文旅案例 | 城市策展：从“功能容器”到“情绪场域”、基于文商旅体展融合视角下的规划思考

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一、 引言 | 作为城市更新引擎的“策展城市”

在城市化进程进入“下半场”的今天，以大型基建驱动的增量规划逐渐让位于以内容驱动的存量更新。城市策展，已不再仅仅是美术馆白盒子里的艺术实践，而是演变为一种介入城市更新、激活公共领域、重构生活方式的空间生产手段。

2025年底至2026年初，从中央到地方密集发布了一系列促进文旅融合的政策文件。国务院办公厅印发《关于进一步培育新增长点繁荣文化和旅游消费的若干措施》，明确提出“培育消费场景”“盘活提升存量空间”“推出沉浸式文旅新产品新场景”。湖南省发布的《关于推进文化和旅游深度融合发展的实施意见》则强调“打造一批‘小而美’公共文化新空间”“探索大型演唱会、音乐节、顶级赛事、会展等多维度支持机制”。北京市更是将“文商旅体展深度融合”写入2026年计划报告，提出以“票根经济”“第二现场”等创新模式打通消费链条。这些政策的指向高度一致：城市空间需要从单纯的“功能容器”转变为能够承载复合体验的“情绪场域”。而城市策展，正是实现这一转变的核心操作系统。

二、 底层逻辑重构 | 驱动城市策展变革的三大趋势

要理解城市策展的未来走向，必须首先洞察其服务主体——人，即市民与游客的深层需求变迁。根据北京市经济社会发展研究院的研究，当前居民消费升级呈现三大核心趋势，这也是城市策展逻辑重构的底层驱动力。

价值诉求之变：从“功能消费”到“情绪价值”。当下的城市客群，尤其是作为消费主力的青年群体，正经历从“性价比”到“心价比”的跨越。《2026北京青年消费趋势指南》指出，“理性规划与情感满足共存”成为主流消费哲学，即“该省省，该花花”。消费者不再满足于物品的占有，而是追求“愉悦、松弛与自我认同”。城市策展的核心任务因此发生转移：不再只是展示物品，而是制造可供发酵的“情绪”——一场演唱会之所以能带动周边住宿订单增长240%，正是因为它在提供音乐之外，更提供了青春的仪式感与社交货币。

业态组织之变：从“单一功能”到“复合功能”。传统的城市展览往往孤立存在。而如今，“露营+市集”“文化+社交”“看展+茶歇”等复合型场景已成为主流。政策端大力倡导的“文商旅体展融合”，正是对这一趋势的回应。这意味着，策展的边界被彻底打破。一个成功的城市策展项目，必须同时具备文化吸引力（文）、商业变现力（商）、场景体验感（旅）、社群活跃度（体）及产业延展性（展）。

空间角色之变：从“基础承载”到“多维赋能”。空间不再是被动的“容器”。在北京THE BOX朝外，传统的商场固化为品牌店铺的模式被颠覆，取而代之的是以月乃至周为单位的店铺焕新周期，空间本身变成了一个持续更新的“策展现场”。空间通过精心设计的界面、不断更替的内容与人的活动深度耦合，从而实现从引导“流量”到沉淀“留量”的质变。

To understand the future direction of urban curating, one must first grasp the profound changes in the deep-seated needs of its service subjects - the people, namely the citizens and tourists. According to the research of the Beijing Institute of Economic and Social Development, the current resident consumption upgrade presents three core trends, which are also the underlying driving forces for the reconfiguration of urban curating logic.

Shift in value demands: From "functional consumption" to "emotional value". The current urban clientele, especially the young group as the main consumer force, is undergoing a leap from "cost-effectiveness" to "value based on emotions". The "2026 Beijing Youth Consumption Trend Guide" states that "rational planning and emotional satisfaction coexist" has become the mainstream consumption philosophy, that is, "save where necessary, spend where appropriate". Consumers are no longer satisfied with merely possessing items, but pursue "pleasure, relaxation and self-identity". Therefore, the core task of urban curating has shifted: it is no longer just about displaying items, but about creating "emotions" that can ferment - a concert, for example, can lead to a 240% increase in nearby accommodation orders because it not only provides music but also offers the sense of ceremony and social currency of youth.

