﻋﺎﻝﻴﺔ ﻤﻥ‬
‫ﺍﻝﺠﻤﺎل ﺍﻝﺤﺴﻲ ﻭﺍﻝﺘﻌﺒﻴﺭﻱ‪ .‬ﻭﻜل ﻋﻤل ﻴﻜﻭﻥ ﺍﻝﺠﻤﺎل ﻓﻴﻪ ﻋﻨﺼﺭﹰﺍ ﺃﺴﺎﺴﻴﹰﺎ ﻴﻌﺘﺒﺭ ﻓﻨﺎﹰ‪ ،‬ﻭﻝﻜﻥ ﺍﻝﻌﻤﺎﺭﺓ‬
‫ﺘﻬﺩﻑ ﺒﺸﻜل ﺭﺌﻴﺴﻲ ﺇﻝﻰ ﻭﻅﻴﻔﺔ ﺃﺴﺎﺴﻴﺔ ﻓﺎﻝﺒﻨﺎﺀ ﻴﻨﺸﺄ ﻝﻜﻲ ﻴﺸﻐل ﻭﻅﻴﻔﺔ ﻤﻌﻴﻨﺔ ﻭﻴﻠﺒـﻲ ﻀـﺭﻭﺭﺓ‬
‫‪1‬‬
‫ﺤﻴﻭﻴﺔ ﻀﻤﻥ ﻤﺠﺎل ﻤﻌﻴﻥ‪".‬‬

‫ﺸﻜل )‪ (1.1‬ﺭﺴﻡ ﻴﻭﻀﺢ ﻤﻌﻨﻰ ﺍﻝﻌﻤﺎﺭﺓ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،‬ﺩﺍﺭ ﻤﺠﺩﻻﻭﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،1995 ،‬ﺹ ‪(18‬‬

‫‪ 1‬ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ‪ ،‬ﺒﺎﺴﻡ "ﻤﺤﻤﺩ ﻋﺎﻴﺵ"‪ :‬ﺘﺼﻤﻴﻡ ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻤﻜﺘﺒﺔ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻌﺭﺒﻲ ﻝﻠﻨﺸﺭ ﻭﺍﻝﺘﻭﺯﻴﻊ‪ ،‬ﻋﻤـﺎﻥ‪ ،2006 ،‬ﺹ‬
‫‪15‬‬
‫‪13‬‬
 ‫‪ 2.1.1‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﻥ‬
‫"ﻫﻭ ﺍﻝﻔﻥ ﺍﻝﻌﻠﻤﻲ ﺍﻝﻭﺍﺠﺏ ﺘﻭﻓﺭﻩ ﻝﺩﺭﺍﺴﺔ ﺃﻓﻀل ﻭﺴﺎﺌل ﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻹﻗﺎﻤـﺔ ﻤﺒـﺎ ﹴ‬
‫ﺘﺘﻭﻓﺭ ﻓﻴﻬﺎ ﺸﺭﻭﻁ ﺍﻝﺠﻭﺩﺓ ﻭﺍﻻﻨﺘﻔﺎﻉ ﻭﺍﻝﺠﻤﺎل ﻭﺍﻻﻗﺘﺼﺎﺩ ﻭﺘﻠﺒﻲ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻨﺎﺱ ﺍﻝﻤﺎﺩﻴﺔ ﻭﺍﻝﻨﻔﺴـﻴﺔ‬
‫ﻭﺍﻝﺭﻭﺤﻴﺔ ﻝﻠﻔﺭﺩ ﻭﺍﻝﺠﻤﺎﻋﺔ ﻓﻲ ﺃﻭﺴﻊ ﺍﻹﻤﻜﺎﻨﺎﺕ ﻭﺒﺄﺤﺴﻥ ﺍﻝﻭﺴﺎﺌل ﺍﻝﻤﺘﻭﻓﺭﺓ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﺘﻲ ﺘﻜﻭﻥ‬
‫ﻓﻴﻪ ﻭﻫﻭ ﻓﻥ ﺭﻓﻴﻊ ﻭﻤﻌﺭﻓﺔ ﻤﺘﻤﻴﺯﺓ ﺒﺎﻝﺸﻤﻭل ﻴﻘﻭﻡ ﺒﻬﺎ ﻤﻬﻨﺩﺴﻭﻥ ﻤﻌﻤﺎﺭﻴﻭﻥ ﻋﻠﻰ ﺼـﻠﺔ ﺒـﺎﻝﻭﺍﻗﻊ‬
‫‪1‬‬
‫ﻭﺍﻝﺤﻴﺎﺓ ﻭﻗﺩﺭﺓ ﻋﻠﻰ ﺍﻻﺒﺘﻜﺎﺭ ﻭﻋﻠﻰ ﺇﺩﺭﺍﻙ ﺃﺤﻭﺍل ﺒﻴﺌﺘﻬﻡ ﻭﻅﺭﻭﻑ ﺍﻝﻌﻤل ﺍﻝﻤﺨﺘﻠﻔﺔ ﺍﻝﻤﺤﻴﻁﺔ ﺒﻬﻡ‪".‬‬

‫اات ا ة
ا‬
‫ا‬

‫ا 
 اغ‬ ‫ام اي‬
‫ا‪ - .‬ا‪045‬‬
‫اري‬ ‫"هة اآ ‬

‫ا)(د ا& ‪#$  %‬‬ ‫ا‪-7 ، 8‬ء

‬
‫ا)‪,‬ن ‪
،‬أ ا&ب‬
‫أل ‪ ،‬آر‬ ‫وا ‪ ،‬ا‪- .‬‬
‫ا‪ ، 8‬ا)‪:‬ث ‪،‬‬
‫ا ‪... ،‬‬ ‫اا‪، 01‬‬ ‫ا;‪ 4‬وا)‪-7‬ة ‪،‬‬
‫ا‪... ،  23‬‬ ‫‪...‬‬

‫ﺸﻜل )‪ (2.1‬ﺃﻫﻡ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﻲ ﺘﺅﺜﺭ ﻭﺘﺘﺄﺜﺭ ﺒﻬﺎ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،‬ﺩﺍﺭ ﻤﺠﺩﻻﻭﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،1995 ،‬ﺹ ‪(56‬‬

‫ﺇﻥ ﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﻤﻭﻀﺤﺔ ﺒﺎﻝﺸﻜل )‪ (2.1‬ﺘﺘﺼﻑ ﺒﺨﺎﺼﺘﻴﻥ‪ ،‬ﻫﻤﺎ‪:‬‬

‫‪ 1‬ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ‪ ،‬ﺒﺎﺴﻡ "ﻤﺤﻤﺩ ﻋﺎﻴﺵ"‪ :‬ﺘﺼﻤﻴﻡ ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2006 ،‬ﺹ ‪16‬‬
‫‪14‬‬
‫‪ -1‬ﺃﻨﻬﺎ ﺘﺭﺘﺒﻁ ﺃﺼﻼ ﺒﺎﻝﻨﻤﻁ ﺍﻝﺴﻠﻭﻜﻲ ﻝﻸﻓﺭﺍﺩ ﻭﺍﻝﺠﻤﺎﻋﺎﺕ‪ ،‬ﻤﺜﺎل ﺫﻝﻙ ﻤﺒﺩﺃ ﺍﻝﺨﺼﻭﺼﻴﺔ ﻓﻘﺩ ﺘﻜﻭﻥ‬
‫ﺒﻨﻤﻁ ﺴﻠﻭﻜﻲ ﻤﻌﻴﻥ ﻓﻲ ﺍﻝﻤﺴﻜﻥ ﺃﻭ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ ﻭﻴﻜﻭﻥ ﺘﻤﺜﻴﻠﻪ ﺘﺼـﻤﻴﻤﻴﹰﺎ ﻤﺭﺘﺒﻁـﺎ ﺒﻌﻤﻠﻴـﺔ‬

‫ﺍﻝﻔﺼل ﺒﻴﻥ ﺍﻝﻔﻀﺎﺀﺍﺕ ﻤﻜﺎﻨﻴﺎ ﺃﻭ ﺒﺼﺭﻴﺎ‪.‬‬

‫‪ -2‬ﺇﻥ ﻫﺫﻩ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﻤﺘﺭﺍﺒﻁﺔ ﻓﻴﻤﺎ ﺒﻴﻨﻬﺎ ﺃﻭ ﻓﻲ ﻋﻭﺍﻤﻠﻬﺎ ﺍﻝﻔﺭﻋﻴﺔ ﻭﺍﻝﺘﻲ ﺘﺘﺤﻜﻡ ﻓﻲ ﻨﻭﻉ ﺍﻝﻌﻼﻗـﺔ‬
‫ﻭﻓﻲ ﺍﺨﺘﻼﻑ ﺍﻝﻤﺒﺎﻨﻲ ﻭﻨﻭﻋﻴﺘﻬﺎ ﻝﻜﻲ ﺘﻼﺌﻡ ﺠﻤﺎﻋﺎﺕ ﻤﺘﻌﺩﺩﺓ ﻭﻤﺘﺒﺎﻴﻨﺔ‪ .‬ﻓﺈﻨﻬﺎ ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﺯﻤﻥ ﺃﻭ‬

‫ﺍﻝﻤﻜﺎﻥ ﻭﺍﻝﻤﻌﺭﻓﺔ ﻭﻋﻠﻴﻪ ﻴﺘﻁﻠﺏ ﺍﻷﻤﺭ ﺩﺭﺍﺴﺔ ﻫﺫﻩ ﺍﻝﻤﻜﻭﻨﺎﺕ ﻭﺃﺜﺭﻫﺎ ﻓﻲ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼـﻤﻴﻤﻴﺔ ﺃﻭ‬
‫‪1‬‬
‫ﻓﻲ ﺍﻝﻨﺘﺎﺝ ﺍﻝﻤﻌﻤﺎﺭﻱ‪.‬‬

‫ﻭﺒﺫﻝﻙ ﻴﻤﻜﻨﻨﺎ ﺍﻝﻘﻭل ﺒﺄﻥ ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺘﺘﻀﻤﻥ‪ :‬ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﺍﻝﻭﺤﺩﺓ ﻭﺍﻝﺘﻭﺍﺯﻥ‪،‬‬

‫ﺍﻝﻁﺎﺒﻊ ﻭﺍﻝﺘﻌﺒﻴﺭ‪ ،‬ﺍﻝﺴﻴﻁﺭﺓ‪...‬‬

‫‪ 3.1.1‬ﺍﻝﻁﺎﺒﻊ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﻴﻌﺭﻑ ﺴﻴﺩ ﺒﺴﻴﻭﻨﻲ ﺍﻝﻁﺎﺒﻊ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺃﻭ ﻤﺎ ﻴﺴﻤﻰ ﺒﺎﻝﻁﺭﺍﺯ ﺃﻭ ﺍﻝﻨﺴﻕ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻓﻲ ﻜﺘﺎﺒﻪ‬

‫ﻓﻥ ﺍﻝﻌﻤﺎﺭﺓ ﺒﺄﻨﻪ " ﻨﺘﻴﺠﺔ ﻁﺒﻴﻌﻴﺔ ﻝﻌﺩﺓ ﻋﻭﺍﻤل ﻤﺸﺘﺭﻜﺔ ﻭﻤﺘﻔﺎﻋﻠﺔ ﻤﻊ ﺒﻌﻀﻬﺎ ﻤﺼﻬﻭﺭﺓ ﻓﻲ ﺒﻭﺘﻘـﺔ‬
‫ﺍﻻﻨﺘﻔﺎﻉ ﺍﻝﻜﺎﻤل ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻭﺃﺴﺎﻝﻴﺏ ﺍﻝﺒﻨﺎﺀ ﻭﻤﻭﺍﺩ ﺍﻹﻨﺸﺎﺀ‪ ،‬ﻭﻁﺒﻴﻌﺔ ﺍﻷﻗﺎﻝﻴﻡ ﺃﻭ ﺍﻝﻤﻨﻁﻘﺔ ﺜـﻡ ﺍﻝﺘﻘﺎﻝﻴـﺩ‬
‫ﻭﺍﻝﻌﺎﺩﺍﺕ‪ ،‬ﻫﺫﺍ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻌﻭﺍﻤل ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﺭﻭﺤﻴﺔ ﻭﻤﺴﺘﻭﻯ ﺍﻝﺜﺭﻭﺓ‬
‫‪2‬‬
‫ﺍﻝﻤﺤﻠﻴﺔ‪.‬‬

‫‪ 4.1.1‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﻫﻭ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺒﻨﺎﺌﻲ ﺍﻝﻤﻌﺩ ﻝﻨﺸﺎﻁ ﺇﻨﺴﺎﻨﻲ ﻤﻌﻴﻥ‪ ،‬ﻓﻬﻭ ﻴ‪‬ﺸﻜل ﺤﻴﺎﻩ ﻭﻭﺠﻭﺩ‪ ،‬ﻭﻴﺘﻡ ﺘﻨﻅﻴﻤﻪ ﻤﻥ‬

‫ﻋﻼﻗﺔ ﺒﻌﺽ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻤﺜل ﺍﻝﺠﺩﺭﺍﻥ ﻭﺍﻝﺴﻘﻑ ﻭﺍﻷﺭﻀﻴﺔ‪ ،‬ﻭﻤﻥ ﺨـﻼل ﺘﻨﺴـﻴﻕ ﻫـﺫﻩ‬
‫ﺍﻝﻌﻨﺎﺼﺭ ﻤﻊ ﺩﺭﺍﺴﺔ ﺍﻷﻝﻭﺍﻥ ﻭﺍﻝﻨﺴﺏ‪ ،‬ﻭﺍﻝﻀﻭﺀ ﻭﺍﻝﻅل‪ ،‬ﻭﺒﻌﺽ ﺍﻹﻀﺎﻓﺎﺕ ﺍﻝﺠﻤﻴﻠﺔ ﻭﺍﻝـﺩﻴﻜﻭﺭﺍﺕ‬

‫ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،‬ﺹ ‪57‬‬ ‫‪1‬‬

‫ﺒﺴﻴﻭﻨﻲ‪ ،‬ﺴﻴﺩ‪ :‬ﻓﻥ ﺍﻝﻌﻤﺎﺭﺓ‪ ،‬ﺩﺍﺭ ﺍﻝﻴﺎﺯﻭﺭﻱ ﺍﻝﻌﻠﻤﻴﺔ ﻝﻠﻨﺸﺭ ﻭﺍﻝﺘﻭﺯﻴﻊ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،2007 ،‬ﺹ ‪56‬‬ ‫‪2‬‬

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‫ﺍﻷﻨﻴﻘﺔ ﺃﺤﻴﺎﻨﺎﹰ‪ ،‬ﻴﻨﺘﺞ ﺘﻜﻭﻴﻥ ﻴﺭﺘﺒﻁ ﺸﻜﻠﻪ ﺍﻝﻭﻅﻴﻔﻲ ﻭﺍﻝﺠﻤﺎﻝﻲ ﺒﻤﺘﻁﻠﺒﺎﺕ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻝﻪ‪ ،‬ﻭﻓـﻲ‬
‫ﺍﻝﻨﻬﺎﻴﺔ ﺴﻴﻌﺒﺭ ﻫﺫﺍ ﺍﻝﻔﻀﺎﺀ ﻋﻥ ﻫﻭﻴﺔ ﻤﺴﺘﺨﺩﻤﻪ‪.‬‬

‫"ﺇﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ‪ space‬ﻫﻭ ﺒﺎﻝﺤﻘﻴﻘﺔ ﺤﻴﺯ ﺫﻭ ﺜﻼﺜﺔ ﺃﺒﻌﺎﺩ ﻤﻬﻤﺔ ﻴﺸـﻜل ﺍﻝﻤﺤﺘـﻭﻯ‬
‫ﺍﻝﺒﻌﺩ ﺍﻵﺨﺭ )ﺃﻭ ﺍﻝﺒﻌﺩ ﺍﻝﺭﺍﺒﻊ( ﻭﻫﺫﻩ ﺍﻷﺒﻌﺎﺩ ﻫﻲ‪:‬‬

‫‪ -1‬ﺍﻝﺒﻌﺩ ﺍﻝﻤﺴﺎﺤﻲ‪ :‬ﻭﺍﻝﺫﻱ ﻴﻌﻨﻲ ﺒﻪ ﺍﻷﺒﻌﺎﺩ ﺍﻝﻘﻴﺎﺴﻴﺔ ﻝﻠﻔﻀﺎﺀ‪.‬‬

‫‪ -2‬ﺍﻝﺒﻌﺩ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ :‬ﻭﺍﻝﺫﻱ ﻴﻌﻨﻲ ﺍﻝﺘﺼﻭﺭ ﺍﻝﺠﻤﺎﻝﻲ ﻝﻠﻔﻀﺎﺀ ﻭﺘﺸﻜﻴﻠﺔ‪.‬‬

‫‪ -3‬ﺍﻝﺒﻌﺩ ﺍﻻﺠﺘﻤﺎﻋﻲ‪ :‬ﻭﻫﻭ ﻤﻼﺌﻤﺔ ﺍﻝﻔﺭﺍﻍ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺍﺠﺘﻤﺎﻋﻴﹰﺎ ﻭﻨﻔﺴﻴﹰﺎ ﻝﻤﻤﺎﺭﺴﺔ ﻓﻌﺎﻝﻴﺔ ﺃﻭ ﻓﻌﺎﻝﻴﺎﺕ‬
‫‪1‬‬
‫ﻤﺘﻌﺩﺩﺓ ﻭﻗﺩ ﻴﻜﻭﻥ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻓﺭﺩ ﺃﻭ ﺠﻤﺎﻋﺔ ﺃﻭ ﺍﻝﺯﻤﺭﺓ‪".‬‬

‫ﻭﻻ ﺒﺩ ﻝﻠﻤﻌﻤﺎﺭﻱ ﺃﻥ ﻴﻘﻴﻡ ﻫﺫﺍ ﺍﻝﻔﻀﺎﺀ ﻭﻓﻘﹰﺎ ﻝﻠﻤﺤﺘﻭﻴﺎﺕ ﺍﻝﻌﺎﻤﺔ ﻝﻠﻤﺒﻨـﻰ ﻤـﻊ ﺃﺨـﺫ ﺍﻝﺒﻌـﺩ‬
‫ﺍﻝﺴﻠﻭﻜﻲ ﻝﻠﻤﺴﺘﺨﺩﻡ ﻝﻴﻜﻭﻥ ﻤﻜﻤﻼﹰ ﻝﻸﺒﻌﺎﺩ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﺜﻼﺜﺔ ﺍﻝﺘﻲ ﺘﺠﺴﺩ ﺸﻜل ﺍﻝﻤﺒﻨﻰ ﻭﻤﻅﻬﺭﻩ‪.‬‬

‫ﻭﺘﺭﻯ ﺍﻝﺒﺎﺤﺜﺔ ﺃﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻫﻭ ﻤﻥ ﺃﻫﻡ ﺍﻝﻤﻨﺘﺠﺎﺕ ﺍﻝﺘﻲ ﻴﺘﻔﻨﻥ ﺍﻝﻤﻌﻤـﺎﺭﻱ ﻭﻫـﻭ‬

‫ﻴﺼﻨﻌﻬﺎ ﻭﻴﺘﻼﻋﺏ ﺒﻨﺴﺒﻬﺎ ﻭﻤﻭﺍﺼﻔﺎﺘﻬﺎ‪ ،‬ﻓﻠﻜل ﻓﻀﺎﺀ ﻤﻌﻤﺎﺭﻱ ﻤﺘﻌﺔ ﺒﺼـﺭﻴﺔ ﻭﻋﺎﻁﻔﻴـﺔ ﻭﻓﻜﺭﻴـﺔ‬
‫ﺨﺎﺼﺔ‪ .‬ﻭﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﻨﺎﺠﺢ ﻤﻥ ﻴﺼﻤﻡ ﻓﺭﺍﻏ ﹰﺎ ﻴﺴﻴﻁﺭ ﻭﻴﺤﻭﻱ ﺃﺤﺎﺴﻴﺱ ﺍﻷﻓﺭﺍﺩ ﻭﺫﻜﺭﻴﺎﺘﻬﻡ‪ ،‬ﻭﻋﻠﻴﻪ‬
‫ﺘﻘﻊ ﻤﺴﺅﻭﻝﻴﺔ ﻨﻘل ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻠﻴﻤﺔ ﻭﺍﻝﺘﻌﺒﻴﺭ ﻋﻨﻬﺎ ﻝﻠﻤﺠﺘﻤﻌﺎﺕ‪ ،‬ﻭﻴﺠﺏ ﻋﻠﻴﻪ ﺃﻥ ﻴﻔﻬﻡ ﺍﻝﺒﻴﺌﺔ ﻭﺍﻝﻤﻜﺎﻥ‬

‫ﻭﺍﻝﺯﻤﺎﻥ ﻝﺘﻭﻓﻴﺭ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺴﻠﻴﻡ ﻭﺍﻝﻤﻨﺎﺴﺏ ﻝﻠﻤﺠﺘﻤﻊ‪.‬‬

‫‪ 1.4.1.1‬ﺃﺼﻨﺎﻑ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫"ﻴﺼﻨﻑ ﺸﻴﻨﻎ )‪ (ching,1987, pp.12-14‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺇﻝﻰ ﺜﻼﺜﺔ ﺃﺼﻨﺎﻑ‪:‬‬

‫‪ .1‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﺨﺎﺭﺠﻲ )‪(Exterior space‬‬

‫‪ .2‬ﺍﻝﻔﻀﺎﺀ ﺍﻻﻨﺘﻘﺎﻝﻲ )‪(Transitional space‬‬

‫ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ ‪121‬‬ ‫‪1‬‬

‫‪16‬‬
 ‫‪ .3‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ )‪(Interior space‬‬

‫ﺒﻴﻨﻤﺎ ﻴﺼﻨﻑ )‪ (Vefik,1979, p.63‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺇﻝﻰ‪:‬‬

‫‪ .1‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﺎﺩﻱ )‪ ،(The physical space‬ﻭﻫﻭ ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﻗﻴﺎﺴﻪ ﻭﺘﺤﺩﻴـﺩﻩ ﺒﻤﺼـﻁﻠﺤﺎﺕ‬
‫ﺍﻷﻓﻜﺎﺭ ﺍﻝﻬﻨﺩﺴﻴﺔ‪.‬‬

‫‪ .2‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﺴﻠﻭﻜﻲ )‪ ،(The Behavioral space‬ﻭﻴﺸﻴﺭ ﺇﻝﻰ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﺘﺤﺭﻙ ﺒﻬﺎ ﺍﻝﻨﺎﺱ‬

‫ﻀﻤﻥ ﺍﻝﻤﺴﺎﺤﺔ‪.‬‬

‫‪ .3‬ﻓﻀﺎﺀ ﺍﻝﺨﺒﺭﺓ )‪ (The Experiential space‬ﻭﻫﻭ ﺍﻝﺫﻱ ﻴﺩﺭﻙ ﻭﻴﺘﻡ ﺍﻜﺘﺴﺎﺏ ﺍﻝﺨﺒﺭﺓ ﻤﻥ ﻗﺒل‬
‫‪1‬‬
‫ﺍﻝﻤﺸﺎﻫﺩﺓ‪ ،‬ﻭﻴﻨﺸﺄ ﻤﻥ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﻅﺎﻫﺭﻱ ﻝﻠﻔﻌﺎﻝﻴﺔ ﻭﺍﻝﺘﻌﻠﻴﻡ ﺍﻝﻔﻀﺎﺌﻲ ﻝﻠﺤﻘل ﺍﻝﺒﺼﺭﻱ‪".‬‬

‫‪ 2.4.1.1‬ﺇﺩﺭﺍﻙ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ )ﺍﻝﺤﻴﺯ ﺍﻝﻔﺭﺍﻏﻲ(‬

‫ﻻ ﻴﺘﺄﻝﻑ ﺍﻝﺒﻨﺎﺀ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻹﻨﺸﺎﺌﻴﺔ ﺍﻝﺘﻲ ﺘﺤﻴﻁ ﺒﺎﻝﻔﺭﺍﻍ ﻭﻝﻜـﻥ ﺒـﺎﻝﻔﺭﺍﻍ‬
‫ﻨﻔﺴﻪ )‪ ،(Void‬ﺍﻝﻔﺭﺍﻍ ﺍﻝﺫﻱ ﻴﻌﻴﺵ ﻭﻴﺘﺤﺭﻙ ﻓﻴﻪ ﺍﻹﻨﺴﺎﻥ)‪ (Zevi,1974‬ﻜﻤﺎ ﺃﻥ ﺍﻝﺤﻴﺯ ﺍﻝﻔﺭﺍﻏـﻲ‬

‫ﻝﻴﺱ ﺤﻴﺯﺍ ﻤﻜﺎﻨﻴﺎ ﻓﻘﻁ‪ ،‬ﻓﻬﻭ ﻴﻌﺘﻤﺩ ﺃﻴﻀﺎ ﻋﻠﻰ ﺍﻝﺸﺨﺹ ﺍﻝﺫﻱ ﻴﺴﺘﻌﻤﻠﻪ ﻭﻴﺘﺤﺭﻙ ﻤﻥ ﺨﻼﻝﻪ ﻭﻴﺩﺭﻜﻪ‪،‬‬
‫ﻓﻤﺎ ﻴﻅﻬﺭ ﻝﻔﺭﺩ ﻤﺎ ﺃﻨﻪ ﻤﺭﻴﺢ ﻗﺩ ﻴﻜﻭﻥ ﻏﻴﺭ ﻤﺭﻴﺢ ﻵﺨﺭ‪ ،‬ﻭﻝﻜﻥ ﺘﺸﺘﺭﻙ ﺍﻝﻨﺎﺱ ﺒﻁﺭﻴﻘﺔ ﻋﺎﻤﺔ ﻓـﻲ‬
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‫ﺇﺩﺭﺍﻙ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻜﻨﻬﺎ ﺘﺨﺘﻠﻑ ﻓﻲ ﻤﺩﻯ ﺩﻗﺔ ﻫﺫﺍ ﺍﻹﺩﺭﺍﻙ‪.‬‬

‫ﻭﺃﺭﻯ ﺃﻥ ﺇﺩﺭﺍﻙ ﺍﻝﻔﻀﺎﺀ ﺃﻭ ﺍﻝﺤﻴﺯ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺒﻌﺩ ﺍﻝﻤﺎﺩﻱ ﻭﺍﻝـﺫﻱ ﺫﻜﺭﺘـﻪ‬
‫ﺴﺎﺒﻘﹰﺎ ﻴﻤﺘﺩ ﺇﻝﻰ ﻤﺠﻤﻭﻋﺔ ﺍﻷﺤﺎﺴﻴﺱ ﻭﺍﻝﻤﺸﺎﻋﺭ ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﺍﻹﻨﺴﺎﻥ ﺒﻬﺫﺍ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻭﺍﻝـﺫﻱ ﻴﺸـﻜل‬
‫ﻋﻼﻗﺔ ﻁﺭﺩﻴﺔ ﻤﻊ ﺍﻝﺯﻤﻥ‪ ،‬ﻭﺍﻷﺤﺩﺍﺙ ﺍﻝﻬﺎﻤﺔ ﻓﻲ ﺤﻴﺎﺓ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﺃﺩﻝل ﻋﻠﻰ ﺫﻝﻙ ﺒﺄﻨﻪ ﻝـﻭ ﺨﻴﺭﻨـﺎ‬

‫ﺸﺨﺼﹰﺎ ﻜﺒﻴﺭﹰﺍ ﻓﻲ ﺍﻝﺴﻥ ﺒﻴﻥ ﺒﻴﺘﻪ ﺍﻝﺫﻱ ﻴﺴﻜﻨﻪ ﻭﺒﻴﻥ ﺒﻴﺕ ﺁﺨﺭ ﻗﺩ ﻴﻜﻭﻥ ﻤﺜﻠﻪ ﺃﻭ ﺃﻓﻀل ﻤﻨـﻪ ﻓﻘـﺩ‬
‫ﻴﺨﺘﺎﺭ ﻤﻨﺯﻝﻪ ﺍﻷﻭل ﺍﻝﺫﻱ ﻴﺸﻌﺭ ﺃﻨﻪ ﻴﺒﺎﺩﻝﻪ ﻤﺸﺎﻋﺭﹰﺍ ﺘﻤﺘﺩ ﺒﻴﻥ ﺍﻝﻔﺭﺡ ﻭﺍﻝﺤﺯﻥ‪.‬‬

‫ﺍﻝﻌﻜﺎﻡ‪ ،‬ﺃﻜﺭﻡ ﺠﺎﺴﻡ‪ :‬ﺠﻤﺎﻝﻴﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺩﺍﺭ ﻤﺠﺩﻻﻭﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪ ،2010 ،‬ﺹ ‪22‬‬ ‫‪1‬‬

‫ﺸﻘﻭﺍﺭﺓ‪ ،‬ﺩﻴﻨﺎ ﺯﻜﺭﻴﺎ‪ :‬ﻭﻀﻭﺡ ﻭﺘﻭﺍﻓﻕ ﺍﻝﻤﻔﺭﺩﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻤﻊ ﺍﻝﺘﺼـﻤﻴﻡ ﻭﺘـﺄﺜﻴﺭﻩ ﻓـﻲ ﺇﺩﺭﺍﻙ ﺍﻝﻔـﺭﺍﻍ ﺍﻝـﺩﺍﺨﻠﻲ ﻓـﻲ‬ ‫‪2‬‬

‫ﺍﻝﻤﺴﺘﺸﻔﻴﺎﺕ‪ ،‬ﺍﻝﺠﺎﻤﻌﺔ ﺍﻷﺭﺩﻨﻴﺔ‪ ،1998 ،‬ﺹ ‪54‬‬

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 ‫‪ 3.4.1.1‬ﺍﻹﻨﺴﺎﻥ ﻭﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﻷﺩﺍﺀ ﺃﻱ ﻭﻅﻴﻔﺔ ﻻ ﺒﺩ ﻤﻥ ﺤﻴﺯ ﻤﺤﺩﺩ ﻴﺘﺴﻊ ﻷﺩﺍﺀ ﻫﺫﺍ ﺍﻝﻐﺭﺽ ﺃﻭ ﺫﺍﻙ ﺍﻝﻨﺸـﺎﻁ‪ ،‬ﻓﻤـﺜﻼ‬

‫ﺍﻝﺒﻴﺕ ﻤﻜﺎﻥ ﻴﺘﻜﻭﻥ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﻏﺭﻑ‪ ،‬ﻭﻜل ﻏﺭﻓﺔ ﻫﻲ ﺤﻴﺯ ﺃﻭ ﻤﺴﺎﺤﺔ ﻤﺤـﺩﺩﻩ ﻷﺩﺍﺀ ﻭﻅﻴﻔـﺔ‬
‫ﻤﺤﺩﺩﺓ‪ ،‬ﻓﻬﻨﺎﻙ ﻏﺭﻓﺔ ﻻﺴﺘﻘﺒﺎل ﺍﻝﻀﻴﻭﻑ ﺃﻭ ﺠﻠﻭﺱ ﺍﻝﻌﺎﺌﻠﺔ‪ ،‬ﻜﻤﺎ ﺃﻥ ﻫﻨﺎﻙ ﻏﺭﻑ ﺍﻝﻨﻭﻡ ﻭﺍﻝﺭﺍﺤﺔ ﺃﻭ‬
‫ﺍﻝﻁﻌﺎﻡ ﺃﻭ ﺍﻝﺤﻤﺎﻡ ﺍﻝﺦ‪ ،..‬ﻭﻫﺫﺍ ﻴﻨﻁﺒﻕ ﻋﻠﻰ ﻜل ﺍﻝﻤﺭﺍﻓﻕ ﺍﻝﺘﻲ ﻴﺤﺘﺎﺠﻬﺎ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﺤﻴﺎﺘﻪ ﺍﻝﺨﺎﺼـﺔ‬

‫ﺃﻭ ﺍﻝﻌﺎﻤﺔ‪ ،‬ﺴﻭﺍﺀ ﺃﻓﻲ ﻤﺠﺎل ﺍﻝﻌﻤل ﻜﺎﻝﻤﺼﻨﻊ ﻭﺍﻝﻤﻜﺘﺏ ﺃﻡ ﻓﻲ ﻤﺠﺎل ﺍﻝﺭﺍﺤﺔ ﻭﺍﻝﺘﺭﻓﻴـﻪ ﻜﻤـﺎ ﻓـﻲ‬
‫ﺍﻝﻤﺴﺎﺭﺡ ﻭﺩﻭﺭ ﺍﻝﺭﻴﺎﻀﺔ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻝﻤﺭﺍﻓﻕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ .‬ﻭﺍﻝﺤﻴﺯ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻴﺨﺘﻠﻑ ﻤﻥ‬
‫ﻭﻅﻴﻔﺔ ﻷﺨﺭﻯ‪ ،‬ﻭﺍﻝﻐﺭﻓﺔ ﻜﺤﻴﺯ ﻓﻲ ﻨﻅﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺘﺘﻜﻭﻥ ﻤﻥ ﺜﻼﺜﺔ ﺃﺒﻌﺎﺩ‪ :‬ﺍﺜﻨﺎﻥ ﺃﻓﻘﻴﺎﻥ‪ ،‬ﻭﺜﺎﻝـﺙ‬

‫ﺭﺃﺴﻲ‪ ،‬ﻭﻴﻌﺒﺭ ﻋﻨﻬﺎ ﺒﻤﻘﻁﻊ ﺃﻓﻘﻲ‪ .‬ﻭﺍﺜﻨﺎﻥ ﺭﺃﺴﻴﺎﻥ ﺍﺤﺩﻫﻤﺎ ﻁﻭﻝﻲ ﻭﺍﻵﺨﺭ ﻋﺭﻀﻲ )ﻭﺫﻝﻙ ﻝﺘﻭﻀﻴﺢ‬
‫ﻭﻅﻴﻔﺘﻬﺎ ﻭﻁﺭﻴﻘﺔ ﺇﻨﺸﺎﺌﻬﺎ ﻭﻫﺫﺍ ﻴﺅﻜﺩ ﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ ﺍﻝﻌﻼﻗﺔ ﺍﻝﻭﺜﻴﻘﺔ ﺒﻴﻥ ﺍﻝﺤﻴﺯ ﻭﺍﻹﻨﺸﺎﺀ( ﻭﻤﻘﺎﻴﻴﺱ ﻫﺫﻩ‬
‫ﺍﻷﻀﻼﻉ ﻭﺍﻝﻤﻘﺎﻁﻊ ﺘﺨﺘﻠﻑ ﺒﺎﺨﺘﻼﻑ ﺍﻝﻭﻅﺎﺌﻑ ﻓﺈﺫﺍ ﻜﺎﻨﺕ ﺍﻝﻤﺒﺎﻨﻲ ﻻﺴﺘﻌﻤﺎل ﺍﻹﻨﺴﺎﻥ ﻓﻘﻁ ﻜﺎﻝﻤﺴﺎﻜﻥ‬

‫ﻭﺍﻝﻤﺩﺍﺭﺱ ﻓﺴﺘﻜﻭﻥ ﻤﻘﺎﻴﻴﺱ ﺍﻹﻨﺴﺎﻥ ﻫﻲ ﺍﻷﺴﺎﺱ )ﺍﻝﺸﻜل ‪ ،(3.1‬ﺃﻤﺎ ﺇﺫﺍ ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﻗﻁﻊ ﺃﺜﺎﺙ ﺃﻭ‬
‫‪1‬‬
‫ﺁﻻﺕ ﺒﻤﻘﺎﻴﻴﺱ ﻤﻌﻴﻨﺔ ﻓﺈﻥ ﻫﺫﻩ ﺍﻝﻤﻘﺎﻴﻴﺱ ﺴﺘﺅﺜﺭ ﻋﻠﻰ ﺸﻜل ﻭﺤﺠﻡ ﺍﻝﻤﺒﻨﻰ‪.‬‬

‫ﺴﺎﻝﻡ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ‪ :‬ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻝﺸﻜل ﻭﺍﻝﺘﻁﻭﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻋﻤﺎﻥ‪ ،1991 ،‬ﺹ ‪16‬‬ ‫‪1‬‬

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 ‫ﺸﻜل )‪ (3.1‬ﻤﺴﺎﺤﺔ ﺍﻝﺤﻴﺯ ﻫﻲ ﻨﺘﻴﺠﺔ ﻝﻤﻘﻴﺎﺱ ﻭﻀﻊ ﺍﻷﺜﺎﺙ ﻤﻊ ﺤﻴﺯ ﺤﺭﻜﺔ ﺍﻹﻨﺴﺎﻥ ﺒﻴﻥ ﺍﻷﺜﺎﺙ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺴﺎﻝﻡ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ‪ :‬ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻝﺸﻜل ﻭﺍﻝﺘﻁﻭﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1991 ،‬ﺹ ‪(18‬‬

‫ﻓﺎﻝﺘﺼﻤﻴﻡ ﻭﻓﻘﹰﺎ ﻝﻠﺴﻠﻭﻙ ﺍﻹﻨﺴﺎﻨﻲ ﻫﻭ ﺠﺯﺀ ﻻ ﻴﺘﺠﺯﺃ ﻤﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻠﻤﺒﺎﻨﻲ ﻭﺨﺎﺼﺔ‬

‫ﺍﻝﺴﻜﻨﻴﺔ ﻤﻨﻬﺎ‪ ،‬ﻭﻫﺫﻩ ﺍﻝﻌﻤﻠﻴﺔ " ﺘﺘﻀﻤﻥ ﻤﺎ ﻴﻠﻲ‪:‬‬

‫ﻭﻀﻊ ﺍﻝﺒﺭﻨﺎﻤﺞ ﺍﻝﻔﺭﺍﻏﻲ ﻝﻠﻤﺒﻨﻰ ﻭﺍﻝﺫﻱ ﻴﺸﻤل ﻋﺩﺓ ﻋﻨﺎﺼﺭ ﻗﺴﻡ ﻤﻨﻬﺎ ﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﻘﺴﻡ ﺍﻵﺨـﺭ‬ ‫•‬
‫ﻫﻨﺩﺴﻲ‪.‬‬

‫ﺇﻋﺩﺍﺩ ﺒﺭﻨﺎﻤﺞ ﻴﻠﺒﻲ ﻤﺘﻁﻠﺒﺎﺕ ﻤﺴﺘﺨﺩﻡ ﺍﻝﻔﻀﺎﺀ‪.‬‬ ‫•‬

‫ﻭﻀﻊ ﺨﻁﺔ ﺘﻐﺫﻴﺔ ﻤﺭﺘﺩﺓ ﻤﺎ ﺒﻴﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻝﻠﻤﺸﺭﻭﻉ ﻭﻋﻤﻠﻴﺔ ﺘﻘﻴﻴﻡ ﻝﻤﺒﻨﻰ ﻤـﻥ ﻨﻔـﺱ ﺍﻝﻨـﻭﻉ‬ ‫•‬
‫ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺍﻷﺨﻁﺎﺀ ﺍﻝﺘﻲ ﺃﻓﺭﺯﺕ ﺃﺜﻨﺎﺀ ﺍﻻﺴﺘﺨﺩﺍﻡ‪.‬‬

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‫ﻼ ﻻﺴﺘﻴﻌﺎﺏ ﺍﻝﻤﺘﻁﻠﺒـﺎﺕ‬
‫ﺇﻋﺩﺍﺩ ﺍﻝﺒﺩﺍﺌل ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﺃﻭ ﺇﻤﻜﺎﻨﻴﺔ ﺘﺤﻭﻴﺭ ﺍﻝﻤﺒﻨﻰ ﺍﻝﻘﺎﺌﻡ ﻓﻌ ﹰ‬ ‫•‬
‫ﺍﻝﺠﺩﻴﺩﺓ ﻭﻴﺘﻡ ﺫﻝﻙ ﻤﻥ ﺨﻼل ﻤﺎ ﻴﻠﻲ‪:‬‬

‫‪ -‬ﺤﺫﻑ ﺨﺩﻤﺎﺕ ﻗﺎﺌﻤﺔ‪.‬‬

‫‪ -‬ﺍﺴﺘﺤﺩﺍﺙ ﻓﻀﺎﺀﺍﺕ ﺠﺩﻴﺩﺓ‪.‬‬

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‫‪ -‬ﺘﺯﻭﻴﺩ ﺍﻝﻤﺒﻨﻰ ﺒﺨﺩﻤﺎﺕ ﺠﺩﻴﺩﺓ ﺃﻭ ﺇﻀﺎﻓﺘﻬﺎ ﻓﻲ ﻨﻔﺱ ﺍﻝﻤﻭﻗﻊ‪".‬‬

‫‪ 4.4.1.1‬ﺍﻝﻤﺼﻤﻡ ﻜﻤ‪‬ﺸﻜﱟل ﻝﻠﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﺍﻝﻔﻀﺎﺀ ﻫﻭ ﺃﺤﺩ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻠﻌﻤﺎﺭﺓ ﻭ ﺍﻝﻭﻋﺎﺀ ﺍﻝﺫﻱ ﻴﺴﺘﻭﻋﺏ ﺍﻷﺤﺩﺍﺙ‪ ،‬ﻭﻴﻤﺎﺭﺱ‬
‫ﺍﻷﻓﺭﺍﺩ ﺃﻨﺸﻁﺘﻬﻡ ﻭﺍﺤﺘﻔﺎﻻﺘﻬﻡ ﻭﺸﻌﺎﺌﺭﻫﻡ ﻤﻥ ﺨﻼﻝﻪ ﻭﻴﻌﺒﺭﻭﻥ ﻋﻥ ﺃﺭﺍﺌﻬﻡ ﻭﻤﻌﺘﻘـﺩﺍﺘﻬﻡ ﻭﺃﺴـﻠﻭﺏ‬

‫ﺤﻴﺎﺘﻬﻡ‪ ،‬ﻭﺍﻝﺘﺘﺒﻊ ﺍﻝﺘﺎﺭﻴﺨﻲ ﻴﻭﻀﺢ ﻝﻨﺎ ﺃﻫﻤﻴﺔ ﻭﺤﻴﻭﻴﺔ ﺩﻭﺭ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻓﻲ ﺍﻝﺤﻀﺎﺭﺍﺕ ﺍﻝﺴﺎﺒﻘﺔ‬
‫ﻭﻤﺩﻯ ﺘﺄﺜﻴﺭﻩ ﻋﻠﻰ ﺘﺸﻜﻴل ﻤﺠﺘﻤﻌﺎﺘﻬﺎ ﻭﺇﺤﺴﺎﺴﻬﻡ ﺒﺎﻻﻨﺘﻤﺎﺀ ﻝﻠﻤﻜﺎﻥ ﻭﺤﺭﻴﺘﻬﻡ ﺍﻝﺠﻤﺎﻋﻴﺔ ﻓﻲ ﺍﻝﺘﻌﺒﻴﺭ‪.‬‬

‫ﻓﺎﻹﻨﺴﺎﻥ ﻴﻌﻴﺵ ﺩﺍﺨل ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻭﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﻤﺘﺒﺎﻴﻨﺔ ﻓﻲ ﺤﺠﻤﻬـﺎ‬

‫ﻭﺸﻜﻠﻬﺎ‪ ،‬ﻭﺍﻝﻤﺨﺘﻠﻔﺔ ﺍﻝﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻝﻤﺸﺎﻫﺩ‪ ،‬ﻓﻤﻨﻬﺎ ﻤﺎ ﻴﻜﻭﻥ ﻁﺒﻴﻌﻴﹰﺎ ﻋﺸـﻭﺍﺌﻴﹰﺎ‪ ،‬ﻭﻤﻨﻬـﺎ ﻤـﺎ ﻴﻜـﻭﻥ‬
‫ﻤﺼﻁﻨﻌﹰﺎ ﻤﺨﻁﻁﹰﺎ‪ .‬ﻭﻝﻜل ﻤﻥ ﻫﺫﻩ ﺍﻝﻔﺭﺍﻏﺎﺕ ﻤﺘﻌﺔ "ﺍﻝﻤﻭﺭﻓﻭﻝﻭﺠﻲ" ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻓﺎﻹﻨﺴﺎﻥ ﺃﺜﻨﺎﺀ ﺍﻨﺘﻘﺎﻝـﻪ‬
‫ﻤﻥ ﻓﺭﺍﻍ ﺇﻝﻰ ﺁﺨﺭ ﻴﺘﻤﺘﻊ ﺒﺄﺤﺩﻫﻤﺎ ﻭﻴﻨﺒﻬﺭ ﺒﺎﻷﺨﺭ‪ ،‬ﺃﻭ ﻴﺸﻌﺭ ﺒﺎﻷﻝﻔﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ ﻝﺜﺎﻝﺙ‪ ،‬ﺃﻭ ﺒـﺎﻝﻤﺭﺡ‬

‫ﻭﺍﻻﻨﻁﻼﻕ ﻓﻲ ﺭﺍﺒﻊ‪ ...‬ﻭﻫﻜﺫﺍ‪.‬‬

‫ﻭﻝﻜﻲ ﻴﻭﻓﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻝﻺﻨﺴﺎﻥ ﻫﺫﻩ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﺒﺘﺄﺜﻴﺭﺍﺘﻬـﺎ ﺍﻝﻤﻨﺎﺴـﺒﺔ‬
‫ﻻﺴﺘﻌﻤﺎﻻﺘﻬﺎ؛ ﻴﺘﻌﺎﻤل ﻤﻊ ﺍﻝﻁﺒﻴﻌﺔ ﻭﺍﻝﺒﻴﺌﺔ ﺍﻝﻘﺎﺌﻤﺔ ﻭﺍﻝﻤﺎﺩﺓ ﺍﻹﻨﺸﺎﺌﻴﺔ ﺍﻝﻤﻨﺎﺴـﺒﺔ ﻝﻠﺯﻤـﺎﻥ ﻭﺍﻝﻤﻜـﺎﻥ‪،‬‬

‫ﻭﺍﻝﻨﺸﺎﻁ ﺍﻝﺫﻱ ﺴﻴﻤﺎﺭﺱ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﺭﺍﻍ‪ .‬ﻭﻫﻭ ﻴﺘﻌﺎﻤل ﻫﻨﺎ ﻤﻊ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻏﻴﺭ ﺍﻝﻤﺤـﺩﻭﺩﺓ‪،‬‬
‫ﻓﻴﻘﺘﻁﻊ ﻤﻨﻬﺎ ﻓﺭﺍﻏﺎﺕ ﺩﺍﺨﻠﻴﺔ ﻭﺃﺨﺭﻯ ﺨﺎﺭﺠﻴﺔ ﺫﺍﺕ ﻤﺅﺜﺭﺍﺕ ﻤﻘﺼﻭﺭﺓ ﻋﻠﻰ ﺍﻝﻤﺭﺘـﺎﺩ ﻭﺍﻝﻤﺴـﺘﺨﺩﻡ‬

‫ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ ‪120‬‬ ‫‪1‬‬

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‫ﻓﺘﺘﺤﻭل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻼﻨﻬﺎﺌﻴﺔ ﺍﻝﺒﻴﺌﻴﺔ ﺇﻝﻰ ﻓﺭﺍﻏﺎﺕ ﺤﻀﺭﻴﺔ ﺃﻭ ﻗﺭﻭﻴﺔ ﺫﺍﺕ ﻤﻘﻴﺎﺱ ﺇﻨﺴﺎﻨﻲ‪ ،‬ﻭﺸـﻜل‬
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‫ﻤﺤﺴﻭﺱ‪ ،‬ﻭﻁﺎﻗﺔ ﺘﻌﺒﻴﺭﻴﺔ ﺘﺤﺭﻙ ﺍﻝﻌﻴﻥ ﻭﺍﻝﻨﻔﺱ ﻭﺍﻝﻤﺸﺎﻋﺭ‪.‬‬

‫ﻭﺒﻤﺎ ﺃﻥ ﺤﻴﺎﺓ ﺍﻹﻨﺴﺎﻥ ﺘﺘﻐﻴﺭ ﺒﺎﺴﺘﻤﺭﺍﺭ ﻋﺒﺭ ﺍﻝﺯﻤﻥ ﻭﻫﺫﺍ ﺃﺜﺭ ﺒﺩﻭﺭﻩ ﻋﻠﻰ ﻤﻌﻅﻡ ﺍﻷﺒﻨﻴﺔ ﺍﻝﺘﻲ‬
‫ﺘﺴﺘﻭﻋﺏ ﺍﻝﻔﻌﺎﻝﻴﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﺘﻲ ﺘﺭﺘﺒﻁ ﺍﺭﺘﺒﺎﻁﺎ ﻭﺜﻴﻘﹰﺎ ﺒﺤﺠﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺫﻱ ﺘﺸﻐﻠﻪ‪ ،‬ﻓﺄﻱ ﺘﻐﻴﺭ ﻴﺤﺼل‬
‫ﻓﻲ ﺤﺠﻡ ﻭﻨﻭﻉ ﺍﻝﻔﻌﺎﻝﻴﺔ ﻴﺅﺜﺭ ﻋﻠﻰ ﻤﺎ ﺘﺘﻁﻠﺒﻪ ﻫﺫﻩ ﺍﻝﻔﻌﺎﻝﻴﺔ ﻤﻥ ﻓﻀﺎﺀﺍﺕ‪.‬‬

‫ﻭﻤﻘﺩﺍﺭ ﺍﻝﺘﻐﻴﺭ ﻓﻲ ﺍﻝﻔﻌﺎﻝﻴﺎﺕ ﻫﻭ ﺍﻝﻔﺭﻕ ﺒﻴﻥ ﺍﻝﺘﻐﻴﺭ ﺍﻝﺤﺎﻝﻲ ﻭﺍﻝﻤﺴﺘﻘﺒﻠﻲ‪ ،‬ﻭﻫﻭ ﻴﺭﻤﺯ ﺇﻝﻰ ﻤﻘﺩﺍﺭ‬
‫ﺍﻻﺨﺘﻼﻑ ﺍﻝﺤﺎﺼل ﻓﻲ ﺼﻔﺔ ﻤﻌﻴﻨﺔ ﻤﻥ ﺼﻔﺎﺕ ﺍﻝﻔﻌﺎﻝﻴﺔ ﻜﺎﻻﺨﺘﻼﻑ ﺍﻝﺤﺎﺼل ﻓﻲ ﻋﺩﺩ ﺴﺎﻋﺎﺕ ﺍﻝﻌﻤل‬
‫ﻓﻲ ﻤﺒﻨﻰ ﻤﻌﻴﻥ‪ ،‬ﻭﺇﻥ ﺒﻌﺽ ﺍﻝﻔﻌﺎﻝﻴﺎﺕ ﻴﻜﻭﻥ ﺘﺭﺩﺩ ﺍﻝﺘﻐﻴﺭ ﻓﻴﻬﺎ ﻜﺒﻴﺭﹰﺍ ﻭﺍﻥ ﻫﻨﺎﻙ ﻤﻥ ﺍﻝﺘﻐﻴﺭﺍﺕ ﻤﺎ ﻴﻤﻜﻥ‬

‫ﺘﻭﻗﻌﻬﺎ ﻭﻤﻨﻬﺎ ﻤﺎ ﻻ ﻴﻤﻜﻥ ﺘﻭﻗﻌﻬﺎ‪ ،‬ﻭﻫﺫﺍ ﻴﺅﺜﺭ ﺒﺩﻭﺭﻩ ﻋﻠﻰ ﺍﻝﺤﻠﻭل ﺍﻝﻭﻗﺎﺌﻴﺔ ﻝﻠﻔﻀﺎﺀ ﻤﻥ ﺤﻴﺙ ﺍﻝﻘﺭﺍﺭﺍﺕ‬
‫ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻷﻭﻝﻴﺔ‪ ،‬ﻝﺫﻝﻙ ﻓﺎﻥ ﻫﻨﺎﻙ ﻋﻼﻗﺔ ﺒﻴﻥ ﺃﻨﻭﺍﻉ ﺍﻝﺘﻐﻴﺭﺍﺕ ﺍﻝﺘـﻲ ﻴﺠـﺏ ﺃﻥ ﺘﺠـﺭﻱ ﻭﻜﻤﻴـﺔ‬
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‫ﺍﻝﺘﺤﻭﻴﺭﺍﺕ ﺍﻝﺘﻲ ﺴﺘﻨﻔﺫ ﻝﻤﻼﺌﻤﺔ ﻫﺫﻩ ﺍﻝﺘﻐﻴﺭﺍﺕ‪.‬‬

‫ﻭﺒﺎﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻝﻤﺼﻤﻡ ﺃﻭ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻫﻭ ﺃﺤﺩ ﺃﻫﻡ ﺍﻝﻤ‪‬ﺸﻜﱢﻠﻴﻴﻥ ﻝﻠﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺒﺘﻔﺎﻋﻠﻪ ﻤﻊ‬
‫ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻭﺍﻝﺤﻴﺯ ﺍﻝﻤﻜﺎﻨﻲ‪ ،‬ﻓﻬﻭ ﻴﻌﺒﺭ ﻋﻥ ﺫﻝﻙ ﻜﻨﺘﻴﺠﺔ ﺃﻭ ﻤﺨﺭﺝ ﻤﻥ ﺨﻼل ﺍﻝﺒﻌﺩﻴﻥ ﺍﻝﺘﺎﻝﻴﻴﻥ‪:‬‬

‫ﺃﻭ ﹰﻻ‪ :‬ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻭﺘﺤﻘﻴﻕ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻷﺴﺎﺴﻴﺔ‬

‫ﻴﻜﻭﻥ ﺍﻝﻨﻘﺎﺵ ﻓﻲ ﺘﻨﻅﻴﻡ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻋﻠﻰ ﺃﺴﺎﺱ ﺃﻨﻭﺍﻉ ﺃﺸﻜﺎل ﻭﺃﺤﺠﺎﻡ ﺍﻝﻔﺭﺍﻏـﺎﺕ‬
‫ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻤﺒﻨﻲ ﻋﻠﻰ ﻭﻅﺎﺌﻔﻬﺎ ﺍﻝﻤﻁﻠﻭﺒﺔ ﻭﺍﻝﻀﺭﻭﺭﻴﺔ ﻝﻬﺎ‪ ،‬ﻭﺘﺄﺜﻴﺭ ﺍﻝﺒﻴﺌﺔ ﻋﻠﻴﻬـﺎ‪ ،‬ﻜﻤـﺎ ﻴﺠـﺏ ﺃﻥ‬
‫ﺘﺼﺤﺏ ﺒﺭﺴﻡ ﺘﻭﻀﻴﺤﻲ ﻝﻬﺎ ﺃﻴﻀﺎ ﻭﻗﺩ ﺘﺨﺘﻠﻑ ﻫﺫﻩ ﻋﻥ ﺍﻝﻁﺭﻕ ﺍﻝﺘﻘﺩﻴﺭﻴﺔ ﻓﻲ ﺤﺴـﺎﺏ ﺍﻝﻔﺭﺍﻏـﺎﺕ‬
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‫ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﻤﻁﻠﻭﺒﺔ ﺍﻝﺘﻲ ﺘﺩﺭﺱ ﻓﻲ ﺒﺭﻨﺎﻤﺞ ﺍﻝﻤﺸﺭﻭﻉ‪.‬‬

‫‪ 1‬ﻤﻭﻗــﻊ ﻤﻠﺘﻘــﻰ ﺍﻝﻤﻬﻨﺩﺴــﻴﻥ ﺍﻝﻌــﺭﺏ‪ ،‬ﺍﻝﻤﻨﺘــﺩﻯ< ﺍﻝﻌﻤــﺎﺭﺓ ﻭﺍﻝﺘﺨﻁــﻴﻁ‪ :‬ﻤﺤــﺩﺩﺍﺕ ﺍﻝﻔــﺭﺍﻍ ﺍﻝﻤﻌﻤــﺎﺭﻱ‪،‬‬
‫‪http://www.arab-eng.org/vb/t28461.html‬‬
‫‪ 2‬ﺤﻤﻴـﺩ‪ ،‬ﻝﻴـﺙ ﺭﺸـﻴﺩ‪ :‬ﺩﺭﺠـﺔ ﺍﺴـﺘﻴﻌﺎﺏ ﺍﻝﻤﺒﻨـﻰ ﻝﻠﺘﻐﻴـﺭ ﻓـﻲ ﺍﻝﻔﻌﺎﻝﻴـﺎﺕ‪ ،‬ﻤﻌﻬـﺩ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴـﺎ‪ ،‬ﺒﻐـﺩﺍﺩ‪،2011 ،‬‬
‫‪http://www.iasj.net/iasj?func=fulltext&aId=28474‬‬
‫‪ 3‬ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻤﻨﺸﺄﺓ ﺍﻝﻤﻌﺎﺭﻑ ﺒﺎﻹﺴﻜﻨﺩﺭﻴﺔ‪ ،‬ﻤﺼﺭ‪ ،‬ﺍﻝﻁﺒﻌﺔ ﺍﻷﻭﻝﻰ‪ ،1998 ،‬ﺹ‪272‬‬
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 ‫"ﺃﻤﺎ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ )‪ (Design Process‬ﻓﻬﻲ ﺘﺴﺘﺨﺩﻡ ﻓﻲ ﺩﺭﺍﺴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤـﺎﺭﻱ‬
‫ﻝﻴﺱ ﻓﻘﻁ ﻝﺘﺤﺩﻴﺩ ﺍﻝﺤﺠﻡ ﺍﻷﻤﺜل ﻝﻔﺭﺍﻏﺎﺕ ﻋﻨﺎﺼﺭ ﺍﻝﻤﺸﺭﻭﻉ ﻝﻸﻏﺭﺍﺽ ﺍﻝﻤﺤﺩﺩﺓ ﻝﻪ‪ ،‬ﻭﻝﻜﻥ ﻹﻋـﺎﺩﺓ‬

‫ﺃﺸﻜﺎل ﻫﺫﻩ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻋﻠﻰ ﻤﻭﻗﻊ ﺃﺭﺽ ﺍﻝﻤﺸﺭﻭﻉ ﻝﺘﻔﻲ ﺒﻐﺭﺽ ﺭﺒﻁ ﺒﺭﻨﺎﻤﺞ ﺍﻝﻤﺸـﺭﻭﻉ‬
‫ﺒﺒﻌﺽ ﻋﻠﻰ ﺃﻥ ﻴﺅﺨﺫ ﻓﻲ ﺍﻻﻋﺘﺒﺎﺭ ﺒﺄﻥ ﺩﺭﺍﺴﺔ ﺍﻝﻤﺴﺎﺤﺎﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻝﻠﻤﺸـﺭﻭﻉ ﺴـﺘﺘﺄﺜﺭ ﺒـﺄﻨﻭﺍﻉ‬
‫ﺍﻝﺤﺭﻜﺔ ﺍﻝﻤﺭﻭﺭﻴﺔ ﻝﻠﺴﻴﺎﺭﺍﺕ ﻭﺍﻝﻤﺸﺎﺓ ﺍﻝﻤﺘﻭﺍﺠﺩﺓ ﻓﻴﻬﺎ‪ ،‬ﻭﻨﻅﻡ ﺤﺭﻜﺘﻬﺎ ﻭﺘﻁﺒﻴـﻕ ﻗـﻭﺍﻨﻴﻥ ﺍﻝﻤﺒـﺎﻨﻲ‬
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‫ﻭﺍﻝﺘﺨﻁﻴﻁ ﺍﻝﻌﻤﺭﺍﻨﻲ ﻋﻠﻴﻬﺎ‪".‬‬

‫ﻭﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻬﺎ ﺜﻼﺜﺔ ﺃﺒﻌﺎﺩ‪ :‬ﺍﺤﺘﻴﺎﺝ‪ ،‬ﺒﻴﺌﺔ ﻭﺸﻜل‪ .‬ﻓﻭﺠﻭﺩ ﺍﻝﻤﺸﻜﻠﺔ ﺘﻨﺸﺄ ﻤﻥ ﻏﻴﺎﺏ‬
‫ﺃﻭ ﺘﻐﻴﺭ ﺍﺤﺩ ﻫﺫﻩ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺤل ﺍﻝﻤﺸﻜﻠﺔ ﻴﻜﻤﻥ ﻓﻲ ﺘﻐﻴﻴﺭ ﺃﺤﺩﻫﺎ‪ .‬ﻭﺍﻝﺭﺴﻭﻤﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻝﻴﺴﺕ ﻫﻲ‬

‫ﺍﻝﺤل ﻭﺇﻨﻤﺎ ﺘﻌﻜﺱ ﻭﺠﻭﺩ ﺘﻭﺍﺯﻥ ﺒﻴﻥ ﻫﺫﻩ ﺍﻝﻌﻨﺎﺼﺭ ﻤﺠﺘﻤﻌﺔ‪ .‬ﻭﻨﺠﺎﺡ ﺃﻭ ﻓﺸل ﺍﻝﺘﺼﻤﻴﻡ ﻫـﻭ ﻓـﻲ‬
‫ﻤﻘﺎﺒﻠﺔ ﻫﺫﻩ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺜﻼﺜﺔ‪.‬‬

‫ﺍﺤﺘﻴﺎﺝ‬

‫ﺒﻴﺌﺔ‬
‫ﺸﻜل‬

‫ﺸﻜل )‪ (4.1‬ﺃﺒﻌﺎﺩ ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.startimes.com/?t=28532291 :‬‬

‫ﻭﺍﻻﺤﺘﻴﺎﺝ ﻴﺘﻀﻤﻥ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﺎﻝﻴﺔ‪ :‬ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻔﺭﺍﻏﻴﺔ‪ ،‬ﻭﺍﻝﻌﻼﻗﺎﺕ ﺒـﻴﻥ ﺍﻝﻌﻨﺎﺼـﺭ‪،‬‬

‫‪2‬‬
‫ﻭﺍﻷﻭﻝﻭﻴﺎﺕ‪ ،‬ﻭﺍﻝﻌﻤﻠﻴﺎﺕ‪ ،‬ﻭﺍﻷﻫﺩﺍﻑ‪ ،‬ﻭﺍﻝﺼﻴﺎﻨﺔ‪ ،‬ﻭﺍﻝﻭﺼﻭل‪ ،‬ﻭﺍﻝﺘﺠﻬﻴﺯﺍﺕ‪ ،‬ﻭﺍﻝﺒﻴﺌﺔ‪.‬‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ ‪272‬‬ ‫‪1‬‬

‫‪ 2‬ﻤﺤﺠـــــﻭﺏ‪ ،‬ﻴﺎﺴـــــﺭ ﻋﺜﻤـــــﺎﻥ‪ :‬ﻤﻘﺩﻤـــــﺔ ﻓـــــﻲ ﺍﻝﺘﺼـــــﻤﻴﻡ ﺍﻝﻤﻌﻤـــــﺎﺭﻱ‪،‬‬

‫‪http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬
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 ‫ﺜﺎﻨﻴﹰﺎ‪ :‬ﻨﺴﺏ ﺍﻝﻤﺴﺎﺤﺎﺕ ﻭﻨﺠﺎﺡ ﺍﺴﺘﻐﻼﻝﻬﺎ‬

‫ﺇﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻠﻡ ﻴﻬﺩﻑ ﺇﻝﻰ ﺨﺩﻤﺔ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﺇﻝـﻰ ﺘﻠﺒﻴـﺔ ﺍﺤﺘﻴﺎﺠﺎﺘـﻪ‬
‫‪1‬‬
‫ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﺫﻝﻙ ﻭﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﻗﺎﺌﻤﹰﺎ ﻋﻠﻰ ﻤﻘﻴﺎﺱ ﺍﻹﻨﺴﺎﻥ ﻭﺃﺒﻌﺎﺩﻩ ﺍﻝﻤﺨﺘﻠﻔﺔ‪.‬‬

‫ﻓﺎﻝﻤﻘﻴﺎﺱ ﻴﺘﻀﻤﻥ ﻋﻼﻗﺔ ﻤﻊ ﺍﻝﺤﺠﻡ‪ .‬ﻭﺤﺠﻡ ﺍﻹﻨﺴﺎﻥ ﻫﻭ ﺃﻫﻡ ﺍﻝﻤﺭﺍﺠﻊ ﻝﻤﻌﺭﻓـﺔ ﺍﻝﻤﻘـﺎﻴﻴﺱ‬
‫ﺍﻷﺨﺭﻯ‪ .‬ﻭﻴﺴﻤﻰ "ﺍﻝﻤﻘﻴﺎﺱ ﺍﻹﻨﺴﺎﻨﻲ"‪ .‬ﻭ ﺒﻁﺒﻴﻌﺔ ﺍﻝﺤﺎل ﻓﺈﻥ ﻤﻘﺎﻴﻴﺱ ﺍﻝﻤﻨﺸﺂﺕ ﻝﻴﺴﺕ ﺠﻤﻴﻌﻬﺎ ﻓـﻲ‬

‫ﺤﺩﻭﺩ ﻤﻘﺎﻴﻴﺱ ﺍﻹﻨﺴﺎﻥ‪ .‬ﻓﻨﺤﻥ ﻨﺸﻌﺭ ﺒﺎﻝﺭﺍﺤﺔ ﻤﻊ ﺍﻝﻤﻨﺸﺂﺕ ﺍﻝﻜﺒﻴﺭﺓ ﺇﺫﺍ ﺘﺒﺎﻴﻨﺕ ﻤﻘﺎﻴﻴﺴﻬﺎ ﻤﻥ ﻤﻘﻴـﺎﺱ‬
‫ﺍﻹﻨﺴﺎﻥ ﺇﻝﻰ ﻤﻘﻴﺎﺱ ﺍﻝﻤﺒﻨﻰ‪ .‬ﻭﻤﻥ ﺨﻼل ﺍﻝﺘﺤﻠﻴل ﺍﻝﺒﺼﺭﻱ ﻴﻤﻜﻥ ﻓﻬﻡ ﻜﻴﻔﻴﺔ ﺍﻝﺘﻌﺎﻤل ﻤﻊ ﺍﻝﻤﻘﻴﺎﺱ ﻓﻲ‬
‫ﻤﺨﺘﻠﻑ ﺍﻝﻤﺒﺎﻨﻲ‪.‬‬

‫ﻭﺃﻫﻡ ﻁﺭﻴﻘﺔ ﻤﻥ ﻁﺭﻕ ﺯﻴﺎﺩﺓ ﻤﻘﺩﺭﺓ ﺍﻝﻤﻬﻨﺩﺱ ﻋﻠﻰ ﺍﺴﺘﻴﻌﺎﺏ ﺍﻝﻤﻘﻴﺎﺱ ﻭﺍﻝﻨﺴﺏ ﻓﻲ ﺍﻷﺸﻜﺎل‬
‫ﻫﻲ ﻤﻥ ﺨﻼل ﺍﻝﺘﺤﻠﻴل ﺍﻝﺒﺼﺭﻱ‪ .‬ﻭﻴﺘﻡ ﻤﻥ ﺨﻼل ﺍﻝﺘﺤﻠﻴل ﺍﻝﺒﺼﺭﻱ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻤﺘﻐﻴﺭﺍﺕ ﻤﺤـﺩﺩﺓ‬
‫ﻤﺜل ﺍﻝﻤﻘﻴﺎﺱ ﻭﺍﻹﻴﻘﺎﻉ ﻓﻲ ﺍﻝﻤﺨﻁﻁ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﺍﺴﺘﺨﻼﺼﻬﺎ ﻤﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻌﻤﺭﺍﻨﻴﺔ ‪.‬‬

‫ﻭﺘﺅﺜﺭ ﺍﻝﻨﺴﺏ ﻓﻲ ﺘﺼﻤﻴﻡ ﺍﻝﻤﺒﻨﻰ ﻤﻥ ﺤﻴﺙ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻷﺒﻌﺎﺩ ﺍﻷﻓﻘﻴﺔ ﻭﺍﻝﺭﺃﺴﻴﺔ‬

‫ﺸﻜل )‪ (5.1‬ﺍﻝﻤﻘﻴﺎﺱ ﺍﻹﻨﺴﺎﻨﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﺩ‪ .‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ(‬

‫ﻋﺎﺩﺓ ﻤﺎ ﻴﺘﻀﻤﻥ ﺒﺭﻨﺎﻤﺞ ﺍﻝﻤﺸﺭﻭﻉ ﻜل ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻋﻥ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻌﻤﻴل‪ .‬ﻭﻨﺄﺨﺫ ﻫﻨﺎ ﻤﺜﺎل‬

‫ﺼﻐﻴﺭ ﻫﻭ ﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺃﻭ ﻤﺴﻜﻥ ﻋﺎﺌﻠﻲ ﺼﻐﻴﺭ‪.‬‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ ‪2‬‬ ‫‪1‬‬

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‫"ﻴﻭﻀﺢ ﺍﻝﻤﺜﺎل ﺨﻁﻭﺍﺕ ﺍﻝﺘﺤﻭل ﻤﻥ ﺒﺭﻨﺎﻤﺞ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ ﺇﻝـﻰ ﺘﺼـﻤﻴﻡ ﺃﻭﻝـﻰ‬
‫ﻝﻠﻤﺸﺭﻭﻉ ﺨﻼل ‪ 4‬ﺨﻁﻭﺍﺕ‪ .‬ﻭﺒﻌﺩ ﺍﻻﻨﺘﻬﺎﺀ ﻤﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻷﻭﻝﻲ ﻴﺘﻡ ﻋﻤل ﺍﻝﺘﺼـﻤﻴﻡ ﺍﻻﺒﺘـﺩﺍﺌﻲ ﻭ‬
‫ﺘﻁﻭﻴﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺤﺘﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻨﻬﺎﺌﻲ ﺜﻡ ﺍﻝﺘﺼﻤﻴﻤﺎﺕ ﺍﻝﺘﻨﻔﻴﺫﻴﺔ ﻭﺭﺴﻭﻤﺎﺕ ﺍﻝﻭﺭﺸﺔ‪ .‬ﻭﺍﻝﺨﻁـﻭﺍﺕ‬
‫ﻫﻲ ‪:‬‬

‫‪ -‬ﺘﻭﻀﺢ ﺍﻝﺨﻁﻭﺓ ﺍﻷﻭﻝﻰ ﺭﺴﻡ ﺘﺠﺭﻴﺩﻱ ﻝﺒﺭﻨﺎﻤﺞ ﺍﻝﻤﺸﺭﻭﻉ ﺤﻴﺙ ﺘﺒﺩﻭ ﺍﻝﻭﻅﺎﺌﻑ ﻭﺍﻝﻌﻼﻗﺎﺕ ﺒﻴﻨﻬـﺎ‬
‫ﺤﺴﺏ ﺘﺭﺘﻴﺒﻬـﺎ ﺍﻝﺘﺼـﺎﻋﺩﻱ‪ .‬ﻭﻴﻅﻬـﺭ ﺍﻝﻤـﺩﺨل ﺍﻝﺭﺌﻴﺴـﻲ ﻝﻠﻤﺸـﺭﻭﻉ ﻭﺍﻀـﺤﹰﺎ‪ .‬ﻭ ﻝـﻴﺱ‬
‫ﻝﻠﺩﻭﺍﺌﺭ)ﺍﻝﻔﻘﺎﻋﺎﺕ ‪ (bubbles‬ﺃﻱ ﻤﺴﺎﺤﺔ ﺃﻭ ﻭﻀﻊ ﻤﺤﺩﺩ ﻓﻬﻲ ﺘﺤﺩﺩ ﻓﻘﻁ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺍﻝﻭﻅـﺎﺌﻑ‬
‫ﺍﻝﻤﻁﻠﻭﺏ ﺘﻭﻓﻴﺭﻫﺎ ﺒﻨﺎﺀ ﻋﻠﻰ ﺒﺭﻨﺎﻤﺞ ﺍﻝﻤﺸﺭﻭﻉ ﻭ ﻴﻤﻜﻥ ﺘﺤﺭﻴﻜﻬﺎ ﻓﻲ ﺃﻱ ﻤﻜﺎﻥ ﻤﻊ ﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ‬
‫ﺍﻝﻌﻼﻗﺔ ﺒﻴﻨﻬﺎ‪.‬‬

‫ﺸﻜل )‪ (6.1‬ﻤﺭﺍﺤل ﺘﻁﻭﺭ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻷﻭﻝﻰ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu..ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬
‫‪doc‬‬

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‫‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻝﺜﺎﻨﻴﺔ ﺘﻌﻜﺱ ﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻤﻭﻗﻊ ﻭﺍﻝﻤﻨﺎﺥ ﺍﻝﺘﻲ ﺘﺅﺜﺭ ﻋﻠﻰ ﻭﻀﻊ ﺍﻝﻌﻨﺎﺼـﺭ ﻭﺘﻭﺠﻴﻬﻬـﺎ‬
‫ﻭﻋﻼﻗﺘﻬﺎ ﻤﻊ ﺒﻌﻀﻬﺎ ﺍﻝﺒﻌﺽ ﻭﻤﻊ ﺍﻝﻤﻭﻗﻊ‪ .‬ﻓﺎﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺍﻝﺤﺭﺍﺭﺓ ﻭﺍﻝﺭﺅﻴﺔ ﻭﺍﻝﻭﺼـﻭل‬
‫ﻝﻠﻤﻭﻗﻊ ﻭﺍﻝﻤﻨﺎﻁﻕ ﻭﺍﻝﻭﻅﺎﺌﻑ ﻴﺘﻡ ﺃﺨﺫﻫﺎ ﻜﻠﻬﺎ ﻓﻲ ﺍﻻﻋﺘﺒﺎﺭ‪.‬‬

‫ﺸﻜل )‪ (7.1‬ﻤﺭﺍﺤل ﺘﻁﻭﺭ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻝﺜﺎﻨﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu..ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬
‫‪doc‬‬

‫‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻝﺜﺎﻝﺜﺔ ﺘﻌﻜﺱ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﻤﺴﻁﺤﺎﺕ ﻭﺃﺸﻜﺎل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻁﻠﻭﺒـﺔ ﻻﺴـﺘﻴﻔﺎﺀ‬
‫ﻋﻨﺎﺼﺭ ﺍﻝﻤﺸﺭﻭﻉ‪ .‬ﻭﻫﻨﺎ ﺘﻌﻁﻰ ﺍﻷﻭﻝﻭﻴﺔ ﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻭﻅﺎﺌﻑ ﻭﺸﺒﻜﻴﺔ ﺍﻝﺘﺨﻁﻴﻁ‪.‬‬

‫‪ -‬ﺍﻝﺨﻁﻭﺓ ﺍﻝﺭﺍﺒﻌﺔ ﺘﻭﻀﺢ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺨﺎﺼﺔ ﺒﻨﻅﺎﻡ ﺍﻹﻨﺸﺎﺀ ﻭﻤﺤﺩﺩﺍﺕ ﺍﻝﻔﺭﺍﻏﺎﺕ‪ .‬ﻭﻫـﻭ ﺍﻝﺸـﻜل‬

‫ﺍﻝﺫﻱ ﻴﻁﻠﻕ ﻋﻠﻴﻪ ﺍﺴﻡ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻷﻭﻝﻲ‪.‬‬

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 ‫ﺸﻜل )‪ (8.1‬ﻤﺭﺍﺤل ﺘﻁﻭﺭ ﻤﺸﺭﻭﻉ ﻤﻨﺯل ﺼﻐﻴﺭ‪ -‬ﺍﻝﺨﻁﻭﺘﺎﻥ ﺍﻝﺜﺎﻝﺜﺔ ﻭﺍﻝﺭﺍﺒﻌﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu..ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬
‫‪doc‬‬

‫ﻫﺫﺍ ﺍﻝﺘﺤﻭل ﻤﻥ ﺍﻝﺒﺭﻨﺎﻤﺞ ﺇﻝﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻷﻭﻝﻲ ﻴﺴﻤﺢ ﺒﺎﻝﻤﺭﺍﺩﻓﺎﺕ ﻭﺍﻻﺤﺘﻤﺎﻻﺕ ﺃﻥ ﺘﻅﻬـﺭ‬
‫ﻻ ﻤﻥ ﺇﻏﻼﻕ ﺍﻝﺘﺼﻤﻴﻡ ﻤﻥ ﺍﻝﺒﺩﺍﻴﺔ‪ .‬ﻜﻤﺎ ﻴﺴﻤﺢ ﺒﺎﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﻤﻨﺎﺴﺏ ﺒﺎﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﻁﻠﻭﺒﺔ ﻭﻨﺴﺒﺘﻬﺎ‬
‫ﺒﺩ ﹰ‬
‫‪1‬‬
‫ﻻ ﻝﻨﺠﺎﺡ ﺍﺴﺘﻐﻼﻝﻬﺎ ﻋﻠﻰ ﺍﻝﻭﺠﻪ ﺍﻷﻤﺜل‪".‬‬
‫ﻭﺼﻭ ﹰ‬

‫‪ 2.1‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺩﺍﺨﻠﻲ‬

‫‪ 1.2.1‬ﺘﻌﺭﻴﻔﻪ ﻭﻤﺤﺩﺩﺍﺘﻪ‬

‫"ﻤﻔﻬﻭﻡ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ‪ :‬ﻴﻌﻨﻲ ﺍﻗﺘﻁﺎﻉ ﺠﺯﺀ ﻤﻥ ﺍﻝﻔﺭﺍﻍ ﺍﻝﻌﺎﻡ ﺍﻝﺨﺎﺭﺠﻲ ﺒﻤﻭﺍﺼﻔﺎﺕ ﻭﻤﺤﺩﺩﺍﺕ‬

‫ﺨﺎﺼﺔ‪ ،‬ﺘﺠﻌﻠﻪ ﻴﺼﻠﺢ ﻷﻥ ﻴﻤﺎﺭﺱ ﻓﻴﻪ ﺍﻹﻨﺴﺎﻥ ﺃﻨﺸﻁﺔ ﺤﻴﺎﺘﻴﺔ ﺨﺎﺼﺔ‪ ،‬ﻭﺘﺘﻭﻗﻑ ﻫﺫﻩ ﺍﻷﻨﺸﻁﺔ ﻭﻁﺭﻴﻘﺔ‬

‫‪ 1‬ﻤﺤﺠـــــﻭﺏ‪ ،‬ﻴﺎﺴـــــﺭ ﻋﺜﻤـــــﺎﻥ‪ :‬ﻤﻘﺩﻤـــــﺔ ﻓـــــﻲ ﺍﻝﺘﺼـــــﻤﻴﻡ ﺍﻝﻤﻌﻤـــــﺎﺭﻱ‪،‬‬

‫‪http://ymahgoub‬‬
‫‪ymahgoub.blogspot.com/2012/05/introduction-to‬‬ ‫‪to-architectural-‬‬
‫‪design‬‬
‫‪design.html#!/2012/05/introduction-to-architectural‬‬
‫‪architectural-design.html‬‬
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‫ﺃﺩﺍﺌﻬﺎ ﻋﻠﻰ ﻁﺒﻴﻌﺔ ﺍﻝﺠﺯﺀ ﺍﻝﻤﻘﺘﻁﻊ‪ ،‬ﻭﺤﺠﻤﻪ‪ ،‬ﻭﻫﻴﺌﺘﻪ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﻋﻼﻗﺘﻪ ﺒﺎﻝﻔﺭﺍﻍ ﺍﻝﻌـﺎﻡ ﺍﻝﺨـﺎﺭﺠﻲ‬
‫ﺍﻝﻤﺤﻴﻁ ﺒﻪ‪.‬‬

‫ﻤﻔﻬﻭﻡ ﺍﻝﻬﻴﺌﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻝﻠﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ‪ :‬ﻴﻤﻜﻥ ﺘﻌﺭﻴﻑ ﺍﻝﻬﻴﺌﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻝﻠﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ‬

‫ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﻤﺎﺩﻴﺔ ﺒﺄﻨﻬﺎ ﺍﻝﺤﺩﻭﺩ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﺘﻲ ﺘﺤﺩﺩ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻜﻤﺎ ﻴﻤﻜﻥ ﺘﻌﺭﻴﻔﻬﺎ ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﺤﺴﻴﺔ‬
‫ﺒﺄﻨﻬﺎ ﺍﻹﻁﺎﺭ ﺍﻝﻤﻌﻨﻭﻱ ﺍﻝﺫﻱ ﻴﺸﻌﺭ ﺒﻪ ﺍﻹﻨﺴﺎﻥ ﻋﻨﺩ ﺘﻭﺍﺠﺩﻩ ﻓﻲ ﻫﺫﺍ ﺍﻝﺤﻴﺯ ﺒﻐﺽ ﺍﻝﻨﻅﺭ ﻋـﻥ ﺸـﻜل‬

‫ﻤﺤﺩﺩﺍﺘﻪ‪ .‬ﻭﺒﺸﻜل ﻋﺎﻡ ﻴﻤﻜﻥ ﺘﻌﺭﻴﻑ ﻫﻴﺌﺔ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺄﻨﻬﺎ ﻤﺠﻤﻭﻋﺔ ﺍﻝﺴﻤﺎﺕ ﻭﺍﻝﺨﺼﺎﺌﺹ ﺍﻝﺘـﻲ‬
‫‪1‬‬
‫ﻴﺘﺴﻡ ﺒﻬﺎ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﺠﻌﻠﻪ ﻴﺨﺘﻠﻑ ﻋﻥ ﺍﻝﺤﻴﺯﺍﺕ ﺍﻷﺨﺭﻯ‪".‬‬

‫"ﻤﺤﺩﺩﺍﺕ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ‪ :‬ﻴﻤﻜﻥ ﺘﺤﺩﻴﺩ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ ﺒﻭﺍﺴﻁﺔ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻤﺤﺩﺩﺍﺕ ﻭﻫﻲ‪،‬‬

‫ﺍﻷﺭﻀﻴﺔ‪ ،‬ﺍﻝﻘﻭﺍﺌﻡ ﺍﻝﺭﺃﺴﻴﺔ‪ ،‬ﻭﺍﻝﺤﻭﺍﺌﻁ ﻭﺍﻝﺴﻘﻑ‪ ،‬ﺒﻭﺍﺴﻁﺔ ﺒﻌﺽ ﻫﺫﻩ ﺍﻝﻤﺤﺩﺩﺍﺕ ﻤﻨﻔﺭﺩﺓ ﺃﻭ ﺒﻌﻀﻬﺎ ﺃﻭ‬
‫‪2‬‬
‫ﺒﻬﺎ ﺠﻤﻴﻌ‪‬ﺎ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻴﺅﺩﻱ ﺇﻝﻰ ﺍﺨﺘﻼﻑ ﺩﺭﺠﺔ ﺘﺤﺩﻴﺩ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ‪".‬‬

‫ﻭﺘﻠﻌﺏ ﻤﺤﺩﺩﺍﺕ ﺍﻝﺤﻴﺯ ﺩﻭﺭ‪‬ﺍ ﻜﺒﻴﺭ‪‬ﺍ ﻓﻲ ﺘﻜﻭﻴﻥ ﻫﻴﺌﺘﻪ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻹﺤﺴﺎﺱ ﺒﻪ‪ ،‬ﺇﺫ ﺃﻨﻪ ﻤـﻥ‬

‫ﺨﻼل ﻤﺤﺩﺩﺍﺕ ﺍﻝﺤﻴﺯ ﺘﺘﺤﺩﺩ ﻭﻅﻴﻔﺘﻪ ﺒل ﻭﻗﺩﺭﺘﻪ ﻋﻠﻰ ﺃﺩﺍﺀ ﺍﻝﻭﻅﻴﻔﺔ ﺍﻝﺘﻲ ﻤﻥ ﺃﺠﻠﻬﺎ ﺸﻴﺩ‪.‬‬

‫ﻜﻤﺎ ﺃﻥ ﺍﻹﺤﺴﺎﺱ ﺒﺎﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻴﺅﺩﻱ ﺇﻝﻲ ﺘﻭﺯﻴﻊ ﺠﻴﺩ ﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﺒﻨﻰ ﻭﺤﺴﻥ ﺍﺴﺘﻐﻼل‬
‫ﺍﻝﻤﺴﺎﺤﺎﺕ‪ ،‬ﻭﻤﺎ ﻴﺸﻐﻠﻪ ﺍﻝﻤﺒﻨﻰ ﻭ ﻴﺸﻜﻠﻪ ﻤﻥ ﻓﺭﺍﻍ ﺨﺎﺭﺠﻲ ﻴﺅﺩﻱ ﺇﻝﻲ ﺇﺒﺩﺍﻉ ﻤﻌﻤﺎﺭﻱ ﻴﺸﻴﺭ ﻝﻭﺍﻗﻌﻴﺔ‬

‫ﺘﺼﻤﻴﻡ ﺍﻝﻤﺒﻨﻰ‪.‬‬

‫‪ 2.2.1‬ﺃﺼﻨﺎﻑ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫‪" -‬ﻋﻤﺎﺭﺓ ﺩﺍﺨﻠﻴﺔ )‪ :(Interior Architecture‬ﺘﺨﺼﺹ ﻤﻌﺎﺼﺭ ﻴﺭﺒﻁ ﻤﺎ ﺒﻴﻥ ﺍﻝﻔﻥ‪ ،‬ﺍﻝﻌﻤـﺎﺭﺓ‪،‬‬

‫ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻭﻴﻬﺘﻡ ﺒﺘﻁﻭﻴﺭ ﺍﻝﺒﻌﺩ ﺍﻝﺜﺎﻝﺙ ﻭﺯﻴﺎﺩﺓ ﺤﺴﺎﺴﻴﺔ ﺍﻝﺨﺒـﺭﺓ ﺍﻝﻤﻌﻤﺎﺭﻴـﺔ ﻝﺘﺤﻘﻴـﻕ‬
‫ﺍﻝﻤﻐﺯﻯ ﻭﺍﻷﻫﻤﻴﺔ ﺍﻝﻤﻁﻠﻭﺒﺔ ﻭﻤﻥ ﺨﻼل ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﻠﻭﻥ‪ ،‬ﺍﻝﻀـﻭﺀ‪ ،‬ﺍﻝﺘﺄﺜﻴـﺙ ﻭﻏﻴﺭﻫـﺎ ﻤـﻥ‬

‫‪ 1‬ﻤﻭﻗـــــــﻊ ﺠﺎﻤﻌـــــــﺔ ﺍﻝﻤﻠـــــــﻙ ﺴـــــــﻌﻭﺩ‪ :‬ﺍﻝﺤﻴـــــــﺯ ﺍﻝـــــــﺩﺍﺨﻠﻲ‪،‬‬

‫‪http://faculty.ksu.edu.sa/71200/Documents/Books/Theory%20of%20Architecture-2/04-‬‬
‫‪Chapter%20(1).pdf‬‬
‫‪ 2‬ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‬
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‫ﺍﻝﻌﻨﺎﺼﺭ‪ ...‬ﻭﻤﻥ ﺨﻼل ﺍﻝﺘﻭﺤﻴﺩ ﺘﺼﻤﻴﻤﻴﹰﺎ ﻤﺎﺒﻴﻥ ﺍﻝﻌﻤﺎﺭﺓ ﻭﻓﻀﺎﺀﺍﺘﻬﺎ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻥ ﺠﻬﺔ ﻭﺍﻝﻌﻤﺎﺭﺓ‬
‫ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ ﺠﻬﺔ ﺃﺨﺭﻯ )‪.(Kurtich and Eakin,1993‬‬

‫‪ -‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ )‪ :(Interior Design‬ﻋﻤﻠﻴﺔ ﺇﻜﻤﺎل ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴـﺔ ﻝﻠﻌﻤـﺎﺭﺓ ﻝﺘﺼـﺒﺢ‬

‫ﻤﺅﻫﻠﻪ ﻝﻺﺸﻐﺎل ﻭﺨﻼل ﺍﻝﺘﻌﺎﻤل ﺒﺎﻝﻌﻼﻗﺎﺕ ﺍﻝﺭﺍﺒﻁﺔ ﺒﻴﻥ ﺍﻷﺠﺯﺍﺀ ﻭﺍﻝﻜـل‪ ،‬ﻭﻴﺭﻜـﺯ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻋﻠﻰ ﺍﻹﺤﺴﺎﺱ ﺒﺎﻹﺒﺩﺍﻉ )‪.(Ball,1982‬‬

‫‪ -‬ﺍﻝﺘﺯﻭﻴﻕ )‪ :(Decoration‬ﻋﻤﻠﻴﺔ ﺇﻀﺎﻓﻴﺔ ﺘﺘﻀﻤﻥ ﺸﻲﺀ ﻤﺎ ﻝﻠﺠﺴﻡ ﺍﻷﺼﻠﻲ ﻝﻬـﺩﻑ ﻅـﺎﻫﺭﻱ‬

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‫ﺼﻭﺭﻱ ﻝﺯﻴﺎﺩﺓ ﺍﻝﻨﻭﻋﻴﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻜﺄﺩﺍﺓ ﻨﺤﻭ ﺍﻝﺘﺄﺜﻴﺭﻴﺔ )‪".(Ball,1982) (Effectiveness‬‬

‫‪ 3.2.1‬ﺨﺼﻭﺼﻴﺔ ﻝﻐﺔ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬

‫"ﺭﻜﺯ)‪ (Malnar and Vodvarka,1992‬ﻋﻠﻰ ﺨﺼﻭﺼﻴﺔ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺨﻼل ﺴﻤﺎﺘﻪ‬

‫ﺍﻝﻤﺘﻤﺜﻠﺔ ﺒـ‪:‬‬

‫‪ -‬ﻁﺒﻴﻌﺔ ﺍﻝﻤﻭﺍﺩ )‪(The nature of materials‬‬

‫‪ -‬ﺍﻝﻨﻭﻋﻴﺎﺕ ﺍﻝﺒﻌﺩﻴﺔ )‪(Dimensional qualities‬‬

‫‪ -‬ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻨﻔﺴﻴﺔ )‪(Psychological information‬‬

‫‪ -‬ﺍﻝﻭﻅﻴﻔﺔ )‪(Mnemonic function‬‬

‫ﻭﻴﺸﻴﺭ ﺇﻝﻰ ﻓﻬﻡ ﺍﻝﻤﻌﻤﺎﺭﻴﻴﻥ ﺘﺄﺭﻴﺨﻴﹰﺎ ﺨﻼل ﻓﺼل ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻥ ﺍﻝﺨـﺎﺭﺝ ﺒﻌﻨﺎﺼـﺭ‬
‫ﺍﻝﻤﻭﺍﺩ‪ ،‬ﺍﻹﻀﺎﺀﺓ‪ ،‬ﺍﻝﻤﻘﻴﺎﺱ‪ ،‬ﻭﻗﻀﺎﺀ ﺍﻝﻭﻗﺕ‪ ،‬ﺇﺫ ﻋﺭﻑ ﺍﻝﻤﻌﻤﺎﺭﻴﻭﻥ ﺘﻐﻴﺭ ﺍﻝﻤﻭﺍﺩ ﺒﺘﻐﻴـﺭ ﺍﻝﻤﻭﻀـﻊ‪،‬‬
‫ﻭﻴﺅﺜﺭ ﺍﻝﻤﻠﻤﺱ ﻜﺫﻝﻙ ﺒﺼﻭﺭﺓ ﻤﺘﺒﺎﻴﻨﺔ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻨﻪ ﻓﻲ ﺍﻝﺨﺎﺭﺝ‪ ،‬ﻜﻤـﺎ ﻴﺒـﺩﻭ ﻤﻘﻴـﺎﺱ‬

‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺃﺼﻐﺭ ﻤﻥ ﺍﻝﻤﻘﻴﺎﺱ ﺍﻝﺨﺎﺭﺠﻲ‪ ،‬ﻭﻴﺨﺘﻠﻑ ﺃﻴﻀﹰﺎ ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﻠـﻭﻨﻲ ﻓـﻲ ﺍﻝﻔﻀـﺎﺀ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻋﻥ ﺍﻝﺨﺎﺭﺠﻲ‪ ،‬ﻓﺒﻴﻨﻤﺎ ﻨﺭﻯ ﺍﻷﻝﻭﺍﻥ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻤﺸﺘﻘﺔ ﻤﻥ ﺍﻝﻔﻀـﺎﺀﺍﺕ ﺍﻝﻤﻔﺘﻭﺤـﺔ‪ ،‬ﺘﻤﻴـل‬

‫ﺍﻝﻌﻜﺎﻡ‪ ،‬ﺃﻜﺭﻡ ﺠﺎﺴﻡ‪ :‬ﺠﻤﺎﻝﻴﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2010 ،‬ﺹ ‪23‬‬ ‫‪1‬‬

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‫ﺍﻷﻝﻭﺍﻥ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺇﻝﻰ ﺍﻝﺜﺭﺍﺀ ﻝﻐﺭﺽ ﺘﺤﻘﻴﻕ ﺍﻻﻨﺸﺭﺍﺡ ﺍﻝﻨﻔﺴﻲ‪ ،‬ﻭﻴﺘﺒﺎﻴﻥ ﻓﻬﻡ ﺍﻝﻤﺼـﻤﻤﻴﻥ‬
‫ﻝﻠﻔﻀﺎﺀ ﺍﻝﺨﺎﺭﺠﻲ ﺒﺎﻋﺘﺒﺎﺭﻩ ﻋﺎﻝﻡ ﺍﻝﻀﻭﺀ ﻋﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺎﻋﺘﺒﺎﺭﻩ ﻋﺎﻝﻡ ﺍﻝﻅﻼل ﺍﻝﺫﻱ ﻴﺨﻠـﻕ‬
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‫ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﺩﺭﺍﻤﻲ ﻭﺍﻝﺭﺍﺤﺔ ﺍﻝﺠﺴﺩﻴﺔ ﻭﺒﺎﻝﺘﺎﻝﻲ ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﺤﻜﻡ ﻭﺍﻝﺴﻴﻁﺭﺓ ﺒﻪ‪".‬‬

‫ﻭﺘﺭﻜﺯ ﺍﻝﺩﺭﺍﺴﺎﺕ ﻋﻠﻰ ﺃﻥ ﻓﻜﺭﺓ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺨﺎﺭﺠﻲ ﻭﺍﺴﻌﺔ ﺃﻭ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ﻝﻔﻌـل ﺍﻝﺤﻔـﻅ‪،‬‬
‫ﻋﻜﺱ ﻓﻜﺭﺓ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﻤﺘﺄﺜﺭ ﺒﺎﻝﻌﻭﺍﻤل ﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻝﻨﻔﺴﻴﺔ ﺍﻝﻤﻌﻘﺩﺓ ﻭﺍﻝﺘﻲ ﺘﻤﺘﻠﻙ ﻗﻭﺍﻋﺩ ﻝﺘﻁﻭﻴﺭ‬

‫ﺍﻷﻓﻜﺎﺭ ﺍﻝﺒﺼﺭﻴﺔ ﺍﻝﻨﺎﺘﺠﻪ ﻤﻥ ﺘﻔﺎﻋل ﺍﻝﺯﻤﻥ ﻭﺍﻝﻤﻭﺍﻗﻑ‪ ،‬ﻜﻤﺎ ﻴﺒﺩﻭ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻤﻭﻤﹰﺎ ﻭﺍﻝﺴﻜﻨﻲ‬
‫ﺨﺼﻭﺼﹰﺎ ﻤﺴﺘﻭﺩﻋﹰﺎ ﻝﻠﺫﻜﺭﻴﺎﺕ ﻭﺍﻷﺠﺴﺎﻡ ﺍﻝﺼﻭﺭﻴﺔ )‪ (Body of Images‬ﺍﻝﺘﻲ ﺘﻌﻁﻲ ﺍﻹﻨﺴـﺎﻨﻴﺔ‬
‫ﺍﻝﺒﺭﺍﻫﻴﻥ ﺃﻭ ﺍﻻﻴﻬﺎﻤﺎﺕ ﻝﻼﺴﺘﻘﺭﺍﺭ ﻭﺍﻹﻋﺘﺒﺎﺭﺍﺕ ﺍﻷﺨﺭﻯ‪.‬‬

‫ﻭﻤﻥ ﺍﻝﻤﻌﻤﺎﺭﻴﻴﻥ ﻤﻥ ﻴﺘﻁﺭﻕ ﺇﻝﻰ ﺨﺼﻭﺼﻴﺔ ﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ ﻝﻐﺔ ﺍﻝﻌﻤﺎﺭﺓ‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺨﻼل ﻭﺠﻬﺎﺕ ﻨﻅﺭ ﻤﺘﺒﺎﻴﻨﺔ‪ ،‬ﺘﻤﺜل ﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻻﻋﺘﻴﺎﺩﻴﺔ ﻝﻠﻤﻌﻤـﺎﺭﻴﻴﻥ ﻝﺘﺼـﻤﻴﻡ ﺍﻝﺒﻴﺌـﺔ‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺨﻼل ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﺒﻨﺎﻴﺔ ﺍﻝﻤﺼﻤﻤﺔ ﺒﻜﺎﻤﻠﻬﺎ ﻜﻘﺸﺭﺓ ﺨﺎﺭﺠﻴﺔ ﻤﺤﺘﻭﻴﺔ ﻋﻠﻰ ﻓﻀﺎﺀﺍﺕ ﺩﺍﺨﻠﻴﺔ‬

‫ﻤﺘﻜﺎﻤﻠﺔ ﺫﺍﺕ ﺍﻨﻬﺎﺀﺍﺕ‪ ،‬ﺃﻭ ﺃﻥ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻋﻤﻠﻴﺔ ﺇﻜﻤﺎل ﺍﻝﻔﻀﺎﺀ ﻀﻤﻥ ﺍﻻﺤﺘـﻭﺍﺀ ﺍﻝﻤﻌﻤـﺎﺭﻱ‬
‫ﺍﻝﻤﻭﺠﻭﺩ‪ ،‬ﺇﺫ ﺘﺒﺩﻭ ﻫﺫﻩ ﺍﻝﻤﻤﺎﺭﺴﺔ ﺠﺩﻴﺩﺓ ﻜﻭﻨﻬﺎ ﺘﻤﻴﺯ ﺃﻫﻤﻴﺔ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺼﻭﺭﺓ ﻤﺘﻜﺎﻓﺌـﺔ ﻤـﻊ‬
‫ﺍﻝﺨﺎﺭﺝ ﻭﻋﻠﻰ ﻭﺘﻴﺭﺓ ﺍﻝﺘﻘﺎﻝﻴﺩ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻨﻔﺴﻬﺎ‪ ،‬ﺃﻤﺎ ﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻷﺨﻴﺭﺓ ﻓﺘﻜﻭﻥ ﺨﻼل ﺇﻋﺎﺩﺓ ﺍﺴﺘﺨﺩﺍﻡ‬

‫ﺍﻝﺒﻨﺎﻴﺔ ﻭﺘﺤﻭﻴﺭﻫﺎ ﻭﺒﺼﻭﺭﺓ ﺘﺄﺭﻴﺨﻴﺔ ﻤﻊ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﺍﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺤﻀﺭﻱ )ﻜﺄﻋﻤﺎل ﺍﻝﺤﻔﺎﻅ ﻭﺍﻋﺎﺩﺓ ﺍﻝﺘﺄﻫﻴل(‪.‬‬

‫ﻭﻨﺴﺘﻨﺘﺞ ﻤﻥ ﺨﻼل ﻫﺫﻩ ﺍﻝﻁﺭﻭﺤﺎﺕ ﺃﻫﻤﻴﺔ ﻭﺨﺼﻭﺼﻴﺔ ﻁﺒﻴﻌﺔ ﺍﻝﻤـﻭﺍﺩ ﺍﻝﻤﺴـﺘﺨﺩﻤﺔ ﻓـﻲ‬

‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺍﻝﻤﻘﻴﺎﺱ‪ ،‬ﺍﻝﻠﻭﻥ‪ ،‬ﻭﻋﺎﻤل ﺍﻝﺯﻤﻥ ﻤﻘﺎﺭﻨﺔ ﺒﺎﻝﺨﺎﺭﺝ‪ ،‬ﻜﻤﺎ ﺃﻜﺩﺕ ﺘﻠـﻙ ﺍﻝﻁﺭﻭﺤـﺎﺕ‬
‫ﺃﻫﻤﻴﺔ ﻨﻭﻉ ﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺒﺎﻝﺘﺎﻝﻲ ﺘﺤﺩﻴﺩ ﻨﻭﻉ ﻝﻐﺔ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺒﻠﻐـﺔ‬
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‫ﺘﺼﻤﻴﻡ ﺩﺍﺨﻠﻲ ﻭﺘﺼﻤﻴﻡ ﺩﺍﺨﻠﻲ ﻤﻌﻤﺎﺭﻱ‪.‬‬

‫ﺍﻝﻌﻜﺎﻡ‪ ،‬ﺃﻜﺭﻡ ﺠﺎﺴﻡ‪ :‬ﺠﻤﺎﻝﻴﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2010 ،‬ﺹ ‪70‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺹ ‪71‬‬ ‫‪2‬‬

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 ‫‪ 4.2.1‬ﺍﻝﻘﻭﺍﻋﺩ ﺍﻝﻔﻠﺴﻔﻴﺔ ﻭﺠﺩﻝﻴﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﺒﻌﺩ ﺃﻥ ﺘﻡ ﻋﺭﺽ ﻤﻔﺭﺩﺍﺕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺨﺼﻭﺼﻴﺘﻬﺎ ﻭﺒﻌﺽ ﺍﻝﺠﺩﻝﻴﺎﺕ ﺍﻝﺘـﻲ ﺩﺍﺭﺕ‬

‫ﺤﻭل ﺍﻝﻤﻭﻀﻭﻉ ﺴﻭﻑ ﻨﺘﻁﺭﻕ ﻫﻨﺎ ﻝﻤﻨﺎﻗﺸﺔ ﻤﺤﺩﺩﺍﺕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ‪ ،‬ﺍﻝﻔﻜـﺭﺓ‬
‫ﻭﺍﻝﻨﻭﻉ‪ ،‬ﻭﺍﻻﻨﺸﺎﺀﺍﺕ ﻭﺃﻨﻅﻤﺔ ﺍﻝﺩﻻﻝﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

‫ﺘﺸﻴﺭ ﺍﻝﻁﺭﻭﺤﺎﺕ ﺇﻝﻰ ﻤﺤﺩﺩﺍﺕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺨﻼل ﻁﺭﺡ ﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ ﺍﻝﺒﺼـﺭﻴﺔ‬

‫ﻝﻪ ﻭﺍﻝﺘﻲ ﺘﺤﻘﻕ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺃﻫﺩﺍﻓﻬﺎ ﺨﻼﻝﻬﺎ‪ ،‬ﻭﺘﺘﻀﻤﻥ ﺘﻠﻙ ﺍﻝﻤﺒﺎﺩﺉ ﺃﻓﻜـﺎﺭ ﻨﻔﺴـﻴﺔ ﻤﺜـل‬
‫ﺍﻝﺘﻭﺍﺯﻥ‪ ،‬ﺍﻝﺘﺭﺘﻴﺏ‪ ،‬ﺍﻝﺘﺴﻠﺴل‪ ،‬ﺍﻝﻤﻘﻴﺎﺱ‪ ،‬ﻭﺍﻝﻨﺴﺏ‪ .‬ﻜﻤﺎ ﻻ ﻴﻌﺘﻤﺩ ﺇﺤﺴﺎﺴﻨﺎ ﺒﺎﻝﻔﻀﺎﺀ ﺍﻝﻔﺎﺭﻍ ﺒل ﻋﻠـﻰ‬
‫ﺘﻔﺎﻋﻠﻪ ﻤﻊ ﺍﻝﻤﺎﺩﺓ ﺍﻝﺘﻲ ﻴﺤﺘﻭﻴﻬﺎ ﻭﺍﻝﺘﻲ ﺘﻭﻫﺏ ﺍﻝﻔﻀﺎﺀ ﺴﻤﺎﺕ ﻤﻌﻴﻨﺔ‪ ،‬ﻭﻓﻲ ﻫﺫﺍ ﺍﻝﺸﺄﻥ ﻴﺘﺒﻨﻰ ﺍﻝﺒﺎﺤﺜﺎﻥ‬

‫)‪ (Malnar and Vodvarka‬ﻓﻜﺭﺓ ﺍﻝﻔﻀﺎﺀ ﺍﻻﺩﺭﺍﻜﻲ ﻭﺍﺒﻌﺎﺩﻩ ﻤﺘﻌﺩﺩﺓ ﺍﻝﻤﺘﻐﻴـﺭﺍﺕ ﻜﺎﻝﺤﻀـﺎﺭﺓ‬
‫ﻭﺍﻝﻤﻴﻭل ﺍﻝﺸﺨﺼﻴﺔ ﻭﺍﻝﺘﺩﺭﻴﺏ‪.‬‬

‫ﻭﻴﺭﻜﺯ ﺍﻝﺒﺎﺤﺜﺎﻥ ﻋﻠﻰ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ ﻝﻠﻔﻀﺎﺀ ﻭﺍﻝﻤﺘﻤﺜﻠﺔ‪ ،‬ﺒﺎﻝﺘﺴﻠﺴل‪ ،‬ﺍﻝﻭﺤﺩﺓ‪،‬‬

