INTRODUCTION TO HISTORY

AND THEORIES OF
ARCHITECTURE

Dr: Tarek Abdel-Raouf mohamed

2007-2008
 LECTURE 4
MODERN ARCHITECTURE (1)
‫‪18th &19th CENTURY ARCHITECTURE‬‬

‫‪DUALISM IN‬‬
‫‪ARCHITECTURE OF 18TH &19TH CENTURY‬‬

‫‪RATIONALISM‬‬ ‫‪ROMANTICISM‬‬
‫)اﺑﺪاﻋﻰ( ‪INNOVATIVE‬‬ ‫)اﺣﻴﺎﺋﻰ( ‪REVIVAL‬‬
‫اﻻﻧﺸﺎءات اﻟﺤﺪﻳﺪﻳﺔ ‪STEEL STRUCTURES‬‬ ‫اﻟﺤﺮﻓﻴﺔ اﻟﺰاﺋﺪة ﻣﻦ ﻋﺼﺮ اﻟﺒﺎروك‬
‫ﻣﻊ ﻋﺪم اﻟﻮﻋﻰ ﺑﺘﺮﺟﻤﺔ ﺣﻘﻴﻘﻴﺔ‬
‫ﻟﻠﺜﻘﺎﻓﺔ اﻟﺠﺪﻳﺪة‬

‫ﺑﺪاﻳﺔ ﺗﻐﻴﻴﺮ ﺻﻮرة اﻟﻌﻤﺎرة ﻧﺤﻮ اﻟﺤﺪاﺛﺔ‬ ‫ﻣﺮﺣﻠﺔ اﻧﺘﻘﺎﻟﻴﺔ ﺑﻴﻦ اﻟﺤﺪاﺛﺔ واﻟﺘﻘﻠﻴﺪﻳﺔ‬
‫ﺑﻤﻔﻬﻮﻣﻬﺎ اﻟﻤﺘﻌﺎرف ﻋﻠﻴﻪ ) اﻟﺒﺴﺎﻃﺔ‬ ‫ﺗﻢ ﻓﻴﻬﺎ اﺣﻴﺎء اﻟﻄﺮز اﻟﻘﺪﻳﻤﺔ ﻣﻊ ﺑﺪاﻳﺔ‬
‫اﻟﻨﻘﺎء اﻟﺼﺮاﺣﺔ واﻻﻣﺎﻧﺔ ﻓﻰ اﻻﻧﺸﺎء‬ ‫اﻟﺘﺤﻮل ﻓﻰ اﺳﻠﻮب اﻻﻧﺸﺎء واﻟﻤﻌﺎﻟﺠﺎت‬
‫واﺳﺘﺨﺪام اﻟﻤﻮاد ‪..........‬‬ ‫اﻟﻤﻌﻤﺎرﻳﺔ‬
18th &19th CENTURY ARCHITECTURE

ROMANTIC ARCHITECTURE

REVIVAL (2) ‫اﻟﻤﺮﺣﻠﺔ اﻟﺜﺎﻧﻴﺔ‬ REVIVAL (1) ‫اﻟﻤﺮﺣﻠﺔ اﻻوﻟﻰ‬

ECLECTICISM REVIVALISM
-NEO BAROQUE REVIVAL OF CLASICAL STYLES

-HIGH VICTORIAN GOTHIC REVIVAL OF GOTHIC STYLE

(NEO GOTHIC)
18th &19th CENTURY ARCHITECTURE
18th &19th CENTURY ARCHITECTURE

RATIONAL ARCHITECTURE

HIGH RISE BUILDING STEEL STRUCTURE

-CHICAGO SCHOOL -BRIDGES
-RICHARSON -WIDE SPANS
-LUIS SULLIVAN…….. -MULTI STOREY
18th &19th CENTURY ARCHITECTURE
HIGH RISE BUILDING STEEL STRUCTURE
-CHICAGO SCHOOL
MODERN ARCHITECTURE

The Age of Reason

Cultural and scientific transformations
Technological Transformation
THE AGE OF MACHINE

POLITICAL TRANSFORMATION
SOCIAL TRANSFORMATION
MODERN ARCHITECTURE

Japan Czechoslovakia

Argentina Mexico Egypt

‫‪MODERN ARCHITECTURE‬‬
‫‪: Tony Garnier 1902‬إن ﺑﺴﺎﻃﺔ اﻟﻮﺳﺎﺋﻞ ﺗﻘﻮد ﺣﺘﻤ ًﺎ إﻟﻰ ﺑﺴﺎﻃﺔ اﻟﺘﻌﺎﺑﻴﺮ اﻹﻧﺸﺎﺋﻴﺔ‪ ....‬ﻳﺠﺐ‬
‫أن ﻧﺆآﺪ أﻧﻪ ﻟﻮ أن إﻧﺸﺎﺋﻨﺎ ﺑﺴﻴﻂ‪ ،‬ﻣﺘﺤﺮر ﻣﻦ اﻟﺰﺧﺎرف‪ ....‬ﺳﻮف ﻧﻜﻮن ﻗﺎدرﻳﻦ أن ﻧﻄﺒﻖ‬
‫اﻟﻔﻨﻮن اﻟﺰﺧﺮﻓﻴﺔ ﻓﻲ أﺷﻜﺎﻟﻬﺎ‪ ....‬وآﻞ ﻗﻄﻌﺔ ﻟﻌﻤﻞ ﻓﻨﻲ ﺳﺘﻌﺒﺮ ﻋﻦ وﺿﻮح وﻧﻘﺎء اﻟﺘﻌﺒﻴﺮ‪.‬‬

