【愛易設】世界那么大，為防走散，請將AYS愛易設規(guī)劃設計事務所加星標！關(guān)注愛易設，關(guān)注AYS規(guī)劃設計事務所，點擊上方名片-點右上角彈出菜單欄設為星標即可。

一、引言 | 政策風口與發(fā)展邏輯的轉(zhuǎn)向

2026年2月發(fā)布的中央一號文件作為“十五五”首個三農(nóng)工作綱領(lǐng)，在“培育壯大縣域富民產(chǎn)業(yè)”部分明確提出“深化農(nóng)文旅融合，推進鄉(xiāng)村旅游提檔升級，發(fā)展‘小而美’文旅業(yè)態(tài)”，并在擴大鄉(xiāng)村消費部署中強調(diào)培育“豐收市集、非遺工坊、休閑露營等消費新業(yè)態(tài)新模式新場景”。這一系列政策表述釋放了明確信號：中國鄉(xiāng)村文旅發(fā)展正在告別“大拆大建”的粗放模式，轉(zhuǎn)向“精耕細作”的內(nèi)涵式發(fā)展。

與此同時，文旅消費市場呈現(xiàn)出深刻的代際變遷。年輕消費群體不再滿足于“逛一逛、看一看”的淺層體驗，而是追求沉浸感、特色化與服務品質(zhì)的深度體驗。返鄉(xiāng)客流與城郊“微度假”的興起，進一步放大了對高品質(zhì)小型文旅目的地的需求。政策供給與市場需求的雙重轉(zhuǎn)向，為小而精文旅項目開辟了前所未有的發(fā)展窗口期。然而，風口不等于坦途。小型項目如何突破“規(guī)模不經(jīng)濟”的魔咒？如何在同質(zhì)化競爭中建立辨識度？如何將文化資源轉(zhuǎn)化為可持續(xù)的消費動能？這些問題需要系統(tǒng)的理論回應與實踐探索。

二、政策賦能 | 點狀供地與美學資源轉(zhuǎn)化土地政策的精準破題：土地是文旅項目落地的第一道門檻。2026年1月北京印發(fā)的《關(guān)于加強點狀配套設施用地管理促進鄉(xiāng)村振興的指導意見》，為小型文旅項目提供了關(guān)鍵的政策工具。該意見明確，點狀配套設施用地是指“以促進田林空間集中連片與價值提升、引導建設用地減量提質(zhì)增效為目標，確需在產(chǎn)業(yè)園區(qū)、城鎮(zhèn)開發(fā)邊界和村莊建設邊界外選址”的配套設施用地，涵蓋研學教室、鄉(xiāng)味食堂、村咖茶舍、休憩服務驛站、科普體驗示范基地等業(yè)態(tài)。這一政策的突破性在于：其一，承認鄉(xiāng)村產(chǎn)業(yè)用地的“點狀”特性，避免“一刀切”的集中供地模式；其二，實施規(guī)模總量管控——建設用地類項目建筑主體占地面積不得超過土地流轉(zhuǎn)面積的0.5%且最大不超過10畝，非建設用地類小微配套設施單體用地不超過100平方米。這種“小而精”的供地邏輯，與小型文旅項目的空間特征高度契合，從源頭上降低了項目啟動的土地成本與合規(guī)風險。三大美學資源的政策錨定：如果說點狀供地解決了“在哪里建”的問題，那么中央一號文件對“小而美”文旅業(yè)態(tài)的部署，則回答了“建什么”的根本命題。有專家指出，這一政策部署的本質(zhì)是對鄉(xiāng)村自然之美、藝術(shù)之美、運動之美“三大美學資源”的系統(tǒng)性發(fā)現(xiàn)與創(chuàng)造性轉(zhuǎn)化。鄉(xiāng)村美學的獨特價值在于其“生態(tài)化、生活化”的稟賦特征，區(qū)別于城市“集聚化、人工化”的美學形態(tài)。田園景觀、農(nóng)耕智慧、非遺手工藝、社群倫理、鄉(xiāng)土運動等載體，構(gòu)成了小型文旅項目差異化的資源基底。政策引領(lǐng)的核心任務，就是將這三類美學資源通過“場景化轉(zhuǎn)譯”，轉(zhuǎn)化為可感知、可消費、可傳播的具象產(chǎn)品與服務。