‫ﺍﻝﺘﻭﺍﺯﻥ ﺍﻝﺘﺭﺘﻴﺏ‪ ،‬ﺍﻝﻭﺯﻥ ﺍﻝﺒﺼﺭﻱ‪ ،‬ﺍﻝﺠﺫﺏ‪ ،‬ﺍﻝﻤﻘﻴﺎﺱ‪ ،‬ﻭﺍﻝﻤﺩﺓ‪ .‬ﻭﻋﺩ ﺍﻝﺒﺎﺤﺜﺎﻥ ﻤﺒﺩﺃ ﺍﻝﻭﺤﺩﺓ )‪(Unity‬‬
‫ﻫﻭ ﺍﻷﻜﺜﺭ ﺤﻴﻭﻴﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺃﻥ ﺍﻝﻤﺸﺎﻫﺩ ﻴﻌﻤﺩ ﺇﻝﻰ ﺘﺤﻘﻴﻕ ﻫﺫﺍ ﺍﻝﻤﺒﺩﺃ ﺤﺘـﻰ ﻭﺇﻥ ﻝـﻡ‬
‫ﻴﺴﺘﻁﻊ ﺍﻝﻤﺼﻤﻡ ﻤﻥ ﺘﺤﻘﻴﻘﻪ‪ ،‬ﻭﻫﺫﻩ ﺘﻌﻜﺱ ﺍﻝﺤﺎﺠﺔ ﺍﻝﻨﻔﺴﻴﺔ ﻝﺘﻨﻅﻴﻡ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻻﺩﺭﺍﻜﻴﺔ‪ ،‬ﺃﻤﺎ ﺍﻝﺘﺴﻠﺴل‬

‫)‪ (Sequence‬ﻓﻴﺘﻜــﻭﻥ ﻤــﻥ ﺍﻝﻬﺭﻤﻴــﺔ )‪ ،(Hierarchy‬ﺍﻝﺘــﺩﺭﺝ )‪ ،(Progression‬ﺍﻝﻤــﺩﺓ‬

‫)‪ ،(Duration‬ﻭﺘﺸﻴﺭ ﺍﻝﻬﺭﻤﻴﺔ ﺍﻝﻰ ﺘﺜﻤﻴﻥ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻌﻨﻴﺔ ﻓﻲ ﺍﻝﺘﻜﻭﻴﻥ ﺃﻭ ﺍﻝﺘﺭﺘﻴـﺏ‪ ،‬ﻭﻴﺤﺼـل‬
‫ﺍﻝﺘﺩﺭﺝ ﻨﺘﻴﺠﺔ ﺍﻝﺘﺤﺭﻙ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺤﻴﺙ ﺘﻘﺎﺩ ﺃﺒﺼﺎﺭﻨﺎ ﺒﺎﺘﺠﺎﻫﺎﺕ ﻭﺒﺼﻭﺭﺓ ﻤﺘﺩﺭﺠﺔ ﻭﻴﻤﻜﻥ‬

‫ﺃﻥ ﻴﺤﺼل ﺍﻝﺘﺩﺭﺝ ﺤﺘﻰ ﻋﻨﺩﻤﺎ ﻨﻜﻭﻥ ﻏﻴﺭ ﻤﺘﺤﺭﻜﻴﻥ‪ ،‬ﻭﻻ ﺘﺸﻴﺭ ﺍﻝﻤﺩﺓ ﻝﻠﻤﺎﻀﻲ ﻓﻘـﻁ ﺃﻭ ﻤـﺭﻭﺭ‬
‫ﺍﻝﺯﻤﻥ ﺒل ﺇﻝﻰ ﺍﻝﺫﻜﺭﻴﺎﺕ ﺍﻝﻤﺘﺭﺍﻜﻤﺔ ﻝﻠﺨﺒﺭﺍﺕ ﺍﻝﻔﻀﺎﺌﻴﺔ‪ ،‬ﻭﻴﺅﻜﺩ ﺍﻝﻤﻘﻴﺎﺱ ﺇﻝﻰ ﺍﻝﺤﺠﻡ ﺍﻝﻤﻘـﺎﺭﻥ ﺒـﻴﻥ‬
‫ﺸﻴﺌﻴﻥ‪ ،‬ﻓﻴﻤﺎ ﺘﺸﻴﺭ ﺍﻝﻨﺴﺏ ﺇﻝﻰ ﻜﻭﻨﻬﺎ ﻋﻨﺼﺭﹰﺍ ﺍﺴﺘﻌﺎﺭﻴﹰﺎ ﺃﻜﺜﺭ ﺘﻌﻘﻴﺩﹰﺍ ﻝﻠﻤﺒﺎﺩﺉ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ‪ ،‬ﺤﻴﺙ ﻴﺸﻴﺭ‬

‫ﺍﻝﺒﺎﺤﺜﺎﻥ ﺇﻝﻰ ﺃﻥ ﺍﻝﻨﺴﺏ ﻝﻡ ﺘﻜﺘﺸﻑ ﺘﺎﺭﻴﺨﻴﹰﺎ ﺒل ﻝﻭﺤﻅﺕ ﻭﺘﻡ ﺘﺸﻔﻴﺭﻫﺎ ﻭﺘﻜﻭﻥ ﻗﻭﺍﻋﺩ ﺍﻝﻨﺴﺏ ﺇﻤﻜﺎﻨﻴﺔ‬
‫ﺍﻻﺴﺘﻨﺴﺎﺥ‪ ،‬ﻓﻴﻤﺎ ﺘﺘﺭﺍﺒﻁ ﺍﻝﻨﺴﺏ ﺩﺍﺌﻤﹰﺎ ﻤﻊ ﺍﻝﺯﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ‪.‬‬

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‫ﻭﺃﺸﺎﺭﺕ ﺍﻝﻁﺭﻭﺤﺎﺕ ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﻔﻜﺭﺓ ﻭﺃﻨﻭﺍﻋﻬﺎ ﺇﻝﻰ ﻋﺩﻡ ﺇﻤﻜﺎﻨﻴﺔ ﺍﺴﺘﺨﺩﺍﻡ ﻜﺎﻓﺔ ﺍﻝﻌﻨﺎﺼـﺭ‬
‫ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺒﺼﻭﺭﺓ ﻤﺘﺴﺎﻭﻴﺔ ﻓﻲ ﺍﻝﻤﺸﺎﺭﻴﻊ ﻜﺎﻓﺔ‪ ،‬ﺇﺫ ﻤﻥ ﺍﻝﻤﻬﻡ ﺇﻨﺘﻘﺎﺀ ﺍﻝﻤﺒﺎﺩﺉ ﺒﻌﻨﺎﻴﺔ‪ ،‬ﻷﻥ ﺍﻝﻔﻜـﺭﺓ‬

‫ﻫﻲ ﺍﻝﻌﺎﻤل ﺍﻝﻤﺅﺜﺭ ﺍﻝﺭﺌﻴﺴﻲ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺨﻼل ﺍﻝﻭﺠﻪ ﺍﻝﺘﺼﻤﻴﻤﻲ‪ ،‬ﻝﺫﺍ ﺘﺅﺜﺭ ﺍﻝﻔﻜـﺭﺓ ﻓـﻲ‬
‫ﺍﻨﺘﻘﺎﺀ ﻭﻤﻌﺎﻤﻠﺔ ﺃﻭ ﻤﺩﺍﻭﻝﺔ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻷﺴﺎﺴﻴﺔ ﻭﺍﻝﻤﺒﺎﺩﺉ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ ﻝﻬﺎ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻝﻔﻜﺭﺓ ﻫﻲ‬
‫ﺇﻨﺸﺎﺀ ﺫﻫﻨﻲ ﻴﻼﺤﻅ ﺒﻤﺼﻁﻠﺤﺎﺕ ﺍﻝﺴﺒﺏ ﻭﻝﻴﺱ ﺍﻝﺘﺄﺜﻴﺭ‪ ،‬ﻤﻊ ﻀﺭﻭﺭﺓ ﻭﺠﻭﺩ ﺍﻓﺘﺭﺍﻀﺎﺕ ﻤﺴﺒﻘﻪ ﻝﻬﺎ‪،‬‬

‫ﻜﻤﺎ ﻴﻨﺒﻐﻲ ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﻔﻜﺭﺓ ﻀﻤﻨﻴﺔ ﻓﻲ ﺍﻫﺘﻤﺎﻤﺎﺘﻬﺎ ﺍﻝﻤﺘﺴﻌﺔ‪ .‬ﻭﺘﻌﻨﻲ ﻓﻜﺭﺓ ﺍﻝﻨﻭﻉ )‪ (Type‬ﺍﻝﻁﺭﻴﻘﺔ‬
‫ﺍﻝﺼﺤﻴﺤﺔ ﻝﻠﺒﻨﺎﺀ ﻭﻓﻕ ﺃﻫﺩﺍﻑ ﻤﺤﺩﺩﺓ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻝﻨﻭﻉ ﻫﻭ ﺍﻝﻨﻅﺎﻡ ﺍﻝﻤﺠﺭﺩ ﺍﻝﻌﺎﻡ ﻝﻠﻌﻨﺎﺼﺭ ﺍﻝﻔﻀﺎﺌﻴﺔ ﺍﻝﺘﻲ‬
‫ﺘﻌﻜﺱ ﺨﺼﻭﺼﻴﺎﺕ ﺤﻀﺎﺭﻴﺔ ﻋﺎﻤﺔ ﻭﻴﻤﺜل ﺍﻝﻨﻤﻭﺫﺝ )‪ (Model‬ﺼﻭﺭﹰﺍ ﻤﺴﻨﺩﺓ ﺘﻌﻜﺱ ﻨﺴﻘﹰﺎ ﻓﻀﺎﺌﻴﹰﺎ‬
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‫ﺨﺎﺼﹰﺎ ﺒﻬﺎ‪.‬‬

‫"ﻭﻴﺒﺩﻭ ﺃﻥ ﻤﺼﻁﻠﺢ ﺍﻝﻭﺤﺩﺓ )‪ (Unity‬ﺫﻭ ﺃﻫﻤﻴﺔ ﺨﺎﺼﺔ ﻓﻲ ﺒﻨﺎﺀ ﺍﻝﻤﻔﺭﺩﺓ ﺍﻝﺠﻤﺎﻝﻴـﺔ ﻭﻤـﻥ‬
‫ﺨﻼل ﻤﺒﺎﺩﺌﻬﺎ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ‪ ،‬ﻓﻲ ﺤﻴﻥ ﻴﻔﺘﺭﺽ ﻋﺩﻡ ﺘﺄﺜﺭ ﺘﻠﻙ ﺍﻝﻅﺎﻫﺭﺓ ﺒﺎﻝﻨﻭﻉ ﻓﻲ ﺤـﻴﻥ ﻴﻤﻜـﻥ ﻋـﺩ‬

‫ﺍﻝﻅﺎﻫﺭﺓ ﺍﻝﺩﺭﺍﻤﻴﺔ ﻓﻜـﺭﺓ ﺘﺼـﻤﻴﻤﻴﺔ ﺫﺍﺕ ﺭﺴـﺎﺌل ﺒﺼـﺭﻴﺔ‪ ،‬ﺭﻤﺯﻴـﺔ‪ ،‬ﺘﺠﺭﻴﺩﻴـﺔ‪ ،‬ﺍﻅﻬﺎﺭﻴـﺔ‪.‬‬
‫ﻭﺘﻨﺎﻗﺵ)‪ (Ball‬ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺘﻲ ﺘﻤﺜﻠﺕ ﺒﻤﺭﺍﺤل ﻤﺘﻌﺩﺩﺓ ﺸـﻤﻠﺕ‬
‫ﻤﺭﺤﻠﺔ ﺘﺤﺩﻴﺩ ﺍﻝﻬﺩﻑ ﺤﻴﺙ ﺘﻌﺯﻴﺯ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻻﺩﺭﺍﻜﻲ ﻭﺍﺨﺘﺒﺎﺭ ﻤﻔﺭﺩﺍﺕ ﺍﻝﻭﺤﺩﺓ‪ ،‬ﺍﻝﺸﺩﺓ‪ ،‬ﻭﺍﻝﺤﻴﻭﻴﺔ‪ ،‬ﺜﻡ‬

‫ﺍﻻﻨﺘﻘﺎل ﺍﻝﻰ ﻤﺭﺤﻠﺔ ﺜﺎﻨﻴﺔ ﺘﺘﻤﺜل ﺒﺎﻨﺘﻘﺎﺀ ﻤﺒﺎﺩﺉ ﺍﻝﺼﻔﺎﺕ ﺍﻝﺒﺼﺭﻴﺔ ﺍﻝﻌﺎﻤﺔ ﺨـﻼل ﺍﻝﻬﻴﺌـﺔ‪ ،‬ﺍﻝﻠـﻭﻥ‪،‬‬
‫ﻭﺍﻝﻤﻠﻤﺱ‪ ،‬ﻭﺍﻝﺼﻔﺎﺕ ﺍﻝﺨﺎﺼﺔ ﺍﻝﺘﻲ ﺘﺸﻤل ﺴﻤﺎﺕ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻻﺴﺎﺴﻴﺔ ﻭﺍﺨﻴـﺭﹰﺍ ﻨﻤـﺎﺫﺝ ﻝﻠﺼـﻔﺎﺕ‬
‫ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻭﺘﺸﻤل ﻫﺫﻩ ﺍﻝﻤﺭﺤﻠﺔ ﻤﻥ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﻜﺫﻝﻙ ﺍﻨﺘﻘﺎﺀ ﺍﻝﻤﻴﺯﺍﺕ ﺍﻻﺴﺎﺴﻴﺔ ﻝﻠﻘﺎﺒﻠﻴﺔ ﺍﻝﺘﻌﺒﻴﺭﻴـﺔ‪،‬‬

‫ﻓﻲ ﺤﻴﻥ ﺘﻤﺜل ﺍﻝﻤﺭﺤﻠﺔ ﺍﻝﺜﺎﻝﺜﺔ ﻤﺭﺤﻠﺔ ﺍﻝﺘﻨﻅﻴﻡ ﺍﻻﻀﺎﻓﻲ ﺨﻼل ﺘﻌﺯﻴﺯ ﺍﻝﺴﻤﺎﺕ ﺍﻝﺒﺼـﺭﻴﺔ ﺍﻋﺘﻤـﺎﺩﹰﺍ‬
‫ﻋﻠﻰ ﻗﻭﻯ ﺍﻝﺘﻜﺭﺍﺭ‪ ،‬ﺍﻝﺘﺒﺎﻴﻥ‪ ،‬ﺍﻝﺘﻀﺎﺩ‪ ،‬ﻭﺘﻁﻭﻴﺭ ﺍﻝﻨﻤﺎﺫﺝ ﺍﻝﻔﺎﻋﻠﺔ ﻭﻤﻥ ﺨﻼل ﺍﻝﻘﻭﻯ ﺍﻝﻤﺠﺎﺒﺔ ﻝﻠﺘـﻭﺘﺭ‪،‬‬
‫ﺍﻝﺤﺭﻜﺔ ﺍﻝﻤﻭﺠﻬﺔ‪ ،‬ﺍﻝﺘﺠﻤﻴﻊ‪ ،‬ﺍﻻﻴﻘﺎﻉ‪ ،‬ﺜﻡ ﺍﻻﺴﺘﻘﺭﺍﺭﻴﺔ ﺍﻝﻌﺎﻤﺔ )ﺍﻝﺘﻭﺍﺯﻥ(‪ ،‬ﺍﻝﺘﻨﺎﻅﺭ ﻭﺍﻝﻼﺘﻨﺎﻅﺭ‪ ،‬ﺫﺭﻭﺓ‬
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‫ﺍﻻﻨﺘﺒﺎﻩ‪ ،‬ﺍﻝﺘﻭﺠﻪ ﻝﻠﺩﺍﺨل ﺃﻭ ﺍﻝﺨﺎﺭﺝ‪ ،‬ﺍﻝﻤﺤﻭﺭ ﺍﻝﺒﺼﺭﻱ ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ‪".‬‬

‫ﺍﻝﻌﻜﺎﻡ‪ ،‬ﺃﻜﺭﻡ ﺠﺎﺴﻡ‪ :‬ﺠﻤﺎﻝﻴﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2010 ،‬ﺹ ‪72-71‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺹ ‪73‬‬ ‫‪2‬‬

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 ‫‪ 3.1‬ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺨﺎﺭﺠﻲ )ﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺤﻴﻁﺔ(‬

‫‪ 1.3.1‬ﺍﻝﺒﻴﺌﺔ ﻭﺘﺄﺜﻴﺭﻫﺎ‬

‫‪ 1.1.3.1‬ﺍﻝﺒﻴﺌﺔ‬

‫ﺘﺘﻀﻤﻥ ﺍﻝﺒﻴﺌﺔ ﺠﻤﻴﻊ ﺍﻝﻅﺭﻭﻑ ﺍﻝﻤﺤﻴﻁﺔ ﻭﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﺎﻝﻴﺔ‪ :‬ﺍﻝﻤﻭﻗﻊ‪ ،‬ﺍﻝﺤﺩﻭﺩ‪ ،‬ﺍﻝﺨـﺩﻤﺎﺕ‪،‬‬
‫ﺍﻝﻤﻨﺎﺥ )ﺍﻝﻌﺎﻡ ﻝﻠﻤﻨﻁﻘﺔ ﻭﺍﻝﺨﺎﺹ ﺒﺎﻝﻤﻭﻗﻊ(‪ ،‬ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺠﺎﻭﺭﺓ‪ ،‬ﺍﻝﺠﻴﻭﻝﻭﺠﻴـﺎ‪ ،‬ﻭﺼـﻭل ﺍﻝﺴـﻴﺎﺭﺍﺕ‪،‬‬

‫ﻗﻭﺍﻨﻴﻥ ﻭﺘﺸﺭﻴﻌﺎﺕ ﺍﻝﺒﻨﺎﺀ‪.‬‬

‫ﺍﻝﺒﻴﺌﺔ ﺍﻝﻌﻤﺭﺍﻨﻴﺔ‪ :‬ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺤﻴﻁﺔ‪.‬‬

‫ﺍﻝﺒﻴﺌﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ‪ :‬ﺍﻷﺸﺨﺎﺹ ﻭﺍﻝﺠﻴﺭﺍﻥ‪.‬‬

‫ﺍﻝﺒﻴﺌﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ‪ :‬ﺍﻝﻤﻨﺎﺥ ﻭﺍﻝﺭﻴﺎﺡ ﻭﺍﻷﻤﻁﺎﺭ ﻭﺍﻝﺸﻤﺱ‪.‬‬

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‫ﺍﻝﻤﻭﻗﻊ‪.‬‬

‫‪ 2.1.3.1‬ﺍﻝﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﺒﻴﺌﻴﺔ‬

‫ﻭﺘﺸﻤل ﺩﺭﺍﺴﺔ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻤﺴﺘﻐل ﻝﻌﻤل ﺍﻝﻤﺸﺭﻭﻉ ﻋﻠﻴﻪ ﺒﺠﺎﻨﺏ ﺩﺭﺍﺴﺔ ﺍﻝﻔﺭﺍﻍ ﺍﻝﻤﺤـﻴﻁ ﺒـﻪ‬
‫ﻭﻴﺘﻡ ﺫﻝﻙ ﺒﺩﺭﺍﺴﺔ ﺍﻵﺘﻲ‪:‬‬

‫ﺃ‪ -‬ﺍﻝﻤﻭﻗﻊ ﺍﻝﻌﺎﻡ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻝﻤﻭﻗﻊ ﺍﻝﻌﺎﻡ ﻝﻠﻤﺸﺭﻭﻉ ﻭﺫﻝﻙ ﺒﺎﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺨﺼﺎﺌﺼﻪ ﻭﺨﺩﻤﺎﺘﻪ ﻤﻥ ﺨﻼل‬

‫ﻁﻭﺒﻭﻏﺭﺍﻓﻴﺘﻪ )‪ (Topography‬ﻭﻜﺫﻝﻙ ﺍﻝﻨﺒﺎﺘﺎﺕ ﻭﺍﻷﺸﺠﺎﺭ ﺍﻝﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺍﻝﻤﻭﻗﻊ ﻭﺍﻝﻌﻨﺎﺼـﺭ‬

‫ﺍﻝﻤﺨﺘﻠﻔﺔ ﺍﻝﺨﺎﺼﺔ ﺒﻪ‪.‬‬

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‫‪http://ymahgoub.blogspot.com/2012/05/introduction-to-architectural-design.html #!/2012/05/‬‬
‫‪introduction-to-architectural-design.html‬‬
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‫ﻭﻜﺫﻝﻙ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﻠﻤﺸﺭﻭﻉ ﻭﻋﻠﻰ ﺨﺼﺎﺌﺹ ﺍﻝﻤﻭﻗـﻊ ﺍﻝﺘﺼـﻤﻴﻤﻴﺔ‬
‫ﻭﺘﺄﺜﺭﻫﺎ ﺒﺎﻝﻤﻨﺎﻁﻕ ﺍﻝﻤﺠﺎﻭﺭﺓ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺘﺄﺜﺭﻫﺎ ﺒﺎﻝﻤﻨﺎﻅﺭ ﺍﻝﻌﺎﻤﺔ ﻭﺍﻝﺨﺎﺼﺔ ﻭﺩﺭﺍﺴـﺔ ﺍﻝﺤـﺎﻻﺕ‬
‫‪1‬‬
‫ﺍﻝﺴﻠﺒﻴﺔ ﻭﺍﻻﻴﺠﺎﺒﻴﺔ ﻓﻲ ﺍﻝﻤﺸﺭﻭﻉ ﺃﻴﻀﹰﺎ‪.‬‬

‫ﻭﻴﻭﻀﺢ ﺍﻝﻤﺜﺎل ﺍﻝﺘﺎﻝﻲ ﻓﻲ ﺍﻝﺸﻜل )‪ (9.1‬ﺍﻝﺼﻔﺎﺕ ﺍﻝﻌﺎﻤﺔ ﻝﻠﻤﻭﻗﻊ ﻭﻫﻲ ﺘﺴـﺎﻋﺩ ﻋﻠـﻰ ﺃﻥ‬
‫ﻴﺘﺫﻜﺭ ﺍﻝﻤﺼﻤﻡ ﺒﺼﺭﻴﹰﺎ ﺃﻫﻡ ﺼﻔﺎﺕ ﺍﻝﻤﻭﻗﻊ‪ .‬ﻭﻤﻥ ﺨﻼل ﺘﻠﻙ ﺍﻝﺭﺴﻭﻤﺎﺕ ﻴﻤﻜﻥ ﺍﺴﺘﻴﻌﺎﺏ ﺃﻤﻭﺭ ﺃﺨﺭﻯ‬
‫‪2‬‬
‫ﻤﺜل ﺍﻝﺭﻴﺎﺡ ﻭﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺃﻓﻀل ﺃﻤﺎﻜﻥ ﺍﻝﺒﻨﺎﺀ ﻓﻲ ﺍﻝﻤﻭﻗﻊ‪.‬‬

‫ﺸﻜل )‪ (9.1‬ﺍﻝﺼﻔﺎﺕ ﺍﻝﻌﺎﻤﺔ ﻝﻠﻤﻭﻗﻊ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.startimes.com/?t=28532291 :‬‬

‫ﺏ‪ -‬ﺍﻝﺘﺤﻜﻡ ﺍﻝﺒﻴﺌﻲ‪ :‬ﻴﺩﺨل ﻓﻲ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻨﻅﻡ ﺍﻝﺼﺭﻑ ﻓﻲ ﺍﻝﻤﺒﻨﻰ ﻭﺍﻝﺘﺼﺩﻱ ﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺼﺭﻑ‬
‫ﻭﻋﻭﺍﻤل ﺍﻝﺘﻌﺭﻴﺔ ﻝﻪ‪ .‬ﻭﻴﺩﺨل ﻓﻴﻬﺎ ﺃﻴﻀﺎ ﺩﺭﺍﺴﺔ ﺍﻝﻨﺒﺎﺘﺎﺕ ﻭﺍﻷﺸﺠﺎﺭ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻭﺍﻝﻤﻤﺭﺍﺕ ﻭﺘﻨﺴﻴﻘﻬﺎ‪،‬‬
‫‪3‬‬
‫ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﺍﻝﺘﺤﻜﻡ ﻓﻲ ﺘﺄﺜﻴﺭ ﺍﻝﺤﺭﺍﺭﺓ ﻭﺍﻝﻀﻭﻀﺎﺀ ﻓﻲ ﺍﻝﻤﺸﺭﻭﻉ‪.‬‬

‫ﺝ‪ -‬ﺍﻝﻤﻨﺎﺥ‪ :‬ﻴﺠﺏ ﺘﺤﻠﻴل ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﻤﻨﺎﺨﻴﺔ ﻋﻠﻰ ﺃﺭﺽ ﺍﻝﻤﻭﻗﻊ ﻭﺘﻭﺠﻴﻪ ﺍﻝﻤﺒﻨﻰ ﺒﻨﺎ ‪‬ﺀ ﻋﻠﻰ ﺫﻝﻙ ﻜﻤﺎ‬
‫ﻴﺠﺏ ﺍﻝﻌﻨﺎﻴﺔ ﺒﺘﻨﻅﻴﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﻝﻠﻤﺸﺭﻭﻉ ﻝﻠﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻝﻤﻨﺎﺥ ﺍﻝﻁﺒﻴﻌﻲ ﺍﻝﺫﻱ ﺴﻴﻜﻭﻥ ﻓﻲ ﺩﺍﺨﻠﻬﺎ‬
‫ﺃﻭ ﺨﺎﺭﺠﻬﺎ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺘﻨﻅﻴﻡ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﻠﺘﻌﺭﻑ ﻋﻠﻰ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺒﻨـﻰ‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ ‪273‬‬ ‫‪1‬‬

‫‪ 2‬ﻤﺤﺠـــــﻭﺏ‪ ،‬ﻴﺎﺴـــــﺭ ﻋﺜﻤـــــﺎﻥ‪ :‬ﻤﻘﺩﻤـــــﺔ ﻓـــــﻲ ﺍﻝﺘﺼـــــﻤﻴﻡ ﺍﻝﻤﻌﻤـــــﺎﺭﻱ‪،‬‬

‫‪http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬
‫‪ 3‬ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ ‪274‬‬
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‫ﺍﻷﺴﺎﺴﻴﺔ ﻝﻤﻨﺎﺥ ﺍﻝﻤﻨﻁﻘﺔ ﻜﻤﺎ ﻴﺠﺏ ﺘﻬﻴﺌﺔ ﺍﻝﻤﺒﻨﻰ ﺒﻴﺌﻴﺎ ﺒﺎﻝﻬﻭﺍﺀ ﻭﺍﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻤـﻊ ﺩﺭﺍﺴـﺔ‬
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‫ﺍﻝﺘﺤﻜﻡ ﻓﻲ ﺘﺄﺜﻴﺭ ﺍﻝﺸﻤﺱ ﻭﺍﻝﻤﻁﺭ ﻭﺍﻝﺜﻠﺞ ﺇﺫﺍ ﻝﺯﻡ ﺍﻷﻤﺭ‪.‬‬

‫ﺸﻜل )‪ (10.1‬ﺘﺤﻠﻴل ﻤﻭﻗﻊ ﺍﻝﻤﺸﺭﻭﻉ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻌﻭﺍﻤل ﺍﻝﻤﻨﺎﺨﻴﺔ ﻭ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺭﺅﻴﺔ ﻭ ﻤﻨﺎﻁﻕ ﺍﻝﺘﻁﻭﻴﺭ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.startimes.com/?t=28532291 :‬‬

‫‪ 2.3.1‬ﺍﻝﺒﻴﺌﺔ ﻭﺍﻝﻘﻴﻡ ﺍﻹﻨﺴﺎﻨﻴﺔ‬

‫ﻜل ﻤﺎ ﻴﺤﻴﻁ ﺒﺎﻹﻨﺴﺎﻥ ﻤﻥ ﻤﺅﺜﺭﺍﺕ ﻁﺒﻴﻌﻴﺔ ﻤﺜل ﺍﻝﻤﻨـﺎﺥ )ﺍﻝﺸـﻤﺱ ﻭﺍﻝﻬـﻭﺍﺀ ﻭﺍﻝﺭﻁﻭﺒـﺔ‬
‫ﻭﺍﻝﺤﺭﺍﺭﺓ( ﻭﻁﺒﻴﻌﺔ ﺍﻝﺘﺭﺒﺔ ﻭﺍﻷﺭﺽ ﻭﺘﻀﺎﺭﻴﺴﻬﺎ‪ .‬ﻴﺠﺏ ﺃﻥ ﻴﺅﺨﺫ ﻓﻲ ﺍﻻﻋﺘﺒﺎﺭ ﺍﻹﻨﺴﺎﻥ ﺍﻝﺫﻱ ﻴﺴﺘﺨﺩﻡ‬
‫ﺍﻝﻤﺒﻨﻰ ﻤﻥ ﺨﻼل ﺘﻭﻓﻴﺭ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺸﺨﺼﻴﺔ ﻝﻪ‪ ،‬ﻭﺃﻱ ﻤﺅﺜﺭﺍﺕ ﺃﺨﺭﻯ ﻤﺜل ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴـﺔ‬
‫ﺍﻝﻌﺎﻤﺔ ﻝﻠﻭﺴﻁ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻭﺍﻝﺩﻴﺎﻨﺔ ﻭﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴﺩ‪ .‬ﻭﺘﺸﻤل ﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺤﻴﻁﺔ ﺍﻻﻴﺠﺎﺒﻴﺎﺕ ﻭﺍﻝﺴﻠﺒﻴﺎﺕ‬
‫ﻋﻠﻰ ﺤﺩ ﺴﻭﺍﺀ‪ ،‬ﻭﻤﻬﻤﺔ ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺃﻥ ﻴﻨﺘﻔﻊ ﺒﺎﻻﻴﺠﺎﺒﻴﺎﺕ ﻭﺃﻥ ﻴﺘﻔﺎﺩﻯ ﺍﻝﺴﻠﺒﻴﺎﺕ ﻤـﻥ ﺨـﻼل‬
‫‪2‬‬
‫ﺘﻭﻓﻴﺭ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺴﻠﻴﻤﺔ ﻭﺍﻝﺼﺤﻴﺔ ﻝﻠﻔﺭﺍﻏﺎﺕ ﻭﺍﻷﺸﻜﺎل ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪.‬‬

‫‪ 3.3.1‬ﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ )ﻏﻼﻑ ﺍﻝﻤﺒﻨﻰ ﻭﻤﺤﻴﻁﻪ(‬

‫ﻴﻤﻜﻥ ﺘﻌﺭﻴﻑ ﻏﻼﻑ ﺍﻝﻤﺒﻨﻰ ﺒﺄﻨﻪ ﺍﻝﺠﺯﺀ ﺍﻝﻔﺎﺼل ﺒﻴﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨـﻰ‪،‬‬
‫ﻭﻴﺘﺄﻝﻑ ﻤﻥ ﺍﻝﺴﻘﻑ ﻭﺍﻝﺠﺩﺭﺍﻥ ﻭﺍﻝﻨﻭﺍﻓﺫ ﻭﺍﻷﺒﻭﺍﺏ‪ ،‬ﻴﻘﻭﻡ ﺒﺤﻤﺎﻴﺔ ﺍﻝﻤﺒﻨﻰ ﻭﺸـﺎﻏﻠﻴﻪ ﻭﺘﻨﻅـﻴﻡ ﺍﻝﺒﻴﺌـﺔ‬
‫‪3‬‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻜﻤﺎ ﻴﺘﺤﻜﻡ ﺒﺴﺭﻴﺎﻥ ﺍﻝﻁﺎﻗﺔ‪.‬‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ ‪.274‬‬ ‫‪1‬‬

‫ﺍﻷﺴﻁل‪ ،‬ﺃﺤﻤﺩ‪ :‬ﻤﺒﺎﺩﺉ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺒﻴﺌﻲ‪-‬ﺍﻝﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﺒﻴﺌﻴﺔ ﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻨﺎﺥ ﺍﻝﻤﺨﺘﻠﻔﺔ‪2010 ،‬‬ ‫‪2‬‬

‫ـﺎﻨﻲ‪،‬‬
‫ـﻤﻴﻡ ﺍﻝﻤﺒــــ‬
‫ـﻲ ﺘﺼــــ‬
‫ـﺘﺩﺍﻤﺔ ﻓــــ‬
‫ـﻌﻴﺩ‪ :‬ﺍﻻﺴــــ‬
‫ـﺩ ﺴــــ‬‫ـﺩ ﺭﺍﺸــــ‬ ‫ـﻴﻥ‪ ،‬ﻫﻨــــ‬‫‪ 3‬ﺤﺴــــ‬
‫‪http://www.fewaonline.gov.ae/white/_uploads/enviro1_ar.pdf‬‬
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‫ﻴﺘﻀﻤﻥ ﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﺎﻝﻴﺔ‪ :‬ﺍﻝﺤﺩﻭﺩ‪ ،‬ﺍﻝﺤﺭﻜـﺔ‪ ،‬ﻨﻅـﺎﻡ ﺍﻹﻨﺸـﺎﺀ‪،‬‬
‫ﺍﻝﻐﻼﻑ‪ ،‬ﻨﻭﻉ ﺍﻹﻨﺸﺎﺀ‪ ،‬ﺍﻝﻌﻤﻠﻴﺔ ﺍﻹﻨﺸﺎﺌﻴﺔ‪ ،‬ﺍﻝﻁﺎﻗﺔ‪ ،‬ﺍﻝﺘﺤﻜﻡ ﺍﻝﺒﻴﺌﻲ‪ ،‬ﺍﻝﺘﺼﻭﺭ ﺍﻝﻌﺎﻡ‪.‬‬

‫ﻓﺎﻝﺸﻜل ﻫﻭ ﺃﺤﺩ ﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‪ ،‬ﻭﻫﻭ ﺍﻝﻤﺘﻐﻴﺭ ﺍﻝﺫﻱ ﻴﺘﺤﻜﻡ ﻓﻴﻪ ﺍﻝﻤﺼـﻤﻡ‪ .‬ﻭ‬
‫ﻴﺠﺏ ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺘﺫﻜﺭ ﺃﻥ ﺤﻠﻭل ﺍﻝﻤﺸﺎﻜل ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻫﻲ ﺍﺘﻔﺎﻕ ﺒﻴﻥ ﺍﻻﺤﺘﻴـﺎﺝ ﻭﺍﻝﺒﻴﺌـﺔ ﻭﺍﻝﺸـﻜل‪،‬‬
‫ﻭﺃﻀﻴﻑ ﻋﻠﻴﻬﺎ ﺍﻝﺘﻜﺎﻝﻴﻑ‪.‬‬

‫ﺍﻝﻔﺭﺍﻍ ﻭﺍﻝﺘﻨﻅﻴﻡ‪ :‬ﻫﻨﺎﻙ ﺘﻨﻭﻉ ﻜﺒﻴﺭ ﻓﻲ ﺃﺴﺎﻝﻴﺏ ﺘﻨﻅﻴﻡ ﻜﺘل ﺍﻝﺒﻨﺎﺀ ﻝﺘﺄﻜﻴﺩ ﺍﻝﺒﻌﺩ ﺍﻝﻔﺭﺍﻏﻲ ﺒﻴﻨﻬﺎ‪.‬‬
‫ﻭﻤﻥ ﺍﻷﻫﻤﻴﺔ ﺒﻤﻜﺎﻥ ﺩﺭﺍﺴﺔ ﺘﻨﻅﻴﻡ ﺍﻝﻜﺘل ﻭﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﻔﺭﺍﻍ ﻭﺍﻝﻤﺼﻤﺕ‪ ،‬ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﺃﻫـﺩﺍﻑ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻁﻠﻭﺒﺔ‪ .‬ﻭﺘﻭﻀﺢ ﺍﻷﺸﻜﺎل ﺍﻝﺘﺎﻝﻴﺔ ﺒﻌﺽ ﺃﺴﺎﻝﻴﺏ ﺍﻝﺘﻨﻅﻴﻡ ﺍﻝﻔﺭﺍﻏﻲ ﻝﻠﻜﺘل‪ ،‬ﺒﻬﺩﻑ ﺍﻝﻭﺼﻭل‬

‫ﺇﻝﻰ ﺍﻝﻤﻁﻠﻭﺏ‪.‬‬

‫ﺸﻜل )‪ (11.1‬ﺍﻝﺘﻨﻅﻴﻡ ﺍﻝﻔﺭﺍﻏﻲ ﻝﻠﻜﺘل ﻭ ﺍﻝﺤﻭﺍﺌﻁ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬

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 ‫ﺸﻜل )‪ (12.1‬ﺍﻻﺘﺯﺍﻥ ﻓﻲ ﻭﺍﺠﻬﺔ ﻏﻴﺭ ﻤﺘﻤﺎﺜﻠﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬

‫ﺸﻜل )‪ (13.1‬ﺍﻝﺘﺸﻜﻴل ﻓﻲ ﺍﻝﺒﻌﺩ ﺍﻝﺜﺎﻝﺙ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬

‫ﻭﻴﺘﻀﻤﻥ ﺍﻝﻤﻭﻗﻊ ﺍﻝﻌﺎﻡ ﻝﻠﻤﺒﻨﻰ )ﺍﻝﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ ﻨﻤﻭﺫﺠﹰﺎ( ﺒﻤﺤﻴﻁﻪ ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻝﺭﺒﻁﻪ ﻤﻊ ﻫﺫﻩ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻤﺠﻤﻭﻋﺔ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫‪ -‬ﺤﺩﻴﻘﺔ ﺍﻝﻤﻨﺯل ﻭﺍﻝﺘﻲ ﻗﺩ ﺘﺘﻀﻤﻥ‪ :‬ﻤﻭﻗﻊ ﺍﻝﻜﺭﺍﺝ‪ ،‬ﺍﻝﻨﺒﺎﺘﺎﺕ ﻭﺍﻷﺸـﺠﺎﺭ‪ ،‬ﺍﻝﻨـﺎﻓﻭﺭﺍﺕ‪ ،‬ﻤﻨﻁﻘـﺔ‬
‫ﺍﻝﺸﻭﺍﺀ‪ ،‬ﺍﻝﺤﻭﺍﺌﻁ ﺍﻝﺴﺎﻨﺩﺓ ﻭﺍﻷﺴﻭﺍﺭ ﻭﺍﻝﻔﻭﺍﺼل ﻭﺍﻝﺤﻭﺍﺠﺯ ﺍﻝﺸﺠﺭﻴﺔ‪.‬‬

‫‪ -‬ﻤﻨﻁﻘﺔ ﺍﻝﻤﺩﺨل ﺍﻝﺘﻲ ﻨﺤﺩﺩ ﺒﻬﺎ‪ :‬ﺍﻝﻤﻤﺸﻰ‪ ،‬ﺍﻝﻔﻨﺎﺀ ﺍﻝﺨﺎﺭﺠﻲ‪ ،‬ﻤﻨﻁﻘﺔ ﺍﻝﺠﻠﻭﺱ‪ ،‬ﺍﻝﺴﻼﻝﻡ‪.‬‬

‫‪ -‬ﻭﻜﺫﻝﻙ ﻤﻨﻁﻘﺔ ﺍﻝﺘﺭﺍﺴﺎﺕ ﻭﺍﻝﺘﺭﻓﻴﻪ ﻨﺤﺩﺩ ﺒﻬﺎ‪ :‬ﺃﻤﺎﻜﻥ ﺍﻝﺠﻠﻭﺱ‪ ،‬ﻤﻨﻁﻘﺔ ﻤﺎﺌﺩﺓ ﺍﻝﻁﻌﺎﻡ‪ ،‬ﺍﻝﺴﻼﻝﻡ‪.‬‬

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‫‪ -‬ﺍﻝﺸﺭﻓﺎﺕ‪ :‬ﺍﻝﺸﺭﻓﺔ ﻫﻲ ﺍﻤﺘﺩﺍﺩ ﻝﻠﻤﺴﺎﺤﺔ ﺍﻝﻤﻌﻴﺸﻴﺔ ﻭﺍﻝﺤﻴﻭﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻓﻬﻲ ﻤﻌﺭﻀـﺔ ﻝﻠﺸـﻤﺱ‬
‫ﻜﻔﺎﻴﺔ ﻭﺘﻘﺩﻡ ﻤﺴﺎﺤﺔ ﺤﺭﺓ ﻜﺒﻴﺭﺓ ﺇﻝﻰ ﺍﻝﻐﺭﻑ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﻬﺎ‪.‬‬

‫ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ‬

‫ﺘﺸﻜﻴل ﻤﻨﻁﻘﺔ ﺍﻝﺤﺩﻴﻘﺔ ﺍﻷﻤﺎﻤﻴﺔ ﺍﻝﻤﻔﺘﻭﺤﺔ ﻭﺍﻝﺘﻲ ﺘﻜﻭﻥ ﺫﺍﺕ ﺼﺒﻐﺔ ﻓﺭﺩﻴـﺔ ﻋﻠـﻰ ﺼـﻌﻴﺩ‬
‫ﺍﻝﻔﺭﺵ ﻭﺍﻝﺘﺸﻜﻴل ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﺸﻜل )‪ (14.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.sfari.com/forums/sfari23/travel88227-2/ :‬‬

‫ﺍﻝﺤﺩﺍﺌﻕ ﺍﻷﻤﺎﻤﻴﺔ ﻜﻔﺭﺍﻍ ﺘﻤﻬﻴﺩﻱ‬

‫ﺍﻝﺸﻜل ﺍﻝﻅﺎﻫﺭﻱ ﻝﻠﻔﺭﺍﻍ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻠﺒﻴﺕ ﺍﻝﺴﻜﻨﻲ ﻴﺸﻜل ﻫﻭﻴﺘﻪ ﻭﻝﺫﻝﻙ ﻴﺘﻁﻠﺏ ﻓﺭﺸﻪ ﻭﺘﺸﻜﻴﻠﻪ‬

‫ﺍﻫﺘﻤﺎﻤﹰﺎ ﻭﺩﻗﺔ ﺒﺎﻝﻐﻴﻥ‬

‫ﺸﻜل )‪ (15.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://forums.roro44.com/502695.html :‬‬
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 ‫ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻤﺩﺍﺨل ﺍﻝﺴﻜﻥ‪:‬‬

‫ﺤﺩﺍﺌﻕ ﺃﻤﺎﻤﻴﺔ‪ ،‬ﺘﺭﺴﺎﺕ‪ ،‬ﺃﻓﻨﻴﺔ ﺴﻜﻨﻴﺔ‪.‬‬

‫ﻴﺠﺏ ﺃﻥ ﻴﻌﻭﺽ ﻋﻥ ﺍﻝﻨﻘﺹ ﻓﻲ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ )ﺍﻝﺒﻠﻜﻭﻨﺎﺕ( ﻓﻲ ﺍﻝﺴﻜﻥ ﺍﻝﻁﺎﺒﻘﻲ ﻤﻥ‬

‫‪1‬‬
‫ﺨﻼل ﻤﻨﺸﺂﺕ‪ ،‬ﺤﺩﺍﺌﻕ‪ ،‬ﺘﺭﺴﺎﺕ‪ ،‬ﻭﺃﻓﻨﻴﺔ ﻤﺭﺘﺒﻁﺔ ﻤﻊ ﺍﻝﻁﻭﺍﺒﻕ ﺍﻷﺭﻀﻴﺔ‬

‫ﺇﺘﺎﺤﺔ ﺍﻹﻤﻜﺎﻨﻴﺔ ﻝﻠﻤﻌﻴﺸﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻤﻥ ﺨﻼل ﺘﺭﺴﺎﺕ ﻭﺤﺩﺍﺌﻕ ﻤﺤﻴﻁـﺔ ﻜﺎﻤﺘـﺩﺍﺩ ﻤـﺎﺩﻱ‬

‫ﻭﺒﺼﺭﻱ ﻝﻠﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻴﺤﻘﻕ ﺍﻻﺭﺘﺒﺎﻁ ﺒﺎﻝﻤﻜﺎﻥ‪.‬‬

‫ﺸﻜل )‪ (16.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻤﺩﺍﺨل ﺍﻝﺴﻜﻥ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.htoof.com/vb/t272181.html :‬‬

‫ﻋﻴﺴﻰ‪ ،‬ﺠﻬﺎﺩ ﻋﻴﺴﻰ ﻭﻏﺴﺎﻥ ﺍﻝﺒﺩﻭﺍﻥ‪ :‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﺸﻜﻴل ﺍﻝﻌﻤﺭﺍﻨﻲ‪ ،2009 ،‬ﺹ ‪93‬‬ ‫‪1‬‬

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 ‫ﺸﻜل )‪ (17.1‬ﺍﻝﺤﻴﺯ ﺍﻝﺘﻤﻬﻴﺩﻱ ﻝﻤﺩﺍﺨل ﺍﻝﺴﻜﻥ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(/http://www.sfari.com/forums/sfari23/travel88227-2 :‬‬

‫‪ 4.3.1‬ﻤﻌﺎﻴﻴﺭ ﻋﻼﻗﺔ ﺍﻝﻤﺒﻨﻰ ﺒﻤﺤﻴﻁﻪ‬

‫ﻝﻌﻤل ﺘﺼﻤﻴﻡ ﻤﻌﻤﺎﺭﻱ ﻷﻱ ﻤﺒﻨﻰ‪ ،‬ﻓﺈﻥ ﺍﻝﻤﺼﻤﻡ ﻴﻌﻤل ﻋﻠﻰ ﻤﻌﺎﺩﻝﺔ ﻴﺤﺎﻭل ﺃﻥ ﻴﺠﻤﻊ ﻓﻴﻬـﺎ‬
‫ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺎﻝﻙ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻤﻊ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻘﺘﺭﺡ ﻤﻥ ﻗﺒﻠﻪ‪ ،‬ﻭﻝﺫﻝﻙ ﻓﺈﻨﻪ ـ ﺃﻱ ﺍﻝﻤﺼﻤﻡ ـ ﻴﺤﺎﻭل‬
‫ﺃﻥ ﻴﺠﻤﻊ ﻓﻲ ﻫﺫﺍ ﺍﻝﺘﺼﻤﻴﻡ ﺃﻜﺒﺭ ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﻌﺎﻴﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻗﺩﺭ ﺍﻻﺴﺘﻁﺎﻋﺔ ﻨﻅﺭﹰﺍ ﻻﺤﺘﻴﺎﺝ ﺍﻝﻤﺎﻝﻙ‬

‫ﻭﻭﻀﻌﻴﺔ ﺍﻷﺭﺽ ﻭﺍﻝﺘﻜﺎﻝﻴﻑ ﻭﺍﻝﻘﻭﺍﻨﻴﻴﻥ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﻓﻲ ﻤﺎ ﻴﻠﻲ ﺃﻫﻡ ﺍﻝﻤﻌﺎﻴﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻓﻲ ﻋﻼﻗﺔ‬
‫ﺍﻝﻤﺒﻨﻰ ﺒﻤﺤﻴﻁﻪ‪ :‬ﺍﻝﺘﻬﻭﻴﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ‪ ،‬ﺍﻹﻀـﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴـﺔ ﻭﺃﺸـﻌﺔ ﺍﻝﺸـﻤﺱ‪ ،‬ﺍﻝﻬـﺩﻭﺀ‪ ،‬ﺍﻷﻤـﺎﻥ‪،‬‬
‫ﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﺍﻝﺘﻭﺠﻴﻪ‪ ،‬ﻭﻀﻌﻴﺔ ﺍﻝﻐﺭﻑ‪...‬‬

‫ﻭﺘﺘﻡ ﺘﺭﺠﻤﺔ ﻫﺫﻩ ﺍﻝﻤﻌﺎﻴﻴﺭ ﻤﻥ ﺨﻼل‪:‬‬

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‫‪ -‬ﻤﺭﺍﻋﺎﺓ ﺍﻝﻌﻭﺍﻤل ﺍﻝﻤﻨﺎﺨﻴﺔ ﻭﺍﻝﺒﻴﺌﻴﺔ ﻤﺜل ﺍﻝﺘﻭﺠﻴﻪ ﺍﻝﻤﻼﺌﻡ ﻝﻠﻤﺒﺎﻨﻲ ﻭﻜﺫﻝﻙ ﺯﻭﺍﻴﺎ ﺍﻝﺸﻤﺱ ﻭﻋﻼﻗـﺎﺕ‬
‫ﺍﻝﻜﺘل ﺍﻝﺒﻨﺎﺌﻴﺔ ﺒﺎﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﻭﺘﻭﻓﻴﺭ ﺍﻝﻅﻼل ﻤﻥ ﺨـﻼل ﺍﻝﺒـﺭﻭﺯﺍﺕ ﻭﻋﻼﻗـﺔ‬

‫ﺍﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻤﺒﺎﻨﻲ ﺒﺎﻝﺸﻭﺍﺭﻉ ﻭﺍﻝﺴﺎﺤﺎﺕ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﻭﻤﺭﺍﻋﺎﺓ ﻁﺒﻴﻌﺔ ﺍﻝﺘﺭﺒﺔ ﻭﻁﺒﻭﻏﺭﺍﻓﻴﺔ ﺍﻝﻤﻭﻗﻊ‪.‬‬

‫‪ -‬ﺘﻭﻓﻴﺭ ﻋﻭﺍﻤل ﺍﻷﻤﺎﻥ ﻭﻤﺭﻭﻨﺔ ﺍﻝﺤﺭﻜﺔ ﻭﺍﻝﺘﻨﻘل ﻝﺤﺭﻜﺔ ﺍﻝﻤﺸﺎﺓ ﻭﺨﺎﺼﺔ ﻤـﻥ ﻭﺍﻝـﻰ ﺍﻝﺨـﺩﻤﺎﺕ‬
‫ﻭﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻌﺎﻤﺔ )ﺍﻝﻤﺩﺍﺭﺱ‪ -‬ﺍﻝﺤﺩﺍﺌﻕ‪ -‬ﺍﻝﻤﺴﺎﺠﺩ‪ -‬ﺍﻝﻤﺭﺍﻜﺯ ﺍﻝﺼﺤﻴﺔ‪-‬ﺍﻝﻤﺭﺍﻜﺯ ﺍﻝﺘﺠﺎﺭﻴﺔ‪..‬ﺍﻝﺦ(‪.‬‬

‫‪ -‬ﻤﺭﺍﻋﺎﺓ ﺍﻝﻌﻭﺍﻤل ﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﺘﺭﻜﻴﺒﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴﺩ ﻝﻠﻤﺠﺘﻤﻊ‪.‬‬

‫‪ -‬ﻤﺭﺍﻋﺎﺓ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﺘﺨﻀﻴﺭ ﻭﺍﻝﺘﺸﺠﻴﺭ ﻭﺍﻝﺘﻨﺴﻴﻕ ﺍﻝﻌـﺎﻡ ﻝﻠﻤﻨـﺎﻁﻕ )‪ ،(Landscape‬ﻭﺘـﻭﻓﻴﺭ‬

‫ﻤﺴﺎﺤﺎﺕ ﺨﻀﺭﺍﺀ ﻭﺃﻤﺎﻜﻥ ﻝﺯﺭﺍﻋﺔ ﺍﻷﺸﺠﺎﺭ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻝﻠﺒﻴﺌﺔ ﺍﻝﻤﺤﻠﻴﺔ ﻭﺍﻝﺘﻲ ﺘﺘﻭﺍﻓﻕ ﻤﻊ ﺩﺭﺠـﺎﺕ‬

‫ﺍﻝﺤﺭﺍﺭﺓ ﻭﺘﺸﺠﻴﺭ ﺠﺯﺭ ﺍﻝﻁﺭﻕ ﻭﺍﻝﺩﻭﺍﺭﺍﺕ ﻭﺘﻭﻓﻴﺭ ﻤﻤﺭﺍﺕ ﻤﺸﺎﺓ ﻤﻨﺎﺴﺒﺔ ﻭﻤﺯﺭﻭﻋﺔ ﻝﻤﻤﺎﺭﺴـﺔ‬
‫ﻫﻭﺍﻴﺔ ﺭﻴﺎﻀﺔ ﺍﻝﻤﺸﻲ‪.‬‬

‫‪ -‬ﺘﺼﻤﻴﻡ ﺍﻝﻤﺒﺎﻨﻲ ﺒﺸﻜل ﻴﻜﻔل ﻋﺯل ﺍﻝﺭﻁﻭﺒﺔ ﻭﺍﻝﻌﺯل ﺍﻝﺤﺭﺍﺭﻱ ﻭﺫﻝﻙ ﻤﻥ ﺨﻼل ﺠـﻭﺩﺓ ﺃﺴـﻠﻭﺏ‬

‫ﻭﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ ﻭﺍﻝﺘﺸﻴﻴﺩ ﻭﺍﺴﺘﺨﺩﺍﻡ ﺘﻘﻨﻴﺎﺕ ﺘﺴﺎﻋﺩ ﻋﻠﻰ ﺨﻔﺽ ﺍﺴﺘﻬﻼﻙ ﺍﻝﻁﺎﻗﺔ‪.‬‬

‫‪ -‬ﺩﺭﺍﺴﺔ ﺍﻷﺒﻌﺎﺩ ﻭﺍﻝﻤﺴﻁﺤﺎﺕ ﻝﻠﻭﺤﺩﺍﺕ ﺒﺼﻭﺭﺓ ﺠﻴﺩﺓ ﻤﻥ ﺤﻴﺙ ﺍﻝﻌﺭﻭﺽ ﻭﺍﻷﻋﻤﺎﻕ ﻤـﻊ ﻋـﺩﻡ‬
‫ﺍﻹﺨﻼل ﺒﺎﻝﻭﻅﺎﺌﻑ ﺍﻝﺤﻴﻭﻴﺔ ﻝﻠﻤﻨﺸﺄﺓ‪.‬‬

‫‪ -‬ﺘﺤﻘﻴﻕ ﺍﻝﻜﻔﺎﺀﺓ ﻭﺍﻝﺴﻬﻭﻝﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺩﺍﺨل ﺍﻝﻭﺤﺩﺓ ﻤﻥ ﺤﻴﺙ ﻨﺴﺒﺔ ﻋﻨﺎﺼﺭ ﺍﻻﺘﺼﺎل ﻭﺍﻝﺨـﺩﻤﺎﺕ‬
‫ﺇﻝﻰ ﻨﺴﺒﺔ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﺴﺘﻌﻤﻠﺔ ﻭﺘﻘﻠﻴل ﺍﻝﻔﺎﻗﺩ ﻤﻥ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ )ﺍﻝﻨﻬﺎﻴﺎﺕ ﺍﻝﻤﻴﺘﺔ( ﻭﺍﻥ ﺘﻜﻭﻥ‬
‫ﺍﻝﺯﺨﺎﺭﻑ ﻭﺍﻝﺒﺭﻭﺯﺍﺕ ﻭﺍﻝﺤﻠﻴﺎﺕ ﺍﻝﺘﺠﻤﻴﻠﻴﺔ ﺫﺍﺕ ﻭﻅﺎﺌﻑ ﻭﺍﻀﺤﺔ ﻭﻤﻜﻤﻠﺔ ﻝﻌﻨﺎﺼﺭ ﺍﻝﺒﻨﺎﺀ‪.‬‬

‫‪ -‬ﺃﻥ ﺘﺘﺴﻡ ﺃﻝﻭﺍﻥ ﺍﻝﻤﺒﺎﻨﻲ ﻭﺍﺭﺘﻔﺎﻋﺎﺘﻬﺎ ﺒﺎﻝﺘﺠﺎﻨﺱ ﻭﺍﻝﺘﻨﺎﻏﻡ ﻭﺘﺤﻘﻴﻕ ﺍﻝﺠﻤﺎل ﺍﻝﺒﺼﺭﻱ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻤﺤﻴﻁ‬
‫ﺍﻝﻤﺒﻨﻰ‪.‬‬

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‫‪ -‬ﺃﻥ ﻴﺘﺴﻡ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻝﻠﻤﻨﺸﺂﺕ ﺒﺎﻝﻤﺭﻭﻨﺔ ﻭﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﻤﺩﺩ ﻭﺇﻋﺎﺩﺓ ﺍﻻﺴﺘﺨﺩﺍﻡ ﻤﻊ ﻀـﻤﺎﻥ‬
‫‪1‬‬
‫ﺇﻁﺎﻝﺔ ﻋﻤﺭ ﺍﻝﻤﻨﺸﺄﺓ‪.‬‬

‫‪ -‬ﻤﻼﺌﻤﺔ ﺍﻝﻘﻭﺍﻨﻴﻥ ﻭﺍﻝﻤﺤﺩﺩﺍﺕ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ ﻝﻠﺒﻨﺎﺀ ﻝﺤﺎﺠﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻗـﺩﺭ ﺍﻝﻤﺴـﺘﻁﺎﻉ‪ ،‬ﻭﺘﻜﻴﻴـﻑ ﺃﻭ‬
‫ﻤﻼﺌﻤﺔ ﺤﺎﺠﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﻤﻊ ﺍﻝﻁﺎﺒﻊ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻝﺭﻭﺡ ﺍﻝﻤﻜﺎﻥ ﻓﻲ ﺴﻴﺎﻕ ﺍﺴﺘﺭﺍﺘﻴﺠﻴﺎﺕ‬
‫ﺘﺨﻁﻴﻁﻴﺔ ﻭﺤﻀﺭﻴﺔ ﺒﻌﻴﺩﺓ ﺍﻝﻤﺩﻯ ﻭﺍﻝﻤﻭﻀﻭﻉ ﻤﻥ ﻗﺒل ﺍﻝﺠﻬﺎﺕ ﺍﻝﻤﺨﺘﺼﺔ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ‪.‬‬

‫ﻤﺤﺩﺩﺍﺕ ﻤﺭﻨﺔ ﻭﺍﺨﺘﻴﺎﺭﻴﺔ‬

‫ﺍﻝﻤﺼﻤﻡ‬

‫ﺍﻝﻤﺎﻝﻙ‬
‫ﺍﻝﻤﺤﺩﺩﺍﺕ‬
‫ﺍﻝﻤﺴﺘﻌﻤل‬

‫ﺍﻝﻤﺸﺭﻉ‬

‫ﻤﺤﺩﺩﺍﺕ ﺠﺎﻤﺩﺓ ﻭﺍﺠﺒﺎﺭﻴﺔ‬

‫ﺸﻜل )‪ (18.1‬ﺍﻝﻤﺤﺩﺩﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬

‫‪ 1.4.3.1‬ﺍﻝﺘﻬﻭﻴﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ‬

‫ﻫﻲ ﺘﻭﻓﻴﺭ ﻫﻭﺍﺀ ﻨﻘﻲ ﻭﻤﺘﺠﺩﺩ ﻓﻲ ﺍﻝﻔﺭﺍﻍ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﻋﻠﻰ ﺫﻝﻙ ﻓﻬﻨﺎﻙ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺃﺴﺎﺴـﻴﺔ‬
‫ﻝﺘﻐﻴﻴﺭ ﺍﻝﻬﻭﺍﺀ ﻓﻲ ﺍﻝﻤﺒﻨﻰ‪:‬‬

‫‪ -‬ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺼﺤﻴﺔ‪ :‬ﺇﺤﻼل ﻫﻭﺍﺀ ﻨﻘﻰ ﻤﺤل ﻫﻭﺍﺀ ﻓﺎﺴﺩ ﺒﻤﻌﻨﻰ ﺘﺯﻭﻴﺩ ﺍﻝﻤﺒﻨـﻰ ﺒﻜﻤﻴـﺔ ﻤـﻥ‬

‫ﺍﻷﻜﺴﺠﻴﻥ ﻭﻤﻨﻊ ﺘﺯﺍﻴﺩ ﺜﺎﻨﻲ ﺃﻜﺴﻴﺩ ﺍﻝﻜﺭﺒﻭﻥ‪ ،‬ﻭﺍﻝﺘﺨﻠﺹ ﻤﻥ ﺍﻝﺭﻭﺍﺌﺢ ﺍﻝﻜﺭﻴﻬﺔ ﻭﺍﻷﺒﺨﺭﺓ‪.‬‬

‫‪ 1‬ﻨــﺎﺩﻱ ﻨﻅــﻡ ﺍﻝﻤﻌﻠﻭﻤــﺎﺕ ﺍﻝﺠﻐﺭﺍﻓﻴــﺔ‪ :‬ﺍﻝﻌﻭﺍﻤــل ﺍﻝﻤــﺅﺜﺭﺓ ﻋﻠــﻰ ﺍﻝﺘﻨﻤﻴــﺔ ﺍﻝﻌﻤﺭﺍﻨﻴــﺔ ﺍﻝﻤﺘﻭﺍﺼــﻠﺔ‪،‬‬
‫‪http://www.gisclub.net/vb/showthread.php?t=852‬‬
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‫‪ -‬ﺘﺤﻘﻴﻕ ﺍﻝﺭﺍﺤﺔ ﺍﻝﺠﻭﻴﺔ ﻝﻺﻨﺴﺎﻥ‪ :‬ﺭﻜﻭﺩ ﺍﻝﻬﻭﺍﺀ ﻋﻠﻰ ﺍﻝﺠﻠﺩ ﻴﺴﺒﺏ ﺍﻝﻀﻴﻕ ﻭﺨﺎﺼﺔ ﻓـﻲ ﻭﺠـﻭﺩ‬
‫ﺍﻝﺭﻁﻭﺒﺔ ﻝﺫﻝﻙ ﻴﻔﻀل ﺘﺤﺭﻴﻙ ﺍﻝﻬﻭﺍﺀ ﻓﻲ ﺍﻝﻤﻜﺎﻥ‪.‬‬

‫‪ -‬ﺘﺤﻘﻴﻕ ﺤﺎﺠﺎﺕ ﺍﻝﻤﻨﺸﺄ‪ :‬ﻹﺯﺍﻝﺔ ﺍﻝﺤﺭﺍﺭﺓ ﺍﻝﻜﺎﻤﻨﺔ ﻝﻠﻤﺒﻨﻰ ﻤﻥ ﺃﻓﺭﺍﻥ ﺃﻭ ﺇﻀـﺎﺀﺓ ﻭﺘـﺘﻡ ﺒﺎﺴـﺘﺨﺩﺍﻡ‬
‫ﺃﺴﻘﻑ ﻤﺯﺩﻭﺠﺔ ﺃﻭ ﺃﻗﺒﻴﺔ‪ ،‬ﺍﻝﺘﻬﻭﻴﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻹﺯﺍﻝﺔ ﺍﻝﺭﻁﻭﺒﺔ ﻭﻴﺘﻡ ﺍﻝﺘﻐﻠﺏ ﻋﻠﻴﻬﺎ ﺒﺈﻤﺭﺍﺭ ﺍﻝﻬـﻭﺍﺀ‬
‫‪1‬‬
‫ﺩﺍﺨل ﺍﻝﻤﺒﻨﻰ‪.‬‬

‫‪ 2.4.3.1‬ﺍﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺃﺸﻌﺔ ﺍﻝﺸﻤﺱ‬

‫ﺍﻝﺸﻤﺱ ﻫﻲ ﺍﻝﻤﺼﺩﺭ ﺍﻷﺴﺎﺴﻲ ﻝﻠﻀﻭﺀ ﺍﻝﻁﺒﻴﻌﻲ ﻋﻠﻰ ﺍﻝﻜﺭﺓ ﺍﻷﺭﻀﻴﺔ‪ ،‬ﻭﺍﻝﻀـﻭﺀ ﻴﻨﺘﺸـﺭ‬
‫ﻋﻠﻰ ﻫﻴﺌﺔ ﻤﻭﺠﺎﺕ ﻜﻬﺭﻭﻤﻐﻨﺎﻁﻴﺴﻴﺔ‪ ،‬ﻭﻝﻠﺘﻌﺭﻑ ﻋﻠﻰ ﺃﻫﻤﻴﺔ ﻜﻤﻴﺔ ﺍﻹﻀﺎﺀﺓ ﻝﺤﻴـﺎﺓ ﺍﻹﻨﺴـﺎﻥ ﻓـﺈﻥ‬

‫ﺍﻝﺩﻜﺘﻭﺭ ﺸﻴﺭﺩ )‪ (Sheard‬ﻴﺅﻜﺩ ﻋﻠﻰ ﺃﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺭﺅﻴﺔ ﺘﺴﺘﻬﻠﻙ ﺭﺒﻊ ﺍﻝﻁﺎﻗﺔ ﺍﻝﻜﻠﻴﺔ ﺍﻝﻼﺯﻤﺔ ﻝﻠﺠﺴـﻡ‬
‫ﻓﻲ ﺤﺎﻝﺔ ﺍﻹﻀﺎﺀﺓ ﺍﻝﺼﺤﻴﺔ ﻭﺍﻝﻨﻅﺭ ﺍﻝﺴﻠﻴﻡ‪ ،‬ﻭﺃﻥ ﺃﻱ ﻨﻘﺹ ﻓﻲ ﻫﺫﻩ ﺍﻹﻀﺎﺀﺓ ﻤﻌﻨﺎﻩ ﺍﺴﺘﻨﺯﺍﻑ ﺍﻝﻁﺎﻗﺔ‬
‫ﻤﻥ ﺍﻝﺠﺴﻡ ﻝﺘﻌﻭﻴﺽ ﻫﺫﺍ ﺍﻝﻨﻘﺹ‪ .‬ﻭﻴﻤﻜﻥ ﺘﻭﻓﻴﺭ ﺍﻹﻀﺎﺀﺓ ﺩﺍﺨل ﺍﻝﻤﺒﺎﻨﻲ ﺒﻁﺭﻴﻘﺘﻴﻥ ﺃﺴﺎﺴﻴﺘﻴﻥ‪ :‬ﺍﻷﻭﻝﻰ‬

‫ﻋﻥ ﻁﺭﻴﻕ ﺍﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﺍﻝﻘﺎﺩﻤﺔ ﻤﻥ ﺍﻝﺸﻤﺱ ﻭﻫﻲ ﺍﻝﻤﻁﻠﻭﺒﺔ ﻫﻨﺎ ﻝﻔﻭﺍﺌﺩﻫﺎ ﺍﻝﺼﺤﻴﺔ‪ ،‬ﻭﺍﻝﺜﺎﻨﻴـﺔ‬
‫ﻋﻥ ﻁﺭﻴﻕ ﺍﻹﻀﺎﺀﺓ ﺍﻝﺼﻨﺎﻋﻴﺔ‪ ،‬ﻭﻫﻲ ﻏﻴﺭ ﻤﺭﻏﻭﺏ ﻓﻴﻬﺎ ﻨﻅﺭﹰﺍ ﻝﻘﻠﺔ ﻓﻭﺍﺌﺩﻫﺎ ﺍﻝﺼﺤﻴﺔ ﻓﻲ ﻤﻘﺎﺭﻨﺘﻬﺎ‬
‫ﻤﻊ ﺍﻻﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﻨﻅﺭﹰﺍ ﻻﺭﺘﻔﺎﻉ ﺘﻜﺎﻝﻴﻔﻬﺎ‪ ،‬ﻓﺒﺎﻝﻨﺴﺒﺔ ﻝﻺﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﺩﺍﺨل ﺍﻝﻤﺒـﺎﻨﻲ‪ ،‬ﻓـﺈﻥ‬

‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺠﻴﺩ ﻝﻠﻤﺒﻨﻰ ﻴﺠﺏ ﺃﻥ ﻴﺸﺘﻤل ﻋﻠﻰ ﻤﺎ ﻴﻠﻲ‪:‬‬

‫‪ -1‬ﺃﻥ ﻴﻜﻭﻥ ﺒﻜل ﺤﺠﺭﺓ ﻨﺎﻓﺫﺘﺎﻥ ﺒﻘﺩﺭ ﺍﻹﻤﻜﺎﻥ ﻤﻭﺯﻋﺘﺎﻥ ﻋﻠﻰ ﺤﺎﺌﻁﻴﻥ ﺤﺘﻰ ﻴﺘﻡ ﺘﺠﻨـﺏ ﻅـﺎﻫﺭﺓ‬
‫ﺍﻝﺯﻏﻠﻠﺔ‪.‬‬

‫‪ -2‬ﺘﻭﺯﻴﻊ ﺍﻝﺸﺒﺎﺒﻴﻙ ﻭﺍﺨﺘﻴﺎﺭ ﺃﻤﺎﻜﻨﻬﺎ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﺃﻜﺒﺭ ﻗﺩﺭ ﻤﻥ ﺍﻝﻀﻭﺀ ﺍﻝﻁﺒﻴﻌـﻲ ﻭ ﺒﺨﺎﺼـﺔ‬
‫ﺍﻝﻤﻨﻌﻜﺱ ﻤﻊ ﻤﺤﺎﻭﻝﺔ ﺘﺠﻨﺏ ﺍﻝﻀﻭﺀ ﺍﻝﻤﺒﺎﺸﺭ‪.‬‬

‫ـﻭﺍﺀ‪،‬‬
‫ـﺔ ﺍﻝﻬــ‬
‫ـﺔ ﻭﺤﺭﻜــ‬
‫ـﺔ ﺍﻝﻁﺒﻴﻌﻴــ‬
‫ـﺔ‪ :‬ﺍﻝﺘﻬﻭﻴــ‬
‫ـﺔ ﺍﻝﻤﻌﻤﺎﺭﻴــ‬
‫ـﻡ ﺍﻝﻬﻨﺩﺴــ‬
‫ـﺭ‪ ،‬ﻗﺴــ‬‫ـﺔ ﺍﻷﺯﻫــ‬‫ـﻊ ﻫﻨﺩﺴــ‬
‫‪ 1‬ﻤﻭﻗــ‬
‫‪http://azharengineering.yoo7.com/t1225-topic‬‬
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‫‪ -3‬ﺘﺨﺼﻴﺹ ﺒﻌﺽ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻜﺸﻭﻓﺔ )ﻜﺎﻷﻓﻨﻴﺔ ﻤﺜﻼ( ﻓﻲ ﺍﻝﻤﺒﻨﻰ ﺘﺴﻤﺢ ﻝﻺﻨﺴﺎﻥ ﺒﺎﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ‬
‫ﺍﻷﺸﻌﺔ ﺍﻝﺒﻨﻔﺴﺠﻴﺔ ﻤﻊ ﻤﺭﺍﻋﺎﺓ ﻋﺎﻤل ﺍﻝﺨﺼﻭﺼﻴﺔ‪.‬‬

‫‪ -4‬ﺃﻥ ﻴﺭﺍﻋﻰ ﻓﻲ ﺘﺨﻁﻴﻁ ﺍﻝﻤﻭﻗﻊ ﺍﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻤﺒﺎﻨﻲ ﻭﺍﻝﻤﺴﺎﻓﺎﺕ ﺒﻴﻨﻬﺎ ﺒﺤﻴـﺙ ﻻ ﻴﺤﺠـﺏ ﻤﺒﻨـﻰ‬
‫ﺍﻝﻀﻭﺀ ﺍﻝﻁﺒﻴﻌﻲ ﻋﻥ ﻤﺒﻨﻰ ﺁﺨﺭ ﻗﺭﻴﺏ ﻤﻨﻪ ﺃﻭ ﻴﻭﺍﺠﻬﻪ‪ ،‬ﻭﻤﻥ ﻫﻨﺎ ﺘﻅﻬﺭ ﺃﻫﻤﻴﺔ ﺩﺭﺍﺴـﺔ ﺯﻭﺍﻴـﺎ‬
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‫ﺍﻝﺸﻤﺱ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻋﻠﻰ ﻤﺩﺍﺭ ﺍﻝﻌﺎﻡ ﻝﺘﺠﻨﺏ ﺫﻝﻙ‪.‬‬

‫ﻭﻫﻨﺎ ﻓﺈﻥ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻘﺎﻨﻭﻥ ﺃﻭ ﺍﻝﻤﺅﺴﺴﺔ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ ﻴﺠﺏ ﺃﻥ ﻴﺘﻜﺎﻤﻼ ﻝﺘﺤﻘﻴﻕ ﻫﺫﺍ ﺍﻝﻬﺩﻑ ﻭﺃﻥ ﻻ‬
‫ﻴﺘﺭﻙ ﺍﻝﻤﻭﻀﻭﻉ ﻝﻠﻤﺎﻝﻙ ﺨﺎﺼﺔ ﺇﺫﺍ ﻜﺎﻥ ﺍﻝﻬﺩﻑ ﺘﺠﺎﺭﻱ‪.‬‬

‫ﺸﻜل )‪ (19.1‬ﻤﻘﺩﺍﺭ ﻀﻭﺀ ﺍﻝﺸﻤﺱ ﻁﺒﻘﹰﺎ ﻝﻔﺼﻭل ﺍﻝﻌﺎﻡ‬

‫)ﺍﻝﻤﺼﺩﺭ‪http://www.somfyarchitecture.me/ar- :‬‬
‫‪(lb/index.cfm?page=/buildings/home/bioclimatic_facades‬‬

‫‪ 3.4.3.1‬ﺍﻝﻬﺩﻭﺀ )ﺘﺠﻨﺏ ﺍﻝﻀﻭﻀﺎﺀ(‬

‫ﺍﻝﺼﻭﺕ ﻤﺜل ﺍﻝﻀﻭﺀ ﻝﻪ ﺘﺄﺜﻴﺭﺍﺕ ﻤﻠﻤﻭﺴﺔ ﻋﻠﻰ ﺍﻝﺼـﺤﺔ ﺍﻝﻨﻔﺴـﻴﺔ ﻭﺍﻝﺠﺴـﺩﻴﺔ ﻝﻺﻨﺴـﺎﻥ‪،‬‬

‫ﻓﺎﻷﺼﻭﺍﺕ ﺍﻝﻤﻘﺒﻭﻝﺔ ﺃﻭ ﺍﻝﺠﻤﻴﻠﺔ ﻝﻬﺎ ﺘﺄﺜﻴﺭﺍﺕ ﻨﻔﺴﻴﺔ ﺠﻴﺩﺓ ﻭﻋﻠﻰ ﺍﻝﻌﻜﺱ ﻓﺈﻥ ﺍﻷﺼـﻭﺍﺕ ﺍﻝﻌﺎﻝﻴـﺔ ﺃﻭ‬
‫ﺍﻝﻀﻭﻀﺎﺀ ﻴﻜﻭﻥ ﻝﻬﺎ ﺘﺄﺜﻴﺭﺍﺕ ﻀﺎﺭﺓ‪ ،‬ﻭ ﺘﻭﺠﺩ ﺜﻼﺜﺔ ﻤﺼﺎﺩﺭ ﺭﺌﻴﺴﻴﺔ ﻝﺨﻠﻕ ﻭ ﺘﻭﺍﺠـﺩ ﺍﻝﻀﻭﻀـﺎﺀ‬
‫ﺩﺍﺨل ﺍﻝﻤﺒﺎﻨﻲ ‪:‬ﺃﻭﻝﻬﺎ ﺍﻝﻀﻭﻀﺎﺀ ﺍﻵﺘﻴﺔ ﻤﻥ ﺨﺎﺭﺝ ﺍﻝﻤﺒﻨﻰ ﻭﺍﻝﻨﺎﺘﺠﺔ ﻋﻥ ﻭﺴﺎﺌل ﺍﻝﻨﻘـل ﻭﺍﻝﺴـﻴﺎﺭﺍﺕ‬

‫‪ 1‬ﻤﻭﻗــﻊ ﻤﻨﺘــﺩﻴﺎﺕ ﺴــﺘﺎﺭ ﺘــﺎﻴﻤﺯ‪ ،‬ﺃﺭﺸــﻴﻑ ﺍﻝﻌﻠــﻭﻡ ﺍﻝﻬﻨﺩﺴــﻴﺔ‪ :‬ﻤﻌــﺎﻴﻴﺭ ﺘﺼــﻤﻴﻡ ﺍﻝﻤﺒــﺎﻨﻲ ﺍﻝﺼــﺩﻴﻘﺔ ﻝﻠﺒﻴﺌــﺔ‪،‬‬
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‫ﺍﻝﻤﺨﺘﻠﻔﺔ ﺃﻭ ﺍﻝﻭﺭﺵ ﻭﺍﻝﻤﺼﺎﻨﻊ ﺍﻝﻘﺭﻴﺒﺔ ﺇﻥ ﻭﺠﺩﺕ‪ ،‬ﻭ ﻫﺫﻩ ﺍﻝﻀﻭﻀﺎﺀ ﻴﺤﻤﻠﻬﺎ ﺍﻝﻬﻭﺍﺀ ﻭﺘﺩﺨل ﺍﻝﻤﺒﻨﻰ‬
‫ﻋﺒﺭ ﺍﻝﻨﻭﺍﻓﺫ ﻭﺍﻷﺒﻭﺍﺏ ﺍﻝﻤﻔﺘﻭﺤﺔ ﺃﻭ ﺤﺘﻰ ﻤﻥ ﺒﻌﺽ ﺍﻝﺸﻘﻭﻕ ﻭﺍﻝﻔﺘﺤﺎﺕ ﺍﻝﻀﻴﻘﺔ‪ ،‬ﺃﻤﺎ ﺍﻝﻤﺼﺩﺭ ﺍﻝﺜﺎﻨﻲ‬

‫ﻓﻬﻭ ﻨﺎﺘﺞ ﻋﻥ ﺴﻘﻭﻁ ﺃﻱ ﺠﺴﻡ ﻋﻠﻰ ﺍﻷﺭﺽ ﺃﻭ ﻨﺘﻴﺠﺔ ﻻﻫﺘﺯﺍﺯﺍﺕ ﺒﻌـﺽ ﺍﻷﺠﻬـﺯﺓ ﺍﻝﻜﻬﺭﺒﺎﺌﻴـﺔ‬
‫)ﻜﺎﻝﺜﻼﺠﺎﺕ ﻭﺍﻝﻐﺴﺎﻻﺕ ﻤﺜﻼ(‪ ،‬ﺃﻤﺎ ﺍﻝﻤﺼﺩﺭ ﺍﻝﺜﺎﻝﺙ ﻓﻴﻨﺘﺞ ﻤﻥ ﺍﻨﺘﻘﺎل ﺍﻝﻀﻭﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺃﻴـﺎ ﻜـﺎﻥ‬
‫ﺴﺒﺒﻬﺎ ﺨﻼل ﺍﻝﺤﻭﺍﺌﻁ ﻭﺍﻷﺭﻀﻴﺎﺕ ﻤﻥ ﺍﻝﺸﻘﻕ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﺠﺎﻭﺭﺓ‪.‬‬

‫ﻭﻴﻌﺘﺒﺭ ﺃﻓﻀل ﺩﻓﺎﻉ ﻀﺩ ﺍﻝﻀﻭﻀﺎﺀ ﻭﻋﺩﻡ ﻭﺼﻭﻝﻬﺎ ﻝﺩﺍﺨل ﺍﻝﻤﺒﻨﻰ ﻫﻭ ﺯﻴﺎﺩﺓ ﺍﻝﻤﺴﺎﻓﺔ ﺒﻘﺩﺭ‬
‫ﺍﻹﻤﻜﺎﻥ ﺒﻴﻥ ﻤﺼﺩﺭ ﺍﻝﻀﻭﻀﺎﺀ ﻭﺍﻝﻤﺒﻨﻰ ﺍﻝﻤﺭﺍﺩ ﺤﻤﺎﻴﺘﻪ ﺃﻭ ﺒﻭﻀﻊ ﺍﻝﻐﺭﻑ ﺍﻝﺘﻲ ﻻ ﺘﺘﺄﺜﺭ ﺒﺎﻝﻀﻭﻀﺎﺀ‬
‫ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﻭﻅﻴﻔﻴﺔ )ﻜﻐﺭﻑ ﺍﻝﺨﺩﻤﺎﺕ ﻤﺜﻼ( ﻓﻲ ﺠﺎﻨﺏ ﺍﻝﻤﺒﻨﻰ ﺍﻝﻘﺭﻴﺏ ﻤﻥ ﻤﺼﺩﺭ ﺍﻝﻀﻭﻀـﺎﺀ ﺇﻥ‬

‫ﺃﻤﻜﻥ ﺫﻝﻙ ﻭﻫﻭ ﻏﺎﻝﺒﺎ ﻤﺎ ﻴﻜﻭﻥ ﺍﻝﺸﺎﺭﻉ ﻓﺘﻘﻭﻡ ﻫﺫﻩ ﺍﻝﻐﺭﻑ ﺒﺤﻤﺎﻴﺔ ﺍﻝﻐﺭﻑ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻬﺎﻤﺔ ﻭﺍﻝﺘﻲ‬
‫ﺘﺘﺄﺜﺭ ﺒﺎﻝﻀﻭﻀﺎﺀ‪ ،‬ﺃﻤﺎ ﺇﺫﺍ ﺘﻌﺫﺭ ﺫﻝﻙ ﻓﺈﻨﻪ ﻴﻤﻜﻥ ﻤﺭﺍﻋﺎﺓ ﺒﻌﺽ ﺍﻷﺴﺱ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﺒﺴﻴﻁﺔ ﻝﺘﻘﻠﻴـل‬
‫ﺍﻝﻀﻭﻀﺎﺀ ﺍﻝﻭﺍﺼﻠﺔ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻓﻌﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ﻓﺈﻥ ﺯﺭﺍﻋﺔ ﺍﻷﺸﺠﺎﺭ ﻓﻲ ﺠﻬﺔ ﻤﺼﺩﺭ ﺍﻝﻀﻭﻀـﺎﺀ‬

‫)ﻜﺎﻝﺸﺎﺭﻉ ﻤﺜﻼ( ﺨﺎﺼﺔ ﺫﺍﺕ ﺍﻷﻭﺭﺍﻕ ﺍﻝﻜﺒﻴﺭﺓ ﻴﻤﻜﻨﻬـﺎ ﺍﻝﺘﻘﻠﻴـل ﻤـﻥ ﺩﺭﺠـﺔ ﻫـﺫﻩ ﺍﻝﻀﻭﻀـﺎﺀ‬
‫ﺒﺎﻤﺘﺼﺎﺼﻬﺎ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺯﺭﺍﻋﺔ ﺃﺤﺯﻤﺔ ﻨﺒﺎﺘﻴﺔ ﺒﺠﻭﺍﺭ ﺍﻝﻤﺒﻨﻰ ﺴﻴﻜﻭﻥ ﻝﻪ ﺃﻓﻀل ﺍﻝﺘـﺄﺜﻴﺭ ﻓـﻲ ﺨﻔـﺽ‬
‫ﺍﻝﻀﻭﻀﺎﺀ ﺍﻝﻭﺍﺼﻠﺔ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻨﺎﻫﻴﻙ ﺃﻥ ﺍﺴﺘﺨﺩﺍﻡ ﺒﻌﺽ ﻤﻭﺍﺩ ﺍﻝﻌﺯل ﻓـﻲ ﺍﻝﺠـﺩﺭﺍﻥ ﺃﻭ ﺍﻷﺴـﻘﻑ‬
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‫ﻜﺎﻝﻁﻭﺏ ﺍﻝﺨﻔﺎﻑ ﻭﻏﻴﺭﻫﺎ ﺘﺴﺎﻋﺩ ﻓﻲ ﻋﺯل ﺍﻝﺼﻭﺕ ﺒﺎﻻﻀﺎﻓﺔ ﺇﻝﻰ ﻋﻤﻠﻬﺎ ﻓﻲ ﺍﻝﻌﺯل ﺍﻝﺤﺭﺍﺭﻱ‪.‬‬

‫‪ 4.4.3.1‬ﺍﻷﻤﺎﻥ‬

‫ﻴﺠﺏ ﺩﺭﺍﺴﺔ ﻜل ﻤﻨﻁﻘﺔ ﺃﻭ ﻤﻭﻗﻊ ﺒﺤﻴﺙ ﻴﺘﻡ ﺘﻼﻓﻲ ﺍﻷﺨﻁﺎﺭ ﺍﻝﻁﺒﻴﻌﻴـﺔ ﻭﺍﻝﺘـﻲ ﻴﻤﻜـﻥ ﺃﻥ‬

‫ﺘﺘﻭﺍﺠـﺩ‪ ،‬ﻓﻔﻲ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﺘﻲ ﺘﺸﺘﻬﺭ ﺒﺎﻝﺴﻴﻭل ﻓﻴﺭﺍﻋﻰ ﻋﺩﻡ ﺍﻝﺒﻨﺎﺀ ﻓﻲ ﻤﺴـﺎﺭﺍﺘﻬﺎ ﻭﺍﻝﺘـﻲ ﺘﺘﺨـﺫﻫﺎ‬
‫ﺍﻝﺴﻴﻭل ﻜﻁﺭﻴﻕ ﻝﻬﺎ ﺃﻭ ﻋﻤل ﺍﻻﺤﺘﻴﺎﻁﺎﺕ ﺍﻝﻼﺯﻤﺔ ﺇﻤﺎ ﺒﺘﻐﻴﻴﺭ ﻤﺠﺭﻯ ﺍﻝﺴﻴل ﻨﻔﺴﻪ ﺃﻭ ﺒﺎﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ‬
‫ﻤﻴﺎﻫﻪ ﻋﻥ ﻁﺭﻴﻕ ﺘﻭﺠﻴﻬﻪ ﺇﻝﻰ ﺨﺯﺍﻨﺎﺕ ﺃﺭﻀﻴﺔ ﻤﺼﻤﻤﺔ ﻭ ﻤﺩﺭﻭﺴﺔ ﻝﺘﺴﺘﻭﻋﺏ ﺍﻝﻜﻤﻴﺎﺕ ﺍﻝﻤﺘﻭﻗﻌـﺔ‬

‫ﻤﻥ ﻤﻴﺎﻩ ﻫﺫﻩ ﺍﻝﺴﻴﻭل‪ ،‬ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺯﻻﺯل ﻓﻴﺠﺏ ﻤﺭﺍﻋﺎﺓ ﻋﻭﺍﻤل ﺍﻷﻤﺎﻥ ﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﺒﻨﻰ ﺍﻹﻨﺸﺎﺌﻴﺔ‬

‫‪ 1‬ﻤﻭﻗــﻊ ﻤﻨﺘــﺩﻴﺎﺕ ﺴــﺘﺎﺭ ﺘــﺎﻴﻤﺯ‪ ،‬ﺃﺭﺸــﻴﻑ ﺍﻝﻌﻠــﻭﻡ ﺍﻝﻬﻨﺩﺴــﻴﺔ‪ :‬ﻤﻌــﺎﻴﻴﺭ ﺘﺼــﻤﻴﻡ ﺍﻝﻤﺒــﺎﻨﻲ ﺍﻝﺼــﺩﻴﻘﺔ ﻝﻠﺒﻴﺌــﺔ‪،‬‬
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‫ﺨﻼل ﻤﺭﺤﻠﺘﻲ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﻨﻔﻴﺫ ﻤﻊ ﺘﻁﺒﻴﻕ ﺍﻝﻤﻌﺎﻴﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﺨﺎﺼـﺔ ﻜﺎﻝﺘﺼـﻤﻴﻡ ﺍﻹﻨﺸـﺎﺌﻲ‬
‫ﺍﻝﺯﻝﺯﺍﻝﻲ ﻤﺜﻼﹰ‪ ،‬ﻜﻤﺎ ﻴﺠﺏ ﺘﻼﻓﻲ ﺍﻝﻤﺨﺎﻁﺭ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﺘﻬﺩﺩ ﺴﻼﻤﺔ ﺍﻝﻤﺒﻨـﻰ ﻭ ﺸـﺎﻏﻠﻴﻪ‪ ،‬ﻭﻫـﺫﻩ‬

‫ﺍﻝﻤﺨﺎﻁﺭ ﻴﻤﻜﻥ ﺃﻥ ﺘﺤﺩﺙ ﻨﺘﻴﺠﺔ ﻝﻌﻭﺍﻤل ﺍﻹﻫﻤﺎل ﺍﻝﺒﺸﺭﻱ ﺃﻭ ﺴﻭﺀ ﺘﻨﻔﻴﺫ ﺒﻌﺽ ﺍﻷﻋﻤـﺎل ﻭﻋـﺩﻡ‬
‫ﻤﻁﺎﺒﻘﺘﻬﺎ ﻝﻠﻤﻭﺍﺼﻔﺎﺕ ﺍﻝﻔﻨﻴﺔ‪ ،‬ﻭﻴﺄﺘﻲ ﻨﺸﻭﺏ ﺍﻝﺤﺭﺍﺌﻕ ﺒﺎﻝﻤﺒﺎﻨﻲ ﻋﻠﻰ ﺭﺃﺱ ﻫﺫﻩ ﺍﻝﻤﺨﺎﻁﺭ ﻭﺍﻝﺘﻲ ﻏﺎﻝﺒﺎ‬
‫ﺱ ﻤﻔﺠﻌﺔ ﻭﺨﺴﺎﺌﺭ ﺒﺸﺭﻴﺔ ﻭﻤﺎﺩﻴﺔ ﻜﺒﻴـﺭﺓ‪ ،‬ﻭﻫﻨﺎﻙ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﻭﺍﺠﺏ‬
‫ﻤﺎ ﺘﺅﺩﻱ ﺇﻝﻰ ﻤﺂ ﹴ‬

‫ﺇﺘﺒﺎﻋﻬﺎ ﻝﺘﺠﻨﺏ ﺃﺨﻁﺎﺭ ﺍﻝﺤﺭﻴﻕ ﺨﺎﺼﺔ ﺒﺎﻝﻤﺒﺎﻨﻲ ﺍﻝﻌﺎﻝﻴﺔ‪ ،‬ﻭﻤﻥ ﻫﺫﻩ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺎﻝﺸـﻭﺍﺭﻉ‬
‫ﺍﻝﻤﺤﻴﻁﺔ ﺒﺎﻝﻤﺒﻨﻰ ﻭﺍﻝﻌﺭﻭﺽ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻭﺍﻝﺘﻲ ﺘﻜﻔل ﺴﻬﻭﻝﺔ ﺤﺭﻜﺔ ﺴـﻴﺎﺭﺍﺕ ﺍﻹﻁﻔـﺎﺀ ﻭﺍﻹﺴـﻌﺎﻑ‬
‫ﺒﺎﻝﻤﻭﻗﻊ‪ ،‬ﻤﻊ ﺘﻭﻓﻴﺭ ﻤﺼﺎﺩﺭ ﻤﻴﺎﻩ ﻹﻁﻔﺎﺀ ﺍﻝﺤﺭﻴﻕ‪ ،‬ﻭﻫﻨﺎﻙ ﺍﻋﺘﺒﺎﺭﺍﺕ ﺘﺘﻌﻠﻕ ﺒﺎﻝﻤﺒﻨﻰ ﻨﻔﺴﻪ ﺒﺎﺴـﺘﺨﺩﺍﻡ‬

‫ﺤﻭﺍﺌﻁ ﻭ ﻋﻨﺎﺼﺭ ﺇﻨﺸﺎﺌﻴﺔ ﻤﻘﺎﻭﻤﺔ ﻝﻠﺤﺭﻴﻕ ﻤﻊ ﺘﻭﻓﻴﺭ ﺍﻝﺴﻼﻝﻡ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻭﺒﺎﻝﻌﺩﺩ ﺍﻝﺫﻱ ﻴﺘﻨﺎﺴـﺏ ﻤـﻊ‬
‫ﻋﺩﺩ ﺸﺎﻏﻠﻲ ﺍﻝﻤﺒﻨﻰ‪ ،‬ﺇﻝﻰ ﺠﺎﻨﺏ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺘﺠﻬﻴﺯﺍﺕ ﺍﻝﻤﺘﻁﻭﺭﺓ ﻝﻠﺴﻴﻁﺭﺓ ﻋﻠﻰ ﺍﻝﺤﺭﺍﺌﻕ ﺨﺎﺼﺔ ﻓﻲ‬
‫ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻌﺎﻤﺔ ﻤﺜل ﺃﺠﻬﺯﺓ ﺍﻝﻜﺸﻑ ﺍﻝﻤﺒﻜﺭ ﻋﻥ ﺍﻷﺩﺨﻨﺔ ﻭﺍﻝﻨﻴﺭﺍﻥ ﻭﺍﻝﻭﺴـﺎﺌل ﺍﻝﻤﻴﻜﺎﻨﻴﻜﻴـﺔ ﻝﻠﺘﻬﻭﻴـﺔ‬

‫ﻭﺸﻔﻁ ﺍﻝﺩﺨﺎﻥ ﻭﺍﻝﺭﺸﺎﺸﺎﺕ ﺍﻝﺘﻠﻘﺎﺌﻴﺔ ﻭﺍﻷﺒﻭﺍﺏ ﺍﻝﻤﻘﺎﻭﻤﺔ ﻝﻠﺤﺭﻴﻕ‪ ،‬ﻜﻤﺎ ﺃﻨﻪ ﻤﻥ ﺍﻷﻫﻤﻴﺔ ﺍﻝﺒﺤﺙ ﻋـﻥ‬
‫ﺒﺩﺍﺌل ﻝﻠﻤﻭﺍﺩ ﻭﺍﻝﺨﺎﻤﺎﺕ ﺴﺭﻴﻌﺔ ﺍﻻﺸﺘﻌﺎل ﻭﺍﻝﺘﻲ ﺘﺴﺘﺨﺩﻡ ﻓﻲ ﺍﻝﻤﺒﺎﻨﻲ )ﻤﺜـل ﺃﺭﻀـﻴﺎﺕ ﺍﻝﻤﻭﻜﻴـﺕ(‬
‫‪1‬‬
‫ﺨﺎﺼﺔ ﻓﻲ ﺍﻷﻤﺎﻜﻥ ﺍﻝﺘﻲ ﺒﻬﺎ ﺘﺠﻤﻌﺎﺕ ﻜﺜﻴﻔﺔ ﻤﺜل ﺍﻝﻔﻨﺎﺩﻕ ﻭﺍﻝﻤﺭﺍﻜﺯ ﺍﻝﺘﺠﺎﺭﻴﺔ‪.‬‬

‫‪ 5.4.3.1‬ﺍﻝﺨﺼﻭﺼﻴﺔ‬

‫ﻭﺍﻝﺘﻲ ﺘﺘﻤﺜل ﻓﻲ ﻋﺯل ﺍﻝﻤﺒﻨﻰ ﻋﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﺍﻝﻤﺤﻴﻁﺔ ﺒﻪ‪ ،‬ﻭﺫﻝﻙ ﺒﺎﺴﺘﺨﺩﺍﻡ ﻭﺴـﺎﺌل‬
‫ﺍﻝﻔﺼل ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﺍﻝﺘﻲ ﻤﻥ ﺃﻫﻤﻬﺎ ﺍﻝﺯﺠﺎﺝ ﺍﻝﻌﺎﺯل ﺃﻭ ﺍﻝﺴﺘﺎﺌﺭ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫ﻴﻨﺸﺩ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺠﻬﺎﺕ ﺍﻝﺘﺨﻁﻴﻁ ﺇﻝﻰ ﺤﺠﺏ ﺇﻁﻼﻝﺔ ﺍﻝﺒﻨﺎﺀ ﻋﻥ ﺍﻝﻤﺴﺎﻜﻥ ﺍﻝﻤﺠﺎﻭﺭﺓ ﺃﻭ ﺘﻘﺎﻁﻊ‬
‫ﺍﻝﻁﺭﻕ ﻭﻤﺭﺍﻋﺎﺓ ﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﺩﻭﻥ ﺃﻥ ﺘﺘﺄﺜﺭ ﺒﺫﻝﻙ ﺍﻝﻌﻭﺍﻤل ﺍﻷﺨﺭﻯ )ﺤﺠـﺏ ﻀـﻭﺀ ﺍﻝﺸـﻤﺱ‪-‬‬
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‫ﺍﻝﻌﺎﺯﻝﻴﺔ‪-‬ﺃﻨﻭﺍﻉ ﺍﻝﻨﻭﺍﻓﺫ(‪.‬‬

‫‪ 1‬ﻤﻭﻗــﻊ ﻤﻨﺘــﺩﻴﺎﺕ ﺴــﺘﺎﺭ ﺘــﺎﻴﻤﺯ‪ ،‬ﺃﺭﺸــﻴﻑ ﺍﻝﻌﻠــﻭﻡ ﺍﻝﻬﻨﺩﺴــﻴﺔ‪ :‬ﻤﻌــﺎﻴﻴﺭ ﺘﺼــﻤﻴﻡ ﺍﻝﻤﺒــﺎﻨﻲ ﺍﻝﺼــﺩﻴﻘﺔ ﻝﻠﺒﻴﺌــﺔ‪،‬‬
‫‪http://www.startimes.com/f.aspx?t=29310694‬‬
‫‪ 2‬ﻤﻭﻗــــﻊ ﻋــــﺎﻝﻡ ﺍﻻﻅﻬــــﺎﺭ ﺍﻝﻤﻌﻤــــﺎﺭﻱ‪ :‬ﺃﺴــــﺱ ﺘﺼــــﻤﻴﻡ ﺍﻝﻭﺤــــﺩﺍﺕ ﺍﻝﺴــــﻜﻨﻴﺔ‪،‬‬
‫‪http://www.3d2ddesign.com/more_architecture.php?id=28&design=8‬‬
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 ‫‪ 6.4.3.1‬ﺘﻭﺠﻴﻪ ﺍﻝﻤﺒﻨﻰ‬

‫ﻭﻴﻘﺼﺩ ﺒﻪ ﺍﻝﺘﻭﺠﻴﻪ ﺍﻝﻤﻨﺎﺴﺏ ﻝﻠﻤﺒﻨﻰ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺠﻬﺎﺕ ﺍﻷﺴﺎﺴﻴﺔ ﺃﻭ ﺍﻝﻤﻁﻠﺔ‪ .‬ﻤﻭﻗﻊ ﺍﻝﻤﺒﻨﻰ ﻓﻲ‬
‫ﺍﻝﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻨﻴﺔ ﻴﺠﺏ ﺃﻥ ﻴﺄﺨﺫ ﺒﻌﻴﻥ ﺍﻻﻋﺘﺒﺎﺭ ﺸﻜل ﻭﺍﺭﺘﻔﺎﻉ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺤﻴﻁﺔ ﺒﻬﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻤﺴـﺎﺭ‬
‫ﺍﻝﺸﻤﺱ ﻓﻲ ﺍﻝﺸﺘﺎﺀ ﻭﺍﻝﺼﻴﻑ‪ ،‬ﻤﻥ ﺃﺠل ﺘﺤﺩﻴﺩ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﻤﻅﻠﻠﺔ ﻭﺍﻝﻤﺸﻤﺴﺔ‪ .‬ﻓﻲ ﺍﻝﻤﻨﺎﺨﺎﺕ ﺍﻝﻤﻌﺘﺩﻝـﺔ‬
‫ﺍﻝﺘﻭﺠﻴﻪ ﺍﻝﻤﻔﻀل ﻫﻭ ﺒﺎﺘﺠﺎﻩ ﺸﺭﻕ ﻏﺭﺏ‪ ،‬ﺃﺴﻁﺢ ﺯﺠﺎﺠﻴﺔ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺠﻨﻭﺏ ﻭﺠـﺩﺭﺍﻥ ﻜﺎﻤﻠـﺔ ﻓـﻲ‬
‫ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﺸﻤﺎﻝﻴﺔ‪ .‬ﻓﻲ ﺍﻷﺤﻭﺍل ﺍﻝﺠﻭﻴﺔ ﺍﻷﺨﺭﻯ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻤﻔﻴﺩ ﺘﻭﺠﻴﻪ ﻤﺨﺘﻠﻑ‪.‬‬

‫ﺘﺼﻤﻴﻡ ﻭﺘﻭﺯﻴﻊ ﺍﻝﻤﺴﺎﺤﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺴﻭﻑ ﺘﺘﺒﻊ ﻨﻔﺱ ﺍﻝﻤﻨﻁﻕ ﻤﻥ ﺃﺠل ﻀـﻤﺎﻥ ﺍﻝﺭﺍﺤـﺔ‬
‫ﺍﻝﺤﺭﺍﺭﻴﺔ‪ .‬ﺒﺼﻔﺔ ﻋﺎﻤﺔ‪ ،‬ﻴﻨﺒﻐﻲ ﺃﻥ ﺘﻜﻭﻥ ﺒﺠﻬﺔ ﺍﻝﺸﻤﺎل ﺠﻤﻴﻊ ﺍﻝﺒﻴﺌﺎﺕ ﺍﻝﺘﻲ ﻻ ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﺇﻀـﺎﺀﺓ‬
‫ﺨﺎﺼﺔ‪ ،‬ﻤﺜل ﺴﻼﻝﻡ‪ ،‬ﻤﻤﺭﺍﺕ‪ ،‬ﻭﺨﺩﻤﺎﺕ‪ ،‬ﺃﻤﺎ ﺍﻝﺒﻴﺌﺎﺕ ﺍﻝﺘﻲ ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﻀﻭﺀ ﺍﻝﻨﻬﺎﺭ ﻴﻨﺒﻐﻲ ﺃﻥ ﺘﻜﻭﻥ‬
‫ﻓﻲ ﺍﻝﻭﺍﺠﻬﺔ ﺍﻝﺠﻨﻭﺒﻴﺔ‪ .‬ﻏﺭﻑ ﺍﻝﻨﻭﻡ ﻴﻨﺒﻐﻲ ﺃﻥ ﺘﻜﻭﻥ ﻤﻭﺍﺠﻬﺔ ﺇﻝﻰ ﺠﻨﻭﺏ ﺸﺭﻕ ﺃﻭ ﺠﻨﻭﺏ ﻏـﺭﺏ‪،‬‬
‫ﺍﻝﻤﻁﺒﺦ ﻋﻤﻭﻤﺎ ﺇﻝﻰ ﺠﻬﺔ ﺍﻝﺸﺭﻕ ﻷﻥ ﺍﻝﺸﻤﺱ ﺃﻗل ﺤﺭﺍﺭﺓ ﻓﻲ ﺍﻝﺼﺒﺎﺡ‪ ،‬ﻭﺘﻭﺠﻴﻪ ﺍﻝﺭﻭﺍﺌﺢ ﺇﻝﻰ ﺨﺎﺭﺝ‬
‫ﺍﻝﻤﺒﻨﻰ ﻨﻅﺭﹰﺍ ﻝﻠﺭﻴﺎﺡ ﺍﻝﺴﺎﺌﺩﺓ ﻓﻲ ﺘﻠﻙ ﺍﻝﻤﻨﺎﻁﻕ‪ .‬ﺍﻝﻤﺩﺨل ﻴﻨﺒﻐﻲ ﺍﻥ ﻴﻜﻭﻥ ﻤﺼﻤﻡ ﻝﻌﺩﻡ ﺍﻝﺴﻤﺎﺡ ﺒﺩﺨﻭل‬
‫ﺍﻝﻬﻭﺍﺀ ﺍﻝﺒﺎﺭﺩ ﻓﻲ ﻜل ﻤﺭﺓ ﻴﻔﺘﺢ ﺍﻝﺒﺎﺏ‪ ،‬ﻭﺍﻝﺘﺤﺫﻴﺭ ﻫﻭ ﻋﺩﻡ ﺘﻌﺭﻴﺽ ﺍﻝﻤﺩﺨل ﺇﻝﻰ ﺍﻝﺭﻴـﺎﺡ ﺍﻝﺒـﺎﺭﺩﺓ‬
‫‪1‬‬
‫ﺍﻝﺸﺘﻭﻴﺔ‪.‬‬

‫‪ 7.4.3.1‬ﻭﻀﻌﻴﺔ ﺍﻝﻐﺭﻑ‬

‫ﻴﺠﺏ ﻗﺩﺭ ﺍﻝﻤﺴﺘﻁﺎﻉ ﺃﻥ ﺘﺘﻭﺠﻪ ﻏﺭﻑ ﺍﻝﺠﻠﻭﺱ ﻭﺍﻝﻨﻭﻡ ﺇﻝﻰ ﺠﻬﺔ ﺍﻝﺸﻤﺱ‪ ،‬ﺃﻤﺎ ﺃﻤﻜﻨﺔ ﺍﻝﺨﺩﻤﺔ‬
‫ﻓﺈﻝﻰ ﺠﻬﺔ ﺍﻝﺸﺎﺭﻉ ﻭﻴﺠﺏ ﻋﻠﻰ ﺍﻝﻐﺭﻑ )ﺇﻻ ﻓﻲ ﺤﺎﻝﺔ ﺨﺎﺼﺔ( ﺃﻥ ﺘﻜﻭﻥ ﻤﺸﻤﺴـﺔ ﻓـﻲ ﺍﻝﺴـﺎﻋﺎﺕ‬
‫ﺍﻷﺴﺎﺴﻴﺔ ﻭﺒﺎﻻﺴﺘﻌﺎﻨﺔ ﺒﺎﻝﺠﺩﺍﻭل ﺍﻝﺸﻤﺴﻴﺔ ﻴﻤﻜﻥ ﺍﻝﺘﺤﺩﻴﺩ ﻭﺒﺸﻜل ﺩﻗﻴﻕ ﻝﻜل ﻴﻭﻡ ﻭﻝﻜل ﺴـﺎﻋﺔ ﻓـﻲ‬
‫ﺍﻝﺴﻨﺔ ﺃﻴﺔ ﺃﺠﺯﺍﺀ ﻤﻥ ﺍﻝﻐﺭﻑ ـ ﺃﻭ ﺤﺘﻰ ﻋﻥ ﻭﻀﻌﻴﺘﻬﻡ ـ ﺘﻜﻭﻥ ﻤﻀﺎﺀﺓ ﻤﻥ ﺍﻝﺸﻤﺱ‪ ،‬ﻤﻤﺎ ﻴﻤﻜـﻥ‬
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‫ﺘﻭﺠﻴﻪ ﺍﻝﺒﻨﺎﺀ‪ ،‬ﻭﺃﻴﻀﺎ ﻹﺒﻌﺎﺩﻩ ﻋﻥ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺠﺎﻭﺭﺓ ﺃﻭ ﺍﻷﺸﺠﺎﺭﻭﻏﻴﺭﻫﺎ‪.‬‬

