The “historical falsehood” of Hanoi, a building heritage to be safeguarded
© arcomai I The Supreme Court of Hanoi.
The use of classical architecture has always marked crucial moments in history, serving as a symbol of transition and cultural reflection. Its ability to evoke stability, order and grandeur makes it a powerful tool for expressing new ideals and values during times of significant change. The Renaissance represented a revival of interest in classical antiquity, marking the end of the Middle Ages and the beginning of an era of exploration, innovation and discovery. The rediscovery of classical architecture, with its harmonious proportions, Corinthian columns and majestic domes, reflected a return to the principles of beauty and rationality of ancient Rome and Greece. The discovery of America in 1492 amplified this sense of a new beginning, an expansion of known boundaries and an opening to new possibilities, both in the real world and in the world of ideas. Neoclassicism emerged in the 18th century as a reaction to the ornamental excesses of the Baroque and Rococo, coinciding with the era’s geopolitical changes, such as the Napoleonic Wars and the expansion of the French empire. This architectural style was directly inspired by the pure and simple forms of classical antiquity, expressing a desire for order, discipline and a return to the “classical” values of simplicity and clarity. Neoclassicism also reflected the political and social transformations of the time, including the rise of new forms of government and the emergence of democratic and republican ideals. In the 20th century, dictatorships emerging after World War I adopted classical architecture as a means of legitimizing their power and promoting ideals of national greatness.
© Inros Lackner Vietnam I The Supreme Court of Hanoi.
Regimes in Italy and Germany revised and used neoclassical architecture to evoke the strength, discipline, and eternal grandeur of ancient civilizations. These buildings, often monumental and austere, served to impress and convey a sense of order and control, strengthening the authority of the state. In the same years, “socialist classicism” (also sometimes referred to as “Stalinian Gothic”) expressed an architecture characterized by a marked monumentalism, accompanied by the use of the giant order and baroque decorations that recovered the neoclassical language to the detriment of constructivist experiments. At the beginning of 1930, Stalin’s interventionism first brought together the independent associations under the control of the V.A.N.O. (Vsesoiuznoe Arkhitekturno Nauchnoe Obshchestvo, also known as the All-Union Architectural-Scientific Society), and later, in 1932, brought together all the architects in a single state federation, the S.S.A. (All-Union of Soviet Architects), which directed the activity construction of the country and handed over, in fact, the direction of Soviet architecture to academics. In this way, Socialist Realism is strengthened. We are in the twenty years between 1933 – the year of approval of the project for the Palace of the Soviets, curated by Boris Iofan – and 1955, when Nikita Khrushchev decided to dissolve the Soviet Academy of Architecture, condemning the “excesses” of the previous decades.
© arcomai I The Supreme Court of Hanoi.
These experiences have left a lasting legacy in many countries around the world. In addition to the purely aesthetic aspect, the different expressions of this “fashion” have also taken on the role of a tool for transmitting ideological messages and promoting cultural values. In the contemporary panorama, this trend manifests itself in a “generalist” movement that is both informal and global, capable of embracing classical language, history and tradition. Newly constructed buildings that incorporate classical elements are found in different parts of the world, creating a phenomenon that, although underestimated in some academic circles, continued to evolve during the 20th century, experiencing a new rebirth since the beginning of the new millennium, especially in Asia. Given the heterogeneity and variety of expressions, this current is not identified in a single defined architectural style. For convenience, it is often included under the broad term “classicist architecture,” which encompasses such nuances as neo-historicism, neo-revivalism, neo-traditionalism, neo-postmodernism, and neo-urbanism.
Within the ASEAN area (Association of Southeast Asian Nations), Vietnam stands out as the country that most expresses these aesthetic manifestations. Cities such as Hanoi, Ho Chi Minh City, Hai Phong and Hue host numerous examples of contemporary classicist architecture that integrate into the urban fabric in different ways. At the implementation level, we have identified four main typologies. Government buildings such as presidential palaces, ministries, courts, museums and other institutional buildings often adopt “historical” language to symbolize authority, integrity, stability and continuity with tradition. Residential complexes (villas and luxury condominiums) that incorporate details such as columns, pilasters, pediments and statues to give a sense of prestige and refinement. Commercial structures such as hotels, shopping centers and banks aim to convey an image of solidity, reliability and tradition. Finally, places of worship such as pagodas and churches incorporate classic elements reinterpreted in a modern way, creating a dialogue between the past and present. As you can imagine, this diorama of quotes is used freely and based on the message you want to communicate.
© Ho Thieu Tri I Ho Guom Theatre.
From the point of view of the driving factors of this phenomenon, these are the most relevant. The recognition – not nostalgia – of a colonial past as an important element of the country’s history places the architecture of that period as a testimony to the historical-cultural connections that bind the country to the West. Overall, the French colonial period in Vietnam was a negative experience for the majority of the local population. Economic exploitation, political and cultural repression, violence and brutality, corruption, social inequality and lack of autonomy left a lasting legacy of resentment and suffering. However, it is important to also recognize some of the “advantageous” aspects of that occupation such as infrastructure development, education, modernization and exposure to Western culture. Paradoxically, in contexts with a colonial past, classicist architecture can be used to reaffirm cultural identity and strengthen national identity. The second factor is certainly the affirmation of status. In fact, the use of classicist elements can be perceived as a way to raise one’s social and economic status. This sentiment is particularly felt by a generation that has experienced the traumas of war and embargo and is now eager to see their children and grandchildren live in modern and efficient homes. This type of architecture thus becomes a symbol of social redemption and a way to affirm one’s position in a rapidly changing society. Finally, tourism. The “historicized” aesthetic can attract tourists and foreign investments, contributing to the economic development of the country. In this regard, we think of “fake landscapes” such as the Mercure Danang French Village Bana Hills near Da Nang or the Venice Phú Quốc on the island of the same name.
