[ 專訪 ] 修復不是讓建築回到過去 — 睿意建築總監徐偉泓談台南「信義街硓𥑮石黃宅」的實作現場

 
 
 

在我們習慣以效率與更新速度評斷城市進步的同時，老建築常被視為阻礙更新的存在，拆除重建彷彿成了更省時有效的選項。然而事實上，一座真正成熟的城市，不是建立在推倒與更新的速度之上，而是體現出如何與自己的歷史融合共處。

建築既是空間與機能的結構體，也是聚匯一地記憶最具體的容器；它與城市世代的發展，交疊成一片豐碩的文化底圖。這樣的東西一旦被抹除，文化將難以存有，後人亦失去探索根源的機會。因此修復老屋這件事，並不全然僅是對舊時代的留戀，還有一份更謙遜及負責任的延續態度，是當代人對土地歷史的回應，也是為未來世代留存理解自身文化的座標。

 
 

  • In cities where progress is often measured by efficiency and the pace of renewal, old buildings are often seen as obstacles to development. Demolition may appear faster and more practical, yet a mature city is not defined by how quickly it replaces the past but by how thoughtfully it lives with it.

    Architecture is more than a structure of space and function; it is a vessel of collective memory, layered with the traces of generations and urban change. Once such buildings disappear, culture loses continuity, and future generations are left without a way to understand where they came from.

    Restoration, then, is not an act of nostalgia. It is a humble and responsible gesture toward preservation—a dialogue between the present and its past, and a way to leave a coordinate for those who come after.

 
 
 
 

百年老宅重生成建築美術館 — 信義街硓𥑮石黃宅



幾個月前開始對外開放的「信義街硓𥑮石黃宅」，位於台南中西區信義街46巷街區。之所以稱作硓𥑮石，要回溯自清領時期。當年信義街地處「五條港」水路系統中的新港墘一帶，曾為台南重要的商貿通道。因船隻在此裝卸貨物時，使用硓𥑮石當作壓艙石，故「新港墘」河道又被稱作「硓𥑮石港」。

大約在 1930年代，黃姓家族從屏東移居台南，落腳於此，興建這座當時氣派非凡的私人宅邸，也就是現今的黃宅。見證了在地興衰，經歷百年風華流逝的老宅邸，一度人去樓空，僅留下頹敗的老屋遺構。閒置多年後，黃姓家族的街屋終於迎來修復的契機。

新進駐的主人決定保留這座百年建築，在不破壞原始構造與材料特色的前提下，黃宅被重新嵌回城市記憶，成為映照建築教育、文化展演與修復思考的據點。

 
 

  • A Century-Old Residence Reborn as an Architectural Gallery: The Huang Residence on Xinyi Street

    The Huang Residence, also known as the Laogu Stone House on Xinyi Street, opened to the public only a few months ago. It sits along Lane 46 of Xinyi Street in Tainan’s Central West District, a neighborhood whose history can be traced back to the Qing dynasty. During that time, the area formed part of the “Five Channels” waterway network, once an important hub of maritime trade. Ships unloading cargo here used coral stones as ballast, giving rise to the local term Laogu Stone and earning the nearby river the name “Laogu Stone Harbor.”

    In the 1930s, the Huang family relocated from Pingtung to Tainan and built this once-grand private residence. Over the following century, the house witnessed the city’s transformation, eventually falling into disrepair and abandonment. After years of neglect, the family home finally received a chance to be restored.

    The new owner chose to preserve the century-old building without compromising its original structure or materials. Through this careful approach, the Huang Residence has been woven back into the city’s collective memory, becoming a site for architectural education, cultural exhibition, and the study of restoration itself.

 
 
 
 
 
 

從圖面到現場修復施作：睿意建築的判斷與責任



相較於設計圖紙上描繪的計畫與形式，修復現場操作的過程， 牽涉更多即時判斷與選擇。在設計單位「原型建築」完成設計後，「睿意建築」團隊受屋主委任為統籌工序，促成設計實現的執行者。

以往我們常探討建築設計師的概念發想與思維。不過這回，我們想從「現場施作方」的角度切入探討，睿意建築徐偉泓總監進行了哪些事前研究，如何觀察與回應一棟老宅的真實狀態？又怎麼基於尊重歷史的情況下，實行適度的轉化，並在設計圖與實務的落差之間，做出決策與調整。

 
 

  • From Drawings to the Construction Site: The Judgment and Responsibility of Rays Architecture

    Compared with what is captured on paper, the process of restoration on site involves far more immediate choices and situational judgment. After the design phase was completed by AS studio, the client commissioned Rays Architecture to oversee the entire construction, taking responsibility for turning the design into reality.

