Passing a Century of History to the Next Generation: The Evolution of the Image Museum

Hsinchu City Image Museum is a historic landmark with a 92-year legacy, originally constructed in 1933. During the Japanese colonial period, it served as a symbol of entertainment for the local community.
This architectural gem—blending Japanese and Western styles—has operated as the Image Museum for the past 25 years under the national government. To address aging equipment and safety concerns, the museum partnered with Kotobuki Taiwan to introduce state-of-the-art retractable seating, significantly enhancing both operational flexibility and audience comfort.

We interviewed Mr. Lu Zong-Xian, Executive Director, Hsinchu City Image Museum.


Mr. Lu Zong-Xian, Executive Director of Hsinchu City Image Museum

Historical Roots and Architectural Identity

――To begin, could you introduce the Image Museum and its history?

The Image Museum was built in 1933, at a time when Taiwan was transitioning from an agricultural to an industrial society. It was one of several important structures constructed to showcase Japan’s modernization efforts. Unlike administrative buildings such as state halls, this was designed from the outset as a dedicated place of entertainment.
After the Meiji Restoration, Japanese architects who had studied in the West sought to incorporate Western architectural elements into Japan. However, strict domestic regulations often limited their expression. Taiwan, then under Japanese rule, became a testing ground for their creativity, resulting in a unique blend of Eastern and Western styles. The architectural characteristics seen here from the 1930s are now rare even in Japan. Traces of its origins as an entertainment venue can still be found throughout the building. For example, the arabesque patterns on the walls symbolize “paradise” in Arabic culture, while the star-shaped motifs on the façade were intended to create a “Premium Class” experience for visitors. As Taiwan’s first European-style theater equipped with air conditioning, it offered a sense of luxury from the moment guests entered.

Finding the Optimal Solution Within Historical Constraints

――What prompted this major renovation?

The primary reason was safety. The previous seating mechanisms had been inoperable for over a decade, making it impossible to deploy or retract them. Some seats were warped or damaged, posing a serious risk.
As we welcome many seniors and children, seeing seats marked with “X” signs or patched with duct tape was unacceptable from a management standpoint. We also wanted to use the hall more flexibly, but the outdated seating system made that impossible. Replacement parts were no longer available, and the equipment produced loud, disruptive noise. A complete replacement was essential to provide a safe and comfortable environment.

――What were your priorities in selecting the new seating?

Because we wanted the first floor to serve multiple purposes, retractable seating was essential. As a public facility, long-term maintenance was also a key concern. Kotobuki Taiwan assured us that the same upholstery could be supplied for at least ten years, which gave us great peace of mind compared to other manufacturers.
We had also received complaints about obstructed views due to inconsistent tier heights. For this renovation, we carefully recalculated sightlines. As a result, during this year’s Hsinchu Children’s Film Festival, we received no complaints about visibility, and attendance increased two- to threefold compared to previous years.

――The color scheme is also distinctive. What inspired the monochrome design?

We selected a black-and-white palette inspired by the concept of cinematic film. Dark upholstery minimizes light reflection and helps viewers focus on the screen, while the random placement of white seats creates a visually striking and “Instagrammable” effect. This approach allowed us to establish a unique identity while incorporating a modern sensibility.  

Evolution After Renovation and the Path Forward

――Has the way you use the venue changed?

――What is your outlook for the future?

The mission of the Image Museum is to promote visual education. Hsinchu is a city with many newcomers due to the Science Park, and we hope to create a place where children can discover film while connecting with the memories of older generations—a hub that links generations together.
With flexible seating, the museum can now host a wider range of activities, including talk events, press conferences, and even wedding photography. This increased versatility has expanded both our programming and our audience. Moving forward, we aim to develop even more diverse initiatives while strengthening our connection with future generations.

――Thank you very much for your time today.