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At the event, the exhibitions Her Bloom: A Digital Cultural Heritage Exhibition on Luoyang, the Divine Capital and the Indonesian leg of Emerging Forces, Boundless Horizons: A Global Touring Exhibition Series Featuring Young Chinese Artists officially opened. The event also launched a China–Indonesia media organization, FAST Media Alliance, the Indonesian broadcast of the micro-drama Her Bloom, and the China–Indonesia Visual Project—Nanyang Film Festival, among other collaborative initiatives.

In her remarks, Anindita Kusuma Listya, Special Advisor to the Minister of Culture for Cultural Diplomacy and Cultural Industries at Ministry of Culture of Indonesia, expressed her strong appreciation for the event’s focus on youth connectivity, digital innovation, and media co-creation. She noted that Indonesia has consistently attached great importance to cultural exchanges and cooperation with China, encouraging young people, arts professionals, media organizations, and cultural and creative enterprises from both countries to engage in regular, in-depth, and multidimensional collaboration. As nations with diverse civilizations, Indonesia and China enjoy vast potential for cooperation and closely aligned development needs in cultural heritage preservation, digital cultural and creative industries, film and television production, and youth innovation.

Wang Siping, Counsellor at the Chinese Embassy in Indonesia, said in his remarks that cultural exchanges and cooperation between China and Indonesia have yielded fruitful results in recent years, while people-to-people exchanges have continued to gain momentum. He expressed the hope that young people from both countries would engage more frequently and that more events such as “Boundless Creativity, Connecting Youth” would be organized and widely attended. China is ready to pursue more cooperation with Indonesia and share more opportunities. China also stands ready to work hand in hand with Indonesia to cultivate the fertile ground of people-to-people exchanges, expand channels for youth engagement, strengthen the “people-to-people pillar” of bilateral relations, and advance the high-quality building of a China–Indonesia community with a shared future.

Al Busyra Basnur, Chairman of the Indonesia–China Friendship Association, noted in his remarks that both China and Indonesia possess abundant pools of young talent. Cooperation among outstanding young people from the two countries, he said, will not only deepen bilateral relations but also inject fresh momentum into regional prosperity, technological progress, and the building of a more peaceful and closely connected world. He expressed his hope of holding in-depth discussions with all parties during the subsequent activities on such issues as advancing China–Indonesia relations, talent development, and educational exchanges, with a view to identifying practical avenues for cooperation.

Arianto Surojo, Consul General of Indonesia in Guangzhou, said that the event was innovative in concept and far-reaching in significance, providing a high-level platform for cultural exchanges between Indonesia and China in the new era. Youth-oriented, digital, and innovative forms of exchange such as this, he noted, enable people—especially young people—in both countries to gain a more direct understanding of one another and forge deeper connections. They also help elevate cultural exchanges between Indonesia and China from the superficial to the substantive, enriching the content of bilateral people-to-people cooperation. “When young people thrive, nations thrive; when young people are strong, nations are strong,” he said. “Let us embrace the spirit of exploration and innovation and jointly write a new chapter in the friendship between our two countries.”

Li Mian, Deputy President of CICC, said that CICC has long worked with media organizations in Southeast Asia to promote cultural exchanges. Over the years, CICC has actively advanced audiovisual cooperation with mainstream media outlets in Indonesia and elsewhere in Southeast Asia through the television program UPanda Cinema. Through this event, CICC has launched such collaborative projects as the China–Indonesia media organization, FAST Media Alliance, the broadcast of the micro-drama Her Bloom, and the China–Indonesia Visual Project. These initiatives aim to tell the story of China–Indonesia friendship, share digital technologies and high-quality resources, and promote deeper, more substantive cooperation between the two countries.

Atika Suri, Editor-in-Chief of Indonesia’s GARUDA TV, said that the event, focusing on youth exchange and cultural empowerment, carried out a rich array of activities, including digital cultural heritage exhibitions, joint visual exhibitions, and touring exhibitions of young artists. It not only carries forward the traditional friendship between Indonesia and China, she said, but also represents an active exploration of new models and pathways for people-to-people cooperation in the new era.

