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Fuchengyin Boutique Hotel
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Other Projects by LYCS Architecture
Fuchengyin Boutique Hotel
Firm
Type
STATUS
Built
YEAR
2025
SIZE
25,000 sqft - 100,000 sqft
BUDGET
Undisclosed
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.
From Printing Factory to Cultural Destination
Established in 1949, the Taizhou Printing Factory was the first state-owned enterprise founded after the liberation of Linhai, once known for the saying: "Where there is paper in Taizhou, it came from the printing factory." Although the factory relocated in 2018, many former employees still live nearby, and the site has remained a vital part of local community life.
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.
Planning Strategies: Contrast, Framing, and Depth
The original compound was structured as a three-part courtyard layout, with layered spatial progression. At the heart of the site stand two ancient trees—a camphor and a phoenix tree. The camphor, planted during the Ming Dynasty, is over 530 years old and dominates the central courtyard as a striking visual anchor. At the innermost courtyard, the site connects directly to the Taizhou City Wall, where space and history intertwine.
The outer courtyard serves as a reception forecourt, housing the hotel lobby, bookstore, and exhibition spaces, all open to the public as a "third space".The central courtyard, arranged around the ancient camphor tree, acts as the primary communal area for hotel guests—a meeting point of nature and culture. The inner courtyard is reserved for exclusive villa suites, offering a serene and private atmosphere.
On one side, the historic timber facade of the lobby is preserved, complete with intricate carvings and roof ornaments. Opposite, a contemporary facade clad in copper-colored aluminum panels echoes the proportions and rhythms of the wooden structure. The warm metallic tone mirrors the timber, creating a visual dialogue between past and present. The camphor tree canopy extends across the roofline, guiding both movement and gaze inward.
Framing defines the central courtyard: deeper and broader than the forecourt, it spans 70 meters in length. Two ancient trees divide the space into distinct zones—the camphor tree paired with the historic lobby, and the phoenix tree paired with a new bar and lounge pavilion. These become dual scenic anchors that engage in mutual visual framing with the three-story guestroom wing opposite.
The camphor tree and lobby form the first axis, grounded by a dry landscape garden.
The new bar, a sculptural volume clad in gray tiles, forms the second axis with the phoenix tree. A reflecting pool connects these two axes, amplifying light, shadow, and tree reflections to enhance spatial depth. The guestroom wing, clad in a wave-like metal mesh, acts as a unified backdrop that intensifies the interplay between old and new.
Depth defines the inner courtyard: a long, linear space with unobstructed views of the city wall. The design introduces layers of foreground, middle ground, and background.
A curved corten steel screen forms an arched "print gate," inspired by traditional moon gates, framing a rippling flower bed and layered plantings. The far end reveals the historic wall and the distant sound of waves—a visual and auditory anchor that completes the layered experience.
Beyond the three traditional courtyard layers, a series of miniature courtyards are interwoven between the building volumes. Strip-shaped clerestory windows introduce light and visual interest into these narrow interstitial spaces, turning them into subtle highlights along the circulation path.
Architectural Strategies: Demolish, Preserve, Renew, Insert
The site includes nine original buildings, mostly brick-and-timber structures in good condition. Building 8, dating to the Ming Dynasty, is the oldest and most historically valuable, with a simple gabled form, delicate carvings, and intact timber joinery. The renovation applied a fine-grained approach based on building conditions and new functions, maximizing the retention of historic textures while integrating contemporary uses.
Demolish&Preserve
Building 9, a later addition with limited value, was removed to open up the site entrance. Building 8 was restored and reinforced, with its timber windows, carvings, and ridge decorations carefully preserved. It now functions as the main hotel lobby, serving as a ceremonial and memory-laden threshold.
Renew
Building 6, a three-story structure in good condition, was converted into the main guestroom block with 25 rooms and a restaurant. Drawing on the imagery of ocean waves—a nod to Linhai's maritime legacy—its main facade is clad in arched perforated aluminum panels with a weathered texture.
The panels undulate across the surface and integrate protruding skylights, forming a rhythmic visual sequence.
The dynamic shadows cast by sunlight evoke rippling water, offering a contemporary interpretation of traditional decorative motifs.
