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EDITOR EDITORJay Ho

EDITORIAL COMITTEECOMISSÃO EDITORIALRui Leão, Nuno Soares, Eliezer Villaruz, Alice Iu

ADVISORY BOARDCONSELHO REDACTORIALEddie Wong, Carlos Marreiros, Ben Leong

ART DIRECTIONDIRECÇÃO ARTÍSTICARui Leão & Luís Almoster

GRAPHIC DESIGN & PRINTSHOP PRODUCTIONDESIGN GRÁFICO E CONTROLO DE TIPOGRAFIACan Design

CONTRIBUTORSCONTRIBUIDORESBen Leong, Ana Vaz Milheiro, Johnathan Wong & P&T, Mimi Cheung, Chen Ming, Kin Lam & INK Mason, Eddie Wong Associates, Young Architects Committee (AAM), Maria José de Freitas, Vicente Bravo, Kelvin Lei, Vincent Kong, Yvonne Ieong, Chu Chan Kam, Miranda Chio, Adalberto Tenreiro

TRANSLATIONSTRADUÇÕESJay Ho Nice Language Services Ltd.

ADVERTISING AND SECRETARYPUBLICIDADE E SECRETARIADODulce Amores

PRINTINGIMPRESSÃOTipografi a Welfare

www.cialp.org

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Owning little of land resources, Macau needs to reclaim land from the sea to obtain space for its growth. In Macau history, it happened several times. Today, when we are facing the same problem and we need to reclaim lands

again, we look back to the history, sum up our experi-ence on Macau’s urban expansion, especially fi nding out the problems occurred during the passed 20 to 30 years, as well as study the characters of the contemporary city, architecture and space of Macau, and their adapted use into the new urban planning. A city is a vivid carrier, so that its development should have the continuity. We wish that the traditional concept of ‘inherit the past and usher in the future’ could be refl ected in the new urban area for the development on both the new and old urban districts with a more adequate planning and their mutual coordination to ease the problems in the course of Macau’s development.

On the other hand, city planning is a plan for the future of the city and its society, base on the developing situation and rules of the society, the economy and the lives of citizens. Its objective is to create the proper space for human lives and the growth of the society. It can be said that city planning is a prediction of the future develop-ment of a city. However, there is no crystal ball in human’s hand. The present plan is not exactly equal to the future needs, so it is necessary that there should be some land resources remained for the opportunity of the diversifi ca-tion of industries and the next generation to treat with the growth of the society. There should also be a regular system of examination to the planning and its adjustment according to the change of the social, political and eco-nomic environment and policy. Therefore, the drawing up of the new urban plan does not only consider the history of the city but also the future of the society. The new urban planning is not merely the plan on the paper and design of spaces but also a whole planning system and its related regulations.

Leong Chon InPresident of AAM Board

(quoted from the speech on the Workshop 19/11/2011 and translated by Ho Pui Kei)

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Arquitectura dos anos 40, 50 e 60 do século XX

MODERNISMO NA LUSOFONIA

De onde vem a unidade da arquitectura moderna construída nos países e territórios que se revêem na herança comum da luso-fonia? Podemos começar pelo Brasil, onde a construção cultural da moderna arquitec-tura brasileira, realizada em parte por arqui-tectos como Lucio Costa, começou por se apoiar no passado colonial português. Esta condição,aliada a um certo pragmatismo que se reconhece historicamente à tradição por-tuguesa, acabaria por tornar reconhecível a produção arquitectónica realizada durante os anos 40 a 60 do século XX nos países e ter-ritórios que actualmente compõem o CIALP.

