Table of Contents
Ngo Viet Thu - Profile summary
Full name
Ngo Viet Thu (Ngô Viết Thụ)
Gender
Male
Nationality
Vietnamese
Title
Vietnamese architect
Education
École nationale supérieure des Beaux-Arts, Paris, France
Awards
Prix de Rome in Architecture
Birthday
September 17, 1926
Birthplace
Thuy Thanh, Hue, Vietnam
Died
March 09, 2000
Death place
District 3, Ho Chi Minh City, Vietnam
Children
Architect Ngo Viet Nam Son
Achievements
Independence Palace (Reunification Palace)
Early Life and Education
Born on September 17, 1926, in Thuy Thanh, Hue, Vietnam, Ngo Viet Thu embarked on a journey that would lead him to become a stalwart of Vietnamese architecture.
His early life, steeped in the rich cultural milieu of Vietnam, laid the foundation for his profound appreciation of Eastern aesthetics. Ngo Viet Thu’s academic pursuits led him to the prestigious Beaux-Arts school in Paris, where his talent and vision were honed under the tutelage of eminent architects. It was here that he achieved a significant milestone, winning the esteemed Grand Prix de Rome in 1955, an accolade that heralded the beginning of a remarkable career. This formative period was instrumental in shaping Thụ’s architectural philosophy, blending the intricate beauty of Vietnamese tradition with the bold lines of modern design.
Personal life
After completing high school, Ngo Viet Thu was accepted into the Da Lat Architecture College, a branch of the Indochina College of Fine Arts, and embarked on his journey there. In an unfamiliar place, he encountered a young woman by the roadside and inquired for directions. This lady turned out to be Vo Thi Co, who would later become his beloved wife.
Vo Thi Co’s father, seeking a highly capable and ethical student to tutor his daughter and her siblings, found his ideal candidate in Ngo Viet Thu. Known among his peers for his architectural prowess and handsome looks, Ngo Viet Thu initially regarded Vo Thi Co as a younger sister, openly sharing his experiences with her, even about other girls he met. However, over time, he grew to recognize her virtuous character and the two’s affection for each other blossomed, leading to their marriage in 1948.
Vo Thi Co’s father fully supported their union, admiring the talented but financially struggling student. With the family’s financial backing, he assisted his son-in-law in pursuing further studies in France. The young wife, not wanting her husband to feel indebted to her family, chose to leave her studies and help with the family business.
Architect Thụ deeply appreciated his wife’s support and, unlike some of his peers in Paris, he dedicated himself to his studies, hoping to achieve great things. He recounted how, even during lively university dances with music echoing and fellow students playfully knocking on his door, he would remain quietly in his room, diligently working on his projects beside a photo of his wife holding their first child.
Career and Achievements
Ngo Viet Thu, a prominent figure in the world of architecture, left an indelible mark on the landscape of modern Vietnamese architecture. His career was characterized by innovation, creativity, and a deep-rooted commitment to blending traditional Vietnamese design elements with contemporary aesthetics. Besides the iconic Independence Palace (Reunification Palace), his body of work is a testament to his architectural prowess and dedication to preserving Vietnam’s rich architectural heritage while ushering in modernity.
Aside from the iconic Independence Palace, Ngo Viet Thu’s portfolio includes a variety of projects that showcase his versatility and commitment to integrating cultural identity with modern aesthetics. Here are some of them:
- Phu Cam Cathedral: A church showcasing his blend of religious and modern architectural trends. Thụ completed this religious structure in 1963.
- Da Lat Market: Illustrates his innovative approach to commercial space design.
- Saigon Agricultural University: Represents his vision for educational spaces.
- Hue University of Education: Focuses on creating environments conducive to learning. Thụ designed this educational institute between 1961 and 1963.
- Dalat Nuclear Research Institute: Showcases his versatility in designing scientific institutions. He was responsible for designing this scientific facility from 1962 to 1965.
Work on Independence palace
Invitation to work in the government
At that time, Ngo Viet Thu’s reputation had soared internationally. Numerous firms from France, Italy, and across Europe offered him positions with substantial salaries. He could have easily relocated to Europe with his wife and family.
However, when Professor Nguyen Phuc Buu Hoi visited his father in Hue and conveyed a message from the leaders of the Saigon government at the time, expressing their desire for him to return to Vietnam and contribute to the nation, his father penned a poem and entrusted it to Professor Hoi to deliver to his son, along with two mangoes from the family garden. Receiving his father’s poem, Ngo Viet Thu understood the sentiment and responded with a poem of his own, “The Croaking Fish Becomes a Dragon,” essentially expressing his unwavering connection to his roots and his commitment to aiding his homeland.
In 1960, at the young age of 34, President Ngo Dinh Diem invited him to become the Minister of Construction, a department that also controlled the lucrative Housing Lottery. Unaccustomed to bureaucratic life, Ngo Viet Thu felt uneasy and discussed his concerns with his wife. She advised him against accepting the position, noting his talent lay in creative artistry, not political maneuvering.
