请把下面的这段话翻译成英语披檐一般挑出1～15米斜角25～30度。腰檐的设置不仅加强了结构的稳定性还丰富了建筑立面造型。楼层是吊脚楼的主要层面。黔东南、桂北一带的苗族、侗族吊脚楼楼层一般分为里、外两部分靠里为实 屋面为地；靠外为虚屋面为楼。楼底架空底层圈畜。外一部分面阔三间明堂为堂屋次间为卧室。堂屋为一退堂前面是一个与一明两次三间等长或者与一明一次两间等长的前廊。堂屋正对的前廊外檐出枋悬挑上面安装

The eaves of the hanging house are generally raised 1-1.5 meters and have a slope of 25-30 degrees. The waist eaves not only enhance the stability of the structure, but also enrich the architectural facade.

The floor is the main level of the hanging house. In the areas of Qiandongnan and Guibei where the Miao and Dong ethnic groups live, the floor is generally divided into inner and outer parts, with the inner part being solid and the roof being the ground, and the outer part being hollow and the roof being the floor. The bottom of the house is raised and used for livestock. The outer part of the house is three rooms wide, with the main hall as the living room and the second room as the bedroom. The main hall is a step back, with a front porch that is either the same length as two rooms or the same length as one room. The eaves of the front porch outside the main hall are cantilevered out with elegant lines and exquisite workmanship, on which a curved backrest made of curved wood is installed, adding curves to the straight lines and making the whole building appear harmonious and beautiful. The spacious and bright front porch is generally used as a space for people to rest or do needlework, and it is also a transition between indoor and outdoor spaces, bringing the natural landscape outside into the indoor space, making the indoor and outdoor spaces permeate each other. The main hall is a public space shared by family members and a sacred space where humans and gods live together. Major family ceremonies and rituals are often held in this space.

The box-shaped hanging house has two or three floors. The arrangement of hanging columns (or suspension columns) is mainly to construct corridors on the upper floor, while avoiding the need for an additional row of columns to meet this functional requirement and compressing the courtyard area. The eaves of this type of hanging house have a large outward curvature, almost a kind of exaggerated arrangement, with a strong sense of emptiness and flight. This is not a fixed form, but a cultural expression closely related to the identity and status of the residents. In terms of form, no matter how much this hanging house is deliberately exaggerated, it is limited by the volume and form of the main house. If the main house is "five columns", the hanging house as an accessory building must have fewer than "five columns", and can only be "three columns" or "four columns with gourd-shaped roof". If the number of columns in the hanging house is greater than or equal to that of the main house, it is a "small deceit" and is taboo. In addition, the height of the hanging house cannot exceed that of the main house, even if it has three or more floors. Hanging houses that exceed or are equal to the volume, form, and height of the main house are not dared to be built by anyone in the folk, otherwise it means that there will be unfilial and disloyal descendants, endangering the normal order of the family. Therefore, the beauty of this hanging house, although not restricted, is limited by the strict restrictions of the main house. The hierarchical system of form is constructed by the Central Plains royal family and has become a core element of Han architectural culture. Therefore, the beauty of this hanging house, similar to its function, is to a large extent a decoration and protection of the main house, and is a rendering formed by residents to show a certain purpose. As a regional architectural style with relatively clear external characteristics, the main cultural content exhibited by it should not be the form of the hanging house, but a variant of the courtyard-style architecture in ethnic minority areas.

II. Setting of Spatial Functions

Building a house has many "requirements". These "requirements" are composed of a series of traditional rituals, which involve the participation of witch doctors, craftsmen, and the public. They are both solemn and mysterious. Outsiders and cultural others often do not understand and regard them as superstitious activities. In fact, there is an internal logic to the traditional knowledge and wonderful imagination behind them.

Construction process

The construction process is the entire process from site selection to construction to completion. Many rituals are held during this process. Because many rituals involve safety and the future prosperity and auspiciousness of the owner, they are highly valued by the builders and the ghost masters (witch doctors) and craftsmen who presid