架构师提供的文本描述。手工艺品博物馆位于云南高黎贡山新庄村旁边的一片田野里，这是中国西南部的一个世界生态保护区。这个村庄在手工造纸方面有着悠久的传统。博物馆项目是保护和开发传统资源计划的一部分，在该计划中，造纸将作为文化遗产保存，并促进社区发展。为了展示造纸术的历史、技术和产品，该博物馆由展览空间、书店、工作空间和供艺术家和参观者参观的客房组成。

Text description provided by the architects. The museum of handcraft paper is located in a field next to Xinzhuang village under Gaoligong Mountain of Yunnan, a world ecological preserve area in southwest of China. The village has a long tradition on handcraft paper making. The museum project is a part of the plan for preservation and development of traditional resources, in which papermaking will be preserved as cultural heritage and contribute to community growth. To exhibit the history, technique and product of paper making, this museum consists of exhibition space, bookstore, work space and guest rooms for artist and visitors.

这个地点就在通往村庄的主干道旁边。博物馆的功能就像村庄的预览窗口，意思是整个村庄都会像一个大博物馆一样运作，因为村里的每一个家都会向展示造纸过程的参观者开放。因此，博物馆被设想为一个微型村庄，一个由几座小建筑组成的集群。建筑规模与周边村庄和景观相一致。空间概念是指当游客在地面上的画廊中走来走去时，创造一种展览内外交替的参观体验，从而激发人们对造纸术与环境之间不可分割的关系的认识。在第二层，有一个开放的工作空间和会议室。通过室外楼梯，人们可以走到屋顶露台上，可以看到下面的竹子屋顶景观，以及一个面向东方的玻璃屋顶阳台，在那里你可以看到高黎贡山的全景。

The site is next to the main road entering the village. The museum functions like a preview window of the village, in the sense that the whole village will function as a big museum because each home in village will open to the visitors showing papermaking process. The museum is thus conceived as a micro-village, a cluster of several small buildings. The building scale is in concord with adjacent village and landscape. The spatial concept is to create a visiting experience alternating between exhibition inside and landscape outside when visitor walks through the galleries on ground level, so as to provoke an awareness of the inseparable relationship between paper making and environment. On second level, there is an open work space and meeting room. Through an outdoor stair, one can walk up to roof terrace with a view to the bamboo roofscape of galleries below, and a glass roofed veranda space facing east where one can have a panoramic view to Gaoligong mountain.

该设计旨在使一座建筑植根于当地环境。这就产生了这样一种观念，即建筑是最大限度地利用当地的材料、施工方法和传统工艺，完全由当地的建筑工人建造。然而，它也采用了当地的现代材料和技术。因此，博物馆的建设既是对地方建筑传统的保存，也是对传统建筑的改造。它是在当代中国乡村环境下，利用乡土资源和适宜的技术，将现代素质与地域性相结合的一种建筑尝试。

The design is aimed at making a building rooted in local environment. This leads to the concept that the construction is to maximize the usage of local materials, construction method and traditional craftsmanship and to be built completely by local builders. Yet it also employs the modern materials and technique available in local context. Thus the construction of museum will be both a preservation and transformation of local building tradition. It is an architectural attempt of combining modern quality with regional character by using local resources and suitable techniques in the rural context of contemporary China.

该建筑采用中国传统木结构体系设计，采用无钉榫(Sun茂)连接，可由当地建筑商熟练建造。木材、竹材、火山石、手工艺品等地方材料分别用于外墙、屋顶、地板和内饰。随着时间的推移，这些材料将磨损，并褪色为一个更和谐的颜色与景观。这些生物材料暗示着建筑的时间感。

The building is designed with traditional Chinese wood structural system featuring nail-less tenon (SunMao) connection, which can be skillfully built by local builders. Local materials such as fir wood, bamboo, volcano stone and handcraft paper are used for exterior finish, roof, floor and interior finish respectively. With time passed, these materials will worn and fade into a more harmonious color with the landscape. These living materials hint a sense of time on building.

建筑的形式和细节是为了对景观、自然光和气候做出反应。在画廊里，风吹过外墙底部的多孔石基进行通风，使墙壁没有可操作的窗户。因此，它给展览提供了更多的墙壁面积。墙上的洞口纯粹是用来向外看的。一个单一的玻璃被设置在开放，并把它变成一个景观的图片。展览馆侧壁的高窗户将自然光引入展览空间，同时避免了视线水平上的眩光。手工艺纸粘贴在连接空间之间的玻璃屋顶底部，以便从上面获得扩散光。

The form and detail of building is conceived to respond to the views, natural light, and climate. In galleries, the breeze blows through the porous stone footing at the bottom of exterior wall for ventilation so that the wall is free of operable windows. Thus it gives more wall area to the exhibition. The openings on the wall are purely for views to the outside. A single piece of glass is set in the opening and turns it into a picture of landscape. The high windows on side wall of gallery introduce natural light into the exhibition space yet avoiding the glare at eye level. The handcraft paper is pasted on the bottom side of glass roof of linking space between galleries so as to gain diffused light from above.

在立面，外墙停在梁水平的底部，并暴露梁和部分柱在角落。同时，在室内空间裸露的屋面结构和立面的石柱基础上，这些细节揭示了建筑是由柱梁系统代替墙支撑的。内饰的手工纸被应用在45厘米乘45厘米正方形的木架上(受纸张大小的限制，但能保证墙的光滑性)。将基于该模块的展位布局集成到壁上。画廊中的白纸墙创造了一种柔软而温暖的氛围，并保持了空间的抽象性。

On facade, the exterior wall stops at the bottom of beam level and exposes beam and part of columns at the corners. Also with exposed roof structure at interior space and the stone column base on facade, these details reveal that the building is supported by the column and beam system instead of wall. The handcraft paper on interior finish is applied on a wood frame with 45cm by 45cm square module (limited by the paper size but guarantees the smoothness of wall). The exhibition niche layout based on this module is integrated into the wall. The white paper wall in galleries creates a soft and warm atmosphere and keeps the space abstract.

建筑的建设是由一队当地的农民建设者完成的。建筑师在不同的尺度上建立模型，与建筑商沟通空间、结构和细节概念，因为他们不被用来阅读施工图。然而，他们善于在头脑中构建事物，并且在概念清晰的情况下高效地工作。

The construction of building is completed by a team of local farmer builders. Architect built models in various scales to communicate the spatial, structure and detail concept with builders because they are not used to read the working drawings. However they are good at building things in mind and they worked efficiently with concept clarified.