    Architectural discussions often focus on concept and vision, yet this story is told from the perspective of those working on site. Under the direction of Wei-Hung Hsu, Rays Architecture carried out detailed research and close observation to understand the building’s true condition and determine how to intervene with precision. Their task was to bridge the space between design drawings and the realities of construction, finding a way to respect history while allowing the building to evolve.

 
 

睿意建築．徐偉泓總監 Director of Rays Architecture, Wei-Hung Hsu

 
 

修復的第一步，是先學會觀察與傾聽



「我把自己看作是一個傾聽者。」徐偉泓總監表示，由於老房本身就承載過去的記憶和故事，「我的角色是去理解、記錄它，從中看見仍有價值的物件，在當代生活的需求裡，幫它找到一個新的位置。」

 
 

  • The First Step in Restoration Is to Observe and Listen

    “I see myself as a listener,” says Wei-Hung Hsu, Director of Rays Architecture. He believes that an old building already carries its own stories and memories. “My role is to understand and document them, to recognize what still holds value, and to find a new place for those elements within the needs of contemporary life.”

 
 
 
 

接手這項任務時，他們首先藉由調查地政、建物，和街區的歷史資料，逐一研究區域的時代背景，再透過現場丈量與測繪，記錄建築的平面與立面細節，並針對具保存價值的物件進行編號歸檔，為後續留下基礎依據。

儘管歷經長年風雨，屋況問題層出不窮，坍塌毀損、蛀蝕和結構開裂不穩，牆面粉刷層脫落 ...... 但在徐偉泓的觀察下，這棟「受過傷的建築」，依然保有許多值得延續的細節。例如完整比例的立面、細緻的檜木窗框，以及傳統工法留下的泥作裝飾，基礎骨架也還算穩固。「若能以適切的修復方式介入，仍具備延續空間生命的潛力」，這樣的念頭，引領徐偉泓錨定方向主軸。

 
 

  • When taking on the project, the team began by studying historical records related to land ownership, the building itself, and the surrounding neighborhood. They examined the site’s urban and cultural background, then carried out on-site surveys and measurements to document the plan and elevation in detail. Every component with potential heritage value was catalogued and archived, forming the foundation for all later decisions.

    Despite years of weathering and decay, the house revealed signs of resilience. Its walls had cracked and peeled, timber had been eaten away, and parts of the structure had collapsed. Yet in Hsu’s observation, this “wounded building” still retained many details worth preserving: the well-proportioned façade, delicate cypress window frames, and the plaster ornamentation crafted through traditional methods. The structural framework remained largely sound. “With the right approach to restoration, the house still carries the potential to continue its spatial life,” he says. This conviction became the guiding principle of his work.

 
 
 
 

最重要的是找到新舊的平衡



修復對徐偉泓而言，不應該只是「復舊如舊」，也不該完全抹去歷史，只留下新的設計。他強調「保留能說故事的部分，更新能讓它繼續被生活使用的部分。」我們在保留歷史精神的同時，引入當代需要的機能，才能確保空間持續被使用與喜愛。建築才不會成為靜態的展示，能真正活在當下。

他將修復的面向歸納為三個原則：第一，是否具備歷史或文化價值，像是特殊工法、在地材料或使用痕跡，這些構件應盡可能保留；第二是「結構與安全性」，如已嚴重受損，則需重建或以現代技術補強；最後則是「當代機能的整合」，如水電、空調等基本系統。他以最小的干預讓新舊管線成功整合，維持連貫性，「那種覺得房子被理解、被尊重的滿足感很直接。」

 
 

  • Finding Balance Between the Old and the New

    For Wei-Hung Hsu, restoration should neither aim to replicate the past nor erase it completely. “What matters is to keep the parts that tell a story and renew those that allow the building to remain lived in,” he says. Preserving the spirit of history while introducing contemporary functions ensures that a space continues to be used and loved. Only then does architecture stay alive rather than become a static display.

    Hsu defines the process of restoration through three guiding principles. The first is heritage and cultural value—elements such as traditional craftsmanship, local materials, or visible traces of use should be preserved whenever possible. The second concerns structure and safety—if a component is severely damaged, it should be rebuilt or reinforced using modern techniques. The third is functional integration—updating basic systems such as plumbing, electricity, and air conditioning with minimal intervention to maintain continuity between old and new. “There is a direct sense of satisfaction,” he reflects, “when a house feels understood and respected.”

