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Fuchengyin Boutique Hotel Interior Design
Fuchengyin Boutique Hotel Interior Design
Linhai, Taizhou, China
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Other Projects by LYCS Architecture
Fuchengyin Boutique Hotel Interior Design
Linhai, Taizhou, China
Firm
Type
STATUS
Built
YEAR
2025
SIZE
25,000 sqft - 100,000 sqft
BUDGET
Undisclosed
Ink Impressions, Interior Design of Fuchengyin Boutique Hotel | LYCS Architecture
Since the county's establishment in 85 BCE during the reign of Emperor Zhao of the Western Han Dynasty, Linhai has held over two millennia of administrative history. The Taizhou City Wall winds through the ancient town, having endured floods and battles over the centuries—notably, General Qi Jiguang once defended this site against Japanese pirates. The layout of Ziyang Street retains its urban form from the Tang and Song dynasties, and the Taoist scholar Ziyang Zhenren is said to have lectured here. In 2025, along the southwestern edge of the ancient city wall and beneath the broad canopy of an ancient camphor tree, Fuchengyin Boutique Hotel was officially unveiled.
In 2021, LYCS Architecture was commissioned by Zhejiang Yinyuan Cultural Development Co., Ltd. to carry out the restoration and adaptive reuse of the former Taizhou Printing Factory site, and to undertake the integrated architectural and interior design of the Fucheng Yin Boutique Hotel. The project reimagines this historically rich space as a multifaceted cultural destination, integrating a bookstore, exhibitions, dining, and boutique lodging. It offers a renewed urban lifestyle while advancing the sustainable regeneration of the old city.
Established in 1949, the Taizhou Printing Factory was the first state-owned enterprise founded after the liberation of Linhai, once legendary for the saying: "Where there is paper in Taizhou, it came from the printing factory". Although the factory relocated in 2018, its original site remains an architectural treasure with a three-tiered courtyard layout. At the heart of the central courtyard stand two ancient trees—a camphor and a sycamore—while the innermost courtyard terminates where it meets the winding line of the ancient City Wall.
The project addresses a central challenge: how to mediate between touristic appeal and local authenticity, between heritage conservation and contemporary program. The design responds to four core elements: "print culture," the ancient camphor tree, historic architecture, and Linhai's cultural identity. Through a strategy of "demolish—preserve—renew—insert," it crafts a cultural retreat that bridges historical memory with contemporary expression.
Where a Tree Greets the Entrance
The outer courtyard functions as the reception forecourt, accommodating the main lobby, a book bar, and exhibition spaces. Open to the public, it also serves as a “third place” for the community. The design is structured around the theme of contrast: by inserting a looped front gallery, the courtyard is articulated into two zones—one large and one small, one bright and one subdued. The entry sequence unfolds from a dim, compressed passage to an open, light-filled space, creating a spatial experience that culminates in a moment of sudden openness and release.
Building No. 8 can be traced back to the Ming Dynasty and exhibits traditional architectural characteristics, with a restrained overall form and finely crafted details, giving it significant historical value. Today, Building No. 8 has been adapted into the hotel reception lobby, serving as a key node that conveys the site’s memory while establishing a sense of arrival and ceremonial welcome.
Passing through the hotel reception lobby, the interior preserves the original timber structural system—tall and permeable—where beams and columns interlace and stack in layers. Light and shadow drift across the wooden framework, creating a distinctive atmosphere imbued with historical depth. Continuing along the path and through a solid, time-worn wooden door, the view transitions from darkness to light and suddenly opens up, arriving beneath a 530-year-old camphor tree at the heart of the courtyard. This sequence forms a ceremonial spatial experience of “meeting the tree upon entering.”
The centuries-old camphor tree, preserved with great care, serves as the visual focal point of the central courtyard. The courtyard is organized in the manner of a dry landscape garden, subtly defining areas of activity to protect the tree’s root system, while a mirrored reflecting pool is set along one side to capture the tree’s silhouette and shifting daylight. Beneath the canopy of the camphor tree stands the restrained gable wall of the lobby; the old buildings, ancient tree, and still water resonate with one another like a composition of quiet historical sculptures, forming a serene and contemplative heart of the courtyard.