É nesta perspectiva histórica que se ev-oca a presença de uma “lusofonia” na arqui-tectura realizada entre as décadas de 1940 e 1970. É uma arquitectura de fi liação moderna e internacional que recorre progressivamente aos novos materiais e tecnologias construti-vas e assume uma linguagem abstracta. Se no plano brasileiro, adopta uma carga plástica forte, que chega a ser confundida com a herança da arquitectura barroca colonial, no caso português, esta arquitectura é cada vez mais sinal de infra-estrutura e modernização. É este aspecto que caracteriza a sua pres-ence em África ou em Timor, onde transforma a face do território a partir do fi nal dos anos de 1930, primeiro com uma presença déco e

Ana Vaz Milheiro

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padrão de Athos Bulcão; as cidades, portu-guesas, africanas e asiáticas, começaram a exibir obras de artistas portugueses como Júlio Pomar, Maria Keil ou Querubim Lapa em Lisboa, Manuel Ribeiro de Pavia no Lobito, angolanos como Albano Neves de Sousa, moçambicanos como Malagatana Valente em Maputo, etc.

A qualidade brasileira que mais impres-sionou os arquitectos, contudo, foi a capa-cidade da arquitectura moderna do Brasil dialogar com as expressões vernáculas ao ponto de inaugurar uma nova tradição. Este tema tornou-se central entre os portugueses que começam a olhar para a arquitectura popular como uma prática de qualidades éticas e estéticas equiparáveis à arquitectura moderna.

Em Angola e Moçambique, pelo con-trário, a experiência moderna intensifi cava-se, permitindo aprofundar uma arquitectura predominantemente inspirada no Estilo Internacional capaz de originar respostas originais, como os trabalhos de Vasco Vieira da Costa em Luanda, de Francisco Castro Rodrigues no Lobito, de João José Tinoco em Moçambique ou de Paulo Melo Sampaio na Beira, só para citar os mais conhecidos. A relação que arquitectos, como Fernão Lopes Simões de Carvalho, estabeleceram com a

depois adquirindo um perfi l moderno.Com o arranque da década de 1940,

o Brasil criava uma arquitectura moderna original, baseada nas indagações artísticas de Oscar Niemeyer, na consciência social de Af-fonso Eduardo Reidy ou de Carmen Portinho, continuada no desempenho técnico de João Vilanova Artigas ou de João Filgueiras (Lelé), ou na exploração de correntes regionais como em Del_m Amorim e Acácio Gil Borsoi, entre outros extraordinários arquitectos brasileiros que se destacaram na segunda metade do século XX. Esta criação deveu-se em parte ao aprofundamento de uma noção de identidade que recorreu à história como ponto de partida para a construção de um futuro.

Os arquitectos portugueses viram outras qualidades nessa lição brasileira. A in-tegração das artes plásticas na arquitectura, por exemplo, através de painéis de azulejos, pinturas murais ou esculturas inseridos nos edifícios e conjuntos urbanos passavam então a ser prática corrente em obras de portugueses como Arménio Losa e Cassiano Barbosa, Alfredo Viana de Lima, Rui Jervis Atouguia, Joaquim Bento de Almeida e Victor Palla, Nuno Teotónio Pereira, entre outros. Os edifícios transformam-se em expositores de arte moderna. Enquanto no Brasil emer-giam os murais de Portinari ou os painéis

tradição da arquitectura africana popular, por exemplo, refl ectia-se essencialmente na produção de habitação popular, em propos-tas que combinavam organização espacial inspirada na arquitectura local com materiais e linguagens contemporâneas à época. Já as propostas mais conservadores, optavam por regularizar o desenho da casa popular, admitindo o recurso à auto-construção e às técnicas construtivas locais. Experiências como estas foram propostas por arquitectos ligados às Obras Públicas do Gabinete de Urbanização do Ultramar, e por isso central-izadas em Lisboa, como Mário de Oliveira para Bissau.

A Arquitetura moderna produzida nestes períodos hoje constitui um património muitas vezes em uso pelas populações, o que o torna um património vivo e partilhado como se exibe nesta exposição a partir de uma pequena amostragem. Essa modernidade teve muitas expressões, desde uma imagem mais ofi cial induzida por arquitectos ao ser-viço do Estado, passando pelo Estilo Inter-nacional corrente, até alcançar expressões pessoais muito fortes. Pela importância que teve na consolidação de uma cultura nacio-nal, a arquitectura dos anos de 1940 a 1970 é actualmente um valor patrimonial, cultural e económico ao serviço das populações.

