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Appreciation towards LYCS Architecture for providing the following description:

随着近年来人们对消费生活品质追求的不断提高以及资本大量持续投入酒店业，作为情侣消费重点之一的“情侣酒店”在国内开始了规模化的发展。然而现有的该类建筑与室内空间，却经常误入歧途的采用单一化的场景并堆积大量直白的情趣符号，仅将室内空间局限于想尽办法满足顾客“睡”的需求，忽略了情侣住宿“不睡”的有趣体验。不知是出于什么原因，此类基于人性、身体与行为等人最基本需求的酒店设计，竟然很少被真正的思考与设计过。

Mylines Hotel is an interior renovation project situated in the vicinity of West Lake in Hangzhou, China. The design aims to provide unique spatial experiences for a specific group of people, i.e. couples and lovers seeking for an extraordinary love experience. Usually, in China, the love hotels lack the touch of genuine design from the professionals. Consequently, they are often flashy and amorous. In light of the status quo, Chun Shui Tang, the largest e-commerce enterprise of sex toys in China, has chosen to collaborate with LYCS Architecture to take on the challenge of redefining love hotels.

▼酒店位置，site ©Xiong Wei

Mylines情诗酒店的室内空间设计旨在重新定义情侣酒店的概念。它位于杭州西湖边，占地9000平米，建筑面积2200平米，是一个对现有建筑群的室内改造设计项目。其设计并不仅仅服务于刺激，而是要满足‘轻松、浪漫、释放、激情’这4个缺一不可的平行需求，让情侣能在其中回归本我。33个房间的分类以人的原始欲望为出发点，界定了“自恋、积欲、暴露、幻想、虐待及浪漫”这六种基本的原欲类型。通过外界面、内界面、尺寸大小、平面排布及声光效果五个变量的控制，实现空间环境对使用者原欲的激发与引导，使其自主的放大与释放。

Situated on a site of 9000sqm, the hotel consists of 33 rooms, measuring 2200sqm building area. Each room is not only designed to arouse excitement, but also to offer an indispensable experience of relaxation, romance, emotional relief and passion. By studying primal human desires, LYCS has thematized and designed the rooms into the following five categories: narcissism, long-cherished lust, exposure, fantasy and romance. By manipulating the interior and exterior interfaces, scale of the rooms, the floor plans, acoustics and controlled illumination, various types of environments are created to stimulate, trigger and magnify the guests’ inner desires.

▼入口大厅，entrance hall ©Wu Qingshan

原欲之自恋 Narcissism

自恋是人性原欲的本源。在这个原欲空间中，镜面不再只是供梳妆更衣使用的功能性物件，而是成为环境的必要组成部分。从入口走道的顶面，到贯穿整个空间进深的墙面，镜面直接以完成面的形式出现；对于床位置顶面的吊饰及窗帘来说，它也取代了传统材料并一定程度上转变了物件的属性。而不同维度上的镜面叠加在无限满足人们对自我迷恋的基础上，在感官上放大了空间各方向的尺度，从而改变了使用者的空间感受。吧台、书桌和作为传统重点的床结合成一个组合家具，床背就是可供用户对饮小酌的吧台，又可做书桌使用，将情侣行为的各个阶段通过设计更紧密地结合。墙面上的发光字母自拍架及红色扶手等待用户去自发地探索他们的使用方式。卫生间除了在洗台范围将镜面在顶面和台面进行了延伸外，完成面的混凝土材质的使用以及不规则的墙面开洞，试图去塑造平整细致和粗糙感之间反差。

In the rooms themed “Narcissism”, mirrors become an instrumental element for creating the atmosphere. From the ceiling of the aisles to the surface of the curtains, mirrors are used generously as the wall finish. The shifting materials give ordinary objects additional dimensions. On the sensory aspect, mirrors do not only fulfil the narcissistic pleasure, but also extend the spatial perception of the room beyond its physically bounded dimensions. The mini bar, desk and bed, which are conventionally separated objects, are now fused into one piece, accommodating multiple scenarios. The backboard of the bed serves as a place for drinking and working. The illuminated icons and handrails on the wall are designed to spark guests’ curiosity. In contrast to the immersive space of mirror imaging, the restroom gives a rough touch with cement finishing and meticulously carved voids, adding spice to the overall palate.

