A Study on the Characteristics and Differences of "Scene Construction - Media Dissemination" in Industrial Heritage-based Creative Parks: A Case Study of Representative Examples in the Yangtze River Delta Region, China
DOI:
https://doi.org/10.37420/j.cer.2025.1066Keywords:
industrial heritage, transformation, cultural creativity, scene construction, mediaization.Abstract
(1) Background: Driven by the wave of post-industrial transformation, cities around the world are undergoing a structural shift from "production-oriented spaces" to "cultural consumption spaces." As an important part of urban stock space, industrial heritage has increasingly become a key topic in urban renewal and cultural regeneration, with research focusing on space production logic, cultural scene construction, and media communication pathways.
(2) Methods: This study follows the theoretical framework of scene theory and spatial media theory. Using representative industrial heritage-based creative parks in the Yangtze River Delta region of China as case studies, it employs field interviews, data analysis, and dimensional evaluations to analyze the characteristics and differences of the "scene construction-media communication" process in these parks.
(3) Conclusion: The transformation of industrial heritage into creative parks reflects a multi-stage, cross-cutting mechanism of "space production-driven – scene construction – space mediaization." It shows that: multiple driving forces lead to the differentiation of spatial production forms; the construction of diverse scene characteristics generates cultural differentiation; and the variations in media paths reinforce the cultural distinctiveness of the parks.
(4) Discussion: Industrial heritage carries local memory and cultural identity, while relying on digital media to realize new social value. Future industrial heritage updates should move beyond a single consumption logic and focus more on multi-stakeholder collaborative governance, historical education, and the revitalization of regional culture to achieve a leap from "cultural products" to "public cultural spaces."