文旅案例 | 从“购物容器”到“文旅目的地”：室内商业综合体在文旅融合时代的盈利跃迁与品牌重构

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引言 | 当商业空间开始“长山”

在吉林长春的红旗街商圈，消费者需要购买一张“爬山”门票才能进入一座商场？不，这座名为“这有山”的室内文旅空间，本身就是一座山。2019年开业以来，它让东北平原的市民无需远足，便能在室内体验“山脚-山腰-山顶”的攀登乐趣。无独有偶，在天津，一座始建于1991年的“沉寂老楼”吉利大厦，通过聚焦二次元文化与夜经济，租金坪效增长近200%，成为Z世代的潮流社交场。这些现象并非孤立。当传统百货商场面临客流稀、复购低、盈利难的困境时，一批以“文旅思维重构商业空间”的项目正在逆势增长。它们证明了一个趋势：室内商业综合体正从“商品的容器”进化为“体验的发生器”。

一、困境与破局 | 室内商业综合体的发展现状传统模式的困局：同质化与客流流失。回顾过去十年，传统商业综合体面临的结构性矛盾日益尖锐。首先是业态同质化严重，以长春红旗街商圈为例，改造前区域内60%以上商业体以传统百货、连锁餐饮为主，重复率达75%，消费者“逛一圈即离场”现象普遍。其次是电商的持续冲击，电子商务凭借价格与便捷优势大幅分流线下客群，传统“坐店等客”模式失效，线下门店一度沦为“体验场”。再者是消费外溢明显，周边大城市或新兴商业体凭借更丰富的“购物+休闲+社交+文化”一站式场景，进一步加剧了本地消费流失。消费需求的质变：从“买到物”到“买开心”。深层来看，危机背后是消费逻辑的根本性迁移。如今的消费者，尤其是成长于数字化时代的“Z世代”，其需求已发生质变。他们对商业空间的期待，不再仅仅是“为了购物而去”的目的地，而是“因为有趣而来”的社交场。他们可能为了一场潮流艺术展、一次非遗手作体验或一个沉浸式剧本杀而专门前往某个空间，购物则成为“顺便发生”的行为。这种从“商品交易”向“体验消费”的转向，要求商业空间必须提供情绪价值、社交属性与文化认同。政策红利的释放：消费新场景的国家支持。值得关注的是，顶层设计正在为商业转型提供政策红利。2024年6月，国家发展改革委等部门出台《关于打造消费新场景培育消费新增长点的措施》；2025年3月，中办、国办发布的《提振消费专项行动方案》明确提出“支持推广消费新业态新模式”。从长春“这有山”入选国家级夜间文化和旅游消费集聚区，到德州澳林购物中心成为商务部推广案例，政策层面正在为“商旅文体”融合发展扫清障碍。

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、空间重塑 | 如何让“逛街”变成“旅行”

文旅融合的核心逻辑在于：将商业空间景区化，让消费行为旅游化。这首先要求物理空间的颠覆性设计。

立体场景代替平层布局：传统商场以“平层布局”和“盒子式”建筑为主，空间识别性弱，消费者动线单一。而长春“这有山”首创“室内立体山地”形态，采用“玻璃穹顶+钢结构骨架”，模拟山体起伏走势，建设3条主步道、15个观景平台，最高落差达25米。消费者不再是“逛楼层”，而是“爬山路”，移步换景之间，平均停留时间被拉长至5.8小时，为传统商场的4倍。这种空间创新证明：物理形态的独特性本身就是最强的引流工具。在德州澳林购物中心，长达500米的景观沿河长廊、3D裸眼天幕、科技灯光秀等设施，将商业空间转化为城市旅游打卡地，单日客流最高突破3万人次。微气候营造与情绪供给：北方商业长期受制于冬季严寒，室外活动受限。室内商业空间恰好可以弥补这一空白。“这有山”通过室内恒温控制在22℃、搭配绿植墙与动态灯光模拟日出日落，打造“四季如春”的微气候环境，让消费者在严冬也能享受“春日逛街”的惬意。这种环境体验，正是文旅消费的核心要素——舒适度与反差感。三、业态重构 | 从“售卖”到“逗留”的经营逻辑

空间的创新只是第一步，真正决定盈利能力的，是业态组合的质变。当前成功的文旅商业综合体，普遍遵循“三三制”业态法则：零售、餐饮、体验各占三分之一，甚至进一步压缩零售比例。

体验业态的“压舱石”作用：天津吉利大厦的改造极具代表性。面对颓势，运营方没有简单引入新品牌，而是彻底重构业态比例：潮流零售业态占比约40%，餐饮酒吧占比约40%，娱乐体验占比约20%。更重要的是，其定位高度聚焦——二次元主题街区、桌游吧、VR体验馆、密室逃脱等“情绪消费品类”成为主力。2024年开业首日，TOP TOY品牌即实现华北区域销冠，充分说明年轻客群愿意为“社交货币”买单。德州澳林购物中心则通过构建“吃住行游购娱”全业态闭环，引入巨幕影院、河景酒吧、品质酒店，填补区域高品质配套空白，使项目从单一购物点升级为“微旅游目的地”。“主理人模式”与内容原创力：传统商场招商追求连锁品牌和大规模复制，但在文旅融合时代，“独特”比“知名”更重要。“这有山”开业五年来的经验表明，连锁品牌比例过高会陷入同质化竞争。因此，其招商策略转向挖掘“主理人店铺”——通过门前的“云山集”市集孵化特色商户，书画漆艺店“不尚贤居”便是从摆摊起步，半年赚10万元后正式入驻。这种机制确保了业态的原创性与不可复制性，文化类商户续约率高达95%。动态调改：保持“新鲜感”的秘诀：文旅消费的一大特点是“复购依赖新鲜感”。“这有山”建立了动态调改机制，每年保持40%的商户更新率，引入剧本杀集群、二次元文化等新兴业态。这种“流水不腐”的运营逻辑，解决了商业体“开业即巅峰”的衰退难题，会员复购率达到65%，远高于行业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、文化赋能 | 从商业空间到城市名片

室内商业综合体的文旅化转型，本质上是一场关于“人与空间关系”的重构。当消费者不再为商品奔走，而是为体验奔赴，商业空间就必须从“购物场所”进化为“生活目的地”。如果说空间是骨架、业态是血肉，那么文化就是商业综合体的灵魂。文旅融合的最高境界，是让商业体成为城市文化的载体和输出窗口。

在地文化的深度植入：德州澳林购物中心以“国潮+互动”为核心，依托5D沉浸式天幕与3D裸眼灯光技术，打造“一步一景、一景一故事”的沉浸式体验空间，全年组织非遗展演、老字号品牌展等上百场文化活动。“这有山”则引入满族剪纸、雕刻等非遗项目，与查干湖景区联合举办“萨满文化展”，实现跨地域文化输出。 文化IP的持续运营：文化活动不能是点缀，而应IP化运营。“这有山”每周举办“山中戏台”，每月开展“非遗手作日”，打造的“云山集”品牌市集单日最高客流达2.3万人次。吉利大厦则通过“次元文化”凝聚圈层，定期举办二次元巡游、漫画家签售等活动，让商场成为“二次元同好”的线下聚集地。 高校资源与青年共创：值得关注的是，商业空间正成为年轻创作者的舞台。“这有山”依托长春高校资源，建立校企合作机制，大学生画展、毕业设计展进入商场，用青春的笔触为商业空间增添艺术气息。这不仅降低了内容生产成本，更提前锁定了未来的消费客群。

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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