▼镜面空间，mirror room ©Wu Qingshan

©Hu Xianjuan

▼室内吧台，bar ©Hu Xianjuan

▼洗手间，toilet ©Hu Xianjuan

原欲之积欲 Long-cherished Lust

所谓积欲，就是在这个空间中以情绪和欲望的积累为重点，将传统酒店房间中居于附属地位的卫生间及走道部分作为重点来打造，对客房平面布置进行了完全地重组，以此来拉长和丰富积欲的过程。空间为情侣分别设立了两个独立入口，将原本合为一体的二人刻意分离，各自独立的走道空间所对应的淋浴、梳妆、更衣等行为一方面带来层层推进的仪式感，另一方面拉长了用户对构想中进一步亲密接触的等待时间，带来强烈而急切的空间探索感。从走道开始贯穿整个客房的各个完成面以及家具软装都由空间的中线一分为二，白色玫红的细腻对比灰黑深蓝的粗糙，引导出刚柔之间的反差。两侧空间氛围差异所产生的张力最终营造出情侣间的冲突感，使得双方在相持和对抗中激发出对另一方的征服欲，从而实现了环境对心理的影响。在经历狭长走道的压抑后，用户可以在由舞台、沙发及床形成的活动序列中释放自我。而作为序列终点的浴缸则设置于房间尽头的落地窗边，通过引入的窗外景色，激发人们在自然中最为本源的欲望。

When it comes to love affairs, waiting isn’t always so bad. Prolonged waiting time spent in solitude accumulates growing yearning for rejoicements. Accordingly, a unique room type is designed using the psychological pattern as such. The room plan is completely reconsidered: Conventional subordinate spaces such as bathroom, shower and corridors are reorganized to create a sequence of meandering space that enforces a period of inspiring waiting. Lovers are guided separately through two independent doors into his or her own bath, dressing area and eventually into the bedroom. The separate circulation creates a strong sense of ritual, while the longing for intimacy drives the guests for further exploration. Starting from the very beginning at the corridors, the entire room, including the finishing of walls, ceilings and even the furniture, is equally divided into two halves. The dueling partners of love affairs are signified by the juxtaposition of roughness and refinement expressed in the handling of material and construction details. The tension created by the distinctive spatial atmosphere on each side forms tension between lovers, calling for a battle through stalemate and engagement, thus imposing psychological influence through designing maneuver. After experiencing the repressive corridors, lovers will find themselves encompassed by a stage, sofas and a bed where joy is to be found. The bathtub beside the window with a garden view marks the finale of this carefully orchestrated sequence of love rituals.

▼空间为情侣分设两个独立入口，lovers are guided separately through two independent doors ©Wu Qingshan

▼各自独立的淋浴、梳妆、更衣空间带来层层推进的仪式感，the separate circulation creates a strong sense of ritual ©Hu Xianjuan

©Wu Qingshan

▼一分为二的内装，the space is divided into two halves ©Xiong Wei

▼内部空间，interior space ©Wu Qingshan

©Xiong Wei

原欲之暴露 Exposure

暴露是对于空间透明性研究和探索的一种尝试，其设计旨在保证情侣活动私密这一基础属性的情况下，满足其内心曝光自身的冲动，并让其体验到“被看”的窥视风险所带来的紧张感。该类房间都被设计在建筑群的边侧，以利于最大限度地增加客房和外部优美景观环境的接触面。除去入口开门侧及沐浴洗漱区域，空间内剩余的两个连续界面都以落地玻璃的方式向外部完全打开，成为内外交接的视觉重点。沙发、床、吊椅、淋浴间等对应用户主要活动的空间组成部分沿着两个主界面依次布置，并通过统一的设计语言保持其延续性，从而使得情侣们无时不处于向外暴露的威胁中。而实际上，落地窗的主界面所采用的单向镜面膜及纱帘的双保险则确保了感官上刺激的“暴露”和实际的安全性。对于内部空间而言，浴缸成为了一个中心点，洗漱区域形成了一个内界面，一旦同处室内的用户二人因沐浴等行为稍有分离，处于这一点一面的二人就会自动进入“看”的暴露者和“被看”的窥视者的角色中，在表面的对立中体验到刺激的互利。

The room themed “Exposure” presents a new take on of the notion of transparency. Guaranteed with absolute privacy, the room is designed to answer lovers’ impulse for exposure, a pleasurable stress developed at the risk of ultimate privacy going public. All rooms of this type are situated in the periphery of the buildings in order to maximize the interface between the interior and the outside environment. Except for the entrance and bathing areas, the whole room is continuously glazed with full height one-way glass. The specified glass and translucent curtains ensure both sensational excitement and guaranteed privacy. All main furniture pieces are laid out along the glass planes as to maximize the “threat” of exposure. The only exception is the bathtub which is placed in the center of the space, staging bathing as a performance that can be enjoyed by spectators on the sofa or the bed.