‫‪ :Ornament and Crime: Adolf Loos 1908‬إن اﻟﻔﻨﻮن آﻠﻬﺎ ﺷﻬﻮاﻧﻴﺔ‪ ....‬إن إﻧﺴﺎن‬
‫هﺬﻩ اﻷﻳﺎم اﻟﺬي ﻳﺠﺪ اﺣﺘﻴﺎﺟﺎ داﺧﻠﻴ ًﺎ ﻟﺘﻠﻄﻴﺦ اﻟﺤﻮاﺋﻂ ﺑﺮﻣﻮز ﺷﻬﻮاﻧﻴﺔ )اﻟﺰﺧﺎرف( ﻣﺎ هﻮ إﻻ‬
‫ﻣﺠﺮم أو ﻣﻨﺤﻞ‪ ....‬إن ﺗﻄﻮر اﻟﺜﻘﺎﻓﺔ ﻣﺮادف ﺗﻤﺎﻣ ًﺎ ﻹﻟﻐﺎء اﻟﺰﺧﺮف اﻟﻤﺘﻮاﺟﺪ ﻓﻲ اﻟﻌﻨﺎﺻﺮ‬
‫اﻟﻮﻇﻴﻔﻴﺔ‪ ....‬إن ﻣﺮض اﻟﺰﺧﺮف ﻣﻌﺘﺮف ﺑﻪ رﺳﻤﻴ ًﺎ وأﻳﻀ ًﺎ ﻓﻬﻮ ﻣﻤﻮل ﻣﻦ ﻗﺒﻞ اﻟﺪوﻟﺔ‪ ....‬هﺬﻩ‬
‫اﻟﺰﺧﺎرف اﻟﻤﺼﻨﻌﺔ اﻵن ﻟﻴﺲ ﻟﻬﺎ إي ارﺗﺒﺎط ﺑﻨﺎ‪ ....‬ﻟﻴﺲ ﻟﻬﺎ ارﺗﺒﺎط ﺑﺎﻹﻧﺴﺎن وﻻ ﺑﺎﻟﻨﻈﺎم‬
‫اﻟﻌﺎﻟﻤﻲ‪ ....‬ﻻ ﺗﻤﻠﻚ اﻟﻘﺪرة ﻋﻠﻰ اﻟﺘﻄﻮر‪ ....‬اﻷﺷﻴﺎء اﻟﻤﺰﺧﺮﻓﺔ ﺗﻨﺘﺞ ﺗﺄﺛﻴﺮًا ﻏﻴﺮ ﺟﻤﺎﻟﻴ ًﺎ‪ ....‬إن‬
‫اﻟﺘﺤﺮر ﻣﻦ اﻟﺰﺧﺮﻓﻴﺔ ﺗﻌﺪ إﺷﺎرة ﻟﻠﻘﻮة اﻟﺮوﺣﻴﺔ‪.‬‬

‫‪Werkbund theses and antitheses: Van de Velde and 1914‬‬

‫‪ :Hermann Muthesius‬ﻣﻨﺬ ﻋﺸﺮﻳﻦ ﻋﺎﻣ ًﺎ ﻇﻞ اﻟﻌﺪﻳﺪ ﻣﻨﺎ ﻳﺒﺤﺚ ﺣﻮل اﻟﺸﻜﻞ‬
‫واﻟﺰﺧﺮف وﻟﻢ ﻳﺮى أﺑﺪًا أﺣﺪًا ﻣﻨﺎ أن وﺟﺐ ﻋﻠﻴﻪ ﻓﺮض هﺬﻩ اﻷﺷﻜﺎل أو اﻟﺰﺧﺎرف ﺑﻤﺜﻞ ﻣﺎ‬
‫وﺟﺪﻧﺎ ﺗﺠﺎﻩ اﻟﻤﻌﺎﻳﻴﺮ اﻟﻘﻴﺎﺳﻴﺔ "‪ ...."Standards‬اﻟﻌﻤﺎرة ﺗﺸﻖ ﻃﺮﻳﻘﻬﺎ اﻵن ﺗﺠﺎﻩ‬
‫اﻟﺘﻮﺣﻴﺪ اﻟﻘﻴﺎﺳﻲ "‪ "Standardization‬وﻓﻘﻂ ﻣﻦ ﺧﻼل هﺬا اﻟﺘﻮﺣﻴﺪ ﻳﻤﻜﻨﻬﺎ أن ﺗﺴﺘﻌﻴﺪ‬
‫ﻣﻌﻨﻰ اﻟﻌﺎﻟﻤﻴﺔ اﻟﺘﻲ آﺎﻧﺖ ﺗﺘﺼﻒ ﺑﻬﺎ ﻓﻲ أزﻣﻨﺔ اﻟﺜﻘﺎﻓﺎت اﻟﻤﺘﺠﺎﻧﺴﺔ‪ ....‬اﻟﺘﻮﺣﻴﺪ اﻟﻘﻴﺎﺳﻲ‬
‫وﺣﺪﻩ ﻳﻤﻜﻨﻪ أن ﻳﺴﻤﺢ ﺑﺘﻄﻮﻳﺮ اﻟﺬوق اﻟﻌﺎﻟﻤﻲ‪ Deutscher Werdbund ....‬ﻳﺠﺐ أن‬
‫ﺗﺮآﺰ اهﺘﻤﺎﻣﻬﺎ ﻋﻠﻰ إﺑﺪاع ﺷﺮوط ﻣﺴﺒﻘﺔ ﻟﺘﺼﺪﻳﺮ ﻓﻨﻮﻧﻬﺎ اﻟﻤﺼﻨﻌﺔ‪.‬‬
‫‪MODERN ARCHITECTURE‬‬

