SAIGOtl tlODERtllST

Fifty years of Architecture

Thierry Delfosse
 ACKNOWLEDGMENTS

Many thanks for their help and time, their gentle conversation and to have granted me
theuseoftheirpreciousarchives
Claire Strohm. Marie·Christine Scheou, Nguyen Duy Tam and Nguyen Duy Thanh,
C6 Van H~u, the dedicated women of the National Archives . The Industrial Arts faculty
of TOT University, The Library of the University of Architectu re and my wife

Archives of Claire Strohm {ACS)

Archives of Marie-Christine Scheou (AMCS)
Archives of Nguyen Duy Tam and Nguyen Duy Thanh (ANDT)
Archives National 2 {AN2)

All documents are genuine

Contemporary photographs and drawings by the authors (A)
All rights reserved
Contact saigonmodernist@gmail.com
 TABLE OF CONTENT
Introduction

First thoughts on a tropical architecture .................................................................... .

-Petrus KY
- The style "lndodlinois"
- "Art Deco" in Saigon

The first Modern .................................... ................................................... . ............... . 17

-PTTrecette
-ChqOuikindergarten
- Clinic Dejean de la Batie
-Lalung BonnaireHospital

Modernity ..................................................................................... ... .................. 27

-ArthurKruze
- Far East French Architects and the board of Architects
FrenchArchitectsofSaigonin 1942
. LouisChauchon
. PaulVeysseyre
Rene Nguyen Khac Scheou
- NativeArchitectsofSaigonin 1g42
NguyenwmL1.1u
. Hoang H1.1ng
- Mysterious similarities

The Nam KY Mid-Century Style ................................. ............................................... 91

- Nguyen van Hoa Firm
Pham van Thang
. Nguyenauang Nhac
-TOCOngvan
-NgOVi!tThv
-HuYnhKimM<lng

The "Modern Traditionals" ....................................................................................... 130

-Nguyen Ba Lang
-TheXtll9ipagoda
-GenerallibraryofSciences

Modern Standards .................................................................................................... 139

-TranE>lnhQuyen
-C6vanH~u

lntemationalStyle ....... .. .... ........ . 145

-VO T6ng and TOn That cang
-Levan Ulm

Architects in Saigon in 1966167 ................................. ...................... ....................... 150

MaterialsandFinishes .
Saigon is a peculiar city. It is bonded to the course of the contemporary World History; it
was sometimes the Capital City, sometimes neglected. The successions of regimes in a
short period of time have left their imprints on the city. Their stories are told along all the
roads , not every time for the best, but always arouse questioning. So many images, so
many words made the newspapers front page. so many partisan positions, alike the
noisy city traffic today. But to decipher the facts invariably exposes to have to take sides.
Every written text , even dealing with urban plannlng or architecture is partisans. The
demons are still there.
The purpose is here to focus on the modernist buildings between 1925 and 1g75_
FiftyyearsofarchitectureinSaigonCity.

Saigon was the first Capital City of Indochina and received all attentiveness "The Pearl"
of the French colony in the Far-East may request The urban plan is drawn with wide Av-
enues deserving neighbourhoods with predetermined functions . Splitting from the har-
bour, the heart of the city, they reached , just next, the business centre with all the banks.
Further on South-West they joined. along the arroyo, the Chinese city of Cholon (Ch()'
L&n) . On North-West the avenues were fading away on the hill with the villas district. The
centre was designed with a superimposed grid of tree-lined wide roads oriented along
prevailing winds to try to cool down the heat. While the City Hall and the Cathedral draw
the society bases and the Opera House supported the culture, the hotel's terraces and
the luxury shops of "rue Catina!" (TV Do IFXmg KMr) invited to stroll

The colonial architecture in Indochina was a representation of France. The buildings are
in the styles of those in the "Metropofe" at the time: "Beaux-Arts". Historicist. Eclectic or
vaguelyNeo-Classical.
But climate adjustments had to be implemented. Buildings have roofs with large over-
hangs and peripheral circulation in wide corridors, like in the General Resident Palace,
as prescribed by British pioneering research on tropical architecture

The villas adopted characteristics of Alsatian style, without fa~de timbering but with typ-
ical steep roofs and protuberant overhangs. The style was consistent until the end of the
twenties. The building materials are mainly terracotta. Bricks, roof tiles and pavement,
were from an industry already present in Vietnam. Even the upper floors were usually
made on brick vaults
Traditional terracotta tiles were used outdoor while the "cement tiles", also wide spread
in the "Metropole", with an anthology of patterns and colours were the perfect reature of
the colonial house. Their productions were made directly in Vietnam by French compa-
nies bringing the technotogy and specifications compliance.

There is still nowadays a cement tiles production in the Hue (Hui) region. This durable
product was used for a very long time in building construction. It was even later adapted
to a modern soberer trend with just solid colours surfaces. For the fai?de , finishes prod-
ucts include South of France imported ochre pigments and time wash before a produc-
tion in the colony. The colour harmony is from that yellow orange coating and a slightly
blue green chimes , the "French b!ue". for woodworks paint. All of it sun washout and bhs-
termg from monsoon moisture.

The "compartments". represent a third main type of constroction in the city. Juxtaposed
one by one to form long strips of sometimes several hundred meters, they punctuated
the street with the arch of their identical facades. If they originate from the Chinese loog-
houses they are much shallower than in Singapore or even in Hoi An.
The first development slowdown of the City of Saigon occured when !he seat of the Cap·
ital City was transferred to Hanoi in 1902 by Mr. Paul Doumer, General Governor from
1897 to October 1902. Th is transfer to a northern city was to meet the main objectives
of the colony : the trade with China and a strategic nearby position. Already the Mekong
expedition of Doudart de Lagree and Francis Gamier in 1866 was an attempt to find a
passagetotheNorthandtheposslbilitytoopenatraderoute. (1)
As Hanoi became the administrative centre , Saigon had to undergo decisions and
trends developed elsewhere. This decision was the origin of this persistent bipolarity in
Vfetnam until today, even if older sources could be found . Despite the development
slowdown of Saigon, mostly in the first two decades of the twentieth century and with a
situation to its detriment, commercial activity remains important.
The ships coming from France first docked in Saigon. From the port of the city, travellers
and merchandises were shipped by land and sea to all the other towns of the colony and
Hanoi is still far away. French settlers present in the country for the import-export and
farmland development remain mainly in the southern region, for example the rubber
plantations in "terres rouges" (red clay region) or "Michelin"
A boat arrival was an event not to be missed but every evening, to collect the latest infor-
mation and the juicy gossips, the terrace of the "Grand Hotel de la Rotonde" (disap-
peared} quay "Le Myre de Villiers" (Bach DJng I T6n Dt/'c Th.4ng) , facing the harbour,
was filled out and only to make competition with the "Hotel Continental" terrace (a~ays
present) facing the Opera. The City continued to grow.

Hanoi had also the upper hand on architecture development. And it is in this northern
capital that Ernest Hebrard de Villeneuve developed his theory of architecture "lndochi-
ooise" in the twenties.

(1 ) "Voyage enlndoch•ne' Franc:sGamlef. \873, Ubrllirie Hachetta&Co. Pan1).

The only significant building of this style ln Saigon is the Gallery.Museum "Blanchard de
la Brosse". The future "Vietnam Museum History" opened inside the "botanical garden
and zoo" in 1929. Auguste Delaval was the architect. however. Hebrard. influential
figure , wasactuallybehindthescene.
But this fusion of Western and Oriental style came too late and in a too traditional way
to have a significant impact on building construction around the country.

Saigon rather took an Art Deco blush wrth the newcomers in the City. the apartment
buildings. The 213 rue Catinat (TV Do /DOng Kh&r) (demolished) and 26 rue La
GrandiCre (Gia Long, LY Tv Trong) {on probation), were luxuriously greeting embassies
and the Gotha. But the style is often misunderstood and is rarely pure or inspired. For
example, the head office buildings of the rich Chinese merchant family "Hua Bon Hoa"
(uncle Hoa) (1845-1901)were built between 1929 and 1931 by the architect Rivera. It is
the today Art Museum. steps away from the Ben Thanh market (Ctw Ben Thanh) . They
miss their target and represent another "Eclectic" example where Art Nouveau and Deco
wereaddedtothepanel.

Even if labels are easy to apply, a house is not Art Nouveau because there is a curve
and counter curve in the window trim. but way more seldom, because the volumes re-
veals an "organic" arrangement. Neither a house is Art Deco because it has a frieze with
geometric shapes and hexagonal windows on the facade
The family Hua Bon Hoa was very active in the property market. The Hotel Majestic was
in their portfolio and the villas of Ly Thai To (LY Thai T6) their private residences. They
also made large donations for the construction of the polyciinic of Saigon and
Lalun9-Bonnairehospital.
 A.
lt is interesting to notice, by the time. buildings were not signed by the architects. The
constructions were labelled by investment companies as "Credit foncier de l'lndochine".
by engineering firms as " Brossard & Mopin" and "Lamorte" or directly from the state's
Public Works. Neither architects had good reputation {(2) Lang Bian hotel Dalal). At the
time expatriate investors and architects still seemed attached to decorative effects in
their constructions but they were still seeking models for the fast growing city. The au-
thority also sought a style for the whole colony without much inspiration. Oalat under-
went anecdotal architectural experiences with the review of various styles of the French
regions ..

(2)" Theho1el, whoseworkh<tdbeenabandooedasaresultofchangoesin!lleplans, willbe!heobject

of a competition fOf its compjetion At least, ~ is ro hope. u is ln9dmiss>ble to allow pls111 and construction
projeds to be made by 1he Public Wo!lc Department. OfliClal arehilecll have given Indochina and, 111 pat-
tieula<. Annam tooma11y prooh oflhetr ineompe1enee, whe1111 was not indicstiorls of ce<ebral dis1u<banee
ln oerta111 1ncliVJCluals, solhatlheyeouldeonbooetobeeotrustedonlyformaintenaneework. 1t f1 1>meror
comtructions IO be addressed to responsiblll architects for ten years according IO lhe law and who, buflcl-
ing in lhe"Mat>oor (insane) style, ris~ their repulaU011anclthl!irclientele _-
"Aulangbiang" parHenriCuche<ousset, L'tveil6eonomiqoodel'lnclochine. 20octobre 1918
wwwen11eprises-colonlales.fr
Unlike modernist British architects forced to go to the African and Indian continents to
find sites for their new experiences (Jane Drew and Maxwell Fry). the French vanguard
could find a stage in Paris, magnetic, centre of fashion, or even somewhere on the rest
of the French territory.
Only a few were keen to want to express their Art in a so distant territory. And Indochina
was not, either, a settlement colony. Modern architects didn't push the venture into the
China Sea before the 1929 crisis. But the modern trend was then to be generali;i;ed and
adoptedbycivil, militaryandprivatebuildings.
The modern villas filled the empty plots and extended to form one with Cholon in 1931 .
This period should be considered as the second phase of colonial architecture in Saigon
City. Taking more account of the tropical climate specificities. the architects formulated
creative as aesthetic solutions. Clean lines, but volumes with complex geometry, even
precursor of the American "streamline" and reinforced concrete but with an Asian touch
Architectures are much more personal, almost every time signature. So as with wine , it
is temptirig to tiy, by the shape of a cornice. the treatment of a surface or the frame of a
window, to recogni;i;e the vintage and the cellar master.

Architects were people who took the decision to be in "lndochine", to be part of its weav·
ing. They were also, as Leo Craste, promoting not only new architectural visions and
technologies. but were humanist. They were architect of progresses and improvements
for the living conditions of the population according to the latest advances ol science at
that lime. They built a large number of hospitats, clinics and dispensaries and a lso all
si;i;es of sciioo ls but to the new standards of hygiene and safety. And if some architects
seem to have a predilection for the Southern Paul Veysseyre was certainly one of them ,
working only In Saigon and Oa Lat. He was the finest and most prolific in all registers
public. military or private. schools, hospitals, large apartment buildings and numerous
villas. Some villas are prestigious projects as the Palace of Emperor Bao Dai and the
Residence of the General Governor in Dalal

With the creation in Hanoi of the School of Fine Arts of Indochina ("l"Ecole des
Beaux·Arts d'tndochlne" or EBAI) by Victor Tardieu in 1925, a new generation of artists
and later architects would be trained directly in Indochina. This new adventure, full of
suspense, was to reveal most of the persona lities of the following years. Starting with
Arthu r Kruze . the cornerstone of the school of architecture in Indochina; conducting its
successive movements to Saigon and its development until the school of renown that
it is today. Followed by all the natives, the ones graduated from the EBAI. with a
certificate recognized by the French government, and the others trained in Paris In the
latefortiesandearlyfifties, allfuturerepresentativesoftheSouthernarchi!ectural
renewalor1945 to1975.
Two events were to change the situation in Sa lg on. The most Important was the creation
of the Frenc h National Board of Architects . It transformed the industry not only in the
"Metropole" (France) but also in the colony. The implementation of this Board generated
an important "ballet" until 1944, for the regularization and accreditation. but it was also
clearly naming the future contributors. French and freshly graduated natives, for the de-
cades to come
The second event is the liberalization of public procurement. Or in other words , private ar-
chitects were able to make submissions for public building construction. A market previ-
ously only reserved to architects appointed by the Public Works department.

New types of finishes had to be adopted to correspond to the significant visual changes
in the new building aesthetics. Quite logically, to match the concrete structures, pebble
wash with its elfposed aggregates was the perfect match. The decorative finish, with dif-
ferent co lours possibilities and its typical joins would be a key feature of the new facades.
(Today out of fashion , while a simple high pressure cleaning could restore the surface to
its original freshness despite these eighty years of age, exposed aggregates are now
coated and painted. The resistance of the new finish is about two to three years at most.)
Similar visually, the Terrazzo with its marble, granite, or coloured glass ships exposed was
often present on floors and wall and later on prefab elements. The "Gres Cera me" ("stone
ceramic") is an industrial mosaic (2x2cm) and small tiles (10x10cm) with their typical
tones of colours. Jewel of the French industry, they were covering many modern building
floors. sometimes famous . till far into the seventies. Nevertheless the repair of those fin-
ishes is problematic because of their speciffC implementation and the expertise disap-
pearance.

A.
The French government indecisive po!icy in the thirties towards status improvement for
indigenous have seen the creation of nationalist cells throughout the country. Most dis-
satisfied with the too slow progress and lack of assimilation for the natives into the Indo-
chinese society are young intellecluals graduate in French High Schools and Universi-
ties. On their return, these students do not find employment opportunities up to their ed-
ucation levels and find themself confined to menial jobs. Mi)CeS were rare and were not
confo.rming to the societal reality of a colony ruled by major companies.
The Second World War was to shake the colony. Japanese in all the territories under
their control pushed the nationalist groups lo rebel against the colonial power. Indochina
was no exception. Even before the 1945 armistice signature numerous incidents broke
out in the whole country and Saigon was not to be spare. This was the beginning of the
First Indochina War from 1946 to 1954, the dirty war. W'here, all the different camps
showed their worst faces.
Beside some clerics and hospital staff. in 1956 all the French had left "Indochina".

The modernity is a European concept with input of France from Le Corbusier to the
"UAM" (Union of Modern Artists). of Belgium from Henri van de Velde to Marcel Lebor-
gne, of Netherlands from Michel de Kier!< to Jacobus Oud, of Germany from the Bau-
haus to Ernst May. of Austria from Joseph Hoffmann to Adolf loos and of Italy from the
Novocento to Glo Ponti. This modernism was to germ, all around the planet in a very
powerful creative dynamic. A vision where every nallon. In the same way, would be able
to write its own particularisms in a dau:ling expression as in Palm Springs. Me)Cico or
Saigon. Before it al! merges In the International Style.

The Second World War had an amaling spring effect propelling the United-States as
forerunner, not only economic but on a cultural stand as well. This incredibly powerful
momentum still influence nowadays the quasi mythical way the C01Jntry may be per-
ceived. It is interesting to notice the succession of the two countries in the path of the city
of Saigon and in the expression of its architectural aesthetics. After the presence of
France at a leading age, the USA, at its acme. drew the perspeclives of an impulse
where nothing seems impossible. How not be innuencecl by this American Embassy. this
amaling exotic white box (3).

