Development of Post-Industrial Heritage Landscape Design Based on Visual Cognitive Schema Theory: A Case Study of the Shou Gang Industrial Cultural Heritage Site ^†

Abstract

Post-industrial landscapes serve as crucial markers of industrial cultural heritage. This study focuses on the urban environmental form design of post-industrial civilization. Facing challenges posed by the incompatibility of traditional industrial lands with modern society, the urban renaissance of post-industrial landscapes emerges as a pivotal topic. This article defines the concepts of visual cognition, the cognitive schema, and the post-industrial landscape from the perspective of environmental psychology through literature research, case studies, and on-site investigation methods. It elaborates on the design process of the Shou Gang Industrial Cultural Heritage Site. This study shows how to create a living space that has both historical memory and meets modern needs through steps such as extracting core elements, constructing spatial schema, and promoting scene integration. The study found that, by extracting and integrating the four key visual cognitive elements of humans, objects, paths, and event, a dynamic and interactive living space schema—scene relationship—can be constructed. Finally, by summarizing the overall consciousness of the visual cognitive schema, it further emphasizes the importance of paying attention to the harmony and unity of people, behavior, and environment in the design process and realizing the sustainable utilization and development of space.

1. Introduction

Since 2015, the theory of visual cognitive schema has been increasingly applied to urban and rural studies, environmental behavior research, sociology, anatomy, and morphology. With the rapid development and integration of information technology and visual information, psychological methods for spatial environmental cognition have gained widespread use in design research. Influenced by visual environmental cognition, studies on landscapes based on visual cognitive schema theory have become more prominent in landscape research. Industrial landscapes, as a vital component of modern landscapes, reflect the evolution of urban civilization. Today, many traditional industrial sites fail to meet the needs of modern society, leading to various crises of urban civilization such as economic decline, environmental pollution, and damage to environmental facilities. Therefore, researching the morphological elements of post-industrial landscapes, the design of industrial heritage landscapes, and innovative approaches holds significant importance in today’s context. This paper selects a key representative of China’s post-industrial landscape—the Shou Gang Industrial Heritage in Beijing—as a study sample, which is also an actual design project that we have participated in. Starting from the theory of the visual cognitive schema, the study conducts a systematic investigation into the morphological design of post-industrial landscapes. By systematically analyzing four visual cognitive elements—people, objects, paths, and events—as essential components of spatial design, the research aims to establish a spatial schema of life among people, behaviors, and environments within the post-industrial landscape design framework. China’s post-industrial landscape differs significantly from those in other countries, placing a greater emphasis on the prominence and concentration. Thus, this study’s research on visual centers and cognition within the site should more heavily rely on self-experience and characteristic understanding.

The principal objective of this research endeavor is to delve into the cornerstone aspects of post-industrial landscape form design, underpinned by the lens of the visual cognitive schema. Drawing upon the practical project illustration of the Shou Gang Industrial Site revitalization, this study embraces the core concept of the “visual cognitive schema” as a guiding principle, articulating its research rationale and structure across three interconnected tiers.

At this fundamental level, the study repositions the notion of the “visual cognitive schema” at the epicenter of design exploration. It establishes a conceptual bridge between sensory cognition, human–object interactions, and the visual dimensions of the landscape scale. This framework clarifies the intricate interplay between spatial constructs and human behavioral experiences, positing that landscape design must cognizantly integrate cognitive processes to enhance users’ engagement and understanding.

Proceeding to the second tier, the research adopts a multi-faceted approach involving the identification of pertinent case studies and project practice. Through this iterative process, the study seeks to unravel the myriad possibilities inherent in post-industrial landscape design. By examining how the visual cognitive schema informs design decisions, it contributes to the body of knowledge by offering fresh insights into creative strategies that transcend traditional design paradigms.

Culminating at the third tier, the research endeavors to visualize the complexities of spatial cognition within the post-industrial landscape context. This endeavor involves refining a methodology that enables the precise translation of cognitive understanding into tangible design interventions. By identifying an accurate sample implementation approach, the study demonstrates how the theoretical underpinnings of the visual cognitive schema can be harnessed to realize design solutions that are both functionally robust and aesthetically resonant, thereby enriching the urban fabric and fostering a deeper connection between people and their surroundings.

In this paper, we systematically organize the research content and construct the complete framework of the article through seven core parts. First of all, the introduction provides readers with an overview of the research background, purpose, and importance of the Shou Gang Industrial Cultural Heritage Site under the visual cognitive schema. Subsequently, the Section 2 deeply reviewed the existing research results in related fields, and made clear the starting point and direction of the research. In the Section 3, the case study analysis method adopted in the study is elaborated in detail, which ensures repeatability and transparency. The Section 4 show the main findings. The Section 5 deeply analyzes the significance, limitations, and potential impact of these findings, and points out the direction for the follow-up research. Finally, the Section 6 summarizes the core contribution and emphasizes its value and some limitations in theory and practice. This paper ends with the reference part, which provides readers with the information sources needed for further research.

2. Literature Review

2.1. Visual Cognitive Schema Theory

Vision is the product of understanding and cognition. It studies how to perceive vision, how people process, translate, and judge the collected information, and how to attract human thoughts and emotions. Cognition is at the heart of the design task, which involves not only identifying visual elements but also the process of reasoning about our visual world [1]. The cognition process is also the process of experiencing urban design memory again. Cognition comes from the judgment of the external urban environment by the actors themselves. It needs a series of visual acquisition, information processing, theoretical coding, and image reconstruction to obtain a re-understanding of the environment, which is also the understanding of urban morphology. Visual cognition is the recognition of the spatial environment, which is the process of timely discovery, awareness, rediscovery, and recognition of information in various forms.

Visual cognition has the following four periods: first, the discovery of natural science theory from ancient Greece to the 17th century; second, the two-dimensional space research on visual observation experiments from the 17th to 20th century; third, from the 20th century to the present, the research on the visual behavior of three-dimensional space; and, fourth, the direction of vision visualization in the future. The study of visual cognition started in ancient Greece, and then Plato established the visual theory of light and vision. The development of Western philosophy also shows its dependence on visual metaphors (shadows on the wall of Plato’s cave, Augustin’s glorification of divine light, Descartes’ ideas accessible to the mental view, and the belief of the Enlightenment in the data provided by our senses) [2]. Euclid, a mathematician, geometrized light according to the theory of straight-line propagation to form the theory of spatial perceptual geometry [3,4]. Ptolemy proposed the theory of the binocular cone. Since Newton discovered that light has color in 1675, people began to study visual color, visual channel, and binocular vision (people have two eyes, but they see the same thing and scene). The Gestalt theory of learning was put forward by Gestalt psychologists in the early 20th century. Another scientist put forward the “ISOVIST” theory, namely, the visual process of the “visual polygon visual field visual graph visual body”, which is the symbol of the transformation from a two-dimensional to three-dimensional visual environment space [5,6]. After the 20th century, most of the researchers of visual environment research started from the areas of psychology, physiology, behavior, perception, color, materials, computers, and other aspects, which is also three-dimensional vision. Furthermore, it highlights a recent trend over the past decade where vision research has increasingly relied on big data, enabling data visualization that is not only informative but also tailored to human spatial behavior and psychology, thereby enhancing the three-dimensional experience.

