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引言 | 當(dāng)商業(yè)空間開(kāi)始“長(zhǎng)山”

在吉林長(zhǎng)春的紅旗街商圈，消費(fèi)者需要購(gòu)買一張“爬山”門(mén)票才能進(jìn)入一座商場(chǎng)？不，這座名為“這有山”的室內(nèi)文旅空間，本身就是一座山。2019年開(kāi)業(yè)以來(lái)，它讓東北平原的市民無(wú)需遠(yuǎn)足，便能在室內(nèi)體驗(yàn)“山腳-山腰-山頂”的攀登樂(lè)趣。無(wú)獨(dú)有偶，在天津，一座始建于1991年的“沉寂老樓”吉利大廈，通過(guò)聚焦二次元文化與夜經(jīng)濟(jì)，租金坪效增長(zhǎng)近200%，成為Z世代的潮流社交場(chǎng)。這些現(xiàn)象并非孤立。當(dāng)傳統(tǒng)百貨商場(chǎng)面臨客流稀、復(fù)購(gòu)低、盈利難的困境時(shí)，一批以“文旅思維重構(gòu)商業(yè)空間”的項(xiàng)目正在逆勢(shì)增長(zhǎng)。它們證明了一個(gè)趨勢(shì)：室內(nèi)商業(yè)綜合體正從“商品的容器”進(jìn)化為“體驗(yàn)的發(fā)生器”。

一、困境與破局 | 室內(nèi)商業(yè)綜合體的發(fā)展現(xiàn)狀傳統(tǒng)模式的困局：同質(zhì)化與客流流失。回顧過(guò)去十年，傳統(tǒng)商業(yè)綜合體面臨的結(jié)構(gòu)性矛盾日益尖銳。首先是業(yè)態(tài)同質(zhì)化嚴(yán)重，以長(zhǎng)春紅旗街商圈為例，改造前區(qū)域內(nèi)60%以上商業(yè)體以傳統(tǒng)百貨、連鎖餐飲為主，重復(fù)率達(dá)75%，消費(fèi)者“逛一圈即離場(chǎng)”現(xiàn)象普遍。其次是電商的持續(xù)沖擊，電子商務(wù)憑借價(jià)格與便捷優(yōu)勢(shì)大幅分流線下客群，傳統(tǒng)“坐店等客”模式失效，線下門(mén)店一度淪為“體驗(yàn)場(chǎng)”。再者是消費(fèi)外溢明顯，周邊大城市或新興商業(yè)體憑借更豐富的“購(gòu)物+休閑+社交+文化”一站式場(chǎng)景，進(jìn)一步加劇了本地消費(fèi)流失。消費(fèi)需求的質(zhì)變：從“買到物”到“買開(kāi)心”。深層來(lái)看，危機(jī)背后是消費(fèi)邏輯的根本性遷移。如今的消費(fèi)者，尤其是成長(zhǎng)于數(shù)字化時(shí)代的“Z世代”，其需求已發(fā)生質(zhì)變。他們對(duì)商業(yè)空間的期待，不再僅僅是“為了購(gòu)物而去”的目的地，而是“因?yàn)橛腥ざ鴣?lái)”的社交場(chǎng)。他們可能為了一場(chǎng)潮流藝術(shù)展、一次非遺手作體驗(yàn)或一個(gè)沉浸式劇本殺而專門(mén)前往某個(gè)空間，購(gòu)物則成為“順便發(fā)生”的行為。這種從“商品交易”向“體驗(yàn)消費(fèi)”的轉(zhuǎn)向，要求商業(yè)空間必須提供情緒價(jià)值、社交屬性與文化認(rèn)同。政策紅利的釋放：消費(fèi)新場(chǎng)景的國(guó)家支持。值得關(guān)注的是，頂層設(shè)計(jì)正在為商業(yè)轉(zhuǎn)型提供政策紅利。2024年6月，國(guó)家發(fā)展改革委等部門(mén)出臺(tái)《關(guān)于打造消費(fèi)新場(chǎng)景培育消費(fèi)新增長(zhǎng)點(diǎn)的措施》；2025年3月，中辦、國(guó)辦發(fā)布的《提振消費(fèi)專項(xiàng)行動(dòng)方案》明確提出“支持推廣消費(fèi)新業(yè)態(tài)新模式”。從長(zhǎng)春“這有山”入選國(guó)家級(jí)夜間文化和旅游消費(fèi)集聚區(qū)，到德州澳林購(gòu)物中心成為商務(wù)部推廣案例，政策層面正在為“商旅文體”融合發(fā)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(yè)空間景區(qū)化，讓消費(fèi)行為旅游化。這首先要求物理空間的顛覆性設(shè)計(jì)。

