The culturology of ’s urban development

Jang Soo-hyun Professor, Division of Northeast Asian Cultural Industries Kwangwoon University

ince the , the cityscape has changed rapidly on a tremendous scale. Whenever I visited Beijing, I felt that the city was constantly under construction, S perhaps partly due to the fact that Beijing spurred its urban development in preparation for the Beijing Olympics. Districts have been reorganized by area and industry to modernize the city, and new roads and building complexes have been built. Large-scale development projects, such as the ultra-modern Central Business District (CBD) in Chaoyang District (朝陽區), have been carried out in various parts of the city. Beijing’s appearance has changed so significantly that it is quite difficult for one to find his way using a map that is only a few years old. One exception is the area around the Forbidden City, where many historic sites can be found, and the scenery remains much unchanged from the past. An ancient city, Beijing has maintained its status as the capital city for hundreds of years, through a number of dynasties. Beijing has designated dozens of

135 Spring 2012�POSRI Chindia Quarterly buffer zones centering on old castles near the old palace in order to prevent haphazard development or alteration.

○● Historical remembrance vs. redevelopment As Beijing went through total redevelopment according to urban development plans, hutongs (胡同), narrow alleys or streets, to which many Beijingers feel a deep sentimental connection, also became a target. Traditional houses jumbled together on both sides of narrow hutongs were pulled down, and modern apartments and buildings were constructed in their place. Certain hutong neighborhoods were recognized as tourist attractions, thanks to their connection to neighboring historical sites, and their redevelopment was limited to restoration. In Sanyanjing (三眼井) Hutong, for example, old, dilapidated zayuans (雜院; subdivided courtyard houses) were replaced by siheyuans (四合院; courtyards enclosed by four houses) built according to tradition. At a glance, the kind of redevelopment that occurred in Sanyanjing appears to be contributing to the preservation of cultural assets by restoring tradition, but it is not without criticism. The building of new siheyuans is not true preservation of tradition, but merely construction of artificial replicas. Large-scale redevelopment has destroyed the uniqueness of each hutong and made all hutongs look identical. Whatever method is chosen, overall redevelopment disturbs the lives of residents, and thus should be avoided if possible. Developers often forget that hutongs, as they are now, are valuable cultural heritage of our time.

○● The rebirth of decrepit urban areas as creative spaces Recently, it has become popular across China to select a neglected building or space that is representative of a certain period, and convert it into space for art and culture. A case in point is the 798 Art Zone, which has recently become a popular attraction. The 798 Art Zone is a

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decommissioned factory in northeast Beijing, with hints of industrialization from the Socialist Era and a -influenced architectural style. After moved in one by one to make use of the defunct factory buildings, which had been neglected since the early 2000s, an autogenous art zone was created. With the wave of redevelopment sweeping through, the 798 Art Zone was once targeted for demolition. Since the Chinese government put the creative industries on the main agenda of its 11th Five-Year Plan, however, it has gone through a complete makeover. Bolstered by government support, ranging from administrative management to space renewal, refurbishment, and financing, the 798 Art Zone has become one of China’s best art districts. Currently, the 798 Art Zone houses approximately two hundred cultural institutions and private art studios involved in various fields of art, including painting, photography, , advertising, and publication. They hold annual art festivals and cultural events, drawing attention from the art world around the globe. In Shanghai, M50 on No. 50 Moganshan Road (莫干山路) is the best- known art zone. M50 used to be a factory complex along the banks of the Suzhou River (蘇州河) that housed factories from the 1930s to the 1990s. Since one converted the empty space of a factory into an in 2000, many Chinese and foreign artists, and experts in the cultural industry, have trickled in. M50 houses about 140 separate spaces, used as galleries and studios, and for various other purposes. It hosts about 300 art exhibitions each year. Recently, 1933 Lao Chang Fang ( ), also in Shanghai, has been gradually drawing attention. Originally a slaughterhouse built by the British in 1933, the building has a unique structure. After being abandoned for a long time, 1933 Lao Chang Fang was converted into a space for the creative industries in 2006, and has emerged as a new cultural attraction.

137 Spring 2012�POSRI Chindia Quarterly ○● Hoping for genuine art zones Big cities like Beijing and Shanghai have been continually creating new art zones, utilizing spaces and buildings that have kept the values of eras past. (草場地), Songzhuang (宋庄), and Art Base 1 (1號店) in Beijing; and Bridge 8 ( ), 800 Show (800秀), Cool Dock (�碼頭), and Red Town ( ) in Shanghai are good examples. Influenced by the success of the 798 Art Zone, art zones for the creative industries are springing up across China. In major cities across China, a new breed of art zones, bringing together art and capital, are being created, such as the Chengdu Contemporary Art Centre, a West Lake art complex in Hangzhou, and the Art District Xi’an (西安). Converting buildings and spaces with valuable memories from the past into beautiful art spaces is worthy of praise. It not only preserves the precious historical and cultural assets of cities, but also boosts public interest in and understanding of art. However, there is growing criticism that the 798 Art Zone has degenerated into a tourist attraction or a shopping center. Art zones can easily become overrun by commercial interests rather than embodying pure artistic values. It is my sincere hope that these art zones will not turn into false art zones inundated by knockoffs and cheap goods, but remain beautiful places where artistic spirit and historical remembrance are delicately intertwined.

138 POSRI Chindia Quarterly�Spring 2012