The concept of a schema originates from Kant, who believes that knowledge is formed by the combination of pure knowledge and sensibility. When visual cognition is applied to sensibility, there must be a structure or pattern that can connect the category of knowledge and the intuition of sensibility. Therefore, Kant calls it the transcendental schema of pure rationality [7]. The schema has the function of the connection, communication, organization, and construction of rational thinking patterns, framework, or mode. Generally speaking, the schema is also a chart, plan, or framework. Spatial cognition is not a kind of behavior or position, but the premise of behavior [8]. A schema refers to an internalized or simplified psychological organization or structure, which is a cognitive structural unit of various ideas and knowledge elements present in the human brain. However, in cognitive psychology, philosophy of science, and related fields, the schema is a system for organizing perception, learning, and memory, and its elements correspond to the activity scene of people in space. The earliest pioneers of the cognitive schema were Descartes and Francis Bacon, who established the basic system of reason through logical reasoning based on apriority and experience. Therefore, spatial cognition (perception) is closely related to the schema. Perception and cognition are processes of understanding things; the “schema” is the logic of an organizational process, and permeates all aspects of landscape design. In space cognition, Lloyd (1982) explains how information is encoded, stored, reconstructed, and processed in the brain [9,10,11,12]. The combination law of psychological graphics and the process of “pattern–schema–image” in cognitive theory are the standards for measuring and experiencing new things. Based on the spatial schemata, spatial models can be described as the means or design process and method of landscape generation after encoding, storing, and reconfiguring through cognition. Spatial models can be described as a means or design process and method of landscape generation after being encoded, stored, and reconfigured through cognition. Cognition is a connection between the direction and manner of each place, the division of human activities into areas and domains, the relationship between different cultural factors, and the spirit of place that distinguishes different places.

This study explores the visual cognitive schema as a logical cognitive framework and delves into the process of re-understanding. It asserts that the schema is a product of cognition. The environmental design mirrors psychological behaviors, and the visual cognitive schema embodies a training of logical thinking design tailored for designers’ cognitive contexts.

2.2. Post-Industrial Heritage Landscape

A post-industrial landscape refers to areas and sites that were once used for industrial production but have been abandoned after industrial activities have ceased or relocated. These areas are often filled with derelict factories, warehouses, and infrastructure, and typically face challenges such as land pollution and environmental degradation [13,14]. The research of post-industrial landscape design started from the 1960s to the 1970s. Post-industrial theory [15] was formed in the 1970s after the industrial society first used the concept of “post-industry” [16]. The process of transforming these landscapes usually involves ecological restoration, heritage preservation, and the innovative use of space. By converting abandoned industrial facilities into public parks, cultural arts districts, or commercial areas, cities not only reclaim polluted land but also create new public spaces for residents. The transformation of post-industrial landscape design not only contributes to urban economic revitalization but also promotes social and cultural sustainability. These landscapes preserve traces of industrial history while being repurposed in innovative ways to become vibrant hubs that attract both tourists and locals. As the industrial era comes to an end, many cities are rethinking how to repurpose these spaces, offering new possibilities for future urban development through redevelopment and regeneration.

The form of the post-industrial landscape is the representation of “the fourth nature” after the industrial age [17,18,19]. The fourth naturally expresses the changes in design work in today’s knowledge economy with new environments, new types of places, and new technologies. Design works and problems tend to emphasize site analysis, design integrity, and regeneration. In the context of post-industrial landscapes, cognitive architecture can be used to guide design decisions in order to create more inclusive, functional, and attractive spaces. This includes preserving and repurposing historical buildings, creating green spaces, and designing public areas that promote community engagement and social interaction.

Recent advances in sensor technology related to visual cognition are being employed to better understand how people move and interact within physical spaces, as well as their reactions to different design elements. These technologies help designers evaluate how their designs impact people’s emotions and behaviors, allowing for adjustments based on the findings. For example, eye-tracking data generate visual sequence diagrams, or gaze paths, that trace how viewers observe a scene, as demonstrated in a study using 2018 version of iMotions Biometric Professiona software 2018 [20]. Researchers have used biometric tools such as facial expression analysis, electroencephalography (EEG), and electrodermal activity (EDA) to gather data on how people perceive and respond to architectural environments [21,22,23]. These data can be utilized to improve designs, making them more human-centered and responsive to user needs. Moreover, N. Buras’ Classic Planning and M. Mehaffy’s articles are valuable resources for understanding the regeneration of post-industrial landscapes. In discussing New Urbanism and the revival of public spaces, these works emphasize the importance of classical design principles in contemporary urban transformation, particularly when addressing the challenges of post-industrial landscapes [24]. By integrating traditional urban design concepts with modern planning needs, the redevelopment of post-industrial spaces can not only preserve historical and cultural traces, but also, through the innovative use of space and ecological restoration, create more sustainable and socially functional urban areas. Mehaffy’s analysis of New Urbanism and the New Urban Agenda highlights how these principles can be applied to the revitalization of abandoned industrial sites, making them crucial spaces for promoting social interaction, economic development, and cultural heritage, effectively merging historical legacy with modern demands [25].

Some scholars emphasize the renewal and design of eco-cultural heritage, eco-sustainable development, and post-industrial cultural heritage [26]. In environment-oriented design, it reinterprets industrial history as a heritage resource. Urban renewal is the inevitable result of social development and industrial heritage is a product of social metabolism [27,28]. Globally, many New Urbanism and neo-traditional redevelopment projects of old industrial areas are widely recognized as exemplars of successful post-industrial heritage landscape regeneration. These projects achieve the revitalization of post-industrial heritage landscapes by preserving historical buildings, conducting ecological restoration, and promoting social and economic revitalization. Examples include Germany’s Ruhr Industrial Area, New York’s High Line Park, Paris’s Parc de la Villette, London’s King’s Cross Redevelopment, and Spain’s Guggenheim Museum Bilbao. These projects demonstrate how the transformation of old industrial areas into cultural, artistic, entertainment, or community spaces can successfully realize economic recovery and urban regeneration through New Urbanism and neo-traditional principles. In addition, the research record of the post-industrial heritage landscape in China began with the design strategy of ‘organic urban renewal’ proposed by Mr. Liangyong Wu in 1983. Since the 1980s, China has gradually embarked on large-scale post-industrial heritage landscape design projects, blending industrial heritage with modern urban development. Notable examples include Beijing’s 798 Art District, which transformed a former electronics factory into a vibrant art hub, and Shanghai’s M50 Creative Park, a textile mill turned into a creative space for artists and galleries. The Shougang Industrial Park in Beijing, once a steel plant, has been revitalized for cultural and recreational use, even hosting parts of the 2022 Winter Olympics. Other projects, such as the Chongqing Iron and Steel Factory and Beijing’s Dashilar district, showcase how China is preserving industrial history while promoting economic and cultural renewal through innovative urban regeneration.

