“This is a project to preserve and develop the Mang Thit traditional brick and masonry heritage area, combining production space and water landscape. This area is planned into a contemporary product with different functional layers: preserving ceramic tile craft villages, expanding living space along the river and recreating the unique river landscape of the South. The multi-level dike approach helps maintain riverside living space, supports ceramic production and also develops eco-tourism, turning the area into a cultural and experiential destination for visitors.”

HVV Architect & Partners

Client:
Board of Civil and Industrial Construction Project Management – Vinh Long province People’ s Committee
Location:
Mang Thit dictrist, Vinh Long province, Vietnam
Size:
3.060 hectares
Services:
Masterplan
Status:
Approved on 2024
Team:
HVV Architect & Partners –  Urban Planning Institute

Intro
Mang Thit District, Vinh Long Province, is one of the few remaining localities in Vietnam that preserves a unique and extensive architectural complex alongside a traditional craft. This architectural ensemble comprises nearly 1,000 domed kilns, spanning over 3,060 hectares along the banks of the Thay Cai, Hoa My, Cai Nhum canals, forming a southern arc that extends to the Nhon Phu and Hoa Tinh canals within the district. This is truly a valuable treasure, shaped by over a century of cultural and technological exchange between Khmer, Kinh, and Hoa people, resulting in a distinctive architectural heritage and traditional craft. However, this treasure has not been fully recognized or appreciated.
Over the past decade, more than 1,000 kilns have been demolished, and the remaining kilns are deteriorating and face the imminent threat of complete destruction. Given this alarming situation, it is imperative and urgent to conduct research and develop solutions to preserve and promote this architectural complex and traditional craft.

Learning from the Past and Looking to the Future

Over 100 years of formation and development, the structure of the craft village ecological system have established with 6 main space, including: surface water, brickyard system, yards, storage, fruite garden and house, fields.

The system of canals and land has formed a distinctive, easily recognizable landscape. Rivers and canals flowing from Co Chien River along Thay Cai canal, going deep into agricultural areas, have determined the main landscape axes; Residents live along the canals, inside are fruit and vegetable gardens, and deeper are fields and aquaculture areas. The ecosystem associated with the brick kiln area has created a closed process in the production of Mang Thit red ceramic. This is a characteristic and value that needs to be preserved and promoted.

Adaptive conservation in continued development

Adaptive conservation in continued development – preserving the existence of production space heritage, symbiotic ecological space, and Southern garden development cultural heritage; These valuable materials and spiritual values ​​have been perfected during the development process, providing a contemporary breath and improving the quality of each space, gradually improving the quality of life of local people, so that their politics will gradually transform, reviving the soul of the place.
The heritage of Mang Thit – known as The Red Kingdom will be an interesting destination in Mekong Delta and should not be missed in your lifetime.

Zonning plan

No.1. Mixed-Use Development (Services – Tourism – Rural Residential): Approximately 347.91 hectares, with primary functions including residential development, mixed-use development (tourism services – rural residential), mixed-use development (services – urban residential), public services, public utility green spaces, specialized green spaces, other technical infrastructure, transportation, agricultural areas, and other functions.

No.2. Mixed-Use Development (Services – Urban Residential) along Co Chien River: Approximately 250.05 hectares, with primary functions including residential development, mixed-use development (services – urban residential), public services, public utility green spaces, specialized green spaces, heritage and religious sites, other technical infrastructure, transportation, agricultural areas, and other functions.

No.3.  My An – Hoa My Residential Area: Approximately 415.50 hectares, with primary functions including residential development, mixed-use development (services – urban residential), public services, public utility green spaces, specialized green spaces, heritage and religious sites, other technical infrastructure, transportation, agricultural areas, and other functions.

No.4. Cai Nhum Eco-Residential Area: Approximately 150.31 hectares, with primary functions including residential development, public services, public utility green spaces, other technical infrastructure, transportation, agricultural areas, and other functions.

No.5. My Phuoc Eco-Resort: Approximately 106.43 hectares, with primary functions including residential development, public services, public utility green spaces, tourism development, other technical infrastructure, transportation, agricultural areas, and other functions.

No.6.  My Phuoc Eco-Residential Area: Approximately 253.76 hectares, with primary functions including residential development, public services, public utility green spaces, specialized green spaces, heritage and religious sites, offices, other technical infrastructure, transportation, agricultural areas, and other functions.

No.7. Nhon Phu Eco-Residential Area: Approximately 309.78 hectares, with primary functions including residential development, public services, public utility green spaces, heritage and religious sites, offices, other technical infrastructure, transportation, agricultural areas, and other functions.

No.8. Hoa Tinh Eco-Resort: Approximately 198.23 hectares, with primary functions including residential development, mixed-use development (services – urban residential), public services, public utility green spaces, heritage and religious sites, offices, transportation, agricultural areas, and other functions.

No.9. High-Tech Agriculture Area: Approximately 1,028.03 hectares, with primary functions including residential development, public utility green spaces, tourism development, other technical infrastructure, transportation, agricultural areas, and other functions.

