文旅案例 | 小而精文旅项目：小空间的效能革命、美学精耕时代的消费重构

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一、引言 | 政策风口与发展逻辑的转向

2026年2月发布的中央一号文件作为“十五五”首个三农工作纲领，在“培育壮大县域富民产业”部分明确提出“深化农文旅融合，推进乡村旅游提档升级，发展‘小而美’文旅业态”，并在扩大乡村消费部署中强调培育“丰收市集、非遗工坊、休闲露营等消费新业态新模式新场景”。这一系列政策表述释放了明确信号：中国乡村文旅发展正在告别“大拆大建”的粗放模式，转向“精耕细作”的内涵式发展。

与此同时，文旅消费市场呈现出深刻的代际变迁。年轻消费群体不再满足于“逛一逛、看一看”的浅层体验，而是追求沉浸感、特色化与服务品质的深度体验。返乡客流与城郊“微度假”的兴起，进一步放大了对高品质小型文旅目的地的需求。政策供给与市场需求的双重转向，为小而精文旅项目开辟了前所未有的发展窗口期。然而，风口不等于坦途。小型项目如何突破“规模不经济”的魔咒？如何在同质化竞争中建立辨识度？如何将文化资源转化为可持续的消费动能？这些问题需要系统的理论回应与实践探索。

二、政策赋能 | 点状供地与美学资源转化土地政策的精准破题：土地是文旅项目落地的第一道门槛。2026年1月北京印发的《关于加强点状配套设施用地管理促进乡村振兴的指导意见》，为小型文旅项目提供了关键的政策工具。该意见明确，点状配套设施用地是指“以促进田林空间集中连片与价值提升、引导建设用地减量提质增效为目标，确需在产业园区、城镇开发边界和村庄建设边界外选址”的配套设施用地，涵盖研学教室、乡味食堂、村咖茶舍、休憩服务驿站、科普体验示范基地等业态。这一政策的突破性在于：其一，承认乡村产业用地的“点状”特性，避免“一刀切”的集中供地模式；其二，实施规模总量管控——建设用地类项目建筑主体占地面积不得超过土地流转面积的0.5%且最大不超过10亩，非建设用地类小微配套设施单体用地不超过100平方米。这种“小而精”的供地逻辑，与小型文旅项目的空间特征高度契合，从源头上降低了项目启动的土地成本与合规风险。三大美学资源的政策锚定：如果说点状供地解决了“在哪里建”的问题，那么中央一号文件对“小而美”文旅业态的部署，则回答了“建什么”的根本命题。有专家指出，这一政策部署的本质是对乡村自然之美、艺术之美、运动之美“三大美学资源”的系统性发现与创造性转化。乡村美学的独特价值在于其“生态化、生活化”的禀赋特征，区别于城市“集聚化、人工化”的美学形态。田园景观、农耕智慧、非遗手工艺、社群伦理、乡土运动等载体，构成了小型文旅项目差异化的资源基底。政策引领的核心任务，就是将这三类美学资源通过“场景化转译”，转化为可感知、可消费、可传播的具象产品与服务。

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、规划逻辑 | 从规模扩张到价值共生跨界引擎与人文锚固的双轮驱动：小而精文旅项目的规划逻辑，必须跳出传统旅游规划的“景区思维”，建立“价值共生”的新范式。这一范式要求同步构建两大动能：跨界引擎作为外向驱动力，负责对美学资源进行“价值升维”与“场景化转译”。通过打破产业边界、推动农文旅深度融合，追求高效的经济价值创造与品牌传播。湖北四美塘项目以“工业遗址+在地文化+科技+商业”为融合模式，打造华中首个青年娱乐新生态样板，正是跨界引擎的典型实践。人文锚固作为内向稳定力，专注于对本土资源进行“系统性发现”与“创造性转化”。通过轻介入开发、深连接本土社群，滋养文化认同、活化社群网络。山东诸城蔡家沟以“艺术乡村”闻名，春节期间通过线上直播预售超1万张门票，背后正是对乡土艺术之美的深度挖掘与村民主体的激活。密度化价值：小空间的效能革命。小型项目的规划难点在于“螺蛳壳里做道场”。“密度化价值”机制要求通过功能复合、业态集成、运营精细化，实现单位空间效益最大化。以非遗工坊为例，可同时承载技艺展示、手工体验、文创销售、研学教育多重功能，让有限空间兼具多重价值。这种规划思维的核心，是从“规模扩张”转向“效能提升”，以“专精特新”的定位规避与大体量景区的正面竞争。四、设计美学与空间营造 | 沉浸式场景的生成空间叙事：从“观看”到“入戏”。小而精文旅项目的空间设计，核心任务是完成从“观光空间”向“叙事空间”的转变。安康瀛湖汉水街文旅影视基地的实践颇具启示：项目突破传统固定舞台、定点观演模式，将街巷、广场、露台等公共空间整体纳入演艺体系，构建“整座街区即舞台”的演艺格局，实现“入街即入戏、移步皆演艺”的体验方式。这种“空间即舞台”的设计逻辑，让游客从旁观者变为参与者，消费行为自然嵌入沉浸体验之中。长春“这有山”项目则提供了另一种范本。该项目打破传统商场“平层布局”，以“造山”为核心，打造室内立体山地景观——3条主步道、15个观景平台、最高落差25米，形成“一步一景”的空间体验。按“山脚—山腰—山顶”分层布局业态，实现“登山式消费”，将购物行为转化为空间漫游体验。在地性表达：轻介入与重体验。空间营造的“在地性”是小而精项目建立辨识度的关键。北京点状用地政策明确要求，配套设施应“鼓励采用与周边环境相融合的景观化设计、延续地域特色的乡土化设计、因地制宜就地取材的低能耗设计，打造小而精、小而美、开放共享的精品配套设施”。佛山拙见院子的实践诠释了这一理念。院落隐于500年窑火的南风古灶深处，保留岭南传统瓦顶肌理，内部融入现代简约设计，茶、陶、咖啡与新中式服饰在同一空间共生。主理人亲手完成屏风与大漆工艺，书架上百余册图书逐一挑选——这种“手作感”与“审美表达”，构成了空间无法复制的文化质感。2026年春节，该院子民宿持续满房，陶艺、茶道体验满额预约，证明了“轻介入、重体验”设计路径的商业可行性。