The precise breakthrough in land policy: Land is the first threshold for the implementation of cultural tourism projects. In January 2026, Beijing issued the "Guiding Opinions on Strengthening the Management of Point-Type Supporting Facilities Land and Promoting Rural Revitalization", providing key policy tools for small-scale cultural tourism projects. This opinion clearly states that point-type supporting facilities land refers to "facilities that aim to promote the concentrated and integrated use of farmland space and enhance its value, and guide the reduction, improvement, and efficiency enhancement of construction land, and are located outside the industrial park, urban development boundary, and village construction boundary". It covers business models such as study rooms, local food restaurants, village coffee houses, rest service stations, and science and technology experience demonstration bases. The breakthrough of this policy lies in: Firstly, it recognizes the "point-like" characteristics of rural industrial land, avoiding the "one-size-fits-all" centralized land supply model; Secondly, it implements scale and total amount control - the building area of the main structure of construction land projects shall not exceed 0.5% of the land transfer area and shall not exceed 10 mu at most, and the single land use of non-construction land type small-scale supporting facilities shall not exceed 100 square meters. This "small and exquisite" land supply logic perfectly aligns with the spatial characteristics of small-scale cultural tourism projects, significantly reducing the land cost and compliance risks for project initiation.

Policy anchoring of three aesthetic resources: If point-type land supply solves the problem of "where to build", then the deployment of the Central Document No. 1 on "small and beautiful" cultural tourism business models answers the fundamental question of "what to build". Some experts point out that this policy deployment is essentially a systematic discovery and creative transformation of the "three aesthetic resources" of rural nature, art, and sports. The unique value of rural aesthetics lies in its "ecological and life-oriented" inherent characteristics, different from the "agglomerated and artificial" aesthetic forms of cities. Rural landscapes, agricultural wisdom, intangible cultural heritage craftsmanship, community ethics, and rural sports and other carriers constitute the differentiated resource base of small-scale cultural tourism projects. The core task of policy guidance is to transform these three types of aesthetic resources through "scenario translation" into tangible products and services that are perceptible, consumable, and disseminable.

三、規(guī)劃邏輯 | 從規(guī)模擴張到價值共生跨界引擎與人文錨固的雙輪驅(qū)動：小而精文旅項目的規(guī)劃邏輯，必須跳出傳統(tǒng)旅游規(guī)劃的“景區(qū)思維”，建立“價值共生”的新范式。這一范式要求同步構(gòu)建兩大動能：跨界引擎作為外向驅(qū)動力，負責對美學資源進行“價值升維”與“場景化轉(zhuǎn)譯”。通過打破產(chǎn)業(yè)邊界、推動農(nóng)文旅深度融合，追求高效的經(jīng)濟價值創(chuàng)造與品牌傳播。湖北四美塘項目以“工業(yè)遺址+在地文化+科技+商業(yè)”為融合模式，打造華中首個青年娛樂新生態(tài)樣板，正是跨界引擎的典型實踐。人文錨固作為內(nèi)向穩(wěn)定力，專注于對本土資源進行“系統(tǒng)性發(fā)現(xiàn)”與“創(chuàng)造性轉(zhuǎn)化”。通過輕介入開發(fā)、深連接本土社群，滋養(yǎng)文化認同、活化社群網(wǎng)絡。山東諸城蔡家溝以“藝術(shù)鄉(xiāng)村”聞名，春節(jié)期間通過線上直播預售超1萬張門票，背后正是對鄉(xiāng)土藝術(shù)之美的深度挖掘與村民主體的激活。密度化價值：小空間的效能革命。小型項目的規(guī)劃難點在于“螺螄殼里做道場”。“密度化價值”機制要求通過功能復合、業(yè)態(tài)集成、運營精細化，實現(xiàn)單位空間效益最大化。以非遺工坊為例，可同時承載技藝展示、手工體驗、文創(chuàng)銷售、研學教育多重功能，讓有限空間兼具多重價值。這種規(guī)劃思維的核心，是從“規(guī)模擴張”轉(zhuǎn)向“效能提升”，以“專精特新”的定位規(guī)避與大體量景區(qū)的正面競爭。四、設計美學與空間營造 | 沉浸式場景的生成空間敘事：從“觀看”到“入戲”。小而精文旅項目的空間設計，核心任務是完成從“觀光空間”向“敘事空間”的轉(zhuǎn)變。安康瀛湖漢水街文旅影視基地的實踐頗具啟示：項目突破傳統(tǒng)固定舞臺、定點觀演模式，將街巷、廣場、露臺等公共空間整體納入演藝體系，構(gòu)建“整座街區(qū)即舞臺”的演藝格局，實現(xiàn)“入街即入戲、移步皆演藝”的體驗方式。這種“空間即舞臺”的設計邏輯，讓游客從旁觀者變?yōu)閰⑴c者，消費行為自然嵌入沉浸體驗之中。長春“這有山”項目則提供了另一種范本。該項目打破傳統(tǒng)商場“平層布局”，以“造山”為核心，打造室內(nèi)立體山地景觀——3條主步道、15個觀景平臺、最高落差25米，形成“一步一景”的空間體驗。按“山腳—山腰—山頂”分層布局業(yè)態(tài)，實現(xiàn)“登山式消費”，將購物行為轉(zhuǎn)化為空間漫游體驗。在地性表達：輕介入與重體驗。空間營造的“在地性”是小而精項目建立辨識度的關(guān)鍵。北京點狀用地政策明確要求，配套設施應“鼓勵采用與周邊環(huán)境相融合的景觀化設計、延續(xù)地域特色的鄉(xiāng)土化設計、因地制宜就地取材的低能耗設計，打造小而精、小而美、開放共享的精品配套設施”。佛山拙見院子的實踐詮釋了這一理念。院落隱于500年窯火的南風古灶深處，保留嶺南傳統(tǒng)瓦頂肌理，內(nèi)部融入現(xiàn)代簡約設計，茶、陶、咖啡與新中式服飾在同一空間共生。主理人親手完成屏風與大漆工藝，書架上百余冊圖書逐一挑選——這種“手作感”與“審美表達”，構(gòu)成了空間無法復制的文化質(zhì)感。2026年春節(jié)，該院子民宿持續(xù)滿房，陶藝、茶道體驗滿額預約，證明了“輕介入、重體驗”設計路徑的商業(yè)可行性。