‫‪ 1‬ﻤﻭﻗــــــﻊ ﻭﻴﻜﻴﺒﻴــــــﺩﻴﺎ‪ ،‬ﺍﻝﻤﻭﺴــــــﻭﻋﺔ ﺍﻝﺤــــــﺭﺓ‪ :‬ﺘﻭﺠﻴــــــﻪ ﺍﻝﻤﺒﻨــــــﻰ‪،‬‬

‫‪http://ar.wikipedia.org/wiki/%D8%AA%D9%88%D8%AC%D9%8A%D9%87_%D8%A7%D9‬‬
‫‪%84%D9%85%D8%A8%D9%86%D9%89‬‬
‫‪ 2‬ﻤﻭﻗــــﻊ ﻋــــﺎﻝﻡ ﺍﻻﻅﻬــــﺎﺭ ﺍﻝﻤﻌﻤــــﺎﺭﻱ‪ :‬ﺃﺴــــﺱ ﺘﺼــــﻤﻴﻡ ﺍﻝﻭﺤــــﺩﺍﺕ ﺍﻝﺴــــﻜﻨﻴﺔ‪،‬‬
‫‪http://www.3d2ddesign.com/more_architecture.php?id=28&design=8‬‬
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 ‫‪ 5.3.1‬ﻨﺴﺏ ﻤﺴﺎﺤﺔ ﺍﻝﺒﻨﺎﺀ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﺴﺎﺤﺔ ﺍﻝﻤﺤﻴﻁﺔ ﻭﻤﻭﻗﻌﻪ ﺒﻬﺎ‬

‫ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﻨﺴﺒﺔ ﻤﺴﺎﺤﺔ ﺍﻷﺭﺽ ﺍﻝﺘﻲ ﺘﻐﻁﻴﻬﺎ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﺇﻝﻰ ﺍﻝﻤﺴـﺎﺤﺔ ﺍﻝﻜﻠﻴـﺔ‬

‫ﻝﻸﺭﺽ ﺍﻝﻤﺨﺼﺼﺔ ﻝﻸﻏﺭﺍﺽ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻭﻻ ﺘﺄﺨﺫ ﺍﻻﺭﺘﻔﺎﻉ ﺒﻌﻴﻥ ﺍﻻﻋﺘﺒﺎﺭ‪ ،‬ﻭﺇﻨﻤﺎ ﺘﺸﻴﺭ ﺇﻝﻰ ﻨﺴـﺒﺔ‬
‫ﺍﻹﺸﻐﺎل‪ ،‬ﻓﻤﺜﻼ ﻋﻨﺩﻤﺎ ﺘﻐﻁﻲ ﺍﻝﻤﺒﺎﻨﻲ ‪ 40 %‬ﻤﻥ ﻤﺴﺎﺤﺔ ﺍﻷﺭﺽ ﺍﻝﻤﺨﺼﺼﺔ ﻝﻺﺴﻜﺎﻥ ﻓﻤﻌﻨﺎﻩ ﺃﻥ ‪60‬‬
‫‪%‬ﻤﻥ ﻤﺴﺎﺤﺔ ﺍﻷﺭﺽ ﻤﻔﺘﻭﺤﺔ ﻭﻤﺨﺼﺼﺔ ﻝﻼﺴﺘﻌﻤﺎﻻﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ‪ ،‬ﻭﺘﻌﺘﺒﺭ ﻤﻘﻴﺎﺴ‪‬ﺎ ﻤﺒﺩﺌﻴ‪‬ﺎ ﻝﻠﻜﺜﺎﻓـﺔ‬

‫ﺍﻝﺴﻜﺎﻨﻴﺔ‪ ،‬ﻓﻤﺜﻼ ﻴﻤﻜﻥ ﻝﻤﺒﻨﻰ ﻤﺴﺎﺤﺘﻪ ‪ 1000‬ﻡ‪ 2‬ﺃﻥ ﻴﻐﻁﻲ ﺃﺭﻀ‪‬ﺎ ﺒﻨﻔﺱ ﺍﻝﻤﺴﺎﺤﺔ ﺒﻨﺴﺒﺔ‪ 100 %‬ﺇﺫﺍ‬
‫ﻜﺎﻥ ﻁﺎﺒﻘﹰﺎ ﻭﺍﺤﺩ‪‬ﺍ‪ ،‬ﻭﺒﻨﺴﺒﺔ ‪ 50 %‬ﺇﺫﺍ ﻜﺎﻥ ﻤﻥ ﻁﺎﺒﻘﻴﻥ‪ ،‬ﻭﻫﻜﺫﺍ‪.1‬‬

‫‪ 6.3.1‬ﺍﻝﻤﻭﺍﺩ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺍﻝﺒﻨﺎﺀ‬

‫ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺃﻫﻤﻴﺔ ﺍﻝﺸﻜل ﻭﺍﻝﻜﺘﻠﺔ ﺜﻼﺜﻴﺔ ﺍﻷﺒﻌﺎﺩ ﻭﺍﻝﻔﺘﺤﺎﺕ ﻭﺍﻝﻤﺴﻁﺤﺎﺕ ﺍﻝﺯﺠﺎﺠﻴﺔ ﺘـﺄﺘﻰ‬
‫ﺜﻼﺙ ﻋﻨﺎﺼﺭ ﻫﺎﻤﺔ ﺠﺩﺍ ﻓﻲ ﺘﺼﻤﻴﻡ ﺍﻝﻤﺒﻨﻰ ﻭﻭﺍﺠﻬﺎﺘﻪ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻭﻫﻲ ﺍﺨﺘﻴﺎﺭ ﺍﻝﻤـﻭﺍﺩ ﻭﺍﻷﻝـﻭﺍﻥ‬
‫ﻭﺍﻝﻤﻠﻤﺱ ﻻﻥ ﻝﻜل ﻤﺎﺩﺓ ﻤﻠﻤﺱ ﻭﺃﻴﻀﺎ ﻝﻜل ﻤﺒﻨﻰ ﺍﻝﻤﻠﻤﺱ ﺍﻝﻤﻤﻴﺯ ﻝﻪ ﻤﺎ ﺒﻴﻥ ﺍﻝﻨﺎﻋﻡ ﻋﻨـﺩ ﺍﺴـﺘﺨﺩﺍﻡ‬

‫ﺍﻝﺯﺠﺎﺝ ﻭﺍﻝﺭﺨﺎﻡ ﻭﺍﻷﻝﻤﻨﻴﻭﻡ ﻭﻤﺎ ﺒﻴﻥ ﺍﻝﺨﺸﻥ ﻋﻨﺩ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻁﻭﺏ ﻭﺍﻝﺤﺠﺭ ﻭﺍﻝﺨﺸﺏ ﻭﻤﺎ ﺇﻝﻰ ﺫﻝﻙ‪،‬‬
‫ﻜﺫﻝﻙ ﺍﺨﺘﻴﺎﺭ ﺍﻝﻤﺴﻁﺤﺎﺕ ﻭﺍﻻﺘﺠﺎﻩ ﺍﻝﺭﺃﺴﻲ ﺃﻭ ﺍﻷﻓﻘﻲ ﺃﻭ ﺍﻝﻤﺎﺌل ﺃﻭ ﺍﻝﻤﻨﺤﻨﻲ ﻓﻲ ﺍﻻﺨﺘﻼﻑ ﻤـﺎﺒﻴﻥ‬
‫ﻤﻭﺍﺩ ﺍﻝﻭﺍﺠﻬﺔ ﺍﻝﻭﺍﺤﺩﺓ ﺘﺄﺜﻴﺭﺍﺕ ﻻ ﻨﻬﺎﻴﺔ ﻝﻬﺎ ﻭﻤﺘﻌﺩﺩﺓ ﺍﻝﺘﺄﺜﻴﺭ ﻓﻲ ﺍﻝﻭﺍﺠﻬﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﻭﺸﻜﻠﻪ‬
‫‪2‬‬
‫ﺍﻝﺨﺎﺭﺠﻲ ﺜﻼﺜﻲ ﺍﻷﺒﻌﺎﺩ ﺃﻱ ﺍﻝﻤﻨﻅﻭﺭ ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ‪.‬‬

‫ﻤﻭﻗﻊ ﺍﻝﺠﺎﻤﻌﺔ ﺍﻻﺴﻼﻤﻴﺔ – ﻏﺯﺓ‪ :‬ﺍﻝﻤﺠﺎﻭﺭﺓ ﺍﻝﺴﻜﻨﻴﺔ‪ .‬ﻤﻔﻬﻭﻤﻬﺎ ﻭﻤﺘﻁﻠﺒﺎﺘﻬﺎ‪)،2010،‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺭﺌﻴﺱ ‪:‬ﻋﻼﻡ‪ ،‬ﺃﺤﻤﺩ‪ :‬ﺘﺨﻁﻴﻁ‬ ‫‪1‬‬

‫ﺍﻝﻤــــــــﺩﻥ‪ ،‬ﺍﻝﻘــــــــﺎﻫﺭﺓ‪ ،‬ﻤﻜﺘﺒــــــــﺔ ﺍﻻﻨﺠﻠــــــــﻭ ﺍﻝﻤﺼــــــــﺭﻴﺔ‪(1991،‬‬

‫‪http://deplibrary.iugaza.edu.ps/Courses/339/Residential%20Neighborhoods.pdf‬‬
‫‪ 2‬ﻤﻭﻗـــــﻊ ﺸـــــﺒﻜﺔ ﺍﻝﻬﻨﺩﺴـــــﺔ ﺍﻝﻤﻌﻤﺎﺭﻴـــــﺔ‪ :‬ﺃﺴـــــﺱ ﺘﺼـــــﻤﻴﻡ ﺍﻝﻤﺒـــــﺎﻨﻲ‪،‬‬
‫‪http://www.ar.engineering-portal.com/showthread.php?t=6068&page=1‬‬
‫‪47‬‬
 ‫ﺸﻜل )‪ (20.1‬ﺘﺄﺜﻴﺭ ﺍﺨﺘﻼﻑ ﺍﻝﻤﻭﺍﺩ ﻋﻠﻰ ﺍﻝﻭﺍﺠﻬﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﻭﻤﻨﻅﻭﺭﻩ ﺍﻝﺨﺎﺭﺠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫‪(http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬

‫ﻤﻠﻤﺱ ﺍﻝﻤﻭﺍﺩ ﺍﻝﻅﺎﻫﺭﺓ ﻓﻲ ﺍﻝﻭﺍﺠﻬﺔ‪ :‬ﺘﻀﻡ ﺍﻝﻭﺍﺠﻬﺔ ﻜﺜﻴﺭﺍ ﻤﻥ ﺍﻝﻤﻭﺍﺩ ﺍﻝﻤﺴﺘﻌﻤﻠﺔ ﻓﻲ ﺍﻹﻨﺸـﺎﺀ‬
‫ﻝﻤﺒﺎﻨﻲ ﺍﻝﻁﻭﺏ ﺍﻷﺤﻤﺭ ﻭﺍﻷﺤﺠﺎﺭ ﻭﺍﻷﺨﺸﺎﺏ ﻭﺍﻷﻝﻤﻨﻴﻭﻡ‪ .‬ﻭﻴﻠﺯﻡ ﺩﺍﺌﻤﺎ ﺍﻨﺴﺠﺎﻡ ﻓﻴﻬـﺎ ﻤﻤـﺎ ﻴﻀـﻔﻲ‬
‫ﺍﻝﺘﻭﺍﺯﻥ ﻭﺍﻝﺠﻤﺎل ﺍﻝﻬﺎﺩﺉ ﻋﻠﻰ ﺘﻜﻭﻴﻥ ﺍﻝﻭﺍﺠﻬﺔ‪ .‬ﻴﺠﺏ ﺃﻥ ﻴﻼﺤﻅ ﺃﻥ ﺍﺴﺘﻌﻤﺎل ﻤﻭﺍﺩ ﻗﻠﻴﻠـﺔ ﺠـﺩﹰﺍ ﻓـﻲ‬

‫ﺍﻝﻭﺍﺠﻬﺔ ﻗﺩ ﻴﻘﻠل ﻤﻥ ﺘﺄﺜﻴﺭﻫﺎ ﻭﻴﺠﻌﻠﻬﺎ ﺴﻠﺒﻴﺔ ﻜﻤﺎ ﺃﻥ ﺍﻹﻓﺭﺍﻁ ﻓﻲ ﺍﺴﺘﻌﻤﺎل ﺍﻝﻤﻭﺍﺩ ﺒﺩﺭﺠﺔ ﻜﺒﻴﺭﺓ ﻗﺩ ﻴﻜﻭﻥ‬
‫‪1‬‬
‫ﻤﻨﻔﺭﹰﺍ ﻭﻴﻤﻴل ﺒﺎﻝﻭﺍﺠﻬﺔ ﺇﻝﻰ ﺍﻻﺒﺘﺫﺍل‪.‬‬

‫‪ 1‬ﺍﻷﺴـــﻁل‪ ،‬ﺃﺤﻤـــﺩ‪ :‬ﺍﻝﺘﺼـــﻤﻴﻡ ﺍﻝﻤﻌﻤـــﺎﺭﻱ ﻝﻠﻭﺍﺠﻬـــﺎﺕ‪ ،‬ﺍﻝﺠﺎﻤﻌـــﺔ ﺍﻻﺴـــﻼﻤﻴﺔ‪،2008 ،‬‬

‫‪http://site.iugaza.edu.ps/aelastal/files/2010/02/Elevation.Design.pdf‬‬
‫‪48‬‬
 ‫ﺸﻜل )‪ (21.1‬ﺼﻭﺭ ﺘﻅﻬﺭ ﺘﻨﻭﻉ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ ﻓﻲ ﺍﻝﻭﺍﺠﻬﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﺎﻨﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪http://arabic.alibaba.com/product-gs-img/hollow-structure-exterior-terracotta- :‬‬
‫‪(cladding-panel-553640947.html‬‬

‫ﺸﻜل )‪ (22.1‬ﺼﻭﺭﺓ ﺘﻅﻬﺭ ﺘﻨﻭﻉ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻷﻝﻭﺍﻥ ﻭﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ ﻓﻲ ﺍﻝﻭﺍﺠﻬﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﺴﻜﻨﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://avb.s-oman.net/showthread.php?t=1547734 :‬‬

‫‪49‬‬
 ‫ﺸﻜل )‪ (23.1‬ﺼﻭﺭﺓ ﺘﻅﻬﺭ ﺤﺎﻝﺔ ﺍﻻﺘﺯﺍﻥ ﻭﺍﻝﺘﻨﺎﺴﻕ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻡ ﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://site.iugaza.edu.ps/aelastal/files/2010/02/Elevation.Design.pdf :‬‬

‫‪ 7.3.1‬ﻭﺼل ﺍﻝﻔﺭﺍﻍ ﺍﻝﺨﺎﺭﺠﻲ ﺒﺎﻝﻤﺒﻨﻰ‪) :‬ﺍﻝﻔﻴﻼ ﻨﻤﻭﺫﺠﹰﺎ(‬

‫ﺍﺘﺼﺎل ﺍﻝﻤﺒﻨﻰ ﺒﺎﻝﻁﺒﻴﻌﺔ‪ :‬ﻫﻭ ﺨﻠﻕ ﺘﻭﺍﺯﻥ ﻭﺘﺠﺎﺫﺏ ﺒﻴﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻁﺒﻴﻌﺔ ﻭﺍﻝﻜﺘﻠـﺔ ﺍﻝﻤﺒﻨﻴـﺔ‪،‬‬
‫ﺒﺎﻨﺴﺠﺎﻡ ﻁﺒﻴﻌﻲ ﺴﻭﺍﺀ ﻓﻲ ﺸﻜل ﺍﻝﻤﺒﻨﻰ‪ ،‬ﺃﻭ ﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ‪ ،‬ﺃﻭ ﺃﻝﻭﺍﻥ ﺍﻝﻤﺒﻨﻰ‪.‬‬

‫ﻭﻴﺸﻴﺭ ﻋﻤﺭ ﻋﻨﺒﻭﺴﻲ ﻨﻘﻼ ﻋﻥ "ﺭﻭﺒﺭﺕ ﻓﻴﻨﺘﻭﺭﻱ" ﻓﻲ ﻜﺘﺎﺒﻪ )ﺍﻝﺘﻌﻘﻴـﺩ ﻭﺍﻝﺘﻨـﺎﻗﺽ ﻓـﻲ‬
‫ﺍﻝﻌﻤﺎﺭﺓ‪ (1987،‬ﺇﻝﻰ ﺃﻥ ﺃﻜﺜﺭ ﺇﺴﻬﺎﻤﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺤﺩﻴﺜﺔ ﺠﺭﺃﺓ ﻤـﺎ ﺴـﻤﻲ )ﺍﻝﻔـﺭﺍﻍ ﺍﻝﻤﻨﺴـﺎﺏ(‬
‫)‪ (Flowing space‬ﺍﻝﺫﻱ ﺍﺴﺘﺨﺩﻡ ﻝﺘﺤﻘﻴﻕ ﺍﻻﺴﺘﻤﺭﺍﺭﻴﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ‪ ،‬ﻭﺍﻋﺘﺒﺭ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ‬
‫‪1‬‬
‫ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﻭﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺤﻴﻁﺔ ﺒﻪ ﺇﺤﺩﻯ ﺃﻫﻡ ﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﺘﻲ ﺘﻨﺎﻭﻝﺘﻬﺎ ﻋﻤﺎﺭﺓ ﺍﻝﺤﺩﺍﺜﺔ‪.‬‬

‫ﻴﻤﻜﻥ ﺍﺴﺘﻐﻼل ﻤﺴﻁﺢ ﺍﻷﺭﺽ ﻜﺎﻤﻼ ﻝﻠﻐﺭﺽ ﺍﻝﻤﻌﻴﺸﻲ ﻭﺠﻌل ﺃﻀﻴﻕ ﺍﻝﻤﺴﻁﺤﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬
‫ﺘﺒﺩﻭ ﺃﻜﺜﺭ ﺍﺘﺴﺎﻋﺎ ﻝﻭ ﺃﻤﻜﻨﻨﺎ ﺇﺤﺩﺍﺙ ﺍﺘﺼﺎل ﺒﻴﻨﻬﺎ ﻭﺒﻴﻥ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ‪.‬‬

‫ﺇﻥ ﺍﻝﻤﺴﻁﺤﺎﺕ ﺍﻝﻤﻌﻴﺸﻴﺔ ﺍﻝﻤﻀﺎﻓﺔ ﻓﻲ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻔﻴﻼ ﻫﻲ ﺃﻗل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻴﺸﻴﺔ‬

‫ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﻴﻭﻓﺭﻫﺎ ﺍﻝﺘﺼﻤﻴﻡ ﻓﻲ ﺍﻝﺘﻜﻠﻔﺔ‪ .‬ﻭﻝﺨﻠﻕ ﺍﻻﺘﺼﺎل ﺒﻴﻥ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺍﻝﻔﻴﻼ ﻭﺍﻝﻤﻨﻅﺭ‬

‫ﻋﻴﻨﺒﻭﺴﻲ‪ ،‬ﻋﻤﺭ ﺠﻼل ﺤﻔﻅﻲ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺩﺍﺨﻠﻲ ﺒﻴﻥ ﺘﻌﺩﺩﻴﺔ ﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﻔﻜﺭﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸـﺭﻴﻥ‪،2012 ،‬‬ ‫‪1‬‬

‫ﺹ ‪79‬‬
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‫ﺍﻝﺠﻤﺎﻝﻲ ﻝﻠﻁﺒﻴﻌﺔ ﺨﺎﺭﺠﻬﺎ ﻴﻤﻜﻨﻨﺎ ﺍﺴﺘﻐﻼل ﺍﻝﻨﻭﺍﻓﺫ ﺍﻝﺯﺠﺎﺠﻴﺔ ﺫﺍﺕ ﺍﻝﻤﺴﻁﺤﺎﺕ ﺍﻝﻜﺒﻴﺭﺓ ﻤـﻊ ﻀـﻤﺎﻥ‬
‫ﻋﻭﺍﻤل ﺍﻝﻌﺯل ﻭﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺍﻷﻤﺎﻥ ﻭﻏﻴﺭﻫﺎ‪ .‬ﻜﻤﺎ ﻴﻤﻜﻨﻨﺎ ﻤﻌﺎﻝﺠﺔ ﺍﻝﻤﻨﺎﺯل ﺍﻝﻤﻁﻠﺔ ﻋﻠﻰ ﺸـﻭﺍﺭﻉ‬

‫ﻤﺯﺩﺤﻤﺔ ﺒﺠﻌل ﺍﻝﺘﺼﻤﻴﻡ ﻴﻁل ﻋﻠﻰ ﺍﻝﺩﺍﺨل ﺒﺼﻭﺭﺓ ﺭﺌﻴﺴﻴﺔ ﻤﻊ ﺍﺴﺘﻌﻤﺎل ﺃﻗل ﻋﺩﺩ ﻤـﻥ ﺍﻝﻔﺘﺤـﺎﺕ‬
‫‪1‬‬
‫ﻭﺒﻤﺴﻁﺤﺎﺕ ﺼﻐﻴﺭﺓ ﻋﻠﻰ ﺍﻝﻭﺍﺠﻬﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ‪.‬‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﺹ ‪292-289‬‬ ‫‪1‬‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ‬

‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﺴﻜﻨﻲ‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ‬

‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﺴﻜﻨﻲ‬

‫‪ 1.2‬ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫‪ 1.1.2‬ﻤﻔﻬﻭﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫ﺇﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺨﻁﻴﻁ ﻭﺍﻝﺘﺼﻤﻴﻡ ﻝﻔﺭﺍﻏﺎﺕ ﻤﻥ ﺼﻨﻊ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻫﻲ ﺠﺯﺀ ﻤﻥ ﻋﻤﻠﻴﺔ ﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺒﻴﺌﺔ ﺍﻝﺘﻲ ﻴﺸﻐﻠﻬﺎ ﻫﺫﺍ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﻋﻠﻰ ﻫﺫﺍ ﻓﺎﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻭﺒﺤﺴﺏ ﻤﺎ ﺫﻜﺭ ﻓـﻲ ﺍﻝﻤﻭﺴـﻭﻋﺔ‬

‫ﺍﻝﺒﺭﻴﻁﺎﻨﻴﺔ )‪ ،(Encyclopedia Britannica 2007‬ﻫﻲ ﺠﺯﺀ ﻤﻥ ﻤﻔﻬﻭﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺒﺸﻜل ﻋـﺎﻡ‪،‬‬

‫ﻭﻤﻊ ﺃﻥ ﻨﺯﻋﺔ ﺍﻹﻨﺴﺎﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺠﻤﻴﻠﺔ‪ ،‬ﻫﻲ ﻗﺩﻴﻤﺔ ﻗﺩﻡ ﺍﻝﺤﻀﺎﺭﺍﺕ ﻨﻔﺴﻬﺎ‪ ،‬ﺇﻻ ﺃﻥ ﻤﺠﺎﻻﺕ ﺍﻝﻌﻤـﺎﺭﺓ‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﺤﺩﻴﺜﺔ ﻨﺴﺒﻴﹰﺎ‪.‬‬

‫ﻭﻴﻨﻅﺭ ﻗﺩﻴﻤﹰﺎ ﺇﻝﻰ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻋﻠﻰ ﺃﻨﻬﺎ ﻋﻤﻠﻴﺔ ﺘﺯﻴﻴﻥ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ)‪(Decorating‬‬
‫ﺃﻭ )‪ ،(Decoration‬ﺒﻌﻴﺩﺍ ﻋﻥ ﻋﻤﻠﻴﺔ ﺘﺼﻤﻴﻡ ﺸﻜل ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻭﺍﻝﺘﻲ ﻜﺎﻨﺕ ﻏﺎﻝﺒﹰﺎ ﻤﺎ ﺘﺘﺭﻙ ﻝﻠﻤﻌﻤﺎﺭﻱ‪،‬‬
‫ﻓﺈﻥ ﺍﻝﻤﻔﻬﻭﻡ ﺍﻝﺘﺯﻴﻴﻨﻲ ﻅل ﺴﺎﺌﺩﹰﺍ ﻝﻔﺘﺭﺓ ﻁﻭﻴﻠﺔ ﺘﻤﺘﺩ ﺇﻝﻰ ﺒﺩﺍﻴﺔ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،‬ﺤﻴﺙ ﻴﻌﻨﻰ ﺍﻝﻤﺼﻤﻡ‬

‫ﺍﻝﺩﺍﺨﻠﻲ ﺒﺎﻝﺘﺯﻴﻴﻨﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻥ ﺠﺩﺭﺍﻥ‪ ،‬ﻭﺃﺭﻀﻴﺎﺕ‪ ،‬ﻭﺃﺴﻘﻑ‪ ،‬ﻭﺃﺜﺎﺙ‪ ،‬ﻭﻏﻴﺭﻫﺎ‪ ،‬ﺒﻤﺎ ﻴﺸﻜل ﻨﻤﻭﺫﺠﺎ‬
‫ﻤﺘﺄﻝﻘﹰﺎ‪.‬‬

‫ﻭﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪" ،‬ﺃﺼﺒﺤﺕ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺘﺨﺼﺼﹰﺎ ﻓﻨﻴﹰﺎ ﻴﺴﺘﻨﺩ ﺇﻝﻰ ﻤﺠﻤﻭﻋﺔ ﻤـﻥ‬

‫ﺍﻝﻘﻭﺍﻋﺩ ﻭﺍﻝﻨﻅﻡ ﻭﺍﻝﻌﻠﻭﻡ‪ ،‬ﻭﺘﻨﻁﻭﻱ ﻋﻠﻰ ﻋﻤﻠﻴﺔ ﻝﺘﻬﻴﺌﺔ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ ﺨﻼل ﺩﺭﺍﺴﺔ ﻭﻅﺎﺌﻑ ﻫﺫﺍ‬
‫ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻭﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺎﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻷﺨﺭﻯ‪ ،‬ﻭﻤﻥ ﺜﻡ ﺩﺭﺍﺴﺔ ﺍﻷﺴﺱ ﻭﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﺘـﻲ‬
‫ﺴﻴﻌﺒﺭ ﻋﻨﻬﺎ ﺍﻝﻤﺼﻤﻡ ﻓﻲ ﺼﻴﺎﻏﺘﻪ ﺍﻝﺘﺸﻜﻴﻠﻴﺔ ﻝﻤﺤﺘﻭﻴﺎﺕ ﻫﺫﺍ ﺍﻝﻔﺭﺍﻍ‪ ،‬ﺒﻤﺎ ﻴﻨﺴﺠﻡ ﻤﻊ ﻁﺭﺍﺯ ﻤﻌﻴﻥ‪ ،‬ﺃﻭ‬
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‫ﺭﺅﻴﺔ ﻓﻨﻴﺔ ﻤﺤﺩﺩﺓ ﻝﻠﺘﺼﻤﻴﻡ‪.‬‬

‫ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،‬ﺤﺴﺎﻡ‪ ،‬ﺭﺴﺎﻝﺔ ﺩﻜﺘﻭﺭﺍﻩ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻤﺸـﻕ‪،‬‬ ‫‪1‬‬

‫‪ ،2009‬ﺹ ‪17‬‬
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‫ﻭﻋﻤﻭﻤﹰﺎ ﺘﻌﺭﻑ ﺍﻝﻤﺠﻤﻭﻋﺔ ﺍﻷﻤﺭﻴﻜﻴـﺔ ﻝﻠﻤﺼـﻤﻤﻴﻥ ﺍﻝـﺩﺍﺨﻠﻴﻴﻥ ‪(ASID American‬‬
‫)‪ Society Of Interior Designers‬ﺍﻝﻌﻤـﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴـﺔ ﺃﻭ ﺍﻝﺘﺼـﻤﻴﻡ ﺍﻝـﺩﺍﺨﻠﻲ ‪Interior‬‬

‫)‪ (Design‬ﺒﺄﻨﻪ‪" :‬ﺘﺨﺼﺹ ﻤﺘﻌﺩﺩ ﺍﻷﻭﺠﻪ ﻴﻘﻭﻡ ﻋﻠﻰ ﺒﻨﻴﺔ ﺘﺠﻤﻊ ﻤﺎ ﺒﻴﻥ ﺍﻹﺒﺩﺍﻉ ﻭﺍﻝﺤﻠﻭل ﺍﻝﺘﻘﻨﻴـﺔ‬
‫ﺒﻬﺩﻑ ﺘﺤﻘﻴﻕ ﺒﻴﺌﺔ ﻝﻔﺭﺍﻍ ﺩﺍﺨﻠﻲ‪ ،‬ﻭﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻝﺤﻠﻭل ﻭﻅﻴﻔﻴﺔ‪ ،‬ﻭﺘﻬﺩﻑ ﺇﻝﻰ ﺘﺤﺴﻴﻥ ﻨﻭﻋﻴﺔ ﺍﻝﺤﻴـﺎﺓ‬
‫ﻭﺍﻝﺜﻘﺎﻓﺔ ﻝﺸﺎﻏﻠﻲ ﻫﺫﺍ ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻜﻤﺎ ﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻝﺤﻠﻭل ﺠﻤﺎﻝﻴﺔ ﻭﺠﺫﺍﺒﺔ"‪ .‬ﻜﻤﺎ ﻭﻴﻭﺭﺩ ﻝﻨﺎ ﻴﻭﺴﻑ ﺨﻨﻔﺭ‬

‫ﻓﻲ ﻜﺘﺎﺒﻪ ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺘﻌﺭﻴﻔﹰﺎ ﻝﻠﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺄﻨﻪ‪" :‬ﺍﻻﺒﺘﻜﺎﺭ ﻭﺍﻝﺨﻠﻕ ﺃﻭﻻﹰ‪ ،‬ﻭﺍﻹﻅﻬﺎﺭ‬
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‫ﻭﺍﻝﺘﻨﻔﻴﺫ ﺜﺎﻨﻴﺎ‪ ،‬ﺇﻨﻪ ﺇﺨﺭﺍﺝ ﻭﺘﺠﺴﻴﺩ ﻝﻤﺎ ﻴﻜﻭﻥ ﻓﻲ ﺍﻝﻨﻔﺱ ﻭﺍﻝﻤﺨﻴﻠﺔ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﺍﻝﻬﺩﻑ ﺍﻝﻤﻘﺼﻭﺩ"‪.‬‬

‫ﺸﻜل )‪ (1.2‬ﻨﻤﻭﺫﺠﻴﻥ ﻤﺨﺘﻠﻔﻴﻥ ﻝﻠﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻠﻰ ﻓﺘﺭﺍﺕ ﺯﻤﻨﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://vb.n4hr.com/65584.html :‬‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.newmodernfurnitures.com/2013/12/blog-post_6554.html :‬‬

‫ﻭﻫﻨﺎ ﺃﺭﻯ ﺒﺄﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻫﻭ‪ :‬ﻓﻥ ﻤﻌﺎﻝﺠﺔ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺒﻜﺎﻓﺔ ﺃﺒﻌﺎﺩﻩ ﺒﻁﺭﻴﻘﺔ ﻴﺘﻡ‬
‫ﻓﻴﻬﺎ ﺍﺴﺘﻐﻼل ﺠﻤﻴﻊ ﻤﻌﻁﻴﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﻋﻠﻰ ﻨﺤﻭ ﻭﻅﻴﻔﻲ ﺠﻤﺎﻝﻲ‪ ،‬ﻜﻤﺎ ﺘﻌﺘﺒﺭ ﺒﺄﻨﻪ ﺍﻹﺩﺭﺍﻙ ﺍﻝﻭﺍﺴﻊ‬

‫ﻝﻠﻌﻨﺎﺼﺭ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺘﻔﺎﺼﻴﻠﻬﺎ ﻜﺎﻓﺔ‪ ،‬ﺨﺎﺼﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻨﻬﺎ‪ ،‬ﻭﻝﻠﺨﺎﻤﺎﺕ ﻭﻤﺎﻫﻴﺘﻬﺎ ﻭﻜﻴﻔﻴﺔ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ‪،‬‬
‫ﻭﻫﻭ ﺍﻝﻤﻌﺭﻓﺔ ﺍﻝﻭﺍﻓﻴﺔ ﺒﺎﻷﺜﺎﺙ ﻭﻤﻘﺎﻴﻴﺴﻪ ﻭﺘﻭﺯﻴﻌﻪ ﻓﻲ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺤﺴﺏ ﺃﻏﺭﺍﻀﻪ‪ ،‬ﻭﻜﻴﻔﻴـﺔ‬
‫ﺍﺴﺘﻌﻤﺎﻝﻪ ﻭﺍﺨﺘﻴﺎﺭﻩ ﻭﻭﻀﻌﻪ ﻓﻲ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻤﻨﺎﺴﺏ‪ ،‬ﻭﻜﺫﻝﻙ ﺍﻝﻤﻌﺭﻓﺔ ﺒﺎﻝﻌﻨﺎﺼـﺭ ﺍﻝﺘﻜﻤﻴﻠﻴـﺔ ﺍﻝﻼﺯﻤـﺔ‬

‫ﻝﻠﺘﺼﻤﻴﻡ ﻜﺎﻹﻀﺎﺀﺓ ﻭﺍﻷﻝﻭﺍﻥ ﻭﺘﻭﺯﻴﻌﻬﺎ ﻭﺘﻨﺴﻴﻘﻬﺎ‪ ،‬ﻭﺍﻹﻜﺴﺴﻭﺍﺭﺍﺕ ﺍﻝﻤﺘﻌﺩﺩﺓ ﺍﻷﺨﺭﻯ ﺍﻝﻼﺯﻤﺔ ﻝﻠﻔﻀﺎﺀ‬

‫ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،‬ﺤﺴﺎﻡ‪ :‬ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،2009 ،‬ﺹ ‪17‬‬ ‫‪1‬‬

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‫ﻭﺼﻭﻻ ﻝﻤﻌﺎﻝﺠﺔ ﺍﻝﺼﻌﻭﺒﺎﺕ ﺍﻝﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﻜﺎﻓﺔ ﻭﺴﻬﻭﻝﺔ ﺍﺴﺘﺨﺩﺍﻡ ﻤﺎ ﻴﺸﺘﻤل ﻋﻠﻴﻪ ﻤﻥ ﺃﺜﺎﺙ‬
‫ﻭﺘﺠﻬﻴﺯﺍﺕ ﻭﺠﻌل ﻫﺫﺍ ﺍﻝﻔﻀﺎﺀ ﻤﺭﻴﺤﹰﺎ ﻤﻤﺘﻌﹰﺎ ﺒﻬﻴﺠﹰﺎ‪.‬‬

‫‪ 2.1.2‬ﺘﺎﺭﻴﺦ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻁﻭﺭ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫ﻤﻨﺫ ﺃﻥ ﺨﹸﻠﻕ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﻫﻭ ﻴﺴﻌﻰ ﻨﺤﻭ ﺇﻴﺠﺎﺩ ﺍﻝﻤﻼﺫ ﻭﺍﻝﻤﺄﻤﻥ ﺍﻝﺫﻱ ﻴﻘﻴﻪ ﻤﻥ ﻋﻭﺍﻤل ﺍﻝﻁﺒﻴﻌﺔ‬
‫ﺍﻝﻤﺨﺘﻠﻔﺔ ﻭﻤﻨﺫ ﺘﻭﺍﺠﺩﻩ ﻓﻲ ﺍﻝﻜﻬﻭﻑ ﻭﺍﻝﺒﻴﻭﺕ ﺍﻝﻘﺩﻴﻤﺔ ﻋﻠﻰ ﺍﺨﺘﻼﻑ ﺃﺸﻜﺎﻝﻬﺎ ﻭﺃﻨﻭﺍﻋﻬﺎ‪ ،‬ﺒﺩﺃﺕ ﺘﻅﻬـﺭ‬

‫ﺩﻭﺍﻓﻊ ﻫﺫﺍ ﺍﻹﻨﺴﺎﻥ ﻨﺤﻭ ﺘﻨﻅﻴﻡ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺫﻱ ﻴﻌﻴﺵ ﻓﻴﻪ ﻭﺘﺯﻴﻴﻨﻪ ﺒﻤﺨﺘﻠﻑ ﺍﻝﺭﺴﻭﻡ ﺍﻝﺘـﻲ ﻨﻘـل ﻤـﻥ‬
‫ﺨﻼﻝﻬﺎ ﻤﺸﺎﻫﺩﺍﺘﻪ ﺍﻝﻴﻭﻤﻴﺔ‪ ،‬ﻭﻨﻤﻁ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﻌﻴﺸﻬﺎ‪ ،‬ﻭﻤﻊ ﺒﺩﺀ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻘﺩﻴﻡ ﺒﺒﻨـﺎﺀ ﻤﺴـﻜﻨﻪ‬
‫ﺍﻝﺨﺎﺹ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺍﻝﻤﻭﺍﺩ ﺍﻝﻤﺘﺎﺤﺔ ﻤﻥ ﻁﻴﻥ ﻭﺤﺠﺭ ﻭﻤﻭﺍﺩ ﺃﺨﺭﻯ‪ .‬ﻓﺈﻨﻨﺎ ﻨﺸﻬﺩ ﺒﺩﺍﻴﺔ ﺼﻴﺎﻏﺔ ﺍﻹﻨﺴﺎﻥ‬

‫ﻝﻌﻤﺎﺭﺘﻪ ﻭﺴﻌﻴﻪ ﻨﺤﻭ ﺘﻁﻭﻴﺭ ﺘﻠﻙ ﺍﻝﻌﻤﺎﺭﺓ ﻭﻓﺭﺍﻏﺎﺘﻬﺎ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﻅﻴﻔﻴﹰﺎ ﻭﺠﻤﺎﻝﻴﺎﹰ‪ ،‬ﻭﻋﻤﻭﻤﹰﺎ ﻓﻘﺩ ﺍﺘﺨﺫﺕ‬
‫ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺒﺩﺍﻴﺘﻬﺎ ﻁﺎﺒﻌﺎ ﺘﺯﻴﻨﻴﹰﺎ ﻝﻠﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺸﻜل ﻋﺎﻡ ﺃﻜﺜﺭ ﻤﺎ ﻴﻜﻭﻥ ﺘﻨﻅﻴﻤﻴﹰﺎ ﻓﻌﻠـﻰ‬
‫ﺴﺒﻴل ﺍﻝﻤﺜﺎل ﺍﺴﺘﻌﻤل ﺍﻝﻁﺎﺒﻭﻕ ﺍﻝﻤﺯﺠﺞ ﻓﻲ ﺒﻼﺩ ﺍﻝﺭﺍﻓﺩﻴﻥ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﺤﻴﺎﺘﻴﺔ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻨﻘـﻭﺵ‬

‫ﺍﻝﺒﺎﺭﺯﺓ ﺍﻝﺘﻲ ﻝﻭﻨﺕ ﺒﻁﻼﺀ ﺨﺯﻓﻲ ﺫﻱ ﺃﻝﻭﺍﻥ ﺠﺫﺍﺒﺔ‪ ،‬ﻜﻤﺎ ﺍﺴﺘﻌﻤل ﺍﻝﻨﻘﺵ ﺍﻝﻤﻠﻭﻥ ﻝﺘـﺯﻴﻴﻥ ﺠـﺩﺭﺍﻥ‬
‫ﺍﻝﻤﻌﺎﺒﺩ ﻭﺍﻝﻘﺒﻭﺭ ﻓﻲ ﻤﺼﺭ ﺍﻝﻘﺩﻴﻤﺔ‪ ،‬ﻭﻜﺎﻥ ﺍﻝﺭﻭﻤﺎﻥ ﻴﻘﻭﻤﻭﻥ ﺒﺘﺯﻴﻴﻥ ﺍﻝﺠﺩﺭﺍﻥ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﻘﻁﻊ ﻫﻨﺩﺴﻴﺔ‬
‫ﻤﻥ ﺍﻝﺭﺨﺎﻡ ﺍﻝﻤﻠﻭﻥ‪ ،‬ﻭﺃﻤﺎ ﺍﻝﺒﻴﺯﻨﻁﻴﻭﻥ ﻓﻨﺤﻭﺍ ﺇﻝﻰ ﺍﺴﺘﻌﻤﺎل ﺍﻝﺼﻭﺭ ﺍﻝﺠﺩﺍﺭﻴﺔ‪ ،‬ﻭﺍﻷﻴﻘﻭﻨـﺎﺕ ﺍﻝﻤﻨﻔـﺫﺓ‬

‫ﺒﺘﻘﻨﻴﺎﺕ ﺍﻝﻔﺴﻴﻔﺴﺎﺀ ﻭﺍﻝﻔﺭﻴﺴﻙ ﻓﻲ ﺘﺯﻴﻴﻥ ﺠﺩﺭﺍﻥ ﺍﻝﻜﻨﺎﺌﺱ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻜـﺫﻝﻙ ﺍﺴـﺘﻌﻤﻠﺕ ﺍﻝﺯﺨـﺎﺭﻑ‬
‫ﺍﻝﺠﺼﻴﺔ ﺇﻝﻰ ﺠﺎﻨﺏ ﺍﻝﻔﺴﻴﻔﺴﺎﺀ ﻭﺍﻝﺭﺨﺎﻡ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﻜﻤﺎ ﺘﻡ ﺍﺴـﺘﻌﻤﺎل ﺍﻝﺨـﻁ ﺍﻝﻌﺭﺒـﻲ‬
‫ﻭﺨﺼﻭﺼﹰﺎ ﺍﻝﺨﻁ ﺍﻝﻜﻭﻓﻲ ﺍﻝﻬﻨﺩﺴﻲ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﺴﺘﻌﻤﺎل ﺒﻼﻁﺎﺕ ﺍﻝﺨﺯﻑ ﺍﻝﻤﻠﻭﻥ ﻭﻏﻴﺭﻫـﺎ ﻤـﻥ‬

‫ﺍﻷﻤﺜﻠﺔ‪.‬‬

‫ﺇﻥ ﻫﺫﺍ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺘﺯﻴﻴﻨﻲ ﻝﻠﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻝﻡ ﻴﻘﺘﺼﺭ ﻋﻠﻰ ﺍﻝﺠﺩﺭﺍﻥ ﻭﺍﻝﺴﻘﻑ ﻭﺍﻷﺭﻀـﻴﺎﺕ‬
‫ﻓﻘﻁ‪ ،‬ﺒل ﺘﻌﺩﺍﻩ ﻝﻴﺸﻤل ﺘﺼﻤﻴﻡ ﻗﻁﻊ ﺍﻷﺜﺎﺙ ﻭﺯﺨﺭﻓﺘﻬﺎ‪ ،‬ﻓﻘﺩ ﺍﺴﺘﻌﻤﻠﻪ ﺍﻝﻘﺩﻤﺎﺀ ﻝﺘﺠﻤﻴل ﺃﺜﺎﺜﻬﻡ ﻭﺴـﺎﺌل‬

‫ﻤﺨﺘﻠﻔﺔ ﺘﺫﻜﺭ ﻤﻨﻬﺎ ﺃﻋﻤﺎل ﺍﻝﺤﻔﺭ ﻭﺍﻝﺘﻁﻌﻴﻡ‪ ،‬ﻭﺃﻋﻤﺎل ﺍﻝﻨﻘﺵ‪ ،‬ﻭﺍﻝﺘﺫﻫﻴﺏ‪ ،‬ﻜﺫﻝﻙ ﺍﺴﺘﻌﻤﻠﻭﺍ ﺍﻝﺯﺨـﺎﺭﻑ‬
‫ﺍﻝﻤﻌﺩﻨﻴﺔ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺭﺨﺎﻡ‪.‬‬

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‫ﻭﻓﻲ ﺃﻭﺍﺨﺭ ﺍﻝﻘﺭﻥ ﺍﻝﺜﺎﻤﻥ ﻋﺸﺭ ﻭﺒﺩﺍﻴﺔ ﺍﻝﻘﺭﻥ ﺍﻝﺘﺎﺴﻊ ﻋﺸﺭ ﺒﺩﺃﺕ ﺘﻅﻬﺭ ﻤﺩﺍﺭﺱ ﻭﺍﺘﺠﺎﻫﺎﺕ‬
‫ﻝﻠﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻨﺤﺕ ﺇﻝﻰ ﺍﻋﺘﻤﺎﺩ ﻤﺒﺎﺩﺉ ﻭﺃﺴﺱ ﻝﺘﺯﻴﻴﻥ ﻭﺘﻨﻅﻴﻡ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻭﺫﻝﻙ ﻜﺠﺯﺀ ﻤﻥ‬

‫ﺘﻜﻭﻴﻥ ﺍﻝﺸﻜل ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﻌﺎﻡ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻭﺒﺫﻝﻙ ﻅﻬﺭ ﻤﺎ ﻴﻌﺭﻑ ﺒﺎﻝﻌﻤﺎﺭﺓ ﺍﻻﻨﺘﻘﺎﺌﻴﺔ ﺍﻝﺘﻲ ﻴﺠﺭﻱ ﻓﻴﻬـﺎ‬
‫ﺍﺨﺘﻴﺎﺭ ﻤﺩﺍﺭﺱ ﻭﻁﺭﺯ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﻤﻊ ﺒﺩﺍﻴﺔ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ ﻅﻬﺭﺕ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻤﺩﺍﺭﺱ ﻭﺍﻻﺘﺠﺎﻫﺎﺕ‬
‫ﻭﺍﻝﺤﺭﻜﺎﺕ ﺍﻝﻔﻨﻴﺔ ﺍﻝﺤﺩﻴﺜﺔ‪ ،‬ﻭﻤﻊ ﺘﻁﻭﺭ ﻭﺘﻘﺩﻡ ﺍﻝﻌﻠﻭﻡ‪ ،‬ﻭﺍﻝﺘﻲ ﺃﺘﺕ ﺒﺎﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻤﺭﺘﺒﻁـﺔ‬

‫ﺒﺴﻠﻭﻙ ﺍﻝﻔﺭﺩ ﻭﻨﺸﺎﻁﻪ ﺍﻝﻔﻴﺴﻴﻭﻝﻭﺠﻲ ﻀﻤﻥ ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻓﻘﺩ ﺃﺼﺒﺢ ﻝﻠﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻔﻬﻭﻤﻬﺎ ﺍﻝﺤـﺩﻴﺙ‬
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‫ﻭﺍﻝﺨﺎﺹ‪ ،‬ﻭﺍﻝﺫﻱ ﻴﺘﺤﺩﺩ ﻤﻥ ﺨﻼل ﺃﺴﺱ ﻭﻤﺒﺎﺩﺉ ﻗﻴﺎﺴﻴﺔ‪.‬‬

‫ﺇﻥ ﺘﻁﻭﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺘﺄﺜﻴﺙ ﻜﺎﻥ ﻭﻻ ﻴﺯﺍل ﻤﺭﻫﻭﻨﹰﺎ ﺒﻌﻤﻠﻴﺔ ﺘﻁﻭﺭ ﺍﻝﻔﻜﺭ ﺍﻹﻨﺴﺎﻨﻲ ﻓﻲ‬

‫ﻨﻭﺍﺤﻲ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﻗﺩ ﻤﺭﺕ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺒﺸﻜل ﻋﺎﻡ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﻤﺭﺍﺤـل ﻋﺩﻴـﺩﺓ‬
‫ﻀﻤﻥ ﺍﻝﺤﻘﺏ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ‪ ،‬ﻭﻗﺩ ﺃﺩﻯ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻌﻭﺍﻤل ﺇﻝﻰ ﺘﻤﻴﺯ ﻭﺒﻠﻭﺭﺓ ﻜل ﻤﺭﺤﻠﺔ ﻭﻤﻥ ﺒـﻴﻥ ﻫـﺫﻩ‬
‫ﺍﻝﻌﻭﺍﻤل‪:‬‬

‫‪ -1‬ﺍﻝﻌﻭﺍﻤل ﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﺩﻴﻨﻴﺔ ﻤﺜل ﺍﻝﺤﺭﻜﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﻤﻌﻤﺎﺭﻴﺔ )ﺍﻝﻁﺭﺯ ﻭﺍﻝﺘﻴﺎﺭﺍﺕ(‪.‬‬

‫‪ -2‬ﺍﻝﻌﻭﺍﻤل ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴﺔ )ﺍﻝﻌﻠﻤﻴﺔ ﻭﺍﻝﺼﻨﺎﻋﻴﺔ( ﺤﻴﺙ ﺘﺅﺜﺭ ﺍﻝﺘﻁﻭﺭﺍﺕ ﺍﻝﺤﺩﻴﺜﺔ ﻓﻲ ﺍﻝﺘﺼﻨﻴﻊ ﻋﻠﻰ ﺠﻤﻴﻊ‬
‫ﻤﻜﻭﻨﺎﺕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻤﻥ ﻤﻭﺍﺩ ﻭﺃﻝﻭﺍﻥ ﻭﺃﺜﺎﺙ ﻭﺃﻨﻅﻤﺔ ﺨﺩﻤﻴﺔ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫‪ -3‬ﺍﻝﻌﻭﺍﻤل ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﻜﺎﻓﺔ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﻲ ﺘﻁﺭﺃ ﻋﻠﻰ ﺍﻝﻔﻜﺭ ﺍﻹﻨﺴﺎﻨﻲ ﻭﻁﺭﻴﻘﺔ ﻓﻬﻤﻪ ﻝﻠﺤﻴﺎﺓ ﻓـﻲ‬
‫ﻜل ﺤﻘﺒﺔ ﺯﻤﻨﻴﺔ‪.‬‬

‫‪ -4‬ﺍﻝﻌﻭﺍﻤل ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺘﺄﺜﻴﺭﺍﺘﻬﺎ ﺍﻝﻤﺒﺎﺸﺭﺓ ﻋﻠﻰ ﺍﻝﺘﻁﻭﺭ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻲ‪.‬‬

‫‪ -5‬ﻜﺎﻥ ﻭﻤﺎﺯﺍل ﻝﻠﻤﺼﻤﻡ ﻭﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﻻﺴﻴﻤﺎ ﺭﻭﺍﺩ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﻌﺎﻝﻤﻴﻴﻥ ﺍﻷﺜﺭ ﺍﻝﻭﺍﺴﻊ ﻭﺍﻝﻭﺍﻀﺢ ﻓـﻲ‬
‫ﺘﻁﻭﺭ ﺍﻝﻔﻜﺭ ﺍﻝﻔﻨﻲ ﺍﻝﻌﺎﻝﻤﻲ ﻭﺘﻁﻭﺭ ﺼﻨﺎﻋﺔ ﺍﻷﺜﺎﺙ ﻭﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‪.‬‬

‫ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،‬ﺤﺴﺎﻡ‪ :‬ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،2009 ،‬ﺹ ‪25-18‬‬ ‫‪1‬‬

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‫‪ -6‬ﻜﻤﺎ ﺇﻥ ﻝﻠﻤﻌﺎﺭﺽ ﺍﻝﻌﺎﻝﻤﻴﺔ ﻭﺍﻝﻤﺤﻠﻴﺔ ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﺼﻨﺎﻋﻴﺔ ﺍﻝﺩﻭﺭ ﺍﻝﻜﺒﻴـﺭ ﻓـﻲ ﺇﺒـﺭﺍﺯ‬
‫ﻭﺍﻨﺘﺸﺎﺭ ﺍﻝﺤﺭﻜﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﻁﺭﺯ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻷﺴﺎﻝﻴﺏ ﺍﻝﺼﻨﺎﻋﻴﺔ ﺍﻝﺤﺩﻴﺜﺔ ﺍﻝﻤﻌﺒﺭﺓ ﻋﻥ ﻜل ﻓﺘﺭﺓ‬
‫‪1‬‬
‫ﺯﻤﻨﻴﺔ‪.‬‬

‫ﻤﻥ ﺫﻝﻙ ﻨﺴﺘﻨﺘﺞ ﺃﻥ ﻝﻠﺘﻁﻭﺭ ﺍﻝﻜﺒﻴﺭ ﺍﻝﺫﻱ ﺸﻬﺩﻩ ﺍﻝﻌﺎﻝﻡ ﻓﻲ ﺍﻝﻤﺠﺎﻻﺕ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴﺔ ﻜﺎﻓﺔ ﻭﺘﻭﺍﻓﺭ‬
‫ﺍﻝﺨﺎﻤﺎﺕ ﻭﺍﻝﺘﻘﻨﻴﺎﺕ‪ ،‬ﻓﻀﻼ ﻋﻥ ﺍﻝﺩﺭﺍﺴﺎﺕ ﻭﺍﻝﺒﺤﻭﺙ ﺍﻝﻤﺘﺨﺼﺼﺔ ﻭﺘﻌﺩﺩ ﺍﻝﻤﺩﺍﺭﺱ ﺍﻝﻔﻨﻴﺔ ﺁﺜﺎﺭ ﺒﺎﻝﻐﺔ ﻓﻲ‬
‫ﺍﻝﺘﻔﺎﻋل ﺃﻭ ﺯﻴﺎﺩﺓ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺩﺭﺍﺴﺔ ﻤﺠﺎل ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻁﻭﺭﻩ‪.‬‬

‫‪ 3.1.2‬ﻤﺘﻁﻠﺒﺎﺕ ﺘﺼﻤیﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫ﺇﻥ ﻤﻬﻨﺔ ﻤﻬﻨﺩﺱ ﺍﻝﺩﻴﻜﻭﺭ ﺃﻭ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﻭ ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺃﻴﻀﺎ ﻝﻬﺎ ﻤﻥ ﺍﻝﻘـﻴﻡ‬

‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻝﻜﺜﻴﺭ‪ ،‬ﻓﻌﻤل ﻫﺅﻻﺀ ﻴﺨﺩﻡ ﺍﻹﻨﺴﺎﻥ ﻭﻴﻬﻴﺊ ﻝﻪ ﺍﻝﺠﻭ ﻭﺍﻝﻤﻨﺸﺄ‪ ،‬ﻝـﺫﻝﻙ ﻋﻠـﻴﻬﻡ‬
‫ﺍﻝﺘﻤﺘﻊ ﺒﺭﻭﺡ ﺍﻝﺨﻠﻕ ﻭﺍﻹﺒﺩﺍﻉ ﻭﺒﺎﻹﺤﺴﺎﺱ ﺍﻝﻤﺭﻫﻑ ﻭﺍﻝﺩﻗﻴﻕ ﻝﻤﺠﻤل ﺍﻷﺸﻴﺎﺀ ﻤﻥ ﺤﻴـﺙ ﺃﺸـﻜﺎﻝﻬﺎ‬
‫ﻭﺤﺠﻭﻤﻬﺎ ﻭﻭﻅﺎﺌﻔﻬﺎ‪ .‬ﻭﻋﻠﻴﻬﻡ ﺃﻴﻀﺎ ﺍﻝﺘﻤﺘﻊ ﺒﺎﻝﻤﻘﺩﺭﺓ ﻋﻠﻰ ﺘﺤﻠﻴل ﺍﻝﻤﻭﺍﻀﻴﻊ ﻭﺘﻔﻬﻤﻬﺎ ﺜـﻡ ﺠﻤﻌﻬـﺎ‬
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‫ﻭﺼﺒﻬﺎ ﺒﺎﻝﺸﻜل ﺍﻝﻤﻨﺎﺴﺏ‪.‬‬

‫ﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﻤﺘﻁﻠﺒﺎﺕ ﺠﻤﺎﻝﻴﺔ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺸﺎﺌﻴﺔ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ ﻭﻅیﻔﻴﺔ‬

‫ﺸﻜل )‪ (2.2‬ﺭﺴﻡ ﺘﻭﻀﻴﺤﻲ ﻴﺒﻴﻥ ﻤﺘﻁﻠﺒﺎﺕ ﺘﺼﻤﻴﻡ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻨﺴﻴﻕ ﺍﻝﺩﻴﻜﻭﺭ‪ ،‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﻴﺘﺄﺜﺭ ﺘﺤﻘﻴﻕ ﻫﺫﻩ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺒﻌﺩﺓ ﻋﻭﺍﻤل‪ ،‬ﻓﺎﻝﺠﺎﻨﺏ ﺍﻝﺠﻤﺎﻝﻲ ﻭﺍﻝﺠﺎﻨﺏ ﺍﻹﻨﺴـﺎﻨﻲ ﻴﺘـﺄﺜﺭﺍﻥ‬

‫ﺒﺎﻝﻤﺼﻤﻡ ﻨﻔﺴﻪ ﺍﻝﺫﻱ ﻴﺘﻜﺭ ﻭﻴﻘﺩﻡ ﺜﻡ ﻴﻨﻔﺫ ﺃﺤﻴﺎﻨﺎ ﺍﻝﺘﺼﻤﻴﻡ‪ ،‬ﺒﻴﻨﻤﺎ ﻴﺘﺄﺜﺭ ﺍﻝﺘﺼﻤﻴﻡ ﻓﻲ ﺠﺎﻨﺒـﻪ ﺍﻝـﻭﻅﻴﻔﻲ‬
‫ﻭﺍﻹﻨﺸﺎﺌﻲ ﺒﻌﻭﺍﻤل ﺨﺎﺭﺠﻴﺔ ﻋﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺘﺭﺘﺒﻁ ﺒﺎﻝﺨﺎﻤﺔ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻭﺍﻷﺩﻭﺍﺕ ﺍﻝﻤﺘﺎﺤﺔ‪.‬‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻴﺎﻝﻰ‪ ،‬ﺒﻐﺩﺍﺩ‪ ،2005 ،‬ﺹ ‪29-27‬‬ ‫‪1‬‬

‫ﺨﻨﻔﺭ‪ ،‬ﻴﻭﻨﺱ‪ :‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻨﺴﻴﻕ ﺍﻝﺩﻴﻜﻭﺭ‪ ،‬ﺩﺍﺭ ﺍﻝﻤﺠﺩﻻﻭﻱ‪ ،‬ﻋﻤﺎﻥ‪ ،2010 ،‬ﺹ ‪53-52‬‬ ‫‪2‬‬

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 ‫‪ -1‬ﻤﺘﻁﻠﺒﺎﺕ ﻭﻅﻴﻔﻴﺔ‪:‬‬

‫• ﺘﺤﻘﻴﻕ ﺍﻝﻭﻅﻴﻔﺔ ﺍﻷﺴﺎﺴﻴﺔ ﺒﺎﻝﻤﻭﺍﺌﻤﺔ ﺒﻴﻥ ﺍﻝﺠﺯﺀ ﻭﺍﻝﻜل‪ ،‬ﻭﺍﻝﻜل ﻭﺍﻝﻌﺎﻡ‪.‬‬

‫• ﻜﻔﺎﺀﺓ ﺍﻝﺨﺎﻤﺎﺕ ﻝﻸﺩﺍﺀ ﺍﻝﻭﻅﻴﻔﻲ‪.‬‬

‫• ﺍﻷﻤﻥ ﻭﺍﻷﻤﺎﻥ ﻝﻸﺩﺍﺀ ﺍﻝﺤﺭﻜﻲ‪.‬‬

‫• ﺇﺨﻀﺎﻉ ﺃﺒﻌﺎﺩ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻷﺒﻌﺎﺩ ﺍﻻﺤﺘﻴﺎﺝ ﺍﻝﺒﺸﺭﻱ‪.‬‬

‫• ﺍﻝﻤﻭﺍﺌﻤﺔ ﺒﻴﻥ ﺃﺴﻠﻭﺏ ﺍﻻﺴﺘﺨﺩﺍﻡ ﻭﻨﻭﻉ ﺍﻝﻤﺴﺘﺨﺩﻡ‪.‬‬

‫‪ -2‬ﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺸﺎﺌﻴﺔ‪:‬‬

‫• ﻤﻼﺌﻤﺔ ﺍﻝﺨﺎﻤﺔ ﻝﺘﻌﺎﻤل ﺍﻝﻤﺴﺘﺨﺩﻡ ﺍﻝﻤﺒﺎﺸﺭ ﻝﻬﺎ‪.‬‬

‫• ﻤﺭﺍﻋﺎﺓ ﻋﻭﺍﻤل ﺍﻝﻤﻨﺎﺥ ﺍﻝﺒﻴﺌﻲ ﻋﻨﺩ ﺍﺨﺘﻴﺎﺭ ﺍﻝﺨﺎﻤﺔ‪.‬‬

‫• ﻜﻔﺎﺀﺓ ﺃﺩﺍﺀ ﺍﻝﺨﺎﻤﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻷﻁﻭل ﻤﺩﺓ ﺯﻤﻨﻴﺔ‪.‬‬

‫‪ -3‬ﻤﺘﻁﻠﺒﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ‪:‬‬

‫• ﻤﺭﺍﻋﺎﺓ ﻗﺩﺭﺍﺕ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺍﻝﻌﻘﻠﻴﺔ ﻭﺍﻝﻌﻀﻠﻴﺔ ﻭﺍﻝﺤﺭﻜﻴﺔ‪.‬‬

‫• ﻤﺭﺍﻋﺎﺓ ﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﺜﻨﺎﺀ ﺍﺴﺘﻌﻤﺎﻝﻪ ﻝﻠﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺴﻜﻥ‪.‬‬

‫• ﻤﺭﺍﻋﺎﺓ ﻤﻘﺎﻴﻴﺱ ﺠﺴﻡ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﻜل ﺤﺭﻜﺔ ﻤﻊ ﻤﻘﺎﻴﻴﺱ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺴﻜﻥ‪.‬‬

‫‪ -4‬ﻤﺘﻁﻠﺒﺎﺕ ﺠﻤﺎﻝﻴﺔ‪:‬‬

‫• ﻤﺭﺍﻋﺎﺓ ﺍﺨﺘﻴﺎﺭ ﺃﺒﻌﺎﺩ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺘﺄﺜﻴﺜﻬﺎ ﺒﻤﺎ ﻴﺤﻘﻕ ﺍﻝﻨﺴﺏ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﺫﻫﻨﻴﺔ‪.‬‬

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‫• ﻤﻭﺍﺌﻤﺔ ﺍﻝﻤﻅﻬﺭ ﺍﻝﺠﻤﺎﻝﻲ ﺒﻤﺎ ﻴﺘﻨﺎﺴﺏ ﻤﻊ ﺜﻘﺎﻓﺔ ﻭﺘﻘﺎﻝﻴﺩ ﻭﺒﻴﺌﺔ ﺍﻝﻤﺠﺘﻤﻊ‪.‬‬

‫ﺍﻝﻤﺎﻝﻜﻲ‪ ،‬ﻤﻨﺎل ﺒﻨﺕ ﻤﺴﻌﻭﺩ ﺒﻥ ﺃﺤﻤﺩ ﺍﻝﻤﺎﻝﻜﻲ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘیﺭ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺘﺼﻤیﻡ ﺩﺍﺨﻠﻲ ﻝﻤﺴﻜﻥ ﺴﻌﻭﺩﻱ ﻤﻌﺎﺼﺭ ﻤﻥ ﻤﻨﻅﻭﺭ‬ ‫‪1‬‬

‫ﻤﺩﺭﺴﺔ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺩﺍﺜﺔ‪ ،‬ﺠﺎﻤﻌﺔ ﺃﻡ ﺍﻝﻘﺭﻯ‪ ،‬ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒیﺔ ﺍﻝﺴﻌﻭﺩیﺔ‪ ،2008،‬ﺹ ‪43-42‬‬
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 ‫‪ -5‬ﻤﺘﻁﻠﺒﺎﺕ ﻋﻀﻭﻴﺔ‪:‬‬

‫ﺃﺭﻯ ﺃﻥ ﻤﺘﻁﻠﺒﺎﺕ ﺍﻻﺤﺘﻴﺎﺝ ﺍﻹﻨﺴﺎﻨﻲ ﻝﻠﻔﺭﺍﻍ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻴﺨﺘﻠﻑ ﻤﻥ ﺯﻤﻥ ﻵﺨـﺭ ﻓﺤﺎﺠـﺔ‬
‫ﺍﻹﻨﺴﺎﻥ ﺘﻁﻭﺭﺕ ﻋﺒﺭ ﺍﻝﻌﺼﻭﺭ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﻫﻲ ﺒﺫﻝﻙ ﺘﺒﻘﻰ ﻤﺘﻐﻴﺭﺓ ﻭﻤﺘﻁـﻭﺭﺓ ﻨﻅـﺭﹰﺍ ﻝﻠﻨﻬﻀـﺎﺕ‬
‫ﺍﻝﺤﻀﺎﺭﻴﺔ ﻭﺍﻝﺘﻁﻭﺭ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻲ‪ ،‬ﻭﻤﻘﺩﺍﺭ ﺤﺎﺠﺔ ﺍﻹﻨﺴﺎﻥ ﻝﺯﻴﺎﺩﺓ ﺃﻭ ﺘﻘﻠﻴل ﻗﻁﻊ ﺍﻷﺜﺎﺙ ﻭﺍﻷﺠﻬـﺯﺓ‬
‫ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫‪ 4.1.2‬ﺍﻷﺴﺱ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻝﻠﺘﺼﻤﻴﻡ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫ﺇﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻠﻡ ﻴﻬﺩﻑ ﺇﻝﻰ ﺨﺩﻤﺔ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﺍﻝـﻰ ﺘﻠﺒﻴـﺔ ﺍﺤﺘﻴﺎﺠﺎﺘـﻪ‬
‫ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﺫﻝﻙ ﻭﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﻗﺎﺌﻤﹰﺎ ﻋﻠﻰ ﻤﻘﻴﺎﺱ ﻫﺫﺍ ﺍﻹﻨﺴﺎﻥ ﻭﺃﺒﻌﺎﺩﻩ ﺍﻝﻤﺨﺘﻠﻔﺔ‪.‬‬

‫ﺸﻜل )‪ (3.2‬ﺭﺴﻡ ﺍﻝﻤﻭﺩﻴﻭﻝﺭ ﻤﻥ ﺃﻋﻤﺎل ﻝﻭﻜﻭﺭﺒﻭﺯﻴﻪ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(/http://francescosamani.wordpress.com/category/storia-dellarchitettura :‬‬

‫ﺤﻴﺙ ﺃﻥ ﺍﻝﻤﻘﻴﺎﺱ ﺍﻹﻨﺴﺎﻨﻲ ﻤﻌﻨﻲ ﻤﺒﺎﺸﺭﺓ ﺒﻘﻴﺎﺱ ﺠﺴﻡ ﺍﻹﻨﺴﺎﻥ ﻭﺤﺠﻤﻪ ﻭﻭﺯﻨﻪ ﻭﻤﺠـﺎﻻﺕ‬
‫ﺤﺭﻜﺘﻪ‪ ،‬ﻭﻫﺫﻩ ﺍﻷﺒﻌﺎﺩ ﻗﺩ ﺘﻜﻭﻥ ﻤﺴﺘﻘﺭﺓ ﻓﻲ ﺤﺎﻝﺔ ﺍﻝﺠﻠﻭﺱ ﻭﺍﻝﻭﻗﻭﻑ ﻭﺍﻻﺴﺘﻠﻘﺎﺀ ﻭﺘﺸـﻤل ﺩﻴﻨﺎﻤﻴﻜﻴـﺎ‬

‫ﺃﻭﻀﺎﻉ ﺍﻝﺤﺭﻜﺔ ﻭﻋﻼﻗﺎﺘﻬﺎ ﻤﻊ ﻗﻁﻊ ﺍﻷﺜﺎﺙ‪.‬‬

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‫"ﻭﻴﻌﺩ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻝﻭﻜﻭﺭﺒﻭﺯﻴﻪ )‪ (Le Corbusier, 1877-1965‬ﺃﺤﺩ ﺃﻜﺜﺭ ﺍﻝﻤﻌﻤـﺎﺭﻴﻴﻥ‬
‫ﺘﺄﺜﻴﺭﹰﺍ ﻋﻠﻰ ﺍﻝﻔﻜﺭ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،‬ﻤﻥ ﺨﻼل ﻨﻅﺭﻴﺘﻪ ﺍﻝﻭﻅﻴﻔﻴـﺔ‪ ،‬ﻫـﺫﻩ‬

‫ﺍﻝﻨﻅﺭﻴﺔ ﺍﻝﺘﻲ ﻴﺼﺒﺢ ﺍﻝﻤﻜﻭﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ‪/‬ﺍﻝﺒﻴﺕ‪/‬ﺒﻤﻭﺠﺒﻬﺎ ﻫﻭ ﺍﻵﻝﺔ ﺍﻝﺘﻲ ﻴﻌﻴﺵ ﻓﻴﻬﺎ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﺤﻴـﺙ‬
‫ﺘﺘﺤﺩﺩ ﺍﻝﻔﺭﺍﻏﺎﺕ ﻓﻲ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺒﺤﺴﺏ ﺍﻝﻭﻅﺎﺌﻑ ﺍﻝﻤﻌﺩﺓ ﻷﺠﻠﻬﺎ‪ ،‬ﻭﺒﻘﺩﺭ ﻤﺎ ﺘﻌﺒﺭ ﻋﻥ ﺫﻝﻙ‬
‫ﻓﺈﻨﻬﺎ ﺘﻜﻭﻥ ﺠﻤﻴﻠﺔ ﺒﺤﺴﺏ ﺭﺃﻱ ﻝﻭﻜﻭﺭﺒﻭﺯﻴﻪ‪.‬‬

‫ﺇﻥ ﻗﻴﺎﻡ ﺍﻹﻨﺴﺎﻥ ﺒﻌﻤل ﺃﻭ ﻨﺸﺎﻁ ﻤﺎ ﻫﻭ ﻋﺒﺎﺭﺓ ﻋﻥ ﻓﻌﺎﻝﻴﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ ﻴﻘﻭﻡ ﺒﻬﺎ ﺍﻝﻔﺭﺩ ﻀـﻤﻥ‬
‫ﻤﻜﺎﻥ ﻴﺩﻋﻰ ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻭﺍﻝﺫﻱ ﻴﻌﺩ ﻤﻨﻁﻠﻕ ﻭﻫﺩﻑ ﺃﻱ ﺘﺼﻤﻴﻡ ﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﻋﻠﻰ ﻫﺫﺍ ﻝﻜل ﻓﺭﺍﻍ ﻭﻅﻴﻔﺘﻪ‪،‬‬
‫ﻭﻝﺫﻝﻙ ﻓﺈﻥ ﻤﺒﺎﺩﺉ ﻭﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺘﺭﺘﻜﺯ ﺒﺩﺍﻴﺔ ﻋﻠﻰ ﺍﻝﻭﻅﻴﻔﺔ‪ ،‬ﻭﺍﻝﺘﻲ ﻴﺤﺩﺩﻫﺎ‬

‫ﺍﻹﻨﺴﺎﻥ ‪/‬ﻤﺴﺘﺨﺩﻡ ﺍﻝﻔﺭﺍﻍ‪ /‬ﺒﺎﻝﻀﺭﻭﺭﺓ‪ .‬ﻫﺫﻩ ﺍﻝﻭﻅﻴﻔﺔ ﺘﺘﺄﺘﻰ ﻤﻥ ﺨـﻼل ﻤﺠﻤﻭﻋـﺔ ﻤـﻥ ﺍﻝﻌﻭﺍﻤـل‬
‫ـﻴﻜﻭﻝﻭﺠﻴﺔ ‪(Psychological‬‬
‫ـل ﺍﻝﺴـ‬
‫ـﻴﻭﻝﻭﺠﻴﺔ )‪ ،(Physiological Factors‬ﻭﺍﻝﻌﻭﺍﻤـ‬
‫ﺍﻝﻔﻴﺴـ‬
‫)‪ ،Factors‬ﻭﺍﻝﻌﻭﺍﻤل ﺍﻻﻗﺘﺼـﺎﺩﻴﺔ ‪ ،Economic Factors‬ﻭﺍﻝﻌﻭﺍﻤـل ﺍﻻﺠﺘﻤﺎﻋﻴـﺔ ‪Social‬‬

‫‪ .Factors‬ﻭﻫﺫﻩ ﺍﻝﻌﻭﺍﻤل ﻝﻴﺴﺕ ﺒﻤﻌﺯل ﻋﻥ ﺒﻌﻀﻬﺎ ﺍﻝﺒﻌﺽ‪ ،‬ﻭﺇﻨﻤﺎ ﺘﺘﺩﺍﺨل ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺤﻴـﺎﻥ‬
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‫ﻝﺘﻜﻭﻥ ﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻨﻁﻠﻕ ﻋﻠﻴﻪ ﺍﺴﻡ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻝﻠﺘﺼﻤﻴﻡ‪".‬‬

‫ﺸﻜل )‪ (4.2‬ﻓﻴﻼ ﻻﺭﻭﺵ‪ ،‬ﺒﺎﺭﻴﺱ‪ ،‬ﻤﻥ ﺃﻋﻤﺎل ﻝﻭ ﻜﻭﺭﺒﻭﺯﻴﻪ)ﺍﻝﻭﻅﻴﻔﻴﺔ‪-‬ﺁﻝﺔ ﻝﻠﻌﻴﺵ(‪1923 ،‬‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://blog.ramzinaja.com/2010/04/royalty-by-ramps.html :‬‬

‫ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،‬ﺤﺴﺎﻡ‪ :‬ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،2009 ،‬ﺹ ‪35-34‬‬ ‫‪1‬‬

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 ‫‪ 5.1.2‬ﺍﻷﺴﺱ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻠﺘﺼﻤﻴﻡ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫ﻜﻲ ﻨﺘﻔﻬﻡ ﺍﺴﺘﺠﺎﺒﺘﻨﺎ ﻝﻠﺠﻤﺎل ﺩﺍﺨل ﺍﻝﻔﺭﺍﻍ ﺍﻝﺴﻜﻨﻲ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﺈﻨﻪ ﻴﻠﺯﻡ ﺘﻔﻬـﻡ ﻜﻴﻔﻴـﺔ ﺘﻔﺎﻋـل‬

‫ﺍﻹﻨﺴﺎﻥ ﻤﻊ ﻫﺫﻩ ﺍﻝﻔﺭﺍﻏﺎﺕ‪ ،‬ﻓﻔﻲ ﻤﺠﺎل ﺍﻝﻌﻤﺎﺭﺓ ﻴﻤﻜﻨﻨﺎ ﺘﻌﺭﻴﻑ ﺍﻝﺠﻤﺎل ﺒﺄﻨﻪ ﺍﻝﻐﺒﻁﺔ ﺃﻭ ﺍﻝﻤﺘﻌﺔ ﺍﻝﺘـﻲ‬
‫ﺘﺤﺼل ﻤﻥ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﻭﻅﺎﺌﻑ ﺍﻝﻤﺒﻨﻰ ﻭﻤﺩﻯ ﻤﻼﺌﻤﺘﻪ ﻝﻬﺎ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝـﻰ ﺍﻝﺘﺸـﻜﻴل ﺍﻝﻤﻌﻤـﺎﺭﻱ‬
‫ﻭﺍﻝﺘﻨﻅﻴﻤﺎﺕ ﺍﻝﻨﺎﺸﺌﺔ ﻤﻥ ﺍﻝﺘﻜﻭﻴﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻓﻲ ﺍﻝﻔﺭﺍﻏﺎﺕ‪.‬‬

‫"ﻭﻋﻤﻭﻤﺎ ﻴﻤﻜﻥ ﺘﻘﺴﻴﻡ ﺍﻝﺠﻤﺎل ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺇﻝﻰ ﺜﻼﺙ ﺃﻗﺴﺎﻡ ﺭﺌﻴﺴﻴﺔ ﻫﻲ‪:‬‬

‫‪ -1‬ﺍﻝﺠﻤﺎل ﺍﻝﺤﺴﻲ‪ :‬ﻭﻫﻭ ﺍﻝﺠﻤﺎل ﺍﻵﺘﻲ ﻤﻥ ﺍﻹﺤﺴﺎﺱ ﺍﻝﻤﺎﺩﻱ ﺍﻝﻤﺒﺎﺸﺭ‪ ،‬ﻋـﻥ ﻁﺭﻴـﻕ ﺍﻝﺤـﻭﺍﺱ‬
‫ﺍﻝﺨﻤﺱ‪ ،‬ﻓﻜل ﺇﻨﺴﺎﻥ ﺘﺅﺜﺭ ﻓﻴﻪ ﺍﻷﻝﻭﺍﻥ ﻭﺘﺩﺭﺠﺎﺘﻬﺎ‪ ،‬ﻭﺍﻷﺸﻜﺎل ﻭﺇﻴﻘﺎﻋﺎﺘﻬﺎ‪.‬‬

‫‪ -2‬ﺍﻝﺠﻤﺎل ﺍﻝﻌﺎﻁﻔﻲ‪ :‬ﻭﻫﻭ ﺍﻝﺠﻤﺎل ﺍﻝﺫﻱ ﻴﺘﻡ ﺇﺩﺭﺍﻜﻪ ﻤﻥ ﺨﻼل ﺍﻝﻌﺎﻁﻔﺔ‪ ،‬ﻭﻤﻥ ﺨﻼل ﻤﺎ ﻴﺭﺘﺒﻁ ﺒـﻪ‬
‫ﺍﻝﺸﻜل ﺍﻝﻤﻌﻤﺎﺭﻱ ﻤﻥ ﺭﻤﻭﺯ ﻭﻤﻌﺎﻥ ﻭﺩﻻﻻﺕ‪ ،‬ﺘﻭﻗﻅ ﻓﻲ ﺍﻹﻨﺴﺎﻥ ﺍﻨﻔﻌـﺎﻻﺕ ﺘﺴـﺘﺩﻋﻲ ﺤﺎﻝـﺔ‬
‫ﺇﻋﺠﺎﺏ ﻭﺴﺭﻭﺭ ﺒﺎﻝﻨﻅﺭ ﺇﻝﻴﻬﺎ‪.‬‬

‫‪ -3‬ﺍﻝﺠﻤﺎل ﺍﻝﻔﻜﺭﻱ‪ :‬ﻭﻫﻭ ﺍﻝﺠﻤﺎل ﺍﻝﻨﺎﺘﺞ ﻋﻥ ﺍﻝﺘﻔﻜﻴﺭ‪ ،‬ﻭﻴﻤﺜل ﺤﺎﻝﺔ ﻤﺘﻘﺩﻤﺔ ﺘﺘﺠﺎﻭﺯ ﺍﻝﻤﻔﻬﻭﻡ ﺍﻝﻔﺭﺩﻱ‬
‫ﻝﻠﺠﻤﺎل ﺍﻝﻤﺭﺘﺒﻁ ﺒﺎﻝﻤﺤﺘﻭﻯ ﺍﻝﻔﻜﺭﻱ ﻝﻠﺸﻜل ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﻤﺩﻝﻭﻻﺘﻪ‪ .‬ﻭﺘﺴﺘﻁﻴﻊ ﺘﺤﺩﻴﺩ ﻭﺠﻬﻴﻥ ﻝﻬـﺫﺍ‬
‫ﺍﻝﺠﻤﺎل‪:‬‬

‫ﺃ‪ .‬ﺠﻤﺎل ﻓﻜﺭﻱ ﺘﺠﺭﻴﺩﻱ‪ :‬ﻭﻫﻭ ﺍﻝﺠﻤﺎل ﺍﻝﻤﺩﺭﻙ ﻤﻥ ﺨﻼل ﺍﻝﺸﻜل ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺤﺩﻩ‪ ،‬ﺒﺩﻭﻥ ﺍﻝﻨﻅﺭ ﺇﻝﻰ‬
‫ﺍﻝﻐﺭﺽ ﺃﻭ ﺍﻝﻔﺎﺌﺩﺓ ﺍﻝﻤﺭﺠﻭﺓ ﻤﻨﻪ‪.‬‬

‫ﺏ‪ .‬ﺠﻤﺎل ﻓﻜﺭﻱ ﻭﻅﻴﻔﻲ‪ :‬ﻭﻫﻭ ﺍﻝﺠﻤﺎل ﺍﻝﺫﻱ ﻴﺘﺄﺘﻰ ﻤﻥ ﺨﻼل ﻓﻬﻡ ﻭﺇﺩﺭﺍﻙ ﺍﻝﻐﺎﻴـﺔ ﺍﻝﻨﻔﻌﻴـﺔ ﺍﻝﺘـﻲ‬

‫ﻴﺅﺩﻴﻬﺎ ﺍﻝﺸﻜل ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﺒﺎﻝﺘﺎﻝﻲ ﺇﺩﺭﺍﻙ ﺍﻝﺠﻤﺎل ﻤﻥ ﺨﻼل ﻤﺜﺎﻝﻴﺔ ﺘﻌﺒﻴﺭ ﺍﻝﻤﺼﻤﻡ ﻋﻥ ﺍﻝﻭﻅﺎﺌﻑ‬
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‫ﻭﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺅﻝﻔﺔ ﻝﻠﻤﻜﻭﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ‪" .‬‬

‫ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،‬ﺤﺴﺎﻡ‪ :‬ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،2009 ،‬ﺹ ‪54‬‬ ‫‪1‬‬

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‫ﻭﺘﻅﻬﺭ ﻤﺸﻜﻠﺔ ﺍﻝﺠﻤﺎل ﻓﻲ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺴﻜﻨﻲ ﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ ﻤﻨﻅﻭﺭ ﺁﺨﺭ‪ ،‬ﻓﻜﺜﻴﺭ ﻤـﻥ ﻋﻨﺎﺼـﺭ‬
‫ﻭﺘﻜﻭﻴﻨﺎﺕ ﻫﺫﺍ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺘﻲ ﺘﺤﻭﺯ ﻋﻠﻰ ﺇﻋﺠﺎﺏ ﺍﻝﻤﺼﻤﻡ ﻗﺩ ﻻ ﻴﻜﻭﻥ ﻝﻬﺎ ﻨﻔﺱ ﺍﻷﺜﺭ ﻋﻠﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ‪.‬‬

‫ﺒﺎﻝﺘﺎﻝﻲ ﻫﻨﺎﻙ ﺤﺎﺠﺔ ﻹﻴﺠﺎﺩ ﺘﻭﺍﻓﻕ ﻭﺍﻨﺴﺠﺎﻡ ﻝﺴﺩ ﺍﻝﻔﺠـﻭﺓ ﺒـﻴﻥ ﺍﻝﻁـﺭﻓﻴﻥ )ﺍﻝﻤﻌﻤـﺎﺭﻱ –‬
‫ﻭﺍﻝﻤﺴﺘﺨﺩﻡ( ﻭﺫﻝﻙ ﻭﻓﻘﹰﺎ ﻝﻤﻔﻬﻭﻡ ﻤﺸﺘﺭﻙ ﻝﻁﺒﻴﻌﺔ ﻫﺫﻩ ﺍﻻﺨﺘﻼﻓﺎﺕ ﻭﻝﻤﺎﺫﺍ ﻫﻲ ﻤﻭﺠﻭﺩﺓ‪ ،‬ﻝﺫﺍ ﻤﻥ ﺍﻝﻤﻬﻡ ﺃﻥ‬
‫ﻴﺘﻌﺭﻑ ﺍﻝﻤﺼﻤﻡ ﻋﻠﻰ ﺍﻝﻤﺤﺩﺩﺍﺕ ﺍﻝﺘﻲ ﺘﺤﻜﻡ ﻓﻜﺭ ﺍﻝﻤﺴﺘﻌﻤل ﻭﻤﻨﻅﻭﺭﻩ ﻝﻠﺠﻤﺎل‪ ،‬ﻭﻤﻥ ﺇﻴﺠﺎﺒﻴـﺔ ﻫـﺫﺍ‬

‫ﺍﻝﻤﻨﻁﻠﻕ ﺃﻨﻨﺎ ﺴﻨﺼل ﻹﻴﺠﺎﺩ ﻓﺭﺍﻍ ﺴﻜﻨﻲ ﻤﻘﺒﻭل ﻭﻤﺤﺒﺏ ﻝﻠﻤﺴﺘﺨﺩﻡ‪.‬‬

‫‪ 6.1.2‬ﺍﻝﻘﻭﻯ ﺍﻝﻤﺅﺜﺭﺓ ﻓﻲ ﺒﻨﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﺇﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻝﻤﻜﻭﻥ ﺍﻝﻔﻴﺯﻴﺎﺌﻲ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﺘﺨﻀﻊ ﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻤﺘﻐﻴـﺭﺍﺕ‪،‬‬
‫ﺴﻭﺍﺀ ﺃﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﻓﻜﺭﻴﺔ ﺃﻡ ﺘﻘﻨﻴﺔ‪ ،‬ﺩﺍﺨﻠﻴﺔ ﺃﻡ ﺨﺎﺭﺠﻴﺔ‪ ،‬ﻤﺒﺎﺸﺭﺓ ﺃﻡ ﻏﻴﺭ ﻤﺒﺎﺸﺭﺓ‪ ،‬ﻭﻗﺩ ﺘﺘﺩﺍﺨل‬
‫ﻫﺫﻩ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﻨﻅﺎﻡ ﺸﺎﻤل ﻝﻠﺘﻜﻭﻴﻥ ﺍﻝﻜﻠﻲ‪ ،‬ﺇﺫ ﺃﻥ ﺃﻱ ﺘﺼﻤﻴﻡ ﻴﺼل ﻤﻀـﻤﻭﻨﻪ ﺇﻝـﻰ‬
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‫ﺃﻗﺼﻰ ﻤﺴﺘﻭﻴﺎﺕ ﺍﻹﺘﻘﺎﻥ ﺤﻴﻨﻤﺎ ﻴﺭﺘﺒﻁ ﺒﻤﺩﻯ ﻤﺭﺍﻋﺎﺘﻪ ﻭﺍﻗﺘﺭﺍﺒﻪ ﻤﻥ ﻫﺫﻩ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ‪.‬‬

‫ﻭﻴﻤﻜﻥ ﺘﻘﺴﻴﻡ ﺃﻨﻭﺍﻉ ﺍﻝﻘﻭﻯ ﺍﻝﻤﺅﺜﺭﺓ ﺃﻭ )ﺍﻻﺸﺘﺭﺍﻁﺎﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ( ﺇﻝﻰ ﻤﺎ ﻴﻠﻲ‪:‬‬

‫‪ -1‬ﻤﺅﺜﺭ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ‪ ،‬ﻜﺎﻝﺤﺭﺍﺭﺓ‪ ،‬ﻭﺍﻝﺭﻁﻭﺒﺔ‪ ،‬ﻭﺃﺸﻌﺔ ﺍﻝﺸﻤﺱ‪....‬‬

‫‪ -2‬ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺒﻴﻨﻴﺔ )ﺍﻝﺘﺭﺍﺒﻁﻴﺔ(‪ :‬ﻭﺘﺘﻤﺜل ﺒﺎﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ ﻭﺤﺎﺠﺔ ﺍﻹﻨﺴﺎﻥ ﻝﻜل ﻓﺭﺍﻍ‬
‫ﻤﻨﻬﻤﺎ‪.‬‬

‫‪ -3‬ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ :‬ﻭﺘﺘﻤﺜل ﺒﻤﺤﺩﺩﺍﺕ ﻭﻤﻜﻤﻼﺕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

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‫‪ -4‬ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﻔﻜﺭﻴﺔ‪ :‬ﻭﺘﺘﻤﺜل ﺒﺎﻝﺒﻴﺌﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﻌﻘﺎﺌﺩﻴﺔ‪.‬‬

‫ﺤﻤﻴﺩ‪ ،‬ﺴﺩﺍﺩ ﻫﺸﺎﻡ‪ :‬ﺍﻝﻔﻀﺎﺀﺍﺕ ﻭﺸﺭﻭﻁ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2011 ،‬ﺹ ‪577‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺹ ‪579‬‬ ‫‪2‬‬

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 ‫ﺸﻜل )‪ (5.2‬ﻤﺨﻁﻁ ﺍﻝﻘﻭﻯ ﺍﻝﻤﺅﺜﺭﺓ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‬
‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺤﻤﻴﺩ‪ ،‬ﺴﺩﺍﺩ ﻫﺸﺎﻡ‪ :‬ﺍﻝﻔﻀﺎﺀﺍﺕ ﻭﺸﺭﻭﻁ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪(2011 ،‬‬

‫ﻭﻫﻨﺎﻙ ﻋﺩﺩ ﻤﻥ ﺍﻝﺨﺼﺎﺌﺹ ﻭﺍﻝﺴﻤﺎﺕ ﺍﻝﺘﻲ ﺘﺅﺜﺭ ﻋﻠﻰ ﺍﻝﻔﺭﺩ ﻓﻲ ﻋﻤﻠﻴـﺔ ﺇﺩﺭﺍﻜـﻪ ﻝﻠﻔﻀـﺎﺀ‬
‫ﺍﻝﺩﺍﺨﻠﻲ‪ .‬ﻓﻜل ﺸﺨﺹ ﻴﺸﺎﺭﻙ ﻓﻲ ﻨﻅﺎﻡ ﺴﻠﻭﻜﻲ ﻤﺴﺘﻤﺭ‪ ،‬ﻻﺒﺩ ﺃﻥ ﻴﺘﺄﺜﺭ ﺒﺠﻤﻠﺔ ﺨﺼﺎﺌﺹ ﻨﺫﻜﺭ ﺃﻫﻤﻬﺎ‪:‬‬

‫‪ .1‬ﺍﻝﻁﺒﻴﻌﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻝﻠﻜﺎﺌﻥ ﺍﻝﺤﻲ‪:‬‬

‫ﺇﻥ ﺍﻝﻘﺩﺭﺍﺕ ﺍﻝﻔﺴﻴﻭﻝﻭﺠﻴﺔ ﻝﻔﺭﺩ ﻤﻌﻴﻥ ﻻ ﺘﺅﺜﺭ ﻓﻘﻁ ﻋﻠﻰ ﺃﺴﻠﻭﺏ ﺇﺩﺭﺍﻜﻪ ﻝﻠﺸـﻜل )ﺍﻝﺘﺼـﻤﻴﻡ(‬
‫ﻭﻝﻜﻥ ﻋﻠﻰ ﻜﻴﻔﻴﺔ ﺘﻔﻜﻴﺭﻩ ﺘﺠﺎﻩ ﺫﻝﻙ ﺍﻝﺸﻜل ﻭﺃﺴﻠﻭﺏ ﺍﻝﺘﻔﺎﻋل ﻤﻌﻪ‪ .‬ﻓﺎﻝﺸﺨﺹ ﺍﻝﺴﻠﻴﻡ ﻓﺴﻴﻭﻝﻭﺠﻴﺎ ﻴﺘﻤﻜﻥ‬
‫ﻤﻥ ﺍﻝﺘﻌﺎﻤل ﻤﻊ ﻤﺨﺘﻠﻑ ﺍﻝﻔﻀﺎﺀﺍﺕ )ﻓﻀﺎﺀﺍﺕ ﻤﻌﻴﺸﺔ‪ ،‬ﻋﻤل‪ ،‬ﻨﻭﻡ‪ ..‬ﺍﻝـﺦ( ﻭﺍﻝﻤﺼـﻤﻤﺔ ﻷﺸـﺨﺎﺹ‬
‫ﻨﻤﻭﺫﺠﻴﻴﻥ ﻭﻭﻓﻕ ﺁﻝﻴﺔ ﺍﻝﺠﺴﻡ ﺍﻹﻨﺴﺎﻨﻲ ﺍﻝﻤﻼﺌﻤﺔ‪ .‬ﻭﺒﻤﺠﺭﺩ ﻭﺠﻭﺩ ﺃﻱ ﺨﻠل ﻋﻀﻭﻱ ﻓﻲ ﺍﻝﻔﺭﺩ ﺴﺘﻨﺸـﺄ‬
‫ﻤﺸﻜﻠﺔ ﻓﻲ ﻁﺭﻴﻘﺔ ﺍﻝﺘﺼﻤﻴﻡ‪ ،‬ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﺤﻠﻭل‪.‬‬

‫‪ .2‬ﺍﻝﺸﺨﺼﻴﺔ‪:‬‬

‫ﻭﻫﻭ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻲ ﻝﻺﻨﺴﺎﻥ‪.‬ﺇﻥ ﺍﻝﻨﺎﺱ ﻴﺨﺘﺎﺭﻭﻥ ﺍﻝﺘﺼﺎﻤﻴﻡ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻝﻬﻡ ﻤﻥ‬
‫ﺨﻼل ﺘﺼﻭﺭﺍﺕ ﺫﺍﺘﻬﻡ ﻭﺃﻨﻔﺴﻬﻡ ﺍﻝﺘﻲ ﻴﺭﻏﺒﻭﻥ ﺒﻭﺼﻔﻬﺎ ﻭﺘﺼﻭﻴﺭﻫﺎ ﺃﻜﺜﺭ ﻤﻥ ﺍﺨﺘﻴﺎﺭﻫﻡ ﻝﻠﺘﺼﺎﻤﻴﻡ ﺍﻝﺘﻲ‬
‫ﻼ‪.‬‬
‫ﻫﻲ ﻤﻨﺎﺴﺒﺔ ﻝﻬﻡ ﻓﻌ ﹰ‬

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‫ﻭﻫﻨﺎ ﺘﻅﻬﺭ ﺍﻝﻤﺸﻜﻠﺔ ﻓﻲ ﺃﻥ ﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺫﻱ ﺭﺒﻤﺎ ﻴﻜﻭﻥ ﻤﻨﺎﺴﺒﹰﺎ ﻝﻠﺸﺨﺼﻴﺔ ﺍﻝﺘﻲ ﻴﺩ‪‬ﻋﻴﻬﺎ‬
‫ﺍﻝﻔﺭﺩ ﻗﺩ ﻻ ﻴﻨﺎﺴﺏ ﺸﺨﺼﻴﺘﻪ ﺍﻝﺤﻘﻴﻘﻴﺔ‪.‬ﻤﻤﺎ ﻗﺩ ﻴﺅﺜﺭ ﻓﻲ ﻓﻌﺎﻝﻴـﺔ ﺍﻷﺩﺍﺀ ﺍﻝـﻭﻅﻴﻔﻲ ﻭﺍﻷﺩﺍﺀ ﺍﻝﺠﻤـﺎﻝﻲ‬

‫ﻝﻠﺘﺼﻤﻴﻡ‪ .‬ﻝﺫﻝﻙ ﻓﻤﻥ ﺍﻝﻀﺭﻭﺭﻱ ﺇﺨﻀﺎﻉ ﺍﻝﻔﻀﺎﺀ ﺇﻝﻰ ﻤﻭﺍﺯﻨﺔ ﻴﻜﻭﻥ ﻋﻠﻰ ﺃﺴﺎﺴﻬﺎ ﺍﻝﺘﺼـﻤﻴﻡ‪ ،‬ﻤﻠﺒﻴـﹰﺎ‬
‫ﻝﺭﻏﺒﺔ ﺍﻝﻤﺴﺘﻬﻠﻙ ﺍﻝﺫﺍﺘﻴﺔ‪ ،‬ﻭﺨﺎﻀﻌﹰﺎ ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ ﻝﻤﺎ ﻴﺠﻌﻠﻪ ﻤﻨﺎﺴﺒﹰﺎ ﻝﺫﻝﻙ ﺍﻝﻤﺴﺘﻬﻠﻙ‪.‬‬

‫‪ .3‬ﺍﻝﺘﻜﻭﻴﻥ ﺍﻻﺠﺘﻤﺎﻋﻲ‪:‬‬

‫ﺇﻥ ﺍﻝﻔﺭﺩ ﻫﻭ ﻋﻀﻭ ﻓﻲ ﻋﺩﺓ ﺠﻤﺎﻋﺎﺕ‪ ،‬ﻭﻁﺒﻴﻌﺘﻪ ﺍﻝﻌﻀﻭﻴﺔ ﺘﻌﺘﻤﺩ ﻋﻠﻴﻬﺎ ﺍﻫﺘﻤﺎﻤﺎﺘﻪ ﻭﺍﻝﻤﺭﺍﺤـل‬
‫ﺍﻝﺘﻲ ﻴﻤﺭ ﺒﻬﺎ ﻓﻲ ﺤﻴﺎﺘﻪ‪ ،‬ﻭﻻ ﺘﺅﺜﺭ ﺍﻝﺠﻤﺎﻋﺎﺕ ﻋﻠﻰ ﺃﻓﻌﺎل ﺍﻝﻔﺭﺩ ﻓﻘﻁ ﻭﺇﻨﻤﺎ ﻋﻠﻰ ﺃﺴﻠﻭﺏ ﺇﺩﺭﺍﻜﻪ ﻝﻠﻤﺤﻴﻁ‬
‫ﻜﻜل ﻭﺍﻝﺘﻔﻜﻴﺭ ﺒﻪ ﻓﺈﺩﺭﺍﻙ ﺍﻝﻔﺭﺩ ﻤﺤﻜﻭﻡ ﺒﺈﺩﺭﺍﻙ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻤﺤﻴﻁ ﺒﻪ ﺒﺎﻝﻀﺭﻭﺭﺓ ﻋﻠﻰ ﺍﻷﻗل ﻤﻥ ﻨﺎﺤﻴﺔ‬

‫ﺘﺫﻭﻗﻪ ﻝﻠﻘﻴﻡ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﺭﻤﺯﻴﺔ‪.‬‬

‫‪ .4‬ﺍﻝﺜﻘﺎﻓﺔ‪:‬‬

‫ﺘﺅﺜﺭ ﺍﻝﺜﻘﺎﻓﺔ ﻋﻠﻰ ﺍﻝﺴﻠﻭﻙ ﺍﻹﺩﺭﺍﻜﻲ ﻤﻥ ﺨﻼل ﻋﻤﻠﻴﺔ ﺇﻋﻁﺎﺀ ﺍﻝﻁﺎﺒﻊ ﺍﻻﺠﺘﻤﺎﻋﻲ‪ ،‬ﺍﻝﺘﻲ ﻴﺘﻡ ﻤﻥ‬

‫ﺨﻼﻝﻬﺎ ﺘﻌﻠﻡ ﺍﻝﻠﻐﺔ‪ ،‬ﺍﻝﺘﻘﺎﻝﻴﺩ‪ ،‬ﺍﻷﻋﺭﺍﻑ‪ ،‬ﺍﻝﻘﻴﻡ‪ ،‬ﺍﻝﺘﻭﻗﻌﺎﺕ‪ ،‬ﻭﺍﻝﻌﻘﻭﺒﺎﺕ‪ ،‬ﻭﺒﺎﻝﻨﺘﻴﺠﺔ ﻓﺈﻥ ﻜل ﺫﻝﻙ ﻝﻪ ﺍﻝﺘﺄﺜﻴﺭ‬
‫ﺍﻝﻤﺒﺎﺸﺭ ﻋﻠﻰ ﻁﺒﻴﻌﺔ ﺍﻝﺘﺼﺎﻤﻴﻡ ﺍﻝﺘﻲ ﻴﺘﻡ ﺘﻘﺒﻠﻬﺎ ﻭﺇﺩﺭﺍﻜﻬﺎ ﻤﻥ ﺠﻤﻴﻊ ﻨﻭﺍﺤﻴﻬﺎ‪ .‬ﺇﻥ ﺍﻝﻤﺘﻠﻘﻲ ﺍﻝﻤﺜﻘﻑ ﻴﺘﻤﻜﻥ‬
‫ﻤﻥ ﺇﺩﺭﺍﻙ ﺠﻭﺍﻨﺏ ﻤﻌﻴﻨﺔ ﻗﺩ ﻻ ﻴﺘﻤﻜﻥ ﻤﺤﺩﻭﺩ ﺍﻝﺜﻘﺎﻓﺔ ﻤﻥ ﺇﺩﺭﺍﻜﻬﺎ‪ .‬ﺃﻭ ﺭﺒﻤﺎ ﻴﻌﺘﺒﺭﻫﺎ ﺼـﻔﺎﺕ ﺴـﻠﺒﻴﺔ‪.‬‬

‫ﻭﻋﻤﻭﻤ‪‬ﺎ ﻓﺎﻥ ﺍﻝﺜﻘﺎﻓﺔ ﻨﺴﺒﻴﺔ ﺍﻝﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﻻﺨﺘﻼﻑ ﺍﻝﻤﻔﺎﻫﻴﻡ ﻭﺍﻝﻤﻭﺭﻭﺜﺎﺕ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﻝﻠﻔﺭﺩ‬
‫ﺃﻥ ﻴﺘﺒﻨﺎﻫﺎ‪.‬‬

‫‪ .5‬ﺍﻝﺒﻴﺌﺔ‪:‬‬

‫ﺇﻥ ﺃﻱ ﻤﺠﺘﻤﻊ ﻫﻭ ﻨﺘﺎﺝ ﻝﺒﻴﺌﺘﻴﻥ ﻫﻤﺎ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻔﻴﺯﻴﺎﺌﻴﺔ ﻭﺍﻝﺒﻴﺌﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ .‬ﺇﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻔﻴﺯﻴﺎﺌﻴـﺔ‬
‫ﻫﻲ ﺃﺤﺩ ﻋﻭﺍﻤل ﺍﻝﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻹﺩﺭﺍﻙ ﻭﺍﻹﻅﻬﺎﺭﺍﺕ ﺍﻝﻤﻌﺭﻓﻴﺔ ﻭﺍﻝﺴﻠﻭﻙ ﺍﻝﺘﺼﻤﻴﻤﻲ‪ ،‬ﻓﻬﻲ ﺘﺤﻜﻡ ﻁﺒﻴﻌﺔ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺨﺎﻤﺔ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻴﻪ ﺍﻋﺘﻤﺎﺩﹰﺍ ﻋﻠﻰ ﻋﺩﺓ ﻋﻭﺍﻤل‪:‬ﻜﺩﺭﺠـﺔ ﺍﻝﺤـﺭﺍﺭﺓ ﻭﻜﻤﻴـﺔ ﺍﻷﻤﻁـﺎﺭ‬

‫ﻭﺍﻝﺭﻁﻭﺒﺔ ﻭﺍﻝﺘﺭﺒﺔ ﻭﻁﺒﻴﻌﺔ ﺍﻝﻤﻨﺎﺥ ﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ﻭﻏﻴﺭﻫﺎ‪.‬ﺃﻤﺎ ﺍﻝﺒﻴﺌﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻓﻬﻲ ﺘـﺩﺨل ﻀـﻤﻥ‬

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‫ﺇﻁﺎﺭ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻻﺠﺘﻤﺎﻋﻲ ﺍﻝﺫﻱ ﺴﺒﻕ ﺫﻜﺭﻩ‪ ،‬ﻓﻬﻲ ﺘﻤﺜل ﺍﻝﺘﻔﺎﻋﻼﺕ ﺒﻴﻥ ﺃﻋﻀﺎﺀ ﺍﻝﺠﻤﺎﻋﺔ ﻭﺍﻨﻌﻜﺎﺴﺎﺘﻬﺎ‬
‫‪1‬‬
‫ﻋﻠﻰ ﺴﻠﻭﻙ ﺍﻝﻔﺭﺩ ﻭﺃﺴﻠﻭﺏ ﺇﺩﺭﺍﻜﻪ ﻝﻠﻤﺤﻴﻁ ﻜﻜل ﻭﻁﺭﻴﻘﺔ ﺘﻔﻜﻴﺭﻩ‪.‬‬

‫‪ 7.1.2‬ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺒﻴﻨﻴﺔ ﺍﻝﺘﺭﺍﺒﻁﻴﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ‬

‫ﺇﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ ﻤﻨﻅﻭﻤﺘﺎﻥ ﻤﺘﻜﺎﻤﻠﺘﺎﻥ ﻤﺘﻼﺯﻤﺘﺎﻥ ﻤﺸـﺘﺭﻁﺘﺎﻥ ﻭﻓـﻕ ﺃﺴـﺱ ﻋﻠﻤﻴـﺔ‬
‫ﻭﺘﻜﻨﻭﻝﻭﺠﻴﺔ ﻭﺘﻘﻨﻴﺔ ﻭﻓﻨﻴﺔ ﻓﻲ ﺃﻱ ﻨﻅﺎﻡ ﺘﺼﻤﻴﻤﻲ ﻤﻬﻤﺎ ﻜﺎﻥ‪ ،‬ﻷﻥ ﺒﻌﺽ ﻤﺎ ﻓﻲ ﺍﻝﺩﺍﺨل ﻗـﺩ ﻴﻔـﺭﺽ‬

