［ 專訪 ］城隅設計/ 許維蓉建築師：摸遍每根樑柱和窗框，從「臺灣文學糧倉」的細節閱讀時間的痕跡

 

城隅設計/ 許維蓉建築師事務所（Archnook）．許維蓉建築師 Architect, HSU, WEI-JUNG

 
 

有些空間像一本會自行翻頁的書。當人走進，不是被情緒推著走，而是被脈絡引著走：材質的呼吸、比例的分寸、光影的進退，都像經年對話後的簡潔語句。

許維蓉的設計與人生態度亦然——不急、不硬，以觀察與回應尋找最合宜的距離。這份從容，來自橫跨戲劇與建築的養成背景。戲劇訓練讓她學會從文本理解空間，荷蘭建築教育則強化了理性與脈絡思維。她在感性與理性之間建立平衡，從室內的身體尺度延伸至城市與文化的整合，形塑出兼具詩性與結構的建築哲學。

 
 

  • Some spaces feel like books that turn their own pages.
    When people walk in, they are guided not by emotion but by context. The texture of materials, the balance of proportions, and the movement of light all come together like simple sentences shaped over time.

    This way of thinking also reflects architect Hsu Wei-Jung, founder of Archnook. She approaches design with calm focus, observing and responding until things find their right distance. Her background in both theatre and architecture gives her this balance. Theatre taught her to understand space through narrative, while architecture trained her to think with clarity and structure. Between sensitivity and logic, she has built a design philosophy that feels both grounded and poetic.

 
 
 
 

近年來，城隅設計/ 許維蓉建築師事務所以「臺灣文學糧倉」修復與新生案廣受注目。這場橫跨六年的工程，是與時間、歷史、公部門的深度對話。她提出「新舊脫開、脈絡融合」的設計原則，讓新介入不掩蓋原貌，反而突顯其脈絡。「歷史不是被致敬的標語，而是必須被辨識與回應的文本。」因此，在她的作品裡，空間更是一種可被閱讀的秩序。

即使公共工程冗長繁瑣，她仍以團隊的細心與韌性，將散落的線索拼回完整的故事。「設計師最重要的事，」她說，「不是放大自己，而是讓作品在時間裡站穩，被人記得。」

 
 

  • In recent years, Archnook (Hsu Wei-Jung Architects) has gained wide attention for the restoration and renewal of the Taiwan Literature Hub. The six-year project became a deep conversation with time, history, and the public sector. Hsu proposed the design principle of “separation and integration,” allowing new interventions to coexist with the old without concealment. “History,” she says, “is not a slogan to be honored, but a text to be recognized and responded to.” In her work, space becomes a readable order.

    Even within the long and complex process of public construction, her team approached the project with patience and resilience, piecing scattered traces back into a complete story. “What matters most for a designer,” she says, “is not to amplify oneself, but to let the work stand through time and be remembered.”

 
 
 
 

❝
思考時，要把抽象的意念轉化為可被閱讀的秩序 — 在細節上脫開，讓歷史保持可讀；在整體上融合，讓當代能夠相容。這樣的作品，才有機會被時間記住，長久地承載文化與記憶

— 許維蓉

 
 

Jamie：你踏入建築領域的契機？你的學習背景如何影響你後來的設計路徑？



維： 我對建築的喜愛來自一個核心信念：建築能真正留下記憶與文化。室內設計像短暫的火花，而建築則更為永恆，既展現當代精神，也承載時代印記。

在正式進入建築前，我曾在臺大戲劇研究所就讀。戲劇訓練強調文本解讀，從抽象想像建構空間，這讓我習慣「先讀文本，再定義空間」。之後赴荷蘭學建築，理性學派強調分析與脈絡思維，必須先理解基地與城市再談介入。這讓我的視角從「身體尺度」擴展至「城市尺度」，也形成了結合感性閱讀與理性分析的設計語言。

 
 

  • Q: What first drew you to architecture? How has your educational background shaped your design path?

    Wei:
    My love for architecture comes from a core belief that it can truly preserve memory and culture. Interior design feels like a fleeting spark, while architecture carries a sense of permanence. It expresses the spirit of its time and holds the traces of history.

    Before studying architecture, I earned a master’s degree in theatre at National Taiwan University. Theatre training focuses on reading and interpreting text, building space from abstract imagination. It taught me to “read the text before defining the space.” Later, I pursued architecture in the Netherlands, where rationalism emphasizes analysis and contextual thinking — understanding the site and the city before any intervention. This shift expanded my view from the scale of the body to that of the city, forming a design language that balances emotional reading with analytical reasoning.