All along the fifties, coming back from Paris, a pristine architect certificate in the suit-
case , one by one, they arrived in the suddenly "Vietnam". Beside the case of firm Krule
and Nguyen Van Hoa with the cabinet on Duy Tan that had a direct continuity, a relay
hand in hand. The continuity was indirect. Only the educational back ground, the forma-
tion, stayed. Very quickly, Inside new systems, new decision makers appeared. Contrib-
utors on the both sides of the project table are new and all parameters. the e)Cpectations.
the objeclives. became different. All these elements would give birth to a unique style,
recognilable in a bouquet of individual expressions. And the architects, followed by en-
trepreneurs. were to build and rebuild the city, raced the several population flows whom
expended Saigon's flanks and spread it till the horiwn.

(l) TheArnericanEmbassy wasdesignedbyCurtis&OaV1S Firmin 1965. Aft9rlhebuUdlng ret1blution!o

the Unoted-States. the bulky symbol, dec8ying slnce two decades. was hammered down In 1998 to make
placetolhetyptealnon-ard\Jtectureoftoday's embasslesLOoftentargeted
First thoughts on a tropica l architecture
!t is worth to consider the episode just preceding the generalization of modernism in ln-
docl1ina with The grope. the questioning. of not only the colonial power but also the ar-
chitects themselves. The lime was fast pace. moving and unlque. Architects were reluc-
tant to choose a style, afraid 10 later be labelled "just miss' in their biography. Indeed, in
one decade, between 1920 and 1930. the wind was turning. before indicating the clear
and bgical direction of Modern.
Finally, after a hundred yean;; of industrial revolution . architecture was aligned with tech-
nological and social advances. long live the concrete and the rebarl

Three buildings among the best known of Saigon serve as examples for the introduction
of one of the most notable architects of Indochina at the l ime, Ernest Hebrard, even if he
signed effectively only one of these architectures, he was Involved In the project process
for all the three. These buildings were constructed between 1925, as projects. and 1929
as completion date. They are parts, or integrated parts. of the Vietnamese history.
Those places are not under threat. They kept the same function under names with other
references
Petrus Ky High Sc hool (U H6ng Phong High School) is the oldest and most notorious
high school of the whole country. Following the founding of "Chasseloup-Laubat Col-
lege' in 1674 and the "College of indigenous girls" in 1915. the French Government of
"Cochinchine" decided to continue its program by building a third secondary school but
under the management of Chasseloup-Laubat Committee CoHege. Architect Ernest He-
brard was appointed to draw the plans of the new educational facilities in Choquan (Ch'7
QuAn) district, near Cholon In 1925. And since 1928 it welcomed selected natives stu-
dents on its campus. Requisitioned by the Japanese to serve as a military barracks
during their occupation of Saigon, the school re-opened its doors in 1947. Later. the
school became the theatre of nationalist activities sometimes repressed violently, until
thedeathofastudent in 1950

10
Hebrard, for Petrus Ky High School, applied the same construction type and style, may
be intentionally, as the Chasseloup- laubat College of fifty years its predecessor (1877).
The covered walkway perpendicular to the site entrance with its central core building
topped with a clock is similar. The proportion just flattened , gives good effect. The addi-
tion of two decorative medallions Asian style differentiates from traditional colonial build-
ings and is perhaps the only local touch.
On the general implementation level, the buildings dedicated to the classes are oriented
to show the sun the smaller side or their long rectangle . According to early rules. circula-
tion corridors are peripheral to the classrooms . The outer walls are formed of large flat-
tened brick an;:hes rhyming to the whole composition . The woQdwork of the Qoors 1;1nO
windows Qo not have glazing but are louvered shutters. This closure system allows ven-
tilation of indoor spaces in discretion and was used extensively. The School gives the
SB(:rets of its modernity only after a detailed examination of its architecture. Indeed,
unOer this traO itional skin hides recent methods of construction, with materials and their
typical implementation. The structure, visible from inside the walkway, is reinforced con-
crete. To support the floors. the bricks vaults are reinforced by metal beams and con-
cealed fillings (non-decorative) are also from steel. Surprisingly, the use of metal for
construction was widespread in the colony as in France. Many constructions and bridg-
es were made with engineered precas\ and prefab elements. easy to assemble. manu-
factured by "Eiffel" or · oayde & Pille" (later absorbed by the Eiffel group).

In Saigon. some Eiffel systems. cast iron columns and perforated elements were . used
in the construction of the co!onial infantry barracks in 1873 (partly demolished after been
damaged during the coup against Diem in 1963) and the Military hospital which followed
the same pattern (the Grall hospital still open to visitors).

11
The style "lndochinois"
The twenties hosted some experiences in a research of a specific French colonial archi-
tecture. Ernest Hebrard developed his theory of "lndochinolse" architecture in Hanoi. in
an attempt to break the impasse the government in power was facing on the style for
their major projects stocked in Neo Classic Massiveness. On paper his idea of Western
and Oriental style fusion seems attractive. But the oriental architectural vocabulary was
mostly just a decorative surface on a modern structure. The system suggested by Heb-
rard is similar to the "Beaux-Arts" style in its methodology. As browsing through a dictio-
nary of Styles, just pick out. mix with care and applyarchitecturaldetailsonallthesur-
faces. The "lndochinois" style just added an Oriental and Chinese styles chapter to the
dictionary(4)
Hebrard was laying the foundation for a school of makers. a system. The structure was
reinforced concrete by the specialist in all Asia: the construction and engineering com-
pany ' Brossard et Mopin". The most significant building of this style is the beautiful "Na-
tional Museum of Vietnamese History' (Musee de l'Eoole francaise d'Extreme-Orient
(EFEO), Musee Louis Fino!, before '54) in Hanoi. But the style didn't last and was al-
ready dating and brushed away a couple of years later.

The only representative building of Hebrard's recipe in Saigon is the Gallery-Museum

"Blanchard de la Brosse" (after the Governor General at the time). The future "Vietnam
History Museum" opened in 1929 inside the Botanical and zoolog ical garden. The archi-
tect Auguste Delaval signed the plans in 1926 but Hebrard seems to hold the pen. The
building is in the shape of an eight with at its centre an octagonal tower symbolic of a
' Bagua Yj.jing'. This high central element with its lower wings gives a majestic look to
the museum main entrance.

12
The ironwori< of the main gate and four interior doors are of great decorative quality. They
are also part of the elaborate passive cooling system. The ventilation encompasses the
windows with decorative lattice placed very high near the ce iling joists and perforated
bricks w~h a selected pattern in the low of the walls for air convection.

13
Two small shaded atriums with a central fountain are doing their best to also refresh the
burning air. On the floor, industrial mosaic of "gres Cerame" (stone ceramic) yellow and
blue. brown and white , declines Asian panerns and demonstrates again their great ver-
satility.

The museum was originally intended as a temporary exhibition gallery. but donations of
many pieces of great interest quickly made the museum permanent and too small. Ber-
nard Groselier. Curator from 1951 to 1954. was already complaining in 1951 in "The New
Face of the Museum of Saigon" of scare exhibrtion spaces, lack of storage and the ab-
sence of a restoration workshop (5). The last French curator left in 1956. The museum
was renamed "Vietnam National Museum" and an extension was finally built at the rear
of the original building in 1970 on the design of Vietnamese architect Nguyen Ba Lang.
In 1975 it became " Bao Tang Lich slr Vi~t Nam" (museum of the history of Vietnam)
A part of the museum hosting the beautiful Cham collection section recently was remod-
elled wrth more contemporary museology sening. But in a broader debate, it would be
unfortunate if the entire building underwent a so drastic revision ignoring the building is
alsopartofthecollection.

(5) "The Saigon Museum remodelled", Bernard Groslier. Museum. vu . 4, 19$4

"Art Deco" in Saigon
A large construction programme was planned for the Bank of Indochina, the commercial
bank issuing the "Piastre". the local currency. The construction of several agencies in
Saigon, Hanoi, Vinh and Hai Phong should be representative of the French colony
power and its financial success in the Far East. Maybe not entirely convinced by its new
found style or protean characters, Hebrard , for one of the most incredible episodes of
architecture in Indochina, proposed Feli)( Oumail. Oumail was not renowned at that
time. He was Hebrard's nefew, Jean Hebrard. collaborator in Paris till early 1926.
Placed along the Chinese arroyo leading to Cholon. the Saigon agency was finished in
1928. The Greek temple silhouette in dark granite of Bien Hoa was massive and too im-
posing on the "Ouai de Belgique· {S§n Chvung Dvongl VO Win Ki~t), while the fai;:ade
on the opposite side laciled completely of presence.
The arch~ectura! vocabulary included many references to Khmer culture with incongru-
ous "nagas· and reliefs not corresponding to Vietnamese nor Chinese bestiary. Feli)(
Oumail never came in Indochina. The architect used photographs to glimpse and mi)(
unknown specifics regions. ' lndochine" is an amalgam that never had any historical nor
cultural unity. It was not a success. Oumail received CJiticism. He failed to give the e)(-
pected image, a facade for the French financial power in Southeast Asia . In Result. the
Hanoi a9ency was drawn by ·creel~ Foncier' young architect Georges Trouve (6).

(6)GeorgMTrouv41 ( 1902-1935) graduated inNantes, on1929 Thesameyear, heleflfo<Hal'>Olwhere he

wascon$Ultantforthe "<;<6dHfoncier'
Trouv41 also taogh1 at lhe School of Fine Arts (EBA!) architecMal composition and concrete 1mplementa-
::'!,,~;!~?~~9;~EOand late< conducted archaeological researches in Angkor

15
However. the bank is the most successful "Art Deco" of Saigon. But one must enter the
place to feel that rare emotion going deep and takes the breath away. The rise of the few
steps at the gate reserves surprises and the smooth light effects created by the wide
glass dome covering the entire space left by the second level in mezzanine was cleverly
calculated.
This is not a bank: it is a temple . Here we no longer speak of style but timeless magic.
Dumail made here a synthesis of Asian decorative elements and a French style. This is
exactly what the period allowed; To have the freedom to interpret, assimilate and give
back a personal vision , and on the path of Albert-Armand Rateau, to make French Art
This shows clearly that "Art Deco" is interior Architecture.
Nowadays the access to the bank is restricted but the whole interior is intact, fully origi-
nal, with its two blades fans that rotate too slowly to make any difference.

Ernest Hebrard leaves Indochina in 1931 and died in Paris two years later.
Felix Dumail made his reputation in France by drawing garden cities in a more radical
modernist style typical of the thirties. especially in the Val-de-Mame department in the
lie-de-France

16
The first Modern

The attribution of a building to an architect is the most difficult first step. based on trial of
details interpretation and analyse of a signature characteristics. But ~ needs the con-
frontation with ra re evidences to be confirmed
Only the discovery of the original drawings of the main fa9<1de and a door detail could
clarifyassumptionsaboutthePTTbuilding.

Situated behind the old post office. one of the foremost touristic attraction. the PTT
"recette" was designed. in 1932, by Leo Cras!e. While an impressive strip shaded by
nice large trees, the construction seeks to be very discreet. Even the building aisle on
Hai Ba Trung attracts only the eyes of the connoisseur {it was raised of an extra level in
1961 to accommodate some more radio equipment).

18
Architect appointed by the Ministry of Public Works department, Leo Craste was very
active while in Indochina.
He wrote 2 books beside his duty: "study of Annamit housing in Hue and surrounding)
(Elude sur !'habitation annamite a Hue et dans les environs) B.A.V.H., 1939, and "Urban
planningandarchitecture inlndochina" (Urbanismeetarchitectureenlndochine), 1945
He was also regularly contributing to "Le Monde Colonial lllustre" with articles and illus-
trations. Leo Craste was also an Artist painter and he was involved in the "EBAI" founda-
tion with Victor Tardieu
One of his watercolour works was auctioned at Sotheby"s Hong Kong in August 2013.
HereistheSotheby'seulogisticdescription:
"This large-sized watercolour depicts the sampans gathered together on the boat quay
of the Chinese arroyo in Saigon. Leo Craste's harmonious and accurate composition
evokes a moment of effeNescence, and the daily lives of ordinary people.
The painting is of an area that at the time was called "The Peart of Far East". and is a
region that still resonates with viewers today."

Being in the right place at the right time cannot be criticized. Leo Craste was involved in
numerous of what is called today "humanitarian" projects. Sanitation and his new princi-
ples of tropical architecture were to appear in a vast array of public constn;ctions in
Saigon and make him a precursor in many of those fields. The Polyclinic de Saigon
(Clinic "Dejean de la Batie"), Grall hospital, Lalung-Bonnaire hospital are among his
famous works in the city and his contribution for healthcare when Cho Oui "Ecole Mater-
nelle l ndigene" (native's kindergarten ) is the major representation of his vis ion for edu-
cational facilities. The "Ecole Maternelle lndigene" opened its door for the education of
nativegirlsin1931 .

19
The building is still its original shape and on the old entrance pavilion the orlginal name
is still readable as the paint is graphically fading . An original picture shows a more open
setting but walls have grown around town as the world changed. The main entrance is
now on the other side of the building and the school bears another name since 1g1s. A
food stall occupies most of the side walk and doesn't help to keep vicinity clean .
This particular example shows the damage it may cause to archf!ecture but less of what
it may cause to health. In fact, it is the exact opposite philosophical model that has made
the school to be built eighty years ago.
Even if it looks like basics of tropical architecture. a tribute must be given to Leo Craste
who Included these systems of natural ventilation into many building of Saigon. He also
was one of the first to add solid cement louvers in walls and used the staircase as wind
tower. "Systematic knowledge and practices on environmental technologies in the trop~
ics, such as ventilation and sun-shading were linked to cultural assumptions, medical
theories and sanitary practices. and were manifested in building types such as hospi-
tals , schools, housing as well as military barracks".lnitiate as early as the nineteen Cen-
tury but were implemented in the 30s with the development of healthcare and attention
to hygiene saw. for entire populations, the enforcement a number of sanitation rules in
public facilities. Not without a certain kind of paternalism, the disadvantaged population
ofEuropeandtheindigenousoftherestoftheworldhadtophysicallyexerciseoutside.
wash up with soap hands and body as well as ventilate regularly any building. Tropical
architecture is "inextricably entangled with the socio-historical constructions of tropical
natureandthepoliticsofcolonialgovernance'.{7)

(7) "AGenealogy of Tropical Archne<;ture: CO!on<alism" • Eeclogy and Tedlr.olOgy in tht 8nb$h Empire
- Commonwealth . Jiat-Hw'ee Chang (National University of Singapore)

20
• Saigon Polyclinic Dejean de la Batie

The Saigon polyclinic construction, 125 Boulevard Bona rd (Lit Lt;11), was approved in
1935 by Pierre Pages then governor of Cochinchine (letter Gov Coch ), on a plot belonging
to the Hui Bon Hoa family (HBH) and a few hundred meters from their headquarters on
rue d'Alsace. The first phase was financed by the Chinese merchant family up to a do·
nation of 38,000 "Piastres". For this first phase, the closer to the market, the family also
seems to have had control upon its construction and it was built by "Brossard and
Mop in" while the North wlng was to be implemented by firm "Lamorte" for the Cochin chi·
naGovernment(letterGovCoc:h).
The polyclinic was a public subscription and in the waiting room near the main entrance.
a commemorative stone bears. by their importance, the name of all donors w ith their
contribution to the construction. The marble sti!I exists. Names were also given to the
wings , "HBH" course for the South wing and for the North wing, "Or. Rene Montel". re-
nowned specialist of leprosy treatment in the twenties.

The site had already seen the construction in 1904 of the •market polyclinic", and still,
behind the actual site there is the Dermatology and Venereology Department. in an
offset buildind dating from around 1925. The polyclinic had kept its vocation giving
poor people health care. Many came in the area attracted by the great Ben Thanh
market, which is practically in front of the clinic. Cares were free but to access treat-
ment patients had to prove they were indigent To build a clinic was the best possibility
to meet the various illnesses and pathologies population could suffer.

21
Some halls were dedicated to children and women and an entire wing. with a separate
entrance. was dedicated to the leprosy which made many ravages. Despite the relative-
ly small land size Leo Craste applied the pavilions system quite common at the time.
Separate pavilions were designed to prevent the spread of diseases between different
departments. To refreshed and ventilated the whole. a first rectangular garden sepa-
rates the leprosarium on far right. while a second garden formed the central space of the
large U shaped building. This open area is separated from the street by the one floor
high waiting room .