▼两个连续界面以落地玻璃的方式向外部完全打开，the whole room is continuously glazed with full height one-way glass ©Xiong Wei

▼主要活动的空间组成部分通过统一的设计语言保持延续性，the same design language ©Wu Qingshan

©Hu Xianjuan

原欲之幻想 Fantasy

思维幻想的达成在于摈弃空间中的冗余而关注自我的本体，所以这个空间的设计通过尽可能塑造出的纯净超现实场景来唤醒使用者深藏心底的幻想。主空间由白色的顶面和地面，以及几近白色的墙面喷绘营造出无色的极致氛围。作为主空间仅有的两件家具，床被设计为内嵌式而与地面齐平，床背和矮桌则都采用透明的亚克力材料，以消解家具的体量和减少家具对主空间纯洁性的破坏。内嵌式床体所对应的席地而睡的形式，让用户可以更完整的以低视角感受周边环境。洗漱区域及入口区域有一个连续的玻璃界面隔离，艳丽的红色和冷静的蓝色以马赛克的形式在附属空间的所有界面上蔓延变幻，从而产生比主空间更为直接的心理暗示。在白色主空间内，抽象的雾中森林若隐若现，营造一种悬浮于云端俯瞰的既视感；墙边的灯带通过异形玻璃在墙面投射出粼粼波光，又让人感觉好似在水底漫游，这些隐约的光影给主空间的纯净又添加了一丝神秘，去诱发情侣去体验其行为活动中细微的变化。

The status of “Fantasy” in one’s mind is about focusing only on one’s individuality, detached from the tedious earthly life. Thus the design of the room themed “fantasy” prioritizes creation of a purified and surreal environment of decontextualization to make room for guests’ hidden fantasy. White ceilings, floors and walls painted with misty forest celebrate a blank space stripped of color. The design eliminated all auxiliary furniture but two essential pieces, a sunken bed flush with the floor and a side table made of clear acrylic, dissolving their mass to the minimum. From a floor level perspective, the guests are set to feel the absolute nothingness of the space while lying on the bed. The continuous glass screens of the bathroom room and the entrance leave vague visual contact possible. The mosaics with red-blue gradient cover the surfaces of the whole auxiliary spaces, giving a psychological hint of interaction. The misty woods painted on the wall works with the shimmering beam from the floor lighting installed beneath the specially treated glass planes, creating a levitating illusion of being up above the clouds or alternatively deep beneath the waves. This sense of mystery encourages the guests to experience the subtle variation of their own movements.

▼纯净的主空间，the pure interior ©Xiong Wei

▼色调斑斓的浴室，the mosaics with red-blue gradient cover the surfaces of the whole auxiliary spaces ©Xiong Wei/ ©Wu Qingshan

▼墙壁上抽象的雾中森林，the misty woods painted on the wall ©Xiong Wei

©Wu Qingshan

原欲之虐待 Sadomasochism

虐待是人的原欲中最本源的一种，此房型的设计通过空间氛围引发并放大相似经验带来的情绪。粗糙的界面、狭小的尺度以及幽暗的光照所形成的整体空间感受让空间呈现出密室般的不可知属性。继而空间的前半部分布密集交错的金属网架，除了拥有半透隔断的功能属性以及方便各种道具的随处固定使用外，其真正实际的作用是营造出被束缚的压迫感，从而引发使用者形成受困的无助感。密室的不可知性结合束缚中的无助感促使用者产生情绪的大幅波动，使其更快地进入各自的角色并更充分地体验情绪带来的快感。作为重点的金属网架采用金色金属，以保持空间的整体格调，并避免产生由过度恐惧带来的不适感。相较于前半部分的压抑，客房的后半部分略显宽敞，以保证用户在睡眠的舒适性。迷你吧紧贴床体，让食色二性相互促进。加宽的床靠、升起的床架不同于普通的床体，意在激发出不普通的情侣活动。

