[ 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
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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.
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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.
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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
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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.”
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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.
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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.”
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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.’”
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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.
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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.”
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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.”
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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
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“ 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.
