the plant house and eyeball building

Not far from Xin Tian Di, J.J. and crew (random children, photographers, cameramen, etc.) "performed" Sunday afternoon (I include photographers and cameramen as well, since they added to the excitement and chaos of the small street. I feel certain pedestrians were drawn by those documenting as much as they were by the actual performance itself.). Starting by himself, J.J. drew the old houses (circa 1920s and 30s) with chalk on the sidewalk. After warming up to the ever-growing and changing audience of those passing by, the children finally joined in, focusing on smaller details such as a window air conditioner unit and window molding.

From the beginning, I felt very intrigued by J.J.'s concept; however, once present, I was almost more interested in watching the various Shanghai passerbys collect and disperse through the duration of the piece. Some even seemed oblivious as they walked over the drawing as J.J. continued to draw. Yet, others were so enthralled that they literally stood and watched for nearly 30-45 minutes.

Other than observing the viewers, I enjoyed watching the children's interactions with each other and J.J. It really reminded me of being that age; I felt an overwhelming sense of nostalgia during both the first and second piece--probably even more through the latter, where the kids were told to draw from their imaginations. In the end, we stood facing a rainbow, high rise skyline with everything from the charming Plant House to a "China" building (the titles were written in English rather than Chinese) which stood proud with both Olympic rings and an scary eyeball perched on top. As I studied the works, I remembered drawing very similar pictures as a child, and hate that I rarely draw anymore, especially in such a creative way.

Reflecting on the piece now, I do wonder if the children were prompted at all to draw skyscrapers. Despite the current building craze, would not even one child decide to draw something much smaller in scale...a pet store, a single house, a hair salon? I must ask J.J. if any unintentional queues were given during his instructions. I also want to know if there are concrete plans for the second site's future; it seemed that some of the area had already been torn down, but people appeared to still live inside at least one home. Lastly, I'm extremely interested in hearing the children's interviews which took place afterwards.

As for negatives...I feel that the duration could have been longer. I know that one can only keep ten yr-olds occupied for so long; however, the first drawing, especially, would have developed even more if given more time, just 10-15 minutes more.

outline for Week II, III, IV

Hi All,

Below is our outline and openings. Any questions, let me know.
// For Cityweekend Internship to write a Reviews, interested parties please send me resumes.
// For Art-ba-ba- English translation opportunities, I will keep you posted.
In the meantime, can one of you pass this email to John or ask him to contact me? Thanks!

Week II
March 6:
50 Moganshan area:

Below are the names of people you met in person yesterday.
// Bizart- run by Davide Quadrio and Xu Zhen
// East Link _ Li Liang, Pippa Dennis
// Shanghart (Lorenz Helbling, Sine Beppler) & Collector Pierre Huber.

These projects were highlighted during these lectures.
// HIPIC.ORG
// www.art-ba-ba.com
// Art For Sale & Fuck off shows

Optional:
Opens March 7/ Old Scriptures -Wei Guangqing Solo Exhibition at Shanghart
Ends on March 9- Lin Yilin at SGA at 3 on the Bund and Yang Hui at Duolun Museum

Also:
March 9: Paul Andreu at Literary Festival at M on the Bund
March 9: A performance by Jian Jun Zhang (as part of 366) -
Details:
11 am this Sunday, March 9, at 48 Ji An Road, near Ji Nan Road and Hu Bing Road. not far from Xin Tian
Di. The second part of the performance is at 1 pm.

Check the link: http://www.intrude366.com/

Week III

March 13: Post up your reviews on 50 Moganshan and/or JJ's performance as part of 366
(and also your reviews of first week if you were unable to this week)

March 13:
Part I: 1 PM Zhao Chuan Lecture
Part II: You are free at this time. But on duty on March 15. Assignment on Safety show opening March 15, 7 pm (Venue of Exhibition: Fei Art Center, 3rd Floor, No.120 Old Humin Rd.(near Binyang Rd.)- Please note this opening is mandatory, and will count towards class time. Reviews need to be up by March 20.

