At the beginning of the 19th century, when constructing the capital of Hue, the Nguyen dynasty adopted a flexible approach to incorporate traditional Eastern fortress construction techniques, combined with the near-modern European military fortification style. The result was Hue's outer citadel - the Imperial City - which resembled Vauban-style fortifications, while the inner citadel retained a purely Vietnamese architectural style. In the center of the Imperial Citadel walls, on all four sides, protruding bastions were built, topped with wooden architectural structures. In the south, there was the Can Nguyen Palace, which Emperor Minh Mang demolished to construct the Ngo Mon Gate; however, the other three sides of the bastions each housed mainly guard stations for the royal guards, protecting the imperial palace. Until the time of Emperor Khai Dinh, along with the construction of the Kien Trung Pavilion in the Neo-classical architectural style as the residence for the royal family, the guard station on the northern bastion was also demolished to make way for a new building. That new building was the Tứ Phương Vô Sự Palace, a two-story structure in the colonial architectural style. The construction was completed in 1923 in preparation for the celebration of Emperor Khai Dinh's Great Feast.

In ancient times in the East, when kings went to battle or on hunting expeditions, they always left the fortress through the northern gate. Thus, in China, the northern gate was called the Gate of Heavenly Might, reflecting the majesty of the ruling monarchs over the people. However, in the capital of Hue, the northern gate was named the Gate of Peace. Despite being influenced by Confucianism as the dominant ideology, it was clear that the Vietnamese, even royal rulers, had a humane and gentle approach to governance. During the reign of Emperor Khai Dinh, despite the dwindling sovereignty of the dynasty, the king still constructed the Tứ Phương Vô Sự Pavillion to express the nation's aspiration for peace and stability.

The northern bastion is rectangular in shape, covering an area of nearly 1,800m2 (64.6m x 28.5m), with the Tu Phuong Vo Su Pavilion situated in the central position. The foundation measures 182m2 (14m x 13m), with modern-style flower gardens on both the east and west sides. However, the flower beds are still shaped like turtles (Quy) to symbolize the north. Notably, ancient porcelain trees planted along the southern wall of the bastion resemble thin curtains, casting graceful shadows over the Kim Thuy Lake throughout the year.

Standing on the second floor of the Tu Phuong Vo Su Pavilion, visitors can overlook the entire northern Imperial City and observe the peaceful lives of the people within the Hue Citadel. Turning around, you'll be greeted with a magnificent view of the water, greenery, and architectural landmarks within the Imperial City. This is also the most beautiful viewpoint of the Hue Imperial Citadel. In the past, perhaps at this spot, Emperor Thieu Tri proudly admired his entire Imperial City and was inspired to compose the series of poems "Ten Scenes in the Palace" (Mười cảnh trong cung). These poems were illustrated and carved along with each verse on wooden panels by the Imperial Household, then sent to China for painting on glass panels... To this day, Hue still preserves part of this priceless set of paintings.

With the shared characteristics of Eastern architecture, the garden is always located behind the Imperial City. In the past, the entire surface of the Kim Thuy Inner Lake, extending from the Cơ Hạ Garden in the east to the Trường Ninh Palace in the west, was the royal garden of the Nguyen dynasty, known as Hậu Hồ. A vast expanse of water dotted with islands, pavilions, towers, palaces, temples, shrines, and bridges, harmoniously blending trees, leaves, flowers, and grass. This can be seen as the pinnacle of Vietnamese royal garden architecture.

Along with the ebbs and flows of history, the Tu Phuong Vo Su Pavilion and much of the architecture of Hau Ho have been destroyed or dismantled, but the "old paths and traces of the past" still exist somewhere. A few years ago, the crumbling walls of the Tu Phuong Vo Su Pavilion were used as a backdrop by artists to evoke images of the past during the Hue Cultural Festival.

But now everything has changed. The restoration project of the Tu Phuong Vo Su Pavilion has returned to Hue a meaningful architectural structure. And it is even more meaningful that the project was inaugurated on the eve of the celebration of 1000 years of Thang Long - Hanoi. Looking north, it is not only to "Remember a Thousand Years of Thang Long" but also to express the common aspirations of the nation - the aspiration for "four directions without worry", and peace for the world.

That is also the genuine aspiration of all humanity.

Entering this space, you can immerse yourself in the lively atmosphere of laughter and the crisp sound of playing traditional court games: "Xam Huong" or testing the accuracy of your aim as you shoot bamboo sticks into the mouth of a ceramic tiger in the refined game "Dau Ho." 

Strolling on the grounds of the imperial city amidst rows of ancient porcelain and moss-covered relics, you can find tranquility - if you come alone, you can select a book that will transport you to ancient times through the valuable volumes displayed and available for free reading here.

Especially on the second floor, you can gaze far into the distance to see the Kiến Trung Palace faintly visible beyond the lush greenery, the most splendid palace newly restored within the Forbidden City walls - it's an ideal spot for photos or to admire the peaceful life of the people within the Hue Citadel.

The allure of Hue is further enhanced as the Tu Phuong Vo Su Pavilion reopens to become a stopping point for travelers, diversifying tourism services within the Hue Citadel complex, and contributing to the promotion of the unique beauty of the ancient capital. Moreover, it ignites passion and fosters the preservation and promotion of the cultural heritage values of the Hue royal court, leaving a profound impression on both domestic and international visitors who come to this land.