The Cultural and Tourism Transformation of Industrial Heritage: Drivers, Constructions, Mediations, and Values—A Case Study of Hechai 1972 Creative Park

Shao Guoliang
School of Art, Anhui Jianzhu University, Hefei, Anhui 230601

Abstract

Background: Driven by the wave of post-industrial transformation, cities worldwide are experiencing a structural shift from "productive spaces" to "cultural consumption spaces." As an integral component of urban stock spaces, industrial heritage has increasingly become a focal point in urban regeneration and cultural revitalization, with its spatial and value transformations emerging as key research topics.

Methods: This study takes Hechai 1972 Creative Park as a case, examining its spatial characteristics, cultural scenes, and media communication elements. Employing field interviews, data analysis, and multidimensional evaluation, and drawing on spatial production theory, scene theory, and spatial media theory, it analyzes the overall transformation logic and value of industrial heritage in its transition toward the cultural and creative industries, framed as "driving forces–production logic–scene construction–spatial mediation."

Findings: In the cultural and tourism transformation of industrial heritage, spatial production drives and dominates the transformation logic; the construction of diverse old–new scenes generates new urban cultural tensions; and digital communication fosters the mediated reproduction of space. The overall transformation path presents a spiral development process of "spatial attribute transformation–spatial production–scene construction–spatial mediation," reflecting a coupling mechanism of multiple types of spatial production that progress from spatial regeneration to cultural value enhancement and symbolic dissemination.

Discussion: The case reveals several challenges, including the weak knowledge attributes and educational potential of space, insufficient depth in cultural scene construction, and underdeveloped social participation mechanisms with relatively singular governance actors. Policy and operational recommendations are proposed to strengthen historical education functions, enhance cultural embeddedness, and build co-governance mechanisms involving diverse stakeholders.

Keywords: industrial heritage; cultural creativity; spatial production; scene construction; spatial mediation

1.1 Research Background and Problem Statement

Driven by the wave of post-industrial transformation, cities worldwide are undergoing a structural evolution from "productive spaces" to "cultural consumption spaces." As a crucial component of urban stock spaces, industrial heritage is no longer merely a historical artifact but has become a regenerative spatial practice and cultural scene. Its value has shifted from traditional historical memory toward a composite expression encompassing social, cultural, and economic functions (Chen Bo & Chen Lihao, 2023)[1]. Cases such as Germany's Ruhr region and London's Thames Docklands demonstrate that the redevelopment of industrial heritage not only promotes the multifunctional reconstruction of urban space but also stimulates the reconstitution of local cultural identity and social identity (Carlsen et al., 2003)[2].

In China, alongside the deepening "culture + tourism" integration strategy, industrial heritage tourism has gradually moved beyond the path of "single protection + superficial display" to enter a stage of deep activation characterized by "scene creation—narrative participation—media dissemination." Typical examples such as Beijing's 798 Art District, Chengdu's East Suburb Memory, and Jingdezhen's ceramic factories have all achieved transformation from "industrial ruins" to "cultural hubs" through spatial design and cultural content reshaping. In recent years, the deep involvement of media geography and platform communication has rendered industrial heritage not only a space to "visit" but also a content venue that can be "viewed, photographed, and shared," emphasizing a new connection between "space—experience—identity—dissemination" (Zhao, 2022)[3]; (McQuire, 2008)[4].

However, existing research has primarily focused on spatial morphology renewal and visual symbol reconstruction, lacking deep integration of spatial generation mechanisms and cultural scene values, and rarely addressing how media coordinates the entire process of "production—construction—dissemination." Therefore, it is necessary to construct a composite research framework integrating spatial production theory, cultural scene theory, and media geography to systematically reveal the logic and value of the cultural and tourism transformation of industrial heritage: the drivers, construction, and mediation processes.

1.2 Research Objectives and Core Questions

This study focuses on Hefei's Hechai 1972 Creative Park (hereinafter referred to as Hechai 1972) as a typical case, concentrating on the spatial reproduction logic and media expression pathways of its "dual-attribute industrial-prison space" during transformation. Based on spatial production theory (Lefebvre, 1991)[5], scene theory (Clark, 2010)[6], and a media geography perspective (Adams, 2009)7[4], this paper constructs a three-dimensional analytical framework of "spatial production—scene construction—spatial mediation" to systematically address the following core questions:

1. Spatial dimension: How does the park achieve the transition from "industrial space" and "confined space" to "cultural living space"?
2. Cultural dimension: How does its cultural scene construction mobilize "amenities" and spatial atmosphere to generate tourists' cultural identity and emotional resonance?
3. Media dimension: Under digital platform participation, how does the park reconstruct its media dissemination pathways and achieve cultural labeling?
4. Comprehensive dimension: What are the cultural, economic, and social values of this transformation practice, and what insights does it offer for the urban cultural and tourism transformation of industrial heritage in China?

1.3 Research Significance

Theoretically, this paper attempts to address the insufficient discussion of the coupling mechanism among "space—culture—media" in current industrial heritage research. By proposing an analytical framework based on "spatial production—scene construction—spatial mediation," it breaks through disciplinary bottlenecks, forms a multi-dimensional and progressive analytical framework, and systematically constructs a theoretical research path for the cultural and tourism transformation of heritage. Practically, as a typical "prison-type industrial heritage" sample, analyzing Hechai 1972's spatial production motivations, cultural scene construction, and spatial mediation dissemination provides an operational paradigm reference for the reuse, element construction, and communication mechanisms of similar sites.

2. Literature Review and Theoretical Framework

2.1.1 International Research Progress

With the evolution from industrial civilization to post-industrial society, the transformation of industrial heritage has gradually become an important issue in urban renewal and cultural regeneration. Early research focused on the tourism function positioning and urban redevelopment pathways of industrial heritage. Edwards et al. (1996) emphasized the role of industrial heritage tourism in activating idle spaces and revitalizing local economies, pointing out the significance of community participation in heritage revitalization[8]. Binns et al. (2003) proposed linking "industrial heritage—ecological restoration—cultural memory" for tourism development, establishing interactive mechanisms among local governments, community organizations, and markets to reshape the local economic foundation[9]. Carlsen (2003) suggested that "Mega-Events" could serve as a "trigger" for urban redevelopment, facilitating urban renewal and image reconstruction in industrial wasteland areas and reshaping urban spatial branding[10].

In recent years, research has trended toward multidimensional integration. Ashworth (2019) further proposed the concept of "Dissonant Heritage," revealing the multiple narratives and identity politics within heritage spaces[11]. Technologically, Basheer et al. (2023) analyzed the application effectiveness of AR/VR technology in immersive industrial heritage experiences from a systematic review perspective, providing theoretical support for spatial digitization[12]. In terms of spatial communication, McQuire (2016) proposed the "Geomedia" theory, pointing out that media technology is reconstructing urban spatial perception structures and public participation methods[13].

2.1.2 Domestic Research Progress

Domestic academic attention to industrial heritage tourism began around 2000, focusing primarily on development types, resource distribution, model exploration, and value assessment—constituting the main research thread that continues to this day. Ding Shu (2005) proposed three development models—"specialized, comprehensive, and park-type"—emphasizing spatial utilization and resource efficiency[14]. Han Fuwen et al. (2010) analyzed the correlation between spatial distribution and industrial heritage tourism development in Northeast China, concluding that a point-axis radiation development model should be adopted to connect major industrial cities[15]. Tong Yuquan (2010) constructed an economic benefit evaluation model for industrial heritage, verifying its role in stimulating local economies[16]. Wang Jing and Li Hao (2012) argued that urban industrial heritage protection and renewal is an important pathway for building creative cities[18]. Zhang Jingjing et al. (2015) examined the coupling and coordination relationship among resource value, development, and tourism in industrial heritage[17].

