<正>华黎无疑是中国当代优秀青年建筑师中的重要一员,近年来有不少收获。先后在清华和耶鲁受到建筑学的基本教育,华黎于2009年在北京创立了TAO迹·建筑事务所(tracearchitecturestudio),当然之前他在纽约和北京已经有近十年的建筑实践。给事务所起名"TAO迹",我想华黎他一定是个闲不住的"浪子",不但要四面八方跑,东寻西找,还要"在地",干出动静,留下建造的痕迹。当然取名"TAO迹"是华黎用以表达对在全球化语境下那种无视生态、浪费资源,大规模的粗制滥造和形式主

Wang Lu claims that Hua Li's design for the Gaoligong Handcraft Paper Museum,Yunan exemplifies a particular architectural ethos – architecture isn't the invention of something that doesn't exist, but rather a response to what is already here in the present moment. Located at the foot of Gaoligong Mountain, the eponymous Handcraft Paper Museum effortlessly integrates social, structural, and aesthetic presences that give the area and its Muslim villages a unique spatial identity. The museum provides exhibition space for ancient paper craft and artifacts produced locally, while its interior design alternates between windows that frame vistas of the local landscape. Local timber, bamboo, handcrafted paper, low energy and decomposable natural materials were used to construct the museum. In addition to the museum proper, exhibition space extends to include paper-craft display in the neighboring village. Indeed, traces of the architect's presence are felt in the integration of these diverse elements, even as the building itself seems to have been made of folded paper, an aesthetic choice that seems so "natural" in this context as to almost vanish.