Macau, Then & Now

M a c a u , T h e n

&

A n d G A M B L I N G

N o w , t h e n

C U LT U R E

Cecilia Lee 2014 - 2015

&

T H E

C I T Y

MACAU, THEN & NOW, AND THEN An autobiographic story that happened in Macau

Macau, Then & Now, And then

PROJECT MEDIUM How gambling culture affects the city LOCATION Macau

GENERAL STUDENT Cecilia Lee UNIVERSITY Anhalt University of Applied Science DEGREE Master of Arts, Architecture STUDIO Redesign ADVISOR Gunnar Hartman, Sam Chermayeff CONTRIBUTORS Lee Jesson, Gene Salonoy, Alice Lam, Harry Tsang

Printed and binded in Berlin, Germany

The medium of the thesis is a book that narrates an autobiographic story that happened in Macau. Not merely the story describes the daily lives of the neighbourhood and the documentation of the society, but also it acts as a commentary of conflicts between traditions and modernity, rather than just typological building analysis or a statistical evaluation of economic effects of gambling. Through this way, it can express both general changes and detailed happenings in Macau. The device of expression will be: happenings,

characters

in

the

story

and

drawings

community culture Certainly my own memories and experiences are of Macau since I was a little girl, when there were grilled chicken wings by the beach, and we had to creep out during school field trip in order to get a sneak bite. I was in grade five and it was 1999. It was a major year for Macau.

Macau used to be a Portuguese cologne. Under the influences, this little territory located at the coastline of South China Sea has combinations of Christianity and Buddhism, salad and hot noodles, individuality and community. It is a place where the East meets West. In 1999, Macau became part of China again and is one of the two special administrative regions, together with Hong Kong. Under the law, Macau remains independent politically, and economically from China, unchanged for 50 years.

The interaction among locals created the austere culture of Macau. Since buildings were mainly 5-storey high with stairs, neighbours developed a strong bonding among each other. They would take care of each other’s children, help homework, cook together, celebrate festivals, and play Mahjong. Communities were built up easily because of the small streets and lanes intertwining in the urban fabric. This created small happenings that came across everyday lives. Furthermore, Macanese was a significant culture. Macanese people, whom are originated in Macau for more than four generations but with Portuguese ancestry, represent themselves through languages and cuisine.

gambling culture Fishing was the dominant economic activity in Macau in 1920s.

Over 70% of Macau residents were engaged in fishing. At that time, other businesses started to develop, such as matches and firecrackers production, incense and fishing-boat building.

Gambling business was first legalised in the 19th century and the first casino monopoly was in 1937. Consequently, there was an increase revenue of the Government. By that, Macau started to develop other business. In the 1970s, Macau had a rapid development in its manufacturing sector.

In 1962, the government granted the Sociedade de Turismo e Diversoes de Macau (STDM) monopoly rights to all forms of gambling. The owner, Stanley Ho, introduced western-style games and modernised marine transport between Macau and Hong Kong, bringing millions of gamblers from Hong Kong every year. Macau was then famous for all kinds of gambling. Not only it is popular of western-style games, but also horse racing and dog racing. Besides, eastern-style of games had took place in Macau, such as Mahjong and Sic Bo. Until 2002, Macau government ended the monopoly system and was distributed to six different companies. The investment of foreign companies sped up the city change. Within 20 years, the net immigration has increased and reached the peak in 2008 with approximately 57,000 people. Meanwhile, labour force has increased. In 2010, the city was close to full employment with unemployment rate 1.7%.

introduction In this book, the old and new Macau will be revealed layers by layers. each device represents different roles. The authentic happenings are the documentation of the society. It also includes the conflicts between tradition and modernity, the changes in different aspects in the city and how gambling culture affects Macau. In many aspects the fusion of past experiences and imaginative future create this story. In order to specify the idea, Lec Long Firecracker Factory, which was abandoned in 1990s, is used as an example.

One part of the story would be introduced through specific and subjective perspectives of the city transformation, trying to narrates the facts and datas happened in Macau, meanwhile adding personal experiences as the main structure of the story.

There will be happenings based on narrator’s experiences, yet these happenings are reflecting the culture in Macau.

The narrator will act as an observer most of the time. It will be described in stages in form of dialogues, strolling and travelling in the city. The second part will be the design project. The design project is a proposal of designing a community hub of culture based on part one. Both documentation and design would coexist in the story. The characters in the story represent various roles in the society, in terms of career industries, age group, stand points of supporting or against the city change and how in depth the western culture affected them. By that, the changes in city will be analysed in different viewpoints.

content

MACAU, THEN & NOW main characters 1999 the breakfast the intelligent men towards a new journey learning macanese the men with grey suit redesign lec long

AND THEN

1

m a i n c h a r a c t e r s

3

grandpa

promote citizens at 90

community and

years old

culture bonding

role that

retired citizens

supports changes characters role in society role in city change role in industries role in cultural and gambling culture

4

grandpa A 91-YEAR-OLD FORMER MACAU BUSINESSMAN CURRENTLY ENJOYING RETIRED LIFE IN MACAU I have been living in Macau over 70 years. I was a garment manufacturing businessman from 1940s to 1990s. After that, I passed the business to my daughter. The experiences of the changes in Macau, from being a small fishing village to a manufacturing city then to a tourism-dominate metropolitan, fascinated me a lot. Although most of my friends mourn about this transformation, I am delighted. In my opinion, a place would naturally transform when citizens come together to achieve culture and wealth. The alteration of cities and formation of buildings are just by-products. I enjoy having breakfast at the same restaurant every morning, drinking tea and meeting old friends. I have been doing this routine for 50 years.

5

narrator

observer citizens at their 20s

observer

observer

characters role in society role in city change role in industries role in cultural and gambling culture

6

cecilia AN 26-YEAR-OLD ARCHITECTURAL INTERN CURRENTLY WORKING IN MACAU The daily life of Macau motivates me to learn more about this city. It is a place where I grew up. When I was a little girl, there was not much to do. Dad and mom would bring the whole family to the beach and enjoy the sun. There were also barbecue stands beside the beach with grilled chicken wings. I had so much memories here. Since local university did not provide architectural courses, I have to go to Europe for my studies. However, I would return Macau every summer for my family, especially grandpa. He always tells me this weird imagination he has in mind, how gambling, the most obvious industry in Macau nowadays, communicate with cultural and community activities. It is my favourite story, other than the hungry caterpillar.

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nino

supports new developers

typology of casinos

role represents

casino and

current

hotels

situation characters role in society role in city change role in industries role in gambling culture

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nino A 27-YEAR-OLD HOTEL AND CASINO ENTREPRENEUR CURRENTLY RUNNING HIS BUSINESS IN MACAU Where shall I start? Cecilia and I met when we were three years old. We grew up together but then I went to the States for high school. It was epic! That was also the time I had to travel a lot because my dad worked in New York while the whole family lived in California. So we flew to the West almost every weekend. He is a busy man but also the best father. I knew that one day I will be in the hotel industry, like him. I grew up living in hotels and I really cherish traditional brass keys over hotel key cards. After United States, I went to Switzerland for business management, got a degree or two, returned Macau and continue father’s business in Asia. I want to make it big. If money can solve a problem, then it is not a problem, but with social responsibility. It is crucial.

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claudia

occasional architects

gambler and cultural activist

role explains

building scale

urban changes

and urban fabric

characters role in society role in city change role in industries role in gambling culture

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claudia A 50-YEAR-OLD PORTUGUESE ARCHITECT PRACTICE IN MACAU My father was an architect from Portugal and my mother was a Japanese sculptor, which makes me half Japanese half Portuguese. I grew up in Lisbon and graduated from University of Porto, majoring architecture. I thought I was going to stay in Portugal, since I like Lisboa so much. When I was 22, I had a chance to work in Tokyo and met my husband Miguel at the same architectural studio. Eventually, we settled down in Macau and started run a studio.. It has been 20 years and our studio has been expanded from 5 colleagues to now 30. Recently, we receive a project from a new developer in Macau. He is young and smart, most importantly, open-minded. It allows more flexibility because, you know, most of the time clients just want to make the largest profit without considering the actual situation and impact that would happen to the city. This project is redesigning a former firecracker factory called Lec Long, which is now abandoned.

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s t o r y

13

P R O L O G U E

1999 June 23 1999 ‘Come come!’ whispered Nino. Caging the 5 Pataca coin in his hand, we were holding hands and sneaking out from the school field trip. Our entire consciousness became focused on the smell of grilled chicken wings by the beach. ‘Chubby Uncle’ was the popular food stand at Hac Sac, one of the beaches in Macau. The campsite for schools was located in the woods beside the beach.

Out the campsite, we had to climb through the fence and the shortcut. Being escaping from the mainstream became an adventure. We passed the thick tree trunks, tiptoed out sunlight, and drew in the scent of sea. Chubby Uncle was in front of us.

Immediately we dashed to the stand and enjoyed our first bite.

It was heavenly delicious in front of the sunset, with spread of reflected light by the sea.

‘You two!’ shouted Mrs Barnes, in her grating voice with bright red lips. ‘Chop chop! head back! your parents are waiting for you! kids!’ Nino and I exchanged a look with excitement. From far, grandpa was leaning against his Volvo when I ran towards him, newspaper resting on the windshield.

‘How was your day?’ asked grandpa.

‘It was awesome!’ I answered enthusiastically.

‘Today, we are going to meet some friends before heading home,’ grandpa said ambiguously.