 
 
 
 

Jamie：你認為荷蘭教育對你最大的影響是什麼？



維： 荷蘭教育對我的影響有三點，它讓我從感性的起點找到理性的框架。

第一，打開了我對「環境與物件」關係的視角。不再只看單一建築，而是將線索與場域連成整體，思考建築在城市脈絡中的意義。其二是訓練我以更精煉的方式表達。荷蘭建築不重裝飾，而重邏輯與清晰度，降低冗餘、提高感知的準確性，讓設計決策皆有可被理解的理由。

第三，教會我將抽象概念轉化為可被經驗的空間語言。無論是劇作或哲思，皆以材料、光影、結構去定義。與不同文化的同學共學，也讓我不斷校準視角，確保設計語言具普世性。

 
 

  • Q: What has been the biggest influence of your education in the Netherlands?

    Wei:
    It influenced me in three ways. In short, it helped me find a rational framework for my emotional starting point.

    First, it opened my view toward the relationship between environment and object. I stopped seeing architecture as a single entity and began connecting clues across the site, thinking about how each building fits into the urban context.

    Second, it trained me to express ideas with clarity. Dutch architecture values logic over decoration, reducing excess and improving precision in perception. Every design decision needs to have a reason that can be clearly understood.

    Third, it taught me how to translate abstract concepts into spaces that can be experienced. Whether drawn from literature or philosophy, these ideas are defined through materials, light, and structure. Learning alongside classmates from different cultures also reminded me to constantly adjust my perspective and ensure that my design language remains universal.

 
 
 
 
 
 

Jamie：你怎麼看建築與人的關係？你希望透過作品傳遞什麼？



維： 對我而言，建築不只是「能住、能用」的建物，而是能被閱讀、被記住的故事。這是一種將抽象變為實體，再由實體引發另一個抽象氛圍的美的循環。

我希望我的作品能傳達出我想要說的事情。好的作品能說服你、讓你理解它，進而感受到空間的精準度。

例如一些建築師的作品，他們對於空間掌控的精準度極高，所有細節都經過嚴密計算，讓你去到那個空間由衷覺得：「哇！這個地方也太棒了吧」，這就是一種秩序與控制力產生的震撼感。

 
 

  • Q: How do you see the relationship between architecture and people? What do you hope to communicate through your work?

    Wei:
    For me, architecture is more than something to live in or use. It is a story that can be read and remembered. It turns the abstract into something tangible, and then allows that physical form to evoke another layer of emotion — a continuous cycle of beauty.

    I hope my work can clearly express what I want to say. A good project should be persuasive. It helps you understand its intent and feel the precision within the space.

    Some architects achieve this through an incredible level of control. Every detail is carefully measured and resolved, creating a sense of order that makes you step inside and think, “This place is amazing.” That feeling of awe comes from precision and mastery.

 
 
 
 
 
 

Jamie：為什麼會接下「臺灣文學糧倉」這個案子？



維： 「文學糧倉」對我而言像一位老朋友。我在 2013、2014 年它尚未被列為歷史建築時就曾造訪。多年後再見，房子的破敗與時間留下的滄桑形成強烈對比，也讓我確信它的故事應被重新看見。

 
 
Jamie：你們如何展開歷史建築的研究與修復？



維： 古蹟修復與新建案截然不同，是一個高度考究的過程。我們的工作同步進行，像考古學家分類骨骼般，一邊在現場摸每根樑柱，一邊爬梳史料；以現場線索印證文本，再讓文本回到現場。

自 2019 年起，我們著手撰寫「調查研究報告書」，記錄基地的歷史沿革與脈絡，接著提出「因應計畫」說服文資委員，隨後進入施工圖與「修復過程紀錄」。

長達六年的歷程，就像與老建築對話；在拆開屋瓦時，我們得以看到早期的工法與天花板下的細節。這些親眼所見補足了書面資料的空白。它告訴後人：「我曾經如此」；而我們則以專業回應著它：「怎麼做才可以讓你繼續存留下去」。讀懂這些蛛絲馬跡，線索將會浮現，修復方向也才能確立。

 
 

  • Q: What led you to take on the Taiwan Literature Hub project?

