Futian—in Chinese, it means lucky field—is one of Shenzhen’s six districts. The seat of the special economic zone’s municipal government and CBD, the area has been undergoing rapid development in the past few years as it transforms into one of the main entry points between Hong Kong and mainland China. So for Bangsheng Yang, founder and CEO of Shenzhen-based design firm YANG, a former factory in Futian presented the perfect opportunity to become both client and designer for his first hotel foray (along with investors Duoduo Group), after having designed them for more than 20 years.
“Like bamboo shoots after the spring rains, international hotel brands have sprung up all over Shenzhen,” says Yang. “Because of their brand standards, each hotel is similar,” says Yang, adding that he chose the factory mainly because of its central Futian location. “After its life as a place of industry, the building was idle, only sometimes used for low end offices or warehousing. I hope its transformation into a boutique hotel will let this industrial district live again.”
Yang worked with architectural consultant Xiaodou Liu to create a unique series of boxes to give the façade a dynamic quality against the building’s white backdrop. Inside, the program was simple: 85 keys, two F&B outlets, reading room, gym, ballroom, swimming pool, and lobby lounge. The most difficult component was the architecture itself, as the building was never meant to be a hotel. “We needed a back of house with loading bay, kitchen, housekeeping, and admin staff,” Yang recalls. Plus, the original structure didn’t meet necessary acoustic standards for a hotel, he explains. “We turned these challenges into opportunities, such as higher volumes in guestrooms.”
Yang’s fondness for contemporary art and local culture is evident as soon as guests enter the hotel. A stainless steel sculpture of a life-sized family is suspended above the main entry foyer, while birdcages of varying sizes sit atop a communal table; the cooing of this mini aviary brings nature front and center. Other pieces designed by Yang and his team include a bronze horse sculpture and an installation consisting of a series of light boxes. “By using scrap materials such as nails, wire and paper for art, we aim to turn waste into new treasures,” says Yang. “The abacus screens in front of the Chinese restaurant Yue Se are intended to be a microcosm of Chinese culture,” while the stone and wood beams inside are often found in the traditional houses of the local Hakka people.
“We were very concerned about how to light each room due to the each guestroom window being a different size,” says Yang, who designed 20 different types of rooms, all warm and bright thanks in part to Hong Kong lighting designer Tino Kwan, who created a solution that provided plenty of concealed ambient light while allowing for decorative table and floor lamps. Rooms are finished with oak flooring and linen drapery for a neutral backdrop for Chinese chests and red lacquer side chairs.
The highlight for Yang, though, is the roof library that looks out onto a reflecting pond. “We designed a waterscape against a green wall. It lets guests experience nature in the heart of the city.”
