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اﻟﻤﻠﺨــﺺ:
ﺘﻘﺩﻡ ﻫﺫﻩ ﺍﻟﻭﺭﻗﺔ ﻤﺎ ﻴﻌﺭﻑ ﺒﻌﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ﻤﻥ ﺨﻼل ﺨﻠﻔﻴﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻤﻘﺘﻀﺒﺔ ،ﺇﻟﻰ ﺠﺎﻨﺏ ﻋﺭﻀﻬﺎ
ﻷﺜﺭ ﺍﻟﺘﺤﻭﻻﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﺍﻟﺭﺌﻴﺴﻴﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ .ﻭﻴﻌﻤل ﺍﻟﺒﺤﺙ ﻋﻠﻰ ﻤﻘﺎﺭﻨﺔ ﺜﻼﺜﺔ ﻤﻥ ﺍﻟﺤﺭﻜﺎﺕ
ﻭﺍﻟﻤﺩﺍﺭﺱ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺍﻟﻬﺎﻤﺔ ،ﺃﻻ ﻭﻫﻲ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﺍﻟﺘﻲ ﺘﺒﻌﺕ ﻗﻴﺎﻡ ﺍﻟﺜﻭﺭﺓ ﺍﻟﻔﺭﻨﺴﻴﺔ ،ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ ﺍﻟﺘﻲ ﺃﺘﺕ
ﺒﻌﺩ ﺍﻟﺤﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻷﻭﻟﻰ ،ﻭﺍﻟﺒﻨﻴﻭﻴﺔ ﺍﻟﺘﻲ ﺍﻨﺒﻌﺜﺕ ﻜﻨﺘﺎﺝ ﻟﻠﺜﻭﺭﺓ ﺍﻟﺭﻭﺴﻴﺔ .ﻭﻋﺭﻀﺕ ﺍﻟﻤﻘﺎﺭﻨﺔ ﺠﺫﻭﺭ ﻭﺨﻠﻔﻴﺎﺕ
ﻼ ﻤﻥ ﺍﻟﺤﺭﻜﺎﺕ ﺍﻟﺜﻼﺙ ،ﻤﺴﺘﻨﺘﺠﺔ ﺒﺫﻟﻙ ﺃﻫﻤﻴﺔ ﻭﻓﺎﺌﺩﺓ ﺘﻭﺜﻴﻕ ﺍﻟﺘﺭﺍﺙ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻏﻴﺭ ﺍﻟﻤﺒﻨﻲ
ﻭﻤﻭﻀﻭﻋﺎﺕ ﻭﺭﻭﺍﺩ ﻜ ﹰ
ﻭﺩﻭﺭﻩ ﻓﻲ ﺩﺭﺍﺴﺔ ﺍﻟﺘﺎﺭﻴﺦ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻷﻫل ﺍﻟﻌﻠﻡ ﻭﺍﻟﻤﻬﻨﺔ ،ﻟﺘﻤﻬﻴﺩ ﺍﻟﻁﺭﻴﻕ ﻟﻤﺴﺘﻘﺒل ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻌﻤﺭﺍﻥ.
ABSTRACT
This paper introduces what is known as ‘Visionary Architecture’ through a
precise historical background, the paper also shows the impact of major socio-
economic changes on the evolution of new trends and styles in architecture. The study
compares between three of the main architectural movements, namely: Neo-
classicism that followed the French Revolution, Expressionism which came after
World War I and Constructivism which emerged as a result of the Russian
Revolution. The comparison show the origins, backgrounds, themes, and pioneers of
each movement. The study concluded the important and beneficial role of the
documentation of the unbuilt architecture in the study of the architectural history for
academicians and professionals, to highlight the way for the future of architecture and
urbanism.
اﻟﻤﻘﺪﻣــﺔ:
ﻫﻨﺎﻟﻙ ﻜﻡ ﻫﺎﺌل ﻤﻥ ﺘﺼﻤﻴﻤﺎﺕ ﻟﻤﺸﺭﻭﻋﺎﺕ ﻤﺒﺎﻨﻲ ﻭﻤﺩﻥ ﻟﻡ ﻴﺘﻡ ﺘﻨﻔﻴﺫﻫﺎ ﻟﺴﺒﺏ ﺃﻭ ﻵﺨﺭ ،ﻜﻭﻨﺕ ﺘﺭﺍﺜ ﹰﺎ
ﻤﻌﺘﺒﺭﹰﺍ ﻴﻌﺭﻑ ﺒﻤﺎ ﻴﺴﻤﻰ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺨﻴﺎﻟﻴﺔ-ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ﺃﻭ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ.
ﺇﻥ ﺍﻟﻌﻤﺎﺭﺓ ﻜﻐﻴﺭﻫﺎ ﻤﻥ ﺍﻟﻤﻌﺎﺭﻑ ﻭﺍﻟﻔﻨﻭﻥ ﻭﺍﻟﺘﻜﻨﻭﻟﻭﺠﻴﺎ -ﺘﺘﺄﺜﺭ ﺒﺤﺭﻜﺔ ﺍﻟﻤﺠﺘﻤﻊ ﺍﻟﺤﻀﺎﺭﻴﺔ
ﻭﺍﻟﻨﻬﻀﻭﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ،ﺤﻴﺙ ﻨﺭﻯ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺸﻭﺍﻫﺩ ﻋﻠﻰ ﺫﻟﻙ ،ﻭﻴﻤﻜﻥ ﺘﻌﺭﻴﻑ ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ﺃﻭ
ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﺒﺄﻨﻬﺎ ﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻟﻌﻤﺭﺍﻨﻴﺔ ﺍﻟﺘﻲ ﻟﻡ ﺘﻨﻔﺫ ﻤﺎﺩﻴﹰﺎ ﺃﻭ ﻭﺍﻗﻌﻴﺎﹰ ،ﺒل ﺃﻓﻜﺎﺭﹰﺍ ﻭﺭﺅﻯ
ﻟﻤﺸﺭﻭﻋﺎﺕ ﺍﺒﺘﻜﺭﻫﺎ ﻤﺒﺩﻋﻭﻥ ﻤﻌﻤﺎﺭﻴﻭﻥ ﻤﻥ ﺃﺴﺎﻁﻴﻥ ﺍﻟﻌﻤﺎﺭﺓ ﻓﻲ ﺍﻟﺤﻘﺏ ﺍﻟﺘﺎﺭﻴﺨﻴﺔ ﺍﻟﻤﺨﺘﻠﻔﺔ .ﻭﺘﺘﻤﺜل ﻫﺫﻩ ﻓﻲ
ﻤﺸﺭﻭﻋﺎﺕ ﺸﺎﺭﻙ ﺒﻬﺎ ﻤﺼﻤﻤﻭﻫﺎ ﻓﻲ ﻤﻨﺎﻓﺴﺎﺕ ﻤﻌﻤﺎﺭﻴﺔ ﻭﻟﻡ ﻴﺘﻡ ﺘﻨﻔﻴﺫﻫﺎ ﻓﻴﻤﺎ ﺒﻌﺩ -ﻭﻫﺫﺍ ﻫﻭ ﺍﻟﻤﺼﺩﺭ ﺍﻷﻜﺒﺭ
ﻟﻬﺫﺍ ﺍﻟﺘﺭﺍﺙ ﺍﻟﻤﻌﻤﺎﺭﻱ .ﻭﺘﺸﻤل ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻤﺸﺭﻭﻋﺎﺕ ﻟﻨﺼﺏ ﺘﺫﻜﺎﺭﻴﺔ ،ﺃﻭ ﻟﻤﺒﺎﻨﻲ ﺘﺘﻌﺩﺩ ﺃﻏﺭﺍﻀﻬﺎ ،ﺃﻭ
ﻟﻤﺩﻥ ﺒﺄﻜﻤﻠﻬﺎ .ﻭﺘﺒﻠﻭﺭ ﺘﺭﺍﺙ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻤﻥ ﻨﺘﺎﺝ ﺍﻟﺘﻐﻴﻴﺭ ﺍﻟﻜﺒﻴﺭ ﺍﻟﺫﻱ ﺤﺩﺙ ﻓﻲ ﺍﻟﻔﻨﻭﻥ ﺍﻟﻤﺭﺌﻴﺔ ﻭﺍﻟﻨﻅﺭﺓ
ﻭﺍﻻﺴﺘﺒﺼﺎﺭ ﺍﻟﺠﺩﻴﺩﻴﻥ ﻟﻠﻌﺎﻟﻡ ﻤﻨﺫ ﻋﺼﺭ ﺍﻟﻨﻬﻀﺔ ]. [1
ﻟﻘﺩ ﺫﻜﺭ ﺒﻭﻟﻴﻪ ،ﺃﺤﺩ ﺭﻭﺍﺩ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ،ﺇﻥ ﺃﻱ ﻤﻌﻤﺎﺭ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻘﻭﻡ
ﻜﻭﺍﻗﻊ ﺩﻭﻥ ﺍﺴﺘﺒﺼﺎﺭ ﻭﺭﺅﻴﺎ ﻟﻤﻜﻭﻨﺎﺘﻪ ﻭﺸﻜﻠﻪ .ﻭﻴﺫﻜﺭ ﺃﺤﺩ ﺍﻟﻨﺎﻗﺩﻴﻥ ﺍﻟﻤﻌﺎﺼﺭﻴﻥ ﺃﻥ ﺘﺎﺭﻴﺦ ﺍﻟﻌﻤﺎﺭﺓ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ
ﺘﺎﺭﻴﺨﻴﹰﺎ ﻟﻤﺒﺎﻨﻲ ﻭﻤﺸﺎﺭﻴﻊ ﻟﻡ ﻴﺘﻡ ﺘﻨﻔﻴﺫﻫﺎ ،ﻭﻴﺩﻋﻡ ﻗﻭﻟﻪ ﻫﺫﺍ ﺒﺄﻤﺜﻠﺔ ﻻ ﺤﺼﺭ ﻟﻬﺎ ﻓﻲ ﻤﺠﻤﻭﻋﺎﺕ ﻤﻥ ﺍﻷﻋﻤﺎل
ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺍﻟﻤﻌﺎﺼﺭﺓ ﻭﺍﻟﻘﺩﻴﻤﺔ ،ﻤﺜل ﺃﻋﻤﺎل ﻟﻭﻜﻭﺭﺒﻭﺯﻴﻴﻪ ،ﺍﻟﺘﻲ ﻟﻡ ﻴﺘﻡ ﺒﻨﺎﺀ ﻤﻌﻅﻤﻬﺎ ،ﻭﻟﻭﺩﻭ ،ﺍﻟﺫﻱ ﻟﻡ ﺘﻨﻔﺫ ﺍﻟﻜﺜﻴﺭ
ﻤﻥ ﺃﻋﻤﺎﻟﻪ ﺒﺴﺒﺏ ﺘﺨﻁﻲ ﺍﻟﺒﺭﻨﺎﻤﺞ ﺍﻟﺯﻤﻨﻲ ] . [ 2ﻜﻤﺎ ﺃﻥ ﻫﻨﺎﻙ ﺃﺴﺒﺎﺒﹰﺎ ﺃﺨﺭﻯ ﻟﻌﺩﻡ ﺘﻨﻔﻴﺫ ﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ،
ﻜﺼﻌﻭﺒﺔ ﺍﻟﺘﻨﻔﻴﺫ ﻤﻥ ﺍﻟﻨﺎﺤﻴﺔ ﺍﻹﻨﺸﺎﺌﻴﺔ ﺃﻭ ﺒﺴﺒﺏ ﺍﻟﺤﺭﺏ ﻭﻏﻴﺭﻫﺎ ،ﺤﻴﺙ ﻅﻠﺕ ﻫﺫﻩ ﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﻋﻠﻰ ﺍﻟﻭﺭﻕ
ﻜﻤﺸﺎﺭﻴﻊ ﻤﺜﺎﻟﻴﺔ ﻏﻴﺭ ﻭﺍﻗﻌﻴﺔ.