22
This large space is crowned by two ventilation turrets with a flat lid, a Craste signature.
Similar ones are visible in the Grall Hospital as well. The wide eaves four-sides roofs at-
tempt to provide some shade. Some Asian typology details are recognizable and reas-
suring. The usual shutters were not chosen to allow light and alr flow entering the rooms ,
but glassed windows reclining by their two thirds horizontal axis were a better option
Above this framework. horizontal openings in the masonry provide natural ventilation.
even ii the windows are closed. The interior is very sober. The concrete structure is left
exposed. Beams of different sizes punctuate the ceiling and the ventilation turrets give
a little light effect. The simp!icity of the equipment and simple electrical system do not re-
quire a hiding drop ceiling. The walls are painted in typical clear blue green paint with
protective glossy white tiles up to a meter twenty. Ribbon windows perforate the exterior
as well as the partition walls allowing good penetration of natural light throughout the
building. Cement tiles of two solid colours, yellow and white , cover the floors in a variety
of simple geometric patterns. These surfaces after more than eighty years of intensive
services began to show some fatigue ... The polyclinic is for large part to its original state
and the personnel is also dedicated same as at the first day.

23
24
The Lalung Bonnaire Hospital (B~nh V~n TO DO) is still an important hospital in the first
district. It is difficult to imagine the whole today as it was when created. It has been trans-
formed many times and has wings of every decade since its construction
The hospital occupied a large plot of land in which a series of isolated pavilions were
aligned in parallel according to the system described above. The long and austere con-
struction visible along Nguy9n Thi Minh Khai is nevertheless the most original part of the
whole. But by the time there was no entrance on that street and the circulation was
made from within. The monumental entrance is then open towards the inside of the com-
pound. Its design is the one of Leo Craste, simple and effective.

25
Leo Craste also intervened in an update of the Grall Hos pital by adding pavilions with
recognizable shapes and characteristics: in particular the direct openings in the mason-
ry above and below the windows for the Cross ventilation system.

26
Modernity

It would be simplistic to see progressivism only in its social and political vision.
The development of building technology and its corol laries, the transformation of built
volumes and interior spaces, also correspond to the widespread of new standards and
changes in lifestylesforalltheclasses of the society.
Let us certainly honour the architects Ernst May and Hannes Mayer for their research on
new typologies but especially on standardization and industrialization for mass produc-
tion of components and cost reduction . But keeping ln mind, that after fleeing the rise of
Fascism in Germany. went to build entire cities in the USSR (more than twenty for May
and his team in difficult weather conditions in the Iron Mountains). they were expelled for
their views on building systems way too capitalist for production in Bolshevik countries
And notice. in parallel, the first to be able to accept the vanguard new postulates were
to be the "upper class". aristocrats and tycoons, strong of an inteHectual approach could ,
disregarding any comfort, let build white villas as cold as clinics and sit on chair made of
Industrial steel tubes by Marcel Breuer. Moreover, the essence of "power" is to generate
wealth by exploiting all the possibilities "territories" offer with the most reduced cost in
flexible and fluctuating ethical limits. The "power", to operate, needs to train individuals
to fill certain needs in different levels of its compartmentalized structure. When a system
is broken, ii is replaced stateless souls. Colonialism since has been substituted by an-
other more global system. And without in any way oppose them , Artists in perpetual
quest of new creative horizons are open to all foreign contacts without discrimination.
provided that the endeavour generates substantial and rewarding result. The contribu·
tion of cultures from around the world is part of the Contemporary Art heritage.

The "Ecole des Beaux-Arts d'lndochine· or EBAI {Fine Arts School of Indochina), with
Victor Tardieu, a famous painter as director. was founded in 1923, shortly after those of
Algiers and Tunis by the French colonial government. The school opened a way for the
recognition of modern Vietnamese painting and the school is a monument in the history
of Fine Arts in Hanoi. The EBAI was also the only school in Indochina to have opened a
department of Architecture in 1926. This department has a history. eventful and com·
pletely different from the rest of the University mainly by its central character, Arthur
Kruze , first director from 1930 to 1954. The department was to become the famous
Saigon University of Architecture .

Arthur Kruze , was born in Roubaix, northern France in 1900. He graduated architect
from "Beaux-Arts" ln Paris at the end of 1929. For him the adventure started by Mr.
Blanchard de la Brosse business card, literally, slipped into his degree. He received an
invitation to open the architecture department and teach at the EBAI. In addition to his
appointment he was also active in architecture and designed between other the villa of
Baron Dielot at NgQC H8 street and the acclaimed French officer"s quarter. 44 LY Nam
El6. a fine example of the "Style lndochinois" as first project. The building lines are
simple and modem, with Asian detailing but the sloping roof and tube ti!es system make
it a bit heavy. But it is a masterpiece.

27
lt is difficult to know how Arthur Kruze and Paul Veysseyre could enter into contact.
The "Brossard et Moppin" company, active in Indochina as well as in Shanghai, and first
employer of Veysseyre. may have played a role. But from 1933 Kruze travelled regularly
to Shanghai and collaborated with Paul Veysseyre and Ale)(andre Leonard on many
projects like "Le Dauphine•, "Magy apartments" and "midget Comer" as a specialist
facade detailing (8). In 1937 with the approach of a civil war in China, Kruze stopped
travelling and stayed in Hanoi. Two years later World War II was declared, Arthur Kruze
was mobilized and The School of Fine Arts closed its doors. But the war of France was
short-lived and an armistice was signed in 1942. Kruze was demobilized. but EBAI re-
mains closed . The Peta ln regime of Vichy took place in Metropolis as in Indochina. But
in Indochina the occupants were Japanese.
The time was suspended until 1945 when suddenly all rushed . At the end of the war,
allies have regularly bombarded Japanese positions in Indochina; In Saigon especially
the port and the · ea Son " shipyard were concerned : in Hanoi, the city was under fire and
the School of Fine Arts was destroyed In one of the shel!ing. On March 1945. the Japa-
nese made a bloody and final "coup" before their capitulation . Evaliste Jonchere, direc-
tor after the death ofTardieu in 1937, and his wife narrowly escaped a mass execution
of French settlers. They leave hurriedly Indochina and were repalliated to France. Sur-
prisingly, the war at its final days, Arthur Kruze decided to move the EBAI Department of
Architecture to Dalat and leaves Hanoi where other events were planned.

The school didn't reopen before 1947. The school was dependant of Paris "Beaux-Arts",
and Arthur Kruze In the meantime signed student transfers. allowing them to graduate
in the French capita l. He transformed bad luck into opportunity. These students were . in
between, Nguyen Quang Nhac. Pham Van Thang , Ngo Viet Thu and all the leading ar-
chitects of Saigon 1954-1975era.
Dalal. a retreat for !he wealthy for decades. was still in trend . Admiral Decoux. Resident
General of Indochina, had large scale projects for this city on a hill, with its cool climate,
not too far from Saigon. The admiral wanted modem facilities and the development of
urban planning to make Da1at even more attractive. The latest developments of the city
date from 1940 and 1943 with the planning and Mondet and Laquisquet for the "cite
Saint Benoit" and the "cite David". All necessary Infrastructures were to be provided for
a supposed increase in the population that never occurred. Since the end of the war, the
political climate is full of uncertainties. The first Vietnam War had begun and no one yet
known the outcome.
fn Dalat, Kruze opened an architecture studio at "10 rue des Glaieuls" with one of his
students Nguyen Van Hoa . Kruze had good connections. But even if he was hunting
tlgers with Emperor Bao Dai (Belo Di;11). the order book remains empty, besides some
minor interior setting in the Bao Dai yacht "Huong Giang" (9)

(8)'Shangl\ll.. MOecolbslet"Sl)e<l(*DodlnOIOn. Cl\¥oHUog ra• . 2014Eamsr>ow~. tto<ig KOl'lll)

(11}HUQ'ngGllf'llinkedin NhaTr11ng TOeyacnt wasbuilin1938 bycamperanc1 Nidlotsonancloi191N11fycalled
'Ma lCIMenoi\" ltisot>lyin1950 !Ml lhe$Cl>oone< wHSOI0 1011'1eEll'lpe<OrolVielnaMan<lt'Vl'IOWflfiCHuongG111no
Thebc.lt wasl<>ld•in•tlhedepal\ur9lot1JilcledHillanll'le"Co1ed'Azuf ln Clnneo . The£/llperorboughl•
ratgeryi1<:h1a-inlhetiay

28
 In 1g50, following the displacement of the whole University pool to the
South and after a too long retreat, Kruze and the school of Architecture
moved once again to Saigon City. The University of Architecture still oc-
cupies today the same plot on Pasteur (the r0<mer "rue Pellerin" ). but in
1950 the school was using wooden bungalows. In Saigon too. Kruze
opened an architecture firm, 12 rue Garcerie (Duy T8nl Ph{lm NgQC
Th{lch ) neKt block to the campus.
University o f Saigon.
Since The North city's shift in 1945. the University of Hanoi saw the necessity to create
a large university to meet the need of Saigon. The population was fast growing since the
end of the Second World War. The project also aimed to create a single site for all facul-
tieses even ff the project considered in a first phase only the Faculty of Medicine and
Pharmacy. Indeed. the various faculties were scattered around the city and sometimes
hosted 'lemporarily" by other institutions. With the rising students number. the problem
was increasing a little more each semester. But Mr. Lassus, Rector of the University of
Hanoi had the will to remedy the situation with a major project: ' the University of
Saigon'. All aspects were carefully studied for a great work.

A large triangular site was chosen . The crossroads of Boulevard Armand Rousseau . rue
Dugos and Avenue Pierre Pasquier with the southern edge pointing on the Boulevard
Charles Thomson (triangle of streets Nguy9n Chf Thanh, Ng6 Qu~n and Ng6 Gia Tv
Thomson Boulevard is now Hdng 88ng I HUng VUO'Tlg ). The wide field like a park with
large tree allowed an interesting offset layout of buildings along the avenue Pasquier.
The project plans, drawn by Arthur Kruze . Nguy&n van Hoa and TrAn Van Tai , were fi-
nalised in June 1951 .

29
The main entrance was to correspond with the nowadays identical small "Jean of Arch"
church. A large alley was to fead to the main building hosting the central administration.
thelargestlecturehallsandaspacious!ibrary.

30
lnthesobrietyandsharpdesignofthecampuslaidaquestforbalance. But thereisalso
a research of advanced technical solutions to answers recurrent climate issue and build-
ings durability. A detailed perspective drawing explains the double concrete ceiling. This
accessible space between two levels contains the forced ventilation ducts and the differ-
ent necessary supply in water. distilled water or gas for laboratories. Nowadays accessi-
ble double ceiling is partofthesetofrecommendations in hospital construction inthe
United States. (VAHBS, Veterans Affairs Hospital Building System)

31
On December 13, 1953, the French Government announced to the President of the
Council of Ministers of the Government in Saigon (by the High Commissioner of the Re-
public of Vietnam) that the loan was accepted and entered in the 1954 budget

The work should have been carried out on the years 1954, 1955, 1956 ...

~$.;_.~ ...... '

~·~·-,,.,,
"u!!!!."••/

NA2

32
But in April 1954. Saigon situation changed again (the fall of Dien Bien Phu on May 7th
of 1954 marks the tennination of French involvement in Indochina and the Signing of
Geneva Agreements)
Even today there is no unique University campus in the City and the Medicine and Phar~
macy University was only built in 1966 on Hong Bang Avenue not far for the initial
planned site

!n front of the "Cercle Sport if' entrance, the rigorous Arthur Kruse drawing can be found
in the two austere Ministry of Finance buildings from 1950. Despite the size of the twins.
they are very discreet with the apparent simplicity of the volumes arrangement. Only few
details may reveal them.

33
34
In 1954, with the departure of all the French, Arthur Kruze !eft Indochina with regrets . He
continued to practice architecture in Paris with Tony Bruel and !ater with Mister Bakly ls
son in law. He retired in 1973anddiedin 1989

Even if his contribution to modernity is in the shadow, he was nevertheless a prime link.
Not only for providing high education level and the development of school of architecture
but a lso for its activity in the industry. Indeed since he was appointed by the government
of Indochina Public Works depariment to set up competition for the selection of archi-
tects in charge of large building construction as well as for "Credit Foncier". the "real
estate" branch of Bank of Indochina ... He also co.signed with Paul Veysseyre three of
the most beautiful architectural achievements of South Vietnam (see V"'fsseyre)

A side of Kruze in Hanoi. Saigon and Dalal was another constant figu re of this period.
L oui s Pineau (1898-1987). Graduate of the Urban Institute of Paris in 1927, he left for
Indochina in 1930. He was, first in Hanoi, architect of Public Works of Indochina
(1930-1945) and Deputy Director of central department of architecture and urban plan-
ning (1941-1944).
He was afso a lecturer at the School of Fine Arts in Hanoi (1931-1933) and visiting pro-
fessor at the Superior School of Architecture of Oalat and later in Saigon. (ArchlWebture)
He was active mainly in urban planning. more intangible. He conducted many develop-
ment projects in Hanoi and a long series of cities in Indochina from Lang Son to Kep and
from Tourane (Da Nang) to Phnom Penh. His main contribution to architecture is the
Oalat Marketof1931 .
More anecdotally, Louis Pineau was domiciled in Saigon in two buildings signed Paul
Veysseyre : 14, Chasseloup- Laubat Street (now demolished) and "Cite Laregnere·
building C (still in place) (&eeVeysseyre)

35
Far East French Architects and the board of Architects

The Architects board was established by the General Peta in in the decree of December
31 . 1940. under the Vichy regime . All previous attempts to regulate the too heteroge-
neous architect profession in the interwar had failed . But after the defeat of 1940, the
suppression of trade unions and the corporatism advocated by the Vichy regime allowed
them to succeed (10).The creation of the Architects board was an important event for
the profession community. It was to precisely define !he professional practice in France
and in the colony but was not supposed to be a major factor of integration ..

(10) "the arcMed$ purge•. Daniele Voldman. Mat&rials lor the hostory of our bme. No. 39- 40.1995

36
Beside paid registration fees . have the French nationality and poses a degree in archi·
lecture from a state recognised educational Institution are the central elements. This last
elementplayedinfavourolthenatlves
Indeed, the architect degree issued by the School of Fine Arts in Hanoi (EBAI) and the
school of Fine Arts in Paris are recognized equally by the French state. Holders of this
degree were "DPLG" (DiplOme Par Le Gouvemement) in France or in Indochina
The decree lnitially considered only French nationality but transitional measures extend·
ed to nations protected by France in 1942 (GovCoch).
During the implementation of the Architects board, from 1942 to 1944, the Government
set up Committees to decide on problematic applications, even if only a dozen of appli·
cations were made for the "Cochinchine". Committees were composed by architects of
the • public Work". Interested to qult the shadow of powerful real estate groups, archi·
tects organized in association ("French association of Architects from the Far East"·
"association of architects lndochine"') scrutinised the works of those Committees to
verify the respect of the law. Quickly the property development company "Credit Fonci·
er" accreditation request was rejected and corporations excluded (GovCoch). Only appli·
cation of the architects employed by these companies would be considered . Contrac-
tors, buiklers, and entrepreneurs did neither qualify. More interesting are the cases of
people who could assert a significant experience of many years in the field . or at least
evidence of professional practice prior to 1942 detailed !ater.

-~ ... .·...
/,

37
French Arc hitects o f Saigon in 1942

L oui s Chau cho n

Louis Chauchon graduated of the Fine Arts of Paris in February 1920. But after a short
stay in a Parisian firm he solicited employment in Indochina. in 1921, he was assigned
to the Public Worl<s department in Cambodia. In Phnom Penh, he drew the central train
station in 1932 and his masterpiece, the "Phsar Thmey ', the Covered Market. Complet-
ed in 1937. the project was carried out by SIDEC {Indochinese Society of Studies and
constructions) and overseen by architects Jean Desbois and Wtadimir Kandaouroff.
Made entirely of reinforced concrete. the very Impressive building consists of a massive
central hall crowned by a Hexa-decagonal dome. A segment on two incorporates a
system of small V-shaped openings for natural ventilation, while filtering the daylight.
Four wings at the diagonals of the central dome give a cross shape to the overall.