Architectural Expressions Inspired by the Sea
The original roof of Building No. 5 had largely collapsed and was therefore fully dismantled and reconstructed by the design team. Linhai derives its name from the sea and has flourished because of it; drawing on this regional identity, the design abstracts the imagery of ocean waves as a cultural response. The new structure adopts a concise, subtly twisted volume clad in grey tiles, maintaining material and visual harmony with its surroundings while asserting a clear sense of modernity. With its sculptural presence, it forms another architectural focal point within the central courtyard, generating a vivid spatial tension between old and new, stillness and movement.
The bar floor is set lower than the surrounding spaces, with tabletops aligned flush with the outdoor reflecting pool, creating a sunken, immersive perspective that places guests at an observational layer within the courtyard landscape. The bar counter is enclosed by a curved metal mesh framework, forming an embracing, circular layout. Above, the roof continues the twisted geometry of the building, while a linear skylight running through the space introduces natural light, casting dynamic patterns of light and shadow and shaping a distinctive visual and sensory atmosphere.
Building No. 6 is a three-storey structure of relatively recent construction, with its overall structure well preserved, and has been adapted to accommodate the hotel’s primary guestroom area along with supporting dining facilities.
The main façade is rearticulated with curved, perforated aluminum panels finished in a traditional, time-worn texture, forming a gently undulating surface that establishes a visual dialogue with the twisted bar volume opposite. Under sunlight, the facade casts rippling, wave-like shadows, reminiscent of wind moving across water, evoking a dynamic atmosphere imbued with the ornamental sensibility of traditional architecture.
Ink Imprints, Spatial Expression
The hotel comprises 39 rooms in total, divided into two themes: "print culture" and "heritage architecture."
Guestrooms in Building 6 adopt a black-and-white palette and feature typographic elements. Custom bay windows incorporate embossed lettering, creating immersive spaces for rest and contemplation. Movable type and layout graphics appear throughout as subtle decorative accents.
Spatial details are articulated through a subtle reference to the craft of movable-type engraving. Carved wooden panels inspired by movable type are embedded into the walls, their raised and recessed characters casting delicate shadows under lateral light; timber wall surfaces and built-in seating are composed with restraint and precision, echoing the relationship between “blank space” and order in traditional typesetting. Through the translation of scale, tactility, and light, these materials and details transform printing culture from visual memory into a spatial language that can be directly perceived.
The pitched roof echoes brushstroke compositions, while exposed brick and concrete surfaces reveal the building's layered history. Changes in floor height divide living and sleeping zones, offering varied perspectives and spatial richness.
Suites in Buildings 1, 2, and 7 retain the full timber roof structure, creating lofty, serene interiors. The design uses a muted, earthy palette with rattan, dark-stained wood, brick, mosaic, and woven textures, crafting an atmosphere of quiet refinement where guests can withdraw from the outside world.
The interior is unified by a calm, dark-toned palette, where rattan weaving, grey bricks, dark wood grains, and mosaic finishes are carefully interwoven to create a richly layered and finely textured atmosphere. This restrained material composition fosters a quiet and contemplative stay, allowing guests to momentarily retreat from the bustle of daily life and return to a more inward state of being.
The Third Place as a Platform for Culture
Buildings No. 3 and No. 4, located at the heart of the site, have been transformed into publicly accessible “third places,” introducing a diverse range of cultural programs—including a printing culture gallery, art spaces, tea experiences, a whisky salon, and a vinyl music zone—to form a hybrid platform where culture and everyday life converge. Conceived as an ecosystem in which cultural heritage and artistic creativity coexist and reinforce one another, the space is neither a conventional exhibition venue nor a closed studio, nor a utopian retreat detached from reality; instead, through the interweaving of physical space, social relationships, and shared experiences, it stimulates a reciprocal dialogue between cultural continuity and contemporary innovation.
The book bar preserves the original spatial framework of the former factory, including the exposed concrete structure, timber roof, and brick colonnades. Linear windows, integrated light strips, and full-height bookshelves are introduced to further accentuate the depth of the space. Side lighting from the roof washes across the textures of concrete and timber, enhancing material tactility and atmospheric quality. Responding to the existing changes in floor level, the design subtly delineates two leisure zones, while linear openings guide visual movement, creating a layered and engaging environment for reading and social exchange.