ﺍﻟﻬﺩﻑ ﻤﻥ ﻫﺫﻩ ﺍﻟﻭﺭﻗﺔ ﻫﻭ ﺍﻟﺘﻌﺭﻴﻑ ﺒﺎﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ-ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ﻭﺃﺜﺭﻫﺎ ﺍﻟﻤﺸﻬﻭﺩ ﻓﻲ ﺘﻘﺩﻡ
ﻭﻨﻬﻀﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻤﻨﺫ ﻋﺼﺭ ﺍﻟﻨﻬﻀﺔ ،ﻭﺘﺄﺜﺭﻫﺎ ﺒﺎﻟﻤﺩﺍﺭﺱ ﺍﻟﻔﻜﺭﻴﺔ ﻭﺍﻟﻔﻠﺴﻔﻴﺔ ﻫﻨﺎ ﻭﻫﻨﺎﻙ .ﻜﻤﺎ ﺘﻬﺩﻑ ﺍﻟﻭﺭﻗﺔ ﺃﻴﻀﹰﺎ
ﺇﻟﻰ ﺘﺒﻴﺎﻥ ﺃﺜﺭ ﺍﻟﺘﺤﻭﻻﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ -ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻓﻲ ﺠﺩﻟﻴﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺘﻁﻭﺭﻫﺎ ﻭﺍﺴﺘﺒﺼﺎﺭ ﺍﻟﻤﺴﺘﻘﺒل ﺍﻟﻌﻤﺭﺍﻨﻲ.
ﻭﻟﺘﺤﻘﻴﻕ ﺫﻟﻙ ﻗﻤﻨﺎ ﺒﻌﻘﺩ ﻤﻘﺎﺭﻨﺔ ﺒﻴﻥ ﺃﻫﻡ ﺍﻟﻤﺩﺍﺭﺱ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﻭﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ،ﺃﻻ ﻭﻫﻲ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ
ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ﻭﺍﺭﺘﺒﺎﻁﻬﺎ ﺒﺎﻟﺜﻭﺭﺓ ﺍﻟﻔﺭﻨﺴﻴﺔ ﻭﻤﺎ ﺤﺩﺙ ﺒﻌﺩﻫﺎ ﻤﻥ ﺘﻐﻴﺭﺍﺕ ﺍﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﺠﺘﻤﺎﻋﻴﺔ
ﻭﺴﻴﺎﺴﻴﺔ ،ﻭﺍﻟﻤﺩﺭﺴﺘﻴﻥ ﺍﻟﺘﻌﺒﻴﺭﻴﺔ ﻭﺍﻟﺒﻨﻴﻭﻴﺔ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ ﻭﺍﺭﺘﺒﺎﻁﻬﻤﺎ ﺒﺎﻟﻨﻬﻀﺎﺕ ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻟﻔﻨﻭﻥ
ﻭﺍﻟﻌﻤﺎﺭﺓ ،ﺇﺜﺭ ﺍﻟﺤﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻷﻭﻟﻰ ،ﻭﺍﻟﺜﻭﺭﺓ ﺍﻟﺒﻠﺸﻔﻴﺔ ﻓﻲ ﺭﻭﺴﻴﺎ ،ﻭﻅﻬﻭﺭ ﻤﻭﺍﺩ ﺍﻟﺒﻨﺎﺀ ﺍﻟﺤﺩﻴﺜﺔ.
ﻭﺍﻨﺘﻬﺠﻨﺎ ﻓﻲ ﺒﺤﺜﻨﺎ ﻫﺫﺍ ﻁﺭﻴﻘﺔ ﻤﺤﺩﺩﺓ ﻟﻤﻘﺎﺭﻨﺔ ﺍﻟﻤﺩﺍﺭﺱ ﺍﻟﺜﻼﺙ ،ﻭﺫﻟﻙ ﻹﺒﺭﺍﺯ ﺃﻫﻡ ﻨﻘﺎﻁ ﺍﻟﺘﺒﺎﻴﻥ
ﻭﺍﻟﻤﻘﺎﺭﻨﺔ ﺍﻟﺘﻲ ﺘﺘﻤﺜل ﻓﻲ ﺍﻵﺘﻲ:
ﺍﻷﺼﻭل ﻭﺍﻟﺨﻠﻔﻴﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻟﺴﻴﺎﺴﻴﺔ ﻟﻜل ﻤﻨﻬﺎ.
ﻨﺯﻋﺎﺕ ﺍﻟﺨﻁﻭﻁ ﻭﺍﻷﺸﻜﺎل ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻓﻲ ﻜل ﻤﺩﺭﺴﺔ.
ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺃﻭ ﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﺍﻟﺘﻲ ﺍﺸﺘﻬﺭﺕ ﺒﻬﺎ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﻤﻌﻨﻴﺔ.
ﺒﻴﺎﻥ ﺃﺒﺭﺯ ﺍﻟﺭﻭﺍﺩ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﺍﻟﺫﻴﻥ ﺴﺎﻫﻤﻭﺍ ﻓﻲ ﻗﻴﺎﻡ ﻫﺫﻩ ﺍﻟﻤﺩﺍﺭﺱ.
ل ﻤﻥ ﻫﺫﻩ ﺍﻟﻤﺩﺍﺭﺱ ﺒﺼﻭﺭ ﻭﻤﺨﻁﻁﺎﺕ ﻤﻌﺒﺭﺓ ﻋﻨﻬﺎ ﺒﻭﺠﻪ ﻋﺎﻡ.
ﻜﻤﺎ ﺍﺘﺒﻌﻨﺎ ﻋﺭﺽ ﻜ ٍ
اﻟﻤﺮاﺣﻞ اﻷوﻟﻰ:
ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺨﺎﻤﺱ ﻋﺸﺭ ﻤﺜﻠﺕ ﺍﻟﻨﻬﻀﺔ ﻓﻲ ﺇﻴﻁﺎﻟﻴﺎ ﺍﻨﺤﺭﺍﻓﹰﺎ ﻋﻥ ﺍﺘﺠﺎﻫﺎﺕ ﺍﻟﻌﺼﻭﺭ ﺍﻟﻭﺴﻁﻰ ﻓﻲ ﺍﻟﻔﻨﻭﻥ
ﺍﻟﻤﺭﺌﻴﺔ ،ﻭﺇﻋﺎﺩﺓ ﻻﻜﺘﺸﺎﻑ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺘﻘﻠﻴﺩﻴﺔ ،ﻭﻟﻜﻥ ﺒﺼﻭﺭﺓ ﺠﻌﻠﺕ ﻤﻌﻅﻡ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﻴﻘﻭﻤﻭﻥ ﺒﺘﻘﻠﻴﺩ ﻨﻤﺎﺫﺝ
ﻤﻌﻤﺎﺭﻴﺔ ﻓﻲ ﺃﻤﺎﻜﻥ ﺃﺨﺭﻯ .ﻭﻜﺎﻥ ﻤﻥ ﺒﻴﻥ ﻫﺅﻻﺀ ﻓﻴﻼﺭﻴﺘﻲ ،ﺃﺤﺩ ﺍﻟﻨﺤﺎﺘﻴﻥ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ،ﻭﺍﻟﺫﻱ ﺍﺴﺘﻠﻬﻡ ﺃﺸﻜﺎﻟﻪ
ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﻤﻥ ﺃﺼﻭل ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻘﻭﻁﻴﺔ ﻓﻲ ﺍﻟﻌﺼﺭ ﺍﻟﻭﺴﻴﻁ .ﺃﻤﺎ ﺒﺎﻷﺩﻴﻭ ،ﻭﺍﻟﺫﻱ ﻴﻌﺩ ﻤﻥ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ
ﺍﻟﻨﺎﺠﺤﻴﻥ ،ﻭﻫﻭ ﺍﻟﺫﻱ ﺍﺸﺘﻬﺭ ﺒﺘﺼﻤﻴﻤﻪ ﻷﺤﺩ ﺍﻟﺠﺴﻭﺭ ﻭﺍﻟﺫﻱ ﺘﻘﺩﻡ ﺒﻪ ﻟﻤﻨﺎﻓﺴﺔ ﻤﻌﻤﺎﺭﻴﺔ ﻓﻲ ﺫﺍﻙ ﺍﻟﺸﺄﻥ ،ﻜﺎﻥ
ﺒﺎﻻﺩﻴﻭ ﻤﻨﻅﺭﹰﺍ ﻋﻤﻠﻴﺎﹰ ،ﺤﻴﺙ ﻭﻀﻊ ﺃﺴﺱ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺃﺭﺒﻌﺔ ﻤﺠﻠﺩﺍﺕ ،ﺸﺎﺭﺤﹰﺎ ﻓﻴﻬﺎ ﻨﻅﻡ ﺍﻟﻌﻤﺎﺭﺓ
ﻭﻨﻅﺭﻴﺎﺕ ﺍﻟﻨﺴﺏ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ.
