文旅案例 | 文商体旅融合：以终为始的场景营造、消费新趋势下的文旅升级|体旅|文化内涵|文商|文旅|旅游

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当前文旅消费正在发生结构性转变。Z世代成为消费主力军，他们的需求从“观光打卡”转向“深度体验”，从“物质消费”转向“精神满足”，从“标准化产品”转向“个性化定制”。这一代消费者不再满足于被动的接受，而是渴望成为体验的参与者和共创者。体验经济全面崛起。根据麦肯锡研究报告，78%的年轻消费者愿意为独特体验支付溢价。文旅消费从“目的地消费”转向“场景消费”——人们不再只为某个景点买单，而是为一段完整的生活方式体验付费。这要求文旅项目必须超越单一功能，提供复合价值。

健康生活成为新刚需。携程数据显示，体育旅游类产品年增长率达35%，徒步、骑行、滑雪、冲浪等“体育+旅游”组合成为新宠。体育不再仅仅是专业活动，更是社交方式和生活态度。在地文化深度渴望。全球化背景下，消费者反而更加珍视在地性和真实性。Airbnb的调研显示，68%的游客希望“像当地人一样生活”，参与本地市集、学习传统手艺、品尝家常菜肴成为旅游新动机。文化不再是背景板，而是核心吸引力。数字原生与现实体验交融。元宇宙概念兴起，但并未削弱人们对现实体验的需求，反而催生了“虚实共生”的新模式。消费者既期待线下沉浸式体验，也渴望通过数字手段延伸体验、记录分享、持续连接。

一、融合新思路：文商体旅的化学反应机制文化为魂：从文化展示到文化转译。单纯的文化展示已无法满足当代需求，成功的项目需要将文化“转译”为可体验、可参与、可消费的现代语言。北京SKP-S的“火星移民”主题商业体提供了卓越范本——将科幻叙事贯穿商业空间，艺术装置与零售场景完全融合。消费者进入的不再是商场，而是一个完整的文化场域，购物行为成为沉浸式叙事的一部分。文化不再是附加装饰，而是空间灵魂和消费逻辑本身。这种转译需要三个层次：表层是文化符号的现代表达；中层是文化场景的生活融入；深层是文化精神的当代共鸣。成都REGULAR源野项目将地下空间改造为生活方式集合体，通过本土植物景观、艺术展览与品质店铺的自然融合，实现了“公园城市”理念的商业转译，成为年轻人追捧的社交目的地。商业为体：从消费场所到生活方式提案。文商体旅融合中的“商”，需要超越传统零售思维，提供完整的生活方式提案。阿那亚的成功秘诀正是如此——它本质上是在销售“海边乌托邦”的生活方式。社区内书店、美术馆、剧场、体育设施与商业配套形成有机网络，消费自然融入日常生活节奏。关键转变在于：商业空间从“货架陈列”转向“场景提案”，从“交易终点”转向“关系起点”，从“标准复制”转向“在地定制”。上海“今潮8弄”将百年石库门建筑群改造为文化艺术商业综合体，每个店铺都是独特的文化窗口，整体形成“可漫步、可阅读、可消费”的街区体验。商业成为文化的载体，文化成为商业的附加值。体育为脉：从专业活动到全民参与。体育在文旅融合中扮演着激活剂和连接器的角色。它提供动态体验、健康价值、社交场景和赛事流量，但必须从专业竞技转向大众参与。浙江莫干山Discovery探索极限公园的创新值得借鉴——将探险运动（攀岩、高空网阵、丛林滑索）进行安全化和体验化改造，搭配自然教育和团队建设，成为企业团建、家庭度假的热门选择。体育融合需要把握三个维度：专业性与普适性的平衡——降低参与门槛但不失专业体验；竞技性与趣味性的结合——淡化比赛压力强化参与乐趣；运动场景与社交场景的叠加——让体育活动成为社交媒介。重庆际华园室内滑雪场结合滑雪教学、赛事举办、主题活动和餐饮零售，构建了全年龄段、全季节的冰雪生活圈。旅游为桥：从线性游览到系统体验。旅游是文商体元素的整合平台，但必须从“点线游览”升级为“系统体验”。日本轻井泽的度假模式提供了完整范例——以自然环境为基础，融合高原高尔夫、自行车骑行、温泉疗养（体）、王子购物广场、特色餐厅（商）、石之教堂、美术馆（文）等多元业态，形成“度假生活系统”。游客停留时间从1-2天延长至3-5天，消费维度也从住宿餐饮扩展到运动、购物、文化体验等多个层面。