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As the noise of vehicle engines faded out after the ride, we entered a place with a massive gate. Observing the kites on sky, pine trees growing healthily, playing mahjong and chess under the trees, I got off the car and rambled through the place, noticing the fragmented cabins occupied by people with activities. I could hear laughter from the wood workshop and smell meatballs from the cooking cabin. Children were playing hide and seek while their mothers were gathering under the tree and sharing gossips There were people having barbeque, unconsciously smoking the hanging clothes next to it.

‘This place is a hub with cultural happenings. Everyone is so concerned about the future of Macau. Cohesive platform like that shall bring people together.’

‘Together?’ I wondered. ‘That sounds awesome.’

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C H A P T E R

O N E

The Breakfast August 10 2014 It was a bright day, a hot day. Grandpa and I were getting ready to go to the same restaurant.

‘Are you ready yet?’, shouted grandpa.

‘Yes, 5 more minutes, 5 more minutes!’, I replied.

He left the house impatiently. I quickly applied the mascara, wore the orange sandals, grabbed my sketchbook and bag and rushed to the door. We lived on the third floor. Seven sets of 15 stairs. I passed Mrs Chan, who lived on the second floor. She was a housewife with two naughty sons. Every night after dinner, the sons would run around the corridor. By ten, their father would force the kids to bed, like a flock of sheep.

Then I heard the radio: beep beep beep. 8 am. Mr Suen, an old man who lived on the first floor, turned up the volume of his radio as always, as if he intentionally reminded me it was eight am in the morning. I believed it was the cheerful morning round-up of old pop songs and local news that Mr Suen was fascinated.

I was trying my best to keep up. Grandpa was my idol. The age of 91, he lived through the time when Japanese occupied China.

He lived through the time when Macau had its first casino in the late 1930s. He developed his business in Macau, starting with a 20 square metres office to a 2000 square metres factory. He then passed the business to my parents. With all these thoughts in my mind, I knew I was not able to catch up with him.

‘He probably arrived to the restaurant,’ interrupted a man

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whom grandpa bought newspaper from his stand every day. They would chat for five minutes, catching up daily life.

The sweat was trickling down my back, I could feel it. The early sunlight drummed on my face. Every pedestrian was putting on sunglasses. It was August and I had a summer internship in Macau. My black shirt stuck solid against my back every time I made a step. Luckily I was wearing flats. The pavement was always a pain to high heels. Although it was in a Portuguese styles, there were gaps in between and so often ladies with high heels would not be able to walk on it.

I finally reached the street of the restaurant, Rua do Pedro Jose Lobo. Near the restaurant was Grand Lisboa, a newly built casino, Stanley Ho known as the King of Gambling. The casino used to be a shabby football pitch, but now, outlined and glittering with curtain wall facade, it became a glamorous skyscraper. The community had been swept away and replaced by extravagant tourists. Taxis were lining up. Next to Grand Lisboa was Casino Lisboa. It was also owned by Stanley Ho. The threestorey complex was built in the late 1960s and it was the most popular casino in Macau before the gambling monopoly ended in 2002. However, the pride of Casino Lisboa had worn off. New 261 metres high brother beside it received all the spotlights and attention. The remaining lustre of the casino reminded people the old humble Macau.

The restaurant was half filled. Most of them were having silver hair and not rushing to work anymore. It was a culture of

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elderly having breakfast in a Chinese restaurant, with jasmine tea and dim sum. For a moment I wondered whether to try to reach grandpa by text messaging him, but the old man was sitting by the balcony, modestly reading the newspaper bought earlier.

By the time I sat down, grandpa had already ordered my favourite food, shrimp dumplings, lotus leaf rice and egg custard tarts. The appreciation in my heart to grandpa was beyond words.

However, he was tolerantly replying the small talk.

‘Is this your granddaughter?’ asked the neighbour.

‘Yes, yes,’ replied grandpa.

‘She is such a sweet kid! Having breakfast with you every day!’

Grandpa replied with a big hearty smile.

Before the neighbour started to toss another question, I already knew the answer. According to my observations, the third question of a small talk would be about casinos, which was the big topic today in Macau.

‘Does she work at casinos? She must get paid really well.’

Grandpa made a face. ‘No, she is an architect.’

The neighbour sat back, nodded and resumed eating.

I had a sense of trust and confidence in grandpa and in myself.

Almost every young person in Macau was working in the gambling industry. There were 33 casinos in Macau at the moment and they were run by six casino operating concessions. However, grandpa accepted my choice of studying architecture and encouraged me to continue my career aboard. Therefore, while having a summer internship in Macau, I enjoyed the morning spending time together.

Grandpa carried on reading the paper and I was enjoying the food. He then folded the paper and said, ‘Wynn Resorts and MGM

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are building the second Macau casino on the Cotai Strip.’

‘That is how you make business,’ continued the wise man.

‘You have to open a store next to your competitors.’

If I could publish a book of fables, I would name it after him.

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C H A P T E R

T W O

The Intelligent Men ‘Good morning my buddy!,’ Robert greeted. Robert was an old friend of grandpa. He was owner of a fruit store which located in the centre of Macau. Before retiring, grandpa would order packs of fruits from Robert during new years for his clients. Gradually, they became friends and occasionally had breakfast together.

‘Morning Robert! How are you?,’ greeted grandpa.

‘Very well! My son just dropped me by on his way to work.’

Robert pulled a chair next to him and sat down firmly.

‘Hello Mr Pinto.’

‘Hello Cecilia!’ Robert replied cheerfully.

‘Where is your son heading to?’ asked grandpa.

Robert poured jasmine tea into his glass and took a sip idly. ’Grand Lisboa actually. I asked him many times to take over my business. He said casinos are more exciting.’ Robert was genuinely hoping his only heir would continue his fruit business, but apparently the young one wanted some more excitement before settling down.

‘I do not understand,’ continued Robert. ‘Why is everyone willing to work at casinos? Macau is losing its culture. All the new buildings around now are destroying Macau.’

The older days were always better, I understand. A city had to develop and there were people who agreed and people who were against it.

Staring out from the window with a strolling mind, a blue dragonfly spat through the air and bounced on the glass, then dived down the building and vanished in sight. The sun hid shyly

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behind Grand Lisboa but the reflected ray from the casino laid right on top of our table. I was stealing time, trying to escape the mounting complaints from Robert. Looking at the vanishing point of the dragonfly, there were countless people walking on the street.

Most of them were nicely dressed with formal ironed shirts and ties. Ladies were riskily wearing high heels. However, they were moving in a relaxed manner instead of a Wall-Street-like rushing attitude. This was one of the busiest streets in Macau, Avenue do Infante Dom Henrique. All the way down perched the ruins of Church of St. Paul. It was considered as one of the masterpieces of the late Manueline Architecture. The bulk of the church had long gone and the facade was the only elements remained, which sat uphill by 66 stone steps. It attracted thousands of tourists every year. The avenue from ruins of Church of St. Paul to Grand Lisboa and Bank of China, Jesuit church to modern compositions, left me speechless.

Back to the conversations between the two men, they were talking about the news of a firecracker factory, the Lec Long Firecracker Factory. The factory premises covers an area of approximately 20,000 square metres and it was abandoned since 1970s. However, a millionaire recently had great interest in this land and wanted to develop into a casino.

‘The factory moved from China to Macau after the communists took over China. Those were the difficult days,’ said Robert, lowering his voice so that the others would not hear. ‘I believe it is one of the many firecracker factories scattered around Taipa but it was the only one located in the original core of the island. The

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other one is Po Sing Firecracker Factory, yes?’

Grandpa refilled the hot jasmine tea.

‘Po Sing, yes,’ Grandpa answered automatically. ‘Po Sing was demolished and developed into a 33-storey residential development. Lec Long is now the only former firecracker factory in Macau.’

I placed a shrimp dumpling in his bowl and one in mine.

Grandpa glanced at me with a smile and resumed the conversation with Robert. ‘Macau is a riviera now. The young ones make money without sweating. It may be a good thing. City changes for reasons. In the early 1920s fire cracker production flourished in Macau. At that time, there were also lots of Chinese temples such as A Ma Temple that needed fire crackers and matches. Besides the local market, there were Mainland China, Southeast Asia, Europe and America. Lec Long was the only fire cracker factory that located in the centre of Taipa. The others were mostly scattered around the island. The industry then saw a decline in the 1970s and came to an end in the 1990s..’

Robert nodded firmly with smile. ‘Remember when we were young, the main economic income was manufacturing. Our friends were mostly working in this sector but with different industries, joss sticks, matches, firecrackers, textiles and garments. Textiles and garments then further increased the dominance by importing and exporting. That was when you started to order more grapes and kumquat from me!’

‘Surely I did!,’ grandpa answered. ‘Time flies, and the good news is you are the pilot.’

Robert shrugged and smiled amiably. ‘Being a Macanese,

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I used to have confusion of identity recognition. I was neither Chinese nor Portuguese. Macanese is my real identity. However, less and less Macanese speak Portuguese nowadays. Most of them only speak Cantonese and English. Because of that, I feel that our culture is losing significantly. Specially after the Americans invaded Macau, that was when the big party started.’

Robert finished the tea, looked at grandpa steadily and continued, ‘Macau Government was struggling from financial problems before the handover. They even had problems paying public servants. Who knew what after! Ever since then it is about money and money. We forgot what had driven us. It would be a shame if Macau becomes so poor and all it has is money.’

