‫ﺍﻟﺘﺫﻜﺎﺭﻱ ‪ ،‬ﺍﻟﺯﺍﺨﺭ ﺒﺎﻻﺤﺩﺍﺙ ‪ ،‬ﺍﻟﺼﺭﺤﻲ ‪ ،‬ﺍﻟﻤﻬﻡ ‪ ،‬ﺍﻟﻤﺅﺜﺭ ﺒﺸﻜل ﺍﺴﺘﺜﻨﺎﺌﻲ ‪ ،‬ﺫﻭ ﺍﻟﻤﻜﺎﻨﺔ ‪ ،‬ﺍﻟﻤﻤﻴﺯ ﻭﺍﻟﻼﻓﺕ‬

‫ﺍﻟﻤﺩﻫﺵ‪(http://www.free-soft.ro/everest/everest.html -Everest Dictionary,2009).‬‬ ‫ﻟﻠﻨﻅﺭ ‪ ،‬ﺍﻟﻼﻤﻨﺴﻲ ‪،‬‬

‫ﺍﻤﺎ ﻤﺼﻁﻠﺢ ‪ (Mnemonic) :‬ﻓﻴﺭﺩ ﺒﻤﻌﻨﻰ ‪:‬‬
‫‪“Some thing that is designed to assist the memory ( often referring to a word or‬‬
‫‪group of words that can be associated with the information being remembered)” .‬‬
‫)‪(http://dictionary.reference.com/browse/mnemonic, Dictionary .com , An Ask.com Service© 2009‬‬
‫ﻭﻴﻌﻁﻲ ﻗﺎﻤﻭﺱ ‪ Everest Dictionary‬ﻤﻌﺎﻨﻲ ﻤﺸﺎﺒﻪ ) ‪:( Mnemonic Alternative of Mnemonical‬‬
‫‪“The art of memory; a system of precepts and rules intended to assist the‬‬
‫‪memory; artificial memory”.‬‬
‫‪“Method know-how ability power cognition knowledge”.‬‬
‫‪(http://www.free- soft.ro/everest/everest.html-EverestDictionary,2009).‬‬

‫ﻭﻴﺭﺩ ﺘﻌﺭﻴﻑ ﺃﺩﺍﺓ ﺍﻟﺘﺫﻜﺭ )‪ (mnemonic device‬ﺒﺎﻨﻬﺎ ﻋﺒﺎﺭﺓ ﻋﻥ ﺫﺍﻜﺭﺓ ﺍﻟﺫﻫﻥ ﺍﻭ ﻤﺴﺎﻋﺩ ﺍﻟـﺘﻌﻠﻡ ‪،‬‬
‫ﻭﻋﺎﺩﺓ ﻤﺎﺘﻜﻭﻥ ﺍﺩﻭﺍﺕ ﺍﻟﺘﺫﻜﺭ ﻫﺫﻩ ﻟﻔﻅﻴﺔ – ﻜﻘﺼﻴﺩﺓ ﻗﺼﻴﺭﺓ ﺍﻭ ﻜﻠﻤﺔ ﻤﺤﺩﺩﺓ ﺘﺴﺎﻋﺩ ﺍﻟﺸﺨﺹ ﻋﻠﻰ ﺘﺫﻜﺭ ﺸﺊ‬
‫ﻤﺎ – ﻭﻟﻜﻥ ﻫﺫﻩ ﺍﻻﺩﺍﺓ ﻴﻤﻜـﻥ ﺍﻥ ﺘﻜـﻭﻥ ﺒـﺼﺭﻴﺔ ‪ ،‬ﺴـﻤﻌﻴﺔ ‪ ،‬ﺸـﻤﻴﺔ ‪ ،‬ﺍﻭ ﻟﻤـﺴﻴﺔ )ﻜﻤﻠﻤـﺱ ﺤﺭﻜـﺔ‬
‫ﺍﻟﻌﻀﻼﺕ ‪ ، (kinesthetic‬ﻭﺘﻌﺘﻤﺩ ﺍﺩﺍﺓ ﺍﻟﺘﺫﻜﺭ ﻋﻠﻰ ﺍﻟﺘﺩﺍﻋﻴﺎﺕ ﻤﺎﺒﻴﻥ ﺍﻟﺒﻨﻰ ﺍﻟﺴﻬﻠﺔ ﺍﻟﺘﺫﻜﺭ ﺍﻟﺘﻲ ﻴﻤﻜـﻥ ﺍﻥ‬
‫ﺘﺘﻌﻠﻕ ﺒﺎﻟﺒﻴﺎﻨﺎﺕ ﺍﻟﺘﻲ ﻴ‪‬ﺭﺍﺩ ﺘﺫﻜﺭﻫﺎ ‪ .‬ﻭﻴﻘﻭﻡ ﻫﺫﺍ ﻋﻠﻰ ﺍﺴﺎﺱ ﻤﺒﺩﺃ ﻜﻭﻥ ﺍﻟﻌﻘـل ﺍﻟﺒـﺸﺭﻱ ﻴﺘـﺫﻜﺭ ﺒـﺴﻬﻭﻟﺔ‬
‫ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﻔﻀﺎﺌﻴﺔ ‪ ،‬ﺍﻟﻤﺩﻫﺸﺔ ‪ ،‬ﺍﻟﺸﺨﺼﻴﺔ ‪ ،‬ﻭﺍﻟﻤﺤﻤﻠﺔ ﺒﺎﻟﻤﻌﺎﻨﻲ ‪ ،‬ﺍﻜﺜﺭ ﻤﻥ ﺍﻟﻤﺸﺎﻫﺩ ﺍﻟﻤﺘﻌﺎﻗﺒﺔ ﺍﻻﻋﺘﺒﺎﻁﻴﺔ‬
‫‪(http://en.wikipedia.org/wiki/Mnemonic,2010) .‬‬

‫ﻭﺘﻌﻭﺩ ﺠﻤﻴﻊ ﺍﻟﺘﻌﺎﺭﻴﻑ ﺍﻋﻼﻩ ﺍﻟﻰ ﻓﻥ ﺍﻟﺫﺍﻜﺭﺓ ﻭﺍﻟﻨﻅﺎﻡ ﺍﻻﺩﺭﺍﻜﻲ ﺍﻟﺤﺴﻲ ﻭﺍﻟﺫﻫﻨﻲ ﻭﺍﻟﻘﻭﺍﻨﻴﻥ ﺍﻟﺘﻲ‬
‫ﺘﺴﺎﻋﺩ ﺍﻟﺫﺍﻜﺭﺓ ‪ ،‬ﻭﺘﺘﻌﻠﻕ ﺒﺎﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﻤﺘﺫﻜﺭﺓ‪.‬‬
‫ﻫﺫﺍ ﻭﺍﻭﻀﺤﺕ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺴﺎﺒﻘﺔ ﺍﻥ )ﺍﻟﺒﻘﺎﺀ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ( ﻫﻲ ﻤﻬﻤﺔ ﺍﺩﺭﺍﻜﻴﺔ ﻨﺘﺎﺝ ﻋﻤﻠﻴﺔ ﻤﺘﺒﺎﺩﻟـﺔ ﺒـﻴﻥ‬
‫)ﺍﻟﻤﺩﺭِﻙ ﻭﺍﻟﻤﺩﺭ‪‬ﻙ( ﺃﻱ ﺍﻻﻨﺴﺎﻥ ﻭﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ‪ .‬ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺍﻥ ﺍﻟﺸﻜل ﺍﻟﻔﻴﺯﻴﺎﺌﻲ ﺍﻟﺨﺎﺭﺠﻲ ﻟﻠﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ‬
‫ﻭﻤﺎ ﻴﻌﻜﺴﻪ ﻤﻥ ﻤﻌﻠﻭﻤﺎﺕ ﻭﺇﺸﺎﺭﺍﺕ ﻴﺤﺩﺩ ﺍﻟﻰ ﺩﺭﺠﺔ ﻜﺒﻴﺭﺓ ﻤﺎ ﻴﺭﺍﻩ ﺍﻻﻨﺴﺎﻥ ‪ ،‬ﺍﻻ ﺍﻨﻪ ﻻ ﻴﺤﺩﺩ ﻜﻠﻴﹰﺎ ﻤﺎ ﻴﺩﺭﻜﻪ‬
‫ﻭﻤﺎ ﻴﺘﺫﻜﺭﻩ‪ .‬ﺤﻴﺙ ﺍﻜﺩ )‪ (Bruner‬ﺍﻥ ﺍﻻﺩﺭﺍﻙ ﻴﺘﺄﺜﺭ ﻜﺜﻴﺭﹰﺍ ﺒﻌﻤﻠﻴﺎﺕ ﺍﺩﺭﺍﻙ ﺫﻫﻨﻲ ﺍﻋﻠﻰ )‪.(Carr, 1989, p. 11‬‬

‫‪ 2.1.4‬ﻤﻔﻬﻭﻡ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺒﺎﻗﻲ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ– ﺍﻟﻔﻀﺎﺀ ﺍﻟﻼﻤﻨﺴﻲ‪ -‬ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ‪Memorable‬‬

‫‪space‬‬
‫ﻟﻴﺴﺕ ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺍﻟﻤﻠﻴﺌﺔ ﺒﺎﻟﻤﻌﺎﻨﻲ )‪ (meaningful‬ﺒﺒﺴﺎﻁﺔ ﻤﺠﺭﺩ ﺴﻠﺴﻠﺔ ﻤﻥ ﺍﻟﺼﻭﺭ ﻋﻠﻰ‬
‫ﺸﺒﻜﻴﺔ ﺍﻟﻌﻴﻥ ‪ ،‬ﻓﻌﻨﺎﺼﺭ ﺍﻟﻌﻤﺎﺭﺓ ﻟﻴﺴﺕ ﻭﺤﺩﺍﺕ ﺒﺼﺭﻴﺔ ﺍﻭ ﮔﺸﺘﺎﻟﺘﻴﺔ ‪ ،‬ﻭﺍﻨﻤﺎ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﺘﺼﺎﺩﻤﺎﺕ‬
‫ﻭﺘﺠﺎﺒﻬﺎﺕ ﺘﺘﻔﺎﻋل ﻤﻊ ﺍﻟﺫﺍﻜﺭﺓ ‪ ،‬ﻭﻤﻥ ﺨﻼل ﺍﻟﻌﻤﺎﺭﺓ ﻓﻜل ﺍﻟﺘﺠﺎﺭﺏ ﺘﺩل ﻀﻤﻨﺎ ﻋﻠﻰ ﺍﻓﻌﺎل ﺍﻋﺎﺩﺓ ﺍﻟﺘﺠﻤﻴﻊ ‪،‬‬
‫ﺍﻟﺘﺫﻜﺭ ‪ ،‬ﻭﺍﻟﻤﻘﺎﺭﻨﺔ ‪ .‬ﻭﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﻤﺠﺴﺩﺓ ﺘﻤﺘﻠﻙ ﺩﻭﺭﺍ ﺠﻭﻫﺭﻴﺎ ﻜﻘﺎﻋﺩﺓ ﻟﺘﺫﻜﺭ ﺍﻟﻤﻜﺎﻥ ﺍﻭ ﺍﻟﻔﻀﺎﺀ ‪ ،‬ﻓﻨﺤﻥ ﻨﺤﻭل‬
‫ﻜل ﺍﻟﻤﺩﻥ ﻭﺍﻻﻤﺎﻜﻥ ﺍﻟﺘﻲ ﺯﺭﻨﺎﻫﺎ ﻭﺍﻟﺘﻲ ﻤﻴﺯﻨﺎﻫﺎ ﺍﻟﻰ ﺫﺍﻜﺭﺓ ﻤﺠﺴﻤﺔ ﻭﻤﺠﺴﺩﺓ ﻓﻲ ﺍﺠﺴﺎﻤﻨﺎ ‪ ،‬ﻓﺎﺨﺘﺒﺎﺭ ﺍﻟﻌﻤل‬
‫ﺍﻟﻔﻨﻲ ﻫﻭ ﻨﻭﻉ ﻤﻥ ﺍﻟﺤﻭﺍﺭ ﺍﻟﺨﺎﺹ ﻤﺎﺒﻴﻥ ﺍﻟﻌﻤل ﻭﺍﻟﻤﺸﺎﻫﺩ ﺤﻴﺙ ﻴﺘﻁﻠﺏ ﻜل ﻤﻨﻬﻤﺎ ﻤﺸﺎﺭﻜﺔ ﺍﻻﺨﺭ ﻫﻭﻴﺘﻪ‬
‫ﺍﻟﺸﺨﺼﻴﺔ ‪ ،‬ﻟﻴﺼﺒﺢ ﺠﺯﺀﺍ ﻤﻥ ﺠﺴﺩﻩ ﻭﻭﺠﻭﺩﻩ ‪.‬‬
‫‪(Space of Memory and‬‬ ‫ﻭﻴﻁﻠﻕ )‪ (Pallasmaa‬ﻤﺼﻁﻠﺢ ﻓﻀﺎﺀ ﺍﻟﺫﺍﻜﺭﺓ ﻭﺍﻟﺘﺨﻴل‬
‫)‪ Imagination‬ﻓﻲ ﻭﺼﻑ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺒﺎﻗﻴﺔ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻭﻴﻘﻭل " ﻴﻤﺘﻠﻙ ﺍﻻﺸﺨﺎﺹ ﻁﺎﻗﺔ ﻓﻜﺭﻴﺔ ﻟﻠﺘﺫﻜﺭ‬
‫ﻭﺘﺨﻴل ﺍﻻﻤﺎﻜﻥ ‪ ،‬ﻓﺎﻻﺩﺭﺍﻙ ﻭﺍﻟﺫﺍﻜﺭﺓ ﻭﺍﻟﺘﺨﻴل ﻓﻲ ﺘﻔﺎﻋل ﺜﺎﺒﺕ ‪ ،‬ﻭﺴﻠﻁﺔ ﺍﻟﺤﻀﻭﺭ ﺘﻨﺼﻬﺭ ﻤﻊ ﺼﻭﺭ ﺍﻟﺫﺍﻜﺭﺓ‬
‫ﻭﺍﻟﺨﻴﺎل ﻓﻲ ﺒﻭﺘﻘﺔ ﻭﺍﺤﺩﺓ ‪ .‬ﻓﻬﻨﺎﻙ ﺒﻌﺽ ﺍﻟﻤﺩﻥ ﺍﻟﺘﻲ ﺘﺒﻘﻰ ﻜﻤﺠﺭﺩ ﺼﻭﺭ ﺒﺼﺭﻴﺔ ﺒﻌﻴﺩﺓ ﻋﻥ ﺍﻟﺘﺫﻜﺭ ‪ ،‬ﻓﻲ‬
‫ﺤﻴﻥ ﺘﺒﻘﻰ ﻤﺩﻥ ﺍﺨﺭﻯ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﺒﻜل ﺘﻔﺎﺼﻴﻠﻬﺎ ﺍﻟﻤﺭﺤﺔ ﻭﺍﻟﺤﻴﻭﻴﺔ )‪ ، (vivacity‬ﻭﺘﺴﺘﺩﻋﻲ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﻤﺩﻥ‬
‫ﺍﻟﻤﺒﻬﺠﺔ ﺒﻜل ﺍﺼﻭﺍﺘﻬﺎ ‪ ،‬ﺭﻭﺍﺌﺤﻬﺎ ﻭﺘﻨﻭﻴﻌﺎﺘﻬﺎ ﻤﻥ ﺍﻟﻅل ﻭﺍﻟﻀﻭﺀ ‪ ،‬ﻭﺭﺒﻤﺎ ﺍﻟﻰ ﺍﻟﺤﺩ ﺍﻟﺫﻱ ﻴﺘﺫﻜﺭ ﻓﻴﻪ ﺍﻟﺸﺨﺹ‬
‫ﺍﻟﺠﻬﺔ ﺍﻟﺘﻲ ﻜﺎﻥ ﻴﺴﻴﺭ ﻓﻴﻬﺎ ﻤﻥ ﺍﻟﺸﺎﺭﻉ ﺍﻟﻤﺸﻤﺴﺔ ﺍﻡ ﺍﻟﻤﻅﻠﻠﺔ" ‪ .‬ﻭﻴﻌﺒﺭ ﻋﻥ ﺫﻟﻙ ﺒﺭﻭﺡ ﻤﻥ ﺍﻟﺩﻋﺎﺒﺔ ‪:‬‬
‫‪“The real measure of the qualities of a city is whether one can imagine falling‬‬
‫)‪in love in it”.(Pallasmaa, 2005, p.68-70‬‬
‫ﻭﻴﺅﻜﺩ) ‪ ( Yi-fu‬ﺍﻥ ﺍﻟﻔﻀﺎﺀ ﻴﺼﺒﺢ ﻤﻜﺎﻥ ﻤﻥ ﺨﻼل ﺍﻟﺨﺒﺭﺓ )‪ ، (experience‬ﻭﺒﺘﻌﺒﻴﺭ ﺒﺩﻴل ﻴﻘﻭل‬
‫)‪ ( E.V.Walter‬ﺍﻥ ﺍﻷﻤﺎﻜﻥ ﻫﻲ "ﻤﻭﺍﻗﻊ ﻟﻠﺨﺒﺭﺍﺕ " ﻭﻫﻲ ﺒﻬﺫﺍ ﺘﻭﻗﺽ ﻭﺘﺜﻴﺭ ﻭﺘﻨﻅﻡ )ﺍﻟﺫﻜﺭﻴﺎﺕ ‪ ،‬ﺍﻟﺼﻭﺭ‬
‫ﺍﻟﺫﻫﻨﻴﺔ‪ ،‬ﺍﻟﻌﻭﺍﻁﻑ ﻭﺍﻟﻤﻌﺎﻨﻲ( ‪ .‬ﻭﺒﺸﻜل ﺍﻜﺜﺭ ﺘﺤﺩﻴﺩﹰﺍ ﻭﺩﻗﺔ ﻴ‪‬ﺸﻴﺭ )‪ (Rudolf Arnheim‬ﻟﻠﻌﻤﺎﺭﺓ ﻋﻠﻰ ﺍﻨﻬﺎ‬
‫‪(Malnar & Vodvarka ,2004,‬‬ ‫"ﺒﻨﻴﺔ ﻭﻗﺘﻴﺔ" ﺘﺘﺸﻜل ﻤﻥ ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻤﺘﻜﺎﻤﻠﺔ ﺘﺄﺨﺫ ﻫﻴﺌﺘﻬﺎ ﻤﻥ ﺨﻼل ﺍﻟﺨﺒﺭﺓ‪.‬‬
‫)‪p.233‬‬
‫ﻭﻴﺭﻯ )‪ (Maurice Sauzet‬ﺍﻥ ﻗﺎﻨﻭﻥ ﺍﻟﻌﻤﺎﺭﺓ ﻫﻭ ﺘﻨﻅﻴﻡ ﺍﻟﻤﺤﻔﺯﺍﺕ ﺍﻟﺘﻲ ﺴﻭﻑ ﻴﺘﻡ ﺍﻟﺘﻭﺍﺠﻪ ﻤﻌﻬـﺎ ‪:‬‬
‫ﻜﺎﻟﻀﻭﺀ ﻭﺍﻟﻅل ‪ ،‬ﺍﻟﻌﺘﺒﺎﺕ ﻭﺍﻟﺘﺨﻭﻡ )‪ ، (thresholds‬ﺍﻟﻤﻨﺎﻅﺭ ‪ ،‬ﺘﻐﻴﻴﺭ ﺍﻟﻤﻠﻤﺱ ‪ ،‬ﺍﻟﺘﻨﻭﻉ ﺍﻟﺒﻌﺩﻱ ﻤﻥ ﺍﻁـﺎﺭ‬
‫ﺍﻟﺨﺒﺭﺓ ﻭﺍﻟﺫﻜﺭﻴﺎﺕ ﻭﻴﻘﻭل‪:‬‬
‫)‪“ Experiences , memories , become the matter of creation itself ” (Ibid., 2004, p.231‬‬
‫ﻤﺸﻴﺭﺍ ﺍﻟﻰ ﺍﻟﻤﻔﺎﺘﻴﺢ )‪ ( keyboard‬ﺍﻟﺘﻲ ﺴﻴﺘﻡ ﺍﻟﻠﻌﺏ ﻋﻠﻴﻬﺎ ﻜﺎﻟﻌﻼﻗﺔ ﻤﺎ ﺒﻴﻥ ﺍﻟﺩﺍﺨل ﻭﺍﻟﺨـﺎﺭﺝ ﻭﺍﻟﺘـﻲ‬
‫ﺘﺘﻭﻀﺢ ﺒﺸﻜل ﻨﻤﻭﺫﺠﻲ ﻤﻥ ﺨﻼل ﺍﻟﻤﻤﺭﺍﺕ ‪ ،‬ﺍﻟﻤﻨﺎﻅﺭ ﺍﻟﻤﺅﻁﺭﺓ ﺍﻟﻤﺨﺘﺎﺭﺓ ﺒﻌﻨﺎﻴﺔ ‪ ،‬ﻭﺍﻟﻤﻠﻤﺱ ﺍﻟﻤﻌﺘﻤﺩ ﻋﻠﻰ )‬
‫‪(Ibid. ,2004,p.230) .‬‬ ‫ﺍﻟﺩﻭﺭﺍﻥ ﺍﻟﺠﺴﺩﻱ‪ ، (bodily rotation‬ﺘﻐﻴﺭ ﺍﻟﻤﺴﺘﻭﻴﺎﺕ‪ ،‬ﻭﺍﻟﺘﻐﻴﺭﺍﺕ ﺍﻻﺘﺠﺎﻫﻴﺔ‬
‫ﻓﻴﻤﺎ ﻫﺩﻓﺕ ﺩﺭﺍﺴﺔ )‪ ( D. Appleyard‬ﺍﻟﻰ ﺍﻟﺘﻌﺭﻑ ﻋﻠﻰ ﺍﻟﻜﻴﻔﻴﺔ ﺍﻟﺘﻲ ﻴﺘﻡ ﻤﻥ ﺨﻼﻟﻬﺎ ﺘﻔﻬﻡ ﺍﻟﻨﺎﺱ ﻟﺒﻴﺌﺘﻬﻡ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻭ ﺍﻟﻜﻴﻔﻴﺔ ﺍﻟﺘﻲ ﻴﻌﻤﻠﻭﻥ ﻋﻠﻰ ﻫﻴﻜﻠﺔ ﺘﺼﻭﺭﺍﺘﻬﻡ ﻋﻨﻬـﺎ‪ .‬ﻭﻴﻘﻭل " ﻴﺩﺭﻙ ﺍﻷﺸﺨﺎﺹ ﺒﻴﺌﺎﺘﻬـﻡ ﻋﻠﻰ‬
‫ﺃﺴﺎﺱ ﺇﻨﻬﺎ ﺒﻴﺌـﺔ ﺤﺴﻴـﺔ ﻭﻴﺅﺜﺭ ﺍﻟﺘﺒﺎﻴـﻥ ﻓﻲ ﺍﻟﻤﺘﻐﻴـﺭﺍﺕ ﺍﻟﻔﻴﺯﻴﺎﻭﻴـﺔ ﻤـﻥ ﺤﻴـﺙ ﻤﺅﺸـﺭﻱ ﺍﻟـﺸـﺩﺓ‬
‫)‪ (Intensity‬ﻭﺍﻟﺘﻔـﺭﺩ )‪ (Singularity‬ﻋﻠﻰ ﺸﺩ ﺍﻻﻨﺘﺒـﺎﻩ ﺍﻟﺫﻱ ﻴﻘﻭﻡ ﺒﺘﺭﺴﻴﺦ ﺍﻟﺸﻜل ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻭﺘﻜﻭﻴﻥ‬
‫)‪(Broadbent,1980,p.135‬‬ ‫ﺼﻭﺭﺓ ﺫﻫﻨﻴﺔ ﻤﺘﺫﻜﺭﺓ"‪.‬‬
‫ﻭﺘﻌﺘﻤﺩ ﺍﻟﻜﻔﺎﺀﺓ ﺍﻟﺘﻲ ﻴﺴﺘﻌﻤل ﺒﻬﺎ ﺍﻻﻨﺴﺎﻥ ﺍﻟﺒﻴﺌﺔ ﻟﺘﺤﻘﻴﻕ ﺍﻏﺭﺍﻀﻪ ﻭﺍﻫﺩﺍﻓﻪ ﺒﺩﺭﺠﺔ ﻜﺒﻴﺭﺓ ﻋﻠﻰ ﻜﻔﺎﺀﺓ‬
‫ﺘﺫﻜﺭﻩ ﻟﻬﻴﺎﻜﻠﻬﺎ‪ .‬ﻭﻫﺫﺍ ﻤﺎ ﻴﺅﻜﺩ ﻋﻠﻴﻪ )‪ (Lynch‬ﻓﻲ ﻜﺘﺎﺒﻪ "‪ .“The Image of the City‬ﺍﺫ ﻴﻌﺘﻤﺩ ﻤﺩﻯ‬
‫ﺘﺫﻜﺭ ﺍﻟﻨﺎﺱ ﺍﻭ ﻨﺴﻴﺎﻨﻬﻡ ﻟﻠﻤﻌﺭﻓﺔ ﺍﻟﻤﻜﺘﺴﺒﺔ ﻋﻠﻰ ﻤﺩﻯ ﺍﻫﻤﻴﺘﻬﺎ ﻭﻜﻔﺎﺀﺓ ﺘﻨﻅﻴﻤﻬﺎ ﻭﺘﺼﻨﻴﻔﻬﺎ ﻭﺘﺨﺯﻴﻨﻬﺎ ﺩﺍﺨل‬
‫)ﺍﻟﻌﻠﻭﺍﻥ ‪ ،2001،‬ﺹ‪(41‬‬ ‫ﺍﻟﺫﻫﻥ ﺍﻻﻨﺴﺎﻨﻲ ‪.‬‬
‫ﻜﻤﺎ ﻭﺠﺩ ﻜل ﻤﻥ )‪ (Beck & Wood‬ﺍﻥ ﺍﻜﺘﺴﺎﺏ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﻔﻀﺎﺌﻴﺔ )‪(Spatial Information‬‬
‫ﻭﺘﺭﻜﻴﺏ ﻭﺍﻋﺩﺍﺩ ﺍﻟﺨـﺭﺍﺌﻁ ﺍﻟﺫﻫﻨﻴﺔ ‪ ،‬ﻴﻌﺘﻤﺩ ﺒﺼﻭﺭﺓ ﺍﺴﺎﺴﻴﺔ ﻋﻠﻰ ﺍﻟﺤﺭﻜﺔ ﻀﻤﻥ ﺍﻟﻔﻀﺎﺀ‪ .‬ﺍﺫ ﻴﻨﺘﺨﺏ ﺍﻟﻔﺭﺩ‬
‫ﻋﻼﻤﺎﺕ ﺒﻴﺌﻴﺔ ﻤﻤﻴﺯﺓ )ﻨﻘﺎﻁ ﺩﺍﻟﺔ( ﻤﻥ ﺍﻟﻔﻀـﺎﺀﺍﺕ ﺍﻟﺘﻲ ﻴﺘﺤﺭﻙ ﺨﻼﻟﻬﺎ ﻭﻴﺤﻔﻅﻬﺎ ﻓﻲ ﺫﺍﻜـﺭﺘﻪ‪ .‬ﻭﺘﺴﺎﻋﺩ‬
‫ﻫـﺫﻩ ﺍﻟﻨﻘﺎﻁ ﺍﻟﺩﺍﻟﺔ ﻓﻲ ﺍﺨﻀـﺎﻉ ﺍﻟﻌﻨﺎﺼـﺭ ﺍﻟﺜﺎﻨﻭﻴﺔ ﻟﻠﺒﻴﺌﺔ ‪ ،‬ﻭﺒﺎﻟﺘﺎﻟـﻲ ﺘﺜﺒﻴﺕ ﻭﺘﺭﺴﻴﺦ ﻨﻅﺎﻡ ﻤﺘﺴﻠﺴل‬
‫‪(Beck & Wood, 1986, p. 222-225).‬‬ ‫ﻫﺭﻤﻲ‬
‫ﺍﻤﺎ )‪ (Young‬ﻓﻴﺸﻴﺭ ﺍﻟﻰ ﺍﻥ ﺘﻔﺎﻋل ﺍﻻﻨﺴﺎﻥ ﻤﻊ ﻤﻜﺎﻥ ﻤﺎ ﻴﻭﻟﺩ ﻟﺩﻴﻪ ﺒﻌﻀﺎ ﻤﻥ ﺍﻻﺤﺎﺴﻴﺱ ﻭﺍﻟﻤﺸﺎﻋﺭ‬
‫ﻜﺈﺜﺎﺭﺓ ﺒﻌﺽ ﺍﻟﻤﺸﺎﻋﺭ ﺍﻟﻤﺭﺘﺒﻁﺔ ﺒﺫﻜﺭﻴﺎﺕ ﺍﻻﻨﺴﺎﻥ ﻭﺒﻁﻔﻭﻟﺘﻪ ‪ ،‬ﻜﺎﻟﺸﻌﻭﺭ ﺒﺎﻟﻤﺘﻌﺔ ﻭﺍﻟﺭﺍﺤﺔ ﻭﺍﻟﺭﻀﻰ‬
‫ﻭﺍﻟﻤﻼﺌﻤﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻟﺫﺍﺕ ﻭﺍﻟﻬﻭﻴﺔ ‪ ،‬ﺍﻭ ﺍﻻﻟﻔﺔ ﺒﺎﻻﻀﺎﻓﺔ ﺍﻟﻰ ﺸﻌﻭﺭﻩ ﺒﺎﻟﻤﺤﺒﺔ ﺘﺠﺎﻩ‬
‫‪.(Young‬ﻭﻴﺭﻯ ﻜل ﻤﻥ)‪ (Malnar &Vodvarka‬ﺍﻥ ﺍﻷﻟﻔـﺔ )‪ (familiarity‬ﻤﻊ‬ ‫ﺍﻻﻤﺎﻜﻥ)‪,1975,p.9-10‬‬

‫ﺍﻟﺘﻔﺎﺼﻴل ﻭﺍﻻﻤﺎﻜﻥ ﻭﺍﻟﻔﻀﺎﺀﺍﺕ ﺘﺯﻴﺩ ﻤﻥ ﺤﻴﻭﻴﺘﻬﺎ ﻭﻨﺸﺎﻁﻬﺎ ﺍﻟﺘﺫﻜﺭﻱ )‪. (their mnemonic vitality‬‬
‫ﺤﻴﺙ ﻴﺼﺒﺢ ﺍﻟﺯﻤﻥ ﺒﺫﻟﻙ ﻤﻀﻐﻭﻁﺎ ﻭﻤﺭﻜﺯﺍ ﻀﻤﻥ ﺼﻭﺭ ﻓﻀﺎﺌﻴﺔ ﻻﺘﻨﺴﻰ ‪(memorable spatial‬‬
‫‪(Malnar & Vodvarka, 2004, p.80) .‬‬ ‫)‪ images‬ﻤﻭﻟﺩﺓ ﻋﻤﺎﺭﺓ ﺫﺍﺕ ﻭﻋﻲ ﻭﺸﻌﻭﺭ ﻓﻀﺎﺌﻲ‬
‫ﻭﻟﻜﻲ ﻴﻔﻬﻡ ﺍﻟﻤﻜﺎﻥ ﻭﺍﺴﺒﺎﺏ ﺒﻘﺎﺀﻩ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻜﺎﻥ ﻻﺒﺩ ﻤﻥ ﻤﻨﺎﻗﺸﺔ ﺍﻟﺘﻭﺠﻬﺎﺕ ﺍﻟﻨﻔﺴﻴﺔ ﻭﺍﻟﺒﻴﺌﻴﺔ ‪ ،‬ﺤﻴﺙ‬
‫ﻴﺘﻨﺎﻭل ﻋﻠﻡ ﺍﻟﻨﻔﺱ ﺘﺤﺴﺱ ﺍﻻﻨﺴﺎﻥ ﻭﺍﺩﺭﺍﻜﻪ ﻟﻠﻤﻜﺎﻥ ﻭﺸﻌﻭﺭﻩ ﻨﺤﻭﻩ ‪ ،‬ﻓﻲ ﺤﻴﻥ ﻴﺘﻨﺎﻭل ﺍﻟﺠﺎﻨﺏ ﺍﻟﺒﻴﺌﻲ ﻁﺒﻴﻌﺔ‬
‫ﺍﻟﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻻﻨﺴﺎﻥ ﻭﺍﻟﻤﻜﺎﻥ ‪ ،‬ﺤﻴﺙ ﻴﻨﺸﺄ ﺍﻟﻤﻜﺎﻥ ﻜﻨﺘﻴﺠﺔ ﻟﻠﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﻁﺒﻴﻌﻴﺔ ﻭﺍﻻﺼﻁﻨﺎﻋﻴﺔ‬
‫ﺍﻟﻤﺤﻴﻁﺔ ﺒﻪ ﻟﻴﺘﻡ ﺘﺤﺴﺴﻪ ‪ ،‬ﻤﻥ ﺨﻼل ﺍﻟﻌﻼﻗﺔ ﺍﻟﻤﺘﺒﺎﺩﻟﺔ ﺒﻴﻥ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼﺭ ﻜﻤﺎ ﺍﺸﺎﺭ‬
‫)‪(Arnhiem,1977,p.9).(Arnheim‬‬

‫ﻭﻴﻌﺒﺭ )‪ (Peter Zumthor‬ﻓﻲ ﻜﺘﺎﺒﻪ "‪ "Thinking Architecture‬ﻋﻥ ﺩﻭﺍﻓﻌﻪ ﻓﻲ ﺘﺼﻤﻴﻡ ﺍﺒﻨﻴﺔ‬
‫ﺘﺘﺤﺩﺙ ﺍﻟﻰ ﻤﺸﺎﻋﺭ ﺍﻻﻓﺭﺍﺩ ‪ ،‬ﻭﺘﻔﻬﻡ ﺒﻁﺭﻕ ﻋﺩﺓ ﻟﻴﺸﻜل ﺫﻟﻙ ﺸﺨﺼﻴﺔ ﻭﺤﻀﻭﺭﺍ ﻓﻌﺎﻻ ﻭﻏﻴﺭ ﻗﺎﺒل ﻟﻠﺠﺩل ‪.‬‬
‫ﻭﻴﻀﻴﻑ ‪” :‬ﻋﻨﺩﻤﺎ ﺍﺭﻜﺯ ﻋﻠﻰ ﻤﻭﻗﻊ ﺍﻭ ﻤﻜﺎﻥ ﻤﻌﻴﻥ ﺴﻭﻑ ﺍﻗﻭﻡ ﺒﺎﻋﺩﺍﺩ ﺍﻟﺘﺼﺎﻤﻴﻡ ﻋﻠﻰ ﺍﺭﻀﻪ ‪ ،‬ﻭﻋﻨﺩﻤﺎ ﺍﺒﺩﺍ‬
‫ﺒﺴﺒﺭ ﺍﻏﻭﺍﺭﻩ ‪ ،‬ﺸﻜﻠﻪ ‪ ،‬ﺘﺎﺭﻴﺨﻪ‪ ،‬ﻭﻨﻭﻋﻴﺎﺘﻪ ﺍﻟﺤﺴﻴﺔ ‪ ،‬ﻓﺎﻥ ﺼﻭﺭﺍ ﻻﻤﺎﻜﻥ ﺍﺨﺭﻯ ﺘﺒﺩﺍ ﺒﻐﺯﻭ ﻋﻤﻠﻴﺎﺕ ﺍﻟﻤﺭﺍﻗﺒﺔ‬
‫ﻭﺍﻟﺒﺤﺙ ﺍﻟﺩﻗﻴﻘﺔ‪ :‬ﺼﻭﺭ ﻻﻤﺎﻜﻥ ﻋﺭﻓﺘﻬﺎ ﻓﻲ ﺯﻤﻥ ﻤﺎ ﻭﺍﺜﺎﺭﺕ ﺍﻋﺠﺎﺒﻲ ‪ ،‬ﺼﻭﺭ ﻻﻤﺎﻜﻥ ﻋﺎﺩﻴﺔ ﺍﻭ ﻤﻤﻴﺯﺓ ‪،‬‬
‫ﺼﻭﺭ ﻻﻤﺎﻜﻥ ﺍﺤﻤﻠﻬﺎ ﻤﻌﻲ ﻜﻁﻴﻑ ﺍﻭ ﻤﺸﺎﻫﺩ ﺭﻭﺤﻴﺔ ﻟﻤﺯﺍﺝ ﺍﻭ ﻨﻭﻋﻴﺔ ﺨﺎﺼﺔ ‪ ،‬ﺼﻭﺭ ﻟﺤﺎﻻﺕ ﻤﻌﻤﺎﺭﻴﺔ‬
‫ﺘﻨﺒﻌﺙ ﻤﻥ ﻋﺎﻟﻡ ﺍﻟﻔﻥ ‪ ،‬ﺍﻻﻓﻼﻡ ‪ ،‬ﺍﻟﻤﺴﺭﺡ ‪ ،‬ﺍﻭ ﺍﻻﺩﺏ“ ‪.‬‬
‫)‪(Zumthor,2006,p1‬‬
‫‪"Images of places I know and that once impressed me, images of ordinary or‬‬
‫;‪special places that I carry with me as inner visions of specific moods and qualities‬‬
‫‪images of architectural situations, which emanate from the world of art, or films,‬‬
‫)‪theater or literature".(Ibid.,2006,p1‬‬

‫ﻭﻗﺩ ﺍﺴﺘﻌﺭﺽ ﺍﻟﺒﺎﺤﺜﺎﻥ )‪ (Malnar & Vodvarka‬ﺴﻤﺎﺕ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺨﺎﺭﺠﻴﺔ ) ‪landscapes‬‬

‫‪ (aspect‬ﻭﺍﻟﺴﺅﺍل ﺍﻟﺫﻱ ﻁﺭﺤﺎﻩ ﻫﻭ ‪ ”:‬ﻜﻴﻑ ﻴﻤﻜﻥ ﻟﻠﺘﺼﻤﻴﻡ ﺍﻥ ﻴﺼﻨﻊ ﻓﻀﺎﺀﺍﺕ ﻗﺎﺒﻠﺔ‬
‫ﻟﻠﺘﺫﻜﺭ )‪ (memorable‬ﺒﺎﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﻜﺎﻨﺕ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺘﺎﺭﻴﺨﻴﺔ ﺘﻔﻌل ؟ “ ‪.‬‬
‫ﻭﺘﺴﺎﺌﻼ ﻋﻥ ﺍﻟﺘﺼﻨﻴﻔﺎﺕ ﻟﻬﺫﻩ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺨﺎﺭﺠﻴﺔ ﻭﻋﻼﻗﺘﻬﺎ ﻤﻊ ﻤﺯﺍﺠﻨﺎ ﺍﻻﺩﺭﺍﻜﻲ ‪ ،‬ﻭﻋﻥ ﻗﺩﺭﺓ ﺍﻟﺒﺸﺭ‬
‫ﺍﻟﺘﻤﻴﻴﺯ ﻤﺎﺒﻴﻥ ﻨﻭﻉ ﻤﻥ ﺍﻟﺘﺼﻤﻴﻡ ﺍﻟﺨﺎﺭﺠﻲ ﻋﻥ ﺍﻻﺨﺭ ؟ ﻭﻓﻲ ﺤﺎﻟﺔ ﺍﻨﻨﺎ ﻨﻔﻌل ﻓﻬل ﻴﻅﻬﺭ ﻫﺫﺍ ﺍﻟﺘﻔﻀﻴل ﺒﺸﻜل‬
‫ﻭﺍﻀﺢ ؟ ﻭﺍﺨﻴﺭﺍ ﻫل ﻴﻤﺘﻠﻙ ﻤﺩﺨل ﻤﻅﺎﻫﺭ ﺍﻟﻁﺒﻴﻌﺔ )‪ (aspects of nature‬ﺃﻱ ﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻟﺒﺸﺭ ؟ ﻭﺍﻋﺘﺒﺭﺍ‬
‫ﺍﻥ ﻫﺫﻩ ﺍﻻﺴﺌﻠﺔ ﺍﻟﻤﻨﺘﻅﺭﺓ ﻫﻲ ﺍﻟﺘﻲ ﻴﺤﺘﺎﺝ ﺍﻟﻤﺼﻤﻤﻭﻥ ﺍﻟﻰ ﺍﺠﺎﺒﺎﺕ ﻟﻬﺎ ﺍﺫﺍ ﻤﺎ ﺍﺭﻴﺩ ﻟﻤﻨﺎﻫﺞ ﺍﻟﺘﺼﻤﻴﻡ‬
‫ﻭﻤﺨﺭﺠﺎﺘﻪ ﺍﻥ ﺘﻜﻭﻥ ﻓﺎﻋﻠﺔ ‪ .‬ﻭﺘﻭﺼﻼ ﺍﻟﻰ ﺍﻥ ﻨﺘﻴﺠﺔ ﺍﻟﺒﺤﻭﺙ ﺘﻌﻁﻲ ﺍﺠﺎﺒﺔ ﺍﻴﺠﺎﺒﻴﺔ )‪ (affirmative‬ﻋﻠﻰ‬
‫)‪(Malnar & Vodvarka,2004, p.97‬‬ ‫ﻜل ﻫﺫﻩ ﺍﻻﺴﺌﻠﺔ ‪.‬‬