ﻭﻤﻥ ﺃﺸﻬﺭ ﻋﺒﻘﺭﻴﺎﺕ ﺍﻟﻨﻬﻀﺔ ﻋﻠﻰ ﺍﻹﻁﻼﻕ ،ﻟﻴﻭﻨﺎﺭﺩﻭ ﺩﺍﻓﻨﺸﻲ ،ﺍﻟﺫﻱ ﻜﺘﺏ ﻋﺩﺓ ﻜﺭﺍﺴﺎﺕ ﻓﻲ
ﻤﺨﺘﻠﻑ ﻤﺠﺎﻻﺕ ﺍﻟﻌﻠﻭﻡ ﻭﺍﻟﻔﻨﻭﻥ ،ﻤﻨﻬﺎ ﺘﺼﻤﻴﻡ ﺍﻟﻤﺒﺎﻨﻲ ﻭﺍﻟﻤﺩﻥ .ﻭﻜﺎﻥ ﺩﺍﻓﻨﺸﻲ ﻴﻘﻭﻡ ﺩﺍﺌﻤﹰﺎ ﺒﺘﺠﺭﻴﺏ ﺍﻷﻋﻤﺎل
ﻭﺍﻷﻓﻜﺎﺭ ﺤﺘﻰ ﺃﺼﺒﺤﺕ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺃﻋﻤﺎﻟﻪ ﻏﻴﺭ ﻤﻜﺘﻤﻠﺔ .ﻭﻏﻠﺒﺕ ﺼﻔﺔ ﺍﻟﺘﻤﺎﺜل ﻓﻲ ﺍﻟﺘﻜﻭﻴﻥ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻋﻠﻰ
ﻤﻌﻅﻡ ﻤﺸﺎﺭﻴﻌﻪ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﺤﻴﺙ ﻜﺎﻥ ﻫﺫﺍ ﺴﺎﺌﺩﹰﺍ ﻓﻲ ﻋﺼﺭ ﺍﻟﻨﻬﻀﺔ ﻓﻲ ﺇﻴﻁﺎﻟﻴﺎ .ﺃﻅﻬﺭ ﺩﺍﻓﻨﺸﻲ ﻓﻲ ﺘﺨﻁﻴﻁﺎﺘﻪ
ﻻ ﻟﻤﻌﻀﻼﺕ ﺍﻟﺘﺼﻤﻴﻡ ﻓﻲ ﻫﺫﻩ ﺍﻟﺘﻔﺎﺼﻴل .ﻭﻓﻲ ﻤﺠﺎل ﺘﺨﻁﻴﻁ ﺍﻟﻤﺩﻥ ﻜﺘﺏ ﺩﺍﻓﻨﺸﻲ
ﺘﻔﺎﺼﻴل ﺒﻨﺎﺌﻴﺔ ﻭﺤﻠﻭ ﹰ
ﺸﺎﺭﺤﹰﺎ ﺒﻌﺽ ﺃﻓﻜﺎﺭﻩ ﺤﻭل ﺍﻟﺘﺨﻁﻴﻁ ﺍﻟﻌﻤﺭﺍﻨﻲ ﻤﺜل ﻓﺼل ﺤﺭﻜﺔ ﺍﻟﻤﺸﺎﺓ ﻋﻥ ﺤﺭﻜﺔ ﺍﻟﻤﺭﻜﺒﺎﺕ ]. [ 4
ﺘﻼ ﺫﻟﻙ ﻅﻬﻭﺭ ﺍﻟﺤﺭﻜﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻜﺎﻤﺘﺩﺍﺩ ﻟﻤﺩﺭﺴﺔ ﺍﻟﺒﺎﺭﻭﻙ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ،ﻤﻨﺫ ﻤﻁﻠﻊ ﺍﻟﻘﺭﻥ
ﺍﻟﺴﺎﺒﻊ ﻋﺸﺭ ﺍﻟﻤﻴﻼﺩﻱ ،ﻭﻜﺎﻨﺕ ﺒﺩﺍﻴﺎﺕ ﺍﻟﺤﺭﻜﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﻤﻨﺘﺼﻑ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ﺍﻋﺘﻤﺎﺩ
ﻋﻨﺼﺭ ﺍﻟﺒﺴﺎﻁﺔ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻡ ،ﻭﺴﺎﻫﻤﺕ ﺃﻋﻤﺎل ﺍﻟﺭﺴﺎﻡ ﺍﻟﺸﻬﻴﺭ ﺩﻴﻔﻴﺩ ﻓﻲ ﺇﺫﻜﺎﺀ ﺭﻭﺡ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ
ﻤﺠﺎﻟﻲ ﺍﻟﻔﻨﻭﻥ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ ﻭﺍﻟﻌﻤﺎﺭﺓ ﻭﻴﻌﺘﺒﺭ ﻟﻭﺩﻭ ﻭﺒﻭﻟﻴﻪ ﻤﻥ ﺃﺸﻬﺭ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﺍﻟﺫﻴﻥ ﻴﻤﺜﻠﻭﻥ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ
ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ﺍﻟﻤﻴﻼﺩﻱ.
اﻟﻨﻬﻀﺔ اﻟﺠﺪﻳﺪة:
ﺒﺩﺃﺕ ﺍﻟﻨﻬﻀﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻟﻔﻨﻭﻥ ﻭﺍﻟﻌﻤﺎﺭﺓ ﺤﻭﺍﻟﻲ ﻤﻨﺘﺼﻑ ﺍﻟﻘﺭﻥ ﺍﻟﺘﺎﺴﻊ ﻋﺸﺭ ﺒﻅﻬﻭﺭ ﺍﻟﻤﻭﺍﺩ
ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻟﺒﻨﺎﺀ ﻜﺎﻟﺤﺩﻴﺩ ﻭﺍﻟﺯﺠﺎﺝ ﻭﺍﻟﺨﺭﺴﺎﻨﺔ ﺍﻟﻤﺴﻠﺤﺔ .ﻭﺍﺸﺘﻬﺭ ﺍﻟﻤﻌﻤﺎﺭﻱ ﺒﺎﻜﺴﺘﻭﻥ ﺒﻘﺼﺭﻩ ﺍﻟﻜﺭﻴﺴﺘﺎﻟﻲ
ﻓﻲ ﺃﻭﺭﻭﺒﺎ ،ﻭﻴﻭﻏﺎﺭﺩﺍﺱ ﺒﻤﺒﻨﺎﻩ ﺍﻟﺤﺩﻴﺩﻱ ﺫﻱ ﺍﻟﻭﺍﺠﻬﺎﺕ ﺍﻟﺯﺠﺎﺠﻴﺔ ﻓﻲ ﺃﻤﺭﻴﻜﺎ .ﻭﻴﻌﺩ ﻫﻴﻜﺘﻭﺭ ﻫﻭﺭﻭ ﻤﻥ
ﺃﺸﻬﺭ ﺍﻟﻤﻬﻨﺩﺴﻴﻥ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﻓﻲ ﻫﺫﻩ ﺍﻟﺤﻘﺒﺔ .ﺒﺩﺃ ﻫﻭﺭﻭ ﻤﺸﺎﺭﻴﻌﻪ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻋﺎﻡ 1833ﻡ ﻭﺸﻤﻠﺕ ﻤﺸﺭﻭﻋﹰﺎ
ﻟﺩﺍﺭ ﺃﻭﺒﺭﺍ ﻤﺴﺘﻠﻬﻤﹰﺎ ﻓﻴﻬﺎ ﻨﻅﻡ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ ﻓﻲ ﺍﻷﻋﻤﺩﺓ ﺍﻟﺘﻲ ﺘﺘﻭﺴﻁﻬﺎ ﻨﻭﺍﻓﺫ ﺫﺍﺕ ﺃﺼﻭل ﻗﻭﻁﻴﺔ ،ﻜﻤﺎ
ﺼﻤﻡ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﻤﺸﺭﻭﻋﺎﺕ ﺍﻟﻤﺒﺎﻨﻲ ﺍﻟﻀﺨﻤﺔ ﻜﺎﻟﻘﺎﻋﺎﺕ ﺍﻟﻌﺎﻤﺔ ﻭﺍﻷﺴﻭﺍﻕ ﻭﺍﻟﻤﻌﺎﺭﺽ.