Palácio do Governo Arq. José Guedes Quinhones (1937?), Arq. José Pereira Zagallo (1941), Arq. Carlos Ramos (1942-1944), Arq.s João Aguiar e José Manuel Galhardo Zilhão/Gabinete de Urbanização Colonial (1945) Guiné-Bissau, Bissau | Foto: Eduardo Costa Dias, 2009Centro Nacional de Investigação Cientifi ca | Arq. António Campinos | Angola, 1969 | Foto: Jaime MesquitaEdifi cio de habitação no Libito | Angola, 1967 | Foto: Jaime MesquitaBanco Nacional Ultramarino e Casa do Gerente | Arq. Fernando Schiappa de Campos, Timor, Dili 1968-1969 | Créditos: Arquivo do Banco Nacional UltramarinoCine-Teatro Namibe | Autor desconhecido | Angola, Namibe, 1970 | Foto: Jaime Mesquita

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LUSOPHONE MODERNISM

Twentieth Century Architecture 40’s, 50’s and 60’s Ana Vaz Milheiro

What is the origin of modern architecture in countries and territories that share a Luso-phone heritage? We can start by Brazil, where the cultural construction of modern Brazilian architecture, partly due to architects such as Lucio Costa found inspiration on the former Portuguese colonial past. This inspiration combined with a certain pragmatism histori-cally linked to the Portuguese tradition, would eventually become an architectural movement during the 1940’s to 1960’s, in countries and territories that are now part of the CIALP.

It is this historical perspective that evokes the presence of a “Lusophone” in architec-ture created during the decades of 1940 to 1970. It is a modern related and international architecture which progressively uses new materials and construction technologies and assumes an abstract language. In the case of Brazil it takes on a strong plasticity move-ment, which can be confused with the inheri-tance of colonial baroque architecture, while in the Portuguese case, it is increasingly more an indication of infrastructure and moderniza-tion. This feature distinguishes its presence in Africa or East Timor, transforming the appear-ance of the territory as from the late 1930s, fi rst with a touch of Deco and later gaining a modern profi le.

In the beginning of the 1940 decade,

Brasil created a unique modern architecture, based on Oscar Niemeyer’s artistic issues, the social consciousness of A_onso Eduardo Reidy and Carmen Portinho, continued by the technical performance of João Vilanova Arti-gas or João Filgueiras (Lelé), or by exploring the new regional tendencies such as Del_m Amorim and Acácio Gil Borsoi, along with oth-er extraordinary Brazilian architects who stood out in the second half of the twentieth century. This creation was partly due to a wider sense of identity that used history as a starting point for building a future.

Portuguese architects saw other quali-ties in this Brazilian lesson. The combination of plastic arts with architecture, for example, using tile panels, murals or sculptures placed in buildings and urban centres, began to be common practice in Portuguese works such as Arménio Losa and Cassiano Barbosa, Al-fredo Viana de Lima, Rui Jervis Atouguia, Joa-quim Bento de Almeida and Victor Palla, Nuno Teotónio Pereira, among others. Buildings are transformed into displays of modern art. While in Brasil Portinari’s murals emerged or Athos Bulcão’s standard panels; Portuguese, African and Asian cities began to exhibit works by Portuguese artists such as Julio Pomar, Maria Keil or Querubim Lapa in Lisbon, Manuel Ri-beiro de Pavia in Lobito, Angolans like Albano

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Neves e Sousa, Mozambicans like Malangata-na Valente in Maputo, etc..

The Brazilian quality that most impressed architects, however, was the ability of com-bining modern Brazilian architecture with vernacular expressions to the point of creating a new tradition. This became the main theme among the Portuguese who began to look at popular architecture as a practice of ethical and aesthetic qualities comparable to modern architecture.