Optional:
March 14 Opening at Bizart (Korean students)
March 15 Opening- Painting Show at Shanghai Gallery of Art

Week IV
March 20: Postings on Safety show
March 20:
Part I: Zhao Chuan Lecture
Part II: Group meeting: Groups get together to discuss the two lectures and prepare for group response of 15-20 minutes each to be presented on March 27. In contrast what you have seen so far. You will receive your assignments by email. Schedule Group Meetings during the following week if needed.

Latest Update on Creative Clusters

http://www.shmag.cn/feature/planning_creativity

Planning for Creativity
Fri, 2007-08-10 12:00 — Renee Chen

Shanghai is awash with creative spaces, part of a plan to develop the
city's creative industries. Renee Chen finds out more about the
makeover.

Although Tianzifang (Taikang Lu), M50 (50 Moganshan Lu), and Bridge 8
are already landmarks on the city map, their relatively recent arrival
marks the beginning of a new era in our cultural development. Until
now, we knew them simply as cool buildings, or areas in which to have
coffee, go shopping, or visit art exhibitions. But today, developments
like these are being heralded as the new seats of Shanghai's creative
industries.

Their growth hasn't gone unnoticed. Shanghai's creative businesses
generated ¥54.91 billion more in 2005 than in 2004, and back in
December 2004, this burgeoning success led the Shanghai government to
announce a policy designed to identify and develop other creative
spaces around the city. According to He Zengqiang, Secretary General of
the Shanghai Creative Industry Center (SCIC), "A creative industry
indicates that it is based on creative thought and an intensity of
knowledge. Supporting them will lead to an increase in job
opportunities in these fields."

In addition to revenue, it is the hope of transforming the local
economy from a manufacturing to a service industry that further compels
the government to push the trend. Shanghai's serious economic
development began with the influx of foreigners during the middle of
the 19th century, and as industry built a solid foundation, a mass
stock of industrial capital was erected, shaping the city's landscape.
But after 164 years of economic ebbing and flowing, many of these once
bustling factories fell victim to what the noted Austrian economist
Joseph Schumpeter called "creative destruction." They lie dormant now,
but are primed for a new life.

"There are over 30 million square meters of old and idle factory space
in Shanghai, but unlike the newer office buildings, they have a history
that gives a full sense of our culture," says He. The SCIC helps to
invest and renovate this glut of old factory space, while keeping the
cost down to as little as ¥1 per square meter in areas such as Hongkou
district. "We did a study this May which found the average rent for old
warehouses and factories is ¥2.75 per square meter per day, which is
much cheaper than office buildings," says He. "This price is perfect
for those with a creative streak."

Although the big name areas such as Taikang Lu get most of the
attention, there are already 75 such creative clusters in Shanghai,
involving 3,000 companies and 27,000 employees and covering industries
such as R&D, architectural design, art, consulting, and fashion.

When creative types find a home, creative ideas are bound to follow.
Bridge 8, which opened its doors in December 2004, now has a 100
percent occupancy rate with companies from the catering, retail,
interior design, and film production industries. The number of tenants
has risen from 25 to 100, and has drawn many internationally When
creative types find a home, creative ideas are bound to follow. Bridge
8, which opened its doors in December 2004, now has a 100 percent
occupancy rate with companies from the catering, retail, interior
design, and film production industries. The number of tenants has risen
from 25 to 100, and has drawn many internationally famous studios like
ALSOP from the UK and SOM from the US. "My job is just like writing a
play," says Huang Hanhong, the CEO of the Lifestyle Consulting, Ltd.,
the operators of Bridge 8. "I want a play that can bring out the best
from its actors; in other words, its tenants. Maybe that's my
inspiration."

The success of clusters such as Bridge 8 has provided the impetus for
new projects in the city. The hugely impressive former slaughterhouse
Old Millfun, located in Hongkou district, is one of the newer projects
under construction and will be one of the largest creative centers in
Shanghai. "If you want to experience buildings typical of Shanghai in
the 1920s, you have other choices than just Xintiandi," says SCIC
undersecretary Cherry Zhou, pointing to this 1933 slaughterhouse.

