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自公元前85年漢昭帝設(shè)縣以來，臨海已有兩千余年建制歷史。臺州府城墻蜿蜒環(huán)繞，歷經(jīng)多次洪水與戰(zhàn)事，抗倭名將戚繼光曾于此地御敵；紫陽古街延續(xù)唐宋街巷格局，紫陽真人亦曾在此講學(xué)傳道……2025 年，在古城西南隅的城墻邊、亭亭如蓋的古樟樹下，府城印精品酒店正式啟幕。
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，零壹城市建筑事務(wù)所受浙江印園文化發(fā)展有限公司委托，擔(dān)綱府城印精品酒店的建筑室內(nèi)一體化設(shè)計,對原臺州印刷廠舊址展開修復(fù)與再利用。將這片承載深厚記憶的歷史空間轉(zhuǎn)化為融合書店、展覽、餐飲與酒店等多元功能的復(fù)合文化場所，煥新城市生活方式，推動古城的持續(xù)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.
從印刷廠到文化場
From Printing Factory to Cultural Destination
臺州印刷廠創(chuàng)辦于1949年，是臨海解放后首家國有企業(yè)，曾以“臺州有紙之處，皆出其印”聞名。2018年，印刷廠整體遷出古城，但大量老職工仍居住于周邊，廠區(qū)亦繼續(xù)承載社區(qū)活動，是區(qū)域日常生活的重要紐帶。
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.
如何在觀光價值與在地精神、歷史保護與功能置換之間實現(xiàn)新舊共生，成為本次設(shè)計的核心議題。團隊從“印文化”、“古樟樹”、“古建筑”與“臨海文化”四大要素出發(fā)，采用“拆除—保留—更新—置入”的改造策略，試圖構(gòu)建一段融合歷史記憶與當代表達的文化度假旅程。
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.
△ 明代古建筑
△530年歷史古樟樹
△明代建筑木構(gòu)架
△上：原印刷廠牌匾 下：古樹名木保護牌
規(guī)劃介入策略：對比，對景與景深
Planning Strategies: Contrast, Framing, and Depth
廠區(qū)舊址呈三進式院落布局，空間層次遞進有序。中央庭院中分布有香樟和梧桐兩株古樹，其中一株香樟樹為明代所植，至今已有530年歷史，樹冠覆蓋范圍廣闊，形成強烈的視覺焦點。最內(nèi)側(cè)庭院盡端與府城古城墻相接，空間與歷史相互交織，構(gòu)成獨特的場地記憶。
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.
外院作為接待前場，設(shè)有接待大堂、書吧及展陳空間，兼具社區(qū)第三空間功能，面向公眾開放；中庭圍繞古香樟樹展開，為酒店的核心公共區(qū)域，構(gòu)建自然與人文交融的交流場所；內(nèi)院為獨棟套房專屬庭院，環(huán)境幽靜，私密性強，滿足高端旅宿對私密性的空間需求。
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.
外院一側(cè)是古色古香的保留原木雕立面與脊飾工藝的接待大堂；對側(cè)則是開間對應(yīng)、色澤協(xié)調(diào)的嶄新銅色鋁板立面，與木構(gòu)元素在材質(zhì)上形成對比與呼應(yīng)，構(gòu)建出“新舊交織”的視覺張力。遠處香樟的巨大樹冠穿越接待廳屋頂，成為動線與視線的引導(dǎo)焦點，激發(fā)訪客進一步探索內(nèi)部空間的意愿。
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.
中院圍繞古香樟樹展開，為酒店的核心公共區(qū)域，其設(shè)計主題聚焦于“對景”。中院庭院尺度較外院更為開闊，進深達70米，南側(cè)為三層客房主樓，北側(cè)為保留的古建筑接待廳與新建現(xiàn)代建筑酒吧沙龍。兩株古樹——香樟與梧桐——自然地將庭院劃分為兩個景觀片區(qū)，樟樹與接待廳、梧桐與酒吧，成為兩座景觀片區(qū)的中心空間景觀，作為對景與客房主樓構(gòu)建“看”與“被看”的空間互視。
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.