Sadism and Masochism are deeply rooted in the primal callings in humanity. The design of rooms themed “Sadomasochism” aims for arousing feelings and intensification of SM situations and feelings associated with activities as such. Rugged surfaces, confining dimensions and dim lights form a spatial perception close to that of a secret chamber. The extensive metal meshwork can be found in the pre-function part of the room, serving as a semi-opaque screen, a stowage for tools and attach-point of sex props. The other intention is to bring the sense of being captured (behind bars) to the guests, furthermore arousing their feeling of helplessness and oppression. The spatial setup will generally cause more emotional fluctuation, causing players better immersing into the game. The second phase of the room appears much more roomy, ensuring comfort stay of the guests. The minibar sits right next to the bed which is equipped with raised chassis and extra-wide backboard, calling for creative use.

▼密室，secret chamber ©Xiong Wei

▼卧室，bed ©Xiong Wei

原欲之浪漫 Romantic

浪漫是所有情侣所追求的普遍体验，房型的设计打造出温馨的环境来增添情侣相处时的趣味性，使人心情愉悦的同时增加了伴侣间的亲密感，从而促进荷尔蒙分泌而催生情感的触发。作为文化概念的浪漫自有其约定俗成的环境氛围，朦胧感及变幻的光影即是浪漫的环境所需要的属性。房间内的核心回归到更为常规的床，但又区别于普通的床体增加了床幔纱帐。被纱帐包围后的床不再是以单件家具的形式出现，而是成了一个富有朦胧感的半密闭空间，外界的朦胧以及空间的收紧正是伴侣间所需的情欲催化。纱帐外顶面的光纤灯缓慢地明暗呼吸以及闪烁的烛光共同形成的光影诱人陶醉在早被认知的理想化场景当中。独立设置的吧台可供用户小酌微醺，家庭影院则营造了不受打扰的电影约会体验，另一方面，客厅式的沙发布置所带来的家的感觉所包含的温暖和安全也更容易让伴侣卸下防备，增强主人意识的投入。

Having romantic experience is what all lovers dreamed of. The design of this room provides comfortable interior that intensify the interests in intimate interactions of lovers. Meanwhile, the space would boost the hormone level and promote the libido between lovers. Romantic as the concept in Chinese culture has its own vibe. Hazy lights and filmy shades are the key elements played out throughout the entire design. Screened with valance, the bed is treated as the main piece of the room, offering a semi-enclosed space with translucency. This tightening and enclosing space, together with the dreamy surroundings illuminated by fiber optics and candle lights form a charming environment. Each room comes with its own bar and family theater, offering exclusive viewing experience. The layout of the sofas in the living room follows that of an ideal home, so that couples will feel free and safe while living in this space.

▼帷幔分割卧室空间，the bed is screened with valance ©Xiong Wei

▼家庭影院，family theater ©Xing Chao

项目名称：Mylines情诗酒店
项目地点：中国杭州西湖
项目面积：2200平方米
室内设计：零壹城市建筑事务所（LYCS Architecture）
主要设计团队：阮昊、祝骏、何昱楼、李楚君、张秋艳、许维卓
参与设计人员：周炫焯、尹咏、林立峰、吴时阳、范笑笑、傅立、张思思、林俊毅、姚冲、王思佳、郑鑫汝、吴涛、叶天娇
项目时间：2015-2017
空间摄影：熊伟、吴清山、胡娴娟
人物摄影：邢超

Project name: Mylines
Location: Hangzhou, China
Size: 2,200 sqm
Interior design: LYCS Architecture
Leading Team: RUAN Hao, ZHU Jun, HE Yulou, LI Chujun, ZHANG Qiuyan, XU Weizhuo
Designer: ZHOU Xuanzhuo, YIN Yong, LIN Lifeng, WU Shiyang, FAN Xiaoxiao, FU Li, ZHANG Sisi, LIN Junyi, YAO Chong, Wang Sijia, ZHEN Xinru, WU Tao, YE Tianjiao
Project Period: Design+Completion 2015-2017
Photographer: XIONG Wei，WU Qingshan，HU Xianjuan

Chinese & English text: LYCS Architecture

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