立體場(chǎng)景代替平層布局：傳統(tǒng)商場(chǎng)以“平層布局”和“盒子式”建筑為主，空間識(shí)別性弱，消費(fèi)者動(dòng)線單一。而長(zhǎng)春“這有山”首創(chuàng)“室內(nèi)立體山地”形態(tài)，采用“玻璃穹頂+鋼結(jié)構(gòu)骨架”，模擬山體起伏走勢(shì)，建設(shè)3條主步道、15個(gè)觀景平臺(tái)，最高落差達(dá)25米。消費(fèi)者不再是“逛樓層”，而是“爬山路”，移步換景之間，平均停留時(shí)間被拉長(zhǎng)至5.8小時(shí)，為傳統(tǒng)商場(chǎng)的4倍。這種空間創(chuàng)新證明：物理形態(tài)的獨(dú)特性本身就是最強(qiáng)的引流工具。在德州澳林購(gòu)物中心，長(zhǎng)達(dá)500米的景觀沿河長(zhǎng)廊、3D裸眼天幕、科技燈光秀等設(shè)施，將商業(yè)空間轉(zhuǎn)化為城市旅游打卡地，單日客流最高突破3萬(wàn)人次。微氣候營(yíng)造與情緒供給：北方商業(yè)長(zhǎng)期受制于冬季嚴(yán)寒，室外活動(dòng)受限。室內(nèi)商業(yè)空間恰好可以彌補(bǔ)這一空白?！斑@有山”通過(guò)室內(nèi)恒溫控制在22℃、搭配綠植墻與動(dòng)態(tài)燈光模擬日出日落，打造“四季如春”的微氣候環(huán)境，讓消費(fèi)者在嚴(yán)冬也能享受“春日逛街”的愜意。這種環(huán)境體驗(yàn)，正是文旅消費(fèi)的核心要素——舒適度與反差感。三、業(yè)態(tài)重構(gòu) | 從“售賣”到“逗留”的經(jīng)營(yíng)邏輯

空間的創(chuàng)新只是第一步，真正決定盈利能力的，是業(yè)態(tài)組合的質(zhì)變。當(dāng)前成功的文旅商業(yè)綜合體，普遍遵循“三三制”業(yè)態(tài)法則：零售、餐飲、體驗(yàn)各占三分之一，甚至進(jìn)一步壓縮零售比例。

