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Journal of Chinese
Architecture and Urbanism Creative heritage and experiential tourism

and enhance its former Western concessions, which date The article draws on four case studies of heritage
th
th
from the 19 to the 20 century. While these concessions redevelopment located within former Western concessions
symbolize China’s humiliating defeat in the Second Opium in Tianjin. Their specific contexts and characteristics
War (1856 – 1860) , they also represent a unique architectural underline the diverse approaches to heritage conservation
1
legacy, with many Western-style buildings now protected as and reconversion, positioning Tianjin’s former concessions
local or national monuments (Marinelli, 2018). as an emerging laboratory for creative heritage
Since the 2000s, the local government has launched redevelopment in relation to tourism practices. By analyzing
several heritage enhancement projects with the aim these varied approaches, this article demonstrates that
of encouraging the development of new uses in the creativity in China encompasses both creative approaches
concessions, transforming them into cultural and creative of restoring, reinterpreting, or rebuilding heritage and
hubs that attract leisure activities and tourism (Leng & the new (creative) functions assigned to recently restored
Chen, 2017). These government-led projects have proven buildings.
particularly appealing to local entrepreneurs, who leverage The article first outlines the methodological approaches,
the heritage setting as a breeding ground for new activities followed by a discussion of the conceptual framing of
such as design galleries, art and craft stores, cafés, gourmet heritage, experiential tourism, and creative economies,
restaurants, and microbreweries. exploring how these concepts are interconnected. It then
While the “creative” use of heritage is common in delves into the case studies before discussing the findings
both Western (Landry, 1994) and Chinese cities (Wang, and concluding with final reflections.
2010), Tianjin’s case is particularly noteworthy due to
the historical specificity of its former concessions and 2. Literature review
the implementation of projects that link the creative 2.1. Heritage, experiential turn, and creative tourism
use of heritage with tourism strategies. Moreover, the
local government of Tianjin has recently set the goal 2.1.1. Cultural heritage in the age of experience
of establishing the city as a “creative” destination and Since Pine and Gilmore (1999) introduced the concept of
obtaining the UNESCO “Creative City” label (Rosi, 2014) . the “experience economy,” several authors have analyzed the
2
This article specifically examines the relationship relationship between heritage development and practices
between creative (re)uses of heritage and cultural tourism linked to the quest for emotions and meaning (Boswijk
in former Western concessions. It presents and analyzes et al., 2007; Sundbo & Sörensen, 2013). According to
how the paradigm of creativity has been mobilized by Pine and Gilmore (1998, p. 98), “Experience is as real an
local decision-makers in Tianjin to shape a destination offering as any service, good, or commodity.” Thus, within
with a specific and distinctive identity within the former the experience economy, experiences become the primary
international concessions. commodity to be purchased and consumed. In this context,
In what way do heritage restoration, renovation, or “heritage products,” such as museum visits and tourist sites,
reinvention projects – primarily designed for leisure are repackaged as experiences; the visitor is regarded as a
and tourism – contribute to the reappropriation of the “guest” (rather than a user or customer), and heritage is
dissonant heritage of the former concessions? Do tourism offered as an “experiential stage.” Historic sites are redesigned
redevelopment projects facilitate the (positive) redefinition of as heritage “products” to meet the evolving expectations,
concessionary heritage, which is historically linked to China’s aspirations, and imaginations of their guests, offering them
“century of humiliation” at the hands of Western powers? enriching and memorable experiences. This shift does
3
not necessarily mean that heritage sites become purely
1 The Second Opium War, also known as the Second Anglo- places of entertainment; rather, new methods of heritage
Chinese War, was fought between the United Kingdom and
France against the Qing dynasty (1644–1912) between 1856 mediation are introduced in engaging and meaningful ways,
and 1860. It was the second major conflict in the Opium reflecting a renewed approach to contemporary business
Wars, which were waged over the right to import opium models (Kearns & Philo, 1993). Heritage is not only socially
into China. The war resulted in a Qing defeat and the forced constructed but also socially mediated.
legalization of the opium trade.
2 Interview with Li Yunfei, founder and director of Tianjin Heritage is increasingly leveraged by local stakeholders
Flight Decoration Design Engineering Co., Ltd., Tianjin, 2018. to stimulate economic development, “put a city on the map,”
3 The “century of humiliation” began with the First Opium War build a new urban image, or promote cultural tourism
(1839–1842) and ended in 1945, when the Republic of China (Gravari-Barbas et al., 2023, p. 248). Historic urban spaces
emerged from the Second World War as one of the Big Four function as experiential terrains, offering a sought-after
powers (or alternately, in 1949 with the founding of the People’s urban atmosphere and new forms of storytelling (Guinand,
Republic of China). 2015), where heritage becomes the medium for “authentic”

Volume 7 Issue 3 (2025) 2 https://doi.org/10.36922/jcau.3703