設(shè)計以香樟樹與古建接待廳構(gòu)成第一組對景系統(tǒng)，結(jié)合枯山水景觀營造靜謐的視覺舞臺。
The camphor tree and lobby form the first axis, grounded by a dry landscape garden.
新建酒吧通過扭轉(zhuǎn)體量與灰瓦飾面形成雕塑化的當代表達，連同梧桐共同構(gòu)成第二組對景系統(tǒng)。兩組對景之間以鏡面水池為前景連接，映射光影與樹影，強化景深與層次。通過歷史古建與現(xiàn)代新構(gòu)的并置，中央庭院形成一種歷史與當代交織的空間敘事。
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.
內(nèi)院為獨棟套房專屬庭院，環(huán)境幽靜，私密性強，其設(shè)計主題聚焦于“景深”。作為細長且無遮擋的線性空間，視線自入口起便直指盡端的古城墻。設(shè)計在“可一眼望穿”的空間條件下嘗試引入多重視覺層次，嘗試營造具有節(jié)奏感的觀看體驗。
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.
借鑒傳統(tǒng)大宅中的月洞門形式，庭院圍墻上開設(shè)“印”洞門作為第一道前景，以曲線銹鋼板圍合起伏的花池，配合植物種植，構(gòu)成安靜而富于節(jié)奏的中景序列；盡端的古城墻與其后隱約傳來的浪潮聲則共同構(gòu)成空間的遠景主景。三重景深層次構(gòu)建出從入口至盡端的連續(xù)視覺路徑，強化空間縱深感與情緒氛圍。
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.
除了三進院落之外，建筑體量之間還嵌織著許多微型小院。設(shè)計通過設(shè)置條形采光窗，為這些夾縫般的過渡空間注入光線與趣味，使其成為行進動線中的細膩亮點。
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.
建筑介入策略：拆除、保留、更新和置入
Architectural Strategies: Demolish, Preserve, Renew, Insert
園區(qū)內(nèi)現(xiàn)存九棟建筑，結(jié)構(gòu)以磚木構(gòu)造為主，大部分保存狀況良好。其中8號樓可追溯到明代，具備典型的傳統(tǒng)建筑特征，造型樸素，細部雕刻精美，具有較高的歷史價值。整體改造采用“拆除—保留—更新—置入”的組合式策略，依據(jù)建筑現(xiàn)狀與功能適配進行分類干預(yù)，實施細顆粒度的精細化修繕與更新，最大程度保留歷史肌理，同時賦予其新的空間功能與使用活力。
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.
拆除和保留
Demolish&Preserve
項目首先拆除空間狹小年代較新的原門衛(wèi)室9號樓，打開入口空間。對保存最為完整的8號樓進行修繕與加固。該樓外立面為木作門窗，雕刻細節(jié)與屋脊吻獸均保存完好，展現(xiàn)出精湛的工藝痕跡與空間的歷史厚度。8號樓被改造為酒店接待大堂，成為傳遞場所記憶與迎賓儀式感的重要節(jié)點。
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.
更新
Renew
6號樓為一座三層建筑，建造年代相對較晚，結(jié)構(gòu)整體保存良好，現(xiàn)設(shè)置25套客房及配套餐廳。設(shè)計以“海浪”作為地域文化的提取意象，回應(yīng)臨?！耙蚝６d”的在地背景。
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.
主立面通過仿古肌理的弧形穿孔鋁板進行更新，表皮呈現(xiàn)起伏的波浪形態(tài)，并在其上嵌入突起式采光窗，形成連續(xù)的視覺序列。
The panels undulate across the surface and integrate protruding skylights, forming a rhythmic visual sequence.
鋁板幕墻在自然光照下產(chǎn)生水波蕩漾般的光影變幻，猶如微風(fēng)掠水，構(gòu)建出兼具裝飾性與動態(tài)感的表皮表達，呈現(xiàn)富有傳統(tǒng)意味的當代表達方式。
The dynamic shadows cast by sunlight evoke rippling water, offering a contemporary interpretation of traditional decorative motifs.
