Transforming the Yangshupu Power Plant - Project Brief

TRANSFORMING THE YANGSHUPU POWER PLANT 杨树浦发电厂

by Marloes Dijkink

Project Brief by Marloes Dijkink Starting Colloquium 12-5-2016

Table of contents

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TRANSFORMATION PROJECT LOCATION

Shakti Mill Analyzing Yangshupu Power Plant

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Research Question

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AND MORE

Schedule Progress and end results Visit projects My personal ambitions

47 BIBLIOGRAPHY

TRANSFORMATION

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Transformation is a change of the shape, state or appearance of an object. In architecture transformation is usually considered being a visual change; in the sense that the appearance or shape of the building has changed. But by changing the function, the state of the building and its surroundings also changes. For example, an abandoned building that people avoid could become a community center that attracts many people and contributes to the wellbeing of people in the neighborhood. The transformation of one site could improve an entire neighborhood, district or even a city.

But what if this abandoned building also used to contribute to society. If this building would be transformed it would have an extra dimension in its surroundings. People will be able to relate to the building, because they or people they know have a connection with the places past. They will be more willing to let the project succeed because they gained so much positivity from the place in earlier times.

This can be especially the case for industrial buildings. Since the industrial revolution until the end of twentieth century, many of the industrial companies had a huge impact on their surroundings.

A great example is the city of Eindhoven that grew because of tech-company Philips. Philips provided the people not only employment, but also housing, the ability to sport at founded sport clubs, education and more. The redevelopment of Strijp has therefore an extraordinary amount of backing. We also experienced this phenomenon during our visit to the C-mine in Genk, where our guide told us about the connection many people had to the mine.

But if bad things happened at this site, the new transformation could give renewed meaning to it. It could serve as a memorial and can educate visitors about the importance of preventing these events from happening again. Think for example of the National September 11 Memorial in New York or Berlin’s Holocaust Memorial.

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PROJECT LOCATION

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By choosing a project location, you do not only choose based on the esthetics of the building, the surroundings should also be considered.

The first criteria for selecting the project was that it is located within a large urban agglomeration. Many of the projects I have designed so far are not located in a dense cities. I think this graduation project is a great opportunity for to challenge myself to design for a more complex environment than I’m used to.

With an interesting context not only the building itself, but also its surroundings could give rise to certain design decisions. The building could serve its surroundings.

Another important aspect of choosing the project location is the building itself. As I explained in the previous paragraph, buildings with an interesting past can give an extra dimension to the design.

This project is not only about transforming, it is also about cultural identity. In the first week I wrote down that: Cultural identity are the things you can identify yourself with, which are similar to what other people identify their selves with. These similar things form the cultural identity of a particular group. Groups can have a cultural identity on different scales; continent, country, region, city, neighborhood, family. Cultural identity on human scale are expressed in values, traditions and habits. I experienced this during my trip in Nepal, where I stayed in a small village with local people. But also in during my semester in Stockholm, there I found out that some of my habits were not as usual in the rest of Europe as I expected (like eating sandwiches for lunch) and were part of the Dutch cultural identity.

Another criteria for choosing the site is that it is has interesting culture, a culture I’m not familiar with. I think this is important, because it will provide me with different points of view, make me understand people better and will help me in my future career as an architect. That is also why I picked to study transformed and untransformed sites in the Asia group.

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During my research of some Asian countries I found out that it understanding these cultures can be very difficult. I think mainly because my cultural identity; my values, traditions and habits differ so much from many of the Asian cultural identities. This makes it firstly very difficult understand it, and secondly see the minor (but important!) differences between cultural identities in Asia. So especially when choosing a site with a cultures I’m not familiar with, I should be able to visit the location of the project site. I would help me understand cultural life, the street life and habits better. I think by only watching movies I will not understand it. Especially when I pick would pick a location outside of Europe.

But apart from helping me understand the culture, I also believe that architects should visit the site to be able to understand it, especially with transformation projects.

The last criteria I have for choosing a project is the availability of information about the project site. Especially during our research in Asia we found out that it is very difficult to find enough info.

For example, after a thorough research we only found seven abandoned sites in the Asian continent! The main problem was language and a different method of documenting information.

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Shakti Mill

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Shakti Mill The first location I chose was the Shakti Mill, an abanonded spinning mill in Mumbai. I was attracted by the esthetics of the building, the location and the history of the site.

The first spinning mill in Mumbai was established in 1854, after that the mill neighborhoods in central Mumbai started developing.

(Gandhi, 1929-1930) The rapid growth of the textile industry attracted many migrants. (Prakash, 2013) The Mills were the driver of growth and employment for more than a century, but the cotton textile mills started to cut off their production around the 1980.

Most of the land became abandoned for more than a decade.