‫ﻭﻴﺘﻀﺢ ﻤﻤﺎ ﺴﺒﻕ ﺘﻨﻭﻉ ﺍﻟﻤﻔﺎﻫﻴﻡ ﺍﻟﺘﻲ ﻓﺴﺭﺕ ﺍﻟﻤﻜﺎﻥ ﺍﻟﺒﺎﻗﻲ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ‪ ،‬ﻓﻘﺩ ﺭﻜﺯﺕ ﺒﻌﺽ ﺍﻟﺩﺭﺍﺴﺎﺕ‬
‫ﻭﺍﻟﻁﺭﻭﺤﺎﺕ ﻋﻠﻰ ﺇﺭﺘﺒﺎﻁ ﺍﻻﻨﺴﺎﻥ ﻤﻊ ﺍﻟﻤﻜﺎﻥ ﺒﺫﻜﺭﻴﺎﺘﻪ ﻓﻴﻜﻭﻥ ﻟﻬﺫﺍ ﺍﻟﻤﻜﺎﻥ ﻭﺠﻭﺩ ﻤﻌﻨﻭﻱ ﻓﻲ ﺫﻫﻥ ﺍﻻﻨﺴﺎﻥ‬
‫ﻭﺘﻔﻜﻴﺭﻩ ﻭﻫﻨﺎ ﻴﻅﻬﺭ ﺠﺎﻨﺏ ﻤﻬﻡ ﻫﻭ ﺠﺎﻨﺏ ﺍﻟﺘﺫﻜﺭ ﺍﻟﺫﻱ ﻴﺭﺘﺒﻁ ﺒﺎﺩﺭﺍﻙ ﺍﻟﻔﺭﺩ ﻭﺒﻌﺎﻁﻔﺘﻪ ﻭﻤﺸﺎﻋﺭﻩ ﺘﺠﺎﻩ‬
‫ﺍﻟﻤﻜﺎﻥ ﻭﻫﻭ ﻤﺼﻁﻠﺢ ﻨﺴﺒﻲ ﻴﻌﺘﻤﺩ ﻋﻠﻰ ﺍﻟﻔﺭﺩ ﻭﺸﺨﺼﻴﺘﻪ ﻭﺴﻠﻭﻜﻪ ﻭﺩﺭﺠﺔ ﺘﺤﺴﺴﻪ ﻭﺍﺩﺭﺍﻜﻪ ﻟﺫﻟﻙ ﺍﻟﻤﻜﺎﻥ‬
‫‪1‬‬
‫ﺒﺎﻟﻤﺸﺎﻋﺭ ﺍﻟﺤﺴﻴﺔ ﻭﻤﺸﺎﻋﺭ‬ ‫ﻭﺒﺫﻟﻙ ﻓﻬﻭ ﻴﺨﺘﻠﻑ ﻤﻥ ﺸﺨﺹ ﺍﻟﻰ ﺍﺨﺭ ‪ .‬ﻭﺘﺭﺘﺒﻁ ﺍﻟﻤﺸﺎﻋﺭ ﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ‬
‫ﺍﻟﻤﺘﻌﺔ ﻭﺍﻟﻤﺤﺒﺔ ‪ .‬ﻜﻭﻨﻬﺎ ﺘﻤﺜل ﻨﻤﻁ ﺍﻟﺸﻌﻭﺭ ﺍﻻﻜﺜﺭ ﻭﻀﻭﺤﺎ ﻓﻲ ﺍﻟﺘﻔﺎﻋل ﻤﻊ ﺍﻟﻤﻜﺎﻥ ﻭﺘﺤﻘﻴﻕ ﺍﻟﺒﻘﺎﺀ ﻓﻲ‬
‫ﺍﻟﺫﺍﻜﺭﺓ‪ .‬ﻜﻤﺎ ﻴﻌﺘﻤﺩ ﺘﺫﻜﺭ ﺍﻟﻨﺎﺱ ﺍﻭ ﻨﺴﻴﺎﻨﻬﻡ ﻟﻠﻤﻌﺭﻓﺔ ﺍﻟﻤﻜﺘﺴﺒﺔ ﻋﻠﻰ ﻤﺩﻯ ﻭﻀﻭﺤﻴﺔ ﺍﻟﺼﻭﺭ ﺍﻟﺫﻫﻨﻴﺔ‬
‫ﺍﻟﻘﺎﺌﻤﺔ ﻋﻠﻰ )ﺍﻫﻤﻴﺘﻬﺎ ﻭﻜﻔﺎﺀﺓ ﺘﻨﻅﻴﻤﻬﺎ( ﻓﻲ ﺍﻟﺒﻴﺌﺔ ﻀﻤﻥ ﺍﻟﺫﻫﻥ ‪.‬‬

‫ﻭﻋﻠﻴﻪ ﻴﺭﻯ ﺍﻟﺒﺤﺙ ﺍﻨﻪ ﻭﻟﻜﻲ ﻴﺤﻔﺯ ﺍﻟﻤﻜﺎﻥ ﺍﻟﺸﻌﻭﺭ ﺒﺒﻘﺎﺀﻩ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻓﻼﺒﺩ ﺍﻥ ﻴﻜﻭﻥ ﻤﻜﺎﻨﺎ ﻤﺜﻴﺭﺍ‬
‫ﻟﻠﻤﺸﺎﻋﺭ ﻭﺍﻟﻌﻤﻠﻴﺎﺕ ﺍﻟﻌﺎﻁﻔﻴﺔ ﻜﺎﻟﺸﻌﻭﺭ ﺒﺎﻟﻤﺘﻌﺔ ﻟﺩﻯ ﺍﻟﺤﺭﻜﺔ ﻭﺍﻟﺘﻨﻘل ‪ ،‬ﻭﺍﻥ ﻴﻤﺘﻠﻙ ﻫﻭﻴﺔ ﻤﻤﻴﺯﺓ ) ﻓﺎﻟﺘﻔﺭﺩ‬
‫ﻭﺍﻟﺘﻤﻴﺯ ﻴﺭﺒﻁﺎﻥ ﺍﻻﻨﺴﺎﻥ ﻤﻊ ﺍﻟﻤﻜﺎﻥ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻓﻴﻜﻭﻥ ﻟﻬﺫﺍ ﺍﻟﻤﻜﺎﻥ ﻭﺠﻭﺩ ﻤﻌﻨﻭﻱ ﻓﻲ ﺫﻫﻥ ﺍﻻﻨﺴﺎﻥ( ﻭﻫﻨﺎ‬
‫ﻴﻅﻬﺭ ﺠﺎﻨﺏ ﻤﻬﻡ ﻫﻭ ﺠﺎﻨﺏ ﺍﻟﺘﺫﻜﺭ ﺍﻟﺫﻱ ﻴﺭﺘﺒﻁ ﺒﺎﺩﺭﺍﻙ ﺍﻟﻔﺭﺩ ﻭﺒﻭﻀﻭﺤﻴﺔ ﺍﻟﺼﻭﺭﺓ ﺍﻟﺫﻫﻨﻴﺔ ﺍﻟﺘﻲ ﻴﺭﺴﻤﻬﺎ‬
‫ﻟﻠﻤﻜﺎﻥ ‪.‬‬

‫‪ 3.1.4‬ﺘﺄﺜﻴﺭ ﺍﻻﺴﺘﺠﺎﺒﺎﺕ ﺍﻟﺤﺴﻴﺔ ﻋﻠﻰ ﺒﻘﺎﺀ ﺍﻟﻔﻀﺎﺀﺍﺕ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ‬

‫ﺘﺅﻜﺩ ﻤﺠﻤﻭﻋﺔ ﻜﺒﻴﺭﺓ ﻤﻥ ﺍﻟﻁﺭﻭﺤﺎﺕ ﻋﻠﻰ ﺍﻥ ﺍﻷﻤﺎﻜﻥ ﺘﺩﺭﻙ ﻤﻥ ﺨﻼل ﺒﻴﺎﻨﺎﺘﻬﺎ ﺍﻟﺤـﺴﻴﺔ ‪(sensory‬‬
‫)‪ ، data‬ﻭﺍﻥ ﺍﺩﺭﺍﻙ ﺍﻟﻤﻜﺎﻥ ﻴﺘﻡ ﺘﺭﺸﻴﺤﻪ ﻤﻥ ﺨﻼل ﺍﻟﺫﺍﻜﺭﺓ ‪ ،‬ﻭﺍﺸﺎﺭ )‪ (Young‬ﻟﺘﻨﻭﻉ ﺍﻟﺸﻌﻭﺭ ﻭﺍﻟﻌﻤﻠﻴﺎﺕ‬
‫ﺍﻟﻌﺎﻁﻔﻴﺔ ﻟﺩﻯ ﺍﻻﻨﺴﺎﻥ ﻭﻤﻨﻬﺎ ﺍﻟﺸﻌﻭﺭ ﺍﻟﺩﺍﺨﻠﻲ )‪ (Sentiment‬ﺍﻟﻤﺘﻤﺜل ﺒﻌﻤﻠﻴﺎﺕ ﻋﺎﻁﻔﻴﺔ ﺘﺴﺘﻨﺩ ﺍﻟﻰ ﺍﻟﺨﺒﺭﺓ‬
‫ﺍﻟﺴﺎﺒﻘﺔ ﻭﺘﺫﻜﺭ ﺍﻻﻤﺎﻜﻥ ﻭﺍﻻﻭﻀﺎﻉ ﻭﺍﻻﺸﺨﺎﺹ ﺍﻟﺘﻲ ﻴﺘﻡ ﺍﺴﺘﺨﻼﺼﻬﺎ ﺒﺎﻟﻜﻠﻤﺎﺕ ﺍﻭ ﺍﻟﺭﻭﺍﺌﺢ ﺍﻭ ﺍﻟـﺼﻭﺭ ﺍﻭ‬
‫ﺍﻻﻴﻌﺎﺯﺍﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻻﺨﺭﻯ ﺍﻟﺘﻲ ﺘﻌﻴﺩ ﺍﺜﺎﺭﺓ ﻋﻭﺍﻁﻑ ﻜﺎﻤﻨﺔ ‪.‬‬
‫ﻴﺘﻜﻭﻥ ﺍﻻﺩﺭﺍﻙ ﺍﻟﺤﺴﻲ ﻤﻥ ﺍﻻﺤﺴﺎﺱ ﻤﺼﺤﻭﺒﹰﺎ ﺒﺎﺴﺘﺤﻀﺎﺭ ﺍﻟﺼﻭﺭﺓ ﺍﻟﺫﻫﻨﻴﺔ ﻤﻥ ﺍﻟﺫﺍﻜﺭﺓ ﻤﺅﺩﻴﹰﺎ ﺍﻟﻰ‬
‫ﻋﻤﻠﻴﺔ ﺘﻔﺴﻴﺭ ﺍﻻﺤﺴﺎﺱ ﻭﺍﻋﻁﺎﺀ ﻤﻌﻠﻭﻤﺎﺕ ﻋﻥ ﺍﻟﻌﺎﻟﻡ ﺍﻟﺨﺎﺭﺠﻲ ﺍﻟﻤﺤﻴﻁ ‪ .‬ﻀﻤﻥ ﻫﺫﺍ ﺍﻟﻤﻨﻅﻭﺭ ﻓﺎﻥ ﺩﺨﻭل‬
‫ﻋﻭﺍﻤل )ﺍﻟﻌﻘل ﻭﺍﻟﻭﻋﻲ ﻭﺍﻟﺫﺍﻜﺭﺓ ﻭﺍﻟﺨﻴﺎل( ﻤﺸﻜﹼﻠﺔ ﺍﻟﻤﺨﻁﻁﺎﺕ ﺍﻟﺫﻫﻨﻴﺔ )‪ (Schemata‬ﻭﺍﻤﺘﺯﺍﺠﻬﺎ ﻤﻊ‬
‫ﻤﻌﻁﻴﺎﺕ ﺍﻟﺤﺱ ‪ ،‬ﺘﻨﻘل ﺍﻟﻤﺘﻠﻘﻲ ﻤﻥ ﺤﺎﻟﺔ ﺍﻟﺸﻌﻭﺭ ﺍﻻﻨﻔﻌﺎﻟﻲ ﺒﺎﻟﺸﻲﺀ ﺍﻟﻰ ﺤﺎﻟﺔ ﺍﻟﺸﻌﻭﺭ ﺍﻟﻭﺍﻋﻲ ﻓﻴﺤﺩﺙ ﺍﻟﻭﻋﻲ‬
‫ﻉ‪ .‬ﻭﺘﺼﺒﺢ ﻤﺸﺎﻫﺩﺍﺕ ﺍﻟﻤﺘﻠﻘﻲ ﻭﺍﻨﻔﻌﺎﻻﺘﻪ ﺍﺩﺭﺍﻜﹰﺎ‬
‫ﻙ ﻭﺍ ٍ‬
‫ﺒﻤﻌﻁﻴﺎﺕ ﺍﻟﺤﺱ ﻭﺘﺘﺤﻭل ﺍﻻﻨﻁﺒﺎﻋﺎﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻟﻰ ﺍﺩﺭﺍ ٍ‬
‫ﻟﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻻﺸﻜﺎل ﺍﻟﻤﺠﺭﺩﺓ ﺍﻟﺘﻲ ﺘﺭﺘﺴﻡ ﻓﻲ ﻋﻘﻠﻪ ﻤﺅﺸﺭﺓ ﺒﺫﻟﻙ ﺒﺩﺍﻴﺔ ﺘﺤﻘﻕ ﺘﺠﺭﺒﺘﻪ ﺍﻻﺩﺭﺍﻜﻴﺔ ﺍﻟﺫﻫﻨﻴﺔ‬
‫)‪ (Cognition‬ﻤﻥ ﺘﺤﻠﻴل ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺘﻲ ﺘﻜﻭﻥ ﺤﺴﻴﺔ ﻓﻲ ﺒﺩﺍﻴﺘﻬﺎ ﺜﻡ ﺘﺘﻡ ﻋﻤﻠﻴﺔ ﺍﻜﺘﺴﺎﺏ ﺍﻟﻤﻌﺭﻓﺔ ﻭﺘﺨﺯﻴﻨﻬﺎ‬
‫ﺍﻟﺤﺎﺠﺔ‪(Boehm, 1987, p. 63).‬‬ ‫ﻭﺍﺴﺘﺭﺠﺎﻋﻬﺎ ﻤﻥ ﺍﻟﺫﺍﻜﺭﺓ ﻋﻨﺩ‬

‫‪ .1‬اﻟﺼﻮر – اﻟﺨﺒﺮة وﺗﺬآﺮ اﻻﻣﺎآﻦ‬

‫ﺘﻌﺘﻤﺩ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﺒﺼﺭﻴﺔ ﻟﻼﻨﺴﺎﻥ ﻋﻠﻰ ﻋﺩﺩ ﻤﻥ ﺍﻟﻤﺭﺍﺤل ﺍﻟﺘﻲ ﺘﺘﻡ ﺒﻬﺎ ﺨﺯﻥ ﺍﻟﺼﻭﺭ ﺍﻟﺒﺼﺭﻴﺔ ﺍﻟﻘﺎﺩﻤﺔ ﻤﻥ‬
‫ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺤﻴﻁﺔ ﻭﻴﻤﺜل ﺍﻟﺨﺯﻥ ﺍﻟﻀﻭﺌﻲ ﺍﻟﻘﺼﻴﺭ ﺍﻻﻤﺩ ﺍﻟﻤﺭﺤﻠﺔ ﺍﻻﻭﻟﻰ ﻤﻥ ﻤﺴﺎﺭ ﻫﺫﻩ ﺍﻟﻤﺭﺍﺤل ﻭﻴﺤﻭل‬
‫ﺍﻟﺸﺨﺹ ﺍﻟﻌﺎﺩﻱ ﺍﻟﻀﻭﺀ ﺍﻟﻰ ﺼﻭﺭﺓ ﺒﺼﺭﻴﺔ ﺍﻭﻟﻴﺔ ﻭﻤﻥ ﺜﻡ ﺘﻨﺘﻘل ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺒﺼﺭﻴﺔ ﻤﻥ ﺍﻟﻤﺨﺯﻥ ﺍﻟﺒﺼﺭﻱ‬
‫ﺍﻟﻰ ﺍﻟﺫﺍﻜﺭﺓ ﻗﺼﻴﺭﺓ ﺍﻻﻤﺩ ﻭﻴﺠﺭﻱ ﻓﻴﻬﺎ ﺘﺭﻤﻴﺯ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺒﺸﻜل ﺼﻭﺭ ﺍﺩﺭﺍﻜﻴﺔ ﻭﺘﺴﺘﻘﺭ ﻓﻴﻬﺎ ﻟﻤﺩﺓ ﺘﻘﺎﺭﺏ‬
‫ﺍﻟﻌﺸﺭﻴﻥ ﺩﻗﻴﻘﺔ ﺍﻤﺎ ﺍﻁﻭل ﻓﺘﺭﺓ ﺯﻤﻨﻴﺔ ﻟﺨﺯﻥ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﻓﻬﻲ ﺍﻟﻔﺘﺭﺓ ﺍﻟﺘﻲ ﺘﻤﻜﺜﻬﺎ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻁﻭﻴﻠﺔ ﺍﻻﻤﺩ‬

‫ﻓﻘﺭﺓ ]‪ -[4.7.2‬ﺍﻟﻔﺼل ﺍﻟﺜﺎﻨﻲ‪ -‬ﺍﻟﻤﺸﺎﻋﺭ ‪ ، Emotions‬ص ‪105‬‬ ‫‪1‬‬

‫ﻭﺍﻟﺘﻲ ﺘﺤﺘﻭﻱ ﺍﻟﺼﻭﺭ ﻭﺍﻟﺤﺭﻭﻑ ﻭﺍﻟﻜﻠﻤﺎﺕ ﻭﺘﺘﻀﻤﻥ ﺒﻌﺽ ﺍﻨﻤﺎﻁ ﺍﻟﺼﻭﺭ ﻭﺍﻻﺨﻴﻠﺔ ﺍﻟﻲ ﺘﺤﺘﻭﻱ ﺘﺭﺍﻜﻴﺒﺎ‬
‫) ﺴﻭﺯﺍﻥ ﻋﺒﺩ ﺤﺴﻥ‬ ‫ﺫﺍﺕ ﻤﻌﻨﻰ ‪ .‬ﻭﻴﻤﺜل ﺍﻟﻤﺨﺯﻥ ﺍﻻﺨﻴﺭ ﻤﺤﺼﻠﺔ ﻤﺴﺎﺭ ﻋﻤﻠﻴﺔ ﺘﻨﻅﻴﻡ ﻭﻤﻌﺎﻟﺠﺔ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ‪.‬‬
‫‪ ، 2008 ،‬ﺹ ‪(80‬‬
‫ﺘﻭﺼﻠﺕ ﺩﺭﺍﺴﺔ ) ‪ (1965 Clark‬ﺍﻥ ﺍﻻﻓﺭﺍﺩ ﺭﺒﻤﺎ ﻴﻘﻭﻤﻭﻥ ﺒﺨﺯﻥ ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻏﻴﺭ ﻤﺸﻔﺭﺓ‬
‫ﻟﻠﻬﻴﺌﺎﺕ ﺍﻟﺘﺎﻤﺔ ﺍﻟﺒﺴﻴﻁﺔ ‪ ،‬ﻭﻟﻜﻨﻬﻡ ﻻﻴﻘﻭﻤﻭﻥ ﺒﺨﺯﻥ ﺍﻻﺸﻜﺎل ﺍﻟﻤﻌﻘﺩﺓ ‪ ،‬ﻭﺒﺎﻟﻤﻘﺎﺒل ﻓﺎﻥ ﻫﺫﻩ ﺍﻻﺸﻜﺎل ﺍﻟﻤﻌﻘﺩﺓ‬
‫ﻴﺘﻡ ﺘﺫﻜﺭﻫﺎ ﻤﻥ ﺨﻼل ﺘﺩﺍﻋﻴﺎﺕ ﺍﻟﻬﻴﺌﺎﺕ ﺍﻟﺒﺴﻴﻁﺔ ‪ .‬ﻭﻋﻠﻴﻪ ﻓﻘﺩ ﺍﺴﺘﻨﺘﺞ ﻜل ﻤﻥ ) & ‪Malnar‬‬
‫‪ ( Vodvarka‬ﺍﻨﻪ ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﺘﻜﻭﻥ ﺫﺍﻜﺭﺘﻨﺎ ﻟﻼﺸﻜﺎل ﺍﻟﺤﺭﺓ ﺍﻟﻤﻌﻘﺩﺓ ﺠﻴﺩﺓ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻗﺼﻴﺭﺓ‬
‫ﺍﻟﻤﺩﻯ ‪ ،‬ﺍﻻ ﺍﻨﻨﺎ ﻨﺒﺩﺃ ﺒﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻟﺘﺩﺍﻋﻴﺎﺕ ﻓﻲ ﺍﻟﻤﺩﻯ ﺍﻟﺒﻌﻴﺩ ‪ ،‬ﻭﻋﺎﺩﺓ ﻤﺎ ﺘﻘﺎﺩ ﻭﺘﻭﺠﻪ ﻤﺜل ﻫﺫﻩ‬
‫ﺍﻟﺘﺩﺍﻋﻴﺎﺕ ﺒﺎﻟﺩﻻﻻﺕ ﺍﻟﻤﺄﻟﻭﻓﺔ ﻭﺍﻟﺘﺨﻤﻴﻥ ‪ .‬ﻭﻤﻥ ﻫﻨﺎ ﻓﺎﻥ ﺍﻻﺸﻜﺎل ﺍﻟﺒﺴﻴﻁﺔ ﺍﻜﺜﺭ ﺩﻗﺔ ﻋﻨﺩ ﺘﺫﻜﺭﻫﺎ ﻓﻲ‬
‫ﺍﻟﻤﺩﻯ ﺍﻟﺒﻌﻴﺩ ﻤﻘﺎﺭﻨﺔ ﺒﺎﻟﻤﻌﻘﺩﺓ ﻤﻨﻬﺎ‪ .‬ﻭﻴﻌﺘﻘﺩﺍﻥ ﺍﻥ ﻫﺫﺍ ﺭﺒﻤﺎ ﻴﻘﻭﺩ ﺍﻟﻰ ﺍﻟﺴﺒﺏ ﺍﻟﺫﻱ ﻴﺠﻌل ﻤﻥ ﺍﻫﺭﺍﻤﺎﺕ‬
‫ﺍﻟﺠﻴﺯﺓ ﻓﻲ ﻤﺼﺭ ﻤﺘﺫﻜﺭﺓ )‪ (memorable‬ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﻜﻭﻨﻬﺎ ﺒﺴﻴﻁﺔ ‪ ،‬ﻭﺍﻟﻐﺭﻑ ﺍﻟﻔﻜﺘﻭﺭﻴﺔ ﻤﺴﺘﻤﺭﺓ‬
‫ﻓﻲ ﺍﺩﺭﺍﻜﻬﺎ ﺍﻟﻤﺒﻬﺞ ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﻤﺸﺎﻫﺩﺘﻨﺎ ﺍﻟﺴﺎﺒﻘﺔ ﻟﻬﺎ ﺍﻭ ﻤﺎﺘﺴﺒﺒﻪ ﻟﻨﺎ ﻤﻥ ﺍﺭﺒﺎﻙ ﺒﺼﺭﻱ ‪ .‬ﻓﻬﺫﻩ‬
‫ﺍﻟﺩﺭﺍﺴﺎﺕ ﺘﺅﻜﺩ ﺍﺴﺘﻨﺘﺎﺠﺎﺕ )‪ (Clark‬ﻓﺎﻻﺸﺨﺎﺹ ﻋﺎﺩﺓ ﻤﺎ ﻴﻨﺒﻬﺭﻭﻥ ﺒﺎﻟﺘﻔﺎﺼﻴل ﺍﻟﺯﺨﺭﻓﻴﺔ ‪ ،‬ﻟﻴﺱ ﺒﺴﺒﺏ‬
‫ﺘﺄﺸﻴﺭﻫﺎ ﻟﻨﻘﺎﻁ ﺍﻨﺘﻘﺎﻟﻴﺔ ﻓﻘﻁ ﻭﻟﻜﻥ ﻻﻨﻨﺎ ﻻﻨﻌﻭﺩ ﻨﺘﺫﻜﺭ ﺘﻔﺎﺼﻴﻠﻬﺎ ﺒﻌﺩ ﻓﺘﺭﺓ ﻤﻥ ﺍﻟﺯﻤﻥ ‪ .‬ﻭﻟﺫﺍ ﻓﻬﻲ ﺩﻭﻤﺎ‬
‫ﺠﺩﻴﺩﺓ ﻭﻤﺸﻭﻗﺔ ﻭﺘﺜﻴﺭ ﺍﻟﺭﻏﺒﺔ ﻟﺘﻜﺭﻴﺱ ﺍﻨﺘﺒﺎﻫﻨﺎ ﺍﻟﺒﺎﺤﺙ ﻋﻥ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﻟﻬﺎ ‪.‬‬
‫)‪(Malnar & Vodvarka, 2004, p. 172‬‬

‫‪ .2‬ذاآﺮة اﻟﺮاﺋﺤﺔ ‪ Odor memory‬ووﻇﻴﻔﺔ اﻟﺮاﺋﺤﺔ اﻟﺘﺬآﺮﻳﺔ ‪Odors mnemonic‬‬

‫‪function‬‬
‫ﻋﻨﺩﻤﺎ ﻴﺩﻏﺩﻍ ﺍﻨﻔﺎﺴﻨﺎ ﻋﻁﺭﻋﺭﻓﻨﺎﻩ ﻗﺩﻴﻤﹰﺎ ﺘﻔﺘﺢ ﺍﻟﺫﺍﻜﺭﺓ ﺍﺒﻭﺍﺒﻬﺎ ﺍﻟﻤﻐﻠﻘﺔ ﻭﻜﺄﻥ ﻫﺫﻩ ﺍﻟﺩﻏﺩﻏﺔ ﺘﻤﺘﻠﻙ‬
‫ﻤﻔﺘﺎﺤﹰﺎ ﻟﻜل ﺩﻭﺍﺨﻠﻨﺎ ﺍﻟﺠﻤﻴﻠﺔ ﻭﺍﻟﺘﻲ ﻨﺴﻴﻨﺎﻫﺎ ﻤﻊ ﻤﺘﺎﻋﺏ ﺍﻟﺤﻴﺎﺓ ﺍﻟﻤﺘﻭﺍﺼﻠﺔ‪ .‬ﻭ ﻴﻌﻭﺩ ﺍﻟﻔﻀل ﻓﻲ ﻨﺠﺎﺡ‬
‫ﺍﻟﻌﻁﻭﺭ ﺍﻟﺠﻴﺩﺓ ﺇﻟﻰ ﻤﺎﺘﺤﻤﻠﻪ ﻤﻥ ﺘﻨﺎﻏﻡ ﺫﻜﻲ ﻓﻲ ﻤﻜﻭﻨﺎﺘﻬﺎ ﺍﻟﺭﺌﻴﺴﺔ ﻭﺍﻟﺘﻲ ﺒﺩﻭﺭﻫﺎ ﺘﺜﻴﺭ ﺤﺎﺴﺔ ﺍﻟﺸﻡ ﻟﺩﻴﻨﺎ‬
‫ﻼ ﺒﺠﺯﺀ ﻤﻬﻡ ﻤﻥ ﺍﻟﺩﻤﺎﻍ ﻭﻫﺫﺍ ﺍﻟﺠﺯﺀ ﻫﻭ ﺍﻟﻤﺴﺅﻭل ﻋﻥ ﺍﺤﺴﺎﺴﻨﺎ ﺒﺎﻟﺠﻤﺎل ﻭﺍﻟﻔﺭﺡ ﺒل‬ ‫ﻭﺍﻟﻤﺭﺘﺒﻁﺔ ﺃﺼ ﹰ‬
‫ﻭﺤﺘﻰ ﺍﻟﺫﻜﺭﻴﺎﺕ ‪ .‬ﻭﻓﻲ ﺘﺤﻠﻴل ) ‪ ( Trygg Engen‬ﻟﻠﻌﻼﻗﺔ ﻤﺎﺒﻴﻥ ﺍﻟﺭﺍﺌﺤﺔ ﻭﺍﻟﺫﺍﻜﺭﺓ ‪ ،‬ﻨﺤﻰ ﺒﺎﺘﺠﺎﻩ‬
‫ﺘﻘﻠﻴل ﺍﻫﻤﻴﺔ ﺃﻱ ﺍﺴﺘﺠﺎﺒﺔ ﺭﺠﻌﻴﺔ ﺨﺎﻟﺼﺔ ﻓﻘﺩ ﻭﺠﺩ ﻋﻠﻰ ﺴﺒﻴل ﺍﻟﻤﺜﺎل ﺍﻥ ﻫﻨﺎﻙ ﺭﻭﺍﺌﺢ ﻗﻠﻴﻠﺔ ‪ -‬ﻭﺤﺘﻰ‬
‫ﺍﻟﻐﻴﺭ ﻤﺒﻬﺠﺔ – ﺘـُﻨﺘﺞ ﺍﺴﺘﺠﺎﺒﺔ ﻤﻌﻴﻨﺔ ﻤ‪‬ﻔﺘﺭﻀﺔ ﺒﺸﻜل ﻏﺭﻴﺯﻱ ﺍﻭ ﻓﻁﺭﻱ ‪ ،‬ﻭﻤﻊ ﺍﻥ ﺍﻟﺭﻭﺍﺌﺢ ﺍﻟﺘﻲ ﺘﻤﺘﺎﺯ‬
‫ﺒﻜﻭﻨﻬﺎ ﻤﺠﻬﻭﻟﺔ ﺍﻟﻁﺒﻴﻌﺔ ﻭﺍﻟﻤﺼﺩﺭ ﺘﺒﻘﻲ ﺍﻟﺸﺨﺹ ﻴﻘﻅﺎ ً ﻓﺎﻥ ﺍﻟﻴﻘﻀﺔ ﺍﻟﻤﺴﺘﻤﺭﺓ ﻫﻲ ﺍﻟﻌﺎﻤل ﺍﻟﻤﻔﺘﺎﺤﻲ‬
‫ﺍﻟﺫﻱ ﻴﺅﺨﺫ ﻓﻲ ﺍﻟﺤﺴﺎﺏ ﻓﻲ ﺍﻟﺸﺩ ﺍﻟﻌﺼﺒﻲ ﻭﺍﻻﺠﻬﺎﺩ ‪ .‬ﻭﻗﺩ ﺍﺴﺘﺨﺩﻡ ﻤﺼﻁﻠﺢ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﺤﺴﻴﺔ ‪sensory‬‬
‫)‪ (memory‬ﺍﻟﺘﻲ ﻴﻌﻨﻲ ﺒﻬﺎ ﺍﻟﻤﻘﺎﺭﻨﺔ ﻤﺎﺒﻴﻥ ﺍﻻﺤﺴﺎﺱ ﺍﻟﻤﺘﺫﻜﺭ )‪ (remembered sensation‬ﺍﻟﻰ ﺫﻟﻙ‬
‫ﺍﻟﺫﻱ ﻴﺨﺘﺒﺭﻩ ﺍﻟﺸﺨﺹ ﺤﺎﻟﻴﺎ ‪ ،‬ﻭﻫﻨﺎﻙ ﺒﻌﺽ ﺍﻟﻌﻭﺍﻤل ﺍﻟﺘﻨﺒﻴﻬﻴﺔ ﺍﻟﻤﺸﺘﺭﻜﺔ ﻓﻲ ﺼﻨﺎﻋﺔ ﻫﺫﻩ ﺍﻟﺘﺨﻤﻴﻨﺎﺕ ﺍﻭ‬
‫ﺍﻟﺘﻘﺩﻴﺭﺍﺕ ﻭﻴﺸﻴﺭ) ‪ ( Forrest Wilson‬ﺍﻟﻰ ﺍﻥ ﺍﻟﺤﺴﺎﺴﻴﺔ ﻟﻠﺭﻭﺍﺌﺢ ﺘﺘﻨﻭﻉ ﺤﺴﺏ ﺘﻘﺩﻡ ﺍﻟﻨﻬﺎﺭ ﺤﻴﺙ ﺍﻥ‬
‫ﺤﺎﺴﺔ ﺍﻟﺸﻡ ﻟﺩﻴﻨﺎ ﺘﺼﺎﺏ ﺒﺎﻻﺭﻫﺎﻕ ﺒﺴﺭﻋﺔ ﻜﻤﺎ ﺍﻥ ﺍﻟﺤﺴﺎﺴﻴﺔ ﺘﺘﻘﻠﺹ ﻤﻊ ﺘﻘﺩﻡ ﺍﻟﻌﻤﺭ ﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ‪.‬‬
‫ﻭﻟﻌل ﺍﻻﻜﺜﺭ ﺍﻫﻤﻴﺔ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭﻨﺎ ﻫﻭ ﺍﻥ ﺍﻻﺴﺘﺠﺎﺒﺎﺕ ﻟﻠﺭﻭﺍﺌﺢ ﻟﻴﺴﺕ ﺠﻤﻴﻌﺎ ﻤﻭﻀﻭﻋﻴﺔ ﻻﻥ‬
‫ﺍﻻﺴﺘﺠﺎﺒﺎﺕ ﺍﻟﺴﺎﻴﻜﻭﻟﻭﺠﻴﺔ ﺘﺘﻨﻭﻉ ﻤﺎﺒﻴﻥ ﺍﻟﻤﺭﺍﻗﺒﻴﻥ‪ .‬ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﻴﺠﺩ )‪(Malnar & Vodvarka‬‬
‫ﻫﺫﻩ ﺍﻟﺘﺼﻨﻴﻔﺎﺕ ﻤﻔﻴﺩﺓ ﻓﻲ ﺍﻟﺘﻘﻴﻴﻡ ﺍﻟﻤﺤﺘﻤل ﻟﻤﻭﻗﻊ ﺍﻟﺘﺼﻤﻴﻡ ‪ ،‬ﺍﻻ ﺍﻨﻬﻤﺎ ﻴﻀﻌﺎﻥ ﺘﺄﻜﻴﺩﺍ ﺍﻜﺒﺭﻋﻠﻰ ﻭﻅﻴﻔﺔ‬
‫ﺍﻟﺭﺍﺌﺤﺔ ﺍﻟﺘﺫﻜﺭﻴﺔ )‪ ”: (odors mnemonic function‬ﻨﺤﻥ ﻨﻤﻴﺯ ﻤﺎﺒﻴﻥ ﺍﻟﻤﺼﺎﺩﺭ ﺍﻟﻔﻭﺭﻴﺔ ﺍﻟﻤﺒﺎﺸﺭﺓ‬
‫)ﺍﻟﻤﺼﺎﺩﺭ ﺍﻟﻤﺤﺼﻭﺭﺓ( ﺒﺘﻌﺒﻴﺭ ﺃﻭﻀﺢ ‪ ،‬ﻭﺍﻟﺭﻭﺍﺌﺢ ﺍﻟﻤﺤﻴﻁﻴﺔ ﻜﻤﺎ ﻓﻲ ﻋﻼﻗﺔ )ﺍﻟﺸﻜل ‪ -‬ﺍﻟﺨﻠﻔﻴﺔ( ‪،‬‬
‫ﻭ)ﺭﺩﻭﺩ ﺍﻻﻓﻌﺎل ﺍﻟﻔﻴﺯﻴﺎﺌﻴﺔ ﺍﻟﻼﻁﻭﻋﻴﺔ( ﻭ )ﺍﻟﺘﺭﺍﺒﻁﺎﺕ ﺍﻟﻌﺭﻀﻴﺔ( ﺍﻟﻤﺘﻌﻠﻘﺔ ﺒﺎﻟﺫﺍﻜﺭﺓ“ ‪ .‬ﻭﻴﺭﻴﺎﻥ ﺍﻥ ﻤﺜل‬
‫ﻫﺫﺍ ﺍﻟﺘﺭﺍﻓﻕ ﻤﻥ ﺘﺩﺍﻋﻲ ﺍﻟﻤﻌﺎﻨﻲ ﻭﺍﻟﺨﻭﺍﻁﺭ ﻭﺍﻻﻓﻜﺎﺭ ﻴﻤﻜﻥ ﺍﻥ ﻴﻀﻡ ﺤﻭﺍﺱ ﺍﺨﺭﻯ ﻭﺍﻥ ﻴﻤﺘﻠﻙ ﺍﺒﻌﺎﺩﺍ‬
‫ﺤﻴﺯﻴﺔ ﺍﻴﻀﺎ‪ .‬ﺘﺘﻔﻭﻕ ﺤﺎﺴﺔ ﺍﻟﺸﻡ ﺒﺎﻟﺘﺄﻜﻴﺩ ﻓﻲ ﻗﺎﺒﻠﻴﺘﻬﺎ ﻋﻠﻰ ﺍﺴﺘﺤﻀﺎﺭ ﺍﻟﻭﻋﻲ ﺒﺎﻟﻤﻜﺎﻥ ‪ ،‬ﻭﻗﺩ ﻜﺸﻔﺕ‬
‫ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻥ ﺘﻤﻴﻴﺯﻨﺎ ﻟﻠﺭﻭﺍﺌﺢ ﻭﺘﻌﺭﻓﻨﺎ ﻋﻠﻴﻬﺎ ﻴﻤﻜﻥ ﺍﻥ ﻴﻜﻭﻥ ﺍﺤﻴﺎﻨﺎ ﺨﺎﻁﺌﺎ‪(Malnar & Vodvarka, 2004, .‬‬
‫)‪ ،p. 134‬ﻋﻠﻰ ﺍﻟﺭﻏﻡ ﻤﻥ ﺍﻥ ﺫﺍﻜﺭﺘﻨﺎ ﺍﻟﺒﻌﻴﺩﺓ ﻟﺭﻭﺍﺌﺢ ﻤﻌﻴﻨﺔ ﻤﻤﺘﺎﺯﺓ ‪ .‬ﺤﻴﺙ ﺍﻥ ﺒﻌﺽ ﺍﻟﺭﻭﺍﺌﺢ ﻴﻤﻜﻥ‬
‫ﺘﺫﻜﺭﻫﺎ ﻋﻠﻰ ﻤﺩﻯ ﺍﻟﻴﻭﻡ ﻭﻴﻤﻜﻥ ﺍﻥ ﺘﺒﻘﻰ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻟﻤﺩﺓ ﺸﻬﺭ ﻭﺭﺒﻤﺎ ﺍﺤﻴﺎﻨﺎ ﻟﻌﺩﺓ ﺴﻨﻴﻥ ‪.‬‬
‫)‪( Engen & Ross,1973,p.225‬‬
‫ﻭﻓﻲ ﺘﺤﻠﻴل )‪ (Trygg Engen‬ﻟﻠﻌﻼﻗﺔ ﻤﺎﺒﻴﻥ ﺍﻟﺭﺍﺌﺤﺔ ﻭﺍﻟﺫﺍﻜﺭﺓ ‪ ،‬ﺍﺴﺘﺨﺩﻡ ﻤﺼﻁﻠﺢ ﺍﻟﺫﺍﻜﺭﺓ‬
‫ﺍﻟﺤﺴﻴﺔ )‪ (sensory memory‬ﺍﻟﺘﻲ ﻴﻌﻨﻲ ﺒﻬﺎ ﺍﻟﻤﻘﺎﺭﻨﺔ ﻤﺎﺒﻴﻥ ﺍﻻﺤﺴﺎﺱ ﺍﻟﻤﺘﺫﻜﺭ ‪(remembered‬‬
‫)‪ sensation‬ﺍﻟﻰ ﺫﻟﻙ ﺍﻟﺫﻱ ﻴﺨﺘﺒﺭﻩ ﺍﻟﺸﺨﺹ ﺤﺎﻟﻴﺎ ‪ .‬ﻭﻴﻘﻭل‪:‬‬
‫‪“To distinguish this kind of memory from the more familiar nation of long-‬‬
‫( ‪term odor memory that brings back remembrance of things past” .‬‬
‫)‪Engen,1991,p.29‬‬
‫‪1‬‬
‫ﺑﻌﻜﺲ اﻟﺬاآﺮة اﻟﺘﺮاﺑﻄﻴﺔ )‪ ، (associative memory‬ﺗﻔﻴﺪ ﻓﻲ ﺗﻌﻘﺐ‬ ‫وﻋﻠﻴﻪ ﻓﺎن اﻟﺬاآﺮة اﻟﻌﺮﺿﻴﺔ‬
‫اﻟﻤﺜﻴﺮ ﻓﻲ اﻟﻤﺤﻴﻂ اﻟﺒﻴﺌﻲ ﺿﻤﻦ ﻧﻄﺎق او اﻃﺎر اﻟﺰﻣﻦ اﻟﻘﺼﻴﺮ ‪ .‬ﻫﺫﻩ ﺍﻟﻤﺒﺎﺩﺉ ﺍﻟﺒﺴﻴﻁﺔ ﺘﻡ ﺘﺭﺩﻴﺩﻫﺎ ﻤﻥ ﻗﺒل‬
‫ﺍﺨﺭﻴﻥ ﺒﻁﺭﻴﻘﺔ ﺍﻭ ﺍﺨﺭﻯ ‪ ،‬ﻓﻌﻠﻰ ﺴﺒﻴل ﺍﻟﻤﺜﺎل ﺍﺸﺎﺭﺕ ﺩﺭﺍﺴﺔ )‪ (Vroon‬ﻋﻠﻰ ﺘﻔﻭﻕ ﺤﺎﺴﺔ ﺍﻟﺸﻡ ﻓﻲ‬
‫ﻗﺎﺒﻠﻴﺘﻬﺎ ﻋﻠﻰ ﺍﺴﺘﺤﻀﺎﺭ ﺍﻟﻭﻋﻲ ﺒﺎﻟﻤﻜﺎﻥ ‪ ،‬ﺍﺫ ﺍﻥ ﺭﺍﺌﺤﺔ ﺍﻟﻤﻜﺎﻥ ﺍﻟﺨﺎﺼﺔ ﺘﻌﻠﻕ ﻓﻲ ﺍﻟﻌﻤﻕ ﻭﺘﺜﻴﺭ ﻭﺘﺴﺘﺩﻋﻲ‬
‫ﺫﻜﺭﻴﺎﺕ ﺤﺴﻴﺔ ﺍﺨﺭﻯ ﺭﺒﻤﺎ )‪ .(Vroon,1994, p.103-105 ) (sensory memories‬ﻭﻜﻠﻤﺎ ﻜﺎﻨﺕ ﺍﻟﺼﻔﺔ ﺍﻭ‬
‫ﺍﻟﺨﺼﻴﺼﺔ ﺍﺒﺴﻁ ﻭﺍﻜﺜﺭ ﺍﻟﻔﺔ ﻋﻨﺩ ﺍﻟﺸﻡ ‪ ،‬ﻓﺎﻨﻬﺎ ﺴﺘﺒﻘﻰ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﺒﺼﻭﺭﺓ ﻓﻌﺎﻟﺔ ﺍﻜﺜﺭ‪ .‬ﻜﻤﺎ ﻻﺤﻅ‬
‫) ‪ ( J.Douglas Porteous‬ﺍﺜﻨﺎﺀ ﻭﺼﻔﻪ ﻟﻠﻌﻭﺍﻟﻡ ﺍﻟﺤﺴﻴﺔ )‪ (sensuous worlds‬ﻟﻠﺸﻡ ﻭﺍﻟﺴﻤﻊ ﺍﻥ ‪:‬‬
‫ﺍﻟﻤﺸﻬﺩ ﺍﻟﺸﻤﻲ ﻫﻭ ﺒﻴﺌﺔ ﻋﺎﻁﻔﻴﺔ ﺍﻨﻔﻌﺎﻟﻴﺔ ﻭﻟﻴﺱ ﻋﻘﻠﻴﺔ ‪ ،‬ﻭﻋﻠﻰ ﻫﺫﺍ ﺍﻻﺴﺎﺱ ﻴﺠﺏ ﺍﻥ ﻴﺜﻤﻥ ﻟﻘﺭﺒﻪ ﻤﻥ‬
‫ﺍﻟﻘﻠﺏ ﻭﺒﻘﺎﺀﻩ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ‪.‬‬
‫‪“ The smellscape is an emotive environment not an intellectual one and as such‬‬
‫)‪should be cherished”. (Malnar & Vodvarka, 2004, pp. 136-137‬‬
‫ﺍﺴﺘﻨﺘﺞ ﻜل ﻤﻥ )‪ ( Engen and Ross‬ﺍﻥ ﺍﻟﺩﺭﺠﺔ ﺍﻻﻜﺒﺭ ﻭﺍﻻﻫﻡ ﻤﻥ ﺍﻟﺘﻔﺭﺩ ﻴﺠﺏ ﺍﻥ ﺘﺨﺼﺹ ﺍﻭ‬
‫ﺘﻌﺯﻯ ﺍﻟﻰ ﻋﻤﻠﻴﺔ ﺘﺸﻔﻴﺭ ﺍﻟﺭﻭﺍﺌﺢ ‪ ،‬ﻭﺍﻥ ﻜﺎﻨﺕ ﺍﻗل ﺩﻗﺔ ﻭﻟﻜﻨﻬﺎ ﺍﻟﻰ ﺤﺩ ﺒﻌﻴﺩ ﺍﻜﺜﺭ ﺜﺒﺎﺘﺎ ﻭﺒﻘﺎﺀﺍ ﻤﻥ ﺘﺸﻔﻴﺭ‬
‫ﺍﻻﻨﻤﺎﻁ ﺍﻟﺤﺴﻴﺔ ﺍﻟﺭﺌﻴﺴﻴﺔ ﻭﻤﻥ ﻀﻤﻨﻬﺎ ﺤﺎﺴﺔ ﺍﻟﺒﺼﺭ)‪ . (Engen & Ross,1973,p.226‬ﻭﻓﻲ ﺍﻟﺤﻘﻴﻘﺔ ﻓﻘﺩ ﺍﺜﺒﺕ‬
‫)‪ (Engen‬ﺍﻥ ﺫﺍﻜﺭﺓ ﺍﻟﺭﺍﺌﺤﺔ ﺍﻟﺘﻲ ﻋﺭ‪‬ﻓﻬﺎ ﺒﺎﻨﻬﺎ "ﺍﻟﺩﻴﻤﻭﻤﺔ ﺍﻟﻨﺴﺒﻴﺔ ﻟﻘﺎﺒﻠﻴﺘﻨﺎ ﻓﻲ ﺘﻤﻴﻴﺯ ﺭﻭﺍﺌﺢ ﻤﻌﻴﻨﺔ " ‪،‬‬
‫ﺍﻗﻭﻯ ﺒﻜﺜﻴﺭ ﻤﻥ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻻﺩﺭﺍﻜﻴﺔ ﺍﻟﺘﻤﻴﺯﻴﺔ ﻟﻠﺼﻭﺭ ‪ ،‬ﻭﺍﻥ ﺍﺩﺭﺍﻙ ﺭﺍﺌﺤﺔ ﻋﺭﻀﻴﺔ )‪(episodic odor‬‬
‫ﻭﺘﻤﻴﻴﺯﻫﺎ ﻴﺒﻘﻰ ﻗﺭﻴﺒﺎ ﻟﻘﻭﺘﻪ ﺍﻻﺼﻠﻴﺔ ﻤﻊ ﺍﻟﺯﻤﻥ ‪ ،‬ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﻴﻜﻭﻥ ﺘﻤﻴﻴﺯ ﺍﻟﺼﻭﺭ ﻓﻲ ﺍﻟﻤﺨﺘﺒﺭ ﻗﻭﻴﺎ‬
‫ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ﺍﻻ ﺍﻨﻪ ﻴﺘﻨﺎﻗﺹ ﺒﺴﺭﻋﺔ ﺒﻌﺩ ﻓﺘﺭﺓ ﻤﻥ ﺍﻟﺯﻤﻥ ‪ .‬ﻓﻲ ﺤﻴﻥ ﻴﺼﻌﺏ ﺘﻤﻴﻴﺯ ﺍﻟﺭﻭﺍﺌﺢ ﺍﻟﻤﺨﺘﺒﺭﻴﺔ‬
‫ﺒﺸﻜل ﺠﻴﺩ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ‪ ،‬ﺍﻻ ﺍﻥ ﺍﻟﺭﻭﺍﺌﺢ ﺍﻟﻌﺭﻀﻴﺔ ُﺘﺭﻴﻨﺎ ﻀﻴﺎﻋﺎ ﻗﻠﻴﻼ ﻋﻠﻰ ﺍﻟﻤﺩﻯ ﺍﻟﺒﻌﻴﺩ ‪ .‬ﺍﻟﺸﻜل )‪(1-4‬‬
‫)‪. ( Engen,1987,p.498‬‬