‫‪ :Glass Architecture : Paul Scheerbart 1914‬ﻣﻦ وﺟﻬﺔ ﻧﻈﺮي أن اﻟﺜﻘﺎﻓﺔ ﻣﺎ‬

‫هﻲ إﻻ ﻧﺘﺎج ﻟﻠﻌﻤﺎرة‪ ....‬ﻓﻠﻮ أردﻧﺎ أن ﻧﺮﻗﻰ ﺑﺜﻘﺎﻓﺘﻨﺎ ﻓﻼ ﺑﺪ أن ﻧﻐﻴﺮ ﻣﻦ ﻋﻤﺎرﺗﻨﺎ‪ ....‬وهﺬا ﻣﻤﻜﻦ‬
‫ﻓﻘﻂ ﻟﻮ اﺳﺘﻄﻌﻨﺎ أن ﻧﺰﻳﻞ هﺬا اﻻﻧﻐﻼق ﻣﻦ اﻟﻔﺮاﻏﺎت اﻟﺘﻲ ﻧﻌﻴﺶ ﻓﻴﻬﺎ‪ ....‬وهﺬا ﻣﻤﻜﻦ ﻣﻦ‬
‫ﺧﻼل ﺗﻮﺟﻬﻨﺎ ﻟﻠﻌﻤﺎرة اﻟﺰﺟﺎﺟﻴﺔ‪ ....‬ﺳﻴﺘﻐﻴﺮ وﺟﻪ اﻷرض ﺗﻤﺎﻣ ًﺎ ﻟﻮ ﺣﻠﺖ اﻟﻌﻤﺎرة اﻟﺰﺟﺎﺟﻴﺔ‬
‫ﻣﺤﻞ اﻟﻌﻤﺎﺋﺮ ﻣﻦ اﻟﻄﻮب‪ ....‬اﻹﻧﺸﺎءات اﻟﺤﺪﻳﺪﻳﺔ ﺗﻤﻜﻨﻨﺎ ﻣﻦ إﻧﺘﺎج اﻟﺤﻮاﺋﻂ واﻷﺷﻜﺎل اﻟﺘﻲ‬
‫ﺗﻌﺠﺒﻨﺎ وﺗﺘﻮاﻓﻖ ﻣﻊ اﻟﻌﻤﺎرة اﻟﺰﺟﺎﺟﻴﺔ‪ ....‬اﻟﻌﻤﺎرة اﻟﺰﺟﺎﺟﻴﺔ ﻳﻤﻜﻨﻬﺎ أن ﺗﻐﻴﺮ ﺣﻴﺎﺗﻨﺎ واﻟﺒﻴﺌﺔ‬
‫اﻟﺘﻲ ﻧﻌﻴﺶ ﻓﻴﻬﺎ‪ ....‬ﻳﻤﻜﻨﻬﺎ أن ﺗﻐﻴﺮ وﺟﻪ اﻷرض‪.‬‬

‫‪ : Down With Seriousism : Bruno Taut 1920‬ﻋﺠﺒ ًﺎ! أن ﻣﻔﺎهﻴﻤﻨﺎ هﻲ‪ :‬اﻟﻔﺮاغ‪،‬‬
‫اﻟﺒﻴﺖ‪ ،‬اﻟﻄﺮاز‪ ....‬إﻧﻬﺎ ﻣﻨﺎﻓﻴﺔ ﻟﻠﺬوق اﻟﺴﻠﻴﻢ‪ ....‬دﻣﺮوهﺎ‪ ،‬اﺻﻨﻌﻮا ﻧﻬﺎﻳﺔ ﻟﻬﺎ‪ ،‬ﻻ ﺗﺪﻋﻮا ﺷﻴﺌ ًﺎ ﻳﺒﻘﻰ‬
‫ﻣﻨﻬﺎ‪ ،‬ﻃﺎردوا ﻣﺪارﺳﻬﻢ‪ ....‬دﻋﻮا هﺬﻩ اﻟﻤﻔﺎهﻴﻢ واﻷﻳﺪﻳﻮﻟﻮﺟﻴﺎت واﻟﻨﻈﻢ اﻟﻤﺘﺮﺑﺔ اﻟﻌﺘﻴﻘﺔ ﺗﺸﻌﺮ‬
‫ﺑﺒﺮد اﻟﺮﻳﺎح اﻟﺸﻤﺎﻟﻴﺔ‪ ....‬اﻟﻤﻮت ﻟﻜﻞ ﺷﺊ ﻓﺎﺳﺪ‪ ....‬ﻋﻠﻰ اﻟﺒﻌﺪ ﺳﻴﺸﺮق ﻳﻮﻣﻨﺎ‪ ....‬ﻓﻠﻨﺴﺮع‬
‫ﻟﻌﺎﻟﻤﻨﺎ‪ ،‬ﻓﻠﻨﺴﺮع ﻟﻠﺸﻔﺎﻓﻴﺔ‪ ،‬ﻟﻠﻨﻘﺎء‪ ،‬ﻟﻠﻮﺿﻮح‪ ،‬ﻟﻠﺒﻠﻮرﻳﺔ‪ ،‬ﻟﻠﺴﻴﻮﻟﺔ‪ ،‬ﻟﻠﺮﺷﺎﻗﺔ‪ ،‬ﻟﻠﻐﻀﺐ‪ ،‬ﻟﻠﺘﺄﻟﻖ‪،‬‬
‫ﻟﻠﻀﻮء‪ ....‬ﻓﻠﻨﺴﺮع اﻟﻌﻤﺎرة اﻷﺑﺪﻳﺔ‪.‬‬
‫‪MODERN ARCHITECTURE‬‬