Li Jing, Vice President of Coocaa, a Skyworth Group company, and CEO of Coolita, said that emerging technologies such as artificial intelligence, smart television, and FAST are driving the global media industry into a new digital era, creating fresh opportunities for cultural communication and international media cooperation. During the event, Coolita and CICC jointly launched the China–Indonesia media organization, FAST Media Alliance. Going forward, they will work with Indonesian media organizations and partners such as Tencent Cloud to explore innovative models in artificial intelligence, FAST, and digital content distribution; drive the digital transformation of traditional media; and promote innovation in the digital cultural industries of both countries.

The event also featured themed roundtable discussions bringing together esteemed institutions and figures. Participants included China National Archives of Publications and Culture, Tencent Cloud, “Honor of Kings”, the acting head of the Institute of Social Sciences and Humanities (ISSH) at Indonesia’s National Research and Innovation Agency, the University of Indonesia, LSPR Institute of Communication and Business, the Jakarta Film Commission, the renowned game studio Anantarupa Studios, and the visual creative studio Mono Studio. They were joined by Indonesian contemporary painting master Sidik Martowidjojo (Ma Yongqiang) and Chinese young artist Ren Zhe.

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The proposed allocation is expected to exceed NT$1.1 trillion, or roughly US$34 billion, when broader defence-related spending is included. The package is due to be unveiled on August 20 and will cover the armed forces as well as expenditure linked to the coast guard, veterans and special military programmes.

The increase would maintain Taiwan’s defence expenditure above 3 per cent of gross domestic product, extending a shift towards substantially higher military budgets under President Lai Ching-te. Taipei has been expanding funding for weapons, ammunition, drones, missile systems, naval platforms and military infrastructure as China strengthens its forces across the Taiwan Strait.

Taiwan’s 2026 defence expenditure calculated under a broader methodology covering coast guard spending and military pensions stands at NT$949.5 billion, equivalent to about 3.32 per cent of GDP. The Ministry of National Defence’s own allocation is NT$806 billion, NT$161.1 billion higher than the previous year.

Lai has set a longer-term objective of raising defence expenditure to 5 per cent of GDP by 2030, arguing that Taiwan must demonstrate greater capacity to defend itself while adapting to China’s rapid military expansion. The policy also responds to pressure from Washington for Taipei to shoulder a larger share of the cost of deterring an attack.

The spending expansion comes as Taiwan conducts its annual Han Kuang exercises, which this year involve large-scale simulations of invasion, blockade, cyber disruption and attacks on critical infrastructure. About 20,000 reservists have been mobilised as the military tests decentralised command, communications under disrupted conditions and stronger integration between civilian agencies and the armed forces.

Taiwan is placing greater emphasis on asymmetric capabilities designed to make a cross-strait assault costly. Drones, mobile missile launchers, sea-denial weapons and dispersed command systems have become important elements of planning. Military exercises have also incorporated lessons from conflicts in Ukraine and the Middle East, where inexpensive unmanned systems have demonstrated their ability to damage far more costly military assets.

The island is developing its domestic defence industry alongside purchases from the United States. Projects include locally built submarines, missiles and unmanned systems, while American arms orders include F-16V fighters, HIMARS rocket launchers, torpedoes and stand-off weapons. Some deliveries have been delayed because of production and supply-chain constraints, although parts of the HIMARS programme have moved ahead of schedule.

Political approval remains an important hurdle. Taiwan’s opposition-controlled legislature has challenged parts of Lai’s military programme and previously reduced or delayed special defence spending proposed by the administration. Lawmakers in May approved additional defence expenditure worth about US$25 billion, substantially below the amount originally sought by the government.

Those disputes are likely to shape scrutiny of the 2027 proposal once the cabinet sends the wider government budget to parliament. The administration argues that higher expenditure is necessary because military preparedness requires long-term procurement, stockpiling and infrastructure investment rather than emergency spending after a crisis emerges.

China claims Taiwan as part of its territory and has not ruled out the use of force to bring the democratically governed island under its control. Taipei rejects Beijing’s sovereignty claim. Chinese aircraft, naval vessels and coast guard ships operate regularly around Taiwan, while Beijing has repeatedly staged major exercises intended to demonstrate its ability to surround or blockade the island.

Beijing has also continued expanding its own military budget. China announced a 7 per cent increase in defence expenditure for 2026, taking officially declared spending to about US$283 billion, leaving a wide financial and numerical gap between the People’s Liberation Army and Taiwan’s forces.