‫‪ 1‬اﻟﺬاآﺮة اﻟﻌﺮﺿﻴﺔ ‪ :Episodic memory‬هﻲ ذاآﺮة اﻟﺴﻴﺮة اﻟﺬاﺗﻴﺔ ‪ ) autobiographical‬ﻟﻼﺣﺪاث ‪ ،‬اﻻﻣ ﺎآﻦ ‪ ،‬اﻟ ﺰﻣﻦ ‪ ،‬واﻟﻤﺘﺮاﻓﻘ ﺔ ﻣ ﻊ‬
‫اﻻﻧﻔﻌ ﺎﻻت واﻻﺣﺎﺳ ﻴﺲ ‪ ،‬وﻏﻴﺮه ﺎ ﻣ ﻦ اﻟﻤﻌ ﺎرف اﻟ ﺴﻴﺎﻗﻴﺔ ( واﻟﺘ ﻲ ﻳﻤﻜ ﻦ اﻟﺘﻌﺒﻴﺮﻋﻨﻬ ﺎ ﺑﻮﺿ ﻮح ﻟﺘ ﺸﻜﻞ اﻟ ﺬاآﺮة اﻟﻤﻌﻠﻨ ﺔ واﻟ ﺼﺮﻳﺤﺔ ‪ ،‬وﻳﻨﻈ ﺮ‬
‫ﻟﻠﺬاآﺮة اﻟﻌﺮﺿﻴﺔ آﺘﻘﻨﻴﺔ ﺗﻌﻠﻢ )‪ (learning mechanism‬ﻣﻦ اﻟﻨﻈﺮة اﻻوﻟ ﻰ )‪ ، (one – shot‬ﺣﻴ ﺚ ان اﻟ ﺸﺨﺺ ﻳﺤﺘ ﺎج اﻟ ﻰ ﺗﻌ ﺮض واﺣ ﺪ‬
‫ﻓﻘﻂ ﻟﺠﺰء ﻣﻦ اﻟﻤﺸﻬﺪ ﻟﻴﺘﺬآﺮﻩ ‪http://en.wikipedia.org/wiki/Episodic_memory.‬‬
‫ﺍﻟﻌﻤﺎﺭﺓ ﻣﺘﻌﺪﺩﺓ ﺍﻻﺳﺘﺠﺎﺑﺎﺕ ﺍﻟﺤﺴﻴﺔ – ﺩﺭﺍﺳﺔ ﺗﺤﻠﻴﻠﻴﺔ ﻟﻠﻔﻀﺎﺀ ﺍﻟﺒﺎﻗﻲ ﻓﻲ ﺍﻟﺬﺍﻛﺮﺓ ‪-161 -‬‬ ‫ﺍﻟﻔﺼﻞ ﺍﻟﺮﺍﺑﻊ ‪ :‬ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺒﺎﻗﻴﺔ ﻓﻲ ﺍﻟﺬﺍﻛﺮﺓ‬

‫ﻭﻜﻤﺎ ﺍﺸﺭﻨﺎ ﺴﺎﺒﻘﺎ ﻓﺎﻥ ﺍﻟﺭﻭﺍﺌﺢ ﻟﻬﺎ ﺍﻟﻘﺎﺒﻠﻴﺔ ﻋﻠﻰ ﺍﺜﺎﺭﺓ ﻭﺍﺴﺘﺩﻋﺎﺀ ﺍﻟﺫﻜﺭﻴﺎﺕ ﺍﻟﺤﺴﻴﺔ ﻭﺍﻻﺩﺭﺍﻜﻴﺔ ﻟﺯﻤﻥ‬
‫ﻤﻌﻴﻥ ﻭﻟﻬﺫﺍ ﻴﻘﻭل )‪ (Vroon‬ﺍﻥ ﺤﺎﺴﺔ ﺍﻟﺸﻡ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻻﺤﻴﺎﻥ ﺘﺴﺘﻁﻴﻊ ﺍﻥ ُﺘﻭﻅﻑ ﻜﻨﻭﻉ ﻤﻥ ﺍﻟﻤﺤﺭﻙ‬
‫ﺍﻟﻤﺸﻐل )‪ (starter motor‬ﺍﻟﺫﻱ ﻴﺴﺘﺩﻋﻲ ﺍﻭ ﻴﺜﻴﺭ ﻜل ﺍﻨﻭﺍﻉ ﺍﻟﺨﺒﺭﺍﺕ ﺍﻟﻨﺴﺒﻴﺔ ﻭﺍﻻﺤﺩﺍﺙ ﻤﻥ ﺍﻟﻤﺎﻀﻲ‬
‫‪ .‬ﻭﻴﺴﺘﻨﺘﺞ )‪ (Vroon‬ﺍﻥ ﺍﻟﺭﻭﺍﺌﺢ ﻴﻤﻜﻥ ﻋﻠﻰ ﻫﺫﺍ ﺍﻻﺴﺎﺱ ﺍﻥ ﺘﺨﺩﻡ ﻜﻤﻌﺎﻭﻥ ﻟﻠﺫﺍﻜﺭﺓ ‪(memory‬‬
‫)‪ ، aids‬ﻭﺒﺎﻥ ﺍﻟﺭﺍﺌﺤﺔ ﻴﻤﻜﻥ ﺍﻥ ﺘﻌﻁﻲ ﻤﻌﻨﻰ ﻤﺤﺩﺩ ﺒﻔﻀل ﺍﻟﻤﺤﻴﻁ ﺍﻟﺫﻱ ﻴﺘﻡ ﺍﺴﺘﻘﺒﺎﻟﻬﺎ ﻓﻴﻬﺎ ‪.‬‬
‫‪“What a person has learned in certain mental state or place can be remembered‬‬
‫) ‪under the same circumstances”. (Vroon,1994, p.103-105‬‬
‫ﻭﻴﺸﻴﺭ )‪ (Trygg Engen‬ﺍﻥ ﺫﺍﻜﺭﺓ ﺍﻟﺭﺍﺌﺤﺔ ﺘﺸﺭﻙ ﺍﺤﺩﺍﺜﺎ ﻤﺅﺜﺭﺓ ‪ ،‬ﺭﻭﺍﺌﺢ ﻟﻼﻁﻌﻤﺔ ‪ ،‬ﻭﻻﺸﺨﺎﺹ‬
‫‪ ،‬ﺍﻭ ﺍﻤﺎﻜﻥ )‪ ، (Engen,1987,p.497‬ﻜﻤﺎ ﻤﺠﺩ )‪ ( Pallasmaa‬ﻓﻀﺎﺀ ﺍﻟﺭﺍﺌﺤﺔ )‪ (space of scent‬ﻋﻨﺩﻤﺎ‬
‫ﻗﺎل ‪(Pallasmaa,1994,p.32) “The stronger memory of a space is often its odor …”.:‬‬

‫ﺷﻜﻞ ) ‪ ( 1-4‬ﻣﺨﻄﻂ ﻳﻮﺿﺢ اﻟﻤﻘﺎرﻧﺔ ﺑﻴﻦ ذاآﺮة اﻟﺮاﺋﺤﺔ واﻟﺬاآﺮة اﻻدراآﻴﺔ اﻟﺘﻤﻴﺰﻳﺔ ﻟﻠﺼﻮر واﻟﺮاﺋﺤﺔ اﻟﻌﺮﺿﻴﺔ ﻣﻊ ﻋﺎﻣﻞ اﻟﺰﻣﻦ‬
‫ﻣﺨﺘﺒﺮﻳﺎ)‪(Engen,1987,p.498‬‬

‫‪ .3‬ﺍﻟﺼﻭﺕ – ﺍﻟﺨﺒﺭﺓ ﻭﺘﺫﻜﺭ ﺍﻻﻤﺎﻜﻥ‬

‫ﻴﺸﻴﺭ ﺍﻟﺠﻐﺭﺍﻓﻲ )‪ (Douglas Pocock‬ﺍﻟﻰ ﺍﻥ ﺍﻟﺼﻭﺕ ﻴﺅﺩﻱ ﺩﻭﺭﺍ ﺤﺎﺴﻤﺎ ﺒﺎﻟﺘﻭﻗﻊ ﺍﻭ ﺍﻟﺤﺩﺱ‬
‫ﻭﻓﻲ ﺯﻴﺎﺩﺓ ﺍﻟﺨﺒﺭﺓ ‪ ،‬ﻭﺘﺫﻜﺭ ﺍﻻﻤﺎﻜﻥ ﺤﻴﺙ ﻻﺤﻅ ﺍﻥ ﺍﻟﺼﻭﺕ ﻫﻭ ﻋﺎﻟﻡ ﺩﺍﻴﻨﺎﻤﻲ ﻤﻥ ﺍﻟﻔﻌﺎﻟﻴﺎﺕ ﺍﻜﺜﺭ ﻤﻥ‬
‫ﻜﻭﻨﻪ ﻋﺎﻟﻡ ﺼﻨﺎﻋﻲ ‪ ،‬ﻤﺘﺤﺴﺱ ﺒﻪ ﺍﻜﺜﺭ ﻤﻥ ﻜﻭﻨﻪ ﺍﻨﻌﻜﺎﺴﻲ ﺘﻔﻜﻴﺭﻱ ‪ ،‬ﻜﻤﺎ ﺍﻨﻪ ﻤﺅﻗﺕ ﻓﻲ ﻁﺒﻴﻌﺘﻪ ‪.‬‬
‫ﻭﻴﻘﻭل ﺍﻥ ﺍﻟﺼﻭﺕ ﻴﺴﻬﻡ ﻓﻲ ﺍﻟﻌﻤﻠﻴﺎﺕ ﺤﻴﻨﻤﺎ ﺘﺼﺒﺢ ﺍﻟﺒﻴﺌﺎﺕ ﺍﻤﺎﻜﻥ ‪ ،‬ﺤﻴﺙ ﺍﻥ ﺍﻟﺒﻴﺌﺔ ﺒﺩﻭﻥ ﺼﻭﺕ ﺘﻜﻭﻥ‬
‫ﺯﺍﺌﻔﺔ ﻤﺼﻁﻨﻌﺔ ‪ ،‬ﻤﺭﻋﺒﺔ ﺒﻼ ﺤﻴﺎﺓ ﺒﻼ ﺘﺩﻓﻕ ﻭﻻ ﺍﻴﻘﺎﻉ ‪(Malnar & Vodvarka, 2004, p. 140).‬‬

‫ﻭﻴﻌﺭﺽ ) ‪” : ( Pocock‬ﺍﻥ ﺍﻟﺼﻭﺕ ﻻﻴﺤﻴﻁ ﻭﻴﻁﻭﻕ ﻓﻘﻁ ‪ ،‬ﻭﻟﻜﻨﻪ ﻴﺴﺘﻁﻴﻊ ﺍﻥ ﻴﺨﺘﺭﻕ ﺍﻟﻰ‬
‫ﺍﻟﺠﻭﻫﺭ ﺍﻟﺤﻘﻴﻘﻲ ﻟﺤﺎﺴﺔ ﺍﻻﺩﺭﺍﻙ ﺍﻟﺤﺴﻲ ‪ ،‬ﻫﺫﻩ ﺍﻟﻘﻭﺓ ﺍﻻﻭﻟﻴﺔ ﺍﻟﺘﻲ ﺘﺘﺠﻨﺏ ﺍﻟﻤﺦ ﻭﺘﻌﻨﻭﻥ ﻤﺒﺎﺸﺭﺓ ﺍﻟﻰ‬
‫ﺍﻟﻘﻠﺏ ﻟﺘﻅﻬﺭ ﺍﻻﻨﻔﻌﺎﻻﺕ ﻭﺭﺩﻭﺩ ﺍﻻﻓﻌﺎل ﺍﻟﻌﺎﻁﻔﻴﺔ )‪ .“(Ibid., 2004, p. 138‬ﻭﻴﻭﻀﺢ )‪ (Pocock‬ﺍﻥ ﺒﻌﺽ‬
‫ﺍﻟﻤﻼﺤﻅﺎﺕ ﺍﻟﺼﻐﻴﺭﺓ ﻓﻘﻁ ﻴﻤﻜﻨﻬﺎ ﺍﻥ ﺘﻘﺩﺡ ﻋﺎﻟﻤﺎ ﻜﺎﻤﻼ ﻤﻥ ﺍﻟﺫﻜﺭﻴﺎﺕ ﻭﻫﻭ ﻓﻲ ﻫﺫﺍ ﻴﺸﻴﺭ ﻀﻤﻨﻴﺎ ﺍﻟﻰ‬
‫ﺍﻟﺼﻠﺔ ﻤﺎﺒﻴﻥ ﺤﺎﺴﺘﻲ ﺍﻟﺸﻡ ﻭﺍﻟﺴﻤﻊ ﺍﻟﻠﺘﺎﻥ ﺘﻌﻤﻼﻥ ﻤﻥ ﺨﻼل ﺍﻟﺠﻬﺎﺯ ﺍﻻﻨﻔﻌﺎﻟﻲ ‪.‬‬
‫ﻜﻤﺎ ﺩﻟﺕ ﺍﻻﺒﺤﺎﺙ ﺍﻟﺘﻲ ﻗﺩﻤﻬﺎ )‪ Crowder and Morton (1969‬ﻋﻠﻰ ﺍﻥ ﻗﺎﺒﻠﻴﺔ ﺍﻟﺘﺫﻜﺭ ﺍﻟﺼﻭﺘﻲ‬
‫ﻟﺩﻯ ﺍﻻﻨﺴﺎﻥ ﻤﺅﺜﺭﺓ ﺒﺸﻜل ﻗﻭﻱ ﻓﻔﻲ ﺍﻟﻤﻬﻤﺎﺕ ﺍﻟﺘﻲ ﺘﺘﻁﻠﺏ ﺍﺴﺘﺩﻋﺎﺀﺍ ﻟﻠﺫﺍﻜﺭﺓ ﺍﻟﺒﺼﺭﻴﺔ ﻭﺍﻟﺼﻭﺘﻴﺔ ‪ ،‬ﺘﺘﻘﺩﻡ‬
‫ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﺼﻭﺘﻴﺔ ﻋﻠﻰ ﺍﻟﺒﺼﺭﻴﺔ ﻓﻲ ﺘﺫﻜﺭ ﺍﻟﺤﺩﺙ ﺍﻟﻤﻘﺩﻡ ﻟﻠﻤﺘﻠﻘﻲ ‪ ) .‬ﺴﻭﺯﺍﻥ ﻋﺒﺩ ﺤﺴﻥ ‪ ،2008 ،‬ﺹ ‪(80‬‬

‫ﻫﺫﺍ ﻭﺘﺘﻔﺎﻋل ﻤﻊ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﺴﻤﻌﻴﺔ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻻﻟﻴﺎﺕ ﻨﺫﻜﺭ ﻤﻨﻬﺎ ﺍﻻﻨﺘﺒﺎﻩ ﻟﻠﺼﻭﺕ ﺍﻟﻤﺴﻤﻭﻉ ‪ ،‬ﺍﻟﺨﻠﻔﻴﺔ‬
‫ﺍﻟﺜﻘﺎﻓﻴﺔ ‪ ،‬ﻭﺍﻟﺘﻨﻅﻴﻡ ﺍﻟﺯﻤﻨﻲ ﻟﻼﺩﺭﺍﻙ ﺍﻻﻨﺴﺎﻨﻲ ﺍﻟﺼﻭﺘﻲ ‪ ،‬ﻭﻤﻥ ﺘﻔﺎﻋل ﻫﺫﻩ ﺍﻻﻟﻴﺎﺕ ﺘﺘﺸﻜل ﺍﻟﺫﺍﻜﺭﺓ‬
‫ﺍﻟﺼﻭﺘﻴﺔ ‪).‬ﺍﻟﺴﺎﺒﻕ ‪ ،2008 ،‬ﺹ‪ ، (80‬ﻭﻓﻲ ﺍﻟﻤﻘﺎﺒل ﻴﺸﻴﺭ)‪ (Pallasmaa‬ﺍﻟﻰ ﻗﺎﺒﻠﻴﺔ ﺍﻟﻀﻭﻀﺎﺀ ﻭﺍﻟﺤﺸﻭﺩ‬
‫ﺍﻟﻤﺯﺩﺤﻤﺔ )ﻭﺍﻟﺸﺩ ﻭﺍﻟﺘﻭﺘﺭ ﺍﻟﻨﺎﺘﺞ ﻤﻨﻬﺎ( ﻋﻠﻰ ﺍﻟﺘﻘﻠﻴل ﺍﻭ ﺇﻀﻌﺎﻑ ﺍﻟﺫﺍﻜﺭﺓ ﻓﻲ ﺍﻟﻤﻭﺍﻀﻊ ﺍﻟﻔﻀﺎﺌﻴﺔ ‪(spatial‬‬
‫)‪ locations‬ﻭﺇﻀﻌﺎﻑ ﺩﻗﺔ ﺍﻟﺘﻤﻭﻀﻊ ‪ .‬ﻜﻤﺎ ﺍﻨﻪ ﺍﺸﺎﺭ ﻓﻲ ﻨﻔﺱ ﺍﻟﻭﻗﺕ ﺍﻟﻰ ﺼﻤﺕ ﺍﻟﻌﻤﺎﺭﺓ ﻭﻋﺒﺭ ﻋﻨﻪ‬
‫ﺒﺎﻟﻘﻭل ﺍﻨﻪ ﺼﻤﺕ ﺤﺴﺎﺱ ﻤﺴﺘﺠﻴﺏ ﻭﺒﺎﻗﻲ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ )‪(Pallasmaa,2005, p.50) . (memorable‬‬

‫‪ .4‬ﺫﺍﻜﺭﺓ ﺍﻟﺠـﺴﺩ ‪Body memory‬‬

‫ﺍﺸﺎﺭ )‪ (Pallasmaa‬ﺍﻟﻰ ﺇﻥ ﺃﺴﺎﺱ ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ‪ ،‬ﻫﻭ ﺍﻤﺘﻼﻜﻬـﺎ ﻟـﺸﻜل ﺍﻟﻔﻌـل ‪(action‬‬
‫)‪ ، verb‬ﻓﻌﻨﺎﺼﺭ ﺍﻟﻌﻤﺎﺭﺓ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﺘﺼﺎﺩﻤﺎﺕ ﻭﺘﺠﺎﺒﻬﺎﺕ ﺘﺘﻔﺎﻋل ﻤﻊ ﺍﻟـﺫﺍﻜﺭﺓ ﻴـﺘﻡ ﺍﻏﻨﺎﺀﻫـﺎ‬
‫ﺒﻤﺴﺎﻋﺩﺓ ﺫﺍﻜﺭﺓ ﺍﻟﺠﺴﺩ‪ .‬ﻭﻓﻲ ﻫﺫﻩ ﺍﻟﺫﺍﻜﺭﺓ ﻴﺘﻡ ﺍﺤﺘﻭﺍﺀ ﺍﻟﻤﺎﻀﻲ ﻓـﻲ ﺍﻟـﺴﻠﻭﻙ ﺍﻭ ﺍﻻﺩﺍﺀ‪ .‬ﺍﺫ ﺍﻥ ﻤﻬﻤـﺔ‬
‫ﺍﻟﻌﻤﺎﺭﺓ ﻫﻲ ﺘﻭﻀﻴﺢ ﺍﻟﻜﻴﻔﻴﺔ ﺍﻟﺘﻲ ﻴﻼﻤﺴﻨﺎ ﻓﻴﻬﺎ ﺍﻟﻌﺎﻟﻡ ﻓﻤﻥ ﺨﻼل ﺍﻟﺼﻭﺭ ﺍﻟﺫﻫﻨﻴﺔ ﻟﻠﺠﻠـﺩ ‪ ،‬ﺍﻟﻌـﻀﻼﺕ‬
‫ﻭﺍﻟﻌﻅﺎﻡ ﻜﺎﻥ ﺍﻻﻨﺴﺎﻥ ﺍﻟﺒﺩﺍﺌﻲ ﻴﺴﺘﺨﺩﻡ ﺠﺴﻤﻪ ﻜﻭﺴﻴﻠﺔ ﻟﻠﻘﻴﺎﺱ ﻭﻜﻨﻅﺎﻡ ﻟﻠﻨﺴﺏ ﻓﻲ ﺍﺒﻨﻴﺘﻪ ﻭﺘﻘﻭﻡ ﺍﻟﻤﻬﺎﺭﺍﺕ‬
‫ﺍﻟﺭﺌﻴﺴﻴﺔ ﻓﻲ ﺍﻟﺤﻴﺎﺓ ﻓﻲ ﺍﻟﺤﻀﺎﺭﺍﺕ ﺍﻟﺘﻘﻠﻴﺩﻴﺔ ﻋﻠﻰ ﻤﻌﺭﻓﺔ ﺍﻟﺠﺴﺩ ﺍﻟﻤﺨﺯﻭﻨﺔ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﻠﻤﺴﻴﺔ ‪ ،‬ﻓﺎﻟﺠﺴﺩ‬
‫ﻭﻴﺘﺫﻜﺭ‪(Pallasmaa,2005, pp. 60-63).‬‬ ‫ﻴﻌﻠﻡ‬
‫ﻭﺘﺸﻴﺭ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻰ ﺍﺭﺘﺒﺎﻁ ﺍﻟﻠﻤﺱ ﻤﻊ ﺍﻟﺒﺼﺭ ‪ ،‬ﻭﺍﻥ ﺘﺜﻤﻴﻥ ﺍﻟﻤﻭﺍﺩ ‪ ،‬ﺍﻟﺒﻌﺩ )ﺍﻟﻤـﺴﺎﻓﺔ( ‪ ،‬ﺍﻟﻌﻤـﻕ‬
‫ﺍﻟﺤﻴﺯﻱ ﻻﻴﻤﻜﻥ ﺍﻻﺤﺴﺎﺱ ﺒﻬﺎ ﻤﻥ ﺩﻭﻥ ﺍﻟﺘﻌﺎﻭﻥ ﻭﺍﻟﺭﺠﻭﻉ ﺍﻟﻰ ﺍﻟﺫﺍﻜﺭﺓ ﺍﻟﻠﻤﺴﻴﺔ ‪ ،‬ﻓﺎﻟﺒﺼﺭ ﻴﻌﻜـﺱ ﻟﻨـﺎ‬
‫)‪(Martin Jay , 1993, p.149‬‬ ‫ﻤﺎﻜﺎﻥ ﻴﻌﻠﻤﻪ ﺍﻟﻠﻤﺱ ﻤﺴﺒﻘﺎ ‪.‬‬
‫ﺍﻟﺠﺩﻭل )‪ (1-4‬ﺍﻟﻭﻅﻴﻔﺔ ﺍﻟﺫﺍﻜﺭﻴﺔ ﻻﻨﻤﺎﻁ ﺍﻟﻤﺤﻔﺯﺍﺕ ﺍﻟﺤﺴﻴﺔ ) ﺍﻟﺒﺎﺤﺜﺔ (‬

‫اﻟﺒﻘﺎء ﻓﻲ اﻟﺬاآﺮة‬ ‫اﻟﻤﺤﻔﺰات اﻟﺤﺴﻴﺔ‬ ‫اﻟﻮﻇﻴﻔﺔ اﻟﺬاآﺮﻳﺔ‬

‫ﺑﺎﻗﻴﺔ ﻓﻲ اﻟﺬاآﺮة اﻟﺒﻌﻴﺪة‬ ‫ﺑﺴﻴﻄﺔ‬ ‫اﻻﺷﻜﺎل‬ ‫اﻻﺷﻜﺎل‬ ‫اﻟﻮﻇﻴﻔﺔ اﻟﺬاآﺮﻳﺔ‬
‫واﻟﺰﺧﺎرف ﻓﻲ‬ ‫ﻟﻠﺼﻮر اﻟﺒﺼﺮﻳﺔ‬
‫ﺑﺎﻗﻴﺔ ﻓﻲ اﻟﺬاآﺮة اﻟﻘﺮﻳﺒﺔ‬ ‫ﻣﻌﻘﺪة‬ ‫اﻟﺬهﻨﻴﺔ ‪images‬‬
‫اﻟﻤﺸﺎهﺪ اﻟﺒﺼﺮﻳﺔ‬
‫ﺑﺎﻗﻴﺔ ﻓﻲ اﻟﺬاآﺮة اﻟﺒﻌﻴﺪة‬ ‫ﺑﺴﻴﻄﺔ‬ ‫اﻟﺰﺧﺎرف‬
‫ﻣﻌﻘﺪة‬ ‫ﻣﺸﻮﻗﺔ وﺗﻜﺮس‬
‫ﺑﺎﻗﻴﺔ ﻓﻲ اﻟﺬاآﺮة اﻟﻘﺮﻳﺒﺔ‬ ‫اﻻﻧﺘﺒﺎﻩ‬

‫ﺑﺎﻗﻴﺔ ﻓﻲ اﻟﺬاآﺮة اﻟﺒﻌﻴﺪة‬ ‫ﻣﻘﺒﻮﻟﺔ ﻣﻔﻀﻠﺔ‬ ‫اﻟﺮواﺋﺢ‬ ‫اﻟﻮﻇﻴﻔﺔ اﻟﺬاآﺮﻳﺔ‬

‫ﻟﻠﺮواﺋﺢ واﻟﻌﻄﻮر‬
‫ﺑﺎﻓﻴﺔ ﻓﻲ اﻟﺬاآﺮة اﻟﺒﻌﻴﺪة‬ ‫ﻣﻜﺮوهﺔ ﻣﺮﻓﻮﺿﺔ‬
‫ﺗﺸﻮش وﺗﻀﻌﻒ اﻟﺬاآﺮة‬ ‫ﻣﺰﻋﺠﺔ ﻣﺮﻓﻮﺿﺔ‬ ‫اﻻﺻﻮات‬ ‫اﻟﻮﻇﻴﻔﺔ اﻟﺬاآﺮﻳﺔ‬
‫ﻟﻼﺻﻮات‬
‫ﺗﺒﻘﻰ ﻓﻲ اﻟﺬاآﺮة‬ ‫ﻣﺤﺒﺒﺔ ﻣﻔﻀﻠﺔ‬
‫ﺑﺎﻗﻲ ﻓﻲ اﻟﺬاآﺮة اﻟﺒﻌﻴﺪة‬ ‫ﻣﻠﻤﺲ ﺑﺴﻴﻂ‬ ‫اﻟﻤﻠﻤﺲ‬ ‫اﻟﻮﻇﻴﻔﺔ اﻟﺬاآﺮﻳﺔ‬
‫ﻻﻧﻮاع اﻟﻤﻠﻤﺲ‬
‫ﺑﺎﻗﻲ ﻓﻲ اﻟﺬاآﺮة اﻟﻘﺮﻳﺒﺔ‬ ‫ﻣﻠﻤﺲ ﻣﻌﻘﺪ‬ ‫واﺧﺘﻼف اﻟﺘﺪرج‬
‫ﻴﺘﺒﻴﻥ ﻟﻨﺎ ﻤﻤﺎ ﺘﻘﺩﻡ ﺍﺸﺘﺭﺍﻙ ﻭﺘﻜﺎﻤل ﺁﻟﻴﺎﺕ ﺍﻟﺘﺫﻜﺭ ﺍﻟﺒﺼﺭﻴﺔ ﻭﺍﻟﺴﻤﻌﻴﺔ ﻭﺍﻟـﺸﻤﻴﺔ ﻭﺍﻟﻠﻤـﺴﻴﺔ ‪،‬‬
‫ﻜﻨﺘﺎﺝ ﻟﺤﺎﺠﺔ ﺍﻻﻨﺴﺎﻥ ﺍﻟﻰ ﺍﺴﺘﺩﻋﺎﺀ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺒﺼﺭﻴﺔ ‪ ،‬ﺍﻟﺸﻤﻴﺔ ﻭﺍﻟﺴﻤﻌﻴﺔ ﻋﻥ ﺤﺩﺙ ﻤﺎ ﺴـﺒﻕ‬
‫ﻭﺍﻥ ﻗﺩﻡ ﻟﻪ ﻀﻤﻥ ﻓﻀﺎﺀ ﻤﺎ ‪ ،‬ﻟﻐﺭﺽ ﻤﻘﺎﺭﻨﺘﻬﺎ ﻭﺍﻋﻁﺎﺀ ﺍﻟﺘﺼﻭﺭ ﺍﻟﻜﺎﻤل ﻋﻨﻪ ﺒـﺸﻜل ﻤﺘـﺯﺍﻤﻥ ‪.‬‬
‫ﻭﻤﻨﻪ ﺘﻡ ﺍﻟﺘﻭﺼل ﺍﻟﻰ ﺍﺭﺘﺒﺎﻁ ﻅﺎﻫﺭﺓ ﺍﻟﺒﻘﺎﺀ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﺒﻤﻔﻬﻭﻡ ﺍﻻﺴﺘﺠﺎﺒﺎﺕ ﺍﻟﺤـﺴﻴﺔ ﻭﻟﻐـﺭﺽ‬
‫ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ ﺘﻡ ﺘﺜﺒﻴﺘﻬﺎ ﻓﻲ ﺍﻟﺠﺩﻭل )‪. (1-4‬‬

‫‪ 2.4‬ﻤﺅﺸﺭﺍﺕ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺒﺎﻗﻴﺔ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ‬

‫ﻴﺴﻌﻰ ﺍﻟﺒﺤﺙ ﻀﻤﻥ ﻫﺫﺍ ﺍﻟﻤﺤﻭﺭ ﺍﻟﻰ ﺍﺴﺘﻘﺭﺍﺀ ﺍﻻﺒﻌﺎﺩ ﺍﻟﻤﺨﺘﻠﻔﺔ ﻟﻅـﺎﻫﺭﺓ ﺍﻟﺒﻘـﺎﺀ ﻓـﻲ ﺍﻟـﺫﺍﻜﺭﺓ‬
‫ﻭﺍﻟﻤﺅﺸﺭﺍﺕ ﺍﻟﻤﺅﺜﺭﺓ ﻓﻲ ﺭﺴﻡ ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻤﺘﺫﻜﺭﺓ ﺒﺎﻟﻌﻼﻗﺔ ﻤﻊ ﺘﻌـﺩﺩ ﺍﻻﺴـﺘﺠﺎﺒﺎﺕ ‪ .‬ﻓﻤـﻥ ﺨـﻼل‬
‫ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺘﻲ ﺘﻡ ﺍﺴﺘﻌﺭﺍﻀﻬﺎ ﻓﻲ ﺍﻟﻔﺼﻭل ﺍﻟﺴﺎﺒﻘﺔ ﺘﻡ ﺍﻟﺘﻭﺼل ﺍﻟﻰ ﺍﻫﻡ ﺍﻟﻤﺅﺸﺭﺍﺕ ﺍﻟﻤﺅﺜﺭﺓ ﻓﻲ ﺭﺴـﻡ‬
‫ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻤﺘﺫﻜﺭﺓ ﻭﺍﻟﺘﻲ ﺘﺴﻬﻡ ﻓﻲ ﺘﺭﺴﻴﺦ ﻭ ﺇﺒﻘﺎﺀ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ ﻓـﻲ ﺍﻟـﺫﺍﻜﺭﺓ ﻤـﻥ ﺨـﻼل‬
‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻤﻔﺎﻫﻴﻡ ﺍﻟﺜﺎﻨﻭﻴﺔ ﺍﻟﺘﻲ ﺘﻀﻡ ﻜل ﻤﻥ )ﺍﻟﺤﻴﻭﻴﺔ ﻭﺍﻟﺘﻔﺭﺩ( ‪) ،‬ﻭﻀـﻭﺡ ﺍﻟـﺼﻭﺭﺓ ﺍﻟﺫﻫﻨﻴـﺔ‬
‫ﻭﺘﻤﻴﻴﺯﻫﺎ( ‪ ،‬ﻭ)ﺘﺤﻘﻴﻕ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ( ‪ ،‬ﻭﺍﻟﺘﻲ ﺴﻴﺘﻡ ﺘﻨﺎﻭل ﺍﻟﺨﺼﺎﺌﺹ ﺍﻟﻤﺭﺘﺒﻁﺔ ﺒﻜل ﻤﻨﻬﻤﺎ ﻭﺘﺤﺩﻴـﺩ‬
‫ﻋﻼﻗﺘﻬﺎ ﺒﺎﻟﺠﺎﻨﺏ ﺍﻻﺩﺭﺍﻜﻲ ﺍﻻﻨﺴﺎﻨﻲ )ﺍﻻﺩﺭﺍﻙ ﺍﻟﺫﻫﻨﻲ ﻭﺍﻻﺩﺭﺍﻙ ﺍﻟﺤﺴﻲ( ﺒﺘﻔﺼﻴل ﺍﻜﺒﺭ ﺍﺩﻨﺎﻩ ‪.‬‬
‫ﺍﻟﺤﻴﻭﻴﺔ ﻭﺍﻟﺘﻔﺭﺩ ‪Vividness‬‬ ‫‪1.2.4‬‬
‫ﺘﺼﻑ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻻﺩﺒﻴﺎﺕ ﻭﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻭ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺒﻤﺼﻁﻠﺢ )‪ ( Vividness‬ﻭﺘﺘﻔـﻕ‬
‫ﺍﻏﻠﺏ ﺍﻟﺘﺭﺍﺠﻡ ﻋﻠﻰ ﺍﻋﻁﺎﺌﻬﺎ ﻤﻌﻨﻰ ﺍﻟﺤﻴﻭﻴﺔ ﺍﻭ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺤﻴﻭﻱ ﺍﻭ ﺍﻟﻨﺸﻁ ‪ ،‬ﻭﺘﺭﺩ ﻜﻠﻤـﺔ )‪ (vivid‬ﻓـﻲ‬
‫ﺍﻟﻤﻌﺎﺠﻡ ﺒﻤﻌﻨﻰ ‪ :‬ﺍﻟﺤﻘﻴﻘﻲ ‪ ،‬ﺍﻟﺤﻲ ‪ ،‬ﺍﻟﻤﻔﻌﻡ ﺒﺎﻟﺤﻴﻭﻴﺔ ﻭﺍﻟﻨﺸﺎﻁ ‪ ،‬ﺍﻟﻤﺸﻜل ﻟﻠﺼﻭﺭﺍﻟﺫﻫﻨﻴﺔ ﺍﻟﻤﺘﺄﻟﻘﺔ ‪ ،‬ﺍﻟﻜﺜﻴﻑ‬
‫ﺍﻻﻟﻭﺍﻥ ‪ ،‬ﺍﻟﺴﺎﻁﻊ ‪ ،‬ﻭﺍﻟﻤﻨﺸﻁ ﻟﻠﺨﻴﺎل ‪.‬‬
‫‪Vivid : True to the life, exhibiting the appearance of life or freshness,‬‬
‫‪animated, spirited, bright, strong, , forming brilliant images, lively, intense- as‬‬
‫‪vivid color, sprightly- as a vivid imagination.‬‬
‫)‪(Everest Dictionary,2009, http://www.free-soft.ro/everest/everest.html‬‬
‫ﻓﻴﻤﺎ ﺘﺄﺘﻲ ﻤﺭﺍﺩﻓﺎﺕ ﺍﻟﻤﻌﻨﻰ ﺒﻤﺼﻁﻠﺤﺎﺕ ﻤﺜل ‪ :‬ﻻﻤﻊ ‪ ،‬ﻤﺘﻔﺭﺩ ﻤﺘﻤﻴﺯ ‪ ،‬ﻋﻤﻴﻕ ‪ ،‬ﺘﺼﻭﻴﺭﻱ ‪ ،‬ﻭﺼﻔﻲ ‪،‬‬
‫ﺘﻌﺒﻴﺭﻱ ‪ ،‬ﻗﻭﻱ ﻭﺸﺩﻴﺩ ﺍﻟﻌﺎﻁﻔﺔ ‪ ،‬ﻨﺎﺒﺽ ﺒﺎﻟﺤﻴﺎﺓ ‪ ،‬ﻤﺜﻴﺭ ﻟﻠﺼﻭﺭ ﺍﻟﺫﻫﻨﻴﺔ ‪ ،‬ﻭﺍﻀﺢ ﺠﻠﻲ ‪ ،‬ﻏﻨﻲ ﻭﻻﻓـﺕ‬
‫ﻟﻠﻨﻅﺭ‪.‬‬
‫‪Brilliant, distinct, deep, expressive, pictorial, picturesque, intense, lively,‬‬
‫) ‪lifelike, rich, spirited, striking, clear, clearly, strong vividly. ( Ibid, 2009‬‬
‫ﻜﻤﺎ ﻴﺭﺩ ﺘﻌﺭﻴﻔﻬﺎ ﻀﻤﻥ ﻨﻔﺱ ﺍﻟﻤﻌﺠﻡ ﻜﻭﻨﻬﺎ ﺼﻔﺔ ﺍﻭ ﺨﺎﺼﻴﺔ ﻨﻭﻋﻴﺔ ﺘﺠﺭﻴﺩﻴﺔ ﻗﻭﻴﺔ ﺘﺜﻴﺭ ﺍﻻﻫﺘﻤـﺎﻡ‬
‫ﻭﺍﻟﻤﺘﻌﺔ ﻭﺫﺍﺕ ﻁﺎﻗﺔ ﻋﺎﻟﻴﺔ )‪( Ibid, 2009 ). (powerfulness‬‬