‫‪ :Purism : Le Corbusier & Amedee Ozenfant 1920‬إن آﻞ ﺷﺊ ﻓﻲ اﻟﻌﻤﺎرة‬

‫ﻳﻤﻜﻦ اﻟﺘﻌﺒﻴﺮ ﻋﻨﻪ ﺑﺎﻟﻨﻈﺎم واﻻﻗﺘﺼﺎد ‪ ...‬إن اﻟﻤﺎآﻴﻨﺔ ﻗﺪ وﻟﺪت ﻓﻲ اﻟﻘﺮن اﻷﺧﻴﺮ ‪ ...‬ﻳﻤﻜﻦ ﻟﻠﻤﺮء‬
‫أن ﻳﻌﻠﻦ أن اﻟﻤﺎآﻴﻨﺔ ﺗﻬﺪي إﻟﻰ اﺣﺘﺮام زاﺋﺪ ﻟﺘﻄﺒﻴﻖ ﻗﻮاﻧﻴﻦ اﻻﻗﺘﺼﺎد ‪ ...‬إن ﻣﻴﻜﺎﻧﻴﻜﻴﺔ اﻟﺤﺪاﺛﺔ‬
‫ﺗﻈﻬﺮ ﻟﺘﺒﺪع أﺷﻴﺎء ﺑﻌﻴﺪة ﺗﻤﺎﻣ ًﺎ ﻋﻤﺎ ﻋﺮﻓﻪ اﻹﻧﺴﺎن أو ﻣﺎرﺳﻪ ﻣﻦ ﻗﺒﻞ ‪ ...‬إن اﺣﺘﺮام ﻗﻮاﻧﻴﻦ‬
‫ﻼ ﻣﻦ اﻻﻧﺘﻘﺎء اﻟﻄﺒﻴﻌﻲ‬ ‫اﻻﻗﺘﺼﺎد واﻟﻔﻴﺰﻳﺎء ﻓﻲ أي ﻋﺼﺮ ﺗﺒﺪع أﺷﻴﺎء ﻣﻨﺘﻘﺎة ﺑﻌﻨﺎﻳﺔ ‪ ...‬ن آ ً‬
‫واﻻﻧﺘﻘﺎء اﻟﻤﻴﻜﺎﻧﻴﻜﻲ ﺗﺠﻠﻴﺎت ﻟﻠﻨﻘﺎء ‪...‬‬

‫‪ :Working theses: Ludwig Mies Van der Rohe 1923‬إﻧﻨﺎ ﻧﺮﻓﺾ آﻞ ﺟﻤﺎﻟﻴﺎت‬
‫اﻟﺘﺨﻤﻴﻦ‪ ،‬آﻞ اﻟﻤﺬاهﺐ‪ ،‬آﻞ اﻟﺘﺸﻜﻴﻠﻴﺔ‪ ،‬اﻟﻌﻤﺎرة اﻷﻓﻀﻞ ﻟﻬﺬا اﻟﻌﺼﺮ ﻳﻌﺒﺮ ﻋﻨﻬﺎ ﻓﻲ ﻣﺼﻄﻠﺤﺎت‬
‫ﻓﻀﺎﺋﻴﺔ آﺎﻟﻤﻌﻴﺸﺔ‪ ،‬اﻟﺘﻐﻴﺮ‪ ،‬اﻟﺠﺪﻳﺪ‪ .‬ﻟﻴﺲ اﻷﻣﺲ وﻻ ﻏﺪًا ﻓﻘﻂ اﻟﻴﻮم ﻳﻤﻜﻨﻪ أن ﻳﻌﻄﻲ اﻟﺸﻜﻞ‪،‬‬
‫أﺑﺪع اﻟﺸﻜﻞ ﺑﻌﻴﺪًا ﻋﻦ اﻟﻄﺒﻴﻌﺔ وﻋﻦ اﻟﻤﻬﻤﺔ ﻣﻦ ﺧﻼل ﻋﺼﺮﻧﺎ‪ ،‬هﺬا ﻋﻤﻠﻨﺎ‪ .‬ﻣﺒﻨﻰ اﻟﻤﻜﺎﺗﺐ‪....‬‬
‫ﻣﺒﻨﻰ اﻟﻤﻜﺎﺗﺐ ﻣﻨﺰل ﻟﻠﻌﻤﻞ‪ ،‬ﻟﻠﺘﻨﻈﻴﻢ‪ ،‬ﻟﻠﻮﺿﻮح‪ ،‬ﻟﻼﻗﺘﺼﺎد‪ ،‬ﻏﺮف واﺳﻌﺔ ﻣﺒﻬﺮة‪ ....‬أﻗﺼﻰ آﻔﺎءة‬
‫ﻣﻊ أﻗﻞ إﻧﻔﺎق ﻟﻠﻮﺳﺎﺋﻞ‪.‬‬
 MODERN ARCHITECTURE
DUALISM IN
ARCHITECTURE OF 20th CENTURY (Modern architecture 1900-1960)