On the other hand, in Angola and Mo-zambique, the modern experience is intensi-fi ed further, giving way to a predominantly inspired Internationally Styled architecture, such as the unique works of Vasco Vieira da Costa in Luanda, Francisco Rodriguez Castro in Lobito, João José Tinoco in Mozambique or Paulo Melo Sampaio in Beira, just to name the most famous. The connection between the traditions of popular African architecture of architects such as Fernão

Lopes de Carvalho Simões, for example, was refl ected mainly in the production of popular housing that combined spatial or-ganization inspired by local architecture with contemporary materials and languages. As for the more conservative proposals, they opted to standardize the design of popular housing, allowing the use of self-construction and local building techniques. Experiences like these were proposed by architects associated to the Public Works Offi ce for Overseas Urban Planning, centralized in Lisbon, and Mario de Oliveira for Bissau.

The modern architecture produced in these periods nowadays has become patri-mony often used by its population, making it a living heritage and a small sample of it is shared in this exhibition. This modernity had many expressions, a more offi cial im-age induced by architects working for the Government, to the International Style, until it reached very strong unique characteristics. Due its importance in consolidating a national culture, the 1940’s to 1960’s architecture is now a cultural and economic heritage serving populations.

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Edifi cio do Ministério do Urbanismo | Arq.Vasco Vieira da Costa, Luanda 1968 | Foto: Jaime MesquitaEdifi cio do Cinema São Jorge | Arq. João Garizo do Carmo | Moçambique, Cidade da Beira, Sofala, 1953 | Foto Neyde AlbassiniEDIFÍCIO SEDE DO GOVERNO PROVINCIAL DE NIASSA | Arq. João Tinoco e Arqª Carlota Quintanilha | Moçambique, Cidade de Lichinga, Niassa, 1961Fonte: “Moçambique 1875/1975 Cidades, Territórios e Arquiteturas”CASA DR. FERNANDO RIBEIRO DA SILVA (CASA DE OFIR) | Arq. FERNANDO TÁVORA | Portugal, ESPOSENDE, 1958 | Fonte: Revista Arquitectura nº59, 1957Liceu Nacional Honório Barreto, actual Liceu Nacional Kwame N’Krumah | Guiné-Bissau, Bissau | Créditos Fotográfi cos: Pedro Maurício Borges, 2009 (Cinco Escolas, Cinco Áfricas)EDIFÍCIO DOS CAMINHOS DE FERRO - 1960 | Arq. Paulo Melo Sampaio, Arq. João Garizo do Carmo e Arq. Francisco de Castro | Moçambique, Cidade de Beira, SofalaFonte: “ Moçambique 1875/1975 Cidades, Territórios e Arquiteturas”

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The Architects Association of Macau, in collaboration with CIALP - Interna-tional Council of Architects of Portuguese Speaking Countries and the Consulate General of Portugal, hosted the exhibition “Modernism in the Portuguese speaking countries – Architecture from the years 40-50-60” at the Entrance Gallery of the Consulate General of Portugal, from De-cember 14 2011 to January 13 2013. The modernism architectures from the years 40-50-60 of twenty century in Angola, Mozambique, Cape Verde, Brazil, Portugal, Sao Tome And Principe, Guinea-Bissau, East Timor and Macau are showed in the exhibition. Joining to the exhibition, the young architects committee of AAM also organized a group of young members to study the revitalization of the modernism architectures in Macau. Introducing the green building techniques, they made the project and model.

The VIPs, Portugal General Consulate in Macau Mr. Manuel Carvalho, Member of the Executive Council of the MSAR Government Arch. Eddie Wong, legislator José Pereira Coutinho, Deputy General Secretary of the Permanent Secretariat of the Forum for Economic and Trade Coop-eration between China and Portuguese-speaking countries (Macao) Dra. Rita Santos, representative of IC, Chief of the Cultural Heritage Department Arch. Jacob Cheong, Vice-Consul of Angola Franklim Tavares Semedo da Silva, President of AAM Arch. Ben Leong, and Vice-President of CIALP Arch. Rui Leão presented on the opening ceremony and cut the ribbon.

