University of Nebraska - Lincoln
DigitalCommons@University of Nebraska - Lincoln
The China Beat Blog Archive 2008-2012
China Beat Archive
4-29-2010
Sneak Peek: The Urbanatomy Shanghai World
Expo Guide 2010
Follow this and additional works at: http://digitalcommons.unl.edu/chinabeatarchive
Part of the Asian History Commons, Asian Studies Commons, Chinese Studies Commons, and
the International Relations Commons
"Sneak Peek: The Urbanatomy Shanghai World Expo Guide 2010" (2010). The China Beat Blog Archive 2008-2012. 668.
http://digitalcommons.unl.edu/chinabeatarchive/668
This Article is brought to you for free and open access by the China Beat Archive at DigitalCommons@University of Nebraska - Lincoln. It has been
accepted for inclusion in The China Beat Blog Archive 2008-2012 by an authorized administrator of DigitalCommons@University of Nebraska Lincoln.
Sneak Peek: The Urbanatomy Shanghai World Expo Guide 2010
April 29, 2010 in Excerpt by The China Beat | 3 comments
When the Shanghai World Expo officially opens on Saturday, visitors
will have to negotiate the largest fairground ever constructed, spanning 1305 acres on both sides of
the Huangpu River. Such an expedition requires not just a map, but a guide – and
the Urbanatomy team has stepped in to provide one. Hitting shelves at Carrefour and City Shop stores
in Shanghai this week, the Urbanatomy Shanghai World Expo Guide 2010 includes maps of the Expo
site, in addition to discussions of World’s Fair history and background on Shanghai. Below, two
excerpts from the guide’s introduction, written by Nick Land.
Expo 2010 Shanghai
Spectacle has been granted a special place in Chinese culture since the distant dawn of its recorded
history. While contemporary architects and designers pursue the essence of ‘Chinese style’ into the
nooks and crannies of specific construction techniques, its most significant and influential trait is a
commitment to the production of psychological effect on a massive scale. China’s great philosopher of
war Sun Tzu exemplifies this continuous line of spectacular tradition, when he argues that the aim of
the general is less to kill than to create an overwhelming impression on the enemy. The same thread
passes through the invention of fireworks and the layout of the Forbidden City (constructed as a
succession of theatrical gateways) to the glittering East Asian cityscapes of today, built almost as
stage props for epic dramas of development, and painting vast panoramas in artificial light. This
tradition of all-enveloping theater and aesthetic staging, vividly exhibited at the 2008 Beijing Olympics
and the 60th anniversary of the New China in 2009, is naturally predisposed to affinity with the World
Expo, an event whose very name calls for a spectacle of planetary dimensions.
As theater created on an immense scale, the Expo is aimed at an audience. Its structures are for the
most part temporary, designed to make a powerful impression, to communicate, and to persist in
memory, enduring not through solidity of construction, but through the effects they produce. At every
level of physical organization the Expo is pre-adapted to fluidity, anticipating as many as half a million
people flowing through the Shanghai Expo Park on certain days, with tens of thousands streaming
through particular pavilions. Although something like a miniature city, the Expo site and its pavilions
are not designed for inhabitants and their possessions, or for workers and their tools, but for visitors
and their experiences. Everything is performance: transient, dramatic and informative.
Throughout Chinese history, the art of politics has always been intimately interwoven with the
techniques of spectacular demonstration. This mainstream tradition is naturally focused upon Beijing,
the nation’s political center, whose monumental Imperial architecture consistently betrays a theatrical
design, constructed with reference to the awestruck perspective of a lowly observer, rather than for
the comfort of a privileged occupant. That Beijing maintains a rare mastery in the field of grand
spectacle – exhibited in the international and national pageants of 2008 and 2009 – should surprise no
one.
Yet Shanghai has claims to a spectacular lineage of its own. The city’s location at the mouth of the
Yangzi, where it communicates between the vast Chinese interior and the open horizons of maritime
commerce, makes it the natural shop window of an emerging industrial giant. History and geography
intersect in Shanghai to produce a national display case, where the obscure immensities of China’s
past, present and future are artfully presented to foreign eyes, and no less to eyes that merely feign
foreignness, in order to revel in the exotic pleasures of cosmopolitan detachment.