Spatial Narrative: From "Observation" to "Immersive Experience". The core task of the spatial design for small but exquisite cultural tourism projects is to complete the transformation from "spectator space" to "narrative space". The practice of Ankang Yinghu Han River Street Cultural Tourism Film Base is quite enlightening: The project breaks away from the traditional fixed stage and fixed viewing mode, integrating street alleys, squares, terraces and other public spaces into the performance system, constructing an "entire street as a stage" performance pattern, and achieving an "entering the street means entering the drama, moving from one place to another means experiencing drama" experience mode. This "space as a stage" design logic enables tourists to transform from bystanders to participants, and consumption behavior naturally integrates into the immersive experience. The Changchun "There Are Mountains" project provides another model. This project breaks away from the traditional "flat layout" of shopping malls, with "mountain creation" as the core, creating an indoor three-dimensional mountain landscape - 3 main paths, 15 viewing platforms, with a maximum drop of 25 meters, forming a "scene at every step" spatial experience. The layout of business categories is divided layer by layer according to "mountain foot - mountain middle - mountain top", achieving "mountain climbing-style consumption", converting shopping behavior into a spatial wandering experience.

Local Expression: Light Intervention and Heavy Experience. The "locality" expression in space creation is the key for small but exquisite projects to establish their identity. The Beijing point-shaped land use policy clearly requires that supporting facilities should "encourage the adoption of landscape integration design that blends with the surrounding environment, continuation of regional characteristics in vernacular design, and low-energy design based on local materials and conditions, creating small and exquisite, small and beautiful, open and shared high-quality supporting facilities". The practice of Foshan Zhuanye Yuyuan Courtyard interprets this concept. The courtyard is hidden in the depths of the 500-year-old kiln fire of Nanfeng Ancient Kiln, preserving the traditional tile roof texture, and integrating modern minimalist design internally, with tea, pottery, coffee and new Chinese-style clothing coexisting in the same space. The main manager personally completed the screens and lacquer craftsmanship, and over 100 books on the bookshelf were carefully selected - this "handcrafted feeling" and "aesthetic expression" constitute the unrepeatable cultural texture of the space. In the Spring Festival of 2026, this courtyard guesthouse remained fully booked, and pottery and tea art experiences were fully reserved, proving the commercial feasibility of the "light intervention, heavy experience" design path.