‫ﺸﺭﻁﹰﺎ ﻋﻠﻰ ﺍﻝﺨﺎﺭﺝ‪ ،‬ﻭﺒﻌﺽ ﻤﺎ ﻓﻲ ﺍﻝﺨﺎﺭﺝ ﻗﺩ ﻓﺭﺽ ﺸﺭﻁﻴﺘﻪ ﻋﻠﻰ ﺍﻝﺩﺍﺨل ﻓﻲ ﺍﻝﻨﻅﺎﻡ ﺍﻝﺘﺼﻤﻴﻤﻲ‪،‬‬
‫ﻓﻬﻭ ﺠﻭﻫﺭ ﻤﺘﻨﺎﻭﺏ ﻤﺴﺘﻤﺭﹰﺍ ﻝﻠﺤﻀﻭﺭ ﻓﻲ ﺃﻱ ﻓﻀﺎﺀ ﻤﻥ ﺤﻴﺙ ﺍﻝﺘﺭﺍﺒﻁ ﺍﻝﻭﻅﻴﻔﻲ ﻭﺍﻝﺸﻜﻠﻲ‪.‬‬

‫ﻝﺫﻝﻙ ﻨﺠﺩ ﺃﻥ ﺍﻝﺘﺭﺍﺒﻁ ﺍﻝﺠﻭﻫﺭﻱ ﺒﻴﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺨﺎﺭﺝ ﻫﻭ ﺤﺎﻝﺔ ﻗﺎﺌﻤـﺔ ﻻ ﻤﺤﺎﻝـﺔ‪،‬‬

‫ﻓﻠﻴﺱ ﺒﺈﻤﻜﺎﻥ ﺃﻱ ﻤﺼﻤﻡ ﺇﻻ ﺃﻥ ﻴﻔﻜﺭ ﺒﻬﺎ ﻓﻲ ﺠﻤﻴﻊ ﺍﻷﺤﻭﺍل ﻻﻥ ﺍﻝﻌﻼﻗﺔ ﻫﻲ ﻜل ﻤﺘﻜﺎﻤل ﻤـﻥ ﺤﻴـﺙ‬
‫ﺍﻝﻭﺠﻭﺩ ﻭﺍﻝﺘﺄﺜﻴﺭ‪ .‬ﻭﻋﻠﻴﻪ ﻴﺠﺏ ﺘﺤﺩﻴﺩ ﺍﻝﻨﻅﺎﻡ ﺒﺸﻜل ﺩﻗﻴﻕ ﻝﻜﻲ ﺘﺘﻌﺭﻑ ﻋﻠﻰ ﻁﺭﻓﻲ ﺍﻝﻌﻼﻗﺔ‪ ،‬ﻭﺍﻝﻔﻀـﺎﺀ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﺒﻜﻭﻨﻪ ﻨﻅﺎﻤﹰﺎ‪ ،‬ﻓﺈﻥ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ ﻴﻤﻜﻥ ﺘﺤﺩﻴﺩﻫﺎ ﻤﻥ ﺨﻼل ﺤﺩﻭﺩ ﺫﻝﻙ ﺍﻝﻔﻀﺎﺀ‬

‫ﻓﻴﺯﻴﺎﺌﻴﹰﺎ ﻭﺤﺴﻴﹰﺎ ﻗﺩ ﻴﺭﺘﺒﻁ ﺒﻤﺠﺎل ﺃﻭﺴﻊ‪ ،‬ﻭﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل ﻓﺎﻝﻤﺴﻜﻥ ﻴﻀﻡ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻔﻀﺎﺀﺍﺕ‬
‫ﺍﻝﺘﻲ ﺘﺭﺘﺒﻁ ﺒﺎﻝﺨﺎﺭﺝ ﻤﻥ ﺨﻼل ﺍﻝﻔﺘﺤﺎﺕ ﻻ ﺴﻴﻤﺎ ﻓﻲ ﻏﺭﻓﺔ ﺍﻝﺠﻠﻭﺱ‪ ،‬ﻓﻬﻲ ﻗـﻭﻯ ﻤـﺅﺜﺭﺓ ﺒﻘﺼـﺩﻴﺔ‬
‫ﺍﻝﻤﺸﺎﺭﻜﺔ ﺍﻝﺒﺼﺭﻴﺔ ﺒﻴﻥ ﺍﻝﺨﺎﺭﺝ ﻭﺍﻝﺩﺍﺨل ﻭﺍﻝﺘﻲ ﺘﻌﻨﻲ ﺍﻝﻤﺸﺎﺭﻜﺔ ﺍﻝﻌﺎﻤﺔ ﺒﺎﻝﻔﻌﺎﻝﻴﺔ ﺍﻝﺨﺎﺼـﺔ ﺒﺤﻴـﺙ‬

‫ﺘﺼﺒﺢ ﻝﻬﺫﻩ ﺍﻝﻌﻼﻗﺔ ﺍﻝﺨﺎﺼﺔ ﺒﻌﺽ ﺍﻝﺠﻭﺍﻨﺏ ﺍﻝﻌﻤﻭﻤﻴﺔ ﻓﺎﻻﻤﺘﺩﺍﺩ ﺍﻝﺒﺼﺭﻱ ﻋﻨﺼﺭ ﻤﻬﻡ ﻓﻲ ﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻭﺘﻤﺜل ﻝﻺﻨﺴﺎﻥ ﻤﻨﺒﻬﺎﺕ ﻤﺴﺎﻋﺩﺓ ﻝﻠﻨﺸﺎﻁ ﻭﺍﻝﺭﺍﺤﺔ ﻭﺍﻷﻤﺎﻥ ﻭﺘﻌﻁﻲ ﺘـﺄﺜﻴﺭﹰﺍ ﻨﻔﺴـﻴﹰﺎ‬
‫ﻤﺒﺎﺸﺭﹰﺍ ﻝﻠﺸﻜل ﻭﺍﻝﻠﻭﻥ ﻜﺸﺨﺼﻴﺔ ﺠﻤﺎﻝﻴﺔ‪.‬‬

‫ﻭﺇﻥ ﺃﻱ ﻓﻀﺎﺀ ﺩﺍﺨﻠﻲ ﻴﺠﺏ ﺃﻥ ﻴﺤﺘﻭﻱ ﻓﺘﺤﺎﺕ ﺘﺭﺒﻁ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﺎﻝﺨﺎﺭﺠﻴﺔ ﺤﻴﺙ ﻴﺘـﺄﺜﺭ‬
‫ﺍﻝﻤﻜﺎﻥ ﺒﻘﻭﻯ ﻤﺅﺜﺭ ﺍﻻﺘﺠﺎﻩ ﻭﻴﻨﺒﺴﻁ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺨﺎﺭﺝ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻴﺨﺘﺭﻕ ﺍﻝﺤﺩﻭﺩ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻴﺒﺘﻜـﺭ‬
‫ﻓﺴﺤﺔ‪ ،‬ﻤﺴﺎﺤﺔ ﻫﺫﻩ ﺍﻝﻔﺴﺤﺔ‪ ،‬ﻝﻬﺎ ﻋﻼﻗﺔ ﺒﺎﻝﻔﺘﺤﺎﺕ ﺍﻝﺘﻲ ﺘﻌﻁﻲ ﺘﻌﺒﻴﺭﹰﺍ ﻝﻤﺨﺘﻠـﻑ ﺍﻷﺸـﻜﺎل ﺒـﺩﺭﺠﺎﺕ‬

‫ﻤﺨﺘﻠﻔﺔ ﻝﻭﺠﻭﺩ ﺍﻝﻔﻀﺎﺀ‪.‬‬

‫ﺠﺭﺠﻴﺱ‪ ،‬ﺴﻌﺩ ﻤﺤﻤﺩ‪ ،‬ﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﺍﻹﺩﺭﺍﻙ ﻭﺘﺄﺜﻴﺭﻫﺎ ﻋﻠﻰ ﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﻔﻨﻭﻥ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ‪/‬ﻫﻴﺌـﺔ ﺍﻝﺘﻌﻠـﻴﻡ‬ ‫‪1‬‬

‫ﺍﻝﺘﻘﻨﻲ‪http://www.iasj.net/iasj?func=fulltext&aId=36929 2006 ،‬‬

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 ‫ﺸﻜل )‪ (6.2‬ﺸﻜل ﻴﻤﺜل ﺘﺒﺎﺩل ﺍﻝﻘﻭﻯ ﺍﻝﺸﺭﻁﻴﺔ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(/http://forums.imageslove.net/pic23481 :‬‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www.gn4me.com/gn4me/details.jsp?artId=4160128:‬‬

‫ﻭﻫﻨﺎ ﻴﻤﻜﻥ ﺍﻝﻘﻭل ﺃﻥ ﺸﺭﻁﻴﺔ ﻋﻼﻗﺔ ﺍﻝﺩﺍﺨل ﺒﺎﻝﺨﺎﺭﺝ ﻭﻁﺭﻴﻘﺔ ﺘﻜﻭﻴﻨﻬﺎ ﺃﻭ ﺘﺸﻜﻴﻠﻬﺎ ﻜﻤـﺅﺜﺭ‬
‫ﺒﻴﺌﻲ ﻴﻜﻭﻥ ﺒﺘﺤﺩﻴﺩ ﻨﻭﻉ ﻭﺤﺠﻡ ﺍﻝﻌﻼﻗﺔ ﺍﻝﺒﺼﺭﻴﺔ ﻭﺍﻝﻔﻭﺍﺼل ﺒﻴﻥ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺃﻴﻀـﹰﺎ‪ ،‬ﻭﻴﻨـﺘﺞ‬
‫ﻜﻤﺘﻐﻴﺭ ﻤﻥ ﺨﻼل ﺨﻠﻕ ﻓﻀﺎﺀﺍﺕ ﻤﺘﻭﺍﺯﻨﺔ ﻓﻲ ﻗﻴﻤﻬﺎ ﻭﺃﻫﺩﺍﻓﻬﺎ ﻭﻋﻼﻗﺘﻬﺎ ﻓﻴﻤﺎ ﺒﻴﻨﻬﺎ ﻭﺒﻴﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺤﻴﻁﺔ‬

‫ﺒﻬﺎ ﻭﻫﺫﺍ ﺍﻝﺘﻭﺍﻓﻕ ﻴﻭﻝﺩ ﺍﻻﻨﺴﺠﺎﻡ ﻤﺎ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ ﻝﻐﺭﺽ ﺇﺘﻤﺎﻡ ﺍﻝﻤﺘﻌﺔ ﻭﺍﻝﺤﻤﺎﻴـﺔ ﻭﺍﻝﺭﺍﺤـﺔ‬
‫‪1‬‬
‫ﻝﻤﺴﺘﺨﺩﻤﻲ ﺍﻝﻔﻀﺎﺀ‪.‬‬

‫‪ 2.2‬ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ‬

‫‪ 1.2.2‬ﻤﺎﻫﻴﺔ ﺍﻝﻤﺴﻜﻥ ﻭﻋﻤﺎﺭﺘﻪ‬

‫ﺍﻝﻤﺴﻜﻥ ﻫﻭ ﺍﻝﻤﺄﻭﻯ ﺍﻝﺫﻱ ﺘﺘﺤﻘﻕ ﻓﻴﻪ ﺍﻝﻭﻅﺎﺌﻑ ﺍﻷﺴﺎﺴﻴﺔ ﺍﻝﻔﺭﺩﻴﺔ ﻭﺍﻷﺴﺭﻴﺔ‪ ،‬ﻓﻬـﻭ ﻤﺠـﺎل‬
‫ﻝﻠﻌﻼﻗﺎﺕ ﺍﻷﺴﺭﻴﺔ‪ ،‬ﻭﻭﻋﺎﺀ ﻝﻠﺘﻨﺸﺌﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺇﻝﻰ ﺠﺎﻨﺏ ﻜﻭﻨﻪ ﻋﻨﺼﺭﹰﺍ ﺜﻘﺎﻓﻴـﹰﺎ ﺒﺎﻋﺘﺒـﺎﺭﻩ ﻨﺘﺎﺠـﹰﺎ‬

‫ﻝﺘﻔﺎﻋل ﺍﻝﻔﺭﺩ ﻤﻊ ﻤﻌﻁﻴﺎﺕ ﺍﻝﺒﻴﺌﺔ ﻤﻥ ﺤﻭﻝﻪ‪.‬‬

‫ﺠﻠﹸﻭ ‪‬ﺩ ﺍ َﻷﻨﹾﻌ‪‬ﺎ ﹺﻡ ‪‬ﺒﻴ‪‬ﻭﺘﹰـﺎ‬

‫ﺠ ‪‬ﻌ َل ﹶﻝﻜﹸﻡ ﻤ‪‬ﻥ ‪‬‬
‫ﺴ ﹶﻜﻨﹰﺎ ‪‬ﻭ ‪‬‬
‫ﺠ ‪‬ﻌ َل ﹶﻝﻜﹸﻡ ﻤ‪‬ﻥ ‪‬ﺒﻴ‪‬ﻭ ‪‬ﺘ ﹸﻜﻡ‪ ‬‬
‫ﻗﺎل ﺘﺒﺎﺭﻙ ﻭﺘﻌﺎﻝﻰ‪" :‬ﻭ‪‬ﺍﻝﱠﻠ ‪‬ﻪ ‪‬‬
‫ﻥ"‬
‫ﻅﻌ‪ ‬ﻨ ﹸﻜﻡ‪ ‬ﻭ ‪‬ﻴﻭ‪ ‬ﻡ ِﺇﻗﹶﺎ ‪‬ﻤ ‪‬ﺘ ﹸﻜﻡ‪ ‬ﻭ ‪‬ﻤﻥ‪َ ‬ﺃﺼ‪‬ﻭ‪‬ﺍ ‪‬ﻓﻬ‪‬ﺎ ‪‬ﻭَﺃﻭ‪‬ﺒ‪‬ﺎ ﹺﺭﻫ‪‬ﺎ ‪‬ﻭَﺃﺸﹾﻌ‪‬ﺎ ﹺﺭﻫ‪‬ﺎ َﺃﺜﹶﺎﺜﹰﺎ ‪‬ﻭ ‪‬ﻤﺘﹶﺎﻋ‪‬ﺎ ِﺇﻝﹶﻰ ﺤ‪‬ـﻴ ﹴ‬
‫ﺨﻔﱡﻭ ﹶﻨﻬ‪‬ﺎ ﻴ‪‬ﻭ‪ ‬ﻡ ﹶ‬
‫ﹶﺘﺴ‪ ‬ﹶﺘ ‪‬‬

‫ﺼﺩﻕ ﺍﷲ ﺍﻝﻌﻅﻴﻡ‪) .‬ﺴﻭﺭﺓ ﺍﻝﻨﺤل‪ -‬ﺁﻴﺔ ‪(80‬‬

‫ـﺩﺍﺨﻠﻲ‪ ،2011،‬ﺹ ‪583-582‬‬

‫ـﻤﻴﻡ ﺍﻝـ‬
‫ـﻲ ﺍﻝﺘﺼـ‬
‫ـﺭﺍﺕ ﻓـ‬
‫ـﺭﻭﻁ ﺍﻝﻤﺘﻐﻴـ‬
‫ـﺎﺀﺍﺕ ﻭﺸـ‬
‫ـﺎﻡ‪ :‬ﺍﻝﻔﻀـ‬
‫ـﺩﺍﺩ ﻫﺸـ‬
‫ـﺩ‪ ،‬ﺴـ‬
‫ﺤﻤﻴـ‬ ‫‪1‬‬

‫)‪(http://www.iasj.net/iasj?func=fulltext&aId=71372‬‬
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‫ﻭﺃﻭﺠﻪ ﺍﻝﺤﺎﺠﺔ ﻝﻠﺴﻜﻥ ﻜﺒﻨﺎﺀ ﻭﻅﻴﻔﻲ ﺫﻱ ﺩﻻﺌل ﺘﻌﺒﻴﺭﻴﺔ ﺘﺘﻁﻠﺏ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻴﻬـﺎ ﻜﻤﻌﻨـﻰ‬
‫ﻭﻫﺩﻑ‪ ،‬ﺫﻝﻙ ﺃﻥ ﻫﻨﺎﻙ ﺨﻼﻓ ﹰﺎ ﺠﻭﻫﺭﻴ ﹰﺎ ﺒﻴﻥ ﻤﻀﻤﻭﻥ ﺍﻝﻅﻭﺍﻫﺭ ﺍﻝﺠﺎﻤﺩﺓ ﻭﺘﻠﻙ ﺍﻝﻔﻜﺭﻴﺔ‪ ،‬ﻓﺎﻷﻭﻝﻰ‪ :‬ﻫﻲ‬
‫ﻨﺘﺎﺝ ﻗﻭﺍﻨﻴﻥ ﻤﻁﻠﻘﺔ ﺜﺎﺒﺘﺔ‪ ،‬ﻭﻤﺼﺎﺩﻓﺎﺕ ﻁﺎﺭﺌﺔ‪ ،‬ﺘﺤﺩﺩ ﻭﺠﻭﺩﻫﺎ‪ ،‬ﻭﺤﺭﻜﺘﻬﺎ‪ ،‬ﻭﺍﻝﺜﺎﻨﻴﺔ‪ :‬ﺘﺠﺴـﺩﻫﺎ ﺇﺭﺍﺩﺓ‬
‫ﺍﻝﻔﺭﺩ‪ ،‬ﻭﺴﻠﻭﻜﻴﺎﺘﻪ ﺍﻝﺒﻴﻭﻝﻭﺠﻴﺔ ﺍﻝﻤﺘﻭﺍﺭﺜﺔ‪ ،‬ﻝﺫﺍ ﻓﻬﻲ ﺘﺘﻀﻤﻥ ﺍﻝﻌﻘﻼﻨﻴـﺔ‪ ،‬ﺇﻝـﻰ ﺠﺎﻨـﺏ ﺍﻻﻋﺘﺒﺎﻁﻴـﺔ‪،‬‬
‫ﻭ"ﺍﻝﻔﻨﻁﺯﺓ" ﺃﻱ ﺍﻝﻤﺒﺎﻝﻐﺔ‪ ،‬ﻭﺍﻹﺒﺩﺍﻉ ﻭﺍﻷﻭﻫﺎﻡ‪ ،‬ﻝﺫﺍ ﻓﺈﻥ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﻋﻤﺎﺭﺓ ﺍﻝﻤﺴﻜﻥ ﻜﻤﻌﻨﻰ ﺍﺴﺘﺩﻻﻝﻲ‬
‫ﻴﺘﻁﻠﺏ ﺘﻘﺭﻴﺭ ﻭﺇﺩﺭﺍﻙ ﺍﻝﺜﻭﺍﺒﺕ ﻭﺍﻷﻁﺭﻭﺤﺎﺕ ﺍﻝﻔﻜﺭﻴﺔ ﺒﺩﻻﺌﻠﻬﺎ ﺍﻝﻤﻠﻤﻭﺴﺔ ﻭﺍﻝﺭﻤﺯﻴـﺔ ﺍﻝﺘـﻲ ﺘـﻨﻅﻡ‬
‫ﺒﻤﻭﺠﺏ ﻤﻔﺎﻫﻴﻡ ﻋﻘﻼﻨﻴﺔ ﻭﺍﻀﺤﺔ‪ ،‬ﺘﺒﺘﻐﻲ ﺘﺄﻜﻴﺩ ﺍﻝﺸﻕ ﺍﻝﻨﻔﻌﻲ ﻓﻴﻤﺎ ﻫﻭ ﻤﻠﻤﻭﺱ‪ ،‬ﻭﺍﻝﺸﻕ ﺍﻝﻤﻌﻨﻭﻱ ﻓﻲ‬
‫ﻜل ﺭﻤﺯﻱ‪ ،‬ﻤﻊ ﺤﺘﻤﻴﺔ ﺘﻜﺎﻤﻠﻬﺎ‪ ،‬ﻭﻴﺴﺘﻠﺯﻡ ﺫﻝﻙ ﺍﻝﺘﻜﺎﻤل ﺍﺘﺼﺎﻑ ﺍﻹﻁﺎﺭ ﻭﺍﻝﺤﻴﺯ ﺍﻝﻤﻜـﺎﻨﻲ ﻷﻨﺸـﻁﺔ‬
‫ﻭﻤﻤﺎﺭﺴﺎﺕ ﺍﻹﻨﺴﺎﻥ ﻭﺍﻝﺠﻤﺎﻋﺔ ﺒﻘﺩﺭ ﻤﻥ ﺍﻝﺘﻭﺍﺯﻥ ﺍﻝﻨﻔﻌﻲ ﻭﺍﻝﺘﻜﺎﻤل ﺍﻝﺘﻌﺒﻴﺭﻱ ﺒﻤﺭﺩﻭﺩﻫﺎ ﺍﻻﻴﺠـﺎﺒﻲ‬
‫ﻋﻠﻰ ﺍﻝﻨﻭﺍﺤﻲ ﺍﻝﺤﺴﻴﺔ ﻭﺍﻝﺘﻔﺎﻋﻠﻴﺔ‪ ،‬ﻭﺍﻝﺘﻘﺎﺀ ﺍﻝﺠﺎﻨﺒﻴﻥ ﺍﻝﻨﻔﻌﻲ ﻭ ﺍﻹﺩﺭﺍﻙ ﺍﻝﺤﺴﻲ ﻴﺤﺩﺩ ﻫﻭﻴﺔ ﺍﻝﻤﺴـﻜﻥ‬
‫ﻜﻌﻤل ﻤﻌﻤﺎﺭﻱ‪ ،‬ﻓﻲ ﺴﻴﺎﻕ ﺇﺩﺭﺍﻙ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻝﻤﻭﻗﻊ ﺫﻝﻙ ﺍﻝﻌﻤل ﻤﻥ ﻤﻌﻁﻴﺎﺕ ﺍﻝﺒﻴﺌﺔ‪ ،‬ﻨﻁﺎﻕ ﺼﻴﺎﻏﺘﻪ‪،‬‬
‫ﻭﻤﻭﻗﻌﻪ ـ ﺍﻝﻤﻌﻤﺎﺭﻱ ـ ﻤﻥ ﺍﻵﺨﺭ‪ ،‬ﻓﻲ ﺴﻴﺎﻕ ﻤﺎ ﻴﺘﺒﻨﺎﻩ ﻤﻥ ﻗﻀﺎﻴﺎ ﻓﻜﺭﻴﺔ ﺘﺴﺘﻭﺠﺏ ﺍﻝﺘﻼﻗﻲ‪.‬‬

‫ﻭﺍﻻﺤﺘﻴﺎﺝ ﺍﻝﻨﻔﺴﻲ ﻝﻠﺴﻜﻥ ﻴﺘﻀﻤﻥ ﻋﺩﺩﹰﺍ ﻤﻥ ﺍﻝﻘﻴﻡ ﻭﺍﻻﻋﺘﺒـﺎﺭﺍﺕ‪ ،‬ﺒﻌﻀـﻬﺎ ﻴﻌﺒـﺭ ﻋـﻥ‬
‫ﺍﺤﺘﻴﺎﺠﺎﺕ ﺤﻴﻭﻴﺔ ﻤﺎﺩﻴﺔ ﻭﺍﻋﻴﺔ‪ ،‬ﻭﺒﻌﻀﻬﺎ ﺍﻵﺨﺭ ﻏﻴﺭ ﻤﺎﺩﻴﺔ‪ ،‬ﻜﺎﻤﻨﺔ ﻓﻲ ﺍﻝﻼﺸـﻌﻭﺭ‪ ،‬ﻭﻁﺒﻴﻌـﻲ ﺃﻥ‬
‫ﻏﻴﺎﺏ ﺃﻱ ﻤﻥ ﻫﺫﻩ ﺍﻝﻘﻴﻡ ﻴﻔﻘﺩ ﺍﻹﻨﺴﺎﻥ ﺍﺘﺯﺍﻨﻪ ﺍﻝﺒﺩﻨﻲ ﻭﺍﻝﻨﻔﺴﻲ‪ ،‬ﻭﻴﺤﻭل ﺩﻭﻥ ﺘﻔﺎﻋﻠﻪ ﻭﺘﺠﺎﻭﺒـﻪ ﻤـﻊ‬
‫ﻤﻌﻁﻴﺎﺕ ﺍﻝﺤﻴﺯ ﺍﻝﻤﻜﺎﻨﻲ ﺍﻝﺴﻜﻨﻲ ﻭﺍﻝﺒﻴﺌﻲ ﺍﻝﻤﺤﻴﻁ ﺒﺸﻜل ﺴﻠﻴﻡ‪ ،‬ﺫﻝﻙ ﺃﻥ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻹﻨﺴﺎﻥ ﻭﺍﻝﻔﺭﺍﻍ‬
‫ﺍﻝﺴﻜﻨﻲ ﻋﻼﻗﺔ ﺘﺒﺎﺩﻝﻴﺔ‪ ،‬ﻓﺎﻹﻨﺴﺎﻥ ﻴﺴﻜﻥ ﺇﻝﻰ ﺍﻝﻔﺭﺍﻍ‪ ،‬ﻭﺍﻝﻔﺭﺍﻍ ﺒﺩﻭﺭﻩ ﻴﺴﻜﻥ ﺩﺍﺨل ﺍﻹﻨﺴﺎﻥ ﻤﺤﺭﻜـﹰﺎ‬
‫ﻓﻴﻪ ﺃﺤﺎﺴﻴﺱ ﺸﺘﻰ‪ ،‬ﻜﺎﻝﺭﺍﺤﺔ‪ ،‬ﺍﻝﺩﻑﺀ‪ ،‬ﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﺍﻻﺭﺘﺒﺎﻁ ﺒﻤﻔﺭﺩﺍﺕ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻭﺍﺴـﺘﻴﻔﺎﺀ ﺫﻝـﻙ‬
‫ﻤﺠﻤﻼ ﻤﺒﻌﺙ ﻝﻼﻨﺘﻤﺎﺀ‪ ،‬ﺒﻴﻨﻤﺎ ﺘﺅﺩﻱ ﺃﻭﺠﻪ ﺍﻝﺨﻠل ﻓﻴﻪ ﺇﻝﻰ ﺍﻝﻨﻘﻴﺽ‪ ،‬ﻭﺒﻔﻀﻠﻬﺎ ﻴﺼﺒﺢ ﺍﻝﻔﺭﺍﻍ ﺒﺎﻋﺜـﹰﺎ‬
‫ﻝﻤﺸﺎﻋﺭ ﻤﺘﻔﺎﻭﺘﺔ‪ ،‬ﺍﻝﺼﺩﺍﻗﺔ ﻭﺍﻝﺤﺏ‪ ،‬ﺍﻝﻜﺭﺍﻫﻴﺔ ﻭﺍﻝﻌﺯﻝﺔ‪ ،‬ﻭﻤﺅﺜﺭﹰﺍ ﺒﺫﻝﻙ ﻋﻠﻰ ﺘﻭﺍﺯﻥ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻨﻔﺴـﻲ‬
‫ﻭﺍﻝﺤﺴﻲ ﺍﻹﺩﺭﺍﻜﻲ ﻭﻤﻥ ﺜﻡ ﺍﻝﺒﺩﻨﻲ‪ ،‬ﻝﺘﺘﺒﺩﻯ ﺁﻨﺫﺍﻙ ﻭﺇﺯﺍﺀ ﻫﺫﻩ ﺍﻝﻌﻼﻗﺔ ﺍﻝﻤﺘﻤﻴﺯﺓ ﺒﻴﻨﻬﻤﺎ ـ ﺍﻹﻨﺴـﺎﻥ‬
‫ﻭﺍﻝﻔﺭﺍﻍ ـ ﺃﻫﻤﻴﺔ ﻤﺭﺍﻋﺎﺓ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﺍﻝﺘﻲ ﺘﺠﻤﻊ ﺒـﻴﻥ ﺍﻻﺤﺘﻴﺎﺠـﺎﺕ ﻏﻴـﺭ‬
‫‪1‬‬
‫ﺍﻝﻤﺎﺩﻴﺔ ﻭﺘﻠﻙ ﺍﻝﻤﺎﺩﻴﺔ‪.‬‬

‫ﺍﺒﺭﺍﻫﻴﻡ‪ ،‬ﻤﺤﻤﺩ ﺍﺒﺭﺍﻫﻴﻡ ﺠﺒﺭ‪ :‬ﻋﻤﺎﺭﺓ ﺍﻝﻤﺴﻜﻥ‪..‬ﺩﻻﺌل ﻭﺍﻋﺘﺒﺎﺭﺍﺕ‪ ،‬ﺠﺎﻤﻌﺔ ﻋﻴﻥ ﺸﻤﺱ‪ ،‬ﻗﺴﻡ ﺍﻝﻌﻤﺎﺭﺓ‪2007 ،‬‬ ‫‪1‬‬

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‫ﻭﻓﻲ ﻫﺫﺍ ﻓﺈﻨﻲ ﺃﺭﻯ ﺃﻥ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻴﺠﺏ ﺃﻥ ﺘﻨﺒﺜﻕ ﻤﻥ ﻋﻤﺎﺭﺓ‬
‫ﺘﺤﻘﻕ ﻋﻨﺎﺼﺭ ﺍﻝﻤﻨﻔﻌﺔ ﻭﺍﻝﻤﺘﺎﻨﺔ ﻭﺍﻝﺠﻤﺎل ﻭﺍﻻﻗﺘﺼﺎﺩ ﻭﺘﻔﻲ ﺒﺤﺎﺠﺎﺕ ﺍﻝﺴﺎﻜﻥ ﺍﻝﻤﺎﺩﻴﺔ ﻭﺍﻝﻨﻔﺴﻴﺔ‪ ،‬ﻓﻔـﻲ‬

‫ﻋﻤﻠﻴﺔ ﺘﺼﻤﻴﻡ ﺍﻝﻤﺴﻜﻥ ﺍﻝﺠﻴﺩ ﻴﺠﺏ ﻤﺭﺍﻋﺎﺓ ﺃﻥ ﻴﻜﻭﻥ ﺍﻝﺒﻨﺎﺀ ﺠﻴﺩﹰﺍ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﻭﻗﻊ ﻭﺍﻝﺘﻬﻭﻴﺔ ﻭﺍﻤﻜﺎﻨﻴﺔ‬
‫ﺩﺨﻭل ﺃﺸﻌﺔ ﺍﻝﺸﻤﺱ ﺇﻝﻴﻪ‪ ،‬ﻭﻫﻭ ﺠﻴﺩ ﺍﻹﻀﺎﺀﺓ ﻭﻤﺤﻤﻲ ﻤﻥ ﺍﻝﺭﻁﻭﺒﺔ‪ ،‬ﻭﺘﺘﻭﻓﺭ ﻓﻴﻪ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺨﺩﻤﻴﺔ‬
‫ﺍﻝﻤﺯﻭﺩﺓ ﺒﺎﻝﺸﺒﻜﺎﺕ ﺍﻝﻼﺯﻤﺔ )ﻤﺎﺀ‪ ،‬ﺼﺭﻑ ﺼﺤﻲ‪ ،‬ﻜﻬﺭﺒﺎﺀ( ﻜﺎﻓﺔ‪ ،‬ﻜﻤﺎ ﺘﺘﻭﻓﺭ ﻓﻴﻪ ﻭﺴﺎﺌل ﺍﻝﺴـﻼﻤﺔ‬

‫ﻋﺎﻤﺔ‪ ،‬ﻭﻴﻼﺤﻅ ﺃﻴﻀﹰﺎ ﺘﻨﻅﻴﻡ ﺘﻭﺯﻴﻊ ﻤﺴﺎﺤﺎﺘﻪ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﺼﻭﺭﺓ ﻤﻨﻁﻘﻴﺔ ﺴﻭﺍﺀ ﻤﻥ ﻤﻤﺭﺍﺕ ﻤﻨﻅﻤـﺔ‬
‫ﺒﻤﺴﺎﺤﺎﺕ ﻤﻨﺎﺴﺒﺔ‪ ،‬ﻭﻋﺩﺩ ﺍﻝﻐﺭﻑ ﻤﻨﺎﺴﺒﺔ ﻝﺤﺠﻡ ﺍﻝﻌﺎﺌﻠﺔ‪ ،‬ﻜﻤﺎ ﻴﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﺍﻝﻀﻭﻀـﺎﺀ‬
‫ﻭﻓﻲ ﻤﻭﻗﻊ ﻤﻼﺌﻡ‪.‬‬

‫‪ 2.2.2‬ﺘﺼﻨﻴﻑ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ‬

‫ﺘﻌﺩﺩﺕ ﺃﺸﻜﺎل ﺍﻝﺴﻜﻥ ﻭﻤﻜﻭﻨﺎﺘﻪ ﻓﻲ ﻤﺴﻴﺭﺓ ﺍﻝﺘﻁﻭﺭ ﺍﻝﺤﻀﺎﺭﻱ ﻭﺍﻝﺜﻘﺎﻓﻲ ﻭﺍﻝﺒﻴﺌﻲ‪ ،‬ﻭﻋﺎﺩ ﹰﺓ ﻤﺎ‬
‫ﻻ ﻤﺘﻌﺩﺩﺓ ﻤﻥ ﺍﻝﺒﻴﻭﺕ ﻭﺍﻝﻤﺒﺎﻨﻲ‪ ،‬ﺒﺤﻴﺙ ﺘﺘﻭﻓﺭ‬
‫ﺘﻜﻭﻥ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﺘﺠﻤﻌﺎﺕ ﻭﺃﺤﻴﺎﺀ ﺘﻀﻡ ﺃﺸﻜﺎ ﹰ‬

‫ﻤﻌﻬﺎ ﺍﻝﺨﺩﻤﺎﺕ ﻭﺍﻝﻤﺭﺍﻓﻕ ﺍﻝﻌﺎﻤﺔ ﻜﺎﻓﺔ‪.‬‬

‫ﻻ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻨﺫﻜﺭ ﻤﻨﻬﺎ‪:‬‬

‫"ﻭﺘﺄﺨﺫ ﺍﻝﻤﺴﺎﻜﻥ ﻭﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﺍﻝﻤﺩﻥ ﺃﺸﻜﺎ ﹰ‬

‫ﺃ ‪ -‬ﻤﺴﺎﻜﻥ ﻤﻨﻔﺼﻠﺔ )‪ :(villas‬ﻤﻜﻭﻨﺔ ﻤﻥ ﻁﺎﺒﻕ ﻭﺍﺤﺩ ﺃﻭ ﺍﻜﺜﺭ‪ ،‬ﺘﺤﻴﻁ ﺒﻬﺎ ﻋﺎﺩﺓ ﺤﺩﻴﻘﺔ‪.‬‬

‫ﻥ ﺘﺘﺄﻝﻑ ﻤﻥ ﻋﺩﺓ ﺃﺩﻭﺍﺭ‪ ،‬ﻴﻀﻡ ﻁﺎﺒﻕ ﺸـﻘﺘﻴﻥ ﺃﻭ‬

‫ﺏ ‪ -‬ﻤﺴﺎﻜﻥ ﻁﺎﺒﻘﻴﺔ )‪ :(multi floor‬ﻀﻤﻥ ﻤﺒﺎ ﹴ‬
‫ﺃﻜﺜﺭ‪ ،‬ﺘﺤﻴﻁ ﺒﻬﺎ ﻭﺠﺎﺌﺏ ﻫﻲ ﻓﺴﺤﺎﺕ ﺨﻀﺭﺍﺀ ﺃﻭ ﻤﻌﺒﺩﺓ ﺘﻔﺼﻠﻬﺎ ﻋﻥ ﺍﻝﻤﺴﺎﻜﻥ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﺘﺤﻘﻴﻕ‬
‫ﺍﻝﺘﻬﻭﻴﺔ ﻭﺍﻹﻀﺎﺀﺓ‪.‬‬

‫ﺝ – ﺍﻝﻤﺴﺎﻜﻥ ﺍﻝﻤﺘﺼﻠﺔ ﺃﻭ ﺍﻝﺸﺭﻴﻁﻴﺔ‪ :‬ﻭﺘﻜﻭﻥ ﻓﻴﻬﺎ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻤﺘﻼﺼﻘﺔ‪ ،‬ﺘﺘﺎﺨﻤﻬﺎ ﻤﻥ ﺍﻷﻤـﺎﻡ‬
‫ﻭﺍﻝﺨﻠﻑ ﻭﺠﻴﺒﺘﺎﻥ‪ ،‬ﺘﻔﺼﻠﻬﺎ ﻋﻥ ﺍﻝﺸﺎﺭﻉ ﻭﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺠﺎﻭﺭﺓ‪ ،‬ﻭﺘﺘﻌﺩﺩ ﻤﺩﺍﺨﻠﻬﺎ ﻭﺃﺩﻭﺍﺭﻫﺎ‪ ،‬ﺒﺤﻴـﺙ‬
‫ﻴﻀﻡ ﺍﻝﻤﺩﺨل ﺍﻝﻭﺍﺤﺩ ﺸﻘﺘﻴﻥ ﺃﻭ ﺃﻜﺜﺭ‪ ،‬ﻭﻴﺼل ﺍﺭﺘﻔﺎﻋﻬﺎ ﻋﺎﺩﺓ ﺇﻝﻰ ﺨﻤﺴﺔ ﻁﻭﺍﺒﻕ‪.‬‬

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‫ﺩ – ﺍﻝﺴﻜﻥ ﺍﻝﺒﺭﺠﻲ‪ :‬ﺍﻨﺘﺸﺭ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻝﺴﻜﻥ ﻓﻲ ﺍﻝﻤﺩﻥ ﺍﻝﻜﺒﺭﻯ‪ ،‬ﻝﻼﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺍﻷﺭﺽ ﻤﺭﺘﻔﻌﺔ‬
‫ﺍﻝﺜﻤﻥ‪ ،‬ﻹﻗﺎﻤﺔ ﺃﻜﺒﺭ ﻋﺩﺩ ﻤﻤﻜﻥ ﻤﻥ ﺍﻝﻤﺴﺎﻜﻥ‪ ،‬ﻭﺘﺭﺍﻭﺡ ﺍﺭﺘﻔﺎﻋﻪ ﻤﺎ ﺒﻴﻥ ‪ 12-8‬ﻁﺎﺒﻘﺎﹰ‪ ،‬ﻭﻗﺩ ﺘﺼل‬

‫ﺇﻝﻰ ﺃﻜﺜﺭ ﻤﻥ ﺫﻝﻙ ﺒﻜﺜﻴﺭ‪ ،‬ﻓﻲ ﻤﺎ ﻴﻌﺭﻑ ﺒﻨﺎﻁﺤﺎﺕ ﺍﻝﺴﺤﺎﺏ‪ ،‬ﻴﻀﻡ ﺍﻝﻁﺎﺒﻕ ﺍﻝﻭﺍﺤﺩ ﻋـﺩﺩﹰﺍ ﻤـﻥ‬
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‫ﺍﻝﺸﻘﻕ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﺘﺴﺘﺨﺩﻡ ﻓﻴﻬﺎ ﺍﻝﻤﺼﺎﻋﺩ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺴﻼﻝﻡ‪ ،‬ﻝﻐﺎﻴﺔ ﺍﻻﻨﺘﻘﺎل ﺍﻝﺸﺎﻗﻭﻝﻲ‪" .‬‬

‫‪ 3.2.2‬ﺍﻝﻤﻨﺎﺯل ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻴﻼﺕ(‬

‫ﺤﻴﺙ ﻴﻭﺠﺩ ﻜل ﻤﺒﻨﻰ ﻤﺴﺘﻘﻼ ﻭﻤﺤﺎﻁﺎ ﺒﻤﺴﺎﺤﺎﺕ ﺨﺎﺼﺔ ﺒﻪ‪ ،‬ﻭﻋﺎﺩﺓ ﻤﺎ ﻴﻜﻭﻥ ﻤـﻥ ﻁـﺎﺒﻕ‬
‫ﻭﺍﺤﺩ ﺒﺠﻨﺎﺤﻴﻥ ﺃﻭ ﻁﺎﺒﻘﻴﻥ ﺃﻭ ﺃﻜﺜﺭ‪ ،‬ﻭﺘﺨﺘﻠﻑ ﺃﺤﺠﺎﻡ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﺤﺴﺏ ﺍﻝﻤﺴﺘﻭﻯ ﺍﻝﻤﻌﻴﺸﻲ ﻭﻤﺴﺘﻭﻯ‬
‫ﺍﻝﺩﺨل ﻝﺼﺎﺤﺒﻬﺎ‪ ،‬ﻓﻤﻨﻬﺎ ﺍﻝﻔﻴﻼﺕ )‪ ،(Villa Houses‬ﻭﻤﻨﻬﺎ ﻭﺤﺩﺍﺕ ﺫﺍﺕ ﻁـﺎﺒﻕ ﻭﺍﺤـﺩ ﻭﻤﻨﻬـﺎ‬

‫ﻭﺤﺩﺍﺕ ﺒﻌﺩﺓ ﻤﺴﺘﻭﻴﺎﺕ )‪.(Split Houses‬‬

‫ﻓﻬﻭ ﻤﺒﻨﻰ ﻤﻌﺩ ﺃﺼﻼ ﻝﺴﻜﻥ ﺃﺴﺭﺓ ﻭﺍﺤﺩﺓ‪ ،‬ﻓﻔﻲ ﺤﺎﻝﺔ ﻤﺎ ﻴﻜﻭﻥ ﻁﺎﺒﻘﻴﻥ ﻓﻴﺼل ﺒﻴﻨﻬﻤـﺎ ﺩﺭﺝ‬
‫ﺩﺍﺨﻠﻲ‪ ،‬ﻭﻴﺨﺼﺹ ﺃﺤﺩ ﺍﻷﺠﻨﺤﺔ ﻓﻲ ﺤﺎﻝﺔ ﺍﻝﻁﺎﺒﻕ ﺍﻝﻭﺍﺤﺩ ﺃﻭ ﺍﻝﻁﺎﺒﻕ ﺍﻝﺜﺎﻨﻲ ﻝﻠﻨﻭﻡ‪ ،‬ﻭﺍﻝﺠﻨﺎﺡ ﺍﻵﺨﺭ ﺃﻭ‬

‫ﺍﻝﻁﺎﺒﻕ ﺍﻷﺭﻀﻲ ﻝﻼﺴﺘﻘﺒﺎل ﻭﺍﻝﻤﻁﺒﺦ ﻭﺍﻝﺨﺩﻤﺎﺕ ﺒﻤﺨﺘﻠﻑ ﺃﻨﻭﺍﻋﻬﺎ‪ ،‬ﻜﻤﺎ ﻴﺘﻭﻓﺭ ﻓﻲ ﺍﻝﻐﺎﻝﺏ ﻝﻠﻔﻴﻼ ﺤﺩﻴﻘﺔ‬
‫ﺘﺤﻴﻁ ﺒﻬﺎ ﺒﻐﺽ ﺍﻝﻨﻅﺭ ﻋﻥ ﻤﺴﺎﺤﺘﻬﺎ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺴﻭﺭ ﻴﺤﻴﻁ ﺒﻬﺎ ﻤﻥ ﺍﻝﺨﺎﺭﺝ‪ ،‬ﻭﻜـﺭﺍﺝ ﻝﻠﺴـﻴﺎﺭﺓ‪،‬‬
‫ﻭﻴﻤﻜﻥ ﺃﻥ ﻴﻭﺠﺩ ﻀﻤﻥ ﺤﺩﻭﺩ ﺍﻝﻔﻴﻼ ﺃﺤﺩ ﺍﻝﻤﺒﺎﻨﻲ ﺃﻭ ﺍﻝﻤﻼﺤﻕ ﻭﻴﻜﻭﻥ ﻤﻥ ﻤﻜﻭﻨﺎﺘﻬﺎ‪.‬‬

‫ﻴﻔﻀل ﻋﻤل ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻠﻔﻴﻼ ﺍﻝﺴﻜﻨﻴﺔ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻕ ﺍﻝﻭﺍﺤﺩ ﻜﺄﺨﺘﻴﺎﺭ ﺃﻭل ﻓﻲ ﺤﺎﻝـﺔ ﻭﺠـﻭﺩ‬ ‫•‬
‫ﻤﺴﻁﺢ ﺃﺭﻀﻲ ‪‬ﻴﻤ ﱢﻜﻨﻨﺎ ﻤﻥ ﺍﻝﺘﻭﺴﻊ ﺍﻷﻓﻘﻲ ﻓﻴﻪ ﺤﻴﺙ ﺃﻥ ﺍﻝﻤﻨﺎﺯل ﺫﺍﺕ ﺍﻝﻁـﺎﺒﻕ ﺍﻝﻭﺍﺤـﺩ ﻫـﻲ‬
‫ﺍﻷﺴﻬل ﻓﻲ ﺍﻝﺒﻨﺎﺀ ﻭﺍﻝﺼﻴﺎﻨﺔ ﻋﻥ ﻏﻴﺭﻫﺎ ﻓﻼ ﻴﻭﺠﺩ ﺩﺭﺝ ﻴﺸﻐل ﻤﺴﺎﺤﺔ ﻤﻥ ﺍﻷﺭﻀﻴﺔ ﻭﻴﻜـﻭﻥ‬

‫ﻤﺼﺩﺭﹰﺍ ﻝﻠﻘﻠﻕ ﻝﺤﺭﻜﺔ ﺍﻷﻁﻔﺎل ﻭﻜﺒﺎﺭ ﺍﻝﺴﻥ‪.‬‬

‫ﻓﻲ ﺤﺎﻝﺔ ﻭﺠﻭﺩ ﺍﺭﺽ ﻏﻴﺭ ﻤﺴﻁﺤﺔ ﻝﻬﺎ ﺨﻁﻭﻁ ﻜﻨﺘﻭﺭﻴﺔ ﻓﻲ ﻨﻁﺎﻕ ﻤﺴﻁﺢ ﺍﻝﻤﺒﻨﻰ ﻴﻔﻀـل‬ ‫•‬
‫ﺍﺴﺘﺨﺩﺍﻡ ﺍﺴﻠﻭﺏ ﺍﻝﻔﻴﻼ ﺍﻝﺴﻜﻨﻴﺔ ﺫﺍﺕ ﺍﻝﻤﺴﺘﻭﻴﺎﺕ ﺍﻝﻤﻨﻔﺼﻠﺔ‪.‬‬

‫ـﻜﻥ( ‪http://www.arab-‬‬
‫ـﺔ << ﺍﻝﻤﺴـ‬
‫ـﺔ << ﺍﻝﻬﻨﺩﺴـ‬
‫ـﻭﻡ ﺍﻝﺘﻁﺒﻴﻘﻴـ‬
‫ـﺎﻤﻥ << ﺍﻝﻌﻠـ‬
‫ـﺩ ﺍﻝﺜـ‬
‫ـﺔ‪) ،‬ﺍﻝﻤﺠﻠـ‬
‫ـﻭﻋﺔ ﺍﻝﻌﺭﺒﻴـ‬
‫‪ 1‬ﺍﻝﻤﻭﺴـ‬
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‫ﻓﻲ ﺤﺎﻝﺔ ﻀﻴﻕ ﻤﺴﻁﺢ ﺍﻷﺭﺽ ﻴﻔﻀل ﺍﺴﺘﺨﺩﺍﻡ ﺍﺴﻠﻭﺏ ﺍﻝﻔﻴﻼ ﺍﻝﺴﻜﻨﻴﺔ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻘﻴﻥ‪.‬‬ ‫•‬

‫‪ 4.2.2‬ﺍﻝﻬﻭﻴﺔ ﻓﻲ ﻋﻤﺎﺭﺓ ﺍﻝﻤﺴﻜﻥ‬

‫ﺍﻝﻬﻭﻴﺔ ﺘﻌﻨﻲ ﺍﻝﻁﺎﺒﻊ ﺃﻭ ﺍﻝﺸﻜل ﺍﻝﻤﻌﺒﺭ ﻋﻥ ﺸﺨﺼﻴﺔ ﻜل ﻤﺠﺘﻤﻊ؛ ﻭﺍﻝﻬﻭﻴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻫـﻲ‬
‫ﺍﻝﺸﻜل ﺍﻝﻤﻌﻤﺎﺭﻱ ﻷﻱ ﺒﻨﺎﺀ )ﺍﻝﻁﺭﺍﺯ ‪(Style‬؛ ﻭﻴﻘﻭل ﻋﻔﻴﻑ ﺒﻬﻨﺴﻲ ﻋﻥ ﻫﻭﻴﺔ ﺍﻝﻌﻤﺎﺭﺓ‪" :‬ﺘﺘﺠﻠـﻰ‬
‫ﻫﻭﻴﺔ ﺍﻷﻤﺔ ﻤﻥ ﺨﻼل ﻭﺤﺩﺓ ﺍﻝﻠﻐﺔ ﻭﺍﻝﺜﻘﺎﻓﺔ ﻭﺍﻝﻌﻘﺎﺌﺩ‪ ،‬ﻭﺘﻌﻜﺱ ﻫﻭﻴﺘﻬﺎ ﻋﻠﻰ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﻔﻨﻭﻥ ﻭﺍﻝﺘﺭﺍﺙ‪،‬‬

‫ﻭﺘﺴﺘﻤﺭ ﻫﻭﻴﺔ ﺍﻝﻌﻤﺎﺭﺓ ﺒﺎﺴﺘﻤﺭﺍﺭ ﻫﻭﻴﺔ ﺍﻷﻤﺔ‪ ،‬ﻭﺘﺘﻁﻭﺭ ﺒﺘﻁﻭﻴﺭﻫﺎ‪ ،‬ﻭﺘـﻨﻬﺽ ﺒﻨﻬﻭﻀـﻬﺎ‪ ،‬ﻭﺘﺘﻔﻜـﻙ‬
‫ﺒﺘﻔﻜﻜﻬﺎ‪ ،‬ﻭﺒﻬﺫﺍ ﺍﻝﻤﻌﻨﻰ ﻓﺈﻥ ﻫﻭﻴﺔ ﺍﻝﻌﻤﺎﺭﺓ ﺘﻌﻨﻲ ﺍﻨﺘﻤﺎﺀ ﻫﺫﻩ ﺍﻝﻌﻤﺎﺭﺓ ﺇﻝﻰ ﺤﻀﺎﺭﺓ ﻤﻌﻴﻨﺔ ﺨﻠﻘﺘﻬﺎ ﺃﻤﺔ‬
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‫ﻤﻌﻴﻨﺔ"‬

‫"ﻭﻗﺩ ﺘﺴﺎﻫﻡ ﺜﻼﺙ ﻋﻨﺎﺼﺭ ﺃﺴﺎﺴﻴﺔ ﻓﻲ ﺘﺸﻜﻴل ﻫﺫﻩ ﺍﻝﻬﻭﻴﺔ ﻭﻫﻲ‪:‬‬

‫‪ – 1‬ﺍﻝﺴﻤﺎﺕ ﺍﻝﻌﻤﺭﺍﻨﻴﺔ ﻭﺍﻝﻤﻅﻬﺭ‪.‬‬

‫‪ – 2‬ﺍﻝﻔﻌﺎﻝﻴﺎﺕ ﻭﺍﻝﻭﻅﺎﺌﻑ ﺍﻝﺴﺎﺌﺩﺓ‪.‬‬

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‫‪ –3‬ﺍﻝﻤﻌﺎﻨﻲ ﻭﺍﻝﺭﻤﻭﺯ ﺍﻝﻤﺩﺭﻜﺔ‪".‬‬

‫ﺃﺸﺎﺭ ﺃﺒﺭﺍﻫﺎﻡ ﻤﺎﺴﻠﻭ ﻓﻲ ﻨﻤﻭﺫﺠﻪ ﺍﻝﻤﺸﻬﻭﺭ ﺍﻝﺫﻱ ﺭﺘﺏ ﻓﻴﻪ ﻭﺒﺸﻜل ﻤﺘﺩﺭﺝ ﻤﺠﺎﻤﻴﻊ ﺍﻝﺤﺎﺠﺎﺕ‬
‫ﺍﻷﺴﺎﺴﻴﺔ ﻝﻺﻨﺴﺎﻥ‪ ،‬ﺇﻝﻰ ﺃﻥ ﻝﻜل ﻓﺭﺩ ﺤﺎﺠﺎﺕ ﻤﺘﺭﺍﻜﺒﺔ ﻭﻀﻤﻥ ﺃﻭﻝﻭﻴﺎﺕ ﻤﺘﺭﺍﺒﻁﺔ ﻴﺴﻌﻰ ﺇﻝﻰ ﺘﺤﻘﻴﻘﻬﺎ‬

‫ﻭﻫﺫﻩ ﻴﻤﻜﻥ ﺘﺭﺘﻴﺒﻬﺎ ﻀﻤﻥ ﺍﻝﺘﺩﺭﺝ ﺍﻝﺘﺎﻝﻲ‪:‬‬

‫‪ -1‬ﺘﻭﻓﻴﺭ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺎﺩﻴﺔ‪.‬‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ ‪289-288‬‬ ‫‪1‬‬

‫ﺍﻝﺤﻀﺭﻱ‪ ،‬ﻨﻌﻴﻤﺔ‪ ،‬ﺍﻝﻬﻭﻴﺔ ﻭﺍﻝﺘﻜﻭﻴﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻹﺴﻼﻤﻴﺔ ﺍﻝﻤﻐﺭﺒﻴﺔ‪ ،‬ﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻝﻌﻠـﻭﻡ‬ ‫‪2‬‬

‫ﺍﻹﻨﺴﺎﻨﻴﺔ‪ ،‬ﺍﻝﻘﻨﻴﻁﺭﺓ‪http://www.attarikh-alarabi.ma/Html/Addad57/adaa57partie12.htm ،‬‬

‫ﺍﻝﺩﻴﻭﺠﻲ‪ ،‬ﻤﻤﺘﺎﺯ ﺤﺎﺯﻡ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺍﻝﻬﻭﻴﺔ ﺍﻝﻤﻜﺎﻨﻴﺔ ﻝﺒﻴﺌﺔ ﺍﻝﺴﻜﻥ ﻓﻲ ﺘﻭﺠﻬﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﻌﺭﺍﻗﻴﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ ﻭﺍﻨﻌﻜﺎﺴﻬﺎ ﻋﻠﻰ‬ ‫‪3‬‬

‫ﺍﻝﻨﺘﺎﺝ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻷﻜﺎﺩﻴﻤﻲ‪ ،‬ﻗﺴﻡ ﺍﻝﻬﻨﺩﺴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﺠﺎﻤﻌﺔ ﺍﻝﻤﻭﺼل‪.2010 ،‬‬

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 ‫‪ -2‬ﺘﻭﻓﻴﺭ ﺍﻝﺴﻼﻤﺔ ﻭﺍﻷﻤﻥ ﻭﺍﻝﺤﻤﺎﻴﺔ‪.‬‬

‫‪ -3‬ﺘﻭﻓﻴﺭ ﺍﻹﻨﺘﻤﺎﺀ ﻝﻠﺒﻴﺌﺔ ﻭﺘﺤﻘﻴﻕ ﺍﻝﺘﻭﺍﺼل ﺍﻹﺠﺘﻤﺎﻋﻲ‪.‬‬

‫‪ -4‬ﺘﺤﻘﻴﻕ ﺍﻝﻜﻴﺎﻥ ﻭﺍﻻﻨﻁﺒﺎﻉ ﺍﻝﻤﻼﺌﻡ ﻤﻥ ﺨﻼل ﺘﺤﻘﻴﻕ ﺍﻻﺴﺘﻘﻼﻝﻴﺔ ﺍﻝﺫﺍﺘﻴﺔ ﻭﺍﻻﻜﺘﻔﺎﺀ ﺍﻝﺫﺍﺘﻲ‪.‬‬

‫‪ -5‬ﺇﻤﻜﺎﻨﻴﺔ ﺍﻹﺒﺩﺍﻉ ﻭﺍﻝﺤﺎﺠﺎﺕ ﺍﻝﻤﻌﺭﻓﻴﺔ‪.‬‬

‫‪ -6‬ﺍﻝﺤﺎﺠﺔ ﺇﻝﻰ ﺘﺤﻘﻴﻕ ﺍﻝﺫﺍﺕ ﻭﺇﺸﺒﺎﻉ ﺍﻝﻘﺩﺭﺍﺕ ﺍﻝﻜﺎﻤﻨﺔ ﻝﻠﻔﺭﺩ‪.‬‬

‫ﻭﺭﻏﻡ ﺃﻥ ﻨﻤﻭﺫﺝ ﻤﺎﺴﻠﻭ ﻫﺫﺍ ﻝﻡ ﻴﺤﺎﻭل ﺭﺒﻁ ﺍﻝﺤﺎﺠﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺒﻔﻜﺭﺓ ﺍﻝﻤﻜﺎﻥ ﺃﻭ ﺍﻝﺤﻴـﺯ‬
‫ﺒﺸﻜل ﻭﺍﻀﺢ ﺇﻻ ﺃﻨﻪ ﻴﻤﻜﻥ ﺍﻋﺘﺒﺎﺭﻩ ﻤﺅﺸﺭﹰﺍ ﺃﻭﻝﻴﺎ ﻝﻔﻬﻡ ﺃﻭﻝﻭﻴﺎﺕ ﺍﻝﺤﺎﺠﺎﺕ ﻀﻤﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺸﻴﺩﺓ ﻓﻔﻜﺭﺓ‬

‫ﺍﻝﻤﻜﺎﻥ ﻴﻌﺒﺭ ﻋﻨﻬﺎ ﺒﺎﻝﺤﻴﺯ ﺍﻝﺫﻱ ﻴﺤﻭﻱ ﺍﻝﺤﺎﺠﺎﺕ ﻭﺒﺎﻝﺘﺎﻝﻲ ﻓﻬﻭ ﻨﺎﺘﺞ ﻋﻼﻗﺔ ﺍﻝﻔﻌﺎﻝﻴﺎﺕ ﺒﺎﻝﺘﺼـﻭﺭﺍﺕ‬
‫ﺍﻝﺸﺨﺼﻴﺔ ﻭﺍﻝﺨﺼﺎﺌﺹ ﺍﻝﻤﺎﺩﻴﺔ‪ ،‬ﻭﻫﻨﺎ ﺘﻘﻭﻡ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺸﻴﺩﺓ ﺒﺘﻭﻓﻴﺭ ﺍﻋﺘﺒـﺎﺭﺍﺕ ﻤﺘﻌﻠﻘـﺔ ﺒﺎﻝﺤﺎﺠـﺎﺕ‬
‫ﺍﻝﻤﺎﺩﻴﺔ ﻭﺍﻷﻤﻨﻴﺔ ﻋﺒﺭ ﺘﻭﻓﻴﺭ ﺍﻝﻤﺄﻭﻯ ﺍﻝﻤﻼﺌﻡ ﻭﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﺘﺤﻘﻕ ﺤﺎﺠـﺎﺕ ﺍﻝﺤـﺏ ﻭﺍﻻﻨﺘﻤـﺎﺀ‬

‫ﻭﺍﻻﺴﺘﻘﻼﻝﻴﺔ ﺍﻝﺫﺍﺘﻴﺔ ﻋﺒﺭ ﺃﺴﻠﻭﺏ ﺍﻝﺘﻨﻅﻴﻡ ﺍﻝﻤﻜﺎﻨﻲ ﻭﺍﻝﺯﻤﺎﻨﻲ ﻤﻥ ﺠﺎﻨﺏ ﻭﺩﻋﻡ ﻫﻭﻴﺔ ﺍﻝﻤﻜﺎﻥ ﻭﺘﻭﻅﻴﻑ‬
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‫ﺍﻝﺭﻤﺯﻴﺔ ﺍﻝﺒﻴﺌﻴﺔ ﻤﻥ ﺠﺎﻨﺏ ﺁﺨﺭ‪.‬‬

‫ﺸﻜل )‪ (7.2‬ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻻﻨﺴﺎﻨﻴﺔ ﻓﻲ ﺘﺩﺭﺝ ﻤﺎﺴﻠﻭ ﻭﻤﺎﻴﻘﺎﺒﻠﻬﺎ ﻤﻥ ﺍﺤﺘﻴﺎﺠﺎﺕ ﻤﺴﻜﻨﻴﺔ ﺒﺼﻔﺔ ﻋﺎﻤﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻷﺴﻁل‪ ،‬ﺃﺤﻤﺩ‪ ،‬ﺍﻹﺴﻜﺎﻥ ﻭﺍﻝﻤﺴﻜﻥ‪ ،‬ﺍﻝﺠﺎﻤﻌﺔ ﺍﻻﺴﻼﻤﻴﺔ – ﻏﺯﺓ‪ ،‬ﻗﺴﻡ ﺍﻝﻬﻨﺩﺴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ(‬

‫ﺍﻝﺤﻀﺭﻱ‪ ،‬ﻨﻌﻴﻤﺔ‪ ،‬ﺍﻝﻬﻭﻴﺔ ﻭﺍﻝﺘﻜﻭﻴﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻹﺴﻼﻤﻴﺔ ﺍﻝﻤﻐﺭﺒﻴﺔ‪ ،‬ﻜﻠﻴﺔ ﺍﻵﺩﺍﺏ ﻭﺍﻝﻌﻠـﻭﻡ‬ ‫‪1‬‬

‫ﺍﻹﻨﺴﺎﻨﻴﺔ‪ ،‬ﺍﻝﻘﻨﻴﻁﺭﺓ ‪http://www.attarikh-alarabi.ma/Html/Addad57/adaa57partie12.htm‬‬

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 ‫‪ 5.2.2‬ﻋﻨﺎﺼﺭ ﺍﻝﻤﺴﻜﻥ ﺍﻝﺭﺌﻴﺴﻴﺔ‬

‫ﺍﻥ ﻨﺸﺎﻁﺎﺕ ﺍﻝﺴﻠﻭﻙ ﺍﻻﻨﺴﺎﻨﻲ ﻓﻲ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺴﻜﻨﻴﺔ ﺘﺤﺩﺩﻩ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺜﺎﺒﺘﺔ ﺤﻴﺙ ﻴﺩﺨل ﻓـﻲ‬

‫ﺘﻜﻭﻴﻨﻬﺎ ﺍﻝﻨﺸﺎﻁ ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻲ ﻭﺍﻝﺜﻘﺎﻓﻲ ﻝﻪ‪ .‬ﻓﺎﻝﺘﻭﻅﻴﻑ ﺍﻝﻔﺭﺍﻏﻲ ﻝﻠﻤﺴﻜﻥ ﻴﺘﺤﺩﺩ ﺒﻤﻜﺎﻥ ﺍﻝﻁﻌﺎﻡ ﻭﻤﻜﺎﻥ‬
‫‪1‬‬
‫ﺍﻝﻨﻭﻡ ﻭﻤﻜﺎﻥ ﻝﻠﺘﺤﺩﺙ ﻭﻤﻜﺎﻥ ﻝﻠﻘﺭﺍﺀﺓ‪.‬‬

‫ﺸﻜل )‪ (8.2‬ﺍﻷﺤﺩﺍﺙ ﺍﻝﺜﺎﺒﺘﺔ ﺍﻝﻔﺭﺍﻏﻴﺔ ﻓﻲ ﺍﻝﻤﺴﻜﻥ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ ،‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ‪(41‬‬

‫ﺃﺭﻯ ﺃﻥ ﻫﺫﺍ ﺍﻝﺸﻜل ﻗﺩ ﺘﻐﻴﺭ ﻨﻅﺭﹰﺍ ﻝﻠﺘﻘﺩﻡ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻲ‪ ،‬ﻭﺍﺨﺘﻼﻑ ﺸﻜل ﻭﻨﻅﻡ ﺍﻝﻌﻼﻗﺔ ﻓـﻲ‬
‫ﺍﻷﺴﺭﺓ‪ ،‬ﻭﺘﻘﺩﻡ ﻁﺭﻕ ﺍﻝﻭﺼﻭل ﻝﻠﻤﻌﻠﻭﻤﺎﺕ‪ ،‬ﻝﻴﺼﺒﺢ ﺍﻝﺘﻔﺎﻋل ﻭﺍﻝﻤﺸﺎﺭﻜﺔ ﻓﻲ ﻤﻜﺎﻥ ﺍﻷﻜل ﻜﺎﻝﺼﺎﻻﺕ‬

‫ﺍﻝﻤﻔﺘﻭﺤﺔ ﺃﻭ ﺍﻝﻤﻁﺒﺦ‪ ،‬ﺃﻭ ﻓﻲ ﻏﺭﻑ ﺍﻝﻨﻭﻡ ﻜﺎﻝﺘﻔﺎﻋل ﻋﺒﺭ ﻤﻭﺍﻗﻊ ﺍﻝﺘﻔﺎﻋل ﺍﻻﺠﺘﻤﺎﻋﻲ ﺇﻝـﻰ ﺠﺎﻨـﺏ‬
‫ﺍﻝﺘﻔﺎﻋل ﺍﻷﺴﺭﻱ‪ ،‬ﻭﻝﻬﺫﺍ ﻓﺈﻨﻨﻲ ﺃﺭﻯ ﺃﻥ ﺍﻝﺸﻜل ﺍﻝﺘﺎﻝﻲ ﻴﻭﻀﺢ ﺍﻝﻌﻼﻗﺔ ﺒﺸﻜل ﺃﻗﺭﺏ ﺇﻝﻰ ﺍﻝﻭﺍﻗﻊ‪.‬‬

‫ﺸﻜل )‪ (9.2‬ﺍﻷﺤﺩﺍﺙ ﺍﻝﻔﺭﺍﻏﻴﺔ ﻝﻠﻔﺭﺩ ﻓﻲ ﺍﻝﻤﺴﻜﻥ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﺍﻝﺒﺎﺤﺜﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ ،‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،1998 ،‬ﺹ‪41‬‬ ‫‪1‬‬

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‫ﻤﻊ ﺍﻝﺘﺄﻜﻴﺩ ﺃﻥ ﺍﻝﺘﻔﺎﻋل ﻗﺩ ﻴﻜﻭﻥ ﻤﻊ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻭﻋﺒﺭ ﻤﻭﺍﻗﻊ ﺍﻝﺘﻭﺍﺼل ﺍﻻﺠﺘﻤﺎﻋﻲ ﻤـﻥ‬
‫ﺨﻼل ﺍﻻﻨﺘﺭﻨﺕ ﺃﻭ ﺍﻝﻬﻭﺍﺘﻑ ﺍﻝﻤﺤﻤﻭﻝﺔ‪ ،‬ﻭﻗﺩ ﻴﻜﻭﻥ ﺍﻝﺘﻔﺎﻋل ﺒﺎﻝﻘﺭﺍﺀﺓ ﻤﻥ ﺍﻝﺸـﺒﻜﺔ ﺍﻻﻝﻜﺘﺭﻭﻨﻴـﺔ‪ ،‬ﺃﻭ‬

‫ﻤﺸﺎﻫﺩﺓ ﺍﻝﺘﻠﻔﺎﺯ ﺃﻭ ﻏﻴﺭﻫﺎ‪.‬‬

‫ﻭﻗﺩ ﻗﺴﻡ ﺍﻝﻤﺴﻜﻥ ﻤﻥ ﻭﺠﻬﺔ ﺍﻝﻨﻅﺭ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﻰ‪:‬‬

‫‪ -1‬ﻋﻨﺎﺼﺭ ﺍﻨﺘﻔﺎﻉ‪) :‬ﻨﻭﻡ‪ ،‬ﻤﻌﻴﺸﺔ‪ ،‬ﺼﺎﻝﻭﻥ‪ ،‬ﻁﻌﺎﻡ(‬

‫‪ -2‬ﻋﻨﺎﺼﺭ ﺍﺘﺼﺎل‪) :‬ﻤﻤﺭ‪ ،‬ﻤﺩﺨل‪(.....،‬‬

‫‪ -3‬ﻋﻨﺎﺼﺭ ﺨﺩﻤﺔ‪) :‬ﻤﻁﺒﺦ‪ ،‬ﺤﻤﺎﻡ‪ ،‬ﻤﺨﺯﻥ‪(....،‬‬

‫ﺒﻴﻨﻤﺎ ﻗﺴﻡ ﺍﻝﺒﻌﺽ ﺍﻝﻤﺴﻜﻥ ﺍﻝﻰ ﺜﻼﺙ ﻗﻁﺎﻋﺎﺕ ﺭﺌﻴﺴﻴﺔ ﻭﻫﻲ‪:‬‬

‫‪ -‬ﺍﻝﻘﻁﺎﻉ ﺍﻝﻬﺎﺩﻯﺀ‪ :‬ﻭﻫﻭ ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﺨﺼﺼﺔ ﻝﻨﻭﻡ ﻭﺍﺴﺘﻠﻘﺎﺀ ﺍﻓﺭﺍﺩ ﺍﻻﺴﺭﺓ‪.‬‬

‫‪ -‬ﺍﻝﻘﻁﺎﻉ ﺍﻝﻤﻌﻴﺸﻲ‪ :‬ﻭﻴﺨﺼﺹ ﻻﺴﺘﺭﺍﺤﺔ ﺍﻓﺭﺍﺩ ﺍﻻﺴﺭﺓ‪ ،‬ﻤﻘﺎﺒﻠﺔ ﺍﻝﺯﻭﺍﺭ‪ ،‬ﺘﻨﺎﻭل ﺍﻝﻁﻌﺎﻡ‪ ،‬ﺍﺠﺘﻤﺎﻉ‬
‫ﺍﻓﺭﺍﺩ ﺍﻻﺴﺭﺓ‪.‬‬

‫‪ -‬ﻗﻁﺎﻉ ﺍﻝﺨﺩﻤﺔ‪ :‬ﻭﻴﺨﺼﺹ ﻝﺘﺤﻀﻴﺭ ﺍﻝﻁﻌﺎﻡ‪ ،‬ﻏﺴل ﺍﻝﺜﻴﺎﺏ‪ ،‬ﺨﺯﻥ ﺍﻝﻤﻭﺍﺩ ﺍﻝﺘﻤﻭﻴﻨﻴﺔ‪ ،‬ﺍﺴﺴﺘﻴﻌﺎﺏ‬
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‫ﺴﻴﺎﺭﺓ ﺍﻻﺴﺭﺓ‪ ،‬ﺤﻔﻅ ﺍﻝﻤﻭﺍﺩ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺼﻴﺎﻨﺔ ﺍﻝﻤﻨﺯل‪.‬‬

‫‪ 6.2.2‬ﺘﺼﻤﻴﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫
ﺍﻝﻤﺩﺨل‪:‬‬

‫ﺇﻥ ﺍﻝﻤﺩﺨل ﻫﻭ ﺃﻭل ﻤﻜﺎﻥ ﺘﺘﻁﺌﻪ ﻗﺩﻡ ﺍﻝﺯﺍﺌﺭ ﺇﻝﻰ ﺍﻝﻤﺴﻜﻥ‪ ،‬ﻓﻬﻭ ﻴﺠﺏ ﺃﻥ ﻴﻌﻜﺱ ﻓـﻲ ﻨﻔـﺱ‬
‫ﺍﻝﻘﺎﺩﻡ ﻤﻌﻨﻰ ﺍﻝﺘﺭﺤﻴﺏ ﻭﺤﺴﻥ ﺍﻻﺴﺘﻘﺒﺎل‪ ،‬ﻓﻤﻥ ﺨﻼل ﺍﻝﻤﺩﺨل ﻴﺘﻜﻭﻥ ﻝﻠﺯﺍﺌﺭ ﺍﻻﻨﻁﺒـﺎﻉ ﺍﻷﻭل ﻋـﻥ‬
‫ﺍﻝﺴﻜﺎﻥ ﻭﺸﺨﺼﻴﺘﻬﻡ ﻭﻤﺩﻯ ﺘﻤﺘﻌﻬﻡ ﺒﺎﻝﺤﺱ ﺍﻝﺠﻤﺎﻝﻲ ﻭﺍﻝﺘﺫﻭﻕ ﺍﻝﻔﻨﻲ‪ ،‬ﻭﻴﺠﺏ ﺃﻥ ﻴﺘﻭﻓﺭ ﻓﻲ ﺍﻝﻤـﺩﺨل‬
‫ﺍﻝﻤﻭﺍﺼﻔﺎﺕ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،‬ﺩﺍﺭ ﺍﻝﻔﻜﺭ‪ ،‬ﻋﻤﺎﻥ‪ ،2012 ،‬ﺹ ‪64‬‬ ‫‪1‬‬

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 ‫‪ -1‬ﺍﻥ ﻴﻜﻭﻥ ﺒﻤﺴﺎﺤﺔ ﻤﻨﺎﺴﺒﺔ ﻻﺴﺘﻴﻌﺎﺏ ﺤﺭﻜﺔ ﺍﻝﺩﺨﻭل ﻭﺍﻝﺨﺭﻭﺝ ﻨﻅﺭﹰﺍ ﻝﻨﻭﻉ ﺍﻝﻤﺒﻨﻰ ﻭﻭﻅﻴﻔﺘﻪ‪.‬‬

‫‪ -2‬ﻴﻔﻀل ﺃﻥ ﻴﺭﺘﺒﻁ ﺍﻝﻤﺩﺨل ﺍﺭﺘﺒﺎﻁﹰﺎ ﻤﺒﺎﺸﺭﹰﺍ ﺒﻜل ﻤﻥ ﺤﺠﺭﺓ ﺍﻝﻤﻌﻴﺸـﺔ ﻭﺍﻻﺴـﺘﻘﺒﺎل ﻭﺍﻝﻁﻌـﺎﻡ‬

‫ﻭﺍﻝﻤﻁﺒﺦ‪ ،‬ﻭﻴﺭﺘﺒﻁ ﺍﺭﺘﺒﺎﻁﹰﺎ ﻏﻴﺭ ﻤﺒﺎﺸﺭ ﺒﺤﺠﺭﺍﺕ ﺍﻝﻨﻭﻡ‪.‬‬

‫‪ -3‬ﻴﻔﻀل ﺍﻥ ﻴﻜﻭﻥ ﺍﻝﻤﺩﺨل ﻤﻨﻜﺴﺭﹰﺍ ﻝﺘﺤﻘﻴﻕ ﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﺇﻝﻰ ﺠﺎﻨﺏ ﺍﻋﺘﺒﺎﺭ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺫﻱ ﻴﺘﻡ ﻓﻴﻪ‬
‫ﺍﻹﻨﻜﺴﺎﺭ ﻓﺭﺍﻏﹰﺎ ﺍﻨﺘﻘﺎﻝﻴﹰﺎ ﺒﻴﻥ ﺍﻝﻔﺭﺍﻍ ﺍﻝﻌﺎﻡ )ﺍﻝﺨﺎﺭﺝ( ﻭﺍﻝﻔﺭﺍﻍ ﺍﻝﺨﺎﺹ )ﺩﺍﺨل ﺍﻝﻤﺴـﻜﻥ( ﻜﻤـﺎ‬

‫ﻴﺘﻀﺢ ﻓﻲ ﺍﻝﺸﻜل )‪:(10.2‬‬

‫ﺸﻜل )‪ (10.2‬ﻤﺩﺨل ﺍﻝﻤﺴﻜﻥ ﻜﻔﺭﺍﻍ ﺍﻨﺘﻘﺎﻝﻲ ﺒﻴﻥ ﺨﺎﺭﺝ ﺍﻝﻤﺴﻜﻥ ﻭﺩﺍﺨﻠﻪ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

‫‪ -4‬ﺍﻷﻝﻭﺍﻥ ﻴﺠﺏ ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻷﻤﺜل ﻭﺍﻝﻤﻼﺌﻡ ﻝﻼﻝﻭﺍﻥ ﺒﺩﺭﺠﺎﺘﻬﺎ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻻﻀﻔﺎﺀ ﺍﻝﺠﻭ ﺍﻝﻤﻁﻠـﻭﺏ‬
‫ﺘﺤﻘﻴﻘﻪ ﻓﻲ ﺍﻝﻤﺩﺨل ﻜﻤﻜﺎﻥ ﺤﻴﻭﻱ‪ ،‬ﻭﺍﻝﻠﻭﻥ ﺍﻝﻤﻔﻀل ﻓﻲ ﺍﻝﻤﺩﺨل ﻫﻭ ﺍﻻﺼﻔﺭ ﺍﻝﺫﻫﺒﻲ ﺒﺩﺭﺠﺎﺘـﻪ‬

‫ﺫﺍﺕ ﺍﻝﻘﻴﻤﺔ ﺍﻝﻌﺎﻝﻴﺔ‪ ،‬ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻺﻀﺎﺀﺓ ﻓﻼﺒﺩ ﻤﻥ ﺘﻭﺍﻓﺭ ﺍﻹﻀﺎﺀﺓ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻭﺍﻝﺘـﻲ ﺘـﻭﺤﻲ‬
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‫ﺒﺎﻝﺘﺭﺤﺎﺏ ﺍﻝﻜﺎﻓﻲ ﻭﺍﻝﻬﺎﺩﻱﺀ‪.‬‬

‫ﻤﻊ ﺃﻥ ﺍﻝﺒﺎﺤﺜﺔ ﻻ ﺘﺭﻯ ﺒﺎﺤﺘﻜﺎﺭ ﻝﻭﻥ ﻤﻌﻴﻥ ﻝﻠﻤﺩﺨل ﻭﺫﻝﻙ ﻝﻸﺴﺒﺎﺏ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫‪ -‬ﺃﻥ ﻝﻭﻥ ﺍﻝﻤﺩﺨل ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﺴﻭﻑ ﻴﺘﺒﻊ ﺃﻭ ﻴﺘﻨﺎﻏﻡ ﻤﻊ ﺒﺎﻗﻲ ﺃﻝـﻭﺍﻥ ﺍﻝﻤﺒﻨـﻰ ﺃﻭ ﺍﻝﻤﻨﺸـﺄﺓ‪،‬‬
‫ﻭﺒﺎﻝﺘﺎﻝﻲ ﻓﺈﻥ ﺍﻝﻠﻭﻥ ﺍﻷﺼﻔﺭ ﺍﻝﺫﻫﺒﻲ ﻗﺩ ﻴﺨﺘﻠﻑ ﺃﺤﻴﺎﻨﹰﺎ ﺃﻭ ﻴﺘﻨﺎﻓﺭ ﻤﻊ ﺒﺎﻗﻲ ﺍﻷﻝﻭﺍﻥ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪68-65‬‬ ‫‪1‬‬

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 ‫‪ -‬ﻗﺩ ﻴﺘﻌﺎﺭﺽ ﺍﻝﻠﻭﻥ ﺍﻷﺼﻔﺭ ﺍﻝﺫﻫﺒﻲ ﻤﻊ ﻨﻭﻉ ﻭﻭﻅﻴﻔﺔ ﺍﻝﻤﺒﻨﻰ ﺃﻭ ﺍﻝﻤﻨﺸﺄﺓ‪.‬‬

‫‪ -‬ﻝﻜل ﻤﺠﺘﻤﻊ ﻭﺜﻘﺎﻓﺔ ﺃﻝﻭﺍﻥ ﻁﺎﻏﻴﺔ ﺃﻭ ﺴﺎﺌﺩﺓ‪ .‬ﻓﺎﺤﺘﻜﺎﺭ ﻝﻭﻥ ﻤﻌﻴﻥ ﻝﻠﻤﺩﺨل ﻭﺘﺤﺩﻴﺩﻩ ﻗـﺩ ﻴﺤـﺩﺩ‬

‫ﻋﻠﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻤﺎ ﻫﻭ ﻭﺍﺴﻊ‪ ،‬ﻭﻫﺫﺍ ﻗﺩ ﻴﺸﻌﺭ ﺍﻹﻨﺴﺎﻥ ﺒﺎﻨﺘﻬﺎﻙ ﺍﻝﺨﺼﻭﺼﻴﺔ‪.‬‬

‫
ﻤﻨﻁﻘﺔ ﺍﻝﻨﻭﻡ‪:‬‬

‫‪ -1‬ﺤﺠﺭﺓ ﺍﻝﻨﻭﻡ ﺍﻝﺭﺌﻴﺴﻴﺔ‪ :‬ﻫﻲ ﻤﻥ ﺍﻝﻤﻨﺎﻁﻕ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺨﺎﺹ ﺍﻝﺫﻱ ﻴﺠﺏ ﺃﻥ ﻴﺘﻭﻓﺭ ﻝﻬﺎ ﻋﺎﻤل‬

‫ﺍﻝﻬﺩﻭﺀ ﻭﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﻓﻬﻲ ﺘﺴﺘﺨﺩﻡ ﺒﺼﻔﺔ ﺃﺴﺎﺴﻴﺔ ﻝﻠﺭﺍﺤﺔ ﻭﺍﻝﻨﻭﻡ‪ ،‬ﺒﺎﻻﻀﺎﻓﺔ ﺍﻝـﻰ ﺍﻻﻨﺸـﻁﺔ‬
‫ﺍﻷﺨﺭﻯ ﻤﺜل ﺍﺭﺘﺩﺍﺀ ﺍﻝﻤﻼﺒﺱ ﻭﺘﺨﺯﻴﻨﻬﺎ‪ ،‬ﺍﻝﻘﺭﺍﺀﺓ‪ ،‬ﺴﻤﺎﻉ ﺍﻝﻤﻭﺴـﻴﻘﻰ‪ ،‬ﺍﻝﺠﻠـﻭﺱ ﺍﻝﻬـﺎﺩﻱﺀ‪،‬‬
‫ﻤﺸﺎﻫﺩﺓ ﺍﻝﺘﻠﻔﺯﻴﻭﻥ‪...‬‬

‫ﺍﻝﻤﺴﺎﺤﺔ‪ :‬ﻴﺠﺏ ﺍﻥ ﺘﺘﻨﺎﺴﺏ ﻤﺴﺎﺤﺔ ﺍﻝﺤﺠﺭﺓ ﻤﻊ ﺍﻝﺤﺩ ﺍﻻﺩﻨﻰ ﻝﻤﻘﻴـﺎﺱ ﻭﺤـﺩﺍﺕ ﺍﻻﺜـﺎﺙ‬
‫ﺍﻝﻤﺘﻌﺎﺭﻑ ﻋﻠﻴﻬﺎ ﺃﻭ ﺍﻝﻌﺎﻝﻤﻴﺔ‪ ،‬ﻭﺍﻝﻭﺍﺠﺏ ﺘﻭﺍﻓﺭﻫﺎ ﻀﻤﻥ ﻓﺭﺍﻏﻬﺎ ﻓﺄﺒﻌﺎﺩ ﻭﺤﺩﺍﺕ ﺍﻻﺜﺎﺙ ﻫـﻲ ﺍﻝﺘـﻲ‬
‫ﺘﺤﺩﺩ ﺍﺒﻌﺎﺩ ﺍﻝﻐﺭﻓﺔ ﻭﻝﻴﺱ ﺍﻝﻌﻜﺱ‪.‬‬

‫ﺍﻝﺘﻭﺠﻴﻪ‪ :‬ﻴﻔﻀل ﺃﻥ ﺘﻁل ﻨﻭﺍﻓﺫﻫﺎ ﺒﺎﻻﺘﺠﺎﻩ ﺍﻝﺸﻤﺎل ﺍﻝﺸﺭﻗﻲ ﺤﻴﺙ ﺘﺩﺨل ﺃﺸﻌﺔ ﺍﻝﺸﻤﺱ ﻓـﻲ‬
‫ﺍﻝﺼﺒﺎﺡ ﻭﺒﺫﻝﻙ ﻴﻤﻜﻥ ﺘﺠﻨﺏ ﺤﺭﺍﺭﺓ ﺍﻝﺸﻤﺱ ﺍﻝﻌﺎﻝﻴﺔ ﺒﻌﺩ ﺍﻝﻅﻬﻴﺭﺓ ﻭﻗﺒل ﺍﻝﻐﺭﻭﺏ‪.‬‬

‫ﺍﻝﻤﻭﻗﻊ‪ :‬ﻴﺠﺏ ﺇﻗﺎﻤﺘﻬﺎ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﻀﻭﻀﺎﺀ ﺍﻝﺸﺎﺭﻉ ﻭﺼﺨﺏ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻴﻭﻤﻴﺔ ﻭﻝﺫﻝﻙ ﻴﻔﻀل ﺃﻥ‬

‫ﺘﺒﺘﻌﺩ ﻋﻥ ﺃﻤﺎﻜﻥ ﺘﺠﻤﻊ ﺍﻻﻁﻔﺎل ﺤﺘﻰ ﺘﻜﻭﻥ ﻤﻌﺯﻭﻝﺔ ﺼﻭﺘﻴﺎ ﻭﺒﺼﺭﻴﺎ ﻭﻴﻔﻀل ﺍﻥ ﺘﻜﻭﻥ ﺤﺠـﺭﺍﺕ‬
‫ﺍﻝﻨﻭﻡ ﻗﺭﻴﺒﺔ ﻤﻥ ﺍﻝﺤﻤﺎﻡ ﺃﻭ ﺃﻥ ﻴﻜﻭﻥ ﻝﻬﺎ ﺤﻤﺎﻡ ﺨﺎﺹ ﺒﻬﺎ‪.‬‬

‫ﺍﻻﺜﺎﺙ‪ :‬ﻤﻥ ﺍﻝﻀﺭﻭﺭﻱ ﺍﻥ ﺘﺤﺘﻭﻱ ﺤﺠﺭﺍﺕ ﺍﻝﻨﻭﻡ ﻋﻠﻰ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻻﺴﺎﺴﻴﺔ ﻭﺍﻝﻤﺘﻤﺜﻠﺔ ﻓﻲ‪:‬‬

‫ﺍﻝﺴﺭﻴﺭ ﺴﻭﺍﺀ ﺃﻜﺎﻥ ﻤﻔﺭﺩﹰﺍ ﺃﻡ ﻤﺯﺩﻭﺠﹰﺎ‪ ،‬ﻭﺨﺯﺍﺌﻥ ﻝﻠﻤﻼﺒﺱ ﻭﺃﺭﻓﻑ‪ ،‬ﻭﻴﻤﻜﻥ ﺃﻥ ﺘﺤﺘﻭﻱ ﻋﻠﻰ‬
‫ﻭﺤﺩﺍﺕ ﺃﺨﺭﻯ ﻤﻥ ﺍﻷﺜﺎﺙ ﻤﺜل‪) :‬ﻤﻨﻀﺩﺓ ﻭﺴﻁ‪ ،‬ﺍﻷﺭﻴﻜﺔ ﻝﻼﺴﺘﺭﺨﺎﺀ‪ ،‬ﻋﻼﻗﺎﺕ ﺨﺎﺭﺠﻴﺔ ﺤﺎﺌﻁﻴﺔ ﺃﻭ‬
‫ﺃﺭﻀﻴﺔ ﻝﻠﻤﻼﺒﺱ(‪.‬‬

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‫ﺍﻻﻝﻭﺍﻥ‪ :‬ﻴﺠﺏ ﺍﻥ ﺘﺨﺘﺎﺭ ﺍﻝﻭﺍﻥ ﺤﺠﺭﺓ ﺍﻝﻨﻭﻡ ﺒﻌﻨﺎﻴﺔ ﻝﺘﺤﻘﻴﻕ ﺍﻝﺭﺍﺤﺔ ﻭﺍﻝﻤﺘﻌﺔ ﺨـﻼل ﺍﻝﻴـﻭﻡ‬
‫ﺒﺄﻜﻤﻠﻪ ﻤﻊ ﺘﺠﻨﺏ ﺍﻻﻝﻭﺍﻥ ﺍﻝﻼﻤﻌﺔ ﺠﺩﹰﺍ ﺤﺘﻰ ﻻ ﺘﺴﺒﺏ ﺍﻨﻌﻜﺎﺴﺎﺕ ﺘﺯﻋﺞ ﺍﻻﻓﺭﺍﺩ ﻭﻴﺠـﺏ ﺍﻥ ﺘﺘﺴـﻡ‬

‫ﺍﻻﻝﻭﺍﻥ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﻜل ﻤﻥ‪) :‬ﺍﻝﺤﻭﺍﺌﻁ‪ ،‬ﺍﻷﺴﻘﻑ‪ ،‬ﺍﻻﺜـﺎﺙ‪ ،‬ﺍﻻﺭﻀـﻴﺎﺕ‪ ،‬ﺍﻝﺴـﺘﺎﺌﺭ‪ ،‬ﺃﻏﻁﻴـﺔ‬

‫ﺍﻻﺴﺭﺓ‪ ...‬ﺍﻝﺦ( ﺒﺎﻻﻨﺴﺠﺎﻡ ﻭﺍﻝﺘﻭﺍﻓﻕ‪.‬‬

‫ﺍﻻﻀﺎﺀﺓ‪ :‬ﺘﺨﻁﻴﻁ ﺤﺠﺭﺓ ﺍﻝﻨﻭﻡ ﻴﺤﺘﺎﺝ ﺍﻝﻰ ﺍﻝﺤﺭﺹ ﺤﻴﺙ ﺃﻨﻬﺎ ﺘﺘﻁﻠﺏ ﺍﻀـﺎﺀﺓ ﻭﺍﻀـﺤﺔ‬
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‫ﻋﺩﻴﻤﺔ ﺍﻝﺨﻴﺎﻻﺕ ﻭﺍﻝﻅﻼل ﺍﻝﺸﺩﻴﺩﺓ ﻨﻅﺭﺍ ﻝﻼﻨﺸﻁﺔ ﺍﻝﻌﺩﻴﺩﺓ ﺘﻤﺎﺭﺱ ﻓﻴﻬﺎ‪.‬‬

‫ﺸﻜل )‪ (11.2‬ﺍﻷﺒﻌﺎﺩ ﺍﻝﻼﺯﻤﺔ ﻝﻸﺴﺭﺓ ﻭﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﺤﻴﻁﺔ ﺤﻭل ﻭﺤﺩﺍﺕ ﺍﻷﺜﺎﺙ ﺍﻷﺨﺭﻯ ﻓﻲ ﻏﺭﻓﺔ ﺍﻝﻨﻭﻡ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

‫‪ -2‬ﺤﺠﺭﺓ ﻨﻭﻡ ﺍﻻﻁﻔﺎل‪ :‬ﺘﻌﺩ ﺤﺠﺭﺓ ﻨﻭﻡ ﺍﻝﻁﻔل ﻤﻥ ﺃﻫﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﺘﻲ ﻴﺠﺏ ﺍﻥ ﺘﺨﺼﺹ‬
‫ﻝﻪ ﺒﺎﻝﻤﻨﺯل‪ ،‬ﻓﺤﺠﺭﺓ ﺍﻝﻁﻔل ﻫﻲ ﺍﻝﺘﻲ ﺘﻤﻜﻨﻪ ﻤﻥ ﺍﻝﻨﻭﻡ ﺒﺭﺍﺤﺔ ﻭﻫﺩﻭﺀ ﻭﺍﻝﻠﻌﺏ ﺒﺤﺭﻴﺔ ﺒﺎﻻﻀﺎﻓﺔ‬

‫ﻝﻠﺩﺭﺍﺴﺔ ﻤﻊ ﻤﻤﺎﺭﺴﺔ ﺍﻝﻬﻭﺍﻴﺎﺕ‪ ،‬ﻜﻤﺎ ﺃﻨﻬﺎ ﺘﻤﺜل ﺒﺎﻝﻨﺴﺒﺔ ﻝﻪ ﻋﺎﻝﻤﻪ ﺍﻝﺨﺎﺹ ﻭﻤﻜﺎﻨـﻪ ﺍﻝﻤﻔﻀـل‬
‫ﻭﻓﻴﻬﺎ ﺘﺘﻜﻭﻥ ﺸﺨﺼﻴﺘﻪ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪74-69‬‬ ‫‪1‬‬

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‫ﺍﻝﻤﻭﻗﻊ‪ :‬ﻴﺠﺏ ﺍﻥ ﺘﻜﻭﻥ ﺤﺠﺭﺓ ﻨﻭﻡ ﺍﻻﻁﻔﺎل ﺒﻌﻴﺩﺓ ﻋﻥ ﺼﺎﻻﺕ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻗﺭﻴﺒﺔ‬
‫ﻤﻥ ﻏﺭﻓﺔ ﻨﻭﻡ ﺍﻝﻭﺍﻝﺩﻴﻥ‪.‬‬

‫ﺍﻝﺘﺼﻤﻴﻡ‪ :‬ﻴﺠﺏ ﺍﻥ ﺘﻜﻭﻥ ﺍﻝﻐﺭﻓﺔ ﺫﺍﺕ ﺍﺘﺴﺎﻉ ﻤﻨﺎﺴﺏ ﻭﺫﻝﻙ ﻻﻥ ﻁﺒﻴﻌـﺔ ﺍﻻﻁﻔـﺎل ﺘﻤﻴـل ﻝﻠﻌـﺏ‬
‫ﻭﺍﻝﺘﺤﺭﻙ‪.‬‬

‫‪ -‬ﻴﺠﺏ ﺍﻥ ﺘﺘﻭﻓﺭ ﻝﻬﺫﻩ ﺍﻝﺤﺠﺭﺍﺕ ﺍﻝﻬﺩﻭﺀ ﻭﺍﻝﺸﻤﺱ ﻭﺍﻝﻬﻭﺍﺀ ﺍﻝﻜﺎﻓﻲ‪.‬‬

‫‪ -‬ﻴﺠﺏ ﺍﻥ ﻴﺘﺴﻡ ﺍﻝﺘﺼﻤﻴﻡ ﺒﺎﻝﻤﺭﻭﻨﺔ ﺍﻝﻜﺎﻓﻴﺔ ﻻﺴﺘﻴﻌﺎﺏ ﺍﻝﺘﻐﻴﺭﺍﺕ ﺍﻝﻤﺴﺘﻘﺒﻠﻴﺔ ﺍﻝﻨﺎﺘﺠﺔ ﻋـﻥ ﺯﻴـﺎﺩﺓ‬
‫ﺍﻷﻓﺭﺍﺩ ﺃﻭ ﻋﺩﺩ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﺍﻝﻤﺘﻭﻗﻊ‪ ،‬ﻭﻜﺫﻝﻙ ﺘﺤﻭﻝﻬﻡ ﻤﻥ ﻁﻭﺭ ﺍﻝﻁﻔﻭﻝﺔ ﺇﻝﻰ ﻁﻭﺭ ﺍﻝﻤﺭﺍﻫﻘـﺔ‬
‫ﻭﺍﻝﺸﺒﺎﺏ‪.‬‬

‫ﺍﻻﺜﺎﺙ‪ :‬ﺘﺸﺘﻤل ﺤﺠﺭﺍﺕ ﺍﻻﻁﻔﺎل ﻋﻠﻰ ﻭﺤﺩﺍﺕ ﺃﺜﺎﺙ ﻋﺩﻴـﺩﺓ ﻭﻤﺨﺘﻠﻔـﺔ ﻤﺜـل ﺍﻷﺴـﺭﺓ‪،‬‬
‫ﺍﻝﻤﻨﺎﻀﺩ‪ ،‬ﺨﺯﺍﻨﺔ ﺍﻝﻤﻼﺒﺱ‪ ،‬ﺍﻝﻤﻜﺘﺒﺎﺕ‪ ،‬ﺍﻝﻤﻜﺎﺘﺏ‪ ،‬ﺍﻝﻜﺭﺍﺴﻲ‪ ،‬ﺍﻷﺭﻓﻑ‪ ،‬ﻁﺎﻭﻝﺔ ﺍﻝﻜﻤﺒﻴـﻭﺘﺭ‪ ،‬ﻤﻨـﺎﻁﻕ‬
‫ﺍﻝﻠﻌﺏ‪ ،...‬ﻭﺘﺨﺘﻠﻑ ﻤﺤﺘﻭﻴﺎﺕ ﺍﻝﻐﺭﻓﺔ ﺘﺒﻌﹰﺎ ﻝﻤﺴﺎﺤﺘﻬﺎ‪.‬‬

‫ﺸﻜل )‪ (12.2‬ﻨﻤﻭﺫﺝ ﺍﻷﺜﺎﺙ ﻭﻤﻤﺭﺍﺕ ﺍﻝﺤﺭﻜﺔ ﻓﻲ ﺤﺠﺭﺓ ﻨﻭﻡ ﻴﺸﻐﻠﻬﺎ ﻁﻔﻼﻥ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪(78‬‬
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‫ﺍﻷﻝﻭﺍﻥ‪ :‬ﺘﻌﺘﺒﺭ ﺤﺠﺭﺓ ﺍﻝﻁﻔل ﻤﻥ ﺍﻻﻤﺎﻜﻥ ﻤﺘﻌﺩﺩﺓ ﺍﻷﻨﺸﻁﺔ ﻭﺍﻝﻭﻅﺎﺌﻑ ﻭﻝﻬﺫﺍ ﻓﻬﻲ ﺘﺼـﻤﻡ‬
‫ﺒﺤﻴﺙ ﺘﺤﻘﻕ ﻫﺫﺓ ﺍﻝﻭﻅﺎﺌﻑ ﻭﻴﺄﺘﻲ ﻋﻨﺼﺭ ﺍﻝﻠﻭﻥ ﻝﻴﻀﻴﻑ ﻤﻥ ﺸﺨﺼﻴﺘﻪ‪ ،‬ﻤﻤﺎ ﻴﺴﺎﻋﺩ ﻋﻠﻰ ﺘﺤﻘﻴـﻕ‬

‫ﺍﻝﻭﻅﻴﻔﺔ‪ .‬ﻭﺴﻥ ﺍﻝﻁﻔل ﻝﻪ ﺩﻭﺭ ﻫﺎﻡ ﻓﻲ ﺍﺨﺘﻴﺎﺭ ﻝﻭﻥ ﺍﻝﺤﻭﺍﺌﻁ‪،‬ﺃﻝﻭﺍﻥ ﻗﻁﻊ ﺍﻷﺜﺎﺙ‪ ،‬ﺍﻷﺭﻀﻴﺔ‪...،‬‬

‫ﺍﻹﻀﺎﺀﺓ‪ :‬ﻓﻲ ﺤﺠﺭﺓ ﺍﻻﻁﻔﺎل ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﻗﻭﻴﺔ ﻭﺘﺘﻴﺢ ﺍﻝﺭﺅﻴـﺔ ﺍﻝﺠﻴـﺩﺓ ﻷﻥ ﺍﻷﻁﻔـﺎل‬
‫ﻴﺴﺘﺨﺩﻤﻭﻥ ﻜل ﺃﺭﺠﺎﺀ ﺍﻝﺤﺠﺭﺓ ﻭﻫﻡ ﻴﻠﻌﺒﻭﻥ‪ ،‬ﻜﻤﺎ ﺃﻨﻬﻡ ﻴﻘﺩﻤﻭﻥ ﻋﻠﻰ ﺍﻝﻠﻌﺏ ﺃﻭ ﺍﻝﺘﻔﺎﻋل ﺒﺼﻭﺭﺓ ﺃﻜﺒﺭ‬

‫ﻜﻠﻤﺎ ﻜﺎﻨﺕ ﺍﻹﻀﺎﺀﺓ ﺃﻓﻀل‪.‬‬

‫ﺍﻷﺭﻀﻴﺎﺕ‪ :‬ﻴﻘﻀﻲ ﺍﻻﻁﻔﺎل ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺃﻭﻗﺎﺘﻬﻡ ﻋﻠﻰ ﺍﻷﺭﺽ ﻝﺫﻝﻙ ﻓﻤﻥ ﺍﻝﻭﺍﺠﺏ ﺍﻝﻌﻨﺎﻴـﺔ‬
‫ﺒﺎﺨﺘﻴﺎﺭ ﻨﻭﻉ ﺍﻻﺭﻀﻴﺎﺕ ﺒﺤﻴﺙ ﺘﺤﻘﻕ ﻋﻨﺼﺭﻱ ﺍﻝﺭﺍﺤﺔ ﻭ ﺍﻝﻤﺘﺎﻨﺔ‪ ،‬ﻭ ﻴﺭﺍﻋـﻰ ﻀـﺭﻭﺭﺓ ﺍﺨﺘﻴـﺎﺭ‬
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‫ﺍﻷﺭﻀﻴﺎﺕ ﺍﻝﺘﻲ ﺘﻭﻓﺭ ﺍﻝﺩﻑﺀ ﻭ ﺍﻝﻨﻌﻭﻤﺔ ﻤﻊ ﻗﺎﺒﻠﻴﺘﻬﺎ ﻝﻠﺘﻨﻅﻴﻑ‪.‬‬

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ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ‪:‬‬

‫ﺃﺼﺒﺤﺕ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﺍﻵﻥ ﻤﻜﺎﻨﹰﺎ ﻝﻴﺱ ﻤﻘﺼﻭﺭﹰﺍ ﻋﻠﻰ ﺃﺩﺍﺀ ﻭﻅﻴﻔﺔ ﻭﺍﺤﺩﺓ‪ ،‬ﻝﺫﺍ ﻴﺠـﺏ ﺃﻥ‬

‫ﺘﻜﻭﻥ ﻋﻤﻠﻴﺔ ﻭﻤﺭﻴﺤﺔ ﻭﺘﺒﺭﺯ ﺸﺨﺼﻴﺔ ﺴﺎﻜﻨﻴﻪ‪ ،‬ﻓﻬﻲ ﻤﻜﺎﻥ ﻤﺘﺴﻊ ﺘﺘﻡ ﻓﻴﻪ ﺃﻨﺸـﻁﺔ ﻋﺩﻴـﺩﺓ ﻤﺜـل‪:‬‬
‫ﻤﺸﺎﻫﺩﺓ ﺍﻝﺘﻠﻔﺎﺯ ﻭﺴﻤﺎﻉ ﺍﻻﺴﻁﻭﺍﻨﺎﺕ ﻭﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻜﻤﺒﻴﻭﺘﺭ‪ ،‬ﻭﺍﻝﻘﺭﺍﺀﺓ‪ ،‬ﻭﺍﺴﺘﻘﺒﺎل ﺍﻝﻀﻴﻭﻑ‪ ،‬ﻜﻤﺎ ﻗـﺩ‬
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‫ﻴﺤﺘﻭﻱ ﺃﻴﻀﺎ ﻋﻠﻰ ﺭﻜﻥ ﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﻬﻭﺍﻴﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ‪.‬‬

‫ﻭﻴﻠﺨﺹ ﺍﻝﺒﻌﺽ ﺍﻷﻨﺸﻁﺔ ﻭﺍﻷﻫﺩﺍﻑ ﺍﻝﺘﻲ ﺘﺅﺩﻯ ﻓﻲ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻴﻤﺎ ﻴﻠﻲ‪:‬‬

‫ﺍﺠﺘﻤﺎﻋﻴﺔ )ﺍﻻﺴﺭﺓ – ﺍﻝﻀﻴﻭﻑ(‪ :‬ﺍﺠﺘﻤﺎﻉ ﺍﻝﻌﺎﺌﻠﺔ ﺒﺄﻜﻤﻠﻬﺎ ﺃﻭ ﺒﻌـﺽ ﺍﻓﺭﺍﺩﻫـﺎ‪ ،‬ﺃﻭ ﺍﺴـﺘﻘﺒﺎل‬ ‫ﺃ‪-‬‬
‫ﺍﻝﺯﻭﺍﺭ ﻓﻲ ﻤﺠﻤﻭﻋﺎﺕ ﺼﻐﻴﺭﺓ ﺃﻭ ﻜﺒﻴﺭﺓ‪ ،‬ﺃﻭ ﺘﻨﺎﻭل ﺍﻝﻁﻌﺎﻡ‪.‬‬

‫ﺏ‪ -‬ﺜﻘﺎﻓﻴﺔ )ﻤﺅﺩﻱ – ﻤﻠﺘﻘﻲ(‪ :‬ﺍﻝﻘﺭﺍﺀﺓ ﻭﺍﻝﻜﺘﺎﺒﺔ ﻤﻊ ﺘﺨﺯﻴﻥ ﺍﻷﺩﻭﺍﺕ ﺍﻝﻼﺯﻤﺔ ﻝﺫﻝﻙ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪82-74‬‬ ‫‪1‬‬