ﻭﻓﻲ ﺒﺩﺍﻴﺔ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ ﻅﻬﺭﺕ ﺍﻟﻤﺩﺭﺴﺘﺎﻥ ﺍﻟﺘﻜﻌﻴﺒﻴﺔ ﻭﺍﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﻓﻲ ﺍﻟﻔﻥ ﺍﻟﺘﺸﻜﻴﻠﻲ ،ﻜﻨﺘﺎﺝ ﻟﺘﺄﺜﺭ ﺃﺸﻬﺭ
ﺍﻟﺭﺴﺎﻤﻴﻥ ﻤﻥ ﺃﻤﺜﺎل ﺴﻴﺯﺍﻥ ﻭﺒﻴﻜﺎﺴﻭ ﺒﻔﻨﻭﻥ ﺍﻟﺸﺭﻕ ﺍﻷﻗﺼﻰ ﻭﺃﻓﺭﻴﻘﻴﺎ .ﻭﻜﺎﻥ ﻤﻥ ﺍﻟﻤﺘﺄﺜﺭﻴﻥ ﺒﻬﺎﺘﻴﻥ ﺍﻟﻤﺩﺭﺴﺘﻴﻥ ﻤﻥ
ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ،ﺴﺘﻴﻠﻴﺎ ﻭﺠﻴﺎﺘﻭﻨﻲ ﻓﻲ ﺇﻴﻁﺎﻟﻴﺎ ]. [ 5
ﻜﻤﺎ ﻅﻬﺭﺕ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﺘﻌﺒﻴﺭﻴﺔ ﻓﻲ ﺒﺩﺍﻴﺔ ﺍﻟﻌﻘﺩ ﺍﻟﺜﺎﻨﻲ ﻤﻥ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ ﻓﻲ ﻤﻴﻭﻨﺦ ﺒﺄﻟﻤﺎﻨﻴﺎ ،ﻭﺒﺩﺃﺕ
ﻫﺫﻩ ﻜﺤﺭﻜﺔ ﻓﻲ ﺍﻟﻔﻥ ﺍﻟﺘﺸﻜﻴﻠﻲ ﻓﻲ ﺍﻟﺒﺩﺍﻴﺔ ،ﻤﺜﻠﻬﺎ ﻤﺜل ﺍﻟﺘﻜﻌﻴﺒﻴﺔ ،ﻋﻠﻰ ﻴﺩ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻟﺘﺸﻜﻴﻠﻴﻴﻥ ﻤﻥ ﺒﻴﻨﻬﻡ
ﻜﺎﻨﺩﻨﺴﻜﻲ ﺍﻟﺭﻭﺴﻲ ﻭﺒﻭل ﻜﻠﻲ ﺍﻷﻟﻤﺎﻨﻲ-ﺍﻟﺴﻭﻴﺴﺭﻱ ﻭﻓﺎﻴﻨﻨﺠﺭ ﻭﻤﺎﺭﻙ ﺍﻷﻟﻤﺎﻨﻴﻴﻥ .ﻭﺍﺭﺘﺒﻁﺕ ﻫﺫﻩ ﺍﻟﻤﺩﺭﺴﺔ
ﺒﻤﺩﺭﺴﺔ ﺍﻟﺒﻭﻫﺎﻭﺱ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ،ﺤﻴﺙ ﻗﺎﻤﺕ ﻓﻠﺴﻔﺔ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﺘﻌﺒﻴﺭﻴﺔ ﻋﻠﻰ ﺍﻟﻨﻅﺭﺓ ﺍﻟﺩﺍﺨﻠﻴﺔ ﻟﺤﻴﺎﺓ ﺍﻹﻨﺴﺎﻥ،
ﻭﺍﻤﺘﺩﺕ ﻫﺫﻩ ﺍﻟﻤﺩﺭﺴﺔ ﻟﺘﺸﻤل ﺠﻤﻴﻊ ﺍﻟﻔﻨﻭﻥ ،ﺍﻷﺩﺏ ﻭﺍﻟﻤﺴﺭﺡ ﻭﺍﻟﺴﻴﻨﻤﺎ ﻭﺍﻟﻤﻭﺴﻴﻘﻰ ﻭﺍﻟﺭﺴﻡ ﻭﺍﻟﻨﺤﺕ ﻭﺍﻟﻌﻤﺎﺭﺓ.
ﻭﻜﺎﻨﺕ ﺍﻟﻔﻜﺭﺓ ﺍﻷﺴﺎﺴﻴﺔ ﻫﻲ :ﺭﻭﺡ ﺍﻟﻤﻭﻀﻭﻉ ﻭﻟﻴﺱ ﺍﻟﻤﻭﻀﻭﻉ ﻨﻔﺴﻪ .ﻭﺒﺩﺃﺕ ﺍﻟﺘﻌﺒﻴﺭﻴﺔ ﺘﻠﺞ ﻓﻥ ﺍﻟﻌﻤﺎﺭﺓ ﻋﻤﻭﻤ ﹰﺎ
ﻭﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻋﻠﻰ ﻭﺠﻪ ﺍﻟﺨﺼﻭﺹ ﺒﻌﺩ ﻨﻬﺎﻴﺔ ﺍﻟﺤﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻷﻭﻟﻰ .ﻭﺃﺸﺘﻬﺭ ﻤﻥ ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﺁﻨﺫﺍﻙ ،ﺩﻭﺕ
ﻭﺍﻴﺭﻴﻙ ﻤﻨﺩﻟﺴﻭﻥ ﻭﻤﻴﺱ ﻓﺎﻥ ﺩﻴﺭﻭ.
ﻭﻓﻲ ﻫﺫﺍ ﺍﻟﺤﻴﻥ ﺒﺩﺃﺕ ﺃﻴﻀ ﹰﺎ ﻤﺩﺭﺴﺔ ﺍﻷﺴﻠﻭﺏ ﺘﺸﻕ ﻁﺭﻴﻘﻬﺎ ﻓﻲ ﻫﻭﻟﻨﺩﺍ ﻭﻟﻔﺘﺭﺓ ﻤﺤﺩﺩﺓ ﺍﻤﺘﺩﺕ ﻤﺎ ﺒﻴﻥ
ﻋﺎﻤﻲ 1917ﻡ ﻭ1931ﻡ ،ﻭﻗﺩ ﻭﻀﻊ ﺃﺴﺱ ﻫﺫﻩ ﺍﻟﻤﺩﺭﺴﺔ ﻓﻴﻠﺴﻭﻑ ﺍﻟﺠﻤﺎل ﻤﻭﻨﺩﺭﻴﺎﻥ .ﻭﺘﻘﻭﻡ ﻓﻠﺴﻔﺔ ﻤﺩﺭﺴﺔ
ﺍﻷﺴﻠﻭﺏ ﻋﻠﻰ ﺍﻟﺘﺠﺭﻴﺩ ،ﻭﻫﻭ ﻤﺎ ﻴﻌﺘﺒﺭ ﺃﺴﺎﺴﻴﹰﺎ ﻓﻲ ﺍﻟﺘﺸﻜﻴل ﻭﺍﻟﺘﺼﻤﻴﻡ ﺍﻟﻤﻌﻤﺎﺭﻱ ،ﻟﺫﺍ ﻨﺠﺩ ﻤﻌﻤﺎﺭﻴﻴﻥ ﻤﻥ ﺃﻤﺜﺎل
ﻓﺎﻥ ﺩﻭﻴﺴﺒﺭﺝ ﻭﻤﺎﺭﺕ ﺸﺘﺎﻥ ﻗﺩ ﺘﺄﺜﺭﻭﺍ ﻜﺜﻴﺭﹰﺍ ﺒﻬﺫﻩ ﺍﻟﻤﺩﺭﺴﺔ ،ﻜﻤﺎ ﻨﺭﻯ ﻓﻲ ﺘﺼﻤﻴﻤﺎﺕ ﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ
ﺍﻟﺘﻲ ﺘﺘﺩﺍﺨل ﻓﻴﻬﺎ ﺍﻟﻜﺘل ﺭﺃﺴﻴﹰﺎ ﻭﺃﻓﻘﻴﺎﹰ ،ﻤﺒﺘﻌﺩﻴﻥ ﺒﺫﻟﻙ ﻋﻥ ﺍﻟﺘﺸﻜﻴل ﺍﻟﺴﻁﺤﻲ ﺍﻟﺘﻘﻠﻴﺩﻱ ﻟﻭﺍﺠﻬﺎﺕ ﺍﻟﻤﺒﺎﻨﻲ ]. [ 6
ﻭﺒﺩﺃﺕ ﻤﺩﺭﺴﺘﺎ ﺍﻟﺒﻨﻴﻭﻴﺔ ﻭﺍﻟﺴﻭﺒﺭﻤﺎﺘﻴﺔ ﺒﺎﻨﻬﻴﺎﺭ ﺍﻟﻨﻅﺎﻡ ﺍﻹﻗﻁﺎﻋﻲ ﻓﻲ ﺭﻭﺴﻴﺎ ﻭﺒﺩﺍﻴﺔ ﺍﻟﺜﻭﺭﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ
ﺍﻟﻬﺎﺌﻠﺔ ﺍﻟﺘﻲ ﺍﻨﺩﻟﻌﺕ ﻓﻲ ﺭﻭﺴﻴﺎ ﺒﻌﺩ ﺍﻟﺤﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻷﻭﻟﻰ .ﻭﻗﺩ ﺘﺄﺜﺭﺕ ﺍﻟﺴﻭﺒﺭﻤﺎﺘﻴﺔ ﺃﻴﻀﹰﺎ ﺒﺄﻓﻜﺎﺭ ﻤﻭﻨﺩﺭﻴﺎﻥ
ﺍﻟﻘﺎﺌﻠﺔ ﺒﺄﻥ ﺍﻟﺭﺴﻡ ﺍﻟﺘﺸﻜﻴﻠﻲ ﻤﻥ ﺍﻟﻤﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻁﺭﻴﻘﺔ ﺠﺩﻴﺩﺓ ﻟﻼﺴﺘﺒﺼﺎﺭ ﺍﻟﻤﻌﻤﺎﺭﻱ .ﻭﺒﺩﺃ ﺭﺴﺎﻤﻭ ﺍﻟﺴﻭﺒﺭﻤﺎﺘﻴﺔ
