抄録
This article examines the Ruins of St. Paul’s–Mount Fortress highground in Macao as a continuous heritage assemblage rather than as two isolated monuments. It focuses on spatial inscription, understood as the process through which historical meanings are embedded in public experience through topography, walking rhythm, visual framing, stopping points, and repeated spatial practice. Methodologically, the study combines repeated pedestrian transect surveys, topographic section analysis, field observation, photographic documentation, and dramaturgical interpretation. The analysis identifies a five-part spatial sequence consisting of the forecourt, stone steps, façade platform, ramp corridor, and Mount Fortress terrace. This sequence organizes a rhythm of ascent, pause, concealment, panoramic release, and retrospective viewing. Interpreted through the concepts of threshold, scene, backstage, and retrospective viewing, the highground transforms religious and military remains into a public theatre of urban memory. The findings suggest that sustainable heritage interpretation in dense historic cities should move beyond the preservation of architectural objects alone and attend to spatial relations, embodied movement, visual corridors, and public practices.
https://ror.org/04vrxqg89 