He declined the offer but, given the insistence of the President, agreed to serve as an advisor and established the “Office of Architectural Consulting and Territorial Planning” for the presidential palace. Consequently, the Republic of Vietnam had no Ministry of Construction; instead, Ngo Viet Thu and his office undertook planning and development, which was then executed by the General Construction Agency
Rebuilding the Independence Palace
Following the bombing of the Independence Palace in 1962, the regime of Ngo Dinh Diem decided to reconstruct the edifice and promptly organized a design competition that emphasized frugality and the utilization of the existing structure. Among six submissions, the design proposed by architect Ngo Viet Thu was selected, and construction commenced swiftly on July 1, 1962.
Although this was the first major project for Ngo Viet Thu after returning from his studies in the West, he did not rigidly adhere to Western modernist styles. Instead, he seamlessly integrated elements of Eastern architecture, with a particular focus on traditional Vietnamese designs. The overall layout down to the specific floor plans was deeply influenced by Eastern philosophy, evident in the thoughtful incorporation of Han characters symbolizing prosperity and well-being.
Decorative motifs, from the façade to intricate details, delicately blended ancient architectural elements with modern design, ensuring the building’s enduring harmony with its surroundings and relevance over time.
In his design of the Independence Palace, architect Ngo Viet Thu sought to imbue the structure with a deep cultural significance. Every arrangement, from the interior layout to the exterior façade, was imbued with symbols reflecting ancient philosophy, Eastern rituals, and the national identity. Ngo Viet Thu masterfully blended modern architectural art with the essence of Eastern traditions. The entire façade of the Palace formed the shape of the character CÁT (吉) – which looks like a T-shape, symbolizing auspiciousness and good fortune. At the heart of the Palace was the location of the National Library, further emphasizing the structure’s cultural and intellectual importance.
After the rebuilding of the Independence Palace was finished, Ngo Viet Thu gifted the palace a painting that he made on his own. His painting named “Son Ha Cam Tu” is still one of the artifacts at the Independence Palace nowadays.
He stated, “Much like the painting ‘Hoang Hoa’ that adorns the banquet hall of this palace, symbolizing our dedication to employing modern materials and techniques, albeit non-European and non-American, to encapsulate the essence of the Vietnamese spirit that you will encounter within the grand dining area. This encapsulates the guiding principles that guided our research and coordination efforts for this Palace. We aim to etch the history of our nation’s independence into culturally significant creations, accomplished by utilizing contemporary materials and methodologies to the fullest extent.”
Interested in more stories of Ngo Viet Thu’s iconic work – the Independence Palace? You can read some of our related articles here:
Life after 1975
After the event of April 1975 – after the tanks destroyed the gate of the Independence Palace and ended the war, Ngo Viet Thu underwent a year of re-education due to his affiliations with the former Republic of Vietnam. Life took a challenging turn, and his wife, Vo Thi Co, struggled alone to provide for their children. Upon Ngo Viet Thu’s return from re-education, he found his wife greatly weakened by the hardship and toil. She passed away in 1977, leaving behind immense grief for him and their family. At that time, Ngo Viet Thu was just 51 years old. Although friends introduced him to potential new companions, he chose to remain alone.
During these years, Ngo Viet Thu continued his work, designing notable structures such as the Dak Lak Irrigation Department (1976), the 500-Bed Song Be Hospital (1985), the Century Hotel in Hue (1990), and drafting the initial concept for Truc Lam Temple in Da Lat (later completed in detail and constructed by a team of architects from Lam Dong). He also collaborated on broader projects, contributing to the Master Plan of Hanoi (up to the year 2000) and the planning of Hai Phong. In 1993, he served as an international jury member for the South Saigon urban planning competition.
Ngo Viet Thu was also a skilled sculptor (his metal sculpture once graced the city hall but no longer exists) and a proficient player of traditional Vietnamese musical instruments, including the moon lute, zither, and flute. His talent extended to poetry, leaving behind hundreds of poems and writings.
He passed away on March 9, 2000, at his residence on Truong Dinh street, District 3, Ho Chi Minh City, due to a cerebral vascular accident. In a final tribute, the funeral procession for architect Ngo Viet Thu paused before the gates of the Independence Palace, allowing his spirit one last gaze upon the architectural work he cherished most among his lifetime achievements.
Legacy
Ngo Viet Thu fathered eight children, yet amongst them, only Ngo Viet Nam Son pursued a career in architecture. Nam Son excelled academically, securing a Ph.D. in Planning and Architecture from Washington University and a Master’s from the University of California at Berkeley. His professional journey saw him involved in several prominent projects across the U.S., Canada, China, and the Philippines, including the urban design of South Saigon and the comprehensive planning of Hanoi and Hai Phong.
Regarding his father, Ngo Viet Nam Son remarked, “My father adhered to a philosophy of progress, focusing on the betterment of the community, knowing well that personal growth is intertwined with the community’s development. Many criticized the direct approach to the palace as inauspicious, yet my father proceeded, countering negativity with water elements. He believed in setting an example, bearing the weight of responsibility; he stood for integrity, choosing not to compromise. I am proud of my father, and his impact is evident in the way he fused Eastern style with classical French architecture in his works.”
He further reflected, “My father taught me about the essence — the soul within a work. He never gave me specific instructions on how to draw a door or construct a staircase; instead, he guided me in conceptualizing and ideating, emphasizing that while techniques have limitations, creative thought knows no bounds. Our conversations often revolved around the spirit that defines a structure, not its technicalities. My father always stressed the enduring nature of a work’s spirit over the transient nature of its details.”
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