In recent years, the concept of industrial heritage has continued to expand. The innovation of the post-industrial landscape heritage brings with it the innovation of the cultural dimension of heritage, through the analysis of the cultural elements of the landscape and their carriers, the preservation, restoration, and presentation of the material culture, the intangible culture, and the natural elements as a whole [29,30,31]. In a similar vein, post-industrial heritage landscapes are closely related to visual heritage. Visual heritage refers to the physical elements and structures created by humans over time, such as buildings, monuments, and landscapes [32,33,34]. These elements serve as both critical cultural artifacts and innovative expressions of post-industrial heritage landscapes, offering insights into a community’s history, architecture, art, and design, while reflecting the historical and cultural progression of specific areas or communities.

The spatial environment of post-industrial heritage landscapes can be examined through four key dimensions. The first is the analysis of the spatial intention and perceptual schema. Rene Descartes and Francis Bacon were the first pioneers in the study of spatial cognition, which then influenced the study of architectural space. This approach intertwines urban image with visual cognition, leveraging the essence of place to elucidate the perceptual schema and spatial intention. The perceptual schema is determined by the establishment of the place, path, and field. Schopenhauer’s philosophy posits that the concepts of sense and reason are tools of the will. The whole will itself is “my character”, and people’s behavior is only a manifestation of the ungrounded and unconscious will. The process of pre-cognition is a kind of experiential aesthetics of art, most of which play an absolute role in philosophical hermeneutics. The basis of these hermeneutics is the existence of pre-cognition, which is the actual knowledge of the work [35,36]. After cognition, the representation of the schema and the understanding of beauty are produced by the subjective will, the image, and the experience of the actors themselves. The second is that some scholars express the landscape schema using pattern language and spatial syntax, and propose relevant theories of landscape schema language [37,38,39]. Then, different elements of landscape design will be selected for explanation, such as architecture, water, plants, sky, and so on. It is based on the spatial unit. It takes the landscape schema language as a new research system. The third is that it is an expression of design in terms of the human cognition and psychological schema. In cognitive science, the post-industrial cultural landscape has reconstructed our entire worldview. The relationship between metaphors is a basic image schema from the perspective of the cultural landscape. For the properties of spatiality, representativeness, and information, the metaphor of ‘field’ is used [40]. Furthermore, Stonehenge of ancient England can be seen as a prototype and schema language, and can also be studied as an enigmatic, unconscious, common, and collective psychological schema of nature [41,42,43]. The fourth is that scholars study the space of a particular cultural phenomenon. It reflects the cognition of a nation, a country, or a specific region to the basic schema space and a visual cultural schema. Some experts construct the landscape language through model vocabularies and constitutive relationships. The language of landscape graphics is the process of revealing the public space from the landscape elements to the spatial units to the spatial combinations. It constructs the functional characteristics of similar schemes with humanistic value by summarizing the vocabulary of public space into the landscape element mode, spatial unit mode, and spatial composite pattern [44].

The importance of this study lies in the following three aspects of its findings. The first is to provide a universal law between visual cognition, the cognitive schema, and the architectural landscape. Then, the second is to answer three elements, including the discussion of the relationship between the visual schema and landscape, the composition of the cognitive schema space, and the flash-forward life landscape. Third, within the framework of practical project discussions, it examines the design of the Shou Gang Industrial Heritage area in Beijing as a case study, exploring the outcomes presented by urban landscapes and behaviors. This offers guidance for the utilization, development, renewal, and preservation of post-industrial landscape spaces in the future.

3. Materials and Methods

This paper delineates the landscape representation mode of cognitive schema within diverse functional domains, encompassing various activity types and functional space configurations. It engages in empirical analysis of post-industrial heritage landscape elements. Regarding landscape space types pertinent to human life, these not only reside in personal experiential cognition but also integrate the composition of visual cognitive schema encompassing landscape elements and functional spaces. Elements from disparate locations culminate in a “set of events”, epitomizing the interpretation of cognitive schema tied to landscape space.

This study carefully selected seven representative post-industrial heritage landscape cases, including Gas Works Park; Waterfront trail of Willamette Falls; Byxbee Park; Parc de la Villette; Zeitz MOCAA; SUSAS; and Prada new Foundation Headquarters. These cases not only have a wide geographical distribution, covering different cultural backgrounds and transformation models, but also have attracted attention due to their unique design concepts, successful implementation effects, and positive impacts on the community and environment.

(a) The data source is representative.

In order to ensure the comprehensiveness and accuracy of the research, we have adopted a variety of data sources. First, through an extensive literature review, we collected detailed background information, design concepts, planning processes, and implementation effects of these cases. Secondly, we conducted online research and collected information on each case location, documenting key elements such as spatial layout, functional facilities, and environmental atmosphere of the landscape. These cases exhibit remarkable global representation, reflecting transformation and regeneration patterns of post-industrial heritage landscapes across different regions, historical periods, and industrial types. Each possesses a unique historical backdrop and transformation experience, offering a rich array of samples for our research.

(b) The selection of cases has diversity.

We aimed to maintain diversity in case selection, encompassing various types of post-industrial heritages, including abandoned factories, mining areas, and ports, among others, along with their successes and challenges under diverse transformation strategies. This diversity enables a more comprehensive understanding of the complexity and heterogeneity within post-industrial heritage landscapes.

(c) The data collection process is reliable.

During the data collection process, we followed the principles of systematicness and scientificity. Data accessibility and completeness were also considered in selecting the cases. These cases are supported by comprehensive research materials, literature records, or official data, providing a solid foundation for our research. First, we formulated a detailed research plan and data collection strategy, clarifying the key research points and timeline for each case. Subsequently, we collected various case locations according to the plan and comprehensively recorded the actual situation and relevant information of each case through methods such as the Internet, photography, video recording, and note-taking.

3.1. Collection of Post-Industrial Heritage Landscape Elements

Cognitive schema space is a kind of special cognition that exists in personal space for a long period, including the creation of functional elements by human beings on their own initiative. In order to define the landscape representation mode of cognitive schematic space in different functional fields, the seven post-industrial heritage landscape cases (Gas Works Park; Waterfront trail of Willamette Falls; Byxbee Park; Parc de la Villette; Zeitz MOCAA; SUSAS; and Prada’s new Foundation Headquarters) in the world are selected to cover all kinds of activity types and sets of functional spaces (Figure 1). These post-industrial landscape cases have been subject to different stages of transformation and have different spatial visual elements. Together, these elements form the present landscape form, the creation of spatial schematic scenes with different functions. Collectively, these elements constitute a ‘collection of events’, a compilation of distinct elements actively shaped by human endeavor, forming the intrinsic perception of the visual scene. All design elements and case studies are presented from four perspectives to evaluate the project as a whole: project background, design elements, attendance, and success or failure factors (

Table 1. Evaluating seven major case projects from different perspectives.

