Page 76 - JCAU-7-3

Journal of Chinese
Architecture and Urbanism Creative heritage and experiential tourism

originally intended creative dimension has gradually been The answer is undoubtedly yes. In Tianjin, the fusion of
replaced by a consumer-driven space, where heritage serves the creative paradigm with heritage enhancement serves as
as a mere backdrop for a theme park-like environment. a breeding ground for tourism development. The former
While the first two examples (Minyuan Terrace and Western concessions have become significant leisure and
Xiannong Block) have adapted global urban paradigms, tourism destinations. Their adaptation (often radical, as
such as festival marketplaces and themed enclaves, to previously discussed) to the tourism and leisure industry
the context of Tianjin, Minyuan Stadium represents has contributed to neutralizing their negative memorial
an original case of “creative destruction” of heritage dimension.
redevelopment. The stadium was entirely demolished and The incontestable public success of the redevelopment
then rebuilt in its current form. Although rebuilt in situ, it projects should not mask some critical questions: What is
is a free reinterpretation of the historic site that has now the place of heritage meaning, of history and memory, in
disappeared. this generalized creative ludicization of heritage? What is

Although the heritage authenticity of the new building – the role and participation of local inhabitants? We should
constructed in an “improved” manner on the tabula rasa of not forget that all these projects are carried out within a top-
the pre-existing stadium – is questionable, the new Minyuan down, state-led, strictly politically controlled framework,
Stadium respects the original scale of the district. It thus which leaves little room for open consultation and
satisfies the demands of local intellectuals and associations creativity with the local population. What is more, some
campaigning against the construction of high-rise buildings . of these sites, repurposed for creative functions, have been
22
Finally, China House exemplifies the creative use of a the scenes of brutal evictions of residents. The “success” of
historic building as “raw material” to organically create a different heritage restoration approaches should therefore
completely new artifact. The historical and architectural be examined more critically, factoring in the social cost of
quality of this concessionary building has been irreversibly such projects.
modified to create a new architectural and artistic work. Finally, a number of questions remain to be
This freedom to treat a heritage site in this way may come explored in the future: in 2024, THARD initiated a new
as a surprise. However, it is indicative of the new creative development phase for Xiannong Courtyard and, at the
approaches to heritage enhancement. same time, redefined the areas restored in 2011. Far
In terms of tourism, the two more radical examples – from being definitive, the renovation or restoration of
the Minyan Stadium, which was demolished and rebuilt, heritage is indeed variable, depending in particular on
and China House, which was completely reinvented – are economic and tourism needs. Given the dynamic nature
the most successful. In fact, these two sites are considered of these factors, ongoing monitoring of how heritage
“must-sees” in the former concessions, visited by large is treated in a context of rapid tourism transformation
numbers of locals and tourists. (particularly in a post-pandemic context) will provide
The analysis of four case studies shows that the heritage insights into the amphidromic relationship between
of the former concessions serves as: (i) a receptacle for heritage and tourism. Such an approach will not only
creative functions (Minyuan Terrace and Xiannong help track how heritage serves as an element of attraction
Block); (ii) a regulating framework for new construction, for tourism but also reveal how tourism functions as a
even after demolition (Minyuan Stadium); (iii) a thematic “heritage production machine” (Gravari-Barbas, 2018),
narrative framework for entertainment activities (New shaping heritage artifacts in response to its evolving
I-Style Town); and (iv) a foundation for the creation of a needs.
hybrid artifact (China House).
Acknowledgments
5. Conclusion
None.
This article explores the ways “creative” heritage restoration,
renovation, or reinvention projects – essentially undertaken Funding
for leisure and tourism purposes – contribute to the Part of this research was funded by the French Agency for
reappropriation of the dissonant heritage of the former Research in the framework of the project PATRIMONDI:
concessions. Specifically, do tourism redevelopment
projects positively transform perceptions of this dissonant “The challenges of “heritage globalization” or the tourist
concessionary heritage? production of cultural heritage in a globalized world:
global models, identity recompositions, hybridizations”
22 Interview with writer, Feng Jicai, 2017. (ANR-15-CE27-0010).

Volume 7 Issue 3 (2025) 12 https://doi.org/10.36922/jcau.3703