ﻓﻲ ﺇﺤﺩﺍﺙ ﺜﻭﺭﺘﻬﻡ ﻓﻲ ﻋﺎﻟﻡ ﺍﻟﺨﻁ ﻭﺍﻟﺸﻜل ﻭﺍﻟﻠﻭﻥ ،ﻭﺇﻋﺎﺩﺓ ﺍﻟﺘﻌﺒﻴﺭ ﺒﺎﻟﺭﺴﻡ ﻭﺍﻟﺘﺸﻜﻴل ﺍﻟﺘﻘﻠﻴﺩﻱ ﺒﻤﻔﺎﻫﻴﻡ ﺠﺩﻴﺩﺓ
ﻁﻐﺕ ﻋﻠﻴﻬﺎ ﺍﻟﻨﻅﺭﺓ ﺍﻟﺩﺍﺨﻠﻴﺔ ﻟﻠﻔﻨﺎﻥ .ﻭﻗﺩ ﻋﺒﺭ ﻋﻥ ﻫﺫﻩ ﺍﻷﻓﻜﺎﺭ ﺍﻟﻔﻨﺎﻥ ﺍﻟﺭﻭﺴﻲ ﻤﺎﻟﻔﺘﺵ ﻓﻲ ﻨﻤﺎﺫﺠﻪ ﺍﻟﻤﺴﻤﺎﺓ
ﺒﺎﻟﻌﻤﺭﺍﻨﻴﺎﺕ ﺍﻟﺘﻲ ﺘﺤﺎﻜﻲ ﺍﻟﻤﺒﺎﻨﻲ ﻓﻲ ﺍﻟﺸﻜل ﻓﻘﻁ ] . [ 7ﺃﻤﺎ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﺒﻨﻴﻭﻴﺔ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﻓﻘﺩ ﻜﺎﻥ ﻤﻥ ﺃﺸﻬﺭ ﺭﻭﺍﺩﻫﺎ
ﻤﻥ ﺭﻭﺴﻴﺎ :ﺘﺎﺘﻼﻥ ﺼﺎﺤﺏ ﻤﺸﺭﻭﻉ ﺍﻟﺒﺭﺝ ﺍﻟﺤﻠﺯﻭﻨﻲ ﺍﻟﺘﺫﻜﺎﺭﻱ ﻟﻸﻤﻤﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﻭﺍﻟﺫﻱ ﻟﻡ ﻴﻨﻔﺫ ،ﻭﺍﻷﺨﻭﺓ ﺍﻟﺜﻼﺜﺔ
ﻓﺴﻨﻥ ﻭﺍﻟﺫﻴﻥ ﻜﺎﻨﻭﺍ ﻤﻥ ﺭﻭﺍﺩ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺤﺩﻴﺜﺔ ﻓﻲ ﺭﻭﺴﻴﺎ ﻭﺍﻟﻤﻌﻤﺎﺭﻱ ﺍﻟﺸﻬﻴﺭ ﺍﻟﻠﻴﺯﻴﺴﻜﻲ ﻭﻏﻴﺭﻫﻡ ]. [8
اﻟﻤﺪرﺳﺔ اﻟﻜﻼﺳﻴﻜﻴﺔ اﻟﺠﺪﻳﺪة ﻓﻲ اﻟﻌﻤﺎرة:
ﻜﺎﻨﺕ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﺍﻤﺘﺩﺍﺩﹰﺍ ﻟﻤﺩﺭﺴﺔ ﺍﻟﺒﺎﺭﻭﻙ ،ﻟﻜﻨﻬﺎ -ﻜﻤﺎ ﺴﻨﺭﻯ -ﻓﻲ ﺤﻘﻴﻘﺔ ﺍﻷﻤﺭ،
ﻜﺎﻨﺕ ﻀﺩ ﺍﺘﺠﺎﻫﺎﺕ ﺍﻟﺒﺎﺭﻭﻙ .ﻭﺒﺩﺃﺕ ﺃﺴﺎﺴ ﹰﺎ ﻓﻲ ﻓﺭﻨﺴﺎ ﺤﻴﺙ ﻜﺎﻥ ﺍﺘﺠﺎﻫﻬﺎ ﺍﻟﻤﻌﻤﺎﺭﻱ ﺇﻋﻤﺎل ﺍﻟﺒﺴﺎﻁﺔ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻡ
ﻭﺍﻟﺘﻔﺎﺼﻴل ﺍﻟﻤﻌﻤﺎﺭﻴﺔ.
ﺍﻷﺼﻭل ﻭﺍﻟﺨﻠﻔﻴﺎﺕ :ﻴﻤﻜﻥ ﺍﻟﻘﻭل ﺒﺄﻥ ﺍﻟﺜﻭﺭﺓ ﺍﻟﻔﺭﻨﺴﻴﺔ ﻫﻲ ﺍﻟﺘﻲ ﺸﻜﻠﺕ ﺍﻟﻌﻤﻭﺩ ﺍﻟﻔﻘﺭﻱ ﻟﻬﺫﻩ ﺍﻟﺤﺭﻜﺔ ،ﺤﻴﺙ
ﺤﻁﻤﺕ ﺍﻟﺜﻭﺭﺓ ﻜﻠﻴﹰﺎ ﺍﻟﻨﻅﺎﻡ ﺍﻟﺒﻴﺭﻭﻗﺭﺍﻁﻲ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ﻭﻜﺎﻨﺕ ﻨﻘﻁﺔ ﺘﺤﻭل ﻓﻲ ﺍﻟﺘﺎﺭﻴﺦ ﻭﺒﺩﺍﻴﺔ ﻟﻌﺼﺭ
ﺍﻟﺤﺩﻴﺙ .ﻭﺴﺎﻫﻡ ﻓﻲ ﻗﻴﺎﻡ ﻫﺫﻩ ﺍﻟﺤﺭﻜﺔ ﺃﻴﻀﹰﺎ ﺃﻋﻤﺎل ﻭﻟﻭﺤﺎﺕ ﺍﻟﻔﻨﺎﻥ ﺍﻟﺸﻬﻴﺭ ﺩﻴﻔﻴﺩ ﺃﺤﺩ ﺃﻫﻡ ﺭﺴﺎﻤﻲ ﺍﻟﻘﺭﻥ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ
ﺤﻴﺙ ﻅﻬﺭﺕ ﻓﻲ ﻟﻭﺤﺎﺘﻪ ﺨﻠﻔﻴﺎﺕ ﻤﻥ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ،ﻜﻤﺎ ﺘﺄﺜﺭ ﻤﻌﻤﺎﺭ ﻫﺫﻩ ﺍﻟﺤﻘﺒﺔ ﺒﻔﻠﺴﻔﺔ ﺠﺎﻥ ﺠﺎﻙ
ﺭﻭﺴﻭ ﻭﻨﺯﻋﺘﻬﺎ ﺍﻟﻁﺒﻴﻌﻭﻴﺔ.
ﻨﺯﻋﺔ ﺍﻟﺸﻜل ﺍﻟﻤﻌﻤﺎﺭﻱ :ﺘﻤﻴﺯﺕ ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﺒﺒﺴﺎﻁﺔ ﺍﻟﺨﻁﻭﻁ ﻭﺍﻷﺸﻜﺎل ﻭﺍﻟﺘﻔﺎﺼﻴل
ﺍﻟﻤﻌﻤﺎﺭﻴﺔ .ﻭﺘﻡ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﻤﺠﺴﻤﺎﺕ ﺍﻷﺴﺎﺴﻴﺔ ﻜﺎﻟﻤﻜﻌﺏ ﻭﺍﻟﻜﺭﺓ ﻭﺍﻟﻬﺭﻡ ﻭﺍﻟﻤﺨﺭﻭﻁ ﻟﻠﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻟﻬﻴﺌﺔ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ،
ﻭﻫﻲ ﻨﻔﺱ ﺍﻟﻌﻨﺎﺼﺭ ﺍﻟﺘﻲ ﺍﺴﺘﺨﺩﻤﺕ ﻓﻲ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ .ﻜﻤﺎ ﺸﻜل ﺍﻟﺤﻠﺯﻭﻥ ﺃﺤﺩ ﺍﻷﺸﻜﺎل ﺍﻟﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ
ﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻟﻬﺫﻩ ﺍﻟﻤﺩﺭﺴﺔ ،ﺇﻀﺎﻓﺔ ﺇﻟﻰ ﺍﻷﺸﻜﺎل ﺍﻟﻬﻨﺩﺴﻴﺔ ﺍﻷﺴﺎﺴﻴﺔ ﻓﻲ ﺍﻟﻤﺴﺎﻗﻁ ،ﻭﺍﻟﺘﻲ ﻜﺎﻨﺕ
ﺘﺘﺸﻜل ﻤﻊ ﺒﻌﻀﻬﺎ ﺍﻟﺒﻌﺽ ﻹﻋﻁﺎﺀ ﺘﻌﺒﻴﺭ ﻤﻌﻤﺎﺭﻱ ﺒﻤﺤﺎﻭﺭ ﻭﺍﻀﺤﺔ.
ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ :ﻨﺠﺩ ﺍﻟﻜﺜﻴﺭ ﻤﻥ ﺍﻟﻤﻭﻀﻭﻋﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻋﻨﺩ ﺩﺭﺍﺴﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ﻟﻠﻜﻼﺴﻴﻜﻴﺔ
ﺍﻟﺠﺩﻴﺩﺓ ،ﻜﺎﻟﻤﺩﻥ ﻭﺍﻟﻘﺼﻭﺭ ﻭﺍﻟﺒﻴﻭﺕ ﻭﺃﻗﻭﺍﺱ ﺍﻟﻨﺼﺭ ﻭﺍﻟﻤﺒﺎﻨﻲ ﺍﻟﺘﺫﻜﺎﺭﻴﺔ ﻭﺍﻟﺒﻭﺍﺒﺎﺕ ﻭﺍﻟﻤﻘﺎﺒﺭ ﻭﺍﻟﺴﺠﻭﻥ ﻭﺍﻟﻤﺠﻤﻌﺎﺕ
ﺍﻟﻤﺩﻨﻴﺔ ﻭﺍﻷﺴﻭﺍﻕ ﻭﺍﻟﻤﻌﺎﺒﺩ ﻭﺍﻟﻤﺴﺎﺭﺡ ﻭﺍﻟﻤﺘﺎﺤﻑ ﻭﻤﺒﺎﻨﻲ ﺍﻟﺒﻠﺩﻴﺎﺕ ﻭﺍﻟﻤﺤﺎﻜﻡ ،ﻭﺒﺎﺨﺘﺼﺎﺭ ،ﻨﺠﺩ ﺃﻥ ﻜل ﻤﻭﻀﻭﻉ
ﻤﻌﻤﺎﺭﻱ ﻤﻤﻜﻥ ﻗﺩ ﺘﻤﺕ ﻤﺤﺎﻭﻟﺘﻪ ،ﺤﻴﺙ ﺃﻥ ﻤﻬﻨﺩﺱ ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ﻫﻭ ﻓﻲ ﺍﻷﺼل ﺜﻭﺭﻱ ﻭﻨﺎﻗﺩ ﻟﻤﺠﺘﻤﻌﻪ،
ﻭﻓﻲ ﻤﺤﺎﻭﻻﺕ ﺩﺍﺌﻤﺔ ﻟﺘﻘﺩﻴﻡ ﻤﺎ ﻴﻤﻜﻥ ﻓﻲ ﺍﻟﺘﺼﻤﻴﻡ ﻭﺍﻟﻌﻤﺎﺭﺓ ﻟﻠﻤﺒﺎﻨﻲ ﺍﻟﻤﻌﺭﻭﻓﺔ ،ﻭﻏﻴﺭ ﺍﻟﻤﻌﺭﻭﻓﺔ ﺒﻨﻔﺱ ﺍﻟﻘﺩﺭ،
ﻟﺘﻐﻴﻴﺭ ﺃﻓﻜﺎﺭ ﺍﻟﻤﺠﺘﻤﻊ ﻭﺘﻌﻠﻴﻤﻪ ﻭﻗﻴﺎﺩﺘﻪ ﻟﻌﺎﻟﻡ ﺠﺩﻴﺩ.
ﺍﻟﻤﺅﺴﺴﻭﻥ ﻭﺍﻟﺭﻭﺍﺩ :ﻤﻥ ﺃﻫﻡ ﻤﺅﺴﺴﻲ ﻭﺭﻭﺍﺩ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﻓﺤﺴﺏ ،ﺒل ﻭﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺤﺩﻴﺜﺔ ﺃﻴﻀ ﹰﺎ
ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﻟﻭﺩﻭ ﻭﺒﻭﻟﻴﻪ .ﻭﻟﺩ ﻜﻠﻭﺩ-ﻨﻴﻜﻭﻻﺱ ﻟﻭﺩﻭ ﻓﻲ ﺩﻭﺭﻤﺎﻨﺯ ﻋﻠﻰ ﻨﻬﺭ ﻤﺎﺭﻥ ﻓﻲ ﺍﻟﺤﺎﺩﻱ ﻭﺍﻟﻌﺸﺭﻴﻥ ﻤﻥ
ﻻ ﻟﻔﻥ ﺍﻟﺤﻔﺭ ﺜﻡ ﺃﺼﺒﺢ ﻤﻌﻤﺎﺭﻴﹰﺎ ﺒﻌﺩ ﺫﻟﻙ .ﻭﻜﺎﻥ ﺍﻫﺘﻤﺎﻤﻪ ﺒﻨﻅﺎﻡ ﺍﻟﺩﻭﺭﻴﻙ،
ﻤﺎﺭﺱ ﻋﺎﻡ 1736ﻡ .ﻭﻜﺭﺱ ﻨﻔﺴﻪ ﺃﻭ ﹰ
ﻤﻥ ﺃﻨﻅﻤﺔ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻹﻏﺭﻴﻘﻴﺔ ،ﻭﻋﻤﺎﺭﺓ ﺍﻟﻤﻬﻨﺩﺱ ﺒﺎﻻﺩﻴﻭ .ﺼﻤﻡ ﻟﻭﺩﻭ ﻋﺩﺩﹰﺍ ﻤﻥ ﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﻭﺘﻡ ﺘﻌﻴﻴﻨﻪ ﻤﻔﺘﺸ ﹰﺎ
ﻟﻸﻋﻤﺎل ﻋﺎﻡ 1771ﻡ ،ﻜﻤﺎ ﺘﻡ ﻗﺒﻭﻟﻪ ﻋﻀﻭﹰﺍ ﻓﻲ ﺍﻷﻜﺎﺩﻴﻤﻴﺔ ﺍﻟﻤﻠﻜﻴﺔ ﻟﻠﻌﻤﺎﺭﺓ ﻓﻲ ﻓﺭﻨﺴﺎ ﻋﺎﻡ 1773ﻡ .ﻭﺒﻨﻰ ﻟﻭﺩﻭ
ﻋﺩﺩﹰﺍ ﻤﻥ ﻤﺒﺎﻨﻲ ﺍﻟﻤﻜﺎﺘﺏ ﻭﻤﺼﻨﻌﹰﺎ ﻭﺒﻌﺽ ﺍﻟﻤﺠﻤﻌﺎﺕ ﺍﻟﺴﻜﻨﻴﺔ ﻭﻜﺎﻥ ﺃﻭل ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺍﻟﻐﺭﺒﻲ ﺍﻵﺨﺫﻴﻥ
ﺒﻔﻜﺭﺓ ﺍﻟﻤﺩﻴﻨﺔ ﺍﻟﺼﻨﺎﻋﻴﺔ .ﻭﺘﻡ ﺘﻜﻠﻴﻔﻪ ﻋﺎﻡ 1778ﻡ ﺒﺘﺼﻤﻴﻡ ﻤﺩﺍﺨل ﺒﺎﺭﻴﺱ ﺍﻟﻌﺎﻟﻴﺔ .ﻜﻤﺎ ﻋﻤل ﻋﻠﻰ ﻨﺸﺭ ﻤﺨﻁﻁﺎﺕ
ﻤﺸﺭﻭﻋﺎﺘﻪ ﻓﻲ ﺍﻟﻔﺘﺭﺓ ﻤﻥ 1767ﻡ ﺇﻟﻰ 1789ﻡ .ﻜﺎﻨﺕ ﺒﻌﺽ ﻤﺸﺭﻭﻋﺎﺕ ﻟﻭﺩﻭ ﺘﺘﺨﻁﻰ ﺍﻟﻤﻴﺯﺍﻨﻴﺎﺕ ﺍﻟﻤﺭﺼﻭﺩﺓ ﻟﻬﺎ
ﻟﻜﻨﻬﺎ ﻜﺎﻨﺕ ﻗﻁﻌﹰﺎ ﻤﻥ ﺍﻟﻔﻥ ﺍﻟﻤﻌﻤﺎﺭﻱ .ﻭﻤﻥ ﺃﻤﺜﻠﺔ ﺃﻋﻤﺎﻟﻪ ﻗﻭﺴﹰﺎ ﻟﻠﻨﺼﺭ ﻭﻤﺒﻨﻰ ﻜﺭﻭﻴﹰﺎ ﻭﺴﺠﻨﹰﺎ ﻴﻌﻁﻲ ﺍﻻﻨﻁﺒﺎﻉ
ﺒﺎﻟﺘﻭﺠﻪ ﺍﻟﺩﺍﺨﻠﻲ ﺍﻟﻜﻠﻲ ﻨﺤﻭ ﻤﺭﻜﺯ ﺍﻟﻤﺒﻨﻰ ،ﻭﺘﺨﻁﻴﻁﹰﺎ ﻟﻠﻤﺩﻴﻨﺔ ﺍﻟﺼﻨﺎﻋﻴﺔ .ﺃﻋﺘﺎﺩ ﻟﻭﺩﻭ ﻋﻠﻰ ﺘﺼﻤﻴﻡ ﻤﺒﺎﻨﻴﻪ ﻋﻠﻰ
ﻻ ﻋﻠﻰ ﺍﻟﺠﺩﺭﺍﻥ ،ﻭﻹﻋﻁﺎﺀ ﺍﻹﺤﺴﺎﺱ ﺒﺄﺸﻜﺎل
ﻗﺎﻋﺩﺓ ﻤﺯﺩﻭﺠﺔ ﻤﺭﺘﻔﻌﺔ ﻭﺩﺭﺝ ﺤﻭﻟﻬﺎ ،ﻤﻊ ﻋﻤل ﺒﺭﻨﺩﺍﺕ ﻟﺘﻠﻘﻲ ﻅﻼ ﹰ
ﺍﻟﻨﺼﺏ ﺍﻟﺘﺫﻜﺎﺭﻴﺔ ،ﻭﻜﺎﻨﺕ ﻤﺒﺎﻨﻴﻪ ﻤﺘﻭﺴﻁﺔ ﺃﻭ ﺼﻐﻴﺭﺓ ﺍﻟﺤﺠﻡ.
