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Macau is the most densely populated territory in the world, a small but complex urban landscape populated by a myriad of informal devices that produce a dramatic impact on the image and use of the city, creating an ever-present layer shaped by use. The traditional fields of architectural and urban morphology base their analysis on the private and public space, on the forms of buildings, block, streets, and squares. However, the urban landscape is not only shaped top down by market forces, governments, institutional players, but also bottom-up by thousands of small scale interventions carried out daily by their inhabitants, to solve problems or seize opportunities, on the normal process of usage. This research summarizes an extensive analysis of Macau’s urban landscape focused on this layer of appropriation, aimed to identify these shapes generated by use or, in other words, the devices that materialize the phenomenon of appropriation of the public space. They can take the shape of window cages, rooftop houses, canopies, annexes, hawker booths, and outdoor ads. SHAPED BY USE Individual designs reshaping the city – is a typo morphological essay aimed to provide a methodological tool for the analysis of such phenomena, both in this and other similar urban contexts as well as a compelling starting point to speculate on how small scale individual designs can contribute to reactivate and be harnessed to positively reshape the city.
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This study covers the limited research on how experiences with nature can foster Chinese students’ pro-environmental identity and behavior. The relevant literature outlines five areas – identity, human behavior, experiences, nature and transformation – in understanding how the Chinese culture of ‘face’ (lain/mian) shapes Chinese students’ identity and behavior today and why experience with nature can help to transform Chinese students’ values, beliefs and norms, and shapes someone who manifests an environmentally sensitive behavior. Past research studies environmental behavior in various dimensions, including the correlation between environmental knowledge and positive environmental attitudes and behavior. Yet surveys of how students’ experience with nature fosters a pro-environmental identity and behavior, especially amongst Chinese students, are rare. The qualitative case study in this thesis seeks to find out whether senior students in the Design Department of IPM’s School of Arts who experienced nature in Southern Thailand show a stronger pro-environmental identity and behavior compared to those not in the experiential learning program. A survey which includes the Environmental Identity Survey (Clayton, 2003) and the Environmentally Responsible Behaviors Index (Smith-Sebasto & D’Acosta, 1995) was administered to all senior students, and an in-depth interview with students who had experience with nature in Southern Thailand was conducted. The findings suggest that a rainforest experience not merely fosters pro-environmental identity and behavior, but student all rounded development especially as a step towards internationalization. The findings also indicate to what extent the programmatic factors of the experience were important in changing Chinese students’ values, beliefs and norms in thinking and behaving environmentally, as well as in student personal development. Keywords: nature, experiential learning, pro-environmental identity, pro-environmental behavior
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The study builts on Bateman and Schmidt’s (2011) and Tseng’s (2009) research on film as a form of “cinematographic document,” and continues their efforts to construct a semiotic mode of film. The author recognizes the complexity of undertaking research in the domain of semiotic discourse. This study argues that as film analysis is about ways of seeing and synthesizing different cinematic styles, strategies; learnt cinematic conventions and reflective viewing is imperative. The interaction of robust multimodal resources, well-defined analytic units, based on dependable models, and conducted through a discursive process should align to produce fruitful filmic discourse. The study premised on the assumption that film is more than a “self-enclosed signification system” but a crucial “cultural practice” that “reflect and inflect culture.” Taken together, this view underscores the importance and interactivity of cinema, culture and society. To this end, the study contributes to filmic meaning making, the New Hong Kong Cinema, and finally, the present study invariably serves as a form of “social document” or “cultural artifacts” in its exploration of Hong Kong ever changing identity, culture and moods.
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