According to reports, Shenyang City in Liaoning Province has recently issued an invitation to the whole society: from July 7th to August 31st, national middle and high school students can visit a local production base of a certain car company for free with their admission tickets, jointly unlocking the "smart" manufacturing process of steel plate to vehicle transformation, and immersing themselves in the industrial aesthetics of world advanced factories. Coincidentally, a car factory in Beijing also opened for visitors at the beginning of this year. On the first day of the event, each event was limited to 20 people, but the number of registrations exceeded 4600. In recent years, "traveling to factories" has become popular. Various industrial production lines and even abandoned factories have changed the stereotype of being "dirty, messy, and poor" in people's minds. With the integration of culture and tourism, museum construction, and urban renewal, they have become trendy tourist check-in destinations. The reason why "traveling to factories" has become a hot spot is that countrymen people favor and love Chinese enterprises and Chinese brands. In recent years, with the rapid rise of national enterprises and national brands, such trends as "China-Chic Guofeng" and "New Chinese Aesthetics" have emerged. In this context, a group of manufacturing, high-tech, and artificial intelligence enterprises have opened their workshops one after another, bringing them closer to the general public with unique immersive experiences, providing them with an educational base to feel and experience national brands, and gradually accumulating unique charm and attraction. Currently, the aesthetic literacy of the public, especially young people, is gradually improving. Modern household items such as cars and mobile phones are masterpieces of modern industrial product design, while some abandoned factories and production lines have been transformed into tourist destinations, sports venues, and cultural and creative parks through the ingenuity of environmental artists and landscape designers, driven by urban renewal. Design art itself is different from industrial production, as it is a product of the development of the Industrial Revolution to a certain historical stage. During the process of visiting factories, the public can also see the aesthetic beauty of industrial products, feel the aesthetic value contained in the industrial revolution era, and pursue the taste of life scenes. Thus, aesthetic education related to modern design is subtly integrated into the public's tourism experience. Traveling to factories has also created an important venue for experiencing and experiencing the spirit of craftsmanship. Chinese traditional pottery, jade, bronze, porcelain and other handicrafts are exquisite and famous in the world, making countrymen feel proud; Today, skilled workers operating on modern production lines have inherited superb craftsmanship, interpreting and continuing the spirit of craftsmanship in the new era. When people linger in various railway, automobile, and home appliance museums, they can personally feel the spirit of craftsmanship embodied in them, constantly striving for excellence. As a result, many open factory workshops and industrial parks have added interactive tourism projects, allowing visitors to personally "get started" and experience the production practices of skilled workers. This has a positive effect on better understanding and inheriting the craftsmanship and spirit, and cultivating the innovative spirit of the new era manufacturing industry. Of course, when it comes to the integration of culture and tourism, as well as the development of cultural industries, the deep integration of industry and culture and tourism is still in its infancy. How to activate presentation methods and tap into intrinsic value requires exploring new paths in practice. In previous practical research, we have realized that there is varying degrees of room for improvement in both industrial product aesthetics and factory exhibition conditions at present. We hope that relevant departments can introduce supportive and incentive policies to enhance the social responsibility and enthusiasm of enterprises, and attract more public to enter the factory through sustainable means such as expert science popularization, cultural and creative development, and characteristic project creation, unleashing the enormous vitality contained therein. Only in this way can the future "factory+tourism" not only meet people's growing spiritual and cultural needs, but also play a good role in public cultural services, and expand consumption space and stimulate market potential when conditions permit. (New Society)