墨书印影，府城印精品酒店室内设计 | 零壹城市作品

自公元前85年汉昭帝设县以来，临海已有两千余年建制历史。台州府城墙蜿蜒环绕，历经多次洪水与战事，抗倭名将戚继光曾于此地御敌；紫阳古街延续唐宋街巷格局，紫阳真人亦曾在此讲学传道……2025 年，在古城西南隅的城墙边、亭亭如盖的古樟树下，府城印精品酒店正式启幕。

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.

2021年，零壹城市建筑事务所受浙江印园文化发展有限公司委托，担纲府城印精品酒店的建筑室内一体化设计,对原台州印刷厂旧址展开修复与再利用。将这片承载深厚记忆的历史空间转化为融合书店、展览、餐饮与酒店等多元功能的复合文化场所，焕新城市生活方式，推动古城的持续更新。

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.

从印刷厂到文化场

From Printing Factory to Cultural Destination

台州印刷厂创办于1949年，2018年迁出，作为临海解放后的首家国有企业，曾以“台州有纸之处，皆出其印”闻名 。厂址呈三进式院落布局，中央庭院中有香樟和梧桐两株古树，最内侧庭院尽端与府城古城墙相接。

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.

△530年历史古樟树

△明代建筑木构架

△左：原印刷厂牌匾 右：古树名木保护牌

如何在观光价值与在地精神、历史保护与功能置换之间实现新旧共生，成为本次设计的核心议题。团队从“印文化”、“古樟树”、“古建筑”与“临海文化”四大要素出发，采用“拆除—保留—更新—置入”的改造策略，试图构建一段融合历史记忆与当代表达的文化度假旅程。

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.

开门见树，影落庭心

Where a Tree Greets the Entrance

外院作为接待前场，设有接待大堂、书吧及展陈空间，兼具社区第三空间功能，面向公众开放。其设计主题是“对比”，设计通过嵌入回形前廊，将外院空间划分为一大一小、一明一暗两个区域，入口动线由幽暗逼仄逐步过渡至开敞明亮，营造“豁然开朗”的空间体验。

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.

8号楼可追溯到明代，具备典型的传统建筑特征，造型朴素，细部雕刻精美，具有较高的历史价值。如今，8号楼被改造为酒店接待大堂，成为传递场所记忆与迎宾仪式感的重要节点。

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.

穿过酒店接待大堂，室内保留着通透挺拔的原始木构架体系，梁柱交错、层层叠合，光影在木结构之间流动起伏，营造出独特的历史氛围。沿着路径前行，穿过一扇古朴厚重的木门，视线由暗至明，豁然开朗，便来到庭院中央那棵530年树龄的香樟古树下，构成一幕富有仪式感的“开门见树”空间体验。

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.”

百年香樟作为中心庭院的视觉焦点，被精心保留下来。庭院以枯山水的形式限定活动范围，以保护古树根系，并在一侧设置一方镜面水池，映照树影与天光。香樟树荫下，是大堂质朴的山墙面，老房、古树与水面相互映衬，如同一组沉静的历史雕塑，构成庭院内静谧而深远的景观中心。

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.

海的波纹，建筑表情

Architectural Expressions Inspired by the Sea

5号楼原屋面已大面积坍塌，设计团队在拆除后对其进行整体重建。临海因海得名，亦因海而兴，设计提取“海浪”意象，以回应地域文化。新建筑采用简洁扭转的体量与灰色瓦片覆面，既在材质上与周边环境保持视觉协调，又以有力的姿态注入现代性，成为中心庭院中的另一组“雕塑性建筑”，在新旧之间、动静之中营造出鲜明的空间张力。

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.

酒吧地面整体下沉，桌面与室外水池齐平，营造出视线下沉的沉浸感，使人仿佛置身于庭院景观的观察层。吧台以弧形金属网架围合，形成环抱式布局。屋顶延续扭转形态，顶部一条贯穿空间的带状天窗引入自然光线，在室内投下灵动光影，营造出独特的视觉体验与感官氛围。

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.

6号楼为一座三层建筑，建造年代较晚，整体结构保存良好，现被改造为酒店的主要客房区及配套餐厅。

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.

主立面以仿古纹理的弧形穿孔铝板覆盖重塑，表皮呈现微波起伏的形态，与对侧扭转造型的酒吧形成对景关系。幕墙在阳光照射下投射出如水波荡漾般的光影，宛若风过水面，呈现出富有传统建筑装饰意味的动态意境。

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.