And unlike Xintiandi, which razed local buildings to make way for
upscale shopping and dining, Old Millfun will keep and renovate its
original building, a vast network of concrete ramps, bridges, and
staircases, in an effort to maintain this portion of the city's
history. Meanwhile, certain modern elements will be incorporated. Old
Millfun will be finished by the end of next month, and will host the
2007 Shanghai International Creative Industry Week this November.

Apart from government supported projects, there are still independent
clusters like the Wujiaochang 800 Art Space. This brand new five-floor
building located in the university area of Wujiaochang, was developed
by Shanghai Hanqu Ltd. Besides several urban planning and architecture
design studios, 800 Art Space is mainly for art galleries. "We only
recruit professional artists, which is the very thing we pride
ourselves in, as even M50 has many personal studios," says Judy Yan,
who works for the investment department of 800 Art Space. They have
already recruited 40 studios and galleries, including ShanghART Gallery
and Shine Art Space.

The creative industry in Shanghai is so young that it's hard to compare
it with western cities which have highly developed cultural,
publishing, film, and advertising industries. Intellectual property and
market cultivation are two hurdles the creative industry will have to
clear on its way to development. "The Chinese are quite good at copying
things," says He. "If a new fashion style came out in Europe yesterday,
it will have arrived in Hong Kong today, and will travel everywhere on
the Mainland tomorrow."

Many, including the government, have now indicated that this trend must
stop. As long as the profitability stemming from a company's work is
threatened, the market will never build up the resources necessary for
its own growth – which is why so few foreign creative companies have
been willing to set down roots here.

Regarding homegrown talent, SCIC has done its bit, enacting regulations
that aim to protect the ideas coming from entrepreneurs and other
creatives. But there is a recognition that more must also be done to
nurture creativity at an earlier age. "The interests of students are
ignored by our education system, since there is too much pressure to
get into university and then land a job after graduation," sighs He.
"It just ruins young people's lives."

Fortunately, this may be changing, as educational projects are being
designed to develop students' critical thinking. Shanghai Normal
University, for example, has set up a Cultural Industry Management
course that Shanghai Jiaotong University had already been using for ten
years. A creative institute is also opening for the first time at the
Shanghai Theater Academy.

The hope is that while the government develops the city's creative
spaces into platforms for an emerging creative industry, talent will
also be nurtured to step up onto that stage.
Other creative clusters to check out

Xin Shi Gang
Formally a steel factory, this building now houses the Shanghai
Sculpture Space. Later phases will add a space for multimedia companies
and the Jiangsheng flower and plant market.
570 Huaihai Xi Lu, near Hongqiao Lu, 6280 0789.
淮海西路570 近虹桥路

Yifei Creative Street
Originally conceived by the famed-painter Chen Yifei, this 723 meter
long street on Yanggao Nan Lu will be an upscale leisure center
complimented by several international design studios.
Yanggao Nan Lu, near Jinxiu Lu.
杨高南路, 近锦绣路

Sihang Warehouse
This 1920s warehouse on Suzhou Creek houses a science and technology
cluster, as well as visual arts and architectural design studios.
21 Guangfu Lu, near Wuzhen Lu, 6380 1202.
光复路21号, 近乌镇路

Tianshan Fashion Cluster
This block was designed by the China Fashion Designers Association and
the Fashion and Art Design Institute of Donghua University. It aims to
nurture fashion businesses, as well as professional design, and
training.
1718 Tianshan Lu, near Loushanguan Lu.
天山路1718号, 近娄山关路

Y&G Art Warehouse
This renovated printing press hopes to attract artists seeking personal
studio spaces. Some contemporary painters like Ye Qiang and Liu Hong
have already moved in.
No.2, Lane 295, Xianxia Lu, near Loushanguan Lu, 5206 9176.
仙霞路295弄2号, 近娄山关路

22 award-winning Chinese documentaries

THE UME International Cineplex in Xintiandi will screen 22 award-winning Chinese documentaries, such as "The Old Summer Palace" and "Dong," from April 6 to December 21. Veteran director Jia Zhangke and Lu Chuan will talk with audiences. The event is part of Shanghai Documentary Channel's "Docu China" campaign, which aims to promote documentary film making across the country.

Interview between Xintiandi architect Ben Wood and Ma Qingyun talk

Architects Ben Wood and Ma Qingyun talk about the hyper development of Shanghai, in the first in a series of reports by Louisa Lim on the Chinese city.