Buildings 1 and 2 host 10 detached suites, while Building 7 includes four premium suites plus amenities such as a gym and gallery. As the beginning and end of the site's spatial sequence, their facades reinterpret traditional timber construction using copper-toned aluminum panels. The tone and grain closely echo natural wood, creating visual continuity while articulating a distinct contemporary identity.
Insert
The vertical circulation space at the center of Building 6 offers a unique, three-dimensional vantage point from which to experience the ancient camphor tree and the surrounding grounds. Clad in antique bronze metal, the design adopts a sculptural approach to form the building's visual focal point, creating a key spatial node that anchors and connects the site's layered memories.
Building 5, at the core of the courtyard sequence, was formerly a bicycle garage with a partially collapsed roof. It was entirely rebuilt as a sculptural volume with a twisting mass clad in gray tiles. Harmonizing with the site in tone but contrasting in form, it brings a striking modern gesture to the courtyard ensemble, amplifying spatial rhythm and visual tension.
Interior Strategy: Preservation and Translation
The interior design continues the architectural approach of balancing heritage with innovation. While preserving the original brick-and-timber framework, the interiors explore contemporary interpretations of "print culture" through materials, textures, graphics, and installations—bridging memory and modernity.
The hotel lobby retains a soaring timber structure with layered beams and columns. Light filters through the wooden framework, creating shifting shadows. Passing through a heavy timber door, visitors emerge into the camphor courtyard, experiencing a ceremonial "gate-to-tree" moment of arrival.
The bar is sunken, with tables level to the adjacent reflecting pool—an immersive observation point of the courtyard. The curved bar counter is wrapped in metal mesh, and a continuous skylight slices through the twisted roof, casting dappled sunlight and animating the space with shifting light.
The bookstore preserves the original concrete and timber roof, brick columns, and colonnaded layout. Strip windows, linear lighting, and full-height bookshelves enhance spatial depth. Side lighting highlights the material textures, while split-level seating areas and stepped platforms create varied reading zones.
Throughout, original structural elements such as timber roofs and skylights are retained. Historical artifacts—printing machines, typewriters, and photographs—are displayed alongside curated exhibitions. A vinyl collection and a photography show themed around the site's memory are currently on view, with future programs planned to evolve the cultural offering.
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.
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.
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.
At night, typographic forms embedded in the skylights subtly glow on the facades, unfolding like poetry in the dark—leaving behind, once again, a trace of history.
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.
From Printing Factory to Cultural Destination
Established in 1949, the Taizhou Printing Factory was the first state-owned enterprise founded after the liberation of Linhai, once known for the saying: "Where there is paper in Taizhou, it came from the printing factory." Although the factory relocated in 2018, many former employees still live nearby, and the site has remained a vital part of local community life.
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.
Planning Strategies: Contrast, Framing, and Depth
The original compound was structured as a three-part courtyard layout, with layered spatial progression. At the heart of the site stand two ancient trees—a camphor and a phoenix tree. The camphor, planted during the Ming Dynasty, is over 530 years old and dominates the central courtyard as a striking visual anchor. At the innermost courtyard, the site connects directly to the Taizhou City Wall, where space and history intertwine.
The outer courtyard serves as a reception forecourt, housing the hotel lobby, bookstore, and exhibition spaces, all open to the public as a "third space".The central courtyard, arranged around the ancient camphor tree, acts as the primary communal area for hotel guests—a meeting point of nature and culture. The inner courtyard is reserved for exclusive villa suites, offering a serene and private atmosphere.
On one side, the historic timber facade of the lobby is preserved, complete with intricate carvings and roof ornaments. Opposite, a contemporary facade clad in copper-colored aluminum panels echoes the proportions and rhythms of the wooden structure. The warm metallic tone mirrors the timber, creating a visual dialogue between past and present. The camphor tree canopy extends across the roofline, guiding both movement and gaze inward.
Framing defines the central courtyard: deeper and broader than the forecourt, it spans 70 meters in length. Two ancient trees divide the space into distinct zones—the camphor tree paired with the historic lobby, and the phoenix tree paired with a new bar and lounge pavilion. These become dual scenic anchors that engage in mutual visual framing with the three-story guestroom wing opposite.
The camphor tree and lobby form the first axis, grounded by a dry landscape garden.
The new bar, a sculptural volume clad in gray tiles, forms the second axis with the phoenix tree. A reflecting pool connects these two axes, amplifying light, shadow, and tree reflections to enhance spatial depth. The guestroom wing, clad in a wave-like metal mesh, acts as a unified backdrop that intensifies the interplay between old and new.
