In recent years, many new forces have emerged in local cultural tourism destination projects. Anaya is a comprehensive cultural landmark selling life aesthetics, Liangzhu Cultural Village is an "experimental field of idealism", and Nianhuawan Chancheng is a new interpretation of "life Zen".
In 20 15, Yi Chan Town of Huawan came into being under the background of homogeneous competition in lingshan scenic spot of Wuxi, the decrease of tourists and the urgent need for upgrading products. The project is named "Nianhua Bay" with Zen culture in Lingshan as its core and the allusion of "Buddha flowers and Jia Ye laughs" in Buddhist scriptures. In addition, referring to tang style Song Yun, the unique architectural style of Jiangnan town's unique water system, as well as the immersive night light and shadow performing arts projects, made Nianhuawan Yi Chan town an instant hit.
According to statistics, in 20 16, the passenger flow in Nianhua Bay was 6.5438+0.487 million, the ticket income in that year was 76.75 million yuan, and the secondary consumption income such as accommodation and catering reached 65.438+0.3/kloc-0.0 billion yuan. In the composition of secondary consumption income, hotel accommodation income accounts for 98%.
With the development of Nianhuawan, Nianhuawan Cultural Travel Agency has stepped up its national layout in North China, East China, Northwest China, Central China, Southwest China and South China. It owns many projects such as Nianhuawan Yi Chan Town, Nianhuawan Jinling Town, lingshan scenic spot, Nishan Scenic Area, Xinghan Scenic Area and Zhifu Wonderland.
It can be seen that compared with the entanglement of self-replication and expansion in many cultural tourism projects, Nianhuawan has obviously shown a quite open attitude towards this.
20 18 Mao Houde, the chief designer of Nianhuawan in Lingshan Town, Wuxi, admitted in an online community sharing that Nianhuawan cannot be copied, and the development model can be copied as long as the concept, funds and resources are relatively complete. But the theme must not be copied, and the principle of uniqueness and exclusiveness must be guaranteed.
Two years later, Nianhuawan explored a new mode of operation and achieved self-replication in the process of building a series of light asset projects such as Kongtong Shengjing, Chaoyang Street and Lock City in Yantai Zhifu Wonderland Project.
According to the data, in 20021year, the number of ticket buyers in Nianhuawan Scenic Area was14500, and the income was 367 million yuan. In 201year, it recovered to 6 1% and 74% respectively, which was better than the national data. At the same time, in 2022, Nianhuawan Lv Wen also signed new projects in Nanjing, Yili, Taizhou, Zibo and other places, with more than 10 high-quality reserve projects in Jiangsu, Zhejiang and Guangdong, and the total investment turnover of the projects reached10 billion yuan.
On the road of self-replication, Nianhuawan Cultural Travel has obviously begun to make great strides. However, the dilemma of plagiarism has quietly set up roadblocks on the road.
On the one hand, it is still unknown whether passengers will pay outside the classic destination. Recently, many people joined in the fun in Tong Jia Old Street, which caused discussion in Taizhou local forum, but the evaluation was mixed. Some boast beautiful scenery, but there are also many picky local tourists who think that man-made buildings have no features, the reservation system is too troublesome and the customs clearance time is too early.
At the same time, whether the time and energy required for large-scale cultural tourism projects will become a "low-quality version" due to "plagiarism" has also been questioned. Wu Guoping, the chairman of Wuxi Lingshan Cultural Tourism Group, pointed out in his public speech on 20 17 that in order to build a super IP holiday destination in the future, Nianhuawan really needs to do these things well: destination scenic spot+destination business+destination accommodation. Now Nianhuawan has not really been done, and there are still many problems. It takes 3-5 years to develop. I hope to explore new models in the accommodation, business format, performing arts and activities of Nianhuawan.
Throughout the amazing cultural tourism projects in various places, they are all masterpieces endowed by time and people's hearts. Now Nianhuawan has a mature development model, but what kind of results will be produced in different places needs to be witnessed.