Item	Case	City, Country	Time	Original Functions before Renovation	Summary of Constituent Elements	Attendance Numbers	Success/Fail Factors
1	Gas Works Park	Seattle, USA	1975	Gas and Oil Processing Plant	Humans: Tourists, local residents, street vendors, office workers. Objects: Oil tower, oil pipeline, compressor, steam pipe, gasifier, and other industrial equipment; lawn, plant, seat, game equipment, etc. Paths: It promptly handles site pollutants, analyzes soil composition, introduces enzymes and other organic substances that can decompose soil toxicity, and improves the soil. Events: Utilizing natural elements and selecting plants with strong adaptability and high survival rate as decorations, fully exploring the historical and aesthetic value of the factory; transforming industrial facilities and factories into public spaces with dining, rest, and children’s entertainment, such as painting workshops to attract children and utilizing spacious spaces as outdoor activity spaces; join the tertiary sector of the economy with artistic value.	Exact daily attendance figures are not publicly disclosed. Popular destination for locals and tourists.	Historical Integration: Preserves industrial structures within a public park. Unique Design: Offers recreational spaces like lawns and kite-flying hills. Maintenance cost: Preserving old industrial structures requires continuous maintenance. Environmental issues: Any residual pollution needs to be addressed.
2	Waterfront trail of Willamette Falls	Oregon City, USA	2018	Paper Mills	Humans: Tourists, local residents. Objects: Industrial buildings (wool mill, flour mill, paper mill, H plant, sedimentation tank), dams, power stations, oil towers, transmission pipelines, compressors, steam pipes, and other industrial structures; seawater, waterfalls, lawns, plants, birds, fish, seats, waterfront trails. Paths: In terms of trail design, historical industrial structures such as public courtyards, wool mills, H factories and sedimentation tanks, electric company dams and power plants, and Hawley power plants are connected, and the newly built site area is integrated with the surrounding historical structures, and ecological environment in a good way. Events: The design mainly combines traditional historical industrial buildings with ecological elements, combining traditional industrial buildings with waterfront pedestrian landscape ecological facilities to form five different categories of areas. Unify the core areas of Oregon’s urban center and surrounding historical districts into a spatial environment that integrates culture, art, technology, and natural ecology.	Not yet open. There are currently no data available on the number of attendees.	Natural Attraction: Potential draw due to the significant waterfall. Cultural Significance: Plans to highlight indigenous heritage and industrial history. Development delay: Project delays may reduce public interest and motivation. Funding and Collaboration: Successful completion depends on collaboration among all parties and sufficient funding.
3	Byxbee Park	California, USA	2013	Landfill Site	Humans: Tourists, local residents, artists. Objects: Wooden piles, electric wires, birds, lawns (hillsides), rivers, isolated stone piers, highways, bicycle lanes, shells, viewing (bird watching) platforms, wetlands, signboards, etc. Paths: Soil contamination is caused by the destruction of waste landfills and industrial facilities in the industrial site, with a wide view. Events: It uses artistic techniques to combine and reconstruct local materials, visual elements of the venue, and artistic design techniques. Earth artists were invited to design some art installations in an attempt to define the boundaries of space.	Due to the lack of publicity and entertainment facilities in the park, the number of tourists is relatively low, and the daily flow of people is relatively limited.	Environmental Restoration: Converted landfill into natural habitat. Artistic Elements: Features environmental art installations. Limited facilities: Lack of toilets and dining facilities may hinder a wider audience. Low visibility: Compared to other parks, there is less promotion, resulting in lower traffic.
4	Parc de la Villette	Paris, France	1989	Slaughterhouse	Humans: Tourists, local residents. Objects: Cube structures (Folie), aerial walkways, boulevards, pedestrian paths, paving, lawns, functional activity areas, people, etc. Paths: Using “points, lines, and surfaces” to form the entire system, “points” refers to a grid of 120 m by 120 m placed on the entire design site. This grid forms 40 intersections, and a visually noticeable red metal cube structure with a 10 m side length is placed on 40 intersections. Events: The structures on the intersection are called “folie”, which respectively carry the functions of park facilities, such as restaurants, bars, clubs, aid station, and some sculpture elements; “line” refers to the park transportation system consisting of air trails, tree-lined boulevards, and pedestrian paths; the term ‘surface’ refers to the paving formed by points and lines, as well as 10 themed activity venues (Mirror Garden, Terror Fairy Tale Garden, Wind Garden, Bamboo Garden, Sand Dune Garden, Aerial Acrobatics Garden, Dragon Garden, Vineyard, Water Garden, Youth Garden, etc.).	Attracts visitors to cultural institutions. Less foot traffic than central parks.	Cultural Hub: Contains museums and concert halls. Architectural Innovation: Bold design by Bernard Tschumi. Spatial layout: Vast and scattered spaces may appear indifferent or difficult to navigate.
5	Zeitz MOCAA	Cape Town	2017	Silo Granary	Humans: Tourists, local residents. Objects: 42 huge cylindrical core tubes, concrete pipes, art installations, structural glass, metal steel, plants, boats, artists, tourists. Paths: It is designed using 42 dense silos. Events: The internal core of the entire building is an atrium design similar to an arched church. The entire atrium of this design is approximately 27 m high and is divided into different circular openings, forming different exhibition areas.	Strong attendance. Approximately 1000 visitors per day on average.	Architectural Landmark: Iconic redesign of a grain silo. Cultural Significance: Largest museum of contemporary African art. Tourist Location: Situated at the popular V&A Waterfront. Local accessibility: Ticket costs may be higher for some local residents, which may limit local participation. Sustainability: Maintaining facilities requires a significant amount of operating capital.
6	SUSAS	Shanghai, China	2017	Industrial Silo	Humans: Tourists, local residents. Objects: 10 silos, external automatic stairs, art exhibits. Paths: In terms of streamlined design, a hanging-style escalator is used to introduce pedestrian flow into the top-floor exhibition hall. Not only can you enjoy the scenery of the Huangpu River on the north side, but you can also directly lead to different exhibition halls. Events: In the 7-story huge silo, the architecture and art exhibits are organically combined, reflecting the form of a post-industrial heritage landscape. Collaborate with different artists on the escalator of external buildings and place some installation works to obtain artistic works.	Significant visitors during event periods, especially art enthusiasts. High attendance during the event. Different every season.	Urban Revitalization: Regenerates industrial waterfronts. Cultural Engagement: Offers exhibitions and community activities. Temporary nature: As a seasonal activity, it cannot continuously attract tourists throughout the year. Fame: More extensive marketing may be needed to attract audiences outside of the art world.
7	Prada new Foundation Headquarters	Milan, Italy	2018	Gin Distillery	Humans: Tourists, local residents. Objects: Warehouse, laboratory, brewing silo, sculpture, exhibition equipment, multimedia hall, landscape platform, stained glass, stainless steel plate, mirror, stairs. Paths: The Space group of abandoned buildings is large, and the space. Visualization is unreasonable and the streamlined path is not smooth. Events: In addition to retaining some seven buildings and industrial sites, such as warehouses, laboratories, and brewing silos, the industrial park has added three new buildings: Torre-a nine-story exhibition space for daily activities, Podium-a short-term themed exhibition hall, and Cinema-a multimedia hall.	Attracting a stable group of tourists interested in contemporary art and architecture, but may not match the foot traffic of more attractions located in the city center.	Architectural Fusion: Combines renovated industrial spaces with new designs by Rem Koolhaas. Cultural Programming: Hosts notable exhibitions and events. Location: Located in a less central area of Milan, it may affect casual access. Niche appeal: Mainly attracts tourists with specific interests in art and design.