Currently, the consumption pattern in the cultural and tourism sector is undergoing a structural transformation. The Z Generation has become the main consumer group. Their demands have shifted from "visiting and taking photos" to "in-depth experience", from "material consumption" to "spiritual satisfaction", and from "standardized products" to "personalized customization". This generation of consumers is no longer content with passive acceptance but instead desires to be participants and co-creators of the experience. The experience economy has fully emerged. 。 According to a McKinsey report, 78% of young consumers are willing to pay a premium for unique experiences. The consumption of cultural tourism has shifted from "destination consumption" to "scene consumption" - people no longer pay for a single attraction alone, but for a complete lifestyle experience. This requires cultural tourism projects to go beyond a single function and provide comprehensive value. Healthy living has become a new necessity. Data from Ctrip shows that the annual growth rate of sports tourism products is 35%, and activities such as hiking, cycling, skiing, and surfing, which combine sports and tourism, have become new favorites. Sports are no longer just professional activities, but also a way of socializing and a lifestyle attitude. In the context of globalization, consumers are even more valuing locality and authenticity. Airbnb's research shows that 68% of tourists hope to "live like locals", participating in local markets, learning traditional skills, and tasting home-cooked dishes, becoming new motivations for travel. Culture is no longer just a backdrop, but a core attraction. Digital natives and real-world experiences blend. The concept of the metaverse has emerged, but it has not weakened people's demand for real-world experiences; instead, it has given rise to a new model of "virtual and real coexistence". Consumers not only expect immersive offline experiences but also desire to extend experiences through digital means, record and share, and maintain connections.

1. Integrating New Ideas: The Chemical Reaction Mechanism of Cultural, Commercial, and Tourism Integration

Culture as the Soul: From Cultural Display to Cultural Translation. Simple cultural displays can no longer meet contemporary needs. Successful projects need to "translate" culture into an experience, participation, and consumptionable modern language. The "Mars Immigrant" theme commercial complex of Beijing SKP-S provides an excellent model - integrating sci-fi narratives throughout the commercial space, with art installations and retail scenarios fully integrated. Consumers are no longer entering a shopping mall, but a complete cultural domain, with shopping behavior becoming part of an immersive narrative. Culture is no longer an additional decoration, but the soul of the space and the logic of consumption itself. This translation requires three levels: the surface is the present-day expression of cultural symbols; the middle layer is the integration of cultural scenes into daily life; the deep layer is the contemporary resonance of cultural spirit. The REGULAR Source Wild project in Chengdu transforms the underground space into a lifestyle complex, through the natural integration of local plant landscapes, art exhibitions, and quality stores, achieving the commercial translation of the "park city" concept, becoming a social destination favored by young people. Commerce as the Body: From Consumption Place to Lifestyle Proposal. In the integration of cultural tourism, "commerce" in "commercial tourism integration" needs to go beyond traditional retail thinking and provide a complete lifestyle proposal. The success secret of Ananya is precisely this - it essentially sells "the seaside utopia" lifestyle. The community's bookstores, art galleries, theaters, sports facilities, and commercial配套 form an organic network， and consumption naturally integrates into the rhythm of daily life. The key transformation lies in： the commercial space shifts from "shelf display" to "scene proposal"， from "transaction endpoint" to "relationship starting point"， from "standard replication" to "local customization". Shanghai "Jin Chao 8 Lane" transforms a century-old Stone Gate building complex into a cultural and artistic commercial complex， with each store being a unique cultural window， forming a "walkable， readable， and consumable" street experience. Commerce becomes the carrier of culture， and culture becomes the added value of commerce. Sports as the Pulse： From Professional Activities to Mass Participation. Sports play a role as an activator and connector in cultural tourism integration. It provides dynamic experiences， health value， social scenarios， and event traffic， but must shift from professional competition to mass participation. The Discovery Extreme Park in Mogan Mountain， Zhejiang， is worth learning from - transforming adventure sports (climbing， high-altitude nets， jungle slides) into safe and experiential forms， combined with natural education and team building， becoming a popular choice for corporate team building and family vacations. Sports integration requires grasping three dimensions: a balance between professionalism and universality - lowering the participation threshold while maintaining a professional experience; a combination of competitiveness and entertainment - reducing the pressure of competitions and strengthening the enjoyment of participation; the superposition of sports scenarios and social scenarios - making sports activities a social medium. Chongqing Jiweiyuan Indoor Skiing Park combines skiing teaching, event hosting, theme activities and catering and retail, and has constructed an ice and snow lifestyle circle for all age groups and all seasons.