五、品牌運營與消費激活 | 主理人經(jīng)濟與社群構(gòu)建主理人經(jīng)濟：人格化品牌的價值錨點。小而精項目的運營邏輯，無法復制標準化、連鎖化的管理模式?！爸骼砣私?jīng)濟”的崛起，為小型文旅項目提供了人格化運營的新范式。有觀察者指出，一批由主理人經(jīng)營、打造的“小而美”空間，“或以文化體驗重構(gòu)空間意義，或以極致產(chǎn)品形成口碑裂變，或以社群與情緒價值維系客群”?！爸骼砣恕钡暮诵脑谟凇爸鳌薄匆小爸鲝垺?。在佛山掂水地道茶飲店，主理人堅持新鮮食材與約40分鐘手工沖制工藝，門店幾乎不主動運營社交平臺，傳播全部來自顧客自發(fā)拍攝分享，形成自然口碑鏈條。這種“產(chǎn)品即內(nèi)容、口碑即流量”的運營模式，與傳統(tǒng)文旅項目依賴營銷投放的邏輯形成鮮明對照，卻更契合小型項目“小而精”的資源稟賦。業(yè)態(tài)組合：動態(tài)調(diào)改與內(nèi)容迭代。小型項目受限于空間規(guī)模，業(yè)態(tài)組合必須保持高度敏捷?！斑@有山”建立了動態(tài)調(diào)改機制，每年保持40%商戶更新率，引入“劇本殺集群”“二次元文化”等新興業(yè)態(tài)；文化類業(yè)態(tài)面積占比達25%，較傳統(tǒng)商場高18個百分點。這種高頻率的業(yè)態(tài)迭代，使項目始終保持對年輕客群的吸引力——其35歲以下客群占比達72%，游客占比達35%。對于更小尺度的項目而言，業(yè)態(tài)迭代未必表現(xiàn)為商戶更換，更多體現(xiàn)為內(nèi)容更新。非遺工坊的季節(jié)性主題變換、民宿的節(jié)氣體驗活動、咖啡館的跨界合作快閃，都是“輕量級迭代”的有效方式。社群構(gòu)建：從流量到留量的轉(zhuǎn)化路徑。小而精項目的消費激活，關(guān)鍵在于將一次性流量轉(zhuǎn)化為持續(xù)性的社群關(guān)系。佛山嘉啡獅咖啡館將本地陶瓷元素融入空間，許多器皿為手作完成，咖啡成為文化媒介，“很多咖啡館偏西式，我更想把本地文化放進來，比如陶瓷、醒獅”。這種在地文化表達，吸引的是對本地文化有認同感的客群，而非隨機過客。拙見院子定期舉辦音樂會、讀書局和各類講座，主理人認為“人因認同而聚，空間因共鳴而生”。當消費者不再只是消費者，而是形成“彼此吸引、持續(xù)互動的部落關(guān)系”，消費便從交易行為升維為社群參與。這正是小而精項目突破“規(guī)模不經(jīng)濟”困局的核心路徑——不求服務所有人，但求與認同者建立深度連接。六、結(jié)論 | 美學精耕時代的消費重構(gòu)

2026年中央一號文件對“小而美”文旅業(yè)態(tài)的部署，宣告鄉(xiāng)村文旅發(fā)展進入“美學精耕”時代。對于小而精文旅項目而言，突破風口不在于追逐流量，而在于回歸價值——以場景美學為指導，通過對自然、藝術(shù)、運動三大美學資源的系統(tǒng)性發(fā)現(xiàn)與創(chuàng)造性轉(zhuǎn)化，構(gòu)建“可持續(xù)的商業(yè)效能”與“打動人心的深度體驗”相互賦能的消費閉環(huán)。

從規(guī)劃層面，需建立“價值共生”的頂層思維，以跨界引擎與人文錨固雙輪驅(qū)動，實現(xiàn)密度化價值；從設計層面，需以空間敘事完成從“觀看”到“入戲”的體驗升級，以在地性表達建立文化辨識度；從運營層面，需發(fā)揮主理人經(jīng)濟的人格化優(yōu)勢，通過動態(tài)內(nèi)容迭代與社群關(guān)系構(gòu)建，將流量轉(zhuǎn)化為留量。

歸根結(jié)底，“小而美”的核心不是“小”，而是“美”——那種能夠觸動人心、值得反復品味的審美體驗與文化質(zhì)感。當越來越多的項目開始追求這種“美”，中國文旅產(chǎn)業(yè)的整體升級便有了最堅實的微觀基礎(chǔ)。

The deployment of the "small but exquisite" cultural and tourism business model in the 2026 Central Document marks the entry of rural cultural tourism development into the "aesthetic refinement" era. For small but exquisite cultural tourism projects, breaking through the trend does not lie in chasing traffic, but in returning to value - guided by scene aesthetics, through systematic discovery and creative transformation of the three aesthetic resources of nature, art, and sports, to build a consumption loop that mutually enhances "sustainable commercial efficacy" and "touching depth experiences".

From the planning perspective, it is necessary to establish a top-level thinking of "value symbiosis", driven by cross-border engines and humanistic anchors, to achieve densification of value; from the design perspective, it is necessary to complete the experience upgrade from "viewing" to "immersion" through spatial narrative, and establish cultural recognition through local expression; from the operation perspective, it is necessary to leverage the personalized advantages of the main manager, through dynamic content iteration and community relationship building, to convert traffic into retention.

In the end, the core of "small and exquisite" is not "small", but "exquisite" - that kind of aesthetic experience and cultural texture that can touch the heart and is worth repeated appreciation. When more and more projects start to pursue this "exquisite", the overall upgrade of China's cultural tourism industry will have the most solid micro foundation.

- END -

內(nèi)容整理｜愛易設規(guī)劃設計事務所、AYS愛易設

素材來源｜部分文案及圖片來源于網(wǎng)絡

文章聲明｜文章及圖片內(nèi)容僅供參考，我們尊重原創(chuàng)和知識產(chǎn)權(quán)，所有轉(zhuǎn)載或改編均會明確標注出處；若不慎侵犯了第三方權(quán)益，請立即聯(lián)系我們，我們將盡快處理。

易老師聯(lián)系方式：13717943868