The remaining 58 cotton textile mills occupy 0,5% of Greater Mumbai’s land area and are located near the traditional central business district of Nariman Point-Churchgate in the southern tip of Mumbai. Therefore the land has great economic and commercial interest. Since 1991 the land use laws has changed, which made it possible to develop the land with commercial purposes. This had a huge impact on the development activity on former textile mill land. (Tiwari, 2006) The Shakti Mill also remained to be abandoned. The mills became headlines when in August 2013 a 22 year old photojournalist was raped by four men at the ruins of the site on the middle of the day.

She was there accompanied by a colleague to take pictures of the mills for an assignment. The colleague was beaten and tied up by the rapists. Because of this incident the location is well known.

Given the history, context, culture and development opportunities the site becomes very interesting. The remainders of the Mills were mainly ruins, which could serve as an excellent framework to house the transformed building, leaving me with enough freedom for designing. However, after long thought and consideration I came to the conclusion that I couldn’t go to Mumbai. This had mainly to do with my safety while traveling alone. However, it was one of my criteria to visit the site and without this visit I thought it would seriously limit the potential of my graduation project since I believe I would not be able to grasp the culture and streetlife by only watching movies and reading stories. Therefore I decided not to pick the Shakti Mills in Mumbai 15 as a project location.

Oredocks

Yangshupu Power Plant Eisfabrik

BM Brewery Snia Viscosa

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Analyzing the possibilities After deciding not to pick the Shakti Mills in Mumbai I analyzed all the untransformed sites located by our graduation studio. Projects that caught my attention were: • • • • • • •

Oredocks in Marquette, Michigan, USA The Carrie Blast Furnace in Braddock, Pittsburgh, USA Eisfabrik in Berlin, Germany Snia Viscosa in Varedo, Italy Kelenföld in Budapest, Hungary BM brewery in Sleafort, England Yangshupu Powerplant in Shanghai, China (next to the Yangsphupu gas plant I analyzed earlier)

The reasons I chose this projects were mainly based on the criteria I summed up earlier: • • • • • • •

In a metropolis Interesting context Interesting culture Interesting story Being able to visit the site Enough information Possibility to transform

The last criteria I added after analyzing the possibilities. Some of the project locations such as the Oredocks were already beautiful untransformed, that almost any intervention would do it harm. It would almost become a renovation project, and that is not what I’m aiming for. After comparing the pros and cons I decided to choose the Yangshupu Power plant as my project location.

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Yangshupu Power Plant

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Shanghai International Fashion Center

Yangshupu Power plant

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The Yangshupu Power Plant in Shanghai The Yangshupu Power Plant 杨树浦发电厂 is a former coal plant located at the Yangshupu Road 2800 and lies on the banks of the Huangpu River in the Yangpu district of Shanghai. In the late 19th century Yangpu became Shanghai’s and even China’s leader in industrial development as the urbanization process continued. The Yangshupu Industrial Area developed along the Huangpu River for 15.5 kilometers and attracted many middle and big enterprises. (Agencies, 2015) Since the development of the Yangshupu area occurred mainly along the Huangpu River shore, the remains of the factories, warehouses and docks can be found here today. Unfortunately many of these warehouses are demolished, few of the remaining ones are already transformed and fewer are still abandoned. Striking is that there are today still many vacant plots in the direct surroundings of the Yangshupu Power plant.

The project location is located in “the Riverside Development Belt” of 12th Five-Year Plan Period of Shanghai. (Deloitte, 2011) Because of the industrial development concentrated itself around the riverbanks, residents never had access to the water. One of the goals of the development-plan is to create a riverside public green space. Furthermore the area will be developed as a modern and innovative service industry base for science and technology, business, tourism and leisure, and will include conference, exhibition and forum facilities. (Deloitte, 2011) The transformation of the Cotton mill directly next to the Yangshupu Power plant into the Shanghai International Fashion Center was part of this development program. It houses an outlet center, event center, some studio offices and a food hall.

Nowadays many events are held here, such as the Shanghai International Fashion Culture Festival.

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Shanghai International Fashion Center

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On the opposite site of the Yangshupu Power Plant are many vacant plots. Only 250 meter from the project location lies the Yangshupu Gas Plant along the Huangpu River. This former coal gas factory remains to be abandoned, though the greater part of the plant is already demolished.

The Yangshupu Power Plant itself was founded in 1911 by a British businessman. It was the first power plant in the Far East and the 110 m high steel chimney used to be China’s tallest building. In 1949 it produced 76,46 percent of Shanghai’s energy.

The plant has a coastline of 300 meters and a small pier in the river. The plant was closed in 2010 to reduce the discharge of CO2 in accordance with the United Nations Climate Change Conference. (Gaocan, 2015) In the last decade of production it had 3000? employees, which are all transferred to other plants after its closing.

