Shanghai 2009
Monday, 21 September 2009 05:09
Written by Anna Greenspan

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The exterior is marked with a striking façade, covered in Art Deco geometric designs. Inside, ergonomic engineering gone mad has produced a concrete labyrinth of interlocking ramps, bridges, and elevated walkways, complete with hidden staircases, cavernous corners, columned halls and light open galleries.

The edifice was built through a global collaboration illustrative of Shanghai modernity. It was commissioned by Zhejiang businessmen, designed by British architects, and constructed by a Chinese firm who used concrete cement imported from the UK. The first drawings date from the 1920s, but the building didn’t open until 1933. Once complete, it was one of the three grandest abattoirs in the world.

During the Cultural Revolution, the abattoir was converted into a medicine factory, which was in operation until 2002. In 2005 the buildings, by then abandoned, altered and in a state of disrepair, were recognized as an important part of Shangai’s industrial heritage and put under state protection.

The government-run Shanghai Creative Industries Corporation, began restoration under the leadership of architect Zhou Chong Xin, who through a process of subtraction returned the slaughterhouse to its original look and feel, whilst adding some modern amenities.

In 2006 Axon Concepts, a development company founded by Paul Liu, one of the visionary founders of the ground-breaking renovation at Three on the Bund, was granted a 30-year lease. Liu partnered with Shanghai financier and the former publisher of Cigar Ambassador magazine Lily Wang as well as celebrity chef David Laris, who is serving as creative director and developer of F&B at 1933.

According to Laris, the make up of the team brings a singular vision to the project. “None of us are real estate people,” he says, “and we are not really seeing it that way.” Rather than just renting space, Axon’s concept is driven by a clear purpose and a collective idea.

The stated goal of 1933 is to position itself at the “cutting edge of food, fashion, arts, culture, education and design.” Grounding itself in three core elements -- design, lifestyle and learning – it seeks to be “part of a movement of many” which will “inspire and invigorate the creative scene of Shanghai.”

“China needs to grab hold of its sense of creativity,” declares Laris. Propelled by the twin forces of financial freedom and local demand, the time is ripe. Innovation, entrepreneurship and artistic expression are beginning to thrive. “It’s a dynamic city -- everywhere you turn there’s an art exhibition on.”

Shanghai architecture, in particular, is in the midst of a creative boom. Here, Laris notes, “there is the financial freedom to say ‘build it the way you see it’ – and there are some amazing Chinese developers who have their own vision but also allow people to be creative. In the West, on the other hand, with the exception of certain pockets, there is a lack of investment in real design. As a result, a lot of international designers are looking to China as a place they can express themselves. There are projects here that simply couldn’t get built elsewhere.”

Inspired by this change locals are becoming increasingly appreciative of the creative industries. In high-end shops like ‘Design Republic’ almost all the customers are Chinese.

“As a result,” Laris argues, “more and more young local designers – working at the grassroots level – are fashioning design at international standards. This has happened already in Singapore and Hong Kong and it just needs more time here to reach maturity.” For Laris the trajectory is certain. “There are some incredibly bright and talented young Chinese.” What they lack, he believes, are reference points.

For Laris, then, creative zones have an important responsibility. Their role is “to showcase cutting edge contemporary design, to have workshops, and gatherings” so that young creative Shanghainese can access works that have been accomplished elsewhere, thus drawing on the history of their art.
To facilitate this process, 1933 is being treated as a single entity. Unlike some other creative clusters, the space is being conceived as a unified whole. The company will “retain control of the common areas,” Laris explains, “how they work and how they flow.” The site will also be equipped with 5-star services – a concierge, valet parking, and a reception desk – “all the regular services that we would have if we owned the whole building ourselves.”

Axon is also taking great care to get the right mix of tenants, turning down people who don’t seem to fit. “It’s not about being expensive,” Laris insists, “they just have to have the right mindset. If someone falls in love with what we are doing as an idea then we know we will work well together.”

The final plan calls for 40% office/studio space where designers, and artists can set up shop, 25% retail -- though here, the aim is to attract edgier concept stores rather than standard shops -- 25% food & beverage and 10% learning, a category that might include a yoga studio, courses in calligraphy, painting or sculpture, lecture space, independent film screenings or a multifunctional cooking school. This last is a possibility Laris excitedly describes. “There’s a high end European school that wants to come and teach Chinese about European food, which there’s a huge demand for. But there’s also no real cooking studio in town. So I’d like to collaborate on this and get Western and Chinese chefs to come together and be able to record it.”

It is here, in the realm of F&B that the initial plans for 1933 are most enticing. This is probably no accident. As restaurateur Richard Xavier, formerly of Three on the Bund and now manager of Hamilton House, has said, in complexes like 1933 restaurants and bars are the lifeblood of development.
Two confirmed tenants so far are Laris himself, who is opening a high-end steakhouse complete with open meat hanger. “The vegetarians will hate it” he says, “but it was the only thing to do.”

The popular Shanghainese restaurant Jade Garden will also open a branch, which practically ensures a local clientele.  “We wanted a restaurant that is seriously appreciated by the Chinese audience”, says Laris, “and one that is really driven by the food.“ Inspired by the vision of 1933, Jade Garden has hired an international architect to collaborate on a design that is in keeping with the space.

The tenants, Laris is keen to stress, will not be a bunch of individual, disjointed businesses. “Everyone who is coming in will be part of the initiative.” They will have their own space but will also link up with everything else. “All key tenants,” he says, “should be prepared to hold open days where they give talks and inspire others. There will be lots of activities around festivals, art shows and networking events where everyone comes to hang out and share ideas.”

The key element in encouraging this integrated creative collectivity is the building’s core, which is at the physical and conceptual center of the project. This circular area at the core of the old slaughterhouse, including the top floor theater, with its polished glass stage and steel domed roof, will not be rented out. Instead it will stay in the hands of the developers and be equipped with a flexible design allowing for exhibitions, workshops, lectures and other events. “This is where people can come together and show their work.”

Publicized plans for the core include a bookstore and library with research stations, artist in residence and a retail boutique where local designers “will give new meaning to the term ‘Made in China.’”

“We want to find young talent,” says Laris, “and give them space. We’ll get behind them, help them develop the market.

In this endeavor, too, Laris returns again to the cultural creativity of cuisine.

“This Is a country that loves food, he says, “it lives and breaths food. At breakfast they are talking about what’s happening at lunch, at lunch what’s happening for dinner. Men cook. Yet there aren’t many famous chefs, that is, people that are renowned outside a small circle.”

For Laris this has to do “with the idea that service is just something that you don’t want to do.” Like almost every restaurant manager in the city he tells stories of parents dragging their children home from work, refusing to allow them to serve others. This why at restaurants like Sashas and Hamilton House management is always on the floor. “I have my own princess,” Laris says, “but if she wants to get into the business she’ll have to start with the dishes.”

For Laris this is a big mission, the area in which he is determined to leave a mark. In reaching out through TV, teaching and building careers, Laris hopes to show that service is an industry that is powerful, significant and something to be proud of. He is confident that the idea is catching on. “Things are changing. Chefs are getting more attention, not only Western chefs but local chefs too.”

“My hope,” he says, “is to get behind young talent, not just in design and fashion but also in the culinary arts. It’s the smart money in the future. That’s another thing that these spaces can inspire.”

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