文旅案例 | 從“購物容器”到“文旅目的地”：室內商業綜合體在文旅融合時代的盈利躍遷與品牌重構

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引言 | 當商業空間開始“長山”

在吉林長春的紅旗街商圈，消費者需要購買一張“爬山”門票才能進入一座商場？不，這座名為“這有山”的室內文旅空間，本身就是一座山。2019年開業以來，它讓東北平原的市民無需遠足，便能在室內體驗“山腳-山腰-山頂”的攀登樂趣。無獨有偶，在天津，一座始建于1991年的“沉寂老樓”吉利大廈，通過聚焦二次元文化與夜經濟，租金坪效增長近200%，成為Z世代的潮流社交場。這些現象并非孤立。當傳統百貨商場面臨客流稀、復購低、盈利難的困境時，一批以“文旅思維重構商業空間”的項目正在逆勢增長。它們證明了一個趨勢：室內商業綜合體正從“商品的容器”進化為“體驗的發生器”。

一、困境與破局 | 室內商業綜合體的發展現狀傳統模式的困局：同質化與客流流失。回顧過去十年，傳統商業綜合體面臨的結構性矛盾日益尖銳。首先是業態同質化嚴重，以長春紅旗街商圈為例，改造前區域內60%以上商業體以傳統百貨、連鎖餐飲為主，重復率達75%，消費者“逛一圈即離場”現象普遍。其次是電商的持續沖擊，電子商務憑借價格與便捷優勢大幅分流線下客群，傳統“坐店等客”模式失效，線下門店一度淪為“體驗場”。再者是消費外溢明顯，周邊大城市或新興商業體憑借更豐富的“購物+休閑+社交+文化”一站式場景，進一步加劇了本地消費流失。消費需求的質變：從“買到物”到“買開心”。深層來看，危機背后是消費邏輯的根本性遷移。如今的消費者，尤其是成長于數字化時代的“Z世代”，其需求已發生質變。他們對商業空間的期待，不再僅僅是“為了購物而去”的目的地，而是“因為有趣而來”的社交場。他們可能為了一場潮流藝術展、一次非遺手作體驗或一個沉浸式劇本殺而專門前往某個空間，購物則成為“順便發生”的行為。這種從“商品交易”向“體驗消費”的轉向，要求商業空間必須提供情緒價值、社交屬性與文化認同。政策紅利的釋放：消費新場景的國家支持。值得關注的是，頂層設計正在為商業轉型提供政策紅利。2024年6月，國家發展改革委等部門出臺《關于打造消費新場景培育消費新增長點的措施》；2025年3月，中辦、國辦發布的《提振消費專項行動方案》明確提出“支持推廣消費新業態新模式”。從長春“這有山”入選國家級夜間文化和旅游消費集聚區，到德州澳林購物中心成為商務部推廣案例，政策層面正在為“商旅文體”融合發展掃清障礙。

The predicament of the traditional model: Homogenization and loss of customer flow. Looking back over the past decade, the structural contradictions faced by traditional commercial complexes have become increasingly acute. Firstly, there is a serious problem of homogenized business models. Take the Changchun Hongqi Street commercial district as an example. Before the renovation, over 60% of the commercial spaces in the area were dominated by traditional department stores and chain restaurants, with a repetition rate of 75%, and the phenomenon of "visiting for a while and leaving" was widespread among consumers. Secondly, the continuous impact of e-commerce has been significant. E-commerce has significantly diverted offline customer groups by leveraging its advantages in price and convenience. The traditional "sit in the store and wait for customers" model has failed, and offline stores have once become "experience venues". Finally, there is a clear phenomenon of consumption spillover. Surrounding big cities or emerging commercial complexes, with more comprehensive "shopping + leisure + socializing + culture" one-stop scenarios, have further exacerbated the loss of local consumption.

The qualitative change in consumer demand: From "buying goods" to "having fun". Deeply speaking, behind the crisis lies the fundamental migration of consumption logic. Today's consumers, especially the "Z Generation" who grew up in the digital age, have undergone a qualitative change in their demands. Their expectations for commercial spaces are no longer just destinations "for shopping", but social venues "because it's interesting". They may specifically go to a certain space for a trendy art exhibition, an experience of traditional handicrafts, or an immersive role-playing game, and shopping becomes an "accidental occurrence". This shift from "commodity transactions" to "experience consumption" requires commercial spaces to provide emotional value, social attributes, and cultural identity.

The release of policy benefits: National support for new consumption scenarios. It is worth noting that the top-level design is providing policy benefits for commercial transformation. In June 2024, the National Development and Reform Commission and other departments issued the "Measures for Creating New Consumption Scenarios and Cultivating New Growth Points"; in March 2025, the Central Committee of the Communist Party of China and the State Council released the "Action Plan to Boost Consumption", clearly stating "Support the promotion of new consumption models and new consumption patterns". From Changchun "This Has Mountains" being selected as a national-level night-time cultural and tourism consumption cluster to Dezhou Aolin Shopping Center becoming a promotion case by the Ministry of Commerce, the policy level is clearing obstacles for the integrated development of "business, tourism, culture, and sports".