By K Raveendran Mohan Bhagwat’s attempt to open a conversation with India’s younger generation carries significance precisely because such an intervention would hardly have been necessary if the political establishment were confident that the youth remained comfortably within its fold. The RSS chief’s argument that young people are neither misguided nor directionless, and that they […]

The article When Demographic Dividend Turns Into Powerful Political Dissent appeared first on Latest India news, analysis and reports on Newspack by India Press Agency).

Mentored by Industry Masters and Winner of the iF Design Award, Andrew Unlocks a New Paradigm for High-Net-Worth Residential and Diverse Commercial Spaces from an Eastern Aesthetic Perspective

HONG KONG SAR – Media OutReach Newswire – 7 August 2026 – As spatial aesthetics and lifestyle philosophies continue to converge across the Greater Bay Area, academic discourse and talent exchange within the interior design sectors of Hong Kong and Mainland China have reached a pivotal milestone. On the evening of July 3, the CIID Hong Kong Inaugural Gala Dinner, themed “AI x ESG,” took place at Lake House in Tai Po. During the event, the CIID Interior Architecture Design Exchange Center, one of the most authoritative academic bodies in China’s interior design industry, officially licensed the designation to “CIID Hong Kong,” marking the formal recognition of its official preparatory branch in Hong Kong by the headquarters.

At this grand gathering of industry luminaries, Mr. Andrew Lam, Founder of am PLUS DESIGNS, a premier Hong Kong interior design firm, was officially appointed Vice Chairman of the CIID Hong Kong Centre. This prestigious industry title serves as a resounding endorsement of Andrew’s years of deep cultivation in spatial design and his exceptional international vision. Moving forward, he will work side by side with industry titans—including Mr. Joey Ho, Chairman of the CIID Hong Kong, and Mr. Steve Leung, Honorary Advisor—to co-author a new chapter of integration and synergy for design forces in the Greater Bay Area.

Prestigious Lineage and Artisan Foundation: Refining Eastern Aesthetics Through Structural Space

The calibre of an outstanding designer is often defined at the inception of their career. Andrew began his journey from an exceptional vantage point, studying under Mr. Kenneth Ko, widely venerated as the “Father of Modern Chinese Interior Design.” Imbued with Ko’s design philosophy, Andrew developed a profound understanding of spatial essence: infusing physical architecture with human warmth while allowing functional utility and cultural depth to complement one another. His subsequent encounters with master designer Steve Leung on the professional CIID platform further bolstered his industry standing and provided enduring inspiration.

To explore the broader possibilities of serene Eastern aesthetics within a contemporary context, Andrew pursued advanced studies in Japan earlier in his career, training under prominent local practitioners. He continuously contemplated how to harmonize the grand inclusivity of traditional Chinese culture with the understated restraint of Japanese mono no aware and yugen. Within Hong Kong’s densely populated urban landscape, he set out to construct poetic sanctuaries where human warmth and architectural soul harmoniously coexist.

“Contemporary design is no longer about the ostentatious stacking of lavish materials; it is about providing a sanctuary for the mind, body, and soul within a space,” Andrew explains. In his practice, the spiritual essence of traditional Eastern architecture is distilled into serene, restrained structural space and quiet aesthetics. Unbound by the constraints of any single regional style, he returns to the philosophical core of “exquisite simplicity without excess.” Through capturing natural light and shadow, highlighting the raw authenticity of wood and stone, and utilizing minimalist lines, he sculpts an understated beauty rich in Eastern philosophy.

Andrew’s meticulous craftsmanship and pursuit of this design philosophy have earned him top-tier global acclaim. Designed by the am PLUS team, the “St Michel” residential project stood out among nearly 11,000 entries from 72 countries to win the prestigious German iF Design Award 2024 in the Residential Interior Design category. Known as the “Oscar of Design,” the iF Design Award is judged by a panel of 132 independent global design experts. Receiving this honor signifies that am PLUS’s design prowess, blending international aesthetic refinement with exceptional functional utility, has gained unanimous recognition from world-class peers. Furthermore, Andrew was named one of the “40 UNDER 40 Outstanding Contemporary Young Designers.” He has also garnered an array of esteemed accolades worldwide, including the U.S. MUSE Design Awards as Gold Winner and the Taiwan Good Design Award, solidifying his industry renown through proven expertise.