二、升级路径：文商体旅融合的四大策略策略一：以终为始的场景营造。未来文旅项目的核心竞争力在于“场景力”。场景营造需要遵循“主题化—叙事化—体验化—商业化”的逻辑闭环。广州永庆坊二期改造中，设计团队没有简单修复建筑，而是构建了“西关生活博物馆”的整体场景：粤剧艺术博物馆提供文化锚点，非遗工作站提供体验内容，特色餐饮和文创店铺提供消费场景，滨河休闲带提供公共空间。所有业态围绕“西关文化”主题展开，形成可感知、可参与、可消费的完整场景。关键要点：场景必须有“主理人思维”，像策展一样精心编排每个元素；场景必须有“呼吸感”，平衡商业密度与公共空间；场景必须有“生长性”，预留社区参与和内容更新的可能性。策略二：内容驱动的流量重构。传统文旅依赖地理位置和资源禀赋的“先天流量”，而新型项目更需要内容创造的“后天流量”。长沙文和友的成功本质上是内容公司的胜利——它通过极致化的市井文化场景、持续的内容事件（怀旧主题活动、品牌联名、影视取景）和社交媒体传播，将自己打造成“城市文化地标”，餐饮消费成为体验内容的自然出口。内容驱动需要建立“内容生产—传播扩散—体验转化—用户生成”的循环生态系统。西安长安十二时辰主题街区将影视IP转化为实景空间，每天安排70多场演艺活动，游客不仅是观看者，更可换装参与、与NPC互动，大量用户生成的短视频成为免费传播素材，形成“内容—体验—传播”的正向循环。策略三：社群运营的价值延伸。文旅项目的长期价值在于构建有归属感的用户社群。阿那亚的社群运营堪称典范：通过业主群、兴趣小组（读书、跑步、艺术）、社区活动（音乐节、话剧节、马拉松）构建了紧密的社区网络。业主不仅是居住者，更是内容生产者、活动参与者和品牌传播者。这种社群黏性带来了高复访率（年均3次以上）和强大的口碑效应。社群运营的关键是“去中心化的组织架构”和“价值共鸣的文化内核”。成都麓湖生态城通过社群基金会支持居民自发组织水上运动、社区艺术节、邻里宴等活动，形成了“参与者即组织者”的活跃社区生态。文旅项目从“消费目的地”升级为“社群精神家园”。策略四：数字技术的体验增强。数字技术不应替代现实体验，而应增强和延伸体验。上海“风起洛阳”VR全感剧场将VR技术与实景道具、动感平台、环境特效结合，让游客“穿越”到盛唐洛阳，破解谜案。这种“虚实融合”模式既保留了线下沉浸感，又突破了物理限制。数字融合有三个层次：体验前的数字化触达和预约定制；体验中的互动增强和沉浸深化；体验后的数字资产沉淀和社交分享。张家界景区推出的“数字孪生”游览，游客可在现实游览同时通过AR眼镜看到地质变迁动画、诗词意境再现，游览后获得个人定制视频和数字纪念品，实现了体验的个性化和可携带化。