Shift in business organization: From "single function" to "comprehensive function". Traditional urban exhibitions often exist in isolation. Nowadays, "camping + market", "culture + social interaction", "viewing exhibitions + tea breaks" and other composite scenarios have become the mainstream. The policy-end advocated "integration of culture, commerce, tourism, sports and exhibition" is precisely a response to this trend. This means that the boundaries of curating have been completely broken. A successful urban curating project must simultaneously possess cultural appeal (culture), commercial profitability (commerce), scene experience (travel), community activity (community) and industry scalability (exhibition).

Shift in spatial role: From "basic carrying" to "multi-dimensional empowerment". Space is no longer a passive "container". Outside THE BOX in Beijing, the traditional mall has been transformed from a fixed model of brand stores to a renewal cycle of stores measured in months or even weeks. The space itself has become a continuously updated "curating site". Through carefully designed interfaces, constantly changing content and people's activities, space achieves a qualitative transformation from guiding "traffic" to retaining "visits".

三、 突破路径 | 城市策展的四大创新实践

基于上述趋势，结合2025-2026年全国范围内的标杆案例，我们可以梳理出城市策展项目在当下的四大突破路径。

叙事重构：从“观光地”到“深度体验场”的剧本打造。传统的城市展示是静态的“图说”，而当代城市策展则是动态的“剧本杀”。策展的核心在于通过叙事逻辑的重构，让游客从“旁观者”变为“参与者”。2025上海城市空间艺术季以“量子城市 复兴未来”为主题，选址复兴岛。策展并未停留在艺术品陈列，而是将工业遗存（船台、仓库）与量子城市理念深度绑定。通过“空间光谱：流动的情绪剧场”等展览，艺术介入城市公共空间，并与张江水环、人工智能小镇形成互动。近两百场论坛、工作坊、赛事活动在展期内接连上演，让一个原本封闭的工业岛转变为全民参与的“嘉年华”现场，实现了“举办一届展览，留下一批作品，激活一座岛屿”的叙事重构。

业态无界：以“票根”为媒打通消费全链条。政策层面鼓励的“票根经济”，本质上是将一次性的观展行为转化为城市漫游的通行证，通过利益联结机制打破行业壁垒。北京通州区在举办“殷商大展”期间，策划覆盖全区的“票根”联动机制。观众凭一张展览门票，不仅可进入博物馆，还能享受周边六大商圈的餐饮折扣、景区游船优惠乃至酒店住宿福利。这使得文化展览的单一流量，通过制度设计精准灌溉到商业、旅游、交通等多个领域，极大提升了消费的客单价与停留时间。这种策展思维要求规划者在项目伊始，就必须将周边的商业动线、住宿配套纳入统一的“策展版图”进行考量。

数字共生：AI与沉浸式技术重塑场景体验。2026年被认为是AI深度渗透消费场景的关键之年。“AI场景力”正在从营销工具演变为策展内容本身。国务院政策也明确提出“建设空间型虚拟现实体验项目”。北京在推动文商旅融合中，提出了“第二现场”的概念。通过数字技术，顶级赛事、演出的现场体验被同步“投射”到城市的其他公共空间或商业综合体。这不仅缓解了主会场的承载压力，更创造了新的消费增量。在首钢园、三里屯等智慧商圈，AI智能导购、AR互动装置已成为空间标配。未来的城市策展，物理空间与数字空间将互为表里。策展人需要同时设计物理动线与数字交互界面，让虚拟预演与真实体验相互增益。

