Sixty-one years ago, under the support of the Democratic Republic of Germany, Zhengzhou Ersha was established in the western suburbs of Zhengzhou, becoming the largest grinding wheel factory on the Chinese mainland. Its history is as brilliant as the stars, and it once stood as a symbol of industrial pride. However, as times changed, the factory faced challenges. In a process metaphorically described as "cage change for birds," Zhengzhou Ersha was rebranded as the "White Pigeon" Group. This transformation opened the door to cultural and creative development, leading to the birth of the first cultural and creative industrial park in Zhengzhou, and welcoming its first wave of creative settlers.
**The "First Move" Road After the 1980s**
On April 17th, Zhengzhou Baige Group abandoned its old factory. Inside a large space of about 160 square meters with a height of seven meters, dozens of white and gray grinding wheels were scattered across a large silver sheet. This was the location of the Wang Hao Studio after the 1980s. At the end of October 2013, Wang Hao closed his successful coffee shop and rented a 6,000-square-meter abandoned factory from Zhengzhou Baige Group, registering Zhengzhou Yihesheng Culture Communication Co., Ltd. to begin a new life closer to art.
Wang Wei, who was born in the western suburbs of Zhengzhou, recalls that the White Pigeon Group was once known as Zhengzhou No. 2 Grinding Wheel Factory. “At the time, I was looking for two sands because of high wages,†he says. In 1993, when Wang Hao was in middle school, Ersha went public and was renamed Baige Group, becoming the first listed company in Zhengzhou and a source of pride for the city and even Henan Province.
In 2003, as the Dove Group began to decline, Wang Hao left for Berlin, Germany, to study. After graduating in 2006, he turned down an offer from Huawei and returned to Zhengzhou to open a coffee shop. When he learned that Zhengzhou planned to develop the Baige Cultural and Creative Industrial Park, he decided to transform and enter the "Two Sands" scene.
The media dubbed the Baige Cultural and Creative Industrial Park as "Zhengzhou’s 798," drawing comparisons to the famous Beijing 798 Art District, which had become a model for China's cultural transformation.
In 1995, the Sculpture Department of the Central Academy of Fine Arts rented a 3,000-square-meter warehouse in an abandoned factory in Beijing’s Jiuxianqiao area. This led to the creation of the 798 Art District, named after the original 798 Electronic Equipment Factory. Wang Hao, familiar with this district before studying in Germany, saw parallels between it and the German approach to repurposing old factories into art spaces.
Inspired by these examples, Wang Hao envisioned transforming the 6,000-square-meter space into a creative hub, featuring dance studios, indoor football fields, and his beloved café.
**The Charm Revealed in the Old Factory**
Converting old factories into creative parks is not a new idea. Since the 1940s, American artists have moved into areas like New York’s SOHO, turning them into artist-friendly zones. For Wang Wei, the charm of these spaces lies in the contrast between past and present, industry and art, creating a unique artistic atmosphere.
Artistic culture has become a key measure of a city’s appeal. In 2003, the U.S. Newsweek highlighted the transformation of Beijing’s 798 as one of the top global trends. The New York Times compared it to New York’s contemporary art districts, while French magazine *Question* declared that “New Beijing Has Come,†signaling China’s awakening. Philip Dodd, former director of the British Centre for Contemporary Art, noted that 798 had become a major brand in Beijing, drawing international attention.
After studying 798, Wang Wei realized that the infrastructure of the White Pigeon factory was even better than that of 798. Built in 1953 with German blueprints and an investment of 150 million yuan—equivalent to five Zhengzhou National Cotton Plants—it was the second-largest grinding wheel factory in the world. Its well-designed workshops, elegant façades, and connected overhead bridges reflected the style of early 20th-century German industrial architecture.
**A New Fashion Landmark?**
This vast industrial complex, spanning over 800 acres, has attracted attention from visionaries. During the 2013 Zhengzhou Two Sessions, municipal representatives proposed using the industrial heritage of the Dove Group for cultural and creative development. In October 2013, the Zhengzhou Municipal Government announced plans to preserve the industrial heritage of Baiyuan Abrasives and develop it into a cultural and creative park.
The message from the government was interpreted as a new opportunity. On October 18, 2013, Jiang Shun’s coffee shop opened in the Second Grinding Wheel Factory. He renovated a 1,000-square-meter heat exchange station into a photography base. “It looks just like the creative districts in Beijing, Chengdu, and Guangzhou. If it develops into a creative park, it will be a paradise for designers and artists,†he said.
Following Jiang Shun, Mr. Jia also rented a factory to establish the 2 Sand Art Center. To him, the massive pipelines, elevated transport corridors, and towering German-style buildings exuded the spirit of the industrial era, fueling creativity.
As pioneers of the Baige Cultural Industrial Park, Wang Hao, Jiang Shun, and Mr. Jia saw the abandoned factory as the future fashion landmark of Zhengzhou. But a challenge loomed: their contract with the pigeons was only signed until the end of December 2015. By 2015, the company was set to relocate to Fuyang, and the factory would be handed over to Guochuang Real Estate, a state-owned enterprise.
Whether Guochuang would renew the lease remained uncertain. The future of this cultural rebirth hinged on a single contract, leaving the fate of Zhengzhou’s new creative landmark in limbo.
Film faced plywood
Shangdong Oushibao New Materials Co.,Ltd , https://www.oushibaomgo.com