1、2號樓共設(shè)置10戶獨棟客房，7號樓則配置4套大套房及健身房、畫廊等公共配套功能。作為整體空間序列的起點與終點，7號樓與1、2號樓在立面語言上以古建筑的木構(gòu)形式為靈感，采用銅色鋁板作為當代材料進行轉(zhuǎn)譯更新，色澤與木色接近，肌理協(xié)調(diào)統(tǒng)一。通過材質(zhì)與形式的當代表達，構(gòu)建出新舊并置、相互呼應(yīng)的視覺關(guān)系，在延續(xù)傳統(tǒng)意象的同時，強化了度假酒店整體的空間質(zhì)感與識別度。
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.
置入
Insert
6 號樓中段的垂直交通空間，為人們從立體視角感受古樹與園區(qū)提供了獨特的體驗。設(shè)計以古銅色金屬為介質(zhì)，以雕塑化的方式塑造出建筑的視覺焦點，使其成為串聯(lián)空間記憶的重要節(jié)點。
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.
5號樓位于整體空間序列的核心位置，原為自行車庫，屋面已大面積坍塌，設(shè)計在拆除基礎(chǔ)上進行整體重建，置入現(xiàn)代性。新建筑以簡潔扭轉(zhuǎn)的體量構(gòu)成，覆以灰色瓦片表皮，材質(zhì)上與周邊環(huán)境保持協(xié)調(diào)統(tǒng)一，同時通過有力的幾何姿態(tài)引入當代性表達。作為中央庭院中的另一組雕塑性建筑，5號樓在新與舊、動與靜之間建立起鮮明的空間張力，強化了場地中心的視覺吸引力與序列節(jié)奏。
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.
室內(nèi)介入策略：保留與轉(zhuǎn)譯
Interior Strategy: Preservation and Translation
室內(nèi)設(shè)計策略延續(xù)建筑改造的總體思路，在保留與修復(fù)原有磚木構(gòu)體系的基礎(chǔ)上，圍繞“印文化”展開多層次的空間轉(zhuǎn)譯。通過材質(zhì)、肌理、圖案與裝置等要素，將場所記憶與文化意象引入室內(nèi)，使空間在延續(xù)結(jié)構(gòu)語言的同時，呈現(xiàn)出具有文化辨識度與當代表達的復(fù)合體驗。
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.
接待大堂室內(nèi)保留著通透挺拔的原始木構(gòu)架體系，梁柱交錯、層層疊合，光影在木結(jié)構(gòu)之間流動起伏，營造出獨特的歷史氛圍。沿著路徑前行，穿過一扇古樸厚重的木門，視線由暗至明，豁然開朗，便來到庭院中央那棵530年樹齡的香樟古樹下，構(gòu)成一幕富有儀式感的“開門見樹”空間體驗。
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.
酒吧地面整體下沉，桌面與室外水池齊平，營造出視線下沉的沉浸感，使人仿佛置身于庭院景觀的觀察層。吧臺以弧形金屬網(wǎng)架圍合，形成環(huán)抱式布局。屋頂延續(xù)扭轉(zhuǎn)形態(tài)，頂部一條貫穿空間的帶狀天窗引入自然光線，在室內(nèi)投下靈動光影，營造出獨特的視覺體驗與感官氛圍。
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.
書吧保留了原廠房的混凝土結(jié)構(gòu)、木屋頂與磚墻柱廊的空間格局，并通過設(shè)置條形窗、燈帶與通高書架，進一步強化空間的縱深感。屋頂側(cè)向采光打亮混凝土與木結(jié)構(gòu)的肌理，增強材質(zhì)質(zhì)感與空間氛圍。設(shè)計還結(jié)合原有地面高差，巧妙劃分出兩個休閑區(qū)域，并借助條形窗引導(dǎo)視線流動，營造出層次豐富且富有趣味的閱讀與交流體驗。
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.
