Home » Feature » Art and Culture
Global design competition provided the blueprint for Shanghai financial district
Print Edition
IN the early 1990s, a global design competition was held to select the best vision for plans to turn Lujiazui on the eastern shore of the Huangpu River into a world-class financial center. Five nations submitted groundbreaking plans, each very distinctive in design.
The result was a skyline that redefined Shanghai, a skyline that symbolized China’s economic reforms and a skyline that became a blueprint for urban development.
The planning proposals came from China, Japan, Italy, France and the UK.
The Chinese plan prioritized feasibility and cost-effectiveness. It proposed a layered skyline, with central east-west axis that later evolved into the iconic Century Avenue. The Chinese plan also suggested interconnecting buildings to enhance functionality. However, its practicality came at the expense of creativity, and the dense building layout limited future flexibility.
The Japanese proposal presented a bold, futuristic approach. It divided Lujiazui into functional zones, resembling integrated circuit boards, and proposed an ambitious five-level underground transportation network extending 26 meters below ground. This design maximized land use efficiency and ensured seamless connectivity. Despite the plan’s attractions, high construction costs and long timelines made it less practical for immediate development.
The Italian plan drew inspiration from Shanghai’s historic Old Town, proposing a high-density, oval-shaped “city within a city,” surrounded by low-rise buildings. This plan sought to preserve historical and cultural elements while integrating them into a modern context. However, its focus on heritage clashed with the cutting-edge requirements of a financial hub, making it less suitable for Lujiazui’s future.
The French plan aimed for impact and cost-efficiency. It featured a high-rise belt along the river, maximizing space by constructing 70 percent of building volume on just 30 percent of the land. It also introduced the idea of a “central green space.” While visually striking, the design of a dense, high-rise cluster could create an overwhelming effect when viewed from across the river in Puxi, compromising harmony between the two riverbanks.
The British plan stood out for its bold circular layout. It featured six clusters of buildings arranged like a Roman amphitheater, with varying heights and a large central green space with water features. This design blended classical esthetics with modern functionality, prioritizing green space and natural elements. However, its emphasis on a cohesive whole limited the flexibility of individual buildings and required massive land clearance.
While each proposal exhibited unique strengths, none quite fully met Lujiazui’s ambitious goals.
In November 1992 at the Peace Hotel on the Bund riverbank across from Lujiazui, planning experts met to debate a key question: “What will be the theme of the 21st century?”
The general consensus: harmony between humans and nature. Based on that concept, the experts offered more constructive suggestions and advice addressing specific issues, such as urban landscape, land development and cross-river transportation.
By early 1993, a design proposal emerged that merged the strengths of the initial five plans.
The final design was approved in August 1993. It covered about 82 hectares, divided into 69 plots. The layout featured a 200-meter-high skyline along the Huangpu River, anchored by three super-tall skyscrapers at its core. Nature zones spanning 34 percent of the area included riverside greenbelts and a central green space.
Infrastructure plans involved new tunnels and an efficient transit network integrating underground, surface and elevated systems.
The plan blended global ideas with local realities: borrowing from France’s idea of a central green space, Japan’s underground transport network and Italy’s focus on heritage preservation.
More than 30 years on, Lujiazui remains a symbol of Shanghai’s dramatic transformation, with its innovative design still regarded as a benchmark in urban development.
A model of the final plan, made of acrylic glass, was publicly displayed in October 1993 to widespread acclamation. The model was later permanently housed in the National Museum of China.
- About Us
- |
- Terms of Use
- |
-
RSS - |
- Privacy Policy
- |
- Contact Us
- |
- Shanghai Call Center: 962288
- |
- Tip-off hotline: 52920043
- 沪ICP证：沪ICP备05050403号-1
- |
- 互联网新闻信息服务许可证：31120180004
- |
- 网络视听许可证：0909346
- |
- 广播电视节目制作许可证：沪字第354号
- |
- 增值电信业务经营许可证：沪B2-20120012
Copyright © 1999- Shanghai Daily. All rights reserved.Preferably viewed with Internet Explorer 8 or newer browsers.