    Wei:
    The Taiwan Literature Hub feels like an old friend to me. I first visited it around 2013 or 2014, before it was listed as a heritage building. When I returned years later, the contrast between its decay and its quiet presence over time was striking. It made me certain that its story deserved to be seen again.

    Q: How did you begin the research and restoration process for a historic building like this?

    Hsu:
    Restoration is completely different from new construction. It is a process of careful study and discovery. Our work happened in parallel, much like archaeologists sorting bones — we examined every beam and column on site while cross-referencing historical documents. Field evidence confirmed the texts, and the texts in turn guided our understanding of the site.

    We began in 2019 by writing a detailed research report that documented the building’s history and context. From there, we developed a proposal to present to the cultural heritage committee, followed by construction drawings and a full record of the restoration process.

    The six-year journey became an ongoing dialogue with the building itself. As we removed roof tiles, we uncovered early construction techniques and the hidden details of the ceiling. Seeing them in person filled the gaps left by written archives. The building seemed to say, “This is who I once was,” and we responded with our craft, asking, “What can we do to help you continue?” By reading these traces carefully, the direction for restoration slowly revealed itself.

 
 
 
 
 
 

Jamie：研究過程中，有沒有哪段歷史沿革或建築細節特別打動你，進一步影響到後續的設計？



維： 讓我特別有感觸的，是它在不同時期被對待的方式。我看到房子的破敗感，讓我意識到，房子有沒有受到好好的養護與維護（Maintain），其中的差異有多大。所以我們不能只做一個單純的「小美容」；而是要不停地養護與維護，確保內在結構安全。

建築的脈絡故事，其實就是我們設計的線索。一件東西之所以會被記住，是因為你讀懂了它的獨特點，它才會變得特別。我們需要去研究舊有物理組成的邏輯，才能順藤摸瓜，思考如何加入新的元素。

 
 

  • Q: During the research process, was there a particular historical detail or architectural element that moved you and influenced your design approach?

    Wei:
    What struck me most was how the building had been treated differently through various periods. Seeing its state of decay made me realize how much difference proper care and maintenance can make. We couldn’t simply give it a superficial “facelift.” It needed continuous attention to ensure the integrity of its structure.

    The building’s history itself became our design clue. Something is remembered only when its distinct qualities are truly understood. By studying the physical logic of the old structure, we could trace its evolution and consider how to introduce new elements in a way that feels natural.

 
 
 
 

Jamie：這一段漫長的修復時間，你在設計上最堅持的是什麼？



維：修復過程中最長的拉鋸點、也是我們最堅持的，是入口新增量體（電梯）的比例與大小。主辦單位原希望擴增面積以容納更多功能，但我認為新介入必須與舊建築保持和諧，否則會破壞原有的平衡。最後，我們讓新電梯與舊建築「脫開」，僅以橋面輕觸，藉以換來新舊之間的協調共存。

 
 
Jamie：「新舊脫開」與「整體融合」聽起來對立，你怎麼拿捏？



維： 這兩者在不同層級並行，形成一種辯證關係。

1. 構造與界面的「脫開」：新加入的電梯、樓梯或玻璃界面，需與舊建築適度分離，讓新舊界線清晰可讀。我們希望在兩者接觸處留出「buffer zone」（中間空間），凸顯舊建築的紋理。若層次不明，作品便會模糊，記憶點也會消失。明確的分寸，才能讓建築誠實而完整。

2. 整體脈絡的「融合」：相對地，比例、材質與整體脈絡則必須融合，這是對原建築紋理的尊重。例如，新鋁框的線條與比例需與舊木構造在視覺上協調一致。有時則必須犧牲部分使用需求，換取整體的平衡與和諧。我們希望觀者能一眼辨識新舊，卻仍感受到氣質的自然與安定。

 
 

  • Q: Over such a long restoration process, what was the one thing you insisted on the most in your design?

    Wei:
    The most debated and persistent issue during restoration was the proportion and size of the new entrance volume that houses the elevator. The client initially wanted to enlarge it to accommodate more functions, but I felt that any new addition must stay in harmony with the existing structure. Otherwise, it would disrupt the original balance. In the end, we designed the elevator as a detached volume that lightly touches the old building through a bridge, allowing the two parts to coexist in balance.

    Q “Separation and integration” sound almost contradictory. How do you find the right balance between them?

    Hsu:
    They operate on different levels, forming a kind of dialogue.