Grandpa studiously listened to Robert while refilling the tea for all of us. ‘I agree with you,’ Grandpa pointed out. ‘Macau is a small city and it has always been a migrating place. From the mid16th century when the Portuguese settled down, then to the early 19th century the large migration from Mainland China, nowadays foreigners come to Macau and make their fortune from casinos.

This little territory has to survive through increasing population and booming economy. Citizens have to earn money for families and improve education to face competitors from outside world, as if Macau has been war all these years. I am actually delighted that the culture of Macau last until this generation.’

Speculating the conversation, I was astonished what I had learned from the two men in front of me. My father would always use the word ‘batata’ and ‘tomate’, which meant ‘potato’ and ‘tomato’ respectively in Portuguese. However, I would never pay

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attention to the words. Now I realised this was part of the culture.

‘The culture is diluting. I belong to Macau but I am so disappointed now that I want to leave.’ sighed Robert. He remained silent, obviously still in state of disappointment.

Grandpa chuckled and slowly consumed the dumpling. He then briefly wiped his mouth and stood up, staring at Robert steadily.

‘You do realise that if we give up, the culture of Macau would merely continue, right?’

Robert hesitated. A broad smile then emerged on his face.

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C H A P T E R

T H R E E

Towards a New Journey After saying goodbye at the restaurant, I quicken my pace towards work. There were already long queues at the bus stop.

Pedestrians were pushing against the waiting crowd at the narrow street like salmons swimming against the tide. The bus stop sign was drowned in the sea of people. There were road constructions as usual and the traffic system was totally disrupted. This summer was severe.

Drumming my finger on arms, I was crossed-armed standing aside, waiting for bus number 8 to arrive. I began to produce a rhythm from finger tips unconsciously. Staring at the mass of people gathering by the bus stop, I could not help but sighing. I felt the sweat gathering around my neck and moisture started beading from forehead. The man in front had two stained patches of sweat under his armpits. A lady standing next squinted her eyes to check her watch every ten seconds. Everyone was getting impatient. I wondered how long people had been waiting.

Bus number 33 arrived, following was number 8. I slowly moved through the crowd and gradually entered the bus. It was packed with people and I had to squeeze myself to occupy the minimum space. The bus started engine and slowed, slowed, and stopped again. With a wandering mind, I peeked out the window. The bus stopped in front of the primary school I attended. Scanning to the hill behind stood the 91 metre tall Guia Fortress Lighthouse.

It was constructed in 1864 on Guia Hill. Since it was so near to school, we would hike to Guia Hill every Friday after lunch for

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sports lesson. I was always the slowest but my best friend Nino would wait for me so that we could reach the lighthouse together.

It was childhood.

The temperature in the bus began to rise and getting harder to breath. Passing the Nape area, I noticed I was two stops away from work. 5 more minutes then I can get away from this cabin.

I grasped my mind, gulped, and tried to enforce distractions. The sound inside the bus formed a low background music, the traffic, the conversations, the tick of the watch.

‘No more sunrise for me.’ The tone was relaxed and unhurried.

It was the lighthouse speaking. The building was talking. I was astonished. While looking around, everyone was calm and steady as if magic. I turned back the lighthouse.

‘I used to be the highest point of Macau and guided sailing boats and trading ships to pass through South China Sea,’ continued the lighthouse, ’The surrounding new-built casino friends were like models from a fashion show. Yet, I am an experienced old man encompassed by tall and glamorous socialites.’

‘You are surely interesting!’ I answered immediately with excitement. ‘You guide safe entries from the hazardous coastline!’

The lighthouse laughed. ‘Yes but I am no longer function as a lighthouse. I am seen as a tourist spot now and am delighted to tell the story of this place to outsiders, just like navigating maritime pilots.’

Composing my mind, growing up in this little town but knowing it so little made me embarrassed. The complexity, history, culture

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and modernity of this city were waiting to pull off layers upon layers. The superficial images should not be the nature of this territory.

All of a sudden vision turned blank white. I came to realise that I was lying on the floor. Faces surrounding me, faintly heard people saying to let me breath. Breath? I was breathing.

A man beside held my arm and helped me get up on my feet.

His grimy cotton t-shirt and scarred hands with rough skin could not mask his courteous manners. He gently opened the window, acknowledging that my cheeks were red. I nodded to thank his kind gesture.

‘Sweet!’. A masculine computerised sound interrupted. A lady with splendid dress and neatly polished nails was playing the popular game ‘Candy Crush’ on her phone.

‘Delicious!’. The computerised candyman expressed again.

‘Excuse me miss, may you please lower the volume?’

‘Oh sure!’ the lady answered mechanically.

‘Proxima parada, Rua do Porto. Next stop, Rua do...’ The announcement was in four languages, Portuguese, English, Cantonese then Mandarin. I was glad I did not miss the stop that I had to get off. I fought my way to the exit kindly and rushed off the bus. Fresh air was all I needed. Blinking under the bright sunlight while squinting through sunglasses, a gentle breeze of wind brushed through. I took a deep breath and walked to work.

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C H A P T E R

F O U R

Learning ‘Good morning!’ I greeted while entering studio.

‘Good morning dear!’ greeted Claudia. She was one of the architects of this studio. Together with her husband, Miguel, they formed this studio and started to develop their business in Macau.

Father of Claudia was a Portuguese architect while her mother was a Japanese sculptor. Under the influences, she studied architecture in Porto and had 10 years of practice experiences in Tokyo.

I settled down myself with a nicely brewed coffee, starting to work on the proposal scheme of the new reclaimed land in Macau.

It consisted of five different zones and our studio were selected to consult the first zone, the A Zone, with design propositions. It covered 1,380 square metres and was planned to develop with cultural and commercial activities. Announcing the completion of Hong Kong-Zhuhai-Macau Bridge in 2016, A Zone, which situated on the East of Macau, would be the first thing visitors driving across the bridge see. I was spending the summer researching the urban fabric of Macau.

It was believed that the urban fabric of Macau in the 1960s could no longer cope with the contemporary living nowadays.

One example was the district behind Ruins of St Paul. Surely it displayed the old Macau with its 5-storey high buildings and close bonding among neighbourhood. Small units were incorporated into one building, whilst buildings were grouped to form community. In fact, the cramped pedestrian, which allowed one person to pass, and rocky single-way road did not compromise the populated city.

In the 1990s, NAPE area was the new reclaimed land which

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targeted on residential and commercial development. It was closed to what A Zone should be developed into. With its contemporary urban planning, the roads were wide enough for three vehicles, while the grid was clearly organised with main roads and minor streets. Shops, including supermarkets, pharmacies, galleries, restaurants, and boutiques, were located on the ground floor. The upper parts would be 25-storey high residential or commercial apartments. Building typology was distinctly developed and organised. There were also greenery with leisure areas situated in the middle of the district and underground parking place.

Each building lot was expanded, compared to the 1960s urban fabric. Buildings were no longer grouped. Instead, it was seen as individuals, which served as different functions.

Cotai Strip, located in between the two Islands Taipa and Coloane, was the reclamation constructed in 2005. It was targeted to accomplish as a casino area. Certainly the immense avenue with greenery and massive casinos built along created a new scenery. The 5,200 square-metre land consisted of three main spines, connecting to all casinos. Gigantic properties were split into different developers thus developing various complexes.

Besides, it was also an overall urban planning for Macau to situate all the casinos together. It was a magnet for tourists.

Observing the changes in urban fabric, lots were enlarging while roads were widening. Buildings became individual rather than a group of community. Was this a gesture towards contemporary living? or was it a changing culture or a result of evolution in technology?

Half-swallowed by the research, I laid my eyes outside the

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window. It was Taipa the island with three bridges connected. The bridges were like brothers born in different era. The one located in the middle with one hump was the eldest and it was built in 1974.

Since it had two lanes, only buses and taxis were allowed. The one at the east was born in 1994. It was the most popular one because it was the quickest route to reach to borders. The latest one, born in 2004, situated at the west and had tunnel beneath the bridge in case thunderstorm.

‘Which type of urban fabric in Macau that fascinated you the most?’ asked the eldest bridge. Was this happening again, communicating with buildings? I glimpsed around and undoubtedly, no one seemed to hear that except me.

‘I tend to find the 1960’s most interesting,’ I answered with a whispering voice. ’Surely I understand the city change and the adaptation of urban fabric to needs and culture. Nevertheless, the old urban fabric formed a strong bonding between community, which nowadays we are lack of, common unity. In the process of city transformation, cities have lost the kind of cohesive order, hierarchy and structure that made them marvelled of communal living dating back to the old times. Also, the discoveries at each lane amaze me every time because different stories happen among neighbours.’

‘Densification of our built and social environments will to a large extent determine our strength as a nation, I agree,’ commented the second brother. ‘Bare in mind that contemporary living also includes efficient access and multitasking. The urban pattern of 1960s had a cohesion among neighbourhood, however, the city has to support infrastructure and it must be

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sufficient in order to contribute to the health, prosperity and sustainability of the city. For decades city planning focuses on mixed-use development. Live, work and play urban cores have gained remarkable popularity. Taking myself as an example, most citizens travels via my bridge because it is the most efficient access to the central areas.’

‘You said so!’ the youngest brother laughed deviously.

‘Advanced technology changes the culture and the style of living, outpacing the alteration of urban pattern. Don’t you agree huh?