).

Public space design within post-industrial landscapes, especially the use of parks, is profoundly influenced by traditional design rules. These rules encompass human-scale design, mixed-use functionalities, connectivity, and walkability, all aimed at creating open parks and public squares that are both functional and attractive. Research by Brassa, Mehaffy, and other New Urbanists highlights the crucial role that these traditional design principles play in modern urban regeneration [45,46,47]. By preserving and repurposing historical buildings, creating green spaces, and designing public areas that promote community participation and social interaction, New Urbanism not only retains the cultural and historical heritage of post-industrial landscapes but also endows them with new social and economic functions. Elements of visual cognition schemas—specifically humans, objects, paths, and events—play a key role in this process. For instance, Gas Works Park integrates industrial remnants such as boilers and pipelines, creating unique visual focal points that attract visitors to stay and explore. The park guides visitors’ lines of sight through open lawns and kite-flying hills, offering diverse visual and interactive experiences. Similarly, the Waterfront trail of Willamette Falls enhances the perception of natural beauty and cultural history by thoughtfully arranging visual guidance and landscape nodes. The Byxbee Park environmental restoration and art installations enhance the natural landscape’s appeal through visual cognition schema, making the park more engaging for visitors. Parc de la Villette in Paris employs avant-garde architectural designs with bold geometric forms and color contrasts to optimize visual guidance and simplify spatial navigation, although its complex layout poses challenges for everyday use. Zeitz MOCAA in Cape Town, as an architectural landmark, creates rich visual layers and interactive experiences through its unique internal atrium and sculpture garden, successfully attracting a significant number of visitors despite high operational costs. Shanghai Urban Space Art Season (SUSAS) leverages visual cognition schema through art exhibitions, effectively drawing art enthusiasts and the general public during event periods. The Prada Foundation Headquarters in Milan blends old industrial distillery structures with new architecture, creating unique visual layers and spatial experiences that attract specific groups interested in contemporary art and architecture, despite its relatively remote location.

These case studies illustrate the critical importance of visual cognition schemas in the design of public spaces within post-industrial landscapes. Firstly, they guide visitors’ lines of sight and enhance the space’s attractiveness and interactivity through the design of unique visual elements and rational spatial layouts. Secondly, they integrate industrial heritage with modern design, creating visual experiences that convey both cultural depth and contemporary aesthetics. Thirdly, they offer rich visual layers and interactive opportunities to meet diverse visitor needs, thereby enhancing the overall user experience. However, these projects also encounter numerous challenges, including remote or inconvenient locations that limit visitor numbers, necessitating improvements in transportation and increased visual guidance to enhance accessibility. Additionally, complex or abstract designs may negatively impact visitors’ visual experiences and spatial navigation, requiring optimization of visual guidance and user interface design. Temporary projects or those lacking sustained visual elements may result in fluctuations in visitor interest, necessitating long-term planning and diversified visual designs to maintain ongoing appeal. High-quality visual design and facilities demand continuous financial investment to ensure the long-term maintenance and updating of visual elements. In the future, designers should place greater emphasis on the application of visual cognition, optimizing visual guidance and user experience while addressing challenges related to accessibility, sustainability, and operational costs. This approach will promote the further development and optimization of public spaces within post-industrial landscapes, thereby achieving sustainable urban revitalization and development.

3.2. Cognition of Shou Gang Industrial Cultural Heritage Site in Beijing

After the end of World War I in 1919, Han Yang Ironworks in China was a leading player in the industry. However, with the passage of time and the depression in the global steel industry, the ironworks eventually announced the cessation of production. To enhance the productivity of the steel industry in China and respond timely to its development, the bureaucrats and tycoons of the Northern Warlords Government jointly founded China’s sole “LongYan Iron Ore limited company—Shi Jingshan Refinery”, which later evolved into the predecessor of Beijing Shou Gang. In the 1980s, the Beijing Shou Gang area was viewed as a large community and hailed as a collective memory sample of China’s modern industrial development. Within this once-thriving space, there existed not only vast steel production facilities but also essential living amenities such as staff dormitories, schools, hospitals, and canteens. Due to the decline in traditional industries, the Beijing Shou Gang area commenced its relocation and reconstruction in 2008, culminating in the completion of the entire relocation process in December 2010. To rejuvenate and utilize industrial wastelands, the Beijing Municipal Government embarked on the transformation of post-industrial landscapes in 2020, with the Beijing Shou Gang Industrial Heritage Park undergoing renovation and upgrading since 2013. In June 2018, the Beijing Shou Gang Park collaborated with the Beijing 2022 Winter Olympics Organizing Committee to prepare for the Games. In February 2019, an action plan to revitalize Beijing’s new landmark was unveiled, vigorously promoting regional transformation and supporting the smooth conduct of the 2022 Beijing Winter Olympics.

The Shou Gang area resides in the Shi Jingshan district of Beijing, China, amid historic industrial zones. Its structures include a blast furnace and a cooling tower, along with various industrial park structures. The area is open and wide, with a single function and color. Since 2016, the Shou Gang area has been included in the urban planning of the western part of Beijing, facilitating potential urban development through resource integration. The Chinese government’s documentation indicates plans to transform the region into a high-end industrial complex, including the green transformation of traditional industrial buildings and the creation of an industrial culture and sports construction base. The design site is located in the blast furnace area in the south of Shou Gang Ruins Park in Shi Jingshan District, Beijing, and echoes with the blast furnaces No. 1, No. 2, and No. 3 in the north, forming the corresponding landscape form. The inner part of the blast furnace is supported by four beams and eight columns. The diameter of the inner circle is about 80 m in diameter. It is a circular iron foundry (Figure 2 and Figure 3).