长效运营：从“快闪试验”到“主理人生态”的资产孵化。城市策展不应止步于活动期间的“昙花一现”，而应成为城市资产长期增值的引擎。这要求策展模式具备“造血功能”，能够孵化出可持续的商业生态。北京朝阳区的THE BOX朝外提供了一种“策展型零售”的范式。它不仅是一个消费场所，更是一个“共生生态”——以优惠租金政策吸引青年艺术家、主理人进行“快闪”试验，一旦市场反响良好，便协助其转化为固定店铺。同时，与高校联动，让学生创意与城市空间无缝对接。这种模式让城市空间变成了原创力的孵化器，实现了商业利益与城市活力的双赢。无独有偶，张江科学城推出的“光合计划”，同样旨在联动艺术家、美术馆、画廊，让艺术从会堂走向更为广阔的科学城，将艺术植入城市肌理，使其自然生长。

Based on the above trends and combined with the benchmark cases across the country from 2025 to 2026, we can identify four major breakthrough paths for urban exhibition projects at present.

Narrative Reconstruction: Transforming from "tourist attractions" to "deep experience venues". The traditional urban display is a static "description", while contemporary urban exhibitions are dynamic "role-playing games". The core of exhibition planning lies in reconfiguring the narrative logic, turning visitors from "spectators" into "participants". The 2025 Shanghai Urban Spatial Art Festival, with the theme "Quantum City - Reviving the Future", chose Fuxing Island as its venue. The exhibition did not merely focus on the display of artworks; instead, it deeply integrated industrial remnants (ship docks, warehouses) with the concept of quantum city. Through exhibitions such as "Spatial Spectrum: Flowing Emotional Theater", art was integrated into the urban public space and interacted with the Zhangjiang Water Circuit and the Artificial Intelligence Town. Over 200 forums, workshops, and competitions were held throughout the exhibition period, transforming an originally closed industrial island into a "carnival" scene where the public could participate, achieving the narrative reconstruction of "holding one exhibition, leaving behind a batch of works, and activating an island".

Unbound Business Models: Connecting the entire consumption chain through "ticket stubs". The policy-driven "ticket stub economy" essentially transforms a one-time viewing behavior into a pass for urban roaming, breaking industry barriers through an interest connection mechanism. During the "Yinshang Grand Exhibition" in Beijing Tongzhou District, a "ticket stub" linkage mechanism covering the entire district was planned. With a single exhibition ticket, visitors could not only enter the museum but also enjoy discounts at six surrounding shopping districts, boat rides in scenic spots, and hotel accommodations. This enabled the single flow of cultural exhibitions to be precisely irrigated into multiple fields such as commerce, tourism, and transportation through institutional design, significantly increasing the average transaction price and stay time of consumption. This exhibition planning thinking requires planners to consider the surrounding commercial routes and accommodation facilities from the outset when planning the project.

Digital Coexistence: AI and immersive technologies reshape scene experiences. 2026 is considered the key year for the deep penetration of AI into consumption scenarios. "AI scene power" is evolving from a marketing tool to the content itself of exhibition planning. The State Council policy also clearly states "building spatial virtual reality experience projects". In promoting the integration of culture, commerce, and tourism, Beijing proposed the concept of "Second Scene". Through digital technology, the live experiences of top-level events and performances are simultaneously "projected" to other public spaces or commercial complexes in the city. This not only alleviates the pressure on the main venue but also creates new consumption increments. In smart commercial districts such as Shougang Park and Sanlitun, AI intelligent shopping assistants and AR interactive devices have become standard features in the space. Future urban exhibitions will see the physical space and digital space mutually complementing each other. Exhibition planners need to design both physical pathways and digital interaction interfaces to enhance the synergy between virtual rehearsals and real experiences.

Long-term Operation: From "pop-up experiments" to "curator's life cycle" asset incubation. Urban exhibitions should not end with the "transient brilliance" during the event period but should become the engine for the long-term appreciation of urban assets. This requires the exhibition model to have "blood-sucking functions", capable of incubating sustainable commercial ecosystems. THE BOX Outside in Chaoyang District of Beijing provided a model of "curator-type retail". It is not only a consumption venue but also a "coexistence ecosystem" - attracting young artists and curators for "pop-up" experiments with preferential rental policies. Once the market response is good, it assists them in transforming into fixed stores. At the same time, it collaborates with universities to seamlessly connect students' creativity with urban spaces. This model has turned urban spaces into incubators of originality, achieving a win-win situation of commercial benefits and urban vitality. Coincidentally, the "Photosynthesis Plan" launched by Zhangjiang Science City also aims to bring together artists, art galleries and museums, enabling art to move from the auditorium to a broader area of the science city. It intends to integrate art into the urban fabric and allow it to grow naturally.