Romanticism Rationalism
Biological analogy ‫اﻟﺘﺸﺒﻴﻪ اﻟﺤﻴﻮى‬ Mechanical analogy ‫اﻟﺘﺸﺒﻴﻪ ﺑﺎﻟﻤﺎآﻴﻨﺔ‬

Art nouveau Organic Architecture Combination Bet Schools around the

arts & Industry World International
•Main principles •Main principles
German school Futurism Style
•Architects •Architects
•Dutch Workbund De stijl •Mies van der roh
•Victor Horta •Frank Lloyd
•Gaudi Wright •Bauhaus Purism
•Mackintosh •Peter behrens Constructivism
•August Perret •Grobious Expressionism
•Mies van der rohe
‫ﻳﻌﺪ ﻧﻤﻮذﺟﺎ ﺷﺨﺼﻴﺎ ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻌﻤﺎرة ﻓﻬﻮ ﻳﺒﺤﺚ‬ ‫اﺗﺨﺬ ﻣﻦ اﻟﻌﻠﻢ واﻟﺘﻘﺪم اﻟﺘﻜﻨﻮﻟﻮﺟﻰ واﻟﺘﻄﻮر اﻟﺴﺮﻳﻊ ﻓﻰ ﻋﻠﻮم اﻻﺗﺼﺎﻻت‬
‫ﻓﻰ اﻟﻄﺒﻴﻌﺔ داﺋﻤﺎ ﻟﻴﺮى ﻓﻴﻬﺎ اﻟﻤﻠﻬﻢ ﺛﻢ ﻳﻘﻮم‬ ‫واﻟﻤﻮاﺻﻼت واﻟﺘﻘﺪم اﻟﺼﻨﺎﻋﻰ اﻟﻤﺬهﻞ وﺗﻄﻮر ﻣﻮاد اﻻﻧﺸﺎء اﻻﺳﺎس ﻓﻰ‬
.‫ﺑﺘﻔﺴﻴﺮهﺎ وﺗﺮﺟﻤﺘﻬﺎ آﻤﺎ ﻳﺮى‬ .‫ﺗﺸﻜﻴﻞ اﻟﻌﻤﺎرة‬
‫‪MODERN ARCHITECTURE‬‬
‫‪Romanticism‬‬
‫اﻟﺘﺸﺒﻴﻪ اﻟﺤﻴﻮى ‪Biological analogy‬‬
‫‪Art Nouveau‬‬
‫ﻓﻰ اﻟﻌﻤﺎرة ﻳﻮﺟﺪ ﻣﺤﺪدﻳﻦ ﻟﺘﺼﺒﺢ ﺻﺎدﻗﺎ ﻳﺠﺐ ان ﺗﺒﻘﻰ ﺻﺎدﻗﺎ ﻣﻦ ﻧﺎﺣﻴﺔ اﻻﻧﺸﺎء وﺗﺒﻘﻰ ﺻﺎدﻗﺎ ﻣﻦ‬
‫ﻧﺎﺣﻴﺔ اﻟﺒﺮﻧﺎﻣﺞ‪ ،‬ﻟﺘﺒﻘﻰ ﺻﺎدﻗﺎ ﻓﻰ اﻟﺒﺮﻧﺎﻣﺞ ﻳﺠﺐ ان ﺗﺤﻘﻖ اﺣﺘﻴﺎﺟﺎت اﻟﻨﺎس ﺑﺒﺴﺎﻃﺔ‪ ،‬وﻟﺘﺒﻘﻰ ﺻﺎدﻗﺎ ﻣﻦ‬
‫ﻧﺎﺣﻴﺔ اﻻﻧﺸﺎء ﻳﺠﺐ ان ﺗﺘﺒﻨﻰ ﻧﻔﺲ اﻟﻤﻮاد اﻟﻤﺴﺘﺨﺪﻣﺔ ﻃﺒﻘﺎ ﻟﻄﺒﻴﻌﺘﻬﺎ‪ ،‬ﺑﺒﺴﺎﻃﺔ اﻟﺴﺆال ﺣﻮل اﻟﺴﻴﻤﺘﺮﻳﺔ‬
‫‪LE DUC‬‬ ‫واﻟﺘﺸﻜﻴﻞ هﻰ اﺳﺌﻠﺔ ﺛﺎﻧﻮﻳﺔ‬
MODERN ARCHITECTURE Art Nouveau

TASSEL HOUSE
VICTOR HORTA 1893
MODERN ARCHITECTURE Art Nouveau
TASSEL HOUSE
VICTOR HORTA 1893
MODERN ARCHITECTURE Art Nouveau
GLASGOW SCHOOL OF ART
MACKINTOSH, 1896-1909
MODERN ARCHITECTURE Art Nouveau
GLASGOW SCHOOL OF ART
MACKINTOSH, 1896-1909
MODERN ARCHITECTURE Art Nouveau
GLASGOW SCHOOL OF ART
MACKINTOSH, 1896-1909
MODERN ARCHITECTURE Art Nouveau
AUGUSTE PERRET, 1903,
MODERN ARCHITECTURE Art Nouveau
AUGUSTE PERRET, 1903,
MODERN ARCHITECTURE Art Nouveau
ANTONIO GAUDI, CASA PATLLO, 1907
MODERN ARCHITECTURE Art Nouveau
ANTONIO GAUDI, CASA PATLLO, 1907
MODERN ARCHITECTURE Art Nouveau
ANTONIO GAUDI, SAGRADA FAMILIA, 1884- -----
MODERN ARCHITECTURE Art Nouveau
ANTONIO GAUDI, SAGRADA FAMILIA, 1884- -----
MODERN ARCHITECTURE Art Nouveau
ANTONIO GAUDI, SAGRADA FAMILIA, 1884- -----
MODERN ARCHITECTURE Art Nouveau
ANTONIO GAUDI, SAGRADA FAMILIA, 1884- -----
MODERN ARCHITECTURE GERMAN SCHOOL