Originally surrounded by a garden, flowerbeds were replaced by a belt of precarious

constructions. Those commercial stalls harm the overall vision of the building. The
French Development Agency has launched a programme to renovate the site in 2007.
The building with its high quality design and construction did not require major interven-
tions . The second phaseoftheprojectisanexternalinterventiontothe main building,
but the construction of new halls has not yet been realized .

38
39
40
Louis Chauchon was transferred and assigned chief architect of the Public Works in
Saigon already in 1929
!t carried the project of the Clinic St. Paul, founded by the Sisters of St. Paul of Chartres
The Clinic was built also by the SIDEC and was inaugurated on 19 December 1938. The
clinic is interesting by merging the thirties style. with buildings curved lines, protrusive
staircases and traditional architecture with a pitched roof and terracotta tiles.

Louis Chauchon "Maison du Marin et du Soklat" (Mariner and Soldier Home) of 1937 is
part of a large site for military recreation and exercise. Indeed infantry barracks are short
distance and on the other side of Norodom Boulevard is the Veysseyre National Marine
Building. At the rear of the building a large plain is dedicated to outdoor games and the
plot is almost bordering the Chasseloup·Laubat Street with a pool. This popular swim-
ming was very busy in the sixties with American staff working next door in the first
Saigon television facility

41
After 1g54, the building became the clubhouse of E!ite Republican Guard of President
Diem and was slightly damaged during the 1963 coup. In 1967, it was invested by the
new government as "National Defense College" for the ARVN officers

Since 1g86, the Museum of Ho Chi Minh made there its home with a number of chang-
es. A red granite finish now covers asymmetrically both sides of the entrance and a
weighed canopy above the door. On the first floor, all natural ventilation high openings
have been changed to fi~ed windows and a medallion in "relier with a communist ico-
nography was added on each balconies
Louis Chauchon had a private architectural firm in Saigon with Jean Masson and
Robert Gilles associates. In the early forties he was part of the committees in charge
of the board of architect's accreditations

He died during an Allied shelling in 1945

42
Paul Veyssey r e has completed numerous projects in Saigon and Dalal from 1937
until 1951 . He came assert in Indochina a stronger style in all registers architecture can
allow and he was to sign the most beautiful architectures of the time. His masterpieces
are sometimes in an excellent state of preservation. occupied by the government, but
his name is mostly unknown to the current occupants and even sometimes replaced .
The reason for the establishment of his firm in the South is unknown but the fact is inter-
esting enough to be noticed. Paul Veysseyre was a prominent architect and he was very
busybuildingthesenumerousstructures,villas,apartmentsbuildings, clinics,convents
between the two cities.

Thegenesisof astyle
Designers. throughout a career. pass through several critical moments of questioning
their practices confronted with the inexorable evolution of styles. The first half of the
twentiethcenturyrapidevolutionsweptseveraltimesviolentlymakingsomestylesob-
solete in a decade (see above Ernest Hebrard). Paul Veysseyre's office had already en-
joyed fame in Shanghai with a very successful Art Deco style. But he challenged himself
already in 1933 seeking new inspirations and new vocabulary. He was atready experi-
encing his new modern profile in China with · Remi" school and the "Gascogne" apart-
ments. The "Edding ton House Apartments", Hart Road, Shanghai built in 1935 by Archi-
tect Eric Byron Cumine seems to have a fundamental role in this new direction.

43
Three key pieces forthwith emerge. First, two projects for figures attached to Dalal, Ad·
miral Decou){ "General Governor's summer residence" (Dinh II), signed in 1937 by the
trio (Veysseyre, Leonard and Kruze ) and the Emperor Bao Dai palace (Dinh Ill) signed
onlybyVeysseyreandKruzein 1g35_
The third is in Saigon and it is also linked to the National Navy. The Norodom Boulevard
white liner for the Marioe Officers is signed in trio and must date from 1937. The broad
symmetrical structure unfolding in parallel to the Norodom Boulevard consists of four
sets of apartments with vertical circulation assured by two protrusive staircases. The
rounded towers have a large central surface perforated by cement blocks with a cross
design. Originally. the building had two separate entrances. They were naturally placed
near the staiiwells. A monumental centra l entrance with direct access to the first floor
was added in the si){ties. Erroneously, too often. the drawing of the whole building is at-
tributed to the staircase author ...

The second pearl of Saigon, or what should have look like the city green suburbs at the
time. is a set of seven villas built on a property owned by the family Hui Bon Hoa {HBH).
The triangular plot ol 3.5 ha is along a boulevard called at time of the construction "Bou-
levard Hui Bon Hoa"I (today LY Th/Ii Td).
The whole is e){cep!ional for several reasons . The villas have an unusual architectural
quality for the colony ; it classifies Paul Veysseyre at a level of Robert Mallel-Stevens.
The horizontal villas are not only an interpenetration of geometric shapes, cubes and
cylinders but also a game of complex solids and voids or simply shaded terraces. Large
canopies and long projecting balconies add horizontal lines, denser the forms and give
rhythms . Allsimilartheyareneverthelessalldifferent.
Thegraphicarticulationofthevillasontheplotandthe interesting large trees increase
the pleasure to walk the sinuous paths of the park. This project joins a numbers of philo-
sophical researches, inaccessible Phantasms of the time, the modern garden-cities
(Tony Gamier and again Mallet-Stevens).
All members of the HBH family members returned in several waves to China. leaving
behind their enhre real estate portfolio. There is no document recording the construction
ofthesiteavailableatthistime

45
From 1g75 until about 2010, the site was used by the government to accommodate vis-
iting personalities and the site gives off a prestigious impression. Its maintenance was
constant. But the Interiors are Spartan and do not correspond to the idea of contempo-
rary luxury. The site is under threat of demolition in a very short term
This raises many questions concerning the preservation of International legacy and her-
itage patrimony. It is part of a long and difficult debate where pragmatism is quick to
bring a radical solution
 _______
With the BG! (Brasserie et Glassieres d'lndochine) (brewery and ice manufacture of In·
dochina) of Saigon arid Cholon it is the opportunity to discover another facet of the

.,..
architectwithtwoindustrialprojects.
The house "Denis Freres" was already present in Saigon with an important activity in im-
port-export with their headquarters on Catina! Street They fourlcled the BGI in 1919 to
exparld their operations .

The BGI chosen a tiger as symbol and it can be found in different places in the plants
even as door handles. The • 33• beer was a phenomenal success of the French industrial
activity. After being launched in Vietnam. the legendary beer "33" was produced in many
French colonies in Asia with Cambodia and Laos but in African colonies as well with Mo-
rocco. Cameroon. Congo Brauaville and Katanga. The factory of Cholon still produces
today the most famous beers of the city: The "Saigon" red or green. and "333" named
aflerthe " 33"

(i
11.G.I 47
The company main office, several apartments and a large depot for the city's needs and
for the export, were grouped on a broad triangle with sides more than hundred meters
long. The three comers were asserting different presences. The hangar facing Me Linh
Square offered a large advertising area and the obvious red tiger profile resting in its
large circle has throne there for decades. On Hai Ba Truog, visible from the city centre ,
the tower at the angle. simple but oversized staircase deserving the offices on three
floors , was a landmark. a milestone. And much more discreet. on the third corner a ro-
tunda was designed, with wide curved balconies. to host the apartments on the quieter
side. In the centre of the plot, the three levels high hangars had concrete shell roof with
wide flattened curves. The then new technique could cover large surface without the
need of many supporting columns.

Legend of another time, the BGI site on Me Linh Square and Hai Ba Trung, between the
harbour and the city centre no longer exist. A "depot" could not withstand the pressure
ofpropertymarketpricesamongthecityhighestinthearea

48
The production plant of BGI in Cholon. however, remains very active
Even if it is the only industrial project, Paul Veysseyre seems comfortable with the larger
proportions than the ones he had handled so far.

49
He succeeded in the integration of his characteristics architectural vocabulary into the
design of the various buildings on the plant. He punctuated wide blind surfaces by
adding comer windows giving a rhythmic pace throughout. In addition. he initiated some
forms he was to reuse later as balconies and bay windows with a flattened arch curve.

50
Paul Veysseyre realized 2 paV'ilions in the Grall Hosp~al compound. One is easily
recognizable by his long Y-shaped canopy COV'ering a dual access on a small deck to
the entrance of the paV'ilion 6. The building has a graphic rounded comer hosting the
staircase, but from the outside only the V'ertical lines from the V'entilation are V'isible,
Those concrete diamond section elements create an interesting and attractiV'e curve
angle to the construction. The surgical block 16 is simpler. It has been restored by the
French GoV'emment in the nineties but the exterior was meanly left untouched.

51
Paul Veysseyre lived at the 26th "Lagrandiere", a large luxury apartment building at the
comer of "rue Catina\". The imposing construction. Art Deco, hosted the American rep-
resentation and was the residence of many personal~ies of Saigon.
The building is still there, decaying, on probation, with most of its lustre gone. It has now
many coffee shops and restaurants at all levels. Tourists hurtle off its large staircase
wrapped around the open elevator shaft in a Parisian style. The large bustling lobby can
give for a flash the view of what could have been the movement of al! the silhouettes in
adjusted three piec:e suit and pinned tie despite the heat. See, here is Mr. Nguyen Ngoc
Phupasslngbyandgreetingus.

Between 1942 and 1943, with the implementation of the Arc:hitec:ts board and the ac:-
c:reditation of his associates by the Government of Cochinc:hine, it is possible to trace
the evolution of Veysseyre·s firm in Saigon. Veysseyre was not architect OPLG. With
the reputation gained in Shanghai, he became a member of the "Societe des Archi-
tectes" but only in 1937 {Dodington-Lagrange). He signed SoOa. The committee unani-
mously accepted his candidacy (GovCoch). Jacques Joannon. arrived in Saigon in
1942, Probably to escape occupied France. He was an experienced architect w~h a
degree of BAP obta ined in 1927 and seven years of e~perienc:e in two Parisians firms
It seems he ac:commodated himself with many administrative tasks and he was also the
architect's association president. As early as 1943 his name appeared on the Veyssey-
re 's letterhead with two natives. Nguyen Ngoc Phu. DPLGI, young , dynamic:, talkative,
he was secretary of the arch~ects association. No information for the second.

52
 A. L.~ .?._.NA"'C
P. VEYSSEYF!E

! - <=""
"T ... UONQ~NG0t · P$V

'7 "' 11 '"'10 ~Q14Q Q\llt

~

. . ¥•2'.Af•••·
J.

NO
JOANNON

VAN·N!NH
·-····-··-···
.
,
I
. <..-H·-~-···- · ···

53
After the Japanese occupation, after the end of the war, between 1946 and 1gs1 a
series of apartment buildings were carried out in Saigon by the firm on land cleared
sometime since 1943. The post-war period led to a change to a more angular style. the
curves are relegated only to a few recogn izable cornices details. Each building has its
own assembly of typical elements broken down into specific features . Their structures,
Yolumes, symmetries, as wel l as a series of details and architectural finishes are operat-
ed jubilant manner. Only a superposition of all these elements led to the identification of
these buildings.
"Maison de la Radio" on "rue Richaud · (Nguyen EJinh Cfli6u): two buildings
One of the two is still topped with a huge antenna today, "Radio France International"
was a Yery powerful station and could be heard all oYer South-East Asia {11).
The buildings should haYe been the first of the series to be built. They haYe something
of a trial. Some ironworks , with concentric circles, haYe similarities with those of the BGI
plant on Hai Ba Trung. Buildings, a lways lop four floors . have a rectangular shape where
a slender cross makes slight protrusion in "sword peak" at medians. These protrusions
have a brown pebble wash finish while the main mass is slightly beige. The short sides
of the rectangle is lower than the central body, while on the larger sides of the rectangle
the protrusions are higher than the whole. Those la tte r accommodate, on one side, the
entrance door and a window on each floor, while on the opposite side, the stairwell ven·
tilation .
(11 )" .. Beloreretuming !otheGoll&rnm&nl.thetleadofttleFederauonstopped11tRueRic:haudoottie
ground oo wNch the conslructioo of ' la Maison de la Radio' had ]l!Sl been undertakeo He met wi,h Mr
Le Bourg~. DiredOf or Radio-Sai90<1, n well n with the archileel, Mr Jo.nnon. Mr. Leroy. and Mr
GremoofBrossardandMopin
"AdmiralDecouxoninspectloninlheSaogon-C~1egtcn",' L'i:choAnn.am1te" January131h, 1B44 .
The two buildings, one behind the other, on the " rue Ch asselo up- l aubat" (Nguy8n
Thi Minh Khai) have the same characteristics as the ones just described. Unfortunately,
the building in front of street. despite a better state of preservation, was demolished at
the end of 2015. The second building in line does no longer have any original window
frame , but a collection of different sizes, colours and performance material. Louis
Pineau during the period he taught at the Saigon School of Architecture from 1950 to
1954 was first domiciled at 14 Chasseloup- Laubat Street before the "Cite Laregnere·
BuiklingC(fondPineau).
56
" Ru e Ed ouard Aud oull " (Cao ThBng): 1 building.
Slfghtly setbaci< from the general alignment. this double plan example is placed In paral·
lel to the street Far from downtown, the residence must have had a very different sur·
roundingwhenitwasbullt.
This pnvate apartment block, like many others in the city, lack of maintenance and suf-
fers damageable residents' personifications.

57
" Clt6Laritgnire" : 4 bui!dings
The general implantation of the four buildings on the large rectangular field can surprise.
II does not follow the street grid and the foor buildings are oriented with a North-Sooth
axis In this setting, the larger facades are exposed to noon sun ...
Paul Veysseyre alternates the two types of plan. single or double staircase . The detail-
ing include slight variations making them unique buildings.
The "Cit& Laregnere· remain a French property after 1954 aod until 1975 It hoosed the
French Foreign Missions and its many teachers The buildings were regularly main-
tsined aod are the best kept of the series. The "Cite Laregnere· today host the Consul-
ate General of Russia

58
Rue Pellerin (Pasteur): 1 building
The double plan is here set in perpendicular to the street. It should to be one of the last
tobebuiltltsdesignstiffenswiththeapproachthestylechangeofthefifties. Thesalient
triangular prisms become more angular but the wide ful ly glazed windows are not origi-
nal. The concrete louvered sunshades above the ribbon windows have also disap+
peared. The facade on the street play its role and assume the general direction of build-
ing mainly in its upper part with a columned balcony and something of a pediment made
by the low two slopes profiled roof.
During the si)(!ies the building was the residence of US military personnel of ne)(! door
MACV.

59
Yet, an enigma remains in the curve of the street " Eyriau~ de Vergnes· between "M ayer'
and "Champagne " (Tnin Ou& ThBo between V6 Thi SBu and LY Chlnh ThAng). Behind
a curtain of trees, a bow shaped four floors high building catches attention. The con-
struction, besideitsgeneralcurvyline. couldhaveanalmostidenticaldescriptlonasthe
building on Norodom Boulevard. The same four sets of four apartments punctuated by
two symmetrical protruding staircases. But this is the baci< facade . Even more curiously
the entrance of the building, on the "Lanzarote " Street (f)o8n C6ng BUv) (now closed to
the public) is similar the baci< facade of the first building that overlooks the street Lucien
Massard (Nguy6n Du) on the back of Norodom Boulevard (also closed). It looks like a
final trici< of Paul Veysseyre. But the building was erected after 1951 and Paul Veyssey-
re left Indochina in 1951 ... But, Jacques Joannonstayed until 56, would he have super-
vised the construction of the last building of Paul Veysseyre in Saigon?

60
" A special case ": Rene Nguyen Khac Scheou
A large quantity of documents could be collected and wi!I allow a research dedicated
solely to the architect's career . to come out soon.

Rene Nguyen Khac Scheou was bom on August 15th, 1908 in Ben Tre. He moved to
France around 1929. He was accepted as student In the ' atelier Tony Gamier' at the
Regional School of Architecture of Lyon. He graduated at the Beaux-Arts in Paris in
June 1935 (160th promotion - a kintegarten for a factory ). He returned to Indochina at
theendof19J5withhiswileandalreadyalittlegirl.
The first project listed is The Y Bridge and the small military post placed underneath
dated 1941 . He realised the project for the Public Works department, where he was em-
ployed until the end of the French administration in 1945.
 Norodom Boulevard appartments
All buildings do not have the same chance What about this beautiful building project
on Norodom Boulevard!