公共空間還保留了大量印刷廠的歷史痕跡，原有的木作屋頂與天窗因地制宜地得以保留，成為空間記憶的重要承載。展陳內(nèi)容涵蓋老式印刷機、打字機、老照片等歷史器物，現(xiàn)階段已呈現(xiàn)黑膠收藏試聽區(qū)與以廠區(qū)記憶為主題的攝影展，未來還將引入更多展覽與文化活動，持續(xù)豐富場所內(nèi)容與公共體驗。
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.
酒店總共提供了 39 套客房，分為印文化與古建筑兩種主題。6 號樓客房設(shè)計以黑白為主色調(diào)，融合多種“印文化”元素。設(shè)計團隊巧妙地將印字圖案與飄窗構(gòu)造結(jié)合，營造出豐富多樣、既可觀又可游的窗邊空間?？臻g中隨處可見活字與排版元素，作為裝飾性點綴融入其中，為整體空間增添了層次感與趣味性。
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.
屋頂作為印筆畫意象的延伸，被轉(zhuǎn)化為富有起伏韻律的坡屋頂形式；空間內(nèi)部則保留了青磚與混凝土結(jié)構(gòu)的原始肌理，呈現(xiàn)出建筑沉淀的歷史痕跡。地面通過高差設(shè)計劃分動靜區(qū)域，不同標高帶來多重視角體驗，賦予空間更強的層次感與可變性。
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 號樓的套房空間完整保留了原有的木構(gòu)屋頂，使整體空間更為高聳通透，呈現(xiàn)出溫潤而有張力的結(jié)構(gòu)美感。室內(nèi)整體采用沉穩(wěn)的暗色系配色，以藤編、青磚、深色木紋、馬賽克等多種材質(zhì)巧妙編織出一個層次豐富、質(zhì)感細膩的空間氛圍，營造出靜謐而深沉的入住體驗，使人得以在此暫別喧囂、回歸自我。
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.
結(jié)語
Conclusion
在這座曾承載城市記憶的老廠房中，歷史正以全新的形式被重新喚醒。酒店正式開啟運營后，已有眾多市民與游客自發(fā)前來參觀——其中不乏曾在臺州印刷廠工作多年的老員工，他們在散落各處的印刷符號間駐足，熱情地講述著往昔歲月；外地游客則被鮮明的建筑語言與煥發(fā)出的空間活力所吸引，紛紛拍照記錄。
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.
在夜幕降臨之際，外凸采光器內(nèi)的印字圖像在立面上若隱若現(xiàn)，仿佛詩句緩緩鋪展，為庭院注入一抹靜謐而深遠的詩意。
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.
項目信息
墨香印跡 | 府城印精品酒店
地點：中國，臺州臨海
業(yè)主：浙江印園文化發(fā)展有限公司
面積：6, 000 平方米
詳細地址：臺州市臨海市育嬰巷 25 號
設(shè)計時間：2023年8月—2024年10月
建造時間：2024年5月—2025年6月
建筑、室內(nèi)設(shè)計：零壹城市建筑事務(wù)所
設(shè)計團隊：阮昊、詹遠、來震宇；袁嘉妮、趙霖、章敬一、叢林 （建筑）；嵇涵、張秋艷、謝霞、方格、李正鑫、徐升、張陽、沈陽、錢文杰、盧云韜、趙苗苗、葉豪（室內(nèi)）
景觀設(shè)計：中國美術(shù)學(xué)院風(fēng)景建筑設(shè)計研究總院有限公司
配合設(shè)計院：中國美術(shù)學(xué)院風(fēng)景建筑設(shè)計研究總院有限公司
幕墻設(shè)計顧問：杭州瑞象幕墻設(shè)計咨詢有限公司
燈光設(shè)計顧問：杭州光石照明設(shè)計有限公司、方方工作室
攝影： 山間影像、張登星、白噪音圖片社、英蓋樂銳
