Bamboo Opera Pavilion
João Palla Martins*
From where I live, one can see the bridge that will eventually connect Hong Kong to Zhuhai and then to Macau. It is still under construction but symbolizes the overall “infrastructures” that have been imported to the city. All has been imported to Macau and still is. Macau Electricity Company generates 8% of the region’s gross energy demand, while the other 92% is imported from China. Most of Macau’s water comes from the West River’s Modaomen Channel in Zhuhai City. All food supplies, construction materials and common goods are imported. Gambling is the city’s only industry, providing huge revenues but there is no alternative or diversified economy in the pipeline. Macau once had several industries: toys, garments, plastic flowers, fireworks, etc. Nowadays it is totally dependent on the outside and we believe that it is not a resilient city at all.
What does Macau have that we can be proud of?
Monuments such as churches, fortresses, temples and institutional buildings were acknowledged by UNESCO in 2005 as belonging to a list of recognized heritage. The current “Historical Centre of Macau” is governed by the existing safeguard legislation as well as UNESCO’s recommendations. However, in the last 10 years, a substantial number of buildings with singular features and interests have been demolished. While waiting for the final version of the Cultural Heritage Safeguarding Law (Law n.11/2013), applicable from March 1st 2014, several owners tore down potential historical buildings fearing rigidity in the new regulation. Also, the lack of planning for the historical neighborhoods have resulted in the decay of buildings in the hands of their owners and one can currently see several vacant plots amidst old areas. The Safeguard and Management Plan of the “Historical Centre” is yet to be issued as well as the new list of buildings to be classified. In the last 10 years, heritage has been a factor of a sheepish pride, sometimes convenient but a lot of the time being a thorn in the side where the government has been hardly trying to keep it safe from speculators in the absence of clear politics.
What has been left behind?
Old shops, teahouses, old neighborhoods and alleyways are some of the valuable constructed environments that have been left without any regulation for preservation or listing. It is of particular interest to understand the vernacular heritage, as expressed in the “Charter of Built Vernacular Heritage”, (ICOMOS, 1999). This document considers that traditional heritage or vernacular, “Is the fundamental expression of the culture of a community, of its relationship with its territory and, at the same time, the expression of the world’s cultural diversity (…).” This kind of built environment looks apparently irregular, but orderly. It has both utility and interest and beauty. “It is a continuing process including necessary changes and continuous adaptation as a response to social and environmental constraints”.
Vernacular Architecture is a built environment that belongs to its own region with some particular characteristics. In the past, local built settlements used to be handled by common people to create an intentionally and very defined type of dwelling and ultimately, a landscape. That, of course, would vary according to people´s beliefs or religion among other factors, which naturally embodies a sense of community. The knowledge of construction need-
ed to be shared to guarantee continuity and to ensure communities would grow following the same techniques and same type of dwelling, creating an indigenous pattern.
From left to right: “Casa de chá Long Va” Tea House, Travessa da Assunção
and Rua do Patane
There are other aspects that help define vernacular patterns such as topography, building sit, available construction materials or climate. Factors like defence from potential enemies or climate adaptation led to energy efficient and rainwater captive system shelters. Construction used to be a localised handcrafted activity embodying a secular knowledge as a legacy from father to son, meaning that building techniques, shapes and functionality have been constantly adapted to respond to aspects mentioned above, creating a high degree of performance, made with care and passion, to gain a strong personality. That is why we are likely to feel attracted to these habitats — as habitat is related to an organism where site and natural conditions help determine the settlement and distribution of communities.