We contact by technology and we need more individual space now. The pattern is shifting from community-oriented to individual pivots. We all should embrace innovative and contemporary design. I believe dense cities are efficient economically and environmental friendly. Ditch the old stuffs!’

‘It depends on the fundamental needs of the users,’ interrupted the eldest. ‘Urban pattern in the 1960s can not cope with the contemporary living is a fact. That does not mean it has no value. Innovative architecture should be able to generate civic excitement and increase land and social value. Sometimes buildings or districts are preserved with unworthy reasons. It then became a backdoor method for preventing new development.

Also, despite that individuality is the big topic now, no individual values matter when compared to our common good. Hence, an ideal pattern or system is enhancing the whole, the community, and respect the individuals. This is up to you, as an architect, to take the balance.’

Miguel tapped on my shoulder and broke the spell of the conversation, realising I was staring blankly for quite a while.

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C H A P T E R

F I V E

Macanese

As if illuminated by immerse searchlight, a vast light glare lit on my face. By adjusting window blinds, the intensity of reflected light diminished fractionally. The reflection came from my watch, which was a gift from grandpa of secondary school graduation. It marked his first game won in casino.

In 1970, Casino Lisboa was the first western gambling casino in Macau. Everyone was excited and could not wait to try different types of gambling. The 50 metres high complex, which consisted of 500 hotel rooms and a grand casino, was the tallest building at that time. On the opening day, grandpa doubtlessly entered the casino. He described it as a bird cage, that money was intentionally trapped in this place. The repetitive interior with gambling equipment as decoration encouraged visitors to gamble more. There was fast tempo music as background, deliberately arousing aggressive gambling behaviour. Neglecting the environment, he went directly to the blackjack section to test his luck and won 4000 pataca in a row. After that he bought the watch, marking his luck.

I was making coffee at the pantry. A drop of Lavazza stained on a newspaper underneath the coffee machine. Coincidentally, the dark spot landed right on top of the Macau Tower photo.

Scanning the headline, on December 17 2006, the father of contemporary bungee jumping, A J Hackett, broke his own Guinness World Record of “The highest bungee jumping from a building�.

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Macau: New World Record Set for Bungee Jumping A NEW WORLD RECORD HAS BEEN SET IN MACAU FOR THE HIGHEST BUNGEE JUMPING FROM A BUILDING. A. J. Hackett, a New Zealand entrepreneur, has yet again smashed the old record by bungee jumping from the 338 metres tall Macau Tower, Macau, the Macau Daily Time reports. To count towards the record attempt, hardware utilised for operations requires ratings and certification before being introduced into operations. The safety standards are the recognised standard for bungee jumping. “It was tough but I had fun,� says Hackett.

Guinness World Records confirmed that Hackett had bungee jumped from a helicopter hovering at 300 metres above the water near Bondi Beach, Australia in 2005, together with Grant Denyer.

Earlier in 1987, Hackett had launched bungee to the world by jumping illegally of the Eiffel Tower in Paris. Hundreds of people surrounded to see the record. However, it was not officially confirmed but achieved as a personal achievement of Hackett.

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‘Marvellous news isn’t it?’ interrupted an alluring voice.

Filipa, the senior designer of the studio, joined me for coffee break. A skinny, intelligent but somewhat phlegmatic woman of about 30, she had quietly kept herself apart from the colleagues.

In one of the few moments, I only saw her talking to Miguel, Claudia and clients. Otherwise, she would remain working most of the time.

‘Tried bungee jumping from Macau Tower?’ asked Filipa.

‘No I haven’t. I had only been to the observation lounge. I am afraid of height,’ I answered reluctantly.

‘You see the Bank of China model up there?’ Filipa pointed at the glass shelf, above the refrigerator. ‘It used to be the tallest building in 1991, before Macau Tower. Isn’t it intriguing that the tallest building jumped from 160 metres tall to 338 metres tall within 10 years?’

‘Precisely speaking, it jumped from 50 metres in the 1970s,’ I replied.

She nodded and continued. ‘Tokyo Tower, almost the same height as Macau Tower, was built in the 1960s. Now the tallest tower in Tokyo was over 600 metres. In spite of the heights, the development was severely fast in Macau after the handover.’

‘Obviously the economy was also booming a lot within these years,’ I smiled at Filipa.

‘Andrew Lawrence, an property analyst, put forward a concept of Skyscraper Index. He found that the height of buildings can not be used as accurate prediction of business cycle such as economic booming, but that GDP can predict the height of building construction,’ Filipa explained while pouring coffee to

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the cups. ‘Once the GDP reached the peak, there would be a skyscraper constructed. The GDP would then have an immediate drop. Nevertheless, it is true that in these 15 years, the growth of economy in Macau has increased drastically.’

‘Yes I think so. Frankly speaking, Macau is too small to build vertical. It has to expand sideways.’

‘Some cities in Europe, like Barcelona, are good examples that support mass transit and walkable neighbourhoods, but at the same time achieving densities without skyscrapers. These cities represent the meritorious urbanity, commonly known as ‘low rise, high density’, championed by the design and planning fields.’

‘Low rise, high density?’ I wondered.

Filipa leaded me to her seat and showed me a Domus Magazine published in 2013.

Low Rise High Density GRETA HANSON

At New York’s Center for Architecture, a housing typology at the periphery becomes the focal point of an exhibition rethinking how we live in cities.

The low-rise high-density housing model is all around us, but rarely is it at the center of attention for architects. What is it? In the words of an eponymous exhibition recently opened at New York’s Center for Architecture, low-rise high-density is “dense enough to support public transportation, yet low enough to avoid dependence on elevators.”

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……… and California architect Michael Pyatok. Pyatokm who euphemisms “density” as “coziness”, explained the economic factors influencing LRHD, the relationship of land cost to the convergence of lower construction cost and the economic advantages of dense living. He believes that “the secret is to find ways of charming the public into feeling like there is still some DNA of their past” in a housing type that for economic reasons will be built regardless. ………

While walking back to my seat, feeling mthe watch ticking delicately, I had a clearer image of how Macau changed over time.

Density, particularly vertical density, should obviously be planned at the locus of existing transportation. Or in the case of Macau, it did in reverse way, introducing the light rail transit running all over Macau including the old districts and new developing areas.

From Casino Lisboa to Macau Tower, not only it showed the changing economically, but also represented Macau had taken a step to enable greater diversity in the size and shape of future development.

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Macau: New

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ing

ungee Jump

rd Set for B

World Reco

C H A P T E R

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The Man with Grey Suit Footsteps sounded up to the studio and sluggishly moved inside the concrete flooring room. In the distance, in between the obscure glass, a man with grey suit was inside, steadily checking his phone. It was the first time he visited and it caused a silent ripple to the studio. Miguel waved me to join the meeting.

Despite the fact that he looked like my age, the exquisitely cut tux and well-fitted lines around his waist, and the wellgroomed beard with slicked back hair made him appear mature and successful. He had a familiar face which I could not recall.

‘Nino, this is Cecilia. She will be joining our team for this project,’ introduced Claudia.

‘Good to see you again,’ said Nino.

It was the Nino I knew. We lost contact when Nino left Macau 15 years ago. His family were one of the majorities that emigrated before the year of handover. Moving to the United States did not stop the family from running hotels in Macau. Therefore, Nino was grown up living in hotel rooms and joked that he treasured traditional brass keys instead of key cards.

Memories still echoed faintly in my mind as the meeting started.

‘My idea is to build a casino there, but at the same time I miss the culture of Macau. I do not want to wipe it away as if it never happened,’ said Nino.

‘Finally there is one developer who genuinely cares about culture!’ said Miguel with a sincere smile.

Nino nodded passionately. ‘Father has a biggest wish of building casino. At the same time, I would really like to promote

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the culture of Macau. This is where I am from. Therefore I am here to seek for balance.’

‘Do you have any idea about the casino?’ asked Claudia.

‘I used to live in Flatiron district in New York. I have this thought every time when I passed by Central Park. The idea of the park is to interfere as little as possible but to develop a landscape effect.

It can be read as an operation of preservation by designers, because everything inside is artificial. Its trees are transplanted, its accidents are engineered, its incidents are supported by an invisible infrastructure that controls their assembly. It is a planned informality. Don’t get me wrong. I love that park, but I’d rather have an authentic informality.’

‘Authentic informality,’ Claudia turned up the volume of the airconditioner while repeating. ‘Macau is now indulging appreciation of art, music, drama, dance and cooking. It attains the Portuguese culture, that cultural activities revolve among locals and it has been growing rapidly.’

‘I cherish that, I really do,’ emphasised Nino.

‘We all do. Sometimes culture advanced too quickly to be frozen in historicist styles. I practiced in Tokyo for a couple of years. The most interesting thing about Japanese architects is that they understand buildings would not last long. Hence, they tried to adapt the projects to the surroundings by many means in order to let building learn from neighbourhood and becomes an urban asset for each successful generation. What it matters is the soft introspections, instead of the hard substances.’

‘Perhaps we can apply it to our site,’ Miguel adjusted his round golden-framed glasses. ‘By that I do not mean only architectural

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styles. That would be too superficial. I mean we can adapt the cultural activities and happenings around.’

‘Why not?’ Nino expressed with enthusiasm. ‘Not only we can build a casino, but also introducing cultural activities to grow, or even dwellings. I am excited to retain Macau culture.’

‘Lets take a look,’ Miguel rolled out the site plan and started to highlight important analysis. It was the plan of former Lec Long Firecracker Factory.