Since 2020, research has gradually shifted toward cultural identity and spatial narrative. Wang Tao et al. (2021) introduced scene theory to study industrial heritage creative parks, using multiple indicators and models to explore the spatial characteristics and influencing factors of industrial land renewal in Guangzhou[19]. Fu Caiwu et al. (2021) examined how scenified consumption reshapes cultural experiences and urban nighttime economic spaces through the case of Changsha's "Super Wenheyou"[20]; Chen Bo et al. (2023) constructed a three-dimensional "physical—spiritual—social" scene evaluation model through the case of Taoxichuan Creative Park, deepening understanding of industrial heritage cultural scene construction[1].

Additionally, domestic scholars have explored spatial perception, cultural symbols, and localization. Li Xiaoyun et al. (2021) analyzed industrial heritage renewal strategies based on "place-event" theory, examining the historical, technological, cultural, social, and artistic values and practical significance of industrial heritage[21]. Wang Li (2021) revealed the symbolic meaning of industrial heritage by analyzing its symbolic language, proposing a protection and reuse strategy centered on cultural symbols[22]. In terms of locality, Fan Xiaojun et al. (2020) proposed achieving value and meaning inheritance through the interaction between temporal-spatial contexts, place identity, and daily life[23].

These studies have conducted in-depth research on the transformation and development of industrial heritage cultural tourism from different perspectives, but have not yet comprehensively proposed a systematic analysis of industrial heritage spatial transformation and property evolution pathways.

2.2.1 Current Research Gaps

Despite the rich results from different perspectives on the cultural and tourism transformation of industrial heritage, with continuous deepening overall, the following shortcomings remain: First, research dimensions are relatively fragmented, lacking an integrated perspective of "space—scene—media" as a trinity; second, most studies still borrow from Western theoretical frameworks, showing insufficient response to the "state—capital—community" ternary structure in the Chinese urban context, particularly weak discussions on local identity and spatial power negotiation mechanisms; third, cases targeting heritage with dual "industrial + rule-of-law" attributes are extremely scarce, and the spatial, identity, and emotional transformation pathways of prison-type industrial heritage have not been deeply studied.

2.2.2 Research Entry Point

Addressing the above gaps, this paper takes Hechai 1972 as a case and proposes the following innovations: First, theoretically, it integrates spatial production theory (Lefebvre, 1991)[5], cultural scene theory (Clark, 2010)[6], and media geography theory (Adams, 2009)7[4] to construct a three-dimensional analytical path of "spatial production—scene construction—spatial mediation"; second, methodologically, it combines POI big data, field interviews, and quantitative scene dimension analysis to deeply parse the interaction logic between spatial production and cultural scenes; third, in terms of case selection, it systematically studies for the first time the cultural and tourism transformation pathway of "prison-type industrial heritage," filling a theoretical gap in the transformation practices of special heritage types in China.

2.3.1 Theoretical Selection and Applicability

The cultural and tourism transformation of industrial heritage is not a single-dimensional spatial reuse process but a systematic transformation of spatial meaning under the interweaving of multiple logics such as culture, economy, and media. Traditional industrial heritage research has focused on cultural protection, architectural renovation, or tourism development, neglecting the dynamic reconstruction of space itself within social relations, production mechanisms, and communication contexts (Hospers, 2002)[24].

In the context of consumer society, transformed industrial spaces are not only "objects to be used" but also cultural scenes that are "narrated and disseminated." Therefore, this paper employs spatial production theory, scene theory, and media geography theory to construct a four-stage path of "spatial attribute drive—spatial production—scene construction—mediated reproduction," which not only reveals how industrial heritage completes the transformation from abandoned space to cultural capital but also demonstrates how space achieves value and meaning rebirth through the interaction of policy, capital, community, and media.

2.3.2 Theoretical Analysis Path

(1) Transformation Motivation: Attribute Conversion from Functional to Cultural
The first step in industrial heritage space transformation begins with the internal transformation of spatial attributes. Traditional industrial spaces possess characteristics of enclosure, discipline, and function-orientation, but under the background of industrial restructuring and the rise of consumer society, their physical attributes and social roles change simultaneously. Harvey pointed out that urban space is constantly "re-valued" under capitalist logic, with its original use value gradually giving way to symbolic and cultural value (Harvey, 2006)[25]. In the tourism context, industrial spaces acquire new cultural interpretation logic through the reconstruction of cultural narratives, thereby transforming into symbolic places of collective memory (Zukin, 1995)[26]. This stage constitutes the prerequisite for spatial reproduction and the foundation for the intervention of cultural scenes and media dissemination.

(2) Spatial Production: Spatial Reconstruction Under Social Relations
Neo-Marxist urban geography points out that spatial production is the result of negotiation among power, capital, and culture (Ye Chao et al., 2011)[27]. In cultural and tourism practice, the "production" of space includes the reuse of land resources (capital-oriented), the reorganization of socio-cultural discourse (policy-oriented), and the re-implantation of local identity (community-oriented). The process of spatial production is precisely the process of spatial power reconfiguration.

Space is not a neutral container but a product of social practice. Lefebvre proposed the "spatial triad" theory (Lefebvre, 1991)[5]. The transformation of industrial heritage is a typical spatial reproduction process: government policies and development capital redefine spatial functions and connotations (representations of space); cultural activities, exhibition formats, and public openness within the park manifest as the transformed spatial practice in reality; and tourists and residents participate in spatial meaning construction through narrative, experience, and re-dissemination (representational spaces). This stage connects "the spatial attributes of things" with "the social practice of people" and is the core of the transformation from static space to dynamic social scene.

(3) Diverse Scene Construction: Spatial Mechanism Building for Cultural Experience
Based on spatial attribute transformation and spatial production, industrial heritage needs to obtain a realistic carrier for cultural perception through "scene reconstruction." Scene theory emphasizes that urban space is not only a physical structure but also a stage for cultural performance and daily life (Lash & Urry, 1991)[28]. Clark (2001-2003)[29] described cities as "entertainment machines," pointing out that contemporary urban spaces construct sensory immersion and emotional resonance cultural scenes through "theatricality, authenticity, and legitimacy."

Scene construction in industrial heritage is no longer passive display of historical symbols but active embedding of consumption logic "cultural installations" to form multi-dimensional experience spaces. Nostalgia, aesthetics, and participation become the main construction dimensions, making space an experiential place that is "perceivable, narratable, and consumable." This part serves as the transformation mechanism between "space—culture" and the intermediary platform for entering media dissemination.

(4) Spatial Mediation: From Geographic Location to Communication Node
Based on scene construction, media logic further pushes industrial heritage space to a new dimension of "symbolization and communication." Media geography scholars McQuire and Adams respectively propose that media not only operates in space but also participates in the construction and meaning attribution of space itself (McQuire, 2008)[4], and that media's value in reshaping spatial perception and geographic cognition is irreplaceable (Adams, 2009)[7]. Xie Qinlu (2018) pointed out that "spatial mediation" is a spatial reproduction mechanism achieved through digital platforms, image narratives, and user participation[30].