LUSOPHONE MODERNISM

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OUR GOALA green building is defi ned as one which provides an ideal, comfortable climate whilst consuming the least amount of natu-ral resources necessary and minimal waste production throughout its life cycle. Green Architecture emphasises on minimising resource depletion and pollution generated by manmade factors.

It is with this aim in mind, and in the hope that our solution will provide a reference for future relevant research, did we establish this project at the currently derelict Hotel Estoril - a place for exploring the possibilities of applying green ideas to the Macau Architecture.

DESIGN CONCEPTHotel Estoril is situated right opposite Tap Seac Plaza, a plaza that has been put in place in recent years and is now a place where a variety of events and fairs take place at times of celebrations, such as art fairs, Chinese New Year fair and outdoor performances just to name a few. Thus Ho-tel Estoril is defi nitely a place of concern in order to revitalise the neighbourhood into a welcoming buzzing district.

With our site being within close proximity to the World Heritage Site – Guia Fortress, and according to “Macau World Heritage Information Kit” issued by the Cultural Institute of Macau, Hotel Estoril is within the parameters of the buffer zone between the Heritage Site and the rest of the city. Therefore, in order to minimise any aesthetic changes to the original landscape of Guia Fortress, we intend to:

Retain the existing frontal facade of Hotel Estoril as much as possible.

Towards Green ArchitectureSustainable Strategies in place:

Site revitalisation: Reusing existing build-ing to regenerate the neighbourhood;Excavation of underground spaces: provi-sion of underground parking increase park-ing spaces to serve the neighbourhood.

Low Energy Strategies in place:Green roof and vertical greenery, light-coloured wall: reduces urban heat island effect, blocks out direct heat from the sun into interior spaces as well as reduces en-ergy consumption;Wind towers, semi-open spaces and atrium: allows natural ventilation, reduces energy consumption from the use of air-conditioning;Double facade: using the same principle as double glazing, the new building façade and the original frontal facade remains separate, leaving a cavity in between, on one hand the retaining of the original facade can act as sun shading, whilst on the other hand, the formation of the double wall can reduce heat and glare from western sun during afternoon hours;Rainwater recycling system and treat-ment ponds: rainwater harvested through the folded plate structure will undergo fi ltration and purifi cation processes, which can then be reused as grey water for toilet fl ushing, plants irrigation and water land-scape purposes;Solar panels and solar collectors: using solar energy to generate electricity and hot water provision reduces municipal electric-ity consumption;Light wells and double/ triple glazing: increases surface area of openings – lets in more natural daylight into the building.

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Retain and reuse the existing struc-tural framework as much as possible whilst inserting new interior spaces.Provide two levels of underground parking, with the aim to relieve current traffi c congestion from the queue into the car park further down the road.

In order to create interesting pathways and unique architectural experiences, ramps are deliberately designed to weave through the different levels of the build-ing in an unconventional way as means of circulation. Walking along these ‘fl oating corridors’ would allow one to catch views of “glazed boxes” of different scales at the side of the ramps. These are the desig-nated spaces that we intend to provide for the local creative industry to use as workshops/ studios. As for the back eleva-tion facing the swimming pool, there will be a folded plate structure, not only is it a facade that will enrich the space within, more importantly it will serve as a three dimensional wall that will act as rainwater harvesting planes, sun shading screens as well as providing structure for vertical greenery.

After going through a series of exciting spatial experiences, one would arrive at the rooftop garden, where one can overlook the whole of Tap Seac Plaza and have an amazing view of the Central Library and listed buildings nearby. It will be an ex-cellent viewing platform during times of performances at Tap Seac Plaza. More-over, solar panels, green turfs will also be installed at the on this level. The chimney-like protrusions act as wind towers and light wells.