    1. Structural separation and interface: New additions such as elevators, staircases, or glass partitions are slightly detached from the original building, so the line between old and new remains legible. We intentionally left a buffer zone where the two meet, highlighting the texture of the original structure. If this layer becomes unclear, the work loses its definition and memory. Precision in distance allows the architecture to stay honest and complete.

    2. Contextual integration: On a broader level, proportions, materials, and context must merge seamlessly. This is a way of respecting the existing fabric. For instance, the aluminum frames of the new structure were aligned to echo the scale and rhythm of the original timber joints. At times, we had to compromise on functional demands to preserve balance and harmony. We wanted visitors to clearly distinguish the old from the new, yet still feel a natural sense of calm and unity.

 
 
 
 
 
 

Jamie：古蹟案常牽涉多方使用單位與管理機關，你通常會如何協調與整合不同立場的聲音？



維： 當主事者輪調後，建築本身的功能分區與界面想法常被改動，加上古蹟案體制嚴謹，最大的挑戰，便是如何用設計與邏輯說服公部門。針對這點，我們不能只說「這樣比較好看」，而要以整體的「均衡性」邏輯，輔以動線與耐候等數據，充分證明這樣的空間足以滿足使用需求。這段過程雖辛苦，卻可以讓作品找到穩固的立足點。

 
 

  • Q: Heritage projects often involve multiple users and government agencies. How do you usually coordinate and align different perspectives?

    Wei:
    When key decision-makers change roles, the functional layout and interface of a heritage building are often reconsidered. Combined with the strict administrative structure of such projects, the greatest challenge is persuading public authorities through design and logic. We cannot simply say, “this looks better.” We must present a balanced rationale, supported by data on circulation, accessibility, and durability, to demonstrate that the space can meet all practical needs.

    The process can be demanding, but it ultimately helps the work find a stable and convincing foundation.

 
 
 
 

Jamie：你怎麼看當代城市的更新與延續？



維： 不是所有問題都要用「推倒重來」解決。都市更新有其必要，但若只滿足資本想像，密度與尺度容易失衡。

許多老屋結構仍可用，只要持續修繕與養護，就能延壽並維持城市的紋理。我們應借鏡歐洲老城區的策略：外觀受控、內部升級，讓城市天際線協調卻不陳舊。這種「外穩內新」策略，能在尊重歷史的同時，滿足當代使用需求

 
 

  • Q: How do you view urban renewal and continuity in contemporary cities?

    Wei:
    Not every problem needs to be solved by tearing things down and starting over. Urban renewal is necessary, but when it only serves the logic of capital, density and scale can easily fall out of balance.

    Many old buildings are still structurally sound. With proper repair and maintenance, they can continue to function while preserving the city’s texture. We can learn from the strategies of European historic districts: controlling the exterior while upgrading the interior. This approach keeps the skyline consistent yet never outdated. It is an “old shell, new life” strategy that respects history while meeting contemporary needs.

 
 
 
 

Jamie：訪問的最後，想請你給新世代建築師一些建議？



維： 每個人都該有自己的想法與熱忱，並相信那真的是你的選擇。除此之外，我們可以把基本功練好：多讀書、多畫圖、多做案子。讀書可以透過文字了解別人思考事情的邏輯。建築需要整合結構、環境、設備與人性，不可能一畢業就成熟。

一個好的建築師，通常有兩點特質：第一，有自己很棒的眼睛（獨特的觀察視角）；第二，有自己獨特堅持的想法。你夠堅持，作品才會被留下來。找到你獨特的眼睛，並持續校準它。

 
 

  • Q: Finally, what advice would you give to young architects?

    Wei:
    Everyone should have their own ideas and passion — and believe that it truly is their choice. Beyond that, focus on building a solid foundation: read more, draw more, and work on as many projects as you can. Reading helps you understand how others think. Architecture requires the integration of structure, environment, systems, and human experience, and no one becomes fully mature right after graduation.

    A good architect usually has two qualities. First, a sharp pair of eyes — a unique way of seeing. Second, a clear and persistent idea. When you are persistent enough, your work will endure. Find your own way of seeing, and keep refining it.

 
 
 
 

採訪｜Jamie Lo ． 編輯｜Fei.W
攝影｜Jamie Lo
 
 
 
 
 
Jamie Yelo 是攝影師、創作者，也是 Hey!Cheese 創辦人。他的專欄，是思考與實驗的場域，亦是他在專業與探索之間，不斷建構自我語言與獨特視角的重要延伸。
 
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