LYCS Architecture undertook the integrated architectural and interior design of the Fucheng Yin Boutique Hotel, carrying out the restoration and adaptive reuse of the former Taizhou Printing Factory site. 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.
The outer courtyard functions as the reception forecourt, open to the public. The design is structured around the theme of contrast: the entry sequence unfolds from a dim passage to an open space, creating a spatial experience of sudden openness. Building No. 8 can be traced back to the Ming Dynasty and has been adapted into the hotel reception lobby. The interior preserves the original timber structural system, where light and shadow drift across the wooden framework. Through a wooden door, arriving beneath a 530-year-old camphor tree at the heart of the courtyard, forming a spatial experience of “meeting the tree upon entering.” The centuries-old camphor tree serves as the visual focal point. The courtyard is organized in the manner of a dry landscape garden to protect the tree’s root system, while a mirrored reflecting pool is set along one side to capture the tree’s silhouette. The old buildings, ancient tree, and still water resonate with one another, forming a serene and contemplative heart of the courtyard.
The original roof of Building No. 5 had largely collapsed and was reconstructed by the design team. Drawing on the imagery of ocean waves, the new structure adopts a concise, twisted volume clad in grey tiles, maintaining material harmony with its surroundings while asserting modernity. With its sculptural presence, it forms another focal point within the central courtyard, generating a vivid spatial tension. The bar floor is set lower, with tabletops aligned flush with the outdoor reflecting pool, placing guests at an observational layer within the courtyard landscape. The roof continues the twisted geometry, while a linear skylight introduces natural light, casting dynamic patterns. Building No. 6 was adapted for the guestroom area and dining facilities. The main façade is rearticulated with curved, perforated aluminum panels, forming an undulating surface. Under sunlight, the facade casts wave-like shadows, evoking a dynamic atmosphere.
The hotel offers 39 rooms in two themes: "print culture" and "heritage architecture." Building 6 features a black-and-white palette, integrating typography into bay windows. Spatial details reference movable-type engraving, with carved panels casting shadows that echo traditional typesetting's "blank space." This translates printing heritage into a tactile language. Pitched roofs evoke brushstrokes, while interior brick and concrete textures are preserved. Floor levels divide zones for spatial richness. Suites in Buildings 1, 2, and 7 retain original timber roofs, creating lofty, serene interiors. A dark-toned palette of rattan, dark wood, and mosaic fosters a quiet, refined atmosphere for a contemplative retreat.
Buildings 3 and 4 have been transformed into "third places," housing a printing gallery, art spaces, and a vinyl zone to bridge culture and daily life. The book bar preserves the factory’s concrete structure and timber roof, using linear windows and full-height shelves to accentuate depth. Side lighting enhances material textures, while split-level floors create layered reading zones. The space retains historical artifacts like vintage presses alongside original skylights. Currently featuring vinyl listening and photography exhibitions, it will continue to introduce diverse programs to enrich the public experience.
