新津 知?博物館

新津 知?博物館

Xinjin Zhi Museum

項目地點: 中國，成都，新津老君山

基地面積: 2 580m2

設計者: 隈研吾建筑都市設計事務所

結構工程師: 橡木結構設計事務所

設計時間: 2008年10月～2009年12月

建設時間: 2010年01月～2011年12月

Location: Chengdu, China

Site area: 2 580m2

Total floor area: 2 353m2

Design: Kengo Kuma & Associates

Mechanical engineers: P.T.Morimura & Associates,LTD

聚焦主業，發揮紀委監督作用。事務性的工作多了，便難以在監督執紀上下功夫。因此，突出紀委的專責主業，建議一是要放手。應從制度規定上規范紀委書記和紀檢部門的職責定位，將紀檢專職人員與其他事務性工作安排或非監督內容的分工相脫離，并建立紀檢工作履職考核與評價機制，從制度和考核層面積極鼓勵、支持紀檢部門把該干的事干好，該擔的責任擔起來。二是要放權。要真正賦予紀檢部門知情權、監督權、調查權和違紀行為處分權，以增強其監督的相對獨立性；有條件的地方，可探索推行委派制，以加強對同級的有效監督。

Design period: 2008.10～2009.12

Construction period: 2010.01～2011.12

該博物館位于新津老君山山腳，用以引導人們進入這個道教圣地，而這座建筑本身也通過空間展示體現了道教的精髓。

建筑立面所采用的瓦片由當地材料制成，并采用當地傳統方法進行加工，以尊重注重自然與平衡的道家思想。瓦片用鋼絲懸掛飄浮在空中，達到一種無重、輕盈的效果。在這些飄蕩的瓦片包裹下，這座建筑與周圍的自然環境融為一體。

建筑的南立面分為上下兩部分，從不同角度形成錯落有致的效果。這一理念旨在順應前方的池塘和背后的街道這兩個不同層次，并避免與南面的大型建筑物產生直接沖突。東邊有一個垂直扭曲的巨大瓦片屏風，與前面充滿活力的道路相呼應。北立面安靜而平整，面向人行廣場。瓦片屏風在不同立面之間自由變換，包履著整座建筑。

利用不同層次的建筑環境，引導人流從前到后移動，從動態過渡到靜態，就像在花園中漫步一樣。博物館內部的展區采用螺旋結構，由黑到亮。在博物館頂層可縱覽老君山的美麗風光。瓦片可阻擋直射陽光，使建筑物內部形成柔和的光線，并形成顆粒狀的美麗陰影。

This pavilion is located at the foot of Laojunshan mountain in Xinjin, to usher in the people to the holy place of Taoism, while the building itself shows the essence of Taoism through its space and exhibitions.

The tile used for fa?ade is made of local material and worked on in a traditional method of this region, to pay tribute to Taoism that emphasizes on nature and balance. Tile is hung and floated in the air by wire to be released from its weight (and gain lightness). Clad in breathing fa?ade of particles, the architecture is merged into its surrounding nature.

The fa?ade for the south is divided into top and bottom and staggered in different angles. This idea is to respond to two different levels of the pond in front and the street at the back, and avoid direct confrontation with the massive building in the south. For the east side, a large single tile screen is vertically twisted to correspond with the dynamism of the road in front. The fa?ade for the north side is static and flat, which faces the pedestrians’ square. Thus the tile screen transforms itself from face to face, and wraps up the building like a single cloth.

Taking advantage of the varied levels in the architecture’s surroundings, the flow is planned to lead people from the front to the back, motion to stillness, like a stroll type of garden. The exhibition space inside is planned spiral moving from darkness to light. From the upper floor a paramount view of Laoujunshan can be enjoyed. Direct sunlight is blocked by the tile, and the interior of the building is covered with gentle light with beautiful particle-like shade.

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