Sixty-one years ago, with the support of the Democratic Republic of Germany, Zhengzhou Ersha was constructed in the western suburbs of Zhengzhou, becoming the largest grinding wheel factory on the Chinese mainland. Over time, it has transformed from an industrial site into a cultural landmark, reflecting both the struggles and triumphs of its past. After a difficult period marked by the phrase "cage change for birds," Zhengzhou Ersha rebranded as the "White Pigeon" Group. This transformation opened the door to the development of cultural and creative industries, turning the area into one of Zhengzhou’s first cultural and creative industrial parks, and attracting the first wave of pioneers.
**The “First Move†Road After the 1980s**
On April 17th, Zhengzhou Baige Group abandoned its old factory. In a vast indoor space of approximately 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. In late October 2013, Wang Hao closed a successful coffee shop and rented a 6,000-square-meter abandoned factory from Zhengzhou Baige Group, registering Zhengzhou Yihesheng Culture Communication Co., Ltd. He embarked on a new life closer to art, marking the beginning of his journey into the creative industry.
Wang Wei, who grew up in the western suburbs of Zhengzhou, recalls that the Dove Group was once known as Zhengzhou No. 2 Grinding Wheel Factory. “Back then, I was attracted by the high wages,†he said. In 1993, when Wang Hao was in middle school, Ersha went public and changed its name to Baige Group, becoming the first listed company in Zhengzhou and a source of pride for the city and even the province of Henan.
In 2003, as the Dove Group began to decline, Wang Hao left for Berlin, Germany, where he studied. Upon 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 Industry Park, he decided to pivot and enter the “Two Sands†project.
The media dubbed the Baige Cultural and Creative Industry Park as "Zhengzhou's 798," drawing inspiration from Beijing's 798 Art District, which had become the standard for cultural innovation on the mainland.
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. The low rent of just three cents per square meter per day allowed artists to create the Lugouqiao Anti-Japanese War Memorial group sculpture. After the project was completed, artist Luo Hailin transformed the space into an open sculpture workshop, giving rise to the 798 Art District.
For Wang Hao, 798 was no stranger. Before studying in Germany in 2003, he often visited the district. While in Berlin, he learned about how Germany had repurposed old factories into vibrant art spaces. Inspired by this, he aimed to be a pioneer like Luo Hailin, transforming a 6,000-square-meter space into a creative hub featuring dance studios, football courts, and cafes.
**The Charm Revealed in the Old Factory**
Transforming an old factory into a creative park is not a German invention. Since the 1940s, American artists have moved into areas like SOHO in New York, known for its low rents and industrial charm. These spaces later became known as "Artist Paradises."
In Wang Wei’s view, the appeal of these old factories lies in the contrast between history and modernity, industry and art. This atmosphere creates a unique artistic environment. According to reports, the transformation of Beijing's 798 was recognized globally, with publications like Newsweek and The New York Times highlighting its significance. The French magazine *Question* even declared that "New Beijing Has Come," signaling China's growing cultural awakening.
After researching 798, Wang Wei realized that the infrastructure of the White Pigeon factory was actually better than that of 798. Built in 1953 with designs from the Democratic Germans, the factory cost 150 million yuan—equivalent to the total investment of five Zhengzhou National Cotton Plants. It was the largest grinding wheel factory in the country and the second largest in the world. Its well-designed workshops, elegant façades, and overhead bridges reflected the style of East German industrial architecture.
**A New Fashion Landmark?**
Covering over 800 acres, the Dongde industrial buildings have drawn attention from visionaries. During the 2013 Zhengzhou Two Sessions, representatives proposed using industrial heritage to develop cultural and creative industries, focusing on the abandoned factory of the Dove Group.
In October 2013, the Zhengzhou Municipal Government announced plans to protect the industrial heritage and build a cultural and creative park in the Baiyuan Abrasives Co., Ltd. area. This signaled a new opportunity for entrepreneurs. On October 18th, photographer Jiang Shun opened a trial coffee shop in a renovated waste heat exchange station within the Ersha plant area, creating a LOFT-style photography base.
“I saw it at a glance, and it’s very similar to cultural districts in Beijing, Chengdu, and Guangzhou. If it develops into a creative park, it will be a paradise for artists and designers,†Jiang Shun said.
Soon after, Mr. Jia, another local resident, also rented a factory to establish the 2 Sand Art Center. For him, the massive pipelines, elevated transport routes, and towering German-style buildings exude the spirit of the industrial era, inspiring creativity.
As the first settlers of the Baige Cultural Industrial Park, Wang Hao, Jiang Shun, and Mr. Jia have envisioned the space as a future fashion landmark for Zhengzhou. However, a major challenge looms: their lease with the pigeons is only valid until the end of December 2015. By the end of 2015, the original owner of the factory, Baige Group, will relocate to Fuyang, and the property will be handed over to Guochuang Real Estate, a state-owned enterprise.
Whether Guochuang will renew the lease remains uncertain, leaving the future of Zhengzhou's new cultural landmark in limbo.
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