Things to see and do Hanoi

In the words of P. Doumer: "The most remarkable work that has been done in the Far East." For others, it is the "dragon that straddles the Red River".

The bridge changed its name after the revolution of August 1945. Twenty 40-metre-high piers supporting the 1,682-metre-long bridge are supported by caissons buried up to 30 metres below the low-water level. Some of them are not original and were added due to damage to the bridge. The bridge was designed by the Gustave Eiffel company, and the work was carried out by Daydé et Pillé, a company based in Creil, at a cost of 10.5 million francs at the time. The work lasted a little over three years. The work was inaugurated in 1902 (some fifteen years after the Eiffel Tower) by Emperor Thanh Thai (Nguyen dynasty) and Paul Doumer, then Governor General. The bridge was to bear witness to "the power of French civilization in the works of peace".

For the Vietnamese, it is today a symbol of unity, endurance and patriotism. It was bombed 14 times by the American air force and each time it was repaired. This also explains why only six of the original 19 arches remain. In the beginning, the bridge was only intended to be used for railroading. The roadway, added in 1923, is no longer in use today.

Phu Xua Island (known as Banana Island) separates the capricious river course into two main branches. It was formed by the accumulation of alluvial deposits carried by the river, and the land is very rich and naturally suitable for agriculture. The inhabitants of the capital maintain market gardens and fruit tree plantations. At all times, the Sông Hông (Red River) has posed problems for engineers, problems due to the tons of alluvium carried by the river (the delta of the river stretches on average 10 km per century). In spite of a rather demanding maintenance, navigation remains difficult because, during a monsoon flood, the sandbanks are extremely shifting.

The venerable bridge has suffered the ravages of time and history (the effects of age and rust are added to those of the bombardments...) and renovation work is becoming urgent. Several scenarios are being considered - restoration, partial or complete reconstruction, relocation. The question is not decided but unleashes passions because of the historical and symbolic charge linked to the work.

Created in 1987, this museum, with easy access, in the heart of the central district, is managed by the Vietnamese Women's Union. For a long time asleep, welcoming only a few visitors overwhelmed by boredom from dusty collections, it finally closed its doors in 2007 to allow a complete renovation. The cure of youth has been a spectacular success. Re-opened in October 2010, the museum has become very popular with both the Vietnamese public and international visitors. It is now regularly included at the top of the charts establishing the attractiveness of the various tourist sites in Asia. At the heart of this success is the very theme of the museum's exhibitions, which remarkably highlights the role of Vietnamese women, both in family life and in the tragedy of the country's recent history. The museum has a collection of more than 1,000 objects and photos, organized thematically on three levels. On the first floor, "women in the family". The opportunity to discover the specificities of the Vietnamese family, as well as the customs specific to different ethnic minorities: marriage, birth, daily life, crafts... On the second floor, "women in history". Undoubtedly the strongest and most moving theme. Heroism is celebrated without being suffocated by propaganda. Objects and photos bring the visitor to life with the personal dramas that weave the horror of the last two wars. The third floor is dedicated to "feminine fashions" and gives a good overview of the variety of shapes and colours of the costumes of ethnic minority women by detailing the techniques and skills specific to each group, batik or embroidery... It is also a testimony to the diversity of ideals relating to feminine beauty, for example through the presentation of the technique of lacquered teeth. The visit of the museum is very pleasant thanks to a dynamic journey and a colourful and didactic scenography. Last but not least, for once, Francophones will feel perfectly at ease there, thanks to trilingual cartridges in Vietnamese, French and English. An audioguide is even available! The museum often organizes temporary exhibitions that make it even more attractive. A visit to recommend absolutely, therefore, and which will seduce all audiences, from 7 to 77 years old...

In the past, this building was the printing house of the Far East. In Art Deco style, it is signed G.-A. Trouvé.

The museum is located in the immediate vicinity of the Temple of Literature, in a building where East and West mingle. Built in the 1930s, it housed the Jeanne d'Arc boarding school, a renowned girls' high school in colonial times. After the refurbishment of the premises, the museum was inaugurated on 6 June 1966. Covering more than 4,700^m2, the works on display cover a period from prehistory to the present day. A rare opportunity for those interested in Vietnamese art to be offered a panorama that is both chronological and embraces all techniques (ceramics, sculpture, lacquer, painting on silk, mulberry paper, popular arts...). However, it should be noted that the museum has been the subject of several controversies due to the large number of copies that would be presented there. The integrity of the collections has suffered greatly from successive wars, but also from corruption. Many of the original works have made a tortuous path to the galleries of Tokyo, Hong Kong or Singapore .

For prehistory, human and animal figures discovered in the Dong Noi cave (Lac Thuy district, Hoa Binh province), dated 10,000 years ago and considered to be "the first Vietnamese plastic work". The Dao Tinh bronze jar (Yen Bay Province), dated 2,500 years ago, is a national relic. It reflects the different aspects of the Dông Son civilization (dwellings, funeral rites, spiritual life, etc.), which for Vietnamese historians is at the origin of Vietnamese identity. In the main hall, dated from the 18thcentury, a superb Goddess of Mercy, a goddess with "a thousand eyes, a thousand arms", a lacquered wooden work that testifies to the skill and technical level of the craftsmen of the time. The room most appreciated by visitors is the one dedicated to the painters of the Indochina School of Fine Arts, which paved the way for a specifically Vietnamese style of modern art, emancipating itself from the influences of Western and Chinese painting. Major works: the lacquers of Nguyen Gia Tri (1908-1993), the oil paintings of To Ngoc Van (1906-1954), the paintings and engravings of the painter Tran Van Can (1910-1994), the works of Bui Xuân Phai (1921-1988), a painter who is to Hanoi what Toulouse-Lautrec was to 19th century Paris. He drew his inspiration from the old streets of Hanoi. In addition to the permanent collections, the museum presents temporary exhibitions.