體驗(yàn)業(yè)態(tài)的“壓艙石”作用：天津吉利大廈的改造極具代表性。面對(duì)頹勢(shì)，運(yùn)營(yíng)方?jīng)]有簡(jiǎn)單引入新品牌，而是徹底重構(gòu)業(yè)態(tài)比例：潮流零售業(yè)態(tài)占比約40%，餐飲酒吧占比約40%，娛樂(lè)體驗(yàn)占比約20%。更重要的是，其定位高度聚焦——二次元主題街區(qū)、桌游吧、VR體驗(yàn)館、密室逃脫等“情緒消費(fèi)品類”成為主力。2024年開(kāi)業(yè)首日，TOP TOY品牌即實(shí)現(xiàn)華北區(qū)域銷冠，充分說(shuō)明年輕客群愿意為“社交貨幣”買單。德州澳林購(gòu)物中心則通過(guò)構(gòu)建“吃住行游購(gòu)?qiáng)省比珮I(yè)態(tài)閉環(huán)，引入巨幕影院、河景酒吧、品質(zhì)酒店，填補(bǔ)區(qū)域高品質(zhì)配套空白，使項(xiàng)目從單一購(gòu)物點(diǎn)升級(jí)為“微旅游目的地”。“主理人模式”與內(nèi)容原創(chuàng)力：傳統(tǒng)商場(chǎng)招商追求連鎖品牌和大規(guī)模復(fù)制，但在文旅融合時(shí)代，“獨(dú)特”比“知名”更重要?！斑@有山”開(kāi)業(yè)五年來(lái)的經(jīng)驗(yàn)表明，連鎖品牌比例過(guò)高會(huì)陷入同質(zhì)化競(jìng)爭(zhēng)。因此，其招商策略轉(zhuǎn)向挖掘“主理人店鋪”——通過(guò)門(mén)前的“云山集”市集孵化特色商戶，書(shū)畫(huà)漆藝店“不尚賢居”便是從擺攤起步，半年賺10萬(wàn)元后正式入駐。這種機(jī)制確保了業(yè)態(tài)的原創(chuàng)性與不可復(fù)制性，文化類商戶續(xù)約率高達(dá)95%。動(dòng)態(tài)調(diào)改：保持“新鮮感”的秘訣：文旅消費(fèi)的一大特點(diǎn)是“復(fù)購(gòu)依賴新鮮感”。“這有山”建立了動(dòng)態(tài)調(diào)改機(jī)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(yè)態(tài)。這種“流水不腐”的運(yùn)營(yíng)邏輯，解決了商業(yè)體“開(kāi)業(yè)即巔峰”的衰退難題，會(huì)員復(fù)購(gòu)率達(dá)到65%，遠(yuǎn)高于行業(yè)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(yè)空間到城市名片

室內(nèi)商業(yè)綜合體的文旅化轉(zhuǎn)型，本質(zhì)上是一場(chǎng)關(guān)于“人與空間關(guān)系”的重構(gòu)。當(dāng)消費(fèi)者不再為商品奔走，而是為體驗(yàn)奔赴，商業(yè)空間就必須從“購(gòu)物場(chǎng)所”進(jìn)化為“生活目的地”。如果說(shuō)空間是骨架、業(yè)態(tài)是血肉，那么文化就是商業(yè)綜合體的靈魂。文旅融合的最高境界，是讓商業(yè)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(gòu)物中心以“國(guó)潮+互動(dòng)”為核心，依托5D沉浸式天幕與3D裸眼燈光技術(shù)，打造“一步一景、一景一故事”的沉浸式體驗(yàn)空間，全年組織非遺展演、老字號(hào)品牌展等上百場(chǎng)文化活動(dòng)?！斑@有山”則引入滿族剪紙、雕刻等非遺項(xiàng)目，與查干湖景區(qū)聯(lián)合舉辦“薩滿文化展”，實(shí)現(xiàn)跨地域文化輸出。 文化IP的持續(xù)運(yùn)營(yíng)：文化活動(dòng)不能是點(diǎn)綴，而應(yīng)IP化運(yùn)營(yíng)?！斑@有山”每周舉辦“山中戲臺(tái)”，每月開(kāi)展“非遺手作日”，打造的“云山集”品牌市集單日最高客流達(dá)2.3萬(wàn)人次。吉利大廈則通過(guò)“次元文化”凝聚圈層，定期舉辦二次元巡游、漫畫(huà)家簽售等活動(dòng)，讓商場(chǎng)成為“二次元同好”的線下聚集地。 高校資源與青年共創(chuàng)：值得關(guān)注的是，商業(yè)空間正成為年輕創(chuàng)作者的舞臺(tái)?！斑@有山”依托長(zhǎng)春高校資源，建立校企合作機(jī)制，大學(xué)生畫(huà)展、畢業(yè)設(shè)計(jì)展進(jìn)入商場(chǎng)，用青春的筆觸為商業(yè)空間增添藝術(shù)氣息。這不僅降低了內(nèi)容生產(chǎn)成本，更提前鎖定了未來(lái)的消費(fèi)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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