In the present time, as it is being celebrated the 10th Anniversary of the Historic Centre of Macau as World Heritage, it is imperative to read the existing settlements in Macau that are not classified and in risk of demolition. We defend that those are not a random or casuistry set of buildings but the product of a determined action of the way of building in this unique territory. In fact, the Pátios or alleyways that comprise family dwellings are historical buildings based moreover on Chinese construction techniques (with load-bearing walls and wooden floors and roofs). These settlements, of only up to 20 have been identified by Wang Weijen and Cheong Cheok Kio in “Regenerating Pátio – Study of Macao’s Historical Urban Fabric,” should be seen as a whole so that it creates an environment of a remarkable regular succession of buildings facing an almost private street, where life among communities improved. Collapse or disappearance of each of the existing units is a loss for the configuration because it alters the value and pace of rhythm of the buildings, creating voids that hinder an understanding of the settlement.
Chinese Pharmacy “Farmácia Chinesa Hang Vo Tong”
Thus, the built environment being more than 100 years old is a testimony to a time and of an understanding of the territory and of man’s relationship with it, which is tied to the question of identity of the settlements, both on an intrinsic level and as for the general community in which it occurs.
In this regard, there seems to be no doubt that these Pátios constituted, until the recent past, a strong factor of identity related to the context in which they appeared; to the way of life for lower or middle-class where each Pátio constituted a self-sustained community and ultimately to the setting out and exceptional location of the dwellings.
Rua da Felicidade is one example of vernacular architecture that was under a renewal operation in 1997, however significant Pátios and streets south of Avenida Almeida Ribeiro and north of it, the so-called Chinese Bazar, belong to one of the first areas to be reclaimed in Macau between 1783 and 1881. These streets are characterized by small scale buildings, narrow streets and alleys. The Chinese city is adjacent to the Portuguese city located in an upper part, not having a physical separation besides the natural slope, living in harmony side by side. The linkage between both urban fabrics makes total sense if we consider the extension of pedestrian and car-free areas.
Vernacular refers to the understanding that in the recent past and present we can in our cities sort out urban fabrics, buildings and shops that are adapted and “transformed” to suit a determined way of living in order to look at the cultural understandings of our time. That is what Manuel Vicente and Manuel Graça Dias looked for in their book “Macau Glória” and again
From left to right: Pátio da Claridade, Pátio da Ilusãon and Pátio das Seis Casas
Manuel Vicente and Jerzy Wojtowicz had demonstrated in the book “Coloane Village Reader”. And if in the rural vernacular there was an evolution through time, here in an urban context we can eventually stand by an evolution too. However, current urban vernacular architecture is closer to poor urban communities or degraded areas over any other kind. Should the vulnerability of these communities and consequently its structures be stressed? Because of its historic value and fragility, it is urgent to read, analyze and consider its preservation, rehabilitation and integration in touristic routes.
Lastly, among various other cultural aspects, I especially consider having bamboo construction as a living legacy within this environment as important. The traditional technique of construction has served through centuries; it’s likely that bamboo has been used for Macau’s primeval lacustrine dwellings, and is still a practice for scaffolding and temporary theatres holding Chinese opera performances. Bamboo opera theaters celebrate Chinese divinities which have an association with the spiritual world and a feng shui relation with the temple right in front, the mountain after the temple and the water at the back holds meaning on a very high level. It’s part of Macau’s immaterial and material heritage which I agree should be taken care of with specific measures to integrate it as an added value as it represents tradition, identity and knowledge/expertise. Bamboo construction in Macau is a living cultural heritage and should be preserved as old techniques of building, but we should also look at this sustainable material for the present and future and invent modern day solutions the same way old communities did in their times.
The threats are numerous and typical to Asian cities given its fast development. So, the loss of such an environment would prove extensive and irrecoverable cultural damage.
Architects and cultural agents being part of the community ought to understand the needs and traditions that are embedded in a particular culture. Designing for the community takes after all the same roll and same spirit that some communities’ builders took to erect traditional houses. Designing vernacular has no recipe other than to follow, understand and improve culture, its knowledge and looking into the communities, having in consideration the spirit of the place.
The mission of safeguarding Macau’s heritage has to look and address all of these aspects in order to keep its values and identity for the generations to come.
* Architect and scholar
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