IMMEUBLE NOROpOM
..............
~
,_, ... ..
........... ..

62
 :=..-:-L-..=..:.~-"'1::::~"J:::'t.'.'l::;:..

=-::--··· ---
The project had everything to succeed; a good "situation" on a large plot in the first part
of Norodom Boulevard, within the embassies perimeter, two-story higher than the Navy
officers' club , a good looking design ready to compete. a prime developer and already
four apartments purchased by the Government. Yet only a smaller four-storey building
(the four apartments purchased by the Government?) was constructed on a second in
line plot behind the one originally planned.
It seems he have maintained a long-term relationship with the Redemptorist Fathers for
whom he built a convent in 1939, a small chapel on Ngu~n Thi Minh Khai in 1950 and
the Saint-Martin church in 1953

The " Saint-Martin co nvent" is an elegant long building with only two floors. The facade
is classically punctuated by five openings on each of the two wings. The five wide arches
of the ground floor open onto a deep passage that runs along the entire building periph-
ery. This corridor gives access to each fathers" cell. Each louvered door is painted in a
neutral grey. In the centre of the facade , a more prominent porch opens on three sides
The semi-circular arches are finished with a sharp edge without any moulding and rest
on two engaged columns without base or capital ; an academic solution with a modern
treatment. On the first floor, the same corridor opens to the outside through a ribbon in-
tersected by a series of square columns. Simple recesses or projections catch the light
Somewhat hidden, the side of the building ends with a Palladian arc h (Venetian
Window). The site has been almost entirely built over the decades and if the style is
every lime a little different the general layout of the buildings on the plot never poses a
problematic confrontation. Some large trees and groves invite even to the walk
The redemptionist father 's convent just after completion
and the KY DOng church in construction {by SIDEC)

67
The Saint-Martin church is next to the convent. It was inaugurated on December 8th,
1953andstillexiststodayonKyfJ6ng, district3

Equilateral Triangle is the main shape used in the design of the church , even for its ven-
tilation . This triangle has something of the Romanesque style in its solid base and sobri-
ety. The entrance is a wide porch (Narthex) . The double arch surmounted by a bas-relief
is inscribed in a form of "sword"' with red ans. The Bas-relief is a late addition; the original
designusedarosacea
The church is wide but has only one nave and the crossing of the transept is not mari<ed
despite the presence of two chapels . The hean is inscribed in a half-dodecagon.
The church is flaked with two outdoor aisles w ith wide semi-circular arches serving as
peripheral circulation . These aisles are tiled with light grey and dar1< grey cement tiles
with unexpected irregular Greek patterns. The effect of contrast with the heavy wooden
doors closing the nave is interesting.

67
The small church on the " rue Chasse-Loup Laubat" also bears its signature.

68
The convent oft he "adorers of Jesus" on the peninsula of"ThU Th~m" is a congrega-
tion more than one hundred years old. It is the first community with Vietnamese sisters
only. Their history is hectic ... inthe past but also in the present. Indeed, the convent is
right in the middle of the Thu Thiem development. an important new luxurious urban
planning. But the little sisters have resisted valiantly and the convent should be spared
by the demolitions.
The site includes a series of buildings of which the oldest was dated 1g27 and 1g33_ The
church. dated 1g55, can undoubtedly be attributed to Rene NKS. The all design clearly
reminds the Ky Dong Church
The refectory coukl perhaps bears his signature as well. It dates from the same period
andpresentmanydesignelementsofthearchitect.
The adjacent primary school was ceded by the sisters to the government but to continue
to be used as Its intended purpose; education of the children of the neighbourhood (orig-
inally not wealthy). Today the school has been decommissioned and the building is
under threat of demolition.

69
In 1949, in a very different register, NKS made several plans for · Le Grand'Monde"
Behind the high walls on · rue des marins" (sailors street) the famous night ciub of
Cholon had a sulphurous and scandalous reputation . ltwasfirstacasino, held by the
Macaistes {Chinese of Macao), with wealthy Chinese guests playing ama:i:ing amounts
of money. Westerners were rare in the murky waters of gambling halls. Undoubtedly
they preferred the music of the Ray Ventura style orchestras and the sweetness of the
taxi-girls. They could dance and whirl on a track of one hundred meters long and thirty
wide. "Le Grand'Monde• was closed in 1954 after a battle between the army of Diem and
the militias of Bay Vien, the last unmanageable "owner''. The buildings were demolished
in1975.

70
71
NKS was also the architect of the current Consulate General of Thailand which is locat-
ed on Trim Ou6c Th/lo_Mr_ Prasit Narintarangura acquired the land of Mr_ Antonio Maria
Oa Cruz. then Consul of Portugal to build the embassy of Thailand in Saigon on Oe<:em-
ber 16, 1952. The embassy was maintained until 1975. But it was only in 1989 that the
Vietnamese government officially returned the property to Thailand. The site hosts the
Consulate General and the residence of the Consul in the City.

72
Suppositions
His signature coold be recognizable in the 128 Residence on HBT.
The podium design. straight lines. a simple play of volumes where large moldings high·
light the openings are typical of his style and present in the different projects described.

73
Several stylistic elements suggest that he could have realized the villa of Doctor Gi.iu.
The roundness of the terrace resembles the ~Norodom projac::r and also appears
c:learty ina villainOalat.

74
If the supposition is possible, the apartment building comer of "rue Blanchy" and ' La
Grandiere" from 1954 may also be attributed to the architect. The cilaracteristic oblique
lines are identical.
This building was the seat of USIS since 1g55 and is a mythical building of the time.

75
He built villas in Dalal and on the coast of "Cochinchine" in Phan Thiel

He opened a practice around 1957 in Phnom Penh where some of his works are still vis-
ible. He stayed mostly in Cambodia until its return to Saigon in 1964. He remained active
intheindustrytill1972.

He passed away May 15th, 1985 in Saigon.His architect's marble sign remained on the
wall of "rueMayer" until 1993

76
 Native Architects of Saigon in 1942

Only a dozen architects requested their accreditation to the board in 1942 in "Co-
chinchine• (Sou th of Vietnam). Between them few natives made their claim _And even if
it was not its purpose, the implementation of the Board of Architects in Indochina would
set recognition of native architects on an equal stand and allow them to access a type of
expression they would use with great individualism

eond.U1on1 qlW GOh9l26l.\ r•pl1r19• iZnpr t.rcll.U

l. 'arrlU
•#"8 . J b<l.Oh •ll\
du

I
J uin
ectn p
, d u . .u
CLU" ltrtl o
fquh <><;.""

::~~:::":~;. ;r:::'::i::~a1•
0

@§]
;• ~t u tU"1A1ru du U p l~ 1 <1,•i)l:e ~ c oll d ' .o.rcl11t.o-
t ur 1 r1c cnruie p1U' l ' 3•M . r.- ~ Hlllu&c c l u r 1ccnn"""P"r
t' S"'\ '""' 1 l ' fcoll 111 \ ic.:;l\l.1 S"-i'<irhur o h• S.11ulr- ~'.!" to
Co i'IU'h - .Lu :;c;;ilu R'Pci:.aln dn I11~1U - Ut~ di lJ,lll ,
lcu1n,~1~.r.u , Jcrhourt , L7cn , l:RroHh , Str,..lxltn"g - t•·e<:i.
:;1t-tlo.,..le :upl:-1eW• O•• Art3 ~~co.-~ t th n 1''.'ooh Sp~c111b

--Jl llflf'•"'MOHHm•HO""""'"'"";'"" '" '~'"'"' "' "" __,__

'11l~e a.n.•1u; .1•/ !{'-''")

S;>.tcfu10 •1.rch.1nctur1

• • -hu U tula1rud ' "-"•Jlfl\en t1 <1. • arcllitec~

l~~~tl11.~~~l~~~?:~~~~~~1f,r.[;¥,~
E.tractoladeclarationolLouisCl\auchoo,membef ol!heeommi!eeinchargeolanalyse!hecasesof
arcMectslorapos!libleaccred itattOll,January1943

The 1943 regularization committee set to study possible accreditation of some candi-
date architects was quick lo accept Hoang Hung, Doan Van Tao and Nguyen Manh Bao
holdersofFrenchschoolsorEBAldegree.
For Nguyen Van Luu. Phan Hieu Kinh and Phan Chan Kei , It was soon evident to the
committee members that the best way to decide was to judge the contender's achieve-
ments. The contenders have had to produce a list of site the committee could visit.

77
Nguyen Viin LIJ'IJ, was patented in Cholon since 1926. ltmakes him the first native ar·
chitect to exercise In Saigon. Unfortunately, after investigations, none of the buildings
onthetist have survived

Mif!nh Nguydn B.io. As he was employed by the Public Works department. No building
could be attributed to him personally so far.

Do.in Vin Tif!O. No information

Kei Chan Phan was the less fortunate with the committee . Although, he had a certified
graduation in architecture from the Gia Dinh School: although he could provide a list of
buildings erected before or during 1943; He didn't hold the French nationality nor pro-
tected, he was of Chinese nationality. His request was denied

4•- ~. - ;ates;;~~ - i1hll'1N 4 11 Dipl~

<:. ' /l.l'Cl..ia:: u l.:.!o~UJOG1C . ~ l ' ~:>.1•4 , i. C<Csliaalon pr~

~ cu ~'- '~l .: H •U \ ~ eJO • p pll,•ti~n du •nu n U'a."1.81to1ru

;>l'u". l•U ;:er l< tu1.c prlcitC , ( l '!:..t~n ~~,f r upl:l.l" " d ' " Ul.ura
tc•aulee cci:dlti0<.bprdr.i. o l). l •Rr tic l • 4 •' il par t .U t 50B
e t ap) ,
I BAN SAO I
5• - ~ . - pahn • ' - n •"1&1red .. I: i pllb•
d ' 4rcl'.Uac t e lt:ll<>chir.oia • A 1' ~1td, l • COl>o:!h • i'-' ,. .. ~
;en ~u • U oon agr H "" appli cat1or.i do .,.,.uru tr..,,.1to1r.a
;: r!r.-.c ;:•r l • ten • :~l d U .l I.li cUrud ,..,.~ lir" d ' "ill•ur•
tcut u l . . c o"<l1\ion•pr4..,.•lil l ' Rrt1cl• 4 U::l e '1J. ;in·tf<!.t
•<>=.•Utp) ,
6° - ~"1'"U=!l!!!! . - .~ atec~ ' . ~ ue::;IOC ~ l.r. ;;>r c:a ..-
•io~ ~ . .

p l' 01'QU~~ • ' {J'~H~--~-~ U~ ....... ~ • )' •

i i·=~' · l n ca::U.~3i<>I: pl"O~O~ q11 ' 1l 3 Uh

ag '<' en appli~Uion du :oe•ur•• b'M a lto1ree i;~e...,.. PIU'

h \e>::tepr,cit' ·

··-~·- '"""" "~~·~''""~

[ . ..1on d'Vchit.ec t. dep W.e 19 26 . -

ionprop o m•, q11 ' 1l eoit R0"4' waPpllce u ond u a •irur. .
rac.ito:l.J"upl"t;T11upar ie i u io pI"kH " ,
.l l'.........,..i t4,la C<mmie-

78
 I2 •- 1.xibrAJ1 c KA1' ,- h,.tional.H4 ohinc1h , o. pr "-
1... t.4wiDip.lllll.1 d 'W1<teooled e l'r"""' 11>01>r1 cCWU11 P""'
l'l'lat c -1 ;:cc hd'Ar ch1 tactt¢1, - J.1'"""""1.ioJ.U , .la Ca-
•1n1on p i'op~e l ll <>na it"" 11 Go\l't'l!ll•W' ~nh&l de ut 1111 e:r

•CA •v• ... t ..l 1:!. l:!I 1All CB.lll q!IJ.,,.. r11111;t~1t pA11 l u c<llld.1-
uc,,, d ~ nA ti <>Jlfll1U pr''.'1"'3 11 l' ~rUeh • •

7• - ~ .- pat1nU -U1uiaU1 du DiplltiH

d ' /.rob1teote 1~ 0 01>1n cJ. 1 . A l'unanmi U , la ~ -1 .. icn prc-

pcu qu • U 10H 1 g;r H e- r •pl h ..-.t , ...,,. ' ""'''" r 4ae:r-
Te, t c ut u le .. o<>r,d.1U<>rur pr,'f\Ull ~ l' llU"U o lio 4 •

Extrilci of a Oeciaration of Louis Chauchon, membe< of the commi1ee in charge of analyse the cases of
architecis!Qr11!)0$$it;ile ~~;tation , J110~11ry 1 943

Hoang Hung was a recognized arch~ect with his own firm since before 1942 and its re-
lations with the government of "Cochinchine" establish his re putation. Two very different
projects have been identified
The first one, dated 1944, is a rural primary school with a research based on best func-
tionality and a very rational form . Above all ii is a very "green design" with a desire to in-
tegra te the build in its environment. Under the inte rest of save cost, the architect offered
to use and mix several natural mate rials for the construction.

I ______ 79
80
The second project is a four semi-detached houses on "rue Eyrlaux des Vergnes" at the
cross with "rue Champagne", dated 1949. The design is simple and shows restraint mo-
dernity while undoubtedly effective in the volumes presentation. The familiarity of these
volumes capped with sloping roofs is reassuring but is also a wise choice in a country
where the rains , when there, are plentiful. An entrance porch off the front line is topped
with an equal projection on the upper floor. The windows punctuate well the facades.
Purposes concrete sunshades draw tines over these windows. At the ends they contin-
ue after the wa ll angle and join the next window in a graphic L shape that draw beautiful
shadows on the walls.
The beautiful building still exists today and is occupied by Air France cargo offices.

~mrrnw:5w~
~A31TATION/ (Oll[CTIV[)

81
Unidentified Architect s: The three modern residen ces

Before the Second World War. the plots were large ln Saigon. Successive housing
crises and the already exorbitant price!ong ago gave the bad habit to landlord to sell a
strip of land along the street to small shops, parking lots or even houses. The precarious
constructions that grown were often a simple corrugated iron clusrers quickly assem-
bled. These parasitic structures often make the overview of constructed buildings at the
centre of the lots difficult. truncated or even impossible. The problem of this very harmful
alteration of the urban landscape never seems to have been any concern.

258 Lll H6ng Phong Street - Dist 5 (Rue Petrus Ky )

The view of the junction between the "street Petrus Ky" and "Avenue of the 11th Regi-
menr, should have been much more open in the latethirties to appreciate the two build-
lngs. But hidden behind one of that scrap heap, just a part of the facade of one of the
buildings is visible from the street today. However if the general condition leaves a usual
feeling , this part shows enough interesting details to try further investigation and look for
a hidden entrance
The two residences are offset on a trapeze plot and show many unusual details. De-
scribe it as colonial buildings would be improper, even though it dates from this period
and has a tropical architecture, no details recall Asia. The lines are simple and modern.
The higher central core has on both sides half a level lower aisles. The two symmetric
staircases are not protrusive. Theyarep lacedinthelengthalongthefai;adeatthejunc-
tions of the aisles with the core. It creates wide oblique lines marking the floors disposi-
tion. Their presence is made visible by integrated concrete ventilation louvers. Unusual
small semi-circular projecting balconies are place symmetrically close to the axis and on
thetwolevelofthelatera l facadeof theaisles

82
The site has something of the vernacular Italian ratlonalism : Italian vernacolar by the
simplicity of its volumes and the gentle slopes of the roofs in Tuscany; And somewhat of
the Italian Rationalism by the perfect symmetry. the order, and the rhythm of the small
balconies with their rounded shape. Originally, the two buildings were on the outskirts
of the city, between Saigon and Chol on and the buildings have something of the simplic-
ity of the countryside , simple but modern. The deaepit state gives a certain quaintness
.. like the old Italian residences ...

83
Modem Residence 2 • 152 Nam Ky Khoi Nghia Di s t. 1

this great villa "rue Marechal Delattre de Tressiny· (Cling LY /Nam KY kh&i nghTa) has
the identical language, but no Asians references .
Asymmetric and protruding sem i-circular. the staircase with its long window in "arrow
slit", is actually next to the main en trance, located on the left facade. and eases a sepa-
rated circulation to the first floor. A second staircase. at the end of th is fa~de. set up in
parallel has the same ventilation system in the building previous ly described.
If investigations did not reveal the name of the architect, but gave a part of the building
history. The villa . which was already occupied by various state departments, was used
entirety in 1967 by the M inistry of Social and Cultural Affairs of South Vietnam .