The space retains a wealth of historical traces from the former printing factory, with the original timber roof structures and skylights preserved in situ as key carriers of collective memory. The exhibition content includes historical artifacts such as vintage printing presses and typewriters; at present, a vinyl record listening area and a photography exhibition themed around the site’s industrial past are on display, while additional exhibitions and cultural programs will be introduced over time to further enrich the place and its public experience.
Conclusion
In this former printing factory, long embedded in the city's collective memory, history is being quietly reawakened in a contemporary form. Following the hotel's official opening, the project has already attracted residents and visitors alike. Former factory workers linger over typographic symbols, reminiscing and sharing their stories. Tourists are drawn by the expressive architectural language and the site's renewed vitality, capturing moments and spreading Linhai's "new story" online.
Ink Impressions | Fuchengyin Boutique Hotel Interior Design
Location: Taizhou Linhai, China
Client: Zhejiang Yinyuan Cultural Development Co., Ltd.
Area: 6,000 ㎡
Detailed address: No. 25, Babycare Lane, Linhai City, Taizhou City
Design Date: 2023/08—2024/10
Construction Date: 2024/05—2025/06
Architecture, Interior Design: LYCS Architecture
Design team: RUAN Hao, ZHAN Yuan, LAI Zhenyu; Yuan Jiani, Zhao Lin, Zhang Jingyi, Cong Lin (Architecture); Ji Han, Zhang Qiuyan, Xie Xia, Fang Ge, Li Zhengxin, Xu Sheng, Zhang Yang, Shen Yang, Qian Wenjie, Lu Yuntao, Zhao Miaomiao, Ye Hao (Interior)
Landscape Design: The Design Institute of Landscape & Architecture, China Academy of Art Co., Ltd（CAADI）
Local Design Institute: The Design Institute of Landscape & Architecture, China Academy of Art Co., Ltd（CAADI）
Curtain Wall Design Consultant: Hangzhou Ruixiang Facade Design & Consulting
Lighting Design Consultant: PROL Design、Fang Fang Studio
Photography: Shan-Jian images、Zhang Dengxing、whitenoisephotos、ingallery
Since the county's establishment in 85 BCE during the reign of Emperor Zhao of the Western Han Dynasty, Linhai has held over two millennia of administrative history. The Taizhou City Wall winds through the ancient town, having endured floods and battles over the centuries—notably, General Qi Jiguang once defended this site against Japanese pirates. The layout of Ziyang Street retains its urban form from the Tang and Song dynasties, and the Taoist scholar Ziyang Zhenren is said to have lectured here. In 2025, along the southwestern edge of the ancient city wall and beneath the broad canopy of an ancient camphor tree, Fuchengyin Boutique Hotel was officially unveiled.
In 2021, LYCS Architecture was commissioned by Zhejiang Yinyuan Cultural Development Co., Ltd. to carry out the restoration and adaptive reuse of the former Taizhou Printing Factory site, and to undertake the integrated architectural and interior design of the Fucheng Yin Boutique Hotel. The project reimagines this historically rich space as a multifaceted cultural destination, integrating a bookstore, exhibitions, dining, and boutique lodging. It offers a renewed urban lifestyle while advancing the sustainable regeneration of the old city.
Established in 1949, the Taizhou Printing Factory was the first state-owned enterprise founded after the liberation of Linhai, once legendary for the saying: "Where there is paper in Taizhou, it came from the printing factory". Although the factory relocated in 2018, its original site remains an architectural treasure with a three-tiered courtyard layout. At the heart of the central courtyard stand two ancient trees—a camphor and a sycamore—while the innermost courtyard terminates where it meets the winding line of the ancient City Wall.
The project addresses a central challenge: how to mediate between touristic appeal and local authenticity, between heritage conservation and contemporary program. The design responds to four core elements: "print culture," the ancient camphor tree, historic architecture, and Linhai's cultural identity. Through a strategy of "demolish—preserve—renew—insert," it crafts a cultural retreat that bridges historical memory with contemporary expression.