‫‪ 2‬ﻤﻭﻗـــﻊ ﺒﻴـــﺕ ﺍﻝـــﺩﻝﻴل‪ :‬ﻤـــلﺀ ﺍﻝﻔﺭﺍﻏـــﺎﺕ ﻓـــﻲ ﺍﻝﻤﻨـــﺯل ﻭﻓﻘـــﺎ ﻝﻤﻌـــﺎﻴﻴﺭ ﻓﻨﻴـــﺔ‪،‬‬
‫‪http://www.dalilalarab.co.uk/bayt/May12/deco.html‬‬
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‫ﺕ‪ -‬ﺘﺭﻓﻴﻬﻴﺔ )ﻓﺭﺩﻴﺔ – ﺠﻤﺎﻋﻴﺔ(‪ :‬ﺍﻝﻬﻭﺍﻴﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻤﺜل ﺍﻝﺭﺴﻡ ﻭﻋﺯﻑ ﺍﻝﻤﻭﺴـﻴﻘﻰ‪ ،‬ﻤﺸـﺎﻫﺩﺓ‬
‫ﺍﻝﺘﻠﻴﻔﺯﻴﻭﻥ ﻭﺍﻝﻔﻴﺩﻴﻭ‪ ،‬ﺍﻝﻌﺎﺏ ﺘﺴﻠﻴﺔ ﻤﺜل ﺍﻝﺸﻁﺭﻨﺞ‪ ،‬ﺍﻝﻁﺎﻭﻝﺔ‪....‬‬

‫ﺙ‪ -‬ﻓﺴﻴﻭﻝﻭﺠﻴﺔ‪ :‬ﺍﻻﺴﺘﺭﺨﺎﺀ – ﺍﻻﺴﺘﺭﺍﺤﺔ – ﺍﻝﻨﻭﻡ‪.‬‬

‫ﺍﻝﻤﺴﺎﺤﺔ‪ :‬ﺘﺨﺘﻠﻑ ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻼﺯﻤﺔ ﻝﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﺘﺒﻌﹰﺎ ﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﺒﻨﻰ ﻨﻔﺴﻪ‪ ،‬ﻭﻭﻓﻕ ﺤﺠـﻡ‬
‫ﻭﻋﺩﺩ ﺃﻓﺭﺍﺩ ﺍﻻﺴﺭﺓ‪ ،‬ﺃﺒﻌﺎﺩ ﻭﻜﻤﻴﺔ ﻗﻁﻊ ﺍﻻﺜﺎﺙ‪ ،‬ﻭﺍﻷﺒﻌﺎﺩ ﺍﻝﺒﻴﻨﻴﺔ ﻝﻘﻁﻊ ﺍﻷﺜـﺎﺙ ﻭﻜـﺫﻝﻙ ﻤﻤـﺭﺍﺕ‬

‫ﺍﻝﺤﺭﻜﺔ ﺍﻝﻀﺭﻭﺭﻴﺔ ﻓﻴﻤﺎ ﺒﻴﻥ ﻗﻁﻊ ﺍﻻﺜﺎﺙ‪.‬‬

‫ﺍﻝﺘﻭﺠﻴﻪ‪ :‬ﻤﻥ ﺍﻝﻀﺭﻭﺭﻱ ﺃﻥ ﻴﺴﺎﻋﺩ ﺍﺘﺠﺎﻩ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻋﻠﻰ ﺍﻴﺼﺎل ﻜﻤﻴﺔ ﻜﺎﻓﻴﺔ ﻤﻥ ﺃﺸﻌﺔ‬
‫ﺍﻝﺸﻤﺱ ﻓﻲ ﻜل ﺍﻷﻭﻗﺎﺕ ﻭﻋﻠﻰ ﻤﺩﺍﺭ ﺍﻝﺴﻨﺔ‪ ،‬ﻭﻝﺫﻝﻙ ﻴﺠﺏ ﺃﻥ ﺘﺘﻭﺠﻪ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺠﻨـﻭﺏ ﺃﻭ ﺍﻝﻐـﺭﺏ‬

‫)ﺍﻝﻭﻀﻊ ﺍﻝﺯﺍﻭﻱ ﺃﻱ ﺠﻨﻭﺏ ﻏﺭﺏ ﻫﻭ ﺍﻷﻓﻀل(‪.‬‬

‫ﺍﻝﻤﻭﻗﻊ‪ :‬ﺘﺸﻴﺭ ﺍﻝﺩﺭﺍﺴﺔ ﺇﻝﻰ ﻭﺠﻭﺏ ﺃﻥ ﺘﻘﻊ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻤﺒﺎﺸﺭﺓ ﺒﻌـﺩ ﻤـﺩﺨل ﺍﻝﻤﺴـﻜﻥ‬
‫ﻭﻴﻜﻭﻥ ﺍﻝﻭﺼﻭل ﺇﻝﻴﻬﺎ ﺩﻭﻥ ﺍﻝﻤﺭﻭﺭ ﺒﺤﺠﺭﺍﺕ ﺃﺨﺭﻯ‪ ،‬ﻜﻤﺎ ﻴﻔﻀل ﺃﻥ ﻴﻜﻭﻥ ﻤﻭﻗﻌﻬـﺎ ﺒﻌﻴـﺩﹰﺍ ﻋـﻥ‬

‫ﻏﺭﻑ ﺍﻝﻨﻭﻡ ﻭﻏﺭﻑ ﺍﻷﻁﻔﺎل ﻭﺫﻝﻙ ﺘﺠﻨﺒﺎ ﻝﻠﻀﻭﻀﺎﺀ ﻭﻋﺩﻡ ﺍﻹﺯﻋﺎﺝ‪ .‬ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﺤﻴـﺯ ﺍﻝﻁﻌـﺎﻡ‬
‫ﻓﺎﻝﻤﻭﻗﻊ ﺍﻷﻓﻀل ﻫﻭ ﺍﻝﻤﻭﻀﻊ ﺍﻝﻭﺴﻁ ﺍﻝﺫﻱ ﻴﻘﻊ ﻤﺎ ﺒﻴﻥ ﺍﻝﻤﻁﺒﺦ ﻭﻏﺭﻓﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻬﺫﺍ ﺍﻝﻭﻀﻊ ﻴﺘﻴﺢ‬
‫ﻝﻠﺯﻭﺍﺭ ﺍﻨﺘﻘﺎﻻ ﺴﻬﻼ ﻤﻥ ﻏﺭﻓﺔ ﺍﻝﻤﻌﻴﺸﺔ ﺇﻝﻰ ﺤﻴﺯ ﺍﻝﻁﻌﺎﻡ ﺩﻭﻥ ﺃﻥ ﻴﺴﺒﺏ ﺍﻨﺘﻘﺎﻝﻬﻡ ﺇﺯﻋﺎﺠﺎﺕ ﺘـﺫﻜﺭ‪،‬‬

‫ﻜﻤﺎ ﻴﻭﻀﺢ ﺍﻝﺸﻜل ﺍﻝﺘﺎﻝﻲ‪:‬‬

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 ‫ﺸﻜل )‪ (13.2‬ﺍﻝﻤﻭﻗﻊ ﺍﻝﻤﻨﺎﺴﺏ ﻝﺭﻜﻥ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺍﻝﻁﻌﺎﻡ ﻓﻲ ﺤﺎﻝﺔ ﺍﻝﺠﻤﻊ ﺒﻴﻥ ﺤﺠﺭﺍﺕ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺍﻝﻁﻌﺎﻡ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

‫‪ -‬ﻴﺠﺏ ﺃﻥ ﺘﻁل ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻋﻠﻰ ﺃﺤﺴﻥ ﻤﻨﻅﺭ ﺘﻁل ﻋﻠﻴﻪ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ ﺴﻭﺍﺀ ﻜﺎﻥ ﺨﺎﺭﺠﻴﹰﺎ‬
‫ﻋﻠﻰ ﺍﻝﺸﺎﺭﻉ ﺃﻡ ﺩﺍﺨﻠﻴﹰﺎ ﻋﻠﻰ ﺤﺩﻴﻘﺔ ﺨﻠﻔﻴﺔ ﺃﻭ ﻓﻨﺎﺀ ﻝﺘﺤﻘﻴﻕ ﺍﻝﻬﺩﻭﺀ ﻭﺍﻝﺒﻌﺩ ﻋﻥ ﺍﻝﺘﻠﻭﺙ‪.‬‬

‫‪ -‬ﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﺍﻗﺭﺏ ﻤﺎ ﻴﻤﻜﻥ ﻝﻤﻤﺭ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺨﺎﺭﺠﻲ ﻭﻓﻲ ﺍﻝﻭﻗﺕ ﻨﻔﺴﻪ ﻏﻴﺭ‬

‫ﻤﻔﺘﻭﺤﺔ ﻋﻠﻴﻬﺎ ﻤﺒﺎﺸﺭﺓ ﺒل ﻴﻔﺼل ﺒﻴﻨﻬﻤﺎ ﻓﺭﺍﻍ ﺍﻨﺘﻘﺎﻝﻲ )‪.(Lobby‬‬

‫‪ -‬ﻴﻔﻀل ﺍﻥ ﺘﻜﻭﻥ ﻏﺭﻓﺔ ﺍﻝﻁﻌﺎﻡ ﻗﺭﻴﺒﺔ ﻤﻥ ﺍﻝﻤﻁﺒﺦ ﺒﻘﺩﺭ ﺍﻻﻤﻜﺎﻥ ﻭﺫﻝﻙ ﻝﺘﺴﻬﻴل ﻋﻤﻠﻴﺔ ﺍﻝﺘﺨﺩﻴﻡ‪.‬‬

‫ﺍﻝﺘﺼﻤﻴﻡ‪:‬‬

‫‪ -‬ﻴﺭﺍﻋﻰ ﺍﻥ ﺘﺘﺴﻡ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﺒﺎﻻﺘﺴﺎﻉ ﺤﺘﻰ ﺘﺘﻤﻜﻥ ﻤﻥ ﺃﺩﺍﺀ ﺍﻝﻭﻅﺎﺌﻑ ﺍﻝﻤﺨﺘﻠﻔﺔ )ﺍﻝﺠﻠـﻭﺱ‪،‬‬
‫ﺍﻝﻘﺭﺍﺀﺓ‪ ،‬ﺍﻝﻤﺤﺎﺩﺜﺔ‪ ،‬ﺍﻝﺘﻔﺎﻋل‪ ،‬ﺘﻨﺎﻭل ﺍﻝﻁﻌﺎﻡ‪.(...،‬‬

‫‪ -‬ﻴﻔﻀل ﺘﺩﺍﺨل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺃﻭ ﻤﺎ ﻴﺴﻤﻰ )‪ (Overlapping‬ﻋﻨﺩ ﺍﻝﺘﺼﻤﻴﻡ ﺒﺤﻴﺙ ﻴﺘﻡ ﺍﻝﺘﺩﺍﺨل ﺒﻴﻥ‬

‫ﻻ ﻤﻥ ﻓﺼﻠﻬﻤﺎ ﻓﻴﻤﻜﻥ ﺒﺫﻝﻙ ﺘـﻭﻓﻴﺭ ﺍﻝﻤﺴـﺎﺤﺔ ﻤﻤـﺎ ﻴـﺅﺩﻱ‬

‫)ﺤﻴﺯ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺘﻨﺎﻭل ﺍﻝﻁﻌﺎﻡ( ﺒﺩ ﹰ‬
‫ﻻﻗﺘﺼﺎﺩﻴﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ‪ ،‬ﻭﻴﺸﻴﺭ ﺍﻝﺒﻌﺽ ﺃﻥ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻔﺘﻭﺡ ﻓﻲ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻴﻌﺘﺒﺭ‬
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‫ﺃﺴﺎﺴﹰﺎ ﺠﻴﺩﹰﺍ ﻝﺘﺠﺴﻴﺩ ﺍﻹﺤﺴﺎﺱ ﺒﺎﻻﺘﺴﺎﻉ ﻤﻊ ﺇﻋﻁﺎﺀ ﺍﻝﻤﻜﺎﻥ ﺤﺠﻤﹰﺎ ﻅﺎﻫﺭﻴﹰﺎ ﺃﻜﺒـﺭ ﻤـﻥ ﺤﺠﻤـﻪ‬
‫ﺍﻝﺤﻘﻴﻘﻲ‪ ،‬ﻭﻤﻊ ﺫﻝﻙ ﻴﺭﺍﻋﻰ ﺃﻥ ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﻓﺼل ﺒﻴﻥ ﺭﻜﻥ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺭﻜﻥ ﺍﻝﻁﻌﺎﻡ ﻭﺫﻝﻙ ﻝﺘﺤﻘﻴﻕ‬

‫ﺍﻝﺨﺼﻭﺼﻴﺔ ﻝﺭﻜﻥ ﺍﻝﻁﻌﺎﻡ ﻝﺤﺠﺏ ﺭﺅﻴﺔ ﻤﻥ ﻴﺘﻨﺎﻭل ﻁﻌﺎﻤﻪ ﻋﻥ ﺍﻵﺨﺭﻴﻥ‪ ،‬ﻭﻴﻤﻜﻥ ﻝﻠﻤﺼـﻤﻡ ﺃﻥ‬
‫ﻴﺤﻘﻕ ﺍﻝﻭﻅﻴﻔﺘﻴﻥ ﻤﻌﺎ )ﺘﺩﺍﺨل ﺍﻝﻔﺭﺍﻏﺎﺕ‪ ،‬ﺍﻝﺨﺼﻭﺼﻴﺔ( ﻤﻥ ﺨﻼل ﺍﺴﺘﺨﺩﺍﻡ ﻁﺭﻕ ﺍﻝﻔﺼل ﺍﻝﺠﺯﺌﻲ‬
‫ﺒﻴﻥ ﻜل ﻤﻥ ﺭﻜﻥ ﺍﻝﻤﻌﻴﺸﺔ ﻭﺍﻻﺴﺘﻘﺒﺎل ﻭﺭﻜﻥ ﺍﻝﻁﻌﺎﻡ‪.‬‬

‫ﺸﻜل )‪ (14.2‬ﺍﻝﻤﺴﺎﻓﺎﺕ ﺍﻝﺒﻴﺌﻴﺔ ﺍﻝﻭﺍﺠﺏ ﺘﻭﻓﻴﺭﻫﺎ ﻓﻲ ﺘﺼﻤﻴﻡ ﻤﻨﻁﻘﺔ ﺍﻝﻤﻌﻴﺸﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪(88-87‬‬

‫ﺍﻻﻝﻭﺍﻥ‪ :‬ﺘﻠﻌﺏ ﺍﻻﻝﻭﺍﻥ ﺩﻭﺭﺍ ﺭﺌﻴﺴﹰﺎ ﻓﻲ ﺤﺠﺭﺓ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻬﻲ ﺍﻝﺘﻲ ﺘﻌﻁﻴﻬﺎ ﺍﻝﺘﻭﺍﺯﻥ ﻭﺍﻝﺘﻨﺎﺴﻕ‬

‫ﻭﺘﻀﻔﻲ ﻋﻠﻴﻬﺎ ﺍﻝﺒﻬﺠﺔ‪ ،‬ﻭﻴﻔﻀل ﺍﺴﺘﺨﺩﺍﻡ ﺍﻻﻝﻭﺍﻥ ﺍﻝﻔﺎﺘﺤﺔ ﻭﺍﻝﻬﺎﺩﺌﺔ ﺒﺤﻴﺙ ﺘﺒﺩﻭ ﺍﻝﺤﺠﺭﺓ ﺠﻴﺩﺓ ﺍﻝﻤﻅﻬﺭ‬
‫ﺍﺜﻨﺎﺀ ﺍﻝﻨﻬﺎﺭ‪ ،‬ﻭﺘﻌﻁﻲ ﺘﺄﺜﻴﺭﹰﺍ ﻤﻨﺸﻁ ﹰﺎ ﻋﻠﻰ ﺨﻼﻴﺎ ﺍﻝﻔﻜﺭ‪ ،‬ﻝﺫﻝﻙ ﻴﺤﺴﻥ ﺍﺨﺘﻴﺎﺭ ﻤﺠﻤﻭﻋﺔ ﺍﻝﻭﺍﻥ ﺩﺍﻓﺌـﺔ‬
‫ﻝﻠﺠﺩﺭﺍﻥ ﻭﺍﻝﺴﺘﺎﺌﺭ‪ ،‬ﻭﻴﺤﺴﻥ ﺍﺴﺘﺨﺩﺍﻡ ﺘﺄﺜﻴﺭﺍﺕ ﺍﻻﻝﻭﺍﻥ ﺍﻝﻤﺘﻭﺍﻓﻘﺔ ﺒﻴﻥ ﺩﺭﺠـﺎﺕ ﺍﻝﺒـﻴﺞ ﻭﺍﻝﺒﺭﺘﻘـﺎﻝﻲ‬

‫ﻭﺍﻝﻤﺸﻤﺸﻲ ﻓﻲ ﺍﻝﺠﺩﺭﺍﻥ ﻭﺍﻝﺴﺘﺎﺌﺭ ﻭﺍﻝﺴﺠﺎﺩ ﻤﻊ ﺃﻝﻭﺍﻥ ﻗﻁﻊ ﺍﻷﺜﺎﺙ ﺍﻝﺨﺸﺒﻲ ﺍﻝﻁﺒﻴﻌﻴﺔ‪.‬‬

‫ﺍﻻﻀﺎﺀﺓ‪ :‬ﺍﻻﻀﺎﺀﺓ ﻓﻲ ﺤﺠﺭﺓ ﺍﻝﻤﻌﻴﺸﺔ ﻝﻬﺎ ﺘﺄﺜﻴﺭ ﻜﺒﻴﺭ ﻓﻲ ﺍﻅﻬﺎﺭﻫﺎ ﻭﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﺠﺯﺀ ﺃﻭ‬
‫ﺃﺤﺩ ﺍﻷﺭﻜﺎﻥ ﺒﻬﺎ‪ ،‬ﻝﺫﺍ ﻴﺠﺏ ﺃﻥ ﺘﺤﻘﻕ ﺍﻹﻀﺎﺀﺓ ﺍﻷﻫﺩﺍﻑ ﻤﻨﻬﺎ‪ ،‬ﻭﻫﻲ ﺴﻬﻭﻝﺔ ﺃﺩﺍﺀ ﺍﻷﻨﺸﻁﺔ ﺍﻝﻤﺨﺘﻠﻔﺔ‬

‫ﻫﺫﺍ ﺇﻝﻰ ﺠﺎﻨﺏ ﺇﻅﻬﺎﺭ ﺠﻤﺎل ﺍﻝﻤﻨﻁﻘﺔ‪ ،‬ﻭﺘﺸﺘﻤل ﺍﺴﺎﻝﻴﺏ ﺘﻭﺯﻴﻊ ﺍﻻﻀﺎﺀﺓ ﻋﻠﻰ‪:‬‬

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‫ﺃ‪ -‬ﺍﻻﻀﺎﺀﺓ ﺍﻝﻌﺎﻤﺔ‪ :‬ﻭﻫﻲ ﻻﺯﻤﺔ ﻻﻅﻬﺎﺭ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﻌﺎﻡ ﻝﻠﺤﺠﺭﺓ ﻭﺒﻭﺍﺴﻁﺘﻬﺎ ﻨﺤﺼل ﻋﻠﻰ ﻀـﻭﺀ‬
‫ﺴﺎﻁﻊ ﻤﺘﻭﺴﻁ‪ ،‬ﻭﻴﻔﻀل ﺃﻥ ﺘﻜﻭﻥ ﺍﻹﻀﺎﺀﺓ ﺍﻝﻌﺎﻤﺔ ﻏﻴﺭ ﺍﻝﻤﺒﺎﺸﺭﺓ ﻤﻤﺎ ﻴﻌﻁﻲ ﻀـﻭﺀﹰﺍ ﻫﺎﺩﺌـﹰﺎ‬

‫ﻤﺘﺠﺎﻨﺴﹰﺎ ﻭﻨﺤﺼل ﻋﻠﻰ ﺍﻹﻀﺎﺀﺓ ﺍﻝﻐﻴﺭ ﻤﺒﺎﺸﺭﺓ ﺒﻭﺍﺴﻁﺔ ﺇﻀﺎﺀﺓ ﺍﻝﻜﻭﺭﻨﻴﺵ ﺃﻭ ﻤﻥ ﺨﻠﻑ ﻗﻭﺍﻁﻊ‬
‫ﺭﺃﺴﻴﺔ ﻤﺜﺒﺘﺔ ﻋﻠﻰ ﺒﻌﺩ ﻤﻌﻴﻥ ﻤﻥ ﺍﻝﺤﺎﺌﻁ ﻭﺍﻹﻀﺎﺀﺓ ﻤﻭﻀﻭﻋﺔ ﺨﻠﻔﻬﺎ‪.‬‬

‫ﺏ‪ -‬ﺍﻻﻀﺎﺀﺓ ﺍﻝﻤﺤﻠﻴﺔ ﻭﺘﺴﺘﺨﺩﻡ ﻜﺈﻀﺎﺀﺓ ﻤﺒﺎﺸﺭﺓ ﺫﺍﺕ ﻤﺴﺘﻭﻴﺎﺕ ﻤﺨﺘﻠﻔﺔ ﺒﻜﺜﺎﻓﺔ ﻋﺎﻝﻴﺔ ﻓﻲ ﻤﻨـﺎﻁﻕ‬
‫ﺍﻝﻌﻤل ﺍﻝﺘﻲ ﺘﺤﺘﺎﺝ ﻹﺒﺼﺎﺭ ﺠﻴﺩ ﻤﺜل ﺍﻝﻘﺭﺍﺀﺓ ﻭﺍﻝﻜﺘﺎﺒﺔ‪ ،‬ﻭﺒﻜﺜﺎﻓﺔ ﺃﻗـل ﻓـﻲ ﺃﻤـﺎﻜﻥ ﺍﻝﺠﻠـﻭﺱ‬
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‫ﻭﺍﻝﻤﺤﺎﺩﺜﺔ‪ ،‬ﻭﺒﻜﺜﺎﻓﺔ ﺨﺎﻓﺘﺔ ﻓﻲ ﺃﻤﺎﻜﻥ ﻤﺸﺎﻫﺩﺓ ﺍﻝﺘﻠﻔﺎﺯ‪.‬‬

‫ﻝﺫﻝﻙ ﺃﺭﻯ ﻀﺭﻭﺭﺓ ﺘﻭﺍﺠﺩ ﻨﻭﻋﻴﻥ ﻤﻥ ﺍﻹﻀﺎﺀﺓ‪ :‬ﺇﻀﺎﺀﺓ ﻭﻅﻴﻔﻴﺔ ﻤﺭﻴﺤﺔ ﻝﻠﻌﻴﻥ ﺃﻭ ﺍﻝﻘﺎﺭﺉ‪،‬‬
‫ﻭﺇﻀﺎﺀﺓ ﺠﻤﺎﻝﻴﺔ‪ ،‬ﺒﻬﺩﻑ ﺍﻀﺎﻓﺔ ﻝﻤﺴﺔ ﺨﺎﺼﺔ ﻋﻠﻰ ﺍﻝﻤﺘﻭﺍﺠﺩﻴﻥ ﺃﻭ ﺍﻝﻤﻨﺎﺴﺒﺎﺕ ﻭﻏﻴﺭﻫـﺎ‪ ،‬ﺒﺤﻴـﺙ ﻻ‬
‫ﻴﻐﻠﺏ ﺃﻱ ﻤﻥ ﻫﺎﺘﻴﻥ ﺍﻻﻀﺎﺀﺘﻴﻥ ﻋﻠﻰ ﺍﻷﺨﺭﻯ‪.‬‬

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ﻤﻨﻁﻘﺔ ﺍﻝﻌﻤل ﻭﺍﻝﺨﺩﻤﺎﺕ‪:‬‬

‫‪ -1‬ﺍﻝﻤﻁﺒﺦ‪:‬‬

‫ﺃﺼﺒﺢ ﺍﻵﻥ ﺍﻝﻤﻁﺒﺦ ﻴﻤﺜل ﻗﻠﺏ ﺍﻝﻤﺴﻜﻥ ﺍﻝﻤﻌﺎﺼﺭ‪ ،‬ﻓﻠﻡ ﺘﻌﺩ ﻭﻅﻴﻔﺘﻪ ﻁﺭﺩ ﺍﻻﺒﺨﺭﺓ ﺍﻝﺴـﺎﺨﻨﺔ‬
‫ﺒﻌﻴﺩﺍ ﻋﻥ ﺍﻝﻤﺴﻜﻥ‪ ،‬ﺒل ﺃﺼﺒﺢ ﻤﻜﺎﻨﹰﺎ ﺍﻨﻴﻘﹰﺎ ﻏﻨﻴﹰﺎ ﺒﺎﻷﻝﻭﺍﻥ‪ ،‬ﻭﺍﻝﺘﺸﻁﻴﺒﺎﺕ‪ ،‬ﻭﻤﻭﺍﺩ ﺍﻝﺒﻨﺎﺀ ﺍﻝﺘﻲ ﻝﻴﺱ ﻝﻬـﺎ‬
‫ﺤﺼﺭ ﻭﺍﻝﺘﻲ ﺘﺤﺩﺙ ﻓﻲ ﺍﻝﻨﻔﺱ ﺘﺎﺜﻴﺭﺍﺕ ﻤﺭﻴﺤﺔ ﻭﻤﻤﺘﻌﺔ‪ ،‬ﻓﻬﻭ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﺠﻤﻊ ﺒـﻴﻥ‬
‫ﻻ ﻤﻥ ﺍﺴﺘﺨﺩﺍﻡ ﻏﺭﻓﺔ ﺍﻝﻁﻌﺎﻡ‪.‬‬
‫ﺇﻋﺩﺍﺩ ﺍﻝﻁﻌﺎﻡ ﻭﻜﺫﻝﻙ ﻤﻜﺎﻥ ﻝﺘﻨﺎﻭل ﺍﻝﻁﻌﺎﻡ ﻓﻴﻪ ﺒﺩ ﹰ‬

‫ﻭﻤﻥ ﻫﻨﺎ ﺒﺭﺯﺕ ﺍﻫﻤﻴﺔ ﺘﺼﻤﻴﻡ ﻭﺘﺄﺜﻴﺙ ﺍﻝﻤﻁﺒﺦ ﺒﻤﺎ ﻴﻨﺎﺴﺏ ﺍﺩﺍﺀ ﺍﻝﻌﻤل ﻭﺍﻝﻐﺭﺽ ﺍﻝﻭﻅﻴﻔﻲ‬
‫ﻝﻪ‪.‬‬

‫ﺍﻝﻤﺴﺎﺤﺔ‪ :‬ﺘﺘﻭﻗﻑ ﻤﺴﺎﺤﺔ ﺍﻝﻤﻁﺒﺦ ﻋﻠﻰ ﻨﻭﻉ ﺍﻝﻤﻨﺯل ﻭﻤﻭﻗﻌﻪ ﻭﻋﻠﻰ ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﺘﺎﺤـﺔ ﻝـﻪ‬
‫ﻀﻤﻥ ﻤﺴﺎﺤﺔ ﺍﻝﻤﻨﺯل‪ ،‬ﻭﻜﺫﻝﻙ ﻋﻠﻰ ﻋﺩﺩ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ‪ ،‬ﻭﻴﺠﺏ ﺃﻥ ﺘﻜﻭﻥ ﻤﺴﺎﺤﺔ ﺍﻝﻤﻁﺒﺦ ﻤﻨﺎﺴـﺒﺔ‬
‫ﺒﺤﻴﺙ ﺘﺴﺘﻭﻋﺏ ﻜل ﺍﻷﺠﻬﺯﺓ ﺍﻝﻤﺴﺘﻌﻤﻠﺔ ﻭﺍﻝﻀﺭﻭﺭﻴﺔ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪91-82‬‬ ‫‪1‬‬

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‫ﺍﻝﺘﻭﺠﻴﻪ‪ :‬ﺘﻭﺠﻪ ﺍﻝﻤﻁﺎﺒﺦ ﺠﻐﺭﺍﻓﻴ ﹰﺎ ﻨﺎﺤﻴﺔ ﺍﻝﺠﻨﻭﺏ ﺃﻭ ﺍﻝﺠﻨﻭﺏ ﺍﻝﺸـﺭﻗﻲ ﻭﺘﻔﺴـﻴﺭ ﺫﻝـﻙ ﺃﻥ‬
‫ﺘﻭﺠﻴﻪ ﺍﻝﻤﻁﺒﺦ ﻓﻲ ﺍﻝﺠﻬﺔ ﺍﻝﺠﻨﻭﺒﻴﺔ ﻴﺠﻌﻠﻪ ﻴﺴﺘﻔﻴﺩ ﻤﻥ ﺸﻤﺱ ﺍﻝﻨﻬﺎﺭ ﺒﺎﻹﻀﺎﻓﺔ ﻝﺘﺠﻨﺏ ﺘﺴﻠل ﺍﻷﺒﺨﺭﺓ‬
‫ﻭﺍﻝﺭﻭﺍﺌﺢ ﺩﺍﺨل ﺍﻝﻤﻨﺯل ﻋﻜﺱ ﺍﻝﺠﻬﺔ ﺍﻝﺒﺤﺭﻴﺔ ﺍﻝﺘﻲ ﺘﺤﻤل ﺍﻝﻬﻭﺍﺀ ﺍﻝﻤﺤﻤل ﺒﺭﻭﺍﺌﺢ ﺍﻷﻁﻌﻤﺔ ﻝﻨﺸﺭﻫﺎ‬
‫ﺩﺍﺨل ﺍﻝﻤﻨﺯل‪.‬‬

‫ﺍﻝﻤﻭﻗﻊ‪ :‬ﻴﻔﻀل ﺃﻥ ﺘﻜﻭﻥ ﻋﻼﻗﺘﻪ ﻤﻊ ﺍﻝﻤﺩﺨل ﻤﺒﺎﺸﺭﺓ‪ .‬ﻭﻴﻔﻀل ﻗﺭﺒﻪ ﻤﻥ ﺤﺠﺭﺓ ﺍﻝﻤﻌﻴﺸـﺔ‬
‫ﻭﺍﻻﺴﺘﻘﺒﺎل‪ ،‬ﻭﻜﺫﻝﻙ ﻤﻥ ﺤﺩﻴﻘﺔ ﺍﻝﻤﻨﺯل ﻓﻲ ﺤﺎﻝﺔ ﻭﺠﻭﺩﻫﺎ ﻜﻲ ﺘﺭﺍﻗﺏ ﺍﻷﻡ ﺃﻁﻔﺎﻝﻬﺎ ﺃﺜﻨﺎﺀ ﺍﻝﻠﻌﺏ‪ ،‬ﻜﻤﺎ‬

‫ﻴﺠﺏ ﺃﻥ ﻴﻘﻊ ﺍﻝﻤﻁﺒﺦ ﺒﺠﻭﺍﺭ ﻏﺭﻓﺔ ﺍﻝﻁﻌﺎﻡ‪ ،‬ﻭﻴﺴﺘﺤﺴﻥ ﺘﺠﻤﻴﻊ ﺍﻝﻤﻁﺒﺦ ﻤﻊ ﻓﺭﺍﻏﻲ ﺍﻝﻐﺴـﻴل ﻭﺩﻭﺭﺓ‬
‫ﺍﻝﻤﻴﺎﻩ ﻀﻤﻥ ﺤﻴﺯ ﻓﺭﺍﻏﻲ ﻤﺸﺘﺭﻙ ﻓﻲ ﺤﺎﻝﺔ ﺍﻝﻤﻁﺒﺦ ﺍﻝﻤﻐﻠﻕ‪ ،‬ﻭﻻ ﻴﻔﻀل ﺫﻝﻙ ﻤﻊ ﺍﻝﻤﻁﺒﺦ ﺍﻝﻤﻔﺘﻭﺡ ﺃﻭ‬
‫ﺍﻝﻤﻁﺒﺦ ﺫﻱ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺘﻔﺎﻋﻠﻲ‪ ،‬ﻭﻴﻭﻀﺢ ﺍﻝﺸﻜل )‪ (15.2‬ﺍﻝﻤﻭﻗﻊ ﺍﻝﻤﻨﺎﺴﺏ ﻝﻠﻤﻁﺒﺦ‪.‬‬

‫ﺸﻜل )‪ (15.2‬ﺍﻝﻤﻭﻗﻊ ﺍﻝﻤﻨﺎﺴﺏ ﻝﻠﻤﻁﺒﺦ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

‫ﺍﻝﺘﺼﻤﻴﻡ‪ :‬ﻤﺭﺍﻜﺯ ﺍﻝﻌﻤل‪:‬‬

‫ﻴﺘﻡ ﺘﺼﻤﻴﻡ ﺍﻝﻤﻁﺎﺒﺦ ﺠﻴﺩﺓ ﺍﻝﺘﺭﺘﻴﺏ ﻝﺘﺤﺘﻭﻱ ﻋﻠﻰ ﺜﻼﺙ ﻤﺭﺍﻜﺯ ﺃﺴﺎﺴﻴﺔ ﻫﻲ‪:‬‬

‫ﻤﺭﻜﺯ ﺇﻋﺩﺍﺩ ﺍﻝﻁﻌﺎﻡ ﻭﺍﻝﺘﺨﺯﻴﻥ‪ ،‬ﻭﻤﺭﻜﺯ ﺍﻝﻁﻬﻲ ﻭﺍﻝﺨﺩﻤﺔ‪ ،‬ﻭﻤﺭﻜﺯ ﺍﻝﺘﻨﻅﻴﻑ‪ ،‬ﻭﺘﺴﻤﻰ ﻫـﺫﻩ‬
‫ﺍﻝﻤﺭﺍﻜﺯ ﺍﻝﺜﻼﺜﺔ ﺒﻤﺜﻠﺙ ﺍﻝﻌﻤل )‪ :(Triangle work‬ﻭﻫﻭ ﺘﻘﺩﻴﺭ ﻝﻌﻤﻠﻴﺔ ﺍﻝﻁﻬﻲ ﻋﻥ ﻁﺭﻴﻘﺔ ﻤﺜﻠـﺙ‬

‫ﺍﻝﻌﻤل ﻭﺃﻀﻼﻉ ﺍﻝﻤﺜﻠﺙ ﺘﺭﺒﻁ ﺍﻝﺜﻼﺠﺔ ﻭﺍﻝﺤﻭﺽ ﻭﺍﻝﻤﻭﻗﺩ‪ ،‬ﻭﻤﺜﻠﺙ ﺍﻝﻌﻤل ﻫﻭ ﺍﻝﺫﻱ ﻴﻘﻠل ﻤﻥ ﺘﻘـﺎﻁﻊ‬
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‫ﺨﻁﻭﻁ ﺍﻝﻌﻤل ﺃﺜﻨﺎﺀ ﺘﺤﻀﻴﺭ ﺍﻝﻭﺠﺒﺎﺕ‪ ،‬ﻭﻴﻨﺒﻐﻲ ﺃﻻ ﻴﺘﺠﺎﻭﺯ ﻤﺤﻴﻁ ﻤﺜﻠـﺙ ﺍﻝﻌﻤـل ‪ 6.7‬ﻡ ﻝﻜـﻲ ﻻ‬
‫ﺘﺘﺒﺎﻋﺩ ﺍﻷﺭﻜﺎﻥ ﺍﻝﻭﻅﻴﻔﻴﺔ ﺇﻝﻰ ﺤﺩ ﻴﺼﺒﺢ ﺃﺩﺍﺀ ﺍﻝﻭﻅﻴﻔﺔ ﻤﻨﻬﻜﹰﺎ ﻝﺭﺒﺔ ﺍﻝﻤﻨﺯل‪.‬‬

‫ﺘﺼﻤﻴﻤﺎﺕ ﺍﻝﻤﻁﺎﺒﺦ‪:‬‬

‫ﻗﺩ ﻴﺄﺨﺫ ﺍﻝﻤﻁﺒﺦ ﺘﺼﻤﻴﻤﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻭﻓﻘﹰﺎ ﻝﺘﺭﺘﻴﺏ ﻤﺭﺍﻜﺯ ﺍﻝﻌﻤل)ﺍﻝﺜﻼﺠﺔ‪ ،‬ﺍﻝﻤﻭﻗﺩ‪ ،‬ﺍﻝﺤﻭﺽ(‬
‫ﻜﻤﺎ ﻓﻲ ﺍﻷﺸﻜﺎل ﺍﻝﺘﻭﻀﻴﺤﻴﺔ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫ﺸﻜل )‪ (16.2‬ﺃﺸﻜﺎل ﺍﻝﻤﻁﺎﺒﺦ ﻭﻓﻘﹰﺎ ﻝﺘﺭﺘﻴﺏ ﻤﺭﺍﻜﺯ ﺍﻝﻌﻤل‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬
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 ‫ﺍﻷﺜﺎﺙ‪ :‬ﻻ ﺒﺩ ﺃﻥ ﻴﺤﺘﻭﻱ ﺍﻝﻤﻁﺒﺦ ﻋﻠﻰ‪:‬‬

‫ﺃ‪ -‬ﻭﺤﺩﺍﺕ ﻤﻥ ﺍﺜﺎﺙ ﺍﻝﺘﺨﺯﻴﻥ ﻝﺘﺨﺯﻴﻥ ﺍﻷﻁﻌﻤﺔ ﻭﺍﻷﻭﺍﻨﻲ ﻭﺍﻷﺩﻭﺍﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺍﻝﻁﻬﻲ‪ ،‬ﺨﺎﺼﺔ‬

‫ﺇﺫﺍ ﻝﻡ ﻴﻜﻥ ﻫﻨﺎﻙ ﻤﺨﺯﻥ ﻗﺭﻴﺏ ﻭﻤﻌﺩ ﺨﺼﻴﺼﹰﺎ ﻝﺫﻝﻙ‪.‬‬

‫ﺏ‪ -‬ﻤﺴﻁﺢ ﻋﻤل ﻻﻨﺠﺎﺯ ﺍﻝﻭﺍﺠﺒﺎﺕ ﻭﺍﻷﻋﻤﺎل ﻋﻠﻴﻪ‪.‬‬

‫ﺠـ‪ -‬ﺍﻷﺠﻬﺯﺓ ﺍﻝﺘﻲ ﺘﻌﺩ ﺍﻝﻨﻘﺎﻁ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻝﻤﺭﺍﻜﺯ ﺍﻝﻌﻤل ﻓﻲ ﺍﻝﻤﻁﺒﺦ‪ " :‬ﺜﻼﺠﺔ –ﺤﻭﺽ – ﻓﺭﻥ"؟‬

‫ﻭﻴﺭﺍﻋﻰ ﻋﻨﺩ ﺘﺄﺜﻴﺙ ﺍﻝﻤﻁﺒﺦ ﻀﺭﻭﺭﺓ ﺘﺭﻙ ﻤﺴﺎﻓﺎﺕ ﻤﻨﺎﺴﺒﺔ ﻝﻠﺤﺭﻜﺔ ﻭﺍﻝﻤﺭﻭﺭ‪ ،‬ﻭﻷﻤﻜﺎﻨﻴـﺔ‬
‫ﺍﺴﺘﺨﺩﺍﻡ ﻭﺤﺩﺍﺕ ﺍﻷﺜﺎﺙ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﺍﻷﺸﻜﺎل ﺍﻝﺘﺎﻝﻴﺔ ﺘﻭﻀﺢ ﺍﻝﺤﺭﻜﺔ ﺍﻝﻼﺯﻤﺔ ﻓﻲ ﺍﻝﻤﻁﺒﺦ ﻭﺍﻝﻤﺴﺎﻓﺎﺕ‬
‫ﻭﺍﻻﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻭﺍﺠﺏ ﺍﻻﻝﺘﺯﺍﻡ ﺒﻬﺎ‪.‬‬

‫ﺸﻜل )‪ (17.2‬ﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺍﻻﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻼﺯﻤﺔ ﻝﻠﺤﺭﻜﺔ ﻓﻲ ﺍﻝﻤﻁﺒﺦ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

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 ‫ﺸﻜل )‪ (18.2‬ﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺍﻻﺭﺘﻔﺎﻋﺎﺕ ﺍﻝﻤﺭﻴﺤﺔ ﻝﻤﺨﺘﻠﻑ ﻋﻨﺎﺼﺭ ﺍﻝﻤﻁﺒﺦ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

‫ﺍﻷﻝﻭﺍﻥ‪ :‬ﻴﻠﻌﺏ ﺍﻝﻠﻭﻥ ﺩﻭﺭﹰﺍ ﻫﺎﻤﹰﺎ ﻓﻲ ﺍﻝﻤﻁﺒﺦ ﺤﻴﺙ ﻴﻤﻜﻥ ﺃﻥ ﻴﻘﻠل ﺃﻭ ﻴﺨﻔﻑ ﺍﻝﺸﻌﻭﺭ ﺒﺎﻝﻭﻫﺞ‬

‫ﻭﺍﻝﺤﺭﺍﺭﺓ ﺩﺍﺨﻠﺔ ﻭﻴﺅﺩﻱ ﺇﻝﻰ ﺍﻝﻘﻴﺎﻡ ﺒﺎﻝﻨﺸﺎﻁ ﺍﻝﻤﻁﻠﻭﺏ ﻭﺍﻝﻌﻤل ﺒﺴﺭﻋﺔ‪ ،‬ﻭﺍﻝﺘﺨﻁﻴﻁ ﺍﻝﻨﺎﺠﺢ ﻝﻸﻝـﻭﺍﻥ‬
‫ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺍﻝﻤﻁﺒﺦ ﻴﺤﺘﺎﺝ ﺃﻭﻻ ﻝﺘﺤﺩﻴﺩ ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﺘﻲ ﻨﺭﻴﺩ ﺇﻜﺴﺎﺒﻬﺎ ﻝﻠﻤﻁﺒﺦ‪ ،‬ﻓـﺈﺫﺍ ﺃﺭﺩﻨـﺎ ﺃﻥ‬
‫ﻴﻌﻜﺱ ﺍﻝﻤﻁﺒﺦ ﺍﻹﺤﺴﺎﺱ ﺒﺎﻝﺭﺍﺤﺔ ﻭﺍﻝﺒﻬﺠﺔ ﻭﺍﻹﻨﺎﺭﺓ ﻴﺠﺏ ﺃﻥ ﻨﺨﺘﺎﺭ ﺍﻷﻝﻭﺍﻥ ﺍﻝﺘﻲ ﺘﺅﻜﺩ ﺫﻝﻙ‪ ،‬ﻭﻴﺠﺏ‬

‫ﻋﻨﺩ ﺍﺨﺘﻴﺎﺭ ﺨﻁﺔ ﺍﻷﻝﻭﺍﻥ ﺩﺭﺍﺴﺔ ﺍﻝﻌﻼﻗﺔ ﺍﻝﻤﺘﺒﺎﺩﻝﺔ ﺒﻴﻥ ﻜل ﻤﻥ ﺍﻷﻝﻭﺍﻥ ﻭﻤﻭﺍﺩ ﺍﻝﺘﺸﻁﻴﺒﺎﺕ ﺍﻝﻤﺨﺘﻠﻔـﺔ‬
‫ﺍﻝﻤﻠﻤﺱ ﺍﻝﻤﻤﻜﻥ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﻓﻲ ﺍﻝﻤﻁﺒﺦ‪ ،‬ﻭﻤﻥ ﺍﻝﻼﻓﺕ‪ ،‬ﺃﻥ ﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻝﻠـﻭﻥ ﻻ ﻴﻜـﻭﻥ ﺒﺄﻋﻤـﺎل‬
‫ﺍﻝﺩﻫﺎﻥ ﻭﺍﻝﻁﺭﺍﺸﺔ ﻓﺤﺴﺏ‪ ،‬ﺒل ﻴﻤﻜﻥ ﺍﻝﺘﻌﺒﻴﺭ ﻋﻨﻬﺎ ﺒﺨﺎﻤﺎﺕ ﻭﻤﻭﺍﺩ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﻝﻌل ﺃﻓﻀﻠﻬﺎ ﻓﻲ ﺭﺃﻴﻲ‬

‫ﻫﻭ ﺍﻝﺘﺩﺍﺨل ﺒﻴﻥ ﺍﻝﺒﻼﻁ ﻭﻤﻭﺍﺩ ﺃﺨﺭﻯ ﺘﺠﻤﻊ ﺒﻴﻥ ﺍﻝﻬﺩﻑ ﺍﻝﻭﻅﻴﻔﻲ‪ ،‬ﻜﺴﻬﻭﻝﺔ ﺍﻝﺘﻨﻅﻴـﻑ ﻭﻤﻘﺎﻭﻤﺘﻬـﺎ‬
‫ﻝﻠﺭﻁﻭﺒﺔ ﻭﺍﻷﺒﺨﺭﺓ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﺒﻴﻥ ﺍﻝﻬﺩﻑ ﺍﻝﺠﻤﺎﻝﻲ‪ ،‬ﻓﺄﻨﻭﺍﻉ ﺍﻝﺒﻼﻁ ﻴﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﺒﻤﻨﺎﻅﺭ ﺠﻤﻴﻠـﺔ‬
‫ﻭﻤﺭﻴﺤﺔ ﻭﻋﻤﻠﻴﺔ ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ‪.‬‬

‫ﺍﻹﻀﺎﺀﺓ‪ :‬ﺍﻥ ﺍﻝﻤﻁﺒﺦ ﻤﻥ ﺃﻜﺜﺭ ﺍﻤﺎﻜﻥ ﺍﻝﻤﺴﻜﻥ ﺍﻝﺘﻲ ﺘﺤﺘﺎﺝ ﺇﻀﺎﺀﺓ ﻨﻅﺭﹰﺍ ﻝﺤﺎﺠﺔ ﺍﻝﻌﻤل‪ ،‬ﻭﻋﻨـﺩ‬
‫ﺍﻝﺘﺨﻁﻴﻁ ﻝﻺﻀﺎﺀﺓ ﻴﺭﺍﻋﻰ ﺃﻥ ﺘﻜﻭﻥ ﺍﻹﻀﺎﺀﺓ ﻭﻅﻴﻔﻴﺔ ﺒﻴﻀﺎﺀ ﻜﻤﺎ ﻴﺠﺏ ﺘﺠﻨﺏ ﺍﻝﻅﻼل ﻓﻭﻕ ﻤﻨﺎﻁﻕ‬
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‫ﺍﻝﻌﻤل ﻭﻜﺫﻝﻙ ﻓﻭﻕ ﻤﻨﻁﻘﺔ ﺤﻭﺽ ﺍﻝﻐﺴﻴل‪ ،‬ﻭﻴﺭﺍﻋﻰ ﺃﻥ ﺘﺘﻨﻭﻉ ﻭﺤﺩﺍﺕ ﺍﻹﻀﺎﺀﺓ ﺒﺤﻴﺙ ﺘﻭﻓﺭ ﺍﻷﻤﻥ‬
‫ﺍﻝﻔﻌﺎل ﺤﻴﺙ ﺃﻥ ﺍﻝﻤﻁﺒﺦ ﻴﻌﺘﺒﺭ ﻤﻜﺎﻨﹰﺎ ﻝﻠﻤﺨﺎﻁﺭ ﺍﻝﻤﺤﺘﻤل ﺤﺩﻭﺜﻬﺎ‪ ،‬ﻓﻤﻌﻅﻡ ﺍﻝﺤﻭﺍﺩﺙ ﺍﻝﻤﻨﺯﻝﻴـﺔ ﻓﻴـﻪ‬
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‫ﺘﻜﻭﻥ ﺍﻹﻀﺎﺀﺓ ﺍﻝﻀﻌﻴﻔﺔ ﻤﺴﺅﻭﻝﺔ ﻋﻨﻬﺎ ﺒﺼﻭﺭﺓ ﻤﺒﺎﺸﺭﺓ ﺃﻭ ﻜﻌﺎﻤل ﻤﺸﺎﺭﻙ‪.‬‬

‫‪ -2‬ﺍﻝﺤﻤﺎﻡ‪:‬‬

‫ﻴﻌﺘﺒﺭ ﺍﻝﺤﻤﺎﻡ ﺠﺯﺀﹰﺍ ﻫﺎﻤﹰﺎ ﻤﻥ ﺍﻝﻤﺴﻜﻥ ﻓﻬﻭ ﻻ ﻴﻘل ﺃﻫﻤﻴﺔ ﻋﻥ ﺃﻱ ﻤﻜﺎﻥ ﺁﺨﺭ ﻓﻴﻪ‪ ،‬ﻓﻴﺠﺏ ﺃﻥ‬

‫ﻴﻜﻭﻥ ﻝﻪ ﻤﻅﻬﺭ ﻤﻤﻴﺯ ﻴﻌﻜﺱ ﺍﻝﺸﻌﻭﺭ ﺒﺎﻝﺭﺍﺤﺔ ﻭﻴﻠﺒﻲ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻷﻓﺭﺍﺩ‪.‬‬

‫ﺍﻝﺘﻭﺠﻴﻪ‪ :‬ﺇﻥ ﺍﻝﻭﻀﻊ ﺍﻝﺠﻐﺭﺍﻓﻲ ﺍﻝﻤﻼﺌﻡ ﻝﻠﺤﻤﺎﻤﺎﺕ ﻫﻭ ﺍﻝﺠﻨﻭﺏ ﺍﻝﺸﺭﻗﻲ‪.‬‬

‫ﺍﻝﻤﻭﻗﻊ‪ :‬ﻴﻔﻀل ﺃﻥ ﻴﺘﺠﺎﻭﺭ ﺍﻝﺤﻤﺎﻡ ﻤﻊ ﺍﻝﻤﻁﺒﺦ ﻓﻲ ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻓﻲ ﺍﻝﻤﻁﺎﺒﺦ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻊ‬

‫ﺍﻝﺘﺼﻤﻴﻤﻲ ﺍﻝﻤﻐﻠﻕ‪ ،‬ﺤﻴﺙ ﻴﺴﺎﻋﺩ ﺫﻝﻙ ﻋﻠﻰ ﺩﻤﺞ ﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﺨﺎﺼﺔ ﺒﻬﻡ ﻤﻌﹰﺎ ﻤـﻊ ﺘـﻭﻓﻴﺭ ﻨﻔﻘـﺎﺕ‬
‫ﻤﻭﺍﺴﻴﺭ ﺍﻝﺼﺭﻑ ﻭﺴﻬﻭﻝﺔ ﺍﻝﺘﺭﻜﻴﺒﺎﺕ‪ ،‬ﻭﻜﺫﻝﻙ ﻴﻔﻀل ﺃﻥ ﻴﻜﻭﻥ ﻤﻜﺎﻥ ﺍﻝﺤﻤﺎﻡ ﺒﺎﻝﻘﺭﺏ ﻤـﻥ ﻏـﺭﻑ‬
‫ﺍﻝﻨﻭﻡ ﻝﺴﻬﻭﻝﺔ ﺍﻻﺴﺘﺨﺩﺍﻡ ﻜﻤﺎ ﻓﻲ ﺍﻝﺸﻜل )‪:(19.2‬‬

‫ﺸﻜل )‪ (19.2‬ﻤﻭﻗﻊ ﺍﻝﺤﻤﺎﻡ ﻓﻲ ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻝﻠﻤﺴﻜﻥ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪(2012 ،‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪102-91‬‬ ‫‪1‬‬

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‫ﺃﻤﺎ ﻓﻲ ﺤﺎﻝﺔ ﻭﺠﻭﺩ ﺃﻜﺜﺭ ﻤﻥ ﺤﻤﺎﻡ ﻓﻴﻔﻀل ﻭﺠﻭﺩ ﺤﻤﺎﻡ ﺒﺠﻭﺍﺭ ﻏﺭﻑ ﺍﻝﻨـﻭﻡ ﻻﺴـﺘﺨﺩﺍﻡ‬
‫ﺍﻷﺴﺭﺓ‪ ،‬ﻭﺁﺨﺭ ﺒﺠﻭﺍﺭ ﺍﻻﺴﺘﻘﺒﺎل ﻭﺍﻝﻤﻌﻴﺸﺔ ﻭﺍﻝﻤﻁﺒﺦ ﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﺯﺍﺌﺭﻴﻥ ﻭﺍﻷﺴﺭﺓ ﺃﻴﻀﺎ‪ ،‬ﻭﻓﻲ ﺒﻌﺽ‬

‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺫﺍﺕ ﺍﻝﻤﺴﺎﺤﺎﺕ ﺍﻝﻜﺒﻴﺭﺓ ﻴﻠﺤﻕ ﺤﻤﺎﻡ ﺒﻐﺭﻓﺔ ﻨﻭﻡ ﺍﻝﻭﺍﻝﺩﻴﻥ‪.‬‬

‫ﺘﺠﻬﻴﺯﺍﺕ ﺍﻝﺤﻤﺎﻡ‪ :‬ﻴﺤﺘﻭﻱ ﺃﻱ ﺤﻤﺎﻡ ﻋﻠﻰ ﺃﺠﻬﺯﺓ ﺜﺎﺒﺘﺔ ﻭﻫﻲ )ﻤﺭﺤﺎﺽ‪ ،‬ﺤـﻭﺽ ﻏﺴـﻴل‬
‫ﺍﻷﻴﺩﻱ‪" ،‬ﺒﺎﻨﻴﻭ" ﺃﻭ ﺤﻤﺎﻡ ﻗﺩﻡ ﻝﻼﺴﺘﺤﻤﺎﻡ( ﻭﻴﻤﻜﻥ ﺍﺤﺘﻭﺍﺌﻪ ﻋﻠﻰ ﻏﺴـﺎﻝﺔ ﻝﻐﺴـﻴل ﺍﻝﻤﻼﺒـﺱ‪ ،‬ﺃﻤـﺎ‬
‫ﺍﻝﺤﻤﺎﻤﺎﺕ ﺍﻝﻤﺼﻤﻤﺔ ﻝﻼﺴﺘﻌﻤﺎل ﺍﻝﻤﺘﺴﻊ ﻓﺘﺯﻭﺩ ﺒﺎﻝﺘﺠﻬﻴﺯﺍﺕ ﺍﻹﻀﺎﻓﻴﺔ‪ ،‬ﻤﺜـل‪) :‬ﺒﻴﺩﻴـﺔ‪ ،‬ﻤﺭﻭﺤـﺔ‬
‫ﻝﻠﺘﺨﻠﺹ ﻤﻥ ﺍﻝﺒﺨﺎﺭ ﻭﺍﻝﺭﻭﺍﺌﺢ‪ ،‬ﺨﺯﺍﻨﺔ ﺃﺩﻭﻴﺔ‪ ،‬ﻭﺨﺯﺍﻨﺔ ﺤﻤﺎﻡ ﺨﺎﺼﺔ‪ ،‬ﺤﻭﺽ ﺍﺴﺘﺤﻤﺎﻡ ﺴـﺎﺨﻥ‪...‬‬
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‫ﺍﻝﺦ(‪.‬‬

‫ﻭﻋﻨﺩ ﺘﻨﻅﻴﻡ ﺍﻝﺤﻤﺎﻡ ﻴﺭﺍﻋﻰ ﺃﻥ ﻴﻜﻭﻥ ﺍﻝﺘﻨﻅﻴﻡ ﻤﻨﺎﺴﺒﹰﺎ ﻻ ﻴـﻭﺤﻲ ﺒﺎﻝﺸـﻌﻭﺭ ﺒﺎﻻﺯﺩﺤـﺎﻡ ﺃﻭ‬
‫ﺍﻝﺘﻀﺎﺭﺏ ﻓﻲ ﺍﻝﺨﺩﻤﺔ‪ ،‬ﻭﻴﺠﺏ ﻤﺭﺍﻋﺎﺓ ﺍﻝﺩﻗﺔ ﻓﻲ ﺘﺤﺩﻴﺩ ﻭﻀﻊ ﺍﻷﺩﻭﺍﺕ ﺍﻝﺼﺤﻴﺔ ﻝﺴـﻬﻭﻝﺔ ﺍﻝﺤﺭﻜـﺔ‬
‫ﻭﺍﻻﻨﺘﻘﺎل‪ ،‬ﺨﺎﺼﺔ ﺇﺫ ﻜﺎﻥ ﺍﻝﺤﻤﺎﻡ ﺼﻐﻴﺭ ﺍﻝﻤﺴﺎﺤﺔ ﻭﻀﺭﻭﺭﺓ ﺃﻥ ﻴﺨﺘﺎﺭ ﺍﻝﻤﻜﺎﻥ ﺍﻝﻤﻨﺎﺴﺏ ﻝﻜل ﻗﻁﻌﺔ‬
‫ﻤﻊ ﻤﺭﺍﻋﺎﺓ ﻜﺜﺭﺓ ﺍﻻﺴﺘﻌﻤﺎل‪ ،‬ﺍﻝﻤﺴﺎﻓﺔ ﺒﻴﻥ ﻜل ﻗﻁﻌﺔ ﻭﺃﺨﺭﻯ‪ ،‬ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻨﻭﺍﻓﺫ ﻭﺍﻷﺒﻭﺏ ﻓﻼ ﺘﻜـﻭﻥ‬
‫ﻋﺎﺌﻘﺎ ﻻﺴﺘﺨﺩﺍﻤﻬﺎ‪.‬‬

‫ﺍﻷﻝﻭﺍﻥ‪ :‬ﻫﻨﺎﻙ ﻤﻴل ﻝﺘﻘﻠﻴل ﻤﺴﺎﺤﺔ ﺍﻝﻨﻭﺍﻓﺫ ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﺤﻤﺎﻡ ﻤﻤﺎ ﻴﻘﻠل ﻤﻥ ﻜﻤﻴﺔ ﺍﻝﻀﻭﺀ ﺍﻝﻁﺒﻴﻌﻲ ﻝﻪ‪،‬‬
‫ﻝﺫﻝﻙ ﻴﺠﺏ ﺍﺴﺘﻌﻤﺎل ﺍﻷﻝﻭﺍﻥ ﺫﺍﺕ ﺍﻝﻘﻴﻤﺔ ﺍﻝﻤﺭﺘﻔﻌﺔ ﺍﻝﺯﺍﻫﻴﺔ ﺨﺎﺼﺔ ﺍﻷﺯﺭﻕ ﻭﺍﻷﺨﻀﺭ ﻭﺫﻝﻙ ﻝﻴﻌﻜﺱ‬
‫ﺍﻝﻀﻭﺀ‪ ،‬ﻋﻼﻭﺓ ﻋﻠﻰ ﻤﺎ ﻴﺘﻤﻴﺯ ﺒﻪ ﻫﺫﺍﻥ ﺍﻝﻠﻭﻨﺎﻥ ﻤﻥ ﺨﺼﺎﺌﺹ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﻤﺘﻤﺜﻠﺔ ﻓﻲ ﻋﻨﺼﺭﻱ ﺍﻝﻤﺎﺀ‬
‫‪2‬‬
‫ﻭﺍﻝﻨﺒﺎﺕ ﻓﻀﻼﹰ ﻋﻥ ﻝﻭﻥ ﺍﻝﺴﻤﺎﺀ ﻤﻤﺎ ﻴﺒﻌﺙ ﻓﻲ ﺍﻝﻨﻔﺱ ﺍﻝﻁﻤﺄﻨﻴﻨﺔ ﻭﺍﻝﻬﺩﻭﺀ‪.‬‬

‫
ﺍﻝﺸﺭﻓﺎﺕ‪:‬‬

‫ﺘﺨﺼﺹ ﻹﺘﺎﺤﺔ ﺍﻝﻔﺭﺼﺔ ﻝﻘﺎﻁﻨﻲ ﺍﻝﺴﻜﻥ ﺍﻝﺠﻠﻭﺱ ﺨﺎﺭﺝ ﺍﻝﺠﺩﺭﺍﻥ ﺍﻝﻤﻐﻠﻘﺔ ﺒﺎﻝﺠﻭ ﺍﻝﺨﺎﺭﺠﻲ‬
‫ﻭﺍﻹﻁﻼﻝﺔ ﻭﺍﻝﻤﻨﺎﻅﺭ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﻫﻲ ﻗﺩ ﺘﺤﻴﻁ ﺒﺎﻝﻤﺴﻜﻥ ﺒﺄﻜﺜﺭ ﻤﻥ ﺠﻬﺔ‪ ،‬ﻝﻼﺴﺘﻔﺎﺩﺓ ﻤـﻥ ﺍﻝﻤﻨـﺎﻅﺭ‬
‫ﻭﺍﻝﺠﻬﺎﺕ ﻜﺎﻓﺔ‪ ،‬ﻭﻏﺎﻝﺒﹰﺎ ﻤﺎ ﺘﻜﻭﻥ ﺍﻝﺸﺭﻓﺔ ﺍﻝﺭﺌﻴﺴﻴﺔ ﺒﻐﺭﻓﺔ ﺍﻝﻤﻌﻴﺸﺔ‪.‬‬

‫ﻤﻭﻗﻊ ﻤﻨﺘﺩﻴﺎﺕ ﺍﻝﻨﻭﺍﺼﺭﺓ‪ :‬ﺘﻌﺭﻴﻑ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺃﺴﺴﻪ ‪http://www.nawasreh.com/vb/t32698.html‬‬ ‫‪1‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪107-103‬‬ ‫‪2‬‬

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‫ﻋﻨﺩ ﺍﻝﺘﺼﻤﻴﻡ ﻴﺅﺨﺫ ﺒﺎﻻﻋﺘﺒﺎﺭ ﺍﻝﺘﻭﺠﻴﻪ ﺍﻝﺠﻴﺩ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺸـﻤﺱ ﻭﺍﺘﺠـﺎﻩ ﺍﻝﺭﻴـﺎﺡ ﺍﻝﺴـﺎﺌﺩﺓ‬
‫ﻭﺍﻝﻤﺤﺒﺒﺔ ﻭﺍﻹﻁﻼل ﺍﻝﻁﺒﻴﻌﻲ‪ ،‬ﻭﺍﻝﻤﻭﻗﻊ ﺍﻝﺼﺤﻴﺢ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﻨﺎﺯل ﻭﺍﻝﻤﺴﺎﻜﻥ ﺍﻝﻤﺠﺎﻭﺭﺓ ﺍﻝﺫﻱ ﻴـﻭﻓﺭ‬

‫ﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺍﻷﻤﺎﻥ ﻝﻠﺴﺎﻜﻥ‪ ،‬ﻜﻤﺎ ﻴﺠﺏ ﺩﺭﺍﺴﺔ ﺍﻝﻤﺴﺎﻓﺔ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻐﺭﻑ ﺍﻝﻤﺠﺎﻭﺭﺓ ﻭﻋﻼﻗﺘﻬﺎ ﺒﻬـﺎ‪،‬‬
‫ﻭﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻜﺎﻓﻴﺔ ﻭﺍﻝﻤﻨﺎﺴﺒﺔ ﻝﻠﺸﺭﻓﺔ‪ ،‬ﻜﻤﺎ ﻴﺠﺏ ﺩﺭﺍﺴﺔ ﺍﻝﺒﻌﺩ ﻋﻥ ﺍﻝﻀﺠﻴﺞ ﻭﺍﻝﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﻤﻨﺎﺨﻴﺔ ﻏﻴﺭ‬
‫ﺍﻝﻤﺭﻏﻭﺏ ﻓﻴﻬﺎ‪ ،‬ﺇﻥ ﺃﻤﻜﻥ ﺫﻝﻙ‪.‬‬

‫
ﺍﻝﻤﻠﺤﻘﺎﺕ‪:‬‬

‫ﻫﻨﺎﻙ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﺨﺩﻤﺎﺕ ﻭﺍﻝﻤﺭﺍﻓﻕ ﺒﺎﻝﺴﻜﻥ‪ ،‬ﻭﻫﻲ ﺘﺘﻭﺍﻓﺭ ﺤﺴﺏ ﻁﺒﻴﻌﺔ ﺍﻝﻤﺴﻜﻥ‪ ،‬ﻭﺤﺠﻤﻪ‬
‫ﻭﻤﺩﻯ ﺍﻝﺤﺎﺠﺔ ﺇﻝﻴﻬﺎ‪:‬‬

‫ﺃ‪ -‬ﻏﺭﻓﺔ ﺍﻝﻐﺴﻴل‪ :‬ﻝﺤﻔﻅ ﺍﻝﺜﻴﺎﺏ ﺍﻝﻤﺘﺴﺨﺔ ﻭﻏﺴﻴﻠﻬﺎ ﻭﺘﺠﻔﻴﻔﻬﺎ‪.‬‬

‫ﺏ‪ -‬ﺍﻝﻤﺴﺘﻭﺩﻉ‪ :‬ﻝﺤﻔﻅ ﺍﻝﻤﺅﻭﻨﺔ ﻭﻋﺩﺓ ﺍﻹﺼﻼﺡ‪ ،‬ﻭﺘﺠﻬﻴﺯﺍﺕ ﺍﻝﻌﻨﺎﻴﺔ ﺒﺎﻝﺤﺩﻴﻘﺔ‪.‬‬

‫ﺝ‪ -‬ﺍﻝﻤﺭﺁﺏ‪ :‬ﻴﺘﺴﻊ ﻋﺎﺩﺓ ﻝﺴﻴﺎﺭﺓ ﺃﻭ ﺴﻴﺎﺭﺘﻴﻥ ﻝﻜل ﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ‪.‬‬

‫ﺩ‪ -‬ﻏﺭﻓﺔ ﺍﻝﺘﺠﻬﻴﺯﺍﺕ )‪ :(Equipments room‬ﺘﻀﻡ ﺘﺠﻬﻴﺯﺍﺕ ﺍﻝﺘﺒﺭﻴﺩ ﻭﺍﻝﺘﺩﻓﺌﺔ‪ ،‬ﻭﺨﺯﺍﻥ ﺍﻝﻭﻗﻭﺩ‬
‫ﻼ ﻭﻤﻁﻤﻭﺭﹰﺍ ﻓﻲ ﺍﻝﺤﺩﻴﻘﺔ ﺒﺠﻭﺍﺭ ﺍﻝﻐﺭﻓﺔ‪.‬‬
‫ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﺍﻥ ﻴﻜﻭﻥ ﻤﻨﻔﺼ ﹰ‬

‫ﻩ‪ -‬ﺨﺯﺍﻥ ﺍﻝﻤﻴﺎﻩ‪ :‬ﻭﻴﺘﻡ ﺘﺠﻤﻴﻊ ﻤﻴﺎﻩ ﺍﻷﻤﻁﺎﺭ ﻓﻴﻪ ﻻﺴﺘﺨﺩﺍﻤﻬﺎ ﻓﻲ ﺭﻱ ﺍﻝﺤﺩﻴﻘﺔ ﺍﻝﻤﻨﺯﻝﻴﺔ‪ ،‬ﻜﻤﺎ ﻴﻤﻜﻥ‬

‫ﺃﻥ ﻴﻜﻭﻥ ﻝﻠﺸﺭﺏ ﻓﻲ ﺒﻌﺽ ﺍﻝﻤﻨﺎﻁﻕ ﺍﻝﺘﻲ ﻴﻜﻭﻥ ﻓﻴﻬﺎ ﻨﻘﺹ ﻓﻲ ﻤﻴﺎﻩ ﺍﻝﺸـﺭﺏ ﻤـﻥ ﺠﻬـﺎﺕ‬
‫ﺍﻝﺘﺯﻭﻴﺩ ﺍﻝﻤﺨﺘﺼﺔ‪ ،‬ﻭﺃﺩﻋﻭ ﺇﻝﻰ ﻭﺠﻭﺏ ﻓﺭﺽ ﺍﻨﺸﺎﺀ ﺨﺯﺍﻥ ﻤﻴﺎﻩ ﻝﻜل ﻤﺴﻜﻥ ﻤﻨﻔﺼـل ﻨﻅـﺭﹰﺍ‬
‫ﻝﻸﻫﻤﻴﺔ ﺍﻝﺒﺎﻝﻐﺔ ﺍﻝﺘﻲ ﺃﺸﺭﻨﺎ ﺇﻝﻴﻬﺎ ﻭﻨﻅﺭﹰﺍ ﻝﻺﺸﻜﺎﻝﻴﺔ ﺍﻝﺘﻲ ﻴﺸﻴﺭ ﺇﻝﻴﻬﺎ ﺍﻝﻌﻠﻤﺎﺀ ﺒﺄﻥ ﻤﺸﻜﻠﺔ ﺍﻝﻤﻴﺎﻩ ﻗﺩ‬

‫ﺘﻜﻭﻥ ﻤﺸﻜﻠﺔ ﻋﺎﻝﻤﻴﺔ‪.‬‬

‫ﻭ‪ -‬ﺍﻝﺤﺩﺍﺌﻕ‪ :‬ﺘﻜﻭﻥ ﻤﺤﻴﻁﺔ ﺒﺎﻝﻤﺴﻜﻥ‪ ،‬ﻝﺯﺭﺍﻉ ﺍﻝﻭﺭﻭﺩ ﻭﻨﺒﺎﺘـﺎﺕ ﺍﻝﺯﻴﻨـﺔ ﻭﺍﻷﺸـﺠﺎﺭ ﺍﻝﻤﺜﻤـﺭﺓ‪،‬‬
‫ﻭﺍﻷﺴﻴﺠﺔ ﺍﻝﻨﺒﺎﺘﻴﺔ‪.‬‬

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 ‫‪ 3.2‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﺴﻜﻨﻲ‬

‫‪ 1.3.2‬ﻋﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺴﻜﻥ‬

‫‪ 1.1.3.2‬ﺍﻷﻝﻭﺍﻥ‬

‫ﺇﻥ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ ﺍﻷﻝﻭﻥ ﺃﺜﺭﺕ ﻜﺜﻴﺭﹰﺍ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﻠﻡ ﻴﻌﺩ ﺍﻝﻠﻭﻥ ﺒﻤﻔﻬﻭﻤـﻪ‬
‫ﺍﻝﺘﻘﻠﻴﺩﻱ ﺒﺄﻨﻪ ﻁﺒﻘﺔ ﻤﻥ ﺍﻝﻁﻼﺀ ﺃﻭ ﻤﺎﺩﺓ ﻝﻠﺯﻴﻨﺔ ﻭﺍﻝﺯﺨﺭﻓﺔ‪ ،‬ﻭﺇﻨﻤﺎ ﺃﺼﺒﺢ ﺍﻝﻠﻭﻥ ﻤﻥ ﺼﻔﺎﺕ ﺍﻝﻤﺎﺩﺓ ﻭﻻ‬

‫ﻴﻨﻔﺼل ﻋﻨﻬﺎ ﻭﺒﻌﺩﹰﺍ ﻤﻥ ﺃﺒﻌﺎﺩﻫﺎ ﺍﻝﻤﻨﻅﻭﺭﺓ‪ ،‬ﻴﺅﺜﺭ ﻋﻠﻰ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻓﻲ ﺍﻝﻌﻤﺎﺭﺓ ﻭﻋﻠﻰ ﻨﺴﺒﻬﺎ‬
‫ﻭﻋﻼﻗﺎﺘﻬﺎ‪.‬‬

‫ﻭﻴﻌﺘﺒﺭ ﺍﻝﻠﻭﻥ ﻤﻥ ﺃﻫﻡ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﺅﺜﺭﺓ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻭﺘﺒﺩﻭ ﺃﻫﻤﻴﺘﻪ ﻓﻲ ﺃﻥ ﺨﻁﺔ‬

‫ﺍﻷﻝﻭﺍﻥ ﺍﻝﻨﺎﺠﺤﺔ ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﻌﻨﺼﺭ ﺍﻝﻔﻌﺎل ﻓﻲ ﺇﺒـﺭﺍﺯ ﻭﺤـﺩﺍﺕ ﺍﻷﺜـﺎﺙ ﻭﻋﻼﻗﺎﺘﻬـﺎ‬
‫‪1‬‬
‫ﺒﻤﺤﺘﻭﻴﺎﺕ ﺍﻝﻤﻜﺎﻥ ﻤﻥ ﺤﻭﺍﺌﻁ ﻭﺃﺭﻀﻴﺎﺕ ﻭﺃﺴﻘﻑ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫ﺸﻜل )‪ (20.2‬ﻴﻭﻀﺢ ﺃﺜﺭ ﺍﻷﻝﻭﺍﻥ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪: http://www.interiorarcade.com/images-pictures/2009/09/living-room-designs-‬‬
‫‪(62.jpg‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪110-109‬‬ ‫‪1‬‬

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 ‫ﺸﻜل )‪ (21.2‬ﻴﻭﻀﺢ ﺃﺜﺭ ﺍﻷﻝﻭﺍﻥ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪(http://www14.0zz0.com/2010/12/31/16/438146972.jpg :‬‬

‫ﻭﻗﺩ ﺩﻋ‪‬ﻤﺕ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻘﻭل ﺃﻥ ﺍﻷﻝﻭﺍﻥ ﺘﺅﺜﺭ ﻋﻠﻰ ﺸﺨﺼﻴﺘﻨﺎ ﻭﻤﺸﺎﻋﺭﻨﺎ‪ ،‬ﻓﻤـﺜﻼ ﺍﻝﻠـﻭﻥ‬
‫ﺍﻷﺤﻤﺭ ﻴﺘﺴﺒﺏ ﻓﻲ ﺍﺭﺘﻔﺎﻉ ﻀﻐﻁ ﺍﻝﺩﻡ ﻝﻜﻥ ﺇﺫﺍ ﺍﺴﺘﺨﺩﻡ ﺒﻭﻋﻲ ﻤﻊ ﺍﻝﺒﻴﺞ ﺃﻭ ﺍﻝﻜﺭﻴﻡ ﺍﻝﻔﺎﺘﺢ ﺃﻭ ﺤﺘـﻰ‬

‫ﻭﺤﺩﻩ ﻓﻰ ﺤﺎﻝﺔ ﺩﻫﺎﻥ ﺃﺜﺎﺙ ﻤﻔﺭﻏﺔ ﻜﺎﻝﻤﻜﺘﺒﺎﺕ ﻤﺜﻼ ﻓﻬﻭ ﻴﺴﺎﻋﺩ ﻋﻠﻰ ﺍﻀﻔﺎﺀ ﻤﺯﻴﺩ ﻤـﻥ ﺍﻝﺤﻤﻴﻤﻴـﺔ‬
‫ﻭﺍﻝﺤﻴﻭﻴﺔ ﺩﺍﺨل ﺍﻝﻐﺭﻑ‪ ،‬ﻭﺍﻝﻠﻭﻥ ﺍﻷﺯﺭﻕ ﺍﻝﺴﻤﺎﻭﻱ ﻴﺩﻋﻭ ﻝﻠﺘﺭﺍﺨﻲ ﻭﺍﻝﻜﺴل ﻝﺫﺍ ﻨﺤﺩ ﻤﻥ ﺍﺴـﺘﺨﺩﺍﻤﻪ‬
‫ﻓﻰ ﺍﻝﻤﺩﺍﺭﺱ ﻭﺃﻤﺎﻜﻥ ﺍﻝﺩﺭﺍﺴﺔ ﻭﺍﻝﺘﺭﻜﻴﺯ‪ ،‬ﻭﻴﻔﻀل ﺍﺴﺘﺨﺩﺍﻤﻪ ﻓﻰ ﺤﺠﺭﺍﺕ ﺍﻝﻨﻭﻡ‪ ،‬ﻭﺍﻝﻠﻭﻥ ﺍﻷﺼﻔﺭ ﻫﻭ‬

‫ﻋﻨﻭﺍﻥ ﻝﻠﻘﻭﺓ ﻭﺍﻹﺼﺭﺍﺭ ﻓﻬﻭ ﻤﻨﺎﺴﺏ ﻝﺤﻭﺍﺌﻁ ﺍﻝﻤﻜﺎﺘﺏ ﻭﺍﻷﻤﺎﻜﻥ ﺍﻹﺩﺍﺭﻴﺔ ﻭﻻ ﻨﻨﺼﺢ ﺒﻪ ﻝﻐﺭﻑ ﺍﻝﻨﻭﻡ‬
‫ﺤﻴﺙ ﻴﺒﻌﺙ ﻋﻠﻰ ﺍﻝﺘﻭﺘﺭ ﻭﺍﻝﻘﻠﻕ‪ ،‬ﻭﺍﻝﻠﻭﻥ ﺍﻷﺨﻀﺭ ﻤﻨﺎﺴﺏ ﻝﻸﻤﺎﻜﻥ ﺍﻝﻤﻠﻴﺌﺔ ﺒﺘﻔﺎﺼـﻴل ﺍﻝﺨﺸـﺏ ﺃﻭ‬
‫ﺍﻝﻤﻤﻠﻭﺀﺓ ﺒﺎﻝﻜﺘﺏ ﻭﺍﻝﻤﺠﻠﺩﺍﺕ‪ ،‬ﺤﻴﺙ ﻴﺠﺫﺏ ﺍﻝﻨﻅﺭ ﺒﻌﻴﺩﹰﺍ ﻋﻨﻬﺎ ﻭﻴﻘﻠل ﻤﻥ ﺍﻹﺤﺴﺎﺱ ﺒﺎﺯﺩﺤﺎﻡ ﺍﻝﻤﻜﺎﻥ‪،‬‬

‫ﻭﺍﻝﻠﻭﻥ ﺍﻷﺒﻴﺽ ﻫﻭ ﻝﻭﻥ ﺍﻝﻨﻘﺎﺀ ﻭﻴﺼﻠﺢ ﻝﻸﻤﺎﻜﻥ ﺍﻝﺼﻐﻴﺭﺓ ﺍﻝﻤﺴﺎﺤﺔ ﻭﺍﻝﻘﻠﻴﻠﺔ ﺍﻹﻀﺎﺀﺓ‪ ،‬ﺃﻤـﺎ ﺍﻝﻠـﻭﻥ‬
‫ﺍﻝﺒﻨﻔﺴﺠﻲ ﻓﻴﻌﺘﺒﺭ ﻝﻭﻥ ﺍﻝﺭﻗﻲ ﻭﺍﻝﻔﺨﺎﻤﺔ‪ ،‬ﻻﺴﻴﻤﺎ ﺩﺭﺠﺎﺘﻪ ﺍﻝﻐﺎﻤﻘﺔ ﻜﺎﻝﺒﺎﺫﻨﺠﺎﻨﻲ ﺍﻝﺫﻱ ﻴﻤـﻨﺢ ﺍﻝﻐﺭﻓـﺔ‬
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‫ﻋﻤﻘﺎﹰ‪ ،‬ﺒﻴﻨﻤﺎ ﺘﻌﻁﻲ ﺩﺭﺠﺎﺘﻪ ﺍﻷﻓﺘﺢ ﺍﺤﺴﺎﺴﹰﺎ ﺒﺎﻝﺭﺍﺤﺔ ﻭﺍﻝﺴﻜﻴﻨﺔ‪.‬‬

‫ﺃﺜﺭ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻠﻭﻥ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺴﻜﻥ‬

‫ﺇﻥ ﺘﻨﻭﻉ ﻭﻅﺎﺌﻑ ﺍﻝﻠﻭﻥ ﻓﻲ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻴﺘﻁﻠﺏ ﺍﻹﻝﻤﺎﻡ ﺒﻤﺤﺩﺩﺍﺕ ﺍﻝﻠﻭﻥ‪ ،‬ﻭﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻠﻭﻥ‬
‫ﻓﻲ ﺍﻝﻔﺭﺍﻍ ﺍﻝﺩﺍﺨﻠﻲ ﻴﺠﺏ ﺃﻥ ﻴﺘﻔﻕ ﻤﻊ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻸﻨﺸﻁﺔ ﺍﻝﺴـﻜﻨﻴﺔ‪ ،‬ﻭﻻ ﻴﻜـﻭﻥ ﻫﻨـﺎﻙ‬

‫‪ 1‬ﻤﻭﻗﻊ ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻜﻭﻴﺘﻲ ﻝﻠﺒﻨﺎﺀ ﻭﺍﻝﺩﻴﻜﻭﺭ‪ ،‬ﻤﻘﺎﻻﺕ ﺍﻝﺩﻴﻜﻭﺭ‪ :‬ﺇﺒﺩﺍﻉ ﺍﻷﻝﻭﺍﻥ ﻓﻲ ﻤﻌﺎﻝﺠﺔ ﺍﻝﻌﻴـﻭﺏ ﺍﻝﻬﻨﺩﺴـﻴﺔ ﻓـﻲ ﺍﻝﻐـﺭﻑ‪،‬‬
‫‪http://www.kw-eng.net/articles-action-show-id-72.htm‬‬
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‫ﺘﻌﺎﺭﺽ ﺒﻴﻥ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﻤﺘﻁﻠﺒﺎﺕ "ﺍﻷﺭﺠﻨﻭﻤﻴﺔ" ﺍﻝﺘﻲ ﺘﻌﺘﻤﺩ ﻋﻠﻰ ﺍﻝﺤﻘﺎﺌﻕ ﺍﻝﻌﻠﻤﻴـﺔ ﻤـﻊ‬
‫ﺍﻝﻌﻨﺎﻴﺔ ﺒﺘﻁﺒﻴﻕ ﺍﻝﺴﻤﺎﺕ ﺍﻝﺘﺎﻝﻴﺔ‪ :‬ﻤﻌﺎﻤل ﺍﻻﻨﻌﻜﺎﺱ ﺍﻝﻀﻭﺌﻲ‪ ،‬ﻨﻬﻭ ﺍﻷﺴﻁﺢ‪ .‬ﺇﻥ ﺍﻝﻠـﻭﻥ ﻫـﻭ ﺍﻝﻌﺎﻤـل‬

‫ﺍﻷﺴﺎﺴﻲ ﻭﺍﻝﻭﻅﻴﻔﻲ ﻷﺴﺱ ﺍﻝﺘﺸﻜﻴل ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻷﻨﻪ ﻴﺤﻘﻕ ﺃﻫﺩﺍﻑ ﺃﺴﺎﺴﻴﺔ ﻤﻨﻬﺎ‪:‬‬

‫‪ .1‬ﻴﻠﻌﺏ ﺍﻝﻠﻭﻥ ﺩﻭﺭﹰﺍ ﻫﺎﻤﹰﺎ ﻓﻲ ﺇﻋﻁﺎﺀ ﺤﻴﻭﻴﺔ ﻝﻸﺴﻁﺢ‪ ،‬ﻓﻨﺠﺩﻩ ﻴﺩﺨل ﺘﺎﺭﺓ ﻝﺘﺄﻜﻴﺩ ﺴﻁﺢ ﺃﻭ ﻜﺘﻠـﺔ‪ ،‬ﺃﻭ‬
‫ﻝﺘﻭﻀﻴﺢ ﻤﻅﻬﺭ‪ ،‬ﺃﻭ ﻹﺤﺩﺍﺙ ﺘﺄﻜﻴﺩﺍﺕ ﻤﺤﻠﻴﺔ ﺘﻅﻬﺭ ﺒﻌﺽ ﺍﻝﺨﻁﻭﻁ ﻭﺍﻝﻤﺴﻁﺤﺎﺕ‪.‬‬

‫‪ .2‬ﻴﺅﺜﺭ ﺍﻝﻠﻭﻥ ﻋﻠﻰ ﺘﻭﺤﻴﺩ ﺍﻝﻤﻅﻬﺭ ﺍﻝﻌﺎﻡ‪ ،‬ﻭﺇﻋﻁﺎﺀ ﺍﻝﺸﺨﺼﻴﺔ ﻝﻠﻤﺒﻨﻰ‪.‬‬

‫‪ .3‬ﺇﺒﺭﺍﺯ ﻤﻼﻤﺢ ﺍﻝﻁﺎﺒﻊ ﺍﻝﻤﺤﻠﻲ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺍﻷﻝﻭﺍﻥ ﺍﻝﺘﺭﺍﺜﻴﺔ ﺍﻝﻤﻘﺒﻭﻝﺔ‪.‬‬

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‫‪ .4‬ﺘﺼﺤﻴﺢ ﺍﻝﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﻤﻨﻅﻭﺭﻴﺔ ﻭﻤﻌﺎﻝﺠﺔ ﺍﻝﺨﺩﺍﻉ ﺍﻝﺒﺼﺭﻱ ﻝﻠﺒﻌﺩ ﺍﻝﺜﺎﻝﺙ‬

‫‪ .5‬ﻤﻌﺎﺩﻝﺔ ﺒﻌﺽ ﺍﻝﻌﻭﺍﻤل ﺍﻝﻤﻨﺎﺨﻴﺔ ﺍﻝﻀﻭﺌﻴﺔ ﻜﺴﻁﻭﻉ ﺍﻝﺸﻤﺱ ﺍﻝﺤﺎﺩ ﺃﻭ ﺍﻝﻐﻴﻭﻡ ﺍﻝﻜﺜﻴﻔﺔ‪.‬‬

‫‪ 2.1.3.2‬ﺍﻹﻀﺎﺀﺓ‬

‫ﺘﻌﺩ ﺍﻹﻀﺎﺀﺓ ﻤﻥ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻷﺴﺎﺴﻴﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻤﻥ ﺃﻫﻡ ﻤﻌﻁﻴﺎﺕ ﺍﻝﺘﺸﻜﻴل ﻓﻲ‬

‫ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻝﻤﺎ ﻝﻬﺎ ﻤﻥ ﻗﺩﺭﺓ ﻋﻠﻰ ﺇﺒﺭﺍﺯ ﻭﺘﺠﺴﻴﻡ ﻋﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻷﺨﺭﻯ‪ ،‬ﻭﻋﻥ ﻁﺭﻴﻕ‬
‫ﺍﻝﺘﺤﻜﻡ ﻓﻲ ﺩﺭﺠﺎﺕ ﺍﻹﻀﺎﺀﺓ ﻭﻝﻭﻨﻬﺎ ﻭﺘﻭﺯﻴﻌﻬﺎ ﺤﺴﺏ ﺍﻝﻭﻗﺕ ﻭﺍﻝﺤﺎﺠﺔ ﻭﺍﻝﺘﺤﻜﻡ ﻓﻲ ﺩﺭﺠﺎﺕ ﺍﻝﻅﻼل‬
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‫ﻴﻤﻜﻥ ﺇﻋﻁﺎﺀ ﺃﻭﻝﻭﻴﺎﺕ ﻝﻔﺭﺍﻏﺎﺕ ﺩﻭﻥ ﺃﺨﺭﻯ‪.‬‬

‫ﺍﻝﻤﺎﻝﻜﻲ‪ ،‬ﻤﻨﺎل ﺒﻨﺕ ﻤﺴﻌﻭﺩ ﺒﻥ ﺃﺤﻤﺩ‪ :‬ﺘﺼﻤﻴﻡ ﺩﺍﺨﻠﻲ ﻝﻤﺴﻜﻥ ﺴﻌﻭﺩﻱ ﻤﻌﺎﺼﺭ ﻤﻥ ﻤﻨﻅﻭﺭ ﻤﺩﺭﺴﺔ ﻤﺎﺒﻌﺩ ﺍﻝﺤﺩﺍﺜﺔ‪ ،2008 ،‬ﺹ‬ ‫‪1‬‬

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‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪118‬‬ ‫‪2‬‬

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 ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪http://3.bp.blogspot.com/- :‬‬
‫‪(/http://www.bascota.com/vb/md19859‬‬ ‫‪NsulxPFhJug/T9mJi4Cc1WI/AAAAAAAA‬‬
‫‪(ArI/yvlh-0sZc3Q/s400/home_lighting4.jpg‬‬

‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬
‫‪(/http://www.bascota.com/vb/md19859‬‬ ‫‪(/http://www.bascota.com/vb/md19859‬‬
‫ﺸﻜل )‪ (22.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﺃﺜﺭ ﺍﻻﻀﺎﺀﺓ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫‪ 3.1.3.2‬ﺍﻝﺤﻭﺍﺌﻁ‬

‫ﺍﻝﺤﻭﺍﺌﻁ ﻫﻲ ﺍﻷﺴﺎﺱ ﺍﻝﺫﻱ ﻴﺴﺘﻨﺩ ﺇﻝﻴﻪ ﻓﻲ ﺘﺯﻴﻴﻥ ﺍﻝﻤﺴﻜﻥ‪ ،‬ﻭﻻ ﻴﺨﻔﻰ ﻤﺎ ﻝﻬﺎ ﻤﻥ ﺃﻫﻤﻴﺔ ﻓﻲ‬
‫ﺇﻅﻬﺎﺭ ﺭﻭﻨﻕ ﺍﻷﺜﺎﺙ ﻭﻤﻠﺤﻘﺎﺘﻪ ﻜﺨﻠﻔﻴﺔ ﻝﻪ‪ ،‬ﻭﺘﺤﺘﺎﺝ ﺍﻝﺤﻭﺍﺌﻁ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺒﺎﻨﻲ ﺒﻌﺩ ﻤﻌﺎﻝﺠﺘﻬﺎ ﺍﻷﻭﻝﻴﺔ‬

‫ﺇﻝﻰ ﺘﺸﻁﻴﺒﻬﺎ ﺒﺄﻨﻭﺍﻉ ﻤﺨﺘﻠﻔﺔ ﻤﻥ ﺍﻝﺩﻫﺎﻨﺎﺕ ﺃﻭ ﺍﻝﻤﻌﺎﻝﺠﺎﺕ‪ ،‬ﺴﻭﺍﺀ ﻜﺎﻥ ﺒﺎﻝﺠﻴﺭ ﺃﻭ ﺍﻝﻐﺭﺍﺀ ﺃﻭ ﺒﺄﻱ ﻤﺎﺩﺓ‬
‫ﺃﺨﺭﻯ‪ ،‬ﻭﺘﺴﺘﻌﻤل ﻫﺫﻩ ﺍﻷﻨﻭﺍﻉ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻤﻥ ﺍﻝﺩﻫﺎﻨﺎﺕ ﻝﺤﻤﺎﻴﺔ ﺍﻝﺤﻭﺍﺌﻁ ﻭﻭﻗﺎﻴﺘﻬـﺎ ﻤـﻥ ﺍﻝﻤـﺅﺜﺭﺍﺕ‬
‫ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺇﻀﺎﻓﺔ ﻤﺯﻴﺩ ﻤﻥ ﺃﻨﻭﺍﻉ ﺍﻝﺘﻨﺴﻴﻕ ﻭﺍﻝﺯﺨﺭﻓﺔ ﻭﺍﻝﺩﻴﻜﻭﺭ ﻭﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺘﺄﺜﻴﺭﺍﺕ ﻤﻼﺌﻤـﺔ‬
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‫ﻝﺭﺍﺤﺔ ﺍﻝﻌﻴﻥ ﻭﺍﻷﺫﻭﺍﻕ ﺍﻝﺸﺨﺼﻴﺔ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪128-127‬‬ ‫‪1‬‬

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 ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬
‫‪http://www.sogarab.com/photos/146448_extra.‬‬ ‫‪http://www.sabayagazine.com/wp-‬‬
‫‪(jpg‬‬ ‫‪content/uploads/2012/03/Decor-‬‬
‫‪(walls6.jpg‬‬
‫ﺸﻜل )‪ (23.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻝﺤﻭﺍﺌﻁ‬

‫‪ 4.1.3.2‬ﺍﻷﺴﻘﻑ‬

‫ﺍﻝﺴﻘﻑ ﻫﻭ ﺍﻝﺴﻁﺢ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻝﻌﻠﻭﻱ ﺍﻝﺫﻱ ﻴﺤﺩﺩ ﺍﻝﺤﺩ ﺍﻻﻋﻠﻰ ﻝﻠﻔﺭﺍﻍ ﻭﻗﺩ ﻻ ﻴﻜﻭﻥ ﻋﻨﺼـﺭﺍ‬
‫ﺍﻨﺸﺎﺌﻴﺎ ﻭﻝﻜﻨﻪ ﺍﻝﺴﻁﺢ ﺍﻝﻤﻜﻤل ﺍﻝﺫﻱ ﻴﺨﻔﻲ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺴﻔﻠﻲ ﻤﻥ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﻲ ﻓﻭﻓﻪ‪.‬‬

‫ﻭﻫﻭ ﻋﻨﺼﺭ ﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﻅﻴﻔﺘﻪ ﺘﺤﺩﻴﺩ ﺍﻝﺠﺯﺀ ﺍﻝﻌﻠﻭﻱ ﻝﻠﻤﺒﻨﻰ ﻭﺍﻝﺤﻔـﺎﻅ ﻋﻠـﻰ ﺍﻝﻤﻨـﺎﻁﻕ‬
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‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻥ ﺍﻝﻌﻭﺍﻤل ﺍﻝﻤﻨﺎﺨﻴﺔ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ‪140‬‬ ‫‪1‬‬

‫‪94‬‬
 ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬
‫‪http://www.almuhands.org/forum/imgca‬‬ ‫‪http://static.hawaacdn.com/PE/2011/10/13/11‬‬
‫‪(che20091/145007.almuhands.org.jpg‬‬ ‫‪(/130204985452-1.jpg‬‬

‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬
‫‪http://www.almuhands.org/forum/storeimg2‬‬ ‫‪http://www.almuhands.org/forum/showthrea‬‬
‫‪(012/almuhands_1350391292_598.jpg‬‬ ‫‪(d.php?p=685477‬‬
‫ﺸﻜل )‪ (24.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻷﺴﻘﻑ‬

‫‪ 5.1.3.2‬ﺍﻷﺭﻀﻴﺎﺕ‬

‫ﺘﻌﺘﺒﺭ ﺍﻷﺭﻀﻴﺔ ﻫﻲ ﺍﻝﺭﻜﻴﺯﺓ ﺍﻷﻭﻝﻰ ﻓﻲ ﺃﻋﻤﺎل ﺍﻝﺩﻴﻜﻭﺭ ﺤﻴﺜﻤﺎ ﻭﺠﺩﺕ ﻫـﺫﻩ ﺍﻷﺭﻀـﻴﺔ‪،‬‬
‫ﺴﻭﺍﺀ ﻓﻲ ﺍﻝﻤﻨﺎﺯل ﺃﻡ ﺍﻝﻔﻨﺎﺩﻕ ﺃﻡ ﺍﻝﻤﺤﻼﺕ‪ ،‬ﻓﻬﻲ ﺍﻝﺘﻲ ﺘﻭﻀﻊ ﻋﻠﻴﻬﺎ ﻗﻁﻊ ﺍﻷﺜﺎﺙ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻭﻴﻤـﺎﺭﺱ‬

‫ﻋﻠﻴﻬﺎ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻨﺸﻁﺔ ﻁﻭﺍل ﺍﻝﻴﻭﻡ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺃﻥ ﺍﻷﺭﻀﻴﺔ ﺘﻘﻭﻡ ﺒﺈﻋﻁﺎﺀ ﺍﻝﻘـﻴﻡ ﺍﻝﺠﻤﺎﻝﻴـﺔ‬
‫ﻭﺍﻝﻔﻨﻴﺔ ﺍﻝﻤﻁﻠﻭﺒﺔ ﻝﻠﻤﻜﺎﻥ‪.‬‬

‫ﻭﺍﻷﺭﻀﻴﺎﺕ ﻋﻨﺼﺭ ﻫﺎﻡ ﻤﻥ ﻋﻨﺎﺼﺭ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﺍﻷﺴﻁﺢ ﺍﻷﻓﻘﻴـﺔ‬

‫ﺍﻝﻤﺴﺘﻭﻴﺔ ﺍﻝﺘﻲ ﺘﺸﻜل ﻗﺎﻋﺩﺓ ﺍﻝﺤﻴﺯ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻴﺠﺏ ﺒﻨﺎﺅﻫﺎ ﻭﺍﺨﺘﻴﺎﺭﻫﺎ ﺒﺸﻜل ﺠﻴﺩ ﺤﺘﻰ ﺘـﺘﻤﻜﻥ ﻤـﻥ‬
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‫ﻤﻘﺎﻭﻤﺔ ﺍﻻﺤﺘﻜﺎﻙ ﻭﺍﻷﺤﻤﺎل ﺒﺴﻬﻭﻝﺔ ﻭﺒﺄﻤﺎﻥ ﺘﺎﻡ‪.‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ‪143- 142‬‬ ‫‪1‬‬

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 ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪http://www.iraq- :‬‬
‫‪(http://www.brooonzyah.net/vb/t102498.html‬‬ ‫‪(live.com/up/uploads/13652549881.jpg‬‬

‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬ ‫)ﺍﻝﻤﺼﺩﺭ‪:‬‬
‫‪http://decor.elaana.com/photo/606353760.‬‬ ‫‪http://www.dababismasrya.com/2013/03/20‬‬
‫‪(gif‬‬ ‫‪(13_3055.html‬‬
‫ﺸﻜل )‪ (25.2‬ﺼﻭﺭ ﺘﻭﻀﺢ ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻷﺴﻘﻑ‬

‫‪ 2.3.2‬ﻤﻜﻤﻼﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ )ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺘﺯﻴﻨﻴﺔ(‬

‫ﻜﺎﻝﺴﺘﺎﺌﺭ‪ ،‬ﻭﺤﺩﺍﺕ ﺍﻹﻀﺎﺀﺓ ﺍﻝﺘﺯﻴﻴﻨﻴﺔ‪ ،‬ﻭﺍﻝﻠﻭﺤﺎﺕ ﻭﺍﻝﺼﻭﺭ‪ ،‬ﺍﻝﻤﺭﺍﻴﺎ‪ ،‬ﺍﻝﺴﺎﻋﺎﺕ‪ ،‬ﺍﻝﻤﺠﺴﻤﺎﺕ‪،‬‬

‫ﺘﻌﺩ ﺍﻝﻤﻜﻤﻼﺕ ﺍﻝﺘﺯﻴﻴﻨﻴﺔ ﻤﻥ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻬﺎﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺤﻴﺙ ﻴﺼﻌﺏ ﺃﻥ ﻴﺘﻭﺍﺠﺩ ﺤﻴـﺯ‬

‫ﺩﻭﻥ ﺍﺴﺘﺨﺩﺍﻡ ﺘﻠﻙ ﺍﻝﻤﻜﻤﻼﺕ ﻓﻬﻲ ﺘﺘﻜﺎﻤل ﻤﻊ ﺒﺎﻗﻲ ﺍﻝﻌﻨﺎﺼﺭ ﻤﻥ ﺤﻴﺙ ﺍﻝﻭﻅﻴﻔﺔ ﻭﺍﻝﺨﺎﻤـﺔ ﻭﺍﻝﻠـﻭﻥ‬
‫ﻭﺍﻝﻤﻠﻤﺱ‪ ،‬ﻭﺘﻠﻌﺏ ﺩﻭﺭﹰﺍ ﺭﺌﻴﺴﹰﺎ ﻓﻲ ﺇﺜﺭﺍﺀ ﻭﻏﻨﻰ ﺍﻝﻤﻜﺎﻥ ﻭﻝﻬﺎ ﺍﺭﺘﺒﺎﻁ ﻓﻨﻲ ﺤﻴـﺙ ﺍﻨـﻪ ﺇﺫﺍ ﻓﻘـﺩ ﺃﻱ‬
‫ﻋﻨﺼﺭ ﻤﻨﻬﺎ ﻜﺎﻥ ﻝﻪ ﺃﺜﺭ ﺴﻠﺒﻲ ﻋﻠﻰ ﺒﻘﻴﺔ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻷﺨﺭﻯ ﻓﻲ ﺘﺼﻤﻴﻡ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‪.‬‬

‫ﻜﻤﺎ ﺃﻨﻬﺎ ﺘﻀﻔﻲ ﻋﻠﻰ ﺍﻝﻤﺴﻜﻥ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺸﺨﺼﻲ ﻭﻓﻘﹰﺎ ﻝﻤﺎ ﻴﻀﺎﻑ ﻤﻥ ﺠﻤﺎﻝﻴﺎﺕ ﻹﻋﻁﺎﺀ ﻗﻴﻡ‬
‫ﻤﺨﺘﻠﻔﺔ ﻝﻠﺩﻴﻜﻭﺭ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﻬﻲ ﺘﺸﻜل ﺍﻹﻴﻘﺎﻉ ﺍﻝﻨﻬﺎﺌﻲ ﻭﺘﻭﺍﻓﻘﻪ ﻤﻊ ﻋﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻡ ﻤﻥ ﺨﻼل ﺴﻠﻭﻙ‬
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‫ﻭﻤﻤﺎﺭﺴﺔ ﻋﻤﻠﻴﺔ ﺘﻤﻜﻥ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻤﻥ ﺍﻝﺘﻔﻀﻴل ﻭﺍﻻﻗﺘﻨﺎﺀ ﻝﻜل ﻤﺎ ﻴﺤﺘﺎﺠﻪ ﻭﻓﻘﺎ ﻝﻤﻨﻅﻭﻤﺔ ﻤﺘﻜﺎﻤﻠﺔ ﻤﻥ‬
‫ﺍﻝﺘﺫﻭﻕ ﺍﻝﻔﻨﻲ ﺍﻝﻤﺘﻭﺍﻓﻕ ﻤﻊ ﺍﻝﺴﻤﺎﺕ ﻭﺍﻝﺨﺼﺎﺌﺹ ﺍﻝﺸﺨﺼﻴﺔ‪.‬‬

‫ﻓﺎﻝﻤﻜﻤﻼﺕ ﻝﻴﺱ ﺸﻴﺌﹰﺎ ﺇﻀﺎﻓﻴﹰﺎ ﺒل ﺇﻨﻬﺎ ﺘﺅﺩﻱ ﺇﻝﻰ ﺘﺤﻘﻴﻕ ﺍﻝﺸﺨﺼﻴﺔ ﻭﺍﻝﻔﺭﺩﻴﺔ ﻝﻠﺤﺠﺭﺓ ﺍﻝﺘـﻲ‬
‫ﺘﺒﺩﻭ ﻋﺎﺩﻴﺔ ﺒﺩﻭﻥ ﺍﺴﺘﺨﺩﺍﻡ ﺘﻠﻙ ﺍﻝﻤﻜﻤﻼﺕ‪ ،‬ﻓﻬﻲ ﺘﻜﻤل ﺍﻷﺴﺎﺱ ﻝﺨﻁﺔ ﺘﻨﺴﻴﻕ ﺍﻝﻤﺴﻜﻥ ﻭﺘﻀﻴﻑ ﻤﻴﺯﺓ‬
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‫ﻭﺃﺴﻠﻭﺒﹰﺎ ﻝﻠﺤﺠﺭﺓ‪.‬‬

‫ﻭﻴﻌﺭﻓﻬﺎ ﺁﺨﺭﻭﻥ ﺒﺄﻨﻬﺎ " ﺍﻷﺠﺯﺍﺀ ﻭﺍﻷﺸﻴﺎﺀ ﺍﻝﺘﻲ ﺘﺠﻤﻊ ﺒﻴﻥ ﺍﻝﻭﻅﻴﻔﺔ ﻭﺍﻝﻔﻥ ﻝﺘﺤﻘﻴﻕ ﺍﻝﻤﻨﻔﻌـﺔ‬
‫ﻭﺍﻝﺠﺎﻨﺏ ﺍﻝﺠﻤﺎﻝﻲ ﻭﺘﺜﺭﻱ ﺍﻝﻤﻜﺎﻥ ﻤﺎﺩﻴﹰﺎ ﻭﻤﻌﻨﻭﻴﹰﺎ ﻤﻥ ﺃﺠل ﺘﺤﻘﻴﻕ ﺒﻴﺌﺔ ﻤﻨﺎﺴﺒﺔ " ﻭﻤﻥ ﺃﻨﻭﺍﻋﻬﺎ‪:‬‬

‫‪ -‬ﺍﻝﻤﻜﻤﻼﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ‪ :‬ﻭﻫﻲ ﺍﻷﺸﻴﺎﺀ ﺍﻝﺜﺎﺒﺘﺔ ﺃﻭ ﺍﻝﻤﺘﺤﺭﻜﺔ ﺍﻝﻼﺯﻤـﺔ ﻷﺩﺍﺀ ﻭﻅـﺎﺌﻑ ﺃﻭ ﻝﺘﻜﻤﻠـﺔ‬

‫ﻭﻅﻴﻔﺔ ﺃﺨﺭﻯ ﻭﻝﻬﺎ ﺃﻫﻤﻴﺘﻬﺎ ﺩﻭﻥ ﺘﺠﺎﻫل ﻝﺘﻜﺎﻤل ﻋﻨﺎﺼﺭ ﺍﻝﻔﺭﺍﻍ ﺍﻷﺴﺎﺴﻴﺔ‪ ،‬ﻭﻤﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻴﻬﺎ‪:‬‬
‫ﺍﻝﺴﺎﻋﺔ‪ ،‬ﺍﻝﻤﺩﻓﺄﺓ‪ ،‬ﻁﻔﺎﻴﺔ ﺍﻝﺴﺠﺎﺌﺭ‪ ،‬ﺍﻝﻤﺭﺍﻴﺎ‪ ،‬ﻤﻔﺎﺘﻴﺢ ﺍﻝﻜﻬﺭﺒﺎﺀ‪ ،‬ﺃﻏﻁﻴﺔ ﺍﻝﻠﻤﺒﺎﺕ‪ ،‬ﺍﻝﺴﺘﺎﺌﺭ‪.‬‬

‫‪ -‬ﺍﻝﻤﻜﻤﻼﺕ ﻏﻴﺭ ﺍﻝﻭﻅﻴﻔﻴﺔ‪ :‬ﻭﻫﻲ ﺍﻝﻘﻁﻊ ﻏﻴﺭ ﺍﻝﻤﺴﺘﻌﻤﻠﺔ ﻭﻝﻜﻨﻬﺎ ﻻﺯﻤﺔ ﻝﺘﺤﻘﻴﻕ ﺍﻝﻨﻭﺍﺤﻲ ﺍﻝﻔﻨﻴـﺔ‬