The streets of Hanoi are a fascinating mix of architectural styles, where the imprint of the past mixes with modern influences especially in the central district of Hoàn Kiếm Lake and in the “luxury citadels” recently built in free areas outside the central districts, which we will talk about later. Among the buildings that most capture attention are those in “classicist” style, which range from institutional buildings to residential and commercial complexes. In the first group we find the Hanoi Supreme Court and the Ho Guom Theatre.
© VinHomes I VinUni.
The court, built in record time during the Covid period, has been operational since 2022. It is a striking example of “neo-classical architecture” from the beginning of the millennium. The work, designed by the German studio Inros Lackner Vietnam, has a useful surface area (GSF) of 32,000 m2. and was designed to meet the needs of efficiency, modernity and functionality for a building of such institutional and symbolic importance. To evoke the pure essence of the solemnity of the (timeless) legal meaning and give continuity with the built environment, the Greco-Roman architecture was revisited in a contemporary and monumental key. The complex comprises eight floors with 3 basements, 3 main classrooms, associated offices and other facilities including a library, a cafeteria and an internal garden between the old court building and this new complex. Symbolically above the building there is a “rotunda” inside which is the courtroom which houses the highest judicial body in Vietnam. The Ho Guom Theatre, designed by local firm HTT (Ho Thieu Tri) & Associates, has a surface area of 24,000 m2, and has been operational since 2023. The design idea proposes an overlap of functional volumes in a continuous transition from classic to modern design. Translucent stained-glass windows and modern domes are carefully intertwined with neoclassical elements. This architectural approach is exemplified in the front facade of the building, with a peristyle of 52 impressive columns. The complex includes two halls: the Grand Theatre with 900 seats and the multipurpose Studio Theatre with 500 seats.
The second group includes new “citadels” such as Ciputra and Ocean Park. Ciputra, also known as the Nam Thang Long Urban Area, is located northwest of the capital. It was built in the early 2000s to accommodate up to 50,000 people, becoming Hanoi’s first “integrated urban development” and the first overseas project of the Ciputra Group, an Indonesian corporation named after its tycoon that specialized in large-scale real estate operations. This settlement was conceived to be a multifunctional and autonomous city capable of satisfying residential, commercial and tourist needs, integrating schools, healthcare, commercial and entertainment facilities. This complex was the forerunner of all real estate operations in the construction industry in Vietnam. The buildings have a “Frenchish” connotation, embellished by a discreet abuse of columns and other “classical” moldings. Five years after its foundation, Ciputra seems to be aging badly. But it is the imperial statues that celebrate the classical aspirations of the place.
© arcomai I Arch of Triumph in P.Phạm Ngọc Thạch Street, Hanoi.
Another more recent example is the Pharaonic Ocean Park created by the real estate giant Vinhomes (subsidiary belonging to Vingruop), the undisputed leader in the construction industry and present in every part of the country. This corporation has been able to expertly exploit the “classic product” by creating not only new urban models but also by imposing a taste to which the other groups present in the sector have had to adapt. Located in the Gia Lam district, east of the capital, Ocean Park covers an area of 420 hectares. Designed to be an autonomous city, the project includes residential areas, commercial areas, medical, recreational and educational facilities. Of these, the university campus, known as VinUni, it is certainly the most significant part of this building complex, built in just 14 months and developed in an area of 23 hectares. The campus square with its statues and the rector’s palace project visitors into a timeless period, poised between the idealized “classicism” of Ancient Greece and the “socialist (monumental) classicism” mentioned above. It is no coincidence that the founder of VinGroup, Phạm Nhật Vượng, who spent a period in Russia where he graduated in 1992, just before the collapse of the Soviet Union, must have known those architectures in person.
© arcomai I Dai La street, Hanoi.
These architectures, described above, represent more than a simple aesthetic taste. In fact, the use of classical elements such as columns, tympanums, plat bands, capitals and friezes evoke an era of prosperity and peace but also testifies to the development of new urban, economic, and social models and lifestyles. Contemporary “classicist” architecture in Southeast Asia – and particularly in Vietnam – represents a complex and multifaceted phenomenon that reflects the convergence of different forces, partly mentioned in this contribution, which escape debate in the academic world, which snubs these architectures as minor or because they are an expression of mere construction. Yet, this trend testifies to the persistent influence of classical architecture and its ability to adapt to new contexts and meanings in every corner of the globe. The in-depth analysis of this “generalist architecture,” with its regional nuances and its local expressions, can offer interesting insights into the evolution of architecture in the contemporary world and the role it plays in an increasingly “globalized” society. ” and “mediatized” as well as full of conflicts and contradictions. Only time will tell whether this trend will have a lasting impact on the urban environment and culture, or whether it will prove to be a mere passing phenomenon.
© arcomai I Dai La street, Hanoi.