II. Upgrade Path: Four Strategies for the Integration of Culture, Commerce, Tourism and SportsStrategy One: Scene Creation Based on the End Goal. The core competitiveness of future cultural tourism projects lies in "scene power". Scene creation needs to follow the logical closed loop of "themeization - narrativization - experientialization - commercialization". In the renovation of Guangzhou Yongqingfang Phase II, the design team did not simply restore the buildings, but constructed the overall scene of "West Gate Life Museum": The Cantonese Opera Art Museum provided a cultural anchor point, the Intangible Heritage Workstation provided experiential content, the characteristic restaurants and cultural shops provided consumption scenarios, and the riverfront leisure area provided public space. All business types were centered around the theme of "West Gate Culture", forming a complete scene that is perceptible, participatory and consumable. Key points: The scene must have "curator thinking", carefully arranging each element like a curator; the scene must have "breathing sensation", balancing commercial density and public space; the scene must have "growth potential", reserving the possibility of community participation and content update.

Strategy Two: Traffic Reconstruction Driven by Content. Traditional cultural tourism relies on the "inherent traffic" of geographical location and resource endowment, while new projects need "acquired traffic" created by content creation. The success of Changsha Wenheyou is essentially the victory of a content company - it transformed itself into a "city cultural landmark" through extreme urban culture scenes, continuous content events (nostalgic theme activities, brand collaborations, film and television shooting locations), and social media dissemination. Content-driven requires the establishment of a "content production - dissemination diffusion - experience transformation - user generation" circular ecosystem. The Xi'an Chang'an Twelve Hours Theme Street transformed the film IP into a real space, arranging over 70 performance activities every day, and tourists were not only viewers but could also dress up and participate, interact with NPCs, and a large number of user-generated short videos became free dissemination materials, forming a positive cycle of "content - experience - dissemination".

Strategy Three: Value Extension of Community Operations. The long-term value of cultural tourism projects lies in building a community with a sense of belonging. The community operation of Ananya is a model: Through owner groups, interest groups (reading, running, art), and community activities (music festival, drama festival, marathon), a close community network was constructed. Owners are not only residents but also content producers, event participants and brand disseminators. This community stickiness brings high repeat visit rates (more than 3 times per year) and a strong word-of-mouth effect. The key to community operation is "decentralized organizational structure" and "cultural core of value resonance". Chengdu Luhu Ecological City formed an active community ecosystem through the support of community foundations for residents to spontaneously organize water sports, community art festivals, neighborhood banquets and other activities. The cultural tourism project upgraded from a "consumption destination" to a "community spiritual home".

Strategy Four: Enhancement of Experience through Digital Technology. Digital technology should not replace real experiences, but should enhance and extend them. The VR full-sensory theater "Wind Blows Luoyang" in Shanghai combined VR technology with real props, dynamic platforms and environmental effects, allowing tourists to "travel through time" to the Tang Dynasty Luoyang and solve mysteries. This "virtual and real integration" model retains the offline immersion while breaking through physical limitations. Digital integration has three levels: digital touch and reservation customization before the experience; interactive enhancement and immersive deepening during the experience; digital asset accumulation and social sharing after the experience. The "digital twin" tour launched by Zhangjiajie scenic area allows tourists to see geological changes animations and poetic recreations through AR glasses while visiting, and after the tour, they receive personalized videos and digital souvenirs, achieving personalized and portable experiences.