The landscape architecture of the museum, spanning 16,000 square meters, is itself a full-scale “Lebadang Space” artwork. Paintings, sculptures, installations, and “Space” artworks by the world-renowned artist Lebadang are periodically rotated, with exhibition content and display methods meeting international standards.
The museum brings to life artist Lebadang’s dream of “an immense artwork, a cosmic landscape, a life in harmony with nature, and an eternal vision.” Its location in Hue, Vietnam’s ancient capital, embodies his aspiration for Hue to become the center of Vietnamese contemporary art and culture in the 21st century.

Le Ba Dang Memory Space reimagines the image of Co Loa as a unique creation of the Vietnamese spirit. Emotions are etched into the landscape like a giant painting. The winding pathways lead us into a vivid tapestry of reality, where people and nature merge as one. The soul finds peace, and emotions flow freely.
Brilliant flowers bloom, birds chirp joyously, the breeze carries drifting clouds, and every element resonates with authentic sounds, drawing our minds back to the dreams of childhood.

Type
Museum
Year
2019
Location
Huong Thuy, Hue
Team
Ho Viet Vinh, Tran Thanh Hai, Le Van Thoi, Ngo Dang Linh
Civil Engineer
Nam Viet
Contractor
Rickenbach Development and Construction
Interior Designer
Eric Mignagd
Lighting Designer
Elek Co, Ltd
Photographer
Dalo lab
Structural Engineer
Nam Viet

Press
ART REPUBLIK 1, Elitism for all, Spring-Summer 2020

Youtube
LeBaDang Memory Space – Contemporary Art in Hue – An article by Dalo Studio on Youtube via the link.

“Happy Teachers will change the world.”

Zen Master Thich Nhat Hanh

“A silent ode to the beauty of existence, portraying the sublime interplay of light and shadow that dances within the human soul. It is an invitation to wander through the corridors of one’s own soul, amidst the rain of introspection and the elusive sunsets of desires.”

Ho Viet Vinh

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.

For generations, the wood carving craftsmanship of Hue carpenters has been etched into history. Intricate embossed patterns on armrests, beams, arches, and panels reveal the profound artistry embedded within each wood grain.
The touch of the craftsman is incredibly refined. As the chisel glides along the wood grain to remove the excess, the shapes of phoenixes, flowers, and leaves emerge, filling the void with intricate beauty. The wooden panels are not merely decorative; the dual framing system creates overlapping layers, adding spatial depth and transforming physical boundaries into the perception of infinity.
These exquisite carvings have elevated Hue’s palaces, temples, pavilions, mausoleums, and traditional homes beyond mere material structures to the realm of emotional art. This mastery has earned them recognition as a UNESCO World Heritage.
The pride lies in the soul delicately carved by talented artisans from across the nation, each seeking to present their finest beauty to the Buddhas, Kings, and Ancestors.

Type
Garden house
Year
2012
Location
Thu Duc city
Team
Ho Viet Vinh
Duong Dinh Vinh

Inviting a contemplation of the divine within the mundane, a glimpse into the aura of life itself, forever capturing the transient light and darkness that dance within the soul’s depths.
Ho Viet Vinh

Amid the chaos of modern life and urban development, where humans are in constant, fast motion, nature is an important element to remind ourselves of and return to. In this duo exhibition by Patricia vd Moreen and Devon Nguyen, we find ourselves stepping into another world filled with harmony between humanity and nature.
“Biophilia and Naturalis” features the most recent works by two unique artists. Works of oil paintings and ceramics call to mind living entities glowing in the darkened space and reveal the connection between humanity and nature. While Patricia’s works highlight the concept of Naturalism, Devon’s works speak for the concept of Bipholia, which emphasises the harmony between humans and nature.

To read the full article by Saigoneer, please click on this link.

The goal is to enhance connectivity between Can Gio and neighboring provinces, particularly Vung Tau. As Ho Chi Minh City continues to expand, the demand for infrastructure grows, posing potential risks to Can Gio’s ecological integrity. Special attention is given to strengthening links with the nearby beach resort of Vung Tau, initially through a speedboat network and eventually with the proposed construction of an undersea tunnel.
While the jury found the tunnel proposal highly debatable, they acknowledged that the previously approved masterplan lacked adequate provisions for improving these connections. Team 4 prioritized these links, making them a central focus of their proposal.

Another key aspect of the development proposed by the team is the diversification of tourism activities. These could range from walking or boating excursions through the mangroves to farm visits, beach activities, and trips to nearby provinces made more accessible through the improved transportation links.
The team also presented a project to reclaim land and create two artificial islands off the coast at the eastern and western ends. These islands are envisioned as hubs for diverse tourism activities, offering unique experiences to visitors.

Achieving these objectives will require significant improvements to infrastructure. A high-speed transportation system must be implemented in a way that respects the environment and minimizes pollution, bringing Can Gio closer to nearby development areas.
Freshwater supply is critical for both residents and tourists. A sustainable water collection and recycling system should be established to optimize this valuable resource while preventing water pollution.
The construction of eco-houses will help balance the infrastructural development, ensuring harmony with the natural surroundings. Additionally, all other modes of transportation within the area will be designed to be environmentally friendly.

The project seeks to enhance the quality of life for the residents of Can Gio. This will be accomplished by preserving and upgrading traditional activities such as farming and those along the beach.
Locals will be encouraged to participate in service, trade, and production activities to meet the demands of tourism while maintaining their cultural heritage. Traditional practices will be promoted, enabling those living in the forest, on the beach, or along the river to share their unique ways of life.
Additionally, numerous public spaces and recreational activities will be developed, fostering leisure and entertainment opportunities for both residents and visitors.

The southern area of Can Gio along the beach will be developed with a focus on preserving the connections between the forest and the sea. Six key axes will serve as the foundation for these links: an agricultural production axis, a commercial axis, a festival axis, a handicraft village axis, a traditional market axis, and a public space axis.
This approach ensures that development respects the natural and cultural heritage of the region while creating vibrant and functional spaces for both residents and visitors.

The ultimate aim of this proposal is to evoke and enrich people’s senses and emotions, creating an “emotional city”. Both visitors and locals will be immersed in a symphony of sensory experiences:
They will listen to the soothing sounds of the forest and the rhythmic waves of the beach. They will marvel at breathtaking views of the sea and lush forests, swim in the waves, and feel the textures of the forest’s natural wonders.
The air will carry the refreshing scent of the sea, mingling with the intricate fragrances of the mangrove. They will savor the local flavors, from seafood harvested from the river and sea to traditional delicacies.
Beyond these sensory delights, their emotions will be further deepened by the rich history, vibrant culture, and timeless traditions of Can Gio, making every moment a journey of discovery and connection.

Team 4

• Ho Viet Vinh – Leader Architect, Urban Planner
• Pham Phu Cuong – Architect
• Nguyen Hong Minh – Architect
• Hoang Anh Tu – Architect, Urban Planner
• Pham Anh Tuan – Architect, Urban Planner
• Nguyen Anh Tuan – Architect, Landscape Architect

Team 4, comprised entirely of Vietnamese professionals and led by Architect Ho Viet Vinh, brought a profound vision for the future of Can Gio. The team outlined a series of key objectives, including the preservation of the mangrove ecosystem—both its core and transitional areas—the optimization and development of local production activities, and the protection of water resources from pollution originating from the Saigon-Dong Nai River and the sea.
For their insightful and forward-thinking approach, Team 4 awarded a special mention from the Workshops of Cergy-Pontoise.