四、 规划启示 | 城市策展的治理升级

上述突破路径对城市规划与治理提出了新的要求，主要体现在以下三个层面。

空间规划的前置策展思维：传统的规划流程是“规划-建设-招商-运营”，而在文商旅体展融合的时代，策展思维应当前置。在空间设计阶段，就必须考虑到未来举办各类活动的人流动线、功能转换的可能性、以及数字设备的预埋。例如，复兴岛在改造之初即布设了500个智能感知终端，为后续的量子城市治理积累数据。这种“硬设施”与“软内容”的同步规划，是提升策展效能的基础。

政策工具的精准引导：城市策展的繁荣离不开政策的“阳光雨露”。北京市朝阳区2026年发布的《关于进一步促进文商旅体融合发展的若干扶持措施》，堪称精准施策的典范。其对大型演唱会单场最高给予300万元支持，对国际知名大展、电竞新兴赛事均有明确的资金扶持，且专门设立“文商旅体展贯通融合”专项。这种覆盖全链条的扶持体系，极大地激励了市场主体进行跨界创新的积极性。

多方协同的平台化运作：城市策展涉及规划、文旅、体育、商务、交通等多个政府部门，以及企业、社会组织、艺术家、社区居民等多元主体。必须建立高效的协同机制。如北京市成立“文商旅体融合发展联盟”，上海空间艺术季由规自局、文旅局、体育局、区政府联合主办，这种“平台化”的组织模式打破了行政壁垒，让城市策展从政府的“独角戏”变成了全社会的“大合唱”。

The above-mentioned breakthrough paths have raised new requirements for urban planning and governance, mainly manifested in the following three aspects.

The pre-planning thinking of exhibition: The traditional planning process is "planning - construction - investment promotion - operation", but in the era of the integration of culture, commerce, tourism, and sports, the exhibition thinking should be placed in the forefront. During the space design stage, one must consider the flow of people for various future events, the possibility of functional transformation, and the pre-installation of digital devices. For example, in the initial renovation of Fuxing Island, 500 intelligent sensing terminals were set up to accumulate data for the subsequent quantum city governance. The synchronous planning of "hard facilities" and "soft content" is the foundation for improving the efficiency of exhibition.

The precise guidance of policy tools: The prosperity of urban exhibition cannot be separated from the "sunshine and rain" of policies. The "Several Supporting Measures for Further Promoting the Integration of Culture, Commerce, Tourism, and Sports Development" issued by Chaoyang District, Beijing in 2026 is a model of precise policy implementation. It provides a maximum support of 3 million yuan for large-scale concerts per event, and has clear financial support for international renowned exhibitions and emerging e-sports events, and specifically sets up a "Comprehensive Integration of Culture, Commerce, Tourism, and Sports Exhibition" special fund. This full-chain support system greatly stimulates the enthusiasm of market entities for cross-border innovation.

The platform-based collaborative operation: Urban exhibition involves multiple government departments such as planning, tourism, sports, commerce, transportation, as well as various entities such as enterprises, social organizations, artists, and community residents. An efficient collaborative mechanism must be established. For example, Beijing established the "Integration of Culture, Commerce, Tourism, and Sports Development Alliance", and the Shanghai Space Art Festival was jointly hosted by the Urban Planning and Construction Bureau, the Culture and Tourism Bureau, the Sports Bureau, and the district government. This "platform-based" organizational model breaks through administrative barriers and turns urban exhibition from the "one-man show" of the government into a "big chorus" of the entire society.

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