‫ﻤﻥ ﺍﺠل ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺠﻤﺎﻝﻲ‪ ،‬ﻭﻤﻥ ﺃﻤﺜﻠﺘﻬﺎ‪ :‬ﺍﻷﺯﻫﺎﺭ ﻭﺍﻝﻨﺒﺎﺘﺎﺕ ﺴﻭﺍﺀ ﻁﺒﻴﻌﻴـﺔ ﺃﻡ‬
‫ﺼﻨﺎﻋﻴﺔ‪ ،‬ﺍﻝﻠﻭﺤﺎﺕ‪ ،‬ﺍﻻﻀﺎﺀﺍﺕ‪ ،‬ﺍﻝﻤﺠﺴﻤﺎﺕ ﻜﺂﻨﻴﺔ ﺍﻝﺯﻫﻭﺭ ﺃﻭ ﺍﻜﺴﺴﻭﺍﺭﺍﺕ ﻤﻥ ﺍﻝﻜﺭﻴﺴـﺘﺎل‪،‬‬
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‫ﺍﻝﻘﻭﺍﻁﻊ ﻭﺍﻝﺩﻓﺎﻴﺎﺕ ﻭﺍﻝﺒﺭﻓﺎﻨﺎﺕ‪.‬‬

‫‪ 3.3.2‬ﺍﻝﺨﺎﻤﺎﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﺘﻨﻭﻋﺕ ﺃﺴﺎﻝﻴﺏ ﺍﻝﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﺎﺼﺭﺓ ﺍﺴﺘﻨﺎﺩ‪‬ﺍ ﺇﻝﻰ ﻤﻔﻬﻭﻤﻲ ﺍﻝﻭﻅﻴﻔـﺔ‬
‫ﻭﺍﻝﺘﻌﺒﻴﺭ‪ ،‬ﺤﻴﺙ ﺃﺼﺒﺤﺕ ﺠﻤﻴﻊ ﺍﻝﺨﺎﻤﺎﺕ ﺘﻘﺭﻴﺒﹰﺎ ﻤﺭﺸﺤﺔ ﻷﻥ ﺘﻭﻅـﻑ ﻀـﻤﻥ ﻋﻨﺎﺼـﺭ ﺍﻝﺘﺼـﻤﻴﻡ‬

‫ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﻬﻨﺎﻙ ﺃﻨﻭﺍﻉ ﻤﺨﺘﻠﻔﺔ ﻤﻥ ﺍﻝﺨﺎﻤﺎﺕ ﺍﻝﺘﻲ ﺘﺴﺘﻌﻤل ﻹﻨﻬﺎﺀ ﺍﻷﺭﻀﻴﺎﺕ ﺍﻝﺩﺍﺨﻠﻴـﺔ ﻭﺍﻝﺨﺎﺭﺠﻴـﺔ‬
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‫ﻼ ﻋﻥ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﻓﻲ ﻗﻁﻊ ﺍﻻﺜﺎﺙ‪.‬‬
‫ﻭﺍﻝﺠﺩﺭﺍﻥ ﻭﺍﻝﺴﻘﻭﻑ ﻓﻀ ﹰ‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺁﺨﺭﻭﻥ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،2012 ،‬ﺹ ‪214‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺹ ‪216-215‬‬ ‫‪2‬‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪178‬‬ ‫‪3‬‬

‫‪97‬‬
 ‫ﺸﻜل )‪ (26.2‬ﺘﻨﻭﻉ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺨﺎﻤﺎﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪(179‬‬

‫ﻓﻲ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻴﺘﻡ ﺍﺨﺘﻴﺎﺭ ﺍﻝﺨﺎﻤﺎﺕ ﻭﻤﻭﺍﺩ ﺍﻹﻨﻬﺎﺀ ﻻﻋﺘﺒﺎﺭﺍﺕ ﺘﻘﻨﻴﺔ ﻤﻥ ﺠﺎﻨـﺏ‬
‫ﻭﻻﻋﺘﺒﺎﺭﺍﺕ ﺭﻤﺯﻴﺔ ﻭﺘﻌﺒﻴﺭﻴﺔ ﻤﻥ ﺠﺎﻨﺏ ﺍﺨﺭ‪ ،‬ﻓﻠﻜل ﻭﻀﻊ ﺃﻭ ﻤﺤﻴﻁ ﻴﺤﺘﻀﻥ ﻓﻌﺎﻝﻴﺔ ﻤﻌﻴﻨﺔ‪ ،‬ﺨﺎﻤﺎﺕ‬
‫ﻤﻼﺌﻤﺔ ﻤﻌﻴﻨﺔ ﺘﻨﺎﺴﺏ ﻁﺒﻴﻌﺘﻪ ﺍﻻﺴﺘﻌﻤﺎﻝﻴﺔ ﻭﺘﺭﻤﺯ ﻝﺤﻘﻴﻘﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ ﺍﻗﺘﺼﺎﺩﻴﺔ‪ ،‬ﻓﻀﻼ ﻋﻥ ﺨﺼـﺎﺌﺹ‬

‫ﻫﺫﻩ ﺍﻝﺨﺎﻤﺎﺕ ﺍﻝﺒﺼﺭﻴﺔ ﻭﺍﻝﺨﺼﺎﺌﺹ ﺍﻝﺼﻭﺘﻴﺔ ﻭﺍﻝﻤﻠﻤﺴﻴﺔ )ﻭﺍﻝﺸﻤﻴﺔ ﺍﺤﻴﺎﻨﹰﺎ(‪ ،‬ﻭﻗﺩ ﺘﺭﺘﺒﻁ ﺨﺎﻤﺎﺕ ﻤﻌﻴﻨﺔ‬
‫ﺒﻁﺭﺯ ﺒﻨﺎﺌﻴﺔ ﺃﻭ ﺃﻨﻤﺎﻁ ﻤﺤﺩﺩﺓ )ﻤﺜل ﺍﺭﺘﺒﺎﻁ ﺍﻝﺒﻼﻁﺎﺕ ﺍﻝﺨﺯﻓﻴﺔ ﺍﻝﺯﺭﻗﺎﺀ ﺒﻘﺒﺎﺏ ﺍﻝﺠﻭﺍﻤﻊ)ﻭﻴﺨﺘﻠﻑ ﺍﻷﺩﺍﺀ‬
‫ﺍﻝﻤﻌﻨﻭﻱ ﻝﻠﺨﺎﻤﺎﺕ ﺍﻋﺘﻤﺎﺩﹰﺍ ﻋﻠﻰ ﻜﻭﻨﻬﺎ ﻁﺒﻴﻌﻴﺔ ﺃﻭ ﻤﺼﻨﻌﺔ ﻭﻤﻥ ﺍﻷﻤﺜﻠﺔ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﻤـﻭﺍﺩ‪:‬ﺍﻝﻁـﺎﺒﻭﻕ‬

‫)‪ (Brick‬ﻭﻴﺴﺘﺨﺩﻡ ﻓﻲ ﺍﻝﺒﻨﺎﺀ ﻭﺍﻝﺘﻜﺴﻴﺔ ﻭﺍﻗﺎﻤﺔ ﺍﻝﻘﻭﺍﻁﻊ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﻨﻘـﻭﺵ ﻭﺍﻝﺯﺨـﺎﺭﻑ‪ ،‬ﺍﻝﺤﺠـﺭ‬
‫)‪ (Stone‬ﻭﻴﺴﺘﺨﺩﻡ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﻠﻭﻨﻴﺔ ﺃﻭ ﺒﺸﻜل ﺯﺨـﺎﺭﻑ ﻓـﻲ ﺍﻝﻤﻌﺎﻝﺠـﺎﺕ‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ‪ ،‬ﻭﻤﻥ ﺍﻝﺨﺎﻤﺎﺕ ﺍﻻﺨﺭﻯ ﺍﻝﺭﺨﺎﻡ )‪ (Marble‬ﻭﻴﻤﺘﺎﺯ ﺒﺴﻁﻭﺡ ﺠﻤﻴﻠـﺔ ﻭﺒﺘﻌـﺩﺩ‬

‫ﺍﻝﻭﺍﻨﻪ ﻭﺘﻌﺭﻴﻘﺎﺘﻪ ﻭﻴﺴﺘﺨﺩﻡ ﺒﻜﺎﻓﺔ ﺍﻨﻭﺍﻋﻪ )ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺍﻝﺼﻨﺎﻋﻴﺔ(‪ ،‬ﺃﻤﺎ ﺍﻝﺴﻴﺭﺍﻤﻴﻙ )‪ (Ceramic‬ﻭﺘﻁﻠﻕ‬
‫ﻋﺎﺩﺓ ﻫﺫﻩ ﺍﻝﺘﺴﻤﻴﺔ ﻋﻠﻰ ﺍﻝﺒﻼﻁﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺃﻋﻤﺎل ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻤﺜل ﺘﻐﻠﻴـﻑ ﺍﻝﺤﻤﺎﻤـﺎﺕ‬
‫‪1‬‬
‫ﻭﺍﻝﻤﻁﺎﺒﺦ‪.‬‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪181-180‬‬ ‫‪1‬‬

‫‪98‬‬
 ‫ﺸﻜل )‪ (27.2‬ﺘﻨﻭﻉ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺨﺎﻤﺎﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪(2005 ،‬‬

‫‪ 4.3.2‬ﺍﻷﺜﺎﺙ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﻴﻌﺩ ﺍﻷﺜﺎﺙ ﺍﻝﻌﺎﻤل ﺍﻝﺭﺌﻴﺴﻲ ﻭﺍﻝﻤﻬﻡ ﻓﻲ ﺘﺼﻤﻴﻡ ﺃﻭ ﺘﺯﻴﻴﻥ ﺍﻝﻔﻀـﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴـﺔ‪ ،‬ﻭﺒﺩﻭﻨـﻪ‬
‫ﻻﺘﻜﺘﻤل ﻤﻘﻭﻤﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﻬﻭ ﺍﻝﻭﺴﻴﻁ ﺒﻴﻥ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﻤﺴﺘﻌﻤﻠﻴﻬﺎ ﺤﻴﺙ ﺘﻨﻘﻠﻨﺎ ﻓـﻲ‬

‫ﺍﻝﺸﻜل ﻭﺍﻝﻤﻘﻴﺎﺱ ﺒﻴﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻻﻨﺴﺎﻥ‪ ،‬ﻭﻝﻘﺩ ﺘﻁﻭﺭ ﺍﻷﺜﺎﺙ ﺘﻁﻭﺭ‪‬ﺍ ﻜﺒﻴﺭ‪‬ﺍ ﻭﻤﻠﺤﻭﻅﹰﺎ ﻨﺘﻴﺠـﺔ‬
‫ﻝﻠﺘﻁﻭﺭ ﺍﻝﺼﻨﺎﻋﻲ ﺍﻝﺴﺭﻴﻊ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﺜﺎﻨﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻤﺎﻀﻲ‪ ،‬ﺃﻱ ﺃﺼﺒﺢ ﻤﻔﻬﻭﻤﻪ ﻴﺨﺘﻠﻑ‬
‫ﻋﻤﺎ ﻜﺎﻥ ﻋﻠﻴﻪ ﻓﻲ ﺍﻝﺴﺎﺒﻕ ﻓﻔﻲ ﺴﻨﻭﺍﺕ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﺜﺎﻨﻴﺔ ﺩﺨﻠﺕ ﺃﻓﻜﺎﺭ ﺠﺩﻴﺩﺓ ﻝﻠﻤﻌﻴﺸـﺔ‬

‫ﻼ ﻋﻥ ﺃﻥ ﺘﺄﺜﻴﺭ ﺍﻝﺨﺎﻤﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ ﻭﺍﻝﺘﻁﻭﺭ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻲ ﺃﺩﻯ ﺇﻝـﻰ ﺒﻌـﺽ ﺍﻹﺒـﺩﺍﻋﺎﺕ‬

‫ﻭﺍﻝﺤﻴﺎﺓ ﻓﻀ ﹰ‬
‫ﺍﻝﺠﺩﻴﺩﺓ ﻓﻲ ﻤﺠﺎل ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺘﺄﺜﻴﺙ‪.‬‬

‫ﻭﻨﺘﻴﺠﺔ ﻫﺫﺍ ﺍﻝﺘﻁﻭﺭ ﻓﺎﻥ ﺼﻨﺎﻋﺔ ﺍﻻﺜﺎﺙ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﺸﻜل ﻤﺨﺘﻠﻑ ﻭﻤﺘﺨﺼﺹ ﻭﻓﻕ‬

‫ﻨﻭﻉ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻁﻠﻭﺏ‪ ،‬ﻓﺄﺜﺎﺙ ﺍﻝﻤﻁﺒﺦ ﻓﻲ ﺍﻝﻤﻨﺯل ﻤﺜﻼ ﺒﺩﺃ ﻴﻌﺒﺭ ﻋﻥ ﺍﻝﺘﻁﻭﺭ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻲ ﻭﺍﻝﺤﺩﺍﺜﺔ ﻓﻲ‬
‫ﺍﻝﻤﻭﺍﺩ‪ ،‬ﻓﻲ ﺤﻴﻥ ﺒﻘﻴﺕ ﻏﺭﻓﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻤﺎﻀﻲ ﺘﻌﺒﺭ ﻋﻥ ﺍﻝﻘﻴﻡ ﺍﻝﺘﻘﻠﻴﺩﻴﺔ ﻭﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻝﺭﺍﺤﺔ‬
‫ﻭﺍﻝﺨﺼﻭﺼﻴﺔ ﺃﻭ ﺍﻝﻤﺴﺘﻭﻯ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻭﺍﻻﻗﺘﺼﺎﺩﻱ‪ ،‬ﻭﺍﻝﻔﻀـﺎﺀﺍﺕ ﺍﻻﺩﺍﺭﻴـﺔ ﺍﻋﺘﺒـﺭﺕ ﺍﺤـﺩﻯ‬

‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻬﻤﺔ ﺍﻝﻤﻌﺒﺭﺓ ﻋﻥ ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ﺤﻴﺙ ﺒﺩﺃ ﻅﻬﻭﺭ ﺍﻻﺠﻬﺯﺓ ﺍﻝﻤﻜﺘﺒﻴﺔ ﺍﻝﺤﺩﻴﺜﺔ ﺒﺸﻜل ﻭﺍﻀـﺢ‬
‫ﻭﻤﺅﺜﺭ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻔﻀﺎﺀﺍﺕ ﻭﺒﺎﻝﺘﺎﻝﻲ ﻓﺈﻥ ﺍﻻﺜﺎﺙ ﻨﺎل ﺍﻫﺘﻤﺎﻤﹰﺎ ﻜﺒﻴﺭﹰﺍ ﻭﺨﺎﺼﺔ ﻤـﻥ ﻗﺒـل‬
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‫ﻤﺼﻤﻤﻲ ﺍﻻﺜﺎﺙ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﻌﻤﺎﺭﻴﻴﻥ ﻝﻤﺎ ﻝﻪ ﻤﻥ ﺘﺎﺜﻴﺭ ﻋﻠﻰ ﺭﺍﺤﺔ ﺍﻻﻨﺴﺎﻥ ﻭﺘﻭﻓﻴﺭ ﺍﺤﺘﻴﺎﺠﺎﺘﻪ ﻓﻀﻼ‬
‫ﻋﻥ ﻜﻭﻨﻪ ﻤﺭﺘﺒﻁﹰﺎ ﺒﺎﻝﺘﻜﻭﻴﻥ ﺍﻝﺒﺼﺭﻱ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻴﻠﻌﺏ ﻤﻥ ﺨﻼل ﺸﻜﻠﻪ‪ ،‬ﺨﻁﻭﻁﻪ ﻭﻤﻘﻴﺎﺴـﻪ‪،‬‬
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‫ﺃﻝﻭﺍﻨﻪ‪ ،‬ﻭﺘﺭﻜﻴﺒﻪ ﺩﻭﺭﺍ ﻤﻬﻤﺎ ﻓﻲ ﺍﻋﻁﺎﺀ ﺍﻝﺼﻔﺎﺕ ﻭﺍﻝﺨﻭﺍﺹ ﺍﻝﺘﻌﺒﻴﺭﻴﺔ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

‫ﺸﻜل )‪ (28.2‬ﺃﺜﺭ ﺍﻷﺜﺎﺙ ﻓﻲ ﺍﻝﺘﻜﻭﻴﻥ ﺍﻝﺒﺼﺭﻱ ﻝﻠﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪(202‬‬

‫ﺍﻝﻤﺒﺎﺩﺉ ﻭﺍﻷﺴﺱ ﺍﻝﺘﻲ ﻴﺒﻨﻰ ﻋﻠﻴﻬﺎ ﺘﻭﺯﻴﻊ ﻗﻁﻊ ﺍﻷﺜﺎﺙ ﻓﻲ ﺍﻝﻐﺭﻓﺔ ﺍﻝﻭﺍﺤﺩﺓ‪ ،‬ﻭﻫﻲ‪:‬‬

‫‪ -1‬ﻤﻌﺭﻓﺔ ﻤﺴﺎﺤﺔ ﺍﻝﻐﺭﻓﺔ ﻭﺩﺭﺍﺴﺔ ﺴﻴﺭ ﺍﻝﺤﺭﻜﺔ ﻓﻴﻬﺎ‪.‬‬

‫‪ -2‬ﻨﻭﻉ ﻭﺤﺠﻡ ﺍﻷﺜﺎﺙ ﺍﻝﻤﻁﻠﻭﺏ ﺘﻭﺯﻴﻌﻪ‪.‬‬

‫‪ -3‬ﻋﺩﺩ ﻭﻋﻤﺭ ﻭﺠﻨﺱ ﻜل ﻓﺭﺩ ﻴﺴﺘﺨﺩﻡ ﻫﺫﻩ ﺍﻝﻐﺭﻓﺔ‪.‬‬

‫‪ -4‬ﻜﻴﻔﻴﺔ ﺘﻭﺍﺠﺩ ﺍﻝﻔﺘﺤﺎﺕ ﻭﺃﺒﻌﺎﺩﻫﺎ ﻭﻁﺭﻴﻘﺔ ﺤﺭﻜﺘﻬﺎ‪.‬‬

‫‪ -5‬ﺩﺭﺍﺴﺔ ﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺤﺠﺏ ﺍﻝﺭﺅﻴﺔ‪ ،‬ﻭﺤﺠﺏ ﺍﻝﻀﻭﻀﺎﺀ ﺍﻝﺨﺎﺭﺠﻴﺔ‪.‬‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪203-202‬‬ ‫‪1‬‬

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‫ﺇﻻ ﺃﻨﻪ ﺒﻌﺩ ﻤﻌﺭﻓﺔ ﻭﺩﺭﺍﺴﺔ ﻫﺫﻩ ﺍﻝﻤﺒﺎﺩﺉ‪ ،‬ﻴﺠﺏ ﺩﺭﺍﺴﺔ ﻗﻁﻊ ﺍﻷﺜﺎﺙ ﺍﻝﻤﺨﺘﺎﺭﺓ ﻤـﻥ ﺤﻴـﺙ‬
‫ﺃﺒﻌﺎﺩﻫﺎ‪ ،‬ﻭﺘﺤﻘﻴﻘﻬﺎ ﻝﻠﻐﺭﺽ‪ ،‬ﻭﺇﺫﺍ ﻜﺎﻨﺕ ﻤﻨﺎﺴﺒﺔ ﻭﻤﺘﻭﺍﻓﻘﺔ ﻤﻊ ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﺨﺘﺎﺭﺓ ﻝﻬـﺎ ﺃﻡ ﺃﻥ ﻫﻨـﺎﻙ‬

‫ﻋﺎﺌﻕ ﻤﺎ ﻴﺤﻭل ﺩﻭﻥ ﻭﻀﻌﻬﺎ ﻓﻲ ﺃﻤﺎﻜﻨﻬﺎ ﺍﻝﻤﻘﺘﺭﺤﺔ‪ ،‬ﻓﻤﻥ ﻫﻨﺎ ﻋﻠﻴﻨﺎ ﺩﺭﺍﺴﺔ ﻜل ﻫﺫﻩ ﺍﻷﻤﻭﺭ ﺇﻝﻰ ﺃﻥ‬
‫ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺘﺼﻤﻴﻤﺎ ﻤﺜﺎﻝﻴﹰﺎ ﻴﻨﺎﺴﺏ ﺍﻝﻐﺭﻓﺔ ﻭﻴﻨﺎﺴﺏ ﻤﻥ ﻴﻌﻴﺸﻭﻥ ﻓﻴﻬﺎ ﺃﻴﻀﹰﺎ ﻭﻴﺤﻘﻕ ﻝﻬـﻡ ﺍﻝﺭﺍﺤـﺔ‬
‫‪1‬‬
‫ﻭﺴﻬﻭﻝﺔ ﺍﻝﺤﺭﻜﺔ‪.‬‬

‫ﺃﻤﺎ ﺍﻷﺴﺱ ﺍﻝﻔﻨﻴﺔ ﻓﻲ ﺘﻭﺯﻴﻊ ﻭﺘﺭﺘﻴﺏ ﺃﺜﺎﺙ ﻏﺭﻑ ﺍﻝﻤﻨﺯل ﻓﻬﻲ‪:‬‬

‫‪ -1‬ﺍﻝﺘﻭﺯﺍﻥ‪ :‬ﺍﻝﺘﻭﺯﺍﻥ ﻴﻭﺤﻲ ﺒﺎﻻﺴﺘﻘﺭﺍﺭ ﻭﻴﺸﻌﺭ ﺒﺎﻝﻁﻤﺄﻨﻴﻨﺔ ﻭﺍﻝﺒﻘﺎﺀ‪.‬‬

‫‪ -2‬ﺍﻝﺘﻨﺎﺴﺏ‪ :‬ﻭﻴﻁﺒﻕ ﻤﺒﺩﺃ ﺍﻝﺘﻨﺎﺴﺏ ﺒﺸﻜل ﺃﺴﺎﺴﻲ ﻋﻠﻰ ﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺍﻷﺠﺴﺎﻡ ﻭﺍﻷﺸﻜﺎل ﻭﺍﻝﻌﻼﻗـﺎﺕ‬
‫ﺒﻴﻨﻬﺎ ﺠﻤﻴﻌﹰﺎ ﻓﻲ ﺘﺼﻤﻴﻡ ﻤﻌﻴﻥ‪ ،‬ﻭﻝﺫﺍ ﻴﺠﺏ ﺃﻥ ﻴﺘﻨﺎﺴﺏ ﺤﺠﻡ ﺍﻷﺜﺎﺙ ﻭﺸﻜﻠﻪ ﻤﻊ ﺤﺠـﻡ ﺍﻝﻐﺭﻓـﺔ‬
‫ﻭﺸﻜﻠﻬﺎ ﻭﺤﺠﻡ ﺍﻷﺜﺎﺙ ﻤﻊ ﺍﻝﺼﻭﺭ ﻭﺍﻝﻠﻭﺤﺎﺕ ﺍﻝﺠﺩﺍﺭﻴﺔ‪.‬‬

‫‪ -3‬ﺍﻻﺴﺘﻤﺭﺍﺭ ﻭﺍﻹﻴﻘﺎﻉ‪ :‬ﻭﻴﻀﻔﻲ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺤﺭﻜﺔ ﻤﺤﺒﺒﺔ ﻭﻫﺫﺍ ﻴﻌﺒﺭ ﻋﻨﻪ ﺒﺘﺭﺩﻴـﺩ ﻭﺘﻜـﺭﺍﺭ‬
‫ﺍﻝﺨﻁﻭﺍﻁ ﻭﺍﻷﺸﻜﺎل ﻭﺍﻷﻝﻭﺍﻥ ﺒﺘﺘﺎﺒﻊ ﻤﻨﺘﻅﻡ ﻭﻋﻠﻰ ﻓﺘﺭﺍﺕ ﺃﻭ ﻤﺴﺎﻓﺎﺕ ﻤﺤﺩﺩﺓ ﺤﻴﺙ ﻴﻭﺤﺩ ﺃﺠﺯﺍﺀ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﻭﻴﺭﺒﻁﻬﺎ ﺒﺒﻌﻀﻬﺎ ﻓﺘﺒﺩﻭ ﻭﺤﺩﺓ ﻤﺘﻜﺎﻤﻠﺔ‪.‬‬

‫‪ -4‬ﺍﻝﺘﺄﻜﻴﺩ ﻭﺍﻝﺘﺭﻜﻴﺯ‪ :‬ﻭﻴﻌﻨﻲ ﺃﻥ ﻴﺤﺘﻭﻱ ﻜل ﺘﺼﻤﻴﻡ ﻋﻠﻰ ﻨﻘﻁﺔ ﺍﻫﺘﻤﺎﻡ ﺃﻭ ﻝﻔﺕ ﻨﻅﺭ‪ ،‬ﻓﻬﺫﻩ ﺍﻝﻨﻘﻁﺔ‬
‫ﻼ ﻭﺭﺘﻴﺒﹰﺎ ﻭﻗﺩ ﺘﻜﻭﻥ ﻨﻘﻁﺔ ﻝﻔﺕ ﺍﻝﻨﻅﺭ ﺒﺎﻗﺔ‬
‫ﺃﻭ ﺍﻝﻤﺭﻜﺯ ﻴﺠﺫﺏ ﺍﻝﻨﻅﺭ ﻭﺒﺩﻭﻨﻪ ﻴﻜﻭﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻤﻤ ﹰ‬
‫ﺃﺯﻫﺎﺭ ﻋﻠﻰ ﻁﺎﻭﻝﺔ ﻓﻲ ﻏﺭﻓﺔ ﺍﻝﺠﻠﻭﺱ‪ ،‬ﺃﻭ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺭﻓﻭﻑ ﺍﻝﻜﺘﺏ‪ ،‬ﺃﻭ ﻤﺠﻤﻭﻋﺔ ﻝﻭﺤـﺎﺕ‬
‫ﻋﻠﻰ ﺍﻝﺤﺎﺌﻁ ﻴﻤﻜﻥ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺍﻝﺘﺭﻜﻴﺯ ﺇﻤﺎ ﺒﺘﺄﻜﻴﺩ ﺍﻷﺤﺠـﺎﻡ ﺃﻭ ﺍﻷﺸـﻜﺎل ﺃﻭ ﺍﻷﻝـﻭﺍﻥ ﺃﻭ‬
‫ﻼ ﺘﻭﻀﻊ ﺍﻝﻘﻁﻊ ﺍﻝﻜﺒﻴﺭﺓ ﺍﻝﺤﺠﻡ ﻓﻲ‬
‫ﺍﻝﺯﺨﺎﺭﻑ‪ ،‬ﻫﺫﺍ ﺇﻝﻰ ﺠﺎﻨﺏ ﺘﻭﺯﻴﻊ ﺍﻷﺜﺎﺙ ﺤﺴﺏ ﺤﺠﻤﻪ‪ ،‬ﻓﻤﺜ ﹰ‬
‫ﺍﻝﻐﺭﻑ ﺍﻝﻜﺒﻴﺭﺓ ﻤﻼﺼﻘﺔ ﺇﻝﻰ ﺍﻝﺤﺎﺌﻁ ﻷﻨﻬﺎ ﺘﺄﺨﺫ ﺤﻴﺯ ﻜﺒﻴﺭ ﻋﻠﻰ ﻋﻜـﺱ ﺍﻝﻘﻁـﻊ ﺍﻝﺼـﻐﻴﺭﺓ‬
‫‪2‬‬
‫ﻭﻫﻜﺫﺍ‪..‬‬

‫ﺨﻨﻔﺭ‪ ،‬ﻴﻭﻨﺱ‪ :‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻨﺴﻴﻕ ﺍﻝﺩﻴﻜﻭﺭ‪ ،2010 ،‬ﺹ‪113‬‬ ‫‪1‬‬

‫‪ 2‬ﺃﺴﺱ ﺘﺼﻤﻴﻡ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻤﻨﺘﺩﻯ ﻁﻼﺏ ﺠﺎﻤﻌﺔ ‪ 6‬ﺃﻜﺘﻭﺒﺭ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﻬﻨﺩﺴﺔ‪ ،‬ﺍﻝﻬﻨﺩﺴـﺔ ﺍﻝﻤﻌﻤﺎﺭﻴـﺔ‪ ،‬ﺒﺤـﺙ ﻤﻨﺸـﻭﺭ‪،‬‬
‫‪http://www.almagic.net/vb/showthread.php?t=17007‬‬
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‫ﻭﺃﺭﻯ ﻓﻲ ﻨﻬﺎﻴﺔ ﻫﺫﺍ ﺍﻝﻤﺒﺤﺙ ﺃﻥ ﺍﻝﺘﻌﺭﻴﻔﺎﺕ ﻭﺍﻷﺴﺱ ﺍﻝﻨﻅﺭﻴﺔ ﺍﻝﺘﻲ ﻭﺭﺩﺕ ﻻ ﻴﻤﻜﻥ ﺠﻤﻌﻬﺎ‬
‫ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﻓﻲ ﺘﺼﻤﻴﻡ ﻭﺍﺤﺩ ﻴﻠﺒﻲ ﺤﺎﺠﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﻴﻭﺍﻓﻕ ﻓﻜﺭﺓ ﺍﻝﻤﺼﻤﻡ‪.‬‬

‫ﻓﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﻭﺍﻗﻌﻲ‪ :‬ﻫﻭ ﺫﺍﻙ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺫﻱ ﻴﺤﺎﻭل ﺃﻥ ﻴﺠﻤﻊ ﺃﻜﺒـﺭ ﻋـﺩﺩ ﻤـﻥ ﺍﻷﺴـﺱ‬
‫ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻤﻥ ﺨﻼل ﻓﻜﺭﺓ ﻤﻌﻤﺎﺭﻴﺔ ﺃﻭ ﺒﺼﻤﻪ ﻝﻠﻤﺼﻤﻡ‪ ،‬ﺘﺨﺩﻡ ﺍﺤﺘﻴﺎﺝ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺒﺄﻗـل ﺍﻝﺘﻜـﺎﻝﻴﻑ‬
‫ﻭﺃﺠﻤل ﺼﻭﺭﺓ ﻤﻤﻜﻨﺔ‪.‬‬

‫ﻜﻤﺎ ﺘﺠﺩﺭ ﺒﻨﺎ ﺍﻻﺸﺎﺭﺓ ﺇﻝﻰ ﻀﺭﻭﺭﺓ ﺃﻥ ﻴﻜﻭﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺘﺤﺩﻴﺩﹰﺍ ﺍﻝﺩﺍﺨﻠﻲ ﻨﺎﺒﻌﹰﺎ ﻤـﻥ ﺭﻭﺡ‬
‫ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻓﺎﺴﺘﺨﺩﺍﻡ ﺍﻝﺤﺠﺭ ﺍﻝﻁﺒﻴﻌﻲ ﻜﺨﺎﻤﺔ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﻝﻠﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻭﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻝﻪ ﺍﻝﻜﺜﻴـﺭ‬
‫ﻤﻥ ﻤﻌﺎﻨﻲ ﺍﻝﻘﻭﺓ ﻭﺍﻝﻔﺨﺎﻤﺔ ﻭﺍﻝﻌﺭﺍﻗﺔ‪ ،‬ﻭﺍﻝﺩﻴﻤﻭﻤﺔ ﺃﻴﻀﺎ‪.‬‬

‫ﻭﻫﺫﺍ ﻻ ﻴﻌﻨﻲ ﺒﺄﻱ ﺤﺎل ﻤﻥ ﺍﻷﺤﻭﺍل ﺍﻝﻤﻐﺎﻻﺓ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ‪ ،‬ﺒل ﺘﺠﺩﺭ ﺒﻨﺎ ﺍﻝﻭﺴﻁﻴﺔ ﻓﻲ ﻜل‬
‫ﺸﻲﺀ‪ ،‬ﻓﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﺴﻠﻴﻡ ﻫﻭ ﺍﻝﺫﻱ ﻴﺠﻤﻊ ﺒﻴﻥ ﺍﻝﻭﻅﻴﻔﺔ ﻭﺍﻝﺠﻤﺎل ﻭﺍﻝﻤﺘﺎﻨﺔ ﺒﺄﻓﻀـل ﺼـﻭﺭﺓ ﻭﺃﻗـل‬
‫ﺍﻝﺘﻜﺎﻝﻴﻑ‪.‬‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ‬

‫ﻋﻼﻗﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺎﻝﻔﻀﺎﺀﺍﺕ‬

‫ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ‬
‫ﺍﻝﺴﻜﻨﻲ ﺍﻝﻤﻨﻔﺼل )ﺤﺎﻻﺕ ﺩﺭﺍﺴﻴﺔ(‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ‬

‫ﻋﻼﻗﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺎﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‬

‫ﺍﻝﻤﻨﻔﺼل )ﺤﺎﻻﺕ ﺩﺭﺍﺴﻴﺔ(‬

‫‪ 1.3‬ﻤﻘﺩﻤﺔ‬

‫ﻴﺴﺘﻌﺭﺽ ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ ﻓﻲ ﻗﺴﻤﻪ ﺍﻷﻭل ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﻓﻘﹰﺎ ﻝﺴﻠﻭﻙ ﺍﻝﻤﺴـﺘﺨﺩﻡ ﻓـﻲ‬

‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻊ ﺒﺤﺙ ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﻐﻴﻴﺭ ﻓﻲ ﺘﻠﻙ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺨﻼل ﻤﺭﺍﺤل ﺤﻴﺎﺓ ﺍﻝﻤﺒﻨﻰ‬
‫ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻜﻤﺎ ﻴﻨﺎﻗﺵ ﺁﻝﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﺘﺼﻤﻴﻤﻲ ﻝﻌﻨﺎﺼﺭ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ ﻓـﻲ ﺍﻹﺴـﻜﺎﻥ ﻤﺤـل‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻤﻊ ﺇﺒﺭﺍﺯ ﺩﻭﺭ ﻜل ﻤﻥ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻓﻲ ﺘﻠﻙ ﺍﻝﻌﻤﻠﻴﺔ‪ ،‬ﻭﺩﺭﺍﺴﺔ ﺘﺄﺜﻴﺭ ﻫﺫﻩ ﺍﻝﻌﻤﻠﻴﺎﺕ‬

‫ﻋﻠﻰ ﻭﺍﻗﻊ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻫﺫﻩ ﺍﻝﻭﺤﺩﺍﺕ ﻫﻲ ﻋﻴﻨﺔ ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‬
‫ﺍﻝﻤﻨﻔﺼﻠﺔ ﻓﻲ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ‪ -‬ﺍﻝﺠﻨﻴﺩ ﻭﺍﻝﺫﻱ ﺘﻘﻊ ﺃﺭﺍﻀـﻴﻪ ﻀـﻤﻥ ﺍﻝﻤﻨﻁﻘـﺔ‬
‫ﺍﻝﻤﺠﺎﻭﺭﺓ ﻝﻘﺭﻴﺔ ﺍﻝﺠﻨﻴﺩ ﺍﻝﺘﺎﺒﻌﺔ ﻝﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ‪.‬‬

‫ﻜﻤﺎ ﺘﻨﺎﻗﺵ ﺍﻝﺩﺭﺍﺴﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻘﺴﻡ ﻤﻭﻀﻭﻉ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ ﺒﻌﺩ ﺍﻹﺸﻐﺎل‪ ،‬ﻭﺘﻌﺘﺒﺭ ﻋﻤﻠﻴﺔ ﺘﻘﻴﻴﻡ‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺒﻌﺩ ﺇﺸﻐﺎﻝﻬﺎ ﻭﺍﻻﻫﺘﻤﺎﻡ ﺒﺂﺭﺍﺀ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﺒﻔﻀﺎﺀﺍﺘﻬﺎ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻥ ﺍﻷﻤﻭﺭ ﺍﻝﻬﺎﻤﺔ‬
‫ﺍﻝﺘﻲ ﺘﺴﺎﻋﺩ ﺍﻝﻤﺼﻤﻡ ﻓﻲ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺘﺠﺩﺩﺓ ﻭﺭﻏﺒﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﺍﻝﺤﻘﻴﻘﻴﺔ‪ ،‬ﻜﻤـﺎ‬

‫ﺃﻨﻬﺎ ﺘﻅﻬﺭ ﻜﻔﺎﺀﺓ ﺃﻭ ﻋﻴﻭﺏ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻔﻌﻠﻴﺔ‪ ،‬ﻭﺘﻌﻁﻲ ﻤﺅﺸﺭﹰﺍ ﻷﻫﻤﻴﺔ ﺍﻝﺘﻐﻴﻴﺭﺍﺕ ﺍﻝﻤﺴـﺘﻘﺒﻠﻴﺔ ﻓـﻲ‬
‫ﺍﻝﻤﺸﺎﺭﻴﻊ ﺍﻝﻤﻤﺎﺜﻠﺔ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﻝﻤﻼﺤﻅﺎﺕ ﺍﻝﺒﺎﺤﺜﺔ ﻭﺘﻘﻴﻴﻤﻬﺎ ﺃﺜﻨﺎﺀ ﺘﻭﺍﺠﺩﻫﺎ ﻓﻲ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺭﺍﺩ ﺘﻘﻴﻴﻤﻬﺎ‬
‫ﻭﺘﻤﻜﻨﻬﺎ ﻤﻥ ﺍﻝﻤﻘﺎﺭﻨﺔ ﺒﻴﻥ ﺃﻜﺜﺭ ﻤﻥ ﺤﺎﻝﺔ ﺩﺭﺍﺴﻴﺔ ﺃﺜﻨﺎﺀ ﺇﺠﺭﺍﺀ ﺍﻝﻤﻘﺎﺒﻼﺕ ﺩﺍﺨل ﻫﺫﻩ ﺍﻝﻭﺤﺩﺍﺕ‪.‬‬

‫ﻻ ﻝﻠﻬﺩﻑ ﺍﻝﻤﺭﺠﻭ ﻤﻥ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﺴﻴﺘﻡ ﻓﻲ ﺍﻝﻘﺴﻡ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﻫﺫﺍ ﺍﻝﻔﺼل ﻤﻨﺎﻗﺸـﺔ‬
‫ﻭﻭﺼﻭ ﹰ‬
‫ﺍﻹﺠﺭﺍﺀﺍﺕ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ ﻝﻠﺩﺭﺍﺴﺔ‪ ،‬ﻓﻘﺩ ﺘﻡ ﺃﺨﺫ ﻋﻴﻨﻪ ﻋﺸﻭﺍﺌﻴﺔ ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺫﺍﺕ ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ‬
‫ﺍﻷﺼﻠﻲ ﺍﻝﻤﺘﺸﺎﺒﻪ )ﻨﻤﻭﺫﺝ ﺘﺼﻤﻴﻤﻲ ﺭﻗﻡ ﻭﺍﺤﺩ( ﻜﻨﻭﻋﻴﺔ ﻤﺘﺨﺼﺼﺔ ﻝﻨﻭﻋﻴﺔ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﻤﺭﺍﺩ ﺘﻘﻴﻴﻤﻬﺎ‪،‬‬

‫ﻭﺘﻡ ﺇﺠﺭﺍﺀ ﺍﻝﻤﻘﺎﺒﻼﺕ ﺍﻝﻤﻴﺩﺍﻨﻴﺔ ﻤﻊ ﺴﻜﺎﻨﻬﺎ ﻝﻤﻼﻤﺴﺔ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺤﻴﺎﺘﻲ ﻭﺍﻝﻌﻤﻠﻲ ﻷﺩﺍﺀ ﺘﻠﻙ ﺍﻝﻔﻀـﺎﺀﺍﺕ‬
‫ﻭﺍﻝﺫﻱ ﻴﻌﻜﺱ ﻤﺩﻯ ﻨﺠﺎﺤﻬﺎ ﺃﻭ ﻓﺸﻠﻬﺎ‪ ،‬ﻭﻗﺩ ﺘﻡ ﻁﺭﺡ ﺍﻷﺴﺌﻠﺔ ﺍﻝﺘﻲ ﺘﺒﺤﺙ ﻤـﺩﻯ ﺃﻫﻤﻴـﺔ ﺍﻝﺘﺼـﻤﻴﻡ‬

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‫ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﻌﺯﻴﺯ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ‪ ،‬ﻭﻋﻥ ﺍﻻﺴﺘﻌﺎﻨﺔ‬
‫ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻭﻤﺎﻫﻴﺔ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻝﻤﺎﻝﻙ‪.‬‬

‫ﺃﻤﺎ ﻓﻲ ﻨﻬﺎﻴﺔ ﻫﺫﺍ ﺍﻝﻘﺴﻡ ﺴﻴﺘﻡ ﺘﺤﻠﻴل ﻝﻨﺘﺎﺌﺞ ﺍﻝﻤﻘﺎﺒﻼﺕ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﻬﺩﻑ ﺇﻝﻰ ﺘﻭﻀﻴﺢ ﻤﺩﻯ‬
‫ﺍﻋﺘﻤﺎﺩ ﻨﺠﺎﺡ ﻓﻀﺎﺀﺍﺕ ﺍﻝﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ ﻋﻠﻰ ﻜﻔﺎﺀﺓ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

‫‪ 1.1.3‬ﻨﺒﺫﺓ ﻋﻥ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ‪ -‬ﻨﺎﺒﻠﺱ )ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ(‬

‫ﺘﺄﺴﺴﺕ ﺠﻤﻌﻴﺔ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ ﻋﺎﻡ ‪1974‬ﻡ‪ ،‬ﻭﻗﺩ ﺘـﻡ ﺸـﺭﺍﺀ ﺘﻠـﻙ‬
‫ﺍﻷﺭﺽ ﺍﻝﺘﻲ ﻴﻘﻊ ﻋﻠﻴﻬﺎ ﻤﺸﺭﻭﻉ ﺍﻹﺴﻜﺎﻥ ﺍﻝﺤﺎﻝﻲ ﻋﺎﻡ ‪1976‬ﻡ ﻭﺍﻝﺘﻲ ﺘﺒﻠﻎ ﻤﺴﺎﺤﺘﻬﺎ ‪ 84‬ﺩﻭﻨﻡ‪ ،‬ﻜﺎﻥ‬
‫ﺍﻝﻬﺩﻑ ﻤﻥ ﺸﺭﺍﺀ ﺘﻠﻙ ﺍﻷﺭﺽ ﺒﺎﻝﺘﺤﺩﻴﺩ ﺤﻤﺎﻴﺘﻬﺎ ﻤﻥ ﺍﻻﺴـﺘﻴﻁﺎﻥ ﺤﻴـﺙ ﻜﺎﻨـﺕ ﻤﺭﺸـﺤﺔ ﺒﻘـﻭﺓ‬
‫ﻝﻤﺼﺎﺩﺭﺘﻬﺎ ﻭﺍﻻﺴﺘﻴﻁﺎﻥ ﻋﻠﻴﻬﺎ ﻓﻲ ﺤﻴﻨﻪ ﺒﺴﺒﺏ ﻤﻭﻗﻌﻬﺎ ﺍﻝﻤﺭﺘﻔﻊ ﻭﺍﻝﻤﻁل‪ ،‬ﻝﺫﻝﻙ ﻭﺍﺠﻬـﺕ ﺍﻝﺠﻤﻌﻴـﺔ‬
‫ﺍﻝﺼﻌﻭﺒﺎﺕ ﻭﺍﻝﻌﻘﺒﺎﺕ ﺍﻝﻜﺜﻴﺭﺓ ﺃﺜﻨﺎﺀ ﻤﺭﺤﻠﺔ ﺸﺭﺍﺀ ﺍﻷﺭﺽ ﻭﺘﺴﺠﻴﻠﻬﺎ ﻭﻤﻥ ﺜﻡ ﺇﺴﺘﺼﺩﺍﺭ ﺍﻝﺘﺭﺍﺨﻴﺹ‬
‫ﺍﻝﻼﺯﻤﺔ ﻝﻠﺒﻨﺎﺀ‪ ،‬ﻭﺘﻨﻔﻴﺫ ﺨﺩﻤﺎﺕ ﺍﻝﺒﻨﻴﺔ ﺍﻝﺘﺤﺘﻴﺔ ﻝﻠﻤﺸﺭﻭﻉ‪.‬‬

‫ﻴﻀﻡ ﺍﻹﺴﻜﺎﻥ ‪ 74‬ﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺒﻌﺩﺩ ﺃﻋﻀﺎﺀ ﺍﻝﺠﻤﻌﻴﺔ ﺍﻝﻤﺸﺘﺭﻜﻴﻥ ﻓﻲ ﺤﻴﻨﻪ ﻤﻊ ﺍﻝﻌﻠـﻡ ﺃﻥ‬
‫‪ %80‬ﻤﻥ ﻫﺅﻻﺀ ﺍﻷﻋﻀﺎﺀ ﻜﺎﻨﻭﺍ ﻓﻲ ﺍﻝﻤﻬﺠﺭ‪ ،‬ﻭﺍﻝﺘﻲ ﺴﻌﺕ ﺍﻝﺠﻤﻌﻴﺔ ﺒﺩﻭﺭﻫﺎ ﻤﻥ ﺘﻤﻜـﻴﻥ ﻫـﺅﻻﺀ‬
‫ﺍﻝﻤﻐﺘﺭﺒﻴﻥ ﻤﻥ ﺇﻨﺸﺎﺀ ﺴﻜﻥ ﻤﻨﺎﺴﺏ ﻴﺩﻋﻡ ﻗﺭﺍﺭ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻭﻁﻥ‪ ،‬ﻤـﻊ ﺍﻝﻌﻠـﻡ ﺃﻥ ﺘﻤﻭﻴـل ﻫـﺫﺍ‬

‫ﺍﻝﻤﺸﺭﻭﻉ ﺍﻋﺘﻤﺩ ﺒﺎﻝﺩﺭﺠﺔ ﺍﻷﻭﻝﻰ ﻋﻠﻰ ﺃﻋﻀﺎﺀ ﺍﻝﺠﻤﻌﻴﺔ )ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ( ﻤﻊ ﺩﻋﻡ ﺠﺯﺌﻲ ﻤـﻥ‬
‫ﺍﻝﻠﺠﻨﺔ ﺍﻝﻤﺸﺘﺭﻜﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺍﻷﺭﺩﻨﻴﺔ ﻓﻲ ﺜﻤﻥ ﺍﻷﺭﺽ‪.‬‬

‫ﺍﻋﺘﻤﺩ ﺃﻋﻀﺎﺀ ﺍﻝﺠﻤﻌﻴﺔ ﻨﻤﻭﺫﺠﻴﻥ ﻝﻠﻤﺴﺎﻗﻁ ﺍﻷﻓﻘﻴﺔ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ )ﻤﻭﻀﺤﺔ ﻓﻲ ﺍﻝﺸـﻜل‬

‫ﺍﻝﺘﺎﻝﻲ( ﻭﺫﻝﻙ ﺒﻌﺩ ﺘﻘﺩﻴﻡ ﺍﻝﻤﺼﻤﻤﻴﻥ ﻝﻠﻤﺸﺭﻭﻉ ﺨﻴﺎﺭﺍﺕ ﻤﺘﻌﺩﺩﺓ ﺘﻡ ﻤﻨﺎﻗﺸﺘﻬﺎ ﻤﻊ ﺍﻷﻋﻀﺎﺀ‪ ،‬ﻭﻗﺩ ﺫﻜﺭ‬
‫ﺃﺤﺩ ﺍﻝﻤﺼﻤﻤﻴﻥ ﺍﻷﺴﺎﺴﻴﻴﻥ ﻝﻠﻤﺸﺭﻭﻉ ﻭﺭﺌﻴﺱ ﺠﻤﻌﻴﺔ ﺍﻹﺴﻜﺎﻥ ﺍﻝﺤﺎﻝﻲ ﻡ‪ .‬ﺴـﻤﻴﺢ ﻁﺒﻴﻠـﺔ ﺃﻥ ﺘﻠـﻙ‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺘﻡ ﺘﺼﻤﻴﻤﻬﺎ ﻋﻠﻰ ﺃﺴﺎﺱ ﻜﻭﻨﻬﺎ ﻨﻭﺍﻩ ﻝﻠﺴﻜﻥ ﻷﺴﺭﺓ ﻤﻤﺘﺩﺓ‪ ،‬ﺤﻴﺙ ﺘﻡ ﺍﺴـﺘﻐﻼل ﺍﻻﻨﺤـﺩﺍﺭ‬

‫ﺍﻝﻤﻭﺠﻭﺩ ﺒﺎﻷﺭﺽ ﺒﺤﻴﺙ ﺘﻡ ﺭﻓﻊ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻤﻨﻭﻱ ﺇﺸﻐﺎﻝﻪ ﺒﻤﺭﺤﻠﺔ ﺍﻝﺒﻨﺎﺀ ﺍﻷﻭﻝﻰ ﻝﺘﻜﻭﻥ ﻋﻼﻗﺘﻪ ﻤﺒﺎﺸﺭﺓ‬

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‫ﻤﻊ ﺃﻗﺭﺏ ﺸﺎﺭﻉ ﻷﺭﺽ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻤﺨﺼﺹ ﻝﻪ ﻤﻊ ﺇﻤﻜﺎﻨﻴﺔ ﺇﻜﻤﺎل ﺇﻨﺸـﺎﺀ ﻭﺘﺸـﻁﻴﺏ ﺍﻝﻤﺴـﺘﻭﻴﺎﺕ‬
‫ﺍﻷﺨﺭﻯ ﺒﻤﺭﺍﺤل ﻻﺤﻘﺔ ﻝﺘﺼﺒﺢ ﻭﺤﺩﺍﺕ ﺴﻜﻨﻴﺔ ﻝﻸﻭﻻﺩ ﻓﻲ ﺍﻝﻤﺴﺘﻘﺒل‪.‬‬

‫ﺃﻤﺎ ﺒﻌﺩ ﻤﺭﻭﺭ ﺜﻼﺜﻴﻥ ﻋﺎﻤﹰﺎ ﻤﻥ ﻤﺭﺤﻠﺔ ﺍﻹﻨﺸﺎﺀ ﺍﻷﻭل ﻝﻺﺴﻜﺎﻥ ﻨﺠﺩ ﺘﻔﺎﻭﺘـﹰﺎ ﻓـﻲ ﻨﺴـﺒﺔ‬
‫ﺍﻝﺭﻀﻰ ﻭﺍﻝﻘﺒﻭل ﻝﺩﻯ ﺍﻝﺴﻜﺎﻥ‪ ،‬ﻭﻤﻊ ﺘﻔﺎﻭﺕ ﻨﺴﺒﺔ ﺍﻝﺭﻀﻰ ﻋﻥ ﻤﺎ ﺘﻀـﻤﻨﻪ ﺍﻝﺘﺼـﻤﻴﻡ ﻭﺍﻝﺘﻭﺯﻴـﻊ‬
‫ﻝﻠﻌﻨﺎﺼﺭ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻭﺤﺩﺍﺕ ﺍﻹﺴﻜﺎﻥ‪ ،‬ﺃﺠﺭﻯ ﺒﻌﻀﻬﻡ ﺘﻌﺩﻴﻼﺕ ﻝﻤﻼﺌﻤﺔ ﺘﻠﻙ ﺍﻝﻭﺤـﺩﺍﺕ ﻝﻤﺴـﺘﺠﺩﺍﺕ‬

‫ﺤﻴﺎﺘﻬﻡ ﻭﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻌﺼﺭ ﺍﻝﺤﺎﻝﻲ‪ ،‬ﻤﻊ ﻤﺤﺩﻭﺩﻴﺔ ﺘﻠﻙ ﺍﻝﺘﻌﺩﻴﻼﺕ ﻝﺜﺒﺎﺕ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻹﻨﺸﺎﺌﻴﺔ ﻭﺍﻹﻁﺎﺭ‬
‫ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻤﻊ ﺘﺄﻜﻴﺩ ﺍﻝﺠﻤﻌﻴﺔ ﻋﻠﻰ ﻀﺭﻭﺭﺓ ﺍﻻﻝﺘﺯﺍﻡ ﺒﺎﻹﻁﺎﺭ ﺍﻝﻌﺎﻡ ﻭﻤﻅﻬﺭ ﺍﻹﺴﻜﺎﻥ ﺍﻷﺼﻠﻲ‬
‫ﻝﻀﻤﺎﻥ ﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻝﻁﺎﺒﻊ ﺍﻝﻌﺎﻡ ﺍﻝﺫﻱ ﻗﺎﻡ ﺍﻝﻤﺸﺭﻭﻉ ﻋﻠﻰ ﺃﺴﺎﺴﻪ‪ ،‬ﺭﻏﻡ ﺃﻥ ﺫﻝـﻙ ﺍﻝﺸـﺭﻁ ﻭﻤـﻊ‬

‫ﻤﺭﻭﺭ ﺍﻝﺯﻤﻥ ﺘﺠﺎﻭﺯﻩ ﻋﺩﺩ ﻤﻥ ﺴﻜﺎﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺒﺈﻀﺎﻓﻪ ﻋﻨﺎﺼﺭ ﻝﻠﺒﻨﺎﺀ ﻏﻴﺭﺕ ﻤﻥ ﻫﺫﺍ ﺍﻝﻁﺎﺒﻊ ﺒﻨﺴﺏ‬
‫‪1‬‬
‫ﻤﺘﻔﺎﻭﺘﻪ‪ ،‬ﺨﺎﺼﺔ ﺃﻥ ﺒﻌﺽ ﻤﻥ ﺍﻝﻤ‪‬ﻼﻙ ﻗﺩ ﺒﺎﻉ ﻭﺤﺩﺘﻪ ﻵﺨﺭﻴﻥ ﻗﺩ ﻴﻜﻭﻨﻭﺍ ﻤﻥ ﺃﺼﺤﺎﺏ ﻤﻬﻥ ﺃﺨﺭﻯ‪.‬‬

‫‪2‬‬
‫‪ 2.1.3‬ﺍﻝﻤﺴﺎﻗﻁ ﺍﻷﻓﻘﻴﺔ ﻝﻨﻤﺎﺫﺝ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺫﺓ ﻓﻲ ﺍﻹﺴﻜﺎﻥ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺘﻡ ﺘﻨﻔﻴﺫ ﻨﻤﺎﺫﺝ ﺍﻝﻤﺴﺎﻗﻁ ﺍﻷﻓﻘﻴﺔ ﺍﻝﺘﺎﻝﻴﺔ ﻝﻤﺭﺤﻠﺔ ﺍﻝﻌﻅﻡ ﻓﻲ ﺍﻻﺴﻜﺎﻥ‪ ،‬ﻭﺫﻝﻙ ﺤﺴﺏ ﻭﻀـﻌﻴﺔ‬
‫ﻭﺘﻭﺠﻴﻪ ﻭﻤﺴﺎﺤﺔ ﻗﻁﻊ ﺍﻻﺭﺽ ﺍﻝﻤﺨﺼﺼﺔ ﻝﻜل ﻭﺤﺩﺓ‪.‬‬

‫ﻤﻘﺎﺒﻠﺔ ﻤﻊ ﺴﻤﻴﺢ ﻁﺒﻴﻠﺔ‪ ،‬ﺭﺌﻴﺱ ﺠﻤﻌﻴﺔ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ‪2013-7-11‬‬ ‫‪1‬‬

‫ﺴﻤﻴﺢ ﻁﺒﻴﻠﺔ‪ ،‬ﺭﺌﻴﺱ ﺠﻤﻌﻴﺔ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ )ﺘﻡ ﺇﻋﺎﺩﺓ ﺭﺴﻡ ﺍﻝﻤﺨﻁﻁﺎﺕ ﺒﻭﺍﺴﻁﺔ ﺒﺭﻨﺎﻤﺞ ﺍﻷﻭﺘﻭﻜﺎﺩ ﻤﻥ ﻗﺒل ﺍﻝﺒﺎﺤﺜﺔ ﺒﺴﺒﺏ‬ ‫‪2‬‬

‫ﻋﺩﻡ ﻭﻀﻭﺡ ﺍﻝﻤﺨﻁﻁ ﺍﻷﺼﻠﻲ ﻝﺩﻯ ﺍﻝﺠﻤﻌﻴﺔ(‬

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‫ﺸﻜل )‪ (1.3‬ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻝﻠﻨﻤﻭﺫﺝ ﺍﻷﻭل ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺸﻜل )‪ (2.3‬ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻝﻠﻨﻤﻭﺫﺝ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬
‫‪107‬‬
 ‫‪ 2.3‬ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺁﻝﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ‬

‫‪ 1.2.3‬ﺍﻝﺘﺼﻤﻴﻡ ﻭﻓﻘﹰﺎ ﻝﺴﻠﻭﻙ ﺍﻝﻤﺴﺘﺨﺩﻡ‬

‫ﺇﻥ ﺇﺩﺭﺍﻙ ﺍﻝﻤﺼﻤﻡ ﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻝﻠﻤﺒﻨﻰ ﻭﺘﻔﻬﻤﻪ ﻷﺫﻭﺍﻕ ﺍﻝﻤﻌﻨﻴﻴﻥ ﻓﻲ ﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﻴ‪‬ﻤﻜﱢﻨﻪ ﻤﻥ ﺘﻜﻭﻴﻥ ﺒﺭﻨﺎﻤﺞ ﻝﻠﻌﻨﺎﺼﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻴﺘﻼﺀﻡ ﻤﻊ ﺘﻠﻙ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﻭ ﺒﻪ ﻴﺤﻘـﻕ‬
‫ﻥ ﺘﺤﻘﻕ ﻓﻀﺎﺀﺍﺕ ﻤﻌﻤﺎﺭﻴـﺔ‬
‫ﺃﻓﻀل ﻓﻀﺎﺀ ﻤﻌﻴﺸﻲ ﻴﻁﻤﺢ ﻝﻪ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻤﻌﺎ‪ ،‬ﻓﺘﺼﻤﻴﻡ ﻤﺒﺎ ﹴ‬

‫ﻤﺘﻘﺩﻤﺔ ﻭﻤﻨﺎﺴﺒﺔ ﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﺴﻠﻭﻙ ﺍﻹﻨﺴﺎﻨﻲ ﻻ ﻴﺄﺘﻲ ﺇﻻ ﻤﻥ ﺨﻼل ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺨﺎﺼﺔ‬
‫ﻝﻤﺴﺘﺨﺩﻡ ﺍﻝﻔﺭﺍﻍ ﻭﺩﻭﺍﻓﻌﻪ ﺍﻝﺨﺎﺼﺔ ﻭﺍﻝﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﻤﻜﺎﻥ ﻭﺍﻝﺘﻭﻓﻴﻕ ﺒﻴﻨﻬﺎ ﻭﺒﻴﻥ ﺍﺤﺘﻴﺎﺠـﺎﺘﻬﻡ ﺍﻝﻔﻌﻠﻴـﺔ‪،‬‬
‫ﻓﺎﻝﻨﺎﺘﺞ ﺒﺎﻝﺘﺄﻜﻴﺩ ﺴﻴﻅﻬﺭ ﻓﻲ ﺼﻭﺭﺓ ﺤﻠﻭل ﻤﻌﻤﺎﺭﻴﺔ ﻤﺭﻀﻴﺔ ﺘﻭﻓﺭ ﺘﻭﺍﺯﻨﺎ ﻓﻜﺭﻴﺎ ﻭﻋﻤﻠﻴﺎ ﻴﺘﺠﻪ ﺇﻝـﻰ‬

‫ﺇﺭﻀﺎﺀ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﻴﺤﻘﻕ ﺍﻝﻨﺠﺎﺡ ﻝﻠﻤﺸﺭﻭﻉ‪.‬‬

‫ﻭﻝﺫﻝﻙ ﻓﺈﻥ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻠﻤﺒﻨﻰ ﺘﺘﺄﺜﺭ ﺒﺎﻝﻤﻨﻅﻭﻤﺔ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻝﻸﻓﺭﺍﺩ ﻭﺍﻝﻨﻔﺴﻴﺔ ﻝﻬﻡ‬
‫ﻭﺍﻝﺘﻲ ﺘﺘﻀﻤﻥ‪ :‬ﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﺍﻝﺤﻴﺎﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﻌﻼﻗﺎﺕ ﺍﻷﺴﺭﻴﺔ‪ ،‬ﺍﻹﺤﺴﺎﺱ ﺒﺎﻻﻨﺘﻤﺎﺀ‪ ،‬ﺍﻝﺠﻤﺎل‪،‬‬

‫ﺍﻝﺭﺍﺤﺔ‪ ،‬ﺍﻝﻬﺩﻭﺀ‪ ،‬ﺍﻝﺼﺤﺔ‪ ،‬ﺍﻷﻤﺎﻥ‪ ،‬ﺍﻝﺯﻤﻥ‪ ،‬ﺍﻝﺘﻁﻭﺭ‪.‬‬

‫ﺍﻝﺩﺍﻓﻊ‬
‫ﺍﻝﺭﻀﻰ‬ ‫ﺇﺸﺒﺎﻉ ﺍﻝﺤﺎﺠﺔ‬
‫ﺍﻝﺒﺎﻋﺙ‬ ‫ﺘﻭﺘﺭ ﻴﻌﺒﺊ‬
‫ﺍﻝﺤﺎﺠﺔ‬
‫ﺃﻭ ﺍﻝﻬﺩﻑ‬ ‫ﺍﻝﻁﺎﻗﺔ ﻭﻴﻭﺠﻪ‬
‫ﺇﺤﺒﺎﻁ‬ ‫ﻋﺩﻡ ﺇﺸﺒﺎﻉ‬
‫ﺍﻝﺴﻠﻭﻙ‬
‫ﺍﻝﺤﺎﺠﺔ‬

‫ﺸﻜل )‪ (3.3‬ﺍﻝﻤﻨﻅﻭﻤﺔ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻝﻤﺴﺘﻌﻤل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺭﺸﻭﺩ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺴﻠﻴﻤﺎﻥ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺘﺄﺜﻴﺭ ﺍﻷﻨﻤﺎﻁ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻋﻠﻰ ﺘﺼﻤﻴﻡ ﺠﻨﺎﺡ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜﺭﺭﺓ‪ ،‬ﺠﺎﻤﻌﺔ ﺍﻝﻤﻠﻙ ﺴﻌﻭﺩ‪ ،‬ﻤﺤﺭﻡ ‪1425‬ﻫـ‪ ،‬ﺹ ‪(41‬‬

‫ﻓﺎﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﻓﻘﺎ ﻝﻠﺴﻠﻭﻙ ﺘﺸﻜل ﺩﺍﻋﻤﹰﺎ ﺃﺴﺎﺴﻴﹰﺎ ﻝﻨﺠﺎﺡ ﻓﻀﺎﺀﺍﺕ ﺘﻠﻙ ﺍﻝﻤﺒﺎﻨﻲ ﻭﺨﺎﺼﺔ‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﻤﻨﻬﺎ‪" ،‬ﻭﺘﺘﻀﻤﻥ ﻤﺎ ﻴﻠﻲ‪:‬‬

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‫ﻭﻀﻊ ﺍﻝﺒﺭﻨﺎﻤﺞ ﺍﻝﻔﺭﺍﻏﻲ ﻝﻠﻤﺒﻨﻰ ﻭﺍﻝﺫﻱ ﻴﺸﻤل ﻋﺩﺓ ﻋﻨﺎﺼﺭ‪ ،‬ﻗﺴﻡ ﻤﻨﻬﺎ ﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﻘﺴﻡ ﺍﻵﺨﺭ‬ ‫ﺃ‪-‬‬
‫ﻫﻨﺩﺴﻴﺔ‪.‬‬

‫ﺏ‪ -‬ﺇﻋﺩﺍﺩ ﺒﺭﻨﺎﻤﺞ ﻴﻠﺒﻲ ﻤﺘﻁﻠﺒﺎﺕ ﻤﺴﺘﺨﺩﻡ ﺍﻝﻔﻀﺎﺀ‪.‬‬

‫ﺕ‪ -‬ﻭﻀﻊ ﺨﻁﺔ ﺘﻐﺫﻴﺔ ﻤﺭﺘﺩﺓ ﻤﺎ ﺒﻴﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻝﻠﻤﺸﺭﻭﻉ ﻭﻋﻤﻠﻴﺔ ﺘﻘﻴﻴﻡ ﻝﻤﺒﻨﻰ ﻤﻥ ﻨﻔـﺱ ﺍﻝﻨـﻭﻉ‬
‫ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﺍﻝﺘﻲ ﺃﻓﺭﺯﺕ ﺃﺜﻨﺎﺀ ﺍﻻﺴﺘﺨﺩﺍﻡ‪.‬‬

‫ﺙ‪ -‬ﺇﻋﺩﺍﺩ ﺍﻝﺒﺩﺍﺌل ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﺃﻭ ﺇﻤﻜﺎﻨﻴﺔ ﺘﺤﻭﻴﺭ ﺍﻝﻤﺒﻨﻰ ﺍﻝﻘﺎﺌﻡ ﻓﻌﻼ ﻻﺴﺘﻴﻌﺎﺏ ﺍﻝﻤﺘﻁﻠﺒـﺎﺕ‬
‫ﺍﻝﺠﺩﻴﺩﺓ ﻭﻴﺘﻡ ﺫﻝﻙ ﻤﻥ ﺨﻼل ﻤﺎ ﻴﻠﻲ‪:‬‬

‫‪ -1‬ﺤﺫﻑ ﺨﺩﻤﺎﺕ ﻗﺎﺌﻤﺔ‪.‬‬

‫‪ -2‬ﺍﺴﺘﺤﺩﺍﺙ ﻓﻀﺎﺀﺍﺕ ﺠﺩﻴﺩﺓ‪.‬‬

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‫‪ -3‬ﺘﺯﻭﻴﺩ ﺍﻝﻤﺒﻨﻰ ﺒﺨﺩﻤﺎﺕ ﺠﺩﻴﺩﺓ ﺃﻭ ﺇﻀﺎﻓﺘﻬﺎ ﻓﻲ ﻨﻔﺱ ﺍﻝﻤﻭﻗﻊ‪".‬‬

‫ﻭﻴﻤﻜﻥ ﺭﺅﻴﺔ ﺫﻝﻙ ﺠﻠﻴﹰﺎ ﻤﻥ ﺨﻼل ﺍﻝﺘﻐﻴﻴﺭﺍﺕ ﻭﺍﻹﻀﺎﻓﺎﺕ ﺍﻝﺘﻲ ﺘﻤﺕ ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﺼل‪ ،‬ﻓـﻴﻼﺤﻅ ﺃﻥ ﺍﻝﻭﺤـﺩﺓ ﺍﻝﺴـﻜﻨﻴﺔ ﺫﺍﺕ ﺍﻝﻨﻤـﻭﺫﺝ‬
‫ﺍﻝﺘﺼﻤﻴﻤﻲ ﺍﻷﺼﻠﻲ ﺍﻝﻭﺍﺤﺩ ﻗﺩ ﻋﻭﻝﺠﺕ ﺒﺂﻝﻴﺎﺕ ﻭﺃﻭﻀﺎﻉ ﻤﺨﺘﻠﻔﺔ ﻭﻤﺘﻨﻭﻋﺔ ﺤﺴﺏ ﺤﺎﺠـﺔ ﻭﻁﻠـﺏ‬
‫ﺃﺼﺤﺎﺒﻬﺎ ﺒﺤﻴﺙ ﺘﻡ ﺇﻋﺎﺩﺓ ﺘﺼﻤﻴﻤﻬﺎ ﺍﻝﺩﺍﺨﻠﻲ ﺒﻤﺎ ﻴﺘﻼﺌﻡ ﻤﻊ ﺍﻝﺤﺎﻝـﺔ ﻭﻭﻓﻘـﹰﺎ ﻝﺴـﻠﻭﻙ ﻭﻤﺘﻁﻠﺒـﺎﺕ‬

‫ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻤﻊ ﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ ﺍﻹﻁﺎﺭ ﺍﻝﻌﺎﻡ ﻝﻠﻭﺤﺩﺓ‪ ،‬ﻤﻤﺎ ﺃﻋﻁﻰ ﻨﺘﺎﺌﺞ ﻤﻠﻤﻭﺴﺔ‪ ،‬ﺤﺘﻰ ﺃﻨﻪ ﻓﻲ ﺒﻌﺽ‬
‫ﺍﻷﺤﻴﺎﻥ ﻤﻥ ﺍﻝﺼﻌﺏ ﻋﻠﻰ ﺍﻝﺯﺍﺌﺭ ﻝﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﺘﻤﻴﻴﺯ ﺃﻨﻬﺎ ﻓﻲ ﺍﻷﺼل ﺫﺍﺕ ﻤﺴﻘﻁ ﺃﻓﻘـﻲ ﻭﺍﺤـﺩ‬
‫ﻭﻨﺠﺩ ﻜل ﻤﻨﻬﺎ ﺃﺼﺒﺢ ﻴﻌﻜﺱ ﻫﻭﻴﺔ ﺴﻜﺎﻨﻬﺎ ﻭﺃﺼﺤﺎﺒﻬﺎ‪ ،‬ﻓﻘﺩ ﺘﻡ ﻫﺩﻡ ﻭﺇﺯﺍﻝـﺔ ﺃﻭ ﺇﻀـﺎﻓﺔ ﻋﻨﺎﺼـﺭ‬

‫ﺇﻨﺸﺎﺌﻴﺔ ﻫﺎﻤﻪ ﻝﻠﻭﺼﻭل ﻝﻠﻨﺘﺎﺌﺞ ﺍﻝﻤﺭﺠﻭﺓ ﺨﺎﺼﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺘﻲ ﺘﻡ ﺒﻴﻌﻬﺎ ﻤﻥ ﺃﺼﺤﺎﺒﻬﺎ ﺍﻷﺼﻠﻴﻴﻥ‪،‬‬
‫ﻤﻤﺎ ﺸﻜل ﻓﺠﻭﻩ ﻤﺎ ﺒﻴﻥ ﺍﻝﻤﺼﻤﻡ ﺍﻷﻭل ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﺍﻝﺠﺩﻴﺩ‪ ،‬ﻤﻊ ﺍﻝﺘﺄﻜﻴﺩ ﺃﻥ ﺘﻠﻙ ﺍﻝﻔﺠﻭﺓ ﺒﻴﻥ ﺍﻝﻤﺼﻤﻡ‬
‫ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻗﺩ ﺘﺅﺩﻱ ﺇﻝﻰ ﺍﻝﻔﺸل ﺍﻝﻭﻅﻴﻔﻲ ﻭﺍﻝﻤﻌﻴﺸﻲ ﻭﻤﻘﺩﺍﺭ ﺍﻝﻤﻘﺒﻭﻝﻴﺔ ﻭﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻠﻔﺭﺍﻍ‪ ،‬ﻝﻜﻥ ﻨﺠـﺩ‬

‫‪ 1‬ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ ‪120‬‬
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‫ﺃﻥ ﺇﻋﺎﺩﺓ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﻗﺩ ﻋﺎﻝﺞ ﺘﻠﻙ ﺍﻝﺴﻠﺒﻴﺔ ﻭﻴﺒﺩﻭ ﺫﻝﻙ ﻭﺍﻀـﺤﹰﺎ ﻤـﻥ ﺨـﻼل‬
‫ﺍﻝﺘﺒﺎﻴﻥ ﻓﻲ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻤﺴﺎﻗﻁ ﺍﻷﻓﻘﻴﺔ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫ﺸﻜل )‪ (4.3‬ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (1‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‪ .‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﻨﺠﺩ ﻤﺎﻝﻙ ﻫﺫﻩ ﺍﻝﻭﺤﺩﺓ ﺫﺍﺕ ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻤﻥ ﻭﺤﺩﺍﺕ ﺍﻝﻨﻤﻭﺫﺝ ﺍﻷﺼﻠﻲ ﺍﻷﻭل ﻭﺍﻝﺫﻱ ﻭﺭﺩ‬
‫ﺴﺎﺒﻘﺎﹰ‪ ،‬ﻗﺩ ﺃﺠﺭﻯ ﺒﻌﺽ ﺍﻝﺘﻌﺩﻴﻼﺕ ﻋﻠﻰ ﻭﺤﺩﺘﻪ ﺘﺒﻌﹰﺎ ﻝﺭﻏﺒﺘﻪ ﻭﺍﺤﺘﻴﺎﺠﻪ‪ ،‬ﻤﻨﻬﺎ‪:‬‬

‫ﻓﺭﻕ ﻓﻲ ﻤﻨﺎﺴﻴﺏ ﺍﻝﻤﺭﺍﻓﻕ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻠﻭﺤﺩﺓ ﻝﻬﺩﻑ ﺠﻤﺎﻝﻲ ﻓﻨﺠﺩ ﺼـﺎﻝﺔ ﺍﻝﻤـﺩﺨل ﺒﻤﻨﺴـﻭﺏ‬ ‫‪-‬‬
‫ﻤﺨﺘﻠﻑ ﻋﻥ ﺼﺎﻻﺕ ﺍﻝﻀﻴﺎﻓﺔ ﻭﻤﺨﺘﻠﻑ ﻋﻥ ﻤﻨﻁﻘﺔ ﺍﻝﻨﻭﻡ‪.‬‬

‫ﺇﻀﺎﻓﺔ ﻤﺴﺎﺤﺎﺕ ﻝﻠﺼﺎﻻﺕ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻋﻠﻰ ﺤﺴﺎﺏ ﺍﻝﺸﺭﻓﺎﺕ‪.‬‬ ‫‪-‬‬

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‫ﺇﻀﺎﻓﺔ ﻤﻨﻭﺭ "ﻜﻭﺭﺕ" ﺒﻬﺩﻑ ﺇﺩﺨﺎل ﻋﻨﺎﺼﺭ ﻤﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻌﻤﻕ ﺍﻝﻭﺤـﺩﺓ )ﺍﻝﻨﺒﺎﺘـﺎﺕ‬ ‫‪-‬‬
‫ﻭﺃﺸﻌﺔ ﺍﻝﺸﻤﺱ(‪.‬‬

‫‪1‬‬

‫‪2‬‬

‫‪3‬‬

‫‪4‬‬
‫ﺸﻜل )‪ (5.3‬ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (2‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‪ .‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺸﻜل )‪ (6.3‬ﺼﺎﻝﺔ ﺍﻝﻀﻴﺎﻓﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺸﻜل )‪ (7.3‬ﺼﺎﻝﺔ ﺍﻝﻤﺩﺨل ﻭﺍﻝﻤﻤﺭ ﺍﻝﻤﺅﺩﻱ ﻝﻤﻨﻁﻘﺔ ﺍﻝﻨﻭﻡ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺸﻜل )‪ (8.3‬ﺍﻝﻤﻁﺒﺦ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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 ‫ﺸﻜل )‪ (9.3‬ﻤﺩﺍﺨل ﺍﻝﻭﺤﺩﺓ ﻤﻥ ﺍﻝﺨﺎﺭﺝ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫‪2‬‬

‫‪4‬‬

‫‪3‬‬

‫‪1‬‬

‫ﺸﻜل )‪ (10.3‬ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (3‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‪ .‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺸﻜل )‪ (11.3‬ﺼﺎﻝﺔ ﺍﻝﻀﻴﺎﻓﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺸﻜل )‪ (12.3‬ﺼﺎﻝﺔ ﺍﻝﻤﻌﻴﺸﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺸﻜل )‪ (13.3‬ﺼﺎﻝﺔ ﺍﻝﻤﺩﺨل ﻭﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﻀﻴﺎﻓﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺸﻜل )‪ (14.3‬ﺍﻝﻤﻁﺒﺦ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﻓﻲ ﻨﻤﺎﺫﺝ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺜﻼﺜﺔ ﺍﻝﺴﺎﺒﻘﺔ ﻭﺍﻝﻤﻭﻀﺤﺔ ﺒﺎﻝﺼﻭﺭ‪ ،‬ﻜﺎﻥ ﺍﻝﻤﺎﻝﻙ ﻋﻠﻰ ﺘﻭﺍﻓﻕ‬
‫ﻭﺘﻭﺍﺼل ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺩﺍﺨﻠﻲ ﻭﻤﺘﺎﺒﻌﹰﺎ ﻷﺩﻕ ﺍﻝﺘﻔﺎﺼﻴل ﺃﺜﻨﺎﺀ ﻤﺭﺍﺤل ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﻨﻔﻴـﺫ‬

‫ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻤﻤﺎ ﺃﺩﻯ ﻷﻓﻀل ﺍﻝﻨﺘﺎﺌﺞ ﻝﺘﻠﺒﻴﺔ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﻤﺴـﺘﺨﺩﻡ ﺍﻝﻨﻔﺴـﻴﺔ ﻭﺍﻝﺴـﻠﻭﻜﻴﺔ ﻭﺍﻝﻭﻅﻴﻔﻴـﺔ‬
‫ﻭﺇﺤﺴﺎﺴﻪ ﺒﺎﻝﺭﻀﻰ ﺒﺸﻜل ﻋﺎﻡ ﻝﻤﺭﺍﻋﺎﺓ ﺍﺤﺘﻴﺎﺠﺎﺘﻪ ﺍﻝﺨﺎﺼﺔ‪ .‬ﻓﻘﺩ ﻝﻭﺤﻅ ﺃﻥ ﻫﻨﺎﻙ ﺘﻐﻴﻴﺭ ﻭﺍﻀـﺎﻓﺎﺕ‬
‫ﻋﻠﻰ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺴﻭﺍﺀ ﺒﺈﻋﺎﺩﺓ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻤﺜﺎل ﻋﻠﻰ ﺫﻝﻙ ﻓـﻲ ﺍﻝﻭﺤـﺩﺘﻴﻥ ﺍﻝﺜﺎﻨﻴـﺔ‬

‫ﻭﺍﻝﺜﺎﻝﺜﺔ ﻓﻘﺩ ﺘﻡ ﺘﻭﺯﻴﻊ ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﺨﺼﺼﺔ ﻝﻐﺭﻑ ﻨﻭﻡ ﺍﻷﻭﻻﺩ ﻝﺘﺼﺒﺢ ﺜﻼﺙ ﻏﺭﻑ ﺒﺩل ﺍﺜﻨﺘﻴﻥ ﺘﺒﻌﹰﺎ‬
‫ﻝﺤﺎﺠﺔ ﺍﻷﺴﺭﺓ ﻭﺤﺴﺏ ﻋﺩﺩ ﺃﻓﺭﺍﺩﻫﺎ‪ ،‬ﺃﻭ ﺒﺈﻀﺎﻓﺔ ﻤﺴﺎﺤﺎﺕ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻋﻠﻰ ﺤﺴﺎﺏ ﺍﻝﻔﻀﺎﺀ‬
‫ﺍﻝﺨﺎﺭﺠﻲ ﺍﻝﻤﺤﻴﻁ‪.‬‬

‫ﺃﻤﺎ ﻓﻲ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺘﺎﻝﻴﺔ )ﺭﻗﻡ ‪ (4‬ﺫﺍﺕ ﺍﻝﻤﺴﻘﻁ ﺍﻷﻓﻘﻲ ﻤﻥ ﻭﺤﺩﺍﺕ ﺍﻝﻨﻤﻭﺫﺝ ﺍﻷﻭل ﻓﻲ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻷﺼﻠﻲ ﻝﻭﺤﺩﺍﺕ ﺍﻹﺴﻜﺎﻥ‪ ،‬ﻗﺩ ﺍﻝﺘﺯﻡ ﺍﻝﻤﺎﻝﻙ ﺒﺎﻹﻁﺎﺭ ﺍﻝﻌﺎﻡ ﻝﻠﺘﺼﻤﻴﻡ ﻤﻊ ﺘﻌﺩﻴل ﺩﺍﺨﻠﻲ ﺒﺴﻴﻁ‬
‫ﻓﻲ ﻋﻤل ﺍﺘﺼﺎل ﻤﺒﺎﺸﺭ ﺒﻴﻥ ﺍﻝﻤﻁﺒﺦ ﻭﻤﻨﻁﻘﺔ ﻁﻌﺎﻡ ﺍﻝﻀﻴﻭﻑ‪.‬‬

‫ﺸﻜل )‪ (15.3‬ﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ )‪ (4‬ﻤﺴﻘﻁ ﺃﻓﻘﻲ ﻝﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﺘﻡ ﺘﻌﺩﻴﻠﻬﺎ ﻭﻓﻘﺎ ﻝﻁﻠﺏ ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﻤﺎﻝﻙ ﺍﻝﻭﺤﺩﺓ‪ .‬ﺭﺴﻡ ﺍﻝﺒﺎﺤﺜﺔ(‬

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 ‫‪ 2.2.3‬ﺘﻐﻴﺭ ﺸﻜل ﺍﻝﻔﻀﺎﺀ ﺍﻝﺴﻜﻨﻲ ﺍﻝﺩﺍﺨﻠﻲ‬

‫ﺇﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺒﻨﻰ ﺍﻝﺠﻴﺩ ﺒﺸﻜل ﻋﺎﻡ ﻴﺄﺨﺫ ﺒﻨﻅـﺭ ﺍﻻﻋﺘﺒـﺎﺭ ﻁﺒﻴﻌـﺔ ﺍﻝﻔﻌﺎﻝﻴـﺎﺕ‪،‬‬

‫ﻭﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺸﻜل ﺍﻝﻔﻀﺎﺌﻴﺔ‪ ،‬ﻭﺍﻝﻤﻘﻴﺎﺱ‪ ،‬ﻭﺍﻝﻤﺴﺎﺤﺔ ﻭﺍﻝﻨﺴﺏ‪ ،‬ﻭﻋﻼﻗﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻤﻊ ﺒﻌﻀﻬﺎ‬
‫ﻭﻤﻊ ﻤﺎ ﺘﺤﺘﻭﻱ ﻤﻥ ﻋﻨﺎﺼﺭ ﻭﺃﺜﺎﺙ‪ ،‬ﻤﻊ ﺍﻝﻌﻠﻡ ﺃﻥ ﺫﻝﻙ ﻴﻜﻭﻥ ﺃﺼﻌﺏ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻘﺎﺌﻤـﺔ‬
‫ﻝﺨﺼﻭﺼﻴﺔ ﻓﺭﺍﻏﺎﺘﻬﺎ ﻭﻭﻅﺎﺌﻔﻬﺎ‪ ،‬ﻓﺎﻝﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ ﺍﻝﻘﺎﺌﻡ ﻋﻨﺩﻤﺎ ﻴﻌﺎﺩ ﺘﺼﻤﻴﻤﻪ ﺩﺍﺨﻠﻴـﺎ ﻻﺴـﺘﻌﻤﺎﻻﺕ‬

‫ﻤﻌﻴﺸﻴﺔ ﺠﺩﻴﺩﺓ ﻤﺨﺘﻠﻔﺔ ﻋﻥ ﺍﺴﺘﺨﺩﺍﻤﺎﺘﻬﺎ ﺍﻷﺼﻠﻴﺔ ﺃﻭ ﻤﺎ ﻜﺎﻥ ﻤﻭﺠﻭﺩﺍﹰ‪ ،‬ﺘﺨﺘﻠﻑ ﻋﻥ ﺍﻝﻤﺒﻨﻰ ﺍﻝﻤﺘﻜﺎﻤـل‬
‫ﻤﻌﻤﺎﺭﻴﺎ ﻤﻥ ﺤﻴﺙ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻓﻔﻲ ﺍﻝﺤﺎﻝﺔ ﺍﻷﻭﻝـﻰ ﻴﺠـﺏ ﺃﻥ ﺘـﻼﺀﻡ‬
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‫ﺍﻝﻔﻌﺎﻝﻴﺎﺕ ﻤﺘﻁﻠﺒﺎﺕ ﺸﻜل ﺍﻝﻔﻀﺎﺀ ﻓﻀﻼ ﻋﻥ ﻅﺭﻭﻑ ﺍﻝﺘﻐﻴﻴﺭ ﻭﺘﻁﻭﻴﺭ ﺍﻝﻔﺭﺍﻍ ﻝﻠﻔﻌﺎﻝﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ‪.‬‬

‫ﻓﻔﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻝﻺﺴﻜﺎﻥ ﺘﺤﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻨﺠﺩ ﺃﻥ ﻜﺜﻴﺭﹰﺍ ﻤﻥ ﺃﺼﺤﺎﺏ ﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﻗﺩ‬
‫ﻗﺎﻤﻭﺍ ﺒﺸﺭﺍﺌﻬﺎ ﻭﻫﻲ ﺒﺤﺎﻝﺔ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻌﻅﻡ ﺍﻝﻤﻜﺘﻤل ﺃﻭ ﻏﻴﺭ ﺍﻝﻤﻜﺘﻤل ﺃﺤﻴﺎﻨﺎﹰ‪ ،‬ﻭﺍﻝﺫﻱ ﻜﺎﻥ ﻓﻘﻁ ﻋﺒـﺎﺭﺓ‬
‫ﻋﻥ ﺃﺴﺎﺴﺎﺕ ﻭﺃﻋﻤﺩﺓ ﺃﻭ ﻋﺒﺎﺭﺓ ﻋﻥ ﺒﻨﺎﺀ ﻁﺎﺒﻕ ﺘﺴﻭﻴﺔ ﻴﺭﺍﺩ ﺒﻨﺎﺀ ﺍﻝﻁﺎﺒﻕ ﺍﻝﺭﺌﻴﺴﻲ ﻋﻠﻴﻬﺎ‪ ،‬ﻝﺫﻝﻙ ﻜﺎﻨﺕ‬

‫ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﻐﻴﻴﺭ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﻤﺎ ﻴﺘﻨﺎﺴﺏ ﻤﻊ ﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺴﺎﻜﻥ ﺍﻝﺠﺩﻴﺩ ﻤﺘﺎﺤﺔ‪ ،‬ﻨﺎﻫﻴﻙ ﺃﻥ ﻋﺩﺩﹰﺍ‬
‫ﻤﻥ ﺃﺼﺤﺎﺏ ﺃﻭ ﻤﻼﻙ ﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻗﺩ ﺴﺠﻠﻭﺍ ﻻﺴﺘﻤﻼﻜﻬﺎ ﺒﺎﻝﺘﺴﺠﻴل ﻭﻤﻥ ﺒﺩﺍﻴـﺔ ﻓﻜـﺭﺓ‬
‫ﻼ‪.‬‬
‫ﺍﻹﺴﻜﺎﻥ ﺤﻴﺙ ﻝﻡ ﻴﻜﻥ ﺍﻹﺴﻜﺎﻥ ﻗﺩ ﺍﻨﺘﻘل ﻝﻤﺭﺤﻠﺔ ﺍﻝﺘﻨﻔﻴﺫ ﺃﺼ ﹰ‬

‫ﻜﻤﺎ ﻭﻴﺠﺏ ﺃﻥ ﺘﺘﻭﻓﺭ ﻝﺩﻯ ﺍﻝﻤﺼﻤﻡ ﻤﻌﻠﻭﻤﺎﺕ ﺤﻭل ﺍﻝﻔﻌﺎﻝﻴﺔ ﺍﻝﻤﺤﺩﺩﺓ ﻤﻥ ﺤﻴـﺙ ﺍﻝﻤﺘﻁﻠﺒـﺎﺕ‬
‫ﻭﺍﻻﺤﺘﻴﺎﺠﺎﺕ‪ ،‬ﻭﺒﺎﻝﺘﺎﻝﻲ ﺭﺒﻁ ﻫﺫﻩ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﻤﻊ ﺇﻤﻜﺎﻨﻴﺔ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻤﺒﻨﻰ ﻓﻲ ﺍﺴـﺘﻴﻌﺎﺏ‬
‫ﺍﻝﻭﻅﻴﻔﺔ ﺍﻝﻤﺭﺸﺤﺔ‪.‬‬

‫"ﻭﻫﻨﺎﻙ ﻨﻭﻋﺎﻥ ﻤﻥ ﺍﻝﺘﻐﻴﺭﺍﺕ‪:‬‬

‫‪ -‬ﺘﻐﻴﻴﺭﺍﺕ ﺩﺍﺌﻤﺔ‪ :‬ﻭﻫﻲ ﺘﻐﻴﻴﺭﺍﺕ ﻓﻲ ﺤﺩﻭﺩ ﻓﻀﺎﺀ ﺍﻝﺩﺍﺨل ﻭﻫﻲ ﺫﺍﺕ ﻁﺒﻴﻌﺔ ﺩﺍﺌﻤﺔ‪ ،‬ﻤﺜـل ﺘﻭﺴـﻴﻊ‬
‫ﺍﻝﻤﺒﻨﻰ ﺃﻭ ﺍﻝﺘﻌﻭﻴﺽ ﻋﻥ ﺠﺯﺀ ﻏﻴﺭ ﻤﻭﺠﻭﺩ ﺒﺤﻴﺙ ﺃﻥ ﺃﻱ ﺘﻐﻴﻴﺭ ﻓﻲ ﺍﻝﺤﺩﻭﺩ ﺍﻝﻔﻴﺯﻴﺎﺌﻴﺔ ﻝﻠﻔﻀﺎﺀ ﻻﺒﺩ‬

‫ﻭﺍﻥ ﺘﻜﻭﻥ ﻤﺨﻁﻁﺔ ﺒﺤﻴﺙ ﺃﻥ ﻜﻤﺎل ﺍ ﻝﻤﺒﻨﻰ ﺍﻹﻨﺸﺎﺌﻲ ﻻ ﻴﺘﺄﺜﺭ‪.‬‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ ﺨﻠﻑ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪73‬‬ ‫‪1‬‬

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‫‪ -‬ﺘﻐﻴﻴﺭﺍﺕ ﻤﺅﻗﺘﺔ‪ :‬ﻭﻫﻲ ﺘﻐﻴﻴﺭﺍﺕ ﻏﻴﺭ ﺇﻨﺸﺎﺌﻴﺔ ﻭﻤﺘﻤﻤﺔ‪ ،‬ﻤﺜل ﺇﻀﺎﻓﺔ ﻗﺎﻁﻊ ﺃﻭ ﻋﻨﺼﺭ ﻤﻌﻴﻥ ﺃﻭ ﺇﻀﺎﻓﺔ‬
‫ﻤﻜﻤﻼﺕ ﺘﺼﻤﻴﻤﻴﺔ )ﺇﻀﺎﺀﺓ‪ ،‬ﻨﻅﻡ ﺘﻜﻴﻴﻑ‪..‬ﺍﻝﺦ( ﻴﺤﺘﺎﺠﻬﺎ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺩﺍﺨﻠﻲ ﻓـﻲ ﻤﺭﺤﻠـﺔ ﻤﻌﻴﻨـﺔ‪.‬‬

‫ﻭﺍﻹﻀﺎﻓﺎﺕ ﻭﺍﻝﺘﻌﺩﻴﻼﺕ ﻴﻔﻀل ﺃﻥ ﻴﻜﻭﻥ ﻋﻤﻠﻬﺎ ﺒﺤﻴﺙ ﻝﻭ ﺘﻡ ﺇﺯﺍﻝﺘﻬﺎ ﺃﻭ ﺘﻐﻴﻴﺭﻫﺎ ﻤﺴﺘﻘﺒﻼ ﻓﺈﻨﻬﺎ ﻝﻥ‬
‫ﺘﺅﺜﺭ ﻋﻠﻰ ﻭﺤﺩﺓ ﺍﻝﻤﻨﺸﺄ ﻭﺸﻜﻠﻪ ﺇﻻ ﻓﻲ ﺤﺩﻭﺩ ﻤﻌﻴﻨﺔ ﺘﺘﻁﻠﺒﻬﺎ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻝﺤﺎﺠـﺔ ﺇﻝـﻰ‬
‫ﻤﻼﺌﻤﺔ ﺍﻻﺴﺘﺨﺩﺍﻡ ﻝﺸﻜل ﻓﻀﺎﺀﺍﺕ ﺍﻝﻤﺒﻨﻰ ﺍﻝﺩﺍﺨﻠﻴﺔ"‪.1‬‬

‫ﻭﻫﻨﺎ ﻨﺴﺘﻁﻴﻊ ﺍﻝﻘﻭل ﺃﻥ ﺍﻝﻬﺩﻑ ﻤﻥ ﺍﻋﺎﺩﺓ ﺘﺼﻤﻴﻡ ﺃﻭﺘﻐﻴﻴﺭ ﺍﻻﺴﺘﺨﺩﺍﻡ ﻷﻱ ﻓﻀﺎﺀ ﻤﻌﻤـﺎﺭﻱ‬
‫ﻫﻭ ﺘﻁﻭﻴﺭ ﺍﻝﻨﻭﺍﺤﻲ ﺍﻻﺴﺘﺨﺩﺍﻤﻴﺔ ﻭﺍﻝﻤﻅﻬﺭ ﻭﺍﻝﻘﻴﻤﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﻌﻤﻠﻴﺎﺕ ﺍﻝﻬﻨﺩﺴﻴﺔ‪ ،‬ﻭﻫﺫﺍ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ‬
‫ﻫﻭ ﻤﻥ ﺃﺠل ﺭﺍﺤﺔ ﺍﻝﺴﺎﻜﻥ ﻭﺘﻌﺯﻴﺯ ﺍﻨﺘﻤﺎﺅﻩ ﻝﻤﺴﻜﻨﻪ‪ .‬ﻭﻤﻥ ﺍﻷﻤﺜﻠﺔ ﺍﻝﺤﻴﺔ ﻋﻠﻰ ﻫﺫﺍ ﻤﺎ ﺘﻡ ﺘﺤﻘﻴﻘﻪ ﻓﻲ‬
‫ﻓﻀﺎﺀﺍﺕ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻭﺍﻝﻤﻭﻀﺤﺔ ﻓﻲ ﺘﺒﺎﻴﻥ ﺍﻝﻤﻌﺎﻝﺠﺎﺕ ﻓﻲ ﺍﻝﺼﻭﺭ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫ﺸﻜل )‪ (16.3‬ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﻤﻁﺎﺒﺦ ﺍﻝﻭﺤﺩﺍﺕ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ ﺨﻠﻑ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،2005 ،‬ﺹ ‪74-73‬‬ ‫‪1‬‬

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‫ﺸﻜل )‪ (17.3‬ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻀﻴﺎﻓﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺸﻜل )‪ (18.3‬ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺸﻜل )‪ (19.3‬ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻁﻌﺎﻡ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺸﻜل )‪ (20.3‬ﺘﺒﺎﻴﻥ ﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓﻲ ﺼﺎﻝﺔ ﺍﻝﻤﺩﺨل ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

‫‪121‬‬
‫ﺸﻜل )‪ (21.3‬ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﺤﻴﻁﺔ ﻭﻤﺩﺍﺨل ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺸﻜل )‪ (22.3‬ﻤﻌﺎﻝﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻝﺨﺎﻤﺎﺕ ﻤﺘﻨﻭﻋﺔ ﻭﺘﺸﻜﻴﻼﺕ ﻓﻨﻴﺔ ﺠﻤﺎﻝﻴﺔ ﻓﻲ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻭﺤﺩﺍﺕ‬
‫ﺍﻝﺴﻜﻨﻴﺔ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺜﺔ(‬

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 ‫‪ 3.2.3‬ﺁﻝﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺘﺒﻌﺎ ﻝﻌﻼﻗﺔ )ﺍﻝﻤﺼﻤﻡ – ﺍﻝﻤﺴﺘﺨﺩﻡ(‬

‫ﺇﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻤﺤﻴﻁﺔ ﺒﺎﻝﻔﺭﺩ ﻭﺍﻝﺘﻲ ﻨﺸﺄ ﺒﻬﺎ ﻭﺘﻔﺎﻋل ﻤﻌﻬﺎ ﻫﻲ ﻤﻥ ﺃﻫﻡ ﻤﺼـﺎﺩﺭ ﺍﻝﻤﻌﻠﻭﻤـﺎﺕ‬

‫ﻭﻤﻌﻁﻴﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻪ‪ ،‬ﻭﺒﺎﻝﺘﺎﻝﻲ ﺁﻝﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ‪ ،‬ﺤﻴﺙ ﺃﻥ ﻤﺘﻁﻠﺒﺎﺘﻪ ﻜﻤﺴـﺘﺨﺩﻡ ﻝﻠﻔـﺭﺍﻍ‬
‫ﺘﺘﺤﺩﺩ ﺒﺴﻠﻭﻜﻪ ﻭﻤﺤﻴﻁﻪ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻭﺍﻷﺴﺭﻱ‪ ،‬ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻨﺎﺠﺢ ﻫﻭ ﺍﻝـﺫﻱ ﻴﻼﺌـﻡ ﺍﻻﺤﺘﻴﺎﺠـﺎﺕ‬
‫ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﺒﻴﺌﺔ‪،‬ﻤﻊ ﻤﺭﺍﻋﺎﺓ ﺤﺴﻥ ﺃﺩﺍﺀ ﺍﻝﻭﻅﻴﻔﺔ ﻭﺤﺴﻥ ﺍﻝﻤﻅﻬﺭ ﻭﻤﻼﺌﻤﺔ ﺍﻝﺘﻜﺎﻝﻴﻑ‪.‬‬

‫ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺘﺴﺘﻨﺩ ﻋﻠﻰ ﻋﻨﺼﺭﻴﻥ ﻤﻬﻤﻴﻥ‪ ،‬ﺍﻷﻭل ﻫﻭ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻨﻔﺴﻪ ﻭﺍﻝﺜﺎﻨﻲ ﻫﻭ‬
‫ﻼ ﻤﻬﻤﺎ ﻓـﻲ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﻝﻜﻥ ﺩﺭﺍﺴﺔ ﺴﻠﻭﻙ ﺍﻝﻤﺴﺘﺨﺩﻤﻴﻥ ﻝﻠﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻋﺘﻤﺎﺩﻩ ﻴﺸﻜل ﻋﺎﻤ ﹰ‬
‫ﺃﺴﻠﻭﺏ ﺍﻝﺘﻐﺫﻴﺔ ﺍﻝﻤﺭﺘﺩﺓ ﻹﻋﺎﺩﺓ ﺍﻝﻨﻅﺭ ﻓﻲ ﺼﻴﺎﻏﺔ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‪ .‬ﺇﻥ ﻤﺸـﺎﺭﻜﺔ ﺍﻝﺯﺒـﻭﻥ ﺃﻭ‬

‫ﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﺇﻥ ﻭﺠﺩﺕ ﻏﺎﻝﺒﺎ ﻤﺎ ﺘﻜﻭﻥ ﻤﺘﻘﻁﻌﺔ ﺒﺴﺒﺏ ﻏﻴﺎﺏ ﺒﺭﻨﺎﻤﺞ ﻭﺍﻀﺢ ﻭﺼـﺭﻴﺢ ﻹﺸـﺭﺍﻜﻬﻡ‬
‫ﻀﻤﻥ ﺍﻝﻔﺭﻴﻕ ﺍﻝﺘﺼﻤﻴﻤﻲ‪،‬ﻭﺫﻝﻙ ﺒﺴﺒﺏ ﺃﻥ ﺍﻷﺴﻠﻭﺏ ﺃﻭ ﺍﻝﻤﻨﻬﺞ ﺍﻝﻤﺘﺒﻊ ﺃﺜﻨﺎﺀ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻤـﻥ‬
‫ﻗ‪‬ﺒل ﺍﻝﻤﺼﻤﻡ ﻴﻜﻭﻥ ﺃﺴﻠﻭﺏ ﺤﺩﺴﻲ ﻏﻴﺭ ﻭﺍﻀﺢ‪ ،‬ﻭﺃﺤﻴﺎﻨﹰﺎ ﻴﻜﻭﻥ ﺃﺴﻠﻭﺒﻪ ﻤﻨﻬﺠﻲ ﻭﺍﻀﺢ ﻴﺘﻤﻜﻥ ﻓﻴـﻪ‬

‫ﻫﺅﻻﺀ )ﺍﻝﺯﺒﻭﻥ ﺃﻭ ﺍﻝﻤﺴﺘﺨﺩﻡ( ﻤﻥ ﺇﺒﺩﺍﺀ ﺭﺃﻴﻬﻡ ﻓﻲ ﻜل ﺨﻁﻭﺓ ﺃﺜﻨﺎﺀ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‪ ،‬ﻭﻋﻠﻴﻪ ﻴﻤﻜﻥ‬
‫ﺍﻋﺘﻤﺎﺩ ﻋﺩﺓ ﻨﻤﺎﺫﺝ ﻝﻬﺫﺍ ﺍﻝﺘﻌﺎﻭﻥ ﻝﻜل ﻤﻨﻬﻡ ﻝﻪ ﺴﻠﺒﻴﺎﺘﻪ ﻭﺍﻴﺠﺎﺒﻴﺎﺘﻪ ﻜﻤﺎ ﻫﻭ ﻤﻭﻀـﺢ ﻓـﻲ ﺍﻷﺸـﻜﺎل‬
‫‪1‬‬
‫ﺍﻝﺘﺎﻝﻴﺔ‪".‬‬

‫ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ ﺃﺤﻤﺩ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ ‪155-154‬‬ ‫‪1‬‬

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‫ﻋﻤﻠﻴﺔ ﻤﺘﻭﺍﺯﻨﺔ ﻓﻲ ﺍﻋﺘﻤﺎﺩ ﺭﺃﻱ‬ ‫ﺍﻝﺯﺒﻭﻥ‬ ‫ﺍﻝﻔﺭﻴﻕ‬

‫ﺍﻝﺯﺒﻭﻥ ﻭﺍﻫﻤﺎل ﻤﺴﺘﺨﺩﻡ ﺍﻝﻔﻀﺎﺀ‬ ‫ﻭﻤﺘﻁﻠﺒﺎﺘﻪ‬ ‫ﺍﻝﺘﺼﻤﻴﻤﻲ‬

‫ﻏﺎﻝﺒﺎ ﻤﺎ ﻴﺴﻴﻁﺭ ﺍﻝﻤﻌﻤﺎﺭ ﻋﻠﻰ ﺫﻭﻕ‬ ‫ﺍﻝﻔﺭﻴﻕ‬

‫ﺍﻝﺯﺒﻭﻥ‬
‫ﺍﻝﺯﺒﻭﻥ ﺒﺴﺒﺏ ﺨﺒﺭﺘﻪ ﺍﻝﻔﻨﻴﺔ‬ ‫ﺍﻝﺘﺼﻤﻴﻤﻲ‬

‫ﺍﻝﻤﺴﺘﺨﺩﻡ‬ ‫ﺍﻝﻀﻭﺍﺒﻁ ﺍﻝﻔﻨﻴﺔ‬

‫ﻝﻠﻔﻀﺎﺀ‬ ‫ﺍﻝﻌﺎﻤﺔ ﻝﻠﺩﻭﻝﺔ‬ ‫ﺍﻝﻔﺭﻴﻕ‬
‫ﺍﻝﺘﺼﻤﻴﻤﻲ‬

‫ﺍﻋﺘﻤﺎﺩ ﺃﺴﻠﻭﺒﻴﺔ ﻭﺍﻀﺤﺔ‬

‫ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ‬

‫ﺍﻝﺒﺤﻭﺙ‬ ‫ﺍﻝﺘﺨﺼﺼﺎﺕ‬

‫ﺍﻝﺯﺒﻭﻥ‬ ‫ﺍﻝﻌﻠﻤﻴﺔ‬ ‫ﺍﻝﻬﻨﺩﺴﻴﺔ‬

‫ﺸﻜل )‪ (23.3‬ﻨﻤﻭﺫﺝ ﺍﻝﺘﻌﺎﻭﻥ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ‪(155‬‬

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 ‫ﻜﻴﻔﻴﺔ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﺘﺼﻤﻴﻤﻲ‪:‬‬

‫ﺘﺭﺍﻜﻡ‬ ‫ﻤﺘﻁﻠﺒﺎﺕ‬ ‫ﻤﻤﺎﺭﺴﺔ‬ ‫ﺘﺭﺍﻜﻡ‬

‫ﻤﻌﻠﻭﻤﺎﺕ‬ ‫ﺍﻝﺼﻭﺭﺓ ﺍﻝﺫﻫﻨﻴﺔ‬ ‫ﺍﻝﺼﻭﺭﺓ ﺍﻝﺫﻫﻨﻴﺔ‬ ‫ﺍﻝﻤﺸﺎﻫﺩﺓ‬

‫ﻝﻠﻤﻌﻤﺎﺭ‬ ‫ﻝﻠﺯﺒﻭﻥ‬

‫ﺒﺤﻭﺙ‬ ‫ﺘﻘﻴﻴﻡ ﻤﺸﺎﺭﻴﻊ‬ ‫ﺍﺴﺘﺸﺎﺭﺍﺕ‬

‫ﺴﺎﺒﻘﺔ‬

‫ﺍﻝـــﺯﻤـــﻥ‬
‫ﺼﻭﺭﺓ ﺫﻫﻨﻴﺔ‬
‫ﺹ‪1‬‬
‫ﻤﺤﺩﺩﺓ ﺒﺯﻤﻥ‬
‫ﻤﻌﻴﻥ‬

‫ﺼﻭﺭﺓ ﺫﻫﻨﻴﺔ‬
‫ﻤﻨﻘﺤﺔ ﻋﺒﺭ‬
‫ﺍﻝﺯﻤﻥ‬

‫ﺼﻭﺭﺓ ﺃﺨﺭﻯ‬ ‫ﺹ‪2‬‬

‫ﻤﻨﻘﺤﺔ‬

‫ﺸﻜل )‪ (24.3‬ﻨﻤﻭﺫﺝ ﺍﻝﺘﻌﺎﻭﻥ ﻓﻲ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ ‪(156‬‬