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、品牌运营与消费激活 | 主理人经济与社群构建主理人经济：人格化品牌的价值锚点。小而精项目的运营逻辑，无法复制标准化、连锁化的管理模式。“主理人经济”的崛起，为小型文旅项目提供了人格化运营的新范式。有观察者指出，一批由主理人经营、打造的“小而美”空间，“或以文化体验重构空间意义，或以极致产品形成口碑裂变，或以社群与情绪价值维系客群”。“主理人”的核心在于“主”——即要有“主张”。在佛山掂水地道茶饮店，主理人坚持新鲜食材与约40分钟手工冲制工艺，门店几乎不主动运营社交平台，传播全部来自顾客自发拍摄分享，形成自然口碑链条。这种“产品即内容、口碑即流量”的运营模式，与传统文旅项目依赖营销投放的逻辑形成鲜明对照，却更契合小型项目“小而精”的资源禀赋。业态组合：动态调改与内容迭代。小型项目受限于空间规模，业态组合必须保持高度敏捷。“这有山”建立了动态调改机制，每年保持40%商户更新率，引入“剧本杀集群”“二次元文化”等新兴业态；文化类业态面积占比达25%，较传统商场高18个百分点。这种高频率的业态迭代，使项目始终保持对年轻客群的吸引力——其35岁以下客群占比达72%，游客占比达35%。对于更小尺度的项目而言，业态迭代未必表现为商户更换，更多体现为内容更新。非遗工坊的季节性主题变换、民宿的节气体验活动、咖啡馆的跨界合作快闪，都是“轻量级迭代”的有效方式。社群构建：从流量到留量的转化路径。小而精项目的消费激活，关键在于将一次性流量转化为持续性的社群关系。佛山嘉啡狮咖啡馆将本地陶瓷元素融入空间，许多器皿为手作完成，咖啡成为文化媒介，“很多咖啡馆偏西式，我更想把本地文化放进来，比如陶瓷、醒狮”。这种在地文化表达，吸引的是对本地文化有认同感的客群，而非随机过客。拙见院子定期举办音乐会、读书局和各类讲座，主理人认为“人因认同而聚，空间因共鸣而生”。当消费者不再只是消费者，而是形成“彼此吸引、持续互动的部落关系”，消费便从交易行为升维为社群参与。这正是小而精项目突破“规模不经济”困局的核心路径——不求服务所有人，但求与认同者建立深度连接。六、结论 | 美学精耕时代的消费重构

2026年中央一号文件对“小而美”文旅业态的部署，宣告乡村文旅发展进入“美学精耕”时代。对于小而精文旅项目而言，突破风口不在于追逐流量，而在于回归价值——以场景美学为指导，通过对自然、艺术、运动三大美学资源的系统性发现与创造性转化，构建“可持续的商业效能”与“打动人心的深度体验”相互赋能的消费闭环。

从规划层面，需建立“价值共生”的顶层思维，以跨界引擎与人文锚固双轮驱动，实现密度化价值；从设计层面，需以空间叙事完成从“观看”到“入戏”的体验升级，以在地性表达建立文化辨识度；从运营层面，需发挥主理人经济的人格化优势，通过动态内容迭代与社群关系构建，将流量转化为留量。

归根结底，“小而美”的核心不是“小”，而是“美”——那种能够触动人心、值得反复品味的审美体验与文化质感。当越来越多的项目开始追求这种“美”，中国文旅产业的整体升级便有了最坚实的微观基础。

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.

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