The subtle essence of Macau resides in its memories of more than 450 years, a place that was not just the Encounter of Europe's Westernmost country with the great Cathay. Macau was to become, to the attentive observer, an authentic crossroads of different cultures, a stage where all fictions are legitimate, from India to Malacca to Ayuthaiya and to Japan.
Here the Past represents an early form of globalization that is to be deciphered in its silent subtlety.

What characterizes the East is the space between Garment and the body. This was once common in East and West.

Apart from this distinct characterization of a shape that hides the body providing a larger image, clothing was consistently adorned by symbols, mainly the five clawed dragon for the Emperor. This type of clothing provided also for the iconographic symbol of power that would later be deciphered as such.

The main difference in the West resides in the shaping of the clothing being close to the body for the nobleman or King while the statesman would keep a wide robe.

 Louis XIV and Napoleon's portrait as emperor clearly emulate the wide shaped overall look that both Religious and Temporal power were invested of.

This was also clearly adopted in subliminal ways by the film industry to magnify the importance of the hero, by always providing a cape or a long coat as can be seen below.

Bruno Zevi would later write about the tie in one of his essays on architecture.

　

We are therefore dwelling in the world of significants from where I intend to develop my design concept under a hierarchical and symbolic order.

Concept by  - ARS CIVES