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

It is widely known that the distinctive steel frame roof of the building was crafted by Gustave Eiffel et Compagnie. Although the current layout of the space has been almost entirely altered from its original design, the roof remains unchanged, preserving the French atmosphere with its delicate mouldings. Hidden within these details is the image of Alfred Foulhoux, sitting on the porch, his sharp eyes fixed on the distant horizon, sketching the first lines of the Saigon Post Office (Saigon – L’Hôtel des Postes).

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It is said that few colonial officials left such a distinct imprint on the urban landscape of Saigon as the architect Marie-Alfred Foulhoux (1840–1892). He was responsible for the design of several significant buildings in the city, including the People’s Court, the Customs Department, the Governor’s Palace of Cochinchina (now the Ho Chi Minh City Museum), and, most notably, the Saigon Post Office.

In the colonial urban context, the Post Office was not merely a centre for communication but also a living symbol of faith in scientific progress and architectural art. The building was constructed with a symmetrical layout of 20 square columns, each crowned with exquisite reliefs depicting gods from Greek mythology, paying homage to the values of classical culture. The main entrance, featuring a large arch adorned with reliefs recording the construction period from 1886 to 1891, further affirms the gravitas and historical significance of the site.

Employing the Neo-Baroque architectural style that was popular at the time, Foulhoux did not overlook the intricate decorative patterns on the façade, with floral reliefs, friezes, and bold geometric applications. He also celebrated scientific progress by inscribing the names of leading scientists and philosophers, such as Descartes, Morse, Ampère, Volta, Ohm, and Faraday, on plaques mounted on the columns. Inside, the large arched system with skylights draws the eye, while the rows of steel columns, elaborately decorated, evoke the image of a Western train station. On the walls, two ancient maps—one of Saigon and its surroundings from 1892, and the other a map of telegraph lines in South Vietnam and Cambodia from 1936—highlight the city’s historical significance and development over the years. The telephone booth and wooden benches, now more than a century old, remain preserved as silent witnesses to the passage of time.

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In recognition of Foulhoux’s brilliance and the official unveiling of the Saigon Post Office, L’Architecte constructeur remarked on September 15, 1891: “The inauguration of the new Saigon Post Office, originally scheduled for July 14, was delayed until the Governor-General’s return. This monument, with its most artistic façade, is exceptionally well laid out and equipped for the various services it was designed to accommodate; it is a fitting tribute to the skill and talent of the eminent Chief Architect of the Colony, Mr. Foulhoux.”

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The richness of the motifs and the grandeur of the overall design of the Post Office had a profound influence on the tastes of Vietnamese homeowners in the South in subsequent years. At the time, the Saigon Post Office was not simply a public building but a symbol of a new civilisation, leaving a lasting imprint on the pages of Vietnamese history as a means of communication far more profound than the letters or phone calls sent from here. As an architect, one may not be proud, but one must certainly acknowledge that Foulhoux made significant contributions to shaping Saigon’s urban landscape—contributions that, to this day, remain a highlight in the country’s architectural legacy, cherished by the people of Saigon.

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In 1863, the French literary world hailed Jules Verne as a rising star when his first fantasy novel, Cinq semaines en ballon (Five Weeks in a Balloon), became a literary sensation. Though renowned for his boundless imagination, Verne could hardly have known that, in the same year he published his debut novel, the French were laying the first bricks of what would become a masterpiece of religious architecture in a small colonial country in the Far East—today a monument of great heritage value.

Just a short walk from the Saigon Post Office, one arrives at Notre Dame Cathedral. Standing proudly in the heart of the city, this church quietly holds within its walls over a century of history, with the crimson bricks from Marseille still standing resiliently through times of change. Situated in the centre of “Little Paris,” Notre Dame Cathedral is not the first French religious building in Saigon, but it is undoubtedly the most important.

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The cathedral was completed in 1863, designed by architect Jules Bourard in a style that combines modified Romanesque architecture with elegant Gothic lines. According to Le Monde illustré, a French magazine published on September 19, 1863, while Notre Dame Cathedral is modest in size compared to the grand churches of Paris, it was praised for its suitability to the tropical climate. Notably, the windows span two floors and are equipped with shutters, ensuring optimal air circulation.

Inside the church, natural light filters through the stained glass windows, casting red and blue hues across the marble floor, creating a strangely peaceful atmosphere amidst the city’s bustle. The large space can hold up to 1,200 people, yet it never feels overwhelming. On the contrary, the harmony of the soaring columns, the stained-glass windows made in Chartres, and the rows of antique wooden benches imbue the space with a sense of shared beauty and memory.

People often refer to the area around the Saigon Post Office as “Little Paris” due to the enduring influence of French architecture on the urban landscape. For the French residents and workers of Saigon, such as Timothée, the old house of Alfred Foulhoux and the “Little Paris” area are more than just historical sites; they evoke a sense of home—a place where their homeland and the journey through Vietnam converge. Yet perhaps the most captivating aspect is not the old buildings or the French inscriptions that remain, but the ongoing dialogue between two cultures. In the city's evolution, “Little Paris” stands not only as a preserved heritage but also as an active part of contemporary life—a place where the past and the present intertwine, where old values are reinterpreted in a new context.

Article originally published in the March 2025 issue of Tatler Vietnam

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