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 waterscape of the living complex in the Mekong Delta beautifully embodies the harmony between architecture and nature. Drawing inspiration from the region’s rich waterway traditions, the design integrates fluid forms and organic materials that reflect the surrounding landscapes. The layout, with its interconnected waterways and lush greenery, fosters a sense of tranquility and connection to the environment. Each villa, positioned to maximize views of the water, invites natural light and breezes, enhancing the sensory experience. This approach not only celebrates local culture but also promotes sustainable living, making the project a poignant example of emotional architecture in contemporary design.

Tôi không nhớ chính xác lần đầu tiên mình xem Rêu không phải là rêu mà là nhân chứng của thời gian và nơi chốn tự bao giờ? Có lẽ đó là một buổi sáng sớm khi sương còn đọng trên những phiến đá bên bờ suối. Hoặc có thể là một buổi chiều mưa, khi những mảng rêu xanh mướt trải dài trên tường gạch cũ, như những vết tích của một thời đại đã ngủ quên.
Dù là lúc nào, Rêu vẫn luôn ở đó, lặng lẽ, trầm mặc, bám rễ vào thời gian theo cách riêng của nó.

Rêu không phải là cỏ cây, cũng không hoàn toàn là rong rêu trôi dạt theo dòng nước. Nó là một thực thể kỳ lạ, vừa nguyên sơ, vừa vĩnh cửu. Rêu không có rễ, nhưng lại bám chặt vào đá. Không có thân cành, nhưng lan rộng như một tấm thảm. Không có tiếng nói, nhưng lại kể những câu chuyện cổ xưa hơn bất cứ cuốn sách nào từng được viết ra.
Thế giới của Rêu là một vùng giao thoa giữa cái hữu hình và cái vô hình. Nếu nhìn từ xa, Rêu chỉ là một lớp xanh nhạt, một mảng màu lặng lẽ trên nền đá xám. Nhưng nếu cúi xuống thật gần, ta sẽ thấy một hệ sinh thái thu nhỏ, nơi những sợi tơ mềm mại vươn lên, đón lấy ánh sáng đầu ngày. Rêu không chỉ sống trong không gian – nó còn bám vào ký ức, len lỏi vào những vết nứt của thời gian.
Tôi gọi Rêu mang một diễn trình với tên gọi “biên niên sử”: một cuốn sách không cần giấy mực, nhưng lưu giữ được những gì đã qua. Một hạt rêu nhỏ bé có thể mang theo nó câu chuyện của hàng trăm năm. Nó lớn lên trên bề mặt những công trình cổ, trên đá núi, trên mái ngói, trên những phiến đường rêu phong của một thành phố cũ. Nó ghi lại dấu vết của từng cơn mưa, từng đợt nắng, từng trận gió mùa.
Và như thế, Rêu bước vào cuộc đời tôi như một chứng nhân lặng lẽ nhưng không thể nào lơ đãng. Cùng với Thời gian, Rêu tồn tại trong một vũ điệu chậm rãi, không màng đến sự hối hả của thế gian. Tôi trở thành người chứng kiến: không, đúng hơn là kẻ lang thang giữa những lớp ký ức thời gian mà Rêu lưu giữ, cố gắng hiểu những gì mà nó muốn nói.
Nhưng liệu Biên niên sử Rêu có thực sự là một câu chuyện thú vị? Hay chỉ là tôi đang cố gắng tìm kiếm ý nghĩa trong một thứ vốn dĩ vô ngôn?

Kiến trúc sư Hồ Viết Vinh, Huế 2025

Evoking the tranquil undulations of the river a symphonic concerto of colors whispering the poetics of the natural world. The geometric shapes, with their curves and angles, juxtapose the organic with the mathematical, creating a visual sonnet that blurs the lines between the ephemeral and the eternal.

Ho Viet Vinh

In the bustling urban rhythm of Phan Xich Long’s vibrant food street, Vinhho Art Studio, the sanctuary of self training – painter Ho Viet Vinh, nestles quietly in a small alley typical of Saigon. The surrounding air hums with the everyday sounds of urban life and the rich aromas of street food delicacies.

Inside the compact studio where the artist crafts his paintings, everything appears orderly. The space is adorned with a variety of experimental works, each reflecting his diverse artistic journey. At the center of the room stands an old, slightly tilted wooden easel, holding an unfinished painting. The bold and uninhibited strokes on the canvas mirror the essence of the artist himself.

For those fortunate enough to explore the evolution of Vinhho’s artistry from his earliest days, each painting tells a distinct story, conveying profound messages about life, humanity, and especially nature. Through his brushstrokes, Ho Viet Vinh channels the most authentic emotions, inviting viewers to share in his perspective.

While the city outside thrums with its noisy, dynamic energy, this small studio offers a serene haven – a private world where Ho Viet Vinh and his collaborators dedicate themselves to crafting works of art that contribute to celebrating the breathtaking beauty and wonder of Vietnam.

The Dragon d’Annam is a place where the mountains and the sea come together, standing between the South and the North, the land is high, the mountains and rivers are surrounding. In waterways, there are Thuan An and Tu Hien the mouth of the sea bay,  which are deep and dangerous; by road, Hoanh Son and Hai Van gates are blocked; The great river opens  the front, the high mountain protects  the back, the adoration dragon and guard tiger, the place is solid, it is arranged by heaven and earth, it is truly the king’s capital.

