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.

Mine Art Gallery
Cam Pha coal mine was established by the French in 1886 under the name Société Française des Charbonnages du Tonkin during the reign of King Tu Duc. The mine’s stratigraphic structure descends into deep underground terraces, with coal seams gradually revealed in the light that pierces through the valley.
The jet-black hue of coal, intermingled with the reddish-brown of the earth and the arid dust suspended in the air, creates an abstract palette imbued with depth and intensity.
The project draws inspiration from the overlapping layers of coal seams, reimagined in reverse to symbolize the void left behind. Construction materials, sourced from coal itself, form layered bricks that replicate the natural striations of the seams. Space, materiality, and landscape converge to evoke the emotional and physical experiences of the miners.

Type
Gallery
Year
2016
Location
Cam Pha city
Team
Ho Viet Vinh
Mai Que Vu

Maison de la Lune embodies a poetic interplay between architecture and nature, where the invisible space reflects upon the surface of existence. The fluid curves of the structure mirror the organic forms of the surrounding environment, creating a harmonious dialogue between the built and the natural. The expansive glass panels invite the outside in, blurring the boundaries between interior and exterior. Light and shadow dance across the surfaces, evoking a sense of tranquility and introspection. This architectural masterpiece is a serene sanctuary, a place where the essence of nature is captured and reflected, offering a contemplative retreat from the chaos of the world.

Vertical Green Highrise
The high-class Condotel hotel complex seamlessly integrates with the scenic landscape of Cap Saint-Jacques beach, connecting the coast with surrounding urban public activities to create an alluring destination for tourists and residents alike.

This open space, offering a variety of services, will serve as a vibrant public hub where shopping, entertainment, relaxation, and leisure activities take place around. The complex, consisting of two towers—one 40 stories tall and the other 10 stories with service podiums—spans a total usable area of 130,000 square meters, adding energy and dynamism to Cap Saint-Jacques beach city.

The active spaces, featuring panoramic sea views, foster a harmonious connection between the buildings and the stunning surrounding landscape. All functional areas are designed to be open, filled with natural light, greenery, and a sense of unity with the blue sky and deep ocean. A system of plazas, flower gardens, cascading waterfalls, and vertical green walls enhances the project’s appeal, creating a unique and inviting environment.

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 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.

“The beauty of the four seasons helped him heal his mind and heart from the wounds of war. The peaceful and wholesome atmosphere of the campus helped him have many deep insights, flowers, and fruits of the practice. Perhaps that is why Thay always remind us that nature can help us heal ourselves.”

Zen master Thich Nhat Hanh – [At home in the World]

Location:
Tan Binh commune, Nhu Xuan District, Thanh Hoa Province, Vietnam
Size:
1,53 hectares
Services:
Master plan, Architecture and Interior design
Status:
Approved Master plan at scale 1/500, 2024
Under construction.
Team:
HVV Architect & Partners

Intro

As our society advances and technology continues to evolve, our quality of life has seen remarkable improvements. Yet, the desire for relaxation, tranquility, and a deeper connection with oneself has become a fundamental part of our daily existence. This need is increasingly pressing, given the rising prevalence of mental health challenges like stress and anxiety.
The relentless pace of modern life, combined with the pressures of work, often leads to heightened stress, anxiety, and various mental health concerns. Taking a moment to pause and breathe can offer us a valuable chance to reconnect with nature and reflect on ourselves. Nature holds a profound healing power: when our minds are no longer disrupted by the constant noise of traffic, when our emotions are no longer constrained by concrete jungles, and when we can breathe clean, unpolluted air, we experience true inner peace. Immersed in nature, we rediscover the serenity that lies within our souls.
Thus, creating a meditation retreat that harmonizes with nature is essential. This sanctuary will offer a tranquil haven where individuals can find solace, cultivate mindfulness, practice meditation, heal their souls, and share positive values with the world.

Site location

Tue Giac Zen Monastery is located northwest of Song Muc Lake – in Ben En National Park, Tan Binh Commune, Nhu Xuan District, Thanh Hoa Province; The distance from this area to Tho Xuan airport is about 143374ft along National route 15.

The planned research area features a convergence of hillside topographical elements, with valleys and lakes nestled below. It is a location that boasts pristine natural landscapes. Furthermore, the terrain’s structure and geomorphology provide many sites with expansive, diverse, and breathtaking views.

Design principles

Master plan

To create a space for returning, studying, and practicing the teachings of Buddhism, cultivating virtue, and enhancing moral awareness. A place that offers a harmonious environment with nature, where individuals can engage in meditation, seek enlightenment, and liberate themselves from the afflictions and suffering of life.

The architectural layout harmonizes seamlessly with the natural terrain, incorporating a variety of structures within distinct spaces to create visual appeal. The pagoda, meditation hall, main hall, guest house, and dining hall are arranged in a descending terraced formation. The design employs overlapping and rhythmic elements, offering dynamic perspectives from different viewpoints and highlighting the surrounding natural beauty of the mountains, lakes, and cliffs. The architecture, landscape, and on-site activities are interwoven in a cohesive and fluid manner.

Solid and rough are the emotions of BaoLoc. Spatial topography consists of interlaced hills, layers hidden under layers of cold pine forests. In that autumn silence, the clouds are the witch who transforms to soften the rough, dry and cold.

CLOUD
Following the wind, the stream flows in all directions,
The foggy road is dotted with flying dew drops.
Love is drunk at night in dreams,
Filled with the call of the human realm.

Vinhho.2022

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.