The 20,000 square metre land situated in Taipa Island, where was characterised by the main firecracker economic activities in the 1970s. During that period, there were other similar firecracker factories scattered around the island and Lec Long was one of the major companies. Surrounding the site were Chinese temples, a catholic church, a catholic primary and secondary school, an elderly centre, museum, residential buildings and Taipa Village.

Surroundings in 1986: NORTH - Undeveloped WEST - Taipa Village built in 1845 SOUTH - Portuguese matrix built in 1921 EAST - The Temple of Sam Po built in 1845 Surroundings in 2014: NORTH - Mainly residential buildings WEST - Taipa Village SOUTH - Renovated as Taipa Houses Museum since 1999 - Cotai Strip with casinos since 2005 EAST - The Temple of Sam Po built in 1845

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E P I L O G U E

Redesign Lec Long July 18 2017 ‘It acts as a commentary between traditional and modernity, old and new, money and culture. This is the concept,’ explained Claudia, in front of press and locals. She was giving a speech at the opening of the cultural and gambling complex. As the sunlight shyly hidden, she gazed down into the crowd and continued.

‘These elements are always seen as black and white. That is not true. We believe that they can coexist. Hence, this building focuses on the relationships between gambling and community activities. We are constantly driven by commerce and technology.

Economy will always move faster than culture and art. Because of that, economy innovates and generates while culture and art stabilise. The intention of this complex is to observe in a time length, instead of just one point.’

‘These are the layers happening here right now,’ added Claudia. ‘We are interacting at this open area, while people are gambling above us.’

As the crowd looked up to the building, light subtly penetrated through the semi transparent glass, while trees slowly casted shadow on the building. Wondering what was behind this lantern, Robert waved to his friend on the balcony.

‘The modernity and bigness of gambling area makes a contrast to traditional huts. There are cooking and market huts.

As well as studios, study rooms and exhibition halls. We hope you enjoy this piece of architecture, and may it remind us that the culture of Macau is always the core value. Thank you.’

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references C H A P T E R

O N E

5 Pataca The Macau pataca is the currency of Macau. The abbreviation MOP$ is commonly used. The pataca was introduced in Portuguese Macau and Portuguese Timor in the year 1894, but only as a unit of account. The unit initially corresponded to the Mexican dollar, and it replaced the Portuguese real. The name pataca derives from the fact that the Portuguese always referred to the Mexican dollar as Pataca Mexicana. Coins were not issued for use in Macau until 1952, with the 20 cent coin of Canton Province circulating, In 1971, a final silver of 5 patacas was produced. Until 2015, USD$1 equalled to MOP$7.98.

Hac Sa Beach Hac Sa is located on the southeast side of Coloane Island with its translation from Cantonese, literally means the black sand. Due to recent typhoons, the beach has faced an erosion, leading to large scale cliff collapsed. The damage is most obvious outside the leisure area, at almost double the size of a basketball field. In order to prevent the beach from disappearing, Macau government has refilled the beach with yellow sand artificially.

Late 1930s Fishing was the dominant economic activity in Macau in 1920s. Over 70% of Macau’s residents were engaged in fishing. At the same time, other businesses started to develop, such as matches and firecrackers productions, incense and fishingboat building. The gambling business also first legalised in the 19th century and the first casino monopoly was in 1937. Due to the increase revenue of the Government, Macau started to develop other business. In the 1970s, Macau had a rapid development in its manufacturing sector. With its low-cost operating environment and surplus quotas, many Hong Kong industries moved to Macau and established textile and garment manufacturing bases in Macau. In 1980s, the manufacturing sector accounted for about 40% of Macau’s GDP while textile and garments accounted for about 90% of Macau’s total visible exports. However, the manufacturing sector has experienced a decline in the early 1990s due to rising labour costs relative to mainland China and Southeast Asia.

Portuguese Pavement Portuguese pavement is a traditional style pavement used for all pedestrian areas in Portugal, while it can also be found in Olivenca in Spain, and throughout old Portuguese colonies, such as Brazil and Macau. Portuguese workers are also hired for this skill to create these pavements in places such as Gibraltar. Being usually used in sidewalks, it is in squares and atrium this art finds its deepest expression. One of the most distinctive issues of this paving technique is the image by using black and white stones of basalt and limestone. Very few workers will admit to enjoying this labour since it requires long hours working with a laying position with low wages. The method of protecting the paving has a high cost.

Grand Lisboa The location was a former football pitch. In 2005, it was rebuilt as the 261-metre casino and hotel in Macau, owned

by Sociedade de Truism e Diversoes de Macau and was opened in 2007. The casino offers 800 mass gaming tables and 1000

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slot machines. The hotel contains 430 hotel rooms and suites. Grand Lisboa is the tallest building in Macau and is the first in Macau to offer Texas hold’em poker ring games.

Casino Lisboa In 1962, the government granted the Sociedade de Turismo e Diversoes de Macau (STDM) monopoly rights to all forms of gambling. The owner, Stanley Ho, introduced western-style games and modernised the marine transport between Macau and Hong Kong, bringing millions of gamblers from Hong Kong every year. Casino Lisboa was the first complex from the company.

The 12-storey casino and hotel was built in 1970. Its round building design imitated the design of a bird cage, meaning to ‘trap’ money from gamblers in Fung Shui. The round circulation was also famous for prostitution. It was then later named as ‘Runway’.

Due to the increasing gamblers and tourists, a 270-room extension was added in 1991. In 2010, another extension was added connecting Casino Lisboa with Grand Lisboa. The whole hotel Lisboa has 2362 rooms now.

Chinese Restaurant Yum cha is a southern Chinese style morning or afternoon tea, which involves drinking Chinese tea and eating dim sum small dishes. There are various ways in which the food can be served. Staffs will commonly wheel around heated trolleys serving small dishes that have been prepared in advance in the kitchen. This manner allows customers receive hot and fresh items quickly. Yum cha in Cantonese literally means drink tea, whilst dim sum can be cooked by steaming and frying, among other methods. The eating utensils include chopsticks, a bowl, a teacup and toothpicks.

Six Casino Operating Concessions Until 2002, Macau government ended the monopoly system and this was another major year to Macau. The casino operating concessions was distributed to three different companies: STDM, Wynn Resorts and Las Vegas Sands. However, in 2007, it was redistributed again to six casino operating concessions, which include the addition of Galaxy Entertainment Group, MGM Mirage and Melco Crown Entertainment.

Cotai Strip Cotai Strip is a term coined by Las Vegas Sands Corporation with regard to its building of a strip of hotels and casinos in the Cotai section of Macau. The name Cotai comes from combining the two islands, Taipa and Coloane. The reclaimed land is part of the Macau government’s continuous efforts to expand the region’s territory. It is mainly used for casino developments and Las Vegas Sands Corporation. By 2012, there are total six casinos built on the strip, which include Grand Waldo Hotel (2006), The Venetian Macao (2007), Four Seasons Macau (2008), City of Dreams (2009), Galaxy Macau Resort (2011) and Sands Cotai Central (2012).

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Cultural Activities Architecture in Macau

C H A P T E R

T W O

Ruins of St. Paul The Ruins of St. Paul’s refer to the facade of what was originally the Church of Mater Dei built in 1602-1640 and the ruins of St. Paul’s College, which stood adjacent to the Church, both destroyed by fire in 1835. As a whole, the old Church of Mater Dei, St. Paul’s College and Mount Fortress were all Jesuit constructions and formed what can be perceived as the Macau’s “acropolis”. The facade of the Ruins of St. Paul’s is 25.5 metres high and is divided into five levels. It is mannerist in style carrying some distinctively oriental decorative motifs. The sculptured motifs of the facade include elements that integrate influences from all over the world. Nowadays, the facade of the Ruins of St. Paul’s functions symbolically as an altar to the city.

Manueline Architecture With the new-found wealth and confidence came a distinctly Portuguese version of Late Gothic architecture.

Named after King Manuel I (1495 - 1521), the Manueline style is characterised by a rich and often fantastical use of ornamentation, which the imagery of the sea is freely combined with both symbols of Christianity and of the newly discovered lands. Therefore, during the sixteenth century when Portuguese had high ego in discovering new land, every new cologne would have buildings with Manueline style. Although it did not continue much beyond, it created a religious atmosphere in which decorative excesses of Manueline style were replaced by Italian classicism.

Lec Long Firecracker Factory The old factory of firecrackers Lec Long extinct in 1970s. The original name of the factory is Fabrica de Panchoes Lec Long. It is now an enclosed garden with weeds, water channels and worn brick houses. It is one of the many firecracker factories scattered around Taipa but it was the only one located in the original core of the island. The factory premises covers approximately two hectares and separated from the street by a 6 metres high masonry wall. There are two significant big brick houses with other smaller ones surrounded. The orientation of the houses formed a square space in the entrance. The typology of the factory grounds are aligned by houses and partitioned by thick walls to act as a protective elements from explosion and fire. There are also tanks, drainage channels and small tanks near the houses. The Macau government is not the only owner of the property. Although the building is not part of the list of heritage protection, it is still under negotiation with the landowners.

Po Sing Firecracker Factory Po Sing in Macau made the original Peacock firecrackers and rockets. They stopped making firecrackers in the 1970’s when the U.S. restored relations with mainland China and crackers were much cheaper there. Po Sing was making their great rockets until the early 90’s though. In 1996, Po Sing factory was dilapidated, overgrown, and basically gone.