二、空間重塑 | 如何讓“逛街”變成“旅行”

文旅融合的核心邏輯在于：將商業空間景區化，讓消費行為旅游化。這首先要求物理空間的顛覆性設計。

立體場景代替平層布局：傳統商場以“平層布局”和“盒子式”建筑為主，空間識別性弱，消費者動線單一。而長春“這有山”首創“室內立體山地”形態，采用“玻璃穹頂+鋼結構骨架”，模擬山體起伏走勢，建設3條主步道、15個觀景平臺，最高落差達25米。消費者不再是“逛樓層”，而是“爬山路”，移步換景之間，平均停留時間被拉長至5.8小時，為傳統商場的4倍。這種空間創新證明：物理形態的獨特性本身就是最強的引流工具。在德州澳林購物中心，長達500米的景觀沿河長廊、3D裸眼天幕、科技燈光秀等設施，將商業空間轉化為城市旅游打卡地，單日客流最高突破3萬人次。微氣候營造與情緒供給：北方商業長期受制于冬季嚴寒，室外活動受限。室內商業空間恰好可以彌補這一空白。“這有山”通過室內恒溫控制在22℃、搭配綠植墻與動態燈光模擬日出日落，打造“四季如春”的微氣候環境，讓消費者在嚴冬也能享受“春日逛街”的愜意。這種環境體驗，正是文旅消費的核心要素——舒適度與反差感。三、業態重構 | 從“售賣”到“逗留”的經營邏輯

空間的創新只是第一步，真正決定盈利能力的，是業態組合的質變。當前成功的文旅商業綜合體，普遍遵循“三三制”業態法則：零售、餐飲、體驗各占三分之一，甚至進一步壓縮零售比例。

體驗業態的“壓艙石”作用：天津吉利大廈的改造極具代表性。面對頹勢，運營方沒有簡單引入新品牌，而是徹底重構業態比例：潮流零售業態占比約40%，餐飲酒吧占比約40%，娛樂體驗占比約20%。更重要的是，其定位高度聚焦——二次元主題街區、桌游吧、VR體驗館、密室逃脫等“情緒消費品類”成為主力。2024年開業首日，TOP TOY品牌即實現華北區域銷冠，充分說明年輕客群愿意為“社交貨幣”買單。德州澳林購物中心則通過構建“吃住行游購娛”全業態閉環，引入巨幕影院、河景酒吧、品質酒店，填補區域高品質配套空白，使項目從單一購物點升級為“微旅游目的地”。“主理人模式”與內容原創力：傳統商場招商追求連鎖品牌和大規模復制，但在文旅融合時代，“獨特”比“知名”更重要。“這有山”開業五年來的經驗表明，連鎖品牌比例過高會陷入同質化競爭。因此，其招商策略轉向挖掘“主理人店鋪”——通過門前的“云山集”市集孵化特色商戶，書畫漆藝店“不尚賢居”便是從擺攤起步，半年賺10萬元后正式入駐。這種機制確保了業態的原創性與不可復制性，文化類商戶續約率高達95%。動態調改：保持“新鮮感”的秘訣：文旅消費的一大特點是“復購依賴新鮮感”。“這有山”建立了動態調改機制，每年保持40%的商戶更新率，引入劇本殺集群、二次元文化等新興業態。這種“流水不腐”的運營邏輯，解決了商業體“開業即巔峰”的衰退難題，會員復購率達到65%，遠高于行業28%的均值。

The innovation of space is only the first step. What truly determines the profitability is the qualitative change of the business format combination. Currently, successful cultural and tourism commercial complexes generally follow the "three-thirds" business format rule: retail, catering, and experience each accounting for one-third. Even further reducing the proportion of retail.

The "balancing stone" role of the experience format: The renovation of Tianjin Jili Mansion is highly representative. In the face of a downturn, the operator did not simply introduce new brands, but completely restructured the format ratio: the proportion of trendy retail formats is about 40%, the proportion of catering and bars is about 40%, and the proportion of entertainment experience is about 20%. More importantly, its positioning is highly focused - "anime-themed street, board game bar, VR experience hall, escape room" and other "emotional consumption categories" have become the main force. On the first day of its opening in 2024, the TOP TOY brand achieved the sales champion in the North China region, fully demonstrating that young customers are willing to pay for "social currency". The Dezhou Aolin Shopping Center has filled the gap in high-quality supporting facilities in the region by building a "eat, stay, travel, shop, play, and entertain" full-format loop, introducing large-screen cinemas, river-view bars, and quality hotels, upgrading the project from a single shopping point to a "micro-tourism destination".