ﺃﻤﺎ ﺍﻴﺘﻴﻥ-ﻟﻭﻴﺱ ﺒﻭﻟﻴﻪ ﻓﻘﺩ ﻭﻟﺩ ﻓﻲ ﺒﺎﺭﻴﺱ ﻓﻲ ﺍﻟﺜﺎﻤﻥ ﻋﺸﺭ ﻤﻥ ﻓﺒﺭﺍﻴﺭ ﻋﺎﻡ 1728ﻡ ﻭﺩﺭﺱ ﺍﻟﺭﺴﻡ
ﻭﺍﻟﺘﻠﻭﻴﻥ ،ﺜﻡ ﺃﺠﺒﺭﻩ ﻭﺍﻟﺩﻩ ﻋﻠﻰ ﺩﺭﺍﺴﺔ ﺍﻟﻬﻨﺩﺴﺔ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ،ﻟﺫﺍ ﻓﻘﺩ ﻋﺎﺵ ﻤﺭﺤﻠﺘﻪ ﺍﻷﻭﻟﻰ ﻓﻲ ﺒﺎﺭﻴﺱ ﻤﻤﺎﺭﺴ ﹰﺎ
ﻷﻋﻤﺎل ﺍﻟﺘﻠﻭﻴﻥ ﻭﺍﻟﺯﺨﺎﺭﻑ ﺍﻟﺩﺍﺨﻠﻴﺔ ،ﻭﻓﻲ ﺍﻟﻔﺘﺭﺓ ﻤﻥ 1763ﻡ ﺇﻟﻰ 1780ﻡ ﻗﺎﻡ ﺒﺒﻨﺎﺀ ﻭﺘﺭﻤﻴﻡ ﺍﻟﻌﺩﻴﺩ ﻤﻥ ﺍﻟﻤﺴﺎﻜﻥ.
ﻭﺘﻡ ﺘﻌﻴﻴﻨﻪ ﻤﺭﺍﻗﺒﹰﺎ ﻋﺎﻤﹰﺎ ﻟﻠﻤﺒﺎﻨﻲ ﻋﺎﻡ 1778ﻡ ﻭﻟﻜﻨﻪ ﺘﺭﻙ ﻤﻬﻨﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻨﻬﺎﺌﻴﹰﺎ ﻋﺎﻡ 1780ﻡ .ﺘﺄﺜﺭﺕ ﺃﻋﻤﺎل ﺒﻭﻟﻴﻪ
ﺒﺎﻟﻌﻤﺎﺭﺓ ﺍﻟﺭﻭﻤﺎﻨﻴﺔ ﺫﺍﺕ ﺍﻟﻤﻘﻴﺎﺱ ﺍﻟﻜﺒﻴﺭ-ﻋﻠﻰ ﻋﻜﺱ ﻟﻭﺩﻭ-ﻭﻜﺎﻨﺕ ﻤﺒﺎﻨﻴﻪ ﺫﺍﺕ ﺍﻨﻁﺒﺎﻋﺎﺕ ﺭﻤﺯﻴﺔ ﻜﻐﻴﺎﺏ ﺍﻟﻨﻭﺍﻓﺫ
ﻭﺍﻟﻤﺩﺍﺨل ﺍﻟﻜﺒﻴﺭﺓ ﺍﻟﻤﻨﻔﺫﺓ ﻟﻠﻀﻭﺀ ،ﻭﻜﺎﻨﺕ ﻓﻠﺴﻔﺘﻪ ﻓﻲ ﺫﻟﻙ ﺃﻥ ﻻ ﺘﺘﻐﻴﺭ ﺸﺨﺼﻴﺔ ﺍﻟﻤﺒﻨﻰ ﻋﻨﺩ ﺇﻀﺎﺀﺘﻪ ﻟﻴﻼﹰ ،ﻭﻏﺎﻟﺒ ﹰﺎ
ﻤﺎ ﺍﺴﺘﺨﺩﻡ ﺍﻟﻤﺼﻤﺘﺎﺕ ﺍﻷﻓﻼﻁﻭﻨﻴﺔ ﻜﺎﻟﻘﺒﺔ ﻭﺍﻟﻤﺨﺭﻭﻁ ﻭﺍﻟﺤﻠﺯﻭﻥ ] ) . [ 9ﺍﻷﺸﻜﺎل (3 –1ﺘﻭﻀﺢ ﺒﻌﺽ ﺍﻟﻨﻤﺎﺫﺝ
ﻷﻋﻤﺎل ﻟﻭﺩﻭ ﻭﺒﻭﻟﻴﻪ ﺍﻟﺘﻲ ﺘﻤﺜل ﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ.
ﺧﻼﺻﺔ واﺳﺘﻨﺘﺎﺟﺎت:
ﻋﺭﻀﻨﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﻭﺭﻗﺔ ﻟﻤﻔﻬﻭﻡ ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ،ﺃﻭ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﻤﺜﺎﻟﻴﺔ ،ﻓﻲ ﻓﺫﻟﻜﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻤﻘﺘﻀﺒﺔ.
ﻭﻟﻘﺩ ﺤﻔﻅ ﺍﻟﻌﺎﻟﻡ ﺍﻟﻐﺭﺒﻲ ﻫﺫﺍ ﺍﻟﺘﺭﺍﺙ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻏﻴﺭ ﺍﻟﻤﺒﻨﻲ ﻓﻲ ﻜﺘﺎﺒﺎﺕ ﺍﻟﻤﺅﺭﺨﻴﻥ ﻭﺍﻟﻨﻘﺎﺩ ﻭﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﺃﻨﻔﺴﻬﻡ،
ﺇﻤﺎ ﻓﻲ ﺸﻜل ﻜﺘﺏ ﻭﺃﻭﺭﺍﻕ ﻤﻨﺸﻭﺭﺓ ،ﺃﻭ ﺩﻓﺎﺘﺭ ﺩﻭﻨﺕ ﻓﻴﻬﺎ ﺍﻟﻤﺨﻁﻁﺎﺕ ﻭﺍﻷﻓﻜﺎﺭ ﻭﺍﻟﻤﻼﺤﻅﺎﺕ ﻭﺍﻟﻤﺫﻜﺭﺍﺕ ،ﺃﻭ ﻓﻲ
ﻤﻌﺎﺭﺽ ﺍﻟﻔﻨﻭﻥ ﺍﻟﻤﺨﺘﻠﻔﺔ ،ﺒﻤﺎ ﻴﻤ ﹼﻜﻥ ﺍﻟﺒﺎﺤﺜﻴﻥ ﻤﻥ ﺍﻟﺭﺠﻭﻉ ﺇﻟﻴﻬﺎ .ﻭﻻ ﻴﻌﻨﻲ ﻫﺫﺍ ،ﺒﺎﻟﻁﺒﻊ ،ﻋﺩﻡ ﻭﺠﻭﺩ ﺸﻭﺍﻫﺩ ﺘﺩل
ﻋﻠﻰ ﺃﻋﻤﺎل ﻭﺘﺭﺍﺙ ﻤﻤﺎﺜل ﻓﻲ ﺤﻀﺎﺭﺍﺕ ﺍﻟﺸﺭﻕ ،ﻗﺩﻴﻤﹰﺎ ﻭﺤﺩﻴﺜﺎﹰ ،ﻭﻟﻨﺎ ﻓﻲ ﺸﺘﻰ ﺃﻋﻤﺎل ﺍﻟﻤﻌﻤﺎﺭﻴﻴﻥ ﻤﺎ ﻴﺸﻬﺩ ﺒﺫﻟﻙ،
ﻤﺜل ﺃﻋﻤﺎل ﺍﻟﻤﻌﻤﺎﺭﻱ ﺍﻟﻤﺼﺭﻱ ﺤﺴﻥ ﻓﺘﺤﻲ ،ﻓﻲ ﻟﻭﺤﺎﺘﻪ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻭﻤﺨﻁﻁﺎﺘﻪ ﻭﻓﻜﺭﻩ ﺍﻟﻤﻌﻤﺎﺭﻱ ﻭﻜﺘﺒﻪ
ﺍﻟﻤﻨﺸﻭﺭﺓ.