In the process of industrial heritage cultural tourism, space is imaged and tagged through social media platforms, forming communicable cultural landmarks. Tourists are no longer just experiencers but also participants in UGC (user-generated content). The perception path of space expands from offline to online, and its cultural influence and dissemination power grow exponentially due to mediation. At this point, space is not only a geographic entity but also becomes a "cultural scene" and "urban cultural transmitter." Thus, industrial heritage completes the cultural and tourism transformation process of spatial functionalization (materiality)—spatial scenification (culturality)—spatial mediation (communicability).

2.3.3 Analysis Path Summary

The advantage of this path lies in its integration of neo-Marxist urban theory (Harvey, 1973)31[5], cultural sociology theory (Clark, 2003)[29], and the cross-perspective of media geography (Adams, 2009)7[4], systematically integrating the social transformation, scene reconstruction, and media dissemination logic of industrial heritage space. It is applicable for analyzing how a large number of industrial heritage spaces facing transformation in contemporary Chinese cities transform into new cultural spaces integrating "cultural memory, scene consumption, and symbolic dissemination," providing theoretical support and methodological pathways for understanding contemporary heritage tourism spatial practices (Figure 1 [FIGURE:1]).

Figure 1: Research Path Diagram (Author's creation)

3. Research Design and Methods

3.1 Case Selection

Hechai 1972 Creative Park is located in Baohe District, Hefei City, Anhui Province, covering approximately 430 mu (28.7 hectares) with a total investment of about 3.5 billion RMB and a total construction area of approximately 300,000 square meters, including 220,000 square meters above ground—comprising 60,000 square meters of renovated old buildings and 160,000 square meters of new construction[32].

From 1954, the site first served as Hefei Prison. In 1964, Hefei Brick and Tile Factory relocated here, in 1972 it became Hefei Diesel Engine Factory, and in 1996 it transformed into Hefei Light Industry Manufacturing Factory. While industrial production functions operated normally, its rule-of-law function never changed, making it a typical "prison-type" industrial heritage. This type of heritage possesses complex spatial implications and strong symbolic tension due to its dual "industrial—rule-of-law" attributes. Since its transformation into a creative park in 2018, the park has retained the original prison-industrial building structure while introducing cultural creativity, art exhibitions, leisure entertainment, and other functions, successfully achieving the transition from "industrial production space" and "confined space" to "open space," becoming one of the core nodes in Hefei's urban cultural tourism system. Its main research value is reflected in three aspects: first, the rarity of heritage type—prison + industrial heritage, with its physical spatial form and connotation being extremely scarce; second, the complexity of transformation mode—Hechai 1972 integrates multiple functions including creativity, exhibitions, commerce, public leisure, education, and residence, achieving full coverage from production to living functions and embodying almost all element attributes of a comprehensive cultural tourism community; third, the typicality of media dissemination—the cultural conflict between the original "prison + industrial" identity and the new "cultural creativity + consumption" identity itself possesses strong spatial media dissemination properties.

3.2 Data Sources and Collection Methods

1. Primary field research data. Through five rounds of field visits to Hechai 1972 from August 2023 to November 2024, information on tourist trajectories, business formats, and building uses was collected, and 32 interviews were conducted covering operators, cultural merchants, tourists, and surrounding residents.
2. Secondary platform data and policy documents. POI (Point of Interest) information within the park, including names and business types of various institutions, was collected using the Gaode Map API. Tourist UGC content (text + images) was scraped from platforms such as Dianping, Mafengwo, and Xiaohongshu, and Python was used for high-frequency word statistics and image content classification analysis.
3. Policy documents and online literature. These auxiliary materials help understand the planning and policy support context of Hechai Park (hefei.gov.cn, 2020)[33] (planning.cn)[32].

3.3.1 Interviews and Observations

The depth interview method was used to obtain spatial experiences and value perceptions from operators and users. The observation method focused on tourists' behavioral paths and social interactions in space to identify the degree of fit between spatial data information and tourist behavior (Zheng, 2022)[34]. Through inductive analysis of interview discourse and observation notes, dimensional analysis of spatial function transformation was conducted.

3.3.2 Social Data Mining Analysis

Crawler technology was used to capture Xiaohongshu platform note content containing the keyword "Hechai 1972," with a time range from January 2022 to November 2024, yielding 834 valid texts and 562 images. Python was employed for word frequency analysis to obtain high-frequency vocabulary of online tourist themes, identify emotional tendencies of keywords, and understand media dissemination paths, assisting in comprehending media's shaping significance of space (Wang, 2023)[35].

3.3.3 POI Analysis and Expert Scoring

Based on POI information collected through the Gaode Map API and combined with interview data, a scene perception indicator system was constructed according to "cultural amenity" theory (Table 2 [TABLE:2]). Seven urban planning and tourism research experts were invited to conduct itemized evaluations, forming a scoring matrix for subsequent statistical analysis and cluster classification (Table 3 [TABLE:3]).

4. Empirical Analysis and Conclusions

4.1 Spatial Production Logic and Value

The spatial transformation of Hechai 1972 is a spiral progressive process triggered by driving factors, initiated by spatial practice, constructed by spatial representation, and characterized by representation and media dissemination, with each stage mutually supporting the others.

(1) Motivation Trigger: Driving Mechanism and Spatial Practice Initiation
The primary starting point of spatial production lies in the dual drive of social function and economic capital (Lefebvre, 1991)[5]. China's economic structural adjustment and industrial upgrading have made the cultural and creative industry an important growth point; meanwhile, land capital operations in the urbanization process promote the transformation of original low-efficiency industrial land into high-value cultural and creative land (Harvey, 2006)[36]. Hechai 1972 is precisely at this intersection, and its transformation from prison and factory to creative park is driven by the dual forces of industrial demand and land capital. Additionally, policy support and urban planning orientation provide institutional guarantees for the initiation of spatial practice, gradually opening the park from a closed production space to a public, multifunctional cultural space.

(2) Spatial Practice: Functional Diversification and Open Interaction
Under motivation-driven forces, Hechai 1972's spatial practice demonstrates a triple structure: 1) Functional leap: transformation from production-oriented (factory, prison) to cultural-leisure oriented (exhibitions, cultural creativity, performances, markets); 2) Open sharing: the park gradually opens to the public for free, forming an interactive platform for commerce, exhibitions, entertainment, public affairs, education, and daily life; 3) Scene experience integration: multiple types of "cultural amenities" such as art galleries, handicraft workshops, and old factory遗迹 are interwoven to meet multi-level needs of creators, tourists, and citizens.

This reconstruction at the practical level is not a simple functional stacking but interweaves industry, publicness, and market mechanisms. Particularly, the model of investment enterprises operating while constructing is the best interpretation of the spatial transformation process.

(3) Spatial Representation: Symbolization and Visual Identity Shaping
The material layout and functional settings generated by spatial practice provide a narrative foundation for spatial representation. The park retains original components such as high walls, chimneys, and mechanical equipment, using industrial heritage codes as the visual core; simultaneously, through graffiti, installation art, and cultural and creative exhibitions, the space is "symbolized" in the market context, presenting a mixed image of "nostalgia—visual consumability—artistry" (Zukin, 1995)[37]. Such representation not only provides tourists with identifiable spaces for check-ins but also constructs a symbolic image of "industrial style + artistic atmosphere," achieving the intersection of historical memory and modern consumption.

(4) Representational Space: Identity and Diffusion
The characteristics of representational space are the成果 of spatial practice and spatial representation: namely, scenes of public perception and cultural identity. At this level, "collective memory" and "modern experience" intertwine: older generations of citizens resonate through memories of industrial development, while new-generation tourists赋予 space the meaning of "art + check-in" through self-media photography and short video sharing (McQuire, 2008)[4]. Dissemination on social media platforms strengthens the park's scene image and visual symbols, forming a cultural community identity scene labeled with Hechai 1972 (Zheng, 2022)[38]. This process precisely reflects the transformation from spatial representation to spatial identity: space is no longer a static structure but becomes the protagonist of communication semantics (Fuchs, 2019)[39].