3.3. Visual Cognitive Elements of Shou Gang Industrial Site

The visual environment of the urban landscape is experiential and adaptable. The Shou Gang industrial area showcases abandoned steel materials, structures, machines, etc. It is possible to categorize these into humans, objects, paths, and events. We can identify the internal characteristics of the region by integrating them into the real situation through the previous perceptual impression and some experiential analysis of these elements.

Humanity serves as the primary classification of the population within this space. By analyzing the diverse activities and roles of individuals, we can elaborate on the core visual components present. Initially, it is necessary to clarify the current situation of the Shou Gang post-industrial heritage landscape, to understand the design objectives and the applicable people on the site, and to describe the role and behavior of the people in the area. There are several applicable target groups in the area, including tourists, local residents, street vendors, office employees, sports fans, service providers, etc.

The objects indicate the landscape form of the site, including the internal environment, the sky, the ground, the buildings, the structures, the temporary facilities, etc. The post-industrial heritage landscape differs from other designed sites in the specificity of the components. Unlike traditional industrial sites that function solely for production, Shou Gang retains remnants of its industrial past, such as a red blast furnace, cooling tower, thermal power plant, clean coal workshop, pulverizer, hot blast furnace, hot blast main pipe, and gravity dust collector (Figure 4). Now, after the renovation of the site, it has an elevator, a robot, a mobile sales car, a driverless tram, glass, and other elements.

Path identification plays a crucial role in landscape design. Path cognition is mainly reflected in the surrounding recognition. It can find the flow direction and the target point in the path. Infants initially show no response to paths. With the growth of experience, they gradually became aware of the law of the movement of the object and found that the object could movement route and self-movement [48]. In the design scheme of the Shou Gang site in Beijing, four red roads of 10 m or 15 m are designed to cross each other according to the source of the path, the target direction of reaching the building, and the flow direction of people. Moreover, a 6 m wide path is designed as a buffer zone around these roads to facilitate people’s walking and entertainment. These intersecting paths form a semi-closed space. If these spaces are designed as green grassland, the whole environment will be integrated with the visual path to form new site area update content. These paths are connected with the surrounding path and are fully open (Figure 5). The north–south and east–west paths form the passageway of the design area, which is visually consistent with the surrounding architectural forms. In the absence of obvious landmark information, people can integrate visual perception in the process of regional movement, which is called path integration. Generally, the whole path relies on two types of information: proprioception and optical flow [49]. Thus, path integration represents a strategy for spatial renewal [50].

Events mainly reflect the occurrence of certain events and sub-events. When subject cognition needs to intervene, it needs to mobilize its own practice, experience, and other elements to explain the composition of new events. Different events can distinctly convey various functional attributes, which is a unique visual recognition system of the post-industrial heritage landscape. In the event of site design, the situational event changes result in a change in visual meaning [51]. In the realm of art, events are mostly combined with cultural images and related to emotional elements. Events are the occurrence of stories and the expression of emotional images that people see. The single industrial space basically only has the function of industrial production. In this design project, we have added the functions of catering, bookstore, green planting, picking, office, shopping, landscape platform tour, automatic driving, robot interaction, retail, automatic checkout, exhibition, and other emotional events (Figure 6). It is primarily an event to raise human awareness of the richness of today’s cultural heritage by adding new cultural heritage innovations to post-industrial heritage landscape sites.

3.4. The Imagination of Shou Gang Space Cognitive Schema

Industrial waste can find an adaptive way to recreate modern urban landscape mechanisms, including structures, plants, roads, terrain, etc. On the one hand, when the south of the Shou Gang area is designed and reformed, it is necessary to find the relevance of humanity, materials, paths, and events through visual cognition and sort out the logical relationship of the site. On the other hand, we try to pursue emotional collection to arouse experiences, emotions, and memories, leading to the establishment of emotional collections and forms, creating human living schema (Figure 7).

The purpose of site design is to reduce the single industrialization form and enhance the visual cognitive elements. In the design of an industrial imprint, there are some steps (Figure 8). It includes rectangular box floors, pillars, traffic boxes, new buildings, plantings, architectural appearance and elevational treatment, facade glass, internal emotional events, surrounding scene terrain, character traits, etc. This research aims to fortify foundational industrial elements while enriching visual experiences, emotions, and memories. In the process of leisure, strolling, and walking, people can experience continuous visual elements and imagination through landscape forms. To meet the needs of different places and environmental events, elevation difference design is added in the transformation process of some dilapidated surrounding micro terrain. Integrating psychological needs and cognition into the construction site, we develop a schema for industrial living spaces, green farms, leisure areas, cultural and historical exhibition halls, mobile retail zones, and driverless information. The entire area has been designed to reflect the interplay of humanity and the environment, agriculture and industry, modernity, and the future. Based on an industrial site, this is a comfortable new technological eco-community system, combining industry and agriculture and promoting harmony between humans and nature by using new technologies and means. The construction of this ecological community system starts from an industrial land, which means that it is not a brand new area built from scratch, but a transformation or upgrade of existing industrial infrastructure or land. A change in the function of space is based on the common needs of people for commerce, culture, socializing, working, and living. The softening of boundaries in industrial design, along with the establishment of defined yet fluid sequences, serves to unify cultural visuals, amplify experiential, emotional, and memory-related components in visual interpretations, and formulate cultural heritage schema where emotional narratives can unfold (see Figure 9).

4. Results

Firstly, by integrating psychological needs and cognition into the construction site, five different living space schemata are created, including the design of the Red Blast Furnace Communication Center (industrial schemata), the 91 Farm (green schemata), the internal landscape (entertainment schemata), the cultural and historical exhibition hall (cultural schemata), and the mobile retail and unmanned driving (information schemata). The industrial living space pattern is based on the design area of the entire site, retaining the visual elements of industrial objects, implanting new events, and adding new living landscapes. The original internal diameter of the blast furnace was about 80 m, the elevation of the circular canopy in the lower part was 43 m, and the elevation of the platform top at the highest point was 105 m. The traffic plane of the first floor under the renovated blast furnace canopy is designed as a leisure garden exchange area at the bottom of the first floor, which is also a gathering area for traffic flow lines. The 9.7 m iron yard platform on the second floor is the main working face of iron making. It is now used as a plant crop supermarket and a rest and shopping area. The 13.6 m ring bridge combined with the agricultural planting area on the third floor can not only be visited but also serve as an industrial exchange center. There are four standing hot air furnaces on the north side of the blast furnace, with hot air main pipes and gravity dust collectors attached to them. These visual elements are preserved as the main structures and implanted into the floor slabs of different heights, serving as exhibition spaces and leisure spaces for visitors. It can directly rise from the bottom to the highest platform, with some elastic platform areas provided in the middle for holding press conferences and other activities at any time (Figure 10, Figure 11, Figure 12, Figure 13, Figure 14, Figure 15, Figure 16 and Figure 17).