Rationalism ‫اﻟﺘﻮﺟﻪ اﻟﻌﻘﻼﻧﻰ‬

Mechanical analogy ‫اﻟﺘﺸﺒﻴﻪ ﺑﺎﻟﻤﺎآﻴﻨﺔ‬

THE BOOK IS A MACHINE FOR READING

THE THEATRE IS A MACHINE FOR ACTING

THE HOUSE IS A MACHINE FOR LIVING IN

MODERN ARCHITECTURE GERMAN SCHOOL

Rationalism
Mechanical analogy ‫اﻟﺘﺸﺒﻴﻪ ﺑﺎﻟﻤﺎآﻴﻨﺔ‬

Combination Bet arts & Industry

German school
•Dutch Workbund
MODERN ARCHITECTURE GERMAN SCHOOL

TURBINE FACTORY
PETER BEHRNES, 1910
MODERN ARCHITECTURE GERMAN SCHOOL

TURBINE FACTORY
PETER BEHRNES, 1910
MODERN ARCHITECTURE GERMAN SCHOOL

FAGUS FACTORY
WALTER GROPIUS, 1911-13
MODERN ARCHITECTURE GERMAN SCHOOL

FAGUS FACTORY
WALTER GROPIUS, 1911-13
‫‪MODERN ARCHITECTURE‬‬ ‫‪GERMAN SCHOOL‬‬

‫‪Rationalism‬‬
‫اﻟﺘﺸﺒﻴﻪ ﺑﺎﻟﻤﺎآﻴﻨﺔ ‪Mechanical analogy‬‬

‫‪Combination Bet arts & Industry‬‬

‫‪German school‬‬
‫‪•Bauhaus‬‬
‫اﻋﻼن اﻟﺒﺎوهﺎوس ‪1919‬‬
‫” دﻋﻮﻧﺎ ﻧﻨﺸﺊ اﺗﺤﺎد ﻟﻠﻌﻤﺎﻟﺔ اﻟﻤﻬﺮة ﺑﺪون اﻟﺤﺰازﻳﺎت اﻟﻄﺒﻘﻴﺔ ﺑﻴﻦ اﻟﻔﻨﺎن واﻟﻌﺎﻣﻞ‬
‫اﻟﻴﺪوى اﻟﻤﺎهﺮ ﻓﻬﻴﺎ ﻣﻌﺎ ﻧﺨﻠﻖ ﻣﺒﺎﻧﻰ اﻟﻤﺴﺘﻘﺒﻞ اﻟﺘﻰ ﺗﻀﻢ اﻟﻌﻤﺎرة واﻟﻨﺤﺖ واﻟﺮﺳﻢ ”‬
MODERN ARCHITECTURE GERMAN SCHOOL

BAUHAUS
WALTER GROPIUS, 1919-26
‫‪MODERN ARCHITECTURE‬‬ ‫‪FUTURISM‬‬

‫‪Schools around the World‬‬

‫‪FUTURISM‬‬
‫اﻟﺸﺎﻋﺮ ﻣﺎرﻳﻨﻴﺘﻰ ﻣﺆﺳﺲ اﻟﺤﺮآﺔ اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬
‫" ‪ ....‬ﻧﺮﻳﺪ أن ﻧﻬﺪم اﻟﻤﺘﺎﺣﻒ واﻟﻤﻜﺘﺒﺎت‪ ....‬ﻧﺮﻳﺪ أن ﻧﺤﺮر إﻳﻄﺎﻟﻴﺎ ﻣﻦ اﻟﻤﺘﺎﺣﻒ اﻟﺘﻲ ﻻ ﺣﺼﺮ‬
‫ﻟﻬﺎ‪ ....‬ﻣﺎذا ﻧﺴﺘﻄﻴﻊ أن ﻧﺠﺪ ﻓﻲ ﻟﻮﺣﺔ ﻗﺪﻳﻤﺔ ﻏﻴﺮ ﺗﺸﻨﺞ اﻟﻔﻨﺎن اﻟﻤﻨﻬﻚ ﺳﻌﻴ ًﺎ وراء ﺗﺤﻄﻴﻢ‬
‫اﻟﺤﺪود اﻟﺘﻲ ﻻ ﻳﻤﻜﻦ ﺗﺠﺎوزهﺎ‪ ....‬أن ﻧﻌﺠﺐ ﺑﻠﻮﺣﺔ ﻗﺪﻳﻤﺔ هﻮ ﺳﻜﺐ إﺣﺴﺎﺳﻨﺎ ﻓﻲ ﺟﺮن اﻟﻤﺪﻓﻦ‬
‫وآﺎن ﻋﻠﻴﻨﺎ أن ﻧﻘﺬﻓﻬﺎ ﺑﻘﺬﻳﻔﺔ ﺷﺪﻳﺪة ﻣﻦ ﻗﺬاﺋﻒ اﻹﺑﺪاع واﻟﻌﻤﻞ‪ ....‬ﺳﻴﻘﺎل ﻟﻨﺎ أﻧﻨﺎ ﻟﺴﻨﺎ إﻻ‬
‫ﺧﻼﺻﺔ واﻣﺘﺪاد ﻷﺟﺪادﻧﺎ‪ ،‬رﺑﻤﺎ‪ ،‬ﻓﻠﻴﻜﻦ‪ ،‬ﻣﺎذا ﻳﻬﻢ؟ وﻟﻜﻨﻨﺎ ﻻ ﻧﺮﻳﺪ أن ﻧﺴﻤﻊ ذﻟﻚ‪"....‬‬

