Ancient Greek legend has it that the pig was the favorite animal of Demeter – goddess of crops and farming on earth. This was the holiest god for the Greeks. Since ancient times, people have used pigs to sacrifice this goddess. The magical transformation that turns humans into pigs appears in many myths, such as in Homer’s epic Odysseus. In this story, the crew of the hero ship was turned into pigs by the goddess Circe. Pig is one of the 12 animals that represent the 12-year cycle of Dizhi of China, Vietnam, Japan, Korea, North Korea and many other countries in Asia. It is associated with the Zodiac Pig. Those who believe in Chinese astrology have always attached pig characteristics to people born in the year of the Pig. Those born in this year are often considered lucky and have a prosperous and leisurely life. PIG House is life within and beyond the form of this animist.

“The gentle interplay of light and shadow dances across the room, reminiscent of a fading memory. Each element, from the plush seating to the artful arrangement of books, whispers stories of bygone days. The warmth of wood and fabric envelops the senses, creating a cocoon of comfort and reflection. This harmonious blend of textures and hues captures the essence of nostalgia, a poetic journey through time, where beauty and melancholy coexist in a delicate balance.”

Nestled quietly under the canopy of the coconut forest swaying in the gentle breeze, the simple house comes into existence thanks to the reflections of the dawn sunlight. The house has a simple modern look, inheriting the shape of a traditional house with 3 compartments and 2 wings, with a large veranda surrounding it. The veranda is a transitional space and acts as a climate regulator for the whole house. Not only that, but it is also a place where countless activities connect people with the surrounding open space. The rooms all open to the garden and the doorways pull the garden into its deepest recesses. The nuanced transitions of time and space also take place in the cut of this patio.

The exhibition “Dong Chim Day Nuoc”, taking place at Wiking Salon from December 14, 2024 to January 19, 2025, is an event marking the more than three-decade artistic journey of the famous painter Ca Le Thang. With more than 20 emotional works, the exhibition not only reflects childhood memories of the flood season in the West, but also tells the story of inner rebirth through abstract art. Curated by Le Thien Bao, this event promises to bring an in-depth look at the journey of searching for and affirming the unique artistic language of one of the pioneers of Vietnamese fine arts.

AI ngày càng trở thành trí tuệ siêu việt và con người ngày càng phụ thuộc vào máy móc. Khủng hoảng hiện sinh đang đẩy chúng ta vào chân tường với những câu hỏi day dứt về tính nhân văn trong cuộc sống. Là một kiến trúc sư, Tôi đang đối diện với chính bản thể của mình để trả lời cho câu hỏi cốt lõi:

Để trả lời, Tôi phải trầm mình vào thực thể cuộc sống, để thân xác sống động của mình hòa quyện vào thế giới hiện tượng – nơi ánh nắng, gió thoảng, mùi đất ẩm, sự mát lạnh của đá và tiếng lá xào xạc không còn là đối tượng quan sát từ xa, mà trở thành sự giao thoa (chiasm) đảo ngược: tôi chạm vào thế giới, và thế giới chạm lại vào tôi. Chỉ khi đôi tay không chỉ lướt trên bàn phím mà còn thực sự xúc chạm trực tiếp với ánh mặt trời, với vỏ cây thô ráp, với hơi thở của không gian, thì bản năng nguyên thủy mới được đánh thức. Kiến trúc chân chính không phải là hình khối trừu tượng hay mô phỏng kỹ thuật số; nó là nghệ thuật của sự hiện diện vật lý (embodiment), nơi thân xác con người trở thành phương tiện để cảm nhận sự dịch chuyển. Trong sự hỗn độn ấy, con người không còn là chủ thể tách biệt quan sát thế giới như đối tượng, mà là một phần của sự sống – nơi cảm nhận và cái được cảm nhận đan xen, không thể phân định. Chính sự gắn kết giác quan đa chiều này – haptic (xúc giác), olfactory (khứu giác), auditory (thính giác), cùng với thị giác – mới giúp chúng ta lấy lại sự cân bằng giữa thế giới ảo và thế giới thực, giữa bàn phím lạnh lẽo và hơi ấm của thiên nhiên.

KTS. Hồ Viết Vinh. 260112

The interlocking rock columns are arranged naturally,
Shoulder and shoulders depict rapids,
Standing likes the shape of the mountain,
Look down at the waves of the sacred place.

ho viet vinh

“Artists dismiss me as an architect, so I am not in their box, and architects dismiss me as an artist, so I’m not in their box. I don’t know whose box I’m in, and I don’t really care.”
Frank O Gehry

Spiritual Sustainability as the Core Essence

For Architect Hồ Viết Vinh, a sustainable structure must encompass multiple dimensions: structural sustainability, environmental sustainability, aesthetic sustainability, and cultural sustainability. Yet, there is one essential, foundational element that underpins them all: spiritual sustainability. One of his upcoming and most cherished projects currently in development is the Trịnh Công Sơn Park in the ancient capital of Huế.

Guided by a philosophy of holistic sustainability, Hồ Viết Vinh has crafted unique architectural works such as Lebadang Memory Space and more recently, the Coral House in Hồ Tràm.