Twenty years ago, the Pudong area was farmland. Now, its futuristic skyline lights up the horizon across the river from Shanghai's original settlement.

Shanghai's Building Boom

In China, Shanghai's role is as a paragon of modernity, and also as a harbinger of the future. China is now undergoing one of the most massive urbanizations in human history, and nowhere is that more evident than in Shanghai. The city's population is now almost 18 million, and is forecast to rise to 25 million by 2020. Louisa Lim has an overview of the city's past -- and how it's preparing for its future.

Morning Edition, December 11, 2006 · It's become an urban myth that at one time, one-quarter of the world's construction cranes were in Shanghai. Indeed, it now has more skyscrapers than New York City.

Shanghai's historical upheavals and rebirths can be traced through architecture, with its colonial legacy and capitalist boom. Ahead of the World Expo in 2010, the city is being transformed again, with mind-bogglingly ambitious plans.

The latest symbol of Shanghai's urban hipness is Xintiandi, a bustling shopping and entertainment district. But these luxury boutiques, which appear to be housed in traditional lanehouses, are not what they seem.

In fact, Xintiandi is a re-imagining of Shanghai's old streetscape as consumer experience, dreamed up by American architect Ben Wood.

"In order for a place to be fashionable, it has to transcend the nostalgia of historic preservation," Wood says. "I was quite resourceful. Some preservationists say I was ruthless. … I made openings where openings didn't exist if I thought it would improve the cinematic experience of walking the neighborhood."

Traditional music wafts along the street, heightening the film-set feel of the place. This is Shanghai's most hyped urban development of recent years. But the decision to leave some old buildings standing is the exception rather than the rule.

The more-accepted new face of Shanghai is an ever-growing labyrinth of skyscrapers. From an observation deck in Pudong, a district across the river from Shanghai's original settlement, skyscrapers stretch out into the distance as far as the eye can see.

Twenty years ago, this area was just farmland. Now, this viral growth of skyscrapers, this city on steroids, symbolizes China's urban future.

Architect Ma Qingyun, who has just been appointed dean of the school of architecture at the University of Southern California, says Pudong's frenzied development "has certain dimensions of symbolic quality, to represent ambition and achievement in its new form of urbanization."

But for Wood, the American architect, Pudong's new cityscape is all about show.

"It's designed to create plots of land for monuments to corporate power, the global economy," says Wood.

He says you can't cross the street in Pudong because the red lights aren't long enough. "Sometimes it takes as long as three changes of the stoplight to get to the other side of the street. So it's really not a humane place."

Yet Pudong, too, is part of Shanghai's strategy to build for its surging humanity. Almost 18 million people live in greater Shanghai. But that figure is expected to rise by one-third before 2020.

As a result, the city is spreading unbelievably fast. In just five years, nine new satellite towns have been built literally from scratch -- each housing about the same number of people as the city of Atlanta.

Senior city planner Tang Zhiping says the need is pressing.

"We feel that the development and construction of these small towns is pretty urgent. But these experts are even more impatient than us; they want us to build lively, bustling towns in just two or three years. That's impossible."

So Shanghai is re-inventing itself anew, this time as the center of an urban megalopolis.

But as its lanehouses are leveled to make way for a forest of skyscrapers, is it in danger of losing its Chineseness?

No, says architect Ma Qingyun, because Shanghai's soul is in its openness to change, its tolerance and its absolute pragmatism.

"That's true Chineseness," Ma says. "Everything is in constant mutation, nothing is set as a fixity. We don't follow any spatial models. We don't care about the look of the building, so much so everybody still lives in Shanghai in ugly buildings. We care about how convenient life is."

Shanghai literally means "on the sea": It's the city that looks outward to the rest of the world, to the future. But what will Shanghai of the future look like in 20 years' time? With change so rapid and overarching, even architects working here designing that future can't answer that question. Ma worries about endless urban sprawl swallowing up the countryside.

"I have hope," he says, "but what I'm so afraid of is my vision" of the future.

http://www.npr.org/templates/story/story.php?storyId=6600367