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Team members: Donna Wu, Hou Meng Chan, Vivien Kam, Alfreda Chan, Alice Iu, Christine Choi, Kin Pong Leong, Patricia Rosario, Chin Pang Cheong

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INTRODUCTIONOur task force is developing a research study on “Typological study on urban fabric and public space in Macau”.

The research is based on the analy-sis of Macau’s historical urban fabric and public space, on the general goals of the master plan and in a strategic vision for Macau’s urban development.

Our approach will follow three steps:1. learn from our past and our history2. analyze the best examples worldwide3. propose the solutions that better fi t our territory and way of living

The purpose is to organize a set of strategies and guidelines to help creating a new Macau, looking into the future but keeping its scale and urban identity.

This fi rst draft is a work in progress, our fi ndings are preliminary and all the informa-tion is to be reviewed for the fi nal document.

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NAPE

AV. DE HORTA E COSTA

ZAPE

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GUIDING PREMISSES

Integrated Master PlanInclusive approach to the new reclamation land plan, coordinating its development with:- the big infrastructure projects under development (LRT, Taipa Maritime Terminal, Public Housing)- the Macau Peninsula, to increase the urban complementarity and cohesion between the new reclamation land and the existing city

Process PlanInstead of creating a fi nal layout for the entire area of the reclama-tion, the plan should have clear guidelines, schedule and goals and its implementation should be monitored and measures intro-duced to help boost the success of the intervention.

Multifunctional ZoningPromote mixed use areas where different activities can coexist. Avoid mono-functional zoning which compromises the city cohe-sion and generate dead areas.

Public Space to Structure the Urban GridThe continuous network of public space plays a fundamental role on the daily life of city inhabitants, it’s the place to circulate, to gather, to play, to do business, it belongs to everybody and every-body needs it every day.To generate a sustainable and enjoyable urban development the quality of the public space is paramount, it should encompass dif-ferent typologies, shapes and ambiences.

Public Buildings as ClustersPublic buildings should help to generate new centralities and urban dynamics in the new reclamation areas, as development busters coordinated with the public spaces network.

Walkable CityMacau has a small scale, which makes walking very convenient, this reduces the need to use private transportation and improves the urban cohesion. The new reclamation area should, not only keep this character but add on it, creating better conditions to walk.

WaterfrontThe planned green area around the waterfront should have differ-ent functions, shapes and activities, should not only be beautiful but also useful.

Temporary UsageThere should be created a plan of provisional usage of the empty plots to serve the population in the meantime.

Design CompetitionsIn order to generate a new urban future, more participated, with higher quality standards and better related to the local reality, the main public buildings and urban detail plans should be the result of design competitions.

Flexibility for Economic Diversifi cationIn order to accommodate the future development of Macau in new economic directions the urban plan should be fl exible and accommo-date reserved areas.

RUA DO CAMPO

AREIA PRETA

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INTRODUCTIONBearing in mind the generic purpose of this research on Macau’s urban plot and built forms (a typological study on Macau’s urban fabric and built typologies), our research was based on a preliminary evaluation of Macau’s urban pattern and existing major built forms which allowed us to identify a series of “typical” built structures (blocks, quarters, single buildings, etc.) which may represent the diversity of Macau’s built forms. As such, a diversity of blocks, quarters and sin-gular buildings have been selected from different urban areas, construction periods and uses (residential, offi ces, commer-cial, services, etc.) to allow us to identify their relevant stan-dards in terms of:

a) Plot confi guration;b) Plot relative size;c) Accessibility and connectivity;d) Appearance, ande) Provided amenities.Further to the presented specifi c descriptions and their

visual references (photos, plans, renderings) as prepared for each one of the selected typological cases (refer to the at-tached case-study sheets) and as a brief, the following items can summarize our fi ndings on this matter.

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RECOMMENDATIONS• Geometries and alignments should not be offset from

water edge. There should be a comprehensive under-standing of the urban complexity of Macau’s urban form to generate new grids and urban frameworks.