Shanghai is incandescent, because it manifests huge and hidden things. Economic forces and world
trends of incalculable consequence are condensed, illuminated and reflected among its towers. China’s
film industry was born in the city, fashion flourishes luxuriantly in its streets and showrooms, the
advertising industry crosses new frontiers upon the surfaces of its cityscape, and every imaginable
variety of conspicuous consumption saturates its retail and entertainment spaces, converting
economic potential into vivid sensation.
It has been Shanghai’s irresistible fate to become a city on show, delighting in attention, and leaving
no observer disappointed. Even had the World Expo been deliberately tailored for Shanghai, it could
not more perfectly fit the city’s tastes and unique genius. From a certain tempting perspective, the
World Expo is Shanghai amplified, distilled, and celebrated, in a festival of cosmopolitan exhibitionism.
Since the late 19th century, Shanghai has absorbed its status as a world city into the core of its
identity. Like other world cities (New York provides the most obvious comparison), Shanghai’s global
significance has nourished a self-absorption that would be insufferable, were it not that the city
harbors the entire world within itself, its limitless self-regard entirely ameliorated by an equally
unlimited openness. For Shanghai, hosting the world is a mission so natural it almost seems an
original destiny.
Better still, World Expo 2010 turns Shanghai’s self-regard into a solemn obligation. The 2010 Expo
theme, Better City, Better Life, firmly places urban existence center stage for the first time in the
history of the event. Never before have the international wonders on exhibition fused so seamlessly
with the surrounding megalopolis, making the Expo host into the principal exhibit.
***
Stimulation
China’s economic rise over the three decades of Reform and Opening represents by far the most
significant event in recent world history, and the staging of the 2008 Olympic Games in Beijing
marked a threshold in the international, public acknowledgement of this fact. While the symbolic
importance of the Olympics, as the world’s greatest sporting gala, is difficult to overestimate,
Shanghai’s 2010 World Expo responds to the world’s China fascination even more directly and
comprehensively. In the first place, the Expo’s economic, technological, and cultural agenda is
obviously aligned with the major issues and discussion topics that naturally accompany a profound
shift in the order of the world. In addition, the universally recognized status of Shanghai as a
cosmopolitan gateway city, in combination with the long duration of the event and the peculiarly
intense, sustained character of international participation, sets the stage for a deep and broad
engagement, rather than a brief – if thrilling – encounter.
China’s rise is a primarily economic phenomenon. Divergent growth rates, which have steadily tilted
the world’s center of economic gravity towards emerging economies in general, and developing East
Asia in particular, have been accentuated by the international financial crisis. In 2010, emerging
economies were forecast to grow four times as fast as rich countries (with China growing more than
seven times as fast). China achieved growth of over 9% in 2009, when most rich economies were
shrinking. In 2010, China’s GDP expansion is expected to reach 11%.
China’s strong and robust economic growth attracts rising inward investment, which is in turn
accompanied by general interest, spreading from overseas economic elites to the wider public, and
from relatively narrow economic considerations to a broader cultural, social and political fascination.
Levels of foreign media, academic and tourist interest in China have never been higher, and Mandarin
learning in schools throughout the world is rising at an exponential rate. World Expo 2010, hosted in
mainland China’s most open and accessible city, smoothly accommodates this flood tide of attention.
For Shanghai, a city exceptionally exposed to world economic conditions and trade disruption, the
timing of the Expo has been highly opportune. Momentarily relieved from the fears of overheating that
have been a near-constant companion of the turbo-charged Shanghai economy, it found itself ideally
positioned to absorb the massive jolt of stimulation provided by Expo preparation, from new and
accelerated infrastructure projects, event operations, and tourism. Rather than slumping into despond
as export- and expat-oriented businesses struggled, Shanghai resounded to the racket of jackhammers as it became an enormous building site. Municipal investments in Expo-related road and
tracked transport construction and maintenance alone were budgeted at US$14 billion, with a further
US$4.2 billion devoted to construction and operation of the Expo site. Total Expo tourist revenues are
likely to exceed US$20 billion. Due to the overcast economic climate of the times, an event that might
have been stressfully over-exciting under normal conditions was transformed into something
unambiguously therapeutic.