Source: According to the national history of the Nguyen Dynasty

Description
Exucuted in April 2020
Style
Lyrical Abstract
Technique
Acrylic on Canvas
Dimension
97W x 130H x 4D cm

The authenticity of this work has been confirmed by the HVV Architect & Partners. A certificate of authenticity maybe delivered by the Company upon request to the buyer.

Vinhho Biography
Ho Viet Vinh is a Vietnamese architect who graduated with a Bachelor of Architecture degree in 1995 from the University of Architecture Ho Chi Minh City, Vietnam, where he received an award for creative design in his final year. He is a Registered Architect in Vietnam, a Registered Urban Planner in Ho Chi Minh City, and a member of the Association of Architects and Urban Planners of Vietnam.
Vinh’s career began in 1995 with participation in several design competitions in Ho Chi Minh City. That same year, he became a lecturer in the Urban Planning Department at the University of Architecture.
In 1998, he won second prize in the international competition organized by the Summer Workshop of Cergy-Pontoise, France, with the theme “Ho Chi Minh City and the Saigon River.”
In 2005, he was awarded a special prize in another international competition by the Summer Workshop of Cergy-Pontoise, France, for his project “Can Gio Emotional City.”
In 2010, he participated in the U.S. International Visitor Leadership Program (IVLP) focusing on Sustainable Urban Planning.
In 2015, Vinh was selected by the Lebadang Creative Foundation to design the Lebadang Memory Space Museum in Hue. During this time, he also became the Director of the Fund.

At 4:30 p.m. on February 28, the Trịnh Công Sơn Park in Gia Hội Ward, Huế City, will host a significant event—the unveiling of a bronze statue of Trịnh Công Sơn, sculpted by the late artist Trương Đình Quế (1939–2016). This bronze statue, weighing 500 kg, stands 170 cm tall, with a width of 230 cm and a depth of 160 cm. Its design exudes a sense of intimacy and familiarity.

The project is the culmination of years of dedication by Mr. Lê Hùng Mạnh from Gia Hòa Company in Ho Chi Minh City. The journey to place a statue in a public space was far from simple, but his passion for commemorating artists didn’t stop there—he dreams of creating similar tributes for other cultural icons, such as the poet Bùi Giáng.

The choice of Trương Đình Quế as the sculptor was deliberate. He was one of Vietnam’s most renowned visual artists, celebrated with numerous national and international accolades. Born in 1939, the same year as Trịnh Công Sơn, Quế graduated from the Gia Định College of Fine Arts in 1960—the very year Trịnh penned his first song, Ướt Mi. This synchronicity in their lives laid the foundation for a deep friendship rooted in a shared passion for art and music, allowing Quế to capture the essence of his lifelong friend with ease.

The statue took a year to complete at Giang Điền Waterfall in Đồng Nai. Reflecting on the creative process, Mr. Mạnh shared, “Trương Đình Quế and I agreed on how Trịnh should be depicted—as you now see him, leaning forward, as if gazing into a book, or perhaps into his own soul. Naturally, we couldn’t forget the ‘companion’ who stayed with him from ‘the day my mother bore me into this life of burden’ to ‘the noon field, where we met and vanished into the void’—his guitar.”

“The image of Trịnh bowing is intentional,” Mạnh explained, “and it aligns with his own lyrics: Cúi xuống. Cho tình dấy lên. Cho da thịt mềm. Cho cơn mặn nồng ngất lịm. Cúi xuống. Cho đời lãng quên. Cho mây trời chìm. Cho đêm mở hội âm thầm.

When designing the statue’s base, we collaborated with architect Hồ Viết Vinh, who envisioned it as an eye—650 cm long, 350 cm wide, and 55 cm high. This symbolic choice reflects Trịnh’s longing for human compassion: Những con mắt trần gian, Xin nguôi vết nhục nhằn. Những con mắt muộn phiền, Xin cấy lại niềm tin. Even when inspired by Bùi Giáng’s poetry, Trịnh expressed hope and tenderness: Con mắt còn lại nhẹ nhàng từ tâm. Nhìn em ra đi lòng em xa vắng. Con mắt còn lại là đêm tối tăm. Con mắt còn lại là đêm nồng nàn.

This collaboration between sculptor Trương Đình Quế and architect Hồ Viết Vinh embodies the essence of Trịnh Công Sơn’s music—where visual art and sound converge in a harmonious message of love and humanity.

Today, as we gather to unveil this statue on Trịnh Công Sơn’s birthday, it is more than a celebration—it is the realization of a dream. With hearts full of love for his music, Mr. Mạnh and his team gift this statue to the city of Huế as a gesture of gratitude.

“With this sincere endeavor,” Mr Lê Hùng Mạnh remarked, “we are grateful for the support from the Huế City authorities and the province of Thừa Thiên-Huế, who have made this possible. Today, as the statue of Trịnh Công Sơn stands in the park bearing his name, we believe it brings joy to millions across the country who remember him. And surely, our gifted musician and his dear friend, sculptor Trương Đình Quế, would be pleased. For in life, they shared many moments of artistic communion, exchanging ideas and toasting to the beauty of creation.”

See the original article at this link.