ﺸﻜل ) :(9ﻤﺸﺭﻭﻉ ﺍﻟﺒﺭﺝ ﺍﻟﺘﺫﻜﺎﺭﻱ ﻟﻸﻤﻤﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﻟﻠﻤﻌﻤﺎﺭﻱ ﺘﺎﺘﻼﻥ
ﹸﺘﻌﻨﻰ ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ ﺒﺘﻠﻙ ﺍﻟﻤﺭﺍﺤل ﺍﻷﻭﻟﻴﺔ ﻟﻠﻌﻤﺎﺭﺓ ﻭﺍﻟﻌﻤﺭﺍﻥ ،ﻭﻫﻲ ﻤﺭﺍﺤل ﺍﻷﻓﻜﺎﺭ ﻭﺍﻟﻤﺨﻁﻁﺎﺕ
ﺍﻷﻭﻟﻴﺔ ،ﺃﻭ ﻤﺭﺤﻠﺔ ﺍﻟﺘﺼﻤﻴﻡ )ﻤﺎ ﻗﺒل ﺍﻟﺘﺸﻴﻴﺩ ﻭﺍﻟﺒﻨﺎﺀ( ،ﺃﻱ ﺃﻨﻬﺎ ﺘﻌﻨﻰ ﺒﺎﻟﻔﻜﺭ ﻭﺍﻟﺭﺅﻯ ﻭﺍﺴﺘﺒﺼﺎﺭ ﺍﻟﻁﺭﺯ ﺍﻟﺠﺩﻴﺩﺓ
ﻓﻲ ﺍﻟﺘﻜﻭﻴﻨﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻭﻓﻲ ﺘﺸﻜﻴل ﻭﺘﻼﺤﻡ ﺍﻟﻜﺘل ﻭﺍﻟﺤﻴﺯﺍﺕ ،ﻭﻓﻲ ﺍﻻﺒﺘﻜﺎﺭﺍﺕ ﺍﻟﺘﻁﺒﻴﻘﻴﺔ ﻟﻠﻤﻭﺍﺩ ﺍﻟﺠﺩﻴﺩﺓ
ﻭﺍﻟﺘﻜﻨﻭﻟﻭﺠﻴﺎ ﺍﻟﺒﻨﺎﺌﻴﺔ ،ﻭﺍﺴﺘﺒﺼﺎﺭ ﺍﻟﻤﺴﺘﻘﺒل ﺍﻟﺒﻨﺎﺌﻲ ﻭﺍﻟﻌﻤﺭﺍﻨﻲ ﻜﻜل .ﺇﻥ ﺘﺎﺭﻴﺦ ﺍﻟﻌﻤﺎﺭﺓ ﻫﻭ ﺠﺯﺀ ﻤﻥ ﺘﺎﺭﻴﺦ
ﺍﻟﺤﻀﺎﺭﺓ ﺍﻹﻨﺴﺎﻨﻴﺔ ،ﻜﺫﻟﻙ ﺍﻷﻤﺭ ﺒﺎﻟﻨﺴﺒﺔ ﻟﺘﺎﺭﻴﺦ ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ :ﺍﻟﻌﻤﺎﺭﺓ ﻏﻴﺭ ﺍﻟﻤﺒﻨﻴﺔ ،ﻭﺍﻟﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﺘﻤﺜل
ﺍﻟﺨﻠﻔﻴﺔ ﺍﻟﻔﻠﺴﻔﻴﺔ ﻭﺍﻟﻔﻜﺭﻴﺔ ﻟﻠﻌﻤﺎﺭﺓ ﻓﻲ ﺤﻘﺒﺔ ﻤﺎ .ﻭﻗﺩ ﺤﺎﻭﻟﻨﺎ ﻓﻲ ﻫﺫﻩ ﺍﻟﻭﺭﻗﺔ ﺇﺜﺒﺎﺕ ﺃﺜﺭ ﺍﻟﺘﺤﻭﻻﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ-
ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻓﻲ ﺠﺩﻟﻴﺔ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺘﻁﻭﺭﻫﺎ ﻭﺍﺘﺠﺎﻫﺎﺘﻬﺎ ﻭﺍﺴﺘﺒﺼﺎﺭﻫﺎ ﻟﻠﻤﺴﺘﻘﺒل ﺍﻵﺘﻲ ،ﻭﺫﻟﻙ ﻋﻥ ﻁﺭﻴﻕ ﻋﺭﺽ
ﺜﻼﺙ ﻤﻥ ﺃﻫﻡ ﺍﻟﻤﺩﺍﺭﺱ ﻓﻲ ﺍﻟﻔﻜﺭ ﺍﻟﻤﻌﻤﺎﺭﻱ ،ﺃﻻ ﻭﻫﻲ ﺍﻟﻜﻼﺴﻴﻜﻴﺔ ﺍﻟﺠﺩﻴﺩﺓ ﺍﻟﺘﻲ ﺃﺘﺕ ﺇﺜﺭ ﺍﻟﺜﻭﺭﺓ ﺍﻟﻔﺭﻨﺴﻴﺔ،
ﻭﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﺘﻌﺒﻴﺭﻴﺔ ﺒﻌﺩ ﺍﻟﺤﺭﺏ ﺍﻟﻌﺎﻟﻤﻴﺔ ﺍﻷﻭﻟﻰ ،ﻭﺍﻟﻤﺩﺭﺴﺔ ﺍﻟﺒﻨﻴﻭﻴﺔ ﺒﻌﺩ ﺜﻭﺭﺓ ﺃﻜﺘﻭﺒﺭ ﺍﻟﺭﻭﺴﻴﺔ ،ﺤﻴﺙ ﺭﺃﻴﻨﺎ ﺃﺜﺭ
ﻫﺫﻩ ﺍﻟﺘﺤﻭﻻﺕ ﺍﻟﻜﺒﺭﻯ ﻓﻲ ﻜل ﻤﺩﺭﺴﺔ ﻋﺭﻀﻨﺎ ﻟﻬﺎ.
ﺇﻥ ﺍﻟﻔﺎﺌﺩﺓ ﺍﻟﻤﺭﺠﻭﺓ ﻤﻥ ﻫﺫﺍ ﺍﻟﻌﺭﺽ ﻭﺍﻟﻤﻘﺎﺭﻨﺔ ﻴﻤﻜﻥ ﺃﻥ ﻴﺄﺘﻲ ﻓﻲ ﺸﻜل ﺘﺄﺴﻴﺱ ﻭﺇﻋﺎﺩﺓ ﻜﺘﺎﺒﺔ ﻭﺘﻌﻠﻴﻡ ﺘﺎﺭﻴﺦ
ﺍﻟﻌﻤﺎﺭﺓ ﺒﺎﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺘﺎﺭﻴﺦ ﺍﻟﻌﻤﺎﺭﺓ ﻏﻴﺭ ﺍﻟﻤﺒﻨﻴﺔ-ﻋﻤﺎﺭﺓ ﺍﻻﺴﺘﺒﺼﺎﺭ -ﺇﻀﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻌﻤل ﻋﻠﻰ ﺘﻭﺜﻴﻕ ﻤﺸﺭﻭﻋﺎﺕ
ﻁﻼﺏ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻤﺸﺭﻭﻋﺎﺕ ﺍﻟﻤﻘﺩﻤﺔ ﻟﻠﻤﻨﺎﻓﺴﺎﺕ ﺍﻟﻤﻌﻤﺎﺭﻴﺔ ﻭﺍﻟﻤﻌﺎﺭﺽ ﺍﻟﺘﻲ ﺘﻘﺎﻡ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻨﺎﺴﺒﺎﺕ ﻗﺩﻴﻤ ﹰﺎ
ﻭﺤﺩﻴﺜﹰﺎ ﻜﻤﺸﺭﻭﻋﺎﺕ ﻤﻌﻤﺎﺭﻴﺔ ﺍﺴﺘﺒﺼﺎﺭﻴﺔ ﺘﺒﻘﻰ ﺘﺭﺍﺜﹰﺎ ﻤﻜﺘﻭﺒ ﹰﺎ ﻭﻤﺸﺎﻫﺩﹰﺍ ﻭﻤﺭﺠﻌﻴﹰﺎ ﻟﻁﻼﺏ ﺍﻟﻌﻤﺎﺭﺓ ﻭﺍﻟﻤﻬﻨﻴﻴﻥ
ﻭﻏﻴﺭﻫﻡ ﻤﻥ ﺍﻟﻤﻬﺘﻤﻴﻥ.
اﻟﻤـﺮاﺟـــــﻊ:
1- Summerson, John, (1964). The Classical Language of Architecture,
Methuen and Co. Ltd., London, U.K.
2- Ann Arbor, M.I, (1984). De Montclos, Perowoe, Etinne-Louis Boulleé,
Braziller, date unknown (Reference by Malcolmosn, Lectures on
Visionary Architecture, University of Michigan, U.S.A.
3- Ann Arbor, M.I. (1984). White, Fredrick, Famous Utopias, Hattaway
House, U.S.A, date unknown (Reference by Malcolmson: Lectures on
Visionary Architecture, University of Michigan, U.S.A,).
4-Translated from French by Fredrick Etchells. (1982). Le Corbusier, The
City of Tomorrow, The MIT. Press, Cambridge, Massachusetts, U.S.A.
5- Holt, Rinehart and Winston, (1960). Le Corbusier, Towards as New
Architecture, New York, N.Y., U.S.A, (Translated from French by
Fredrick Etchells).
6-Ching, Francis D.K, (1979). Architecture: Form, Space and Order, Van
Nostrand Reinhold Co. New York, N.Y, U.S.A.
7- Malevich, The Non-objective World, USSR, date unknown (Reference by
Malcolmson, Lectures on Vissionary Architecture, University of
Michigan, Ann Arbor, MI, USA. (1984).
8- Translated from Russian by Eric Dluhosch (1984). El Lissitzky, Russia; An
Architecture for World Revolution, The MIT. Press, Cambridge,
Massachusetts, U.S.A.
9- Malcolmson, Reginlald, (1974). Visionary Projects for Buildings and
Cities, Garamond/Pridemark Press, Baltimore, Maryland, U.S.A,
(Circulated by International Exhibitions Foundation).
10- Bhne, Adolf, (1964). Der modern Zweckbau, Munich, new ed.
Frankfurt and Berlin.
11- Finsterlin, Hermann, (1922). Die Gensesis der weltarchitektur die
Deszendez der Dome als Stilspiel, in Frublicht, issue 3, Spring,
Germany.
12- Madesn, S. Tschudi, (1967). Art Nouveau, McGraw-Hill Book
Company, New York, N.Y., U.S.A.
13- Daubler, Theodor, (1957). Der neue Standpunkt, Dresden, Germany.
14- Steiner, Rudolf, (1958). Der Baugedanke des Goetheanum, Stuttgart,
Germany.
15- Whittick, Arnold, (1965). Eric Mendelsohn, London, U.K.
16- J.A. Underwood and Edith Kustner (1973). Peinnt, Wolfgang,
Expressionist Architecture, Thames and Hudston London, Great Britain,
(Translated from German Die Architektur Des Expressionismus.
17- Kautmann, E, (1957). Three Revolutionary Architects, Harvard
University Press, Mass, U.S.A.