(5) Comprehensive Logic: Spiral Advancement of Spatial Production
The above four stages do not unfold linearly but are mutually supportive and progressive: (1) spatial motivation triggers spatial practice; (2) spatial practice provides material foundation for spatial representation generation; (3) spatial representation forms the image of representational space (Table 1 [TABLE:1]); (4) spatial cognition and emotional value are reproduced through media dissemination; (5) simultaneously, this reinforces the continuous effect of spatial practice and future motivation. From a complete perspective, Hechai 1972's transformation is a spiral progressive process of "drive—practice—representation—dissemination" spatial reproduction.

Table 1: Spatial Production Transformation Intention Model

Spatial Triad Model Representations of Space Spatial Practice Representational Space Hechai 1972 Prison→Factory→Creative Park Cultural creativity + industrial memory coexistence Old citizens' memory vs. young check-in imagery Spatial Attribute Production→Cultural living space Policy-led cultural renewal project Tourist emotional identity + labels like "trendy," "nostalgic," "industrial style" Spatial Form Closed→Open space transformation Landmark urban space symbol design New urban cultural landmark

4.2.1 Sample Selection and Data Sources

It is generally believed that the "amenity" in scene theory is the core concept, referring to the pleasant utility that goods and services in a specific space bring to consumers. In cultural spaces, amenities are not merely facilities literally related to culture such as museums and cinemas but encompass almost all building facilities in urban space. Urban space is essentially a collection of experiences, symbols, and meanings, with different amenity combinations constituting scenes of different natures (Fu Caiwu, 2021)[20].

This study uses open-source POI (Point of Interest) data from Gaode Map to capture amenities within and around Hechai 1972 Creative Park, combined with offline key informant interviews. Based on online POI data and interview data collection, through manual cleaning and sorting, 123 representative amenity data points were finally obtained (Table 2).

4.2.2 Scene Dimension Construction and Expert Evaluation

Based on the scene science theoretical framework, a two-round expert scoring method was used to construct a multi-dimensional evaluation system, achieving the transformation of tourism amenities into scene variables through a combination of qualitative and quantitative methods. The specific implementation process includes three key stages:

(1) Dimension System Construction Stage:
Grounded in the international scene theory paradigm and combined with the characteristics of cultural and tourism spatial production in China's industrial heritage, an industrial heritage tourism scene dimension model was innovatively constructed, with Hechai 1972 as the empirical research object to complete amenity classification. Hechai 1972's amenities were divided into 8 major categories and 16 subcategories: dining/light meals, exhibitions/books, entertainment/experience, retail/life aesthetics, music/performance, creativity/office, media/wedding/photography, and living support. Overall, Hechai 1972 integrates multiple functions including cultural creativity, exhibitions, commerce, public leisure, education, and residence, achieving full coverage from production to living functions and embodying almost all cultural facilities of a comprehensive cultural tourism community (Table 2).

Table 2: Statistical Table of Representative Amenities in Hechai 1972 Creative Park (Author's creation)

Business Category (8) Amenity Names (123) Quantity/Area Dining Facilities District Coffee, People's Cultural Creation Bookstore Xiyan Tea Space, HH-space, M Stand, Qiuming MOUNTAINTEA New Chinese Teahouse, Jiashi Coffee, Xiaoguangla, Weijia Culture, Shiji Culture, Shiguang Street... 7/12,000 m² Exhibition/Books People's Cultural Creation Bookstore, Wanxin Cultural Bookstore, Hefei Home Appliance Story Museum, Hefei Contemporary Art Museum Hall A/B, Yuanquan Museum, Shiguang Exhibition Hall... 5/9,000 m² Entertainment/Experience Muyu Forest, Goodone life Old Object Warehouse, 7C Skateboard Park, Gorilla's Box Comprehensive Sports Hall, CARPE DIEM Dream Beauty Flower House, Xie Hall, Pearl Island ART STORE, Saneryi Luzhou Medicine Dyeing, Glass Fragment Lampworking Art Studio, Huajian, Brazilian Jiu-Jitsu Academy... 26/18,000 m² Retail/Life Aesthetics Douchai Cat Adoption Hall, Xijian Flower Art... (continued) Music/Performance Fanmu Art Center, π Factory, Yangying Fire Pond-Performance Area, 9 live Jiulaifu, People's Theater... Creativity/Office EPAI Yipai Creative Space, Sanjie Office Area, Gongmei Design Alliance, Xiaojun Mr. Brand Marketing Consultation Fuyao Studio, CHANANG Jewelry Space, Xikuang Architecture, Yimimi Art Design Office, Lai Architecture Design Studio... Media/Wedding/Photography Xiaoman Photo Studio, Zhenxi Photography, Geleliya Art Center, POKEKIDS Shell Design Family Record Hall, No.1 Film Studio, TOUFU Photography Space, Zhongxia Qinhan, Yongyi Camera Shop, Shangu Design... Life Support High walls, barbed wire, guard posts, reeducation-through-labor slogans, diesel engine machine tools, sliced human body (outdoor art installation), jailbreak panda wall painting, event lawn, production slogans, work start plates... Hechai Art Season, Hechai Urban Coffee Festival, Hechai Wild Market Neighborhood Center, Primary School, Taoranli (residential)...

Data source: Collected from Gaode Map, some amenities obtained through field research, collection date: November 15, 2024.

(2) Expert Evaluation Implementation Stage:
A 7-person expert team was formed to conduct two rounds of back-to-back evaluations. In the first round, experts independently scored 16 types of amenities based on 15-dimensional scoring criteria: low scores (0-2.9) indicate insignificant dimensional characteristics; medium values (3.0-3.9) represent dimensional neutrality; high values (4.0-5.0) reflect significant dimensional characteristics. After scoring, a two-way verification mechanism was implemented, both horizontally verifying the logical consistency of scores across dimensions for single amenity types and vertically comparing the systematic coordination of scores across amenity types for single dimensions (Table 3).

(3) Data Optimization Analysis Stage:
Standard deviation analysis was used to identify evaluation disagreement items. After organizing in-depth interviews to eliminate cognitive differences, secondary confirmation was implemented, ultimately forming a consensus matrix of dimensional scores. A weighted average algorithm was used to construct a 15-dimensional scene characteristic model, with the expression:

$$S_i = \frac{\sum_{x=1}^{N_x} f_{xi}}{N_x}$$

where $S_i$ is the scene score for dimension $i$, $x$ is the cultural amenity, $N_x$ is the number of amenities, and $f_{xi}$ is the score of amenity $x$ in dimension $i$ (Table 3).