~- ---
Pllt'J ... 0 CHt'J-T!<::ll
J,;"tottrc...
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)
'"
(tr....,. ,.......,.,.u,.........,O'NG
.... . a.,,.~...........
m .. c-..r.t - ""'OOll
85
Unidentified Architects: The three modern si gnatures, the Geology Museum

In Saigon. history is at every corner of the street, an history definitely bound with person-
alities. The geology museum is no exception. A small research is driving to the year
1954 when the department of geology was founded in the South. The geo!ogy depart-
ment was based initially in Hanoi. but after 1954 and the partition of the country many
departments were displaced to the South and to Saigon as Central place.
When Henri Fontaine (born 1924) (French Roman Catholic missionary geologist. pale-
ontologist and archaeologist) arrived in Saigon there was neither geologists nor geolog-
ical survey. Everything had to be settled . On South Vietnamese government request he
faced the task to survey numerous researches onto limestone and coal for cement fac-
tof)' development. pure silica sands for glass-works. kaolin for ceramics and mineral
springs for drinking and medicinal waters (the Laksa mineral water spring from Hanoi is
one of its 1950's discovery). He also studied archeological site of Dau Giay and Hoa
Vinh near Phan Thi~t. In 1971 , together with Hoang Thi Than, than his student, they ex-
humed jars of a funera l site of Sa Huynh Cu~ure at Phu Hoa in the Dong Nai Province.
Fontaine had to return to France against his will in 1975.
Today the museum seems to be frozen in time; samples, there are 20.000, are displayed
in nice wooden cabinets on Industrial mosaic light grey with blue strips floor, wooden
paneling on the walls are surmounted by frames depicting Jurassic wild life. even a too
high yellowed descriptive map of Vietnam geology had to be adapted to the building low
modern ceiling by a very nice trick of curving ii inward, but no dust. just like new.

87
The building give no trace of its architect but the design can definitely be associate with
the apartment block of the French Consulate on Dien Bien Phu.
89
Th e Nam KY Mid-Century Style
When the Geneva Accords were signed in July 1954 a new period was beginning in the
history of Saigon. the Capital City of the Democratic South Vietnam. Migration was per-
mitted between the North and South regions for a period of three hundred days. A consid-
erable mass of relugees . a majority Catholics. crossed the line. the seventeenth parallel,
to South and mainly to reach Saigon by land, sea and alr. aided by the French-American
"Operation Passage to Freedom" (already in English).The influx of refugees directly
caused a severe housing crisis. The South Vietnamese government strived throughout its
existence, facing constant increase of population, to create urban plans difficult to achieve
in the circumstances.
By 1956, almost all the French national had left the former colony. But the city at that time
sWI looked like a quiet small town, like a ride in carriage on the bucolic Paul Blanchy Street
less than a kilometre away from the downtown Opera House.
Now. no little moustaches anymore. John Wayne was coming down a C-130. And indeed.
by the colossal American presence, TAn San Nhlit. Saigon airport, was ei<pandecl by two
times between 1968 and 1g74 to absorb traffic, at the time. one of the most important ...
in the world. "Charlie row" was to see millions of tons of equipment passing by.

TheadministrationwasVietnameseatall levelsandarchitectswerealsosuddenlyall but

Vietnamese , trained in the best schools of Paris and even "prii< de Rome" recipient. They
are trained with the latest trends of modem aesthetics and construction technologies.
The European style gave still a lot of inspiration (to the world). But the inspiration was to
create a truly original style, a unique South Vietnamese ... A "Nam Ky Modem Style" full
of references , creative yet vernacular, free but respectful. The economy, with the massive
influx of American capital was good for the development of all sectors and further in-
creased the possibilities. And there are more architectural achievements that none woukl
suppose
They know the climate. the buildings were to have all the natural ventilation techniques.
screen wait, double perforated fai;;ade, ... They mastered the techniques and the decora-
tive effects. resea rchweregraphicandarch~ectural. Therepertoireofmaterialsusedby
modern precle<;essors was not yet exhausted, the same washed concrete finishes and the
industrial "ceram " mosaic fully wore the new style. And then came the air conditioning ,
saviour and so modem.

Two decades, They shall not have more than two decades
Many documents have disappeared in the storm. but here's a little of their story.

91
Nguyen van Hoa (1916·2005)

These elegant architectures are likely to catch the eye of connoisseurs by their dislinc·
tive modern lines and a typical range of materials that resonate in many details. With
generaldesign features andrhythmscarefullysetup, therewasaconsistencyinthede-
velopment of a language offering light and aerial fines . The architect throughout his
career tried to give answers to the demanding climate of a region as well as set a stylish
modernism.
The Nguyen Van Hoa (NVH) architects firm has designed many buildings in the city of
Saigon. They were probably the most productive of the time. Some buildings are iconic
today not only for their architectural qualities, but sometimes completely out of the de-
signer " control. they are part of the History of Vietnam.
Be confront to a construction of NVH firm , large and imposing as a bank on a boulevard
in search of status, or a villa ina secret garden only visible through a slit in the metal
gate, is an attend to reconstruct the events of the past. NVH firm was !inked to most of
the interesting episodes of Vietnam architectural history. Some structures have disap·
peared today and can be apprehended only through old photographs. but many other
buildings are still part ofthefabricofthecity today.

After graduating from Petru s Ky High School in Saigon in 1934. the young Hoa took
the road to Hanoi and registered at the EBAI. The EBAI was the only school in Indochina
to have an architecture department. The first director from 1927 until his departure fo r
France in 1954, Arthur Kruze , seems to have been a kind of mentor for the young and
dashing Hoa.
But World War II was to interrupt many things.

92
However, from 1948 to 1950. they were together, with Arthur Kruze , in Dalat with a
studioat"10ruedesGla'ieuls". But the life in Dalatisquieterthanexpected and only
smallprojectswerecarriedout there
In 1950 the studio moved to Saigon to take charge of a large project; to create the Uni·
varsity of Saig on (see Kruze) . The school of architecture followed the move and the
studio was installed, ne~t blog to the campus . "12 rue Garcerie" at the corner "rue
Richaud". The same address. the 12 Duy Tan after 1954 (Ph~m NgQC Th~ch after
1975) was kept by NVH studio until the last day. But the colonial house and the adjoined
modern designers· pavilion were destroyed in the late eighties and no trace remains
today.
After the departure of Kruze in 1954, Hoa didn't remain al one for long. The first to look
for association was Huynh Minh Mang for a short period. But the first real partner was
Pham Van Thang
The successful years opened with a first significant project for the BNCI. The new prem-
ises was located in the business district between the impressive Saigon Bank of Indo-
china and the "Boulevard de la Somme"
BNCI (National Bank for Trade and Industry) was already present in Saigon since 1946
with an office on the "rue Catina!". In the 1950s. the BNCl was developing. The bank
was specialized in consultancy and financial advice to French capitalists and entrepre-
neurs willing to explore new resources and new markets in the developing world .

93
The design is precursor of NVH style. The building focus is the curve at the junction of
the two streets hosting the main entrance. The door is located slightly recessed and et-
evated from the street level of by few steps. Converging to the entrance, the oblique
walls are covered with light green Irregular mosaics. This rectangular finish is placed
vertically in horizontal lines. Crowning this large access, a wide rounded canopy adds
dynamic and contrast with its black and matte mosaic finish . The upper lloors have
ribbon windows highlighted by concrete sunshades that follow this curvy part of the
facade . A similar fa93de development was used later in the Carave ll a Hot el, but later
became wide spread with the trends of curvy crossroads.
The two lateral facades on the streets are treated differently with the soon distinctive
"double facade". Those concrete grids of rectangles are slightly protuberant and over-
look the ground lloor. They effectively break the harsh rays of the sun and provide
rhythm and balance to the building. The overall finish of the building is a two tone
washed pebbles. This ultra-resistant finish was the architects ' favourite choice.
The construction was raised one leve! suppressing the lightness of the original roof ter-
race . This alteration is old.

94
The Carave lla Hot el certainly represents an important moment on the path to recogni-
tion and success. The hotet is still a landmark of downtown Saigon, right neirt to the
Opera House and facing , on the other side of the square, the Continental hotel.
At the time of its construction . the hotel was the tallest structure in the city. Us ten floors
met all international standards of comfort; it was the first skysCfaper of South Vietnam ...
of Vietnam
The project started with two French entrepreneurs Antonin Emery and Marius Mallein
purchasing the land in the early fifties. Their intention was to build the most luxurious
and most modem hotel in the city. The first architect to be involved in the project was
Masson, architect of the "Credit Foncier". But as the project took some time to be settle
definitely. at Masson's departure from Indochina. no specific plans were yet projected in
1954
To secure the project several high profile partners and tenants were sought after. Air
France occupied the larger part of the ground floor until 1975. The Australian embassy
seeking high ends office range and residence areas for the Ambassador purchased the
entire 7th floor. And finally, very present in Saigon. the Catholic Church willing to invest
to finance the University of Dalal and ease the management of many schools of several
orders.
Mr. Hoa was instructed to incorporate into the design all the modem comforts. The
whole building was with conditioned air. the elevators were of the best quality. each
room had a phone and hot water was available in every bathroom. But all of these devic-
es following ' the new standards' had to be imported. The needed delivery time caused
significantdelay tothecomplexionofthebuilding.

95
the Hotel Carave\le finally opened for Christmas Eve 1gsg. The same year Air France
launched its ico n ic jet "Caravelle" also at the top of aesthetics and technology.
The many reservations were the pride of the hotel. Air-conditioning. the new wonder.
was highly sought by foreign customers and the manager kept anytime the temperature
cool. Throughout the sixties, many journalists and war correspondents were very keen
to take up residence in this high quality hotel and enjoy the international standards level.
The roof terrace offered splendid views on the entire city and the stylish Jerome and
Juliet bar, the JJ, a llowed to finish the night a cocktail in the hand listening to the latest
gossipaboutawarsuddenlysofar.

From an architectural standpoint, the Caravelle is quite similar to the BNCI in the con-
cept. But the open square gives a better view on whole construction . The curvy corner
has a very nice effect with the ten level height. Similarly, windows are topped with fine
rounded sunshades (unfortunately disappeared today ). A thicker canopy. in matt black
mosaic, highlights the ground floor all along the facades . but this time, with a for-
ty-five-degree comers at the junction with Tv Do street. The ground floor walls are fin-
ished with the familiar rectangular mosaics. Both of the lateral facades have a projecting
concrete grid, but wider than usual to host the balcony of each hotel room . Each of these
openings has a sun shade formed by a second lower lintel connected to the upper one
by two pins.
Mr. Hoa was contacted soon after the hotel completion to e~pand its capacity. Hoa"s
consistentproposalwastocontinuestheoriginaldrawingandstretchitfurtheralongthe
Opera. unfortunately. the plan was not implemented

ANDT
96
Several apartment buildings were realized by the firm HTN.
The apartment building of the BGI in Cholon, on Hung Long Street is right next to the
one of Paul Veysseyre. The three-story building is sober. It must have been constructed
in the early sixties. The windows are still equipped with wooden louvers. Shutters were
used from the mid-sixties onwards. Concrete louvered sunshades with ends aligned
same plan with the extension of balconies were used in several project. Particularly in
the apartment building of the T78 hotel compound. The building Shell onYiln 00
street (Ly Chlnh ThSng) develops two nice facades with many typical elements of the
firm (12). At a distance the ripple of concrete shells !s visible on the roof top. They recall
these of the Vinatexco project from same Author.

(12) The building ""8S b<nlt by COGISAand hosted Shell Company staff

97
The apartment building located 22 rue Gia Long (Lagrandii!re - LY Ti,r TrQng) was built
for the SUFO (13) and stands between the 1960's Tabert-lasalle School and the Art
Deco building at number 26. (see description). The fai;ade follows a simple design
based on an alternate grid where the typical elements of HTN firm can be find in three
ways: either a balcony railing with vertical side bar, a balcony with a low wall finished
with matte blue "ceram" mosaics. or on both vertical ending and top floor of the building,
a recessed window by the sunshade wide (BGI apartment and T78 hotel). louvered
sunshade is the best design for natural ventilation and passive cooling in a room . A
downward pressure improves airflow distribution throughout the room . Unfortunately,
today this grid is altered by different parasites additions.
The " Pittman apartment" is one of the best known buildings of Saigon, but not for the
architectural design qualities ... USAID Staff residence and CIA Office. the building is in-
extricably linked to the last days of Saigon. The building's roof top is the upmosl famous
as it was immortalized by a photojournalist. The building was chosen with the United
States Embassy. as final evacuation point in the "operation frequent wind" and saw he-
licopter pickups until the last moment.
!tisinterestingtonoticethatthepresentationdrawingisanaerialview, quiteunusual
for the promotion of a building in the city. This special angle, giving such an emphasis
ontheroof, seemsalmostprescient.
(13) SUFOwas a French real estate agency whoselormer name was SUFIC (Indochinese urban land
company)wi!halarge~ioofproperti es inlndoch1n a!hen1n\lielnamofwh1ch!hene xt26

98
Hidden gems of Saigon, the portfolio of the Nguyen Van Hoa contains several splendid
villas.
The Doctor TU'O'f'lg villa, peaceful and quiet was preserved entirely in its original state
and now seems timeless with its window frames colour "celadon"
The volume simplicity of the villa includes interesting features and develop new princi-
ples in the vocabulary of the architect. The broken bend in the fai;:ade is the most fasci-
nating element of the villa. This simple feature makes an astonishing change in the
volume perception. To separate the protuberant balcony mass of the first floor from its
base gave lightness to the whole. However, the two large strokes come out like rock
layers. The " Fallingwater" of Frank Lloyd Wright, Hoa visited during his study trip in
the United States was his inspiration

99
The Doct eur Vlli n Ut villa is now lovingly cared by one of the three daughters. Under-
stand the privilege of living in a house part of an irreplaceable heritage is the first phase
of its preservation. But itisnoteasyburdentocarry.
Built in 1964 the style is simple and easy going but full of little details that sublime the ev-
eryday life. The terrace on the ground floor, originally open on the both ends, serves as
passage from the front garden to the salon in setback. Polished by the years. the ten by
ten industrial ceramic tiles with lines of various colours give a perspective to this area.
The privacy is assured by a large square surface covered of matt bleu mosaic.

Just above, a wide balcony along the two sides less exposed to the sun is accessible
from the two main bedrooms. The master best room remained intact, as if the doctor
would return in the late afternoon. The bluish light that filters through the drawn curtains
reveals few furniture of the era and on the floor, a two tones geometric pattern made of
linoleumsquares.isoriginalandinperfectcondition.

100
101
Some villas were design for directors of important companies present at the time in
Saigon: some of them are not identified precisely.
HTN firm also designed several Laboratories and Pharmaceutical plants. The discreet
"La Thanh Trung" on Duy Tan is one of them. From the street side and ii the total length
of the building is not considered , it may look like a large villa.

102
Th l.l'O'ng Tin Bank is one of the latest projects of the firm . it is also one of the largest.
Top te n stories, the construction began in 1971 at a comer of Ham Nghi. The fa.yade is
large and impressive and even if the style turns International the typical double screen
fairade is there. Ironically, further down the street TOn Th8t ~m include the building of
BNCI the first project of a bank of Hoa firm . Closing the loop?
In addition to a high productivity within the association, Pham Van Thang and Nguyen
Quang Nhac also had their personal projects. It is therefore interesting to look at their
personality in more details

PhiJm Viin Th.Ing

Born in 1920 in "Cochinchine". he was first trained in the school of architecture of Dalal
before he moved to Paris in 1948. He graduated of "Beaux-Arts" in 1gs1

SEAMEO (Southeast Asian Ministers of Education Organization - Organization of Minis-

tries of Southeast Asia for Education and Culture) on L" Thanh T6ng on the Crossroads
with Hai Bti Tn.mg.
It shows a typical example of Thang architecture. Today, aside from the add rt ion of red
granite. the building remains in its original appearance. The mix of materials such as the
smooth pebble wash surface in several tones and the more rustic irregular rough stone
are recurrent throughout his career.Simple lines and double protrusive fa9<1des are also
one of his basics. Many buildings from this period include the feature , but if his signature
is not under all of them. he is undoubtedly the author of most of them.
Despite the modem visual appearance of the typical "grid fa9<1de", the implementation
remains conventional. The concrete was poured on site and evenly finished with an ad-
ditional layer. Prefabrication of architectural elements seems to not have been consid-
ered. While a fundamental evolution In the design development, with a similar aesthetic
and in the same era. for an architect like Marcel Breuer in projects as the " Pire lli build-
ing" . For at least two aspects. it doesn't correspond to the country's reality. Transport
and handling of construction materials and furthemiore large dimensions or heavy ele-
ments was and still today poses problems for mid-size contractors. While labour cost is
here very cheap compared to other regions.