The main feature of the green living space pattern in the design area of Beijing Shou Gang is the installation of a rectangular box on the blast furnace, known as “91 Farm”. This designation reflects the site’s 91-year history in Beijing. In this area, people can be seen flowing up and down through three different transportation boxes (the overall planning of 91 Farm and circular blast furnace summarizes the orientation and layout of the three flow lines), as well as robot vision planting and harvesting, respectively, connecting the blast furnace restaurant, blast furnace supermarket, and 91 Farm (Figure 18 and Figure 19). In landscape design, several different lawn areas that have been divided are presented as greenery, with undulating terrain at the edges and a slight 60-degree external tilt near the inner edge of the site, combined with seat design to form a whole (Figure 20). The updated space types include regional design focusing on creative industries, exhibition halls, design and research studios, and other tertiary cultural industries. This space is mainly distributed in the hot air stove area, with a square box placed at different floor heights, mirroring the design of Farm 91’s exterior (Figure 21). Shopping, communication, and automatic checkout can be carried out in the red blast furnace area; after entering the farm, there are robots guiding tourists, service personnel, or tourists harvesting, picking, and planting scenes; entering the history exhibition hall, one can see contemporary information technology art exhibitions; and mobile retail, autonomous vehicles, etc. can be seen in the external landscape area. The entire area is more convenient and intelligent due to the implantation of different elements, forming an information schematic landscape.

Secondly, visual cognition serves as the foundation, while the cognitive schema functions as a reconstruction. This process does not merely represent the physical attributes such as materials, textures, and colors of objects. It also embodies an internal emotional and artistic activity. By integrating visual emotional event sets, different functional attributes of the site space can be added, creating a more suitable landscape form scene, which is composed of a unique visual recognition system for the post-industrial heritage landscape. The visual cognitive schemata can be explored from two aspects: visual cognition and the cognitive schemata. Elements of visual cognition can be derived from people, objects, paths, and events. Through the study and summary of cases of the post-industrial heritage landscape, the formation level of the post-industrial heritage landscape can be explained from four aspects, including cultural history, ecological construction, political economy, and artistic form composition (

Table 2. Four types of impacts on post industrial heritage landscape cases.

Item	Related Aspects	Specific Explanation
1	Cultural history	Industrial heritage: large buildings, slag piles, chimneys, etc. left behind.
2	Ecological construction	Natural resources, green corridors, ecological revetments.
3	Political economy	Regional economic adjustments, policy adjustments, etc.
4	Composition of art forms	Composition of visual cognitive elements: person, object, path, event, scene. Schema: industrialization, green ecology, entertainment, culture, information, etc. Cognitive schema imagination: industrial schema, green schema, entertainment schema, cultural schema, and information schema

). Moreover, the collection of visual elements formed by the cognitive schemata forms different functional scenes of life schemata.

Thirdly, to meet the personalized needs of design, people can intuitively use industrial visual elements to combine the relevant elements. In the space environment, different scenes constitute human urban life form through people, objects, paths, and events. Through the integration of visual emotional events, different functional attributes and forms of the site space are added. Based on industrial sites, we should build a community system that harmonizes humans and nature, and agriculture and industry, as well as modern and future. By combining spatial design models with virtual reality, a controllable environment can be provided to test various scenarios and collect relevant data such as visual pathways and visual elements that participants reflect (Figure 22). By carefully selecting participants who meet the research criteria, researchers can ensure that the results are more representative and reliable. In landscape design, a coherent and sequential structure should emerge that merges cultural vision with contemporary technology. This approach enriches the experience, emotions, and memory associated with place-based visual cognition, thus crafting a scene schema capable of generating emotional narratives. This enables researchers to obtain more accurate and detailed insights into human behavior, cognition, and perception.

Fourthly, post-industrial heritage landscape forms should proactively identify the visual cognitive systems in place and the potential needs based on local characteristics. During the design and research phase, it is necessary to anticipate the area and find a suitable framework for research through design exploration. The discussion of the post-industrial heritage landscape form can be either a case study or a theoretical study, which is essentially an experimental process of continuous exploration. This article categorizes and summarizes the research on the post-industrial heritage landscape form through the theory of visual cognitive schema, and considers the methods of future urban landscape development and construction from the perspective of modern and contemporary social development. On the one hand, we evaluate the spatial organization relationship of urban post-industrial heritage landscape forms, while, on the other hand, we advocate for the integration of scientific and contemporary research methods into design methods and technologies, thereby offering a reference platform for future application and development.

5. Discussion

The examination of the post-industrial heritage landscape morphology transcends mere societal demands; it offers novel paradigms for urban sustainability and ecological design, thereby fostering the perpetuation of urban vitality. This study underscores the significance of such landscapes and proposes several avenues for future research that aim to enrich our understanding and application of post-industrial heritage.

First, there is a pressing need to elevate the focus on post-industrial heritage landscapes in China, particularly in terms of their construction and spatial design. This necessitates a comprehensive analysis of existing practices, identifying strengths and weaknesses, and exploring opportunities for innovation. Additionally, by studying international examples, we can gain valuable insights into industrial space design visual techniques and the innovative use of new materials. This global perspective will not only enrich our design vocabulary but also inspire locally relevant solutions tailored to China’s unique context.

Second, the selection and design of this project’s site represent a visionary approach to shaping post-industrial landscapes in China. Across the entire factory premises, we envision a harmonious tapestry of humanity and nature, agriculture and industry, and the present and the future. On the foundation of an industrial heritage, we aspire to forge a convenient, eco-friendly community system infused with cutting-edge technology. By leveraging novel technologies and approaches, we aim to bridge the gap between industry and agriculture, fostering a harmonious coexistence between humanity and nature. Responding to the shared aspirations of people for trading, culture, socializing, working, and living, we will reimagine the spatial functions.

In view of this, it is imperative to conduct a comparative study with other successful post-industrial landscape transformation cases around the world. These comparisons can offer a wealth of experiences, strategies, and challenges, informing and enriching our own practices. For instance, on the vast stage of global post-industrial transformation, the seven cases of Gas Works Park, Waterfront Trail of Willamette Falls, Byxbee Park, Parc de la Villette, Zeitz MOCAA, SUSAS, and Prada’s new Foundation Headquarters offer us deeper insights into how to strike a balance between historical preservation and modern development needs in urban renewal. They also demonstrate how innovative design strategies can revitalize abandoned spaces, achieving a dual enhancement of their social and economic values. Furthermore, these cases not only showcase the diverse paths of post-industrial transformation but also reveal that, by adopting innovative strategies, fostering a diversified economy, nurturing emerging industries, and pursuing green transitions, cities can successfully overcome the challenges posed by the decline in traditional industries, thereby achieving urban revitalization and sustained economic growth.