Depth defines the inner courtyard: a long, linear space with unobstructed views of the city wall. The design introduces layers of foreground, middle ground, and background.
A curved corten steel screen forms an arched "print gate," inspired by traditional moon gates, framing a rippling flower bed and layered plantings. The far end reveals the historic wall and the distant sound of waves—a visual and auditory anchor that completes the layered experience.
Beyond the three traditional courtyard layers, a series of miniature courtyards are interwoven between the building volumes. Strip-shaped clerestory windows introduce light and visual interest into these narrow interstitial spaces, turning them into subtle highlights along the circulation path.
Architectural Strategies: Demolish, Preserve, Renew, Insert
The site includes nine original buildings, mostly brick-and-timber structures in good condition. Building 8, dating to the Ming Dynasty, is the oldest and most historically valuable, with a simple gabled form, delicate carvings, and intact timber joinery. The renovation applied a fine-grained approach based on building conditions and new functions, maximizing the retention of historic textures while integrating contemporary uses.
Demolish&Preserve
Building 9, a later addition with limited value, was removed to open up the site entrance. Building 8 was restored and reinforced, with its timber windows, carvings, and ridge decorations carefully preserved. It now functions as the main hotel lobby, serving as a ceremonial and memory-laden threshold.
Renew
Building 6, a three-story structure in good condition, was converted into the main guestroom block with 25 rooms and a restaurant. Drawing on the imagery of ocean waves—a nod to Linhai's maritime legacy—its main facade is clad in arched perforated aluminum panels with a weathered texture.
The panels undulate across the surface and integrate protruding skylights, forming a rhythmic visual sequence.
The dynamic shadows cast by sunlight evoke rippling water, offering a contemporary interpretation of traditional decorative motifs.
Buildings 1 and 2 host 10 detached suites, while Building 7 includes four premium suites plus amenities such as a gym and gallery. As the beginning and end of the site's spatial sequence, their facades reinterpret traditional timber construction using copper-toned aluminum panels. The tone and grain closely echo natural wood, creating visual continuity while articulating a distinct contemporary identity.
Insert
The vertical circulation space at the center of Building 6 offers a unique, three-dimensional vantage point from which to experience the ancient camphor tree and the surrounding grounds. Clad in antique bronze metal, the design adopts a sculptural approach to form the building's visual focal point, creating a key spatial node that anchors and connects the site's layered memories.
Building 5, at the core of the courtyard sequence, was formerly a bicycle garage with a partially collapsed roof. It was entirely rebuilt as a sculptural volume with a twisting mass clad in gray tiles. Harmonizing with the site in tone but contrasting in form, it brings a striking modern gesture to the courtyard ensemble, amplifying spatial rhythm and visual tension.
Interior Strategy: Preservation and Translation
The interior design continues the architectural approach of balancing heritage with innovation. While preserving the original brick-and-timber framework, the interiors explore contemporary interpretations of "print culture" through materials, textures, graphics, and installations—bridging memory and modernity.
The hotel lobby retains a soaring timber structure with layered beams and columns. Light filters through the wooden framework, creating shifting shadows. Passing through a heavy timber door, visitors emerge into the camphor courtyard, experiencing a ceremonial "gate-to-tree" moment of arrival.
The bar is sunken, with tables level to the adjacent reflecting pool—an immersive observation point of the courtyard. The curved bar counter is wrapped in metal mesh, and a continuous skylight slices through the twisted roof, casting dappled sunlight and animating the space with shifting light.
The bookstore preserves the original concrete and timber roof, brick columns, and colonnaded layout. Strip windows, linear lighting, and full-height bookshelves enhance spatial depth. Side lighting highlights the material textures, while split-level seating areas and stepped platforms create varied reading zones.
Throughout, original structural elements such as timber roofs and skylights are retained. Historical artifacts—printing machines, typewriters, and photographs—are displayed alongside curated exhibitions. A vinyl collection and a photography show themed around the site's memory are currently on view, with future programs planned to evolve the cultural offering.
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.
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.
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.
At night, typographic forms embedded in the skylights subtly glow on the facades, unfolding like poetry in the dark—leaving behind, once again, a trace of history.
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