‫ﻭﻓﻲ ﻁﺭﺡ ﻟﻜل ﻤـﻥ )‪ (Rebecca Sinclair & Mark Taylor‬ﺒﻌﻨـﻭﺍﻥ ”‪“Vivid Spaces‬‬
‫ﻴﺸﻴﺭﺍﻥ ﺍﻟﻰ ﺍﻥ ﻤﺼﻁﻠﺢ )‪ (Vividness‬ﻻﻴﻤﻜﻥ ﺘﻌﺭﻴﻔﻪ ﺒﻤﻌﻨﻰ ﺍﻟﻭﻀﻭﺤﻴﺔ ‪ ،‬ﻭﺍﻨﻤـﺎ ﻴﺅﺴـﺱ ﻤﻌﻨـﺎﻩ‬
‫ﺒﺎﻟﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻟﺘﺨﻴل ﺍﻟﻨﺸﻁ ‪ ،‬ﻜﻨﻭﻉ ﻤﻥ ﺍﻟﺘﻌﺒﻴﺭ ﺍﻟﺘﺠﺭﻴﺩﻱ ﻭﺍﻟﺘـﺼﻭﺭﻱ ‪ .‬ﻭﻴﻘﺘﺭﺤـﺎﻥ ﺍﻥ ﺍﻟﺸﺨـﺼﻴﺔ‬
‫ﺍﻟﻭﺼﻔﻴﺔ ﻟﻠﻌﻤل ﻫﻲ ﻤﺎﺘﺴﻤﺢ ﻟﻼﺸﺨﺎﺹ ﻻﻥ ﻴﺭﻭﺍ ﻭﻴﻠﺘﻘﻁﻭﺍ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﺼﻭﺭﻴﺔ ﻟﻠﻤﻜﺎﻥ ‪.‬‬
‫‪“Vividness is not defined as making clear, but is grounded in being able to‬‬
‫‪“vividly imagine” such things as abstractions and conceptual expressions”.‬‬
‫)‪(Sinclair, R.& Taylor, M.,2000,p.2‬‬
‫ﻭﻴﺭﻴﺎﻥ ﺍﻥ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻴﻭﻡ ﺘﻠﻭﺙ ‪ ،‬ﻭﺒﺎﻥ ﺍﻟﻤﺤﻴﻁ ﺍﻟﻤﺩﺭﻙ ﻭﺍﻟﻤﺤﻘﻕ ﻟﻠﺘﺨﻴل ﻴﺘﺤﻭل ﺍﻟﻰ ﻤﺠﺭﺩ ﻤﻨﺎﻫﺞ‬
‫ﺸﻜﻠﻴﺔ ﺼﺭﻓﺔ )‪ (purely formal methods‬ﺍﻟﻰ ﺍﻟﺩﺭﺠﺔ ﺍﻟﺘﻲ ﻴﺭﻴﺎﻥ ﻓﻴﻬﺎ ﺍﻥ ﺍﻟﻌﻤﺎﺭﺓ ﺘﺅﺜﺭ ﻭﺘﺼﻴﺏ‬
‫ﺍﻻﺸﺨﺎﺹ ﺒﺎﻟﻌﺩﻭﻯ )‪ ، (infects‬ﺍﺫ ﺍﺼﺒﺤﺕ ﺍﻟﻌﻤﺎﺭﺓ ﻤﺎﺌﻌﺔ ﺍﻟﺤـﺩﻭﺩ ‪ ،‬ﺘﻨـﺼﻬﺭﻓﻴﻬﺎ ﺍﻟﻔﻌﺎﻟﻴـﺎﺕ ﻤـﻊ‬
‫ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ ﻭﺘﺘﺸﻭﻩ ﺴﻤﺎﺓ ﺸﺨﺼﻴﺘﻬﺎ ‪ ،‬ﻟﺘﺼﺒﺢ ﺍﻟﻌﻤﺎﺭﺓ ﻤﺠﺭﺩ ﺨﻠﻔﻴﺔ )‪. (background‬‬
‫)‪(Ibid., ,2000,p.9‬‬
‫ﻓﻲﻤﺎ ﻴﺤﻠل ﻜل ﻤﻥ ) ‪ ( Lyndon & Moore‬ﻓﻲ ﻜﺘـﺎﺒﻬﻡ ‪“ Chambers For A Memory‬‬
‫”‪ Palace‬ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻻﻤﺜﻠﺔ ﻻﺒﻨﻴﺔ ﻤﻌﻤﺎﺭﻴﺔ ﻤﺨﺘﻠﻔﺔ ﻭﻴﺴﺘﺨﺩﻤﺎﻨﻬﺎ ﻜﺄﻤﺜﻠﺔ ﺘﻭﻀﻴﺤﻴﺔ ﺘﺸﺭﺡ ﺍﻟﻁﺭﻴﻘﺔ‬
‫ﺍﻟﺘﻲ ﹸﺘﺠﺩل ﻓﻴﻬﺎ ﻜل ﻤﻥ )ﺍﻟﻌﻤﺎﺭﺓ ‪ ،‬ﺍﻟﺨﺒﺭﺓ ‪ ،‬ﻭﺍﻟﺫﺍﻜﺭﺓ ( ﻟﺘﺴﺎﻋﺩ ﺍﻻﺸﺨﺎﺹ ﻋﻠـﻰ ﺍﺨﺘﺒـﺎﺭ ﺍﻻﺤـﺩﺍﺙ‬
‫ﻭﺍﻻﻤﺎﻜﻥ ‪ .‬ﻤﺴﺘﻌﺭﻀﻴﻥ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻭﺍﻟﺩﻭﺭ ﺍﻟﺫﻱ ﺘﻠﻌﺒﻪ ﻓﻲ ﺍﻋﻁﺎﺀ ﺍﻟﻨﻭﻋﻴـﺎﺕ ﺍﻟﻤﺘـﺫﻜﺭﺓ‬
‫)‪ (memorable qualities‬ﻤﻥ ﺨﻼل ﺍﻟﺘﺸﻜﻴل ﺍﻟﻌﺎﻡ ﻟﻼﻤﺎﻜﻥ ‪ ،‬ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻟﻜل ﻤﺒﻨـﻰ ‪،‬‬
‫ﺍﻟﺤﺩﺍﺌﻕ ‪ ،‬ﺍﻟﻔﻨﺎﺀﺍﺕ ‪ ،‬ﻭﺍﻟﻨﺼﺏ ﺍﻟﻨﺤﺘﻴﺔ ‪ ،‬ﺍﻟﺦ ‪.‬‬
‫ﻭﻴﺸﻴﺭﺍﻥ ﺍﻟﻰ ” ﺍﻥ ﺍﻻﻤﺎﻜﻥ ﻫﻲ ﻓﻀﺎﺀﺍﺕ ﻴﻤﻜﻥ ﺘﺫﻜﺭﻫﺎ ‪ ،‬ﺍﻤﺎﻜﻥ ﻴﻤﻜﻥ ﺍﻻﻫﺘﻤﺎﻡ ﺒﻬﺎ ﻭﺠﻌﻠﻬﺎ ﺠﺯﺀﺍ‬
‫ﻤﻥ ﺤﻴﺎﺓ ﺍﻟﻔﺭﺩ“ ‪،‬ﻭﻴﺭﻴﺎﻥ ﺍﻥ ﺍﻟﻜﺜﻴﺭ ﻤﻤﺎ ﻴﺒﻨﻰ ﺍﻟﻴﻭﻡ ﻓﺎﺘﺭ ﺠﺩﺍ ﻟﻴﺘﻡ ﺘﺫﻜﺭﻩ ‪ .‬ﻭﻴـﻀﻴﻔﺎﻥ ” ﺍﻟﻜﺜﻴـﺭ ﻤـﻥ‬
‫ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺘﻲ ﺘﺤﻴﻁ ﺒﻨﺎ ﺍﻟﻴﻭﻡ ﻗﻠﻤﺎ ﻨﺘﺫﻜﺭﻫﺎ ﻜﻭﻨﻬﺎ ﻻﺘﻌﻨﻲ ﻟﻨﺎ ﺍﻟﻜﺜﻴﺭ ‪ .‬ﺍﻟﻌﺎﻟﻡ ﻴﺠﺏ ﺍﻥ ﻴﻜـﻭﻥ ﻤـﺸﺒﻌﺎ‬
‫ﺒﺎﻻﻤﺎﻜﻥ ﺍﻟﻤﻔﻌﻤﺔ ﺒﺎﻟﺤﻴﺎﺓ ﻭﺍﻟﻤﺜﻴﺭﺓ ﻟﻠﺼﻭﺭ ﺍﻟﺫﻫﻨﻴﺔ ‪ ،‬ﺍﻟﺸﺩﻴﺩﺓ ﺍﻟﻭﻀﻭﺡ ﻭﺍﻟﻤﻤﻴﺯﺓ )‪(vivid & distinct‬‬
‫‪ ،‬ﻭﺍﻟﺘﻲ ﺘﺤﻤل ﻤﻌﺎﻨﻲ ﻤﺘﺫﻜﺭﺓ ‪.‬‬
‫ﻭﻴﺅﻤﻥ ﻜل ﻤﻥ )‪ (Lyndon & Moore‬ﺒﺎﻥ ﺍﻻﻤﺎﻜﻥ ﺍﻟﻤﺘﺫﻜﺭﺓ ﻀﺭﻭﺭﻴﺔ ﻟﺘﻭﺠﻴﻪ ﺤﻴﺎﺓ ﺍﻻﺸﺨﺎﺹ‬
‫ﻭﻴﻘﻭﻻﻥ ” ﻨﺤﻥ ﻨﺤﺘﺎﺝ ﻻﻥ ﻨﻔﻜﺭ ﺒﻤﻜﺎﻥ ﺘﻭﺍﺠـﺩﻨﺎ ‪ ،‬ﻭﻤـﺎﻫﻭ ﺍﻟﻤﺘﻔـﺭﺩ ﻭﺍﻟﺨـﺎﺹ ) ‪unique and‬‬
‫‪ (special‬ﺒﻤﺎ ﺤﻭﻟﻨﺎ ﻭﺒﺫﺍ ﻨﺴﺘﻁﻴﻊ ﺍﻥ ﻨﻔﻬﻡ ﺍﻨﻔﺴﻨﺎ ﺒﺸﻜل ﺍﻓﻀل ﻭﺍﺭﺘﺒﺎﻁﻨﺎ ﺒﻤﻥ ﺤﻭﻟﻨﺎ “‪ .‬ﻫﺫﻩ ﺍﻟﻤﻤﺎﺯﺠﺔ‬
‫ﺍﻟﺫﻫﻨﻴﺔ ﻟﻜل ﻤﻥ ﺍﻻﺸﺨﺎﺹ ‪ ،‬ﺍﻻﻤﺎﻜﻥ ‪ ،‬ﻭﺍﻻﻓﻜﺎﺭ ﻫﻲ ﻤﺎﻴﺠﻌل ﺘﺼﻤﻴﻡ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ ﺫﺍ ﻤﻌﻨﻰ ‪ .‬ﻭﻴﺭﻴﺎﻥ‬
‫ﺍﻥ ﺍﻻﻤﺎﻜﻥ ﺍﻟﻤﺤﻤﻠﺔ ﺒﺎﻟﻤﻌﺎﻨﻲ )‪ (meaningful‬ﺘﺴﺘﺤﻀﺭ ﻭﺘﻨﻌﺵ ﺍﻻﻨﻔﻌﺎﻻﺕ ﻭﺍﻟﻌﻭﺍﻁﻑ ‪ ،‬ﺍﻟـﺫﺍﻜﺭﺓ ‪،‬‬
‫ﻭﺍﻻﻓﻜﺎﺭ ﻓﻲ ﺍﻟﺫﻫﻥ ‪(Lyndon, D. & Moore. C, 1994,p.xi) .‬‬

‫;‪“Places that are memorable are necessary to the good conduct of our lives‬‬
‫‪we need to think about where we are and what is unique and special about our‬‬
‫‪surroundings so that we can better understand ourselves and how we relate to‬‬
‫)‪others”.( Ibid., 1994,p.xi‬‬
‫ﻴﺸﻜل ﺍﻟﻤﻌﻨﻰ ﺍﺤﺩ ﺍﻟﻤﻜﻭﻨﺎﺕ ﺍﻻﺴﺎﺴﻴﺔ ﻟﻠـﺼﻭﺭﺓ ﺍﻟﺒﻴﺌﻴـﺔ )‪ . (Environmental Image‬ﻓﻜـل‬
‫ﻰ ﻤﺤﺩﺩﹰﺍ ﻴﻔﺴﺭﻩ ﺍﻟﻤﺘﻠﻘﻲ ﺒﺸﻜل ﻤﻌﻴﻥ ﺴـﻭﺍﺀ ﻜـﺎﻥ‬
‫ﻋﻨﺼﺭ ﻤﻥ ﻋﻨﺎﺼﺭ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ ﻻﺒﺩ ﺍﻥ ﻴﻤﺘﻠﻙ ﻤﻌﻨ ً‬
‫ﺫﻟﻙ ﺍﻟﻤﻌﻨﻰ ﻋﺎﻁﻔﻴﹰﺎ ﻭﺭﻤﺯﻴﹰﺎ ﺍﻭ ﻜﺎﻥ ﻋﻤﻠﻴﹰﺎ ﻭﻅﻴﻔﻴﹰﺎ ﺍﻭ ﻏﻴـﺭ ﺫﻟـﻙ‪ .‬ﺍﻥ ﺍﻟﻤﻌﻨـﻰ ﻭﺍﻟﺩﻻﻟـﺔ ﺍﻟﺭﻤﺯﻴـﺔ‬
‫ﻟﻠﻤﻜﺎﻥ)‪ (Symbolic Significance‬ﺍﻟﺫﻱ ﻴﻤﺜل ﺍﻋﻤﻕ ﻤﺴﺘﻭﻴﺎﺕ ﺍﻟﻭﻀﻭﺡ ﺍﻟﺒﻴﺌﻲ ‪ ،‬ﻴﺼﻌﺏ ﺘﺤﺩﻴـﺩﻩ‬
‫ﻥ ﻭﺭﻤﻭﺯ ﻤﺘﻔﻕ ﻋﻠﻴﻬﺎ‬
‫ﺒﺼﻭﺭﺓ ﻤﻭﻀﻭﻋﻴﺔ ﺍﺫ ﻴﺨﺘﻠﻑ ﺒﺎﺨﺘﻼﻑ ﺍﻻﺸﺨﺎﺹ ﻭﺍﻟﺜﻘﺎﻓﺎﺕ ‪ ..‬ﺍﻻ ﺍﻥ ﻫﻨﺎﻙ ﻤﻌﺎ ٍ‬
‫ﻀﻤﻥ ﻤﺠﺘﻤﻊ ﻤﻌﻴﻥ ﻭﺜﻘﺎﻓﺔ ﻤﻌﻴﻨﺔ ﺘﺼل ﻟﺠﻤﻴﻊ ﺍﻻﻓﺭﺍﺩ ‪ ،‬ﻓﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻟﻤﻌﺎﻨﻲ ﻭﺍﻟﺭﻤﻭﺯ ﻋﺎﻤﺔ ﻭﻤﺸﺘﺭﻜﺔ‬
‫ﺍﻟﺒﻴﺌﺎﺕ‪ ).‬ﺍﻟﻌﻠﻭﺍﻥ ‪ ،2001 ،‬ﺹ ﺹ ‪(80-77‬‬ ‫ﻭﺘﻤﺜل ﻋﻨﺼﺭﹰﺍ ﻤﻬﻤﹰﺎ ﻓﻲ ﺘﺼﻤﻴﻡ‬
‫ﻭﻗﺩ ﺭﻜﺯ )‪ (Lynch‬ﻓﻲ ﻜﺘﺎﺒﻪ ﺍﻟﻤﻭﺴﻭﻡ ‪ The Theory of Good City Form‬ﻋﻠﻰ ﻤﺼﻁﻠﺢ‬
‫ﻓﺠﺎﺀ ﺘﻌﺭﻴﻔﻪ‬ ‫)‪(Lynch, 1981, p. 132‬‬ ‫”‪ “Sense of Place‬ﺃﻱ ﺍﻻﺤﺴﺎﺱ ﺒﺎﻟﻤﻜﺎﻥ ﺍﻭ ﺍﻟﺤﺱ ﺍﻟﻤﻜﺎﻨﻲ‪.‬‬
‫ﻟﻠﻬﻭﻴﺔ ﺒﺼﻴﻐﺔ ﺍﻜﺜﺭ ﺸﻤﻭﻟﻴﺔ ‪:‬‬
‫‪“ Identity is the extent to which a person can recognize or recall a place as‬‬
‫‪being distinct from other places–as having a vivid, unique or at least a‬‬
‫”…‪particular character of its own‬‬
‫ﻟﺘﺸﻜل ﺍﻟﻬﻭﻴﺔ ﺍﻟﻤﺩﻯ ﺍﻟﺫﻱ ﻴﺘﻤﻜﻥ ﺍﻟﻔﺭﺩ ﺒﻭﺍﺴﻁﺘﻪ ﺍﻥ ﻴﺘﻌﺭﻑ ﻋﻠﻰ ﻤﻜﺎﻥ ﻤﺎ ﺍﻭ ﻴﺘﺫﻜﺭﻩ ﻜﻭﻨﻪ ﻤﻤﻴﺯﹰﺍ‬
‫ﺍﻭ ﻤﺨﺘﻠﻔﹰﺎ ﻋﻥ ﻏﻴﺭﻩ ﻤﻥ ﺍﻻﻤﺎﻜﻥ ﺒﺎﻤﺘﻼﻜﻪ ﺸﺨﺼﻴﺔ ﺤﻴﻭﻴﺔ ﺍﻭ ﻓﺭﻴﺩﺓ ﺍﻭ ﺸﺨﺼﻴﺔ ﺨﺎﺼﺔ ﺒﻪ ﺘﻤﻴﺯﻩ ﻋﻥ‬
‫ﻏﻴﺭﻩ‪.‬‬
‫ﻜﻤﺎ ﺭﺒﻁ ) ‪ ( Broadbent‬ﻤﻔﻬـﻭﻡ ﺍﻟﻬﻭﻴـﺔ ﺒﻤﻌـﺎﻨﻲ ﺍﻟﺘﻔـﺭﺩ ﻭﺍﻟﺘﻤﻴﻴـﺯ ‪(individuality or‬‬
‫)‪ oneness‬ﻭﺍﺩﺭﺍﻙ ﺍﻟﻤﻜﺎﻥ ﻜﻭﺠﻭﺩ )ﻜﻴﻨﻭﻨﺔ( ﻤﻨﻔﺼل )‪ (separate entity‬ﻀـﻤﻥ ﺍﻟﻤﺩﻴﻨـﺔ ﻜﻜـل‪.‬‬
‫)‪ .(Broadbent, 1990, p. 277‬ﻭﻴﺅﻜﺩ )‪ (Portogesi‬ﻭﺠﻬﺔ ﺍﻟﻨﻅﺭ ﻫﺫﻩ ﺍﺫ ﻴﺭﻯ ﺍﻥ ﻭﻀﻭﺡ ﺍﻟﺼﻭﺭﺓ ﺍﻟﺫﻫﻨﻴﺔ‬
‫ﻴﻌﺘﻤﺩ ﻋﻠﻰ ﻭﺠﻭﺩ ﻫﻭﻴﺔ ﻤﻌﻤﺎﺭﻴﺔ ﻤﺤﺩﺩﺓ‪ .‬ﻭﺍﻥ ﻭﻀﻊ ﺴﻴﺎﺴﺎﺕ ﺘﺨﻁﻴﻁﻴﺔ ﻭﺘﺼﻤﻴﻤﻴﺔ ﻜﻔﻴل ﺒﺘﻜﻭﻴﻥ ﻁﺎﺒﻊ‬
‫ﻤﺤﺩﺩ ﻟﻠﺒﻴﺌﺔ ﻴﺴﻬل ﻋﻠﻰ ﺍﻟﻨﺎﺱ ﺍﺴﺘﺭﺠﺎﻋﻪ ﻭﺍﺴﺘﻘﺭﺍﺀﻩ ‪ ،‬ﻭﺫﻟﻙ ﺒﺘﻭﻅﻴﻑ )ﺍﻟﻤﺘﻐﻴﺭﺍﺕ( ﺍﻟﻤﻌﻤﺎﺭﻴـﺔ ﺍﻟﺘـﻲ‬
‫ﺘﺘﻨﺎﺴﺏ ﻤﻊ ﺍﻟﺒﻴﺌﺔ ﻤﻨﺎﺨﻴﹰﺎ ‪ ،‬ﺘﺭﺍﺜﻴﹰﺎ ‪ ،‬ﺘﺎﺭﻴﺨﻴﹰﺎ ‪ ،‬ﻭﺍﻗﺘﺼﺎﺩﻴﹰﺎ‪ .‬ﻜﻤﺎ ﺃﺸﺎﺭ )‪ (Portogesi‬ﺇﻟﻰ ﺇﻥ ﺍﻟﻬﻭﻴﺔ ﻫـﻲ‬
‫ﺸﺨﺼﻴﺔ ﺍﻟﻤﻜﺎﻥ ﻭﻫﻲ ﻤﺎ ﻴﺠﻌل ﺍﻟﻤﻜﺎﻥ ﻤﺘﻤﻴﺯﹰﺍ ﻋﻥ ﻏﻴﺭﻩ ﻤﻥ ﺍﻷﻤﺎﻜﻥ ﻭﻤﺄﻟﻭﻓـﹰﺎ ﻓـﻲ ﻨﻔـﺱ ﺍﻟﻭﻗـﺕ‪.‬‬
‫ﺍﻻ ﺍﻥ ﺍﻟﻬﻭﻴﺔ ‪ ،‬ﻤﻊ ﺫﻟﻙ‪ ،‬ﻟﻬﺎ ﻤﻌﺎﻥ ﺍﻜﺜﺭ ﺍﻫﻤﻴﺔ ﻭﻋﻤﻘﹰﺎ ﻤﻥ ﺨﺼﺎﺌﺼﻬﺎ ﺍﻟﺸﻜﻠﻴﺔ‬ ‫)‪. (Portoghesi, 1983, p. 61‬‬

‫ﻭﻭﻅﻴﻔﺘﻬﺎ ﺍﻟﻨﻔﻌﻴﺔ‪ .‬ﺍﺫ ﺍﻥ ﻫﻨﺎﻙ ﻤﺘﻌﺔ ﺤﻘﻴﻘﻴﺔ ﻟﻼﻨﺴﺎﻥ ﻓﻲ ﺘﺤﺴﺱ ﺍﻻﻤﻜﻨﺔ ﻭﺘـﺫﻭﻕ ﺍﻟﺘﺠﺭﺒـﺔ ﺍﻟﻤﻜﺎﻨﻴـﺔ‬
‫ﺒﻤﻼﻤﺤﻬﺎ ﺍﻟﻤﺘﻌﺩﺩﺓ )ﺘﺄﺜﻴﺭ ﺍﻻﺼﻭﺍﺕ ‪ ،‬ﺍﻻﺸﻜﺎل‪ ،‬ﺍﻻﻟﻭﺍﻥ‪ ،‬ﺍﻻﻀﺎﺀﺓ ‪ ..‬ﺍﻟﺦ( ‪ .‬ﻓﺎﻟﻤﻜﺎﻥ ﺍﻟﺠﻴﺩ ﻫﻭ ﺍﻟـﺫﻱ‬
‫ﻴﺼل ﺍﻟﻰ ﻜﺎﻓﺔ ﺍﻟﺤﻭﺍﺱ ‪ .‬ﻜﻤﺎ ﺘﻤﺜل ﺍﻻﻤﺎﻜﻥ ﺍﻟﻤﻌﺭﻓﺔ ﺍﻭﺘﺎﺩﹰﺍ ﻤﻼﺌﻤﺔ ﻨﻌﻠﻕ ﻋﻠﻴﻬﺎ ﺫﻜﺭﻴﺎﺘﻨـﺎ ﺍﻟﺸﺨـﺼﻴﺔ‬
‫ﻭﻤﺸﺎﻋﺭﻨﺎ ﻭﻗﻴﻤﻨﺎ ﺍﻟﺨﺎﺼﺔ‪ .‬ﻭﺒﺎﻟﺘﺎﻟﻲ‪ ،‬ﻓﺎﻥ ﺍﻟﻬﻭﻴﺔ ﺘﺴﻬﻡ ﺒﺸﻜل ﻓﻌﺎل ﻓـﻲ ﺍﻏﻨـﺎﺀ ﺍﻟﻤﻔﻬـﻭﻡ ﺍﻟـﺫﺍﻜﺭﻱ‬
‫)‪ (Memorability‬ﺍﻟﺫﻱ ﻴﻤﺜل ﺨﺼﺎﺌﺹ ﺍﻟﻤﻜﺎﻥ )ﺍﻭ ﺍﻻﺸﻴﺎﺀ( ﺍﻟﺘﻲ ﺘﺴﻬل ﻋﻤﻠﻴﺔ ﺨﺯﻨﻪ ﻓﻲ ﺍﻟـﺫﺍﻜﺭﺓ‬
‫)‪.(Schulz, 1980, p. 62‬‬ ‫ﺒﻌﻴﺩﺓ ﺍﻻﻤﺩ ﻭﺍﺴﺘﺩﻋﺎﺌﻪ ﻋﻨﺩ ﺍﻟﺤﺎﺠﺔ‬
‫ﻜﻤﺎ ﺍﺸﺎﺭﺕ ﺩﺭﺍﺴﺔ )ﻫﺩﻯ ﺍﻟﻌﻠﻭﺍﻥ( ﺍﻟﻰ ﺍﻟﺒﻴﺌﺎﺕ ﺍﻟﻐﻨﻴﺔ ﺒﺎﻟﺤﻴﻭﻴـﺔ )‪ (Vividness‬ﻭ ﺍﻟﺘـﺼﻭﻴﺭﻴﺔ‬
‫)‪ ، (Picturesque‬ﻭﺍﻟﺘﻨﻭﻉ )‪ (Diversity‬ﻤﻥ ﺨﻼل ﻁﺭﺤﻬﺎ ﻟﻤﺼﻁﻠﺢ )ﺍﻟﺘﻌﻘﻴﺩ ﺍﻻﺩﺭﺍﻜﻲ – ﺤﺴﻲ(‬
‫ﺍﻟﺫﻱ ﻴﻤﺜل ﺍﻟﻤﻭﺍﺯﻨﺔ ﺒﻴﻥ ﺍﻟﻔﻭﻀﻰ ﻭﺍﻟﺭﺘﺎﺒﺔ ‪ ،‬ﻤﻊ ﺍﻟﻐﻤﻭﺽ ﺍﻟﻔﻀﺎﺌﻲ ﻭﺍﻟﻤﻔﺎﺠﺄﺓ ﻭﺍﻻﺴﺘﻜـﺸﺎﻑ ﻭﺘﻌـﺩﺩ‬
‫ﺍﻟﺨﻴﺎﺭﺍﺕ ﺍﻟﺴﻠﻭﻜﻴﺔ ‪ ،‬ﺤﻴﺙ ﻴﺴﻬﻡ ﻜل ﺫﻟﻙ ﻓﻲ ﺘﺠﺭﺒﺔ ﺤﺴﻴﺔ ﻓـﻀﺎﺌﻴﺔ ﻤﺘﻜﺎﻤﻠـﺔ ﺘﺠـﺴﺩ ﺭﻭﺡ ﺍﻟﻤﻜـﺎﻥ‬
‫) اﻟﻌﻠﻮان ‪ ،2001 ،‬ص ص ‪-77‬‬ ‫)‪ (Genius Loci‬ﻭﺘﺤﻘﻕ ﻤﺴﺘﻭﻴﺎﺕ ﻋﺎﻟﻴﺔ ﻤﻥ ﺍﻟﺘﻔﺎﻋل ﺍﻟﺒﻴﺌﻲ ﻭﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ‪.‬‬
‫‪،‬ﻫﺫﺍ ﻭﺭﻜﺯﺕ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺴﺎﺒﻘﺔ ﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ﻋﻠﻰ ﺍﻻﺴﺘﺠﺎﺒﺔ ﺍﻟﺒﺼﺭﻴﺔ ﺩﻭﻥ ﺍﻻﺨﺫ ﺒﻨﻅﺭ ﺍﻻﻋﺘﺒﺎﺭ‬ ‫‪(80‬‬

‫ﺒﻘﻴﺔ ﺍﻻﺴﺘﺠﺎﺒﺎﺕ ﺍﻟﺤﺴﻴﺔ‪.‬‬

‫ﻋﺭﻓـﺕ ﺒﻤﻭﺠـﺏ‬
‫ﻭﺨﻼﺼﺔ ﻟﻤﺎ ﻭﺭﺩ ﺴﺎﺒﻘﺎ ﻤﻥ ﺘﻌﺎﺭﻴﻑ ﺍﻟﺤﻴﻭﻴﺔ ﻭﺍﻟﺘﻔﺭﺩ )‪ (Vividness‬ﻭﺍﻟﺘﻲ ‪‬‬
‫ﻤﻔﺎﻫﻴﻡ ﻤﺨﺘﻠﻔﺔ ‪ ،‬ﺘﻡ ﺠﻤﻌﻬﺎ ﻭﺒﻠﻭﺭﺘﻬﺎ ﻋﻠﻰ ﺍﺴﺎﺱ ﺍﻟﻤﻔﺎﻫﻴﻡ ﺍﻟﺘﻲ ﺘﻌﺭﻑ ﺍﻟﻤﺼﻁﻠﺢ ﺒﻤﻭﺠـﺏ ﺴـﻤﺎﺘﻪ‬
‫ﻭﺨﺼﺎﺌﺼﻪ ﻓﻘﺩ ﻭﺭﺩ ﻀﻤﻥ ﺍﻟﺘﻌﺎﺭﻴﻑ ﺍﻟﺴﺎﺒﻘﺔ ﺴﻤﺎﺕ ﻤﺘﻌﺩﺩﺓ ﻟﻤﺼﻁﻠﺢ ﺍﻟﺤﻴﻭﻴﺔ‪ ،‬ﻴﻤﻜﻥ ﺘﻠﺨﻴﺼﻬﺎ ﻓـﻲ‬
‫ﺍﻟﺘﻔﺭﺩ ﻭﺍﻟﻭﺤﺩﺍﻨﻴﺔ ﻟﻸﺸﻴﺎﺀ‪ ،‬ﺍﻻﻤﺘﻴﺎﺯ ‪ ،‬ﺍﻟﺠﻤﺎل ﺍﻟﺭﻤﺯﻱ ‪ ،‬ﺍﻟﻬﻭﻴﺔ ﻭﺍﻻﻨﺘﻤﺎﺀ ﻟﻠﻤﻜﺎﻥ ﻭﺍﻟﺯﻤﺎﻥ ) ﻭﺍﺭﺘﺒﺎﻁ‬
‫ﻤﻌﺎﻨﻴﻬﺎ ﻤﻊ ﻋﺎﻁﻔﺔ ﺍﻻﻨﺴﺎﻥ ﻭﺍﻓﻌﺎﻟﻪ ﻭﺫﻜﺭﻴﺎﺘﻪ( ‪ ،‬ﺍﺜﺎﺭﺓ ﺍﻟﺼﻭﺭ ﺍﻟﺫﻫﻨﻴﺔ ‪ ،‬ﺍﻟﺘﻌﻘﻴﺩ ﺍﻻﺩﺭﺍﻜﻲ ﺤﺴﻲ ﻤﻊ‬
‫ﺍﻟﻐﻤﻭﺽ ﺍﻟﻔﻀﺎﺌﻲ ﻭﺍﻟﻤﻔﺎﺠﺄﺓ ﻭﺍﻻﺴﺘﻜﺸﺎﻑ‪.‬‬

‫‪ 2.2.4‬ﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺡ ﻭﺍﻟﺘﻤﻴﻴﺯ ‪Distinctness‬‬

‫ﺍﻟﻤﻌﺎﻟﻡ‬ ‫ﻭﻀﻭﺡ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻀﻭﺀ‬ ‫ﺘﺴﻠﻴﻁ‬ ‫ﺍﻟﻔﻘﺭﺓ‬ ‫ﻫﺫﻩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻴﺤﺎﻭل‬
‫ﻭﺘﻤﻴﺯﻫﺎ )‪ 1(Distinctness‬ﺒﺎﻟﻨﺴﺒﺔ ﺇﻟﻰ ﻤﻔﺎﻫﻴﻡ ﺃﺨﺭﻯ ﻗﺩ ﺘﺘﺩﺍﺨل ﺃﻭ ﺘﺘﻘﺎﻁﻊ ﻤﻌﻪ ﻤﻥ ﺍﺠل ﺘﺤﺩﻴﺩ‬
‫ﺍﻟﻌﻼﻗﺔ ﺒﻴﻥ ﻫﺫﻩ ﺍﻟﻤﻔﺎﻫﻴﻡ ‪ .‬ﺇﺫ ﺇﻥ ﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺡ ﻗﺩ ﻴﺘﻘﺎﻁﻊ ﻤﻊ ﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺤﻴﺔ ﺍﻭ ﻗﺎﺒﻠﻴﺔ ﺍﻟﻘﺭﺍﺀﺓ‬
‫)‪ (legibility‬ﻭﻫﻭ ﻤﺼﻁﻠﺢ ﻭﺍﺴﻊ ﻭﺍﻜﺜﺭ ﺸﻤﻭﻟﻴﺔ ﻭﻴﻀﻡ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﻤﻔﺎﻫﻴﻡ ‪ ،‬ﻭﺍﻟﻌﻤﻠﻴﺎﺕ ﻭﺍﻟﻤﺭﺍﺤل‬
‫ﻤﻨﻬﺎ ﺍﻟﺘﻭﺠﻴﻪ )‪ (orientation‬ﻭﺇﻴﺠﺎﺩ ﺍﻟﻁﺭﻴﻕ )‪ . (way finding‬ﻭﻫﻲ ﺨﺎﺭﺝ ﺍﻁﺎﺭ ﺒﺤﺜﻨﺎ ﻫﺫﺍ ﻭﻜﻨﺎ‬
‫ﺍﺸﺭﻨﺎ ﺴﺎﺒﻘﺎ ﺍﻟﻰ ﺘﺤﻴﻴﺩﻫﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﺩﺭﺍﺴﺔ ‪.‬‬
‫ﻭﺘﺭﺩ ﻤﻔﺭﺩﺓ )‪ (Distinctness‬ﻤﻌﺠﻤﻴﺎ ﺒﻤﻌﻨﻰ ‪ :‬ﻭﺍﻀﺢ ﺍﻟﻤﻌﺎﻟﻡ ﺍﻟﻤﻤﻴﺯ‪ ،‬ﺍﻟﻤﺨﺘﻠﻑ ‪ ،‬ﻭﺒﻤﻌﻨﻰ‬
‫ﺍﻻﻨﻔﺼﺎل ﺍﻭ ﺍﻟﺘﻤﻴﺯ ﺍﻟﺫﻱ ﻴﻤﻨﻊ ﺍﻻﺭﺒﺎﻙ ﻭﺍﻟﺘﺸﻭﻴﺵ ﺒﻴﻥ ﺍﻻﺠﺯﺍﺀ ﺍﻭ ﺍﻻﺸﻴﺎﺀ ‪ .‬ﻭﺘﺄﺘﻲ ﺒﺎﻟﻀﺩ ﻤﻥ ﺍﻟﺘﺸﻭﺵ‬
‫‪ ،‬ﻭﻋﺩﻡ ﺍﻟﻭﻀﻭﺤﻴﺔ ‪ ،‬ﺍﻭﺍﻟﻐﻤﻭﺽ ‪.‬‬
‫‪Distinctness :The quality or state of being distinct ; separation or‬‬
‫‪difference that prevents confusion of parts or things.‬‬
‫)‪(Everest Dictionary,2009, http://www.free-soft.ro/everest/everest.html‬‬

‫ﻭﻤﻥ ﻤﺭﺍﺩﻓﺎﺕ ﻤﻔﺭﺩﺓ )‪ :(Distinctness‬ﺍﻟﻭﻀﻭﺤﻴﺔ ﻭﺍﻟﺠﻼﺀ )‪ ، (clearness‬ﺍﻟﺩﻗﺔ )‪(precision‬‬

‫‪ ،‬ﺍﻟﺘﻤﻴﺯ)‪ ،(discreteness‬ﺍﻹﺨـﺘﻼﻑ )‪ ، (dissimilarity‬ﺍﻟﻌـﺯل ﻭﺍﻟﻔـﺼل )‪. (separateness‬‬
‫)‪(Ibid,2009‬‬
‫ﻭﺘﻭﺭﺩﻫﺎ ﺒﻌﺽ ﺍﻟﻤﻌﺎﺠﻡ ﺒﻤﻌﻨﻰ ﺍﻟﻤﻤﻴﺯ ﺒﺴﻬﻭﻟﺔ ﺒﻭﺍﺴﻁﺔ ﺍﻟﺤﻭﺍﺱ ﺍﻭ ﺍﻟﻌﻘل ‪ ،‬ﻤﺜل ‪:‬ﺍﻟﻨﻜﻬﺔ ﺍﻟﻤﻤﻴﺯﺓ‬
‫ﺍﻟﻤﻌﺭﻓﺔ ﺒﻭﻀﻭﺡ ‪.‬‬
‫‪Easily discrete perceived by the senses or intellect; clear : a distinct flavor‬‬
‫‪http://www.thefreedictionary.com/distinctness‬‬

‫ﺭﻜﺯ )‪ (Appleyard‬ﻓﻲ ﺒﺤﺜﻪ ﺍﻟﻤﻭﺴﻭﻡ )‪ ،(Why Buildings are Known, 1980‬ﻋﻠﻰ ﻤﻔﻬﻭﻡ‬
‫ﻭﻀﻭﺡ ﺍﻟﻤﻌﺎﻟﻡ ﻭﺭﻜﹼﺯ ﻋﻠﻰ ﺼﻔﺎﺕ ﺍﻟﺸﻜل ﺍﻟﻔﻴﺯﻴﺎﺌﻲ )‪ (form attributes‬ﺍﻟﺘﻲ ﺘﺴﻬﻡ ﺒﺸﻜل ﻓﺎﻋل ﻓـﻲ‬
‫ﺘﺤﻘﻴﻕ ﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺤﻴﺔ‪ ،‬ﺍﺫ ﻋ ‪‬ﺩ ﻋﺎﻤل ﺍﻟﺤﺩﻭﺩ ﺍﻟﻭﺍﻀﺤﺔ )‪ (clear contours‬ﻤﻥ ﺍﻫﻡ ﻋﻭﺍﻤل ﺍﻟـﺸﻜل‬
‫ﺍﻟﺘﻲ ﺘﻤﻴﺯ ﺍﻟﻌﻨﺼﺭ ﻋﻤﺎ ﻴﺤﻴﻁ ﺒﻪ ﻭﺘﺒﺭﺯﻩ ﻤﻥ ﺨﻼل ﻤﺤﻴﻁﻪ‪ .‬ﻭﻤﻥ ﺜﻡ ﻋﻭﺍﻤل )ﺘﻌﻘﻴﺩ ﺍﻟﻭﺍﺠﻬﺎﺕ ﻭﺍﻟﻠـﻭﻥ‬
‫ﻓﻴﻤﺎ ﺘﻌﺭﻑ ﺩﺭﺍﺴﺎﺕ ﺃﺨﺭﻯ ﻭﻀﻭﺡ ﺍﻟﻤﻌﺎﻟﻡ ﻋﻠﻰ ﺃﻨﻬﺎ ﺩﺭﺠـﺔ‬ ‫)ﺍﻟﻌﻠﻭﺍﻥ ‪ ،2001 ،‬ص ‪(14‬‬ ‫ﻭﺍﻀﺎﺀﺓ ﺍﻟﺴﻁﺢ(‪.‬‬
‫ﺍﻟﺘﻤﻴﻴﺯ ﺍﻟﺘﻲ ﺘﻤﻜﻥ ﺍﻟﻨﺎﻅﺭ ﺍﻟﻤﺴﺘﺨﺩﻡ ﻟﻠﺒﻴﺌﺔ ﺍﻟﺤﻀﺭﻴﺔ ﻤﻥ ﻭﺼﻑ ﻜل ﻤﺎ ﻴﺤﻴﻁ ﺒﻪ ‪.‬‬
‫)‪(Thierry R. & Gabriel m. ,1998, p. 1‬‬