‫اﻟﻔﻦ اﻟﻤﺴﺘﻘﺒﻠﻰ‬
‫" أﻧﻪ ﻳﺠﺐ اﺣﺘﻘﺎر ﺟﻤﻴﻊ أﺷﻜﺎل اﻟﻤﺤﺎآﺎة‪ ،‬وﺗﻤﺠﻴﺪ آﻞ أﺷﻜﺎل اﻷﺻﺎﻟﺔ ‪ ...‬أﻧﻪ ﻳﺠﺐ اﻟﺜﻮرة ﻋﻠﻲ‬
‫ﻃﻐﻴﺎن آﻠﻤﺔ هﺎرﻣﻮﻧﻲ وآﻠﻤﺔ ذوق ﺟﻴﺪ هﺬﻩ اﻟﻤﺼﻄﻠﺤﺎت اﻟﻤﻄﺎﻃﺔ ﺟﺪًا واﻟﺘﻲ ﺑﻬﺎ ﻳﻤﻜﻦ ﺗﺪﻣﻴﺮ‬
‫أﻋﻤﺎل رﻣﺒﺮاﻧﺖ‪ ....‬ﻳﺠﺐ هﺪم اﻟﻤﻮﺿﻮﻋﺎت اﻟﺘﻲ اﺳﺘﻌﻤﻠﺖ ﻣﻦ ﻗﺒﻞ‪ ،‬ﻟﻜﻲ ﻧﺴﺘﻄﻴﻊ اﻟﺘﻌﺒﻴﺮ ﻋﻦ‬
‫ﺣﻴﺎة اﻟﻔﻮﻻذ اﻟﻤﺪوﺧﺔ اﻟﺘﻲ ﻧﻌﻴﺸﻬﺎ وﻋﻦ ﺣﻴﺎة اﻻهﺘﺰاز واﻟﺤﻤﻲ واﻟﺴﺮﻋﺔ‪ ....‬ﻳﺠﺐ أن ﺗﻜﻮن‬
‫اﻟﺪﻳﻨﺎﻣﻴﺔ اﻟﺸﺎﻣﻠﺔ ﺑﺎرزة ﻓﻲ اﻟﺘﺼﻮﻳﺮ آﺄﺳﺎس‪ ....‬أﻧﻨﺎ ﻧﻜﺎﻓﺢ ﺿﺪ اﻷﻟﻮان اﻟﻄﻴﻨﻴﺔ‪ ....‬ﺿﺪ اﻟﻨﺰﻋﺔ‬
‫اﻟﻘﺪﻳﻤﺔ اﻟﻤﺼﻄﻨﻌﺔ اﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ اﻷﻟﻮان اﻟﻤﺴﻄﺤﺔ‪ ....‬أﻧﻨﺎ ﺿﺪ اﻟﻌﺮي ﻓﻲ اﻟﺘﺼﻮﻳﺮ ﻷﻧﻪ ﻳﺜﻴﺮ‬
‫اﻟﻐﺜﻴﺎن‪ ....‬أﻧﻨﺎ ﻧﻄﺎﻟﺐ ﺑﺈﻟﺤﺎح ﺑﺎﻟﺘﻮﻗﻒ ﻋﻦ ﺗﺼﻮﻳﺮ اﻟﻌﺮي ﻟﻤﺪة ﻋﺸﺮ ﺳﻨﻴﻦ"‬
MODERN ARCHITECTURE FUTURISM