Master plan

The plan identifies 3 main development axes including:

• Mang Thit brick and ceramic kiln space at the center combined with service corridor along Co Chien river, agricultural experience corridor – traditional garden village along Cai Nhum river, high-end resort tourism corridor in the South;
• Mixed service axis – contemporary residential area in the Southern region of the West;
• The Eastern resort tourism axis will create motivation for development of the entire region.

The resort spaces around heritage area (My Phuoc eco resort, My Phuoc Eco-Residential area, Nhon Phu Eco-Residential Area, Hoa Tinh Eco-Resort) offer a variety of ecological, cultural and agricultural production experiences, taking the ceramic brick kiln area as inspiration for creativity.

With 5 gateways – 5 landscape architectural spaces typical of the Southern rivers and the ceramic brick kiln area, it will be an unforgettable, impressive identification point when visitors approach the ceramic brick kiln area by both Water transport and road transport.

Conclusion

This is a project to preserve and develop the Mang Thit traditional brick and masonry heritage area, combining production space and water landscape. This area is planned into a contemporary product with different functional layers: preserving ceramic tile craft villages, expanding living space along the river and recreating the unique river landscape of the South. The multi-level dike and heritage landscape approach helps maintain riverside living space, supports ceramic production and also develops eco-tourism, turning the area into a cultural and experiential destination for visitors.

Cơ duyên cho Tôi gặp và hóng chuyện với danh hoạ Hồ Hữu Thủ: là một trong những tên tuổi hàng đầu của nền mỹ thuật Việt Nam.
Thế giới nghệ thuật của ông là sự kết hợp độc đáo giữa các hình tượng quen thuộc: thiếu nữ – hoa sen – mảnh trăng. Những hình ảnh này không đơn thuần là miêu tả hiện thực, mà đã được chọn lọc và biến thành những biểu tượng mang vẻ đẹp tinh khiết, hồn nhiên trong một không gian vừa thực vừa siêu thực.

Ghé thăm triển lãm “Hội hoạ trừu tượng Cha và Con” tại TAA Gallery, Tôi như được gặp lại phong thái nho nhã pha lẫn minh triết nơi Ông.

Một lối mòn hun hút dấu mình trong màu xanh thẳm cuối cùng của cánh rừng Tràm.
Chẳng ai có thể biết cuối con đường sẽ dẫn đến đâu,
ấy thế mà vẫn mang trong sự bí ẩn và quyến rũ đến kỳ lạ.
Mong manh luôn là lằn ranh giữa thăng hoa và lụi tàn:
ở đó vẻ đẹp xuất hiện.

A trail, vanishing into the deepest green at the far end of the Melaleuca forest.
None can tell for certain where it might lead, and yet it holds within itself a most singular charm and mystery.
How delicate is the line between flourishing and decay:
it is there that beauty reveals itself.

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.

Capturing The Movements Of The Heart: The ‘In Motion’ Exhibition By Ho Viet Vinh

Architect Hồ Viết Vinh presents a new and relatable artistic experience to the youth of Saigon, blending abstraction with familiarity.

Once upon a time, three monks observed a flag waving in the breeze and engaged in a debate. The first monk remarked, “The flag is moving.” The second countered, “The flag itself cannot move; the wind is moving.” The third monk posited, “Both the wind and the flag move in harmony.” A fourth monk, passing by, declared, “Neither the wind nor the flag truly moves; it’s our perceptions that shift.”
As I explored Hồ Viết Vinh’s “In Motion” exhibition, I felt a mix of emotions and thoughts. Each artwork was filled with different colors and hinted at movement, even though they were still pictures.
Every painting by Hồ Viết Vinh is a visual delight. While his intent might have been to capture the essence of motion in nature, he achieved something profound: a reflection on the inner movements of our souls.

Walking Amidst the Colors

I visited the exhibition on a Sunday afternoon in the vibrant and spacious Audi Charging Lounge. The first thing that struck me was the ingenious arrangement of paintings interspersed within the existing layout of the Audi Charging Lounge – primarily a venue to display and charge vehicles.

In front of the art display area stood an Audi car, embodying the spirit that Architect Hồ Viết Vinh captured in his paintings: the relentless transition of all things. This particular notion resonates with the theme of “art in motion” – the fusion of art and movement, the convergence of paintings and cars, as the artist shared during his talk at the exhibit.
Eighteen paintings were showcased in the space. Some were mounted on walls, while others seemed to “fall” from the ceiling, unexpectedly appearing before the viewers, illustrating the serene shifts of nature.
Among these “falling” artworks, clusters of three or four paintings merged. The movement of these pieces wasn’t merely vertical from the ceiling downwards but also spanned horizontally, unfolding right before the viewers. Additionally, these “falling” artworks leaned against one another, forming pairs that seemed to hover in the air.

Beyond these elements, there appeared to be no specific intent in the sequential arrangement of the paintings, whether front to back or outer to inner. True to what Architect Hồ Viết Vinh mentioned in his interview with Vietcetera: “Relax, let your guard down, and take your time with details that captivate you. If none do, it’s alright to move on.”