‫‪1‬‬
‫‪Distinctness=1.Readily distinguishable from all others 2. Easily discrete perceived by the senses or‬‬
‫‪intellect; clear : a distinct flavor 3. Clearly defined .‬‬
‫‪dis·tinct ly adv . dis·tinct ness n.‬‬
‫‪Distinctiveness = Serving to identify; distinguishing‬‬
‫‪distinc tive ·ly adv. distinc tive ·ness n.‬‬ ‫‪http://www.thefreedictionary.com/distinctness‬‬
‫ﻭﻴﺭﻯ ﺍﻟﺒﺤﺙ ﺘﻁﺎﺒﻕ ﺘﻌﺭﻴﻑ ﻭﻀﻭﺡ ﺍﻟﻤﺒﺎﻨﻲ ﻤﻥ ﺍﻟﺨﺎﺭﺝ ﻤﻊ ﻭﻀﻭﺡ ﺍﻟﻤﺒﺎﻨﻲ ﻭﺍﻟﻔـﻀﺎﺀﺍﺕ ﻤـﻥ‬
‫ﺍﻟﺩﺍﺨل ﺒﻨﻔﺱ ﺍﻟﻤﻔﻬﻭﻡ ‪ .‬ﻭﺍﻥ ﻜﺎﻨﺕ ﺍﻟﺘﻌﺎﺭﻴﻑ ﺍﻟﺴﺎﺒﻘﺔ ﺘﻁﺭﻗﺕ ﺍﻟﻰ ﻋﻭﺍﻤل ﺘﻤﻴﻴﺯ ﺍﻻﺸﻜﺎل ﺒﺎﻟﻌﻼﻗﺔ ﻤﻊ‬
‫ﺍﻟﻤﺤﻔﺯﺍﺕ ﺍﻟﺒﺼﺭﻴﺔ ﻭﻟﻡ ﺘﺘﻁﺭﻕ ﺍﻟﻰ ﺍﻟﻤﺤﻔﺯﺍﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻻﺨﺭﻯ ‪.‬‬
‫ﻓﻴﻤﺎ ﺘﻁﺭﻗﺕ ﺩﺭﺍﺴﺎﺕ )‪ 1 (Rapoport‬ﺍﻟﻰ ﺍﻟﻜﻴﻔﻴﺔ ﺍﻟﺘﻲ ﻴﺘﻡ ﺘﻤﻴﻴﺯ ﺍﻻﻤﺎﻜﻥ ﻭﺘﺼﻨﻴﻔﻬﺎ ﺒﻬـﺎ ‪(how‬‬
‫)‪ ، places are distinguished‬ﺤﻴﺙ ﻋﺩ ﺍﻻﻤﺎﻜﻥ ﻜﻌﻨﺎﺼـﺭ )‪ (elements‬ﻭﺍﺸـﺘﺭﻁ ﺍﻥ ﺘﻜـﻭﻥ‬
‫ﻤﻤﻴﺯﺓ ﻭﻤﺼﻨﻔﺔ ﺒﺎﺨﺘﻼﻑ ﻗﺒل ﺍﻥ ﻴﺘﻡ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﺴﻭﺍﺀ ﻓـﻲ ‪ :‬ﺍﻟﺘﻭﺠﻴـﻪ )‪ ، (orientation‬ﺍﻟﺘﻌﺭﻴـﻑ‬
‫ﺍﻟﺸﺨﺼﻲ ﻟﻠﻤﻨﺎﻁﻕ )‪ ، (subjective definition of areas‬ﺍﻟﻤـﺴﺎﻓﺎﺕ ﺍﻟﺸﺨـﺼﻴﺔ ‪(subjective‬‬
‫)‪ . distances‬ﻭﺍﻗﺘﺭﺡ )‪ (Rapoport‬ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﺘﻠﻤﻴﺤﺎﺕ )‪ (list of cues‬ﺍﻟﺘﻲ ﻴﺨﺘﺎﺭ ﺍﻻﺸﺨﺎﺹ‬
‫ﻤﻨﻬﺎ ﺸﻤﻠﺕ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻻﺨﺘﻼﻓﺎﺕ )‪ (difference‬ﻭﻫﻲ‪ :‬ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻟﻔﻴﺯﻴﺎﺌﻴﺔ ﺍﻭﻻ ‪ ،‬ﻭﺍﻟﺘﻲ ﻀﻤﺕ‬
‫ﺍﻟﻤﺤﻔﺯﺍﺕ ﺍﻟﺒﺼﺭﻴﺔ ‪ ،‬ﺍﻟﻠﻤﺴﻴﺔ ‪ ،‬ﺍﻟﺸﻤﻴﺔ ‪ ،‬ﻭﺍﻟﺴﻤﻌﻴﺔ ‪ ،‬ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴـﺔ ﺜﺎﻨﻴـﹰﺎ ‪ ،‬ﻭﺍﻻﺨﺘﻼﻓـﺎﺕ‬
‫)‪(Rapoport,1977, pp.229,233‬‬ ‫ﺍﻟﻤﺅﻗﺘﺔ ﺜﺎﻟﺜﺎ ‪.‬‬
‫ﻭﻴﻌﻁﻲ ) ‪ ( Rapport‬ﻤﺜﺎﻻ ﻟﻤﺩﻴﻨﺔ "ﺯﻨﺠﺒﺎﺭ" ﺍﻟﺘﻲ ﺘﺘﺄﻟﻑ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻤـﺴﺎﺤﺎﺕ ﺍﻟﻤﺘﺠﺎﻨـﺴﺔ‬
‫ﺒﺎﻟﻌﺭﻕ ﻭﺍﻟﺩﻴﻥ ﺍﻻ ﺍﻨﻬﺎ ﻤﺨﺘﻠﻔﺔ ﺒﺼﺭﻴﺎ ﻭﻓﻀﺎﺌﻴﺎ ﻀﻤﻥ ﻤﺼﻁﻠﺤﺎﺕ ﺍﻟﺤﺭﻑ ‪ ،‬ﺍﻟـﺭﻭﺍﺌﺢ ‪ ،‬ﺍﻟﻤﻭﺴـﻴﻘﻰ ‪،‬‬
‫ﺍﻟﺴﻜﺎﻥ ﻋﻠﻰ ﺍﺨﺘﻼﻑ ﺍﺸﻜﺎﻟﻬﻡ ﻭﺍﺴﺎﻟﻴﺒﻬﻡ ‪ .‬ﻭﻴﻌﻤل ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﺩﻴﻨﺔ ﻋﺩﺩ ﻤﻥ ﺍﻟﺘﻠﻤﻴﺤـﺎﺕ ﻤﻌـﹰﺎ ﻟﺘﻘﻭﻴـﺔ‬
‫ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻟﻤﻼﺤﻅﺔ ﻭﻟﺘﺤﻘﻴﻕ ﻏﻨﻰ ﺍﻜﺒﺭ ﻤﻥ ﺨﻼل ‪ :‬ﺍﻟﺘﻨﻭﻴﻊ ﻓﻲ ﺍﻟﻔﻌﺎﻟﻴﺎﺕ ‪ ،‬ﺍﻨﻤﺎﻁ ﺍﻟﻤﺴﺎﻟﻙ ‪ ،‬ﻁـﺭﺯ‬
‫ﺍﻟﻤﻌﻴﺸﺔ )‪ ، (lifestyle‬ﺒﺎﺸﺭﺍﻙ ﺍﻟﺘﻠﻤﻴﺤﺎﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻟﻤﺘﻌﺩﺩﺓ ﺍﻻﺴـﺘﺠﺎﺒﺎﺕ )‪. (multi sensory cues‬‬
‫ﻓﺎﻟﻔﻌﺎﻟﻴﺎﺕ ﻫﻲ ﺍﻤﺎﻜﻥ ﻤﻤﻴﺯﺓ ‪ ،‬ﻭﻴﺨﻠﻕ ﻜل ﻤﻥ ﻤﺸﻬﺩ ﺍﻟﻔﻌﺎﻟﻴـﺎﺕ )‪ ، (activity scene‬ﺍﻻﺸـﺨﺎﺹ ‪،‬‬
‫ﺍﻻﻟﻭﺍﻥ ‪ ،‬ﺍﻟﻀﻭﻀﺎﺀ ‪ ،‬ﺭﻭﺍﺌﺢ ﺍﻟﻁﻌﺎﻡ ‪ ،‬ﺴﺭﻋﺔ ﺍﻟﺤﺭﻜﺔ ﻭﺍﻟﻨﺸﺎﻁ ﻤﺎ ﺒﻴﻥ ﻤﻨﻁﻘﺔ ﺤﻴﻭﻴﺔ ﻭﺍﺨﺭﻯ ﻫﺎﺩﺌـﺔ‬
‫‪( Ibid., 1977, pp.233-234).‬‬ ‫ﺘﻤﻴﺯﺍ ﻟﻠﻤﻨﺎﻁﻕ‬
‫ﻜﻤﺎ ﺍﺸﺎﺭ )‪ (Rapoport‬ﺍﻟﻰ ﺍﻫﻤﻴﺔ ﺍﻟﻨﺒﺎﺘﺎﺕ ﻭﺍﻻﺸﺠﺎﺭ ﻓﻲ ﺍﻟﺒﻴﺌﺎﺕ ﺍﻟﺤﻀﺭﻴﺔ ﻭﺩﻭﺭﻫﺎ ﻓـﻲ ﺘﺄﺴـﻴﺱ‬
‫ﻫﻭﻴﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ )‪ ، (social identity‬ﺤﻴﺙ ﻴﻨﻬﻤﻙ ﺍﻻﺸﺨﺎﺹ ﻓﻲ ﺘﻁﻭﻴﺭ ﺘﺤﺴﺱ ﻋﺎﻟﻲ ﻟﻤﺜـل ﻫـﺫﻩ‬
‫ﺍﻟﻌﻨﺎﺼﺭ ﻓﻲ ﺜﻘﺎﻓﺔ ﺘﻜﻭﻥ ﻓﻴﻬﺎ ﺍﻻﻟﻭﺍﻥ ‪ ،‬ﺍﻻﺼﻭﺍﺕ ‪ ،‬ﻭﺍﻟﺭﻭﺍﺌﺢ ﻤﻬﻤﺔ ‪ ،‬ﻭﺘﺴﺘﺨﺩﻡ ﻓﻲ ﺘﻤﻴﻴـﺯ ﺍﻟﻤﻨـﺎﻁﻕ‬
‫ﺍﻟﺤﻀﺭﻴﺔ ﻋﻥ ﺘﻠﻙ ﺍﻻﻗل ﺍﻫﻤﻴﺔ ﻟﺘﺄﺘﻲ ﺍﻻﻟﻭﺍﻥ ﻓﻲ ﺍﻟﻤﻘﺩﻤﺔ ﻭﻴﺘﺒﻌﻬـﺎ ﻜـل ﻤـﻥ ﺍﻻﺼـﻭﺍﺕ ﻭﺍﻟـﺭﻭﺍﺌﺢ‬
‫ﻜﺎﺨﺘﻼﻓﺎﺕ ﻓﻀﺎﺌﻴﺔ )‪ (spatial distinctions‬ﻤﻤﻴﺯﺓ‪ ، (Ibid., 1977, p.228).‬ﺤﻴﺙ ﻴﺸﻴﺭ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﺍﻟﻰ‬
‫ﺍﻫﻤﻴﺔ ﺍﻟﻤﺘﻨﺯﻫﺎﺕ ﺍﻟﺼﻐﻴﺭﺓ )‪ (small parks‬ﻓﻲ ﺍﻟﻤﻨﺎﻁﻕ ﺍﻟﺴﻜﻨﻴﺔ ﻭﺘﻤﻴﺯﻫﺎ ﻀﻤﻥ ﻤﺨﻁﻁ ﺍﻻﺴﺘﻌﻤﺎﻻﺕ‬
‫ﺍﻟﻤﻬﻴﻤﻥ ﺍﻻﻜﺒﺭ ‪ .‬ﻤﻭﻓﺭﺓ ﻤﻨﻁﻘﺔ ﻓﺼل ﻭﺍﻨﻘﻁﺎﻉ ﻓﻲ ﺍﻟﻨﺴﻴﺞ ﺍﻟﺤﻀﺭﻱ ‪ ،‬ﻤﻥ ﺨﻼل ﺍﻟﺤﺎﻓﺎﺕ ‪ ،‬ﺍﻀﺎﻓﺔ ﺍﻟﻰ‬
‫ﺍﻟﺘﻐﻴﺭﺍﺕ ﻓﻲ ﺍﻟﺘﻠﻤﻴﺤﺎﺕ ﺍﻟﺤﺭﺍﺭﻴﺔ ‪ ،‬ﺍﻟﺸﻤﻴﺔ ‪ ،‬ﻭﺍﻟﺴﻤﻌﻴﺔ ‪ .‬ﻜﻤﺎ ﻴﻘﺘﺭﺡ ﺍﻟﻤﺭﺍﻗﺒﻭﻥ – ﺍﻟﻤﺘﻠﻘﻭﻥ ‪ -‬ﺍﻟﻌﺎﻤـﺔ‬
‫)‪ (informal‬ﻋﻨﺎﺼﺭ ﻤﻼﺤﻅﺔ ﻤﻊ ﺍﻟﺯﻤﻥ ﺒﺸﻜل ﻤﺨﺘﻠﻑ ﻤﺜل ﺍﻟﻤﻨﺎﻅﺭ ﺍﻟﻤﺎﺌﻴﺔ ﻭﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﻤﻔﺘﻭﺤﺔ ﻓﻲ‬
‫ﺍﻟﻤﻨﺎﻁﻕ ﺍﻟﻤﺒﻨﻴﺔ ﻟﺘﻤﺜل ﻤﺎ ﻴﺸﺒﻪ ﺍﻟﺸﻭﺍﺨﺹ ﺒﺎﻟﻨﺴﺒﺔ ﻟﻠﺘﻭﺠﻴﻪ ‪ .‬ﻭﻫﺫﻩ ﻴﺘﻡ ﺘﻘﻭﻴﺘﻬﺎ ﻻﺤﻘﹰﺎ ﻤﻥ ﺨﻼل ﺠﺯﺀ ﺍﻭ‬

‫‪ 1‬ﻟﻤﺰﻳ ﺪ ﻣ ﻦ اﻟﺘﻔ ﺼﻴﻞ ﻴﻤﻜﻥ ﺍﻟﺭﺠﻭﻉ ﻟﻁﺭﻭﺤﺎﺕ ‪ Amos Rapoport‬ﻓـﻲ ﻜﺘﺎﺒـﻪ " ‪– 1971 Human Aspects of Urban Form‬‬
‫اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ ‪ ،‬ص ‪.133‬‬
‫ﻤﺸﻬﺩ ﺫﻭ ﺍﻫﻤﻴﺔ ﺨﺎﺼﺔ ﻴﺭﻜﺯ ﺍﻻﻨﺘﺒﺎﻩ ﻭﻴﺅﻜﺩ ﻋﻠﻰ ﺍﻟﻤﻌﺎﻨﻲ ﺍﻻﺸﺩ ﺍﺸﺭﺍﻗﺎ ‪ .‬ﻭﻴﺼﻌﺏ ﻋﺎﺩﺓ ﺍﻨﺘﺎﺝ ﺍﻟﺘﻌﻘﻴـﺩ‬
‫)‪(Ibid., 1977, p.228‬‬ ‫ﻓﻲ ﺍﻟﺤﺎﻻﺕ ﺍﻟﺘﻲ ﻻ ﻴﻤﻜﻥ ﻓﻴﻬﺎ ﺍﺩﺭﺍﻙ ﻤﺜل ﻫﺫﻩ ﺍﻟﺘﻨﻭﻴﻌﺎﺕ ‪) .‬ﺍﻟﺸﻜل ‪(2-4‬‬

‫ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻟﺒﺴﻴﻁﺔ ﺼﻌﺒﺔ‬

‫ﺍﻟﻤﻼﺤﻅﺔ‬
‫‪Some differences may‬‬
‫‪not be noticed‬‬

‫ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻟﻘﻭﻴﺔ‬
‫ﺍﻭﻀﺢ ﻭﺍﺴﻬل ﻓﻲ ﺍﻟﻤﻼﺤﻅﺔ‬
‫‪Strong differences are‬‬
‫‪much more likely to be‬‬
‫‪noticed‬‬

‫ﺍﻟﺸﻜل )‪ ( 2-4‬ﺘﺄﺜﻴﺭ ﺍﻟﺘﻨﻭﻴﻊ ﻭﺍﻟﺘﻐﻴﻴﺭ ﻓﻲ ﺍﻋﻁﺎﺀ ﻫﻭﻴﺔ ﻟﻠﻤﻨﺎﻁﻕ ﻭﺘﻘﻭﻴﺔ ﺒﻘﺎﺀﻫﺎ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ)‪(Rapoport, 1977, p.228‬‬

‫ﻭﻴﺸﻴﺭ )‪ (Rapoport‬ﺍﻟﻰ ﺍﻥ ﻋﻨﺎﺼﺭ ﺍﻟﺘﻨﻭﻉ ﻓﻲ ﺍﻟﺸﻜل ﻭﺍﻟﻬﻴﺌﺔ ‪ ،‬ﺍﻟﻠـﻭﻥ ‪ ،‬ﺍﻟﻤـﻭﺍﺩ ‪ ،‬ﺍﻟﻤﻠﻤـﺱ ‪،‬‬
‫ﻭﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﺠﺩﺭﺍﻥ ‪ ،‬ﺍﻟﺒﻭﺍﺒﺎﺕ ‪ ،‬ﺍﻟﻔﻨﺎﺀﺍﺕ ﺍﻟﺦ ‪ ،‬ﺍﻟﺘﻲ ﺘﺅﺸﺭ ﺠﻤﻴﻌﹰﺎ ﺍﺤﺩﻯ ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻟﻭﺍﻀﺤﺔ ﺍﻟﻘﺎﺒﻠـﺔ‬
‫ﺴﺎﺒﻘ ﹰﺎ‪( Rapoport, 1977, p.235).‬‬ ‫ﻟﻠﻤﻼﺤﻅﺔ ﻴﺘﻡ ﺘﻘﻭﻴﺘﻬﺎ ﻤﻥ ﺨﻼل ﺍﻟﺘﻠﻤﻴﺤﺎﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻟﺘﻲ ﺘﻡ ﺸﺭﺤﻬﺎ‬
‫ﺘﻤﺕ ﺍﻻﺸﺎﺭﺓ ﻓﻲ ﺍﻟﻔﺼل ﺍﻟﺜﺎﻨﻲ‪ 1‬ﺍﻟﻰ ﺍﻋﺘﻤﺎﺩ ﺍﻟﻤﺨﻁﻁﺎﺕ ﻭﺍﻟﺼﻭﺭ ﺍﻟﺫﻫﻨﻴﺔ ﺍﻟﻭﺍﻀﺤﺔ ﻋﻠﻰ ﺍﻟﻔﻜـﺭﺓ‬
‫ﺍﻟﻘﺩﻴﻤﺔ )ﻟﻠﺸﻜل ‪/‬ﺍﻷﺭﻀﻴﺔ ‪ ، ( figure/ground‬ﻭﺍﻟﺘﻲ ﺘﻡ ﺘﻭﻗﻴﻌﻬﺎ ﻀﻤﻥ ﺘﺸﻜﻴل ﺘﻨﻅﻴﻤﻲ ﺠﺩﻴﺩ ‪ ،‬ﻓﻘـﺩ‬
‫ﺍﺴﺘﺨﺩﻡ )‪ ( Malnar & Vodvarka‬ﻤﻔﻬﻭﻡ )ﺍﻟﺘﻌﻘﻴﺩ ‪ /‬ﺍﻟﺘﻤﺎﺴﻙ( ‪ ،‬ﻭﺍﻀـﺎﻓﺎ ﺍﻟﻴـﻪ ﺘـﺼﻨﻴﻔﹰﺎ ﺍﺴـﻤﻴﺎﻩ‬
‫)ﺍﻟﺴﻴﺎﻗﻴﺔ ‪ (contextual‬ﺍﻟﺫﻱ ﻴ‪‬ﺸﻴﺭ ﺍﻟﻰ ﺍﻟﺒﻴﺎﻨﺎﺕ ﺍﻟﺤﺴﻴﺔ )‪ (sensory data‬ﺍﻟﺘﻲ ﺘﺒﺩﻭ ﺍﻨﻬﺎ ﺍﻤﺎ ﺘﺼﻨﻑ‬
‫ﻜﺄﺭﻀﻴﺔ ﺍﻭ ﺸﻜل ﺍﻻ ﺍﻨﻬﺎ ﻭﻤﻊ ﺫﻟﻙ ﺍﺴﺎﺴﻴﺔ ﻭﺠﻭﻫﺭﻴﺔ ﻟﻤﻁﺎﺒﻘﺔ ﺍﻭ ﺘﻌﻴﻴﻥ ﻫﻭﻴﺔ ﺍﻤﺎﻜﻥ ﻤﻌﻴﻨﺔ ﺍﻭ ﻤﺤﺩﺩﺓ ‪،‬‬
‫ﻭﺍﻟﺘﻲ ﺘﻜﻭﻥ ﻤﺘﻜﺎﻤﻠﺔ ﻤﻊ ﺸﺨﺼﻴﺔ ﺍﻟﻔﻀﺎﺀ ﻭﻻ ﻴﻜﻑ ﺍﻟﻤﺭﺍﻗﺏ ﻋﻥ ﻤﻼﺤﻅﺘﻬﺎ ﻀﻤﻥ ﻤﺼﻁﻠﺢ )ﺍﻟﺸﻜل ‪/‬‬
‫ﺍﻷﺭﻀﻴﺔ(‪ .‬ﻭﻜﺎﻥ ﻫﺩﻑ ﺍﻟﺒﺎﺤﺜﻴﻥ ﺭﺴﻡ ﺍﻟﻔﻀﺎﺀ )‪ (charted‬ﻀﻤﻥ ﻤـﺼﻁﻠﺤﺎﺕ ﺨﺼﺎﺌـﺼﻪ ﺍﻟﺤـﺴﻴﺔ‬
‫ﺒﺎﺴﻠﻭﺏ ﺘﺤﻠﻴﻠﻲ ﻋﻠﻰ ﺃﺴﺎﺱ "ﻤﺨﻁﻁﺎﺘﻬﻤﺎ ﻟﻠﻭﻀﻭﺤﻴﺔ" ﻟﻴﺼﻑ ﻜل ﺤﻘل ﺍﻤﺘـﺩﺍﺩ ﻭﻀـﻭﺡ )ﺍﻟـﺸﻜل ‪/‬‬
‫ﺍﻷﺭﻀﻴﺔ( ﻟﺤﺎﺴﺔ ﻤﻌﻴﻨﺔ ‪.‬‬

‫ﻜﻤﺎ ﺘﻡ ﺍﻻﺸﺎﺭﺓ ﺍﻟﻰ ﺍﻨﻤﺎﻁ ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻔﻀﺎﺌﻴﺔ ﺍﻻﺭﺒﻌﺔ ﻓﻲ ﺤﺴﻥ ﺘﻤﻴﻴﺯ ﺍﻟﺘﺸﻜﻴﻼﺕ ﺍﻟﺤﻴﺯﻴﺔ ‪ :‬ﺍﻟﺘﻌﻘﻴﺩ ‪،‬‬
‫ﺍﻟﺘﻤﺎﺴﻙ ‪ ،‬ﺍﻟﻭﻀﻭﺤﻴﺔ ‪ ،‬ﻭﺍﻟﻐﻤﻭﺽ ‪ ،‬ﻭﻓﻴﻬﺎ ﻴﺘﻡ ﻓﻬﻡ ﺍﻟﺘﻌﻘﻴﺩ ﺍﻟﺫﻱ ﻴﻼﺯﻡ )ﺍﻟﺠﺯﺀ ﺍﻟﻤﻨﻔﺭﺩ( ﻓﻘﻁ ﻤﻘﺎﺒل‬
‫ﺘﻤﺎﺴﻙ )ﺍﻟﻨﻤﻭﺫﺝ ﺍﻷﻜﺒﺭ( ‪ ،‬ﻭﺍﻥ ﻭﻀﻭﺤﻴﺔ ﻫﺫﻩ ﺍﻟﻌﻼﻗﺔ ﻫﻲ ﺍﻟﺘﻲ ﺘﻤﻨﺢ ﺍﻟﻭﻀﻭﺡ ﻭﺤﺴﻥ ﺍﻟﺘﻤﻴﻴﺯ ‪ .‬ﻭﻓﻲ‬
‫ﻫﺫﺍ " ﺍﻟﺒﻨﺎﺀ " ‪ ،‬ﻴ‪‬ﺸﻴﺭ ﺍﻟﺘﻌﻘﻴﺩ )‪ (complexity‬ﺍﻟﻰ ﺍﻟﺘﺭﺍﻜﺏ )‪ (intricacy‬ﻓﻲ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻭ ﺍﻟﺘﻔﺎﺼﻴل‬
‫ﺍﻟﻤﻘﺩﻤﺔ ﻓﻲ ﻤﻭﻗﻊ ﻤﺤﺩﺩ ‪ ،‬ﻓﻲ ﺤﻴﻥ ﻴﺸﻴﺭ ﻤﺼﻁﻠﺢ ﺍﻟﺘﻤﺎﺴﻙ ‪) coherence‬ﻟﻠﺘﺭﺍﺒﻁ ﺍﻟﻤﻨﻁﻘﻲ ﺍﻭ‬
‫ﺍﻟﺘﺭﺍﺒﻁﻴﺔ ( ﻭﺍﻟﻰ )ﺍﻟﺘﺤﺴﺱ ﺒﺎﻟﻨﻅﺎﻡ ‪ ، (sense of order‬ﻭﺍﻟﻤﻌﺭﻓﺔ ﺒﺎﻟﻤﺤﻴﻁ ﺍﻻﻜﺒﺭ ‪ ،‬ﻭﻴﻭﺤﻲ ﻫـﺫﺍﻥ‬
‫ﺍﻻﻋﺘﺒﺎﺭﺍﻥ ﻋﻨﺩ ﺃﺨﺫﻫﻤﺎ ﻤﻌﹰﺎ ﺒﺎﻻﻋﺘﺒﺎﺭ ﺒﻌﻼﻗﺔ )ﺸﻜل – ﺃﺭﻀﻴﺔ ( ‪ .‬ﻭﺒﺫﺍ ﻴﺘﻡ ﺍﻟﺘﺄﻜﻴﺩ ﻋﻠﻰ ﺍﻋﺘﻤﺎﺩﻴﺔ‬
‫ﺍﻟﻭﻀﻭﺡ ﺍﻭ ﺍﻟﻘﺎﺒﻠﻴﺔ ﻋﻠﻰ ﺘﺸﻜﻴل ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻭﺍﻀﺤﻪ ﻋﻠﻰ ﻫﺫﻩ ﺍﻟﺘﺭﺍﺒﻁﺎﺕ ) ﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻤﺘﺒﺎﺩﻟﺔ ( ‪.‬‬

‫‪ 1‬اﻟﻔﻘﺮة ]‪ [6.2‬اﻟﻤﺨﻄﻄﺎت اﻟﺬهﻨﻴﺔ واﻟﺼﻮر اﻟﺬهﻨﻴﺔ ص ‪79‬‬

‫ﻭﺒﺄﻥ ﺍﻟﺒﻴﺎﻨﺎﺕ ﺍﻟﺘﻲ ﺘﺘﻀﻤﻥ " ﺍﻟﺘﻌﻘﻴﺩ ﻭﺍﻟﺘﻤﺎﺴﻙ " ﺘﻔﻬﻡ ﻤﻥ ﺨﻼل ﺤﻭﺍﺴﻨﺎ ﻭﻴﺘﻡ ﺘﻔﻌﻴﻠﻬﺎ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻤﻥ‬
‫ﻼ‬
‫ﻨﺎﺤﻴﺔ ﺜﺎﻨﻴﺔ ‪ .‬ﻓﻲ ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﻴﻤﻨﺢ ﺍﻟﻐﻤﻭﺽ ﻓﻴﻪ ﺒﻼ ﺸﻙ ﺸﻴﺌﹰﺎ ﻤﻥ ﺍﻟﺒﻬﺠﺔ ﻭﺍﻟﻤﺘﻌﺔ ‪ ،‬ﺍﻻ ﺍﻨﻪ ﻟﻴﺱ ﻋﺎﻤ ﹰ‬
‫ﺤﺎﺴﻤﹰﺎ ﻓﻲ ﻓﻬﻡ ﻭﺍﺩﺭﺍﻙ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻔﻀﺎﺌﻴﺔ ﺒﻨﻔﺱ ﺍﻟﻁﺭﻴﻘﺔ ﺍﻟﺘﻲ ﺘﺅﺜﺭ ﻓﻴﻬﺎ ﺍﻟﻌﻭﺍﻤل ﺍﻷﺨﺭﻯ ‪.‬‬
‫)‪(Malnar & Vodvarka ,2004, p.234‬‬

‫ﻴﺭﻯ ﺍﻟﺒﺤﺙ ﺍﻫﻤﻴﺔ ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺘﻲ ﺍﺸﺎﺭ ﺍﻟﻴﻬﺎ )‪ (Rapoport‬ﻭﺍﻤﻜﺎﻨﻴﺔ ﺍﺴﺘﻐﻼﻟﻬﺎ ﻓﻲ ﺍﻟﻔﻀﺎﺀﺍﺕ‬
‫ﺍﻟﺩﺍﺨﻠﻴﺔ ﻟﺨﻠﻕ ﻫﻭﻴﺔ ﻭﺍﻀﺤﺔ ﻭﻤﻤﻴﺯﺓ ﻟﻠﻔﻀﺎﺀﺍﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ ﻋﻠﻰ ﺤﺩ ﺴﻭﺍﺀ ﻜﺎﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺤﻀﺭﻴﺔ ‪،‬‬
‫ﻟﺘﻤﺜل ﺸﻭﺍﺨﺹ ﻭﺍﻀﺤﺔ ﺍﻟﻤﻌﺎﻟﻡ ﺘﺒﻘﻰ ﺍﻜﺜﺭ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ‪ .‬ﻭﺒﺼﻭﺭﺓ ﻋﺎﻤﺔ ‪ ،‬ﻴﺘﻔﻕ ﺍﻟﺒﺤﺙ ﻤﻊ ﻜل ﻤﻥ‬
‫)‪ (Malnar & Vodvarka‬ﻓﻲ ﺃﻥ ﺍﻟﺒﻴﺎﻨﺎﺕ ﺍﻟﺘﻲ ﺘﺘﻀﻤﻥ " ﺍﻟﺘﻌﻘﻴﺩ ﻭﺍﻟﺘﻤﺎﺴﻙ " ﺘﻔﻬﻡ ﻤﻥ ﺨﻼل‬
‫ﺤﻭﺍﺴﻨﺎ ﻭﻴﺘﻡ ﺘﻔﻌﻴﻠﻬﺎ ﻓﻲ ﺍﻟﺫﺍﻜﺭﺓ ﻤﻥ ﻨﺎﺤﻴﺔ ﺜﺎﻨﻴﺔ ‪ ،‬ﺤﻴﺙ ﻴﺘﻡ ﻓﻬﻡ ”ﺍﻟﺘﻌﻘﻴﺩ“ ﺍﻟﺫﻱ ﻴﻼﺯﻡ )ﺍﻟﺠﺯﺀ‬
‫ﺍﻟﻤﻨﻔﺭﺩ( ﻓﻘﻁ ﻤﻘﺎﺒل ”ﺘﻤﺎﺴﻙ“ )ﺍﻟﻨﻤﻭﺫﺝ ﺍﻷﻜﺒﺭ( ‪ ،‬ﻭﺍﻥ ﻭﻀﻭﺡ ﻫﺫﻩ ﺍﻟﻌﻼﻗﺔ ﻴﺤﻘﻕ ﻜل ﻤﻥ ﻭﻀﻭﺡ‬
‫ﺍﻟﺼﻭﺭﺓ ﺍﻟﺫﻫﻨﻴﺔ ﺒﺤﺴﻥ ﺘﻤﻴﻴﺯ ﺍﻟﺒﻴﺎﻨﺎﺕ ﻭﺍﻟﺘﻠﻤﻴﺤﺎﺕ ﺍﻟﺤﺴﻴﺔ ﺒﺎﻟﻤﻌﻨﻰ ﺍﻟﺸﺎﻤل ‪ ،‬ﻭﺍﻟﻭﻀﻭﺤﻴﺔ ﻭﻗﺎﺒﻠﻴﺔ‬
‫ﺍﻟﻘﺭﺍﺀﺓ ﺒﺎﻟﻤﻌﻨﻰ ﺍﻻﺸﻤل ﻭﺍﻻﻭﺴﻊ ‪ ،‬ﻭﺒﺎﻥ ﻫﻨﺎﻙ ﺘﺩﺭﺠﺎ ﻓﻲ ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻟﻤﺤﺘﻤﻠﺔ ﻭﺍﻟﻘﺎﺒﻠﺔ ﻟﻠﻤﻼﺤﻅﺔ‬
‫ﻋﻠﻰ ﻜل ﺍﻟﻤﻘﺎﻴﻴﺱ ﻭﻜل ﺍﻻﻨﻭﺍﻉ ﻭﺒﺎﺴﺘﺨﺩﺍﻡ ﻜل ﺍﻻﻨﻤﺎﻁ ﺍﻟﺤﺴﻴﺔ ‪ ،‬ﻭﻓﻲ ﺤﺎﻟﺔ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﻓﺎﻥ ﺫﻟﻙ ﻴﺅﻜﺩ‬
‫ﻭﻴﺸﺩﺩ ﻋﻠﻰ ﺍﻻﺨﺘﻼﻓﺎﺕ ﻤﺎ ﺒﻴﻥ ﺍﻻﻤﺎﻜﻥ ﻭﺍﻟﻔﻀﺎﺀﺍﺕ ‪ ،‬ﻭﻴﺯﻴﺩ ﻤﻥ ﺍﻟﺘﻌﻘﻴﺩ ‪ ،‬ﻭﻴﺴﺎﻋﺩ ﻓﻲ ﺘﻌﺭﻴﻑ‬
‫ﺍﻟﻤﺴﺎﺤﺎﺕ ‪ ،‬ﻫﻴﻜﻠﺔ ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻭﺍﻀﺤﺔ ‪ .‬ﻭﻜﻠﻤﺎ ﻜﺒﺭ ﺍﻟﻤﺒﻨﻰ ‪ ،‬ﻭﺍﺼﺒﺢ ﻴﻀﻡ ﻤﺠﺎﻤﻴﻊ ﻤﻥ ﺍﻟﻔﻀﺎﺀﺍﺕ‬
‫ﺍﻟﺩﺍﺨﻠﻴﺔ )‪ (clusters of spaces‬ﺍﻟﻤﺭﺘﺒﻁﺔ ﺒﺸﺒﻜﺎﺕ ‪ ،‬ﻓﺎﻥ ﺍﻻﺨﺘﻼﻓﺎﺕ ﻤﺎ ﺒﻴﻥ ﻫﺫﻩ ﺍﻟﻌﻨﺎﺼﺭ‬
‫ﻭﺍﻻﻨﺘﻘﺎﻻﺕ ﻤﺎ ﺒﻴﻨﻬﻡ ﻴﺠﺏ ﺍﻥ ﺘﺼﺒﺢ ﺍﻭﻀﺢ ﻭﺍﻗﻭﻯ ‪ ،‬ﻭﺘﺯﺩﺍﺩ ﻫﺫﻩ ﺍﻻﻫﻤﻴﺔ ﻋﻤﺎ ﻓﻲ ﺍﻟﻤﺒﺎﻨﻲ ﺍﻟﺼﻐﻴﺭﺓ‪.‬‬

‫‪ .1‬ﺒﻨﻴﺔ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺩﺍﺨﻠﻲ‬

‫ﺠﺭﺕ ﻋﺩﺓ ﺩﺭﺍﺴﺎﺕ ﻟﺘﺼﻨﻴﻑ ﻤﻜﻭﻨﺎﺕ ﺍﻟﺒﻨﻴﺔ ﺍﻟﻤﻜﺎﻨﻴﺔ ‪ ،‬ﺍﺴﺘﻨﺩﺕ ﻤﻌﻅﻤﻬﺎ ﻋﻠﻰ ﺩﺭﺍﺴـﺔ )‪(Lynch‬‬
‫ﺍﻟﺭﺍﺌﺩﺓ )‪ (The Image of the City,1960‬ﻭﺍﻟﺘﻲ ﺍﺜﺒﺕ ﻓﻴﻬﺎ ﺍﻥ ﺍﻟﻤﺩﻴﻨﺔ ﺍﻭ ﺍﻴﺔ ﺒﻴﺌﺔ ﻤﺒﻨﻴﺔ ﺘﻜﻭﻥ ﻗﺎﺩﺭﺓ‬
‫ﻋﻠﻰ ﺘﻭﻟﻴﺩ ﺼﻭﺭ ﺫﻫﻨﻴﺔ ﻗﻭﻴﺔ ﻭﻤﺘﻤﺎﺴﻜﺔ ﻋﻨﺩ ﺃﻱ ﻤﺘﻠﻕ ‪ ،‬ﺍﺫﺍ ﻜﺎﻥ ﻤﻥ ﺍﻟﻤﻤﻜﻥ ﻓﻬﻤﻬﺎ ﺒﺼﻴﻐﺔ ﺍﻨﻤﺎﻁ ﺸﻜﻠﻴﺔ‬
‫)‪ (formal patterns‬ﺫﺍﺕ ﺍﺴﺘﻤﺭﺍﺭﻴﺔ ﻭﺤﻀﻭﺭ ﻋﺎﻟﻴﻴﻥ ﻤﻊ ﻭﺠﻭﺩ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻻﺠﺯﺍﺀ ﺍﻟﻤﺘﻤﻴﺯﺓ ﻋﻥ‬
‫ﺒﻌﻀﻬﺎ ﻭﺍﻟﻤﺘﻤﻔﺼﻠﺔ ﺒﺸﻜل ﻭﺍﻀﺢ ﻭﻤﻘﺭﻭﺀ‪ .‬ﻭﺘﻭﺼـل )‪ (Lynch‬ﺍﻟـﻰ ﺍﻥ ﺼـﻭﺭﺓ ﺍﻟﻤﺩﻴﻨـﺔ ‪(city‬‬
‫)‪ Image‬ﻤﺒﻨﻴﺔ ﺤﻭل ﺴﻠﺴﻠﺔ ﻤﻥ ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﻨﻤﻁﻴﺔ ﺍﻟﻤﻬﻤﺔ ﻟﻬﻴﻤﻨﺘﻬﺎ ﺍﻟﺒﺼﺭﻴﺔ ﻭﺍﻟﺘﻲ ﻴـﺴﺘﺨﺩﻤﻬﺎ ﺍﻟﻨـﺎﺱ‬
‫ﻋﺎﺩﺓ ﻓﻲ ﺒﻨﺎﺀ ﻤﺨﻁﻁﺎﺘﻬﻡ ﺍﻟﺫﻫﻨﻴﺔ ﻋﻥ ﺍﻟﻤﻜﺎﻥ ﻭﻫـﻲ ‪ :‬ﺍﻟﻤـﺴﺎﺭﺍﺕ ﻭﺍﻟﺤﺎﻓـﺎﺕ ﻭﺍﻟﻘﻁﺎﻋـﺎﺕ ﻭﺍﻟﻌﻘـﺩ‬
‫ﻭﺍﻟﺘﻲ ﺴﺒﻕ ﻭﺍﺸﺎﺭ ﺍﻟﺒﺤﺙ ﺍﻟﻰ ﺍﻤﻜﺎﻨﻴﺔ ﺍﺴﺘﻌﺎﺭﺘﻬﺎ ﻓﻲ ﺍﻟﻔﻀﺎﺀﺍﺕ‬ ‫)ﺍﻟﻌﻠﻭﺍﻥ ‪ ، 2001 ،‬ﺹ ‪(64‬‬ ‫ﻭﺍﻟﺸﻭﺍﺨﺹ ‪.‬‬
‫ﺍﻟﺩﺍﺨﻠﻴﺔ ‪ .1‬ﻭﻴﻤﻜﻥ ﺘﺼﻨﻴﻑ ﻋﻨﺎﺼﺭﻫﺎ ﺍﻟﻰ ‪ :‬ﺍﻟﻤﺴﺎﻟﻙ ﻭﺍﻟﻤﻤﺭﺍﺕ )‪ ، (corridors‬ﻭﺍﻟﺤﺎﻓـﺎﺕ ﻤﻤﺜﻠـﺔ‬
‫ﺒﺎﻟﻤﺴﺎﺤﺎﺕ ﺍﻟﻔﺎﺼﻠﺔ ‪ ،‬ﻭﺍﻟﻘﻁﺎﻋﺎﺕ‪-‬ﻤﻤﺜﻠﺔ ﺒﺎﻟﻤﺴﺎﺤﺎﺕ ﺍﻟﺘﻲ ﺘﻤﺘﻠﻙ ﺸﺨﺼﻴﺎﺕ ﻤﻌﺭﻓﺔ ﺒـﺸﻜل ﻭﺍﻀـﺢ‪-‬‬
‫) ﻜﻤﻨﺎﻁﻕ ﺍﻻﻨﺘﻅﺎﺭ‪ ،‬ﻗﻁﺎﻉ ﺍﻟﻤﻁﺎﻋﻡ ‪ ،‬ﻗﻁﺎﻉ ﺍﻟﺘﺴﻭﻕ ‪ ،‬ﻤﻨﺎﻁﻕ ﻟﻌﺏ ﺍﻻﻁﻔـﺎل ( ‪ ،‬ﻭﺍﻟﻌﻘـﺩ ﺍﻭ ﺍﻟﻨﻘـﺎﻁ‬