• Scales of public spaces and urban densities should be the result of current urban practices in Macau or improvements.

• Historical typologies of space and new urban typolo-gies should be integrated to form yet a new urban synthesis for zones A, B, C, D and E.

Strategically locate the building masses to allow views to the waterfront

Long elevation along the shoreline blocks views to the sea from adjacent buildings

Provide access to the waterfront from the neighborhood courtyard

Lack of elevated pedestrian walkway to provide un-interrupted access to the waterfront from podiums, terraces and roof gardens

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Typology and Evolution of the Contemporary Residential Architecture in MacauTypology: Private Housing & Public HousingEvolution: 3 periods (1981-1990, 1991-2000, 2001-present)

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Building Regulations for Residential Architecture in Macau• Regulation on Residential UFA• GFA Calculation• Height Limit• Urban Planning

1981-1990 1991-2001 2001-present

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Comparing & Analysis of Some New Urban Development WorldwideReferences for Macao reclamation area with the design concept of residential architecture and the application of green buildings;Case Studies: Hong Kong (Kai Tak Development), Singapore (Marina Bay), Sweden (Stockholm), Germany (Hamburg), Sweden (Malmo), Finland (Helsinki).Focus on land usage, scale, energy, management of sewage, transport, neighborhood, ecology, fl oodgates, architectonic fl exibility.

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Analysis on Contemporary Residential Architecture in MacauShowing some typical cases of contemporary residential architecture in Macau, analyze their good and bad points.

Site AnalysisThe planning of residential architecture; the concept of point, line and area.

Buildings Analysis (Plan, Elevation)Analysis on building form, space, scale, materials, colour, architectural elements; their impact to the architecture and the future development

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Conclusion and Suggestions1. Overall design: lead into the concept of sustainable architecture to build

a green and low carbon community;2. Take into consideration the effectiveness of land usage;3. Classifi cation of road network and transport system;4. Mixed-Use Design – enhancing the fl exibility and value of buildings;5. Urban Planning: recommend the planning in points by points, a cluster

composed of several blocks, sharing a communal space; a small resi-dential neighbourhood composed of several clusters, sharing a public square;

6. Spatial Planning: optimize the function, well organize the circulation, con-sider the requirement for the variation of apartment types and the diver-sity of condition in architectural fi nishing according to needs of people in different classes;

7. Housing Characteristic: maintain the architectural elements with Macau’s local characters, maintain the area requirement to residential architecture;

8. More freedom of building form and spatial plan should be granted to new town planning;

9. Landmark – enhance the commercial value.

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“Twisted Building Façade Designs”July 14, 2011 (Thursday)

The purpose of the seminar is to present the latest twisted façade projects globally, including buildings with irregular shapes in the U.S.A., Europe, the Middle East and China.

Mr. Michael LeeDirector of Merry Ocean Façade Technologies Ltd., Council Member of Hong Kong Façade Association

Twisted buildings are no longer only imaginary images in science fi ction movies such as ‘Inception’ in recent years, this modern twisted architecture has been materialized in cities such as Malmo, Dubai, Nagaya, New York and Las Vegas, numerous uniquely designed twisted buildings have been constructed or under construction. These buildings not only manifest the power of design, they also serve as new landmarks of the cities. The exterior walls of these twisted structures play an important part in the whole construction process. Each façade requires meticulous design, precise engineering work as well as smooth and well-coordinated construction processes. Some examples of twisted building façade designs will be presented in the seminar.

September 2, 2011 (Friday) and 3rd September, 2011 (Saturday)

Phoenix Ho Master of Architecture, University of Pennsylvania

High Heels vs Modern Architecture Designs What is the connection between high heels and modern architectures? Using a brand new science thinking and with the power of modern computer technology, modern architectural designs and fashion designs developed a new set of patterns through the imitation of biological characteristics. Buildings and high heels is the same, being tested by the structure of needs at the same time coated with human behavior. This seminar will make a cross-comparison of high heels and modern architecture, through the changing concepts regarding different periods, development of new technology, to do an in-depth description that corresponds with a similar style and pattern.