In addition, the unique antique architectural style of Nianhuawan has also been repeatedly controversial. Behind the purely artificial antique buildings of each project, is it enough to support the culture to be conveyed and avoid homogenization? The designers of antique buildings in Tong Jia Old Street kept the classic style of Taizhou, such as using oyster ash for roof decoration like Taizhou, but many local tourists did not feel it, but felt "the same".
The replication dilemma of Nianhuawan cultural tourism is also the replication dilemma of almost every cultural tourism project. If we look deeper, the makers of these dilemmas are both the big environment and the cultural tourism brand itself.
Wu Guoping summarized the tourism market in 20021year as "five shocks", namely, survival shock, management shock, scale shock, mentality shock and talent shock, and there were also "four difficulties" under the shocks: difficulty in collecting money, difficulty in transformation, difficulty in innovation and difficulty in breakthrough. Externally, due to the overall downturn in tourism, it is not easy to make a perfect self-replication.
Last year, the net loss of Nianhuawan in the first quarter exceeded 55 million yuan, which was once looked down upon by the industry. Some media quoted people in the industry as saying that it may explain the dilemma brought by the big environment: "Antique scenic spots need constant innovation, but now enterprises mainly engaged in commercial real estate are in recession and lack of money, so it is difficult to invest more money in research and development."
On the other hand, domestic cultural tourism projects follow suit and lack independent and in-depth thinking. Wu Guoping once pointed out that once China has good products, everyone will follow suit. If everyone goes to build a replica ancient town, there may be no hope. Almost all popular cultural tourism projects are based on surveys of industries and customer groups. After years of thinking, the product has its own soul.
Both Anaya and Nianhua Bay received a group of tourists, but when they went back, they could not make another Anaya and Nianhua Bay. Piecemeal imitation and superficial copying are bound to encounter difficulties. As Mao Houde pointed out, if copying is understood as copying the style and style of a building, then no style can be copied, and copying is risky and risky.
Although excellent cultural tourism projects cannot be easily copied, the impetuous and chaotic market environment invisibly increases barriers for projects that want to copy themselves.
From the perspective of cultural tourism projects, the replication dilemma comes from the following two points.
First of all, the asset-oriented model has slowed down the pace of expansion. Wuxi Nianhuawan has invested nearly 5 billion heavy assets and large funds. Last year, it was exposed that the debt was 65.438+0.3 billion, the loss in a single quarter was 55 million, and 20% of the shares were sold. Some insiders pointed out that the loss of scenic spots is not due to operation, but the assets are depreciated year by year. However, the domestic cultural tourism projects, especially cultural tourism towns, are not only facing difficulties in Nianhuawan. In the first two years, the annual report of CYTS 2020 was "blood loss" of 232 million, which exposed the embarrassing situation of Gubei Water Town under its name in its ability to resist risks.
Well-known investors said that in addition to the force majeure factor such as epidemic situation, it is very important for the future development of these asset-heavy cultural tourism projects to generate compound attraction and long-term operating income. If the expansion is too fast, it is easier to be stretched.
Therefore, after the epidemic, Nianhuawan cultural tourism quickly turned to a new idea of paying equal attention to both light and heavy. When the heavy asset project operates in a complex external environment, it increases the horsepower of light asset output, which provides the possibility of self-replication.
Second, the products and culture are not polished enough, or they can't stand the "bumps in different places". Tian Haicheng, a well-known cultural tourism brand planner, pointed out that every cultural tourism project is a handmade work, and the developer's thoughts, feelings and willpower determine in advance how far this handmade work can go. The character of the developer is the character of the brand of Wenlv. Even Anaya, after moving from the seaside to the mountains, found another set of ideas for the project temperament.
Although Nianhuawan Chancheng is considered to be the representative of dead products, even the bamboo fence in Nianhuawan will cost 300,000 yuan to hire two Japanese bamboo fence masters in their 70s, and every small landscape will be decorated with moss. In the polishing of the culture and products of the old street in Tong Jia, Taizhou, although many bookstores and restaurants in "Celebrity on the Internet" attracted a group of young people to punch in, they were easily caught by local tourists-for example, Taiwan Province in Taizhou was written as "Taiwan Province" in both simplified and traditional forms, but "Taizhou" was written on a neon wall in the old street.