Where a Tree Greets the Entrance
The outer courtyard functions as the reception forecourt, accommodating the main lobby, a book bar, and exhibition spaces. Open to the public, it also serves as a “third place” for the community. The design is structured around the theme of contrast: by inserting a looped front gallery, the courtyard is articulated into two zones—one large and one small, one bright and one subdued. The entry sequence unfolds from a dim, compressed passage to an open, light-filled space, creating a spatial experience that culminates in a moment of sudden openness and release.
Building No. 8 can be traced back to the Ming Dynasty and exhibits traditional architectural characteristics, with a restrained overall form and finely crafted details, giving it significant historical value. Today, Building No. 8 has been adapted into the hotel reception lobby, serving as a key node that conveys the site’s memory while establishing a sense of arrival and ceremonial welcome.
Passing through the hotel reception lobby, the interior preserves the original timber structural system—tall and permeable—where beams and columns interlace and stack in layers. Light and shadow drift across the wooden framework, creating a distinctive atmosphere imbued with historical depth. Continuing along the path and through a solid, time-worn wooden door, the view transitions from darkness to light and suddenly opens up, arriving beneath a 530-year-old camphor tree at the heart of the courtyard. This sequence forms a ceremonial spatial experience of “meeting the tree upon entering.”
The centuries-old camphor tree, preserved with great care, serves as the visual focal point of the central courtyard. The courtyard is organized in the manner of a dry landscape garden, subtly defining areas of activity to protect the tree’s root system, while a mirrored reflecting pool is set along one side to capture the tree’s silhouette and shifting daylight. Beneath the canopy of the camphor tree stands the restrained gable wall of the lobby; the old buildings, ancient tree, and still water resonate with one another like a composition of quiet historical sculptures, forming a serene and contemplative heart of the courtyard.
Architectural Expressions Inspired by the Sea
The original roof of Building No. 5 had largely collapsed and was therefore fully dismantled and reconstructed by the design team. Linhai derives its name from the sea and has flourished because of it; drawing on this regional identity, the design abstracts the imagery of ocean waves as a cultural response. The new structure adopts a concise, subtly twisted volume clad in grey tiles, maintaining material and visual harmony with its surroundings while asserting a clear sense of modernity. With its sculptural presence, it forms another architectural focal point within the central courtyard, generating a vivid spatial tension between old and new, stillness and movement.
The bar floor is set lower than the surrounding spaces, with tabletops aligned flush with the outdoor reflecting pool, creating a sunken, immersive perspective that places guests at an observational layer within the courtyard landscape. The bar counter is enclosed by a curved metal mesh framework, forming an embracing, circular layout. Above, the roof continues the twisted geometry of the building, while a linear skylight running through the space introduces natural light, casting dynamic patterns of light and shadow and shaping a distinctive visual and sensory atmosphere.
Building No. 6 is a three-storey structure of relatively recent construction, with its overall structure well preserved, and has been adapted to accommodate the hotel’s primary guestroom area along with supporting dining facilities.
The main façade is rearticulated with curved, perforated aluminum panels finished in a traditional, time-worn texture, forming a gently undulating surface that establishes a visual dialogue with the twisted bar volume opposite. Under sunlight, the facade casts rippling, wave-like shadows, reminiscent of wind moving across water, evoking a dynamic atmosphere imbued with the ornamental sensibility of traditional architecture.
Ink Imprints, Spatial Expression
The hotel comprises 39 rooms in total, divided into two themes: "print culture" and "heritage architecture."
Guestrooms in Building 6 adopt a black-and-white palette and feature typographic elements. Custom bay windows incorporate embossed lettering, creating immersive spaces for rest and contemplation. Movable type and layout graphics appear throughout as subtle decorative accents.
Spatial details are articulated through a subtle reference to the craft of movable-type engraving. Carved wooden panels inspired by movable type are embedded into the walls, their raised and recessed characters casting delicate shadows under lateral light; timber wall surfaces and built-in seating are composed with restraint and precision, echoing the relationship between “blank space” and order in traditional typesetting. Through the translation of scale, tactility, and light, these materials and details transform printing culture from visual memory into a spatial language that can be directly perceived.