104
105
The General Consulate of England (1964) is an astonishing example
The British never had much interest for modem architecture. Probably they couldn't find
anyone enable to build them a neoclassical building ln the middle of the twentieth centu-
ry. But behind its high walls the building Is unfortunately not in a state of optimum pres-
ervation. However, Pham Van Tang signed there one of his most successful achieve-
ments. the stripped stylistic of the building is avant-garde .
He drew in finesse the typical concept of a reinforced concrete structure like on a blue-
print. And as a Sol Lewitt sculpture It stands. Apparent. visible, on the roof terrace the
structure corrects the proportion and give a good balance to the whole.

106
107
Completed in 1972, the Unive rsity of Architecture is the graduation project of student
Long Trll'O'flg Vi n under the supeNision of PVT. Thang was a long time teacher and di-
rector from 1971 to1973.
From the street, the appearance is very solid. The surface facing the sun is practically
blind. This fao;;ade , just punctuated by engraved rectangles and few small openings. is
entirely finished with pebble wash.

The whole ground floor is an open space

usedforlargegathering(aulamagna)

This open area has a special atmo-

sphere. Directly on the fresh grey granite
floor, students are working in small
groups to finish a drawing or a project. ii!==~~!ll~

108
The distribution is more obvious laterally_ The facade facing the rising sun seems out of
the pencil of Mister Thang. The typical grid of concrete provides vertical and horizontal
rhythms. This "sun breaker" grid puts the real facade back more than one and a half
meters and provides the circulation. It also has two staircases at both ends_ These
stairs, opened on the ground noor are enclosed on the upper noors. Those two towers
on stilts are pierced by large windows on three sides. These rectangular windows are
made of metal profiles and an ingenious manual opening system makes them look like
large louvered glass. The west side fayade is similar beside an unexpected balcony in
the middle, probablyintendedforaJuliettestudent

109
110
Nguyen Quang Nh~c
Although he was younger, Nhac was born In 1924, he followed the same route as his
peers from Dalal to Paris. He gradueted in 1957. On his return to Vietnam. he joined
Nguyen Van Hoa firm in 1958 lor a long and successful career.
He was a very popular teacher, beloved by his students and he taught at the University
until his retirement. He succeeded to the unfortunate TrAn VBn Tili and was director of
the University from 1967 to 1970.

In additiOn to collaborative projects Nguyen Quang Nhac drew some interesting archi-
tectures of the era, including the following two projects.
VAA-Vi etnamese American Association (destroy in 2016)
The American-Vietnamese Association was a language school focusing on the study of
English. 1t opened in 1958 on M~c EJTnh Chi Street, in the Ela Kao neighbourhood.
The two buildings placed offset of a pretty refreshing titt~ garden and at ninety degree
of each other. turning the back to the afternoon sun. Both building have a very different
look.
The first core, parallel to the street encompass, on the ground floor, an elegant broken
line canopy supported by a kind of uppercase M, an alternative to the usual V.
The second core was built on stilts, ii is raised from the ground supported by a series of
concrete columns and beams that gives a "radiant city" style to the building. Nhac. was
student in Paris in 1gs2 when Le Corbusier' "cite Radieuse· was inaugureted in Mar·
seille. He makes here a reference to the project. Originally all open, the ground floor
seNed as car park. Some partition wa lls and doors were add to close the space in a first
alteration. More parasites structures on the street side later completely prevented to
evenenjoythearchilecturalelements

The ventilated double roof was also an interesting feature of the building. A series of
poles elevated slightly the upper roof from the construction. This system prevents the
heat to be communicated to the lower part of the building and create air convection in
the empty space between.

112
The original "Institute ror Cultural Exchanges with France," the IOECAF is still an import-
ant hub for dissemination of French culture in the city. This cultural centre has a library,
a fully equipped auditorium for theatre and cinema , an el(hibition gallery, and a language
school but this time directed towards the study of French language
This harmonious complex of buildings forms the corner of Ui Thanh Ton and Th8 van
Lung. The site has retained throughout its originality

The main alteration was the transformatlon of the office wing. Originally a long graphic
wall made of perforated bricks: it was replaced by normal windows. The overall balance
of the composition is affected and the somewhat abstract effect has disappeared. A
small section of this type of wall , on the side of the library, retains its finish and gives an
idea of what could be the original drawing. At the centre of the compound sta nds a large
tree, the beautiful garden adds a touch of nature and it refreshs a small Terrace. It is a
nlce stop to enjoy a Vietnamese coffee.

113
TrJn V.tn Ti/
Tran van Tai was born in 1923. He was also transferred from the EBAl to the Paris'
Beaux-Arts in 1946 and graduated as early as 1g5o. He participated to the Unive rsity
of Saigon project with Arthur Kruze and NVH. He is known for a very sober and
stripped style.
TVTsucceeded also A th ur Kruze at the School of Architec ture in Saigon in 1955 and
he was the first Vietnamese director until his resignation in 1967.
Since 1961 . students were very dissatisfied wllh the underfunded school. The lack of
space was also problematic with a number of students rising up from two hundred in
1961 to seven hundred in 1967. Tran Van Tai wanted to leave the post but under those
circumstances no one wanted to replace him. The level of discontentment was extreme
and students even went on hunger strike to have theirs complains heard {letter). But a
new and more spacious campus was only built in 1972 (see Pham Van Thang).

T6 C6ng Viin
To Cong Van was born in Gia Dinh in 1921 . He left Indochina by his own means. to study
at SAP. He joined the school in November 1946and graduated in June 1951 . Beside his
prolrtic career in the Industry. Mr Van also taught at the Saigon School of Architecture
and he was director of the institution from 1974 to 1975.
To Cong Van has developed a particular and very persona! style easily recognizable
around the city where he built numerous constructions of all sizes. He is fa mous for his
use of asymmetric broken line and his "butterfly" roofs are typical in Saigon.
It was le Corbusier who seems to have made the first project with these V-shaped roof
around 1933. This roof with slopes. even if they are inverted. represents a significant
change with regards of the usual flat roof designed by le Corbusier. It resembles to an
attempt to escape the many waterproofing problems that have earned him some legal
prosecutions ... In 1945. Marce l Breuer applied the design for the roof of the Villa Gel!er.
But the Ca!ifomian architect Willliam Krisel launched Che real style trend with a volume
of about 30.000 villas in California and doubling the number of villas in Palm Spring. It
defined no! only a line, not even a style, but an era: "the American Mid-Century
Design".

To Cong Van was representative of e~pressive style. Although it may sometimes seem
futile , it definitely shows optimism and unbrid~ creativity. Scattered in the city, the
buildings are recognizable. The commercial building of the Ngur'n VSn Tr6i is a well
preserved example. A good three-quarter view of the whole is given by the small alley on
the left side of the construction . AH the characteristics of the architect's style are present.
The wide wall on the alley is very graphic with an irregular trapeze shape and its upper
side with a broken line. This surface is engraved with lines forming diamond checker~
boa rd with on each line crossing a protrvcling ring . This decor perfectly catches the rays
of the afternoon sunshine. For sunscreens. some adopts the simplicity of a rectangular
surface highlighting the windows or other a total window belt that creates an open box.
With Mr. Van the sunscreens also have a special typical shape. He mainly used triangu-
lar sides. an intermediate but graphic solution. Sometimes these sunscreens are even
surmounted by a second overhang. Those additional lines can break or even ripple over
a few meters like a wave. The Architecture of To Cong Van is an architecture of rhythms
and dynamics, well inscribed in his time. Each building is a pleasant discovery, for its in-
ventive character, playful as a comic-strip .
116
Villa Mebiphar is another example, never restored but maintained and completely orig-
inal. The villa shows its charm directly at the opening of the wide austere front door. The
owner kindly indicated that the villa was a gift of the Japanese government in the recon-
struction efforts of the sixties. Unfortunately the villa will disappear soon.
118
The ancient maternity clinic on Ph;;im Ng()C Th;;ich is a very successful example with
~s mix of shifted axis. The balconies and the brollen lines railings respond perfectly to
the oblique sun breezes of the other windows on the facade .
He also design the Cons ulate General of Cuba, and the larger project he realized is the
Pius X Pontifical College of Dalal.

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NgOVidtThV
The first construction on the site was the palace erected, in an eclectic style, for the res-
idence of the General Governor of "Cochinchine· in 1873.
It had to be ceded by France in 1954 to the prime minister of the time. NgO Dinh Diem.
President Diem used extensively the large building until it was badly damaged by an
aerial bombardment. The shelling was conducted by the army of South Vietnam. dissat-
isfied with the regime.
The palace was demolished in 1962 to give place to a new symbol of South Vietnam
The young architect Ngo Viet Thu wined the competition with a project resolutely
modern. The Palace was completed in 1964, but only after the fall of the Diem regime .
It became President Thieu headquarter until 1975. Since then it has been renamed Inde-
pendence Palace. It no longer has any official Functlon but Is used as a symbolic decor.
Ngo Viel Thu was born in 1926 In Xa Lang near Hue. He was first enrolled at the Dalal
college of Architecture in 1947, but as the school delayed its reopening, he was trans-
ferred to the BAP. He returned to Vietnam "Grand Prix of Rome", an exceptional and rare
distinction, in 1956.
One oft he project's requiremenls was to reuse the basement of the ancient construction
aiming to save the costs of earthworl<s and new foundations. The scale of the project,
however. seems oversized and dkl not miss to be perceived as a need to impose a
regime similar to the previous colonial power.

The project is the masterpiece of Ngo Viet Thu and ii is a complete success. The general
appearance of the building is seductive by its fair proportions and a sense of calm em-
phasis emerges from the elongated building. If the general physiognomy is very modern,
the details have complex Asian references. In an interesting reflection , the issue of up-
dating the traditional elements is approached wlth unequalled success throughout the
city. However, thepresidentialresidenceistheonlysignificantbuildingofthearchitectin
Saigon.

120
122
Only few minor other architectures bear his signature. The vilta at the crossroads Hdng
Th~p Tir. Duy TlJn (Ph9m Ngt;JC Th9ch - Ngu~n Thi Minh Khai) is one of them and it is
an interesting example. The villa was erected for the owners of the Rex Hotel. Mister
Nguyen Ph Uc Ung Th/ helr of the Nguyen dynasty and Miss Nguyen Thi Nguyet Nga ,
heiress of a Viceroy of Tonk in. After 1975, the villa became the Chinese consulate for
fewyears . andnowadaysitisarestaurant.
Ngo Viet Thu also signed town-p lanning for the development of the city towards moder-
nity and l o face the successive population increases in the sixties. None of his plans
have been implemented. Most of the architectural ach!evements of Ngo Viet Thu are in
DalatandHue, his birthplace.
In Hue twoprojectsareofhighqualitydesign.
The two buildings of the University with a form of three branches star, perforated screen
facades and undulating roof have good reasons to be famous (1961-1963). Closer to
downtown. the white Huong Giang I and II Hotel (1962) have a good stand along the
Perfume River. The hotel has a nice broken line articulation between the two buildings
and its roofs have architectonic undulations
For Oalat thearchitectsignsaverygraphic nuclearcentre that reca llsthedrawingsol
the Cambodian Vann Moliv ann. For the National Military Academy facilities NVT real-
ized gates with elegant lines.
He also signed the design of the gates for the General of Staff ln Saigon vlsible on the
way to Than Sun Nhut airport.

123
Ngo Viet Thu also participated to the construction of the University of Medicine and
Phannacy, 217 Hbng sang, designed by CRS architects, an American firm . Caudill,
Wayne and Scott (CRS architects) was a Huston-based firm specializing since 1946 in
building schools funded by the United States in developing countries. Ngo Viet Thu as-
sured the relay for the construction in Vietnam.
In November 1966. fifteen years after the first project of the Unrversrty of Saigon, the
doors of a new campus opened. The spacious facilities have a main amphitheatre of five
hundred pt aces. three others of three hundred places each, several laboratories and a li-
brary. The site is today In its original state, aside from the corrugated iron parking that
spoillheviewJ
The constructions make an intensive use of white Terrazzo on the floors. interior and ex-
terior. The prefabricated elements of the facades are also very characteristic of the site.
The terrazzo. also called reconstituted marble, is one of the typical materials used as
floor finish in Vietnam (see also the Xa Loi pagoda). This economical solution. with llal-
lan origin, consists of small marble, granite or glass ships mixed with cement or a poly-
mer or both. The mixture allows with the addition of Ochre a wide range of colours. The
smooth and shiny surface is very durable and completely waterproof. The terrazzo ex-
posed aggregates match perfecily the pebble-washed walls surfaces.

124
125
Huynh Kim Mang
Born in 1g20, he was transferred from the School of Architecture in Dalal to Paris in
1g50 and graduated in 1956. At his return In Vietnam. he was associated with Hoa for a
very short time. He preferred to open his personal firm. However the two architects con·
served good relationship

The school was named: Taberd-La Salle in honor of, Jean-Louis Taberd, a missionary
who had served in Cochinchina in 1830's and the La Sal!e Christian Brothers who were
running the schoo! by 1ago onward in a building typical of the colonial architecture in
Saigon.
On the 30 of July 1960 new larger facilities were inaugurated with a new gate on LY Tv
TrQng. It appeared proudly on the 1961 school leaflet.

In 1g15, the Ecole Taberd was taken over by the Vietnamese Ministry of Education. The
school was renamed after a weapon engineer Tr8n El~i Nghia ... The Christian Brothers,
theoretical owner, granted the use of the land but for the only purpose of education.
The graphic fayade on Hai Ba Trung is neglected while a "new colonial building" arbors
its garish orange

126
127
The smaller Victory hotel is discreet on the crossroads of VO V!n Tim and Nam KY
Kh&i Nghla , But nevertheless develops a beautiful rhythmic in its facades
ThedesignofthehiddenleftfacadeuseanidenticalgridastheTaberd-Lasallefacade
on the playground side.

The project he made for the Ben Thanh market shows impressive lines. The Mang
design was quite radical. The structure widening at each of the three levels can easily
be called Brutalist. The project won the competition organized by the city willing to mod-
ernize the old market, but the design was never implemented
Huynh Kim Mang diversified career include industrial projects with Le Van Lam. But de-
spite his sharp and contemporary style, Mang worked with Nguyen Ba Lang on the Bil
ChUa temple, built from 1972 to 1976 in Vinh (center of Vietnam) in a much traditional
style. He worked on urban planning in Nha Trang. He taught and was vice-director of
the Saigon Univers ity of Architecture.

After 1975 he finished the Unive rsity of Can Tho started by HTN firm. He designed the
large central hall whose roof resembles a giant tortoise shell

128
The Palace is a beautiful hotel on Nguyen Hue Boulevard now a pedestrian area. When
it was built in 1968 this was Saigon's tallest building, but~ is vain challenge. The hotel
top fifteen floors, has an open-air swimming pool on its rooftop terrace. the timeless
des;gn and refined lines make it look even more recent than actually. The balconies
gave the opportunity to the architect to play with sober protuberant clean volumes. The
largeroundonesarewellorientedtowardstheriver.

129
The " Modem Traditionals "

A group of architects of that period were looking to define a style inspired by the modern
contemporary lines driving the decade but simultaneously use deep traditional Vietnam-
ese references. They succeed in few projects to define a specific genuine and unique
style. The projects are sometimes relig ious with few Buddhist temples but may also be
civil buildings.

