Legacy 50: Architects who have “shaped” Saigon’s memories

The Independence Palace—designed by Thu between 1961 and 1966—stands as a testament to a vision of modernity that remained rooted in tradition. Few realise that its location was chosen with precision. Ngo Viet Thu positioned the palace in the so-called “coiled dragon” formation, drawing from Eastern feng shui principles, and fused this with Western modernist thinking. The floor plan of the building was inspired by the Chinese character “吉” (good luck), an emblem of fortune and prosperity.

See more: Legacy 50: 5 places to watch the parade in the heart of Saigon on April 30

From the outside, the palace presents symmetry and a measured modernity in the Western sense. Step within, however, and the design reveals Eastern sensibilities—porches, wooden louvers, and open interiors that breathe in harmony with nature.

He did not construct a “jade palace”, but rather envisioned an architecture grounded in humanity. From the slatted stone system reminiscent of traditional curtains to the hollow walls that welcomed natural light and airflow, every detail served to soften the Saigon heat. The space he created was not only one of authority, but an expression of hope for the future.

His philosophy was clear: “Architecture must be a synthesis of function, aesthetics and national spirit.” He brought this vision to life not only through the Independence Palace, but also through his lasting influence on Phu Cam Cathedral in Hue, Hue University, and Le Van Duyet High School for Girls.

Jules Bourard, a French architect, was commissioned by the colonial government to design what we now know as Notre Dame Cathedral in Saigon. His portfolio may be modest in quantity, but this singular work secured his legacy in the city’s architectural heritage. Eschewing the dramatic verticality of European Gothic spires, Bourard adhered to classical principles while adapting the design to the realities of the tropics. The tall shuttered windows, spanning two levels, are a prime example—cleverly tailored to the climate, they encourage airflow while maintaining elegance.

Read more: Legacy 50: Walking around “Little Paris” and the memories of Saigon citizens

The cathedral’s Romanesque-Gothic design lends it a presence that is both imposing and restrained. Its twin bell towers, each soaring to 57 metres, stand as markers of a bygone colonial era—yet also as cherished symbols of spiritual life across generations. From the red bricks of Marseille that have retained their hue for over 140 years, to a foundation engineered to resist subsidence, every feature reflects a union of innovation and sensitivity to place. Despite numerous restorations, the cathedral remains faithful to its original form—a living monument to the cultural dialogue between East and West.

Read more: Legacy 50: Saigon—City of "firsts"

Many guidebooks and architectural histories have noted the contribution of Gustave Eiffel—or more precisely, his company, Société Gustave Eiffel et Cie—to Vietnam’s built environment. The Saigon Central Post Office is the most often cited. Though its design is officially credited to architect Alfred Foulhoux, the iconic iron structure and the grand vaulted ceiling are believed to have benefited from Eiffel’s company’s engineering expertise.

Eiffel founded his engineering firm in 1863. By 1872, the company had established a presence in Cochinchina, marking the start of an influential chapter that continued until 1889. Though Eiffel’s time in the region was brief, the projects completed between 1872 and 1890 were of notable significance. Among them was the Saigon–My Tho railway in the 1880s, an essential venture during the early phase of French colonial development—both strategically and symbolically pivotal.

In addition to the more well-known landmarks, the bridges constructed by the Eiffel company across Cochinchina such as Binh Dien Bridge, Tan An Bridge and Rach Lang Bridge, stand as enduring markers of the firm’s legacy in Vietnam. Despite challenges posed by the region’s complex network of rivers, these structures reflect another dimension of Eiffel’s engineering vision: adaptability. Through a system of prefabricated bridges, the company's engineers introduced flexible solutions tailored to the colony’s limited resources—equipment, labour, and construction methods alike—demonstrating a form of localisation well ahead of its time.

The Ho Chi Minh City Opera House was built in the late 19th century in the Beaux-Arts style by architects Félix Olivier, Ernest Guichard and Eugène Ferret. Its design carries the unmistakable influence of the Opéra Garnier in Paris—from its classical Corinthian columns and elaborate reliefs to the sweeping curves of its opulent dome.

Originally, this building stood as a statement of French power and aristocratic presence in Indochina. Over the years, however, it has evolved into a stage for Vietnamese creativity—hosting everything from cải lương opera and symphonic concerts to contemporary ballet. Few know that, for nearly five decades, its grand façade was obscured by the National Assembly building during the Republic of Vietnam era, rendering it nearly invisible to the public. Only after 1975, when it was restored to its cultural purpose, did the Opera House fully come into its own.

Félix Olivier could hardly have foreseen that the structure he completed in 1900 would become a silent witness to the country’s transformation. More than just a replica of the Opéra Garnier, it is a cradle for the city’s earliest urban cultural expressions.

Unlike the aforementioned structures, Ben Thanh Market is not attributed to any single architect. Its reconstruction between 1912 and 1914, under the supervision of French engineers, gave rise to one of Saigon’s most enduring civic icons.

The clock tower, the ventilation domes and the airy layout all speak to a design centred on the daily lives of the people. Without the splendour of the Opera House or the grandeur of the Palace, the market hums with the energy of daily life—its scents, its colours, and its sounds forming a “living heritage” of the city.

Its high U-shaped roof system allows natural airflow to move freely throughout the space, while the four-faced clock tower has served as a familiar landmark for over a century. Though slightly tilted with time due to subsidence, the market continues to thrive—embodying a spirit of architecture not for power or prestige, but for the people it serves.

READ MORE

Legacy 50: People’s Artist Kim Cuong—A life, a life on stage

Legacy 50: The “Miss Saigon” of a glorious time

Legacy 50: Director Bui Thac Chuyen and 10 years of pursuing the dream of “Tunnels”