專題演講部分，大會邀請SB14會議主席Albert Cuchi，以及加拿大不列顛哥倫比亞大學教授Raymond Cole等2人，針對「建築面對全球環境的挑戰）」發表演說。演講者說明了全球環境變遷加劇，且越來越惡化，包含：生物多樣性逐年降低，可利用能源逐漸減少，以及全球氣候逐漸增溫的趨勢。區域性的問題則包含：水資源惡化（可利用的淡水資源逐漸減少），土地污染（如重金屬）或遭受其他因素破壞（氣候造成的沙漠化），還有一些可再生資源面臨極大的壓力等等。隨著全球人口逐漸增加，接下來人類建築即將面對的問題是「到了2050年，地球平均氣溫將上升2℃，要如何改善人類的居住品質，降低對環境的衝擊，將是永續建築要面對的課題之一」。
　　For the seminars, the President of World SB14 Conference Albert Cuchi and Prof. Raymond Cole from University of British Columbia presented speeches on the topic of “Building facing global environmental challenges”. The speakers explained how the global environment change is becoming exacerbated, including: loss of biodiversity every year, reduction of usable energy and global warming. Regional problems discussed include: deterioration of water resources (decreased usable fresh water resources), land pollution by heavy metal or damage by other factors (desertification due to climate change), as well as the tremendous pressure faced by renewable resources. With the increasing global population, the imminent problem faced by buildings is “By 2050, the building sector alone would emit all permitted global emissions to reach a 2℃ increase in world temperature, how to improve people’s quality of life while minimizing environmental impact will be one of the most daunting challenges encountered by sustainable buildings.”

　　在11:30~12:00中場休息時間，大會安排海報論文發表。下午的議程先進行36個場次的口頭論文發表，以及16:30~17:00間的海報論文發表。
　　During intermission between 11:30 and 12:00, a poster session was arranged. In the afternoon, 36 oral sessions were conducted and followed by a poster session during 16:30~17:00.

　　本日議程結束前，大會安排德國籍的聯合國環境發展署代表Arab Hoballah、西班牙行動生態學家聯合協調員Herrero Yayo、法國永續發展和國際關係研究所研究員Andreas Rudinger等3人，針對「超越評論：應用到建築部門的轉移觀點」發表相關論點。
　　Before the end of the meeting, German UNEP/DTIE representative Arab Hoballah, Spain’s Herrero Yayo from Co-coordinadora estatal de Ecologistas en Accion and Andreas Rudinger from Institute du Developpement Durable et Relations Internationales in France presented their arguments on the topic of “Beyond the critic: the transitional perspective applied to the building sector”.　

　　人文考察方面，部分團員利用下午時間前往蒙特尤克奧林匹克體育場（Estadi Olimpic de Montjuic）、西班牙民俗村（El Poble Espanyol）及米羅基金會（Fundacio Joan Miro）。蒙特尤克奧林匹克體育場由西班牙建築師Pere Domenech i Roura設計，做為1929年巴塞隆納世界博覽會的會場，後被選為1992年夏季奧林匹克運動會的主場館，並由義大利著名建築師Vittorio Gregotti參與的團隊於1989年至1992年間負責場館的現代化工程。完成後的觀眾席增至55,000個，其主席台為一個40米寬、130米長的大穹頂。1992年夏季奧林匹克運動會期間，場館舉辦開幕、閉幕儀式及田徑項目。西班牙民俗村是1929年為迎接世界博覽會而建立的，原規劃於會後拆除，後因非常受歡迎而保留下來。當時參與工程的建築師、設計師拜訪了西班牙以及葡萄牙南部共1,600個村落，為的就是選出最具代表性的建築，園區內共有114座單體建築，展示著西班牙各省份和城市最具特色的風俗民情。米羅與畢卡索、達利並列為加泰隆尼亞現代藝術的代表性人物，米羅基金會位於蒙錐克山（Montijuic），1975年開放，館藏近萬件，是蒐藏米羅作品最豐富的美術館，涵蓋繪畫、雕刻、紡織品、版畫、海報、素描等。此處也是當代藝術中心的總部，經常舉辦先鋒藝術家的展覽。
　　As far as cultural survey was concerned, some of the team members visited Estadi Olimpic de Montjuic, El Poble Espanyol and Fundacio Joan Miro in the afternoon. Estadi Olimpic de Montjuic was designed by Spanish architect Pere Domenech i Roura as the venue for the 1929 Barcelona International Exposition; it was later selected as the main stadium for the 1992 Olympic Games. Between 1989 and 1992, the stadium underwent modernization by renowned Italian architect Vittorio Gregotti; after completion, the seat capacity increased to 55,000, and there is a 40m wide, 130m long dome over the rostrum. The stadium hosted the opening/closing ceremonies and track and field events during the 1992 Olympic Games. El Poble Espanyol was built to welcome the 1929 International Exposition and was originally meant to be dismantled after the expo, it became so popular however that it was retained instead. Architects and designers involved in the project at the time visited 1,600 villages in Spain and southern Portugal to select the most iconic buildings. The park features 114 individual buildings demonstrating the most characteristic folk sentiments of different provinces and cities in Spain. Miro, Picasso and Dali are all iconic figures of Catalonian contemporary art. Inaugurated in 1975, Fundacio Joan Mirois is situated on Montijuic and houses a collection of nearly 10,000 artworks. The fine arts museum boasts the most comprehensive collection of Miro’s artworks ranging from paintings, sculptures, textile, wood prints, posters and sketches. This is also the epicenter of contemporary art often hosting exhibitions by avant-garde artists.