Throughout the "replication history" of cultural tourism projects, it can be roughly divided into three periods.
The first period, we call it "chaotic replication period". During this period, there is no so-called "self-replication" or "reference replication". Once any cultural tourism project becomes popular, a large number of imitators will flock to it, leaving a feather after the bonus disappears. The ancient town fever can be regarded as the product of this period.
In the second period, a number of almost unrepeatable cultural tourism projects were born. Such as Anaya, Liangzhu Cultural Village and Wuzhen. These projects have experienced long-term painstaking efforts by managers and become "orphans". Ma Yin, the trader of Anaya, once pointed out in an interview that Anaya is really not a traditional cultural tourism real estate project, and it cannot be copied, let alone an assembly line product. Don't tell me to build another Anaya. I can't rebuild it.
In the third period, driven by the general trend of light assets, the brand of Wenlv explored the road of "self-replication" through new thinking. Brands can create "replicas" with similar core with the same spirit and differentiated ideas, but for others, this project is still difficult to replicate.
So, what kind of cultural tourism projects are suitable for self-replication? Judging from the characteristics of a series of well-known brand cultural tourism projects that have begun to export light assets, the following three characteristics can be obtained.
With the changes of the times, the popular tourism products will be out of date. Only those products that have IP and can constantly innovate and update can have the ability of continuous replication across time.
The most successful cultural tourism projects in the world are several theme parks, such as Disney and Universal Studios, which have a long history of more than half a century and are favored by tourists all over the world. Take Disney as an example, it is a huge IP in itself, relying on IP-derived products, not only those unique amusement projects, but also the constantly updated doll team to create fairy-tale services and experiences.
As Mao Houde once pointed out, I think the most important thing to do a project is to find his "soul", which can also be called "IP".
Self-replication and expansion is a process of continuous "escape". Escape from the "birthplace" and the original regional culture. We can deduce methods, continue culture, convey ideas and build systems, but the products are unique because of different geographical environments and different resource ratios, which bring new contacts to local cultural tourism.
For example, Lijiang Re-Tour City is based on the core culture of Lijiang region and takes the high-end tourism and holiday function as the core of the project, innovating Lijiang culture and creating a new holiday model. Taicang Re-Tour City takes the Alps as its theme, bringing the five core natural elements of the Alps-"Snow Mountain, Lake, Valley, Forest, Village" and lifestyle into the experience of the resort.
Successful cultural tourism projects are often created by time, place and people, and there is no need to copy them forcibly. What self-replication needs to do is to summarize and apply its own operating mode, learn to be "soul" instead of "god", and then create countless differentiated products with the same core.
Last year, the signing of the "Anaya Xiangshan Coast" project from Bohai Bay to Dongwan on behalf of Anaya was another coastal project of Anaya. It is easier for the project team to apply the experience to Xiangshan.
The attraction of Anaya comes not only from the operation of commercial projects, artistic and cultural activities, but also from the spirit, ceremony and natural environment of its architecture. On the land of 500,000 square meters, the lonely library, auditorium and sand dune art museum overlooking the sea have become important business cards for cultural tourism.
According to Ma Yin, founder of Anaya Holding Group, after careful design, transformation and operation by Anaya, it is believed that a number of venues such as Binhai Hotel, Binhai Library, Sunrise Observatory, Haibin Concert Hall and Haibin Art Museum will become another artistic "distant place" in the Yangtze River Delta region.
Whether cultural tourism projects should replicate themselves or create orphans depends on the needs of cultural tourism brands themselves. There is no right or wrong, and there is no good or bad. The key is whether we can continue to create the most innovative products according to the destination. As Wu Guoping mentioned in an interview, when you stop thinking and innovating, Nianhua Bay is finished. "Beyond ourselves and expectations" is our mission.