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It seems the mainland Chinese have resurrected the Peacock name, whether they bothered to get permission to do so or not. The current site of Po Sing became a residential development.

Make Money Macau’s economy is based largely on tourism. Other chief economic activities in Macau are export-geared textile and garment manufacturing, banking and other financial services. The clothing industry has provided about three quarters of export earnings, and the gaming, tourism and hospitality industry is estimated to contribute more than 50% of Macau’s GDP, and 70% of Macau government revenue. In 2005, the casino revenue of Macau even overtook that in Las Vegas. Over 95% of the visitors are Chinese nationals from the mainland and Hong Kong. Although Chinese nationals required visa to travel to Macau while each stay should not be longer than seven days, separate three months for each application, the tourist arrival is still increasing. In 2013, there was over 2,500,000 tourists visited Macau. Meanwhile, it brought approximately US$45 Billions revenue to the city the same year.

A Ma Temple A Ma Temple is one of the oldest and most famous Taoist temples in Macau. It was built in 1488 and was dedicated to Matsu, the goddess of seafarers and fisherman. Specially in the 1920s, when Macau was famous for its fishing industry, A Ma Temple had a lot of worshipers. The temple was well described in ancient Chinese texts, as well as represented in paintings, related to Macau. It was a tradition that every Chinese new year, worshipers and Macau citizens would light firecrackers in front of the temple, indicating a nice coming year. In 2005, the temple was inscribed in UNESCO World Heritage List.

Manufacturing In the 1970s, Macau had a rapid development in its manufacturing sector. With its low-cost operating environment and surplus quotas, many Hong Kong industries moved to Macau and established textile and garment manufacturing bases in Macau. In 1980s, the manufacturing sector accounted for about 40% of Macau’s GDP while textile and garments accounted for about 90% of Macau’s total visible exports. However, the manufacturing sector has experienced a decline in the early 1990s due to rising labour costs relative to mainland China and Southeast Asia. Nowadays, there are not much manufacturing factories in Macau.

Many companies would rather focus on import and export trading.

Macanese Macanese people are native-born Portuguese that originated in Macau since the 16th century. Most of them have Portuguese ancestry and speak both Portuguese and Cantonese. There are now approximately 8,000 Macanese living in Macau, while some of them are the already eighth generation living in Macau. It formed a community in this small territory. Macanese also preserves a distinctive Macanese cuisine, such as seasoning with bacalhau and Pato de cabedela.

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Cultural Activities Architecture in Macau

C H A P T E R

T H R E E

Traffic System Shuttle bus services are first introduced by the Venetian Casino in 2007. Until now, there are total 29 casinos provides the free shuttle bus services. It is also called as the fortune free shuttle buses by locals. The service connects all important boarders to casinos. There are connection points at the Outer Harbour Ferry Terminal (connecting among Hong Kong, Macau and Shenzhen), the Pac-On Ferry Terminal (connecting between Hong Kong and Macau), also the boarder gate between China and Macau. Before the introduction of free shuttle bus, the mean of transportation are buses and taxis. However, the provision of free shuttle bus did not decrease the demand of buses. There are still other areas that residents need buses as transport, especially the newly built residential area for new immigrants. Most of the buses are full of people and crowded all the time, mostly to the newly developed area. The Government at the same time could not raise the price of public transport too much, otherwise it may increase demand of free shuttle buses.

Guia Fortress Lighthouse The lighthouse was constructed between 1864 and 1865, the first western style lighthouse in east Asia or on the China coast. The lighthouse is 91 metres high and has a light visible for some 20 miles in clear weather conditions. The complex was built upon the highest point on Macau, Guia Hill. The lighthouse is now a tourist attraction. There are other casinos surrounded were built much more higher than the lighthouse, such as the Grand Lisboa with 261 metres tall,.

Guia Hill The Guia Fortress is a 17th century colonial military fort, chapel, and lighthouse complex. It is part of the UNESCO Historic Centre of Macau World Heritage Site. The fort and chapel were constructed between 1622 and 1638, after an unsuccessful attempt by the Netherlands to capture colonial Portuguese Macau from Portugal. In 1998, frescoes, a technique of mural painting executed upon freshly laid or wet line plaster, were uncovered in the chapel during routine conservation work, representing both western and Chinese themes.

Little Town Specialisation and diversification are a dilemma for small economies. On one hand, small economies that naturally possess a limited pool of resources tend to concentrate on a few types of production activity. To foster growth and development, they would heavily rely on imported resources and foreign markets, and as a result, are compelled to exhibit a high degree of openness or a large share of international trade in GDP. History Macau’s economy is based largely on tourism. Other chief economic activities in Macau are export-geared textile and garment manufacturing, banking and other financial services. The clothing industry has provided about three quarters of export

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earnings, and the gaming, tourism and hospitality industry is estimated to contribute more than 50% of Macau’s GDP, and 70% of Macau government revenue.

Four Languages As a former Portuguese colony, has been a Special Administrative Region of China since 1999, the official languages of Macau are Chinese and Portuguese. English plays an unofficial but highly prominent role. It is the medium of instruction at the University of Macau and at a number of secondary schools. Other schools use Cantonese as medium of instruction and there is one Portuguese-medium school. Trilingualism in Cantonese, Portuguese and English is just the beginning. The linguistic situation is further complicated by the diversity of Chinese and the importance of tourism industry. The version of Chinese that is local to Macau is Cantonese but Mandarin is gaining in importance. Written Chinese, too, comes in at least three varieties: traditional characters, simplified characters and pinyin.

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Cultural Activities Architecture in Macau

C H A P T E R

F O U R

New Reclaimed Land The Macau New Urban Zone is a 7.3 square kilometres piece of land currently under land reclamation in Macau. It is divided into 5 districts with imaginatively named Zone A, Zone B etc. Different zones would have different programmes.

Zone A will be the biggest zone, covering 128 hectares. It is meant to have public buildings, cultural and tourism facilities, commercial premises, housing and a waterfront promenade. Whereas Zone B is the only zone that has already been reclaimed. The next complex of courts of law and associated public buildings will be built. Zone C, D and E are meant principally for commercial and residential use.

Hong Kong-Zhuhai-Macau Bridge The Hong Kong-Zhuhai-Macau Bridge is an ongoing construction project which consists of a series bridges and tunnels that will connect Hong Kong, Macau and Zhuhai, three major cities on the Pearl River Delta in China. The proposed 50 km link is expected to cost US$10.7 billion. With its length, it would become one of the landmarks within the area. The bridge is due for completion in 2015 and will open in 2016. Gordon Wu first proposed the idea of the bridge in 1983.

Three Bridges Ponte Governador Nobre de Carbalho is the first bridge in Macau built in 1974, connecting Macau Peninsula and Taipa. In 1994, Ponte de Amizade was built to ease the traffic between the two islands. It was the longest bridge. While in 2004, the third bridge was built. Ponte de Sai Van is the first bridge with tunnel. It is the only one that serves during typhoon or heavy rain.

All bridges are toll free.

Nape Area Nape Area was the major land reclamation in Macau in the 1990s. It was a new urban zone for residential and commercial development. It was a continuity of the nearby finance centre. There is a park situated in the middle of the area, where commercial and residential towers are surrounding it. It has now developed into an area with museums, hotels, memorials and tourist attractions with local bars and clubs.

NAPE AREA IN 1995

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Cotai Strip Cotai Strip is a term coined by Las Vegas Sands Corporation with regard to its building of a strip of hotels and casinos in the Cotai section of Macau. The name Cotai comes from combining the two islands, Taipa and Coloane. The reclaimed land is part of the Macau government’s continuous efforts to expand the region’s territory. It is mainly used for casino developments and Las Vegas Sands Corporation. By 2012, there are total six casinos built on the strip, which include Grand Waldo Hotel (2006), The Venetian Macao (2007), Four Seasons Macau (2008), City of Dreams (2009), Galaxy Macau Resort (2011) and Sands Cotai Central (2012).

COTAI AREA IN 2010

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Cultural Activities Architecture in Macau

C H A P T E R

F I V E

Western Gambling Casino In casinos, table games are the most popular games. Examples are blackjack, roulette, baccarat, poker and craps. These games are played on a table and operated by one or more live dealers. In some places, live dealers are replaced by electronic hosts. Besides, there are also slot machines and computer-operating table games provided in nowadays casinos, so that to increase the varieties and interests.

Bird Cage Feng Shui is considered one of the most important elements when it comes to design buildings in traditional chinese perspective. In order to attract money and keep wealth inside, many casinos was designed with Feng Shui tips. For Casino Lisboa, it was designated as a bird cage, which symbolised that money was trapped inside the casino and representing wealth would stay inside.

Luck In Chinese tradition, there are a lot of things believed by some to be auspicious or inauspicious based on the Chinese word that sounds similar to, such as numbers and signs. The superstitious aspects grow out of the Cantonese culture. In numbers, number 6 and 8 are believed to be good luck. Hence, there are airlines and building floors assigned with eights. Whilst number 4 has a similar sound with the word death in Cantonese, some building floors do not have the fourth floor.

Macau Tower Macau Tower Convention and Entertainment Centre is a tower located in the Macau Peninsula. The tower measures 338m in height and has an observation deck with panoramic views, restaurants, theatres, shopping malls and the Skywalk, a walking tour around the outer rim at 300m high. At 233 metres, the Macau Tower provides bungee jumping. Besides being used for observation and entertainment, the tower is also used for telecommunications and broadcasting.