Table 3: Descriptive Statistics of Cultural Scene Dimension Scores for Hechai 1972 Creative Park (Author's creation)

Main Dimension Sub-dimension Representative Amenity Examples Score Spatial Authenticity Diesel engine machine tools, Hefei Contemporary Art Museum Hall A/B (structure), chimney, high walls, round fort, production slogans, work start plates, reeducation slogans 3.4 Traditionality Shiguang Exhibition Hall, Shiguang Street, Hefei Home Appliance Story Museum 3.5 Dailyness Diesel engine machine tools, production slogans, work start plates, reeducation slogans, Shiguang Exhibition Hall 3.4 Openness Prison space transformation from "confined" to "open" 4.6 Cultural Locality Unique attributes and values belonging to this place 3.7 Nostalgia Goodone life Old Object Warehouse, Shiguang Street, Hefei Home Appliance Story Museum, chimney 4.3 Symbolism Abstract representation of old industrial space characteristics and collective memory 4.1 Aesthetics Hefei Contemporary Art Museum Hall A/B (structure), chimney, high walls, round fort... 4.4 Entertainment Various novel and peculiar scenes and entertainment activities 4.5 Innovation Atmosphere Fanmu Art Center, π Factory, Yangying Fire Pond-Performance Area, 9 live Jiulaifu, People's Theater... 4.6 Self-expression Yiguo Culture, EPAI Yipai Creative Space, Gongmei Design Alliance, Xiaojun Mr. Brand Marketing Consultation, UNO Design Studio, MOMO ART LAB Art Laboratory 4.3 Social Egalitarianism Equal spatial rights and participation opportunities for various groups 4.2 Public Service Providing non-discriminatory public services for various groups 4.2 Knowledge Dissemination People's Cultural Creation Bookstore, Wanxin Cultural Bookstore, Hefei Home Appliance Story Museum, Hefei Contemporary Art Museum Hall A/B, Yuanquan Museum 4.4 Economic Value-added As cultural capital, possessing cultural production functions 4.3

Note: This table references (Chen Bo & Chen Lihao, 2023)[1], with dimensions and classifications adjusted according to this case's specific circumstances.

4.2.3 Cultural Scene Analysis

(1) Spatial Dimension: Conflict Between Authenticity and Openness
This dimension focuses on the preservation of industrial and prison space's original appearance and social accessibility. Among them, "openness" scores the highest (4.6), indicating that the park has achieved a typical "from confinement to openness" leap in spatial structure, with public space area exceeding 40% and most areas open to citizens for free, forming a spatial translation process of "institutional closure—urban sharing." The park receives over 10,000 daily visitors on holidays, already possessing open landmark characteristics. "Traditionality" (3.5) is moderate, with some amenities reflecting local tradition and era memory, but insufficient traditionality before industrial site transformation. "Authenticity" (3.4) and "Dailyness" (3.4) are relatively average. On one hand, while physical structures like diesel engine workshops are preserved, functionality and historical narratives within internal spaces are missing, with some industrial equipment forms being "hollowed out," where symbolism far exceeds authentic craft presentation. On the other hand, spaces for prisoners' daily reform, education, and life are not systematically preserved, with typical "rule-of-law spaces" like cells, solitary confinement rooms, and interrogation areas missing, failing to form a complete "confinement—labor—education" coherent spatial experience (Table 3).

(2) Cultural Dimension: Symbiosis of Nostalgia and Entertainment
The cultural dimension is the core component of Hechai 1972's cultural tourism attraction construction, with generally high scores. Particularly outstanding performance is shown in three indicators: "entertainment" (4.5), "innovation atmosphere" (4.6), and "aesthetics" (4.4), demonstrating a typical scene form of "new industrial aesthetics + urban consumption culture." Performance spaces within the park enrich nighttime cultural tourism experiences, aligning with Clark's definition of "theatrical scenes" (Clark, 2010)[6]; while handicraft studios, design institutions, and self-media spaces reflect a strong "individual expression" orientation (self-expression score 4.3), creating a "youthful, expressive, micro-community" structure (Zukin, 1995)[40]. Meanwhile, Goodone Old Object Warehouse and Home Appliance Story Museum, through the re-display of old objects, industrial furniture, and home appliance remains, show better performance in "nostalgia" (4.3) than "symbolism" (4.1). "Locality" (3.7) is slightly weak, with current introduction of Anhui local culture still being symbolic, failing to form systematic cultural narratives. Some scenes more rely on universal templates of "design—installation—cultural creation consumption," with insufficient presentation of local cultural values (Table 3).

(3) Social Dimension: Egalitarianism and Gentrification Risks
This dimension reflects the park's social roles in publicness, equality, and knowledge dissemination functions. Evaluation shows both "egalitarianism" and "public service" at 4.2, indicating relatively sufficient protection of basic cultural rights, such as free opening systems, open area proportions, citizen festival activities, and public reading spaces. However, tension between "consumption threshold—spatial justice" is gradually emerging, with the proportion of refined high-end business formats (such as mid-to-high-end dining, niche literary spaces) increasing, triggering some "gentrification" risks.

In the "knowledge dissemination" dimension (score 4.4), People's Cultural Creation Bookstore, art museums, and museums form a relatively complete knowledge space ecology, but their interactivity could be enhanced. Economic value-added dimension also shows strong performance (score 4.3), indicating the park has become a platform for gathering cultural and creative economic capital (Table 3).

4.3 Spatial Mediation Logic and Value

As a typical "prison-type industrial heritage" space, Hechai 1972's transformation from a productive, oppressive confined space to an open, symbolic creative scene is a typical "mediated spatial reproduction" process. Based on media geography theory, space is not merely an occupied container but a "social media" system embedded with communication, emotion, and power structures (McQuire, 2008)[41]. Hechai 1972's spatial mediation generation pathway can be specifically analyzed from the following three aspects, examining how media embeds into urban space constitution to build "visualized cultural space."

4.3.1 Reconstruction of Spatial Media Attributes

Media geography emphasizes that space is not only a physical container but a media form that can construct social meaning and collective memory through visibility, accessibility, and narrativity (Adams, 2009)[42]. Hechai 1972's spatial renewal is manifested not only in physical structure restoration but more importantly in the reorganization of its media attributes. At the visual level, the park retains "prison-like" objects such as high walls, barbed wire, guard posts, and old machine tools, whose original "oppressive" connotations are reconstructed by media as visual elements of "industrial style" narratives, becoming popular backgrounds for social media image dissemination (Adams, 2009)[43]. For example, the round fort, chimney, and prison door corridor frequently appear on social platform cover images, constructing a nostalgic "ruin aesthetics" landscape.

Additionally, the re-encoding of spatial symbols also possesses mediality: the prison gate wall originally symbolizing "punishment" is painted with "jailbreak panda," thus transforming into a representation of "artistic transgression." This transformation is not merely symbolic playfulness but reflects the shift of space from "functional place" to "representation node" under media logic. Its spatial meaning no longer attaches to industrial labor but embeds into a media production system centered on images, tags, and dissemination, becoming an important node in urban visual landscape and cultural consumption fields (Urry, 2002)[44].

4.3.2 Spatial Mediated Reproduction

Hechai 1972's mediation is not only reflected in visual image reorganization but more crucially in how it completes spatial meaning reproduction through digital platforms, user participation, and image co-creation mechanisms. This process demonstrates threefold media pathways:

First is the tag-driven spatial construction by platform algorithms. On platforms like Xiaohongshu and Douyin, the park is frequently tagged with "industrial style check-in place," "prison adventure site," "cultural creation market," etc., with over ten thousand related images and short videos, driving the space to gain high recognizability through specific symbolic images. This content mostly revolves around highly recognizable scene settings, strengthening the spatial visual dimensions of "performative—personalized—disseminable" (Clark, 2002)[45].

Second is the image co-creation mechanism between tourists and content producers. Tourists participate in spatial meaning reconstruction through selfies, filters, slow-motion shots, etc., transforming originally functional spaces into "media stages" that can be performed and encoded. In this process, space gradually becomes a reproducible and editable media node in actor networks (McQuire, 2016)[46].