Hypertext vs Exhibition Space DesignsDo you always worry about having different concepts with your business owner? A far-reaching ideal is needed for architects so that they can follow each single step to be success, and they often need to face different complex problems during the designing process. The seminar will propose the concepts of hypertext, at the same time facing a variety level of problems while each level is closely related and came out a conceptual framework stereo. A defi nition and description summary will also compose regarding to hypertext, and follow with a practical case – Hakka Art and Culture Exhibition Hall. Having explanations on how to text using multi-operation and construct a variety of opinions in line, while following the space management concept of the designers during the whole designing process, so as to construct a space. The above case rewards a 2007 International Forum Design Hannover.

“High Heels vs Modern Architecture Designs”“Hypertext vs Exhibition Space Designs”Date:

Speakers:

Abstract:

Date:

Objective:

Speakers:

Abstract:

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September 23, 2011 (Friday)

The purpose of the seminar is to provide an ‘insight’ of how this monumental development is realized by describing in detail major elements in the design and how they are combined to form the West Kowloon Terminus.

Ar. Wai Tang – Director, Aedas Ltd, Ar. Paul Mui – Associate, Aedas Ltd. & Ar. Nigel Burdon – Associate Director, Buro Happold

As a strong indicator in recent years, between Hong Kong and mainland China, the West Kowloon Terminus is both a symbol and a functional representation of how improved relations have become. The high-speed rail terminus station will connect Hong Kong to Beijing with the largest rail network in our history. Located centrally in Hong Kong within the city’s existing urban realm, the 430,000 square meters facility with fi fteen tracks will be the largest below ground terminus station in the world. WKT will function more like an international airport than a rail station as Hong Kong Special Administrative Region maintains economic and political incentives from P.R.C. Consequently, the facility needs to have both custom and immigration controls for departing and arriving passengers. What is highly unusual in this facility is that West Kowloon Terminus will have immigration domain for both Hong Kong and China in the same facility as opposed to how immigration works in a typical international airport, which is solely the domain of the host country. The terminus station has two target destinations: regional commuter trains and long-haul high speed trains. The commuter trains go across Hong Kong territory to Shenzhen, a booming China border city, and further to the north to Guangzhou, the capital of Canton. Research performed on the civil engineering side concluded, based on urban make-up and internal site restrictions – the short haul tracks needed to be placed on the western side of the site with the long-haul being located to the eastern side. The locations of these tracks were / are fi xed. In addition, is the realization that 80% of the station users are short-haul commuters. Consequently, reducing travel times for these passengers is a priority. The organization of the design was inspired by converging forces all oriented toward Hong Kong - likened to the converging tracks coming into the terminus station itself. The project maximizes civic gestures both internally and externally. The station is sculpted out of the energy of these moves and strongly defi nes its motive to open up and focus toward Victoria Harbor and the Hong Kong skyline. The culturally district of WKCD is invited into the site. A large “Civic Square” opens up toward the cultural district and is defi ned on the other side with its own outdoor performance amphitheatre.

“Express Railway Link: Project Team Presentation of West Kowloon Terminus”

November 24, 2011 (Thursday)

By comparing the Chinese and Western, excavates architectural spirit in Chinese traditional cultural from location of city to architecture design of typical cases. At the same time reveals various cultural difference and integration behind the city and buildings.

Professor. Fang IongSchool of Archaeology and Museology Professor in University of Beijing, tutor of PHD students, well-known architect.

Under globalization and the infl uence of Western culture, how Chinese people can both absorb the advanced culture, and carry forward the traditional essence? Pro. Fang has been contributed and experienced architectural study of 20 years, through the comparison of China and Western, excavates architectural spirit in Chinese traditional cultural from location of city to architecture design of typical cases. At the same time reveals various cultural difference and integration behind the city and buildings.

“Yellow” civilization and “Blue” Civilization in Architecture

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