Schools around the World

FUTURISM
‫‪MODERN ARCHITECTURE‬‬ ‫‪FUTURISM‬‬

‫‪Schools around the World‬‬

‫‪FUTURISM‬‬
‫‪ : Futurist Architecture: Antonio Sant´Elia: 1914‬ﻻ ﺗﻮﺟﺪ ﻋﻤﺎرة ﺣﻘﻴﻘﺔ ﻣﻨﺬ‬
‫اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﺸﺮ‪ ....‬اﻟﺠﻤﺎﻟﻴﺎت اﻟﺠﺪﻳﺪة ﻟﻠﺨﺮﺳﺎﻧﺔ واﻟﺤﺪﻳﺪ ﺗﻢ ﺗﺪﻧﻴﺴﻬﺎ ﺑﻬﺬا اﻟﻤﻬﺮﺟﺎن ﻣﻦ‬
‫اﻟﺰﺧﺎرف‪ ....‬ﻣﺸﻜﻠﺔ اﻟﻌﻤﺎرة اﻟﻤﺴﺘﻘﺒﻠﻴﺔ ﻟﻴﺴﺖ ﻣﺸﻜﻠﺔ اﻟﺘﺮﺗﻴﺐ اﻟﺨﻄﻲ وﻟﻴﺴﺖ ﺗﺴﺎؤل ﺣﻮل‬
‫إﻳﺠﺎد واﺟﻬﺎت ﺟﺪﻳﺪة‪ ....‬أﻧﻬﺎ ﻣﺴﺄﻟﺔ إﻳﺠﺎد اﻟﻤﻨﺰل اﻟﻤﺴﺘﻘﺒﻠﻲ‪ ....‬ﻣﺴﺄﻟﺔ ﺑﻨﺎءﻩ ﻋﻠﻰ اﻷﺳﺲ‬
‫اﻟﻌﻠﻤﻴﺔ‪ ....‬ﻳﺠﺐ أن ﻧﺨﺘﺮع وﻧﻌﻴﺪ ﺑﻨﺎء اﻟﻤﺪﻳﻨﺔ اﻟﻤﺴﺘﻘﺒﻠﻴﺔ‪ ....‬وﻳﺠﺐ أن ﺗﻜﻮن ﺿﺨﻤﺔ‪،‬‬
‫ﺻﺎﺧﺒﺔ‪ ،‬ﻣﻔﻌﻤﺔ ﺑﺎﻟﺤﻴﺎة‪ ،‬دﻳﻨﺎﻣﻴﻜﻴﺔ ﻓﻲ آﻞ أﺟﺰاءهﺎ‪ ....‬دﻋﻮﻧﺎ ﻧﻠﻘﻲ ﺑﺎﻵﺛﺎر واﻟﺸﻮارع اﻟﺠﺎﻧﺒﻴﺔ‬
‫واﻟﻌﻘﻮد‪ ....‬أﻧﺎ أﻋﺎرض‪ :‬آﻞ ﻋﻤﺎرات اﻟﺮواد ﻓﻲ أﻟﻤﺎﻧﻴﺎ واﻟﻨﻤﺴﺎ وأﻣﺮﻳﻜﺎ ‪ ....‬آﻞ اﻟﺰﺧﺎرف‬
‫واﻵﺛﺎر واﻟﻜﻼﺳﻴﻜﻴﺎت‪ ....‬آﻞ إﻋﺎدة ﻟﺒﻨﺎء أو ﺗﺮﻣﻴﻢ أﺛﺮ ‪ ....‬آﻞ اﻟﺨﻄﻮط اﻷﻓﻘﻴﺔ واﻟﻌﻤﻮدﻳﺔ‬
‫واﻷﺷﻜﺎل اﻟﻤﻜﻌﺒﺔ واﻟﻬﺮﻣﻴﺔ اﻟﺴﺎآﻨﺔ‪ .‬وأﻋﻠﻦ‪ :‬أن اﻟﻌﻤﺎرة اﻟﻤﺴﺘﻘﺒﻠﻴﺔ هﻲ ﻋﻤﺎرة اﻟﺤﺴﺎﺑﺎت‪،‬‬
‫اﻟﺠﺮأة اﻟﺒﺴﺎﻃﺔ‪ ،‬ﻋﻤﺎرة اﻟﺨﺮﺳﺎﻧﺔ واﻟﺤﺪﻳﺪ واﻟﻔﺎﻳﺒﺮ‪ ،‬وآﻞ ﻣﺎ ﻳﺠﺐ أن ﻳﺤﻞ ﻣﺤﻞ اﻟﺨﺸﺐ‬
‫واﻟﺤﺠﺮ واﻟﻄﻮب وﻳﻌﻄﻴﻨﺎ ﺑﻼﺳﺘﻴﻜﻴﺔ وإﺿﺎءة أآﺒﺮ‪ ....‬وأﻋﻠﻦ أن اﻟﺨﻄﻮط اﻟﻤﺎﺋﻠﺔ واﻟﻤﻨﺤﻴﺔ‬
‫دﻳﻨﺎﻣﻴﻜﻴﺔ ﺑﻄﺒﻴﻌﺘﻬﺎ وﺗﻤﻠﻚ ﻗﻮة أآﺒﺮ ﺁﻻف اﻟﻤﺮات ﻣﻦ اﻟﺨﻄﻮط اﻷﻓﻘﻴﺔ واﻟﻌﻤﻮدﻳﺔ‪ ....‬وأن‬
‫اﻟﻌﻤﺎرة ﻳﺠﺐ أن ﺗﻔﻬﻢ ﻋﻠﻰ أﻧﻬﺎ ﻣﺤﺎوﻟﺔ ﻹﻳﺠﺎد اﻟﺘﺠﺎﻧﺲ ﻣﻊ اﻟﺤﺮﻳﺔ واﻟﺠﺮأة وﺑﻴﺌﺔ اﻹﻧﺴﺎن ‪.‬‬
MODERN ARCHITECTURE FUTURISM

FUTURISM
Sant´Elia, CITTA NUOVA 1914
MODERN ARCHITECTURE FUTURISM

FUTURISM
Sant´Elia, CITTA NUOVA 1914
MODERN ARCHITECTURE DE STIJL

Schools around the World

DE STIJL 1914-1931

MONDRIAN
THEO VAN DOESBURG
RIETVELD
MODERN ARCHITECTURE FUTURISM

DE STIJL 1914-1931
MODERN ARCHITECTURE FUTURISM

DE STIJL 1914-1931

RIETVELD, SCHRODER HOUSE 1924

MODERN ARCHITECTURE FUTURISM

LUDWIG MIES VAN DER ROHE BRICK HOUSE, 1923

MODERN ARCHITECTURE FUTURISM

LUDWIG MIES VAN DER ROHE

BARCELONA PAVILION, SPAIN, 1929
MODERN ARCHITECTURE FUTURISM

LUDWIG MIES VAN DER ROHE

BARCELONA PAVILION, SPAIN, 1929
MODERN ARCHITECTURE FUTURISM

LUDWIG MIES VAN DER ROHE

BARCELONA PAVILION, SPAIN, 1929