Third, some scenes present a risk of "shallow symbolization" due to lack of deep contextual support. Except for the Home Appliance Story Museum, many spatial installations tend toward excessive visual consumption, showing a dissemination logic of "shallow narrative—strong tag—weak context," making it difficult to maintain the continuity of historical context. As Adams stated, if mediated space cannot embed into deep semantic structures, it is easily engulfed by "image spectacle" (Adams, 2009)[47].

4.3.3 Urban New Cultural Landmark

In the urban competition pattern dominated by media logic, cultural landmarks are no longer merely geographic high points or architectural scale symbols but spatial nodes that are viewed, disseminated, and remembered (Adams, 2009)[47]. Hechai 1972 has evolved into a "new landmark" in Hefei's urban cultural cognition through the co-construction of digital dissemination and visual culture.

First, from the perspective of urban brand construction, Hechai 1972 frequently appears in social media, portal platforms, and official city promotion, being given the connotation of "new cultural名片." Its "prison—industrial—cultural creativity" composite identity is organized by media into a narrative chain of "urban memory—creative activation—avant-garde expression," becoming a symbolic narrative center of local culture.

Second, in terms of media dissemination attributes, the park's high visibility in the online image system embeds it into the core structure of the city's "dominant visual regimes/layers" (McQuire, 2016)[48]. As McQuire pointed out, the generation of urban media landmarks depends on the joint action of image superimposition, spatial演绎, and social coding (McQuire, 2008)[49]. Its differentiated scene of "industrial heritage + jailbreak symbol" strengthens the space's unique recognizability, constituting a "new tag" in Hefei's cultural space.

In summary, Hechai 1972's evolution pathway demonstrates the leap logic from "marginal industrial space" to "cultural center node." On one hand, it maintains the emotional structure and "sense of place" of historical scenes; on the other hand, it implants cultural added value through mediated frameworks, presenting media landmark attributes that fuse "spatial memory—cultural dissemination—local identity."

4.4 Research Conclusions

This paper takes Hechai 1972 Creative Park as a case, integrating spatial production theory, cultural scene theory, and media geography theory to systematically analyze the spatial transformation logic, cultural scene construction, and dissemination pathways of industrial heritage in cultural and tourism transformation. Spatial production drives heritage transformation and dominates the logic; new and old diverse scenes construct new urban cultural tensions; digital communication催生 spatial mediation reproduction. Each stage presents a mutually supportive, overall progressive, spiral development path.

(1) Spatial Production Drives Heritage Transformation and Dominates Logic
At the spatial production dimension, Hechai's transformation is jointly driven by industrial policy, land capital, and urban renewal mechanisms, achieving the leap from "closed industrial production" to "open cultural composite space." The introduction of public functions, spatial openness, and participation of multiple social forces not only reconstructs urban publicness but also reflects the practical orientation of spatial justice, responding to Lefebvre's theoretical proposition on "social production of space" and Harvey's "spatial fix of capital" (Lefebvre, 1991)5[50].

(2) New and Old Diverse Scenes Construct Urban New Cultural Tensions
Cultural scene reconstruction, based on multi-level "cultural amenity" configurations such as exhibitions, leisure, and retro aesthetics, significantly enhances cultural attraction and participatory experience (Clark et al., 2002)[51]. Spatial scenes perform excellently in dimensions like nostalgia, entertainment, and innovation atmosphere, but simultaneously face issues of insufficient local expression and singular industrial memory narratives, reflecting the tension between scene consumption and historical authenticity. This phenomenon confirms Zukin's critique of "commodification of urban cultural space" and suggests that cultural tourism spaces require deeper cultural embedding strategies (Zukin, 1995)[52].

(3) Digital Communication催生 Spatial Mediation Reproduction
In terms of media pathways, the park reconstructs spatial cognition through social media, digital platforms, and visual symbols, achieving the leap from physical遗迹 to cultural landmark. Media is not only a dissemination tool but also participates in spatial meaning reproduction, presenting a new trend of "media-as-space" (Adams, 2009)[53]. This logic aligns with McQuire's definition of "media city" and responds to McQuire's construction perspective of "dominant visual space layers" in media geography (McQuire, 2008)[54].

(4) Cultural and Tourism Transformation Path Model of Industrial Heritage
Through research on Hechai 1972's transformation process, the entire cultural and tourism transformation path model of industrial heritage can be clearly derived (Figure 2 [FIGURE:2]): (1) Spatial attribute transformation is the driving force and prerequisite for spatial reproduction, providing the foundation for cultural scene and media dissemination intervention; (2) Spatial production connects "the spatial attributes of things" with "the social practice of people," being the core of transformation from static space to dynamic social scene; (3) Diverse scene construction serves as the transformation mechanism between "space—culture" and the intermediary platform for entering media dissemination; (4) After space acquires mediated attributes, it becomes not only a geographic entity but also a "cultural scene" and "urban cultural transmitter."

Figure 2: Cultural and Tourism Transformation Path Model of Industrial Heritage (Author's creation)

Research reveals that its transformation path presents a four-stage spiral development process of "spatial attribute transformation—spatial production—scene construction—spatial mediation," reflecting a coupling mechanism of multiple spatial production types progressing from spatial regeneration to cultural value-added and symbolic dissemination. In summary, the cultural and tourism transformation of industrial heritage is not only a process of spatial morphology renewal but also an interactive coordination of triple logics: cultural cognition, emotional participation, and media dissemination. This study provides an operational and theoretical reference for understanding the urban cultural and tourism transformation of industrial heritage in China.

5. Discussion

5.1 Theoretical Contributions

(1) Proposing a Four-Stage Transformation Model for Industrial Heritage Cultural Tourism
This study constructs a four-stage transformation path of "spatial attribute drive—spatial production—scene construction—mediated reproduction," systematically revealing the internal logic of transformation from "industrial—rule-of-law" composite heritage from productive space to cultural tourism experience sites, enriching systematic research on cultural tourism transformation mechanisms in traditional industrial heritage studies.

(2) Achieving Integration of Spatial Production, Cultural Scene, and Media Geography Theories
By integrating neo-Marxist urban schools (Harvey, 2006)[50], spatial production theory (Lefebvre, 1991)[5], cultural scene theory (Clark, 2010)[6], and the cross-perspective of media geography (Adams, 2009)7[4], this study breaks through disciplinary bottlenecks in heritage tourism research, forming a multi-dimensional and progressive analytical framework that enriches theoretical research pathways for cultural tourism spaces.

(3) Application of Cultural Scene Theory in Chinese Heritage Context
Based on Clark's cultural scene dimensions (Clark, 2010)[6], combined with a triple system of "scene amenities—spatial dimensions—media characteristics," this study optimizes a scene evaluation model applicable to China's industrial heritage renovation practices, advancing the localization transformation and empirical application of cultural scene theory.

(4) Deepening Research Perspective on Heritage Mediation
Emphasizing the key roles of media platforms, user-generated content (UGC), and spatial visual symbols in shaping cultural identity and constructing new urban culture, this study responds to the theoretical proposition of "media-as-space" (Adams, 2009)[55], compensating for the insufficient research on spatial mediated production in China's current industrial heritage tourism.

5.2.1 Limitations of Hechai 1972 Practice

(1) Significant Spatial Transformation Effect, Strong Identity Narrative Tension
Hechai 1972 has successfully achieved transformation from "industrial—prison composite space" to "cultural creation—consumption cultural place," using prison architectural fabric and industrial facility remains to construct visually impactful cultural tourism symbols,赋予 urban heritage space with "break—establish" tension, significantly enhancing its spatial recognizability and dissemination. However, the space mainly concentrates on surface functions like "check-in—consumption—performance," still failing to fully mobilize its deep institutional culture and historical education potential, with weak knowledge attributes and public functions of space.