With the rise of the Internet revolution and the smart revolution, more scholars have begun to focus on the relationships between sustainable development, low-carbon living, cities, and the Internet amidst the shifting urban industrial landscape spaces, the decline in retail formats, and the crises of urban civilization. They are even engaged in reinventing the future post-industrial urban civilization akin to competition themes, foreshadowing the ongoing revolution in urban architectural and landscape morphology. From the perspectives of industrial culture, industrial heritage, the value of industrial architecture, and urban influence, the Beijing Shou Gang Industrial Heritage Park is well-qualified to serve as the future of industrial heritage transformation in Beijing. The site emphasizes embodying a collective memory and urban revitalization rooted in human visual cognition.

Future work in post-industrial landscape design, aligned with New Urbanism, adheres to the principles of “adaptive reuse”, “renewal”, and “authenticity”. This discussion outlines key directions for future design within post-industrial landscapes. Firstly, we emphasize the critical importance of preserving and repurposing industrial heritage, not only to commemorate the past but also to transform these unique resources into vibrant public spaces. The integration of multifunctionality is essential for meeting diverse social needs and fostering synergistic development among economic, cultural, and environmental aspects. Furthermore, our research advocates for prioritizing ecological restoration and sustainability in post-industrial landscape design, ensuring that landscape development and environmental protection are mutually reinforcing. Additionally, promoting community participation and interaction is a crucial aspect of the design process, facilitating a closer and more harmonious relationship between people and the land. By adhering to these principles, future post-industrial landscape projects can achieve sustainable revitalization and contribute significantly to the social, cultural, and economic fabric of urban environments.

The integration of visual cognitive schema design theory provides a convincing framework for understanding and intervening in post-industrial landscapes. This interdisciplinary approach allows us to delve deeper into the complexities of landscape restoration and reuse, ensuring that interventions are both aesthetically pleasing and ecologically sound.

6. Conclusions

The visual cognitive schema can be explained from two aspects: visual cognition and the cognitive schema. Visual cognitive elements can be extracted from people, objects, paths, and events. The visual elements formed by the cognitive schema form different functional scenarios of life schema. Visual cognition is the foundation and reconstruction, which forms a series of events and scenes. Visual cognition and the cognitive schema are inseparable, which is not only the visual display of material, texture, and color on the surface of things but also an inner emotional artistic activity.

The schema is a reflection of psychological cognitive behavior, and this study is also a logical thinking process. It is a system of organizational perception, learning, and memory in cognitive psychology, philosophy of science, and other fields. The elements correspond to human activities in space. In this study, the schema will be regarded as a logical cognitive structure and the process of re-understanding things. The schema is the result of cognition. Environmental design has psychological cognitive behavior reflection; schema research is just a kind of logical thinking design training for designers’ cognitive situations.

For the study of post-industrial landscape forms, it is necessary to actively identify existing visual cognitive systems and find potential needs for local characteristics. During the design research process, it is necessary to make a preliminary judgment on the area and find a suitable framework for research through design exploration. The exploration of the post-industrial landscape form can be a case study or a theoretical method study, and it is essentially an experimental process of continuous exploration. This article classifies, summarizes, and concludes the research on post-industrial landscape forms through the theory of visual cognitive schemas, and considers the methods for future urban landscape development and construction from the perspective of contemporary social development. On the one hand, we should focus on the spatial organization relationship of urban post-industrial landscape forms, and, on the other hand, we can add scientific modernity research methods in design methods and technology to provide a reference platform for later application and development.

In the future, we can first explore the combination of industrial heritage, community cultural identity, and public intervention. By applying the visual cognitive schemata, people can better understand the historical and cultural value of industrial heritage by analyzing the architectural style and technological characteristics of factories, the architectural style of communities, street views, decorations, etc. When carrying out public interventions, the visual cognitive schemata can be used to support the design and implementation of relevant policies and projects. By understanding the visual characteristics and cultural identity of the community, targeted interventions can be better developed. For example, designers can use the visual cognitive schema to create public spaces with community characteristics and cohesion, to promote communication and participation among community residents.

Secondly, it is appropriate to explore the potential possibilities of combining visual cognitive graphic spatial design with virtual reality technology. The combination of virtual reality technology provides us with a more immersive, interactive, and intuitive experience, which helps to improve the effectiveness and experience of learning, analysis, design, and rehabilitation. Virtual reality technology can provide designers with a creative working platform that allows them to freely explore and implement the concepts of visual cognitive representations in three-dimensional space. Designers can use virtual reality tools to quickly prototype designs and showcase their creative ideas, providing an immersive experience and applying visual cognitive representations directly to learning scenarios. Virtual reality transforms data into visual cognitive representations and presents them in a virtual reality environment, allowing designers to gain a deeper understanding and interpretation of data patterns and discover insights hidden behind the data.

Additionally, while this study has achieved certain results in exploring post-industrial landscape forms, there are still some shortcomings. The research on post-industrial landscape forms is not only a necessary requirement for the sustainable development of cities but also an important way to promote urban sustainable development and ecological design construction. It is also crucial for maintaining the vitality and charm of cities. This study is mainly based on the extensive reading and sorting of literature materials, supplemented by field research in the industrial heritage area of Beijing Shou Gang, striving to combine theory with practice. However, due to time constraints, the research lacks depth. Specifically, the integration of visual cognition schema theory with the design of the post-industrial landscape morphology has not been thoroughly explored, resulting in inadequate discussions on their synergy and application. Future research should focus on further investigating and synthesizing visual cognition schema theory within post-industrial landscape design, exploring more innovative design concepts and technologies to provide more comprehensive and scientifically grounded guidance for the transformation and upgrading of urban post-industrial landscapes. Furthermore, it is worth noting that these New Urbanism design standards should remain consistent with the design principles of post-industrial landscapes. Additionally, there is a need to review existing work and collect actual attendance data. By reviewing existing literature and gathering empirical attendance data, researchers can make a positive contribution to this subject. Ensuring that design standards remain aligned with post-industrial landscapes, coupled with thorough reviews and data collection, will support the creation of public spaces that effectively address both social and environmental needs, thereby promoting sustainable urban revitalization and development. A series of intriguing topics revolve around spatial cognition, specifically regarding post-industrial heritage landscapes. One may contemplate how visual behavior intertwines with urban landscape configurations. How can one effectively design landscapes? What design principles can optimize comfort in environmental interactions? Lastly, how does one approach the construction and regeneration of post-industrial heritage landscapes?

Furthermore, a series of intriguing topics revolve around spatial cognition, specifically regarding post-industrial heritage landscapes. One may contemplate how visual behavior intertwines with urban landscape configurations. How can one effectively design landscapes? What design principles can optimize comfort in environmental interactions? Lastly, how does one approach the construction and regeneration of post-industrial heritage landscapes?