Spatial Algorithms and Spiritual Resonance: Expanding from Luxury Residences to B2B Commercial Spaces

Both Hong Kong and top-tier cities in Mainland China face the rigorous challenge of high-density urban land scarcity. Market research and industry insights indicate that the spatial demands of urban high-net-worth individuals have evolved from conventional sensory decoration to a dual pursuit of optimized functionality and spiritual sanctuary. Addressing this trend, Andrew translates Eastern wisdom into a sophisticated “spatial algorithm.” Regardless of space constraints, he adeptly dissolves physical boundaries using dynamic partitions and adaptable raised platforms.

In expansive luxury residences, this algorithm translates into fluid circulation layouts and magnificent spatial proportions. Recently, am PLUS successfully executed a four-story villa project exceeding 3,000 square feet on Mount Austin Road, Hong Kong. Andrew skillfully employed Eastern quiet luxury aesthetics, utilizing pure, serene materials and natural light play within a dynamic three-dimensional space to effortlessly express understated luxury. Visual short films documenting the project’s execution received widespread acclaim upon release. “Expansive spaces provide designers with a broader canvas for creation,” Andrew notes. He observes that many high-net-worth clients with refined taste resonate deeply with the quiet luxury of modern Eastern design, and he looks forward to leading his team in crafting more expansive living spaces that embody aesthetic depth and spiritual resonance.

Andrew’s design ambitions extend beyond luxury residential projects. Currently, am PLUS maintains a portfolio ratio of approximately 30% commercial and 70% residential. With the official launch of the CIID Hong Kong Center, Andrew plans to guide the firm through a strategic transformation, gradually shifting toward a balanced 50/50 ratio between commercial and residential domains.

“We aim to translate the meticulous planning and human-centric experiences accumulated from years in luxury residential design into B2B commercial spaces, including corporate offices, retail flagships, and boutique dining,” Andrew affirms. He firmly believes that experiential commercial design not only helps businesses reduce costs and boost efficiency but also transforms rigid commercial environments into inspiring hubs for personal creativity and emotional connection.

Compassion Fueling Creativity: Enriching Design through Human Warmth

In their daily routine, interior designers work with hard architectural materials such as steel, timber, stone, and paint. Beyond his demanding design and managerial duties, Andrew has long dedicated himself to social welfare, actively volunteering with charitable organizations such as “Social Seed (社企苗).” Serving as a compassionate guest instructor, he teaches engaging introductory science courses to primary school students. This warm, cross-disciplinary engagement, seemingly unrelated to high-end design, actually serves as a primary source of Andrew’s creative inspiration.

Andrew reflects thoughtfully: “Design should not be confined to cold blueprints. Only by possessing empathy, loving life, and observing the subtle nuances around us can we truly understand the implicit, unspoken spatial aspirations of our clients. Every time I feel the authentic pulse of society and exchange genuine glances with children, it refines my ‘sixth sense’—my intuition and inspiration. I want every design I create to carry warmth, serving as a meaningful contribution to life and living.”

With the establishment of the CIID Hong Kong Center, Andrew will assume his new role to lead am PLUS DESIGNS forward, continuously exploring and advancing the dual dimensions of contemporary Eastern quiet aesthetics and high-end humanistic spatial design.

Hashtag: #amplusdesigns #CIID #andrewlam #interiordesign

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About am PLUS DESIGNS

Founded in Hong Kong in 2014 by Andrew Lam, Vice Chairman of the CIID Hong Kong Interior Architecture Design Exchange Center, am PLUS DESIGNS is a premier interior design firm dedicated to delivering solutions that combine cutting-edge aesthetics, functional excellence, and sustainable development for high-net-worth individuals and corporate clients across Greater China. Its portfolio encompasses ultra-luxury residences, luxury penthouses, modern corporate spaces, retail flagships, and boutique dining establishments. By synthesizing contemporary Eastern quiet aesthetics with precise functional pragmatism, am PLUS has earned numerous international accolades, including the German iF Design Award.

Official Website: https://www.amplusdesigns.com/