(2) Cultural Scene Construction Has Breadth but Lacks Deep Cultural Connotation
Empirical analysis shows that although the park is highly diverse in amenity dimensions, covering multiple Clark-style scene dimensions such as art galleries, retro markets, cultural creation markets, and coffee leisure spaces, it still insufficiently shapes emotional resonance for "locality" and "memory." The translation of original prison space mostly remains at the formal transformation level, lacking continuity in cultural narrative; the participation of Hefei local intangible heritage, industrial labor history, and community memory is low, causing a trend of "regional dilution" in cultural scenes.

(3) Social Participation Mechanisms Are Unsound, Spatial Governance Actors Are Relatively Singular
Park management remains dominated by government or state-owned enterprises, lacking institutionalized absorption of diverse actors such as citizen communities, art organizations, and individual residents. Public curation, issue participation, and community interaction are relatively scarce, unable to form a truly shared cultural governance pattern. This "single dominance—user consumption" structure easily falls into path dependence of "cultural productization" rather than "cultural co-construction."

5.2.2 Policy Recommendations

(1) Promote "Dual Narrative" to Deepen Historical Education Functions
Drawing on experiences such as Australia's Fremantle Old Prison (UDLA, 2022)[56] and Spain's Lugo Prison (RevistaneStrahistoria.com, 2019)[57], Hechai should build a composite narrative around two main lines of "industrial labor history" and "rule-of-law institutional history," promoting space exhibition from visual reproduction to knowledge education. Introduce methods like "scene drama + interactive guided tours + documentary archives" to construct memory-type public spaces, strengthening the era responsibility and collective reflection of historical space.

(2) Activate "Local Culture" Resources to Enhance Cultural Embeddedness
Guide intangible heritage artists, folk craftsmen, community cultural groups, etc., to deeply participate in spatial reconstruction. Drawing on Taipei "Treasure Hill" art community experience, promote "art intervention—heritage reconstruction" practice to form cultural scenes with regional, emotional, and participatory characteristics, promoting the活化 reproduction of local culture (Lia, 2022)[58].

(3) Construct Co-governance Mechanisms with Multi-subject Participation
Learn from Berlin's Tacheles Art Factory operation model, introduce open spatial governance mechanisms such as "issue curation," "community council," and "youth residency program," strengthen collaborative participation of young artists, university teachers and students, and local residents, and build an urban cultural governance pattern centered on "co-construction—co-management—sharing" (Sandig, 2021)[59].

5.3 Research Limitations and Prospects

This paper focuses on the spatial transformation mechanism and cultural scene reconstruction logic of industrial heritage cultural tourism. Although it constructs a systematic theoretical analysis framework, it still needs deepening in dynamic media dissemination mechanisms, multi-subject collaborative construction pathways, and long-term local culture embedding mechanisms. Future research can further introduce methods such as social surveys and participatory observation to enhance supplementary understanding from micro-subject perspectives on cultural reproduction processes, providing more contextually sensitive theoretical support for urban heritage governance and cultural活化 practice.

Meanwhile, it is recommended to further explore the role and value of augmented reality and virtual reality media technologies in heritage dissemination, combined with multi-case comparisons, to enhance the model's broad applicability and predictive capability.