 
 
 
 

拆除隱蔽物的過程，彷如是撥開時間的面紗，使徐偉泓看見老宅真正的脈絡與生活痕跡。

初始進行調查研究時，他發現中庭的柱身與柱礎上面，分別雕刻著春夏秋冬四季花卉，與琴棋書畫的紋樣，推斷為屬於武舉人胡澄淵原有宅邸的構件。這讓團隊對起造人黃孫快女士，當年保留延用古物的做法深感敬佩。另外，二樓樓板拆除後，裸露出的原始橫樑，則展現榫卯接合與工匠墨記，記錄下施工、材料取向與匠人的習慣。

還有一些像是牆後藏匿的孩子塗鴉、過去改裝累積多層的壁紙、重新嵌合的三關六扇門等生活化的發現，使他察覺房子在不同時期的用途與改變。走在那條磨光的踏板上，他更感受到過去住戶的日常節奏：「腳下傳來的磨損痕跡像是在說：『這是我們每天上下班、孩子跑跳、訪客來去的路』。」

 
 

  • The process of removing concealed layers was like lifting the veil of time, revealing the building’s true context and the traces of daily life.

    During the initial stages of research, Hsu discovered that the columns and bases in the central courtyard were carved with motifs of seasonal flowers and the four traditional arts—qin, qi, shu, and hua (music, strategy, calligraphy, and painting). He deduced that these fragments once belonged to the former residence of Hu Cheng-Yuan, a military scholar. The team admired the original owner, Madam Huang Sun-Kuai, for her decision to preserve and reuse these historical elements when the house was first constructed.

    When the second-floor boards were removed, the exposed beams revealed traditional mortise-and-tenon joints and handwritten markings left by craftsmen, offering glimpses into their methods and material choices. Other small discoveries, such as children’s doodles hidden behind the walls, layers of wallpaper from past renovations, and reassembled wooden door panels, told stories of the house’s evolving use over time. Walking along the worn staircase, Hsu could almost feel the rhythm of those who once lived here. “The marks beneath my feet seem to say, ‘This is the path we took each day to work, to play, to welcome guests.’”

 
 
 
 
 
 
 
 

徐偉泓有感而發地說，「理解老房子不是一次靈光乍現，而是累積的。」這些看似不起眼的小發現，正是把技術與生活連結一起的重要節點，每拆一塊、每看一張舊照、每修一段樑，都協助他回到當時的畫面光景，拼湊成完整的肖像。於是，「修復」成為回應歷史，而非抹去歷史的行為。

 
 

  • Reflecting on the process, Hsu remarks, “Understanding an old house does not happen in a single moment of insight; it is something that grows over time.” Each small discovery, though seemingly insignificant, becomes a point where craft and life intersect. Every piece removed, every photograph studied, every beam repaired helps him reconstruct the scenes of the past and form a more complete portrait of the house. In this way, restoration becomes an act of responding to history rather than erasing it.

 
 
 
 

聽懂老建築真實的狀態，找到最合適的解決方式



修復和新建最大的不同，在於老宅修復無法照本宣科，設計圖只能提供方向，然圖面與現況之間的落差像是家常便飯般，接踵而來。

他印象最深的一次，是在拆除結構毀損部分，發現與事前調查有明顯的差異。「那時我們立刻和工班、結構技師討論，臨時調整做法，一方面補強結構安全，另一方面盡量維持既有的格局與高度，不讓空間比例受到影響。」

 
 

  • Understanding the Building’s True Condition and Finding the Right Solutions

    Unlike new construction, the restoration of an old house cannot follow a fixed formula. Drawings can only serve as a guide, while the gap between plan and reality often reveals itself during the process.

    Hsu recalls one of the most striking moments during the project, when the team uncovered unexpected conditions while dismantling a damaged structural section. “We immediately discussed the issue with the contractors and structural engineers and adjusted the approach on site,” he explains. “Our goal was to reinforce safety while maintaining the original layout and height, ensuring that the proportions of the space remained intact.”