‫‪ 1‬ﺗﻢ اﺳﺘﻌﺮاﺿﻬﺎ ﺑﺎﻟﺘﻔﺼﻴﻞ ﺿﻤﻦ اﻟﻔﻘﺮة ]‪ [1.6.2‬ﺗﺼﻨﻴﻒ اﻟﻌﻨﺎﺻﺮ اﻟﺘﻲ ﺗﺸﻜﻞ اﻟﺼﻮر اﻟﺬهﻨﻴﺔ ‪ ،‬ص‪ - 85‬اﻟﻔﺼﻞ اﻟﺜﺎﻧﻲ‬
‫ﺍﻟﺒﺅﺭﻴﺔ )‪ ، (focal points‬ﻭﺍﺨﻴﺭﺍ ﺍﻟﺸﻭﺍﺨﺹ ﻭﺍﻟﺘﻲ ﺘﻤﺜل ﻋﻨﺎﺼﺭ ﻤﻤﻴﺯﺓ ﻀـﻤﻥ ﻤﺤﻴﻁﻬـﺎ ﻤﻜﻭﻨـﺔ‬
‫)ﺍﻟﺸﻜل( ﻓﻲ ﺩﺭﺍﺴﺎﺕ )ﺍﻟﺸﻜل‪-‬ﺍﻟﺨﻠﻔﻴﺔ( ﺍﻟﮕﺸﺘﺎﻟﺘﻴﺔ‪.‬‬
‫ﻫﺫﺍ ﻭﺘﺘﻤﺜل ﺍﻟﻤﻜﻭﻨﺎﺕ ﺍﻻﺴﺎﺴﻴﺔ ﻟﻠﻔﻀﺎﺀ ﺍﻟﺩﺍﺨﻠﻲ ﺒﻌﻨﺼﺭﻴﻥ ﺍﺴﺎﺴـﻴﻴﻥ ﻫﻤـﺎ ﺍﻟﻜﺘﻠـﺔ ﻭﺍﻟﻔـﻀﺎﺀ ‪.‬‬
‫ﻭﻴﺘﺩﺍﺨل ﻫﺫﺍﻥ ﺍﻟﻌﻨﺼﺭﺍﻥ ﻤﻊ ﺒﻌﻀﻬﻤﺎ ﻓﻲ ﺘﻜﻭﻴﻥ ﺍﻟﺒﻨﻴﺔ ﺒﺎﻟﺸﻜل ﺍﻟﺫﻱ ﻴﺠﻌل ﻤﻥ ﺍﻟﺼﻌﺏ ﺍﻟﻔﺼل ﺒﻴﻨﻬﻤﺎ‬
‫ﻭﺍﻋﻁﺎﺀ ﺍﻻﻭﻟﻭﻴﺔ ﻻﺤﺩﻫﻤﺎ‪ .‬ﻭﻴﺘﻤﺜل ﺠﻭﻫﺭ ﺍﻟﺘﺼﻤﻴﻡ ﻓﻲ ﻁﺒﻴﻌﺔ ﺘﻨﻅﻴﻡ ﺍﻟﻌﻼﻗﺔ ﺍﻟﻤﺘﺒﺎﺩﻟـﺔ ﺒـﻴﻥ ﻫـﺫﻴﻥ‬
‫ﺍﻟﻌﻨﺼﺭﻴﻥ ﻤﻥ ﺠﺎﻨﺏ‪ ،‬ﻭﺍﺭﺘﺒﺎﻁﻬﻤﺎ ﺒﺎﻻﻨﺴﺎﻥ ﻤﻥ ﺠﺎﻨﺏ ﺁﺨﺭ ‪ .‬ﻭﺘﺭﻜﺯ ﻁﺭﻭﺤﺎﺕ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺩﺍﺨﻠﻲ ﻋﻠﻰ‬
‫ﻤﻔﺭﺩﺓ ﺍﻟﻜﺘﻠﺔ ﻤﻥ ﺨﻼل ﺍﻟﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻟﺩﺍﺨل ﻭﺍﻟﺨﺎﺭﺝ ‪ ،‬ﻭﺍﻻﺤﺘﻤﺎﻻﺕ ﺍﻟﻤﺘﻭﻓﺭﺓ ﻟﻤﺘﻐﻴﺭﺍﺕ ﻫﺫﻩ ﺍﻟﻌﻼﻗﺔ ﻤﻥ‬
‫ﺨﻼل ﺘﺤﻘﻴﻕ ﺨﺎﺼﻴﺔ ﺍﻟﺸﻔﺎﻓﻴﺔ ﺒﻴﻥ ﺍﻟﺩﺍﺨل ﻭﺍﻟﺨﺎﺭﺝ ‪ ،‬ﺍﻭ ﻤﻥ ﺨﻼل ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻻﻨﺘﻘﺎﻟﻴﺔ ‪ ،‬ﻭﻴﻤﻜـﻥ ﺍﻥ‬
‫ﻨﻌﺩ ﺍﻟﺩﺍﺨل ﻋﺎﻜﺴﺎ ﻟﻠﻌﻨﺎﺼﺭ ﺍﻟﺨﺎﺭﺠﻴﺔ ﻭﺍﻟﺨﺎﺭﺝ ﻤﻌﺒﺭﺍ ﻋﻥ ﺍﻟﺴﻤﺎﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ ‪ ،‬ﺤﻴﺙ ﻨﺼل ﺍﻟﻰ ﻨﻘﻁﺘﻴﻥ‬
‫ﺍﻤﺎ ﺍﻥ ﻴﻜﻭﻥ ﺍﻟﺩﺍﺨل ﻭﺍﻟﺨﺎﺭﺝ ﻋﺎﻟﻤﻴﻥ ﻤﻔﺼﻭﻟﻴﻥ ﻋﻥ ﺒﻌﻀﻬﻤﺎ ﺍﻟﺒﻌﺽ ﻤﻊ ﻭﺠﻭﺩ ﺘﻼﺼﻕ ﺒﺎﻟﻁﺒﻊ ‪ ،‬ﻭﺍﻤﺎ‬
‫ﻓﻲ ﺤﺎﻟﺔ ﺍﻟﺘﻼﺼﻕ ﻓﻤﻥ ﺍﻟﻤﺤﺘﻤل ﻭﻨﺘﻴﺠﺔ ﻟﻠﺫﺍﻜﺭﺓ ﺍﻥ ﻨﺭﻯ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺩﺍﺨﻠﻲ ﻓﻲ ﻋﻼﻗﺔ ﻤﻊ ﺍﻟﺨﺎﺭﺝ ‪.‬‬
‫ﻭﻴﺸﻴﺭ ﺍﻟﺒﺎﺤﺙ ﺍﻟﺴﺎﻴﻜﻭﻟﻭﺠﻲ )‪ (Arnheim‬ﺍﻟﻰ ﺍﻟﻤﻅﻬﺭ ﺍﻟﻤﻌﻠﻭﻤﺎﺘﻲ ﻟﻠﻤﻨﺸﺄ ﻭﺍﻟﺫﻱ ﻴﺤﻤـل ﺩﺍﺨﻠـﻪ‬
‫ﺒﻌﺽ ﺍﻻﺴﺭﺍﺭ ﺍﻟﻔﻀﺎﺌﻴﺔ ﻤﻭﻓﺭﺍ ﺇﺜﺭﺍﺀﺍ ﺫﻭﻗﻴﺎ ﻭﻋﺎﻜﺴﺎ ﺼﺭﺍﻋﺎ ﺩﺭﺍﻤﻴﺎ ﻓﻲ ﺍﻟﺘﺨﻁﻴﻁ ﻤﻥ ﺍﻟـﺩﺍﺨل ﺍﻟـﻰ‬
‫ﺍﻟﺨﺎﺭﺝ ‪ ،‬ﻭﻤﺘﺴﺎﺌﻼ ﻋﻥ ﻤﺩﻯ ﺤﺎﺠﺔ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺩﺍﺨﻠﻲ ﻻﻥ ‪ُ‬ﻴﺸﺎﺭ ﻟﻪ ﻤﻥ ﺍﻟﺨﺎﺭﺝ‪.‬‬
‫)‪(Malnar &Vodvarka ,1992,p.37-43‬‬
‫ﻓﻴﻤﺎ ﻴﻌﺩ ) ‪ ( Schulz‬ﺍﻟﻌﻭﺍﻤل ﺍﻟﻤﺅﺜﺭﺓ ﻋﻠﻰ ﺍﻟﻌﺎﻤل ﺍﻟﻜﺘﻠﻲ ﻤﺤﺩﺩﺍ ﺍﻴﺎﻫﺎ ﺒﺎﻟﻔﺘﺤﺎﺕ ‪ ،‬ﺍﻟﻭﺍﺠﻬـﺎﺕ ‪،‬‬
‫ﺍﻻﻀﺎﺀﺓ ‪ ،‬ﺍﻟﻠﻭﻥ ‪ ،‬ﺍﻟﻤﻠﻤﺱ ‪ ،‬ﻭﻁﺭﻴﻘﺔ ﻤﻌﺎﻟﺠﺔ ﺍﻻﺭﻜﺎﻥ )ﺘﺩﻭﻴﺭﻫﺎ ﺍﻭ ﻜـﺴﺭﻫﺎ ﺃﻭ ﺠﻌﻠﻬـﺎ ﻤـﺴﺘﻤﺭﺓ( ‪.‬‬
‫ﻭﻴﺸﻜل ﺍﻟﻠﻭﻥ ﻭﺍﻟﻤﻠﻤﺱ ﻭﺍﻻﻀﺎﺀﺓ ﻤﻌﺎﻨﻲ ﺍﺨﺭﻯ ﻤﻬﻤﺔ ﻓﻲ ﺘﻌﺭﻴﻑ ﻋﻨﺎﺼﺭ ﺍﻟﻜﺘﻠﺔ ‪ ،‬ﻓﻔﻲ ﺍﻟﻭﻗﺕ ﺍﻟـﺫﻱ‬
‫ﻴﺠﻌل ﻤﻠﻤﺱ ﻤﻌﻴﻥ ‪ -‬ﻻﻤﻊ ﻭﻤﺸﻊ ﺍﻟﺴﻁﺢ ﻤﺜﻼ ‪ -‬ﺍﻟﻜﺘﻠﺔ ﺘﺫﻭﺏ ﻭﺘﺘﻼﺸﻰ ﻓﺎﻥ ﺴﻁﺢ ﺍﺨﺭ ﻴﺅﻜـﺩ ﻗـﻭﺓ‬
‫ﻭﺘﺭﻜﻴﺯ ﺍﻟﻜﺘﻠﺔ ﺒﻌﻜﺴﻪ ‪ ،‬ﻭﺒﺎﻻﺴﺘﺨﺩﺍﻡ ﺍﻟﺼﺤﻴﺢ ﻟﻼﻟﻭﺍﻥ ﻴﻤﻜﻥ ﻓﺼل ﺍﻟﻜﺘﻠﺔ ﻭﺘﻤﻴﻴﺯﻫﺎ ﻋﻥ ﻤﺠﺎﻭﺭﺍﺘﻬـﺎ ‪،‬‬
‫ﻭﺍﺨﻴﺭﺍ ﻓﺎﻥ ﺍﻻﻀﺎﺀﺓ ﻫﻲ ﺍﻟﺘﻲ ﺘﺸﻜل ﺍﻟﻬﻴﺌﺔ ﻭﺘﺅﻜﺩ ﺸﻜل ﺍﻟﻜﺘﻠﺔ ‪ .‬ﻭﻴﻌﺘﻤـﺩ ﺸـﻜل ﺍﻟـﺼﻭﺭﺓ–‪(figure‬‬
‫)‪ character‬ﻟﻌﻨﺼﺭ ﺍﻟﻜﺘﻠﺔ ﺍﻴﻀﺎ ﻋﻠﻰ ﻅﺎﻫﺭﺓ ﺍﻟﺜﺒﻭﺘﻴﺔ )ﻓﺎﻟﻜﺘل ﻏﻴﺭ ﺍﻟﻤﻨﺘﻅﻤﺔ ﺒﻌﻜﺱ ﺍﻟﻜـﺭﺓ ﺘﺨـﺴﺭ‬
‫ﺸﺨﺼﻴﺘﻬﺎ ﻋﻨﺩ ﺍﻟﻨﻅﺭ ﺍﻟﻴﻬﺎ ﻤﻥ ﺯﻭﺍﻴﺎ ﻤﺨﺘﻠﻔﺔ ‪ ،‬ﻭﺒﻬﺫﺍ ﻴﻤﻜﻥ ﺍﻟﻘﻭل ﺍﻥ ﻋﻨﺼﺭ ﺍﻟﻜﺘﻠﺔ ﻴﺘﺸﻜل ﻭﻴﺄﺨﺫ ﻫﻴﺌﺘﻪ‬
‫ﺒﻬﻨﺩﺴﻴﺔ ﻁﺒﻭﻏﺭﺍﻓﻴـﺔ ﺸـﻜﻠﻪ )‪ (Schulz,1980,p.135) (topological–geometrical form‬ﻭﺘـﺸﻴﺭ‬
‫ﻁﺭﻭﺤﺎﺕ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺩﺍﺨﻠﻴﺔ ﺍﻟﻰ ﺍﻟﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻟﻜﺘﻠﺔ ﻭﺍﻟﻔﻀﺎﺀ ﻤﻥ ﺨﻼل ﺠﻤﻠﺔ ﺍﻓﻜﺎﺭ ﺍﻫﻤﻬﺎ‪:‬‬

‫ﺃ‪ .‬ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺩﺍﺨﻠﻴﺔ ﺍﻟﻤﻨﺤﻭﺘﺔ ‪Sculptured Interior Architecture‬‬

‫ﻭﺘﻨﺘﺞ ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﺍﻟﻔﻀﺎﺀ )ﻤﻨﺤﻭﺘﺎ ﺍﻭ ﻤﺤﻔﻭﺭﺍ( ﻤﻥ ﻜﺘﻠﺔ ﺼﻠﺩﺓ ‪ ،‬ﺍﻭ ﻴﻜﻭﻥ ﻤﺸﻴﺩﺍ ﺒﻤﻭﺍﺩ ﻜﺘﻠﻴﺔ ﺘﺒﺩﻭ‬
‫ﻭﻜﺄﻨﻬﺎ ﻤﻨﺤﻭﺘﺔ ﻟﺘﻜﻭﻥ ﻋﻼﻗﺔ ﺍﻴﺠﺎﺒﻴﺔ ‪ /‬ﺴﻠﺒﻴﺔ ﻤﻤﻴﺯﺓ ﻓﻲ ﺨﻠﻕ ﻓﻀﺎﺀ ﺩﺍﺨﻠﻲ ﺜﻼﺜﻲ ﺍﻻﺒﻌـﺎﺩ ﻗـﻭﻱ ‪ .‬ﺍﻥ‬
‫ﺴﻤﻙ )‪ (thickness‬ﻭﺍﻟﻭﺯﻥ )‪ (weight‬ﻴﻘﻭﻴﺎﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻜﺘﻠﻴﺔ ﺍﻟﺜﻼﺜﻴﺔ ﺍﻟﺒﻌﺩ ﺒﻴﻨﻤﺎ ﺘﻌﻤل ﺍﻟﻌﻨﺎﺼﺭ‬
‫ﺍﻟ ‪‬‬
‫ﺍﻟﻤﺴﻁﺤﺔ ﻭﺍﻟﺭﻓﻴﻌﺔ ﻋﻜﺱ ﺫﻟﻙ ‪ ،‬ﺍﻥ ﺍﻟﻤﻬﺎﺭﺓ ﻓﻲ ﺍﻟﻤﻭﺍﺯﻨﺔ ﻤﺎﺒﻴﻥ ﺍﻟﺼﻼﺩﺓ ﻭﺍﻟﻔﺭﺍﻍ ﻴﺨﻠﻕ ﺍﺤﺴﺎﺴﺎ ﻤﻤﺘﻌﺎ‬
‫ﻟﻠﻔﻀﺎﺀ‪(Kurtich & Eakin, 1993, p.119).‬‬ ‫ﻭﻤﺜﻴﺭﺍ‬
 ‫ﺏ‪ .‬ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺩﺍﺨﻠﻴﺔ ﺍﻟﻤﺸﻴﺩﺓ ‪Constructed Interior Architecture‬‬
‫ﻭﻴﺤﺼل ﻫﺫﺍ ﺍﻟﺘﻭﺠﻪ ﺒﺼﻭﺭﺓ ﻤﻌﺎﻜﺴﺔ ﻟﻠﺘﻭﺠﻪ ﺍﻻﻭل ﺤﻴﺙ ﺍﻥ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﻤﺭﻜﺒﺔ ﺘﺤﺩﺙ ﻤﻥ ﺨﻼل‬
‫ﺇﻀﺎﻓﺔ ﺍﺸﻜﺎل ﻤﻌﻤﺎﺭﻴﺔ ﻟﺘﻁﻭﻴﺭ ﺍﻟﺤﺠﻡ ‪ ،‬ﺍﻥ ﻫﺫﻩ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻻﻀﺎﻓﻴﺔ )‪ (additive process‬ﺘﺘﺒﻨﻰ ﻋـﺎﺩﺓ‬
‫ﻟﺨﻠﻕ ﻓﻀﺎﺀﺍﺕ ﻤﺘﺩﺍﺨﻠﺔ ﻤﺘﻌﺎﺸﻘﺔ ‪ ،‬ﻭﻤﻥ ﺨﻼل ﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﻤﻭﺍﺩ ﺍﻟﺸﻔﺎﻓﺔ ﺍﻭ ﺍﻟﺤﻭﺍﺠﺯ ﺍﻟﻤﺸﺒﻜﺔ ﻭﺍﻟﻬﻴﺎﻜـل‬
‫ﻭﺍﻻﻁﺭ ﺍﻟﻤﺠﺭﺩﺓ )‪ (bones of building and base frames‬ﻴﻤﻜﻥ ﺘﺯﻭﻴﺩ ﺍﻟﻔـﻀﺎﺀﺍﺕ ﺒﻤـﺴﺘﻭﻴﺎﺕ‬
‫ﻋﺎﻟﻴﺔ ﻤﻥ ﺍﻟﻁﺎﻗﺔ ﻭﺍﻻﺜﺎﺭﺓ ‪ .‬ﺍﻥ ﻫﺫﻩ ﺍﻟﻁﺎﻗﺔ ﺘﺘﻭﻟﺩ ﻤﻥ ﺨﻼل ﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﺸﻔﺎﻓﻴﺔ ﺍﻟﺘـﻲ ﺘﻜـﺸﻑ ﺍﻟﺤﺭﻜـﺔ‬
‫ﺍﻟﻤﻜﺎﻨﻴﺔ ﻭﻁﺎﻗﺔ ﺍﻟﻅل ﻭﺍﻟﻀﻭﺀ ‪ ،‬ﺍﻟﻜﺘﻠﺔ ﻭﺍﻟﻔﺭﺍﻍ ‪ ،‬ﺍﻥ ﺍﻟﺘﻨﺎﻗﺽ ﺍﻟﻤﺘﺸﻜل ﻤﻥ ﺍﻟﻜﺘل ﺍﻟﻤﻀﻐﻭﻁﺔ ﻭﺍﻟﺤﺠﻭﻡ‬
‫ﺍﻟﻐﻨﻴﺔ ﺍﻟﻭﺍﺴﻌﺔ ﺍﻟﺭﺤﺒﺔ ﻴﻤﻜﻨﻪ ﺍﻥ ﻴﺨﻠﻕ ﻓﻀﺎﺀﺍﺕ ﺩﺍﺨﻠﻴﺔ ﺘﺒﻘﻰ ﻓﻲ ﺍﻟـﺫﺍﻜﺭﺓ ‪(memorable interior‬‬
‫‪( Ibid ,1993,p.123-125).‬‬ ‫)‪space‬‬

‫ﻴﺭﻯ ﺍﻟﺒﺤﺙ ﺇﻥ ﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺤﻴﺔ ﻤﻔﻬﻭﻡ ﻭﺍﺴﻊ ﻭﺸﺎﻤل ﻭﻴﻌﺘﺒﺭ ﺼﻔﺔ ﻟﻘﻴـﺎﺱ ﻨﻭﻋﻴـﺔ ﺍﻟﺒﻴﺌـﺔ‬
‫ﺍﻟﺩﺍﺨﻠﻴﺔ ﻋﻠﻰ ﺤﺩ ﺴﻭﺍﺀ ﻜﻤﺎ ﻓﻲ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺤﻀﺭﻴﺔ ‪ ،‬ﻭﻫﻭ ﻤﺒﻨﻲ ﻋﻠﻰ ﺃﺴﺎﺱ ﺍﻻﺘﺼﺎل ﻭﺍﻟﺘﻔﺎﻋـل ﻤـﻊ‬
‫ﻤﻜﻭﻨﺎﺕ ﺍﻟﺒﻴﺌﺔ ﺍﻟﺩﺍﺨﻠﻴﺔ )ﺍﻹﻨﺴﺎﻥ ‪-‬ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ( ﻭﻴﻀﻡ ﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺤﻴﺔ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﻌﻤﻠﻴﺎﺕ ﺫﺍﺕ‬
‫ﺍﻻﺭﺘﺒﺎﻁ ﺍﻟﻤﺒﺎﺸﺭ ﺒﻪ ﺍﻟﺘﻲ ﺘﺒﺩﺃ ﻤﻊ ﺃﻭل ﺨﻁﻭﺓ ﻤﻥ ﺤﺭﻜﺔ ﺍﻹﻨﺴﺎﻥ ﻭﺘـﻀﻡ ﻋﻤﻠﻴـﺎﺕ ﺍﻟﻤﻁﺎﺒﻘـﺔ ﺒـﻴﻥ‬
‫ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺘﻲ ﻴﺘﺴﻠﻤﻬﺎ ﺍﻹﻨﺴﺎﻥ ﻤﻥ ﺍﻟﺒﻴﺌﺔ ﻤﻊ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺘﻲ ﻴﺨﺯﻨﻬﺎ ﻓﻲ ﺫﺍﻜﺭﺘﻪ ﻭﺘﻘﻴﻡ ﻨﺘﺎﺌﺠﻬﺎ ‪،‬‬
‫ﻭﻴﺴﻌﻰ ﺍﻟﺒﺤﺙ ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻟﻤﻔﻬﻭﻡ ﺍﻟﻭﻀﻭﺤﻴﺔ ﻫﻨﺎ ﺍﻟﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻭﻀﻭﺡ ﻤﻌـﺎﻟﻡ ﺍﻟـﺼﻭﺭﺓ ﺍﻟﺫﻫﻨﻴـﺔ‬
‫ﺍﻟﻨﺎﺘﺠﺔ ﻤﻥ ﻭﻀﻭﺤﻴﺔ ﺍﻹﻟﻤﺎﺤﺎﺕ ﺍﻟﺒﻴﺌﻴﺔ )‪ (environmental cues‬ﺍﻟﺘﻲ ﺘﺴﺘﺨﺩﻡ ﻓﻲ ﺘﻌﺭﻴﻑ ﺍﻟﻤﻜﺎﻥ‬
‫ﻭﺘﺤﻴﻴﺩ ﺍﻟﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻭﻀﻭﺤﻴﺔ ﺍﻟﺘﻭﺠﻴﻪ ﻭﺍﻴﺠﺎﺩ ﺍﻟﻁﺭﻴﻕ ﻭﺒﻤﺎ ﻴﺨﺩﻡ ﻫﺩﻑ ﺍﻟﺒﺤﺙ ‪.‬‬
‫ﺍﺫ ﺘﺸﻴﺭ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﺒﺤﻭﺙ ﻭﺍﻟﺩﺭﺍﺴﺎﺕ ﺍﻟﺴﺎﻴﻜﻭﻓﻴﺯﻴﺎﺌﻴﺔ ﺍﻟﻰ ﺍﻥ ﻨـﺴﺒﺔ ﻜﺒﻴـﺭﺓ ﻤـﻥ ﻤﻜﻭﻨـﺎﺕ‬
‫ﻭﻋﻨﺎﺼﺭ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ ﺘﺒﻘﻰ ﺩﻭﻥ ﻤﺴﺘﻭﻯ ﺍﻻﺩﺭﺍﻙ ﺍﻟﺤﺴﻲ ﻭﺍﻟﺫﻫﻨﻲ ﺍﻟﻭﺍﻋﻲ ﻟﻤﻌﻅﻡ ﻤﺴﺘﻌﻤﻠﻴﻬﺎ ﻓـﻲ‬
‫ﺍﻟﺒﻴﺌﺎﺕ ﺍﻟﻤﺒﻨﻴﺔ ﺍﻟﺨﺎﻟﻴﺔ ﻤﻥ ﺍﻟﻤﻼﻤﺢ ﺍﻟﻤﻤﻴﺯﺓ ‪ ،‬ﺍﺫ ﻴﺅﺩﻱ ﺍﻨﺨﻔﺎﺽ ﻤﺴـﺘﻭﻯ ﺍﻟﺘﻨـﻭﻉ ﻭﺍﻟﺘﻌﻘﻴـﺩ ﻓـﻲ‬
‫ﺍﻻﺩﺭﺍﻙ ﺍﻟﺤﺴﻲ ﻟﻠﻤﺜﻴﺭﺍﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻟﻰ ﺍﻨﺯﻻﻕ ﺍﻟﺫﻫـﻥ ﻓﻲ ﻨـﻭﻉ ﻤﻥ ﺍﻻﺩﺭﺍﻙ ﺍﻟﻼﻭﺍﻋــﻲ ﻟﻠﻤﺤـﻴﻁ‬
‫ﺍﻟﺒﻴﺌﻲ‪.‬‬

‫‪ 3.2.4‬ﻤﻔﻬﻭﻡ ﺍﻟﻤﺘﻌﺔ‬
‫ﺘﻌﻨﻲ ﺍﻟﻤﺘﻌﺔ )‪ (Pleasure‬ﻤﻌﺠﻤﻴﺎ ﺍﻟﺸﻌﻭﺭ ﺒﺎﻟﺴﻌﺎﺩﺓ ﻭﺍﻟﺭﻀﺎ ﻭﺍﻻﺭﺘﻴـﺎﺡ ‪ ،‬ﻭﺴـﺭﻭﺭ ﺍﻟﺤـﻭﺍﺱ ‪،‬‬
‫ﻭﺍﻻﺴﺘﺭﺨﺎﺀ ﻭﺍﻟﺘﺴﻠﻴﺔ ﺒﺸﻲﺀ ﻤﻤﻴﺯ ﻭﺒﻌﻴﺩﹰﺍ ﻋﻥ ﺍﻟﺭﻭﺘﻴﻥ ﺍﻟﻴﻭﻤﻲ ‪ ،‬ﻭﻫـﻲ ﺍﻟﻤـﺼﺩﺭ ﻟﻠـﺴﻌﺎﺩﺓ ﻭﺍﻟﻔـﺭﺡ‬
‫ﻭﺍﻟﺭﻀﺎ‪ .‬ﻭﺍﻟﺼﻔﺔ ﺍﻟﺤﺴﻴﺔ )‪ (Sensory‬ﺘﻌﻨﻲ ﻜل ﻤﺎﻴﺘﻌﻠﻕ ﺒﺎﻟﺤﻭﺍﺱ )ﺍﻟﺴﻤﻊ ﻭﺍﻟﺒﺼﺭ ﻭﺍﻟﻠﻤﺱ ﻭﺍﻟـﺫﻭﻕ‬
‫ﻭﺍﻟﺸﻡ(‪ .‬ﻭ ﺘﻌﻨﻲ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ )‪ (Sensory Pleasure‬ﻜل ﻤﺎﻴﻭﻟﱢـﺩ ﺍﻟﺭِﻀـﺎ ﻭﺍﻟـﺴﺭﻭﺭﻤﻥ ﺨـﻼل‬
‫ﺍﻟﺤﻭﺍﺱ‪Microsoft® Encarta® 2008. © 1993-2007 Microsoft Corporation.‬‬

‫ﺍﻤﺎ ﻤﻔﻬﻭﻡ ﺍﻟﻤﺘﻌﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﻓﻴﺩﻭﺭ ﺤﻭل ﻤﺤﺎﻭﺭ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻫﺩﺍﻓﻬﺎ ﺍﻟﺭﺌﻴﺴﺔ ‪ ،‬ﺤﻴﺙ ﺍﻥ ﻫﻨﺎﻙ ﻨﻭﻋﹰﺎ‬
‫ﻤﻥ ﺍﻻﺘﻔﺎﻕ ﺤﻭل ﺍﻫﻡ ﺍﻟﻤﺤﺎﻭﺭ‪ ،‬ﻭﻟﻌل ﺍﻭل ﻭﺍﺸﻬﺭ ﻤﺎ ﻜﺘﺏ ﻓﻲ ﻫﺫﺍ ﺍﻟﻤﺠﺎل ﻫﻭ ﻋﺒﺎﺭﺓ )‪(Vitruvious‬‬
‫ﻗﺒل ﺍﻜﺜﺭ ﻤﻥ ﺍﻟﻔﻲ ﻋﺎﻡ ﻭﺍﻟﺘﻲ ﻨﺼﺕ ﻋﻠﻰ ﺍﻥ ﺍﻟﻌﻤﺎﺭﺓ ﻴﺠﺏ ﺍﻥ ﺘﺤﻘﻕ ﺜﻼﺜﺔ ﺍﻫﺩﺍﻑ ﻫﻲ ‪ :‬ﺍﻟﻤﻭﺍﺀﻤﺔ‬
‫ﺍﻻﺴﺘﺨﺩﺍﻤﻴﺔ )‪ (Utilitas‬ﻭﺍﻟﺠﻤﺎل )‪ (Venustas‬ﻭﺍﻟﻤﺘﺎﻨﺔ )‪ . (Firmitas‬ﻭﻗﺩ ﺼﻴﻐﺕ ﻫﺫﻩ ﺍﻻﻫﺩﺍﻑ‬
‫ﺒﻤﺼﻁﻠﺤﺎﺕ ﺠﺩﻴﺩﺓ ﻋﻨﺩ )‪ (Henry Wotton‬ﻓﻲ ‪ 1924‬ﻟﺘﺤﻤل ﺍﻟﻤﻌﺎﻨﻲ ﻨﻔﺴﻬﺎ ‪ :‬ﺍﻟﻤﻼﺌﻤﺔ‬
‫)‪ ،(Commodity‬ﻭﺍﻟﺒﻬﺠﺔ )‪ ، (Delight‬ﻭﺍﻟﻤﺘﺎﻨﺔ )‪ . (Firmness‬ﺘﻤﺜل )ﺍﻟﻤﻼﺌﻤﺔ( ‪ ،‬ﻓﻲ ﺍﻟﺩﺭﺍﺴﺎﺕ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺍﻟﻤﻌﺎﺼﺭﺓ ‪ ،‬ﺍﻟﺠﺎﻨﺏ ﺍﻟﻭﻅﻴﻔﻲ ﻟﻠﺘﺼﻤﻴﻡ‪ .‬ﻓﻲ ﺤﻴﻥ ﺘﻤﺜل )ﺍﻟﺒﻬﺠﺔ( ﺠﺎﻨﺏ ﺍﻟﺠﻤﺎل ﻭﺍﻟﻤﺘﻌﺔ‬
‫ﺍﻟﻤﺘﻭﻟﺩﺓ ﻤﻥ ﺘﺠﺭﺒﺔ ﺍﻟﻌﻤﺎﺭﺓ‪ .‬ﺍﻤﺎ )ﺍﻟﻤﺘﺎﻨﺔ( ﻓﻴﻌﺒﺭ ﻋﻥ ﺍﻟﺠﺎﻨﺏ ﺍﻟﺘﻜﻨﻭﻟﻭﺠﻲ ﻭﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﻟﻤﺴﺘﻌﻤﻠﺔ ﻓﻲ ﺍﻟﺒﻨﺎﺀ‬
‫ﻭﺍﺩﺍﻤﺔ ﺍﻻﺒﻨﻴﺔ‪.(Lang, 1987, p. 23) .‬‬
‫ﻭﻴﺭﻜﺯ ﻋﻠﻡ ﺍﻟﻨﻔﺱ ﺍﻟﺒﻴﺌﻲ ﻋﻠﻰ ﻤﺤﻭﺭﻱ )ﺍﻟﻤﻼﺌﻤﺔ ﻭﺍﻟﺒﻬﺠﺔ( ﺫﻭﺍﺕ ﺍﻟﻌﻼﻗـﺔ ﺒﺘﺤﻘﻴـﻕ ﺍﻻﻏـﺭﺍﺽ‬
‫ﺍﻻﻨﺴﺎﻨﻴﺔ‪ ،‬ﻫﺫﺍﻥ ﺍﻟﻤﺤﻭﺭﺍﻥ ﻤﺘﺭﺍﺒﻁﺎﻥ ﻻ ﻴﻤﻜﻥ ﻓﺼﻠﻬﻤﺎ‪ ،‬ﻓﺎﻟﻤﻼﺌﻤﺔ ﺘﻭﻟﺩ ﻨﻭﻋﹰﺎ ﻤﻥ ﺍﻟﺒﻬﺠﺔ ﻭﺍﻟﺒﻬﺠﺔ ﺘﻌﻨﻲ‬
‫‪(Ibid., 1987,‬‬ ‫ﺍﻟﻤﻼﺌﻤﺔ ﻓﻲ ﺒﻌﺽ ﺠﻭﺍﻨﺒﻬﺎ)‪(commodity in delight and delight in commodity‬‬
‫‪ .p.‬ﺍﻥ ﺍﻟﺨﻁﺄ ﺍﻟﺫﻱ ﻭﻗﻌﺕ ﻓﻴﻪ ﺤﺭﻜﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺤﺩﻴﺜﺔ ﻫﻭ ﺍﻫﻤﺎﻟﻬﺎ ﻟﻤﻔﻬﻭﻡ )ﺍﻟﺒﻬﺠﺔ( ﺒﻭﺼـﻔﻪ ﻨﺘﻴﺠـﺔ‬ ‫)‪23‬‬

‫ﺤﺘﻤﻴﺔ ﻟﻤﻔﻬﻭﻤﻲ )ﺍﻟﻤﻼﺌﻤﺔ ﻭﺍﻟﺜﺒﺎﺕ( ‪ .‬ﻓﻲ ﺤﻴﻥ ﺍﻥ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﻭﺍﻟﻌﻘﻠﻴﺔ ﻟﺘﺠﺭﺒﺔ ﺍﻟﻌﻤـﺎﺭﺓ ﻻ ﻴﻤﻜـﻥ‬
‫ﺘﺠﺎﻫﻠﻬﺎ ﺒﺄﻱ ﺸﻜل ﻤﻥ ﺍﻻﺸﻜﺎل ‪ ،‬ﻓﺎﻟﺤﺎﺠـﺎﺕ ﺍﻟﻤﻌﺭﻓﻴـﺔ ﻭﺍﻟﺠﻤﺎﻟﻴـﺔ ‪(cognitive and aesthetic‬‬
‫)‪ Needs‬ﻤﻥ ﺍﻟﺤﺎﺠﺎﺕ ﺍﻻﻨﺴﺎﻨﻴﺔ ﺍﻻﺴﺎﺴﻴﺔ ﺍﻟﺘﻲ ﺍﻜﺩ ﻋﻠﻴﻬﺎ ﻋﻠﻡ ﺍﻟﻨﻔﺱ ‪ .‬ﻭﻫﺫﺍ ﻤﺎ ﺍﻜﺩ ﻋﻠﻴﻪ )‪(Rykwert‬‬
‫ﺍﻴﻀﹰﺎ ﻓﻲ ﻀﺭﻭﺭﺓ ﺘﻠﺒﻴﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻟﺠﺎﻨﺏ ﺍﻟﻤﺘﻌﺔ ‪:‬‬
‫‪“Architecture, since it has to satisfy mankind most urgent needs, must by‬‬
‫)‪satisfying them please” (Rykwert, 1972, p. 41‬‬
‫ﻭﺍﺸﺎﺭ )ﺠﻭﻟﺩﻱ( ﺃﻨﻪ ﻋﻨﺩ ﺍﻟﺒﺩﺀ ﺒﺘﺤﺴﺱ ﺍﻟﻤﺘﻌﺔ ﻴﻭﺠﺩ ﻋﻠﻰ ﺍﻟﻤﺴﺘﻭﻯ ﺍﻻﻗل ‪ ،‬ﺫﻟﻙ ﺍﻟﺸﻌﻭﺭ ﺒﺎﻟﺭﺍﺤـﺔ‬
‫ﺍﻟﺫﻱ ﻴﻘﺘﺭﻥ ﺒﺫﻜﺭﻴﺎﺕ ﺍﻟﺘﺠﺎﺭﺏ ﺍﻟﻠﻁﻴﻔﺔ‪ ،‬ﻭﺍﻟﻤﺘﻊ ﺍﻟﻤﻌﺘﺎﺩﺓ ﻜﺎﻟﻨﻜﺎﺕ ﺍﻟﻌﺎﺌﻠﻴﺔ ﻭﺍﻟﺼﺩﺍﻗﺎﺕ ﺍﻟﻘﺩﻴﻤﺔ ﻓﻭﻕ ﺫﻟﻙ‬
‫ﻴﺄﺘﻲ ﻨﻭﻋﹰﺎ ﺃﻜﺜﺭ ﺤﻴﻭﻴﺔ ﻴﻤﻜﻥ ﺘﺴﻤﻴﺘﻪ )ﺒﻬﺠﺔ( ﻭﻓﻲ ﺫﻟﻙ ﻴﺩﺨل ﺒﻌﺽ ﻤﻥ ﻋﻨﺎﺼﺭ ﺍﻟﻤﻔﺎﺠـﺄﺕ ﺍﻟﻤﻤﺘﻌـﺔ‪.‬‬
‫ﻭﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﻴﻤﻜﻥ ﺃﻥ ﻨﺠﺩ ﺍﻟﺘﻤﺘﻊ ﻭﺫﻟﻙ ﻤﻥ ﺨﻼل ﺤﺒﻨﺎ ﻟﻤﺎ ﻫﻭ ﻤﺄﻟﻭﻑ ﻭﺃﻥ ﻨﺜﻴﺭ ﻗﺎﺒﻠﻴﺔ ﺍﻟﻤﺘﻠﻘﻲ ﻟﻠﺘﻌﺠﺏ‪،‬‬
‫ﻭﺫﻟﻙ ﻷﻥ ﺤﺘﻰ ﻤﺘﻌﺔ ﺍﻟﻤﺄﻟﻭﻑ ﺘﺤﺘﺎﺝ ﺍﻟﻰ ﻗﺩﺭ ﺩﻗﻴﻕ ﻤﻥ ﺍﻟﺘﻌﺠﺏ ﻟﻜﻲ ﺘﺼﺒﺢ ﺇﻋﺎﺩﺓ ﺃﻜﺘﺸﺎﻑ‪ ،‬ﺇﺫ ﺃﻥ ﻟـﺫﺓ‬
‫ﻼ ﻋﻥ ﻤﻠل ﺍﻟﺘﻜﺭﺍﺭ ﻭﺍﻟﻌﺎﺩﺓ‪.‬‬
‫ﺍﻟﻤﻌﺭﻭﻑ ﻻ ﺘﺒﺘﻌﺩ ﺇﻻ ﻗﻠﻴ ﹰ‬
‫ﻭﻴﺒﺩﻭ ﺃﻥ ﺍﻟﺘﻌﺠﺏ ﻭﺴﻴﻠﺔ ﻟﻔﺘﺢ ﺃﺒﻭﺍﺏ ﺍﻷﺩﺭﺍﻙ ﻭﻟﺫﻟﻙ ﻓﺎﻟﻘﺩﺭﺓ ﻋﻠـﻰ ﺍﻟﺘﻌﺠـﺏ ﺘﺤﻘـﻕ ﺍﻷﺴـﺘﻤﺘﺎﻉ‬
‫ﺒﺎﻟﻌﻤﺎﺭﺓ‪ ،‬ﻭﻗﺩ ﺘﻘﻭﺩ ﺍﻟﻰ ﻨﺘﺎﺌﺞ ﻤﻌﺎﻜﺴﺔ ﺇﺫ ﺃﻥ ﺍﻟﺘﻌﺠﺏ ﻻ ﻴﺨﺘﺹ ﺒﺎﻟﺘﺫﻭﻕ ﺍﻟﺠﻤﺎﻟﻲ ﻓﻘﻁ ﻓﺎﻟﺤﺠﻡ ﺍﻟـﻀﺨﻡ‬
‫ﻭﺍﻷﺒﺩﺍﻉ ﺍﻟﺒﺎﺭﻉ ﻭﺍﻟﺘﻜﺎﻟﻴﻑ ﺍﻟﺒﺎﻫﻀﺔ ﻜﻠﻬﺎ ﻤﺜﻴﺭﺍﺕ ﺃﺯﻟﻴﺔ ﻟﻠﺘﻌﺠﺏ‪ .‬ﻤﺎ ﻫﻲ ﺃﺫﻥ ﻨﻭﻉ ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﻤﻌﻤﺎﺭﻴـﺔ‬
‫ﺍﻟﺘﻲ ﺘﻭﻓﺭ ﺫﻟﻙ ﺍﻟﺘﺭﻜﻴﺏ ﻤﻥ ﺍﻟﺘﻌﺠﺏ ﻭﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ )ﺒﺩﻻ ﻤﻥ ﻤﺠﺭﺩ ﺍﻷﻨﺩﻫﺎﺵ( ﺍﻟﺫﻱ ﻨﺴﻤﻴﻪ ﺍﻷﺒﺘﻬﺎﺝ ؟‬
‫ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﻜﻤﺎ ﻓﻲ ﻜل ﺍﻟﻤﺘﻊ ﺍﻟﺤﺴﻴﺔ‪ ،‬ﻴﻤﻜﻨﻨﺎ ﺍﻟﺘﻤﻴﻴﺯ ﺒﻴﻥ ﻋﻨﺼﺭﻴﻥ ﻟﻠﺘﺠﺭﺒﺔ ﺍﻟﻤﺒﻬﺠﺔ ‪ :‬ﻤﺘﻌﺔ ﻤﺅﻜﺩﺓ‬
‫ﺘﺯﻴﺩ ﻋﻠﻰ ﺍﻟﺘﻭﻗﻌﺎﺕ ‪ ،‬ﻭﺍﻟﻤﺘﻌﺔ ﺍﻟﻤﺘﻤﺜﻠﺔ ﻓﻲ ﺃﻜﺘﺸﺎﻑ ﺍﻟﻤﺘﻌﺔ ﺤﻴﺙ ﻟﻡ ﺘﻜﻥ ﻤﺘﻭﻗﻌﺔ ‪ .‬ﻜﻠﺘﺎﻫﻤـﺎ ﺒﻁﺭﺍﺌـﻕ‬
‫ﻤﺨﺘﻠﻔﺔ ﻴﻨﺘﺠﺎﻥ ﻤﻥ ﺘﻔﺎﻋل ﻤﺭﻜﺏ ﺒﻴﻥ ﺃﻨﻁﺒﺎﻋﺎﺕ ﺍﻟﻔﺭﺩ ﺍﻷﻭﻟﻴﺔ ﻭﺍﻟﺘﻭﻗﻌﺎﺕ ﺍﻟﺘـﻲ ﺘﺜﻴﺭﻫـﺎ ‪ ،‬ﻭﺍﻟﺘﻌـﺩﻴل‬
‫ﺍﻟﻼﺤﻕ ﻟﻬﺫﻩ ﺍﻷﻨﻁﺒﺎﻋﺎﺕ ﻓﻲ ﻀﻭﺀ ﺍﻟﻔﺤﺹ ﺍﻷﻜﺜﺭ ﺩﻗﺔ‪ .‬ﻭﺃﻥ ﻨﻅﺎﻡ ﺍﻷﻤﻥ ﻋﻨﺩ ﺍﻷﻨﺴﺎﻥ ﻤﺒﺭﻤﺞ ﻟﻠﺘﻘﺒـل‬
‫ﺍﻟﻤﺒﺩﺃﻱ ﻷﻱ ﺒﻨﺎﻴﺔ ﺘﻅﻬﺭ ﺒﻌﺽ ﺍﻟﺘﻜﺎﻤل ﻭﺍﻟﺘﻤﺎﺴﻙ ﺤﻴﺙ ﺘﻘﺩﻡ ﺘﺠﺭﺒﺔ ﻤﻤﺘﻌﺔ ﺒﺩﻻ ﻤﻥ ﺘﺠﺭﺒﺔ ﻤﺯﻋﺠـﺔ ‪.‬‬
‫)ﺠﻭﻟﺩﻱ ‪ ، 1986 ،‬ﺹ‪(47-27‬‬
‫ﺍﻤﺎ )‪ (Addison‬ﻓﻴﺭﻯ ﺍﻥ ﺍﻻﺴﺘﻤﺘﺎﻉ ﺒﺎﻟﺒﻴﺌــﺔ ﺍﺤﺩ ﺍﻟﺨﺼﺎﺌﺹ ﺍﻟﻤﻬﻤﺔ ﺍﻟﻭﺍﺠﺏ ﺘﻭﻓﺭﻫﺎ ﻓﻴﻬﺎ ‪ ،‬ﻭﺃﻥ‬
‫)ﺍﻟﺒﺩﺭﺍﻨﻲ ‪( 1991 ،‬‬ ‫ﺍﻟﻤﺘﻌﺔ ﺘﺘﺤﻘﻕ ﻤﻥ ﺨﻼل ‪:‬‬
‫‪ -‬ﺍﻟﻼﻤﺄﻟﻭﻑ‪ :‬ﺤﻴﺙ ﺘﺴﺒﺏ ﺍﻟﺩﻫﺸﺔ ﺍﻟﺘﻲ ﺘﺅﺜﺭ ﻓﻲ ﻗﻭﻯ ﺍﻟﻌﻘل ﺒﻌﻴﺩﺍ ﻋﻥ ﺍﻟﺭﺘﺎﺒﺔ ﻭﺍﻟﻤﻠل ﻤﻜﻭﻨﺎ‬
‫ﺍﻟﺘﻨﻭﻉ ﻭﺤﺴﺏ ﺤﻀﻭﺭ ﺍﻟﺸﺩ ﻭﺍﻻﻨﺘﺒﺎﻩ‪.‬‬
‫‪ -‬ﺍﻟﻌﻅﻤﺔ‪ :‬ﺤﺴﺏ ﻤﻔﻬﻭﻡ ﺍﻟﻜﺘﻠﺔ ﻭﺍﻟﺤﺠﻡ‪.‬‬
‫‪ -‬ﺍﻟﺠﻤﺎل ‪ :‬ﺍﻟﺫﻱ ﻴﻤﺜل ﺠﺎﻨﺒﺎ ﻤﻥ ﺠﻭﺍﻨﺏ ﺘﺤﻘﻴﻕ ﺍﻟﻤﺘﻌﺔ ﺍﺴﺘﻨﺎﺩﺍ ﺇﻟﻰ ﺠﻭﺍﻨﺏ ﺍﻟﻜﻤﺎل ﻭﺍﻟﻘﻨﺎﻋﺎﺕ‬
‫ﺍﻟﻤﺅﻜﺩﺓ‪.‬‬
‫ﺃﻱ ﺍﻥ ﺍﻟﻌﻤﺎﺭﺓ ‪ ،‬ﻋﻨﺩ ﺘﻠﺒﻴﺘﻬﺎ ﻟﺤﺎﺠﺎﺕ ﺍﻻﻨﺴﺎﻥ ﺍﻻﺴﺎﺴﻴﺔ‪ ،‬ﻴﺠﺏ ﺍﻥ ﺘﺤﻘﻕ ﺍﻟﻤﺴﺭﺓ ﻭﺍﻟﻤﺘﻌﺔ ﺍﻴﻀﹰﺎ‪.‬‬
‫ﻭﺍﻟﻤﺘﻌﺔ ﻫﻨﺎ ﻫﻲ ﻟﻴﺴﺕ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺘﻲ ﻴﺤﺼل ﻋﻠﻴﻬﺎ ﺍﻻﻨﺴﺎﻥ ﻤﻥ ﺃﻱ ﺸﻜل ﻤﻥ ﺍﺸﻜﺎل ﺍﻟﻔﻨﻭﻥ‪ ،‬ﻭﺍﻨﻤﺎ ﻫـﻲ‬
‫ﻤﺘﻌﺔ ﺤﻘﻴﻘﻴﺔ ﻤﺘﻭﻟﺩﺓ ﻤﻥ ﺘﺠﺭﺒﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻭﻤﺎ ﺘﺤﻤﻠﻪ ﻤﻥ ﺍﺴﺘﺠﺎﺒﺎﺕ ﻟﺤﺎﺠﺎﺕ ﺍﻨﺴﺎﻨﻴﺔ ﺒﻤﺨﺘﻠﻑ ﺍﻟﻤﻘﺎﻴﻴﺱ‪.‬‬
‫ﻴﻨﺎﻗﺵ ﻜﻼ ﻤﻥ )‪ (Malnar & Vodvarka‬ﻤﻔﻬﻭﻡ ﺍﻟﻤﺘﻌﺔ ﻋﺒﺭ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻁﺭﻭﺤﺎﺕ ﺍﻟﺘﻲ‬
‫ﺍﻫﺘﻤﺕ ﺒﺩﺭﺍﺴﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺨﺎﺭﺠﻴﺔ ﻭﺍﻟﺤﺩﺍﺌﻕ ﺒﺎﻟﺘﺤﺩﻴﺩ ‪ ،‬ﻭﻴﺘﻁﺭﻗﺎﻥ ﺍﻟﻰ ﺍﻥ ﺘﻌﺭﻴﻑ‬
‫ﺍﻟﻤﺘﻌﺔ )‪ (pleasance‬ﻗﺩ ﺘﻡ ﺘﻌﺩﻴﻠﻪ ﺒﺸﻜل ﻜﺒﻴﺭ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ‪ ،‬ﻭﻴﺸﻴﺭﺍﻥ ﺍﻟﻰ ﺍﻤﻜﺎﻨﻴﺔ ﻤﻼﺤﻅﺔ‬
‫ﺫﻟﻙ ﻓﻲ ﺍﻟﺘﻌﺎﺭﻴﻑ ﺍﻟﺨﻤﺴﺔ ﻟﻘﺎﻤﻭﺱ ‪ Oxford‬ﺍﻻﻨﻜﻠﻴﺯﻱ ﻟﻠﻤﺼﻁﻠﺢ ‪ ”:‬ﺤﻴﺙ ﺘﺘﻌﺎﻤل ﺍﻟﺘﻌﺎﺭﻴﻑ ﺍﻻﺭﺒﻌﺔ‬
‫ﺍﻻﻭﻟﻰ ﻤﻊ ﺍﻟﺴﻌﺎﺩﺓ )‪ ، (pleasure‬ﺍﻟﺒﻬﺠﺔ )‪، (delight‬ﺍﻟﺤﺎﻟﺔ ﺍﻭ ﺍﻟﺸﻌﻭﺭ ﻓﻲ ﺤﺎﻟﺔ‬
‫ﺍﻟﺴﺭﻭﺭ))‪ ، ((condition or feeling of being pleasure‬ﺍﻟﻤﺘﻌﺔ )‪ ، (enjoyment‬ﺍﻟﺴﻠﻭﻙ ﺍﻭ‬
‫ﺤﺎﻟﺔ ﺍﻟﺴﺭﻭﺭﺍﻟﺘﻲ ﺘﻭﻗﺽ ﺍﻭ ﺘﺴﺒﺏ ﺍﻟﺴﻌﺎﺩﺓ ﺍﻭ ﺍﻟﺒﻬﺠﺔ ﻭﻫﻜﺫﺍ“ ‪ .‬ﺍﻤﺎ ﺍﻟﺘﻌﺭﻴﻑ ﺍﻟﺨﺎﻤﺱ ﻭﺍﻻﻜﺜﺭ ﺍﺘﻘﺎﻨﺎ‬
‫ﻭﻗﻴﻤﺔ )ﺍﻟﻤﻁﻭﺭ ﻭﺍﻟﻤﻔﺼل( ﻓﻬﻭ ﻤﻜﺎﻥ ﺍﻟﺒﻬﺠﺔ )‪ ، (place of delight‬ﺍﻭ ﺍﻻﺭﻀﻴﺔ ﺍﻟﻤﻤﺘﻌﺔ ‪(pleasure‬‬
‫)‪ ، ground‬ﻭﺍﻟﺘﻲ ﻋﺎﺩﺓ ﻤﺎ ﺘﺭﺘﺒﻁ ﺒﺎﻤﺎﻜﻥ ﻤﺜل ﺍﻟﻘﺼﻭﺭ )‪ ، (mansion‬ﻭﺍﺤﻴﺎﻨﺎ ﺠﺯﺀ ﻤﺨﺘﺎﺭ ﻤﻥ‬
‫ﺤﺩﻴﻘﺔ ‪ ،‬ﻭﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻻﺤﻴﺎﻥ ﻴﻤﺜل ﺍﺤﺘﻭﺍﺀﺍ ﻤﻨﻌﺯﻻ ﻴﺘﻡ ﺍﻟﻭﺼﻭل ﺍﻟﻴﻪ ﻋﺒﺭ ﻤﻤﺭﺍﺕ ﻤﻅﻠﻠﺔ ‪(shady‬‬
‫)‪ ، walks‬ﺍﺸﺠﺎﺭ ﻭﺸﺠﻴﺭﺍﺕ ‪ ،‬ﺘﻤﺎﺜﻴل ﻨﺤﺘﻴﺔ ‪ ،‬ﻭﻨﺎﻓﻭﺭﺍﺕ ﺯﺨﺭﻓﻴﺔ ﻭﺍﻟﺘﻲ ﻜﺜﻴﺭﺍ ﻤﺎ ﺘﺒﻘﻰ ﺘﺨﻠﺩ ﻜﺄﺴﻡ‬
‫)‪(Oxford English Dictionary, 1988, p. 983‬‬ ‫ﻟﺸﺎﺭﻉ ﺍﻭ ﻤﻜﺎﻥ ‪.‬‬
‫ﻓﻴﻤﺎ ﻋﺭﻓﺕ ﺩﺭﺍﺴﺔ )ﺭﻭﺍﺀ ﻋﺒﺎﻭﻱ( ﻤﻔﻬﻭﻡ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﻓﻲ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺨﺎﺭﺠﻴﺔ ﺒﺎﻨﻬﺎ ﻤﺸﺎﻋﺭ ﺘﺜﺎﺭ‬
‫ﺤﺴﻴﹰﺎ )ﺒﺼﺭﻴﹰﺎ ﻭﺴﻤﻌﻴﹰﺎ ﻭﻟﻤﺴﻴﹰﺎ ﻭﺸﻤﻴﹰﺎ( ﺒﺘﺄﺜﻴﺭ ﺨﺼﺎﺌﺹ ﺍﻟﺒﻌﺩ ﺍﻟﺭﺍﺒﻊ ﻭﺍﻟﺨﺼﺎﺌﺹ ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ﻟﻠﻔﻀﺎﺀﺍﺕ‬
‫ﺍﻟﺨﺎﺭﺠﻴﺔ ﻭﺒﻔﻌل ﻤﻜﻭﻨﺎﺕ ﻫﺫﻩ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﻤﺘﻤﺜﻠﺔ ﺒﺎﻟﻨﺒﺎﺕ ﻭﺍﻟﻤﺎﺀ ﻭﺍﻟﻌﻨﺎﺼﺭ ﺍﻻﺼﻁﻨﺎﻋﻴﺔ ﻭﻭﺠﻭﺩ‬
‫ﺍﻟﻜﺎﺌﻨﺎﺕ ﺍﻟﺤﻴﺔ ‪ ،‬ﻭﺘﺘﻀﻤﻥ ﻤﺸﺎﻋﺭ ﺍﻟﺘﺸﻭﻴﻕ ﻭﺍﻟﻤﻔﺎﺠﺎﺀﺓ ﻭﺍﻟﺒﻬﺠﺔ ﻭﺍﻟﺴﺭﻭﺭ ﻭﺍﻟﺭﺍﺤﺔ ﻭﺍﻟﺘﻌﺠﺏ‪.‬‬
‫)ﻋﺒﺎﻭﻱ ‪ ، 2008 ،‬ﺹ ‪. ( 50‬‬