The pitched roof echoes brushstroke compositions, while exposed brick and concrete surfaces reveal the building's layered history. Changes in floor height divide living and sleeping zones, offering varied perspectives and spatial richness.
Suites in Buildings 1, 2, and 7 retain the full timber roof structure, creating lofty, serene interiors. The design uses a muted, earthy palette with rattan, dark-stained wood, brick, mosaic, and woven textures, crafting an atmosphere of quiet refinement where guests can withdraw from the outside world.
The interior is unified by a calm, dark-toned palette, where rattan weaving, grey bricks, dark wood grains, and mosaic finishes are carefully interwoven to create a richly layered and finely textured atmosphere. This restrained material composition fosters a quiet and contemplative stay, allowing guests to momentarily retreat from the bustle of daily life and return to a more inward state of being.
The Third Place as a Platform for Culture
Buildings No. 3 and No. 4, located at the heart of the site, have been transformed into publicly accessible “third places,” introducing a diverse range of cultural programs—including a printing culture gallery, art spaces, tea experiences, a whisky salon, and a vinyl music zone—to form a hybrid platform where culture and everyday life converge. Conceived as an ecosystem in which cultural heritage and artistic creativity coexist and reinforce one another, the space is neither a conventional exhibition venue nor a closed studio, nor a utopian retreat detached from reality; instead, through the interweaving of physical space, social relationships, and shared experiences, it stimulates a reciprocal dialogue between cultural continuity and contemporary innovation.
The book bar preserves the original spatial framework of the former factory, including the exposed concrete structure, timber roof, and brick colonnades. Linear windows, integrated light strips, and full-height bookshelves are introduced to further accentuate the depth of the space. Side lighting from the roof washes across the textures of concrete and timber, enhancing material tactility and atmospheric quality. Responding to the existing changes in floor level, the design subtly delineates two leisure zones, while linear openings guide visual movement, creating a layered and engaging environment for reading and social exchange.
The space retains a wealth of historical traces from the former printing factory, with the original timber roof structures and skylights preserved in situ as key carriers of collective memory. The exhibition content includes historical artifacts such as vintage printing presses and typewriters; at present, a vinyl record listening area and a photography exhibition themed around the site’s industrial past are on display, while additional exhibitions and cultural programs will be introduced over time to further enrich the place and its public experience.
Conclusion
In this former printing factory, long embedded in the city's collective memory, history is being quietly reawakened in a contemporary form. Following the hotel's official opening, the project has already attracted residents and visitors alike. Former factory workers linger over typographic symbols, reminiscing and sharing their stories. Tourists are drawn by the expressive architectural language and the site's renewed vitality, capturing moments and spreading Linhai's "new story" online.
Ink Impressions | Fuchengyin Boutique Hotel Interior Design
Location: Taizhou Linhai, China
Client: Zhejiang Yinyuan Cultural Development Co., Ltd.
Area: 6,000 ㎡
Detailed address: No. 25, Babycare Lane, Linhai City, Taizhou City
Design Date: 2023/08—2024/10
Construction Date: 2024/05—2025/06
Architecture, Interior Design: LYCS Architecture
Design team: RUAN Hao, ZHAN Yuan, LAI Zhenyu; Yuan Jiani, Zhao Lin, Zhang Jingyi, Cong Lin (Architecture); Ji Han, Zhang Qiuyan, Xie Xia, Fang Ge, Li Zhengxin, Xu Sheng, Zhang Yang, Shen Yang, Qian Wenjie, Lu Yuntao, Zhao Miaomiao, Ye Hao (Interior)
Landscape Design: The Design Institute of Landscape & Architecture, China Academy of Art Co., Ltd（CAADI）
Local Design Institute: The Design Institute of Landscape & Architecture, China Academy of Art Co., Ltd（CAADI）
Curtain Wall Design Consultant: Hangzhou Ruixiang Facade Design & Consulting
Lighting Design Consultant: PROL Design、Fang Fang Studio
Photography: Shan-Jian images、Zhang Dengxing、whitenoisephotos、ingallery
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