The world’s troubled economic times have also underscored the conceptual relevance of the Expo to
Shanghai, by emphasizing the importance of industrial restructuring. As rising prosperity,
environmental standards, and competition have undermined the viability of basic assembly-line
industries in the city and its neighborhood, the local economy has progressively migrated into the
specialized, high-margin, advanced services and manufacturing sectors that better suit its global
interconnectedness, affluent and highly-educated workforce, soaring real estate values and
environmental goals. The darkening clouds over the international trade arena lent new urgency to this
transition, whilst further reinforcing the identification between Shanghai and the Expo, based upon a
shared embrace of continual industrial revolution and its contemporary expression in the informationrich, technologically-sophisticated, and environmentally-sensitive economic activities that define the
near future.
For a world enthralled by the Chinese development miracle, the geographical location, timing, theme,
and topics of the 2010 Expo are further dramatized by the sheer scale of the event. Ever since the
first European merchant sought to add an inch to the shirt-tails of a hundred million elusive ‘Chinese
consumers’, the mesmerizing China-factor has been associated with raw enormity. Reckoned by
civilizational longevity, geographical area, or (above all) population, China’s vastness has served as a
multiplier in every calculation about the country, contributing the mass that combines with
developmental velocity to produce momentum (and historical impact). Among the swelling semipopular literature explaining the rise of China to Western readers, no work is complete without a
stream of graphs, figures and statistics designed to communicate the scarcely-graspable – and
perhaps simply incomprehensible – scale of the process.
To be overawed by exorbitant magnitudes is an experience Western romantic aesthetes of the mid19th century described as ‘sublime’. During the era of its colossal hegemony, perceptions of American
power were not lacking in this quality – a morally-neutral sense of overwhelming size, scope and
energy that extends from megadeath and moonlandings to movies and McDonalds (continuing into
trade and budget deficits). Yet no country on earth evokes the experience of sublimity as consistently
as China, and nowhere else has it been so deliberately crafted as an artistic competence. World Expo
2010 manifests it with appropriate extravagance.
Staged in the world’s most sublime city, the 2010 World Expo exhausts superlatives. Set in the most
populous city in the world’s most populous country, it is the most expensive Expo in history, covering
the largest area, attracting the most participants, and drawing the largest number of visitors. The
number of participating countries and organizations (over 250 in total), exceeds the previous record
by over 50%. Anticipated visitor numbers, estimated very conservatively at 70 million, modestly
exceed the previous record of 65 million (set in Osaka, 1970), but more realistic expectations are
again roughly 50% higher – to quote Shanghai Mayor Han Zheng (January 22, 2010): “It seems that
our 70 million visitors projection is rather conservative … The real figure may go far beyond that
projection, as 20 million tickets have already been sold and the fair is still about three months away.”
Foreign commentators have been less cautious, confidently predicting 100 million visitors (as US
Foreign Secretary Hillary Clinton has done). In 2010, Expo records are not only being broken, they are
being shattered.
In 2010 the Expo is undergoing a renaissance, and in being reborn it is recovering the exuberance of
its classical age, when advance through excess was the mainstream of Expo tradition. If such perfect
complicity between radical innovation and profound conservatism appears contradictory, it is only
superficially so, since it characterizes every renaissance, whether that of 15th century Europe or late20th century China. It is the natural state of an event dedicated to perpetual industrial revolution, and
therefore of the Expo as a vitally evolving institution, as well as of Shanghai, a dynamic metropolis
whose most precious heritage is modernity, and whose very nostalgia – dressed in Art Deco dreams –
is already futuristic. In returning to tomorrow, Shanghai and the World Expo are jointly rediscovering
their roots.
Be Sociable, Share!