‫ﻭﻴﻤﻜﻥ ﺘﻤﻴﻴﺯ ﻨﻭﻋﻴﻥ ﻤﻥ ﺍﻟﻤﺘﻌﺔ ‪:‬ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﻭﺍﻟﻤﺘﻌﺔ ﺍﻟﻌﻘﻠﻴﺔ ‪.‬‬

‫ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﻭﺍﻟﺘﻲ ﺘﺘﺤﻘﻕ ﻓﻲ ﺍﻟﻨﻔﺱ ﻭﺘﺘﻭﻟﺩ ﻋﻥ ﺼﻔﺎﺕ ﺍﻟﻤﺤﻴﻁ ﺍﻟﻤﺒﻨﻲ ﻻ ﻋﻥ ﺍﻟﻭﻋﻲ ﻭﺍﻟﻔﻜﺭ ‪،‬‬
‫ﺒﻤﻌﻨﻰ ﺍﻨﻬﺎ ﺘﺤﺼل ﺒﻔﻌل ﺭﺅﻴﺔ ﺍﻟﺸﻲﺀ ﻭﺍﻟﻤﻨﺒﻬﺎﺕ ﺍﻟﻤﺘﺤﻭﻟﺔ ﻋﻨﻪ ﺍﻟﻰ ﺍﻟﻤﺘﻠﻘﻲ ‪ .‬ﻭﻴﺸﻴﺭ) ‪ ( Scruton‬ﺍﻥ‬
‫ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﺘﺤﺩﺙ ﺒﺼﻭﺭﺓ ﺁﻨﻴﺔ ‪ ،‬ﻓﺎﻟﺠﺎﻨﺏ ﺍﻟﺤﺴﻲ ﺍﻟﻤﺘﻀﻤﻥ ﻓﻲ ﺍﻟﻔﻜﺭ ﻴﻜﻭﻥ ﺘﺄﺜﻴﺭﻩ ﺃﻭﻀﺢ ﻓﻲ ﺍﻟﻨﻔﺱ‬
‫ﻤﻥ ﺍﻟﺠﺎﻨﺏ ﺍﻟﻌﻘﻠﻲ ‪ ،‬ﻤﻭﺠﻬﹰﺎ ﺍﻟﻤﺘﻠﻘﻲ ﻓﻲ ﺘﺠﺭﺒﺘﻪ ﻀﻤﻥ ﺘﻴﺎﺭﺍﺕ ﺍﻟﺤﺱ ﻭﺍﻟﺸﻌﻭﺭ ﺍﻻﻨﻔﻌﺎﻟﻲ ﻓﺘﺄﺘﻲ ﺍﺤﻜﺎﻤﻪ‬
‫ﻨﺎﺒﻌﺔ ﻋﻥ ﺍﻟﺤﺱ ﺒﻬﻴﺌﺔ ﺍﻨﻁﺒﺎﻋﺎﺕ )‪ .(Scruton, 1979, p. 105‬ﻭﻗﺩ ﻭﻀﻊ )‪ (Hesselgren‬ﻤﻌﺎﻴﻴﺭﹰﺍ ﻟﻠﻤﺘﻌﺔ‬
‫ﺍﻟﺤﺴﻴﺔ )ﺍﺩﺭﺝ ﻀﻤﻨﻬﺎ ﻤﻌﻴﺎﺭ ﺍﻷﻤﺎﻥ( ﺘﻀﻤﻨﺕ ‪ :‬ﺍﻟﺒﻬﺠﺔ )‪ ، (Joy‬ﻭﺍﻻﺜﺎﺭﺓ ﻭﺍﻟﻤﻔﺎﺠﺄﺓ ‪(arousal and‬‬
‫)‪ ، surprise‬ﻭﺍﻟﺭﻀﺎ ﻭﺍﻻﺴﺘﺤﺴﺎﻥ )‪ ، (acceptance‬ﻭﺍﻟﺜﻘﺔ )‪ ، (confidence‬ﻭﺍﺨﻴﺭﹰﺍ ﺍﻻﻤﺎﻥ‬
‫)‪.(Hesselgren, 1991, p. 255).(safety‬‬

‫ﺍﻤﺎ ﺍﻟﻤﺘﻌﺔ ﺍﻟﻌـﻘﻠﻴﺔ ﻓﻬﻲ ﺍﻟﻤﺘﻌﺔ ﺍﻟﻤﺘﺤﻘﻘﺔ ﻤﻥ ﺘﺫﻭﻕ ﺍﻟﻤﺘﻠﻘﻲ ﻟﻠﻤﺤﻴﻁ ﺍﻟﻤﺒﻨﻲ ﺒﻔﻌـل ﺍﺩﺭﺍﻜـﻪ ﺍﻟـﻭﺍﻋﻲ ‪،‬‬
‫ﻭﺍﻟﺘﻲ ﺘﻭﺠﻬﻪ ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻟﻤﻁﺎﻑ ﺍﻟﻰ ﺘﻘﺩﻴﺭ ﺍﻟﻤﺤﻴﻁ ﻭﺍﺼﺩﺍﺭ ﺍﺤﻜﺎﻤـﻪ ﺍﻟﺨﺎﺼـﺔ ﻋﻨـﻪ‪ .‬ﺍﺫ ﻴـﺼﻑ )‬
‫‪ ( Dewey‬ﺍﻟﻤﺘﻌﺔ ﺍﻟﻌﻘﻠﻴﺔ ﻟﺘﺠﺭﺒﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺒﺄﻨﻬﺎ ﻋﻤﻠﻴﺔ ﺍﺩﺭﺍﻙ ﻭﺘﺫﻭﻕ ﻭﺘﻘﺩﻴﺭ ﺘﺼﺩﺭ ﻋﻨﻬﺎ ﺍﺤﻜﺎﻡ ﻋﻘﻠﻴـﺔ‬
‫ﻭﻴﻤﻜﻥ ﺍﻥ ﺘﺭﺘﺒﻁ‬ ‫)ﺩﻴـﻭﻱ ‪ ، 1963 ،‬ﺹ ‪.(90-83‬‬ ‫ﻟﻠﻤﺘﻠﻘﻲ ﺘﻌﻜﺱ ﺘﺠﺭﺒﺘﻪ ﺍﻟﺨﺎﺼﺔ ﺍﻟﻤﺒﺎﺸﺭﺓ ﻓﻲ ﺍﻟﺒﻴﺌﺔ ﺍﻟﻤﺒﻨﻴﺔ‪.‬‬
‫ﺍﻟﻤﺘﻌﺔ ﺒﺎﻟﺤﺩﺙ )‪ ،(event‬ﻓﻠﻠﺤﺩﺙ ﻁﺎﻗﺔ ﻜﺎﻤﻨﺔ ﺘﻜﻤﻥ ﻓﻲ ) ﻤﺎﻗﺒل ﺍﻟﺤﺎﻀﺭ ‪ (pre-present‬ﺍﻟـﺫﻱ ﻫـﻭ‬
‫ﺴﺎﺒﻕ ﻟﻠﺤﺎﻀﺭ ﻭﻴﻤﺘﺩ ﻟﻤﺎ ﺒﻌﺩﻩ ‪ ,‬ﺃﻥ ﻋﻤﺎﺭﺓ ﺍﻟﻴﻭﻡ ﻻﻴﻤﻜﻥ ﺍﻥ ﺘﺭﺘﺒﻁ ﺒﺎﻟﻅﺭﻭﻑ ﺍﻟﺜﺎﺒﺘﺔ ﻟﻠﺯﻤﺎﻥ ﻭﺍﻟﻤﻜـﺎﻥ‬
‫ﻭﺍﻟﻔﻀﺎﺀ‪ .‬ﻓﻔﻲ ﻋﺎﻟﻡ ﺍﻟﻴﻭﻡ ﺍﻟﻭﺴﻴﻁ ‪ ،‬ﻻ ﺘﻭﺠﺩ ﺒﻌﺩ ﺍﻻﻥ ﺍﻤﺎﻜﻥ ﺒﺎﻟﻤﻌﻨﻰ ﺍﻟﻤﻌﺭﻭﻑ‪ ,‬ﻋﻤﺎﺭﺓ ﺍﻟﻴﻭﻡ ﺘﺘﻌﺎﻤـل‬
‫ﻤﻊ ﺍﻟﺤﺩﺙ‪ .‬ﻓﺎﻟﺤﺩﺙ ﻴﻘﺘﺭﺡ ﻨﻭﻋﺎ ﻤﺨﺘﻠﻔﺎ ﻤﻥ ﺍﻟﺯﻤﻥ ﻫﻭ ﺨﺎﺭﺝ ﺍﻟﺯﻤﻥ ﺍﻟﻜﻼﺴﻴﻜﻲ ﺍﻟﻤﺘﺘﺎﺒﻊ ﻭﻫﺫﺍ ﺍﻟـﺯﻤﻥ‬
‫ﻫﻭ ﺍﻟﺫﻱ ﻴﺤﻘﻕ ﻤﻔﻬﻭﻡ ﺍﻟﺘﻔﺭﺩ‪ .‬ﻓﻌﻤﺎﺭﺓ ﺍﻟﺤﺩﺙ ﺍﻟﻴﻭﻡ ﺘﺘﻌﺎﻤل ﻤﻊ ﺯﻤﺎﻨﻴﻥ ﺍﻟﺯﻤﻥ ﺍﻟﺴﺎﺒﻕ‪ ,‬ﻭﺯﻤﻥ ﺍﻟﻤﺴﺘﻘﺒل ‪،‬‬
‫)‪(Benesch & Schmidt , 2005, p.98‬‬ ‫ﺍﻟﺯﻤﻥ ﻟﻤﺎ ﻗﺒل ﻭﻟﻤﺎ ﺒﻌﺩ ‪.‬‬

‫‪ .1‬ﺍﻟﻤﺘﻌﺔ ﻭﺘﻨﻭﻉ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺤﺴﻴﺔ‬

‫ﺃﺸﺎﺭ )ﺠﻭﻟﺩﻱ( ﺍﻟﻰ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺘﻲ ﺘﻘﺩﻤﻬﺎ ﺍﻟﺒﻨﺎﻴﺔ ﻜﻜل ﺃﻭ ﺘﻔﺎﺼﻴﻠﻬﺎ ﻋﻨﺩﻤﺎ ﻨﺘﺤﺴﺴﻬﺎ ﻋﻥ ﻗﺭﺏ ﻭﺍﻟﺘﻲ ﻗﺩ‬
‫ﺘﻜﻭﻥ ﻟﻤﺴﻴﺔ ﺃﻭ ﺒﺼﺭﻴﺔ‪ ،‬ﻜﻤﺎ ﺃﺸﺎﺭ ﺍﻟﻰ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﺍﻟﻨﺎﺘﺠﺔ ﺒﻔﻌل ﺍﻻﻟﻭﺍﻥ ‪ ،‬ﺍﻷﻀﻭﺍﺀ ‪ ،‬ﻭﺍﻟﻤﻭﺴـﻴﻘﻰ‬
‫)ﺠﻭﻟﺩﻱ‪ ، 1986 ،‬ﺹ‪ .(47-27.‬ﻭﻜﺸﻑ )‪ (Michael Southworth‬ﺍﻥ ﺍﻟﺒﻬﺠﺔ ﻭﺍﻟﺴﺭﻭﺭ ﺘﺯﺩﺍﺩ ﻋﻨﺩﻤﺎ ﺘﻜﻭﻥ‬
‫& ‪(Malnar‬‬ ‫ﺍﻻﺼﻭﺍﺕ ﺠﺩﻴﺩﺓ ﻭﻓﻴﻬﺎ ﻤﻌﻠﻭﻤﺎﺕ ﻤﻔﻴﺩﺓ ﻤﺴﺘﺠﻴﺒﺔ ﻟﻼﻓﻌﺎل ﺍﻟﺸﺨﺼﻴﺔ ﻭﻤﻘﺒﻭﻟـﺔ ﺤـﻀﺎﺭﻴﺎ ‪.‬‬
‫)‪Vodvarka, 2004, p. 131‬‬
‫ﻭﻴﺫﻜﺭ )ﺠﻭﻟﺩﻱ( ﺃﻨﻪ ﻤﻥ ﺍﻟﻤﺤﺘﻤل ﺃﻥ ﻟﻠﺘﻭﺍﻓﻕ ﻓﻲ ﺍﻟﻨﺴﺏ ﺃﺜﺭ ﻜﺒﻴﺭ ﻓﻲ ﺘﺫﻭﻕ ﺍﻟﻌﻤﺎﺭﺓ ﻋﻨﺩﻤﺎ ﺘﻜـﻭﻥ‬
‫ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﺤﺴﻴﺔ ﻤﺘﺴﻠﺴﻠﺔ ﻷﻨﻨﺎ ﻤﻬﻴﺌﻭﻥ ﻷﺩﺭﺍﻙ ﺍﻷﺤﺩﺍﺙ ﺫﻭﺍﺕ ﺍﻟﺘﺴﻠﺴل ﺍﻷﻴﻘﺎﻋﻲ ﺍﻟﺘﻲ ﺘﺘﻀﻤﻨﻬﺎ ﺘﺠﺭﺒﺔ‬
‫ﻤﺎ ‪ ،‬ﻭﻴﺒﺤﺙ ﺍﻟﻤﺘﻠﻘﻲ ﻓﻲ ﻫﺫﺍ ﺍﻷﻴﻘﺎﻉ ﻋﻥ ﺩﻻﺌل ﻟﻤﺎ ﻴﻤﻜﻥ ﻟﻬﺫﻩ ﺍﻟﺘﺠﺭﺒﺔ ﺃﻥ ﺘﻘﺩﻤـﻪ‪ .‬ﻭﻻﻫﻤﻴـﺔ ﻤﻔـﺭﺩﺓ‬
‫ﺍﻻﻴﻘﺎﻉ ﻻﺒﺩ ﻤﻥ ﺘﺴﻠﻴﻁ ﺍﻟﻀﻭﺀ ﻋﻠﻴﻬﺎ ﻤﻥ ﺨﻼل ﻤﺎﻁﺭﺤﻪ ﺠﻭﻟﺩﻱ ﻭﺫﻟﻙ ﻜﻤﺎ ﻴﻠﻲ‪:‬‬
‫)ﺠﻭﻟﺩﻱ‪ ، 1986 ،‬ﺹ‪.(47-27.‬‬

‫ﻴﻌﻴﺵ ﺍﻷﻨﺴﺎﻥ ﻭﻴﺘﺤﺭﻙ ﺒﺘﻨﺎﻭﺏ ﺘﻘﻠﺼﺎﺕ ﺍﻟﻌﻀﻼﺕ ﻭﺃﺴﺘﺭﺨﺎﺌﻬﺎ ﻭﻟﺩﻴﻪ ﺘﻘـﺩﻴﺭ ﻋﻔـﻭﻱ ﻟﻤـﺴﺎﻫﻤﺔ‬
‫ﺍﻷﻴﻘﺎﻉ ﻓﻲ ﺘﻭﺠﻴﻪ ﺍﻟﺠﻬﻭﺩ ﺍﻟﻌﻀﻠﻴﺔ ﻭﺍﻟﺤﻔﺎﻅ ﻋﻠﻴﻬﺎ‪ ،‬ﻭﻴﺩﺭﻙ ﺃﻴﻀﺎ ﺃﻴﻘﺎﻋﺎﺕ ﺍﻟﻌﺎﻟﻡ ﺍﻟﻁﺒﻴﻌﻲ ﺍﻟﺘﻲ ﺘﻘـﻴﺱ‬
‫ﺍﻟﻭﻗﺕ ﻜﺘﻨﺎﻭﺏ ﺍﻟﻔﺼﻭل ﻭﺍﻟﻨﻬﺎﺭ ﻭﺍﻟﻠﻴل ﻭﺍﻟﻤﺩ ﻭﺍﻟﺠﺯﺭ ‪ ،‬ﺃﺫﻥ ﻫﻨﺎﻙ ﻤﺠﻤﻭﻋﺔ ﻻ ﺒﺄﺱ ﺒﻬﺎ ﻤﻥ ﺍﻷﻗﺭﺍﻨﺎﺕ‬
‫ﻴﺭﺠﻊ ﺍﻟﻴﻬﺎ ﺍﻟﻤﺘﻠﻘﻲ ﻋﻨﺩ ﺃﻱ ﺘﺠﺭﺒﺔ ﺤﺴﻴﺔ ﺘﺸﺘﻤل ﻋﻠﻰ ﻨﻤﻁ ﺘﻨﺎﻭﺏ ﺯﻤﻨﻲ ‪ ،‬ﻭﻫـﺫﻩ ﺃﺤـﺩﻯ ﺍﻟﻁﺭﺍﺌـﻕ‬
‫ﺍﻟﺭﺌﻴﺴﻴﺔ ﺍﻟﺘﻲ ﺘﺴﺘﻁﻴﻊ ﺍﻟﻌﻤﺎﺭﺓ ﺒﻬﺎ ﺃﻥ ﺘﺘﺭﻙ ﺃﺜﺭﺍ ﻋﺎﻁﻔﻴﺎ ‪ .‬ﻭﻴﺫﻜﺭ )ﺠﻭﻟﺩﻱ( ﺃﻥ ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﺤـﺴﻴﺔ ﻓـﻲ‬
‫ﺍﻟﻌﻤﺎﺭﺓ ﻤﺘﺴﻠﺴﻠﺔ ﺃﺫ ﺃﻥ ﺍﻟﻤﺘﻠﻘﻲ ﻤ‪‬ﻬﻲﺀ ﻷﺩﺭﺍﻙ ﺍﻷﺤﺩﺍﺙ ﺫﺍﺕ ﺍﻟﺘﺴﻠﺴل ﺍﻷﻴﻘﺎﻋﻲ ﺍﻟﺘﻲ ﺘﺘﻀﻤﻨﻬﺎ ﺘﺠﺭﺒـﺔ‬
‫ﻤﺎ‪ ،‬ﻭﻟﻼﻴﻘﺎﻉ ﺃﺜﺭ ﻋﻠﻰ ﺍﻟﺘﻘﻴﻴﻡ ﺍﻟﺠﻤﺎﻟﻲ ﻤﻥ ﺨﻼل ﺍﻷﻗﺘﺭﺍﻨﺎﺕ ﺍﻟﻌﺎﻁﻔﻴﺔ ﺍﻟﺘﻲ ﺘﺼﺤﺒﻪ‪ ،‬ﻭﻫﻭ ﺃﺜﺭ ﻜﺒﻴﺭ ﻴﻐﻠﺏ‬
‫ﺃﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻟﻤﺭﺍﻗﺏ ﺃﺩﺭﺍﻜﻪ ﻜﻠﻴﹰﺎ ﺒﻁﺭﻴﻘﺔ ﻤﺤﺴﻭﺴﺔ‪ .‬ﻴﻘﻴﺱ ﺍﻷﻴﻘﺎﻉ ﺍﻟﻭﻗﺕ ﻜﻤﺎ ﻴﻘﻴﺱ ﺍﻟﺤﺠـﻡ ﺍﻟﻔـﺭﺍﻍ ‪،‬‬
‫ﻭﻻﺒﺩ ﻤﻥ ﺃﻋﺘﺒﺎﺭ ﺍﻟﻨﺴﺏ ﻭﺍﻷﻴﻘﺎﻉ ﻋﻨﺎﺼﺭ ﺒﺎﻟﻐﺔ ﺍﻷﻫﻤﻴﺔ ﻓﻲ ﺘﺫﻭﻕ ﺍﻟﻌﻤﺎﺭﺓ ﻭﻻ ﺒﺩ ﻤﻥ ﻓﻬﻡ ﻁﺒﻴﻌﺔ ﺍﻟﻌﻼﻗﺔ‬
‫)ﺍﻟﺴﺎﺒﻕ‪ ، 1986 ،‬ﺹ‪(47-27.‬‬ ‫ﺒﻴﻨﻬﻤﺎ ‪.‬‬
‫ﺃﻥ ﺃﺒﺴﻁ ﺃﻨﻭﺍﻉ ﺍﻷﻴﻘﺎﻉ )ﺼﻭﺕ ﻤﺸﻲ ﺍﻷﻗﺩﺍﻡ( ﻻ ﻴﺯﻴﺩ ﻋﻠﻰ ﺘﻨﺎﻭﺏ ﺒﻴﻥ ﺍﻟﺼﻭﺕ ﻭﺍﻟﺼﻤﺕ ﺃﻭ ﺒﻠﻐـﺔ‬
‫ﻋﻠﻡ ﺍﻷﺼﻭﺍﺕ ‪ :‬ﺍﻟﺤﺩﺙ ﻭﺍﻟﻔﺘﺭﺓ‪.‬ﺃﻥ ﺍﻟﺤﺩﺙ ﻫﻭ ﺍﻟﺫﻱ ﻴﺠﻠﺏ ﺃﻨﺘﺒﺎﻩ ﺠﻬﺎﺯ ﺍﻷﺩﺭﺍﻙ ﺒﻴﻨﻤﺎ ﺘﺴﺎﻋﺩ ﺍﻟﻔﺘﺭﺓ ﺒﻴﻥ‬
‫ﺍﻷﺤﺩﺍﺙ ﻋﻠﻰ ﺘﻔﺴﻴﺭ ﺍﻟﺘﺠﺭﺒﺔ ﻓﻲ ﻀﻭﺀ ﺍﻟﺫﺍﻜﺭﺓ ﻭﺃﻋﻁﺎﺌﻬﺎ ﻗﻴﻤﺔ ﻋﺎﻁﻔﻴﺔ ‪ :‬ﺃﻨﻨﺎ ﻨﻌﺘﺒﺭ ﺃﻥ ﺃﻴﻘﺎﻉ ﺍﻟﻤﺸﻲ ﺫﻭ‬
‫ﻏﺭﺽ ﻭﻤﻌﻨﻰ ﻭﻨﻔﺭﻕ ﺒﻴﻥ ﺃﻴﻘﺎﻉ ﻤﺸﻲ ﺴﺭﻴﻊ ﻭﺃﻴﻘﺎﻉ ﻤﺸﻲ ﺒﻁﻲﺀ ‪ .‬ﻋﻨﺩﻤﺎ ﻴﺴﺘﻐﺭﻕ ﺍﻟﺤﺩﺙ ﻓﺘﺭﺓ ﻁﻭﻴﻠﺔ‬
‫ﻨﻭﻋﺎ ﻤﺎ ﻤﻥ ﺍﻟﺯﻤﻥ ﺃﻭ ﺍﻟﻔﺭﺍﻍ ‪ ،‬ﻋﻨﺩﺌﺫ ﻴﻔﺴﺭ ﺍﻷﻨﺴﺎﻥ ﺍﻟﺤﺩﺙ ﻟﻴﺱ ﺒﻤﻘﺎﺭﻨـﺔ ﺍﻟﻔﺘـﺭﺍﺕ ﻭﻟﻜـﻥ ﺒﻘﻴـﺎﺱ‬
‫ﺍﻷﺤﺩﺍﺙ ﺒﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﺘﺭﺍﺕ ﻭﻟﺒﻌﻀﻬﺎ ﺍﻟﺒﻌﺽ ‪ ،‬ﺃﺴﺘﺨﺩﺍﻡ ﺍﻷﻴﻘﺎﻉ ﺒﺎﻟﻎ ﺍﻷﻫﻤﻴﺔ ﻓـﻲ ﺍﻟﻌﻤـﺎﺭﺓ ‪ .‬ﺃﻥ ﺁﺜـﺎﺭ‬
‫ﺍﻷﻴﻘﺎﻉ ﺘﺒﺭﺯ ﺒﻭﻀﻭﺡ ﻋﻨﺩﻤﺎ ﻴﻜﻭﻥ ﻫﻨﺎﻙ ﺘﺤﺩﻴﺩ ﻭﺍﻀﺢ ﻟﻠﺤﺩﺙ ﻭﺍﻟﻔﺘﺭﺓ ﻜﻤﺎ ﻫﻭ ﺍﻷﻤـﺭ ﻋﻨـﺩﻤﺎ ﻴﻘـﺴﻡ‬
‫ﺍﻟﻔﺭﺍﻍ ﺒﺨﻁ ﻤﻥ ﺍﻷﻋﻤﺩﺓ ﺃﻭ ﻴﻘﺴﻡ ﺒﺴﻠﺴﻠﺔ ﻤﻥ ﺍﻟﻨﻭﺍﻓﺫ ‪ ،‬ﻤﺜل ﻫﺫﻩ ﺍﻷﻴﻘﺎﻋﺎﺕ ﺴﻬﻠﺔ ﺍﻟﺘﻔـﺴﻴﺭ ﻭﺃﻗﺘﺭﺍﻨﺎﺘﻬـﺎ‬
‫ﻭﺍﻀﺤﺔ‪ .‬ﻴﺘﻔﻕ ﻤﻌﻅﻡ ﺍﻟﻨﺎﺱ ﺃﻥ ﻟﻠﻨﺒﺽ ﺍﻟﺴﺭﻴﻊ ﺤﻴﻭﻴﺔ ﺃﻜﺒﺭ ﻤﻥ ﺍﻟﻨﺒﺽ ﺍﻟﺒﻁﻲﺀ ﻭﺃﻥ ﺍﻟﺠﻤﻊ ﺒﻴﻥ ﺍﻻﺜﻨﻴﻥ‬
‫ﻴﻭﻟﺩ ﺃﻴﻘﺎﻋ ﹰﺎ ﺃﻜﺜﺭ ﺤﻴﻭﻴﺔ ﻤﻥ ﺍﻷﺜﻨﻴﻥ ‪ .‬ﻭﻜﺫﻟﻙ ﺒﺎﻻﻤﻜﺎﻥ ﺍﻥ ﻴﻜﻭﻥ ﺍﻷﻴﻘﺎﻉ ﺃﻓﻘﻴﹰﺎ ﻭﺭﺃﺴﻴﹰﺎ ‪ .‬ﺃﻥ ﺃﻋﻁﺎﺀ ﺼﻴﻐﺔ‬
‫ﺒﺼﺭﻴﺔ ﻷﻴﻘﺎﻋﺎﺕ ﺍﻟﻌﻤﺎﺭﺓ ﺘﺩﻋﻭ ﺍﻟﻤﺸﺎﻫﺩ ﻟﻠﺭﺠﻭﻉ ﺒﻔﻜﺭﻩ ﺍﻟﻰ ﺍﻟﺤﺭﻜﺎﺕ ﺍﻟﻁﺒﻴﻌﻴﺔ ﺍﻟﺒﺎﻟﻐﺔ ﺍﻟﻠﻁـﻑ ﻷﻨﻬـﺎ‬
‫ﺃﻴﻘﺎﻋﺎﺕ ﺍﻟﻤﺭﻭﻨﺔ ﻭﺍﻟﺤﻴﻭﻴﺔ ﺍﻟﺘﻲ ﺘﺭﻤﺯ ﺍﻟﻴﻬﺎ ﻋﺒﺎﺭﺍﺕ ﻤﺜـل )ﺨﻁـﻭﺍﺕ ﻗـﺎﻓﺯﺓ( ﻭ)ﻤﻠﻴﺌـﺔ ﺒﺎﻟﺤﺭﻜـﺔ(‬
‫ﻭ)ﻤﺘﺄﺭﺠﺤﺔ( ‪ ،‬ﺯﻴﺎﺩﺓ ﻋﻠﻰ ﺫﻟﻙ ﻓﺄﻨﻬﺎ ﺘﺸﻐل ﺍﻟﻌﻴﻥ ﺃﻜﺜﺭ ﻤﻥ ﺍﻷﻴﻘﺎﻉ ﺍﻟﻭﺍﻀﺢ ﻓﻌﻠـﻰ ﺍﻷﻨـﺴﺎﻥ ﺃﻥ ﻴﻘـﺭﺃ‬
‫ﺍﻟﺘﻐﻴﺭﺍﺕ ﺍﻟﺩﻗﻴﻘﺔ ﻓﻲ ﺍﻟﻀﻭﺀ ﻭﺍﻟﻅل ﻋﻠﻰ ﻤﺩﻯ ﺴﻁﺢ ﻤﺴﺘﻤﺭ ﻭﺃﻥ ﻴﺤﺱ ﺒﺎﻟﺘﻐﻴﺭ ﺍﻟﺘﺩﺭﻴﺠﻲ ﻟﻺﻨﺤﻨـﺎﺀﺁﺕ‬
‫ﺍﻟﻤﻨﺴﺎﻗﺔ ‪ .‬ﻭﺘﺼﺒﺢ ﺍﻟﺒﻨﺎﻴﺔ ﻓﻲ ﺭﺃﻱ ﺍﻟﻨﺎﻅﺭ ﻋﺩﻴﻤﺔ ﺍﻟﺸﻜل ﺃﻭ ﺨﻠﻴﻁﺔ ﺍﻟﻤﻼﻤﺢ ﺍﺫﺍ ﻜﺎﻥ ﺍﻟﺘﻨﺎﻭﺏ ﻤﻭﺠـﻭﺩﺍ‬
‫ﻭﻟﻜﻨﻪ ﻟﻴﺱ ﻭﺍﻀﺤﹰﺎ ﺘﻤﺎﻤﹰﺎ ‪ ،‬ﻭﻋﻨﺩﻫﺎ ﺘﺼﺒﺢ ﺍﻟﻠﻌﺒﺔ ﺃﺼﻌﺏ ﻤﻥ ﺍﻟﻶﺯﻡ ﺒﺤﻴﺙ ﺘﻌﻤل ﻋﻠﻰ ﺍﺴﺘﻤﺎﻟﺔ ﺍﻟﻤﺨﻴﻠﺔ‬
‫ﻓﻲ ﻟﻌﺒﺔ ﺘﺨﻤﻴﻥ ﺍﻟﻰ ﺤﺩ ﺍﻻﻏﺎﻀﺔ‪ .‬ﺍﻟﺘﻤﻭﺝ ﺭﺒﻤﺎ ﻴﻔﺴﺩ ﺍﻟﻤﺘﻌﺔ ﺃﺫﺍ ﺃﺯﺩﺍﺩ ﻟﺩﺭﺠﺔ ﻜﺒﻴﺭﺓ ‪ .‬ﻭﻴﺼﺒﺢ ﺍﻟﺘﻤـﻭﺝ‬
‫ﻤﻤﻼ ﺃﺫﺍ ﻜﺎﻥ ﻤﻨﺘﻅﻤﺎ ‪ .‬ﺃﻤﺎ ﺃﺫ ﻜﺎﻥ ﻏﻴﺭ ﻤﻨﺘﻅﻡ ﻓﺭﺒﻤﺎ ﺃﺼﺒﺢ ﻤﺤﻴﺭﺍ ﻭﻏﻴﺭ ﻤﺭﻴﺤﺎ ﺍﻷ ﺇﺫﺍ ﻜﺎﻨـﺕ ﻫﻨـﺎﻙ‬
‫ﺒﻌﺽ ﺍﻟﻤﻘﺎﻁﻊ ﺍﻟﺘﻲ ﺘﻌﻁﻴﻪ ﺸﻜﻼ ﻭﺤﺩﻭﺩﺍ ﻭﻤﻅﻬﺭﺍ ﺤﻘﻴﻘﻴﺎ ‪ ،‬ﻟﺫﻟﻙ ﻨﺠﺩ ﻏﺎﻟﺒﺎ ﺃﻥ ﺘﻌﺒﻴﺭﺍ ﺤـﺎﺩﺍ ﻭﺃﻴﺠﺎﺒﻴـﺎ‬
‫ﻴﻤﻜﻥ ﺍﻥ ﻴﺴﺘﺨﺩﻡ ﻟﺘﺼﺤﻴﺢ ﻫﺫﺍ ﺍﻟﻭﻀﻊ ‪ ،‬ﻭﻻ ﻴﺯﻴﺩ ﻫﺫﺍ ﺃﺤﻴﺎﻨﺎ ﻋﻥ ﻭﻗﻔﺔ ﻴﺴﺘﻤﺭ ﺒﻌﺩﻫﺎ ﺍﻟﺘﻤﻭﺝ ‪.‬‬
‫)ﺍﻟﺴﺎﺒﻕ‪ ، 1986 ،‬ﺹ‪.(47-27.‬‬

‫ﻭﺘﻁﺭﻕ ﻜل ﻤﻥ )‪ (Malnar & Vodvarka‬ﻓﻲ ﻭﺼﻔﻬﻤﺎ ﻟﻠﻤﺘﻌﺔ ﺍﻟﻰ ﺘﺤﻠﻴل ﻤﺠﻤﻭﻋﺔ ﻤﻥ‬
‫ﺍﻟﺤﺩﺍﺌﻕ ‪ ،‬ﺍﺫ ﻴﺭﻴﺎﻥ ” ﺍﻥ ﺍﻟﺤﺩﺍﺌﻕ ﻫﻲ ﺘﻌﺯﻴﺯ ﻭﺘﺤﺴﻴﻥ ﻜﺒﻴﺭ )‪ (great enhancement‬ﻟﻼﺒﻨﻴﺔ ﻋﻨﺩﻤﺎ‬
‫ﻴﺘﻡ ﺭﺒﻁﻬﻤﺎ ﺒﺸﻜل ﺠﻴﺩ ﻭﻋﻨﺩﻤﺎ ﻴﺘﻡ ﺍﻋﻁﺎﺀ ﻨﺴﺏ ﺼﺤﻴﺤﺔ ﻤﺎﺒﻴﻥ ﺍﻻﺭﺽ ﺍﻟﻤﺴﺘﻭﻴﺔ ‪ ،‬ﺍﻟﺭﻴﺎﺽ ﺒﻴﻥ‬
‫ﺍﻟﻤﻤﺎﺸﻲ ‪ ،‬ﻭﺍﺤﻭﺍﺽ ﺍﻟﺯﻫﻭﺭ ﻟﺘﺤﺘﻔﻅ ﺒﻔﻭﻀﻰ ﻤﻔﺭﺤﺔ ﻭﻏﺭﺍﺒﺔ ﻤﺜﻴﺭﺓ ﻭﻤﻥ ﺨﻼل ﺭﺴﻡ ﺍﻟﺨﻁﻁ ﻟﺭﺅﻴﺔ‬
‫ﺍﻟﺫﻱ ﻴﺜﻴﺭ‬ ‫ﻤﺸﺎﻫﺩ ﻤﻼﺌﻤﺔ ﻭﺴﺎﺤﺭﺓ )‪ (charming vistas‬ﻤﻨﺘﻬﻴﺔ ﺒﻨﻘﺎﻁ ﻤﺒﻬﺠﺔ ﻤﻥ ﺍﻟﻤﻨﻅﺭ‬
‫ﺍﻟﻔﻀﻭل“‪(Malnar & Vodvarka,2004, p.86).‬‬

‫ﻴﻘﺩﻡ ) ‪ ( Ernst Robert Curtius‬ﻭﺼﻔﺎ ﻋﻥ ﺍﻟﺴﻌﺎﺩﺓ )‪ (pleasance‬ﻓﻲ ﺍﻟﺤﺩﺍﺌﻕ ﻭﺍﻟﻤﻨﺎﻁﻕ‬