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 ‫‪ 4.2.3‬ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﺎﻨﻲ‬

‫ﻴﺘﻡ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ ﺒﺸﻜل ﺩﺍﺌﻡ ﻭﻤﺴﺘﻤﺭ ﻭﺘﻠﻘﺎﺌﻲ ﺒﻘﺼﺩ ﺃﻭ ﻋﻥ ﻏﻴﺭ ﻗﺼﺩ‪ ،‬ﻭﺫﻝﻙ ﺒﺄﻥ ﺍﻝﻤﺴﺘﺨﺩﻡ‬
‫ﻴﻤﻜﻨﻪ ﺃﻥ ﻴﻜﻭﻥ ﺤﻜﻤﹰﺎ ﻋﻠﻰ ﻜﻔﺎﺀﺓ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻓﻲ ﻤﺴـﻜﻨﻪ ﻤـﻥ ﺤﻴـﺙ ﺴـﻬﻭﻝﺔ‬
‫ﺍﻻﺴﺘﺨﺩﺍﻡ ﻭﺍﻝﺤﺭﻜﺔ ﻭﺘﺤﻘﻴﻕ ﻤﺒﺩﺃ ﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺍﻝﺭﺍﺤﺔ ﻭﺍﻝﻬﺩﻭﺀ‪ ،‬ﺃﻭ ﻤﻥ ﺤﻴﺙ ﺠـﻭﺩﺓ ﺍﻝﺘﺸـﻁﻴﺏ‬
‫ﻭﺍﻹﻀﺎﺀﺓ ﻭﺍﻝﻤﻼﺌﻤﺔ ﺍﻝﺤﺭﺍﺭﻴﺔ‪ ،‬ﻜﻤﺎ ﻴﻤﻜﻥ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺃﻥ ﻴﻘﻴ‪‬ﻡ ﺃﺩﺍﺀ ﻤﺒﻨﻰ ﻤﻥ ﺨﻼل ﺨﺒﺭﺓ ﺴﺎﺒﻘﺔ ﻝﺩﻴﺔ‬
‫ﻤﻥ ﺍﺴﺘﺨﺩﺍﻡ ﻤﺒﻨﻰ ﺴﺎﺒﻕ ﻤﺜﻼ‪.‬‬

‫"ﺍﻝﻤﻔﻬﻭﻡ ﺍﻝﻌﺎﻡ‪ :‬ﻫﻭ ﺍﻝﺴﻌﻲ ﺇﻝﻰ ﺘﻁﻭﻴﺭ ﻓﻜﺭﺓ ﻤﺎ ﺃﻭ ﻤﺸﺭﻭﻉ ﺘﺼﻤﻴﻤﻲ ﺃﻭ ﺭﺃﻱ ﻤﻌﻴﻨﺎ ﺇﻝـﻰ‬
‫ﺍﻷﻓﻀل‪ .‬ﻭﺒﺫﻝﻙ ﻓﺈﻨﻪ ﻴﺸﻤل‪:‬‬

‫‪ -‬ﺘﺸﺨﻴﺹ ﺍﻝﻤﺸﺎﻜل ﺍﻝﺘﻲ ﺘﻜﻤﻥ ﺃﻭ ﺘﻅﻬﺭ ﻓﻲ ﺍﻝﺘﺼﺎﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻝﻠﺘﻐﻠﺏ ﻋﻠﻰ ﻗﺴﻡ ﻤﻨﻬﺎ ﻭﻋﻼﺠﻬﺎ‬
‫ﻭﺘﻔﺎﺩﻱ ﻭﻗﻭﻉ ﻤﺜل ﻫﺫﻩ ﺍﻷﺨﻁﺎﺀ ﻓﻲ ﺍﻝﻤﺸﺎﺭﻴﻊ ﺍﻝﻤﺴﺘﻘﺒﻠﻴﺔ‪.‬‬

‫‪ -‬ﺘﺤﺩﻴﺩ ﻤﻤﻴﺯﺍﺕ ﻭﺨﺼﺎﺌﺹ ﺍﻴﺠﺎﺒﻴﺔ ﻓﻲ ﺍﻝﻤﺸﺎﺭﻴﻊ ﺍﻝﺤﺎﻝﻴﺔ ﺒﺤﻴﺙ ﻴﻤﻜﻥ ﺃﻥ ﺘﻌﺯﺯ ﻭﺘﺴـﺘﺜﻤﺭ ﻓـﻲ‬
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‫ﺇﺜﺭﺍﺀ ﻭﺘﻁﻭﻴﺭ ﻤﺸﺎﺭﻴﻊ ﻭﺘﺼﺎﻤﻴﻡ ﻤﺴﺘﻘﺒﻠﻴﺔ‪" .‬‬

‫"ﻭﻋﻠﻴﺔ ﻓﺈﻥ ﺘﻘﻴﻴﻡ ﺃﺩﺍﺀ ﺃﻱ ﻤﺸﺭﻭﻉ ﻤﻌﻤﺎﺭﻱ ﻴﺸﻤل ﺍﻝﺠﻭﺍﻨﺏ ﺍﻝﺘﺎﻝﻴﺔ‪-:‬‬

‫‪ -1‬ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﻬﻨﺩﺴﺔ ‪Technical‬‬

‫‪ -2‬ﺍﻝﻭﻅﻴﻔﻴﺔ ‪Functional‬‬

‫‪ -3‬ﺍﻝﺒﻴﺌﺔ ‪Environmental‬‬

‫‪ -4‬ﺍﻝﺴﻠﻭﻜﻴﺔ ‪Behavioral‬‬

‫‪ -5‬ﺍﻝﻨﻭﺍﺤﻲ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺒﺤﻴﺙ ﻴﺭﺘﺒﻁ ﺒﻌﻭﺍﻁﻑ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﻤﺤﺘﻭﺍﻩ ﻭﺒﺫﻝﻙ ﻓﺎﻥ ﺸﻜل ﺍﻝﻤﺒﻨﻰ ﻴﻌﻜـﺱ‬
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‫ﺍﻝﺭﺍﺤﺔ ﺍﻝﻨﻔﺴﻴﺔ ﺤﺴﺏ ﻨﻭﻋﻴﺔ ﺍﻝﺘﺸﻜﻴل ﺍﻝﻤﺘﺒﻊ‪".‬‬

‫ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،1995 ،‬ﺹ ‪37‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺹ ‪141-140‬‬ ‫‪2‬‬

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‫‪ -6‬ﻭﺃﺭﻯ ﺃﻥ ﻫﻨﺎﻙ ﻋﻭﺍﻤل ﺃﺨﺭﻯ ﻏﻴﺭ ﻓﻨﻴﺔ ﻝﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﺎﻨﻲ ﺃﺫﻜﺭ ﻤﻨﻬـﺎ ﻋﻠـﻰ ﺴـﺒﻴل ﺍﻝﻤﺜـﺎل ﻻ‬
‫ﺍﻝﺤﺼﺭ‪:‬‬

‫· ﺍﻝﺘﻜﻠﻔﺔ ﺍﻝﻤﺎﻝﻴﺔ ﻭﺁﻝﻴﺎﺘﻬﺎ‪.‬‬

‫· ﻁﺒﻴﻌﺔ ﺍﻝﻤﻜﺎﻥ ﻭﺍﻝﺤﻲ‪ ،‬ﻭﺒﻌﺩﻩ ﺃﻭ ﻗﺭﺒﻪ ﻤﻥ ﻤﺭﻜﺯ ﺍﻝﻤﺩﻴﻨﺔ‪.‬‬

‫· ﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﻤﺘﺎﺤﺔ ﻭﺍﻝﺒﻨﻴﺔ ﺍﻝﺘﺤﺘﻴﺔ‪.‬‬

‫‪ 1.4.2.3‬ﺘﻘﻴﻴﻡ ﺃﺩﺍﺀ ﺍﻝﻤﺒﺎﻨﻲ ﺒﻌﺩ ﺍﻹﺸﻐﺎل‬

‫ﺘﻌﺘﺒﺭ ﻋﻤﻠﻴﺔ ﺘﻘﻴﻴﻡ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺒﻌﺩ ﺍﻹﺸﻐﺎل ﻤﺭﺤﻠﺔ ﻤﻥ ﻤﺭﺍﺤل ﺍﻝﻌﻤﻠﻴـﺔ ﺍﻝﺘﺼـﻤﻴﻤﻴﺔ‬
‫ﺍﻝﻤﺘﺘﺎﺒﻌﺔ ﻭﺍﻝﺘﻲ ﺘﺸﺘﻤل ﻋﻠﻰ‪ :‬ﺍﻝﺘﺨﻁﻴﻁ‪ ،‬ﺇﻋﺩﺍﺩ ﺍﻝﺒﺭﻨﺎﻤﺞ‪ ،‬ﺍﻝﺘﺼﻤﻴﻡ‪ ،‬ﺍﻹﻨﺸﺎﺀ‪ ،‬ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﺍﻹﺸﻐﺎل‪ ،‬ﺘﻘﻴﻴﻡ‬

‫ﻤﺎ ﺒﻌﺩ ﺍﻹﺸﻐﺎل‪ ،‬ﻭﻫﻲ ﺘﻬﺩﻑ ﺇﻝﻰ ﻤﻌﺭﻓﺔ ﻭﻤﻼﺌﻤﺔ ﺍﻝﻘﺭﺍﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻝﺘﻨﻔﻴﺫﻴﺔ ﺍﻝﺘﻲ ﺘـﻭﻓﺭ ﺃﺩﺍﺀ‬
‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻷﻤﺜل ﻝﻠﻤﺴﺘﺨﺩﻤﻴﻥ‪ ،‬ﻭﺫﻝﻙ ﺒﻐﺭﺽ ﺘﻼﻓﻲ ﺍﻝﻘﺼﻭﺭ ﻭﺘﻁﻭﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﺎﺕ ﺍﻝﻤﺴﺘﻘﺒﻠﻴﺔ‪.‬‬

‫"ﻭﻴﻤﻜﻥ ﺇﻴﺠﺎﺯ ﺃﻫﺩﺍﻑ ﻭﺘﻁﺒﻴﻘﺎﺕ ﺘﻘﻴﻴﻡ ﻤﺎ ﺒﻌﺩ ﺍﻹﺸﻐﺎل ﻓﻲ ﺍﻝﻨﻭﺍﺤﻲ ﺍﻵﺘﻴﺔ‪:‬‬

‫ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﻤﺨﺭﺠﺎﺕ ﺃﻋﻤﺎل ﺍﻝﺘﺼﻤﻴﻡ ﻓﻲ ﺘﻔﺎﺩﻱ ﻭﻗﻭﻉ ﺍﻝﻤﺸﺎﻜل ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‪.‬‬ ‫•‬

‫ﺤل ﺍﻝﻤﺸﺎﻜل ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺒﻌﺩ ﺤﺩﻭﺜﻬﺎ ﺒﺎﻝﻔﻌل ﻭﺍﻝﻨﺎﺘﺠﺔ ﻋﻥ ﺍﻻﺴﺘﻌﻤﺎل )ﺒﻴﻥ ﺍﻝﻤﺒﻨﻰ ﻭﺸﺎﻏﻠﻴﻪ(‪.‬‬ ‫•‬

‫ﺇﺤﺩﺍﺙ ﺍﻝﺘﻭﺍﺯﻥ ﺍﻝﻨﺴﺒﻲ ﻭﺍﻻﻨﺴﺠﺎﻡ ﺒﻴﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻭﺠﻭﺍﻨﺏ ﺍﺴﺘﻌﻤﺎﻝﻬﺎ‪.‬‬ ‫•‬

‫ﻓﺤﺹ ﻭﻤﺭﺍﺠﻌﺔ ﺃﺩﺍﺀ ﺍﻝﻤﻨﺸﺂﺕ ﺃﻭ ﺒﻌﺽ ﺠﻭﺍﻨﺒﻬﺎ‪.‬‬ ‫•‬

‫ﺘﻘﺩﻴﺭ ﺍﻻﺤﺘﻴﺎﺝ ﺍﻝﻔﻌﻠﻲ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺠﺩﻴﺩﺓ ﻤﻥ ﺨﻼل ﺘﻭﺜﻴﻕ ﺍﻝﻨﺠﺎﺤﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ ﻭﺃﻭﺠـﻪ ﺍﻝﻘﺼـﻭﺭ‬ ‫•‬
‫ﻭﺍﻝﺘﻐﻠﺏ ﻋﻠﻴﻬﺎ‪.‬‬

‫ﺘﻜﻭﻴﻥ ﻗﺎﻋﺩﺓ ﻤﻌﻠﻭﻤﺎﺕ ﻭﺭﺼﻴﺩ ﻤﺘﻤﻴﺯ ﻤﻥ ﺍﻝﻤﻌﺎﻴﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ‪.‬‬ ‫•‬

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‫ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﻤﺨﺭﺠﺎﺕ ﺍﻝﺘﻘﻴﻴﻡ ﻝﺘﺤﺴﻴﻥ ﺍﻝﻤﻌﺎﻴﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﻤﻁﺒﻘﺔ ﻋﻠﻰ ﺍﻝﻭﺤـﺩﺍﺕ ﺍﻝﺴـﻜﻨﻴﺔ‬ ‫•‬
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‫ﻭﺇﻋﺩﺍﺩ ﺍﻝﺨﻁﻭﻁ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻓﻲ ﻤﺠﺎﻻﺕ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﻌﻤﺭﺍﻥ‪".‬‬

‫‪ 2.4.2.3‬ﻋﻭﺍﻤل ﺃﺴﺎﺴﻴﺔ ﺘﺘﺤﻜﻡ ﻓﻲ ﺃﺩﺍﺀ ﺍﻝﻤﻨﺸﺂﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‬

‫"ﻫﻨﺎﻙ ﺜﻼﺙ ﻗﻭﻯ ﺃﺴﺎﺴﻴﺔ ﺘﺘﺤﻜﻡ ﻓﻲ ﻤﺩﻯ ﺘﻠﺒﻴﺔ ﺍﻝﻤﻨﺸﺂﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻝﻸﺩﺍﺀ ﺍﻝﻤﻁﻠﻭﺏ ﻤﻨﻬﺎ ﻤﻥ‬
‫ﺠﻬﺔ‪ ،‬ﻭﻜﻴﻔﻴﺔ ﺇﻴﺠﺎﺩ ﻤﺩﺍﺨل ﻤﻼﺌﻤﺔ ﻝﻤﻌﺎﻝﺠﺔ ﻫﺫﻩ ﺍﻝﺠﻭﺍﻨﺏ ﺒﻘﺼﺩ ﺘﺤﺴﻴﻥ ﺍﻷﺩﺍﺀ ﻤـﻥ ﺠﻬـﺔ ﺃﺨـﺭﻯ‪.‬‬

‫ﻭﻴﻤﻜﻥ ﺘﺭﻜﻴﺯ ﻫﺫﻩ ﺍﻝﻘﻭﺍﻋﺩ ﻓﻲ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻌﻨﺎﺼﺭ ﻫﻲ‪:‬‬

‫ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻔﻨﻴﺔ‪ :‬ﻭﺘﺸﻤل ﺍﻝﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﻤﻌﻨﻴﺔ ﺒﺎﻝﺼﺤﺔ ﻭﺍﻷﻤﻥ ﻭﺍﻷﻤﺎﻥ ﻝﺸﺎﻏﻠﻲ ﺍﻝﻤﻨﺸﺂﺕ‪.‬‬

‫ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻭﻅﻴﻔﻴﺔ‪ :‬ﻭﺘﻌﻨﻰ ﺒﻤﻭﻀﻭﻋﺎﺕ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺘﺤﻘﻴﻕ ﺍﻝﻔﺎﻋﻠﻴﺔ ﻭﺍﻝﻜﻔﺎﺀﺓ ﻝﻠﻤﻨﺸﺂﺕ‪.‬‬

‫ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻭﺘﻌﻨﻲ ﺍﻝﺠﻭﺍﻨﺏ ﺍﻝﻨﻔﺴﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻝﺸﺎﻏﻠﻲ ﺍﻝﻤﻨﺸﺂﺕ ﺒﻘﺼﺩ ﺘﺤﻘﻴـﻕ ﺍﻝﺭﻀـﻰ‬
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‫ﻭﺍﻝﺭﻓﺎﻫﻴﺔ ﺍﻝﻌﺎﻤﺔ‪".‬‬

‫ﻝﻘﺩ ﺘﻡ ﺍﻋﺘﻤﺎﺩ ﺁﻝﻴﺔ ﺍﻝﺘﻘﻴﻴﻡ ﻝﻠﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﻌﺩ ﺍﻹﺸﻐﺎل ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‪ ،‬ﻭﺫﻝﻙ ﻤﻥ ﺨﻼل‬

‫ﺇﺠﺭﺍﺀ ﺍﻝﻤﻘﺎﺒﻼﺕ ﻤﻊ ﺴﻜﺎﻥ ﺍﻝﻌﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ ﺴﺎﺒﻘﺔ ﺍﻝﺫﻜﺭ‪ ،‬ﺒﻬﺩﻑ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺍﻹﺠﺎﺒﺔ ﻋﻥ ﺃﺴـﺌﻠﺔ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﺒﺸﻜل ﻋﺎﻡ‪ ،‬ﺤﻴﺙ ﺃﻥ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻝﻬﺫﻩ ﺍﻝﻔﻀﺎﺀﺍﺕ ﻴﻌﺘﺒﺭ ﺤﻜﻤﹰﺎ ﻋﻠﻰ ﻜﻔﺎﺀﺘﻬﺎ ﻤـﻥ ﺍﻝﺠﻭﺍﻨـﺏ‬
‫ﺍﻝﻔﻨﻴﺔ ﺃﻭ ﺍﻝﻭﻅﻴﻔﻴﺔ ﺃﻭ ﺍﻝﺴﻠﻭﻜﻴﺔ ﺃﻭ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺃﻭ ﻏﻴﺭﻫﺎ‪.‬‬

‫ﻭﺃﻴﻀﹰﺎ ﻤﻥ ﺃﺠل ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺤﻘﻴﻘﺔ ﻤﺎ ﺇﺫﺍ ﻜﺎﻨﺕ ﻫﻨﺎﻙ ﻓﺠﻭﺓ ﻤﺎ ﺒﻴﻥ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴـﺘﺨﺩﻡ‬
‫ﺍﻝﻔﻌﻠﻲ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻭﺫﻝﻙ ﻨﻅﺭﹰﺍ ﻝﻤﺎ ﻴﻤﺜﻠﻪ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤﻥ ﺍﻝﺘﻘﻴﻴﻤﺎﺕ ﻓﻲ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻷﺩﺍﺀ ﺍﻝﻔﻌﻠﻲ ﻝﻠﻤﺒﻨـﻰ‬
‫ﺒﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺁﺭﺍﺀ ﻤﺴﺘﺨﺩﻤﻴﻪ ﺤﻴﺙ ﺃﻥ ﺍﻝﻌﻨﺼﺭ ﺍﻝﺒﺸﺭﻱ ﻴﻤﺜل ﺍﻝﻌﻨﺼﺭ ﺍﻷﺴﺎﺴﻲ ﻹﻨﺠـﺎﺡ ﻫـﺫﻩ‬

‫ﺍﻝﻤﻨﺸﺂﺕ‪ ،‬ﻜﻤﺎ ﺃﻨﻬﺎ ـ ﺃﻱ ﺍﻝﺘﻘﻴﻴﻤﺎﺕ ـ ﺘﻤﻜﻥ ﺍﻝﺩﺍﺭﺴﻴﻥ ﻤﻥ ﺍﻻﺴﺘﻔﺎﺩﺓ ﻝﻤﺭﺤﻠﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﺴـﺘﻘﺒﻠﻴﺔ‪،‬‬

‫ﺍﻝﺭﺸﻭﺩ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺴﻠﻴﻤﺎﻥ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺘﺄﺜﻴﺭ ﺍﻷﻨﻤﺎﻁ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻋﻠﻰ ﺘﺼﻤﻴﻡ ﺠﻨﺎﺡ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ‬ ‫‪1‬‬

‫ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜﺭﺭﺓ‪ ،‬ﻤﺤﺭﻡ ‪1425‬ﻫـ‪ ،‬ﺹ ‪78‬‬

‫ﺍﻝﻤﺭﺠﻊ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺹ ‪85‬‬ ‫‪2‬‬

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‫ﻭﺘﺤﺴﻴﻥ ﺃﺩﺍﺀ ﺍﻝﻤﺒﻨﻰ ﻤﻘﺎﺒل ﺍﻷﻫﺩﺍﻑ ﻭﺍﻝﻤﻌﺎﻴﻴﺭ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻭﺘﺤﺩﻴﺩ ﺤﺠﻡ ﺍﻝﻔﺠﻭﺓ ﺒـﻴﻥ ﺍﻻﺤﺘﻴﺎﺠـﺎﺕ‬
‫ﺍﻝﻔﻌﻠﻴﺔ ﻝﻠﻤﺴﺘﺨﺩﻤﻴﻥ ﻭﺒﻴﻥ ﺍﻷﺩﺍﺀ ﺍﻝﻔﻌﻠﻲ ﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﺴﻜﻥ ﺍﻝﻤﻨﻔﺫ ﻭﺃﻓﻜﺎﺭ ﺍﻝﻤﺼﻤﻤﻴﻥ‪.‬‬

‫ﻝﻜل ﻤﺎ ﺴﺒﻕ ﺃﺭﻯ ﺃﻥ ﻫﻨﺎﻙ ﺃﻫﻤﻴﺔ ﻭﺍﻀﺤﺔ ﻤﻥ ﻋﻤل ﺍﻝﺘﻘﻴﻴﻤﺎﺕ ﺍﻝﻌﺎﻤﺔ ﺃﻭ ﺍﻝﻤﺘﺨﺼﺼﺔ ﻝﻤﺎ‬
‫ﻝﻬﺎ ﻤﻥ ﺃﻫﻤﻴﺔ ﻭﻤﺭﺩﻭﺩ ﻋﻠﻰ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﺘﻌﻤل ﻋﻠﻰ ﺘﻘﻠﻴل ﺍﻝﺠﻬﺩ ﻭﺍﻝﺘﻜﺎﻝﻴﻑ‪ ،‬ﻭﺘﺨﺘﺼﺭ ﺯﻤﻥ‬
‫ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﻭﺘﻌﻤل ﻋﻠﻰ ﺨﻠﻕ ﺒﻴﺌﺔ ﻤﻨﺎﺴﺒﺔ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺍﻝﻤﺴﺘﻬﺩﻑ ﺍﻷﺴﺎﺴﻲ ﻤﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺃﻭ ﺍﻝﺘﻨﻔﻴﺫ‬

‫ﺃﺼﻼﹰ‪ ،‬ﻤﻤﺎ ﻴﻨﺘﺞ ﻋﻨﻪ ﺒﻴﺌﺔ ﻤﻨﺎﺴﺒﺔ ﺘﻌﻤل ﻋﻠﻰ ﺍﺴﺘﻘﺭﺍﺭ ﺍﻝﺴﺎﻜﻥ ﻤﻤﺎ ﻴﻨﻌﻜﺱ ﻋﻠﻰ ﺍﻝﺠﻭﺍﻨﺏ ﺍﻝﻨﻔﺴـﻴﺔ‬
‫ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﻤﺎﻝﻴﺔ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫‪ 3.3‬ﺍﻝﺠﺎﻨﺏ ﺍﻝﺘﻁﺒﻴﻘﻲ ﻝﻠﺤﺎﻝﺔ ﺍﻝﺩﺭﺍﺴﻴﺔ‬

‫‪ 1.3.3‬ﺇﺠﺭﺍﺀﺍﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ‬

‫ﻴﺘﻨﺎﻭل ﻫﺫﺍ ﺍﻝﻘﺴﻡ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻹﺠﺭﺍﺀﺍﺕ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ ﻝﻬﺎ‪ ،‬ﺤﻴﺙ ﺘﻘﻭﻡ ﺍﻝﺩﺍﺭﺴﺔ ﻤـﻥ ﺨﻼﻝـﻪ‬
‫ﺒﺘﻭﺼﻴﻑ ﺃﺩﻭﺍﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻤﻴﺩﺍﻨﻴﺔ ﻭﻫﻲ‪ :‬ﺇﺠﺭﺍﺀ ﺍﻝﻤﻘﺎﺒﻼﺕ ﺍﻝﻤﻴﺩﺍﻨﻴﺔ ﻤﻊ ﻋﻴﻨﺔ ﻤﻥ ﺴﻜﺎﻥ ﺍﻝﻭﺤـﺩﺍﺕ‬

‫ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ ﻓﻲ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ‪ ،‬ﺩﺍﺨل ﻫﺫﻩ ﺍﻝﻭﺤﺩﺍﺕ ﻭﺍﻝﻤﺩﻋﻤﺔ ﺘﻭﺜﻴﻘﻴـﹰﺎ‬
‫ﻻ ﻝﻠﻬﺩﻑ ﻤﻥ ﺫﻝﻙ ﺍﻹﺠﺭﺍﺀ‬
‫ﺒﺎﻝﺼﻭﺭ ﻭﺍﻝﻤﺨﻁﻁﺎﺕ‪ ،‬ﺜﻡ ﺘﺄﺘﻲ ﻤﺭﺤﻠﺔ ﺘﺤﻠﻴل ﻨﺘﺎﺌﺞ ﺃﺴﺌﻠﺔ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻭﺼﻭ ﹰ‬
‫ﺃﻭ ﺍﻷﺴﻠﻭﺏ‪.‬‬

‫‪ 2.3.3‬ﺍﻝﻬﺩﻑ ﻤﻥ ﺍﻝﻤﻘﺎﺒﻠﺔ‬

‫ﺘﻬﺩﻑ ﺍﻝﻤﻘﺎﺒﻠﺔ ﺇﻝﻰ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﺭﺃﻱ ﻋﻴﻨﺔ ﻤﻥ ﺴﺎﻜﻨﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼـﻠﺔ ﻓـﻲ‬
‫ﺃﻫﻤﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺃﺜﺭﻩ ﻓﻲ ﺘﻌﺯﻴﺯ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺘﺤﺴﻴﻥ ﺍﻝﻅﺭﻭﻑ ﺍﻝﻤﻌﻴﺸـﻴﺔ ﻓﻴﻬـﺎ‪،‬‬

‫ﺒﻬﺩﻑ ﺘﻁﻭﻴﺭ ﻭﺘﻔﻌﻴل ﺩﻭﺭ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﺜﻨﺎﺀ ﻋﻤﻠﻴﺔ ﺘﺼﻤﻴﻡ ﻭﺘﻨﻔﻴﺫ ﺍﻝﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻭﺒﺎﻝﺘـﺎﻝﻲ‬
‫ﺘﻁﻭﻴﺭ ﺘﺼﻤﻴﻤﻬﺎ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻴﺘﻨﺎﺴﺏ ﻤﻊ ﺍﻷﻨﺸﻁﺔ ﺍﻝﺘﻲ ﺘﻤﺎﺭﺱ ﻓﻴﻬﺎ ﻝﺘﻠﺒﻴﺔ ﺍﺤﺘﻴﺎﺠﺎﺘﻬﻡ ﺍﻝﺨﺎﺼﺔ‪.‬‬

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 ‫‪ 3.3.3‬ﻤﻔﺭﺩﺍﺕ ﺍﻝﻤﻘﺎﺒﻠﺔ‬

‫ﻜﻤﺎ ﺘﻡ ﺫﻜﺭﻩ ﺴﺎﺒﻘﹰﺎ ﻓﺈﻥ ﺍﻝﻬﺩﻑ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺔ ﻫﻭ ﻤﺤﺎﻭﻝﺔ ﺍﻹﺠﺎﺒﺔ ﻋـﻥ ﺍﻝﺴـﺅﺍل ﺍﻝﺭﺌﻴﺴـﻲ‬

‫ﻭﺍﻷﺴﺌﻠﺔ ﺍﻝﻔﺭﻋﻴﺔ ﺍﻝﻤﺭﺍﻓﻘﺔ ﻝﻬﺎ ﻭﺍﻝﺘﻲ ﺘﺩﻭﺭ ﺤﻭل ﺃﻫﻤﻴﺔ ﺩﻭﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ ﻓـﻲ‬
‫ﺘﻌﺯﻴﺯ ﻭﺇﻨﺠﺎﺡ ﻤﺤﺘﻭﻯ ﺘﻠﻙ ﺍﻝﻔﻀﺎﺀﺍﺕ ﻭﺒﺎﻝﺘﺎﻝﻲ ﺇﺸﺒﺎﻉ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﻏﻴﺭ ﺍﻝﻤﺎﺩﻴﺔ ﻝﻠﻘـﺎﻁﻨﻴﻥ ﻓﻴﻬـﺎ‪،‬‬
‫ﻭﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻝﻬﻡ ﻭﺍﻝﺘﻲ ﺘﺭﺘﺒﻁ ﺒﺄﻨﺸﻁﺔ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻜﺎﻓﺔ‪ ،‬ﻝﺫﻝﻙ ﻻﺒﺩ ﻤﻥ ﺇﻴﺠﺎﺩ ﻭﺴﻴﻠﺔ ﻝﺠﻤﻊ‬

‫ﺍﻝﺒﻴﺎﻨﺎﺕ ﻜﺨﻁﻭﺓ ﺃﺴﺎﺴﻴﺔ ﻻ ﻴﻜﺘﻤل ﺒﺩﻭﻨﻬﺎ ﺇﺠﺭﺍﺀ ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﻭﺘﻨﺒﻊ ﺃﻫﻤﻴﺔ ﺍﻝﺒﻴﺎﻨﺎﺕ ﻤﻥ ﻜﻭﻨﻬﺎ ﻻﺒﺩ ﻤـﻥ‬
‫ﺘﻭﻓﺭﻫﺎ ﻻﺨﺘﺒﺎﺭ ﻓﺭﻭﺽ ﺍﻝﺩﺭﺍﺴﺔ ﺜﻡ ﺍﻹﺠﺎﺒﺔ ﻋﻠﻰ ﺍﻝﺴﺅﺍل ﻭﺍﻷﺴﺌﻠﺔ ﺍﻝﻔﺭﻋﻴﺔ ﻝﻤﻭﻀـﻭﻉ ﺍﻝﺩﺭﺍﺴـﺔ‪،‬‬
‫ﻭﻝﺘﺤﻘﻴﻕ ﺫﻝﻙ ﻻﺒﺩ ﻤﻥ ﺠﻤﻊ ﺍﻝﺒﻴﺎﻨﺎﺕ ﺍﻝﻜﺎﻓﻴﺔ‪.‬‬

‫ﻭﺘﻌﺘﺒﺭ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻤﻥ ﺃﻜﺜﺭ ﺃﺴﺎﻝﻴﺏ ﺠﻤﻊ ﺍﻝﺒﻴﺎﻨﺎﺕ ﺸﻴﻭﻋﹰﺎ ﻭﺍﺴﺘﺨﺩﺍﻤﹰﺎ ﻭﺫﻝﻙ ﻝﺴﻬﻭﻝﺘﻬﺎ‪ ،‬ﻭﻋـﺩﻡ‬
‫ﺘﻨﺎﻗﺽ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻭﺍﺭﺩﺓ ﻓﻴﻬﺎ‪ ،‬ﻭﻝﻬﺎ ﻨﻭﻋﺎﻥ ﻫﻤﺎ ﺍﻝﻤﻘﺎﺒﻠﺔ ﺍﻝﻔﺭﺩﻴﺔ ﻭﺍﻝﻤﻘﺎﺒﻠﺔ ﺍﻝﺠﻤﺎﻋﻴـﺔ‪ .‬ﻭﺍﻝﻤﻘﺎﺒﻠـﺔ‬
‫ﺍﻝﺠﻤﺎﻋﻴﺔ ﺇﻤﺎ ﺃﻥ ﺘﻜﻭﻥ ﺒﻤﻘﺎﺒﻠﺔ ﻜل ﺍﻷﺸﺨﺎﺹ ﺍﻝﺫﻴﻥ ﻴﻤﺜﻠﻭﻥ ﻤﺠﺘﻤﻊ ﺍﻝﺩﺭﺍﺴﺔ ﺃﻭ ﺘﻜﻭﻥ ﻓﻲ ﺸﻜل ﺍﺴﺘﺒﻴﺎﻥ‬

‫ﻴﻭﺯﻉ ﻋﻠﻰ ﺍﻷﺸﺨﺎﺹ ﻤﻔﺭﺩﺓ ﺍﻝﺩﺭﺍﺴﺔ‪.‬‬

‫ﻭﻗﺩ ﺍﺴﺘﺨﺩﻤﺕ ﻫﻨﺎ ﻨﻤﻭﺫﺠﹰﺎ ﻝﻠﻤﻘﺎﺒﻠﺔ ﺍﻝﻔﺭﺩﻴﺔ ﻝﻌﻴﻨﺔ ﻤﺨﺘﺎﺭﺓ ﻤﻥ ﺴﻜﺎﻥ ﻫﺫﻩ ﺍﻝﻭﺤﺩﺍﺕ ﻭﺍﻝﺘـﻲ‬
‫ﺘﻀﻤﻨﺕ ﻋﺩﺓ ﺃﺴﺌﻠﺔ‪ ،‬ﺒﺩﺃﺘﻬﺎ ﺤﻭل ﺩﺭﺍﺴﺔ ﺍﻝﺒﻴﺎﻨﺎﺕ ﺍﻝﺸﺨﺼﻴﺔ ﻝﻠﺴﻜﺎﻥ ﻤﻥ ﺤﻴﺙ ﻋﺩﺩ ﺃﻓـﺭﺍﺩ ﺍﻷﺴـﺭﺓ‬

‫ﻭﺍﻝﻔﺌﺎﺕ ﺍﻝﻌﻤﺭﻴﺔ ﻝﻬﻡ ﻭﺒﺎﻝﺘﺎﻝﻲ ﻤﺴﺘﻭﺍﻫﻡ ﺍﻝﺘﻌﻠﻴﻤﻲ ﻭﺫﻝﻙ ﺤﺘﻰ ﻨﺴﺘﻁﻴﻊ ﺘﻜﻭﻴﻥ ﻓﻜـﺭﺓ ﻋـﻥ ﻤﺠﺘﻤـﻊ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻭﻫل ﻴﻔﻲ ﺒﺎﻝﻐﺭﺽ ﺍﻝﻤﻁﻠﻭﺏ ﺒﺸﻤﻭﻝﻪ ﻤﺨﺘﻠﻑ ﺍﻝﻔﺌﺎﺕ ﺍﻝﺴـﺎﻜﻨﺔ ﻋﻠـﻰ ﺍﺨـﺘﻼﻑ ﺩﺭﺠـﺎ‪6‬ﻬﺍ‬
‫ﺍﻝﺘﻌﻠﻴﻤﻴﺔ ﻭﻗﺩﺭﺍﺘﻬﺎ ﺍﻝﻤﺎﺩﻴﺔ‪ .‬ﻭﺴﺄﻝﺕ ﻓﻴﻬﺎ ﺃﻴﻀﺎ ﻋﻥ ﺍﻷﺘﻲ‪:‬‬

‫· ﻋﻥ ﺴﻨﻭﺍﺕ ﺍﻹﻗﺎﻤﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ ﻭﺘﺎﺭﻴﺦ ﺍﻹﺸﻐﺎل‪ ،‬ﻭﻋﻥ ﺁﻝﻴﺔ ﺍﻝﻭﻗﺕ ﺍﻝﻤﺨﺼﺹ ﻝﺫﻝﻙ‪.‬‬

‫· ﻭﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﻤﺎﻝﻙ ﻭﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﻤﺭﺤﻠﺘﻲ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻹﺸﺭﺍﻑ‪.‬‬

‫· ﻭﻋﻥ ﻨﺘﻴﺠﺔ ﻭﻤﺨﺭﺠﺎﺕ ﻋﻤﻠﻴﺔ ﺍﻝﺘﻔﺎﻋل ﺒﻴﻥ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﺎﻝﻙ ﻭﻨﺴﺒﺔ ﺍﻝﺭﻀﻰ ﻋﻥ ﺫﻝﻙ‬

‫ﻭﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻷﺴﺌﻠﺔ ﺍﻝﻤﻬﻤﺔ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ‪.‬‬

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 ‫‪ 4.3.3‬ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﻝﻘﺩ ﻜﺎﻨﺕ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻤﺨﺘﺎﺭﺓ ﻋﺸﻭﺍﺌﻴﹰﺎ ﻀﻤﻥ ﻤﺠﺘﻤﻊ ﺍﻝﺩﺭﺍﺴﺔ ﻓﻘﻁ‪ ،‬ﻭﻗﺩ ﺭﺍﻋﻴﻨﺎ ﺃﻥ ﺘﻜﻭﻥ‬

‫ﻫﺫﻩ ﺍﻝﻌﻴﻨﺔ ﻤﻌﺒﺭﺓ ﻋﻥ ﻤﺠﺘﻤﻊ ﺍﻝﺩﺭﺍﺴﺔ ﻭﺫﻝﻙ ﻝﺼﻌﻭﺒﺔ ﺘﻐﻁﻴﺔ ﻜل ﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﻫـﺫﺍ ﻭﻗـﺩ ﺍﺴـﺘﻬﺩﻓﺕ‬
‫ﺍﻝﺩﺭﺍﺴﺔ ﻋﺩﺩﹰﺍ ﻤﻥ ﺴﻜﺎﻥ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ ‪ -‬ﺍﻝﺠﻨﻴﺩ )ﺇﺴﻜﺎﻥ ﻭﺤﺩﺍﺕ ﻤﻨﻔﺼـﻠﺔ ‪-‬‬
‫ﻓﻴﻼﺕ ﺫﺍﺕ ﻁﺎﺒﻕ ﺭﺌﻴﺴﻲ ﻭﺍﺤﺩ(‪.‬‬

‫ﻭﺘﻡ ﺇﺠﺭﺍﺀ ﻤﻘﺎﺒﻼﺕ ﻤﻊ ﺴﻜﺎﻥ ﻫﺫﻩ ﺍﻝﻌﻴﻨﺔ ﻭﺍﻹﺠﺎﺒﺔ ﻋﻥ ﺃﺴﺌﻠﺔ ﺍﻝﺩﺍﺭﺴﺔ ﺨﻼل ﺘﻠﻙ ﺍﻝﺯﻴﺎﺭﺍﺕ‬
‫ﺒﺸﻜل ﻤﺒﺎﺸﺭ‪ ،‬ﻤﻤﺎ ﺯﺍﺩ ﻤﻥ ﻭﺍﻗﻌﻴﺔ ﻭﻤﻨﻁﻘﻴﺔ ﺍﻹﺠﺎﺒﺎﺕ‪ ،‬ﺨﺎﺼﺔ ﺃﻥ ﺍﻝﺴﻜﺎﻥ ﻋﻜﺴﻭﺍ ﻤـﺩﻯ ﻭﻋـﻴﻬﻡ‬
‫ﻭﺘﻔﻬﻤﻬﻡ ﻝﻠﻤﻭﻀﻭﻉ ﻭﻗﺩ ﺒﺭﺯ ﺫﻝﻙ ﻤﻥ ﺨﻼل ﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﺁﺭﺍﺌﻬﻡ ﺒﺤﻴﺎﺩﻴـﺔ ﺘﺎﻤـﺔ‪ ،‬ﻭﻗـﺩ ﺩﻋﻤـﺕ‬

‫ﺍﻹﺠﺎﺒﺎﺕ ﻭﻭﺜﻘﺕ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺒﺎﻝﺼﻭﺭ ﺍﻝﺘﻲ ﺘﻡ ﺃﺨﺫﻫﺎ ﻹﺜﺭﺍﺀ ﺍﻝﺩﺭﺍﺴﺔ‪.‬‬

‫ﻓﻘﺩ ﺭﺍﻋﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺍﺨﺘﻼﻑ ﺍﻝﻌﺎﻤل ﺍﻝﺯﻤﻨﻲ ﻹﺸﻐﺎل ﺍﻝﻤﺒﻨﻰ‪ ،‬ﻓﻜﺎﻥ ﻓﻲ ﺍﻝﻌﻴﻨﺔ ﻤﻥ ﺴـﻜﻥ ﺃﻭ‬
‫ﺍﺴﺘﺨﺩﻡ ﺍﻝﻤﺒﻨﻰ ﻤﻨﺫ ﻤﺎ ﻴﻘﺎﺭﺏ ﻋﺸﺭﻴﻥ ﻋﺎﻤﹰﺎ ﻭﻤﻨﻬﻡ ﻤﻥ ﻜﺎﻥ )‪ (10-5‬ﺴﻨﻭﺍﺕ ﻭﻤﻨﻬﻡ ﻤﻥ ﺴﻜﻥ ﻗﺒل‬

‫ﺴﻨﺔ ﻓﻘﻁ‪.‬‬

‫ﻭﻗﺩ ﻜﺎﻥ ﺘﺭﻜﻴﺯ ﺍﻝﻠﻘﺎﺀﺍﺕ ﻋﻠﻰ ﻤﻘﺎﺒﻠﺔ ﺭﺒﺔ ﺍﻷﺴﺭﺓ ﺒﺎﻝﺩﺭﺠﺔ ﺍﻷﻭﻝﻰ ﻜﻭﻨﻬﺎ ﺃﻜﺜﺭ ﺃﻓﺭﺍﺩ ﺍﻝﻌﺎﺌﻠﺔ‬
‫ﺘﻭﺍﺠﺩﹰﺍ ﻭﺍﺤﺘﻜﺎﻜﹰﺎ ﺒﻤﺎ ﻴﺨﺹ ﺍﻝﺒﻴﺕ‪ ،‬ﻭﺘﺒﺭﺯ ﺃﻫﻤﻴﺔ ﺭﺃﻴﻬﺎ ﻓﻲ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﺘﺴﻜﻥ ﻓﻴﻪ ﺒﻤﺎ ﻴﺭﻴﺤﻬﺎ ﻓـﻲ‬

‫ﺃﺩﺍﺀ ﻋﻤﻠﻬﺎ ﻭﺭﻋﺎﻴﺔ ﻋﺎﺌﻠﺘﻬﺎ ﻋﻠﻰ ﺍﻝﻭﺠﻪ ﺍﻝﺫﻱ ﻴﺭﻀﻴﻬﺎ‪ ،‬ﻜﻤﺎ ﻴﻤﻜﻥ ﺍﻋﺘﺒﺎﺭﻫﺎ ﻤﺤﻭﺭ ﺍﻷﺴﺭﺓ ﻭﻋﻠـﻰ‬
‫ﻤﻌﺭﻓﺔ ﻜﺒﻴﺭﺓ ﺒﺭﻏﺒﺎﺕ ﻭﺍﺤﺘﻴﺎﺠﺎﺕ ﻜل ﺍﻷﻓﺭﺍﺩ‪.‬‬

‫ﻥ‬
‫ﻝﻘﺩ ﻜﺎﻨﺕ ﻓﻜﺭﺓ ﺍﻻﺴﻜﺎﻥ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﺒﺩﺃ ﻭﺍﻝﺘﻲ ﻨﺤﻥ ﺒﺼﺩﺩ ﺩﺭﺍﺴﺘﻬﺎ ﺍﻵﻥ ﻋﺒﺎﺭﺓ ﻋﻥ ﻤﺒﺎ ﹴ‬

‫ﺴﻜﻨﻴﺔ ﻤﻨﻔﺼﻠﺔ ﺫﺍﺕ ﻤﺴﺘﻭﻯ ﻭﺍﺤﺩ‪ ،‬ﺃﻱ ﺃﻥ ﺠﻤﻴﻊ ﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﺭﺌﻴﺴﺔ ﻝﻸﺴﺭﺓ ﻫﻲ ﻀﻤﻥ ﻁﺎﺒﻕ ﻭﺍﺤﺩ‬
‫ﻓﻘﻁ‪ ،‬ﻭﻗﺩ ﻜﺎﻥ ﺭﺃﻱ ﺍﻝﺴﻜﺎﻥ ﺒﺎﻹﺠﻤﺎﻉ ﻤﻊ ﻫﺫﺍ ﺍﻝﺨﻴﺎﺭ )ﺃﻱ ﻋﺩﻡ ﻭﺠﻭﺩ ﺃﺩﺭﺍﺝ ﺘﺭﺒﻁ ﺒﻴﻥ ﺍﻝﺨـﺩﻤﺎﺕ‬
‫ﺍﻝﺭﺌﻴﺴﻴﺔ ﻝﻠﻤﺴﻜﻥ( ﻤﻊ ﺍﻝﻌﻠﻡ ﺃﻥ ‪ %20‬ﻤﻥ ﻫﺫﻩ ﺍﻝﻭﺤﺩﺍﺕ ﻗﺩ ﺍﺤﺘﻭﺕ ﻋﻠﻰ ﻓﺭﻕ ﻤﻨﺴﻭﺏ ﺒﻴﻥ ﺒﻌﺽ‬

‫ﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻜﺎﻝﻤﻁﺒﺦ ﻭﺍﻝﻤﻌﻴﺸﺔ ﻝﻬﺩﻑ ﺠﻤﺎﻝﻲ ﻓﻘﻁ ﻭﺍﻝﺘﻲ ﻝﻡ ﺘﺘﺠﺎﻭﺯ ﺜﻼﺙ ﺩﺭﺠـﺎﺕ ﻋﻠـﻰ‬
‫ﺍﻷﻜﺜﺭ‪.‬‬

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‫ﻴﺸﺎﺭ ﻫﻨﺎ ﺒﻤﻌﻠﻭﻤﺎﺕ ﺴﺭﻴﻌﺔ ﺃﻥ ﻋﺩﺩ ﻭﺤﺩﺍﺕ ﺍﻹﺴﻜﺎﻥ ﻭﺍﻝﺘﻲ ﻜﺎﻥ ﻋﺩﺩﻫﺎ ‪ 74‬ﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ‪،‬‬
‫ﻤﻨﻬﺎ ﻤﺎ ﻴﻘﺎﺭﺏ ‪ 55‬ﻭﺤﺩﺓ ﻤﺸﻐﻭﻝﺔ‪ ،‬ﻭﻤﻨﻬﺎ ‪ 19‬ﻭﺤﺩﺓ ﻤﺎ ﺯﺍﻝﺕ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﻌﻅﻡ‪.‬‬

‫ﺘﻡ ﺯﻴﺎﺭﺓ ‪ 20‬ﻭﺤﺩﺓ ﺴﻜﻨﻴﺔ ﻭﻤﻘﺎﺒﻠﺔ ﺃﺼﺤﺎﺒﻬﺎ ﻭﻋﻠﻰ ﺃﻜﺜﺭ ﻤﻥ ﺯﻴﺎﺭﺓ ﻝﻨﻔﺱ ﺍﻝﻭﺤـﺩﺓ ﻓـﻲ‬
‫ﺒﻌﺽ ﺍﻝﺤﺎﻻﺕ‪ .‬ﻭﻜﻨﺴﺒﺔ ﺘﻜﻭﻥ ﺍﻝﺩﺭﺍﺴﺔ ﻗﺩ ﻏﻁﺕ ﻤﺎ ﻴﻘﺎﺭﺏ ﺜﻠﺙ ﺍﻹﺴﻜﺎﻥ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﻤﺸـﻐﻭﻝﺔ‬
‫ﻼ‪.‬‬
‫ﻭﺍﻝﺘﻲ ﻫﻲ ﻤﺤل ﺍﻝﺩﺭﺍﺴﺔ ﺃﺼ ﹰ‬

‫ﻭﻓﻲ ﻤﺎ ﻴﻠﻲ ﺒﻌﺽ ﺍﻻﺴﺘﻨﺘﺎﺠﺎﺕ ﻭﺍﻝﺭﺴﻭﻤﺎﺕ ﺍﻝﺘﻭﻀﻴﺤﻴﺔ ﺍﻝﺘﻲ ﺨﻠﺼـﺕ ﺇﻝﻴﻬـﺎ ﺍﻝﺩﺭﺍﺴـﺔ‬
‫ﻝﺒﻌﺽ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ‪ .‬ﻭﺫﻝﻙ ﻝﻤﻌﺭﻓﺔ ﻨﻭﻉ ﻭﺸﻜل ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻭﺍﻝﺘﻲ ﻗﻤﺕ ﺒﺩﺭﺍﺴﺘﻬﺎ ﺃﺜﻨﺎﺀ ﺍﻝﻤﻘﺎﺒﻠﺔ‪.‬‬

‫‬

‫
‬

‫‬
‫ا‪,‬ث‬
‫
‬ ‫ذآر‬

‫‬

‫
‬
‫‪١٨ - ٥‬‬ ‫‪٣٠ - ١٨‬‬ ‫‪٤٠ - ٣٠‬‬ ‫ﺍﻝﻔﺌﺎﺕ ﺍﻝﻌﻤﺭﻴﺔ أآ‪٤٠ 
C‬‬

‫ﺸﻜل )‪ (25.3‬ﻋﺩﺩ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻭﺍﻝﻔﺌﺎﺕ ﺍﻝﻌﻤﺭﻴﺔ ﻝﻬﺎ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﺴﺘﻭﻯ ﺍﻝﺘﻌﻠﻴﻤﻲ ﻝﻸﻓﺭﺍﺩ ﻓﻘﺩ ﻭ‪‬ﺠﺩ ﺃﻥ ‪ %85‬ﻤﻥ ﺍﻷﺯﻭﺍﺝ ﻤﻥ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴـﺔ‬
‫ﻫﻡ ﻤﻥ ﺤﻤﻠﺔ ﺍﻝﺸﻬﺎﺩﺍﺕ ﺍﻝﺠﺎﻤﻌﻴﺔ‪ ،‬ﻭﻤﻨﻬﻡ ‪ %15‬ﻤﻥ ﺤﻤﻠﺔ ﺍﻝﺸﻬﺎﺩﺍﺕ ﺍﻝﺠﺎﻤﻌﻴﺔ ﺍﻝﻤﺘﻭﺴﻁﺔ‪ ،‬ﻭﺘﺒـﻴﻥ‬
‫ﺃﻴﻀﹰﺎ ﺃﻥ ‪ %45‬ﻤﻥ ﺤﻤﻠﺔ ﺍﻝﺸﻬﺎﺩﺍﺕ ﺍﻝﺠﺎﻤﻌﻴﺔ ﻜﺎﻥ ﻤﻬﻨﺩﺱ )ﺍﻝﺯﻭﺝ ﺃﻭ ﺍﻝﺯﻭﺠﺔ ﺃﻭ ﺍﻻﺜﻨﻴﻥ ﻤﻌﹰﺎ ﻫﻤﺎ‬
‫ﻤﻬﻨﺩﺴﺎﻥ(‪.‬‬

‫ﻭﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﺴﺘﻭﻯ ﺍﻝﺘﻌﻠﻴﻤﻲ ﻝﻸﺒﻨﺎﺀ ﻓﻘﺩ ﻜﺎﻨﺕ ﻨﺴﺒﺔ ﺤﻤﻠﺔ ﺍﻝﺸﻬﺎﺩﺓ ﺍﻝﺠﺎﻤﻌﻴﺔ ﻤﻨﻬﻡ ﻫﻲ ‪%40‬‬
‫ﻭﻨﺴﺒﺔ ﻤﻥ ﻫﻡ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﺠﺎﻤﻌﻴﺔ ﻫﻲ ‪ %13‬ﻭﻨﺴﺒﺔ ﻤﻥ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻤﺩﺭﺴﻴﺔ ﺃﻭ‬
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‫ﺃﺼﻐﺭ ﻫﻲ ‪ ،%47‬ﻤﻤﺎ ﻴﺸﻴﺭ ﺇﻝﻰ ﺃﻥ ﻨﺴﺒﺔ ﺍﻝﻔﺌﺔ ﺍﻝﺤﺎﺼﻠﺔ ﻋﻠﻰ ﺸﻬﺎﺩﺓ ﺠﺎﻤﻌﻴﺔ ﻤﻥ ﺍﻵﺒﺎﺀ ﻭﺍﻷﺒﻨـﺎﺀ‬
‫ﻤﻌﺎ ﻫﻲ ﺘﺸﻜل ﺍﻝﻐﺎﻝﺒﻴﺔ ﻤﻥ ﻤﺠﺘﻤﻊ ﺍﻝﺩﺭﺍﺴﺔ ﻭﺍﻝﺘﻲ ﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﺘﻤﺜل ﺍﻷﻓﺭﺍﺩ ﺍﻝﻌﺎﻤﻠﻴﻥ ﻓﻲ ﻤﺨﺘﻠـﻑ‬
‫ﺍﻝﻭﻅﺎﺌﻑ ﻭﻝﺩﻴﻬﻡ ﻤﺘﻁﻠﺒﺎﺕ ﺨﺎﺼﺔ ﺒﺎﻝﻤﺴﻜﻥ ﻭﻝﺩﻴﻬﻡ ﻤﻘﺩﺭﺓ ﻋﻠﻰ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝـﺩﺍﺨﻠﻲ‬
‫ﻝﻠﻤﺴﻜﻥ ﺃﻭ ﺇﻋﺎﺩﺓ ﺘﺸﻜﻴﻠﻪ ﺇﺫﺍ ﻝﺯﻡ ﺍﻷﻤﺭ‪ ،‬ﻜﻤﺎ ﻭﺠﺩﻨﺎ ﺃﻥ ﻨﺴﺒﺔ ﺍﻷﺒﻨﺎﺀ ﻓﻲ ﻤﺭﺍﺤل ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﻤﺨﺘﻠﻔـﺔ‬
‫ﻭﺍﻝﺘﻲ ﺸﻜﻠﺕ ‪) %60‬ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﺠﺎﻤﻌﻴﺔ ﻭﺍﻝﻤﺩﺭﺴﻴﺔ ﻤﻌﹰﺎ( ﻤﻥ ﻤﺠﻤﻭﻉ ﺍﻷﺒﻨﺎﺀ ﻫﻡ ﺫﺍﺕ ﺍﺤﺘﻴﺎﺠـﺎﺕ‬
‫ﺨﺎﺼﺔ ﺒﺎﻝﻤﺴﻜﻥ ﻤﻥ ﺤﻴﺙ ﺍﻝﺤﺎﺠﺔ ﺇﻝﻰ ﺘﻭﻓﻴﺭ ﺃﺠﻭﺍﺀ ﻤﻼﺌﻤﺔ ﻜﺎﻝﻬﺩﻭﺀ ﻭﺍﻝﺨﺼﻭﺼـﻴﺔ ﻤـﻥ ﺃﺠـل‬
‫ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﻭﺍﻝﻤﻁﺎﻝﻌﺔ ﻭﺘﻭﻓﻴﺭ ﺍﻝﻤﺘﻁﻠﺒﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ ﻤﻥ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴﺎ‪ ،‬ﻤﺴـﺎﺤﺎﺕ ﺨﺎﺼـﺔ ﻷﺼـﺤﺎﺏ‬
‫ﺍﻝﻬﻭﺍﻴﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ‪.‬‬

‫ﻋﺩﺩ ﺴﻨﻭﺍﺕ ﺍﻹﻗﺎﻤﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ‪ :‬ﻨﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %10‬ﻤﻥ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻝﻡ ﺘﺘﺠﺎﻭﺯ‬
‫ﺇﻗﺎﻤﺘﻬﺎ ﻓﻲ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺘﻲ ﻴﻘﻴﻤﻭﻥ ﺒﻬﺎ ﺤﺎﻝﻴﹰﺎ ﺍﻝﺴﻨﺔ ﺍﻝﻭﺍﺤﺩﺓ‪ ،‬ﺒﻴﻨﻤﺎ ﻨﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %30‬ﻤـﻨﻬﻡ‬
‫ﻤﻘﻴﻤﻭﻥ ﻓﻲ ﻭﺤﺩﺍﺘﻬﻡ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﺤﺎﻝﻴﺔ ﻤﺎ ﺒﻴﻥ ﺍﻝﺴﻨﺔ ﺇﻝﻰ ﺜﻼﺙ ﺴـﻨﻭﺍﺕ‪ ،‬ﻭﺃﻥ ﻨﺴـﺒﺔ ‪ %20‬ﻤـﻨﻬﻡ‬
‫ﻤﻘﻴﻤﻭﻥ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻤﺎ ﺒﻴﻥ ﺨﻤﺱ ﺴﻨﻭﺍﺕ ﺇﻝﻰ ﻋﺸﺭ ﺴﻨﻭﺍﺕ‪ ،‬ﻭﻫﻨﺎﻙ ‪ %20‬ﻤﻨﻬﻡ ﻤﻘﻴﻤﻭﻥ‬
‫ﻓﻴﻬﺎ ﻤﺎ ﺒﻴﻥ ﺍﻝﻌﺸﺭ ﺴﻨﻭﺍﺕ ﺇﻝﻰ ﻋﺸﺭﻴﻥ ﺴﻨﺔ ﻭﻨﺴﺒﺔ ‪ %20‬ﻤﻤﻥ ﻫﻡ ﺒﻤﺴﺎﻜﻨﻬﻡ ﺫﺍﺘﻬﺎ ﻝﻤﺩﺓ ﺘﺘﺠـﺎﻭﺯ‬
‫ﺍﻝﻌﺸﺭﻴﻥ ﻋﺎﻤﺎﹰ‪ ،‬ﻭﻫﻲ ﻓﺘﺭﺍﺕ ﻤﺘﻔﺎﻭﺘﺔ ﻭﻜﺎﻓﻴﺔ ﺒﺎﻝﻤﺠﻤل ﻝﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ ﻭﺘﻜﻭﻴﻥ ﻓﻜـﺭﺓ ﻋـﻥ ﻤـﺩﻯ‬
‫ﺼﻼﺤﻴﺔ ﺍﻝﻤﺴﻜﻥ ﻤﻥ ﻗﺒل ﺴﻜﺎﻨﻪ‪.‬‬

‫‬

‫‬

‫‬

‫‬

‫
‬
‫أ‪% 
EF‬‬ ‫‪%١٠ - ٥‬ات ‪% ٥ - %‬ات‬ ‫‪% ٢٠ - ١٠‬‬ ‫‪IJ % ٢٠‬آ‪C‬‬

‫ﺸﻜل )‪ (26.3‬ﺸﻜل ﻴﻭﻀﺢ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﻋﺩﺩ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻭﻋﺩﺩ ﺴﻨﻭﺍﺕ ﺍﻹﺸﻐﺎل ﻓﻴﻬﺎ‬
‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺒﺎﺤﺜﺔ(‬
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 ‫‪ 5.3.3‬ﺘﺤﻠﻴل ﻨﺘﺎﺌﺞ ﺍﻝﻤﻘﺎﺒﻼﺕ ﻭﺘﻔﺴﻴﺭﻫﺎ‬

‫ﻓﻲ ﻫﺫﺍ ﺍﻝﺠﺯﺀ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺔ ﺴﻴﺘﻡ ﺘﺤﻠﻴل ﻭﺘﻔﺴﻴﺭ ﻨﺘﺎﺌﺞ ﺃﺴﺌﻠﺔ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻭﺍﻝﺘﻲ ﺍﺴﺘﻬﺩﻓﺕ ﻜﻤـﺎ‬

‫ﺫﻜﺭﻨﺎ ﺴﺎﺒﻘﺎ ﻋﻴﻨﺔ ﻤﻥ ﺴﻜﺎﻥ ﺇﺴﻜﺎﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﺎﺒﻠﺱ ‪ -‬ﻤﻨﻁﻘﺔ ﺍﻝﺠﻨﻴﺩ‪ ،‬ﻭﺫﻝﻙ ﺒﻬﺩﻑ ﺇﻝﻘﺎﺀ‬
‫ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﺃﻫﻤﻴﺔ ﻭﺃﺜﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺇﻨﺠﺎﺡ ﻤﺤﺘﻭﻯ ﺍﻝﻔﻀـﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴـﺔ ﺍﻝﺩﺍﺨﻠﻴـﺔ‬
‫ﻭﺍﻝﺨﺎﺭﺠﻴﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﻨﻔﺼﻠﺔ )ﺍﻝﻔﻴﻼﺕ ﺃﻭ ﺍﻝﻔﻠل(‪.‬‬

‫ﻜﺎﻨﺕ ﺃﺴﺌﻠﺔ ﺍﻝﻤﻘﺎﺒﻠﺔ ﺫﺍﺕ ﻁﺎﺒﻊ ﺒﺴﻴﻁ ﻭﻤﺒﺎﺸﺭ‪ ،‬ﻭﺫﻝﻙ ﺒﻬﺩﻑ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺇﺠﺎﺒﺔ ﻭﺍﻀﺤﺔ‬
‫ﻭﻤﺨﺼﺼﺔ ﻭﺍﻝﺘﻲ ﺘﺩﻭﺭ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺤﻭل ﺍﻝﺴﺅﺍل ﺍﻝﻤﺭﻜﺯﻱ ﻭﺍﻝﻤﺤﻭﺭﻱ ﺍﻝﺘﺎﻝﻲ‪ :‬ﻤﺎ ﺃﻫﻤﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺇﻨﺠﺎﺡ ﻭﺘﻌﺯﻴﺯ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻭﻤﺎ ﻫﻲ ﻤﺠﻤﻭﻋﺔ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺍﻵﻝﻴﺎﺕ ﺍﻝﺘـﻲ ﺘـﻡ‬

‫ﺍﻝﺘﻌﺒﻴﺭ ﻋﻨﻬﺎ ﻝﺫﻝﻙ ﺍﻝﻬﺩﻑ؟‬

‫ﻝﻘﺩ ﺠﺎﺀﺕ ﻨﺘﺎﺌﺞ ﺍﻷﺴﺌﻠﺔ ﺍﻝﻤﻭﺠﻬﺔ ﻷﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴـﺔ ﺃﺜﻨـﺎﺀ‬
‫ﺍﻝﻤﻘﺎﺒﻼﺕ ﻋﻠﻰ ﺍﻝﻤﻭﺍﻀﻴﻊ ﻭﺍﻝﻘﻀﺎﻴﺎ ﺍﻝﻭﺍﺭﺩﺓ ﻓﻲ ﺃﺴﺌﻠﺔ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻋﻠﻰ ﺍﻝﻨﺤﻭ ﺍﻝﺘﺎﻝﻲ‪:‬‬

‫ﺍﻝﺴﺅﺍل ﺍﻷﻭل‪ :‬ﻓﻲ ﺴﺅﺍل ﺍﻝﺴﺎﻜﻥ ﻫل ﺍﺴﺘﻌﺎﻥ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻓﻲ ﻤﺭﺍﺤل ﺘﺼﻤﻴﻡ ﻭﺇﻨﺸﺎﺀ ﻤﺴـﻜﻨﻪ‪،‬‬

‫ﻭﻤﺎ ﺘﺨﺼﺹ ﺫﻝﻙ ﺍﻝﻤﺼﻤﻡ ﻭﻋﻥ ﻋﺩﺩ ﺴﻨﻭﺍﺕ ﺨﺒﺭﺘﻪ ﻓﻲ ﺫﻝﻙ ﺍﻝﻤﺠﺎل؟‬

‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﻭ‪‬ﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %20‬ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻗﺩ ﻗﺎﻤﻭﺍ ﺒﺘﺸﻁﻴﺏ‬

‫ﻤﺴﺎﻜﻨﻬﻡ ﺒﺄﺒﺴﻁ ﺍﻝﻁﺭﻕ ﻭﺍﻝﻤﻭﺍﺼﻔﺎﺕ ﻗﺒل ﺍﻹﺸﻐﺎل ﻭﺫﻝﻙ ﻷﺴﺒﺎﺏ ﻤﺎﺩﻴﺔ ﻓﻲ ﺍﻝﺩﺭﺠﺔ ﺍﻷﻭﻝﻰ‪ ،‬ﻤـﻊ‬
‫ﺍﻝﻌﻠﻡ ﺃﻥ ﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﻫﻲ ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﻤﺴﻜﻭﻨﺔ ﻤﻨﺫ ﻋﺸﺭﻴﻥ ﻋﺎﻤﹰﺎ ﺃﻭ ﺃﻜﺜﺭ‪ ،‬ﻭﻗـﺩ ﺘـﻡ ﺇﺠـﺭﺍﺀ‬
‫ﺒﻌﺽ ﺍﻝﺘﻌﺩﻴﻼﺕ ﻭﺘﺤﺴﻴﻥ ﺠﺯﺌﻲ ﻝﺒﻌﺽ ﺃﻋﻤﺎل ﺍﻝﺘﺸﻁﻴﺏ ﻓﻲ ﻭﻗﺕ ﻻﺤﻕ ﺤﺴـﺏ ﺍﻝﺤﺎﺠـﺔ ﻭﺩﻭﻥ‬

‫ﺍﻝﻠﺠﻭﺀ ﻝﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﺃﻴﻀﺎ‪ ،‬ﻭﻭﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %80‬ﻤﻥ ﻭﺤﺩﺍﺕ ﻋﻴﻨﺔ ﺍﻝﺩﺭﺍﺴﺔ ﻗﺩ ﻗـﺎﻡ ﺃﺼـﺤﺎﺒﻬﺎ‬
‫ﺒﺎﻝﻠﺠﻭﺀ ﻝﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻝﻐﺎﻴﺔ ﻋﻤل ﺘﻐﻴﻴﺭﺍﺕ ﺩﺍﺨﻠﻴﺔ ﻭﺨﺎﺭﺠﻴﺔ‪ ،‬ﻭﻤﺎ ﺯﺍل ﺒﻌﻀﻬﻡ ﻴﻁﻤﺢ ﻹﻀـﺎﻓﺎﺕ‬
‫ﺘﺜﺭﻱ ﻭﺘﺠﻤل ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻤﺴﺎﻜﻨﻬﻡ‪ ،‬ﻤﻤﺎ ﻴﺩل ﻋﻠﻰ ﺘﻨﺎﻤﻲ ﺍﻗﺘﻨﺎﻉ ﺍﻷﻓـﺭﺍﺩ ﺒﺎﻝﺤﺎﺠـﺔ ﺇﻝـﻰ‬

‫ﺘﺤﺴﻴﻥ ﻤﺴﺘﻭﻯ ﻤﻌﻴﺸﺘﻬﻡ ﻭﺘﻠﺒﻴﺔ ﻤﺘﻁﻠﺒﺎﺘﻬﻡ ﺍﻝﺨﺎﺼﺔ ﻤﻥ ﺨﻼل ﺍﻝﻠﺠﻭﺀ ﺇﻝﻰ ﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻴﻭﻓﺭ ﻝﻬﻡ‬
‫ﻤﺎ ﻴﻁﻤﺤﻭﻥ ﻝﻪ ﻤﻥ ﻓﺭﺍﻏﺎﺕ ﻤﻌﻴﺸﻴﺔ ﺩﺍﺨﻠﻴﺔ ﻤﺭﻴﺤﺔ‪.‬‬

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 ‫‪  K #‬ا (‪#3‬‬
‫دا‪0L‬‬
‫‪%٢٠‬‬

‫ا‪, %‬ا (‪#3‬‬

‫دا‪0L‬‬
‫‪%٨٠‬‬

‫ﺸﻜل )‪ (27.3‬ﺸﻜل ﻴﻭﻀﺢ ﻤﺩﻯ ﺍﺴﺘﻌﺎﻨﺔ ﺍﻝﺴﻜﺎﻥ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﻜﻤﺎ ﻭﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %85‬ﻤﻥ ﺍﻝﻤﺼﻤﻤﻴﻥ ﻓﻲ ﻫﺫﻩ ﺍﻝﻭﺤﺩﺍﺕ ﻫﻡ ﻤﻬﻨﺩﺴﻭﻥ ﻤﻌﻤﺎﺭﻴﻭﻥ ﻤـﻥ‬
‫ﺃﺼﺤﺎﺏ ﺍﻝﺨﺒﺭﺓ ﺍﻝﻁﻭﻴﻠﺔ ﻗﺩ ﻗﺎﻤﻭﺍ ﺒﺈﻋﺎﺩﺓ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺩﺍﺨﻠﻲ ﻝﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ‪ ،‬ﺜﻡ ﺘﺎﺒﻌﻭﺍ ﺃﻋﻤﺎل ﺍﻝﺘﺼﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺩﻴﻜﻭﺭ ﻝﻬﺎ ﻜﺎﻓﺔ‪ ،‬ﻭﺃﻥ ﻨﺴﺒﺔ ‪ %15‬ﻤﻥ ﺍﻝﺴﻜﺎﻥ ﻗﺩ ﺍﺴﺘﻌﺎﻨﻭﺍ ﺒﻤﻬﻨـﺩﺱ ﻤﻌﻤـﺎﺭﻱ ﻓـﻲ‬

‫ﺍﻝﻤﺭﺤﻠﺔ ﺍﻷﻭﻝﻰ ﻤﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺇﻋﺎﺩﺓ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺜﻡ ﻝﺠﺅﻭﺍ ﻝﻤﺼﻤﻡ ﻤﺘﺨﺼـﺹ ﺒﺎﻝﺘﺼـﻤﻴﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ )ﺘﺨﺼﺹ ﺩﻴﻜﻭﺭ( ﺃﺜﻨﺎﺀ ﻤﺭﺤﻠﺔ ﺍﻝﺘﺸﻁﻴﺏ ﻫﺫﺍ ﻭﻗﺩ ﻨﻭﻩ ﻫﺅﻻﺀ ﺍﻝﺴﻜﺎﻥ ﺇﻝﻰ ﻋﺩﻡ ﺭﻀـﺎﻫﻡ‬
‫ﻋﻥ ﺍﻝﻨﺘﻴﺠﺔ ﺒﺸﻜل ﻜﺎﻤل‪ ،‬ﻭﺃﺭﺠﻌﻭﺍ ﺫﻝﻙ ﻝﻸﺴﺒﺎﺏ ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

‫‪ .1‬ﺤﺩﺍﺜﺔ ﺴﻨﺔ ﺍﻝﺘﺨﺭﺝ ﻝﻠﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ )ﺘﺨﺼﺹ ﺩﻴﻜﻭﺭ( ﻭﺒﺎﻝﺘﺎﻝﻲ ﻓﺈﻥ ﺨﺒﺭﺍﺘﻪ ﺘﻌﺘﺒﺭ ﻤﺘﻭﺍﻀﻌﺔ‪.‬‬

‫‪ .2‬ﻋﺩﻡ ﻭﺠﻭﺩ ﻫﺫﺍ ﺍﻝﻤﺼﻤﻡ ﻓﻲ ﺍﻝﻤﺭﺍﺤل ﺍﻷﻭﻝﻰ ﻝﻠﺘﺼﻤﻴﻡ ﻭﻋﺩﻡ ﻤﻭﺍﻜﺒﺘﻪ ﻝﻠﻤﻬﻨﺩﺱ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺨﻠﻕ‬
‫ﻓﺠﻭﺓ ﻓﻲ ﺍﻝﻬﺩﻑ ﻤﻥ ﺸﻜل ﻭﻤﻌﻨﻰ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻷﺼﻠﻴﺔ‪.‬‬

‫‪ .3‬ﺭﻜﱠﺯ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ )ﺘﺨﺼﺹ ﺩﻴﻜﻭﺭ( ﻋﻠﻰ ﺍﻝﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﻨﻬﺎﺌﻴﺔ ﻝﻠﺘﺸﻁﻴﺏ ﻜﺄﻝﻭﺍﻥ ﺍﻝﺨﺎﻤﺎﺕ‬
‫ﻭﻤﻭﺍﻗﻌﻬﺎ ﻭﺃﺸﻜﺎﻝﻬﺎ ﻋﻠﻰ ﺤﺴﺎﺏ ﺍﻝﻭﻅﻴﻔﺔ ﺃﺤﻴﺎﻨﺎﹰ‪ ،‬ﺃﻭ ﻏﻠﱠﺏ ﺍﻝﺸﻜل ﺍﻝﺠﻤﺎﻝﻲ ﻓﻲ ﺘﺼﻤﻴﻤﻪ ﻋﻠـﻰ‬
‫ﻤﻌﻨﻰ ﺍﻝﺸﻜل ﻭﻋﺩﻡ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﻤﻘﺎﻴﻴﺱ ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﻤﺭﺠﻌﻴﺔ‪.‬‬

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‫ﺍﻝﺴﺅﺍل ﺍﻝﺜﺎﻨﻲ‪ :‬ﻤﺎ ﺍﻝﻭﻗﺕ ﺍﻝﻤﻨﺎﺴﺏ ﻝﻼﺴﺘﻌﺎﻨﺔ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻝﻌﻤل ﺍﻝﺘﺼﺎﻤﻴﻡ ﺍﻝﻼﺯﻤـﺔ ﻭﻤﺘﺎﺒﻌـﺔ‬

‫ﻤﺭﺍﺤل ﺘﻨﻔﻴﺫ ﺫﻝﻙ ﺍﻝﺘﺼﻤﻴﻡ؟ ﻭﻫل ﻜﺎﻥ ﺴﺒﺏ ﺍﻻﺴﺘﻌﺎﻨﺔ ﻫﻭ ﻭﻅﻴﻔﻲ ﻨﻔﻌﻲ‪ ،‬ﺃﻭ ﺠﻤﺎﻝﻲ ﺘﺯﻴﻴﻨـﻲ‪ ،‬ﺃﻭ‬

‫ﻏﻴﺭ ﺫﻝﻙ؟‬

‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﻓﻜﺎﻥ ﺭﺃﻱ ﺍﻝﻐﺎﻝﺒﻴﺔ ﺍﻝﻌﻅﻤﻰ ﻤﻥ ﺍﻝﺴﻜﺎﻥ ﺤﺘﻰ ﺃﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﻝﻡ ﻴﺴﺘﻌﻴﻨﻭﺍ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﺃﻨﻪ‬

‫ﻤﻥ ﺍﻝﻀﺭﻭﺭﺓ ﺒﻤﻜﺎﻥ ﻭﺠﻭﺩ ﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻤﻥ ﺒﺩﺍﻴﺔ ﻤﺭﺍﺤل ﺍﻝﺘﺼﻤﻴﻡ ﻭﺤﺘﻰ ﻨﻬﺎﻴﺔ ﺃﻋﻤﺎل ﺍﻝﺘﺸﻁﻴﺏ‬

‫ﻝﻠﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ‪ ،‬ﻝﻤﺎ ﻝﻬﺎ ﻤﻥ ﺃﻫﻤﻴﺔ ﻗﺼﻭﻯ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﻤﺴﻜﻥ ﻤﻨﺎﺴﺏ ﻴﻠﺒﻲ ﺍﺤﺘﻴﺎﺠـﺎﺕ ﺴـﻜﺎﻨﻪ‪،‬‬
‫ﻓﻜﺎﻨﺕ ﻨﺴﺒﺔ ‪ %15‬ﻤﻥ ﺍﻝﺴﻜﺎﻥ ﺘﺭﻯ ﺃﻥ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ ﻫﻭ ﻝﻬﺩﻑ ﺘﺤﻘﻴﻕ ﺍﻻﻨﺘﻔﺎﻉ ﺍﻝﻜﺎﻤل‬
‫ﻤﻥ ﻓﺭﺍﻏﺎﺕ ﺍﻝﻤﺒﻨﻰ ﻗﺎﺌﻡ ﻋﻠﻰ ﺴﺒﺏ ﻭﻅﻴﻔﻲ‪ ،‬ﻭﻗﺩ ﺃﺭﺠﻌﺕ ﻨﺴﺒﺔ ‪ %15‬ﻤﻥ ﺍﻝﺴﻜﺎﻥ ﺴﺒﺏ ﺫﻝﻙ ﻝﻌﺩﻡ‬

‫ﺭﻀﺎﻫﺎ ﻋﻥ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝﺩﺍﺨﻠﻲ ﺍﻷﺼﻠﻲ‪ ،‬ﻤﻤﺎ ﻴﺴﺘﺩﻋﻲ ﺇﻋﺎﺩﺓ ﺘﻭﺯﻴﻊ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴـﺔ ﺒﺸـﻜل‬
‫ﺠﺩﻴﺩ ﺃﻓﻀل ﻤﻥ ﺍﻝﺴﺎﺒﻕ‪ ،‬ﺒﻴﻨﻤﺎ ﻜﺎﻨﺕ ﻨﺴﺒﺔ ‪ %30‬ﺘﺭﻯ ﺃﻥ ﺍﻝﻬﺩﻑ ﺍﻷﻭل ﻭﺍﻷﺨﻴـﺭ ﻫـﻭ ﺒﻬـﺩﻑ‬
‫ﺠﻤﺎﻝﻲ‪ ،‬ﺒﻴﻨﻤﺎ ﻜﺎﻨﺕ ﺍﻝﻨﺴﺒﺔ ﺍﻝﻤﺘﺒﻘﻴﺔ ﻭﻫﻲ ﺒﻤﻘﺩﺍﺭ ‪ %40‬ﺘﺭﻯ ﺃﻥ ﺴﺒﺏ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠـﻲ‬

‫ﻴﺠﻤﻊ ﺠﻤﻴﻊ ﺍﻷﺴﺒﺎﺏ ﺍﻝﻭﺍﺭﺩﺓ ﺴﺎﺒﻘﹰﺎ‪.‬‬

‫‪07 N%‬‬
‫‪%٣٠‬‬
‫آ‪ E‬ا‪%U‬ب
‪ $‬‬
‫‪%٤٠‬‬

‫‪ N%‬و‪0 O‬‬
‫‪%١٥‬‬

‫‪ST‬دة ‪R‬ز‪ PK‬ا‪5‬ءات‬

‫اا‪ L‬‬
‫‪%١٥‬‬

‫ﺸﻜل )‪ (28.3‬ﺸﻜل ﻴﻭﻀﺢ ﺭﺃﻱ ﺍﻝﺴﻜﺎﻥ ﻓﻲ ﺴﺒﺏ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﻤﺼﻤﻡ ﺩﺍﺨﻠﻲ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺒﺎﺤﺜﺔ(‬

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‫ﺍﻝﺴﺅﺍل ﺍﻝﺜﺎﻝﺙ‪ :‬ﻤﺎ ﻁﺒﻴﻌﺔ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺃﺼﺤﺎﺏ ﺍﻝﻤﺒﻨﻰ ﺍﻝﺴﻜﻨﻲ ﻭﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻤﺎ ﺤﺠﻡ ﺍﻝﺩﻭﺭ‬

‫ﺍﻝﺫﻱ ﻴﻠﻌﺒﻪ ﺍﻝﻤﺼﻤﻡ ﻓﻲ ﺘﻠﻙ ﺍﻝﻌﻼﻗﺔ؟‬

‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﻭﺠﺩ ﺃﻥ ﻤﺎ ﻨﺴﺒﺘﻪ ‪ %15‬ﻤﻥ ﻤﺠﻤل ﺍﻝﻌﻴﻨﺔ ﻗﺩ ﺤﺎﻭل ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓﺭﺽ ﺭﺃﻴﻪ ﻋﻠـﻰ‬

‫ﺍﻝﺴﺎﻜﻥ ﺘﺤﺕ ﻤﺒﺭﺭ ﺃﻨﻪ ﻴﺭﻏﺏ ﺒﻭﻀﻊ ﻝﻤﺴﺘﻪ ﺍﻝﺨﺎﺼﺔ ﺍﻝﺩﺍﻝﺔ ﻋﻠﻰ ﺃﺴﻠﻭﺒﻪ ﺒﺎﻝﻌﻤـل ﻭﻨﺴـﺒﺔ ‪%85‬‬
‫ﻤﻨﻬﻡ ﻗﺩ ﺸﺎﺭﻜﻭﺍ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺭﺃﻱ ﺨﻼل ﻤﺭﺤﻠﺘﻲ ﺍﻝﺘﺼﻤﻴﻡ ﻭﻤﺘﺎﺒﻌـﺔ ﺘﻨﻔﻴـﺫ ﺍﻷﻋﻤـﺎل‪ ،‬ﻭﻭﺠـﺩ ﺃﻥ‬

‫ﺍﻝﺘﻭﺍﺼل ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻻﻁﻼﻉ ﻋﻠﻰ ﺍﻝﻤﺭﺍﺤل ﻜﺎﻥ ﻤﻊ ﺍﻝﺯﻭﺝ ﻓﻘﻁ ﺒﻤﺎ ﻨﺴﺒﺘﻪ ‪ %30‬ﻤﻥ ﻤﺠﻤـل‬
‫ﺍﻝﻌﻴﻨﺔ ﻭﻤﻊ ﺍﻝﺯﻭﺠﺔ ﻓﻘﻁ ﺒﻨﺴﺒﺔ ‪ %15‬ﻭﻤﻊ ﺍﻻﺜﻨﻴﻥ ﻤﻌﺎ ﺒﻨﺴﺒﺔ ‪ ،%55‬ﺃﻤﺎ ﻤﺸﺎﺭﻜﺔ ﺍﻷﺒﻨﺎﺀ ﺒـﺎﻝﻘﺭﺍﺭ‬
‫ﺒﺘﻠﻙ ﺍﻷﻋﻤﺎل ﻓﻘﻁ ﺒﻠﻐﺕ ﻨﺴﺒﺘﻬﺎ ‪ %30‬ﻤﻥ ﻤﺠﻤل ﺍﻝﻌﻴﻨﺔ‪ ،‬ﻭﻗﺩ ﻭﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %85‬ﻤﻥ ﺍﻝﻤﺼﻤﻤﻴﻥ‬

‫ﺍﻝﺩﺍﺨﻠﻴﻴﻥ ﻓﻲ ﺘﻠﻙ ﺍﻝﻌﻴﻨﺔ ﻗﺩ ﻗﺩﻡ ﺒﺩﺍﺌل ﻭ ﻁﺭﻭﺤﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻷﺼﺤﺎﺏ ﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﺃﺜﻨﺎﺀ ﻤﺭﺍﺤـل‬
‫ﺍﻝﻌﻤل ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﻤﺴﺎﻋﺩﺘﻬﻡ ﻋﻠﻰ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﻤﻨﺎﺴﺏ‪.‬‬

‫ﻫﺫﺍ ﻭﻗﺩ ﺃﻜﺩﺕ ﺍﻝﻐﺎﻝﺒﻴﺔ ﺍﻝﻌﻅﻤﻰ ﻤﻥ ﺍﻝﻌﻴﻨﺔ ﻋﻠﻰ ﻀﺭﻭﺭﺓ ﻤﺘﺎﺒﻌﺔ ﺃﻋﻤﺎل ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﻨﻔﻴـﺫ‬

‫ﻤﻥ ﻨﻔﺱ ﺍﻝﻤﺼﻤﻡ ﻷﻫﻤﻴﺔ ﺫﻝﻙ ﻓﻲ ﺍﻜﺘﻤﺎل ﺍﻝﻌﻤل ﺒﺼﻭﺭﺓ ﺃﻓﻀل ﻭﺘﻭﻓﻴﺭ ﺍﻝﺠﻬﺩ ﻭﺍﻝﻭﻗﺕ ﻭﺍﻝﻤﺎل‪ ،‬ﻭﻗﺩ‬
‫ﻭﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %15‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ ﻝﻡ ﻴﻜﻥ ﺍﻝﻤﺼﻤﻡ ﻫﻭ ﻨﻔﺴﻪ ﻤﻥ ﺘﺎﺒﻊ ﺃﻋﻤﺎل ﺍﻝﺘﻨﻔﻴﺫ ﺍﻝﻨﻬﺎﺌﻴـﺔ‪ ،‬ﻓﻘـﺩ‬
‫ﺍﺴﺘﹸﺒﺩ‪‬ل ﺍﻝﻤﺼﻤﻡ ﻝﻤﺼﻤﻡ ﺁﺨﺭ‪ ،‬ﺃﻭ ﻗﺎﻡ ﺃﺼﺤﺎﺏ ﺍﻝﻤﺒﻨﻰ ﺒﻤﺘﺎﺒﻌﺔ ﺃﻋﻤﺎل ﺍﻝﺘﻨﻔﻴﺫ ﺒﺄﻨﻔﺴﻬﻡ‪.‬‬

‫ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻻﺨﺘﻴﺎﺭ ﺍﻝﻤﻭﺍﺩ ﻭﺍﻝﺨﺎﻤﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ‪ ،‬ﻭﺍﻝﻤﻬﻨﻴﻴﻥ ﺍﻝﻌﺎﻤﻠﻴﻥ ﻓﻲ ﺘﻨﻔﻴﺫ ﺍﻷﻋﻤﺎل ﻓﻘﺩ‬
‫ﺘﻔﺭﺩ ﺍﻝﺯﻭﺝ ﺒﺎﺨﺘﻴﺎﺭﻫﻡ ﺒﻤﺎ ﻨﺴﺒﺘﻪ ‪ %15‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ‪ ،‬ﻭﺍﺸﺘﺭﻙ ﺍﻝﺴﻜﺎﻥ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﻓـﻲ ﻋﻤﻠﻴـﺎﺕ‬
‫ﺍﻻﺨﺘﻴﺎﺭ ﺒﻨﺴﺒﺔ ‪ %70‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ‪ ،‬ﻭﺘﻡ ﺘﻔﻭﻴﺽ ﺍﻝﻤﺼﻤﻡ ﻤﻥ ﻗﺒل ﺍﻝﻤﺎﻝﻙ ﻝﻘﻨﺎﻋﺘﻪ ﺒﺨﺒـﺭﺓ ﺍﻝﻤﺼـﻤﻡ‬

‫ﻭﺤﺴﻥ ﺍﺨﺘﻴﺎﺭﻩ ﻝﻠﻤﻬﻨﻴﻴﻥ ﺒﻨﺴﺒﺔ ‪ %15‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ‪.‬‬

‫ﺍﻝﺴﺅﺍل ﺍﻝﺭﺍﺒﻊ‪ :‬ﻫل ﻜﺎﻥ ﻫﻨﺎﻙ ﺯﻴﺎﺩﺓ ﺘﻜﺎﻝﻴﻑ ﻓﻲ ﺍﻹﻨﺸﺎﺀ ﻭﺍﻝﺘﺸﻁﻴﺏ ﻤﻊ ﻭﺠﻭﺩ ﺍﻝﻤﺼﻤﻡ ﺍﻝـﺩﺍﺨﻠﻲ؟‬

‫ﻭﻤﺎ ﺴﺒﺏ ﻫﺫﻩ ﺍﻝﺯﻴﺎﺩﺓ ﻓﻲ ﺭﺃﻴﻜﻡ؟‬

‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﻜﺎﻨﺕ ﻨﺴﺒﺔ ‪ %85‬ﻤﻥ ﺇﺠﺎﺒﺎﺕ ﺍﻝﻌﻴﻨﺔ ﺘﺅﻴﺩ ﺃﻥ ﻫﻨﺎﻙ ﺯﻴﺎﺩﺓ ﻓﻲ ﺍﻝﺘﻜﺎﻝﻴﻑ ﻤﻊ ﻭﺠﻭﺩ ﺍﻝﻤﺼﻤﻡ‬

‫ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻝﻜﻥ ﻫﺫﻩ ﺍﻝﺯﻴﺎﺩﺓ ﻜﺎﻨﺕ ﻤﺒﺭﺭﻩ ﻭﻤﻘﺒﻭﻝﺔ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺴﻜﺎﻥ‪ ،‬ﻭﺫﻝﻙ ﺒﺴﺒﺏ ﺍﻋﺘﺭﺍﻓﻬﻡ ﺒﺘﻭﺍﻀـﻊ‬

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‫ﻗﺩﺭﺍﺘﻬﻡ ﻤﻊ ﻗﺩﺭﺓ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻋﻠﻰ ﺘﻘﺩﻴﺭ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺒﺸﻜل ﺃﺩﻕ ﻭﺃﻜﺜﺭ ﻤﻥ ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺍﻝﻤﺴﺘﺨﺩﻡ‪،‬‬
‫ﻨﺎﻫﻴﻙ ﺃﻥ ﻨﻭﻉ ﻭﻜﻤﻴﺔ ﺍﻷﻋﻤﺎل ﺃﻭ ﺍﻝﺨﺎﻤﺎﺕ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﺃﻭ ﺁﻝﻴﺔ ﺍﺤﺘﺴﺎﺒﻬﺎ‪ ،‬ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﺼﺤﺎﺏ ﻫﺫﻩ‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺘﻘﺩﻴﺭﻫﺎ ﻤﻘﺎﺭﻨﺔ ﻤﻊ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺃﻭﺒﺴﺒﺏ ﺇﻀﺎﻓﺔ ﻋﻨﺎﺼﺭ ﺇﻨﺸﺎﺌﻴﺔ ﻜﺎﻥ ﻗـﺩ ﻁﻠﺒﻬـﺎ‬
‫ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻤﻥ ﺸﺄﻨﻬﺎ ﺃﻥ ﺘﺭﻓﻊ ﺍﻝﺘﻜﺎﻝﻴﻑ‪.‬‬

‫ﻭﻗﺩ ﻻﺤﻅﺕ ﺃﻨﻪ ﻝﻭ ﺘﻡ ﺘﻨﻔﻴﺫ ﺍﻷﻋﻤﺎل ﺒﺸﻜل ﻓﺭﻀﻲ ﺒﺩﻗﺔ ﺘﺎﻤﺔ ﻤﻊ ﻭﺠﻭﺩ ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻤﺼﻤﻡ‬
‫ﺃﻭ ﺒﺩﻭﻨﻪ‪ ،‬ﻓﺈﻥ ﻫﺫﻩ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺴﺘﻜﻭﻥ ﺃﻗل ﺒﻜﺜﻴﺭ ﻤﻊ ﻭﺠﻭﺩ ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻤﺼﻤﻡ‪ ،‬ﻭﺫﻝﻙ ﺒﺴـﺒﺏ ﻗـﺩﺭﺓ‬
‫ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻤﺼﻤﻡ ﻋﻠﻰ ﺘﺤﺩﻴﺩ ﺘﻜﺎﻝﻴﻑ ﺍﻝﺘﻨﻔﻴﺫ ﺒﺸﻜل ﺩﻗﻴﻕ‪ ،‬ﻭﻋﺩﻡ ﺘﺭﻙ ﺍﻝﻤﺠﺎل ﻝﻠﻤ‪‬ـﻭﺭﺩ ﻭﺍﻝﻤﻬﻨـﻲ‬
‫ﺒﺎﺴﺘﻐﻼل ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺍﻝﻤﺴﺘﺨﺩﻡ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﻝﺫﻝﻙ ﻓﺈﻥ ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﻨﻔﺫ ﻋﺎﺩﺓ ﻤﺎ ﻴﺤﺼل ﻋﻠﻰ‬
‫ﺴﻌﺭ ﺘﻜﺎﻝﻴﻑ ﺃﻗل ﻭﻨﺴﺒﺔ ﺨﺼﻡ ﺃﻜﺜﺭ ﻤﻥ ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺍﻝﻤﺴﺘﺨﺩﻡ‪.‬‬

‫ﻜﻤﺎ ﻭﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %70‬ﺃﻜﺩﻭﺍ ﺃﻥ ﺍﻝﺯﻴﺎﺩﺓ ﻓﻲ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺠﺎﺀﺕ ﺒﺴﺒﺏ ﺭﻏﺒﺘﻬﻡ ﺍﻝﺘﺸـﻁﻴﺏ‬
‫ﺒﻤﻭﺍﺼﻔﺎﺕ ﻋﺎﻝﻴﺔ ﺍﻝﺠﻭﺩﺓ ﺃﻭ ﺘﺸﻁﻴﺏ ﻋﻨﺼﺭ ﻤﻌﻴﻥ ﻤﺜل ﺍﻝﻤﻁﺒﺦ ﺒﻤﻭﺍﺼﻔﺎﺕ ﺨﺎﺼﺔ‪ ،‬ﻭﻨﺠﺩ ﺠﻤﻴـﻊ‬
‫ﺃﻓﺭﺍﺩ ﺍﻝﻌﻴﻨﺔ ﺍﻫﺘﻤﻭﺍ ﺒﻤﻌﺎﻝﺠﺎﺕ ﺨﺎﺭﺠﻴﺔ ﻭﺤﺩﺍﺌﻕ ﺨﺎﺼﺔ ﺒﻤﻨﻁﻘﺔ ﺍﻝﻤﺩﺨل ﺍﻝﺭﺌﻴﺴﻲ ﻝﻠﻭﺤﺩﺓ ﺍﻝﺴـﻜﻨﻴﺔ‬
‫ﻤﻤﺎ ﺭﻓﻊ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺃﻴﻀﺎ‪ ،‬ﻜﻤﺎ ﻨﺠﺩ ﺃﻥ ‪ %15‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ ﻗﺎﻤﻭﺍ ﺒﺈﻀﺎﻓﺔ ﺭﻭﻭﻑ ﻴﺤﺘﻭﻱ ﻋﻠﻰ ﺠﻨـﺎﺡ‬
‫ﻤﻌﻴﺸﻲ ﻤﺘﻜﺎﻤل ﺘﺎﺒﻊ ﻝﻨﻔﺱ ﺍﻝﻭﺤﺩﺓ ﻹﻀﺎﻓﺔ ﺠﻤﺎل ﻋﻠﻰ ﺍﻝﻨﺴﺏ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻝﻠﻤﺒﻨﻰ‪ ،‬ﻭﺃﻴﻀﺎ ﻫﻨﺎﻙ ﻨﺴﺒﺔ‬
‫‪ %30‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ ﺃﻀﺎﻓﻭﺍ ﻤﺭﺍﻓﻕ ﺨﺎﺭﺠﻴﺔ ﻜﻤﻜﺎﻥ ﻝﻠﻌﺏ ﻭﺍﻝﺒﺎﺭﺒﻜﻴﻭ ﻭﺇﻀﺎﻓﺎﺕ ﺠﻤﺎﻝﻴﺔ ﺃﺨﺭﻯ ﻤـﻥ‬
‫ﺇﻨﺎﺭﺓ ﻭﻋﻨﺎﺼﺭ ﻤﺎﺌﻴﺔ ﻝﻠﺤﺩﻴﻘﺔ ﻤﻤﺎ ﺃﺜﺭ ﻋﻠﻰ ﺍﺭﺘﻔﺎﻉ ﻨﺴﺒﺔ ﺍﻝﺘﻜﺎﻝﻴﻑ ﻤﻤﺎ ﻴﺩﻝل ﺃﻥ ﺯﻴﺎﺩﺓ ﺍﻝﺘﻜﺎﻝﻴﻑ ﻝـﻡ‬
‫ﺘﻜﻥ ﺒﺴﺒﺏ ﺍﻝﺘﺼﻤﻴﻡ ﺒل ﺒﺴﺒﺏ ﺤﺎﺠﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻹﺩﺨﺎل ﻋﻨﺎﺼﺭ ﺇﻨﺸﺎﺌﻴﺔ ﻭﻅﻴﻔﻴﺔ ﻭﺠﻤﺎﻝﻴﺔ ﺍﻀﺎﻓﻴﺔ‪،‬‬
‫ﺃﻭ ﺒﺴﺒﺏ ﺤﺎﺠﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻻﺨﺘﻴﺎﺭ ﺨﺎﻤﺎﺕ ﻭﻤﻌﺎﻝﺠﺎﺕ ﻤﺭﺘﻔﻌﺔ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺇﻤﺎ ﺒﺴﺒﺏ ﻭﻅﻴﻔﻲ ﺃﻭ ﺒﻬﺩﻑ‬
‫ﺍﻝﻤﻘﺎﺭﻨﺔ ﻤﻊ ﺍﻝﻐﻴﺭ ﺃﻭ ﻏﻴﺭ ﺫﻝﻙ‪.‬‬

‫ﺍﻝﺴﺅﺍل ﺍﻝﺨﺎﻤﺱ‪ :‬ﻫل ﻫﻨﺎﻙ ﺤﺎﺠﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﻝﻭﺠﻭﺩ ﺨﺎﻤﺎﺕ ﻤﺭﺘﻔﻌﺔ ﺍﻝﺘﻜـﺎﻝﻴﻑ ﻤﺜـل ﻭﺠـﻭﺩ‬

‫ﺯﺨﺎﺭﻑ ﻭﻨﻘﻭﺵ ﺠﺒﺴﻴﺔ ﺃﻭ ﺨﺸﺒﻴﺔ ﺃﻭ ﺃﻱ ﻤﻭﺍﺩ ﺃﺨﺭﻯ ﻋﻠﻰ ﺍﻝﺠﺩﺭﺍﻥ ﻭﺍﻷﺴﻘﻑ ﻭﻏﻴﺭﻫﺎ؟ ﻭﻤﺎ ﺃﺜﺭ‬
‫ﺘﻠﻙ ﺍﻝﺨﺎﻤﺎﺕ ﻋﻠﻰ ﺠﻭﺩﺓ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ؟‬

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‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﻜﺎﻨﺕ ﻨﺴﺒﺔ ﻤﻥ ﻴﺅﻴﺩ ﻭﺠﻭﺩ ﺘﻠﻙ ﺍﻝﺨﺎﻤﺎﺕ ﻫﻲ ‪ %35‬ﻭﻫﻲ ﺘﺭﻯ ﺃﻥ ﺘﻠﻙ ﺍﻹﻀـﺎﻓﺎﺕ ﻗـﺩ‬

‫ﺘﺜﺭﻱ ﻭﺘﺯﻴﺩ ﺍﻝﺠﺎﻨﺏ ﺍﻝﺠﻤﺎﻝﻲ ﺒﻴﻨﻤﺎ ﻨﺠﺩ ﻤﻥ ﻋﺎﺭﺽ ﺫﻝﻙ ﺍﻝﺭﺃﻱ ﻫﻡ ‪ %65‬ﻭﺃﻜـﺩﻭﺍ ﺃﻥ ﺍﻝﺘﺭﺘﻴـﺏ‬

‫ﻭﺍﻝﺒﺴﺎﻁﺔ ﻭﺍﻝﺘﻨﺎﺴﻕ ﻓﻲ ﺍﺨﺘﻴﺎﺭ ﺍﻷﻝﻭﺍﻥ ﻭﻤﻭﺍﺩ ﺍﻝﺘﺸﻁﻴﺏ ﻗﺩ ﺘﺯﻴﺩ ﺠﻤﺎﻝﻴﺔ ﺍﻝﻤﺴـﻜﻥ ﻭﻓﺨﺎﻤﺘـﻪ ﺩﻭﻥ‬
‫ﺍﻝﻠﺠﻭﺀ ﻻﻀﺎﻓﺎﺕ ﻤﺭﺘﻔﻌﺔ ﺍﻝﺘﻜﺎﻝﻴﻑ ﻴﻤﻜﻥ ﺍﻝﺤﺼﻭل ﻋﻠﻴﻬﺎ ﺒﺨﺎﻤﺎﺕ ﺃﺨﺭﻯ ﻤﻊ ﺘﻜﺎﻝﻴﻑ ﺃﻗل‪.‬‬

‫ﺍﻝﺴﺅﺍل ﺍﻝﺴﺎﺩﺱ‪ :‬ﻤﺎ ﺭﺃﻱ ﺍﻝﺴﺎﻜﻥ ﻓﻲ ﻤﺩﻯ ﻤﻼﺌﻤﺔ ﺘﺼﻤﻴﻡ ﻤﺴﻜﻨﻪ ﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻷﺴﺭﺓ ﻤﻥ ﺤﻴـﺙ‬

‫)ﺍﻝﺭﺍﺤﺔ‪ ،‬ﺍﻝﻬﺩﻭﺀ‪ ،‬ﺍﻝﺤﻴﻭﻴﺔ‪ ،‬ﺍﻷﻤﺎﻥ‪ ،‬ﺍﻝﺼﺤﺔ‪ ،‬ﺍﻝﺨﺼﻭﺼﻴﺔ‪ ،‬ﺍﻝﻌﻼﻗﺎﺕ ﺍﻷﺴﺭﻴﺔ(؟ ﻭﻋﻥ ﻗﺩﺭﺓ ﺍﻝﻤﺼﻤﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺘﺤﻘﻴﻕ ﺘﻠﻙ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ؟‬

‫ﻻ ﻋﺎﻤﹰﺎ ﻷﻭﻀﺎﻉ ﺘﻠﻙ‬

‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﻤﻥ ﺨﻼل ﺍﻝﻠﻘﺎﺀ ﺒﻌﻴﻨﺔ ﺍﻝﺴﻜﺎﻥ ﺍﻝﻭﺤﺩﺍﺕ ﻭﻨﺠﺩ ﺃﻥ ﻫﻨﺎﻙ ﺭﻀﻰ ﻭﻗﺒﻭ ﹰ‬
‫ﺍﻝﻭﺤﺩﺍﺕ‪ ،‬ﻭﻗﺩ ﻴﻌﻭﺩ ﺫﻝﻙ ﺇﻝﻰ ﻋﻨﺎﻴﺔ ﺍﻝﺴﻜﺎﻥ ﺒﺸﻜل ﻋﺎﻡ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺍﻵﻝﻴﺎﺕ ﻭﺍﻝﺘﻘﻨﻴﺎﺕ ﻭﺍﻝﻤﻭﺍﺩ ﺍﻝﻼﺯﻤﺔ‬
‫ﺃﻭ ﺍﻝﻤﻁﻠﻭﺒﺔ ﺃﺜﻨﺎﺀ ﻤﺭﺍﺤل ﺍﻹﻨﺸﺎﺀ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻓﺈﻝﻰ ﺠﺎﻨﺏ ﺍﻫﺘﻤﺎﻡ ﺍﻝﺴﻜﺎﻥ ﺒﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﺩﻴﻜﻭﺭ‬
‫ﺒﺸﻜل ﻭﺍﻀﺢ ﻨﺠﺩ ﻋﻨﺎﻴﺘﻬﻡ ﺒﺒﻌﺽ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺃﻭ ﺍﻵﻝﻴﺎﺕ ﻤﺜل ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻌـﺯل ﺍﻝﺤـﺭﺍﺭﻱ ﻭﺃﺤﻴﺎﻨـﺎ‬
‫ﺍﻝﺼﻭﺘﻲ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﻨﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %80‬ﻤﻨﻬﻡ ﻝﺩﻴﻬﻡ ﺃﻨﻅﻤﺔ ﺘﺩﻓﺌﺔ ﻭﺘﺤﺘﻭﻱ ﻤﺴﺎﻜﻨﻬﻡ ﻋﻠـﻰ ﻤﻭﻗـﺩ‬
‫)‪ (fire-place‬ﻭﺫﻝﻙ ﺒﺴﺒﺏ ﺒﺭﻭﺩﺓ ﻤﻨﻁﻘﺔ ﺍﻹﺴﻜﺎﻥ‪ ،‬ﻜﻤﺎ ﺍﻫﺘﻡ ﻤﻌﻅﻤﻬﻡ ﺒﺩﺭﺍﺴﺔ ﺍﻝﺘﻭﺯﻴﻊ ﺍﻝـﺩﺍﺨﻠﻲ‬
‫ﻝﻤﺴﺎﻜﻨﻬﻡ ﻝﻠﻭﺼﻭل ﻷﻗﺼﻰ ﺤﺎﻝﺔ ﺭﻀﻰ ﺘﺅﺩﻱ ﺇﻝﻰ ﺭﺍﺤﺔ ﺍﻝﺴـﺎﻜﻨﻴﻥ ﻭﻴـﺩﻋﻡ ﻁﺒﻴﻌـﺔ ﺍﻝﻌﻼﻗـﺎﺕ‬
‫ﺍﻷﺴﺭﻴﺔ‪ ،‬ﺒﺭﻏﻡ ﺫﻝﻙ ﻭ‪‬ﺠﺩ ﺃﻥ ﻨﺴﺒﺔ ‪ %20‬ﻤﻨﻬﻡ ﻴﺸﻌﺭﻭﻥ ﺒﺤﺎﺠﺔ ﻝﺘﺒﺩﻴل ﺃﻭ ﺘﻐﻴﻴﺭ ﺒﻌﺽ ﺍﻝﻌﻨﺎﺼـﺭ‬
‫ﺍﻝﺭﺌﻴﺴﻴﺔ ﺩﺍﺨل ﺍﻝﻤﺴﻜﻥ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﺭﺍﺤﺔ ﺩﺍﺨﻠﻴﺔ ﻭﺍﻨﺴﻴﺎﺒﻴﺔ ﺃﻜﺜﺭ‪.‬‬