Could you share more about the milestones that have shaped your 25-year career?
I can summarize my more than 25 years of navigating this profession—full of challenges—into four stages: searching, understanding, contemplation, and practice.
The first stage took me around five years. I was seeking a way to survive in this field, with much effort but little clarity beyond earning a living.
The second stage arrived when I realized that architecture demands not only physical effort but also profound intellectual engagement.
The third stage was contemplation—reflecting on the distinct values that drive creativity. This was perhaps the most challenging period. It required me to relinquish things I had painstakingly gathered over time, clearing my mind to make space for the new.
Finally, the fourth stage is practice—not merely following thought processes, but letting intuition and wisdom guide my actions.

Your design philosophy seems inspired by Buddhist thought, correct?
Yes, indeed! The teacher who profoundly influenced my design philosophy is Thích Nhất Hạnh from Làng Mai (Plum Village), with his wisdom of interbeing (tương tức). According to Thích Nhất Hạnh, interbeing means: “If we understand that humans and nature are inseparable, we will know how to treat nature as we would treat ourselves—with care, gentleness, and love, free from violence. If we don’t want to harm ourselves, we should not harm nature, for harming nature is ultimately harming ourselves, and vice versa.”

How do you incorporate the concept of emptiness in your architectural works?
In essence, space is defined by emptiness. Without emptiness, there is no space. We must distinguish between the concepts of empty/full and open/closed. The former refers to spatial density, while the latter concerns the degree of openness to the external environment.
Emptiness is where dialogues unfold—between humans and nature, between individuals, and between oneself and the spiritual realm. It is a void that leads to infinite transformation and change.

What is your perspective on sustainable architecture? What, in your view, is the primary factor that defines sustainability?
When discussing sustainability, we must ask: sustainable in what sense? Is it structural, environmental, aesthetic, or cultural sustainability? Today, most conversations focus on environmental sustainability, as we face the brink of ecological destruction.
In my perspective, a truly sustainable structure must integrate all four aspects, with an additional core foundation: spiritual sustainability. This form of sustainability is rooted in an intuitive understanding of the fundamental truth of life on Earth—harmony, where all beings support one another to coexist.

“Architecture is a part of nature, and thus, it must harmonize with its surroundings. Light, wind, rain, storms, and even insects are all guests of the space.”

Is there a project that best embodies your design philosophy?
That would be the Lebadang Memory Space in Huế. This space is a harmonious blend of three elements: nature, form, and poetry. Nature includes the creations of the Earth—trees, flowers, rivers, skies, stones, humans, and animals. Form is defined by lines, shapes, colors, and materials that shape the space. Poetry is the soul that breathes life into it, creating a space that resonates with both the physical and the spiritual.

The thread that connects natural elements with the crafted form is poetry—a melody that flows from the primordial, carrying with it layers of cultural sediment, merging with the rhythm of life to shape the memory of time.

An Architect who has influenced you?
That would be Peter Zumthor, the renowned Swiss architect known for his famous quote:
“To design buildings that captivate the senses, architects must transcend the limits of form and structure.”

What experience do you consider most important for an architect like yourself?
Architecture came to me as destiny. Therefore, every experience carries its own value—there is no good or bad experience.
However, one pivotal experience stands out as a turning point in my creative journey. In 2005, I had the opportunity to participate in the 8th International Creative Competition organized by Les Ateliers Internationaux de Maitrise d’Oeuvre Urbaine Cergy Pontoise in France.
The competition brought together nearly 40 architects, urban planners, economists, managers, and environmental specialists from 17 countries. The theme was Ecological Tourism Urbanism in Cần Giờ (Can Gio entre ville ecologique et destination touristique).
Our project, titled “The City of Distinct Emotions” made a powerful impression on the jury and won the Special Award.

What is your perspective on materials in architecture? Are you experimenting with any specific materials?
Materials play a vital role in evoking aesthetic emotions within architectural spaces, alongside form and design language. Under the influence of light, these three elements harmonize to create the texture of space.
In my architectural designs, I place particular emphasis on exploring and incorporating local materials. These materials infuse spaces with the spirit of the place, giving them a unique identity and soul.

Could you share more about an upcoming project you are excited about?
A project I hold dear and that is currently being developed in Huế is the Trịnh Công Sơn Park.
Located at the confluence of three rivers, it rests against the Gia Hội Ancient Quarter, gazes upon the Hương River, and looks towards Ngự Bình Mountain as its front shield, with the Kim Phụng Range stretching across the landscape. This harmonious geographical setting provides the perfect foundation for the park in the heart of the ancient capital.
The park spans approximately 6.2 hectares and stretches nearly 1 kilometer along the lower reaches of Hương River, surrounded by water landscapes. Its structure is divided into two main sections: (1) The Space of “The Great Circle of Unity“ (20,000 m²); (2) The Musical Garden Space (42,000 m²).
The Great Circle of Unity is designed around the symbol of the Vietnamese Embrace, forming a double-layered circle representing the Fields of Vietnam. This concept draws inspiration from Trịnh Công Sơn’s musical longing for peace.
At its heart stands the statue of Trịnh Công Sơn, with a poised and serene posture, emerging from the landscape like a mountain standing tall. He becomes a symbol of the nation’s desire for unity, love for humanity, and a reflection on the human condition.
Every step into this space echoes with the uplifting and refreshing melodies of his music. It invites us to connect, hand in hand, forming a unified entity called Vietnam.
The Musical Garden Space, on the other hand, captures the lingering melodies of nature. Here, one can sense the gentle whispers of grass, flowers, birds, and the vibrant life that surrounds us—a symphony of nature’s tender serenade.

See the original article at the link.