Bank of China Bank of China in Macau is the second tallest building in Macau at 38 floors with 163 metres tall, designed by P&T Architects and Engineers Limited in Hong Kong. The construction started in 1989 and completed in 1991. Besides the main headquarters of Bank of China, there are also other commercial companies and Government department in the building.

Skycraper Index The Skyscraper Index is a concept put forward by Andrew Lawrence, a property analyst, which showed that the world’s tallest buildings have risen on the eve of economic downturns. He started his paper, The Skyscraper Index: Faulty Towers based on comparison of historical data, primarily from the United States experience. Business cycles and skyscraper construction correlate in such a way that investment in skyscrapers peaks when cyclical growth is exhausted and the economy is ready for

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recession. The buildings may actually be completed after the onset of the recession or later, when another business cycle pulls the economy up, or even cancelled. Unlike earlier instances of similar reasoning, Lawrence used skyscraper projects as a predictor of economic crisis, not boom. However, other studies has found that the height of buildings can not be used to accurately predict recessions or other aspects of the business cycle, but that GDP can predict the height of building construction.

634m 333m

TOKYO 330m

170m

PYONGYANG 261m

163m

MACAU 1960

1970

1980

1990

2000

2010

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Central Park “To interfere as little as possible,” but on the other hand “to increase and develop landscape effects”; if Central Park can be read as an operation of preservation, it is, even more, a series of manipulations and transformations performed on the nature saved by its designers. Its lakes are artificial, its trees (trans)planted, its accidents engineered, its incidents supported by an invisible infrastructure that controls their assembly. A catalogue of natural elements is taken from its original context, reconstituted and compressed into a system of nature that makes the rectilinearity of the Mall no more formal than the planned informality of the Ramble. - Delirious New York Japanese Subdivurban refers to patterns that emerge when a suburb is subdivided after being swallowed in a wave of urbanisation. Okusawa, located about ten kilometres from Tokyo Station, was developed as Tokyo’s first suburb in the 1920s.

Like the Tamagawa Arable Land Administration Project and the development of Denenchofu in the early Showa Period, the area was designed to be a pleasant, shrubbery-lined residential area with systematic road maintenance. In recent years, however, as the plots have been subdivided after being inherited by successive generations and used for mini-development projects, large properties have been made into strips, and the greenery has largely disappeared. Houses from a variety of generations have continued to be reproduced without any special awareness of the necessary conditions for people’s lives in each era.

Taipa Village Taipa Village is one of the oldest area in Taipa. Since 1800s, it has been developed with residences. During the colonial period, houses with Portuguese architectural styles were built. Hence, the area was with Chinese temples and Portuguese architectural featured houses. Rua de Cunha, now known as Souvenir Street, is the first transformation from vehicle road to pedestrian street since 1951. It has been slowly developed from neighbourhood restaurants and shops, into a tourist attractions due to locals cuisine.

Temple of Sam Po Temple of Sam Po is a Taoism temple and was built in 1845. Sam Po was believed to be the third sister of the guardians of the sea and was worshiped by fisherman. It was built along the seashore but due to land reclamation, it is now situated in the middle of Taipa. The statue of Sam Po was placed inside a cave in earlier stage before being renovated into a temple.

A memorial stone was placed inside the temple for worshipers who donated money for the renovations. It is also believed that Temple of Sam Po was built by former pirates whom wanted to settle down. The temple marked their determination.

Taipa House Museum Taipa House Museum, known as Casas Museu da Taipa, is a museum complex consists of five houses displaying various art and exhibits. The houses were built in 1921 and were colonial residences. It was built for welloff Portuguese families living in Macau during the first half of the 20th century. The last house was restored in 1999

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and the same year, the museum was open to public. It is classified as one of the eight heritage in Macau. The whole complex includes the five houses, a catholic church, a library and a park. Besides, there used to be a piece of wetland in fron of the museum. However, due to the constant land reclamation, it had been destroyed since 1998. Until 2005, the library was renovated into government used building yet preserving the original structure and architectural features.

N

LEC LONG FIRECRACKER FACORY IN 1999

LEC LONG FIRECRACKER FACORY IN 2010

Taipa, Macau

Site Plan in 1999 1:5000 @ A3

Architectural Features Time Statistical Facts Daily Observations

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Cultural Activities Architecture in Macau

a n d

t h e n

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site analysis Lec Long Firecracker Factory closed in the 1990s. It has not been used since then. Thick masonry wall is surrounded the site due to previous safety reason of firecracker. There is only one main entrance with a 4m tall gate. Few walls are situated between huts for protection. There are total 23 huts in the place with various sizes. The smallest ones are the temples, which are only 1.75m x 2.5m. The others are mainly 2.5m x 4.5m with a height of 3.2m.

The larger ones are two storeys with size of 5.5m x 10.5m. Other than the hut, there is a pond and drainage for production of firecrackers and a significant four-square element near the main entrance. Within the 20 years, numerous trees have grown and created a jungle atmosphere.

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61

H O U S E

O N E

2.5m x 4.25m x 3.2m 2 sets

H O U S E

T W O

3.5m x 4.25m x 3.2m 1 set

H O U S E

T H R E E

2m x 3.25m x 3.2m 4 sets

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H O U S E

F O U R

5.5m x 10.5m x 5.2m 1 set

H O U S E

F I V E

5.5m x 8m x 5.2m 1 set

63

H O U S E

S I X

13.5m x 2.75m x 4.2m 1 set

H O U S E

S E V E N

5m x 5.5m x 4.2m 1 set

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H O U S E

E I G H T

4.25m x 6.75m x 3.2m 1 set

H O U S E

N I N E

3m x 4.75m x 2.7m 2 sets

H O U S E

T E N

3m x 7.5m x 3.2m 2 sets

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H O U S E

E L E V E N

3.5m x 4.5m x 2.7m 1 set

H O U S E

T W E L V E

2m x 1.75m x 2.3m 3 sets

H O U S E

T H I R T E E N 3.4m x 3.75m x 2.3m 1 set

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H O U S E

F O U R T E E N

2.5m x 4.25m x 3.2m 1 set

M A S O N R Y 0.5m x 3m

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W A L L

Cotai Strip Pedestrian built in 2010, linking to Cotai Strip, main area of casinos.

community analysis

Our Lady of Carmel Church Built in 1885 as a roman ca olic church. The belltower d not have a steeple.

Museum da Taipa Built in 1921 as residence of Macanese. It is now a museum.

Ka Sin Tong Built in 1900.

Sacred Docto to a certain g general sacr Piscinas Do Carmo Built in 1994 with inddor and outdoor swimming pools.

Temple of Sam Po Built in 1845. It was originally a cave with an idol placed inside. It is a Taoist temple.

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Community Analysis Site Community Analysis Drawing 101 24/06/15 Cecilia Lee/Lei

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Escola dom Joao Paulino Built in and started at 1895. It is one of the oldest catholic schools in Macau.

h athdoes

. The Emperor of tor is not confined god, but refers to red doctors.

Rua do Cunha A narrow pedestrian street with shops selling cakes and souvenirs. It is also known for the various Portuguese restaurants.

Casa dos Pinheriros da Taipa Elderly centre built in 1990s.

Based on the community and the adjacent buildings, there are several programs and spaces needed to be introduced to the site. Meanwhile, one must understand elements and sizes of these programs. Other than the programs, the dimensions and proportions of the streets and the locations of street signs are also crucial to have a better understanding of the surrounding areas. It can then determine the proportions needed when designing.

Besides, neighbourhoo is so diverse that there is a huge potential in forming a strong bonding. Next to the site, there are temples, elderly centre, residential buildings and restaurants.. While two street away, it is the renowned ‘Souvenir Street’. There are food shops and souvenir shops for tourists. On the hill, there ais a catholic church, a primary and secondary school, a post office and other government buildings. Behind the hill is a museum and a 15-minute walkway to Cotai Strip, the centre district of casinos.

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C H I N E S E

R E S T A U R A N T 20m x 15m x 3.5m

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C L A S S R O O M / S T U D Y 10m x 10m x 3.5m

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R O O M

P E R F O R M A N C E

A R E A

40m x 20m x 7.5m

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73

D I M E N I O N S

&

P R O P O R T I O N S O F

S T R E E T big plaza

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900mm wide street

500mm wide street

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L O C A T I O N S T R E E T

O F

S I G N S

in front of stores

in front of 3-storey buildings

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in front of big plazas

at parks or open areas

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casino analysis The number of towers in casinos changed from single tower to multiple towers and tended to have podiums as well from 1970s to 2010s. The programs inside casinos were no longer only gambling. There were also hotels, restaurants and shopping arcades. Not until 2007, the Venetian, the largest casino in the world, had introduced exhibition hall of the development, providing platform for performances, conventions and exhibitions.

Since then, the complex of casinos grew larger and had bigger footprints. There were performances worldwide to attract tourists.

Although gambling was still the main revenue, it was no longer the only program of complexes. It created a win-win situation for casino and shops. Casino developers even introduced shuttle buses, connecting the main spots of the city to and from casinos.

There were five elements when designing interior of casinos: lighting, colour, crowding, symmetry in layout and special clustering. In the 1970s, casino management implemented red lights with fast tempo music to encourage people to gamble faster.

There was also special scent that aroused more aggressive behaviour and as memories to encourage them to come back.