Nguyen Ba Lang
Born in 1920, Nguyen Ba Lang was from the North of the country. He enrolled at the
EBAI , in Hanoi, lo study architecture just at the start of Wo/112 , but unfortunately the
school closed its doors soon after. His family did not have the funds to send him to nei-
ther Dalal nor Paris. However, in 1954 the entire family immigrated to Saigon. He then
returned to the school of architecture and could finally graduate in 1961 . Perseverance
pays. It took . and it's a record, eighteen years to complete his studies

Nguyen Ba Lang was interested in traditfonal and religious architecture. His career was
mainly oriented towards the restoration of old buildings. However, religious or not, he
managed to give his projects a very personal style. Lang succeeded in the making of an
aesthetic synthesis using modern materials and implementations but with references to
Asian and especially Vietnamese tradition .
The Buddhist University was initially based within the X/J Lt;ri and Ph{Jp pagodas. But
it was only after the deposition of Diem, hostile to Buddhism. that the Ministry of Educa·
lion agreed the creation of a new specific site. Nguylin Ba Lang was entrusted with the
project of the Van Hanh University (Vif n D{li H~ V{ln H{lnh ) (today University of Ped-
agogy - TrvCmg Elf)i hr;>c Sf) phf)m) . The new Campus opened its doors, 222 Trvrmg
Minh Giang (now L~ Viln Sjie), in 1966. The private Buddhist University of the city was
also a language center where French, English. German and Japanese could be studied.

130
He also designed the extension of the "National Museum of Vietnam" (B8o tang Lich
sf; V~t Nam - Museum of Vietnamese history) in 1970.
The first Indochinese style project was carried out in 1926. But as a result of a rapid in-
crease of the collections, the museum suffered very quickly from the narrowness of the
available surface and absence of a library and workshop for the collections mainte-

At first, the respect of the original construction surprises. At no time can the gaze grasp
the museum and its extension simultaneously. If they are face to face. the second is in
withdrawalleavingthefirstplace. Thlsintelligent approachoftheprojectgives thearchi-
tect, freedomandthepossibilitytodesignabuildingwithdifferentlines andstyleandto
successfully integrate a new structure.The building is a successful blend, a fusion of
modern and traditional shapes, materials and decorative elements. The roof of the cen-
tral building is surprising with its raised ends and its roaring dragons.
The refreshing pond. central to the atrium. the courtyard. express the same philosophy.
The natural edges of the pond contrast with the concrete, overlapping, geometric
squaresto formapath
He is also the architect of the Pagoda - ChiJa - Vinh Nghiem in collaboration with archi-
tects Le ran Chuyen and c O van H~u realized between 1964 and 1971 .

132
133
The x a L9'i pagoda is another example of this religious architecture between modem
and traditional in Saigon. The design and the constructions methods make it distinctive.

The xa Lqi Pagoda was inaugurated in 1958 following the drawings of the architects
Tr.fo van Dll'fmg and D6 BA Vinh. The pagoda was an important religious centre in the
city and also an educational centre before the opening of Van Hang University
Before the fall of the "Catholic Diem regime", The Buddhist monks have been at the
center of episodes, sometimes tragic. of the struggle for religious suppremacy in the
region

134
Gen eral Library of Scienc es
The libra ry !s one of the most renowned modernist buildings in the city, On the road to
many tourist attractions, it has a cenlfal location. Nguyj n HVu Thifn and Bili Quang
Han were the architects and the library was inaugurated in December 1971 .

Set back from the street by a garden. the construction Is perceived for once as a whole .
There is first and horizontal core two floors high. The massiveness ls avoided by one
major aspect of the building design: its large decorative screen watl. Surrounded by a
rectangular pond. it is a researched place for a refreshing halt. At the central axis the
majesticentrancestairsspanoverthewa1er. Thesecondbuildingcoreisverticalonthat
axis. This imposing monolithic tower is almost blind. Only its dozen of levels are marked
by strokes, narrow window ribbons . It hosts the library collection. The wide lecture rooms
were placed on the lower floors and are accessible by a large curvy staircase in the
middle of a majestic hall The dark wood ceiling is decorated by Asian Modern motifs.
The building is outstanding and daring in its general composition and within its balance
of bold and delicate. The double fa~de is attractive but the elements used are slightly
too "complicated" and not consistent on both facades which damage the sobriety of the
building
Nguyl;n Hfru Thien (1g14·81) was a devoted Buddhist and his architecture is mainly ofi.
ented towards the realization of religious projects amongst the pagodas "An Quang"' and
"Hue Nghiem". The villa. 150 Nguyen Dinh Chieu. now the residence of the Consul Gen-
eral of Japan, it's his civilian achievements.

136
137
Modern Standards
Another amazing aspect of modernism in Saigon was its adoption by the entire popula-
tion. Even for a common family house modern standards were applied, if not directly by
the architect, bytheentrepreneurimplementingtheconcretestructureaswellasthe
decorative features. All around town in all the districts. there is interesting e~amples.

139
Tr8n Dinh Quyen
Tr~n E>inh Quy!n graduated from the University of Chicago. He was one of the first to
graduate from an American University. He is a specialist of healthcare facilities .

- The project of Cultural Centre with a new history museum on Nguylm Du , behind the
former presidential palace was never implemented. But it shows in a colourful perspec-
tive the importance for the architect to place large building in a green surround. He
a!ways integrated this principle in the design of large projects like the renowned Gia
Dinh and Vi Dan hospital. The relation between patient and a surrounding the natural el-
ement is reg arded today as an important element to help to recover health.
Modem Hopitals

• Gia Dinh American Hospital • Bfnh lli6n Nguydn Win Hr;x; (today Bfnh lli6n Nhlm
din Gia Dinh) dated back to 1966. It raised the capacity of the hospital up to 500 beds.
The place formerly dedicated to integrate nature as close as possible to the fac1lity is
today replace by an over crowd scooter parking.

. .;,,• ..~oc':.•..;;:!. . . -
-------•----~·'::.._. . -!..~,
~i•.~-,!~~01 ~r"rrt.~;' 1M:i\' ~~~llQ'
'°iOA~oQR~IOi ~-.:~:::
~----1 Q;._-;;~~~.=- -:_r.:.:.i.-
- Vi Dan Hospital
The large hospital was completed in 1971 . Mrs. Nguyen Thi Mai Anh, first Lady of the
Republic of Vietnam and spouse of Nguyen Van Thieu campaigned to ra ise money to
found the hospita l and enable to give free cares and medicines to patient. Today the hos-
pital Bfnh vifn Thtmg NhJt care for 1000 beds.
cO van H~ u
Born in 1g34 he graduated from Saigon University of Architecture in 1964. He started to
teach there from 1966 to retirement in 2006.
The gentlman still speak nuent French and keep interesting conversation.
Project of the Student s Centre on H6ng th;jp t!I' in association with LB Tf1n Chuyen
1965. This unrealised project shows interesting feature of sbcties modernism. !t Is an in-
teresting play of volumes and the empty space left when some of them are on stilts
The project display a large use of the natural elements with trees and grass field where
all seem open and free to access ..
'Nhile some architects were in the quest of expressing their roots with a modern lan-
guage, in Saigon or in some other places around the world, the architectural trend, never
static for long, moved towards another possible ideal. The International style, just at
the opposite, erasing all nationalisms, set common principles al\ designs could embrace.
As illustration of this tendency: a project for the headquarierof "Wortd vision· and two
projects for the new down town train station, all never implemented.

vu TOng and T6n Th~t CSng

In 1966, they signed a project for the 'World Vi sion", an American church that was
planning to build its main site in Saigon on M~c EHnh Chi, directly opposite the US Em-
bassy. "World Vision" was a charity that was involved in education and medical care for
orphaned children.
The project involved the construction of an arrangement of several buildings in the
middle of a garden. The fully glazed paraltelepipeds, precursor of the "Corporate Ameri-
ca look", are ahead of their time in Vietnam
The project was not completed but no major building was built at this location for de-
cades. The theatre "B6n Thanh" occupies the space today.

145
Saigon train station

Originally the train terminal station was placed at the centre, next to the Ben Tanh
market. But quite strangely, it never was a building of interest in the colonial period. The
end of the sixties wanted to remedy to the problem and give the Modern City a landmark
atthelevelofitsstatus

Unidentified project 1966

146
Le van LAm project

147
In 1g64, Saigon in full swing, Le Van Lam came not really with a project but thoughts
about the city transformation towards the future. He was the first to come with the idea
to set the train terminal upper on the line to ease the heavy traffic. But the main objective
was to create a commercial pole. In addition to the reconstruction of a larger Ben Thanh
market (see the project of Huynh Kim Mang), three large commercial centres along
Ph1Jm NgiJ Lao were to supply more commercial surfaces. On each of those three low
building hosting different types of retails. towers of fifteen to twenty ~vels hosting offices
and hotels were to give a global view on the capital city and even to see VOng Tau in the
far. All roads around were to be redesign with fountains on each cross roads and the Ben
Than roundabout was to be doubled decorated with trees and flowers .
The design was not yet specifically defined but the direction was clear.

148
 The conditions allowing that momentum were fading away.

Those fifty years have seen amazing transformations of the aesthetic all around the
world . Saigon was an underestimate unique player in the entire region with a fantastic
creative verve. The fundamental element of this expression was its international inputs
Architects have gathered numerous aspects from different cultures and have, in a
moment at the edge. being able to transcend them into a genuine artistic inspiration

149
 &O~· VlfN

___ :::;. ...

~:;=-
.:;.. _

II

ANDT

150
Materials and Finishes
Along all this era, specific materials and finishes were implemented. Bond to the style,
they give today their special taste. The spices needed to complete the recipe

Flooring of " Gres cerame"

"Gres Cera me" is a masterpiece of French Art & Industry.
The earliest example of this flooring in Saigon are: " Les Grand s Magasins Charner''
(TAX) and the " Mus ee Blanchard d e la Brosse " (museum of Vietnam History). But this
versatile material was used in many buildings throughout the modernist era

Two elements must be taken into account: a special type of material and a technic.
The material
The tile is "Gres Cerame " often translated in "stone ceramic"
The ceramic is made from dough of plastic clay, kaolin , feldspar sand first heavily press
and cooked in very high temperature around1300 "C . It is a full body ceramic; the colour
of life runs all the way through the tile .The final product is matt and the range does not
exceed 30 colours. The colours are tones and are not vivid .
But they are virtually impervious and are surtab!e for any application from resklential to
thehighesttrafficcommercialorindustrialapplicat ions
This material is still in production nowadays by company like WINCKELMANS in North
of France

X1
The technic
Mosaic was a finish previously only reserve to luxurious purpose. The evolution in the
Artistic and Industrial techniQues has made the mosaic affordable for residential and
commercial.
Mosaic is an assembly of small parts of stone (marble ), glass or faience positioned in
mortar. Its origin may be trace back in Mesopotamia and was current use in the Classi-
cal Greece architecture. The decorative techniQue was widespread in all !he Roman
Empire and stayed in favour in many European countries tilt the Renaissance before
disappearing.
Napoleon and the Italian campaigns In the beginning of the XIX th Century tum back the
eyes on the ostentatious finish. But it is definitely under Napoleon Ill tha t the trend was
back
The Opera Gamier and the new technic
For the decoration of the sumptuous "Opera de Paris" Charles Gamier wanted a colour-
ful luxurious material but the price of traditional stone mosaic was very prohibitive.
Giandomenico Facchina. an Italian mosaic artist from Frioul (North) worl<ing in the
restoration of buildings in France proposed a new techniQue reducing drastically the
oosl toChar1esGamier.
The indirect technic was an Ingenious process of laying first the tesserae upside down
on an adhesive cardboard. By this way !arge size or mosaic could be prepare in worl<-
shop saving time in site and allowing easy dup!ication. The more affordable technique
made a real infatuation in the new Haussmannian Paris .

X2
The success story continued with Art Deco and even with more radical ar-
chitects like Mallet-Stevens or Le Corbusier. In Saigon, the material was
used in between by Veysseyre in many entrances and Nguyen Van Hoa
firm in the " idecaf' for example.

.. .. X3
A variant product appeared in the thirties with a "ten by ten" (cm) format. In
addition to the same colour tones, shades of speckled yellow, brown and
greys were popu!ar. The product ranges include multiple and various addi-
tional features to complement the simple product; round inner and outer
corner and various connexions ..

X4
Floor of "Terrazzo"

The "granito" or "terrazzo" is one of the oldest floor finishes. Its origins are
in Italy and particularly in Venice.
This type of floor is similar to traditional concrete implementation with the
main difference being the substitution of sand and gravel for natural stones
pebbles and crushed elements. Many different types may be added to the
mix. Marble, granite, seashells, glass, mirror, metal can be crush and add
to create an effect.
All is mixed with a binder with or without the addition of pigments and poly-
mers.The mix can be applied directly on the concrete screed with a thick·
ness of 10 to 20mm . The thickness will depend on the size of the grain size
selected . Its nobility, beauty, durability and low maintenance cost made the
enthusiasm for the Granilo and Terrazzo.

Difference between Granito and Terrazzo?

Although they are both of the same constitution , the difference ties in the
application . In the Granite, the aggregates are mixed in the mass before
being cast on the ground. In the Terrazzo, the aggregates are sown on the
surface after the layer, the binder cast on the ground. This difference makes
it possible, in the case of Terrazzo, to increase the density, the patterns and
the composition of the aggregates in a given zone.

XS
The Xa Loi Pagoda
A column with Mother of pearl inclusion University of Medecine Prefab screen wall

X6
Pebble wash wall
It has many in common with the terrazzo as ii exposes its aggregates but
the final surface in not leveled but brushed. Pebble Wash is also commonly
called exposed aggregate finish.
With a thickness around ten millimeter, the mix combines pebbles and
cement at the ratio of 70 and 30 %. It is laid on the well prepared substrate
such as cement sand rendering or wall plastering. While the fresh lay peb-
bles cement topping is still in plastic stage, special brush is deployed to
remove the surface of cement slurry to expose the pebbles. The next day,
the balance cement stains is to be treated with acid wash.
To manage eventual cracks, large surface were often divided into smaller.
Decorative lines and shapes were created wlth square wood sticks nailed
directly on the wall before application of the final cement and sometimes the
pattern could be filled with different colours.

X7
Rough stone
Surfaces of rough stone were often integrated into architectures in the mod-
ernist period. In a quest of balance or in a questioning about the meaning of
the enterprise, manmade constructions seek the integration of natural ele-
ments left on purpose irregular and unfinished. In Vietnam vertical surfaces
were mainly considered.
Pham van Thang was almost in every project integrating those country
rubbles sometimes covering an entire fai;:ade like in the Seameo or only on
discreet columns like in the University of Architecture. Nguyen Van Hoa
was looking for, even if rough, more polite calibrated elements at the en-
trance of the pharmaceutical plant. And Tran Dinh Quyen shows in this ex-
ample the perfect opposition with the prefab design elements at the Vi Dan
Hospital.

X9
SAIGON MODERNIST
A book on Modem Architecture in Saigon for a period of fifty years

Between 1925 and 1975 the world of architecture has seen a major change called
the Modernism. Saigon has delivered an underestimated testimony, unique in the
region, of this era.

In a positive and optimistic approach, present the exciting adventures of modern

architecture ln the city of Saigon. Present a new historical approach to facts In a
specific and In depth research. A research supported by a selection of genuine
and original documents, interviews with heirs of major contributors and contem·
porary photographs to highlight buildings we can cross daily. To meet a growing
interest on the subject but answer ii with historical sources. To make known a
unique In the world heritage, because know the city is already a llttte love.

Meanwhile, the city moves and changes and some buildings have already disap-
peared.
The heritage in its global understanding, national and international, the recogni-
tion, the protection and sometimes the restoration , is a difficult debate. It arouses
controversy. The actors are numerous and sometimes with conflicting interests.
It is a challenge for all today societies in an everyday and long tenns basis. And if
major choices are inevitable, wisdom and good management should prevail.

Between the pages some will probably recogniie prominent figures past to pos-
terity, but will also meet other forgotten figures . Figures in needs of an appropri -
ate recognition for the contribution they made to Asian Architecture. The Re-
search also reveals some unexpected side of history that have greatly benefited
the quality of the profession but also helped the recognftion of a stalus.

The author
In Asia for over nine years and except for two years In Singapore, Thierry De1fosse
is living in Vietnam. For the passion of architecture and its history, many trips
were made around the so diverse region to apprehend the rich culture and the
very strong identity of each of Its country. The Southeast Asia Is also of lights and
colours on which the eye of the lmage hunter is sensitive. Twentieth century
design speciaHst, yet it Is in Saigon he could find an uncommon field ofinvestiga -
lfon