文旅方法论 | 赋予文旅空间生命力：理念要活、文化要活、空间要活、人要活、时间要活

【爱易设】爱易设规划设计事务所始终以“运营前置”与“可持续生长”为核心理念，提供“不止于设计”的一体化解决方案，形成完整的服务闭环。

一、理念之活：从 "资源导向" 到 "运营前置"

传统文旅规划是 "资源导向" 的：先看有什么山水古迹，再画空间、定业态，最后才考虑运营。这种 "先建后营" 的路径天然埋下错配的种子—空间盖好了，却不知道为谁而建、靠什么留人。

"活"的规划，第一步是把逻辑倒过来：以终为始，运营前置，内容先行。阿那亚是教科书级的样本。它没有按“地产配套文旅”的惯性走，而是先锚定25-35岁京津冀新中产"逃离都市"的精神需求，用"孤独图书馆"阿那亚礼堂"等灵魂地标建立情感入口，再以戏剧节、音乐节等每年超1500场活动持续造流，依托近100个兴趣社群沉淀关系，走的正是"搞文旅顺带卖房"的路子，2024 年接待游客342万人次。

乌镇则从管理端验证了同一逻辑。有一句流传很广的话："建好只算完成 50%，剩下一半是要'管好'，并采用所有权与管理权分离的第三方委托机制。乌镇旅游规划图纸画完，恰恰是 "活" 的开始—运营思维必须从策划第一天就进入方案，而不是等建筑封顶后再补课。

Traditional tourism and culture planning is "resource-oriented": first, identify the scenic spots and historical sites; then, plan the space and determine the business model; and finally, consider the operation. This "build first, then operate" approach inherently sows the seeds of mismatch - the space is built, but it is unclear for whom it was built and what keeps people engaged.

"Living" planning, on the other hand, starts by reversing the logic: start with the end in mind, prioritize operation, and focus on content first. Ananya is a textbook example. It did not follow the conventional path of "developing tourism based on real estate" but instead first identified the spiritual needs of the 25-35-year-old new middle class in the Beijing-Tianjin-Hebei region who "desire to escape the city", using "solitary libraries" and Ananya Auditorium, among other soulful landmarks, to establish emotional entry points. Then, it continuously generated flow through over 1,500 events such as theater festivals and music festivals each year, relying on nearly 100 interest communities to build relationships. It is following the path of "developing tourism while selling houses", and in 2024, it received 3.42 million visitors.

二、文化之活：从 "博物馆展陈" 到 "生活方式转译"

不少项目的文化表达停留在"展陈"层面：把历史做成展板、把非遗放进橱窗，游客看一眼、拍一张、走人。这种"死的展示"，游客不参与、不消费、不传播，自然活不起来。

"活" 的文化，要被 "使用" 而不是被 "观看"。上海仓城把六百年老城从 "文化标本" 蝶变为活态地标，核心一句话是 "从看房子到过日子"—团队与影视机构合作开发实景剧本游《仓城四代记》，游客穿梭 20 余处真实历史场景，与演员NPC互动，解锁从明清漕运到现代发展的剧情。南浔古镇把全域变成沉浸式"剧本杀"，甚至将表演升级为定制化水上婚礼，让游客从旁观者变成戏中人。大庸古城在亏损10亿后爆改重生，非遗 "手艺巷" 采用前店后坊模式，让土家文化可上手、可触摸，把 "看非遗" 变成 "做非遗"。

规划层面的启示是：文化转译要完成 "解构—再造—共情" 三步—先拆出文化里最能唤起当代人情感的元素，再将其重新编排进可参与的消费场景，最终让游客在体验中产生情感共鸣。展陈是1.0，沉浸是2.0，共同生活才是3.0。

The cultural expressions of many projects remain at the "display" level: presenting history on display boards and showcasing intangible cultural heritages in showcases. Tourists glance, take a photo, and then leave. This "dead display" does not involve the tourists, does not generate consumption, and does not spread, and thus naturally fails to thrive.

"Living" culture should be "used" rather than "viewed". Shanghai Cangcheng transformed a 600-year-old old city from a "cultural specimen" into a living landmark. The core sentence is "from viewing the house to living there"—the team collaborated with film and television institutions to develop the live-action script game "Cangcheng Four Generations", allowing tourists to traverse over 20 real historical scenes, interact with the actors as NPCs, and unlock storylines ranging from the Ming and Qing Dynasty's canal transportation to modern development. The government of Songjiang District, Shanghai, turned the entire area into an immersive "script murder game", even upgrading the performances to customized water weddings, turning tourists from observers into characters in the drama. The Zhaochen News reported on the revitalization of Zhangjiajie Dangyang Ancient City after incurring a loss of 1 billion yuan. The "Handicraft Lane" of intangible cultural heritages in Dangyang Ancient City adopted a "front store back workshop" model, making the local Hetao culture accessible and touchable, transforming "viewing intangible cultural heritages" into "making intangible cultural heritages".