There was no window, or only high windows, to prevent glare and only allow diffused sunlight, while the repetitive and labyrinth layout made gamblers lost and focus on the game. However, these has changed over the years. Casinos nowadays tended to be more relaxed with glorious interior design. Gamblers would feel glamorous and rich inside the big and high ceiling space. This promoted the feeling of richness and invited people to gamble

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more. Meanwhile, the decoration shifted from mazed layout to playground design, so that it leaded to restoration and promoted pleasure rather than being trapped.

There are several regulations at casinos. Firstly, anyone under 18 years old is not allowed to enter any types of gambling area. Besides, it is also prohibited from any physical and visual connections. Secondly, there is one main dealer and a assistant dealer at each gambling table. If a casino opens 24 hours, there should be at least three shifts of staffs. Thirdly, gambling should be in tokens instead of currency, in order to prevent any inappropriate deals. Hence, a cashier must be placed near gambling areas. Moreover, gambling area should be consistent to keep the interest of gambling. Games should be gathered while clearly distinguish the varieties of it.

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AREA CHANGE

HEIGHT CHANGE

CASINO & HOTEL CASINO & HOTEL & OTHER FUNCTIONS

PODIUM & TOWERS

ONE BLOCK

MULTIPLE TOWERS

SINGLE TOWER

TYPOLOGY OF CASINOS

1970 2006

Casino Lisboa 65m Starworld 148m

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2007

Wynn Resorts 75m 2

The Venetian 225m MGM M 154

2008

Macau 4m

2009

Grand Casino L’Arc Casino 261m 217m

2010

City of Dreams 225m

2011

Galaxy Entertainment 227m

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2012

Sands Cotai 231m

W E S T E R N

G A M B L I N G

A R E A

50m x 20m x 6m

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83

E A S T E R N

G A M B L I N G

A R E A

20m x 15m x 3.5m

84

C A F E T E R I A / B A R 5m x 10m x 3.5m

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co-existing In order to create a place that can strive the balance between money and culture, I intended to introduce casino and a community centre together. Not only the programs include western gambling, but also eastern gambling, exhibitions, dining, monthly markets, barbecuing and other community activities. The major events in Macau, which is the Chinese New Year in February, Dragon Festival in May, Car Racing in November, would be encouraged to take place here as well to promote these festivals.

Adjacent school, elderly centre, museums and restaurants are welcome to participate, as for promotion of events and self promotions. Hopefully this would not only create a network in the neighbourhood, but also a network in Macau.

Being a former firecracker factory, the external walls became a significant feature. While countless trees has grew within the years, the factory has become a jungle-like place. Comparing the atmosphere with a typical interior casino design, it can be seen as the external masonry wall as the repetitive wall, trees as the repetitive columns, scattering formation of huts as the labyrinth layout. Since the external masonry wall is regarded as one of the most important features, it shall be kept, either as a whole or partially, throughout the process. Besides, the huts, a front square pavement and a pond should be preserved as a feature of the former firecracker factory.

The idea of this typology of casino, combining community and gambling, is to show how money and culture can coexist. The

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project would target on the relationships between gambling and community activities. Here is the list of strategies and relative spaces needed: MULTIFUCTION ROOMS

studios and study rooms

EXHIBITIONS

inddor & outdoor exhibition area

SCHOOL AND ELDERLY CEN- food and cooking area TRE FOOD BOOTH MONTHLY MARKET

market area

MINI CONCERT

performance area

DIM SUM AND DRINK TEA

chinese restaurant

SNACKS AND COFFEES

cafeteria and bar

WESTERN GAMBLING

gambling area

EASTERN GAMBLING

gambling area

FIRECRACKER AREA FOR

outdoor area without trees or

CHINESE NEW YEAR

obstacles

OTHER SUPPORTING

reception area

PROGRAMS

toilets

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transforming The main challenge of designing a community centre with a casino is that how these two programs connect with each other while obligating the basic requirements.

STAGE ONE Since there are four major existing huts shall be kept in the site, the idea started with intervening programs into these huts.

The programs shall be cultural-orianted and permanent to the site. Hence, the choices would be chinese restaurant, office or reception, exhibition hall and cafe. These programs shall not be changed in every scenarios. While there are temporary events and cultural activities revolving around. The concept then continues with building similar typology of huts around the site and inserts both community and casino programs. Since there are plenty of bushes and trees, it turns the site into a village and jungle-like environment. Due to the regulations of casinos, I intend to put gambling programs on the second floor while community activities on the ground floor. Bridges are added to connect huts on the second floor. Due to the privacy and security reasons, reflective glasses are used for gambling areas. Only gambling area can look out while people surrounded cannot see through the gambling space.

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STAGE TWO As mentioned above, the project would target on the relationships between gambling and community activities and how these two coexist. Simply placing programs on different floors and connecting them physically may not be enough. Therefore, I develop the bridge into a linear space. Not only it becomes a connection, but also space with programs, gambling activities.

It can be seen as a Gambling Bridge, while it is surrounded and connected by huts with cultural and community activities.

This Gambling Bridge creates a space underneath, that allows events happen. While all the community activities, inside or outside the huts, are facing towards this space, it becomes the most important space of the site.

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STAGE THREE Instead of making one linear gambling space while the main journey purely focusing on gambling, I developed it into two linear space without the curve. The two linear spaces would be main gambling area and higher bet gambling area with VIP rooms.

As the two “lines” go further apart, the interaction between gambling activities and cultural activities would increase, while an amphitheatre would be placed between them. Huts under the “lines” would be cultural activities, while some may link up physically to the gambling area. Some may allow visual connection from the gambling space. The roof of some huts would be balconies of the gambling area, providing a viewing platform towards the neighbourhood, the amphitheatre and the site.

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STAGE FOUR The two linear spaces are now developed into a circular space with infinite path, like gambling. Some space inside the casino would be wider to provide larger space for gambling. The balconies are now connected as well, instead of individual hut balcony. The bigness of the casino makes a large impact towards the huts below, as well as the surrounding. As if the community wants to grow and preserve local culture, however, the massive impact of casinos and economy hinder its continuity.

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onwards Huts from firecracker factories are all kept and act as a museum and memorial of the changing of Macau. They are intervened into different cultural and community programs, organising by neighbourhood. Meanwhile, a megastructure is implanted on top of these huts, overlapping and acted as a shelter for market area. The facade facing towards streets and neighbourhood would be opaque and dark in colour, while the inner courtyard of the structure has semi-transparent glass, allowing visual connection from the gambling area and huts below. From far, it can be seen as the core is the soften and blending part of traditional and modernity, old and new, money and culture. Escalators are connecting between huts and megastructure, considering it as cultural area and gambling area.

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M A R K E T

&

G A M B L I N G

A R E A

open area intervention

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Market Area

open area intervention Drawing 501 24/06/15 Cecilia Lee/Lei

Baccarat Table

Slot Machine

Vivid Carpet of Casino

Large Market Booth

Small Market Booth

C O O K I N G

H U T

house ten intervention

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Cooking Hut

house ten intervention Drawing 502 24/06/15 Cecilia Lee/Lei

Concrete Wall and Floor

Indoor Cooking

Outdoor Cooking

C A F E T E R I A house seven intervention

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Cafeteria

house seven intervention Drawing 503 24/06/15 Cecilia Lee/Lei

Indoor Cafe Area

Outdoor Cafe Area

Street Sign

Existing Wood Structure

C H I N E S E

R E S T A U R A N T house five intervention

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Chinese Restaurant house five intervention Drawing 504 24/06/15 Cecilia Lee/Lei

Interior Wallpaper

Interior Carpet

Dining Utensils

Dim Sum

E X H I B I T I O N

H A L L

house four intervention

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Exhibition Hall house four intervention Drawing 505 24/06/15 Cecilia Lee/Lei

Indoor Painting Exhibition

Indoor Large Exhibition

Outdoor Exhibition

Former Main Entrance

u, Then & Now, and Then

nar Hartmann Studio y of Applied Science Architecture

owards staircase

T E M P L E temple facing staircase

Temple 1.5m

Temple 1.5m x 1.5m x 2.55m

u, Then & Now, and Then

nar Hartmann Studio y of Applied Science Architecture

water

T E M P L E temple next to water

Temple 1.75m

Casino Entra

Temple 1.75m x 2m x 2.35m

Casino Entrance

w, and Then

T E M P L E temple surrounded by walls

Temple 1.65m x 2m x 2.55m

Temple 1.65m x 2m x 2.55m

A A10

A2

A2

A1

A9 a

A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11

Market Hut Cooking Hut Cafeteria Chinese Restaurant Exhibition Hut Study Hut Classroom Dancing Studio Reception and Office Temple Viewing Hut

0m

10m

20m

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Ground Floor Plan 1:200 @ A1 Drawing 402 24/06/15

Cecilia Lee/Lei

a

A6 A11 A6 A5 A7

A5

A6

A4

A5

A10 A3

A9

A8

A10

B3

B1

a

B1 B2 B3 B4

Gambling Area Cashier and Office Bar Higher Betting Area

0m

10m

20m

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

First Floor Plan 1:200 @ A1 Drawing 403 24/06/15

Cecilia Lee/Lei

a

B4

B2

18.0m

7.5m

0m

10m

20m

Macau, Then & Now, and Then Redesign - Gunnar Hartmann Studio Anhalt University of Applied Science Master of Arts, Architecture

Section aa 1:200 @ A1 Drawing 404 24/06/15

Cecilia Lee/Lei

Macau, Then & Now, and Then

www.cecilialei.com