墨香印迹，空间语言

Ink Imprints, Spatial Expression

酒店总共提供了 39 套客房，分为印文化与古建筑两种主题。

The hotel comprises 39 rooms in total, divided into two themes: "print culture" and "heritage architecture."

6 号楼客房设计以黑白为主色调，融合多种“印文化”元素。设计团队巧妙地将印字图案与飘窗构造结合，营造出丰富多样、既可观又可游的窗边空间。空间中随处可见活字与排版元素，作为装饰性点缀融入其中，为整体空间增添了层次感与趣味性。

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.

空间细部以活字印刷的刻字工艺为隐性线索展开表达。以活字为母题的雕刻木板被嵌入墙面，其凹凸起伏的字形在侧向光线下投射出细腻阴影；木作墙面与嵌入式坐席通过克制而精准的构造，回应传统排版中“留白”与秩序的关系。这些材料与细节通过尺度、触感与光影的转译，使印刷文化从视觉记忆转化为可被感知的空间语言。

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.

屋顶作为印笔画意象的延伸，被转化为富有起伏韵律的坡屋顶形式；空间内部则保留了青砖与混凝土结构的原始肌理，呈现出建筑沉淀的历史痕迹。地面通过高差设计划分动静区域，不同标高带来多重视角体验，赋予空间更强的层次感与可变性。

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.

位于1、2、7 号楼的套房空间完整保留了原有的木构屋顶，使整体空间更为高耸通透，呈现出温润而有张力的结构美感。

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.

室内整体采用沉稳的暗色系配色，以藤编、青砖、深色木纹、马赛克等多种材质巧妙编织出一个层次丰富、质感细腻的空间氛围，营造出静谧而深沉的入住体验，使人得以在此暂别喧嚣、回归自我。

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.

第三空间，文化舞台

The Third Place as a Platform for Culture

位于园区核心位置的3号楼与4号楼，被改造为面向公众开放的“第三空间”，引入印刷文化展示馆、艺术空间、茶艺体验、威士忌沙龙与黑胶音乐区等多元文化场景，构建起一个融合文化与生活的复合平台。该空间致力于营造文化基因与艺术创造力共生的生态系统。它既非传统意义上的展示馆或工作室，也并非脱离现实的乌托邦，而是通过物理空间、社会关系与精神体验的交织，激发文化传承与当代创新之间的双向互动。

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.

书吧保留了原厂房的混凝土结构、木屋顶与砖墙柱廊的空间格局，并通过设置条形窗、灯带与通高书架，进一步强化空间的纵深感。屋顶侧向采光打亮混凝土与木结构的肌理，增强材质质感与空间氛围。设计还结合原有地面高差，巧妙划分出两个休闲区域，并借助条形窗引导视线流动，营造出层次丰富且富有趣味的阅读与交流体验。

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.

空间保留了大量印刷厂的历史痕迹，原有的木作屋顶与天窗因地制宜地得以保留，成为空间记忆的重要承载。展陈内容涵盖老式印刷机、打字机等历史器物，现阶段已呈现黑胶收藏试听区与以厂区记忆为主题的摄影展，未来还将引入更多展览与文化活动，持续丰富场所内容与公共体验。

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.

结语

Conclusion

在这座曾承载城市记忆的老厂房中，历史正以全新的形式被重新唤醒。酒店正式开启运营后，已有众多市民与游客自发前来参观——其中不乏曾在台州印刷厂工作多年的老员工，他们在散落各处的印刷符号间驻足，热情地讲述着往昔岁月；外地游客则被鲜明的建筑语言与焕发出的空间活力所吸引，纷纷拍照记录。

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.

墨书印影 | 府城印精品酒店室内设计

地点：中国，台州临海

业主：浙江印园文化发展有限公司

面积：6,000 平方米

详细地址：台州市临海市育婴巷 25 号

设计时间：2023年8月—2024年10月

建造时间：2024年5月—2025年6月

建筑、室内设计：零壹城市建筑事务所

景观设计：中国美术学院风景建筑设计研究总院有限公司

配合设计院：中国美术学院风景建筑设计研究总院有限公司

幕墙设计顾问：杭州瑞象幕墙设计咨询有限公司

灯光设计顾问：杭州光石照明设计有限公司、方方工作室

摄影：山间影像、张登星、白噪音图片社、ingallery

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

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