‫ﺍﻟﻤﻔﺘﻭﺤﺔ ﻗﺎﺌﻼ ‪:‬‬
‫‪“Pleasance is beautiful shaded natural site. Its minimum ingredients‬‬
‫‪comprise a tree (or several trees), a meadow, and a spring or brook, bird song‬‬
‫”‪and flowers may be added, the most elaborate examples also add a breeze.‬‬
‫)‪(Ibid.,2004, p.86‬‬
‫ﻭﻴﺼﻨﻑ ) ‪ (Curtius‬ﻓﺘﻨﺔ ﻭﺴﺤﺭ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺨﺎﺭﺠﻴﺔ ﺍﻟﻰ ﺴﺘﺔ ﻨﻘﺎﻁ ﻫﻲ ‪ :‬ﺍﻟﻴﻨﺎﺒﻴﻊ ﺍﻟﺤﻤﻴﻤـﺔ ‪،‬‬
‫ﺒﺴﺎﺘﻴﻥ ﺍﻻﺸﺠﺎﺭ ‪ ،‬ﺍﻟﺤـﺩﺍﺌﻕ ‪،‬ﺍﻻﺯﻫـﺎﺭ‪ ،‬ﻏﻨـﺎﺀ ﺍﻟﻁﻴـﻭﺭ ‪،‬ﺍﻟﻨـﺴﻴﻡ ﺍﻟﺭﻗﻴـﻕ‪ ،‬ﻭﻤـﻥ ﻭﺠﻬـﺔ ﻨﻅـﺭ‬
‫)‪ (Malnar&Vodvarka‬ﺘﻡ ﺇﻀﺎﻓﺔ ﺼﻭﺕ ﻫﻤﺱ ﺍﻟﻨﺴﻴﻡ )‪، (breeze‬ﺍﻟﻤﻠﻤـﺱ ﺍﻟﺤﺭﻴـﺭﻱ ﻟﻠﻨﻬـﺭ‬
‫ﺍﻀﺎﻓﺘﻬﺎ‪(Ibid.,2004,p.86).‬‬ ‫‪،‬ﺍﻻﻟﻭﺍﻥ ‪ ،‬ﺍﻟﻌﻁﻭﺭ‪ ،‬ﻭﺒﺎﻟﻤﺨﺘﺼﺭ ﻓﺄﻥ ﻜل ﺍﻟﺤﻭﺍﺱ ﺘﻡ‬
‫ﻭﻟﻜﻥ ﻴﻨﺒﻪ ﺍﻟﺒﺎﺤﺜﺎﻥ ﻓﻲ ﻨﻔﺱ ﺍﻟﻭﻗﺕ ﺍﻟﻰ ﺍﻥ ﺍﻏﻠﺏ ﺍﻟﺩﺭﺍﺴﺎﺕ ﺘﺅﻜﺩ ﻋﻠﻰ ﻤﺭﻜﺯﻴﺔ ﺍﻟﻌﻴﻥ ‪(ocular‬‬
‫)‪ centric‬ﻁﺎﻟﺒﻴﻥ ﻤﻥ ﺍﻟﻤﺭﺍﻗﺒﻴﻥ ﺍﻥ ﻴﺘﺨﺫﻭﺍ ﻗﺭﺍﺭﺍﺘﻬﻡ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ ﺍﻟﺒﻴﺎﻨﺎﺕ ﺍﻟﺒﺼﺭﻴﺔ )‪. (visual data‬‬
‫ﻟﻜﻥ ﻜﻤﺎ ﻴﺒﺩﻭ ﻭﺍﻀﺤﺎ ﻓﺎﻥ ﻫﻨﺎﻙ ﻤﻅﻬﺭﻴﻥ ﺍﺨﺭﻴﻥ ﻟﻠﺴﻌﺎﺩﺓ ﻫﻤﺎ ﺍﻟﺼﻭﺕ ﻭﺍﻟﺭﺍﺌﺤﺔ ‪ ،‬ﻭﻫﻤﺎ )ﻤﺘﻌﻠﻘﺎﻥ‬
‫ﺒﺎﻟﻨﻤﻭﺫﺝ ﺍﻻﺼﻠﻲ ‪ ( archetypal‬ﻜﺎﻟﻨﻅﺭ ‪ ،‬ﻟﺘﺄﺘﻲ ﻋﻨﺩﻫﺎ ﺘﻔﻀﻴﻼﺕ ﺍﺨﺭﻯ ﻜﻔﻌل ﺸﺫﻯ ﺍﻻﺯﻫﺎﺭ ﻭﻏﻨﺎﺀ‬
‫ﺍﻟﻁﻴﻭﺭ ‪ .‬ﻭﺍﺨﻴﺭﺍ ﻓﺎﻥ ﻤﻭﻗﻔﻬﻤﺎ ﻴﺤﺩﺩ ﺴﺒﺏ ﺍﺴﺘﻤﺭﺍﺭﻴﺔ ﻭﺩﻴﻤﻭﻤﺔ ﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ ﺍﻻﻏﺭﻴﻘﻴﺔ ﻜل ﻫﺫﻩ‬
‫ﺍﻟﻔﺘﺭﺓ ﻓﻲ ﻜﻭﻥ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺘﻲ ﺘﻨﻘﻠﻬﺎ ﻤﻘﻨﻌﺔ ﺤﺴﻴﺎ )‪ (seniority persuasive‬ﺍﻻﻥ ﻜﻤﺎ ﻓﻲ‬
‫ﺍﻟﺴﺎﺒﻕ‪(Malnar & Vodvarka,2004, pp. 101-100).‬‬

‫ﻭﻴﺭﻯ ﺍﻟﺒﺤﺙ ﺍﻤﻜﺎﻨﻴﺔ ﻋﻜﺱ ﻋﻨﺎﺼﺭ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺨﺎﺭﺠﻴﺔ ﻭﺍﻟﺤﺩﺍﺌﻕ ﻓﻲ ﺍﻟﺩﺍﺨل ﻤﻥ ﺨﻼل ﺍﻟﺘﻼﻋﺏ‬
‫ﻓﻲ ﻤﺴﺘﻭﻯ ﺍﻻﺭﻀﻴﺎﺕ ﻭﺍﻨﻬﺎﺀﺍﺘﻬﺎ ‪ ،‬ﺇﻀﺎﻓﺔ ﻓﺘﺤﺎﺕ ﺴﻘﻔﻴﺔ ﺘﻀﻔﻲ ﺘﻐﻴﺭﺍﺕ ﻓﻲ ﺍﻟﻀﻭﺀ ﻭﺍﻟﻅل ‪،‬‬
‫ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺭﺍﺌﺤﺔ ﻭﺼﻭﺕ ﺍﻟﻤﻌﺎﻟﻡ ﻭﺍﻟﻤﺴﻁﺤﺎﺕ ﺍﻟﻤﺎﺌﻴﺔ ‪ ،‬ﻭﺍﻀﺎﻓﺔ ﻋﻨﺼﺭ ﺍﻟﻨﺒﺎﺕ ﺒﺎﻟﻭﺍﻨﻪ ﻭﻋﻁﻭﺭﻩ‬
‫ﺍﻟﻤﺘﻨﻭﻋﺔ ‪ ،‬ﺨﻠﻕ ﺍﻨﻔﺘﺎﺤﻴﺔ ﻋﺎﻟﻴﺔ ﻤﻊ ﺍﻟﺨﺎﺭﺝ ﻭﺭﺴﻡ ﻤﺸﺎﻫﺩ ﻤﺅﻁﺭﺓ ﻤﻤﺘﺩﺓ ﻓﻲ ﺍﻟﻌﻤﻕ ﺘﺤﻘﻕ ﺍﻻﺤﺴﺎﺱ‬
‫ﺒﺎﻻﻤﺘﺩﺍﺩ ﻭﺍﻻﺘﺴﺎﻉ ‪ ،‬ﻟﺘﺴﻬﻡ ﺠﻤﻴﻌﺎ ﻓﻲ ﺘﺤﻘﻴﻕ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﺍﻟﻤﻨﺸﻭﺩﺓ ﻓﻲ ﺍﻟﻔﻀﺎﺀ ﺍﻟﺩﺍﺨﻠﻲ ‪.‬‬
‫ﻓﻴﻤﺎ ﺘﻨﺎﻭﻟـﺕ ﺩﺭﺍﺴﺔ )ﺸﻤﺎﺌل ﺍﻟﺩﺒﺎﻍ( ﻤﻭﻀﻭﻉ ﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ﻓﻲ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ ﻤﻥ ﺨﻼل‬
‫ﺘﻔﻬﻡ ﺍﻟﻌﻭﺍﻤل ﺍﻟﻤﺅﺜﺭﺓ ﻋﻠﻰ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻹﺩﺭﺍﻜﻴـﺔ ‪ ،‬ﻭﺃﻭﻀﺤـﺕ ﺍﺴﺘﻨﺘﺎﺠﺎﺕ ﺍﻻﻁﺎﺭ ﺍﻟﻨﻅﺭﻱ ﻋـﺩﺩﺍ ﻤـﻥ‬
‫ﺍﻟﻨﻘﺎﻁ ﺍﻫﻤﻬﺎ ﻭﺒﻤﺎ ﻴﺘﻌﻠﻕ ﺒﻤﻭﻀﻭﻉ ﺒﺤﺜﻨـﺎ‪ :‬ﺍﻋﺘﻤـﺎﺩ ﺍﻟﺘﻔـﻀﻴل ﺍﻟﺠﻤـﺎﻟﻲ ﻋﻠـﻰ ﺍﻟـﺘﻔﻬﻡ ﺍﻟﻤﻌﺭﻓـﻲ‬
‫ﻭﺍﻻﺴﺘﻴﻌﺎﺏ)‪ ، (apprehension‬ﺤﻴﺙ ﻴﺘﻡ ﺍﻟﺭﺒﻁ ﺒﻴﻥ ﺍﻟﻌﻤﻠﻴﺎﺕ ﺍﻟﺤﺴﻴﺔ ﺍﻭ ﺍﻟﻤﺭﺘﺒﻁﺔ ﺒﺎﺴﺘﺜﺎﺭﺓ ﺍﻟﺤﻭﺍﺱ‬
‫ﻭﺒﻴﻥ ﺍﻻﻨﻔﻌﺎل " ﻓﻲ ﺍﻟﺘﺤﻠﻴل ﺍﻟﻨﻔﺴﻲ" ‪ ،‬ﺍﻭ ﺒﻴﻥ ﺍﺴﺘﺜﺎﺭﺓ ﺍﻟﺤﻭﺍﺱ ﻭﺍﻟﺩﻭﺍﻓﻊ ﺍﻟﻤﻌﺭﻓﻴﺔ " ﺍﻟﺠﻤﺎﻟﻴﺎﺕ ﺍﻟﺘﺠﺭﻴﺒﻴﺔ‬
‫" ‪ ،‬ﺍﻭ ﺍﺴﺘﺜﺎﺭﺓ ﺍﻟﺤﻭﺍﺱ ﻭﺍﻻﺩﺭﺍﻙ ﻓﻲ" ﺍﻟﺠﺸﻁﺎﻟﺕ " ‪ ،‬ﻭﺒﻴﻥ ﺍﻟﺸﻌﻭﺭ ﺒﺎﻟﻤﺘﻌﺔ ﺍﻭ ﺍﻟﻠـﺫﺓ ﺍﻭ ﺍﺍﻟـﺴﺭﻭﺭ ﺍﻭ‬
‫ﺍﻻﺭﺘﻴﺎﺡ ﻭﻋﻤﻠﻴﺎﺕ ﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ‪ ،‬ﺤﻴﺙ ﺘﻌﻨﻲ ﻜﻠﻤﺔ )‪ (apprehension‬ﺤﺎﻟﺔ ﺨﺎﺼﺔ ﻤﻥ ﺍﻻﻤﺘﺯﺍﺝ‬
‫ﺒﻴﻥ ﺍﻟﻤﻌﺭﻓﺔ ﺍﻟﻌﻘﻠﻴﺔ ‪ ،‬ﻭﺍﻻﺤﺴﺎﺱ ﺍﻻﻨﻔﻌﺎﻟﻲ ﺤﻴﺙ ﺘﻜﻭﻥ ﻋﻤﻠﻴﺔ ﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ﻤﺯﻴﺠـﺎ ﻤـﻥ ﺍﻟﻔﻬـﻡ‬
‫)ﺍﻟﻌﻘﻠﻲ( ﻭﺍﻟﻤﺘﻌﺔ ﺍﻻﻨﻔﻌﺎﻟﻴﺔ ﺍﻭ ﺍﻟﻭﺠﺩﺍﻨﻴﺔ ‪.‬‬
‫ﻜﻤﺎ ﺍﺸﺎﺭﺕ ﺍﻟﺩﺭﺍﺴﺔ ﻟﻤﻭﻀﻭﻉ ﺘﻌﺩﺩﻴﺔ ﺍﻭﺴﺎﻁ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ‪ :‬ﺍﻟﻤﻌﻠﻭﻤـﺎﺕ ﺍﻟﺒـﺼﺭﻴﺔ ‪ ،‬ﺍﻟـﺴﻤﻌﻴﺔ ‪،‬‬
‫ﺍﻟﺸﻤﻴﺔ ‪ ،‬ﺍﻟﻠﻤﺴﻴﺔ ‪ ،‬ﻭﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺨﺎﺼﺔ ﺒﺎﻟﺤﺭﻜﺔ ﻭﺍﻟﺘﻭﺍﺯﻥ ﻭﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻻﻨﻔﻌﺎﻟﻴﺔ ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ ‪ ..‬ﺍﻟﺦ ‪،‬‬
‫ﻭﻋﺩﺕ ﻋﻤﻠﻴﺎﺕ ﺍﻟﺘﺫﻭﻕ ﻭﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ﻋﻤﻠﻴﺎﺕ ﻤﺘﻌﻠﻘﺔ ﺒﺎﺴـﺘﺨﻼﺹ ﺍﻟﻤﻌﻠﻭﻤـﺎﺕ ﻭﺍﻟـﺘﻔﻬﻡ ﻟﻬـﺎ ‪،‬‬
‫ﻭﺍﻻﺴﺘﻤﺘﺎﻉ ﺒﻬﺎ ﺒﺎﻟﻤﻌﻨﻰ ﺍﻟﺘﻜﺎﻤﻠﻲ ﺍﻟﺴﺎﺒﻕ ‪) .‬ﺍﻟﺩﺒﺎﻍ‪ ، 2002 ،‬ﺹ ‪(142-141‬‬
‫ﻭﻋﻠﻴﻪ ﻓﻘﺩ ﺘﻨﺎﻭﻟﺕ ﺩﺭﺍﺴﺔ )ﺴﻴﻨﻜﻠﻴﺭ ﺠﻭﻟﺩﻱ( ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﺤﺴﻴﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﻋﻠﻰ ﺍﻨﻬﺎ ﺍﻟﺘﺴﻠﺴل‬
‫ﺍﻷﻴﻘﺎﻋﻲ ﺍﻟﺫﻱ ﺘﺘﻀﻤﻨﻪ ﺘﺠﺭﺒﺔ ﻤﺎ‪ ،‬ﻤﺼﺤﻭﺒﺔ ﺒﺎﻷﻗﺘﺭﺍﻨﺎﺕ ﺍﻟﻌﺎﻁﻔﻴﺔ ﺍﻟﻤﺘﻭﻟﺩﺓ ﻟﺩﻯ ﺍﻟﻤﺘﻠﻘﻲ‪ .‬ﻭﺤﺩﺩﺕ‬
‫ﺍﻟﺩﺭﺍﺴﺔ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻤﻔﺭﺩﺍﺕ ﻟﺘﺤﻘﻴﻕ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺘﻲ ﻴﺘﻔﻕ ﺍﻟﺒﺤﺙ ﻤﻌﻬﺎ ﻭﻤﻨﻬﺎ‪ :‬ﺍﻻﻴﻘﺎﻉ ﻭﺍﻟﺘﻤﻭﺝ‬
‫ﻼ ﻋﻥ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺴﻤﻌﻴﺔ ﺒﻔﻌل‬
‫ﻜﻤﻔﺭﺩﺓ ﺍﺴﺎﺴﻴﺔ ‪ ،‬ﺍﻟﻤﺘﻌﺔ ﺍﻟﺒﺼﺭﻴﺔ ﺍﻟﻤﺘﺤﻘﻘﺔ ﺒﻌﻨﺼﺭ ﺍﻟﻠﻭﻥ ﻭﺍﻟﻀﻭﺀ ﻓﻀ ﹰ‬
‫ﺍﻟﻤﻭﺴﻴﻘﻰ ‪ .‬ﺍﺤﺎﺴﻴﺱ ﺍﻟﺭﺍﺤﺔ ﻭﺍﻟﺘﻌﺠﺏ ﻭﺍﻻﻨﺩﻫﺎﺵ ﻭﺍﻟﺒﻬﺠﺔ ‪ ،‬ﺍﻀﺎﻓﺔ ﺍﻟﻰ ﻤﻔﺭﺩﺍﺕ ﺍﻟﻤﺘﻭﻗﻊ‬
‫ﻭﺍﻟﻼﻤﺘﻭﻗﻊ ‪ ،‬ﺍﻻﻜﺘﺸﺎﻑ ﻭﺍﻟﻐﻤﻭﺽ ‪ ،‬ﻋﺩﻡ ﺍﻟﺘﻭﺍﺯﻥ ﻭﺍﻟﻐﺭﺍﺒﺔ ﺒﺎﻟﺘﻨﺎﺴﺏ ‪ ،‬ﺍﻟﺘﻌﻘﻴﺩ ﻭﺍﻟﺒﺴﺎﻁﺔ ‪ ،‬ﻭﺍﺜﺎﺭﺓ‬
‫ﺤﺏ ﺍﻻﺴﺘﻁﻼﻉ‪.‬‬
‫ﻓﻴﻤﺎ ﺘﻨﺎﻭﻟﺕ ﺩﺭﺍﺴﺔ )‪ (Malnar & Vodvarka‬ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﺤﺴﻴﺔ ﻓﻲ ﺍﻟﺤﺩﺍﺌﻕ ﻭﺤﺩﺩﺕ ﺍﻟﺩﺭﺍﺴﺔ‬
‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﻤﻔﺭﺩﺍﺕ ﻟﺘﺤﻘﻴﻕ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺒﺼﺭﻴﺔ ﻭﺍﻟﻤﺘﻌﺔ ﺍﻟﻤﺘﻌﺩﺩﺓ ﺍﻻﺴﺘﺠﺎﺒﺎﺕ ﻭﺍﻟﻤﺘﺤﻘﻘﺔ ﺒﻔﻌل‬
‫ﺍﻟﻨﺒﺎﺘﺎﺕ ‪ ،‬ﺍﻟﻤﻌﺎﻟﻡ ﺍﻟﻤﺎﺌﻴﺔ ‪ ،‬ﺍﻟﻨﺴﻴﻡ ﻭﺤﺭﻜﺔ ﺍﻟﻬﻭﺍﺀ ‪ ،‬ﺍﻟﻌﻁﻭﺭ ‪ ،‬ﺍﺼﻭﺍﺕ ﺍﻟﻨﺒﺎﺘﺎﺕ ﺍﻟﻤﺘﺤﺭﻜﺔ ﻭﺍﻟﻁﻴﻭﺭ‪،‬‬
‫ﺍﻻﻟﻭﺍﻥ ‪ .‬ﻫﺫﺍ ﻭﻴﺭﻯ ﺍﻟﺒﺤﺙ ﺍﻤﻜﺎﻨﻴﺔ ﺍﺴﺘﻐﻼل ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﻔﺭﺩﺍﺕ ﺍﻟﺴﺎﺒﻘﺔ ﻀﻤﻥ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ‬
‫ﻭﺘﺴﺨﻴﺭﻫﺎ ﻻﻏﻨﺎﺀ ﺍﻟﺘﺠﺭﺒﺔ ﺍﻟﺤﺴﻴﺔ ﻓﻴﻬﺎ ‪.‬‬
‫ﻭﺘﻭﺼﻠﺕ ﺩﺭﺍﺴﺔ ) ﺍﻟﺩﺒﺎﻍ ( ﻓﻲ ﻤﻭﻀﻭﻉ ﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ﻓﻲ ﺍﻟﻔﻀﺎﺀﺍﺕ ﺍﻟﺩﺍﺨﻠﻴﺔ ‪ ،‬ﺍﻟﻰ ﺍﻟﺭﺒﻁ‬
‫ﺒﻴﻥ ﻋﻤﻠﻴﺎﺕ ﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ﻭﺒﻴﻥ ﺍﻟﺸﻌﻭﺭ ﺒﺎﻟﻤﺘﻌﺔ ﺍﻭ ﺍﻟﻠﺫﺓ ﺍﻭ ﺍﻟﺴﺭﻭﺭ ﺍﻭ ﺍﻻﺭﺘﻴﺎﺡ ‪ .‬ﻭﺍﻟﺘﻲ ﻋﺩﺕ‬
‫ﻋﻤﻠﻴﺎﺕ ﺍﻟﺘﺫﻭﻕ ﻭﺍﻟﺘﻔﻀﻴل ﺍﻟﺠﻤﺎﻟﻲ ﻋﻤﻠﻴﺎﺕ ﻤﺘﻌﻠﻘﺔ ﺒﺎﺴﺘﺨﻼﺹ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﻭﺍﻟﺘﻔﻬﻡ ﻟﻬﺎ ﻭﺍﻻﺴﺘﻤﺘﺎﻉ‬
‫ﺒﻬﺎ ﺒﺎﻟﻤﻌﻨﻰ ﺍﻟﺘﻜﺎﻤﻠﻲ ﺍﻟﺴﺎﺒﻕ ﻤﻥ ﺨﻼل ﺍﺴﺘﻐﻼل ﺘﻌﺩﺩﻴﺔ ﺍﻭﺴﺎﻁ ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ‪ :‬ﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺒﺼﺭﻴﺔ ‪،‬‬
‫ﺍﻟﺴﻤﻌﻴﺔ ‪ ،‬ﺍﻟﺸﻤﻴﺔ ‪ ،‬ﺍﻟﻠﻤﺴﻴﺔ ‪ ،‬ﻭﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻟﺨﺎﺼﺔ ﺒﺎﻟﺤﺭﻜﺔ ﻭﺍﻟﺘﻭﺍﺯﻥ ﻭﺍﻟﻤﻌﻠﻭﻤﺎﺕ ﺍﻻﻨﻔﻌﺎﻟﻴﺔ‬
‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ ‪ ..‬ﺍﻟﺦ‬

‫‪ .2‬ﺍﻟﻤﺘﻌﺔ ﻭﺍﺜﺎﺭﺓ ﺍﻟﻔﻀﻭل‬

‫ﺃﺸﺎﺭ )ﺴﻨﻜﻠﻴﺭ ﺠﻭﻟﺩﻱ( ﺍﻟﻰ ﻋﻨﺼﺭ ﻤﻥ ﺍﻟﻤﺘﻌﺔ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻴﺘﻌﻠﻕ ﺒﺎﻟﻤﻴل ﺍﻟﺒﺸﺭﻱ ﻟﻠﻤﺨﺎﻁﺭﺓ ﻭﻤﻐﺎﺯﻟﺔ‬
‫ﺍﻟﻤﺠﻬﻭل ﻭﺍﻟﻤﺸﻜﻭﻙ ﻓﻴﻪ ﺤﻴﺙ ﺘﻨﺘﻌﺵ ﺍﻟﻌﻭﺍﻁﻑ ﺒﻬﺯﺓ ﺨﻔﻴﻔﺔ ﻟﺸﺒﻜﺔ ﺍﻷﻤﺎﻥ ﻭﻴﻭﻀﺢ )ﺠﻭﻟﺩﻱ( ﺃﻥ ﺍﻟﺸﻜل‬
‫ﺍﻟﺫﻱ ﻻﻴﻤﺘﻠﻙ ﺴﻤﺔ ﺍﻭﺸﻜل ﻭﺍﻀﺢ )ﻭﻴﺸﻴﺭ ﺍﻟﻴﻪ ﺒﻌﺩﻴﻡ ﺍﻟﺸﻜل( ﻴﻨﺒﻪ ﺠﻬﺎﺯ ﺍﻟﺘﺤﺴﺱ ﻭﻫﻨـﺎﻙ ﻤﺘﻌـﺔ ﻓـﻲ‬
‫ﺃﻜﺘﺸﺎﻓﻪ‪ ،‬ﻭﺃﻨﻪ ﻤﻊ ﺫﻟﻙ ﻟﻴﺱ ﻋﺩﻴﻡ ﺍﻟﺸﻜل ﻭﻟﻜﻨﻪ ﻤﺠﻤﻭﻋﺔ ﻤﻌﻘﺩﺓ ﻤﻥ ﻋﻼﻤﺎﺕ ﻤﻌﺭﻭﻓﺔ ﺃﻭ ﻤﻔﻬﻭﻤـﺔ ‪ ،‬ﺃﺫ‬
‫ﻴﺯﺩﺍﺩ ﻓﻬﻤﻨﺎ ﻟﻪ ﻓﻲ ﺍﻟﻨﻅﺭﺓ ﺍﻟﺜﺎﻨﻴﺔ ‪ .‬ﻭﺃﻥ ﺍﻷﺩﻋﺎﺀ ﺒﻌﺩﻡ ﺍﻟﺘﻭﺍﺯﻥ ﻴﻭﻓﺭ ﻤﺘﻌﺔ ﻋﻨﺩﻤﺎ ﻴﻜﺘﺸﻑ ﺍﻷﻨﺴﺎﻥ ﻓـﻲ‬
‫ﺍﻟﻨﻅﺭﺓ ﺍﻟﺜﺎﻨﻴﺔ ﺘﻭﺍﺯﻨﹰﺎ ﺨﻔﻴﹰﺎ‪ .‬ﻓﺎﻟﻌﻤﺎﺭﺓ ﺃﻨﻌﻜﺎﺱ ﻟﻠﻁﺒﻴﻌﺔ ﺍﻟﺒﺸﺭﻴﺔ ﺒﻜﺎﻤﻠﻬﺎ ‪ ،‬ﻟﻴﺱ ﻓﻘﻁ ﺍﻟﺠـﺯﺀ ﺍﻟﻤﻨـﻀﺒﻁ‬
‫ﺍﻟﻤﺘﺯﻥ ﻭﺍﻟﻤﻌﻘﻭل ﻭﻟﻜﻥ ﺃﻴﻀﺎ ﺍﻟﺠﺯﺀ ﺍﻟﻼﻤﻨﻁﻘﻲ ﻭﺍﻟﻐﺎﻤﺽ‪ .‬ﻭﻜﻤﺎ ﺃﻥ ﻫﺫﻴﻥ ﺍﻟﻌﻨـﺼﺭﻴﻥ ﻤـﻥ ﺍﻟﻤﺘﻌـﺔ‬
‫ﻤﻠﺘﻘﻴﺎﻥ ﻓﻲ ﺍﻟﻁﺒﻴﻌﺔ ﺍﻟﺒﺸﺭﻴﺔ ﻓﺄﻥ ﻋﻨﺼﺭﻱ ﺍﻟﻤﺘﻌﺔ ﺍﻋﻼﻩ ﻻ ﻴﻨﻔﺼﻼﻥ ﻓﻲ ﺨﻠﻕ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺘﺫﻭﻗﻬﺎ‪...‬‬
‫ﻴﺸﻴﺭ )ﺠﻭﻟﺩﻱ( ﺍﻟﻰ ﻗﻭل )ﺒﻴﻜﻭﻥ( ﺤﻭل ﺍﻟﺠﻤﺎل ﺍﻟﺒﺸﺭﻱ "ﻟﻴﺱ ﻫﻨﺎﻙ ﺠﻤﺎل ﺭﺍﺌـﻊ ﺒـﺩﻭﻥ ﺒﻌـﺽ‬
‫ﺍﻟﻐﺭﺍﺒﺔ ﻓﻲ ﺍﻟﺘﻨﺎﺴﺏ " ﻭﺭﺒﻤﺎ ﺃﻨﻁﺒﻕ ﺫﻟﻙ ﻋﻠﻰ ﺍﻟﻌﻤﺎﺭﺓ ﺃﻴﻀﺎ ‪ ،‬ﺃﺫ ﻻﻴﻨﺒﻐﻲ ﻓﻘﻁ ﻭﺠﻭﺩ ﺃﻋﻠﻰ ﺩﺭﺠﺔ ﻤـﻥ‬
‫ﺍﻟﺘﻭﺍﻓﻕ ﺒل ﻴﻨﺒﻐﻲ ﺃﻴﻀﺎ ﻭﺠﻭﺩ ﺒﻌﺽ ﺍﻟﺩﻗﺔ ﻭﺍﻟﺤﺫﻕ ﻓﻲ ﺍﻟﺘﻭﺍﻓﻕ ﻤﻤﺎ ﻴﻭﻗﻑ ﺍﻟﻌﻴﻥ ﻭﻴﺩﻋﻭ ﺍﻟﺘﺴﺎﺅل ﻭﻓـﻙ‬
‫ﺍﻟﺭﻤﻭﺯ ﺃﻱ ﺃﻤﻜﺎﻨﻴﺔ ﺘﻘﺩﻴﻡ ﺃﺜﺎﺭﺓ ﺤﺏ ﺍﻷﺴﺘﻁﻼﻉ ﻭﺃﺸﺒﺎﻋﻪ ﺃﻴﻀﺎ ‪ .‬ﺃﻨﻪ ﻨﻤﻁ ﻤﻌﻘﺩ ﻭﻟﻜﻥ ﺴـﻬل ﺍﻟﻘـﺭﺍﺀﺓ‬
‫)ﺠﻭﻟﺩﻱ ‪ ، 1986 ،‬ﺹ‪(47-27.‬‬ ‫ﻟﻠﻌﻤﺎﺭﺓ ﻴﺠﻠﺏ ﺍﻟﻤﺘﻌﺔ‪.‬‬
‫ﻴﺸﻴﺭ)‪ (Tschumi‬ﺍﻟﻰ ﺍﻥ ﺍﻟﻌﻤﺎﺭﺓ ﺤﺩﺙ ﺘﺠﺭﻴﺒﻲ ﻴﺭﻜﺯ ﻋﻠﻰ ﺍﻟﺸﻌﻭﺭ ﻭﻋﻠﻰ ﺍﻟﺘﺠﺭﺒﺔ ﻓﻲ ﺍﻟﻔـﻀﺎﺀ‪.‬‬
‫ﻤﺸﻴﺭﹰﺍ ﺍﻟﻰ ﺍﻟﻤﺘﻌﺔ ﻭﺍﻟﺒﻬﺠﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ‪ ،‬ﺍﻟﻤﺘﻤﺜﻠﺔ ﺒﺎﻟﺤﺩﻴﻘﺔ ‪ ،‬ﻭﺍﻥ ﻤﺘﻌﺔ ﺍﻟﻔﻀﺎﺀ ﻫﻲ ﻤﺘﻌﺔ ﻏﻴـﺭ ﻤﻌﻠﻨـﺔ‬
‫ﻭﻻﻴﻤﻜﻥ ﺍﻟﺘﻌﺒﻴﺭ ﻋﻨﻬﺎ ﺒﺎﻟﻜﻠﻤﺎﺕ‪ ،‬ﻭﺍﻨﻤﺎ ﻫﻲ ﻨﻭﻉ ﻤﻥ ﺍﻟﺘﺠﺭﺒﺔ ﻭﺘﺘﺤﻘﻕ ﺍﻴﻀﹰﺎ ﻤـﻥ ﺨـﻼل )ﺍﻟﺤـﻀﻭﺭ‬
‫ﻼ ﺒﺎﻥ ﻤﺘﻌﺔ ﺍﻟﻔﻀﺎﺀ ﺘـﺸﺎﺒﻪ ﺍﻟﻔـﺎﺭﻕ ﻤـﺎﺒﻴﻥ‬
‫ﻭﺍﻟﻐﻴﺎﺏ( ﻭﺍﻴﻀﹰﺎ ﻤﻥ ﺨﻼل ﺍﺸﻌﺎﺭ ﺍﻟﻼﺸﻌﻭﺭ‪ .‬ﻭﻴﻌﻁﻲ ﻤﺜ ﹰ‬
‫ﺍﻟﺴﻁﺢ ﺍﻟﻤﻨﺒﺴﻁ ﻭﺍﻟﻤﻨﺤﻨﻲ ‪ ،‬ﻭﺒﻴﻥ ﺍﻟﻐﺭﻓﺔ ﻭﺍﻟﺸﺎﺭﻉ ‪ ،‬ﻭﺒﻴﻥ ﺍﻟﺘﻨﺎﺴﻕ ﻭﻋﺩﻡ ﺍﻟﺘﻨﺎﺴﻕ‪ .‬ﻭﺍﺸﺎﺭ)‪(Tschumi‬‬
‫ﺍﻟﻰ ﻋﺩﺩ ﻤﻥ ﺍﻟﻭﺴﺎﺌل ﻟﺘﺤﻘﻴﻕ ﺍﻟﻤﺘﻌﺔ ﻭﻤﻨﻬﺎ ﻭﺠﻭﺩ ﺍﻟﻼﻤﺘﻭﻗﻊ ﻭﻭﺠﻭﺩ ﺍﻟﻘﻨﺎﻉ ﺍﻟﺫﻱ ﻴﺤﻔﺯ ﺍﻟﻤﺘﻠﻘﻲ ﻭﻴﻐﺭﻴـﻪ‬
‫ﻋﻠﻰ ﺍﻟﺘﻁﻠﻊ ﻋﻠﻰ ﻤﺎ ﻴﺨﻔﻰ ﻋﻨﻪ ﻭﺘﺨﻴل ﻤﺎﻴﻤﻜﻥ ﺍﻥ ﻴﻭﺠﺩ ﺨﻠﻔﻪ ﻤﻤﺎ ﻴﻭﻟﺩ ﻤﺘﻌﺔ ﺍﻟﺘـﺸﻭﻴﻕ ﻭﺍﻟﻤﻔﺎﺠـﺎﺀﺓ‪،‬‬
‫ﻼ ﻋﻥ ﺍﻟﻤﺘﻌﺔ ﻤﻥ ﺨﻼل ﻜﺴﺭ ﺍﻟﻨﻅﺎﻡ ﻭﺨﻠﻕ ﻋﻼﻗﺎﺕ ﻭﺍﺸﻜﺎل ﺠﺩﻴﺩﺓ ﻴﺤﺎﻭل ﺍﻟﻤﺘﻠﻘﻲ ﻓﻙ ﺍﺴـﺭﺍﺭﻫﺎ‪.‬‬
‫ﻓﻀ ﹰ‬
‫)‪(Tschumi, 1977, p. 530‬‬
‫ﻭﻴﺅﻴﺩ ﻜل ﻤﻥ )‪ ( Malnar &Vodvarka‬ﺫﻟﻙ ﺒﻘﻭﻟﻬﻤﺎ " ﺍﻥ ﺍﺤﺴﺎﺴﻨﺎ ﻭﺒﻬﺠﺘﻨﺎ ﺒﺎﻟﻤﻜﺎﻥ ﻴﺘﻡ ﺘﺤﺴﻴﻨﻬﺎ‬
‫ﻭﺘﻌﺯﻴﺯﻫﺎ )‪ (enhanced‬ﻤﻥ ﺨﻼل ﺩﺭﺠﺔ ﻤﻥ ﺍﻟﻐﻤﻭﺽ " ﻭﻴﻌﺯﺯﺍﻥ ﺭﺃﻴﻬﻡ ﺒﻤﺜﺎل ﻟﻠﻨﻅﺭﻴﺎﺕ ﻭﺍﻟﺤﺭﻜﺎﺕ‬
‫ﺍﻟﺠﺩﻴﺩﺓ ﺤﻴﺙ ﻴﻌﻜﺱ )‪ (Charles Jencks‬ﺍﻓﻜﺎﺭﺍ ﻏﺭﻴﺒﺔ ﻓﻲ ﺍﺤﺩ ﺍﻟﺘﺼﺎﻤﻴﻡ ﻟﺤﺩﻴﻘﺔ ﺘﻠﺔ ﺍﻟﺤﻠﺯﻭﻥ ‪(Snail‬‬
‫)‪ Mound‬ﺍﻟﺘﻲ ﺘﻘﻭﻡ ﻋﻠﻰ ﺍﻟﺭﻤﻭﺯ ﻭﻨﻅﺭﻴﺔ ﺍﻟﻔﻭﻀﻰ‪ -‬ﺍﻨﻅﺭ ﺍﻟﺸﻜل )‪ ،(2-4‬ﻓﻔﻲ ﺍﻟﺤﺩﻴﻘﺔ ﺍﻟﺨﺎﻟﻴﺔ ﻤﻥ‬
‫ﺍﻟﺯﻫﻭﺭ ﻴﺒﺭﺯ ﻓﻜﺭ ﺍﻟﻤﻨﺘﺯﻩ ﻓﺠﺎﺓ ﻤﻥ ﺍﻟﺫﻫﻥ ﺍﻟﺨﺼﺏ ﻟﻤﻨﻅﺭ ﻤﻌﻤﺎﺭﻱ ﻭﻟﻴﺱ ﻤﻥ ﺫﻫﻥ ﺒﺴﺘﺎﻨﻲ ‪ ،‬ﻭﺒﺩل‬
‫ﺍﻻﻁﺎﺭﺍﺕ ﺍﻟﻌﺸﺒﻴﺔ )‪ ، (herbaceous borders‬ﻭﺍﻟﻨﺒﺎﺘﺎﺕ ﺍﻟﻤﻭﺴﻤﻴﺔ ﻓﺎﻥ ﻫﻨﺎﻙ ﻁﻴﺎﺕ )‪، (folds‬‬
‫ﻟﻜل ﺠﺯﺀ ﻨﻔﺱ ﺍﻟﺼﻔﺎﺕ‬ ‫ﺍﻓﺎﻋﻲ ﻭﺤﻠﺯﻭﻨﺎﺕ ‪ ،‬ﺍﺸﻜﺎل ﺍﻭ ﻤﻨﺤﻨﻴﺎﺕ ﻫﻨﺩﺴﻴﺔ ﻜﺴﺭﻴﺔ )‪(fractals‬‬
‫ﺍﻻﺤﺼﺎﺌﻴﺔ ﻟﻠﺸﻜل ﺍﻟﻜﻠﻲ ‪ .‬ﻭﻗﺩ ﻜﺎﻥ ﻗﺼﺩ )‪ (Jencks‬ﻫﻭ ﺍﺜﺒﺎﺕ ﻭﺒﺭﻫﻨﺔ ﺍﻟﻐﻨﻰ ﺍﻟﻜﺎﻤﻥ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻡ ﺍﻟﺫﻱ‬
‫ﻴﻤﻜﻥ ﺍﺴﺘﺨﺭﺍﺠﻪ ﻤﻥ ﻨﻅﺭﻴﺎﺕ ﺍﻟﺘﻌﻘﻴﺩ ﻭﺍﻟﻔﻭﻀﻰ ‪ .‬ﻭﻴﻌﻠﻕ ﻜل ﻤﻥ )‪ (Malnar & Vodvarka‬ﺍﻟﺤﺩﻴﻘﺔ‬
‫ﻜﻜل ﻤﻨﻅﻤﺔ ﺒﻤﺒﺎﺩﺉ ﺍﻟﻔﻭﻀﻰ ﻭﺍﻟﺘﺸﻭﻴﺵ ﻭﻫﻲ ﺘﻤﺜل ﺇﻅﻬﺎﺭﺍ ﻟﻠﻭﻀﻭﺤﻴﺔ ﺍﻟﻤﻭﺤﻴﺔ ﺒﺎﻟﻐﻤﻭﺽ ‪:‬‬
‫‪“All in all, it is a garden ordered by principles of disorganization, a‬‬
‫)‪representation of clarity revealed by mystery”. (Malnar & Vodvarka,2004, p.92-93‬‬

‫ﻭﻴﺸﻴﺭ )‪ (Tschumi‬ﻓﻲ ﺩﺭﺍﺴﺘﻪ ﻋﻥ )‪ (Manhattan‬ﺒﺎﻥ ﺍﻻﺤﺎﺴﻴﺱ ﻴﻤﻜﻥ ﺘﺤﻘﻴﻘﻬﺎ ﻤـﻥ ﺨـﻼل‬

‫ﺍﻟﻘﺴﻭﺓ )‪ (Violence‬ﻭﺍﻟﻤﺘﻌﺔ )‪ (Pleasure‬ﻭﺍﻟﺠﻨﻭﻥ )‪ . (Madness‬ﻜﻤﺎ ﻴﺸﻴﺭ ﺍﻟﻰ ﺍﻥ ﺍﻟﻤﺘﻌـﺔ ﻓـﻲ‬
‫ﺍﻟﻌﻤﺎﺭﺓ ﺘﺘﺤﻘﻕ ﻋﻨﺩﻤﺎ ﺘﻜﻭﻥ ﺘﻭﻗﻌﺎﺕ ﺍﻟﺸﺨﺹ ﻤﺘﻁﺎﺒﻘﺔ ﻤﻊ ﺍﻻﻓﻜﺎﺭ ﻭﺍﻟﻤﻔﺎﻫﻴﻡ ﺒﻭﺍﺴﻁﺔ ﺍﻟﺫﻜﺎﺀ ﻭﺍﻻﺒﺘﻜﺎﺭ‪.‬‬
‫ﻭﺒﻴﻥ )‪ (Tschumi‬ﻭﺠﻭﺩ ﻨﻭﻋﹰﺎ ﺁﺨﺭ ﻤﻥ ﺍﻟﻤﺘﻌﺔ ﻫﻭ ﺍﻟﻤﺘﻌﺔ ﺍﻟﻔﻀﺎﺌﻴﺔ ﺍﻟﺘﻲ ﻴﺸﺎﺭ ﺍﻟﻴﻬﺎ ﺒﺎﻨﻬﺎ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺘـﻲ‬
‫‪(Tschumi, 1981,1994,‬‬ ‫ﺘﺄﺘﻲ ﻨﺘﻴﺠﺔ ﺍﻟﺼﺭﺍﻉ ﺒﻴﻥ ﺍﻟﻤﺘﻌﺔ ﺍﻟﺤﺴﻴﺔ ﻟﻠﻔﻀﺎﺀ )‪ (conflict‬ﻭﻤﺘﻌـﺔ ﺍﻟﻨﻅـﺎﻡ ‪.‬‬
‫)‪ P.XXVIII‬ﻭﺍﺸﺎﺭ )‪ (Tschumi‬ﺍﻟﻰ ﺍﻟﺭﺒﻁ ﻤﺎﺒﻴﻥ ﺍﻟﻤﺘﻌﺔ ﻭﺍﻟﻤﻐﺎﻤﺭﺓ ﻭﺍﻟﺸﻌﻭﺭ ﺍﻟﺤﻀﺭﻱ ﻓﻲ ﻤـﺸﺭﻭﻉ‬
‫)‪ ، (Parc de la villette‬ﻭﺍﻟﺫﻱ ﺃﺸﺎﺭ ﺍﻟﻴﻪ )‪ (Broadbent‬ﺒﺎﻨﻪ ﻤﺸﺭﻭﻉ ﻴﺘﻁﻠﻊ ﺍﻟﻰ ﻅﺭﻭﻑ ﺍﺠﺘﻤﺎﻋﻴﺔ‬
‫ﻭﺘﺎﺭﻴﺨﻴﺔ ﺠﺩﻴﺩﺓ ﻭﺍﻟﻨﺎﺘﺞ ﺠﺎﺀ ﻜﺄﻏﺭﺏ ﻜﺘل ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ‪ ،‬ﻭﻨﻭﻉ ﻤﻥ ﺍﻨﻭﺍﻉ ﻋﺎﻟﻡ )ﻭﺍﻟﺕ ﺩﻴﺯﻨﻲ(‪.‬‬
‫)‪(Broadbent, 1991, p.70‬‬