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Shanghai, ¿Surprise?: Cinco Actos En La Construcción De La Ciudad Del Patrimonio En China

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Shanghai, ¿Surprise?: Cinco Actos En La Construcción De La Ciudad Del Patrimonio En China SHANGHAI, ¿SURPRISE?: CINCO ACTOS EN LA CONSTRUCCIÓN DE LA CIUDAD DEL PATRIMONIO EN CHINA Plácido González Martínez INTRODUCCIÓN de promoción cultural, que con la apertura de los primeros Institutos Confucio en 2004 ha Ha pasado más de un cuarto de siglo desde que llevado a un aumento del soft power de la civi- Saskia Sassen (1991) señalase hacia Londres, lización china a nivel global (Rossiter, 2006). Tokio y Nueva York como nuevas ciudades Lejos de buscar rivalizar con la hegemonía an- globales, selecto grupo en el cual las grandes glosajona, su objetivo último era el cambio del metrópolis chinas buscan incluirse de acuer- sistema productivo, desde el sector industrial, do a su nuevo rol como motores del desarrollo hacia una nueva sociedad de servicios y a una económico mundial. Beijing, Shanghai, Shen- economía del conocimiento (Ren, Sun, 2012). zhen, Guangdong y Chengdu rivalizan a nivel nacional e internacional con el objetivo de po- El turismo y las industrias culturales sicionarse en este sentido (Yulong y Hammett, se han convertido en nuevos impulsores del 2002), gracias a los recursos que las autoridades desarrollo de lo que este artículo define como nacionales y locales ponen a su disposición, mo- ciudad del patrimonio; producto derivado de vilizando desde el planeamiento urbano a las la ciudad global, caracterizado por la inversión políticas culturales (Timberlake et al., 2014). en el capital cultural que ya definió Bordieu (1986). Una de sus manifestaciones más claras La entrada de China en la Organización reside en la confianza que la ciudad deposita en Mundial del Comercio en 2001 animó al gobier- el patrimonio urbano, y en su potencial para no nacional a poner en práctica un programa atraer visitantes y contribuir a la creación de - 95 - SHANGHAI, ¿SURPRISE?: CINCO ACTOS EN LA CONSTRUCCIÓN DE LA CIUDAD DEL PATRIMONIO EN CHINA una imagen global atractiva. En este sentido, Creativas de la UNESCO como ciudad del dise- las autoridades locales de ciudades como Bei- ño, red a la que se sumó Beijing en 2012 en los jing y Shanghai han insistido en sus perfiles mismos términos, promoviendo eventos rela- turísticos y creativos a nivel internacional con cionados con la creatividad a nivel global que el apoyo de instituciones como UNESCO, cuyo les ayuden a consolidar su creciente influencia. renombre internacional contribuye a legitimar el discurso oficial, definitivamente entendido En este escenario, el rol que juega el pa- como discurso patrimonial autorizado en los trimonio construido es cada vez más relevante términos planteados por Smith (2006). en términos económicos y políticos, hecho in- dicativo de la velocidad y envergadura a la que Sirva de muestra cómo Beijing cuenta acontecen los cambios en China. Tras décadas en la actualidad con siete lugares inscritos en de destrucción inmisericorde, la ciudad del pa- la Lista de Patrimonio Mundial (LPM), más trimonio manifiesta una salud envidiable en que cualquier otra ciudad en el mundo, y a China. El desarrollo económico no supone una la espera de confirmar la inclusión de su Eje amenaza para ella, sino que le sirve de alimen- Norte-Sur como octavo elemento, tras figurar to, subvirtiendo la tradicional actitud de resis- en la lista tentativa de UNESCO desde 2013. tencia de los preservacionistas. El patrimonio Shanghai aspira a situarse en esta competi- es clave en la génesis, vida y obsolescencia de la ción, a sabiendas de las limitaciones de sus ciudad actual, y lejos de anclarse en el pasado, recursos patrimoniales según los criterios de se ha convertido en una práctica contemporá- Valor Universal Extraordinario que aplican nea, auténticamente presente. para las inscripciones en la LPM. No obstante, desde 2015 el gobierno de Shanghai ha hecho El caso de Shanghai sirve para compro- públicos sus planes de inclusión de su tipolo- bar cómo su pasado moderno se reescribe para gía residencial colonial, el Shikumen,1 dentro asegurar el éxito comercial de tres pilares de la de la LPM. Siendo conocida la relación entre economía urbana como son la promoción in- UNESCO y las grandes corporaciones turísti- mobiliaria, el turismo y las nuevas industrias cas globales como Tripadvisor desde 2009, no creativas. Se trata de un proceso de reconstruc- es menos relevante el papel de UNESCO en la ción de su historia en tiempo real, que no plan- promoción de las industrias creativas. En ese tea grandes contradicciones con la producción sentido, es necesario destacar cómo Shanghai constante de narrativas en la historia moderna es miembro desde 2010 de la Red de Ciudades de China (Li, 2012), y explica su arrollador éxito reciente. Considerando a la ciudad del patrimo- 1 Significando literalmente ‘puerta enmarcada en piedra’, nio en China como un excepcional campo de en- la palabra shikumen se refiere al tipo residencial especula- tivo producido masivamente en la etapa colonial de Shang- sayos, la