Experiencing Art Beyond Just Sight

The first time I saw these paintings, it was a delightful and captivating confusion, and I think many young people who aren’t familiar with art felt the same way.
Almost all the artworks did not depict any tangible objects. Viewers might struggle to grasp solid subjects or sharp features if they cling to traditional aesthetic experiences such as realism or the expectation that every object must be explicitly depicted.
To truly appreciate Hồ Viết Vinh’s art, one needs to feel it in ways beyond just sight. In front of certain paintings, after meticulously following every brush stroke, I had to close my eyes to visualize and organize my perceptions. The essence of understanding his art lies in engaging multiple senses and individual experiences.
What really caught my eye in his artwork was how he played with colors. Some colors smoothly flowed into each other, while others looked intentionally uneven, giving the impression of swirling winds and twisting waves.

The painting that struck me the most, “Untitled 18,” seemed to involve not just paint but also wood – or what seemed like wood. I say this because the canvas isn’t truly flat: upon close observation, you can discern the coarse wooden texture emerging from it. To me, this painting exploits light and material to play with the viewer’s perception.
From a distance, it feels as if you’re looking down a long corridor illuminated by a sidelight, with the soft yellow glow of a house at the end. However, as you draw nearer and notice the rough surface, the perception of depth fades, and the corridor seems to vanish, leaving behind intertwined hazy squares.

The Untitled: Letting the Work Speak for Itself

On the day of my visit to the exhibition, architect Hồ Viết Vinh had a sharing session with the media and attendees. He talked about his artistic endeavors, the confluence of architecture and fine arts, the motivations behind the exhibition, and his insights into his creations.
The highlight of this sharing was his revelations about drawing inspiration from nature and the artistic ethos he adopted. Hồ Viết Vinh expressed a deep resonance with the artworks of Caspar David Friedrich, the emblematic painter from the Romantic era.
Vinh’s pieces echo the evocative style and liberality of nature portrayed in Caspar David Friedrich’s paintings. He saw harmony in Friedrich’s illustrations, emphasizing humanity’s humble stance against the overwhelming majesty of nature.
This sentiment is palpable in Vinh’s “Untitled 5” – a portrayal of the ocean that captures human awe and humility before nature’s magnificence, reminiscent of Friedrich’s “Wanderer above the Sea of Fog.”

He also shared the reason why all the paintings are untitled. He didn’t want them to be confined to a predetermined meaning, aiming instead for viewers to find both familiarity and uniqueness in their interpretations. I find this approach intriguing.
Indeed, it’s always insightful to admire a painting and then hear the artist’s thoughts on it, understanding the emotions and intentions behind the colors and strokes. Yet, I often found that my interpretations didn’t fully align with his explanations.
While observing his work and listening to his insights, I began to grasp his artistic intentions. But still, I found myself resonating with emotions that he might not have anticipated.
This disparity might be the essence of art: it’s not about uniformity but about individual interpretations, as long as there’s mutual respect. This seemed to be the core of the discussion: listening, understanding, and appreciating the diversity of perspectives on art, life, and nature.

From 1^st to 10^th September 2023, the ‘In Motion’ art exhibition was held at Audi Charging Lounge, 6B Tôn Đức Thắng. Jointly organized by Lotus Gallery and Audi Vietnam, it was supported by Vietcetera, Saigon Cider, and Cara Lighting, drawing over 2,000 attendees.
The artworks remain displayed at Lotus Gallery (1^st floor, Cspace Center, 12-13 N1 street, District 7, Ho Chi Minh City) until 24^th September 2023, as part of ‘Olfactory Odyssey – Beyond Perfume,’ blending visual arts with fragrance artistry.

The original article is of Vietcetera via the link.

Project:
U Minh Thuong National Forest Ecological Experience Area
Location:
U Minh Thuong district, Kien Giang province
Area:
19,819 hectares
Services:
Urban planning, Architecture, Interior
Status:
Approved the detailed planning project at scale 1/500, 2019
Approved the project investment for the construction, 2020
Under construction
Team:
HVV architect and partners – CREA

Characteristics
This is the former Provincial Party Committee Headquarter during the anti-American war, aimed at educating younger generations about revolutionary traditions and honoring the ecological and aesthetic values of U Minh Thuong National Forest in Kien Giang Province.

Design Principles

1. Respect the existing landscape characteristics while creating diverse spatial arrangements to accommodate the various functions of the overall project.
2. Inherit the cultural heritage values of Southern Vietnam through the development of a resort area that harmonizes local cultural elements with the natural landscape.
3. Ensure vibrancy throughout the overall spatial design, maintaining solemnity in the central area while providing privacy and seclusion for functional areas such as eco-experience resorts, recreational areas, and spaces for outdoor activities reflecting Southern Vietnamese lifestyles.
4. Protect the environmental landscape by preserving the existing ecological scenery, employing on-site earthworks, and utilizing local materials.

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

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:

Liệu kiến trúc có còn khả năng dẫn dắt con người chạm vào bản thể tự nhiên, nguyên sơ của họ – thay vì chỉ chạm vào những bản sao hoàn hảo nhưng vô hồn của công nghệ?

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

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