 
 
 
 

由於「屋頂」牽涉的面向廣泛，從結構安全、防水斷水，到是否維持原貌、如何選擇施工方式與材料，無一可以妥協，也是最耗時且反覆討論的部分。

設計單位考量到結構強度與跨度的需求，材料本身的穩定性與表現力，使用集成材 GLT Glulam (Glued Laminated Timber) 將五棟建築的屋頂，形塑成別於傳統造型的曲板與折板形式，藉此注入嶄新的空間表情，實現「修舊但不復舊」的具體主張。

 
 

  • The roof presented one of the most complex challenges, encompassing issues of structural safety, waterproofing, the preservation of original form, and the selection of construction methods and materials. None of these aspects could be compromised, making it the most time-consuming and repeatedly discussed part of the process.

    Considering the need for both strength and span, as well as material stability and expression, the design team chose to use GLT Glulam (Glued Laminated Timber) to reconstruct the roofs of all five buildings. The result is a series of curved and folded roof planes that depart from traditional profiles, bringing a renewed spatial character and giving tangible form to the principle of “restoring without replicating.”

 
 
 
 
 
 
 
 

修復的目的，是城市與時間的永續對話



如果說「黃宅」的修復過程，是一部關於時間與責任的行動紀錄片，那麼最終的成果，便是一座在「保存價值」與「當代需求」之間的溫柔註腳。

而在徐偉泓眼中，最能體現這份精神的，是山牆前的「埕」空間。

山牆是房子的「臉」，埕則是人與房子互動的起點。他補強了山牆的結構支撐，保留其上原有的 Art Deco 語彙，同時也維護了埕地的貝殼砂紋理，完整體現出他所強調的修復核心精神：「尊重舊痕、補足缺陷，讓建築在時間中繼續有表情、有生命。」曾經作為家族活動、取水、晾曬與迎客的「埕」，在修復之後不再只是戶外空地，而是讓時間的層次與生活的痕跡得以並存，故事繼續發生的所在。

 
 

  • Restoration as a Continuous Dialogue Between City and Time

    If the restoration of the Huang Residence can be seen as a documentary of time and responsibility, its outcome becomes a quiet reflection on the balance between preservation and contemporary use.

    For Hsu, this spirit is best embodied in the “cheng” —the open forecourt in front of the gable wall. The gable is the house’s “face,” while the “cheng” marks the threshold between people and architecture. Hsu reinforced the gable’s structure, preserved its original Art Deco details, and maintained the natural texture of crushed shell sand across the courtyard floor. These gestures capture his core philosophy of restoration: “to respect what time has left, to mend what has been damaged, and to allow the building to keep its expression and life through time.”

    Once a setting for family gatherings, drawing water, drying clothes, and welcoming guests, the cheng is no longer just an outdoor space. It has become a place where layers of time and traces of everyday life coexist—a space where the story continues to unfold.

 
 
 
 
 
 

❝
這次修復帶給我最大的收穫，是心態的轉變。以前我總覺得修復是一種「解題」：有裂縫就補，有結構就強化，有缺失就還原。但真正走過這個過程，我發現修復更像是一場對話，和建築、和過去的匠人、和曾經住在這裡的人對話。這不是一個「工程專案」，更是一種尊重時間、尊重生活痕跡的態度。房子最後的模樣，也是我們和它「共同協商」的結果

— 徐偉泓

 
 

當前往黃宅造訪的我們，站在修復完成的建築前，親身感受它的氛圍與氣場，也許會更明白，我們每一個人都是這段延續的一部分。修復並非讓建築回到過去，它將會帶著歷史的重量，繼續由後人接力書寫下去，這也正是修復最為深遠的意義。

 
 

  • “ The greatest lesson this restoration has given me is a change in mindset. I used to think of restoration as a kind of problem-solving: fixing cracks, reinforcing structures, replacing what was missing. But after going through this process, I realized it is more like a dialogue — a conversation with the building itself, with the craftsmen of the past, and with the people who once lived here. “ —— Wei-Hung Hsu

    It is not just an engineering project; it is an attitude of respect — for time, for traces of life. The final form of the house is, in the end, the result of our shared negotiation with it.

    Standing before the restored Huang Residence, one can sense the weight of its history and the care behind its renewal. In that moment, it becomes clear that each of us is part of its ongoing story. Restoration is not about returning a building to the past; it allows history to carry forward, inviting future generations to continue writing it. This is the enduring meaning of preservation.

 
 
 
 
台南信義街硓𥑮石黃宅 地址：台南市中西區信義街46巷15號
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Photography by/ Jamie Lo 、 Hey!Cheese
Interview、Text/ ChichiL

 
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