investigación sobre la nueva identidad hai, que se caracterizaba por la elaborada decoración de ‘moderna’, o ‘cosmopolita’ del caso específico de sus puertas de acceso, generalmente labradas en piedra. Shanghai alude a la formulación de un concepto El shikumen resulta de la combinación de la casa tradicio- nal china provista de patio y el modelo europeo de la casa enormemente elusivo en su dimensión urbana adosada o row house, alcanzando entre dos y cuatro plantas como es la autenticidad. Ésta ha cobrado auge de altura. - 96 - Plácido González Martínez en el marketing y el turismo desde el punto de de la ciudad en base a su adscripción a discursos vista de la experiencia personal, y su uso en el disciplinares o posthistóricos, separados por patrimonio plantea cuestiones de calado en- concepciones diametralmente diferentes de la tre las cuales se encuentra su vigencia actual memoria (García Vázquez, 2005). Transcurridos (Smith, 2006); la posibilidad de plantear la con- doce años, es evidente cómo la historia, la cultu- servación urbana desde un punto de vista expe- ra y la memoria ocupan un lugar cada vez más riencial (Guttormsen y Fageraas, 2011), o más central en las narrativas del desarrollo, al ser- allá, a qué grupos sociales ven privilegiada su vicio de la nueva economía urbana con efectos experiencia sobre el patrimonio, en detrimento notorios en la regeneración ambiental, si bien a de otros menos favorecidos (Silverman, 2015). costa de la desposesión de sectores enteros de la sociedad (Harvey, 1989). Los estudios urbanos Con el propósito de contribuir a este de- recientes han puesto de relieve este fenómeno, bate abierto, este artículo definirá en primer lu- atendiendo en especial al papel de la cultura en gar el concepto de ciudad del patrimonio como la recuperación económica y física de la obso- marco operativo para entender la relación de la lescencia urbana (Zukin, 2010), y revelando su memoria de la ciudad contemporánea con su fu- dimensión más oscura relacionada con la gentri- turo. A continuación, caracterizará a Shanghai ficación. En base a la creciente importancia de como ejemplo de este concepto, interpretando las industrias culturales, la llamada ‘ciudad pa- su cambio urbano a nivel espacial, histórico, trimonial’ es clave en la definición de políticas y cultural, económico y social. Por último, el ar- en el planeamiento, condicionando la forma y el tículo registrará la evolución del concepto de carácter de lo urbano (Fernández-Baca Casares, ciudad del patrimonio en Shanghai a la luz de 1996; Ashworth, 2011). iniciativas recientes que buscan la formulación de la identidad cosmopolita de Shanghai como La formulación de la ciudad del patrimo- metrópolis global. Las conclusiones del artícu- nio como marco conceptual surge de reevaluar lo valorarán la aportación de la memoria a la la dialéctica entre conservación y desarrollo, es- producción de arquitectura contemporánea en pecialmente considerando el efecto de la crisis Shanghai, y sus implicaciones sociales, econó- económica de 2008 y la ascendencia irrefrena- micas y culturales. ble del patrimonio y la memoria en la política, la cultura, la economía y la sociedad de la ciu- LA CIUDAD DEL PATRIMONIO COMO dad global. Cuando recomendaciones como la MARCO TEÓRICO CONTEMPORÁNEO del Paisaje Urbano Histórico de 2011 (UNESCO 2011; Bandarin y Van Oers, 2012), han estirado En su libro Ciudad Hojaldre (2005), Carlos García el potencial de la producción de patrimonio en Vázquez desarrolló un marco de referencia para el medio construido hasta sus últimos límites, la interpretación de los variados fenómenos que la ciudad del patrimonio se convierte en una actualmente concurren en el modelado de la ciu- nueva categoría para caracterizar los efectos de dad global. De manera efectiva, García Vázquez la ‘patrimonialización’. Entre ellos, la evolución atendió al efecto físico de la cultura en el cuerpo de la modernidad hacia la globalización a través - 97 - SHANGHAI, ¿SURPRISE?: CINCO ACTOS EN LA CONSTRUCCIÓN DE LA CIUDAD DEL PATRIMONIO EN CHINA del abandono de sus aspiraciones universalis- (D’Eramo, 2014). Lejos de lo que pudiera pen- tas y la recuperación de la identidad y la cultura sarse desde una perspectiva ortodoxa, el obje- (Liu, 1996; Dirlik, 2003), así como la influencia tivo de tal proyecto no es detener, o plantear cuantitativa y cualitativa que la consideración alternativas, sino fomentar el crecimiento eco- al patrimonio ejerce sobre la producción arqui- nómico y reforzar el nuevo papel del patrimonio tectónica contemporánea (Koolhaas y Otero- en la gobernanza urbana contemporánea. Su re- Pailos, 2014). sultado es la creación de lo que interpretamos como la ciudad del patrimonio, aquella que: Esta última cuestión resulta espe- cialmente significativa. En este sentido, nos Es consciente de la importancia que la encontramos lejos de haber explotado las po- arquitectura y el urbanismo tienen para la com- sibilidades de un acuerdo entre nueva arquitec- petitividad entre ciudades globales (Bandarin y tura y memoria en los términos que Aldo Rossi Van Oers, 2012). definió en La arquitectura de la ciudad (1971).
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