［ 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
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.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.
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.
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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.
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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.
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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.
攝影｜Jamie Lo