三、空间之活：为 "活人" 留白，为 "活事" 造场

最容易犯的错误，是把空间填满：业态排得密密麻麻，动线全部预设好，游客按图索骥走完一圈—没有意外、没有偶遇、没有故事发生的余地。

"活" 的空间恰恰需要留白。阿那亚的孤独图书馆与礼堂，几乎是 "空" 的，却因为留白成为无数人奔赴的精神地标，让空间本身成为事件。更轻量的例子是浙江苍南的悬崖咖啡：海一直在那里，直到崖边开了一家咖啡店，一拨拨人举杯打卡、自发传播，话题播放超 480 万次，整条 168 黄金海岸线跟着 "活" 了过来。南京 "浅滩" 咖啡同样没有广告，全靠游客自发传播，日均客流从千余人涨到 "五一" 期间超5000人次。

这些案例的共同点是：空间设计的目标不是 "好看"，而是"可发生性"—留下让人愿意停驻、交谈、创造的场，让游客成为空间内容的生产者。规划一张图之前，先问自己：人在这个空间里，会发生什么？

The most common mistake is to fill up the space: the business layouts are densely packed, the flow lines are all pre-determined, and tourists follow the map to complete a round - there are no surprises, no chance encounters, and no room for stories to happen.

The "lively" space precisely requires blank spaces. The solitary library and auditorium in Ananya are almost empty, yet because of the blank spaces, they have become spiritual landmarks for countless people, making the space itself become an event. A more lightweight example is the cliff-side coffee shop in Cangnan, Zhejiang: The sea has always been there, until a coffee shop was opened at the cliff edge. Groups of people raised their glasses to take a photo and spontaneously spread the news, with the topic being viewed over 4.8 million times. The entire 168-meter Golden Coastline followed and "came to life". The "Shallow Bank" coffee shop in Nanjing also has no advertisements. It relies entirely on tourists' spontaneous dissemination, and the daily visitor count has increased from over 1,000 people to over 5,000 during the "May Day" holiday.

四、内容之活：活人感的本质是 "人"

这两年"活人感"成为文旅热词，其本质是游客对"真实的人的气息"的渴望。拆开看，活人感有三个递进层次。

第一层是"演出来的人"：NPC、演艺、互动装置，这是大多数项目正在做的，但依赖持续投入，且容易被复制。

第二层是"长出来的人"—主理人。乡村案例显示，返乡主理人以整村运营模式盘活资源，一个院子带动 14 名村民在家门口稳定就业、累计增收 20 万元。宁波海曙的"俩老头"咖啡大胆启用本地主播担任主理人并亲自出镜，账号开通一周关注破万。主理人不是雇来的演员，而是带着自己的审美、故事和全部身家"住"进项目里的人，天然有表达欲和生命力。

第三层是"本来就在的人"—在地居民。乌镇戏剧节让游客追随街头艺人穿巷而行，甚至被演员邀请即兴入戏，观众从 "看客" 变成演出的一部分。这种"人人皆可参与"的场域，正是文化创意街区 "动态内容 + 社群运营" 双轮驱动的生命力所在。淄博烧烤、哈尔滨冰雪季的全民好客同样证明：一座城市最动人的文旅产品，是当地人对游客的真诚态度。

规划要做的，是把这三层人"装进"设计：为 NPC 设计表演动线，为主理人设计低门槛、高自由度的创业空间，为居民设计参与公共生活的方式。

In the past two years, "living presence" has become a buzzword in the tourism and culture industry. Its essence is tourists' desire for "the real aura of people". Breaking it down, the "living presence" has three progressive levels.

The first level is "actors who act out": NPCs, performances, interactive installations. This is what most projects are currently doing, but it requires continuous investment and is easily replicated. The second level is "people who grow out of it" - the project managers. Rural cases show that project managers，who return to their hometowns revitalize resources through an entire village operation model. One courtyard can lead to 14 villagers having stable employment at their doorstep and a cumulative income increase of 200，000 yuan. In Ningbo Haishu，"The Two Old Men" coffee boldly appointed local broadcasters as project managers and personally appeared in the videos. Within a week of the account's launch，it received over 10000 followers. The project managers are not hired actors but people who bring their own aesthetics， stories and all their assets "into the project"， naturally having the desire to express and vitality.

五、时间之活：从 "流量爆款" 到 "生命周期"

开业爆红不难，难的是第二年、第三年还活着。检验项目是否真 "活"，要看复游率和本地回流—游客愿不愿意再来，居民愿不愿意常来。

上海嘉定西大街重开近半年日均客流破七千，关键信号是 "本地居民回流明显，大多是来散步、遛娃、吃简餐，复购率高"。周至水街烟火巷子针对传统观光街区盈利单一、体验薄弱、运营粗放三大痛点，完成从静态景观向沉浸式文商旅聚集区的迭代。郴州飞天山用 AR 解谜让游客停留时间延长47%、UGC传播带动客流增长30%，展示了数字化如何为 "活" 提供持续动能。

"活" 是一个时间概念：规划时要为三年后的运营留接口、为迭代留弹性，而不是把一切钉死在开业那天的图纸上。

It's easy to achieve a sudden surge in business upon opening, but the real challenge lies in maintaining it for the next year and the year after. To test whether a project is truly "alive", one must look at the re-visitation rate and the local return flow - whether tourists are willing to come again and whether residents are willing to visit frequently.

In Jiading West Street of Shanghai, the daily passenger flow has exceeded 7,000 in the past nearly half a year. The key indicator is that "the return of local residents is obvious, mostly for walking, playing with children, and having simple meals, with a high rate of repeat purchases". Zhouzhi Water Street and Fireworks Lane addressed the three major pain points of traditional tourist districts - single profit model, weak experience, and loose operation - and completed an iteration from a static landscape to an immersive cultural, commercial and tourism gathering area. Chenzhou Feitian Mountain used AR puzzles to extend tourists' stay time by 47% and UGC dissemination to drive a 30% increase in passenger flow, demonstrating how digitalization can provide continuous impetus for "survival".

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内容整理｜爱易设规划设计事务所、爱易设文旅促进中心

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文章作者 | 张璇 Nico

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