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Inside Yangshupu Power Plant

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RESEARCH

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Yangshupu Power Plant viewed from Huangpu River

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The project site has a very interesting context and history.

However, in the direct surroundings is many unoccupied land and the nearby neighborhood needs gentrification. The adjacent Shanghai International Fashion center already stimulates the development of the neighborhood a little and attracts visitors to the site. This together with the cultivation of the Yangshupu Power Plant and the vacant sites could really change the neighborhood positively.

For the research for the course Research in Urbanism and Architecture II (a course I’m still working on during this studio) I am researching what the influence of the redevelopment of Strijp S is on the cultural sector of Eindhoven. During this research I found very interesting literature about cultural clusters.

A creative cluster refers to a type of urban quarter that has high concentration of cultural activities and creative industry companies with on-side networks that create added value.

(Zheng, 2014) Creative industries are influencing the direction of urban development. They function as key catalysts for urban renewal and redevelopment, thereby reshaping the urban landscape and re-imagining inner city areas. (Zheng, 2010) The creative industry sectors are: advertising, architecture, the art and antiques market, craft, design, designer fashion, film and video, interactive leisure software, music, the performing arts, publishing, software and computer games, television and radio.

(Zheng, 2014) With the proximity of the Shanghai International Fashion Center a creative cluster could be created at the Yangshupu Power Plant and its surroundings.

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M50

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In Shanghai a Taiwanese architect initiated in 1998 the cultural transformation of industrial spaces by converting a deserted grain warehouse into a design studio. After that many other designers and experimental artists started occupying other forgotten industrial places such as M50 and Tianzifang. M50 was an abandoned textile mill on the banks of the Suzhou Creek, Tianzifang a disused light industry neighborhood. The two sites started to attract many artists and became important for the cultural industries in Shanghai. As a result the government started promoting these sites as Shanghai’s new image and economic engines. (Zhong, 2015) The Shanghai municipal government borrowed the term ‘creative industry cluster’ from the global movement on developing cultural and creative industries. It designated certain forms of urban quarters that had emerged in recent years in Shanghai as ‘chuangyi chanye jijuqu’ (creative industry clusters), also called CCJQs. (Zheng, 2014) Before the concept of CCJQ was promoted, demolishing the old for new construction was the major approach in China’s property-led urban redevelopment.

(Wu, 2007) In 2005, the municipal government began to put the development of such spaces on its agenda and set up a specialized public institution; the Shanghai Creative Industry Center (SCIC).

The secretary general of the SCIC, He Zengqiang states that a CCJQ is a container for creative industry and that we must prioritize the development of them. According to the government CCJQs provide both local and economic growth. They see these successfully converted industrial buildings as office buildings that can attract investment and business. They can become “show windows of the creative industries in Shanghai” and will improve urban images. (Zheng, 2010) This indicates a strong entrepreneurial stance of the government and with SCIC as a client will help me to succeed this project.

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Not only the government and surrounding neighborhoods can benefit from the creative cluster, also the small local artist can: “When I first came to Shanghai… I rented a cheap space in a suburban location. A year had passed and I was not able to sell one piece.…. At that critical juncture, a buyer bought over ten oil paintings for a bit more than 20,000 yuan. The price was cheap but the money enabled me to extend my stay in Shanghai. I … rented a studio here [Tianzifang] at a much higher rate… I sold one piece for 20,000 yuan in the first week…. Tianzifang helped me survive as a professional artist who had no connections in this city…”

Interview of Tianzifang artists Zhong (2015)

The main objective for choosing to create a creative cluster is that it can develop district, the neighborhood, but also help the local artists. Furthermore I know I will be doing something that is accepted in the local culture. Since the concept is already integrated in the Chinese policies and the availability of (English) literature about the SSJQs, researching this will help me understand the Chinese development culture. For my graduation project I would like to create a good functioning creative cluster.

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Research Question My research question will be: How to create a successful creative cluster in Shanghai?

By asking this question I hope to understand the (local) creative industries, their needs, the Shanghai development culture and the positioning of the government better.

As a sub-question I will ask myself how the other creative clusters became successful and what is needed (spatially and architecturally) to recreate this success.

I will try to answer this question by studying case studies, such as M50 and Red Town in Shanghai.

Another sub-question will be how a successful creative cluster in Shanghai can be created, using literature. The aim is to answer these questions with tools that can help me in transforming the Yangshupu Power Plant.

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AND MORE

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Schedule The first week after the starting colloquium I will work on the course Research in Urbanism and Architecture II to finish this as quickly as possible. When finished I will try to get in touch with people in Shanghai, that can help me visit the site and give me more information. Then I will start with my research, where I will develop tools to use for my design that can create a successful cultural cluster. I would like to have the research finished before the summer holidays.