"Manager Mode" and Content Originality: In the traditional mall's recruitment, the pursuit of chain brands and large-scale replication is common. But in the era of cultural tourism integration,

"uniqueness" is more important than "fame". The experience of "This Has Mountains" over the past five years shows that an excessively high proportion of chain brands will fall into homogenized competition. Therefore, its recruitment strategy has shifted to exploring "manager stores" - through the "cloud mountain collection" market in front of the store to incubate characteristic merchants. The calligraphy and painting art store "Not Seeking Virtue" started from setting up a stall and earned 100,000 yuan in half a year before officially moving in. This mechanism ensures the originality and non-reproducibility of the formats, and the renewal rate of cultural merchants is as high as 95%. Dynamic Adjustment: The secret to maintaining "freshness": One of the major characteristics of cultural and tourism consumption is "repeated purchase relying on novelty". "This Has Mountains" has established a dynamic adjustment mechanism, maintaining an annual merchant update rate of 40%, introducing new formats such as role-playing games clusters and anime culture. This "flowing without decay" operational logic solves the decline problem of commercial bodies that "reach their peak immediately after opening", with a membership repeat purchase rate of 65%, much higher than the industry average of 28%.

四、文化賦能 | 從商業空間到城市名片

室內商業綜合體的文旅化轉型，本質上是一場關于“人與空間關系”的重構。當消費者不再為商品奔走，而是為體驗奔赴，商業空間就必須從“購物場所”進化為“生活目的地”。如果說空間是骨架、業態是血肉，那么文化就是商業綜合體的靈魂。文旅融合的最高境界，是讓商業體成為城市文化的載體和輸出窗口。

在地文化的深度植入：德州澳林購物中心以“國潮+互動”為核心，依托5D沉浸式天幕與3D裸眼燈光技術，打造“一步一景、一景一故事”的沉浸式體驗空間，全年組織非遺展演、老字號品牌展等上百場文化活動。“這有山”則引入滿族剪紙、雕刻等非遺項目，與查干湖景區聯合舉辦“薩滿文化展”，實現跨地域文化輸出。 文化IP的持續運營：文化活動不能是點綴，而應IP化運營。“這有山”每周舉辦“山中戲臺”，每月開展“非遺手作日”，打造的“云山集”品牌市集單日最高客流達2.3萬人次。吉利大廈則通過“次元文化”凝聚圈層，定期舉辦二次元巡游、漫畫家簽售等活動，讓商場成為“二次元同好”的線下聚集地。 高校資源與青年共創：值得關注的是，商業空間正成為年輕創作者的舞臺。“這有山”依托長春高校資源，建立校企合作機制，大學生畫展、畢業設計展進入商場，用青春的筆觸為商業空間增添藝術氣息。這不僅降低了內容生產成本，更提前鎖定了未來的消費客群。

The transformation of indoor commercial complexes towards cultural tourism is essentially a reconfiguration of the "relationship between people and space". When consumers no longer rush for goods but head for experiences, commercial spaces must evolve from "shopping venues" to "life destinations". If space is the framework and business models are the flesh and blood, then culture is the soul of the commercial complex. The highest level of cultural and tourism integration is to make the commercial complex a carrier and output window of the city's culture.

Deep integration of local culture: The Taizhou Aolin Shopping Center focuses on "national trend + interaction", relying on 5D immersive sky curtains and 3D naked-eye lighting technology, to create an immersive experience space where "every step brings a scene, and each scene tells a story". It organizes hundreds of cultural activities such as intangible cultural heritage performances and brand exhibitions throughout the year. "This Mountain" introduces intangible cultural heritage projects such as Manchu paper-cutting and carving, and jointly holds the "Shaman Culture Exhibition" with the Chagan Lake scenic area, achieving cross-regional cultural output.

Continuous operation of cultural IPs: Cultural activities should not be mere embellishments but should be operated in an IP manner. "This Mountain" holds "Mountain Stage" every week and "Intangible Cultural Heritage Handicraft Day" every month, and the "Cloud Mountain Market" brand market has a single-day maximum visitor flow of 23,000 people. The Jili Mansion uses "dimensional culture" to unite the circle and regularly holds activities such as anime parades and comic book autograph signings, making the shopping mall a physical gathering place for "anime enthusiasts".

Collaboration between university resources and young people: It is worth noting that commercial spaces are becoming the stage for young creators. "This Mountain" relies on the university resources in Changchun, establishes a school-enterprise cooperation mechanism, and the university art exhibitions and graduation design exhibitions enter the shopping mall, using the youthful brushstrokes to add artistic atmosphere to the commercial space. This not only reduces the production cost of content but also locks in future consumer groups in advance.

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