References

[1] Chen Bo, Chen Lihao. Research on Cultural Scene Dimension Design and Value Expression of Industrial Heritage Tourism Destinations[J]. Journal of Shandong University (Philosophy and Social Sciences Edition), 2023, (02): 21-34. DOI:10.19836/j.cnki.37-1100/c.2023.02.003.
[2] Carlsen J., Getz D., Ali‑ Knight J. The environmental attitudes and practices of family businesses in the rural tourism and hospitality sectors[J]. Journal of Sustainable Tourism, 2001, 9(4): 281-297. DOI:10.1080/09669580108667403.
[3] Zhao Y. Mediated place‑ making in the platform era: Visual geographies of cultural heritage sites in China[J]. International Journal of Cultural Studies, 2022, 25(2): 167-183.
[4] McQuire S.The Media City: Media, Architecture and Urban Space[M]. London: Sage Publications, 2008.
[5] Lefebvre H. The Production of Space[M]. Oxford: Blackwell Publishing, 1991.
[6] Clark T N. The Scene Approach: Theory and Practice[M]//The City as an Entertainment Machine. Emerald Group, 2010: 1-18.
[7] Adams P C. Geographies of media and communication: A critical introduction [M]. Oxford: Wiley-Blackwell, 2009. DOI: 10.1002/9781444300950.
[8] Edwards J A., Llurdés i Coit J. Mines and quarries: Industrial heritage tourism[J]. Annals of Tourism Research, 1996, 23(2):341-363. DOI:10.1016/0160‑ 7383(95)00067‑ 4.
[9] Binns T., Nel E. The Village in a Game Park: Local response to the demise of coal mining in KwaZulu‑ Natal, South Africa[J]. Economic Geography, 2003, 79(1): 41-66. DOI:10.1111/j.1944‑ 8287.2003.tb00201.x.
[10]Carlsen J., Taylor A. Mega‑ Events and Urban Renewal: The Case of the Manchester 2002 Commonwealth Games[J]. Event Management, 2003, 8(1): 15-22.
[11]Ashworth G J. Heritage and the Consumption of Places[M]. London: Routledge, 2019.
[12]Basheer M., Farooq S., Hassan V., et al. Augmented Reality in Heritage Sites: A Systematic Review[J]. Journal of Cultural Heritage, 2023, 61:203-215. DOI:10.1016/j.culher.2023.04.012.
[13]McQuire S. Geomedia: Networked Cities and the Future of Public Space[M]. Cambridge; Malden, MA: Polity Press, 2016.
[14] Ding Shu. The Development History, Characteristics and Development Models of Industrial Tourism in China[J]. Finance & Trade Economics, 2005, (05):92-94. DOI:10.19795/j.cnki.cn11-1166/f.2005.05.020.
[15] Han Fuwen, Xu Dong. On the Spatial Characteristics and Tourism Development Models of Industrial Heritage in Northeast China[J]. Journal of Shenyang Normal University (Social Science Edition), 2010, 34(01):53-56. DOI:10.19496/j.cnki.ssxb.2010.01.018.
[16] Tong Yuquan. Exploration of the Path for Industrial Landscape Heritage and Its Structural Protection[J]. Urban Development Studies, 2015, 22(08):107-111.
[17] Zhang Jingjing, Lu Shan, Ma Xinyao. Research on Evaluation System and Protection-Utilization Gradient of Industrial Heritage Based on Tourism Development[J]. Chinese Landscape Architecture, 2015, 31(08):86-89.
[18] Wang Jing, Li Hao, Wang Hui. Urban Industrial Heritage Protection and Renewal—An Important Approach to Building a Creative City[J]. Urban Planning International, 2012, 27(03):60-64.
[19] Wang Tao, Zhu Yizhong, Zhang Qianru. Research on Industrial Land Renewal in Guangzhou from the Perspective of Scene Theory—A Case Study of Cultural and Creative Industry Parks[J]. Modern Urban Research, 2021, (08):66-72+82.
[20] Fu Caiwu, Wang Yifan. Research on Urban Night Cultural Tourism Consumption Space from the Perspective of Scene Theory—A Perspective Based on the Cultural Scene of Changsha's Super Wenheyou[J]. Wuhan University Journal (Philosophy & Social Sciences), 2021, 74(06):58-70. DOI:10.14086/j.cnki.wujss.2021.06.006.
[21] Li Xiaoyun, Duan Yapeng. Research on Industrial Heritage Renewal Strategies Based on "Place-Event" Theory—A Case Study of Anyuan Coal Mine[J]. Contemporary Architecture, 2021, (11):102-105.
[22] Wang Li. The Connotation of Industrial Heritage Tourism Development in Lanzhou from the Perspective of Social Semiotics[J]. Tourism Overview, 2021, (02):9-11.
[23] Fan Xiaojun, Xu Honggang. Tourism-Driven Re-localization: An Innovative Path for Industrial Heritage Protection and Utilization from a Local Perspective[J]. Tourism Forum, 2020, 13(02):17-27. DOI:10.15962/j.cnki.tourismforum.202002011.
[24]Hospers G ‑ J. Industrial Heritage Tourism and Regional Restructuring in the European Union[J]. European Planning Studies, 2002, 10(3):397-404. DOI:10.1080/09654310220121112.
[25]Harvey D W. Spaces of Global Capitalism: Towards a Theory of Uneven Geographical Development[M]. London: Verso, 2006.
[26] Zukin S. The Cultures of Cities[M]. Cambridge: Blackwell, 1995.
[27] Ye Chao, Chai Yanwei, Zhang Xiaolin. The Theory of "Production of Space", Research Progress and Its Implications for Chinese Urban Studies[J]. Economic Geography, 2011, 31(03):409-413. DOI:10.15957/j.cnki.jjdl.2011.03.010.
[28]Lash S., Urry J. Economies of Signs and Space[M]. London; Thousand Oaks, CA: Sage, 1994.
[29]Clark T N., Nichols Clark T. The City as an Entertainment Machine[M]. In: Gotham K (Ed.). Critical Perspectives on Urban Redevelopment, vol. 6. Leeds: Emerald, 2001‑ 2003: 357-378. DOI:10.1016/S1047‑ 0042(01)80014-3.
[30] Xie Qinlu. From Spatial Turn to Spatial Mediatization: The Rise and Development of Media Geography in the West[J]. Modern Communication (Journal of Communication University of China), 2018, 40(2): 75-81.
[31]Harvey.Social Justice and the City [M]. London: Edward Arnold, 1973.
[32]http://www.planning.cn/view.php?id=923.(2024-06-12),(2024-11-20) Hechai 1972 Creative Park—Preserving a Touch of "Industrial Nostalgia" for the City (planning.cn).
[33]https://gxj.hefei.gov.cn/public/17331/105394849.html.(2020-08-12),(2024-11-20) Reply Letter on Recommendations for Promoting the Protection of Old Industrial Sites in Hefei_ Hefei Municipal Bureau of Industry and Information Technology (hefei.gov.cn).
[34]Zheng L., Xu X., Wang Y. Urban regeneration through creative industries: A case study of prison‑ heritage revitalization in China[J]. Cities, 2022, 122:103524. DOI:10.1016/j.cities.2022.103524.
[35] Wang H., Zhang M. Mapping tourist perception through social media: Evidence from heritage redevelopment sites in China[J]. Journal of Urban Management, 2023, 12(3):48-61. DOI:10.1016/j.jum.2023.05.002.
[36]Harvey D. Spaces of Global Capitalism: Towards a Theory of Uneven Geographical Development[M]. London: Verso, 2006.
[37] Zukin S. The Cultures of Cities [M]. Cambridge, MA: Blackwell Publishers, 1995:83-84.
[38]Zheng L., Xu X., Wang Y. Urban regeneration through creative industries: A case study of prison‑ heritage revitalization in China[J]. Cities, 2022, 122: 103524:10-20. DOI:10.1016/j.cities.2022.103524.
[39] Fuchs, C. Henri Lefebvre’s theory of the production of space and the critical theory of communication[J]. Communication Theory, 2019, 29(2):129-150. https://doi.org/10.1093/ct/qty025.
[40] Zukin S. The Cultures of Cities [M]. Cambridge, MA: Blackwell, 1995:65-66,83-84.
[41] McQuire, S. The Media City: Media, Architecture and Urban Space [M]. London: SAGE Publications, 2008:11-14, 103-120.
[42]Adams P C. Geographies of Media and Communication: A Critical Introduction[M]. Chichester; Malden, MA: Wiley‑ Blackwell, 2009:50-70.
[43]Adams P C. Geographies of Media and Communication: A Critical Introduction[M]. Chichester; Malden, MA: Wiley‑ Blackwell, 2009:80-100.
[44] Urry J. The Tourist Gaze[M]. London: SAGE Publications, 2002:80-90.
[45]Clark T., Lloyd R., Wong K., Jain P. Performance and place: Street performance and the shifting geographies of the public realm[J]. Area, 2002, 34(2):168-176.
[46]McQuire S. Geomedia: Networked Cities and the Future of Public Space[M]. Cambridge: Polity Press, 2016: 30-50.
[47] Adams P C. Geographies of Media and Communication: A Critical Introduction[M]. Chichester; Malden, MA: Wiley‑ Blackwell, 2009: 50-70.
[48]McQuire S. Geomedia: Networked Cities and the Future of Public Space[M]. Cambridge; Malden, MA: Polity Press, 2016: 30-50.
[49] McQuire S. The Media City: Media, Architecture and Urban Space[M]. London: Sage Publications, 2008: 40-60.
[50]Harvey D. Spaces of Global Capitalism: Towards a Theory of Uneven Geographical Development [M]. London: Verso, 2006:10-30.
[51]Clark T N., Lloyd R., Wong K K., Jain P. Amenities drive urban growth [J]. Journal of Urban Affairs, 2002, 24(5): 493-515. DOI:10.1111/1467‑ 9906.00134.
[52]Zukin S. The Cultures of Cities [M]. Cambridge: Blackwell, 1995:83-84.
[53]Adams P C. Geographies of Media and Communication: A Critical Introduction [M]. Oxford: Wiley‑ Blackwell, 2009: 50-70.
[54] McQuire S. The Media City: Media, Architecture and Urban Space [M]. London: Sage Publications, 2008: 40-60.
[55] Adams P C. Geographies of Media and Communication: A Critical Introduction [M]. Oxford: Wiley‑ Blackwell, 2009:50-70.
[56]https://www.udla.com.au/projects/fremantle-prison-heritage-landscape-management-plan#:~:text=The%20Fremantle%20Prison%20Heritage%20Landscapes%20Strategy%20%28HLS%29%20is,World%20Heritage%20site%20and%20celebrated%20Australian%20heritage%20icon. (2025-05-14) Fremantle Prison Heritage Landscape Strategy — UDLA.
[57]https://revistanuestrahistoria.com/wp-content/uploads/2020/02/nh8_pp202-206_garciayvalcarcel.pdf. (2025-05-14) Our Story, Issue No. 7 (RevistaneStrahistoria.com).
[58]Lia D., Zhong S., Wang Q., Chen L. A cultural approach to preserving squatter settlements: the case of Treasure Hill Village in Taipei[J]. International Journal of Heritage Studies, 2022, 28(4):460-475. DOI:10.1080/13527258.2021.2010234.
[59]Sandig J., et al. The rise and fall of Kunsthaus Tacheles: artist occupation, spatial autonomy, and urban politics[J]. Journal of Urban Cultural Studies, 2021, 8(3): 210-230. DOI:10.1386/juucs_00043_1.