After the holidays I will start creating the concept (maybe even earlier), while looking back at the research I did. When important literature or information is missing I will add this to my research.

During the midterm colloquium the concept will be finished.

I will visit the site in June. I will probably go from the 19th of June until the 24th of June. Tickets are not booked yet. In shanghai I would like to visit the site and if possible go inside. I would like to interview people at the Shanghai International Fashion Center and in the Yangshupu neighborhood. Furthermore I’d like to visit other successful cultural clusters in Shanghai.

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Progress and end results For my final presentation I would like to present my work an process using hand sketches and present the end result with renders (as I usually do). Furthermore I would like to and accompany them with a VR experience, creating renders visible through a VR device. And if equipment available create a VR walkthrough experience. Before the frame-exercise I had never tried this before and I would like to explore the possibilities of this type of media.

I want to continue keeping a logbook that I bring every day to the studio. This contains my day-to-day activities as well as my process in the design. It will help me understand and look back on decisions and plans earlier made. On my website there will be frequent updates about the project with the objective to keep people informed about the process: http://marloesdijkink.nl/ graduation/

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C-mine in Genk

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Visit successful transformation projects Many successful transformations of industrial sites to cultural venues have been done before. As addition to my research, I would like to visit some of them that are within travelling distance for me.

I made a list of projects I´d like to visit during this studio: (a list in progress) Westergasfabriek Amsterdam De overkant Amsterdam NDSM werf Amsterdam Strijp S T R Eindhoven Culture cluster Enschede Energiehuis Dordrecht Cheramique Maastricht ECI fabriek Roermond Fenixloodsen Rotterdam Van Nelle ontwerpfabriek Rotterdam RDM campus Rotterdam

FRAC Dunkerque (BE) The Fabrik Hamburg (DE) FRAC Dunkerque (BE) M50 Shanghai Red Town Shanghai Tianzifang Shanghai

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My personal ambitions My personal ambitions for the project are: • I would like to better understand myself, how I work and what I would like to do as an architect. Every experience makes me understand this better. But I’m not there yet. The previous exercises did also help me with that.

• I would like to develop my presenting skills.

• I would like to develop my graphical skills.

• Document my design decisions and past work properly.

• Work according to a fixed weekly rhythm, work hard and also relax.

• Have a fun time with the project and colleagues!

Teachers This is what I expect from the teachers: • I do not have a lot of experience with projects in China.

Since Barbara and David have experience in this field I would very much appreciate their help helping me understand the culture and possibilities better.

• Be a listening ear and a helping hand. But also be critical.

• Many of the things I’m about to do are new to me and I do not have the knowledge about. It would really appreciate it if you can point me at research or other things relevant for my project that I missed.

• I would like to talk to one of you at least once in two weeks (preferably every week) for feedback on my project.

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BIBLIOGRAPHY

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Agencies. (2015, February 9). Yangpu’s historic heritage: industrial development, top-caliber universities. Retrieved from Shanghai Daily: http://www.shanghaidaily.com/district/yangpu/Yangpushistoric-heritage-industrial-development-topcaliber-universities/ shdaily.shtml Deloitte. (2011). Research Report on the Investment Envirnoment in Yangpu District, Shanghai. Shanghai: Deloitte Touche Tohmatsu COA Ldt. Evans, G. (2004). Cultural industry quarters: from pre-industrial to post-industrial production,. In D. B. Jayne, City of Quarters: Urban vilages in the contemporary city (pp. 77-92). Ashgate: Aldershot.

Gandhi, M. (1929-1930). the Indian Cotton Texitle Industry.

Calcutta: The Book Company, LTD. Gaocan. (2015, August 1). 杨树浦路2800号杨树浦发电厂 (Yangshupu Road 2800 Yangshupu Power plant). Retrieved from Blog Sina: http://blog.sina.com.cn/s/blog_5d1bdf480102w2si.html Prakash, G. (2013, August 28). Tragic Fable of Mumbai Mills. Retrieved from India Ink: http://india.blogs.nytimes. com/2013/08/28/tragic-fable-of-mumbai-mills/?_r=1 Tiwari, P. K. (2006). Impact of Mumbai (India) Textile Mill Land Development on Land Use and Real. Lincoln Institute of land Policy.

Wu, F. L.-O. (2007). Urban development in post-reform China: State, market and space. London; New York: Routlegde.

Zheng, J. (2010). ‘Creative Industry Clusters’ and the ‘Entrepreneurial City’ of Shanghai. Urban Studies Journal Limited.

Zheng, J. (2014). The impact of ‘creative industry clusters’ on cultural and creative industry development in Shanghai. Elsevier.

Zhong, S. (2015). Arttists and Shanghai’s culture-led urban regeneration. Elsevier Ltd.

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