‫ﺍﻝﺴﺅﺍل ﺍﻝﺴﺎﺒﻊ‪ :‬ﻤﺎ ﻗﺩﺭﺓ ﺍﻝﺘﺼﻤﻴﻡ ﻋﻠﻰ ﺘﺤﻘﻴﻕ ﻋﻼﻗﺔ ﺘﻜﺎﻤﻠﻴﺔ ﺒﻴﻥ ﺍﻝﻤﺴﻜﻥ ﻜﻤﺒﻨﻰ ﻭﺒﻴﺌﺘﻪ ﺍﻝﻤﺤﻴﻁﺔ؟‬

‫ﺍﻹﺠﺎﺒﺔ‪ :‬ﺇﻥ ﻨﻤﻭﺫﺝ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻓﻲ ﻫﺫﺍ ﺍﻹﺴﻜﺎﻥ ﻤﺘﺸﺎﺒﻬﻪ ﻨﻅﺭﹰﺍ ﺇﻝﻰ ﺃﻨﻬـﺎ ﻤﻭﺤـﺩﺓ ﻀـﻤﻥ‬
‫ﻨﻤﻭﺫﺠﻴﻥ‪ ،‬ﻓﻬﻲ ﺘﺘﻀﻤﻥ ﺸﺭﻓﺎﺕ ﻭﺘﺭﺴﺎﺕ ﺸﺒﻪ ﻤﻭﺤﺩﺓ ﻭﻨﺠﺩ ﻓﺘﺤﺎﺕ ﺍﻝﺸﺒﺎﺒﻴﻙ ﻭﺍﻷﺒﻭﺍﺏ ﻤﺘﺸـﺎﺒﻬﻪ‬
‫ﺃﻴﻀﺎ‪ ،‬ﻭﺭﻏﻡ ﺫﻝﻙ ﻨﺠﺩ ﻤﻥ ﺍﺴﺘﻁﺎﻉ ﻤﻥ ﺨﻼل ﻓﻜﺭﺓ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺼل ﺍﻝﻔﺭﺍﻍ ﺍﻝـﺩﺍﺨﻠﻲ‬
‫ﺒﻔﺭﺍﻏﺎﺕ ﻤﺤﻴﻁﺔ ﺒﻁﺭﻴﻘﺔ ﻓﻨﻴﺔ ﻝﻠﻭﺼﻭل ﻝﻼﻤﺘﺩﺍﺩ ﺍﻝﻤﻁﻠﻭﺏ ﻨﺤﻭ ﺍﻝﺤﺩﻴﻘﺔ ﺃﻭ ﺘﺭﺴﺎﺕ‪ ،‬ﻭﻗـﺩ ﻜﺎﻨـﺕ‬
‫ﻨﺴﺒﺘﻬﻡ ‪ %30‬ﻤﻥ ﺍﻝﻌﻴﻨﺔ‪ ،‬ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﺘﻬﻭﻴﺔ ﻭﺍﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺍﻝﺸﻤﺱ ﻭﺤﺴﻥ ﺍﻝﺘﻭﺠﻴﻪ ﻓﻬﻨـﺎﻙ‬
‫ﺭﻀﻰ ﻋﺎﻡ ﻤﻥ ﺍﻝﺴﻜﺎﻥ ﺒﻴﻨﻤﺎ ﺭﻏﺏ ‪ %15‬ﻤﻥ ﺍﻝﺴﻜﺎﻥ ﺒﺯﻴﺎﺩﺓ ﻤﺴﺎﺤﺔ ﻓﺘﺤﺎﺕ ﺍﻝﺸﺒﺎﺒﻴﻙ ﺒﺸﻜل ﻋﺎﻡ‪.‬‬

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‫ﻭﺒﺎﻋﺘﺒﺎﺭ ﻨﺴﺒﺔ ﺍﻝﺒﻨﺎﺀ ﺇﻝﻰ ﻤﺴﺎﺤﺔ ﺍﻷﺭﺽ ﻫﻲ ﺜﺎﺒﺘﺔ ﻜﻭﻨﻪ ﺇﺴﻜﺎﻥ ﻭﻴﻠﺘﺯﻡ ﺒﻨﻅﺎﻤﻪ ﺍﻝﺩﺍﺨﻠﻲ‪،‬‬
‫ﻓﻘﺩ ﻋﺒ‪‬ﺭ ‪ %60‬ﻤﻥ ﺃﺼﺤﺎﺏ ﺘﻠﻙ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻥ ﺤﺎﺠﺘﻬﻡ ﻝﺯﻴﺎﺩﺓ ﺍﻝﻤﺴﺎﺤﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻋﻠﻰ‬

‫ﺤﺴﺎﺏ ﺍﻝﺒﻨﺎﺀ‪ .‬ﻻﻓﺘﻴﻥ ﺍﻝﻨﻅﺭ ﻫﻨﺎ ﺃﻥ ﻨﺴﺒﺔ ﺍﻝﺒﻨﺎﺀ ﺇﻝﻰ ﺍﻷﺭﺽ ﻓﻲ ﺍﻹﺴﻜﺎﻥ ﺘﻘﺩﺭ ﺒـ ‪.%50‬‬

‫ﻨﺴﺘﻨﺘﺞ ﻤﻥ ﺍﻹﺠﺎﺒﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ ﺘﻨﺎﻤﻲ ﺍﻝﻭﻋﻲ ﻷﻫﻤﻴﺔ ﺩﻭﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻓـﻲ ﺘﺤﺴـﻴﻥ‬
‫ﻤﺴﺘﻭﻯ ﺃﺩﺍﺀ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻭﺠﻌﻠﻬﺎ ﻓﻀﺎﺀﺍﺕ ﺤﻴﻭﻴﺔ ﻤﺭﻴﺤـﺔ ﻝﻠﻤﺴـﺘﺨﺩﻡ ﻤﻌﻨﻭﻴـﹰﺎ‬

‫ﻭﻤﺎﺩﻴﹰﺎ ﺘﻠﺒﻲ ﻤﺘﻁﻠﺒﺎﺘﻪ ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻭﺍﻝﺫﻱ ﺃﺩﻯ ﺒﺎﻝﻀﺭﻭﺭﺓ ﻝﺤﺎﻝﺔ ﺭﻀﻰ ﻋﺎﻡ ﻭﻓﻌﺎﻝﻴـﺔ ﺃﻜﺒـﺭ ﻝﺘﻠـﻙ‬
‫ﺍﻝﻔﺭﺍﻏﺎﺕ‪ ،‬ﻜﻤﺎ ﺩﻋﻡ ﺍﻹﺤﺴﺎﺱ ﺒﺎﻹﻨﺘﻤﺎﺀ ﻝﻠﻤﻜﺎﻥ‪ ،‬ﻭﺒﺭﺯﺕ ﺃﻫﻤﻴﺔ ﻭﺠﻭﺩ ﺍﻝﻤﺼـﻤﻡ ﺍﻝـﺩﺍﺨﻠﻲ ﻋﻨـﺩ‬
‫ﺍﻝﺸﺭﻭﻉ ﺒﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﺒﺩﺌﻲ ﺃﻭ ﺍﻝﻤﺘﺎﺒﻌﺔ ﺃﺜﻨﺎﺀ ﻤﺭﺤﻠﺔ ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﻝﺘﻼﻓﻲ ﻭﻗﻭﻉ ﺃﺨﻁﺎﺀ ﻗﺩ ﺘﺅﺩﻱ ﺇﻝﻰ ﻓﺸل‬

‫ﺍﻝﻔﺭﺍﻍ ﺃﻭ ﺭﻓﻊ ﺘﻜﺎﻝﻴﻑ ﺍﻹﻨﺸﺎﺀ ﺃﻭ ﺯﻴﺎﺩﺓ ﻓﻲ ﺍﻝﺯﻤﻥ ﻴﺅﺩﻱ ﻝﺯﻴﺎﺩﺓ ﻓﻲ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺃﻴﻀﹰﺎ ﻭﺘﺄﺨﻴﺭ ﻴﻀﺭ‬
‫ﺒﻤﺼﻠﺤﺔ ﺍﻝﻤﺴﺘﺨﺩﻡ‪ ،‬ﺭﻏﻡ ﺃﻥ ﺍﻝﺯﻴﺎﺩﺓ ﺍﻝﻤﻌﻘﻭﻝﺔ ﺒﺎﻝﺘﻜﺎﻝﻴﻑ ﻝﻠﻭﺼﻭل ﻝﻨﺘﺎﺌﺞ ﻤﺭﻀﻴﺔ ﻜﺎﻨﺕ ﻤﻘﺒﻭﻝﺔ ﻋﻨﺩ‬
‫ﺍﻝﻤﻌﻅﻡ‪ ،‬ﻭﻜﺎﻥ ﺍﻝﺴﺒﺏ ﻓﻲ ﺫﻝﻙ ﻫﻭ ﺍﺴﺘﺨﺩﺍﻡ ﺨﺎﻤﺎﺕ ﺫﺍﺕ ﻤﻭﺍﺼﻔﺎﺕ ﺃﻓﻀل ﺃﻭ ﻓﻲ ﺤـﺎل ﻭﺠـﻭﺩ‬

‫ﻤﻬﻨﻴﻴﻥ ﻤﻬﺭﻩ‪ ،‬ﻭﻗﺩ ﺘﻡ ﺍﻝﺘﺄﻜﻴﺩ ﻋﻠﻰ ﻀﺭﻭﺭﺓ ﻤﺸﺎﺭﻜﺔ ﺠﻤﻴﻊ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻓﻲ ﺍﻝﻘـﺭﺍﺭ ﺍﻝﺘﺼـﻤﻴﻤﻲ‬
‫ﻻ ﻷﻗﺼﻰ ﺭﻀﻰ ﻤﻥ ﺠﻤﻴﻊ ﺍﻝﻤﻨﺘﻔﻌﻴﻥ‪ ،‬ﻭﺘﻌﺎﻭﻥ ﺍﻝﻤﺼﻤﻡ ﻭﺘﻘﺩﻴﻤﻪ ﺍﻝﺒﺩﺍﺌل ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻝﻪ ﺃﻫﻤﻴﺔ‬
‫ﻭﺼﻭ ﹰ‬
‫ﺨﺎﺼﺔ ﺘﺅﺩﻱ ﺇﻝﻰ ﻤﺴﺘﻭﻯ ﺃﻓﻀل ﻤﻥ ﺍﻝﺭﻀﻰ ﻝﺩﻯ ﺍﻝﻤﺴﺘﺨﺩﻡ‪.‬‬

‫ﻓﻴﻤﺎ ﻴﻠﻲ ﺍﻝﻘﺴﻡ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺍﻷﺴﺌﻠﺔ ﻭﺍﻝﺘﻲ ﻗﻤﺕ ﺒﺴﺅﺍﻝﻬﺎ ﻝﻨﻔﺱ ﺍﻝﻌﻴﻨﺔ ﻭﻫﻡ ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ‬
‫ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻭﻓﻲ ﻫﺫﺍ ﺍﻝﻘﺴﻡ ﻨﺠﺩ ﺃﺴﺌﻠﺔ ﻤﻬﻨﻴﺔ ﻭﺘﺨﺼﺼﻴﺔ ﺃﻜﺜﺭ‪ ،‬ﻭﻗﺩ ﺸﻤﻠﺕ ﺍﻷﺴﺌﻠﺔ ﺘﺴـﺎﺅﻻﺕ ﻋـﻥ‬
‫ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﻭﻋﻥ ﻋﻨﺎﺼﺭ ﻭﺁﻝﻴﺎﺕ ﺍﻝﺘﻨﻔﻴﺫ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﻓﻲ ﻨﺴﺒﺔ ﺭﻀﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻋﻥ ﺘﻠﻙ‬

‫ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺃﻭ ﻤﻔﺭﺩﺍﺕ ﺍﻝﺴﺅﺍل‪.‬‬

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‫ﻀﻌﻴﻔﺔ‬ ‫ﻤﺘﻭﺴﻁﺔ‬ ‫ﺠﻴﺩﺓ‬ ‫ﻤﻤﺘﺎﺯﺓ‬ ‫ﺍﻷﺴﺌﻠﺔ‬

‫ﻤﺎ ﻤﺴﺘﻭﻯ ﺍﻝﺭﻀﻰ ﻋﻥ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺘﺎﻝﻴـﺔ ﺃﻭ‬

‫ﺁﻝﻴﺔ ﺘﻨﻔﻴﺫ ﻓﻲ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ؟‬
‫‪20 %‬‬ ‫‪80 %‬‬ ‫‪ .1‬ﺠﻤﺎل ﺍﻝﺸﻜل ﺍﻝﺨﺎﺭﺠﻲ ﻝﻠﻤﺒﻨﻰ‬
‫‪10 %‬‬ ‫‪90 %‬‬ ‫‪ .2‬ﺠﻤﺎل ﺍﻝﺸﻜل ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺒﻨﻰ‬
‫‪30 %‬‬ ‫‪70 %‬‬ ‫‪ .3‬ﻤﺴﺎﺤﺔ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‬

‫‪ .4‬ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﻔﺭﺍﻏﻴﺔ ﻭﺘﺩﻓﻕ ﺍﻝﺤﺭﻜـﺔ ﺩﺍﺨـل‬

‫‪40 %‬‬ ‫‪60 %‬‬
‫ﺍﻝﻤﺒﻨﻰ ﺃﻭ ﻤﻊ ﻤﺤﻴﻁﻪ‬

‫‪ .5‬ﻤﺴﺎﺤﺔ ﺍﻝﺤﺭﻜـﺔ‪ :‬ﺍﻝﻤﻤـﺭﺍﺕ ﻭﺍﻝﻤـﺩﺍﺨل‬

‫‪30 %‬‬ ‫‪40 %‬‬ ‫‪30 %‬‬
‫ﻭﺍﻷﺩﺭﺍﺝ‬
‫‪15 %‬‬ ‫‪85 %‬‬ ‫‪ .6‬ﺍﻹﻀﺎﺀﺓ ﺍﻝﻁﺒﻴﻌﻴﺔ‬
‫‪10 %‬‬ ‫‪90 %‬‬ ‫‪ .7‬ﺍﻹﻀﺎﺀﺓ ﺍﻝﺼﻨﺎﻋﻴﺔ‬
‫‪30 %‬‬ ‫‪30 %‬‬ ‫‪40 %‬‬ ‫‪ .8‬ﺍﻝﻌﺯل ﺍﻝﺤﺭﺍﺭﻱ ﻭﺍﻝﺘﺩﻓﺌﺔ‬
‫‪20 %‬‬ ‫‪80 %‬‬ ‫‪ .9‬ﺍﻝﺘﺴﺨﻴﻥ ﻭﺍﻝﺘﺒﺭ‪‬ﻴﺩ ﻭﺍﻝﺘﻬﻭﻴﺔ‬
‫‪30 %‬‬ ‫‪70 %‬‬ ‫‪ .10‬ﻋﺯل ﺍﻝﺼﻭﺕ‬
‫‪15 %‬‬ ‫‪85 %‬‬ ‫‪ .11‬ﺍﻝﺘﻭﺼﻴﻼﺕ ﺍﻝﺼﺤﻴﺔ ﻭﺍﻝﻤﻴﻜﺎﻨﻴﻜﻴﺔ‬
‫‪20 %‬‬ ‫‪80 %‬‬ ‫‪ .12‬ﺍﻝﺘﻤﺩﻴﺩﺍﺕ ﺍﻝﻜﻬﺭﺒﺎﺌﻴﺔ‬

‫‪ .13‬ﻨﺴﺒﺔ ﺍﻝﻜﻔﺎﺀﺓ ﻝﻠﻤﺴﺎﺤﺔ ﺍﻹﺠﻤﺎﻝﻴـﺔ ﻤﻘﺎﺒـل‬

‫‪40 %‬‬ ‫‪60 %‬‬
‫ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻘﺎﺒﻠﺔ ﻝﻠﺘﺨﺼﻴﺹ‬
‫‪60 %‬‬ ‫‪40 %‬‬ ‫‪ .14‬ﺍﻝﺘﻜﻴ‪‬ﻑ ﻤﻊ ﺘﻐﻴ‪‬ﺭ ﺍﻻﺴﺘﻌﻤﺎﻻﺕ‬
‫‪100 %‬‬ ‫‪ .15‬ﺍﻷﻤﻥ ﻭﺍﻝﺴﻼﻤﺔ ﺍﻝﻌﺎﻤﺔ‬
‫‪30 %‬‬ ‫‪30 %‬‬ ‫‪40 %‬‬ ‫‪ .16‬ﺇﻤﻜﺎﻨﻴﺔ ﻭﺼﻭل ﺍﻝﻤﻌﺎﻗﻴﻥ‬
‫‪60 %‬‬ ‫‪40 %‬‬ ‫‪ .18‬ﻋﻼﻗﺔ ﺍﻝﻔﺭﺍﻏﺎﺕ ﺒﺎﻝﺘﻭﺯﻴﻊ ﺍﻝﻌﺎﻡ‬

‫‪ .19‬ﻨﻭﻋﻴﺔ ﺍﻝﺨﺎﻤﺎﺕ )ﺍﻝﻤﺘﺎﻨﺔ ﻭﺍﻝﺼﻴﺎﻨﺔ(‪:‬‬

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 ‫ﻀﻌﻴﻔﺔ‬ ‫ﻤﺘﻭﺴﻁﺔ‬ ‫ﺠﻴﺩﺓ‬ ‫ﻤﻤﺘﺎﺯﺓ‬ ‫ﺍﻷﺴﺌﻠﺔ‬
‫‪5%‬‬ ‫‪95 %‬‬ ‫ﺃ‪ -‬ﺃﺭﻀﻴﺎﺕ‬
‫‪5%‬‬ ‫‪95 %‬‬ ‫ﺏ‪ -‬ﺠﺩﺭﺍﻥ‬
‫‪15 %‬‬ ‫‪85 %‬‬ ‫ﺝ_ ﺃﺴﻘﻑ‬
‫‪55 %‬‬ ‫‪15 %‬‬ ‫‪30 %‬‬ ‫‪ .20‬ﻤﺭﻭﻨﺔ ﺍﻻﺴﺘﻌﻤﺎل‬
‫‪55 %‬‬ ‫‪30 %‬‬ ‫‪15 %‬‬ ‫‪ .21‬ﺘﻭﻓﺭ ﻓﺭﺍﻏﺎﺕ ﻝﻠﻨﺸﺎﻁ ﻭﺍﻝﻬﻭﺍﻴﺎﺕ‬
‫‪30 %‬‬ ‫‪40 %‬‬ ‫‪30 %‬‬ ‫‪ .22‬ﺍﻻﺯﻋﺎﺝ ﻤﻥ ﺍﻝﻤﺤﻴﻁ ﺍﻝﻌﺎﻡ‬
‫‪20 %‬‬ ‫‪10 %‬‬ ‫‪0%7‬‬ ‫‪ .23‬ﺃﻤﺎﻜﻥ ﺇﻴﻘﺎﻑ ﺍﻝﺴﻴﺎﺭﺍﺕ‬
‫‪10 %‬‬ ‫‪10 %‬‬ ‫‪80 %‬‬ ‫‪ .24‬ﺴﻬﻭﻝﺔ ﺍﻝﺘﺨﻠﺹ ﻤﻥ ﺍﻝﻤﺨﻠﻔﺎﺕ‬

‫‪ .25‬ﺠﻤﺎﻝﻴﺔ ﺍﻝﺭﺅﻴﺔ ﻤﻥ ﺍﻻﻁﻼﻝﺔ ﻋﻠﻰ ﺍﻝﻤﻨﺎﻅﺭ‬

‫‪10 %‬‬ ‫‪10 %‬‬ ‫‪80 %‬‬
‫ﺍﻝﻤﺤﻴﻁﺔ‬
‫‪30 %‬‬ ‫‪70 %‬‬ ‫‪ .26‬ﺘﻨﺴﻴﻕ ﺍﻝﺤﺩﺍﺌﻕ‬
‫‪15 %‬‬ ‫‪85 %‬‬ ‫‪ .27‬ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺍﻝﻤﺒﻨﻰ‬

‫ﻨﺴﺘﻨﺘﺞ ﻤﻥ ﺇﺠﺎﺒﺎﺕ ﺍﻝﺴﻜﺎﻥ ﻓﻲ ﺍﻝﻘﺴﻡ ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺍﻷﺴﺌﻠﺔ ﺃﻥ ﻤﺴﺘﻭﻯ ﺍﻝﺭﻀﻰ ﻝـﺩﻴﻬﻡ ﻋـﻥ‬
‫ﻤﺴﺎﻜﻨﻬﻡ ﺒﺸﻜل ﻋﺎﻡ ﺠﻴﺩ‪ ،‬ﻜﻤﺎ ﻨﺠﺩ ﺃﻥ ﻤﺴﺘﻭﻯ ﺍﻨﺘﻤﺎﺌﻬﻡ ﻝﻬﺎ ﻤﻤﻴﺯ ﻭﺍﻝﺫﻱ ﻴﺘﻀﺢ ﻤﻥ ﺨﻼل ﻭﺼﻔﻬﻡ‬

‫ﺍﻝﺩﻗﻴﻕ ﻝﻬﺎ ﻭﻤﻼﻤﺴﺘﻬﻡ ﻷﺩﻕ ﺍﻝﺘﻔﺎﺼﻴل ﺒﻬﺎ ﻭﻋﻠﻰ ﺃﻨﻬﺎ ﺘﻭﻓﺭ ﻝﻬﻡ ﻤﺎ ﻴﻁﻤﺤﻭﻥ ﻝـﻪ ﻤـﻥ ﻓﺭﺍﻏـﺎﺕ‬
‫ﻤﻌﻴﺸﻴﺔ ﺩﺍﺨﻠﻴﺔ ﻤﺭﻴﺤﺔ‪.‬‬

‫ﻭﺃﺨﻴﺭﹰﺍ ﻋﻨﺩﻤﺎ ﺘﻡ ﺴﺅﺍل ﺍﻝﻌﻴﻨﺔ ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻋﻥ ﻤﻘﺘﺭﺤﺎﺘﻬﻡ ﻹﺴـﻜﺎﻨﺎﺕ‬

‫ﻤﺸﺎﺒﻬﺔ ﺴﻭﻑ ﻴﺘﻡ ﺘﺼﻤﻴﻤﻬﺎ ﻓﻲ ﺍﻝﻤﺴﺘﻘﺒل ﺨﺎﺼﺔ ﻓﻲ ﻤﺠﺎل ﺍﻝﺘﻘﻨﻴﺔ ﻓﻘﺩ ﺃﺠﺎﺒﻭﺍ ﺒﻀـﺭﻭﺭﺓ ﺘـﻭﻓﻴﺭ‪:‬‬
‫ﺍﻝﺘﻜﻴﻴﻑ ﺍﻝﻤﺭﻜﺯﻱ‪ ،‬ﻭﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻁﺎﻗﺔ ﺍﻝﺸﻤﺴﻴﺔ‪ ،‬ﻭﻤﺘﺎﺒﻌﺔ ﺍﻝﺘﻁﻭﺭﺍﺕ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴﺔ ﻓﻲ ﻜل ﻤﺭﺤﻠﺔ ﻤﻥ‬
‫ﺍﻹﻨﺸﺎﺀ ﻭﻤﻭﺍﻜﺒﺘﻬﺎ ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ‪.‬‬

‫ﺃﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻻﻗﺘﺭﺍﺤﺎﺘﻬﻡ ﻓﻲ ﻤﺠﺎﻻﺕ ﺃﺨﺭﻯ ﻓﻤﻨﻬﻡ ﻤﻥ ﻴﻔﻀل ﺇﻀـﺎﻓﺔ ﺒﻌـﺽ ﺍﻝﻤﺭﺍﻓـﻕ‬
‫ﺍﻷﺨﺭﻯ ﻜﻐﺭﻓﺔ ﻏﺴﻴل ﻤﻼﺒﺱ ﻤﻨﻔﺼﻠﺔ‪ ،‬ﺃﻭ ﺍﻝﻌﻤل ﻋﻠﻰ ﺘﻭﻓﻴﺭ ﺤﻤﺎﻡ ﺨﺎﺹ ﺒﻜل ﻏﺭﻓﺔ ﻨﻭﻡ ﺒﺸـﻜل‬

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‫ﻤﻨﻔﺼل ﻝﺘﺤﻘﻴﻕ ﺍﻝﺨﺼﻭﺼﻴﺔ ﻝﺠﻤﻴﻊ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﺩﻭﻥ ﺍﺴﺘﺜﻨﺎﺀ‪ ،‬ﻭﻤﻨﻬﻡ ﻤﻥ ﺍﻗﺘﺭﺡ ﻭﺠﻭﺩ ﻤﺨـﺯﻥ‬
‫ﻜﺒﻴﺭ ﻀﻤﻥ ﺍﻝﻤﺭﺍﻓﻕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻝﻠﻭﺤﺩﺓ ﺍﻝﺴﻜﻨﻴﺔ‪ ،‬ﻭﻨﺠﺩ ﻤﻥ ﻁﻠﺏ ﻋﺩﻡ ﺍﻝﻤﺒﺎﻝﻐﺔ ﺒﻤﺴﺎﺤﺔ ﻏﺭﻓﺔ ﺍﻝﻤﻌﻴﺸﺔ‬

‫ﻝﻜﻥ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﺩﺭﺍﺴﺔ ﻋﻼﻗﺘﻪ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻤﻊ ﺍﻝﻤﺭﺍﻓﻕ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻝﻠﻤﺒﻨـﻰ ﺩﻭﻥ ﺘﻔﻀـﻴل ﻏﺭﻓـﺔ‬
‫ﺍﻝﻀﻴﺎﻓﺔ ﻋﻠﻴﻪ ﻭﺨﺎﺼﺔ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﻭﻗﻊ ﺒﺎﻝﻨﺴﺒﺔ ﻝﺒﺎﻗﻲ ﻤﺭﺍﻓﻕ ﺍﻝﻭﺤﺩﺓ ﻭﻤﻥ ﺤﻴﺙ ﺍﻹﻁﻼﻝﺔ ﻭﺍﻝﺘﻭﺠﻴﻪ‬
‫ﺍﻝﺠﻴﺩ‪ ،‬ﻭﻤﻨﻬﻡ ﻤﻥ ﺃﻜﺩ ﻋﻠﻰ ﻀﺭﻭﺭﺓ ﺘﺠﻤﻴﻊ ﻏﺭﻑ ﺍﻝﻨﻭﻡ ﺨﺎﺼﺔ ﻤﻤﻥ ﻝﻡ ﻴﺘﻭﻓﺭ ﺫﻝﻙ ﻝﺩﻴﻬﻡ ﺘﺤﻘﻴﻘـﹰﺎ‬

‫ﻝﻤﺒﺩﺃ ﺍﻝﺨﺼﻭﺼﻴﺔ ﻭﺍﻝﺭﺍﺤﺔ ﺍﻝﻤﻌﻴﺸﻴﺔ‪ ،‬ﻭﻀﺭﻭﺭﺓ ﺩﺭﺍﺴﺔ ﺘﻭﺯﻴﻊ ﺍﻝﻤﻁﺒﺦ ﺒﻌﻨﺎﻴﺔ ﻭﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻤﺜﻠﺙ‬
‫ﺍﻝﺤﺭﻜﺔ ﺒﺎﻝﺭﺠﻭﻉ ﺇﻝﻰ ﺭﺒﺔ ﺍﻷﺴﺭﺓ ﻭﺫﻝﻙ ﻗﺒل ﺍﻝﺘﻨﻔﻴﺫ‪ ،‬ﻭﺇﻀﺎﻓﺔ ﻏﺭﻓﺔ ﻤﻼﺒﺱ ﺨﺎﺼﺔ ﻝﻐﺭﻓﺔ ﺍﻝﻨـﻭﻡ‬
‫ﺍﻝﺭﺌﻴﺴﻴﺔ‪ ،‬ﻭﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﻌﻼﻗﺎﺕ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻭﺴﻬﻭﻝﺔ ﺍﻝﺤﺭﻜﺔ ﻭﺍﻝﻭﺼﻭل ﻭﺍﻹﺘﺼﺎل ﺩﻭﻥ ﺍﻹﺨﻼل ﺒﻤﺒﺩﺃ‬

‫ﺘﻭﻓﻴﺭ ﺍﻝﺨﺼﻭﺼﻴﺔ ﻝﻠﺴﻜﺎﻥ ﺒﺸﻜل ﻋﺎﻡ‪ ،‬ﻭﺠﻤﻴﻌﻬﻡ ﺃﻜﺩﻭﺍ ﻋﻠﻰ ﺘﻔﻀﻴﻠﻬﻡ ﻝﻨﻅﺎﻡ ﺍﻝﻭﺤـﺩﺍﺕ ﺍﻝﺴـﻜﻨﻴﺔ‬
‫ﺍﻝﻤﻨﻔﺼﻠﺔ ﺫﺍﺕ ﻨﻤﻁ ﺍﻝﻁﺎﺒﻕ ﺍﻝﻭﺍﺤﺩ ﺍﻝﻤﺘﻀﻤﻥ ﺠﻤﻴﻊ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻌﻴﺸﻴﺔ ﻭﺍﻝﺨﺩﻤﺎﺘﻴﺔ ﻭﻭﺼﻔﻭﻫﺎ ﺒﺄﻨﻬﺎ‬
‫ﺃﻓﻀل ﻤﻥ ﺍﻝﻭﺤﺩﺍﺕ ﻤﺘﻌﺩﺩﺓ ﺍﻝﻁﻭﺍﺒﻕ‪ ،‬ﻤﻊ ﺘﺄﻜﻴﺩﻫﻡ ﺃﻥ ﻋﻠﻰ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻤﺭﺍﻋـﺎﺓ ﻤﺘﻁﻠﺒـﺎﺕ‬

‫ﻭﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺴﻜﺎﻥ ﺍﻝﻭﻅﻴﻔﻴﺔ ﺃﻭ ﺍﻝﻤﻌﻨﻭﻴﺔ ﻭﺍﻝﺴﻠﻭﻜﻴﺔ ﺒﺸﻜل ﺃﻜﺜﺭ‪ ،‬ﻭﺫﻝﻙ ﺒﻬﺩﻑ ﺍﻝﺤﺼـﻭل ﻋﻠـﻰ‬
‫ﺭﻀﻰ ﻋﺎﻡ ﻭﺭﺍﺤﺔ ﻨﻔﺴﻴﺔ ﻝﻬﻡ ﻜﺴﻜﺎﻥ‪.‬‬

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 ‫ﺍﻝﻨﺘﺎﺌﺞ ﻭﺍﻝﺘﻭﺼﻴﺎﺕ‬

‫ﻭﺃﺭﻯ ﻭﻤﻥ ﺨﻼل ﺍﻝﺩﺭﺍﺴﺔ ﻭﺒﺎﺴﺘﺨﺩﺍﻡ ﻤﻨﺎﻫﺞ ﺍﻝﺒﺤﺙ ﺍﻝﻌﻠﻤﻲ ﺍﻝﻤﺘﺒﻌﺔ ﻭﻤﻥ ﺃﻫﻤﻬﺎ ﺍﻝﻤـﻨﻬﺞ‬

‫ﺍﻝﻭﺼﻔﻲ ﻭﺃﺩﻭﺍﺘﻪ )ﺍﻝﻤﻘﺎﺒﻠﺔ(‪ ،‬ﺃﻥ ﻫﻨﺎﻙ ﻋﻼﻗﺔ ﻫﺎﻤﺔ ﻭﺩﻗﻴﻘﺔ ﺒﻴﻥ ﺃﺭﻜﺎﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺇﻥ ﺠﺎﺯ ﻝﻨـﺎ‬
‫ﺘﺴﻤﻴﺘﻬﺎ ﺒﺫﻝﻙ ﻭﻫﻲ‪ ،‬ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ‪ ،‬ﺍﻝﻤﺸﺭﻭﻉ ﺴﻭﺍﺀ ﻜﺎﻥ ﻓـﻲ‬
‫ﻤﺭﺤﻠﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺃﻡ ﻤﺭﺤﻠﺔ ﺍﻹﺸﺭﺍﻑ ﻋﻠﻰ ﺍﻝﺘﻨﻔﻴﺫ ﺃﻡ ﻜﻼﻫﻤﺎ ﻤﻌﺎﹰ‪ ،‬ﺜﻡ ﺍﻝﻘﺎﻨﻭﻥ ﺃﻭ ﺍﻝﻤﺤﺩﺩﺍﺕ ﺍﻝﻤﻬﻨﻴـﺔ‬

‫ﻭﺍﻝﻤﺅﺴﺴﻴﺔ ﻭﻏﻴﺭﻫﺎ‪.‬‬

‫ﻭﻨﺸﻴﺭ ﻫﻨﺎ ﺇﻝﻰ ﺃﻥ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺃﺭﻜﺎﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺘﻠﻙ‪ ،‬ﻫﻲ ﻋﻼﻗﺔ ﻁﺭﺩﻴـﺔ‪ ،‬ﻴـﺅﺩﻱ‬
‫ﻭﻀﻭﺤﻬﺎ ﻭﺒﺴﺎﻁﺘﻬﺎ ﺇﻝﻰ ﻨﺠﺎﺡ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﻨﻔﻴﺫ ﻤﻤﺎ ﻴﻨﺘﺞ ﻋﻨﻪ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺃﻓﻀل ﺍﻝﺤﻠﻭل‬

‫ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺭﻀﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﺘﻘﻠﻴل ﺍﻝﺠﻬﺩ ﻭﺍﻝﺘﻜﺎﻝﻴﻑ‪.‬‬

‫ﺍﻝﻤﺴﺘﺨﺩﻡ‬

‫ﺍﻝﻤﺒﻨﻰ‬
‫)ﺍﻝﻤﺸﺭﻭﻉ(‬

‫ﺍﻝﻤﺼﻤﻡ‬ ‫ﺍﻝﻤﺼﻤﻡ‬
‫ﺍﻝﺩﺍﺨﻠﻲ‬ ‫ﺍﻝﻤﻌﻤﺎﺭﻱ‬

‫ﺸﻜل )‪ (29.3‬ﺸﻜل ﺘﻭﻀﻴﺤﻲ ﻴﺒﻴﻥ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺃﺭﻜﺎﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﺘﺠﺎﻫﺎﺘﻬﺎ‬

‫)ﺍﻝﻤﺼﺩﺭ‪ :‬ﺍﻝﺒﺎﺤﺜﺔ(‬

‫ﻭﺒﺎﻝﺘﺄﻜﻴﺩ ﻓﺈﻥ ﺫﻭﺒﺎﻥ ﺍﻝﻌﻼﻗﺔ ﻭﻏﻤﻭﻀﻬﺎ ﺃﻭ ﻫﻼﻤﻴﺘﻬﺎ ﺴﻭﻑ ﺘﺅﺩﻱ ﻝﻨﺘﺎﺌﺞ ﺴﻠﺒﻴﺔ ﺘﻌﻭﺩ ﻋﻠﻰ‬

‫ﻜل ﺍﻷﻁﺭﺍﻑ‪ ،‬ﻗﺩ ﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻝﺴﻠﺒﻴﺎﺕ ﻤﺎﺩﻴﺔ ﺃﻭ ﻤﻌﻨﻭﻴﺔ ﺘﺅﺩﻱ ﻝﻨﺘﺎﺌﺞ ﻭﺴﻠﺒﻴﺎﺕ ﺴﻠﻭﻜﻴﺔ ﻭﻨﻔﺴﻴﺔ‪.‬‬

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‫ﻴﻌﺘﺒﺭ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻤﻥ ﺃﻫﻡ ﺼﻭﺭ ﻭﻨﺠﺎﺤﺎﺕ ﺍﻹﺒﺩﺍﻉ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺃﻭ ﺍﻹﻨﺴﺎﻨﻲ‪ .‬ﻓﻔﻴـﻪ‬
‫ﺇﺒﺩﺍﻉ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﻌﻤﻠﻲ ﻋﻥ ﻤﺩﻯ ﻗﺩﺭﺘﻪ ﻓﻲ ﺨﻠﻕ ﺼﻭﺭ ﺠﻤﻴﻠﺔ ﻭﻤﺘﻌﺩﺩﺓ ﻝﻤﺠﻤﻭﻋـﺔ ﻤـﻥ‬

‫ﺍﻝﺨﻴﺎﻻﺕ ﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻹﺒﺩﺍﻋﻴﺔ‪ ،‬ﺒل ﻭﻓﻴﻪ ﺍﻝﺘﺠﺴﻴﺩ ﺍﻝﻌﻤﻠﻲ ﻝﺭﻭﺡ ﺍﻝﻔﻜﺭﺓ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻤﻥ ﺨﻼل ﺍﻝﺘﻼﻋﺏ‬
‫ﺒﻌﻨﺎﺼﺭ ﻭﻤﻜﻭﻨﺎﺕ ﻫﺫﺍ ﺍﻝﻔﻀﺎﺀ‪ .‬ﻓﻔﻴﻪ ﺍﻝﻤﻘﺎﻴﻴﺱ ﺍﻝﺩﻗﻴﻘﺔ‪ ،‬ﻭﻓﻴﻪ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺠﻤﻴﻠـﺔ‪ ،‬ﻭﻓﻴـﻪ ﺍﻝﻭﻅﻴﻔـﺔ‬
‫ﺍﻝﻤﺭﻴﺤﺔ‪ ،‬ﻭﻓﻴﻪ ﺍﻹﺤﺴﺎﺱ ﺍﻝﻤﺭﻫﻑ ﻤﻥ ﺨﻼل ﺍﻻﻨﻌﻜﺎﺱ ﺍﻝﺘﺒﺎﺩﻝﻲ ﺒﻴﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺒﻴﺌـﺔ ﺍﻝﻤﺤﻴﻁـﺔ‬

‫ﻜﺤﺭﻜﺔ ﺍﻝﺸﻤﺱ ﻭﺘﺤﻘﻴﻕ ﺍﻝﺘﻬﻭﻴﺔ ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﻓﻴﻪ ﺘﺤﻘﻴﻕ ﺍﻝﻤﻌﺎﻴﺸﺔ ﻤﻥ ﺨـﻼل ﺘﻭﺯﻴـﻊ ﺍﻝﻌﻨﺎﺼـﺭ‬
‫ﺍﻝﻭﻅﻴﻔﻴﺔ ﻭﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻠﻤﻜﻭﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﻜﺄﻤﺎﻜﻥ ﺍﻝﻨﻭﻡ ﻭﺍﻝﺭﺍﺤﺔ‪ ،‬ﻭﻓﻴﻪ ﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﻤﻌﻴﺸﻴﺔ ﻭﺃﻤﺎﻜﻥ‬
‫ﺍﻝﻨﺸﺎﻁ ﻭﺍﻝﺘﺭﻓﻴﻪ ﺍﻝﺘﻲ ﺘﺘﻔﺎﻋل ﺠﻤﻴﻌﹰﺎ ﻭﺘﺘﻜﺎﻤل ﺒﺸﻜل ﺠﻤﻴل ﻭﻤﻨﺴﻕ‪.‬‬

‫ﻴﻌﺘﺒﺭ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺒﺄﺴﺴﻪ ﻭﺃﺸﻜﺎﻝﻪ ﻭﻋﻨﺎﺼﺭﻩ ﺍﻝﻤﻜﻭﻨﺔ ﻝﻪ‪ ،‬ﻫﻭﻴﺔ ﻝﻸﺸـﺨﺎﺹ ﺍﻝـﺫﻴﻥ‬
‫ﻗﺎﻤﻭﺍ ﺒﻪ‪ .‬ﻓﻘﺩ ﻴﻜﻭﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻫﻭﻴﺔ ﻝﻠﻤﺼﻤﻡ ﺇﺫﺍ ﻝﻡ ﻴﺘﺩﺨل ﺒﻪ ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺍﻝﻤﺴـﺘﺨﺩﻡ‪ ،‬ﻭﻗـﺩ‬
‫ﻴﻜﻭﻥ ﻫﻭﻴﺔ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺍﺫﺍ ﻗﺎﻡ ﺍﻝﻤﺼﻤﻡ ﺒﺘﻨﻔﻴﺫ ﺭﻏﺒﺎﺕ ﺫﻝﻙ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺩﻭﻥ ﻝﻤﺴﺔ ﻤﻨﻪ ﻝﺫﻝﻙ ﺍﻝﻤﺴﻜﻥ‪،‬‬

‫ﻝﻜﻥ ﺃﻓﻀل ﺃﻨﻭﺍﻉ ﺍﻝﺘﺼﻤﻴﻡ ﻤﺎ ﻜﺎﻥ ﻴﻤﺜل ﻫﻭﻴﺔ ﻝﻠﺘﻔﺎﻋل ﺍﻹﻴﺠﺎﺒﻲ ﺍﻝﻤﺸﺘﺭﻙ ﺒﻴﻥ ﺍﻝﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ‪.‬‬

‫ﺇﻥ ﺍﻝﺘﻐﺫﻴﺔ ﺍﻝﺭﺍﺠﻌﺔ )‪ (Feed back‬ﻭﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﻘﻴﻴﻡ ﺍﻝﻤﺴﺘﻤﺭﺓ ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ ﻭﻤﺘﺎﺒﻌـﺔ‬
‫ﺍﻝﺘﻘﻨﻴﺎﺕ ﻭﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴﺎ ﺍﻝﺤﺩﻴﺜﺔ ﻤﻥ ﺃﻫﻡ ﻋﻭﺍﻤل ﻨﺠﺎﺡ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪.‬‬

‫ﻓﺨﺒﺭﺍﺕ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺘﺭﺍﻜﻤﻴﺔ ﻭﻤﺘﺎﺒﻌﺎﺘﻪ ﺍﻝﻤﺘﺠﺩﺩﺓ ﻝﻠﺘﻘﻨﻴﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ ﻝﻤﻭﺍﺩ ﻭﻤﻜﻭﻨﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ‬
‫ﺃﻭ ﺍﻝﺘﺠﻬﻴﺯﺍﺕ ﺍﻝﻼﺯﻤﺔ ﻓﻲ ﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻁﻭﻴﻌﻬﺎ ﺃﻭ ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ‪ ،‬ﺘﻌﻭﺩ ﺒﺎﻝﻔﺎﺌـﺩﺓ‬
‫ﺍﻻﻴﺠﺎﺒﻴﺔ ﻭﺍﻝﻤﺒﺎﺸﺭﺓ ﻋﻠﻰ ﺃﻱ ﻤﺸﺭﻭﻉ ﺃﻭ ﻋﻤﻠﻴﺔ ﺘﺼﻤﻴﻤﻴﺔ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺨﺒﺭﺍﺕ ﺍﻝﻤﺴﺘﺨﺩﻡ ـ ﻤﻊ ﺍﻝﺘﻨﻭﻴﻪ‬

‫ﺃﻨﻬﺎ ﻻ ﺘﻜﻭﻥ ﻜﺒﻴﺭﺓ ﻓﻲ ﻤﻌﻅﻡ ﺍﻷﺤﻴﺎﻥ ـ ﻭﻤﻌﺭﻓﺘﻪ ﻻﺤﺘﻴﺎﺠﺎﺘﻪ ﻭﺍﻝﺘﻌﺒﻴﺭ ﻋﻨﻬـﺎ ﺒﺄﻗﺼـﺭ ﺍﻝﻁـﺭﻕ‬
‫ﻭﺘﻘﺩﻴﺭﻩ ﻝﻠﻘﻴﺎﺴﺎﺕ ﺍﻝﺘﻲ ﻴﺭﻴﺩﻫﺎ ﺒﺸﻜل ﺩﻗﻴﻕ‪ ،‬ﻝﻬﺎ ﺃﻫﻤﻴﺔ ﺒﺎﻝﻐﺔ ﺘﻭﻓﺭ ﺍﻝﻭﻗﺕ ﻭﺍﻝﺠﻬـﺩ ﻭﺘـﺅﺩﻱ ﺇﻝـﻰ‬
‫ﺍﻝﺭﻀﻰ ﺍﻝﻨﻔﺴﻲ ﻭﺍﻝﺭﺍﺤﺔ ﺍﻝﺘﻲ ﻴﻨﺸﺩﻫﺎ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ‪.‬‬

‫ﻫﺫﺍ ﻭﻗﺩ ﺨﻠﺼﺕ ﺍﻝﺩﺭﺍﺴﺔ ﻭﺒﻌﺩ ﻋﺭﺽ ﺴﺭﻴﻊ ﻷﻫﻡ ﺍﻝﻨﺘﺎﺌﺞ ﻓﻲ ﺩﺭﺍﺴﺘﻬﺎ ﺇﻝـﻰ ﺍﻝﺘﻭﺼـﻴﺎﺕ‬
‫ﺍﻝﺘﺎﻝﻴﺔ‪:‬‬

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‫‪ (1‬ﻀﺭﻭﺭﺓ ﺘﻭﻀﻴﺢ ﺃﺭﻜﺎﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻜﺎﻓﺔ )‪ -1‬ﺍﻝﻤﺼﻤﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ‪،‬‬
‫‪ -2‬ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ‪ -3 ،‬ﺍﻝﻤﺒﻨﻰ ﺃﻭ ﺍﻝﻤﺸـﺭﻭﻉ‪ -4 ،‬ﺍﻝﻘـﻭﺍﻨﻴﻥ ﺃﻭ ﺍﻝﻤﺤـﺩﺩﺍﺕ ﺍﻝﻤﻬﻨﻴـﺔ‬

‫ﻭﺍﻝﻤﺅﺴﺴﻴﺔ( ﻭﻤﻌﺭﻓﺔ ﻤﺴﺅﻭﻝﻴﺔ ﻭﻭﺍﺠﺒﺎﺕ ﻭﺤﺩﻭﺩ ﻜل ﺸﺨﺹ ﺃﻭ ﻓﺭﻴﻕ ﻤﻨﻬﺎ‪.‬‬

‫ﻭﻗﺩ ﺃﻜﺩﺕ ﺃﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﻔﺎﻋل ﺍﻻﻴﺠﺎﺒﻲ ﺒﻴﻥ ﻫﺫﻩ ﺍﻷﺭﻜﺎﻥ ﺒﺸﻜل ﻤﺘﻨﺎﻏﻡ ﻭﻤﺴـﺅﻭل ﺴـﻭﻑ‬
‫ﺘﺭﻓﻊ ﺍﻝﻘﻴﻤﺔ ﺍﻻﻴﺠﺎﺒﻴﺔ ﻝﻠﻤﺸﺭﻭﻉ ﺃﺜﻨﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺒﺘﻘﻠﻴل ﺍﻝﻭﻗﺕ ﻭﺍﻝﺠﻬﺩ ﺃﻭ ﺨﻼل ﻋﻤﻠﻴﺔ ﺍﻝﺘﻨﻔﻴﺫ ﺒﺘﻘﻠﻴل‬

‫ﺍﻝﺘﻜﺎﻝﻴﻑ ﺃﻭ ﺒﻌﺩ ﺍﻨﺘﻬﺎﺀ ﺍﻝﻤﺸﺭﻭﻉ ﻤﻥ ﺨﻼل ﺘﺤﻘﻴﻕ ﺍﻝﻘﻴﻤﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺍﻝﻭﻅﻴﻔﻴﺔ ﺍﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺭﻀـﻰ‬
‫ﺍﻝﻨﻔﺴﻲ ﻝﻠﻤﺴﺘﺨﺩﻡ ﻭﺍﻝﻤﺼﻤﻡ ﻤﻌﹰﺎ‪.‬‬

‫ﺇﺫﺍ ﻜﺎﻥ ﺍﻝﻤﺴﻜﻥ ﻀﺭﻭﺭﺓ ﻤﻥ ﻀﺭﻭﺭﺍﺕ ﺍﻝﺤﻴﺎﺓ ﺒﺤﺴﺏ ﺍﻵﻴﺔ ﺍﻝﻘﺭﺁﻨﻴﺔ‪ } :‬ﻭ‪‬ﺍﻝﱠﻠ ‪‬ﻪ ‪‬‬
‫ﺠ ‪‬ﻌ َل ﹶﻝ ﹸﻜﻡ‪ ‬ﻤﻥ‪‬‬ ‫‪(2‬‬

‫ﺴ ﹶﻜﻨﹰﺎ‪) { ...‬ﺴﻭﺭﺓ ﺍﻝﻨﺤل‪ -‬ﺁﻴﺔ ‪ ،(80‬ﻓﺈﻨﻲ ﺃﻋﺘﺒﺭ ﺃﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻤﺴـﻜﻥ ﻫـﻭ‬
‫‪‬ﺒﻴ‪‬ﻭ ‪‬ﺘ ﹸﻜﻡ‪ ‬‬
‫ﺍﺤﺘﻴﺎﺝ ﺇﻨﺴﺎﻨﻲ ﺨﺎﻝﺹ‪ ،1‬ﻭﻋﻠﻴﻪ ﻓﺈﻥ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻴﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﻜﺎﻓﺔ‪،‬‬

‫ﻭﺫﻝﻙ ﻷﻫﻤﻴﺘﻪ ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﻭﻅﻴﻔﻴﺔ ﻭﺍﻝﺠﻤﺎﻝﻴﺔ ﻭﺘﺤﻘﻴﻘﻪ ﺍﻝﺭﺍﺤﺔ ﺍﻝﻨﻔﺴﻴﺔ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﺸـﺎﻏل‬

‫ﻝﻬﺫﺍ ﺍﻝﻤﺴﻜﻥ ﻭﺍﻨﻌﻜﺎﺱ ﺫﻝﻙ ﻋﻠﻰ ﺭﺍﺤﺘﻪ ﻭﺴﻠﻭﻜﻪ ﻓﻲ ﺍﻷﺴﺭﺓ ﻭﺍﻝﻤﺠﺘﻤﻊ‪.‬‬

‫ﺘﺸﻴﺭ ﺍﻝﺩﺭﺍﺴﺔ ﺇﻝﻰ ﺃﻨﻪ ﻻ ﻴ‪‬ﻘﺼﺩ ﺒﺎﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺭﻓﻊ ﺍﻝﻘﻴﻤﺔ ﺍﻝﻤﺎﺩﻴـﺔ ﺃﻭ ﺍﻝﺘﻜﻠﻔـﺔ ﻝﻌﻤﻠﻴـﺔ‬ ‫‪(3‬‬
‫ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺒﺎﻝﻌﻜﺱ‪ ،‬ﻓﺈﻨﻬﺎ ﺘﺩﻋﻭ ﺃﻴﻀﹰﺎ ﺇﻝﻰ ﺒﺴﺎﻁﺔ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺴﻬﻭﻝﺔ ﻗﺭﺍﺀﺘـﻪ‬

‫ﻭﻀﺭﻭﺭﺓ ﺍﻻﻝﺘﻔﺎﺕ ﺇﻝﻰ ﺍﻝﺘﻜﻠﻔﺔ ﺍﻝﻤﺎﺩﻴﺔ ﻝﻬﺫﺍ ﺍﻝﺘﺼﻤﻴﻡ ﻭﻤﻼﺀﻤﺘﻪ ﻤﻊ ﻗﺩﺭﺓ ﺍﻝﻤﺴﺘﺨﺩﻡ‪ ،‬ﺒﻤﺎ ﻴﺘﻼﺀﻡ‬
‫ﻤﻊ ﺤﺎﺠﺔ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﻭﺜﻘﺎﻓﺘﻬﺎ ﻭﻴﺘﻤﺎﺸﻰ ﻤﻊ ﺒﻴﺌﺘﻪ ﻭﻤﺤﻴﻁﻪ‪ ،‬ﻭﻀﻤﺎﻥ ﻋﺩﻡ ﺘﺤﻘﻴﻕ ﺍﻻﻏﺘـﺭﺍﺏ‬
‫ﺍﻝﻌﻤﺭﺍﻨﻲ ﻓﻲ ﻭﻗﺕ ﻨﻌﻴﺵ ﻓﻴﻪ ﺍﻻﻏﺘﺭﺍﺏ ﺍﻝﺜﻘﺎﻓﻲ ﻭﺍﻝﻘﻴﻤﻲ‪.‬‬

‫‪ (4‬ﻻ ﺒ‪‬ﺩ ﻝﻠﻤﺼﻤﻤﻴﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺩﺍﺨﻠﻲ ﻤﻥ ﺍﻝﺘﻔﺎﻋل ﻭﺍﻝﺘﻜﺎﻤل ﻤﻌﺎﹰ‪ ،‬ﻭﺘﻭﺠﻴﻪ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻨﻬﻤﺎ ﺃﻭ ﻓﻲ‬
‫ﻋﻼﻗﺘﻬﻤﺎ ﻤﻊ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺒﻤﺎ ﻴﺨﺩﻡ ﺍﻝﻤﺸﺭﻭﻉ‪ .‬ﻭﻋﻠﻰ ﺍﻝﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﺍﻝﻨﻬـﺎﺌﻲ‬
‫ﻭﺍﻝﻤﺒﺎﺸﺭ ﺒﻌﺩ ﺘﻔﺎﻋﻠﻪ ﺃﻭ ﺘﺸﺎﻭﺭﻩ ﻤﻊ ﺃﻓﺭﺍﺩ ﺍﻷﺴﺭﺓ ﻜﺎﻓﺔ ﺃﻭ ﺃﺼﺤﺎﺏ ﺍﻝﺭﺃﻱ ﺒﻤﺎ ﻴﺤﻘﻕ ﺍﻝﻘـﺭﺍﺭ‬

‫ﺠﻤ‪‬ﻌﻲ ﻭﻋﺩﻡ ﺍﻻﻨﻔﺭﺍﺩ ﺒﺎﻝﻘﺭﺍﺭ ﻝﺸﺨﺹ ﻭﺍﺤﺩ ﻤﻨﻬﺎ ﺃﻭ ﺍﻝﺘﺭﺩﺩ‪ ،‬ﻷﻥ ﺫﻝﻙ ﻴﺅﺩﻱ ﺇﻝﻰ ﺍﻨﺤـﺭﺍﻑ‬
‫ﺍﻝ ‪‬‬

‫ﺘﻌﺘﺒﺭ ﺍﻝﻀﺭﻭﺭﺓ ﺃﻭ ﺍﻝﺤﺎﺠﺔ ﺒﺤﺴﺏ ﺍﻝﻨﻅﺭﻴﺔ ﺍﻝﻔﻠﺴﻔﻴﺔ ﻫﻲ ﻤﺎ ﻻ ﻴﻤﻜﻥ ﻝﻺﻨﺴﺎﻥ ﺍﻻﺴﺘﻐﻨﺎﺀ ﻋﻨﻪ‪ ،‬ﺒﻴﻨﻤﺎ ﻴﻜﻭﻥ ﺍﻻﺤﺘﻴﺎﺝ ﻤﻬﻡ ﺠﺩﹰﺍ‬ ‫‪1‬‬

‫ﻭ"ﻀﺭﻭﺭﻱ ﺠﺩﹰﺍ"‪ ،‬ﻝﻜﻥ ﻻ ﻴﺼل ﻓﻲ ﺃﻫﻤﻴﺘﻪ ﺇﻝﻰ ﺍﻝﺤﺎﺠﺔ‪ ،‬ﻭﻴﻤﻜﻥ ﻝﻺﻨﺴﺎﻥ ﺍﻻﺴﺘﻐﻨﺎﺀ ﻋﻨﻪ ﺃﺤﻴﺎﻨﹰﺎ‪.‬‬
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‫ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﻋﻥ ﻤﺴﺎﺭﻫﺎ ﺍﻝﺼﺤﻴﺢ ﻭﺍﻝﺫﻱ ﻴﺅﺩﻱ ﻷﻓﻀل ﺍﻝﻨﺘﺎﺌﺞ‪ .‬ﻜﻤﺎ ﺘﺅﻜﺩ ﺍﻝﺩﺭﺍﺴﺔ ﺃﻥ‬
‫ﺘﻌﺩﺩ ﺍﻵﺭﺍﺀ ﻤﻥ ﻁﺭﻑ ﺍﻝﻤﺎﻝﻙ ﺃﻭ ﺘﺭﺩﺩﻩ ﻨﻅﺭﹰﺍ ﻝﻜﺜﺭﺓ ﺍﻝﻤﺸﺎﺭﻜﻴﻥ‪ ،‬ﻴﺅﺩﻱ ﻏﺎﻝﺒـﹰﺎ ﺇﻝـﻰ ﻨﺘـﺎﺌﺞ‬

‫ﻋﻜﺴﻴﺔ ﻻ ﺘﺨﺩﻡ ﺍﻝﻤﺸﺭﻭﻉ ﻋﻠﻰ ﺃﻜﺜﺭ ﻤﻥ ﺼﻌﻴﺩ‪.‬‬

‫ﺼ ‪‬ﻤ ‪‬ﻤﻴ‪‬ﻥ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺩﺍﺨﻠﻲ ﺇﺨﺭﺍﺝ ﺍﻝﻤﺸﺭﻭﻉ ﺒﺄﻓﻀل ﺼﻭﺭﺓ ﻭﺍﻻﻫﺘﻤﺎﻡ ﺒـﻪ ﻋﻠـﻰ‬
‫‪ (5‬ﻋﻠﻰ ﺍﻝ ‪‬ﻤ ‪‬‬
‫ﻼ‬
‫ﻼ ﺒﻤﻀﻤﻭﻥ ﺍﻝﺤﺩﻴﺙ ﺍﻝﺸﺭﻴﻑ ﺍﻝﺫﻱ ﻴﻘﻭل‪" :‬ﺇﻥ ﺍﷲ ﻴﺤﺏ ﺇﺫﺍ ﻋﻤل ﺃﺤﺩﻜﻡ ﻋﻤ ﹰ‬
‫ﺃﻜﻤل ﻭﺠﻪ ﻋﻤ ﹰ‬

‫ﺃﻥ ﻴﺘﻘﻨﻪ" ﺃﻭ ﻜﻤﺎ ﻗﺎل ﻋﻠﻴﻪ ﺍﻝﺴﻼﻡ‪ ،‬ﻓﻘﺩ ﻴﻜﻭﻥ ﺍﻝﻤﺸﺭﻭﻉ ﻝﻬﺫﺍ ﺍﻝﻤﺼـﻤﻡ ﺃﻭ ﺫﺍﻙ ﻭﺍﺤـﺩﹰﺍ ﻤـﻥ‬
‫ﻤﺸﺎﺭﻴﻌﻪ ﺍﻝﻤﺘﻌﺩﺩﺓ‪ ،‬ﻝﻜﻨﻪ ﻝﻠﻤﺴﺘﺨﺩﻡ ﺃﻭ ﺍﻝﻤﺎﻝﻙ ﻗﺩ ﻴﻜﻭﻥ ﻤﺸﺭﻭﻉ ﺍﻝﻌﻤﺭ‪ ،‬ﻭﻤﻬﻡ ﺒﻜل ﺘﻔﺎﺼـﻴﻠﻪ‪.‬‬
‫ﻜﻤﺎ ﺃﻥ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﻤﺩﻋﻭﻭﻥ ﺒﺸﻜل ﻋﺎﻡ ﺇﻝﻰ ﻤﺘﺎﺒﻌﺔ ﻭﻤﻭﺍﻜﺒﺔ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻝﺤﺩﻴﺜﺔ ﻭﺘﻁﺒﻴـﻕ ﻤـﺎ‬

‫ﻴﺼﻠﺢ ﻤﻨﻬﺎ ﻤﻊ ﺒﻴﺌﺘﻨﺎ ﺍﻝﻌﺭﺒﻴﺔ ﻭﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﺃﻭ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒـﺫﻭﻱ ﺍﻻﺨﺘﺼـﺎﺹ ﻭﺘﻘـﺩﻴﻤﻬﺎ ﺃﻭ‬
‫ﺘﺒﺴﻴﻁﻬﺎ ﻝﻠﻤﺴﺘﺨﺩﻡ‪.‬‬

‫‪ (6‬ﺒﻤﺎ ﺃﻥ ﺍﻝﺘﺼﻤﻴﻡ ﻫﻭ ﻫﻭﻴﺔ ﻝﻸﺸﺨﺎﺹ ﺍﻝﺫﻴﻥ ﻗﺎﻤﻭﺍ ﺒﻪ‪ ،‬ﻓﻌﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺃﻥ ﻴﻜـﻭﻥ ﻝـﻪ ﻫﻭﻴـﺔ‬

‫ﻤﻌﺒﺭﺓ‪ .‬ﻫﻭﻴﺔ ﻝﻠﺘﻔﺎﻋل ﺍﻝﻤﺸﺘﺭﻙ ﻭﺍﻝﻤﺘﻜﺎﻤل ﻝﻠﻤﺼﻤﻡ ﻭﺍﻝﻤﺴﺘﺨﺩﻡ ﻤﻌﹰﺎ‪ .‬ﺒﺤﻴﺙ ﻴﺭﺍﻋﻲ ﻤﺤـﺩﺩﺍﺕ‬
‫ﺍﻷﻭل ﻭﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺜﺎﻨﻲ‪ .‬ﻭﻫﻭ ـ ﺃﻱ ﺍﻝﺘﺼﻤﻴﻡ ـ ﻫﻭﻴﺔ ﻝﺭﻭﺡ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻨﺎﺒﻌﹰﺎ ﻤﻨﻪ ﻭﻤﺘﻨﺎﻏﻤـﺎ‬
‫ﻤﻌﻪ‪ .‬ﻭﻫﻭﻴﺔ ﻝﺜﻘﺎﻓﺔ ﺍﻝﺴﺎﻜﻨﻴﻥ‪ ،‬ﻴﺤﻘﻕ ﺍﺤﺘﻴﺎﺠﺎﺘﻬﻡ ﻭﻴﺭﺍﻋﻲ ﺘﻭﺠﻬﺎﺘﻬﻡ ﺍﻝﻤﺠﺘﻤﻌﻴﺔ ﻭﺍﻝﺩﻴﻨﻴﺔ‪.‬‬

‫ﻼ‬
‫‪ (7‬ﻓﻲ ﻅل ﺜﻭﺭﺓ ﺍﻻﺘﺼﺎل ﻭﺯﻤﻥ ﺍﻝﻌﻭﻝﻤﺔ‪ ،‬ﻓﻘﺩ ﺃﺼﺒﺢ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﺍﻝﻤﻌﻠﻭﻤﺔ ﻭﺍﻝﺼﻭﺭﺓ ﺴـﻬ ﹰ‬
‫ﻭﻓﻲ ﻤﺘﻨﺎﻭل ﺍﻝﺠﻤﻴﻊ‪ .‬ﻤﻤﺎ ﻋﺯﺯ ﺩﻭﺭ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﻴﺴﺭ ﻝﻪ ﺍﻝﺘﻌﺒﻴـﺭ ﻋـﻥ ﺤﺎﺠﺘـﻪ ﻭﺘـﺩﻋﻴﻤﻬﺎ‬
‫ﺒﺎﻝﺼﻭﺭ ﺃﻭ ﺤﺘﻰ ﺒﻤﺨﻁﻁ ﻤﺒﺩﺌﻲ‪ ،‬ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺃﻥ ﻋﻠﻰ ﺍﻝﻤﺅﺴﺴﺎﺕ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ ﺃﻭ ﺍﻝﻤﻬﻨـﺩﺱ‬

‫ﺍﻝﻤﺼﻤﻡ ﺃﻥ ﻴﺩﻋﻡ ﺩﻭﺭ ﺍﻝﻤﺴﺘﺨﺩﻡ ﻭﻴﺘﻔﺎﻋل ﻤﻌﻪ ﺒل ﻭﺍﻋﺘﺒﺎﺭﻩ ﻜﻤﺼﻤﻡ ﺜﺎﻨﻭﻱ ﻴﻨﺎﻗﺵ ﻤﻌﻪ ﺍﻝﻔﻜﺭﺓ‬
‫ﻭﻴﺤﻠﻠﻬﺎ ﻓﻲ ﺤﺩﻭﺩ ﻤﻌﺭﻓﺔ ﻭﺜﻘﺎﻓﺔ ﻫﺫﺍ ﺍﻝﻤﺴﺘﺨﺩﻡ‪ ،‬ﻤﻤﺎ ﻴﺤﻘﻕ ﻓﻜﺭﺓ ﺍﻝﻤﺸـﺎﺭﻜﺔ ﺍﻝﺠﻤﺎﻋﻴـﺔ ﻓـﻲ‬
‫ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻡ ﻭﻴﻌﻤل ﻋﻠﻰ ﺘﻌﺯﻴﺯ ﺍﻷﻓﺭﺍﺩ ﻭﺘﺤﻘﻴﻕ ﺍﻝﻨﻬﻀﺔ ﺍﻝﻌﻤﺭﺍﻨﻴﺔ ﺃﻭ ﺍﻝﺤﻀﺎﺭﻴﺔ‪.‬‬

‫‪ (8‬ﻋﻠﻰ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﻭ ﺒﻤﻌﻨﻰ ﺃﺩﻕ ﻋﻠﻰ ﺍﻝﻤﺼﻤﻡ ﺍﻝﺩﺍﺨﻠﻲ ﺃﻥ ﻴﺤﻘﻕ ﻓﻲ ﺘﺼـﻤﻴﻤﻪ ﻋﻼﻗـﺔ‬
‫ﺘﻭﺍﺯﻥ ﺒﻴﻥ ﺍﻝﺩﺍﺨل ﻭﺍﻝﺨﺎﺭﺝ‪ ،‬ﻓﻬﻤﺎ ﻤﻨﻅﻭﻤﺘﺎﻥ ﻤﺘﻜﺎﻤﻠﺘﺎﻥ ﺘﺤﻘﻕ ﻜل ﻤﻨﻬﻤﺎ ﺠﻭﻫﺭ ﺍﻝﺘﻨـﺎﻭﺏ ﺃﻭ‬

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‫ﺍﻝﺤﻀﻭﺭ ﻝﻜل ﻓﻀﺎﺀ ﻤﻥ ﺤﻴﺙ ﺍﻝﺘﺭﺍﺒﻁ ﺍﻝﻭﻅﻴﻔﻲ ﻭﺍﻝﺸﻜﻠﻲ‪ ،‬ﻓﺎﻝﺘﺼـﻤﻴﻡ ﺍﻝـﺩﺍﺨﻠﻲ ﺒﻌﻨﺎﺼـﺭﻩ‬
‫ﻭﺘﺭﻜﻴﺒﻪ ﻴﺘﻨﺎﻏﻡ ﻤﻊ ﺍﻻﻤﺘﺩﺍﺩ ﺍﻝﺒﺼﺭﻱ ﻝﻠﻤﺤﻴﻁ ﺍﻝﺨﺎﺭﺠﻲ‪ ،‬ﻭﻴﺸﻜل ﺍﻤﺘﺩﺍﺩﹰﺍ ﻓﻴﺯﻴﺎﺌﻴﹰﺎ ﻭﺤﺴﻴﹰﺎ ﻝـﻪ‬

‫ﻭﺍﻝﻌﻜﺱ ﺼﺤﻴﺢ‪.‬‬

‫‪ (9‬ﺃﺩﻋﻭ ﺍﻝﻘﺎﻨﻭﻥ ﻭﻫﻭ ﺍﻝﻨﺎﻅﻡ ﻝﻠﻌﻼﻗﺔ ﺒﻴﻥ ﺃﺭﻜﺎﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺃﻥ ﻴﻜﻭﻥ ﻝﻪ ﺩﻭﺭ ﻓﻲ ﻀـﺒﻁ‬
‫ﺍﻝﺘﻁﻭﺭ ﺍﻝﻌﻤﺭﺍﻨﻲ ﻭﺸﻜﻠﻪ‪ .‬ﻭﻓﻲ ﻫﺫﺍ ﻓﺈﻨﻨﻲ ﺃﺩﻋﻭ ﺇﻝﻰ ﺘﺨﻔﻴﺽ ﻨﺴﺒﺔ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻤﺴﻤﻭﺡ ﺒﻬﺎ ﻋـﻥ‬

‫‪ %40‬ﻤﻥ ﻤﺴﺎﺤﺔ ﺍﻷﺭﺽ ﺍﻝﻤﺨﺼﺼﺔ ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻓﻲ ﺨﻁﺔ ﺘﺴﻌﻰ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﻨﺴﺒﺔ‬
‫‪ %33‬ﻓﻲ ﺍﻝﻤﺴﺘﻘﺒل‪ ،‬ﻤﻊ ﺍﻝﻌﻠﻡ ﺃﻥ ﻨﺴﺒﺔ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻤﺴﻤﻭﺡ ﺒﻬﺎ ﻓﻲ ﺒﻠﺩﻴﺔ ﻨﺎﺒﻠﺱ ﺤﺎﻝﻴﹰﺎ ﻋﻠﻰ ﺴـﺒﻴل‬
‫ﺍﻝﻤﺜﺎل ﻝﻠﻤﺒﺎﻨﻲ ﺍﻝﺴﻜﻨﻴﺔ )ﺘﺼﻨﻴﻑ ﺃ( ﺘﺘﺭﺍﻭﺡ ﻤﺎ ﺒﻴﻥ )‪ .(%50-40‬ﻭﺫﻝﻙ ﻹﺘﺎﺤﺔ ﺍﻝﻤﺠﺎل ﻹﻴﺠﺎﺩ‬

‫ﻓﻀﺎﺀﺍﺕ ﻤﻌﻤﺎﺭﻴﺔ ﻤﻤﺘﺩﺓ ﺘﺤﻘﻕ ﺍﻻﺘﺼﺎل ﺍﻝﺒﺼﺭﻱ ﺍﻝﻔﻴﺯﻴﺎﺌﻲ ﻭﺍﻝﺤﺴﻲ‪.‬‬

‫‪ (10‬ﺃﺩﻋﻭ ﻭﺯﺍﺭﺓ ﺍﻝﺤﻜﻡ ﺍﻝﻤﺤﻠﻲ ﻭﺍﻝﺒﻠﺩﻴﺎﺕ ﻭﺍﻝﻤﺅﺴﺴﺎﺕ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ ﺒﻀﺭﻭﺭﺓ ﺇﺠﺒﺎﺭ ﻜل ﺼﺎﺤﺏ‬
‫ﺒﻨﺎﺀ ﺨﺎﺹ ﺒﺯﺭﺍﻋﺔ ‪ 5‬ﺃﺸﺠﺎﺭ ﻤﺜﻤﺭﺓ ﻭﺃﺸﺠﺎﺭ ﺠﻤﺎﻝﻴﺔ ﺘﺯﻴﻴﻨﻴﺔ ﻓﻲ ﺤﺩﻴﻘﺘﻪ ﺍﻝﻤﻨﺯﻝﻴﺔ ﻭﺘﻘﺎﻀـﻲ‬

‫ﺘﻜﺎﻝﻴﻑ ﺯﺭﺍﻋﺔ ﺸﺠﺭﺓ ﻋﻥ ﻜل ﺸﻘﺔ ﺃﻭ ﻤﺤل ﺃﻭ ﻤﻜﺘﺏ ﺘﺠﺎﺭﻱ ﻭﺯﺭﺍﻋﺘﻬﺎ ﻓﻲ ﺍﻷﻤﺎﻜﻥ ﺍﻝﻌﺎﻤﺔ‪،‬‬
‫ﻭﺫﻝﻙ ﻹﺜﺭﺍﺀ ﺍﻝﻔﻀﺎﺀ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺨﺎﺭﺠﻲ ﺍﻝﻤﺤﻴﻁ "ﺒﺎﻝﻔﻠل" ﺍﻝﺴﻜﻨﻴﺔ ﻭﺍﻝﻤﺒﺎﻨﻲ ﺒﺸﻜل ﻋﺎﻡ‪ ،‬ﻭﺨﻠﻕ‬
‫ﺒﻴﺌﺔ ﺼﺤﻴﺔ ﻭﻋﻤﺭﺍﻨﻴﺔ ﻤﻔﻴﺩﺓ‪.‬‬

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 ‫ﻗﺎﺌﻤﺔ ﺍﻝﻤﺼﺎﺩﺭ ﻭﺍﻝﻤﺭﺍﺠﻊ‬

‫ﺍﻝﻜﺘﺏ‬

‫ﺇﺒﺭﺍﻫﻴﻡ‪ ،‬ﻤﺤﻤﺩ ﺇﺒﺭﺍﻫﻴﻡ ﺠﺒﺭ‪ :‬ﻋﻤﺎﺭﺓ ﺍﻝﻤﺴﻜﻥ‪..‬ﺩﻻﺌل ﻭﺍﻋﺘﺒﺎﺭﺍﺕ‪ ،‬ﺠﺎﻤﻌـﺔ ﻋـﻴﻥ ﺸـﻤﺱ‪ ،‬ﻗﺴـﻡ‬

‫ﺍﻝﻌﻤﺎﺭﺓ‪.2007 ،‬‬

‫ﺃﺒﻭ ﺴﻜﻴﻨﺔ‪ ،‬ﻨﺎﺩﻴﺔ ﺤﺴﻥ‪ ،‬ﻭﺌﺎﻡ ﻋﻠﻲ ﺃﻤﻴﻥ ﻤﻌﺭﻭﻑ‪ :‬ﺘﺄﺜﻴﺙ ﻭﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﻜﻥ‪ ،‬ﺩﺍﺭ ﺍﻝﻔﻜـﺭ‪ ،‬ﻋﻤـﺎﻥ‪،‬‬

‫‪.2012‬‬

‫ﺃﺤﻤﺩ‪ ،‬ﻤﺤﻤﺩ ﺸﻬﺎﺏ‪ :‬ﺍﻝﻌﻤﺎﺭﺓ‪ .‬ﻗﻭﺍﻋﺩ ﻭﺃﺴﺎﻝﻴﺏ ﺘﻘﻴﻴﻡ ﺍﻝﻤﺒﻨﻰ‪ ،‬ﺩﺍﺭ ﻤﺠﺩﻻﻭﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪.1995 ،‬‬

‫ﺒﺴﻴﻭﻨﻲ‪ ،‬ﺴﻴﺩ‪ :‬ﻓﻥ ﺍﻝﻌﻤﺎﺭﺓ‪ ،‬ﺩﺍﺭ ﺍﻝﻴﺎﺯﻭﺭﻱ ﺍﻝﻌﻠﻤﻴﺔ ﻝﻠﻨﺸﺭ ﻭﺍﻝﺘﻭﺯﻴﻊ‪ ،‬ﺍﻷﺭﺩﻥ‪.2007 ،‬‬

‫ﺤﻴﺩﺭ‪ ،‬ﻓﺎﺭﻭﻕ ﻋﺒﺎﺱ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻤﻨﺸﺄﺓ ﺍﻝﻤﻌﺎﺭﻑ ﺒﺎﻹﺴﻜﻨﺩﺭﻴﺔ‪ ،‬ﻤﺼﺭ‪ ،‬ﺍﻝﻁﺒﻌﺔ ﺍﻷﻭﻝﻰ‪،‬‬

‫‪.1998‬‬

‫ﺨﻠﻑ‪ ،‬ﻨﻤﻴﺭ ﻗﺎﺴﻡ ﺨﻠﻑ‪ :‬ﺃﻝﻑ ﺒﺎﺀ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻴﺎﻝﻰ‪ ،‬ﺒﻐﺩﺍﺩ‪.2005 ،‬‬

‫ﺨﻨﻔﺭ‪ ،‬ﻴﻭﻨﺱ ﺨﻨﻔﺭ‪ :‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺘﻨﺴﻴﻕ ﺍﻝﺩﻴﻜﻭﺭ‪ ،‬ﺩﺍﺭ ﺍﻝﻤﺠﺩﻻﻭﻱ‪ ،‬ﻋﻤﺎﻥ‪.2010 ،‬‬

‫ﺩﺒﺱ ﻭﺯﻴﺕ‪ ،‬ﺤﺴﺎﻡ‪ ،‬ﺭﺴﺎﻝﺔ ﺩﻜﺘﻭﺭﺍﻩ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﻤﺴﺭﺤﻲ ﻭﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻓـﻲ ﺍﻝﻘـﺭﻥ‬
‫ﺍﻝﻌﺸﺭﻴﻥ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻤﺸﻕ‪.2009 ،‬‬

‫ﺍﻝﺩﻴﻭﺠﻲ‪ ،‬ﻤﻤﺘﺎﺯ ﺤﺎﺯﻡ‪ ،‬ﺩ‪.‬ﺼﺒﺎ ﺇﺒﺭﺍﻫﻴﻡ ﻁﻪ‪ ،‬ﺩ‪ .‬ﺤﺴﻥ ﻋﺒﺩ ﺍﻝﺭﺯﺍﻕ ﺍﻝﺴﻨﺠﺭﻱ‪ :‬ﺍﻝﻬﻭﻴـﺔ ﺍﻝﻤﻜﺎﻨﻴـﺔ‬
‫ﻝﺒﻴﺌﺔ ﺍﻝﺴﻜﻥ ﻓﻲ ﺘﻭﺠﻬﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﺍﻝﻌﺭﺍﻗﻴﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ ﻭﺍﻨﻌﻜﺎﺴﻬﺎ ﻋﻠﻰ ﺍﻝﻨﺘـﺎﺝ ﺍﻝﻤﻌﻤـﺎﺭﻱ‬
‫ﺍﻷﻜﺎﺩﻴﻤﻲ‪ ،‬ﻗﺴﻡ ﺍﻝﻬﻨﺩﺴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﺠﺎﻤﻌﺔ ﺍﻝﻤﻭﺼل‪.2010 ،‬‬

‫ﺍﻝﺭﺸﻭﺩ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺴﻠﻴﻤﺎﻥ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺘﺄﺜﻴﺭ ﺍﻷﻨﻤﺎﻁ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻋﻠـﻰ ﺘﺼـﻤﻴﻡ‬
‫ﺠﻨﺎﺡ ﺍﻝﻤﻌﻴﺸﺔ ﻓﻲ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ ﺍﻝﻤﺘﻜﺭﺭﺓ‪ ،‬ﺠﺎﻤﻌﺔ ﺍﻝﻤﻠﻙ ﺴﻌﻭﺩ‪ ،‬ﻤﺤﺭﻡ ‪1425‬ﻫـ‪.‬‬

‫‪150‬‬
 ‫ﺴﺎﻝﻡ‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ‪ :‬ﺩﺭﺍﺴﺎﺕ ﻓﻲ ﺍﻝﺸﻜل ﻭﺍﻝﺘﻁﻭﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﻋﻤﺎﻥ‪.1991 ،‬‬

‫ﺸﻘﻭﺍﺭﺓ‪ ،‬ﺩﻴﻨﺎ ﺯﻜﺭﻴﺎ‪ ،‬ﻭﻀﻭﺡ ﻭﺘﻭﺍﻓﻕ ﺍﻝﻤﻔﺭﺩﺍﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻤﻊ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺘﺄﺜﻴﺭﻩ ﻓﻲ ﺇﺩﺭﺍﻙ ﺍﻝﻔﺭﺍﻍ‬

‫ﺍﻝﺩﺍﺨﻠﻲ ﻓﻲ ﺍﻝﻤﺴﺘﺸﻔﻴﺎﺕ‪ ،‬ﺍﻝﺠﺎﻤﻌﺔ ﺍﻷﺭﺩﻨﻴﺔ‪.1998 ،‬‬

‫ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ‪ ،‬ﺒﺎﺴﻡ "ﻤﺤﻤﺩ ﻋﺎﻴﺵ"‪ :‬ﺘﺼﻤﻴﻡ ﺍﻝﺩﻴﻜﻭﺭ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﻤﻜﺘﺒـﺔ ﺍﻝﻤﺠﺘﻤـﻊ ﺍﻝﻌﺭﺒـﻲ ﻝﻠﻨﺸـﺭ‬

‫ﻭﺍﻝﺘﻭﺯﻴﻊ‪ ،‬ﻋﻤﺎﻥ‪.2006 ،‬‬

‫ﺍﻝﻌﻜﺎﻡ‪ ،‬ﺃﻜﺭﻡ ﺠﺎﺴﻡ‪ :‬ﺠﻤﺎﻝﻴﺎﺕ ﺍﻝﻌﻤﺎﺭﺓ ﻭﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺩﺍﺭ ﻤﺠﺩﻻﻭﻱ‪ ،‬ﺍﻷﺭﺩﻥ‪.2010 ،‬‬

‫ﻋﻴﺴﻰ‪ ،‬ﺠﻬﺎﺩ ﻋﻴﺴﻰ ﻭ ﻏﺴﺎﻥ ﺍﻝﺒﺩﻭﺍﻥ‪ :‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﺸﻜﻴل ﺍﻝﻌﻤﺭﺍﻨﻲ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻤﺸﻕ‪ ،‬ﻜﻠﻴـﺔ‬

‫ﺍﻝﻬﻨﺩﺴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﻗﺴﻡ ﺍﻝﺘﺨﻁﻴﻁ ﻭﺍﻝﺒﻴﺌﺔ‪.2009 ،‬‬

‫ﻋﻴﻨﺒﻭﺴﻲ‪ ،‬ﻋﻤﺭ ﺠﻼل ﺤﻔﻅﻲ‪ :‬ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﺍﻝﺩﺍﺨﻠﻲ ﺒﻴﻥ ﺘﻌﺩﺩﻴﺔ ﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﻔﻜﺭﻴـﺔ ﻓـﻲ‬
‫ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﻏﻴﺭ ﻤﻨﺸﻭﺭﺓ‪ ،‬ﺠﺎﻤﻌﺔ ﺍﻝﻨﺠﺎﺡ ﺍﻝﻭﻁﻨﻴﺔ‪.2012 ،‬‬

‫ﺍﻝﻤﺎﻝﻜﻲ‪ ،‬ﻤﻨﺎل ﺒﻨﺕ ﻤﺴﻌﻭﺩ ﺒﻥ ﺃﺤﻤﺩ ﺍﻝﻤﺎﻝﻜﻲ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘیﺭ ﺒﻌﻨﻭﺍﻥ‪ :‬ﺘﺼﻤیﻡ ﺩﺍﺨﻠﻲ ﻝﻤﺴـﻜﻥ‬

‫ﺴﻌﻭﺩﻱ ﻤﻌﺎﺼﺭ ﻤﻥ ﻤﻨﻅﻭﺭ ﻤﺩﺭﺴﺔ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺩﺍﺜﺔ‪ ،‬ﺠﺎﻤﻌﺔ ﺃﻡ ﺍﻝﻘﺭﻯ‪ ،‬ﺍﻝﻤﻤﻠﻜـﺔ ﺍﻝﻌﺭﺒیـﺔ‬

‫ﺍﻝﺴﻌﻭﺩیﺔ‪.2008 ،‬‬

‫ﺍﻝﻤﻭﺍﻗﻊ ﺍﻹﻝﻜﺘﺭﻭﻨﻴﺔ‬

‫ﺍﻷﺴﻁل‪ ،‬ﺃﺤﻤﺩ‪ :‬ﻤﺒﺎﺩﺉ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ ﻭﺍﻝﺒﻴﺌﻲ‪-‬ﺍﻝﻤﻌﺎﻝﺠﺎﺕ ﺍﻝﺒﻴﺌﻴﺔ ﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻨـﺎﺥ ﺍﻝﻤﺨﺘﻠﻔـﺔ‪،‬‬

‫‪http://deplibrary.iugaza.edu.ps/Courses.aspx?dep=802‬‬

‫ﺍﻷﺴﻁل‪ ،‬ﺃﺤﻤﺩ‪ ،‬ﺍﻹﺴﻜﺎﻥ ﻭﺍﻝﻤﺴﻜﻥ‪ ،‬ﺒﺤﺙ ﻤﻨﺸﻭﺭ‪ ،‬ﺍﻝﺠﺎﻤﻌﺔ ﺍﻻﺴﻼﻤﻴﺔ – ﻏـﺯﺓ‪ ،‬ﻗﺴـﻡ ﺍﻝﻬﻨﺩﺴـﺔ‬

‫ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪http://deplibrary.iugaza.edu.ps ،‬‬

‫ﺍﻷﺴـــــﻁل‪ ،‬ﺃﺤﻤـــــﺩ‪ ،‬ﺍﻝﺘﺼـــــﻤﻴﻡ ﺍﻝﻤﻌﻤـــــﺎﺭﻱ ﻝﻠﻭﺍﺠﻬـــــﺎﺕ‪،‬‬

‫‪http://site.iugaza.edu.ps/aelastal/files/2010/02/Elevation.Design.pdf‬‬
‫‪151‬‬
 ‫ﺍﻷﻨﺎ‪http://decor.elaana.com ،‬‬

‫ﺍﻝﺒﺭﻭﻨﺯﻴﻪ ﺍﻝﻨﺴﺎﺌﻲ‪http://www.brooonzyah.net/vb/t102498.html ،‬‬

‫ﺒﻴﺕ ﺍﻝﺩﻝﻴل‪ ،‬ﻤلﺀ ﺍﻝﻔﺭﺍﻏﺎﺕ ﻓﻲ ﺍﻝﻤﻨﺯل ﻭﻓﻘﺎ ﻝﻤﻌﺎﻴﻴﺭ ﻓﻨﻴﺔ‪http://www.dalilalarab.co.uk/ ،‬‬

‫ﺍﻝﺘﺼــــــــــــﻤﻴﻡ ﺒﻭﺍﺴــــــــــــﻁﺔ "ﺁﺭﻜﻴﻜﻴــــــــــــﺩ"‬

‫‪http://www.interiorarcade.com/images-pictures/2009/09/living-room-‬‬

‫‪designs-62.jpg‬‬

‫ﺍﻝﺘﻬﻭﻴﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺤﺭﻜﺔ ﺍﻝﻬﻭﺍﺀ‪ ،‬ﺒﺤﺙ ﻤﻨﺸﻭﺭ‪ ،‬ﻫﻨﺩﺴﺔ ﺍﻷﺯﻫﺭ<ﺍﻝﻜﻠﻴﺔ ﻭﺃﻗﺴﺎﻤﻬﺎ<ﻗﺴـﻡ ﺍﻝﻬﻨﺩﺴـﺔ‬
‫ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪http://azharengineering.yoo7.com/ ،‬‬

‫ـﺎ‬
‫ـﺎ ﻭﻤﺘﻁﻠﺒﺎﺘﻬــ‬
‫ـﻜﻨﻴﺔ‪ :‬ﻤﻔﻬﻭﻤﻬــ‬
‫ـﺎﻭﺭﺓ ﺍﻝﺴــ‬
‫ـﺯﺓ‪ ،‬ﺍﻝﻤﺠــ‬
‫ـﻼﻤﻴﺔ – ﻏــ‬
‫ـﺔ ﺍﻻﺴــ‬
‫ﺍﻝﺠﺎﻤﻌــ‬

‫‪http://deplibrary.iugaza.edu.ps/Courses/339/Residential%20Neighbor‬‬
‫‪hoods.pdf‬‬

‫ﺠﺎﻤﻌــــــﺔ ﺍﻝﻤﻠــــــﻙ ﺴــــــﻌﻭﺩ‪ ،‬ﺍﻝﺤﻴــــــﺯ ﺍﻝــــــﺩﺍﺨﻠﻲ‪،‬‬

‫‪http://faculty.ksu.edu.sa/71200/Documents/Books/Theory%20of%20‬‬
‫‪Architecture-2/04-Chapter%20(1).pdf‬‬

‫ﺠﺭﺠﻴﺱ‪ ،‬ﺴﻌﺩ ﻤﺤﻤﺩ‪ ،‬ﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﺍﻹﺩﺭﺍﻙ ﻭﺘﺄﺜﻴﺭﻫﺎ ﻋﻠﻰ ﺘﺼﻤﻴﻡ ﺍﻝﻔﻀﺎﺀﺍﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﻔﻨﻭﻥ‬
‫ﺍﻝﺘﻁﺒﻴﻘﻴـــــــﺔ‪/‬ﻫﻴﺌـــــــﺔ ﺍﻝﺘﻌﻠـــــــﻴﻡ ﺍﻝﺘﻘﻨـــــــﻲ‪2006 ،‬‬

‫‪http://www.iasj.net/iasj?func=fulltext&aId=36929‬‬

‫ﺤﺴﻴﻥ‪ ،‬ﻫﻨﺩ ﺭﺍﺸﺩ ﺴﻌﻴﺩ ﺒـﻥ ﺤﺴـﻴﻥ‪ :‬ﺍﻻﺴـﺘﺩﺍﻤﺔ ﻓـﻲ ﺘﺼـﻤﻴﻡ ﺍﻝﻤﺒـﺎﻨﻲ‪ ،‬ﺒﺤـﺙ ﻤﻨﺸـﻭﺭ‪.‬‬

‫‪http://www.fewaonline.gov.ae/white/_uploads/enviro1_ar.pdf‬‬

‫‪152‬‬
‫ﺍﻝﺤﻀﺭﻱ‪ ،‬ﻨﻌﻴﻤﺔ‪ ،‬ﺍﻝﻬﻭﻴﺔ ﻭﺍﻝﺘﻜﻭﻴﻨﺎﺕ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺠﻤﺎﻝﻴـﺔ ﻓـﻲ ﺍﻝﻌﻤـﺎﺭﺓ ﺍﻹﺴـﻼﻤﻴﺔ‬
‫ﺍﻝﻤﻐﺭﺒﻴـــــــــــﺔ‪ ،‬ﺒﺤـــــــــــﺙ ﻤﻨﺸـــــــــــﻭﺭ‪،‬‬

‫‪http://www.attarikh-alarabi.ma/Html/Addad57/adaa57partie12.htm‬‬

‫ﺤﻤﻴﺩ‪ ،‬ﺴﺩﺍﺩ ﻫﺸﺎﻡ‪ ،‬ﺍﻝﻔﻀﺎﺀﺍﺕ ﻭﺸﺭﻭﻁ ﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ‪ ،‬ﺠﺎﻤﻌﺔ ﺒﻐﺩﺍﺩ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﻔﻨﻭﻥ‬
‫ـﺒﻌﻭﻥ ‪،2011‬‬
‫ـﺎﻨﻲ ﻭﺍﻝﺴـ‬
‫ـﺩﺩ ﺍﻝﺜـ‬
‫ـﻴﺔ‪ ،‬ﺍﻝﻌـ‬
‫ـﺔ ﺍﻷﺴﺎﺴـ‬
‫ـﺔ ﺍﻝﺘﺭﺒﻴـ‬
‫ـﺔ ﻜﻠﻴـ‬
‫ـﺔ‪ ،‬ﻤﺠﻠـ‬
‫ﺍﻝﺠﻤﻴﻠـ‬

‫)‪(http://www.iasj.net/iasj?func=fulltext&aId=71372‬‬

‫ﺤﻤﻴﺩ‪ ،‬ﻝﻴﺙ ﺭﺸﻴﺩ‪ ،‬ﺩﺭﺠﺔ ﺍﺴﺘﻴﻌﺎﺏ ﺍﻝﻤﺒﻨﻰ ﻝﻠﺘﻐﻴﺭ ﻓﻲ ﺍﻝﻔﻌﺎﻝﻴﺎﺕ‪ ،‬ﺒﺤﺙ ﻤﻨﺸﻭﺭ‪ ،‬ﻤﻌﻬﺩ ﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴـﺎ‪،‬‬
‫ﺒﻐﺩﺍﺩ‪http://www.iasj.net/ ،2011 ،‬‬

‫ﺤﻭﺍﺀ‪http://static.hawaacdn.com/PE/2011/10/13/11/130204985452-1.jpg ،‬‬

‫ﺤﻴﺎﺓ‪http://www.hayah.cc/forum/t131447.html ،‬‬

‫ﺩﺒﺎﺒﻴﺱ ﻤﺼﺭﻴﺔ‪http://www.dababismasrya.com/ ،‬‬

‫ﺴﻭﻕ ﺍﻝﻌﺭﺏ‪http://www.sogarab.com/ ،‬‬

‫ﺴﻭﻤﻔﻲ ﻝﻠﻭﺍﺠﻬﺎﺕ ﺍﻝﺤﻴﻭﻴﺔ ﺍﻝﻤﺘﻭﺍﻓﻘـﺔ ﻤﻨﺎﺨﻴـﺎﹰ‪ ،‬ﺤﻠـﻭل ﺘﻘﻨﻴـﺔ ﻭﻤﻌﻤﺎﺭﻴـﺔ‪ ،‬ﺒﺤـﺙ ﻤﻨﺸـﻭﺭ‪،‬‬

‫‪http://www.somfyarchitecture.me/‬‬

‫ـﻭﺭ‪،‬‬
‫ـﺙ ﻤﻨﺸــ‬
‫ـﺎﻨﻲ‪ ،‬ﺒﺤــ‬
‫ـﻤﻴﻡ ﺍﻝﻤﺒــ‬
‫ـﺱ ﺘﺼــ‬
‫ـﺔ‪ ،‬ﺃﺴــ‬
‫ـﺔ ﺍﻝﻤﻌﻤﺎﺭﻴــ‬
‫ـﺒﻜﺔ ﺍﻝﻬﻨﺩﺴــ‬
‫ﺸــ‬

‫‪http://www.ar.engineering-portal.com/‬‬

‫ﺼﺒﺎﺒﺎ ﺠﺎﺯﻴﻥ‪http://www.sabayagazine.com/ ،‬‬

‫ﻋﺎﻝﻡ ﺍﻻﻅﻬﺎﺭ ﺍﻝﻤﻌﻤﺎﺭﻱ‪ ،‬ﺃﺴﺱ ﺘﺼﻤﻴﻡ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺴﻜﻨﻴﺔ‪http://www.3d2ddesign.com/ ،‬‬

‫ﻋﺭﺍﻕ ﻻﻴﻑ‪http://www.iraq-live.com/ ،‬‬

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‫ﺍﻝﻌﻤﻼﻕ ﻝﺘﺤﻤﻴل ﺍﻝﺼﻭﺭ‪http://www14.0zz0.com/2010/12/31/16/438146972.jpg ،‬‬

‫ﻋﻴﺴﻰ‪ ،‬ﺠﻬﺎﺩ ﻋﻴﺴﻰ ﻭ ﻏﺴﺎﻥ ﺍﻝﺒﺩﻭﺍﻥ‪ ،‬ﺃﺴﺱ ﺍﻝﺘﺼﻤﻴﻡ ﻭﺍﻝﺘﺸﻜﻴل ﺍﻝﻌﻤﺭﺍﻨﻲ‪ ،‬ﺠﺎﻤﻌﺔ ﺩﻤﺸﻕ‪ ،‬ﻜﻠﻴـﺔ‬

‫ﺍﻝﻬﻨﺩﺴﺔ ﺍﻝﻤﻌﻤﺎﺭﻴﺔ‪ ،‬ﻗﺴﻡ ﺍﻝﺘﺨﻁﻴﻁ ﻭﺍﻝﺒﻴﺌﺔ‪.‬‬

‫ﻤﺤﺠﻭﺏ‪ ،‬ﻴﺎﺴﺭ ﻋﺜﻤﺎﻥ‪ :‬ﻤﻘﺩﻤﺔ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﻤﻌﻤﺎﺭﻱ‪http://ymahgoub.blogspot.com/ ،‬‬

‫ﻤﺤﺠــﻭﺏ‪ ،‬ﻴﺎﺴــﺭ ﻋﺜﻤــﺎﻥ‪ :‬ﻤﻘﺩﻤــﺔ ﻓــﻲ ﺍﻝﺘﺼــﻤﻴﻡ ﺍﻝﻤﻌﻤــﺎﺭﻱ‪ ،‬ﺒﺤــﺙ ﻤﻨﺸــﻭﺭ‪،‬‬

‫‪http://ocw.up.edu.ps/repositories/up.edu.ps/upinardata/152/_.doc‬‬

‫ﻤﺩﻭﻨﺔ ﺭﻤﺯﻱ‪ ،‬ﻓﺨﺎﻤﺔ ﺍﻝﻤﻨﺤﺩﺭﺍﺕ ﻋﻨﺩ ﻝﻭ ﻜﻭﺭﺒﻭﺯﻴﻪ‪http://blog.ramzinaja.com/ ،‬‬

‫ﻤﺭﻜﺯ ﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﺘﺼﻤﻴﻡ‪http://www.ergo-eg.com/2.php ،‬‬

‫ﻤﻠﺘﻘﻰ ﺍﻝﻤﻬﻨﺩﺴﻴﻥ ﺍﻝﻌـﺭﺏ‪ ،‬ﺍﻝﻤﻨﺘـﺩﻯ< ﺍﻝﻌﻤـﺎﺭﺓ ﻭﺍﻝﺘﺨﻁـﻴﻁ< ﻤﺤـﺩﺩﺍﺕ ﺍﻝﻔـﺭﺍﻍ ﺍﻝﻤﻌﻤـﺎﺭﻱ‬

‫‪http://www.arab-eng.org/‬‬

‫ﻤﻨﺘﺩﻯ ﻁـﻼﺏ ﺠﺎﻤﻌـﺔ ‪ 6‬ﺃﻜﺘـﻭﺒﺭ‪ ،‬ﺃﺴـﺱ ﺘﺼـﻤﻴﻡ ﺍﻝﻭﺤـﺩﺍﺕ ﺍﻝﺴـﻜﻨﻴﺔ‪ ،‬ﺒﺤـﺙ ﻤﻨﺸـﻭﺭ‬

‫‪http://www.almagic.net/‬‬

‫ﻤﻨﺘﺩﻴﺎﺕ ﺍﻝﻨﻭﺍﺼﺭﺓ‪ ،‬ﺘﻌﺭﻴﻑ ﺍﻝﺘﺼﻤﻴﻡ ﺍﻝﺩﺍﺨﻠﻲ ﻭﺃﺴﺴﻪ‪http://www.nawasreh.com/ ،‬‬

‫ﻤﻨﺘﺩﻴﺎﺕ ﺒﺴﻜﻭﺘﻪ‪/ http://www.bascota.com/ ،‬‬

‫ﻤﻨﺘـــﺩﻴﺎﺕ ﺴـــﺘﺎﺭ ﺘـــﺎﻴﻤﺯ‪ ،‬ﻤﻌـــﺎﻴﻴﺭ ﺘﺼـــﻤﻴﻡ ﺍﻝﻤﺒـــﺎﻨﻲ ﺍﻝﺼـــﺩﻴﻘﺔ ﻝﻠﺒﻴﺌـــﺔ‪،‬‬

‫‪http://www.startimes.com/f.aspx?t=29310694‬‬

‫ﻤﻨﺘﺩﻴﺎﺕ ﺸﺒﻜﺔ ﺍﻝﻤﻬﻨﺩﺱ‪http://www.almuhands.org/ ،‬‬

‫ﺍﻝﻤﻬﻨﺩﺱ ﺍﻝﻜﻭﻴﺘﻲ ﻝﻠﺒﻨﺎﺀ ﻭﺍﻝﺩﻴﻜﻭﺭ‪ ،‬ﺇﺒﺩﺍﻉ ﺍﻷﻝﻭﺍﻥ ﻓﻲ ﻤﻌﺎﻝﺠﺔ ﺍﻝﻌﻴـﻭﺏ ﺍﻝﻬﻨﺩﺴـﻴﺔ ﻓـﻲ ﺍﻝﻐـﺭﻑ‬

‫‪http://www.kw-eng.net/articles-action-show-id-72.htm‬‬
‫‪154‬‬
 ‫ﺍﻝﻤﻭﺴﻭﻋﺔ ﺍﻝﻌﺭﺒﻴﺔ‪http://www.arab-ency.com/ ،‬‬

‫ﻨﺎﺩﻱ ﻨﻅﻡ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﺠﻐﺭﺍﻓﻴﺔ‪ ،‬ﺍﻝﻤﻨﺘﺩﻯ‪ ،‬ﺍﻝﻌﻭﺍﻤل ﺍﻝﻤﺅﺜﺭﺓ ﻋﻠﻰ ﺍﻝﺘﻨﻤﻴﺔ ﺍﻝﻌﻤﺭﺍﻨﻴـﺔ ﺍﻝﻤﺘﻭﺍﺼـﻠﺔ‪،‬‬

‫‪http://www.gisclub.net/vb/showthread.php?t=852‬‬

‫ﻭﻴﻜﻴﺒﻴﺩﻴﺎ‪ ،‬ﺍﻝﻤﻭﺴﻭﻋﺔ ﺍﻝﺤﺭﺓ‪ ،‬ﺘﻭﺠﻴﻪ ﺍﻝﻤﺒﻨﻰ‪http://ar.wikipedia.org/ ،‬‬

‫‪155‬‬
An- Najah National University
Faculty of Graduates Studies

The impact of interior design in the success of

the content of architecture spaces, internal and
external - Case Study: "Separate residential
buildings (villas) in Nablus, as a model"

By
Rawand Hamdallah Abu Za'rour

Supervised By
Dr. Mohammad Ata Yousof

This Thesis is Submitted in Partial Fulfillment of the

Requirements for the Degree of Master of Engineering in
Architecture in the Faculty of Graduate Studies, An-Najah
National University, Nablus, Palestine.
2013
 The impact of interior design in the success of the content of
architecture spaces, internal and external - Case Study: "Separate
residential buildings (villas) in Nablus, as a model"
By
Rawand Hamdallah Abu Za'rour
Supervised By
Dr. Mohammad Ata Yousof
Abstract

Architectural Spaces' Study containing the elements, principles and

determinants is considered as one of the most important Architectural
studies especially modern ones since it's a study which patterns the human

in an attempt to form intelligible language between the human and

surroundings or the space where he dwells. Architectural Space in its
physical form, functional form and aesthetic appearance is a container in

which humans interact to form civilization which is considered as the

highest and finest one created by humanity.

Accordingly, this study was where it has tried in its first chapter to
search the depths of Interior design to define its concept, show how did the
researchers and specialists define Architectural Spaces, define its concept,
principles, a range of correlations between its internal and external parts, so
the study has shed light on the philosophical bases and the dialectics of
internal space design, thus it posited the organizational psychological
principles such as balance, order, sequence, measurement, relation, the
principle of unity and other. Then, it focused on Exterior architectural
space in terms of location, influential environment, exterior form of the
building and standards of its relationship with its surroundings as Lighting,
ventilation, privacy, views and other.
b
 This study has followed a descriptive approach in its theoretical
framework to identify the interior architecture, so it gave a brief history
about the development of this science.Then, it discussed in brief details the
requirements of interior design. It was offered to the schools which it
divided into: functional, structural, aesthetic and humanitarian
requirements. But regardless of the type of those requirements, there are
influential forces in the structure of the interior design which core is the
human in his personal and social formation, his culture and all sources of
his cognition and traditions.

Then, the study shifted to talk about residence, its importance and
types. It elaborated the elements of separate housing units since it's the
practical side in the study as entrance area, architectural spaces such as
living room, bedroom, services and others.

It talked about principles of design of that elements or spaces such as

space, standards, guidance, location, lighting, colors, and correlations or
inter-relations.

As the recent studies support saying that colors' science, lighting,

used raw materials, method of their use, decorative supplements such as
furniture, curtains, paintings and others in interior design have deep impact
upon the psychological and behavioral life on the side of individual and
society. This study addressed these topics and strengthened their theoretical
side with describing and explanatory image. It indicated ways of use and
coordination with the aim of harmony and integration to impart the desired
aesthetic form and reanimate a sense of calm and psychological comfort.
c
 In the third chapter, the study talked bout process of design and its
four pillars: the designer, user, law and building. It talked about the

importance of having a participatory relationship between the designer,

user and owner during the period of design or implementation. It resorted
to consider the user as a secondary designer and involve him in decision-

making of design without excess or negligence in order to reach a project

with complete corners with regard to architectural purpose, functional form
and aesthetic value which enhance the confidence of the designer and gain

the approval of the owner or his satisfaction.

The study followed the descriptive approach in its applied

framework through conducting interviews to identify the views of a sample

of owners of separate housing units (villas) in engineers' housing in Al-

Jnaid area. The interview covered a third of the population of the housing
which includes fifty-five used housing units i.e. inhabited and nineteen

unused units. The interview has included two types of questions: Type one
talked about the user's opinion (dweller) about interior design, its
importance and his personal experience in it in terms of his collaboration

with Interior designer or not, the consequences accordingly, his opinion

about the performance of the interior designer, his experience with the
interior designer in general and the mechanisms used in the

implementation.

While the second type of questions has a professional and more

specialized nature. The questions included questions about the architectural

d
spaces such as the external shape of the building, interior design,
proportions of the building, surrounding gardens, architectural spaces,

lighting, ventilation and other. The researcher allowed the user to express
his answer in terms of the level of satisfaction as: excellent or good or
intermediate or weak where the extent is left at the end for the user to make

suggestions and recommendations for similar housings in the future. This

study emphasized the importance of ongoing assessment processes, making
use of them and keeping up the developments and new technologies

The study concluded with a number of most notably results: an

emphasis on the importance of interior design in enhancing and enriching
architectural space including the results for the user at both physical and

psychological levels. Based on these results, this study called -as a

recommendation - for the need of interaction between the designer and user
during the process of interior design or in the implementation phase in

order to get comfortable dwelling which keeps pace with the times and the
recent developments, has identity and address which is in line with the
spirit of the place and brings authenticity and urban belonging.